Chords for Simon Phillips - Drum Lesson: "Odd Times"
Tempo:
83 bpm
Chords used:
G
Eb
Cm
F
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Dbm] [Ebm]
[Eb] [G] Yeah, it's a funny thing that it's
I have a theory.
As you go around the world,
you start off in the East, let's say, but let's start at East European.
[Gm] Because once you go into Asia, then a lot of things [Cm] change musically.
But Eastern European, there's a lot of incredible music that is in odd meters.
And it's all folk music.
[F] You don't even have to be a musician to [Cm] play in 9-8.
Most farmer's wives in Bulgaria dance in 9-8.
They don't even think about it.
It's normal for them.
It's culture.
So it's interesting that Eastern European musicians play [D] odd meters very well.
They don't necessarily play a fat groove in 4 that well.
It's a little
It's not in the pocket.
Then you whiz over to the West Coast of America, [Cm] Los Angeles, and the pocket is great.
But now getting to play in 7 or 13, it's a little awkward because it's not part of the culture.
Now over the last 30 years, that has changed.
[Gm] But when I was growing up and listening to odd meters and learning to play,
I would come in contact with [G] a lot of American musicians at the time
who only a few of them were really [A] into the odd meter stuff.
Most didn't do that.
So a lot of it is to do with what you're used to hearing and what culture is.
But at the end of the day, what my thing was, was to assimilate these weird times
but make them feel [Cm] like they're played by a West Coast musician.
I worked [F] really hard on groove.
[G] I thought to myself, it doesn't matter if it's in 4 or if it's in 7 [D] or 9 or 17.
It should [G] basically feel the same.
It should still be the groove of the song.
If you think about it, you can tap your foot like this in any meter.
[A] At some [G] point, it's going to come around.
If you get used to playing a meter, counting 4 through it,
and that [Eb] downbeat becomes the upbeat,
so 1, 2, 3, 4, 5, 6, 7, 1, [D] 2, 3, 4, 5, 6, 7, 8,
[G] you know like that?
[F]
1, 2, 3, 4, 5, 6, 7, 8,
you know that kind of thing?
It will catch up.
So that's kind of how I play.
I'm playing a [A] lot of times.
There's a [G] song we [G] do.
Let's start in 7.
Groove in 7.
[N]
What happens with the high end?
[Eb]
[Db]
[F] It's a big 4.
No, it's actually a slow [G] 7.
So that's my little, let's say, key.
It's not a secret, but it's a key to playing these things.
Just always look through the bar line.
Same as you were playing in 4.
When you're playing 4-4, you don't count.
3, 4, 1, you know?
Right.
[Eb] So you've got to try to get [C] that when you're playing in 9 or [Gb] 5 or 7.
[Eb] It's just, again, you've got to get used to doing it.
[D] But that's my [Ab] thing, is to make it swing.
Just make it music.
It shouldn't be any [N] different.
[Eb] [G] Yeah, it's a funny thing that it's
I have a theory.
As you go around the world,
you start off in the East, let's say, but let's start at East European.
[Gm] Because once you go into Asia, then a lot of things [Cm] change musically.
But Eastern European, there's a lot of incredible music that is in odd meters.
And it's all folk music.
[F] You don't even have to be a musician to [Cm] play in 9-8.
Most farmer's wives in Bulgaria dance in 9-8.
They don't even think about it.
It's normal for them.
It's culture.
So it's interesting that Eastern European musicians play [D] odd meters very well.
They don't necessarily play a fat groove in 4 that well.
It's a little
It's not in the pocket.
Then you whiz over to the West Coast of America, [Cm] Los Angeles, and the pocket is great.
But now getting to play in 7 or 13, it's a little awkward because it's not part of the culture.
Now over the last 30 years, that has changed.
[Gm] But when I was growing up and listening to odd meters and learning to play,
I would come in contact with [G] a lot of American musicians at the time
who only a few of them were really [A] into the odd meter stuff.
Most didn't do that.
So a lot of it is to do with what you're used to hearing and what culture is.
But at the end of the day, what my thing was, was to assimilate these weird times
but make them feel [Cm] like they're played by a West Coast musician.
I worked [F] really hard on groove.
[G] I thought to myself, it doesn't matter if it's in 4 or if it's in 7 [D] or 9 or 17.
It should [G] basically feel the same.
It should still be the groove of the song.
If you think about it, you can tap your foot like this in any meter.
[A] At some [G] point, it's going to come around.
If you get used to playing a meter, counting 4 through it,
and that [Eb] downbeat becomes the upbeat,
so 1, 2, 3, 4, 5, 6, 7, 1, [D] 2, 3, 4, 5, 6, 7, 8,
[G] you know like that?
[F]
1, 2, 3, 4, 5, 6, 7, 8,
you know that kind of thing?
It will catch up.
So that's kind of how I play.
I'm playing a [A] lot of times.
There's a [G] song we [G] do.
Let's start in 7.
Groove in 7.
[N]
What happens with the high end?
[Eb]
[Db]
[F] It's a big 4.
No, it's actually a slow [G] 7.
So that's my little, let's say, key.
It's not a secret, but it's a key to playing these things.
Just always look through the bar line.
Same as you were playing in 4.
When you're playing 4-4, you don't count.
3, 4, 1, you know?
Right.
[Eb] So you've got to try to get [C] that when you're playing in 9 or [Gb] 5 or 7.
[Eb] It's just, again, you've got to get used to doing it.
[D] But that's my [Ab] thing, is to make it swing.
Just make it music.
It shouldn't be any [N] different.
Key:
G
Eb
Cm
F
D
G
Eb
Cm
[Dbm] _ [Ebm] _ _ _ _ _ _ _
[Eb] _ [G] Yeah, it's a funny thing that it's_
I have a theory.
As you go around the world,
_ you start off in the East, let's say, but let's start at East European.
[Gm] Because once you go into Asia, then a lot of things [Cm] change musically.
But Eastern European, there's a lot of incredible music that is in odd meters.
And it's all folk music.
[F] You don't even have to be a musician to [Cm] play in 9-8.
Most farmer's wives in Bulgaria dance in 9-8.
They don't even think about it.
It's normal for them.
It's culture. _
_ So it's interesting that Eastern European musicians play [D] odd meters very well.
_ They don't necessarily play a fat groove in 4 that well.
It's a little_
It's not in the pocket.
Then you whiz over to the West Coast of America, [Cm] Los Angeles, and the pocket is great.
But now getting to play in 7 or 13, it's a little awkward because it's not part of the culture.
Now over the last 30 years, that has changed.
[Gm] But when I was growing up and listening to odd meters and learning to play,
I would come in contact with [G] a lot of American musicians at the time
who only a few of them were really [A] into the odd meter stuff.
Most didn't do that.
So a lot of it is to do with what you're used to hearing and what culture is.
But at the end of the day, _ _ what my thing was, was to assimilate these weird times
but make them feel [Cm] like they're played by a West Coast musician.
I worked [F] really hard on groove.
[G] I thought to myself, it doesn't matter if it's in 4 or if it's in 7 [D] or 9 or 17.
It should [G] basically feel the same.
It should still be the groove of the song.
If you think about it, you can tap your foot like this in any meter.
[A] At some [G] point, it's going to come around.
If you get used to playing a meter, counting 4 through it,
and that [Eb] downbeat becomes the upbeat,
so 1, 2, 3, 4, 5, 6, 7, 1, [D] 2, 3, 4, 5, 6, 7, 8,
[G] you know like that?
_ [F] _ _ _ _
1, 2, 3, 4, 5, 6, 7, 8,
you know that kind of thing?
It will catch up.
So that's kind of how I play.
I'm playing a [A] lot of times.
_ _ _ There's a [G] song we [G] do.
Let's start in 7.
Groove in 7. _ _
_ _ _ _ _ _ [N] _ _
_ _ _ _ _ What happens with the high end?
[Eb] _ _ _ _ _ _ _
_ _ _ _ _ _ _ [Db] _
_ _ _ [F] It's a big 4.
No, it's actually a slow [G] 7.
So that's my little, let's say, key.
It's not a secret, but it's a key to playing these things.
Just always look through the bar line.
Same as you were playing in 4.
When you're playing 4-4, you don't count.
3, 4, 1, you know?
Right.
[Eb] So you've got to try to get [C] that when you're playing in 9 or [Gb] 5 or 7.
_ [Eb] _ It's just, again, you've got to get used to doing it.
[D] But that's my [Ab] thing, is to make it swing.
Just make it music.
It shouldn't be any [N] different.
[Eb] _ [G] Yeah, it's a funny thing that it's_
I have a theory.
As you go around the world,
_ you start off in the East, let's say, but let's start at East European.
[Gm] Because once you go into Asia, then a lot of things [Cm] change musically.
But Eastern European, there's a lot of incredible music that is in odd meters.
And it's all folk music.
[F] You don't even have to be a musician to [Cm] play in 9-8.
Most farmer's wives in Bulgaria dance in 9-8.
They don't even think about it.
It's normal for them.
It's culture. _
_ So it's interesting that Eastern European musicians play [D] odd meters very well.
_ They don't necessarily play a fat groove in 4 that well.
It's a little_
It's not in the pocket.
Then you whiz over to the West Coast of America, [Cm] Los Angeles, and the pocket is great.
But now getting to play in 7 or 13, it's a little awkward because it's not part of the culture.
Now over the last 30 years, that has changed.
[Gm] But when I was growing up and listening to odd meters and learning to play,
I would come in contact with [G] a lot of American musicians at the time
who only a few of them were really [A] into the odd meter stuff.
Most didn't do that.
So a lot of it is to do with what you're used to hearing and what culture is.
But at the end of the day, _ _ what my thing was, was to assimilate these weird times
but make them feel [Cm] like they're played by a West Coast musician.
I worked [F] really hard on groove.
[G] I thought to myself, it doesn't matter if it's in 4 or if it's in 7 [D] or 9 or 17.
It should [G] basically feel the same.
It should still be the groove of the song.
If you think about it, you can tap your foot like this in any meter.
[A] At some [G] point, it's going to come around.
If you get used to playing a meter, counting 4 through it,
and that [Eb] downbeat becomes the upbeat,
so 1, 2, 3, 4, 5, 6, 7, 1, [D] 2, 3, 4, 5, 6, 7, 8,
[G] you know like that?
_ [F] _ _ _ _
1, 2, 3, 4, 5, 6, 7, 8,
you know that kind of thing?
It will catch up.
So that's kind of how I play.
I'm playing a [A] lot of times.
_ _ _ There's a [G] song we [G] do.
Let's start in 7.
Groove in 7. _ _
_ _ _ _ _ _ [N] _ _
_ _ _ _ _ What happens with the high end?
[Eb] _ _ _ _ _ _ _
_ _ _ _ _ _ _ [Db] _
_ _ _ [F] It's a big 4.
No, it's actually a slow [G] 7.
So that's my little, let's say, key.
It's not a secret, but it's a key to playing these things.
Just always look through the bar line.
Same as you were playing in 4.
When you're playing 4-4, you don't count.
3, 4, 1, you know?
Right.
[Eb] So you've got to try to get [C] that when you're playing in 9 or [Gb] 5 or 7.
_ [Eb] _ It's just, again, you've got to get used to doing it.
[D] But that's my [Ab] thing, is to make it swing.
Just make it music.
It shouldn't be any [N] different.