Umphrey’s McGee Sectional Workshop
Kris Myers: “The Floor” is a uniquely arranged song that seemed to call for something unique as well, so I constructed an approach based off a jazz pattern that I acquired through my past studies in grad school. I took a jazz-comping pattern that alternates between the bass drum, snare, and hi-hat with foot, all together working as three voices comping underneath a swing pattern on the ride cymbal. I then took out the swing and made it a straight-eighth feel, and found this pattern worked perfectly for “The Floor.” It resembles the alternative rock feel of that bossa-like pattern of British rock (like Coldplay’s groove in “Clocks”), but is different enough for me to call it my own assimilation.
There are quite a few various sections in this song, so I simply determined my ideas from the dynamics and feel of the guitars, piano, and melody. There is a breakdown before the so-called chorus where I am playing only toms, with a lot of production on the drums (reverb, etc.), making it sound sort of like drums in a hallway. The low toms set me up well to slowly build from soft to loud very gradually, creating a dramatic build, and then I can hit the chorus hard with a full-on rock beat. I also sang some backgrounds on this tune, so playing this live with the same dynamic effect while singing is tricky. Lots of big breaths! Anyway, I was very happy with the way this song turned out in the studio, and hope you enjoy it too!