If you speak it, you play it.

There is a strong need to keep continuously developing new systems of understanding and translation of musical notation (music theory), bearing in mind the close relationship between rhythm, body, and language also stressed by Carl Orff, according to which “at the beginning of each musical exercise, whether melodic or rhythmic, there is a linguistic exercise”. Playing a musical instrument not only constitutes a specific skill in a professional sphere but, more generally, contributes in harmonic terms by activating the synthesis of emotional intelligence that lies between thinking and feeling. The teaching of the drum is certainly the most immediate and engaging way to center all the technical, musical and training objectives provided. Language, in its purest form, becomes a support for the rhythm played on percussion instruments and in particular on the drum. The application of some syllables and onomatopoeic sounds already in use in the musical traditions of certain ancient civilizations, like that of India, constitutes a valid means of memorizing rhythmic sequences and making their playing smooth, homogeneous and musical.