9 fills to learn, played 22 times across 159 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, mid tom, floor tom and kick. 84 out of 100 -- hard -- and what decides that is how many notes a second it asks for. In the song it lands on bar 30. 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, 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 77. 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. 78 out of 100 -- demanding -- and what decides that is how many notes a second it asks for. In the song it lands on bar 94. 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. 91 out of 100 -- hard -- and what decides that is how many notes a second it asks for. In the song it lands on bar 102. 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. 90 out of 100 -- hard -- and what decides that is how many notes a second it asks for. In the song it lands on bar 106. 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, kick and hi-hat foot. 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 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 snare, mid tom, 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 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 snare, mid tom, floor tom and kick. 82 out of 100 -- hard -- and what decides that is how many notes a second it asks for. In the song it lands on bar 148. 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 the independence between the hands and the feet. In the song it lands on bar 154. 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 →9 distinct fills, played 22 times: bars 29, 61, 69-76, 93, 101 and 104-105, and 5 more places.
The one at bar 69, at 100 out of 100. 159 bars at 175 BPM -- fast, and 3:36 of it without a break -- on crash, ride, hi-hat, snare, high tom, mid tom, floor tom, kick and hi-hat foot.