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Utilizing Snare and Bass Drum Simultaneously In Grooves

As drummers, we are taught early on that developing independence between snare drum and bass drum is essential to growing in our craft. We spend hours practicing exercises to help us separate the two into very distinct voices that we bring together to create grooves. Yet it can be a challenge to combine the two when our hands and feet have become so accustomed to playing apart from one another.

Of course, grooves such as four on the floor demand such coordination. Yet when we begin combining the two approaches at the same time - snare and bass drum both separate and together - some very cool things begin to happen as we begin constructing grooves. Here are some great examples of this idea being used on some great records.

Marvin Gaye
“Right On”
Drums: Chet Forrest
Album: What's Going On (1971)

This Latin-infused number from Gaye's masterpiece ends with a hard-hitting, driving groove from Forrest. Notice that the snare drum and bass drum line up on 1 and 3 only. Forrest subtly plays ghost notes on these beats which seem to add extra emphasis to the bass drum, not to mention the groove as a whole.

Death Cab For Cutie
“Crooked Teeth”
Drums: Jason McGerr
Album: Plans (2005)

The incredibly creative and tasteful playing of Jason McGerr comes out in a slightly different way on this radio hit from Death Cab's 2005 release. He chooses to take a somewhat different approach to playing a straight-ahead rock groove by adding extra bass drum hits underneath the snare on beat 2 of the first bar of the phrase and beat 4 of the second bar of the phrase.

Sigur Ros
“Hljomalind”
Drums: Orri Páll Dýrason
Album: Hvarf/Heim (2007)

Dýrason launches into this propulsive, muscular groove to set up the bridge for this beautiful song from the Icelandic post-rock band. He chooses to emphasize the ‘a' of 2 by playing snare and kick together, beefing up the groove and helping to make it even more unique.

The Police
“Secret Journey”
Drums: Stewart Copeland
Album: Ghost In The Machine (1981)

Copeland's mastery of combining reggae, punk, and rock drumming into a signature style comes through mightily on this track from the Police's penultimate album. His ferocious backbeat is only made even more so by doubling it with the kick during the second half of the first verse.

James Brown
“Papa Don't Take No Mess”
Drums: John “Jabo” Starks
Album: Hell (1974)

This is a nasty groove played by the one and only “Jabo” Starks, James Brown's drummer of choice from 1969 through 1975. Notice the placement of the bass drum on the “a” to emphasis the ghost notes being played on the snare.