Evan - Drum teacher - New York
1st class free
Evan - Drum teacher - New York

Evan profile and their contact details have been verified by our experts

Evan

  • Rate ₹4,338
  • Response 4h
  • Students

    Number of students accompanied by Evan since their arrival at Superprof

    50+

    Number of students accompanied by Evan since their arrival at Superprof

Evan - Drum teacher - New York
  • 5 (61 reviews)

₹4,338/hr

1st class free

Contact

1st class free

1st class free

  • Drum
  • Percussion

Build Strong Rhythm, Coordination, and Stage Confidence with Professional Drums Teacher (7+ years experience)

  • Drum
  • Percussion

Class location

Super Tutor

One of our best tutors. They have a quality profile, experience in their field, verified qualifications and a great response time. Evan will be happy to arrange your first Drum classes.

About Evan

I’m a drum teacher who simply loves rhythm and enjoys passing that on to my students. I try to keep lessons focused but relaxed, so you feel comfortable while still improving every week.

I’m patient and straightforward in the way I teach. If something needs fixing, we work on it together step by step until it feels natural.

For me, it’s not just about playing louder or faster — it’s about solid timing, control, and feeling confident behind the kit.

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About the class

  • Beginner
  • Intermediate
  • Advanced
  • +8
  • levels :

    Beginner

    Intermediate

    Advanced

    Professional

    Children

    1st Year

    2nd Year

    3rd Year

    4th year

    Graduate

    Doctorate

  • English

All languages in which the class is available :

English

I like to first start by letting the student play basic rhythms on the drums. This will let the student gain basic flexibility.

After this, I teach the student how to play the rhythm of some songs so he develops a musical ear

From here, we keep doing harder and harder songs, until the student mastered the drums

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Rates

Rate

  • ₹4,338

Pack prices

  • 5h: ₹21,690
  • 10h: ₹43,381

free classes

This first free class with Evan will allow you to get to know each other and to specify the exact learning requirements for the upcoming classes.

  • 1hr

online

  • ₹4,338/hr

Find out more about Evan

Find out more about Evan

  • When did you first develop a passion for music and your favorite instrument?

    Late, compared to most. I was seventeen, eighteen — no kid prodigy here. A buddy had a drum kit set up in his garage and a bunch of us would mess around in there after school. Everybody wanted to play guitar and sing. Nobody wanted to sit behind the drums, so that was me by default. First time we got through a whole song without it falling apart, something clicked — I liked being the engine of the thing, the guy who keeps it from collapsing. Been hitting things for a living ever since.
  • Is there a particular type of music or artist that you listen to on a loop without it driving you crazy?

    I'm a groove guy, so anything where the drummer's sitting in the pocket. Old soul records, a lot of blues, plenty of rock. Put on anything with John Bonham or Bernard Purdie playing on it and I'm not getting bored. Thing is, half the time in the car I'm not even listening to the song — I'm listening to the drums underneath it, picking apart what the guy's doing. Drives my wife up the wall. She'll ask "what do you think of this one" and I've got no answer, I was following the hi-hat.
  • Explain to us the most difficult or riveting course you could personally give to a student of music.

    Teaching somebody to keep steady time. Sounds simple. It is not. Everybody assumes the hard part is the fancy fills — it's not, not even close. The hard part is playing dead-simple and not speeding up. Put a metronome on, have a student play the most basic beat there is, and within thirty seconds they're rushing it. Every time. Getting someone to actually sit in the tempo, relaxed, not pushing because they're nervous — that takes years, and it's the whole job. Anybody can learn a drum solo. Almost nobody can play boring well.
  • What do you think is the most complicated instrument to master and why?

    I'll catch heat from the other drummers for this, but I don't think drums are the hardest to play — they're the hardest to play well, which is a different thing. For pure difficulty I'd point at the organ. The big kind, where both hands are working two or three keyboards and your feet are playing bass on the pedals at the same time. You're a one-man band, every limb doing something different. I can manage my four limbs because they're all serving one groove. Those organ players have each limb playing a separate part. That's a different brain than mine. No thanks.
  • What are your keys to success?

    Show up and do the unglamorous work. With drums that means hours with a metronome that nobody's ever going to clap for. The students who get good are the ones who'll grind out the boring fundamentals; the ones who only want the cool fills plateau fast and quit. And — people don't say this enough — you've got to be reliable. In a band, the drummer who turns up on time, sober, knows the songs, and doesn't rush will get the call back over a flashier player every single time. Half this job isn't even playing. It's just not being a pain to work with.
  • Name three musicians you dream of meeting in your favourite bar in the early hours of the morning. Explain why.

    John Bonham, Buddy Rich, and Levon Helm. Bonham because he hit harder and felt better than anyone alive, and I'd want to know if he understood what he was doing or if it just fell out of him. Buddy Rich because he was the most technically ridiculous drummer who ever lived and by all accounts an absolute nightmare to be around, so that's entertaining either way. And Levon because he sang lead while playing the drums, which ought to be illegal, and because everyone says he was just a great hang. Yeah, three drummers. What do you want from me, I'd rather talk shop.
  • Provide a valuable anecdote related to music or your days at music school.

    Early on I'm playing a wedding and somewhere in the second set my kick pedal snaps clean in half. Mid-song. No spare, no time. The bandleader — old guy, seen everything — leans over without dropping a beat and goes, "put the bottom end on the floor tom." So I did. Killed the kick entirely, moved the pulse down to the floor tom, kept it simple, and nobody in that room noticed a thing. Stuck with me. The gig doesn't stop because something broke — nobody out there cares about your excuses, they came to dance. You find a way to keep the groove going with whatever you've got left. I've fixed a lot of problems with duct tape since, literal and otherwise.
  • What are the little touches that make you a Superprof in music?

    I don't make it precious. Drums are supposed to be fun — it's literally hitting things, the most fun instrument there is — so if a lesson feels like homework, I've done something wrong. I get people playing along to a real song they actually like as fast as possible, even a stripped-down version, because nobody falls in love with rudiments, they fall in love with playing the songs. I'll also tell you straight when something sounds bad, because the ones who get coddled never improve. But I'm endlessly patient with the dull stuff — I'll sit through the same simple beat a hundred times, because that's the rep that actually counts. Gruff on the outside, I'm told. The students stick around anyway.
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