Master Percussion in Music Composition | Mikael Baggström | Skillshare
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26 Lessons (2h 32m)
    • 1. The Power of Percussion

    • 2. The Foundations of Percussion

    • 3. ACTION - Active Listening

    • 4. The Sounds of Percussion

    • 5. 1 Acoustic Drum Kit

    • 6. 2 Electronic Drum Kit

    • 7. 3 Organic Percussion

    • 8. 4 Cinematic Percussion

    • 9. 5 Tuned Percussion

    • 10. 6 Foley Percussion

    • 11. 7 Sound Design Hits

    • 12. ACTION - Master the Sounds

    • 13. The Colors of Percussion

    • 14. 1 The Articulations

    • 15. 2 The Range

    • 16. 3 The Sound Design

    • 17. ACTION Design your Color Palette

    • 18. Master your Performance

    • 19. 1 Straight & Simple

    • 20. 2 Groove in the Beat

    • 21. 3 Action & Energy

    • 22. 4 Power & Strength

    • 23. Guide 1 Write the Elements

    • 24. Guide 2 Add Amazing Expression

    • 25. Guide 3 Mixing the Colors of Music

    • 26. Congratulations + Your Final Project

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About This Class

Learn how to Master Percussion in Music Composition

Hello and Welcome, all Music Composers & Producers and Songwriters! My name is Mike, and I will now teach YOU: how to create powerful percussion. So that you can add that amazing drive, energy and action into your music compositions.

Get a Complete Guide of Percussion

  1. Create the Sound Palette of Percussion

  2. Design the Colors of Percussion

  3. Dominate the Canvas of Percussion

  4. Master the Performance of Your Percussion Mix

In the end, you will be able to write, perform and design any style of percussion in your music compositions.

My name is Mike, music composer and sound designer since 1998. And I truly love to inspire, motivate and educate creative people like you.

Take Action Now!

Now it is time for you to take action, and dive into the world of powerful percussion for music composition. Let's do this...right now!

Meet Your Teacher

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Mikael Baggström

Music Composer | Sound Designer | Video Producer


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. =)


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

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1. The Power of Percussion: Hello and welcome all composers and producers. My name is Mike, and I will now teach you how to create powerful percussion so that you can add a lacing drive, energy and action into your music compositions. Listen to this live example straight from the course. You will learn how to create the sound palette off percussion, design the coolers off percussion, dominate the canvas off percussion and master the performance of your percussion mix. In the end, you will be able to write, perform and design any style of percussion in your music compositions. My name is Mike Founder off professional composers dot com, music composer and sound designer since 1998 and I truly loved, inspired, motivate and educate creative people like you. Now it is time for you to take action and dive into the world of powerful percussion. Let's do this right now. 2. The Foundations of Percussion: what is percussion? So let's start by defining what percussion really is, because it is actually a wider part of music than most people think. So this is my personal definition. Percussion equals sounds off objects that are hit percussion is essentially any type of instrument or sound that can be labeled as a hit, basically hitting any object with your hand, a stick with another object or even a hit made from sound design on a synthesizer. Drums are actually only a small port off the unlimited range of sounds that you can use as percussion ports in your music compositions. In fact, if I hit the table here with my hand and record that sound, that is a percussive sound, something that is hit that I could use in my music productions through percussion versus to Eun percussion. Most percussion sounds in music or known pitched meaning they have no real tonal centre and harmonics. Basically, they cannot play notes like most drums, for example, I call this true percussion. However, there are also percussion instruments called tuned percussion that are tuned to a specific pitch. Some of them have only a limited optional pitch, but some have enough range to actually play melodic Portman, for example, Tom's in a drum kit or tuned, but their focus is mainly to add tonal variation, not playing melodic percussion ports on then. We also have percussive instruments that can play a wide range of notes like glockenspiel, marimba and tubular bells. For example, the room off percussion percussion plays many roles in music, but the main aspect of percussion comes from the fact that all percussive sounds have a high peak in the sound when they are hit basically on X ended attack. Port off the sound Compared to known percussive instruments, this means that percussion is excellent. Full rhythm and drive action and energy accents and power details and spies as well as fills and transitions. Congratulations. You have now learned the foundations of percussion, very definition of it, as well as their rooms, percussion plays, music. Let's continue right now, and I will give you my best power tips or percussion in music composition 3. ACTION - Active Listening: now here is your first practice activity. I've allowed demonstrate real live examples off percussion in action, which we will died more in depth into later in this course. However, right now, your first action is to listen carefully to these examples and pay attention to every detail you can hear. Your focus is, of course, to listen to all ports in the percussion mix. I cool this practice activity active listening. So listen carefully to how the percussion ports or played their sums used the expression, the dynamics, the accents, the layering, the style and energy, the moved etcetera and finally, how the percussion work together with the rest of the instruments and ports in the music. So take action now and do an active listening session. And if you want to extend this practice activity, go to sport. If I or wherever you listen to music and find all kinds of music that used percussion in different ways, your goal is to analyze what the percussion ports do and how they dance together with the rest of the instruments in the composition. All right, let's begin right now. - Congratulations . You have now completed your first practice activity on your journey to master percussion in music. Let's continue your adventure right now. 4. The Sounds of Percussion: first, let's get a complete overview off all the types of sounds you can use for your percussion ports in your music. Your goal is to master the sounds or percussion so that you can build and design your own complete percussion parrot for any new music composition you start, So let's dive in right now. 5. 1 Acoustic Drum Kit: acoustic drum kit. This class, except of percussion, is used for almost all styles of modern music, from Pope to RUK and beyond. The reason this kid works so well is that it is perfectly balanced from the votes to the highs a kick drum taking care off the lowest range, then a range off Tom's in the lower mids, a snare drum for the punch in the low mids and crispness in the mitts, and then a range of symbols, plus high hats for the higher frequencies. So even though the classic acoustic drum kit is pretty much standardized to have the kick, the toms, the snare, the hi hats, the symbols is the warm. They can actually sound completely different to each other, depending on which models off the drum in the drum kit they used, how they are miked up and recorded and so on. So let me just open up this folder here, and you can see that I have a classic, it a rocket and a stadium kids. So if I open up this, you can see this is actually the stock drum kit. In logic is the Brooklyn patch, and it sounds like this in here very dynamic. Not that processed sound. Then I have another plug in here called addictive drums to with a studio rocket. So it's it be torture, sound as you can hear. And finally, I have a stadium kit, which is the studio drummer in the Native Instruments Bundle on this, of course. Ah, let's see. I think I have loaded up the whole Druk Pres it here. So this sounds like this. And as you can hear, this is actually a stadium kit, so it has a huge reverb in it. Now, one great thing about a classic acoustic drum kit like this is that it follows the General Midi standard for the mapping, which means that almost all acoustic drum kit plug ins like this we'll have the same kind of mapping meaning which key on your Medicaid board or the note when you recorded in your DW is mapped to which drum. So on this. See here. By the way, I used to joke times here to see its C. You can have C one down here, I think, and then you have the D, which is the snatcher and the stakes here up versions of the snare there and then you have on thes three black case. Here you have the high yet closed, semi closed or pedal and then open on, I think from he No, it depends on the drum kit, but it's planning on how many times they have. But basically, here you will have the terms. You have the see the symbols here on seashore on I think a no G. You have some ride Cymbals. I think the stick you saw up here somewhere. So this is basically the same mapping. If I switch to another drum kit, let's go back to addictive drums to here. You can see the kick drum. Um, now, um, side and shades so I can prove them this that I can switch out the acoustic, drank it, and it will still play the same drums. For the most part, this usually works with most acoustic drum kit plug ins. All right, so that was the acoustic drum kit. Let's move on to the Elektronik drum kit now 6. 2 Electronic Drum Kit: Elektronik drunk it. The standard Elektronik drum kits, like an 8 to 8 or 909 Drum Machine actually has the same type of layout as a classic acoustic drunk it with an extradition off collapse. However, even though a classic Elektronik drum kit is completely synthesized, many producers like to create a hybrid mix off acoustic and Elektronik drums for their percussion kit. Now Elektronik drum kits actually share the same mapping, for the most part, meaning most Elektronik dramas, Sheens and Samper's full of the general media standard, but not all. And let's open up. So you can see, because the electronic drum kits are even more flexible in the range of sound they can produce than an acoustic drum kit. Because with an acoustic drunk it, you pretty much know what you're going to get. Well, the Classic 909 and 8 to 8 row machine are probably the foundation for all electronic music and all uses off Elektronik drunk. It's in any style of music, basically, so let's open up the 909 draw machine, and you have all heard heard this sound and watched as I play the same low. See here it is the kick drum, which was to say, mapping as on acoustic from Kit. So this on the snare on the D and the Hyatts here, Theo and the crashes. So as you can see the same kind of mapping, but it, of course, can sound very different. And you can do looks to dial in the exact sound you want. So that was the 99 which is more off the clubby type of sound, like most dance music. And then you have the 8 to 8, which is more used in he Pope and beat style music which can sound like this. And you can if you don't listen to good headphones on or big speakers you will not be able to hear because this is a very low bass drum, which is the basically the foundation off the eight weight type of sound, and often the hyattes or snappier and shorter in south, probably dial up the level here on the kick drum. I think this is no process in any way. I just loaded up these patches to show you the variation you can get. So the 99 the 8 to 8 and then you can go to vintage beach style samplers. So I have loaded up styles or Mex here and used the kit and then going into it. See, in the other thing I mean the vintage hip hop kits. So that can sound like this. So a little more retro rough and vintage in the sound. And then you have the motor and samplers like this one. Modern beach. This is battery where he can Lord any sample onto these pads. And then, of course, this is not, by the way, mapped according to the general media standard as these were, these were also mapped as the General Mattis tannin, which I prefer, actually. So battery, you actually can map it yourself. But the kids come in your different mapping most often. Well, it was actually mapped the correct way. So the baseball and also that you should have collapse on the DIY shop. Yeah, So this is following the general or meaty standard for the mapping. Ah, I know. There are like the Poli plex drum plugging doesn't fall away. Just maps, like on the wide keys here, if I remember correctly. So that was the electronic drum Kids. You get a huge range, but I recommend that you first learn the foundation off Elektronik drum machines, which are the 909 and the eight to a drum machine. Nine. Line with the club, your Dancy type of sound and the age wait for the hip hop or R and B and beats type of sound. Then you can dive into other types, off samplers and drum kits to use for your music compositions. 7. 3 Organic Percussion: organic percussion. So organic percussion is my name for percussion that involves the human body in a direct way. Let me explain on an acoustic drum kit, you use a stick to hit the drums compared to organic percussion, where your hands or feet do the job directly to create the sound such as hand drums, for example, bungles, Congas and other types of world percussion. A great organic percussion type is shakers and tambourines and, of course, handclaps and storms. Organic percussion is a great way to ADM or human soul to your percussion makes. All right, So let me open up my organic percussion folder here and take a look. So the 1st 1 which is probably the most used or collapse and also snaps you know when you snap with your fingers like this. So I I have an instrument, Let's see here called similar shake strike with lots of different. You're Lisa panned by the way out there in the middle, and then we have snaps up here, and by the way, if you can, I really recommend that you try to recall your own collapse and snaps. If you have a microphone set up and can do that sort of thing because that really adds that human and soulful character that you really are after. When he juice organic percussion like these. The next type here is shakers, which can be 10 Marines, egg shakers and so on. And I'm actually using the same plug in here, which is she Mushake strike, and then I go into shake and you can see these pictures here. So let's say you want that one on this patch. Um, let's say that one on this patch and so on, and then you can hold down these or great as you can hear to air that high drive and simmer to your composition. My next example of organic percussion is hand drums of different shapes and forms. So I have this board run. I don't have the asterisks pronounce, but it is an Irish frame drum, and it sounds like this. So this is actually using a voodoo Tippett right now. So let's change his two fingers so you can really hear that human organic vibe in the tone and character or a frame drum. And then my final example is ethnic and world type percussion that is mainly hit with your hands. So for this, I have. Let's see, this is West Africa. Discoveries serious. Ah, the gem bar, As you can see from this picture, which was a classic African Oh, it sounds so organic and lively. So you will find lots of different types off world percussion here, like bongos, Congas and someone. So I recommend, if you have those kinds off sounds available. Organic percussion clap snapped shakers, Um, 10 Marines hand drums off different sorts and ethnic and world world percussion. Try them out and see how they can add that organic and soulful vibe to your percussion mix . 8. 4 Cinematic Percussion: and now my personal favorite cinematic percussion. The percussion mix, often orchestra on in cinematic music, goes from the very low sub frequencies to the highest shimmer. And what percussion instruments you use is not as standardized as a classic acoustic drum kit. For example, some of the most common orchestral percussion instruments in the low range or based rums, also called Grand Kassis Taiko drums and Tim ponies in the mid range. She will mostly find different versions off Tom's snares and goings on in the High Wrench, you have the symbols all kinds off sticks, ticks and talks, percussion, wind chimes, shakers, etcetera. Then you also have different kinds of tuned percussion instruments. But I like to classify that as its own type of percussion, so I will get into that in the next video. Now let's take a look at cinematic percussion. So let me open up this cinematic percussion folder here, and I will go through some of the more common types or the percussion used for cinematic and orchestral tracks. Eso First, you have the low end here at the bottom, the bass drum, Tyco's Tim Panies than you have in the mid range. Big tomes concert. Tom's going on to the higher end with snares and the highest or sticks. Ticks and talks were, as I called him and Cymbals and gongs. And that's not counting the tune percussion, which will get you later. So let's say we let me open this up and, ah, this is Singapore Core. And this is the bass drums, which is often called Grand Cassius. So it sounds like this. It has a very bold sound. If you play soft, you don't hear much of the overtones. And if you add the accent, really bring that are of that crisp meeting high end in the sound. Then you have the tie coasts, which is a Japanese big drum that you basically it's stand Ah, on the floor and then you sheet it. Basically it it's tilted towards us. It's not down on the floor. So, uh, this is Tyco creator. So you have the low Tyco's here, By the way, did Tyco's has become a staple in modern cinematic scores, so you will hear it a lot in movies, a TV series and even video games. And then you have stick. It's higher smolder, Taiko drums, then you have the temp unease, which is tuned percussion. And let's see, it's also from Senator Record Sounds like this that's used a lot as well. Then you have what I call big tomes or low Tom's, which is basically deeper or lower tuned tomes, various styles, then concert homes or higher pitch tomes, which in sound like this so it's more snappy and crispy in the sound. Then you, of course, have snares, which often come in two versions. Also, the classics there. And then Piccolo Snare higher, pitched on, also marching bought band Snare. So let's see what we can find this here on the roles, of course. Then we have a category in cinematic percussion, which I call sticks, ticks and talks, and this comes in lots of different variation. But basically, if you hit two sticks together, you can really get that clicky snappy kind of sound. Here is a a specific time called Tiki Taka, but you can find these in many different variations, and finally, you, of course, must have symbols and sometimes even gongs. So let's open up this and see what we have here. So here we have saga acoustics, trailer percussion and I loaded up the symbols and of course, symbols comes in different sizes. So here you have 20 inch, 18 inch and 16 inches, so they will have a different pitch and frequency center so you can hear the lost here or the biggest one thing on. Then you can have it choked symbols, which means that you mute them with your hands offer. You struck them so instead of having the open thing so you can the's great for accidents like that. And here's another library called Rhapsody Orchestral Percussion, where you can see you actually have right symbols and different types of symbols. This one is called Viennese symbol Pft Tom Tom, which is kind of gone than the classic going and also scraped symbols. So let me play some of those sounds. So you see, this is Tom Tom. Way to go, scrapes and scrapes of Great if you use it for effect, like in the tension type music symbols, grapes. See what we have going here. Theology, which is really accented. So you have many different types of symbols and also many different styles of playing, hitting those symbols or scraping, or Boeing even all right so those were my examples off cinematic percussion. And these are the most fundamental percussion types inside cinematic percussion, in my personal opinion. But of course, there are many more. So go ahead, experiment with all these types of percussion inside the cinematic percussion category and see how the sound feels like to use. You really want to learn the tone and character, the playing style and technique for all these different percussion instruments. 9. 5 Tuned Percussion: tuned percussion. A percussion instrument that can play notes, is a tuned percussion instrument. It might surprise you bit, but many people actually consider the piano a percussion instrument because the strings or struck by a hammer to produce the sound. There are, in fact, many types off tuned percussion instruments that has a keyboard type layout like a piano, for example, in the remember vibraphone silo phone and glockenspiel. Other types of attune percussion, often used or tubular bells in the orchestra crew, Tallis and classic bills in various sizes. Drums that are tuned percussion include Timpanist in the low Range and Roto Toms in the low to mid range, even classic Tom's or pitched, but more limited since you only have about three or four pictures to choose from, whereas temp unease and Roto Toms can be retuned fast in the middle over performance to perform or notes. So let's take a look at tuned percussion now, all right, so let's open up the tuned percussion folder and I will show you the most common examples that at least I use personally as a composer when it comes to tune percussion, the lowest tuned percussion used in the orchestra is the timpani on. This is actually an icon in logic Parex. That shows pretty much how it looks like. And I don't know how you do it in practical terms, but you can actually tune this and also tuned it a quite first so the players can tune it to a different pitch right in between passages in the composition. So this is how it sounds like that's been here. Those were two notes, and you can play quite a wide range, actually, so it's really, really useful. Teoh add that punch that Percussion has but still have the pitch remaining. The next one is, Ah, quite recent invention. Well, not reason, but it's no, it was not made in the historic age. This is actually not how it looks like, because Roto Toms is a kind of drum. That logic doesn't have a Nikon form. I will try to find images online if I can, but basically it a functions kind of the same way as the timpani, meaning that you can tune it really fast. You can play a wide range of pictures compared to classic tomes, so this is how it can sound like I've really loved the amazing wack and snacking, the sound of Roto Toms and All Tom's. Essentially, the next one is chief of the Rebels, and this can sound almost like a church bill. But this is, in fact, how it looks in practice. So it's basically long pipes that hangs like this, and you strike them on. They produce a sound like this, which is also very common in orchestral music. The next one is a glockenspiel, and this is an example of how it can look like, um, and it has a very light and airy sound. Very good for those calm emotional passages. It almost has a childlike character in the tone, like music boxes. Next one is a marimba, which is, Ah, played with features like this, and it's boudin. Ah, material here with a keyboard layout can sound like this, Um, very common in like Caribbean style musical positions, but not with as much reverb. It's this precious, that asylum phone, which is similar. Oh, and ah, Then we have the vibraphone, which is metal with you can see here and finally for Tallis. And this is not how it looks like by the way it's actually almost like a range off small symbols. Um, thinks it's copper plates or something that you play, usually with an octave range in castle like this. So very light and airy sound. Laters. Really well, too amazing. So those were the most common queued percussion types, at least the ones I use the most. The timpani in the low end Roto toms, tubular bells, glockenspiel, marimba, Silom, phone vibraphone and crew Tallis. But of course, there are many more to choose from. So go ahead and find June percussion. Experiment with them. Experiment with a range, the tone, the character, how they layer, which is very important for percussion with other instruments in your composition. 10. 6 Foley Percussion: fully percussion Fully effects is the name for sound effects made by recording various really objects to create sounds that fit the action on screen in a movie or TV. Syria's video game, etcetera, for example, a punch it sound in a fight scene of the movie might be a Foley artist recording himself punching a piece of raw meat or something like that. I used the term fully percussion to describe any type of percussive sound you record in the real world. That is not a classic drum. You can, for example, use a drumstick or your hands and heat. Any object you have at home you simply recorded and import the audio file into your computer. Then you can polish it with some sound design and effects until you have a percussive sound that you're happy with. I love doing this personally because you end up with truly unique sounds. Just make sure to label the audio files well so that you know what each sound is just by looking at the file name. All right, so let's look at some full repercussion right now. All right, so here we have my fully percussion folder, and except for cinematic percussion. This is actually another favorite of mine. So what I do is that I always create an audio track so I can record with my microphone here to the right objects that I hit, strike or they make an impact or hit type sound with. Sometimes I also use an external recorder and go outside or somewhere in my apartment to find an interesting objects, you create a percussive sound out off. Then I, um, imported into my dear W to use in my project that I work on or add to my personal sample library or fully percussion. Now you can also use specific plug ins and sample libraries that have already created these types of four repercussion. So let me lower this up. This is the oil drums patch in Saga trailer percussion, and it's what it sounds like. It's an oil dramas you can see here that they have ah, hitch with, I guess smelled sticks and central concern Something like this after you have found a sound that you want to use this to fool the percussion was you sound design aspects like equalizing, tuning all right, and so one to shape the sound into what you want for your project. And then we have another one here, which is from the same library. It's called small metal, so this is actually a random selection of different metal pieces that they have well recorded as fully percussion. So I will play some of them here so these can actually lay your really will with Riedel percussion meaning drums. And so so if you lay your for example, that's on whatever a deep timpani or bass sound, it can create the add some well, in this case, the metal character in the overall layering off the sound. But then comes my personal favorite, which is of course, to recall your own phone, fully percussion, and I most often juice. Let me show you this plug in called Battery, which is basically a sampler sample player so you can drag your sample into these pads here and then use them. Then they are mapped to your keyboard. So in this case, on the low See, here we have this that we have on the next note on this final. These are three sounds I actually recorded them. Ah, just before I made this video. So the 1st 1 I don't know if you can see the name. Ah, here. I think it is in the library. So I always name my full of percussion with what I actually recorded. So it says foot with slippers on soft corporate. So let me show you actually took these very old and slightly warning hey and broken slippers. And then I stomped with my foot here to the right, on a soft corporate Raggi and and recorded with my microphone, which I had down there to create this sound. Obviously, you will also have to like, captain example. So this starting point an endpoint so that you only get this percussive sound. And I think I might actually use that as a layer in the future composition. Then I used to see if I can find it. This simple guitar pick on dropped it to the middle bass off my microphone. Stand here to the right. And now that you knew it, you can actually hear it if I threw you this because it actually bones nice. Yeah, you can, of course, reduced endpoint. So you only get the first Lucy. Oh, I'm on the wrong patch. I'm sorry. here so you can drag this. Just get to Click Song. But I actually like having that kind of echoey playing, going on there with the bounds. And then it's just smacking mouth here, which was me smacking like mouth. I couldn't come up with anything better for the last one. So it's simply and here. I actually, um, e think I used heavy field Serena Andi basically shaping it. So So what I like to use full of percussion for mainly personally, um, is for layering. In some cases, you can use, like, collapse and stuff like that, um, as the real sound. But often I do some sound shaping. And then I layered these sounds on something else to create a whole new unique of rules sound. So that is forward percussion. I strongly encourage you to try this out for yourself because you can basically sample anything that you hit with your fingers. Hand a drama steak or any to you have available for hitting one object with another, albeit basically 11. 7 Sound Design Hits: sound. The sign hits. So if you use Onley, synthesizers, sound design, plug ins and effects to create percussive sons from, I call that sound design hits. This is where you can get truly creative because your possibilities are only limited by your imagination. So Boom's impact slams wax, snaps, clicks whatever you want. And if you don't want to create this sound design hits completely from scratch. You can use samples or recordings as a starting point. Then you simply twist shape and mangled them into something completely new. So let's check out some sound. Design hates right now, all right, so let's diet into the seventh and final category off Prue. Kachin is owns, at least for my own personal classifications off them. I call this sound design hits. So here I have loaded up stomach samples and this these air sounds that are made primarily from sound design. So the 1st 1 I call sub hits and I use a library called gravity for this. But there are many, many libraries in plug ins that have these kinds of sounds, these low rumbles and earthquake booms that really works well in cinematic music. It can sound something like this, almost like that seen in the first Jurassic Park movie, when the water in the glass starts to ripple from the the walking T. Rex. So that is. Some hates that. Then we have trailer hits, which arm or of impacts and still in the low register but really have mawr power and slammed to them. This is the hits and impact in the same library. So as you can hear lots of low in but Mawr shore Patek and smack in the sound, then we have a pun shifts, which are shorter hits, which could basically be a punch in some cases or similar to it. It's going like this. So this these have reverb on you can down. Of course, these sounds are close to two Panjshir, kick drum or storm kind of sound in here. And then, finally, if you used a synthesizer to create percussive sounds, I call those sint SFX hits. Well, you can call them whatever you want, but basically you can use a synthesizer such as this one to shape with the filter envelopes and the AMP. Envelopes and all these features a sound that is percussive in nature. So this one is called Dark Impact actually has some echo to it as well. On there are often many Synthesizer has have these types of one hit percussive types of sounds a swell, so experiment also with sound design hits. Perhaps you will not be able to create them on your own at first, but use the precepts in synthesizers or going to specialist libraries like gravity and all these other hit sound effects hits types of libraries and even sample collections. If you want. Have fun with sound design hits and don't be afraid of layering with other real percussion sounds. 12. ACTION - Master the Sounds: now here is your practice activity. Start up your D W and find as many types of percussion sounds that you have available either in sample players, all plug ins or perhaps your own group and sample collections. Your goal with this practice activity is to become as familiar as you can with the different types of sounds for percussion. Before we start, let me sum up the complete overview off this sounds off percussion. One acoustic drum kit to Elektronik drunk it. Three organic percussion, full cinematic percussion, five tuned percussion, six fully percussion and seven sound design hits. Now Go ahead and practice by playing several sounds in each of these categories, then continue by writing ports for different sounds. To get used to their sound characteristics. I recommend eight bore sections for each recording and each type off the percussion sound. Basically, your end goal is to become a master off. This sounds off percussion, and he will only be able to do this by practicing, observing and analysing percussion sounds in action. Good luck and have fun with this sounds off percussion 13. The Colors of Percussion: Now let's talk about the colors of percussion because there are many ways you can design and shape the recorder's off the sounds and performances off your percussion ports. We will dive deep into the articulations and hit types of percussion, the range and tone or percussion and waste to sound. Design any percussion sound in your mix. Your end goal is to become a master off the food Kohler range of percussion so that you will be able to design and shape your complete percussion palette for any new music composition you work on. Here we go. 14. 1 The Articulations: Now let's talk about the articulations and performance styles of percussion because while there are no leg autos or the broader is on percussion, you actually have a wide range of creative choices to shape the sound off each hate and port. Let's find out right now. So the absolute fundamental way to shape this sound off a drum or type of percussion is by how hard you actually hit it. And this in midi is measured in velocity levels. So I have Ah, by the way, I call this hit force. Um so basically, I have these three different variations. The 1st 1 is a light and then a medium and then a heavy hit. And if we check the piano roll editor, you can see the different colors here in logic pricks, the lighter hits or in blue medium goes from green to yellow and then the heavy accents or red. And you can also see it down here. The velocity level these marked here. So I believe this is 20. You can see the 80 inclusive level and 120 in midi the velocity meaning the kit force goes from one, the lowest sitting to 127 at the highest settings. If I drag this up, I cannot go further than 1 27 if I drag it down, Um, but say one is the lowest setting, so let's go back to where it waas 120. So let's listen to the difference between these dynamics light, medium and heavy hits on a kick drum on. This also depends on the actual drum kit or plugging you use for that the my king and the processing and so on. But you get the main idea. Mostly, you're going to be in the mid range and use heavier hits as accents and the lower hits as grace notes or perhaps four rolls and crescendos. So the next type is, ah, the hit type or where you hit the drum. Most often you hit it in the middle that is the normal position, or the center and on snare drum. Specifically, there is also edged hits, side hits and rim shots. So let's listen to the difference in sound on these different hits on a snag round. But soon means you can see it right here, unless it from of the velocity For now, these are all the same velocity, meaning the same hit force. But where you hit the drum is different here, so center edge, side and dream short right? So you have lots of different character in tone there to shape the color off. The hit and different types of percussion have different ways off hitting the drum, so that you could say, is an articulation. Then we have the high yes on high heads. Do you actually have three main variations? So first you have the closed version, the shortest snappiest and then the foot closed. We can have it here it is slightly more open up and sound, and then they fully open. Thief. Fully open is when you see there is a room here in between. Ah, then you have dampened and mute or sometimes on symbols. It's called Choke, which means on a symbol, if you hit it and then right after you grab it with your hands so that it stops ringing. Then it's called choked. And on some promise, you can also just place your hand afterwards, just like palm muting, muting on a guitar. Basically, so let's listen to the difference. No choke here and with choking, choking. No choking means the symbol with ring out defense choking. And these can be grateful, those false accents in your music. Then we'll go to well, we contest on the damp and a mute as well. Here's the frame drum. A slow it up, Um, so you can see the dampen factory. If I play something, let's see if I can find the range here. If I move the slider, it will make a player with the hand inside the frame down from muting the drum. If I move it to the right, you hear it. It becomes shorter and snappier and more distinct. This you can pretty much do on most drums that you hit either with a beater or with your hand, like in this case. Next we get Teoh ghost notes, which are basically well, you heard what I said about the hit force. When you have very, very, very soft it fours, you usually use them as extra ghost notes. So in this case, we have a 44 straight scenario pattern. Let's see fight soul that yet a. So you can see here see consuming further note and it's a scenario center eight and then I have used snare initiates at Super Low 10 in velocity, competitive 100 or so here. So if I mute those first, let me control him. Like so we have a simple straight pattern. But with the ghost notes, let's get those back. You get this and those can be grateful that rolling character in the sound Grateful marching types Nad runs, for example, next to get, you know, articulation called a flam, which basically is, ah, another heat that is so tight. So just before the rial hit at a lower velocity, often that it basically becomes one sound that is slightly longer or bigger, you could say, and this actually happens as a result also, if you have an insoluble, because no players can play in perfect merely second in timing that all the other players are playing, which means this sound becomes bigger. That is the aspect of an ensemble, but you can do this on a single room, as I have down here on the snares. See, without a flam, it's simply a one hit centers. Now compare that to listen carefully to what happens if you have this It's super tight, Let me assuming, in fact, just before the main hits. So listen before and after, Hear that Listen again. I can increase the velocity here so it be become more audible like so that's a flam. Then you have something called a drag, which is there's many variations of these. But comparing its simple heat on the snare here say so that with two fast like ghost notes before so like it's not a role. It's just drag into the main hit here, which is often, by the way, hold accent. So listen to this, but but about so that's a drag. And you can look this afters plenty of variations to continue triples here or whatever. Ah, then we have the classic role, which is great, amazing for transitions, by the way, on snares, some symbols, bass drums and so on. So compared a simple snare here. And by the way, if role is ah, where you shape the velocity over time as well. In most situations, with the go to the actual midi data here, the velocity will ramp up like a crescendo open with a hard hit on the final. Um, but sometimes you might want to roll a little like wave almost, but this is the most common. It's compared before and after. Let's so wait. First roll, first of Maine hit, and then the role as can hear, very effective for, uh, accents. Let's see, Then we have, ah type of beater as well. So I've already showed you the dampening mute. Um, well, in this case, in this specific plug, and you can actually exchange what you hit the drum with because they recorded a good tipper, which sounds like this. A hotel tipper. It's a different character in the tone. Lose brush brush. Russians are often used when you want to have them, or smeared out with that crisp higher and lose brushing tight brush and then the fingers here. So some situations. You have a mallet with a field end, which creates amore soft sound. Sometimes you have a drumstick with a hard order attacking the sound and so on. So that's the type over beater, basically what object you hit the drum or percussion type with. So let me finish by making a summary off the types off hits and articulations you can do on percussion or the most common ones, at least on the type of beater the object you actually hit the percussion with. So first on the types of hits you have hit force how hard you hit the drums with light, medium or heavy hit type meaning where you hit it. The center, the side or dream shot, for example educates as well. And then for high hats you have closed food closed and open variations and then, for many drums on symbols on symbols. You can choke the symbol when you hit it to create a shorter, muted sound, and you can, on some drums, also dampened and mute with, for example, your hand by laying your hands on the skin off the drum. Then you have ghost notes, which are great for adding in between the main nose with very, very soft, low velocity levels. Flamme is where you heat the the drum just before protests. We have two sticks just before the main hit to create kind of a bigger sound. It will sound like bond Percussive hates because it's so close. Drag is where you have the man hit, and then you have basically a type of quick roll before it. It's not a real role, but it didnt something like that. And then you have rigged the rules, which is great for transitions, types of Beatrice that are most common or, well, your hands or fingers a stick in booed, most often the drumstick, a type of brush in marriage which could have like if filled end. And also you can basically have any kind of object to hit the drum or percussion with. Basically, as soon as you haven't object hitting another object, you create a percussive hit. So that's all for the articulations of percussion. Have fun experimenting and practicing with the types off articulations hit types and the beater types off percussion. 15. 2 The Range: Now let's discuss the importance off range in music composition, which is, of course, essential for all ports in your makes, but perhaps extra important in your percussion mix by range. I mean to fill up the frequency range in order for your percussion makes to sound full and complete from the deepest low end to the highest air frequencies and shimmer. So let's dive into the range of your percussion makes right now. So the range of your percussion palate, meaning the frequency range, your dramas and percussion parts occupy is extremely important in order to get a complete and full sound. So I classify the ranges, and this applies also to other instrument sections in your compositions. I classify them as the sub range, meaning the absolute deepest bluest frequencies in the low end, then the low range, the mid range and high range. So let me show you some practical examples over different sounds in each of these rangers as it applies to percussion. Let's start with the sub range. The 1st 1 is one of the most common, which is the classic A to wait kick drum because it is very deep and sub daisy in the tone and the cool thing about the plugging I'm using Let's bring it up called Tom's Books, and it applies to many A to eight drum machines and plug ins is that you can tune your kick drum because, um, if you compared to a kick drumming an acoustic drunk it or in 99 drum Machine, the 8 to 8 has a long boom itoen, which actually has a fundamental pitch, meaning that you can tune it. So if I play the sea here, the root note the fundamental pitch off the 8 to 8 base kick drum will be a low C, so I really recommend if you used a day late kick to actually tune it to the key of your track. So let's say it's in D minor well used a D. But of course, you can use the sound shaping tools like distortion and filtering IK pricing to shape it further. But that's the essence off the A to a kick which is in the sub range that we have a sub hit . What's called this up? I'm using ah library called action strikes for this, and I've loaded a preset called heartbeat so this sounds like this. Let's see here. I don't know if you can hear that so you can actually make that low Sub Basie tells almost like a real whore peed. Then you have different kinds off impact sounds. This is, um, evolution. It's called. We could hear the Rumble. So this is perfect for cinematic music, where he just want that low end power without having too much slam and work in the sound. Right? So those are examples of this sub range very deepest frequencies in the percussion palette . Then comes the low range, and here are some common examples. The kick drum. Let's see what I use. I just use ah drum lab so I can show you. The difference between this is an acoustic, which comes and made many different flavors. Of course, this is called fake kick, but it's basically the classic acoustic drum kit type kick drum. When if I drag the slider over to the electronic, you can hear punishing club type kick drum you and, of course, in all music. Layering to creating hybrid mix is really cool, and you can do this for any percussion in your palate. So the classic kick drum is, of course, in the low range. Then we get into giant drums, and this can be orchestral bass. Drums can be, well, various kinds of very big drums. So grand castles and other types of big orchestra drums. Um, we have the Tyco's with your Japanese huge drums. Let's see, Andi, I have the Tiger creator here. Sounds like this. And then I'm not include team police here, but that's also in the low range, but that it's also tuned percussion. Then you have Low Tom's. I loaded up Black Tom's 2.0, so those are some examples kick drum acoustically or electronics giant dramas, often orchestral cinematic Tyco's, which are Japanese. Very cinematic big drums, all kinds of low Tom's. I would say those are pretty good examples of the low range. Then, for the mid range, we get into more high terms. I think I have, like concerts, homes loaded here yet, so those have more, more snappy, crackly type of high pitched sound compared to the low Tums on all kinds of hand. Drums loaded up ethnic percussion here in damage. So see, I don't know where we have the range that could be also an amazing way to add some organic feel. Hand drums are great for that. In your music, of course, the classic snare, which can be the electronic it can be acoustic. In this case, it's, ah, a cinematic snare, their source of marching bands, snare drums and so on. So that's the snare drum. So that's, Ah, some examples of the mid range and then the high range. Of course, the classic high hat. We will have it. So they closed the food closed and the open then all kinds of shakers you have here are great for the high range and all kinds off what I call sticks, clicks and ticks and talks. Basically, these are like sticks that are hit Lissy Tiki taka, and you can see different ones here. Bamboo spiral. So those are really great for Adam. That high antique sound can also use jobs, steaks and all kinds of things there. And there's a huge range of symbols, of course, as well. So these are suspended symbols. Very here you will find crash Cymbals gongs 10 times. Also in this category off the high ranch, even double Gomes and tantrums are actually Mawr into the Meade range than high range. To be honest, so those are examples off the range aspect of your percussion pellet. Your goal is to basically fill up the complete canvas so that your percussion mix feels full and complete. Ah, you might not have to go all the way to the sub range, but it'll east fill up the low meat and high range. Now I recommend that you take action to practice the aspect of range in your percussion palate by creating a new project in your D. W. Create folders like I have done sub brain, shallow range, mid range and high range, and then you add very use sounds and instruments into each category. Play them on your keyboard, perhaps program some ports so that you get familiar with the range aspect off the different percussion and drum instruments in your full percussion palette where they belong and feel natural in the range and how they complement each other. If you, for example, stack a sub hit with, let's say, a symbol, so experiment with layering as well. But your end goal is, of course, to create a percussion pellet that completes the food frequency range off music 16. 3 The Sound Design: I am both a composer and sound designer. So, of course, I think the sound design aspect of shaping and creating your percussion palate is incredibly fun. In this video, I will show you the main ways I use to shape the overall sound of my percussion makes. All right, let's talk about sound design as a way to cooler your complete percussion palette. Now, when I talk about the sound design aspect of your percussion pellet, I don't mean any experimental and really super creative sound decider. I really mean shaping the very character and tone of your percussion to suit the composition you're working home. So I personally classify these as four fundamental things to focus on when you do these sound design aspect of your percussive kit, which is one depth to the tone of the kit. Three. The character and four stage. So let's go through those one by one. All right, so the most important, at least in my opinion, is the depth aspect, which means basically how much sustained your percussion sounds has, either as a complete kit or the individual drums one by one. So I divide these into snap punch and boom or ring, meaning the snap is super short and snappy, like snapping your fingers. A kid off that can start like this and punch ISMM or, well, more border in the sound but not super wrong, long ringing like this. And let's see, then we have boom, which, of course, is a long ringing sounds. The classic a to eight kick drum, for example, or long ringing symbols. Right, So that's the depth aspect, and you can design this mainly by actually choosing the right drums and samples for your kids. But you can also use a transient designer to further shape the tail and the attack in the sound. So let me show if I can find Transient Monster here. This is an example of how it could look like. So if you have, let's say, Ah, punch kit like this so you can add more sustained to the sun by increasing this Assane aspect in the transit designer like this that it's of course, very extreme, and you can reduce it, make it snappier shorter by decreasing the sustain from to. So that is one way to sound a shine found the sign. The depth aspect that's close to mix in now and continue to the tone aspect which again, as always, you start right by choosing the instruments, the drums, example sense of one and by tone I'm talking about the frequency well, and by tone, I mean the frequency focus which could be bright and sizzling, crisp to warm, a mellow to even dark. So here you, of course, choose the A nice kid to start out with the which is either bright, warmer dork. And then you can further sound design it with some equalizing and filtering. So here we have a bright kit. But I also boosted the high frequencies and reduce the lows. So you get this right. Ah, going on to the warm I ah, put a shelf here on the low mids and lows and this can sound like this, right? And then dork, which I actually reduced lots of the high end. So this is basically feel during almost the high end and a shelf on the low and low maintenance wells A kind of extreme, but can be cool with his filtered kind of drum sound. So that is the tone aspect again. First, choose the correct drums that is that has this tone. Do you want a bride drum to advocate of warm brown, maroon, very dark and filter drum. And then you can go ahead with filtering any queuing to shape it further. And then the character, um, I'm talking about from natural too heavy, which means naturally is basically no. Compressions are very dynamic, and it can sound like this, right? That's a simple kit and then heavy compression to really make it pope. So you can sound like this. What on and then finally mangled, which is basically heavy compression and saturation. I'm using a plug in Lissy. Close these just so you can see this one, which is compression and heavy saturation to mangle the sound. So that's the character of range off the sound design aspect of percussion, natural and dynamic, heavy and compressed mango, which means compressed and heavy saturation distortion. And then the final aspect is stage. Basically, is it super in your face and close to you, It is room a like a drum room, classic drum room or deep like a big orchestral hole. So, for example, the clothes, which is most used for all kinds of E G m beat style X tronic drums and then drew me a classic acoustic drums here, so and then the orchestral percussion, of course, is a big orchestral hole. So all together, you basically your goal is to design your food percussion palette. With all these sound design aspect in mind, Dio and you do this for the individual drums one by one, and for the complete kit as well. Do you want your drums to have the depth off shoulder, snappy body and punish or brew me and ringing? Do you want the tone of your kid to be bright and sizzling, warm and mellow or dark and filtered the character to be natural and dynamic, heavy and compressed or really mangled and distorted? And you want to place your drums individual again, nor the complete kit close and in your face or Rumi like a living room or studio or deep like Ah, big orchestral whole a church or a big space like that? So go ahead and experiment with this yourself. Now try out all these different aspects to shape each individual rum in your palate and then try to make a cohesive sound for the complete percussive mix 17. ACTION Design your Color Palette: Now it's time for you to create a complete percussion palette starting from an empty product. This is something you will do for every nuke music composition installed. So this practice activity is really important. And the great part is that you don't have to stick to one type of percussion for you. Complete kit. You can mix and blend any type of percussion sounds to create your percussion sound pellet , even layering them to create hybrid sounds. Just make sure to fill up the complete canvas, meaning the frequency range when you create your palate. And don't be afraid to shape your percussion. Makes with sound design in various ways. Your end goal is to become a master off the coolers off percussion so that you can create shape and polish any percussion kit you create for your music compositions. Good luck and have fun playing with the colors off percussion 18. Master your Performance: master your percussion performances when you had created your percussion palette and designed and shaped the colors of your percussion mix. It's time for the actual performance, the percussion ports you will write for your music. I will show you live examples and breakdowns of different styles of percussion and how they work together with the rest of the instruments in the mix. Because all instruments and sounds in music should dance the same dance together. Otherwise your music will sound like a complete mess. I will also share my guidelines for my personal three step work for when writing, shaping and coloring my percussion makes for my music compositions. Your goal is to become a master of your percussion performances so that you can create any type and style of percussion that will were great for the specific style. Show Aunger mood and energy of your current music composition. Let's do this right now, 19. 1 Straight & Simple: in this live example off percussion in action, I have focused on a theme and style I call straight and simple, which means a steady beat with minimal groove and basically a straight drive to keep the energy going. This style of percussion is used a lot in motivational music. E g m Pope, rook, etcetera. Let's play it first and then I will break it down for you. All right, so here I have written a short composition, focusing on a straight and simple theme. Basically, this means that's a four to the four kind of field, meaning you can even have eighth notes, 16th notes. But the focus is on those straight notes in the grid. Everything a base port here. Some harmonies and strings, I think. And then some driving rhythms, strings and breast. And then the percussion port is taken care off by an Elektronik. Ah, drunk it. Let's see if I can fight it out. It's right over here. I chosen styles or a mix in this case on DM is basically a club type kit. So only old it sounds like this. So you could definitely hear and feel that straight drive that like you want to clap or move along to the beat, It really is an uplifting kind of emotion. And it works great for, like club tracks, electronic dance music as well as motivational music. That's really is focusing on the uplifting vibe. Ah, now, when Ugo into the actual beat down here off the percussion, you can see that it's Ah, consisting off the main beat here, the extra dive from collapse, extra accents on and, ah, by the way, accents or symbols. In this case, some fails on no transitions on this part. So let's check out what we have. First, the main ah, beat, which, in my opinion, and for this kind of music is either kick and snare or kick and clubs basically what you tap along to. So it sounds like this. Whoops. So it sounds like this. So that's straight for to the floor beach on the kick drum with the added snare here. And let's see, I also have flaps to extent the snare. Ah, let's see if I check them together. You can see it is layered on top, which sounds like this, and you see, by the way, from 27 to 28. It's under 30 or one do three. Pull 12 on the third. You have it sometimes on the straight drive you have that have the clapper snare, or both on the two and four um etc. So if you want eat more energy, if you play this on the two and four. Because, of course, more notes means more energy you get so that feels like it has more energy and tempo, even though the temple is the same just MBC type of beat. Sometimes you can also do, Let's say, um, the this one on Children four, but only have the added colder on, let's say, the four to some variation like So. So now you have the snare on the tooth and four on, but only later on the clap on the four. So that's also a different take you can do on this. But essentially, what is what it's all about? On the straight and simple drive is that 44 kind of feel. It was the only extra drive, which I call it. Ah, I think I have the high hats here that's going side and have a look. Yep, here it can be more big, more creative with the baby because that's basically feeling up the high end. But not really. I don't consider it the main beat. It's not what you feel. So then I had the collapse. And then I have the accents, which are symbols basically marking the most important things, like the beginning or often in the beginning, off each four bar section. So here we have, say, marking the beginning of the beat. And then sometimes, as the field or transition feel here, one simple left right and then all. And then in the end, here's a swell thief. So this is all an electronic drum kit by way. And finally I have some feels I don't remember what that waas etc. Right? So that's yes, steaks. And then we have Tom's, I believe Yeah, and electronic Elektronik Drum kit. Tom's can sound pretty silly on their own, but in the mix, they can really add some character BP book. So yep, let's go back and listen to the full percussion mix. All in all, which sounds like this. So if you want Teoh, add Mawr energy to a straight and simple groove like this, you can do the high has perhaps in double time to see if I can do that. So if I just stretch this to half, uh, like so those will know Now be double speed hopes. I didn't manage to get it on the right. So So now it's the hi. Hats will be much faster and add more energy. So that's another trick you can use. Um, yeah, so very simple. And if you check what the other instruments are doing especially well, let's take a look at the base. It's a very simple I think it's one note each chord change here. I see. Um, like So because the straight and simple kind of theme for the percussion, um, should be complemented by also often straight and simple things on the other instruments. Like very simple Baseline. Here, let's check the harmony, which is play on strings. So a bit more color here because you actually hear a kind of cool change every half board here, but still have poor half bored half Borrell the way through until the last one there, um so this is the harmony of and go to the most important thing when it comes to the colors off percussion versus the colors of music. So here we can hear Ah, string slow and brass local in the accents. So on the one in two, let's do it together with the Elektronik, drunk it like so. And when we add the strings here, you will hear. If I go into here, you can see it's mainly, um, eighth notes. Straight drive, one meant to you and three in Fort. Let's let's, um, in fact, solo this You sick in here? Wait, So you see the point here? It's a straight drive. It could be before to the fore. There will be many quarter notes or eighth notes or even 16th notes, especially on high. Had to drive. And I believe these pickup violins or the same one anti Lissy, but a bit more harmonic variation here to color it up even more So all in all the drive section, the rhythms in the track without the percussions, very straight kind of drive and we the drums. You can totally hear how they go blend well together, Theo, really a one do 34 at the same time as 1 92 and three and four and one and two and three in Forum. So I hope this gives you an idea of how you can do this straight and simple type of percussion That goes well, of course, together with the other rhythmic instruments in your track. Focus on that straight grade. Quarter notes. Eight notes even 16 miles. 20. 2 Groove in the Beat: in this live example off percussion in action, I have focused on a theme I call Groove in the Beat, which means rhythmic variation to create a groove. This style of percussion is perfect for he, Pope Urban or and be an all beats style music. But of course, the fundamentals of a beat type percussion mix can be used in any music style, even including cinematic and orchestral music. So let's play it right now, So let me explain what I mean by Groove in the Beat. Basically, it's the complete opposite of a straight beat, a straight, but it could be like 123 4/4 of the four, or even adding like eighth notes in there. So that's still a straight beat. Well, the groove in the beat is basically anything you can come up with that has a groove domestic. So if he beat books or ah, tap your fingers like so it's not a straight beat, but rather some kind of groove. So, for example, that's on Electronic Drum Kit could sound like this on a and acoustic drum kit. All right, so here, take a listen to the beat I created first on an acoustic drum kit for this short composition, and you could hear that in the end, I increased the energy by adding more notes here, and you will hear it more clear what? I play the other instruments in the next. But let's say I play that on electronic drum kit. Of course, it will have a different feel. I just copied the same ports for Ah, the electronic drunk it. So So it completed different vibe. As you can hear, I accidentally move these to the side. Well, if I go in here and take a look, what East is beetle about? So you can see it's not 1234 It actually has a groove inside it. So is playing here on the one and then you have it here, which is not on the to not in the three, but rather on the hand here. And that's basically what a group is all about. Instead of focusing on the straight grid lines and add notes, the main beat in the in between the straight grade is over in this case, the between two and three eso. Now, if we go back to this beat, let's listen to Onley the extra drive here, which is the high hats. And you can actually, if you check the piano roll, we can actually see that I still have a straight rather your one and two and three and four and one entry. So, of course, that is in contrast with the main beat, which was a groom. So if you want, despite it up and make it even more groovy, well, how to be a groove in the other percussion of port as well. So in this case, if we listen to this in so low, well started, move around the nose. So they are not on the straight one and two and three and four and grid, perhaps adding this on the end here between or the one e and e here in between on, let's say, these one as well. And this one, this one's a wound. So no, it sounds like this again, much more groovy. So that's another tip for you. If you want to have these groove in the beat kind off style, don't simply focus on the main beat, which is the kick drum and snare or collapse in most situations. Make sure to add groove in other parts of your percussion as well. So now let's check out what the full beat sounds like in full with base harmonies and extra drive. And this is the kind of uplifting beat. Still, even though though it has groove, it still has that positive vibes. Let's take a listen. And also what stands out to me in this beat is the more we get into the beat here, the more it starts to go in the direction over straight and simple vibe. If you listen to the precaution here, Ah, we the driving instruments, you will hear that it starts to get Mawr. Ah, more straight so to speak. So but listen from the beginning And now here. 123 in 41 1924 1234 so it could actually turn into the chorus section author words. At least this is with the way I feel now that is Mawr straight and simple has that post ive uplifting vibe if you want to. But this I'll can also were great for a darker, more mellow type of vibe. Like or and be he poke jazz even. But so far we only focus and adding the groove in the percussive pores. If you want that groovy style in your music, you should also added to other breathe me course in your music such Aziz driving strings here, for example. So if we check these now, these are basically straight nose here, as you can see. So if we take a listen to those and then sold them here. So if we take a listen to these driving strings now one, then two and three and four and one and two and three and four and so they are very straight right now. So do what you did with the high heads dragged them around. Let's let's just focus on the 1st 2 boards here. Let's say you dragged those. They're like the hi hats. What else did I move those like feasts on their, um, let's say you even remove some of the notes justice. The silence can also were great for adding a groove. So let's see. Have these sounds like now already, and I just moved to like to nose here and removed do notes on you go a huge difference. So I encourage you to experiment with adding a groove in the beat. Go away from the straight grid lines one and two and three and four or one and even, you know the eighth notes started. Find a beat or groove that is, in the end, or the E when you count theme music. But here's my final and most powerful tip for you on creating a groove in the beat. And that is to simply go with your instinct because we humans have rhythm in our blood. So either if you beat books into your microphone, like or if you use your hands like on your knees like this and you can see it from here. But basically you're left knee is your kick drum right knee is your snatcher so like? So if I do it here on it on the piano, you can see that's a great way. If you have drum pads, that is, ah, the most. You get in most feeling when you like layout your beats on drum pads in my experience. But if not, use your MIDI keyboard hand in the last resort. Write it in. But I don't like right in in the nose in the DW to create the groove. So beat books. Use your hands. Just tap on your knees or on anything. Really, if you have drums available, that's great or drum pads. That would be my suggestion. So go ahead and practice creating your own grooves. 21. 3 Action & Energy: In this live example of percussion in action, I have focused on a theme I call action and energy, meaning very hold hitting percussion that really grabs the focus off the music and adds whole vault off energy. This style of percussion is perfect for action sequences in movies, films and TV will, perhaps even battles. So let's play it right now, all right. So here I have a really awesome short composition that I call action and energy. In the styling theme. It is very percussion focused with big cinematic percussion, hard hits and accents, especially, and also very driving energy. By the way, the temple is also higher here than the other examples so far. So let's take a listen to this. Ah, composition first, and then I will break it down for you. Oh yeah, that's what I call action and energies. Let's jump in and see what's going on here. If we take a listen first, only the percussion section, um, you will hear that it really fills up the complete frequency range from the very lows to the Low Minister. The high mids extra fills and also the high percussion and accidents in the form of symbols . Ah, and you will also hear that it really hits extra hard on the accents but also leaves room in between. Because if you don't have some silence here and there and you won't have that powerful contrast before because contrast is power. So take a listen to all of the percussion now. So as you can hear a really powerful on its own Ah, and that's because it off off the reasons I just mentioned. So first you have the low percussion here, which Ah, by the way, the lower the frequency, the percussion Porc play, the fewer notes it should play. So if we check this, you can see that would say only this one here, you can see that it's lots of silence in between. So basically, these are just the accents in the beat. Don't don't. If you listen to this as you can hear those all the main accents in the date, then the Loman thinks that's low tomes here. So some of those are layering the main beat and some of those, or feeling up the extra space in between the high means. So we have them here, So some snares and stuff in there on, then. What's really important, actually, is to have some kind of feels that really adds that extra spies often in the form of Tom's . By the way, um or, like world or ethnic or hand percussion. Perhaps. And then we have the high percussion, which is Let's listen so those are stick cakes and stuff. Um, and then the accents, Of course. I'm symbols. You can see if you check here recon. If I assuming you can see the notes here, um, you have the same accents on the symbols as, ah on the main beats. So you can see there is the main beaten low. Well, they have the symbols. You don't have this one here, but you have this one, and then the be changes Bam, bam! That the symbol for lows. And it also falls layering here on the low mids and here bump. So percussion is very often about laboring to create that super big sound. Now it's not all about the percussion, though. You have to take other instruments into account, especially the other instruments that play of rhythmically. If we open up, this will have the rhythm here. Is he have that place alone. And by the way, if you listen to the changes between the strait and the triplets, when you do that change from any port in your music you really should make sure that the rest of the instruments dance the same dance together. S I hoping to say so when you have triplets like in this case here You have triplets there . We have triplets again here. Well, make sure that you if you want that fip it to be heard. Make sure you have it in other instruments. And I have it here if you check the low breast drive here. So it goes from straight triplets. No. And that is layering this triplet. So let's say we take this one and this one at least into them. Trippett No. And here again, on if he add the percussion to it. Ah, see, here we have the fields especially. You have triplets here. A swell in the lo mein is releasing to the percussion when it goes from straight your trip It here It really comes through in the mix when you stack it with other rhythmic instruments. Ah, Then if we check the fields I actually often have the fields in on its own track because then I will see when I had those triplets. I have marked those in the composition here with this pinkish color hair. In fact, I have it here again. I should mark that, um, with this cold rest. Wells. I know those are triplets here, not on this case here of the fill, but we could have it. Make this a triplet if we wanted you to really make it come through. So I often do this by checking another four that has the triplet at the same time as this and then can see. Here is one port here is the other part, and then you simply align it. So let's go down here now to the drive section here with strings low axons and brass low accents which place again as old though range instruments, fewer notes. And you heard those strippers come through there? Let's just add, uh, like the percussion to this now the same time. And if we add these higher strings here, those are more knows, have more driving energy into them triplets. It's so make sure you complete the full frequency range in the percussion parts. Make sure that you lay your and stack the rhythms together with your other rhythms. And also one of the most important power tips I have for you. Make sure you really feet those hard accents. So if you have an ex hardbacks and here on the passion you can see mainly these days, the hold actions, all of them. But once you want really to hit harder, increased the velocity on those and make sure when you go to the other parts, let's say these low breasts here that you have ah, hard accent on those two. So in this case, I can actually increase. This becomes even holder here and here, and I could do that on let's say these strings as well. So remember the 1st 1 here second on there do the lower one here, So those are really heating horde on Lisa now. So it it's even horror on the accents, and you can go through all your other instruments to make sure that your main accents are really carried over to all, especially your all your other rhythmic instruments in your mix 22. 4 Power & Strength: in this live example off percussion in action, I have focused on a theme I call Power and strength, meaning music with that rule power and big muscles type of vibe. This style of percussion is perfect for bad as hero or evil, both type scenes, even sports and action, motor shelves, etcetera, Basically anything that needs that powerful and rule vibe. So let's play it right now. All right, so here I have my composition on the style off power and strength. So let me play you this entire peace first. Then I will break it down for you as well as give you my best tips and tricks on getting your percussion mix to have these power and roll muscle strength kind of vibe as well as how it relates to your other tracks in the composition. So this is how it sounds. All right, So what you could hear instantly is that there's looks off gaps in between because the power and strength vied really comes from those hard accents and more Cotto's, which means you get more contrast if you have some gap in between so you can actually see it. If I assuming here that the that the and you have this silence in between. So actually silence using silence to your advantage is really important for the style of power and strength. Also layering lots of array layering going on here between the orchestral percussion mix on the other tracks. So if we go into here, you can see first. This is the percussion low percussion. Here, let's go in and have a look. Um, say I just want that port. So here we have the that term with a low percussion on the low tones here. Let's see how it sounds first to build up here and that I also layer with Basically that was the big low drums, and I layer it with his low mids, which I believe are low Tom's. You can also hear that I have the accent on before there, but that because that note I also have as a Mark Otto instead of a staccato on the rhythmic melodic instruments which I will show with later. And then we have the high mids which are is also feel here transitioning into the beach. And then let's see if we can check both of these. Where are you there. So we have some sticks in some side hates and then the accent on the lost snare. They're also very Goring again. So has taken here. Layering is a really big theme when it comes to power and strength in percussion, and I have some feels here, play that, too. So actually, this is really cool is since I have those hard accents downtown downtown. And then I have added some like little fills in between in the polls. So it's not completely silent all the time. So I have there. What about Andi? If we listen to that in context again, let's do the full percussion mix. So far, that's down. I didn't do it here. I did here and here. You don't have to fill up every port with notes because still, you need those contrasts. Then we have the high percussion where I have to see so lots of stick it's there. I don't have any like high hats because this is orchestral percussion, after all, but I have the accents on symbols, so let's take a listen. Oh, and by the way, you can hear here. I don't have the accidental symbols on the first beat in the board here, but instead here. Let's see if we take isn't layer. With that, you will see it's only Pam, Pam, Pam, Mark Otto and that were the same bullets. And let me now go to the driving instruments, which are no percussion. So if we have, for example, this low strings here, so here you can actually see that I have stuck Otto's on, then go into more kowtow like exactly like you would do on a guitar if you pull mute, done Stanton. And then you open up on that note to Adam or kowtow or accent on it so that that final load , which is a more colder I really put heavy emphasis on with the accidents, is layered with these breasts on low breasts and address again. Ah, I use that final and more Qatar there. It's quite a soft sounding brass because I wanted to dial it back to give room for the guitarist, which I will show you later. Finally, I have some higher strings here. It's low and high bythe eso. In this case, I only used to cattles. I don't have any marco toes because you don't have to do the exact same thing on all ports in music because that pretty much gets dull and boring. Ah, because you need some cooler blending to really make it unique. However, in this case, it's a little more call toes and accents on that beat here. So if I sue me and you can see that it's we have born 37 here, one is 1234 It's actually on the end in between Ah, two and three. So that makes it kind of a brief, actually. Now, if we move on to, let's say the base here instead of competitive the other examples I've played where the base is very simple, like one note sustained. I really want to emphasise again the rhythm off. Ah, this little multi, If you can say so. Here we have on the basis well, downtown downtown. Let's listen to that. So a simple, soft sobs kind of thing there and then we have another based later on top, which is not really based anymore, because I put I'll see, I put heavy, very simple, heavy distortion on it s so it becomes like, uh but later together, especially in the mix it actually brings out the character on the upper harmonics off the base, you have to cut through in the mix. I even added a piano here. I don't remember it. Wasit octaves. Yes, this is only oak tapes and it sounds Ah, this So again, It's not a long note on the fourth here, Um, but rather the same as this strings here we should was only staccato. Just have a meat bit more unique blend in the total riff. And then we get to the horror harmonies which are strings playing. And this is really a cool way of adding conferenced when I have all these rhythms on the percussion and the driving Austin autos and stuff like that. You can contrast it by having long sustained, soaring notes on the hormones like strings, for example, because contrast, in my opinion, is what adds power to music. Contrast in velocity, meaning the dynamics contrast between notes and silence on in this case controls between rhythms and rapid rhythms and long sustained notes. Way say again, so really, really long and sustained. No on then finally I actually played guitar. Ah, this little riff to just accept that freedom that even more and a pound those left and right. So they sound like this and again. It's not a perfect performance. It's not even time perfect between the left and right. But that's just adds that human character. And in the mix, you really add loss of power fighting you. Those. It's not the same as if I have them there because, to me distortion, which could be guitars, it could be a distorted synth. Whatever really is important that power and strength and muscle kind of vibe so take action all to practice, writing a full percussion mix as well as other instruments. Imports with a theme, power and strength basically think big cars and big muscles. 23. Guide 1 Write the Elements: in this video, I'm going to share two different ways I used as the first step when writing my percussion ports. The first way is my personal favorite, which is to focus on the main elements one by one. The second way, which I sometimes use depending on the style of composition I work on is to focus on the Rangers off my percussion ports, starting from the low end and going up to the high end. Let me show you both ways right now. So the first and my favorite method is to create the ports according to their specific role in the music composition, which means I divide them into the main beat. Ah, extra drive extra ports to layer on top on the main accents, which most often is symbols. The case, often acoustic Drunk idiot list. It could be power notes and power hits and impacts, then feels which, of course, add some extra spies, often on Tom's. Very often on Tom's, in fact, could also be hand percussion, world ethnic percussion transitions. In the case of the actual instrument used, it's often snare rolls or other types of rules, and and also I often include reverse sounds as transitions, right? Like the classic reverse crash and visors, even though they're not technically a percussion. I consider them as part of the percussion group in most situations. So again, the main beats is the first, the extra ports, the accents, the fills and the transitions those is, or my classification off the roll off these ports in the percussive palette. So I will now go through each of them just to show you what I mean. So the main port for an acoustic drum kit award could be Elektronik orchestral percussion. It's mainly what you tap along to if you have your hands on your knees like this. So that's the main beat. It's what everyone beat boxes along to if they want you and and so on, because you don't really be bookstands. Don't targeting starting doing that. I didn't know you be books, Tom don't, because that is the main be. That is what we feel inside, which is, of course, most often, and on the low percussion or low drums like the kick drum. And it could be snares and collapse, like in this case, I believe I have a snare, etc. Yep, So the kick and snare is, of course, the most classic example of this. Then, ah, the extra drive could be lots of different things. Basically what you lay your on top to spice up the plane main beat In this case, this acoustic drum kit. I've used sticks on da ride symbols, which are great for transitioning into a part like this on then high hats and then the accents and could, of course, be the classic symbols. That's the main type of accents in almost old type of percussion. Cinematic Elektronik, acoustic rock, whatever, then for feels. I think I have told Miss Here, which I said is the most common drama percussion four feels and then transitions. In this case, I have a snare, not a simple rule, but I actually what I call a wave ruled. It goes like that. And then I have a reverse crash in the beginning, just an audio file here, which is reversed off a crash hit and then a longer reverse crash in the end, as a transition to let's see, fading in as well on. And then the rice residents final transition in the end, because if I work to continue this track, this will would go into High energy section. So all in all, it sounds like this in the percussion mix. The main beach feels a well, the other ports take care of double stuff. So that's the first myth of the second method is to focus on the range. Let's see if I can just assume out from here and let's see where I have that I'm used that here on this first example. So if I assume hin to the orchestral percussion ports here, um, you see that I used another way of organizing them. This is percussion, So this is going from the frequency range from the low to the high, so percussion low percussion low made the percussion high mid. Then I actually have feels here because I always add feels regardless, percussion high and the accents. So basically it is kind of a mixed, but you can see my point here. So the low percussion in this case is always a big low drum and the percussion low mids Hey , I really like a little thump tomes so practically similar on then the high means usually Hi Tom's and Scenarios and Stuff like that feels always. I always go for Tom's, but he can go for ethnic percussion hand percussion and then hyper caution, of course, goes into stakes and high has I think I used tickets in this, And the accents, of course, are symbols. So So the difference is here that I focused on the frequency ranges when I recorded them, but again, starting from ah, the highest, I always had the highest for the most important percussion port at the highest track in the folder of all percussion, which in this case is percussion low than going up in frequency range. And if you go back to the other example again, which was over here, it's Instead, the main beat is the most important than they extra arrived in. The accents just continue to feel things up, so I record the main be first. Then I added the extraction or the extra drive. Hi, it's about it. Whatever. Then I augment the accents with symbols. Power holds its own, by the way. You can, of course, have several of these eso If I just add another 10 if I don't add another track here, it could be like power, its impacts and stuff. It's still a kind of accent percussion, then the feels on transitions. I always add the later part when creating the percussion performance. And finally, I add the special effects, like reverse crash sounds and advisers and all kinds of sound effects if I really want to augment the overall percussion mix. So those are my personal two methods for writing the elements that ports off my percussion mix. But of course I favor the first method, which is to focus on the rove off each element in your entire percussion mix. 24. Guide 2 Add Amazing Expression: in this video, I will show you an incredibly important aspect off music composition, adding expression to your performances. With percussion, however, you have a different set of techniques to add expression compared to melodic instruments. Let me give you my top guidelines for adding expression to your percussion makes in music. So I'm going to start by giving you my top five guidelines were adding expression in your percussion mix because again, you can't do the Gulf of the broader and stuff like that. So for percussion, I would say everything is about variation. That's the key word to remember. So my first guide is to add variation in the rhythms off your mix. So everything variation. The 2nd 1 is colder, the aviation. So, for example, let's say you have a kick and a snatcher, and then every like second bore, you add a layer off clap on top of that snare, but not on every s Naret. That's colder. Variations of some layers have the extra clap, and some do not eso. You can use layering for this example and then dynamic aeration, which is incredibly important for percussion. So dynamics is simply how hold you hit each drum or percussion, and then you have the fourth is timing variation. So let's say you have one drum being hit slightly before the grade one is on point and another layer is just after. Well, you know, you have, like, a thicker kind of beat. Because they add Teoh with a timing variation. It still will sound like one from unless they're playing really away from the grid lines. But if they play further close, it will be created bigger sound with Mawr timing variation, which adds more character because you don't do it the same way every hit next time. The first job might be slightly after the second later might be slightly before and so wanted. The timing differences will add to this, and the final is in 10 cities irrigation. So compared to dynamic aeration, which is how hard you hit the drum on that moment by intensity variation, I basically mean, um, the overall the average intensity off the entire person custom makes at that moment. So let's say crescendo and diminuendo. Let's say you gradually increase the dynamics off all percussion ports in the mix. In the end of a phrase, to build a transition into the next section. So go ahead now and show you this example again. The action of energy style. And let's start with rhythmic variations. So by rhythmic variation, I mean, you know, doing like a wandering to bore ah, beat and then just looping it but actually having some variation in the performances. So as you can see here, we're done. But, um, Pam, Pam and you have here, um, again Bam, bam, bam. So it's different this time. The more gap is over here and the closer is there. Then we get into completely different there and finally to the sensation, more notes. So you can see there is lots of rhythmic variation. And then for the color variation again, I tend to think about this as we're choose wisely, where you want a cooler with another layer, perhaps third layer over here, and a complete of different layer on this beat and so on. So in that case, if you play these two example percussion low and percussion low mid. So if we go and check here, you can see that it's not late on the first bit. Then it's layered. See on these so I have everything? Yes, because that's only one and then you had done down here. So here we have that layer and that layer. But it's two different colors here because this Ah, this drum here has two different, like Low Tom's kind of sounds, which has different color. And that's another thing you can, if you use Tom's or any percussion that have different colors in its kit used to different colors. Instead of having all these notes on the same drum, it adds lots of color and then dynamic variation. Of course, if you check this again on, just see if I bring up the velocity levels, these red hits here or the hardest velocity. So this adds an accent here that that dumb and you can really hear it in the mix as well. And if you you can even do it like this to add Lay your told here you have to make this really hits hard and as a so there. I had it slightly off first, so you basically think of this like if lamb, but it could have several layers and slightly before slightly after. Even those are lower velocity. You will really here how big this beef will become Now you hear that again compared to and it's even more efficient if it's a different color in the drums. Not different. Tom's us in this case, but actually having so this drama is perfectly this beat is perfect on the grade, but this one is, Let's say, just before and let's say you have another layer here that's just after just shift. These not too much, by the way, um, but say we add another one. Here was the stake here. Oh, so have that slightly slightly before a swell. So let's see how that sounds on together in context, bringing us those back in here other than them. So the timing variation is also really important. But to really have the accidents come through focus on the third point, which is dynamic variation. Dynamic elation is also having these not all the same and makes us you can see slightly difference or each beat and then demanding Jackson's by really pushing up difficulty levels like so and then the final one. The intensity variation. You can really hear that in the end here, if you check this if we go into the piano roll editor of these I think you can even see Looks think you can even see that is going gradually bigger. Get more Jell O their small green here. Well, in this case, I could actually increase. Then let's do that. So spring those up big in level in the end, hair that spring, guys up as well a bit. Let's see. So bring those up on Let's bring these guys up. Likely Mawr, Andi, even the fields. And by the way, if you use the automation here, you can actually have them like building energy. Now there's like line here. Let's see how you do this. I think you do like so, yeah. So now if I've got drag these down, Aiken do, like like this. So it's not the perfect role. Um, actually overdid it there like, so you can do this by hand. Just grab bringing down the velocity and then gradually building it up like a role, but not a perfect straight, unfinished Loudest. Let's see how they sounds in there. Now, this, I believe, will really bring up the intensity of the Final Four. Yeah. You heard how much holder those final ports hit there in the end, so that's it. Four. Expression in your percussion parts focus on rhythmic variation, color variation, meaning their tone colors of the different parts and beats dynamic aeration, meaning the velocity levels and both having variation as and also controls by accenting ah or augmenting the accents. Bringing up the velocity Really hold on those that you want to bring out in the next timing variation. Meaning not having everything perfectly quant ized because if you have slight variations there, you will get a bigger sound, more authentic sound on really Mawr natural performance in the entire percussive mix. And then finally, the intensity variation, meaning basically gradual increase or decrease in the velocity and dynamics. Now make sure that you take action to practice all these five techniques to add amazing expression to your overall percussion performance. 25. Guide 3 Mixing the Colors of Music: music is a mix off three main colors. Villain, harmony and melody. And, of course, your percussion ports should consider all three colors for the rest of the instruments and performances in your composition. One percussion versus the rhythms Since we talk about percussion, the aspect of rhythm is, of course, the main focus. This means that he should take into account all types of rhythms used in your music composition. When you write and shape your percussion makes, for example, Austin autos strumming ports, palaces or pidio owes accents and power hits, etcetera to percussion versus the harmonies. Since true percussion does not focus on pitch, you don't really have to worry about what chords and harmonies are playing. However, you can think about how they are playing. For example, if you want a cool change to be more noticeable, you can use your percussion to augment that change. Three percussion versus the military's I like to use percussion to elevate some off this strong nose off my melodies, reefs and motives. I mean the most important nose in your melody that you really want the listener to focus on . It's all about layering here, all right, so those are my guidelines for percussion versus the three colors Off music. I will now show you a live example over a full percussion mix versus the main colors. Off music. You should pay extra attention to how the percussion mix dances together with all the other rhythms inside the music. All right, let's dive right into this practical example right now. All right, so my personal three step workflow for writing, shaping and designing my full percussion mixed in my compositions. God, one was how to fight the actual elements. Got Iwas how to add amazing expression in your percussion mix and now for guide three, which I'm afraid many composers and producers miss out on because I find it to be incredibly important. And that is to mix within the colors of music, meaning mix. Your percussion makes the full performance so that it dances the same dance as the rest of your composition, meaning specifically that the rhythms respect each other. So if you have a main driving in your percussion, make sure to owner that rhythm in the other rhythmic elements of your mix. So, for example, your short string ostinato parts and accents on stab the breasts and strings and so on. So let me first play you this short composition, and then I will break it down on the aspect of how the percussion relates to the rest off the music. Right? So that was the short composition, by the way, that's not mixed or produced. Truly, I just wanted to get the example across here. The main thing is to compare the percussion mix, which we have here. The main drive is Tyco's stay kicks, and then you can really hear the drive taking care of of the low Tyco's that don't. And if we check here, we can see that the main accents are well, it's basically a lack sense, Onda and those three beats one and two. If we check for example over here on the driving strings at the same time, let's do that. Let's see, we can focus on that as the same time as the driving strings, and let's bring those together these along the drums. If you really want to them to dance the same dance, you can see that they are already doing that pretty much because I've added the accents here on one into you, volunteer service. But if you wanted to augment that even Mawr well, simply drive up thes, even Mawr. So they really pushed in the makes. Let's see the difference and so one. And you really need to go through all the aspects of your composition. So here we have breast steps and those are on one and 21 and two, which I care. Won't one and two Northey end in between? Ah, let's go back. So we have. That's about the colder off expression again. So it's not me making exactly what the percussion do. The main beat on the Tyco's, but it's actually pump and not on the end. And has the percussion may not on the breast? Let's see. Doesn't sound, um oh, it's a really low when the makes like in here so we can bring this out. I think I really need to go into the expression and, in fact, and see where do we have the modulation? It's just that something so we get it up. Involve you like so now listen to it with the Tyco's. And if we had the extra Tyco's, you can see that those or only one, and to hit what? Well, on the and there let's see. I wanted to I mean one to us or the stabs here and again. To where? As these guys do the one and do so I think you are starting to see the pattern here is that is really important to have the layers off your complete composition dance the same dance together because otherwise you will end up with a complete mess. So you can do these even for the faster rhythms. Let's say the thes chill owes that that that that that that it edited it So you can seem to bring up first, make sure that there are notes own the actual accents. So we have one and to you And of course, this was straight 16th beads. So simply here you have one and two you can bring up three accidents on one and two here, then from the next one. Well, they are pretty much all the way up already dumbed down dumb, dumb and all the rest in between or just symbols. 16th straight notes Um, so you should really focus in on the accents. And also it don't do a complete different rhythm on another port in your mixed. So let's say you do trip it notes. I believe we had some trip. It knows somewhere way here. So here you can hear that the trip it notes, which you can see in the singles and Tyco's and Shemer here. If I soon in here, you can see that they are not on the greatest. They are in between thesis or triplets. Eso. Then you need to make sure that you don't do completely different rhythm on other instruments. So let's check what we do here. Let's see here we have a swell but sees we can bring these up together with the trip its own. But say the tigers here, Tyco's tickets and then you can really align them so they all respecting the same rhythm. They are pretty much badly time there. So now we have. They did it him that really makes it come through in the mix because if you have straight a straight beat on one instrument and fifties and another really class to the rhythms, so that's basically the most important thing. Um, when writing music to respect the three colors of music, the most important being the rhythms but also, if you do like a cool change, will say, Ah, we do have the homeless. So if you have questions here, you can more that cool change in the rhythm by adding a note on a lot of instrument, like I've done like they're on the stabs. If you market on several instruments, you will bring that court changed forward in the mix, and I don't have a leading milady here Reef. But if you have that, ah, by the way, that was Pacific Rim soundtrack. Grief. If you have that, you can do the percussion, took that so that you really and elevate the strong notes off that riff bad happened, but about ticket on data on the percussion. So it all goes together. Music, the rhythms, the harmonies and melodies should all dance the same dance together. We can take a look at another example here completed different composition in a different style. So let's still be there and I will show you the main accent so you can really hear this bomb down down sentence, then before 1234 on its not be making completely, but you have it here up on the Tyco's damn downtown on. I have another note after about. I include that main rhythm, especially those four beats there are really clearly accented. And I do it on the brass swells. You can hear it. I do like this from here. Ah, so they all dance the same dance together and you should do to on the faster rhythms. And really here is very important to make sure that the accents can really bring up those damn. And then we have down, down damn job, See if I can bring this out even more way, I think made on the wrong beach. Yeah, it was not there. It waas here only one on to you. So we have to do it to the extreme. Just you can hear it one once I made a mistake one one and on if you check Ah, With the extents stabs here you can hear that I now movement them. Really Go through all the airports in your composition and make sure they all dance the same dance together. Focus mainly on the rhythms. Then harm is not so much unless you want to Really being out of court changed But the strong notes of your Melanie already for Hook. You really want augment with your percussion will rise to take action now and practise mixing the colors of music. Make sure your complete percussion performance Ah, really respects the rhythms of all the other attracts in your composition, and often you have to go through them one by one and check and make some changes. So they really dance the same dance together. Find the accidents in the percussion, make sure they are respected in other would make parts of the music and vice versa. And finally, if you do that for all the facts, you will end up with a coherent rhythmic idea that is carried all the way from the beginning to the end off your music composition. 26. Congratulations + Your Final Project: congratulations. You have now completed my full course, which means that you are well on your way to become a master off percussion. In music composition, you have learned my personal power tapes on percussion, all the types and styles of sounds you can use in your percussion. Mix the colors of percussion and how to create your own percussion palette. And, of course, shaping this style and performance of your full percussion makes to work will for the specific shong er style energy and mood off your music composition. Now here is your final project, creating music composition that is at least 16 bars long and includes enough instruments to have a complete and full sound. But don't add any percussion pours yet. Make sure you focus on the rhythm, energy and drive you want your music to have with your other instruments. Then you create a full percussion palette that works well for this specific music composition. And finally, you write all your percussion reports for these composition. Use all the concepts, tips and guidelines you have learned in this course to really make a powerful percussion mix that feels complete, such as rhythmic interest and variation. Dynamic Purgation range, strong accents, fills and details, great transitions. And so good luck and have fun mastering your percussion minutes away your future music compositions you create My name is like on I wish you great success on your journey in music.