My goal is to draw large-scale conclusions on how Ringo plays the drum set. To do that, however, I have to categorize and lump together drum patterns that are similar and but not necessarily identical. Such generalizations help provide conceptual understanding but simultaneously glosses over the subtle diversity of reality. Ringo just payed drums - he didn't care at all about classification. In that regard, my analyses are a somewhat artificial construct.
That's why this fifth and final blog analyzing Ringo's drumming will look at blends of those three primary categories - drum beats that don't fit perfectly into any category but rather fall in between.
The most common blend is the metronomic rock beat, in which one drum (usually the snare or bass) will maintain a constant pulse while the other will maintain its rock pattern (bass on 1 and 3; snare on 2 and 4).
Examples of the metronomic rock beat in which the bass is metronomic while the snare is rock can be heard:
- throughout 'Honey Pie' and 'Sun King' (in which the left foot hi-hat substitutes for the snare)
- in the choruses of 'Every Little Thing', 'Yellow Submarine', and 'Cry Baby Cry'
- in the bridges of 'Hey Jude', 'I've Got A Feeling', and 'When I'm Sixty-Four' (in which the left foot hi-hat substitutes for the snare)
- in the final verse of 'Baby's In Black'
- and in the second concluding refrain of 'Money (That's What I Want)'
- throughout 'For Your Blue'
- and in the solos in 'The Fool On The Hill'
In the refrains of 'I Don't Want To Spoil The Party', for example, the bass hits constant quarters [1 |2 |3 |4 ] while the low tom plays [1 |2 & | & |4 ].
He might use, say, a syncopated beat in the verses and a metronomic beat in the bridges to contrast. Indeed, he does exactly that in 'All My Loving'.
In 'I've Just Seen A Face', the verses and choruses use metronomic beats, but the former uses brushed snare drum while the latter supplements that with a shaker.