Lots of stuff combining Reed systems lately. Here we’re combining some solo systems with similar movements— they’ll have a timing change, and a minor sticking change, the broad movements are the same. They can be easily combined, switching to its partner system on any beat, and it’s a great idea to be very fluent with this.
On all of these systems, the rhythm from the book is accented (I’ve put them on the cymbals here, with bass drum in unison), sometimes swung, sometimes not, with the spaces filled in with 8th notes, triplets, or 16ths. Note that the accents fall on the same hands for each pair of systems.
Alternating 8ths to Ruff Bossa
Accents on downbeats = RH, accents on &s = LH.
RH lead 8ths to RH lead triplets
All accents on RH hand, all filler on LH, helped by the RH where there is more than two notes of filler in a row.
Alternating triplets to paradiddle inversions
Accents on any part of beats 1/3 (the downbeat or the &) fall on RH, accents on any part of beats 2/4 = LH
Start with the one-measure rhythms on pp. 30-31, and 34-37 of Syncopation, so the similarity of movement is very clear, first changing systems on the 1, then changing on any beat. Generally we’ll want to be very clear and accurate with the timing changes, but most important is keeping the quarter note pulse consistent; it can be acceptable for the internal rhythms to get pushed around, but the beat needs to be steady.
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