I typically say βshow me what you gotβ and let come what may. Itβs a good way to gauge skill level, drive, intensity, focus, and adaptability all in one. From there, I ask questions and start developing a game plan. Depending on ability level, it can be anything from walking around the kit (Γ la a pilot walking around their plane prior to flight) to nailing down specific progress goals and anything in between. I have a full slate of songs from first timer to specialized songs for focused lessons.
Lesson 1 is more of a feel out and laying groundwork and here we start to build foundations and building blocks. Again, this is all skill level dependent. Building a song repertoire, identifying strengths and weaknesses, challenges in playing, short and long term goals and tailor making a suitable framework for each student. Homework will start to be assigned here.
This is where the real separation begins (no pun intended). Weβll start working on more mechanical things, perfecting the initial song assignments and making lesson changes based on progression.
If youβve reached this point, itβs clear you are driven and in it for the long haul. I usually see students wanting to fine tune pieces for school performances, kids in cover bands wanting to learn specific performance based songs, while more intermediate to advanced students want to do more advanced study on things like limb independence, jazz technique, metronome work and more.
I do the same with advanced players as I would for beginners-I say βshow me what you gotβ and let them go on the kit. This will identify what needs work-groove, pocket, timing, etc. Asking diagnostic questions to develop a specific strategy for meeting goals and objectives.
Introducing songs or isolating passages from specific songs catering to the desires of the student. Developing a plan of action to make an advanced playerβs repertoire more robust (eg-a player advanced in deep groove might want to introduce double bass playing).
Building blocks act more like step-ups here for advanced players, so itβs taking the improvements and adding polish.
Solo & ensemble pieces for students in upper school levels, preparing players for studio performances, including and up to more abstract things like performance psychology, working with band members, performance nutrition, and image and marketing.