Todd's role as an educator and clinician is very much rooted in the fact that
he, too, has been a dedicated student. His teachers have included such respected
drummers as Ed Soph, Gary Chester, Joe Morello, John Riley.
Over the years Todd has been a featured clinician at the Missouri Music Educators Association's annual
convention, the University of Kansas Summer Jazz Camp, Great Plains Jazz Camp in Emporia, KS, the UMKC Jazz Camp, the Stamford (CT) Young Artists Jazz Camp, Iowa State University and many other high schools and colleges throughout the midwest and Hawaii. While living in Kansas City he taught at the University of Missouri - Kansas City (1990-2000) and currently holds an adjunct position at Mt. Hood Community College in Portland, OR.
Todd Strait Writes about Teaching Drums . . .
In the following paragraphs, I will briefly pass along what I offer in lessons and through clinics and summer jazz camps. I try to approach the drum set as a musician who plays the drums. To me this means understanding how to contribute to the music at hand to the best of my ability and having the tools to do it!
The Instrument:
First of all, a firm grasp of the basic rudiments and good hand to hand coordination is very important. The main publications I use to introduce and expand on this are:
These books are perfect for drum set study. The variations are infinite and can be used to develop independence and coordination needed to play any style of music.
The Music:
In exploring how to use all this musically, the key is to listen to the great drummers and the ways they contribute -- supportively, interactively, proactively. Transcribing drum solos/exchanges is important because it isolates specific phrases for study and strengthens your reading skills at the same time. I also ask students to listen to and transcribe what the other members or sections of a group are playing too, whether it be soloing, comping, or "background" parts. Hearing this is vital to what ever style you choose to play! I personally tend to use mostly jazz artists for my own study but this idea applies to all genres.
An example is Miles Davis' solo on "So What" from the Kind of Blue recording. It is a great solo to play on the drum set. Since drummers don't deal in specific pitches, they have to imply melodic lines with dynamics and approximate pitches available to them.
Experimenting with horn solos on the drum set can help take you beyond purely rhythmic improvisation and into a more melodic approach. Bill Evan's comping on the same track is a great example of rhythmic restraint and solid contribution. Plus, this transcription can be used as a wonderful exercise in coordination/independence on the drum set. Paul Chambers' walking bass lines not only help outline the hills and valleys for Miles' solo, but give us a guide for varying the ride cymbal pattern.
My teachers have included musicians who are drummers and just as many who may not play drums as their instrument of choice. I believe that there is so much to music and that it is so alive, there is no end to learning more. In closing, I see teaching as a great opportunity to inspire students by sharing what I've learned and to hear their musical perspective.
Todd is currently accepting a limited number of students.
Click here to contact him about lessons.
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