"Ticket To Ride"
In the verse and chorus sections, the tambourine plays a crucial role by emphasizing beats 2 and 4, reinforcing the backbeat that drives the groove forward. The kick drum lands on beat 1 as well as the “and” of beats 2 and 3, creating a syncopated pulse that adds rhythmic interest without overwhelming the groove. The snare hits on beat 2 and is accented with a flam on the “and” of beat 3. A flam is a drumming technique where both hands play in quick succession, with one hand striking slightly before the other; the first, softer grace note precedes the louder primary stroke, producing a fuller, more textured sound.
At this point, it may behoove us to reveal a small but telling detail: Ringo Starr is naturally left-handed, yet he played on a right-handed drum kit—one subtly adapted to his own left-handed tendencies. The setup, not unlike Jimi Hendrix playing a right-handed guitar, shaped the way he approached fills, hi-hat work, and transitions, giving his drumming its unmistakable feel. This reversed lead often resulted in slightly off-kilter accents and unconventional phrasing that became a signature part of The Beatles’ rhythmic character. Ringo also favored the traditional grip, holding the sticks with palms facing downward. This technique, often associated with jazz drumming, gave him added finesse and control, particularly when delivering lighter, more nuanced beats or weaving intricate patterns into a rock context.
Further adding to the syncopation, there is a flam tom hit on the “and” of beat 4, which contributes to the groove’s offbeat complexity. Notably, there is no hi-hat used during this section, resulting in a deliberately sparse and reserved drum texture that leaves space for other instruments to breathe.
A standout moment occurs in measure 12 with a kick and crash cymbal hit on beat 1 that leads into a snare fill composed of rapid 16th notes starting on beat 3. This fill propels the music back into the established groove.
In the chorus, the pattern becomes busier. The tambourine shifts to a steady pattern of straight 16th notes, providing a continuous rhythmic shimmer. The hi-hat complements this with a driving eighth-note pattern, maintaining forward momentum. The kick drum marks beats 1 and 3, as well as the “and” of beats 3 and 4, and the snare continues to accent the classic backbeat on beats 2 and 4. contributing to a more intricate but still firmly rooted rock beat.