Ever bitten off more than you can probably chew?

Learn whatever you want, but it just sounds like the guitarist is doing a scale or exercise...
 
The only thing I heard that was that difficult for most drummers is a bit of the double-bass stuff. Regardless, it's nothing you couldn't replace with some other cool stuff, and I think it would be more interesting if the bass pattern was more rhythmically varied instead of just throwing in more notes in sparse places under the same thing. I skipped around, so I might have missed a part, or something.

I'd say chew it up and spit it out.

Onto your question: Yes. I've been trying to make a point to go at things I know I can't play when I practice. It humbles me(ha!), and I learn more from what I can't do well.
 
I have a vivid memory of biting off more than I can chew. I'd been jamming with a guitar player for about a year and he started getting into fusion. So he invited this hotshot fusion bassist along and we had a three piece jam. Things were going okay until Billy Cobham's Red Baron. Like a fool I went for gold, trying to ape the hero fill at the end of the progression instead of simplifying.

I screwed up coming back in and was never invited to jam with those players again. The guitarist really took a piece out of my hide after the bassist had left. I still remember him shouting 'I couldn't believe it when you dropped that beat!" and saying how I'd embarrassed him in front of a player he was hoping to impress. Oops.

Of course I was mortified, but a lesson learned ... an example of what can happen with the Peter Principle!

As for the Neal Morse tune, crikey Soulfly, just choose something simpler - maybe a bit of Dream Theater or Tool ;)
 
Very cool. Most likely the musicians used charts to perform this in the studio. Memorizing something like that would be a nightmare and a multi-take expensive endeavor. The best way to learn this, would be to break it down and chart the parts yourself.

Good luck!
 
The guitarist really took a piece out of my hide after the bassist had left. I still remember him shouting 'I couldn't believe it when you dropped that beat!" and saying how I'd embarrassed him in front of a player he was hoping to impress.
If he was hoping to impress the bass player with his guitarist skills, he should have concentrated on his own playing, not berated someone who's kindly come in to help out.
 
If he was hoping to impress the bass player with his guitarist skills, he should have concentrated on his own playing, not berated someone who's kindly come in to help out.

I think he got where he wanted to be later on anyway. He was trying to get together a network of players for a coop and he wasn't going to attract good players if he has a lightweight drummer on board messing up. I wasn't up to the job. He thought I was up to it but I faltered at a critical stage. ie. had bitten off more than I could chew :)
 
I think I've been totally in over my head in four of the five bands I've played drums in. Funnily enough, the odd one out is the only band I actually decided to leave. I guess I just like a challenge.
 
Isn't that Portnoy on drums?He works with Neil quite a bit.

Some fast doudle bass stuff and odd time signatures,but most of it is pretty staight ahead stuff.

Good luck.
 
I have a vivid memory of biting off more than I can chew. I'd been jamming with a guitar player for about a year and he started getting into fusion. So he invited this hotshot fusion bassist along and we had a three piece jam. Things were going okay until Billy Cobham's Red Baron. Like a fool I went for gold, trying to ape the hero fill at the end of the progression instead of simplifying.

I screwed up coming back in and was never invited to jam with those players again. The guitarist really took a piece out of my hide after the bassist had left. I still remember him shouting 'I couldn't believe it when you dropped that beat!" and saying how I'd embarrassed him in front of a player he was hoping to impress. Oops.

Of course I was mortified, but a lesson learned ... an example of what can happen with the Peter Principle!

As for the Neal Morse tune, crikey Soulfly, just choose something simpler - maybe a bit of Dream Theater or Tool ;)

If one dropped beat was enough to get the bassist to bail you are probably better off not playing with him.

My question to the guitarist would have been this, "did you hit every note during the jam?" "No?" "Then shut the hell up!"
 
Isn't that Portnoy on drums?He works with Neil quite a bit.

Some fast doudle bass stuff and odd time signatures,but most of it is pretty staight ahead stuff.

Good luck.

Yes it is. Thanks. going to really start working on it Monday.
 
I really like Portnoy's stuff.

I appreciate the link. May have to get started. Those vocals are killing me, though (around the middle - still listening).

Once I got Change of Seasons down (mid-90's), I felt pretty accomplished. It is just flat out fun drumming.
 
If one dropped beat was enough to get the bassist to bail you are probably better off not playing with him.

My question to the guitarist would have been this, "did you hit every note during the jam?" "No?" "Then shut the hell up!"

Thanks Eclipse, but I don't remember him messing anything like the small train wreck I created. From memory, I was too surprised to reply when he had his spray.

I always tended to back off the few times I got to play with serious people for that reason - there'd always be someone frothing at the mouth (not always my problem) that would spoil the vibe. Same reason I stuck to social tennis rather than comp - couldn't stand the aggro and tantrums. Ditto why I avoided management at work, despite being qualified.

Some people are serious and intense so they endure, compete and drive forward. Others would rather back off and quietly find a comfortable niche than tangle with hardheads :)
 
I really like Portnoy's stuff.


I actually DON'T like most of the things Portnoy does. I remember "Liquid Tension Experiment" and there were some moments where he completely fell off his "groove" and had problems playing slow tempos. It really turned me off to the guy.

However THIS song is cool as hell.
 
Listened to it, and can't see why he's using double bass pedals, as nothing apart from the monotonous16th notes, needs them. The triplets could easily be done with one foot. Too many drummers nowadays use double bass pedals just to be lazy.
I had to memorise a lot more complex time signatures than that, when I'd o nly been drumming for 4 years. Took 3 weeks of gradually memorising so many bars, and repetitions until I remembered a full 50 minutes' worth of material for a rock fusion Zappa-esque band. Straight in at the deep end! It helps if you accent the different bars with words and rhythms. Name each different section after memorising it. I played them in loop form until I got them off, then progressed to the next, inclusive, and when I messed up, started from the beginning. There's no point cutting corners. Start all the way back, even if you miss one beat. Avoid double bass drumming. That's my advice. It's naff. :)
 
Listened to it, and can't see why he's using double bass pedals, as nothing apart from the monotonous16th notes, needs them. The triplets could easily be done with one foot. Too many drummers nowadays use double bass pedals just to be lazy....Avoid double bass drumming....
I've been unable to do 16th notes at 240bpm with one foot. Perhaps you could show me a new technique?

I wouldn't want to feel lazy.

(Unless there is a single style of drumming that fits all genres, then teach that to me instead)
 
I think I just did. Told my neighbor I would try to learn this....OOPS!!! ANY help would be appreciated.

http://www.youtube.com/watch?v=e0uFb75wpkE

Around 3:11 is where it starts to get rough for me, and just gets worse :(


http://www.youtube.com/watch?v=HIdjLw-7Xa0

Could be worse mate! This is a few minutes of around 40. It's probably my favourite album this week.


The drumming capabilities as played in these clips are so beyond me it’s not even funny. I just shake my head in awe of what’s possible. Unbelievable.
 
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