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Illustration of dead note in standard notation and guitar tablature
Illustration of dead note in musical notation and guitar tablature

In music, notably in jazz,[1] a ghost note (or a dead, muted, silenced or false note) is a musical note with a rhythmic value, but no discernible pitch when played. In musical notation, this is represented by a cross "×" for a note head instead of an oval, or parentheses around the note head.[2] It should not be confused with the X-shaped notation (double sharp) that raises a note to a double sharp.

On stringed instruments, this is played by sounding a muted string - "Muted to the point where it is more percussive sounding than obvious and clear in pitch. There is a pitch, to be sure, but its musical value is more rhythmic than melodic or harmonic... they add momentum and drive to any bass line."[3] Occurring in a rhythmic figure, they are purposely deemphasized, often to the point of near silence. In popular music drumming, ghost notes are ones played "very softly between the 'main' notes," (off the beat on the sixteenth notes) most often on the snare drum in a drum kit.[4] Ghost notes are often used by electric bass players and double bass players in a range of popular music and traditional music styles. In vocal music, this style of notation represents words that are spoken in rhythm rather than sung.

Instrumental music

[edit]

Ghost notes are not simply the unaccented notes in a pattern. The unaccented notes in such a pattern as a clave are considered to represent the mean level of emphasis—they are neither absolutely emphasized nor unemphasized. If one further deemphasizes one of these unaccented notes to the same or a similar extent to which the accented notes in the pattern are emphasized, then one has 'ghosted' that note. In a case in which a ghost note is deemphasized to the point of silence, that note then represents a rhythmic placeholder in much the same way as does a rest. This can be a very fine distinction, and the ability of an instrumentalist to differentiate between what is a ghost note and what is a rest is governed largely by the acoustic nature of the instrument.

Wind instruments, including the human voice, and guitars are examples of instruments generally capable of ghosting notes without making them synonymous with rests, while a pianist or percussionist would have more difficulty in creating this distinction because of the percussive nature of the instruments, which hampers the resolution of the volume gradient as one approaches silence. However, in such a case as that the ghost notes were clearly audible, while being far less prominent than the unaccented notes which represent the mean degree of emphasis within the example, then a percussionist could be said to create what we might define as ghost notes.

A frequent misconception is that grace notes and ghost notes are synonymous. A grace note is by definition decidedly shorter in length than the principal note which it 'graces', but in many examples the grace note receives a greater degree of accentuation (emphasis) than the principal itself, even though it is a much shorter note than the principal. In other words, while a grace note could be ghosted, the ghosting of notes is a function of volume[citation needed] rather than of duration.

Percussion

[edit]
Drumming: Ghost notes indicated by parentheses, main notes distinguished by accents[4] playⓘ

In drumming, a ghost note is played at very low volume,[5] typically on a snare drum.[6] In musical notation, ghost notes are indicated in parentheses surrounding the note.[6] According to The Drummer's Bible: How to Play Every Drum Style from Afro-Cuban to Zydeco, the purpose of a ghost note is to "...be heard under the main sound of the groove. This produces a subtle 16th-note feel around a strong back beat or certain accents."[6]

Examples can be heard in the drumming of Harvey Mason, Mike Clark, Bernard Purdie,[7] Brad Wilk, David Garibaldi, Karen Carpenter, and Chad Smith. Ghost note drumming is a distinguishing feature of R&B music.[8] Particularly recognizable examples of this technique are Gregory C. Coleman's drum break in "Amen, Brother" by The Winstons, Clyde Stubblefield's beat in "Cold Sweat" by James Brown[9] and Jeff Porcaro playing the beat for the Toto hit "Rosanna".

Stringed instruments

[edit]
Bass: Ghost notes indicated by ×-shaped note heads.[3] Playⓘ

A guitarist wishing to ghost a note can decrease the pressure the fretting hand is exerting upon the strings without removing the hand from the fretboard (which would result in the sounding of the open pitches of those strings). This is sometimes called a 'scratch', and is considered a ghost note unless all the unaccented notes in the pattern were 'scratched' (in which case the scratches are unaccented notes).

On the double bass and electric bass, as with the guitar, ghost notes can be performed by muting the strings, either with the fretting hand or the plucking/picking hand, which creates notes of indeterminate pitch that have a percussive quality.[10] On the electric bass, ghost notes are widely used in the slap bass style, as a way of creating a percussive, drum-like sound in funk and Latin music. On the double bass, percussive ghost notes are sometimes performed by slapping the strings against the fingerboard, which creates a percussive, "clacky" sound. With the double bass, slap-style ghost notes are used in rockabilly, bluegrass, and traditional blues and swing jazz.

Bassists James Jamerson (of Motown), Carol Kaye (of Motown), Rocco Prestia (for Tower of Power), and Chuck Rainey (for Steely Dan, Aretha Franklin, and others) all include "tons of ghost notes done right" in their playing.[3]

Vocal music

[edit]

In vocal music, especially in musical theater, a ghost note represents that the lyrics must be spoken rather than sung, retaining the marked rhythm but having indeterminate pitch. Notes with value less than a half note use a cross instead of an oval as a note head. Occasionally a half note or whole note is represented with an open diamond note head, often representing a scream or grunt.

As an extreme example, the opening number of The Music Man, "Rock Island", is written almost exclusively in ghost notes.

This notation may also indicate Sprechstimme or rapping.

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Ghost note

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from Grokipedia
A ghost note, also known as a dead note, muted note, or false note, is a musical note that possesses a rhythmic value but lacks a discernible pitch when performed, typically executed at a very low volume to create subtle rhythmic texture.[1][2] In drumming, ghost notes are most commonly played on the snare drum between accented beats, serving as anti-accents that enhance the groove without overpowering the primary rhythm.[1][2] In musical notation, ghost notes are often indicated by an "X" in place of a standard note head or by enclosing the note in parentheses.[1] While primarily associated with percussion, ghost notes also appear in stringed instruments like guitar and bass, where they involve muting the strings to generate percussive, unpitched hits, and in vocal music, where they involve softly articulated or spoken syllables to maintain rhythmic texture without prominent pitch.[1][3] Ghost notes play a crucial role in genres such as jazz, funk, and R&B, where they add complexity, color, and a sense of propulsion to rhythms, transforming basic beats into dynamic, breathing grooves.[2] Pioneering examples include Jeff Porcaro's understated snare fills in Toto's "Rosanna" (1982), which popularized the technique in rock, and the funky backbeats in James Brown's "Cold Sweat" (1967), driven by drummer Clyde Stubblefield.[1][2] Influential drummers like Bernard Purdie, David Garibaldi, and Harvey Mason have further elevated ghost notes, using them to infuse swing, syncopation, and emotional depth into performances across soul, fusion, and beyond.[2]

Fundamentals

Definition

A ghost note is a note executed at a very low volume, typically percussive with no discernible pitch when played, that contributes to the overall rhythmic texture of a musical passage without attracting primary attention.[1][4] These notes are intentionally subdued to enhance groove and feel, often blending into the background while maintaining rhythmic value. In contrast to regular notes, which are performed at standard dynamics to clearly articulate pitch, duration, and emphasis, ghost notes prioritize subtlety, usually at volumes softer than mezzo-piano, serving as implied or shadow elements that subtly propel the music forward.[5] This faint execution gives ghost notes their characteristic "spectral" quality, evoking a ghostly presence within the ensemble or solo performance.[6]

Characteristics

Ghost notes are distinguished by their acoustic properties, primarily low amplitude that renders them subtle and nearly inaudible within the overall musical texture. This quiet volume arises from a partial articulation, where the performer applies minimal force, resulting in incomplete vibration of the instrument's sounding elements. On percussion instruments like the snare drum, this produces a buzzing or rattling quality due to the light engagement of snare wires, while on stringed instruments, it yields a muted, percussive thump without sustained resonance. The quick decay of these notes further enhances their evanescent nature, as the sound dissipates rapidly after initiation, preventing overlap with subsequent beats.[7][8][9] In terms of rhythmic function, ghost notes serve to enrich the groove by occupying interstitial spaces between primary accents, thereby introducing syncopation and polyrhythmic layers without dominating the ensemble. They contribute to a sense of forward momentum and organic feel, often creating a subdivided pulse—such as 16th notes around a quarter-note backbeat—that propels the music's propulsion. This subtle layering fosters complexity in rhythmic interplay, allowing performers to imply denser patterns while maintaining clarity in the main beat structure.[10][11][12] Dynamically, ghost notes are typically executed at pianississimo (ppp) to pianissimo (pp) levels, representing the softest end of the dynamic spectrum to ensure they remain understated. This extreme quietness allows them to provide textural depth and contrast against louder elements, such as forte (f) accents on the same instrument, heightening the overall perceptual attack and release within a phrase. For instance, in drumming grooves, ppp ghost notes on the snare can underpin a series of ff rimshots, amplifying the rhythmic tension and release without overwhelming the primary pulse.[13][14][15]

Notation and Technique

Standard Notation

In standard music notation, ghost notes are typically indicated by enclosing the notehead in parentheses, signaling that the note should be performed at a very low dynamic level, often nearly inaudible, to provide rhythmic texture without prominence. This convention is widely adopted in notation software such as Sibelius and Finale, where parentheses around the notehead or stem denote implied or softened strikes, distinguishing them from fully articulated notes.[16] In percussion and drum notation, an alternative common symbol is the "x"-shaped notehead, which represents muted or deadened strikes, particularly on the snare drum, emphasizing the percussive effect over pitch. This "x" symbol can appear for various durations, from sixteenth notes to whole notes, and is often combined with parentheses for added clarity on softness; for instance, in drum charts, it may accompany slashes to indicate rimshots executed quietly. Smaller noteheads serve as another option, reducing the visual weight to suggest subtlety, especially in contexts where precise dynamics are implied rather than explicitly marked.[1][2] Variations in notation occur across genres: jazz and pop drum charts more frequently employ "x" noteheads or parentheses to capture idiomatic ghosting in grooves. In LilyPond engraving software, ghost notes are generated via the \parenthesize command, reflecting these parentheses as a core standard for percussion staves.[17][18]

Performance Techniques

Producing ghost notes requires precise control over touch and dynamics to achieve a subdued, almost inaudible sound that adds rhythmic texture without overpowering the primary melody or beat. Musicians employ controlled finger pressure, applying just enough force to sound the note faintly, as seen in string instruments where fingers lightly dampen the strings without fully fretting them to create muted percussive hits.[19] Across practices, techniques prioritize wrist relaxation and minimal force, allowing natural rebound or fluid motion to generate soft articulations without tension, often notated with an "x" notehead or parentheses to indicate the intended lightness.[1] Common challenges in performing ghost notes include maintaining consistent volume levels to avoid unintended accents that disrupt the groove's flow. Musicians must balance soft execution with rhythmic accuracy, as uneven dynamics can make the notes stand out excessively or fade into silence.[1] Practice drills, such as alternating accented and unaccented strokes in paradiddle patterns or filling sixteenth-note grooves with soft taps, help build this control; using a metronome at varying tempos—from slow (60 BPM) to moderate (120 BPM)—ensures even spacing and gradual improvement in precision.[20] Equipment plays a key role in facilitating the softened timbre of ghost notes. Brushes enable sweeping motions for whisper-like textures on percussion surfaces, while mallets with soft heads allow light rebounds on drums or vibes for controlled attenuation.[21] Similarly, felt or nylon picks on strings produce a gentler pluck compared to standard plectra, aiding in the creation of faint, rhythmic pulses without harsh attack.[19]

Instrumental Applications

Percussion

In percussion, ghost notes play a pivotal role in enhancing rhythmic texture and groove, particularly on the drum kit where they provide subtle fills and propulsion without overpowering the main beat. On the snare drum, ghost notes are typically executed as light taps, using reduced stick velocity to produce a barely audible sound that contrasts with accented backbeats. This technique involves striking from a lower height—often no more than 1.5 inches above the head—and allowing the stick to drop gently rather than rebound forcefully, creating a soft, unpitched nuance that fills in sixteenth-note subdivisions.[2][22] Such applications are central to backbeat fills, where ghosted snare hits intersperse between primary strokes to build momentum, as exemplified in funk grooves like Clyde Stubblefield's drumming on James Brown's "Funky Drummer" (1970), which features intricate snare ghost notes that have become a cornerstone for rhythmic complexity.[23] Hi-hat ghost notes, often referred to as "chick" sounds, contribute to the percussive undercurrent by incorporating soft, unaccented eighth or sixteenth notes that mimic a light closed hi-hat closure. These are played with minimal wrist motion, tapping the edge or top of the hi-hat stack at low volume to add shuffle and swing without dominating the groove. In drum kit contexts, combining snare and hi-hat ghost notes creates dynamic layers, as seen in funk patterns where they outline off-beat emphases, influencing the laid-back yet driving feel essential to the genre. This approach extends to hip-hop, where sampled funk breaks incorporating these elements—such as the ubiquitous "Funky Drummer" loop—provide foundational rhythmic texture for beats.[22][24][25] Beyond the core drum kit, ghost notes appear on other percussion instruments to introduce ambient texture and subtlety. On mallet percussion like the vibraphone, ghosted strikes involve soft mallet contacts that produce faint, decaying tones that blend into ensemble arrangements without asserting melody, often as an extended technique for color in jazz or contemporary settings. Similarly, tambourine ghost notes manifest as gentle shakes or thumb rolls with controlled velocity, executed by lightly rotating the instrument to yield whisper-like jingles that enhance rhythmic density, typically notated in parentheses to indicate their subdued presence. These applications underscore ghost notes' versatility in percussion, prioritizing rhythmic centrality over volume across diverse ensemble roles.

Stringed Instruments

In stringed instruments, ghost notes manifest as softly articulated, muted, or partially damped tones that contribute rhythmic nuance and textural depth without dominating the melodic line. These notes, often produced through controlled muting or light touch, integrate seamlessly into harmonic progressions, echoing the fundamental characteristics of ghost notes as understated rhythmic elements. For plucked string instruments, ghost notes are achieved via partial fretting or palm muting, where the fretting hand lightly touches the strings without fully pressing them to the fretboard, resulting in percussive thumps or buzzing overtones that add subtle propulsion to rhythms. On bass guitar, this involves muting strings with the hand to create unpitched percussive hits that enhance groove in funk and jazz. In jazz guitar, muted strums serve as ghost notes to enrich chord voicings, providing a syncopated undercurrent that dialogues with the soloist, as exemplified in Stevie Wonder's "Superstition" where they bolster the funk groove.[19] Similarly, on the banjo, "ghost strokes" involve lightly fretting for barely audible accents, which heighten the percussive drive in old-time or clawhammer styles. In classical contexts, such as string quartets, ghost notes can appear through muting techniques that produce hushed, transitional percussive effects without interrupting the ensemble's balance. This approach, drawing on precise articulation, produces acoustic effects like faint buzzing from uneven string vibration.

Other Instruments

In wind instruments, ghost notes are produced using specialized tonguing and breath control techniques to create subdued, airy sounds, particularly in jazz improvisations. On the saxophone, half-tonguing—where the tongue lightly contacts the reed to dampen the attack—generates a muffled, breathy effect known as doodle tonguing or ghost tonguing, enhancing rhythmic subtlety in bebop lines.[26] Similarly, on the flute, ghost notes can emerge from breathy air tones or whistle tones, producing ethereal, faint sounds in extended techniques suitable for improvisational contexts. On keyboard instruments such as the piano, ghost notes involve extremely light key strikes that result in barely audible pitches, often integrated into jazz phrasing to accentuate swing and off-beat rhythms without overpowering the melody.[17] Rare applications of ghost notes appear in brass instruments within big band jazz arrangements, where muted trumpets or trombones employ whisper tones—half-breath attacks yielding faint, spectral sounds—to layer subtle rhythmic fills and timbral color behind solos.[27][28]

Vocal Applications

Techniques

Ghost notes in vocal performance are produced primarily through breathy phonation, which involves relaxed vocal folds with reduced glottal closure to allow increased airflow and create a soft, airy sound without full adduction.[29] This technique minimizes vocal fold vibration intensity, enabling subtle articulation while avoiding strain on the larynx by maintaining low tension and preventing excessive pressure.[30] Sibilant consonants, such as "sh" or whispered syllables like "dn," enhance the ethereal quality, often functioning as rhythmic pulses rather than pitched notes, particularly in jazz scatting where they add texture without accentuation.[30][31] Control of ghost notes relies on diaphragmatic support to modulate volume and sustain airflow steadily, ensuring pitch stability amid the reduced intensity without altering the fundamental tone.[30] This breath management prevents breathiness from becoming uncontrolled air escape, which could lead to vocal fatigue; instead, it promotes efficient energy use by coordinating abdominal engagement with gentle exhalation.[30] Physiologically, the technique leverages minimal vocal fold approximation to produce turbulent airflow, fostering a whisper-like timbre that emphasizes rhythm over volume, with the larynx remaining relaxed to support prolonged soft passages.[29] Exercises for mastering ghost notes include practicing chromatic scales on breathy syllables such as "ba" or "da" at low dynamics to build control over subtle transitions and airflow.[30] Siren glissandos—smooth slides from low to high pitches on neutral vowels like "oo"—performed at minimal volume further develop diaphragmatic coordination and vocal fold flexibility, allowing performers to maintain even intensity without pitch deviation or strain.[32] In scatting drills, repeating unaccented "dn" syllables in rhythmic patterns trains the precise articulation needed for integrating ghost notes into phrasing, enhancing overall dynamic range and endurance.[31]

Examples

In jazz scat singing, ghost notes manifest as faint, unaccented syllables that provide rhythmic definition and vitality without drawing primary attention, often functioning as subtle filler notes between accented phrases. For instance, in improvisational performances, vocalists employ short, light syllables like "dn" alongside vowels such as "ah" and "oo" to mimic the swing feel and syncopation of instrumental jazz, as illustrated in educational examples from Berklee College of Music where these ghost notes enhance the overall phrasing in one-bar scat lines.[31] In R&B, whispered ad-libs serve as vocal ghost notes, creating layered, ethereal textures that add emotional depth and intimacy to recordings. Beyoncé frequently incorporates such subtle, wordless vocal ripples and ad-libs in her productions. Beatboxing in hip-hop often features ghost syllables as quiet, percussive vocal elements that fill rhythmic spaces, akin to instrumental ghost notes, contributing to complex beats in live performances. In contemporary pop, Billie Eilish employs breathy undertones as a form of vocal ghost notes, delivering soft, wispy inflections that build intimacy and underscore rhythmic subtlety. Tracks like "ocean eyes" and "when the party’s over" showcase her fragile timbre and controlled phrasing, where the breathy quality creates a personal, confessional closeness while maintaining melodic drive through mezzo-soprano stability.[33]

Historical and Cultural Context

Origins and Evolution

Ghost notes trace their origins to African American musical traditions, with deep roots in African drumming practices that emphasized layered rhythms and subtle percussive textures. These elements were adapted into early 20th-century American music, particularly through the development of the drum set in New Orleans around 1900, where drummers drew from African, military, and brass band influences to create nuanced rhythmic support. By the 1920s, as jazz drumming matured in African American communities, subtle techniques emerged, such as deadening the snare drum tone with a handkerchief to produce quieter, less intrusive sounds, as exemplified by drummer Babe Mathews.[34][35][35] The term "ghost note" gained prominence in the late 1960s alongside the rise of funk, describing these soft, barely audible strokes that added depth to grooves without overpowering the ensemble. Key figures in refining the technique included drummers like Clyde Stubblefield, who incorporated ghost notes into James Brown's band during the 1960s, creating syncopated, textural layers in tracks like "Funky Drummer" (1970) that established foundational funk rhythms. Similarly, Earl Young advanced subtle hi-hat and snare work in the Philly soul scene of the early 1970s, contributing to the genre's signature feel through innovative session drumming for artists like Harold Melvin and the Blue Notes.[36][37][25][38] The technique evolved to more deliberate application in jazz and beyond. By the 1970s, ghost notes appeared explicitly in sheet music notation, often marked with an "X" head or parentheses to indicate soft volume, allowing composers to specify these anti-accents precisely. Advancements in recording technology further amplified their role; early acoustic methods in the 1920s-1930s often obscured quiet strokes due to distant microphone placement and limited fidelity, but post-1940s electrical recording and multi-miking in the 1950s-1960s captured subtle snare work and hi-hat comping more clearly, enabling their integration into commercial funk and soul productions.[2][39]

Usage in Genres

In jazz drumming, ghost notes are essential for creating the swing feel, providing subtle rhythmic displacement and density between accented beats, as exemplified by Elvin Jones' understated snare interjections in recordings like John Coltrane's A Love Supreme, where they contribute to the genre's polyrhythmic fluidity.[1] In funk, they form the backbone of linear drumming patterns, filling sixteenth-note subdivisions with soft snare taps to propel the groove forward, as seen in James Brown's tracks where drummers like Clyde Stubblefield layer them to achieve a tight, interlocking pocket.[40] Within rock and pop, ghost notes enhance the backbeat by adding textural nuance to hi-hat and snare patterns, preventing grooves from feeling static; for instance, Jeff Porcaro's drumming on Toto's "Rosanna" incorporates ghosted snare fills within its shuffle rhythm to heighten drive and sophistication.[1] In electronic-infused R&B, such as in D'Angelo's Voodoo album, ghost notes on drums or programmed percussion subtly underscore syncopated rhythms, blending organic feel with synthesized elements to maintain momentum without overpowering vocals.[1] Globally, ghost notes adapt to diverse traditions, including Latin percussion where conga players execute ghosted slaps—muted, breathy tones—to mimic natural hand damping and add conversational flow in rumba or salsa ensembles, as taught in standard hand drum techniques.[41] Modern extensions appear in EDM production, where producers layer velocity-modulated ghost notes on snares or hi-hats in software like Ableton Live to infuse electronic beats with human-like swing and pacing, as in tracks by artists like Disclosure.[42]

References

  1. Ghost Notes Explained: How to Play Ghost Notes on Drums - 2025
  2. Lesson: Ghost Notes Style and Placement - DRUM! Magazine
  3. [PDF] Guide to Drum & Percussion Notation - MIT
  4. Jazz Glossary: Archives - Columbia University
  5. Ghost Notes for Beginner Drummers | Bangthedrumschool
  6. Ghost Notes - MuseScore
  7. Ghost notes in bass, drums & melodies - Amped Studio
  8. What is a ghost note ? - Music: Practice & Theory Stack Exchange
  9. Microtiming in Early Funk - Gesellschaft für Musiktheorie
  10. [PDF] FASCINATING RHYTHMS - Youngstown State University
  11. [PDF] Modern Jazz Improvisation: Analyzing the Music of Oz Noy Hillel Field
  12. Syncopation and Groove - Sound & Design
  13. Improve Ghost Note Control - Video Demo & Free Pdf
  14. How to play dynamics marks on drums / snare - Music Stack Exchange
  15. How to Control Drumming Volume | Drum Dynamics - Loudlands
  16. Notating Ghost Notes in Finale and Sibelius
  17. Jazz Articulation With Ghost Notes - Piano With Jonny
  18. 2.5.1 Common notation for percussion - LilyPond
  19. Surveying styles of drum notation - CRUISE SHIP DRUMMER!
  20. Guitar Ghost Notes: How to Play & Video Lessons - TrueFire
  21. Diversity of ghost notes in tubas, euphoniums and saxhorns
  22. Beginners Guide To Developing Ghost Notes. - Connor McCorkindale
  23. Groove | Sweeping Ghost Notes With Brushes - AuthenticDrummer
  24. How to Play Ghost Notes on Drums in 2025 | TheDrumNinja
  25. Behind the Beat: "Funky Drummer" by James Brown - Roland Articles
  26. Ghost Notes on Drums - The Key Technique for More Dynamic ...
  27. Ghost Notes: Subtlety in Motion - Drummerworld Articles
  28. Intentionally hitting "bad" spot on mallet instruments? : r/percussion
  29. triangle vs circle for tambourine notes? : r/percussion - Reddit
  30. Ponticello / Sul Pont is a technique that requires the player to play ...
  31. What finger(s) for "the brush"? - Discussion Forums - Banjo Hangout
  32. Baroque cello playing: Going for baroque - The Strad
  33. 1. Sul ponticello - Lizzy Welsh Research
  34. Ghost tonguing on saxophone
  35. [PDF] A Structured Teaching Approach to Extended Flute Techniques at ...
  36. A piano method by Claude Debussy - Pedalling - DJUPDAL.ORG
  37. Whisper Tones (featuring the Whisper Penny) - The Modern Trumpet
  38. [PDF] Big Band Director's Toolkit - MakeMusic
  39. [PDF] The Effect of Breathy and Strained Vocal Quality on Vowel Perception
  40. [PDF] New Techniques for Pop, Jazz, and Show Choir Directors
  41. The Woodshed: Scatting Without Fear - Berklee College of Music
  42. The Best Vocal Exercises: Sirens | VOXXBODY®
  43. How Auto-Tune Revolutionized the Sound of Popular Music | Pitchfork
  44. https://www.pbs.org/show/fight-power-how-hip-hop-changed-world/
  45. How good is Billie Eilish's singing voice, from a classical music ...
  46. Why I (still) love Rihanna's Umbrella - The Guardian
  47. African music influences | Music of the Modern Era Class Notes
  48. [PDF] A History of Jazz Drumming - Dr. Brad Meyer
  49. A Very Brief History of Funk Music (from a Drummer's viewpoint)
  50. The story of the funky drummer: the most exploited man in modern ...
  51. Investigating the origins of contemporary basics on the drum kit
  52. [PDF] Exploring the Evolution of Jazz Drumming Through Recordings
  53. Groove of the Month: Ghost Note Funk - Percussive Arts Society
  54. How to Do Ghost Notes on Congas - YouTube
  55. Vocal Focal: Beautifying Melodies in Indian Classical Singing
  56. How to add groove and pace to a beat using ghost notes | MusicRadar
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