Kids with an interest in drums can get a taste of what its like to take drum lessons in group classes starting April 2nd (Saturdays at 4 PM, 6 weeks). With Julius Rivera as our instructor, children ages 4-6 will explore basic drum concepts through group exercises, revolving around tub and tube drumming. Tonal tubes and tubs are a great way to convey rhythm to beginners through feel and play (think Blue Man Group). In addition to tubs and tubes, the real drum kit will be used as a basis for teaching drum terms and techniques applicable to beginner drum lessons. Julius’s style includes high-energy games that reinforce rhythm, tempo, and time. This a hands-on, collaborative approach to experimenting with drums that will tap into creativity, physicality, and imagination.
Philly Music Lessons offers a wide variety of music instruction to all ages and experience levels. Specializing in guitar lessons, drum and bass lessons, and piano lessons Philly Music Lessons is your source for experienced and effective music education. Our instructors have experience teaching students of all experience levels from beginner through advanced. We are happy to work around your schedule and offer both in-home and in-studio music lessons. For more information please do not hesitate to call us or submit your questions using the contact form.
One of the stars of the Muppets is a character named Animal. Animal is a drummer, who many would argue, embodies the general perception of a drummer in the U.S. He is wild, impulsive, and intense. This perception is not always based on how the world’s best drummers actually are, but more on the energy that they bring to musical groups and events. I hope to present a picture of some of the skills needed in order to become a great drummer / musician / person and how learning these skills can create rich learning experiences for children.
Drumming is not really wild – it just feels that way…
The world’s best drummers do not hit the drums randomly or haphazardly – they are very calculated and deliberate. In order to play their instruments well and to find new ways to be expressive during performances, they have to practice and train. Great drummers don’t tend to be like sprinters in a race, they tend to be more like marathon runners who take their training and preparation seriously. Like runners, drummers have to learn how to relax while moving, to learn how to breathe well while remaining active, how to use healthy postures, and how to get lost in their activity so that they are not “thinking” about it – but instead doing it with an automaticity that enables them to reflect on other things while they are being active. Drumming like many other physical activities can be very intensive at times – however, great drummers learn to be aware of their bodies and avoid becoming injured in spite of an increase in the intensiveness.
Drumming is natural…
There are many individuals who see a person playing a drum set and immediately think to themselves, “I would never be able to do that! It requires too much coordination – and I can barely clap on rhythm!” I would argue that when discussing who can drum, we enter a Nature vs. Nurture discussion. I firmly believe that more people in the U.S. do not feel comfortable drumming or using rhythm because of our cultural experiences related to rhythm. Throughout the world, there are toddlers and small children playing syncopated rhythms with ease. Is it because their genes predispose them to rhythmic intelligence or is it because they were exposed to seeing adults exhibiting behaviors and began to learn how to do what the adults around them were doing? What were some of the things that your child was exposed to and how has this exposure affected what they can do – the skills that they have?
Clearly, any art form requires an investment of time and benefits from guidance from experienced professionals; however, most children are naturally drawn to hitting a cylinder with their hands or with sticks. I would argue that it is as natural for people to drum as it is for us to run, but that our cultural experiences affect our exposure and comfort with drumming. It seems to move away from being an activity that you can engage at your own level into a skill that you either can or cannot do. It is similar to a person who enjoys drawing (and has a natural impulse for it) being discouraged from drawing because they don’t draw well enough to meet another’s standards or a person being discouraged from dancing because they cannot execute the dance move as expected – we often prioritize a person’s ability to perform over their desire to do something that they enjoy and that makes their lives richer (and could become something that they would be better at with time and work).
Great drummers listen well and express themselves appropriately…
Drums are very powerful instruments – an average person can create deafening sounds without the need for electricity. So, drums should be treated like other powerful things – tools, money, the stove, etc. You can hurt and offend people with loud erratic drumming. Most professional drummers tend to have a low tolerance for loud erratic drumming. They understand that it is possible to create something beautiful and enjoyable with a little bit of effort. The experience could be compared to watching a child color outside of the lines in a coloring book. Most adults will (at some point) draw attention to the lines of the picture and encourage children to use the lines to guide their coloring rather than disregarding them. Great drummers learn to be considerate to listeners by adjusting the volume of their drumming to a level that is appropriate to the occasion. A person who knows how to control their volume, but chooses not to, is being immature and inconsiderate of the listeners and musicians that they may be performing with. Showing off at the expense of the success of the group is seen in most social situations. Learning to be considerate to listeners and other musicians is a skill that demonstrates and fosters maturity in individuals of all ages.
When a drummer becomes aware of ways to channel these powerful instruments, then they can begin to dance musically. They can learn basic steps / movements and then they can add expressive touches and / or improvise something that is complimentary to the song. The great drummer dances with the other musicians – this sometimes leads the musicians to perform things that go beyond what was rehearsed. As a drummer, I have often been inspired to do something that was not rehearsed during a performance and responded to other musicians who began to do something that went beyond what was rehearsed.
Is drumming on buckets the same as playing Guitar Hero?
Although it may seem as though drumming on a bucket is similar to playing a musical video game, the skills introduced and reinforced are dramatically different. A video game introduces and reinforces the skill of pushing the appropriate buttons when prompted by the game. When a person is actually playing an instrument, they learn to repeat particular movements in a specific order in order to produce the musical sound. The sound produced is consistent when the movement / behavior is exhibited (muscle memory). For example, if you play a C note on an acoustic piano, it will create a sound – that sound will not change. However, it is possible to produce different types of sounds using devices that can be connected to instruments. Guitarists often use foot-switch pedals in order to change sounds. There are skills required to use them effectively – a video game does not introduce or reinforce these skills.
Drumming on buckets is not equivalent to playing instruments, but it does offer transferrable skills. One skill that is introduced and reinforced with bucket drumming is awareness of hitting versus not hitting. In visual art, artists learn to become aware of negative space. In drumming, not hitting the drum can be seen as a musical negative space. You don’t hit the drum in order to create the quiet portions of a rhythm – instead, you resist hitting. This silence / break in the rhythm is as important as the hits. In fact, intentional breaks are what separate an intentional rhythm from haphazard noise. This awareness is necessary for playing any instrument – to play or not to play… SELF CONTROL
Another skill that can be learned from bucket drumming is the skill of experiencing a repeated pattern becoming the foundation for song. Many popular songs have 4 or more chords that are repeated. The melody of the song is performed on top of this repeated pattern. After a child / person learns to perform a rhythm, it is important for them to learn how to relax into the rhythm so that they can continue to repeat the pattern while other performers do something different that is complimenting the rhythm. RELAXING
Finally, bucket drumming offers opportunities for creativity. Once a child has learned how to relax into a rhythm/ song, then they can begin to explore being creative. They can try to develop their own “new” rhythms and they can begin exploring ways of complimenting rhythms with other patterns or with improvisational breaks. CREATIVITY
In summary, Drumming teaches countless invaluable skills. A child who learns how to drum, doesn’t make noise, they make art!
From our multi-instrumentalist teacher, Jen Pague, come the mind-blowing vocal ballads of Vita and the Woolf. Catch this burgeoning band in Philly while you can!
Jen’s been teaching piano, voice, guitar, and songwriting at Philly Music Lessons. Hearing her lessons from the next room, there’s no doubt Jen brings ease to her sessions and can draw out confidence from anyone. Her teaching strengths lie in an ability to connect with students. Keeping herself inspired and current, Jen’s been working at composing original music when she’s not teaching. With epic vocals reminiscent of Florence and the Machine, these tunes are worth a listen:
Fall Recital 2015
November 21st, 1 PM
Technique is a topic that comes up a lot in lessons, and rightfully so. Having proper technique will allow you to move around your instrument with ease. But most importantly, technique is the bridge that connects your ideas to reality. Bad technique will slow, or block the flow of ideas, whereas good technique will let them flow freely.
Yet with all of the known benefits of proper technique out there, I still find that a great deal of musicians overlook technique, or even worse, completely disregard it. Either they see it as unnecessary, an old manipulation device for creative control, or just too difficult to master. None of these are true. In fact proper technique can be quite easy to incorporate with patience and dedicated, routine practice.
Technique is learned in an almost mechanical way, based on muscle memory. If an individual has been playing for a long time with bad technique, it can be annoying to break bad habits. Although it can be frustrating, you’ll be happy with the changes you’ve made.
It’ll take a small amount of focus. Practicing proper technique only needs to be done for 15-30 mins a day on a regular basis – All you need to do is put in the time each day and move on. Don’t worry about incorporating the new technique into band practice or performances just yet. Let the technique work for itself rather than forcing the use of technique. Within a few months time, you will see radical improvement, and if you allow your practice to take effect over time, the metamorphosis will happen naturally.
Good technique will do a number of things to improve your playing and songwriting. It’s going to improve the richness of your sound by allowing you to play the instrument the way it was designed to be played. For example, claves are a percussion instrument. There are two wooden cylinders about an 1″ in circumference and 6″ in length. They are played by palming one clave and striking it with the other clave. If either of the claves are held too tight or struck with too much force (or not enough force), the true sound of the instrument will not be obtained. You will lose out on the intended tone and sustain of the instrument. Improper technique of a clave would result in the same sound and feel of banging a wooden table with a bat. But, if that is your desired sound and feel, by all means, go ahead and hit record!
Technique can improve your songwriting by allowing you to play intervals, chords or rhythms that were previously impossible to play. Proper technique will also eliminate the possibility of injuries sustained from playing an instrument incorrectly. Other benefits include strengthening your ability to perform under pressure.
Having good technique requires you to be relaxed and at ease. When you step on stage you will be comfortable and confident so that you can do your best. You will also have a greater stage presence. The audience sees everything and they are very tuned into your body language. You don’t want to appear stressed, but comfortable and in control of the situation.
Music is a craft, an art, and also a science. Hundreds of years of documented research has gone into the field of technique for musical instruments. When craftsmen design and build instruments, they use a specific framework of scientific calculations. On the other side of the blueprint, there are specific instructions for how to use the instrument to obtain its desired effect.
Again if you want to play the piano with your feet, don’t let anyone kill your dreams – be an innovator. But don’t ask your teacher why you can’t play harmonic minor scales at 100 bpm or play first inversion major 7th chords. You don’t want to play guitar, and after several years say, “Hey, I’m really thrilled about how much worse my playing and songwriting has gotten over time!” No. We all want to get better at the things we do. The same way a runner wants to go farther and longer, even if it is to break his/her own record.
So make sure to speak with your teacher about learning proper technique. Listen and trust his/her wisdom and experience. You’ll be glad you did.
Hey there, Neema! Welcoming you to our wonderful collection of guitar teachers at Philly Music Lessons.
With interests in blues, jazz, and rock, Neema teaches guitar lessons at Philly Music Lessons. He is also a great teacher for piano, bass, and drums, having a solid, well-rounded musical background. Currently, Neema is pursuing a degree in guitar performance from The University of the Arts. You can check out Neema playing a piece on electric guitar, following the short bio and interview below:
I teach Guitar, Piano, Bass and Drums. My first musical experience was singing, then playing hand drums while I was young. I have formal training in guitar from University of Houston and Berklee College of Music after high school. I am currently studying guitar performance at The University of the Arts. I have very many goals for my life and one of them is to continue teaching music. I have been teaching for 4 years now, and I consider myself to be a professional educator. My strength as a teacher is to quickly identify how the student needs to learn to best show him or her the steps to success. I also have experience with group lessons in guitar and piano. I love to teach songs, riffs, scales, proper technique, proper theory, and how to get the most out of your practice. It is very important to play music everyday and to have discipline in your practice. Recording yourself, listening back, and planning what to do for the next day are all good practice habits. I practice jazz and classical guitar at least 3 hours a day.
Yeliza is the kind of person that can put you at ease from the first moment you meet her. She’s incredibly professional, but also relaxed and exudes positivity. This is the combo you want in a music teacher. She’ll offer students the discipline needed to learn an instrument, as well as the encouragement and light heart to wade over challenges along the way. In talking with Yeliza about future workshops and programs at Philly Music Lessons, I learned quickly how passionate she is about teaching. Though she teaches all ages, her and I have been excitedly planning our Spring Strings 2016 workshop for kids ages 4 – 5 and 6 – 7. I loved her reference to the early cello training workshops that inspired her in Puerto Rico. In these classes, as well as many beginner cello lessons for young kids, its common for students to start out on cardboard instruments, which they have spent time making themselves. This, she explained, teaches students how to care for their instruments, earning the opportunity to play on the real thing (On top of that, getting to craft a cardboard cello is pretty fun!).
Starting out the workshop with this mindful approach speaks a lot to the importance of patience and respect when you’re learning music (muscle memory comes in due time, just as getting to handle an expensive object like a cello comes with learning how to respect and care for instruments). It also speaks to Yeliza’s understanding of how to teach kids cello in a fun and creative way.
In private lessons, Yeliza offers excellent guidance for beginner and advanced students of all ages. With the Suzuki Method as her primary teaching tool, Yeliza offers violin lessons as well as cello. She also offers instruction for voice and piano too. Being bilingual, Yeliza teaches music lessons in Spanish as well.
Here’s Yeliza, playing Bach:
You can read more about Yeliza in her own words below (from our Teachers Page profiles):
I teach piano, violin, cello and voice lessons. I am 23 years old, and I was born in Puerto Rico. I came to the United States 4 years ago. I am bilingual, and I know the Suzuki Method in Spanish and English. I began playing the cello when I was in 7th grade in Puerto Rico with Professor Fermin Segarra. I also have an extensive background with the violin, piano and voice, having sung in multiple choirs throughout high school and college. After I graduated from Escuela Libre de Musica de San Juan, a school specialized in music, I went to the Conservatory of music of Puerto Rico for 2 years to focus on Cello Performance with Professor Luis Miguel Rojas. Afterwards, I transferred to Temple University to finish my bachelor’s degree in Performance with Professor Jeffrey Solow. This is my senior year at Temple University. I utilize the Suzuki Method with most of my students because I find it to be the most logical and progressive method of teaching. I was one of the piano, violin and cello teachers for children ages 4-18+ years old for two years in a specialized program at the Conservatory of Music. I am planning to stay in Philadelphia to build my studio with students of all ages.
Keep reading for a brief interview with Yeliza:
I started playing the cello when I was 12 and it was the best decision that I made in my life. I do not regret any moment that I spend with my cello making beautiful music.
I play violin, piano and sing, as well. Piano was my first instrument growing up which gave me a very good foundation for reading music and understanding harmonic and melodic relationships in compositions. It also helped me better understand the string instruments that I would gravitate towards later in life. I began learning the violin shortly after the cello. They are very different instruments, despite being in the same family, but there are certain techniques which apply to both. As forvoice, I’ve sang all of my life. I’ve had three years of formal training in private lessons and have sang in choirs throughout middle school, high school and college.
Meet Jenn Amell. Jenn teaches guitar and piano to beginner and intermediate students. Her guitar focus is on pop, rock, and punk. On piano, Jenn specializes in teaching classical, but also loves working with pop music and show tunes. An excellent teacher for kids, she can bring a beginner through basic piano technique, introducing them to classical fundamentals. Kids who have an interest in playing pop, rock, or punk can explore chord progressions, strumming patterns, finger plucking, and more. Jenn also teaches adults who are at the beginner to intermediate level, offering instruction for playing pop music, as well as classical.
Read more about Jenn in her bio and the interview below:
I am a piano/guitar teacher. For the last fourteen years, I have been playing piano, as well as guitar for the past nine. Music is a chord struck deep in the heart, and it is a special passion of mine to pass on the skills necessary to experience such a visceral medium. Playing an instrument is one of the greatest meditative practices. On top of that, it stirs the brain and body into healthy action, allowing for better coordination and muscle memory.
Some of my best experiences have come from playing music, whether in a room full of friends singing and banging on drums, or alone strumming on the guitar. I have been fortunate enough to work with some great musicians in the Main Line and Philly areas including Nicholas Brower of Good Shirt Productions and fellow Philly Music Lessons teacher, Jennifer Pague, of Vita and the Woolf. Additionally, I also have an affinity for punk music and have put together a small lo-fi EP (Distant Milk) of ambient punk for my project, ‘Future Seer’.
Via all these good musical experiences, I have developed a teaching strategy that focuses on equal parts theory and improvisation. I mostly teach piano in a classical style, but would love to work with those who want to play pop or show tunes. As for guitar, my experience lies in rock, pop, and punk music, with a strong emphasis on strumming patterns and chord progressions. I accept students of any age from beginner to intermediate levels.
When did you begin playing piano/guitar, and why?:
I began playing piano at age eleven under the tutelage of Janet Ables. My mother inherited an upright player piano from her father and I can remember sitting at its keys and plunking out Chopsticks or The Spinning Song. When I showed an affinity for the piano, my mother decided to get me lessons, which continued throughout middle school and high school. As for guitar, I was first introduced at age fifteen by my church’s youth group, the leader of which taught me some chords and let me play on the worship team. I think I gravitated toward piano and guitar because of the therapy it offered. Playing either instrument calmed me then and continues to do the same now.
What are your personal goals as a musician?:
Music has always been a kinetic, visceral experience for me. It makes me happy, and because of that, it is a compulsion— in the best way. So, I’d say my personal goals involve playing for my own enjoyment and passing on any knowledge I’ve gained to others who want to experience that same happiness and compulsion.
Do you have a memory of a time when a musical concept or technique really clicked? Something you’ll remember forever?:
I can definitely remember times when the piano or guitar mystified me. How did they work? How could others make them sound so beautiful? I’m sure the same feeling came from learning a song on the piano, but I specifically remember learning my first chord (G) on the guitar. I had a feeling like, “Oh, so that’s how it’s done!”. Although the mechanics of playing either instrument become more knowable, music itself still holds a very exciting mystery.
What is your favorite piece of advice from one of your past (or current) teachers?:
My mom and I often talk about the symbiosis between all the artistic mediums. I love literature (having studied it in university) and have found many striking similarities between music and writing. One particular passage really inspired to me from Anne-Marie Macdonald’s novel, Fall On Your Knees. In the scene, she is describing an opera singer:
“It’s nothing to do with the words, which are in a foreign language, or the story, which most people don’t know. It’s because a real and beautiful voice delicately rends the chest, discovers the heart, and holds it beating against a stainless edge until you long to be pierced utterly. For the voice is everything you do not remember. Everything you should not be able to live without, and yet, tragically, do.”
I also love Brian Eno, he’s full of good advice.
What was your most challenging moment learning an instrument?:
Oh, I have them all the time! Music is supposed to be challenging, otherwise it wouldn’t be worthwhile.
What is your biggest musical achievement?:
I guess completing my EP for Future Seer was my biggest musical achievement. It was super fun and I hope to do another one soon. I am also so happy to be in any way involved with Vita and the Woolf. They’re a great local Philly band reaching for high heights.
Favorite thing about teaching?:
I love teaching children, especially when they put two musical concepts together and finally understand them. Their smiles are genuine and you know that something unlocked in their brains.
What is a piece of advice you would like to share with anyone learning music?:
My best advice is twofold:
1. Be patient.
2. Practice as much as you can.
Personal music projects: i.e. bands, groups, shows, recording, etc. (if any):
Distant Milk, Future Seer (2015) – solo project including piano, synth, guitar, vocals and audio production.
“Music enhances the process of learning. The systems it nourishes, which include our integrated sensory, attention, cognitive, emotional and motor capacities, are shown to be the driving forces behind all other learning.”
— From Empathy, Arts and Social Studies, 2000; Konrad, R.R.
Music has been proven to have powerful effects on the mind and body, improving our senses and abilities in many ways. Tuning into certain songs can influence a surrounding environment by creating a sense of calm, motivation, or positive mood. Songs with higher frequencies can be energizing to those experiencing low energy levels and can increase overall productivity. Studies have shown that listening to music can raise serotonin levels while lowering levels of cortisol, the stress hormone, which results in higher immune functioning and lower levels of depression. A particular study in the Journal of Advanced Nursing describes how patients suffering with chronic pain showed better physical and psychological symptoms when they listened to music for an hour each day of the week, verses patients who weren’t exposed to music.
Some other benefits include increased memory capacity, creativity, and ability to focus. Musical training at a young age has the potential to change brain functionality and structure when practiced over a long period of time. It strengthens the regions of the brain involving language skills and executive function. Researchers have found that in those who began taking music lessons before age 7, the volume of brain regions related to hearing and self-awareness tend to be larger. This hints that early musical training could potentially be used as a therapeutic tool. It gets the creative juices flowing as well, as a study in the Journal of Consumer Research suggests. This study demonstrated that moderate levels of ambient noise improved creativity by increasing processing difficulty, thus engaging the abstract processing sectors of the brain. This encourages individuals to tap into the so called “zone” or flow state that leads to more creative ideas.
Learning a new instrument maximizes cognitive function and memory retention by utilizing both hemispheres of the brain simultaneously, while physically developing fine motor skills and sharpening auditory perception. When children learn to play an instrument, their multi-sensory processing skills improve, sharpening their ability to hear sounds otherwise undetected. This encourages “neurophysiological distinction” between certain sounds that can aid in literacy, translating into better academic results. A peer reviewed academic journal, PLOS ONE, reports that children who have had three or more years in musical instrument training performed better in auditory discrimination tests and fine motor skills than those who didn’t learn an instrument. These children also performed better on vocabulary tests and in assessments involving visual analysis. Music is a terrific opportunity for children to express themselves creatively while picking up a new skill. It could be much more than this though, according to researchers, who suggest that musical training could also serve to hone their mental energies.
“Music does something beyond our understanding. We can call it an endorphin release or a distraction, but it goes much deeper than that. Somehow music just does us good. And the good it does was just proven to be better.”
~ Michael Huckabee, professor and director of the University of Nebraska Medical Center Division of Physician Assistant Education
We’ve officially joined the future (or we’re just catching up to the present)! We offer some lessons via Skype. So, if you’re really loving your teacher, but have to move or travel frequently, you can still meet with your instructor via Skype. Our piano teacher Anabelle (who we love so much!), had to move across the country. She’s been giving Skype lessons remotely for classical piano. This is a really great option for adults. Skype allows students to stay motivated with a teacher while squeezing lessons into a busy schedule. You could say Skyping falls into our category of “in-home lessons”, but it is a slightly cheaper option, allowing those who travel or who would rather hang at the screen to easily stay in touch with their weekly practice.
Here’s what you’ll need:
- A Skype account
- A computer
- An internet connection (high-speed)
- A camera & mic (built-in or attached to your computer)
- Your instrument
Once you’ve tested out your setup and are ready for some Skype lessons, give us a holler! Next up, VR lessons (just kidding! We can’t quite afford the future yet.)