Andres - Drum tutor - New York
Andres - Drum tutor - New York

Andres's profile, qualifications and contact details have been verified by our experts

Andres

  • Rate RM170
  • Response 3h
  • Students

    Number of students accompanied by Andres since their arrival at Superprof

    5

    Number of students accompanied by Andres since their arrival at Superprof

Andres - Drum tutor - New York
  • 5 (4 reviews)

RM170/h

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  • Drum
  • Percussion
  • Tabla
  • Jazz Drumming

Build drum grooves that stay steady through fills, quiet spaces and changing accents

  • Drum
  • Percussion
  • Tabla
  • Jazz Drumming

Lesson location

Recommended

Andres is a respected tutor in our community. They are highly recommended for their commitment and the quality of their lessons. An excellent choice to progress with confidence.

About Andres

I’m Andres, and I want you to hear a drum part as something that belongs inside a song. A pattern can be correct on paper and still feel unsettled. In a lesson, I might ask us to reduce the number of notes, listen to the bass line, and try the groove again at two different volumes. That comparison can reveal more than adding another fill. We will make room for technical detail, but I will keep bringing it back to the question of what a listener hears and what the other musicians would need from the part.

I will be specific about progress, including when it is incomplete. If your hands stayed steady for three bars before the extra kick disturbed them, those three bars tell us something useful. We can examine what changed at the fourth bar instead of dismissing the whole attempt. When several instructions compete for your attention, we will simplify the pattern or temporarily remove one limb. That gives you a clear success to understand and build on. You do not need to disguise a mistake or rush to prove that you can play the exercise at its final speed.

The conversation will change with your experience and interests. With a young child, a musical answer might be two well-placed sounds and a deliberate pause. With a teenager, we might compare how two fills change the approach to a chorus. With an adult beginner or returning drummer, we can make unfamiliar coordination understandable without assuming that rhythmic confidence should already be there. More experienced players can bring detailed questions about feel, dynamics and placement. Across those starting points, I want you to leave knowing what you were trying to hear and how to set up a useful experiment when you practice on your own.

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About the lesson

  • All levels
  • English

All languages in which the lesson is available :

English

We will begin with the part of a groove that makes you want to move, even if you have never held a pair of sticks. A simple pulse on one surface can become a complete musical task: play along with a track, listen for the backbeat, and leave enough space to hear where your notes land. Before building a busy pattern, we will make its essential relationship clear. For example, you can keep the hi-hat pulse even while the snare supplies two dependable landmarks. Adding the bass drum then has a purpose: it changes the feel of a groove you can already hear, rather than becoming another limb instruction to memorize.

If a new bass-drum note makes your hi-hat hurry or disappear, we will find the beat where those jobs interfere. You might keep a quiet spoken subdivision going, play the existing hand pattern, then add the foot only at that point in a short repeating bar. We will listen for whether the hand changes when the foot enters. This reveals the unwanted connection between the movements, so we can work on that connection directly. A new student can use this with one extra bass-drum stroke, an intermediate drummer with syncopation, and an advanced player with a displaced accent or a more demanding coordination pattern. We will return it to a song as soon as the relationship becomes clearer.

Fills will include the landing, not just the interesting notes before it. We might begin with one last-beat fill and the first two beats of the next groove, so re-entry becomes part of what you practise. Later, a metronome can leave a short gap while you carry the pulse yourself; when it returns, it gives us feedback about whether the fill changed your sense of time. Children can explore this through short call-and-response rhythms, teenagers through the energy and shape of a chosen track, and adults or returning players through grooves they want to feel comfortable playing again. Your practice plan will identify one coordination target and one musical context, with enough repetition to learn and enough listening to know what is improving.

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Rates

Rate

  • RM170

Pack rates

  • 5h: RM852
  • 10h: RM1704

online

  • RM170/h

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levels

All levels

All languages in which the lesson is available

English

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This first lesson is free to allow you to get to know your teacher so that they can best meet your needs.

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