3 Ways To Improve Your Time Keeping
When you're taking drum lessons it's important to develop your time-keeping skills in addition to your technique. Here, Saint Paul, MN drum instructor John S shares his practice techniques to help you improve your time keeping…
Time keeping is an essential element of modern music, for both live and recorded songs. It's very important to develop a strong sense of time. The drummer is often looked to, more than any other musician, to provide a solid, consistent pulse in a musical performance.
For the beginners, let's talk about what time keeping really means. Time keeping refers to a drummer's ability to play in time with the pulse of the music. In contrast, timing (which is often confused with time keeping) refers to the drummer's coordination of his own limbs, as well as his playing relative to the rest of the band.
Here are three ways to improve your time keeping.
1) Practice With a Metronome / Click Track
In this day and age, all drummers are expected to be able to play along to a steady clic track. The vast majority of studio recording is done to a click track, and more and more musical groups are using clic tracks in the realm of live performance.
Even if you don't find yourself required to play along to a clic track, practicing with a click/metronome will drastically improve your time keeping which, in turn, will attract fellow musicians to your steady sense of pulse, and, down the road, will help you get more gigs
All musicians should have a metronome, and luckily, metronomes are extremely easy to find. Almost all electronic drum sets come with a built-in metronome, and if you have an acoustic drum set, there are countless metronome apps and websites.
Acquiring a metronome is the easy part, but using the metronome effectively is a bit more challenging. There are many different ways to use a metronome, but here are a few healthy practice habits to keep in mind when practicing with a click:
Practice at Different Tempos
I encourage my students to alternate between faster and slower tempos. For example, repeat an exercise 15 to veinte times at a tempo of 70 BPM (beats per minute). Then, increase the tempo by 5 to setenta y cinco BPM and repeat the exercise another 15 to 20 times.
Next, lower the tempo to sesenta y cinco BPM and repeat the exercise another quince to veinte times. Then switch to 80 BPM and repeat the exercise, adding and subtracting cinco BPM from each tempo as you work on an exercise.
Whether you use this technique or make up your own, I always recommend alternating between faster and slower tempos because simply increasing the metronome by a few BPMs with each exercise may subconsciously train the drummer to speed up when playing without the clic.
TIP: Remember to start with a slow, comfortable tempo before trying faster and slower variations.
Alternate Playing and Stopping
This tip is especially important when learning a new, challenging concept that's too difficult to play in time for 10+ measures in a row. Play a rhythm for one measure and then rest for one measure, letting the clic continue while you take that measure to analyze your performance.
Inserting a measure or more of rest quickly reveals if you're rushing or dragging. This technique forces you to lock into a steady tempo. I find it often takes a few measures to get into a solid groove with the clic, but this practice technique will strengthen your ability to feel the pulse from your very first note.
Practice Fills
Drummers are notorious for speeding up or slowing down while performing drum fills It's common to rush fills at slower tempos and speed up during faster tempos. Challenging fills are also very difficult to keep in time.
When you practice fills with a metronome, make sure you're playing them in the context of a groove, just like you would if you were playing with a live band. I always encourage my students to practice in groups of four measures (alternating three bars time with one bar fill, or two bars of time with two bars of fill).
2. Play Along to Recordings
Most of my students find it easier and more exciting to play along to a recording because it's much more interactive when there are other instruments involved. Playing along with the rhythms of other musicians presents a whole different set of challenges than playing to a metronome, yet both techniques strengthen your time keeping.
Playing along to a recording allows you to lock into the groove of another drummer, or it perro free you up to play in response to the music, whereas playing to a simple clic is much more challenging from a creative standpoint.
Practice playing along with recordings that simply have the drums removed. There are a number of websites, CD, and YouTube videos that allow you to play along to songs from any genre or tempo. Here are a few free options that I use with my students:
tres. Record Yourself
Playing along to a clic track is great, but sometimes it's hard to determine which areas need improvement unless you alisten to your own performance. There are countless ways to record yourself, but I recommend choosing a method that allows you to monitor both the clic track and your own playing, so you perro accurately analyze your playing relative to a steady tempo. Most of my students use GarageBand or other free recording applications that allow you to record yourself and then play the click track with the recordings.
There are several different ways to work on your time keeping, and you'll discover which method works best for you. Remember to practice a variety of techniques with varying tempos and rhythms to develop the most well-rounded sense of time.
Written by Kerry Jacobson
tres Helpful Consejos
If you're like most drummers, you have one hand that doesn't always like to cooperate. And for some, the frustration that ensues makes it much easier to just ignore the problem and favor the dominant hand. Over time, while the stronger hand gets better control and technique, the weaker hand just gets… well, weaker and weaker.
But just like switch hitters are incalculable players on a baseball team, learning how to build strength in your weaker hand cánido make you a much more efficient drummer. Here are a couple of tips to get you started…
(1) Switch it up.
Try using your non-dominant hand for every day activities like opening doors and brushing your teeth. It might seem silly, but training that hand is part of the process. The more you use it, the more efficiently you perro train it.
(2) Practice rudiments that utilize the weaker hand.
Practicing certain rudiments can help with your stick control, leading to increased speed and improved dexterity. And by focusing on exercises that stress the weaker hand, you perro work your speed up until you can play evenly and smoothly. Set your metronome to a slow setting, and practice patterns of quarter aprecies or sixteenth notes with your weaker hand. Make sure you're keeping the volume level, as well. As you get more comfortable, increase the tempo a bit more each time.
(tres) Work on open-handed drumming.
Open-handed drumming exercises will also help. Basically, this means flipping your normal hands; if you normally play the hi-hats with your right and snare with your left, switch it around so you're leading with your left hand. This may be hard at first, but it will get easier with more practice.
Bonus tip: Try practicing your rudiments on a pillow! Since you'll be getting less rebound than a typical drum head, you'll be working harder to pull your stick up, which will improve your strength. Ditto goes for using heavier drumsticks.
Just remember: no matter how frustrated you get, keep practicing! With patience, time and deliberate practice , you'll master that switch hitting expertise.
Written by Kerry Jacobson
9 Things That Annoy Your Own Drum Teacher Orlando Drummer
Written by Kerry Jacobson I've been supplying private lessons for quite a while. In more recent decades as I've pushed my business in an online direction, I've had the ability to scale back my personal lessons. In reality, I teach privately 1 day instead of 6 times per week when I began. I much prefer it like that.
I enjoy having less pupils altogether, as it permits me to actually focus on the few students that I do have. I am fortunate to be able to choose students that I wish to work with long term, so I find the standard of the teacher/student relationship is higher than average.
However, this isn't the case for instructors. The drum instructor's salary does not allow for this kind of exclusivity. It had been that I had been posting Craiglist ads each day to acquire students that are new. I remember being not able to turn away anyone, because I needed every pupil (and dollar) that I can get. With that said, I had experiences.
It was during that period that I found the selection of topics between teachers and pupils that may disrupt the learning experience all of which are preventable.
The intention of the list is to serve as a satirical guideline for both pupils and teachers engaging in music lessons. Let us begin.
1. Tardiness
This is a problem that exists in most appointment. The issue is, you're buying . If your instructor has another students coming in right there is not much which can be done if you're late.
For pupils who are regularly late (you know who you are) a good compromise would be to schedule lessons in your flexible day. I've had students who were 5 minutes and hoped that I would be able to extend our lesson to compose the moment. By scheduling these students it is possible to come across a bit more wiggle room to accommodate them.
That's called being flexible, and you're going to keep students longer if their habits are adjusted to by you, in reason. This is the main reason many students head to a truly private instructor, and leave education ; they search a flexibility that music stores can't offer.
If you are a student, occasionally you have to keep in mind that you are among the many pupils. Respecting another student's time, and the time of your drum teacher is all part of being in that community.
2. Not Practicing
Quite often, a teacher's first question in a lesson is how was practice this
The 1 answer that makes us cringe each moment, is that I didn't practice this week.âThere is never an excuse for not trying, but it is just worsened when you've reserved an hour to find something new, but didn't bother to understand last week's stuff.
You place your drum instructor in a position, by not practicing. The matter is, we all know that transferring onâ$ is not really an alternative. We give you definite material because (in our heads ) it is exactly what you should be working on at the moment. If a student chooses not to work on such a material, it may be hard not to take it. We hand picked on you that material; expect us now and find out it.
If your drum instructor is taking the opportunity to deliver fresh material to your own lesson show them the respect and invest some time with that material at home. We'll both feel good.
3. Not Asking Questions
I have a good friend named Ricky, who's a phenomenal guitar instructor and Berklee graduate. Sometimes we will talk to the phone, and he once told me he was not pleased with any of his newest students.â$ When I asked him why, he just responded they don't have any curiosity.â$
He implied that he chose to work with pupils that have a real interest in learning their instrument. He needed his pupils to ask him questions, and that I can remember realizing I also disliked when my pupils had nothing to ask me. I can tell you that I partially judge a student's need they bring to the lesson every week.
You know how on a job interview you're supposed to have a question concerning the company/job to your interviewer? Same thing. Questions demonstrate your passion, and they ought to be easy if you engaging with your teacher, to ask, and excited about the topic.
4. Rescheduling
No-brainer here, but it clearly had to create the list. Rescheduling is a huge problem that music instructors know all too well.
The issue is, again, bought time. It's important for students to remember they have booked a window of time. It's ideal that this time functions for both the instructor and student but life can get in the way.
Certainly emergencyâ$ reschedules are acceptable. Automobile accidents, sickness, deaths, etc.. Outside of these types of situations, a teacher can takes personally a cancelled lesson, therefore communication is valuable.
A word of advice to students who try reschedule. You will have no problems from the scheduling department with your instructor if you adhere to this rule!
With the exclusion of emergencies that are legitimate, there is only 1 time you must adjust your lesson schedule; at your next lesson.
5. Teaching Another time to a lesson
There are a few different reasons why a instructor might need to teach a lesson another time, although this comes back to a lack of practice in most situations. Times teachers, privately drum lessons will proceed under the assumption that the student has learned the lesson of the previous week, with substance that is new.
There are two sides to this story. Years ago, I once told a student I didn't wish to back trackâ$ to an older issue that we had studied. He told me that he did not keep in mind that old material well, though we had most certainly already had private classes on that specific topic before.
It was then I realized that I had made a mistake. In this particular scenario, I never asked my student the substance went because of him. I didn't check up on his progress, and for that reason, I had to teach him.
That said, I now believe in a healthy balance. The responsibilty of studying material does fall on the student. If your drum instructor is not hyper aware of your progress every week, you might choose to discuss ramping up the liability. As teachers, we must make a effort to concentrate to lesson. The more liability you provide, the more likely you'll see your pupils shine and grow. This fosters trust, which we will touch on shortly.
6. Babysitting
Have you ever seen someone try to give a to a toddler? Its really, really awkward.
Let us be fair. There are Enough to handle the experience. I believe that is true about courses. Notice I did not say this is about drumming accurate. (I desperately wish somebody had put me onto a kit once I was 3. Do not we all wish we began sooner?)
I find there are not many exceptional kids under the age of 6 that must choose lessons that are personal. Now, to this dayI receive questions about teaching children as young as age 4, but I never let those folks that their kid is too young for a drummer. Is give them limitless exposure to the instrument, I believe the best thing you can do for a youthful, soon-to-be drummer, Even though there are exceptions.
Could that mean purchasing them a baby drum collection? Yep. Could that mean playing with them various styles of songs? Sure. Each kid is different, but for my long term sanity, I now choose to work with students aged 15 and up. Its not an issue of wrong or right; its a matter of understanding I can best serve my pupils personally, and what works for me. When parents of young kids approach me for lessons, I simply tell them to foster the passion that they view in their child, and I direct them in the very best manner I can; whether that be helping them shop a small drum set, or even locating them a teacher who prefers to educate kids. It took me decades to learn how to say noâ feels better than a paycheck could!
I believe each drum teacher needs to have their own cut off age. If you are the type of drum teacher who enjoys working with young children - MAN, can we use more of you guys! Childhood Education is a subject of its own, and that I think its right that instructors set their age limits to accept money for supplying courses that are genuine; not babysitting services.
7. Gear adjusters
After I had a new student arrive into my house studio for a lesson. He walked in, and immediately says I am gonna need to correct this kit.â$ He precedes to detune my trap, angle my toms, and place all of my cymbals to Travis Barker heights. I was a really miserable teacher. I am sure the lesson wasn't my very best.
Here is the thing. If the man said Hey guy and had walked in, I am a huge Travis Barker fan, and I am quite utilized to having my drums set up this wayâ$ I would have turned into the studio upside down for him. My student's comfort level through a is critical, so I gladly adjust my drums to adapt whatever they're utilized to.
That doesn't imply that my drum set isn't my child. Some of us can get angry at the idea of somebody tampering around with our babies, If those instincts kick in. Line - constantly ask before adjusting the gear of anyone. It's likely that you're on someone else's kit unless you are taking drum lessons in your own home. Respect that somebody else earned that drum likely uses it more than you, set, and has up set it perfect. Ask. Ask. Ask. The answer will be yes.â$
And for my teachers, please be open and willing to accomodate the gear of your student requirements, no matter how silly they may be. Bear in mind that long term student/teacher relationships are inclined to allow you to curveâ$ your student's viewpoints. When my students want their Hi hats up with their own chin, I often times don't mention a word. However, I provide them syncopated 2 hand hat groove exercises, and wait till they figure out exactly what the problem is.
8. Haggling
Here is something I thought I'd never encounter. A student says I know X price is said by your advertisement, but I was wondering if you would take Y instead.â $, and then completes a lesson
Yikes.
I believe its safe to state that in the field of private instruction (be it in person or Skype) all rates are non-negotiable. The instructor price is what you pay. This doesn't mean that every conversation about payment needs to be embarrassing and rigid. Let me clarify how I developed my own pricing strategy.
I discovered that I got different asks for how pupils wanted to cover lessons. Credit cards, cash, PayPal, Venmo, or checks. 90 minutes, 30 minutes, 45 minutes, or 60 minutes. Weekly, monthly, or even payments.
I chose to incorporate some helpful payment options; all of which provide the student an opportunity. I provide good pricing for lessons , better pricing for monthly lessons, and also the pricing that is best is for students that are prepaid that are quarterly.
The version helps to encourage students to research more with you. It gives you a slight advantage over the big providers, which rarely provide these kinds of options, and also promotes long term dedication incentive.
I understand when I say that commitment from a student has some price, all educators can relate. Experimenting with long term (discounted) prepaid courses is great way to meet in the midst; conserving the pupil cash and placing the instructor's mind at ease.
9. Deficiency of trust
The best for last! Trust is at the center of most of our relationships. In an educational setting, you'll find little can be achieved without trust. This hope primarily needs to come to the instructor, from the student. The learning process virtually stops altogether when their teacher is doubted by a student.
I've learned how important it is that there be a drum instructor trustworthy. That is hard to specify however from an instructor's standpoint to see where you're able to drop the chunk. It appears every other personal lesson I've, I'm asked a question that I can't answer off the top of my head. Rather than dodging this question, I quickly say I have no idea, let's figure it out!â$
In my experience, I have needed to make a conscious effort that which I don't, and as an educator to be clear in what I understand. Pupils are interested (especially the good ones) and they might corner you in an area of research you aren't knowledgeable about. That is okay! But be honest, and show them that they'll never be misled by you in their own journey.
For pupils, if there is 1 thing you should find in your teacher, it needs to be trustworthiness. Your best interests will be constantly followed by A educator. An honest instructor will learn with you, and give you genuine guidance in all that you study. Trust is the glue which has held along my lasting relationships along with the progress that can be created when that link is there, is something quite real and unique.
I hope you enjoyed this post, and thanks for reading! I ask that you check out the 220 + Video Drum Lessons while you're here. With over 75 hours of material, across all ability levels and styles of music, I am confident you will find what you love. =)
5 Signs You're Your Drummer's Side Project
Written by Kerry Jacobson The relationship between actual musicians and a drummer is complex and gorgeous. Drummers need fire and over simply a 4/4 songwriter to stay interested. It is possible your band has become your drummer's side-jam, Should you are feeling a distance. Here at Hard Design we care about the sanctity of drummer-band connections, so we compiled 5 questions to ask yourself that will help you find out when you would be your drummer's side job.
1) Are the fills getting longer and more complex?
Drum fills that are longer could be a sign that your drummer is getting bored with your band. Drummers find it difficult to use spoken language for a means to communicate their feelings and feel considerably more comfortable expressing themselves throughout fills. Learn to understand what your drummer is currently attempting to tell you with those elongated snare rolls before it's too late.
All bands stink, but you know what your ring smells like. Your practice area is starting to smell like oil and if you are in a hardcore band and sandalwood, don't kid yourself. Check behind the kit for bongos or a djembe, your drummer might be experimenting with a jam band.
3) Can be their drum kit getting larger, but you are getting the exact same old beats?
All drummer prefer to enlarge their rig with new cymbals and toms. But if it isn't used by them, you're gont shed it. Whenever your drummer buys those twinkly wind chime things but still gives you a conventional 4-piece set overcome, trust , he is using them with someone else.
Connected:Â 5 Red-Hot Ways to Spice up the Relationship With Your Drummer
4) Did they receive a new sassy haircut?
It seems changes in look matter. If everybody in your group has side-parts along with dreadlocks grow, his heart is in one of two places: juggalo or jah.
5) Do they continue phoning the lead singer Zach?â$
Really, Johnny? After everything we've been through together, you're gonna begin crying out the name of yet another frontman through groups? Zach? Who the fuck is Zach? My name is Justin, and I thought we were buddies. What about me, Johnny? What about my feelings? You know what, I'm not going to let you hurt me like that anymore. I hope you've got fun dropping acid and listening to fucking Phish and The Dave Matthews band with Zach. Fuck it. I'm purchasing a drum system.
Are you stressed your drummer may be beating skins? Tag them below and call them on their shit!
