Drums Parts

[tree_]

To update my past very vocal and heavily scrutinized outlook on time signatures, I think what I was actually trying to refer to is drum patterns. While Dani California by the chili peppers and terrible love by the national are both in a 4/4 time signature, one song contains a drum pattern that we’ve heard a gazillion times And any quasi-adept musician can very easily understand what is happening and mostly predict what is going to happen next. And the other song contains a drum part that is unpredictable and you would have to listen a few times or make notes to learn what is happening and where. This is not to say a drummer like Chad Smith is not extremely skilled at playing the drums. I think it’s just an issue of preferring creativity and spontaneity over very skilled but bland monotony. I don’t think I even really care how accurate the drumming is. Sometimes, like with Meg white, I even appreciate sloppiness because it’s at least surprising and interesting.

[Bammer]

Danny Carey

[tragabigzanda]

Top 10 maybe?
Hello Morning
Close Captioned
The Kill
Place/Position
Do You Like Me?
Latest Disgrace
Recap Modotti
Nightshop
Break
Life & Limb

I'd maybe bump Life & Limb for Epic Problem

[tree_]

This is not to say a drummer like Chad Smith is not extremely skilled at playing the drums. I think it’s just an issue of preferring creativity and spontaneity over very skilled but bland monotony.

[Ello Sailor]

Nope. Not this shit again.

[Birds in Hell]

I don’t think there’s any connection between creativity and complexity.

Take Phil Rudd in AC/DC, or Doug Clifford in CCR. Simple (arguably predictable) drum parts that are deeply musical and serve the song perfectly.

[tree_]

At some point “I’ve heard this many times before” becomes a hindrance not easily overlooked

[Birds in Hell]

Is it a preference for novelty?

I don’t think Back In Black would be improved if Phil Rudd played a bunch of unexpected polyrhythms.

[tree_]

Is it a preference for novelty?

I don’t think Back In Black would be improved if Phil Rudd played a bunch of unexpected polyrhythms.

Novelty that works. Isn’t that what art is supposed to be all about?

[Jorge]

One would be silly to listen to "Terrible Love" and bash it for basically going back and forth between two chords for 80% of the track. Not only that, but it's an extremely rudimentary chord progression. It would be silly to take issue with it for that reason because that's baked into the cake. It's what the song is trying to do. It's meant to be an extremely simple composition. It works for the song*, and forcing it to be more harmonically adventurous wouldn't necessarily improve it. The complexity of the changes isn't at the heart of what the song is trying to do.

This same argument applies to simple drum parts in other songs.

*sort of. I actually think the song is very boring but hopefully you get my meaning

[tree_]

I do. Thank you, Jorge.

[Bammer]

Lol chad’s hair

[tragabigzanda]

[warehouse]

why does tree keep doing this to himself?

[tree_]

why does tree keep doing this to himself?

It says so much about you that not only do you think I'm wrong, but I should be embarrassed

[tragabigzanda]

[Bammer]

I think it says more about you that you continue to beat this horse into the ground with a shred of support

http://forums.theskyiscrape.com/viewtop ... 7&start=20

[JuanHamm]

#ImWithTree

[tree_]

there's my shred

[wease]

What about this tree_?