Copyright © 2002 Hudson Music LLCInternational Copyright Secured All Rights Reserved

No part of this publication may be reproduced in any form or by any means without the prior written permission of the publisher.

MIKE PORTNOYA N T H O L O G Y | V O L U M E 1A N T H O L O G Y | V O L U M E 1MIKE PORTNOY

MIKE PORTNOYMIKE PORTNOYA N T H O L O G Y | V O L U M E 1

ISBN# 0-634-04624-1Catalog# 00690560 • HD-Z-BK02

Visit Hudson Music online atwww.hudsonmusic.com

!Transcriptions and Annotations:

Steve Ferraro!

Music Notation and Music TypesettingSteve Ferraro and Ed Uribe

!Additional Editing

Ed Uribe!

Cover DesignCatherine Dee

!Book Design and Layout

Dancing Planet MediaWorks™!

Photographycover and inner cover:

Andrew Lepleyinside photos:

Janet BalmerRobert Fritsch

Andrew LepleyAlain TremblayEddie Malluk

Brad HitzAmy Guip

Dennis KeeleyJohn HarrellPaul LaRaia

!

_____________ ! _____________

Come hang with Mike at:www.mikeportnoy.com

_____________ ! _____________

3

Iwould say that if there were a list of most frequently asked questions at my clinics, surely "When areyou going to release a drum transcription book?" would be in the top three. And up until now, Inever had an answer. But now I finally do! I am very excited to finally be able to offer a look into my

drumming and the music I am so proud to have been a part of creating. When I was first becoming interested in reading music as a teenager, there were not many drum tran-scription books available. They were mostly aimed at piano or guitar scores. But that didn't stop mefrom trying to learn as much as I possibly could! I went and bought various music books like the Yesand Rush anthologies or the incredible Frank Zappa guitar book (transcribed years ago by a then-young Berklee student named Steve Vai). I would immerse myself in listening to the records and following along with the scores. Granted, therewas no "drumming" to follow, but I learned soooo much from following the time signatures and therhythms of the other instruments. It taught me how to analyze music and how the drummer creates,orchestrates, and interacts with the other instruments. I've always said that I think it is more important to try and get inside my head and understand the cre-ative process behind my drum parts than it is to just sit and watch me play and mimic what my fourlimbs are doing. Hopefully this book will help give some of that type of insight.Now you can analyze for yourself exactly what my four limbs are doing, but most importantly see howthe drum parts fit within the context of the music. Try to follow and understand the timesignatures...try to read and write the various rhythms and patterns...and most importantly, try to graspthe development of the parts from section to section to see how they are flowing and growing to com-plement the rest of the music. I must acknowledge the incredible amount of hard work that was put into this project by the tran-scriber Steve Ferraro. His abilities to transcribe these parts as accurately as he did and to pay attentionto such detail is something that I truly admire, and his job is one that I don't envy!I'm almost embarrassed to think of how closely he's had to dissect and analyze every nuance of myplaying! (I feel so exposed!!!) I hope you find this book informative and enjoyable (and worth the wait it took to make it)!

Introduction

7

Table of ContentsTranscriber’s Notes 8

Pull Me Under 13

Metropolis Part 1 23

6:00 37

New Millennium 45

Hell’s Kitchen 55

Overture 1928 63

Strange Deja Vu 69

When the Water Breaks 77

All of the Above 97

Mike Portnoy Anthology Volume 1

Transcriber’s NotesThis section contains some notes about

the transcriptions in general andexplains the style of transcription that

I’ve used in this book and why. I will alsodescribe some of the difficulties inherent intranscribing recorded material and thechoices and tradeoffs that a transcriber hasto make in doing so.

A quick educational aside before we go on: Iwould like to say that I strongly encourageyou to try some transcribing of your own. Itdoesn’t matter what instrument you play orwhat style of music you like, just pick one ofyour favorite songs or solos and give it a try!I can’t tell you how much transcribing drummusic has not only helped my reading skills,but has also made me listen to and thinkabout familiar music in a whole new way. Byexamining another musician’s performanceon a technical level, you will begin to appre-ciate it much more, and you just might dis-cover something new about a piece of musicwhich you thought you knew inside and out.Now let’s move on.

When I began transcribing some of thematerial from Mike’s Liquid Drum Theatervideo in March 2000 for the Hudson Musicweb site, I had the advantage of having thevideo itself to aid me in the transcriptionprocess. Being able to hear the performanceand see which drums and cymbals werebeing played on made the job quite a bit eas-ier than it was for the book you have in yourhands. One example of where the videohelped me was in seeing the many ghostnotes that Mike played on the snare drum orhi-hat during those performances. Whilethese notes were clearly visible (and some-times audible) on the video, they are not vis-ible (obviously) and are frequently inaudibleon the audio recordings. In Mike’s style ofplaying, he uses these ghost notes not onlyto enhance the groove he’s playing, but alsoto “fill in” the sixteenth notes between con-secutive dotted eighth-note or sixteenth-notetriplet phrasings. The decision to include or

not include these notes in the transcriptionswhen they are not clearly audible (but arealmost certainly there) is a judgment call onmy part as the transcriber. As a general rule,I tried to include whatever notes (ghosted orotherwise), articulations, metronome mark-ings, dynamic markings, and the like thatwere essential in order to properly articulatethe drum part to you as a reader.

Another one of these types of judgment callswas deciding exactly which drum or cymbalwas being played on. The tom toms usedduring drum fills are a good example topoint out. The problem is that sometimesMike’s 12” tom doesn’t really sound very dif-ferent from his 13” tom, especially whenplayed very quickly as in a drum fill. Thesame thing applies to a lesser degree to thehigh and low timbalitos on Mike’s LTE drumkit. Cymbals are another example, andcrashes and splashes are notated on a sin-gle staff line each; no attempt has beenmade to try and distinguish which crash orsplash was being played, only that it was infact a crash or a splash. The china cymbalsare also notated on a single staff line, butthe various Max Stax pairs were usually dis-tinguishable from one another and so werenotated separately.

With all of this in mind, I will also say thatevery effort has been made to accuratelytranscribe every note of these performances.In certain areas, special computer softwarewas used to enhance the drum parts and toslow down fast musical passages so that Icould hear exactly what was happening onthe drums. Every fill was tested for “playabil-ity” on my own drum kit to make sure that itmade sense the way it was notated and waslogistically playable. And last, but certainlynot least, Mike was kind enough to take timeout from his busy touring schedule toanswer my many questions about variousdrum fills, grooves, and phrasings. I can’tthank him enough for that, and the book youare reading is that much better because of it.

8

Mike Portnoy Anthology Volume 1

9

As far as my style of transcribing is con-cerned, one thing you may notice right awayis that I’ve chosen not to notationally isolatethe bass drums from the other instruments,as you may have seen done in other tran-scriptions. What I mean is that very oftenyou will see the bass-drum notes written outseparately on the bottom part of the musicalstaff, while the rest of the drums and cym-bals sit up top and are not connected to thebass-drum notes. I’ve always found this tomake things more difficult when trying tosight-read a transcription or when trying tomentally piece together where your handsand feet will strike. This results in forcingyou to focus your eyes on two differentthings at once and to mentally overlay thetwo things to figure out where all the notesfall. I’ve chosen to combine the bass-drumparts with the rest of the drum kit so thateverything is connected in one continuousstream of notes. I hope you will find thisstyle easier to read and work with, as I do.

Another thing I felt important was to distin-guish the closed hi-hat from the partiallyopened hi-hat sound, which is used to givethe hi-hats a sustain very similar to crashcymbals. The hi-hats are usually played par-tially opened when both feet are on the bass-drum pedals, as they are during double-bassgrooves. You can see the special note headsused for each of these distinct sounds in the

notation keys. You will also notice that themajority of the time I’ve indicated when theopen hi-hat gets closed again by the foot.This is important to know because howquickly the hi-hat is closed after being playedin the open state entirely changes the soundyou get.

Metronomic settings have been included aswell as standard dynamic markings wherev-er I felt it was important. Those of you whohave access to the official guitar tab booksfor these songs may notice that the time sig-natures and phrasing differ in some placesbetween the two books. This was doneintentionally, because the purpose of thisbook is to show you how Mike was thinkingabout the music when he created his drumparts, which is not necessarily the only wayto interpret the music or how other musi-cians in the band think about it.

I wish you the best of luck in workingthrough the transcriptions. Remember totake it slow and work through the more diffi-cult sections one bar at a time. Using thesetranscriptions in conjunction with therecordings and Mike’s Liquid Drum Theatervideo will give you the maximum benefit andmost enjoyment from this work. See you inVolume 2!

—Steve Ferraro

Well, this is where it all began. Notour career, as we had alreadybeen together for about 7 yearsand had one relatively unknownCD under our belt, but this is

the song that introduced most of the world tome and Dream Theater.The drumming is not too difficult—a lot ofstraight double-bass sixteenth-note patterns—but it is interesting to see the way that the pat-terns develop and build (from halftime feels tostraight 2’s & 4’s on the snare, to straightdownbeat patterns, to fast upbeat patterns).The drums are constantly developing andincreasing in intensity to give the entire song afeeling of constant forward and upward motion.

11

I suppose one of my most well-known fills is thepattern coming out of the guitar solo whichleads into the last chorus. It is the type of pat-tern between snare and toms and the kickswhich has become a bit of a signature for me. Ispecifically break down this particular fill in myProgressive Drum Concepts video as well as dis-cuss these general kinds of fills in my LiquidDrum Theater video and DVD sets.My kit during this recording was my trusty ol’black Tama Imperialstar kit, with a set of RemoRoto Toms as the 6", 8", and 10" high toms. Iwas also still using Zildjian cymbals at the time.

—Mike Portnoy

Pull Me UnderPull Me Under1

Notation Key:

÷ tt 0 5 5 5 5 5555 5 5 T5 x xo Xxx x x t x

BD2BD1FT2FT1

T3SDT2T1

Tambourine

Timbali to High CHHOHH POHH

RideCrash Splash

China

Abbreviations: SD - Snare DrumT1 - Tom 1T2 - Tom 2T3 - Tom 3

HH w/Foot

Ride BellRototoms 1 -3

Timbalito Low

Crash Cymbal Choke

FT1 - Floor Tom 1FT2 - Floor Tom 2BD1 - Bass Drum 1BD2 - Bass Drum 2

CHH - Closed Hi -hatOHH - Open Hi-hatPOHH - Partially Open Hi-hat

This was the first Dream Theater song I ever heard, and it’s still one of my favorites. As Mike said, thedrumming on this song is pretty straightforward–well, it is by Mike’s standards anyway. The tempostarts out at a nice easy 102 beats per minute and stays there for the entire song, although the shift-

ing drum patterns sometimes may make it seem like it speeds up a bit. There are only three different timesignatures to deal with here as well: 4/4, 6/4, and a few bars of 7/8 thrown in for good measure.The first thing I would like to point out is in measures 37–39, where Mike displaces the beat forward by aneighth note, which gives listeners the feeling of having the rug pulled out from under them. Then, at meas-ure 40, everything’s all right again! Next, in bars 60–63, you can see how Mike takes a very simple double-bass pattern and spices it up a bit by adding a changing ride pattern on top of it. This is also done in bars116–123.Also, check out the bars of 6/4 at measures 94 and 130, where the band is playing quarter notes on thedownbeats: here the drums play not only with the band, but also around the band to give these bars a verycool and unique feel. Finally, at bar 167 is the infamous drum fill that MP mentions in his notes for thissong.

—Steve Ferraro

Kit Diagram

Pull Me Under~Performance Notes

12

Transcription Notes

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13

Pull Me UnderFrom the Dream Theater album Images And Words

Words and Music by James LaBrie, Kevin Moore,John Myung, John Petrucci, and Mike Portnoy

PULL ME UNDER By JAMES LABRIE, KEVIN MOORE, JOHN MYUNG, JOHN PETRUCCI, and MIKE PORTNOY © 1992 WB MUSIC CORP. and YTSE JAMS, INC. All Rights Administered by WB MUSIC CORP. All Rights Reserved Used by Permission

÷36

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14

Pull Me Under

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Pull Me Under