[= rT PS = ==) =" a rs [4 wu a fe) P= wi es = [= re) ir r 4 = Ps © 4° rs a >ROGRESSIVE STEPS TO PF +e po » TRA » a | | +. i oad = ™ | Ts ee Tm Gee elle Jo bh bl pA ee be « tq « a! t im = a 1) to 5 || 8 Ha bl mw toe EO |] os +h a +h | ny San\ 9 1 a f HUT w i ir HT ] x faa Alfred] l onan | 8 = —— freed. =Contents Note-Reading Rhythms/Exercises Lesson Ono Playing quarter notes, quarter rests and half rests «4 168 Bxercise 8 Lesson Two Playing quarter noes, quarter rests ‘and haf rests in unison 7 re 168ar xerise. 7 Lesson Three Paying quater notes, quater rests and haf est independenty 8 16Bar Exercise. us Lesson Four Playing eighth notes and quarter notes «=. - 10 20Gar Borise .... I ot Lesson Five lying dotted elghtn/sirteenth notes ‘and quarter notes. 2 ‘20Bar Exercise 113 Lesson Six Playing elghtote triplets and quarter notes ...... 14 1BBar Bercse 5 Lesson Soven Playing eightte triplets, eighth notes ‘and quarter notes. i 16 168ar Berise uv Lesson Eight Paying eightrnote triplets ‘and dotted eighth/siteenth notes soos {16Bar Brerse.. 19 Lesson Nine Praying steonth notes and quarter notes ........20 20Bar Eercise Lesson Ton Paying shtoenth notes and eighth note 2 20Bar Exercise 2B Lesson Eleven eying sirtoenth nots and eighth notes «28 408ar Brercse 2B 48Bar Brercise 5 aie 29 Lesson Twelve Plage ce, tests and quar nts. 30 48-Bar Exercise. ‘Syncopation Syncopation Set 4 Syncopation Set 2 Exerciaa One Exercise Two Exercise Three Exercise Four Exercise Five Exercise Si Exercise Seven Exercise Eight. Exercise Nino Lesson One Accented eighth notes 28Bar Bercse Lesson Two ovented dotedelghth/siteenth notes 28Bar Erecse ‘Lesson Three ‘Accented elgtnte triplets. 36Bar Exercise Lesson Four “plots with mbxed sticking Lesson Five “Accented sxtoonth notes 39 40 a 2 4B 48 - 60Playing quarter notes, quarter rests and haf rests. Lesson One A r t 4 7. \ x ' + tt i : tt + He t k =| = z t * x i roa] tJ az < 2 z i t * t # t a t = x 1 = = 4 + == = ( £ = 1 EF = i—tz = f a eyPlaying quarter notes, quarter rests and half rests in unison. eS t+ i— 4 t = t — — 4 : ri = v z t BS a Ft * = == —— = a z t a : t SSS fl = 1 ph iis 3 { A \ = x \ : Cai { \ \ \ ‘ = 4 az z ‘ SSSa “ES a = ¥ a == LH t £ ca = a £ t af = uB =a =: rs == Seg 1 “ee ia aS gay = = SSS ESSBC Plaving quarter notes, quarter rests and half rests independently 1 pice a a — —— tH HL y ML } “WH Ir i NL y tl ; In “1 = 4 = : t : t i ttt+ PTF Pa rg aCe r t v te \ a ‘SSBC Playing dotted eighth/sixteenth notes and quarter notes. Fy ’ 4 1 mS ==" SS + 4 an) t+ + t—F ‘= SS20-Bar Exercisea Fitna eihincee bila ana quniter ites. ie rey iit St KL f i ; eee |e je | oe oh oe —t Se ttsed beth3 Playing eighthnote triplets, eighth notes and quarter notes.eee ne ie ai em ne a SsPlaying eighth-note triplets and dotted eighth/sixteenth notes. Pi16-Bar ExerciseHESSTNIICM Playing sixteenth notes and quarter notes. Ath Me remy cis =a = =rF— ntbatee ae] a erg ariLESSTIMGIN Playing sixteenth notes and eighth notes.»- = Al rg CacoPlaying sixteenth notes and eighth notes. eaBrg eyCre andCoS Tg Playing eighth notes, eighth rests and quarter notes.Pee | jt A 2 a oT f 3 Joa AT ee oe Popo Sel Sa Ay A} fy aS te Set fat A fv, py i | i fj | 4 = ————— SS oS SS = ieee =‘Syncopation occurs when a temporary displacement of the regular metrical accent ATTPUIEL CUI gag 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 WO oLe oe 3s 4 Or at 5 4OLen foo 4 + Wot at ay + +2 04300 +4 =yf \ wees Pr a ea wees =aoe SS ot A, A my ae Aj} nae 5 = Fae] SSS ree Ay Nm om == pe aa a = = ” Ses Sse32 Aw Aw x x 33 Fe fr _A | fe Neem At ff: ft = a ae ae Poe Pig BL Lig 24 Ph & Qf es ——Fi = = f — f 4 r — + oe S * Al _— t —EXERCISE oNe Ayo 4 fy Aj A A AL pot iA} A 1 wg | Ay At f4 pe 3 aay FS Sea a ee F SSS — PhP At oA | em mm ee t+ =a N a 4 | 4 4 { f 4 |. sa SS SS Sa . = ___ SSS SS aeExercise tWo Aj 8 8) A pe AL = jemeen A A SSeS $A a} SSS PSExercise ThRee = ——4 SS my A lp lg SSS at eS jy) tA jf} P| SP SseExercise four | Aj oA AA, 9 Aj 9 A) } f St — * + 1 + 1 See pas ae hi fe PERE reese eed ee isis StExercise five S=7| SS eS fae 4 At = At Ref A ope te ee SS a 4 f. =F 4 + : }—— Bes aExercise siX OS SS SS et Ai of | om { fA Ay 0 a a SSSExercise seven f 9 Dyn. fs Pity = 4 oes HATH SSS Se Sia ee —+ Se Sea } ey eeeExercise eight Ft a SSeSExercise nine >> —s >>gr st St bots for dh beh bo = = = mate Poe ete tl etn fi een bia SSR Rpae RR eR EaeE TAee oe oes ee es ee ' — rti poet arnt _— oz —+ ematien at aaylesson two x erlesson three ashi cathy — . aaah pam hata yfiehsh} es oe oe oesiinadannds di thshy ih3> 3> 1 z 3> -36-Bar exerciseLSTA triplets with mixed sticking_27 pom 32 E66 E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 eighths and sixteenths, eighth-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 Filldns for the Progressive Drummer contains 4-, 8 and 16-bar solos plus fill-ins 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 fillins. More challenging than Book One, Book Two features solos and {ills inspired by one of the world’s greatest drummers — Buddy Rich. Syncopation and Rolls for the Drumset (17341) 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 (17314) Basic rhythms for society, Dixieland, Jazz, Waltz, Tango, Bolero, Pachanga, Guaracha, Rumba, Merengue, Samba, La Raspa, Conga, Beguine, Lindy, Charleston, Bossa Nova, etc., and many ethnic dances. Progressive Steps to Bass Drum Technique for the Modern Drummer (17315) Thirty-eight 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, fillins, short solos for the Bolero, Cha-Cha, Merengue, Mambo, Guaracha, Rumba, Modern Jazz, and more. Latin Rhythms for Drums and Timbales (17312) Basic rhythms, variations, breaks, short solos and fillins for the Mambo, Cha-Cha, 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 ernuie soon ;)