Editing Funk (section)

====Drums====
Funk drumming creates a groove by emphasizing the drummer's "feel and emotion", which including "occasional tempo fluctuations", the use of [[Swing music|swing]] feel in some songs (e.g., "Cissy Strut" by [[The Meters]] and "I'll Take You There" by [[The Staple Singers]], which have a half-swung feel), and less use of [[fill (music)|fills]] (as they can lessen the groove).<ref name=Schlueter>{{cite web |url=https://reverb.com/ca/news/10-old-school-funk-grooves-every-drummer-should-know |title=10 Old School Funk Grooves Every Drummer Should Know |last=Schlueter |first=Brad |date=13 May 2016 |website=reverb.com |publisher=Reverb |access-date=9 April 2019 }}</ref> Drum fills are "few and economical", to ensure that the drumming stays "in the pocket", with a steady tempo and groove.<ref>Burns, Roy; Farris, Joey. ''Studio Funk Drumming: A Professional Workbook''. Alfred Music, 1981. p. 6</ref> These playing techniques are supplemented by a set-up for the drum kit that often includes muffled [[bass drum]]s and toms and tightly tuned snare drums.<ref name=Schlueter/> [[Double bass drumming]] sounds are often done by funk drummers with a single pedal, an approach which "accents the second note... [and] deadens the drumhead's resonance", which gives a short, muffled bass drum sound.<ref name=Schlueter/>
[[File:Cissy Strut drum groove.jpg|thumb|right|300px|The drum groove from "[[Cissy Strut]]"]]

James Brown used two drummers such as Clyde Stubblefield and John 'Jabo' Starks in recording and soul shows.<ref name="autogenerated53">Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 53</ref> By using two drummers, the JB band was able to maintain a "solid syncopated" rhythmic sound, which contributed to the band's distinctive "Funky Drummer" rhythm.<ref name="autogenerated53"/>

In [[Tower of Power]] drummer [[David Garibaldi (musician)|David Garibaldi]]'s playing, there are many [[ghost note]]s and [[rim shot]]s.<ref name=Schlueter/> A key part of the funk drumming style is using the hi-hat, with opening and closing the hi-hats during playing (to create "splash" accent effects) being an important approach.<ref>Burns, Roy; Farris, Joey. ''Studio Funk Drumming: A Professional Workbook''. Alfred Music, 1981. pp. 5–6</ref> Two-handed sixteenth notes on the hi-hats, sometimes with a degree of swing feel, is used in funk.<ref name=Schlueter/>

Jim Payne states that funk drumming uses a "wide-open" approach to improvisation around rhythmic ideas from Latin music, [[ostinato]]s, that are repeated "with only slight variations", an approach which he says causes the "mesmerizing" nature of funk.<ref name="autogenerated7">Payne, Jim. ''Complete Funk Drumming Book''. Mel Bay Publications, Feb. 9, 2011. p. 7-8</ref> Payne states that funk can be thought of as "rock played in a more syncopated manner", particularly with the bass drum, which plays syncopated eighth-note and sixteenth-note patterns that were innovated by drummer Clive Williams (with [[Joe Tex]]); [[George Brown (musician)|George Brown]] (with [[Kool & the Gang]]) and James "Diamond" Williams (with [[The Ohio Players]]).<ref>Payne, Jim. ''Complete Funk Drumming Book''. Mel Bay Publications, Feb. 9, 2011. p. 8</ref> As with rock, the snare provides [[backbeat]]s in most funk (albeit with additional soft ghost notes).<ref name="autogenerated7"/>