Ted Reed - Syncopation Pdf Free

[Charise Scrivner]

Votedsecond on Modern Drummer's list of 25 Greatest Drum Books in 1993, Ted Reed's Progressive Steps to Syncopation for the Modern Drummer #1 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 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.

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 music, syncopation is a variety of rhythms played together to make a piece of music, making part or all of a tune or piece of music off-beat. More simply, syncopation is "a disturbance or interruption of the regular flow of rhythm": a "placement of rhythmic stresses or accents where they wouldn't normally occur".[1] It is the correlation of at least two sets of time intervals.[2]

Syncopation is used in many musical styles, especially dance music. According to music producer Rick Snoman, "All dance music makes use of syncopation, and it's often a vital element that helps tie the whole track together".[3]

A hemiola (the equivalent Latin term is sesquialtera) can also be considered as one straight measure in three with one long chord and one short chord and a syncope in the measure thereafter, with one short chord and one long chord. Usually, the last chord in a hemiola is a (bi-)dominant, and as such a strong harmony on a weak beat, hence a syncope.

Technically, "syncopation occurs when a temporary displacement of the regular metrical accent occurs, causing the emphasis to shift from a strong accent to a weak accent".[4] "Syncopation is very simply, a deliberate disruption of the two- or three-beat stress pattern, most often by stressing an off-beat, or a note that is not on the beat."[5]

For the following example, there are two points of syncopation where the third beats are sustained from the second beats. In the same way, the first beat of the second bar is sustained from the fourth beat of the first bar.

However, whether it is a placed rest or an accented note, any point in a piece of music that changes the listener's sense of the downbeat is a point of syncopation because it shifts where the strong and weak accents are built.[5]

Note how in the sound bite, the piano's notes do not happen at the same time as the drum beat that simply keeps a regular rhythm. In contrast, a standard-rhythm piece would have the notes occur on the beat:

Anticipated bass[6] is a bass tone that comes syncopated shortly before the downbeat, which is used in Son montuno Cuban dance music. Timing can vary, but it usually occurs on the 2+ and the 4 of the 4

4 time, thus anticipating the third and first beats. This pattern is known commonly as the Afro-Cuban bass tumbao.

In the example below, for the first two measures an unsyncopated rhythm is shown in the first measure. The third measure has a syncopated rhythm in which the first and fourth beat are provided as expected, but the accent occurs unexpectedly in between the second and third beats, creating a familiar "Latin rhythm" known as tresillo.

The phrasing of the Rolling Stones' song "Satisfaction" is a good example of syncopation.[5] It is derived here from its theoretic unsyncopated form, a repeated trochee ( ). A backbeat transformation is applied to "I" and "can't", and then a before-the-beat transformation is applied to "can't" and "no".[7]

Syncopation has been an important element of European musical composition since at least the Middle Ages. Many Italian and French compositions of the music of the 14th-century Trecento use syncopation, as in of the following madrigal by Giovanni da Firenze. (See also hocket.)

According to the Encyclopdia Britannica, "[t]he 15th-century carol repertory is one of the most substantial monuments of English medieval music... The early carols are rhythmically straightforward, in modern 6

8 time; later the basic rhythm is in 3

4, with many cross-rhythms... as in the famous Agincourt carol 'Deo gratias Anglia'. As in other music of the period, the emphasis is not on harmony, but on melody and rhythm."[9]

Denis Arnold says: "the syncopations of this passage are of a kind which is almost a Gabrieli fingerprint, and they are typical of a general liveliness of rhythm common to Venetian music".[10] The composer Igor Stravinsky, no stranger to syncopation himself, spoke of "those marvellous rhythmic inventions" that feature in Gabrieli's music.[11]

J. S. Bach and George Handel used syncopated rhythms as an inherent part of their compositions. One of the best-known examples of syncopation in music from the Baroque era was the "Hornpipe" from Handel's Water Music (1733).

Boyd also hears the coda to the third movement as "remarkable... for the way the rhythm of the initial phrase of the fugue subject is expressed... with the accent thrown on to the second of the two minims (now staccato)":[14]

Haydn, Mozart, Beethoven, and Schubert used syncopation to create variety especially in their symphonies. The beginning movement of Beethoven's Eroica Symphony No. 3 exemplifies powerfully the uses of syncopation in a piece in triple time. After producing a pattern of three beats to a bar at the outset, Beethoven disrupts it through syncopation in a number of ways:

This "long sequence of syncopated sforzandi"[15] recurs later during the development section of this movement, in a passage that Antony Hopkins describes as "a rhythmic pattern that rides roughshod over the properties of a normal three-in-a bar".[16]

One of the most popular books for percussion today, Syncopation for the Modern Drummer by Ted Reed is a highly versatile book that can be used for almost any drummer for any application! Containing dozens of exercises that combine eighth, dotted eighths, sixteenth, and triplet combinations, this text provides material to work on timing of rhythms and syncopations.

Originally designed for use on concert or rudimental snare drum, Syncopation for the Modern Drummer can be developed for use on drum set, keyboard, timpani, and other uses by changing which hand or instrument certain notes are played on (Example: All flagged 8th notes are on left hand snare, quarter notes on bass drum, while playing swing pattern in right hand).

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.

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