Percussion discussion: Instructor tells all about what it takes to play drums
Harry Funk plays during his recent lesson at Mt. Lebanon High School.
Subha Das instructs Harry Funk during a recent drum lesson at Mt. Lebanon High School.
Subha Das sits down at the drum kit to reinforce a point during Harry Funk’s recent lesson at Mt. Lebanon High School.
Harry Funk and Subha Das play together during a recent drum lesson at Mt. Lebanon High School.
Harry Funk and Subha Das pose following a recent drum lesson at Mt. Lebanon High School.
Harry Funk plays the drums during a recent lesson at Mt. Lebanon High School.
By Harry Funk
Fans of the late John Candy may remember his early starring role in a comedy called “Going Berserk,” as a personable limo driver who plays drums on the side.
We see him struggling to keep time on his kit while his girlfriend watches, as he explains to her how much practice a competent percussionist requires. Eventually she takes his place, picks up his sticks, gives a few tentative taps and then proceeds to put on a show worthy of Gene Krupa.
Casual observers may think they can sit down and do something similar, but Mr. Candy was correct. As is the case with any musical instrument – well, maybe not the kazoo – you have to know what you’re doing and work hard at doing it.
At home, I have a less-than-deluxe electronic drum set that I bought thinking I could teach myself how to play, which is how I learned guitar – and it shows. The kit pretty much has been gathering dust since I flailed away at it a few times.
The thought of spending money makes me cringe enough without blowing it on something useless. So maybe it’s time for an actual lesson.
I’ve gotten to know longtime percussion instructor Subha Das through his playing drums with the talent-laden Olga Watkins Band and through his work with Mt. Lebanon High School’s percussion program. When I inquire about him showing me some pointers, he’s gracious enough to invite me to the high school for an hour or so of his time.
“Are you familiar with the rudiments?” he asks when I arrive, pointing to a chart listing no fewer than 40 patterns for percussionists.
No, I am not.
“That’s where everyone should start,” he explains. “These are the building blocks of drumming.”
Let’s see: “Flam accent.” “Drag ruff.” “Triple ratamacue.” And, uh, “single paradiddle-diddle?”
Whatever any of that means, Subha gets me going with the most basics of basics, the single stroke roll: four taps with the right hand, then four with the left. Seems simple enough.
“Right,” he tells me after my initial attempts. “But I can tell you’re squeezing the sticks too hard. Relax. Slow down.”
After another stab at it, he comments:
“Yeah, but see, you’re using too much arm. If you use a bigger muscle group, you’re going to wear yourself out.”
And at various points later:
“Drop your elbows. Keep your shoulders relaxed.”
“Always make sure you’re not digging it into the drum. Let the stick bounce off the drum.”
“It’s really important to make sure you’re doing all these techniques physically correct, because you don’t want to injure yourself.”
I manage to avoid doing so as Subha continues to coach me, offering plenty of encouragement while letting me know how important, say, proper posture is for a drummer. Those teachers were onto something when they barked at us to sit up straight.
For someone who wants to learn to play drums, Subha actually recommends beginning on a practice pad for the essentials.
“Ideally, I would have the student work on the pad for several months before we even think about moving to the set,” he says. “If you don’t have a pad, do it on a pillow. A pillow doesn’t offer any rebound, so that will force you to work your wrists. And that will increase your stamina, your endurance, your speed, all of that.”
I’ll take that under advisement, but he does have me sit at the drum set, consisting of a snare, three tom toms, two cymbals, a hi-hat and kick drum. He gives me some basic patterns to play, and away I go.
And then I stop.
“You’ve lost your fulcrum. If you don’t keep your thumb here,” Subha says as he helps me adjust the grip on my left stick accordingly, “you’re going to lose control.”
Further friendly reminders:
“The hi-hat does not stop when you hit the snare.”
“You counted slower, then you played it faster.”
“Always put your feet on the pedals, even if you’re not using them.”
But eventually, I hear:
“Oh, that’s amazing! Yes!”
Hey, I certainly will take the compliment, and I’ll remember it when I dust off that electronic set and try to apply what Subha has taught me.
But I won’t expect to play like John Candy’s girlfriend anytime soon.