I have taught drum set for the past 12 years professionally and have played the instrument for 30 years. I also play a little trombone and piano.
I teach kids from 4th grade though adult and also offer drum circle music therapy sessions to senior citizens and special needs folks all over Massachusetts. I am a member of the Tantasqua Music Association and volunteer with kids and seniors on a weekly basis year-round locally.
I cordially would like to invite you to please try one drum lesson with me for free. I’m a natural teacher who studied it in college and relate well with kids.
If the first drum lesson seems like a good fit, I can teach drum set and orchestral percussion in your home or my own drum studio on a weekly or even monthly basis.
I have plenty of references to offer from other Tantasqua and area parents who have taken lessons with me, and please feel free to check out my website below to learn more about where I play and what I do on the educational front. I am also the resident drum set instructor at Eagle Hill High School in Hardwick and a professional freelance writer.
I also play gigs regularly to keep my own chops fresh. I’m the drummer for a weekly volunteer senior big band, a local all original jazz funk group, and tour drummer for one of New England’s most popular trop rock bands. My 30 years of playing in jazz and rock bands is an instrumental part of my lesson program. That performance experience can not be learned in college alone. It’s honed on the road in clubs and venues spanning decades. I’m grateful to offer that vast experience.
Younger drummers generally tap my skill sets to get better at sight reading concert band and jazz music and improving their chops or technique. However, I also leave plenty of room for creativity and for students to find their own voice and style on the kit. Ear training is critical as well.
I also give Djembe lessons as an added perk with taking drum set lessons if kids are interested in learning more about world beats.
My large studio is full of drums and percussion of all kinds with several drum kits and recording gear, mics, guitars and keyboards. Kids love being in the studio.
Thanks for reading this message and giving me chance to explain what I do for a living. I look forward to meeting you in person soon.
195 Rice Corner Road
By TIM KANE
How many of us weekend and weeknight warriors work our behinds off playing the skins, only to have some fan tell us after a gig, “I loved your facial expressions”?
Hearing this one too many times myself, I decided to research the anomaly further by examining 30 celebrity drummers I admire the most.
What’s so strange and equally refreshing about the live performance facial images I compiled as a photo collage linked here from online postings at Drummerworld.com and various artists’ personal websites is they all share similar traits.
The extreme concentration exposed in these images is amazing.
But can we draw meaning from facial expressions as they relate to a solo or phrase drummers are playing?
According to a recent American Psychological Association (APA) web posting, Joseph Campos, PhD, of the University of California at Berkeley says, “there is profound agreement that the face, along with the voice, body posture and hand gestures, forecast to outside observers what people will do next.”
Does that same theory apply to drummers, who change facial expressions on a whim at that difficult phrase juncture in a solo, or when the arms and legs begin to burn from lack of oxygen?
Ever consider trying to look more presentable during a sneeze, or keeping a smiling face when lifting a very heavy object? Same applies to drumming, which is a very physical workout – like trying to play four-way independence at a 120-metronome tempo.
APA says, “the point of contention remains in whether the face also says something about a person’s internal state.”
The strange, deranged, obsessed, comical, intense, and peaceful faces of drumming all come back to one term in my mind: Joy, even if you blew that 32nd note fill you had been practicing for weeks. It’s still pure joy to sit behind a set of drums and play the best you can for minutes or hours on end. The truth is some parts of the brain are more focally recruited while we play drums.
I’d rather see squinty eyes, chaotic mouths, drools, sneering teeth, and back tonsils any day. The alternative is rather opaque to contemplate: Poker face, no smile, no raised eyebrows, no snarts, no emotion, no nothing. How very bland the drumming world would be without our theatrical expressions.
The more comfortable you are behind a drum kit, the more compelling and creative your playing will be. In my mind, facial expressions can enhance the experience for the listener and certainly reflect the concentration and emotion of the performer.
– TIM KANE is a professional writer and drummer of 30-plus years residing in Massachusetts. http://www.kaneschoolofdrums.com