22 fills to learn, played 68 times across 325 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 hi-hat, snare, floor tom and kick. 35 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 9. 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. 21 out of 100 -- straightforward -- and what decides that is how many notes a second it asks for. In the song it lands on bar 17. 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 hi-hat, snare, mid tom, floor tom, kick and hi-hat foot. 44 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 21. 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 hi-hat, snare, kick and hi-hat foot. 42 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 25. 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 hi-hat, snare 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 27. 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. 48 out of 100 -- a step up -- and what decides that is how much of it falls off the beat. In the song it lands on bar 45. 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 ride, snare, mid tom, floor tom and kick. 22 out of 100 -- straightforward -- 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, ride, hi-hat, snare, mid tom, floor tom and kick. 56 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 69. 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, floor tom and kick. 31 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 125. 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. 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 133. 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, floor tom and kick. 36 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 137. 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, floor tom and kick. 41 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 157. 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 hi-hat, snare, mid tom, floor tom and kick. 44 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 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.
On hi-hat, snare, mid tom, floor tom, kick and hi-hat foot. 64 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 261. 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, floor tom and kick. 48 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 265. 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 how many notes a second it asks for. In the song it lands on bar 269. 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, floor tom and kick. 45 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 273. 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. 59 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 277. 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, mid tom, kick and hi-hat foot. 68 out of 100 -- demanding -- and what decides that is how many notes a second it asks for. In the song it lands on bar 286. 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, hi-hat, snare, high tom, mid tom, floor tom, kick and hi-hat foot. 84 out of 100 -- hard -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 293. 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 ride, snare, mid tom, floor tom and kick. 60 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 297. 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 ride, snare, mid tom and kick. 48 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 321. 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 →22 distinct fills, played 68 times: bars 8, 16, 20, 24, 26 and 28, and 53 more places.
The one at bar 288, at 84 out of 100. 325 bars of 4/4 at 152 BPM, about 8:33 of playing, on crash, ride, hi-hat, snare, high tom, mid tom, floor tom, kick and hi-hat foot.