How to Notate Blast Beats and Rapid Tremolo Picking in Extreme Metal Scores

Blast beats and rapid tremolo picking are the rhythmic and textural bedrock of extreme metal genres such as death metal, black metal, and grindcore. Their performance at blistering speeds—often exceeding 200 beats per minute—presents unique challenges for composers and score editors who wish to capture these techniques accurately. This article serves as a detailed guide to notating these phenomena, bridging the gap between traditional music notation and the demands of contemporary extreme music.

Overview

Blast beats are a drumming pattern characterized by repeated, alternating strokes between the bass drum, snare drum, and hi-hat or ride cymbal, executed at extreme velocity. Tremolo picking, on the guitar, is a technique of rapidly repeating a single note or chord using alternate or continuous picking. In scores, these techniques are often simplified or approximated due to their speed, but precise notation is possible with careful use of rhythmic values, articulation marks, and beaming. This article explores the notation conventions, performance nuances, and historical evolution of these techniques, providing a reference for anyone engaged with extreme metal composition.

How It’s Notated – Placement and Notation Mechanics

Blast beats are typically notated on a standard five-line drum staff. The most common patterns—single, double, and triple—are distinguished by the subdivision of the beat. For example, a single blast may be written as a sequence of sixteenth notes on the hi-hat, with the snare and bass drum falling on alternating offbeats. To achieve the illusion of a continuous “blast,” composers often use thirty-second or even sixty-fourth notes, depending on the tempo. The notation must clearly delineate the pattern’s components: the hi-hat or ride cymbal usually forms an eighth- or sixteenth-note pulse, while the snare and kick interject on specific subdivisions.

Tremolo picking on guitar is notated with tremolo marks: three slashes across the stem (or note) indicate a rapid reiteration, akin to string tremolo. Alternatively, repeated notes with a slur can indicate a continuous picking motion. In extreme metal scores, these are often written as sustained long notes with tremolo marks, because the exact number of articulations is less important than the effect. However, for precise notation, composers may specify the subdivision (e.g., 32nd notes) and use beaming to group the pulses. A key challenge is avoiding visual clutter; thus, many modern scores employ a hybrid approach: notating the rhythmic cells in the first few measures and then using tremolo marks or “ossia” lines to indicate continuation.

How It’s Performed

Performing a blast beat requires extraordinary limb independence and stamina. The drummer typically plays a continuous sixteenth-note pulse on the hi-hat (or ride) with the right hand, while the right foot plays the bass drum on the offbeats (often the “and” of each beat). The left hand and left foot (or right hand and left foot in some patterns) play the snare and bass drum in specific configurations. For instance, the “hammer blast” sees the snare and bass drum played simultaneously on the downbeat, followed by a hi-hat, giving a hammer-like thud. The “skank beat” features the snare and bass on the & of 1 and 3, with hi-hats on all eighths.

Tremolo picking is performed with a continuous down-up motion, maintaining a rigid alternate picking stroke. To achieve extreme speeds, guitarists often use minimal motion, resting the picking hand on the strings to choke out unwanted overtones. This technique is often paired with palm muting to produce a percussive, staccato effect. In notation, the performer reads the written pitches and applies the rhythmic pattern indicated, but the physical execution relies on muscle memory and metronomic precision.

How It Works – Theoretical and Mechanical Explanation

The blast beat’s effect is created by the interaction of multiple rhythmic layers. The hi-hat provides a constant pulse, typically in eighth or sixteenth notes, establishing a rapid subdivision. The snare and bass drum interject on specific beats or offbeats, creating a polyrhythmic texture that feels both chaotic and metronomic. The illusion of a “blast” emerges when the listener perceives the total density of notes—often above 10 notes per second—as a single, explosive sound. This density is achieved through the use of fractional note values, such as 32nd notes at quarter=200 BPM, resulting in 200 notes per second on the hi-hat alone.

Tremolo picking operates similarly: the rapid reiteration of a single pitch or chord creates a sustained, buzzing timbre, effectively turning a single note into a texture. The notation reflects this by using tremolo marks, which indicate a rapid, unspecified alternation. In extreme metal, this technique is often combined with the down-tuned, distorted guitar sound, producing a “wall of sound” that fills the frequency spectrum. The theoretical foundation lies in the concept of “pulsation” — the perceptual grouping of rapid articulations into a continuous sound stream.

Origin and Etymology

The term “blast beat” is widely attributed to the grindcore band Napalm Death from the early 1980s, particularly drummer Mick Harris, who popularized the pattern. The name itself onomatopoetically reflects the explosive, percussive burst of sound. The pattern has roots in hardcore punk and the fast tempos of early thrash metal, but the specific rhythmic configuration—rapid alternation between snare and bass with a cymbal pulse—became a defining feature of grindcore and later death metal. The word “blast” also carries connotations of violence and aggression, fitting the genre’s lyrical themes.

“Tremolo” comes from Italian, meaning “trembling” or “trill.” In classical music, tremolo refers to a rapid alternation between two pitches or the rapid reiteration of a single pitch (usually indicated by slashes). The technique was adapted to the electric guitar in the 1960s and 1970s, particularly in rock and metal, where it became a staple for creating sustained intensity. In extreme metal, tremolo picking is often used on a single note (or power chord) to generate a hypnotic, droning effect, as seen in black metal.

Historical Context

The evolution of blast beats and tremolo picking is inseparable from the socio-musical context of the 1980s underground metal scene. Emerging from the DIY ethic of punk, extreme metal artists sought to push the boundaries of speed and aggression. The development of double-bass drum pedals and trigger systems in the late 1980s allowed drummers to achieve even greater speeds and precision, leading to the proliferation of blast patterns. Similarly, the advent of distortion pedals and high-gain amplifiers enabled guitarists to sustain tremolo picking with clarity.

Geographically, the scenes in the United States (particularly Florida) and Europe (especially Scandinavia) became hotbeds of innovation. In Norway, the black metal scene of the early 1990s adopted tremolo picking as a central sonic element, often coupled with raw production and high-pitched, shrieked vocals. The social conditions of isolation and rebellion against mainstream culture fueled the extremity of these musical forms, which were often documented in fanzines and demo tapes rather than formal scores.

Key Figures

Several drummers have become legendary for their mastery of blast beats. Mick Harris of Napalm Death is often credited with codifying the pattern. Pete Sandoval of Morbid Angel introduced a faster, more technical style, using double bass and intricate variations. Flo Mounier of Cryptopsy pushed the limits of speed and complexity in the 1990s, inspiring a generation of technical death metal drummers. On the guitar side, guitarists like Jeff Hanneman of Slayer (whose early solos and riffs relied heavily on tremolo picking) and Euronymous of Mayhem are influential for their use of tremolo picking in a black metal context. More recent figures include Erik Rutan of Hate Eternal and Muhammed Suiçmez of Necrophagist, who have integrated advanced tremolo picking with complex harmony.

Landmark Works

Key recordings that showcase these techniques include Napalm Death’s Scum (1987), which contains some of the earliest documented blast beats. Morbid Angel’s Altars of Madness (1989) demonstrates a more technical application of blasts and tremolo picking, particularly in tracks like “Immortal Rites.” Slayer’s Reign in Blood (1986) is a landmark for its use of rapid tremolo picking in the rhythm guitar, especially in songs like “Angel of Death.” In black metal, Mayhem’s De Mysteriis Dom Sathanas (1994) features iconic tremolo-picked riffs, as does Burzum’s self-titled debut and later albums. These works have shaped the idiomatic use of these techniques in extreme metal.

Common Misconceptions

One common misconception is that blast beats are always notated in sixty-fourth notes. In practice, the subdivision depends on the tempo; often thirty-second notes at slower tempos convey the same effect. Another error is confusing tremolo picking with a trill—a trill alternates between two pitches, while tremolo picking repeats a single pitch. Some scores incorrectly use a single slash for tremolo, which in classical notation indicates a half-note tremolo, but in extreme metal may imply a specific number of reiterations. Additionally, many assume that blast beats are not standardized, but there are indeed recognized patterns (e.g., single, double, triple) that can be notated precisely. Finally, some believe that writing a fast tempo marking (e.g., ♩=250) eliminates the need for precise notation, but performers benefit from explicit rhythmic values, especially in complex passages.

Legacy and Influence

The notation of blast beats and tremolo picking has evolved alongside the music itself. Initially, extreme metal was largely an oral tradition passed down through recordings, but with the rise of guitar tablature and drum transcription in the 1990s, publishers and enthusiasts began documenting these techniques in print. Today, software like Guitar Pro and Sibelius includes specialized plugins and templates for extreme metal, allowing composers to notate with greater accuracy and fluidity. Academic studies have also examined these techniques, contributing to a broader understanding of rhythmic structure and performance practice. The legacy is a bridge between classical notation and contemporary genre-specific idioms, enriching both music education and composition.

In conclusion, notating blast beats and rapid tremolo picking is a challenge that rewards careful attention to rhythmic detail and practical performance considerations. By mastering these notation techniques, composers can faithfully preserve the intensity and precision that define extreme metal, ensuring that future generations and performers can recreate these powerful sounds with fidelity. Whether in educational settings or in the creation of new scores, understanding these conventions is essential.