Ex 10-13 Cre­at­ing cool & funky grooves

Rhythm - - FEATURE -

In most western mu­sic, the quar­ter-note pulse is the foun­da­tion for the flow of time, pretty much the ba­sis of all rhyth­mic phras­ing. The role of the snare drum has evolved to pro­vide the back­beat in most forms of rock, funk and blues styles, and con­ven­tion­ally beats 2 and 4 of the bar are where the snare back­beats sit. But by mov­ing the back­beats around, you can cre­ate some se­ri­ously funky grooves, and these dis­placed back­beats are com­mon in funk tunes like Her­bie Hancock’s ‘Chameleon’, or James Brown’s ‘Cold Sweat’. Mov­ing the back­beats around can con­fuse the lis­tener into think­ing the down­beat of each bar is in a dif­fer­ent place, so it’s very im­por­tant that you re­main fully aware of where the ‘1’ falls, what­ever dis­place­ments you may be in­cor­po­rat­ing. Al­ways prac­tise with a click!

Ex­am­ple 10 is a prac­tice groove. Con­cen­trate on keep­ing an ac­cented quar­ter-note pulse in the hi-hat line for an added chal­lenge.

Ex­am­ple 11 is sim­i­lar to the fa­mous groove that Clyde Stubblefield played on the James Brown clas­sic ‘Cold Sweat’.

Ex­am­ple 12 is es­sen­tially the ‘Amen Break’, from Gre­gory C Cole­man’s groove on ‘Amen Brother’ by The Win­stons – the most fa­mously sam­pled break as heard in drum’n’bass grooves.

Ex­am­ple 13 is like David Garibaldi’s groove on Tower Of Power’s ‘Oak­land Stroke’. This is an ex­treme ex­am­ple of back­beats be­ing played any­where but at beats 2 and 4 – so take it slowly!

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