The Circle of Drumming Mastery

Date: 29 Jul 2025

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The Circle of Drumming Mastery

Using the clockface to define what you hear: From messy to mastery!

Drumming Circle Clock Analogy

Keeping time might have a new meaning!

As a drummer, I’ve spent years thinking not just about how to play, but how to understand the journey of becoming a musician. Early on, I started visualizing this journey as a straight line, like most people do, from beginner to expert. More recently, I envisioned it as a circle, a cycle that loops from abstract to concrete and back, from inexperience to mastery. A circle loops back around to a place that resembles the beginning, but with one key difference: intention.

Let me explain.

The Circle of Drumming

Picture the face of an analogue clock.

At 12:00, we begin: someone who has never touched a drumstick. No experience, no technique, just curiosity.
As they move clockwise to around 1:00, they start playing, but it’s still chaotic. Maybe they’ve picked up a pair of sticks and are just hitting things. It sounds random, because it is. There’s no control or context, just exploration.
As they progress downward, through 2:00 to 3:00, something happens: structure forms. They learn rudiments, timing, and groove.
At about 6:00, they’ve arrived at what most people would call a “good drummer,” or a “very good drummer” even! They can hold down a solid pocket, improvise tastefully, and maybe even adapt across a few different genres. Drummers and non-drummers alike recognize their skill.

This is where many slow down or plateau because they think it’s the highest level. Of course, this is where good drummers live! But the circle continues.

From Mastery to Artistry

As you move past the bottom of the circle, toward 7:00 and 8:00, you enter the realm of what I call 6+1, 6+2. These are the master drummers who start bending the rules. They deconstruct time, blur meter, flip grooves inside out. And they still groove hard. They still hit with power and quality. But they’re reinventing the language of drumming in real time. These drummers are the most incredible players on the planet. They’ve gone beyond mastery without losing the musicality and control that defines greatness. They key here is that a casual listener will recognize that they’re really good, and a good drummer would recognize they they’re great! This is because they are still on the bottom, concrete half, of the circle. But, because they moved beyond the exact bottom (level 6) and started upward on the other side of the clock, it becomes less clear for the non-drummer to differentiate between good and great (where a drummer at level 5 or 6 would understand the intricacies of greatness being achieved). If you’ve ever heard a player do something completely unexpected, but somehow still make it work, that’s 6+1 and 6+2 in action! This should illustrate more how level 6, while not being the pinnacle of drumming, is easily recognized universally as being a good drummer (from non-drummers and drummers alike). This is why we use a circle and not a straight line, it illuminates way more than simply moving from A to B. Going beyond level 6 is uncommon. It requires total command of fundamentals and the courage to stretch the art form.

As the drummer keeps progressing, from 8:00 to 10:00 and beyond, they begin pushing boundaries. The beats become a more abstract and the levels don’t really relate anymore; think of this part of the clock as just blank space, it’s all level 6+2 but in uncharted territory. These musicians break rules, deconstruct rhythms, explore very complicated polyrhythms, metric modulations, silence, space, and intentionally different sounds. To a casual listener, it may sound like they’re slightly losing control again.

But here’s the difference: it’s intentional now.

Whereas the chaos at 2:00 came from inexperience, the chaos at 10:00 is crafted. Every offbeat snare hit, every oddly spaced fill, every seemingly random splash of cymbal noise is part of a larger musical conversation.

This is the avant-garde section of the circle. It’s no longer just about groove, it’s about expression. Emotion. Philosophy. Whether you enjoy this style or sound is irrelevant, it’s intentionally done after reaching the highest level of drumming, so it’s defined.

Back at the Top: Noise or Nirvana?

Finally, we arrive back at 12:00, but it’s not the same 12:00 we started at. The untrained drummer at the beginning played random things because they didn’t know better. The drummer who’s come full circle plays “random” things because they know better. They’re speaking a language many won’t understand, but when another master joins in, and they sync, suddenly the “noise” becomes something undeniably intentional. Something raw, powerful, and elevated. See, it’s easy to dismiss a syncopated rhythm that’s just so out there and odd as “randomly hitting the drum,” but when two people do it together it reveals how intentional it is! Remember though, “avant-garde” without mastery is just confusion. Build the circle in order.

Why This Matters

Understanding this circle isn’t just useful for drummers, it’s a framework for growth in any art form. It reminds us that early chaos isn’t failure, it’s the start. That level 6 isn’t the end, it’s the middle. And that sometimes, the most “out there” expressions of art are closer to genius than we realize. Think about painters that are so abstract that most don’t understand. Or high fashion that just looks like nonsense. Again, you don’t have to like or enjoy something to recognize that they’re being done intentionally after reaching the highest level of their craft. So the next time you hear a drummer sound like they’re just making noise, ask yourself: Is it chaos from confusion? Or chaos from complete control? Because the two can sound eerily similar, but they sit on opposite sides of the same circle.

Hour, Minute, and Second Hands

Let’s take this analogy a little further. Imagine the numbers on the clockface representing the standard music level system used in most schools, typically Levels 1 through 6. Each hour on the clock lines up with one of those levels. So if the hour hand is pointing at 3, you’re working within Level 3. Simple enough. Now, let’s add more nuance: the minute hand represents how far you’ve progressed through that level just like a progress bar. Finally, the second hand tracks your effort on a micro level, each practice session, each lesson, each challenging or frustrating rep. Every time you put in the work, that second hand moves ahead one tick, and over time it pushes the minute hand forward too. Rack up enough of those sessions and moments, and eventually the hour hand ticks to the next level. It’s a visual and intuitive way to map progress in a circular system, just like time, drumming progress is constant, layered, and always in motion.

Putting it All Together

As you can see, the top half of the clock on either side is abstract, while the bottom half is more concrete. The lower hours are where drummers communicate clear, tangible skills: technique, rhythm, timing, coordination. You can see the brushstrokes here. It’s like watching a realist painter, every detail has a purpose, and every element is easy to identify.

The top half of the clockface, drummers are communicating emotion, texture, even ambiguity (whether on purpose or not; depending on the side of the clock). Think of someone that is just starting drums, the way they hit the drum is pure emotion, with no purpose other than to communicate expressively. On the other side, we see the same thing, but this time it’s intentional. And just like in visual art, what may look (or sound) simple to a casual observer is often hiding years of mastery underneath.

So let’s break it down even further. Here’s how the clockface of drumming parallels the evolution of artistic expression, and why mastering the top of the circle might just be the hardest part.

12:00 — Naïve Art / Childlike Expression

The Blank Canvas
Art Style: Naïve Art, Cave Paintings, Children’s Drawings
Drumming Parallel: Random hits, pure curiosity, no awareness of form.
Mindset: “What happens if I hit this?”
Intent: None yet—it’s about discovery.

1:00–2:00 — Folk Art / Outsider Art

The Dabbler
Art Style: Folk Art, Art Brut (Raw Art)
Drumming Parallel: Untrained but expressive. Instinctual grooves, maybe out-of-time, but emotionally honest.
Intent: Emerging, but technique hasn’t caught up.

3:00–5:00 — Realism / Academic Art

The Sketcher / Builder
Art Style: Academic Realism, Classical Painting
Drumming Parallel: Rudiments, metronome work, clean execution. Mastering tools.
Mindset: “How do I do this right?”
Intent: Technical correctness, structure, clarity.

6:00 — Renaissance / Golden Age

The Composer / Architect
Art Style: Renaissance, Baroque, Neoclassicism
Drumming Parallel: Mastery. Groove, touch, musicality. You know when not to play.
Mindset: “Serve the art. Make it timeless.”
Intent: Music before ego. Craft with clarity, expression, and taste.
Examples: Leonardo, Caravaggio, Velázquez → Steve Gadd, Nate Smith, Carter McLean

7:00–8:00 — Impressionism / Cubism / Modernism

The Innovator / Re-imaginer
Art Style: Impressionism, Cubism, Modernist Abstraction
Drumming Parallel: Playing with over-the-barline subdivisions, metric modulation, implied time, displacements. Still rooted, but pushing form.
Mindset: “What if we see time differently?”
Intent: Stretching the medium. Deep control, fresh interpretation.
Painters: Picasso, Monet, Cézanne → drummers like Mark Guiliana, Brian Blade, Eric Harland

9:00 — Abstract Expressionism / Dada

The Edgewalker
Art Style: Pollock, de Kooning, Dada, Surrealism
Drumming Parallel: Controlled chaos. Intentional randomness. Asymmetrical phrasing. Might abandon pulse entirely.
Mindset: “The form is the message.”
Intent: Deep experimentation. Borderline alienating or electrifying.

10:00–11:00 — Conceptual Art / Minimalism / Fluxus

The Disruptor
Art Style: Wassily Kandinsky, Duchamp, Fluxus, John Cage, Mark Rothko, Cy Twombly, Agnes Martin
Drumming Parallel: Performances that deconstruct what drumming even is. Silence, found sounds, theater. Rhythmic philosophy.
Mindset: “Why is this a drum solo?”
Intent: Challenge the idea of music itself.

12:00 (again) — Zen Calligraphy / Art as Being

The Mirror
Art Style: Zen Ink Painting, Performance Art, Mysticism
Drumming Parallel: Drumming as presence. Every hit is meditation. Could be noise or nothing. It’s the awareness that matters.
Mindset: “I am the drum.”
Intent: You’ve let go. You’re not trying to be good, you just exist as the sound of a drum.

Where you are on the clock doesn’t matter as much as the fact that you’re moving. The circle isn’t just about skill, it’s about awareness. Simple might be hard. Wild might be wise. Keep listening, keep growing, and use the clock as a reference along the way.

This article goes hand-in-hand with the article of Drumming Levels Explained: The Standard 6 You Know, and Now More Beyond. Read that here!