Music Theory from Royal Blood "Mountains at Midnight".
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0:00 Step 1. Pattern
0:50 Step 2. Beat
2:13 Step 3. Pulse
2:39 Final Example


Step 1. Pattern
Set up two bars of 4|4 with your grid set to 1/16 notes, and your tempo at 136 BPM. Now, instead of starting to make your drum beat with the usual kick on beat 1 and snare on the backbeats (like everyone else does!), you’re gonna start by writing your kick and snare pattern on the hi-hats. Wait, what?! I know that seems like a really odd thing to do, but this method is gonna result in a far more creative (and therefore “advanced”) drum beat. Okay, so there are many ways to write a creative pattern, but here’s an easy method. Start by playing every 1/8 note. Then, delete a couple of those. This creates variation. And then, move one or two hits over to the next 1/16 note. This creates surprise.

Step 2. Beat
Right, now that you’ve written a creative rhythm, it’s time to turn it into a drum beat. To do that, simply divide up your pattern between the kick and the snare. In other words, move some notes to the kick and others to the snare. But, instead of falling back into the conventional approach of kick on beat 1 and snare on the backbeats, purposefully avoid doing that in the first bar. This unusual approach in your first bar creates a huge amount of interest that grabs the listeners’ attention. But, if you repeat this approach in your second bar, it won’t sound as interesting any more, as they’ll be expecting it. So, in your second bar, you’re purposefully going to switch to a conventional approach with the kick on beat 1 and snare on the backbeats (i.e. beats 2 and 4). This cycling back and forth between an unconventional bar and a conventional bar keeps your listeners constantly engaged.

Artist
And a shoutout to Royal Blood, and especially their drummer Ben Thatcher, as this lesson is based on his beat from their new single “Mountains at Midnight”.

Step 3. Pulse
This is the easy part. Just add an 1/8 note pulse on a cymbal. This simple rhythm glues the complex beat together. Ben actually switches the pulse between the hats for the verses, and the crash for the choruses.


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