Groove

#1: The “No-Shuffle” Shuffle

Your Goal: To Develop the Quarter Note Pulse

Let’s get started with a very basic groove, one I like to call the “No-Shuffle” shuffle. Modeled
on the legendary soul tune “Green Onions” by Booker T. and the M.G.’s, this shuffle is so basic
that it barely “shuffles” at all. In fact, the only part that shuffles is the bass drum hit on the last
triplet of beat 2. The simplicity of the “No-Shuffle” shuffle will allow us to focus on the quarter
note pulse, without having to worry (yet) about creaKng the swing feel.

Examining the Balance of the Four Limbs: The “No-Shuffle” shuffle may look preLy
simple on paper, but the trick to pulling off this classic groove lies in the way we balance our
four limbs. Classic shuffles like this one were developed before the creaKon of rock. It was a
Kme when drummers couldn’t play as loud as they do today (for fear of drowning out the rest of
the band) so rather than rely on a heavy kick and snare paLern like we would in a modern rock
groove, their primary focus was on the ride cymbal and hi hat. Let’s examine the role of these
two limbs within this groove.

The Ride Cymbal: To properly develop the quarter note

pulse, the ride cymbal must be responsible for driving the
Kme, but it also must do so in a way that has forward
momentum, yet also feels laid back. I know this idea probably
sounds a bit contradictory; how do you give a groove forward
momentum while making it feel laid back at the same Kme? To
solve that equaKon, here’s an exercise I teach my students
called the “Throw-Up” Exercise. The idea is that each stroke
has two elements: the “throw” and the “up.”

The “Throw-Up” Exercise: To create the proper moKon for

the “Throw-Up” Exercise, think about what happens when you
bounce a basketball. AWer each bounce, you respond to the
upward moKon of the ball by leXng the wrist/arm to come up
with it before again throwing down. It’s the same with a
drumsKck. When doing this exercise, make sure to throw with
some force; but immediately aWer contact with the surface,
allow the sKck to rebound naturally off the pad and return to
its starKng posiKon. Try not to pull the sKck back up, rather let The motion for the “Throw-Up” exercise
it pull you up. is similar to dribbling a basketball.
By reacKng to the moKon of the sKck instead of trying to control it, you’ll see how a minimal,
well-place amount of downward force will “drive” the quarter note pulse. The goal is to create a
single moKon that includes both the “throw” and the “up” part of your stroke. The goal is to
produce a flow of notes that has forward momentum (the “throw”), but also feels laid back at
the same Kme (the “up”). By mastering the “throw-up” exercise, you will increase your
consistency, keep the groove going, and use half the effort in doing so. If you’re doing this
moKon correctly, it will feel effortless. Remember, always pracKce this exercise with MUSIC.

Watch Daniel demonstrate the

“Throw-Up” exercise on a pad.

PracPcing the “Throw-Up Exercise” with music will help you capture the
right FEEL of the pulse. Here’s a great list of songs you can start with:

Swing Feel: Straight Feel

(Use French Grip on the Ride Cymbal): (Use German Grip on the Hi Hat):
- Freddie Freeloader (Miles Davis) - When the Levee Breaks (Led Zeppelin)
- Hard Work (John Handy) - Back In Black (AC/DC)
- The Walkin’ Blues (Royal Crown Revue) - More Than A Feeling (Boston)

Moving the “Throw-Up” MoPon to the Ride Cymbal: Once you get your quarter notes
really grooving on the pad, go ahead and move them up to the ride cymbal.

Watch Daniel demonstrate the

“Throw-Up” exercise on a cymbal.

Adding The Hi Hat: AWer the ride cymbal, the second most important element in a classic
shuffle is the hi hat. As with jazz, the hi hat is played with the foot on beats 2 and 4. In the era
prior to rock, this meant that the hi hat essenKally had the job of playing the “backbeat.” And
like a rock drummer’s backbeats, your goal when playing the hi hat goal is to create a solid

Watch Daniel demonstrate the

connecPon between ride cymbal
and hi hat.
landing point within the groove that helps to lock it down. As opposed to pushing your leg
downward, try to feel it connect with the ride cymbal at the TOP of the moKon, and let the
weight of your leg DROP.

Adding The Bass Drum:

The bass drum is responsible for playing the only shuffled note in this groove. Don’t let this
addiKonal note throw off the dominant quarter note drive of your ride cymbal.

Watch Daniel demonstrates how to

play a shuffle feel on the bass drum.

Adding The Snare Drum:

Before adding the snare drum, pracKce the other three limbs together. Work unKl you feel a
deep level of comfort and control. Once you do add the snare drum, start by playing it soWly –
remember in this kind of a shuffle, the snare is subordinate to the drive of the ride cymbal.
Rather than “slamming” a full-blown backbeat, try tapping out beats 2&4 and four, or using a
cross sKck or light stroke. Raise your sKck no more than three or 4 inches from the head and
simply drop it. This will give you the proper feel on the snare drum for this parKcular shuffle.

Watch Daniel demonstrate the full

“No-Shuffle“ Shuffle.

Al Jackson Jr., drummer for the

legendary Memphis soul band
Booker T. and the M.G.’s.

Jackson’s simple but powerful “no-

shuffle” shuffle on the hit song
“Green Onions,” stands out as an
iconic and influenGal groove.