"Syncopation" by Ted Reed -Anyone have suggestions on ways to practice?

[drummer08]

Everyone who reads knows this book... looking for ways to practice the notes other than the obvious reading on the snare. Any ideas?

[oops]

Pish. Can't remember the name, but theres a book out there with heaps of variations, might be related to Alan Dawson?

Otherwise my drum teacher gave me heaps...

Play the syncopated line with snare, jazz ride pattern with right hand, HH on 2 and 4.
Sync Line with kick, Jazz ride, HH on 2 and 4.

As a fill:
Play Sync Line with right hand, swinging the 8th notes.
Play Sync Line w/ right hand, fill in blank spaces with 8ths on left.
Play Sync Line w/ right hand, fill in implied triplets with left.

Play Sync Line w/ both hands (R ride, L snare) over samba, Baiao, Songo foot patterns...

Theres heaps and heaps, I'd need to write them out to get more complicated.

[drummer08]

Theres heaps and heaps, I'd need to write them out to get more complicated.

Thanks for the reply... I'm all ears...

[jeffwj]

Syncopation Exercises phrasing the melodies

Melody = Syncopation exercises

Jazz
1. RH – Jazz Ride
RF – Quarter Notes
LF – 2, 4
LH – Melody

2. RH – Jazz Ride
LH – Cross-stick on beat 4
LF – 2, 4
RF – Melody

3. RH – Jazz Ride
LF - 2, 4
LH – Short notes (8th notes)
RF – Long notes (quarter notes or longer)

4. RH – Jazz Ride
LF – 2, 4
RF – Melody
LH – Triplet partials not used in melody

5. RH – Jazz Ride
LF - 2, 4
LH – Melody
RF – Triplet partials not used in melody

6. RH – Jazz Ride
RF, LF – Alternate Melody
LH – Triplet partials not used in melody

7. RH – Jazz Ride
RF – Quarter Notes
LH – Short Notes
LF – Long Notes

8. RH – Jazz Ride
RF – Quarter Notes
LH – Cross-stick on 2, 4
LF – Melody

9. RH, RF – Melody
LF – 2, 4
LH – Triplet partials not used in Melody

10. RH - Jazz Ride
LH - Quarter Note Triplets
LF - 2,4
RF - Melody

11. RH - Jazz Ride
LH - Melody
LF - 2,4
RF - Quarter Note Triplets

[joeybeats]

Pish. Can't remember the name, but theres a book out there with heaps of variations, might be related to Alan Dawson?

The book is The Drummer's Complete Vocabulary as taught by Alan Dawson, by John Ramsey. Joey

[KCDrummer]

Good suggestions by Jeffwj...if you want to make your life miserable ;)

Something I've come up with is playing the full-page exercises (starting on pg. 38) with the melody part broken up between two limbs alternating.

For example, you could play:

RH--Jazz ride
LF--2 & 4
LH & RF--Melody

or

RH--Jazz ride
RF--4 on the floor
LH & LF--Melody

It's a great way to get your limbs talking to each other, you can create little dialogues between two voices. And you can break the melody up in different ways. You could just do straight alternation with two limbs or, say, play all the eighth notes in the melody on your snare and play everything on the bass drum

[drummer08]

Thanks all for the excellent advice. I had gone through the book a long time ago and was trying to remember all the variations I knew from taking lessons... let's not forget :

RH- Jazz Ride
LH- Melody
LF- Quarter Note Triplets- beggining on 1

RH- Jazz Ride
LH- Melody
LF- Quarter Note Triplets- beginning on the the 2nd 8th note triplet of 1

[befryhus]

Try these " you tube" links:
http://www.youtube.com/watch?v=-BIszwm01g4&feature=user
http://www.youtube.com/watch?v=wz88HJtFMvA

Let me know what you think...

[Deltadrummer]

Good suggestions by Jeffwj...if you want to make your life miserable ;)


I'm going to have to try a couple of those.:)

Another exercise is constant triplets on snare: 1's and 3s (RH lead), 2's 4's(LH lead), melody where ever you want it: toms or cymbals.

[eu.sei]

I really like practising independence with it. You can play some patterns on the ride and play the stuff on the first pages with your left hand. This is pretty tricky in the beginning (with foot ostinato and right-hand pattern) but once you've worked your way through the pages you can play like any variation to the beat you're been practising.

EDIT: Okay that's pretty lame compared to all your proposals ...
:D

[Bart Elliott]

Lots of great suggestions.

Here's an article I wrote based on my studies with Alan Dawson. I wrote the article initially to be applied to Stick Control, but it works great when applied to Syncopation as well.

Expanding Stick Control for the Drumset (http://www.drummercafe.com/content/view/13/19/)

Maybe this will give you a few more ideas.

[King Of Drums]

hmm... Lately I've been using it for independence in Latin type grooves. I do quarters with the hi-hat, clave with left hand, bass drum is on the and of 2 and on 4 than I would play the exercises on the ride cymbal/cowbell with my right hand. You can then switch up what kind of clave you play and do it again i.e. 2/3 3/2 rhumba, son etc. Take turns doing the exercises on each limb, while keeping the other limbs in Latin patterns.

[gusty]

hmm... Lately I've been using it for independence in Latin type grooves. I do quarters with the hi-hat, clave with left hand, bass drum is on the and of 2 and on 4 than I would play the exercises on the ride cymbal/cowbell with my right hand. You can then switch up what kind of clave you play and do it again i.e. 2/3 3/2 rhumba, son etc. Take turns doing the exercises on each limb, while keeping the other limbs in Latin patterns.

Thats a really cool idea, just tried it for an hour, sounds good.

[Latin Groover]

Syncopation Exercises phrasing the melodies

Melody = Syncopation exercises
6. RH – Jazz Ride
RF, LF – Alternate Melody
LH – Triplet partials not used in melody


Some of these are really tough Jeff, great ideas! It took me a bit to get into this one, i started applying some SC stickings, to the 'alternating melody'. It ended up in me trying to work things out more than sight reading.lol. Filling in the 'lost' triplets is a cool idea.

play all the eighth notes in the melody on your snare and play (all of the melody) on the bass drum
Cool idea too Zack! Combine it with Jeff's...but in 11/16, and don't play every 5th triplet...

[mlewi1]

I spend some time playing as follows:

1. Right hand on top line, left hand on bottom
2. Left hand on top line, right hand on bottom line
3. Right hand and right foot on top line, left hand and left foot on bottom line.
4. Left hand and left foot on top line, right hand and right foot on bottom line.
5. Right hand and left foot on top line, left hand and right foot on bottom line.
6. Left hand and right foot on top line, right hand and left foot on bottom line.

[Boomka]

Great suggestions all around. The can also be used for straight grooves. You can apply "systems" a la The New Breed, for example.

To borrow the format used above:

1.RH – 1/4s/8ths/16ths/combinations on HH or RC
LH – SD on 2 & 4
RF – Melody

2. RH - 1/4s/8ths/16ths/ on HH or RC
LH - all Melody notes which land on 2 or 4 and add in notes on 2 & 4 not notated
RF - all other notes

3. RH/LH - Melody played on toms
LH/RH - fill 16ths on SD

4. RH/LH - Melody played on cymbals w. BD
LH/RH - fill 16ths on SD

5. For double bass players:
RH/LH - Ostinato on HH/RC
RH/LH - SD 2&4
RF/LF - 1/8th/triplet/dotted-8th/16th/combinations exercises

Perhaps this isn't the right place for this, but I'm increasingly of the mind that there are far too many drum books/methods on the market. With creative and imaginative application of just a few books, there is a lifetime of study that would MORE than prepare a player physically for the demands of being a professional player. The suggestions in this thread (and linked to) could take years to really master if one took the time.

[Jeremy Bender]

To help my bass drum foot, I like to play 1e& 2e& etc.on the hi-hat with my right hand, cross stick on 2 and 4 while the right foot plays the syncopation line. The hi-hat is open on the &. I learned this from watching Steve Smith who does it extremely well.

[Matty G.]

Lot's of good ideas for the "Syncopation" section already. Some smart mofo's on here :P

With the left hand on the melody, try to incorporate buzz strokes - buzz the long notes, tap the short ones.

Playing different ostinato's with the feet like samba feet. Or Calypso feet (3 side of the clave, 3+3+2, Biayo, etc) 1 +a's, 1e+'s, 1e a's, or solid 16th's for the ride pattern. Same thing w/the buzzs for the these.

With the 3+3+2 bass pattern, you can play both hands on snare 16th's and accent the melody line, either alternating or all with the right hand.

[Matty G.]

p.s. anyone have the old school copy with Ted's surly introduction about how drummers are TERRIBLE at reading music... especially the 'dance' drummer!?!? Always, cracks me up :) My students have the 'new' version which has a softer, gentler intro... whatever.

[Boomka]

p.s. anyone have the old school copy with Ted's surly introduction about how drummers are TERRIBLE at reading music... especially the 'dance' drummer!?!? Always, cracks me up :) My students have the 'new' version which has a softer, gentler intro... whatever.

I'm still teaching from a tattered copy my father bought during the first publication run in 1958-9!

[FunkyJazzer]

Lot's of good ideas for the "Syncopation" section already. Some smart mofo's on here :P

With the left hand on the melody, try to incorporate buzz strokes - buzz the long notes, tap the short ones.

Playing different ostinato's with the feet like samba feet. Or Calypso feet (3 side of the clave, 3+3+2, Biayo, etc) 1 +a's, 1e+'s, 1e a's, or solid 16th's for the ride pattern. Same thing w/the buzzs for the these.

With the 3+3+2 bass pattern, you can play both hands on snare 16th's and accent the melody line, either alternating or all with the right hand.


YES! That's wha I'm talkin' 'bout.

[FunkyJazzer]

Good suggestions by Jeffwj...if you want to make your life miserable ;)

Something I've come up with is playing the full-page exercises (starting on pg. 38) with the melody part broken up between two limbs alternating.

For example, you could play:

RH--Jazz ride
LF--2 & 4
LH & RF--Melody

or

RH--Jazz ride
RF--4 on the floor
LH & LF--Melody

It's a great way to get your limbs talking to each other, you can create little dialogues between two voices. And you can break the melody up in different ways. You could just do straight alternation with two limbs or, say, play all the eighth notes in the melody on your snare and play everything on the bass drum


I like this idea!

202020

[FunkyJazzer]

hmm... Lately I've been using it for independence in Latin type grooves. I do quarters with the hi-hat, clave with left hand, bass drum is on the and of 2 and on 4 than I would play the exercises on the ride cymbal/cowbell with my right hand. You can then switch up what kind of clave you play and do it again i.e. 2/3 3/2 rhumba, son etc. Take turns doing the exercises on each limb, while keeping the other limbs in Latin patterns.


*Steal*


2020202020202020

[Boomka]

Another method is to take the "Syncopation" exercises near the back and play them as accent patterns within a given subdivision.

1. Choose a subdivision (8ths, 16ths, 8th-note triplets) and play the exercise using two distinct levels of sound one for accents (the exercise) and one for all notes filling in between.

2. First with single strokes

3. Expand using compound stickings - for instance: In triplets, all downbeat accents are followed by a double stroke to complete the triplet while all upbeats are preceded by a double. Beats with an accent on the downbeat and upbeat are played with alternating strokes.

This can also be done using the paradiddle series. Downbeats are played with paradiddles, while upbeats are played with inverted paradiddles. A downbeat immediately followed by an upbeat accent is played with single strokes.

[Dan Lane]

Take a "thicker" rhythm from the 16ths section, say, 1 e n a 2 n a 3 e n a 4 n a,

and put that on your right hand on a tight hi-hat. Proceed to practice funk by playing the more spaced rhythms (The "Syncopation" part of the book,) on ghosted snare, bass drum, and in cut time along with the 16ths of the right hand. Try playing rhythms alternating between snare and bass, doubling between snare and bass, or placing the beats closer to 2 and 4 on the snare and accented.

Then move onto the second hi-hat rhythm.

Quite a chore.

[Chonson]

I'm almost embarrassed to admit it, but I'm doing some of the dawson-style exercises to get more out of the book with my teacher in efforts to deepen my understanding and facility with jazz drumming, and I'm getting completely destroyed.

On something really easy even - playing the exercises on pages 34-45 (or 33-44 on older versions apparently) with swung eighths. I could do this all day with straight eighths, but for some reason, I'm completely locking up with swung eighths. I thought I had kind of gotten the feel but when I try and read through it becomes a mess or seems like I'm leaning more towards texas shuffle or sixteenth note interpretations (eg, swung eighth coming out more like the last sixteenth). I've tried singing some of these but I can't seem to make it happen when in time, and when there are patterns with kick on the beat and snare on the offbeat, I fall apart when trying to sing it.

Saddest of all, it's not like I'm coming at this as someone who's never listened to jazz or is uninterested -- it's practically all I listen to these days, which is why this is more embarrassing and painful to admit. I feel like I'm way, way overthinking this and giving myself a mental block... but was just curious if anyone had any suggestions? When I try and think of this as first or last notes of a triplet, I seem to lock up completely.

Thanks for any advice... I've got a couple weeks till my next lesson, thankfully, but I'm struggling with this really badly on day #2 with some heavy practice time, so I'm worried I'm not going to make much headway.

[Chonson]

... it would appear the answer to the question was, as usual, using a metronome and counting, as well as taking some time without the metronome to sing it slowly and then bring it up to speed. Looks like it's just something that will take time.

[gusty]

... it would appear the answer to the question was, as usual, using a metronome and counting, as well as taking some time without the metronome to sing it slowly and then bring it up to speed. Looks like it's just something that will take time.

Yeah, just count the triplets, do it slow enough and you'll get the swing feel down.

[2bsticks]

I just found this buried in my first snare drum case. I paid $2.50 for it back in 1976. My teacher at the time had me doing a swing feel on top and his writing is still there. He has passed away but he was a great man and teacher. His name was Frank Shooshan. I can't believe I actually got through this book! I just tried the first page using only bass, snare, hi-hat and ride and I am stumbling all over again :-)

[rootheart]

Everyone who reads knows this book... looking for ways to practice the notes other than the obvious reading on the snare. Any ideas?


http://www.youtube.com/watch?v=wz88HJtFMvA

[highwayman65251]

I used to do a 6-stroke roll exercise using various parts of *Syncopation*. It's immediately clear which exercises will and will not work. I might say that the way I learned a six-stroke roll was with each strike getting the same amount of time, two triplets up against eachother, unlike some rudiment drummers who treat it more like a 5-stroke roll (at least from the way I hear them)

Take the entire sequence (RLLRRL) to be one beat, then

an eighth note gets RLL
a quarter note gets RLLRRL
a dotted quarter note gets RLLRRLRRL
a half note gets RLLRRLRRLRLL

On all of these the next strike is R and I leave it out.

Get out your Ted Reed and go to town!

[donv]

An exercise I enjoy with this book along with Stick Control and Mondern Reading Text in 4/4 is to take 2 lines next to each other, and play the top line with my hands in unison, and the second line in unison with my feet. While doing this I am only playing the snare line and I ignore the bass drum line. Then switch so the top line is with my right side in unison, and the bottom line with my left side in unison. And then again with right hand\ left foot with the top line and left hand\right foot with the bottom line. Then the same again switching everything around. When you get this down, play the top line and bottom lines against each other.

[Gunnarsen]

i think it's fun to make grooves out of the rhythms.
take two bars, think about it as one bar with swung sixteenth notes und play it like a halftime shuffle and smoe fills or solo ideas. it's really fun to play and it is a good exercise for playing forms and it's improving creativity.

[Spinozalove]

Recently I have been using it alongside stick control. Take an exercise from stick control and play it with your hands, whilst playing beats 2 & 4 with left foot on the hats, and playing rhythms from syncopation on the bass drum. So far I am just working through the first page of stick control using this idea, whilst with the bass drum I am playing rhythms from syncopation set 1. It's a really good independence exercise and the results often sound very musical too. There is also lots of room to expand this idea - playing different rhythms on the hats, different accenting possibilities, etc.

[Level5]

MAN, so many good suggestions. I've suddenly got the urge to go play now : D

[gusty]

Syncopation Exercises phrasing the melodies

Melody = Syncopation exercises

Jazz
1. RH – Jazz Ride
RF – Quarter Notes
LF – 2, 4
LH – Melody

2. RH – Jazz Ride
LH – Cross-stick on beat 4
LF – 2, 4
RF – Melody

3. RH – Jazz Ride
LF - 2, 4
LH – Short notes (8th notes)
RF – Long notes (quarter notes or longer)

4. RH – Jazz Ride
LF – 2, 4
RF – Melody
LH – Triplet partials not used in melody

5. RH – Jazz Ride
LF - 2, 4
LH – Melody
RF – Triplet partials not used in melody

6. RH – Jazz Ride
RF, LF – Alternate Melody
LH – Triplet partials not used in melody

7. RH – Jazz Ride
RF – Quarter Notes
LH – Short Notes
LF – Long Notes

8. RH – Jazz Ride
RF – Quarter Notes
LH – Cross-stick on 2, 4
LF – Melody

9. RH, RF – Melody
LF – 2, 4
LH – Triplet partials not used in Melody

10. RH - Jazz Ride
LH - Quarter Note Triplets
LF - 2,4
RF - Melody

11. RH - Jazz Ride
LH - Melody
LF - 2,4
RF - Quarter Note Triplets

From about #4 down should keep me busy for a while.

[madgolfer]

A local Maine drum legend named Dick Demers created a few hundred different variations based on Syncopation, mostly original, but some not. He compiled them into a book called "No End to Control." You can contact him through email:

demersdrumschool@hotmail.com

One of my favorites is using a 5/4 bass drum/hihat pattern with a 4/4 jazz ride pattern, two and four backbeats and sing the syncopated line.

[Matty G.]

A local Maine drum legend named Dick Demers created a few hundred different variations based on Syncopation, mostly original, but some not. He compiled them into a book called "No End to Control." You can contact him through email:

demersdrumschool@hotmail.com

One of my favorites is using a 5/4 bass drum/hihat pattern with a 4/4 jazz ride pattern, two and four backbeats and sing the syncopated line.

I have something very similar. Did this guy you're referring to go to North Texas? My teacher, Randy Drake, went to UNT, and gave me a copy called, "Melodic Line Coordination" or something like that. And yeah, it's like really really really intense, long and challenging.

I've gone through some of it, but after a few pages I sorta of got the big picture, and ever since I started to customize my own exercises to fit the musical situations I was encountering.

For the Syncopation solos in the middle of the book. (I think there are 8.) Here are a few core concepts:

-Straight or Swung 8ths

-Hand ostinatos (8ths, 16ths, jazz ride, triplets, any combination)

-Adding feet ositnatos (jazz feet, samba feet, tumbao feet, baiyao, etc)

-Melodic line assigning (any limb)

-Stylizing (buzz's, accents, rimshots, orchestrations, etc)

-a more advanced concept is filling in notes between the melodic line. So if you play the melodic line in swung 8ths on your kick drum, you fill in every triplet snare between.

The amount of variation is staggering! The more you practice this stuff, the easier it gets though, and the more coordinated you become.

[Swiss Matthias]

Ted Reed released a book himself with some suggestions, called Syncopation 2, similar cover but red.
Some of the ideas are covered by jeffwj's list.

[toddbishop]

These books also list some methods- I think you can get them both from Steve Weiss Music:

Syncopated Rhythms for the Contemporary Drummer by Chuck Kerrigan
Interpretive Stickings Vol 1 and 2 by Martin Bradfield

[jeffwj]

I have been taking the Syncopation style adaptations that I mentioned in previous posts and playing them with the rhythms from Steve Fidyk's book (link and sample below). The rhythms are similar, but Steve's book has syncopated exercises in 3/4, 4/4, and 5/4. It is great for waltz ideas.

http://www.steveweissmusic.com/product/1125511/general-drumset-methods

http://images.static.steveweissmusic.com/products/images/uploads/1125511_10503_popup.gif

Jeff

[madgolfer]

I have something very similar. Did this guy you're referring to go to North Texas? My teacher, Randy Drake, went to UNT, and gave me a copy called, "Melodic Line Coordination" or something like that. And yeah, it's like really really really intense, long and challenging.

I've gone through some of it, but after a few pages I sorta of got the big picture, and ever since I started to customize my own exercises to fit the musical situations I was encountering.

For the Syncopation solos in the middle of the book. (I think there are 8.) Here are a few core concepts:

-Straight or Swung 8ths

-Hand ostinatos (8ths, 16ths, jazz ride, triplets, any combination)

-Adding feet ositnatos (jazz feet, samba feet, tumbao feet, baiyao, etc)

-Melodic line assigning (any limb)

-Stylizing (buzz's, accents, rimshots, orchestrations, etc)

-a more advanced concept is filling in notes between the melodic line. So if you play the melodic line in swung 8ths on your kick drum, you fill in every triplet snare between.

The amount of variation is staggering! The more you practice this stuff, the easier it gets though, and the more coordinated you become.

Hmm...don't think so. Dick is an older guy and sticks pretty close to Maine as far as I know. Great book, though.

[Spinozalove]

A nice one I have been doing lately. Bass drum on each beat of the bar. Hat's on 2 and 4. Play the melody hand to hand with the short notes on the snare and the long notes on the various toms (and then the other way around, with the short notes on toms and the long notes on the snare; and again, with different cymbals and toms etc.). This is a great technical excercise for increasing your independence and coordination around the kit, but what I love about it is every excersice sounds so musical and feels so good to play when you find the groove. You are not just moving around the kit in a meaningless way, but learning to apply musical phrases around the kit.

[Drums101]

A nice one I have been doing lately. Bass drum on each beat of the bar. Hat's on 2 and 4. Play the melody hand to hand with the short notes on the snare and the long notes on the various toms (and then the other way around, with the short notes on toms and the long notes on the snare; and again, with different cymbals and toms etc.). This is a great technical excercise for increasing your independence and coordination around the kit, but what I love about it is every excersice sounds so musical and feels so good to play when you find the groove. You are not just moving around the kit in a meaningless way, but learning to apply musical phrases around the kit.

To make this more of a challenge, play triplets with both hands on the snare. Then accent the notes that fall into the triplets. Then play the triplets on the snare and the short notes on the high tom and the long notes on the floor tom.

[Spinozalove]

To make this more of a challenge, play triplets with both hands on the snare. Then accent the notes that fall into the triplets. Then play the triplets on the snare and the short notes on the high tom and the long notes on the floor tom.

Nice idea I will give this a go tomorrow.

[Laantziloo]

You need to search for a book by Dick Demers. he lives in Maine. This book has every way of playing Ted Reeds Syncopation that you can imagine.
The title of the book is: The Beginning of No End to Control. You can Google his name and find this book. You'll gain LOTs of independence. Dick Demers is "the man"...

[jkleinjr]

Ted Reed was my great Uncle. I vaguely remember visiting him. He had a place in Long Island and a studio in Times Square. He used to play with the Jackie Gleason Orchestra and another big one I cant remember but the guy later was a game show host.
Joe Klein Jr.

[jeffwj]

Ted Reed was my great Uncle. I vaguely remember visiting him. He had a place in Long Island and a studio in Times Square. He used to play with the Jackie Gleason Orchestra and another big one I cant remember but the guy later was a game show host.
Joe Klein Jr.

That's cool. Do you play drums too? Did you ever take lessons from him?

Jeff

[toddbishop]

I've written up a bunch of my own Syncopation methods on my blog- you should be able to find all of them by looking under the "syncopation" (http://shipdrummer.blogspot.com/search/label/syncopation) and/or "exercises" (http://shipdrummer.blogspot.com/search/label/exercises) labels.

[Numberless]

My favorite way so far of reading Syncopation is Single hand lead, with your right hand you play the melody, left hand fills all the triplets, short notes go on the high tom, long notes go on the cymbal with the bass drum, hats on 2 & 4. Sounds so ***** cool!

[dmacc]

I'm not a double bass player but here's one I use for working with my double bass drum pedal.

Hands - Use the first few pages of Stick Control - melodically voice these patterns among the kit (toms/cymbals, blocks, cowbells etc...)

Play the Syncopation Studies on the double pedal ensuring to always alternate the notes being played. Some measures begin with the left foot and others with the right.

Again, I'm in no way a double bass player but have had a great deal of fun with this exercise.

[Drums101]

Ted Reed was my great Uncle. I vaguely remember visiting him. He had a place in Long Island and a studio in Times Square. He used to play with the Jackie Gleason Orchestra and another big one I cant remember but the guy later was a game show host.
Joe Klein Jr.

May I ask... what game show?

[haredrums]

Here is a somewhat different perspective. Instead of using just the rhythmic material from "Syncopation" or other drum texts, expand outward into using the melodies of jazz standards. I started thinking about this idea when I noticed that Dawson used the song "Oleo" in one of his exercises. I am working on a book that expands on this idea of using melodies as the basis for drum exercises. Below is a link to my blog with a video of me demonstrating such an exercise.

http://haredrums.blogspot.com/2011/09/papa-jo-2-from-melodic-syncopation.html

Any feedback would be most welcome!

[Wavelength]

Here's a good one for the double pedalers... http://www.youtube.com/watch?v=sxg-QT2pSZ0

[Numberless]

I'm using it to build vocabulary, I play four bars of time (right now I'm doing this in afro-cuban style) and then play four bars of any of the exercises, the goal is to read and orchestrate the phrase around the kit, giving you a great workout!

[haredrums]

Here is a link to a more complete explanation of the exercise so that you guys can check it out in more depth.

http://haredrums.blogspot.com/2011/11/papa-jo-2-call-and-response.html