Paul McCartney said he was “lucky to live and work alongside him”.

Jimmy Page “really admired him”, and James Corden said he was “full of light and love and all the things that you want in a human being”. 

These are but a handful of the dozens upon dozens of heartfelt and heartbroken tributes paid to Taylor Hawkins, beloved drummer of the Foo Fighters. 

Below are five things every drummer – every person – can learn from Taylor’s example. 

Love Music

Above anything, Taylor was a music fan. His love of rock and roll permeated him like a radiating force. He was fervent about bands, records, songs, shows, and of course, drummers.

One industry rep wrote on her Instagram, “I will never forget the passionate way he talked about the latest gear, who worked for which company, who was playing in which band now. He knew about ALL of it!”

Instead of lessons, Taylor learned how to play at the age of 10 by jamming along to songs on the radio and on records, figuring out parts on his cobbled-together drum kit, and poring over album covers to study the drum sets of his idols Roger Taylor (Queen), Stewart Copeland (The Police), and Neil Peart (Rush).

As a kid, Taylor saw a Queen concert that left him with a single-minded vision that lasted his entire life. He said, “It changed everything, and I was never the same…It was the beginning of my obsession with rock ’n’ roll, and I knew that I wanted to be in a huge rock band.”

There are stories of Taylor as an adult finding himself in tears as he watched his heroes perform. Geddy Lee speaks in wonder about Taylor “jumping up and down like a two-year-old – so happy – full of admiration and ‘rock ‘n’ roll joy juice’” when he introduced Rush during their induction into the Rock & Roll Hall of Fame.

Taylor had a pure love for rock music and drumming, and his style, musicianship and personality came directly from that reverence.

Be Humble

Taylor spoke about his insecurities playing drums for Dave Grohl, one of the greatest rock drummers of all time. In the beginning, he was so scared that he froze up trying to record the Foo Fighters album Nothing Left To Lose.

In his final Rolling Stone interview, Taylor choked up as he recalled being able to push through and record half the drums on the record because Dave “held my hand through it, like an older brother/best friend does”.

Being Dave Grohl’s drummer could have easily caused some resentment on Taylor’s part. Instead, it created an inseparable bond of brotherly love between two best friends. Taylor accepted his role in the Foo Fighters with grace and humility, he played in side projects to express his own writing and arranging, and maybe most deeply, as The Chicks said of him, “He never took any of it for granted.”

Taylor rarely if ever touted his own greatness or style, preferring to talk about the drummers and songs that inspired him. In his BBC Radio “drumming masterclass”, Taylor spends most of the hour demonstrating the beats and fills of other drummers – his heroes, of course.

Most musicians would have used a radio broadcast as an opportunity to show off their own licks and chops, but Taylor played what he was passionate about: Queen and Police songs!

Be Yourself

Taylor took only a handful of lessons in his lifetime (he once said his chops were “stolen and fake” because he “didn’t learn the ‘real’ way to do it”), and he didn’t study with teachers. But like his drum heroes, Taylor’s talent, technique and individuality were unquestionable. 

His genuine drumming style, his feel and passion, his exuberance and energy, and his own kinetic force and dynamics (“spirited enthusiasm” as Jimmy Page called it) were all under the constant threat of Dave Grohl comparisons. 

But Taylor said it was during the recording of the Foo Fighters’ third album where he knew that he could “fit in this band as the drummer, not just ‘the live drummer’. I can be me and still fulfill the role of being Dave Grohl’s rhythm man.”

“I can be me and still fulfill the role of being Dave Grohl’s rhythm man.”

Taylor was like an honorary second frontman of the Foo Fighters, often singing Queen and Led Zeppelin songs while Dave played drums. For a drummer to step into that role, it takes ridiculous talent, charisma, presence, and the ability to light up a room (and a stadium!) with “infectious energy and good vibes”, as Lars Ulrich said of Taylor. 

Be Passionate

In 1999, a German reporter asked Dave and Taylor: “Why do you play rock ‘n’ roll? Rock ‘n’ roll is dead.” Taylor replied, “Well, it ain’t dead at our house, man!”

It was obvious Taylor put his entire heart and soul into his playing. Words from his tributes describe him as exuding joy as he played; that he had infectious energy, passion, and exuberance; that he was a “modern day rock star”.

He once said during a chat with Chad Smith, “I like the way rock ‘n’ roll makes me feel. I like the way music makes me feel.” Taylor expressed himself fully on the drums, and it’s his spirit and love of the music we sense as listeners.

One fan wrote, “He embodied how drumming makes us feel.”

Taylor told The Sunday Times in 2010: ”A lot of my favorite drummers…had just as much profile as a guitar player. I guess that’s what I’ve been strug­gling for most of my life – to make the drums as important as everything else.” 

There’s no question he did.

Be Inspiring 

Bob Dylan wrote: ”The highest purpose of art is to inspire. What else can you do? What else can you do for anyone but inspire them?” There could be no better description of Taylor Hawkins. 

Countless drummers have written that Taylor inspired them to pick up the sticks, fall in love with the drums, set up their kit like him, learn all his parts, play drums and sing — and to have fun in their playing. 

He directly supported many drummers through mentorship, gear, advice, and most importantly, encouragement. Travis Barker wrote of Taylor, “You’d come watch me play in dive bars and be like, ‘kid you’re a star’. And I thought you were crazy but you gave me so much hope and determination.”

The descriptions of Taylor from every corner of the music industry are profound: that he was a beautiful, fantastic, amazing person. Full of positivity and good vibes. A hero, idol, champion, and one-of-a-kind, with the most glorious, infectious, warmest smile. He was family, a brother, a beloved child.

A gem of a guy, full of love, a loving spirit with a huge heart, a sweetheart. That he had a zest for life, the force of life, that he was full of life, and seemed to always be having the time of his life. 

These are some of the most powerful words anyone could say about another person. They show a complete reverence for Taylor – and an utter shock at his passing. How can someone so alive, be gone?

As drummers, as people, let’s aspire to be inspiring in the way Taylor Hawkins was. To have every person whose lives we touch, directly or indirectly, feel so good, so lucky, so blessed, just from our presence, our spirit, our love, our example. 

As drummer Micheal Quinn (Dermot Kennedy) beautifully said in an Instagram post: 

“Taylor Hawkins, thanks for inspiring me and leading the way. I’ll do my very very best to carry your spirit behind the drums as I go. I just want to be like you when I grow up. Always have, always will.”

From the Foo Fighters’ song “Learn to Fly”: Run and tell all of the angels, everything’s alright. 

Taylor has passed on to your realm. 

He truly burned out bright.

Feature Image: Raph_PH on Flickr

1. How to stop your toms from ringing

To eliminate unwanted overtones from your tom-toms, first check your tuning. Make sure that each head has the same pitch at every tension rod, and that you’ve tuned the top and bottom heads on each drum to a specific pitch interval. Higher pitched drumheads produce more ring and sustain, and lower-pitched heads have less sustain and more attack – so adjust your tuning accordingly.

Another option is to use 2-ply drum heads. Double-ply heads typically produce fewer overtones and have less sustain overall than single-ply. You can also try hydraulic heads, which are double-ply with a layer of oil in between. They can make for a “thuddy”, deadened sound, but this also means the least amount of ring.

If you’re already using well-tuned 2-ply heads and your toms are still ringing, the next step is to try dampening. The easiest and fastest choice here is tape. Gaffer tape works best as it’s the most durable, will stay on the head longer, and won’t leave a sticky residue if you need to remove it or move it around. Apply small 2”-3” pieces of tape to the head to reduce overtones, and for even more muffling, fold up strips of paper towel into squares and tape those to the drumhead close to the rim.

Another dampening alternative is gel pads, which are easy to use and move around (and they look better than tape, too). Start with one gel and apply it near the edge of the drum head. Add more until you get closer to the sound you want. Remember that you can place them on the bottom/resonant head as well.

For the most muffling and least amount of sustain on your toms, lay dampening rings on top of the heads. These are typically sold in packs, come in various widths, and are made from material similar to a drumhead.

FYI: You can also make your own muffle rings out of old heads with the hoops/edges cut off. Try cutting a hole in the middle. The donut shape makes for a partial dampening effect.

For any of these methods, keep in mind that some tom ring can be a good thing when mixed with the other instruments in your band. It can help your drums have more depth and life in both a studio mix and a live setting. So experiment with various levels of dampening and ring reduction to find the option that best suits your playing style and musical genre.

2. How to prevent cymbals from cracking

To safeguard against hairline fractures at the center hole of your cymbals, there needs to be no metal-on-metal contact between your cymbals and the cymbal stands. Use plastic, nylon, or rubber sleeves to cover the threads on the wingnut post, and sandwich your cymbals between top and bottom felt washers (this will support your cymbals and protect them on their stands). These precautions can help prevent keyholing as well, which often leads to additional weakness and cracking.

(Keyholing is what happens when the cymbal stand starts to wear one side of the cymbal’s center hole, making a keyhole shape).

Like sleeves and felts, make sure to not over-tighten the wing nuts holding the cymbals on their stands. Cymbals need to move freely when hit, otherwise, the stress from the force of the stick will be fully transferred to the point of impact and to the center hole. If the cymbal has room to move, the impact will instead be spread over its entire surface.

It’s worth mentioning that high-quality cymbals made with stronger bronze alloys will resist cracking more than cheaper brass cymbals, which are softer and more susceptible to denting and breakage. Thinner cymbals may also crack more easily if not mounted correctly or played too aggressively.

Other options to consider for your cymbals are using lighter, softer sticks, playing with a lighter touch, and making sure the angle of your cymbals on their stands is set up so you’re not hitting them perpendicular to their edge.

Lastly, always carry your cymbals in a case or padded bag, since dropping a cymbal on the ground can cause cracks, as can placing heavy items (like speakers and amps) on top of them.

3. How to stop your bass drum pedal from squeaking

Squeaks typically happen when metal is rubbing on metal, so adding any kind of lubricant like Vaseline, machine oil, or silicone spray will help eliminate bass drum pedal noise (avoid the standard WD-40 since it’s not technically a lubricant and will eventually dry out).

There might be several areas on the pedal that are squeaking – the hex shaft that moves the beater, the hinge between the footboard and the heel plate, and the tension spring itself could all be making sounds – so make sure you lubricate all moving parts.

It’s good practice to keep your pedal clean and oiled. Older pedals will squeak more since the metal fittings have worn and become looser, and that newer pedals with footboards are more stable so are less likely to make noise.

4. How to stop a cymbal stand from falling over

There are two kinds of cymbal stands: straight and boom. Boom stands are more prone to tipping because the arm that extends out horizontally holds the full weight of a cymbal mounted on its end. That said, straight stands can fall over as well if they aren’t set up properly. On both kinds of stands, it’s important to make sure the tripod legs are extended out far enough. If they’re pulled in too close, the stand will tip easily. Legs extended out means a wider base, a lower center of gravity, and less likelihood of falling.

On boom stands, make sure the boom arm is directly above one of the tripod legs. If it’s in-between, the stand may fall that direction if there’s enough weight on it or if it’s hit hard enough.

If you need to extend the boom arm all the way out, and/or mount a tom off the cymbal stand – both of which can topple a cymbal stand – one solution is to lay an ankle weight (like you’d find in a gym) over one of the tripod legs on the opposite side from where the tom or cymbal is. Ankle weights come in various sizes and are typically made of flexible nylon cloth, so you can easily drape them over a tripod leg to serve as a counterbalance to the tom and cymbal.

5. How to stop snare buzz

Sound frequencies from a stage monitor, amplifier, or even your rack toms can vibrate the bottom head of your snare drum which causes the snare wires to buzz and rattle.

The most common way to reduce vibration-related buzz is to detune the four tension rods closest to the snare wires (two on each side of the drum). Just loosening a quarter to a half turn can reduce snare rattle drastically without having a major effect on the overall sensitivity or sound of the drum.

If the buzz seems to only happen when you hit the toms, try tuning your snare to a different pitch. Unison and octave are the most likely tunings to resonate, so make sure your snare pitch is several intervals away from the pitch of your toms.

Physical proximity can be a factor in vibration as well, so moving the toms farther away from the snare drum can help, as well as placing muffling on the toms and the batter side of the snare, since a dampened head is less prone to resonate.

Another option is to try changing the tension on the snare strainer using the adjustment screw on the throw-off. Even a slight turn can often make a difference in the amount of buzz.

Speaking of snare wires, it’s important to have equal tension on both sides of the strands since loose wires will rattle more. This means making sure the straps or cords from the strainer are pulling equally, and that there’s the same number of wire strands on each side measuring from the middle (an unequal number creates uneven tension and can result in some vibrating strands). Overall, higher quality snare wires are less likely to vibrate, come loose and/or break, so if you’re experiencing a lot of buzz, you might consider upgrading.

Finally, a method used by some of the pros is to use fewer snare strands overall. Since the outer wires typically vibrate the most, Gavin Harrison actually cuts his down to only eight total strands (out of the usual twenty).

What are some of your hacks for gear headaches?

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In this guide, you’ll learn about the origin of these patterns, which ones to get familiar with first, and how to apply them on the drum set.

What are drum rudiments?

Rudiments are patterns of drum strokes between the right and left hands that have a specific rhythmic structure and dynamics. They’re the fundamental building blocks of the more complex patterns we play on the drum set — similar to how scales, arpeggios, and chords form the basis of piano music.

Rudiments first originated in the middle ages as a military call used by Swiss mercenaries who used pikes (spear-like weapons) in close formations. That kind of battle positioning required intense coordination, so the sound of the tabor (an early medieval snare drum) was used to communicate commands with distinct drumming patterns. Those patterns became the basis of the rudiments we use today.

In the twentieth century, the Percussive Arts Society created a definitive list of drum rudiments called the “PAS 40 International Snare Drum Rudiments”, which is considered to be the current standard and reference for all modern drummers and percussionists.

How to play rudiments

Rudiments are usually practiced on a pad or snare drum, but they’re played around the drum set as well.

If this is your first time trying them yourself, grab a pad, a metronome and some sticks and check out this lesson on grip where you’ll learn how to find your natural hand position on the stick, how to locate the fulcrum, and how to position your fingers around it.

Next, learn the four main strokes of the stick:

1. Rebound stroke
2. Control stroke
3. Tap stroke
4. Up stroke

World-renowned percussion educator John Wooton defines these four fundamental stick motions as the “real rudiments” of drumming.

Now that you have proper sticking technique on your grip and stroke, you’re ready to jump into the patterns themselves. Start with the single stroke roll and the double stroke roll: the two rudiments that serve as the foundation for all the others.

Make sure to practice leading (starting) with both your right hand and your left hand, and to add accents to the quarter notes in the single stroke roll.

How to play a single stroke roll

How to play a double stroke roll

How to play a paradiddle

Next, try a paradiddle: a pattern that combines two single strokes and a double stroke, and which naturally alternates between leading hands.

How to play a flam

After that, you can move onto the flam (where a lighter grace note precedes a stronger primary note) and the drag (where two grace notes – or a light double stroke – precedes a stronger primary note).

How to play a drag

Once you know these five basic rudiments, the rest are all variations on them!

Click here for a full list of standard rudiments, complete with video tutorials and notation for each one.

We’ve put together a playlist with drumless tracks at different tempos so you can practice rudiments over real music:

Why are rudiments important?

Practicing rudimental sticking patterns helps us build musculature and control in our arms, wrists and fingers, which improves our stamina, speed, and precision on the drum set. It’s really important as drummers to develop our non-dominant (and usually weaker) hand to the point where it is equal to our dominant hand.

For most of us, this means building up our left side. Playing a basic left-leading single stoke roll with accents is an great way to build stamina and dexterity in that limb. And since the left hand typically plays the snare drum, increased strength and precision in that hand means cleaner ghost notes, more controlled texturing, better shuffles, and greater consistency and power in your backbeats.

On your right side, working on stamina and articulation in that hand means the ability to play faster and more complex riding patterns (like continuous 16th notes and triplet-based jazz and swing ostinatos).

Practicing rudiments improves our stamina, speed, and precision on the drum set.

Playing rudiments to a metronome helps develop our timing and ability to subdivide (dividing beats into equal parts, like 8ths, 16ths, etc). Typically, rudiments are practiced using specific note values. For example, paradiddles are often played as 16ths, the triple stroke roll as 8th note triplets, etc. This kind of focused work to a click improves our ability to sync to a pulse and subdivide that pulse accurately and fluidly, which translates perfectly to playing on the kit.

Sticking exercises and pad work help us focus on grip and stroke, since we can pay attention to how we’re holding our hands, whether they’re equal in height and dynamic, if our strokes are consistent, and if on the same hand we’re getting a substantial height (and dynamic) difference between our accents and our taps. Rudiments also incorporate techniques like flams and drags, which can be used in a musical context to create texture and variation in grooves and fills.

In the following lesson on using rudiments musically, John Wooton says, “Applying [rudimental] technique to the drum set is more important than actually applying the rudiments.” John really hits the nail on the head in terms of why we practice rudiments as kit drummers: it’s not that you will necessarily play those particular sticking patterns in a song (although you might), it’s that having practiced those patterns on a pad will mean you’ve been working on your grip, stroke, rebound, feel, timing, dynamics and articulation, and it’s those things we then bring to the kit and to songs.

How to apply rudiments to the drum set

You can apply rudiments to the drum set, either just on the snare, or orchestrated around the kit. Start by using any of the forty patterns and play the left hand on the snare while the right moves around the toms. Then move both hands around the entire drum set.

Rudiments can also be played as grooves. For instance, a paradiddle played as 16th notes can be performed with the right hand on the hi-hat, and the left on the snare as ghost notes (accenting the two and four as backbeats). Any paradiddle permutation and accent variation can be orchestrated in this way as a groove on the kit.

Check out Dorothea Taylor demonstrating this very idea in her video on the importance of paradiddles:

And if you want a personal account of how rudiments helped her become a better drummer from the very beginning, read Dorothea’s story here.

Here are some additional ideas for playing rudiments on the drum set:

• Play a rudiment as a fill orchestrated on the toms.
• Play a bass drum in place of one of the hands – for instance, in a paradiddle-diddle where you substitute the kick for the left hand.
• Adjust the time signature of the rudiment and play over the bar line.
• Change and add accents.

These creative ways of using and practicing rudiments are beautifully illustrated by Juan Mendoza in his lesson on “Rudiment Hacks”.

Another way to be creative with rudiments is to adjust their subdivision. For example, a triple stroke roll that’s commonly played as 16th note triplets can be played as straight (duple) 16ths. Similarly, a double stroke roll can be performed as triplets. These and several other note value variations are demonstrated in this fun lesson on how to spice up your rudiments.

Practice your independence by playing an ostinato with the feet and various rudiments over top with the hands. For a mind-blowing example, Thomas Pridgen will play rudiments with his hands over a samba beat in 4/4 with his feet. He starts out with a basic double stroke roll and paradiddle that are also in 4/4, but then quickly moves to playing a 5 stroke roll in 5 (making a 5 over 4 polyrhythm with the foot ostinato), a 6 stroke roll in 6, a 7 stroke roll in 7, and so on, orchestrating and playing various accents and permutations at blazing fast speeds all over the kit.

Are rudiments necessary?

Many beginner drummers ask if they need to practice rudiments in order to play drums. It’s not crucial if you want to be a drummer, but if you want to be a great drummer – a well-rounded player with excellent feel, precision, dynamics and sense of time – you should practice rudiments to improve your technique.

So, go get your pad and sticks and give rudiments a try! Your investment will pay off in everything else you ever do on the drums.

Stage fright is a major issue facing performing musicians. Given that it may happen to you at some point in your drumming career, below are five ways to help you destress and get on with the show.

Prepare

Nothing beats the relaxation that comes from knowing your songs inside and out. Rehearsing is crucial, but it’s not only because you’re learning your parts. The stress response due to performance anxiety can actually impair your cognitive function and working memory. Being fully practiced and prepared means if your brain does go temporarily offline due to nerves, muscle memory can kick in and play the part for you.

Breathe

A study involving musicians in Australia showed that a single session of slow breathing was enough to control their stage fright, and that slow breathing was particularly useful for those who had high levels of anxiety in general. Relaxation, mindfulness, and other kinds of cognitive behavioral techniques have been shown to be effective at calming performance anxiety in musicians as well. Meditation, yoga, walking and deep breathing are good practices at any time, but they may be especially helpful when you feel nervous.

Connect

When we engage with people who make us feel good, our brain releases the hormone oxytocin. This helps us relax and quiets the fight-or-flight response, which means bonding with your bandmates before a show doesn’t just foster camaraderie, it quiets the nervous system. It’s awesome to know that just hanging out with your band can help everyone get back to baseline quicker.

Redirect

Shift your focus to your audience and how you can best serve them with your music — this makes your performance about them and not you. Think about why you’re a musician in the first place. Can you tap into that when you’re playing a gig? If you see yourself as a channel through which music is flowing, then instead of your performance being about how you look and whether you mess up, it’s more about being an open conduit and giving your viewers an amazing experience.

Remember

It’s ok to make mistakes. Do your best and realize there will always be more gigs. When we’re really anxious we tend to think in catastrophic, make-it-or-break-it terms — as if your whole career comes down to this one show. Giving yourself a realistic appraisal of the performance situation can help put things into perspective and calm your nerves.

If you experience performance anxiety on a regular basis, you’re not alone. Surveys have shown fear of public speaking to be even greater than fear of death in a large percentage of the population. Even Anika Nilles has dealt with stage fright, and she’s considered one of the best drummers in the world. Fortunately, there are some proven methods we can use to calm ourselves. How do you deal with a case of the nerves?

Below we’ve assembled some of the most commonly used drum beats in some of the most popular genres. It includes beginner drum beats, but intermediate and advanced drummers will find some awesome ideas here as well.

Rock drum beats

Simple 8th note drum patterns have been around since rock’s inception and continue to play a major role in popular music. These easy rock drum beats represent some of the most played, recorded, listened to, sometimes ridiculed but mostly revered, incredibly important patterns of all time.

The first – the grandmother of them all, “the basic rock beat” – is literally the foundation of most of the grooves we play on the drum set. Fittingly, it’s the first one in this beginner drum lesson:

Rich Redmond demonstrates the next four simple rock patterns in his lesson called “Money Beats”. As Rich says, these beats are “the ones you need to know to even think about playing in a band, playing on songs, or just being a working drummer”:

To step your rock grooves up a notch, add a 16th note bass drum stroke (or several). A great example is the cool drum beat to “Comfortably Numb” by Pink Floyd, shown in this Drummer’s Guide to Rock:

And to go all the way in your rock playing, learn the iconic beat to the Nirvana song “Smells Like Teen Spirit”. This article shows five variations, from beginner to Dave Grohl level. Here’s the beat Grohl plays in the song:

Here’s a video showing you how to get there, even if you’re a total beginner:

Funk drum beats

Funk borrows heavily from rock drumming, but with some signature differences. Syncopation, snare displacement, 16th note ride patterns, hi-hat openings and ghost notes are all hallmarks of funk beats. To get started, check out the first example of a basic funk groove in this Drummer’s Guide to Funk. It contains a snare displacement on the A of 2 and a kick beat on the E of 3:

If you’re looking for a more advanced drum beat in the funk genre – one that uses almost all of the techniques mentioned above – check out the “Funky Drummer” groove by James Brown’s drummer Clyde Stubblefield. It’s considered by many to be the most famous drum beat of all time (it’s definitely the most sampled!).

Watch this video to see how it’s played:

Blues drum beats

Shuffles and triplet-based grooves are stereotypically associated with blues playing, but they’re really everywhere in popular music. Learning them is an absolute must.

The 12/8 slow blues pattern is the basis of many Motown and R&B hits (and pop songs as well), and is counted as 8th note triplets:

In this example of a basic shuffle, the hi-hat is taking the shuffle part (it could also be taken by the bass drum, the snare, or any combination of the three):

Nowhere are shuffles more recognizable than in traditional blues playing. For an awesome demonstration of various types of slow blues beats and shuffles, check out this lesson by Tony Coleman, longtime drummer for B.B. King:

Next, you should learn the half-time shuffle, also known as “the Purdie shuffle” (named after the originator of the groove, R&B Bernard Purdie).

This beat, famous among drummers, was used by John Bonham as the basis for the Led Zeppelin song “Fool In The Rain”:

It’s also the foundation of Jeff Porcaro’s well-known drum beat for the Toto song “Rosanna”:

To see the inventor himself in action, check out this amazing lesson by Bernard Purdie where he demonstrates his iconic groove:

Latin drum beats

Every working drummer should have at least a basic knowledge of a few latin drum beats, and the bossa nova is probably the most quintessential latin groove. It typically includes a 3-2 clave (a two measure pattern with the first measure containing three beats and the second containing two) played with a closed hi-hat and rim click on the snare, over a traditional samba ostinato on the kick drum.

In his “Introduction to Brazilian Grooves”, Mark Kelso demonstrates the traditional bossa nova rhythm on the drum set, and discusses the importance of dynamics and feel in these rhythms:

If you want to up your game in the latin realm, beats like the Cha-cha, Songo, Mambo, and the Mozambique (all of which can be found in this Juan Mendoza lesson “Latin Grooves Every Drummer Should Know”) are mainstays of the genre.

For the more advanced players, here’s the Mozambique:

Jazz drum beats

An art form in itself, jazz is often considered the most advanced musical style. Its fundamental drum set rhythm is a triplet-based swing pattern played on the ride cymbal, with a hi-hat foot pattern played on the backbeats of two and four:

For a step-by-step demonstration of the basic jazz groove, see the below video called “Your First Jazz Lesson”, which includes incorporating the bass drum on the quarter notes for a technique called “feathering”:

Check out “A Drummer’s Guide to Jazz” for more essential jazz grooves.

Improvisation and soloing are major components of jazz playing. The drums respond to and accompany the melodic motifs of fellow musicians by doing something called “comping”, which can be performed on the snare, bass drum, or ride cymbal, or any combination of the above.

As an example, this notation shows comping for multiple limbs:

Metal drum beats

Most metal drum beats incorporate a technique called “double bass” which consists of two bass drum pedals – one for each foot.

The first metal pattern below is a basic double bass beat made up of 8th notes on the hi-hat, snare on the backbeats, and alternating 16th notes being played between the two kick pedals. It’s the first notation from “A Drummer’s Guide To Metal”:

Next up is a “blast beat”, a pattern commonly used in death metal and metalcore. Blasts typically incorporate double bass, but some, like the beat below, can be played with a single pedal.

Another example of a typical metal beat is the “bomb blast”. Both hands play at the same time with the feet simultaneously doing 16th notes underneath. In this article and video on “The Five Iconic Beats Every Metal Drummer Should Know”, it’s the last example:

Congratulations if you can play all the drum beats we’ve presented here! And if you’re still learning, that’s awesome too. Being a well-versed drummer with the ability to play in a wide variety of musical situations takes time and dedication.

If you want to learn more about all the different types of drum beats, check out The Drummer’s Toolbox – you’ll learn over 100 styles!

With more drum companies getting in on the trend, the consequence has been a wider range of models and prices, making electronic drums available to players at almost any level. Below we’ve outlined the reasons why you might consider an e-kit for your next drum purchase.

What are electronic drums?

Electronic drums consist of a “sound module” that generates synthesized and sampled sounds that are then triggered by pads equipped with sensors. The pads are made of either rubber or woven mesh, provide stick rebound similar to an actual drum head, and are typically mounted in a configuration similar to acoustic drums. The sound signal from the module is heard either through an amplifier speaker, headphones, or both.

The benefits of electronic drums

Low volume

The (likely) number one reason people buy electronic drums is for playing quietly at any time of day, the only ambient sounds being the sticks and kick beater striking the pads (beaterless kick pedals can bring the volume down even more). Even the vibration on the floor from the hi-hat and kick pedals can be reduced by using what’s called a sound isolation board. Just plug your headphones into the module of the e-kit and play to your heart’s content, all without bothering your family or neighbors.

(And an added bonus: you won’t need ear protection as you do with real drums – just keep the levels low on your headphones or amp!)

Small size

Because they’re just a set of pads, electronic drum kits are generally more compact than acoustic sets and can fit in smaller spaces or in a corner of a room. You can even store them in a closet or under a bed when you’re not using them. And since a pad doesn’t have the depth dimension of an acoustic drum, it can be easier to adjust them for your individual height (for example, tom pads can be closer together, and snare and toms can be lower to the ground).

Variety of sounds

Electronic drums let you literally change your sound with the touch of a button. Most modules have hundreds of built-in sounds, including not only electronic sounds, but studio-quality acoustic drum samples as well (including effects like reverb and delay). A lot of e-drum models come with the ability to load in your own custom samples too, making your sonic choices virtually endless.

Mix and match various snares, bass drums and cymbals, and transform the tone and sensitivity of each pad to create tailor-made virtual kits. On some higher-end models, you can swap out drum heads, change beaters, add muffling, and edit the ambient environment. You can even include sounds like brass, strings, choirs, and sound effects with electronic percussion plug-ins.

Portability

Electronic drum kits are light and easily carried, and when broken down can fit in a couple of cases (some portable kits even come with their own carrying bag). They offer a movability that acoustic sets just can’t match.

Good for kids

If you’re looking for something the little ones in your life can bang and learn on, an electronic drum set may be the way to go. The variety of sounds could keep them busy for hours, models with rubber pads offer good durability, and the small size means the whole kit might fit in your child’s bedroom. The adjustability alone of an electronic drum kit is something to consider: since the snare is just a pad on a rack-mounted arm, it can go as low to the ground as needed to fit your child’s height (and can be adjusted as they grow). And since some electronic hi-hat and bass drum pedals aren’t attached to stands or actual drums, they can be placed as close as needed for little legs.

What else can you do with electronic drums?

Learning and practice

Most electronic drums come with metronomes and play-along tracks already in the sound module, and many include training tools like exercises and drills. Virtual coach options can help with your accuracy, timing, and coordination, and combined with the ability to record and listen back in real-time, it’s like having a helpful instructor right next to your drum set.

Explore different drumming styles by playing along with onboard songs and musical patterns, play song files off of a USB thumb drive, or use the aux jack to connect your phone or another playback device so you can jam along to songs. USB/MIDI ports even allow you to hook up to drum tutorial software from your laptop.

Recording

Most e-drums have built-in recording options so it’s easy to create professional sounding tracks without the need for microphones and preamps. This includes being able to connect directly to an audio interface and into a DAW (USB and MIDI jacks come standard in almost all models). No more sound-proofed studio rooms and hours of checking drum mics and volume levels. With electronic drums, you just plug into the recording console and you’re ready to go.

Live sound

Control over your acoustic drum sound at gigs can be challenging since trusting an audio engineer with mics, levels, and EQ settings is a gamble to say the least. With an electronic drum kit, you just hand them a pair of cables. Since there are no mics or ambient sounds, it’s much more likely that whatever audio you send to the sound person from your kit is exactly what the audience will hear.

Playing with samples

If you’re thinking about buying a multi-pad device like an SPD-SX to incorporate samples into your playing, it might be easier and cheaper to use electronic drums instead. While they’re typically used to trigger drum and percussion sounds, e-kit models that allow drummers to load their own samples can let you trigger any type of MIDI or recorded sound. If you already have electronic drums or are thinking of buying some, using samples might be a function that’s already included in your kit.

Synth-based/electronic music

It almost goes without saying that if this type of music is your jam, electronic drums will be a great fit. While many drummers with e-drums are trying to get them to sound like acoustic drums by using samples, you can use the already-included digitally generated sounds to perfectly complement any electronic genre.

What to expect

Rubber pads vs. mesh heads

One of the primary differences in both the quality and price of an electronic drum kit is the type of pads it comes with.

Mesh heads have a woven cloth-like surface and less ambient noise, and they resemble acoustic drums in both appearance and feel (especially because their tension is adjustable, like a real drum head).

Rubber pads are similar to a practice pad in feel but are typically cheaper and more durable than mesh heads. And while they have an improved design from years past, rubber pads still have more ambient noise when hit with a stick (and they don’t feel as realistic as mesh).

It’s worth trying kits with both types of pads at your local music store to see which fits your needs and price range.

Different feel and response than acoustic drums

This is probably the main complaint from acoustic players about electronic drums since no matter how carefully a sample is created, there’s still a limit to how many dynamic levels it has available for a single stroke on a pad. That said, mesh heads have gone a long way to create the same feel as an acoustic drum, and there are many sensitivity settings a player does have control over. Because the technology on e-drums is improving constantly, don’t assume sight unseen that they just “won’t be the same”. Try it for yourself!

Takes some tech-savvy to dial in what you’re looking for

To adjust things like sensitivity and dynamics, create virtual kits, and import samples, it takes some deep-diving into the nested menus of an electronic drum module in order to change specific settings and parameters. If you’re going to buy an e-kit, expect at least a minor learning curve to tailor the response and sounds to fit what you’re looking for.

Positioning the drums

Unlike an acoustic kit which typically has separate stands for each component, the drum pads, and cymbals on an electronic drum kit are mounted on a rack, so moving drums into the positions you want for your height and preference can be a little tricky. Just get out your drum key and experiment to find the best ergonomic position.

Amplification needs

If you want to hear your electronic drums without wearing headphones, you’ll need an amplifier and speaker (a monitor). There are monitors specifically made for electronic drums, and keyboard amps and PAs also work well. Look for something with a wide frequency range to handle the highs of the cymbals and the lows of the kick drum.

The holy grail of electronic drums is the feel and response of an acoustic kit with the sounds and versatility (and connectivity) of electronics. The technology available today makes combining these two worlds closer than ever before. If you’ve ever wondered about electronic drums, now might be the time to check them out.

*This article contains affiliate links, which means we might earn a small commission from the product seller if you make a purchase. For more info, check out our privacy page.

Drum fills are rhythmic patterns that either elaborate on or break from the main groove of a song. They’re typically used as a transition between song sections, and often come after two, four or eight measures. Fill lengths vary and depend on the musical context. They sometimes last just one or two beats, or as long as one or two measures – and sometimes even longer.

Drum fills can be thought of as not just rhythmic, but melodic as well. A drummer can create a fill “theme” in a song; for example, every fill consists of 8th notes and starts on the 3 in a measure. In this way, a fill can be the drummer’s equivalent of a melodic hook – a “memorable musical idea” that catches the listener’s ear and comes up a few times throughout a song.

What are drum fills used for?

Fills create interest, excitement, and even tension/release when transitioning between parts of a song, such as from a verse to a chorus. They’re deviations from the main groove that introduce a new texture in order to “fill the gap” between melodic phrases and mark that something’s happening musically.

You could think of hitting a crash cymbal as the simplest drum fill: it takes up the space of just one beat but is still a break from the primary rhythm, usually emphasizes a musical transition, and signifies the end of a group of two, four or eight measures.

Dave explains how to play a drum fill perfectly in this video (even if you aren’t playing rock music):

Here are some of the most widely used drum fills – from beginner to advanced – that every drummer should have in their rhythmic toolbox. These popular and familiar fills have stood the test of time because of how well they work in a wide variety of songs.

Beginner drum fills

Intermediate drum fills

Advanced drum fills

Use this list as a jumping off point to building your own skills. Your fills can become your signature “voice” as a drummer – so improvise, experiment, and trust your creativity.

Play-along tracks can help you practice your timing and improv, work on specific techniques, try out various beats and fills in different styles, and even improve your ability to play in odd time.

They provide an opportunity to apply the skills you’ve been working on in a musical context, and they’re typically much more enjoyable than playing to a metronome. Because you’re drumming to actual songs, they can be used to practice musicality as well. These tracks are especially great when it may not be possible to jam with other musicians.

(If you’re a new drummer, click here to check out a new, easy-to-follow video course that’ll teach you everything from how to hold drumsticks to how to play along to your favorite songs. It’s only $7 – less than your last Uber ride!)

Drumless tracks

Typically, songs that have been recorded with no drums, or where the drums have been removed, are called “drumless tracks” or “drum play-along tracks”. Some are specifically written and recorded for drummers to play along to and add their own parts, some are original tunes written by a composer, and others are “sound-alikes” or covers of popular songs.

There are also original recordings (think The Who’s “Won’t Get Fooled Again” or Nirvana’s “Smells Like Teen Spirit”) where the drum tracks have been removed, which gives you a chance to try out some famous drum parts (or write your own) over the actual song.

Free drumless tracks to download

If you want to try jamming along in different styles, here are some free MP3s to get you started:

Jazz drumless track – With Click | No Click
Rock drumless track* – With Click | No Click
Funk drumless track** – With Click
Latin drumless track – No Click
Prog drumless track – No Click
Country drumless track – With Click | No Click
Techno drumless track – With Click | No Click

*”Slow Rockin'”
**Track composed by Nathan Bosch

You can also check out this simple, repetitive play-along (with MP3 downloads) to practice drum fills over.

Drumeo members can get access to thousands of drumless songs through the award-winning platform, and the free 7-day trial is more than worth it:

There’s also the free version of the moises.ai app which lets you remove drums from 5 songs per month. You might love it so much you’re willing to pay for the full thing. Check out our Moises tutorial here!

We’ve also put together a playlist with drumless tracks at different tempos so you can practice or jam over real music:

Tracks with drums

This could be a song by your favorite band that you play along to from a CD or Spotify/YouTube stream. It could also be a song a teacher assigned to help you practice a specific technique. In this case, it’s useful to have a version with drums in order to understand what you might play. Most teachers offer play-along tracks with and without drums so you can practice along and then try it out on your own.

Where to find play-along tracks

Do a search on “drumless tracks”, “drum play-along” or “minus drums” on YouTube and you’ll find over a dozen channels dedicated to them, as well as numerous playlists. Many of these collections are organized both by style (rock, funk, jazz) and by tempo, so if you’re working on a technique at a certain speed, you can choose accordingly. Some channels contain tracks all written and played by one composer, and some are compilations of various writers.

Even Spotify has playlists of drumless tracks, and there are entire websites dedicated to providing them, both free and paid. You can find thousands of songs at drumlessversion.com where the drums have been removed from the original master tracks. Music publishers like Hal Leonard and Vic Firth offer free drumless tracks (often with a PDF of the song chart and drum notation), Amazon and iTunes carry play-along compilations, and drum education sites like Vic Firth and Drumeo offer drumless tracks as well. For example, Drumeo has hundreds of play-alongs you can sort by tempo, skill level, and style.

Also, many drum education books include CDs (now digital downloads) with play-along tracks for you to practice the techniques taught in the book.

Click tracks

Most drumless tracks that are created specifically as play-alongs (as opposed to well-known songs where the drums were removed) have count-off clicks at the start to tell you when to come in with the drums. Many come with a click track that plays all the way through the recording.

Some education sites offer drumless tracks that come in two versions: with and without a click. This lets you practice and record yourself playing with the click version, then try the no-click version to work on your timing and precision (this can really hone your ability to follow the bass like you would when playing with a band).

Remember: if you download a play-along that doesn’t have a click track, you can always import the song into a DAW (Digital Audio Workstation) like ProTools, Logic, or Reaper, and add your own.

Recording and making drum videos

If you’re looking to make drum videos to post on social media (or just for yourself for feedback and educational purposes), play-along tracks are a perfect solution. Most aren’t copyrighted, so are free to use them for your own purposes. If it’s not a cover, it gives you a chance to showcase your own writing and arranging skills for drum parts.

If you want to record cover videos, look for drumless versions of the song (because if you post the original, it might get pulled from YouTube due to copyright issues). And if you’re using an all-in-one recording solution like the Yamaha EAD10 with its companion Rec n Share app, you can easily import a drumless track and record yourself playing along in minutes.

Playing with music is one way to make practicing and learning drums even more fun. Use drumless tracks and play-alongs to apply new skills, work on time and feel, learn how to write drum parts, and enjoy your favorite songs. Give it a try!

Also…if you’re looking for free video lessons, tips, and cool deals, drop your email here. We’ll respect your inbox – promise!

*This article contains affiliate links, which means we might earn a small commission from the product seller if you make a purchase. For more info, check out our privacy page.

Rehearse, rehearse, rehearse

Practice your songs so you are absolutely nailing them. Not only does playing with confidence inspire new fans, you’ll be grateful for the muscle memory if you end up having a case of nerves at the gig. If any of your drum parts are feeling shaky in rehearsal, realize this will likely be times ten when performing in front of an audience. So, work on those sections to make sure everything is feeling 100%.

Create a similar environment

Arrange your rehearsal space so it’s as similar as possible to a music venue; it can help you feel more at home onstage. Practice with your band facing forward and in their stage positions, and face your PA speakers forward as well. If possible, use monitors. Decide the order you’ll play your songs and rehearse that, and practice looking at the audience instead of down at your drums. Try wearing what you will at the gig to make sure it’s not too loose or tight. You can even figure out what cues your band will use if you can’t hear each other at the show.

Use your soundcheck wisely

Keep in mind that soundcheck isn’t a time to show off your chops. While it’s important to play how you’ll perform so the sound person can set the correct volume levels, soundcheck is also the time to make sure you’re hearing what you need through your monitor (for example, do you cue off lyrics? Then your singer should be coming through loud and clear!). Remember, your sound person has everything to do with how you hear yourself and how the audience hears you, so having a friendly, respectful relationship with them is crucial.

Backline or your own drums?

If the gig is backlined (meaning the venue or promoter provides the equipment for everyone to use), realize you might be adjusting drums and stands on the fly — and probably with little time — so make a mental map before the show as to what their positions are on your personal kit. Bring your own cymbals and snare, since those are your signature sounds as a drummer, and grab your kick pedal as well since the tension is set to what you’re used to.

Whichever drum set you’re going to use at the gig, make an emergency “drum repair kit” with extra heads, sticks, drum key, cymbal felts, hi-hat clutch, gaffer tape and dampening gels, and carry it in your hardware bag. Check, and possibly grease, your hardware ahead of time to make sure everything can be both loosened and tightened. And bring your drum rug, since some venues may not have one.

Find out venue details

Save time and headaches by communicating with the venue ahead of time to make sure everyone has what they need. Here are some questions you should consider:

• Where is the venue located, how long will it take to get there, is there parking, and where do you load in?
• What time is load-in, is there a sound check, and if so, what time is it?
• How many channels does the PA have, will everyone have a monitor, are there separate monitor mixes, and are they requesting a stage plot (the layout of your equipment on stage)?
• How many bands are playing, where is yours in the line-up, and are drinks and/or meals provided?

Relax and enjoy yourself

The main thing to remember is to have fun! Let go and realize it won’t be perfect. You can only get better at something by doing it a lot, and there will always be another gig. As a performer, serve your audience as best you can by giving them an amazing experience. Be proud you’re attempting something risky and new, and trust that being yourself onstage is always the way to go.

Here are some ideas and techniques you can use to create more complex drum fills.

Odd Groupings

Consisting of three, five or seven 16th notes, accents and/or various orchestrations can form the groupings. Check out example #2 in this video:

A grouping of three 16ths forms the basis of possibly the most famous drum fill of all time: Phil Collins’ “In The Air Tonight”. Naturally, it’s the first example here:

If you’re new to odd groupings, this video will give you a quick but solid introduction:

Linear Fills

“Linear” in drumming means no two limbs fall together. Linear fills can be incredibly cool and textured sounding. The fill above comes from this Carmine Appice lesson on linear playing:

Typically they’re played with a 16th note subdivision, but if you’re a beginner who decided to take a peek at this section for fun, you can play linear fills too. Here’s an 8th note version:

Six Stroke Roll

The six stroke roll sounds great when you apply it around the kit. Steve Gadd uses it all the time, and you can too.

Watch this video to get some ideas for how you can use the six stroke roll as a fill:

Neil Peart Solo Fill

If you’re looking for a specific fill created by one of the legends, try this one by Neil Peart (“Natural Science” from Permanent Waves):

If these patterns are too easy for you, then you should check out these advanced drum fills.

If you learn a concept as a groove or solo, you can still pull sections to use for fills and transitions.

Here are a few tricky fills for the drummers who are looking for something a bit more challenging.

Combination Fill

This Marco Minnemann lick is great for challenging your four-way independence, as well as your speed and fluidity.

Herta Fill

Adam Tuminaro incorporates hertas to give fills more drive:

Quintuplets

Turn this Anika Niles quintuplet groove into an interesting backbeat fill. Quintuplets are less common in popular music, which can make it difficult to find songs to reference:

Left Foot Ostinato

Here’s an example of a Thomas Lang pattern with left hand accents. It may look like an intermediate lick:

…until you add in the left foot ostinato to test your independence:

What did you think of these patterns as drum fills? Too easy? Too difficult?

What is a drum fill?

A drum fill is a pattern that strays from the main groove of the song, and is typically used to transition from one section to the next. It helps to break up repetition and can be really fun to play!

Some drummers think a fill is the time to play a complex pattern or perform a miniature solo. While this is technically correct, a drum fill is meant to be a transition piece. You use it when you want to move to a different section in the song, such as from a verse to a chorus. Basically, a drum fill should be a deviation from what you’re playing in order to introduce something new to the listener.

You can play a drum fill for as long as you want, but there are three common durations for fills that you’ll hear regularly in rock music: the full bar (the longest), the half bar, and the quarter bar (the shortest). The main goal is to internalize the timing of these fills so you know when to start, and when to stop.

Most drummers will finish the fill with a crash, which marks the end of the transition and starts the next groove with a flourish on beat one.

Practice tip: When going through these fills, try to practice them in phrases. This basically means just play a drum beat, play your fill, then go back to the drum beat. Act as if you were playing it within a song.

Here are 7 easy drum fills for beginner drummers:

1. The traditional 8th note fill

This 8th note fill is usually one of the first fills a drummer learns. It can be any length, but often is a full measure starting on the 1.

In this free beginner lesson on rock drum fills, it’s the first example:

2. The 8th note build

Another basic drum fill used in many styles of music is the 8th note build: a crescendo fill that’s usually orchestrated between the snare and floor tom (and sometimes includes the kick drum as well). It’s generally used to build tension into either a higher energy section of a song, or sometimes into a complete stop. It’s example #2 in this lesson on rock drum fills for beginners:

3. The “splat-boom”

This simple drum fill, used mainly in rock music, is an alternating pattern between the snare and kick drum (with a flam on the snare), and can consist of either 8th or 16th notes.

For a 16th note version that finishes with another classic fill – a simple 16th note flourish on the snare starting on the 4 – see example #3 in this video on how to incorporate the bass drum into fills:

To see how it’s used by Dave Grohl in the intro to the Nirvana song “Smells Like Teen Spirit”, check out this guide to iconic drum fills.

4. The traditional 16th note fill

Ready to roll around the kit? You’ve definitely heard this one before. Versatile and adaptable to all styles of music, the traditional 16th note fill forms the basis of many of the drum fills we know and love. It’s example #3 in this video on common rock fills:

5. “Pat Boone Debby Boone”

This is a classic fill that works across many styles. The mnemonic known among drummers comes from the rhythm made by the syllables: pat-boone-de-bby-boone (or ‘3 AND 4-E-AND’ when counted).

6. The Motown fill

A fill used in countless blues and R&B songs, sometimes even as an intro before any other instrumentation, it’s usually orchestrated between the rack tom, snare drum and floor tom.

7. “Bucket of fish”

Used mostly in rock music, the name is another mnemonic formed by the rhythm of the syllables. The pattern is played as a 16th note triplet followed by an accent on the next 8th note.

Stephen Taylor demonstrates all three of these fills in this video:

Have you learned all the fills on this page? Are they too easy for you? If so, it’s time to move on to intermediate drum fills!

Looking for more beginner drumming ideas? Check out our mega-guide on how to play drums: it covers everything you need to know about progressing as a beginner, reading music, buying drum equipment and much more.

Follow these tips to hone in on the right drum teacher for you.

What to look for

Skills

It almost goes without saying that your potential teacher needs to be a good drummer, especially in the areas and genres you’re most interested in. Just remember that a drummer doesn’t have to be the fastest or most technical to be an excellent teacher who can give you a comprehensive foundation.

Reputation

This counts for a lot since word of mouth, recommendations, and testimonials go a long way. Whether you’re just beginning, or already an intermediate or advanced player, look for a teacher who comes recommended by other students at your same skill level. If you’re trying to find an instructor for your child, read testimonials from other parents. If possible, watch videos of current and former students. Do they seem like they’re enjoying themselves?

Approach

It’s important to match your goals with your potential instructor’s teaching style. Some questions to ask might be: Does the teacher have a lesson plan and convey knowledge in a way that builds on itself? Is there a system in place that’s clearly worked for other students? If the instructor has a more traditional background and wants you to practice rudiments on a pad for the first six months, but you want to play songs right away, that may not be the right person for you – so find that out ahead of time.

Personality and Rapport

This may be the most important factor since a skilled drummer doesn’t necessarily make for a skilled teacher. And while an instructor may have a good reputation, it doesn’t mean they’re the best choice for your particular learning style. Are they warm and inviting? Supportive and encouraging? A good listener? These things really matter when you’re feeling vulnerable learning something new, especially in a situation where you’ll potentially be spending hours together.

(For a full discussion on what to look for in a drum teacher, listen to this episode of the Drumeo podcast!)

Where to look

Online drum lessons

From free videos on YouTube offered by a wide variety of drummers, private teachers on music lesson sites, and courses offered through music schools, to subscription sites like Drumeo, the choices are virtually endless. You can also search social media and the websites of your favorite drummers to find out who’s taking new students. Many pros offer free lessons on YouTube and Instagram, in addition to individual paid lessons via Skype or Zoom (like Tommy Igoe, Anika Nilles and Stephen Taylor, to name just a few).

(Editor’s note: We’re biased of course, but thousands of students think Drumeo’s online learning community and tools are the best in the game! If you want access to the world’s top drum teachers, one-on-one feedback, thousands of songs and instructional videos and a roadmap to keep you focused, click here)

Local music schools and stores

If you’d rather take in-person lessons with a local drum teacher, most urban areas have at least several music stores that offer lessons at their location, often with a selection of instructors to choose from. A Google search should pull up music schools and stores in your area, and you can call or peruse their websites for prices, times, and sometimes teacher profiles.

School of Rock

With 260 franchises in 9 countries, it’s highly likely there’s a location in your area. School of Rock offers private lessons as well as group rehearsals, and the opportunity for live performance recitals and even playing with a band.

Girls and ladies rock camps

What started as a single organization in Portland in 2001 is now a global movement with hundreds of camps all over the world. Most programs only happen once a year, but if you or your daughter are looking to learn drums in a supportive, encouraging environment – and get involved with a local community of female-identifying musicians – this is the place.

Drum camps and clinics

Many pro-level drummers offer camps and clinics – either at their own location (Mike Johnston, Thomas Lang), or various locations throughout the US and Europe (Benny Greb, Anika Nilles). Drum camps offer an intensive deep-dive with one of your favorite drummers in an intimate setting.

With so many high-quality instructors and options for learning, and a range of prices for all skill levels, there couldn’t be a better time to take drum lessons. Just remember that you may need to try out several teachers and approaches to find the one that works best for you. Be patient, keep searching, and the right one will come along!