Chart-Topping Drum Beats

Book Pages

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  p.1 — Cover Page

  See the cover page for Chart-Topping Drum Beats.

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  p.2 — About the Author

  Learn about the author, Nate Brown.

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  p.3 — Table of Contents

  View the Table of Contents.

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  p.4 — Lesson 1 – Video Introduction

  View a brief video introduction by the author, Nate Brown.

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  p.5 — Introduction

  This book explores the foundational techniques of playing drum set, including tips, tricks and real-world examples of how the techniques are used in chart-topping songs. An emphasis is put on conveying the importance of learning the material you’re learning. Knowing the reason you’re practicing certain techniques is a motivation. Upon completion of this book, you will have mastered the foundational drum set techniques that have driven song after song to the top of the charts.

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  p.6 — The Vertical Technique – Learning Techniques

  Every drummer has a learning style that works best for him/her. What works for another drummer might not work for you. It’s important to explore different learning techniques until you find a method that’s best for you.

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  p.7 — Limb by Limb Technique – Learning Techniques

  Some drummers prefer to learn a beat by mastering each limb separately and then putting all the limbs together to create the full groove.

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  p.8 — Chunking – Learning Techniques

  Chunking a drum beat into smaller parts is often helpful when learning a new groove.

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  p.9 — Other Considerations

  As you’re learning a new beat, it’s important to pay close attention to what the groove feels like as you play. The word feel in music often expresses certain emotions that the music triggers, but in this case I’m talking about the physical sense of the word. What does it actually feel like when you play it?

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  p.10 — Lesson 2 – Cover Page

  View the cover page for Lesson 2, “8th Beat.”

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  p.11 — Intro to 8th Beat

  If you want to be a successful drummer, the first step is to master the 8th beat technique. It’s the foundation for many of the drum beats you will encounter in popular music and is found in numerous songs from the 60s through today.

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  p.12 — 8th Beat – Coordination Building (1)

  Now that you understand what the 8th beat technique is and how to read the notation, it’s time to start building the muscle memory discussed in Lesson 1. These coordination exercises are designed to gradually build 8th beat coordination by building muscle memory through repetition.

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  p.13 — 8th Beat – Coordination Building (2)

  These grooves contain more 8th rests and quarter rests. As strange as it may sound, sometimes it’s harder to “rest” than to strike the drum because your body naturally wants to strike with your other limbs.

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  p.14 — 8th Beat – Two-Bar Patterns – Coordination Building

  Often times, drum beats are grouped into two-measure repeating patterns. Playing a two-measure pattern can make the groove sound more interesting and less repetitive. Try these out.

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  p.15 — Chart-Toppers (1) – Lesson 2

  This book is designed to emphasize not just what you’re learning, but why it matters. Understanding the purpose behind each lesson enhances motivation, making your practice more meaningful and driving your growth as a drummer. See and hear how the 8th Beat Technique has been a staple in chart-topping hits from the ’60s to today, shaping some of the most iconic grooves in music history.

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  p.16 — Chart-Toppers (2) – Lesson 2

  See and hear the 8th Beat Technique in action with more chart-topping songs. These examples will help you understand how this essential groove drives some of the biggest hits in music.

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  p.17 — Chart-Toppers (3) – Lesson 2

  Dive into more chart-topping songs that showcase the 8th beat technique. These examples will expand your groove vocabulary and help you master the rhythms behind some of the biggest hits.

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  p.18 — Chart-Toppers – Two Bars (1) – Lesson 2

  The following chart-topping examples feature two-measure repeating grooves. In 8th beat grooves, two-measure patterns are commonly used to add variation and make the groove feel more dynamic and less repetitive.

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  p.19 — Chart-Toppers – Two Bars (2) – Lesson 2

  Explore even more chart-topping songs that utilize the 8th-note beat technique. These examples will help you refine your groove, enhance your coordination, and develop the feel essential for playing hit-making rhythms.

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  p.20 — Chart-Toppers – Two Bars (3) – Lesson 2

  Keep building your groove with more examples of the 8th-note beat technique, a staple in countless chart-topping songs. These patterns will strengthen your timing, feel, and versatility behind the kit.

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  p.21 — Chart-Toppers – Two Bars (4) – Lesson 2

  Many chart-topping hits rely on the classic 8th-note beat technique. Here are more examples to explore, helping you lock in the groove and expand your drumming repertoire.

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  p.22 — Chart-Toppers – Multiple Bars & Crash – Lesson 2

  The first two chart-topping examples on this page include multiple measures of 8th note phrasing. The final example includes a crash cymbal. Be sure to keep solid timing when moving to the crash and back again to the hi-hat. Keep it consistent! Hey Jealousy – Gin Blossoms Born to be Wild – Steppenwolf If You […]

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  p.23 — Composition – Lesson 2

  Writing a drum beat is fun. It’s also something that many working drummers will find themselves having to do at some point in their career. Experiment with writing two-measure repeating beats below like you played throughout this lesson.

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  p.24 — Lesson 3 – Cover Page

  View the cover page for Lesson 3, “Snare Movement.”

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  p.25 — Intro to Snare Movement

  While the snare drum is often played on beats “2” and “4”, there are many songs that use additional snare drum strokes or that move the stroke away from “2” and/or “4” altogether.

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  p.26 — Snare Movement – Coordination Building (1)

  This page focuses on adding a snare stroke on the “&” of beat “2”. This particular hand pattern was very popular during the 60s surf music craze. Pipeline The Chantays (1962), Wipe Out—The Surfaris (1963) and Surf City—Jan & Dean (1963) are just a few examples. Recently, The Black Keys surfed this hand pattern all the way to the top of the charts with their hit single, Lonely Boy (2012).

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  p.27 — Snare Movement – Coordination Building (2)

  Flipping around the popular “surf” pattern from the previous exercises brings a slightly different feel to the groove. Try these exercises with the additional snare placed after the “4” instead of the “2.”

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  p.28 — Snare Movement – Coordination Building (3)

  You can change the feel of the groove yet again by placing the snare drum before the “4” instead of after. Try these exercises, and pay close attention to the feel this hand pattern creates.

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  p.29 — Snare Movement – Coordination Building (4)

  A groove becomes syncopated when a normally “strong” beat becomes weak and vice versa. These exercises displace the snare to the “&” of “4.” Pay close attention to the effect this pattern has on the feel.

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  p.30 — Snare Movement – Coordination Building (5)

  Displacing the snare to before the “4” creates another syncopated pattern. Try these exercises and note the effect this pattern has on the grooves’ feel.

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  p.31 — Chart-Toppers – Snare Movement (1)

  The following chart-topping songs showcase snare movement techniques that add variety and bring a unique feel to the music. Mastering these techniques will help you create dynamic grooves that stand out.

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  p.32 — Chart-Toppers – Snare Movement (2)

  The chart-topping examples on this page demonstrate the snare displacement technique, altering the backbeat to create fresh, unexpected grooves that add excitement and variation to the music.

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  p.33 — Chart-Toppers – Snare Movement (3)

  The chart-topping examples on this page feature the snare drum on all the downbeats (1, 2, 3, 4), creating a steady, driving feel that propels the song forward in a unique and compelling way.

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  p.34 — Chart-Toppers – Snare Movement (4)

  These chart-topping hits elevate their grooves with captivating two-measure repeating patterns, adding rhythmic intrigue and dynamic appeal.

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  p.35 — Chart-Toppers – Snare Movement (5)

  The last two examples on this page feature four-measure repeating patterns. Start by playing them slowly, gradually increasing your speed. Once comfortable, challenge yourself by turning away from the notation and playing from memory.

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  p.36 — Composition – Lesson 3

  Keep honing your writing skills and embrace creativity! The more you experiment with snare placements, the more control you’ll gain over your sound, allowing you to craft rhythms that truly resonate with your style.

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  p.37 — Lesson 4 – Cover Page

  View the cover page for Lesson 4, “16th Note Bass Phrasing.”

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  p.38 — Intro to 16th Note Bass Phrasing

  So far, all of the rhythms you’ve practiced have snare and bass strokes that fall directly in line with the hi-hat strokes. Many drum beats use sixteenth-note phrasing, which is the technique of placing strokes in between the 8th notes on the hi-hat strokes.

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  p.39 — Sixteenth Bass Phrasing – Coordination Building (1)

  The first set of exercises introduces the bass drum on the “ah” between hi-hat strokes. Take your time mastering these, as grooves like this will appear consistently throughout your drumming journey. Precision and control now will pay off in the long run!

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  p.40 — Sixteenth Bass Phrasing – Coordination Building (2)

  These exercises are designed to develop coordination for playing the bass drum on the “e.” While playing, make sure your hi-hat strokes stay consistent. Also, listen to the difference in feel this pattern creates.

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  p.41 — Sixteenth Bass Phrasing – Coordination Building (3)

  These exercises incorporate bass strokes on both the “e” and “ah.” Some of these can be tiring on your bass drum foot. Start slowly, and gradually build speed with time. Eventually, you’ll have built endurance.

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  p.42 — Chart-Toppers – Sixteenth Bass Phrasing (1)

  Sixteenth-note phrasing unlocks a world of rhythmic possibilities by doubling the available stroke options for each limb, allowing for greater creativity and dynamic expression in your playing.

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  p.43 — Chart-Toppers – Sixteenth Bass Phrasing (2)

  Expand your skills by practicing more chart-topping songs that incorporate sixteenth-note bass phrasing. This will enhance your groove, timing, and overall versatility and “groove sense” behind the kit.

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  p.44 — Chart-Toppers – Sixteenth Bass Phrasing (3)

  Keep refining your sixteenth-note bass phrasing with these chart-topping grooves. Mastering them will strengthen your precision, coordination, and rhythmic creativity.

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  p.45 — Chart-Toppers – Sixteenth Bass Phrasing (4)

  Sharpen your skills by practicing these drum beats, which feature even more sixteenth-note bass phrasing. The added complexity will enhance your timing, coordination, and overall groove.

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  p.46 — Chart-Toppers – Sixteenth Bass Phrasing (5)

  The examples on this page are two-measure repeating beats from chart-topping songs.

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  p.47 — Chart-Toppers – Sixteenth Bass Phrasing (6)

  The examples on this page incorporate the snare movement techniques from lesson 3 as well as sixteenth-note phrasing on the bass.

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  p.48 — Composition – Lesson 4

  Continue working on your writing and creating skills with this composition template.

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  p.49 — Lesson 5 – Cover Page

  View the cover page for Lesson 5, “Sixteenth-Note Snare Phrasing.”

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  p.50 — Intro to 16th Snare Phrasing

  Up to this point, you’ve focused on sixteenth-note phrasing with the bass drum. In this lesson, you’ll dive into sixteenth-note phrasing with the snare drum and explore grooves that blend both snare and bass drum phrasing for even greater rhythmic depth.

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  p.51 — Sixteenth Snare Phrasing – Coordination Building (1)

  The first set of sixteenth-note phrasing exercises introduces the “ah” after the “&” of “2.” For now, the bass drum remains in an 8th-note phrasing to help you focus on developing precision and control with your hands.

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  p.52 — Sixteenth Snare Phrasing – Coordination Building (2)

  These exercises build on the previous pattern by adding an “ah” after the “&” of count “4.” This can create a repetitive groove—sometimes a strength, sometimes a challenge—so focus on control and feel to make it work musically.

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  p.53 — Sixteenth Snare Phrasing – Coordination Building (3)

  So far, you’ve practiced grooves with the snare phrased on the “ah.” Now, let’s shift the snare to the “e.” As you play these patterns, notice how the placement changes the feel and flow of the beat, adding a fresh rhythmic character to your grooves.

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  p.54 — Sixteenth Snare Phrasing – Coordination Building (4)

  The hand pattern on this page is based off of Clyde Stubblefield’s famous groove from Funky Drummer— James Brown (1986). This groove became so widely sampled and played in the early 90s that it became somewhat of a musical cliché. Even though it’s been played to death, it’s an important groove in drumming history, and every drummer should learn to play it.

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  p.55 — Sixteenth Snare & Bass Phrasing – Coordination Building (1)

  These exercises integrate sixteenth-note phrasing on both the snare and bass drum. With so much movement happening, it’s easy to lose track of the steady 8th notes on the hi-hat—so keep them consistent. Also, take note of the notation: the snare drum part has been moved to “voice 2” (stems pointing down) to improve readability. This separation keeps the 8th-note hi-hat pattern in “voice 1,” ensuring a clean and clear visual reference.

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  p.56 — Sixteenth Snare & Bass Phrasing – Coordination Building (2)

  Continue refining your sixteenth-note phrasing by practicing grooves that incorporate both the bass drum and snare drum. Focus on consistency, coordination, and control to develop fluid and dynamic playing.

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  p.57 — Sixteenth Snare & Bass Phrasing – Coordination Building (3)

  These exercises introduce bass drum patterns with two consecutive sixteenth notes. Building the speed and endurance needed for quick bass strokes takes time, so start slow, focus on control, and gradually increase your tempo as your technique improves.

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  p.58 — Chart-Toppers – Sixteenth Snare & Bass Phrasing (1)

  The following examples incorporate sixteenth-note phrasing on the snare drum, bass drum, or both. Pay close attention to how each placement affects the groove and overall feel of the beat.

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  p.59 — Chart-Toppers – Sixteenth Snare & Bass Phrasing (2)

  Continue practicing sixteenth-note phrasing with the snare and bass drum.

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  p.60 — Chart-Toppers – Sixteenth Snare & Bass Phrasing (3)

  Practice these grooves with the more sixteenth phrasing on the snare and bass.

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  p.61 — Chart-Toppers – Sixteenth Snare & Bass Phrasing (4)

  Try out these multi-measure grooves featuring sixteenth phrasing on both the snare and bass.

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  p.62 — Composition – Lesson 5

  Building the coordination to play other drummers’ beats is good, but it’s also important to write and play your own.

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  p.63 — Lesson 6 – Cover Page

  View the cover page for lesson 6, “Embellishing.”

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  p.64 — Intro to Embellishing

  The word embellish means to make something more attractive by adding features and elements. There are a lot of things we can do as drummers, such as adding strokes, changing the volume, using different stroke types, opening the hi-hat, etc.

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  p.65 — Open Hi-Hat – Coordination Building (1)

  This section focuses on using the open hi-hat technique to embellish grooves. These are arranged with 8th beat grooves at first so that you can focus on becoming comfortable with the hi-hat foot.

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  p.66 — Open Hi-Hat – Coordination Building (2)

  These exercises incorporate sixteenth-note phrasing on the bass drum along with the open hi-hat technique.

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  p.67 — Open Hi-Hat – Coordination Building (3)

  These exercises incorporate sixteenth-note phrasing on both the bass and snare drum along with the open hi-hat technique.

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  p.68 — Open Hi-Hat – Coordination Building (4)

  This page focuses on the popular disco open hi-hat pattern. You will find this pattern throughout many other styles of music, as well.

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  p.69 — Ghost Strokes – Coordination Building (1)

  This section focuses on ghost-stroke coordination. Many drummers have a difficult time at first when learning to play ghost strokes. These exercises help build the muscle memory you need for ghosting.

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  p.70 — Ghost Strokes – Coordination Building (2)

  Keep refining your ghost stroke technique with these grooves, which place ghost strokes on the “ah” after beats 2 and 4. Focus on maintaining a light touch for the ghost notes while keeping a strong backbeat for a balanced and dynamic groove.

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  p.71 — Ghost Strokes – Coordination Building (3)

  Continue building your ghost stroke technique with these grooves that incorporate even more ghost strokes.

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  p.72 — Ghost Strokes & Open Hi-Hat – Coordination Building

  This final coordination building page includes both open hi-hat and ghost-stroke embellishments. These two-measure repeating grooves also pull concepts from the previous lessons.

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  p.73 — Chart-Toppers – Open Hi-Hat

  The following grooves from chart-topping songs are one-measure repeating beats that include the embellishments of the open hi-hat and/or the ghost stroke.

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  p.74 — Chart-Toppers – Open Hi-Hat & Ghost Strokes (1)

  Continue exploring these chart-topping songs that use the open hi-hat embellishing technique.

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  p.75 — Chart-Toppers – Open Hi-Hat & Ghost Strokes (2)

  Continue practicing your embellishing techniques with these more challenging grooves.

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  p.76 — Chart-Toppers – Open Hi-Hat & Ghost Strokes (3)

  This section includes examples of multiple-measure repeating beats from chart-topping songs that include the embellishments of the open hi-hat and/or the ghost stroke.

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  p.77 — Chart-Toppers – Open Hi-Hat & Ghost Strokes (4)

  The example from Heroes—David Bowie uses a measure-repeat sign. This means to repeat the previous measure. You’ll see this symbol often in sheet music to save space.

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  p.78 — Chart-Toppers – Open Hi-Hat & Ghost Strokes (5)

  Keep expanding your groove vocabulary with these chart-topping embellishment techniques. These exercises incorporate sixteenth-note phrasing on both the bass and snare, along with ghost strokes and open hi-hat embellishments. Focus on control, dynamics, and feel to make each element blend smoothly into your playing.

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  p.79 — Chart-Toppers – Open Hi-Hat & Ghost Strokes (6)

  These final two-bar, chart-topping grooves add even more open hi-hat and ghost strokes, enhancing the groove and complementing the song’s feel. Focus on precision and dynamic control to make each embellishment blend seamlessly into the rhythm.

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  p.80 — Composition – Lesson 6

  Continue developing your own unique embellishing style by adding ghost strokes and open hi-hats to the rhythms below. Remember to take your time with this to make sure each rhythm nails your tastes.

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