7 fills to learn, played 16 times across 156 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 hi-hat, snare and kick. 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 17. 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. 8 out of 100 -- straightforward -- and what decides that is how often it moves around the kit. 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 mid tom and kick. 12 out of 100 -- straightforward -- and what decides that is how many notes a second it asks for. In the song it lands on bar 37. 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 and kick. 4 out of 100 -- straightforward -- and what decides that is how many notes a second it asks for. In the song it lands on bar 57. 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 kick. 17 out of 100 -- straightforward -- and what decides that is the independence between the hands and the feet. In the song it lands on bar 93. 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 and mid tom. 6 out of 100 -- straightforward -- and what decides that is how little of it repeats. 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 crash, snare, mid tom and kick. 3 out of 100 -- straightforward -- and what decides that is how often it moves around the kit. In the song it lands on bar 137. 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 16 times: bars 16, 24, 36, 44, 52 and 56, and 10 more places.
The one at bar 16, at 50 out of 100. 156 bars of 4/4 at 132 BPM, about 4:44 of playing, on crash, ride, hi-hat, snare, high tom, mid tom, floor tom and kick.