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DRUM MACtllHEn O T E R M S
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R M T T E R M SBy RENÉ-PIERRE BARDET
Contents2 Preface
Abbreviations3 Grid Notation4 Musicai Notation5 How To Use This Book6 Useful Advice7 Rhythm Patterns
ROCK12 FUNK27 RHYTHM & BLUES 32 BALLAD 37 POP 42 REGGAE 47 DISCO 52 AFRO-CUBAN 57 BLUES 59 SWING 62 SHUFFLE 64 SAMBA 67 BOSSA NOVA69 CHA-CHA70 TWIST72 SKA73 ENDINGS74 Original Patterns
H a i _ « L e o n a r d ®C O R P O R A T I O N
7 7 7 7 W . B l UC M O UN O R D . P .O .B o x 1 3 8 1 9 M ILW A U K EE . W l 5 3 2 1 3
© 1985 by PAUL BEUSCHER - Paris - 27 boulevard Beaumarchais - 75004 - PARIS
For all works contained herein:Unauthorized copying, arranging, adapting, recording or public performance Is an infringement of copyright.
Infringers are liable under the law.
PrefaceThis book is a suppiement to the first volume of DRUM MACHINE PATTERNS. In it you’ll find over 260 rhythm patterns and breaks, or fills. These ore original patterns that can be programmed easily on any drum machine.
This book, like its predecessor, contains the rhythms most often used in contem porary music.
The easiest way to use the patterns in these two volumes is to store them in groups. For exam ple, program all the Rock patterns and breaks into your drum machine, and then save them using the cassette or MIDI interface prov ided for external storage. Do this for each rhythm (Rock, Pop, Funk, etc.). This requires a certa in investment of time at the start but will com e in handy later. Thus, when you have to work on a Funk piece, for example, you can load all o f the appropriate rhythms and breaks into your drum machine at one tim e. This gives you a considerab le range of patterns ready to use im m ediately.
Feel free to m odify the patterns in this book to suit your taste, inspiration, or whim. They constitu te a solid and e ffic ie n t base o f current rhythms from which you can work.
ExplanationsThe rhythms are listed in a lphabetica l order, with corresponding breaks.
As in the first volume, patterns are presented both in musical notation and in "step tim e” grids. To help you program the patterns easily, numbers ap pear above the grids to show the subdivisions of the measure.
Some drum machines are capab le of several different levels o f accents. The use of these different levels, if your m achine possesses them, is left to your discretion.
Tempos are left up to you.
One recent innovation in drum machines that makes its appearance in this book is the “ flam .” A flam is a note that is struck just before the principal beat. A flam is ind icated by a grace note in the musical notation, and by an "F” preceding the note to be played in the grid.
You’ll find a blank pattern sheet at the end of the book, which you can photoco py and use in notating patterns of your own.
AbbreviationsFollowing are the abbreviations for the various elements that constitute the "drum set” found in drum machines.
AC: A ccent CH: Closed Hi-HatBD: Bass Drum OH: Open Hi-HatSD: Snare Drum CY: CymbalLT: Low Tom RS: Rim ShotMT: Medium Tom CPS: ClapsHT: High Tom CB: Cowbell
TAM: Tambourine ?
Grid NotationThe grid below is typ ica l o f those found in this book.
11
(AC C Y C H О H HT M T S D R S LT CPS C В В О
и s13
s15
• Each grid represents a one-measure drum pattern.
• Each row of boxes in the grid represents one of the instruments in the drum set. An arrow is p laced next to each instrument that is used in that particular pattern. Thus, you can ignore the lines without arrows.
• Each box in a row represents a unit of time. This unit is a sixteenth note (J ) or a sixteenth rest (f), depend ing on whether the box is b ia ck (note) or white (rest).
Most patterns a re in 4 /4 tim e, as the exam pie is. This means there are four quarter notes (j) in a measure. The sixteenth-note unit used by drum m achines a liow s ea ch be a t to be broken in to four subdivisions, in s im ple m athem atics:
• A quarter note is a quarter o f a measure.
J J J measure
• A sixteenth note is a quarter o f a quarter note, or a sixteenth o f a measure.
J J J J J J J J J J J J J J J J = 1 measure
A rhythm pattern in 4 /4 tim e, such as that in the exam ple , w ill therefore have 16 boxes in each row.
Because the sounds in a drum m ach ine have a fixed duration (you c a n ’t p lay a “ long no te ” on a snare drum; a ll you can do is hit it), the grids do not show the length o f a drum sound. Rather, they show on ly the p laces where each drum is “ h it.”
Musical NotationThe literal translation of the grid in the exam ple into musical notation would be as follows:
literalnotation
i ’y v A v v ^ip
Since this involves many short rests, however, common practice takes liberties with the notation, substituting longer note values for greater clarity:
commonnotation
The following key shows how each element of the drum set is notated on the musical staff.
Claps (CPS)
Cymbal (CY) or Closed Hi-Hat (CH)Ride Cymbal or Crash Cymbal, depending on the context.
Open Hi-Hat (OH)
Closed Hi-Hat(CH. This Is an alternative to the Closed Hi-Hat nota tion above, used to avoid confusion when the C ym bal Is also be ing used. In playing an actual drum set, this notation Indicates pressing the Hl-Hat pedal.)
Bass Drum (BD)
1
¥
Snare Drum (SD)
Medium Tom (MT) or High Tom (HT)
Low Tom (LT)
Cowbell (CB)
Rim Shot (RS)
Accent (AC)
Tambourine (TAM)
How To Use This Book1. Carefully read the user’s manual for your drum m achine in order to learn how to operate
it in the WRITE (program rhythms) and the PLAY (listen to programmed rhythms) modes.
2. If you ’ve chosen to program a pattern that is 16 units long (4/4 time; e.g., Rock or Pop), it is shown here by a grid that is 16 boxes across. If, on the other hand, you have chosen to program a 12-unit pattern(12/8 time, or 4/4 time with triplets; e.g.. Blues or Shuffle), it is shown here by a grid that is 12 boxes across, and each box represents an eighth note rather than a sixteenth note. Select the appropriate pattern length on your drum machine.
3. Activate the WRITE mode.
Using the example:
a) Program AC (Accent):1 3 5 7
K- r T ~i I11 13
I i I I l ~ r15
r ~ T ~ l
4 silences - 1 note - 7 silences - 1 note - 3 silences (4 + 1 + 7 + 1 + 3 = 16)
b) Program CH (Closed High-Hat):11 13 15
CH- n r m T ~ l — |
1 note - 3 silences - 1 note - 3 silences - 1 note - 3 silences - 1 note - 3 silences (1 + 3 + 1 + 3 + 1 + 3 + 1+ 3 = 16)
SD-
c) Program SD (Snare Drum):
• r ~ I I ' I " T TT~T~T13 15
■ I I I
4 silences - 1 note - 7 silences - 1 note - 3 silences (4 + 1 + 7 + 1 + 3 = 16)
BD-
d) Program BD (Bass Drum):1 3 5 7
I11 13 15
I I I I I T~1
1 note - 5 silences - 1 note - 1 silence - 1 note - 7 silences (1 + 5 + 1 + 1 + 1 + 7 = 16)
4. Switch to PLAY mode and listen to the rhythm.
5. Adjust the tempo to your taste.
Using The PatternsYou’ve just programmed o one-measure rhythm pattern. But one pattern playing continuously would qu ick ly becom e boring. So drum machines have what is ca lled “ song mode,” or “ chain m ode,” which allows you to string several patterns together to form a more interesting whole.
To use song mode, you would first program a minimum of two com plem entary patterns, and perhaps a break. In a typ ica l song, the main patterns alternate, and the break occurs in the last measure of the phrase (phrases usually are 8 or 16 measures long). For example:
1 + 2 + 1 + 2 + 1 + 2 + 1 + Break
o r1 + 1 + 2 + 2 + 1 + 1 - f 2 + Break
The cym bal parts, which have been indicated for Closed Hi-Hat (CH), you may wish to program for the Cymbal (sometimes ca lled “ Ride Cymbai” ; CY). You may also wish to add Claps (CPS) or High Tom (HT) to underscore accents, and so on, keeping in mind, obviously, the capabilities of your machine.
This book is absolutely not a substitute for your imagination. It is designed to help you in putting basic rhythms into place, but It’s up to you to personalize them. An infinite variety of rhythmic combinations lies at your disposal.
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2 6 0
P A T T E R H SBy RENÉ-PIERRE BARDET
ContentsPreface...........................................................................................2Explanations ................................................................................ 2Abbreviations .............................................................................. 2Grid N ota tion ................................................................................ 3Musicai N o ta tion ..........................................................................4How To Use This B o o k ..................................................................5Using The Patterns........................................................................6
Rhythm And Break Patterns9 AFRO-CUBAN + 6 BREAK....................................................... 76 BLUES + 3 BREAK..................................................................123 BOOGiE + 3 BREAK..............................................................156 BOSSANOVA + 3 BREAK ................................................... 173 CHA CHA + 3 BREAK ......................................................... 2012 D isco + 9 BREAK............................................................... 2215 FUNK + 15 BREAK................................................................296 JAZZ + 3 BREAK ..................................................................392 MARCH + 1 TANGO + 3 BREAK...................................... 422 PASO DOBLE + 1 CHARLESTON + 3 BREAK......................4412 POP + 6 BREAK....................................................................4612 REGGAE + 9 BREAK............................................................. 5215 ROCK + 12 BREAK................................................................5912 RHYTHM AND BLUES + 6 BREAK...........................................686 SAMBA + 3 BREAK................................................................746 SHUFFLE + 3 BREAK..............................................................773 SKA + 3 BREAK....................................................................8012 SLOW + 6 BREAK..................................................................826 SWiNG + 3 BREAK............................................................... 883 TWIST + 3 BREAK..................................................................913 WALTZ + 3 BREAK ............................................................... 933 ENDING.................................................................................. 95
Hal»i_eonard^C O R R O R A T I O N
7 7 7 7 W . B L U C M O U N O R d . P .O .B o x 1 3 8 1 9 M ILW A U K EE . W l B 3 2 1 3
® 1987 by PAUL BEUSCHEfl - Paris - 27 boulevard Beaumarchais • 75004 • PARIS
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