Services
I have been teaching drummers of all ages and skill levels privately for over 13 years. With hundreds of students locally, I has developed a method for communicating and demonstrating concepts, proving myself to be one of the best at what I do.
I have tried to take the best of what I have learned, and put it together in to a system that can be used to cover every angle of a concept to students that may learn visually, by demonstration, detailed explanation, or diagram.
I have tried to take the best of what I have learned, and put it together in to a system that can be used to cover every angle of a concept to students that may learn visually, by demonstration, detailed explanation, or diagram.
www. Aaron Bland .com
Studies
I has studied with some of the greatest drummers I could find from all over the country. I also have had a desire to pick up methods from books, videos, live performances and my own self study. There is no better way to develop your playing than practice. With the right material, and a creative drive, it is possible to learn a lot from yourself and apply that in to different playing situations. We are all a product of our environments and so I like to stay surrounded by music in any form.
I has studied with some of the greatest drummers I could find from all over the country. I also have had a desire to pick up methods from books, videos, live performances and my own self study. There is no better way to develop your playing than practice. With the right material, and a creative drive, it is possible to learn a lot from yourself and apply that in to different playing situations. We are all a product of our environments and so I like to stay surrounded by music in any form.
Techniques
The importance of learning and using good techniques is paramount in the long run of playing any instrument. I started using traditional grip, and I use it for marching and corp style playing as well as for jazz. I primarily use matched grip when playing the drum set, especially for rock, punk, metal, Latin, Afro-Cuban and fusion.
One of my first big drumming inspirations was Terry Bozzio. He views the drum set the way that a composer/conductor views his orchestra. There are many different sounds that one can generate using cymbals, drums and other parts of a drum set.
When you break it down like this, it is easier to see how rhythms and sounds can can be broken down in to parts, and how those parts can syncopate together to become one. One of his methods that I use most is soloing over an ostinatto. I simplify this for basic groove patterns in to rhythms and melodies played under a constant, or repeating rhythm, such as a basic rock constant, samba foot pattern, jazz ride, or a clave. This is the technique that makes 4-way coordination possible by developing muscle memory in each of the limbs playing a part of the constant or ostinatto.
I find myself using Linear patterns the more I study and practice them. They are a great way to mix up the monotony of bass drum rhythms under a constant playing. The idea behind this is that one note per beat is played and the result is many different rhythms emerging out of the individual surfaces being used.
I use many drum set navigation techniques to move about the surfaces of a drum set. Fill patterns (using clockwise, counterclockwise, rows, columns and diagonal transitions) are an example of this. By using patterns, it is much easier to visualize the path that you are taking around the set. Once you learn different ways of applying the patterns there is literally no end to what you can do with them.
I had the fortune to study with Jim Chapin, the founder of the Moeller method. This is a radical break from the traditional marching method where there is very little to no arm movement. Moeller method is a very fluid, and smooth technique that distributes the muscle tension evenly throughout the arm from shoulder to fingertips.
I have developed a bass drum technique that allows me to play many double bass style patterns with a single pedal. I would relate this mostly heel-up method to moeller with feet. This means my left foot is available to keep time, or play hi-hat splashes and other hi-hat techniques on accents and during fills.
The importance of learning and using good techniques is paramount in the long run of playing any instrument. I started using traditional grip, and I use it for marching and corp style playing as well as for jazz. I primarily use matched grip when playing the drum set, especially for rock, punk, metal, Latin, Afro-Cuban and fusion.
One of my first big drumming inspirations was Terry Bozzio. He views the drum set the way that a composer/conductor views his orchestra. There are many different sounds that one can generate using cymbals, drums and other parts of a drum set.
When you break it down like this, it is easier to see how rhythms and sounds can can be broken down in to parts, and how those parts can syncopate together to become one. One of his methods that I use most is soloing over an ostinatto. I simplify this for basic groove patterns in to rhythms and melodies played under a constant, or repeating rhythm, such as a basic rock constant, samba foot pattern, jazz ride, or a clave. This is the technique that makes 4-way coordination possible by developing muscle memory in each of the limbs playing a part of the constant or ostinatto.
I find myself using Linear patterns the more I study and practice them. They are a great way to mix up the monotony of bass drum rhythms under a constant playing. The idea behind this is that one note per beat is played and the result is many different rhythms emerging out of the individual surfaces being used.
I use many drum set navigation techniques to move about the surfaces of a drum set. Fill patterns (using clockwise, counterclockwise, rows, columns and diagonal transitions) are an example of this. By using patterns, it is much easier to visualize the path that you are taking around the set. Once you learn different ways of applying the patterns there is literally no end to what you can do with them.
I had the fortune to study with Jim Chapin, the founder of the Moeller method. This is a radical break from the traditional marching method where there is very little to no arm movement. Moeller method is a very fluid, and smooth technique that distributes the muscle tension evenly throughout the arm from shoulder to fingertips.
I have developed a bass drum technique that allows me to play many double bass style patterns with a single pedal. I would relate this mostly heel-up method to moeller with feet. This means my left foot is available to keep time, or play hi-hat splashes and other hi-hat techniques on accents and during fills.
Methods
I have studied learning methods and brain cataloging. Everyone learns differently, so I have developed several methods to communicate ideas using visual, aural, and demonstration techniques. Sometimes in order to really understand the big picture, it helps to put together written notation, pictures, diagrams, patterns, physical demonstrations, audio references and playing critiques. I try to incorporate as many different teaching methods as I can in to each lesson I teach.
I have studied learning methods and brain cataloging. Everyone learns differently, so I have developed several methods to communicate ideas using visual, aural, and demonstration techniques. Sometimes in order to really understand the big picture, it helps to put together written notation, pictures, diagrams, patterns, physical demonstrations, audio references and playing critiques. I try to incorporate as many different teaching methods as I can in to each lesson I teach.
Online Lessons
I am attempting to produce a method learning system that incorporates many of the tools and lessons I use in my private practice. The idea is to deliver a detailed instructional video with printable musical notation, audio samples, and an interractive forum to have questions answered and get feedback on your playing and practicing much like what you get in a private lesson but in an online format.
I am attempting to produce a method learning system that incorporates many of the tools and lessons I use in my private practice. The idea is to deliver a detailed instructional video with printable musical notation, audio samples, and an interractive forum to have questions answered and get feedback on your playing and practicing much like what you get in a private lesson but in an online format.
Instructors
I believe it is important to study with many different players, teachers, performers, and to work with as many different people as possible to get a full view of what the instrument and available techniques have to offer. Here are some of the people that I have worked with and studied with privately. I thank each and every one of them for inspiring me and giving me the tools that I use in my playing and teaching today.
I believe it is important to study with many different players, teachers, performers, and to work with as many different people as possible to get a full view of what the instrument and available techniques have to offer. Here are some of the people that I have worked with and studied with privately. I thank each and every one of them for inspiring me and giving me the tools that I use in my playing and teaching today.
Rob Laytham - Modern Drummer Columnist, author, instructor, performer, and my first teacher. He gave me my start, teaching me reading, ostinatos, independence, and coordination exercises to be able to use the body to channel 4 different patterns simultaneously.
Joe Leroux - Hardcore Arizona Drum-line Guru. I have to say, marching under his direction was the most military experience I have ever had. Getting 35 drummers to play together is not easy and it takes chops and discipline. I learned a lot about how to develop both of these with him.
"Jay" - Helped to clean up my rudimental technique and worked one on one with me to develop the technical aspects of corp style marching.
Bobby Domings - Bobby and I have been studying together for years and he exposed me to linear playing, and some timing patterns that he was working with. Eventually, our lessons turned in to jam sessions where we would play and trade techniques as we both were expanding our playing styles. Later, he asked me to take on some of his students and I have been teaching with him ever since.
Mike Mangini - World renound drummer, played with Extreme and Steve Vai. He now operates a recording studio in Boston and works with the group "Chicks and Sticks". I had the honor to take a few master classes with this virtuoso. I have never studied with someone with such a practice discipline and a resulting timing and independence.
Jim Chapin - One of the few living legends of drumming , and author of "Advanced Techniques for the Modern Drummer" . This cat has some stories and some chops. At 85 years old, he has the dexterity of an 18 year old and the chops of a seasoned veteran. After having dinner with him, I was able to book a private session with him while he traveled through Arizona. I got direction on the moeler method from one of the people responsible for founding it.
Joe Leroux - Hardcore Arizona Drum-line Guru. I have to say, marching under his direction was the most military experience I have ever had. Getting 35 drummers to play together is not easy and it takes chops and discipline. I learned a lot about how to develop both of these with him.
"Jay" - Helped to clean up my rudimental technique and worked one on one with me to develop the technical aspects of corp style marching.
Bobby Domings - Bobby and I have been studying together for years and he exposed me to linear playing, and some timing patterns that he was working with. Eventually, our lessons turned in to jam sessions where we would play and trade techniques as we both were expanding our playing styles. Later, he asked me to take on some of his students and I have been teaching with him ever since.
Mike Mangini - World renound drummer, played with Extreme and Steve Vai. He now operates a recording studio in Boston and works with the group "Chicks and Sticks". I had the honor to take a few master classes with this virtuoso. I have never studied with someone with such a practice discipline and a resulting timing and independence.
Jim Chapin - One of the few living legends of drumming , and author of "Advanced Techniques for the Modern Drummer" . This cat has some stories and some chops. At 85 years old, he has the dexterity of an 18 year old and the chops of a seasoned veteran. After having dinner with him, I was able to book a private session with him while he traveled through Arizona. I got direction on the moeler method from one of the people responsible for founding it.
