Continuing to develop this subtractive method, here are some good patterns for snare drum and bass drum in a jazz feel. I’m digging the system. It allows me to put whatever part I want consistently […]
Category: syncopation
EZ Reed method – Jack’s way – 02
Continuing a very easy system I’m using with a younger student— I feel kind of cheated that I wasn’t taught this myself, and that I haven’t been teaching it all these years. This is as […]
EZ Reed method: Jack’s way
This is a very basic method improvised by a student of mine— for younger students, or as a remedial thing for others. It’s good for orienting students in the Reed thing, playing full drum set […]
Subtractive method: batucada
This developing subtractive method is becoming really interesting. It makes it much easier to write and communicate more complex orchestrations than in the past— which is not an end in itself, it just makes it […]
Accents in Reed
TOTAL nerd stuff here. I use the accent pages in Progressive Steps to Syncopation (pp. 47-49) with my students for convenience, but I find them be a pain. They’re thorough, but poorly balanced— so if […]
Reed interpretations: special voicing – 01
This came out of the groove part of my recent Country Rock thing. It’s a kind of subtractive method for voicing the snare drum and bass drum. Not unlike my John Riley-inspired “that with interruptions” […]
Half time country rock with Reed
This swingy country, folky, gospel type of half time feel groove is all over the music of the late 60s/early 70s. You Can’t Always Get What You Want, The Night They Drove Old Dixie Down, for […]
Three practice rhythms inverted
This is a page I wanted when I was practicing yesterday— whatever I was doing was hard enough that I wanted to see these written out, all together. They’re simple, so they’re good starting independence […]
Marking up Reed
You know, I think we should all own multiple copies of Syncopation— first because they tend to get destroyed through use, second so we can pencil in our own changes without turning the book into […]
Reed interpretation: alternating triplets, no left on cymbals
Interesting, unusual little tweak streamlining a standard Reed triplet method, that should be good for fills, and for creating an easy, open triplet texture with a strong foundation in the bass drum. Probably helpful for […]