MIKE PORTNOY

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

Copyright © 2002 Hudson Music LLC

International 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 PORTNOY
A N T H O L O G Y | V O L U M E

ISBN# 0-634-04624-1
1

Catalog# 00690560 • HD-Z-BK02

Visit Hudson Music online at

www.hudsonmusic.com

◆
Transcriptions and Annotations:
Steve Ferraro
◆
Music Notation and Music Typesetting
Steve Ferraro and Ed Uribe
◆
Additional Editing
Ed Uribe
◆
Cover Design
Catherine Dee
◆
Book Design and Layout
Dancing Planet MediaWorks™
◆
Photography
cover and inner cover:
Andrew Lepley
inside photos:
Janet Balmer
Robert Fritsch
Andrew Lepley
Alain Tremblay
Eddie Malluk
Brad Hitz
Amy Guip
Dennis Keeley
John Harrell
Paul LaRaia
◆

_____________ ◆
_____________
Come hang with Mike at:
www.mikeportnoy.com
_____________ ◆ _____________
Introduction
I
would say that if there were a list of most frequently asked questions at my clinics, surely "When are
you going to release a drum transcription book?" would be in the top three. And up until now, I
never 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 me
from trying to learn as much as I possibly could! I went and bought various music books like the Yes
and 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, there
was no "drumming" to follow, but I learned soooo much from following the time signatures and the
rhythms 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 four
limbs 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 how
the drum parts fit within the context of the music. Try to follow and understand the time
signatures...try to read and write the various rhythms and patterns...and most importantly, try to grasp
the 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 attention
to 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 my
playing! (I feel so exposed!!!)
I hope you find this book informative and enjoyable (and worth the wait it took to make it)!

3
Table of Contents
Transcriber’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

7
 Mike Portnoy Anthology Volume 1
Transcriber’s Notes
T
his section contains some notes about
the transcriptions in general and
explains the style of transcription that
I’ve used in this book and why. I will also
describe some of the difficulties inherent in
transcribing recorded material and the
choices and tradeoffs that a transcriber has
to make in doing so.
A quick educational aside before we go on: I
would like to say that I strongly encourage
you to try some transcribing of your own. It
doesn’t matter what instrument you play or
what style of music you like, just pick one of
your favorite songs or solos and give it a try!
I can’t tell you how much transcribing drum
music has not only helped my reading skills,
but has also made me listen to and think
about familiar music in a whole new way. By
examining another musician’s performance
on a technical level, you will begin to appre-
ciate it much more, and you just might dis-
cover something new about a piece of music
which you thought you knew inside and out.
Now let’s move on.
When I began transcribing some of the
material from Mike’s Liquid Drum Theater
video in March 2000 for the Hudson Music
web site, I had the advantage of having the
video itself to aid me in the transcription
process. Being able to hear the performance
and see which drums and cymbals were
being played on made the job quite a bit eas-
ier than it was for the book you have in your
hands. One example of where the video
helped me was in seeing the many ghost
notes that Mike played on the snare drum or
hi-hat during those performances. While
these notes were clearly visible (and some-
times audible) on the video, they are not vis-
ible (obviously) and are frequently inaudible
on the audio recordings. In Mike’s style of
playing, he uses these ghost notes not only
to enhance the groove he’s playing, but also
to “fill in” the sixteenth notes between con-
secutive dotted eighth-note or sixteenth-note
triplet phrasings. The decision to include or
8
not include these notes in the transcriptions
when they are not clearly audible (but are
almost certainly there) is a judgment call on
my part as the transcriber. As a general rule,
I tried to include whatever notes (ghosted or
otherwise), articulations, metronome mark-
ings, dynamic markings, and the like that
were essential in order to properly articulate
the drum part to you as a reader.
Another one of these types of judgment calls
was deciding exactly which drum or cymbal
was being played on. The tom toms used
during drum fills are a good example to
point out. The problem is that sometimes
Mike’s 12” tom doesn’t really sound very dif-
ferent from his 13” tom, especially when
played very quickly as in a drum fill. The
same thing applies to a lesser degree to the
high and low timbalitos on Mike’s LTE drum
kit. Cymbals are another example, and
crashes and splashes are notated on a sin-
gle staff line each; no attempt has been
made to try and distinguish which crash or
splash was being played, only that it was in
fact a crash or a splash. The china cymbals
are also notated on a single staff line, but
the various Max Stax pairs were usually dis-
tinguishable from one another and so were
notated separately.
With all of this in mind, I will also say that
every effort has been made to accurately
transcribe every note of these performances.
In certain areas, special computer software
was used to enhance the drum parts and to
slow down fast musical passages so that I
could hear exactly what was happening on
the drums. Every fill was tested for “playabil-
ity” on my own drum kit to make sure that it
made sense the way it was notated and was
logistically playable. And last, but certainly
not least, Mike was kind enough to take time
out from his busy touring schedule to
answer my many questions about various
drum fills, grooves, and phrasings. I can’t
thank him enough for that, and the book you
are reading is that much better because of it.
 Mike Portnoy Anthology Volume 1

As far as my style of transcribing is con- notation keys. You will also notice that the
cerned, one thing you may notice right away majority of the time I’ve indicated when the
is that I’ve chosen not to notationally isolate open hi-hat gets closed again by the foot.
the bass drums from the other instruments, This is important to know because how
as you may have seen done in other tran- quickly the hi-hat is closed after being played
scriptions. What I mean is that very often in the open state entirely changes the sound
you will see the bass-drum notes written out you get.
separately on the bottom part of the musical
Metronomic settings have been included as
staff, while the rest of the drums and cym-
well as standard dynamic markings wherev-
bals sit up top and are not connected to the
er I felt it was important. Those of you who
bass-drum notes. I’ve always found this to
have access to the official guitar tab books
make things more difficult when trying to
for these songs may notice that the time sig-
sight-read a transcription or when trying to
natures and phrasing differ in some places
mentally piece together where your hands
between the two books. This was done
and feet will strike. This results in forcing
intentionally, because the purpose of this
you to focus your eyes on two different
book is to show you how Mike was thinking
things at once and to mentally overlay the
about the music when he created his drum
two things to figure out where all the notes
parts, which is not necessarily the only way
fall. I’ve chosen to combine the bass-drum
to interpret the music or how other musi-
parts with the rest of the drum kit so that
cians in the band think about it.
everything is connected in one continuous
stream of notes. I hope you will find this I wish you the best of luck in working
style easier to read and work with, as I do. through the transcriptions. Remember to
take it slow and work through the more diffi-
Another thing I felt important was to distin-
cult sections one bar at a time. Using these
guish the closed hi-hat from the partially
transcriptions in conjunction with the
opened hi-hat sound, which is used to give
recordings and Mike’s Liquid Drum Theater
the hi-hats a sustain very similar to crash
video will give you the maximum benefit and
cymbals. The hi-hats are usually played par-
most enjoyment from this work. See you in
tially opened when both feet are on the bass-
Volume 2!
drum pedals, as they are during double-bass —Steve Ferraro
grooves. You can see the special note heads
used for each of these distinct sounds in the

9

Pull Me Under
W
ell, this is where it all began. Not
our career, as we had already
been together for about 7 years
and had one relatively unknown
CD under our belt, but this is
the song that introduced most of the world to
me and Dream Theater.
The drumming is not too difficult—a lot of
straight double-bass sixteenth-note patterns—
but it is interesting to see the way that the pat-
terns develop and build (from halftime feels to
straight 2’s & 4’s on the snare, to straight
downbeat patterns, to fast upbeat patterns).
The drums are constantly developing and
increasing in intensity to give the entire song a
feeling of constant forward and upward motion.
1
I suppose one of my most well-known fills is the
pattern coming out of the guitar solo which
leads into the last chorus. It is the type of pat-
tern between snare and toms and the kicks
which has become a bit of a signature for me. I
specifically break down this particular fill in my
Progressive Drum Concepts video as well as dis-
cuss these general kinds of fills in my Liquid
Drum Theater video and DVD sets.
My kit during this recording was my trusty ol’
black Tama Imperialstar kit, with a set of Remo
Roto Toms as the 6", 8", and 10" high toms. I
was also still using Zildjian cymbals at the time.
—Mike Portnoy
11
 Transcription
Pull Me Under~Performance
Notes Notes
T
his was the first Dream Theater song I ever heard, and it’s still one of my favorites. As Mike said, the
drumming on this song is pretty straightforward–well, it is by Mike’s standards anyway. The tempo
starts 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 time
signatures 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 an
eighth 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 bars
116–123.
Also, check out the bars of 6/4 at measures 94 and 130, where the band is playing quarter notes on the
downbeats: here the drums play not only with the band, but also around the band to give these bars a very
cool and unique feel. Finally, at bar 167 is the infamous drum fill that MP mentions in his notes for this
song.
—Steve Ferraro

Kit Diagram

Notation Key:
Crash Splash
Rototoms 1 -3 POHH
Tim bali to High O HH Ride Crash Cy mbal Choke
Ride Bell CHH

o X x x x t x
SD T3 China

t 0 5 555T1 T2
T x x
÷t 5 5 5 5 5
5 5 x
Tam bou rine
Tim balito L ow FT1 HH w/Foot
FT2 BD1 BD2

Abbreviation s: SD - Snare Drum FT1 - Floor Tom 1 CHH - Close d Hi -hat

T1 - Tom 1 FT2 - Floor Tom 2 OHH - O pen Hi-hat
T2 - Tom 2 BD1 - Bass Drum 1 PO HH - Partially Open Hi-hat
T3 - Tom 3 BD2 - Bass Drum 2

12
 Pull Me Under
From the Dream Theater album Images And Words
Words and Music by James LaBrie, Kevin Moore,
John Myung, John Petrucci, and Mike Portnoy

q»¡º™
÷ 44 t5 5 5 5 5 5 5 t5 5 5 5 5 5 5 t5 5 5 5 5 5 5
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24

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28

x x x x x x x XXXX XX x x XXXX XX x x XXXX

3 3

÷ 5 5 5 5 5 5 55 5 55 5 55 5
555 œ 5 5 5 55 5 5 55 5 5 55 5
32
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 13
 Pull Me Under

3
3 3 3

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14
 Pull Me Under

x x x x x x x x x x x x x x t t x X X X X X X X
÷ 55 5 55 5 55 5 55 5 55 5 55 5 55 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
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66

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69

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72

j x
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75

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83

o o o o
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÷ 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
x x x x 5 5 5 5
86

x x x x x x x x x x x x x x x x x x x x x
÷ 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 55 5 5
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89

3 3 3 3

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5 5
92
5 5 5 5
15
 Pull Me Under

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4
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95

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5 5
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6

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5 5 5 5 5 5 5 5 5
103

o o o o o o o o o o o
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÷ 5 5œ 5 5
5 5 5 5 5 5 5 5 5
5 5 5
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107

o o o o o o o o o o o o o
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o o
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5 5 5 5 5 5 5 5 5 5 5 5 5
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x x x x x x x xxx xxx xxx xx x xxx x

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124

16
 Pull Me Under

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55 55 5 55 5 8 5 5 5 5 5 5œ
5 5 5 5 5
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3 3 3

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6
÷ 4 5 5 5 ≈5
5 5 5 5 5 4 55 55 5
4
j j
5 55 55 5 5 5 55 5 5 55
5
130

x x x x x x x x x x x x x x x x x x x x x x x x x x xx x xx
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5 5 5 5 5 5 5 5 5 5 5 5 5 5
132

j.
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136

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146

o o o
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÷5 5 5
5 5 5 5 5 5x 5 5 5 5 5x
150

o o o o o o o
x
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153
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3 3

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÷5 5 5 5 5 5 5 5 5 5 5
5 55 5 5 55 5 5 55 5 55 5 55 55
157

17
 Pull Me Under

X X X X X X X X x X XX XX XX x X XX x xx xx xx xx
÷ 5 5 5 5 5 55 55 5 5 55 5 5 5 5 55
5 5 55 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
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161

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÷ 5 5 5 5 5 55 55 5 5 5 5 5 5 5 5 5
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165

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÷ 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 55
5 5 5 5 5 5 5 5 5 5 5 5 5 5
168

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÷ 5 555 555 5 5 5 55 5 5
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172

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÷ 5 5 5 5 5 5
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176

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÷ 5 5 5 5 5 5 5 5 5 5 5 5 5 5 55 5 55 5 t55 5 t55 5 t55 5
5 5 5 5 t t
5 t
5
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179

j.
t5 t5 t5 x t5 x t5 t5 x x x X X X X X X X
÷5 5 5 5 5 5 5 5 5 5 5 5 5
j
5 5 ≈ .
5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 œ 5 5 5 5 œ 55
182

3
x x
÷ X5 X5 Xœ5 X5 X5 X5 Xœ5 X5 X5 X5 Xœ5 X5 X5 X5 Xœ5 X5 X5 X5 X5œ X5 X5 X 5 5 5 5 5 X5 Xœ5 X5 X5 X5 Xœ5 X5
5 5 5 5 5 5 5 5 5 5 5
185

3 3

X X X X X X X X X X X X X X X X X X X X X X x x x x x XX XX
÷5 5œ555 œ 5 5 5œ 555 œ 5 5 5œ 55 5
5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5
189

18
 Pull Me Under

3 3
3 3 3

X X x x x x x x x x XXXX x x X x x x x x x x XXX x x
÷5 5 5 5 5 5 5 5 5 5 5 55 5 55
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
193

3 3 3 3 3 3
3
x x x x x x x x x X x X X X x X x X x x X x
÷ 5 5 5 5 5 5 5 5 5 5 55
5 5 55 5 5 5 5 5 5 55 5 55 5 55
197

3 3 3
3
x x x x x x x x x x
÷ 5 X5 X5œ X5 X5 X 5 X5 X X5 5 5 X 5 X X5 X5 X X5 5 5 X 5 X X5 X5 X X5 5 5 5 5 5 5 5 5 5 5
5 5 5 5
200

3 3 3
3

x X XXXX X X X x X x XX X X X x Xx XX XX X x x x x x
÷ 5 5 5œ 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
204
5 5 5 5
3
3
x X X5 X X X X5 X X x X x
÷ 5 Œ ‰
5 5 œ 5 5 55 555 5 5
208

19