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    Syncopation Systems

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    alexmagni
    The document discusses various systems that drummers have developed for practicing rhythmic independence and coordination using page 37 of Ted Reed's Progressive Steps To Syncopation. It provides six progressively more complex examples of rhythmic patterns and sticking assignments that can be applied to the page.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Syncopation Systems

    Uploaded by

    alexmagni
    166 views4 pages
    The document discusses various systems that drummers have developed for practicing rhythmic independence and coordination using page 37 of Ted Reed's Progressive Steps To Syncopation. It provides six progressively more complex examples of rhythmic patterns and sticking assignments that can be applied to the page.

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    Syncopation Systems

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    The document discusses various systems that drummers have developed for practicing rhythmic independence and coordination using page 37 of Ted Reed's Progressive Steps To Syncopation. It provides six progressively more complex examples of rhythmic patterns and sticking assignments that can be applied to the page.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    166 views4 pages

    Syncopation Systems

    Uploaded by

    alexmagni
    The document discusses various systems that drummers have developed for practicing rhythmic independence and coordination using page 37 of Ted Reed's Progressive Steps To Syncopation. It provides six progressively more complex examples of rhythmic patterns and sticking assignments that can be applied to the page.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
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    The passage discusses different systems drummers have created to challenge themselves using page 37 of Ted Reed's Progressive Steps to Syncopation, with examples that involve playing rhythms on different drums and applying concepts to the full drum set.

    Some examples of systems discussed are playing the page as written, with a swung interpretation, performing the snare rhythm while keeping time on ride and hi-hat, and combining steps like playing written eighth notes on snare and quarters on bass drum.

    Example 2 involves playing the snare drum rhythm while keeping jazz time on the ride cymbal and hi-hat, and also playing the bass drum rhythm by feathering it on all four beats, and then playing the snare rhythms with the bass drum and adding a cross-stick on beat four.

    Systems For Use With Ted Reed's Syncopation

    By Steve Korn
    Since it's original publication in 1958, drummers have used Ted Reeds Progressive
    Steps To Syncopation For The Modern Drummer as an ever-expanding tool for the
    development of independence, coordination and technique. Using page 37 as a
    rhythmic etude, drummers have devised numerous systems with which to challenge
    themselves. The above are progressively complex examples of some of these
    systems.
    Example 1
    These are the first four measures of page 37. One must first be able to read the
    page as written and then with a swung eighth note interpretation.

    Example 2
    The next step involves performing the rhythm on the snare drum while keeping jazz
    time on the ride cymbal and hi hat. The bass drum can be "feathered" (played lightly
    on all four beats).

    When this has been mastered, repeat the process playing the snare drum rhythms
    with the bass drum. The snare drum can play a cross-stick on beat four of every
    measure.
    Example 3
    When comfortable with example 2, try combining each of its steps. Play all written
    eighth notes on the snare drum and all written quarter notes on the bass drum.

    When ready, reverse the note assignments. Have the bass drum play all written
    quarter notes and the snare drum all written eighth notes.

    Example 4
    The first four measures of page 37 are:

    If we use this phrase as a triplet accent pattern it will look like this:

    Keep the unaccented notes low, and be sure that the accented notes are of equal
    strength in each hand. The next step involves replacing the unaccented notes with
    double strokes. The result is:

    This exercise is also great for developing double strokes with brushes.
    Example 5
    Example 5 is similar to example 4, however the sticking patterns are different.
    Essentially, all unaccented eighth notes are performed as eighth note double strokes.
    There are some exceptions when alternate strokes can be used. The basic key is as
    follows:
    written --> becomes

    Applied to the first four measures of page 37 would give us:

    The next step involves applying this concept to the drum set. Play all accented notes
    on the ride or crash cymbal and all unaccented notes on the snare drum. The bass
    drum will also play the accented notes and the hi-hat will play beats two and four.

    This concept also sounds great when some or all of the accented notes are played on
    the tom toms.
    Example 6
    This final example is perhaps the most complex, but contains some great
    developmental material. Like example 5, it has a key:
    when going to a note -- when going to a rest

    When applied to the first four measures of page 37, we have:

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