{"id":20161,"date":"2019-11-17T09:19:59","date_gmt":"2019-11-17T17:19:59","guid":{"rendered":"https:\/\/www.drumeo.com\/beat\/?p=20161"},"modified":"2022-08-24T14:28:32","modified_gmt":"2022-08-24T21:28:32","slug":"the-ultimate-guide-to-soul-and-funk-drumming","status":"publish","type":"post","link":"https:\/\/www.drumeo.com\/beat\/the-ultimate-guide-to-soul-and-funk-drumming\/","title":{"rendered":"The Ultimate Guide To Soul And Funk Drumming"},"content":{"rendered":"\n<p><em>This Funk\/Soul Guide is actually a full chapter pulled directly from <a href=\"https:\/\/www.drumeo.com\/drumshop\/the-drummers-toolbox\/\" target=\"_blank\" rel=\"noreferrer noopener\">The Drummer\u2019s Toolbox: The Ultimate Guide To Learning 101 Drumming Styles<\/a>.  <br> <br> We wanted to quickly show you the incredible value that&#8217;s inside the book, plus share a quick video that highlights the quality of the print. <br> <br> This isn&#8217;t your ordinary drum book. The Drummer&#8217;s Toolbox is bound to sit flat for music stands or wherever else, you&#8217;ll get 450+ full color pages, and it&#8217;s all pulled together to help you develop your own unique style on the drums.<\/em><\/p>\n\n\n\n<p><em> <iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/373656891?title=0&amp;byline=0&amp;portrait=0\" width=\"640\" height=\"459\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen=\"\"> If you enjoy this guide to soul and funk, check out the other genres &lt;a href=&#8221;https:\/\/www.drumeo.com\/drumshop\/the-drummers-toolbox\/&#8221;>here&lt;\/a>!&lt;\/em><\/iframe><\/em><\/p>\n\n\n<p><style>\n#toc_container {<br \/>\n   background: #f9f9f9 none repeat scroll 0 0;<br \/>\n   border: 1px solid #aaa;<br \/>\n   display: table;<br \/>\n   font-size: 95%;<br \/>\n   margin-bottom: 1em;<br \/>\n   padding: 20px;<br \/>\n   width: auto;<br \/>\n}<br \/>\n.toc_title {<br \/>\n   font-weight: 700;<br \/>\n   text-align: center;<br \/>\n}<br \/>\n#toc_container li, #toc_container ul, #toc_container ul li{<br \/>\n   list-style: outside none none !important;<br \/>\n}<br \/>\n<\/style>\n<\/p>\n<div id=\"toc_container\">\n<p class=\"toc_title\">\n<\/p><h3><strong>Styles In This Guide<\/strong><\/h3>\n<ul class=\"toc_list\">\n<li><a href=\"#Gospel\">Gospel<\/a><\/li>\n<li><a href=\"#Motown\">Motown<\/a><\/li>\n<li><a href=\"#Boogaloo\">Boogaloo<\/a><\/li>\n<li><a href=\"#Neo_soul\">Neo-Soul<\/a><\/li>\n<li><a href=\"#Second_line\">Second Line<\/a><\/li>\n<li><a href=\"#Funk\">Funk<\/a><\/li>\n<li><a href=\"#New_orleans_funk\">New Orleans Funk<\/a><\/li>\n<li><a href=\"#Latin_funk\">Latin Funk<\/a><\/li>\n<li><a href=\"#Go_go\">Go-Go<\/a><\/li>\n<li><a href=\"#Disco\">Disco<\/a><\/li>\n<\/ul>\n<\/div>\n<hr>\n\n\n<h3 class=\"wp-block-heading\"><strong>Introduction<\/strong><\/h3>\n\n\n\n<p>Soul and funk dominated the music world during the 1960s and 1970s. Record labels like Motown Records and Stax Records, artists like Stevie Wonder, James Brown, and Marvin Gaye, and the unforgettable sounds of iconic rhythm sections like the Funk Brothers and Booker T. &amp; The M.G.\u2019s all created so much magic it\u2019s no wonder these two genres were so successful and influential.<br><\/p>\n\n\n\n<p>Playing soul and funk on the drums just might be the most fun you\u2019ll ever have\u2014especially because there are so many unique types of grooves used in each specific subgenre of this music. Funk drumming, in particular, is a favorite among most drummers. I personally love it because the drums, along with the electric bass, play one of the most important and dominant roles in the style.&nbsp;<br><\/p>\n\n\n\n<p>If you&#8217;ve developed fundamental skills through rock, jazz, blues, and\/or country drumming, soul and funk drumming will incorporate and expand on those skills. The drumming styles in this chapter feature shuffle patterns, snare drum grooves, quarter, eighth, and sixteenth note grooves, as well as grooves played with straight and swing feels.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"651\" src=\"https:\/\/www.drumeo.com\/beat\/wp-content\/uploads\/2019\/11\/Stanley-Randolph-1024x651.jpg\" alt=\"\" class=\"wp-image-20223\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14101915\/Stanley-Randolph.jpg 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14101915\/Stanley-Randolph.jpg 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14101915\/Stanley-Randolph.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p>These two genres of popular music emerged during the late 1950s (soul) and mid-1960s (funk). Both styles were predominantly played by African-American musicians during these years. Although the styles vary wildly from one another, I cover them together in one chapter here because funk music was first created and popularized by soul musicians\u2014notably James Brown. Many prominent soul artists of the 1960s and 1970s, like Marvin Gaye and Stevie Wonder, also crossed over and experimented with funk music throughout their careers. As you\u2019ll learn, soul and funk drumming are quite different from one another, but the ties between these two genres make them soul sisters. Or Funk Brothers. Whatever. You know what I mean.&nbsp;<br><\/p>\n\n\n\n<p>Soul music, which only emerged a few years prior to funk music, emphasizes lyrics, vocal melodies, and vocal harmonies. This style is essentially secularized gospel music featuring \u201ccatchy\u201d melodies and call-and-response vocals. Soul music is much less complex than funk music and was more commercially successful. But during the early 1970s, the popularity of soul music quickly faded as funk music became the more prominent genre. Funk music emerged from jazz, blues, and soul music during the mid-1960s and became one of the first styles of music to place more emphasis on rhythm than melody and harmony. The rhythm section is the driving force of funk music. Some identifying characteristics of this style include syncopation and extended harmony (commonly used in styles of jazz like bebop).<br><\/p>\n\n\n\n<p>Soul drumming and funk drumming are quite distinct from one another. In general, funk drumming is much more complex and syncopated in comparison to soul drumming. Remember, the rhythm section plays a dominant role in this style, so they have the freedom to play more complex parts. Funk drumming (and other styles related to funk) often incorporates linear patterns, ghost notes, hi-hat openings, and syncopated lead hand patterns. Because soul is vocal-focused music, the drums only play a supporting role in this style. This means soul drumming features more basic patterns with fewer embellishments.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"538\" src=\"https:\/\/www.drumeo.com\/beat\/wp-content\/uploads\/2019\/11\/harvey-mason-drumming-1024x538.jpg\" alt=\"\" class=\"wp-image-20226\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14102759\/harvey-mason-drumming.jpg 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14102759\/harvey-mason-drumming.jpg 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14102759\/harvey-mason-drumming.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p>Learning how to play soul and funk music on the drums will benefit you in two significant ways. Soul drumming will teach you how to be disciplined and how to lay down a solid groove for the duration of an entire track. On the other hand, funk drumming will teach you how to add some flare to your drum grooves by exploring different ways to embellish them. These are both very important skills that will apply to any style of music you play on the drums. By the time you complete this chapter, you\u2019ll also know how to differentiate soul and funk grooves from one another so that you never accidently play a linear David Garibaldi groove in a Motown tune.<br><\/p>\n\n\n\n<p>In this chapter, you\u2019ll first learn about one drumming style that had a significant impact on the development of soul music, then you\u2019ll dive into three specific soul drumming styles. Next, you\u2019ll focus on funk music. You\u2019ll learn about one drumming style that had a significant impact on the development of funk music, and then you\u2019ll explore four more specific funk drumming styles. Lastly, you\u2019ll focus on one final drumming style that has been impacted by both soul and funk.<br><\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"Gospel\"><strong>Gospel<\/strong><\/h3>\n\n\n\n<p>One style that played an important role in the development of soul was gospel music. For me, having played gospel music and contemporary worship music (a popular subgenre of gospel that\u2019s included in the Appendix of <a href=\"https:\/\/www.drumeo.com\/drumshop\/the-drummers-toolbox\/\">The Drummer&#8217;s Toolbox<\/a>) in many different churches over the past fifteen years, this drumming style has benefited my drumming in countless ways. This genre of music taught me the importance of dynamic control, listening to the musicians you\u2019re playing with, and being aware of your audience (or congregation in this case). Many of the grooves I\u2019ve learned from this drumming style have also transferred directly into many other styles of music that I play, like rock and country.<br><\/p>\n\n\n\n<p>Musicians have been playing gospel music in Christian churches for hundreds of years, but it wasn\u2019t until the 1950s that drummers were featured. During the 1950s, gospel music was also being influenced by other styles of music that were prominent at the time, like rock and roll, R&amp;B, and country music. Some of the best-known gospel musicians in history include Aretha Franklin, Sam Cooke, Kirk Franklin, and Yolanda Adams.<br><\/p>\n\n\n\n<p>Like many other styles, gospel drumming can be played with a straight or swing feel and at a variety of different tempos. Like \u201cSwung 12\/8 Blues\u201d, this is a drumming style that frequently incorporates swung sixteenth notes. However, in this section, you\u2019ll need to know how to interpret straight sixteenth notes as swung sixteenth notes. I\u2019ll explain this concept soon. When it comes to specific techniques in gospel drumming, cross-sticking and hi-hat openings are two of the most essential. In this section, you\u2019ll learn a number of different grooves that incorporate both of these techniques.<br><\/p>\n\n\n<p><iframe class=\"email-form-include-full\" src=\"https:\/\/www.drumeo.com\/weeklyemail\" frameborder=\"none\"><\/iframe><\/p>\n\n\n<h5 class=\"wp-block-heading\"><strong>A Quick Look<\/strong><\/h5>\n\n\n\n<p>This groove is played by Erick Morgan in the song \u201cWhatcha Lookin\u2019 4\u201d by Kirk Franklin &amp; the Family. When you listen to the recording, you\u2019ll notice that this groove is played with a swing feel. You can hear him play it in the song at 0:17. (Quarter note=96 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/hqkPq-wVdutYMjQ3B_joLZL5me7YPsIeuLkwWvwkeULb3JhDgzVmYCSi2epkTrzqfKhIJwP4H0cL12UPBe6SNWFaHrJ7thZXYGroNHNdENMT4V1JLxU_ZH-DfZXqlPbv_IHR-R3EgUv0KLxFVQ\" alt=\"image736.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Breaking It Down<\/strong><\/h5>\n\n\n\n<p>Before you start with the hi-hat pattern, you need to understand how to interpret straight sixteenth notes as swung sixteenth notes. Throughout the previous chapters, you\u2019ve interpreted eighth notes as eighth note triplets when playing with a swing feel. In this case, you\u2019ll be interpreting sixteenth notes as sixteenth note triplets, also known as sextuplets. Here\u2019s what this looks like in notation:<br><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"710\" height=\"113\" src=\"https:\/\/www.drumeo.com\/beat\/wp-content\/uploads\/2019\/11\/Screen-Shot-2019-11-13-at-6.14.54-PM.png\" alt=\"\" class=\"wp-image-20172\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13151517\/Screen-Shot-2019-11-13-at-6.14.54-PM.png 710w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13151517\/Screen-Shot-2019-11-13-at-6.14.54-PM.png 300w\" sizes=\"auto, (max-width: 710px) 100vw, 710px\" \/><\/figure><\/div>\n\n\n\n<p>Now, try playing one full measure of straight sixteenth notes followed by one full measure of swung sixteenth notes like this:&nbsp;<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/PqxoVR6Ke4VxLPoWZlI0_CWXG7g5GwPjbwyNbVxTOU-3LcfK8SXAXvb9Ffek_u0H1CGQQTyaAX-CgGFR3PEh7TOV3M-XG9OmmX0NKIdHwvT_UI3-3nUQmVAYZd_JoiFPaYCmosClN2CnldXsSA\" alt=\"..\/..\/..\/..\/Screen%20Shot%202018-12-27%20at%2011.17.41%20AM.png\" title=\"\"><\/figure>\n\n\n\n<p>Just like how you would interpret eighth notes as eighth note triplets, you should notice a dramatic difference between the sound of straight and swung sixteenth notes.<br><\/p>\n\n\n\n<p>Now that you know how to interpret sixteenth notes as sixteenth note triplets, start by isolating the hi-hat pattern.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/R4xC7tFXjteerQ6uIYCilNEJWhJXfO8K4IS0nSnpWhXe5sqLK8fsmxkjehWVLFZBTWLH7KgS5CcDwbjHu4da4mcXmqAxGgpJQyf_6g3seLaOMfJBd4jjd2PAIs9Q43BVHnNM6vrThvDsYuPFzg\" alt=\"image1651.png\" title=\"\"><\/figure>\n\n\n\n<p>Next, add in the snare drum pattern.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/yjIDumrodF3yy8mzZyUFFGzqUACfveh5wcFITYjoaiesj708iu-C3LKV8KqvHGQqfN3vj-ziviHvKxPJM3id3j9OfLsFLbbViFeizQlc6YVdrNKTIZqr0fXD-7J_-YNOMTO3nl64ArTwp4zHVQ\" alt=\"image1283.png\" title=\"\"><\/figure>\n\n\n\n<p>Lastly, add in the bass drum and make sure that everything is swingin\u2019.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/2DGTKyM_INXumVug7zCG92L9hfMrNxqXe2Xr9e0YIEao1237vWpW-iu8V_dppbhr9gxoXMKhv0VSOaMmNxWtPH0zEukTOPwl9L-JOJRJ_xwf26cGV1rz2caxBxcCct3FHBOux7j7fsTPIxwyhg\" alt=\"image1545.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Building Vocabulary<\/strong><\/h5>\n\n\n\n<p>This is another swung sixteenth note beat that can be used in gospel music. One of my greatest influences, Larnell Lewis of Snarky Puppy, demonstrates this pattern in his Drumeo course titled \u201c<a href=\"https:\/\/www.drumeo.com\/edge\">Gospel Drumming<\/a>\u201d. (Q=105 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/IifHCwmq651rpAnJWNdFbB0Jtp1be9bgy4AzRKJq9CF9wHRWm1KR8MPAE8amVoHGPwllk3uelc27tlHU-_sOmGW14OgGrYQIlxSI4c8TTJ-hhHWLXWeHjwmOwPtktyqhcvdztv4-_tx48jWxJQ\" alt=\"image1742.png\" title=\"\"><\/figure>\n\n\n\n<p>Bernard Purdie, the inventor of the \u201cPurdie Shuffle\u201d, plays this two-bar phrase in a live performance of \u201cHow I Got Over\u201d by Aretha Franklin. This particular live performance was released on her <em>Amazing Grace<\/em> record in 1972. This two-bar phrase could be used in many rock contexts as well. Listen to him play this pattern in the live recording at 0:19. (Q=163 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/QvkAIOKUtgF0oaHEPEJkAvWgSvF0gu6t67zUbHhUClKuZqfnStQYHdVcQMI3vlJ45JDLTpqY16cUNwskaPuOMiyFS_OSFBnZIJvSFIgs-jq3dJ98apSaFfWbwF2zgrvMlSe882pUnsnsc9jLmA\" alt=\"image400.png\" title=\"\"><\/figure>\n\n\n\n<p>Here\u2019s an example that incorporates cross-sticking. (Q=75 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/pQLZ_o4NbgPGC6PioZrVmE8D9bVvbERtSpW565aaIvOGqXRiaWTHE0arjy_pk-H4kC8TVqKRWOigSucmSAQZ-Z3phViJ62GxH4HldM29bP_ZwrXIFAYihvlshg5TMKlWjN7MzIede7XXT9mxfw\" alt=\"image1364.png\" title=\"\"><\/figure>\n\n\n\n<p>Here\u2019s another eighth note gospel groove that could be used in many rock and country settings as well. (Q=100 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/-fcQYTzG469GgXO4RG4NVM5RFifCTDN_TXYjknDpktSeIrM8thxXBpZ0mZ6NnKOiE1qcc0Qoi4JTooxijrwLHrE18jO0_UC6BNxYeiohKGLwb73w-5KZUcjsdHo3Y2gTh_4mnzwm4kSbuXzUkg\" alt=\"image1285.png\" title=\"\"><\/figure>\n\n\n\n<p>This last example is used in a style of gospel music known as shout music. This style is played at fast tempos and emphasizes the upbeats. (Q=150 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/9Hp2W6L2NunFTlWQIYqsFfK9SpqvHXoBbCGP_hZtOyWdKT3XCXJBjDqmZW5MgVvagpG-GBcq5Tkf6eur3rcF2x1N21BCU7Ri3KmvZc06xmxh7kudvE4tJxPGorIPMQn3pN-dK5hDSEu-ssRjog\" alt=\"image719.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Recommended Listening<\/strong><\/h5>\n\n\n\n<p>Here are ten gospel recordings that focus on mid-to-late twentieth century gospel music. If you\u2019re a drummer who plays contemporary worship music in your church, it\u2019s important to understand how gospel music has evolved over the decades into the contemporary styles being played today. When you listen to these recordings, focus on how gospel drumming has developed and changed over the decades. What do you notice about the drum grooves played in the 1950s and 1960s compared to the drum grooves played in the 1990s?<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"431\" src=\"https:\/\/www.drumeo.com\/beat\/wp-content\/uploads\/2019\/11\/Screen-Shot-2019-11-13-at-6.28.45-PM-1024x431.png\" alt=\"\" class=\"wp-image-20177\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13152922\/Screen-Shot-2019-11-13-at-6.28.45-PM.png 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13152922\/Screen-Shot-2019-11-13-at-6.28.45-PM.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13152922\/Screen-Shot-2019-11-13-at-6.28.45-PM.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13152922\/Screen-Shot-2019-11-13-at-6.28.45-PM.png 1226w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"Motown\"><strong>Motown<\/strong><\/h3>\n\n\n\n<p>During the 1960s, one record company was responsible for producing the most successful soul albums and singles in the United States: Motown Records.&nbsp;<br><\/p>\n\n\n\n<p>Motown Records was founded in Detroit, Michigan in 1959 and became known for its signature \u201cMotown Sound\u201d. The majority of Motown\u2019s music was recorded by a group of studio musicians known as the Funk Brothers. These studio musicians would record an instrumental backing track first, and then the featured vocalist or group of vocalists would overdub their vocal parts. The Funk Brothers were undoubtedly the secret behind the legendary \u201cMotown Sound\u201d.&nbsp;<br><\/p>\n\n\n\n<p>This style of soul music often features strings and horns, gospel-influenced vocals, overdubbing of various instruments, and a consistent quarter note pulse that is outlined by the bass and drums. Some Motown recordings even featured two drummers. Some of the most famous names in Motown are the Temptations, Diana Ross, the Jackson 5, Marvin Gaye, Stevie Wonder, and the Four Tops.<br><\/p>\n\n\n\n<p>While there are many unique grooves used in this drumming style, you need to know a few essential ones to get started. The most iconic groove in Motown music features snare drum backbeats on every quarter note. Even though you can hear this snare drum pattern used in other drumming styles like rock and metal, it\u2019s a defining characteristic of Motown drumming. This type of groove outlines the steady quarter note pulse of Motown music. In this section, you\u2019ll also learn some other quarter, eighth, and eighth note triplet-based grooves used in this style.<br><\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>A Quick Look<\/strong><\/h5>\n\n\n\n<p>Session drummer Richard \u201cPistol\u201d Allen performs this classic Motown beat throughout the song \u201cIt\u2019s the Same Old Song\u201d by the Four Tops. Notice how the snare drum is played on every downbeat throughout the measure. This iconic groove is heard on countless Motown recordings. (Q=128 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/xcxvlsx3AIFRosDL0B26kuOPmMCY5VKP16Bb873kr626vgzT3XxxPAvgS1AKWIFamj1utW1hSstihbMtmg2ZL9vCUDToQg9nSXFPh-F_5bwBgqNsbvzOISbmkqBxqIT6JR2054CaicfkT7BX5g\" alt=\"image1525.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Breaking It Down<\/strong><\/h5>\n\n\n\n<p>Start by playing steady eighth notes on the hi-hats.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/Pc5pdMWkMFUQsnIuuC6DmjWS59q3v8DEey0WCnTziJ6Gaa6pKO4t5j5Ke_jtg9XkP4_JYE9_QQmzB85qsQ1GZTyaZYI4ordsnC-mqnMmlDTkJWBKDjLWy1u-UnrDfxSoNHlk2SshFf5KCpytxw\" alt=\"image1078.png\" title=\"\"><\/figure>\n\n\n\n<p>Next, add in the snare drum.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/SDHoiCX4_49Jy-QDK5USysor8QFoRK56NlLTwBQU-TP-_lH-EKyeWPcJ831XARpbeP_hPCUpeAHbwGvhU3eBDIucBSUWsIIHajqWq5tpNHSnU5n-TEme8yyYb2j2daetjG8B-B38IjJg3jICmg\" alt=\"image1638.png\" title=\"\"><\/figure>\n\n\n\n<p>Lastly, add in the bass drum on the \u201c&amp;\u201d of beat three and four.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/_ond_M9t7XVARtv8obeOco2_zdIEwzSBOM3WZHK7Amr42uO5pOWA9jxC2G3sjMWBXs0X-E37KZ9OTIBOREZvZD-QGNHZbjma_uczTwiUMva3bOIgGWSjiRJY-VAwdDaIphJy0GmdzzljNS8gIA\" alt=\"image1355.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Building Vocabulary<\/strong><\/h5>\n\n\n\n<p>This is a variation of the previous groove with a different bass drum pattern. (Q=140 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/4MrtERlv2MW6NLeBb465lsb6KPUXsaiu3YWq4Vm0NcOp6olPspMBvsqVdghRejeO7qMcYBFFRrn6Cb4UWKYELRase13B_Ya7moPnrFRaqn6EiaJoZ8dyJszGeYW7OEwE3R3VCuBjpjGslLdHOg\" alt=\"image1495.png\" title=\"\"><\/figure>\n\n\n\n<p>Uriel Jones, another Motown session drummer, plays this groove in the song \u201cTwenty-Five Miles\u201d by Edwin Starr. You can hear this groove in the recording at 0:26. (Q=128 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/1zu_XUC2E4EznXN-lcPcddQ9qM9On1e67UetSHYINi9bhmBQ3yziqemL2SE7IbPTEfv5OoM7q3_YEHXt9JcrIKMhc2m_RpTdl34t_tpm0yo2rgJhdFU7QNlDYenkp2e0wsUWQ99-d3EYIkStUg\" alt=\"image1523.png\" title=\"\"><\/figure>\n\n\n\n<p>Quarter note grooves like this one are also popular in Motown music. (Q=150 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/HuePS2cLiUOyDDdXmUEjCCAynJ7PzPxQIMVgLUkyj1JM4psRw33Za44Aphj1jDbsQH1YH2JByP2MNNQlRamlaEijoQ0poo1b6WC7QdsGzxSeg-4GoZBtQvGOiOx_Hg4R3oo0GJtCQenPBgn7Zw\" alt=\"image1977.png\" title=\"\"><\/figure>\n\n\n\n<p>Gene Pello plays this groove in the song \u201cThe Love You Save\u201d by the Jackson 5. You can hear him play it in the recording at 0:09. (Q=171 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/HQKoUK0XwT5gbhJDjjOSRujb_Wkz10M2lRBcV0663QO_7Qnt13jE7JefaZqBK3AllXFVs91vpqh5AX4RaMpy9bJLNs8HbI_Jshf3qJRYIrqk29xXIKISA7AcXWtAycmjU-ja-ssAl8Z7_tSoLA\" alt=\"image1914.png\" title=\"\"><\/figure>\n\n\n\n<p>Shuffle patterns like this are also commonly used in Motown music. (Q=130 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/VAuc7BTbBrl7-XEm3eWYsqaXrWcT71eoZI10rDdfSLe5ctVSmiz1AuvNY2PTAiN3cSXAPJbh8Bxere2mxTCGCc8eFWXIQ56rz-NEbNAA3YvMxo8CEp1ErfLV8KMQtHRNtsLg4GOmNUKMRtnJSg\" alt=\"image1774.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Recommended Listening<\/strong><\/h5>\n\n\n\n<p>In this list, you\u2019ll find ten classic recordings from Motown\u2019s most successful years. When you listen to these recordings, notice how most of them feature the same eighth note drum groove with snare drum backbeats played on every quarter note. This drum groove is an essential part of the \u201cMotown Sound\u201d. Some of these recordings feature the same drum groove for the entire duration of a song. When you play along with recordings like this, stay focused and strive to play the same groove throughout the entire track, just like Motown session drummers did.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"414\" src=\"https:\/\/www.drumeo.com\/beat\/wp-content\/uploads\/2019\/11\/Screen-Shot-2019-11-13-at-6.39.32-PM-1024x414.png\" alt=\"\" class=\"wp-image-20181\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13153953\/Screen-Shot-2019-11-13-at-6.39.32-PM.png 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13153953\/Screen-Shot-2019-11-13-at-6.39.32-PM.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13153953\/Screen-Shot-2019-11-13-at-6.39.32-PM.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13153953\/Screen-Shot-2019-11-13-at-6.39.32-PM.png 1040w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"Boogaloo\"><strong>Boogaloo<\/strong><\/h3>\n\n\n\n<p>Just as the \u201cMotown Sound\u201d was developing in Detroit during the 1960s, another style of soul music, boogaloo, was emerging in New York City.<br><\/p>\n\n\n\n<p>Boogaloo\u2014also known as <em>bugal\u00fa<\/em> or Latin soul\u2014originated in New York City during the early to mid-1960s. This genre of music fuses elements of blues and soul with elements of Afro-Cuban styles like mambo and guaguanc\u00f3. Boogaloo was mainly played by Latin American teenagers who lived in New York City and were therefore exposed to a vast array of music\u2014everything from American styles like jump blues and soul to more traditional Afro-Cuban and Afro-Caribbean styles. Throughout the 1960s and 1970s, musicians also began to merge elements of boogaloo with jazz and funk music. Ray Barretto, P\u00e9rez Prado, Joe Cuba, and Pete Rodr\u00edguez were some of the leading boogaloo artists during the 1960s. Even though the popularity of boogaloo had diminished by the early 1970s with the introduction of salsa (which you\u2019ll learn about in Chapter 10 of <a href=\"https:\/\/www.drumeo.com\/drumshop\/the-drummers-toolbox\/\">The Drummer&#8217;s Toolbox<\/a>), musicians have continued to adopt elements of boogaloo into other genres of music, as you\u2019ll hear in the recommended listening list.<br><\/p>\n\n\n\n<p>The drum grooves played in boogaloo music often accentuate the percussion, piano, and\/or bass parts in the music. More specifically, the snare drum pattern often follows the rhythm of the percussion or piano parts, and the bass drum follows the rhythm of the bass guitar. When you listen to the boogaloo recordings in this section, you\u2019ll hear what I mean. Boogaloo grooves often incorporate snare drum and bass drum displacement, ghost notes, and hi-hat openings as well.<br><\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>A Quick Look<\/strong><\/h5>\n\n\n\n<p>Orestes Vilat\u00f3 plays this groove throughout the song \u201cNew York Soul\u201d by Ray Barretto. Notice how the bass drum and snare drum patterns are based on some of the rhythmic patterns played by the pianist in the recording. (Q=133 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/MiKzu-9YBzQD5A8K2qRf9HzXuqP6DLc70PEARBtjJrHmv73YT2WC2M2PyVRCee49t6TFdSGt9IjmSThRhUFYpnL0RednCZWKP8j0Eh8oxlJW64qTqr9N5e9N_TDopZLq3SOxX8aj11uS2K8prQ\" alt=\"image954.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Breaking It Down<\/strong><\/h5>\n\n\n\n<p>Start by playing quarter notes on the hi-hats.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/sIARALRsU4v18JmxHHRfY5BAvt5REHWXXVgBksyL3f7NPOddTcstC-XP9l3DyoFgSdy1kG56P_vu3p5rJEhZhhgDY3vTX3HedUgZJazwgTVmC7iitdq3l0BtN-YKhHdTaMY5c4boblZxfVmaJg\" alt=\"image257.png\" title=\"\"><\/figure>\n\n\n\n<p>Then, add in the snare drum pattern.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/vytIJjg3LOTx-kL5wzBFYH3KWoVQF_5zfA8_WKkjpAFAlEelGJNI_XioUFMYR1ega2XxMz8ueLy2Q0E7mut83HySXPBxxWnzbLQ3YvZyGWR-cO4hNPlpbnmZFy-QL6xHsTlr4UOPgaXbvlmyLQ\" alt=\"image325.png\" title=\"\"><\/figure>\n\n\n\n<p>Finally, add in the bass drum pattern.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/9COWlQDm82DmolF9GcdCv_znSA6O70EM3IEWtD9AIhsut9pivCSetQ9KoSlo-qe318E32-QGZ_MNYrK1PjMfDq97lHkouU3dUBRh9xvp3sXxFYqwISmSIWRePqgTdhopo-McXVrUoXdPR7UmqA\" alt=\"image160.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Building Vocabulary<\/strong><\/h5>\n\n\n\n<p>This groove incorporates ghost notes, a hi-hat opening, and some rhythmic displacement on the \u201c&amp;\u201ds of beat three and four.&nbsp; (Q=120 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/B4sV2FaIxxOaH1HfE1JnBRhBxgARa8SHhSn2HDpGGLZviO4z6gwvRjOI9rxfQEl1sEN2mhaiZCCjYbTY8nCGCZqBEZi9XsBPhdgga-9TQWtUlKgAAn2zUSXzaCNGSWIzmsilKYE2-7f4FWJJmg\" alt=\"image28.png\" title=\"\"><\/figure>\n\n\n\n<p>Leo Morris performs this groove throughout the song \u201cAlligator Bogaloo\u201d by Lou Donaldson. This song is a perfect example of how boogaloo grooves can be played in a jazz context. You can hear this groove being played right at the beginning of the tune. (Q=129 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/ugkyeWfJZMXKy0FgMLF_-N7GBCcjoehSWjO0pSUNFRsDtwYdAZ5LQfNFYtgoSmK9mxFa_vqZORijpdHoAbvKDthwmivyUQ1GUgxg2QON4ms_nt-zdXB5KkTQloddlTu6HXa-gjlo7qfIqNGHlg\" alt=\"image186.png\" title=\"\"><\/figure>\n\n\n\n<p>Here\u2019s a groove that incorporates three snare drum backbeats. (Q=120 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/vuGXNecPZzdB2RFMgPRcgtaf-A89azOSgoL6akpCjthk3gjVa2r2EASiRSkiweMuaVc-GszTQR9vvxvAiLCItDvzPfr4MnN4Q031Sa3_2qj619WJSP96Zcfsc4suk-Z86Vws6A7CVW4_WwPX-w\" alt=\"image1838.png\" title=\"\"><\/figure>\n\n\n\n<p>Stanton Moore performs this groove in his song \u201cBoogaloo Boogie\u201d. This example is notated in sixteenth note triplets, which is the same subdivision used to notate swung sixteenth notes. You can hear this groove in the recording at 0:06. (Q=117 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/8XHoIZafL1rilmpGjF2CALXu5Ojm5XJikQ5dORW6EzUpTqlEKFDO9T4jlL6CfgUt1IUA57GcJPm3BHKFVJy2rrvhinkppalFV0wod8q8Ow57O9JODm7QpVg2eQMvUYG60qAHxAY0wPVDE85pjg\" alt=\"image1971.png\" title=\"\"><\/figure>\n\n\n\n<p>Here\u2019s another example that\u2019s played on the ride cymbal. (Q=120 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/mthuj6VBQzVmRErNYtxe3zFW7zdTy4bwySiSUEem2rmvczsEkg1Sq6Ghf6PYTEd5PYFGJPaHnaSgghI9xmwnNVxgy8Is_DCmh-TJDlCe5oqO5NOXoCEmYSr0DVSt8WiW5r9g08kf4-7Jcz1FUw\" alt=\"image504.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Recommended Listening<\/strong><\/h5>\n\n\n\n<p>Here are ten recordings that will help you become familiar with boogaloo drumming. In this list, I\u2019ve included some traditional boogaloo examples as well as some other examples that span a variety of different genres so that you can hear how boogaloo drum grooves have been incorporated into them. Listen to these recordings and focus, specifically, on the relationship between the bass drum and snare drum and the patterns played by other instruments in the rhythm section. As you\u2019re listening, pay attention to how the ghost note patterns&nbsp;are played by different drummers, as ghost notes are an essential element of most boogaloo drum grooves.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"392\" src=\"https:\/\/www.drumeo.com\/beat\/wp-content\/uploads\/2019\/11\/Screen-Shot-2019-11-13-at-6.44.00-PM-1024x392.png\" alt=\"\" class=\"wp-image-20185\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13154417\/Screen-Shot-2019-11-13-at-6.44.00-PM.png 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13154417\/Screen-Shot-2019-11-13-at-6.44.00-PM.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13154417\/Screen-Shot-2019-11-13-at-6.44.00-PM.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13154417\/Screen-Shot-2019-11-13-at-6.44.00-PM.png 1040w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"Neo_soul\"><strong>Neo-Soul<\/strong><\/h3>\n\n\n\n<p>In the late 1980s, more than two decades after the development of boogaloo music, a new style of soul music emerged in the United States and the United Kingdom: neo-soul.<br><\/p>\n\n\n\n<p>The term \u201cneo-soul\u201d was invented by Kedar Massenburg, a record producer who was the president of Motown Records from 1997 to 2004. Neo-soul is a contemporary style of soul music with influences ranging from jazz and funk to hip-hop and electronic music. This style often features female vocals, as well as acoustic and digitally programmed instruments. You can think of neo-soul like 1960s Motown music being played three decades later with the incorporation of modern music technology and lyrical content. Some of the most successful and influential neo-soul artists in history include Erykah Badu, Maxwell, Lauryn Hill, D\u2019Angelo, and Jill Scott.<br><\/p>\n\n\n\n<p>Neo-soul drumming is all about having a relaxed, laid-back feel. Neo-soul is usually played at medium to slow tempos, which gives the music its chilled-out vibe. When you listen to this style of music, you\u2019ll notice that some songs feature acoustic drums while others feature programmed drums. This means that sometimes you\u2019ll be trying to emulate a drum machine (a concept that you\u2019ll explore further in Chapter 7 of <a href=\"https:\/\/www.drumeo.com\/drumshop\/the-drummers-toolbox\/\">The Drummer&#8217;s Toolbox<\/a>). One drummer who has mastered this skill is Ahmir \u201c?uestlove\u201d Thompson. I was first introduced to him while watching his band, The Roots, perform on the late-night talk show, <em>Late Night With Jimmy Fallon<\/em>. Go check out some of his drumming. You\u2019ll be glad you did!<br><\/p>\n\n\n\n<p>This style features music that\u2019s played with both straight and swing feels. For each groove, I\u2019ve indicated which feel you should use. You should also practice each exercise with both straight and swing feels for an added challenge.<br><\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>A Quick Look<\/strong><\/h5>\n\n\n\n<p>This beat was programmed by Bob Power and can be heard in the song \u201cOn &amp; On\u201d by Erykah Badu. This groove should be played with a slight swing feel as you\u2019ll hear on the recording. You can hear this beat in the recording at 0:03. (Q=80 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/_QUEbo3BFP0kOPZjdDUeQr-F20DFpF8b0yYseGjPHtXEAz92EsmHJSIBUo4Nw-8HLsuXf1tJqKFpZODKU8qcT1YUMASTQkk6CxLFMjgUffn5cRmUIh2nW9bwNdsz25NDzs4USGq2IlpEttv95Q\" alt=\"image879.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Breaking It Down<\/strong><\/h5>\n\n\n\n<p>Start by playing steady eighth notes on the ride cymbal.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/YYlmYsRyL_ePD_cFYwmkWv9wmBpKjTCGrHuNzIn2tBIJk-Zvw5ebKRJr7JfOp34smCviNN--pIAAasqD3hZRJWDd-sGzjl3fzO6ug8Z1vDaFpPKEZR5fYOXAUB-FKt95kx2Fs3SMJQQAu_nJAg\" alt=\"image1482.png\" title=\"\"><\/figure>\n\n\n\n<p>Now, add in the cross-stick pattern.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/F9cRoNZ5aLupo50fpC2JHpQXSucRsgYiPRF_zYyIUlOxKtroKiSXPP41yb5EWH0D9FLbZuQDo0oRiId57WDPZ6sh2f2CoyxGpXdIwrqENLtaNrlJdAyLBG-S7CxtYgpz3HICNmEc7dKNck_PUw\" alt=\"image1746.png\" title=\"\"><\/figure>\n\n\n\n<p>Lastly, add in the bass drum pattern to complete the groove. Like some of the examples in the \u201cGo-Go\u201d section, the sixteenth note figures (which all involve the bass drum) in this groove should be played as swung sixteenth notes.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/LpGDIFgoQCD2wzvgLLaT_hIVfPtP3vEn49ZK_vzUUYH5L6aUK1Rbw0nqAUJSzFjiBWc3ppMn3wg-0_JWFEIoHPCVE8hAtedaiaQhs7H7c1zcMsbDnnC0pMw8FNff9x3ssQRMl1xDgFT6uOAedA\" alt=\"image1909.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Building Vocabulary<\/strong><\/h5>\n\n\n\n<p>This type of groove is played at slower tempos with both straight and swing feels. Try them both out. (Q=70 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/ZyaYOurBFnJ2vQPuUDdzgaR-UyoPgBc1Bz7GeLv_plHQiIuagdhAaMRXgsawp1KPmZj5QGw1Lrlsacr3GORG0Z4li8lhiD7Oo9uGc58gjHHnyXBbpnjaACV4uCaEJ-LPsduF9rXVDuN1lUNI5w\" alt=\"image1242.png\" title=\"\"><\/figure>\n\n\n\n<p>Here\u2019s another example that features cross-sticking and a hi-hat opening. This example should be played with a swing feel. (Q=70 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/dWlg8j8PA2hW_I_m93kcAdHoN6NCeILPrv0_5r_SNUP-gTPZfklnqIvYQt6lizUo85Kie1Is8nleL-itKn6U40061v7gnjeFJSYIJc8NN6JGY9pHAKTwL9Qlu8tE76spx4N4mEwmcQwg80uDWQ\" alt=\"image1222.png\" title=\"\"><\/figure>\n\n\n\n<p>Here\u2019s a one-handed sixteenth note groove that should be played with a straight feel. (Q=70 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/k87wFD0eJBTm-fm7eUXc8fAUmspHgZRxndXPnV5YT29gM9t5T5G1ID1bomQCEFQdIMxNvpSG0v3p1rjFaHYj_79UDKHLeML4SoPAAuB9Bo0D45GiIoffnzfp9_S0Trtz3qIyI49qKq2Spbpxbg\" alt=\"image644.png\" title=\"\"><\/figure>\n\n\n\n<p>Ahmir \u201c?uestlove\u201d Thompson plays this 6\/8 groove in the song \u201cSend It On\u201d by D\u2019Angelo. When you practice this groove, try to emulate the same swing feel that \u201c?uestlove\u201d demonstrates in the song. Listen to it in the recording at 0:06. (E=129 or D.Q=43 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/H5XRCkaftKikTwtMYXO9oFqEmVyWk7Xs6nQyYV2oBeUw2haKB-wlFBh4WgzJ9cKExEGbeXnUiMVSO8NvIpzky8cGPOJ-gQUXy_JAx670lpKuPM8j6MP5qU2AoPNvH3L_LgEapmRcVrGZW4dE_Q\" alt=\"image1626.png\" title=\"\"><\/figure>\n\n\n\n<p>This groove incorporates two hi-hat openings and is more syncopated than the previous grooves you\u2019ve learned. Try playing this groove with a straight feel. (Q=70 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/mJvWaekJzFhTbWKFqY4U5vGgz6O6-5VxcQCdnFLDwSy-7DXrotwpaGgWVLrFJeFWIUbq7haJJZuX-fhP_VdaUm5TvytMg-118SwsZo22vS4FO98BmgdgBBWVAXEworgmDgSHXKkmkO8bjIR0jg\" alt=\"image1902.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Recommended Listening<\/strong><\/h5>\n\n\n\n<p>These neo-soul recordings will help you become familiar with this drumming style. When you listen to these songs, first try to determine whether the drums are programmed or being played by a live drummer. Then, listen for the use of techniques like cross-sticking and hi-hat openings. Do you hear these techniques throughout entire songs or are they only used during specific sections? When you play along with these recordings, really focus on maintaining a relaxed feel. This is one of the most important elements of neo-soul drumming.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"397\" src=\"https:\/\/www.drumeo.com\/beat\/wp-content\/uploads\/2019\/11\/Screen-Shot-2019-11-13-at-6.47.30-PM-1024x397.png\" alt=\"\" class=\"wp-image-20189\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13154755\/Screen-Shot-2019-11-13-at-6.47.30-PM.png 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13154755\/Screen-Shot-2019-11-13-at-6.47.30-PM.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13154755\/Screen-Shot-2019-11-13-at-6.47.30-PM.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/13154755\/Screen-Shot-2019-11-13-at-6.47.30-PM.png 1039w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"Second_line\"><strong>Second Line<\/strong><\/h3>\n\n\n\n<p>Just as gospel music played an important role in the development of soul music, one drumming style that played an important role in the development of funk was New Orleans second line drumming. This style of drumming originated in New Orleans and was featured in second line parades.<br><\/p>\n\n\n\n<p>Second line parades are a New Orleans tradition dating back to the 1800s. They had a huge impact on the development of jazz, funk, and rock and roll music. These parades took place before and immediately following a funeral. These parades had two separate \u201clines\u201d. The family of the deceased, the brass band, and the hearse were in the first line, while the snare drummers, bass drummers, dancers, and supporters were in the second line. On the way to the burial site, the first line would play slow, somber music\u2014songs like \u201cSwing Low, Sweet Chariot\u201d. After the funeral, a celebratory procession would begin with the second line playing and dancing to songs like \u201cWhen the Saints Go Marching In\u201d.&nbsp;<br><\/p>\n\n\n\n<p>This drumming style is played with a swing feel and incorporates the son clave pattern (and variations of it). We can modify the common 3:2 pattern into the 2:3 son clave by playing the \u201ctwo-side\u201d of the clave first. Here\u2019s what this looks like:<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/67GxX14gx9FzGwkhvTFjRmSroAVmMo1sVK-6gs-7UE7IFE6iF-E6t7D2pJIckUHDvCdhlQZpUNIhZqo5x4J-jX0VOcj-_qiBRovvVcdUV3P_eZ0B5S0zfRmETKWaG-h04_Eas2NW98f1FaA-xA\" alt=\"image1363.png\" title=\"\"><\/figure>\n\n\n\n<p>Both the 2:3 and the 3:2 son clave can be used in second line drumming.<br><\/p>\n\n\n\n<p>This drumming style was originally performed by bass drummers and snare drummers, but over the years these traditional patterns have been adapted for the drum set. To maintain an authentic sound, the snare drum grooves you\u2019ll learn in this section will only incorporate the snare drum, bass drum, and hi-hats.<br><\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>A Quick Look<\/strong><\/h5>\n\n\n\n<p>Fred Staehle plays this groove starting at the very beginning of the song \u201cIko Iko\u201d by Dr. John. Notice how clearly the son clave pattern is outlined. This groove is very similar to the \u201cBo Diddley Beat\u201d, which you can find in Chapter 1 of <a href=\"https:\/\/www.drumeo.com\/drumshop\/the-drummers-toolbox\/\">The Drummer&#8217;s Toolbox<\/a>. (Q=165 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/cYpfBtO9FTId3xHYfRWXs51liMW_mA69ajdlirXhiOtSCb-S7JHMFyvzHYqJqPBpUzM317SIPK914NZejiZiRqYHELWZ3yJIbU5gOOvq4ik-2MM6u08eiLkC4ovDbjSu_M-pfNi5NKgDzrxLaA\" alt=\"image1308.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Breaking It Down<\/strong><\/h5>\n\n\n\n<p>Start with the snare drum pattern. Remember to swing the eighth notes.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/kkxuxUc_BeUIDn9HJGQxTAWHmT-wa4dU6GsJgtyaI18SMPdpUiGaNo9B60aofODA422Yawwf1VZJMHv8kGmbcak_NzrfYj33hWsfm1uK0T2PpvF0d_XJfwOWEQLXkWejLdLp_PACQFviRFekmA\" alt=\"image519.png\" title=\"\"><\/figure>\n\n\n\n<p>Then, add in the bass drum and the hi-hat foot.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/GjNdSwrnr3fYtUKAS9MlP4CLq33U41DR7r8AxPQ-5Qr5J3jmjHyKZyhlECe4IPuxsj0G3MDolvnXXdOgH59q0gUmPw1URKETvZ6gVEsyjEwW4diFctINjbSpwgGPXMqj2cd68HPQYktfmfoGKg\" alt=\"image529.png\" title=\"\"><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Building Vocabulary<\/strong><\/h5>\n\n\n\n<p>This is an example of a traditional second line snare drum beat. Instead of playing a double stroke like in the previous example, play these rolls as buzz strokes. For more information and a demonstration of how to play these buzz strokes in a second line context, <a href=\"https:\/\/www.drumeo.com\/edge\">check out the live lesson titled \u201cU.S. Roots\u2014Traditional Second-Line Snare Beats\u201d with Pat Petrillo on Drumeo<\/a>. (Q=165 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/isdYWUsKBv1fWTvPlQmoocpr7dEb6Fi7oAxXoI3vzNCmcMwlzqtz4owtW1_kGWtmOwFmB-rTB0YdtbSAljtBB3Gvw1W-SHPEWhucZ13yWNzvOr7sk3sWijWbPp9P16EF4gPjc9xKwBFUjoIJDw\" alt=\"image577.png\" title=\"\"><\/figure>\n\n\n\n<p>Here\u2019s a variation that\u2019s based on the 2:3 son clave. (Q=165 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/ug8NGBSzdtOwusJeCR2mBQsZ7PtJMsTx1vX4Aer21EXHCy9iI-JGMyi271EzHuKT4Iq1qu1PJc4KisbeSYtRQH6gqLztubtDmclAPprbW-BHilf65zeGqZjVENEgPKurl01PcqM0t-F_b9GW8g\" alt=\"image89.png\" title=\"\"><\/figure>\n\n\n\n<p>This is a variation of the previous example. You\u2019ll notice that the snare drum and bass drum patterns are slightly different. (Q=165 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/rqPYlQlpOBG1dyMC68of22IhrOHFB_Vy0myZpv4mqsw7UuwoBithQWaICLtaSrCdYVJ6kq9GVOROYTmDsa1kTox2aUOH2sEvPPbtrT7l9PFytbzmuZbKHFkjEdoRwYVNPHCkeGWqHDPxKm8yKQ\" alt=\"image1867.png\" title=\"\"><\/figure>\n\n\n\n<p>Funk legend Joseph \u201cZigaboo\u201d Modeliste plays this groove in the song \u201cHey Pocky A-Way\u201d by The Meters. All of the accented notes will be played with your lead hand. (Q=171 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/wn4cDJSU8qFUbl_nvQHUKbd7oqxjb0XrlUPppuLkqGdITKif0mJIfxLpwSimmWf-vA7hHMqxwA9vs4Zny2yUMbnWtTwoXuCMQf1jJcbh3niR-W3--LJkywkVlHQKK_wRPtsbeWTVqvkT-PM_1w\" alt=\"image221.png\" title=\"\"><\/figure>\n\n\n\n<p>This groove incorporates some accented flams. (Q=165 BPM)<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/o6etXV6pE0t2jrI3UAErefA86U1FlcuRZNnyMh78BOHOC6432pichhv9XLA7wcJoc8167_xsne5j8KH32cJkVEtj7_c5iBnDTHVUOJlbQRnbzRVyZEZ06x7UJUEmEu1e1VzvjtAcLDiAHAxejw\" alt=\"image926.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Recommended Listening<\/strong><\/h5>\n\n\n\n<p>The recordings here will introduce you to second line drumming. There are examples by rock and roll, jazz, and funk artists so that you can hear how this style of drumming has influenced all three of these distinct musical genres. Listen to these recordings and try to identify which clave patterns are used in each song. Is the clave pattern being accented on the snare drum or being played on the bass drum? Is the complete clave pattern being outlined or is a variation of the pattern being used?<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"395\" src=\"https:\/\/www.drumeo.com\/beat\/wp-content\/uploads\/2019\/11\/Screen-Shot-2019-11-14-at-12.04.06-PM-1024x395.png\" alt=\"\" class=\"wp-image-20192\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14090432\/Screen-Shot-2019-11-14-at-12.04.06-PM.png 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14090432\/Screen-Shot-2019-11-14-at-12.04.06-PM.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14090432\/Screen-Shot-2019-11-14-at-12.04.06-PM.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14090432\/Screen-Shot-2019-11-14-at-12.04.06-PM.png 1034w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"Funk\"><strong>Funk<\/strong><\/h3>\n\n\n\n<p>Now that you\u2019ve developed a solid foundation in soul drumming, it\u2019s time to transition to funk drumming.<br><\/p>\n\n\n\n<p>I can remember being about thirteen years old when my school band director brought an arrangement of Herbie Hancock\u2019s funk standard \u201cChameleon\u201d to a rehearsal. It blew my mind! I went home after that rehearsal and immediately checked out the original recording from Herbie\u2019s <em>Head Hunters<\/em> record. I had never heard anything like what Harvey Mason was playing on this funk track. It was syncopated, it had some displaced backbeats, and it was just downright intriguing. Let\u2019s just say, having the opportunity to watch Harvey Mason perform his arrangement of \u201cChameleon\u201d when he came to Drumeo was a pretty incredible experience. You can witness the same performance that I did by checking out his Drumeo live lesson.<br><\/p>\n\n\n<p><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/OZhM3Q8XP8s\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"><\/iframe><\/p>\n\n\n<p>Funk developed during the mid-1960s as a hybrid of soul, jazz, and blues music. By the 1970s, funk had eclipsed soul music in the United States. As I mentioned in the chapter introduction, this was one of the first styles of music to place more emphasis on rhythm than melody and harmony. The key innovator of funk music during the 1960s was James Brown, who began his career in the 1950s as a soul musician. Largely thanks to Brown\u2019s innovations, funk music brought rhythm section players off of the sidelines and into the musical spotlight. This style is known for featuring \u201cslap\u201d bass, guitar effects like \u201cwah-wah\u201d, horn sections, and syncopated drum grooves. Harmonically, funk music is also much more complex than soul music. Some of the most famous funk bands and artists of all time include the Meters, Sly and the Family Stone, Parliament, Funkadelic, and Tower of Power\u2014and of course James Brown.<br><\/p>\n\n\n\n<p>Funk drumming often features syncopation and rhythmic displacement, rudiment-based hand patterns, hi-hat openings, ghost notes, and linear patterns (where no two limbs play at the same time). All of the grooves in this section will incorporate one or more of these unique elements. When you play these grooves, you need to make sure that they sound \u201cfunky\u201d. If you\u2019re not dancing in your seat, they\u2019re not funky enough.<br><\/p>\n\n\n<p><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/TsiYKOTmv1I\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"><\/iframe><\/p>\n\n\n<h5 class=\"wp-block-heading\"><strong>A Quick Look<\/strong><\/h5>\n\n\n\n<p>Funk legend David Garibaldi performs this groove at the very beginning of \u201cSquib Cakes\u201d by Tower of Power. This is one of the most recognizable funk grooves of all time. At Drumeo we had the privilege of David Garibaldi visiting our studio to film some lessons. If you want to dive deeper into his playing and some of the concepts that he uses to create these types of grooves, you can check out his live lesson above titled \u201cBuilding Coordination\u201d and <a href=\"https:\/\/www.drumeo.com\/edge\">his Drumeo course titled \u201cThe Funky Foot\u201d<\/a>. (Q=114 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/t57BgOMBfkQ6-hfRM9v3v2no2fowyzwuvmPm_va_-6fMrDxFfy-AErUy-xbfh9kEL5UGK2yQDqFD8kB0szzltg0hPTk31PHx0tly4DwHmWshYpMCb_K22C5qvhfkGAQvVQoqsGzg5SCz9FE3bw\" alt=\"image1419.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Breaking It Down<\/strong><\/h5>\n\n\n\n<p>Start with the hi-hat pattern.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/by18qX_BdNmwa1VaFEPf33FCrnTYf46_Eu3YsrCfSj5AmCLA3WGle5M5KEpHhZCm5sVX483FpZ1cBKwH5pBqCtBANpGSph7-EZecke9hvBJPUM72w-L_xQVNGXw0LVv3nAstO_UDCmPNsWNIGA\" alt=\"image1510.png\" title=\"\"><\/figure>\n\n\n\n<p>Next, add in the snare drum pattern. Remember that there should be a distinct difference between the dynamic level of your ghost notes and backbeats.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/a2QQnTljAXj-jbPeUqvcjLHkSiI_HE9LuvxVxigMKesxR1GW9Ua6RYge9n7PCaZMLDPhXnWbHuiXHoJgizkY80JJcSp_s297rX--9CE3Hr_gzY8ufHyoF22R4uVHtKjgOmikQk8uXFp0ldyhoA\" alt=\"image402.png\" title=\"\"><\/figure>\n\n\n\n<p>Lastly, add in the bass drum pattern.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/bxqwMvSONW29J419NYv5pRzdbpVJqP8Ui5gRmc1OiPKv2pFDdNB0uODBLW3W1wOQYZioQubSDtfQ4MFhaJTMSW5jWEyuDwjiV-Yu8G_d0AeMWcyPTB_e3DMjle0tfTnaqNpHpGflLgTS5cDOzg\" alt=\"image805.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Building Vocabulary<\/strong><\/h5>\n\n\n\n<p>In this example, the first snare drum backbeat is played on the \u201ca\u201d of beat one.&nbsp;(Q=115 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/YVjdgQ3e1JrCycMEgu07q01_SV1wKB7v70JaRmdgJAjx6-QQO922lqsRfahWtF42y3TMoFbXnCKckbUa5X2boPYFt36r3jy-VDKneyvVqaH-iVTYfNIey8h87IXJTsaHmf7sxIpReuC7SWY0lg\" alt=\"image1663.png\" title=\"\"><\/figure>\n\n\n\n<p>Here\u2019s an example of a linear funk groove. Notice how no two limbs are playing at the same time. (Q=100 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/fQkHrr7U8TeTwP1GfIjcgiSaLF8K3JCpTYxlmR_ersaVLk2vRnvOnphunl623J8f7-bqiLLIbC6VEBF0wglQ3nWFAyL6W8Ok8eKT4n2aFIRY0PcAKsEcLC4okHebUzqhQJ3egM81ulRt7tooZw\" alt=\"image247.png\" title=\"\"><\/figure>\n\n\n\n<p>In this groove, your hands will play a single paradiddle over top of a syncopated bass drum pattern. (Q=100 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/qc9z5A-BnwgyttV0lOhFCMvHRCzDuCcPYc_Ym0SfwWfH3eONDHCZtg8cJzXGQV251mF51XOP0Hsa7yg7oWgNPsG64WONmD0CLF4UHtLJtNX6KfWaKlUNd2A2gR6A-l4oRWqsTs7BDE3p3-ppPw\" alt=\"image1243.png\" title=\"\"><\/figure>\n\n\n\n<p>The late great Clyde Stubblefield plays this legendary groove in the song \u201cFunky Drummer\u201d by James Brown. This groove has been sampled in over 1400 songs since its original release in 1970, making it one of, if not the most, sampled song in history. Listen to this groove in the recording at 5:22. (Q=98 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/wX3HXQfGnIt16_mdVv2FV5pUr36NmDKbZ9SMiotIXgxnuGfQ1lpwskKRuv1fczGU58uXDk7g3lEgS1O_1Ga4hxjuN4CX3PLKLLif943A6bslNNmNb9sod7lsi9FooDeMqjFCuMGHwG3sy1d0MA\" alt=\"image1976.png\" title=\"\"><\/figure>\n\n\n\n<p>This final groove is played on the ride cymbal. (Q=115 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/xELYArAoNgJzjhZ7LVBQnl2foWznBQ5O-WIBr74PrUfUCOSiyFmGWQDWgyM4dWTNAwyDq9lW-h193Tqqjc52MsJu6mNQMl6sdiSk0ygNUT0kPz2nj6Ip2Dfjm7u7sl9dX7S4OtJi3dyOcCxSuA\" alt=\"image360.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Recommended Listening<\/strong><\/h5>\n\n\n\n<p>Here are ten funk recordings that every drummer should check out. Many of the grooves demonstrated here feature elements like syncopation, displacement, hi-hat openings, and ghost notes. A few of these recordings also demonstrate how funk grooves can be played with a swing feel. Enjoy these recordings, and listen specifically for the elements that are demonstrated by different funk drummers on each recording.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"394\" src=\"https:\/\/www.drumeo.com\/beat\/wp-content\/uploads\/2019\/11\/Screen-Shot-2019-11-14-at-12.13.20-PM-1024x394.png\" alt=\"\" class=\"wp-image-20197\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14091340\/Screen-Shot-2019-11-14-at-12.13.20-PM.png 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14091340\/Screen-Shot-2019-11-14-at-12.13.20-PM.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14091340\/Screen-Shot-2019-11-14-at-12.13.20-PM.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14091340\/Screen-Shot-2019-11-14-at-12.13.20-PM.png 1037w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"New_orleans_funk\"><strong>New Orleans Funk<\/strong><\/h3>\n\n\n\n<p>During the 1960s and 1970s, musicians in New Orleans were playing funk music that was different from other funk music in the United States.&nbsp;<br><\/p>\n\n\n\n<p>The biggest difference between New Orleans funk and other funk music was the drumming. Drummers playing New Orleans funk weren\u2019t just playing grooves with straight and swing feels&#8230;they were often playing \u201cin between the cracks\u201d, as Stanton Moore calls it. This means they were playing somewhere in between straight and swung. New Orleans funk also incorporates rhythmic patterns used in New Orleans second line drumming, like the son clave pattern. Even though there are many bands and artists that played New Orleans funk, The Meters are considered the most influential New Orleans funk band in history.<br><\/p>\n\n\n\n<p>While the grooves in this section may just seem like another batch of funk grooves, this drumming style isn\u2019t simply about the notes being played, it\u2019s really about the overall feel\u2014playing with a straight feel, swing feel, or the elusive \u201cin between the cracks\u201d feel. The only way to learn how to play this \u201cin between\u201d feel is to simply listen to the master himself, Joseph \u201cZigaboo\u201d Modeliste, and try to emulate the way he\u2019s playing. This is no easy task, but it\u2019s worth the investment. Before you play each groove in this section, make a clear decision about how you want the groove to sound. This will determine which feel you choose: swing, straight, or \u201cin between\u201d. Just like the grooves in the previous section, New Orleans funk drumming also incorporates hi-hat openings, ghost notes, syncopation, and rhythmic displacement.<br><\/p>\n\n\n<p><iframe class=\"email-form-include-full\" src=\"https:\/\/www.drumeo.com\/weeklyemail\" frameborder=\"none\"><\/iframe><\/p>\n\n\n<h5 class=\"wp-block-heading\"><strong>A Quick Look<\/strong><\/h5>\n\n\n\n<p>Joseph \u201cZigaboo\u201d Modeliste plays this groove in the song \u201cLook-Ka Py Py\u201d by the Meters. This groove should be played with an \u201cin between\u201d feel, just like \u201cZigaboo\u201d plays it. You can hear it in the recording at 0:08. (Q=88 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/ZR-lCKjBoNtwXMPcReERoqE7J7ItBApWQz1mau_m5d2cD3-vdxl6yCV05iplEz--nbWbNYKyJjwSk760y9CMzNDXMP-6YvCPRtfw5M9SM8Hz6GVGUFWSVSV-MApbImtCYdxZaH0InLEYEG4gWQ\" alt=\"image1306.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Breaking It Down<\/strong><\/h5>\n\n\n\n<p>Start with the hi-hat pattern.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/a5h5yBY8MrRTSqZCwluO3ANpPOJv68QJQRDAQienP2iHq3BTMzDQxEIjY9peg5ma-5uU8W9je6H96OnOsgssgBGXkrXUYMzYwJm8AwrKrGPhM5JM1i0D5kzPPeBeA58MmfYL52vqbysxm_RGgA\" alt=\"image1102.png\" title=\"\"><\/figure>\n\n\n\n<p>Now, add in the snare drum pattern.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/Ve13pZVgFUtTPTj_L577qQlwci5Je_4j6Sc8gaNdCbSWePySDTRD9HD0A2KkNVhyd6HTq8zcGmfYOhFEqeaciv2QwtVTMHBp9ktqMjq3KNl2Xg5YSktaZUGhA-mUGblmovNi6IkWKJOkngcKDA\" alt=\"image763.png\" title=\"\"><\/figure>\n\n\n\n<p>Lastly, add the bass drum pattern.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/JWrR26NZOnK6cHJCI22D-mwcVwkwe-3vj1KSzrJla9Zul8qLUfEzt6k_CV67smfUFqpCNcJFahWjbQUPPEX6Hyt0ztXTnfQtJfeogJrj9LeTW9LubfyLD5L1MO_B6qe6k1c51VS8F5Iq3ndCFQ\" alt=\"image1761.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Building Vocabulary<\/strong><\/h5>\n\n\n\n<p>In this example, the second backbeat is displaced by an eighth note to the \u201c&amp;\u201d of beat four. (Q=100 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/njCzzKTClgjTi7ejaYQwaVLj41oNn8BK9Iml3J6EWHI4atc0ASXqESoqvzUNMMkqx8EJ7Z6WwgRCytg3bvkChp-7DyDw8KXZbGaSFgLmsCgr4x7OUAJ5N0Tx_rhYgdryc6C_W_x6VOephwWcNA\" alt=\"image552.png\" title=\"\"><\/figure>\n\n\n\n<p>This groove incorporates a unique sixteenth note hi-hat pattern. (Q=90 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/GElcjQGn-oGF0ihG36Wd34OY_bZOU_072kRLkXppRkhgqIjPsLKcQWEgm6xAWhkMaNh0KBqhGqjjFTugyyGajbJ6vFid_DHjbinObYAxdU8R7wbCkp_MWRbUxDNT4pOCcxLJxVtRlCMJHOu-sQ\" alt=\"image1293.png\" title=\"\"><\/figure>\n\n\n\n<p>Here\u2019s a groove that will really put your hi-hat foot to work. (Q=90 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/4tTJCs8DnN9DTuKIymRBwxUY5Ow0I8rX4Vws0pz2vv-yhjuAelan4EHlGIKpzxvJW9e1AHv6D1v_72W0tNZiAyRgSE-_0VCD7zMUiJqESn7NG13ai0L5seHNiQhToAGp4gJegrqx-jMLTfWKjw\" alt=\"image511.png\" title=\"\"><\/figure>\n\n\n\n<p>Here\u2019s another \u201cZigaboo\u201d Modeliste groove from the song \u201cFire on the Bayou\u201d by The Meters. The bass drum pattern and hi-hat accents in this beat outline the first part of the 3:2 son clave. Check it out in the recording at 0:10. (Q=99 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/EWWwj94oMKRF4liQgtXtV4TNZbZGJRyBsML5lk8LOJOd2xjpo-AYAg8ddR_hcMNtWidsLitWaD2gHxfS_bqtWpPpIHcOx_GR_jdCGkbuG7w1-cKxg-QD6izlhI7-BEOYAjA_RC51EA5Y3CoCBw\" alt=\"image37.png\" title=\"\"><\/figure>\n\n\n\n<p>It\u2019s also common in New Orleans funk to play the snare drum and bass drum in unison. Here\u2019s a groove that will help you practice this. (Q=90 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/sYkt1df_9z2mnhB4SQjP96ieXvfA6a2p_t1t-llo7Xrx7naglWwZvX9Lu335QxrTdixNXY-A9AygiRDIY3OLBJjHZBA3y86wyPpvjE_oyznfEMogHJyVgKIP41JDy4h9H8CJzyOnojknc3QU2g\" alt=\"image647.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Recommended Listening<\/strong><\/h5>\n\n\n\n<p>These iconic New Orleans funk recordings will introduce you to this style of drumming. You should focus on two things when listening. First, listen for the influence of second line drumming and standard funk drumming in New Orleans funk drumming. Which elements of these two other drumming styles do you recognize in these recordings? Second, focus on the feel that is demonstrated in each recording. Is the drummer on each recording playing with a swing, straight, or \u201cin between\u201d feel?<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"388\" src=\"https:\/\/www.drumeo.com\/beat\/wp-content\/uploads\/2019\/11\/Screen-Shot-2019-11-14-at-12.18.17-PM-1024x388.png\" alt=\"\" class=\"wp-image-20200\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14091833\/Screen-Shot-2019-11-14-at-12.18.17-PM.png 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14091833\/Screen-Shot-2019-11-14-at-12.18.17-PM.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14091833\/Screen-Shot-2019-11-14-at-12.18.17-PM.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14091833\/Screen-Shot-2019-11-14-at-12.18.17-PM.png 1039w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"Latin_funk\"><strong>Latin Funk<\/strong><\/h3>\n\n\n\n<p>During the late 1960s and early 1970s, about a decade after the development of boogaloo, another fusion style of funk music known as Latin funk emerged in New York City.<br><\/p>\n\n\n\n<p>Just like soul music was fused with Latin music to create boogaloo, funk was now melding with Latin music to create Latin funk. This resulted in funk music that incorporated syncopated Latin rhythms and clave patterns, as well as traditional Latin percussion instruments. Mongo Santamar\u00eda, Joe Bataan, Grupo Irakere, and Ray &amp; His Court were some of the leading Latin funk bands and artists during the 1970s.<br><\/p>\n\n\n\n<p>This drumming style combines funk drumming with elements of Afro-Cuban, Afro-Brazilian, and Afro-Caribbean drumming. If you remember back to the section on boogaloo drumming, I mentioned that New York City was a melting pot of musical styles and influences during the 1960s and 1970s. That\u2019s why Afro-Cuban, Afro-Brazilian, and Afro-Caribbean music were all being fused with funk music during this era. Because you already have a solid understanding of funk drumming, you can get started incorporating some traditional Latin rhythms and clave patterns into some funk grooves. We dive deeper into Latin styles and rhythms in Chapters 8, 9, and 10 of <a href=\"https:\/\/www.drumeo.com\/drumshop\/the-drummers-toolbox\/\">The Drummer&#8217;s Toolbox<\/a>.<br><\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>A Quick Look<\/strong><\/h5>\n\n\n\n<p>This Latin funk groove is played by an uncredited drummer in the song \u201cMercurio\u201d by Ram\u00f3n Gil. The bass drum pattern in this groove outlines the Afro-Cuban <em>tumbao<\/em> pattern. You can listen to it in the recording at 0:24. (Q=106 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/ef2ctVA3j7gCUMjNliW-IYw0pPEzezJl47wmjPtYCJhFoujzDYpl2VYLvk1XO3y-VQ_zZ4oqfoPCDVCA2kbNjyHsg0afkVQILjHjDppZnYxgOAnLiCkXjVwoxTEjVMSESb2-KtTNoQ3WsXFSCg\" alt=\"image1256.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Breaking It Down<\/strong><\/h5>\n\n\n\n<p>Start by playing the hi-hat pattern. This pattern is similar to hi-hat patterns used in disco music, which you\u2019ll learn about later in this chapter.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/G3DH7SWTyASQDeZpyuF1OadRRtjk6pOGh8nQFeIKAzcDjAmiH6ich4c1ZKFbadyD1VtpX5ESTjS3LMvUpSb8KDnpyDGmoqz1yoZao59uom_w2Bt4LhiTaMicSIL-AapSGalzvpL9IiFTb26giQ\" alt=\"image1299.png\" title=\"\"><\/figure>\n\n\n\n<p>Now, add in the snare drum on every downbeat.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/1Xd8rFhGFtaJL5wk6Z5EVvZjZd36iHk-XsPSxsykOuIMSIdlkb_MB2Zu16BKlhYMjlRJQFgjXJS6M1Yw_Kc9Jd6y2Jf7zEt7qUElkAlzCqnGiwcMpFVxJtxWoTO1uTQLvQVcJMuClDyPx-b8EQ\" alt=\"image591.png\" title=\"\"><\/figure>\n\n\n\n<p>Before you add in the bass drum, let\u2019s take a moment to look at the <em>tumbao<\/em> pattern, which emphasizes the \u201c&amp;\u201d of beat two and the downbeat of beat four like this:<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/UYHeL_Mc41IBvBppOJ-PArxESQWZ8nXASrMrwkkmoqbzq9M5Hkjb7RQ_2xuoBV5LZRraZ9Gm6YDaQzENe9s-VYel-k6y2PDIjJxZoXa2qGWHrZTXTgKcCWMZvkWGRUzjAJt6nLykhJ1MAErj1A\" alt=\"image1301.png\" title=\"\"><\/figure>\n\n\n\n<p>The <em>tumbao<\/em> pattern can also be notated as a one-bar phrase using eighth notes and sixteenth notes. That looks like this:<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/KyOUeKeXcP9vW0ISOp6Q6lMMM-rhi2XmeFUsFgkh0jZJkSwm5OvLAHQ834gZC0L78pAsHGN6Cxo8yeb30Sbw5pqIacy26bY7HmbUXN3vojo0efawHQkvP1uon3wYYMZ1KZ3b1Qp09DKgaQ7org\" alt=\"image599.png\" title=\"\"><\/figure>\n\n\n\n<p>Both ways are correct because the emphasized rhythm is the exact same in both examples. The only difference is the note values being used. Now, add in the <em>tumbao<\/em> bass drum pattern.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/nKlTElALXilKCHuNbV4AE-iG_U8AP0mUtUHMVYM0lh8w6A4YSD916eIRw-Qpe7MX9Izg69IqPA-70MLIEtwJBktdYMnPr27yo2nww2UuNL5pIsyn9pGLa7x11YABNCoPF5_lGmK91TxfD_AdXw\" alt=\"image1835.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Building Vocabulary<\/strong><\/h5>\n\n\n\n<p>The accent pattern in this groove is based on a cowbell pattern used in Afro-Cuban music. (Q=130 BPM)<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/jPM2ahfkcWNmsQEQ3t9YUbQWn_ifwVPHVgYx284t7p7Yvqfa8z-UaMC3S1Er6EFWUC84Z6WLrI8xtvMeNl6b7BQuJ76kxqWkX9UPRRxmZKJr11NsXc7swDfp8fQV5ubM7Rr4mXEIGguCT0dxSw\" alt=\"image773.png\" title=\"\"><\/figure>\n\n\n\n<p>This groove features the Afro-Cuban <em>c\u00e1scara<\/em> pattern on the hi-hats. This pattern is commonly played by a timbale player. (Q=110 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/Kn5n5_ZwxMNdIm9WFh1vCd-avgiz75xhykVz2nnjjtH7zXXH-3BiIYAuYFYNYbGQhYGuwY0ZECJxcpw_MK29rhZkQ6NnjolYok_UNbVa55R5CAmsV16lQ8lJC-K8wLc6V8rx5G1XHvR3RaKrUw\" alt=\"image545.png\" title=\"\"><\/figure>\n\n\n\n<p>In this example, you\u2019ll play the same hand pattern as the previous example, but you\u2019ll also be playing the Afro-Brazilian bai\u00e3o bass drum ostinato. (Q=110 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/tya2Ew-SgrPWJXp6urpuL-pSQqc2GvOWB3MwIhxW80PfgVosQWsuqk9kP1TmbJiQzJI1VCgIOkRg_761oVefFUBAbJOMtwZW79ln79bUodeWBZMbQOXK_MdV7eoPyKjb_sz4qLrLw7qmNliLaQ\" alt=\"image1841.png\" title=\"\"><\/figure>\n\n\n\n<p>Teddy Williams performs this groove in the song \u201cSoul Freedom\u201d by Ray &amp; His Court. The bass drum pattern in this groove outlines a cross-stick pattern played in bossa nova (a style we explore in <a href=\"https:\/\/www.drumeo.com\/drumshop\/the-drummers-toolbox\/\">Chapter 9<\/a>), with the addition of another bass drum stroke on the \u201ca\u201d of beat two. Check out this groove in the recording at 0:07. (Q=116 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/CE0i7-aF8VPYpN0tuXbCol_hvAu4269goClHhqws4mn-1tZ91RHHh2a47WWFJVNvQYX-teKhIe-XgzfWtyMLJxt4XvKPyhI8tFCP9v7ANtgJyOh4iS2rxQZLlwDvEVQ6urFeTkqJGrdgymGORg\" alt=\"image225.png\" title=\"\"><\/figure>\n\n\n\n<p>This last groove is a funk variation of the Afro-Cuban songo pattern (which we explore in <a href=\"https:\/\/www.drumeo.com\/drumshop\/the-drummers-toolbox\/\">Chapter 8<\/a>). (Q=210 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/Tdnr0gyM2yBhX7mEs9lfIsCyulBEVAqXVbYpGH_7jLP83om4TLwaTOii9FmeAzYU1EmFqV8UgPTh8SW0gSzRjfjFDAgQMzNbdSbpEHPQUzo9Rrtzbxz3eMyyU2_yctDQMmujdJso1T7mzonoeA\" alt=\"image295.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Recommended Listening<\/strong><\/h5>\n\n\n\n<p>In this list, you\u2019ll find ten recordings that will introduce you to Latin funk music. Because any element of Afro-Cuban, Afro-Brazilian, or Afro-Caribbean music can be fused with funk music, Latin funk is a very broad and diverse style of music. However, there are several key elements to pay attention to when listening to these recordings. Try to identify some of the rhythmic patterns you\u2019ve learned throughout this section. These could be played by the drummer, percussionists, or even another member of the rhythm section. Also, focus on the instrumentation that\u2019s used in Latin funk. What do you hear in these recordings that differs from non-Latin influenced funk music?<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"395\" src=\"https:\/\/www.drumeo.com\/beat\/wp-content\/uploads\/2019\/11\/Screen-Shot-2019-11-14-at-12.26.23-PM-1024x395.png\" alt=\"\" class=\"wp-image-20205\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14092635\/Screen-Shot-2019-11-14-at-12.26.23-PM.png 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14092635\/Screen-Shot-2019-11-14-at-12.26.23-PM.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14092635\/Screen-Shot-2019-11-14-at-12.26.23-PM.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14092635\/Screen-Shot-2019-11-14-at-12.26.23-PM.png 1038w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"Go_go\"><strong>Go-Go<\/strong><\/h3>\n\n\n\n<p>Just as Latin funk was developing in New York City, yet another style of funk music was developing in Washington D.C. during the late 1960s and early 1970s. This style was called go-go. Go-go fuses elements of funk, soul, and hip-hop music (which started emerging in the mid to late 1970s). This style regularly features electric guitar, electric bass, keyboards and synthesizers, vocals, horns, drums, and percussion. Some of the most notable go-go artists and bands include Chuck Brown, Trouble Funk, and Experience Unlimited.&nbsp;<br><\/p>\n\n\n\n<p>One thing you really need to know is that most go-go songs feature a signature drum groove (or variations of it). The most important part of this groove is the bass drum and snare drum pattern. The snare drum is played on beats two and four, and the bass drum is played on beat one, the \u201c&amp;\u201d of beat two, the \u201c&amp;\u201d of beat three, and the \u201ce\u201d of beat four. Here\u2019s what that looks like in notation:<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/O4Hbnay_9VcNbKTW7xJZcvTy94t8QAcKJ7yn0WW_0mDuazA45oDkGKZoQXajwTQOX1KVjMU7JrX6Shyj2D6RfsDfyCFwpiQrwJKncfdqHsRfYpkHStuaKLUheDYv53_1xChPDOmXaGFhusCPWw\" alt=\"image45.png\" title=\"\"><\/figure>\n\n\n\n<p>Eighth or sixteenth notes are usually played on the hi-hats as well, often with added embellishments like hi-hat openings and accents. It\u2019s also important to know that in this style, sixteenth note figures are almost always played with a swing feel. As you work through the examples in this section, practice playing every sixteenth note figure with a swing feel, then go back and practice playing every sixteenth note figure with a straight feel as well.<br><\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>A Quick Look<\/strong><\/h5>\n\n\n\n<p>Ricardo D. Wellman plays this groove in the song \u201cBustin\u2019 Loose\u201d by Chuck Brown &amp; The Soul Searchers. Notice how the bass drum pattern is slightly different in each bar but still follows the basic pattern explained earlier. Check it out in the recording at 0:06. (Q=112 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/2sPnyDo3Y5qUXTmOinJi56e4ldnmwOwdtTGVrGsAjGfciDoU5mIq1EOFN8JcIABhOtqJn4JtIIg8u4_rHMtNvPHmuYzvs4IL7fZgoSNYbKudfjwZs9RA8txKYYKZPP8fHWrbbWWygqAnAm4btw\" alt=\"image310.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Breaking It Down<\/strong><\/h5>\n\n\n\n<p>First, start with the hi-hat pattern.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/6gt8z2UFLTaNQhBnqqe_Jxl9aUfB8JaQdmzmd9KfEtoOUa0ncHgIrvM19oxCWdvqxadINnU13lqiIP-mZzoI_NggFA76nsrXHUhkGr2QyMgo1nTgQcqSWqg1CzifPLNl42fenAr_tc4hU3BQwQ\" alt=\"image194.png\" title=\"\"><\/figure>\n\n\n\n<p>Next, add in the bass drum pattern.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/jHyHtXz75ztOxfPbyst1h-PoXINuhaFRDIjdtZFPfkZELOsqZtPr72UohzkgF1EeF4zzqeYmvBsNZUAj4uKu8UCwKnLiO4XZXxemjxmZglvntQurkbgX_YPRTw_99A3cNiRKQKO8nY9-_8m2Og\" alt=\"image1666.png\" title=\"\"><\/figure>\n\n\n\n<p>Lastly, add in the snare drum on beats two and four.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/gskV1etkkhzLaTCSpQ_WTeopgi0htVgaAXiNfhYdPWlSusm2ieUKI6QaL-wla5-uN9WkbG66T7HS9m46mo2H8aSzgbhoTbgWbNSc9ha41FNQgjMW2_RG7ZQX-oj6xab8tQzUCsdNJjuVnPxQ6Q\" alt=\"image1227.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Building Vocabulary<\/strong><\/h5>\n\n\n\n<p>This is a basic version of a go-go beat with one hi-hat opening on the \u201c&amp;\u201d of beat three. (Q=100 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/ozM1aL8PxHbjtn-qSaAvYxBc8b_mlA5c6zGwh6sQEwfxxnaVQlx_swkHjR3umPWOujsvvXfCS6hWHZkAxrD5quzqLdkiHGD1aBuCMa-l0_-HLJKIozJAi2p5NfMWZtM3nDYh_dhdANfl9a_7WA\" alt=\"image1877.png\" title=\"\"><\/figure>\n\n\n\n<p>This groove features a slightly busier hi-hat pattern as well as an additional bass drum stroke on the \u201ca\u201d of beat four. (Q=100 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/EyKZiOCmw_S6ztknVv3Uzw3BYO30ywdnJmKS9x-eyPZpXnNMxdVDB2b57WgHPhGaGRIKJdsicD6DzkyOG-sablhpqxYCJI3oDZWL7u7DVhdNw-NqbJhlBMty1AJ-AHJJZb9KX3LWnQlRGJjQYw\" alt=\"image159.png\" title=\"\"><\/figure>\n\n\n\n<p>Here\u2019s a variation that\u2019s played on the ride cymbal. (Q=100 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/6CSavdSmF2q54Nc7Dx6jKoDJPGIXGmXRJW5ar1k5e9QcCAtCQ7f03d-L4R54oesLx6B--9Q9pU0N0UejHjiiG7IRn909eUDc_Jxt3R6adXJAekVhdGBRD5hK6UyM1ODYdN2U21MAJ4a2H87CCw\" alt=\"image983.png\" title=\"\"><\/figure>\n\n\n\n<p>This groove is played by Emmett Nixon in the song \u201cHey Fellas\u201d by Trouble Funk. When you play this groove, make sure that each hi-hat opening is played for its correct duration: one is an eighth note and one is a sixteenth note. You can hear this groove in the song at 0:06. (Q=103 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/sNIrdS2Ws2H-cBMMEMDk72ZeMEcLQWCy883U-Yi4VsB-vIy22BaPpV7T4cBc-wqTu-aysVJHKM4GQcSjMxWVnyQu3O4kgGw8fGOCFa5VxKScMysEnI3JaIlqn74mzE5FB3VgqHgRAWOolNWl2g\" alt=\"image1260.png\" title=\"\"><\/figure>\n\n\n\n<p>In this final example, groups of three notes will be played on the hi-hats. Remember to play these as swung sixteenth notes. (Q=100 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh5.googleusercontent.com\/CaYjuXjyZ3y8z9vEFYqQ8ms_4HuXWuPA-M_26eAYtuJbv6shzxEEMtPw_A7HYDRcVmUSWig9kV-mGYGSLFk89qHKlp2LkFeg3zv3En355xHCLM5yD078C3xigQuCpg8nurEfp1nPkFXtlvMI-A\" alt=\"image1498.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Recommended Listening<\/strong><\/h5>\n\n\n\n<p>These songs will introduce you to go-go drumming. When you listen to these recordings, focus on the snare drum and bass drum patterns. Do you usually hear the standard snare and bass drum pattern being played or do you usually hear variations of it? Also, pay close attention to how swung sixteenth note figures are played in this style, as this is a key element of go-go drumming that plays an important role in the overall feel of go-go drum grooves.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"395\" src=\"https:\/\/www.drumeo.com\/beat\/wp-content\/uploads\/2019\/11\/Screen-Shot-2019-11-14-at-12.30.22-PM-1024x395.png\" alt=\"\" class=\"wp-image-20208\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14093036\/Screen-Shot-2019-11-14-at-12.30.22-PM.png 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14093036\/Screen-Shot-2019-11-14-at-12.30.22-PM.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14093036\/Screen-Shot-2019-11-14-at-12.30.22-PM.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14093036\/Screen-Shot-2019-11-14-at-12.30.22-PM.png 1034w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"Disco\"><strong>Disco<\/strong><\/h3>\n\n\n\n<p>One of the most popular styles of music to emerge from both soul and funk was disco music. This style started developing in the mid-1960s, but disco became one of the most popular genres of music in the United States during the 1970s.&nbsp;<br><\/p>\n\n\n\n<p>Disco is a form of dance music that was played in American nightclubs (or discoth\u00e8ques). Many funk and soul artists, like the Jackson 5 and Diana Ross for example, experimented with disco music throughout their careers. This style features similar instrumentation to funk: vocals, keyboards and synthesizers, electric bass, electric guitar, drums, horns, and sometimes even strings and drum machines. Some of the most famous disco bands and artists include the Bee Gees, Gloria Gaynor, Chic, Carl Douglas, and the Village People.<br><\/p>\n\n\n\n<p>Disco is all about what keeps people dancing, so this drumming style is characterized by a steady quarter note pulse that\u2019s played on the bass drum (\u201cfour on the floor\u201d bass drum pattern) and consistent backbeats on the snare drum. The hi-hats also play a significant role in disco drumming. Most disco beats feature hi-hat openings that are played on the upbeats (or the \u201c&amp;\u201ds). Hi-hat openings are used in both eighth note and sixteenth note grooves (the most common subdivisions used in this drumming style). In this section, you\u2019ll learn a variety of disco grooves that are equally foundational to both classic disco and its modern incarnations.<br><\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>A Quick Look<\/strong><\/h5>\n\n\n\n<p>Dennis Bryon plays this disco groove in the song \u201cNight Fever\u201d by the Bee Gees. This groove incorporates a hi-hat pattern with two hi-hat openings and some sixteenth notes. You can hear this beat right at the beginning of the song. (Q=110 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/4hGk81mzwETEtwA3udF8_Q-Xdr200s6CYqeS4xKTHPSzkQPzlYcqRXk-zXSzD_oZdRI4lMZrhr0m0I2arqavq3UEI65DUzgKy8_BsBOH23jR2JMYTwhbAot1jI8BiMqoorvoVYNZ7YdnABgJBg\" alt=\"image876.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Breaking It Down<\/strong><\/h5>\n\n\n\n<p>Start with the hi-hat pattern.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/2jyvKimbyLfG1_0W487ZtcWqyY22agh7kJqXyNAkHT1IZNy3uZnPV8nL42WsWs8wlg-81pp3stfHs460PZTvKoKfwjIgykGaJTexTqu5VyM4qrBOuFY8pACiGoFsGSIXNTq6h8yZBqp33OC5eQ\" alt=\"image544.png\" title=\"\"><\/figure>\n\n\n\n<p>Now, add in the snare drum on beats two and four.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/WRZuI-GG9lDm6bH-nEqQ0XCUsPK9ryOOh0MvBFzs62tACjI8JT16v5kkGemL9l75o6LROIPbAZFRKZCyrm-4TFACXR4qOvOI1ux9ihdAF1X-UVIlfhCcuOVv4m8vJJNwaaIxT2J2Gt3L3xIQCA\" alt=\"image518.png\" title=\"\"><\/figure>\n\n\n\n<p>To complete the groove, play steady quarter notes on the bass drum.<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/SIa5Vu7uASSsUflvXI2QE9Ld99caVzfdjLbvOWdwLAUklwEK2qw0sND-Y5UOLuei9zJl6HtLX6jEWCa-yfqrnF5wVxAoRbMgUx7QtmxyFJNFctBiyikF_kGyKkvSnrk05_Uoj0t4ajUDb-NFow\" alt=\"image267.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Building Vocabulary<\/strong><\/h5>\n\n\n\n<p>This is the most popular disco groove played by drummers. (Q=120 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/d9oJC3A9D8ExUL-Heev2weN4G0NR3FYW0dVsBKVUS-5EOd5SszZAgalTI2g1H00boMDZx4n5Oy3pjjLk2dC2WU7kwH0pJcareTtwpssxBDet6qkguAr1mlpr3f-HTXbokCbkAzWFlLHU3WQGmw\" alt=\"image328.png\" title=\"\"><\/figure>\n\n\n\n<p>Tony Thompson performed this groove in the famous disco song \u201cLe Freak\u201d by Chic. This groove is unique because there are two consecutive hi-hat openings played in a row. Check it out in the recording at 0:34. (Q=129 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/_ct0CL0TmxB7mUWycLB_6c-TwdqHGnF09PyxLAk3W7PRffzrD6_yX1d7krBnyDKLlvKyfjEpPvRU7PvUNLNlyzqOVCx91esF7gyyfeZNLjt2n_h7Z-JjuUWXbUkcmXQhP-YnMyFoa2MFOaljkw\" alt=\"image1385.png\" title=\"\"><\/figure>\n\n\n\n<p>Here\u2019s another sixteenth note groove that incorporates hi-hat accents instead of hi-hat openings. (Q=110 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh6.googleusercontent.com\/ozbWw4H9-G0KKTRd0qLZx5RW1lSsqx3bA9K2fPWrnK_lbvZF0cWeyrk_4ohtcUaOcb5EiEgaowqmV2VonsX2tu-lk9llxBe-NGNYANi7850eNWecHm8N69wte4eeoaOHIDJJFX0-Bo5ify_3NQ\" alt=\"image1782.png\" title=\"\"><\/figure>\n\n\n\n<p>In this example, the hi-hats are only played on the upbeats. (Q=120 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/fzlhLIhH4_6ybEcNMhN8XVLNv_yEQcLdeAawL3Rth5rdrYPbUTqJtVFHurnkw6Wq-PcCwmHBhCKFujbXm4k_zm2GJtYEENCwoNCP2hOVHTonSUd7LS39EIHSyt79Zxc-aYo6rz-QszBVzdMMig\" alt=\"image1266.png\" title=\"\"><\/figure>\n\n\n\n<p>Omar Hakim plays this more challenging disco groove in the song \u201cGet Lucky\u201d by Daft Punk. This groove features a much more syncopated bass drum pattern than the previous examples. You can hear him play it in the recording at 3:26. (Q=117 BPM)<br><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh3.googleusercontent.com\/6tdjwc_6Yhpn589reZnkTssmkcaPb1GF4tfeX7BERjl5_WXavTa8i6rKt5-EG07UAI6e_ctsnMKy67iWnrx66ETLNZqTA40gic4qsk3QzxSlB3VP1J9GlksF3bRkN77tdXjSZuzOWSmPhmmqBA\" alt=\"image737.png\" title=\"\"><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Recommended Listening<\/strong><\/h5>\n\n\n\n<p>Here are ten of the most iconic disco songs ever recorded. Every drummer should know them! The grooves in these recordings are played by legendary session drummers like Omar Hakim, John \u201cJR\u201d Robinson, and James Gadson. When you listen to and play along with these recordings, focus on the essential elements of disco drumming: hi-hat patterns with accents or hi-hat openings, \u201cfour on the floor\u201d bass drum patterns, and consistent backbeats on beats two and four.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"389\" src=\"https:\/\/www.drumeo.com\/beat\/wp-content\/uploads\/2019\/11\/Screen-Shot-2019-11-14-at-12.38.07-PM-1024x389.png\" alt=\"\" class=\"wp-image-20211\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14093819\/Screen-Shot-2019-11-14-at-12.38.07-PM.png 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14093819\/Screen-Shot-2019-11-14-at-12.38.07-PM.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14093819\/Screen-Shot-2019-11-14-at-12.38.07-PM.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2019\/11\/14093819\/Screen-Shot-2019-11-14-at-12.38.07-PM.png 1039w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Final Thoughts<\/strong><\/h4>\n\n\n\n<p>The soul and funk grooves that you learned in this chapter incorporate syncopation, displacement, cross-sticking, hi-hat openings, \u201cfour on the floor\u201d bass drum patterns, and much more. When you\u2019re playing soul and funk music, it\u2019s important to be able to identify which concepts relate to each specific genre\u2014and to know how they\u2019re applied within different grooves.<br><\/p>\n\n\n\n<p>Even though the roots of soul and funk music are very closely related, soul and funk drumming are quite different from one another. Soul music is not a drum-focused style of music; the drums simply play a supporting role in the music. On the other hand, funk music is a drum-focused style of music. In this style, you have more freedom to experiment with complexity and embellishments.<br><\/p>\n\n\n\n<p>You can apply the concepts you learned in this chapter to the grooves you play in other styles of music. These concepts are universal; they\u2019re not limited to soul and funk drumming. If you want to expand on any of the concepts demonstrated in this chapter, you\u2019ll find exactly what you\u2019re looking for inside the <a href=\"https:\/\/www.drumeo.com\/edge\">members-only area of Drumeo<\/a>.&nbsp;<\/p>\n\n\n<p><b>Here&#8217;s a Spotify playlist of all the recommended songs from this guide:<\/b><br>\n<iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/1PrJXHHTbRW0Ww1PJLksow\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/p>\n\n\n<p>Did you enjoy this chapter from The Drummer&#8217;s Toolbox? To check out the other chapters (and dozens more styles in amazing detail) <a href=\"https:\/\/www.drumeo.com\/drumshop\/the-drummers-toolbox\/\">pick up a copy of the book<\/a>! You&#8217;ll also get a link to a resource center full of additional videos, PDFs, and other content that complements and expands on the book&#8217;s material.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In this detailed chapter from The Drummer&#8217;s Toolbox, you&#8217;ll learn how to play ten styles of funk and soul on the drums. <\/p>\n","protected":false},"author":19,"featured_media":20217,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[4016,4023],"tags":[],"class_list":["post-20161","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-songs","category-style-guides"],"_links":{"self":[{"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/posts\/20161","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/users\/19"}],"replies":[{"embeddable":true,"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/comments?post=20161"}],"version-history":[{"count":68,"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/posts\/20161\/revisions"}],"predecessor-version":[{"id":53080,"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/posts\/20161\/revisions\/53080"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/media\/20217"}],"wp:attachment":[{"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/media?parent=20161"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/categories?post=20161"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/tags?post=20161"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}