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 and Bill Stewart.
Course structure and credits
Co-ordinator: Gerhard Jeltes
Download the Bachelor Jazz Study Guide 2014-2015
Candidates for the principal subject drums jazz will be selected beforehand by means of a recording of three pieces to be sent in by the candidate. The candidate is free in his choice of the pieces. If the candidate's playing on the recording does not match the required level, the candidate will not be invited to the entrance examination.
N.B. Nobody will be admitted on the basis of the recording only, and being invited to the entrance exam does not mean the candidate will be admitted to the school.
During the entrance examination the candidate is tested for:
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.
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