7 fills to learn, played 19 times across 302 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 high tom, mid tom and kick. 14 out of 100 -- straightforward -- and what decides that is how many notes a second it asks for. In the song it lands on bar 46. 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. 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 65. 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 kick. 37 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 116. 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. 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 120. 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 and mid tom. 31 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 124. 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 mid tom, floor tom and kick. 58 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 195. 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 and floor tom. 29 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 271. 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 →7 distinct fills, played 19 times: bars 45, 64, 114-115, 118-119, 122-123 and 144, and 5 more places.
The one at bar 193, at 58 out of 100. 302 bars of 3/4 -- not four -- at 230 BPM, 4:01 of playing on crash, ride, hi-hat, snare, high tom, mid tom, floor tom and kick.