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Teaching Drumset

Robert J. Grifa | October 2015


    Some directors feel uncomfortable teaching drumset or worry that it will be too time consuming. However, it is possible to add classroom drumset instruction to the curriculum, teaching multiple students the coordination, independence, beat awareness, and musicality necessary to play drumset well.

The Drumset as One Instrument
    It is natural to look at the kit and see separate instruments, but the drumset should be viewed similarly to a piano. Although it is one instrument, a piano has 88 keys and requires a technique that will allow multiple keys to be played at once. Likewise, think of a drumset as one instrument requiring a technique to play several parts at one time.
    On the piano, students do not normally start out playing chords. Beginning methods normally help the student gain awareness of the keyboard by having them play one note at a time. Similarly, giving beginning drumset students music with drumset notation could be just as confusing; it is better to separate things.
    A common teaching technique for beginners is to have students work away from their instruments, often called air playing. This can help students prepare to handle the instrument physically. This is similar to teaching new clarinetists that the left hand goes above the right before putting an instrument in their hands. A similar method can be used with percussionists before they start playing a drumset.

The Body Drumset and Limb Awareness
    Because the drumset is played with the limbs, you can use what I call the body drumset to get started. This means that the students will use their limbs to learn the necessary movements without using a drumset. Students learning drumset will need to use their limbs, especially their feet, in unfamiliar ways. One of the first goals is to have the students increase awareness of their hands and feet.
    Avoiding the drumset at first helps students learn the basics without being overwhelmed with too many technical thoughts; it also makes it simpler for teachers to instruct several students at once, because body drumset is fairly quiet. The body drumset was my first drumset.

Limb Movement for the Body Drumset
    Good posture is essential. Have students sit with backs straight, feet slightly out in front and arms naturally to the side of the body. Hands are placed on their legs with fingers somewhere near the knees. I recommend the following basic guidelines for moving the hands and feet when playing body drumset.
    For hands and arms, the main up-and-down motion is from the wrist, with the arm moving naturally to a maximum height of about seven inches. Watch that the movement does not come just from the wrist or arm; both of these actions will cause tension. It is important that arm and hand movement is relaxed.
    The feet are moved by keeping the heel down on the floor and lifting the toes to a height of about four inches. If toes are lifted too high, tension will be felt. Although there are different techniques for the feet (just as there are for the hands), having the heel down will serve the students well at this stage.

Stress Musical Aspects from the Start
    When teaching drumset, I recommend making the experience musical as soon as possible. As soon as students have accomplished an exercise to the level you want, have them play along with a musical example. Students need to understand as early as possible that the drummer provides the beat as well as the feel of the music. Provide musical examples in different styles and in tempi that the students can comfortably play. Using music as part of learning is vitally important. Possible sources for musical examples include iTunes (which offers free previews of tracks), SmartMusic Improvisation and Jazz Concert Libraries (this allows for extreme control of changing tempo without changing pitch), play-along recordings, GarageBand (Mac computers), drumset methods that have accompaniment cds, electronic drum modules, and electronic keyboards with pre-programmed styles or examples.

Body Drumset Exercises
    The following are exercises that can be introduced at any time to develop individual and combined limb awareness, coordination, and independence. These techniques will help students more easily learn grooves (drumbeats) for different styles of music.

One-Limb Isolation Patterns
    Have students play continuous quarter notes on each limb at a medium tempo (M.M.=80) with a metronome, using the posture and movement mentioned above. Repeat until you are satisfied with the progress and then move on to the next limb. Adjust the tempo as needed. Remind students to relax and avoid overdoing any of the motions. No notation is needed, although you can emphasize any note-reading concepts deemed important. I recommend starting with the right hand, then the left hand, right foot, and left foot.
    After you are satisfied, use a pattern of eight quarters per limb at the selected tempo in the same order as before: right hand, left hand, right foot, left foot. During this time, remind students to be relaxed and think ahead to which limb will move next. The pattern then can be shortened to four beats per limb.
    Next, have students play the pattern with music of different styles to which the students can comfortably play along. More variety is better, so include styles with which students may be unfamiliar, such as swing and Latin. This will help them understand that what they are learning will be applied to different styles of music. You can also introduce ideas of how other parts of a rhythm section – piano, guitar, and bass – fit in. This will help later on when you present other styles of music and compare their differences.
    Now introduce the idea of working the limbs in different sequences. For example, instruct the students to play the four-beat pattern clockwise, starting with the right hand.

    Next, start with the right foot. After this, the pattern can continue starting with the left foot and then the left hand.

    Change the sequence by going in a counterclockwise motion.

    Now try an X pattern.

    Have your students develop as many variations as possible. These exercises go a long way toward helping students gain more control and awareness of their limbs. In addition to moving only the correct limbs, have your students visualize a connection occurring between the limbs as they change which limb they are using. For example, you might have students imagine a cord or string of light connecting the limbs.

Two-Limb Isolation Patterns
    The next step is to play with two limbs together. As before, use different combinations. Stress that the limbs must be on the beat at the same time, avoiding a flam or grace note effect.
    Start with the right and left hands together.

    Expand to different combinations.

Three-Limb Isolation Patterns
    When combining three limbs together, remind students that all the limbs play on the beat at the same time.



Four-Limb Isolation Pattern
    Then, all four limbs move together.


    As students become more comfortable with any of the patterns, play one limb per beat. Start the pattern on different limbs.

Clockwise:

           LH   →   RH
           ↑            ↓
           LF    ←   RF
Counterclockwise:

           LH   ←   RH
           ↓            ↑
           LF    →   RF

    When played these with musical examples, some of the patterns will actually sound like a groove.

Mixing Patterns
    Challenge students by mixing and matching patterns that have been learned. For example, go from a single limb pattern to a three limb pattern, then to a two limb pattern. The possibilities are almost endless.


Adding Notation
    At this point, you may want to introduce standard drumset notation. I recommend that you associate the limbs to specific parts of the drumset:
    The ride cymbal was chosen for the right hand because of its normal placement on the right-hand side of the drumset, which matches the idea of the body drumset. The right hand also normally plays the hi-hat as well, and this can be easily explained and demonstrated.

    There are other notation conventions for drumset. For example, in the graphic above, the ride cymbal is notated on the fifth line of the staff, but it is also common to use the fifth line for the hi-hat and the space above the fifth line for the ride cymbal. Knowing this can alleviate confusion when seeing different notation practices in method books or drum charts.
    The one-beat-per-limb clockwise example above would look like this starting on each different limb:

    For a beginner, you might imagine why starting without notation can simplify things compared to starting with notation.

Move to the Drumset
    The next step is to go through the same sequence of limb awareness exercises using the drumset. The hands can use either matched or traditional grip. Although the feet move as described above for the body drumset, the feel is different because of the actual physical movement on the pedals of the bass drum or hi-hat. Having students first perform the limb awareness exercises (or at least some of them) with the actual instruments will help them feel more comfortable. At first, just let them get the feel of it. Then, have them play with the musical examples you have chosen.
    At this point, students will probably need to take turns playing the drumset. You can have the other students stay in their chairs and perform the same exercises on their body drumset or they can form a line so that as one student is finished another can sit down. I have the students waiting listen to and watch the student playing. I ask them questions about what they heard and saw, which makes this activity an excellent cooperative learning lesson.

Drumset Setup
    Below are general guidelines for setting up a standard drumset. However, consider having students start with just the ride cymbal, snare drum, bass drum, and hi-hat to match the body drumset. Removing toms and crash cymbals will make playing drumset less confusing for inexperienced students. It also reinforces the idea that the above four instruments are the most important parts of the drumset.
    Take care when setting up the drumset. The drums should be set up so that the drummer can play without tension or unnecessary motions to reach and play all parts of the set. Think about how you teach other instruments regarding their hand and finger position.
    The following setup suggestions for the drums and cymbals are based on a standard drumset:

Drums
    Set up the drumset to the player. The drummer’s throne should be at a height that allows for proper posture. When students are taking turns, the throne will need to be adjusted to account for physical differences.
    The bass drum (RF) and hi-hat (LF) pedals should be placed so the legs and feet feel relaxed when the feet are on the pedals.
    Center the snare drum in front of the player at a height that promotes proper playing position. Tilt the high tom slightly toward the snare drum but not touching it. The angle should not be severe. Adjust the medium tom so the rim is basically even with the high tom but not touching anything. The floor tom should be across from the snare drum on the right hand side. Start with it flat, but tilt it if desired.
    In his excellent DVD entitled Getting Started on Drums (Hudson Music), Tommy Igoe refers to the “power square”. Basically, the drums form a square in relation to the drummer.

Cymbals
    Place the ride cymbal to the right between the medium tom and the floor tom. Adjust and tilt the cymbal so that the right stick tip can easily be placed half way between the bell and edge of the cymbal. This placement will allow for variations needed when playing the ride cymbal. The cymbal should be able to move freely without touching any of the drums.
    Position the crash cymbal to the left of the high tom with the cymbal slightly tilted. Make sure it can be reached easily.
    Adjust the hi-hat cymbals so when fully opened they will be approximately 1.5" apart.

Watch the Right Hand
    It is usually easy to spot students who play drumset. When students who know the drumset play the concert snare drum, even though they have been taught the proper hand position, their right hands typically are more turned so that the thumb is more visible (a thumbs up or handshake position). Although not ideal for concert snare, on drumset, that position actually is recommended when playing the ride cymbal. This position creates a relaxed feel and is beneficial when playing faster and more intricate patterns. Playing a ride cymbal with a normal right-hand snare drum grip is awkward and best avoided. Explain this concept to your students and remind them of the proper position depending on which instrument they are playing.

Focus on the Sound
    Just as with any other instrument, the sound produced from the instrument is vital. By using the limb awareness exercises, students have the opportunity to concentrate on getting the best sound from each separate instrument. Then when it is time to play them at once, they will have a better concept of how to balance each.
    Use size 5A sticks for the drumset, as they are well suited for most school ensembles. Students should start by using only the tips of the sticks to strike the cymbals and drums at this time. Different parts of the stick can be used in drumset performance (tip, shaft, shoulder, butt end), but these are best addressed later. For the snare drum and ride cymbal, strive for a mezzo forte level, with the stroke no higher than four to five inches at first. The grip for the hands needs to be relaxed and tension free to produce a pleasing sound. Remind students to keep their body position centered without angling the body to the right or left.
    As mentioned before, the feet will need more attention, as students are now playing instruments with them. For the bass drum, I recommend starting with a stroke that allows the beater to rebound from the head. The hi-hat should get a chick sound. There are other strokes or motions for different sounds that can be produced from these instruments. For example, at first the student may produce more of a ringing, vibrating sound from the hi-hat. It is not a wrong sound, just not the best starting place.

Using Practice Pads and Sticks
    After students have played on the drumset, they will have a much better understanding of the physical feel and the sounds produced by the kit. When teaching the body drumset has served its purpose, you may want the students to use a practice pad so they can play with sticks. The feet are used as described in the body drumset setup. The pad cannot replace the sound of the cymbal or snare, so make sure students are playing at the appropriate levels and not using an exaggerated stroke.

Conclusion
    Introducing the drumset in this manner will allow you to teach systematically the coordination, independence, and good habits to produce competent and musical drummers. The students will enjoy these activities especially when performed with music, and you will, too. There are many excellent educational books and videos available by accomplished artists on all drumset technique subjects. There are websites that also have valuable information as well.