Pete Zeldman

Be prepared. Hand-outs are great, be well rehearsed and organized with a structure of materials, topics, solos, sequenced parts etc.

If possible, talk to the sound man ahead of time to insure a good sound for monitors and up front speakers. Depending on how accomplished the sound person is, you may want to simplify mic'ing so as to not complicate things. Room sound also affects how the notes will be perceived, so check out the venue, as it's also part of your instrument! Aside from "sound", be positive about sharing your information and stay "in the moment". This means that you must learn how to over-ride mistakes, as once they have happened...they are part of the past. At the same time don't project to far in the future, as in worrying about things you haven't played yet. Love what you are doing in "real time", "in the moment." The better time you have, the better time all will have! So have a GREAT TIME!!!

Derek Roddy

Be there for the retailer...NOT you ego. The purpose for having these clinics is to raise awareness for product 1st...promote yourself and ego 2nd.

I really push the selling of products in these stores. If I go into a store for a clinic, I focus on making sure the host will have a successful "sales day" while I'm there. This will make the retailer more likely to ask me to come back again.

Let the retailer know that it IS important to you that he does have a successful clinic and sales day. Ask him if there is anything you can do in his store that will help make this happen and be there to answer questions about the product.

It's a small circle of people who run these stores and they all talk to each other. If a dealer says to another..."Man, you have to get _____________ to come do a clinic, he was great and sold a lot of stuff for me"... This will set up your clinics to be successful and more dealers will want to have you.

Dave DiCenso

1. Have an outline of the sequence of events, ie: what you're going to do and in what order.
2. Be able to talk about what you do. I've seen some great drummers that aren't particularly great clinicians, because they can't put into words what they do, or how, where, and why they do it.
3. Be able to play musically when playing by yourself. One of the things I try to avoid is playing ideas that are nothing more than a set up for blowing chops. It's boring to me. Play from motifs and have a form.
4. Talk about the gear you use and the companies that you promote and are supported by.

Sergio Ponti

First of all...I think to be a great clinician you have to be able to communicate and to really have the will to educate. Not to just go there and to kill the audience with amazing chops and then...stop. Unfortunately, that actually seems to be a growing trend. To this day, with all the clinics I put together, the best one is still the Tullio De Piscopo one I saw in 1999. Tullio is probably THE Italian drummer, who also made a name for himself as an acclaimed pop singer in the 80s. That event basically lasted all afternoon, with a packed house mesmerized by his knowledge. I mean, he called every attendee to the kit and had him play, gave suggestions, explained how to read and interpret charts, focused on brushes, orchestral snare drumming, gave business advice.... that was a clinic!"

Steve White

Remember that it's a drum clinic, not a rock show. The aim is to educate and inspire not shock and awe with technique and volume. If an audience member comes away learning one more thing about drumming and music that he or she didn't know before, they will regard it as a clinic worth seeing. It's amazing how few new clinicians get that concept!

LaFrae Olivia Sci

4 things I consider...

1. I Know, or have some idea of who the audience is, and tailor the presentation to them. I've done clinics for drummers from 5 years old to 30 years old. My approach for the age experience level and size of the group differ. I may not teach an adult group the potato chip song/clapping game....or would I???
2. I'm prepared to improvise - sticking to an outline may be efficient, but boring if the energy in the room gets low, I use that as a cue to move on, or mix the stuff up.
3. Participation - People LOVE to pretend that they hate group participation, but get a group involved in a rhythmic game or exercise and EVERYONE in the room will be smiling.
4. Take time for Q&A. But be prepared to get embarrassed. Drummers have ALOT of nerve!:)

Graham Hawthorne

1. Zero in on a topic. Keep it fairly specific and simple. One good concept thoroughly imparted to an audience does a lot more good than several just touched upon.
2. Have valid real world musical examples of the concept you're demonstrating. I play mp3s from my laptop during my clinics.
3. Get the audience involved, it really wakes them up and it's fun for everyone.
4. Relate the concept you're demonstrating to a real world experience of your own. When I demonstrate my African drumset rhythms, I cite specific songs and examples from my work with artists like Paul Simon and David Byrne. I'm always being careful to explain the CONCEPT behind the thing and it's evolution, not just demonstrate it as a LICK. People can get the licks off records.
5. Be open-minded! Don't be dogmatic. Music is not formulaic. I find so many young musicians sound the same because musical education has become a cookie-cutter affair. Encourage individuality in interpreting the materials you're presenting.

Jimmy Keegan

Leave "Uhhh" and "Ummm" at home. Know what you are going to say before you get there. Furthermore, know what you are doing. The primary basis for a clinic is the main question, "How do you do that!?" If you can't explain it, then don't do clinics.

Prepare for really dumb questions, but always give a respectful complete answer. I heard someone ask Dave Weckl, "How do you play like Jeff Porcaro?" Dave said, "I can't and neither can you!" On that same line of thought, remember you are advising and teaching people to be better musicians. Not better versions of you!

Humility: Sure, you may be the guy that is featured and all these people have come to hear you, but chances are at any given time there are 2 or 3 people in the crowd who can play much better than you can. Don't condescend. Have fun!

Matt Gittelson

As a clinician, you've got to know that your audience will do two things: First: You will be judged! You're now the pro who can do what the audience "wants to do", so be prepared! Don't clinic on a whim! I saw a pro guy try to show off his double bass skills and he was less than average. The room started to buzz, and you could just tell that he'd blown it. If, like me, you're a virtual unknown, the scrutiny can be pretty tough at times. You've got to earn their attention through your knowledge and ability.

Second: Clinic on a topic you're passionate about. Be it a particular style of music, or concept. You've got to excite those who have come to learn and one of the easiest ways to do that is to supply materials! A simple handout of what you'll be covering and a bit of notation goes along way. Get them following along, reading the music as you perform or lecture. A hard copy they can take home gives them something to work with and something to remember. Lastly, I've always been fond of including attendees in a clinic. Get 'em up there! Don't get me wrong, a really good clinic is not just about ripping your licks and stunning the students- it's about education pure and simple. As any good teacher knows, to educate, you've got to prepare and if you're not into it - don't do it!