Cinematic Music Composition - Rhythm & Percussion | Mikael Baggström | Skillshare

Cinematic Music Composition - Rhythm & Percussion

Mikael Baggström, Music Composer | Sound Designer | Video Producer

Cinematic Music Composition - Rhythm & Percussion

Mikael Baggström, Music Composer | Sound Designer | Video Producer

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18 Lessons (4h 40m)
    • 1. Your Adventure in Rhythm

      1:23
    • 2. Rhythm in Action

      2:07
    • 3. The Foundations of Rhythm

      12:03
    • 4. The Power of Rhythm

      13:34
    • 5. The Sounds of Rhythm

      16:08
    • 6. Assignment Ear Training

      1:28
    • 7. The Golden Rules of Rhythm

      0:48
    • 8. 1 The Core Rhythm is King

      13:27
    • 9. 2 Dynamics is Expression

      11:17
    • 10. 3 Variation is Key

      16:56
    • 11. 4 Respect the Accents

      14:33
    • 12. 5 Minimal Low End

      9:12
    • 13. 6 Dance the Same Dance

      10:21
    • 14. 7 Silence is Golden

      14:05
    • 15. Assignment Master the Rules

      0:37
    • 16. Let's Create Percussion

      33:34
    • 17. Let's Create Drive & Energy

      61:03
    • 18. Let's Create Rhythmic FX & Fills

      47:17
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About This Class

Cinematic Music Composition - Rhythm & Percussion

Hello Composers, Mike here. And you are about to go on a new learning adventure. Your destination for this journey, is to unlock the secrets of rhythm in music composition. And your end goal is to become a master of using rhythm in your cinematic music compositions.

YOU WILL LEARN

1. The Foundations of Rhythm in Cinematic Music

2. The Golden Rules of Rhythm & Percussion

3. The Sounds & Colors of Rhythm in Cinematic Music

YOU WILL GET

1. Many Live Examples

2. Practical Assignments

3. Behind the Scenes Videos

And a lot more to enhance the rhythms in your music compositions, and elevate your skills as a music composer!

MY STORY AND JOURNEY

My name is Mike, and I am a composer.

Just. Like. You. =)

I started making music back in 1998. And I love to educate, motivate, and inspire creative people, like yourself.

NOW TAKE ACTION!

So take action now, and start your journey to become a master of rhythm in your music compositions. Let’s begin your adventure, right now! =)

Meet Your Teacher

Teacher Profile Image

Mikael Baggström

Music Composer | Sound Designer | Video Producer

Teacher

Hey Friends and Creative People!

My name is Mike, and I am a Music Composer, Sound Designer and Artist. I Share my Story, Journey, Experience and Knowledge, to Inspire and Empower Creative People like you. =)

MY PASSION

I believe that learning should be fun. I love to bring my personality into my teaching style. I also try to make my courses dynamic, to be more interesting to you. =)

You are more than welcome to visit my website to learn more about who I am.

Friendly regards,
Mike from Sweden
Founder of professionalcomposers.com

See full profile

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Transcripts

1. Your Adventure in Rhythm: Hello, composers, Mike here and you are about to go on a new learning adventure. Your destination for this journey is to unlock the secrets of rhythm, and your end goal is to become a master of using rhythm in your music compositions. You will learn the foundations of rhythm, the golden rules of room, the sounds and colors off rhythm. You get many live examples and demonstrations, practical assignments and even bonus resource is and a vote mawr to enhance the rhythms in your music compositions and elevate your skills as a music composer. My name is my and I am a composer, just like you. I started making music back in 1998 and I love to educate, motivate and inspire creative people like yourself. Now take action and start your journey to become a master of rhythm in your music compositions. Let's begin your adventure right now. 2. Rhythm in Action: Now I'm going to show you the power of rhythm in the best way I can by playing one off my compositions. That is mainly focused on rhythm. This track is reading in 78 time and has a high temple around 170 BPM. My main vision for this composition wants to create a sense off, intense action and energy suitable for a fast action sequence in, for example, a movie or TV series. Let's listen to it right now. Later, I am actually going to show you behind the scenes off this track in my d A. W so that you will see what sounds and instruments are used, the ports and performances and basically the complete arrangement. 3. The Foundations of Rhythm: lo composers Mike here again. And in this video I will teach you the fundamentals of rhythm. And I hope this will give you a good foundation and starting point for your journey to master rhythm in your music compositions. What is rhythm? Let's start by defining. But rhythm is in music. This is my own definition, which I think not only makes sense but also give you a very nice perspective own rhythm, which you can use to your advantage as a music composer. Here we go. Rhythm is a pattern off sound and silence in time. So take this rhythmic pattern, for example, played on short strings that is the pattern off sound. These notes here these short note articulations but considered the air in between the notes you can actually see a pattern. If we do take these notes, make sure they are exactly base notes. Well, then you have, ah, another pattern here. If it's check between the notes, that is a pattern in itself. The other perspective off the same coin rhythm is everywhere. Now I'm going to teach you one of the most important aspects of rhythm, which is that rhythm is really everywhere in music. By this, I mean that you will have a pattern off sound and silence in every single part of your composition, from the obvious drums and percussion ports to any instrument playing chords and harmonies to the base and even your melodies. Every single performance, every single part will have a rhythm built into it. Off course. Some parts will have a more obvious rhythmic focus, but that is not the main point. The point is that you should always consider the rhythmic aspect, but every single port you add to your music, the language of rhythm. Time signature. The fundamental rhythmic building block of your music is based on the time signature. You choose how you count each measure off music from the straight and by four most common for full to the triplet feeling 34 and 6/8 to Marching Band to four and a lot of other less used time signatures that creates the fundamental rhythmic structure. For example, 78 feel very rushed as you expect the final beat, but instead the rhythm rushes into the next bore of music, or 54 which is the opposite, dragging the fundamental rhythmic groove by adding an extra beat in each measure. Now let me show you some practical examples off time signatures in action because I have recorded these three different rhythmic ports on short strings using the food. And some report patch here in stock Captain mode using somatic strings to and this is a basic pattern. All of these are basic patterns, but they have different time signatures because I changed it here in the in the sequencer. So let's take a listen. Andi, really listen to the Metrodome at the same time. So you hear that in the first case, 12341234 Because you really want to get used to the time of groove that the time signature provides. So this is the 44 rhythm are wrote. So this, as you can see, this is a straight eight note pattern in the higher parts and then an actual groove meaning and notice straight note pattern. In the base, I make scenting the 134 escaping the two Here. Here I add a Syncopation for some extra group, but that is the 44 pattern. Now let's move on to the 34 which sounds like this. So lots of old groove going on here because I break up pattern both in the high notes and the low notes. So but you still hear that won t 3123 So that is the 34 time signature and then 6/8 which I often used for action music because, well, it's 6/8 notes. It tends to be used for faster music. So you have 123456123456 like this, as you heard there much faster in energy and a bonus sleep I want to give you is when you write these parts go in afterwards unless you get the accents right from the recording and actually choose where will your main accents land in the rhythmic grooves? Before this, I select the wrong here, and then you can dial up the velocity. So it's much more accented much, of course, just for demonstration. And you can use, like, one only here one if you want to. We should always be, in my most cases, a little louder in velocity, which makes it like this. 123123 bacon do this not only on the one, but for example, let's take here. For example. One and 123 Let's say, Want to accept both of one and three. Increase the velocity. Like so. So you really get them accepted like this. Oh, like this. Okay, So accidental. Mated to loud off Most often want one to be lower than anything. But still, these accents louder than this surrounding notes. So let's see. Right? See her? 1123123 And so one thing. We can do this on any rhythm. Just go in and mark your main accents and increase the velocity. But my main recommendation is for the time singer that you get used to by listening to the Metro more click track and record on your media keyboard if you're not advanced enough on the keyboard going and actually add the notes. But don't be tempted. You only go for super straight like 1234 Or I wanted to end three info. Do something that actually creates a groove because it will create much more interest. So break up the pattern. Use a difference between 1000 quarter notes and 16th notes add silence and so one the pals of Rhythm Temple. Next, we have the Powells off music, which, like your heart rate, is measured in beats per minute or BPM for short on the faster the BPM, the more energy you can have in your music. But it is, of course, also dependent on how you play your instruments and sounds faster. Rhythms like 16th notes will, of course, always have more sense of action, temple and energy than quarter notes. So, for example, this is ALS, the same temple, 140 bpm. But this first part here you have quarter notes and this are on every one boar here and then we go to eight notes. Finally, 16th notes. So let's take a listen to the difference in energy between these. A bonus tip I have on the pulse of rhythm is to automate the temple during your composition . For example, having a slightly faster chorus is quite common and also slowing things down in the very ending of your track. The soul over the group, the soul of rhythm, is the very performance, and particularly the timing off the notes as well as the playing style for example, rushing or dragging in timing meaning playing slightly before or slightly after the beat in the grid. The timing of each note in every performance is what really creates the groove in your music but also using variation in playing styles and performance techniques such as articulation, switching in a single performance or using a special performance techniques such as flans, rolls, slides, Ben's and so on. Basically, this soul music comes from how you play each performance. Remember this because it is the most important aspect of music. In my humble opinion, how is always more important than what the emotion, expression and human soul you put into the performances in your music? So if you take this 44 rhythm on, you take, for example, the's note the's knows here and dragged him slightly before the grade. Perhaps this one, too. It means that he restarted to rush Ah, playing slight before, So it sounds like this. So, of course, I over there DS for demonstration purposes. But that is the general idea. And if you go, the opposite direction brings 90 after it's ah, it's dragged. Let's just do it here. So on dragging also create some anticipation because he expected to land here, but it drags some into the next, so that is a one way of groove. I also consider the playing style. So, for example, these are all knows to cattle. Well, let's increase this and make this mark culture, for example, perhaps this one, too. And, uh, so you have it sounds now again. Here it's slightly longer and has them or accented sound there. And if you overdo these deaths for demonstration purposes, do this in between the accents pizzicato. Just you can hear what happens that is also part of the groove. In my opinion. Onda also the velocity, the accents to contrast the dynamic curve away. These aspects of how you play the performance not only know to play amazing. Now you have learned the fundamentals of rhythm. Congratulations and let's move on with your journey right now. 4. The Power of Rhythm: hello created people. Now let's define what rhythm can be used for in music composition. I will share my list off the cool use cases. Full rhythm, basically, how you can use the power off rhythm in your music. Let's dive in right now. Fundamental groove. The main aspect of rhythm is to create a fundamental groove that the listeners can follow along to. This cool rhythm is so important that it will be the base for the entire rhythmic feel off your music. What I call the dance of your music and all instruments and performances you write for your composition will respect these dens. The fundamental groove is also very dependent on what time signature you have chosen because the time signature is basically the language of rhythm for your specific composition. So in these short composition that you will see me create live from scratch later. In this course, the fundamental groove is provided as usual, east in the low percussion and the HVO rhythmic driving instruments. So in this case, it's the bass drum, big drums and the epic Tyco's like or tomes here together with this short strings and short basis like this, and let's go in and have a look on, but they actually play. If I sing like those three and these two here, you see how well they really respect the cool rhythm. Back, back, back, back. You see those layer notes. So if we listen back to everything, that is the fundamental groove and that is what you really have to respect in all parts, you write it placed your rhythmic ports drive and energy. Rhythm is what creates drive and energy in music faster and more BC rhythms means mawr energy. For example, 1/16 note driving ostinato will feel four more energetic than a straight quarter node comping rhythm. The sense of drive and energy is also very connected to the temple off your music, the BPM, the very heart rate of your music. And, of course, higher means mawr energy. In fact, you can even use the average heart rate of a human as your guide. Our resting polls is around 50 to 70 BPM or so, which is a temple in music suitable for a relaxing vibe, and then all the way up to our P court rate, which can be in the area of around 180 bpm. These BPM in music is super energetic, and you rarely go higher in temple than this in most music. So the drive and energy in your music really comes from two main things. First is, of course, the BPM. So if you have, let's say 140 bpm, that is quite fast. So if you listen to this really meaning for four, it feels moderately fast. If you increase it to, let's say 1 80 feel of course, field much more energetic. However, if you want to increase the sense of energy without increasing the actual BPM, you can add more note into the rhythm. So here you see, we have 16th notes here. Well, if you let me just try this and add this extra note here on, then make this one so but it is 1/16 note pattern. That's if we can get that working like this. I want to do the same here. Uh, lower knows to say at it on the eighth milled pattern here Also do. Now we have, right? Okay, some accident there, but you get the point. So let me go back to what I had before which was this which has less energy, of course. So remember that the temple in BPM and also how fast you place off quarter note beat, for example, one. Let's see if I played here 303 48 faster and a sixties note. Okay, so be told to play there. But that is the main aspects off drive and energy in any. Rid me part in your music. So percussion driving rhythms, ah, rhythmic effects and so one action and intensity. If you want an action vibe and high intensity in your music, rhythm is again your best friend. Using higher contrast in dynamics on big, powerful accents in your rhythms, you will be able to boost the action vibe as much as you want. The main aspect off action and intensity comes from dynamic contrast, meaning you need to write your ports and record your performances with high contrast in loudness between the main accents, the core rhythm and the filler rhythms. Then you can also use layering to your advantage to create even more powerful accents, instruments and sounds like big drums, crash Cymbals, stabs and even sound. The sign hits or very useful to create those super powerful accents. So how do you create that high contrast in your music that really elevates the action and intensity vibe? Well, let's first have a listen to this, right? Let's stop there. What's going on here? Well, the main thing about ah dynamic contrast is, of course, the different velocity values off the Parsi, Right? So, for example, using high your velocity values on the main accents compared to the surrounding notes and also on the boat were drums that everything you want to extent have really high velocity values. Like like you're here on this big dramas Here, for example, the second thing is about layering, So if you check here, you can see that the main accents actually have more notes because he one here one here. The four is also very accented. So you feel up the frequency range much more on on those Maine accents. And that creates more controls because the surrounding notes have less notes going on in the parts as well as lower dynamics and finally using silence air in between the notes to your advantage both in the actual port here. So, as soon as you introduce silence here it will create more contrast if you have high velocity values on the notes there but also breaking up completely like I did here. That really creates high contrast. And one popular technique of doing this is in transitions into another section. So I could, for example, this is the second section. I should have added a droop, meaning a one bore in most cases dropout, where I drop out a report and perhaps add only a sob drop SAB boom rice or whatever but dropping out everything else, which means that it will be really high contrast to where the second section or the next section actually hits twists and variation. You can also use rhythm to add variation, spies and even introduced big changes to surprise the listeners or prepare them for in use section or performance. Coming up. You can use rhythm for anything from fills and spices every two or four bars, for example, to syncopated rhythms to create more complex and interesting counter rhythms to big shifts and changes in, for example, transitions. The point is that changes in rhythm can often be more powerful than changes in melody and harmony. It is because when we listen to music, we look on to the fundamental groove, the cool rhythm, and as soon as that changes, it feels like a big shift in the music, even if it is only a tiny variation. For example, if a band plays a song on stage and one of the guitarists play a note Rome in accord, very few people will pick up on that. But if he starts playing the wrong rhythm, everyone will instantly both here and feel it. That is the reason why Twists, variation and changes in rhythm is so incredibly powerful in music composition. So let me first demonstrate how much difference adding a simple feel can actually spies up your performance. So this is three ostinato string short strings basis and shallows playing this line together here and you really look onto the roof. Papa, Papa, Papa! Papa, Papa, Papa like this. And then right here in between bore five going to six. I have faster temperatures, 16 thoughts which, as like as a feel here and also some spices here. So let's take a listen. So it is a simple Phil, but it makes a lot of difference, and you can do that in your really driving fax your precaution as well, so I actually believe I did. So If you take a listen to here in the Tyco's, let's have a listen. Yep, so I have this. So that is a short of the feel and these two compared to the main groove that you look onto . So those all the spices, the details that really add character and variation to track the next. It's also real feelings that are supposed to be more about transitions and and so one. So, for example, Tom's or used a lot in for this like this one, which only plays here as it feel in the lost bore off the first section going into next section. And I also have this here, which is a symbol swell So those together and also the change in rhythm, as you can actually see if it shake, for example, the Tom's Here, which goes into this faster port right in the final board. So let's have a listen from here. You really heard the difference here, especially if you listen to only the Tom epic tomes There. The toll miss the symbol swells and let's do Stakis hits as well. That is how much difference it can make. And, of course, you need to respect whatever you do. In other parts, I have added a violent run, a swell and some short brass notes to fill up here some stabs before going into the real rhythm. It really makes a huge difference overall, when you layer all these little feels and spices on top of each other. Congratulations. You have now learned the main power and use cases of rhythm in music composition. Tract is these core aspect of rhythm in Jordi A W and on your medic E board by playing, writing and recording ports in action. Have fun, and then let's continue your journey in rhythm. 5. The Sounds of Rhythm: now, here I am in my d W. And as you can see, I have created these various folders or groups off tracks, because while there are thousands of different instruments and sounds you can use for rhythm and percussion in your music compositions, they can all be classified in a different color or group like I have done here. You will now learn all these main Kohler's off rhythm, and I will give you some practical examples off each. Let's start from the top. So the first group I call drum kits on this is basically the foundation off rhythm in most music styles. So let's open this up and my examples in Here is first an acoustic drum kit, the classic drum set that is used in rock, pope, even electronica music, sometimes even cinematic music. So it can sound like this, right? So that ISS And of course, there are various presets and sound shaping tools in here. But you get the main idea of the sound, then what I call e g M or electronics kits for TDM styles, beats and stuff, and these usually uses a sample player s Oh, these are sampled or synthesised drums so that it can some like this and so on. And finally, the third type of drum kit is not really a drum kit. But sometimes you can use an orchestral hybrid or cinematic type off kit that you can play as one patch like this one. This is damage, so and of course, there are many more types. Ah, sounds for drum kits by, but basically that is the various groups or colors. I differentiate for this main color drunk. It's acoustic drunk. It's medium kit and epic it. Next we have three different groups off percussion. These are all the individual percussive instruments divided into pure percussion, which are all the drums and percussive instruments that are known pitched. That doesn't play melodies, basically, so they are, um, pitched. Then we have a melodic percussion like marimba, vibraphone and so on that are all percussive instruments, meaning things that you hit that you can play notes with and melodies and harmonies. And then we have if ICS percussion, which are all sound design processed and hybrid pro castigates. So if we go into the pure percussion and take a look what we have in here, I have added some off the more common, um, percussive instruments in cinematic music. So if we start right here, we have big drums. So I as an example, I have action strikes, big boom examples. Who any kind off big impact drums, deep drums like that that are still really organic sounds. Riel percussive instruments. Then we have team money, which is a classic orchestral percussive instrument that is actually pitched. But it's on Lee three or four drums, so you can only tune them, too. Three or four different pitchers, meaning you cannot really play like this because the timpani player has to reaching them during the breaks when he does not play. If he is going to play another pitch, then you have the classic orchestral bass drum, which often has more of that attack in Kleck then, and we have, Ah, I differentiate between low tomes or epic terms like this and usually more processed sounds like that and concert homes, which are higher pitched or, um or natural there. Then we have, for example, Tyco's or again. These are just some examples off main percussive instruments in all these categories, so Tyco's you can play like this it the low Tyco's fire, Tyco's Die Coz and stick it then, of course, the classic scenario drum. So that comes, of course, in various different shapes and sizes and sounds as well. Then various types of stick. It's from different drums. Ah, ticks, which are lighter sticks, which can be cliquey type of drums. Siemer, various type of shakers. Basically, of course, Cymbal crashes and pft, which are these symbols that you crashed together with your hands Theo used for accents. Symbol swells, which are basically roles that you increase in volume over time and then gongs. So there's a difference between the golden and 10 10 like this that, ah, those are some examples off pure percussion in cinematic music. If you carry on with melodic percussion, we have the tubular bells, which ah, actually can play notes, but usually only an octave or so I think, sounds like a church bill. But you can actually, usually you don't play melodies with tubular bells like usually. Yet you basically play the main accent off the root note off the first in the every newborn music like s. So let's say that it's just Psi corps playing, and then he goes, do if or something like that vibraphone, which is this light metallic sound. Remember which is more Woody silo Phone Celeste, which has this really magical air equality on bill type sound glockenspiel, which is really light, and the shimmery bell type. Almost a toy books kind of vibe. Chrysalis, which are these small metallic disks, often just an octave very high. She amorous well, so those are some examples off melodic percussion. Let's move on to effect percussion. This can be all kinds of percussive hits, but ah, here are some of the main ones. The low booms, the impacts. Things can like. Lots of different kinds of impact sound. The pound sheets, which are very short and punchy, which are great for layering. Then we those are all the percussive instruments. Let's move on to more melodic type of rhythms. So let's start with what I call comping rhythms, which are basically instruments that you play harmonies or courts with in analytic fashion . Ah, the piano is so foot in a classic like this one, a so one guitar playing, for example, a strumming core or, in this case, something like that, strings that instead of playing in Austin ought to actually plays intervals, harmonies or course in the rhythmic fashion like this. Breasts can do the same, but usually breast is no playing full course spot, actually in Harmonists or more spaced out with harmonies. Even so, and you can also play this fast. That's the one with short articulation such as staccato or forced Otto, for example. Then choir, of course, almost always have play bigger, harmless, like on in the rhythmic fashion that was stuck out Do like this and also various types of accents, like I call them stabs eso open. They play, um, less knows, like, uh, open would stuck out, of course, there so and then other instruments feeling the gaps, the next category of rhythm I call pulses on. This can be, for example, a palace, since such as this enormous fear here, can I play in the past like that with your keyboard right it in or used or paid viator and just have it or hold one note like this and you get a pause going, and then various types of plaque sounds black scenes like this weaken. The same applies here plates with your keyboard playing the rhythm like that, or use an RPG ater or something to to make the pulse and then various kinds of so for instruments that have a rhythmic aspect built in like these rhythmic presents here so you can play as a cord or just hold one note. Ah, there are many, many different instruments that that had the rhythmic aspect built in like this. So those are palaces, then. One of the most common, ah, rhythmic driving aspects off cinematic music is called Austin autos, which are often played by strings. You can play them with woodwinds and brass, too, but mainly strings and seem decisive is so here I have bases loaded up chills and violas. Often it's less. Note the in the lower range, and then you can go, Ah, make more complex and faster rhythms into high range. So, for example, the basis could play something like this. But basically it's a repeating, rhythmic driving phrase like that that isn't Austin Auto playing one note at a time. Compared to you comping rhythms and then share loss, you can play and of course, you need to respect the actual harmonic progression, the courts playing. So if you're in a go to s Ah, you need to respect that. And then violas. You can play even faster or even play more repetitive, like on one note. That is a true ostinato Reich. More like it, Paul's even. And if the final category I called rhythmic effects and here or there are many different ones, but one of the more common one is to use an ORP. Aviators, let me open up this and ah, let's see what we have. We have either you can use the AARP aviator built in into the store for instrument. Like in this case I have on this were within or pedatzur on it. You can play one note if you hold one note within or projector, you get the palace. But in this case, if you hold a cord, you can actually get an or paginated cord like this on. You can, of course, use a nor paid aviator effect in your did you w. And that means that you can play even if the instrument doesn't have an or pager on it. You can play in or payday to drew them. Then there are rhythmic gate effects like this one in logic called stepped effects. There is also another one called gatekeeper, which I sometimes uses, but basically it's it slices up a long sound. So if you have a long sound like this, it works great on strings pads long sounds like that choir, so whatever. And if you add this to it, it would slice it up like this. You can use again accord or one note. You want more of the house. Then what I call delay based rhythm, which is basically a note often a shorter note like this that you apply lots off delay to, ah like high values. If I play one note now, you get rhythm, so I can now play very sports like this and you get rid me Dr Going like that in a final color, I called rhythmic loops and phrases, so there are various types of C instruments that really create phrases, rhythmic phrases on their owns. Just holding one note. I can get this, which can be percussive and drums or a melodic drive. Right? So these were some examples of what I call the main colors of rhythm. So remember these categories because there can be lots of different sounds and instruments in each of them. But at least this is your sound palette that you can use to add rhythm and drive to your music compositions. So experiment yourself now by going into your digi. W create these main groups, add instruments in them and try out the sound palette off rhythm and percussion in music composition, because you will have to really master all off these categories in order for for you to really evolve as a music composer. 6. Assignment Ear Training: Now it is time for you to take action. Here is your assignment. Go to your favorite music streaming service and find tracks with a rhythmic focus, preferably music in different styles. Sean Gers and with a huge range in overall groove, your assignment is to analyze the rhythm off the music and train your air. What is the temple? Try to guess it at first without counting, and then use a mitral where you can tap in the beat to get the BPM. Train your ear to feel various temples continue by listening for the time signature. Is it straight for four or some other time? Signature is the groove straight, bouncy or perhaps very complex, with Syncopation and other techniques and rhythms. Finally, I recommend you to start doing these ear training. Exercise Wiley or at your Midi keyboard or piano so that you can start mimicking and playing along to the rhythms you hear when listening to the music, because your end goal is to both train your ears and mine, but also your hands and muscle memory. Good luck and have fun listening to music with intention and the purpose to analyze, practice and learn rhythm in music 7. The Golden Rules of Rhythm: the golden rules of rhythm. Well, of course, rules, music or more like guidelines. However, these are the very fundamental guidelines I personally find the most powerful when it comes to rhythm in music. But remember, any rule or guideline in music can be broken if you do it intentionally and with a creative purpose. Nevertheless, no little experience. East Powers Don't make sure that you learn these guidelines will listen carefully, paused and write notes whenever you want to. And finally practice every aspect in action yourself on your MIDI keyboard or directly in your d. A W. Are we ready? Here we go. 8. 1 The Core Rhythm is King: the cool rhythm is king now. This might be one of the most important guidelines on rhythm. You need to truly learn and use in action, and that is to always focus on the core rhythm and then respect that a groove When recording and writing any new ports in your music. What is school rhythm? It's the main rhythm that you hook onto the thing you tap along. Motive with your hands, the thing you beat books or hum along, too, if you're like me. Basically, the cool rhythm is the equivalent to a motif or melody, but in percussion and rhythmic port instead. So basically the cool rhythm is something that you can tap along to with your feet or hands like this, like that. Or hum along two or sing along to, like this. That data that data. It doesn't have to be percussion, either. It can be the cool rhythm it can be played with, For example, Ditore Reef for Austin or two strings like done that the 10 10 that it intended, that that in 10 that a tent and the tent and 10 you hear that cool rhythm that repeats there? So what I usually do is that I actually try to record the core rhythm on either one track or kick and snare on separate tracks. Or, in the case of cinematic music, usually big drums. And Tyco's like this. In this particular product, I use Ah, kit cold percussion percussion studio, Armageddon Ensemble, which is part of the damage library, and I have it mapped out like so here so I can play it cool rhythm like this. And if I want to extent one of those beats, I can, for example, play layers like to your three beats at the same time like this. And so will sounds for cool rhythm in practically all music styles that uses drums and percussion. The core rhythm is played by a bass drum and a snare and or clap in cinematic music. It can be something like Deep Tyco's plus epic tomes, but the principle is the same. Now let me show you a practical example off cool rhythm on percussion, in action in this epic cinematic music composition I made. So let's take a quick listen to everything first, just the beginning here, way right, so that is the central for this composition. Now, if we go into into this section here and listen to Onley these three tracks, which I consider to be the cool rhythm of the strike, in fact probably even one track of them. So what I have here is a track I call big drums, which is low percussion. And in this case, action strikes Tyco massive insolvable, which it sounds like this, right? So that is something you contempt that is too cool rhythm that you look onto. Then I layered it with Tyco's, which I like to do, so both low range, Tyco's and midrange Tyco's and I use attack a creator and the specific patch for this. And that sounds like this. You can hear the core rhythm that that that that that that a couple of extra beats to spice it up and add some single patients so layered and you can see this if I go into the piano roll editor and you can see here Pam, Pam, Pam back But Tom and then this extra notes here and that. Don't that, but a bum instead of this note here. So some notes are different, and then I have another track, which is low percussion, which is this damage and the patches Studio honor getting consomme ble and again on the cool rhythm displayed here with some variation from the big drums. As you can see again, just a couple of notes, for example, this one is extra together. Those there and here again, I think, actually plays basically same thing as the Tyco's. To be honest, if we take a look on both of them here Yep, this is This is a duplicated region with the Tyco's and this basically epic Tom and so humble. So all in all you get the main, the cooled rhythm that you look onto with some variation in Syncopation. But you can clearly hear it and it plays all the way through here. And then I like Teoh cut, slice up the region's when I introduced a new core rhythm. In this case, um, the variation is basically adding some more intensity with those externals there, um, which you can also see here on the Tyco's. So you have some main beats, but some extra beats are on the mid range, so listen to that Ah, again, something you can tap onto a bad, a bad at bat at that is to call rhythm there. So, of course, the cool freedom will change. Ah, throughout your music composition. Otherwise, it will be extremely boring. But that is the essence of court rhythm. Respect the cool rhythm. When you compose your music, you should always listen to the cool rhythm and even check the midi off the fundamental facts playing that core rhythm. In most cases, they base Trump Plaza snare or similar arrangement, and make sure that that cool rhythm is highly respected among other tracks and ports in your composition. So let me show you what it means to respect the cool rhythm here in action in the same epic cinematic musical position. So let's listen to the Chorus Port here on what the cool rhythm does on the percussion, right? So here that the data that that data, that is the cool reading that you look onto now if I were to play extremely different grooves and rhythms on other instruments, they will basically creating Mahdi mix and sound. Ah, way out of place. You want to create a cohesive groove, especially for the core rhythm. So, for example, if you have some high end shimmering percussion and like high hats in pop music, those things of the high end percussion and even high mids can be more different. But especially the low end. You should respect the core rhythm. So if you listen to this percussion here, the cool rhythm in percussion and if I add, for example, these strings here, especially the main short strings and the low short strings listen to how well these Austin autos there really respect the core rhythm on the percussion. So as you can hear some notes or added some notes or omitted, But overall, if you check the piano roll here, you can see that it is it is really respecting. Um is really respecting the core rhythm. So we go into just this section for examples. See that these ones and these ones and then assuming you can really see the main accents here or layered here on the one. Basically you have one on the four a swell ah, but basically you see there's gaps in between. If I were to feel everything up with random rhythms here that just sound good on their own , it will sound bad. But again, if I play this rule. Now check the piano roll. We can really see what's going on So you can see stumbles are like this note. And this notes here is not on the ostinato strings. You see this one here, this one here which had some variation but still, you can clearly hear that main group that you look onto even in thes Boston all to string ports here. And you should do the same for everything. So if I add, for example, I say I had this breast short Ah, or even Yazidis swells. I think I believe those are especially on the one of each bar. Or if I add, for example, let's see if you have I think we have some choirs. A swell, um in here in the vocal section, we have women choir. Take a look at those att's same time. I believe these are Yep, up here and again. Let's remove the breasts. No. Now you can see those play bomb. Uh uh uh uh, that that kind of a cold rhythm. That is what it means to respect the core rhythm on old Frank's in your music composition. This means that you might want to re aligning notes to make them sink up to the core rhythm or remove notes just before and after to make the core rhythm more focused and so on. So let's say one of your tracks have a port that doesn't really respect the Cory than when you recorded or wrote it. So let's say let's take this Tom Strike, for example. Let's just suppose that that was written, Ah, without respecting the cool rhythm so you can simply go in on vile checking the chord rhythm at the same time on, for example, the big drums. Let's say you have the big drums and the Tyco's represent the core of them. And then you open up the toms at the same time. Have a look. Where are the tomes? Let's say they are here now. Weaken, let's say this note. We're auto place like here, and this note we're here and so on. Yeah, you can just aligned them to respect the core rhythmic note, like here and here. Or if you have too many notes, you might want to remove it, um, or, you know, add notes, even for those. So let's say, Oh, I want to make sure that on the terms of swells, just copy that. For example, a stick it there on the foam. Like so Might want to have that on some of those extra notes. Right there, for example. And they're just look at the grade. What? Or the cool, rhythmic beats? What do Where did they play? Make sure that you when you check them out. So ah ah. Made a mistake, right? There s agency. This is actually here, and so one. So now it respects the cool rhythms, the realign, remove or add notes that correspond to the groove that the listener will look onto. All right, so let's continue your journey in mastering rhythm in the next video, my friends. 9. 2 Dynamics is Expression: dynamics is expression. Expression in music can come from many things, like Lego to transitions and the broader in sustained notes on melodies. In rhythm, however, the main form of expression except what sounds, instruments and actual rhythms you use comes from the dynamic story curve dynamic variation . The first part of this is variation and contrast between the individual notes over your rhythmic performances, which is the velocity values in Midi per note. Bigger dynamic differences mean higher contrast, and this is very important if you want to boost the focus on your accents and you're cool rhythm. But variation is also important for the human character and soul of your music. Having every note at the exact same dynamic value is robotic, stiff, unnatural and plain boring. To be honest, I recommend either recording all parts to get real human variation in dynamics per notes or use a humanized there or randomizer feature in your DW. If you have that available or simple, go in and adjust manually. The velocity, meaning the dynamics for each note. Now the best way to get dynamic variation and expression east to actually record the ports manually on your mini keyboard or sometimes with percussion, you can use a pad controller like this one over here. So let's say we have ah ostinato string passion like this one. Let's see what it is. Full ensemble cinematic strings to Michael. It's close that if I record something, even trying, even if I try to play at the exact same velocity, it will always yet that human variation. So let's just record something right like that and then take a look in the piano roll editor Liking quant ties This If I want to ask, you can see I basically automatically go to the accents here and variation you can see by color. Here it's It's sounding like this. It's basically an automatic instinct when you record something to have that variation. So that is what I mean. If if I put all of these at the same velocity level like so it sounds really robotic and stiff compared Teoh And if you record manually with right in the notes in the sequence, or you can go in and actually adjusted velocity note by note, for example, increasing these two next my phone have a slight higher X and there, or if you just want to add and beat more humanized, humanized character. So let's put all these again on the same velocity value. Most GW's have a feature in logic. It's cool humanized here in many transform. So if I choose that you can humanize the velocity here, the length the position. Even so, if I do that, you can see that they get slight variation in the cooler here, which you can see these all the velocity levels here. But again, I prefer to record it to get that human variation in the dynamics automatically. Intensity curve. The other port of dynamic expression is more about the story. Curve off the dynamics and intensity in your music, think in terms off crescendo and diminuendo, meaning gradually increasing or decreasing the dynamics. So instead of thinking about the dynamic differences between single notes for contrast and variation, the intensity curve is more about the bigger picture off the entire performance. With some instruments, you can control these with the mod real others you can change with sees the 11 which is expression. But my favorite way is to actually change the velocity values over time by gradually increasing the overall average dynamics in the piano roll editor off the performance. The best way is if you're able to record this dynamic increase with your media keyboard. But in some, D W Z can actually manually change the overrule intensity curve by drawing a velocity increased or decreased line in the velocity editor in the piano roll. So while dynamic variation in expression is coming from the variation here ah, per note on the Notre Note basis. So basically, if you think of this as random variation, it is. Of course not. I have shows and where the accents land and so on. But basically note for note, the intensity curve is basically the average how the average changes over time. So, for example, if you think about drum rolls or swells, they actually go from low velocity to hire. You can, of course, recorded its kind of difficult to do. But, ah, if you are good with the keyboard, you can actually record something like that, something like that on if you check now, the velocity levels here, the average is increasing. You can basically drew a line here, which I'm also going to do if you check that, um, like so here we have the first part that I recorded earlier. You can see it has the variation, but you can basically see a curve here that's pretty straight. So the intensity curve is static, while the dynamic creation is good. What you can dio is actually draw in the attention curve if, in case you cannot record it manually, so I will first decrease these down like So I compress it. So like so and now I want to get the intensity to go higher. You still have the accents you can see, but they are very softly residency now. If I draw a line like so, where the inherent logic at least it might be different in George W. But if I drew a line here in the Ville Australia's, it will be a perfect role, which I don't want. It will sound like this eyes basically like a drum roll, but on a melodic instrument. What I want is to keep the variation but have the average intensity curve increase. So in logic, you can hold down, Um, but see the command key to get the line or the pencil to and then draw a line, and this will be the dynamic intensity increased if I just put it like so you can see now you're getting into chances increase. I will redo that. I actually want it to be even more of the intensity curve change like so And now you have the accents or here still, but the intensity curve is increasing, which sounds practiced. Ah, you both have the dynamic variation on the accents and the contrast and a new intensity increased in the dynamics. And of course, you will need to check how you do this technically in the D w you use, but in logic, it is the pencil to instead, over just left clicking will get do this line. If you hold down the command key to get the extra tool here, you can actually draw this intensity curve, which is amazing. So this is how you can add an intensity curve right in the actual velocity values. It can even go up and then down again, like so if you want to. So that was just for demonstration. It sounded like crap. But anyway, the other option, which I really like, is when instruments some suffer instruments actually support both dynamics on velocity levels as well as dynamic on the mode real. So I think, for example, let's see what we have here. Novo. I think this one actually supports both of them. So if I go in here and have a look, let's close everything except that one here you can actually have. You can see when I move here, the mode will. It's changed the dynamic. So if I have these on, let's see if I have it on food, even what I have gongfu, it will still respond to the velocity so but this way I can Let's move just a cat to and then so I can now play. I tried to play the same velocity here and then I'm. Then I changed the dynamic intensity occur within mod wheel. So I really like when So far instruments have both options because that that way, it is much easier to actually create both variation in the dynamics between the notes and adding contrast and so on, as well as shaped the dynamic intensity curve over time. Now, if you're so for instruments doesn't support dynamic intensity changes like this one on the mobile. Almost all support actual volume changes with expression CC 11. So I have actually mapped sees the 11 to I think it's this fatal here number four, Which means if I have this on bottom weigh in here it responds to this fatal here. So basically, if you have a meeting keyboard that has favors that he can map, I recommend mapping. For example, CC seven, which is volume CC 11 which is expression in this case. It is also the volume, so all right, so that is another way you can shape the dynamics intensity curve over time. Finally, you can even go as far as actually add automation in your DW for the volume off the track. So basically, you draw in the automation here on the volume on this track and make the intensity curve chains that way. 10. 3 Variation is Key: variation is key variation spies. Changes in your rhythmic groove is essential in music, or you will bore your listeners to death. It is easy to focus on course and melodies and forget about adding variation in your rhythms. Don't walk into that trap when you composed your music. Viz. Um, per scene. You should avoid having to similar cool rhythms in every section of your composition. This is a trap many new composers than producers falling to think off your grooves as your court progressions, but in rhythm and think of your music as a story. Every story needs changes in scenes and overall vibe. I recommend that you do not copy paste rhythms between different kinds of sections for example, verse to chorus. Instead record and write unique performances of all rhythms for each scene of your story. An exception is that you can get away with some copy pasting between Let's say, core is one and chorus to, but even then it should have some variation and differences. So let me show you a practical example. This is a complete composition, which is called the drums of war, and it is very, very focused on percussion and rhythm. So as you can see, I have labeled the different sections and allow demonstrated different rhythms per section . If we just listen to the main percussion here, so the intra one is actual repeated. So if you take place in 321 so they cool. Rhythm is still the same there, even though I actually add, if we take a look here some some more, you can hear the bad about that bad bam bam power! And here Mawr percussion comes in, especially in the mid range with the Tyco's and so on. So we have some big drums, some bass drums, those all the same in these two sections. But these epic terms come in here, so hopes like so and I also introduced some ticks to add some high end shimmer. But that is made basically the main difference in the percussion. However, the drive is actually completely different because in the beginning I only have these accent cords here and then are introducing the second part of the in true um, some chiloe and violas short. So basically in Austin Oto or more kind of a nor paid you feel actually. Ah, but if you go to the next section The Inter to hear the percussion will change the grooves old if he check here Um actually, the main groove in the low range is pretty much the same Still, but introduced further percussion and spice it up. It's still part of the in Drew. The tigers come in here, for example. And just by introducing some are the rhythms while still respecting the cool rhythm, Of course, actually makes a huge difference to listen, Hear more cartoon. Let's do only the percussion. You hear the ticks coming in and then the tigers coming here, which arm or like in the mid range. But then when we get to the verse or yeah, the divers here Ah, it actually adds a lot of different things, like the temp unease here, the snag drum. So if we have listened to the change from here market three, the inter too. Listen to the difference too, dear. So that is basically the reason per scene. Basically, you can keep the cool grew if you want to. You can also change it up completely. Like if you go to the coolest, which is the final power section here you will definitely hear a different kind off total groove. If you check this here now, it's not the same anymore. Like if you listen here, I go to the chorus. So that is the rhythm per seen not only the percussion, but they, of course, all the other rhythmic elements, like most in order strings or short articulation, um, stuff should also have different rhythms in different scenes. So that is the first or the second part of in Japan. And then we go to here. Let's check it at the same time. So assuming. And here you have this going into the verse, we get into this kind of I'm and you see it's a lot more happening here. Actually, let's sue mean so you can see more clearly hear from here like so on. Of course, when we get to the chorus, its yet again different core groove, which should respect what the percussion is playing, of course. So we have this, so that is basically rhythm per scene. Change it up per scene so that your composition have more variation and interest. Rhythmic spices, small Adams, rhythmic changes and tiny spices or variation in your rhythms will make a huge difference in the overall impression. It can be sudden, extra syncopated notes all the way to a complete rhythmic changed for a short period, perhaps a triplet note, intermission in the rhythmic groove or even omitting notes and use creative silence to change the groove at a specific moment in your music. So if you go back to the percussion here, what you can consider rhythmic spices is first of all, if go into this here. So let's say your main group is this. Then just add something extra to fill it up. Um, if we check so these are actually mimicked, I think know how here we can see actually a rhythmic spy. So these other percussion, the bass drum in big drums they are be making each other, except this year, so that is actually a little little rhythmic spice. So if we take a listen to those right here that they're on yet another one, I feel Ah, no, the rest are mimicked. And then we'll get to the epic Tom's right here, which I consider to fill up like rhythmic spices if you here and compared to the cool rhythm. So let's check everything at once. Here you have it. Very often. The spice can come from the meeting High range. Ah, rhythmic instruments Because you really need to make sure that that core groove is looked in the lower range like the big drums, bass drums low, Ah, rhythmic strings and so one. But other than that, you can also do some little changes to change up. Let's say if we have this sort short shell here, so let's say instead of having this s a basically loop, so that is two bars. Let's say that the 4/4 off the four bars is often, um, good to use something like just fill up the rhythm like so adding something different basically. So I just I will just repeat this nose and see how that sounds. You hear that instead of having everything so a little twist their rhythmic spies, you can also have it every two bars if you want to. If you do it too too often, of course, it will be poured off the core rhythm, but that they want to do it here as well. There's a double that note or a harmony. In fact, just added there. So something that twists is up and add some spice fills and transitions changes and variation in the rhythms is an excellent way to add fills in your music, and especially so in section and performance changes. The most obvious is, of course, the transitions between different scenes in your music story, but you can also add smaller fields in performance sections. Let's say every four bars in your percussion or rhythmic phrase on string Austin autos or whatever instrument you use for the rhythm. Of course, you can add a fill when ever you want to, but if you do it too often, it will no longer feel like it, Phil. But part off the core rhythmic performance, I would say every four bars is an excellent guideline for adding some kind of rhythmic feel or twist so spices and fills and transitions or pretty close in definition. But I consider spicy to be these small just variations, while a fill or transition is more of a purposeful, very highly noticeable field, so to speak. So, for example, you could have some spices, every two bars or every four bars, and then have at every eight or some kind of more major Phil. So, for example, when you're going to the next section, you could create something that change it up the ending off the report and even more important, when you go between different sections concerning the arrangements of, for example going from the verse to the chorus or the breach or whatever. So here, for example, I have is sure drop, which is one more long where I have a feel on Tom's symbol swells. I believe I also have a sub drop. Um, up here. Let's see. Yep. Eso Alina Well, that sounds like this instead of having the diver's goes straight into the chorus, so that is a major transition. But it can also, of course, have a transition from what savers? A one here, diverse a two. But I have a little Phil on the terms. I also changed up the the tomes up here. Ah, asi can see here so that in all in all, if you take a listen ah, I also. By the way, if fuel can be a drop, let me show you what I mean. So here are the big drums. They have the cooler them. Uh uh that. And then I have this at the final board before, Ah, the next section. It actually drops out, and that can be considered the feel or transition as well, because it actually anything that basically changes the fundamental Britney groove. I would consider to be some kind of feel or transition in that way. So listen to what happens from here when we go into the next section. So it's only those little spices and fills in transitions. That makes the transition from this section into the section, even though both or verse sections, um, really blend together, but still add some variation to prepare the listener for what comes next and again, you need to respect while the cool rhythm does. So when exchanges, as in a transition here, for example, in the percussion, you need to respect that change in other rhythmic instrument. So we go down and shake, for example, these short strings and go inside this part here. You can see that we have the main group that deleted. It's repeating, and then that the final part it actually goes down up instead, so that little it'll change actually makes a huge difference, especially if you, um, respected on other melodic reading parts like this shallow here, we'll see what that does, right? So this seems to be during the same. So that is not really doing anything at the transition. You might want to do something else. Like delete those knows, go up an octave, perhaps receive. You can do that. Like so just just do some little change that respects that transition. So if you remembered the short strings gassed went up there, if you do the same own, for example, of this, um, I think I have done so like here in the end. So if you listen from here, that little change in the end, I have respected, I think, for the breasts stabs here like so on. Those are on the exact same meats and thus the exact same interval change there. So it'll that's up. Basically, you can see the breast shorts here goes up, up, up by the way into four transitions. Generally changing the direction off the hormone IQ curve works Great. If you want to, Ah, elevate the energy you want to go up like this in the harmonies and intervals, chord voicings and so on and the opposite. If you want to dial down the energy for if the next section is going to be lower energy overrule, for example, grown going from the chorus to the altro or from the course to a bridge shore verse. Or and so now you learn that variation is key not only in the percussion, but all rhythmic ports in your music. 11. 4 Respect the Accents: respect the accents, the accents in your rhythm or super important for many reasons. The mori respect your main accents, the more power focus and rid me clarity. Your music will have strong and clear accents, or especially important. If you want an action and high intensity feel in your composition. Boost the accents. Once you have decided where the accents should land in the greed of your composition, you can boost them by increasing the velocity values for the rhythmic parts that play them . A higher difference in velocity values between the accents and the known accents mean the accents. We'll feel more powerful due to the increased contrast. Listen now to these epic action music, composition, even trailer rich in sound, where I have hugely boosting accents for power focus. That is one heavy hammer strike to finish this track off with. So now let's go into the D. W here again and check out this composition. And of course, we will focus on the percussion and the rhythm. What is going on here? That means that I boost the accents by increasing the velocity values for the rhythmic parts that play them. So if we listen from here first and then go into the drop here and then this power section . Listen to what happens Playing in 321 All right, let's stop there. There's there's no denying where the accents or there's no confusion. You can really see it if I just take, ah, for example, days and we'll hear and going to that. That that that that that there, that is the main Those are the main accents. And if we go and shake the entire let's do this these percussion tracks here. Ah, let's see which is lets remove the cheaper bills for now. So here we can see were the accents are 12341234 And that is basically have the cone. And then you have this in the between Power axe. And so 12341234121234123412 Listen again. Playing in 321 All right, so one thing is where the notes land, of course, on which beats. But another thing is the velocity. So if you want to increase the accents, if you have, let's say this part had more notes. This is actually mimicking exactly that core group that that that that that that that that has the But let's say you want these accents to land harder. We'll just increase the velocity on those notes and do it on all the parts playing rhythmically on those notes. So, for example, if you if you do it here on the Chelios on these PAP atop a puppet apart Danza A. If you want those two really landholder increasing on those, then you can, for example, have that open while you shake. But say the Tyco's here, and then you make sure that those O calls or higher velocity, then then the notes surrounding them basically boosting the accents by having more contrast in velocity compared to the surrounding notes. In this case, basically, all of these main beats here or accents I really don't have much going on except the accents, which makes this a super focused core group. You really hear every instrument basically playing 1234123412 and so on. But basically that's boosting the accents velocity. So let's say, if this were playing more knows like like having hot having them like like this, like a straight line. Well, then, make sure these are march louder than these. These are going to be the accents, so let's play that now. If I select that solo, let's say, Where are we here? I made them super low, but you can basically understand the idea here, so that that that that that that whatever you make, ah, lower in velocity here will be less of a focus. So that is how you boost the the accents by velocity layer the accents. I also personally love to use the power of layering instruments and sounds more on those specific beats where the accents land to make sure they are extra powerful compared to the surrounding notes. Otherwise, they wouldn't be accents right, the accents or the main beats you want to emphasize in your music. Loud percussion hits are great for accents, but you will get even more power if you use layering that cover more frequency range in total, for example, a low, deep impact layered with a big snare and a crash symbol on top. And with tonal rhythmic instruments, you can lay your in octaves such as double bases with chill owes and perhaps adding a breast cord. Stab in the high range for even more focus and power on the accents you choose. You can even create variation in the sounds you use four layering per accent so that it is not simply the same on every accented beat. So in this composition in particular, I went all in on layering for that super focused, powerful groove. So basically the 1234123412 That groove is everywhere because I layered it with almost every track many of the Middle East, for example, some of them or not using all of those baits. So, for example, if you check these metal sound here, it's only 12341234 And then there is a gap there. Ah, let's see the epic A 23 feel 123412 Here you have the on the Tyco's 12341234 Want you. There you have it. The temp unease the same on going to the melodic percussion we have the power guitar here on this is actually really interesting. You have the 12341234 And then these are power. Course of these are muted. Ah, the lowest string on the guitar. Let's have a listen so you can actually hear that in action. So this is so, uh, this is, of course, a virtual instrument doesn't sound really that good in in the makes, it really works. So you have the, ah, lower string on Lee. One string here and then the full power chord ringing out of it there. So that is the layered, super focused groove on the cello. So, yeah, I made it was like this in the beginning, basically. So I can just down again on DA then I have some slight variations, So if you check their base rings, you have this kind of beat going on, which is not all of those notes. So that was actually quite low with the mix. I could increase that, but it's basically me making about the main big drums or doing if you go up here and have a listen to this, you can see if the same so you don't have to lay your everything the same. In fact, if you layer with some slight variation by bacile layer on the same overall group, but we'll meet some of the notes. You can get more total variation as it goes home. Even though this cold rhythm is basically repeating throughout the section, focus is power. Think of your accents like big, bold text to make sure the Boulder text feels extra important. You would not want detects right before or after to also be bold. This means that you might want to move rhythmic notes off any port in your composition to sink with the accents or to even remove notes right before or after the accent to give more clarity and power to that beat. You want to be the main accent. Now, the main reason I have chosen this particular composition to demonstrate all these examples off respecting the accents is that I went all in on the accents on this track. So you have already seen how we can boost the accents by velocity levels, having more contrast in the velocity levels between the main accents. You can see it kind of like here you can see these are already want them even higher. The more contrast you have these accents and the notes in between. The more pronounced your actions will be the next plus two. Ah, boost the accents by layering, which I'm a huge fan of which should already learned I went all in. Even the snare here is layering the 12341234 the sticks or 12341234 Really, really repeating those layer accents. And finally, now what we mean focuses power. Think of your accents like big bowl text. Well, it's basically the power of sound versus silence using silence to your advantage. So basically, if you want to have really, really powerful accents, there is nothing that beats silence as contrast to sound. So go in here again. The reason these sounds so focused on powerful if I take all those tracks is because the silence here in between, if I add, knows here even if they are lower velocity notes, it will not be the kind of focused power you hear from from this. But let's just listen to those three drums. As soon as you add more to this, you lose some power, and the more notes you heard in between here in the space is the more you will lose that absolute powerful focus. So I went all in because this is a trailer type fact where the accent should really realistic out. But, ah, that is basically the final point. Also, if you include power notes, as I call them like a single power power chord ringing out, um, it could be a Bram Or, you know, those long, ah powerful sounds that ring out a bell in this case is your cheap dollar bill. If I only used it every other bore here because it adds authority by having those long breaks in between, you really should be aware over the power off silence and how that can ADM or power to your accents. Ah, so again, think off your accents, your main accents as bold ID text or cat or texting in capital letters. It's like when someone writes something on the Internet in all caps. Which word is the accent? It's like like you can't scream everything or nothing will cut through like nothing will be the main accent. That is how I recommend that you should think about your main accents in your music. Think of all of these Maine accents s bold the text or And think off the power notes like this one that he used even more sparingly, like your main headlines. So now you have learned the golden rule of rhythm. I call respect the accents. 12. 5 Minimal Low End: minimal low end. The low end range of music should always have more focused sink rhythms and less going on overall. Basically, you should keep the low and minimal because the frequencies are so close to each other in the base register that your mix will get muddy super quickly. If you add too much here, let's notes for focus. I recommend having this notes going on in the lowland. You can, of course, use policies on the same note. Austin autos, etcetera. But I would avoid too much harmonic movement in the low end for all your tonal rhythm ports . This rule also applies to percussion, so I recommend using less hits in the percussion off the Lohan, meaning bass drums, big hits, low Tom's or any percussion with lots of low and energy. By keeping the low and more minimal in terms off the amount of notes and hits, you will get a much more focused cool rhythm. This is the track I'm going to demonstrate this on, which is called powerful metal engines and is basically heavy metal meets orchestra, and I'm going to play you a snippet first. You can clearly hear how well focused the low and groove iss. - All right, so let's have a look at the main baseline first, which is this down here, played by a sub base. And it sounds like this. So the main thing you can hear is that I have accepted the first note of each bar here in this groove in the low end by extending it so you can accent notes simply by making them longer, you don't have to have them louder on. It's basically 12341234 If every March type groove. And if you check the low strings here, which I call though, Dr Go into here, you can see ups here. Ah, it's a bit different, but it's still very spacey, meaning there is not a whole lot of known Sarah, um, in in the actual groove. It's this long note and these two and these two and then the next bore. So let's take that. And that is basically the fundamental groove that you really hook onto as a listener. Data data. And you can really hear that it sounds very similar to a ah power metal guitar like electric you toward Shug, which I actually included here as a layer as well. This is the same rhythm. Uh, Santa, you can hear so very, very spacey between the notes. If I have that, that doesn't really work as well. In the low in the base registered, you generally want to have a minimal Owen. And this goes for, by the way, not only the rhythm and percussion, but also other ah instruments. So if you check the percussion here, which we have appear the low percussion let's sexually so only that one and go into the piano roll. Can you see the pattern? Bam! Damn, Damn, Damn, damn! And here you can also see. And also here, of course, the controls between the main accents which are on the ones Tom that data down Santa that I reckon I can simply add on the low drive. Ah, let's do the let's see. Can I have the low driver swell like so that one, that one And that one in solo because all of those play the same kind of beat the data at that dental. Let's open them up and you can actually see that they do here, uh, that, but the different nose that is basically an extra note. We shared some variation and Syncopation into the groove. But as you can hear less notes instead of having data Tanta, Tanta and Stanton, you can have more going on in the mid and high register um, instruments. But as a general rule, keep the low end of minimal when it comes to the amount of notes. Sometimes you might even want to have the base play simple long notes or half notes. If you want to have it really clear less ports for clarity. The ring for power is great, but be careful to not have too many parts playing at the same time in the low and register . For example, if you have a long sustained bass note at the same time as you have several different palaces and Austin autos in the lowland, it will quickly become a missy and unclear mix. This is more and especially so in the low end. But if you want to later, I recommend layering the exact same performance and notes, at least as a good guideline to start with, For example, a low based string ostinato layered with chill O's and a low synth bass playing the exact same notes in either unison or oak tapes. So what I have here, basically for the low end drive and rhythm, is these low strings, the power guitar here on the base. Well, I've already made sure that the power guitar mimics, but the strings dust as you've seen, it's the same rhythm except, well, this little syncopated No, but that's OK to have every now and then, Mark, if you check the base here is playing 12341234 Basically so it's different from the other rhythms here. So this is the base. This is the guitar. What I should do instead is make sure that the rhythm is respected completely in the low range. If I wanted to be, if I wanted to be really focused. So let's move around this to really create the same rhythm. I can do it like that. I will escape that syncopated note, and now we have again. You hear it really now in in in sync with each other. Comparative. If I go back, listen to this again. In context, it's different. That's basically two different rhythms. So let's say you have a low strings rhythm like this one. You will have heard it. The more focused you want that low end rhythm, the more you should respect that groove. So let's say you add a synthesizer lower and synthesize. They're playing you. You could do it, for example, straight. Eight knows or straight 16th notes, and that would probably work. Okay, but I recommend less is more again and less ports for clarity. So the scene should also respect these fundamental groove, so I would place then, at least on the main accents. You can always go meet some of the notes, but adding more and you start to get into the dangerous sewn off, making the the wind muddy and unclear. Great. So now you have learned that the golden rule of rhythm that I call minimal though end, which means let's notes going. Only the low end range of instruments form or focus, but also less ports playing to get more clarity, especially, be careful to not have many parts playing at the same time playing in different rhythms. If you are going to use it, do it in complete unison or octave layering 13. 6 Dance the Same Dance: dance the same dance. The focus, clarity and power of rhythm increases the more all your parts sync up with the groove of each other. Or, in other words, they all dance the same dance. Cool rhythm, the lead dancer. The cool rhythm, meaning the fundamental groove of your music is essentially the main and dance moves all your rid me courts should follow. You can think of the cool rhythm as the lead dancer that all other dancers should back in a way that feels natural. For example, if the cool rhythm is a straight for four beat, it would sound very old and out of place. If some rhythmic cars were doing triplets and not even respecting the main down beats. It would be like the lead dancer doing one dance style and the backing dancers doing their own thing without following the lead dancer in any way. When you write your percussion and rhythm ports, you can, of course, have variation, fills and spices. In fact, you should. But your full rhythmic mix should still feel like one complete performance off the same style. So let me demonstrate this in this composition here on First of all you need to find out who is the lead dancer who is providing the fundamental cool rhythm that your listeners should look onto. In most cases, it's the low percussion like big drums. So if you check here is this, it can also be, ah, low. Ah, rhythmic instruments like these strings. Or, for example, these very strings here and, as you can hear, is very similar to the big drum. So if you consider the big drums here to be the lead dancer, use that and then make sure that all your other Rid Nick ports follow the lead dancer. So check select that main track that performance. Then, when you record Newports or edit them, make sure that they line up pretty similar, if not completely the same. So here you can. You can off always have some slight variation to spice it up, to not make it like, ah, complete layering. So if you listen to that with the short strings, for example, if you wanted to be super focused and really follow the lead dancer, you could, of course, change these two full of exactly, um, the rhythm being played. You can, in this case, duplicate days and put them over there on and you might not born to have these things external dress Syncopations. And now it's me making perfectly the lead dancers. That is how you get the best focus for the core rhythm. So of course it would get quite boring if everything is playing the exact same rhythm. So you need some variation. But usually the lower range should be more similar to the lead dancers moves in this case, the big drums, and then you spice it up in the higher instruments. Ah, I also want to give a special tip, and that is this is a group of everything. But as soon as you do something straight like straight eight notes, it will basically always fit so you can always add s. So let's listen to the big drums here on the short strings and the base. Those playing the same right now, Peso rights or not that one. But the bass strings My so and then you can add shallows here, which are playing titty Titi Titi is in straight eight north pattern, or you could do it even faster with 16th notes, but it's on the no these are still it notes. So everything that he's play as a straight pattern with the same note value, we put much always fit regardless of what the the dancer is doing right. So if you go further in the composition, you can see, um, some other instruments coming in like this percussion right? And there, there you have some single patient. Listen to those with the big rooms here. You can see there's the main accents are still there, which you should always respect. But again, it really follows the fundamental movement that the lead dancer provides here. And that is how you should think for every port, for example, if you have stepped, especially if you have stabs or some, um, instruments with them, more space in between them. So let's say these breast shores here, Okay? So actually, I I think I could pretty much delete some of those notes to get it more focused again here . So but basically the fundamental groove is there and follows. What if the lead dancer is doing hit points? The sink dance moves? Have you seen those dance and stage performances were all of a sudden every person. Thus the exact same thing in perfect sync. Or perhaps one of the classic Michael Jackson fast moves which were so tight to the beat. The powerful effect off synchronized events is amazing. And in music this is especially true for accents. If all rhythms and percussion all of a sudden lines up like perfectly seeing two layers to specific beats, you get a very big, bold statement. And aside from accents, you can use this technique of extreme sink layering any time you want to introduce a moment off extreme clarity in the rhythm of your music. For example, if you want to do a rhythmic twist off triplets inside an overall straight groove than make sure all the dancers follow your lead now to demonstrate this, I'm going back to my epic trailer type composition here because right here in this section , when it starts the main fundamental groove, the lead dancer, if you will, is really mimicked by having basically everything very bring that same fundamental group while almost everything. So that way you get that super tight focused groove similar to lots of dancers on stage performing the exact same moves. So take a listen. First year of playing in 32 bum, Right? So I'm going to stop. There s so what you hear is the fundamental groove that Santa, Santa, Santa, Santa, Santa And you can basically, if we start with the epic drums kit here you can see the groove in action If I just elected so and then by dancing the same dance synchronized dance moves I basically layer the Tyco's here as you can see, even dual hits on the Tyco's on da So two different Taiko drums. I think the team funny place the same thing. Yes, I think this never place the same thing here. Um, as you can see it. Perhaps that was the timpani Snare is here. So it's the same kind of groove. Even this stick It's on the high end. So don't forget about the high instruments. A swell when, when synchronizing the dance moves the power guitar. Andi, I think that shells also making this completely a couple of differences all the base here which only placed the fundamental accents. But basically, if you take a listen to all these tracks that if I even go in and show you these all at the same time, you can see they pretty much layer perfect way on the greed breathe each other. That is what I call the synchronized dance moves. So I recommend you use this particular technique only when you want that Super Bowl did headline or statement in your music to make your fundamental core groove really cut through in the mix. All right, so now you have learned the golden rule of rhythm that I call dance the same dance. Try this out in your compositions and you will feel how more focused and more clear your mixes will become. 14. 7 Silence is Golden: silence is golden. Music is simply a pattern off sound and silence in time and since sound and silence or the true opuses off each other. The pattern is like the two sides of a coin. You will always have both in any performance. This means that you can add silence anywhere in your rhythms as a creative choice in your music, the pattern, all the silence. It's so easy to always ADM or instruments Mawr sounds more parts, etcetera. But one thing that you should always be aware of is the silence in between the notes. If you take a rhythmic ports such as a comping piano, for example, you have a pattern of notes. But you also have a completely opposite pattern off silence in between the notes. That's why you should always consider silence as an element of its own when he record write and edit your performances. All right, so let me demonstrate this by using my composition called powerful metal engines, and I'm going to focus in on these eight bars here in the middle of the track. So if you check, listen to the low driving strings, which are these? Ah, what you can see instantly is that there's lots of space, especially here in the lower octave I've used. Just on the quarter notes. I used a stuck out toe. No tear on DA. Every other borough even went so far as higher active is doubled within eight note here, but not in this second bore here again here and not here, which gives it a kind of groove in its own. Now imagine the opposite pattern. If these are the sounds, the opposite pattern is what's here in between in the air. In between, this sounds the silence in between the sounds, so you can always imagine an opposite pattern off the actual notes, which is the pattern off silence in between the notes and the mawr silence, you add, the more contrast you will get between, Ah, the sound and silence part, of course. So if I only have I like that, that's of course, a super high contrast, because I leave. Basically, that is a main accent, a headline I would call it. It could be stabs the power cord, a Bram or something that really a bill Cymbal crash, something that's really only played every now and then as a kind of headline. Now, if you check also the low drums here. In fact, I have some high stick drums as well. So let's check those and not use that it looks like this. So this is the low drum, and again you can see three knows here eight notes on the eight note grade and then lots off silence, which is generally good to have in the low range, as you already learned. And then I have these tickets here. But then, if the second bar is only on the bomb and then silence in between So you get this, What? Why have I chosen to leave that big gap of silence there? Well, it's because I like to use what I call question and also taking so some other instruments can take over if I want to. Ah, if you wanted to leave it completely silent, that's okay, too, because that will give the listener some air to breathe in these silent ports. But I actually I'm using it to Ah, I think the low drive and power guitar here takes over. So we have. Yeah, these that 1234 So listen to this together with the power guitar. Ah, that's so that's what I'm leaving room for If we check these again, um, so I have these gap, this silence in between in the actual pattern. But on the second bar here, you can see I'm using that to play these notes here. And that becomes a interlocking groove in between these two percussion ports and these two driving ports. And if you check the base to, you can see that I'm playing Morneau's here and then all the extent, the one and a three here, which is actually the same as I believe, the power guitarists playing. Yes. So if you listen to the bass and power guitar, you have this. And since these are all it you notice, there's lots of gap in between and also silence between their It really becomes, ah, highly focused in the mix. So listen to it again and pay attention to these two longer notes here, every other bore, so you can clearly hear how focused they are. If I wanted to have them even more focused, I would probably go in here. And instead of using these four patterns used on the one and three here as well. Like so. Could he have any, even expected, stand them since the or more culture after all. So they are now playing the same as these two guys here. So if you shake that now, um, play these three listen to it now, even more focused. Why? Because the silence in between the notes and that high contrast the power off silence. The other way to use silence is so powerful that I consider it the equivalent of a big accent in your music. And that is to use silence as an effect, for example, by dropping parts, muting notes, cutting sounds, etcetera, essentially using silence as a statement. This doesn't have to mean that you make all your ports in your music completely silent. One common way to use this technique is a short one board drop in between two sections off your music to create tension. Anticipation on increase the contrast to the news section as it begins. So if you have listened to trailer music, epic music or cinematic music, action, music and stuff, you will definitely have heard this technique. It's also even used in popular music such as E, G. M. And such making a drop that really As you can see, I cut out everything here basically to add super high contrast when the new section hits. So especially here, for example, you get this drop and then the lost power section. But if you take a listen from here, where everything ropes out on the, then you just get a downer. A sub drop the S F and F X hit, and then the new section hits playing in 32 bombs, right? So it's not completely silent, but basically it is cutting out everything except of these effects. Generally, that's a good way to fill up this drop to build anticipation into the next section. I love to use sub drop, such as this one, uh, which is basically a sub, a scene that is pitched down an octave. It stores an octave higher and then I automated the pitch bend well, to go down 12 Seminole. So full octave down here you can use some kind of hit effect or a ricer like this one. It reversed sound up lifters. There's you can use a basically any type of bush effect, something that just builds anticipation even in reverse Cymbal crash works great for these kinds. Off drops. We have another one over here where are used to the noise riser effects. And these two are the same, I believe so Have a listen from here in 321 on one thing, I added there was a a half bore off a drum feel just to build that energy into the power section there. So using this kind of drop technique to add actual silence in between sections is a great technique in in cinematic music composition, um, and then adding some kind of a fix to build anticipation. But I actually even like using it sometimes in the end of the track, because the listener is expecting it end here. But you basically drag out the fact you can always use things like Temple Automation even to slow down the temple right in the end to drag it out, build anticipation. And then the final cadence hits. There's a playing from here in 321 right? So that is the most powerful usage over silence, in my opinion, actually using silent parts in time like there's a drops. But you can also see I'm using very high big spaces in between several of these parts. If you go in and have a look at all of these, for example, you can see um let's see if I can sew them, like so in play from here and now we can see I have that that basically that is too cool grew here. Okay, so there is something playing at the same time here. Cannot see, but you get the point is basically on. Then it's side on eso when I think it's stuck on one of these, actually. So let's just play this. I'm not sure it's some. It's some stuck note here that I cannot see. Ah, but basically and finally I want to show you how much I use the power of silence in patterns by playing all these parts for you. If I open this up here, you can see that there's lots off gaps, lots of silence in between. So all these stacked parts or playing basically data data like this, they're starting to have some more again. So in context. Ah, that is basically the main accents that you will hear if I play in 321 which also gives some room to other instruments to feel the silence such as, for example, this high driving strings here, Theo, again, you can see I'm using the power of silence in the low range here because you generally want to have less notes in the lower range. Ah, off all parts to play. So that, my friend, is the power off silence in music composition. Make sure you practice both these techniques. First, the power off silence in the patterns off your ports, meaning thinking off the silence you add in between the notes and second, using the absolute power of silence by cutting out everything in making a huge drop. Like from this section here between the two sections and here going into the power section and as I even did here in the end, it before the cadence 15. Assignment Master the Rules: Now it is time for you to take action and learn by doing learning rules. Guidelines and tips is one thing. But the most powerful way of improving your skills and craft is by practicing and implementing what you learn. So here is your assignment. Start up your D A. W and compose a 16 bar composition where you try to apply each off the rules or guidelines of rhythm. You have just learned good luck and have fun practicing the rules of rhythm in music composition. 16. Let's Create Percussion: All right, So here we are. And this is my percussion folder in my d. W. I already started by creating the temper. 140 BPM is what I'm going to use for all these examples. So let's first go through my percussion palate. Meaning what sounds do we have here in my template? So generally I want to keep the full range off each type off. The instrumental in the percussion group, I go from the big drums to the high sticks and shimmer and then the accents. However, I have also included a acoustic drum kit if I want to add it to the overall percussion mix , because these all of these are orchestral cinematic percussion. While this is an acoustic drunk, it and I also have logics own drummer if I want to use that, which I rarely do, but it's there anyway. So if we go through this, open up the plugging hair one of the time. The 1st 1 is what I call big drums. You can In fact, you can even have something lowered to this. If you born to Ah, let's in fact do that. So if you want, you can have, like some kind of booms inside your percussive palettes. So let's start all the way from the very loaves you could in fact use like in a to eight kind off sound if you wanted to. But these are just your general booms. Let's do like so on. And this is from gravity. So it sounds like this various super low booms than big drums is action strikes in this case, big boom ensemble. Basically super low, big drums. And sometimes I even add some kind of a saturation and feel the effect to make him even lower like this. Reduce some of the high end, then a classic orchestral ah bass drum, which is from Superior Drummer orchestral percussion module, which sounds like this. Let's see where we have it here. So, no, where near as Bumi and low end as the big drums. But if he used a intend them like this So, ah, if I played the big drums and if I want to extent one of the beach, I can do it with the bass drum because it has more of that clack and thump s. So this is the bass drum together the drums Listen when I add now the bass drum here, hear how those accidents really come through from the layering off this on top of then I have ah, epic Tom. So let's see what we have here. This is from Damaged the Armageddon and Som ble kit, which is one of my personal favorites. And I've added the fat effects without the fat of X teach. Sounds like this. And this is a fool kid, by the way. So I call this epic Thomas because I general used these lower lower totals which are patriotic in here. If you walked over there and then you actually have some stick its and side, it's on snares and you have some sticks up again. So ah, then we have the timpani, which is a pitch percussion de percussion, a classic orchestral percussion instrument. Let's see, we have it somewhere up here, I think. And this is also from, um, superior drama orchestral percussion than Tyco's, which have become a standard Instamatic music lost 20 years or so. So this is from Tiger Creator. It's not as low, super deep Tyco's, but it is super for that. Mid ranged ah, thumping clack and you also get a range like lots of sticks on the black. He's here. And, of course, with every percussion instrument use, you should do some e queuing, filtering effects and so on to really make it blending with your full percussion mix than the snare drum from also from superior drama her, I believe, which sounds like this, so that's really nice. So as you can hear we getting higher and higher in pitch than ConStor, Tom's also superior drama. Compare those tomes to the What I call the epic Tom's here from Damage, which has much, lots more boom and low and compared to this. So I like using these terms for fills. And so, um, and then we get to this ticket, which again damage warmer getting or not getting insulted patch. So this sounds like this really good quacks there and then some sticks, which are more like clicks and ticks. These are from action strikes and the bamboo sticks here really nice for that high end ah drive and then she murder is what I usually usually Adam tambourines and ah, all kinds of shaker instruments, that super high end shimmer, so you can either use. This is from She must shake strike so you can use a loop that you can create a pattern here . But you can change in these instruments or, if you want to, you can go for ah, manual control. So let's see. Yeah, it's you get got to get in the in the grew for performing then, of course, crash Cymbals These over home superior drama again. So we have the's different, questionable even some symbols here. Strange symbols and then also swells, which is actually a duplicate off the same. But I use it on its own track because sometimes I use both crest symbols and, like a symbol. Swell. So what is the symbol? Swell, you might ask. Well, it's when if you use like one of these grooves and then a symbol swell And listen to this, for example, as you can hear, it swells into the beat there and finally, gongs from superior drummer as well. So So that is the sound palette we're going to work with. Of course, you can use whatever percussion instruments you won't. Ah, the main point that I want to drive through in this video is make sure your sound palette has that full range from the very lowest, and you want Teoh use even booms to base Rahm's tomes and up all the way to the high sticks and shimmer and other crush on the symbols. It could be high heads in the case, off other styles of music as well. All right, so that was a complete rundown off my percussion group sound palette. Now let's get started recording on writing a complete percussion performance. So I'm going to start with the bass drums in the deep big drums. That is because I want to get the main groove, the cool rhythm down first, the one you like a hum or tap along to like that. So in the case off ordinary pop music, it's often the kick and the snare. But I can use, for example, the big drums, something like that. So let's see what we can come up with. Metro Miss own yet be created in 321 Let me see if that waas, in fact, want to Yeah, that waas um, 16 bars, which is what I'm going at. Andi. Let's quant ties these two, it notes. I think it's OK. So as you can hear, the really important aspect off the were percussion and drums like this is that you didn't want to leave some space between the notes you have. You should have Wailers going on in here than competitive shimmer and sticks and such things, right? Let's move on. I want to record the base from on top of this. We could, of course, recorded like let's say we have it here, So Ah, one way to do this Whips is too assuming And really make sure you can see these hits here. So if we do like this and then record on top of it, So what? What are the accents you want to? Basically, this is the cool rhythm, which beats here. Do you want to accent even mawr so you could record it like this? Like so I actually miss their Or you could duplicate it. Make sure these notes are on the actual note for for the bass drum. So let's see operate only I think it's C two, so these notes are now on C two and then let's see if it plays correctly and then you can simply go in and check both of these at the same time. For example, remove the notes that you don't want to accept, so this is one way you can do it as well. So let's say you want to go way lists peace on the accents here. So they're only there. See what? You were 12. They can do it like this. So it's up to you? Um, yes, they're going to do it in this way. And so now we have even whalers notes here on the bass drum so together and I am I. I like to record most ports manually. So let's move on to sometimes epic terms today. So let's see what we can get. So really, you should listening and get the groove you created dumb, dumb Don't once you get these grooves so you really have it memorized. Um, then it's much easier to start recording. So you have down the term time, right? But of course, you want to have a different rhythm, or you should, of course, respect these the cool rhythm. But you want to add bore on the higher you get basically. So let's see. Right, Um then let's cuantos everything Teoh was I own Well, let's go in here and see the note values. Let's go on 16th notes and see if it works. It seems to work. And then you can, of course, go in and check. So let's say this one and this one at the same time, just make sure that the X and in fact, let's do this one in this one because this one is to see to only So it's down here. So that is all alliance. You can see here the lines with that make sure that these Maine accents are really respected. Ah, up in the rhythm we just recorded, it seems, seems to be, I believe. What is this? Oh, I do have a the C two in epic terms. A swell. Um, yeah, I think I got it right. So let's listen to it all. So even though it is 140 bpm, this by its own, the low percussion often sounds kind of slow. It doesn't have that really energy. You could, of course, at even more nose to, let's say, the epic Thomas here. But I want to use the higher percussion for that, So let's go on to the Tyco's where the mids coming? Let's see. I wanted to find out which problems I'm going to use, so all right, something like that. Whoops. But I think I'm over dated, so let's do that again. So I'm actually going to respect the silent or the air. I I added, In here. In fact, I'm even going Teoh, reduce some of the notes like here, for example, in the Tyco's over the epic tomes. See if assuming I'm actually going to use some of these two real respect that errors can hear Madam come air, but im bump. But some feel I'm going to respect that kind of overall groove and continue with the other instrument. Let's see if I can add some false arrive. Let's say it once more. I'm not sure. What do you think? So let's listen to this or if I'm going to something that's even more respecting the main groove here. Mm. It's generally good practice. Teoh do kind of Leslie small first, and then you can always add to it later. So I'm going to go with cool. Let's see how that sounds. If I quant I started to 16th notes on I think I heard something here with the timing on the victim. So I'm actually going to check. Ah, we're always if I can just move those entirely, in fact, that we have the silent there, something like that. Ah Oh, right. And the snare. You could go with the like like you're driving pattern. Let's see, or you can go and use it as a layering element. So I'm going to think about even doing it on Lee on the 1,000,000 big drums. Uh, where are we? Where are we on the need to have the snare? Drum said. All right, so something as you can hear, I want to add something more to these main beats, but still respect the main group you can really hear. I respect the main accents, but I'm adding something. Mawr. So what do we have if we listen to in total now? And you can also, of course, go in and check everything at the same time to make sure that you respect the main groove. Let's see this note here. Yep, it's layer. So you should really see the main groove on Lee by watching the layering, you created everything that is more sports and only some noses. Just extra feelers to add more drive. That is one of the main aspects of rhythm and percussion. Ah, let's see. I want to have sometimes, but only as fills. So I'm going to use fail, probably going into here. Let's in fact, let's do the crash Cymbals first. All right, let's stop. Let's start with a crash somewhere here. Let's see if I want to use that on Onley every eight ball. Really? If I want you, what do you have wanted on every four bore like here as well, I think was in fact, just split it so we can see it in Bonn bore segments still going to ring out. I think I'm going to try it. Ah, like so. And do it in group form here. So we have a tear now and then on the final beat There. Let's see. What do we have? 123412341234123 So I'm gonna have it. They're swell. Let's see. Found OK, so I'm going to do some kind of ending there. And now on top of that, I want to have the feels that I'm going to. Yeah, that Yes. Before these simple questions, let's see, What do you have, Right? So let's in fact, start right over here. That's not good enough. No, I'm going to use it here. One was, I think, see, if that was better, write something like that on. I feel like I'm not going to use these terms than I am. I see how it sounds without him. So okay, so that is a turn over to the next section. Here's ikan. We can add in more career, so we really see that this is the 1st 8 bars and then the 2nd 8 fours. And then we add the cadence there. Now let's go up to the high percussion. So let's do some. Let's do some sticks. No one's more. So here. What do you get into higher percussion? You can really ah, add much more in between in the silent Parton in between if you want to. And also more notes, so less air. Okay, so this is holder to record because it's faster. But let's try it again. Ah, job. Want that? You can use them triplets when you, if you want to add some Syncopation and groovy Saul Willis. Great use trip blitz and spices and fills in the high percussion, right? So I'm not sure about this, but let's listen. I'm not sure I'm I might even go for some kind of over temporary Nor Shaka rhythm. Let's see if I if I just record that rhythm. Ah, on the actual clustered ports here. That sounds a bit strange, in fact. So it's kept that I'm going to add a symbol swell here to drag into. Let's listen, I'm dragging to my other screen. Let's listen to a short symbol. Swell. Let's use that dragged into here. So we have have it into the next section. Say, I want to increase thes impulsive alias as well. Like so, uh, going? Probably not, um, contemplating using a team bonus. Let's see, what do we have them? Okay, so let's do something. Does it sound better? Because Tim ponies have, like, this long bring out, and they also have a pitched note, right? I'm not sure, actually. Let's try that again. No, I'm not going to use that in his truck, I think. Let's go back to this Tickets. Whoops. Wrong range so we have itself were here. So as you can see and hear I actually recorded, including the port is in the first section, and then when I get to in this second section, that's simply went on with it. So let's see what we have. And when you want to respect the accents, you can always go in and shake so that these Ah main grooves or even these Maine accents here, or see if you can see it in action so you can actually increase the velocity values on these same notes up here. So I think I already did it pretty good in the actual performance. But anyway, you can always going and add it. So what do we have in total out? So let's try to record some Manu Shaker's here, some not to temporary, Let's see, or still very fast. Let's try. Let's do that for the second part. By the way, by the way. Ah, so this is actually a pattern that you can create in this begin, So I'm going to use one pattern for the 1st 4 bars here and then do a change for the final four boards over the second section going going ship from pattern, a pattern bonded to you or whatever you call it. So thanks. So let's quant ties. Let's go in. Let's slice it up right here. So we have two different patterns, as you can see. So the notes here doesn't really matter because, well, obviously, you go into the pattern. Then we have the first pattern. And you can, for example, do whatever we want here. So let's say these are 16 in for four. So let's say which ones are going to You're going to have your 12341 and four So, one to three this one think this will be an accent, but using it like a triple shake on it, We'll see. Okay. Or just off here. See what it sounds like You can hear it. This is an accent. It's Iran velocity. Um, so you can Oh, yes. So you have to do it on both of these. There, there, you see? Right. I think we have something here. And then for the second based, you see the exchanged, but it was still have the same accent. So one and four spoons does. So we have them up here, especially one. In fact, let's do a shake on the third here. In fact, let's go back to this one and do shake on the second instead. Yes, to see the difference here. That's the shake here. Ah, and that's basically it s so there are lots of different protested plug ins that you can create your own patterns without using pre made loops on this one. I really recommend for Shimer. She must shake strike, but there's lots of others. So I think we'll Shelby go. Let's in fact, just for the sacred finish with the going Let's see. Where is it? I'm gonna check. Uh, you are somewhere here. Tam Tam 65. Why? So there? I'm going to finish with that. So let's go over here just like so, because we are going to have different aspects to later. But this is distort. This is our complete percussion mix for this new track that I just started. Of course, I said her rally start with a percussion. I often start with the other what, like hormones, courts or melodies basis in stone. But let's just start with for custom mix and let's go from there So this is what we have right now. That's Ah, reduced mix off the Shemer here and at some reverb, so it blends better with the orchestral instruments. Thanks. So all right, that's it for the percussion. Now you can experiment with creating her own percussion palette and start by creating a I recommend a 16 bar composition Onley using percussion to creature overall rhythm. 17. Let's Create Drive & Energy: now in this video, I'm going to first show you my sound palette for what I call the driving instruments. Meaning no, the percussion, which I already created here, but the actual instrument that can play notes in a rhythmic fashion. So this is just my starting template that I use as a starting point. You can obviously create your own sound palette for the rhythmic driving instruments, as you want for your current product. And I also change this up in every composition. But this is the starting a sound palette. So, as you can see, I have first all the strings short articulations on strings. So this is an insoluble patch here. Um, let's say if I can just close those This is, um, cinematic strings to fool ensemble. So I like using insolvable patches to create the fundamental rhythm. First, I might ISS which it out and divided into sections or just augmented with separate sections that I have short nose on basis. In this case, I'm using sin phobia. It's in fact, which is just speak up show, And so then I go up from there. It's basically the same as the percussion group. I go from the low to the high. But in this case, I would go from low to high own eats category. So first the strings, then biosphere cinematic strings to again, then violence on, then pizzicato bio wins. Ah, Novo. So of course I might want to add pits, the cattle channels or whatever that is the short articulations on strings, Then going forward Uh, oops with the breasts for so ah, full ensemble. So it sounds like this for once on the passion and then you close it. So the low breast short which is based in contract from bones. So it's aan den trumpets, so I should enclose it. Leave it open So and then short woodwinds. This is an in somber patch. I actually don't have d separated because I use short articulations. The woman's less so as a starting point. I only have an insult. The passion this most often I'd use Hi year. Baldwin's like flues anyway for shoulder articulations. And then I have illness fear, which is my favorite synthesizer to create short rhythmic synthesizers like this. Pals, you know, it could be a low base drive. We're up here kind of a placket sound or whatever, but I want to use almost arrested starting point. Then short articulations inquires his stormed storm quiet you for this. So yeah, and then on short articulation women here. So that is my sound palette. Now I'm going to show you live as I created complete driving rhythmic mix. Teoh go well with the percussion I already created. So this is going to be 16 bar with the cadence right here. All right, let's get started. So first, I'm going to take a listen to the percussion mix again just to get a feel for the group. Because, of course, you need to dance the same dance. Meaning what every rhythms I create here in the driving group should dance. The same dance is the percussion group so that they go together. So let's listen who ? So, um, the main groove is basically if we go and take a look, um, on the bass drum here is on the one and four 1141141 As you can see, 1234 So this is a 44 time signature, and we have that damn that dumb. So, um, let's see what we can get here on the short strings. Of course, You also need to know, since these are melodic parts, Um, what kind of harmony progression, Core progression you want to use. So I am a decided that yet So let's let's try something. I'm going to put a loop around. That's a, um, should I just do the loop? Well, it was used out of the loop. The 1st 1 there, something like you could obviously play. They complete harmonic progression here, like G minor, C minor, whatever on the rhythms. Or you might want to go only for the root note the bass notes in oak days, perhaps like something like that, even on the basis themselves. So, um well, let's see, I often ham along to see what kind of groove I won't like that. That, um no, not so g minor. I think I'm going to start in D minor, but so basically going up, let's try that. Not really in time, um, bad debt, but then done quips. Now, I'm not really going to a minor there. You could also, if you don't hear it well enough, just temporarily just increased the volume off the track because it's hard to play and recording something when you don't really hear what the instrument is playing. So that is something I sometimes do I even use. Another thing you can do is have a story folder where you have, like, mocha tracks that you're not going to use that are much higher in level. So so now it becomes much easier to do. You play something like I forgot about the the loop there, but basically, I think we have something going. Okay, so not quantities yet. So what did I play here? We have g minor on twice. So then I want to mark that as d minor all the way D minor d minor d minor. Oh, those bars of D minor. And then we get Teoh. So see c minor. What else? Okay, it's a C minor. Twice. You can say it's basically a gap here about so far. Just keep it at C minor on then. E flat Major, if let major on going to if major? Yep. So that is the core progression. Um, for the 1st 8 bars now, let's in fact, drive is down to the shorts things here and use that as the main port. Ah, now, in fact, what's let's first let Quandt has this. Let's try eight notes and see if it performs well here. Right. So now I want to share a super cool tip, which is when you want to respect. The accents seem to go into the main accents played on drums on. Then you select that track at the same time. It's just elect whatever region you created, so you can see all the accidents at the same time on. Then you can simply select the same notes as these accents were playing like so on did increase the velocity so they become louder in logic, you can actually select, uh, Theo shift p to select every note off the same supposition. I'm gonna be select hopes so that P can't I d Select them like so Andi. Then let's see. Think I have them selected now than increase every velocity valley here on these ones, cause listen to the difference now, super super sharp accents. I'm gonna redo that because I'm going to record the second section. So let's listen. So the gaps, um, are not going to be complete gaps in the end, I'm going to add higher driving notes on the rhythmic, perhaps de violas and violins. Here. I'm going to add more notes in between the thesis that basically the cool rhythm but on the melodic instruments compared to the court of them basically played by these instruments here. The big drums, bass drums and epic terms Can you hear? Can you hear it? Them, But but ever M It's basically very similar to the core rhythm on the percussion, and that's basically your main mission. So what are we going to play next? Um, perhaps going higher apps on the rhythm here s O G minor. What can we dio? So this is where you have to experiment on da See what do I want to keep the same corporation? I don't think so. I'm going because I'm going to increase the energy in the second section. So something like I'm going up here, right? I'm going to do it in a surprising turn there. So G minor C major on, then a flats major back to G minor D minor. Seven. Let's see minors, C C major, they flat major. Then the other turn. I'm not sure g that's like fact is distracted. Sketched out the chords, you major. Perhaps even if a major in the end there as well, perhaps finished with the G. Montemayor as his final term. Let's see you. Okay, Play some wrong notes here, but basically, I think I got the corporation down. Let's Qantas to quarter notes. Select all Sure currency. Let's see what we have. So now we have gonna turn over the competition. Corporate over here. No hopes, um, spent content connection. This is just how I This is the arrangement tracking logic. I use it sometimes to, um, right down the corporation with me show. So we have g minor g minor to bars. And then I went to see Major and then a let, um Major, come back. Teoh G. Major, where did I go? The next we'll see. Uh, no. Where am I? Where am I? So let's see. We have it right here. Let's cut it up there for Boris. Cut up that too. So here we have. The 1st 1 is actually Yep. G minor. Two times that, Major. And if all right, still us. Let's put that down. G minor. You watch if and then finally finishing unexpectedly on, uh, let's, uh, that outs doing like a twist in the end for the Cajuns. Ah, like so I want to rename it. Let me rename it g like So. So now we have the core progression down there on gonna mute that and record it in a rhythmic right now. Of course. Okay, so this this is actually quite hard to play rhythms on with both the base into your left town and the harmonic progression in your right, And but I'm going to give it a try and see if I can get it here. So I have the cool rhythm written down here in the story forward. And then I'm going to start actually arranging and recording parts on the drive folder. So the great thing about actually writing down your chord progression like this is that it's much easier to remember when you record Newports and when you're going to record fast patterns like in as rhythmic driving instruments, it becomes even more important. So I can see here that I'm going to play something in gene minor D minor, see a threat. Ah, and so warm so I can play thing. This is D minor thing going, Teoh, What was it? See? So I can go like, um and also what I like to do when I record rhythms that are courted play is to temporarily lower the actual tempo of the song. You can either do this here by like making 107 140 for in logic and perhaps some other DW. There is a feature called Very Speed, so you can temporarily turn down the speed to, let's say, 30% lower if I activate the very speed which sounds crap because it actually, um has to transpose all all the parts in real time in audio. So it sounds crap, but it's much easier to play. Um, but I'm just going to reduce it to 100 for now and see if we can come up with something. Let's make a little peer and try a couple of steaks and see what we get way. Let's say I went to Ah B flat there, so this is tricky, but this is live, So this is actually what I I actually experiment with here. Alright, some mistakes here. Let's go in and have a look, see if I could Despicable tries to eight notes. I think so. We'll see what we have a lot, right? So I can see right away that my main grew hearing the base notes is actually it is one and four in bond. But I also have one here syncopated notes that I I just, uh well, I actually played in in plating on it might actually work. I think I'm going to low word in the mix by selecting all these suppositions like so And I think I'm going to know again increased. So let's effect do all these now I'm going to take every one or 11 and four here on select every such some position and increase its likely I'm It's going to go for something like that and see what it sounds like. So let's remove the booth. Okay, so it's increasing to 1 40 again. - Wait for the final cadence. Note here with that, but I'm going to see what Which note I'm going to put up the earth like let's see if that works. Perhaps that's want to you. Yes, an inversion higher up. Yep. Eso That is the cool rhythm in the driving instruments. Now I'm going to take this. Copy it, mute that. Put it on the short strings down here, less the marker. And then I'm going to take the same port, Move it down to the base, cope it, that is, and then I'm going to look, it's at this and only select the bass notes, so I'm actually going to select all the lower notes here. Andi, let's see. And I just want to do it like this. So I have it in octaves. So now that it's there with E, I think this is a big Jew. High preps. Yeah, let's listen to only base knows now. So that is the main access. On the basis, I'm going to actually see if the modulation is a bit too low where I want it more accepting which one of my using here. So this is sim phobia. Okay, so the population doesn't do anything there, but okay, that I If that's the case, I'm going to just increase everything. I'm going to put it on. Let's say it's the wrong one here. The steam phobia, short strings, this or the articulations that I'm going to shave the articulations on every note. Teoh, speak up Dio and then move it up in velocity. Let's see what it sounds like. Also going to select every note on the the born old here on Actually used. Try more culture on it. Stand it slightly. Let's see if that works. No, I didn't like that. Um Then I'm just going to select it again. All the first notes and put it on. Speak up, Teoh. Like that. Increase the glass. It a bit more inverted. So I expect every note except the person The bar. Put that on. Speak out. Too short. Let's see what that sounds like. Yep, much better. So now, together with the short strings, Right? So now let's get at some drive to this. So I'm going to go to the cello and see what I can get on DA. Let's see, I want to see the I want to see the cords at the same time. So let's do it like that. Um, close the percussion group for now. So G minor d minor all the way. What can we do? Or should I do something like that? Or what articulation do we have, which the stock are tasty meal here. Okay, let's see what we can get. Right. Okay, so I forgot. We're going to see Major there, So let's do that again. Okay? Once more, it's difficult. Okay, let's go into this and see what we got. I think again, eight notes Will Pretty much. What does this to the grid on? We have solo. Okay, so I have the second note here. I don't want that accidentally got it to be too high, so Ah, let's reduced notes on that. Those That is not going to be an accent. It shouldn't be, but I won't be accident someone more on one and four. So let's in fact, select one and four. Like so 14 on every sub position here. I think I got it. Let's do the 1st 1 first. Here. I think I got that pretty good. Hes not here. Tire there. Um there I'm done. Let's do before which you can see here is way too low. I'm going to increase it very high first and see if anything iss even higher. If anything. Yeah, so this is a bit too high to right. Perhaps some longer there. Let's see what we have now, So this is a bit below two. You really want to make sure that humane accidents land on the beach you want. That is a really important with rhythm. I wanted this even higher. In fact, let's select all of these again and move them even higher. Let's see. Now that's red. I don't want it to Red Cross tenets stick out too much. So let's listen up so you can do something. Changes when you listen back. Uh, now if you voice into the drive section so far. And another thing you noticed here is that I actually went to for really simple ostinato line here, basically shrugging on the same note like a guitar electrically told shagging on the same note here in the break, because I still want to have some energy while not having too much harmonic movement that, in fact, one tip I can give for you, which is Ah, when you think about Austin altars and driving. Ah, in melodic rhythms like this, I I often think about the shagging rhythms on an electric guitar, which means you can think about the actual pattern as well as, for example, on an electric guitar. We actually open up the sound once in a while. So you can You can go for that if you want to. Let's say we want to open up the sound here. Own every first Borowitz this. Try more culture and see if that works. Let's listen back. I actually like that. So let's move on to the second section. Let's see if we can loop this. Get something going. We have reminded reminders. See, Major? A flat major. Okay, so let's do this. Okay. Okay. Something like that. Again, if you want. You just used You were, um, on a story. Mocha folder. I can do it. And a next RA track here just to record volume temporarily. Not expected for that change. Ah, quite a difficult change. Should play. Okay. Theme. That is the first part. Let's continue the second part of that. I think it was pretty good we're going to go from. They're not going to go down. I felt that it was kind of awkward. Repeat that. I'm going to think about this because that is a big jump. So let's see. I'm going to go for something like that. So an inversion here using versions to your advantage. It's it's tricky. Okay, so some mistakes in here on dumb. Let's moving and have a look I'm going to Well, let's do this one. First fly Qantas straight notes. But what do we have? Okay, Felt pretty good. But I see I think I'm accidentally made these the tube second in the B two. See if I select all these on, then go in and have a look. Let's see. It's called us everything. Teoh. See if you can extend that. I'm going to go on then on the third here. There's way too low in most cases here, going to increase that Well, um, something like that. So I'm going to copy that down. Teoh the chair lows here on. Then I'm going to see if we can Oops, We're going to change these to swell and do every first in the board as a more call choe on . Then make sure that every other one is stuck out. Let's see how that sounds like. Let's distance you. Only the drive section on mute does. I think that sounds pretty good. Um, now we're getting into the faster rhythms, violas short and violent. Short if you want to, you can You can do whatever you want. Of course, but let's listen to how it sounds in context talk context right now. So I definitely want to increase the energy over here. So I'm going to introduce, um violence here and see what we can get. What do we have right now? Um, I wanna have stuck out there. Should I do something like homeless? Um, or you can even try to do something if you want to meet me. The kind of rhythm I did with the chill owes. Ah, this is another freak. I like using its duplicated. Put it in an octave higher. And then to increase the energy. Really, really high. Let's see, there you take it everything selected and duplicated to the next date. No tears, or you basically create 16th notes on. Then you simply lower the velocity off that second. Um, no. There. Then make sure that there is a gap between every note. Now you get this so you can hear that. Did it? Did it the that stuttering kind of fail? I think I'm going to actually assuming and reduce it even more to create that gap in between the notes. Really? To make sure you hear the 16th pattern. Okay, I might have overdone the controls between them a bit. Um, so let's in fact right, increase everything. Let's put this on Stuck out their own way. What does it sound now? Okay, so let's listen to that in context now. So we're going from the cello and then hire here. Let's try to duplicate that on the violence to swell and see if it fits. Put the violins A C, Which optation will be Yes, let's try complete octaves above that really cover the full range. But I don't think I've got double note. Ah, those onder instead go for the main shell rhythm down here because you don't want to have too many different rhythms. When you add all these driving force, it creates a miss. I suggest you that honesty hope that sounds. I think it's a big, too low in the mix. I'm not sure about it unless open up, we have stuck. Cut, do Let's put it on live more. You had some more humanizing vibe to it. Um, I think I'm going to go extreme here on. Increase the velocity over these notes. Even Mawr, asshole. See what that sounds like? What the did I do here? Oh, yeah, I had a drop, so wait a minute. I think I'm not I'm not liking that complete drop. There's I'm going, Teoh, I'm going to go for 1/4. No. Beat here. I could just add that, like this and probably like like, a vote, and then finish with an extra note there. Let's see. Do we have Let's see how that sounds. Think we can also mimic may make that role? Um, on the bass drum below. See, really There, down here. Okay, increase it even more. Let's see what that sounds. Yep, I I'm going to go with that, and I'm going to do it in this, not Ramus. Well, so, Kobe, and make sure we are Move it up. Like so, um, there. We got that. Okay. How does that's ending zone like? No. Okay, so I'm going to have to increase this final partier really won't accept that quarter note failure like so, um, what do we have in the base notes? They're really, really want to accent that. That, uh So that is actually playing the wrong porch. Year of check 4 17 This is wrong. I want that to be here. Wanted to be there I want is to be really extended on every every note here. Like so, um, let's see. What was that one? 1234 ingresos as well. Um, let's see the basis here. Yep. It's Oh, no, it's a correct down here. That over there. In fact, we can just do it like this way are here. Like so. No dice. Nice place. Now we're getting there, Andi. I'm gonna increase the velocity a lot if we check in here on basically everything here really getting, ah, the final energy. See what it sounds like? Something like that I can eat. And now you were getting to you that if you want to extend something, you can really go further with accents or breasts and something, but I'm going to record some driving things on breast. Let's see some press here, but put it on stock at the O. Is that nice from as again here? I want you have something other than strings here for the drive. So? So G minor. I think I'm gonna keep it low for the first book. Okay, so let's see. Ah, yes, that actually, Guild, I might want to go and have it only in the second part. Let's say I think that's a good sort of sound. If that is better, if I'm just going to do is like some kind of melodic, really, that didn't work at old. So let's go black. Just like out there again. I'm just going to extent. The base grew nothing. Um uh. Let's see what we have. Let's put that young eight notes on What does it sound like? No, no. So this suspect every one on day four and increase the velocity on those. In fact, let's do this for Sunday. On those increase the velocity a bit. You might even extend them Justinian pussy because with rhythms, it is really nice to you. Vary the articulations to get it like a groove within the within the pattern. So per Sando staccato or sandals? Oh, sport sandals, staccato and so on it really as variation and groove in the rhythm So together now. So I think I'm gonna copy that on onto the low breast and do, ah basically the same here. So the low brawls is basically going to just play the the main groove here. Um, let's see if I just love written octave and I think I'm going to only use the low notes inverse, invert the selection, lead those who We just have this Let's see here. And I'm also going to put that on on the stuck out, though, make them really short. So that is basically playing the same thing s demain the name based from here. Um, and also the basis off the strings really elevates the accents like So, um, so that is the little breasts And then this press and this press now going to actually add something more today is because it's just playing the one for one. So this is really found instead of actually recording. Now that you have the main thing down here, you can actually go in and like So let's say we dio that. Let's say you want to do that. Well, let's just hope that over here I'm not sure how this is going to sound. Um, I think I'm going to have to. So wait to hear this. No going to have it see stuff the right beach. So but to decrease those. But as you can see, you can add some Syncopation and variation in the rhythm. I really like that. But that that Okay, so here is growing again. Because remember, I finished off with 1/4 straight quarter rhythm. That and again, the indicators there as well. Um, So what does that sound like in context now? Should we just increase? I'm just going Teoh, extend this on. Make that this Sunday. I say that it's for Sando. All the other ones should be stuck out cause I just want extent that final cadence note as well. I think if we listen to it from the beginning now, um, I might want to add to high high breath as well, let's say on a stick out there, Okay. Something okay? Something that still need to diligent maintained that gap that off air in between in the beginning air. I might do it for the second section only. I'm not certain about this. Jodi has used at that has accents. What should I do? That's a driving rhythm. Let's try it on the second beat once more. Okay. I barely heard, but I was actually playing. So let me send back. So there's triplet things I'm going to try to cool dies days to 16th notes and see what happens. No, it didn't work at all. Ah, if I just move it to the right because I think I played a bit earlier in the grid. Andi. Then quote has to 16th notes. I see. No, no, it doesn't. It didn't work that way either. Um, let's see if I just keep it unquote ties, it works. Um, it does. It does feel out of times that I'm think I'm going to record this on one of these rhythm tracks it up here just to get the rhythm down and then copied the porch so I can hear it. Ah, say, given it's those and I'm going to temporarily lower the temple again. So let's try something. Okay, So that sounded quite nicely in time. Let's try to quote ties. Dat 16th notes that it is they work against. Let's move it. Slighted his right and thank want ties. Mm. Let's see. Cool. Perfect in time now. So then I can cope with that was mute that for now on go down to the trump efforts and then increases to one Ford again, just going to rename this. And now let's see what we have in here I will smite would make sure that these are on the staccato on that. See if it's high, you know, And again I'm going to go in on do the one on before because those are the main accents and beat. Put those owns for Sando articulation, perhaps increased them. A. Just a hint decreased every other note to really make this Takata's short Let's see, I also want to actually increase the velocity against direct. Or by the way, if your DW doesn't have this feature, you have to manually go in and select one before or make sure you recall those accents better. But basically, I can do like this shift p in logic to select all the sub positions of the same kind. But then increased have also don't all like so And now we have Teoh he had those accidents are slightly louder and now in context. I'm gonna go in and see what the actual because I want. I want this to be really loud. I see I think I'm using four. So for this, but I makes the ISS already high, but I really want to get it even louder. I think so. In some cases, you might want to add like, um, some distortion, slight harmonic distortion or something I'm going to add Just choose fat in up the sound. I'm also going to do that in the final drive section. So but let's leave that for later. I think that is it. This is the main drive now recorded on. As you can hear, it really dances the same dance as the percussion mix cause, uh, duh duh duh. So on that is the main main aspect of rhythm to go absolute most golden rule. In my opinion, I think I can still increase the velocity bit higher on some of these parts. Justin Yes, the Ted to make them stand out more intense it especially in the second port here, because that's going to be higher energy. Right? So now we have the main drive as well as the main percussion. So go ahead and practice recording the driving instruments and sounds and make sure they dance the same dance, the respect, the accents Maine accents and so on all the golden rules of rhythm so that they go well together of the percussion, the main driving instruments in your composition. 18. Let's Create Rhythmic FX & Fills: in this video, I'm going to show you behind the scenes as I create and record rhythmic effects fills and even add extra strong accents to my entire rhythmic mix. So I already created the percussion mixed here the drive and energy instruments meaning Austin autos and comping rhythms. Here and now I'm going to go further with rhythmic effects, which I have in its own folder right here. So let me just load up this and, well, I'm going to start by actually going back here and do exchange in the drive folder because I actually think I like this reading here in the short trumpets so much that I I'm going to duplicate that on the violence instead of having the violins an octave higher than the chills. Or do you give it higher? Even so, I'm going to go with this rhythm as a layer. It sounds like this probably gonna fight even higher up and then make sure everything is staccato. And let's see, let's see how that sounds now in context. Let's increase the velocity values off on these big tire of the violence here. Uh, no. That tie, though, right? So now it's I like that rhythm. So now let's continue with the rhythmic effects of what are these? Well, here you confined stutter effect. Read me gate effects on and even or pay Agios um, rhythmic sound textures and someone. So for first of all, you can, of course, recorded with notes such as this synth pals. So if I want Teoh adjust record, it's basically like like a baseline about a single piles like this, probably even an octave lower and again, you don't have to do want to see through 5678 You can do a an actual groove inside it. So let's try that Looks forgot about the harmonic shift was increased that let's try something. Whoops. Should I go up there? Well, let's try that. - Something like that. Let's go in on Qantas. It ah seems to be 16th notes on. Let's check it again. I'm respecting the main rhythm off the percussion here, so it's basically if you listen to these core percussion, it really dances the same dance again. So let's go with that for now. I can always change the sound later about that is the way I prefer to use Ah, rhythmic effects actually having the nose. However, sometimes it can be easier and really cool with the sound design for example, having a single note that used nor pay aviator, rhythmic eight effect or whatever on. So let's try something like, Let's see what we have here. Rid Omanis your rhythm. As you can hear, I only hold down one out. Now why it's playing that rhythm is because I have these or pidio in court mode. If I only hold called down one note. It's simply a stuttering rhythm. So whatever, or Peggy do you use in your synthesizer or plug in or external MediaCorp radiator? We can said the groove in here. So this is a straight eight. No pattern, very, very short length of secrecy to have that snappy feeling. So let's try adding that and see what it sounds like, perhaps higher to get that underscore kind of pulse. Okay, um, I already hear that it's way too in front. I'm going to add some reverb to it. I'm also going to lower rich, let's say, minus 10. So what I'm doing here is that I'm simply holding G here and there, and a folder called Progression Going to see. And so I hope so. I missed, um, changed here. But let's see if we can just do like this and take it. All right, let's join these. Go into here. And since these are long notes like, in contrast us 1/4 note, make sure, uh oops that they are basically no gaps in between. So it continues to play. But do we have here? Yeah, So that's basically the root note off the court progression. Ah, and the cool thing when you do it like this when they don't record the nose actually using an AARP aviator or red negate fix is that once you have this, you can actually go in and change the rhythm. So let's say I want Teoh. Let's say I start from the beginning and then I use one. Let's see what, and four within eight note was would be one and six here. So this is one and two l three. What's that is, of course there and for and so that is. Ah, I'm going. Teoh have those at higher volumes, but I'm going to use all of these other ones at lower volumes. Let's see how that sounds I'm gonna make sure. Does it even change with velocity? Think so? Yep. Probably lower these even more so that the step. You hear those accidents there? Um, I think I'm gonna leave it the debt. I think I'm actually going to only use it in the second part to wear that Dr X arrived. Keep it focused here with the group. And I mean, listen when I'm Newton solo this Ah, as this high rhythm, it's just a ticking kind of pals. Truly makes a difference. Overall, even that is, though, it's kind of low in the makes. If you were there in the background ticking along, then there are, of course, many instruments. Ah, that Or but have these rhythmic texture already built in? So yes, for example, let's see if I can Yes, it's he escaped creative. You can go into like that almost dare even has an orb and pause bpm category. But I'm actually going to go into the library. See? Ah, if I have something else in the rhythmic texture. So soundscapes, um, pats and groans. Let's go for ambience in four. So which is a breast library? But it has some designing capabilities and many of these passions are actually very rhythmic in character. So material for four so really make texture. It's Open that up, see what we have here. So as you can see, this is actually the, um, some decider. Patrick's not traditional, and you see here it has ambience. Let's go to with me. Let's try, let's say, Let's just try that for now. I'm going to take that. I'm going. Teoh, reduce it involving quite a lot of stewed minus 12. See the same kind of baseline here. Oh, wait a minute. I shouldn't have deleted that before. In a way. Let's try. Okay? So little debt. And then, yeah, really cool texture. So let's go low. So I I just want to hear how it sounds first, if I want to use it. Ah, what's Qantas stick would not. So yes, so that is, that is way, way lower in dynamics. I think I want to use that for So it's C E. Fletch. So that's yester bright. Didn't the Snows actually, So wait, See? And was it? This is why it's good to have it written down e flat and then all right, so if let And then So now we have this so very, very, very in the background ambient soundscapes, texture that is still rhythmic. I'm gonna try having this on the force of reading passion an octave below us. Well, wait a minute. What happened? Now I'll get to go in and check. It's like some of sort of key switch here. I think I'm gonna have to take a look good. Both at the same time. Perhaps it's to lows. His thoughts now. The type of patch? I think so. So let's see. You can have it up here. Seems to work there, so yeah, let's keep it at that. Um, perhaps that was even better than this. But again, what I wanted to show me is that once you have this and on this here, I say you're happy with sharp edges rolled this year is really cool, because I can now look the AARP radiator so I can change the patch. So it's ah, they would like this now. So if I play this back now, actually changed the actual creases. But the or predator is still looked. So what is next note? Why doesn't it way back? Oh, man, like, so I'm not sure if I'm going to actually just told me to note, Of course, here is where you need to experiment on your own. If you use an external or predator here as a media effect, it's you can use it on any type of instruments. Oh, in fact, let's try that out so you can see how that works. So let's do. But let's pick like this big turn off this ORP aviator than go for a long sound. Let's say since long here. Yes, use. If you have that Ah, then you can go to the media or page aviator and ah, do some sort of pattern here. Let's see. Why doesn't it sold? I'm not sure what it doesn't sell now. I think it actually is to too long a tax that doesn't do you really start list. Use a synth poli instead. Okay, so turn on the ORP wait can have that playing and actually changed here. Just say, here is the water African here. If you can extent it by increasing the velocity on the or patriots or produces or great for programming pulses, pulsing rhythms like this, and then you can of course, changed this allergy whatever you want. But I'm not sure I'm going to use that. Let's listen to in context again. No, I don't. I don't like that. Instead, I'm going to delete it on and in fact, use something else to demonstrate the power of elevating hoard accents. So I'm going to start for something called stabs, Which Ah, tonight, Huh? Hopes turn off their predator. Just leave it for now. I'm going to delete the fat effects here. No, I I really need something more brassy. Press it so you can have something like like that. And then just use one of Aunt Heat cord or something like so you can have it like that And then on the next bar here, like So I'm only playing that chord. The G minor chord like this, and use those attacks as accents on top. So is even. Ah, you can use it soon. You can use the stab or let's say we duplicate this track and then we use a breast stabbed here on go in and check what we have. It's four. So here and then use. It's a open toe. Poor Tartu accent Report Auto or even sport Sando. So let's use that and do the same. Can you? Simply cooperating, in fact. And it sounds we need to make sure these are actually on the right. Articulation. Mm. Let's rename it like. So Now we have, uh it's means that for now, as you can hear so I'm probably going to play something else. Like you see Jones for South about. Really? No. Okay, so I'm not sure. Let's try. So probably too much for ah main. Or perhaps not rips. Now I need to use eighth notes. A story slow, less notes. Okay, so now I know what I want to play like So So now we have some stabs, Hero Pops. Ah! Ah! To those eight notes. Yeah, Let's see what we have in dynamics. It's pretty pretty loud. So if you want to really elevate those accents used e que compression or something, I'm just going to go for this bright setting, some compression, some saturation to really bring it forward. Right. So I want to continue those accents here with the, uh Do you have hopes? How does that sound? Um, so I went for a faster rhythm. Lots of steps. Probably too much, to be honest. Let's see, that sounded better. S so I increase the density of the notes in the final port to really bring up the energy. But now we have this only their first court. There. You can see the one and four here. 141 and this syncopated notice you can see just before the three. So I think I'm liking that. So that would be the accents. Now I want you add Some feels I'm actually going to exchange this pizzicato for a short, simple short strings violin. Um, and see if we can find strings on a violin. I'm going to go for simple second violence here. Oh, it's frozen. Okay, so you see what we have. In fact, it might even just change it here. Do you second violins Because I'm going to add a run A string round string and woodwind runs. Oh, are really great for ah, well, in a transitional manner and also as feels I'm going to put this and turn that off on run mode live mold The gulf Joe knows stuck out to overlay. And then you can, let's say violin runs, so I'm going to use here a G maybe around. Or let's just start here with an F major run in the final bore. So what you can do is, ah, you can go in, invite the run. We'll note by note, like 16th notes or something I have actually created already fills. And then let's see, we haven't if major running. If Nader, it's all these are in exile. Just want a Let's say she looked it up here. Ah, the dragon dropping the meeting. So I recommend that you have your own Mead e vibrio, which you can just drag and drop into your sequence or like this. So this is the two rounds, but it's starting on the wrong note because it's a we're going to be on f this thing up here. So it's starting. Let's see how that sounds now or weaken started. Let's say we started at the half board here on you might even want you have, ah, it run into the G. Let's do that So it starts so it ends on the G here. Probably you don't have to start on the G, but well, let's try this. No, it doesn't. Doesn't really sound. See that started on or is it G? But all right, this is something g there. Yeah, that's better. So So the final load is actually going to increase tasting velocity. Beat the list on those. So because it goes into the g chord there. So no, he actually runs into the next, and I'm actually going Teoh, change this. See? And it changed the articulation switch. Numeric strings promise to on then use a lot of these or run mode. Except this which I want to be a more culture. See how their cells All right, cool. I might even more thio Thio to start with it, but only only using one octave runs. So this instead. Let's move those here. So now we have a short don't do it like here on the second, or even do There's a transition kind of thing. What soon means we see So it actually finishes right here like so you can see it finishes right after just gonna make sure I see the region better to my house again. So now I'm not sure, but as you can hear, that is filled. I might even want to do a string round that goes, um, up and down. So let's use bills, major one octave up and down. Let's try that instead, this I already created. Make sure it is g is way too low, so I'm not sure. No, I didn't like that. I actually want it. I think I don't born to string on I'd other than there in in the actual transition. But I want to elevate these accents even more so now you can, of course, had more fills runs or little twists. In fact, let's do something now. The type of feel I like to do is when you get into the new section, introduced something from the next section. So let's say let's say this one here instead of starting right away and just add some notes just before it assuming, so you I don't know. It sounds really chromatic. Say shift. Okay, so that didn't work at all. As you can see, it's huh Well, about experimentation with music composition. Um but you could do it, for example alone, but say the short steps here, So instead of just starting their okay, sits frozen with some freeze, it could just, um Dia Latina. So to speak. So we're all before we are left before So you can do like, if let's do, like, like involved rolling into the note waiting world like so So you can also go in here and, like, make them really roll like so, because that also he's kind of a feel for the transition, which helps with the transition. Ah, like feels on percussion and or whatever. So I actually want to do something here for the for the drum part as well. So I'm going to see if I can add something like Rule into it here. Swell. Let's follow the same rhythm. I just did. Pam, Pam, Pam, Pam Like So So Okay, so the tire, I think, do some of the creation head. Let's see what that sounds like in missile. Yeah, so the same kind of roll position. Basically think like the classic snare role. Or you can even add Let's say you have this this well. It's also kind of failed transition. You can have, like reversed Cymbal crash or whatever were and, for example, here you can add some kind off transition bush or something, but that now we get outside of the rhythmic aspect, which is really about this is all about So um instead focused on adding the Phils as transitional elements or spicing up, for example, here, every four borderless do something in different here. So it's a have the steps here, just simple von stub here you might want to have. Let's say that on double increased the velocity on that just do something different. As you can hear now we have instead of only one hit. Just some short variation you might want to do is here on the cello or some kind of twist here. So on threes, so we can have So here we have 10. Pam, Pam, Pam, Pam, do something. Now we have C Am I on the right track? So you heard that the magenta tinted instead of a simple transition there? Ah, I like to you focus to the so mainly the every four ball Or do some kind of twist, which really adds to look to the overall performance. So, for example, here on the short strings, I'm about to mimic that kind of thing. I just did. Let's just ah see, where did I have that transition feel here? It is so assuming. Just take those on and like, Let's do this. Let's try a double note here, see what that sounds like. So when you do it, make sure that you actually foot dance the same down. So I added another eight note there, So I do the same there here actually went to 16th notes in the chill owes. But you could do something like spicing up by adding something extra here on the viol violence, which is no person that all in the rest of the parts, if you want, um, really, just to spice up the overall composition. But generally I like to keep the rhythmic sounds affects less well, what's pronounced because they all just backing up. I think of them more as underscore elements, so I don't want you overdo it. But let me show. One final thing is that if you have like a long, sustained sounds, let's say I say we copy this onto the illness fear rhythm here, and then you can do, like, really mitigating effects like, for example, Lorik as they step effects. Ah, which you can program various patterns into. And now they're long sustained sound becomes or another one here is, um, etc Rhythmic effects gatekeeper. So you can experiment with various kind of rhythmic stutter effects with various presets and so warm. So let's just go for whatever on play this back. Now we have instead off without it. Oh, let's remove. Step affects. Otherwise, it's just a long note. What? Just try it out. If it adds some kind of Yeah, actually, I should like that. Let's try in context with you. Hold sounds now and also if you want to elevate those extracts and always considered classic crash Cymbals or any high shivering, extended percussion even a going here. But let's say where did I put those? Um OK, so this is entrees again. Oops. So for some photo, have you can always add another crashing well, there on the the new bond perhaps a shorter pft. The error? Yes, the PFD or something like that. This seems to be destroyed, dressed with lower in volume. I like that. So it actually kind of a muted sound on the the next accent. So I think I'm going to go with this kind of a pattern here. See, I might even do it like this so copy over all of those time. Let's see how that sounds. Okay, so there are bones yesterday, extent that I might want to If this is still way too low in velocity on the swells, this increase that right, that is, that is actually way better. Then let's see. Far more to add it in the second set. I don't think so, because the main hits like that their arm or elevated here with focus on those beats where it opens up with more drive here. So if you think about an electric guitar again, you can have, uh, like a muted sound there and then basically used the same technique as I did on the symbols . So to check this in the piano roll editor here, it's simply too Ordinaries symbols and then a PRT, which is if I open this up with you. Um, so normally, crash symbol is too canny heat here with steak, and these or PRT crashed them together, and you can get a more muted sound if you push your hand so it stops ringing. I think I'm actually wanted to have the final crushed symbol there, and I'm actually going todo do the 12341234 Bam! Here, um, let's see the crash stream bull. So it's perhaps an old I think I'm going to go. Um 123412 bam! Instead here. Just as a finishing cadence on. And perhaps I'm actually going to go core the short pft one on these four. Here. Let's see. Okay, so these are nice. Way too low here in Miami of these air. Still, let's see how that sounds. No. Well, perhaps even reduced. Removed that and just have von and band again. Let's see if I remove this. If it sounds better without this final crash. Yeah, actually, like without, um And I'm also going to try to see if if I view this if I'm using the swell instead What? What? Here? So it was soon means that I can see that it actually, yeah, it lights up. I think this time I want to reduce the it also do the scene now, or if I'm going to use it here instead. So that was way better. So let's remove that. So now we have that banned them, you know, on Let's see if I'm actually, I think I'm going. Teoh bum bum. Repeat these two big notes on Priest so we really have them and perhaps even have the gold on the final hit instead. Now let's see. I'm happy with that. So that is the ALS rhythmic elements in my composition here, from the percussion to the drive to the rhythmic effects. All in all, it really dances the same dance. It adds energy, but they all respect the core rhythm, provided mainly by the big dramas, bass drums, epic terms as well as these short strings here on the basis for the main accents. And they also respect the overall frequency spectrum so that it fills up and feel the overall sound is full and complete Now. The final thing I can do is, of course, to as a mixing and effects like I have this already said. In my template, I used this bugging called supercharger because it has saturation compression and some character in form of basically e queuing built in. So let's say I want to make the the percussion fat with some compression, some saturation, the rhythm I want to make, um, let's say bright. Some situation and compression to you know too much. And then for these ones, I'm going to go for some compression. But it really form to goes warm is basically more mellow. I wanted to be way back, so it's compression would see how that sounds now. Oh, by the way, also, I like using, especially on bread make tracks, stereo imaging. So I have some Steri mission on percussion. I'm probably with driving instruments. I often go higher in stereo imaging. So let's see what we have here. The ambience, By the way. I also go really high to really make it more kind of Ah ah, background, texture so really high here as well. So, overall, let's take a waster now, with all elements added, I'm going to open these up on make you so that you can see black. So So this is the rhythm. So now I have a added rhythmic effects. Some feels here would symbol swells and Tom's and runs and so one and also elevated the main accents I wanted with breast stabs and making some also spicing up feels here every four bore. You can do it like that and someone so let's take a listen to the final result. Also after I added the final effects on these mixing groups playing in 321 Great . So that is it. That is the percussion, the driving in rhythms and energy and the rhythmic effects fills and extra accents.