ra oe Ee Pe O: (oF ra + 2 ° 4 rw a a & a eS 7 rs a 4 ° ° EyForeword In Every band or ensemble, the drummer is called upon to give that group a Solid rythmic 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 rythms found in today’s music. Here are some suggestions on how to practice the rythms and exercices found on 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 rythms you learn in this book around the full drumset (toms, cymbals, hi-hat, etc.). 4, Devote some of your practice tim to playing with a metronome Remember, there is no substitute for a good teacher Since its publication, many drummers have asked me how I was inspired to write this book Twas teaching drums , giving 85 half-hour lessons each week with about 55 students, Monday to Friday. First I would lesson to the students last lesson and then write, demonstrate ,explain and play with them on their new lesson. 1 then wrote all that stuff and made copies. I was carefull to protect my original work from plagiarism until I recieved an official copiright from Washington, D.C. I published it in 1958 and now it’s in your hands/pe.Contents Note-Reading Rhythms/Exercises Lesson One Paying quarter rotes, quarter rests and half rests 168ar Exercise Lesson Two Pajng quarter notes, quater rests and half rests in unison 16Bar Beis. Lesson Three Playing quarter notes, quarter rests ‘and half rests indeperdenty 16Bar Bris. Lesson Four Ping gt tesa uri noes 20a Exercise Lesson Five Paying dotted eighth/sisteent notes ‘and quarter notes. 20Bar Brercse Lesson Six Playing eghh-nate tiles and quarter notes. ‘16Bar Bercse Lesson Seven Ping ehoote kts, eh mates ‘and quarter noes, 16Bar Bercse Lesson Eignt Playing eighthaote tipets and dotted eghthsiteenth notes 16Bar Exercise Lesson Nine Playing shteerth notes and quarter notes. 20Bar Bercse Lesson Ten Playing sbteenth notes and eighth notes . 20Bar Exercise Lesson Eleven Playing siteenth notes and eighth notes *40Ber Bercise . 48Ber Crercise Lesson Twelve Ply ots, etre and quatre. Bar Exercise. 16 a7 18 19 Syncopation ‘Syncopation Set... .. ‘Symeopation Set 2 Exercise One. Exarclee Two Exercise Three ‘Exorelse Four Exercise Five . Exercise Sx. Exercise Seven Exercise Eight Exercise Nine Lesson One Accented eighth notes 28.Bar Exercise Lesson Two ferred tedgh/sieet oes 26Bar Eercse . Lesson Three Accented elghthote triplets. ‘36Bar Exercise ‘Lesson Four Tiplts with mixed sticking. Lesson Five ‘Accented sbteenth notes - 2 40 a 2 a “4 60Lesson One Playing quarter notes, quarter rests and half restsPSST Paving quarter notes, quarter rests and half rests in unison.TESST Piavins quarter notes, quarter rests and half rests independently.Playing dotted eighth/sixteenth notes and quarter notes, i Bea eS tr tPSST Playing eignth-note triplets and quarter notes. 3. 3 1 3 3 ‘ SSR SS a dt s pa et eS le ne) ln toi cin tn ema :PETURTACIM Playing eighthnote triplets, eighth notes and quarter notes. etmanamate 5 2 samPlaying eighthnote triplets and dotted eighth/sixteenth notes. PTPEST Playing sixteenth notes and quarter notes.ESSIEN Pioving sixteenth notes and eighth notes.2 popelpe ne fii «RGR RRA RT RG SSSPETA Playing sixteenth notes and eighth notes.ge pasa paar SS ooo RTT ORE = od(eS ET OA EERE | SSS SRR aS Sr BaaneeMAGE rtayng eigen note, eighth rests and quarter notes.PT 4 7 a Spo Sat SS eS eS ee EEEE: : =Syncopation Set 1 ‘Syncopation occurs when a temporary displacement of the regular merical accent ‘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 writen eliferenty 3 + Ole ais 3 5Oln Fo a 4ing, 48 exercises hopin with the 1 Set I with new Aythms gradually is Se on Ppt fp} A lp MetEXERCISE oNeExercise tWo fee A; A | mi 4 8 | emf} Uf 3 ——— a | SSS aExercise ThRee pe Sh eS A a_iExercise four pea eT i tk en a Mott tt Ft f. ean fo Sa pt pnt — SSS 4 a et 4 AA | 9 een br fa elExercise five + FH eT Tt ee oe eae etExercise siX Be SS Pee ig SS SS SS Pee Baas Spa pas hy py nt 7 aS ee _— aes 5Exercise sevenExercise eightExercise nineFor variety, the accented notes on pages 47-63 may RTL Accented eignth notes. tomtom cym re 2 2 », 2 2 : . 2 Ea 2 . nL Ge i SS pr a i eel P 2 : nt — = * SS aed — = = 7lesson two SS SSlesson three puna fain aha ro tt ——— ee atte telnet 1 at fo oo sh Fat ey en le a et nl he i et 8 TERe EEE eseeet SS see nian Yas Lb sls Yb Yen Feb, tbe Yed els ote in ftodeedenee eaten a oe i a Yeh Fae PF abl tah Fob 10 fritvteedddee ee dae ede feed a eai —F = —T Biche 8 Eee pale i le cle ee “i a, ah fest SS a) TS otfi ml eh ey oh tl ode ob od, oto tort tore od 5 aide pe Aim, Z (Rk an ik tak etl pm id le it a36-Bar exercise, more a inane inant ? “a th fe He jrveeeeeeeeeet firpenyaayasS31 Accented sixteenth notes.60The Ted Reed Drum Catalog Progressive Steps to Syncopation for the Modern Drummer (17308) Voted 2nd 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 elghths and sixteenths, elghth-note triplets and sixteenth notes for extended solos. In addition teachers can develop many of their own examples from it. Drum Solos and Fill-Ins for the Progressive Drummer (17309) Book One (17310) Book Two Featuring exercises which can be played in practice and in actual performances, Drum Solos and Fil.ins for the Progressive Drummer contains, 4., 8 and 16bar solos plus filLins from several top drummers. This book is designed specifically to help the beginning drum student develop Individual technique and musical ability. Special emphasis is placed on introducing students to four-bar solos to improve drum solo skills. It also includes 13 pages of fllins. More challenging than Book One, Book Two features solos and, fills inspired by one of the world’s greatest drummers — Buddy Rich. Syncopation and Rolls for the Drumset (17311) ‘Syncopation and Rolls for the Drumset presents exercises to help the beginning drummer master the two principal rudiments of alternating single strokes and alternating double strokes or press rolls, controlled at all tempos from very slow (open), to very fast (closed). The book includes various combinations of these two rudiments, in addition to valuable syncopation exercises, ‘Syncopation No. 2 — In the Jazz Idiom for the Drumset (17313) Five different ways to play eight pages from Progressive Steps to Syncopation for the ‘Modern Drummer. There are five sections, each consisting of the eight solo exercises from pages 37 through 44. Basic Rhythms for the Club-Date Drummer (7344) Basic rhythms for society, Dixieland, Jazz, Waltz, Tango, Bolero, Pachanga, Guaracha, Rumba, Merengue, Samba, La Raspa, Conga, Beguine, Lindy, Charleston, Bossa Nova, ete., and many ethnic dances. Progressive Steps to Bass Drum Technique for the Modern Drummer (17315) Thirtyeight pages of rhythms and solo exercises in 4/4, progressively arranged to give speed, control, endurance and flexibility. Progressive Steps to Bongo and Conga Drum Technique (17316) Basic rhythms, variations, filins, short solos for the Bolero, ChaCha, Merengue, Mambo, Guaracha, Rumba, Modern Jazz, and more. Latin Rhythms for Drums and Timbales (17312) Basic rhythms, variations, breaks, short solos and fil-ins for the Mambo, ChaCha, Merengue, Bolero, Samba, Conga, Beguine, Paso Doble, ‘Tango, Montuno, Calypso and Joropo. Most rhythms are written for the timbales, but may be played on drums, cymbal or cowbell by making simple substitutions. Available at your local music store ‘and emule soon ;)