I also like the "If I could I'd wish it all away" part of Jambi where it's 3 x 3, but the threes are performed as two dotted eighths (which are 3 sixteenths long each) instead of 3 eighths, making the smallest subdivision sixteenth notes, so it's really small-3 x 6. Gives it a 6 triplets feel. Super awesome.
10,000 Days is so underrated, amazing album and I keep finding new discoveries every time I listen to it. I totally missed just about all of this on Jambi so much appreciated analysis... and oh man Hago sounds great, definitely gonna give that a listen!!!
@@ThorsShadow I dunno, I've heard a lot of "not as good as their older stuff" over the years. Maybe that's died down a bit now that they have new album to look down on. Sample size is also going to be an issue in this kind of conversation, we've all probably been exposed to different Tool fans over the years so are going to have heard different opinions.
6:35 I have been trying to learn how to count this part reliably for years, and you made it so simple! Great video, I love letting all the sweet math wash over me.
The bridge in Jambi (big 3 little 3 big 2 little 3 little 3 big 1 little 3 little 3) ALWAYS throws me off, even when I count it out in in single beats. Playing along to that section trips me up and now it makes so much more sense divided like that. Thanks.
@@TheGreatFapsby I was being sarcastic too my man. I actually do love this breakdown abd that he introduced me to his band, Hago. They really slap hard, in a good way
Such stunning melodic lines from the Hago album, really really cool the way they're so intricate yet play so smoothly with the intricate rhythmic lines!
Have never seen a good explanation of the 5/4 over 4/4 polyrhythm at the beginning of "The Grudge". I think you'd be the perfect person to tackle that. 😊
This is great Yogev, and I laughed at the Aimee Nolte cameo! It would be cool to see you break down either Mimolle or Sho Shin by PinioL, that band is intense!
great channel man! i'm really enjoying your videos, it's good to see a fellow israeli drummer that have such passion for good music and keeping metal alive and fresh. keep up the good work my man! P.S i'd love it if you can make a video on Animals As Leaders - Arithmophobia such a difficult song...
This is amazing you unlocked so many possibilities that are ears sometimes over look. When we even try to follow the melody we lose track of the rythem that is dancing over it. This can create a very off setting feeling when we are trying to follow the whole song and understand the Composition or trying to learn to play it. Your lessons are priceless they really help free are minds so we can learn how to create this magic in our playing .
here's a song with 3 time signatures, 1 host and two guests, trading off guest/host intermittently. 5/8 + 6/8 + 7/8, i think. hard to count :) worth a listen/analysis: "Secret Chiefs 3 - Perichoresis"
“the first ever video about Tool that doesn’t mention the golden ratio, pi, or the fibonacci sequence” Instant thumbs up on the video, lord the joy I felt to hear you say that
Am I the only one hearing (most of) Tool's 3ɜ as 4+5 (or, in my head, 4+slightly-longer-4)? Like: Dan takataka Dan takatakataka That's how I'd bang my head to it anyway. The other Tool 3ɜ example was more intuitively 3ɜ to me though, so there's that
Not a huge fan of tool but HAD to watch this once I saw the Hago cover on the thumbnail! They (were?) like a blend of BTBAM/Opeth meets Bela Fleck meets TMV. Stellar album! Edit: OMG I just put together that you were the drummer on that album!! Bravo! Seriously, you guys should be so proud of that work! I got to write a review for it when it came out, if I remember correctly it was 9.5/10.
@@YogevGabay yes I had a feeling that Hago would be a one time thing since you guys got together at Berklee, but I had been curious what you guys had been up to since college. It’s obvious that school paid off for you! As a guitarist your visual breakdowns of meshuggah, etc. has made me understand the music in a way I never have before. I thank you 👍.
@@tiltingatwindmills3243 Well thanks a lot ! I've been making some music with Yoel Genin, the main writer behind HAGO, but it's more on the polyrhythmic electronic music side. Maybe you'll like it! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-AP5JIZwl_SM.html
The way you count the bridge in Jambi is so much different than how my band figured it out. And probably easier too. Similar tho, in that we noticed the short and long patterns. “Chugga” (S for short) And “chugga chugga” (L for long) The pattern of combined long and short is hard to remember that way tho. So we wrote S S S L S S L L S L L on one of the drum skins, and around the stage on tape. Lol To this day I can’t play that section without writing that little note to myself as a sort of cheat sheet. Bravo!
There is also a cherry on top - lyrics. On the last part (“breathe in union”), first four repeats are played with different subdivisions, but for the last one they finally “breathe in union” by playing the same riff together! And than vocal continues with “so, as one, survive”…
I have the habit of writing the riffs by reducing the rhythm pattern in the smallest subdivision, and then I group the notes according to their rhythm or melodic pattern. In Jambi, I wrote it as a 2+4+3 pattern in 1/8th note; and the bar in 9/8. I see the guitar's rhythm pattern as a unique ostinato, and so, I take that as a unit of measure enclosed by thay particular bar signature. I just wanted to share with you 👍👍 By the way, AMAZING video!! 👌👌
@@YogevGabay what I most like about music is the multiple interpretation, both musically and artistically, of a work. Tool always gives to me another reinterpretation of the work (Ænima is another example). Polyrhythm in Tool always complements with the lyrics about the idea of being, somehow, shifted from reality. That's why, when I think about transcribing it, I tend to group musically different the drums, bass and guitar (in different "feel" but with the same amount of pulses).
never been able to follow along with the headbanging at the 6:40 sequence, now after reading that like this I feel stupid. Anyway thank you, I guess :)
There is matta taal expressed in Jambi quite a bit (2, 2, 2, 3) I hear it more that way in the 'big 3/little 3' sections, but maybe that's from my own rhythmic background!
that's exactly how i hear all those sections too, but i think for me it's born from just headbanging to the quarter notes in each bar starting from the one, but skipping the headbang on "5" because it's far more effort to headbang on that 5 and then immediately an eighth note later on the next bar's 1, than it is to just only headbang 1 2 3 4 and leave the 5 hanging, i feel like i like the rhythm of that a lot more although, that does still fit into the "big 3/little 3" analysis, with 3 "big" quarter note pulses, followed by a single group of 3 "little" eighth notes (though, it's more like 1 dotted quarter)
Thanks for the video Yogev! I would like to ask if you could check out stimpy lockjaw? They have one amazing album that I think you could have some fun with!
Funny how I count some of your 3³'s as 4+5. The drums at the end are a no-brainer 4+5 to me, as I take the kick drum (and cymbals?) as a marker. So, to my ears, it's the basic pattern X---xxxx twice, but the second repetition comes with two extra tom hits to reach 9. Thanks a lot for this video, great once again! This 3³2³³1³³ sh*t on Jambi has just gone past me without saying hello, so... please receive my eternal gratitude. Going to listen to Hago, as it seems pretty dope.
The big 3/small 3 concept reminds me of how I was taught when learning Doumbek/Darbuka and traditional Middle Eastern rhythms. Are you Turkish by any chance?
I was literally discussing this time signature with my family as this popped up. 100% chance they were humoring me and pretending to pay attention, but great timing! I don't have the stones to call out what time I was hearing it in, but I will admit if I was wrong!
it might also be worth noting that, in Jambi, the intro and outro both have the whole band following the accent pattern of "little 3/big 3" as opposed to the "big 3/little 3" that appears in a lot of the rest of the song, that is: "Breathe in u- nion..." 1 2 3 1 2 3
and as a side note, it might be a cool concept to do a similar video to this where instead of exploring the divisions of 9, you explore the divisions of 11. As far as I know, it's a pretty uncommon time, and right now I can only come up with two examples of a split: - Tool's Right In Two contains both of them actually, and very briefly both over each other at 6:59 in the track, where the guitar is playing 3 3 3 2 in eighths, and the bass is playing 3 2 3 3 twice in sixteenths. that bass part in Right In Two is the only example I can think of that uses the 3 2 3 3 pattern. - I can think of two more examples of the 3 3 3 2: Tool's Rosetta Stoned has a section entirely in 11/8 with that pattern from 2:57 to 5:40, and Primus' aptly named Eleven uses the same pattern for almost the entire song minus a few bars of 9 and 12 here and there I have one other example of 11 and that's in the verses of Mudvayne's Trapped In The Wake Of A Dream, where the bass and guitar play a pattern that goes like xxx-xx-xx-xxxx-xxxxxx-, but it doesn't feel like "4 3 3 5 7" because the drums' main groove mainly just hits kick-snare-kick-snare etc on the quarter notes, with the last snare hit cut in half because of the 11/8 time (it has lots of decoration that fills pretty much all the sixteenths but the main pulse is on the quarters), so i don't really count it Even though I can't think of any other examples of 11 time, I'm not massively into crazy proggy stuff, and i'm sure there are countless music traditions outside of the western music i'm used to that use 11 in interesting ways, it'd be cool to see a video concerning that
Its so cool to listen to music using your insights... Thank you very much for your work! Did you release the Hago songs on CD/Vinyl? I wonder how to lay my hands on this hot stuff here in Austria...
