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The article discusses the role of drummers in Samoan fire knife dance exhibitions. Topics discussed include the extremely physical nature of drumming to match performers' physicality, the history of fire dancing in Samoa, and the goal of drumming to establish the mood and set the tempo of the dancing. Also mentioned are instruments and implements used in Samoan fire knife drumming which include the tini or apa, the log drum and bass drum.

A biography of Dennis DeLucia, a percussionist, is presented. He was born on January 31, 1944 in New Jersey and studied at Upsala College in New Jersey. He played concert and marching percussion. He began to teach the Pacers Drum and Bugle Corps in Poughkeepsie, New York, along with his friend and fellow Hellcat drummer Bob Devlin. According to drummer Tommy Igoe, DeLucia started as an educator and percussion arranger, as a member of the Drum Corps International (DCI) organization.

The article presents a profile of Michael Balter, a drummer is presented. He was born on May 7, 1952 in Chicago and studied at Niles East High School in Illinois. He begun studying mallet percussion theory with percussionist Roy Knapp and started his musical career with Ludwig practice pad, a pair of 5B drumsticks and received degree in performance and music education. He started his business of making mallets called Mike Balter Mallets, a company that supplies a variety of sticks and mallets.

The article discusses the music career of drummer Kenny Aronoff. His music education at Indiana University and works with rock musician John Fogerty and music producer Don Was are mentioned. Particular focus is given to his contributions to music recordings by rock musician John Mellencamp including "American Fool," "Scarecrow," and "Lonesome Jubilee," as well as "Blaze of Glory" by rock singer Jon Bon Jovi, "Fused" by guitarist Tony Iommi, and his concert tour with the group Chickenfoot.

The article offers the author's insights on jazz drummer and member Art Blakey of the Jazz Messengers group. Topics discussed include Blakey's induction into the Percussive Arts Society (PAS) Hall of Fame, he learned to play drums from watching and getting advice from drummers, like Klook or Kenny Clarke and Jimmy Peck, and he made a world tour with the jazz all-star group Giants of Jazz in 1970s.

The article focuses on several components of traditional style drumlines including instrumentation, performance practice, and drumheads and tuning. It says that the instruments which are typically used in the traditional-style drumline are single tenor, bass, and snare drums. It states that traditional-style drum sections were always in the field with the band, where the drumline locates in the center. It adds that some groups tune their drums based on drumheads which is used in a play.

The article focuses on Salvatore Rabbio who mentioned as the Percussive Arts Society (PAS) Hall of Fame inductee in 2013. It says that Rabbio was born in Boston, Massachusetts on July 27, 1934 and began taking drum lessons at the age of 13 from Bob Hayward. It states that he developed a reputation in jazz drumset due of being active in the Boston jazz scene. It adds that Rabbio was invited to become timpanist with the Boston Pops after he won the Boston University Concerto Competition in 1956.

The article profiles drummer Gary Olmstead who was born in Portland, Michigan. It says that Olmstead has took drum lessons from Frank Perné, a former snare drummer with John Philip Sousa. According to Olmstead he was a member of the 1961 University of Michigan Symphony Band which was chosen for a cultural exchange tour for 15 weeks in several countries, which include Soviet Union, Middle East, and Eastern Europe.

An interview with jazz drummer Sherrie Maricle is presented. Maricle states how drummer Buddy Rich and his Killer Force Orchestra have inspired her to be drummer of a big band which manager Stanley Kay made come true by assembling the Diva Jazz Orchestra. She believes that music is team sport for 20 years of leading the group and everyone in Diva is featured which helps in achieving team mentality. She adds the importance of eye contact which the group rely to communicate while performing.

The article offers information on the life and works of Christine Stevens, founder of UpBeat Drum Circles. She holds masters degrees in music therapy and social work, and author of "The Art and Heart of Drum Circles," "The Healing Drum Kit" and "Music Medicine." She has trained over 2,000 facilitators in the Remo HealthRHYTHMS program in more than 25 countries and worked with Fortune 500 companies. INSETS: 5 Research Findings on Group Drumming;Facilitating Drum Circles with Non-Drummers.

The article features drummer, percussionist and composer Glenn Kotche who is a member of the Chicago, Illinois-based alternative rock band Wilco since 2001, playing both the drumset and classical percussion. Outside of Wilco he has recorded avant-garde solo compact discs (CDs) and has written music for So Percussion and the Kronos Quartet bands. Some of his popular works include "Break Your Heart," "Poor Places," and "Eats Their Own."

The article discusses why American drummer David Garibaldi was selected as an inductee to the Percussive Arts Society's (PAS) 2012 Hall of Fame.

The article discusses why American drummer and musician Hal Blaine was selected as an inductee to the 2012 Hall of Fame of the Percussive Arts Society (PAS).

The article discusses why American percussionist and composer John Bergamo was selected as an inductee to the Percussive Arts Society's (PAS) 2012 Hall of Fame.

An interview with Peter Erskine, author of the book "The Drum Perspective," is presented. Referring to the Stan Kenton video of "Daily Dance," he says that he was still 18 years old at that time and had played hard. He gives credit to his playing with the Stan Kenton Orchestra for developing other facets of his playing. He admits that he did not immediately put to practice the lessons imparted to him by Professor George Gaber at Indiana University to rid himself of bad habits at drumming.

The article discusses the history and features of frame drums. Frame drums are considered the oldest drum in the world which came into existence in Turkey in 5600 B.C.E. Ethnomusicologist Curt Sachs was the one who gave the name frame drum. The key unique feature of the frame drum is that its head diameter is wider than the shell depth. Notable frame drum players include John Bergamo, Jamey Haddad and Glen Velez. The author's first exposure to frame drum is described.

The article profiles drummer Jimmy Cobb, a member of the band Kind of Blue. He was born on January 20, 1929 in Washington, D.C. and started playing drums at the age of 13. He worked with various musicians in the U.S. including Diana Washington, Stan Getz, and Sarah Vaughan. It highlights some of Cobb's notable albums including "Four Generations of Miles," "Yesterdays," and "New York Time."

The author details the steps necessary to building up a high-quality bass line. He emphasizes the importance of establishing a solid rudimental foundation for bass drummers before putting their efforts into split bass drum parts. He offers some sixteenth-note based exercise examples so that players can get comfortable with small rhythmic partials and the spaces between the notes. Also presented are the so-called Splits for Two exercises which allow for tag team practice where two players split many different rhythms back and forth.

The author discusses several resources for exploring the connection between dance and drum. A chart correlating material from West African drum instruction videos, dance instruction videos and one audio series that includes pedagogical djembe solos is presented. He proposes that West African dance classes and dance instruction videos may be more effective for learning and understanding drumming versus drum-only classes in some cases. It cites some sources for drummers interested in learning about Guinean music's relationship to movement and dance.

The article presents an interview with percussionist Stuart Saunders Smith about his piece "Ground" for solo glockenspiel and describes the format of the piece. Smith criticizes the use of an artistic mindset to experience real-life tragedy. The interval is said to be inverted to a descending minor second in the fifth movement. The complexity of the music of Smith is attributed to his rhythmic vocabular and tendency to compose with empty memory.

This article focuses on the career of U.S. drummer Jack DeJohnette. Although he is usually labeled as a jazz drummer, DeJohnette played with musicians of other genres. He worked with the rock band Living Colour and world music artists. He appeared in several albums, including as a member of the Bill Evans Trio. DeJohnette also released "The DeJohnette Complex," his first album as a leader in 1968. The drummer also formed the band Compost after leaving the group of Miles Davis.

An interview with drummer Jim Black is presented. He discusses his teaching methods and highlights that he loves the challenge of trying to connect to a musician in whatever kind of music they are interested in. He expresses his views on the importance of process of learning and practicing to musicians. He comments on factors that affect his composition ability for a band.

The article discusses the study "Collapsed rudiments" by musician Jim Chapin which focused on changing distances between the strokesof a rudiment. Topics discussed including even spaces between the musical notes, turning septuplet into a quintuplet, and drummer Claus Hessler's expertise in playing music at different note.

The article discusses the percussive technique and rhythmic innovations of singer-songwriter Ringo Starr, the drummer for the British rock band The Beatles. Topics discussed include the influence of record label Motown's American recordings on the music of Starr, techniques of Motown drumming used by Starr, and Starr's classic drumming approach which was an integration of Motown drumming, creativity and experimentation.

An interview with American drummer Steve Smith is presented. Smith says that in 2001, Howard Levy and Jerry Goodman recommended him to do a tour with a tabla player named Sandip Burman, which prompted him to investigate the Indian tradition of rhythm. According to him, the South Indian rhythms are adaptable to fusion, funk and rock approaches to drumming. He says that he has also learned to play Indian instruments such as konnakol, ghatam and kanjira.

In this article, the author describes the composition "Composed Improvisation for Snare Drum," by John Cage. According to the author, the composition demonstrates an inventive approach to solo snare drum repertoire. He examines the composition's structure and ramifications for the performer. He also includes a fully realized performance score with consideration of the composer's written instructions.

An interview with drummer and composer Chad Wackerman is presented. He discusses the influence of his father, who is also a drummer, on his relaxed and effortless matched grip. Wackerman explains the basis of his style as a composer. He also describes how he adjusts his drum playing when accompanying singers.

The article features drummer Warren "Baby" Dodds. He was born in New Orleans, Louisiana on Christmas Eve in 1898. He worked hard to buy his first drum set and went to a teacher named Dave Perkins while Walter Brundy, taught him to read music. His first major gig was with Willie Hightower's band, the American Stars. He made his first recordings in Chicago, Illinois with Louis Armstrong and Jelly Roll Morton, among others.

The article features drummer Anthony J. Cirone. He was born in Jersey City, New Jersey on November 8, 1941. No one in his family had any musical background but his mother encouraged him to play. He took lessons at the Gilio School of Music and joined the All-State Band and Orchestra in high school. He entered Juilliard in the fall of 1959 and was assigned to Saul Goodman from the New York Philharmonic. He graduated from Juilliard with a Master of Science degree in 1965. One of the important aspects of his career is being an author and composer.

The article presents an interview with jazz drummer Will Calhoun. He described the process of recording Wayne Shorter's "High Life." He talked bout his experiences in exploring various music traditions around the world, such as the music of Uruguay, Morocco and Brazil. He mentioned some recordings that were significant to his musical development.

This article profiles Leigh Howard Stevens, a percussionist, educator, composer, publisher, inventor and entrepreneur. Leigh played as a drummer in several jazz and rock bands during his high school years. He became an expert in marimba technique. His music influences include Vida Chenoweth and Joe Morello. He has performed hundreds of recitals internationally. He taught marimba lessons.

Discusses several guidelines for achieving pulse control in a contemporary marching ensemble of drummers. Implementation of a system of shared responsibility between the drum majors and designated members on the field; Awareness of the aggregate rhythm and flow of the ensemble's bass drum section; Utilization of audio and visual cues in drill formations.

Provides information on strain and sprain that occur among drummers and percussionists. Factors to increase the quality of healing in a strain injury such as when the swelling is reduced and relaxation of muscles; Description of ligaments; Role of ice in the reduction of swelling.

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.

Discusses the pathology of lower back pain suffered by drummers. Causes of the back pain; Differences between lower back injuries; Treatments for the pain.

Presents an interview with U.S. drummer T. S. Monk about drumming. Influence of drummer Shadow Wilson on Monk; Interest of Monk in the drumming of Elvis Jones; Opinion of Monk on the state of jazz drumming in 2006.

The article presents an interview with notable people within music industry. Individuals interviewed include percussionist Walfredo Reyes Jr. and drummer Tris Imboden. Topics discussed include their educational background relative to music, their participation in school bands, and people who have influence their musical abilities.

The article focuses on the factors that drummers should consider to improve their playing performance. Topics discussed include the need for drummers to ensure a better drum beat to boost the confidence of the entire member of the band while performing, the significance of the connection between singers and drummers, and the negative outcome that overplaying may cause.

The article offers the author's insights regarding the idea shown by American drummer Carter Beauford in his video "Under the Table and Drumming." The author says that in the video, Beauford has talked about how the quarter-, eighth-, and sixteenth-note grooves makes him feel boring to play. He mentions that the video has served a Carter-like learning experience, which helped him to enhance coordination and rhythmic accuracy.

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 shares tips on how to interpret the two-beat show drumset pattern in the Broadway musical style. Two-beat patterns are commonly used in a variety of musical styles, including the Broadway musical style. Drummers make decisions based on the style, tempo and phrasing. Some of special timbral factors to be considered when interpreting the two-beat show include the hi-hat, ride cymbal and brushes.

An interview with drummer and author Zoro is presented. According to him, he tries to learn something from his disappointments and failures. Zoro stresses that through hard work, musicians can achieve their potential for greatness. He also explains when to consider a musician's goal to be delusional.

A personal narrative is presented which explores the author's experience of auditioning in the drum corps including his reflection of the teachings given during the camp, participation in the drill, and a physical training session with the full corps.

The article offers tips on how drummer and percussionists can improve their scales. The important factor that drummers and percussionists should know to improve their scale accuracy is to start at the top of the scale. Drummers and percussionists should also learn to practice playing every scale or arpeggio and seven diatonic modes. They should also try to expand their range beyond two octaves.