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An interview with expatriate percussionist Steve Shehan is presented. Shehan states that he started as a drumset player and shifted to hand percussion, noting Tony Williams and Elvin Jones as his heroes. He mentions that his musical foundation is between bossa nova and jazz. He adds that improvisation allows one to be alert and to use new instruments.

The article attempts to make adaptations for the drumset of shorter North Indian Tabla phrases to be used for accompanying real-world music applications. Some general information about North Indian music are discussed, including a terminology of terms, the rhythmic cycles, and classification of Tabla bols. Examples of adaptation are included, which can be played at slow, medium and fast tempo. According to the author, one can find limitless possibilities with ancient origins of world music.

The article offers information on the Percussive Arts Society (PAS) Museum, which was opened in Lawton, Oklahoma on August 8, 1992. The minutes of a December 1971 PAS Board of Directors meeting first mentioned the idea of a PAS museum. Secretary Neal Fluegel was asked by President Gary Olmstead to investigate the possibility of establishing a museum at the Indiana State University in 1977. The first musical donation was made to PAS in 1981 including the Roy Knapp drumset and memorabilia. Tom Siwe played a significant role in the museum's establishment.

The article offers step-by-step instructions for adapting the traditional setting of a djembe ensemble in playing the West African rhythm called Kuku to the modern drumset.

Offers recommendations for students in developing melodic improvisation on a drumset. Good control of drumset coordination; Memorization of the melody and form of the song to be improvised; Emulation of the drum playing styles of jazz drummer Max Roach as an improvisational model.

Presents technical exercises for playing Western percussion instruments inspired by Middle Eastern and Indian rhythms focusing on "Aksak Semai." Arpeggio exercises to apply the "Aksak Semai" rhythm to four-mallet instruments; Double-stroke/Paradiddle combinations for snare drum; Drum set patterns for "Aksak Semai."

The article focuses on drumset duet. It discusses including ghost notes that will be played to the drumhead in a piano dynamic which created a groovy feel and lightness in playing, drumming in odd time style in which drummers like Neil Peart, Mike Portnoy and Virgil Donato excel, and creating guidelines and establishing a form in drumming.

The article provides information on the need for drumset solos to use components of effective improvisation and with sufficient structure. It mentions that using effective improvisation permits the drummer to communicate to the listener with a musical meaning, a significant element in establishing an internal dialogue between the audience and the performer. The use of motives, short rhythmic or melodic ideas compose of succession of notes, is a significant component in music improvisation.

The article offers step-by-step instructions to help students with no experience with Afro-Cuban styles better understand clave and the basic patterns, and to aid students with good snare drum technique but no drumset technique.

The article focuses on the Rudiment Tablature (TAB) System and Drumset Expression. The Rudiment TAB System is form of musical shorthand. It enables to user to simplify difficult rudimental passages and focus on memorizing the rudiments. It can improve hand technique. Examples of applications of the Rudiment TAB System are presented.

This article focuses on a new and practical design for mridangam, an ancient Carnatic hand drum. The primary parts of mridangam are the tonal head, the bass head and the central wooden shell. Materials used in the new design include fender washers and nylon webbing. Steps for making the mrindangam are presented. There are several advantages of the new design compared to the traditional design, such as simple adjustment of pitch with a wrench.

This article presents techniques and strategies for several patterns in playing a standard five-piece drumset. Exercises for the four inversions of the single paradiddle are presented.

Explores the need for and benefits of a written-out drum set solo to teach students how to play an effective improvised solo on the drum set. Importance of practicing written-out drum solo; Impact of using written examples on the ability of drum set students to learn improvisation; Goal of teaching students to read music.

The article discusses choosing proper drumset for symphonyorchestra. Topics discussed include playing with a 100-piece orchestra and playing with a jazz band, performer New York Philharmonic's percussion performance, eighth notes played by jazz drummer, and musician Bill Platt's experience in orchestra playing.

The author discusses how the Afro-Cuban drumset changed with time. Topics discussed include learning drum playing from drum teacher Jose Ramirez, African drums brought to Cuba during the slavery period, and African drumset having similar styles as jazz, rock, and Afro-Cuban music. It mentions that Afro-Cuban music is played in the direction of the rumba clave.

The article explains why it is crucial in drumset instruction to teach other components of the song, such as form. According to the author, aspiring drummers should learn how to play rhythms and fills within the context of a certain form. A common blues bass line in the key of C major is presented. He suggests to have the students play the blues bass line on the marimba, or at least have them play the roots on the downbeat of each measure after learning the entire form cycle.

The author discusses the drums used by the Hellcats band in the U.S. military. The rope-tension snare drums of the band are constructed of a steam-bent, single-ply wood shell with interior reinforcing rings at the top and bottom edges. He notes the utilization of a pigtail knot to tie the rope off when tuning a rope-tension drum. He points out that competitive marching activities influence designs for modern marching drums and carriage systems.

Musical notations for various Afro-Cuban Facility exercises for drumset is presented.

The article discusses the percussion instruments tubaphone and rain machines which were built by percussionist William "Willy" Dorn. Topics mentioned include the building of instruments when a viable one is not available, the use of tubaphones in British military bands in the 19th century, and the rotating rain machine instrument is used to imitate rainfall differing degrees.

The article focuses on the circa-1966 drumset first owned by John Poole, a drummer of jazz singer Anita O'Day. It states that the drumset was sold to Charlie Benton after Poole's death in 1999 and was donated at the Percussive Arts Society (PAS) Museum. Information regarding O'Day's music career and work experience as vocalist of the Gene Krupa and Stan Kenton Orchestras, are presented.

The article offers brief information on the Trixon Model 2000 Telstar Drumkit from Trixon.

The article features the Percussive Arts Society's (PAS's) collection of vintage hi-hats, a type of cymbal and stand that is part of a drumset. It traces the history of the hi-hats from when orchestras used two percussion players, to a single performer simultaneously playing attached cymbal and bass drum, to the mechanical bass drum pedal. The hi-hat came when performers wanted a more authentic crash cymbal sound and inventors experimented using the left food to create a crash cymbal sound.

The article features a set of four small timpani from the museum collection of the Percussive Arts Society (PAS). It says that each instrument has similar size which is five-and-a-half inches in depth and nine inches in diameter. It notes that each drum also consists of an inside bowl, outside bowl, and a drumhead.

The article provides information on the Victorious drumset from WFL Drum Co.

The article evaluates the bass drum kit of Fletcher Henderson.

The article presents seven basic steps when offering Rock Etude 1 which introduces drummers to reading rhythmic slashes with improvised fills for drumset while keeping their place in the written chart. Step number one is to play rhythmic slashes as written on a single surface. Step number two is to play rhythmic slashes on any surface on the drumset, changing surfaces and sounds at will.

Offers some ways to add left-foot patterns to a standard cha-cha drumset rhythm.