Solo Snare Drum Repertoire and Collections

General Thoughts

Currently, there is a substantial and diverse body of literature on solo snare drumming available. Very generally, most of this literature fits into two categories: rudimental style solos or classical/symphonic/orchestral style solos. There are, of course, exceptions to this simple categorization. Some solos combine these two styles, while others employ unusual techniques or performance practices, making them difficult to classify as either. That said, most students, even those who do not want to become professional snare drummers, still benefit from studying some solo literature. Learning to play solo literature will benefit a player's musicianship and reading skills, while tapping into another dimension of the snare drum's traditions. I have heard it said that all great drum set players were first great snare drummers. While I think this is an overgeneralization (since many excellent drummers were self-taught and did not take formal lessons in their formative years), I have come to agree with this sentiment. Given the high level of talent in the current generation of players, I believe most drummers should develop their reading and rudimental chops to the best of their ability. Snare solos are the primary tools that drummers should use to do this.

The main difference between rudimental and classical/symphonic solos is that rudimental solos are notated in a way that specifies which rudiments and stickings are to be played at any given time. Classical-style snare solos do not require a specific method of execution, leaving it to the individual player to decide which stickings to use for any passage. The buzz roll is another prominent difference between the two styles. Rudimental solos seldom, if ever, use the buzz roll, whereas classical solos almost always employ the buzz roll to execute long tones. However, the buzz roll is beginning to appear in modern rudimental works. The buzz roll is also an essential technical element in other styles of rudimental drumming (the Scottish style, for example), so this is not a hard-and-fast rule. Dynamics are also a significant element in classical solos. Dynamics are featured in rudimental solos, but not to the same extent as in classical solos. Dynamics in classical snare solos can swing widely from the loudest to the quietest. Classical solos will also utilize a broader range of dynamic articulations (ie, staccato, legato, tenuto, accent, and marcato markings) to express subtle nuances in the pieces. The broader range of articulations requires different—and often very sophisticated—knowledge of approach, touch, and phrasing. Finally, classical solos frequently feature mixed time signatures and a larger variety of rhythmic subdivisions. Rudimental solos usually adhere to standard meters and subdivisions, such as eighths, triplets, and sixteenth notes. The two styles often require different gear choices. Rudimental solos may be played on larger field and marching style drums, while classical solos are typically played on smaller drums outfitted with cable or gut snares.

If you are a young aspiring drummer, you might ask the question: Should modern drum set players bother to learn snare solos? On the surface, playing drums in a contemporary rock band like AC/DC or the Ramones requires no knowledge of solo literature. The most straightforward answer to the above question is no; you do not necessarily need rudimental or classical training to play the drums. There are plenty of drummers who have had little to no formal training and still built remarkable careers. However, that answer is like saying, "You do not need a high school diploma to get a job." While that statement might be strictly true, it oversimplifies and ignores a harsh reality: forgoing that effort can make things harder over time and seriously limit someone's potential.

I would argue that any student of the instrument is justified in studying rudiments and solo literature for several reasons. First, there is the technical reason: learning solos helps develop hand coordination and stamina while reinforcing reading skills. Second, there is the vocabulary reason: the ability to connect different rudiments and rhythms becomes the language that advanced drummers use to craft exciting and complex improvisations and beats. There is also the historical reason that rudimental literature forms the foundation of drumset playing. Rudiments are the link connecting military drummers with brass bands, from the earliest jazz drummers to today's players. Lastly, there is the practical reason: if you ever want to play snare drum in a marching or concert band, these solos prepare you for the reading and rudimental patterns you will face in those groups. As a professional drummer, I have played with marching and concert bands only rarely, but enough to justify the effort. Further, if you aim to be a drum teacher, you will need that knowledge to effectively teach these concepts to students who may wind up playing in those types of ensembles, as any teacher of junior high and high school students would understand.

Drummers who want to delve into the world of snare solos need to have acquired all of the basic musicianship skills of the snare drum. Most snare solos require fully developed reading skills. Any rudimental solo will require the player to be familiar with most (if not all) of the forty P.A.S. rudiments, and advanced contemporary rudimental solos may also require knowledge of modern hybrid rudiments. If you want to explore the world of snare solos, consider enlisting the services of a qualified teacher. I would recommend teachers who teach at the collegiate level, as they often need to play, teach, and adjudicate these solos for all types of auditions and recitals.

The following are lists of commonly available solo collections. I have tried to organize the lists to begin with more remedial material and progress to more sophisticated material, but there are some exceptions to this organization. Highly challenging snare solos are also available, but are typically sold individually. Obtaining a qualified teacher is crucial if you require guidance with advanced snare solos. Some excellent sources for solo literature online include Halleonard.com, Alfred.com, steveweissmusic.com, Tapspace.com, mostlymarimba.com, bachovich.com, c-alanpublications.com, jwpepper.com, kendormusic.com, honeyrock.net, and rowloff.com.

Orchestral/Symphonic Snare Solo Collections

While I do not profess to be an expert in classical, symphonic, or orchestral snare drumming, I am grateful for my little experience in this realm. Orchestral snare drumming requires a very different mindset from that of rudimental playing. It benefits drum set players by improving their sense of touch, dynamics, and ability to read in odd meters and to handle highly syncopated rhythms and subdivisions. I highly recommend that all drum set players try to learn as much as possible about orchestral snare playing.

Modern School for Snare Drum and 12 Progressive Solos for Snare Drum by Morris Goldenberg

I am combining these two books into a single listing because they are both aimed at drummers of all skill levels, from beginners to professionals. Goldenberg's books (both his snare and mallet/pitched percussion) are legendary. They were among the earliest comprehensive educational resources for classical/symphonic percussionists, and they remain relevant today. The orchestral excerpts in Modern School are worth the price of the book. I believe many students at the junior high and high school levels should spend time working through Goldenberg's texts, especially if they aspire to play in any classical/symphonic-style ensembles. I worked through these texts in high school, and I am glad I did. In my older edition, the engraving looks dated (it is written in bass clef, with the stems facing down). Newer editions have been re-engraved to look more modern, but I believe there is something to be said for getting used to reading older, handwritten notation. Five études in 12 Progressive Solos are included in the The First 50 Solos You Should Play on Snare Drum collection (see below).

40 Intermediate Snare Drum Solos for Concert Performance by Ben Hans 

This extensive collection was designed to prepare early-intermediate level players to handle the reading and dynamic challenges posed by more sophisticated repertoire. This collection begins with very short, easy pieces that focus entirely on rhythms and dynamics, but quickly escalates in difficulty. By the end of the collection, the pieces are similar in difficulty to anything you would find in Cirone’s classic collection Portraits in Rhythm (see below). This collection seems ideal for high school-aged students. Three solos from this collection are included in The First 50 Solos You Should Play on Snare Drum collection (see below).

Progressive Studies for Snare Drum and Artistic Studies for Snare Drum by Keith Larson

Like Ben Han’s 40 Intermediate Snare Drum Solos collection (see above), these two collections were composed to offer students supplemental reading challenges and to prepare them for more sophisticated repertoire. Progressive Studies is for younger or less experienced players, while Artistic Studies is for more upper-intermediate students. The solos do not feature many of the dense subdivisions found in collections like Portraits in Rhythm (see below). Still, their pieces include many odd and changing meter studies, intense dynamic shifts, frequent metric modulations and other tempo changes, and a few that have the player work through the gamut of textures that can be extracted from snare drums. They do make a nice complement to other, more widely used collections such as Portraits in Rhythm (see below).

Portraits in Rhythm by Anthony Cirone

For years, this classic collection has been the standard text for the development of classical snare drumming. My teaching experience suggests that all high school students auditioning for state competitions and college music programs must play at least a few of these solos at some point. I had to learn several of these solos at every level of my education, from high school through my undergraduate and graduate student years. I keep returning to this text when I want to keep my reading in good shape. Cirone builds his solos from classical song forms to develop the basics of musicianship. Like Modern Rudimental Swing Solos or Stick Control, Portraits in Rhythm is a text that all serious students should spend time working through.

Recital Solos for Snare Drum by Garwood Whaley

This collection is very similar in style and substance to Cirone's Portraits in Rhythm (see above). What makes it an excellent extension to Cirone's book is the addition of more sophisticated subdivisions, such as quintuplets and septuplets, as well as some pieces in a jazz style. Recital Solos is not strictly necessary for most players, but it is a nice collection of new challenges for those who have completed Portraits in Rhythm.

Études for Snare Drum by Mitchell Peters

This is an excellent collection of 18 pieces that are appropriate for collegiate-aged music students. All of the pieces are 2 pages long and feature advanced subdivisions, wide dynamic shifts, metric modulations, and odd meters. These pieces always felt a touch harder to me than Cirone’s pieces. While I am not a fan of the stems-down engraving, that does not detract from the quality of the writing. I wouldn’t consider this collection to be necessary, but like Whaley’s Recital Solos for Snare Drum (see above), it’s a nice collection for students who are looking for new challenges after working through Portraits in Rhythm. 

Twelve Études by Jacques Delecluse.

This short collection is often cited as some of the hardest literature ever written for the snare drum. While I disagree with that claim, it is challenging literature. It is written using an older notation style (the stems are facing down, and the rolls are notated with a trill sign above the notes), but nothing that should cause any trouble for experienced readers. Players aspiring to be professional snare drummers should spend time mastering this text. Like Portraits in Rhythm, Twelve Études is often used for graduate-level college and professional orchestra auditions. It is considered a standard by which professionals are judged. Études two, five, seven, and eight are also available in the The First 50 Solos You Should Play on Snare Drum collection (see below).

The Solo Snare Drummer by Vic Firth

This collection features advanced snare solos that incorporate highly challenging syncopations, changing time signatures, artificial groupings, and metric modulations. Given how complex these études are, I am surprised this collection does not get more love from the drum community.

Advanced Études for Snare Drum by Keith Aleo

This collection of 25 challenging pieces features all the usual gambits that snare études have: odd and mixed meters, challenging subdivisions and big dynamic shifts. Almost all of the études are 2 pages long. However, the last several pieces in this collection begin to incorporate specific instructions on exploring different textures from the snare drum: playing with brushes, rubato timing, shifting from the center to the edge of the drum head, and challenging polyrhythmic structures. Another excellent addition is the author’s inclusion of performance notes for all the études.

10 Hall of Fame Solos by Tom Siwe

10 Hall of Fame Solos is another collection I discovered while pursuing graduate studies at the University of Illinois. Written by Tom Siwe, the percussion teacher at U of I for years before I arrived as a graduate student (even though I clearly remember auditioning for Tom when I was attempting to get into undergraduate programs-I ended up at Berklee). It is a series of solos written in the styles of famous composers and percussionists. Many of the solos feature playing with brushes or hands, as well as other unusual performance practices (including speaking while playing, scatting, and foot stomping). I found this to be a charming collection of pieces. I also think the engraving is excellent, which makes the complex pieces easier on the eyes.

The Noble Snare Vol. 1-4, compiled and edited by Stuart Saunders Smith.

These four volumes of solos represent some of the most challenging and varied material for snare drummers. Stuart Smith commissioned pieces by illustrious composers, including John Cage, Milton Babbitt, Ben Johnston, and Michael Udow. These solos feature many unusual rhythms, notation/engraving styles, unconventional performance practices, and unique approaches to playing the snare drum. Several of the solos are aleatoric, chance, or indeterminate pieces, which means they are not notated with conventional musical notation, but are described in terms of how to play them. I feel these solos are for adventurous drummers who are ready to have all their ideas about playing the snare drum challenged and expanded.

Rudimental Snare Solo Collections

Learning rudimental snare solos is a classic way to gain an understanding of how rudiments are combined and applied. Many teachers argue that separating the rudiments from the solos—or, more precisely, from the musical landscape that gave rise to the rudiments—is impossible. This is the position Claus Hessler takes in his Camp Duty Update book: that the rudiments are just small extracts from the music. Furthermore, if drummers should learn the rudiments, it is because they are found in music. Snare solos, marching, and drum corps music form the musical grassroots basis of the rudiments. Many students spend hours practicing the rudiments individually. While this practice approach is necessary to program the patterns and achieve speed, it is only in the service of playing music. Applying the rudiments to music is where the real gold lies, and snare solos are how anyone accesses these skills.

The Ludwig Collection of Drum Solos by William F. Ludwig

This collection from 1942 is an excellent resource for beginners to jump into rudimental solo literature. It begins with short, two-to-three-line simple solos and roll-offs and progresses into more extended solos and duets. It also includes many classic so-called ancient solos, such as "The Connecticut Halftime" and "The Downfall of Paris." However, newer collections, such as The First 50 Solos You Should Play on Snare Drum and The Solo Snare Drummer Vol. 1 (see below), include those same solos but with much more readable engraving.

The Ludwig Collection is ideal for younger students and other beginners with no prior experience in snare solos. It is suitable for learning how the rudiments combine to make marchable rhythms and how to read the notation. There is one significant drawback to this text: the lack of notated stickings. I highly recommend that anyone without rudimental snare solo knowledge work through this text with a qualified teacher to avoid misunderstandings.

N.A.R.D Drum Solos

The N.A.R.D. Drum Solos book is a collection of 150 short (usually about half a page each) rudimental snare solos. Many of these solos are excellent for beginners, while others are advanced. I can find no discernible order to the collection. Like the Ludwig Collection (see above), I recommend working on these with a qualified teacher who can help beginners navigate to the easier solos and avoid the more challenging ones until they are ready. Like the Ludwig Collection (see above), some of the solos include stickings, but many do not, which can lead to confusion.

The newer editions of this collection have been re-engraved, but I am not a fan of the updated version because the notes are placed lower on the staff than is usual for modern snare writing. I also love the charming calligraphy of the solo titles in my older edition, which reminds us of a time when music was hand-written—an art that seems to be fading in this era of computer engraving. The notes may be easier to read, but I feel some of the human touch has been lost.

The All-American Drummer by Charley Wilcoxon

I discovered this collection relatively late in my playing journey, long after I had worked through Wilcoxon's Modern Rudimental Swing Solos (see below). Similar to the N.A.R.D. Drum Solos book, The All-American Drummer, is a collection of 150 solos. The first 120 solos are short, only half a page long, while the remaining solos are one page each. It is a perfect next step between the Ludwig Collection or N.A.R.D. book and more sophisticated solo literature.

While this book features many complex and challenging rudimental pieces, many solos are reasonably simple, making it a helpful introduction to rudimental solos. I often use a few excerpts from The Ludwig Collection, along with a selection from All-American Drummer, with my younger students to introduce them to rudimental drum solos. All-American Drummer has also found favor among drummers in the digital age, as evidenced by the growing number of YouTube videos of drummers playing them. During the COVID-19 pandemic, many drummers posted YouTube videos of themselves playing pieces from this book, including the great Steve Smith, which inspired me to pick up this collection.

Modern Rudimental Swing Solos and The Collected Solos of Charley Wilcoxon by Charley Wilcoxon

First published in 1941, Modern Rudimental Swing Solos shares a timeless quality similar to George Stone’s Stick Control. Many teachers and players feel that Wilcoxon is an icon of 20^th-century rudimental writing, and Modern Rudimental Swing Solos is the best expression of American rudimental writing. Renowned drummers like "Philly" Joe Jones, Elvin Jones, and Steve Gadd have endorsed it. Kim Plainfield mentions it in his excellent book, Advanced Concepts. I started this collection in high school and have continued playing it ever since. Over the years, I studied these solos with various teachers and at all the institutions I have attended.

The solos are not as challenging as many modern "championship" drum corps-style solos. However, they are still fun and set a basic standard that serious, professional (or aspiring professional) players should aim to reach. Additionally, it is often noted that the patterns in Modern Rudimental Swing Solos are used to create jazz soloing licks.

In 2018, Alfred Music Publishing released The Collected Solos of Charley Wilcoxon. This is a collection of 17 of Wilcoxon’s solos, though 12 of these solos were previously published in Modern Rudimental Swing Solos, and most of the remaining solos were available separately. I would only recommend this collection to drummers who are serious Wilcoxon completists.

14 Modern Contest Solos for the Snare Drum by John Pratt

This collection makes a great follow-up to Modern Rudimental Swing Solos. The solos are more extended (two pages instead of one) and become more challenging. During my undergraduate years, I remember working through a few of these solos with one of my instructors, the great Bobby Sanabria, at Berklee College of Music. Similar to Wilcoxon, John Pratt is regarded as one of the icons of mid-century American rudimental drumming writing. And like Wilcoxon, Pratt's solos are quite often used for auditions.

The New Pratt Book: Contest Solos for Snare Drum by John Pratt

This 1985 collection of 10 solos is similar in style and substance to Pratt's earlier work, 14 Modern Contest Solos (see above), but has more sophisticated rudimental combinations. Some of the solos are one page, some two, and some three. I do not think this is an essential collection to get into unless you are a passionate Pratt enthusiast, as I am.

Rudimental Solos for the Accomplished Drummer by John Pratt

This collection of solos is a logical extension of Pratt's earlier works: 14 Modern Contest Solos and The New Pratt Book (see above). My introduction to this particular collection came late in life. I learned a handful of them for auditions when I decided to return to graduate school. It was a challenging but rewarding experience to get familiar with these solos. However, like The New Pratt Book, I would say this collection is only for serious rudimental enthusiasts.

The Solo Snare Drummer, Vol. 1 by Pratt, Schinstine, and Moore

I discovered this collection of solos while in graduate school, exploring the Music and Performing Arts Library at the University of Illinois. It is an excellent collection of ancient solos, including "The Downfall of Paris," "The Connecticut Halftime," and "Three Camps," as well as original solos by John Pratt, William Schinstine, and James Moore.

Although I think it is a better choice to get into the First 50 Solos You Should Play on Snare Drum collection (see below), this is an excellent option if you want to focus strictly on traditional rudimental repertoire and want only one collection to work on. I would argue that two volumes-The Solo Snare Drummer and Wilcoxon’s Modern Rudimental Swing Solos—cover a lot of essential ground in terms of traditional American rudimental solo repertoire.

Rudimental Drum Solos for the Marching Snare Drummer by Ben Hans

This 2008 collection of twenty-six pieces is an excellent resource on many levels. It was written as a series of progressive études to help students synthesize rudiments using music. There are extensive rudimental warm-ups and exercises to help students iron out the challenges presented in the corresponding pieces. The initial pieces are written in the classic Wilcoxon/Pratt style but soon begin to incorporate modern rudimental writing concepts, including hybrids, dynamic shifts, and tempo changes. One of the elements unique to this collection is the intentional repetition of sections that feature changing right-to-left hand lead stickings. Two pieces from this collection are included in The First 50 Solos You Should Play on Snare Drum collection (see below).

10 Snare Drum Études for Improvisation Vol. 2: Vocabulary from the Masters by Dr. Eric Binder

This relatively new text is a collection of ten solos based on the playing styles of essential jazz drummers. These solos are an excellent way to learn how to deploy rudiments to create musical jazz soloing licks. While the solos are not as dense as those of a Wilcoxon or Pratt solo, they utilize rudiments in an idiomatically correct manner.

The Snare Drummers' Real Book by Steve Langone

Another new text, The Snare Drummers' Real Book, is a collection of jazz melodies adapted for snare drum using rudimental techniques. It also includes online videos that let you hear and see how these solos should sound. One of the things that makes this book unique is Langone's use of jazz techniques combined with rudimental phrases and stickings. Buzz rolls, stick shots, and rim shots add jazz flavors to the solos. Between this and Dr. Binder's text (see above), these two solo collections help connect rudiments to jazz phrasing.

The Rudimental Blueprint by Jeff Asselin & Chuck Burrows

This generous collection is a mix of beginner, intermediate, and advanced duets and solos designed as a tiered method for learning rudimental concepts. The majority of pieces in this collection are presented as a progressing series of duets. The beginner duets have a remedial part consisting (initially) of basic rhythms, stickings, and dynamics, while the more advanced parts include rolls, grace notes, and other embellishments. As the book progresses, both duet parts begin to incorporate a wider range of challenges. The authors have also recorded the pieces in a series of YouTube videos at different tempi; thus, the duets can be practiced and played by a student and a teacher or played along with the videos. There are a small number of solos, mostly at the advanced level. The more advanced solos do incorporate challenging subdivisions that are uncommon in traditional American rudimental writing but more common in classical-style solos. The depth of this project is impressive.

Camp Duty Update by Claus Hessler

I cannot recommend this text highly enough for rudimental enthusiasts, drum history enthusiasts, and, generally, any professional-level player who wants to expand their skill set and deepen their historical understanding. Camp Duty Update takes what are now known as the ancient snare solos (snare drum parts that accompanied fife melodies used by soldiers) and presents them in their classic forms and in new, original, updated versions that incorporate sophisticated rhythms phrased in the style of European Basel drummers.

As an American drummer trained in the American rudimental tradition, I was surprised by how unaware I was of the global history of the rudiments. This text opened my eyes to the breadth of rudimental scholarship and continues to inspire my exploration of the rudiments. I appreciate Hessler’s research and his goal of reconnecting American and European drumming traditions. Most of the traditional solos are easy enough for many who are new to rudimental solos, but the updated versions are challenging, even for experienced professionals.

Camp Duty Update also features a European-style notation system that takes some getting used to (it uses the Berger notation system, a single-line staff with note stems facing down, with stickings indicated by the right hand above the line and the left below). Good readers should be able to figure it out quickly. This book should be in every American professional drummer's library to broaden their historical and cultural horizons regarding the rudiments.

Taladiddle by Claus Hessler and Claudio Spieler

Taladiddle is a relatively new text and another example of Claus Hessler connecting cultures via the rudiments. Taladiddle is a collection of exercises and solos based on the Carnatic music of South India. In addition, the book includes lessons on konnakol, the Indian system of vocalizing rhythms. The solos range from intermediate to early-advanced. Hessler utilizes some very counterintuitive sticking solutions to the phrases (at least to my mind), making the solos more challenging than they might initially seem.

I suggest starting with Hessler’s book, Camp Duty Update (see above), as Taladiddle frequently references it. Taladiddle is also written using the same Berger-style notation system as Camp Duty Update. It takes some getting used to, but it will not be a problem for experienced readers. I do not think Taladiddle qualifies as an essential collection, but I am enjoying it and recommend it.

Adventures in Solo Drumming by William Schinstine

This is another collection of snare solos I discovered during my graduate studies at the University of Illinois. Initially published in 1961, this collection features a few traditional rudimental solos, a swing/jazz-style solo, and numerous complex, odd-meter solos. The solos all feature specific stickings, so they are in the rudimental style. It is a challenging example of how rudiments can be applied to odd meters and phrases that are not meant to be marched to.

Odd Meter Rudimental Études for the Snare Drum by Mitchel Peters

This collection, first published in 1967, further demonstrates rudimental phrases adapted for odd meters. The solos employ straight-ahead, classic rudimental phrases, such as those found in Wilcoxon's All-American Drummer (see above), but in meters that a marching band would never use. This collection is a good way to refine your counting skills while working on your hands.

20 Modern Snare Drum Solos: A Rhythmic Journey by Daniel Bédard

This 2024 collection is an interesting mix of ideas. The solos feel like very musical, well-written études. They usually feature technical and musical themes that are designed to address specific issues, such as rolls, odd meters, or paradiddle combinations. That said, I am enjoying the liberal use of unusual subdivisions, the odd-meter pieces, and the unique voice Bédard brings as a writer. As a bonus, the collection also includes a section on how to extract phrases from the solos and apply them to the drum set.

Cutting-Edge Traditional Snare Drum Solos for Advanced Rudimental Drummers by Jack Shirley

This 2016 collection of sixteen solos represents some excellent and challenging material. Most of the solos are four pages long, with several being five, making the solos serious undertakings. There are plenty of challenging rudimental phrases and a nice mixture of advanced subdivisions. I am not a fan of the engraving (the solos are written in bass clef with the snare drum on a lower staff space than is typical for snare drum, as well as the roll number underneath the slur instead of on top), but that is just something the reader will have to get used to. I believe that reading various music notation and engraving styles helps drummers become proficient in reading all kinds of music, a skill that all professional players require.

The Beat of a Different Drummer by Dominick Cuccia

This 2004 collection is filled with challenging solos that incorporate modern concepts while still feeling rooted in the classic rudimental writing of Wilcoxon and Pratt. A few of the solos feature hybrids, unusual subdivisions, tricky syncopations, and stick tricks. Many of the pieces are three pages long. Some additional treats in this collection include several bass drum solos and a guide to the rhythmic interpretation of rudiments within standard subdivisions—very helpful. While none from this collection are included, several of Dominick Cuccia's other solos can be found in The First 50 Solos You Should Play on Snare Drum (see below).

Snare Drum Solos: Seven Pieces for Concert Performance by Sperie Karas

Each piece in this collection runs four pages long, making each solo a serious endeavor. There are two solos in a jazz/swing style, while the rest are written in the classic rudimental style, albeit with some challenging rhythmic twists. Two solos from this collection are included in The First 50 Solos You Should Play on Snare Drum (see below).

Snare Drum Solos by Alan Abel

This collection only contains three solos, but two of these solos, The Peach Grove Drummer and 2040’s Sortie, are iconic rudimental solos.  

The Rudimental Cookbook and Just Desserts by Edward Freytag

These two volumes (each containing twenty-five solos) include a mixture of easy, intermediate, and advanced solos. The easy and intermediate solos are excellent pieces for younger players and beginning enthusiasts. But be warned, even the easy and intermediate-level pieces can be challenging at the recommended tempos. The advanced solos are representative of what I consider to be advanced modern rudimental writing: solos that are not meant to be marched to and are designed to display a player's virtuosity. They are the kind of repertoire that might be played at snare drum championship events.

The advanced solos are lengthy, with many spanning four pages, and they begin to incorporate hybrids, multiple time signatures, tempo shifts, wide dynamic ranges, and frequent stick tricks. Each volume does include extra practice exercises, performance notes, and a list of modern hybrid rudiments, making them excellent sources for advanced players.

The Rudimental Drummer by Jonathan Curtis

This new text (from 2025) is primarily an extensive examination of the nuts and bolts of the P.A.S. rudiments, along with some international rudimental concepts and their application to solo literature. The Rudimental Drummer comes in at 201 pages, with the first 170 comprising the educational body and the remainder original solo repertoire.

What I absolutely love about the educational aspect of this text is the use of excerpts from ancient solos and modern writers such as Wilcoxon, Pratt, Becker, and Tompkins (among others) to demonstrate the rudiments in practical terms. This is a perfect way to learn about rudiments, not as exercises, but through music. It reads very much like an academic document (the use of footnotes, the bibliography, and the writing style make it feel like a dissertation edited for commercial release). Still, there is a ton of good information in it.

While The Rudimental Drummer is primarily an educational text, it does include nineteen solos (two of them being ancient solos). The first handful of solos are written in the Wilcoxon/Pratt style, but soon escalate in difficulty and begin to resemble Tompkin’s works (see below). Several solos feature highly challenging subdivisions, and several are written in challenging, odd meters.

I wish this book had existed during my undergraduate years. I recommend it for college music students or adults with an interest in rudimental drumming and solo literature. I would not recommend it to anyone younger than the upper end of the high school age range. I would also highly recommend checking this out, along with another of Curtis' works, The Snare Drum Virtuoso (see below). I'm looking forward to getting into some more of Curtis's solo repertoire soon.

Nine French-American Rudimental Solos, Vols. 1-3 by Joseph Tompkins

These three solo collections, each with nine solos, are extremely challenging and stretch rudimental vocabulary as far as I have seen (so far, at least). Like Schinstine, Siwe, and Hessler, I discovered Tompkins' solos during my graduate school years. These solos are intended to evoke a European drumming style, utilizing unusual subdivisions and artificial groupings (what some might call polyrhythms). I could see an argument for saying these solos are too far out to be considered rudimental. The argument for calling them rudimental is that they are rooted in traditions beyond the American style. These solos are way more difficult than anything Wilcoxon or Pratt has written.

The third volume is written in the European, Berger-style of notation, where a single-line staff is split to indicate stickings, the same system Claus Hessler utilizes in Camp Duty Update. These solos represent literature that only highly trained musicians can come to grips with. Engage at your own risk!

Bridging Rudimental and Orchestral Styles

Finally, I am going to conclude with resources that bridge rudimental and orchestral styles and are generally hard to categorize, but are still excellent to have.

 

The First 50 Solos You Should Play on Snare Drum

Compiled by Ben Hans and published by Hal Leonard

This versatile collection defies easy classification. While it leans toward rudimental solos, it is not limited to them. It contains ancient and contemporary rudimental solos, rearranged symphonic excerpts, and original pieces in the classical/symphonic style. It is an interesting mix of material and an excellent collection for people who do not feel the need to challenge themselves with highly demanding repertoire but are still interested in trying their hands at various snare solo styles. Many excellent composers from different eras and different styles are represented in this collection.

I could see an argument for saying that it may be the only solo collection a non-professional drummer might ever need. It is near perfect for high school and undergraduate college music students. It is also my position that the music engraving in this collection is some of the best and clearest I have seen, which is very helpful. All told, this collection is an excellent value, and I highly recommend it to all players.

Broad Strokes by Rick Dior

During the COVID-19 lockdowns, I fell in love with Rick's YouTube video lessons. His demonstrations of Wilcoxon's, Pratt's, Cirone’s, and the N.A.R.D solos are some of the best I have seen. The repertoire in Broad Strokes encompasses original rudimental solos, classical solos, combination solos, specialty solos, and solos based on alternative performance practices and world genres, such as Brazilian, Afro-Cuban, and New Orleans.

In addition to the solos, this book is also an excellent resource for intermediate players who need guidance in understanding the differences between snare solo styles. It also includes excellent information on gear selection and interpretation, and has practice exercises for the corresponding pieces. The pieces are challenging, not for beginners. This collection seems suited to college music students and other players who have already worked through the standard solo literature and are looking for new and challenging material.

The Blue Book, Vols. 1-3

These are three collections of original pieces by students and alumni of the University of Kentucky, spanning a wide range of difficulty levels and styles. The solos often combine concepts and styles in interesting ways. In addition, these collections also include mallet, multi-percussion, drum set, marching tenor, and timpani solos, making them excellent resources for students looking beyond snare repertoire. Generally, like Broad Strokes (see above), most of the repertoire is better suited to college students who might also be exploring the full range of orchestral percussion, not just the snare drum.

The Snare Drum Virtuoso by Jonathan Curtis

This is a complicated work to classify, but an extremely useful and challenging one that I highly recommend, along with Curtis' The Rudimental Drummer (see above). The Snare Drum Virtuoso is marketed as a traditional exercise book. However, the exercises (termed "studies") are more like études, long pieces of music that focus on a single technique or topic. Many of the long-form and technical studies remind me of advanced American drum corps snare exercises: pieces with distinct rhythmic themes and specific challenges. The rest of the book contains rudimental, classical, and French-style études and solos, along with rhythmic studies.

The various studies and études in this book are as complex and challenging as any other solo repertoire I have seen. I get the sense that Curtis was trying to synthesize many different elements of snare drum technique and playing styles into a single volume of musical études. The theme of this work (and The Rudimental Drummer, see above) is that by working on music, you will develop a deeper understanding of rudiments and technique, something I wholeheartedly agree with.

Moving Forward

While this list is not at all comprehensive, I hope it gives you a sense of some commonly available and widely used resources worth investigating. Here are some suggestions for moving forward with rudimental literature:

1. If you have no rudimental background and your music reading skills need development, I would suggest getting with a private teacher and working through The Hal Leonard School for Snare Drum: A Beginning Drum Method by Ben Hans and John Pratt. It has everything beginners need to get up and running with basic rudimental concepts and includes some excellent solos by Hans and Pratt. Another excellent beginner text that I have taught is Alfred’s Drum Method: Complete by Sandy Feldstein and Dave Black. Once you have made it through one of these texts, then you should get into The N.A.R.D. Book or Wilcoxon’s The All-American Drummer. If you manage to complete a good amount of solos in either of those two collections, you will have established a solid base of skills that should allow you to engage with most of the rudimental literature listed here (but not all, these texts are not enough to prepare for very advanced literature like Tompkins). This stage usually lasts at least 2 years, depending on your circumstances and how enthusiastically you can devote yourself to practicing the material, though it can take much longer.

2. I feel that all serious drummers should be familiar with as many ancient solos as possible. Examples of these include “The Downfall of Paris,” “Three Camps,” “The Connecticut Halftime,” and “Crazy Army.” Part of the reason I recommend The First 50 Solos You Should Play on Snare Drum is that it includes many of these essential ancient solos. It is also the easiest to read, has the stickings clearly marked, and includes many excellent additional solos. However, other collections include these ancient solos, including The Ludwig Collection, The Solo Snare Drummer Vol. 1, and Camp Duty Update. Of these, I like Camp Duty Update best, although I would not recommend it for beginners. Another source is Hudson Music, which offers an online video pack by Jeff Prosperie called “The Classic Snare Solos.” This package features a small selection of classic solos with excellent video performances by Jeff, PDFs of the solos, and educational insights into rudimental solo performance practices. If you are not interested in purchasing any collections, many ancient solos are available for purchase individually from online retailers such as sheetmusicdirect.com. While this is an option, it is the more expensive one. At the time of this writing, individual solos typically sell for about $5 apiece, while The First 50 Solos You Should Play on Snare Drum sells for between $15 and $17. I am aware that free PDFs of these solos are available online. However, I would recommend avoiding them. Only experienced players and teachers would be aware of inconsistencies and errors in these versions. I generally do not think they are worth the trouble.

3. If you have explored the ancient solos, your reading skills are solid, and you are interested in going further, Wilcoxon's Modern Rudimental Swing Solos should be your next step. If you have made it this far into rudimental drumming literature, you should have a solid grasp of the fundamentals of rudimental literature and the American tradition of rudimental drumming.

4. If you are a high school or undergraduate-aged student who is thinking about doing music professionally, in addition to The First 50 Solos You Should Play on Snare Drum and Modern Rudimental Swing Solos, you should engage with 14 Modern Contest Solos for the Snare Drum by Pratt and Portraits in Rhythm by Cirone. They are essential resources. Those texts are often used for auditions to college programs, local orchestras, and marching bands. It is expected that professionals are familiar with them. If you plan to pursue music lessons in the collegiate realm, most teachers assign these collections at some point. If you aspire to teach drums, some of your future students will likely need help with these collections.  

5. If you are an advanced/professional player who has already been through some of the classic Wilcoxon and Pratt repertoire and is looking for new rudimental inspiration, I would recommend Claus Hessler's Camp Duty Update. The updated ancient solos present some exciting and unusual sticking challenges that run counter to much of traditional American rudimental drumming. The historical information is also illuminating, showing the breadth and depth of rudimental drumming's long global history.

6. For professionals and all teachers, I would recommend getting copies of Ryan Bloom's reference works Encyclopedia Rudimentia and Rudimental Grand Tour, along with any of Jonathan Curtis's works. They are excellent references for all things rudimental drumming. The world of rudimental drumming is much larger than just the American tradition, and these books help to remind us how big that world is.

7. While I enjoy learning and playing solos on just the snare drum, I do try to find ways to apply the pieces on the drum set. For example, I often try to include bass drum and hi-hat parts with the feet. Examples of applying the feet might include playing simple ostinato parts or coordinating the feet with the written accents. Accents may be orchestrated to toms or cymbals. Substituting the bass drum for the left or right hand can result in some interesting hand/foot patterns that make useful soloing licks. Try playing a piece in which all the drags are played on the bass drum for a good foot workout. I imagine double bass drum players could benefit from trying rudimental literature with their feet: I would suggest playing short, easy All-American Drummer pieces with the feet while keeping simple time with the hands.

Good luck and happy drumming!