MODERN READING TEXT in4 FOR ALL INSTRUMENTS HABS ny LOUIS BELLSON ‘Wreiten in Collaboration with GIL BREINES Continite PREFACE INTRODUCING INTRODUCING DOTTED NOTES AND REST! COMMON WRITING OF SYNCOPATION TEN SYNCOPATED EXERCISES .. INTRODUCING 16th NOTES AND 16th RESTS. INTRODUCING 16th NOTE TIES ‘TEN SYNCOPATED EXERCISES WITH 16th NOTES INTRODUCING 8th NOTE TRIPLETS INTRODUCING QUARTER NOTE TRIPI INTRODUCING HALF NOTE TRIPLETS ‘SYNCOPATION WITH TRIPLETS: 14 EXERCISES (SUMMARY) INTRODUCING 16th NOTE TRIPLETS INTRODUCING 32nd NOTE TRIPLETS . INTRODUCING DOUBLE TIME ... TWO MEASURE DOUBLE TIME PHRASESEs LOUIS BELLSON a The musical facts about Louis Bellson are indeed amazing. His taurel-winning drumming for Benny Goodman, Tommy Dorsey, Count Basie, and Duke Ellington are permanently etched in recordings and transcriptions. His unusual talent as an arranger, composer, and conductor are well known in both the jazz and legitimate field. His ability as a lecturer and percussion clinician is highly regarded among music educa- tors as well as professional musicians, teachers, and students. ‘The contributions that Louis Bellson has made and is continuing to make to music and per- cussion will long be remembered. — Es GIL BREINES —= Gil Breines studied percussion with Fred Albright, Saul Goodman, and Morris Goldenberg. He has a Bachelor of Science Degree from Juilliard School of Music, N. Y.,and a Masters Degree from Roosevelt University, Chicago. He was principal percussionist with the Chicago Symphony Orchestra, and also played with the New York Philharmonic Orchestra, Metropolitan Opera Orchestra and the Goldman Band. Mr. Breines has performed with such great conductors as Fritz Reiner, Leonard Bernstein, Eugene Ormandy, Leopold Stokowski, Sir Thomas Beechman, Franz Allers, Robert Russel Bennet, Morton Gould among others. He was on the faculty of the American Conservatory of Music, Chicago, and is now engaged 'n free lance work in Radio, T.V., and Recordings, as well as being actively engaged in teaching in New York City.Z PREFACE SYNCOPATION=definition=Play by accenting notes normally unaccented. A more understandable definition of syncopation is where the original rhythm or par of a melody or main theme is transferred from the main beats in a measure to "off beat rhythms. Thus the main melody or theme is still preserved, but more interesting rhy- thms are created with the melody. Example using a C Major Scale: Original $e a z sd t ‘Syncopated Notice the change in the melody just by changing the last three notes. ‘The object of this text is to acquaint the reading Musician with the most compre- hensive and popular methods of notating syncopated rhythms used in all forms of music. (ie; Jazz, Classical, Latin, Show, Dance Bands, etc.) ‘The speed of the exercises is determined by the ability of the student. In the begin- ning everything should be played slowly, until the ability to read in an even tempo is ob - tained. The exercise should be played only as fast as the hardest measure of the exercis can be played. ; It is suggested by the authors that each rhythmic figure that presents a problem be thoroughly understood. This can be accomplished by first analizing the Rhythmic Figure, and then developing the ability to recognize the Rhythmic Figure, After thorough ly understanding and really knowing the figure you can progress to the next problem. ‘The art of being able to "Break Down" and then having the ability to recognize a Rhythmic Figure are the two requirements needed in improving ones speed and accurac in sight reading. Counting is a must in order to divide the music correctly into its rhythmic sequence Before leaving a study you should be able to read the entire study smoothly with equal volume throughout and in strict tempo. In order to get the most out of this text it is suggested by the authors that the musi be played both in 4/4 time (C) (making sure you COUNT IN FOUR and BEAT YOUR FOOT IN FOUR) and also in 2/2 time (¢) (making sure that you COUNT IN TWO and BEAT YOUR FOOT IN TWO).In order to become fully acquainted with reading of modern syncopation, the student must learn to play the exercises not only legitimately, exactly as written, but also with | a "Jazz Feel", This is accomplished by playing all notes that fall on the second half of a quarter note on the third eighth of a triplet, and the 16th note of a dotted 8th and 16th on the third eighth of a triplet. Example: Played An eighth and sixteenth can be interpreted thia way too: eT writen are: pa Se Played Written. Example: Played When first practicing in the "Jazz Feel", the student should beat his foot in four. A good example of the "Jazz Feel" can be seen by comparing the 1st exercise in this book with the exercise on Page 48, This is how the ist exercise would be played with a "Jazz Feel",INTRODUCING QUARTER NOTES, EIGHTH NOTES, EIGHTH RESTS © 1963 (Renewed) HENRY ADLER, INC. ‘Al Righs Assigned wo aad Conuulled by ALFRED PUBLISHING CO., INC. ‘All Rights Reserved including Public Performance‘COMPLETE SUMMARY OF PAGES FOUR THROUGH SEVEN at dat pests se atk =a asawe _\ qe NO © INTRODUCING THE TIE ee ee ee == Se fh ea| rar »INTRODUCING DOTTED NOTES AND RESTS eesCOMMON WRITING OF SYNCOPATION a AL aL Hel aL Le aE ail a | fe "ee be pests SSS heeEXERCISE USING RESTS ==a| = t + J aeGo)aSeghia hiate bie hs pelea tsps Pale ds sprit! »INTRODUCING SIXTEENTH NOTES AND SIXTEENTH RESTS@ (eee > I an =| gehop SSS oll Ehwis (32 INTRODUCING SIXTEENTH NOTE TIES(3) (35 /37 Safe SEES m4 HABS3839 SUMMARY OF PAGES THIRTY-TWO THROUGH THIRTY - EIGHT == s = 1 eas ers40 TEN SYNCOPATED EXERCISES WITH SIXTEENTH NOTES‘) @ Ne ==) o Er3 Fo} 0 [aot |‘a7 INTRODUCING EIGHTH NOTE TRIPLETS & (Having the value of a Quarter Note or its equivalent) a iS 3 3. 3 -3= pose oe Se eae48 a> ae = = tt doe See 3 Ta el Gin Ge Saeel49 eas en jean Osa aaa === “|, ae Hl = mI a ao AS@ INTRODUCING EIGHTH NOTE TRIPLETS (With Sixteenth Notes and Sixteenth Rests) 1 ee vn —3— —3I— 3 eS E IN ye b eS Fee Fay oe —3— — 3S ——— ae 33a —3— sa —s=-3 3 gaa rie 8 yr er sar 3 eepape eS a a53 TRIPLETS USING TIES 3 3 3 ses 3 = ie oo | J | | 1 1 | 99555 ESS SSaatpaa = ra-3ar3S $535,3533 85 343 FEET} Rc freee ek h SH 3 384-3484 rs sa SF —37r- 374 rs rsa rs5 3a st See Se tS 3 3 34-34-35 rs 3 3 3 3 he eee 34 8 SPs s4 $I SI OL OE Sa} Seb : » \ i Db Gao HAR55 34 3 3. 3 3. 3 3 Ps aTRIPLET TIES AND SIXTEENTH NOTES 3 Non ont 34= == ==: a 1 537 rf Ls = 35dk ade we de dal cay 3 3 3 3 parte etiene eT ee ree bof phte = —= ———— = gi 3 854-84 —35 3 be gto 3 3 ae foe Nee oe oor xe . Be = ieee goles 33 — pa 361 INTRODUCING THE QUARTER NOTE TRIPLET (Having the value of a Half Note or its equivalent) 3— 6 3— rcsHAB 3ee SA 3-35 3sa —-3— 3-85 3 —arsa - 84r—3— INTRODUCING HALF NOTE TRIPLETS (Having the value of a Whole Note or its equivalent) m3ar$5-35-35 $3 Pe 34r8ar3qr$4 r—3—y oe 35 8 arta agi —s— Marr hr$a RH 84 9 RIKKI I r8arS4 8534-84-34 AH 84 KH 8 QP 84-3 38 — B84r-8a-$4rs8n 88 A833 FS 33 -4-r-84r3n 7-38 m3 e343 4r84n-34 FP —-3—a a oS ay 7 I eee ot = SsSYNCOPATION WITH TRIPLETS roan rarg= 3, phrgs 3m - masa 3 35 33a 34°34 -34 34 3435 34-34 M434 oa 34 sors -3 -3 35 ace rian 34 t " r3—-3 ago sie esa) yr§orsorgn | r4aSummary: Ses ardn r38or3 3 pe NE f. hi bah :FOURTEEN EXERCISES — by70pest == Apt14 3 ooo os — eS 35 sq rah s gesphoer eae sepa zB15 34 | iN io man a cs 35ris HABS719 3. 3 37 = sa tym zi Bap Ste a hy TA jen. 1el = 371-3481 a | eee } oh tibet EEL SS ;82 INTRODUCING SIXTEENTH NOTE TRIPLETS (Having the value of an Eighth Note or its equivalent)INTRODUCING THIRTY-SECOND NOTES (Having the value of an Eighth Note or its equivalent)a4 > TWO EXERCISES8586 INTRODUCING DOUBLE TIME Practice each line separately. [2.] Combine all lines as one study. Common " j Double time ‘rerementrret tess Beretta Naa gtATE HHI See a zt za a a — a oo oo a HABS87 Practice each line separately. EE] Combine all lines as one study. Common. Double time = oF jo ha Pee (ee — — — i ee __ __ __! = SS eees TWO MEASURE DOUBLE TIME PHRASES {L] Practice each line separately. 2.] Combine all lines as one study. Common Double time = iS aed dts \ eS Ss Se sayaTHREE EXERCISES 89 do dot_dat_dad ded» dak91ATTENTION ALL DRUMMER rer tenance hee Rudimental Worksho Pretrial) aes LUE (0465B) eT oY le oe ae cco cessor for developing total control of the 40 Percussive Arts Societ rudiments in a musical context with immediate results. A Cres) pos; oy n-) Pt am ne porates dynamics, sticking patterns, and beginning to end, allowing players of all levels to be challenged at different points throughout the (C@MPACT BISCS — The two CDs include selected exercises with the rudiment solo and accom ment for each and ten groove tracks for use with the exercises that offer a number of different t styles, and feels to encourage musicality and groove. The CBs also enable the player to choose to te the solo material, the accompaniment, or both at the same time by adjusting the balance on the st(The Ultimate Technical Study of Four-Way Independence in Afro-Cuban Rhythms) by Horacio “El Negro” Hernandez (04448) Book and CD This detailed and methodical approach will develop four-limb coordination and expand rhythmic vocabulary. Under- ‘standing clave and the relationship between eighth-note and triplet rhythms will aid in mastering the multiple and complex rhythms of Afro- Cuban styies Stylistic groove transcriptions include Cascara, Guaguanco Mambo, Macuta, Songo, and Mozambique. The Drum Set Crash Course by Russ Miller (PERC9611CD) Book and CD This book covers the essential founda tions and grooves that will prepare the drummer for a varity of musical stua tions encountered on the average profes sional gig Designed to be an enoyclope dla of mary drumming styles, The Drum Set Crash Course covers. Afro-Cuban Brazlian, blues, country, hip-hop, 16zz ones rock and much more. q Extreme Interdependence (Drumming Beyond Independence) by Marco Minnemann, written in collaboration with Rick Gratton (0560B) Book and CD Cutting-edge techniques to master fourlimb independence from German »)) drum sensation Marco Minnemann. His | method will dramatically increase inde- "] pendence and coordination skills and help develop facility on the drum set in styles. Included are patterns, melodies for two limbs, hi-hat and flam techniques, extreme soloing and inde~ endénce grooves, and more. A bonus section includes play- Jong material from Marco's solo CDs and actual workshop sheets from his amazing clinics. Interdependence: the ability to itch any pattern to any limb at any time—complete freedom! (A Guide to App! Electronic Music to the by Johnny Rabb oe (0570B) Book and Two C1 This book and two-CD package is a must for ali drummers wanting to explore the world of electronically pro- duced |ungle/drum ‘a’ bass grooves! If you are new to jungle it will open the door to new grooves, loops, and sounds on the acoustic drum set: It also provides a ‘wealth of exercises transcriptions, and sound applications to achieve the feo! and style of these futuristic beats. The two CDs include exercise examples from each chapter, basic electron- ies, and seven original play-along groove loops. Rhythmic Illusions by Gavin Harrison (EL965SCD) Book and CD Created for drum set players who find themselves in a creative rut, this book and audio package easily brecks down the mystery behind subdivisions, rhythmic modulation, rhythmic scales, and beat displacement The author makes the tran sition from mathematics to musicality In & an easy and systematic approach. # Rhythmic Perspectives by Gavin Harrison | (0425B) Book and CD © | Rhythmic Perspectives is a book that covers cutting-edge drum concepts >] and offers mind-expanding exercises to further develop study of rhythmic ‘| illusions and multidimensional rhythm. These concepts are “mind rudiments” for a unique way of thinking about rhythmic structure, rythmic composi- tion, and higher rhythmic awareness.| THE DRUM SET GRASH COURSE .... Senor Co Sisal EA eMi leo Hiatus abest me ctary caters eT eT ag eek anes yey ee Lae. Ey Die lesa erect ent sro of each other, ihe student gains the m ei TRS Pits ene) 4 ST. | iil OO a SH less ‘TRANSITIONS 04188 (Book and CO) ‘THE DRUM BEY CRASH COURSE book and DVD encapsulates the entire Crash Course system. Starting with the physical considerations co. vered in Transitions and continuing with in-depth studies of more than 18 different styles of m nclude rock. jozz, fusion, funk ip-hop, second-line, Afro Cuban, [Im ozilion, country, reggae, ond ye peum ser ny more! This DVD is the most €RasH COURSE sive all-in-one dru ee rehensive all-in-one drum set PERCI61 | = ing tool available. ACHABE will include all of the songs featured in the video with Russ playing ‘remix without drums so you can practice, as wall as some of the key grooves ar Wwnnanann es’ THE DRUM SET CRASH COURSE succeeds where many other drum books fail! This is a model for all basic drum books to follow! (mer