I Acknowledgments 4II Introduction 5II.1 The educational Approach, or, How can he know? 7II.2 Music as a Language 9II.3 Three large Areas 10II.4 The Limits of a Book 11II.5 Sound vs. Artistry - What I pay Attention to 12II.6 Patterns of Thought 14III Technique 15III.1 Technique and Speed, two Sides, one Coin 17III.2 Seeing and Hearing have much in Common 18III.3 Sticks, the Extensions of our Arms 24III.4 Hand Technique 24III.5 Foot Technique 28III.6 Parallelisms, Antagonisms, and other Things 30III.7 Another technical Aspect: The Setup of the Drum Set 32IV Rhythm 35IV.1 What is Rhythm? 35IV.2 Measures 37IV.3 Note Value Tree 38IV.4 Rhythmical Basis of the binary and ternary Structures 38IV.5 Subdivisions which cannot be found in a Book 40IV.6 The hierarchical Structure of applied Rhythmics,or, the End of Correction 43IV.7 Mathematics, or, the Limits of Theory 44
IV.8 Separation of Sounds, or, the End of Parallelity -Horizontal and Vertical Patterns of Thought 45IV.9 Groovy Exercises which enter our Consciousness 47IV.10 Switching off for a Change 48IV.11 The Internal Clock 49IV.12 Another Style, another Basis, or, Why does our Salsa sound so bad? 51IV.13 Pop Music and Classical Music, Folk Music and Techno 54V Stylistics 56V.1 What Parameters we have 56V.2 Orchestration, or, How do I make it sound? 57V.3 Flow Exercises 59V.3 Paradiddles, the underestimated Rudiments 61V.5 Hand-and-Foot Combinations 62V.6 Click 64V.7 Laid Back, Feeling, and the End of Legends 67V.8 Hi-Hat or sounding Meter 69V.9 Grooves 70VI Miscellanea 73VI.1 How many Limbs do we have, actually? 73VI.2 Everything according to Plan 73VI.3 Reading Music and Charts 76VI.4 Musical Styles 78VI.5 Copying allowed and expected 80VI.6 Fill-in Concepts 83VI.7 Improvisation, or, the Art of Talking Freely 85VI.8 Creativity - An Excursion 87VI.9 The Drum Solo 90VI.10 Why always by Oneself? A small Discussion Panel of Two 93VI.11 Odd Times, Metric Modulation, Groove Displacement, and. 94VI.12 What´s my task in a band? 98VI.13 Final Remarks 102
