Terry Bozzio can drum in Pi/4 and 6/e time.
(As can Neal Peart, Bill Bruford, and Billy Cobham...and not too many others.)
(As can Neal Peart, Bill Bruford, and Billy Cobham...and not too many others.)
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Fellow guitar geeks...
- Thread starter Dannyalcatraz
- Start date
Yeah... NO.
I'm one of those drummers who can count to 128.... As in 128th notes, I know that's too fast for most guitarists to comprehend, hence the need for sustain. XD (Just let it ring for three bars.)
And what's wrong with more than 5 drums? If you don't need a tech and a small box truck to transport your kit, you obviously aren't trying hard enough.
Now, we should probably bring this back to building equipment for guitarists before this degenerates into a musicians' joke thread.
Why do bassists always date stri...ummm...oops...
Because they like people who aren't as shy as themselves.
Seriously, how does one count to sub-divide for 128th notes? I'm familiar with the old 1-e-2-e-3-e-4-e for counting for 8ths in 4:4 time, and 1-e-an-a-2-e-an-a-3-e-an-a-4-e-an-a for 16ths.
Note, I play bass. I never dated anybody in the adult entertainment industry, but I started playing late.... I can sight read okay in 100-150 BPM range. at 200bpm, I have to fake it and just play the root note and whatever fits with the tune unless I memorized it.
Speaking of different time sigs, I have to say that one of the best I ever met at playing in those is a jazz pianist buddy of mine.
We were sitting around my Mom's baby grand talking about some moron who recorded "Take 5" in 4/4, just to be different...and how it utterly sucked the life out of the song (written in 5/4, if you're not familiar).
I commented that, if he wanted to change things up like that, he "should have at least gone for something more interesting than 4/4, like 3/4..."
...and my buddy started playing "Take 5" in 3/4...
"or 6/4..."
...and my buddy started playing it in 6/4...
"or 7/4."
...and my buddy started playing it in 7/4.
He literally didn't miss a beat. Oh yeah, FWIW, "Take 5" in 7/4 is pretty wonky, but tré cool.
We were sitting around my Mom's baby grand talking about some moron who recorded "Take 5" in 4/4, just to be different...and how it utterly sucked the life out of the song (written in 5/4, if you're not familiar).
I commented that, if he wanted to change things up like that, he "should have at least gone for something more interesting than 4/4, like 3/4..."
...and my buddy started playing "Take 5" in 3/4...
"or 6/4..."
...and my buddy started playing it in 6/4...
"or 7/4."
...and my buddy started playing it in 7/4.
He literally didn't miss a beat. Oh yeah, FWIW, "Take 5" in 7/4 is pretty wonky, but tré cool.
Or just play Blue Rondo A La Turk. 
I almost get the feeling Dave Brubeck went through a phase of 'anything but 4/4'.
I remember talking to a jazz sax player from Minneapolis who came in to a bar I was working at in college and he told a story about his guitar player bringing in this really weird, tiny guy to jam with them one time and how he thought "What, this little freak is going to be able to play?" and the stature-impared weirdo jammed with them alternating between every instrument song-to-song. It was Prince before he was famous.
I almost get the feeling Dave Brubeck went through a phase of 'anything but 4/4'.I remember talking to a jazz sax player from Minneapolis who came in to a bar I was working at in college and he told a story about his guitar player bringing in this really weird, tiny guy to jam with them one time and how he thought "What, this little freak is going to be able to play?" and the stature-impared weirdo jammed with them alternating between every instrument song-to-song. It was Prince before he was famous.
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If it's over around 60 BPM it's a drum roll.
Generally speaking, for me anything faster than sextuplets/sixthlets is a mulitstroke so your R-L-R-L-R-L hand/arm pattern is set at say, 16th notes, but for 32nd notes you use wrist and rebound to so the stick hits twice on each hand/arm stroke, etc. That's the basic, double-stroke roll corps and marching bands use and with their craptastic modern tuning where they crank the head tension rods until all tone is gone it sounds like a mosquito's machine gun.
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Aeolius
Adventurer
Some songs are better "different":
[ame=http://www.youtube.com/watch?v=93hV8bRci94]Creepshow track - Something to Tide you Over- RIP Leslie Nielsen - YouTube[/ame]
[ame=http://www.youtube.com/watch?v=E6m1qgnUw74]Eric Burdon - Sixteen Tons - Joe Versus the Volcano Theme - YouTube[/ame]
Oh, no argument there: music history is full of covers that equal or exceed the originals.* This wasn't one of 'em.
* We wouldn't have had a lot of classic rock songs if the Brits hadn't covered a bunch of old blues songs from America. And the practice isn't ending. Even experienced bands do it, sometimes genre bending as they go- for example, Devo has covered The Rolling Stones ("Satisfaction"), Alan Toussaint ("Working in a Coal Mine"), Jimi Hendrix ("Are You Experienced?") and NIN ("Head Like A Hole").
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A lot of people talk about the "Bonham Shuffle" and "Bonham Triplets" but he copped those straight from jazz drummer Bernie Purdy. Jeff Porcaro admitted freely he took the hands part and added the Bo Diddley beeat on the kick drum for the riff on "Rosanna" which is rather famous itself.
To hear Jason Bonham tell it, his dad made no secrets about that. In fact, John drove his son to learn techniques from a wide variety of rhythmic genres/traditions.
John didn't deny it but that doesn't mean thousands of people paid attention. He was probably the most open member of the group. Led Zepelin was one of the most derivative bands on the planet, copping and outright stealing from blues and jazz musicians (as you said, like many British bands of the day). They did some great stuff with it but their acknowledgement (and even royalties) have been questioned for years.
