Ted Reed - Syncopation

PROGRESSIVE STEPS TO SYNCOPATION FOR THE MODERN DRUMMERPROGRESSIVE STEPS TO SYNCOPATION FOR THE MODERN DRUMMER by Ted ReedNote-Reading Rhythms/Exercises Lesson One Playing quarter notes, quarter rests and half rests . . . 4 1G-Bar Exercise... 2... e eee ee eee v5 Lesson Two Playing quarter notes, quarter rests and half rests in unison .6 16 Bar Exercise. 7 Lesson Three Playing quarter notes, quarter rests and half rests independently 8 16Bar Exercise... . 9 Lesson Four Playing eighth notes and quarter notes 10 SOB BRBOGE ac exon see on aaa anraes geese LL Lesson Five Playing dotted eighth/sixteenth notes and quarter notes. z 20-Bar Exercise . Lesson Six Playing eighth-note triplets and quarter notes . 16-Bar Exercise : Lesson Seven Playing eighth-note triplets, eighth notes and quarter notes....... 2.0.0 . +16 16Bar Exercise... 17 Lesson Eight Playing eighthnote triplets and dotted eighth/sixteenth notes .........++. 18 TBR BBE sc casos ene es ene vanes oD Lesson Nine Playing sixteenth notes and quarter notes . .. 20 20Bar Exercise... 6... eee ee eee vice os oe Lesson Ten Playing sixteenth notes and eighth notes ........ . 22 DOBar Everts osicins ses ae wine sinnaire 23 Lesson Eleven Playing sixteenth notes and eighth notes ......... 24 MO Bar ENG 0c eee ce tere eee BB 48-Bar Exercise 29 Lesson Twelve Playing eighth notes, eighth rests and quarter notes . 30 AS Bar DIOS sir aa ses sane van awass cawiS2 Syncopation ‘Syncopation Set 1 ‘Syncopation Set 2. wen vaeda & Exercise One. . Exercise Two Exercise Three . . Exercise Four . . . Exercise Five .. Exercise Six . . Exercise Seven Exercise Eight. Exercise Nine ............0.00005 Lesson One Accented eighth notes . 28-Bar Exercise... Lesson Two Accented Sottadeti/ sheet notes... 28-Bar Exercise . Lesson Three Accented eighth-note triplets. . 36-Bar Exercise . Lesson Four Triplets with mixed sticking. . Lesson Five Accented sixteenth notes. . 33 -.39 ..40 4 42 43 45 46 47 49 = 50 = 652 53 +58 - 59 - 60In every band or ensemble, the drummer is called upon to give that group a solid rhythmic foundation, Therefore it is important that every drummer have excellent music reading skills. The goal of this book is to first introduce basic music reading skills and then to explore many of the most common syncopation rhythms found in today’s music Here are some suggestions on how to practice the rhythms and exercises found in this book 1, Count out loud. This is a “must” in order to become a good reader. 2, Practice at various tempos from slow to fast 3. Work on incorporating the syncopated rhythms you learn in this book around the full drumset (toms, cymbals, hi-hat, etc). 4, Devote some of your practice time to playing with a metronome, emember, there is no s ubstitute for a good teacher Since its publication, many drummers have asked me how I was inspired to write Progressive Steps to Syncopation for the Modern Drummer I was teaching drums at the Hartnett Music School, located at 1585 Broadway in New York City. I gave 85 half-hour lessons each week and had approximately 55 students (some took two lessons a week). I taught Monday through Friday 9.00 a.m. to 2:00 p.m. and 6:00 p.m. to 10:00 p.m. In would listen to the student's last lesson and then write, demonstrate, explain and play with them on their new lesson. Since I could not find any books on syncopation, each lesson had to be written out individually ich half-hour lesson, 1 When I would get home at night, my hands and arms would ache as a result of as then that I decicled to write the lessons out having to do so much writing. It w on manuscript paper. I wrote every night from midnight to 4:00 a.m., until I had a total of 60 pages. I had 200 copies of each page printed, which enabled me to hand whatever page was needed to a student—no more writing out each lesson every time I was careful to protect my original work from plagiarism until I received an official copyright from the Bureau of Copyrights in Washington, D.C. I had it published in 1958, and the book has sold very well ever since. Thanks to many teachers id drummers it is now one of the most popular drum books ever written Ted ReedNote-Reading Rhythms/Exercises Playing quarter notes, quarter rests and half rests. ST Tt TL A a Wh th He he LL" f- Th [r Ts [ ie KL UL - f- q We 4 (1 Wh Ue a z = t tee fii : \ + t Sa tie — \ —! tba Sat Z f £ ( = é = t oF 4 =r i fa ee £ x ( z t + = re aeST) Playing quarter notes, quarter rests and half rests in unison. é : S. z z \ * z \ 4 = | — ( ' = tot # t =F + i # \ =H z= x \ = z —! — : ns e ‘ 20 ;Playing quarter notes, quarter rests and half rests independently. SS Uy | tt hE h_ [] @ t * Saal +h I} LI ee: Mt ne ty OL aL i fe Ik { iq Ul Ube = £ rs \ —— * x \ SS —- SS Ss = # ak z — 1 4 =e e— =z + z mA =: t ‘ + 2 v £ \ = + 7 x v £ x v i az ¢ae 1 ? ern) Sey a z10IS Cry 5 — * —F Hy F Bae — Ee = 112 ay Playing dotted eighth/sixteenth notes and quarter notes.Pee z : PBS at a 4 x t n14 Playing eighth-note triplets and quarter notes. 3 3 a Pet 1 fr 3 | # —— oa : ' r— r+ tt16 Lesson Seven Playing eighth-note triplets, eighth notes and quarter notes.Playing eighth-note triplets and dotted eighth/sixteenth notes. Lesson EightLsieeee aor20 HSS TICMN Playing sixteenth notes and quarter notes. fe} {i 1 a a on 1 qs es 2 Ara =| = i i — (PSS aS tt -¥PU Te Cc22 ESS BESIIE Playing sixteenth notes and eighth notes.23 Pe Te ach24 ESA Playing sixteenth notes and eighth notes.25 aah + SS *2628 FoeCe Gd j | ey , meee == ———30 ESTATES Playing eighth notes, eighth rests and quarter notes. 1 SS_| 4 ja} Ai 4 Ai 4 ¢ A 13 = as — a t FF it itt r ? \ 14 1 1 1 1 1 { 1s — ‘ rot i t ' v v t i + = A = = Ayo A \___ SS el Ss ee | ee 1932 SC SS ae bj ..t.... a _._ e Bh. hh f SSS SS33 Syncopation " ‘Syncopation occurs when a temporary displacement of the regular metrical accent ATTEN L@ MM occurs, causing the emphasis to shift from a strong accent to a weak accent. In the examples below, each pattern (A, B and C) sounds the same, yet is written differently. Le £3 4 Ole aot 35 FOL & 3 2 4 \oatsnt | ahmte | at ff a ee ' 4 5 tat! 4 At a2 4 +4 + = SSS iS ———! 1 * 34 | # + + —— a Se he =34 following 48 exercises begin with the 12 rhythms Syneopation Set 2 oe in Set 1 with new rhythms gradually introduced. | \ + \ 1 t 1 + 1 een (SSP eee a “EE anpennneann eA14 ‘ ny j__ am _A =i Th t i ff Cte | je {ho __| } 32 aA PSS SSeS = rh _{__ ft ____} _ {| = S55 wae + — BS SS ae era | A em 34 SS Aj oA Al Ai A Aj Aj fA “ee SlSA\ oS 1 4 SA Ay oA Ai oA | eS SSS = \ \ 42 NAG i AA 4 | AA i | \ = \ * f | 4 a 48:| 2 2 ee ee ee Bacecdeem dc td acMicd = He} iP PS eee ener ares fi AA P| A == at qa SS Se i= SS Sere 4 Ai A AL AA B® oy oy 4yiy SP = SS je et ASS Sea i {A | w. {A At | Se A fi 1 A 1A}, fA hae ra A a — « = 2 SSeS At Se es aes 6) __i foo} jt {| 8 | om Sea } pA A SS Sa I3940 BCC jf Fy an SSS rr 12Exercise Four42 tH Pape ae Aah SS Soe Faas aS eS Fras Prey a ty y+ ft 4 i fg 4 fA 1 4 f SS SS ee43 Aj HS } a x ot " ft ahs st ey A rey iy t a & 7 ¥ —-T t SS \ f f f i — —! ey rs At44 CR)eee csi | Ya = = 7 ae oF x t 4 f cs ae i a +s r nA a Tt 546 BCCaT For variety, the accented notes on pages 47-63 may be played on the small tom-tom, large Accented eighth notes. tom-tom, cymbals, etc. They may also be used for accented roll studies by buzzing each note, For example: Lesson One 2 wen eee a a a — St €t . . — .50 Accented dotted-eighth/sixteenth notes. eS) ae a x 2 2 I 2, ie —Pe Sot 2 >» : " . = t 2 = 2 es TC53 Lesson Three Mitecsretd eighth-note triplets. 23 ake », 2 »,oA n tn Yai ale in ele ate nin win oa 1458 RT SG)59 STI ME triptets with mixed sticking.60 2,616263