This one is a straight-forward, no nonsense solo inspired by the Kennan Wylie style of solo writing. It uses many basic rudiments important for beginning players. Watch for the dynamics and use the playing zones of the drum to get your different sounds!

This solo starts slow and stately in 3/4 time, but features a hemiola to impose a temporary two-beat feel. It quickly picks up with a time change at letter A, then letter B features a “call and response” section between dynamics. We end with the same theme from the introduction. Mind your roll-base!

This solo should feel dance-like, and is inspired by Vic Firth’s The Solo Snare Drummer, that I had to play all the way through my freshman year of college. I learned so much about rhythm and feel from that book, I wanted to include a similar solo here. 6/8 time is one of my favorites for snare drum playing. Always keep the 8th note pulse in mind when learning each measure. Drags can be played open or closed, just be consistent.

9/8 is always scary, but its really just the cousin of 6/8. Three “big beats” subdivided into three 8th notes is all you need to remember. This solo does feature some metric modulation, and the 8th note should remain constant. The sextuplet in mm. 16 will be the same speed as the sixteenth triplets in mm. 17, just make sure you keep counting in your head!

This solo features the classic 6/8 to 3/4 change, a la “America” from Bernstein's West Side Story. (“I like to be in America, Okay by me in America”) This one also features some tricky duple/triple changes, with the triplets being accented and the duple notes staying low. Keep the 8th note steady when transitioning into letter B.

This is the first etude in 7/8 and definitely takes some discernment. It features a dotted sixteenth rhythm several times on the elongated beat of the 7/8 pattern, that is really just 4 notes in the space of 3. That motif is then augmented in mm. 12. The “volume knob” section (mm. 13 - 21) should be very smooth, and the tenuto accents not too loud. The theme from the introduction returns, then send it to the end!

The final solo throws everything at you. Played at the right tempo, it will be over quickly. This etude was inspired by some I&E solos and should feel like a ram. Don’t connect the rolls in mm. 13 - 16, use an offset double-stop buzz from each hand with slight separation between notes. The metric modulation from mm. 21 - 22 is achieved by making each measure sound exactly the same. Big double strokes in mm. 25!