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A Guide To Choosing Drum Stick Sizes Online

A Guide To Choosing Drum Stick Sizes Online

by | Jan 30, 2021 | Commentary

So you’re looking for advice into choosing drum stick sizes in a post-retail world! I hope the following article will help you in choosing the best drum sticks for you without being able to try them.

You may have noticed, we’re currently living in uncertain times. Coronavirus has impacted all of our lives, and lockdowns have become common place. The latter, it seems, have been on and off and then back on, with differing levels of restrictions. This, unfortunately, has meant that many music shops have either shut down temporarily (and some operating online), or closed down for good, such a the sad closure of Bell Music.

drum stick sizes shop

The pandemic has affected musicians and music retailers alike

Yet all is not lost as online retailers are able deliver the gear we’re after! And whilst there’s a plenty of information about drums, cymbals and how they sound (e.g. via YouTube), or even drum books (like mine, which you can buy directly from me here), it’s more difficult to convey tactile information such as drum stick sizes and how they feel in our hands.

So, what’s the best way to choose drum stick sizes and models online, without trying them? How do we choose a pair of sticks that we’ve been curious to try without actually feeling them in your hands? It all boils down to sorting, in my opinion. Below are my thoughts on this that I hope are useful in your decision-making process!

 

A general guide

I thought it would be useful to offer a quick, general guide to drum stick sizes / models and they’re applications with some notes:

  • 7A: light, and thin. Great for jazz, or softer situations. Suitable for younger beginners too
  • 8D: similar to the 7A, but slightly longer
  • 1A: the longest stick. It can help provide that extra reach needed
  • 5A: this is the standard drum stick. A great all-rounder
  • 3A: longer and thicker than 5A
  • 5B: thicker than the 3A, but slightly shorter. Great for louder volumes and heavy music
  • 2B: this is the thickest drum stick; great for heavy music, or getting a thick tone out of the drums without too much energy

Keep in mind that pairs of drum sticks in the same model may, by nature of being made of wood, weigh differently! Companies try to always match pairs of sticks according to their weight and tone, so you’ll get an even pair! However, if you’re after next level consistency, synthetic material drum sticks such as ones made by Ahead can be a great option!

drum stick sizes

Drum sticks come in lots of different sizes, weights, material… But how do we choose them when we can’t try them?

 

Functionality

What genre or style do you want the sticks for? Drum stick sizes, shapes and weight are usually sorted by the kind of music we’re playing. As simple as this sounds, it’s important to think about! Think that big, heavy drum sticks will make it difficult to play at low volumes with finesse (i.e. playing jazz with 2B sticks). Conversely, playing energetically and loud with light, thin sticks will be tricky too (i.e. playing metal with 7A sticks)!

 

Players

Similar to functionality, having a look at what your favourite players (or those whose style you want to play) use. This may take the shape of their signature stick or what they generally use in terms of their drum stick sizes, weight, balance, etc. You can always look at the specs of their signature stick and try to find a stock model that closely matches it if you don’t want to pay that premium.

Another thought with regards to looking at other players’ stick choice and signature sticks which might not be so obvious is these players’ physical builds. A generalisation might be that a very muscular, fit player might find heavier sticks “less heavy” than a less muscular one. Now, of course, this may not be necessarily true in terms of comfort, but I think it’s something to be aware of and maybe think about.

danny carey drum sticks

Tool’s Danny Carey playing live using his signature sticks

 

Brand

This is highly subjective, in my view. All major stick brands produce high quality products. Their manufacturing processes, wood suppliers, etc might differ but generally-speaking you can’t go wrong with the established brands. The point being that if your manufacturer of choice doesn’t have the model you’re looking to choose, be open-minded to try a different brand. You may find different companies produce different models that you like best, e.g. I really like Wincent 5A sticks, and love the Vic Firth 2Bs.

As a side note, speaking of brand loyalty, whilst I think it’s great to be recognised as being part of a group (as it’s in our nature to do so), not being tied down to this idea comes with great benefits. Having the right tools for the job is beyond a label, and extends to all elements of our favourite instrument. For instance, if Pearl happens to make the snare drum that you need, and Tama makes the right bass drum for the session then use / purchase those.

And hey, trust me, I’m precious with certain brands too but with experience my views have softened about this stuff. Of course, if the brands you love make all the gear you need and they happen to be a great company, that’s cool too! Being an endorsed player does come with benefits too, but that’s another topic altogether.

 

Familiarity benchmark

A great way to benchmark which way the drum stick sizes, weight, length and diameter, balance and so on, would be to make note of these attributes for the sticks you’re familiar with. You can get this information on the manufacturer’s websites.

Important: As I mentioned, note that most drum sticks are made of organic material (wood), so there’s always going to be weight variance within the same models.

 

Standardisation and crazy extras

Another thought with standardised products is that they’re easier to get a hold of. Going for really specialist models means these might be more difficult to get as demand for these is less. So, for example you’re more likely to get a pair of regular 5As than Danny Carey’s signature stick! This holds true when you’re touring too (boy doesn’t that seem like a long time ago, huh?).

 

Conclusion

I think this sums up the biggest, most important considerations when choosing your drum stick sizes in a post-retail / online retail environment. Remember, try to think about what your needs are, do your research and be smart about your decision-making!

And finally, experiment. You won’t know what you like without trying different things… You also might not like something at first but it might grow on you, or you might find an unexpected use for it. It’s a win-win whether you like it or not!

 

If you found this article useful, why not check out my drum lessons? My approach to teaching the instrument goes beyond grooves and fills into all sorts of business and practical tips!

Is Mindfulness The Best Gift For Drummers?

Is Mindfulness The Best Gift For Drummers?

by | Mar 20, 2019 | Commentary, Learning approach

Over the last few months I’ve been using a guided meditation app called Headspace. It’s a great app which teaches you how to meditate and guides you through the process. I’ve found it really beneficial in helping me be more in the moment, more mindful, and less stressed… So, could this be the best gift for drummers?

So why on earth am I talking about this rather than drum stuff? Because we, drummers, are human too and as such we have to take good care of ourselves. As a result, I thought I’d start using mediation as a technique to help me develop as a person, and as a drummer too.

Since starting on this journey I’ve felt much more relaxed, and more aware of the world around me. And whilst sometimes I drop the ball, I try to incorporate meditation into my daily routine in a few different ways. So! Here are 3 ways to use meditation to benefit your drumming.

PRE COFFEE

I aim to meditate every morning for about 10 to 15 minutes before having my morning tea / coffee. Doing this sets me up for the day, framing the day ahead in a more positive way, and reminding me to “take it easy”.

PRACTICE TIME

Meditation has also taught me to relax and focus the mind, but also to be more aware of my body. In context to drumset practice, mentally-speaking, it has helped me keep mind clear and free from distraction. Likewise, from a physical perspective, I use the visualisation techniques to help me target specific technical aspects to improve my performance. This has been hugely beneficial!

best gift for drummers

PRE GIG OR PERFORMANCE

Meditating for a few minutes before a gig has also been a game-changer for me, actually. Particularly if I’m feeling stressed, or nervous, which is a common thing among musicians, so if you’re reading this and feel the same, you’re not the only one! I’ve found that a 5 or 10 minute sit-down, in a quiet place, before going on stage is a fantastic way to be less in my own head, and enjoy the experience more.

In my drum lessons I encourage and remind my students to breathe and be mindful, teaching them to be physically and mentally relaxed behind the kit. In fact, if you liked this article, check out my article about using yoga to improve your drumming!

I hope you’ve found this little post about mindfulness being the best gift for drummers entertaining, interesting or useful. As I said, meditation has helped me be more aware, less stressed, and keeping things more “light”, so maybe try it out yourself!

If you’re interested, you can check out the Headspace app. You can also visit various Buddhist centres around London who offer mediation sessions:

London Buddhist Centre

West London Buddhist Centre

North London Buddhist Centre

Thanks for reading!

Nick x

How To Play Drums: A Guide To Success

How To Play Drums: A Guide To Success

by | Mar 1, 2018 | Commentary, Learning approach, Technique, Uncategorized

How to play drums is popular Google search, so when trying to answer how to play drums I don’t think there are rights or wrongs. That said, there are commonly accepted beliefs, which include:

  • Solid time keeping is probably the most important aspect of playing the drums
  • Certain specific technical best practices help you achieve power and speed
  • Some styles, phrasings and grooves are more popular / trendy than others
  • The chops (speed and technicality) versus pocket (groove and feel) debate will rage on

But beyond that, in terms of how you choose to play drums, the world is your oyster. That’s the beauty of it; the freedom to express yourself however you like.

how to play drums

Jojo Mayer, the modern master drummer.

 

Key skills

Any of the key skills that are required to play drums can be developed with practice. Put enough time, patience and perseverance, and you too can become a great drummer. Malcolm Gladwell, in his book Tipping Point (2000), suggests that you can master anything if you spend around 10,000 hours of deliberate practice. And whilst this sounds daunting, it’s also reassuring to know there’s measurable metric! But think about it, realistically, you don’t need 10,000 hours to become a decent drummer… But the quest for greatness is irresistible!

Now, for those who have a natural knack for the instrument, all it simply means is that things will come to them more easily. Yet, if you’re thinking “I have zero rhythm” before you’ve even sat down behind the kit, you’re setting yourself up for failure.

So, to answer how to play drums, below are what I consider to be the key technical / practical skills, and the transferable skills essential to address the query.

 

Technical / practical

These are the skills directly linked with how to play drums.

 

Time

Having good control of time and keeping a steady beat is the biggest one! This establishes trust with your audience as well as your bandmates. Think that audiences will feel taken care of because they know what to expect. No sudden increases or decreases in tempo means they can focus on enjoying the music and dancing.

Similarly, having steady time also establishes trust with your bandmates! Holding a steady groove means your bandmates can focus on playing the best they can. Moreover, having a good concept of time and being aware of tempos will make a song feel good. Think that if you play your favourite song too slow or too fast, it can break its feel and vibe.

how to play drums time

The metronome is your greatest tool in developing great time.

Reading

To me being able to sight read doesn’t just help with being able to do gigs where charts are required. This skill, to me, strengthens the connection between your mind and body, helping reaction times. Reading also means we write music, allowing us to transcribe grooves and ideas!

 

Co-ordination

Yes, when we think about how to play drums we think moving your hands and feet interdependently. But this isn’t something you’re born being able to do, it’s a skill we develop. A simple way to this octopus-like ability is by using short, repeating rhythmic patterns (ostinatos). Here’s a great example of a melodic ostinato with the feet over hands soloing; follow this link and be amazed!

How to play drums

Richard Kass – Drum Interpretations #1 – György Ligeti “Hungarian Rock”

 

Technique

When you see drummers playing at blazing tempos, they’re playing as tension free as they can. They achieve this by letting the stick (and pedals) do most of the work. Playing drums isn’t about “hitting” things, but more about throwing the sticks and controlling their bounce (known as the rebound). Having good technique means being able to do more, at faster tempos, more easily.

 

Musicality

To play musically, a drummer needs to understand the music he or she is playing and be sympathetic to it. This is a big aspect of the how to play drums question. Obvious as it may seem, generally-speaking you wouldn’t play metal grooves with a jazz ensemble, unless that’s what’s required. Think musically!

Musicality has several implications, from the gear you’d use (e.g. drum sizes and woods, drum skins, type of sticks, cymbals, etc), to the tuning of the drums, the techniques you’d use and the touch you’d need. All this stuff falls under the “taste” umbrella; knowing what to play and when to do so.

 

Key transferable skills

The following aren’t specific to the drums but are just as important as the technical ones.

 

Listening

Actively listening to the music you’re playing means paying attention to what each instrument is doing. Likewise, being able to pay attention what your band members say is just as crucial. Listening is an important aspect of communication, and helps you be more musical!

how to play drums

Listening is a key skill in learning how to play drums!

 

Physical and mental awareness

In order to develop good technique, being aware of your body and, likewise, knowing your mind in order to get the most out of your learning are crucial!

You can learn more about this on my article about using yoga techniques to improve your drumming here!

 

Discipline

Consistent practice is king! Carve time out of your daily schedule to sit behind the kit. Remember too that focused practice isn’t the same as jamming to songs for fun. One involves developing specific skills whilst the other is about decompressing involves the latter. This doesn’t mean, however, that you can’t incorporate play-alongs / fun into your practice!

Patience

Like I previously mentioned, getting good takes time. Patience is key in achieving long-term results… learning something new takes time! And sometimes you have to practice something really slowly at first to get it right. Practice makes progress!

 

Open-mindedness

This is self-explanatory.

 

Humility

Hand in hand with open-mindedness, keeping a humble attitude will make you more receptive to learning new things from others. Particularly those who are farther along the road in their playing journey.

 

Wrapping it up!

I hope this has been insightful! At least it wasn’t a case of “Q: how to play drums? A: one note at a time”. Ultimately, there are no easy answers, or a magic trick, to the how to play drums conundrum (pun intended)!

If you’re interested in taking drum lessons, check out lessons page here and get in touch and we’ll arrange a time!

Nick

Pros and Cons of Modern versus Vintage Drums

Pros and Cons of Modern versus Vintage Drums

by | Feb 1, 2018 | Commentary

So, here my  thoughts and opinions on the topic of  modern and vintage drums. There’s something inexplicably cool and desirable about vintage gear. It looks cool, it sounds great, and it always impresses people; producers love the old school stuff. Some argue that old gear may even be better made than their modern counterparts. Yet vintage can come at a price; but is it justified? Modern drums, by contrast, benefits from tried-and-tested manufacturing know-how, technological innovation, sound awesome too. Moreover, modern drums offer more in terms of variety, and has made available better quality drums available at more affordable prices.

Even though I own some vintage drums (see my gear list) myself, I wanted to explore, learn, and then compare the differences between modern and vintage drums.

 

Initial thoughts

What does vintage mean? The term generally refers to something of quality from the past that is back in fashion or is popular. For instance, certain drums from the 50s, 60s and 70s fall in this category. However, drums from the 80s and 90’s might not be qualify (irrespective of age and quality) as they’re not popular.

With this in mind, what is this popularity dictated by; the players that played them? Ludwig was popularised by Ringo and Bonham in the 60s and 70s respectively. Conversely, what makes stuff from the 80s less popular? With players such as Weckl or Porcaro, surely the drums they used must qualify, no? Apply the same logic to the 90s and popular players from this decade, and project into the future… Will Benny Greb’s or Jojo Mayer’s gear be considered vintage in the future?

John Bonham and his classic Ludwig Vistalite

Lots of questions, I know, and yet in my mind, recording technology (and trends in production) in each decade one has been a big implication in what we hear from vintage drums.

For the sake of this article, let’s stick to a vintage period that’s usually priced higher in for sale drum forums: 50s to the 70s.

 

Vintage Drums

As mentioned above, vintage drums definitely have a particular vibe, and not only do they sound good, look stunning and have their individual charm. Yet, it’s important to research and know the right (or best) decade for the brand you’ve got your eyes on in terms of sound, build quality, hardware, etc. And whilst this means you might pay a premium price, the drums are likely to maintain, or increase in value. Back in the day, things were built to last!

Conversely, depending on how well these drums have been looked after, they may be fragile and require lots of upkeep. As a result you may want to keep them for studio use only. Similarly, original spare parts may be difficult to get, which also means that not having all original parts brings the drums’ value down.

It’s worth noting that early manufacturing processes in the defined period may not have been as consistent, i.e. drum shells may not be fully round, nor the bearing edges be completely flat. On a similar note, and not wanting to go into too much detail, is wood quality. Mature woods are denser, which will affect the sound and character; so were woods used back then allowed to mature?

Last but not least is the issue of “pre-international” drum sizes. Prior to standardised drum sizes, some manufacturers, such as Premier, John Grey and some Gretsch kits, made their drums with slightly oversized diameters until the late 60s. This difference in size means that you need to purchase pre-international heads, which companies like Remo still make. You can find more information on the Not So Modern Drummer website.

Vintage: Pros
  • Look beautiful
  • Sounds great
  • Producers and engineers love ‘em
  • Increases in value over time
Vintage: Cons
  • Lots of upkeep
  • Fragile; sometimes maybe kept in terrible conditions
  • Difficult to get parts
  • If not all original parts, devalues lots
  • Only certain periods / decades are more valuable than others

By the way, if you’re enjoying this article so far, feel free to share it. Also, if you’re after drum lessons, check out my tuition page and get in touch! 

 

Modern Drums

When considering a modern set of drums, innovations in both manufacturing and the instrument’s development have benefited the needs of players of all levels and budgets. The general consensus these days is that entry-level kits from the top brands are built just as well as, or much better than, their vintage pro-level counterparts.

Some of these innovations have meant consistent modern shell construction, e.g. roundness and well-cut bearing edges (of which there are more options to suit more styles). Similarly, sound palettes have expanded thanks to experimentation with more woods, such as bubinga, oak, mahogany and new ‘sandwich’ combinations, such as the revolutionary Tama Starclassic Performer Birch / Bubinga. Furthermore, tiny details such as new resonance-giving tom mounts, or tension rods with higher thread count, like Drum Workshop’s True Pitch, give players more control over their sound.

Tama Starclassic Performer

Yet, unless your budget is very high, modern drums, could be argued, lack individual character. With some of the large drum companies now being owned by conglomerates, manufacturing is outsourced to the East in an effort to reduce costs where shells are manufactured for several brands under the same roof. And whilst this isn’t necessarily a negative, labour force know-how and craftsmanship, could be argued, are traded in for cost-savings.

Modern: Pros
  • Better built
  • Consistent
  • More choice and options
  • Better hardware
Modern: Cons
  • Lack of individual character
  • Homogenous manufacturing
  • Cost-saving over craftsmanship

 

Modern Vintage

If you don’t want to compromise on modern manufacturing but still want that vintage vibe, look and sound, some manufacturers offer a solution to that. Companies like Gretsch’s Broadkaster is a re-issues of their classic formula, whilst others aim to recreate classic sounds of yore like Canopus’ Neo Vintage line all of which benefit from old school specs, but with modern know-how and technology.

 

Final thoughts

Whether you’re in the market for a drum set, be it vintage or modern, at the end of the day, it’s the way it sounds to you that really matters. Just because a vintage set of drums is “a must”,  unless you’re buying a collector’s piece, if you don’t like how it sounds, what’s the point? Same applies to a modern set! And if you’re after something that’s a bit more niche or custom, then smaller and independent companies like Q Drum Co. (USA), British Drum Co. (UK) might offer what you’re looking for.

Q Drum Co. Copper Drums

For vintage drums in the UK, contact David Jeans at Orange Tag Drums. And for all your modern drums needs in London, visit Drumshack!

Nick x

My Drumming Roots

My Drumming Roots

by | Dec 21, 2017 | Artistry, Commentary, Phrasing

In this article, we explore how to find your drumming roots.

I decided to get introspective and go about finding my drumming roots are to trace my lineage; my drumming family tree, if you will. Now, of course, I know who my favourite drummers are! But I wanted to look deeply into my earliest influences would shed a light into how these had an impact on my perception of rhythm, phrasing and groove.

In order to do this, I had chat with the person responsible for introducing me to music that influenced and inspired me at the earliest stages of my life; my mum. And, before we get going, it’s worth mentioning that I was born in 1983, which will help contextualise everything below.

MY DRUMMING ROOTS: 1980s & EARLY 1990s

During this period mum introduced me to some great artists and bands of a variety of different genres. Among these were Queen, The Beatles, Simon & Garfunkel, Phil Collins, John Denver, Elvis Presley, Neil Diamond, Barbara Streisand, and KC & The Sunshine Band.

Hal Blaine (Elvis Presley)

It wasn’t actually until researching this article that I realised the impact that he’s in my life and where he fit in my drumming roots. Hal, who was part of the famous Wrecking Crew collective of session musicians in the 60s, played on most of the records that mum exposed me to. In retrospect, the take-away lesson from Hal was that, no matter who he was playing with, he played what the song and artist required of him.

Ringo Starr (The Beatles)

The Beatles were my first favourite band; they probably still are – everything about them was catchy, and sounded great. Reflecting back on it, Ringo taught me that the drums could not only drive a song, but could also be catchy and a hook. In this context, a grooves don’t always have to have a solid back beat on 2 and 4. He taught me to appreciate the drums as a musically expressive instrument more than just a time keeper.

Roger Taylor (Queen)

At the time, my knowledge of Queen extended only to the Greatest Hits records that were out at the time. Roger Taylor’s massive drum tones, feel, and songwriter approach to his parts were integral to the songs. In addition to this, how he chose to accent the back beat with slightly opened hi hats, like on Somebody To Love made a big impact on me.

Ralph Jones (Bill Haley & His Comets)

Listening to Bill Hayley’s music, there was an innocence to it particular to the 50’s with a rebellious streak that packed a punch. At the time rock ’n’ roll grooves were still being played swung over straight eighth guitar riffs, such as Whole Lotta Shakin’ Going On and Jailhouse Rock. And yet, what captivated me about Jones was his snare sound on those records, and his feel, and those killer snare rolls. His playing also taught me about using the bass drums as a means to accent notes rather than just provide a steady pulse.

MY DRUMMING ROOTS: MID 1990s

With my drumming roots firmly planted, by the mid 1990s I was bit more aware of the world, myself as a person and already playing guitar for a couple of years. I was on my own journey of musical discovery. Important bands that I started discovering, in no particular order, were Dire Straits, Faith No More, Criminal, Megadeth, Pearl Jam, Nirvana, Metallica and Cannibal Corpse, but the earliest ones from this period were as follows.

Dave Grohl (Nirvana)

My first instrument was actually the guitar, so the focus of my musical foundations was more global than instrument-specific. I viewed songs as the sum of their parts with every component being as valuable as the other. With Nirvana writing such elegantly simple songs, Dave Grohl showed me that drum tracks needed to have energy; playing with intent and power. That keeping it simple is sometimes the best policy.

Lars Ulrich (Metallica)

As for both my drumming roots and music development, Metallica are still one of those bands that I hold dear in my heart. I’m a huge fan of all their studio albums except, really, for Reload and St. Anger… With that in mind, Lars’ drum sounds, feel, grooves and fills made a huge impact on me. They complimented James Hetfield’s riffs flawlessly. Looking at the song-writing credits on their albums, Ulrich was right next to Hetfield, teaching me about partnerships and working with other musicians to draw the best out of a song. Yet more specifically, on a style level, Lars taught me all about landing on 1 but crashing on 2 with the snare. Signature stuff, and so effective!

Billy Cobham

Ok, so I was a bit of a late starter as a drummer, but as a kid, my cousin introduced me to Billy Cobham’s 1973 album Spectrum. This has got to give me some credibility as a drummer, I hope! The drums on that album were fast, furious, yet had a tribal feel about them. Their tone was open and natural, and the music was syncopated. But, beyond this, the album introduced me to odd time signatures early on. And because of this, and the fact that this stuff was never explained to me as a kid, odd time signatures were never about odd time signatures, but about feel and how music could flow in different ways.

Matt Cameron (Soundgarden)

Before Wikipedia was a CD version of the internet called Microsoft Encarta. On the ’95 edition, which we had, if you searched for “Rock music” or “Electric guitar”, you’d get some audio samples from a couple bands. One of these was Soundgarden’s track Nothing To Say” from 1988’s Screaming Life / Fopp. The sample was only 30 seconds long or so… But that slow, brooding groove, the grace notes, off-kilter accents over the dark riffs and soaring vocals became a big part of my drumming roots.

Conclusion

Finding my drumming roots has been a great exercise, and a fun one at that! It’s let me revisit great memories, and given me a better understanding of myself as a drummer. I would totally encourage you to do the same if you haven’t. If you’re interested in listening to the albums that I refer to above see the list below then check ‘em out on Spotify, Apple Music or preferred music streaming service.

Albums

The Beatles Help (1964), Rubber Soul (1965), Anthology 2 (1996), Beatles For Sale (1964), Live At The BBC (1994) – Drums: Ringo Starr

Phil Collins … But Seriously (1989) – Drums: Phil Collins

Dire Straits On Every Street (1991) – Drums: Jeff Porcaro, Manu Katché

Pearl Jam Ten (1991) – Drums: Dave Krusen, Vs. (1993) – Drums: Dave Abbruzzese

Nirvana Nevermind (1991) – Drums: Dave Grohl, Bleach (1989) – Drums: Chad Channing, Dale Grover

Soundgarden Screaming Life / Fopp (1990), Superunknown (1994) – Drums: Matt Cameron

Billy Cobham Spectrum (1973) – Drums: Billy Cobham

Megadeth Countdown To Extinction (1991), Youthanasia (1994) – Drums: Nick Menza

Queen Greatest Hits I (1981), Greatest Hits II (1991) – Drums: Roger Taylor

Metallica Master Of Puppets (1986), Metallica (1991) – Drums: Lars Ulrich

Bill Haley & His Comets Greatest Hits (N/A) – Drums: Ralph Jones

Criminal Victimzed (1994) – Drums: J.J. Vallejo

What Makes a Great Drum Teacher?

What Makes a Great Drum Teacher?

by | Sep 1, 2017 | Commentary, Learning approach

An ancient Chinese proverb says “to know the road ahead, ask those coming back”. It’s a good one, right? In our journey to becoming better drummers, we want to learn from the best drummers around, that’s a no-brainer. However, not all of them have a knack for / are good at / enjoy teaching! So, picking a great drum teacher is important!

With this mind, I wanted to share some thoughts when searching for a drum teacher. And I think a good place to start is establishing the similarities and differences between a great drummer and a great drum teacher. Let’s explore below.

Similarities

Let’s start with the things both groups have in common.

To my eyes there are basic elements that can make a great drummer and a great drum teacher very similar. At the end of the day, both groups are knowledgeable drummers!

 

Differences

Great drummers

When it comes to the differences, I believe the devil is in the detail. Great drummers come in many shapes and sizes. Some focus on technical proficiency and speed, some on pocket and feel, and some are great at both, and some are just great entertainers. Generally-speaking, what all successful drummers all have in common is great sense of time, musical sensibility, and are active listeners.

Yet when it comes to teaching, however, they might struggle. This is because:

  • They might not know how to explain and break things down and explain concepts
  • Might struggle in guiding a pupil through a development path in order to a skill that comes naturally to them
  • They might not have the patience to do the above, and not know how to motivate a student

 

Great drum teachers

In contrast, a great drum teacher is the drummer who is able to provide guidance, nurture and develop skill. The focus, therefore, turns away from his / her own abilities and towards the student’s. This translates to understanding where you stand as a player, identifying your goals and getting to know how your mind works to use to effectively communicate with you. This goes in tandem with spotting areas that need development and creating tailored exercises for these. In doing so, being patient and supportive, keeping fun in mind, yet always challenge to push you forward.

 

Conclusion

To sum up, I think it’s important to acknowledge that some drummers are better teachers than others. This doesn’t make anyone worse or better drummers or musicians than the other by any stretch of the imagination. Some like teaching, and are great at it, some don’t like teaching and therefore prefer not to. Conversely, it’s important to be aware that some may like teaching but may not have the aptitude, whilst some may not like teaching but be reluctantly be good at it!

If you’re interested in learning the drums, check out my drum lessons. Yet I would also encourage you, if you haven’t already, to check out other drum teachers, as it’s important to find someone whose style you can connect with! You can find drum teachers near you by searching the DrumTeachers.co.uk database!

Nick