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The drum kit

1 Bass drum | 2 Floor tom | 3 Snare drum 4 Hanging toms | 5 Hi-hat | 6 Crash cymbal 7 Ride cymbal | 8 Splash cymbal | 9 China type

Not shown

Sizzle cymbal Swish cymbal Crash/ride cymbal Cowbell Wood block Tambourine Rototom Octoban Temple block Gong Triangle

See also

Drum hardware Drum stick Traps case

A drum kit, drum set^[1] or (archaic) trap set is a collection of drums and other percussion instruments set up to be played by a single player.^[2]

More specifically, a modern drum kit (for a right handed player), as used in popular music, taught in many music schools, and for which qualifications are available from Trinity College London ^[3] consists of:

• A snare drum, mounted on a specialised stand, placed between the player's knees and played with drum sticks (which may include rutes or brushes).
• A bass drum, played by a pedal operated by the right foot.
• A hi-hat stand and cymbals, operated by the left foot and played with the sticks, particularly but not only the right hand stick.
• One or more tom-tom drums, played with the sticks.
• One or more suspended cymbals, played with the sticks, particularly but not only the right hand stick.

A drum kit is normally played seated on a drum stool or throne.

Most drummers extend their kits from this basic pattern, adding more drums, more cymbals, and many other instruments. In some styles of music particular extensions are normal, for example double bass drums in heavy metal music. On the other extreme but more rarely, some performers omit elements from even the basic setup, again particularly for particular styles of music.

Louis Moholo playing a four-piece kit

History[link]

Kit with bass drum pedal and low sock, 1935

Beginnings[link]

The first recognizable ancestors of the modern drum kit were born in the Vaudeville era. Pecuniary and theater space considerations demanded that fewer percussionists covered more percussion parts. In military and orchestral music settings, drums and cymbals were traditionally played separately by one or many percussionists. The bass drum, snare drum, cymbals and other percussion instruments were all played using hand-held drum sticks. Circa 1890, experimentation with foot pedals began. Many patented their systems such as Dee Dee Chandler of New Orleans 1904-05.^[4] Liberating the hands for the first time, this evolution saw the bass drum played (first standing) with the foot of a percussionist and became the central piece around which every other percussion instruments would later revolve. Ludwig-Musser, William F. Ludwig Senior and his brother Theodor Ludwig founded the Ludwig & Ludwig Co. in 1909 and patented the first workable bass drum pedal system, paving the way for what was to become the modern drum kit.

Development[link]

Kit with four non-tunable toms, 1939

Gene Krupa, 1946

Louis Bellson, 1952

By World War I drum kits were characterized by very large bold marching bass drums and many percussion items suspended on and around them, and they became a central part of jazz music, specifically (but not limited to) dixieland. 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" (shortened to "trap") tray used to hold whistles, klaxons, and cowbells, thus drum kits were dubbed "trap kits." Hi-hat stands appeared around 1926.

By the 1930s, Ben Duncan and others popularized streamlined trap kits leading to a basic four piece drum set standard: bass, snare, tom-tom, and floor tom. In time legs were fitted to larger floor toms, and "consolettes" were devised to hold smaller tom-toms on the bass drum. In the 1940s, Louie Bellson pioneered use of two bass drums, or the double bass drum kit. Gene Krupa was the first drummer to head his own orchestra and thrust the drums into the spotlight with his drum solos. Others would soon follow his lead. Krupa is also known to be the first to record a drum solo on a commercial record.

Influential drummers of the jazz tradition included Gene Krupa, "Papa" Jo Jones, Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones, Roy Haynes, Buddy Rich, Louis Bellson, Tony Williams, Jack DeJohnette, Joe Morello and many more.

Rock and Roll[link]

John Bonham, 1975

With the ascendance of rock and roll, a watershed moment occurred between 1962 and 1964 when the Surfaris released "Wipe Out," and when Ringo Starr of The Beatles played his Ludwig kit on American television; events that motivated legions to take up the drums.

A trend towards bigger drum kits in Rock music began in the 1960s and gained momentum in the 1970s. By the 1980s, widely popular drummers like Billy Cobham, Carl Palmer, Nicko McBrain, Phil Collins, Stewart Copeland and perhaps most notably Neil Peart were using large numbers of drums and cymbals and had also begun using electronic drums. In the 1990s and 2000s, many drummers in popular music and indie music have reverted back to basic four piece drum set standard.

In the 21st century, it is not uncommon for drummers to use a variety of auxiliary percussion instruments, found objects, and electronics as part of their "drum" kits. Popular electronics include: electronic sound modules; laptop computers used to activate loops, sequences and samples; metronomes and tempo meters; recording devices; and personal sound reinforcement equipment (e.g., a small PA system to amplify electronic drums and provide a monitor for singing).

Recording[link]

On early recording mediums (until 1925^[5]) such as wax cylinders and discs carved with an engraving needle, sound balancing meant that musicians had to be literally moved in the room.^[5] Drums were often put far from the horn (part of the mechanical transducer) to reduce sound distortion. Since this affected the rendition of cymbals at playback, sound engineers of the time remedied the situation by asking drummers to play the content of the cymbals onto woodblocks, temple blocks and cowbells for their loudness and short decay.

This recording-specific particularity had the effect of altering the evolution of the drum set and of stigmatizing the sound of the music recorded at the time. The drum kit featured in many of rock and roll songs and the Rock and Roll period played a big role in modernizing the drum kit.

Components[link]

Foreground: Snare drums. Background: Hi-hat cymbals.

Drums[link]

Drum sizes[link]

See Common configurations below for typical drum sizes.

Traditionally, drum sizes were expressed as depth x diameter, both in inches. More recently, many drum kit manufacturers have begun instead to express the size as diameter x depth, again in inches.

Manufacturers still using the traditional format in their catalogues include:

• ddrum
• Drum Workshop
• Gretsch Drums
• Ludwig-Musser
• Slingerland Drum Company
• Tama Drums

while those using diameter x depth include:

• Brady Drum Company
• Mapex Drums
• Meinl Percussion^[6]
• Pearl Drums
• Premier Percussion
• Rogers Drums
• Sonor
• Yamaha Drums

For example, a hanging tom 12" in diameter and 8" deep would be described by Tama as 8x12, but by Pearl as 12x8, and a standard diameter Ludwig snare drum 5" deep is a 5x14, while a Premier of the same dimensions is a 14x5.

Snare drum[link]

Snare drum on a modern light-duty snare drum stand

The snare drum is the centre of the kit. It provides the strongest regular accents, played by the left hand, and the backbone for many fills.

Toms[link]

Keith Moon with a mixture of concert toms and conventional toms, 1975

Tom-tom drums or toms for short are drums without snares and played with sticks, and are the most numerous drums in almost all kits. They provide the bulk of most drum fills and solos.

They include:

• Traditional double-headed rack toms, of varying depths.
• Floor toms.
• Single-headed concert toms.
• Rototoms.

The smallest and largest drums without snares, such as octobans and gong drums, are sometimes considered toms and sometimes not, and if not there are many borderline cases.

The naming of common configurations is largely a reflection of the number of toms, as only the drums are conventionally counted, and these configurations all contain one snare and one or more rarely two bass drums, the balance being toms.

Bass drum[link]

A drum kit bass drum

The bass drum gives a regular but often varied foundation to the rhythm. Beginners tend to play simple bass drum patterns, moderate players complex ones with many strokes, and accomplished players more subtle ones with fewer strokes.

Other drums[link]

Octobans were designed for use in a drum kit, extending the tom range upwards in pitch.

Timbales are tuned much higher than a tom of the same diameter, and normally played with very light sticks. They have relatively thin, fragile heads and a very different tone to a tom, but are used by some drummers 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 specifically for drum kit usage, the smaller diameter allowing for thicker heads for the same pitch and head tension.

Similarly, most hand drums cannot be played with drum sticks without risking damage to the head and to the bearing edge, which is not protected by a drum rim. For use in a drum kit they may be fitted with a suitable drum head and played with care, or played by hand.

Cymbals[link]

Cymbal innovator Mike Portnoy with many cymbals, 2006

Cymbals are as important in most drum kits as the drums themselves.

Beginners cymbal packs normally contain four cymbals: one ride, one crash, and a pair of hi-hats. A few 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 soon extend this by adding another crash, a splash or a china, or even all three.

Ride cymbal[link]

The ride cymbal is most often used to keep a constant rhythm, every beat or more often. Development of this ride technique is generally credited to Baby Dodds.^[7]

Most drummers have a single main ride, near their right hand, most often 20" but 16"-24" are not uncommon. It is most often a heavy, standard cymbal, but some drummers use a swish cymbal, sizzle cymbal or other exotic as the main or only ride, particularly for jazz. In the 1960s Ringo Starr used a sizzle cymbal as a second ride particularly for use during guitar solos.

Hi-hats[link]

The hi-hat has a similar function to the ride cymbal; The two are rarely played at once, but one or the other keeps the fine rhythm much of the time, played by the right stick of a right-handed drummer. Changing between ride and hi-hat, or between either and a leaner sound with neither, is often used to mark a change from one passage to another, for example to distinguish verse and chorus.

Crashes[link]

The crash cymbals are the strongest accents, marking crescendos and climaxes, vocal entries, and major changes of mood. A cymbal crash is often accompanied by a strong kick on the bass drum pedal, both for musical effect and to support the stroke.

In the very smallest kits, in jazz, and at very high volumes, ride cymbals may be used as crashes. Some hi-hats will also give a useful crash, particularly thinner hats or those with an unusually severe taper. At low volumes, producing a good crash from a cymbal not particularly suited to it is a highly skilled art. Alternatively, specialised crash/ride and ride/crash cymbals are specifically designed to combine both functions.

Other cymbals[link]

Cymbals other than rides, hi-hats and crashes are called effects cymbals when used in a drum kit.

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.

Other acoustic instruments[link]

Günter Sommer with bodhrán and bongo drums in his kit

Other instruments that have regularly been incorporated into drum kits include:

• Wood block and cowbell. These are traditional in some forms of music.
• Tambourine, particularly mounted on the hi-hat stand above the cymbals. An ordinary tambourine can be used, or a tambourine produced specially for drum kit use.
• Timbales can be used to extend the ring of tom-toms, particularly when the drummer owns them for other reasons. A traditional timbale is tuned far higher than a tom of the same diameter, so the result is not ideal. Some makers produce smaller timbales 8" or 10" in diameter more suited to drum kit usage, see Timbales#Non-traditional use.
• Xylophone or glockenspiel.
• Tubular bells.
• Gongs.
• Bar chimes.
• Triangles.
• Found objects, including spanners, brake drums, buckets, cardboard boxes, and jam and kerosene tins.

See also Extended kits below.

Electronic drums[link]

Trigger sensors in use, here they are red and mounted on the rims of the snare drum, bass drum and hanging toms. The larger box in the same colour red is the "brain" to which they are connected.

A Korg trigger pad

Pat Mastelotto playing a kit with both acoustic and electronic drums, 2005

As well as providing an alternative to a conventional drum kit, electronic drums can be incorporated into a kit.

This is possible in two ways:

• Triggers are sensors that can be attached to drum kit components. In this way, an electronic drum sound will be produced when the instrument is played, as well as the sound made by the instrument.
• Trigger pads can be mounted alongside other components. These pads make no significant sound themselves, but purely trigger the electronic sound, and are played with the same drum sticks as other drum kit components.

In either case, a control unit (brain) with suitable sampled sounds, and amplification equipment are both required. Sometimes, for the sake of appearance or of the desired "feel" of the instrument, a drum with a trigger will be used as a trigger pad by muffling it so heavily that no significant sound at all is produced, see Electronic drum#Acoustic triggered drum kit.

A trigger pad can contain up to four independent sensors, each of them capable of sending to the brain information describing the timing and intensity of a stroke. A circular drum pad will normally contain only one sensor, but a cymbal-shaped pad often contains two, one for the body and one for the rim of the cymbal, and a triangular pad may contain four, one for the body, played by the stick tips, and one for the rim of each side, played by the stick shafts. (Commonly called a rim shot and often used to trigger a similar effect, playing the rim of the trigger pad is a significantly different and far simpler technique, as it is not necessary or even desired to strike the body of the pad.)

Trigger sensors are most commonly used to replace the acoustic drum sounds. For example, in a live performance in a difficult acoustical space, a sensor may be placed on every drum and cymbal, and used in each case to trigger a similar sound. These sounds are then amplified through the PA and are all the audience hears, and can be amplified to any level without the feedback problems associated with microphones. The sound of the drums and cymbals themselves is heard by the drummer and possibly other musicians, but even there the foldback system will be fed from the electronic sounds rather than the live sounds. The drums can be heavily muffled, and their tuning and even quality is less critical. In this way much of the atmosphere of the live performance is retained but without some of the problems associated with amplified drums.

Trigger sensors can also be used in conjunction with conventional or built-in microphones. If some components of a kit prove more difficult to "mike" than others, sensors may be used on only the more difficult instruments.

Trigger pads on the other hand when used in a conventional kit are most commonly used to produce sounds not otherwise available. Any sound that can be sampled can be used. Recordings of barking dogs and stereo recordings of aircraft taking off and landing have for example been used to great effect, as well as the more obvious electronically generated sounds.

Hardware[link]

Hardware is the name given to the stands that support the instruments. Generally the term also includes the hi-hat pedal and bass drum pedal or pedals, and the drum stool, but not the drum sticks.

Hardware is carried along with sticks and other accessories in the traps case, and includes:

• Cymbal stands.
• Hi-hat stand.
• Floor tom feet.
• Hanging tom brackets or arms.
• Snare drum stand.
• Bass drum pedal or pedals.

Particularly for large kits, many or even all of the stands may be replaced by a drum rack.

Common configurations[link]

A two-piece kit in action

Drum kits are traditionally categorised by the number of drums, ignoring cymbals and other instruments. Snare, tom-tom and bass drums are always counted; Other drums such as octobans may or may not be counted.^[8]

The sizes of drums and cymbals given below are typical. Many drummers differ slightly or radically from them. Where no size is given, it is because there is too much variety to call a typical size.

Three-piece[link]

Three-piece set for a young player: 16" bass, 10" snare, one 10" hanging tom

A basic, conventional three-piece kit consists of bass drum, 14" diameter snare drum, 12"-14" hi-hats, and a single 12" diameter hanging tom 8"-9" in depth and a suspended cymbal in the range 14"-18", both mounted on the bass drum.

Such kits were common in the 1950s and 1960s and may still be found in small acoustic dance bands. It is a common configuration for kits sold through mail order, and, with smaller size drums and cymbals, for very young drummers.

Four-piece[link]

Mitch Mitchell playing a classic four piece kit in the Jimi Hendrix Experience

A four-piece kit extends the three-piece by one tom, either a second hanging tom mounted on the bass drum and often displacing the cymbal, or a floor tom. Normally another cymbal is added as well, so there are separate ride and crash cymbals, either on two stands, or the ride on the bass drum to the player's right and the crash on a stand.

The standard cymbal sizes are 16" crash and 18"-20" ride, with the 20" ride most common.

Four piece with floor tom[link]

The floor tom is most often 14" for jazz, and 16" otherwise.

Many historic bands and early rock music recordings used this configuration, notable users including Ringo Starr in the Beatles, Mitch Mitchell in the Jimi Hendrix Experience, John Barbata in the Turtles and many others.

The four-piece kit with floor tom remains popular, particularly for jazz.

Four piece with two hanging toms[link]

If a second hanging tom is used, it is 10" diameter and 8" deep for fusion, or 13" diameter and one inch deeper than the 12" diameter tom otherwise, or very occasionally a 14" diameter hanging tom is added to the 12", both being 8" deep. In any case, both toms are most often mounted on the bass drum with the smaller of the two next to the hi-hats, on the left for a right-handed drummer.

These kits are particularly useful for smaller venues where space is limited.

Five-piece[link]

A basic five-piece fusion kit, with one crash cymbal and no effects cymbals, complete with throne and sticks

The five-piece kit is the full entry level kit and the most common configuration. It adds a third tom, making three in all.

A fusion kit will normally add a 14" tom, either a floor tom or a hanging tom on a stand to the right of the bass drum, in either case making the tom lineup 10", 12" and 14".

Other kits will normally have 12" and 13" hanging toms plus either a 14" hanging tom on a stand, a 14" floor tom, or a 16" floor tom. For depths, see Tom-tom drum#Modern tom toms. In recent years, it is very popular to have 10" and 12" hanging toms, with a 16" floor tom. This configuration is often called a hybrid setup.^[9]

The bass drum is most commonly 20" in diameter, but rock kits may use 22" or 24", jazz 18",^[8] and big bands up to 26".

A second crash cymbal is common, typically an inch or two larger or smaller than the 16", with the larger of the two to the right for a right-handed drummer, but a big band may use crashes up to 27" and ride up to 24" or very occasionally 26". A rock kit may also substitute a larger ride cymbal or larger hi-hats, typically 22" for the ride and 15" for the hats.

Most five-piece kits at more than entry level also have one or more effects cymbals. Adding cymbals beyond the basic ride, hi-hats and one crash configuration requires stands in addition to that of standard drum hardware packs. Because of this, many higher level kits are sold with little or even no hardware, to allow the drummer to choose the stands and also the bass drum pedal they prefer. At the other extreme, many entry level kits are sold complete with two cymbal stands, most often one straight and one boom, and some even with a standard cymbal pack, a stool and a pair of drum sticks.

Small kits[link]

Rockabilly pioneer Slim Jim Phantom playing a two-piece kit while standing

If the toms are omitted completely, or the bass drum replaced by a pedal-operated beater on the bottom skin of a floor tom and the hanging toms omitted, in either case the result is a two-piece kit. Such kits are particularly favoured in musical genres such as trad jazz, rockabilly and swing blues.

Some rockabilly kits and beginners kits for very young players omit the hi-hat stand. In rockabilly, this allows the drummer to play standing rather than seated.

Although these kits may be small with respect to the number of drums used, the drums themselves are most often normal sizes, or even larger in the case of the bass drum. Kits using smaller drums in both smaller and larger configurations are also produced for particular uses, such as boutique kits designed to reduce visual impact or space requirements, travelling kits to reduce luggage volume, and junior kits for very young players. Smaller drums also tend to be quieter, again suiting smaller venues, and many of these kits extend this with easily fitted extra muffling to the point of allowing quiet or even silent practice in a hotel room or bedroom.

Extended kits[link]

A professional seven-piece kit with snare, double bass drums, three hanging toms and one floor tom, hi-hats, ride cymbal, three crash cymbals, splash cymbal and china type

Common extensions beyond these standard configurations include:

• Effects cymbals, particularly splash cymbals and china cymbals.
• Double bass drums. Double bass drums or a double bass pedal are standard for some genres, particularly in heavy rock music.
• Extra hanging toms.
• Extra crash cymbals.
• A crash/ride cymbal in addition to the main ride.
• A second, larger floor tom.
• One or more octobans or a pair of mini timbales.
• A second pair of hi-hats mounted as cable hats or X-hats.
• Cymbal stacks.
• Individual tiger, wind or chau gongs.
• Multiple ride cymbals. A sizzle cymbal thinner and larger than the main ride was once common as a second ride or crash/ride even in a four-piece kit but is now less so. Jazz drummers however may still have two or more ride cymbals even in a small kit.

See also other acoustic instruments above. Another versatile extension becoming increasingly common is the use of some electronic drums in a mainly conventional kit.

Less common extensions found particularly but not only in very large kits include:

• Multiple snare drums.
• Multiple bass drums beyond the double bass drum setup.
• Gong drums (single headed bass drums, played with sticks or mallets).
• Sets of gongs, tuned or untuned.
• Sound effects such as a thunder sheet.
• One or more crotales.
• Instruments "borrowed" from orchestral percussion, such as timpani.
• Instruments "borrowed" from marching band percussion, such as the tuned bass drums used in the drumline.

A very large kit played by Terry Bozzio

Accessories[link]

Sticks[link]

The most common kit drumming sticks are wooden sticks modelled on, or in some cases identical to, those originally designed for use with the snare drum. These come in a variety of weights, conventionally expressed as a number, and tip designs, expressed as a letter following the number, with the higher numbers indicating lighter sticks. Thus, a 7A is a common jazz stick with a wooden tip, while a 7N is the same weight of stick with a nylon tip, and a 7B is a wooden tip but with a different tip profile, shorter and rounder than a 7A. A 5A is a common wood tipped rock stick, heavier than a 7A but with a similar profile. The numbers are most commonly odd but even numbers are used occasionally, in the range 2 (heaviest) to 9 (lightest).

The exact meanings of both numbers and letters differ from manufacturer to manufacturer, and some sticks are not described using this system at all, just being known as Jazz (typically a 7N or 8N) or Heavy Rock (typically a 4B or 5B) for example. The most general purpose stick is a 5A (wood tip, for snare tone) or 5N (nylon tip, for cymbal tone).

Other sticks commonly used are rutes, consisting of a bundle of canes, and wire or nylon drum brushes. More rarely, other beaters such as cartwheel mallets (known to kit drummers as "soft sticks") may be used. It is not uncommon for rock drummers to use the "wrong" end of a stick, and in view of this some makers now produce tipless sticks with two "wrong" ends.

Tools of the trade: 7N, 5B, "double bummer", and side drum No3 sticks, standard 19 cane rutes, sheathed 7 cane rutes, nylon brushes, steel brushes, cartwheels

Muffles[link]

This section requires expansion.

Cases[link]

A five-piece kit in hard cases. From left: Traps case, floor tom case, snare drum case (in front), twin hanging toms case, cymbal case. Rear: Bass drum case.

Three types of protective covers are common for kit drums:

• Drum bags are made from robust cloth such as cordura or from cloth-backed vinyl. They give minimal protection, but are adequate for drums transported rarely and in private cars for example, and may be the only option for working drummers starting out, particularly when air travel is involved.
• Hard cases are of similar construction to suitcases, commonly of fibre composite.
• Flight cases or road cases are standard for touring drummers.

As with all musical instruments, the ultimate protection is afforded by a combination of a hard case or road case, padded on the inside, inside a soft padded bag.

Microphones[link]

Carl Palmer with rim-mounted tom mikes

In "miking" a drum kit, dynamic microphones, which can handle high sound pressure levels are usually used to close-mic drums while condenser microphones are used for overheads and room mics.^[10]

Close miking of drums may be done using stands or by mounting the microphones on the rims of the drums, or even using microphones built in to the drum itself, which eliminates the need for stands for these microphones, reducing both clutter and set-up time. In some styles of music, drummers use electronic effects on drums, such as individual noise gates that mute the attached microphone when the signal is below a threshold volume. This allows the sound engineer to use a higher overall volume for the drum kit by reducing the number of "active" mics which could feed back at any one time.

Drum screens[link]

Tris Imboden using a perspex drum screen

In some styles or settings, such as country music clubs or churches, the drummer may use a perspex or plexiglass screen to dampen the onstage volume of the drums.

A screen that surrounds the drummer is known as a drum booth.

Carpets[link]

Two hi-hat stands both with retractible spikes extended

Drummers who play in different venues generally carry carpeting or mats. The primary purpose of this is to prevent the bass drum and hi-hat stand from slipping on a wooden floor or similar slippery surface.

The carpet also reduces short reverberation (which is generally but not always an advantage), and helps to prevent damage to the flooring or floor coverings.

Bass drums and hi-hat stands commonly have retractable spikes to help them to grip on surfaces such as carpet.

Practice equipment[link]

Practice pad on snare drum stand

Drummers often use a variety of accessories when they are practicing. Metronomes and beat counters are used to develop a steady rhythm. Drum muffling pads may be used to lessen the volume of drums during practicing.

A practice pad, either held on the lap or mounted on a stand, is used for silent practice with drumsticks. A set of practice pads mounted to simulate an entire drum kit is known as a practice kit; These have largely been superseded by electronic drums and kits with non-sounding mesh heads.

Playing[link]

Grooves[link]

The basic common time groove with bass (bottom), back beat snare, and cymbal (top) is common in popular music play (help·info)

A swing groove, common in jazz and early rock music, with the complex time shuffle rhythm understood as is traditional rather than explicit.  Play (help·info)

Kit drumming, whether playing accompaniment of voices and other instruments or solo, consists of two elements:

• A groove which sets the feel and provides a framework.
• Drum fills and other ornaments and variations which provide variety and substance.

Fills[link]

A fill is a departure from the repetitive rhythm. Fills vary from a simple, single stroke on a tom, to sequences several bars long that are short drum solos in themselves.

As well as simply adding interest and variation to the music, fills serve an important function in preparing and supporting significant events in the music. A vocal cue is a short drum fill that introduces a vocal entry. A fill ending on a cymbal crash on beat one is often used to lead in to a chorus or verse.

Grips[link]

Most drummers hold the drumsticks in one of two types of grip:

• The traditional grip, originally developed for playing the military side drum, most commonly with an overhand grip for the right hand and an underhand grip for the left.
• The matched grip, in which the sticks are held in similar (but mirror image) fashion.

Within these two types, there is still considerable variation, and even disagreements as to exactly how the stick is held in a particular method. For example, Jim Chapin, an early and influential exponent of the Moeller method, asserts that the technique does not rely on rebound,^[11] while Dave Weckl asserts that it does rely on rebound.^[12]

Notation[link]

Neutral or percussion clef, two versions

Drum kit music is most commonly written on a standard five-line staff. These days a special percussion clef is used, while previously the bass clef was used. However even if bass or no clef is used, each line and space is assigned an instrument of the kit rather than to a note.

Audio samples[link]

Audio samples
Component	Content	Audio (Vorbis: click the arrow to play)
Snare	Unmuffled snare drum
	Muffled snare drum
	Rim click on a snare
Bass drum	Muffled bass drum
Toms	8-inch (20 cm) rack tom
	12-inch (30 cm) rack tom
	Floor tom
Hi-hat	Closed hi-hat
	Open hi-hat
	Hi-hat being opened and closed by its foot pedal (chick)
Crash	Crash cymbal
Ride	Hit on the bow
	Hit on the bell of the cymbal
	Hit on the edge
Beat	A typical rock beat on hi-hat
	Typical rock beat on ride cymbal
Video sample
Multiple components	Video illustrating basic drum kit actions	Video illustrating basic drum kit actions
See the Drums category at Wikimedia Commons for more

See also[link]

People:

• Drummer
• List of drummers

Styles and techniques:

• Drum beat
• Jazz drumming

Other:

• Drum kit tuning
• Percussion instrument
• Rhythm section

References[link]

External links[link]

• Drum resources at the Open Directory Project

The drum is a member of the percussion group of musical instruments, which is technically classified as the membranophones.^[1] Drums consist of at least one membrane, called a drumhead or drum skin, that is stretched over a shell and struck, either directly with the player's hands, or with a drum stick, to produce sound. There is usually a "resonance head" on the underside of the drum, these are usually tuned to a slightly lower pitch than the top drumhead. Other techniques have been used to cause drums to make sound, such as the thumb roll. Drums are the world's oldest and most ubiquitous musical instruments, and the basic design has remained virtually unchanged for thousands of years.^[1]

All types of drums such as timpani for example are always tuned to a certain pitch. Often, several drums, other than timpani drums, can be arranged together to create a drum kit.^[2]

Uses[link]

Drums are usually played by the hand, or by one or two sticks. In many traditional cultures drums have a symbolic function and are often used in religious ceremonies. Drums are often used in music therapy, especially hand drums, because of their tactile nature and easy use by a wide variety of people.^[3]

Within the realm of popular music and jazz, "drums" usually refers to a drum kit or a set of drums (with some cymbals) and "drummer" to the actual band member or person who plays them.

Drums acquired even divine status in places such as Burundi, where the karyenda was a symbol of the power of the king.

Construction[link]

Drum carried by John Unger, Company B, 40th Regiment New York Veteran Volunteer Infantry Mozart Regiment, December 20, 1863

The shell almost invariably has a circular opening over which the drumhead is stretched, but the shape of the remainder of the shell varies widely. In the western musical tradition, the most usual shape is a cylinder, although timpani, for example, use bowl-shaped shells.^[1] Other shapes include a frame design (tar, Bodhrán), truncated cones (bongo drums, Ashiko), goblet shaped (djembe), and joined truncated cones (talking drum).

Drums with cylindrical shells can be open at one end (as is the case with timbales), or can have two drum heads. Single-headed drums typically consist of a skin which is stretched over an enclosed space, or over one of the ends of a hollow vessel. Drums with two heads covering both ends of a cylindrical shell often have a small hole somewhat halfway between the two heads; the shell forms a resonating chamber for the resulting sound. Exceptions include the African slit drum, also known as a log drum as it is made from a hollowed-out tree trunk, and the Caribbean steel drum, made from a metal barrel. Drums with two heads can also have a set of wires, called snares, held across the bottom head, top head, or both heads, hence the name snare drum.^[1]

On modern band and orchestral drums, the drumhead is placed over the opening of the drum, which in turn is held onto the shell by a "counterhoop" (or "rim"), which is then held by means of a number of tuning screws called "tension rods" which screw into lugs placed evenly around the circumference. The head's tension can be adjusted by loosening or tightening the rods. Many such drums have six to ten tension rods. The sound of a drum depends on several variables, including shape, size and thickness of its shell, materials from which the shell was made, counterhoop material, type of drumhead used and tension applied to it, position of the drum, location, and the velocity and angle in which it is struck.^[1]

Prior to the invention of tension rods drum skins were attached and tuned by rope systems such as that used on the Djembe or pegs and ropes such as that used on Ewe Drums, a system rarely used today, although sometimes seen on regimental marching band snare drums.^[1]

Sound of a drum[link]

Several American Indian-style drums for sale at the National Museum of the American Indian.

Several factors determine the sound a drum produces, including the type, shape and construction of the drum shell, the type of drum heads it has, and the tension of these drumheads. Different drum sounds have different uses in music. Take, for example, the modern Tom-tom drum. A jazz drummer may want drums that are high pitched, resonant and quiet whereas a rock drummer may prefer drums that are loud, dry and low-pitched. Since these drummers want different sounds, their drums will be constructed a little differently.

The drum head has the most effect on how a drum sounds. Each type of drum head serves its own musical purpose and has its own unique sound. Double-ply drumheads dampen high frequency harmonics because they are heavier and they are suited to heavy playing.^[4] Drum heads with a white, textured coating on them muffle the overtones of the drum head slightly, producing a less diverse pitch. Drum heads with central silver or black dots tend to muffle the overtones even more. And drum heads with perimeter sound rings mostly eliminate overtones (Howie 2005). Some jazz drummers avoid using thick drum heads, preferring single ply drum heads or drum heads with no muffling. Rock drummers often prefer the thicker or coated drum heads.

The second biggest factor affecting the sound produced by a drum is the tension at which the drum head is held against the shell of the drum. When the hoop is placed around the drum head and shell and tightened down with tension rods, the tension of the head can be adjusted. When the tension is increased, the amplitude of the sound is reduced and the frequency is increased, making the pitch higher and the volume lower.

The type of shell also affects the sound of a drum. Because the vibrations resonate in the shell of the drum, the shell can be used to increase the volume and to manipulate the type of sound produced. The larger the diameter of the shell, the lower the pitch. The larger the depth of the drum, the louder the volume. Shell thickness also determines the volume of drums. Thicker shells produce louder drums. Mahogany raises the frequency of low pitches and keeps higher frequencies at about the same speed. When choosing a set of shells, a jazz drummer may want smaller maple shells, while a rock drummer may want larger birch shells. For more information about tuning drums or the physics of a drum, visit the external links listed below.

History[link]

Moche ceramic vessel depicting a drummer. Larco Museum Collection. Lima-Peru

Animal drumming[link]

Macaque monkeys drum objects in a rhythmic way to show social dominance and this has been shown to be processed in a similar way in their brains to vocalizations suggesting an evolutionary origin to drumming as part of social communication.^[5] Other primates make drumming sounds by chest beating or hand clapping,^[6][7] and rodents such as kangaroo rats also make similar sounds using their paws on the ground.^[8]

Talking drums[link]

In the past drums have been used not only for their musical qualities, but also as a means of communication, especially through signals. The talking drums of Africa can imitate the inflections and pitch variations of a spoken language and are used for communicating over great distances. Throughout Sri Lankan history drums have been used for communication between the state and the community, and Sri Lankan drums have a history stretching back over 2500 years.

Military uses[link]

Chinese troops used tàigǔ drums to motivate troops, to help set a marching pace, and to call out orders or announcements. For example, during a war between Qi and Lu in 684 BC, the effect of drum on soldier's morale is employed to change the result of a major battle. Fife-and-drum corps of Swiss mercenary foot soldiers also used drums. They used an early version of the snare drum carried over the player's right shoulder, suspended by a strap (typically played with one hand using traditional grip). It is to this instrument that the English word "drum" was first used. Similarly, during the English Civil War rope-tension drums would be carried by junior officers as a means to relay commands from senior officers over the noise of battle. These were also hung over the shoulder of the drummer and typically played with two drum sticks. Different regiments and companies would have distinctive and unique drum beats which only they would recognize. In the mid-19th century, the Scottish military started incorporating pipe bands into their Highland Regiments.^[9] During pre-Columbian warfare, Aztec nations were known to have used drums to send signals to the battling warriors. The Nahuatl word for drum is roughly translated as huehuetl.^[10]

The Rig Veda, one of the oldest religious scriptures in the world, contain several references to the use of Dundhubi (war drum). Arya tribes charged into battle to the beating of the war drum and chanting of a hymn that appears in Book VI of the Rig Veda and also the Atharva Veda where it is referred to as the "Hymn to the battle drum". Given the age of the Rig Veda being atleast 1500 BC or before, this must rank as the earliest practice of beating of the war drum in the history of mankind.^[11]

	Drum - Cadence A Drum - Cadence B Drum - Four Flams Snare drum cadences performed by the United States Navy Band
Problems listening to these files? See media help.

The concepts of drums are as old as mankind. A drum is called a membranophone, or an instrument that creates sound by striking a stretched membrane with some type of object, usually a rounded stick. Drums consist of a hollowed-out piece (called the body), a membrane stretched over the end of the drum, and tuning keys or pegs which tighten or loosen the membrane to achieve different tones. While most may think that the body of the drum produces the sound, it is in fact actually the membrane and its vibration that creates the sound when struck. Drums first appeared as far back as 6000 BC.^{[citation needed]} Mesopotamian excavations unearthed small cylindrical drums dated 3000 BC.^{[citation needed]} Several wall markings found in caves in Peru show drums used in various aspects of societal life. The American Indians used gourd and wooden constructed drums for their rituals and ceremonies. Drums have always been used for more than merely creating music. Civil uses, messaging, and religious uses are but a few.

Types of drum[link]

Aburukuwa Ashiko Bass drum Batá Bedug Bodhrán Bongo drums Bougarabou Cajón Candombe drums Cocktail drum Chalice drum Chenda Conga Darbuka Chenda Dayereh Davul Damphu

Dhak Dhimay Dhol Dholak Djembe Dong Son drum Doumbek Frame drum Ewe Drums Goblet drum Hand drum Ilimba drum Karyenda Kpanlogo Log drum Madal

Mridangam Side drum (Marching snare drum) Slit drum Snare drum Steelpan (Steel drum) Tabor Tamborim Tambourine Taiko Tabla Talking drum Tapan Tar Tavil

Tenor drum Timbales Timpani Tombak Tom-tom drum Tongue drum Repinique Surdo

Handscroll detail of a Chinese percussionist playing a drum for a dancing woman, from a 12th century remake of Gu Hongzhong's 10th century originals, Song Dynasty.

See also[link]

Blast beat Double drumming Drum beat Drum circle Drum kit Drumline Drum machine Drummer Drum replacement Drumsticks

Electronic drum Gallop Hang (musical instrument) Hearing the shape of a drum List of drummers Musical instrument Percussive Arts Society Practice pad Vibrations of a circular drum

Wikimedia Commons has media related to: Drums Wikisource has the text of the 1911 Encyclopædia Britannica article Drum. Music portal

References[link]

External links[link]

Listen to this article (info/dl)

This audio file was created from a revision of the "Drum" article dated 2005-04-13, and does not reflect subsequent edits to the article. (Audio help)

More spoken articles

• Drum resources at the Open Directory Project

lez:Далдам

Look up kit in Wiktionary, the free dictionary.

Kit may refer to:

Collections[link]

Any collection of items or components needed for a specific purpose, especially for use by a workman, or personal effects packed for travelling, such as:

• Body kit, a collection of exterior modifications to a car
• Body hygiene kit, a small bag for storing bathroom and toiletry items for travel
• Drum kit, a collection of drums, cymbals, etc. arranged for convenient playing
• Electronic kit, an assembly kit for any electronic equipment, including a computer
• First aid kit, a collection of supplies and equipment for use in giving first aid
• Field kit, a generic term for a field-specific kit
• Garage kit, an assembly scale model kit
• Graphic kit, a set of decal s for an automobile, motorcycle, model car, or other toy, used to customize the item
• Hush kit, a device for reducing noise from an engine
• Jenter kit, a piece of equipment used by beekeepers to raise large numbers of queen honeybees
• Kit car, an automobile in parts that is assembled
• Kit bag, a large cylindrical bag made of cloth (or other fabric) with a drawstring closure at the top
• Kit house, a type of prefabricated housing
• Knock-down kit, a kit containing the parts needed to assemble a product
• Mess kit, a collection of silverware and cookware used during camping, backpacking, and extended military campaigns
• Plastic kit, a scale model supplied as individual parts of moulded plastic for assembly by hobbyists
• Press kit, a pre-packaged set of promotional materials of a person, company, or organization
• Rape kit, a set of items used by medical personnel for gathering and preserving physical evidence following an allegation of sexual assault which can be used in rape investigation
• Robot kit, a special construction kit for building robots
• Software development kit, a set of tools to create an application
• Stroker kit, an aftermarket assembly that increases the displacement of a reciprocating engine
• Survival kit, a package of basic tools and supplies prepared in advance as an aid to survival in an emergency
• Teaching kit, a teaching resource developed by a museum education department

Animals[link]

• A young ferret
• A young rabbit
• A young mink
• A young fox
• A young beaver
• A short form of kitten, a young cat
• A group of pigeons
• Kit fox, a relatively common North American fox

Music[link]

• Kit (album), 2004 rock album by The Rebel
• Kit violin, a small stringed musical instrument

Film[link]

• Kit (film), 1970 Bulgarian satirical movie directed by Petar B. Vasilev

• Short for Christopher, as for example Kit Carson. Christopher Marlowe was also called Kit. St. Christopher Island in the Caribbean is called St. Kitts.

People[link]

• Kit (given name)
• Barys Kit, a Belarusian scientist

Sport[link]

• Kit (rugby football), the standard equipment and attire worn by players in rugby football
• Kit (association football), the standard equipment and attire worn by players in association football

Technology[link]

• Kit lens, a low-end SLR camera lens

See also[link]

• All pages beginning with "Kit"
• All pages with titles containing "Kit"
• Kit's Coty, a small village in the English county of Kent
• Kits (disambiguation)
• KIT (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Rowan Atkinson
Atkinson at the Johnny English Reborn Premiere
Birth name	Rowan Sebastian Atkinson
Born	(1955-01-06) 6 January 1955 (age 57)[1][2] Consett, Durham, England, United Kingdom
Medium	Stand up, Television, Film
Years active	1978–present
Genres	Physical comedy, Satire, Black comedy
Influences	Peter Sellers, Charlie Chaplin, Jacques Tati[3]
Influenced	Steve Pemberton David Walliams
Spouse	Sunetra Sastry (m. 1990) «start: (1990)»"Marriage: Sunetra Sastry to Rowan Atkinson" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Rowan_Atkinson)
Notable works and roles	Not the Nine O'Clock News Blackadder Mr. Bean The Thin Blue Line Johnny English
BAFTA Awards Best Light Entertainment Performance 1981 Not the Nine O'Clock News 1990 Blackadder Goes Forth Laurence Olivier Awards Best Comedy Performance 1981 Rowan Atkinson in Revue

Rowan Sebastian Atkinson (born 6 January 1955) is a British actor, comedian, and screenwriter. He is most famous for his work on the satirical sketch comedy show Not The Nine O'Clock News, and the sitcoms Blackadder, Mr. Bean and The Thin Blue Line. He has been listed in The Observer as one of the 50 funniest actors in British comedy,^[4] and amongst the top 50 comedians ever in a 2005 poll of fellow comedians.^[5] He has also had cinematic success with his performances in the Mr. Bean movie adaptations Bean and Mr. Bean's Holiday and in Johnny English and its sequel Johnny English Reborn. He also starred in the film Never Say Never Again (a spy film based on the James Bond novel Thunderball) in 1983.

Early life and education[link]

Atkinson, the youngest of four brothers, was born in Consett, County Durham, England.^[6] His parents were Eric Atkinson, a farmer and company director, and Ella May (née Bainbridge), who married on 29 June 1945.^[6] His three older brothers were Paul, who died as an infant, Rodney, a Eurosceptic economist who narrowly lost the United Kingdom Independence Party leadership election in 2000, and Rupert.^[7][8] Atkinson was brought up Anglican,^[9] and was educated at Durham Choristers School, St. Bees School, and Newcastle University.^[10] In 1975, he continued for the degree of MSc in Electrical Engineering at The Queen's College, Oxford, the same college his father matriculated at in 1935,^[11] which made Atkinson an Honorary Fellow in 2006.^[12] First achieving notice at the Edinburgh Festival Fringe in 1976,^[10] while at Oxford, he also acted and performed early sketches for the Oxford University Dramatic Society (OUDS), the Oxford Revue and the Experimental Theatre Club (ETC), meeting writer Richard Curtis^[10] and composer Howard Goodall, with whom he would continue to collaborate during his career.

Career[link]

Radio[link]

Atkinson had starred in a series of comedy shows for BBC Radio 3 in 1978 called The Atkinson People. It consisted of a series of satirical interviews with fictional great men, who were played by Atkinson himself. The series was written by Atkinson and Richard Curtis, and produced by Griff Rhys Jones.^[13]

Television[link]

After university, Atkinson toured with Angus Deayton as his straight man in an act that was eventually filmed for a television show. After the success of the show, he did a one-off pilot for London Weekend Television in 1979 called Canned Laughter. Atkinson then went on to do Not the Nine O'Clock News for the BBC, produced by his friend John Lloyd. He starred on the show along with Pamela Stephenson, Griff Rhys Jones and Mel Smith, and was one of the main sketch writers.

The success of Not the Nine O'Clock News led to his starring in the medieval sitcom The Black Adder, which he also co-wrote with Richard Curtis, in 1983. After a three-year gap, in part due to budgetary concerns, a second series was written, this time by Curtis and Ben Elton, and first screened in 1986. Blackadder II followed the fortunes of one of the descendants of Atkinson's original character, this time in the Elizabethan era. The same pattern was repeated in the two sequels Blackadder the Third (1987) (set in the Regency era), and Blackadder Goes Forth (1989) (set in World War I). The Blackadder series went on to become one of the most successful BBC situation comedies of all time, spawning television specials including Blackadder's Christmas Carol (1988) and Blackadder: The Cavalier Years (1988).

Atkinson's other famous creation, the hapless Mr. Bean, first appeared on New Years Day in 1990 in a half-hour special for Thames Television. The character of Mr. Bean has been likened somewhat to a modern-day Buster Keaton.^[14] During this time, Atkinson appeared at the Just for Laughs comedy festival in Montreal in 1987 and 1989. Several sequels to Mr. Bean appeared on television in the 1990s, and it eventually made into a major motion picture in 1997. Entitled Bean, it was directed by Mel Smith, his former co-star from Not the Nine O'Clock News. A second movie was released in 2007 entitled Mr. Bean's Holiday. In 1995 and 1997, Atkinson portrayed Inspector Raymond Fowler in the popular The Thin Blue Line television series, written by Ben Elton, which takes place in a police station located in fictitious Gasforth.

Atkinson has fronted campaigns for Kronenbourg,^[15] Hitachi electrical goods,^{[citation needed]} Fujifilm, and Give Blood. Atkinson appeared as a hapless and error-prone espionage agent in a long-running series for Barclaycard, on which character his title role in Johnny English and Johnny English Reborn was based.

He also starred in a comedy spoof of Doctor Who as the Doctor, for a "Red Nose Day" benefit.

Atkinson has also starred as the Star in a Reasonably Priced Car in the motoring show, Top Gear in July 2011, where he recorded the second fastest lap in the Kia Cee'd with a time of 1:42.2.

Rowan Atkinson in 1997, promoting Bean

Film[link]

Atkinson's film career began in 1983 with a supporting part in the 'unofficial' James Bond movie Never Say Never Again and a leading role in Dead on Time with Nigel Hawthorne. He appeared in former Not the Nine O'Clock News co-star Mel Smith's directorial debut The Tall Guy in 1989. He also appeared alongside Anjelica Huston and Mai Zetterling in Roald Dahl's The Witches in 1990. In 1993 he played the part of Dexter Hayman in Hot Shots! Part Deux, a parody of Rambo III, starring Charlie Sheen.