16 fills to learn, played 36 times across 151 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, high tom, mid tom, floor tom and kick. 49 out of 100 -- a step up -- and what decides that is how fine the subdivision is. 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 crash, hi-hat, high tom, mid tom and kick. 53 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 20. 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. 55 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 22. 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. 88 out of 100 -- hard -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 33. 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 and floor tom. 69 out of 100 -- demanding -- and what decides that is how much of it falls off the beat. In the song it lands on bar 54. 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, mid tom, floor tom and kick. 90 out of 100 -- hard -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 63. 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. 74 out of 100 -- demanding -- and what decides that is how many notes a second it asks for. 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, mid tom, floor tom and kick. 54 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 71. 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. 72 out of 100 -- demanding -- and what decides that is how much of it falls off the beat. In the song it lands on bar 86. 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 fine the subdivision is. 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, high tom, mid tom, floor tom and kick. 65 out of 100 -- demanding -- and what decides that is how many notes a second it asks for. In the song it lands on bar 114. 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. 64 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 122. 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. 86 out of 100 -- hard -- 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, snare and kick. 71 out of 100 -- demanding -- 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 and kick. 24 out of 100 -- straightforward -- and what decides that is how fine the subdivision is. In the song it lands on bar 146. 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. 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 150. 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 →16 distinct fills, played 36 times: bars 1-8, 19, 21, 30-32, 42-44 and 53, and 11 more places.
The one at bar 30, at 96 out of 100. 151 bars of 4/4 at 110 BPM, about 5:28 of playing, on crash, ride, hi-hat, snare, high tom, mid tom, floor tom and kick.