How to Write Mathcore Songs

You want chaos that still makes sense. Mathcore sounds like controlled collision. It is a music style where furious metal and hardcore punk meet brainy rhythmic shapes. You want riffs that feel like a puzzle and a beat that punches you in the ribs at odd angles. This guide gives you the tools to write songs that are technical without sounding like academic homework. You will write riffs that land, drums that challenge but groove, vocals that cut through the noise, and arrangements that keep listeners guessing while still feeling satisfied.

Everything below assumes you like noise, relish tension, and prefer your comfort zone shredded. It is written for artists who want practical steps and real life workflows. Expect concrete exercises, clear definitions for technical terms, and relatable scenarios that explain why a technique works. We also explain every acronym and term so nothing feels like insider code.

What Is Mathcore

Mathcore is a sub style of heavy music that grew from metalcore and hardcore punk. It emphasizes complex, often changing rhythms, abrupt transitions, and dissonant guitar work. Think of it as music that wants to trip you up on purpose. Two of the earliest and most influential bands in this scene are The Dillinger Escape Plan and Botch. Their approach combined ferocious energy with odd time signatures and sudden shifts in tempo and texture. That combination is the essence of mathcore.

Key traits of mathcore include jagged riffs, asymmetric time signatures such as seven over eight written as 7/8 which means seven beats per bar where the eighth note gets one beat, sudden stops, polyrhythms which are overlapping rhythms with different beat divisions, dissonant chord shapes, and a production aesthetic that can be raw or hyper polished depending on the intent. Vocals often range from hardcore shouts to high screams.

Core Elements You Must Master

• Odd meters such as 5/4, 7/8, 11/8 and quick changes between meters.
• Polymeter and polyrhythm where one instrument plays a different meter or subdivision than another. We explain both below.
• Angular riffs that use dissonant intervals and abrupt rests.
• Syncopation which emphasizes off beats to create tension.
• Dynamic contrast from near silence to full blast instantly.
• Rhythmic vocal delivery that treats the voice as a percussive instrument.
• Precision drums that lock small subdivisions and odd groupings.

Terminology and Acronyms Explained

Before we get technical, here are short plain English definitions of common terms you will read in this article.

• Time signature A two part number like 4/4 or 7/8 that tells you how many beats are in each measure and which note value counts as one beat. For example 4/4 has four quarter note beats per bar.
• Polyrhythm Two or more rhythms played at the same time where the subdivisions do not match up evenly. For example playing three notes against two notes in the same time span.
• Polymeter Different instruments count the bar with different time signatures simultaneously. For example guitars play in 4/4 while drums play in 7/8 over the same span of time.
• Metric modulation A change of tempo where a subdivision in the old tempo becomes the beat in the new tempo. It is a smooth way to shift speed while preserving rhythmic feel.
• DAW Digital audio workstation. This is software like Ableton Live, Logic Pro, or Pro Tools where you record and edit music.
• MIDI Musical Instrument Digital Interface. This is a protocol that lets you control virtual instruments and drum patterns from a piano style controller or a computer.
• BPM Beats per minute. This is the tempo of the song. For example 120 BPM means 120 beats occur in one minute.
• Chromatic Using adjacent notes in the twelve note scale often without a clear key center. Chromatic movement creates tension.

How to Start a Mathcore Riff

Riff writing in mathcore is rhythm first. The motif should be something you can tap with your foot even if the foot taps in a complicated way. The actual pitch content can be simple. The trick is the placement of rests and accents so the riff feels jagged.

Step 1. Find a rhythmic idea

Start with a percussive pattern. Sit with a metronome at a comfortable BPM. If you are new to odd meters, try 100 to 130 beats per minute. Count out a bar in a less common meter like 7/8 by saying one two three four five six seven and repeat. Clap an accent on one and on four. Record two bars of that clap pattern.

Relatable scenario: You are on the bus and you tap the seat with your pencil in a pattern that keeps changing. That pattern is your riff skeleton. Record it on your phone. That voice memo will save your life when you forget the pattern after coffee.

Step 2. Build a guitar or bass motif around that rhythm

Use single notes, power chords, or dissonant intervals like minor seconds or tritones. Do not worry about fancy scales yet. Focus on the rhythm and the placement of silence. Space is a tool. Let rests be part of your identity.

Exercise: Take your clap pattern and play palm muted single notes on guitar following the accents. Try adding a rest right where a listener expects a note. That gap becomes the crunch.

Step 3. Add a counter rhythm or syncopated hit

Mathcore thrives on tension between parts. Add a secondary guitar or bass line that accents unexpected beats. This is where polyrhythm and polymeter ideas begin to bloom. The goal is interlocking chaos that still grooves when you listen closely.

Understanding Polyrhythm and Polymeter

These two terms sound similar but are different. Many players use them interchangeably and then argue loudly over beers. Here is a simple way to keep them straight and to use both in your writing.

Polyrhythm made simple

Polyrhythm is when two phrases subdivide a beat differently. The common example is three against two. That means one instrument plays three evenly spaced notes in the same time another instrument plays two evenly spaced notes.

Real life metaphor: Imagine two friends walking side by side. One friend takes three small steps while the other takes two big steps to cover the same distance. They reach the lamp post together then continue their different patterns. That meeting point is where polyrhythm resolves.

How to write it: Notate or program one instrument to play triplets while another plays straight eighth notes. Listen for where the accents align. Use that alignment as a hit point in your song.

Polymeter explained

Polymeter is when one instrument uses a different meter than another. For example the guitar loop might be a riff that repeats every 5/4 while the drums play a pattern in 4/4. Over time the starting points slip relative to each other. That slip creates a cyclical tension that resolves when the cycles realign.

Relatable scenario: You and your friend both have repeating playlists that are different lengths. At times both playlists finish at the same moment, and that feels satisfying. Polymeter uses that sense of misalignment and occasional realignment for musical drama.

Practical Patterns to Try

Here are mathcore rhythmic patterns you can use and modify. These are phrase recipes not gospel. Make them your own.

• 7/8 groove Count 1 2 3 4 5 6 7. Accent on 1 and 4. Try palm muted chugs on the accented beats and sparse higher notes between them.
• 3 against 4 polyrhythm Program a hi hat or ride cymbal playing three evenly spaced notes against a snare kick pattern in four. Use that for a pre chorus build.
• 5 8 pattern with stop time Play a repeating 5/8 guitar motif and then stop everything for one full 4/4 bar. The listener feels a metric jolt that lands powerfully when the riff returns.
• Polymeter loop Create a guitar riff that cycles every 11 eighth notes. Have the drums play a 4/4 backbeat. Let the riff realign with the downbeat after a number of bars that equals the least common multiple of 11 and 4. That mathematical meeting point produces a satisfying reset.

Song Structure for Mathcore That Actually Works

Mathcore songs do not need to be shapeless. Use structure to pace intensity. The classic mathcore approach is to use short sections, abrupt transitions, and recurring motifs that act as anchors. Consider these structural templates.

Template A: Jagged Anthem

1. Intro with a signature riff in odd meter
2. Short verse that strips texture
3. Pre chorus with metric modulation or polyrhythm
4. Explosive chorus with full band and syncopated vocals
5. Bridge that deconstructs the chorus riff into fragments
6. Final section that returns to the intro motif with variation

Template B: Puzzle Song

1. Intro loop that repeats and evolves
2. Two contrasting verses with different meters
3. Interlude that is mostly percussion and noise
4. Complex middle section with modulating tempos
5. Short high intensity outro

Keep most sections short. Mathcore thrives on brevity and surprise. If a section outstays its welcome, chop it. A five second silence can be the best tool you own. Use it like a punchline.

Vocals and Lyrics

Vocals in mathcore act like an additional percussive instrument. They often match or counterpoint the rhythm. You can swear, whisper, chant, or scream. The voice does not need to be pretty. It needs to cut through the dense arrangement and convey urgency.

Writing vocal parts

• Write short rhythmic phrases that map to your riffs. Treat words as syllable hits more than melodic statements.
• Place a clear hook or repeated phrase at points of resolution. The hook can be a shouted line, a chant, or a single syllable repeated as a post chorus tag.
• Use different tones for contrast. Low shouted verses and higher screams for peaks work well. Also try spoken word or whispered lines as a textural contrast.

Relatable scenario: If you have a friend who texts in all caps when angry, write that energy into the chorus. A single all caps line in a song feels like social media turned into sound. Keep it real and specific. Personal details give weight even if delivered in a scream.

Lyric content

Mathcore lyrics can be abstract, political, personal, or surreal. The form encourages short lines and aggressive delivery. Use concrete imagery to avoid vague melodrama. One strong image is better than three sweeping metaphors.

Example lyric technique: Place one striking image in each verse and then use that image as a symbol repeated in the chorus. The chorus repeats a concise emotional thesis and the verses show the damage or context. This helps the listener find a through line in an otherwise jagged song.

Working With Drummers

Mathcore depends on great drummers. If you do not play drums yourself prioritize getting a collaborator who understands odd meters. If you must program drums in a DAW make them feel human with tiny timing variations and velocity changes.

How to communicate your ideas

• Send a voice memo of the rhythmic idea recorded with a click track. That helps your drummer feel the intended pulse.
• Use bar counts and clear cues. Say things like Play that riff for three bars then stop on the downbeat and hold a rest for one full bar. Concrete counts save time.
• Practice groove first then complexity. A drummer who can lock a basic feel in odd time will make more adventurous parts land better than a drummer who can play complicated fills but cannot hold the pulse.

Production and Tone

Mathcore production can range from raw and live to tightly edited. Decide what emotion you want and make production choices that support it. Below are tone and production tactics that help your songs cut through without sounding muddy.

Guitar tone

• Use a tight low end. Too much boom destroys note definition in complex riffs. Use EQ to control the low mid range and let the pick attack cut through.
• Consider a scooped mid sound for aggressive palm muted chugs and a mid forward tone for dissonant leads. Experiment. There is no one right sound.
• Blend a clean or slightly overdriven track underneath for clarity when riffs are very busy.

Drum recording and editing

Capture a full kit with a clear snare top mic and room mics that sound natural. In editing, preserve the human feel. Do not quantize everything to the grid unless your goal is robotic precision. Use transient shaping to tighten attacks and bus compression to glue the kit together.

Mixing tips

• Carve space for the snare and voice in the same frequency band. The snare is often a lead percussive voice in mathcore.
• Sidechain elements smartly. For example slightly duck guitars during vocal attacks to preserve intelligibility.
• Use automation to create dynamic contrast. Abrupt drops in instrument levels increase tension more than static loudness.

Practical Songwriting Workflows

Below are repeatable workflows you can use to finish songs faster. Pick one and commit for a few songs to build muscle memory.

Workflow 1. Riff first, then map

1. Record a riff loop under a click at a temp that feels natural.
2. Play the riff through and clap or tap an alternative counter rhythm. Save both recordings.
3. Write a short vocal idea that matches the main accents.
4. Map a form using short sections and decide where to place a contrasting slower section or breakdown.
5. Bring in a drummer or program drums. Lock down transitions and add fills that emphasize off beats.
6. Record full band and refine arrangement by removing anything that competes with the vocal.

Workflow 2. Drum first, then riff around it

1. Create a drum skeleton with a mix of odd meter measures and a few metric modulations.
2. Jam guitar ideas over the drum skeleton until a motif appears that complements the drum accents.
3. Use polymeter ideas for a middle section by letting the drums continue in one meter while guitars repeat a phrase in a different cycle length.
4. Finish with vocals that mirror or oppose the drum rhythm for contrast.

Workflow 3. Compose in sections

1. Write three or four short sections independently. Each should be 8 to 16 bars long and have a distinct meter or rhythmic idea.
2. Arrange the sections in an order that creates tension arcs. Place the most aggressive material toward the end.
3. Glue sections together with short fills, silence, or noise sweeps. Metric modulation works well for smooth but surprising transitions.

Editing and Arranging Like a Pro

Editing is where mathcore becomes listenable. Your raw ideas will be messy. Cutting is kindness. Do not be precious about any riff that does not earn its place.

• Trim riffs to their strongest four or eight bar statements. Repeat only when repetition adds payoff.
• Use silence strategically. A dramatic rest before an expected beat is far more powerful in this style than a long sustain.
• Layer minimal elements during dense parts. Too many competing elements will blur the rhythmic detail you want listeners to hear.
• Place a tiny repeating motif, like a one note guitar stab, that the listener can latch onto across changing meters.

Practice Exercises for Your Band

These exercises help you and your band get tight on mathcore concepts.

Exercise 1. Clickless odd meter jam

Set a metronome to a comfortable tempo then mute it. Count the meter out loud once then play the riff together without the click. The goal is internalizing the feel so you can move fluidly even when tempo changes.

Exercise 2. Three against four hand clap

Drummer keeps a 4 4 groove. Guitarist claps a three note grouping repeatedly over the same time span. Practice until both players can feel where the meeting points land.

Exercise 3. Metric modulation drill

Play a riff in one tempo where eighth note triplets are prominent. Then reframe those triplets as the new downbeat in a faster tempo. Practice transitions until they feel intentional.

Common Mistakes and How to Fix Them

• Too clever for the listener If your song becomes a brain teaser that never lands emotionally, simplify. Keep one anchor hook that repeats.
• Riffs too busy If no single note cuts through try thinning the arrangement. Remove low end layers during busy passages so the top notes breathe.
• Unlocked groove If the band cannot lock the pulse, switch to a simpler subdivision and rehearse until it feels natural. Complexity without lock is chaos, not art.
• Over editing drums If quantized drums sound robotic, add micro timing variations and humanize velocities to restore life.

Release and Live Considerations

On record you can edit tightly and tune performances. Live you do not have that luxury. Practice the songs slower and then incrementally increase tempo to performance speed. Use a stage metronome if your live songs have many tempo changes. Keep set lists realistic. Mathcore songs are exhausting for both band and audience. Pair intense tracks with brief calmer moments or noise walls to give everyone air.

Relatable scenario: You just played a new mathcore tune that demolishes the room. After the song a friend asks if you are okay. The correct answer is yes. You just did what you wanted.

Action Plan You Can Use Today

1. Pick a meter you rarely use like 7/8 or 5/4. Set your metronome to a comfortable BPM between 100 and 130.
2. Clap a simple accent pattern and record it on your phone. This is your rhythmic skeleton.
3. Build a two bar guitar motif around the skeleton using palm muted chugs and a single dissonant interval.
4. Play the riff with a drum groove either programmed or with a drummer. Add a polyrhythm such as three against two using cymbals or hi hat.
5. Write a short vocal phrase that mirrors the rhythmic accents. Keep the phrase punchy and repeatable.
6. Map a full form that uses abrupt stops and one metric modulation. Keep the arrangement lean and test it with five listeners for clarity.

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