My solo "Seven and a Half" was recorded for the 2020 Modern Drummer Festival. Though playing-from-home is a far cry from the backstage camaraderie and the thrill of being onstage in front of an appreciative and enthusiastic audience, nevertheless, to video a solo for the 2020 MD Fest was inspiring.

Each week I try to post at least one solo on my social media using the name “From The Practice Room.” First, I come up with a concept, then experiment and settle on a form. At that point I go for a “take,” very much like learning a song and going for a performance that flows from beginning to end. I film myself with three cameras and send the files to my video editor, Christian Grassart. The entire process can take anywhere from two to four days.

Inspired by Neil Peart’s legacy I decided on an odd-time solo in 15/8. The solo incorporates about 40% fixed composition and 60% improvisation. Because of the complex mix of composition and improvisation, plus the 4+minute length, the piece took me four days to compose, practice, refine and perform. The title is “Seven and a Half” based on the South Indian counting system that uses the vocal phrase “7-and-a-half” to substitute for 1, 2, 3. (As in: 1&2&3&4&5&6&1,2,3) Seven and a Half is counted 1&2&3&4&5&6&7&-a-half, which turns out to be much easier than counting 15 eighth-notes! I start the video by counting aloud the Seven and a Half version of 15/8; try clapping along through the solo. Though it may sound like I change time signatures during the solo, the entire solo is unwaveringly in 15/8.

15 has a lot of rhythmic potential because it’s divisible by both 3 and 5. I start with a drum-theme, or “hook,” then play a 3 over 15 groove (playing the "3" with the splash cymbal) that acts as a bridge, back to the theme and then comes the improvised solo section. I conclude the solo by returning to the theme.

Improvising in 15 feels natural to me as I’ve played that time signature often. In fact, my group Vital Information has a song based on this rhythm that we call "Seven and a Half." I’ve worked on the phrases of 3 and 5 and how they move through 15. Toward the end of the solo I play phrases of 3 with the feet and 5 with the hands, all within the 15.

Another element that I’ve been working on is incorporating my gong as part of time-playing and soloing. That concept makes its public debut in this solo. I offer this solo to the memory and spirit of a man I knew, and have deep respect for, Neil Peart.

- Steve Smith