13 fills to learn, played 18 times across 118 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. 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 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 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 16. 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. 73 out of 100 -- demanding -- and what decides that is how much of it falls off the beat. 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 crash, snare and kick. 62 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 28. 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. 96 out of 100 -- hard -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 32. 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. 70 out of 100 -- demanding -- and what decides that is how many notes a second it asks for. In the song it lands on bar 36. 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. 69 out of 100 -- demanding -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 44. 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, 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 50. 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. 93 out of 100 -- hard -- and what decides that is how many notes a second it asks for. In the song it lands on bar 54. 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. 80 out of 100 -- hard -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 87. 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. 69 out of 100 -- demanding -- and what decides that is how much of it falls off the beat. In the song it lands on bar 95. 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. 64 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 103. 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. 69 out of 100 -- demanding -- and what decides that is how many notes a second it asks for. In the song it lands on bar 115. 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 →13 distinct fills, played 18 times: bars 11, 15, 19, 27, 31 and 35, and 9 more places.
The one at bar 15, at 100 out of 100. 118 bars of 4/4 at a walking 100 BPM, 4:41 of playing, on crash, ride, hi-hat, snare, high tom, mid tom, floor tom and kick.