It's always striking how a different drummer fully changes the feel and drive of a song. This is a good example of how tree_'s "durr it's just 4/4" argument was wrong
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Jorge wrote:It's always striking how a different drummer fully changes the feel and drive of a song. This is a good example of how tree_'s "durr it's just 4/4" argument was wrong
I agree. tree_ should be embarrassed and ashamed. And frankly? I think he owes everyone an apology.
4/4 can be played differently and better or worse by different drummers, obviously. My point was that it’s easier than weird time signatures, and those who master weird, alternating time signatures are on a different level. Chad Smith is good, but he doesn’t do anything mind blowing with the peppers.
It’s like, you can master a basic dribble down the court, and that’s cool, but when you add behind the back, between the legs and fake outs and stuff, you’ve raised the ceiling
tree_ wrote:His parts are less interchangeable, improv-able. Tell me it’s in 4/4, give me a tempo and I could make it work on drums.
no.
the whole time signature argument turns into a weird superiority complex thing. strange time signatures can be great when done well in a song, but they are no better or worse than songs in 4/4 or 3/4.
Shellac is one of my most favorite bands of all time. They very frequently use odd time signatures. The drum parts are never difficult. They are often very interesting. You are confused about the two i think.
Difficulty and musicality are not necessarily (and usually aren’t) correlated.
In any event, I think you’re still underestimating how challenging it is to play a 4/4 beat that sits in the right groove with the rest of the band and elevates the music. It’s not easy.
Playing crazy time signatures is a different (not necessarily superior) skill.
Birds in Hell wrote:Difficulty and musicality are not necessarily (and usually aren’t) correlated.
In any event, I think you’re still underestimating how challenging it is to play a 4/4 beat that sits in the right groove with the rest of the band and elevates the music. It’s not easy.
Playing crazy time signatures is a different (not necessarily superior) skill.
Musicality is kinda irrelevant, subjective. It’s easiest to find and stay in a pocket of a 4/4, though, compared to the unnatural weird shit a band like, say, Tool pulls off with precision
Birds in Hell wrote:Difficulty and musicality are not necessarily (and usually aren’t) correlated.
In any event, I think you’re still underestimating how challenging it is to play a 4/4 beat that sits in the right groove with the rest of the band and elevates the music. It’s not easy.
Playing crazy time signatures is a different (not necessarily superior) skill.
Musicality is kinda irrelevant, subjective. It’s easiest to find and stay in a pocket of a 4/4, though, compared to the unnatural weird shit a band like, say, Tool pulls off with precision
No it’s not. It’s all about finding the groove. Last Exit starts in 5/4 but it’s no harder to play than Hail, Hail. And it’s no harder to play than 6/4 Deep.
Each time you start this argument you show even more how little you truly know about it.
Let me tell you, Homer Simpson is cock of nothing!
- C. Montgomery Burns
Here’s the deal, guys. I can do a serviceable job playing most songs out there that are 4/4. Will I play to the level of the professional drummer that recorded the song? No. But I can get the band through the song.
That goes for 3/4 as well.
Next up would probably be 7/8. Or something in 6 (which is basically 3/4 repeated).
Other than that it takes a lot more practice and concentration to keep the beat throughout a song in weird time signatures.
