7 fills to learn, played 22 times across 91 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, snare and kick. 35 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 11. 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 and kick. 47 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 15. 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, floor tom and kick. 47 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 41. 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 and kick. 37 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 49. 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 and kick. 56 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 73. 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 and kick. 54 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 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. 51 out of 100 -- a step up -- and what decides that is how much of it falls off the beat.
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 22 times: bars 10, 12-14, 38, 40, 48 and 65-72, and 2 more places.
The one at bar 65, at 56 out of 100. 91 bars of 4/4 at a walking 100 BPM, 3:38 of playing, on crash, hi-hat, snare, mid tom, floor tom and kick.