This lesson make a nice companion to lesson 2 in that it takes the triplet fill exercises we were working on the djembe, and now apply them to the doumbek or darbuka. Lesson 5: Jazz Fill Development For Doumbek Have fun and experiment with your own variations! It is helpful to play it with both hands in unison to develop evenness between the hands. I suggest playing the pattern with both hands. In this video I'm actually playing it with my left hand to allow my right hand interpret "ride" patterns. The heel tip strokes are similar to the strokes I use on congas and djembe to produce a double stroke roll.
ALAN DAWSON TED REED SYNCOPATION FULL
Frame drummers may want to reference a full sounding "dum" stroke. The first note should be as resonate as possible. I'm enjoying exploring the pandeiro stroke on the djembe. One of the threads that runs through my hybrid approach is interchanging drumming techniques, traditions and patterns through a variety of styles. Lesson 4: Pandeiro patterns applied to djembe with using Ted Reed's "Progressive Steps To Syncopation" I hope that you find them enjoyable and helpful! The exercises from this video are adapted from coordination exercises I play on the drumset. To be able to play 4 part coordination in sync with it is very useful in today's rhythmic world. Regardless of the name, it is a useful piece in a drummers toolkit. Jazz great Billy Hart sometimes refers to it as 6/8 cascara as it relates to ride cymbal patterns. This is a good exercise to accompany Lesson 1's article about Ewe Gadzo Ganugbagzo, also know as 6/8 Bell, Hoe Blade and more. Lesson 3: Exercise for 6/8 bell pattern using Ted Reed "Progressive Steps To Syncopation"
To see an example of me performing this concept on page 38 from the Ted Reed book refer to this link. The result is a syncopated melodic line between the eighth notes and quarter notes with the touch strokes serving as an accompaniment. The un-played, but implied, remaining triplets are played as very soft touch strokes. The eighth notes are played as open tones and the quarter notes as bass tones. For this exercise we will interpret the eighth notes in a jazz triplet feel. I like to use it in my teaching because it gives western trained drummers a familiar reference point. In my studies with drumset master Joe Morello we would often use the text by Ted Reed, "Progressive Steps To Syncopation" to develop technique. Lesson 2: This current theme is jazz fill development for the djembe. For your convenience I have provided this as a PDF.
It has variations and exercises on the African Ewe Gadzo Ganugbagba rhythm also known as the 6/8 bell pattern. In traditional rudimental drumming, though, they're often given a rhythm, and played as a drag on a 16th note- we'll have to go into that another time.Lesson 1: This is an article that appeared in Jazz Improv Magazine as well as the Sabian Newsletter. The presence of ruffs on the same line is a little confusing usually those are interpreted as an short, unmetered multiple-bounce stroke before the primary note, and seeing them attached to a roll you want to try to play them the same way. In modern notation, that would be written as a 16th note and dotted-8th, with the roll on the dotted-8th- you roll on the “e-&-a.” The 15 stroke roll in the third line would be played the same way, with the roll continued through beat 2. The sevens at the beginning of the piece, written as unembellished 8th note rhythm are pretty self-evident you play the roll part as a 16th note triplet starting on the &, and release on 1.Īt the end of the third line there is a seven stroke roll written as an 8th note with a ruff at the beginning which is an old-fashioned way of writing a tap seven, with a 16th note pulsation.
ALAN DAWSON TED REED SYNCOPATION PLUS
A seven stroke roll consists of three doubles or multiple-bounce strokes, plus a release note, and there are two forms of them here, one of which is rather obscure-looking to modern readers.
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