7 fills to learn, played 14 times across 235 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 ride, snare and kick. 79 out of 100 -- demanding -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 185. 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 and kick. 32 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 193. 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 ride, snare and kick. 55 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 211. 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, high tom and kick. 65 out of 100 -- demanding -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 218. 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 ride, snare and kick. 59 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 220. 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 ride, snare and kick. 48 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 225. 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, hi-hat, snare and kick. 72 out of 100 -- demanding -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 232. 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 14 times: bars 184, 192, 210, 213-217, 219 and 224, and 2 more places.
The one at bar 184, at 79 out of 100. 235 bars of 4/4 at 128 BPM, about 7:22 of playing, on crash, ride, hi-hat, snare, high tom, mid tom and kick.