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. . .

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With former student and stellar percussionist Danny Hawkins, xylophonist with and pit section leader of the 2006 Phantom Regiment

  -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.

  -All lessons work on different aspects of the player through technique, reading, memorization, and improvisation. Regardless of whether the student has goals of playing classical or popular forms of music, all four of these elements, albeit in different proportions, should be present in lessons.

  -The teacher's job is to advance the abilities and knowledge of the student, not to preserve the status quo, nor to create clones of themselves.

-The student must truly listen to their own playing if they ever want anyone else to listen.

-The teacher must be in possession of experience and knowledge that exceeds anything the student will be exposed to during the foreseeable course of the lessons.  After all, the qualifications for teaching high school English are more than just having passed the class.

-I pride myself on creating an intense yet friendly laboratory-style lesson atmosphere in which the serious-minded student may flourish.

Testimonials:

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, University of North Texas.

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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.

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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, University of North Texas.
 

Related Media

• Watch a video sample of my conducting David Gillingham's Stained Glass here.
• Watch a video of two first-year college students of mine performing a marimba duet of my own composition.
• Watch a performance clip of Brandon Talalai, an eight-year old student of mine, performing a custom arrangement of mine for a recital.
• Watch a performance of Susan Powell's multi-percussion duet Carpe Diem with student Dylan Frank.

Former student Eric Clementelli, now a musician in a USMC Band

Percussion lessons touch on some or all of the following instruments:

-Keyboard Percussion: (marimba, xylophone, vibraphone): Two and four mallet techniques. Basic and practical reading skills. Solo and chamber repertoire. Improvisation in free and structured situations (Jazz).        Performance Sample 1  Performance Sample 2

-Snare Drum (Concert/Orchestral and Rudimental styles): Technique, rudiments, reading, sound and rhythmic concepts. Rudimental Sample  Concert Sample

-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.

-Multi-Percussion: Instrument selection, set-up and organization, solo repertoire.                         Performance Sample 1  Performance Sample 2

Because these are music lessons just as much as they are percussion lessons, time will naturally also be spent on these subjects:

1. Ensemble Playing: Percussion ensemble, Selective/Critical Listening, streamlining the band/orchestra rehearsal and performance, sound concepts.  

2. Music Theory/Analysis: Sight Singing (solfedge, interval training, dictation) Melodic and Harmonic Analysis (form studies, chord identification, part writing, modes) and Arranging and Composition (as applied to instrumental music).

3. Music Notation Software: Basic through advanced use of Sibelius Software versions 1-4.