Overload (Rock) - Walkthrough

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# Music Lesson: Rhythm and Techniques in "Overload"

In the rock piece **Overload**, we need to ensure that we're allowing enough space in the **first, second, and third bars** in particular.

### Space and Timing
- There are **half note rests** taking up the second half of bars one and three, so keep counting through those.
- I know there's a metronome on the track, but imagine you're playing in a band:
- You are the drummer.
- There’s no metronome, and you're playing live.
- There's all that space after beats 1 and 2.

If you can be counting it or feeling the time, it helps tremendously. Some people nod their heads when they're playing—not just trying to look cool, but for a purpose:
- It’s a way of feeling the pulse and the time.
- Tapping your left foot might lead to hi-hat notes you don’t want.

It’s important to **internalize the time** if possible. But to begin with, try counting, as I think that will help you the most.

### Bar Structure
- **First Line:**
- Lots of space in the first line.
- In the **fourth bar**, the hi-hat is introduced:
- Hi-hat with bass drum on **beat one**.
- Count through the rest on **beat two**.
- Bass drum on **beat three** and a snare on **beat four**.

I’m using my left hand for the snare notes, as this sets me up for when the groove kicks in. I will be playing the snares with the left.

- **Line Two:**
- There’s a conventional indie rock groove:
- Eighth note hi-hats.
- Bass drums on **one and three**, snares on **two and four**.
- Don’t get too comfortable, as it changes a bit in the **second bar**.
- It resolves back to a more standard groove in the **third bar** and then a variation in the **fourth bar** of the second line.

### Observing Rest and Groove
- **Third Line:**
- More of the same groove.
- A variation in the **second bar**.
- The groove resumes in the **third bar**.
- A departure in the **fourth bar** where:
- We have our hands playing together in unison on all the quarter notes.
- Make sure they’re not **flamming**—they should land together.

### Snare Technique: Rim Shot
Now, let’s talk about a technique you can use across any genre: the **rim shot.**
- If you have an acoustic drum kit, this works well:
- You can play the snare as you've been doing, or...
- For more volume, try playing the snare in the middle of the drum while also striking the rim.

If executed correctly, you get a sound with much more attack—a bit more metallic and a **sharp snare note.**

I try to use this in the **fourth bar of the third line** to help it cut through more. Don’t feel pressured to do this; it’s just a technique you might consider using in various genres:
- Metal
- Rock
- Indie
- Soften less in **country**
- Doesn’t work as well in **hip hop**.

### Continuation of the Piece
Back to the piece—by the end of the **third line**, you've established the quarter note time feel, which continues into the **fourth line**:
- We’re bringing the bass drums in and dropping down to hi-hats on beats three and four of the **first bar**.
- The snare comes back in on **beat four** of the **second bar** of the last line.
- We lead up to an eighth note fill all the way through three and four of the **third bar**, landing neatly on **beat one of the last bar**.

### Demonstration
Let me play bars three and four for you of that **fourth line**:
1, 2, 3, 4.

And again those four snare notes. As it’s towards the end of the piece, consider using this as an opportunity to try the **rim shots**:
- They also work with the right hand but can be quite hard to get right.

If you miss it, you might get a sound that isn’t what you want. Here’s a demonstration of **four rim shots**:
- They definitely cut through more than regular hits.

Of course, you can hit the snares harder and not play a rim shot, but I’m just giving you an option, especially as we reach the end of the piece.

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