Hack Music Theory Kate & Ray Harmony

 

How to WriteBetter Snare Rhythms.
 
 

Download PDF Tutorialincludes MIDI + WAV file examples
 
If the link above does not work, paste this into your browser:https://hackmusictheory.com/album/2806684/snare-rhythms
 
 

 
 
 

Intro.

 
While it’s normal to hear at least a few different kick patterns and hi-hat patterns in music nowadays, it’s rare to hear an interesting snare pattern. The rhythm assigned to this neglected element of the drumkit is almost always an afterthought. In 4|4 (which most music is in), the snare is usually one of these three rhythms:
 

Regular backbeat (beats 2 and 4): used in most songs
Half-time backbeat (beat 3): used for a slower vibe
Double-time backbeat (beats 1+, 2+, 3+, 4+): used for a faster vibe
 
So, when listening through to the new releases on Spotify, it was rather shocking (pleasantly so) to hear something completely unusual. The collaborative single “Snare Thing” by French producers Matt Sassari and Tony Romera is a refreshing celebration of the drum that almost always plays the most boring rhythm!
 
With these PDF tutorials, we usually have to make an educated guess as to what the creator’s intention and process was behind the song. But, based on the less-than-subtle title of their track, it’s safe to say that the duo were intentionally showcasing the snare drum’s creative potential. So, inspired by “Snare Thing”, here’s our 4-step method for writing creative snare patterns. But first… Tea!
 
 
 

Step 1. Motif
 
Set up two bars of 4|4 with your grid on 1/16 notes, and your tempo at 126 BPM. The first thing we need to do is write a motif, which is a short idea that’s repeated to give the music structure and make it more memorable.
 
As we’re writing for the drums, our motif will obviously be a rhythmic motif (when using pitched instruments, you can also write melodic and harmonic motifs). The motif that Matt and Tony use is a couple of 1/16 notes followed by a 1/16 rest. They then repeat this motif to create their snare rhythm.
 
Motif repeated to create snare rhythm
 
 
As you can see, their motif is three 1/16 notes long. Having a motif that’s an odd duration (like three, five, seven, etc.) will make it far more interesting, because each time the motif is repeated it’ll start on a different 1/16 note beat (e.g. 1a, 2+, 3e).
 
A motif lasting four (or eight) 1/16 notes will repeat on the same beat, so it’ll get repetitive and boring extremely quickly. Therefore, avoid using an even-number motif here. For the record, though, they can sound great when played on melodic instruments, because you can repeat the same rhythm while changing the pitches.
 
Right, when you’re happy with your motif, copy and paste it into the first three 1/4 note beats of bar one. You wanna leave beat 4 open for now, as that’s where you’re gonna write a variation. Next, copy and paste your rhythm into bar two.
 
Snare rhythm copied and pasted into bar two (highlighted)
 
 
Now it’s time to write your variation in beat 4 of bar two. This variation will prevent the snare rhythm from getting boring, by turning it into a two-bar rhythm:
 
Two-bar snare rhythm created by adding variation (highlighted)
 
 
 

Step 2. Swing
 
With such an unusual snare rhythm, it would be completely acceptable to move on and write the kick drum pattern now. But, Matt and Tony have one more brilliant snare trick up their sleeves. Instead of using the regular straight grid that you hear in almost every song, they use a swing grid. This is a game-changer! Download the PDF to read the rest of this tutorial…
 
 
 

Download PDF Tutorial  
 
 
 
Lastly, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing. Enjoy!
 
 
 
 
If the FREE

 

 How to Write Heavy BASS Lines  
Step 1. Syncopated OctavesSet up one bar of 4|4 with your grid on 1/16 notes, and your tempo at 110 BPM. You’re gonna start by using only one note, and the octave of that note. We’re using A in our example. So, draw in every 1/16 note on the low A. Now, play around with moving a handful of them one octave up.
These high notes will make accents in your bass line, so you want them to create a cool rhythm all on their own. And one of the best ways to do that is to syncopate most of them. In other words, most of them will not be on the main beats. All that syncopation adds tons of energy!
 
Step 2. High LineYour bass line actually consists of two lines now: a high line, and a low line. So in this step you’re gonna add a melodic element to your high line. A great note to start on is the ♭3 (which is C in our example), as it’s super strong and moody! And by the way, if these flats and numbers confuse you, no problem, just read hack 8 in our free book (link below).
Right, so what other notes should you use in your high line? Well, as we’re writing a heavy bass line, you wanna crank up the dissonance, so throw in a ♭2 somewhere (which is B♭ in our example). And if you use the ♭3 and the ♭2, then you could also use the 2, which is the note in between. And feel free to repeat notes. In our example, we played the ♭3 twice, the 2 twice, and the ♭2 once. And a shoutout to local Vancouver BC legends Front Line Assembly, as this lesson is based on the song “Purge” from their 2021 album “Mechanical Soul”.
 
 
Free BookAlso, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing.

 
 Step 3. Low LineSo as you could hear, the bass line is already sounding good. And to be honest, most producers would think it’s now complete, but not Front Line Assembly! No, they’ve got one more trick up their sleeves, and that’s the dissonance they add to their low line.
Most of their low line remains on the root note, however, they’ve moved a few notes down one semitone to the 7 (which is G♯ in our example). Also, at the very end, you could throw in a ♭3 for a little variation. This makes the bass line loop more smoothly as well.
Adding this dissonance to your low line is a game-changer, as it’s super subtle (seriously, most people won’t even notice it), but it adds a feeling of heaviness that you simply can’t achieve without it!
 
 
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How to Write Advanced DRUMS 
 

Step 1. PatternSet up two bars of 4|4 with your grid set to 1/16 notes, and your tempo at 136 BPM. Now, instead of starting to make your drum beat with the usual kick on beat 1 and snare on the backbeats (like everyone else does!), you’re gonna start by writing your kick and snare pattern on the hi-hats.
Wait, what?! I know that seems like a really odd thing to do, but this method is gonna result in a far more creative (and therefore “advanced”) drum beat. Okay, so there are many ways to write a creative pattern, but here’s an easy method. Start by playing every 1/8 note. Then, delete a couple of those. This creates variation. And then, move one or two hits over to the next 1/16 note. This creates surprise.
 
 
Step 2. BeatRight, now that you’ve written a creative rhythm, it’s time to turn it into a drum beat. To do that, simply divide up your pattern between the kick and the snare. In other words, move some notes to the kick and others to the snare. But, instead of falling back into the conventional approach of kick on beat 1 and snare on the backbeats, purposefully avoid doing that in the first bar. This unusual approach in your first bar creates a huge amount of interest that grabs the listeners’ attention.
But, if you repeat this approach in your second bar, it won’t sound as interesting any more, as they’ll be expecting it. So, in your second bar, you’re purposefully going to switch to a conventional approach with the kick on beat 1 and snare on the backbeats (i.e. beats 2 and 4). This cycling back and forth between an unconventional bar and a conventional bar keeps your listeners constantly engaged.
And a shoutout to Royal Blood, and especially their drummer Ben Thatcher, as this lesson is based on his beat from their new single “Mountains at Midnight”. Just before we jump into the next step. If there’s an artist you want us to hack, drop us a comment on YouTube.
 
 
Free BookAlso, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing.

 
 
Step 3. PulseThis is the easy part. Just add an 1/8 note pulse on a cymbal. This simple rhythm glues the complex beat together. Ben actually switches the pulse between the hats for the verses, and the crash for the choruses. And if you need more help with your beats, download our Hack Drum Beats PDF (link opens in new tab). It contains everything you need to know for making great beats, all in one PDF.

 
PODCASTListen below, or on any podcast app.

 

 
How to Write Locrian BASS Lines 

Step 1. BasicSet up four bars with an 1/8 note grid, and your tempo at 97 BPM. You’re gonna start by writing a basic bass line that plays every 1/8 note. This creates momentum. We’re in B Locrian here, which is just all the white notes from B to B. The Locrian mode is exceptionally dark, and what makes it so dark is the ♭2 (which is C in this example) and the ♭5 (which is F in this example). Now, because those two notes are what make Locrian sound so dark, you wanna be sure to use both of them in your basic bass line. But, start by playing the root note (which is B in this example) for the whole of your first bar, as that anchors it into the key. And by the way, if you find modes confusing, just read the mode hack in our Songwriting & Producing PDF (link opens in new tab).
 
Step 2. EnergyNext, change your grid to 1/16 notes. You’re gonna create some syncopation now, which is when you accent an off-beat. This will pump energy into your rigid sounding basic bass line and bring it to life. You can add syncopation however you want, but here’s an easy method: shorten an 1/8 note to a 1/16 note, then lengthen the note next to it to fill the gap. Add a couple of these to each of your four bars. And a shoutout to fellow Canadian producer Rezz, as this lesson is based on her recent single “Suffer in Silence”.
 
Free Book
Just before we jump into the next step. If there’s an artist you want us to hack, drop us a comment on YouTube.
Also, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing.
 
Step 3. Next LevelBy now your bass line will already be sounding good, but to take it to the next level, you’re gonna add some octaves. Rezz does something really cool here. She moves some of the notes that fall on the backbeat snare, up an octave. This accentuates those backbeats, and adds even more energy to the bass line. However, don’t do this on every backbeat snare, as that will actually lessen its impact. Also, somewhere in your bass line, move one syncopated note up an octave. This keeps your bass line fresh and unpredictable. Lastly, here’s a bonus step. Use a rest somewhere. This gives your bass line space to breathe. Rezz used a rest at the very end of her bass line, so we’ll do the same thing by deleting our last two notes.
 
 
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How to Write a Beautiful CHORD Progression 
 

Step 1. Beauty 
Set your grid to 1/16 notes and your tempo to 113 BPM. We’re in the key of A minor here, which is just all the white notes from A to A.
Right, so the first step to writing a beautiful chord progression is finding a beautiful chord. There are many beautiful chords, but a good guideline is to leave space for the harmony to breathe. Think about walking into a beautiful cathedral. The space is as beautiful as the structure.
When applying this concept to chords, it’s as simple as not cramming too many notes in. Three notes is enough. But yes of course, you can use more notes if you want, it’s your music. In this example, the first chord contains the root, ♭ 3 and ♭7. And if all these flats and numbers are confusing, read hack 8 in our free book.
 
 
Step 2. Chord Beat 
This is the fun part! You’re now gonna turn your chord into a drum beat. A “chord beat”, if you will. If you’re playing this on a keyboard, you’re gonna play the root note (A) in your left hand, and the other two notes (C and G) in your right hand. Now, pretend your left hand is the kick drum and your right hand is the snare drum, and come up with a cool beat. And if you don’t play the keyboard, no problem, just do this step right here on the MIDI grid.
Each hit is only going to be a 1/16 note, so the final result will sound really percussive, like a pitched drum beat. All those rests add rhythmic space to your harmonic space, creating a beautiful simplicity. And a shoutout to Sleep Token, as this lesson is based on their beautiful song “DYWTYLM” from the new album “Take Me Back to Eden”.
 
 
Free Book
Just before we jump into the next step. If there’s an artist you want us to hack, drop us a comment on YouTube.
Also, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing.
 
 
Step 3. Bass 
Okay, so we’ve got one beautiful chord played over one bar. Now, let’s turn this into a four-bar chord progression. So, start by copying and pasting your first bar into the remaining three bars. You’re actually going to leave your right-hand notes the same throughout the four bars. This creates unity, which adds to the beauty.
Next, spend some time moving your bass note up and down in bar two. Once you’ve found a beautiful place for it, stay there for the whole bar. Then, do the same thing for bars three and four. Sleep Token stays on the same bass note here for the two bars. You can do that, or you can move it, like we did in our example.
 
 
PODCASTListen below, or on any podcast app.

 

 
How to Write a BASS Line with Harmony  
Step 1. Low 
Harmony is when two or more notes are played together. And sadly, it’s rare to hear harmony in a bass line. The word “line” is actually used to convey the fact that it’s a melody, not a harmony. That’s how rare harmony is on the bass!
You see, most producers think the bass frequencies are too low to play harmony. In other words, if you play two notes together, it’ll sound like a rumbling mess. But, that’s not true. That only happens when the two notes are close to each other. For example, if your root note is a low A, and you play a D above that. It doesn’t sound very nice if you play the D that’s five semitones above the A. But, if you play the D an octave higher, so it’s now 17 semitones above the A, it sounds absolutely beautiful!
Alright, so now we know how to successfully add harmony to a bass line, however, we don’t yet have a bass line to add it to. So, step 1 is to write a cool one-bar rhythm on the root note. And we’re using A natural minor. Then, copy and paste that rhythm to three other notes, so you’ve got a four-note bass line over four bars. And feel free to throw in some passing notes to smooth the line out.
And a shoutout to the British band GoGo Penguin, and especially their bassist Nick Blacka, as this lesson is based on the title track from their beautiful new album “Everything Is Going to Be OK”.
 
 
Free Book
Just before we jump into the next step. If there’s an artist you want us to hack, drop us a comment on YouTube.
Also, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing.
 
 
Step 2. High 
Now it’s time for the fun part: writing another line over the top, so you’ve got two lines playing together. Start this step by choosing what note you want to use for the harmony over your root note. And this is where Nick Blacka was super creative, as he actually used one high note that sounds good over all four bars. You don’t have to do that, but it’s very cool, so we did something similar in our example. We used D as our high note for three bars, then we varied it in the fourth bar.
Once you’ve chosen your high note, write a cool rhythm for it over your root note in bar one. Then, copy and paste that rhythm into the remaining three bars. Once you’ve done that, feel free to add some rhythmic and melodic variations to keep things fresh. But you don’t have to do that, if you just wanna keep things simple.
 
 
PODCASTListen below, or on any podcast app.