12 fills to learn, played 22 times across 201 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, floor tom and kick. 57 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 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 hi-hat, snare, mid tom, floor tom, kick and hi-hat foot. 43 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 63. 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, kick and hi-hat foot. 37 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 67. 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, floor tom, kick and hi-hat foot. 50 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 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, kick and hi-hat foot. 23 out of 100 -- straightforward -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 109. 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, floor tom and kick. 45 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 121. 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, high tom, mid tom, floor tom 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 142. 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, kick and hi-hat foot. 19 out of 100 -- straightforward -- and what decides that is how many notes a second it asks for. In the song it lands on bar 144. 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, kick and hi-hat foot. 43 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 152. 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, mid tom, floor tom and kick. 63 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 164. 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, high tom, mid tom, floor tom and kick. 49 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 179. 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, high tom, mid tom 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 196. 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 22 times: bars 17, 61-62, 64-66, 103, 105-108 and 120, and 6 more places.
The one at bar 163, at 63 out of 100. 201 bars at 204 BPM -- fast, and 3:50 of it without a break -- on crash, ride, hi-hat, snare, high tom, mid tom, floor tom, kick and hi-hat foot.