8 fills to learn, played 19 times across 165 bars. Two fills that share a rhythm and differ only in how they are spread round the toms are one fill here, learned once and orchestrated twice.
On crash and kick. 9 out of 100 -- straightforward -- and what decides that is how many notes a second it asks for. In the song it lands on bar 18. The exercise loops the figure on its own first, and the one after it puts it back: one bar of rest to count yourself in, the figure, then the landing with the time still running. Getting out of a fill is the half most people never practise.
On crash, hi-hat, snare and kick. 29 out of 100 -- a fair first song -- and what decides that is how many notes a second it asks for. In the song it lands on bar 35. The exercise loops the figure on its own first, and the one after it puts it back: one bar of rest to count yourself in, the figure, then the landing with the time still running. Getting out of a fill is the half most people never practise.
On crash, snare, mid tom and kick. 33 out of 100 -- a fair first song -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 51. The exercise loops the figure on its own first, and the one after it puts it back: one bar of rest to count yourself in, the figure, then the landing with the time still running. Getting out of a fill is the half most people never practise.
On snare. 2 out of 100 -- straightforward -- and what decides that is how many notes a second it asks for. In the song it lands on bar 83. The exercise loops the figure on its own first, and the one after it puts it back: one bar of rest to count yourself in, the figure, then the landing with the time still running. Getting out of a fill is the half most people never practise.
On crash, snare and kick. 29 out of 100 -- a fair first song -- and what decides that is how many notes a second it asks for. In the song it lands on bar 92. The exercise loops the figure on its own first, and the one after it puts it back: one bar of rest to count yourself in, the figure, then the landing with the time still running. Getting out of a fill is the half most people never practise.
On crash, snare and kick. 57 out of 100 -- a step up -- and what decides that is how many notes a second it asks for. In the song it lands on bar 147. The exercise loops the figure on its own first, and the one after it puts it back: one bar of rest to count yourself in, the figure, then the landing with the time still running. Getting out of a fill is the half most people never practise.
On crash, snare and kick. 46 out of 100 -- a step up -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 155. The exercise loops the figure on its own first, and the one after it puts it back: one bar of rest to count yourself in, the figure, then the landing with the time still running. Getting out of a fill is the half most people never practise.
On crash, snare and kick. 18 out of 100 -- straightforward -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 165. The exercise loops the figure on its own first, and the one after it puts it back: one bar of rest to count yourself in, the figure, then the landing with the time still running. Getting out of a fill is the half most people never practise.
A fill is rhythm before it is orchestration. The room plays the whole figure on the snare first, puts the feet under it second, and moves it round the toms last -- looped on its own, round and round, until the hands know it. Then it puts the fill back where it lives: a bar of rest to count in, the figure, and the downbeat it lands on, because landing square is the other half of the job.
PRACTISE THESE FILLS →8 distinct fills, played 19 times: bars 17, 34, 50, 61, 78 and 82, and 8 more places.
The one at bar 145, at 57 out of 100. 165 bars at 186 BPM -- fast, and 3:32 of it without a break -- on crash, hi-hat, snare, high tom, mid tom, kick and hi-hat foot.