Syncopation Companion

Syncopation Companion

This well-presented book from Sher Music takes the lessons of Ted Reed’s seminal 1958 Progressive Steps To Syncopation to a new level

By Mark Youll – 04 August 2021

Praised and endorsed by notable educational establishments and top-drawer players such as Peter Erskine, this new drum book from Bryan Bowman advances methods first introduced by the great Ted Reed and his Progressive Steps To Syncopation – a publication released in 1958 that came second in Modern Drummer magazine’s greatest instruction book poll in 1993.

Whereas Reed’s 65-page book addressed the study of syncopation in rich detail, primarily between snare drum and bass drum, Bowman’s 166 pager takes Reed’s concepts to another level. Of course, Bowman isn’t the first to advance Reed’s original ideas for studying syncopation, but his approach is unique. From the opening section (focusing on the application of various drum rudiments), what is clear is Bowman’s intention to present all the exercises as ready musical statements and lift the given patterns from the snare or practice pad to the complete drum set.

Bowman also deems it essential to have a copy of Reed’s book to hand (to use simultaneously with this companion) and to have a basic grasp of rudiments to maximize the benefits of this one. He also maintains the importance of the individual’s imagination when taking the hand patterns throughout and laying them over the foldout etude of foot patterns at the back of the book, and then also over particular pages of Reed’s book.

Bowman’s book is beautifully presented throughout and a noticeably nice touch to help grasp the accents added to various patterns is Bowman’s idea of presenting a second stave above the exercise, highlighting just the accents. This also helps students not so proficient in reading rhythm develop their reading chops.

The second section also takes in odd-time metre reading, linear ideas, jazz comping, syncopation in straight rock situations and its application to Afro-Cuban grooves. As a drummer myself I’ve found Bowman’s book, like some of the others he references and recommends throughout, one hard to put down. It’s brimming with great content for drummers of every genre.

Bowman sells Syncopation Companion in the book’s introduction as a “a toolkit for musical expression” and “an avenue to reach your potential on the drums” and succeeds in what he sets out to do, namely help build strong technique, independence of limbs, reading and, above all, strong musicality. Drummers, go get this book.

Here’s what these great drummers are saying about Syncopation Companion.

“My course of study as an aspiring drummer did not include working out of Ted Reed’s “…Syncopation” book, much to my regret in later years. My sense of having missed out on some essential training was somewhat offset by my mistrust or misunderstanding of the Reed book and its intended goals. 

Bryan Bowman’s revisit and expansion on the topics of syncopation and rudimental drumming bridges the gap for me, as I’m sure it will for many other drummers — as well as providing a beautifully-useful tool for students of the Reed, Dawson and Wilcoxin methods and etudes.

I am looking forward to utilizing this book with my students as well as on my own practice pad.”

— PETER ERSKINE

Syncopation Companion: An Integrated Approach to Rudimental Drumming, by Bryan Bowman, is a wonderful addition to the world of drum set pedagogy, extending the great work of jazz education pioneer Alan Dawson’s methods with Ted Reed’s Syncopation. Indeed, a rich legacy to stand upon. I am most impressed by the logical progression from Chapter One through Chapter Twelve and the inclusion of concepts applicable to various styles, including Jazz, Rock, Funk, Brazilian, and Afro Cuban genres. The technical exploration presented in Syncopation Companion will surely extend the hand and four-way technique of the intermediate-advanced drummer, making it an excellent resource for drum set and percussion teachers alike, who are looking to challenge their students’ overall musical development.

— YORON ISRAEL (Chair and Professor of Percussion, Berklee College of Music)

“Bryan’s book is an excellent source for those who are looking for interesting and engaging ideas based on the Syncopation book! All too often students (as well as their teachers) have a limited arsenal of ideas when it comes to the possibilities hidden in this widely used textbook. I would recommend Bryan’s Companion to the army of drummers out there who own Ted Reed’s book but don’t really know how to put it to full use!”

— MARKO DJORDJEVIC (Associate Professor, Percussion, Berklee College of Music)

‘Bryan Bowman‘s book, Syncopation Companion, is a masterfully crafted, well organized, learning tool for all Drummers who are interested in moving forward on the instrument. The systems introduced in Bryan’s book are perfect vehicles for musically incorporating rudiments into any drummer’s vocabulary. The exercises can be challenging, but also very gratifying and fun!

I started working out of Syncopation by Ted Reed when I was seven years old. I still work out of it today. I’m looking forward to digging into Syncopation Companion for many years to come!”

— DAVID ROKEACH (Drum set instructor at Stanford University)

“I have done so many applications of Syncopation in my life. For many years I had an idea to come up with a book of all these applications. Well, I have to say, you have done it for me! In fact, you have surprised me with many applications. I think you have done a tremendous job and I would definitely recommend it to my students.”

— MARIANO STEIMBERG (Assistant Professor of Drums, Berklee College, Valencia, Spain campus)

“As a drummer myself I’ve found Bowman’s book hard to put down. It’s brimming with great content for drummers of every genre. Bowman’s idea of presenting a second stave above the exercise, highlighting just the accents is a noticeably nice touch to help grasp the accents added to various patterns. This also helps students not so proficient in reading rhythm develop their reading chops. He succeeds in what he sets out to do, namely help build strong technique, independence of limbs, reading and, above all, strong musicality.

Drummers, go get this book.”

— The Jazz Journal