3 fills to learn, played 8 times across 171 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 and snare. 33 out of 100 -- a fair first song -- and what decides that is how fine the subdivision is. In the song it lands on bar 6. 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. 29 out of 100 -- a fair first song -- and what decides that is how fine the subdivision is. In the song it lands on bar 11. 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. 48 out of 100 -- a step up -- and what decides that is how fine the subdivision is. In the song it lands on bar 66. 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 →3 distinct fills, played 8 times: bars 5, 10, 22, 65, 81 and 116, and 2 more places.
The one at bar 65, at 56 out of 100. 171 bars of 2/4 -- not four -- at 82 BPM, 4:10 of playing on crash, hi-hat, snare, kick and hi-hat foot.