How to Write a Polymetric Drum Beat

Music Theory from Periphery V: Djent Is Not a Genre.
►Free Book: https://HackMusicTheory.com

0:00 Step 1. Kick in 7
1:20 Step 2. Snare in 4
2:26 Playthrough


Step 1. Kick in 7

The new Periphery single “Atropos” (from the album Periphery V: Djent Is Not a Genre) opens with a classic djent polymeter, which we love! Staying true to Meshuggah’s original polymeter recipe, the kick is in odd time while the snare and cymbals are in 4|4. So, start by programming a one-bar kick rhythm in 7|8. And just cos you’re in 7|8, doesn’t mean you have to only use 1/8 notes, so change your grid to 1/16 notes. By the way, the tempo is 80 BPM.

Once you’re happy with your kick rhythm, copy and paste it over four bars of 4|4. At the end of your 4-bar loop, you’ll notice that you can’t fit a full bar of 7|8. Don’t worry, that’s part of the fun of playing these polymeters. Simply chop off whatever doesn’t fit of your 7|8 rhythm. In fact, that’s how you get those abrupt-sounding loops that are one of the main characteristics of djent polymeters.

Just before we jump into the next step. If there’s an artist you want us to hack, drop us a comment. Also, are you new to music theory? Or are you experienced, but you want a refresher? Then download our free book. It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing. You can get the free book at: https://HackMusicTheory.com


Step 2. Snare in 4

This is the easy and fun part! Start by playing a crash on every 1/8 note. This keeps the pulse and lays your 4|4 foundation. Then for momentum and to give the djent kids something to shake their heads to, throw in a regular backbeat snare, which is on beat 2 and beat 4. Right, now you’ve got a polymeter! But, there’s more.

Periphery’s drummer Matt Halpern does this really cool thing that most people won’t even notice. Where the kick and snare overlap in bar 2 beat 4, he moves that kick a 1/16 note earlier. This tiny variation makes the repeating 7|8 rhythm less obvious, which melts the two time signatures together a little bit. Small tweak, but it’s super creative!

Next, throw in some accents on a second crash (or china). You can do whatever you want here as your polymeter is already established. We accented the first beat in every bar of 7|8 with a china, as well as beat 3 in every bar of 4|4. This further melts the two time signatures together. And lastly, a little kick and snare variation at the end of the loop will act as a mini-fill to transition back around to the beginning.


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