In funk music, there’s a famous idea that everything has to land “on the one.”
James Brown made this his mantra. He drilled it into his band, shouting “Give me some on the one!” during rehearsals and even live on stage.
But let’s be honest… he was a great performer, he had a great sense of rhythm… but he wasn’t a music theory genius, to say the least.
Because emphasizing the importance of the first beat is really backward thinking.
What is “the One” in Funk Music?
In simple terms, “the one” refers to the first beat of the measure. In 4/4 time, that’s the downbeat — the strong, grounding pulse that tells you where the rhythm cycle begins.
When James Brown talked about “on the one,” he meant putting a strong rhythmic emphasis on that very first beat.
So when people ask, “What does on the one mean in funk?” the answer is: it’s about highlighting the downbeat, making it punchy and undeniable so the rest of the groove can bounce around it.
But here’s the thing: downbeats and the ‘one’ are not unimportant, but they’re what every beginner musician can do and feel. It’s the most obvious and least important part of an exciting rhythm.
The danceable, exciting part of funk (or any rhythm) comes from everything that’s NOT on the one: the upbeats, anticipations, ghost notes, etc.
The first beat is so obvious that the brain fills it in even when nobody plays it.
What Did James Brown Mean by “On the One”?
James Brown wasn’t explaining a music theory concept, he was giving his band an instinctive command. “On the one” was his way of saying: lock in together, hit that first beat hard, and then let the syncopation, the space, and the groove do the rest.
It’s why so many of his songs feel tight but loose at the same time: the one acts like gravity, and everything else can float, push, and pull around it.
This is a good example that sometimes the most successful artists can’t teach you how to do what they do. They feel it, but they don’t actually understand what’s happening consciously.
In his song “Get Up,” he doesn’t sing these syllables on the ‘one.’ He starts it on the ‘four,’ and ends it on the ‘four-AND,’ BEFORE the ‘one.’
Why Did James Brown Care So Much About the One?
James Brown had a reputation as a taskmaster in rehearsals. He would fine his band members if they missed “the one,” because he believed the discipline of the downbeat was what gave funk its sharpness. Bassist Bootsy Collins often said that Brown drilled them relentlessly until the precision was second nature.
But here’s the twist: while the band hit the one, the real funk lived in what happened between. The bass might syncopate, the guitars might scratch on the offbeats, the horns might stab before or after the downbeat — and that’s what created the irresistible groove.
So when we ask “Why did James Brown emphasize the one?” the answer is twofold: he wanted unity, but ironically, the excitement of funk came from breaking away from that anchor.
Is Funk Always “On the One”?
The short answer: no.
Many funk songs actually tease the one instead of hammering it. Musicians often place accents right before or right after the downbeat. For example:
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- Parliament-Funkadelic would often push notes slightly ahead of the one to create forward momentum.
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- The Meters’ “Cissy Strut” shows how funk grooves can glide around the one rather than hit it hard every time.
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- Even James Brown himself would sometimes sing or cue the band off the one to keep the groove unpredictable.
That’s why funk feels both strict and free at the same time: the discipline of the one allows musicians to bend space everywhere else.
Examples of “The One” in Funk Songs
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- “Sex Machine” (James Brown) – The bass locks on the one, but the syncopated guitar and horn stabs create the funk feel.
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- “Superbad” (James Brown) – Listen to how the rhythm section emphasizes the one but constantly plays with ghost notes in between.
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- “Cissy Strut” (The Meters) – A classic funk track where the syncopation is as important as the downbeat.
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- “Flashlight” (Parliament) – Bootsy Collins plays bass lines that circle the one but rarely land directly on it, proving funk is about tension and release.
These examples show that while “the one” is always present, the real energy comes from how musicians play around it.
The Truth About Funk Rhythm
What makes funk irresistible isn’t just hammering the downbeat. It’s the space between the beats, the syncopation, the accents that surprise you.
James Brown shouted “on the one,” but the real magic of funk happens off the one. That’s why musicians study the upbeats, ghost notes, and anticipations — because that’s where the groove lives.
So the next time you ask yourself “What is the one in funk music?” remember: the one is the anchor, but the funk comes alive in everything that dances around it.
But here’s the crazy part: the rhythm in funk music is not random. There’s a system in it.
I discovered this system 10 years ago, and I call it the Rhythm Code. If you really want to learn how to create a groove without guessing, you can learn it from my book.
FAQ: What Does “On the One” Mean in Funk?
Q: What is the one in funk music?
It’s the first beat of the measure, often emphasized in funk to ground the groove.
Q: What did James Brown mean by “on the one”?
He wanted his band to hit the downbeat together, creating unity, while the syncopation around it provided excitement.
Q: Do all funk songs emphasize the one?
Not always. Some songs tease it, delay it, or avoid it to create surprise and forward motion.
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