3 fills to learn, played 12 times across 137 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. 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 13. 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 and snare. 0 out of 100 -- straightforward -- and what decides that is how many limbs land on the same note. 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 ride, snare, floor tom and kick. 79 out of 100 -- demanding -- and what decides that is the independence between the hands and the feet. 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.
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 →3 distinct fills, played 12 times: bars 12, 24, 50, 52 and 61-68.
The one at bar 61, at 79 out of 100. 137 bars of 8/4 -- not four -- at 124 BPM, 8:46 of playing on crash, ride, hi-hat, snare, floor tom and kick.