7/4 with 8th-note triplet subdivisions, 32nd-note paradiddles, and 4/4 metric modulations with the pulse on every other 8th-note triplet! FINALLY, something I can dance to!!!
@@arthurfranca5516 Lol I forgot I wrote this comment, I feel like I just time traveled back a year. No one seems to have challenged my rhythmic analysis at least 🤨
At first I messed up because I expected it to be in 4/4. Then I read the comments and saw that it was in 7/4. I counted 1,2,1,2,1,2, (clap) and got it right every time.
Couple of cool things about the part at 2:11, where the clappers lose it. If we're in 7/4, and assuming claps on 1, he throws us off by starting his groove on the CLAP rather than every time before starting really on the 2nd beat. It's still triplet hi-hats like the bars before, but split into groups of 4. This technique is called metric modulation, and it sounds like the tempo changes (tempo-rarily). If you watch his left foot on the hi hat, you can see him counting 3 -4-5-6-7 in the original pulse, while he's playing the metric modulation over the top, so he's still feeling that 7 pulse. Something else, if it helps too. A bar of 7/4 in triplets is a total of 21 hits on the hi-hat (3x7). So if you split that into a four pulse, you can count it as 1234 1234 1234 1234 1234 1 CLAP, or listen for K234 S234 K234 S234 K234 1 CLAP. where K is kick and S is snare hit
@@hughkills I totally hear you about wanting the clap to be on 4 (or 7)! Even George Collier's analysis of this video comes from that perspective. I'll direct you to 0:41, though. Nate starts conducting a bar of 4/4 with the clap on the downbeat (that's my interpretation at least). I see him dividing the groove into 4/4 + 3/4 with the clap on beat 1 of the 4/4 bar. I'm not throwing any shade! This discussion is just SUPER interesting to me! I have a hard time hearing the clap on beat 7 and I come back to this video often to try to train myself to be able to hear it that way.
How many of y'all sit here and watch this dude and just stare at your phone or your computer and just shake your head back-and-forth in disbelief because I know I do...
it can work both ways equally well. in the end, being able to feel odd time is better than counting it./ I learned all the prog songs i liked when i was a kid,. perfectly before learning to count them. Yes, now I can count.. but as I said, both work..
This is like a test for yourself. I wish there was, like an album of this for the listener to get involved like this. I'd love to rest myself on this shit all day and in turn, feel complex groove modulations more naturally. I get what's going on when he does it. It's just alot to actually FEEL and not actually count. Lol
Always brings a huge fuckin' smile to my face. Watched this thing as many times as I've watched 50% of all other videos together... that's the count! :D
This has got to the wildest drum grooving I have ever seen in more than three decades of playing drums. What makes it so wild to me is that the reference point of time seems to morph like mid-phrase or mid-section or something. It’s as if Christopher Nolan made the movie Tenet into a drum groove.
Time is a wonderful thing. I'm not a musician, but I can appreciate how hard it is to count to seven, for three minutes, with varying speeds of music playing Great vid
See, that's the thing. He didn't change the speed at all. He was just messing with the rhythms to make it _sound_ like he was changing speeds (or tempo, as the cool kids call it)
This is so much more impressive to me than dumb chops(which most of the time are useless). Dudes like Nate and Steve Jordan that play groove are much more stimulating to the ear imo
@@brendanmcgrath4831 I mean yeah obviously that's fine, people have different tastes and that's what's cool about music. My point was just that he said he doesn't like dumb chops yet that's kinda exactly what this video was haha
Chops are fine within a groove which he’s doing here. I’m just not into the standard gospel chops style. Notice how the groove never stops even when he is throwing in those small fills. Also none of his fills in this use anything other than kick snare hihat, he didn’t touch his toms once. For an example of what I’m not as in to, go watch a Thomas pridgen video. That’s a good example of the kind of chops I’m talking about.
one two three four five six sev.. what? one two three four five six clap one two three four i get it now clap one two three four five six clap one-and and and whatthe hellis goingon and-clap one rest rest rest rest rest clap YEAHH
The real trick is writing music that makes 7 groove in the mind of a listener. Melody is what drives rhythm for most people. There have been mainstream hits in 7/4. Think “Money”, “Solsbury Hill”. The melody and the lyric are what make ‘odd’ time so intoxicating.
