Blues and shuffle drum patterns.

10 blues and shuffle patterns at 120 BPM. Play one, change any step, take it to your DAW as MIDI.

A shuffle is a beat where every pair of eighths is played long-short, a triplet with the middle note missing. Blues lives there, from the slow 12/8 feel of a late-night tune to the jump blues of a dance band, and the most famous drum groove of the seventies, the half-time shuffle, is a shuffle with the snare on three and ghost notes underneath. These patterns use a twelve-step bar, three steps to a beat, so the long-short is in the grid; the swing control stays off.

Blues shuffle. Twelve steps to the bar, three to a beat: ride on the first and third of every three, kick on one and three, snare on two and four: the shuffle.

Ride
Snare
Kick

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Texas shuffle. Four on the floor under the shuffled ride, the snare on two and four and the rim filling the rest of the shuffle, so the snare plays the ride’s rhythm with it.

Ride
Rim
Snare
Kick

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Half-time shuffle. Shuffled hats, a rim ghost on the middle triplet of every beat, the snare on three only, kick on one and the last triplet of two: the famous one.

Hat
Rim
Snare
Kick

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Slow blues. At 60 the ride plays all twelve steps, a 12/8 feel, with a rim on the last triplet of two and four.

Ride
Rim
Snare
Kick

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Jump blues. Fast, the shuffled ride with the hat on two and four and the kick on every beat.

Ride
Hat
Snare
Kick

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Blues rock, straight. Straight eighths at 130: the same beat with the swing off.

Hat
Snare
Kick

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Two bars, turnaround. Bar two ends on a snare pickup on the last triplet of four, and the crash marks the top of the twelve.

Crash
Ride
Snare
Kick

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Ride bell shuffle. The ride on the beats and the hat on the third triplet of each: the lighter shuffle for a verse.

Ride
Hat
Snare
Kick

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Boogie. Kick on every beat and the last triplet of two and four under the shuffled ride, at 140.

Ride
Snare
Kick

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Sparse slow shuffle. Kick on one, snare on four, the ride shuffling alone: the opening of a slow blues before the band comes in.

Ride
Snare
Kick

Drop a sound on any row to play it there.

Open in the drum sequencer →

How a blues and shuffle beat is built

The kick

The snare

A ride

Then a variation: Texas shuffle

Count the bar in twelve, three steps a beat. The blues shuffle: ride on the first and third step of every beat, that is steps 1, 3, 4, 6, 7, 9, 10 and 12; kick on steps 1 and 7, beats one and three; snare on 4 and 10, beats two and four; 120 BPM. The middle step of every beat is empty, and that hole is the shuffle. The Texas shuffle puts kicks on every beat and lets the snare play the shuffle with the ride: snare on two and four, the rim on the ride's other hits. The half-time shuffle, often called the Purdie shuffle after the drummer who made it famous, keeps the snare on step 7 only, puts a rim ghost on the middle step of every beat, the one the shuffle leaves empty, and the kick on one and the last triplet of two; at 96 it is the groove behind a dozen classic records. Slow blues at 60 fills all twelve steps on the ride, which is the 12/8 feel, with a rim on the last triplet of two and four. Jump blues at 170 adds the hat on two and four and a kick on every beat. Blues rock goes back to sixteen steps and straight eighths at 130. The two-bar pattern ends on a snare pickup and crashes the top of the twelve.

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Questions.

What swing setting is a shuffle?

None here. The grid's swing control delays the odd sixteenths, and a shuffle is swung eighths, which that never reaches: even at 66 the offbeat lands short of the triplet. These patterns use twelve steps to the bar instead, so the long-short is exact. On the sixteen-step grid, swing at 66 gives you a sixteenth-note shuffle, the hip hop and garage kind.

What is the half-time shuffle?

A shuffle with the snare on beat three only and quiet ghost notes filling the middle of every beat, so the bar feels slow and busy at once. Named after Bernard Purdie and copied everywhere since. On the grid, the rim row plays the ghosts.

How do I count a 12-bar blues on the grid?

Each pattern here is one bar; loop it twelve times with the chord changes. The two-bar pattern has the turnaround at the end, so play it for bars 11 and 12 and the crash lands on the top of the next twelve.

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