18 fills to learn, played 33 times across 136 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 and hi-hat. 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 8. 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. 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 12. 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, floor tom and kick. 100 out of 100 -- hard -- and what decides that is how many notes a second it asks for. 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 hi-hat, snare and kick. 100 out of 100 -- hard -- and what decides that is how many notes a second it asks for. 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, ride, snare and kick. 89 out of 100 -- hard -- and what decides that is how many notes a second it asks for. 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 crash, hi-hat, snare, mid tom, floor tom and kick. 100 out of 100 -- hard -- and what decides that is how many notes a second it asks for. In the song it lands on bar 61. 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. 34 out of 100 -- a fair first song -- and what decides that is how fine the subdivision is. In the song it lands on bar 70. 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, mid tom and floor tom. 22 out of 100 -- straightforward -- and what decides that is how fine the subdivision is. In the song it lands on bar 72. 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 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 79. 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. 45 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 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 hi-hat, snare and kick. 31 out of 100 -- a fair first song -- and what decides that is how fine the subdivision is. In the song it lands on bar 88. 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. 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 92. 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. 45 out of 100 -- a step up -- and what decides that is how fine the subdivision is. In the song it lands on bar 98. 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. 38 out of 100 -- a fair first song -- and what decides that is how fine the subdivision is. 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 and kick. 48 out of 100 -- a step up -- and what decides that is how fine the subdivision is. 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 snare, high tom, mid tom, floor tom 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 108. 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, mid tom, floor tom and kick. 50 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 123. 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 130. 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 →18 distinct fills, played 33 times: bars 7, 9-11, 18-19, 26, 49-50 and 56-60, and 15 more places.
The one at bar 18, at 100 out of 100. 136 bars at 205 BPM -- fast, and 2:30 of it without a break -- on crash, ride, hi-hat, snare, high tom, mid tom, floor tom and kick.