Reggae
The fundamental characteristics of reggae music are pretty simple. Even the most complex compositions or arrangements that include a reggae style will, generally, continue to place emphasis on those pure and simple defining elements.
This entry will focus mostly on reggae as it involves the drumset, though these ideas can also relate to other instruments. There is a direct, often times alternating, relationship between the patterns played within the drums and other instruments (including guitar and bass, among others). If you’re interested in knowing more about reggae specifically for guitar, bass, or percussion, please let me know.
Reggae consists of different grooves than what you might hear in several other styles of music. One might consider the essence of reggae, which is famous for the rhythmic patterns, to be the ruler or leader of all “backbeat” grooves. Relatives of reggae would be ska, dub, skank, and more, including derivatives of each of those. However, they are all derived somewhat from reggae.
Reggae rhythms can be played either with a straight-eighth feel or a swung (triplet) feel. In other styles of music you might hear emphasis on beats 2 and 4 (in a 4/4 bar). Reggae switches that and places emphasis on beats 1 and 3, often times only one of them.
The “one drop” is a common reggae groove that places emphasis only on count 3. You could consider count 1 as deemphasized in this case, occasionally not even playing on count 1 at all. Various triplet patterns can be played on the hi-hat, while the bass – or snare and bass – “drop” on beat 3.
The “rockers” is another common reggae groove, which places emphasis on counts 1 and 3. Various syncopated rhythms are thrown into the mix in between those beats. This might be perceived as somewhat of a reverse (technically, retrograde) version of a standard rock beat, which emphasizes counts 2 and 4 instead.
The “one drop” and the “rockers” can be fun to play along with other instruments. The guitar might emphasize counts 2 and 4 – in contrast to the drums emphasizing 1 and 3 (or just 3) – or the guitar might play all up-beats, often times only playing three chords. You might hear the guitar play the “I”, “IV”, and “V” chords, all major; or you might hear it play the “i”, “iv”, and “v” chords, all minor. (Other chords occur in reggae, these are just the most popular.) The bass might incorporate a mix of the other parts, rhythmically, possibly with notes on beats 1, the “and” of 2, and the last couple or few eighth notes of the measure. Another rhythmic variation on bass would be “4 & 1 & 2 & 3, rest, 1 & 2 & 3, (4 &)” (repeated). The bass could also play straight quarter notes, very much like “walking bass” in jazz. This leads to the next groove often played in reggae…
The “steppers” is another common groove in reggae that places emphasis on all 4 beats. This is often compared to the idea of “four on the floor”. The actual emphasis could consist of bass drum playing quarter notes on all four beats, or the snare instead, or both – all the while, busier syncopated lines could occur on the hi-hat. You might opt play the ride cymbal instead of the hi-hat – though you can still play your hi-hat foot – and play a ride pattern consisting of just up-beats on the bell of the cymbal.
You can also take what you know of reggae and break the rules. Emphasis might be placed on counts 2 and 4, such as on the snare. On top of that, you might play an up-beat eighth note pattern on the hi-hat, placing emphasis on the “up” part of the beat by opening the hi-hat and closing it again on the “down” beat of each count. Below all of that you might want to emphasize only count 1 with the bass drum with an occasional kick, or two, added in right before count 1. Though this is just one example of how you can vary the basic reggae feel.
The key in reggae, in general, is that it is played laid back, relaxed. The tempo (speed) could be slow, which sounds great with this style, yet it can also be a moderate tempo or even faster for a more lively feel.
Some other unique characteristics of reggae on the drums include: playing fills that don’t end with crashes; the use of a high-pitched snare; rim shots; cross sticks; playing near the edge of the drum (producing a timbale-like sound); various Afro-Cuban (Latin) percussion instruments can be incorporated into the drumset set-up, such as a cowbell, timbales, shakers, and hand drums.
I’ll include an extremely basic example of the reggae “one drop” below. You’ll notice that it only has the hi-hat part – with variations of rhythms – and the bass drum part. You can fill it in some with the snare and some occasional fills, such as off-beats on snare or even simpler – just beat 3. Fills might be placed on the “& 4 &” of a measure or even “1 & 2 & 3″.
(You can click on the image to view full size.)