#Alan dawson ted reed syncopation how to

Lastly, to all of my brilliant friends and classmates at William Paterson University and beyond: I could never have done this without you, and you all inspire me to my absolute best. Your generosity and wisdom truly means the world to me. Thank you for your time, energy, and cooperation with this project. To my interview participants, both those included and those who I unfortunately had to omit due to space limitations. To Steve LaSpina, for his altruistic guidance and friendship. Carol Frierson-Campbell, for her assistance with my literature review and instilling in me a sense of curiosity. David Demsey and Professor Kevin Norton, for serving on my defense committee and providing further editorial suggestions. Timothy Newman, for providing me with invaluable guidance and support every step of the way with this project and being the best advisor I could ask for. To my parents, Barbara and Jerry McBride, for encouraging me from the beginning in my pursuit of a life in music. Findings include direct correlations between the two, involving direct applications of his pedagogical concepts for four-way coordination, rudimental technique, and melodic implications within an improvised performance context.

Through musical analysis of selected transcriptions taken from DawsonвЂ™s recorded output, as well as interviews with his former students and colleagues, the study provides further insight into DawsonвЂ™s contributions as a player and educator, and into the relationship between his pedagogy and performing. The purpose of this study is to examine how Dawson demonstrated the concepts he developed as a teacher in his overall drumming style as a performer. All rights reserved.Дrummer Alan Dawson embodied the performer-pedagogue model often found in modern collegiate jazz programs, yet his innovations as a performer are often overshadowed in relation to his teaching career. Ii WILLIAM PATERSON UNIVERSITY OF NEW JERSEY A MODEL MENTOR: THE RELATIONSHIP BETWEEN THE PEDAGOGY AND PERFORMANCE STYLE OF ALAN DAWSON by Ryan McBride A MasterвЂ™s Thesis Submitted to the Faculty of William Paterson University of New Jersey In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC May 2014Д¬ollege of Arts and Communication _ (Thesis Supervisor print name): _ (Thesis supervisor signature) Department: Music _ (Chairperson: print name): _ (Chairperson signature)Д¬opyright В© 2014 by Ryan T. Ryan McBride Program in Jazz Performance Department of MusicДЄ THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Music in Jazz Performance in the College of Arts and Communication William Paterson University May 2014 David Demsey Professor Kevin NortonДЄ MODEL MENTOR: THE RELATIONSHIP BETWEEN THE PEDAGOGY AND PERFORMANCE STYLE OF ALAN DAWSON But don't let that scare you, start slow and focus on placement - once you're fluent in landing on E's and Ah's your phrasing will start to open up and get off of the 1/4 note and 1/8th note grid.Dr. Sixteenth note melodies are inherently funky - E's and Ah's fit in the cracks of most grooves so you hear them used a lot more in 'Advanced' music, like neo-soul and fusion. Start at the beginning of Ted Reed's 'Syncopation' and work your way up. The possibilities are really endless, the hardest part for most students is just getting going. This is the most basic of voicings - For more of a challenge, you can switch voices, add toms or left foot you can also change your fill in subdivisions. This style of reading is sometimes called the Alan Dawson Method - after the famous Berklee jazz instructor, but lots of people teach with some variation of this method. We play the MELODY on one voice (in this case kick and cymbals) while another voice (snare) 'Fills-in' between our melody notes.

#Alan dawson ted reed syncopation how to

Let's continue our exploration of Melodies as fills.ДЄ quick recap of how to read melodies for the drumset: