17 fills to learn, played 29 times across 235 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 mid tom and floor tom. 0 out of 100 -- straightforward -- and what decides that is how fine the subdivision is. In the song it lands on bar 15. 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, high tom and kick. 22 out of 100 -- straightforward -- and what decides that is the independence between the hands and the feet. 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 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 53. 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. 40 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 60. 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, high tom, floor tom and kick. 13 out of 100 -- straightforward -- and what decides that is how many notes a second it asks for. In the song it lands on bar 90. 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, high tom, floor tom and kick. 43 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 94. 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. 52 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 97. 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. 56 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 100. 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. 37 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 102. 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, ride, snare, high tom, mid tom and kick. 34 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 118. 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, high tom, mid tom and kick. 43 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 126. 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. 55 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 142. 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, high tom, mid tom and floor tom. 25 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 211. 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, high tom, mid tom and kick. 54 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 223. 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, high tom, mid tom and kick. 37 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 227. 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, ride, snare and kick. 47 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 231. 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, high tom, mid tom and kick. 34 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 235. 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 →17 distinct fills, played 29 times: bars 14, 22, 34, 52, 59 and 67, and 20 more places.
The one at bar 52, at 57 out of 100. 235 bars at 180 BPM -- fast, and 5:13 of it without a break -- on crash, ride, hi-hat, snare, high tom, mid tom, floor tom and kick.