both the timekeeper and the creator of bountiful syncopations and polyrhythms that add rhythmic color to a performance. With four limbs at work on four drums, two cymbals, and a high-hat—the standard "set of traps"—the drummer is at once he most primal, intricate, and versatile performer of the combo. tend to use sticks in both hands. If they want a softer, lighter sound, they'll use brushes. The left hand is, in many respects, the freest of the four limbs. The drummer will often play syncopated patterns with the left hand on the snare drum, or occasionally strike the small tom-tom on top of the bass drum. This left hand activity often contains kicks or prods that respond to the soloist and establish a rhythmic interaction. takes his occasional turns as a soloist. Because of the trap set's inability to convey either melody or harmony, lengthy drum solos are not as common. The last two bars of a phrase or chorus in which the standard rhythmic and melodic patterns are abandoned to allow a freer and more virtuosic expression by various instrumentalists, often drawing attention to the drummer. The right hand may do this with the tom tom which is to the right of the snare drum. comes at the end of a phrase or chorus when the melody has come to repose, opening up room for additional rhythmic activity. It consists of two bars, or measures. For example, in a 12-bar chorus, it consists of measures 11-12. In a 32-bar form, there's typically a turnaround at the end of each 8-bar section (i.e., measures 7-8, 15-16, 23-24, and 31-32).