Polymeters are the key to killer djent riffs, but they don’t fall into Western music conventions – here’s how to cheat the system to get the best of both worlds
We've spoken about polymeters and how to use them before, but there is another cool trick you should know about.
The problem with polymeters is that they typically loop in odd groupings of bars, which can make your music feel lopsided to the average listener.
For instance, a 3/4 over 4/4 polymeter will resolve after three bars of 4/4, which doesn't match the conventions of Western music. We're used to hearing groupings in even numbers like two, four, and eight. Therefore, to the average listener, a cycle like this can sound odd and off-putting. It can let what is otherwise a really interesting groove down.
Some bands fix this issue by cheating the polymeter, and now you can too.
In English, please
To cheat the polymeter you need to temporarily break out of the cycle to make sure it lines up with the bar counts we are used to with Western music.
For instance, if your loop falls short of a nice even number of bars in 4/4 – the safe space for Western listeners – then you will need to fill in that extra space with some more notes.
Likewise, if the final loop takes you beyond the all-important two or four-bar mark, then you will have to take notes away to make it fit into the standard structure.
Filling in the space
Sticking to the 3/4 over 4/4 example, then, four loops of ¾ takes up three bars of 4/4. One full bar of 4/4 is therefore needed to round the bar count up.
This extra space can be used for a turnaround or hook before repeating the pattern. It gives you the best of both worlds when it comes to the push and pull of polymeter grooves and the familiar feel of Western music, which will widen your music's appeal to a far bigger audience. Monuments are big fans of this trick and are heavily inspired by bands that did it before them, like Tool. You can check out an example of this in action via the video below.
Moreover, you don’t have to feel restricted by adding in extra notes right at the end of the loop. Really, you can add in notes wherever you see fit. The most important this is hitting a bar line that conforms to typical music structures.
Imagine your audience nodding their head to your music, you want to keep that pulse steady and that they don’t end up out of sync with your because your bar count was unusual.
Here are two more examples, with the turnaround coming after two loops of three, therefore sitting in the middle of the riff instead, and then right at the start.
In these three examples, the feel of the groove feels very different, even though the notes are the same. That’s because of how the riff interacts with the drum beat, so it’s worth experimenting with shuffling motifs around riffs like this to see the different effects it can have on your idea.
Shortening a loop
Some time signatures will see your cycle of four stretch beyond a tidy finish line of two, four, or eight bars. In these instances, you can cut the last section of the cycle short to get the same result.
For this example, we’ll look at Straight Lines by Danish metallers, Vola.
The guitar rhythm is in 7/8, which repeats four times, with the last repeat a little different to add some interest. During the second loop of this phrase, that last turnaround is cut short so that the full idea sits tightly in eight bars of 4/4.
Again, if you think about the audience nodding their head analogy, this works a treat. Even though the groove of the riff is in 7/8, something no-musician listeners won’t pick up on, they can still nod their head or tap their foot along with the 4/4 pulse of the drums and always remain locked in.
Of course, the same principle of adding that different count into a different part of the phrase can be applied here. It can be worth experimenting with your options and finding the version that best serves your song.
Follow your heart, not your calculator
The important thing to remember is that these kind of techniques are all about refreshing your grooves. They must still feel natural.
That’s why it’s worth shuffling those shortened or lengthened parts of the cycle around the phrase. When you land on one that sounds right, and feels great to play, then you know you’re onto a winner.
Following mathematical rules at the expense of groove – the number one principal when it comes to getting people to move to and engage with your music – will turn your song into confusing jazz. If that’s what you want, then knock yourself out. But it’s worth considering the alternative.
Meshuggah have made a career out of being insanely technical without sounding overly technical, because their music is founded in simple grooves. That’s why primal metalheads and nerdy proggers can both be found at their shows.
Get more
For more guidance on cheating the polymeter, head over to John Browne’s dedicated lesson page.
Head over to the MMA blog page for more riff hacks and guitar playing advice.
And head over to the MMA Forums to share your riff ideas and get helpful and constructive feedback in real time from our supportive and growing community.
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