One of the common interpretations applied to Ted Reed's Syncopation is to fill out the written rhythm with triplets, which can be pretty technically challenging due to all the doubles and multiples that come up. So, at some point you have to fill out the triplets more selectively; I've written about this before, using parts of the triplet. Here we have a slightly different approach, which I've broken down into steps, partly to make it more accessible to different levels of skill, but mainly to introduce some space, and to arrive at something practicable and playable at different tempos:
any written music with 8th note or longer rhythmic values.
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