All instrumental teaching is subject to its own techniques and idiosyncrasies, offering challenges that are dealt with according to the aptitude of the student, the mechanics of the instrument and the experience of the teacher. Teaching percussion is unusual in that it is possibly the only area where more than one instrument is learned. Far from being a disadvantage, however, this can actually serve the learner – reinforcing musicianship and providing variety, offering benefits to pupils and tutor.
What do we mean by ‘percussion’?
‘Percussion’ is an all-encompassing term meaning anything that is hit, scraped or shaken, and there are literally hundreds of instruments that fall into this category. In general terms, however, the main three offered in British schools are drum kit (including snare drum), timpani, and tuned percussion (xylophone, marimba, glockenspiel and so forth). There are of course wonderful examples of ‘ethnic’ instrumental percussion lessons offered in certain areas, but these – such as tabla – require specialists teaching a different musical language using fingers and different hand techniques. Latin American percussion also falls into this category, with congas in particular requiring specialists. All are valid, all serve important musical purposes; but in general when children request ‘drum lessons’, they are usually referring to the drum kit. That said, if a pupil expresses an interest in ‘drums’, there is no reason why complementary skills embracing the breadth of percussion can't be harnessed and used to strengthen cognitive and physical development.
Working with left-handed players
A slight hindrance, however, is how to deal with left-handedness. Rough estimates are that 10% of the population are left-handed, though anecdotally that appears to be a significant underestimate. Whatever the real numbers, there is a significant minority of learners who are left-handed and – given that the world in which they operate is right-handed – this can produce some challenges. (It may also be why left-handed estimates are so low; many, subconsciously or otherwise, will be functioning away from their natural side.)
But why should left-handedness be a problem at all? Drum kit players clearly need to operate all four limbs and it is always an advantage to have equal distributions of strength and coordination. The answer lies in the fact that the drum kit is set up in a particular way – meaning much of the ‘leading’ is done with the right hand (hi-hat) and foot (bass drum). Although the essential ‘back beat’ is on the snare drum (left hand), it tends to be less busy in the early stages. The drum kit is set up in such a way to enhance this, and if everything is done in reverse, it needs to be reset.
Problems are exposed if a kit is being shared, and some teachers feel strongly that all children should learn the same way anyway. Many others, however, remain firmly on the fence – indeed, find this to be a vexed and unresolved question. In practical terms, there are compromises that can be made: for example, some students can learn ‘open-handed’ (right-footed, but with the left hand playing the hi-hat), and improvised or ‘fill’ passages can be developed no matter which hand is dominant. Ultimately, dealing with this is down to a collaboration between the teacher and pupil, with much emphasis on teaching experience and the natural leanings or otherwise of the pupil.
Natural aptitude
Natural aptitude is one part of the perplexing question associated with left-handed playing, and it needs to be emphasised that percussion tutors are often matched with children who are already challenged. This is partly because of prejudicial low expectations of drummer musicianship, but also because these can be students who have been identified as having problems with fine motor skills. Holding a pair of sticks – as opposed to complex fingerwork – can achieve an ‘immediate’ sound while concentrating initially on a single line of music. This produces good results. However, years of teaching have shown that many left-handed children are at an automatic disadvantage. As suggested above, this shouldn't necessarily be so, but these children can be slower with other cognitive and coordinative tasks, such as reading, understanding the difference between left and right, and moving around the kit in a clockwise direction. There may also be other issues around dyslexia, dyspraxia or slower processing of information.
Probably the best way to appreciate left-handed challenges is to imagine constantly translating and operating in a wonky world. This could be attempting to speak in a second language or attempting a task requiring delicate dexterity while looking in the mirror. It's possible, but everything is harder, completely unnatural, slower, and can never be left to instinct. Learning percussion amplifies this.
Helpful techniques and exercises
Here are some suggestions of things to try:
- There are clear and immediate advantages to teaching one-to-one. Tutors are able to observe students more closely, assess their response and adapt accordingly. Watching and allowing mistakes to occur can give space to observe certain patterns, such as unnecessarily crossing the hands or over-emphasising one side. In other words, observation – as opposed to automatic correction and/or responding aurally – can offer important clues as to how the left-hander is functioning.
- Percussion teaching is often able to cope with the boredom and/or ‘plateauing’ issues because of its ability to move ‘sideways’ onto another instrument, while essentially reinforcing the same message. A steady pulse, for example, can be nailed on a djembe, xylophone, timpani, or drum kit. In other words, there are more options for variety, thus mitigating the distractions for overstimulated or perhaps panicky and clumsy children.
- Improvisation is another area where percussionists enjoy immediate rewards. The physical ability to respond to answering phrases can be tried very early; even total beginners can show a positive and creative reaction.
- Working on dynamics isn't just a musical exercise; it is great for controlling stick height and coordination. A useful technique is to practise different volumes using stick height alone (as opposed to lifting the arms higher). This exploration allows learners to think consciously about movement, rather than just hitting and hoping.
- Understanding the ‘click’ (automatic on most backing-tracks) cannot be taken for granted! Many percussion teachers will have found this to be one of the hardest concepts to explain to those who don't naturally feel it. Try plenty of reinforcing exercises (such as switching instruments) and keeping the exercises very simple. A snare drum or ‘single line’ instrument here can be useful.
- Many percussionists write ‘L’ and ‘R’ (left and right) on the music to help produce logical sticking. It's worth checking to see if this actually matters. I had one colleague who allowed pupils in the early stages to use one hand only, if they wished, which produced promising results. Some pupils are confused by letters, struggle to tell the difference between their left and right, and may come up with something perfectly valid of their own.
- Peripheral vision is an underrated skill and can be worked on in the very early stages. The concept can be explained with no instruments at all (getting the children to observe out of the corner of their eye), and is hugely beneficial for percussion playing. Learners can struggle if they don't trust their body to reach for and play the instrument. You don't need to look at the drums to play them, and of course playing is an all-round sensory experience: listening, reading, feeling and responding.
Finally, a good percussion environment is going to produce the same positive force as with other instrumental disciplines. If the equipment and working spaces are all there, then improvements manifest behaviourally, physically and mentally – resources and support need to be in place. Strengthening this further through ensemble work complements the musical skills on any instrument. Having the opportunity to perform in groups represents the public platform of playing an instrument and contributes exponentially to the culture and community in education.
