Ted Reed Syncopation Pdf
Ted Reed Progressive Steps to Syncopation for the Modern Drummer PDF download. Voted second on Modern Drummer’s list of 25 Greatest Drum Books in 1993, Progressive Steps to Syncopation for the Modern Drummer is one of the most versatile and practical works ever written for drums. Created exclusively to address syncopation, it has earned its place as a standard tool for teaching beginning drummers syncopation and strengthening reading skills. This book includes many accented eighths, dotted eighths and sixteenths, eighth-note triplets and sixteenth notes for extended solos. In addition, teachers can develop many of their own examples from it. Syncopation is much more than a nicely graduated reading text. Millennium 3 cry wolf strategy guide. Used skillfully, and with a good teacher, this classic can go a long way towards teaching the elements of limb independence and co-ordination.
Using Ted Reed's “Syncopation” to create Elvin Jones Style Triplet Fills! Welcome to the first lesson of a three-part series on Elvin Jones Triplet fills. In this series, I am going to teach you how to create hi-energy Elvin Jones style triplet fills using rhythms from Ted Reed’s book, “Syncopation”.
- DESCRIPTION: Voted second on Modern Drummer's list of 25 Greatest Drum Books in 1993, Progressive Steps to Syncopation for the Modern Drummer is one of the most versatile and practical works ever written for drums. Created exclusively to address syncopation, it has earned its place as a standard tool for teaching beginning drummers syncopation and strengthening reading skills.
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Superimposing ostinato patterns over the “as written” notation reveals a world of possibilities. Bass players, as well as others, can derive benefit from the complexities of reading the syncopated figures in this book.
Each exercise places quarter notes in each measure so that the student can always see the relationship of the downbeat to the exercise. Drummers, get this book, get Stone’s Stick Control, get a good teacher, and you will be well on the way to the ranks of the musically monstrous. An excellent precursor to this book is Jim Chapin’s “Advanced Techniques for the Modern Drummer“. That book will help you develop the basic independence you’ll need to dive into Syncopation. Or if you already possess the ability to play the swing ostinato while playing swung eighth notes and triplets and sixteenth notes between your snare drum and bass drum, then you can likely dive right in. Format: PDF, 64 pages Download Ted Reed – Progressive Steps to Syncopation for the Modern Drummer PDF free and other books from our site. Only high quality PDF scans.
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The Left hand Development Exercise (ala Joe Morello) The Left hand Development Exercise (ala Joe Morello) is pretty much self explanatory. I’ve written continuous 8th note triplets with the accent on the last note of each triplet to be played solely by the Left hand. The Right hand occasionally fills-in making various combinations of 16th note triplets. The first two bars act as both an intro and an interlude between exercises (see instructions at top right of the exercise). The information at the left top of the page is simply to give an indiction of how long it will take to go through this exercise at various tempos once the exercise is mastered. That last word, 'mastered', is important because, as with all exercises, care should be taken that exercises are not rushed through but instead, practiced carefully with a relaxed feeling.
The purpose of this exercise is to give the left hand a workout and place it in a dominant rhythmic position in the music (left hand lead). Please note that this exercise is geared toward right handed players.
Left handed drummers should simply reverse the sticking for the same effect. Hi Hat Independence: The 4th Limb I’ve written twenty-four triplet based exercises that utilize the standard jazz ride cymbal rhythm along with linear patterns between the snare drum and bass drum. The eight hi-hat rhythms (A-H) are meant to be practiced along with each of these exercises. You may choose to practice Letter “A” along to all 24 exercises before moving on to letter “B”, or practice letters A through H to exercise # 1 before moving onto exercise #2.
This is entirely up to you. Other routines are also possible and should be explored. I would recommend making sure that you are able to repeat each exercise many times in succession in a relaxed manner with a good “feel” before considering an exercised “mastered”. Also, it’s a good idea to practice these at various tempos, and possibly, at least some of the time, to a metronome. In doing so, you will be gaining greater flexibility, removing some physical restriction and allowing creative thoughts a better chance of being realized. Notes on “Counting the Phrase” by Nick Scheuble “America” from “West Side Story” makes use of a hemiola whereby two groups of three can also be phrased of as three groups of two ( 1, 2, 3 / 1, 2, 3 / 1, 2 / 1, 2 / 1, 2 ).
The idea of phrasing in groupings outside of a specific subdivision (or time signature) can yield very interesting musical results. But with that said, I believe that sometimes we may be deceiving ourselves into thinking that we are hearing these shapes when in fact, we may only be adhering to accents within the prescribed time signature or subdivision.
To truly hear these shapes as they exist in and of themselves regardless of time signature or subdivision is the purpose of these exercises. I’ve developed a handful of rhythmic exercises that can help in developing this sensitivity. In the first example, I’ve written out a measure of accented triplets counting in a traditional way: 1+d, 2+d, 3+d, 4+d (one, an-da, two an-da etc.). Then I wrote an alternate counting based on the phrases. These rhythmic phrases are five note phrases.
In this case, “1,2,3,4,5” replaces “+d, 2+d and so on. Later, I wrote seven note phrases. Again, it may be helpful to first count the measures as accented groups of triplets (“1+d, 2+d” etc).
Ted Reed Syncopation Free Pdf
However, the goal here is to ultimately count in groups of seven (“1,2,3,4,5,6,7”) The last set of exercises are to be played against a shuffle “time”. If the player is right-handed and normally plays the ride cymbal with his or her right hand, the left hand should play the 2 written exercises on the snare using the left hand. While these last couple of exercises may easily be seen as derived from a half note triplet grouping in 4/4 time, it is again advisable to try to count the 4 note grouping that I’ve written. Lastly, these are only ideas to get you started. Please experiment with counting and “feeling” other phrase groupings. One of the great things about be-bop was it’s use of asymmetrical phrases. Lots of 3/4 phrases within the 4/4 structure can be found in the music of Charlie Parker (think of “Billie’s Bounce”) or Monk (“Straight, no chaser”).
In fact, in his solos, Max Roach often phrased two bars of 4/4 as two 3/4 phrases followed by one 2/4 phrase. As jazz modernized, this practice has been explored even more. I adapted the material from my previous blog (exercise #4: “The Double Time Fill” ) to prepare these exercises. Here I take four note groupings of sixteenths and place them over a series of triplets.
The resulting asymmetry is really interesting. You can experiment with this idea further by simply taking any four note motif and superimposing it over a series of triplets -The concept of “paratriplets” (if you’re familiar with those) uses the same principle. Or you can go the other way and take what was ordinarily a three note motif and place it over a four note grouping. The possibilities are endless, so I’ll probably write some more stuff along these lines for future blogs. In the meantime, Have fun!
Performing a dense, fast paced fill coming from a slow or half speed groove can “energize” the music and be exhilarating for the listener. But it’s not usually easy to do-especially if the tempo is really slow. This exercise pairs two different grooves (a basic jazz groove and a half time rock groove) to be practiced along with various 16th note fills.
The syncopated nature of these fills along with the speed of each figure when compared with the sparse groove, may be a bit tricky to pull off. But keep at it. These really sound great!. Practice with (and without) a metronome. Practice at various tempos from dirge slow to whatever you can handle comfortably. Always aim for clarity and a smooth execution. Never sacrifice any of that for the sake of speed.
The transitions from groove to fill and back are the most important things to practice here. So eventually keep the fill on the short side (1 bar maximum). As always have fun!!! Please Note that the Grooves at the top of the page are labelled 'Beat one' and 'Beat two'. I realize this can be confused with the count and should've been labelled 'Groove one' and 'Groove two'.
Please take note. Crashing a cymbal at the same time as striking the bass drum works great if you want to really emphasize something in a big way. But what if you want to give a scaled down version of the same effect and not disrupt the flow of your “time” on the ride cymbal or stirring of brushes on a snare?
One way is to “splash” the hi-hat cymbals together by working the hi hat pedal. The sound is different than if you struck the cymbals using a stick or brush and that is a good thing. It gives you another color to play around with. So what is “splashing”? Starting with the hi hat cymbals apart, you depress the hi hat pedal to bring the cymbals together and than back off on the pedal to let the cymbals ring freely. The distance the cymbals are apart can effect volume as can the force with which you depress the pedal.
Controlling these “splashes” involves practice and so I developed this exercise to help you work on that. The written “X” is the “splashing” of the hi hat cymbals. Again, let the cymbals ring once splashed. The ride cymbal should be played throughout.
(I didn't write past the first measure as not clutter the page). You can play this exercise with sticks or brushes. If you want to practice more exercises related to this, pick up a copy of Ted Reed’s fantastic book called “syncopation”. You can adapt many of the pages from, say, page 29 to 44 (depending on the edition) to work out more exercises.
Here’s how:. Looking at Ted Reed's book, disregard what he wrote for the bass drum.
Progressive Steps To Syncopation
Only look at the snare drum part. Now play the snare drum part on the bass drum. U se swung 8ths (essentially the first and 3rd note of a triplet). Fill in the missing notes of each triplet with the snare drum. Add hi hat splashes to all written quarter notes (and notes with ties).
The free hand (normally the right hand if you’re right-handed) plays the jazz ride pattern. Have fun with this and experiment with the idea of “splashing” in other circumstances. You can add such beautiful expressive “color” and shape to your playing using the “splash”. It can be dramatic or really subtle. Combined with brush playing, you’ll love the results! As my second entry into my drum exercises page, I decided to post an exercise that incorporates the bass drum within often dense snare drum rhythms. For this exercise, I adapted exercises from Ted Reed’s wonderful book “Syncopation” (If you don’t have this book, order it- or better yet, go to a music shop and pick up a copy.
You’ll be glad you did!). Often it takes some time before these exercises feel comfortable - especially if you’re not used to this type of coordination. But as they settle in, you will probably notice that the figures resemble those played by be-bop masters such as Max Roach. In the process, you will likely improve your coordination significantly which of course will benefit any style of music that you enjoy playing. Just be patient and insist on playing with solid time and a good feel. Some notes about this exercise:.
If you have Reed’s book, first play each exercise as he wrote it, but single-handedly using the dominate hand (I have written R.H. For the exercise, but certainly this can be reversed). If you don’t have Reed’s book, simply reduce all my figures that have sixteenth notes to triplets and play single handedly (see the example that I wrote at the top of the exercise). If you’re able to do it, playing 2 & 4 on your hi hat is the way to go. Practice with a metronome beating on counts 2 & 4, if possible. Start slowly. Increase the tempo only after each exercise can be played smoothly.
But be able to play these slowly too. It can be challenging to play slow tempos!.
Always play “time” between exercises in order to develop the seem-less transition needed between playing time and playing a fill or solo break. Until next next time. As my very first entry into my drum exercises page, I decided to post an exercise that works on using the bass drum in a “melodic” fashion.
Here the bass drum functions kind of like a lower pitched floor tom, only that it is played with the foot rather than the hand. If you’re not used to dealing with the drum set like this, it may take a little while to get used to. But using the bass drum in this way opens up a world of possibilities for drummers.
Besides sounding very good, these exercise will likely improve your coordination a great deal making you freer to express yourself on the drums! Some Notes About This Exercise Each exercise has sticking above and below it. A left handed player may feel more comfortable with the sticking above, and a right handed player with the sticking below.
But feel free to practice both stickings if you like. If you’re able to do it, playing 2 & 4 on your hi hat is the way to go. Exercise #5a uses an abbreviated notation on the 2nd and 3rd eighth notes. The diagonal lines mean that 16th notes are to be played, and the two dots indicate two articulate (not buzzed, but rather double) strokes are to played on each of those written 8th notes.
I also should mention that while I did not write a “3” above each grouping, each three note grouping is a triplet. Aim for a good sound, smooth and flowing execution. These are triplets, they should just roll along!