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Music Styles Guide

This guide explains the music theory behind each style supported by BTML, and how this software implements them through rhythm patterns, bass lines, and drum beats.

Table of Contents

  1. Music Theory Fundamentals
  2. Rock
  3. Blues & Shuffle
  4. Jazz Swing
  5. Folk & Fingerpicking
  6. Funk
  7. Ska
  8. Reggae
  9. Country
  10. Disco
  11. Motown / Soul
  12. Flamenco
  13. EDM & Trap
  14. Ragtime, Stride & Boogie-Woogie

Music Theory Fundamentals

Before diving into specific styles, understanding some core concepts helps explain why each style sounds the way it does.

Beat and Meter

Most Western music uses 4/4 time (four beats per bar). The beats are numbered 1-2-3-4:

Beat:    1     2     3     4
         |     |     |     |

Downbeats (1 and 3) typically feel "strong" while backbeats (2 and 4) provide the groove. The emphasis on different beats is what distinguishes many styles.

Subdivisions

Each beat can be subdivided:

  • Eighth notes: Each beat divided in two (1 & 2 & 3 & 4 &)
  • Sixteenth notes: Each beat divided in four (1 e & a 2 e & a 3 e & a 4 e & a)
  • Triplets: Each beat divided in three (1-trip-let 2-trip-let...)

Swing vs. Straight Feel

Straight feel: Subdivisions are evenly spaced (50/50)

Straight 8ths:  |-----|-----|-----|-----|-----|-----|-----|-----|
                1     &     2     &     3     &     4     &

Swing feel: The off-beat is delayed (typically 67/33 or "triplet swing")

Swing 8ths:     |--------|--|--------|--|--------|--|--------|--|
                1        &  2        &  3        &  4        &

This creates a "bouncy" or "lilting" groove characteristic of jazz, blues, and shuffle styles.

Velocity and Dynamics

Velocity in MIDI determines how hard a note is struck (0-127). Accenting certain beats creates the rhythmic feel:

  • Accenting beat 1 creates a "heavy" or "driving" feel
  • Accenting beats 2 and 4 creates the "backbeat" feel (rock, soul)
  • Accenting off-beats creates syncopation (funk, reggae)

Rock

Musical Characteristics

Rock music is built on the backbeat - a strong emphasis on beats 2 and 4. This creates the driving, energetic feel that defines the genre. Rock typically uses:

  • Straight eighth notes (no swing)
  • Kick drum on 1 and 3 (the pulse)
  • Snare on 2 and 4 (the backbeat)
  • Eighth note hi-hats (the ride)

The Rock Beat Pattern

Beat:     1     &     2     &     3     &     4     &
Kick:     X                 X
Snare:                X                       X
Hi-hat:   x     x     x     x     x     x     x     x

BTML Implementation

Drums (rockBeat()):

  • Kick at ticks 0 and half-bar
  • Snare at quarter-bar and three-quarter-bar
  • Closed hi-hat on all eighth notes, softer on off-beats

Bass styles that pair well: root_fifth, walking

Rhythm styles that pair well: eighth, strum_up_down, quarter

Example BTML

rhythm:
  style: eighth

bass:
  style: root_fifth

drums:
  style: rock_beat
  intensity: 0.8

Blues & Shuffle

Musical Characteristics

Blues introduced the shuffle feel (also called "swing" or "triplet feel") where eighth notes are played with a long-short pattern based on triplets. This creates the characteristic "bouncy" blues groove.

The blues also uses 12/8 feel - each beat feels like a triplet:

Straight 8ths:  1  &  2  &  3  &  4  &
Shuffle 8ths:   1  _a 2  _a 3  _a 4  _a  (where "_a" is delayed)

Shuffle vs. Straight Comparison

Straight:  |--|--|--|--|--|--|--|--|
           1  &  2  &  3  &  4  &

Shuffle:   |-----|--|-----|--|-----|--|-----|--|
           1     a  2     a  3     a  4     a

BTML Implementation

Drums (shuffleBeat(), bluesShuffle()):

  • Divides the bar into 12 triplet-eighth positions
  • Places hi-hats on positions 0, 2, 3, 5, 6, 8, 9, 11 (skipping middle triplets)
  • bluesShuffle adds open hi-hat on up-beats and ghost notes on snare

Bass (swing_walking):

  • Applies swing ratio to off-beats
  • swing: 0.67 gives classic triplet feel (67% first note, 33% second)

Rhythm (shuffle_strum):

  • Strums follow the triplet pattern
  • Accents on triplet downbeats (positions 0, 3, 6, 9)

Example BTML

rhythm:
  style: shuffle_strum
  swing: 0.67

bass:
  style: swing_walking
  swing: 0.67

drums:
  style: shuffle
  intensity: 0.6

Jazz Swing

Musical Characteristics

Jazz swing evolved from blues shuffle but is more sophisticated. Key characteristics:

  • Ride cymbal instead of hi-hat (warmer, more complex sound)
  • Sparse kick drum (just defines the "1")
  • Subtle snare on 2 and 4 (softer than rock)
  • Walking bass that moves through chord tones

The classic jazz ride pattern:

Beat:     1        &     2        &     3        &     4        &
Ride:     DING     _a    DING     _a    DING     _a    DING     _a
          (strong)       (medium)       (strong)       (medium)

BTML Implementation

Drums (jazzSwing()):

  • Ride cymbal on swung eighth positions
  • Very sparse kick (only beat 1)
  • Soft snare on 2 and 4

Bass (walking, swing_walking):

  • Root → 3rd → 5th → 7th pattern
  • Creates melodic movement through the chord

Rhythm: Often uses whole or half for comping, letting the bass and drums carry the groove

Example BTML

rhythm:
  style: whole

bass:
  style: swing_walking
  swing: 0.67

drums:
  style: jazz_swing
  intensity: 0.5

Folk & Fingerpicking

Musical Characteristics

Folk music often uses fingerpicking patterns where the thumb plays bass notes while fingers play melody on higher strings. Common patterns include:

  • Travis picking: Alternating bass with syncopated treble (named after Merle Travis)
  • Folk arpeggio: Bass note followed by ascending chord tones
  • Boom-chick: Bass on 1/3, chord stab on 2/4

Travis Picking Pattern

Beat:    1     &     2     &     3     &     4     &
Thumb:   B                 B5
Index:         H                 H           H
Middle:              M                 M
         (Bass)      (High)(Mid)(High)(B5)  (H)  (M)  (H)

BTML Implementation

Rhythm styles:

  • travis: Alternating bass (root/fifth) with treble melody (high-mid-high pattern)
  • fingerpick: Classic folk pattern (Bass-Low-Mid-High-Mid-Low per bar)
  • fingerpick_slow: Sparse pattern for ballads (Nick Drake style)
  • folk: Simple boom-chick (bass on 1/3, chord on 2/4)

Example BTML

rhythm:
  style: travis

bass:
  style: root  # Travis picking includes bass

drums:
  style: rock_beat
  intensity: 0.3  # Light brushes or no drums

Funk

Musical Characteristics

Funk is defined by THE ONE - an extremely heavy accent on beat 1 of each bar. Beyond that, funk features:

  • 16th note subdivisions (much busier than 8th note styles)
  • Syncopation - accents on unexpected beats (especially "e" and "a")
  • Staccato/choppy playing - short, percussive notes
  • Ghost notes - very soft notes that add texture

The Funk Pattern

Beat:     1  e  &  a  2  e  &  a  3  e  &  a  4  e  &  a
Pattern:  X  .  x  .  .  x  X  .  x  .  x  .  .  x  .  x
          95    60       65 80    70    60       65    70
          ↑                 ↑
          THE ONE!          accent

Notice how the accents fall on unexpected subdivisions (e of 2, & of 2, e of 4), creating that characteristic "off-kilter" funk feel.

BTML Implementation

Rhythm (funk, funk_muted):

  • 16th note pattern with heavy beat 1
  • Syncopated accents on e's and a's
  • funk_muted uses shorter notes for choppier feel

Bass (funk, slap, funk_simple):

  • Syncopated pattern with octave jumps
  • Ghost notes at lower velocities
  • Heavy THE ONE accent

Drums (works with rock_beat or custom patterns):

  • Typically uses sparse kick, active snare with ghost notes

Example BTML

rhythm:
  style: funk_muted

bass:
  style: funk

drums:
  style: rock_beat
  intensity: 0.8

Ska

Musical Characteristics

Ska originated in Jamaica in the late 1950s, characterized by the off-beat guitar skank:

  • Guitar/keys play ONLY on the off-beats (the "&" of each beat)
  • Walking bass with octave jumps
  • Driving hi-hat pattern accenting off-beats
  • Upbeat, energetic tempo (typically 140-180 BPM)

The Ska Skank

Beat:     1     &     2     &     3     &     4     &
Guitar:         X           X           X           X
                ↑           ↑           ↑           ↑
                ONLY off-beats (the "skank")

This creates the instantly recognizable "cha-cha-cha-cha" ska rhythm.

BTML Implementation

Rhythm (ska, skank):

  • Plays chords only on positions 1, 3, 5, 7 of 8th note grid (off-beats)
  • Short, choppy note duration
  • Consistent velocity across all skanks

Bass (ska):

  • Walking pattern: root → fifth → octave → fifth
  • Octave jump on beat 3 is characteristic

Drums (skaBeat()):

  • Standard kick on 1/3, snare on 2/4
  • Hi-hat accents off-beats to support the skank

Example BTML

track:
  tempo: 160  # Ska is upbeat!

rhythm:
  style: ska

bass:
  style: ska

drums:
  style: ska
  intensity: 0.8

Reggae

Musical Characteristics

Reggae evolved from ska but at slower tempos with a "heavier" feel. The defining characteristic is the one-drop beat:

  • Kick AND snare hit together on beat 3 (the "one-drop")
  • Silence on beat 1 (very unusual in Western music)
  • Off-beat chord chops ("chank")
  • Deep, spacious bass

The One-Drop Pattern

Beat:     1     &     2     &     3     &     4     &
Kick:                             X
Snare:                            X           (soft)
Hi-hat:         x           x           x           x
Guitar:         x           x           X           x
                                        ↑
                                Heavy on beat 3

The emphasis on beat 3 creates the laid-back, hypnotic reggae groove.

BTML Implementation

Rhythm (reggae, one_drop):

  • Off-beat chops (like ska, but heavier accent on beat 3)
  • Chord on beat 3 is accented (vel 90 vs 65 for others)

Bass (reggae, one_drop):

  • Sparse: root on beat 1 (held long), fifth on beat 3
  • Deep, sustained notes with space

Drums (reggaeBeat()):

  • ONE-DROP: kick + snare together only on beat 3
  • Off-beat hi-hats only
  • Creates lots of space

Example BTML

track:
  tempo: 76  # Reggae is slower than ska

rhythm:
  style: reggae

bass:
  style: reggae

drums:
  style: reggae
  intensity: 0.7

Country

Musical Characteristics

Country uses the boom-chick or train beat pattern:

  • "Boom" = bass note on beats 1 and 3
  • "Chick" = chord on beats 2 and 4
  • Alternating root-fifth bass movement
  • Steady, driving hi-hat

This creates the "two-step" or "shuffle" feel associated with country music.

The Train Beat

Beat:     1     &     2     &     3     &     4     &
Bass:     B                 B5
Guitar:               chord             chord
Hi-hat:   x     x     x     x     x     x     x     x

BTML Implementation

Rhythm (country, train):

  • Bass note (root) on beats 1 and 3
  • Full chord on beats 2 and 4
  • Creates the characteristic boom-chick

Bass (country, train):

  • Alternating: root → fifth → root → fifth
  • Steady quarter notes
  • Classic Nashville bass style

Drums (countryBeat()):

  • Standard kick 1/3, snare 2/4
  • Steady 8th note hi-hat (the "train")

Example BTML

track:
  tempo: 120

rhythm:
  style: country

bass:
  style: country

drums:
  style: country
  intensity: 0.7

Disco

Musical Characteristics

Disco introduced four-on-the-floor - kick drum on every beat:

  • Kick on beats 1, 2, 3, AND 4 (hence "four on the floor")
  • Snare on 2 and 4 (backbeat)
  • 16th note hi-hats with open hi-hat accents
  • Driving, danceable groove

The Disco Beat

Beat:     1  e  &  a  2  e  &  a  3  e  &  a  4  e  &  a
Kick:     X           X           X           X
Snare:                X                       X
Hi-hat:   x  x  O  x  x  x  O  x  x  x  O  x  x  x  O  x
                ↑                 ↑
                Open hi-hat on & of each beat

The open hi-hat on the "&" creates the characteristic "shimmering" disco feel.

BTML Implementation

Drums (discoBeat()):

  • Four-on-the-floor kick
  • Open hi-hat on position 2 of each 4-position group (the "&")
  • 16th note closed hi-hat otherwise

Bass (disco):

  • Driving octave pattern on 8th notes
  • Root on downbeats, octave up on off-beats
  • Creates the "pumping" disco bass

Rhythm (disco):

  • Strong chord on quarter notes
  • Light off-beat hits
  • Supports the four-on-the-floor feel

Example BTML

track:
  tempo: 120

rhythm:
  style: disco

bass:
  style: disco

drums:
  style: disco
  intensity: 0.85

Motown / Soul

Musical Characteristics

The "Motown Sound" was created at Hitsville U.S.A. in Detroit, characterized by:

  • Heavy backbeat on 2 and 4 (even heavier than rock)
  • Melodic, syncopated bass (James Jamerson style)
  • Tambourine feel on 8th notes
  • Gospel-influenced chord progressions

The Motown rhythm section (The Funk Brothers) emphasized:

  • Tight, locked grooves
  • Call-and-response between instruments
  • Rich harmonic bass lines that move through chord tones

BTML Implementation

Rhythm (motown, soul):

  • 8th note pattern
  • Heavy accents on beats 2 and 4 (vel 90)
  • Moderate accent on beat 1 (vel 80)

Bass (motown, soul):

  • Melodic, syncopated pattern moving through chord tones
  • Pattern: root → fifth → root → third → fifth → root → third → fifth
  • James Jamerson-inspired voice leading

Drums (motownBeat()):

  • Extra-heavy snare on 2 and 4
  • Kick pickup before beat 3
  • Tambourine-style 8th note hi-hat

Example BTML

track:
  tempo: 112

rhythm:
  style: motown

bass:
  style: motown

drums:
  style: motown
  intensity: 0.75

Flamenco

Musical Characteristics

Flamenco music from Spain uses unique rhythmic patterns called compás. The rumba flamenca pattern is the most accessible:

  • Syncopated accents that don't align with standard 4/4
  • Strong accent on beat 1 (the "golpe")
  • Rasgueado strumming technique
  • Complex interplay between guitar and percussion (palmas/cajón)

The Rumba Pattern (Simplified)

Position: 1  2  3  4  5  6  7  8  9  10 11 12 13 14 15 16
Accent:   X        x        x     x     x     x
Velocity: 95       75       75    85    75    80

The accents at positions 0, 3, 6, 8, 10, 12 create a 3-3-2-2-2-4 grouping that gives flamenco its distinctive feel.

BTML Implementation

Rhythm (flamenco, rumba):

  • Accent pattern: positions 0, 3, 6, 8, 10, 12 (16th note grid)
  • Heaviest accent on beat 1 (vel 95)
  • Longer note on beat 1

Drums (flamencoBeat()):

  • Simulates cajón: low tones (kick) and slaps (snare)
  • Kick on positions 0, 6, 10
  • Slaps on positions 3, 8, 12
  • Ghost notes (finger rolls) on 2, 5, 9, 14

Example BTML

track:
  tempo: 100
  key: Am  # Flamenco often uses minor/Phrygian

rhythm:
  style: flamenco

drums:
  style: flamenco
  intensity: 0.8

EDM & Trap

Musical Characteristics

EDM (Electronic Dance Music) builds on disco's four-on-the-floor but with:

  • Heavier kick drum (sidechain compression feel)
  • 16th note hi-hats with variations
  • Build-ups and drops
  • 808 sub bass

Trap adds:

  • Rolling hi-hats (32nd notes, triplet rolls)
  • Sparse, syncopated kick
  • Very heavy 808 bass
  • Heavy snare on 2 and 4

EDM Pattern

Beat:     1  e  &  a  2  e  &  a  3  e  &  a  4  e  &  a
Kick:     X           X           X           X
Snare:                X                       X
Hi-hat:   x  x  O  x  x  x  O  x  x  x  O  x  x  x  O  x

Trap Pattern

Beat:     1  e  &  a  2  e  &  a  3  e  &  a  4  e  &  a
Kick:     X                 x                 X
Snare:                X                       X
Hi-hat:   x  x  x  x  x  x  x  x  x  x [rolling 32nds here]

BTML Implementation

Drums (fourOnFloor()):

  • Four-on-the-floor kick
  • 16th note hi-hats with open hi-hat accents

Drums (trapBeat()):

  • Syncopated kick (1, &-of-2, 4)
  • Rolling hi-hats with 32nd note fills

Bass (808, sub, 808_octave, edm):

  • Very low sustained notes (MIDI note 28)
  • Syncopated pattern: hit on 1, &-of-2, 4
  • 808_octave adds octave jumps for movement

Example BTML (EDM)

rhythm:
  style: sixteenth

bass:
  style: edm

drums:
  style: edm
  intensity: 0.9

Example BTML (Trap)

rhythm:
  style: sixteenth

bass:
  style: 808

drums:
  style: trap
  intensity: 0.85

Ragtime, Stride & Boogie-Woogie

Musical Characteristics

These early American styles share the oom-pah feel but differ in complexity:

Ragtime (1890s-1910s):

  • Left hand: bass on 1/3, chord on 2/4
  • Syncopated, "ragged" right hand melodies
  • Moderate tempo

Stride (1920s):

  • Evolution of ragtime with wider bass jumps
  • More virtuosic left hand
  • Faster tempos

Boogie-Woogie (1930s):

  • Driving 8th note bass pattern
  • 12-bar blues form
  • Bass pattern: 1-1-5-6-b7-6-5-5

The Oom-Pah Pattern (Ragtime/Stride)

Beat:     1     2     3     4
Left:     B   chord   B   chord
          (oom) (pah) (oom) (pah)

The Boogie Pattern

Beat:     1     &     2     &     3     &     4     &
Bass:     1     1     5     6     b7    6     5     5

This creates the driving, rolling boogie-woogie feel.

BTML Implementation

Rhythm (stride, ragtime):

  • stride: Chord stabs only on beats 2 and 4
  • ragtime: Similar but with syncopated anticipations

Bass (stride, boogie):

  • stride: Low bass on beats 1/3 (the "oom")
  • boogie: 8th note pattern through 1-1-5-6-b7-6-5-5

Drums (use light or no drums, or jazz_swing for variety)

Example BTML (Stride)

rhythm:
  style: stride

bass:
  style: stride

drums:
  style: jazz_swing
  intensity: 0.4

Example BTML (Boogie-Woogie)

track:
  tempo: 140

rhythm:
  style: stride  # or custom pattern

bass:
  style: boogie

drums:
  style: shuffle
  intensity: 0.7

Quick Reference Table

Style Rhythm Bass Drums Tempo Instruments
Rock eighth root_fifth rock_beat 90-140 steel_guitar, overdrive
Blues shuffle_strum swing_walking shuffle 60-120 steel_guitar, fretless_bass
Jazz whole, half swing_walking jazz_swing 100-180 jazz_guitar, contrabass
Folk travis, fingerpick root Light/none 80-140 nylon_guitar, steel_guitar
Funk funk, funk_muted slap rock_beat 90-120 clean_guitar, slap_bass
Classical arpeggio_up root none 60-100 nylon_guitar, strings
Country country, train root_fifth country 100-140 steel_guitar, picked_bass
Disco disco disco disco 110-130 clean_guitar, fingered_bass
EDM sixteenth 808_octave four_on_floor 120-150 synth_lead, synth_bass
Ragtime stride stride Light 80-120 honky_tonk, piano
Boogie stride boogie shuffle 120-160 honky_tonk, piano

Tips for Creating Authentic Styles

  1. Match bass and drum styles - They should complement each other
  2. Use appropriate tempos - Reggae at 160 BPM won't feel right
  3. Consider swing - Blues and jazz need it; funk and disco don't
  4. Adjust intensity - Ballads need lower intensity; dance music needs higher
  5. Choose fitting instruments - Nylon guitar for classical, slap bass for funk
  6. Listen to examples - The best way to understand a style is to listen to it

Further Reading

  • The Drummer's Bible by Mick Berry & Jason Gianni - Comprehensive drum pattern reference
  • Standing in the Shadows of Motown - James Jamerson's bass lines
  • Funk Drumming by Jim Payne - Detailed funk analysis
  • The Latin Real Book - Authentic Latin/Flamenco patterns