Comments are half split between clap on 1 and clap on 7. I’ve opted for 7 as that just feels right - the clap is always followed by a strong downbeat. He conducts the audience to clap at 0:30 where they clap on what looks like a downbeat, but I would suggest he just conducts like this as there’s no way you can get an audience to clap on an upbeat.
The snare backbeats hit on the 2, on the beat following the clap (which is the 1). End of story. He plays with the rhythmic placement later in the piece, that's the point of what he's doing, but that shouldn't change how it is notated from the beginning. Also the conducting which is clearly a full bar of 7 leading into the 1.
I totally agree on the 7. I practiced tuba from 6th grade to my senior year. I quit practicing after high school. Maybe someone knows better than me though.
I actually find it very boring, it's like 1/999999 of the stuff Chris Dave has been doing for 2 decades... After him, these players come evidently inspired by Chris, but with a very very shy approach. After Chris, most of the drummer's languages became obsolet, or a very shy, partial, incomplete borrowing from the inmense, huge rhythm language chris developed!
@@VincentKun 123.5 is how many beats per minute. 4 is the type of note (quarter notes) and 7 is the amount of times that note appears in a bar. So the time signature is 7/4 and the bpm 123.5 :)
Hate to say it but I don't really get the appeal - his playing is so busy that it's just distracting to me. Great as a solo artist and clinician but I can't stand him in vulf / flyers.
I don't know what to say to Matt Logan there, this is the first I have seen of him... I think he George Collier and me need to play with a symphony as the audience, to beat this, cuz that audience actually has some musical talent. Not to even speak of the talent the respective artists have.
@@mattlogan1 i appreciate a good snare line, but the feat there isnt the musicianship but rather the coordination. nowhere near as musical as nate smith
I was in the audience for this gig at Space in Evanston. The energy was electric. Some of the comments have wondered how the audience was so good at clapping in 7 when so many audiences can't even clap in 4. My guess is that there were a ton of drummers in the audience that night. As a drummer, even in a dark club, I'm pretty good at picking out the difference between someone tapping their foot to the beat and someone thumping out a bass drum rhythm. There were lots of highly trained hands and feet at the gig that night. Thanks for recording and posting this. Good times.
It's not that many people can't clap at 4, there usually is an asshole like me in the crowd, who with purpose claps off-beat to get other people fuck up. For some reason people find it hard to clap on 4, when person next to them claps beat later and in the next moment they are also clapping beat later.
@@eartherdelor old comment, but he alternates the pattern of the kick and snare starting from beat 7 on the previous measure to be on every 4th note instead of on the beat. makes it sound like it's 5/4 but it's still played in the same triplets (each triplet now being a sixteenth note) as before, which is why it sounds like the tempo slowed down so much. plus, with where he started the pattern, there's a single extra triplet after the complete pseudo-5/4 bar before beat 7, which clearly threw a lot of people off in the audience
As someone who doesn’t play an instrument and cannot read sheet music. I have absolutely no clue what is going on here. But I can tell it’s very impressive
The time signature 7:4 is really weird, and hard to get used to if you’re not trained. Usually when reading sheet music, it’s common time (4/4), which is just, 1,2,3,4,1,2,3,4. This is 7:4. I’ve never played in 7:4 so I don’t know how it goes, but I think it’s 7 quarter notes in a four note measure? I don’t know, but it’s super awkward sounding. Playing with this off-beat time signature is definitely impressive
As someone whos played guitar for 20 something years as a hobby, I have absolutely no clue what is going on here, but I can tell its very impressive lol I couldnt keep a beat if my heart depended on it!
@@brokenacoustic as someone who's been studying music theory for the past four years, it's still really hard to keep up I've heard about some made up time signatures that are meant to be even crazier like 11/24, musicians are naturally insane
I-- I've played for audiences that couldn't stay consistent clapping along to a 4/4 beat; where in fresh hell do you find an entire audience that can keep up in 7/4?? It's cute how people in the replies think an audience can't fail if someone is helping them. Fun fact about audiences: they refuse to be helped. I've performed pieces where our members clapped, too, and the audience ignored it. Audiences can be wacky like that
This would actually be a fun concept to teach to children. We had music classes when I was in grade school but we always focused on 4/4 and 3/4. There are fun ways to teach counting complex or polyrhythms but you really don't get to that point until around highschool or college.
As impressed as I am with his set skills, I'm even more impressed at this impossible audience! I've never heard so many people keep the beat so well. They ALL must be experienced musicians
Why is it no goddamn audience can keep tempo in 4/4 to save their lives, but when it's 7/8 suddenly we're all on the same page? Is it because now they actually have to pay close attention?
@@diWHY_Jake it’s the same exact way as the rest, it’s just played so slowly that it will throw you off (I’m not big on theory I just play that’s my take on it)
Fact of the day: the first night level (the one with the samurai) switches to 7/4 halfway through! That’s why it’s way more difficult after that one bridge
A good portion of this I could follow by thinking of it as groups of 6, separated by a single clap, completing it to 7, and he was adding pauses on the clap evoking that feel. Essentially just 6/4 or however you like to think of it. But then he really throws the audience by starting what feels like a 4 feel right on the clap, and those are the spots where the audience seems to falters slightly. Super cool 😎
Yes I was looking for this comment. Im used hearing Seven grouped as combinations of 3 and 4. But here its more like 6+1 or 3+3+1, this way of thinking of It makes It much easier to follow.
@@tremolo312 It isn't 'racist' any more than saying black people have darker skin. It's just a fact, that you can observe if you look close enough. They have better rhythm, on average, and the average is what shows when you have a room full of people. And that isn't derogatory, it's a compliment.
@@andybaldman African tribes have been doing rhythmic rituals for spiritual practices for millennium. I don't know how Mr. Ron over here could possibly think that it's racist to say that they are more in tune with rhythm than other phenotypes. They definitely are lmao! Ragtime? Bebop? Jazz? Rhythm and blues? Rock? Funk? Hip hop? Like fuck yeah they got rhythm in their DNA it isn't hard to tell.
This guy here does not get the credit and admiration he deserves. I know hes got a following and a name that people recognize, but this man is at the very top of his game like ive never seen before.
Many musicians don't get the recognition they deserve. I love The Consouls (who did a few VGM jazz covers in odd time signatures eg Enter Waka) but they only have just under 60 000 subs on their channel.
To be honest this is one of the evil things I do. I on purpose, when people are clapping on beat, start clapping off beat to fuck up their clapping. Works 100% of time.
This had to have been for an audience of percussionists or something right? How I the bloody crikey hell did they keep time so well as a collective. Insane.
I think it's kind of like a hemiola going from a 21/8 feel into a 7/4 feel but my brain melted too. The pulse of the 8th note triplets never change but the rest of the groove arranges itself into groups of 4.
@@TheGoldielox You're overcomplicating it, it's just grouping the 3s into 4s until he runs out of room in the measure. It's not even that rigid either, you can see that he extends the last one to a group of 5 because otherwise there would be a messy hit right next to the clap (not messy for him obviously, but when you factor in the audience). If you want to analyze this as a specific theory technique it would be metric modulation, shifting to a slightly slower tempo where the 8th note is equal to the rate of the 8th note triplet in the previous measure. It's so short-lived though that there's really no reason to think of it that way either, simple grouping communicates the same idea much easier. It's basically the same concept as when people write those dotted quarter note grooves that get cut off in 4/4 (3+3+2 and 3+3+3+3+2+2, hopefully it's clear what I'm talking about since they're everywhere) that are all over pop, rock and every other genre. It just seems alien here because people don't normally regroup triplets and don't normally play with that level of syncopation at all in 7/4.
He's playing triplets with every 4th note accented instead of every 3rd. Thats what grouping of 4 means. That way it doesnt feel like triplets anymore, altought it actually is.
I love this! Same idea that the first few levels of the game “Rhythm Doctor” are based on, on just how hard it is to count to 7 if you dont have an internal beat
Well, sort of. I just finished Rhythm Doctor, and unlike this video the 7th beat we actually clap on is actually just the fourth beat of 4/4 time. We're counting in eighths which is why it's the seventh beat in the game. It's easier to count to seven in the game than in this video. Semi-Spoilers for the game: Except for that one level of the game, N1-X, which actually is in 7/4 time.
I'm high, and i tried to clap along, first couple tries were not cool, but at one point i got that hihat pulse and just kept up with the timing all way to the end, that was N I C E
Nate Smith man... also, you should check out a drummer named Petar who plays with Cory Wong, specifically a clip from his live in Minneapolis concert where he is teaching 25/8. Around the one hour 20 minute mark
Petar Janjic! I thought of the exact same thing while watching this. "Give me my Chipotle, give me my Chipotle. I want chips, I want guac. Give me my Chipotle, ONE!"
Yeah that's how most musicians break down the structure of a piece. It helped me play more complex pieces when I used to be in band. Like Mars is a famous 5/4 piece but it is often counted and conducted as '1-2-3 1-2'
That's a riot, thanks for transcribing it George. His conducting for one bar didn't help at all where 1 was either, but I'll go with clap on 7. This on of those videos you send to all your music-head friends.
@@danieleatzoridrumchannel7119 OK I see.. didn't know what you meant. I tend to think the challenge is to know where 7 is, and the downbeat is on the bass drum quarter note as George has it written. Either way it is pretty neat.
An argument for clap on one: it makes the kick pattern symmetrical around the barline (ie it's two repetitions of a pattern in 7/8 beginning on the downbeat). I feel very strongly about this!
I know most people are taking this comment in jest, like was the intent, but I'd suggest the others to not take things so seriously. I get that it's sometimes hard to understand humor over text, but even if this was a 100% real comment, being negative doesn't really help anyone. Anyway happy counting. 🙂
Wow that first 7 groove he did was IMMACULATE and beautiful. I have made it my life-long goal to find and also create odd-time grooves/compositions that sound natural and not those that intentionally use the odd nature of them to get that 4 feel but break it midway. Not that I dislike songs like that, but it is so rare to find songs like From Eden - Hozier. I also want to release a few odd-time ideas on my own channel... Just need to record them well :)
The Consouls went through a period where they did their VGM jazz covers in odd time signatures - you might enjoy their versions of Enter Waka or Night Walker in 7 (for their 7th birthday), Space Walk or Crystal Snail (OST mostly in 13/8) and a few others
Check out king gizzard and the lizard wizard, they had two drummers and their use of 7/8 timing allowed them to alternate between having beat one either be a down beat or syncopated beat for every bar, kind of like the way he is alternating each bar.
Bruh there’s like countless bands that use 7 and a load of other time signatures. King Gizzard is nowhere near as mathy as it gets, especially in the prog world.
@@HieronymousLex i don't think he's kg&tlw is special for using 7, i think they're special because they use 7 AND 2 drummers allowing for some crazy syncopation
@@alexchimi7093 having two drummers doesn’t equal more syncopation. Also syncopation isn’t related to time signatures at all, so having 2 drummers playing in 7 has nothing to do with syncopation, just saying. Believe me, I’ve been listening to Gizz for years. I love them lol. But I’m a drummer so I’m just saying.
@@HieronymousLex Of course it doesn't, but it's much easier to syncopate and incorporate more complex rhythms if one drummer is focused on one rhythm and the other in another lol
guys, the transcription is all displaced by 1/4 note in the past. the audience is obviously clapping the 1, you can also understand this from the backbeats on 2, 4 and 6 when he starts to groove
You could say that and it’s a matter of preference, but most of it feels like the clap is on 7. Particularly 1:13 and 1:43. But the transcription is available for free if you want to change it :)
@@GeorgeCollier the claps def supposed to be felt as 1, why would nate play a backbeat on beat 1? the groove makes wayy more sense shifted a quarter over
@@GeorgeCollier he actually conducts a bar of it himself at around the 0:27 mark and the clap is on the downbeat. I think it makes a little more sense that way, but I'm still glad for the transcription
In high school jazz we played the Mission Impossible theme. That arrangement switched every measure back and forth from 5/4 to 4/4. The only way I could play it was to ignore that and know how the song went.
Grouping the triplets in fours finally did the trick.. jeezy petes that's tough. Stupid drummers. LOL as a lowly trumpet player tracking the beat through some of this hurts my limited brain.
Showed this to my 9 year old daughter tonight. She just got cast for her first percussion role at school. I've been a drummer for 35 years...makes me really happy to see her analytical brain applied to music.
I only ever did a few years of band class in high school, but one thing I learned was: when the drummer didn’t show up, we sounded like booty-butt cheeks. Drummers are crucial.
As an amateur drummer who just loves the instrument, this blew my mind. I'm proud of myself that I could keep up for the most part, but the bits that tripped everyone up in the audience tripped me up as well. Reading the notation was insane though. I'm gonna watch this again now.
I was on time for most of it but there was those odd ones where he switched it up and i counted 8 or 6 bars! Its easy if its repeated but to notice a tiny change that's the hard part!
I certainly think so. He’s phrasing the bass drum in 4+3 it feels like (and that’s how he conducts it) so I think the clap should be on 1 Plus it feels like the snare should be on the backbeats of 2&4
Guitarist with a high appreciation for time signatures speaking : That was a super fun exercise! Dude had me second guessing a few times there towards the end. I believe I’ll be coming back just to continue testing myself. Thanks for the upload!
The way I got through the brainbenders of 1:58 and 2:10 on time was that I was playing a a keyboard lick in 7 to this to help counting. Muscle memory > brain.
The weight of the groove is ON the clap, everything Nate plays relates to the clap as the starting point. There is a definite 4 - 3 structure, starting on the clap... So finally, the notation is rhythmically correct, but it completely neglects the right starting point, which makes it unnecessarily complicated and will confuse a lot of people.
I know nothing about music but I know 2 things: 1: This is amazing 2: I have no idea what half these comments say but Im still enjoying them seem amazed
Same here, I've watched it twice now and it's a 6 for me. That's what makes sense musically in my brain's "rhythm receptors". I can see how it can be a 1 or 7 but it's not natural to me, 6 is.
I feel like the bar should be shifted over a quarter note, with the clap being on beat 1. That way you would get all the snares on the off beats instead of beats 1 3 and 5 which just feels wrong imo.
@@Johnny-Joseph I'm sorry but you are incorrect, he conducts a downbeat there, a beat one. As the other person here said: he splits the bar into a 4/4 followed by 3/4
Awesome! Clap is undoubtedly on beat 1 instead of 7 tho. He both conducts it that way and it feels way better with the back beat coming in on beat 2 right after
Comments are half split between clap on 1 and clap on 7. I’ve opted for 7 as that just feels right - the clap is always followed by a strong downbeat. He conducts the audience to clap at 0:30 where they clap on what looks like a downbeat, but I would suggest he just conducts like this as there’s no way you can get an audience to clap on an upbeat.
This will be the controversy that finally kicks off the civil war and resulting end of days.
Definitely 7 for me personally.
The snare backbeats hit on the 2, on the beat following the clap (which is the 1). End of story. He plays with the rhythmic placement later in the piece, that's the point of what he's doing, but that shouldn't change how it is notated from the beginning. Also the conducting which is clearly a full bar of 7 leading into the 1.
I feel it on 1 beacause of the snare crosstick "backbeat", like I'm not so used to hear snares on 1 so yeah.
I totally agree on the 7. I practiced tuba from 6th grade to my senior year. I quit practicing after high school. Maybe someone knows better than me though.
I read in the description, that Balthazar Maignan did the transcription? So why do you write, that YOU opted for the clap on 7?
That rhythmic displacement he does is just so mind boggling. It actually makes more sense on sheet music than I would’ve imagined it did though haha
@@comedelage1282 Thanks mate
@@comedelage1282 He's in the description!
I actually find it very boring, it's like 1/999999 of the stuff Chris Dave has been doing for 2 decades... After him, these players come evidently inspired by Chris, but with a very very shy approach. After Chris, most of the drummer's languages became obsolet, or a very shy, partial, incomplete borrowing from the inmense, huge rhythm language chris developed!
@@joaluar lol just listen to prog music mate
@@joaluar I did not enjoy reading your comment, I’ll just say
Dunno what’s more impressive.
The drummer, or that there is an audience on earth that some how managed to follow 7:4
Is not even a 7/4, there is a 123.5 time
Edit: Thank you all for making me notice my error, but you can also not be so rude in comments sometimes. Bye
I was at this show, I just watched Jaleel and clapped whenever he did because there was no chance I was following along
@@VincentKun Time signature and tempo are seperate things. Having a different tempo doesn't change the time signature, just the speed of the piece.
@@VincentKun 123.5 is how many beats per minute. 4 is the type of note (quarter notes) and 7 is the amount of times that note appears in a bar. So the time signature is 7/4 and the bpm 123.5 :)
7/4 is pretty simple to follow, it's the syncopations and polyrhythms that make it insanely hard here
Nate smith is one of the greatest funk drummers of this generation.
Respect.
Hate to say it but I don't really get the appeal - his playing is so busy that it's just distracting to me. Great as a solo artist and clinician but I can't stand him in vulf / flyers.
I don't know what to say to Matt Logan there, this is the first I have seen of him... I think he George Collier and me need to play with a symphony as the audience, to beat this, cuz that audience actually has some musical talent. Not to even speak of the talent the respective artists have.
how "busy" can a person who barely leaves the hi hat/snare/kick possible be lol
@@zackmash851 You should watch a DCI snare line
@@mattlogan1 i appreciate a good snare line, but the feat there isnt the musicianship but rather the coordination. nowhere near as musical as nate smith
I was in the audience for this gig at Space in Evanston. The energy was electric. Some of the comments have wondered how the audience was so good at clapping in 7 when so many audiences can't even clap in 4. My guess is that there were a ton of drummers in the audience that night. As a drummer, even in a dark club, I'm pretty good at picking out the difference between someone tapping their foot to the beat and someone thumping out a bass drum rhythm. There were lots of highly trained hands and feet at the gig that night. Thanks for recording and posting this. Good times.
It's not that many people can't clap at 4, there usually is an asshole like me in the crowd, who with purpose claps off-beat to get other people fuck up. For some reason people find it hard to clap on 4, when person next to them claps beat later and in the next moment they are also clapping beat later.
@@tarksurmani6335 It's the equivalent of trying to sing in church with someone going completely off-tune right behind you
Singer is a drummer.
I was there as well! And yes, I'm a drummer.
naw I just watch the guy on stage and clap with him
1:59 is just pure evil. Love it !
do you know what kind of polyrhythm he is playing at that moment? so fiendish
It's like playing a remix level in a Rhythm Heaven game but in real life.
@@eartherdelor old comment, but he alternates the pattern of the kick and snare starting from beat 7 on the previous measure to be on every 4th note instead of on the beat. makes it sound like it's 5/4 but it's still played in the same triplets (each triplet now being a sixteenth note) as before, which is why it sounds like the tempo slowed down so much. plus, with where he started the pattern, there's a single extra triplet after the complete pseudo-5/4 bar before beat 7, which clearly threw a lot of people off in the audience
@@eartherdelormetric modulation
@@cryms. I rewound it several times and couldn't get that one!
Everyone thinks they can count to seven, until you have to do it over and over and over again
@dogman It's better because it's one syllable; normally you have one, two, three, four, five, six and sev-en which feels off meter-wise.
ouch
@dogman i say "se'en" for the same reason
マジでそれな
OK. But what is the point?
The notation of OOOW at 2:45 is crucial
Thanks, I found it funny so I add it 😊
@@BalthazarMaignan who are you?
@@mysigt_ actually, I did this transcription, it's written in the video description 😉
@@BalthazarMaignan oh, sorry. I assumed it was George. The OOOW was a crucial addition :)
@@mysigt_ it's okay, I had to tell him to actually put my name but he did so I'm happy with that
As someone who doesn’t play an instrument and cannot read sheet music. I have absolutely no clue what is going on here. But I can tell it’s very impressive
The time signature 7:4 is really weird, and hard to get used to if you’re not trained. Usually when reading sheet music, it’s common time (4/4), which is just, 1,2,3,4,1,2,3,4. This is 7:4. I’ve never played in 7:4 so I don’t know how it goes, but I think it’s 7 quarter notes in a four note measure? I don’t know, but it’s super awkward sounding. Playing with this off-beat time signature is definitely impressive
@@justiceofbook you are correct all the way.
we all count differently but it’s important to feel the strong 1 aka downbeat
As someone whos played guitar for 20 something years as a hobby, I have absolutely no clue what is going on here, but I can tell its very impressive lol I couldnt keep a beat if my heart depended on it!
@@brokenacoustic as someone who's been studying music theory for the past four years, it's still really hard to keep up
I've heard about some made up time signatures that are meant to be even crazier like 11/24, musicians are naturally insane
@@isaacpianos5208 I'm an audio engineer. I have only learned to count 1,2 1,2 testing microphones ;)
I--
I've played for audiences that couldn't stay consistent clapping along to a 4/4 beat; where in fresh hell do you find an entire audience that can keep up in 7/4??
It's cute how people in the replies think an audience can't fail if someone is helping them. Fun fact about audiences: they refuse to be helped. I've performed pieces where our members clapped, too, and the audience ignored it. Audiences can be wacky like that
I’m a drummer and this time sig baffles my little drummer boi brain 😂😂😂
"Chicago, man"
@@atteheikkinen I'm from Chicago!
At least they are only clapping every bar so that makes it easier but I’m surprised people weren’t more off
Just get a sax guy on the side who clap along, makes it's easier for the audience to just do what he does lol
This would actually be a fun concept to teach to children. We had music classes when I was in grade school but we always focused on 4/4 and 3/4. There are fun ways to teach counting complex or polyrhythms but you really don't get to that point until around highschool or college.
69th like
Cringe@@rbbl_
As impressed as I am with his set skills, I'm even more impressed at this impossible audience! I've never heard so many people keep the beat so well. They ALL must be experienced musicians
Really?
Am... Am i a experienced musician omg. 😳
some people just have a natural flow for rythm
it´s jazz people, they´re a special breed 😂
Those who attend gigs like this are more likely lifelong music fans of challenging music (Jazz, Funk, etc.) with of course musicians in there as well
ruclips.net/video/ne6tB2KiZuk/видео.html Same concept
Well the audience didn't miss a beat
Why is it no goddamn audience can keep tempo in 4/4 to save their lives, but when it's 7/8 suddenly we're all on the same page?
Is it because now they actually have to pay close attention?
@@Tsugimoto1 it probably was an audience full of musicians
Wow, I never thought I would see you here. I used to watch your Thomas toy reviews when I was a kid. Small world
The musicians on stage were giving the audience signals, inadvertent or not.
@@aidenanderson9310 dang I used to watch that guy’s series on the redback spider tank. What a coincidence
This is why drummers are actual time lords! At 1:58 that groove threw me for a loop! What a prime display of talent, skill, and mastery of time :)
Alright but how the heck do you count this? I can kinda count most of this but this one trips me up completely
@@diWHY_Jake it’s the same exact way as the rest, it’s just played so slowly that it will throw you off (I’m not big on theory I just play that’s my take on it)
This is a concept that was popular last year when a bunch of drummers started covering Everybody Wants to Rule the World. Lots of metric modulation
@@TheTheOpTiCJewel It doesn't get slower, he just makes it look that way
Years of playing rhythm doctor have prepared me for this moment
Fact of the day: the first night level (the one with the samurai) switches to 7/4 halfway through! That’s why it’s way more difficult after that one bridge
yep, dont speak manderin yet i still counted "yi er san su wu liu qi"
A good portion of this I could follow by thinking of it as groups of 6, separated by a single clap, completing it to 7, and he was adding pauses on the clap evoking that feel. Essentially just 6/4 or however you like to think of it. But then he really throws the audience by starting what feels like a 4 feel right on the clap, and those are the spots where the audience seems to falters slightly. Super cool 😎
Yes I was looking for this comment. Im used hearing Seven grouped as combinations of 3 and 4. But here its more like 6+1 or 3+3+1, this way of thinking of It makes It much easier to follow.
How on earth did the audience keep up? I guess sometimes I forget that some people can feel rhythm and don’t need to count everything XD
They were black.
That's racist af 🙄
Also who says they weren't counting? You don't know either way
@@tremolo312 It isn't 'racist' any more than saying black people have darker skin. It's just a fact, that you can observe if you look close enough. They have better rhythm, on average, and the average is what shows when you have a room full of people. And that isn't derogatory, it's a compliment.
@@tremolo312 Just look at a room full of white people dancing and then compare that to a room full of POC dancing. Mate there is a difference!
@@andybaldman African tribes have been doing rhythmic rituals for spiritual practices for millennium. I don't know how Mr. Ron over here could possibly think that it's racist to say that they are more in tune with rhythm than other phenotypes. They definitely are lmao! Ragtime? Bebop? Jazz? Rhythm and blues? Rock? Funk? Hip hop? Like fuck yeah they got rhythm in their DNA it isn't hard to tell.
This guy here does not get the credit and admiration he deserves. I know hes got a following and a name that people recognize, but this man is at the very top of his game like ive never seen before.
Many musicians don't get the recognition they deserve. I love The Consouls (who did a few VGM jazz covers in odd time signatures eg Enter Waka) but they only have just under 60 000 subs on their channel.
@@cooldebt You're the first ever person to ever bring up The Consouls outside of their own videos. They are great.
yall missed one genius on the back who unironically and unknowingly clapped on 4/4, and precisely on 4, the whole time.
I mean you aren't wrong...
he's german, germans can only clap on 4/4. true story, source: i'm german
To be honest this is one of the evil things I do. I on purpose, when people are clapping on beat, start clapping off beat to fuck up their clapping. Works 100% of time.
@@tarksurmani6335 even better if you clap like 6/8 or something
@@QuantumFluxable Hans! Get the Vier-Viertel-Takt!!
That perfectly synchronised clap at 0:31 was quite satisfying
I've written a lot of songs in 7, but this was a hard one to "feel". starts on 7, is syncopated. This dude is one solid thinking drummer. Impressive
I can’t count to seven regularly, let alone to this… Impressive!
1 2 3… what comes next?
1 2 3 4 1 2 3, thats how i count it
@@ryanthepianoman27 1223454564567567
definitely an audience of musicians. also, his playing is so tight I cannot comprehend
This had to have been for an audience of percussionists or something right? How I the bloody crikey hell did they keep time so well as a collective. Insane.
honored to be referenced in the title! love love love
1:57 - 2:02 melted my brain
I think it's kind of like a hemiola going from a 21/8 feel into a 7/4 feel but my brain melted too. The pulse of the 8th note triplets never change but the rest of the groove arranges itself into groups of 4.
@@TheGoldielox You're overcomplicating it, it's just grouping the 3s into 4s until he runs out of room in the measure. It's not even that rigid either, you can see that he extends the last one to a group of 5 because otherwise there would be a messy hit right next to the clap (not messy for him obviously, but when you factor in the audience).
If you want to analyze this as a specific theory technique it would be metric modulation, shifting to a slightly slower tempo where the 8th note is equal to the rate of the 8th note triplet in the previous measure. It's so short-lived though that there's really no reason to think of it that way either, simple grouping communicates the same idea much easier. It's basically the same concept as when people write those dotted quarter note grooves that get cut off in 4/4 (3+3+2 and 3+3+3+3+2+2, hopefully it's clear what I'm talking about since they're everywhere) that are all over pop, rock and every other genre. It just seems alien here because people don't normally regroup triplets and don't normally play with that level of syncopation at all in 7/4.
He's playing triplets with every 4th note accented instead of every 3rd. Thats what grouping of 4 means. That way it doesnt feel like triplets anymore, altought it actually is.
I love this! Same idea that the first few levels of the game “Rhythm Doctor” are based on, on just how hard it is to count to 7 if you dont have an internal beat
Well, sort of. I just finished Rhythm Doctor, and unlike this video the 7th beat we actually clap on is actually just the fourth beat of 4/4 time. We're counting in eighths which is why it's the seventh beat in the game. It's easier to count to seven in the game than in this video.
Semi-Spoilers for the game:
Except for that one level of the game, N1-X, which actually is in 7/4 time.
They got me clapping behind my computer screen looking like a bozo.
You misspelled "like an absolute legend"
Same
*us lol
Same. Wife looking at me like "why."
We're all bozos on this bus.
I'm high, and i tried to clap along, first couple tries were not cool, but at one point i got that hihat pulse and just kept up with the timing all way to the end, that was N I C E
as a drummer i find the composition of the piece quite impressive entertaining and refreshing
When the drummer says: "Let's play it in 7/4":
definitely an audience of musicians or prog fans that could instinctively count in 7/4 immediately
i don't think you need to be a prog musician to count to seven man
@@cupparuppa LOLLL
@@cupparuppa you'd be surprised
nah this is chicago man
nah dude i don’t play an instrument or anything but i could count to this with relative ease as most people could i think it’s just a normal crowd lol
Nate Smith man... also, you should check out a drummer named Petar who plays with Cory Wong, specifically a clip from his live in Minneapolis concert where he is teaching 25/8. Around the one hour 20 minute mark
@@tonalddrump255 give me my chipotle
Give me my chipotle is wonderful. Saw him in Bloomington the day after that recording. An awesome concert
@@ExtraFancy96 I want chips, I want guac
@@tonalddrump255 give me my chipote
Petar Janjic! I thought of the exact same thing while watching this. "Give me my Chipotle, give me my Chipotle. I want chips, I want guac. Give me my Chipotle, ONE!"
audience do be playing rhythm doctor
As someone who has played a 7/4 piece before, i find it’s easier to count it as 1-2, 1-2, 1-2-3.
you just made this so easy to follow tysm
thats literally how conducter conduct 7/8 or 7/4 123 12 12 or 12 12 123
You are a genius, sir. Thanks !
Exactly. Or 4 + 3. I don’t know any musician who counts complex rhythms in large numbers. You always break it down into smaller pieces.
Yeah that's how most musicians break down the structure of a piece. It helped me play more complex pieces when I used to be in band. Like Mars is a famous 5/4 piece but it is often counted and conducted as '1-2-3 1-2'
That's a riot, thanks for transcribing it George. His conducting for one bar didn't help at all where 1 was either, but I'll go with clap on 7. This on of those videos you send to all your music-head friends.
ruclips.net/video/0tmGhzpn6SQ/видео.html it was out there since almost 2 years😉
@@danieleatzoridrumchannel7119 OK, so what? I just saw it.
@@gertnood just wanted to share.. maybe this with the clap on 1 makes more sense or maybe not
@@danieleatzoridrumchannel7119 OK I see.. didn't know what you meant. I tend to think the challenge is to know where 7 is, and the downbeat is on the bass drum quarter note as George has it written. Either way it is pretty neat.
An argument for clap on one: it makes the kick pattern symmetrical around the barline (ie it's two repetitions of a pattern in 7/8 beginning on the downbeat).
I feel very strongly about this!
It helps the audience keep pace
Clapping on one is easier. Maybe that's why he had them clap on 7.
It's totally clap on ONE
Read the notation. It’s claps on 7
I agree it sounds way more natural with clap on the one, at least to Western ears used to 4 on the floor. That's how I heard it before the sheet music
I'm a musician who prides himself on his rhythmic capabilities. I would have goofed after the second measure.
It's incredibly hard to keep track of after he starts his rhythmic illusions, it's amazing that the drummer could keep track himself
Second measure? Yikes......
It’s not hard if you count in your head, but if you don’t it can be tricky
then your rhythmic capabilities are bad
I know most people are taking this comment in jest, like was the intent, but I'd suggest the others to not take things so seriously. I get that it's sometimes hard to understand humor over text, but even if this was a 100% real comment, being negative doesn't really help anyone. Anyway happy counting. 🙂
I like how the audience cheers louder the more they fail haha what an awesome dynamic
Normally I hate extended drum solos but I could listen to this all day! Amazing!
Wow that first 7 groove he did was IMMACULATE and beautiful. I have made it my life-long goal to find and also create odd-time grooves/compositions that sound natural and not those that intentionally use the odd nature of them to get that 4 feel but break it midway. Not that I dislike songs like that, but it is so rare to find songs like From Eden - Hozier. I also want to release a few odd-time ideas on my own channel... Just need to record them well :)
The Consouls went through a period where they did their VGM jazz covers in odd time signatures - you might enjoy their versions of Enter Waka or Night Walker in 7 (for their 7th birthday), Space Walk or Crystal Snail (OST mostly in 13/8) and a few others
Check out king gizzard and the lizard wizard, they had two drummers and their use of 7/8 timing allowed them to alternate between having beat one either be a down beat or syncopated beat for every bar, kind of like the way he is alternating each bar.
which tune?
Bruh there’s like countless bands that use 7 and a load of other time signatures. King Gizzard is nowhere near as mathy as it gets, especially in the prog world.
@@HieronymousLex i don't think he's kg&tlw is special for using 7, i think they're special because they use 7 AND 2 drummers allowing for some crazy syncopation
@@alexchimi7093 having two drummers doesn’t equal more syncopation. Also syncopation isn’t related to time signatures at all, so having 2 drummers playing in 7 has nothing to do with syncopation, just saying.
Believe me, I’ve been listening to Gizz for years. I love them lol. But I’m a drummer so I’m just saying.
@@HieronymousLex Of course it doesn't, but it's much easier to syncopate and incorporate more complex rhythms if one drummer is focused on one rhythm and the other in another lol
guys, the transcription is all displaced by 1/4 note in the past. the audience is obviously clapping the 1, you can also understand this from the backbeats on 2, 4 and 6 when he starts to groove
Agree
You could say that and it’s a matter of preference, but most of it feels like the clap is on 7. Particularly 1:13 and 1:43. But the transcription is available for free if you want to change it :)
@@GeorgeCollier the claps def supposed to be felt as 1, why would nate play a backbeat on beat 1? the groove makes wayy more sense shifted a quarter over
@@GeorgeCollier he actually conducts a bar of it himself at around the 0:27 mark and the clap is on the downbeat. I think it makes a little more sense that way, but I'm still glad for the transcription
ruclips.net/video/0tmGhzpn6SQ/видео.html
What a fantastic drummer! Sliding in and out of so many different rhythms while still maintaining the timing is amazing.
3:02 Hold on a minute...
I played classical and ragtime piano for many years and I struggled a lot here and I'm not even ashamed
Nate Smith never fails at being absolutely mind blowing
In high school jazz we played the Mission Impossible theme. That arrangement switched every measure back and forth from 5/4 to 4/4. The only way I could play it was to ignore that and know how the song went.
The fact that this is so insanely groovy and listenable and not just a big jazz maths wank is astounding.
This rhythm doctor update looks crazy
That crowd is very lucky I was not in that audience.. I would have probably messed that up so miserably. It would be truly an embarrassing sight
I absolutely love the minimal use of the drum kit. Nate Smith.
Grouping the triplets in fours finally did the trick.. jeezy petes that's tough. Stupid drummers. LOL as a lowly trumpet player tracking the beat through some of this hurts my limited brain.
I feel for you
Showed this to my 9 year old daughter tonight. She just got cast for her first percussion role at school. I've been a drummer for 35 years...makes me really happy to see her analytical brain applied to music.
Headbanging to Meshuggah for years has prepared me for this moment.
Years of drumming paid off, actually managed to keep the timing even with the off beats.
I only ever did a few years of band class in high school, but one thing I learned was: when the drummer didn’t show up, we sounded like booty-butt cheeks. Drummers are crucial.
You can clearly see him counting all this shit out and, as a drummer, this gives me tremendous amounts of a very special and unique anxiety.
It's a neat trick, but you can't dance to it!
@@vipermad358 You can totally dance to it.
As an amateur drummer who just loves the instrument, this blew my mind. I'm proud of myself that I could keep up for the most part, but the bits that tripped everyone up in the audience tripped me up as well. Reading the notation was insane though. I'm gonna watch this again now.
My favourite part of the video: "This is Chicago man" :)
This seems like the kind of stuff drummers figure out when they get bored.
i love when the audience’s clapping gets more hesitant
I never thought my brain could hurt so much (in a good way) from listening to a drum beat. This was awesome lol.
Best crowd participation by a long shot
I learned very early on listening to technical music that the hi-hat is your best friend in funky time signatures or polyrhythms.
2:40 I love that you chart the OHHH 🤣
I love the person at 0:20 who immediately counts 7
That whole audience deserves an award
a lot of good metric modulation ideas in here 👍🏻
This is mind boggling. An unbelievably creative and technical groove.
I was on time for most of it but there was those odd ones where he switched it up and i counted 8 or 6 bars! Its easy if its repeated but to notice a tiny change that's the hard part!
Isn't the clap on the 1? Considering his phrasing and also the fact he is playing a back beat.
I'm not knowledgeable enough to say yes, but that's how I hear it
Thats how i hear it
To me he claps on the seven
@@lpharmer3496 If you can percieve the groove you are knowledgeable enough.
I certainly think so. He’s phrasing the bass drum in 4+3 it feels like (and that’s how he conducts it) so I think the clap should be on 1
Plus it feels like the snare should be on the backbeats of 2&4
woops i feel the clap on the 1 😞
Same I can't break myself of from hearing "clap" 234567 "clap" ...
It's deliberately tricky
I wrote it that way at first but he changed it, must be a musical choice
ruclips.net/video/0tmGhzpn6SQ/видео.html here you go
Everyone debating between clap on 1 and clap on 7, but to me clapping on 6 feels much more natural.
lost checkmark
BPM: 123.5
Every Prog musician: WRITE THAT DOWN, WRITE THAT DOWN!
Guitarist with a high appreciation for time signatures speaking : That was a super fun exercise! Dude had me second guessing a few times there towards the end. I believe I’ll be coming back just to continue testing myself. Thanks for the upload!
The way I got through the brainbenders of 1:58 and 2:10 on time was that I was playing a a keyboard lick in 7 to this to help counting. Muscle memory > brain.
I love how the only difference between just doing stuff and people counting to 7 and being a pro is that he knows when they clap and nods his head. :D
Listening to this genuinely stresses me out as somebody who struggles to keep in time in 4/4
Its like hes playing a game with the audience, thats so cool!
as a flutist who cannot count:
i must say, this is very impressive
if someone counts for me I'm fine, counting and playing I can't do xD
Ah, as a percussionist, we all love these irregular time signatures
The weight of the groove is ON the clap, everything Nate plays relates to the clap as the starting point. There is a definite 4 - 3 structure, starting on the clap... So finally, the notation is rhythmically correct, but it completely neglects the right starting point, which makes it unnecessarily complicated and will confuse a lot of people.
Just found you guys and right on treated with a new song.
Stay true to yourSelf guys, you are awesome and pure.
Love from the Netherlands 🙏❤️
This is like advanced mathematics in your head on a timer
I'd be in the crowd clapping wrong just to try to mess him up but he's just too good lol
This is sick, it's more like 6/4 followed by a bar of 1/4, but I'm super surprised that the audience was able to follow along as I could barely lol.
I know nothing about music but I know 2 things:
1: This is amazing
2: I have no idea what half these comments say but Im still enjoying them seem amazed
All that time playing Rhythm Heaven is paying off.
Fuckin wicked. Nate is a percussion / time-wizard, clearly. Impressive crowd, too
Does anyone else hears the clap in beat 6 instead of 7? I guess both can be heard or even beat 1, but my ear seems to prefer beat 6.
Yes
So you're hearing the start of the bars as leadups into the bar, that makes sense
Same here, I've watched it twice now and it's a 6 for me. That's what makes sense musically in my brain's "rhythm receptors". I can see how it can be a 1 or 7 but it's not natural to me, 6 is.
I feel like the bar should be shifted over a quarter note, with the clap being on beat 1. That way you would get all the snares on the off beats instead of beats 1 3 and 5 which just feels wrong imo.
ruclips.net/video/0tmGhzpn6SQ/видео.html here you go
Besides what everyone else has said about the backbeat, at 0:31 you can clearly see Smith cue the clap on one.
ummmm no. He cues on 7 :)
@@Johnny-Joseph Based on his conducting pattern the clap is the downbeat. He beats 1 2 3 4 - 1 2 3 - (1) CLAP with his hands
@@sethkg9596 because he is cuing them to clap on 7....
@@Johnny-Joseph I'm sorry but you are incorrect, he conducts a downbeat there, a beat one. As the other person here said: he splits the bar into a 4/4 followed by 3/4
@@Johnny-Joseph you’re very much right, though the whole song, the audience is clapping on beat 7. He just conducts it in a way that cues beat 7
This is THE MOST ENTERTAINING thing I’ve seen in RUclips all year!!!🔥🔥🔥
“There are no rules, just tools.”
What a fun idea. Having the audience play along in a rhythm game for a few mins during a set. What absolute fun. :)
Great idea to have the audience do during a drum solo!
Awesome! Clap is undoubtedly on beat 1 instead of 7 tho. He both conducts it that way and it feels way better with the back beat coming in on beat 2 right after
On my 7th play-through, I finally learned to to count to 7.
Is that a How To Read Sheet Music reference?
_"...Counting to five has never been more difficult..."_
such a commanding and unifying moment! that’s a bond that is specific to those who were there for the rest of time. world needs more of this practice