Lesson on Tiberius: Navigating Progressive Metal

Okay, now it's time to talk about Tiberius. We got ourselves a nice progressive sounding metal track. We're thinking Metallica, but then we're also considering influences of bands like Tool. It's going to be an interesting one to navigate.

Structure Breakdown

Structurally, however, the beats themselves are fairly straightforward. Once you've got those down, it just becomes a matter of following the route map with where you're going.

First Half: 8 Bar Grooves

Let's check out that first half. Notice how it's just made up of eight bar grooves.

• Already we're starting to just cut this down to size.
• One big chunk becomes a smaller chunk and a smaller chunk.
• It makes it way easier to understand and start applying and learning.

After you've got to grips with the tribal tom pattern at the start, we want to think about the heavy quarter note pulse slurred hi-hat pattern.

• We want to be really digging in.
• Keep those hi-hats nice and splashy, and really dig in on the snare.

If you're comfortable doing rim shots, consider applying them now. You'll find that it gives it a really heavy feel to contrast with that lighter tom section.

In case you haven't come across it before, you want to make contact with the rim and the head at the same time. It's a way of having a really weighty backbeat, achieving very good results with not much effort.

Tips for the 24 Bar Section

This is an example of how it might sound. We also have that 24 bar section. Here's a tip to help you get over that easily:

• It might be a potential stumbling point, but try thinking of it as a drum fill.
• Notice how it comes halfway through that eight bar section we were discussing.

After four bars, it should naturally start to feel like it's time for a fill. Internalize that 1 and 2 guitar sound and link it up. This will create a nice carryover point into the second half of that riff section.

This is definitely something I've applied when learning phrases with odd bars, making it feel more like a part of the piece rather than a separate section.

Recap of the First Part

• Understanding how to navigate through that first part with the 24 section is crucial.
• Notice how we come back to it at the very end.
• We also revisit it in the guitar solo section.

Getting to grips with the fill feeling of that 24 section will help you throughout the piece.

Bass Solo and Ride Groove

After the 24 section, we come down to a bass solo. We just lay back with that ride groove.

Locking into the Hi-Hat

One tip I want to give you is to really try and:

• Lock into your hi-hat pedal pattern here.
• It's going to keep everything solid while the ride pattern remains light.

The hi-hat pattern keeps clicking through, providing a solid time for you to play around.

Transition to the Second Half

Then we kick it back up a notch with the same pattern we've been doing in the verse, only now it's a guitar solo.

Then the gears change, and we move to the double time section. So this is what we'll think of as the second half of the piece.

Understanding the Double Time Section

We've set everything up, and now we've increased the intensity.

Recognizing Patterns

One tip to help you break down this double time section is to recognize patterns within the larger section.

• Essentially, it can all be boiled down to a two bar phrase:
  • The rhythmic section followed by a more padded out strumming section.

This pattern remains consistent until you reach section F where it reverts to the other feel.

Internalize Sections

I can't recommend enough the idea of internalizing the hit section followed by the riffing section.

• This will help you structure the whole thing up, whether you're on the hi-hat or on the ride and the bell.
• Notice the space the stab sections on the crashes give you and how it works with the overall framework of the guitar riff.

Anticipation is Key

This is a moment where you can take the space and allow yourself a moment to think ahead. Start anticipating, which is crucial when playing double time sections.

Always think ahead, otherwise you might be in danger of dragging.

Transition to the Heavy Riff Section

Finally, we come to another heavy riff section. It's based on a similar idea as the opening in the verse, but with a slightly more syncopated bass drum pattern.

Key Details

• Notice the placement of the crash cymbal on beat two as opposed to beat one.
• This is another instance where you'll want to start thinking ahead, particularly with these over-the-bar fills.

Don't worry though; it all relates back to that guitar riff. The more you can listen, the easier this will become.

Troubleshooting Tips

If you're having trouble locking in with some of these different sections, try using just the guitar-only backing track.

• Taking away the drums might help you hear what's underneath so you can start locking into it.

Recommended Listening

Okay, let's wrap things up. We've got to talk about the recommended listening.

• We've got some really great bands listed in the overview, focusing on classic thrash metal. This is a great starting point if you're just getting into metal.

Essential Bands

• Metallica
• Megadeth
• Slayer
• Anthrax

These bands inspired a whole wave of metal after them, and they're still influencing people today.

I remember when I was starting out, checking out records like Metallica's Black Album, their S & M album, and Justice for All.

Takeaways from Listening

Listening to these bands will aid your overall application of this song because:

• It will provide inspiration.
• You'll understand the feel and navigate through the double time sections more effectively.
• You'll gather ideas about what you might want to incorporate into your developmental sections, including drum fills.

So check it out, have fun, and get into it!