How to dance like a drum major

Sections — The Marching Virginians

drum Majors

The MVs have two Drum Majors each year. The drum majors are selected by the student leadership through an audition process that includes conducting a recording of a prepared piece, conducting a live band, calling marching commands, following marching commands, and a salute. Any current MV is welcome to audition for drum major, regardless of age or previous conducting experience, and current drum majors must re-audition for their position each year. The drum majors are both field commanders and field conductors, and it is their responsibility to maintain discipline and order on the field. They must have a thorough understanding of the music and drill for each show and be able to assist those who need help.

Feature Twirlers

In the past, the MVs had a single Feature Twirler, but in recent years, we have featured as many as three. Feature Twirlers are selected by the directors from audition videos which are sent in early in the summer. The twirler(s) must excel in creative and interpretive performance, and work independently to design their routine for each show. Even current twirlers must re-audition for their positions each year.


Marching 24 strong with some of the highest piercing notes in the Marching Virginians is the VT Pix section. The Marching Virginians march all piccolos. While you may audition on flute, everyone plays piccolo on the field. The VT Pix are a fun section that loves to dance at football games as they cheer on their fellow Hokies!


The MV 'Nets may not always be visible on the field, but it's impossible to miss them in the stands. Their 38 members are always playing, dancing, and cheering the Hokies to victory! Loud, proud, and fearless (leave them alone for too long and they'll end up napping), the 'nets have some of the coolest people you'll get to know throughout your college career of 4, 5,. ..or 10 years at Virginia Tech!


The MV Saxes are a close-knit family within the Marching Virginians. Made up of a mix of alto and tenor saxophones for a total of 40 members, the sax section is known for being laid-back and quoting Sharknado fortuitously. Like sports? Sigma Alpha Chi (ΣΑΧ) usually fields their own intramural flag football, basketball, and softball teams throughout the year!


From the opening call in Tech Triumph to the zesty sounds in Caravan, the MV Trumpets are the section that gives the Marching Virginians its melody! Trumpets spend most of their time near the front of the field during halftime shows and parades. They love performing for the best and most enthusiastic fans in the country. Each year the section is composed of 54 amazing individuals with great attitudes and tremendous work ethics who help put on amazing shows with a breathtaking sound.


The MV Horns are by far the most easy-going and fun-loving section of the band. At roughly 30 members, they are one of the smaller, and therefore tighter, sections within the MVs. While they're usually pretty laid-back, this section gets really lively for football games. When they aren't too busy yelling and cheering, they are dancing to the drum cadences in the stands. With traditions like camping, dinner, and a Christmas/end of fall semester celebration at Homeplace, the horns maintain strong bonds while sharing the joys of Hokie football.


The MV Bones are the favorite section of Frank Beamer, former coach of the Virginia Tech Hokie football team. With 41, the MV Bones provide the heart of the "middle voices" that color the Marching Virginians' distinctive sound. Large-bore trombones are provided by the school, so you won't find any "peashooters" or F-triggers here. Throughout the year, the Bones cheer on the Hokies and celebrate Hokie football in exciting ways that only bones can.


As Steve Wulf put it in his article in ESPN The Magazine, the MV Tones are "the free spirits of the band" - they do their own thing. You won't see the Tones performing at the front sideline with the rest of the band. No, their spot is on the back sideline. The tones are the smallest section in the band at around 18 members, and therefore, one of the closest sections – through they are split into two ranks, the division is rarely recognized! Forward-facing marching baritones are provided by the school for the marching season. The Tones are also known throughout the band as the best dancers.


Because of their "class clown" type antics and leading role in the Hokie Pokie, the VTubas have earned a bit of a reputation for goofing off and stealing the spotlight. However, if you dig a little deeper, you will find that this close-knit group of around 20 members is actually one of the hardest-working and reliable sections in the band*. If you think carrying a sousaphone while dancing in front of 65,000+ cheering fans could be fun, this just might be the section for you! 
*They ask that you please keep this information to yourself, since they wouldn't want to ruin their hard-earned reputation!


Rarely will you ever find time in between plays where the VT Drumline isn't jamming hardcore in the stands. The "Heartbeat of Lane Stadium" is a hardworking and close knit group that loves free Chick-Fil-A Sandwiches, long walks on the beaches of Ft. Lauderdale, and most importantly, Fiestas! The student-run drumline consists of snares, tenors, bass drums, and cymbals. REEEMIXXXXX...

Flag Corps

The MV Flags truly love to perform and give visual life to the music the band plays. Throughout the season they work hard and have fun learning and perfecting intricate routines for every show and event, and they're very passionate about the traditions they carry on through their signature routines for Tech Triumph, the Hokie Pokie, and the Pregame Show. When they're not on the field, the flags also like to work together to make a difference through community service projects. During the 2010-2011 season, they collected over 200 prom dresses and accessories for local high school girls who could not afford them through the Cinderella Project. This thirty-six member group is fun and outgoing, if not sometimes a little crazy! They strive to share Hokie Spirit with everyone through performance, friendship, and service.


The  MV Managers, or the behind-the-scenes team, are the logistics and support team for the Marching Virginians.  A team of 14 students that looks to support all the needs of band as they take the field. The managers look to help the 330 member band function like a well-oiled machine from practice to performance.

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How to dance to live drums

(as opposed to the dead, which are so boring!)

There is nothing more fun than dancing to the music of live drummers. Although you can plan the script and choreograph with a recorded drum solo, nothing can replace the live energy of a drum that you enjoy shimmying to. In my experience, these performances are almost always improvisational. In other words, while a drum song has its own overall structure, much of it is up to the drummer's imagination. And your movements should quickly follow his imagination. To help you get the best out of this, here are some important tips.

Warm up - to keep your toes sharp, you need to warm up! The drummer relaxes his arms and stretches for them - you do the same, only with the body. The most important stretch I do before a performance is side bends, they stretch all the muscles of the torso and hips. There are many variations of this exercise, and I use them all: before I put on my costume, after I put it on, and when I'm waiting to go on stage.

There are several basic drum solo techniques, let's briefly outline them.

You must be proficient in several "sharp moves" . These are the ones whose completion stands out and creates a sense of "hit". Here are some great examples:

• Hip flicks
• Pelvis flicks
• Chest thrusts

Shimmy is the foundation of my drum solo work (both recorded and live). You should be familiar with their varieties, for example

• Vertical hip work 3/4
• Jello

Also very important isolation - they allow you to isolate different sounds of music with your body. Insulations can be harsh, but are more often soft. Practice the following:

• Hip circles, figure eights, slides
• Chest circles, figure eights, slides
• Separate them from each other. Don't let your chest move as you isolate your hips. To succeed in this - stretch, stretch and stretch again!

Thanks to the overlay of , your body can perfectly reflect the rhythm of the drum. In this technique, you perform two movements at the same time. You can overlap the top of the body with the bottom, or you can perform two movements in the same area of ​​​​the body. For example, slow "snake handles" at the top and a fast jello shimmy, or a 3/4 hip shimmy and soft maia. Here are some options:

• Slide shimmy
• Figure 8 shimmy
• Shoulder/wave chest shimmy
• Snake handle/choo choo shimmy (at fingertips)

You should definitely work on endurance - you don't want to languish in the finale of the show, especially with a live song! Repeat your routine movements at least four times each. This is good not only for the cardiovascular system, but also for preparing for a performance!

Now let's pay attention to the peculiarities of dancing to a live drum. First and foremost, I believe that the dancer and the drummer perform as a duet. You are not alone on stage: do not ignore your partner.

Tabla wooden drum

Stand so that you can easily see the drummer. To communicate with him, use the channels "your eyes - his eyes" and "your eyes - the movements of his hands."

Figure out your number. How will you start?

• On stage or off stage?
• Slow or fast?
• On rhythm start or on cue?

What do you want to dance? Think about the theme of your number.

• Talk to the drummer about tempo and emotionality. This will help set the rhythm. Chiftitelli works great in a slow song, and beledi, in my opinion, does not work in a fast number.
• Do you want all your shimmy to run like a relay, or do you want to draw attention to isolations? The decision will also affect drumming - non-stop shimmy will require a lot of roll, and isolations will require the drummer to play a little less freely - so that you can dance to the "melody".
• Divide the song into sections: set where you want the tempo to slow down or up, and to introduce breaks.

Do you have something special? The drummer needs to know what it is to help your dance get a standing ovation. Here's what you might need:

• Props - sabers, canes, scarves, fans!
• Cymbals - make sure the drummer has a rhythm that you can play them to.
• Floor work/bridges/somersaults. Decide if you need a change in rhythm or tempo to perform these techniques (in principle, somersaults can be excluded ...).

How will you finish the dance? Remember, it is the ending that the departing viewer remembers. You will have to work hard on it, even if you made a mistake in the rest of your speech. Here are some things to think about:

• Is the ending slow and drawn out, or fast and abrupt?
• What rhythm will complete the dance?
• What will be the sign of the end (nod, hand movement, verbal signal)?
• What will be your final pose? Don't get out of it, even if the drummer gets stupid and continues to play - he will still stop quickly, and it will look better than if you tried to correct the situation by starting a new dance.

Work with the drummer. Remember, he is your partner in this dance. Ideally you should train with him before the show, but unfortunately this is often not possible. Sometimes you don't even know his name! Anyway, here are some tips to help you get in sync:

• Watch his hands for when he's getting ready to hit.
• Anticipate his music - if you miss the first ka-pow, prepare for the second (and often the third and fourth).
• Practice visual cues - nods, special moves. They will indicate when to slow down or increase the tempo, when to end the song, etc.
• Talk to the drummer - joke, use facial expressions, wink - so the audience can see the duet.
• Watch your hands!!!

Brass doumbek drum with goatskin cover

Your dance must be planned. But what then is an improvisation of ? A professional is always ready to perform, even if he lets the music tell him how to move.

• Avoid big moves - when you're dancing to a recording, you're the solo star and can go wherever you want; live drum is a little more unpredictable thing. You can't ignore the drummer, and you can't be foolish while dancing (for example, when you start spinning around the stage to the drum roll, and the drummer suddenly goes into staccato).
• Try to hear all the drum sounds (DOOMs and TEKs), but don't limit yourself to following only them in the dance. Alternate precise "beating" of the rhythm with soft movements that do not get out of the picture.
• Rock out, get ready to experiment and have fun!
• Use pauses - it's beneficial for you - "stop" dancing to choose a different position.
• BE THE MUSIC YOURSELF! This is the most important thing. The body reflects the music it hears. When the drummer softens and slows down the rhythm, dance softer and slower. When the rhythm is strong and hard, be energetic and courageous.

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Drumming for dancers. Oriental drums - history, description, varieties

Live in rhythm!

Eighth Edition
Darbuka textbook:

Darbuka - main percussion instrument Middle East, which is the focus of our school .
You can learn how to play the darbuka in section of video lessons and in section of musical notation of rhythms .

See also articles on the history of darbuka and belly dance in Egypt. Part 1.

Excerpt from DVD book Hossam Ramzi
Translation and commentary by Nevena Bogacheva

This article is an excerpt from my DVD book titled "Rhythms of the Nile/Drumming for Bellydancers" which came out last year. I wanted the article to appear in print as well, because I judge by the flood of emails that have been hitting me from drummers and dancers all over the world. People write to me, and I see that the need for this information is growing steadily.

From the time I started playing for bellydancers - and it happened so long ago that I can't remember - I realized that there are basic rules of the game - "A GOOD DANCER'S DRUMMER" *, in accordance with which it will be presented my stuff.

To become a professional drummer for belly dancers, you need to understand what Egyptian/Middle Eastern dance is.

My main rule is:

"The real art of Oriental dance is to make the music visible."

What does this mean? And the fact that each musical sound must be translated by the dancer into the language of movement in three dimensions.

For example, if a whole orchestra plays (all musicians together) a long phrase - whether in the intro, end or middle of the composition - then the dancer must make large, voluminous movements, moving around the stage, covering as much of the available space as possible than in fragments, when one instrument performs a solo.

I am NOT going to tell the dancer WHAT moves to do, and I won't tell the drummer what rhythms, embellishments or accents he or she should play at those places. Both must understand that it is a big sound produced by the whole orchestra or a small one produced by the soloist, and present it accordingly.

This rule sheds light on an important concept of translation of music .

I often ask myself: How does a dancer translate music? And I feel that many drummers, dancers and musicians would like to know about it too.

Let's Think...

When, in the company of unfamiliar people, a person, talking about himself, says: “I dance flamenco” or “I perform kathak \ Odissi style”, in response, at least surprised and delighted: “wow!”, Which means something like “this is Yes!".

Tell me that you are doing a belly dance, what will be the answer? That's right, at best - an ironic smile and an "understanding" (in the sense that "we have seen, we know what we are talking about") nod of the head.

Do you understand why? To dance flamenco, you need to know the history and theory of this dance, know the special terms, you can't do without it. You must delve into the science of rhythms, which are very complex, learn about the experience of famous flamenco dancers who lived before you and who live today. I'm not talking about the history of the costume. The same is true for Kathak or Odissi. These ancient types of Indian dance art (as a rule!) are studied by dancers from childhood - sign language, correct body position.

Deep penetration into a subject ALWAYS causes respect and is considered difficult.

What's wrong with belly dancing? Do you dance bellydance? And ... everything is clear. We taught the audience that you can twirl your hips without any knowledge of Middle Eastern dance. You can know nothing about styles, confuse names, never hear the names of your old masters and completely not delve into the culture.

It never commands respect. We ourselves made it so.

Today the state of affairs is such that EVERYONE must understand that it is OUR RESPONSIBILITY to educate the audience, to convey to people the knowledge that bellydance is not a cheap form of striptease.

This is what led me to discover a formula that is simple yet powerful in its artistic effectiveness. The unique formula for translating music : E = E IN ITS SIZE AND DIRECTION.

What is the first E ?

This is the musical sound you hear. Be it an orchestra or a soloist.

What is the second E?

This is a movement performed by a dancer in response to a musical sound. This movement should be equal in length and size to this musical sound. Movement also changes direction every time the music undergoes even the slightest change in its sound. To achieve correct performance, the dancer must understand HOW the pieces of music are constructed. Therefore, below is a brief description of the structure of Arabic music and how this understanding should be translated by the dancer into the language of dance.

If you are a drummer and understand these principles, you will be able to predict what to expect from a dancer and therefore be able to predict what sounds you are best at making while he/she is dancing.

There are 4 layers in any musical composition:

  • RITM

Let's start from the first point:


Dancers and drummers should know a little about this. If not, read part 1 of my DVD book.

Rhythm is musical sounds characterized by regular and accented beats, produced in cycles.

The accent can be not only a stronger sound, but also a STOP.

Note that variations and sets of doom and tech are not yet rhythm. Even regular beats are not rhythm yet. Accents + regularity + cyclicity (repetition after a certain time).

What gives emotions? Rhythm or melody? We often make mistakes in answering this question. Until we hear the same melody, put each time on top of a new rhythm - this is how Hossam Ramzi sang his “Aziza”, the main musical theme, to us, and each time he played a different rhythm. The melody remained the same, each time the rhythm changed - and the general mood changed, completely different emotions were born. EMOTION GIVES RHYTHM.

This is important to realize, because a big problem for beginners, and often continuing belly dancers, is that they dance a melody, mistakenly believing that it gives rise to emotion.

The melody itself lives in close relationship with the rhythm.


Melody is musical sounds derived from musical notes. These sounds are played in a given sequence, one after the other, with certain pauses between notes. This sound - with a clear sequence and pauses - gives rise to a musical phrase.

Melody, like the sounds of music, lives in close relationship with rhythm. From this "cohabitation" musical sentences or phrases are born.

In the Egyptian and some other musical traditions, the melody is built in the format question-answer . The soloist asks a question and the orchestra plays the answer, or vice versa. Depending on WHAT instrument asks the question, the dancer can and must predict what movement should be made.

I have divided solo instruments into three main families:

The Ney family, or the flute family

Family Neu includes such an instrument as the actual NEY (flute) and kavala. You can find their sound on my master of the Arabian flute CD.

When nei or kavala are played, the sounds produced by them can be described for the most part as legato (long), like a breath of wind, which have a constant sound and are slow and linear in their form. Sometimes musicians playing on the neu or kavale can play faster, then the sounds take on the character of a short staccato . But usually these instruments play legato . And therefore, it is quite natural to expect from the dancer to perform slow, “drawn-out” movements, wave, snake, use high, sometimes open movements of the hands (as happens when we cry to heaven and ask God). You can even just sit on the floor or kneel while doing this.

No one expects to see a dancer's shaking hips to the long sounds of nei or until, however, the soloist plays one of these instruments, faster, in staccato.

Thus, while solos or kavalas are playing for the dancer, please, if you are participating as a drummer, choose as few decorations and “stuff” as possible for playing the tabla. Just "keep the pulse" of the music and let the rhythm go.

Family Kanun/ud

Kanun as an instrument contains 87 strings in groups of 3. It makes a "trrrrrring" sound from each stroke on the strings. Therefore, if the dancer translates these sounds correctly, he must perform the shakes in such a way as to visualize the nature and duration of the sound.

As a drummer, you should be easier on the parts where kanun plays his solo and can only grace the sound of the tabla at the end of a group of 4. Continue to mark the pulse with a constant, even, but attractive rhythm, do it in such a way that someone who plays on eve , had the ability to "breathe". This is his solo, not yours!

Middle family

All other musical instruments fall into this completely unpredictable family. They can play legato, slow and long sounds just as well as short, fast, staccato. The following tools fall into this category:

  • PIPE

Electric piano as an instrument capable of simulating the sound of the above instruments or synthesizing various sounds.

Now, the dancer is mainly expected to move according to the sound of the instrument, that is, the way the soloist plays. If the soloist makes a sound, then the dancer moves with the sound. If the sound changes from note to note, let's say, in speed - it accelerates or slows down - then the movements change accordingly.

This is what E=E means in its size and direction.

When they say: MUSIC MOVES ME - THEY MEAN EXACTLY THIS. No more and no less.

You may or may not know it - as I always say... I have seen a huge number of dancers in my entire life. And the style that is really worthy of respect is very simple - whether you always dance music and paint a portrait of this music 100%. The rest is not dance. It's something that I can't even name.

* A GOOD DANCER'S DRUMMER - in our context, it can be translated approximately as "What is a good drummer for a dancer."

In our school we study the works of Hossam Ramzi, the notes of his compositions are given in darbuka textbook.

Orient Express bellydance competition in Yaroslavl November 10, 2018 , dance - Anna Bandyukyan

Tabla-solo "Rhythms of the Night", Sergey Kuznetsov, Irina Arsteeva

Naima's Hip, at the bottom of the city, 2015

Rhythm and Drum Articles

  • Interview with Sergey Kuznetsov about the creative path of the darbuka player (PDF).
  • Interview with Sergey Kuznetsov about the darbook for Shafran magazine (PDF).
  • Sergey Kuznetsov interview for World Drums 2015
  • Darbuka masters
  • Drums of the world: a historical essay.
  • Chronicles of ethnic music and oriental dance in Russia.
  • The history of bellydance and its music.
  • Drumming for dancers
  • Drums of the world: classification.
  • Drum myths and magic rituals with drums
  • Drums of Africa. (Lawrence Green)
  • Middle Eastern Drums
  • Musical Archeology of Ancient and Medieval Central Asia: Percussion Instruments (PDF)
  • Persian and Turkish music
  • Japanese drums
  • History of Russian military drums ( Sergey Mishchenko )
  • About the Russian military band and military drums (PDF)
  • Abu Nasr Muhammad al-Farabi's Concept of Musical Science (PDF)
  • Drum Humor
  • Poems about drums
  • On the etymology of the word "percussion"

Sound therapy, shamanism, sound mysticism, antiquity

  • Ancient drums
  • Shaman's tambourine and initiation into shamans
  • Shaman tambourine: a musical instrument or a shaman's reindeer ( Dobzhanskaya O . E. , PDF)
  • The Magic of Tone and the Art of Music ( Rudhyar Dane , PDF)
  • Heart Rhythm. (Andrzej Szczeklik )
  • When Women Were Drummers
  • Rhythm and meaning. (Sokolov. B. G.)
  • Healing rhythms
  • Ritual Zar
  • On the formulation of the problem of the psychology of rhythm
  • Mysticism of Sound
  • Regressive rhythm
  • Perception of time ( Excerpts from books )
  • Stress at work and ways to reduce it
  • Drum Legends

Rhythmic notation, exercises

  • Basic musical terms
  • How to play the darbuka
  • VISUALIZATION OF RHYTHMS. ( Sergey Kuznetsov )
  • Alternative ways of rhythmic notation for percussionists. ( Antonio Gramsci ).
  • Experience in the natural classification of rhythms on the example of Arabic iqa’at . ( Antonio Gramsci )
  • Flamenco rhythm for darbuka. ( Antonio Gramsci )
  • Algebra of rhythms. ( Antonio Gramsci )
  • Balkan Rhythm. ( Antonio Gramsci )
  • The Art of Finger Control by Lorraine C. and Gregory G. Irvin (DOC, 18MB)
  • Collection of rhythms and exercises on darbuka. Sergey Kuznetsov. (doc)
  • How music works. Rhythm. Howard Goodal (video)

  • Popular Oriental Rhythms
  • Darbuka video tutorials in Russian
  • Download records of compositions of school
  • Darbuka masters
  • Darbuka textbook in Russian
  • Download collection of rhythms and exercises for darbuka
  • Download the collection of exercises for the development of fingers

  • Poems about drums
  • How to play the Darbuk

  • Online rhythm player

  • Basic musical terms

  • Darbuk classification

On October 21, open darbuka lessons took place at the new address.

Classes on Sretenka go until October 19, from October 21, classes will go to at a new address and a new schedule .

August 7, 2022 concert-lecture took place in White Clouds

July 2, 2022 took part in "Super Duper Fest".

June 20-26, 2022 festival 9 was held0161 World Drums 2022

On May 28, 2022 Darbakesh Studio performed at at Orient Orient Party, watch the video >

On May 14, 2022, Algerian rhythms master class took place.

April 28, 2022 Darbakesh studio performed at at the WIP club, watch the video >

April 24, 2022 Darbakesh studio performed in at the ZhelezYaka festival, watch the video >

March 19, 2022 Darbakesh studio performed at Mosrentgen Palace of Culture, watch the video >

Starting February 19, 2022, Innovative Basic Level Darbuka Textbook (eighth edition) goes on sale

In January 2022, sections of compositions and etudes from the textbook appeared with audio and video recordings.

On January 19, 2022, open lessons on darbuka 9 took place0162, we invite you to join the group.

On December 29, 2021, our school held a New Year ritual at the Eurasian Center named after. Gumilev .

On December 18, 2021, celebrated the 13th anniversary of studio.

November 27, 2021 Darbakesh performed at the festival FantasyShow .

October 3, 2021 Darbakesh performed at the Remarket festival.

August 21-22, 2021 master class took place in Krasnodar .

On August 17, 2021, our school performed at the Museum of Marina Tsvetaeva .

From June 21 to June 27, our school was represented at the festival " Drums of the World 2021 ", performances can be viewed in the video section.

On May 29, 2021, on Saturday, open lessons on darbuka were held, on Saturdays a group for beginners was opened.

On May 15, 2021, lectures on ritual rhythms were held at the White Clouds store.

In January 2021, an article by Sergk Kuznetsov about shaman tambourines was published in the magazine " Unknown Siberia ". You can find information about shaman tambourines on our website.

December 5, 2020 at 19:30 celebrated the 12th anniversary of the studio

On November 14, 2020, open lessons on darbuka took place.

On September 12, 2020, open lessons on darbuka took place on Sretenka 27. We invite you to participate in the new group!

June 21, 2020 is the day of the summer solstice, which is traditionally celebrated with the feast of Ivan Kupala in nature. The drummers spent a night of rhythms in the nature of the Moscow region in a fairytale forest next to a forest lake and by the fire! Read more >

On June 17 at 19:30 an open lesson on darbuka took place.

On Saturdays from April 18 to May 9, from 12:00 to 14:00, mini-course for beginners on the online darbuka of 4 lessons is launched. The course costs 2500 rubles.

On March 1, 2020, our studio performed on the stage of the ShDI Theater in the play 1001 Nights

An article on the chronology of ethnic percussion in Russia has appeared on the studio's website.

January 17, 2020 The seventh edition of the beginner darbuka and the fifth edition of the advanced level were released

Started January 19, 2020 mini course for beginners .

On January 12, 2020, open lessons on darbuka took place.

An article on the history of belly dance and its connection with the darbuka has appeared on the studio's website. The article will be updated with new information.

Several rare publications-dissertations have appeared on our website in the articles section, which are now available to all lovers of oriental rhythm. Among them are "The concept of musical science of Abu Nasr Muhammad-al-Farabi"; the history of the Turkish darbuka "From Darbuka to Dümbelek: The Turkish Goblet-shaped Drum and the Construction of Difference"; Misirli Ahmet: the clay darbuka technique and its performance analysis

See the video of our performance at the 11th anniversary of the studio in the performance section:

December 1st marked the 11th anniversary of the studio.
The studio changed its name and logo:
11 years VK , 11 years FB

On September 29, 2019, an open lesson was held on the Middle Eastern darbuka drum.

On September 22, 2019, the concert of the RootRoof center took place in the open world.

On May 12, 2019, on Sunday, an open lesson took place, we invite you to join the group!

April 28, 2019 we performed at Orient Fashion in O'Kino.

From March 17, 2019, classes on Saturdays are transferred to Sundays from 12:00 to 14:00.

On Sunday, March 17, an open lesson on darbuka was held, the next open lesson is planned on May 12.

January 12, 2019 took place at an open open lesson.

November 18, 2018, we celebrated a significant event - the 10th anniversary of the studio. Celebrated by the light of a fireplace in the company of friends and master percussionists: 10 years of VK, 10 years of FB

October 27, 2018 we performed at Orient Fashion in O'Kino.

September 29, 2018 we performed at the Bohemian fashion show in Jaganat on Taganskaya.

On September 23rd we took part in the anniversary of the Ruth Roof Center.

On February 14, 2018, open lessons “Oriental percussion as it is” took place at the RooTRooF ethno center. Presenters - Antonio Grashi and Sergey Kuznetsov.

On January 10, 2018, a section dedicated to myths and rituals associated with drums, the section about drums of the world has also been updated.

From January 13, 2018, the course “All you need to know about the darbuk in 10 lessons” is launched on Saturdays from 2 to 4 pm.
4000 for 5 lessons if paid in two installments.
To make an appointment, write to [email protected] or call: 8-(916)-244-05-48 (Natalia)

On November 16, 2017, the fifth edition of the 52-page beginner's book was released.

December 2 we performed at the RootRooF ethno center festival. The video can be viewed in the drum performances section.

November 26, 2017 our studio performed at the festival of orchestras in the Borodino panorama

On November 11, 2017, the 9th anniversary of our school took place.
Event group VK
Event group FB

An interview with Sergey Kuznetsov about the darbook for Shafran magazine appeared on our website (PDF).

On the 23rd of September we performed at the open day of the RootRooF ethno-center. The video can be viewed in the drum performances section.

Classes since July are held at the following address: Taganskaya metro station, Novospassky pereulok, 7Ac4, ethno-center RooTRooF.

Classes at our school from July 2017 will become even more interesting and eventful. On a regular basis, we will conduct classes in oriental rhythms using oriental melodies. The course will also include frame drums, which were specially purchased for our school.

From June 19 to 26, our school took part in the 14th International Festival of World Drums-2017.

On June 17, 2017, our studio took part in the festival of Turkey with the participation of Hamdi Akatay in Krasnaya Presnya Park on the main stage.

May 20 held a drum camp in Guslice.

On May 16, an article by Rhythmic Flamenco for darbuka appeared on our website. ( Antonio Gramsci )

On April 19, 2017, the fourth edition of the 104-page Pro's Handbook was released.

On March 4, 2017, our school performed at the Flamenqueria Theatre, at the Al Rakesa party.

November 22, 2016 published
interview with Sergey Kuznetsov about the creative path of the darbuka player (PDF).


Darbakesh Percussion Studio, 2008-2022

Phone: 8-(910)-426-93-48, Sergey Kuznetsov
drum training, buying instruments, textbook, scheduled classes

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