English: Backbeat chop. Also skank. Created with Sibelius. Depicted as dampened chords using "/" noteheads, with a chord specified or not in the text (Am in Snyder)

• Bruce, Dix (2013). Parking Lot Picker's Play-Along Guitar, p.14 and 16. Mel Bay. ISBN 9781619114463. "A 'chop' or clipped back beat...is the bluegrass band's version of a snare drum." and "The chop is analogous to a snare drum beat and keeps the rhythm together and moving. It's one of the innovations bluegrass inventor Bill Monroe pioneered, and it gave the music a harder groove and separated it from old-time and mountain music."
• Dix (2010), p.18. "The mandolin strum or 'chop,' sounds clipped and shouldn't ring like the open-strings chords you previously played. This is to emphasize the backbeats on beats 2 and 4."
• Horne, Greg (2004). Beginning Mandolin: The Complete Mandolin Method, p.61. Alfred. ISBN 9780739034712. "One of the most famous sounds of the mandolin is the short, percussive, rifle-shot chop heard in bluegrass. Using the chop sound on the backbeat (beats 2 and 4...), the bluegrass mandolinist...[and] the bass player (who plays on beats 1 and 3)...form a single, unified rhythm section. The chop sound is made by fingering a moveable chord and strumming it with a brisk flip of the wrist downward (a downstroke). Then immediately relax the left-hand fingers, keeping them on the strings, to cut off the notes."
• Statman, Andy (1978). Teach Yourself Bluegrass Mandolin,[page needed]. Amsco Music Company, New York. ISBN 9780825603266. "The mandolin can drive and push the band in the same way (as) a snare drum."

• (2013). Smithsonian Music: The Definitive Visual History, p.349. ISBN 9781465421265. "Ska stroke: Common to ska, rocksteady, and reggae, ska strokes have a bouncing rhythm played on the downstroke in a chord, typically in four-four time, rising and falling in pitch. The upstroke may have a 'ghost note', achieved by lifting the fingers slightly off the frets."
• Bassford, Andy (2004). "Reggae: Jamaican Grooves", How to Play Rhythm Guitar, p.72. Hal Leonard. Johnston, Richard; ed. ISBN 0-87930-811-7. "The basic reggae rhythm pattern is called the ska (rhymes with yeah; not Jah). The word also refers to a dance and a jazzy pre-reggae Jamaican music that first appeared in the early '60s. The ska rhythm...became integral to the rock-steady style that succeeded ska in the mid '60s and has been the backbone of Jamaican reggae to this day. The ska is generally played by the guitar and piano in unison."
• Hombach, Jean-Pierre (2010). Bob Marley The Father Of Music, p.14. Lulu.com. ISBN 9781471620454. "Reggae is most easily recognized by the rhythmic accents on the off-beat, usually played by the guitar or piano (or both), known as the skank. This pattern accents the second and fourth beat in each bar (or the 'and's of each beat depending on how the music is counted) and combines with the drums emphasis on beat three to create a unique feel and sense of phrasing in contrast to most other popular genres focus on beat one, the 'downbeat'."
• Snyder, Jerry (1999). Jerry Snyder's Guitar School, Method, Book 2, p.28. Alfred. ISBN 0-7390-0260-0, ISBN 9780739002605, and ISBN 9781457414060. "The basic reggae strum is a very short, staccato strum on beats 2 and 4...A damping technique needs to be used to stop the strings from vibrating and to control the sustain."
• Snyder, Jerry (2000). Jerry Snyder's Guitar School, Teacher's Guide, p.60. ISBN 9780739012390.