Halo
In this song, Harrison starts with another cool funk groove
that makes great use of dynamics and hi-hat openings, and ends with a
six-stroke-roll fill. At the chorus, he moves his right hand to his ride
cymbal, and uses his left hand to play the open hi-hats. This disk has lots of
odd-time sections, and in this song, there’s a part that alternates measures of
9/8 and 8/8, though you can just as easily think of the second measure as 4/4.
The second time through the pattern Harrison plays a sparser pattern on a
sloshy hi-hat, and adds some double bass ruffs to raise the difficulty level
even higher.
Shallow
Harrison plays a simple snare pickup into his funky verse
groove. This part feels great because of his perfect time, and tasteful use of
buzzes, ghost notes, and hi-hat openings. “It’s basically a heavy Bonham kind
of groove,” Harrison says. “I like to add in little embellishments in a subtle
way just to keep it moving along.” The pre-chorus and chorus have an unusual
three-measure phrase length that somehow doesn’t sound that odd. Notice how he
plays the cymbal accents in the pre-chorus, and then fills the same pattern
with more bass drum notes in the chorus.
Lazarus
The first time I heard this cool fill, I replayed it about
six times. But until I slowed it down, I could have sworn each bass drum riff
started with a rest, and only had three notes in it. At half speed I thought I
could make out a softer first note that makes the pattern even more difficult.
But after running the transcription past Harrison, we had to reverse course yet
again. “It does start with a rest,” he clarified. “There are two kick drum
notes and one floor tom note before the snare accents. A difficult one to
notate. I think it’s quite unusual to start a fill with a thirty-second-note
rest, so probably your mind just sticks one in just to keep from going crazy!
She's Moved On
These two fills lead into two different churuses of this
haunting song. File these under absolutely incredible!
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