LC dh mel wa ant aoe 3 oes ao oe rs ee oo260 ATTERNS By RENE-PIERRE BARDET Contents Preface oid Explanations 2 Abbreviations . - 2 Grid Notation ., . 3 Musical Notation 4 How To Use This Book 5 Using The Patterns 6 Rhythm And Break Pait 9 AFRO-CUBAN + 6 BREAK WEG wEG eI SHed ee es a oeeT 6 BLUES + 3 BREAK... mies . * | 3 BOOGIE + 3BREAK.- * - Ss 45 6 BOSSA NOVA + 3 BREAK . . eee Bsa 3) CHACHA + 3 BREAK - < * 22 -20 42 DISCO + 9 BREAK... - . 22 45 FUNK + 45 BREAK ..- Seater se seas eb oen iene coe 6 JAZZ + 3 BREAK ¥: oi < + ed? 2 MARCH + 4TANGO + 3 BREAK nee . 42 2 PASO DOBLE + 1 CHARLESTON + 3 BREAK 5 84 42 POP + 6 BREAK . tiie re Ab 42 REGGAE + 9 BREAK. — . — - . 2 45 ROCK + 12BREAK........... wae SAD AIEEE bY 42 RHYTHM AND BLUES + 6 BREAK _ * é 68 SAMBA + 3 BREAK Aupeawe rene. a4 6 SHUFFLE + 3 BREAK ES parsons iran a7 3. SKA + 3 BREAK weomeRe ‘ x = 60 42 SLOW + 6 BREAK.... as-wiae ws oxen 6 SWING + 3 BREAK | ~ . . eo BS 3. TWIST + 3 BREAK oie S 3 o4 3) WALIZ + 3 BREAK eevee . 93 3 ENDING ..... es wee ee OS HAL*eLEONARD® CORPORATION ea yA BELO ra Pa \neaonmacryes. ron, agi tons ae oman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, oF fills. These are original pattems that can be programmed easily on any drum machine. This book, like its predecessor, contains the rhythms most offen used in con- temporary music. The easiest way to use the pattems in these two volumes is to store them in groups. For example, program all the Rock patterns and breaks into your drum machine, and then save them using the cassette or MIDI Intertace pro- vided for extemal storage. Do this for each rhythm (Rock, Pop, Funk, etc.). This requires a certain investment of time at the start but will come in handy later. Thus, when you have fo 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 pattems in this book to sult your taste, inspiration, of whim, They consiilute ¢ solid and efficient base of current rhythms from which you can work. Explanations the rhythms are listed in alphabetical order, with comesponding 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, Ine use of these dilterent jevels, it yaur machine possesses them, is left fo your discretion. Tempos are jeff up to you. One recent innovatien in drum machines that makes its appearance in this book is the “flam." A tlam is o note that is struck just before the principal it. A flam is Indicated by & grace note in he musical notation, and by an Pteceding the note fo be played in the grid. You'll find a blank pattern sheet at the end of the book, which you can pho- focopy and use in notating pattems of your own. Abbreviations Following are the abbreviations for the varlous 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 U: Low Tom RS: Rim Shot MT: Medium Tom CPS: Claps HT: High Tom ‘CB: Cowbell TAM: Tambourine »Grid Notation The grid below Is typical of those found in ins book, 1 aos rt ts + Each gfid represents a one-measure drum pattem. + 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 |s a sixteenth note oy ot a sixteenth rest (7). depending on whether the box is black (note) or white (rest). Most pattems are in 4/4 time, as the example is. This means there are four quarter notes (,) in a measure, The sixteenth-note unit used by drum ma- Chines allows @ach beat to be broken into four subdivisions. In simple mathematics: » A quarter note Is a quarter of a measure. Jd bd A measure + A sixteenth note is a quarier of a quarter note, oF a sixteenth of o measure. FFTI FTL TTS TTS ~ 1 mecnne A mhythm pattem in 4/4 time, such as that in the exampie, will therefore have 16 boxes In each row. Because Ihe 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 fs “hit."Musical Notation The literal transition of the grid in the example into musical notation would be as follows: iiterat notation Sineé tnis involves many short rests, however, common practicé takes liberties with the notation, substituting longer note values for greater clarity: > J ‘common notation J ‘The following key shows how each element of the drum set is notated on the musical staff, ‘Claps (CPS) Cymbal (CY) or Closed HrHat (CH) Ride Cymbal of Crash Cymbal, depending on the coniex! Open HiHat (OH) Closed Hi-Hat (CH. This Is an ahternonve to he Closed Hi-Ha! notation above, Used fo avald contusion when the: ‘CYMbaI is also being used. In playing an actual drum sel, this notation Indicates pressing the HHHa! pedal) Bass Drum (8D) = — ion — eS ‘Snore Drurn (SD) Medium Tom (Mt) of High Tom cm Low Tom (LD Cowbell (CB) Rim Shot (RS) Accent (AC) Tambourine (TAM)How To Use This Book 4, Carefully read the user’s manual for your drum machine in order to learn how te operate if inthe WRITE (program rhythms) and the PLAY (listen to programmed rhythms) modes. 2. Ityou've chosen to program a pattem that is 46 units iong (4/4 time; @.g.. Rock or Pop), It is shown here by a grid tho? !s 16 boxes across. If, on the other hand, you have chosen to. progrom a t2-unit pattern(12/8 time, or 4/4 time with triplets; @.g., Blues or Shuffle), It Is shown here by a grid that is 42 boxes actoss, and each box represents an eighth note father than a sixteenth note. Select the appropriate pattem length on your drum machine. 3. Activate the WRITE mode. Using the example: @) Program AC (Accent): 1 3 5 2 2 " 9 1s — CT 7 4 silences - 1 note — 7 silences — 1 note - 3 silences (Ae t+ 7 e443 = 16) b) Program CH (Closed High-Hat): 1 3 5 1 a " 13 18 = 1 note - 3 silences 4 note - 3 silences - 1 note - 3 silences - 1 note - 3 siler (+3414 344454 143 = 16) ¢) Program SB (Snare Drum): 1 3 ‘ : 2 " 1" 6 TI a 11 =) 4 silences — 1 note - 7 silences ~ 4 note - 3 silences (444474143 = 16) d) Program BD (Boss Drum): a ‘ ? 4 note - § silences — 1 note — 1 silence ~ 4 note ~ 7 silences (abe te deta P= 16) 4, Switch !o PLAY mode and listen to the mythm. 5. Adjust the tempo to your taste,Using The Patterns You've just programmed a one-measure rhythm pattem. Bul one pattem play- ing continuously would quickly become boring. $0 drum machines have what is called “song mode,” or “chain mode," which allows you to string sev- etal pattems together to form a more interesting whole. ‘To use sang mode, you would first program a minimum of two complementa- Ty pattems, and perhaps a break. In g 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: 4+ RBe4t+24+44+ 244+ Break ofr 4+ 2424+ 44442 + Break The eymbal parts, which have been indicated for Closed Hi-Hat (CH), youmay wish fo program for the Cymbal (sometimes called “Ride Cymbal”: CY), You may also wish te add Ciaps (CPS) or High Tom (HI) to underscore accents, and 40 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 inte place, but it's up to you fo personalize them. An infinite variety of thyttmic combinations lies at your disposal.‘AFRO-CUBAN Breaks 14 Break:4 7 Break:5 + ac cy {en > oH mt—> a ao ne LT cps omyAco CY.ce CH—e| oH HT Mr ao aS ur ors 5B Bo->i+ \ Break:1 ee EatBreak:4 7on— ut so As eT cps ce so—>313536Leexx) Break:10 + 1 ac evoe {8 BH hT MT— BDF ne Lt cops ca ao ar[rene] Break:18 +Wed = 40as ved42Breaks? SSS 2 £ ac — fe cv.c— eM oH + MT so Ao rT ere os Boe TANGO Breaks 1 + AGP cH om HT mr os Re ur crs oa sB—=CH OH sDBreaks1 AG cy (3a 5H nT Mr so RS ut ope cB sco>> Break: 1 + ac cy fee? ep MT mt so AS LT ces ce a> 45aAc u ey en (53 nT Mr som = Ae wT cre ea eo Break:552Breakt4 =Break: 9 4 i aco59cre a ses Tr) salud [awe 61Rock:13 + At—> ey cn OH MT MT so Re _] LT cPs es so_ y , Break:10 + Break: 11 ac ev-c> cM > GH ‘= MT so—> AS LT ope oe Bocrs ao70amBreak: 3 ac SyMc> cH eM —s mt—> so Ae cee an> spo733 ac | wT = I 74Break: 1 76ace cy cH OH Shuffle: 4 Shuttie Tt Hr MT sD Rs ur ore aoSHUFFLE acs cv cH HT > MIT ao Rs LT crs i no Broak;2 ac cy VES Vow gy ‘cH on 4T> “> ao AB ur ers ce Bo ac> ey Ve. sv VERY vegsy Yea fea MT 1 mt es RS ut cre co8 ao 79ao 80[exa]82as0—s| crs ce Boac cy eH on MT mt 8 0->F RS ut ces cB Bo Breaks 2 Break:3 ac cvs cH 1 (en HT ut> go> ne ur crs eB BD93Breaks1 Breaks ac cv» cH—e| oH HT MT soe Re ur crs ce goac cv eM on Mr so Re ur cps cs so