The pattern
92 BPM · 4/4 · 16 step · swing 40%
| 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 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Kick | hit | rest | rest | hit | rest | rest | hit | rest | rest | hit | rest | rest | rest | rest | hit | rest |
| Snare | rest | rest | rest | rest | hit | rest | rest | hit | rest | rest | rest | rest | hit | rest | hit | hit |
| Closed hi-hat | hit | rest | hit | hit | hit | rest | hit | hit | hit | rest | hit | hit | hit | rest | hit | rest |
| Open hi-hat | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | rest | hit |
How to play it and where it comes from
Contemporary African American gospel (Kirk Franklin, Israel Houghton, the "gospel chops" of church drummers): a groove with strong swing on the sixteenths (40), syncopated kick, enormous snare on 2 and 4 with ghosts and sixteenth-note rolls, "x.xx" hat and an opening on the last sixteenth. The "chops" are lightning-fast linear fills (snare-tom-kick) inserted anywhere (add tomh/toml in the fill bars). Variants: praise break (fast tempo, continuous snare on the offbeats), gospel shuffle in 12/8, gospel ballads with modulations and wide dynamics.