![ted reed syncopation page 33 ted reed syncopation page 33](https://leanneislearningtodrum.files.wordpress.com/2013/09/p-33-5-with-rock-beat.jpg)
E_C_O_LL_E_G_E_ _ PERCUSSION STUDIOĪnd recommend that it be accepted as fulfilling the requirements for the Degree ofįinal approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. The University of Arizona, 1994Ī COMPREHENSIVE CURRICULUM FOR DRUM SET IN THE COLLEGE PERCUSSION STUDIOĪ Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 1994Ģ THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared byĮn t i tled,_~A_C. M148106♱346 USA 313/761♴700Ī comprehensive curriculum for drum set in the college percussion studio Martin, Susan Marie, A.Mus.D.
![ted reed syncopation page 33 ted reed syncopation page 33](https://musatalo.fi/wp-content/uploads/2019/09/syncopation.jpg)
You'll never play the second partial of the triplet in any of these examples.
![ted reed syncopation page 33 ted reed syncopation page 33](https://www.stretta-music.com/media/images/222/330222_detail-00.jpg)
Notes on the downbeats are obviously accented on the downbeat, and notes on the upbeat are accented on the third partial of the triplet. Here I've just grabbed a few examples at random for the purpose of demonstration, but you should try it from page 33 all the way through to "Exercise 8" on page 45.įor each system we're going to play triplets, and read the rhythms on the page as accents. However, when these concepts are new to a student, I prefer to start them on page 33 or 34 (again, depending on your version) as each line is contains only a one bar rhythm that is repeated four times. It offers plenty of variety and is great for developing sight reading skills. Most people head straight to page 37 or 38 (depending on the version of the book you have), which works perfectly fine. These are great on the pad as a general stick control method, and once you orchestrate them on the kit they are great for developing soloing ideas. Let's look at a few classic interpretations of Ted Reed's Syncopation.