Now Reading: Ringo Starr’s Drumming Style And Influence On Other Drummers
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Ringo Starr’s Drumming Style And Influence On Other Drummers
Ringo Starr’s Drumming Style And Influence On Other Drummers
Ringo Starr’s Drumming Style And Influence On Other Drummers
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The Genius Of Ringo Starr
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Ringo rocked a four-piece Ludwig kit—bass, snare, rack tom, floor tom—plus hi-hat and a couple of cymbals. No excess. His snare was mounted high, forcing a sharper wrist snap, which you hear in the crisp backbeat of “She Loves You.” He rarely overplayed; for instance, in “Something,” he uses a kick, snare, and hi-hat until a subtle tom fill creeps in. This less-is-more ethos became a rock staple—why use ten drums when four do the job?
The Drum That Changed The World!
The Story of Ringo Starr’s Ludwig Drum Kit
Ringo Starr’s drumming style is distinctive and has been widely recognized for several key characteristics:
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Feel and Timing:
Ringo Starr – King of “Feel”
What He Taught Me about Music and Rhythm
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Ringo Starr is celebrated for his impeccable sense of timing and feel, which contributed significantly to the groove and swing of The Beatles‘ songs. His ability to play “behind the beat“* gave many songs a relaxed yet driving rhythm.
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Simplicity and Economy:
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Unlike many drummers who might fill every space with complex patterns, Ringo often played with a minimalist approach. He used straightforward drum patterns, focusing on the needs of each song, rather than showcasing technical prowess. This simplicity was exactly what made his drumming effective.
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Signature Fills:
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Ringo is famous for his unique drum fills, particularly what’s known as “the Ringo fill.” This involves a tom-tom transition* in his fills, often ending on the downbeat, which can be heard in songs like “Come Together“ and “A Day in the Life.”
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Creative Use of Hi-Hat and Cymbals:
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He had a distinctive way of using his hi-hat, often complementing the rhythm with subtle variations rather than constant open and close patterns. His use of cymbals, especially the ride cymbal, added texture without overwhelming the track.
Ringo’s hi-hat work was understated but clever. In “I Feel Fine,” he opens and closes it for texture, not just timekeeping. On “Tomorrow Never Knows,” he rides the crash cymbal with a loose, washy pulse that matches the song’s psychedelic haze. He didn’t stick to strict 8th-note patterns—his hi-hat often danced around the beat, adding a human wobble that machines couldn’t replicate.
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Adaptability:
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Ringo’s drumming adapted seamlessly to The Beatles’ changing musical styles over the years. From rock ‘n’ roll to psychedelia, ballads to hard rock, his drumming evolved with the band’s sound, showing versatility in both tempo and style.
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Innovative Techniques:
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He introduced techniques like using toms in a way that was not common then, playing them with a jazz-like touch. His use of “unconventional time signatures” (like in “Here Comes the Sun“ with its 11/8 section) also showcased his innovation.
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Song-Specific Innovation:
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Ringo was adept at tailoring his drumming to enhance individual songs. Whether it was adding a backbeat that made “Twist and Shout“ so danceable or providing the steady heartbeat of “Hey Jude,” he knew how to serve the song. Ringo tailored his parts to the track. In “Strawberry Fields Forever,” he uses mallets for a soft, eerie tom roll that builds tension. In “Hey Jude,” his late-entry fill (at 2:56) is a simple crash-and-snare burst, but perfectly timed for maximum lift. He wasn’t a one-trick pony—he’d switch from brushes (“I Will”) to sticks (“Helter Skelter”) to match the mood.
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Personal Style:
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His left-handed setup on a right-handed kit (known as playing “left-handed open”) gave his playing a unique visual and possibly auditory quality. His set was minimal compared to contemporary standards, often just a basic four-piece kit, which he used effectively.
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Bass Drum – The large drum played with a foot pedal, providing a low-end rhythm.
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Snare Drum – A sharp, crisp-sounding drum usually positioned between the drummer’s knees.
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Rack Tom – A smaller tom mounted at the top of or near the bass drum.
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Floor Tom – A larger tom that stands on the floor, supported by legs.
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Cymbals (like hi-hats, crash, and ride) and hardware (stands, pedals) are typically separate but essential to complete the setup.
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Matched Grip and Relaxed Posture
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- Unlike the traditional grip of jazz drummers (left hand under, right hand over), Ringo used a matched grip — both hands holding sticks the same way, like a rock drummer today. It suited his laid-back style and gave his fills a symmetrical punch. Watch any Beatles footage and you’ll see he’s slouched, casual, and not tensed up like a session pro. That ease translated to his sound — unforced, organic.
Influence:
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Ringo’s influence on drumming can be heard in countless drummers who followed, many of whom cite his feel, simplicity, and song-centric approach as key lessons learned.
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Ringo Starr’s drumming might not have been about technical virtuosity, however, his contribution to music, particularly in the context of The Beatles, was about how drumming could elevate and define a song’s identity. His style has been celebrated and studied, making him one of the most influential drummers in rock music history..
The Ringo Fill
Ringo’s drum fills are characterized by simplicity, creativity, and perfect fit within the song’s structure. Unlike many drummers of his era who leaned into flashy, technical displays Ringo’s priority was the music. His fills often acted as a punctuation mark or a transition, enhancing the emotional tone rather than overpowering it. Here are some hallmarks of what could be considered the “Ringo fill” in his style:
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Tom-Tom Focus:
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- Ringo frequently used descending tom-tom patterns in his fills, often moving from the high tom to the floor tom in a smooth, rolling motion. A classic example is in “Come Together“ from Abbey Road (1969), where his intro fill (around 0:06-0:08) uses a triplet-based descent across the toms—simple, yet instantly recognizable. He treated his toms like a voice, not just filler. In “A Day in the Life,” his sparse, descending tom fills during the orchestral buildup are almost lyrical, mirroring the song’s emotional arc. The same goes for “Rain,” where his tom-heavy groove feels like a counter-melody. Unlike drummers who’d blast through fills, Ringo spaced them out, letting each hit breathe. This melodic sensibility inspired players like Dave Grohl, who praised how Ringo “sang” through his kit.
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Syncopation and Feel:
Ringo Starr Shows How to Play
“Ticket to Ride”
“Come Together”
“Back off Boogaloo”
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Ringo’s timing wasn’t metronomic—he played just a hair behind the beat, slightly off the expected grid, giving his fills a loose, swinging vibe. Check out “Ticket to Ride” (1965): the heavy, deliberate kick-snare pattern drags ever so slightly, adding weight and character. Also, the fill in “Day Tripper“ (1965) at the end of the riff (around 0:11-0:12) is a quick snare-tom combo that’s syncopated and feels almost conversational. This loose feel, rooted in his skiffle and country influences, contrasted with the precise rock drumming of the 1960s. It’s a technique that drummers like Jim Keltner and modern players like Questlove have echoed, prioritizing pocket over perfection.
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Why The Beatles
all wanted to play with
Jim Keltner
Questlove and F Knuckles
(The Roots) tweet drum solos
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Economy of Notes:
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- Ringo rarely overplayed. His fills were concise, often just a bar or less. In “Something“ (1969), the fill before the chorus (around 0:53-0:54) is a perfect example: a tasteful snare-tom roll that sets up the next section without stealing focus.
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Ringo was naturally left-handed but played a standard right-handed drum setup, which gave his playing a distinctive flavour. Instead of leading with his right hand on the hi-hat or snare (like most drummers), he often started fills with his left, creating an off-kilter flow. This is evident in songs like “Ticket to Ride“ (1965), where his fills (e.g., around 0:49-0:50) have a unique phrasing due to his natural lead with the left hand. Another example is in “Come Together,” where his fills roll from the floor tom to the snare in a way that feels reversed—awkward for a righty, natural for him. This “backward” phrasing made his patterns stand out, influencing drummers to rethink how handedness could shape grooves.
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Song-Specific Creativity:
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- Perhaps his most famous fill is in “The End“ from Abbey Road (1969), during his only Beatles drum solo (around 1:54-2:08). It’s a barrage of tom and snare hits that’s still restrained compared to prog-rock excesses, yet it’s explosive for Ringo’s standards.
So, the “Ringo fill” isn’t one specific lick but a philosophy: short, melodic, and perfectly tailored to the moment. Drummers and Beatles fans often cite his work in “A Day in the Life“ (1967) as a microcosm of this—listen to the fill at 2:47-2:49, a haunting tom roll that amplifies the song’s drama without clutter..
Ringo’s Influence on Drumming
- Ringo Starr’s influence on drumming is subtle but massive, often overshadowed by flashier players, yet deeply felt across rock and pop. As The Beatles’ drummer, he didn’t just keep time—he shaped songs in ways that made him a blueprint for feel over flair. His style wasn’t about technical wizardry; it was about serving the music, and that’s why he’s still a touchstone for drummers today.
- First off, Ringo brought a melodic sensibility to the kit. Tracks like “Come Together” show him playing fills that echo the vocal lines, almost like he’s singing through the drums. His tom-heavy patterns—think “A Day in the Life” or “Rain” — added texture and drama without overpowering the song. Drummers before him, like jazz cats or big band guys, often stayed in a rigid lane, but Ringo made the drums a character in the story. That approach influenced how rock drummers thought about their role—less metronome, more collaborator.
- His feel was unmatched. Ringo’s slight behind-the-beat timing gave The Beatles a laid-back groove that set them apart from the tighter, snappier rock of the era. Listen to “Ticket to Ride”—that loping beat drives the vibe. Producers and drummers like Dave Grohl (who’s called Ringo a “genius of feel”) point to this as a game-changer. It’s not about speed; it’s about pocket, and Ringo owned it. That’s why you hear his influence in bands like Nirvana or Foo Fighters, where groove trumps show-off chops.
- Being left-handed on a right-handed kit gave his fills a quirky flow—starting on the floor tom instead of the snare, for instance—which you can hear in “She Loves You” or “I Feel Fine.” It’s unconventional but melodically gripping and it inspired drummers to experiment with setup and phrasing. Also, his high-mounted snare and minimalist kit (four pieces, no clutter) became a rock standard—simple, effective, iconic, and efficient—offering enough tonal variety without overwhelming complexity.
- Ringo’s influence isn’t in shredding or complexity—it’s in songcraft. He showed drummers they could be creative without dominating. This lesson made a lasting impression on guys like Steve Gadd or even modern pop drummers who prioritize vibe over virtuosity. Critics used to knock him as “basic,” but that misses the point: his simplicity was deliberate, and it worked. The Beatles sold a gazillion records, and Ringo’s stamp is on every song.
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Legacy in Technique
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- Ringo’s techniques weren’t about speed or complexity—guys like Keith Moon or John Bonham outdid him there—but about instinct and impact. His oddball fills and deep pocket made The Beatles’ catalogue groove in a way that’s still studied. Drummers on X.com or YouTube.com often dissect his parts (like the “Day Tripper” riff) to unpack how he made simple sound iconic. He proved you don’t need a double-bass pedal to leave a mark—just a good ear and a vibe..
How To Play Ringo Starr’s Most Famous Drum Beats.
Chapters:
00:00 – Intro
00:16 – Come Together
01:31 – I Feel Fine
02:56 – Ticket to Ride
04:13 – In My Life
05:09 – Tomorrow Never Knows
06:06 – Here Comes the Sun
07:03 – Don’t Let Me Down
08:00 – Something
09:14 – Outro
Footnotes
* “Behind the beat” refers to a playing style where the drummer intentionally places their beats slightly after the exact metronomic timing of the music’s pulse. It’s a subtle delay that creates a laid-back, relaxed, or groovy feel, as opposed to playing “on the beat” (perfectly in sync with the tempo) or “ahead of the beat” (slightly early, giving a driving or urgent feel).
When a drummer plays behind the beat, they’re still locked into the tempo, but their hits—say, on the snare, kick, or hi-hat—lag just enough to give the music a looser, more human vibe. It’s often described as “dragging” the time but in a controlled, musical way. This technique is common in genres like funk, jazz, blues, and certain styles of rock or hip-hop, where groove and feel are king. Think of a drummer like John Bonham (Led Zeppelin) or Clyde Stubblefield (James Brown’s funk era)—they’d sit slightly behind the pocket to make the rhythm feel heavy and soulful.
The opposite, “ahead of the beat,” pushes the tempo forward, creating tension or excitement, while “on the beat” is precise and mechanical, like a drum machine. Playing behind the beat requires finesse: too much delay, and it sounds sloppy or out of time; just right, and it’s pure vibe. Drummers often use it to complement a band’s energy—say, letting a bassist lock the tempo while they lean back for swagger.
** In music, a “tom-tom transition” could refer to a drumming technique where a drummer uses tom-tom drums (often simply called “toms”) to shift between sections of a song or create a rhythmic bridge. Tom-toms are cylindrical drums of varying sizes, typically part of a drum kit, and are played with sticks or hands to produce distinct pitches. A transition using tom-toms might involve a roll, a pattern, or a series of beats that move the music from one tempo, mood, or section to another—such as from a verse to a chorus. For example, a drummer might play a descending roll across the toms (e.g., high tom to floor tom) to signal a dramatic shift or build anticipation.
