I have been teaching drums and percussion since 1994 in private and group lesson formats in both school and studio environments. I've also taught and directed concert and marching percussion ensembles and served as a staff member on numerous music camps in NJ and TX. Over the course of time and experience, I have developed a teaching philosophy that serves to advance the student while allowing for the individual nature of each person, some of which I have outlined below. . .
-Lessons with me are based on the development of the Ears (critical listening, ensemble playing, time keeping), Eyes (reading ability), and Hands ('chops', sensitivity, control) of the player.
Pete has been a great influence in my playing and thinking when it comes not only to marimba, but percussion overall. He motivates people very quickly and gets the job done. I often refer back to Pete's "A Percussionist's Handbook" for tidbits of information that are not available in other published literature. Although it has been a few years, I still think back to my lessons with him as I prepare for my senior recital at the University of North Texas and sometimes wonder, "what would Pete do or say here?"
- Daniel Kirkpatrick, founder of DK Percussion and B. M. Percussion Performance 2007, University of North Texas.
After I initially spoke with Peter and 'checked him out' I was convinced he was a qualified teacher. Now, after these months, I am equally convinced he is a very talented teacher. We have seen an immense growth and maturity in my son's drumming and with that a newly charged eagerness in him. My son picks up his sticks all the time (and still does not want to use pads even at 8am!) and enjoys playing both what Peter is teaching him and what ever else inspires him. It has been a delight to see my son progress and mature with Peter and we are very grateful and impressed.
- Deborah Cornavaca, parent.
Pete Saleh has been one of the greatest influences on my musical career. He not only taught me the technical aspects of playing the marimba buy he taught me how to be a musician. In the last four years that I have been at the University of North Texas I have not seen a TA that has taken their job as seriously. Pete’s bi-monthly master classes and generously long lessons, showed his unwavering commitment to his students. Above all, I have learned the most from watching Pete in his personal life. His incredible work ethic and attention to detail is inspiring, and this is something that cannot be taught. Pete is a great example in teaching and music. Although, I no longer study with Pete, he continually gives me advice and guidance. I am grateful to have had the chance to study with him.
- Colin Hill, B. M. Percussion
Performance 2007, University of North Texas.
Percussion lessons touch on some or all of the following instruments:
-Drum Set: Rock, Pop, and Jazz Styles, coordination, reading, listening and transcription skills. Jazz Sample
-Timpani: Basic playing techniques on 2, 3, and 4 drums, interval training, core orchestral repertoire. Performance Sample
-Concert Percussion: Basic Techniques and Sound Concepts on Tambourine, Crash Cymbals, and Triangle as well as other commonly scored instruments.
Because these are music lessons just as much as they are percussion lessons, time will naturally also be spent on these subjects:
(Tim Mabrey, Karl Lundin, Me, Colin Hill, Keith Hendricks, Dan Kirkpatrick, Ryan Jacobi, Ashley Haynes, and Andrew Hoskins)
Photos with former UNT students of mine, many of whom generously helped me record compositions and arrangements of mine as well.
(Jonathan Gregory, Laura Fieder, Cara Schoonover, Nate Sankary, and John Evarts)
|As a teacher, I also put together an ensemble for percussion students to learn and grow as musicians in a real musical setting. Click here to learn about C. J. Y. P. E.|
|For My Students:||The Technical Commandments|
|Metronome Software - Link to free downloadable, midi-based metronome software. If you have speakers hooked up to your computer, you can practice along with this instead of draining batteries in your regular portable metronome.|
'Lesson No. 1'
Print and Bring
(Plan on buying the books as we address the material respectively)
The Vic Firth Rudiment learning Sequence
- Midi files to play along with
these, the first
of four step-by-step rudimental exercise progress chart.
this and bring it to every lesson.|
A timpani etude by Richard Hochreiner
|Creative Metronome Use|
- synthesized play-along tracks meant to serve as a basis for improvising with scales
The Scale 1
The Scale 2
The Scale 3
(Tonic and key are purposely omitted)
Common Method Books I Use in Lessons:
(linked to Steve Weiss site)
in Rhythm/Anthony Cirone (concert snare drum etudes)
Marimba: Technique Through Music/Mark Ford (4 mallet marimba etudes and exercises)
Future Sounds/David Garibaldi (drum set)
Groove Essentials/Tommy Igoe (drum set styles play-along)
Fundamental Method for Mallets Vol. 1/Mitchell Peters (keyboard percussion)
Progressive Steps to Syncopation/Ted Reed (general/drum set)
Musical Time/Ed Soph (jazz drum set play-along)
Method of Movement for Marimba/Leigh Howard Stevens (4 mallet marimba exercises)
Stick Control/George Lawrence Stone (snare drum technique)
Fundamental Studies for Snare Drum/Garwood Whaley (basic snare drum etudes)
|For UNT Students:||Keyboard Barrier Tips|
|For Teachers:||My Lesson Syllabus|
|For Composers:||"Percussion for Composers: An Introduction"|
|How to Write for Percussion|
|Transcriptions for Drummers:||
The process of transcribing helps not only to expand the vocabulary of the improvising musician, but to increase the sensitivity of their listening skills
transcribed and engraved by Peter Saleh with Sibelius Software
|"If" by Larry Young/Elvin Jones, dr. - Audio - Transcription|
|"Matrix" by Chick Corea/Roy Haynes, dr. - Audio - Transcription|
|"Cyclic Episode" by Sam Rivers/Tony Williams, dr. - Audio - Transcription|