The drum rudiments are the language of drummers. They are to us what scales and chords are to the other instruments. Understanding the rudiments allows the drummer to communicate with other drummers and also have the ability tointerpret terminology and rhythms that are so often seen in music and music publications. This book is designed for drummers of all levels who would like knowledge of the snare drum rudiments but haven’t had the advantage ofstudying them formally. It is a quick simple approach that can be learned by any drummer who can do single strokes and double strokes [strokes using the stick rebound]. While this method is not meant to be a substitute for thetraditional way of learning the drum rudiments which I totally recommend one of the advantages of it is that it is a fast easy alternate method that will give an understanding of the how the rudiments are played and shouldsound. If nothing else this book will improve the drummer’s overall technique and playing. After studying the approach described it will be an easy transition to take the study of the rudiments further learning to play themin the traditional way and apply them to the drumset.

3 Trompettes, Cor En Fa, 3 Trombones, Tuba et Caisse Claire. Par TIELMAN SUSATO. Arr. : Olivier Devienne / Niveau : 2ème Cycle / Répertoire / 3 Trompettes, Cor, 3 Trombones, Tuba et Snare Drum

This work highlights the sounds of instruments that, through the ages, have related the spirit of humankind to the rhythms of life, the heartbeat of the earth, and the motion of history. The piece begins with a magical snare drum rhythm, which intensifies with added bass drum, cymbals, tam-tam, and timpani. The music progresses to a climactic, foot-stomping celebration of the drum! This piece is scored for eight snare drums, two cymbals, two small gong and tam-tam, bass drum, and timpani. / Percussions

Beating a drum is fun. Beating a big drum is even more fun. Being a soloist and beating a bass drum is best of all. In 'Big Fun on the Bass Drum' the dream of every starter percussionist is realized. He/she is soloist and is allowed to really beat the drum hard without the conductor putting a stop to it but beware: a new skin is rather expensive. 'Big Fun on the Bass Drum' is not only about hitting as hard as you can though. A lot of attention is paid to playing the bass drum very softly. And what is more the composer has found room to offer the soloist a real cadenza - at this point in the composition he/she can either play the partprescribed or give the audience an improvisation of his/her own.