I use a large library of study materials with my students. I pull articles from Modern Drummer and Drum magazines as well as the Percussive Arts Society, and I create many personalized exercises for individual students. The biggest part of my library, though, comes from the plethora of wonderful books written within the last century and a half or so detailing so many drummers’ study methods, philosophy, and approach to the instrument. Here are some of the books I use most commonly with my students:

Elementary Drum Method by Roy Burns remains one of the books I most strongly prefer to use with my beginning students, whether their focus is snare drum or drum set. To say that this book is “tried and true” would be an understatement. The book begins with basic rhythmic instruction, explaining quarter notes, eighth notes, and sixteenth notes with pages of exercises with gradually increasing difficulty. After these basic exercises, the book moves into a series of short march pieces. Musical elements such as dynamics, 1st and 2nd endings, and tempo markings are introduced to add interest to each march. The book covers all of the short rolls, as well as triplets and accents. At the very front of the book are a couple pages with basic music theory as well as the most standard rudiments for quick reference.

A Practical Workbook for the Modern Drummer by Dick DiCenso is one of the most versatile books I use with my students. Covering everything from waltzes and boleros to disco and funk, the book is a veritable encyclopedia of grooves, patterns, and styles. A couple favorite sections of mine are the paradiddle patterns which give an instant insight to students about how the paradiddle sticking facilitates smooth movement around the drum set and the bossa nova and jazz/rock samba sections, which introduce independence studies in an accessible way. Finally, the explanation of the different ways to feel the jazz swing ride pattern is an irreplaceable tool found in this wonderful book.

Stick Control by George Lawrence Stone is perhaps the Bible of sticking patterns. There really aren’t many frills with this book, per se; there’s no real talk of method or technique, save for a general admonish to remain relaxed while practicing the exercises. What the book lacks in talk of technique, though, it more than makes up for with oodles and oodles of sticking patterns including single and multiple-stroke rolls, flams, and triplets.

Accents and Rebounds by George Lawrence Stone is the companion book to Stick Control. Intended to be used once the patterns in Stick Control have been mastered, Accents and Rebounds adds, straightfowardly, accents and rebounds to the same wealth of sticking patterns found in Stick Control. The two books, when used together, help students develop the skills that they need with hand technique.

Progressive Steps to Syncopation for the Modern Drummer by Ted Reed is a basic book that can be used in a multitude of ways. The patterns contained in the book are fairly straightforward examples of rhythmic syncopation. When the patterns are used along with various ostinatos, though, is when the book really shines. As a teaching tool for learning both independence of reading and thought as well as coordination, this book is invaluable.

Master Studies by Joe Morello has patterns galore, including the demanding “Stone Killer,” involving accents, dynamics, different note groupings, polyrhythms, and alternate stickings. The patterns are mainly snare drum oriented, but Joe provides many ideas for adapting the patterns to the drum set and making them more musically applicable.

Master Studies II by Joe Morello continues where Master Studies left off. Full of more patterns to develop speed, power, and coordination, Master Studies II continues the process of helping the drum student develop their hand technique and musical understanding.

The Drumset Musician by Rod Morgenstein and Rick Mattingly starts with pages and pages of basic drum set patterns, focusing at first on eighth-note bass drum variations to the basic rock beat. The book includes sixteenth-note variations, shuffles, and fills. What really makes this a useful book, though, is its focus on musical form and structure. The included CD contains several songs in various styles with complete charts included in the book. This is the perfect book for students to start playing along with recordings, which I believe is still one of the best ways to practice.

Drum Set Warm-Ups by Rod Morgenstein is to the drum set what Stick Control is to the snare drum. The book is full of a multitude of patterns all designed to improve the student’s ability to move around the drum set. Some of the exercises are purposely quite awkward in order to push maximum development. I believe that if a student masters the patterns in this book they will be able to technically handle any physical challenge related to moving around the drum set, and do so with ease and grace.

Creative Coordination for the Performing Drummer by Keith Copeland is, I believe, an under-appreciated book. Covering several styles, this book has many unique patterns and exercises that are challenging and very musical. I use this book less often than some of the others, as it is slightly specialized, but for students wishing to work a lot on more advanced jazz independence, this is my go-to book.

Ultimate Realistic Rock by Carmine Appice is a classic of rock drumming pedagogy. Full of beginner to advanced patterns, this book is suitable for students at almost any level. I particularly enjoy using it to help students develop their single bass drum technique.

Double Bass Drumming by Joe Franco remains perhaps the finest introduction to double bass drumming there is. Laid out in a simple and progressive manner, the book takes the student through varied and increasingly difficult patterns.

4-Way Coordination: A Method Book for the Development of Complete Independence on the Drum Set by Marvin Dahlgren and Elliot Fine is one of my all-time personal favorite books. Turned onto this book when I first saw Terry Bozzio’s video Solo Drums, I have used it ever since. I often enjoy playing in a linear style on the drum set, and naturally introduce all of my students to this approach. This book is a perfect part of that instruction.

Polyrhythms The Musician’s Guide by Peter Magadini is one of several books written by Magadini on the subject of polyrhythms. I find that at some point it becomes necessary to really delve into polyrhythms whole-hog with most students, and this book is the best starting point I’ve found.

Contemporary Brush Techniques by Louie Bellson, Henry Bellson, and Dave Black is one of many great books dealing with brush technique. I honestly don’t get to teach brushes to students as much as I would like, but when I do, this is my first-choice book. It’s full of good diagrams and unique patterns and is suitable for beginning and intermediate brush players.

Savage Rudimental Workshop by Matt Savage is an all-out workout on the 40 standard rudiments. The book dissects each rudiment, breaking down each hand separately and then building them up together. There is a solo written for each rudiment which gives an excellent opportunity for the student to immediately use the rudiments in a musical context.

The Art of Modern Jazz Drumming by Jack DeJohnette and Charlie Perry is a tome. This is perhaps the densest book I use with my students. It is a true study of the instrument in a jazz context. Not merely full of interesting patterns, this book has plenty of words, and expounds on the philosophy and artistry involved in being a complete jazz drummer. This book is really only appropriate for students that are quite advanced, and I’m always happy when I get to introduce a new student to it.

Ziggadabuzz by a collection of artists including Dr. Lisa Rogers and Charlie Poole takes off where the Savage Drum Workshop leaves off. This book contains several challenging snare solos in the marching / drum corps style. This is another specialized book that I don’t get to use too often with students, but it’s always a treat when I do.

A Fresh Approach to the Snare Drum by Mark Wessels is a solid method book for a beginning student. It is a bit more modern in its approach than Elementary Drum Method and can sometimes be a little bit easier for younger students. It begins with very basic exercises and progresses at an easy and logical pace.

A Fresh Approach to the Drum Set by Mark Wessels is, like its snare drum companion, a solid and well-paced book for beginning drum set studies.

The Big Band Drummer by Ron Spagnardi is a masterfully laid-out book. It first introduces long-note and short-note phrasing, and then opens into an expansive (nearly fifty pages) section on section figures. Ron’s short and simple explanations to begin each section explain the material that is to come in a brilliant and elegant fashion. After sections on fills and chart-reading, the book finishes with several full charts in a section called “Applying it All.” The book is laid out in such a way as to be useful to students of any level. This is another niche book as big band study is something that most students aren’t excited by, but it is a truly masterful work on the subject, and using it with students is a delight. It’s one of my favorites.

Drum Wisdom by Bob Moses, which is inexplicably out of print, is one of the absolute best drum instructional books ever written. With more words written in English than music notation the book can be a bit inscrutable at first. When taken slowly and with the proper focus, though, the book provides a doorway into truly opening the keys to the drum set as a musical instrument that is more than the sum of its parts. Ostensibly a jazz drum book, this book actually surpasses style and gets to the very heart of what a drummer needs to know to become a thinking and feeling musician. I love sharing this book with students, even if finding copies is nigh on impossible.

This is just a short list of the books I use most often with students. I use several other books, including several out-of-print books such as the wonderful series by Rod Morgenstein which includes Odd Time, Grooving in Styles / Filling in the Holes, and Double Bass Drumming as well as the very under-appreciated Metalmorphosis by Bobby Rock. Sometimes students will bring in books I’ve never heard of and we work through that; that’s always a fun trip of mutual discovery. I am always working to find new challenging and fun resources to share with my students. I’m sure this list will keep growing; stay tuned!