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Ted is a third-generation drummer with over 50 years experience. He attended the Berklee College of Music in Boston, MA, and he has studied with such prominent teachers as Sonny Igoe, Henry Adler and Jim Chapin. Ted has been teaching since the late 1960's. Ted is the revisionist of the Buddy Rich book. Ted is the revisionist of "Buddy Rich's Modern Interpretation of Snare Drum Rudiments & double DVD", author of the wire brush resistance method "The Ultimate Drummer's Work Out", and recently released "Buddy Rich's Rudiments Around the Kit & DVD". This new release applies Buddy's snare drum rudiments to the full drum set. Ted's teaching method focuses on developing a strong foundation upon which to build more complex drumset studies. It is vital that all aspiring drummers learn the rudimental techniques that have been handed down since the dark ages. Ted's methods of teaching link directly through the very development of the drumset--from early masters like Moeller, to cutting edge techniques including those developed by Henry Adler and Ted MacKenzie. For further information, or to register for lessons, please contact Ted at 518-877-8224 or contact Ted online here. Also, you can see what some of Ted's students are saying about him by visiting the Testimonials Section. Typical Program Outline Primer Each student's personal enthusiasm, regardless of age, is the 'heart' of his/her success. My main on-going objective is to evaluate the students motivation--attaching their momentum to drumming essentials. When students understand what practicing accomplishes, drumming goals become a reality. Rhythm Everyone has a concept of rhythm. The ability to walk at an even pace in a straight line down a long corridor, with the legs in a perfect exchange of time, accompanied by arms swinging in order to balance the whole body motion, proves my theory. Everyone has rhythm! Rhythm is the center of my program and it is the essence of drumming. Doubles & Singles The hands and feet are what drummers use to express themselves. Drum sticks for the hands, bass drum(s) and hi-hat for the feet. The drums and cymbals are a 'platform' on which to bounce--hands and bass drum foot--in either a single (the stick, or bass drum foot, bouncing once) or a double bounce (the stick, or bass drum foot, bouncing twice)-that's all there is (it's only a matter of the brain in conjunction with the limbs, computing the 'split-second' timing of the drummer's interpretation of the musical application of the arrangement that proceeds 'the bounce')! The 'Bounce' Drum sticks are all designed to bounce. The hands must be taught, by practicing, what are called drum rudiments (singles, doubles and combinations thereof ). The feet must sub-divide the hands and 'lock-in' the time. The hands must hold the drum sticks in a very specific fashion. The wrists, forearm and upper arms must allow the drum sticks to bounce off the drums and cymbals with out interfering. The faster the bounce, the more relaxed the hands, wrists, forearms and upper arms and body must be. Brushes Brushes are isometric 'machines'. When used correctly, they develop the hands at a remarkable pace. "The Ultimate Drummers Workout" by Ted MacKenzie (Music Sales/NMSCO) is Ted's own method useing wire brushes. Reading Drum notation is not unlike learning a foreign language. Once the note values are learned, the student will be secure in almost any musical application anywhere on the planet, because musical notation is universal. Learning to read drum notation dramatically increases the students musical awareness and makes working with other musicians more compatible. There is no interpretation . No grey areas. Once the student gains momentum in reading drum music, on-going reading should be an every day occurrence in order to keep the 'new language' well 'oiled'. Drumming is fun and extremely exhilarating. Tensions are released, ideas expressed, reality is put on hold while abstract thoughts become absolute blissful expressions. |
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