If I were ever to play anything similar to that in real life, I would be thinking in terms of 16th notes double timed. I don't believe I've ever read a 32nd note in the course of playing music professionally, and I read them pretty rarely when practicing drum set. I don't understand the purpose of writing these exercises as 32nd notes- I don't consider this level of fluency with reading them to be an essential skill for a drummer. That happens in measure 136, for example. Some of the rhythms written as triplets get a little distorted- if you see a tenuto mark over one note of a triplet, that indicates that note is a little longer than its normal rhythmic value, and the note after it falls a little late. See measures 5, 28, 32, and then in the last couple of pages especially. In terms of the kind of physical coordination at work, there is a good amount of layering happening- harmonic coordination, if you will- multiple limbs playing at the same time, in rather complex combinations. I've marked his dynamic changes in moderate detail on the first page. He gets louder from chorus to chorus, but within that there will be a lot of dynamic changes.
![tim reed syncopation pg. 36 tim reed syncopation pg. 36](https://drumsettips.org/wp-content/uploads/2017/09/Reed_Syncopation_2.jpg)
You could say his dynamics are dramatic and very local, too- he uses lots of crescendos, and a lot of subito ps.
![tim reed syncopation pg. 36 tim reed syncopation pg. 36](https://www.sonomawireworks.com/img/drumcore/DrumCore-4-Browser-All-Drummers.jpg)
It's normally not a way we think to play- it would be easy to sound bad doing this. He plays them loud, with a lot of variety, pretty regularly at every phrase ending. What he does do is make a lot of featured, fill-like comping ideas outlining the form of the tune. Harewood's foundation here is very simple there's not a lot of variety to his basic groove.