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Presents an interview with several drummers in Canada. Importance of practice schedules; Musical influences; Types of warm-up exercises before performance.

The article offers guidelines for hand and foot combinations which will allow drummers to create triplet-based fills and grooves and jazz ideas which include playing with the right hand on the high hat cymbals and the left hand on the snare, adding optional bass drum hits, and adding ghost notes and drags to the beats.

The musical notation for the song "A Rhythmic Twist," by Jeff Salem is presented.

The article discusses the first part of a series on fills and grooves. It discusses the creative approach to playing triple-based fills and grooves as based in some ideas of the book "A Rhythmic Twist," by Jeff Salem. It offers an example on how to count one bar of sixteenth notes and one bar of eighth note triplets in 4/4. It provides examples where quarter-note triples and half-note triplets become the key pulses in the grooves or drum fills.

The musical notation for the "Funky 3S" drum beating arrangement by Jeff Salem is presented.

The article tackles the hi-hat or ride ostinato parts. Ostinato is a musical phrase repeated over and over in a composition. In this paper, 13 various hi-hat or ride ostinato parts that can be added to any quarter-, eighth-, and sixteenth-note bass or snare drum beats. It is noted that this variations are based on six common hi-hat or ride ostinatos, and these patterns can be applied to the 15 bass or snare grooves shown in the paper.

The article provides tips on how to create a funky grooves using the linear concept. According to the author, linear beats are patterns played in which no limbs line up. He added that the "Linear Alphabet" in 16th notes consists of 64 patterns in which one can play in four 16th notes between the bass, snare and hihat.

The article presents information on the 7/8 time grooves and discusses how drummers can create its beats. It is informed that one should not say the full number seven while counting in 7/8 as it will sound like 8/8. It is suggested that beats can be created using hi hat patterns, which are two-bar patterns phrased in 4/4 time. It is also informed that 4/4 grooves can be converted to 7/8 by dropping the last 8th note of the bar. Musical notation for the 7/8 time groove is also given.

The article gives tips on how to be a great sub drummer and the steps to be taken to be hired on a regular basis as a sub for concerts. When one accepts a gig, find out the group's song list and ask the bandleader for the charts, CDs, MP3s or live video and recordings of their songs. If they don't have these, do prepare road maps of all the tunes especially of those, one is not familiar with. Do attend the rehearsals and appropriate equipment to the gig.

In this article the author describes how to create double bass drum fills. Most of the fills of bass drummers such as Mike Portnoy and Joey Jordonson are played and written as 32nd notes. There are four patterns of fills to start with. These patterns characterize alternate sticking between the hands and feet.

The article describes the author's experience of teaching drum lessons. In his 15 years of teaching, he has noticed a shift in priorities in the last few years with beginner students of all ages. Some students might come into their first lesson wanting to learn how to play a one-handed drum roll, but first need to develop proper technique in holding drum sticks. One might be anxious in wanting to learn to play double bass right away, but have not yet learned to play one bass drum. The message that the author wants to convey to drummers, especially the ones just starting out is that if they choose to become a professional drummer, it's important to become versatile as a player.

The article explores a unique way of playing melodic guitar riffs on the drums as well as keeping a groove to support it. If one is right handed, the tom parts are played with the right hand. One has to start off by getting the part of the tone down and try and listen for the riff on the toms. Next is to work on the drumbeat with the left hand, right hand is to be used if one is a lefty. One can play them separately, bring both parts together very slowly, there is some independence involved that will take some time. Some of the favorites which can be practiced are Peter Gun" by the Ventures, "Louie Louie" by the Kinks, "Satisfaction" by The Rolling Stones, "Walk This Way" by Aerosmith, "Whole Lotta Love" by Led Zeppelin and "Smoke on the Water" by Deep Purple.

Jeff Salem, a lead singer, will be the first musician to ever say to a drummer that the tempo is dragging or it's too fast. He believes it's important for every musician to feel comfortable at the tempo that's being played, however, you will find singer's to be picky about the speed of the song. He believes playing to a click track live is the easy way to have consistent timing. As long as you feel comfortable playing with one, no one can blame you if the song feels slower one night. It might just be the mood that musician is in, maybe not enough sleep.

This article discusses about working with a metronome. Have any one heard comments like this before? The lead singer in the band turns around during a song and tells "Stop speeding up, slow it down, your racing the tune!" There are many types of metronomes that one could consider buying. Most metronomes have a range from 40-208 or 250 beats per minute. Another suggestion is a drum machine. This opens up great possibilities with sounds and programming rhythmical patterns. This can be a frustrating process in the beginning, which is why a good teacher is very helpful. First of all start at 60 BPM.

In this article, the author talks about ways of adding colour to one's groove, or as he refers to it as, "Icing on the Groove." He shares idea that many times he finds that one gets boxed into playing a groove that is based on eighth notes or sixteenth notes riding on top of the bass and snare drum part using either the hi-hat or ride cymbal. In examples, he splits up pattern between his right hand on the bell of the ride, and his left foot on a cowbell that has a pedal attached to it. The hi-hat foot stroke works nice as well if one doesn't have a cowbell attached to a pedal.

The article discusses the popularity of community drum circles and how to get involved in them or form one. A drum circle is a group of people getting together with various percussion instruments to create rhythmical music together. Drum circles have no limit to the size of the group. People of all ages, males and females can participate.They are quite common outdoors in parks. There are many fun exercises to experiment with. The most important thing is to listen and have fun.

Offers tips for incorporating double bass drumming into a single bass rock beats. Use of hi-hat and ride cymbal; List of common beats; Creation of grove in 4/4.

Features the bass drum double pedal from The Duallist. Specifications; Performance ratings; Pricing.

Focuses on ways to apply the Single Paradiddle and its variation around the drumset. Recommendation of learning the sticking pattern on the snare drum; Observance of various accent patterns from the fill example to the groove; Opportunity to disguise the sound of many grooves and fills.

Illustrates drum fills and grooves utilizing a concept of numbers in Canada. Relation of group numbers with music; Efforts of the author to group notes together in order to add up to 16 notes; Conversion of notes to groove.

Provides tips for drum practices in Canada. Areas to develop for drum practicing; Duration of the practice time; Evolution of personal style.

Presents instructions on how to feel relax while playing the drums. Comments in setting up the musical instrument; Remarks on experimenting with the equipment; Details on the importance of practice.

Discusses the importance of reading music. Reading drum set music; Tips on reading charts; Need to use a pencil and eraser to make notes on the chart for the musician's own reference.

Presents tips for playing drums. Creation of voicing pattern between snare and bass; Application of ghost notes and accents; Use of different ride guide.