An Alexander Technique Approach to Drum Set (Drums) Technique
At MI, drumming is a total-immersion experience—learn a new groove or fill during your morning college drum class, and use it on stage that same afternoon in front of your professors and classmates. Here, you gain first-hand access to some of the greatest drummers in the world through frequent clinics and concerts. The program is constantly evolving to meet the changing needs of drummers and the workplace, going beyond traditional drumming skills to include electronic drumming, digital recording, loops and sequencing. An MI Drum education gives you the real-world experience and confidence you need to meet the changing demands of the profession while you also preserve your individual vision as a player.
The Master of Music in Performance Drum from Musicians Institute combines advanced performance training with additional study in both traditional and contemporary disciplines such as music history, theory, education, research skills, recording technology, production, business relations and online brand management, taking your drumming skills to the highest level. This unique degree program combines contemporary music performance training with the rigorous study of traditional disciplines including sight-reading, music history, arranging, conducting, recording and more.
The intensive A. This Certificate program provides students with a broad foundation of knowledge and practical experience, encouraging the rapid development of skills in preparation for a range of professional music performance situations. Students can create their own customized schedule from available classes and workshops, while enjoying access to the special guest clinics, extra activities and other industry networking opportunities.
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Our students graduate as well-rounded musicians, thanks to our well-developed and immersive college drum classes. MI students enter the work field with a robust skill set which enables them to handle live or studio gigs, utilize modern technology, publish music and negotiate business deals. Mark G. Seattle, WA. About Emerson Thanks so much for your interest in starting music lessons with me. If my student wants to learn how to play rock, hip-hop, and jazz drums I believe that it's my job to teach them how to play those styles..!
If my student wants to get accepted into a music school I will make sure that they are prepared for an audition whether it be for orchestral percussion, jazz drums, rock drums, etc. What students should have: All students should but don't have to have a 3-ring binder to organize handouts in! Things that drum students should have: A drum set, drum sticks, a drum pad, and a music stand.
I am proficient in drum reading, drum transcription, practice techniques, and drum rudiments and their application on the drum set. Orchestral percussion specialties: keyboard percussion marimba, xylophone, glockenspiel, vibraphone, chimes , snare drum, timpani, bass drum, cymbals, tambourine, triangle, orchestral excerpts, etudes, technique, important literature, and practice techniques.
Guitar specialties: reading music, tablature, chords, scales, improvisation, and technique. Emerson W. Seattle, WA Elk Grove, CA. About Christopher Hello! My name is Chris and I am a professional musician and music instructor! I have taught music since and graduated in with a Bachelor of Arts in Commercial Music from William Jessup University, where I learned composition, singing, instrumentation, theory, ear training, recording and production and many other skills. Any student of mine will find that I don't care what "the book" says I should teach my student; I care what my student wants to learn.
I will only have you learn a new skill if it is going to further your musical experience and give you the tools to accomplish the goals that you set for yourself. If you wanna learn Mozart, you got it. If you wanna learn ACDC, you got it. If you wanna learn jazz, folk or even rock-a-billy surf polka, then guess what; you got it. I will help you improve and get better, but not by shouting at you; we will work together to improve your musicianship, and as long as your satisfied with the lessons and the results, then I will be too! Now, a little bit more about me! I am the drummer, background vocalist and songwriter for California-based alternative-rock band, With One Voice.
I am married to my beautiful wife, Courtney, who also plays and teaches music! I love rock but I have an appreciation for all music, from rap to country to soul to Broadway to classical; I listen to it all! I believe I can make you better at any style of music and every style of music so let's talk about how I can help you accomplish your goals, impress your friends, become a rockstar and learn a new, fun, and exciting skill today!
Christopher H. About David Many years of drum instruction with students who have learned best with alternative learner-centered approaches including: extreme patience, slow to fast repetition of patterns and exercises, focused breathing, as well as sight-reading, rhythm and ear training. Students with: Asperger's, Autism, Dyslexia and related states have benefited greatly.
Top Drum Lessons for Kids in Marysville, WA
David L. Lombard, IL. I run my own private studio, teach music to students of all ages, and perform weekly as a musician. Timothy F. Cold Spring, NY. A multitalented artist, Eric has worked as a composer, percussionist, pianist, author and educator for most of his life. In , the premiere of his concerto for saxophone and strings received a standing ovation at The Lighthouse: Poole's Centre for the Arts Dorset, England. His albums have received international radio play and rave reviews in Downbeat Magazine, The Jazz Journal, Jazzwise Magazine, the All Music Guide and over a dozen additional publications worldwide.
His music would appeal to a wide variety of listeners. Two of them have been translated into Spanish. Since , he has also appeared as a guest artist and clinician at many high schools and colleges throughout the country. Eric currently resides in the lower Hudson Valley where he also teaches private lessons to dozens of music students. Eric S. I have 3 sold out albums and new material for a triple album that I'm currently in the process of producing. My ensembles play for conventions, conferences, fairs, festivals, school assemblies, and special events. I teach singing, guitar, hand drums and small percussion instruments , ukulele.
The practicum comes with theory. Singing in 34 languages covers a variety of genres. Name it, we'll exp lore it. All ages are welcome. Even old dogs can learn new tricks. Looking forward to hearing from you. Let's dive in! Evelie P. Austin, TX. I've been teaching drums, guitar and beginner piano since , and I love to share the joy of music with my students. I take great pride in helping my students achieve their musical goals, and my real world experience as a performer can help you focus on the most important aspects of learning and practicing an instrument.
Michael G. Today, Nick is a teacher, studio musician, and touring drummer, who has developed his own style and sound in a way that is unmistakable when hearing him. The event was filmed and released on DVD, for Drumchannel. Not playing out as much as a lot of people, but playing. Not striving as much as a lot of people for the fame, but doing some. The kind of music I like spans such a wide variety, it truly does.
I really do like playing Be Bop and a little hard rock, and I really like good country music and a good folk singer. I like totally free improvisation.
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The experiments of somebody like Steve Reich. I like African music and I like Sambas. Denny Zeitlin, who I work with, is really capable of playing all those types of music, and Mel Graves is capable of doing that. CB: Since you like so many different types of music, would you say that a band that is eclectic in nature is best suited to your creative desires? I found that out.
Then it becomes a thing of trying to fulfill their needs and doing the best you can. I play all kinds of music, but I interpret and listen and react with the energy and spirit of jazz. CB: It was an unusual concept. The fact that it was just bass and drums. You both played very full and nobody felt any emptiness. GM: I really appreciate positive feedback or critical feedback. I appreciate both. But the point is maybe when an artist gets further and further out on a limb, so to speak, it can very easily become more into focus for a lot of other people, nonmusicians too.
People react positively when musicians take chances. Man, like just the sound of the way Gene Krupa played the rim shots. GM: Yeah. Oh man, those were some good sessions and they were hot. I like hot music like that, really cooking, and it still comes out in my playing some way. And I also like the tradition of Max Roach because of the logic of his solos. Beautiful construction. I was wondering why he popped into your mind first. Was Shelly somebody you listened to a lot?
GM: Yes, he was really important. I quickly turned on to Shorty Rogers and Shelly Manne. The thing that got me about Shelly was that he had all the fire and intensity but he also had a melodiousness and a tonality of different colors which no other drummer had at that time. GM: Sure, also everybody is influenced by Max Roach. You want to be influenced by him and also by Art Blakey.
I remember hearing Shelly Manne records when I could tell he had heard Art. There definitely was an influence. When I was coming up there were some beautiful players I saw and learned from.
Phil Hulsey, I could say, was one of my first teachers. Nobody knows about Phil Hulsey. Louis with a pianist, Herb Drury, that nobody knows about, except people in St. Louis, and a bass player named Jerry Cherry. But everything was very intricately put together. They would play things that had a lot of dynamic changes. GM: All over the place. Sometimes in one measure. Okay, I come out to San Francisco and this is the way I like to play. GM: Not only did he teach me about noncompetitiveness and how to use my ear, he used brushes beautifully. He had a lot of ways he played with brushes and got different sounds and he was beautiful to watch and listen to.
He always made sure the sound was coming out right. He tuned his drums and his cymbals were always well-chosen. CB: You play odd meters with a high degree of proficiency. What advice do you have for drummers who want to become more proficient in this area? GM: Well, let me say this, what happens is that drummers do ask questions about this all the time. GM: Comfortable and makes sense to me and has a certain property that makes for interest, musical interest and not just intellectual interest. My feelings about these different time signatures is that in all of them you can eventually find some way of presenting them, make them palatable so to speak, and unique and enjoyable, all of them have something to them.
Just the fact that it is an unusual time signature producing a new kind of ebb and flow is enough reason to present it.
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Are there methods that a drummer can use to become more fluid? You have to know where it is, and the musical phrases should flow through the downbeat. The way to become fluid is to study the time signatures, play them a lot and log the hours like you would log flying time. GM: You play with players that are always trying to work on that, going over the borderline. CB: What would you say are some major weaknesses that instructors exhibit in teaching the drums.
Most students that come to me have a problem with their body awareness.
The ones that come from other teachers very often have more problems that students who have taught themselves. GM: Many of these students have been taught bad habits, physical habits, because they wanted to develop a certain kind of technique for getting a sound out, or getting a certain speed, but at the expense of tight shoulders, necks, all kinds of wierdness.
I get disgusted by it. People come in that have been taught these bad habits for years and it takes me 9 to 10 months of working with these people to break these habits. In a certain sense what I try to do is Psycho-physical Reeducation. CB: Rather than going into each specific one, do all the techniques you mentioned deal with body awareness?
GM: Yes, your overall sense of movement becomes more conscious and easy.