Three Things That Can Help You Create "Changes" in Your Beats

Making the Task of Coming Up with Changes Less Daunting

By AMIR SAID (SA'ID)

Ever make a beat that seems like it’s missing something? I mean, the core track is dope; everything is tight and looping correctly, but after 4- to 8- bars, it just seems, well, too redundant? Although redundancy is a good thing in some cases and for certain styles of beats; and although the crux of all hip hop/rap beats is repetition (specifically, frameworks based upon continuously looped riffs/grooves), some beats just work better with effective changes.

In beatmaking, "changes" (an embellishment, breakdown, switch-up, etc.) vary in sound and complexity. They can be as simple as added percussion, something like a mini-phrase of bongo-hits overlaid during the vocals; or they can be as complex as an entirely new arrangement of sounds and textures, something like dual lines of melody and countermelody played out with a synthesizer.

For many beatmakers, coming up with effective changes (changes that really fit) isn’t necessarily an easy part of the beatmaking music process. On one hand, you have to consider the style and sound of beat that you’re making. For instance, to make changes in sample-based beats, many beatmakers simply sample, chop, and insert different parts/pieces of the same source material (sample). In many cases, this approach is all that it takes to come up with an effective change or two. Still, there are those times when the same source material doesn’t have any more pieces that fit with the beat at hand. Therefore, in cases like these, it can be a bit of a task coming up with changes that work. And while there are some who believe that creating changes for non-sampled based beats is a much easier challenge, the truth is, even with non-sampled based beats, creating effecting changes can be rather difficult.

Difficulty aside, however, there are three things that can help you—a great deal or at least make the task less daunting—with your approach to creating (adding) changes to your beats: (1) knowing if a change or changes are actually needed; (2) knowing which types of changes typically work well with which types of beats; and (3) having a good understanding of mood, i.e. the moods that specific sounds and certain categories of sounds invoke and tend to convey.

First, it should always be remembered that some beats simply do not need a change. For example, if beat is made up of a 4-bar pattern, chances are, that complete pattern—from start to finish—is not monotonous. And, therefore, it may be able to do without any significant change. Perhaps a few drops (mutes) and solos at various points of the beat can be all the change that’s needed.

Second, it’s important to gauge which type of changes usually work well with which types of beats. For instance, does the beat need a breakdown, or a bridge, or an intro, or a stacked synth phrase, or just a simple riff pitched up or down? In either case, a change should relate to the basic style, scope, and structure of the beat at hand. Which means everything from style, sound, form, and tempo must be considered, before incorporating changes. For example, When working with a sample-based beat, particularly a mid-tempo one (93-96 BPM), I prefer to incorporate changes that feature samples, not synths. In fact, if I can help it all, I avoid blending samples and synths. However, when I do add synth sounds to a sample-based beat, I sample the actual synth sounds/phrases, then I match their sound and feel to style and sound of the beat. On the flip side, when I’m working on a synthetic-sounds based (non-sample-based) beat, I take more leisure with the samples that I incorporate. The reason being? Because non-sampled based beats tend to absorb—or perhaps feature—samples more effectively than sample-based beats absorb synth sounds. Most of the time, I find that synths either stick out like an obnoxious blemish, or they betray the sample style and feel of a beat.

Finally, having a good understanding of mood, i.e. the moods that specific sounds and certain categories of sounds tend to invoke and convey, is the third thing that can help you with your approach to creating (adding) changes to your beats. A big part of coming up with an effective change is being in tune with the core mood and feel of a beat. When you know the moods that particular sounds invoke and convey, you’re better equipped to create those changes that work well within the framework of the core structure, form, style, and sound of your beat.
(For more information about moods and sounds, read: "Creating Your Own Moods/Sounds Chart")

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The BeatTips Manual by Sa'id.
"The most trusted source for information on beatmaking and hip hop/rap music education."

Comments

[Robert]

Excellent post Sa'id!Something that really helped me prior to reading your recommendations,was testing my beats to acapellas basically doing remixes and I found out that some beats don't need a change and some do and those changes don't have to be dramatic like you mention.What you write isn't only good for hiphop but house as well.Daft Punk are one of the best group in electronic music history,yet what they do is quite simple,a 4 to 8 bar loop with drops,simple but effective:)

[Amir Said]

Robert, thanks!

Yes, yes. Remixes with the same A cappella can definitely teach you about changes....
And I agree, much of what I wrote translates to other electronic music genres as well.

Another note: Because hip hop/rap music is so groove orientated, you always have to be mindful of whether or not a change will hurt or enhance the groove.

—Sa'id