Posts Tagged ‘drummersrule’

DRUMMERSRULE! Drum School 101 – For Ages 10-100

These Drum Lessons are perfect for anyone ages 10 – 100 that are interested in learning to play the drums. In this 4 week Course you will begin to build the necessary coordination and skills to play the drum set. You will also learn how to read and play drum notation and play along to various songs.

These are GROUP CLASSES and last 60 minutes long. They are taught in our ELECTRIC DRUM STUDIO. The Studio has 4 top of the line Roland electric kits for students to use. This 101 Class is very unique, it enables the student to learn faster and retain more while having fun. The Group Classes are affordable, and a great way to see if you, or your child, has what it takes to become a drummer.

Saturday, January 9th – Saturday, January 30th 3:00pm – 4:00pm
Price = $95.00 (Price Includes Drumsticks and Binder)
Meets EVERY Saturday for 4 weeks

Students must be registered prior to the start of the first class. New students will not be accepted once the first class has started.


Look forward to seeing you in class! Call with any questions 602-769-2075.

3723 W. Monte Cristo Avenue
Phoenix, AZ 85053

Practice Routine That Still Works – a Great Drumming Article!

I have read many drum articles suggesting ways to practice and this is one of my favorites. If you’re not familiar with Carl Albrecht and his work, I suggest reading up on him. He breaks down the practice routine into 5 key areas of study to help the growth any drummer.

Click the picture below to pull up the article… Enjoy!!


Drummers Practice Routine

As always, contact me with any questions. I look forward to seeing you at Drum Lessons!!


Mr. Brett

Brett Frederickson – DrummersRule! Drum Lessons

602-843-3114 |

Hello DrummersRule! Fans!!!

This week I have been focusing on 3/4 Ostinato patterns for my advanced players. Recently I watched a Neil Peart Video where he was talking about different Ostinato patterns and how to develop them.

In my next blog I’ll show you how I took this idea and created exercises based on this pattern. For this bLog however, see another great Neil Peart Interview I liked below… enjoy!!

Mr. Brett

Exclusive Interview with Neil Peart

You can usually spot the people who’ve worked in the music industry for any great length of time: they cower in dark corners twitching nervously, constantly running their hands through thinning, grey hair and wax lyrical to no-one in particular about the dire state of modern music. In a business where cynicism seemNeilPeart Pic1s to conquer even the purest of souls, the challenge of emerging unscathed is a feat comparable to mastering one-handed drum rolls – wearing a boxing glove.

Sitting in a dressing room backstage at Wembley Arena, Neil Peart is relaxed, amiable and perfectly courteous. Having notched up 30 years and 17 albums, driving Rush to new creative heights and consistently breaking fresh ground in rock drumming, you almost wouldn’t blame him for being a little jaded by the trials and tribulations of the music industry. Over the course of an hour-long conversation, however, he talks enthusiastically about his childlike love of drums and of his continuingly fruitful, creative – and personal – relationship with his band-mates. At once deeply interesting and profoundly inspiring, it’s a conversation as far from the cynical jabbering of old hacks as you can possibly get. It is, in short, the stuff of legend. A true drumming legend, no less.

In the beginning…NeilPeart Pic2
Neil Peart’s dressing room is as homely as a clinical arena dressing ro
om can be. It’s his own personal room; band-mates Geddy Lee and Alex Lifeson share a similar space down the corridor. A five-piece DW black and white sparkle sits in the middle, all set for Peart and his pre-show, freeform warm-up. A huge map of the UK hangs behind the kit’s throne, a tool to plan his exploratory motorcycle journeys on days off.

The room is a testament to Peart’s desire to exert a little control in an environment where it would be easy to shrug shoulders and go with the flow. In true Lloyd Grossman style, it’s the room of someone that exudes determination and focus, two attributes that were in abundance as soon as he got his hands on his first kit.

“Oh yeah,” he says with a huge smile, “as soon as I started I was obsessive about it. I’d come home and start practising and play along with the radio. They had to make me stop practising, not make me practice. It was an irresistible attraction, really. The movie, The Gene Krupa Story, was the thing that really got me excited about it, but any time I’d see a drummer on television it was like a visual fascination as well as a musical fascination.”

“I had a teacher for the first couple of years. That gave me a grounding in sight reading and different styles. After that, I went my own way with the foundation that he’d given me, kind of knowing what I had to work on. The teaching aspect was really important. You can’t start in a vacuum. It’s like any subject you want to learn, you have to have some sense of what there is to know and what to work on. You can’t just say, ‘I’m going to work on it’, you have to know which direction to go. You can’t just say ‘I think I’ll play drums today!’ Nothing happens that way.”

So how about tips for new drummers? Is there anything you can pass on?

“Getting a teacher is thNeilPeart Pic3e first recommendation. You can’t learn too much. I worked on samba for a long time just to learn Latin feels. I’ve never used it, but I understand it and I have fun with it. Timekeeping, too, no one can work too hard on that. Every drummer goes through the stage of playing a fill, getting excited and speeding up, or coming out of the fill and slowing down. Everyone goes through that and it gives you great insecurity – other musicians pick on you, producers pick on you. It’s very undermining because you think, ‘Well, the drummer’s first job is to keep time and I can’t keep time’. Something everyone should understand though is a) that everyone goes through that and b) it’s correctable. It takes the effort to practice and practice until you realise how to play your fills so they won’t speed up and until you get an innate sense of time.”


Mr. Brett

Brett Frederickson – DrummersRule! Drum LessonsDrummersrule

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5 Pro Drumming Tips and Tricks

An Interview with Thomas Lang and Benny Greb – The technical masters share their secretslang-and-greb

Thomas Lang (foreground) raised the bar for drummers everywhere with his two hit DVDs, Creative Control and Creative Coordination And Advanced Foot Technique. His solo performances are dazzling and he is in constant demand as a session player, in addition to working as both a producer and writer in LA.

Benny Greb’s (background) The Language Of Drumming: A System For Musical Expression DVD is a showcase for his ability to make music with the drums. When Rhythm spoke to Benny he had just returned from a huge clinic tour of Asia, spreading his philosophy across the globe.

Both Benny and Thomas possess the enviable ability to turn their hands and feet to a huge range of musical styles, from jazz and fusion to rock and pop and make it all look so easy in the process. So, when Rhythm got face-to-face with these two masters of the kit, they wanted to find out the secrets of their technique and get some handy tips and tricks that you can apply to your drumming.

lang Pic 1Tip 1: Set up correctly
What’s the most common mistake people make when setting up their drums?
Thomas: “To set the drums up for the viewer so it looks cool from the front rather than for yourself. I know a lot of young drummers make that mistake. Number two would be to set the drums up so that the bass drum is facing the audience straight on, rather than being off to the right if you are a right-handed drummer, because the bass drum is not the centre of the drumset.

“We, as drummers, often make the mistake of thinking pattern-oriented, which means we focus on what we do instead of how we do it.” Benny Greb

“Number three is to try to make the drumset perfectly symmetrical. Another is to sit too low or too high, or to set up the cymbals too far away from the player so you have to play with your arm completely stretched – I see that a lot.

“Whatever you do with your body mechanically has to be within a spherical space. It’s not a straight plane, you are moving within a spherical space and your set-up has to reflect that, so whatever is higher on the drumset has to be closer to you.”

Benny: “I would say it’s that they don’t really set it up, bit by bit, in relation to how they sit and to their body, but they set up their kit then sit behind it and see whether it feels right.”

Now try this: kit set-up
Benny: “What creates great results is to take your stool, adjust it so it is cool for you, which normally means there is more than a 90° angle between your legs and your spine and between your upper legs and lower legs. Then you set up the snare drum so it is comfortable, then a bass drum where the foot really sits, then a hi-hat where the foot really sits, and so on.

“If you let students do this, it really results in a very natural set-up.”

Greb Pic 1Next: Tip 2: Get a grip

Benny, you play matched grip. Do you prefer a French timpani grip or a German grip?
Benny: “Being patriotic I like the German grip! I think there is this conspiracy on the internet where someone always pays some people to say that this or this is the best grip and blah blah blah. The thing is that you can’t do everything with one grip, it’s not possible, so you need these different grips to do different things. You can’t do any accents with finger technique, you need the wrist, you need the Moeller technique.

“I think I am generally in a more German position but it’s a little weird with me – it’s not out of the teaching rulebook, what I do. My right hand tends to be more French and my left hand tends to be more German grip. It’s not very symmetrical.”

Thomas, you’ve played with both matched and traditional grips. What would you say are their comparative strengths?
Thomas: “I think the strength of traditional is that it’s an asymmetrical grip and it affects the way you think. The asymmetry of the grip lends itself to asymmetrical thinking and therefore playing, a bit like playing the guitar where the left hand is on the fretboard and doing something completely independent from the right hand which is strumming, but together the two hands produce one sound.

“I look at playing traditional grip the same way where the two hands use two completely different techniques – one hand from underneath the stick, the right hand from on top so there is a push-pull dynamic in your upper body. Matched grip is more modern, it’s more powerful, it’s more balanced. You have better reach with matched grip. It causes fewer injuries. Traditional grip causes a lot of bruises, abrasions, chafing, all sorts of issues. Of course you get blisters with both grips but less surface and skin injuries with matched grip. It lends itself to a more ambidextrous style with open-handed playing, which would be awkward using traditional grip.”

“Rule number one: for speed you must compromise volume. There is no other way, you can’t play ultra-fast and ultra-loud at the same time.” Thomas Lang

What’s the one piece of advice you would give someone looking to improve their playing with their hands?
Benny: “Have a catalogue of parameters that you go through focussing on while you’re playing and adjust your technique according to that list. Some people say it’s boring to play a paradiddle every day for an hour and they are totally right. It’s absolutely boring to play a paradiddle but it’s not boring if you listen to the sound that it makes and try to get it consistent.

“If you take time for one of these parameters, just the sound, does it sound the same? Do you have to play on the same spot? Do you find it hard to play on the same spot? How does it sound if you don’t play on the same spot? Is that a different sound that you want to cultivate, to have in your repertoire? Do you always make rim shots when you try to accent? Can you accent without doing rim shots, focussing on dynamics only?

“The other thing is how much less muscle motion can you use to get the same effect? How is it, time-wise? Do you breathe enough? Are you able to focus long enough or do you dream away? What do you think about? Things like that. If you do all these things then it’s the technique that I talk about it and it’s much more than just moving your muscles.”

Thomas: “I can think of a thousand things! One thing would be to practise unison strokes, playing both hands at the same time, not alternating.”

Lang Pic 2Now try this: grip

Thomas: “Make sure that your left hand and your right hand are equally strong by playing fast unison strokes in different patterns, in different cycles; groups of three, groups of five, seven, two 16ths and one eighth note, but with both hands at the same time.

“That way you make sure your hands are equally strong and you can concentrate on either the right or the left for timing and precision while you are playing.”

Tip 3: Quicken your kick
Are there any shortcuts for fast double-kick playing or is it just a question of putting in the practice?

Benny: “Yes and no. There is this thing, practice makes perfect, which is not right. Perfect practice makes perfect. You can practise in the wrong way forever without getting any results. We sometimes try harder at things – ‘I have to play more, I have to practise harder, I have to practise longer.’ Sometimes it takes us too long to think, ‘Okay, it’s not practising longer, I should try it differently.’

“With a car it’s what baggage can you drop off to make it run faster? If you can’t equip the car with a better motor and you want to go faster, you have to drop weight. In your motion and your technique, it’s not about equipping yourself with more fancy stuff, it’s getting rid of all the excess stuff you don’t need. Then the car runs faster.”

Thomas: “There are certain ways to make it a little easier using pedals with super-high tension, long board pedals with a very low footboard angle, trigger microphones with electronics… It’s a bit of a joke because double bass drums have to be played with aggression. This is an aspect of aggressive music and without volume there is no aggression.

“I’ve seen many bands that perform and, when you are listening to the drums from behind the riser, it is very quiet. There is a complete lack of power and to me this kind of music has to be played with ‘oomph’ and some serious muscle. If it doesn’t have that and it’s all just triggered then it has no substance.

“Rule number one: for speed you must compromise volume. There is no other way, you can’t play ultra-fast and ultra-loud at the same time. I make a compromise by playing loud and when it starts getting weak and wimpy I stop because I can play faster but at a certain speed you lose volume.

“There are certain ways to make it easier but to achieve powerful single-stroke rolls or double-stroke rolls on the bass drum requires nothing but practice. A few years of intense, focussed bass drum practice, but you get results.

“If you stick to it you will be able to execute powerful and beefy double and single strokes at a fast tempo upwards of 200bpm that can be played on any acoustic drum and work in any playing situation without trigger mics.”

Tip 4: Improve your technique
At what point should technique enter the picture in your journey as a player?
Thomas: “Technique was always a major aspect from day one from my first drum lesson when I was five. My teacher talked about technique but because it was from day one it never registered with me as anything special or daunting. It was just there. This is what you need in order to execute these things.

“After 10 years of playing I started to tweak my own techniques and combine techniques and really understand for myself why certain techniques exist, how to employ them correctly in order to make playing easier, or how to switch between techniques to produce different sounds or feels.

“I try to stay out of the groove’s way. A groove is that repetitive cycle that creates the magic. As soon as you play a fill or change it, it kind of ruins it.” Thomas Lang

“That came later in my development. Technique as part of learning was there from the beginning.”

Greb Pic 2Benny: “There is expression first, then maybe later you find out you need more technique to express what you want to express. I think this is the best order. Sometimes people think, ‘Oh, wouldn’t it have been great to learn all the technique and then get started?’ No, that would be horrible! It’s so important to play first and experience music and have fun.

“Technique, as I define it, is stuff that you always try to take care of – sound, time, focus. I very seldom do things like, ‘Let’s get on the Moeller technique again,’ or ‘Let’s check out the different grips again and what we can optimise there,’ but every once in a while I do it with focus and learn something.

Do you think in terms of technique when coming up with fills?
Thomas: “Never, no. I don’t think about fills and I try to avoid fills. I only play them if I am prompted or the producer demands it. When I work for other writers or producers I have no desire to be flash, add fills or any stuff that is unnecessary or could interrupt the groove or take away from the feel of the song or be in the way of a singer. I just play the song.”It’s great but it’s not something that’s on my list every day because it’s simply not the most important thing.”

“I try to stay out of the groove’s way. A groove is a repetitive cycle that only works after a certain amount of repetitions. It’s that cycle that comes around that creates the magic. As soon as you play a fill or change the cycle it kind of ruins it. It’s like having a beautiful brick wall that’s made out of all identical bricks and suddenly you start adding half sizes and a blue brick, two red ones, then two quarter-sized yellow ones.

“Okay, this is now a mess. Where is the beautiful red brick wall? Unless the music asks for it and you want a lot of colourful playing and a lot of variations, in most session situations that is not required and not asked for.”

Benny: “With fills you try to make them as groovy as the grooves, like groove variations rather than ‘fills’, like to fill some beats in. With Steve Gadd, you don’t even know that he’s playing a fill. It’s a different groove in bar four or something.

“You have to have one consistent thing and that is the quarter-note pulse. If you focus on that you will have that flow to whatever you play.” Benny Greb

“Sometimes drummers change everything, they change body posture, stop breathing for one bar, change their technique, focus more on the pattern. They change everything but they expect that the time feel shouldn’t change. That doesn’t make any sense.

“You have to have one consistent thing and it should be the quarter-note pulse. If you focus on that then the chances are quite high that you will have that flow to whatever you play, which is a mental technique.”

When you are doing a solo performance, do you think about what techniques you can incorporate in your playing?

Benny: “I don’t structure my solos in terms of displaying technique, not at all. Yuck, that feels ugly – I would feel dirty doing that. If I have a good day, and everyone has good and bad days and sometimes I have to think more than I would like to, but if I have a good day I don’t think at all, not only about technique but I think about nothing.

“I just play and I see what happens and I let myself be guided by mistakes that I do and try to repeat them so they become a composition.”

Lang Pic 3Thomas: “Everything I do in a solo context is displaying techniques. Everybody is taking the whole solo thing so seriously, as if that was part of my musical identity, which it isn’t. They are only drum shows for drummers. All I’m doing is displaying techniques and noodling around and being flash and spectacular. It’s really only a display of technique, often only for technique’s sake, not for music’s sake.

“There is hardly anything that I play in a clinic context that is non-technical. If I am a viewer at a clinic I’m not going to see somebody play a beat. If I want that I’ll go to a concert and I’ll watch the guy play with a band in a context that is less demanding of something spectacular and where the performer would feel more at ease to play something a little more subtle, more musical.”

Do you have time for practising?
Benny: “No one has time for anything. You can take time, so I take time for practising. Sometimes I don’t practise daily, but as I said, perfect practice makes perfect so I try to make my practice as good and as focused as possible.

“I live very centrally in Hamburg so I don’t have the possibility of having a drumset here. I have a little studio/practice room and I drive there and take a couple of hours whenever I can. I have a pad here obviously but I see myself being more inspired when I sit at a real drumset.

“When I’m on tour I tend to use the pad more but I try to play the drums if possible.”

Thomas: “No, I never practise. I haven’t practised for many years. I’m not proud of it. Actually I’m fully ashamed of it and I wish I could but I have a life besides being a musician.

“I work a lot, not only as a drummer but as a writer and producer. I have a lot of session work and it’s very time-consuming and unfortunately there is no time to practise. I like to practise and I wish I could practise more. I am always working on making more time to practise.

“I hope once my kids are in school I can make some more time to finally get back into practising.”

Greb Pic 3Tip 5: Keep better time
Do you have any good techniques to improve time-keeping?
Benny: “You have to be aware of the quarter-note pulse. I have this exercise on my DVD where there is a quarter note pulse ‘singing’, with this click sound you make a ‘chit’ sound. It’s just an exercise where you do this ‘chit’ sound with clapping or improvising which really shows you, do you think time-oriented or pattern-oriented, which makes a big difference.

“We, as drummers, often make the mistake of thinking pattern-oriented, which means we focus on what we do instead of how we do it, and sometimes even why we do it. If we try to do a certain fill, we concentrate more on executing the fill how we want it instead of executing it, even if it comes out differently but having good time.

“In your motion and your technique, it’s not about equipping yourself with more fancy stuff, it’s getting rid of all Benny: “We as the excess stuff you don’t need.” Benny Greb
“Time, you could say, is a mathematical thing if you break it down, but groove and a good feel are an emotional thing, not a mathematical thing – and that needs a lot of sensitivity and a lot of focus and also some democracy in the band and some tension between the players.

“If I had to strip it down, what helped me the most in time-keeping would be this quarter-note ‘chit’ singing while improvising. It’s a great exercise. Whenever I have a timing problem, when I listen to a gig and some fill is kind of weird, I go back into the practice room, try it out and I sing the quarter-note to it. Then in the future it really sounds great.”

“If you can remember tempo then you are less likely to speed up or slow down. That can be achieved by association and muscle memory. The best way to do it is to combine the two.

“Association, meaning you have a song in your mind. You know this Police song is at 115bpm or this Kings Of Leon tune is at 150bpm. You sing the song, it only takes you about five seconds to sing a chorus and pretty much nail a tempo. That’s association, then at the same time you have a muscle memory component.

“It’s necessary for every musician to be able to learn tempos by heart. If you ask me to play 72bpm, I can nail it. It’s a learned skill that anybody can do. It’s easy to nail 60bpm because everybody has a watch, but if you have 60bpm you always have the double-time and the half-time.”

In the great debate of technique versus musicality, is there any danger you can take the pursuit of technical excellence too far?

Greb Pic 4Benny: “Technique should be a tool that you use for something. That’s why I love the Indian approach so much because first you have to learn the musical language of what you will express. You won’t play it with your instrument or your technique that will be relevant later but you have to do it with your voice, so you are just focussing on expression.

“If you are then fit enough and know what you want to say as an artist then, after a year of that syllable talk stuff, you learn how to play your instrument. They’ve got the order right and this is what I try to do when I talk to people in clinics or when I still had students, I always tried to wait until they came up with something and said, ‘I want to play drum’n’bass,’ or ‘I want to play heavy metal double bass.’

“It’s always people who have no technique that say they don’t need technique to play the drums. Technique is a tool. Why not use the right tool?” Thomas Lang

“Then this was the chance for me to say, ‘You need this technique to get this sound,’ then they have a reason. Sometimes I see people who practise technique and then they have this monstrous tool that is very dangerous if used unwisely and then they run around: ‘Hmm, where can I use this?’

“If you go to a doctor that is very good at open heart surgery but you only have a cold and he cuts you open because he wants to prove to you how good he is, you wake up, ‘What the hell is this?’

“We, as drummers, need to have an ethical code like doctors that it’s good to do what’s necessary with technique and with our knowledge and not always good to do what you can do. This is important when we talk about technique.”

Thomas: “That argument is usually happening between people who have no technique, who don’t understand what the heck they are talking about. To say that technical music is not musical is saying that Mozart and Chopin are not musical, that Rachmaninov and Bach are not musical. This is ridiculous. Of course it is musical!

“Technique often makes music. If you listen to Vivaldi, this is super technical music. Zappa is not musical? Tony Williams isn’t musical? Steve Gadd? Dave Weckl? Stop being ridiculous, people, and wake up. ‘Technique has nothing to do with music’ – the argument is nonsense. You must stop arguing about this.

“It’s always people who have no technique that say they don’t need technique to play the drums. Technique is a tool. You use it for certain activities. You need a hammer to drive a nail into a wall. You need a circular saw to chop lumber. You can use the circular saw to get the nail out of the lumber but it’s not the right tool. You can use pliers for that. You can use a hammer to chop wood, it will take much longer and it won’t be a straight edge.

“Why not use the right tool? If you can acquire it, it will make playing easier and that’s all that technique is. If you have technique it will make playing easier for you. It won’t affect your musicality in a negative way.

“The more tools you have, the more reined works you can do, the more precise you are, the more creative you can be and the more efficient you can be in executing all your musical ideas.”

Lang Pic 4Now try this: timing
Thomas: “Learn five tempos in steps of 10s, for example 100bpm which means you are also able to play 50bpm and 200bpm. Do that in steps of 10, learn songs in each tempo, memorize the song and associate some muscle memory with the song you have in mind, meaning that you know you can only play a certain pattern with your right hand at a certain speed or the right hand can only play 16th notes at that speed using finger control.

“At a faster tempo you have to switch to Moeller strokes or Gladstone technique. You know what your physical comfort zones are at certain tempos and that narrows the tempo margin. That aspect in association with memorising a tune allows you to completely nail a tempo.

“This is a learned skill, all you have to do is put in the time, make an effort to learn some songs and just clock your favourite tunes. Get a metronome out. You probably don’t know how fast Back In Black is, so get a metronome out and clock it.

“If you like a song and have heard it a thousand times, you can feel the song without hearing it, you know what the tempo feels like, it’s internalised. All you need to do is know what that number is.”

Article written by David West (Rhythm)Drummersrule

Brett Frederickson – DrummersRule! Drum Lessons

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This post is a continuation of my previous post “How Playing an Instrument Benefits Your Brain”. Carlos Courtney, a student of mine and drum instructor, found this video and requested it be on my blog. It’s amazing how playing an instrument (like drums) has such a positive impact on us and spurs emotional and behavioral growth. I am putting links to the studies mentioned under the video. Enjoy “Why You Shouldn’t Quit Your Music Lessons” and contact me with any questions.

Mr. Brett

Read More:
Music lessons spur emotional and behavioral growth in children, new study says…
“Parents who have patiently sat through countless music recitals and questioned their sanity at encouraging all those trumpet or violin lessons need do so no longer.”

Using Music to Close the Academic Gap…
“New studies on the cognitive advantages of learning instruments at early ages.”

Early Music Lessons Have Longtime Benefits…
“When children learn to play a musical instrument, they strengthen a range of auditory skills.”


DrummersruleBrett Frederickson – DrummersRule! Drum Lessons

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I have been telling my students, parents and other teachers for years how playing drums or any instrument has a positive effect on our brains. A student of mine and drum instructor, Carlos Courtney, found this video on the subject, so here it is. Enjoy!  As always contact me with any questions and keep drumming on!

Mr. Brett


Brett Frederickson – DrummersRule! Drum LessonsDrummersrule

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Rudimental Ram: “Lickety Split”

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Here is a short video lesson from Vic Firth’s website featuring Emmanuel Deleon showing a difficult rudimental ram called “Lickety Split” that incorporates a wide range of techniques, rudiments, hybrids and stick tricks! The instructor Emmanuel Deleon performed with the Vanguard Cadets in 2006 and the Santa Clara Vanguard in 2007-2009.Emmanuel aged out in 2010 performing with the Blue Devils of Concord, CA.

Enjoy this exercise and keep practicing. As always contact me with any questions or suggestions.

Mr. Brett

For other drum videos visit our YouTube Channel at

Below is info on Brett Frederickson:
He has been teaching drums for over 27 years including drum line instruction for 17 years. He is a graduate of MI (Musicians Institute); Featured in Drum Magazine, Drum Business and Modern Drummer.Brett Frederickson, owner of

– Degreed instructor — Musicians Institute of Technology (MIT)

– Drum Set instructor for over 27 years

– Drum Line instructor for over 17 years winning many State Competitions and Awards

– Featured in magazines including Modern Drummer, Drum Business, and Drum Magazine

– Has Performed and done Studio Work with many bands including Megadeath, Scott Mishoe, Keith Horne, Jeff Kollman, Ray Riendeau and many more.

– Former students have graduated from Berkley College of Music & Musicians Institute

– Former students have received full ride scholarships to ASU, NAU and U of A for drum-line, jazz band, and percussion

– Located in North Phoenix, AZ

Brett’s true passion is teaching students to play drums, in a fun, quality learning environment. So whether you are just getting started, or have been playing for years, Brett can help you take your skills to the next level.

Lessons are for a full hour at $25.00/hr. Come see why his students keep coming back!

Brett Frederickson – Visit Online at or call him directly at 602-843-3114.

Brett Frederickson teaches how to play a Rute Solo on a drum set. This is the second video in a 2 part series. Brett is playing an improvised solo on his Yamaha Set with Vic Firth 505 rutes.

This video was filmed with two cameras, one moving and the other stationary, and the Audio is combined from both cameras. No Edits or cuts were made to the Audio in this video, and it is played at normal speed.

Brett Frederickson, owner and teacher of Drummers Rule! at, offers affordable drum lessons in Phoenix Arizona.

Brett Frederickson is a drum teacher based in Phoenix, AZ who teaches for a living. He has a degree in Music Performance from the Musicians Institute of California, taught drum line for 15 years, has opened up several drum clinics for musicians like David Garbaldi, Ken Mary, and Ray Riendeau, plus doing many clinics himself.

Drumming Tip #1 – REPETITION!

You would be AMAZED how many problems in drumming come from one little “Secret”…. Like to know what it is?

The secret is REPETITION…

Most young drummers (and even some old ones) underestimate the importance of this word.  Many simple problems are solved relatively easily by incorporating this one little secret.

PROBLEM #1: My arms tire while playing for long periods of time. 
FIX: REPETITION! Practice single strokes for LONG periods of time. Get them EXTREMELY fast to where they become “very” comfortable. If the rest of your technique is relatively good, your arms will not tire after that.


PROBLEM #2: My feet are slow and can’t do half the things my hands do. 
FIX: REPETITION! Isolate your feet and practice nothing but them for extended periods of time. Play the samba bass drum rhythm “allot”. That’s always been a good one for getting your right foot in shape.

PROBLEM #3: I can’t play in odd time signatures.
FIX: REPETITION.! Vinnie Colauita once said, “Just play in 7 for like an hour”. This is especially insightful as we can often get caught up in studying things too closely and miss the point. Sheer repetition will help lead to more comfort in odd times.

drummersrule lessons

PROBLEM #4: I can’t do a proper double stroke roll to save my life. 
FIX: REPETITION! Play that thing slowly, properly, and for “long” periods of time, while gradually increasing your speed. DO NOT CHEAT. Make yourself do intentional, defined doubles. Chart your progress by playing to 16th’s on a metronome. In no time at all, you’ll be GETTING IT.

Thanks for reading… please call me with any questions!

Mr. Brett

Brett Frederickson – DrummersRule! Drum Lessons
Call or Text today at 602-769-2075 or check us out online at
Come see why our students keep coming back… We look forward to seeing you!!


One of the most essential skills every drummer must know is how to tune their drumset. The reality is, most drummers do not know how to properly tune their kit – resulting in a poor sound. Take the time in your regular practice to learn how to tune your drums the right way; you will be happy you did. If you have tuned your drum set as much as you can and you are still getting a poor sound, let me know and we’ll figure it out together. There are a few rules that you must consider when tuning in order to maximize your tone, resonance and endurance of your drum head. Tuning one drum is the same as tuning them all. The same steps and procedures should be taken to ensure the best sound from any drum you are playing. So let’s get started.

There are a few rules that you must consider when tuning in order to maximize your tone, resonance and endurance of your drum head. Tuning one drum is the same as tuning them all. The same steps and procedures should be taken to ensure the best sound from any drum you are playing. So let’s get started.

– seating the drum head on the shell. Before you even place the head on the drum, make sure you wipe down both the rim and the head. Any unwanted dirt or chips will cause an uneven sound on the tom. So with a towel, just wipe around the rim of the drum. 
-the next step is seating the drum head on the drum. Once this is done, and the rim is placed over top; screw in the tension rods hand tight. You do not want to screw them in to much right now, or you can throw off the tuning process. 
– Once all the rods are secure, you want to stretch out your drum head. This is an important step to do; it will strengthen and stretch out your skin as well as help it maintain its tuning once it is found. To do this, simply make a fist, and press down in the middle of the drum. Do not press to hard, you do not want to damage your skin.

– To make sure there is no unbalance, you will have to tighten the tension rods opposite to each other. The best way to do this is to start at any rod, and tighten a few turns with your drum key.
– Once that is complete, locate the tension rod opposite to that one and repeat the process. Do this until each rod is secure and tight. Try to keep each turn uniform by counting the amount of rotations and imitate that on each tension rod. 
– See the attached diagram of the tightening process:
As you can see, each tension rod is tuned opposite of each other. Start at A, and work your way around the drum.
– Once each rod is tightened, try striking the drum. Chances are you will not get the right sound on your first try. This is where you have to start fine tuning. Pick a tension rod to start at, and tap the head around 2 inches from that rod.

Again, use the diagram and tap each rod opposite to each other. Try and hear for any inconsistent sounds. If there are any tones that are not even, tune each tension rod accordingly. 
Remember this is a fine process, tuning a half a turn will change the sound to the whole drum.

Feel free to contact me with any questions…