Didactic book for the drums,. Over the years the students have often asked me questions aimed at understanding mainly what they could not find on the "sacred texts" of the teaching for the drums. Everything I tried to communicate to them was part of my personal background as a musician, teacher and human being and could not be found in specialized books for drummers. It was and is certainly my personal interpretation of the texts that I had studied, like everyone, and that I had strived to make creatively stimulating.

I have often found myself fighting distorted and misleading superstructures, especially regarding the study of the bass drum and the bass double pedal (a relatively modern tool and for this reason still lacking a solid didactics). On this didactic book for the drums, I decided to base this text mainly on the use of the bass drum and on how you can save energy in order to maintain lucidity and relaxation, necessary for a free execution from dangerous physical impediments.

I'm talking mainly to all the young guys and not, who make of the acceleration on the double pedal a test of drumming virility and not an artistic necessity as, in my opinion, it should be for any technical improvement.

Remember: the sound is the most important thing and the sound of the bass drum in rock and pop is obtained with precise conditions that are often forgotten to favor the speed of the hits. To put it briefly:

– you do not have to pull the skin too much to have more rebound and thus get a semi-timbales of 22;
– you should not bring the doors of the bass double pedal closer to 2 cm from the skin to go faster... Yes... but with a popping sound!;
– you should not use The Triggers to digitally compress the dynamic differences between the two feet making the sound of your bass drum more like the noise of a blender than the sound of a musical instrument.
So get your things together and remember: "power is nothing without control"

Daniele Pomo
teacher of Saint Louis College of Music