One Drop Reggae Mix Mp3 Download
Sibila Tellio
The backbeat is characterized by the dominant snare drum stroke (usually a click produced by cross-sticking) and bass drum both sounding on the third beat of every four, while beat one is left empty. Thus, the expected hit on beat one is "dropped," creating the one-drop effect. Dropping out the bass on the "one" of the measure further accentuates the downbeat of the drums creating the rhythm.[12]
Examples of songs using the one drop from Bob Marley and the Wailers' album Legend, with Carlton Barrett on drums, include: "No Woman, No Cry", "Three Little Birds", "Get Up, Stand Up", "Waiting in Vain", "Stir It Up", "One Love/People Get Ready", and "I Shot the Sheriff".[3] Other examples include Peter Tosh's "Legalize It", Steel Pulse's "Higher Than High", and Bob Marley's "Exodus".[8] Also The Upsetters's "One Step Dub" (1976) and Bob Marley & The Wailers's "Crazy Baldhead" (1976).[13]
The one drop style has also been used and referenced in numerous non-reggae songs, including "Lucille Has Messed My Mind Up" by Frank Zappa, "The Spirit of Radio" by Rush, and "You Enjoy Myself" by Phish all placing their own twist on the one drop rhythm.[14]
You know "one drop "reggae say like Bob Marley's No Woman No Cry ..
Is that 4/4 or 2/4?
I ask because in one outfit I play in the musical director insists on counting reggae as 1 & 2 & with the one drop drum beat on the 2, the guitar upchops on both &'s ..
Me I think it should be 1 2 [b]3[/b] 4 with the beat on the three and the chops on 2 and 4. It's a lot easier to explain things to non-skanked up gut@rists that way anyhow ..
I know it sounds the same but I just wondered how it should from a musical theory perspective ...
Ta
OG
[quote name='chardbass' post='11652' date='Jun 4 2007, 01:42 AM']A cool tip that's worth trying is to count slow ballads in double time (or feel the 8th note pulse) and up tempo tunes in half time (or feel the half note pulse)- it can stop you slowing or speeding up respectively.[/quote]
Thanks
Actually playing it is not the problem. The problem I have is explaining to gut@rists where to put the skank chop.
I'd say "2 and 4", but the MD (who I dare not contradict for fear of loosing my solos...) says "& and &" and the strummers look blank and then get lost
Well I was watching the Exodus 30 year Horizon programme last night on the BBC and I still think its 4/4 with the one drop on the 3 and the skank on 2 and 4 ..
[quote name='The Funk' post='12019' date='Jun 4 2007, 07:34 PM']I think it can affect the feel of the music. I think that's why people sometimes get quite heated about how to count something.[/quote]
I had a look through youtoob for drum lessons on reggae and none of them count the bits in, drummers etc?
I'll have to get some sheet music for jammin the Exodus album or something and see what the transcriber's said ..:0
To be honest it doesn't really matter I just wondered
To be honest, i think that counting things is something that well get debated for years to come.
As long as the tune your doing sounds good and feels good............it is good! .
And based on my very limited knowledge of reggae (i like it but never studied it), if i was trying to explain the basics to a guitarist, i'd just say "play the chops on the upbeat", simple as.
Si
[quote name='Sibob' post='12098' date='Jun 4 2007, 09:50 PM']To be honest, i think that counting things is something that well get debated for years to come.
As long as the tune your doing sounds good and feels good............it is good! .
And based on my very limited knowledge of reggae (i like it but never studied it), if i was trying to explain the basics to a guitarist, i'd just say "play the chops on the upbeat", simple as.
Si[/quote]
Yup and back we come to the problem ...
When is the up beat?
I know but the guitarist doesn't .....
Hey guys - I have taught reggae as a style at TVU/ drumtech / The ICMP and I've played for a few bands doing reggae stuff - the standard is to count it in 4/4. Skank on 2 and 4. Kick and cross stick on beat 3.
That way, if the drums move to 4 on the floor, they are on all 4 beats, as opposed to on 8th notes. It feels like quite a fast way to count, but it is the standard. I'll post a little video clip on youtube at some point soon to accompany my Bass Guitar Magazine Reggae Style File. It'll have some detail on the drum parts...
[quote name='Davemarks' post='14129' date='Jun 8 2007, 12:32 PM']Hey guys - I have taught reggae as a style at TVU/ drumtech / The ICMP and I've played for a few bands doing reggae stuff - the standard is to count it in 4/4. Skank on 2 and 4. Kick and cross stick on beat 3.
That way, if the drums move to 4 on the floor, they are on all 4 beats, as opposed to on 8th notes. It feels like quite a fast way to count, but it is the standard. I'll post a little video clip on youtube at some point soon to accompany my Bass Guitar Magazine Reggae Style File. It'll have some detail on the drum parts...[/quote]
Dave thanks for that .. I knew I was right ha ha well I knew I was thinking about it in the easiest way to communicate it anyway.
I feel a lot better now ))))))
The you tube examples below feature professional drummers who break down the basics and also demonstrate how keeping the 3rd beat one drop pulse but accenting certain notes with different parts of the drum kit before and after the 3rd beat can add to the feel and vary the groove. Having a laid back slightly behind the beat feel when hitting the kick and snare makes for a good one drop beat. Another valuable consideration is keeping the drum sticks close and pushing the high hats as opposed to tapping them from a higher distance. These valuable lessons all contribute to the feel which of coarse is very important.
To begin exploring the production and mixing of Reggae I have included a tutorial on how to create Reggae using Logic Pro X. By taking on board everything we have learned so far from this blog we can get a real feel for creating a one drop rhythm and other instrumentation. Having this knowledge and being able to apply it to the digital world is useful.
To conclude this blog I have added four one drop songs by artist Chronixx, Taurus Riley Bob Marley and myself King Ru. There are currently many great Reggae artists so if you have enjoyed this blog I encourage you to continue researching this genre.
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Reggae is a genre of popular music that originated out of Jamaica in the 1960s, made famous by artists such as Bob Marley, Peter Tosh, and Jimmy Cliff. It grew out of traditional Jamaican musical styles such as ska and was heavily associated with Rastafarianism, a religious movement that took root in Jamaica in the 1930s. Since then, reggae has been a musical voice for Jamaicans to tell the world about their history, culture, and struggles in a political system that had enslaved and marginalized many Jamaicans. To this day, a lot of reggae music has lyrical content that touches on political and socio-economic issues in Jamaica and around the world.
Reggae employs similar instrumentation as pop tunes found in the United States. The instruments that form the foundation of a typical reggae song would be drums, electric bass, electric guitar, and keyboard. However, over the years, other instruments such as horns, brass, and afro-cuban percussion have also been introduced to reggae.
Surprise. In case you haven't heard, reggae is hardly the stoner hippie grooveshit you may have been mislead into believing it is by the stench of tie-dye that's clung to it at least since the turn of this decade. There's also a helluva lot more artistic merit in that riddim than can be discerned from even a cursory listen to a recent stack of local releases (see sidebar), none of which captures the fire and heart of live performances by Austin's keepers of the reggae flame, Killer Bees or Tribal Nation. Bass Culture (Some History, Briefly) Three or four years ago, Island Records issued Tougher Than Tough, a comprehensive, 3-CD overview of Jamaica's musical progress from the late Fifties on. It began with the caveman primitive boogie of "Oh Carolina" by the Folkes Brothers, which sounded like Fats Domino out in the bush with 50 King Kong extras banging the hell out of some hand drums. What did it end with? "Oh Carolina," covered nearly 30 years later by dancehall artist Shaggy, who filtered the song through all manner of sampling and digitizing technology that's characterized Jamaican skank since the mid-Eighties.
This is important. The message such brilliant sequencing delivers parallels the statement local reggae soundingboard Jay Trachtenberg emphasized over coffee one steamy Saturday afternoon: "What matters is the riddim." Every development in late 20th-century Jamaican music, from ska and Rock Steady to reggae, dub, and lover's rock -- all the way down to the heavily electro modern day dancehall style -- is reliant on a certain rhythmic pulse: Um-chunk, um-chunk, um-chunk. It all came about by accident, when Jamaican musicians attempted to replicate the second-line rhythms of the New Orleans R&B hits islanders would catch on American radio broadcasts coming in on the skip. The only problem is, they got the accents wrong, making the afterbeat prominent, and thus giving birth to the skank.
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