In this paper, I present the compositional and technical elements used within the piece Reflection. I shall discuss the use of vocabularic concepts, rhythm, and ideas that come together to express the themes intended by the piece.

In this paper, I present the compositional and technical elements used within the piece Recollection. I shall discuss the use of vocabularic concepts, rhythm, and ideas that come together to express the themes intended by the piece.

In this paper, I present the compositional and technical elements used within the piece Contemplation. I shall discuss the use of vocabularic concepts, rhythm, and ideas that come together to express the themes intended by the piece.

In this paper, I present the compositional and technical elements used within the piece Jhana. I shall discuss the use of vocabularic concepts, rhythm, and ideas that come together to express the themes intended by the piece.

In this paper, I present the compositional and technical elements used within the piece Attainment. I shall discuss the use of vocabularic concepts, rhythm, and ideas that come together to express the themes intended by the piece.

From the French style, the concept that I have incorporated the most into my own work is that known as the frisé. From the French either for ‘frieze’ or ‘curled’ (it is unclear which meaning gave its word to the drumming technique), the frisé is a single-stroke rudiment with various iterations based on the number of strokes involved, much like the measured rolls of the American tradition.

The purpose of this paper is to explore the possibilities of adopting a numbers-based approach to composition. Bob Becker’s Rudimental Arithmetic (RA) proposes numerous mathematical devices which can be employed during the composition process. Furthermore, number-based aleatorics can play an interesting role in the development of phrase, structure, and rhythmic cycle. In this paper I will explore these concepts and how they might be employed in new compositions, and discuss the relative musical merits of such a course.

The purpose of this paper is to explore the ambiguous nature of drags and grace notes within the context of rudimental drumming. Seemingly understood and regularly utilised by virtually all drummers, there are nevertheless many interpretations and, sometimes, confusions, with regards to drags that often necessitate the performer or composer to offer words of clarification.