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Infinitif, to spring. Prétérit, sprang/sprung. Participe passé, sprung. Participe présent (et gérondif), springing. 3ème personne du singulier.

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Drum Solos and Fill-Ins for the Progressive Drummer, Bk 1 by Ted Reed (Paperback / softback, 1996)

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Price from 0. Each of these 72 exercises is 16 notes long, exploring the possible combinations of R right and L left hand sticking patterns. There is definitely a reason this book is still around. For example, the R right hands can be played on the bass drum while the L left hand hits are played on the snare drum.

My favorite of these interpretations is to read every R as Rll and every L as rrL. These are the two halves of The Six Stroke Roll and they are played as rolling triplets. As head of the Berklee College of Music Percussion Department from , Alan Dawson left a legacy that changed jazz drumming forever. This book contains an introduction to the rudiments as tought by Alan Dawson, followed by The Rudimental Ritual —a 15 minute song incorporating all the rudiments into polyrhythms at varying rates, on and off the beat, over the Samba foot pattern.

This builds chops, phrasing and independence. It truly is meant to be a daily ritual, complimented by the material in the latter half of the book. The second section of this book lays out the eleven ways of interpreting Syncopation by Ted Reed. The basic goal here is to develop the ability to move a melody through any limb while supporting it with time, or filling in triplets with the other limbs. His effect on the evolution of jazz drumming is undeniable.

Phrases are clearly presented. Riley shows you what to play, then challenges you to apply it. I like this book as an intro for the serious student. It includes an overview of time playing, soloing, brushes, a variety of grooves to build the standard bag of tricks and six play along tracks that cover the tempos and groove situations a jazz drummer is typically presented with.

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This book is a collection of short, half-page rudimental solos. If you are already familiar with the Standard American 26 Drum Rudiments this book was written before the Percussive Arts Society added 14 rudiments to form the PAS 40 International Drum Rudiments and can read basic rhythms, each solo takes just few minutes to learn. They are fun, satisfying little achievements that have a great effect on your ability to apply rudiments musically.

Working with this book will give you the ability to take otherwise dry, square rudiments and make them sing.

Drum Solos And Fill-ins For The Progressive Drummer, Bk 1

A great follow-up to the Rudimental Ritual, or a nice primer that is far easier to pick up without a huge life time commitment. This book is dear to my heart if for no other reason than every time I sit down with it, even if just for a few minutes, I end up having a blast improvising snare drum solos as if his were my own.

This book gives an authentic history and specific examples of how to apply traditional Afro-Cuban rhythms to the drum set. Published in it has since become the go-to source for jazz and rock drummers interested in deepening their knowledge of Afro-Cuban rhythms.

Every drumming legend from John Bonham to Max Roach has incorporated these rhythms into their style. As with its Afro-Cuban counterpart, the book begins with a history of popular, religious and ritual processional music, introduces traditional Brazilian Samba instruments and their signature rhythms and goes on to demonstrate in-depth drum set applications. Another endless source of ideas and inspiration.

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Another roots exploration, this book is a deep history lesson filled with essays, interviews and transcriptions. It will take you from Congo Square through Ragtime, Brass bands, Jazz funerals, second line Street beats and modern applications. If you want to get to the bottom of your jazz and funk playing, this is a great place to start. This book is the go-to for drummers ready to explore orchestral snare drum.

It is a fantastic tool for refining control and sensitivity. A thin book of 50 snare drum studies, it is deep enough to inspire a page companion study guide. It is used around the world as the standard for training college percussionists. This book is a challenging exploration of odd rhythms quintuplets and septuplets , mixed meters, metric modulation and polyrhythms. In the beginning it feels a bit like getting to know the gears of a bike and learning to shift smoothly between them.

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After a review of basic hand position and dynamic control the book dives into an exercise in switching between all possible combinations of subdivisions of the beat. You will then be challenged with two studies that move from 8th notes to 32nd notes, and all possible combinations of subdivisions in between, like a wild rollercoaster.

These studies are meant to be played first on the snare drum, then applied on the drum set in an improvisational fashion where you maintain your focus on the rhythm while freely moving around the set. This is a fantastic exercise on internalizing subdivisions. It will greatly deepen your sense of time and is a cure for the drummer who gets caught up in his or her hands and chops.

Next, there are studies dedicated to each subdivision. One page of just 8th notes with rests in ever changing time signatures, with ever shifting dynamics, followed by one triplet exercise, a 16th note exercise and so on up through 5, 6, 7 and 8 note groupings. Again you are to learn each study first on the snare drum and then explore ways to apply them on the drum set. After working each subdivision with rests, the book covers rhythmic mixtures with rests followed by all previous material combined with metric modulation.

The latter half of this book is intensely difficult. Your mileage may vary. There are some heavy players that swear by this book. The first section is highly applicable. His books have been a huge influence on rock and fusion drummers. This short and friendly book is a primer on jazz independence originally published in The basic jazz time pattern is played throughout the book while sections progress from eighth notes to triplets and sixteenth note rhythms played between the snare and bass drum.

This was the first jazz study book I worked through after reading Syncopation and Stick Control. The introduction alone is worth the price, relating jazz drumming to independence in Balinese dance training and the independent control of each muscle of the body in Hindu drumming and dance.

Using Ted Reed's "Syncopation" for Drumming Independence