One Groove, Dozens of Possibilities

When it comes to developing upon a pattern or groove, I’m a huge fan of running things through a process that generates all sorts of combinations that I likely wouldn’t have thought to try organically. I routinely use such processes to create grooves and write parts for bands I play in, as well as give my practice sessions some clearer direction.

One process I often utilize to develop grooves involves taking a single phrase played between the bass drum and snare drum, and then working through various cymbal patterns and textures using the hihats and ride cymbal. Doing so allows us to start with one single idea and flesh it out into literally dozens of possibilities.

These exercises venture solidly into “intermediate drummer” territory so make sure you have a solid grasp of the basics of drumming before jumping in!

Let’s see how this process plays out…

The Kick and Snare Phrase

To get things off the ground, we need to define a kick and snare phrase. We’ll go with a steady backbeat on the snare drum (hitting on beats 2 and 4) with some more 8th note and 16th note syncopated action on the bass drum.

Hihat Patterns

Below, the kick/snare phrase is written under 7 different patterns (labeled A - G) played on the hihats.

A) Steady 8th Notes

The first hihat pattern, steady 8th notes, is generally a good starting point when working with a new kick/snare phrase since it’s the most common form of timekeeping in rock and pop music. Deviating from that standard hihat pattern alters the feel of the groove.

B) Quarter Notes

The second hihat pattern consists of only quarter notes, but physically playing fewer strokes on the hihats doesn’t necessarily make it easier. Leaving more space between the beats makes it more challenging to align inner 8th and 16th notes without losing the time.

C) 8th Note Upbeats

The third hihat pattern displaces the quarter notes to the upbeats, so you’ll play the hihats on the ‘&’ of every beat. This pattern creates a sort of counterpoint between the hihats and the kick/snare.

D) An 8th and 2 16th Notes

Things get a little busier with the fourth hihat pattern, which consists of playing an 8th and 2 16th note rhythm. Coordinating the bass drum and the hihats gets to be trickier here since the bass drum skips around the beats relative to the hihat rhythm. You may need to slow down considerably to play this one accurately at first!

E) 2 16ths and an 8th Note

The fifth hihat pattern reverses the fourth, resulting in a 2 16ths and an 8th note rhythm. This hihat pattern creates a different interaction with the bass drum relative to the fourth pattern.

F) Steady 16th Notes with One Hand

For the sixth pattern, we have a steady 16th note rhythm played with just one hand on the hihats. Try to prevent yourself from accenting every hihat stroke that aligns with the kick. Ideally, the hihat pattern should float on top of the kick/snare phrase.

G) Steady 16th Notes with Both Hands

The seventh and final hihat pattern also consists of steady 16th notes played on the hihats, but using both hands. Playing with both hands on the hihats results in slightly different inflections and allows for playing the same groove at much higher speeds. It also presents a different coordination challenge, since the bass drum aligns with the left hand on every 16th upbeat (the ‘e’ and ‘a’ of the beats).

Check out the video below to hear all of these patterns demonstrated sequentially!

Ride Cymbal Patterns

Aside from keeping time on the hihats, we can play all of the same patterns on the ride cymbal. Shifting time keeping to the ride cymbal introduces more texture in the form of sustain. The constant hum of the ride cymbal helps the groove feel more open.

Below are each of the patterns that were played on the hihats, but now written for the ride cymbal (with the exception of the 2-hand 16th note pattern). Check out the video underneath the notation to hear them in action!

Ride Cymbal Zones

In order to take full advantage of the ride cymbal, we can also play on the bell (the center of the cymbal). Striking the bell creates a high-pitched “ping,” which really stands out against the kick and snare. We can modify the patterns initially played on the ride cymbal to accommodate the bell.

A and B) 8th Notes Split Between the Bell and Body

First, we’ll get back to playing steady 8th notes. But now we’ll alternate between striking the bell and the body of the cymbal. Play the bell on each beat and the body on the ‘&’ of each beat. Doing so creates a sort of quarter note accent since the sound of the bell sticks out so much. We can switch the accent to the upbeats by hitting the bell on the ‘&’ of each beat, too.

C and D) Quarter Notes and 8th Note Upbeats

It’s also worth playing the bell on only quarter notes to leave a little more breathing room in the groove. Like before, we can displace the rhythm so the bell lands on the ‘&’ of each beat, as well.

E and F) 8th and 2 16ths Notes, 2 16ths and an 8th Note

When it comes to the rhythms that consist of an 8th and 2 16th notes (or the reverse), play the bell on the 8th note and the 2 16th notes on the body of the ride. By this point, the groove is taking on more dimension. And just like with the last two groups of patterns, they’re all demonstrated in the video below.

Hihat Pedal

To really take things to the next level, we can play a separate pattern using the hihat pedal in addition to playing on the ride cymbal. Doing so puts us into the realm of 4-way coordination. Pay attention to your balance on the throne as you play with both feet simultaneously.

A) Quarter Notes with Hihat Foot

Start by stepping on each beat with the hihat pedal under each of the patterns played between the bell and body of the ride cymbal. Start as slowly as you need to in order to play everything precisely.

B) 8th Notes with Hihat Foot

Next, play 8th notes on the hihat pedal. Balance may become a bit more of a challenge here since each limb is pretty active. Make sure to sit up tall and put all of your weight onto the throne instead of your feet. Don’t lean back!

C) 8th Note Upbeats with Hihat Foot

Last but not least, play on only the ‘&’ of each beat with the hihat pedal. In this case, the hihats behave as yet another counterpoint against the kick, snare, and ride cymbal.

From there, try running different kick/snare phrases through the process. Try creating phrases that use triplets or odd time signatures, and explore other cymbal patterns beyond the others demonstrated. Continuing to use this process is sure to expand your vocabulary and overall awareness on the drums significantly!

Need guidance? Sign up for a trial drum lesson at our music school near Everett. Our professional drum instructors can help you develop your sense of rhythm, ensure you have a solid foundation, and set you on the path toward creating your own drum beats and grooves!