Some thoughtsshells on cymbal

There are a lot of mixed opinions about transcribing full solos for drums, which I understand. The purpose of transcribing whole solos is to taste and try to play in the style of the relevant performer. However, it is the work following to transcribing the solo that is most important! A good procedure could be to focus on a small cell from the solo, play it with different stickings and experiment with orchestration on the drums in order to get inside the cell and shaping it into a personal musical statement. Generating our own phrases and building up our own personal vocabulary is what it’s all about.

Transcribing drum solos will benefit your playing, one way or another. Further vocabulary, better technique, better notation skills and phrasing. Over the years I have learnt and studied drum solos of the great drummers like Philly Jo Jones, Art Blakey, Elvin Jones, Frankie Dunlop, Roy Haynes, Billy Higgins, Max Roach, Jeff Tain Watts, Bill Stewart and Ed Blackwell.

Study the greatest bebop drummer of all time in detail never seen before! Visit the website below to order your copy of 15 transcriptions of pure Max Roach vocabulary !

Visit the website to order at

  • Here’s 8 bars of Bill Stewart trading with Steve Swallow, from John Scofield’s live album “EnRoute”.
    Stewart creates this very advanced cross-rhythm, which is a 3 beat phrase against 4.
  • Check out this killing solo by Ed Blackwell on Folk Tale.

Teddy Brown was an extremely talented American entertainer performing popular music in Britain back in the mid-late 1920’s.

“I don’t know how you managed to do it. It is so fast!”Michael Skinner (Principal Percussion at Royal Opera Orchestra and freelance percussionist with all orchestras in and around London for 31 years)