I have so much rythym I’m likely to clap on 2 and 9. Anyone else should think themselves lucky. 
Do you people actually clap when you hear music? Is this some sort of hipness test? That said, if clapping must absolutely be done, it is certainly most tastefully done on the 2 and 4 as has been mentioned. Clapping on the 1 and 3 denotes an only rudimentary understanding of rhythm.
As another poster stated “one drops” can be made cool and even funky if done correctly. James Brown did have it down, and a lot of Ska/Dancehall music utilizes accents on the 1 and only the 1.
If you really want to look cool, start clapping on either the “e” the “&” or the “a” which are sixteenth note subdivisions of a beat. Sounds kind of like a locomotive if you chant it right. 1 e & a, 2 e & a, 3 e & a, 4 e & a The a is pronounced “uh” and the e and & sound just like they look.
Maybe I should start an “Ask a Drummer” thread. I just might.
Yes, according to When the Saints Go Marching In, I’m indeed a 2-4.
Score!
Cosby Show rerun line explained!
(You just never know what you’ll learn on the SDMB…)
I got a giggle out of that.
Not as a rule, no, I don’t just break into this backwards-ass thumping whenever I hear Musac or the opening score to the nightly local news,
but my baby’s in a music class. We have to clap along to terrible, insipid kids’ music. Which would be fine if I could be rendered mercifully deaf for 2 hours a week.
:rolleyes: 
Nah, I never clap to music, but if I was going to, it would only be on the backbeat. I can’t help it, being a drummer and all.
Is it only whitebread people devoid of rhythm that clap on the 1 and 3? The worst example I can think of ever seeing is Bill Clinton clapping along to Fleetwood Mac, on the downbeat, but out of time!
Pass the Brain Javex, please.
Well, he is a woodwind player. True, you’d think a sax player would have a better sense of rhythm than that, but he’s still a woodwind player.
Bloody right. It drives me up the wall when a TV or radio audience spontaneously joins in some performance. They always clap on 1 and 3 demonstrating a TOTAL LACK OF RYTHYM and then they SPEED UP because they don’t have to vaguest concept of keeping time. If you’ve got the musical sophistication of a bunch of cattle stick to mooing.
When I clap, I clap on the 2 and 4. I’d clap on the 1 and 3, but since there’s usually actually drums playing (at least in the style of music I get into enough to clap to,) there isnt really a point to clapping.
A friend and I came up with a theory, YMMV.
(field studies done circa 1991 by little*bit - Puertorican female & BJ - African-American male)
The true test of white vs. black rhythm is the head nod. While listening to music please not whether you not your head forward or back on the beat. While white folks tend to prefer the headbangers not (chin forward/down) people of color tend to do the “chin up” nod (kind of a How-you-doin’ thing). We were wondering if it had something to do with not being vulnerable (breaking eye contact) or showing subserviance in a social setting. As a hispanic woman, I know the only time I bow my head to music is in church.
<snip> While listening to music please note whether you not your head forward or back on the beat. While white folks tend to prefer the headbangers nod (chin forward/down), people of color tend to do the “chin up” nod (kind of a How-you-doin’ thing). <snip>
Sorry. Proof reading is not my strong point.
Being an erstwhile (non-pro) drummer myself, it just feels natural to clap on 2 & 4. The fact that many people don’t have this (what I thought was a most natural) inclincation indicates that maybe I’m not so hopelessy square as I thought (although I don’t dance (sober anyway), I do dig alot of funk/dance mix/club/electronica stuff).
It is most regularly apparent to me when I get to listen to A Prairie Home Companion. The audience will occasionally feel the need to clap along with the bluegrass or country or Americana or root-n-roll group that’s playing that week and they will almost without fail clap on the 1-3. It seems so obviously wrong to me I would like someone with the clout to explain to Mr Keillor that his audience is a bunch of no rhythm losers. I know he won’t listen to me. Maybe Clyde Stubbelfield (from Michaal Feldman’s What Do You Know? among other things) can stop by and help out. That guy’s got some chops.
Oh, and little*bit? What about the head bob with the overbite? Is that less cool or more cool than the nod?
There are very few things in this world that are cooler with an overbite. I know, I used to have one. 
I think DaddyTimesTwo is referring to the white man’s overbite. AKA, the “carlton”.
I’m not sure it’s possible to do the nod and the overbite. I’m pretty sure if I saw someone doing both of these things, I’d think they were having a seizure and I’d call an ambulance.
Billy Crystal did a good “white man’s overbite” in When Harry Met Sally…, I believe when they first met driving to Chicago. Or maybe on the plane, the second time they meet? Anyway, I’m talking about biting your lower lip with your teeth and bobbing your head like a chicken, front to back just with the neck, usually while sitting at your desk listening to music on headphones. Or driving in the car. Classic up-tight, white-guy grooves, man.
I just tried the experiment with “Hit the Road, Jack,” and discovered I’m a 2-4 clapper. Not bad for a white kid from the Midwest.
I also tried to do it on the 1-3, and couldn’t do it for longer than a couple seconds. It just…grates on me.
I just tried out that technique, and… good lord, that’s uncomfortable! I could never keep that up. I just do the normal head-bob - up on 1 & 3, down on 2 & 4, kinda like little*bit described “people of color” doing. Maybe it’s because I’m a bass player…
Actually, that would probably work if you were clapping along to, say, Rush (who I’m going to see July 2!)
No, wait, I mixed that up. I do what little*bit said the headbangers do. Probably because I used to be a headbanger. And a bass player. :smack:
[meek] I clap on the 1 and 3. Yes, I suck. However, I justify it by saying that I played in band and orchestra for years (clarinet), and in classical music, the accents are usually on the 1 and 3, so that’s what I’m used to.
Watch, now I’ll be totally wrong about which beats are emphasized in classical music.
I also seem to clap less frequently than most, so maybe I only clap on the 1s or the 3s. 'Cause I’m lazy.
Maybe I’m misinterpreting you, but I don’t think you quite understand this. Music doesn’t emphasize either 1 and 3 or 2 and 4. It emphasizes the first of a group of beats, starting on 1; the question is the duration of that group. You may have a piece that emphasizes every other 1, or every 1, or every 1 and 3, or every 1, 2, 3, and 4; but not one that emphasizes just 2 and 4. Clapping on 2 and 4 sounds “hip” because it adds new accents to those already implied, and hence doubles the rhythm; i.e., the accents go from 1 and 3 to 1, 2, 3, and 4.
In pieces from the classical period, the rhythm varies from one point to the next. Beethoven is notorious for disruptively emphasizing offbeats to double the rhythm. An obvious example is the end of the exposition of the Fifth Symphony, where sudden sforzandi on 2 and 4 change the rhythm from accenting 1 and 3 to accenting 1, 2, 3, and 4. The G major Concerto goes from emphasizing every half note (1 and 3) at the beginning of the exposition to emphasizing every eighth note (1 & 2 & 3 & 4 &, with sforzandi on each &) at the end of the exposition.
My sister lives in France. I went to visit about a month ago, and she was getting her kids (3 and 5) ready to leave for the day. Well, they love to sing, usually stuff like “its a small world” but this morning they both started walking around saying,
boom boom shack
boom boom shack
I thought they lost their minds till they started singing “we will rock you”. I told my sister, “what’s with the ‘boom boom shak’” and she said, “what do they say in the states?”
I told her, “stomp stomp clap”.
Maybe a musician could break that tune down for us squares. . .
it sounds like “we will rock you” is kind of a waltz (3/4 time – is that what a waltz is?). The weird thing is, the guitar solo at the end seems to be in a different time signature, maybe 2/2 so that they don’t really get around to emphasizing the same beat until every other measure (6 beats in one, 4 beats in the other).
(every bit of that might be completely wrong, but that’s what it all sounds like to me)