Chords for 8 (Spotlight) Gavin Harrison - Overriding
Tempo:
93.75 bpm
Chords used:
F#
D
A
C
Bm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C]
[D]
So what did you
how did that come about?
I mean, I like odd times and I like to make odd times sound like they're not odd times.
And one of the techniques I use is something I call overriding.
Other people might call it something different.
An overriding is when you have a pattern like this in 7-8.
[F#] And I'm playing eighth notes with my right hand.
So then I start to accent just the quarter notes.
So these accents, now the audience don't have a jerky 7-8 feeling.
Suddenly they're hearing a
And they're getting this steady pulse.
We play some songs, you can see people dancing to it.
If I played a pattern in 7-8 that's very choppy and kind of feels like it's stopping and starting and it's very jagged.
When you're
[Bm] giving the audience a regular pulse to grab on to.
Sometimes I take it a bit further and play every third, sixteenth note.
So,
[D] [B] one, two, three, four, five.
[F#]
[A] Kind of mix it up.
So they're still getting regular pulses but now there's a [F#] counterpoint going on.
They can hear ding, ding, like a new tempo coming out.
Kind of creating a 3D effect.
But I do like, if I can, I like to smooth out a lot of odd tempos.
So people can enjoy them.
I don't need the audience to know that this song is in 11-8 or 17-16.
I don't want people to perceive that we're just being cocky and clever.
Hey, look, we can play in 19-16, check this out.
[G] I want it to have some musical reason.
Sometimes when we're writing I say, do we need to have this bar here?
Couldn't we just make it 3-4?
Has it got to be 11-16?
I think it's going to make the whole thing flow.
And you can make nice grooves.
You don't have to have 2-4 to make a groove.
I heard that in the things that you did.
I heard the things that Steve Gadd played when he played in 7.
It sounded as cool as when he played in 4-4.
It had a nice laid back time going on.
I heard a lot of drummers, especially in England, playing odd times.
It never [E] felt good.
It was always very jerky.
And the only interest in it was, hey, this is an odd time,
so check out how clever I am.
And I realised that it doesn't need to be that.
There's plenty of cultures around the world who do nice timing.
In Greece they do a great thing in 9.
And it grooves like mad.
Bulgaria.
Exactly.
It's something that doesn't have to be complicated just for the hell of it.
I like to try and make odd times feel even.
Sometimes I like to make 4-4 feel like it's in a different time signature.
And you can play tricks.
That led [A] to the columns that I was writing in a book called Rhythmic Illusions.
Where I describe different ways of doing metric modulation and displacement.
And making the 4-4 beat sound like it had a new downbeat.
Or making the 4-4 beat feel like you had a new tempo.
Where all the time it's only a superimposed idea.
And the 4-4 is there all the time.
[D]
So what did you
how did that come about?
I mean, I like odd times and I like to make odd times sound like they're not odd times.
And one of the techniques I use is something I call overriding.
Other people might call it something different.
An overriding is when you have a pattern like this in 7-8.
[F#] And I'm playing eighth notes with my right hand.
So then I start to accent just the quarter notes.
So these accents, now the audience don't have a jerky 7-8 feeling.
Suddenly they're hearing a
And they're getting this steady pulse.
We play some songs, you can see people dancing to it.
If I played a pattern in 7-8 that's very choppy and kind of feels like it's stopping and starting and it's very jagged.
When you're
[Bm] giving the audience a regular pulse to grab on to.
Sometimes I take it a bit further and play every third, sixteenth note.
So,
[D] [B] one, two, three, four, five.
[F#]
[A] Kind of mix it up.
So they're still getting regular pulses but now there's a [F#] counterpoint going on.
They can hear ding, ding, like a new tempo coming out.
Kind of creating a 3D effect.
But I do like, if I can, I like to smooth out a lot of odd tempos.
So people can enjoy them.
I don't need the audience to know that this song is in 11-8 or 17-16.
I don't want people to perceive that we're just being cocky and clever.
Hey, look, we can play in 19-16, check this out.
[G] I want it to have some musical reason.
Sometimes when we're writing I say, do we need to have this bar here?
Couldn't we just make it 3-4?
Has it got to be 11-16?
I think it's going to make the whole thing flow.
And you can make nice grooves.
You don't have to have 2-4 to make a groove.
I heard that in the things that you did.
I heard the things that Steve Gadd played when he played in 7.
It sounded as cool as when he played in 4-4.
It had a nice laid back time going on.
I heard a lot of drummers, especially in England, playing odd times.
It never [E] felt good.
It was always very jerky.
And the only interest in it was, hey, this is an odd time,
so check out how clever I am.
And I realised that it doesn't need to be that.
There's plenty of cultures around the world who do nice timing.
In Greece they do a great thing in 9.
And it grooves like mad.
Bulgaria.
Exactly.
It's something that doesn't have to be complicated just for the hell of it.
I like to try and make odd times feel even.
Sometimes I like to make 4-4 feel like it's in a different time signature.
And you can play tricks.
That led [A] to the columns that I was writing in a book called Rhythmic Illusions.
Where I describe different ways of doing metric modulation and displacement.
And making the 4-4 beat sound like it had a new downbeat.
Or making the 4-4 beat feel like you had a new tempo.
Where all the time it's only a superimposed idea.
And the 4-4 is there all the time.
Key:
F#
D
A
C
Bm
F#
D
A
_ _ [C] _ _ _ _ _ _
[D] _ _ _ _ _ _ _ _
So what did you_
how did that come about?
I mean, I like odd times and I like to make odd times sound like they're not odd times.
And one of the techniques I use is something I call overriding.
Other people might call it something different.
An overriding is when you have a pattern like this in 7-8. _ _ _ _
_ _ [F#] _ _ And I'm playing eighth notes with my right hand.
So then I start to accent just the quarter notes.
So _ _ _ _ _ _ _ _
_ _ _ these accents, now the audience don't have a jerky 7-8 feeling.
Suddenly they're hearing a_ _ _ _ _ _ _
And they're getting this steady pulse.
We play some songs, you can see people dancing to it.
If I played a pattern in 7-8 that's _ _ _ _ _ very choppy and kind of feels like it's stopping and starting and it's very jagged.
When you're _ _ _
_ _ _ _ _ _ _ _
[Bm] giving the audience a regular pulse to grab on to.
Sometimes I take it a bit further and play every third, sixteenth note.
So, _ _ _ _ _ _ _
_ _ [D] _ _ [B] one, two, three, four, five.
_ _ _ _ _ _ _ _
_ _ [F#] _ _ _ _ _ _
[A] _ Kind of mix it up.
So they're still getting regular pulses but now there's a [F#] counterpoint going on.
They can hear ding, ding, like a new tempo coming out.
Kind of creating a 3D effect.
But I do like, if I can, I like to smooth out a lot of odd tempos.
So people can enjoy them.
I don't need the audience to know that this song is in 11-8 or 17-16.
I don't want people to perceive that we're just being cocky and clever.
Hey, look, we can play in 19-16, check this out.
[G] I want it to have some musical reason.
Sometimes when we're writing I say, do we need to have this bar here?
Couldn't we just make it 3-4?
Has it got to be 11-16?
I think it's going to make the whole thing flow.
And you can make nice grooves.
You don't have to have 2-4 to make a groove.
I heard that in the things that you did.
I heard the things that Steve Gadd played when he played in 7.
It sounded as cool as when he played in 4-4.
It had a nice laid back time going on.
I heard a lot of drummers, especially in England, playing odd times.
It never [E] felt good.
It was always very jerky.
And the only interest in it was, hey, this is an odd time,
so check out how clever I am.
And I realised that it doesn't need to be that.
There's plenty of cultures around the world who do nice timing.
In Greece they do a great thing in 9.
And it grooves like mad.
Bulgaria.
Exactly. _
It's something that doesn't have to be complicated just for the hell of it.
I like to try and make odd times feel even.
Sometimes I like to make 4-4 feel like it's in a different time signature.
And you can play tricks.
That led [A] to the columns that I was writing in a book called Rhythmic Illusions.
Where I describe different ways of doing metric modulation and displacement.
_ And making the 4-4 beat sound like it had a new downbeat.
Or making the 4-4 beat feel like you had a new tempo.
Where all the time it's only a superimposed idea.
And the 4-4 is there all the time. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[D] _ _ _ _ _ _ _ _
So what did you_
how did that come about?
I mean, I like odd times and I like to make odd times sound like they're not odd times.
And one of the techniques I use is something I call overriding.
Other people might call it something different.
An overriding is when you have a pattern like this in 7-8. _ _ _ _
_ _ [F#] _ _ And I'm playing eighth notes with my right hand.
So then I start to accent just the quarter notes.
So _ _ _ _ _ _ _ _
_ _ _ these accents, now the audience don't have a jerky 7-8 feeling.
Suddenly they're hearing a_ _ _ _ _ _ _
And they're getting this steady pulse.
We play some songs, you can see people dancing to it.
If I played a pattern in 7-8 that's _ _ _ _ _ very choppy and kind of feels like it's stopping and starting and it's very jagged.
When you're _ _ _
_ _ _ _ _ _ _ _
[Bm] giving the audience a regular pulse to grab on to.
Sometimes I take it a bit further and play every third, sixteenth note.
So, _ _ _ _ _ _ _
_ _ [D] _ _ [B] one, two, three, four, five.
_ _ _ _ _ _ _ _
_ _ [F#] _ _ _ _ _ _
[A] _ Kind of mix it up.
So they're still getting regular pulses but now there's a [F#] counterpoint going on.
They can hear ding, ding, like a new tempo coming out.
Kind of creating a 3D effect.
But I do like, if I can, I like to smooth out a lot of odd tempos.
So people can enjoy them.
I don't need the audience to know that this song is in 11-8 or 17-16.
I don't want people to perceive that we're just being cocky and clever.
Hey, look, we can play in 19-16, check this out.
[G] I want it to have some musical reason.
Sometimes when we're writing I say, do we need to have this bar here?
Couldn't we just make it 3-4?
Has it got to be 11-16?
I think it's going to make the whole thing flow.
And you can make nice grooves.
You don't have to have 2-4 to make a groove.
I heard that in the things that you did.
I heard the things that Steve Gadd played when he played in 7.
It sounded as cool as when he played in 4-4.
It had a nice laid back time going on.
I heard a lot of drummers, especially in England, playing odd times.
It never [E] felt good.
It was always very jerky.
And the only interest in it was, hey, this is an odd time,
so check out how clever I am.
And I realised that it doesn't need to be that.
There's plenty of cultures around the world who do nice timing.
In Greece they do a great thing in 9.
And it grooves like mad.
Bulgaria.
Exactly. _
It's something that doesn't have to be complicated just for the hell of it.
I like to try and make odd times feel even.
Sometimes I like to make 4-4 feel like it's in a different time signature.
And you can play tricks.
That led [A] to the columns that I was writing in a book called Rhythmic Illusions.
Where I describe different ways of doing metric modulation and displacement.
_ And making the 4-4 beat sound like it had a new downbeat.
Or making the 4-4 beat feel like you had a new tempo.
Where all the time it's only a superimposed idea.
And the 4-4 is there all the time. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _