14 fills to learn, played 35 times across 180 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 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 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 crash, snare and kick. 28 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 10. 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. 46 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 18. 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. 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 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, snare and kick. 50 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 25. 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. 30 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 34. 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. 30 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 38. 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 much of it falls off the beat. 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, mid tom 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 64. 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, 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 84. 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. 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 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 crash, snare, mid tom, floor tom and kick. 45 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 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. 48 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 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 and kick. 50 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 128. 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 →14 distinct fills, played 35 times: bars 1, 9, 16-17, 21, 24 and 33, and 20 more places.
The one at bar 24, at 57 out of 100. 180 bars at 160 BPM -- fast, and 4:30 of it without a break -- on crash, hi-hat, snare, mid tom, floor tom and kick.