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by Ray I-lilchins

Ten Popular Reggae Pieces

A (Riddims)

I‘ H1si0ry of Reggae

W. ‘1mv»-*0 Creale a R1dd1m

Reggae Mus1cal Terms

EHAL-LEoNARD®
_ LII ii-LR‘! R-ii
 by Ray Hiichins

ISBN [J-?“i35-l=l=li3-B

E‘ HAL'LEONARD®
‘CORPORATION
7777 W BLUEMOUND Rn. [Link] 13819 MILWAUKIE, WI 53213

Copyright © 1996 by HAL LEONARD CORPORATION

International Copyright Secured All Flights Reserved
For all works contained herein:
Unauthorized copying, arranging, adapting. recording or public performance is an infringement of copyright
lnfringers are liable under the law.

Visit Hal Leonard on the internet at hnp://[Link]

 C (DNT-EZNTG Page

Using This Book

Who Can Use This Book. . .4
How to Use This Book . . . .4
The Audio Cassette/CD. . . .4

Acknowledgements . . . . . . . . . . . .5

Introduction . . . . . . . . . . . . . . . . .5

Overview
What is a Riddim? . . . . . .
A Brief History . . . . . . . .
The Periods of Jamaican Music . . . . . . . . . . . . . . . . . . . . . . .
The Production of a Riddim \lO\C7\O‘\

How to Work with a Riddim

The Writer . . . . . . . . . . .
The Singer . . . . . . . . . . .
The Producer. . . . . . . . . . ©0000

The Engineer. . . . . . . . . . .9
The Ananger . . . . . . . . . . 10
The Listener . . . . . . . . . . 11
The Version . . . . . . . . . . . 11
The Live Backing Band. . . 11

About the Audio Package

The Ten Riddims . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
The Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Advice to Instrumentalists
Bass . . . . . . . . . . . . . . . . 14
Keyboards . . . . . . . . . . . . 14
Drums . . . . . . . . . . . . . . 14
Guitar . . . . . . . . . . . . . . 14
Echo and Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Ten Riddims
Riddim One: “Croaker” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Riddim Two: “Kotch” . . . . 18
Riddim Three: “Raka”. . . . 20
Riddim Four: “Nyam It” . . 22
Riddim Five: “Julie Mango” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Riddim Six: “Upstart” . . . . . . . . . . . . . 26
Riddim Seven: “Ticks” . . . 28
Riddim Eight: “Bruk Foot”. 30
Riddim Nine: “Nasty Puss” . . . . . . . . . 32
Riddim Ten: “Nuff Respect” . . . . . . . . . . . . . . . . . . . . . . . . 34

Common Reggae Musical Terms . . . . . . . . . . . 36

Discography . . . . . . . . . . . . . . . . 38

Conclusion . . . . . . r . . . . . . . . . . 39
About the Author , . . r Q . . . . . . . 40

4!
 Ueme T1-us BOOK

WHO CAN USE THIS BOOK?

This book is intended to be generally informative about reggae music and may well prove of
interest to the average reggae lover. It should, however, be of greatest interest to the following
two groups:

1. Instrumentalists who want to develop their understanding and improve their playing
of reggae.

2. Songwriters, producers, or arrangers who hope to use reggae not only to broaden their
sound palette, but to provide a different perspective on the creative process.

HOW TO USE THIS BOOK

1. The instrumentalist should try to develop an understanding not only of the technical
information found in these pages, but also of the cultural and historical background that
is so much a part of reggae music. Play along with the ten riddims, and try to develop
your feel for the music. Once this has been achieved, try experimenting.

2. The songwriter, producer, or arranger can use this book, and the audio examples, as a
source of information on reggae riddims and a base on which to write and develop ideas.
By understanding how reggae riddims are constructed, you should be able to extract
ideas and components of reggae music and try them in your own creative work.

THE CD

The audio accompanying this book is recorded in the following way: drums and percussion
are spread in stereo; bass is panned to the left side; guitar and piano are panned to the right side.
Instrumentalists are encouraged to remove their instrument from the stereo mix and play along once
they are familiar with their part. Use the audio icons (0) to follow each track number.
 ACKNOWLEDGEMENTS

I would like to thank the following people, without whose help and support the writing of this book
would have been a much greater task:

The staff at Hal Leonard for their guidance; Sarah Manley, Cindy Breakspeare, and Tony
Gentles for being there when needed; Mark Golding for his input over-and-above the call of duty;
Jimmy Peart for his keyboard work and assistance; Peter Couch for his efforts on what once was a
keyboard but has since tumed into a camera; Monica, who kept us all supplied with caffeine; Marie
and Rachel, who helped in any way they could; and last but not least, Julianna, who without
knowing it kept us all entertained.

I must also say a sincere ”thank you“ to the many reggae musicians whom I have worked
with over the years. They have been generous in sharing their knowledge, views, and music
with me.

Ray Hitchins

INTRODUCTION
0

It is remarkable that Jamaica, a small Caribbean island with a population of only 2.4 million,
should be the birthplace of reggae, a music which has had a huge impact on the international music
scene over the last twenty-five years. It is often overlooked that many aspects of today’s
intemational music industry had their beginnings in Jamaica. Rapping, dubbing, and even re-mixing
were all accepted parts of reggae music long before their discovery by the mainstream.

One of the secrets of reggae’s great success is the fact that it has continued to evolve
independently from the pop and rock music of the first world; reggae sets trends as opposed to
following them.

Jamaica has provided a unique cultural environment in which reggae music could develop
and grow. Artists such as Bob Marley, Toots Hibbert, and Jimmy Cliff have obviously taken center
stage in promoting and popularizing homegrown reggae music intemationally, but they represent
only a tiny portion of the world’s reggae acts. Reggae now comes not only from Jamaica and the
ethnic communities of the U.S.A. and Great Britain, but from as far away as Japan and South Africa
as well. These regions all have their own respective musical interpretations of reggae and have
adopted the music as their own.

Even with the following and acceptance reggae now enjoys, many of the fundamental
musical components are little understood outside of a Jamaican environment. Reggae has always
been tightly woven into the fabric of Jamaican culture, and this fact has made a thorough
understanding of the music inaccessible to many people. The object of this book is to explain some
of these aspects and in particular one of the most important: the “riddim.”
 CVERVIEW
WHAT IS A RIDDIM?

The word “riddim” is Jamaican patois for the English word “rhythm” and in the context of
this book is used to describe a piece of backing music recorded before or during the production of a
record. One of the unique aspects of Jamaican music is that, since the 1960s, producers have been
recording more than one song or singer over a single backing track known as a riddim.

A BRIEF HISTORY

During the 1940s and 1950s, Jamaicans were fed a musical diet of predominantly American
dance music which started with the big bands and extended into R&B. The indigenous Jamaican
music of the latter part of this period was “mento,” a type of calypso with a strong folk influence.
Because of the high levels of poverty in Jamaica, the average man at this time was unable to afford a
radio, so musical entertainment was supplied by what is known as a “sound system.” These systems
would organize dances and play the latest foreign music. Competition to be the best sound system
was fierce, and a top rating was only given to those who could consistently play the latest popular
releases.

As American popular musical tastes were changing to rock ’n’ roll—never very popular in
Jamaica—the sound system operators started to produce their own recordings. At first this was done
for the exclusive use of their own system. As the popularity of these productions increased and
domestic record players and radios became more common, the productions were released as records
and made available to the general public.

These sound system operators were the pioneers of the Jamaican music industry and
included the legendary Coxsone Dodd, Duke Reid, and Price Buster.

THE PERIODS OF JAMAICAN MUSIC

I
1950 1960 1970 1980 1990
=isE
. m.fi
_ M€ntO ...... _ _ M

Ska ________________Hi =>.=

Rock steady ...................... - i

Reggae _______________________________ _-
Dance hall ........................................... - -
V
THE PRODUCTION OF A RIDDIM

In practice, a producer would employ a studio band and singer to record a song for a record
label. Once released, if a song showed any signs of success, the producer would often try other
singers and deejays (rappers) over the same riddim but singing completely different songs and very
often cover songs of the latest foreign top ten hits. This method of working was likely inspired by
harsh economics rather than creativity. It provided a relatively cheap method of pro-I several
records for the price of one. Unfortunately, financial savings were often made at the experts‘ the
studio musicians. They were largely responsible for writing and arranging the riddim but in most
cases were unaccredited and only paid for the initial recording session.

A popular riddim would become the foundation on which numerous songs could be
recorded and released. In the case of a hit riddim, this could be thirty or forty. It is also quite nonnal
in Jamaica for other producers to record their own version of a popular riddim and release songs on
it by their own artists. A riddim like this is given a name which is usually taken from the first hit
song to establish it, e.g., “Answer Riddim” or “Sleng Teng Riddim.”

Try for a second to imagine this concept working in the U.S.A. Imagine Quincy Jones, for
instance, taking the riddim track from Michael Jackson’s hit song, “Beat It,” and then asking Tina
Tumer to sing “What’s Love Got to Do with It” over the same riddim. As you can imagine, Tina
would say he’s crazy (and perhaps you’re thinking the same thingl), but this is precisely how reggae
musicians have been forced to think and work—-independent of the mainstream, with a method
created by their own environment. As a result, they have found the most sought~after commodity in
pop music: unique sound. Reggae is the music of Jamaica, but the riddim is the foundation stone of
reggae.
5|-|ow To WORK WITH A -RIDDIM
THE WRITER

The writers of riddims were traditionally members of the studio rhythm section. When
called to a recording session, they would be played a song and asked to create a riddim for it.
They would find the tempo, chord progression, and instrument lines that worked with the
song and record a backing track. Since the advent of drum machines and MIDI equipment,
individual musicians have been able to create riddims outside of the studio. Quite often a
riddim is created with no particular song in mind. This trend is significant because the
composer has no musical restraint in the fonn of a song melody or chord structure, so the
riddim’s arrangement can become a lot more radical. This is especially true of riddims
composed during the late 1980s and the 1990s.

THE SINGER

Established singers and rappers can often afford the luxury of having a riddim written
and arranged specifically for one of their songs. On themother hand, new artists on the music
scene are given the difficult task of working with pre-recorded riddims. This system in itself
has a way of testing a singer’s mettle, letting only the most talented rise up through the ranks.
Some of the difficulties that these new singers may encounter are as follows:

PROBLEM 1 '
Riddim is in a difiicult key for a chosen song.
Possible solutions:
a) Choose a different song.
b) Change melody of song.
c) If the key is high, sing in falsetto.
d) Sing the song as a duet with a singer or rapper who can manage the difficult parts.

PROBLEM 2

Riddim is lacking arrangement to compliment a song.

i.e., Instrument fills are needed in between vocal lines but none exist in the riddim.
Possible solutions:
a) Use a scat-type of vocal to fill the space.
b) Write new words and melody to fill the space.
c) Add words and melody from another song to fill the space.
d) Take an existing line of the song and repeat it.
e) Use a combination of a, b, c, and d.
PROBLEM 3
Chord progression of riddim does not fit the song melody.
Possible solutions:
a) Keep the melody the same, and ignore the changes. This can sound good but takes a
practiced ear to know when it can and cannot work.
b) Adapt the melody to work with the new chord progression.
c) Use a combination of a and b.

The above may seem alien to musicians who are familiar with traditional methods of record
production and arranging. However, when used properly, the sound produced can be fresh and
intuitive, sounding quite different from any other kind of popular music.

THE PRODUCER

Traditionally, the record producer in Jamaica played the role of executive producer and was
responsible for financing and organizing the recording sessions. Exploitation of a record usually
came under this portfolio. Although some producers played a role in the creative process, others had
minimal involvement. Despite this, they would often be credited on the record label with the
complete creation of a work, including writing and arranging. Artists were generally paid a one-
time buy-out fee for their work without fully understanding their legal entitlement to royalties. As a
result, much confusion surrounds the creation of many riddims and who wrote them. In the
producers’ defense, it must be said that they were often treated in a similar manner by record
companies and distributors both locally and abroad.

In recent times, this practice has been reduced. Both artists and producers are generally more
aware of their legal rights and obligations, demanding proper credit for their work.

THE ENGINEER _
In reggae music, the recording engineer is very much the unsung hero. Engineers typically
have a much bigger creative role than they are ever given credit for and often play the part of
arranger and producer. For example, the engineer decides when instruments are to be taken out of
the mix or brought back in and is very often the person who gives creative suggestions to the
musicians. When mixing a song, he or she will often do so with minimal input from anyone else and
is allowed to use copious amounts of effects like echo, reverb, and chorus-type sounds in order to
make the mix as interesting as possible.

The engineer has to tone the instruments to provide the heavy bass sound that is crucial for
reggae music and is also responsible for mixing the B side of a record known as the “version.”
THE ARRAN GER

The arranger of a riddim is given the difficult task of creating a piece of music that is not
only catchy, like any other pop song, but also harmonically flexible enough to work with many
different melodies. Typical reggae chord progressions are traditionally quite simple, and as the
popularity of riddims have increased, arrangers have tended to restrict and simplify progressions to
just two or three chords. This allows for maximum melodic flexibility.

As dance music, the bass and drums are the pivotal parts of a good riddim, and the bass line
melody itself is nonnally used to identify a riddim. This is one of the reasons why reggae has such
prominent bass parts.

The arranger is often one of the musicians involved in the recording session and, since the
advent of MIDI and sequencers, is sometimes the only one. In recent years, it has become popular
for two or three musicians to form an arranging/production unit and work together as a team
(or “crew”), some of the most successful and well-known being Sly, Robbie, Steelie, and Cleavie.

Here are some of the more prominent arrangement tools:

a) Hook lines
The typical reggae hook line can be melodic, percussive, or a combination of both. It is
normally interwoven throughout the riddim and can be anything from a horn section,
saxophone, or guitar melody to a drum sound or sample of a dog barking. Some of the
recent popular choices have included: orchestral hits, synthesized drums, water drums,
timpani, tablas, frog croaks, and guitar riffs.

b) The bang
In the majority of riddims, an instrument is used to carry the off-beat “bang” figure that
reggae is so often identified with. This was traditionally provided by the piano and guitar,
but can also be achieved with finger snaps, a triangle, or other percussive instruments. It is
interesting to note that both ska and rock steady employed this same off-beat figure. In the
case of ska, a trombone was used.

c) Drums and bass

It is essential that the drums and bass be able to stand alone as a complete musical unit in
any good riddim. The groove they supply has to be not only well syncopated, but also
musically tight and dynamic. As the heart of the riddim, they “have to dance”—which is
another way of saying they must make you want to dance—and provide the hypnotic beat so
vital to reggae. Only listening and experience will give one an appreciation of this aspect.

d) Tuned percussion
During the late 1980s, the dominance of drum machines gave arrangers the facility to tune a
percussion sound across six octaves of a keyboard. This was used in many riddims, often to
provide a substitute for the bass line or other melodic instrument in the guise of a pitched
drum sound. One of the advantages of this technique is that the key of the riddim is usually
indistinct, and deejays who are notorious for not being in tune often sound better.
THE LISTENER

The general public in Jamaica have become accustomed to hearing a single riddim with
different singers and songs on it. This is most noticeable to a visiting foreigner, who may listen to
the local radio stations and comment, “The songs sound similar!” The truth is, they are. Here are
some of the ways that the riddims are presented to the public.

a) Radio disc jockeys regularly feature a popular riddim for thirty minutes or an hour with
its various song versions.

b) In record shops, you will find compilation albums entitled with the name of a
riddim, e.g., “When.” They generally feature ten different songs by ten different singers,
all on the same riddim. The only difference in each riddim is the way it is mixed.

c) At dances, disc jockeys present several songs on the same riddim back-to-back and treat
them like extended-play records.

THE VERSION

The version is always found on the B side of a single record or as an extra cut on a compact
disc. It is actually the riddim of the A side without any lead voice and with a different mix. The
studio engineer is usually given the responsibility of mixing the version and is allowed to be much
more adventurous in the use of effects such as echo and reverb. The version of a record is an
important vehicle for popularizing a riddim and can be used in the following ways:

a) It will be used in the dance halls, where both established and new artists will perform
live over it with their own songs.

b) It will be played by radio disc jockeys, who will use it as a feature or as a piece of
background music while they are speaking.

THE LIVE BACKING BAND

Most Jamaican reggae artists do not have their own band and tend to work with whatever
backing band is provided for a live show. Some artists do have preferences and will try to work with
one band, but on the whole they are flexible and will work with whatever band is available.

This system gives the backing band the difficult task of keeping up-to-date with the latest
riddims, which change on a regular basis. Any good backing band is expected to have an extensive
repertoire of riddims, past and present. Secondary to this is their ability to mix the riddim live on
stage similar to the way an engineer would mix in the studio, by dropping out and adding back
instruments. One of the band members normally takes responsibility for directing when instruments
are to drop out or play again, but often the performer himself will direct this aspect of the music by
calling out instructions to the band during his performance.

It is not uncommon for shows in Jamaica to have ten or fifteen performers in a lineup and
one backing band supporting them all. With this kind of work load, it is common for some of the
support artists to have no rehearsal. In these circumstances, they have to go on stage, call the name
of a riddim, and trust that the band can play it.

The following are some of the terms used to direct a live performance.

- Dubwise: This indicates that drums and bass should play alone.

- Rhythm: This means that the keyboard and guitar play alone.

- Mix: This is an effect where all the band plays the same rhythmic figure, which
can be pre-arranged or, if spontaneous, follows the bass and drums. Here are
some examples of typical mix rhythms.

Mixl f F I .' zfl

MM air" r r r =i

Mix3 %3|' ['1 5 f' [7 E zfl

Mix4 £5‘, ." Q ' £ zfl

Mair r tsr =i
The ability of a band (including the deejay) to work creatively with these mixing tools plays
a large role in its effectiveness and is an aspect of live playing largely unique to reggae music.
ABOUT TH-E2 AUDIO PACKAGE
THE TEN RIDDIMS

In the following pages you will find the written notation and analysis of the ten riddims
featured in the audio package accompanying this book. I have written these riddims with the
intention of providing a wide selection of contemporary reggae styles for a basic four-piece rhythm
section. I suggest that when you feel comfortable working with the existing parts you try
experimenting in the following ways:

1. Make up substitution parts for your respective instrument.

2. Make up new riddims altogether.
3. Use the riddims as backing for solo practice.
4. Use them as a backing for making up hook lines and melodies.
5. Use them as a backing for writing songs.

By the conclusion of the book, I hope that you will have a hands-on feel for reggae and be
able to create convincing riddims of your own. If mixed with your own musical influences, this can
only produce a hybrid of some interest—and who knows where that will lead?

THE NOTATION

I have tried to keep the notation in this book as simple as possible. Each riddim is based on a
two-, four-, or eight-measure sequence which is repeated throughout the piece. I have transcribed
parts for each instrument as a guide. The arrangement of how instruments drop in and out should be
learned by heart or, if you feel it is necessary, written out on a basic chart. The piano parts are
written on one stave because this was all that was needed. The keyboard player should listen
carefully to the octave range that each piano part is played in and make sure that the pitch of his/her
own keyboard patch is the s‘ame. Guitar players should do likewise. (When reading the figures for
piano/guitar, guitarists should transpose all pitches up an octave, as their instrument sounds an
octave lower than piano notation intends.)
ADVIC-El TO INST-RU M-EINTALISTS

BASS
Remember that you have a key role to play in reggae music. First, you should listen to
reggae recordings and live shows to become familiar with the traditional tone of the bass. It is
always a prominent feature with its full, rounded sound. Second, play as much reggae music as
possible and try to develop a regular practice arrangement with a drummer to work on the groove.
Develop a sense of space in every bassline. This is especially true of “one drop” riddims. I have
heard more than one great bass player say that the secret of a great sound is to decide where not to
play! The bass has to “sit down” in the riddim and, as a general rule, play laid-back as opposed to
pushing.

KEYBOAR D ~
Keyboard players have the widest role to fulfill, since they may be asked to provide bass,
percussion, brass, or even guitar parts by way of sampled sounds. In addition, they are still expected
to play their own keyboard parts. This wide range of possible roles can sometimes encourage one to
lose sight of the fact the keyboard has a very important rhythm-section role to play. The keyboard
parts demonstrated in this book are generally written with simple voicings played by one hand.
First, try to develop a solid and tight rhythmic feel using either or both hands. Then when you are
comfortable with this, try experimenting with different chord voicings.

It is essential to develop hand independence so that one hand can play the bang and the other
play a horn line or percussion part. When you feel comfortable with the riddims, try to develop your
hand independence by making up hook lines to play with one hand.

DRUMS
Live drums were used extensively in reggae up until the mid-1980s, when drum machines
started to dominate recording sessions. I would strongly recommend that you listen to live
drummers and focus on use of the hi-hat and drum fills. Obviously the drum programming found in
the audio package can not substitute for this aspect, though the fundamental rhythm ideas are
covered. Riddim Three and onwards covers drum parts that would have been originally programmed
on a drum machine. In a live setting, reggae drummers have had to adapt these drum parts to a live
kit, and this in itself has provided some challenges. As a general rule, try to pick out the
fundamental drum parts and rhythmic hooks, and concentrate on getting these to flow as a pattern.
You may find it helpful to practice with a bass player, and if one is available please do so.
Remember that the drum and bass parts alone should have a strong groove and full sound.

GUITAR
The rhythm guitar sound in reggae music is more percussive than harmonic. As a general
rule, keep the chord voicings close together and try to play in the middle of the neck, above the third
and below the twelfth fret. When playing a chord, use only the top three or four strings. Try to
synchronize tightly with the keyboard bang, and remember to keep the feel relaxed and laid-back.
ECHO AND REVERB

Echo and reverb are heavily employed in reggae music, both live and in the studio. The
amount and type of reverb used is largely a matter of personal choice. When recording, the engineer
or producer makes these decisions. In a live setting, the guitarist and keyboard player decide for
themselves when and where to apply these effects.

With programmable effects units, it is possible to vary the type of reverb or echo from one
song to another. An echo can be very effective, especially if the repeat is in time with the song.

For each of the following riddims there is a digital delay chart, which is calculated from the
BPM number to provide millisecond settings for an echo unit. Experiment with these settings and
where to apply the effect.

Here are some general rules about where echo can be used:

1. On the guitar and keyboard bang, at the last chord before the entrance of a dubwise
section. The last chord of the bang is usually played on a downbeat.

C Dm

jégrjrjir i z ii

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2. During a dub-wise section, to emphasize a single chord.

3. On the guitar and keyboard bang when they play alone in a riddim section. (In this
context, “riddim” means the bang playing alone.)

4. On percussion parts, especially snares, to add interest and emphasis to certain beats.
0 -R||:>|:>||~»r ONE "CROAKER"
BPM: 156 = J
Key: G major

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DIGITAL DELAY SETTINGS
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Note Value Millisecond Setting

Quarter note 384.6
Quarter note triplet 256.4
Eighth note 192.3 E15;
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l‘ Eighth note triplet 128.2

I ;2

NOTES ABOUT THE RI DDIM

“Croaker” is a typical one drop riddim of the late 1960s or early 1970s.

The one drop riddim is played with a straight-four feel in the hi-hat, which tends to maintain
motion in the riddim. The bass plays a four-measure sequence with a triplet-based ‘ _.re on the
third beat of every other bar. This creates a shuffle feel, which provides bounce to the riddim.

The piano and guitar play a steady bang on a two-measure, two-chord progression.

This riddim has a strong influence from “rock steady,” which was the popular music in
Jamaica during the late 1960s. Rock steady also used the one drop drum beat, but was typically
faster than reggae, which succeeded it.
 "CROAKER"

Bass _|1=]3§

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Intro Drum Fill
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i‘-R|:>|:>||~r Two “KOTCH”
BPM: 125 = J
Key: A minor

DIGITAL DE LAY SETTINGS

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Note Value Millisecond Setting

tiiii

Quarter note 480.0

Quarter note triplet ‘ 320.0
Eighth note 240.0

I
Eighth note triplet : 160.0

NOTES ABOUT THE RIDDIM

“Kotch” is based on a one drop rhythm, but is played at a typical reggae tempo with a strong
shuffle feel.

The hi-hat plays a triplet figure which helps to give the riddim the bounce so readily
identified with reggae. The piano and guitar play a simple three-chord, two-measure sequence using
a double eighth-note figure (double bang). The second half of this figure is always played a little
softer than the first half.

There is a two-measure clavinet hook played throughout the riddim. The keyboard player
should try to play the double bang with the right hand and the clavinet part with the left hand if a
second instrument is available or if the keyboard has the ability to split sound.

Undemeath this, the bass is playing a four-measure sequence. Notice that the bass has a
triplet-based figure on the last beat of each measure. This helps to accentuate the shuffle, or triplet
feel, on the hi-hat. The third-beat rest in the fourth measure of the bass line acts as a pivot point and
rounds out the whole riddim.

In this kind of riddim it would be common to find percussion instruments being used. A
cabasa is used in this recording, but the riddim could easily accommodate congas or other
percussive instrumentation. The trick is to not fill out all the gaps so that the riddim has space
to breathe.
 “KOTCH "

Bass D =3 3}:

*i>‘2i F rLr‘a'rr“Li'

at r [pig r ti
Piano/Guitar I-J =1 3-I
Am

err at we tit?
D E

Clavinet J1 =I 35
Am

1ii“’eJ§i'7-7"
Intro Drum Fill D =1 35

ertrecertigi HZ 4 p g J J H

M‘c
T r r t r r
Drums J1=]3J; 3 3

eiagihkiiri 3, ‘F ‘ I H
“us: I + Z 4 I Q L. 3 A I
T-R | |:>|:>||~1 THREE "RAKA"
BPM: 160 = J

Key: A major

:‘>'<[Link]=5.5.='
., :
‘Ti;
~>1 DIGITAL DELAY SETTINGS
tr;
22; 111;;
:1; lg
1 Note Value Millisecond Setting
if
e~:tzst.~z II

.5. Quarter note 375.0

'2‘ -il
-, .
Quarter note triplet 250.0
Eighth hete 187.5
Eighth note triplet 125.0
i
— WW

NOTES ABOUT THE RIDDIM

“Raka” is another one drop riddim typical of the late 1970s and early 1980s. This type of
riddim is known as a “lover’s rock.” Its identifying features include a laid-back feel and liberal use
of major seventh and major ninth chords, which give it that smooth, extended quality.

In this riddim, the bass plays an eight-measure sequence under the four-chord progression
played by the piano and guitar. Notice that every other measure in the bass line is repeated except
for the eighth measure. This creates a pedal-type effect in the bass line and softens the sound of the
chord movement. The Rhodes-type piano pad plays the fully extended chords of the progression.
This is in contrast to the bang, which plays a simpler voicing with, in the case of Amaj7 and Bm7,
no root. (The root of the chord is played by the bass.) If possible, play the piano bang with the right
hand and the pad with the left.

The hi-hat plays a straight syncopated figure that gives a bounce to the riddim. There are two
sidestick figures, which can be used quite freely and which help to add interest to the basic drum
pattern.

This is another riddim that could easily accept percussion parts. I have included only a
cabasa part, which works well with the hi-hat figure.
Bass
W9‘

ow fill l:H't@riE'JJ larfiriilll I

|‘- Ill DC
aw: ~1gr@'[Link]*5rr=h'J.J P UH

§i_,atAi”7t.t..;.t§“[Link]
cilmv Bm7

%TtF:Fi[Link]i:tFt[Link]fl

Piano Pad Chords

Amaj9 Bm9 cimv Bm9
Z? (5 zis Q

% if r *3 |§~- 3 | 3; fig‘ lg- .i/§v H

GI 3 Ar 3 "0" . TU
. 0\ I /Q l tr . I .

Intro Drum Fill Drums

O "1

\i
J1.
t I
m
/ \
'.95 E0
§§§8 7 'UJI\J>—*
Z:
-I-\-IE YII _T iii Owwr»at-F-°.
0:-
1
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Sidestick
Fig. 1

sidestickHi'19£ F Q '7 gg F H

FI.2

..........gH;5;y5; r t gig; rrrfl

Ligil
T-R||:>|:>||~1 FOUR "NYAM lT"

BPM: 86 = J
Key: E minor

it DIGITAL DELAY SETTINGS

Note Value Millisecond Setting

_ Quarter note 697.7

Quarter note triplet 465.1
f Eighth hete 348.8 ‘
g Eighth note triplet 232.6
~ . ._. ==s,;==-

NOTES ABOUT THE RIDDIM

“Nyam It” is a typical riddim of the mid-19808, when writers of riddims were becoming
tired of the one drop and looking for something with a more assertive feel.

The drums play a basic beat more associated with rock music than with reggae. The
syncopated hi-hat is what gives the drum part its reggae sound.

The bass plays a hypnotic two-measure sequence under a two-measure, three-chord

progression played by the piano and guitar. The D major chord in this progression is treated almost
like a passing chord.

The “mix” section is something that became very popular in reggae from the mid-1980s on.
Notice that all the instruments play the same figure. The chord progression leaves out the D major
chord, and vibraslap is added to the fourth beat of each bar during this section. The examples of
other “mixes” found earlier in this book could be substituted for the one found in this riddim.
Sometimes more than one type of mix would be used in a song.

22
 NYAM lT"

Bass

‘?=”er"_JfJ LJLI R 1 t.,t___t;L»' =i

Bass Mix Section

o=@2.; t Ljf H J Til =i

Piano/Guitar
Em

%§Z~;J.r/;‘/J.‘/Jivjr/ivgrgzfl

:4 5QQs.
N "1 E. CI) (DO S’- O 5
atn
m C

gee illi J7 i limifi

Intro Drum Fill

"1" "LIME
Sl’lfll'C
Sl'l8.I'C
Ell’

hi-hat
snare
kick
Drums

:13 F 131 Ft
Drums Mix Section
gait J 1-1? :5
tr r at
_ hr- at
vibr I

23
T-R||:>D||~i FIVE ".Ju|_.|E MANGO"
BPM: 156 = J

Key: D major

DIGITAL DELAY sarrmes

. .
Note Value Millisecond Setting

Quarter note 384.6

Y? Quarter note triplet 256.4 i.
Eli
Eighth nOt6 192 3
Eighth note triplet 128 2 .
iii/tfiararerietraarraasarrasraaraiaiisairiitrazaiatraiaaiartmiaaweaaiariaavatarareaaaraaarraaaiaaaamaaeaaraamaaraaataeaatattaeaaarteriaitmeaaeig

NOTES ABOUT THE RI DDIM

This riddim, typical of the mid-1980s, is simple but quite hypnotic and catchy.

The bass plays a busy eighth-note, four-measure phrase, punctuated on the third beat of
every other measure by a half note.

The piano and guitar play a simple two-measure, two-chord progression. The only variation
to this is when they mix, which helps add interest to the dub-wise section.

The hi-hat plays a straight, eighth-note figure with accents on each downbeat, which helps to
drive the riddim. The dotted half-note kick drum figure is a further departure from the traditional
reggae drum beats and comes from a time when much experimentation was taking place. During the
mid-1980s, drum machines, synthesizers, and sequencers gained a firm foothold in reggae music,
and the riddims generally started to become much more percussion-oriented and diverse in their
basic kick, snare, and hi-hat patterns.

24
 “J U L-I-E MANGO"

Bass

fii
aii3—3t Ueiili i

62 JaaJ't4JJdJ

Piano/Guitar
D A

[Link]
Piano/Guitar Mix Section
D A

E fizz?-E-tifl
Intro Drum Fill

H4LMd: J H
OITI
m
m
I-tr‘!-Q»-POOO m -kl:-I Q-‘

Drums
> > > >

hi-hat I J 1 1 1 1 1 1
Sll8l'B
B;/if. F H
F?-RIDDIM six “U-PSTART”
BPM: 142 = J

Key: C major

DIGITAL DELAY SETTINGS

Note Value Millisecond Setting

1
13,. .
Quarter note 422.5
l Quarter note triplet 281.7 if
Eighth nOte 211.3 p
i Eighth note triplet 140.8

NOTES ABOUT THE RIDDIM

This is a steppers riddim immediately identifiable by the straight four-beat figure of the kick
drum. Steppers riddims tend to be the most driving of reggae riddims and were indicative of the
direction reggae was moving during the 1980s, when tempos were generally increasing.

The bass plays a driving four-measure phrase under a two-measure, two-chord progression.

The type of drum and percussion sounds—especially the hand clap; which was a hip sound
during the mid-l980s—tells us we are firmly in the domain of the drum machine. The timpani used
in this riddim is a good example of how arrangers started to incorporate unusual instruments,
especially percussion, into their arrangements to help give the riddim a more identifiable sound.

Notice that, during the riddim, the instruments are broken down into different combinations.
No longer satisfied with just drum-and-bass or guitar-and-piano breakdowns, arrangers started to
experiment with different combinations. This mixing technique, both live and recorded, adds a lot of
excitement to the riddim and produces a very dynamic push-and-pull effect.

26
 “ U-PGTA-RT”

Bass

a=i;'.i-."1i1'.i’ih~till

‘)‘J11_J_[“jTJ’Q~r:£=fl

Piano/Gu(i:tar m
D

at ie j t j E F t F =1
Drums
hi-hat
V V

at av
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v—U— -iv
fi V
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=1

mitt ‘*Q*5_>Q'iLr[>grFi>
Timpa ni
Fill

2
‘Z_-Rii:>i:>i|~1 eEvEN "Tici<e"
BPM: 98 = J
Key: C major

DIGITAL DELAY SETTINGS ‘Q

‘,5.

Note Value Millisecond Setting

it?
ft:
Quarter note 612.2
=:,.¢
Quarter note triplet 408.2
"<3:
Eighth note 306.1
t-3~
Eighth hete triplet 204.1
5 it’? 1‘ 3583 t We W 15?’ * 2?

NOTES ABOUT THE RIDDIM

“Ticks” is based on a slow steppers riddim. It contains an eight-measure progression with a
turnaround on the last two measures. The four-measure introduction (which doubles as a chorus)
has a different two-measure, two-chord progression, but the bass plays the same figure throughout.

During the intro, the snare drum plays on the fourth beat and rests on the second.
Afterwards, both the snare and kick drum temporarily drop out of the rriix. The hi-hat is the only
instrument that plays a triplet figure on the second half of the first and third beats. This works well
with the sidestick and bass line figures and gives the riddim a bounce. The sidestick plays a
dominant hook line throughout and is a main feature in this riddim.

Notice how the bass line pedals certain parts of each measure with a C note. This is a typical
reggae arrangement tool, used to minimize the effect of the chord changes.

“TlCKS"

BassChorus

airEHFm[iHJ~_-‘%t_r=i
Bass

fig [UH ggmfi HUI

"‘lLLifii” I "@"Et;fl":'-LLLi‘
28
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gm
F F F F F

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F F

WM mi WM m‘gm| (WMmy
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M kma '_

HCk F F F F F F F

pm;
Udf FFr RF
H

H
WM WNW (mm F F F
§_'RlDDIM EIGHT B-RUK FOOT
BPM: 164 = J
Key: A minor

DIGITAL DELAY SETTINGS

3
Note Value Millisecond Setting

Quarter note 365.9

212:2
Quarter note triplet 243.9
5:‘;

.5,
Eighth note 182.9 __ _

)
Eighth note triplet 122.0 _.=='

:1:i:i.-:i.i-[Link]i:?:<:-:§:§:1:!7:=:1'F:h~fi‘:Z?zI:-.;.-. .- -.-.\;.-.-.t.,. ;. -.ES:1:=:5>7-[Link],;-:31".5:'.i:':7:727:5:75:1:‘1:1j:1:':§'I:1:':-'--;.;. -..,.t-., s -,;.;-.4-=:':=:=<=:=:2=:=:=-=: %.'..EIZ_I.jj:,;;;;;"r_';'_‘!1§'I 1:11 ;;,1.>'avm~:'-é=°°°’~°.,.....2°°

NOTES ABOUT THE RIDDIM

This riddim incorporates a kick drum pattern first made popular by a riddim called
“Punnany” in the late 1980s. (This word is patois for a part of the female anatomy—not to be used
in polite company.) The dotted quarter-note figure has been used extensively in dance hall music
since this time. It is one of the most popular kick drum pattems on which contemporary riddims are
often built.

The hi-hat and first snare use rhythmic figures we have already seen. The second snare,
sometimes called a “rattle snare,” features a rhythmic figure popular during this period. It is based
on the conga drumming pattems found in Jamaican folk music. Variations on these pattems were to
become a popular source of inspiration as the general tempos of riddims increased and more
percussive arrangements became the trend. Notice how the rattle snare weaves around the first snare
without ever playing on the same beat.

The bass plays a four-measure pattem that incorporates alternate figures of quarter notes and
eighth notes. The piano and guitar play a simple two-measure, two-chord sequence. The bass
sometimes plays a simple mix to add interest to the arrangement.
 “-B-R UK -FOOT"

‘TZJ. $[[[fii" 5 I I

‘TJ. $[[[firr [F =l

Bass Mix Section

*?‘iJ-P-*1e51J-f-@rJ9'jtJ-i-*rfi_J-l-@119?

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Piano/Guitar
Am G

%§} t F t F i r F t F tfl

Intro Drum Fill

snare2 EH if J ' Q

Drums

Punt-oi rmi
hi-hat
> > > > > > > >
§_'RIDDlM NIN-El “NAGTY -PU99”

BPM: 142 = J

Key: C major

. arise.t.
8123:,
.:
DIGITAL DELAY SETTINGS ii;

Note Value Millisecond Setting

Quarter note 422.5

Quarter note triplet 281.7
Eighth note 211.3 1335‘
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Eighth note triplet 140 8

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4:3'313§28$§%2.3‘??2§$3€§%‘§13?ii§§Ze§"£‘523%32%3‘?Qii?2Z3W5>2§§¥@l¥Z§%¥Y§?§§§?§$i§‘2>JR§$§¥§5§fi%%%§§%§§&§§f‘§§‘§§§§?bW§§§?駧§ 542 i Wt W‘ 3 3’§»%§§t/"§§&?€fi§i>$’§Z€?%’ZE§?i§3f§l€i?23?’F"‘:2¥’ §" 3'1»? $93‘ 8%?§§’$§ilZ§i57s§¥?3F€>§$§il%iE%<’l€?$g§§

NOTES ABOUT THE RIDDIM

“Nasty Puss” is based on a fast steppers beat. The hi-hat, snare, and kick drum are playing a
pattem used in various forms in some of the previous riddims.

One of the interesting things about this riddim is its use of the fingersnap, which acts as a
substitute for the piano-and-guitar bang whenever they stop playing. In the early 1990s, this and
other percussion instruments were used to imitate the bang and often replaced it altogether.

The organ bubble, which was very popular in reggae of the 1970s and 1980s, once again
became fashionable at this time. Notice the type of organ patch used and how it plays an eighth-note
off-beat figure which is subtly placed in the instrument balance. This helps to drive the riddim.

The piano and guitar play a simple four-measure, two-chord progression. The keyboard
player should try to play both the piano bang and the organ bubble, but the groove has to maintain a
solid feel.

The bass plays a four-measure progression with every first and third measure pedaling on a
G note. You can think of the bass line as a two-part figure with altemate changes to the first note
from a C to a D.
 "NASTY PUGS”

Bass

*i>‘;J UL__L_-'til J1 E Li'LLU1iii =1

Piano/Guitar
C Dm

11itJt11titJeJtJEJtJ=1

Or an
g C Dm

Intro Drum Fill * hi-hat

0 + 0 +

S;“Z5?t£ I DJ J1
I

' Q - ‘H

LA *+ = closed; o = open

Drums
hi-hat

F s P
cabasa H
I
1- IJZJJJZJ1
““ if F F F

33
®-Rii:>Di|~1 TEN "NUF'-F‘ REePE<:T"
BPM: 133 = J
Key: D major

‘E11.

11-,
DIGITAL DE LAY SETTINGS

Note Value Millisecond Setting

Quarter note 451.1

Quarter note triplet 300.8
Eighth note 255.6
Eighth note triplet 150.4
:3 t

NOTES ABOUT THE RIDDIM

This riddim incorporates a lot of percussion, which became a popular feature in the 1990s.

The basic rhythm employs a kick drum pattem that is a derivative of the “punnany” kick
drum. The hi-hat plays straight quarter notes, which help to accent the eighth-note shaker pattern.
Snare 1 plays on the standard third beat of the bar. The rest of the percussion instruments play one-
or two-measure sequences that work around a hook line conga, clap, and low drum figure. This
lends a question-and-answer type of feel to the riddim.

When using a lot of percussion instruments, it is important to allow breathing spaces so that
the basic rhythm and bass line can still cut through.

The piano and guitar play a two-measure, three-chord progression. The bass plays a four-
measure figure underneath.

I‘

34
 “N UP'F' R'E6P'EICT"

Bass
iv
i i

fitgr. §il..[Link]'f I11

Piano/Guitar
D G A

éhjt j t j it J t j fl

Drums shaker
> > > > > > > >

1 it J33JJJjJ.J7HJH7

I
II OMMON REGGAE MUSIC TERMS

WOR D DESCRIPTION

Bang The common term used by musicians to describe the typical reggae off-beat figure
played by guitar and piano.

Bogle A popular dance originating in the dance halls in the early 1990s.

Bubble Normally describes an eighth-note rhythmic pattern played by an organ.

Butterfly A popular dance originating in the dance halls in the 1990s.

Checka Used to describe the off-beat figure played by the rhythm guitar.

Clash A competition between two disc jockeys, sound systems, selectors, or artists
normally performed at a live venue and judged by an audience.

Come again A direction normally following “haul ’n’ pull up.” Indicates that the band should
start the song again.

Conscious Conscious lyrics or conscious music. Signifies that the content of the lyrics or music
is of a positive or cultural nature.

Crew A small group of people working as a record production team and normally given a
preceding name, e.g., Penthouse Crew, Firehouse Crew.

Dance hall 1. The location where sound systems play and the public can dance, drink, and
listen to the latest riddims.
2. A style of music identified with deejays and a certain type of singer. Usually
very raw sounding and rhythmic in content.

Deejay An artist who specializes in rhythmic talking (rapping) over a piece of music. Not to
be confused with a D.J. (disc jockey).

Dub plate The acetate used in the manufacture of 45 r.p.m. singles. These are usually produced
with an instrumental version of a riddim over which artists can sing live for a sound
system.

Dubwise When the drums and bass play alone.

Haul ’n’ pull up A direction normally given by an artist during a live performance to indicate that the
band should stop playing in a chaotic manner. This is often a response to a positive
crowd reaction to a popular song and heightens the tension during a performance.

Mento The earliest form of indigenous Jamaican music. A form of calypso.

Mix A contrasting rhythmic figure featured during a song and nonnally played by the
whole rhythm section.
One drop A typical reggae drum rhythm, with a sidestick or snare and kick drum playing the
third beat of each bar.

Rattle An intense rhythmic figure played in sixteenth notes, normally by a percussion

instrument.

Riddim 1. The backing piece of music for a song.

2. The breakdown in a live performance, where guitar and piano play the
bang figure alone.

Rockers A style of reggae music created in the 1970s.

Rock steady A form of popular Jamaican music from the 1960s, usually performed at a moderate
tempo with a characteristic off-beat piano-and-guitar figure and a one drop drum
pattern.

Selector The disc jockey, working with a sound system, who selects the records to be played.

Sit down A direction used to indicate that a part should be played tighter within the
overall rhythm. ‘

Ska 1. A form of popular Jamaican music from the late 1950s and early 1960s,
typically faster than rock steady, with the same piano and guitar figure but a
with a busy side stick pattem.
2. Sometimes used by musicians as a substitute for the word “bang.”

Skank Sometimes used by musicians as a substitute for the word “bang.”

Slack “Slack lyrics,” or used generally as “slackness.” Signifies that the content of a lyric
is based on a rude or negative theme, e.g., sex or violence.

Sound system A portable disco set, usually with a high power capacity and good selection of
riddims and dub plates.

Special When a popular artist sings a dedication of a song on a popular riddim to a sound
system or disc jockey, normally naming them in person.

Steppers A reggae drum rhythm where the kick drum plays every downbeat of the bar.

Straight buff The same as steppers.

Track Used to direct an instrument—e.g., when the guitar should copy the bass line
exactly, or “track the bass.”

Version The instrumental B side of a single record.

Wheel The same as “haul ’n’ pull up.”

 DISCOGRAPHY
The following is a list of some of the most popular riddims, and categories of artists who
would be well worth listening to:

..;=-.1.
.. "5 i e i e ll"if ‘-1-'-""""}" " “ 5‘- Q

LIST O-F RIDDIMS

Chiang kai Shek Frog
Answer Sleng Teng
I

Heavenless Fatty Fatty

I
Full Up Rumors
Arlene Punnany
‘m‘<t»-:vMe'."1“:<“§:“:5E

t Water Bed One Drop

When Revolution
Bam Bam Duck
Kus Kus Boops
Triplets Tempo
Boxing Love I Can Feel
= Kutchie Real Rock
Kete Drum High Fashion

ill‘

SINGERS DEEJAYS Z

1 Toots & the Maytals Yellowman

The Paragons Tenor Saw
Alton Ellis Supercat
Jimmy Cliff Admiral Bailey
Ken Boothe Ninja Man
Bob Andy Shabba Ranks
1:1 Delroy Wilson Tiger
J11 The Heptones Papa San
it",.
The Mighty Diamonds Capelton
Bob Marley & The Wailers Buju Banton
Buming Spear Tony Rebel
11.1
Gregory Isaacs Mad Cobra
Dennis Brown Cutty Ranks
Freddie McGregor Beenie Man
Banington Levy Spraga Benz
Sugar Minott Beres Hammond
11 .1 Frankie Paul
:53
Sanchez

The above represent just a small sample of the great artists available on compact disc or
cassette. All are great exponents of making riddims work. Listen to them, and see how it’s done.
 CONCLUSION
At this stage you should feel quite comfortable working in a reggae groove. Remember, we
have covered the most common basic riddims, but there are lots more out there; reggae is a very
dynamic type of music, and things are always changing and expanding.

Where do you go from here? Well, I would say it’s important to have a regular playing
outlet. If possible, try to develop your ideas in this forum. Recent trends in recording have seen a
resurgence in the use of acoustic instruments and live musicians as opposed to sequenced tracks.
Where this will lead is anybody’s guess.

It’s good to know what is going on at the hard-core level of reggae music. Most of the
important musical developments and trends start right here in Jamaica, and the foreign reggae lover
may have difficulty staying current with the latest sounds. If this is the case, I suggest you try to
listen to as much live reggae music as possible or develop a relationship with a good West Indian
record shop. Failing that, you can always come down to Jamaica, take in some sun, and get a
firsthand feel for where the real riddim comes from.

See you soon.

 A-BOUT THE AUTHOR
Ray Hitchins was born in the United Kingdom. He is an accomplished electric and classical
guitarist and is an Associate of The London College of Music. He has worked in London, Cologne,
and Frankfurt as a studio session player and has also taught classical guitar.

Mr. Hitchens interest in Caribbean and reggae music began in 1981, when he was invited to
head the guitar department at the Jamaica School of Music and establish a new contemporary guitar
program there. After teaching at the school for three years, he returned to freelance playing and
made Jamaica his full-time home. He has since become fully integrated into the vibrant Kingston
music scene and has toured or recorded with a host of reggae artists, including Ziggy Marley,
Marcia Griffithes, Freddie McGregor, Toots Hibbert, Alton Ellis, and John Holt.

At present, he operates a production company that produces jingles for the Jamaican
advertising industry and has won several awards for his work. He is author of the book How to Play
Reggae Guitar and is featured in a Star Licks instructional video on the same subject.
 13'1"‘
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