12 fills to learn, played 53 times across 198 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, hi-hat, snare, high tom, mid tom, floor tom, kick and hi-hat foot. 57 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 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 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 26. 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, high tom, mid tom, floor tom and kick. 49 out of 100 -- a step up -- and what decides that is how often it moves around the kit. In the song it lands on bar 34. 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, 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 40. 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, high 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 50. 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, 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 67. 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, kick and hi-hat foot. 49 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 81. 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, 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 101. 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, kick and hi-hat foot. 45 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 104. 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. 41 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 134. 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, kick and hi-hat foot. 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 163. 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, kick and hi-hat foot. 26 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 183. 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 →12 distinct fills, played 53 times: bars 1-17, 25, 33, 39, 43 and 49, and 18 more places.
The one at bar 150, at 60 out of 100. 198 bars of 4/4 at 132 BPM, about 6:00 of playing, on crash, hi-hat, snare, high tom, mid tom, floor tom, kick and hi-hat foot.