This next volume 3, from the series "Etudes for Snare Drum in 4-4-Time", takes care of the development of grace notes and rolls. In the beginning where only a single Flam is used, it will be extended to double, triple and quadruple grace notes. The following etudes are designed as preliminary exercises for vertebral strokes, up to the execution of rolls

An edition of 50 solo pieces for marching bands with a small line up of Snare Drum, Bass Drum and Cymbals. Divided into chapters with different lengths with: 8, 12, 16, 24, 32 Bars. The solos are notated in 2/4 and 6/8 meter, and varies in its levels for example with simple rhythms, grace notes and rolls. .

"Etudes for Snare Drum - Volume 4" finishes up the book series of pieces for Snare Drum. The main content deals with the task of dynamic exercises. Here, rhythms are provided with two to six different volumes, and builds up in the course with filigree aspects, such as accents rolls and much more.

A collection of 48 exercises. Ideal for learning the common notes and rests, rhythm and speed. It starts of with whole, half and quarter notes, followed up by sixteenth rests and sixteenth sextuplets, these notations are going to be repeated within a system of four bars per line. This issue does not include any dynamic levels.

A book as a basic toolbox for thousands of new pop and rock grooves. It starts of with combining binary and ternary Hi-Hat rhythms with different Bass drum and Snare Drum figures, followed up with exercises blending on various styles such as Shuffle, Halftime Shuffle, Funk, Hip-Hop, Hand-To-Hand-Coordination, Paradiddle-Patterns, up to Doublebass Grooves.

"Sweet Revenge" is a "conversation" for two drummers. It starts of with interactions of single notes between each drummer, but the voices find together within a common groove. There are small various nuances in the course of the piece that continue the "conversation" with disco and bossa nova patterns.

Duets are nothing unusual in jazz even under percussion instruments, as it is in the case with this arrangement. Two drummers playing more or less a open "straight ahead" duet. This piece varies in time signatures 3/4, 4/4 and 5/4, whereby the common cymbal phrasing is supplemented by turnarounds and various comping figures. Common rudiments such as flams, drags and rolls find their place in the piece, as well as a short passage based on the "2nd Line" Drumming of New Orleans.

A piece for three drummers, which has its challenges. Rather driven in terms of tempo, the piece builds up with sixteenth note grooves, á la Clyde Stubblefield, to a more complex sequence with metric modulations. It then moves in a kind of "Latin feel" into a double-time feel. A piece that does not get boring for the listener.

Body Trip is a piece that has its own requirements. A varied basis for both actors, because of the interaction of the voices. While one side is maintaining the basis in form of a swing pattern, the other one is soloing over it. There are also rhythmic gimmicks of jazz in 3/4 and 4/4 time, which ends with a trip to samba.

Rockin` Socks takes up an idea that was pretty rare in rock music that three drummers act together and complement each other at the same time. Simple eighth notes are building up to a double time feel which are being broken afterwards, followed up by other powerful grooves of quarter notes. Standard fills à la John Bonham are just as present as simple rudiments, which are occasionally played in unison. Many elements of Rock are entierly mixed up into one piece of music.

Three drum sets simulate other percussion instruments and move stylistically from reggae, shuffle, various Latin styles to rhythms of Santaria from Cuba. This also results in many interesting structures that have been incorporated into this composition. A nice example are the "calls" that are started by an instrument and often end as a common figure. A varied composition with an instrumental question-and-answer theme.

A piece that is mainly based on Latin American rhythms. The composition opens with a "Call and Response", which is known from the Brazilian drummer groups, the Batucada. Further stylistic interpretations of Afro-Cuban musical styles form a multifaceted interplay that is given an additional nuance by common figures. Different time signatures alternate, as it does in different interpretations of traditional drum parts of percussion instruments. The end is created by an instrumentation that c...