I've been teaching drumset lessons since 1986 and feel that it has been a highly rewarding endeavor. My philosophy has been to try to help students achieve their goals; trying to function as a guide on their journey of discovery and development. I am always interested in meeting new students, if interested please contact me.
In addition to working with students in my Seattle studio, I have begun teaching long distance via personalized DVD LESSONS. Based upon the student's interests and an audio playing assessment, I can create a DVD lesson that is geared to their playing. If you think you might be interested in receiving a DVD lesson please contact me. Students who have received DVD lessons have expressed great enthusiasm not only for the materials but for the format as the lessons can be viewed again and again. I can create lessons in the NTSC and PAL video formats.

Here is a brief video example from a DVD lesson. It demonstrates the sound and video format of a DVD lesson, however the size and quality has been reduced to facilitate downloading.

 
Here are a couple of quotes from students who have received DVD lessons:
"It’s not very often you’ll find great mucisians like Steve Korn who also teach drumming and music in a fantastic way. He immediately inspires and brings out the best in you. Steve has an amazing knowledge in jazz, drumming and musicianship overall." - Mikael Wikman, Sweden

"I must say the material that you sent through is really excellent. This method of learning really couldn't be better for me...You're a fantastic drummer and musician but also an excellent instructor. You really do seem to have thought through the whole process of learning this stuff. Both the placement of the camera and the tempos that you choose are brilliant, that's what excited me so much about the clip on your website and triggered me to get in touch." - Simon Patterson, England
"Thank you for the lessons, every moment was a delight. You have given me most valuable drum lessons, long to be remembered." - Hirokazu Suyama, Japan
"I must say that Steve's material is excellent, and has helped me a great deal. Steve's teaching method is unique since the student gets to choose the topic he or she wants to work on. I, for example, wanted to strengthen my knowledge in brush work and the material is just great! The lessons are on DVD, very high quality, and there is also written material you can work with. Highly recommended. Beyond the tutoring, Steve is a great person and amazing musician that you can learn from." - Yaniv Ben-Adiva, Israel
"Steve has fed my hunger for knowledge. From the very first email (of which there have been many) I was amazed at his attention to detail, generosity and good humour. His lesson plans are skillfully prepared and thoughtfully versed, only rivaled by the quality of how it is filmed and edited. Thanks Steve, I'll be back for more!" - Phill Redfox O'Sullivan, Wales, U.K.
"Having a DVD lesson tailored to meet my specific needs and goals is one of the most helpful learning aids I've ever encountered. Even in a live, one-on-one lesson, I usually forget some of the important details by the time I get a chance to practice the material at home but with the DVD format I can replay the lessons over and over, focusing on all the essential details, all designed to work on the areas that *I* need to focus on. The only possible improvement I can think of would be to have a one-on-one lesson with Steve and have THAT videotaped. Great, great, great resource!" - Todd Reid, York, Pennsylvania

TRANSCRIPTIONS

The first transcription is Paul Motian's 12-bar breaks from Bill Evans' recording of "Israel". Recorded in 1961 for Evans' Explorations album, it's easy to hear the direction that Paul would lead modern drumming in the years to come.

The second transcription is Tony Williams' 32-bar solo from Miles Davis' recording of "Seven Steps To Heaven". Recorded in 1963 for Davis' Seven Steps To Heaven album, it's an eloquent statement utilizing a minimum of thematic material.

The third transcription is Billy Higgins' 32-bar solo from Steve Lacy's recording of Thelonious Monk's "Let's Cool One". Recorded in 1961 for Lacy's Evidence album, note the strong influence of Max Roach in Higgins' solo vocabulary. However, also note the odd phrasing and syncopation Higgins employs, putting a more "modern" twist on the Max Roach tradition.
The next transcription is Elvin Jones' solo from John Coltrane's recording of George Gershwin's "Summertime". Recorded in 1960 for Coltrane's My Favorite Things album, Coltrane's arrangement departs from Gershwin's original harmonically and formally. Instead of the usual 16 bar form, Coltrane follows an A-A-B form (8,6,8 respectively). For an analysis of the solo, click below.
Philly Joe Jones' solo from John Coltrane's composition "Locomotion" includes the drumset introduction. The form of the piece is referred to as "blues with a bridge". It's an AABA form, the A sections are the 12 bar blues form, the bridge is 8 bars. Recorded in 1957 for Coltrane's Blue Train album, it's a great example of Joe playing at the top of his game.
Adam Nussbaum's solo from Jerry Bergonzi's composition "Red's Blues" is an outstanding example of rhythmic/motivic/textural development. The form of the piece is a 12-bar blues. Recorded in 1997 for Bergonzi's Just Within album, it's a wonderfully constructed, eloquent musical statement.

ARTICLES
The following link is a ZIP file of MP3's that I created with my drum machine. Essentially, it is a metronome cycle that runs over the course of 16 measures, gradually supplying fewer and fewer clicks in each measure. The first four measures have clicks on beats 1-4, the next four measures have clicks on beats 1 and 3, the next four have clicks just on beat 1 and the final four measures have no click at all. After it completes this cycle, it starts over again. I have found this to be a great tool as you are not constantly relying on the click. At some point you have to play with good time. I think this helps to solidify our sense of what good time feels like.
METRONOME
A recent educational contribution I made to Earshot Jazz Magazine: Practice This!