Chart Topping Drum Fills

–T he6 0 sT h r o ug hT o da y Chart-Topping Drum Fills Fills

Aboutt heAut hor Da wnR i c h a r d s o ni saS a nF r a n c i s c oba s e ddr u mm mme ra n d t e a c he r . S hebe l i e v e sa n y onec a npl a yt hedr umsa n d e nc our a ge sa l l whoa r ei nt e r e s t e dt ot r yi tout ! Da wnha s t a ughts t ude nt sr a ngi ngi na gef r om t hr e et os i x t yt hr e e wi t ha ne qua l l ywi der a ngeof dr ummi nga s p i r a t i ons . Da wns t r i v e st ohe l pe a c hi ndi v i dua l r e a c hhi so rhe r mus i c a l goa l sus i ngpr ov e nt e a c hi ngma t e r i a l sa nd me t hodst ohe l ppr omot epr ope rt e c hni que , whi l e c o nt i nui ngt obeope nt oc r e a t i ngne wa ppr oa c h est o he l pi ngs t ude nt sl e a r n. T ha tpe r s pe c t i v eha sma ni f e s t e di nt ov a r i ousme t hodbook sa nd v i de ost oda t e . Da wn ’ sb ook , “ B ui l di ngBl oc k so fRoc k , F unda me me nt a l P a t t e r nsa ndE x e r c i s e sf ort heRoc k Dr umme r ” ( 1 99 8) ha sb e enwe l l r e c e i v e dbys t ude nt sa n dt e a c he r sa l i k ea sabe gi nni ngdr um me t hod. Ot he rt i t l e st ha ta r ea v a i l a bl et h r oughMe l Ba yPubl i c a t i onsi nc l udet hef ol l owi ng me t hodbook sa ndc h a r t s : “ Ki d’ sRoc kDr um Me t ho d” ( 2 01 1) ; “ Be gi nni ngR oc kDr um Cha r t ” ( 2 0 0 9 ) ; “ Bl oc kRoc k i n ’ Be a t s ” ( 2 0 0 6 ) ; " F i l l Wor k book , S hor tF i l l sa ndt heT ool st oCr e a t eY our Own "( 2 0 0 5 ) . Da wnha sa l s ot our e dorr e c or de dwi t hawi der a ngeof di v e r s emu mus i c a l a r t i s t ss uc ha sT r a c y Cha pma n, J oe yS a nt i a go( T hePi x i e s ) , J oeGor e( P . J . Ha r v e y / DJS ha dow) , Vi c k i Ra ndl e( T he T oni ghtS how) , S ha naMor r i s on, P e ne l opeHous t ona ndT heL oudF a mi l y , t ona meaf e w. Da wn i spe r ha psbe s tk no wnf o rhe rwo r ka st hedr u mm mme ro f4No nB l onde s . Asame me mb mbe rof t ha t s u c c es s f ul r oc kba nd, s h er e c ei v e dgol da ndpl a t i num r e c or dsf ors a l e si nt heUni t e dS t a t e s a l ongwi t ht hi r t e engol dr e c or dsa ndni nepl a t i num s i ngl e sf ori nt e r n at i ona l s a l e s . S het o ur e d t hewor l d, ope ni ngf ors uc hr oc kl e ge ndsa sAe r os mi t h, Ne i l Y oung, P ea r l J a m, m, a ndP r i nc ea nd ha sa ppe a r e donna t i ona l a ndi nt e r na t i ona l t e l e v i s i onpe r f or mi ngl i v eonL a t eNi ghtwi t h Da v i dL e t t e r ma n, T heL a t eS howwi t hCona nO' Br i e n, MTV' sB e a c hHous e , T heBi l l boa r dMus i c Awa r ds , a ndE ngl a nd’ sT o pof t hePops . Da wngothe rs t a r tondr um k i twi t hJ i mV ol peandJ i mV es s i n yi nS out he r nCa l i f or ni a . S he hol dsh erB a c he l orof Ar t sDe gr e ei nP er c u s s i onf r om Ca l S t a t eL osAnge l e sa ndha ss t udi e d wi t ht hepr i nc i pa l pe r c us s i oni s t of t heL osAnge l e sPhi l ha r moni c , Ra y norCa r r ol l a ndwi t h s t udi ogr e a t sS t e v eHought ona ndGr e gGooda l l . Da wni se ndor s e dbyZi l dj i a nCy mb mba l s , Vi c F i r t hS t i c k s , Dr umWor k s hopHa r dwa r ea ndP eda l s , a ndP a c i f i cDr ums .

e ma i l : dl r dr ums @y a hoo . c o m we bs i t e : www. da wnr i c h ar ds on. c o m Y ou T ubeC ha nne l : da wnr i c h a r ds ons f


T a bl eofCont e nt s L ES SON1: BUI L DFI L L S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 I NT R OT OBUI L DF I L L S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 CHART T OP P E R S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 COORDI NAT I ONBUI L DI NG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 COMP OS I T I ON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 3

L ES SON2: SHORTF I L L S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 I NT R OT OS HORTF I L L S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 5 CHART T OP P E R S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 6 COORDI NAT I ONBUI L DI NG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9 COMP OS I T I ON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1

L ES SON3: S I XTEE NTHNOTEF I L L S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 2 I NT R OT OS I XT E E NT HNOT EF I L L S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 3 CHART T OP P E R S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 4 COORDI NAT I ONBUI L DI NG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 7 COMP OS I T I ON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 1

L ES SON4: AROUNDTHET OMS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 2 I NT R OT OF I L L SAROUNDT HET OMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 3 CHART T OP P E R S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 4 COORDI NAT I ONBUI L DI NG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 8 COMP OS I T I ON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1

L ES SON5: CRASHE SI NYOURF I L L S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 2 I NT R OT OCRAS HE SI NY OURF I L L S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 CHART T OP P E R S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 4 COORDI NAT I ONBUI L DI NG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 6 COMP OS I T I ON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 9

L ES SON6: SYNCOP ATE DF I L L S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 0 I NT R OT OS Y NCOP A T E DF I L L S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 1 CHART T OP P E R S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 2 COORDI NAT I ONBUI L DI NG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 4 COMP OS I T I ON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 7

L ES SON7: DEVE L OPI NGYOURSTYL E. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 8 DR UMF I L LT E MPL AT E S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 9


–T he6 0 sT h r o ug hT o da y Chart-Topping Drum Fills

LE SS ON1

I NTROTOBUI LDFI LL S

BUI L DF I L L S

l d f i l l r e s c e n d o Abui i saba s i c , y e tpowe r f ul , dr um f i l l whi c hbui l dsi nt ot hene x ts e c t i onus u a l l ywi t hac or bygr a dua l l yge t t i ngl oude r . Y ouwi l l s e et hes y mbol f or c r e s c e n d o t hr oughoutt hi sl e s s o n.

Not a t i onKe y T hedr um not a t i onk e yi ndi c a t e swhi c hdr umsa ndc y mba l st ous e .

T hebui l dt e c hni quei sus e di nt hehi ts o ngHi g h wa yt oHe l l byAC/ DC( 1 97 9) . P l a yt hema i nbe a tbe l ow3 t i me s , pl a yt hef i l l i nt ot hec hor us , a ndt he npl a yt h ec hor usma i nbe at .

Hi gh wa yt oHe l l AC/ DC1 9 7 9 T hebui l df i l l i sus e di n“ Hi ghwa yt oHe l l ” t ol e a di nt ot hec hor us .

= 117

Verse Main Beat

Fill to Chorus

Chorus Main Beat


LE SS ON1

CHART T OPPERS Ma nyc ha r t t oppi ngs o ngsu s et hebui l df i l l t e c hni que . T r yt he s ef i l l sf r om hi ts o ngs .

S we e tChi l dO' Mi ne Gu nsN' R os e s1 9 8 8 He r ea r e3of t hebui l df i l l sf r om t hi sc l a s s i cr oc ks o ng.

= 128

Intro Build

Fill into Lead Break 2

Bridge to Outro

Buddy Holly Weezer 1994

= 121

Prechorus

Build into Chorus


BUI L DF I L L S

LE SS ON1

CHART T OPPE RS( c ont . )

BUI L DF I L L S

Hear tShapedBox Ni r v a n a( 1 9 9 3 ) T hi ss ongus e sanumbe rof bui l df i l l st ot r a ns i t i ont ot hec hor us .

= 100

Verse Main Beat

Transition to Chorus

Start of Chorus

End of Chorus


LE SS ON1


BUI L DF I L L S

ComeOutandPl ay T heOf f s p r i ng19 94

= 160

Main Beat

Build into Chorus

Mi dni ghtS pe c i a l Cr e e de nc eC l e ar wa t e r R e v i v a l 1 96 9 I nt hef ol l owi ngf i l l s , not ehowma nyv ar i a t i onst he r ea r eononei de a.

= 124

Fills to Chorus

   –T he6 0 sT h r o ug hT o da y Chart-Topping Drum Fills

LE SS ON1

COORDI NATI ONBUI L DI NG

BUI L DF I L L S

T hef ol l owi ngone ba rf i l l swi l l wor kwe l l a tmos tt e mpos . P r a c t i c et he m wi t honeort hr e eba r sof t i me . T he f i r s t e x ampl ebe l owc a nbeus e da sat e mpl a t e . Mos t o f t hebui l df i l l swor kwe l l wi t hmul t i pl eki c kdr um v a r i a t i onsa swe l l . E x a mpl e sf ort hek i c kdr um v a r i a t i onst ha tmi ghtbea ppr opr i a t ef ort he s ef i l l sa r es h own i nt hel e t t e r e dv a r i a t i onsb e l o w. T hev a r i a t i ony ouc hoos ewi l l de pe ndonma nyf a c t or si nc l udi ngs o ng c o nt e x t , t e mpoa nds t y l e .

ONEMEASUREBUI LDFI LL S

Ki c kT e c hni queE x a mpl e s

Pr a c t i c eT e mpl a t e


LE SS ON1

COORDI NATI ONBUI L DI NG( c ont . )

BUI L DF I L L S

T r yt he s ec oor di na t i onbui l di nge x e r c i s e sbe l ow. Re me mbe ry ouc a npr a c t i c et he m wi t honeort hr e eba r s of t i me , l i k es h owni nt hepr a c t i c et e mpl a t eonpa ge9. T hi ss e c t i oni swr i t t e nf or2t o ms . I f y ouha v e3t oms , e x pe r i me ntwi t hs ubs t i t ut i ngt hemi ddl et om f ort hehi gha nd/ orl ow.

ONE ME AS UREBUI L DF I L L S( c ont . ) E x e r c i s e s

!half-o"en#slosh$ hi-hat%


LE SS ON1


BUI L DF I L L S

He r ea r emor ee x er c i s e sf ory out ot r y . T he s ee x e r c i s e sde v e l opy ours k i l l sa tpl a y i ngpa r t i a l me a s ur ebui l df i l l s . Re me mbe ry ouc a nus et hes e c ondl i nebe l owa sat wome a s u r et e mpl a t ef orpr a c t i c i ngt hef i l l s . Y ou c a na l s os u bs t i t ut ea nybe a ty oul i k ef orpr a c t i c e . T hes l a s h e sbe l owi ndi c a t et i mea nda r eus e ds ot ha ty o u c a nbe t t e rs e et hepl a c eme ntof t hef i l l .

P AR TI AL ME AS UREB UI L DF I L L S Pr a c t i c eT e mpl a t e

E x e r c i s e s


LE SS ON1


BUI L DF I L L S

T hef ol l owi ngf i l l sa r el onge rbui l df i l l sa ndwor kwe l l a tmos tt e mpos . Onc ea ga i n, f e e l f r e et os ubs t i t ut e a nybe aty oul i k ef orpr a c t i c e .

L ONGBUI L DF I L L S Exercises


LE SS ON1

COMPOSI TI ON

BUI L DF I L L S

T he s et e mpl a t e swi l l he l py ouge ts t a r t e dc r e a t i ngy ourownbui l df i l l s . Af t e ry oua r ef a mi l i a rwi t ht hes ong e x a mpl e sa ndc oor di na t i onbui l di ngs e c t i onso f t hi sl e s s on, t r yt oc r e a t es o meof y ourownf i l l sa ndbe a t s be l ow. T hes e c o ndt wome a s u r e si nt hel a s tt wot e mpl a t e sa r eope ns ot ha ty o uc a nwr i t ea not he rba rof t i meorma k eal onge rf i l l .



LE SS ON2

I NTROT OSHORTFI L L S

SHORTFI LL S

S hor tf i l l sa r eev e r y whe r e ! He r ea r eaf e ws onge x a mpl e ss ot ha ty ouc a nhe a rt he mi nc o nt e x t . Onc ey ou l e a r nt he s e , y ouwi l l nodoubtbeabl et ohe a rt he mi ns ongsmor ee a s i l y . E nj oyl e a r ni ngs omeof t he s e v a r i a t i ons , a ndt he nt r yt oc r e a t es omeof y ourown. Re me mbe rt ha tt hef i l l ne e dst o“ f i t ” wi t ht her e s tof t hes o ng. Of t e n, s h or t e ri sbe t t e r , s oi t ' sg r e a tt opr a c t i c ea ndl e a r nma nyv a r i a t i onso f t he s es hor tf i l l s .

Rol l i n' i nt heDe e p Ad e l e2 0 1 0 T he a bo v et hehi ha ts t r ok eme a nst oope nt hehi ha ta nd

me a nst oc l os ei t .

= 106

Fill into Chorus

Chorus Fills

 Fill into Second Chorus


LE SS ON2

CHART T OPPERS He r ea r es omeex a mpl e sof s h or tf i l l sf ory out oe x pl or e .

S wa l l o we d B us h1 9 9 6

= 90

Chorus Fill &

Chorus Fill 2

T i meBomb R an c i d1 99 5

= 165

Chorus !in ' out%


SHORTFI LL S

LE SS ON2


SHORTFI LL S

T he r ea r eal otof s hor tf i l l si nt hes ongHo ne yB e ebyBl a k eS he l t on( 2 01 1) .

HoneyBee B l a k eS he l t o n20 11

= 104 ( w/ l i g h t s wi n g )

Intro Pick-u" Fill

Intro Fill !(iddle%

Intro Fill !end%

End of First Chorus

Instr) Into Verse 2

Second Chorus !(iddle%


LE SS ON2

CHART T OPPE RS( c ont . ) Che c koutt hes h or t f i l l su s e di nP l a yT ha tF u nk yMu s i cbyWi l dChe r r y( 1 97 6) .

Pl a yT ha tF unk yMus i c Wi l dCh e r r y1 9 7 6

= 109

Intro Pick-u" Fill

Fill Into Verse &

Chorus Fill

Verse to PreChorus

PreChorus to 2nd Chorus


SHORTFI LL S

LE SS ON2


SHORTFI LL S

T hef ol l owi ngs hor tf i l l swi l l wor kwe l l a tmos tt e mpos . P r a c t i c et he s ei nt woorf our me a s ur ephr a s e s . T he f i r s t e x ampl ei swr i t t e nouta sat woba rphr a s ea ndc a nbeus e da sat e mpl a t e . Y oumi ghtc h oos et ohe l pk e ept i met hr ought het wobe a tf i l l sb ypl a y i ngqua r t e rnot e so re i ght hnot e s wi t ht heba s sdr um, de pe ndi ngont het e mpoa ndt y peof s ongorc o nt e x t . I nge ne r a l , i t ' sp r oba bl ye a s i e r a ndmor ehe l pf ul t odomor ewi t ht hek i c ki f y oua r epl a y i nga ts l owe rt e mpos . I tmi ghtge tt oobus y pl a y i ngt hek i c kdur i ngs h or tf i l l sa tf a s t e rt e mpos . Aga i n, t he s ee x e r c i s e sa r ewr i t t e nf oraki twi t ht wo t oms . Y ouc a ns u bs t i t ut ey oure x t r at omsi f y ourk i tha smor e .

E x e r c i s e s


LE SS ON2

COORDI NATI ONBUI L DI NG( c ont . ) E x e r c i s e s( c ont . )


SHORTFI LL S

LE SS ON2

COMPOSI TI ON

SHORTFI LL S

T he s et e mpl a t e swi l l he l py ouge ts t a r t e dc r e a t i ngy ourowns hor tf i l l s . Af t e ry oua r ef a mi l i a rwi t ht hes ong e x a mpl e sa ndc oor di na t i onbui l di ngs e c t i onso ft hi sl e s s on, t r yt oc r e at es omeof y ourownf i l l sa ndwr i t e t he m he r e . T hef i r s t t wot e mpl a t e sa r ef oronebe ators h or t e rf i l l s . T her e s tof t hewor k s he etc a nbeus e df or t wobe a tf i l l s . Ha v ef una ndbec r e at i v e!



LE SS ON3

I NTROTOSI XTEENTHNOTEFI L L S

SI XTEENTHS

Sixteenth notes are the quintessential fill note value. You You hear these types of fills often an in varie !usi"al #enres. You You $ill no ou%t fin plenty !ore son#s usin# this "on"ept than are in"lue here. &he"' out the various son#s $ith these fills( an then try !a'in# up your o$n. )l$ays 'eep in !in that the fills shoul "o!pli!ent the rest of the !usi". *ry to 'eep your fills appropriate for the situation.

Come meAsY ouAr e Ni r v a na1 99 2

= 120

PreChorus Fill &

PreChorus Fill 2

PreChorus Fill *

Chorus Short Fill


LE SS ON3

CHART T OPPERS

SI XTEENTHS

*ry the follo$in# "hart+toppin# fills usin# sixteenth notes fro! All fro! All Right Now %y Now %y ,ree -1970.

Al l Ri ghtNow F r e e( 1 97 0)

= 120

Fill Into Chorus &'2

Breakdo+n

Fill out of Solo

Fill Into Last Chorus

Fills in Last Chorus

 –T he6 0 sT h r o ug hT o da y Chart-Topping Drum Fills Fills

LE SS ON3


SI XTEENTHS

/ere are !ore "hart+toppin# exa!ples of sixteenths in  ru! fills.

Pi pe l i ne T h eC ha nt a y s ( 1 9 62 )

= 160

Intro#, Section Fills

  alkdo+n to Break


LE SS ON3

CHART T OPPE RS( c ont . ) B r e e d Ni r v a n a( 1 9 9 1 )

= 160

Big Intro Fill

Fill Into Verse

Fill Into Chorus

Pl a yT ha tF unk yMus i c Wi l dCh e r r y1 9 7 6

= 109

Fill Into Chorus


SI XTEENTHS

LE SS ON3


SI XTEENTHS

He r ea r es o memor ei de a sf orone me a s u r es i x t e ent hnot ef i l l s . T he s ea r ewr i t t e nf ort hr e et omsa nd i nc l udes omef a v or i t e st ha ty ouwi l l mos t l i k e l yr e c ogni z e . T hef i r s t e x a mpl ei swr i t t e nouta ndc a nbeus e d a saf ourba rt e mpl a t ef ora l l of t hef i l l s . Y ouc a ns u bs t i t ut ea nybe a ty oul i k ef orpr a c t i c e . Hope f ul l yt h i swi l l ge ty oumov i ngy ourf i l l sa r oundt heki ta nda l s ogi v ey ous omemor ei de a sf orne wf i l l c o nc e pt s .


E x e r c i s e s


LE SS ON3



SI XTEENTHS

LE SS ON3


SI XTEENTHS

E x e r c i s e s( c ont . )


LE SS ON3



SI XTEENTHS

LE SS ON3

COMPOSI TI ON

SI XTEENTHS

T he s et e mpl a t e swi l l he l py ouge ts t a r t e dc r e a t i ngy ourowns i x t e e nt hnot ef i l l s . Af t e ry oua r ef a mi l i a rwi t h t hes o nge x a mpl e sa ndc o or di na t i onbui l di ngs e c t i onso f t hi sl e s s o n, t r yt oc r e a t es o meof y ourownf i l l s a ndwr i t et he m. Al t hought he s ef i l l sc o ul dbev i r t ua l l ya nyl e ngt h, t he s et e mpl a t e sa r ec r e a t e ds ot ha ty ou c a nwr i t et he ma so neme a s u r eors hor t e r .



LE SS ON4

I NTROT OF I L L SAROUNDTHET OMS

AROUNDTHET OMS

T he s ea r et hef i l l swea l l c oul dn' twa i tt opl a ywhe nwef i r s ts t a r t e ddr ummi ng! T hef ol l owi ngs ongsa l l ha v e gr e a te x ampl e sof f i l l sg oi nga r oundt het oms . Att hi sp oi ntt hough, wea r eenc o unt e r i ngal otof ov e r l a p wi t ht hef i l l t e c hni que s . Ma nyof t he s ef i l l si nc or por a t et e c hni que sf r om pr e vi ousl e s s o ns , whi c hwi l l be goodpr a c t i c e .

Be c a us et heNi ght B r u c eS pr i ng s t e e n&T heES t r e e t B a n d( 1 9 6 9 )

= 116

Fill Into First Chorus

Fill Into Second Chorus

Bridge Fill &

Bridge Fill 2


LE SS ON4

CHART T OPPERS T hef ol l owi nge x a mpl e sa r ef r omWh o l eL o t t aL o v ebyL e dZe ppe l i n( 1 96 9)

Who l eL ot t aL o v e L e dZe p p e l i n( 1 96 9)

= 80

Fill Into First Chorus ( Af t e rt hef i r s t br e a k down, whe nt hedr umsr e e nt e r )

Fills Fro( Verse *


AROUNDTHET OMS

L ES SON4


AROUNDTHET OMS

T hef ol l owi ngf i l l sa r ec ont i nue df r om t hepr e v i ouspa ge .

Whol eL ot t aL ov e( c ont . ) L e dZe p p e l i n( 1 96 9)

= 80

( Af t e rt hes e c ondbr e a k down, whe nt hedr umsr e e nt e r )

Last Chorus ' Outro

  Br i c kHous e T h eC o mmo d o r e s ( 1 9 7 7 )

= 106

Intro Fill

,fter Breakdo+n


LE SS ON4


AROUNDTHET OMS

Ro c kS t e a dy Ar e t h aF r a nk l i n( 1 9 7 2 )

= 104

Anot ewi t hpa r e nt he s e sa r oundi ti ndi c a t e sag h o s t s t r ok e . I not he rwor ds , hi tt ha tn ot ev er yl i ght l y .

Into B Section

Whi t eRoom Cr e a m( 1 9 6 8 )

= 116

Verse Fill

B a r r a c u d a He a r t ( 1 9 7 7 )

= 12

Outro Fill


LE SS ON4


AROUNDTHET OMS

I Wa ntt oHo l dY ourHa nd T heBe a t l e s( 1 96 3)

= 16

Chorus Fill

Outro . Chorus Fill


LE SS ON4


AROUNDTHET OMS

He r ear es o memor ef i l l sa r oundt het oms . T he s ea r ewr i t e nf ort hr e et omsa n dt het e mpl a t eus e st hes a me f i l l a sL e s s o n3t oge ty ous t a r t e d. F e e l f r e et os ubs t i t ut eanybe a ty o ul i k ef orpr a c t i c ea ndmi xt hi ngsu pt o k ee pi ti nt e r e s t i ng.


E x e r c i s e s


LE SS ON4


AROUNDTHET OMS



LE SS ON4



AROUNDTHET OMS

LE SS ON4

COMPOSI TI ON

AROUNDTHET OMS

T he s et e mpl a t e swi l l he l py ouge ts t a r t e dc r e a t i ngy ourownf i l l sgoi nga r oundt het oms . Af t e ry oua r e f a mi l i a rwi t ht hes onge x a mpl e sa ndc oor di na t i o nbui l di ngs e c t i onso ft hi sl e s s o n, t r yt oc r e a t es omeof y ourownf i l l s , a ndwr i t et he m. T he s ef i l l sc oul dbea nyl e ngt h, butt he s et e mpl a t e sa r ec r e at e ds ot ha ty ou c a nwr i t et he ma so neme a s u r eors hor t e r . T r yt omi xupt her hy t hmi cf i gur e st oc r e a t ene wa ndi nt e r e s t i ng f i l l s .



LE SS ON5

I NTROT OCRASHESI NYOURFI L L S

CRASHES

S ome t i me sac r a s h( ort wo) i st hepe r f e c tc hoi c ea saf i l l f oras o ng. T he s ee x a mpl e si l l us t r a t et ha tp oi nt qui t ewe l l . S omeof t hes o nge x a mpl e sbe l owha v ec r a s h e sa sf i l l sa n dot he r sh a v egr e a te x a mpl e so f c ombi ni ngc r a s h e swi t hot he re l e me nt s . T r yt oc r e a t es o mec r a s hf i l l so fy ourowna f t e rc ompl e t i ngt he f ol l owi ngc ha pt e r , a nde x pe r i me ntwi t hpl a c e me nti ns ongs .

Be v e r l yHi l l s We e z e r ( 2 0 05 )

= 106

O"ening Fill


Fill Into Second Chorus

Fill Into Solo

Fill Into Outro# Chorus


LE SS ON5

CHART T OPPERS Roc k i n' i nt heF r e eWor l d Ne i l Y o u n g( 1 9 8 9 )

= 12

Chorus Main Beat Transition To Solo Fill Into Final Verse

B a r r a c u d a He a r t ( 1 9 7 7 )

= 12

Intro ' Verse Fill

Fill Into Bridge

Outro Fill –T he6 0 sT h r o ug hT o da y Chart-Topping Drum Fills

CRASHES

LE SS ON5


CRASHES

Ba c ki nBl a c k AC/ DC( 1 9 8 0 )

= 9

Intro To Verse &

End of Chorus

Solo Phrases

Fill Into Bridge

Wal k F o oF i g h t e r s( 2 0 11 )

= 140

Chorus Fill


LE SS ON5


CRASHES

He r ear es omemor ef i l l swi t hc r a s he si nt he ma ndi de a sf orc r a s he sa sf i l l s . I nt hi ss e c t i on, wewi l l be gi n wi t hs h or t e re x a mpl e s , a ndt he ngi v es omev a r i ousf i l l l e ngt hsa st hel e s s onpr ogr e s s e s . T he s eex a mpl e s a r ewr i t t e nf ors n a r e , buta l s ot r yor c he s t r a t i ngr hy t hmsa r oundt heki tbys u bs t i t ut i ngt hes na r ewi t ht oms .


E x e r c i s e s


LE SS ON5


CRASHES



LE SS ON5


TWOBARP ATTE RNS


CRASHES

LE SS ON5

COMPOSI TI ON

CRASHES

T he s et e mpl a t e swi l l he l py ouge ts t a r t e dc r e a t i ngy ourownf i l l swi t hc r a s he s . Af t e ry oua r ef a mi l i a rwi t h t hes onge x a mpl e sa ndc oor di na t i onbui l di ngs e c t i onso ft hi sl e s s o n, t r yt oc r e at es omeof y ourownf i l l s , a ndwr i t et he m. T het e mpl a t e si nt hi sl e s s ona r eof v a r i e dl e ngt hss ot ha ty ouc a nwor konf i l l sa t v a r i ous l e ngt hs .



LE SS ON6

I NTROT OSYNCOP ATEDF I L L S

S y nc opa t i on

T hi sl e s s onf oc us e sons y nc opa t e ddr um f i l l s . Af t e rpr a c t i c i ngt he s ef i l l sf r om t hec ont e x tof t hes ong e x a mpl e s , t r yc r e a t i ngy ourowns y nc o pa t e df i l l s . De pe ndi ngont her e s tof t hemus i ca ndpa r t s , k e epy our f i l l sa ppr opr i a t ef ort hemus i c a l s i t ua t i on. T hee x a mpl es o ngswi l l gi v ey ouagoodba s i st oge ts t a r t e dwi t h t he s et y pe sof f i l l s .

Shotgun J u n i o r Wa l k e r a n dt h eAl l S t a r s( 1 9 6 5 )

= 120

( Al s oa tt heendof mos tv e r s e sa ndc hor us )

Intro Fill

D' y e rMa k' e r L e dZe p p e l i n( 1 97 3)

= 77

Verse & Fill


Fill Into Solo

Outro Fill


LE SS ON6

CHART T OPPERS

S ync o pa t i on

T hef ol l owi nge x a mpl e sf r om c ha r t t oppi ngs ongsus es y nc opa t e ddr um f i l l s . Gi v et he m at r y !

Cr os s t ownT r a f f i c J i mi He n d r i x( 1 9 6 8 )

= 112

Intro Fill ( Al s oi nChor us3&4 )

End of First Verse

End of Second Verse

Outro Fill


LE SS ON6


S y nc opa t i on

Bor nt obeWi l d S t e p p e n wo l f ( 1 9 6 8 )

= 146

End of Solo

HangLoos e Al a b a maS h a k e s( 2 0 1 2 )

= 120

Chorus Fill

Fill Into Second Verse


LE SS ON6


S ync o pa t i on

He r ear es omeex e r c i s e st ohe l pc r e a t ey ourowns y n c opa t e df i l l s . T hef i r s te x a mpl ei sat e mpl a t ea ndc a n beus e df ora l l of t hef i l l s . S ubs t i t ut ea nybe a ty oul i k ef orpr a c t i c e . Asa l wa y s , f e e l f r e et or e or c he s t r a t et h e f i l l so nt odi f f e r e ntdr umswhe ny oua r ec o mf or t a bl ewi t ht her hy t hms .


E x e r c i s e s


LE SS ON6


S y nc opa t i on



LE SS ON6

COORDI NATI ONBUI L DI NG( c ont . ) TWOBARP ATTE RNS Pr a c t i c eT e mpl a t e

E x e r c i s e s


S ync o pa t i on

LE SS ON6

COMPOSI TI ON

S y nc opa t i on

T he s et e mpl a t e swi l l he l py ouge ts t a r t e dc r e a t i ngs y nc opa t e df i l l s . Af t e ry oua r ef a mi l i a rwi t ht hes o ng e x a mpl e sa ndc oor di na t i onbui l di ngs e c t i onso ft hi sl e s s on, t r yt oc r e at es omeof y ourownf i l l su s i ng s y nc o pa t i on, a ndwr i t et he m. T het e mpl a t e si nt hi sl e s s ona r eoneort woba r s , a st ha twa swha twes a wi n t hes o nge x a mpl e si nt hi sl e s s o n. Y ouc a na l s ot r yt oma k es h or t e rf i l l s , i f y ouwoul dl i k e .



LE SS ON7

DEVEL OPI NGYOURSTYL E

Y ourS t y l e

I f y ou' v ema dei tt hi sf a r , y ou' v el e a r ne dma nydr um f i l l t e c hni que sa ndc ombi na t i onsu s e di nc ha r t t oppi ngs ongsf r om t he6 0st hr ought oda y .Nowi t ' st i met oa ppl yt hos et e c hni que sa ndc o mbi na t i onsi n y ourownwa yt ode v el opy ourowns t y l e . I mpr ov i s i ngf i l l sc a nbedi f f i c ul t , buts t a yr e l a x e da ndf oc uso n pl a y i ngf i l l st ha tma t c ht hef e e l of t heov er a l l pi e c e . T hi sl a s tl e s s onl e a v e sy ouwi t hpr a c t i c et e mpl a t e st ous ewhi l ea ppl y i ngt hedr um f i l l v oc a bul a r yy ou' v e l e ar ne d. Whe r et h es l a s he si ndi c a t e , pl a yt i me , ori not he rwor ds , pl a yadr um be a tof y ourc hoi c e . P l a y dr um f i l l so nt hebe a t si ndi c a t e d. T r yt ok ee pi ti nt e r e s t i ng, pl a y i ngdi f f e r e ntf i l l se a c ht i me . Bec r e a t i v e!

T e mpl a t e#1


LE SS ON7

DEVEL OPI NGYOURSTYLE( CONT . )

T e mpl a t e#2


Y ourS t y l e

LE SS ON7

DEVEL OPI NGYOURSTYLE( CONT . )

Y ourS t y l e

T e mpl a t e#3


Chart Topping Drum Fills

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