Songs · 178 BPM · 3/4 · straight · 244 bars · easy
I Still Care for You - Ray LaMontagne
178 BPM · 4:07 · sits on the waltz.
What you play
B bass · S snare · g ghost · restIntro4 bars · 1 written ×4
Accents only for the first four bars, so the track has room to establish itself before you fill anything in.
Verse 18 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 18 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 28 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 28 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 38 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 38 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 48 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 48 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 58 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 58 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 68 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 68 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 78 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 78 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 88 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 88 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 98 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 98 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 108 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 108 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 118 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 118 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 128 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 128 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 138 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 138 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 148 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 148 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Bridge8 bars · 1 written ×8
Pull back to the accents here. The last chorus only lands if something came down before it.
Final chorus6 bars · 1 written ×6
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Outro2 bars · 1 written ×2
Strip back to the accents and stop on a downbeat rather than fading out.
How to play it
- 1Learn the groove on its own first: The waltz. Everything here sits on it.
- 2Play the Intro and the Outro . They are accents only, and the whole song is easier when those two ends are automatic.
- 3Play the whole arrangement , then bring it up . Very fast, and mostly a stamina problem rather than a coordination one. Build up to the full length in stages.
- 4Record the whole song in headphones, 244 bars, about 4:07.
Listen forThree beats to the bar with 1 clearly the heaviest, the two snares matched and lighter, and the accent on the same beat in the last bar as in the first, with the intro and the outro sparse and the tempo holding across the whole length.
start 125 · pass 178 BPM · take about 247s
Record a take
I start the backing at 125 BPM, count one bar, and stop after about 247s. Phone about a metre away, facing the front plate. Headphones, or the microphone hears the backing as you. You get my notes within a minute of sending it.
Watch out for
- • All three beats at the same weight, which turns a waltz into a march
- • The bar quietly regrouping itself into fours or sixes
- • The tempo rising once the metre stops feeling strange
A cajón part for I Still Care for You by Ray LaMontagne: 178 BPM, 244 bars, played all the way through. Learn the groove, play along, and record a take.
This is a cajón part for I Still Care for You by Ray LaMontagne, written to fit the record rather than copied off it. The tempo, the metre and the length were measured from the recording, so you can start the track and this arrangement together and still be together at the end.
It runs at 178 BPM in 3/4, which is 244 bars across 4:07. Very fast, and mostly a stamina problem rather than a coordination one. Build up to the full length in stages.
The groove underneath it
It sits on The waltz, so if any of this feels shaky the fastest route is that page rather than this one: the same pattern with nothing else going on, at whatever tempo you can actually hold.
The arrangement thins out for the intro and the outro and fills in through the middle. That shape is the difference between playing a groove and playing a song, and it costs you nothing but restraint at the two ends.
The exercise underneath it
2-1 - Two minutes, zero drift
Endurance and metronome lock on quarter-note bass.
Practise it with RafaRead about this
- How to play cajónThe whole instrument on one page, in the order that actually works.
- How to practise cajón with a metronomeHow to use a click so it makes you better instead of making you miserable.
Play next
- How to play House of the Rising Sun on cajónThe 6/8 ballad everyone with a guitar knows. Restraint is the whole job.76 BPM · easy
- How to play When the Saints Go Marching In on cajónA swung New Orleans two-feel. Simple, and everybody joins in.120 BPM · easy
- One - Metallica136 BPM · 7:26 · sits on the waltz.136 BPM · easy