The story behind the Heel Toe Technique

I was on a road trip from Orlando to Tampa with my sister and we were skipping through radio stations trying to find something to entertain our ears.  After about thirty-five minutes of skipping through song after song, genre after genre we landed on the old classic “One” by Metallica.  Very few songs in the world force me into air guitar mode, but within minutes I was shredding away with Kirk.  My shredding session quickly stopped when the song neared the end and Lars kicked into that iconic double bass rhythm that acts as a foundation for Hetfield’s poetic verse:

           

            Darkness imprisoning me

All that I see

Absolute horror

I cannot live

I cannot die

Trapped in myself

Body my holding cell…

Now in my opinion Lars’ double bass playing ushered in a new dimension to the drum set; the idea of using double bass as a core component in the drumming structure of a song.  Sure the idea was already out there.  I mean Slayer’s Dave Lombardo was killing the double bass as were drummers from other 80’s metal groups such Iron Maiden and Megadeth, but for some reason Lars’ use of double bass in “One” quickly had young drummers around the planet seeking out a second bas drum, or at the very least a double bas pedal.  Today double bass has become a basic component to any drum kit and even icons such as Steve Gadd have jumped on the bandwagon.  

I don’t want to burst any metal bubbles out there, but double bass drumming has been around for a very long time.  Sure Keith Moon and Bonham used this type of set-up.  So have Billy Cobham and Tony Williams, but we can go back even further.  Take the late Louie Bellson who became renowned for using two bass drums in his big band set-up.  I like to cite a story about my drumming icon Buddy Rich to hammer the point.

In one of Buddy’s legendary rages he punched a wall and injured his hand while on a tour with his big band.  The injury was so bad he had to wear a brace and his manager was concerned that the superstar wouldn’t be able to play a big gig at the Apollo Theater in Harlem.  Buddy wouldn’t give up so easy.  He called up Ludwig and had them deliver a second bass drum.  That evening with no double bass training he played the show minus one hand and one extra foot.  The crowd didn’t even know what was happening until he took his final bow and they realized he was in a cast.  Many thought it was a marketing trick, but it wasn't. 

For all you young double bass drummers out there I want you to consider how much time you have put into playing a double bass kit.  I know it has taken me lots of woodshed hours to get proficient at the craft.  So why could Buddy do it almost instantly with prolific results?

The answer lies in the heel toe technique.  And contrary to what us drummers may believe this isn’t a drumming technique, but one borrowed from the tap dancing world.  Yes you heard me right.  The tap dancing world. 

It turns out that Buddy started his life as a young vaudeville star called “Traps, the drumming wonder.”  In that training he was taught the stage performance techniques of the day including tap dancing.  One of tap dancing's core moves is a technique called "The Flap Heel Toe Combination".  Take a look at this tap dancing instructional video and you will see our teacher explaining the technique.  Listen as she get going.  Can you hear the double bass?

Ok now take a look at this video by Derrick Pope.  I find him to be a very cool online resource and his technique is spot on.  The Heel Toe Technique starts at about 4:23.  

Do you see the similarities in methods.  I know the drummer isn't moving around, but watch their feet and how they make that same rocking motion with their foot as you should already be doing with your hands when you do a single stroke roll or triplet with The Moeller Technique.  

The unique thing about the Heel Toe Technique is that when it is mastered you can do it forever without the burning you may get from the standards heel down or heel up technique.  Your double bass playing will become more fluid, and like Buddy you will be able to dance on your kit.  I encourage you to check out the technique and see how it can elevate your drumming. 

Now just to prove that drummers can tap dance take a look at this video of legendary drummer Roy Haynes and Jack Dejohnette having a tap off.

One of the first lessons I learned at Berklee was that drumming is all about the dance, and as Buddy, Jack, and Roy have shown us the great ones have no problem getting down.  Is this a secret to their greatness?