How to Write a Drum Cadence
Have a basic knowledge of notes, time signature, rhythm, and pitch., Keep it simple., Put down the sticks., Tap out some quarter notes and say, (don't tap), a rhythm that pops into mind., Repeat last step until a fluent piece is written., Go through...
Step-by-Step Guide
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Step 1: Have a basic knowledge of notes
These are the building blocks of your writing. -
Step 2: time signature
One set of four quarter notes played correctly can be much more effective than three or four measures of complex material. , Often you'll find yourself in a haze of your own playing.
Avoid these mistakes:
Forget.
A long series of notes can be tricky to remember, especially when different rudiments are involved.
Overplay.
Remember that a drum line is only as good as its weakest drummer, and if he/she cannot keep up, the entire drum cadence is weakened Solo.
This is flashy, fun, eye grabbing, and may reflect great skill, but often in solos, the tempo is lost and will sound horrible with the rest of the line.
Save excessive showboating for I & E's. , Do eight or nine counts then stop.
Repeat those counts three or four times.
Then, if you like it, write it. , This is most likely your snare part. , Sometimes ripples are nice, or even dynamic quarters.
Steady quarters are another option.
Sometimes only the offbeat will give a funky sound to the line.
It all depends. , paradiddles, flams, etc.
These sometimes help dynamics on either hand or at different points.
They are also more professional. , Yes, it may be boring sounding now, but your quads/quints are going to spice up even the simplest of cadences. , A general rule to follow is to make sure every accent on the snare and bass drums is hit by the quads on a different drum.
For example, if the snare drum accents every other beat, make sure every other beat gets a different drum. , Use all manner of rudiments, accents, and even make chords with different drums.
Even clapping and hands playing are effective. , Cymbals are much more than crashes and hi-hats.
Sometimes even the most basic cymbal parts can add a completely different sound to your cadence.
Ask a friend who plays cymbals about all the different sounds and techniques you can create with a pair of cymbals.
You might be surprised. , Do not let one section overpower the rest of the line. , Emphasize them for every section. , Nobody's first song was awesome.
All people who write music had to start somewhere.
Mistakes and experimentation are how you learn; they're how music develops. -
Step 3: rhythm
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Step 4: and pitch.
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Step 5: Keep it simple.
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Step 6: Put down the sticks.
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Step 7: Tap out some quarter notes and say
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Step 8: (don't tap)
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Step 9: a rhythm that pops into mind.
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Step 10: Repeat last step until a fluent piece is written.
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Step 11: Go through the cadence one measure at a time and think of a cool bassline.
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Step 12: Go through both parts of the whole cadence and look for opportunities to work in rudiments
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Step 13: Go through once more and finalize those two parts.
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Step 14: Begin the quints/quads part.
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Step 15: Incorporate more than one drum.
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Step 16: Ask a friend or a colleague who is experienced in writing cymbal literature to write a cymbal part to the cadence.
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Step 17: Balance and regulate.
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Step 18: Know where the most powerful parts are in the music.
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Step 19: Most importantly
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Step 20: practice.
Detailed Guide
These are the building blocks of your writing.
One set of four quarter notes played correctly can be much more effective than three or four measures of complex material. , Often you'll find yourself in a haze of your own playing.
Avoid these mistakes:
Forget.
A long series of notes can be tricky to remember, especially when different rudiments are involved.
Overplay.
Remember that a drum line is only as good as its weakest drummer, and if he/she cannot keep up, the entire drum cadence is weakened Solo.
This is flashy, fun, eye grabbing, and may reflect great skill, but often in solos, the tempo is lost and will sound horrible with the rest of the line.
Save excessive showboating for I & E's. , Do eight or nine counts then stop.
Repeat those counts three or four times.
Then, if you like it, write it. , This is most likely your snare part. , Sometimes ripples are nice, or even dynamic quarters.
Steady quarters are another option.
Sometimes only the offbeat will give a funky sound to the line.
It all depends. , paradiddles, flams, etc.
These sometimes help dynamics on either hand or at different points.
They are also more professional. , Yes, it may be boring sounding now, but your quads/quints are going to spice up even the simplest of cadences. , A general rule to follow is to make sure every accent on the snare and bass drums is hit by the quads on a different drum.
For example, if the snare drum accents every other beat, make sure every other beat gets a different drum. , Use all manner of rudiments, accents, and even make chords with different drums.
Even clapping and hands playing are effective. , Cymbals are much more than crashes and hi-hats.
Sometimes even the most basic cymbal parts can add a completely different sound to your cadence.
Ask a friend who plays cymbals about all the different sounds and techniques you can create with a pair of cymbals.
You might be surprised. , Do not let one section overpower the rest of the line. , Emphasize them for every section. , Nobody's first song was awesome.
All people who write music had to start somewhere.
Mistakes and experimentation are how you learn; they're how music develops.
About the Author
Emily Mitchell
Dedicated to helping readers learn new skills in hobbies and beyond.
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