The two Hungarians not only played music, they were themselves the music – in every nerve – down to their fingertips.

Adelheid von Schorn on Reményi and Liszt

Jazz Drum admission requirements for non-degree studies

Ted Reed's Syncopation book

How to play the Syncopation Exercises

Syncopation Exercise 1

Syncopation Exercise 2

Syncopation Exercise 3

Syncopation Exercise 4

Syncopation Exercise 5

Syncopation Exercise 6

Syncopation Exercise 7

Short solo drum improvisation - 2-3 minutes.

Drumming the following materials in the general styles and rhythms of jazz with piano and piano-double bass accompaniment:

Swing accompaniment and solo interlude (in 4 or 8 beats) with triplet and eighth note rhythm, in 4/4, 3/4 and 6/8 beats, with stick and wire brush. Solo performance in 4, 8, 12, 16 and 32 beats.

Accompaniment of a jazz ballade with stick and wire brush.

Accompaniment of Latin and Afro-American pieces - bossa-nova, samba, rumba, Afro-Cuban etc. - of different tempo (slow, middle and fast) with solo interludes.

Accompaniment of jazz-rock pieces with solo interludes.

Ad hoc accompaniment of a rubato piano piece.

Special theoretical admission requirement for jazz drummers: rhythm notation – notation of  drum accompaniment and drum solo performed on full drum set by ear.

 

Classical percussions main subject

 

Snare drum:

sight reading from Knauer and Stojko drum exercises

 

Timpani:

sight reading from Béla Zsoldos: Üstdobiskola (’Timpani Exercises’)

 

Vibrafon:

1 performance pieces, blues performance