The pattern
122 BPM · 4/4 · 32 step
| Instrument | Beat 1 | Step 2 | Step 3 | Step 4 | Beat 2 | Step 6 | Step 7 | Step 8 | Beat 3 | Step 10 | Step 11 | Step 12 | Beat 4 | Step 14 | Step 15 | Step 16 | Beat 5 | Step 18 | Step 19 | Step 20 | Beat 6 | Step 22 | Step 23 | Step 24 | Beat 7 | Step 26 | Step 27 | Step 28 | Beat 8 | Step 30 | Step 31 | Step 32 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Kick | hit | rest | rest | rest | hit | rest | rest | rest | hit | rest | rest | rest | hit | rest | rest | rest | hit | rest | rest | rest | hit | rest | rest | rest | hit | rest | rest | rest | hit | rest | rest | rest |
| Snare | rest | rest | rest | hit | rest | rest | hit | rest | rest | rest | rest | hit | rest | rest | hit | rest | rest | rest | rest | hit | rest | rest | hit | rest | rest | rest | rest | hit | rest | rest | hit | rest |
| Clap | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | hit | hit | hit | hit |
| Closed hi-hat | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest | hit | rest |
| High conga | rest | rest | hit | rest | rest | hit | rest | rest | rest | rest | hit | rest | rest | hit | rest | rest | rest | rest | hit | rest | rest | hit | rest | rest | rest | rest | hit | rest | rest | hit | hit | rest |
| Timbales | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | hit | rest | hit | rest | hit | rest |
How to play it and where it comes from
The Dominican Republic version is faster (115–130) and sparser than Puerto Rican reggaeton: the same kick on the quarter notes and the same 3-3-2 snare, but rawer, more repetitive sounds, designed for vocal call-and-response (El Alfa). The percussion (sampled conga/tumbadora, timbales) fills the gaps in the snare and closes the phrases; rolled claps on the last beat of the second bar. Variants: kick that disappears leaving only snare and voice, sirens and fx between phrases, snare doubled in sixteenths at the climax.