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136-433: In many forms of music, the bass drum is used to mark or keep time. The bass drum makes a low, boom sound when the mallet hits the drumhead. In marches, it is used to project tempo (marching bands historically march to the beat of the bass). A basic beat for rock and roll has the bass drum played on the first and third beats of bars in common time, with the snare drum on the second and fourth beats, called backbeats . In jazz,

272-439: A Kevlar -based head, enabling very high tuning, thus producing a very high-pitched cracking snare sound. A new technique used to improve the sound quality during snare drum construction is symmetrical venting. In contrast to a standard single vent hole, air can easily travel through and around the instrument without getting caught. This rapid movement creates a smoother, stronger sound. The snare drum seems to have descended from

408-526: A piezoelectric sensor and a practice pad or other piece of foam rubber, which is possible in two ways: In either case, an electronic control unit (sound module/"brain") with suitable sampled/modeled or synthesized drum sounds, amplification equipment (a PA system , keyboard amp , etc.), and stage monitor speakers are required to hear the electronically produced sounds. See Triggered drum kit . A trigger pad could contain up to four independent sensors, each of them capable of sending information describing

544-457: A rattle of beads (metal, plastic, nylon, or gut) called "snares" in close contact with it, on the bottom head, which vibrate when the drum is struck. The snares can also be on the top, as in the tarol snare drum, or on both heads as in the case of the Highland snare drum. The top head is typically called the batter head because that is where the drummer strikes it; the bottom head can also be called

680-461: A swish cymbal , sizzle cymbal , or other exotic or lighter metal rides, as the main or only ride in their kit, particularly for jazz, gospel, or ballad/folk sounds. In the 1960s, Ringo Starr of the Beatles used a sizzle cymbal as a second ride, particularly during guitar solos. Hi-hat cymbals (nicknamed "hats") consist of two cymbals mounted, one upside down, with their bottoms facing each other, on

816-405: A "leaner" sound with neither, is often used to mark a change from one song section to another. Crash cymbals are usually the strongest accent markers within the kit, marking crescendos and climaxes, vocal entries, and major changes of mood, swells, and effects. A crash cymbal is often accompanied by a strong kick on the bass drum pedal, both for musical effect and to support the stroke. It provides

952-417: A "low-boy". With this approach, the bass drum was usually played on beats one and three (in 4 time). While the music was first designed to accompany marching soldiers, this simple and straightforward drumming approach led to the birth of ragtime music, when the simple marching beats became more syncopated . This resulted in a greater swing and dance feel. The drum kit was initially referred to as

1088-422: A "trap set", and from the late 1800s to the 1930s, drummers were referred to as "trap drummers". By the 1870s, drummers were using an overhang pedal. Most drummers in the 1870s preferred to do double-drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems, such as that of drummer Edward "Dee Dee" Chandler of New Orleans in 1904 or 1905. This led to

1224-683: A bass drum are: Bass drums can have a variety of strikers depending on the music: In electronic music, bass drums, especially kick drums, are frequently used. Kick drum sounds are prominent in various music styles, including American genres like footwork and African genres such as gqom . In a drum kit, the bass drum is much smaller than in traditional orchestral use, most commonly 20 or 22 inches (51 or 56 centimetres) in diameter. Sizes range from 16 to 28 inches (41 to 71 centimetres) in diameter while depths range from 12 to 22 inches (30 to 56 centimetres), with 14 to 18 inches (36 to 46 centimetres) being normal. Vintage bass drums are generally shallower than

1360-611: A central part of jazz, especially Dixieland . The modern drum kit was developed in the vaudeville era, during the 1920s, in New Orleans. Drummers such as Baby Dodds , Zutty Singleton , and Ray Bauduc took the idea of marching rhythms and combined the bass drum, snare drum, and "traps" – a term used to refer to the percussion instruments associated with immigrant groups, which included miniature cymbals, tom toms , cowbells , and woodblocks . They started incorporating these elements into ragtime, which had been popular for

1496-519: A cylinder (much like a barrel) that is also rounded out by a lathe. Solid shells are constructed of one solid piece of hollowed wood. The heads or skins used are a batter head (the playing surface on the top of the drum) and a resonant (bottom) head. The resonant head is usually much thinner than the batter head and is not beaten while playing. Rather than calfskin , most modern drums use plastic ( Mylar ) skins of around 10 mils thickness, sometimes with multiple plies (usually two) of around 7 mils for

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1632-463: A cylinder. Steam-bent shells consist of one ply of wood that is gradually rounded into a cylinder and glued at one seam. Reinforcement rings, so-called "re-rings", are often incorporated on the inside surface of the drum shell to keep it perfectly round. Segment shells are made of multiple stacks of segmented wood rings. The segments are glued together and rounded out by a lathe. Similarly, stave shells are constructed of vertically glued pieces of wood into

1768-448: A cylindrical shape. This simple drum with a simple snare became popular with the Swiss mercenary troops who used the fife and drum from the 15th to 16th centuries. The drum was made deeper and carried along the side of the body. Further developments appeared in the 17th century, with the use of screws to hold down the snares, giving a brighter sound than the rattle of a loose snare. During

1904-402: A deeper-sounding tone, one that is effective for marching bands. Many marching snares are built to withstand high amounts of tension, tightened by a drum key . They are often played with a heavier and thicker stick, more commonly referred to as "marching sticks". Snares are often nylon or gut. Similar to a marching snare, pipe band snares are deep and tuned quite tightly. The major difference

2040-405: A degree of creative freedom, allowing them to use complex polyrhythms that would otherwise be unsuitable with an ensemble. In live concerts, drummers may be given extended drum solos, even in genres where drum solos are rare on recordings. Most drummers hold the drumsticks in one of two types of grip: The bass drum (also known as the "kick drum") is the lowest-pitched drum and usually provides

2176-452: A drum kit, though this is a non-classical or colloquial designation that has become standardized. Most extended kits include one or more splash cymbals and at least one china cymbal . Major cymbal makers produce cymbal extension packs consisting of one splash and one china, or more rarely a second crash, a splash, and a china, to match some of their starter packs of ride, crash, and hi-hats. However, any combination of options can be found in

2312-446: A drum solo, consists of two elements: A fill is a departure from the repetitive rhythm pattern in a song. A drum fill can be used to "fill in" the space between the end of one verse and the beginning of another verse or chorus. Fills vary from a simple few strokes on a tom or snare to a distinctive rhythm played on the hi-hat, to sequences several bars long that are short virtuosic drum solos. As well as adding interest and variation to

2448-443: A drummer to practice without disturbing others. Others use electronic drums to take advantage of the huge range of sounds that modern drum modules can produce, which range from sampled sounds of real drums, cymbals, and percussion instruments such as gongs or tubular bells that would be impractical to take to a small gig, to electronic and synthesized sounds, including non-instrument sounds such as ocean waves. A fully electronic kit

2584-646: A few decades, creating an approach that evolved into a jazz drumming style. Budget constraints and space considerations in musical theater pit orchestras led bandleaders to pressure percussionists to cover more percussion parts. Metal consoles were developed to hold Chinese tom-toms, with swing-out stands for snare drums and cymbals. On top of the console was a "contraption" tray (shortened to "trap"), used to hold items like whistles, klaxons, and cowbells. These kits were dubbed "trap kits". Hi-hat stands became available around 1926. In 1918, Baby Dodds , playing on Mississippi River riverboats with Louis Armstrong , modified

2720-503: A fuller sound and is a commonly taught technique. In jazz, using the smallest kits and at very high volumes, ride cymbals may be played with the technique and sound of a crash cymbal. Some hi-hats will also give a useful crash, particularly thinner hats or those with a severe taper . Alternatively, specialized crash/ride and ride/crash cymbals are designed to combine both functions. All cymbals, other than rides, hi-hats, and crashes/splashes, are usually called effects cymbals when used in

2856-434: A hollow metal support cylinder with folding support legs that keep the support cylinder vertical. Like the bass drum, the hi-hat has a foot pedal. The bottom cymbal is fixed in place. The top cymbal is mounted on a thin rod, which is inserted into the hollow cymbal stand. The thin rod is connected to a foot pedal. When the foot pedal is pressed down, it causes the thin rod to move down, causing the upper cymbal to move and strike

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2992-420: A lever on the strainer so that the drum produces a sound reminiscent of a tom-tom . Rimshots are a technique associated with snare drums in which the head and rim are struck simultaneously with one stick (or in orchestral concert playing, a stick placed on the head and the rim struck by the opposite stick). In contemporary and/or pop and rock music, where the snare drum is used as a part of a drum kit , many of

3128-423: A medieval drum called the tabor , which was a drum with a single-gut snare strung across the bottom. It is a little bigger than a medium tom and was first used in war, often played with a fife (pipe); the player would play both the fife and drum (see also Pipe and tabor ). Tabors were not always double-headed and not all may have had snares. By the 15th century, the size of the snare drum had increased and had

3264-449: A metal frame and like the hi-hat , a tension unit controls the amount of pressure needed to strike and the amount of recoil upon release. A double bass drum pedal operates much the same way as a single bass drum pedal does, but with a second footplate controlling a second beater on the same drum. Most commonly this is attached by a shaft to a remote beater mechanism alongside the primary pedal mechanism. One notable exception to this pattern

3400-477: A narrow shell. To play this instrument, a person would strike the right side of the davul with a large wooden stick, while the left side would be struck with a rod. When struck, the davul produced a sound much deeper than that of the other drums in existence. Because of this unique tone, davuls were used extensively in war and combat, where a deep and percussive sound was needed to ensure that the forces were marching in proper step with one another. The military bands of

3536-472: A narrow-shelled, single-headed drum called the gong drum was introduced in Britain during the 19th century. This drum, which was 70-100 centimeters in diameter and deep-shelled, was similar to the long drum in both size and construction. When struck, the gong drum produced a deep sound with a rich resonance. However, the immense size of the drum, coupled with the fact that there was not a second head to help balance

3672-547: A number of techniques; most commonly, with simple alternating single strokes. However, in order to increase the speed, some drummers use the heel-toe technique ; these are essentially double strokes where the drummer can perform two hits with one foot movement, which causes less fatigue at higher tempos. Notable names that have a hand in raising the bar for double bass drumming, include: Terry Bozzio , Simon Philips , Virgil Donati , Derek Roddy , Gene Hoglan , George Kollias , Bobby Jarzombek and Tomas Haake . Bozzio introduced

3808-448: A pair of hi-hats. Some contain only three cymbals, using a crash/ride instead of the separate ride and crash. The sizes closely follow those given in Common configurations below. Most drummers extend the normal configuration by adding another crash, a splash, and/or a china/effects cymbal. The ride cymbal is most often used for keeping a constant rhythm pattern, every beat or more often, as

3944-402: A similar fashion. Two distinct sticks were used on the two distinct sides of the drum itself. A notable difference between the two is that long drums, unlike davuls, were used primarily for religious purposes. As the use of the long drum began to spread across Europe, many composers and musicians started looking for even deeper tones that could be used in compositions. As a result of this demand,

4080-409: A single electronic pad to an entire drum kit (e.g., to have access to an instrument that might otherwise be impractical, such as a large gong ), to using a mix of acoustic drums/cymbals and electronic pads, to using an acoustic kit in which the drums and cymbals have triggers, which can be used to sound electronic drums and other sounds, to having an exclusively electronic kit, which is often set up with

4216-530: A snappy, staccato buzzing sound, along with the sound of the stick striking the batter head. Tom-tom drums, or toms for short, are drums without snares and played with sticks (or whatever tools the music style requires) and are the most numerous drums in most kits. They provide the bulk of most drum fills and solos. They include: The smallest and largest drums without snares ( octobans and gong drums , respectively) are sometimes considered toms. The naming of common configurations (four-piece, five-piece, etc.)

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4352-776: A snare drum. Snare drums may be made from various wood , metal , acrylic , or composite , e.g., fiberglass materials. A typical diameter for snare drums is 14 in (36 cm). Marching snare drums are deeper (taller) in size than snare drums normally used for orchestral or drum kit purposes, often measuring 12 in deep (tall). Orchestral and drum kit snare drum shells are about 6 in (15 cm) deep. Piccolo snare drums are even shallower at about 3 in (7.6 cm) deep. Soprano, popcorn, and firecracker snare drums have diameters as small as 8 in (20 cm) and are often used for higher-pitched special effects. Most wooden snare drum shells are constructed in plies (layers) that are heat- and compression-moulded into

4488-447: A snare or tenor drum , the stroke itself is different, but the fundamentals remain the same. The player's forearms should be parallel to the ground and bent at the elbows. The line between their shoulder and elbow should be vertical and the mallet should be held upward at a 45-degree angle. The hands hold bass mallets in such a way as to place the center of the mallet in the center of the head. The mallet shaft bottom should be flush against

4624-542: A tom of the same diameter, typically have drum shells made of metal, and are normally played with very light, thin, non-tapered sticks. Timbales are more common in Latin music. They have thin heads and a very different tone than a tom but are used by some drummers/percussionists to extend the tom range upwards. Alternatively, they can be fitted with tom heads and tuned as shallow concert toms. Attack timbales and mini timbales are reduced-diameter timbales designed for drum kit usage,

4760-484: A version of which were used throughout the ancient Near East very early in the Bronze Age period. Cymbals are mostly associated with Turkey and Turkish craftsmanship, where Zildjian has made them since 1623. While most drummers purchase cymbals individually, beginner cymbal packs were brought to market to provide entry-level cymbals for the novice drummer. The kits normally contain four cymbals: one ride, one crash, and

4896-435: A very low volume for the band is desired. Since fully electronic drums do not create any acoustic sound (apart from the quiet sound of the stick hitting the sensor pads), all of the drum sounds come from a keyboard amplifier or PA system ; as such, the volume of electronic drums can be much lower than an acoustic kit. Some use electronic drums as practice instruments because they can be listened to with headphones, which enable

5032-400: A way to enable them to play more than one instrument, but these devices would not be mass-produced for another 75 years. By the 1860s, percussionists started combining multiple drums into a kit. The bass drum, snare drum, cymbals, and other percussion instruments were all struck with hand-held drumsticks. Drummers in musical theater appeared in stage shows, where the budget for pit orchestras

5168-473: A workable bass drum pedal , which would strike a two-headed bass drum in much the same way as a drumstick. During the 1960s, many rock ‘n’ roll drummers began incorporating more than one bass drum in their drum kit, including the Who's Keith Moon and Cream's Ginger Baker . In classical music, composers have much more freedom in the way the bass drum is used than in other genres of music. Common uses are: Apart from

5304-413: Is a different size, and there are different playing styles associated with each of them. The snare drum that one might see in a popular music concert is usually used in a backbeat style. In marching bands, it can do the same but is used mostly for a front beat. In comparison with the marching snare, the kit snare is generally smaller in length, while the piccolo is the smallest of the three. The snare drum

5440-400: Is a part of the standard rhythm section and is used in many types of popular and traditional music styles, ranging from rock and pop to blues and jazz . Before the development of the classic drum kit, drums and cymbals used in military and orchestral music settings were played separately by different percussionists. In the 1840s, percussionists began to experiment with foot pedals as

5576-400: Is a type of snare used by drummers seeking a higher-pitched sound from their snare. Because the piccolo snare has a narrower depth than that of the marching snare or set snare, a higher-pitched "pop" is more widely associated with it. Although the piccolo snare has a more distinctive, unique sound, it has some downsides. Because of the "sharper" sound of the piccolo, its sound travels further and

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5712-399: Is a unique musical ensemble consisting of graduated pitch marching bass drums commonly found in marching bands and drum and bugle corps . Each drum plays a different note, and this gives the bass line a unique task in a musical ensemble. Skilled lines execute complex linear passages split among the drums to add an additional melodic element to the percussion section. This is characteristic of

5848-499: Is brought down and the ball of the foot strikes the pedal. The foot snaps up, the heel comes off the footboard, and the toes come down for a second stroke. Once mastered either technique allows the player to play very fast double strokes on the bass drum. Noted players include Rod Morgenstein , Tim Waterson (who formerly held the world record for the fastest playing on a bass drum, using double bass), Tomas Haake , Chris Adler , Derek Roddy , Danny Carey and Hellhammer . The technique

5984-555: Is commonly used in death metal and other extreme forms of music where triggers and double bass are typically employed. Double strokes can only properly replace single strokes for long runs of evenly spaced notes when using triggers or sample replacement as the sound is inherently uneven. Some tempos are only possible with double strokes, however. In many forms of heavy metal and hard rock , as well as some forms of jazz , fusion , and punk , two bass drums are used, or alternatively two pedals on one bass drum. If two drums are used, that

6120-441: Is easier to soundcheck than acoustic drums, assuming that the electronic drum module has levels that the drummer has preset in their practice room; in contrast, when an acoustic kit is sound checked, most drums and cymbals need to be mic'd and each mic needs to be tested by the drummer so its level and tone equalization can be adjusted by the sound engineer . Also, even after all the individual drum and cymbal mics are sound checked,

6256-499: Is easily recognizable by its loud cracking sound when struck firmly with a drumstick or mallet. The depth of the sound varies from one drum to another because of the different techniques and construction qualities of the drum. Some of these qualities are head material and tension, dimensions, and rim and drum shell materials and construction. The snare drum is constructed of two heads —both usually made of Mylar plastic in modern drums but historically made from calf or goat skin—along with

6392-529: Is impossible for him to play 'The Three Camps', 'Breakfast Call', or in fact any of the Duty except the simple beats such as 'The Troop'." During the late 18th and 19th century, the military bugle largely supplanted the snare and fife for signals. Most modern militaries and scouting groups use the bugle alone to make bugle calls that announce scheduled and unscheduled events of the organization (from First Call to Taps ). While most modern military signals use only

6528-520: Is largely a reflection of the number of toms, as conventionally only the drums are counted, and these configurations all contain one snare and one or more bass drums, (though not regularly any standardized use of two bass/kick drums) the balance usually being made up by toms. Octobans are smaller toms designed for use in a drum kit, extending the tom range upwards in pitch, primarily by their great depth and small diameter. They are also called rocket toms and tube toms. Timbales are tuned much higher than

6664-452: Is not efficient for slow tempos or sparse rhythms. Drummers such as Thomas Lang , Virgil Donati , and Terry Bozzio are capable of performing complicated solos on top of an ostinato bass drum pattern. Thomas Lang, for example, has mastered the heel-up and heel-down (single- and double-stroke) to the extent that he is able to play dynamically with the bass drum and to perform various rudiments with his feet. In order to play "doubles" on

6800-494: Is often to give a more impressive appearance on large stages, but sometimes, the second drum is pitched differently to provide some variety in the notes, thus creating a more nuanced sound. The first person to use and popularize the double bass drum setup was jazz drummer Louie Bellson , who came up with the idea when he was still in high school. Double bass drums were popularized in the 1960s by rock drummers Ringo Starr of The Beatles , Ginger Baker of Cream , Mitch Mitchell of

6936-425: Is one of the central pieces in a drum set , a collection of percussion instruments designed to be played by a seated drummer and used in many genres of music. Because basic rhythms are very easy to learn to play on a snare drum even for children, the instrument is also suitable for the music education for young children and a rhythm band . Snare drums are usually played with drum sticks , but other beaters such as

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7072-411: Is picked up by microphones further away during recording, making it difficult to record effectively. There are many kinds of piccolo snare which can be piccolos, including the popcorn, soprano and standard snares. Popcorn snares typically have a diameter of 10 in (25 cm), sopranos 12–13 in (30–33 cm), and standard piccolos 14 in (36 cm). A well-known user of the piccolo snare

7208-430: Is that they feature a second set of snare wires beneath the batter head, along with the normal set on the resonant head. This gives them an even more crisp and snappy sound. Snare drummers form an integral part of pipe bands, accompanying the bagpipes, and playing music written to fit the pipe tunes. A bass drummer and several tenor drummers, who also perform visual representations of the music, known as flourishing, add to

7344-415: Is the symmetrical Sleishman twin bass drum pedal. Alternatively, some drummers opt for two separate bass drums with a single pedal on each, for a similar effect. When using a double bass drum pedal, the foot which normally controls the hi-hat pedal moves to the second bass drum pedal, and so the hi hat opens and remains open. A drop clutch can be used to keep the hi-hat in the closed position, even with

7480-506: Is today called the orchestral bass drum, and it is the prototype with which people are most familiar today. The modern bass drum is used primarily in orchestras. The drum, similar to the davul and long drum, is double-headed, rod tensioned and measures roughly 40 inches in diameter and 20 inches in width. Most orchestral bass drums are situated within a frame, which allows them to be positioned at any angle. Bass drums are also highly visible in modern drum kits . In 1909, William Ludwig created

7616-556: The Ottoman Janissaries in the 18th century were one of the first groups to utilize davuls in their music; Ottoman marching songs often had a heavy emphasis on percussion, and their military bands were primarily made up of davul, cymbal and kettle drum players. Davuls were ideal for use as military instruments because of the unique way in which they could be carried. The Ottoman janissaries, for example, hung their davuls at their breasts with thick straps. This made it easier for

7752-506: The Roland Octapad or the DrumKAT are playable with hands or sticks and are often built to resemble the general form of acoustic drums. There are also percussion controllers such as the vibraphone -style MalletKAT , and Don Buchla 's Marimba Lumina . MIDI triggers can also be installed into acoustic drum and percussion instruments. Pads that trigger a MIDI device can be homemade from

7888-399: The backbeat . When applied in this fashion, it supplies strong regular accents played by the non-dominant hand and is the backbone for many fills . Its distinctive sound can be attributed to the bed of stiff metal wires held under tension against the bottom head (known as the snare head). When the top head (known as the batter head) is struck with a drumstick, the snare wires vibrate, creating

8024-401: The brush or the rute can be used to achieve different tones. The snare drum is a versatile and expressive percussion instrument due to its sensitivity and responsiveness. The sensitivity of the snare drum allows it to respond audibly to the softest strokes, even with a wire brush. It can be used for complex rhythmic patterns and engaging solos at moderate volumes. Its high dynamic range allows

8160-518: The djent genre. The history and development of double bass (as well as notated playing instruction) can be traced in the books Encyclopedia of Double Bass Drumming written by Bobby Rondinelli and Michael Lauren and The Complete Double Bass Drumming Explained written by Ryan Alexander Bloom . In addition to these books, Double Bass Drumming written by Joe Franco and Double Bass Drum Freedom written by Virgil Donati are also commonly used resources for double bass instruction. The "bass line"

8296-591: The ostinato in his "Melodic Drumming and the Ostinato" educational DVDs, playing various drum rudiments on the feet, while freely playing with the hands, creating polyrhythms . Donati is regarded as the first drummer to successfully use inverted double strokes with both feet, in addition to complex, syncopated ostinato patterns. Roddy, Hoglan and Kollias are acknowledged as the leaders of extreme metal drumming with their use of single strokes at 250+ beats per minute, while, Jarzombek and Haake's double bass drumming influenced

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8432-413: The "Moeller Method" of drumming) states, "To acquire a knowledge of the true nature of the [snare] drum, it is absolutely necessary to study military drumming, for it is essentially a military instrument and its true character cannot be brought out with an incorrect method. When a composer wants a martial effect, he instinctively turns to the drums." Before the advent of radio and electronic communications,

8568-399: The "heartbeat" of the group (the bottom bass was also often referred to as the "thud" bass in days gone by, indicating that many of their notes were the last one at the end of a phrase). Although this player does not always play as many notes as fast as other bass drummers (the depth of pitch renders most complex passages indistinguishable from a roll ), his or her role is essential not only to

8704-405: The 18th century, the snare drum underwent changes which improved its characteristic sound. Metal snares appeared in the 20th century. Today the snare drum is used in jazz, pop music and modern orchestral music. Much of the development of the snare drum and its rudiments is closely tied to the use of the snare drum in the military. In his book, The Art of Snare Drumming , Sanford A. Moeller (of

8840-765: The 1920s, freelance drummers were hired to play at shows, concerts, theaters, and clubs to support dancers and musicians of various genres. Orchestras were hired to accompany silent films, and the drummer was responsible for providing the sound effects. Sheet music from the 1920s shows that the drummer's sets were starting to evolve in size to support the various acts. However, by 1930, films with audio were more popular, and many were accompanied by pre-recorded soundtracks. This technological breakthrough put thousands of drummers who served as sound effects specialists out of work, with some drummers obtaining work as Foley artists for those motion-picture sound tracks. Kit drumming, whether accompanying voices and other instruments or performing

8976-580: The Jimi Hendrix Experience , Keith Moon of the Who and Nick Mason of Pink Floyd . After 1970, Billy Cobham and Narada Michael Walden used double kick drum with the jazz fusion project Mahavishnu Orchestra , Chester Thompson with Frank Zappa and Weather Report , Barriemore Barlow with Jethro Tull , and Terry Bozzio with Frank Zappa. For these genres the focus was 'odd-meter grooves and mind blowing solos'. Double bass drumming later became an integral part of heavy metal, as pioneered by

9112-486: The Ottoman Empire stretched from Vienna down to northern Africa and most of the middle east. This long reach meant that many aspects of Ottoman culture, including the davul and other janissary instruments, were likely introduced to other parts of the world. In Africa, the indigenous population took the basic idea of the davul – that is, a two-headed cylindrical drum that produces a deep sound when struck – and both increased

9248-544: The Turkish drums on which they were based. The indigenous population also believed that the tree from which the long drum was made had to be in perfect shape. Once an appropriate tree was selected and the basic frame for the long drum was constructed, the Africans took cow hides and soaked them in boiling hot water, in order to stretch them out. Although the long drum was an improvement on the davul, both drums were nevertheless played in

9384-498: The ability to tune each bundle of snare material independently. The tabor snare dates back to around the 14th century, and was used for marching beats in wars. It is a double-headed drum with a single snare strand, and was often played along with the three-holed pipe flute. The dimensions vary with the different types of tabor. It is typically 4 + 1 ⁄ 2  in (11 cm) wide and around 11–13 in (28–33 cm) in diameter. The tarol snare has similar dimensions to

9520-472: The acoustic drum sounds, but they can also be used effectively with an acoustic kit to augment or supplement an instrument's sound for the needs of the session or show. For example, in a live performance in a difficult acoustical space, a trigger may be placed on each drum or cymbal and used to trigger a similar sound on a drum module . These sounds are then amplified through a PA system so the audience can hear them, and they can be amplified to any level without

9656-409: The backbeats and accented notes on the snare drum are played as rimshots, due to the ever-increasing demand for their typical sharp and high-volume sound. A commonly used alternative way to play the snare drum is known as "cross-stick", "rim click", or "side-stick". This is done by holding the tip of the drumstick against the drum head and striking the stick's other end (the butt) against the rim, using

9792-401: The band and so are the only section in most groups whose bodies do not face the audience while playing. Consequently, bass drummers usually point their drums at the back of the bass drummer in front of them, so that the drum heads will all be lined up, from the audience's point of view, next to one another in order to produce optimal sound output. Since the bass drum is oriented differently from

9928-592: The bass drum being played by percussionists standing and using their feet, hence the term "kick drum". William F. Ludwig Sr. and his brother Theobald founded Ludwig & Ludwig Co. in 1909 and patented the first commercially successful bass drum pedal system. In 1912, drummers replaced sticks with wire brushes and, later, metal fly swatters as the louder sounds made by using drumsticks could overpower other instruments. By World War I , drum kits were often marching-band-style bass drums with many percussion items around them and suspended from them. Drum kits became

10064-482: The bass drum can vary from almost entirely being a timekeeping medium to being a melodic voice in conjunction with the other parts of the set. Bass drums have many synonyms and translations, such as gran cassa (It), grosse caisse (Fr), Grosse Trommel or Basstrommel (Ger), and bombo (Sp). The earliest known predecessor to the bass drum was the Turkish davul , a cylindrical drum that featured two thin heads. The heads were stretched over hoops and then attached to

10200-519: The bass drum is used to give orders to the band. For example, [REDACTED] Media related to Bass drums at Wikimedia Commons Snare drum The snare drum (or side drum ) is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick , due to the use of a series of stiff wires held under tension against the lower skin. Snare drums are often used in orchestras , concert bands , marching bands , parades , drumlines , drum corps, and more. It

10336-440: The bass drum pedal workable in 1909, paving the way for the modern drum kit. A bass drum pedal operates much the same as the hi-hat control; a footplate is pressed to pull a chain, belt, or metal drive mechanism downward, bringing a beater or mallet forward into the drumhead. The beater head is usually made of either felt, wood, plastic, or rubber and is attached to a rod-shaped metal shaft. The pedal and beater system are mounted in

10472-416: The batter head. In addition, tone control rings or dots can be applied, either on the outer or inner surface of the head, to control overtones and ringing, and can be found positioned in the centre or close to the edge hoops or both. Resonant heads are usually only a few mils thick, to enable them to respond to the movement of the batter head as it is played. Pipe band requirements have led to the development of

10608-477: The beat or timing element with basic pulse patterns. Some drummers may use two or more bass drums or a double pedal on a single bass drum, which enables a drummer to play a double-bass-drum style with only one drum. This saves space in recording/performance areas and reduces time and effort during set-up, taking down, and transportation. Double bass drumming is a technique used in certain genres, including heavy metal and progressive rock . The snare drum provides

10744-512: The beginning or end of a phrase and less likely to be on a beat, which is highly counter-intuitive, especially to a new player. Sometimes this drum can function about the same as the top drum, but usually the second and top drummer function as a unit, playing rudimentarily difficult passages split between them. Top, or first, bass is the highest pitched drum in the bass line and usually starts or ends phrases. The high tension drum heads allow this player to play notes that are just as taxing as those of

10880-429: The bottom part of the hand when playing, differing from other grips typical to percussion instruments. The motion of the basic stroke is either similar to the motion of turning a doorknob, that is, an absolute forearm rotation, or similar to that of a snare drummer, where the wrist is the primary actor, or more commonly, a hybrid of these two strokes. Bass drum technique sees huge variation between different groups both in

11016-562: The bugle, the snare is still retained for some signals, for example, the Adjutant's Call . Snare drumheads were originally made from calfskin . The invention of the plastic ( Mylar ) drumhead is credited to a drummer named Marion "Chick" Evans, who made the first plastic drumhead in 1956. Drum rudiments seem to have developed with the snare drum; the Swiss fife and drum groups are sometimes credited with their invention. The first written rudiment

11152-464: The current standard of 22 in × 18 in (56 cm × 46 cm). Sometimes the front head of a kit bass drum has a hole in it to allow air to escape when the drum is struck for shorter sustain. Muffling can be installed through the hole without taking off the front head. The hole also allows microphones to be placed into the bass drum for recording and amplification. In addition to microphones, sometimes trigger pads are used to amplify

11288-414: The cymbal is perforated by holes. Drummers use low-volume cymbals to play in small venues or as a way to practice without disturbing others. Other instruments that have regularly been incorporated into drum kits include: See also Extended kits below. Electronic drums are used for many reasons. Some drummers use electronic drums for playing in small venues, such as coffeehouses or church services, where

11424-458: The cymbals with the foot pedal. This effect is widely used in disco and funk . The hi-hat has a similar function to the ride cymbal; the two are rarely played consistently for long periods at the same time, but one or the other is often used to keep what is known as the "ride rhythm" (e.g., eighth or sixteenth notes) in a song. The hi-hats are played by the right stick of a right-handed drummer. Changing between ride and hi-hat, or between either and

11560-422: The drum, creating a double stroke roll , or very fast single strokes, creating a single stroke roll . The snares are a fundamental ingredient in the pressed (buzz) drum roll, as they help to blend together distinct strokes that are then perceived as a single, sustained sound. The snare drum is the first instrument to learn in preparing to play a full drum kit . Rudiments are sets of basic patterns often played on

11696-593: The drum, resting against the batter head, to dampen the blow from the pedal, and produce a shorter "thud". Different beaters have different effects, and felt, wood and plastic ones are all popular. Bass drums sometimes have a tom-tom mount on the top, to save having to use (and pay for) a separate stand or rack. Fastening the mount involves cutting a hole in the top of the bass drum to attach it; "virgin" bass drums do not have this hole cut in them, and so are professionally prized. In 1900, Sonor drum company introduced its first single bass drum pedal. William F. Ludwig made

11832-411: The drums or other cymbals. Different sounds can be created by striking "open hi-hats" (without the pedal depressed, which creates a noisy sound nicknamed "sloppy hats") or a crisp "closed hi-hats" sound (with the pedal pressed down). High hats can also be struck with the pedal partially depressed. A unique effect can be created by striking an open hi-hat (where the two cymbals are apart) and then closing

11968-445: The engineer needs to listen to the drummer play a standard groove, to check that the balance between the kit instruments is right. Finally, the engineer needs to set up the monitor mix for the drummer, which the drummer uses to hear their instruments and the instruments and vocals of the rest of the band. With a fully electronic kit, many of these steps can be eliminated. Drummers' usage of electronic drum equipment can range from adding

12104-439: The field when facing away from the center. For this reason, the players may turn to face the opposite direction during a show. Turns are typically done in unison or rippled for a different effect. With large bass drums, more strength and control is required to turn quickly. Achieving a clean turn requires the player to use large core muscles to stop momentum of the drum at the correct time and direction. In some marching bands,

12240-403: The foot removed from the pedal. There are 3 primary ways to play single strokes with one foot. The first is heel-down technique, where the player's heel is planted on the pedal and the strokes are played with the ankle. This stroke is good for quiet playing and quick syncopated rhythms. The next technique is heel-up, where the player's heel is lifted off of the pedal and the strokes originate from

12376-487: The hand to mute the head. This produces a dry high-pitched click, similar to a set of claves , and is especially common in Latin and jazz music . So-called " ghost notes " are very light "filler notes" played in between the backbeats in genres such as funk and rhythm and blues . The iconic drum roll is produced by alternately bouncing the sticks on the drum head , striving for a controlled rebound. A similar effect can be achieved by playing alternating double strokes on

12512-480: The hip. The ankle is still flexed with each stroke, but the full weight of the leg can be used to add additional power for louder playing situations. Lifting the heel allows access to several double stroke techniques as well. The third primary technique is the floating stroke where the heel is lifted off the pedal as in heel-up, but the stroke is played primarily from the ankle as in heel-down. This motion can allow greater speed and higher note density at louder volumes but

12648-469: The kit snare. The major distinction is that the snares in this type are on the top head rather than the bottom one. "Caixa" meaning "box". This is a simple 12 or 14 in (30 or 36 cm) diameter, 8 in (20 cm) deep snare typical of Samba played in Southern Brasil. Made from aluminum or steel with the snare wires on top, it can be played from a sling or "em cima" – on the shoulder to project

12784-486: The likes of Les Binks , Carmine Appice , Ian Paice , Cozy Powell , Phil Taylor and Tommy Aldridge . American thrash metal band Slayer 's former drummer Dave Lombardo was named "the godfather of double bass" by the magazine Drummerworld . Later metal genres including death metal use double kick drumming extensively often with blast beat techniques, whilst focusing on precision, 'endurance', 'speed' and 'rapid footwork'. Double bass drumming can be achieved with

12920-405: The lower. When the foot is lifted off the pedal, the upper cymbal rises, due to the pedal's spring-loaded mechanism. The hi-hats can be sounded by striking the cymbals with one or two sticks or just by closing and opening the cymbals with the foot pedal. The ability to create rhythms on the hi-hats with the foot alone expands the drummer's ability to create sounds, as the hands are freed up to play on

13056-687: The marching bass drum—its purpose is to convey complex rhythmic and melodic content, not just to keep the beat. The line provides impact, melody, and tempo due to the nature of the sound of the instruments. The bass line usually has from as many as seven bass drums to as few as two. But most high school drumlines consist of between three and five. A bass line typically consists of four or five musicians, each carrying one tuned bass drum, although variations do occur. Smaller lines are not uncommon in smaller groups, such as some high school marching bands, and several groups have had one musician playing more than one bass drum, usually small ones, with one mounted on top of

13192-500: The marketplace. Some cymbals may be considered effects in some kits but "basic" in another set of components. Likewise, Ozone crashes have the same purpose as a standard crash cymbal, but are considered to be effects cymbals due to their rarity, and the holes cut into them, which provide a darker, more resonant attack. Cymbals, of any type, used to provide an accent , rather than a regular pattern or groove , are known as accent cymbals. While any cymbal can be used to provide an accent,

13328-400: The middle rather than at the beginning or end of a passage. The third bass is the middle drum, both in terms of position and tone. Its function is usually that of the archetypical bass drum. This player plays an integral role in the actual rendering of complex linear passages. The second bass is known for having a job in the drumline. This player's parts are very likely to be directly adjacent to

13464-451: The military marching setup, experimenting with playing the drum rims instead of woodblocks, hitting cymbals with sticks (which was not yet common), and adding a side cymbal above the bass drum, which became known as the ride cymbal . William Ludwig developed the "sock" or early low-mounted hi-hat after observing Dodds' drumming. Dodds asked Ludwig to raise the newly produced low-hat cymbal nine inches to make them easier to play, thus creating

13600-406: The modern hi-hat cymbal. Dodds was one of the first drummers to play the broken-triplet beat that became the standard rhythm of modern ride cymbal playing. He also popularized the use of Chinese cymbals . Recording technology was crude, which meant loud sounds could distort the recording. To get around this, Dodds used woodblocks and drum rims as quieter alternatives to cymbals and drum skins. In

13736-466: The music requires. Development of this ride technique is generally credited to jazz drummer Baby Dodds . Most drummers have a single main ride, located near their dominant hand – within easy playing reach, as it is used regularly – often a 20"–22" in diameter, but diameters of 16"–26" are not uncommon. It is usually a medium-heavy- to heavy-weight cymbal whose sound that cuts through other instrumental sounds. Some drummers use

13872-439: The music, fills serve an important function in indicating significant changes of sections in songs as well as linking them together. A vocal cue is a short drum fill that introduces a singer's entrance into the piece. A fill ending with a cymbal crash on beat one is often used to lead into a chorus or verse. A drum solo is an instrumental section that highlights the drums. While other instrument solos are typically accompanied by

14008-407: The normal manner for the first note, then the heel is immediately rotated around the ball of the foot to the side of the pedal while simultaneously playing a second stroke. This rotation can be to the inside or outside, either will work, and results in a faster second stroke than is ordinarily possible. In the heel-toe technique the foot is suspended above the foot-board of the pedal. The entire foot

14144-477: The other rhythm section instruments (e.g., bass guitar and electric guitar), for most drum solos, the band members stop playing so that all focus will be on the drummer. In some drum solos, the other rhythm section instrumentalists may play "punches" at certain points – sudden, loud chords of short duration. Drum solos are common in jazz but are also used in several rock genres, such as heavy metal and progressive rock. During drum solos, drummers have

14280-415: The other. The drums are typically between 16" and 32" in diameter, but some groups have used bass drums as small as 14" and larger than 36". The drums in a bass line are tuned such that the largest will always play the lowest note with the pitch increasing as the size of the drum decreases. Individually, the drums are usually tuned higher than other bass drums (drum set kick drums or orchestral bass drums) of

14416-413: The pedal, drummers can employ 3 main techniques: slide, swivel, or heel-toe. In the slide technique, the pedal is struck around the middle area with the ball of the foot. As the drum produces a sound, the toe is slid up the pedal. After the first stroke, the pedal will naturally bounce back, hit the toe as it slides upwards, and rebound for a second strike. In the swiveling double, the pedal is struck once in

14552-631: The percussion section of a pipe band. The music played by pipe band snare drummers can be technically difficult, and requires a high degree of rudimental ability, similar to that of marching bands. Pipe Band snare normally use the traditional grip . Drum kit snares are usually about a third to half the depth of a marching snare. They are typically 14 in (36 cm) in diameter and 5,  5 + 1 ⁄ 2 , 6,  6 + 1 ⁄ 2 or 7 in (13, 14, 15, 17 or 18 cm), with 8 in (20 cm) depths also available. Typically uses coiled metal snare wires. The piccolo snare

14688-437: The player to produce powerful accents with vigorous strokes and a loud metallic click when rimshots are used. In a solo a caixa can express all its potential for improvisation The snare drum originates from the tabor , a drum first used to accompany the flute . The tabor evolved into more modern versions, such as the kit snare (the type usually included in a drum kit), marching snare, tarol snare, and piccolo snare. Each type

14824-422: The ratio of forearm rotation to wrist turn and the differing views on how the hand works while playing. Some techniques also call for the use of fingers supporting the motion of the mallet by opening or closing, but no matter whether it is open or closed the thumb needs to be close to the rest of the fingers. However, the basic stroke on a drum produces just one of the many sounds a bass line can produce. Along with

14960-431: The risks of audio feedback or bleed problems associated with microphones and PAs in certain settings. The sound of electronic drums and cymbals themselves is heard by the drummer and possibly other musicians in close proximity, but, even so, the foldback (audio monitor) system is usually fed from the electronic sounds rather than the live acoustic sounds. The drums can be heavily dampened (made to resonate less or have

15096-400: The rubber or mesh drum pads and rubber "cymbals" in the usual drum kit locations. A fully electronic kit weighs much less and takes up less space to transport than an acoustic kit and it can be set up more quickly. One of the disadvantages of a fully electronic kit is that it may not have the same "feel" as an acoustic kit, and the drum sounds, even if they are high-quality samples, may not sound

15232-509: The same as acoustic drums. Electronic drum pads are the second most widely used type of MIDI performance controllers, after electronic keyboards. Drum controllers may be built into drum machines, they may be standalone control surfaces (e.g., rubber drum pads), or they may emulate the look and feel of acoustic percussion instruments. The pads built into drum machines are typically too small and fragile to be played with sticks, so they are usually played with fingers. Dedicated drum pads such as

15368-442: The same purpose as a floor tom. Most hand drums cannot be played with drumsticks without risking damage to the head and bearing edge, which is not protected by a metal drum rim. For use in a drum kit, they may be fitted with a metal drum head and played with sticks with care, or played by hand. In most drum kits and drum/percussion kits, cymbals are as prominent as the drums themselves. The oldest idiophones in music are cymbals,

15504-399: The same size, so that complex rhythmic passages can be heard clearly and articulated. Unlike the other drums in a drumline , the bass drums are generally mounted sideways, with the drumhead facing horizontally, rather than vertically. This results in several things. First of all, to ensure that a vibrating membrane is facing the audience, bass drummers must face perpendicular to the rest of

15640-408: The size of the drum and changed the material from which it was made, leading to the development of the long drum . The long drum can be made in a variety of different ways but is most typically constructed from a hollowed-out tree trunk. This is vastly different from the davul, which is made from a thick shell. Long drums were typically 2 meters in length and 50 centimeters in diameter, much larger than

15776-433: The smaller diameter allowing for thicker heads providing the same pitch and head tension. They are recognizable in genres of the 2010s and more traditional forms of Latin, reggae, and numerous other styles. Gong drums are a rare extension of a drum kit. This single-headed mountable drum appears similar to a bass drum (around 20–24 inches in diameter) but is played with sticks rather than a foot-operated pedal and therefore has

15912-408: The snare drum was often used to communicate orders to soldiers. American troops were woken up by drum and fife playing about five minutes of music, for example, the well-known Three Camps . Troops were called for meals by certain drum pieces, such as "Peas on a Trencher" or "Roast Beef". A piece called the " Tattoo " was used to signal that all soldiers should be in their tent, and the " Fatigue Call "

16048-409: The snare head (if the snares are located there). The tension of each head is held constant by tension rods. Tension rod adjustment allows the pitch and tonal character of the drum to be customized by the player. Most snare drums have a lever (the strainer) to engage or disengage contact between the snares and the head, and which also permits adjustment of the snare tension. When the snares are disengaged,

16184-433: The snare line, and often the top bass will play a part in unison with the snare line to add some depth to their sound. Some bass lines have more than five bass drums, with the largest being the largest number (bass 7 on a 7 bass line), and the smallest being referred to as first bass. In a marching band 's field show, bass drummers typically face either goal line. It can be difficult to see the drum major and other players on

16320-399: The snares and produces a cracking sound. The drum can be played by striking it with a drum stick or any other form of beater, including brushes , rute and hands, all of which produce a softer-sounding vibration from the snare wires . When using a stick, the drummer may strike the head of the drum, the rim (counterhoop), or the shell . The snares can be thrown off (disengaged) with

16456-657: The soldiers to carry their instruments from battle to battle. This practice does not seem to be limited to just the Ottoman Empire, however; in Egypt, drums very similar to davuls were braced with cords, which allowed the Egyptian soldiers to carry them during military movements. The davul, however, was also used extensively in non-military music. For example, davuls were a major aspect of Turkish folk dances. In Ottoman society, davul and shawm players would perform together in groups called davul-zurnas, or drum and shawm circles. At its peak,

16592-442: The solo drum, the "unison" is one of the most common sounds used. It is produced when all of the bass drums play a note at the same time and with a balanced sound; this option has a very full, powerful sound. The rim click, which is when the shaft (near the mallet head) is struck against the rim of the drum, either solo or in unison. Rimshots are rare on a bass drum and usually only happen on the top drums. The different positions of

16728-402: The sound and provide a uniform tone, especially when fast playing without a decrease in volume is desired. Professional drummers often choose to have a customized bass drum front head, with the logo or name of their band on the front. The kit bass drum may be more heavily muffled than the classical bass drum, and it is popular for drummers to use a pillow, blanket, or professional mufflers inside

16864-402: The sound of the bass line or the drum line, but to the ensemble as a whole, especially in the case of parade bands. The fourth bass is slightly smaller than the bottom drum (generally two to four inches (51 to 102 mm) smaller in diameter) and can function tonally similar to its lower counterpart, but usually plays slightly more rapid parts and is much more likely to play "off the beat" - in

17000-460: The sound of the drum resembles a Floor tom . The rim is the metal or wooden ring around the batter head that holds the head onto the drum and provides tension to the head; the rim can also be used in some playing techniques, notably the rimshot , in which the head and rim are struck together with a single stick to create a clicking, or tapping sound. When the top head is struck, the bottom (resonant) head vibrates in tandem, which in turn stimulates

17136-496: The sound subdued), and their tuning and quality is less critical in the latter scenario. In this way, much of the atmosphere of the live performance is retained in a large venue, but without some of the problems associated with purely microphone-amplified drums. Triggers and sensors can also be used in conjunction with conventional or built-in microphones. If some components of a kit prove more difficult to mic than others (e.g., an excessively "boomy" low tom), triggers may be used on only

17272-405: The sound, meant that gong drums tended to produce a sound with a definite pitch. As a result, they fell out of favor with many composers, as it became nearly impossible to incorporate them in an orchestra in any meaningful way. Because they were unable to be used by orchestras, music makers began to build smaller gong drums that would not carry a definite pitch. This smaller version of the gong drum

17408-479: The sound. Drum kit A drum kit (also called a drum set , trap set , or simply drums in popular music context) is a collection of drums , cymbals , and sometimes other auxiliary percussion instruments set up to be played by one person. The drummer typically holds a pair of matching drumsticks or special wire or nylon brushes; and uses their feet to operate hi-hat and bass drum pedals. A standard kit usually consists of: The drum kit

17544-472: The standard beaters mentioned above, implements used to strike the drum may include keyboard percussion mallets, timpani mallets, and drumsticks. The hand or fingers can also be used (it. con la mano). The playing techniques possible include rolls, repetitions and unison strokes . Bass drums can sometimes be used for sound effects. e.g. thunder, or an earthquake. Bass drums are too large to be handheld and are always mounted in some way. The usual ways of mounting

17680-414: The term is more narrowly applied to cymbals for which the main purpose is to provide an accent. Accent cymbals include chime cymbals, small-bell domed cymbals, and those cymbals with a clear sonorous/oriental chime to them, such as specialized crash, splash, and china cymbals. Low-volume cymbals are a specialty type of cymbal, made to produce about 80% less volume than a typical cymbal. The entire surface of

17816-401: The timing and dynamic intensity of a stroke to the drum module/brain. A circular drum pad may have only one sensor for triggering, but a 2016-era cymbal-shaped rubber pad/cymbal will often contain two; one for the body and one for the bell at the center of the cymbal, and perhaps a cymbal choke trigger, to allow drummers to produce this effect. Trigger sensors are most commonly used to replace

17952-409: The typical five person bass line each require different skills, though not necessarily different levels of skills. Contrary to the popular belief that "higher is better," each drum has its own critical role to play. Bottom, or fifth bass, is the largest, heaviest, and lowest drum in the drumline. Consequently, it is used frequently to help maintain pulse in an ensemble and is thus sometimes referred to as

18088-440: Was Neil Peart , the drummer of Rush , who used a 13 in (33 cm) X Shell Series Piccolo. Orchestral snare drums usually conform to the dimensions of drum kit snares, but often have a calf skin head or a synthetic approximation of a natural head material. They also typically use snares made of metal cable, gut, synthetic cord, or nylon, with some orchestral snare strainers supporting 3 different materials simultaneously and

18224-523: Was drawn up in Basel , Switzerland in 1610. Rudiments with familiar names—such as the single paradiddle, flam, drag, ratamacue, and double stroke roll , also called the "ma-ma da-da" roll—are listed in Charles Ashworth's book in 1812. There are many types of snare drums, for example: Marching snares are typically 12 in (30 cm) deep and 14 in (36 cm) wide. The larger design allows for

18360-410: Was often limited due to an insufficient amount of money able to purchase a full percussionist team. This contributed to the creation of the drum kit by developing techniques and devices that would enable one person to replace multiple percussionists. Double-drumming was developed to enable one person to play both bass and snare drums with sticks, while the cymbals could be played by tapping the foot on

18496-423: Was used to police the quarters or drum unruly women out of the camp. Many of these military pieces required a thorough grounding in rudimental drumming ; indeed Moeller states that: "They [the rudimental drummers] were the only ones who could do it [play the military camp duty pieces]". Moeller furthermore states that "No matter how well a drummer can read, if he does not know the rudimental system of drumming, it

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