260 LM dh ma eePreface This book is a supplement to the first volume of DRUM MACHINE PATTERNS. In it you'll find over 260 rhythm patterns and breaks, or fills. These are original patterns that can be programmed easily on any drum machine. This book, like its predecessor, contains the rhythms most often used in con- temporary music. The easiest way fo use the pattems in these two volumes is to store them in groups. For example, program all the Rock paties and breaks into your drum machine, and then save them using the cassette or MIDI interface pro- vided for external storage. Do this for each rhythm (Rock, Pop, Funk, efc.). This requires a certain investment of time at the start but will come in handy later. Thus, when you have to work on a Funk piece, for example, you can load all of the appropriate rhythms and breaks into your drum machine at one time. This gives you a considerable range of patterns ready to use immediately. Feel free to modify the patterns in this book to suit your taste, inspiration, or whim. They constitute a solid and efficient base of current rhythms from which you can work. Explanations The rhythms are listed in alphabetical order, with corresponding breaks. As in the first volume, pattems are presented both in musical notation and in “step time” grids. To help you program the pattems easily, numbers ap- Pear above the grids to show the subdivisions of the measure. Some drum machines are capable of several different levels of accents. The use of these different levels, if your machine 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 indicated 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 pattem sheet at the end of the book, which you can pho- tocopy and use in notating pattems of your own. Abbreviations Following are the abbreviations for the various elements that constitute the “drum set” found in drum machines. AC: Accent CH: Closed Hi-Hat BD: Bass Drum OH: Open Hi-Hat SD: Snare Drum CY: Cymbal UT: Low Tom RS: Rim Shot MT: Medium Tom CPS: Claps HI: High Tom CB: Cowbell TAM: Tambourine <<Grid Notation The grid below Is typical of those found in this book. 1 as th ie Jan ds Ac — cy 4 CH — OH i mr ze LT Ds et ee bee + Each gtid represents a one-measure drum patter. + Each row of boxes in the grid represents one of the instruments in the drum set. An arrow is placed next to each instrument that is used in that particular pattem. Thus, you can ignore the lines without arrows. + Each box in a row represents a unit of time. This unit is a sixteenth note () or a sixteenth rest (7), depending on whether the box is black’(note) or white (rest). Most patterns are in 4/4 time, as the example is. This means there are four quarter notes o in a measure. The sixteenth-note unit used by drum ma- chines allows each beat to be broken into four subdivisions. In simple mathematics: + A quarter note is a quarter of a measure. opr onl ane + Asixteenth note is a quarter of a quarter note, or a sixteenth of a measure. FFT TTI FT FF — + mecsure A rhythm pattern in 4/4 time, such as that in the example, will therefore have 16 boxes in each row. Because the sounds in a drum machine have a fixed duration (you can’t play a “long note” on a snare drum; all you can do is hit it), the grids do not show the length of a drum sound. Rather, they show only the places where each drum is “hit.”Musical Notation The literal translation of the grid in the example into musical notation would be as follows: > = literal notation Since this involves many short rests, however, common practice takes liberties with the notation, substituting longer note values for greater clarity: > > common notation The following key shows how each element of the drum set is notated on the musical staff. Claps (CPS) -e—— | snare Drum (sp) —— ss Cymbal (CY) or Medium Tom (MT) or Closed Hi-Hat (CH) High Tom (HT) Ride Cymbal or Crash Cymbal, depending on the context. Low Tom (LT) Open Hi-Hat (OH) Cowbell (CB) Closed Hi-Hat (CH. This is an alternative to the Closed Hi-Hat notation above, Rim Shot (RS) used to avold confusion when the Cymbal Is also being used. In playing an actual drum set, this notation indicates pressing the > Accent (AC) Hi-Hat pedal.) Bass Drum (BD) =| Tambourine (TAM)How To Use This Book 4, Caretully read the user's manual for your drum machine in order to learn how to operate itin 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; .g.. Rock oF Pop), it is shown here by a grid that is 16 boxes across. If, on the other hand, you have chosen to program a 42-unit pattern(12/8 time, or 4/4 time with triplets; @.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 pattem length on your drum machine. 3. Activate the WRITE mode. Using the example: a) Program AC (Accent): 5 1 3 z 8 a 4 silences - 1 note - 7 silences - 1 note - 3 silences (4414+74143= 16) b) Program CH (Closed High-Hat): 1 a 5 7 ° u 4 note - 3 silences - 1 note - 3 silences - 1 note — 3 silences - 4 note - 3 silences 43414341434 143 = 16) ¢) Program $D (Snare Drum): 1 2 5 z 8 1 0 15 og 4 silences - 1 note ~ 7 silences - 1 note ~ 3 silences (44447414316) d) Program BD (Bass Drum): — 4 note - 5 silences - 1 note ~ 1 silence - 4 note - 7 silences (14541414147 = 16) 4, Switch to PLAY mode and listen to the rhythm. 5. Adjust the tempo to your taste.Using The Patterns You've just programmed a one-measure rhythm pattern. But one pattern play- ing continuously would quickly become boring. So drum machines have what Is called “song mode,” or ‘chain mode,” which allows you to string sev- eral pattems together to form a more interesting whole. To use song mode, you would first program a minimum of two complementa- 'y pattems, and perhaps a break. In a typical song, the main pattems alter- nate, and the break occurs in the last measure of the phrase (phrases usually are 8 or 16 measures long). For example: 44+2+4+2+4+2+ 4+ Break ot+4+2+24+44+4+2 +4 Break The cymbal parts, which have been indicated for Closed Hi-Hat (CH), you may wish to program for the Cymbal (sometimes called “Ride Cymbal” 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,AFRO-CUBAN Breaks 1‘AFRO-CUBAN Break:413A PA AF Break: 1 ac cv—>| cH eH HT MT so» RS LT crs ce BD—>| Break: 2 + aera f ay eH oH HT mt» sD Re Lr cre cB BO Break: 3 ac oy cH OH Tt HT a Mi so RS —— crs eB BO 16' 1 Breaks 1 eSac— cy € Fee rn MT 8D AS wt crs cB—> Bo Break: 3 ac ey CH on HT ut FI ao z Lt crs ce BD 24ac cy cH—»>| {oe=5 HT Mr so—> AS ey cps cB Bo >| crs. ce BD 22es eeCPs! Bo Break:2 a ac cy cH OH > WT mT —> sD > AS wt cpa cs BO > 133335[eexk] fain + ¥ 36[ean] ; ‘Aa Break:10 + 37pores Or Break:13 7 38BD» crs ce BOs so crs cB Bo->| 39cv—>| cH {en HT mr soy Re ur cre ce Bo cps Bo->| 40c3 fesz=] Break: 1 =42ac —| cy.c—> 4344Breaks 1 ac cy cH OH HT Mt so-> RS LT crs ce ao > 4 4549Break:1 4 50525323> 35 ftBreak:1Break: 4 ( ERR 57\ jos UO < 7 < Break: 7 +Rockt4 + At—> cH—> oH mtr ed RS LT crs ce so616264‘ Break: 466Break: 1170Breakr:4. + ac cy-c> oH en aT Mt do> ne ur crs ce BoDSamba: 1 +Break; 1 ac cH on HT MT sD RS LT cps ce Bo Break: 2 Break: 3 76Shutfie:2 + ace cY—e| cH on HT MT soe AS ur crs 778ac> cy cH OH HT ut sD-> RB LT crs cB BO 79r 80818485AG—> cy cH oH Wt Mt sp—> RS LT cps ce Bo>| Break ay 3 a ex = eae See = me a: = 87sD» cre cB BD->| 88cv—>| cH oH HT ur sD» RS LT ces ca Bo ale es Swing:5 ——— 1 3 5 z gy <3 Kes aoe ey ee ae mr “o> Fe i crs ac—s| cv—>| cH oH HT MT sp—>| AS er cps cB Bo 89act cy cH OH HT > wt crs cB BO>{ ac—> cy cH> on HT MT sD-> Rs er crs u 13. ce Bo 15, 1| 4 Bross) +Sac uu cv Sree {ex ay MT sD» RS LT cps cB BO—> Waltz: 2 + 4 ac GY» cH oH HT MT sp RS ur crs ce Bo> Waltz:3 + ac cy {3 H> TT OH HT mT sD RS aT crs cB Ro> 93Breake1 =. 4 [TF LW [ UI MT 8 Dre] RS Lt crs ce Bo—>| Break ac cy cH» oH nT MT 3 DF] AS LT. crs cB BD 94 |Ending: 1 : ace c y.c+| cH On HT Mt! so—> As Lt crs ce Bo 95260 AT TERNS By RENE-PIERRE BARDET Contents Pretace * Explanations .. Abbreviations Grid Notation ... Musical Notation How To Use This Book . . Using The Patterns Ouaoernn Rhythm And Break Patterns AFRO-CUBAN + 6 BREAK... BLUES + 3 BREAK... . BOOGIE + 3BREAK...... BOSSA NOVA + 3 BREAK . CHA CHA + 3 BREAK 412 DISCO + 9 BREAK .. 45 FUNK + 45 BREAK ... 6 JAZZ + 3BREAK .... aa 2 MARCH + 1 TANGO + 3 BREAK 2 PASO DOBLE + 4 CHARLESTON + 3 BREAK. 42 POP + 6BREAK........ 42 REGGAE + 9 BREAK. . 45 ROCK + 12 BREAK... 42 RHYTHM AND BLUES + 6 BREAK. 6 SAMBA + 3 BREAK... 6 SHUFFLE + 3 BREAK 3. SKA + 3 BREAK... 42 SLOW + 6 BREAK 6 SWING + 3 BREAK . 3. TWIST + 3 BREAK 3° WALIZ + 3 BREAK S EMOING . 6c ee Ka wavno HAL*LEONARD*® CORPORATION 1 187 by pau seusCHEn Fare Lrsaorae one arma earn ar 8 ue penance anMgene ot sre