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64
I
MUSIC KEY
n part one of this series (April 2011), we
discussed various ways to make a direct
connection with the rhythms found in other
musicians’ parts. For this installment, I’d
like to take a slightly broader approach. In
addition to the interpretation of the rhythm of a song’s
melody, it is extremely important to know simply how the
music flows from measure to measure. We can observe this
through the way chords and melodies are introduced and
stressed within the meter. The downbeat on the 1 often maintains
the strongest emphasis, but this isn’t always the case.
Listen closely to the music and notice if melodies or chord
movements are instead anticipated.
An anticipation is defined as a rhythmic attack that occurs
ahead of the downbeat. Using a typical measure of 4/4 time
as an example, we expect a strong beat on the downbeat of 1.
If this accent is moved ahead to the “&” of beat 4 of the previous
measure, then the accented note occurs an 8th note
earlier than expected. This anticipation gives music forward
motion that effectively builds momentum and energy.
Do not confuse anticipations with pickup notes. A pickup
is an unaccented note that occurs before the first beat of a
measure. The difference between the two is not where they
occur in time, but rather how they are stressed within the
song’s rhythm.
Regardless of how closely you choose to connect with your
musical counterparts, creating a drum part that emphasizes
the song’s harmonic movement serves to strengthen and bring
cohesion to the overall sound. In a simple drum accompaniment,
the placement of these few accented notes becomes
especially important. After you become aware of where the
chords change, you can begin to focus on the details. Try to listen
for the notes or chords that are stressed and therefore
require special attention in your drum parts. Either ignoring or
incorrectly interpreting a song’s anticipated chordal movement
can get you into trouble. Of all the connections in your
part, this one requires extra attention. Playing a strong downbeat
on 1 when the guitar part is clearly stressing an anticipation
might cause the music to feel cluttered or give the impression
that you’re out of sync with the band.
Here’s a typical anticipated guitar-strumming rhythm and
some ways in which it can be interpreted in a drum accompaniment.
Notice how the chords are introduced on the “&” of
beat 4.
MODERN DRUMMER • June 2011
ROCK ’N’ JAZZ CLINIC
Write Creative Drum Parts
Part 2: Anticipated Rhythms
by Chris Prescott
When an accented note is surrounded by empty space or
quieter dynamics, that note will draw more attention. I find
that in most instances leaving the downbeat empty following
a strong anticipated accent will add power to the part.
Another good reason to rest on the downbeat is based on
practicality. If you’re playing at a faster tempo and leaning
into big crashes on these anticipated accents, the rest gives
you a moment to get your hands back in position to continue
your pattern. Here are some examples that leave a rest on
beat 1 for dynamic contrast. Notice the move from the hi-hat
to the crash cymbal on the anticipated accents.
It’s critical to incorporate anticipations into your fills as
well. Here are some examples that connect with an 8th-note
anticipation. These accents are most often played with your
dominant hand, since you’ll have time to continue your regular
cymbal pattern without too much struggle.