The drums faculty is characterised by versatility. Students are trained all-round, acquiring experience both in the studio and on stage, with all kinds of ensembles: big band, jazz combo, Latin and fusion ensembles and rock bands.

Teachers are Gerhard Jeltes, Lucas van Merwijk, Marcel Serierse and Martijn Vink. Guest teachers have included John Riley, Adam Nussbaum, Brian Blade, Jeff Ballard and Bill Stewart.

undefinedCourse structure and credits

Co-ordinator: Gerhard Jeltes

study guide

Download the undefinedBachelor Jazz Study Guide 2016-2017


Gerhard Jeltes coordinator + methodology
Lucas van Merwijk  
Marcel Serierse  
Martijn Vink  
Haye Jellema technique

Admission requirements

For all candidates there is a preselection by means of a recording of three pieces to be sent in by the candidate. Two of the pieces should be from the jazz idiom, the third is the candidate's choice. If the candidate's playing on the recording does not match the required level, they will not be invited to the entrance examination.
Please note: candidates will not be admitted solely on the basis of the recording; being invited to the entrance exam does not mean candidates are admitted to the school.

During the entrance examination, the candidate is tested on:

1. Playing skill
a. The committee will choose two pieces from three pieces prepared by the candidate in which the candidate shows the committee both command of the instrument and musical understanding, preferably in various styles such as jazz, latin or fusion.
b. Playing à vue of a short little drum etude at the level of Mitchell Peters' Intermediate Snare Drum Studies no. 14.
The committee reserves the right to interrupt the candidate's playing as according to the committee, he/she has supplied enough information (because of the limited time of 30 minutes). Therefore it is important for the candidate to show his/her skills as quickly as possible: not too many and/or too long solos of fellow players, no unnecessary repetitions.

2. Hearing, tempo/timing and reading skills
This may consist of:
* playing by ear an unknown, simple piece, without any previous information
* playing of some rhythms at a given tempo (clicktrack)
* playing à vue of some rhythms for percussion. In these rhythms some rudiments have been incorporated.
* playing a simple 'play along' of 8 bars, including written part

The committee supplements the examination with some exercises which must show the candidate's skills which have not been sufficiently disclosed up till then.

3. Assessment
The possibilities to follow a principal subject study will be discussed by the committee.

Important issues for the assessment are:
1. musicality and hearing
2. feeling for rhythm and tempo
3. affinity with the instrument and the musical styles that are connected with this instrument

but besides these also:
4. technique and tone quality
5. reading of rhythms