No way. You can be awesome. It’s just the adjectives that give the impression of it being too hard. At the end of the day half of music theory (the timing) half, or x axis if you want to call it, can be put into one sentence: You pick a time interval which you then subdivide into n parts: you either play on that n or you don’t. That covers every Rhythm possible. Now go back and impress yourself...because you can make any Rhythm in world.
Gavin Harrison uses the term "overriding" for the patterns that start on the one and then divert until meeting again at some point. Either way, this video is gold and was a portal drug for me to start finally checking out Matt Garska!
I love how you say 'shocking your system out of 'rhythmic complacency.' Well put, Nate! This song is the quintessential 'groove-soul: meets prog-music' piece of our time and your analysis was spot on, IMO. Putting in the work!
You are not helping only drummers. This is an awesome example explaining complex applied music theory principles. This classical guitarist thanks you, keep up the awesome work, Nate!
Hats off .... breaking down some of the most technical musical aspects into bite size chunks and Completely demystifying seemingly unattainable patterns. Ive learnt so much from your videos....you are a great teacher humble and funny af...comrade
I love how this video has helped other get into harder stuff. Making it less intimidating for people to try cool things should be every good musician's calling.
I've always thought of that common denominator thing as just "pulling a Meshuggah" lol. Pretty much what they do in every song, albeit in a slightly different way.
Thanks for the breakdown. Any vid posted breaking down Garstka's work will have my like and thanks. Also, thanks for the tips on Tigran Hamasyan and Vijay Iyer. I'm always looking for more stuff to listen to for inspiration.
This video is killer! I didn't figure out the degree of rhythmical complexity of what Matt is playing until you explained so clearly. Great job in transcribing and actually reproducing those sick grooves! It's also cool that the djent/progressive stuff is appreciated by jazz musicians :)
this vid is golden. matt does these sixteenth-izing transitions a lot lately, but i couldn’t really wrap my head around the 11/8->15/16 until i watched this. thank you nate!
Aside Garstka's playing and all the metrics analysis, it's a great fucking song, and that answers your question about the success of the video. Love the melodies and guitar arregements of De Victoria.
Thanks for doing and showing the math. I always wondered how these odd times work out on paper and frankly didn't know how to work it out (other than counting). The exploding alien brain is definitely me when I start thinking about this stuff
I love your videos, Nate. I am starting to dabble in the drums after an abortive career in my 20s when I went to keys and into media composing. Thanks for bringing this tune to my attention, really refreshing. Keep up the great insights, and I enjoy your playing!
Thanks for doing this ... I love Matt’s playing btw. I had the distinct pleasure of hanging with him at a lesson before one of AAL’s shows and really got to pick his brain and discuss all sorts of things about drumming. Afterwards, I got to sit in on their sound check and hang with the band some ... all great guys. All that said, I like how you started with a Vinnie example on one of Sting’s songs (he does the same thing on I hung my head). I’ve played both somgs in a cover band before (my choice for the tasty reason you outlined).
wanna know how good that track is? It's a genre I hate, with sounds I can't stand, yet I enjoyed every second of the song! you might wanna try Leprous - The Price
Awesome video man! This should be a series. It would be awesome to see you do the same thing with Matt McGuires cover of New Rules. I know it’s a bit more simple but I just love that cover and I’m sure that there is a lot of details that people (including myself) have missed.
Thanks for giving props to the dj0nt groove legend Matt a master of cross rhythms, love the no non-sense channel and how it’s bringing Jazz to folks worldwide 💪🏼
My teacher back in 2003 had me practice st Augustine in hell. Cool lesson in making odd meters sound more subtle and groovy, err something. Also, using a grid paper notebook really helps me with the common denominator approach - just easier to visualize and ultimately learn. (I am fond of this sound and definitely use it where applicable, but it is far from intuitive for me and takes substantial practice to pull off) Cheers Nate thanks for all that you do
awesome lesson. 👌do you have a transciption for the basic pattern of this. for example the underlying meter all the way. so i can see how it looks like on a sheet? thanks😉
Love your analysis but you really need the sheet music overlayed on the screen each time you are trying to explain something. It's too hard to quickly build the structure and comprehend it in our heads as viewers, to then match it up to what you are playing in the moment. If I really wanted to get everything out of this that I could, I'd need a pencil and paper next to me while pausing the video at least 15 times.
It's called a Polymeter when two different meters are played against each other, where they span several bars so they can take a few bars (depending on the meter) until they resolve again. People often get these confused with 'Polyrythms' where two different times are played within the same bar - eg 7 against 5. music.stackexchange.com/questions/10488/polymeter-vs-polyrhythm
I love the common denominator thing. It's something I started doing live with my funk band a while back but quickly learned that the other musiciansssssss didn't understand. Then I quit the band.
@@SStarwind interesting art knows no better (subjunctive), sport does however... In music, there is only light and absence of light. Oh and light is fucking unbearable!
That song made me write a lengthy essay after wondering for months why I can't feel it, except with an technical/theoretical approach, but is that really feeling or just math which tries to describe what was happening - if anything at all?
You have more connections in your brain than there are atoms in the visible universe (which is a generic description, not the visible universe itself).
Nowhy: While very scientific, Nate’s interpretation of this odd meter is genius level. He got into that music school for a reason and it’s very apparent here. It’ll take me a few times watching it to get it, but I’ll get it!🤘🏻🤘🏻
@@Rockin_Ross yeah it's a good explanation, but genius has nothing to do with explanations or intellectual ability. I think you mix the word talent and genius here.. And don't get me wrong, I love listening to Nate's explanations, but I come from a different place - he is one of my very few TH-cam subscriptions.
I'm about to buy his "mastering time" lesson but I'm struggling to find feedbacks. I really would like to find a pack lessons where I can improve my timing, study odd signature using less time since I can't spend a big amount of time drumming every day.
That's why he has a fire extinguisher .... put out the fire of pride🤪. But at least he has a talent that justifies pride , unlike those who are just full of ego Or those who teach humbly - ego Feeling humble - ego Comments on TH-cam videos - ego Respond to those who respond - ego It is impossible to escape the ego. And this knowledge "should" minimize your ego because you are weak when ego gets you ...... From the book: The Diary of an Egoist Part III
Personally I prefer 23rds dotted 16th while playing quintrupled Sextuplets and whistling a C Sharp add/9 -11 13 17 /44 minor major sus dim pentatonic power chord.
OK. Established: you are one of my faves to follow. Have commented so in the past. I find the music in this presentation and other similar music you have presented to be uninteresting listening. Your breakdowns are fascinating, though. Recall your recent "what is Jazz" presentation. I surmise that your taste matches the current jazz evolution. When I could not hear enough Thelonius Monk others thought him atrocious (yadda yadda yadda). While I try to adjust my ears, I can accept that jazz may have arrived at a place that I might never dig. I wonder, though, is the point of some of this music (I do not have a "name" for it) to push ahead, as one must do, via subtly modifying meters? I guess soulful and bluesy roots have died off.
So, I see what you're saying about how, "jazz," (currently) appears to be going in another direction. However, I think when Nate mentions, "phrasing," or taking your ideas in other directions, or places these almost imperceptible, (for me) anyways meters and math takes you on a trip in the past ... Listening to Buddy Miles playing, "them changes." However, Nate's coaching is changing my playing, and what I've been thinking is, "This isn't Kansas anymore. I know, boring.
Not saying the math is new. Not questioning Nate's abilities or dedication to jazz, in particular. I am just not taken by latest jazz which he appreciates. A lot of Nate's talk about this jazz seems to be on its particulars. I adore his fussiness. The deets have not enriched the music for me. (Nate, pls weigh in - this is about you).
yabewb i wouldn’t say everyone. dry cymbals are fantastic when you throw them in the right spots. i’d love a dry and regular china on my kit. and a good dry ride for jazz is so smooooooth.
At 6:20 when you talk about “16thizing 11 to turn into 15” it is not quite correct. “16thizing 11 with a triplet base gives you 14.666 notes.... not 15. It’s very close to “16thizing” but not quite.
The trick is it's combining feel with math. It's a little bit "fudged", like "what would this 11/8 sound like if we basically double-timed it but forced it to resolve in almost the same places, and kept the bar length constant? Because it's at a 3-to-4 level of resolution, it's going to be an approximation, but in music there aren't really any rules. If it feels good, it is good.
I understood none of this. But I did meet Animals as Leaders at a meet and greet when they opened for Devin Townsend. The Monuments were the other act on the bill \m/
Drawing is wrong at 2:49 - should be 8ths and dotted quarters to agree with the narration. Think I got everything else right... (and just jinxed it)
As if...
No PDF??
Hey that’s me!
Joshua De La Victoria 🔥🔥🔥
The 80/20 Drummer glad you dig it! 🤘
I love how absolutely humble you are in the way you explain things even though you’re obviously amazing at drums.
Your personality always makes me wanna watch the videos no matter what they’re about
Pretty easy to stay humble when you're analyzing Garstka
@@8020drummer Touché
I’ll file this under “Why I’m too stupid to be a great drummer”
Still useful! You can be a legendary drummer just by doing a version of the shuffle!
No way. You can be awesome. It’s just the adjectives that give the impression of it being too hard. At the end of the day half of music theory (the timing) half, or x axis if you want to call it, can be put into one sentence: You pick a time interval which you then subdivide into n parts: you either play on that n or you don’t. That covers every Rhythm possible. Now go back and impress yourself...because you can make any Rhythm in world.
Don’t be self defeating! That’s weak and regressive. Tell the voice of self doubt to take a hike and go write music + practice. You can do it brotha
Gavin Harrison uses the term "overriding" for the patterns that start on the one and then divert until meeting again at some point. Either way, this video is gold and was a portal drug for me to start finally checking out Matt Garska!
If you didn't know him already you should take a look at Travis Orbin as well. His uploads are amazing stuff to learn from.
I love how you say 'shocking your system out of 'rhythmic complacency.'
Well put, Nate!
This song is the quintessential 'groove-soul: meets prog-music' piece of our time and your analysis was spot on, IMO.
Putting in the work!
"And this is what we call 'jazz face'". I laughed out loud. Fantastic video.
You are not helping only drummers. This is an awesome example explaining complex applied music theory principles. This classical guitarist thanks you, keep up the awesome work, Nate!
Hats off .... breaking down some of the most technical musical aspects into bite size chunks and Completely demystifying seemingly unattainable patterns. Ive learnt so much from your videos....you are a great teacher humble and funny af...comrade
I love how this video has helped other get into harder stuff. Making it less intimidating for people to try cool things should be every good musician's calling.
I already loved the 'Kepler' song and video, and this is a very cool breakdown. I think I need to go back to some more theory lessons!
Very nicely done. Not just the breakdown, but the demonstrations were great. Shows how jazz is a great foundation for all kinds of drumming.
I've always thought of that common denominator thing as just "pulling a Meshuggah" lol. Pretty much what they do in every song, albeit in a slightly different way.
Thanks for the breakdown. Any vid posted breaking down Garstka's work will have my like and thanks. Also, thanks for the tips on Tigran Hamasyan and Vijay Iyer. I'm always looking for more stuff to listen to for inspiration.
BTW, I have yelled "you're not Thom Yorke" before too. :)
Thank you for bringing this awesome track to my attention, and thank you for your analysis, and pointing out the complexity
Thanks for making me discover this awesome video, and thanks even more for breaking it down like that!
This video's second title is what we "Listened to but was too amazed to pay attention to... (and also the things we couldn't comprehend)"
Hey man, just wanted to say thanks for all the time you put in for these videos. It's greatly appreciated!
This video is so damn informative and I need more of them
This was awesome I would love more vids like this analyzing music you love.
This video is killer! I didn't figure out the degree of rhythmical complexity of what Matt is playing until you explained so clearly. Great job in transcribing and actually reproducing those sick grooves! It's also cool that the djent/progressive stuff is appreciated by jazz musicians :)
this vid is golden. matt does these sixteenth-izing transitions a lot lately, but i couldn’t really wrap my head around the 11/8->15/16 until i watched this. thank you nate!
That was stupid good! And your breakdown is amazing. Your drum nerdiness shan't be questioned by anyone!
You just went to genus level in my eyes. I am more amazed with your performance dissection of matts drumming than Matt's performance. Whew!
I really enjoyed this video. Kepler blew my mind the day it came out, and now I’m one step closer to understanding it. Thanks!
Aside Garstka's playing and all the metrics analysis, it's a great fucking song, and that answers your question about the success of the video. Love the melodies and guitar arregements of De Victoria.
This video is gold! Thanks for this breakdown.
Thanks for doing and showing the math. I always wondered how these odd times work out on paper and frankly didn't know how to work it out (other than counting). The exploding alien brain is definitely me when I start thinking about this stuff
Good and thorough analysis.
Great clip great lesson thank you
Thanks for making me discover this!!
Totally back and ready for the convo
“earworm” Dude, I love your vids! Unbelievable beat breakdown! Holy cow!! Please keep em coming 👍
Dopppeeeeee, deeeeppppp! Your video only gets better every single day!
Great video as always!
Thanks for share this! Cheers from argentina!!!
What I’ve found when I comes to these number type videos is you just have to keep watching these type of video and eventually it’ll sink in
He has so much freedom while nailing these advanced concepts
Great video Nate! You’re the man!
Ahhh!!!! My brain hurts.... In the best possible way. Those guys are indeed 🔥🔥🔥
And what an explanation Nate, damn.. Well done Sir!👍
I love your videos, Nate. I am starting to dabble in the drums after an abortive career in my 20s when I went to keys and into media composing. Thanks for bringing this tune to my attention, really refreshing. Keep up the great insights, and I enjoy your playing!
awesome content
You are awesome komrad!
Keep up the good work! Greetings from Sweden
Thanks for doing this ... I love Matt’s playing btw. I had the distinct pleasure of hanging with him at a lesson before one of AAL’s shows and really got to pick his brain and discuss all sorts of things about drumming. Afterwards, I got to sit in on their sound check and hang with the band some ... all great guys. All that said, I like how you started with a Vinnie example on one of Sting’s songs (he does the same thing on I hung my head). I’ve played both somgs in a cover band before (my choice for the tasty reason you outlined).
Liked and subscribed! Amazing stuff
Go listen to (being aways from jazz) Tesseract- Nocturne, I HAD to learn it after listening to it, CRAZY INDEPENDENCE variables as well
LOVE playing Nocturne. One of the coolest grooves ever.
wanna know how good that track is? It's a genre I hate, with sounds I can't stand, yet I enjoyed every second of the song! you might wanna try Leprous - The Price
Excellent teaching going on in this video here
Killin’- Great video bro
I can't stop watching Matt's performances at Meinl 2015, particularly "get yo freak on" - I just loop that thing and my brain starts popping hard...
awesome video
Great analysis...
Awesome as always mate. Now I need to lay down and think about my life =P
Love this video. Well explained.
This is quality content.
Glad I didn't missed any :') but this is greatly explained. Great video as always
Learn to speak English dude
Congrats you have a new subscriber.
Awesome video man! This should be a series. It would be awesome to see you do the same thing with Matt McGuires cover of New Rules. I know it’s a bit more simple but I just love that cover and I’m sure that there is a lot of details that people (including myself) have missed.
Thank you Nate......
Thanks for this
Good job on the drum breakdown. A lot to chew on. Will return for rewatch
Thanks for giving props to the dj0nt groove legend Matt a master of cross rhythms, love the no non-sense channel and how it’s bringing Jazz to folks worldwide 💪🏼
My teacher back in 2003 had me practice st Augustine in hell. Cool lesson in making odd meters sound more subtle and groovy, err something.
Also, using a grid paper notebook really helps me with the common denominator approach - just easier to visualize and ultimately learn. (I am fond of this sound and definitely use it where applicable, but it is far from intuitive for me and takes substantial practice to pull off)
Cheers Nate thanks for all that you do
awesome lesson. 👌do you have a transciption for the basic pattern of this. for example the underlying meter all the way. so i can see how it looks like on a sheet? thanks😉
Clicked, came back and subscribed.
"This is math music, please embrace the Mat(h)t"
You mean you're not going to tell us to "slap like now" 10x a video like Davie504?! Love your videos!
"5 Modulates Into 3 by Old Quintuplet Base Becoming New Triple Base"
- Checkmate pocket drummers
N O T E P I C
such a good song!
bro at 12:20 your concentration face burned a hole through my soul. Great breakdown, btw.
Lets just SLAP into it!
Love your analysis but you really need the sheet music overlayed on the screen each time you are trying to explain something. It's too hard to quickly build the structure and comprehend it in our heads as viewers, to then match it up to what you are playing in the moment. If I really wanted to get everything out of this that I could, I'd need a pencil and paper next to me while pausing the video at least 15 times.
growing up, i called the common denominator thing "flippy floppy"
It's called a Polymeter when two different meters are played against each other, where they span several bars so they can take a few bars (depending on the meter) until they resolve again. People often get these confused with 'Polyrythms' where two different times are played within the same bar - eg 7 against 5. music.stackexchange.com/questions/10488/polymeter-vs-polyrhythm
Obi! Fancy seeing you here LOL!!
DooMRooM Hey man!! You found me out!!
me: a guitarist which never touched a metronome in 2years of playing watching this video not even being able to count in 4/4 anymore
LOVE IT
I crawled into a ball after this video 😂😂😂 great video
Cant believe I watched the whole video. 👍
Thanks Nate, I'd never figure that out :D
I love the common denominator thing. It's something I started doing live with my funk band a while back but quickly learned that the other musiciansssssss didn't understand. Then I quit the band.
You pretty much gotta be the band leader if you want to do stuff like that with other musicians.
@@SeanLaMontagne and/or just have more capable musicians.
@@SStarwind with that approach you can become a competent musician, but can you become an artist and be one with your art?
@@Nowhy yes, better than most.
@@SStarwind interesting art knows no better (subjunctive), sport does however... In music, there is only light and absence of light. Oh and light is fucking unbearable!
Common denominators are called hyper meter in music theory. I also like to refer to this as the macro so it's a pretty ambiguous term as is
1:55 Gavin Harrison does this a lot, and he calls it overriding. Check out Austin Burcham's study the greats on Gavin for some sick overriding!
That song made me write a lengthy essay after wondering for months why I can't feel it, except with an technical/theoretical approach, but is that really feeling or just math which tries to describe what was happening - if anything at all?
This stuff is far beyond the amount of brain cells I have to process it. Glad you have the skills to show us.🤘🏻🤘🏻
You have more connections in your brain than there are atoms in the visible universe (which is a generic description, not the visible universe itself).
Nowhy: While very scientific, Nate’s interpretation of this odd meter is genius level. He got into that music school for a reason and it’s very apparent here.
It’ll take me a few times watching it to get it, but I’ll get it!🤘🏻🤘🏻
@@Rockin_Ross yeah it's a good explanation, but genius has nothing to do with explanations or intellectual ability. I think you mix the word talent and genius here.. And don't get me wrong, I love listening to Nate's explanations, but I come from a different place - he is one of my very few TH-cam subscriptions.
@@Rockin_Ross maybe you like this article: www.brainpickings.org/2016/06/29/schopenhauer-genius/
@@Rockin_RossBtw, I am also not saying that Nate has no genius...
I'm about to buy his "mastering time" lesson but I'm struggling to find feedbacks. I really would like to find a pack lessons where I can improve my timing, study odd signature using less time since I can't spend a big amount of time drumming every day.
Well, I feel humbled.
Me too, Man. Jeez, these younger cats are taking drumming to places insanely cool. 25 years ago I saw this coming and it's glorious.
That's why he has a fire extinguisher .... put out the fire of pride🤪. But at least he has a talent that justifies pride , unlike those who are just full of ego Or those who teach humbly - ego
Feeling humble - ego
Comments on TH-cam videos - ego Respond to those who respond - ego
It is impossible to escape the ego.
And this knowledge "should" minimize your ego because you are weak when ego gets you ...... From the book: The Diary of an Egoist Part III
Where's one?
Connery deep cut slayed me
Personally I prefer 23rds dotted 16th while playing quintrupled Sextuplets and whistling a C Sharp add/9 -11 13 17 /44 minor major sus dim pentatonic power chord.
I feel you!
Going "over the bar line" is the term I'm familiar with
Matt garstka, I watch.
your sweet intro music makes your channel more attractive 👌
I'm one of the few guitarists watching this video. I just wanted to say that that stratocaster sounds HUUUUUUUUUUUUUUUUGE.
Haha - I knew it was gonna be Kepler as soon as I saw the title
OK. Established: you are one of my faves to follow. Have commented so in the past. I find the music in this presentation and other similar music you have presented to be uninteresting listening. Your breakdowns are fascinating, though. Recall your recent "what is Jazz" presentation. I surmise that your taste matches the current jazz evolution. When I could not hear enough Thelonius Monk others thought him atrocious (yadda yadda yadda). While I try to adjust my ears, I can accept that jazz may have arrived at a place that I might never dig. I wonder, though, is the point of some of this music (I do not have a "name" for it) to push ahead, as one must do, via subtly modifying meters?
I guess soulful and bluesy roots have died off.
So, I see what you're saying about how, "jazz," (currently) appears to be going in another direction. However, I think when Nate mentions, "phrasing," or taking your ideas in other directions, or places these almost imperceptible, (for me) anyways meters and math takes you on a trip in the past ... Listening to Buddy Miles playing, "them changes." However, Nate's coaching is changing my playing, and what I've been thinking is, "This isn't Kansas anymore. I know, boring.
Not saying the math is new. Not questioning Nate's abilities or dedication to jazz, in particular. I am just not taken by latest jazz which he appreciates. A lot of Nate's talk about this jazz seems to be on its particulars. I adore his fussiness. The deets have not enriched the music for me. (Nate, pls weigh in - this is about you).
Alright then. Got it. Get it. Good. Math class dissmisssssed. Letz go!! 🥁💪😎
I usually call your “common denominator” overriding the downbeat or backbeat
I noticed that he using less dry cymbals now unlike before
Piccalo snares were a big deal in the early '90s...it was just a fad, just ike everyone playing super-dry cymbals is today
@@yabewb who made piccolo snares famous? red hot chili peppers? deftones?
@@krioni86sa Was before that. Stewart Copeland.
yabewb i wouldn’t say everyone. dry cymbals are fantastic when you throw them in the right spots. i’d love a dry and regular china on my kit. and a good dry ride for jazz is so smooooooth.
Matt Garstka is growing on me. I always found him a bit too much but as he's maturing, special things are happening.
At 6:20 when you talk about “16thizing 11 to turn into 15” it is not quite correct. “16thizing 11 with a triplet base gives you 14.666 notes.... not 15. It’s very close to “16thizing” but not quite.
The trick is it's combining feel with math. It's a little bit "fudged", like "what would this 11/8 sound like if we basically double-timed it but forced it to resolve in almost the same places, and kept the bar length constant? Because it's at a 3-to-4 level of resolution, it's going to be an approximation, but in music there aren't really any rules. If it feels good, it is good.
@@8020drummer Thanks for the clarification, I agree with this, it just wasn't made clear in the video. Great video btw, very informative.
i think that the common denominator concept is what Gavin Harrison calls *over riding* pretty cool concept it is
I understood none of this. But I did meet Animals as Leaders at a meet and greet when they opened for Devin Townsend. The Monuments were the other act on the bill \m/