Teaching Drum Set by Steve Fidyk
Drum set, if used effectively, can prove to be one of the most musical instruments in your school program.
The ability of an educator to listen critically and provide solutions to problems a student encounters is vital regardless of what instrument you specialize . Drum set education is certainly no exception, and if critical listening is used effectively, drum set can prove to be one of the most teachable musical instruments in your school program.
As an educator myself, I'm dedicated to the musical well being of all my students. Do not be concerned if you do not play drum set or feel that you cannot effectively introduce musical topics on the instrument. It is far more important to the elements of critical listening as you diagnose fundamental problems, provide solutions, and steer a student's musical direction by recommending specific methods and recordings. This information can help develop musicianship that will last a lifetime.
For the majority of my students, I detect aspects of their playing of which they may not be aware. These deal primarily with sound consistency, production, and time feel. When teaching, I try to provide information that is to the point, simple to understand, and relevant to their musical situation. For instance, if a student is having difficulty interpreting a big band chart, I usually ask what big bands they listen to. My advice then is to listen to the music you play. The goal is to make good music with good musicians. If it's worth playing, it's worth taking the time to listen to and learn.
Goals
To help focus the direction of instruction, establish students' goals and needs by formulating a curriculum based on the individual. I say this with the caveat that all players of all levels concern themselves daily with the technical aspects of drum set in terms of technique, relaxation, and set up. The standard to which I aspire is good musicianship and self improvement. When discussing teaching philosophy with my professor, Joe Morello, he recommended that I "treat my students as individuals because they all have their own set of unique problems." In other words, applying one set of books or exercises to all may not harness a positive result.
Instruction
Effective drum set instruction can be categorized into the following development/performance areas:
Reading notation and drum set interpretation
The understanding of musical elements and terminology such as note and rest values, time signatures, clefs, and musical signs is critical for development on any instrument. While it is true that some great drummers have had success without knowing how to read. However, in my experience, the more versatile you are, the more opportunity you will have to work professionally.
Understanding drum set interpretation can be achieved simply by analyzing a big band arrangement. Sit down with the student and listen to a reference recording and explain the different sections of the composition. Notice how the drummer on the recording accompanies each section a little differently. Some adjustments that you will notice are:
a. Dynamic changes when transitioning from section to section.
b. Variations in texture from section to section (hi hat time playing on intro, brushes on the snare drum for the melody, time playing on the ride cymbal behind a soloist).
c. Variations in rhythm (using rhythmic information from the bass, piano, reeds, and brass sections to compose drum beats that connect musically to each section of the arrangement).
Mechanics: Hand technique and Coordination
Learning the 26 standard drum rudiments and practicing hand endurance exercises will provide the foundation for your students. A player's sound will be directly affected by how consistent his or her stroke is. Have your students concentrate on allowing each stick to rebound off the surface they are striking. The objective is to strive for a consistent stroke and sound as you execute an even flow of rhythm, dynamics, accents, and tempos in all styles of music. Urge students to practice in front of a mirror and video tape their practice sessions, rehearsals, and concerts. Self awareness is a key attribute.
Drum set performance requires four way independence when playing beats, fills, and solo ideas. Contemporary drum set also demands each player to toggle between musical styles based on triplets (swing), and duple subdivisions (eighth and sixteenth note subdivisions) when playing Rock, Funk, or Latin music. The beats your students play are "snap shots" of a larger musical style, meaning, if a student plays a Bossa Nova beat without listening to great Brazilian ensembles and recordings, they will not acquire the necessary feeling for that music. One tip would be to develop a listening program for your students. If the focus is jazz, then a selective discography of recordings that date back to the 1930's is indispensable. If teaching includes Pop, Samba, Afro-Cuban, or other styles, then listen to exemplary recordings of those types of music with your students. Listening to great musicians is the most effective way to hear music correctly. Also, transcribing and practicing transcriptions and viewing live and taped performances of great bands will increase a student's musical attentiveness.
Environment
A teaching studio with a quality instrument, audio and video playback capability, a drum machine or metronome, a mirror so the student can self diagnose, and the use of a practice notebook to gauge their short and long term lesson development can help a student develop more efficiently.
Teaching music can be a life nourishing and creative activity. I encourage you and your students to enjoy the learning experience as you discover together.
Steve Fidyk has performed and or recorded with Michael Abene, Mark Taylor, New York Voices, Arturo Sandoval, The Capital Bones, Mike Tomaro, Chris Vadala. He is the director of drum set studies at The University of Maryland, College Park. Fidyk has written educational articles for Talking Drums Magazine, Percussive Notes, and Modern Drummer. Fidyk has contributed transcripts to the Hal Leonard Magazine, "Drum Standards," and Peter Erskine's book "The Drum Perspective." For additional titles and resources, visit www.ludwig-drums.com.
