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Table Of Contents
The Drum Fill System............................................................. 05
How To Use This System........................................... 07
A Good Practice Routine............................................ 08
Tension Of Beats.......................................................... 12
DVDs 1 & 2 - Beginner
Beginner Section...................................................................... 13
Drum Theory................................................................... 14
Beat Fill Beat Exercises.............................................. 19
Fills In A Musical Context........................................... 24
Intermediate Section............................................................... 30
Styles Of Fills................................................................. 31
Dynamics In Fills........................................................... 43
Independence Fills....................................................... 45
Rudimental Fills............................................................. 47
DVD 6 - Advanced
Advanced Section................................................................... 49
Fills In Odd Meters........................................................ 50
Common Time To Odd Time..................................... 53
Beat Inflection Fills....................................................... 56
Drum Fill Permutations................................................ 60
DVD 7 - Additional
Exercises & Extras
Crossover Patterns................................................................. 67
Using The Encyclopedia Of Drum Fills.......................... 68
Play-Alongs............................................................................... 71
CD Track Listings.......................................................... 72
My Take On Success.............................................................. 73
Conclusion................................................................................. 74
Credits & Special Thanks................................................... 75
There is a lot of material here, and I would like you to get the most out of it. I think it is very
important to master patterns before moving on. Let me explain what I mean when I say master.
There is a point where one will know the pattern good enough to be able to play it at a variety of
tempos and dynamics. The term master is somewhat subjective, in the respect that people will
have different uses of the material. I know that I could spend the rest of my life on the beginner
section, because everything can always get faster.
I can do all the material in the beginner section at enough different tempos and dynamics, that to
me I have mastered it and have no further use in practicing it. When you get to a point where you
can use the pattern freely at will, then its a good time to move on. For some of us this might be
a bit daunting. If you have a problem with focusing, move on to the next pattern and then come
back to it later.
Throughout this package I will make
certain statements like endless or
limitless. I dont want you to take it in a
derogatory way. This musical endeavor
that we are all in is a lifetime adventure.
I would like you to be able to use this
system as a sharpening tool or treasure
map (if you will), for discovering a new
way to develop and challenge yourself. Im
always looking for new ways to challenge
myself and I always find one. The best part
is when I get out on the other side - I am a
better musician.
My hope for you, as you work your way
through the Drum Fill System, is that
your love for music and the ability to
express yourself, will grow beyond what
you thought possible.
Advanced DVD
Play-Alongs DVDs
Book Pages 13 - 26
Book Pages 27 - 29
Book Pages 30 - 48
Book Pages 49 - 66
Book Pages 67 - 70
Book Pages 71 - 72
A good practice routine is very critical in assuring success. First, you need to determine what it
is that you want to accomplish. If its getting better with your timing, you need to work out some
exercises that will improve your sense of time. If you want to get better at the rudiments, you
need to dedicate some consistent focus to a balanced routine. Whatever it is you want to do - it
helps to have your end goal in sight.
Say you want to get better at your timing, rudiments, and different styles. You will first need
to determine how much time you can practice every day. Lets say that you could practice 45
minutes a day. What I would do is make a practice routine for one hour, as it is easier to manage.
Also, you get more material covered in an hour. The way your muscles work is that if you keep
repeating a movement over and over again, you will be able to do it without thinking; this is called
muscle memory.
So regardless, write out an hour long practice routine. It might look like this:
On your first day, do your 45 minute session. On your next day, just start where you left off. This
way, you can cover more material, because you repeat your patterns once every day and a half
or so. This way, you wont lose your muscle memory and you can have more diversity in your
practice routine; therefore, become a better player quicker.
If you take too long between repeating a routine, you may have to put in more time to have your
body remember what you have already learned. This approach has really helped me. Basically
what you need to do is find what is best to motivate and inspire you. This way, you will be
encouraged to practice as much as you can!
...proper practice
makes better...
As the saying goes, practice makes perfect. I myself happen to totally disagree with that
statement, for if it were true, I would be perfect. Im sorry to say Im not. The way I like to look
at it is that proper practice makes better. We can always better our best. We need to get to a
point where we can say that this is good enough for me and for what I want to do - when we do,
it is time now to move on. The best and quickest way to get results is to be patient and practice
slowly. The speed will come easier if you approach it this way. In the end, your playing will be
cleaner, which will make you sound faster.
10
I remember having some lessons with the late great Jim Chapin. He was saying that he, Louis
Bellson, and Buddy Rich were sitting around and talking about the Moeller technique. The next
night they went to see Buddy play. He was using the Moeller technique, and Jim said, I see that
you have been practicing, Buddy calmly said, I willed it (Buddy Rich is one that claimed that he
never practiced and after hearing him no one could ever say that he needed to). There arent too
many Buddy Richs in the world. My point is that we can all learn from each other, and that we all
have aspects that we need to work on.
11
Tension Of Beats
There is a natural strength to the beats, playing with or against them is what creates different
feels. If you have a 4/4 bar (which is four quarter notes per bar) the natural strength goes: beat
one - strong (tension), beat two - weak (release), beat three - medium strong (tension), and beat
four - weak (release). Thats why a basic rock beat can feel so good, because the beat is going:
tension, release, tension, release.
Rock is based on the down beats, which gives it that very solid or grounded feeling. Where if
you are playing reggae, it is a style that emphasizes the weak beats. Both rock and reggae can
be played in straight 8ths (or 8th triplets) and have a totally different feel because of the beats
that are emphasized. If you look at jazz, it is a style that is more routed on the up beats - with an
emphasis on the two and four. Where as shuffles are also in triplets like jazz, but are routed on the
down beats.
Some people would say that 3/4 and 6/8 are basically the same feel, but they are not. A 3/4 feel
would go: strong, weak, weak, where as a 6/8 feel would go: strong, weak, weak. medium strong,
weak, weak. 6/8 and 12/8 will have different feels as well. A 12/8 feel will go: strong, weak, weak,
medium strong, weak, weak, medium strong, weak, weak, medium strong, weak, weak.
If you have an odd time signature like 5/4, you can divide it any way you want. You can go: strong,
weak, weak, medium strong, weak or strong, weak, medium strong, weak, weak. In all of these
styles there is room for creativity and experimentation. I like to start with a basic respect for the
original feel and develop it from there.
12
Beginner Section
DVDs 1 & 2
Even though this section has the title Beginner, I dont want the more intermediate and
advanced players to think that they dont have any use for this section. I spent the first 15 years
of my drumming life holding my sticks wrong. I then had to go back and re-learn all the basics.
It took me a lot longer to learn it the second time, because I had to forget what I had already
developed, while learning the proper technique.
If you find that some of these fills arent very challenging for your technique, I would challenge
yourself appropriately. Meaning, if I was having troubles with my doubles, I would start adding
doubles throughout the fills. Or, if I was having troubles with my flams or drags, I would do
the same. Then, I would place the doubles, flams, and drags within a single fill. After I felt
comfortable with that, I would start substituting in the bass drum for some of the hands; therefore
increasing the technical challenge of the fill exponentially. So our group of fills in the beginner
section could easily become over 3000 fills.
I would like for you to get the most from the Drum
Fill System. One of the ways that can help you is to
not think of this as a product to complete and then
move on, but as a sharpening tool - one that you
can always refer to in the future. By going through
lessons thoroughly, you will get the most out of
this package. You will have a resource for life. Let
us never underestimate the power of patience to
overcome.
What I find that helps me keep motivated and
interested, is if Im enjoying myself. I feel that its
vital that you have fun as you begin your musical
adventure. If you start a fill section that doesnt
interest you right now, go on to the next, or try
to use the fills in your practicing to inspire you to
develop your own creativity. When in doubt, have
fun!
13
Drum Theory
DVD 1 - Beginner Part I
Lets dive into a bit of theory before we start playing fills. Learning drum theory will give you
the tools you will need in order to play every single fill in this book, as well as the massive
Encyclopedia Of Fills.
Try not to get intimidated by theory, as it is very easy to learn. Take your time, watch
along with the video, and you should have no problem. Remember that learning this will
make you an overall better drummer as well - so it is a win-win situation.
Following along with the DVD, I will discuss all note values and give you examples of not only
what they look like, but also what they sound like when played. Do not worry if any of this does
not make sense at first - give it time and things will start to make sense! This section also acts as
a great place to refer to if you have any doubts with some of the fills in this pack.
14
Snare Drum
Hi-Hat
Cowbell
o
x
o
x
Closed Hi-Hat
+
x
Ghost Notes
( )
( )
>
>
Accented Notes
+
x
( )
Open Hi-Hat
Cross-Stick
Ride Cymbal
( )
>
>
15
Whole Note
1)
Half Notes
2)
Quarter Notes
3)
4)
8th Notes
5)
16
6)
16th Notes
7)
8)
32nd Notes
9)
17
12)
Dotted Notes
13)
Tie
14)
No Tie
z
15)
18
In this section you will learn some basic beat fill beat exercises. This is a great place to start, as
you will begin to understand the properties of a fill, and how it can be used within your drumming.
These are great exercises to practice, as they will start you on the path of building drum fill
creativity.
Make sure you are practicing these with a click track as well. Timing is very important with drum
3
fills. One
of the biggest problems beginner drummers have is speeding up during their drum
fills. The reason for this is they get excited, and their adrenaline builds as they get to showcase
themselves on the kit. When this happens, they usually speed up and come off the click. So
remember to use a metronome!
1)
16)
2)
17)
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23
It is now time to start applying these fills in a more musical context. These next exercises will
start utilizing the concepts of a drum fill in a more applicable setting. Again, use a metronome,
and take your time. It is important to develop the fill and play it correctly in the right setting. Good
luck, and have fun!
1)
37)
x x x x x x x x x
2)
38)
x x x x x x x x x
3)
39)
x x x x x x x x x
4)
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25
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" "
Thats it for the beginner section of the Drum Fill System. It is now time to challenge yourself
even further with the Trillion Fill Formula! On the following page, you will be shown a method that
you can use to develop literally endless amounts of drum fills. Enjoy!
Additional Resources...
Do not forget to check out the play-along CDs for plenty of music,
loops, and tracks, in which you can apply these fills to! Also, for more
fills, refer to the Encyclopedia Of Drum Fills!
26
On DVD 3, Ive explained this formula in great detail. Then, Ive taken examples #3 and
#4 from the Encyclopedia Of Drum Fills and expanded on them using the formula. Once
you have a solid understanding on how this works, I encourage you to dive into the
Encyclopedia Of Drum Fills, where you will be given hundreds of fills that you
can apply this formula to. The possibilities are endless!
27
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28
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29
Intermediate Section
DVDs 4 & 5
In this section you will start to develop your dynamics, and the implementation of the bass drum
into a fill. Again - fun is the key! If you find yourself getting too frustrated and unable to focus, just
take a break from that fill and go on to another. I find what helps me is to have a time limit on how
long I will do a practice routine. I usually like to do 15-minute increments. That way, I can keep
my focus and make my practice profitable.
When I get frustrated, I dont have too long until I give up. 15 minutes is not very long for learning
a new pattern, so what I like to do when starting something new is spend more towards 45
minutes to an hour for a few weeks, depending on the complexity of the pattern. That way, I can
get a good feel for what Im trying to do, so that when I start my 15-minute increments they will
be most beneficial. Its best to work with your strengths. It will take some time to figure out what
those are. You might find that 15 minutes is too short, and you might feel better with 20 to 30
minutes, or you might do better with 10 minutes.
If at any time during this section you feel a bit overwhelmed, just take a step back. Remember to
keep referring to the notation key or theory section if you see a note that you are unsure of. Also,
remember that each fill in this book is shown and explained on the DVDs.
30
Styles Of Fills
DVD 4 - Intermediate Part I
The next few pages will take you through a number of different styles of fills. You will experiment
with country, jazz, rock, double bass, and more. This is where you can really start applying
what you have learned to your drumming. Learning a variety of fills for different styles of music
will also expand your tool belt as a drummer. Try to learn what makes a jazz fill a jazz fill, and
the differences between rock and heavy metal fills; with that knowledge, you can make more
educated decisions when creating your own fills.
31
Additional Resources...
Do not forget to check out the play-along CDs for plenty of
music, loops, and tracks in these genres of music!
32
I remember a long time ago when I had an audition for a country group. They were gigging
and making money, and I thought, I could do that for money. I was busy practicing to (you
got it) Triumph and Rush. I would even learn Neil Pearts drum solos almost note for note.
So I was thinking that this country gig should be easy; Id just do the gig so I could buy
more drums. During the audition everything was going fine; however, I was having a hard
time coming up with fills because I just couldnt feel them. I was thinking to myself that I
need to show these guys what I can do if Im going to land this gig.
I got to a point where I just had to do a fill, and I did. I had the kick drum going with lots of
toms, and I came out on the one in good time, thinking, this will get their attention. Well, it
did, but not in the way that I was hoping. After that tune I remember the keyboardist shaking
his head and saying, I just dont know. Thankfully they had a gig the next night and no
drummer. The bass player was very helpful and told the guys that he thought that I could do
this. He then spoke to me and told me to just relax. The gig came, and we were playing a
wedding. I had a five-piece kit for the gig and I didnt do one fill all night long. After the gig,
they were a little more relieved and decided to give me a chance.
I learned a very valuable lesson with that group - that good technique is not just about
playing well and doing things with ease, but more about making the other musicians feel so
good that they play better than they have ever played before. Try to focus on that when you
go through these fills, as well as the examples in the Encyclopedia Of Drum Fills.
33
Rock Fills
57)
1)
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2)
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3)
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>
>
60)
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34
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8)
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65)
9)
x x x x x x x x
>
>
10)
66)
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35
Funk Fills
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o +
x
oj +
x
R L L...
3
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Jazz Fills - Sticks
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Reggae Fills
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Dynamics In Fills
DVD 5 - Intermediate Part II
In this section, you will learn a level of control that is very important for all drummers. With
dynamics, drummers will typically speed up while getting louder and slow down when getting
quieter. To eliminate that problem, I highly recommend that you practice this with a metronome. If
this is too difficult at first, I would suggest that you get comfortable with the fill first (maybe to the
point of memorizing it) then work it with a click. In finding the tempo to start at, I would suggest
that you play the fill at a comfortable speed and set the click to that. When you get confident
with the fill, slow the tempo down (anywhere from 40 to 50 bpm). That way, you can have more
control3of the pace. Then begin to push the speed faster.
The dynamic practice routine can be done with the entire encyclopedia. Dont limit yourself to
just this section. Be creative and try putting two different dynamics in one fill, or use different
dynamics between the beat and the fill (i.e., play a loud beat then a quiet fill or vice versa).
1)
95)
x x x x x x x x
2)
96)
3)
97)
3
j
3
3
x xx xx xx
j
>
>
>
>
x x x x x x x x >
43
4)
98)
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x x xy x x x xy x
100)
6)
x x x x x x x x
101)
x x x x x x x x
x
102)
x x x x x x x x
j
x
x
44
99)
x x xy x x x xy x
Independence Fills
DVD 5 - Intermediate Part II
With the limb independence section, you will begin through a whole new world of fills. One of the
main goals with this section is to have one or more limbs doing an ostinato (a repeated musical
phrase).
The ostinato can be played anywhere on the drums (i.e., ride, hi-hat, floor tom) and it
100)
can be as simple or complicated as you want. We do this already when we play our beats, but
now we are just applying the same concept to our fills. This concept really has no limits of what
can be done. Just find your strengths and weaknesses, and work with them. For more limb
independence ideas I would suggest that you check out Terry Bozzio, he has definitely been an
inspiration to me.
x x x x x x x x
1)
101)
x x x x x x x x
x
2)
102)
x x x x x x x x
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3)
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46
Rudimental Fills
DVD 5 - Intermediate Part II
The rudiments are another approach that will add a lot to your creativity and overall technique. To
get the most from your rudiments, I would suggest that you practice them in balance. Meaning,
if you really love doubles, try not to practice just the double based rudiments, implement others
instead. The rudiments can be boiled down to singles, doubles, and flams. The paradiddles are
just a combination of singles and doubles. The drags are just based off the doubles, and the
triple stroke is well just a triple. Its a good idea to practice all of them however, that way you
will develop greater efficiency in all your playing. Its like eating a balanced diet to stay healthy.
For us to be healthy and balanced, or shall I say competent in our playing, we need to focus on
all the main elements of the rudiments.If I were to boil the rudiments down to the essentials to
start with - it would be these seven:
1. Single Stroke Roll 2. Double Stroke Roll
3. Flam Stroke
4. Flam Tap
5. Drag
6. Single Drag Tap
7. Single Paradiddle
Double Stroke Roll
! !
! !
! !
! !
1)
108)
x x x x x x x x
2)
109)
x x x x x x x x ! ! ! ! ! ! ! !
Single Paradiddle
3)
110)
>
>
>
x x x x x x x x >
Copyright 2010 Railroad Media, Inc.
47
110)
4)
111)
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x x x x x x x x
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Flam Taps
5)
112)
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6)
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Drags
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114)
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x
>
115)
8)
x x x x x x x x
48
Advanced Section
DVD 6 - Advanced
When one talks about advanced techniques it can be very ambiguous, subjective, and never
ending. I like to see this as the beginning of a very large world to explore. In this section you
can be challenged as little, or as much as you like. Again, I would like to stress the importance
of being thorough, not rushing, and having fun. Like they say, Rome wasnt built in a day and,
if its worth waiting for, its worth having.If you find that with some fills it is hard to go from a
beat to the fill and back to the beat, then I would suggest is something that I learnt from David
Garibaldi a long time ago - the importance to practice the sequence. Dont worry about the
timing at first, let it speed up and slow down, consistency will come. If you can get the proper
order of notes, the feel and time will soon develop.
When I learn new patterns, the timing can be up and down.
Thats okay however, because I can hear it. Once I get more
comfortable with it, the timing takes care of itself, which is why
its very important to practice with a metronome. That way, you
will improve the timing of your limbs. Your hearing will also
improve, which will help you to hear the inflections in the time,
which will in turn boost the productivity of your practice. I also
noticed with myself, that it was important to practice without a
click every now and then. That way, one can develop a good
sense of time without becoming reliant on a metronome - in
turn, giving one greater control over time.
49
I love playing in odd time because it opens a new door for being creative. I dont want us to think
that we can only use odd time fills in an odd time setting. One thing that I like to do (if it supports
the music) when Im playing in 4/4 is just do a little math to make it work. For example, I may play
one bar of 7/8 and one bar of 9/8, that way I still come out on beat one in 4/4. I could also play a
bar of 3/4 and 5/4, back to back.
Another thing that I like to do with odd time is play a 5/4 fill in a 4/4 section. When I hit the crash
to come
back into the beat, instead of hitting it with my bass drum Ill hit it with my snare to keep
3
me in the 4/4 feel. Again, be patient and creative.
3/4
1)
116)
2)
117)
5/4
3)
118)
x x x x x x x x x x
50
4)
119)
x x x x x x x x x x
5)
120)
x x x x x x x x x x
6/8
121)
6)
j j j j j j
x x x x x x
122)
7)
j j j j j j
x x x x x x
7/8
123)
8)
j j j j j j j
x x x x x x x j
51
9)
124)
j j j j j j j
x x x x x x x j
10)
125)
j j j j j j j
x x x x x x x
9/8
11)
126)
j j j j j j j j j
x x x x x x x x x j
12)
126)
j j j j j j j j j
x x x x x x x x x
13)
127)
j j j j j
j j j
x x x x x x x x x jj
j j j j j j j j j
52
j j j jj
j
j
j j j
In this section, I will show you how you can easily take any one of your common time drum
fills, and morph them into an odd time fill. This is a very useful section, as you will literally have
thousands of options to expand on the fills you already know and love. You can take any one
of the fills in this book, or the Encyclopedia Of Drum Fills, and apply it to an odd time groove by
using this method.
The way this is done is very simple; and you can follow along on the DVD for more information.
Basically, you are adding or taking away a certain amount of notes at the beginning or end of
the fill, in order to modify it. Try these examples below and on the following pages for a better
understanding of what I mean. Good luck!
4/4
1)
129)
>
x x x x x x x x >
3/4
2)
130)
>
>
5/4
131)
3)
>
>
>
x x x x x x x x x x >
j j j j j j
x x x x x x
132)
>j
>j
53
131)
6/8
4)
132)
j j j j j j
x x x x x x
>j
>j
7/8
5)
133)
j j j j j j j
>
x x x x x x x >
9/8
134)
6)
j j j j j j j j j
x x x x x x x x x >
>
4/4
3
135)
7)
3
3
3
>
>
>
>
j
3
>
>
x x x x x x x
3/4
8)
j
>
x x x x x
3
54
j
x xx xx xx xx
>
>
>
>
3
Copyright
2010 Railroad Media,
Inc.
3
>
>
3
> > 3 >
> >
>
5/4
3
3
> > 3 >
> > 3 >
j > 3 >
x xx xx xx xx
9)
137)
6/8
j j j j j j
x x x x x x
10)
138)
>
>
>
9/8
139)
11)
7/8
140)
12)
>
> >
>
> >
j j j j j
j >
x x x x x x x
55
I dont want us to be limited in our ideas of what fills are. In this section we are going to look at a
more subtle way of playing fills. A fill is basically something that we play that is not in the regular
beat. With these fills, or what I like to call beat inflections, we will look at a different way to
develop our fill toolbox.
There are 7 different inflections we will be adding in order to spice up our beats. These include:
hi-hat embellishments, ghost note embellishments, beat displacement, tom embellishments,
double pedal embellishments, single pedal embellishments, and ride embellishments.
Lets take a look at these below, and on the next few pages.
Hi-Hat Embellishments
3
1)
141)
x x x x x x x x
x
x x x
" "
2)
142)
x x x x x x x x
x x x x
x x x
3)
143)
x x x x x x x x
56
x x
x
x
x
x
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
4)
144)
x x x x x x x x
x
x
x
(
)
x
x
( )
x x x x x x x x
x x x x x x x x
Beat Displacement
5)
145)
6)
146)
Tom Embellishments
7)
147)
148)
8)
x x x x x x x x
x x x x x x x x
x.
.
o
x
o
x
57
9)149)
150)
10)
x x x x x x x x
x x x x x x x x
x
x
x
x
11)
151)
12)
152)
x x x x x x x x
x x x x x x x x
x
x
x
x
Ride Embellishments
153)
13)
x x x x x x x x
58
14)
154)
x x x x x x x x
155)
x x
x x
x x
x x
j
3
3
3
3
>
>
>
x x x x x x x
Additional Resources...
Do not forget to check out the play-along CDs for plenty of music,
loops, and tracks, in which you can apply these fills to! Also, for more
fills, refer to the Encyclopedia Of Drum Fills!
3
156)
3
> 3
> 3
j
3
3
>
x x x x x x x
> 3
>o +3
>o +3
j
3
z
x x x x x x x
x
x
158)
> 3
> 3
> 3
j
3
z
z
z
x x x x x x x
3
157)
59
>
Permutations
Drum
Fill
>
> >
>
DVD 6 - Advanced
With the number of accent schemes available to us, this is another section that can be expanded
largely. One thing that you might try doing is adding some rests into the fill, instead of doing all
1) Leading with the right hand
straight 16ths or 8ths. If you begin to fuse the Trillion Fill Formula with this permutation section,
R have
L another
R whole
L ... line of fills to experiment with.
you can
>
>
> >
L
R
L
>
L
R
R
L
R
R
R
R L
R
L ...
2) Leading with the left hand
>
R
R
R
R
L
L
L
L
R
R
L
L
R
R
155)
1)
j
3
> 3
> 3
> 3
x x x x x x x
156)
2)
3
> 3
> 3
j
3
3
>
x x x x x x x
157)
3)
> 3
> 3
> 3
j
3
z
z
z
x x x x x x x
158)
4)
> 3
>o +3
>o +3
j
3
z
x x x x x x x
x
x
159)
5)
j
3
> 3
> 3
> 3
x x x x x x x
! !
! ! ! ! !
! !
61
160)
6)
R...
j
3
> 3
> 3
> 3
x x x x x x x
R...
161)
7)
> 3
j
3
> 3
> 3
x x x x x x x
162)
8)
> 3
> 3
> 3
j
3
z
z
z
x x x x x x x
L
3
163)
9)
164)
10)
R...
R...
> 3
> 3
>o +3
j
3
z
z
x x x x x x x
x
3
R...
j
3
> 3
> 3
> 3
x x x x x x x
! !
! ! ! !
! !
62
165)
11)
j
3
> 3
> 3
> 3
x x x x x x x
167)
13)
j
3
3
3
3
>
>
>
x x x x x x x
166)
12)
j
3
3
3
3
>
>
>
x x x x x x x
168)
14)
L R R L R R
R R R L
R R
j
3
3
3
3
>
>
>
x x x x x x x
169)
15)
>
> >
>
x x x x x x x x >
63
16)
170)
>
> >
>
>
x x x x x x x x
17)
171)
>
>
> >
>
z
z z
z
x x x x x x x x z
18)
172)
>
>
>o
z
x x x x x x x x z
x
173)
19)
174)
20)
>
> >
>
x x x x x x x x >
>
>+
z
z
L R L R...
64
L R L R...
175)
21)
>
>
> >
>
x x x x x x x x
176)
22)
177)
23)
>o +
>o + >
z
x x x x x x x x x
x
178)
24)
>
> >
>
x x x x x x x x >
179)
25)
>
> >
>
x x x x x x x x >
L R L R...
R L L R R L
L R
R L L L R L L R
>o +
>o +
x
x
R L L R
R L L L
R L L R
R L L L
65
L R R L
26)
180)
L R R L
R L L R R L
>
> >
>
x x x x x x x x >
L R R R L R R L
27)
181)
L R
L R R R L R R R
>
> >
>
x x x x x x x x >
66
Crossover
Patterns
j
xx xx
3
L...
3
3
R L R
L...
x 3x x 3
j
DVD
7
Additional
Exercises
3
3 & Extras
3
3
182)
x x x x x x x
isa very funthing to learn.
patterns.
182)
This
It also looks
Iwill teach
you crossover
In this section
very flashy when you are playing. Through these patterns you will be able to minimize stick clicks
and increase your fluidity. As you begin to come up with your own crossovers to help with your
weaknesses, you will gain access to La new
R Lfreedom
R... that is not limited to a certain order of the
drums. You will then be free to express your musicality from your heart, and not be as limited by
L R L R...
your limbs.
183)
Have fun with these 3 fills below. Do not forget to expand on these by
183)
referring to the Encyclopedia Of Drum Fills!
x x x x x x x x
x x x x x x x x
R
L R L...
j
3
3
3
3
x 3 x x 3 x x 3 x xj 3 R 3L R L... 3
3
3
x x x x x x x
3
182)
1)
182)
L R L R...
183)
2)
183)
x x x x x x x x L R L R...
x x x x x x x x
184)
3)
184)
R
L R L...
j
3
3
3
3
x 3 x x 3 x x 3 x xj 3 R 3L R L... 3
3
3
x x x x x x x
67
Im going to show you how to turn your encyclopedia of over 1100 fills into 11000 fills. By making
these 10 changes, you can literally multiply the number of fills at your disposal tenfold. Follow
along on the DVD and watch as I change the original fill up 10 different ways. This is only the
beginning to what you can do to expand the encyclopedia. Be creative and have fun!
Original Fill
185)
x x x x x x x x
1)
186)
x x x x x x x x
68
2)
187)
j j j j j j j j j
x x x x x x x x x
3)
188)
x x x x x x
4)
189)
x x x x x x x x
5)
190)
xx xx xx xx xx
6)
191)
x x x x x x x x
69
7)
192)
x x x x x x x x
193)
8)
x x x x x x x x
194)
9)
xx xx xx xx xx xx xx
10)
195)
j j j j j j j
x x x x x x x
70
Play-Alongs
DVDs 8 & 9
All of these concepts, techniques, and fills you have learned throughout this pack, need to be
practiced in a musical setting to get the most out of them. That is why I have included a playalong section to this pack. On DVDs 8 and 9 you will find a large section of loops and songs that
you can watch me play along to.
Watch how I approach each fill and then give it a try yourself. You will have each loop and song
on the CD accompaniment that is included with this pack. Try to challenge yourself as much as
you can by using these tracks along with the Encyclopedia Of Drum Fills. If you ever get stuck,
just turn to that book.
On the following page you will find the track listings for the play-alongs. There are 2 different
versions for each track - one with click and one without. Start with the ones with click; as most
drummers speed up during drum fills. Once you get more comfortable with that, you can move to
the tracks without click.
For an added bonus, I have included an extra disc full of metronome tracks. They consist of
2 minute loops of click track. These are great to throw on your mp3 player for when you are
on the road, or if you do not have a metronome already. They start at 50 bpm and move up in
increments of 5 bpm. Enjoy these tracks, as they are a powerful resource for any drummer!
71
CD Track Listings
CDs 1 - 5
CD 1 - Drumless Tracks
CD 3 - Band Tracks
1. Blues
2. Ballad Rock
3. Shuffle
4. Full Rock
5. Funk Rock
6. Half Time Shuffle
7. Swing
8. Bossa Nova
9. Implied Funk Shuffle
10. Full Time Shuffle
11. Heavy Metal
12. Reggae
13. Country
1. Blues
2. Fast Rock
3. Slow Rock
4. Country
5. Metal
6. Reggae
7. Funk
8. Amazing Grace
9. Punk
10. Pop
1. Blues
2. Ballad Rock
3. Shuffle
4. Full Rock
5. Funk Rock
6. Half Time Shuffle
7. Swing
8. Bossa Nova
9. Implied Funk Shuffle
10. Full Time Shuffle
11. Heavy Metal
12. Reggae
13. Country
1. Blues
2. Fast Rock
3. Slow Rock
4. Country
5. Metal
6. Reggae
7. Funk
8. Amazing Grace
9. Punk
10. Pop
CD 5 - Metronome Tracks
1. 50 BPM
2. 55 BPM
3. 60 BPM
4. 65 BPM
5. 70 BPM
6. 75 BPM
7. 80 BPM
8. 85 BPM
72
9. 90 BPM
10. 95 BPM
11. 100 BPM
12. 105 BPM
13. 110 BPM
14. 115 BPM
15. 120 BPM
16. 125 BPM
My Take On Success
Most of us want to experience success to a certain level. What I have learned is that success is
not luck, but more of an opportunity that is seized. If we look at Bill Gates for example, if he didnt
have the opportunity, desire, and discipline, he would not have achieved the success that he has.
What we need to do is create our environment for success. For example, if you really want to
get into a band to have the big break, you need to live in a city where you can get the exposure
that is needed. If you want to be a studio musician, you need to live near some studios so you
can get the opportunity that is needed, and study from some studio players.With access to the
Internet and having a meeting with a teacher once in a while (to help refine you), you will build
the technique that is needed.
Motivation is a big factor to experience success. Im a firm believer that if you have a will to not
give up and adapt when change is needed, you will experience great success. As we study
people that have experienced success, we can see that in times of trouble and hardship, they
never gave up.
People skills are very important in determining our level of success. Since we are dealing with
people all the time, it is good to learn how to relate to others. Dale Carnegie has a book that I
recommend, called - How to Win Friends and Influence People. Its not a book on manipulation,
but on understanding how others may think and act the way they do, and how to work with them.
I feel that it is very important that we dont burn bridges. The music world is a lot smaller than we
think. We dont know when we will need either a good reference or a connection down the road,
that we cant see now. As much as possible, live in peace with others.
73
Conclusion
I hope that you have enjoyed the Drum Fill System as much as I had in making it. This package
can be a great resource for your entire drumming career. With things like the fill permutation and
the Trillion Fill Formula, it is quite endless what one can do. I hope that the Drum Fill System will
unleash your own creativity, and that you will begin to experience music at a whole new level,
that you didnt think was possible. Take care, and happy drumming!
74
75