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"Jacob, you've got GREAT hands!!! ...hands from hell...!" Jim Chapin - circa 2005 (20th century’s most influential drum set educator)

Over 35 yrs. international professional performance experience on stage, screen & television in an extremely diverse variety of musical styles.

Musician: Jazz & Contemporary Drummer - Teacher/ Consultant

       

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Related Links
Independence/ Moeller Method
Advanced Studies
Skype Lessons/ Consulations
Music Lessons Theory/ Solfege

Quote: "I think of the concepts you taught me often ... I spoke of you to Ralph Angelillo (Montreal Drum Fest, creator). I want him to know about you. You're a great person, a great teacher. Thanks, again, for your great words of wisdom..." Bertil Schulrabe Percussion for Chantal Chamandy's Egyptian Tour 2008

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Instructional - Advanced Studies

 

 

"We are what we repeatedly do. Excellence, then, is not an isolated act, but a habit." Aristotle

A conceptual-based approach to instruction applied to all styles of drumming. Engaging a pro-active role to removing blocks in your performance, facilitating definitive changes in your playing and empower you to move to the next level.

  • Balance - Use of anatomy to maintain the body's center-line base, with minimal postural sway. Understanding weight-shifting, use of gravity & balance affecting "time-placement". Controlling balance, motion, and rhythm.
  • Movement - Elliptical motion allows muscular relaxation & economy of movement. Straight line don't "translate" well to drum set.
  • Time - The regularly recurring pulse over which rhythm is superimposed
  • Focus - Well-defined, goal-oriented use of one's time & efforts to achieve consistently-excellent results. Relates to the principal of "process", as "habit becomes nature". Disciplined Focus is a result of habit.
  • Fluidity - Using natural principles of ergonomics, gravity, momentum, inertia and rebound to your advantage. Applying those principles to the "stick-to-hand-to-instrument" relationship. Similar application to pedal(s), each has its own balance and tension. When all is set in motion, they require little energy to propel. Once in motion you learn to control it, moving beyond the body and affecting musical groove and feel.

 

 

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