This a great book which is taught using a process my father developed. There is always a forward motion - this is the key to reaching the goals set by the student. He or she should be ready to turn to the next page of any given book and add something new to a technique that has been discussed in the previous lesson. My only expectation is that my student will come to the lesson prepared to move forward. The lesson plan is based on reviewing the previous lesson and then taking each assignment to the next step. Although the consistent use of method books is important, emphasis on "playing," improvisation and fun are always a large part of the experience here. At the same time, we introduce certain foundational elements. With brand new students, One of the goals is to have them playing a beat in the first lesson. Since my father's passing in 2000, I've expanded his method and personalized it for the modern drummer. Many of today's most well-known drummers have studied the Miller drum system, including Billy Cobham, Greg Bissenette, Dom Famularo, Bobby Rondinelli and Rod Morgenstein, to name just a few.Įven the great Buddy Rich recognized the value of his system and asked my father to teach him to read music. The system is based on Al's proven instructional method, begun in 1951. It is an easy program to follow and has provided our students with the tools needed to understand rhythm and technique. ends of long weekends suck.My methodology is based on the teachings of my father and The Al Miller Drum School, which has been in existence for over five decades. So, played slowly, the first line of ‘exercise one’ looks like this: (and go easy on the 'ol hand techniqe here, I'm no pro, haha)Īnd here’s the whole page at a moderate tempo: Rather, think about the melody –sing it to yourself ‘do bop, do bop ,bop, bop, bop …etc. but the point (and one of the main, fundamental concepts of all interpretations of syncopation that I learned from my teacher) is not to think about all the Rs and Ls because that’s baffling and gives a headache worse than cheap burbon. R l (start again -> R l rr L r (start again -> L r l l R l r r L r l l R l r r (go to double stroke roll) l l R l r r L r L r l l R l r r L r L r l l R l R l R l r r L r L r l l r r l l For any rest that’s a quarter note or longer, play a double stroke roll so, the first line goes: On each succeeding accent written on the page that’s less than 4 16th notes from the accent tha preceeds it, the paradiddle re-starts from the last accent. Each note represents a single stroke accent –and the first note on the page is the first note of a 16th note paradiddle. You’re going to ‘diddle’ around the melody by playing it as single stroke accents that will determine your paradiddle-esque sticking pattern. Working with ‘exercise one’ on or about p.38, think of the top line as a melody and ignore the bottom line of quarter notes for now. Stick with me because this is really awkward to describe (at least for me) but it’s not as complicated as it sounds: The paradiddle interpretation is somewhat of a misnomer because it’s not purely a paradiddle sticking. You can explore this interpretation to find some fun stuff –there are many interpretations of this interpretation if you will. One of my favorites is the paradiddle interpretation. 38, depending on what printing of the book you have) and I believe him.
Ways to use ted reed syncopation full#
My teacher claims to be able to replicate the effects of any technique book he’s ever seen with interpretations of this book (especially the full page exercises that start around p. I just got a video camera, so I thought I’d share one of my favorites. Like everyone’s pointed out, TONS of stuff from interpretations of this book.
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