12 fills to learn, played 26 times across 260 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 snare and floor tom. 10 out of 100 -- straightforward -- and what decides that is how many notes a second it asks for. In the song it lands on bar 2. 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, floor tom, kick and hi-hat foot. 77 out of 100 -- demanding -- and what decides that is how many notes a second it asks for. In the song it lands on bar 14. 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 and kick. 20 out of 100 -- straightforward -- and what decides that is the independence between the hands and the feet. 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 crash, 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 140. 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 and kick. 41 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 166. 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 floor tom. 36 out of 100 -- a fair first song -- and what decides that is how much of it falls off the beat. In the song it lands on bar 168. 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, floor tom and kick. 25 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 174. 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 floor tom. 33 out of 100 -- a fair first song -- and what decides that is how much of it falls off the beat. In the song it lands on bar 176. 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. 21 out of 100 -- straightforward -- and what decides that is how many notes a second it asks for. In the song it lands on bar 186. 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, floor tom and kick. 75 out of 100 -- demanding -- and what decides that is how many notes a second it asks for. In the song it lands on bar 198. 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. 61 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 222. 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. 66 out of 100 -- demanding -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 260. 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 →12 distinct fills, played 26 times: bars 1, 13, 123, 139, 164-165 and 167, and 6 more places.
The one at bar 13, at 77 out of 100. 260 bars at 171 BPM -- fast, and 6:05 of it without a break -- on crash, hi-hat, snare, high tom, mid tom, floor tom, kick and hi-hat foot.