okay let me try and explain to you why that Vinnie fill isn't completely out of place. in fact, the more i think about it, the more genius i see it to be.
you want to analyze music as you would analyze literature. the first thing to notice is that vinnie's fill sets up the climactic shout section from the relatively chill sax soli. so, the set up really needs to build to something big and exciting. one way to do that is to play loud. but vinnie takes it to another level. first off, he creates the illusion of the time being sped up, if you will, by one, using 16th notes instead of triplets, and two, displacing what snare notes you'd normally accent onto the downbeats to the 2nd partial of the 16th note grouping. not only that, he makes the bass drum the most prominent aspect of the fill and places it on the 4th partial of the 16th note grouping. so you're basically hearing eighth notes alternating between snare and bass but shifted over a 16th. for mad taste, he ghosts the 16ths in between on the snare.
what's so cool about this is, besides how badass and funky it sounds, is that it adds momentum to the song, exactly what the shout section needs. did he think of all that in his head? hells nah. bro just feels it.
Yeah, I watched it again and it doesn't seem nearly as out of place as it did the first time I watched it. It's a shame there's no daddycock solo afterwards that you could practice.
you want to analyze music as you would analyze literature. the first thing to notice is that vinnie's fill sets up the climactic shout section from the relatively chill sax soli. so, the set up really needs to build to something big and exciting. one way to do that is to play loud. but vinnie takes it to another level. first off, he creates the illusion of the time being sped up, if you will, by one, using 16th notes instead of triplets, and two, displacing what snare notes you'd normally accent onto the downbeats to the 2nd partial of the 16th note grouping. not only that, he makes the bass drum the most prominent aspect of the fill and places it on the 4th partial of the 16th note grouping. so you're basically hearing eighth notes alternating between snare and bass but shifted over a 16th. for mad taste, he ghosts the 16ths in between on the snare.
what's so cool about this is, besides how badass and funky it sounds, is that it adds momentum to the song, exactly what the shout section needs. did he think of all that in his head? hells nah. bro just feels it.
pwnt.
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