Gergely Szabo

Jonah

“Triplets”

Jonah is clearly applying the score-reading strategies we discussed, and he is learning notes much faster than when we first began Triplets.

However, we are returning to an earlier practice issue: spending too much time on one passage while giving newer material less attention. Before each practice session, make a plan that includes both:

• Reviewing previously learned material
• Learning a manageable amount of new material

This week, focus primarily on the second half of the page. Treat the first half as revision rather than the main focus of the session.

Whenever you play the first half:

• Aim to perform it confidently and accurately.
• Check the score whenever you feel uncertain.
• Do not guess or repeatedly practise an uncertain note.
• Correct mistakes immediately so that the wrong notes do not become memorized.

Goal for next class: Play through the complete page. Afterward, we will likely move on to a new piece, possibly a snare-drum étude.

Sam

Reading Exercise

This week, we began with exercises from Drumset Musician and discovered a useful practice method for Sam:

1. Read and play a simple pattern from the score.
2. Recite or vocalize the rhythm that you just played.
3. Play the pattern again after vocalizing it.
4. Repeat until the pattern feels fluent.

Reading the pattern may initially take a little longer, but vocalizing it helps connect the notation to Sam’s strong auditory memory. Please try this process at home.

In future lessons, we will gradually apply this method to more complex patterns involving additional drums and contrasting timbres.

“Holiday” by Green Day

Last week’s practice solidified the verse, and we have now moved into the chorus.

Sam has already learned much of the chorus by listening to the song. However, because the section moves quickly through eight bars, he should use the score to identify each transition clearly.

Practise in this order:

1. Study the eight-bar structure in the score.
2. Identify and mark each transition.
3. Practise the patterns slowly without the track.
4. Connect the complete section.
5. Add the original music only after the transitions feel secure.

Guitar Solo

Please also begin working on the guitar-solo section using the timestamp written in the notes.

• First, learn the general pattern by listening to the song.
• Then, use the score to identify the details of the four-bar pattern.
• Slow it down and make sure each variation happens in the correct bar.

The goal is to combine Sam’s strong auditory memory with a growing ability to recognize larger patterns in drum notation.

Class Materials

Dylan

“Opalite”

Dylan remembered both assigned patterns very clearly and can now play them repeatedly without stopping.

We also played the “Opalite” pattern along with a slowed-down version of the song. This was extremely impressive for only her second lesson!

Dylan has now learned a slight variation of the pattern. Please practise this new variation during the week:

• Begin slowly.
• Repeat it until the coordination feels comfortable.
• Maintain an even pulse.
• Make sure each bass-drum and snare-drum note lands in the correct place.

Next week, we will try connecting the variation to the main pattern and playing both with the song.

Jack

“Enter Sandman”

We revisited the introductory groove from “Enter Sandman.” Jack played the pattern while I performed the melody on xylophone, and he is now able to play the groove with much more flow.

Continue practising the four-bar pattern:

• Keep the repeated floor-tom groove steady for the first three bars.
• Make sure the cymbal fill arrives in the fourth bar.
• Keep counting even when playing from memory.
• Aim to move from one repetition to the next without stopping.

Next, we will begin learning the melody on xylophone.