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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

DVD 3 - Trillion Fill Formula

Trillion Fill Formula................................................................. 27

DVDs 4 & 5 - Intermediate

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

DVDs 8 & 9 - Play-Alongs


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

Copyright 2010 Railroad Media, Inc.

Copyright 2010 Railroad Media, Inc.

THE DRUM FILL SYSTEM


I would like to welcome you to the Drum Fill System. Fills are a very
important part of a drummers expression on the drum set. If one has
a good grasp of the how, when, why, and what to play - one can help
take the song to the next level of musicality with greater ease. With
the Drum Fill System I will take you through the how, when, why, and
the what. This way, you can reach a new musical height.

On the onset, I do want to emphasize that


becoming a good drummer takes time, and
to be an excellent musician takes even more
time. Its like that old saying, you get out of it
what you put into it. I have been playing drums
for almost 30 years and have taught 1000s
of people in person, and over the Internet. I
love playing the drums more now than ever
before. Theres not much else that I can relate
drumming in a band to, as it is so rewarding! We
need to be that driving force!
As you work your way through the Drum Fill
System, some of you might be thinking that
the fills are too much the same. I wrote them
that way for a reason. Its like the letter i - it
is used in small words, (like I), as well as very
extravagant words. A toddler will use it as well
as great philosophers and poets. Its also used
in childs play, and in monumental speeches.
The diversity of the letter i is much the same
concept as these fills. Im going to take you
through all kinds of nuances that will highlight
and diversify your personal creativity on the
drum set.

Copyright 2010 Railroad Media, Inc.

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.

Copyright 2010 Railroad Media, Inc.

How To Use This System


The Drum Fill System was written for two purposes. One is to teach you how to write and create
an endless supply of fills and patterns you can use in your drumming. The other purpose, is to
provide you with an encyclopedia of drum fills that you can, practice, morph, and use in your
everyday drumming. For this reason, I have compiled 2 workbooks for you: the DVD Workbook
and the Encyclopedia of Drum Fills.
The DVD Workbook directly correlates with the DVDs that come with the Drum Fill System. You
can watch every fill I play on the DVDs, and find it in this book. From the first beginner DVD to
the last extras DVD, the fills and exercises taught will all refer to this book.
The Encyclopedia Of Drum Fills book is a massive compilation of over 1100 fills! When you are
watching the discs, there may be times where you want to take what you have learnt one step
further. When this happens, turn to the Encyclopedia Of Drum Fills. There, you will find even
more fills than taught on the discs.
The DVDs are structured in an easy to understand chronological way.
Here is the structure of the DVDs, and how they relate to the book:

Beginner DVDs Part I & II

Advanced DVD

This section discusses the basics of drum


theory and drum fills. Start at this section
no matter what skill level you are at.

Take your drum fills to the next level


in this section. Advanced drum fills
are challenging, and offer a lot of
versatility.

The Trillion Fill Formula

Additional Exercises & Extras DVD

Take a look at the formula I have


developed to create an endless amount
of drum fills!

Here you will find additional patterns,


techniques, and extras that you can
use in your drum fills.

Intermediate DVDs Part I & II

Play-Alongs DVDs

This section covers the intermediate


section of the Drum Fill System. Start
applying your fills to styles of music.

This section will direct you through the


Play-Alongs on the Drum Fill System,
with CD track listings as well.

Book Pages 13 - 26

Book Pages 27 - 29

Book Pages 30 - 48

Copyright 2010 Railroad Media, Inc.

Book Pages 49 - 66

Book Pages 67 - 70

Book Pages 71 - 72

A Good Practice Routine


A big question I get is, who is the best teacher? I can answer that very simply by saying - YOU
are. As you begin to learn from others you also need to learn to teach yourself. I always try to get
my students to the point where they can teach themselves. You may see a teacher once a week,
but you are with yourself all the time. If you dont learn how to teach yourself or practice properly,
you will spend most of your time doing things wrong. If this happens, there is very little a teacher
can do for you, no matter how good they are. Being a good teacher to yourself will take time, but
soon you will hear what you need to do as your ears develop.

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:

Drum Rudiments---------------- 15 min.


Drum Fills------------------------- 15 min.
Soloing to a Click--------------- 15 min.
15 min.
Styles of Music-------------------

Copyright 2010 Railroad Media, Inc.

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!

Using Your Metronome


With a metronome, its good to have a variety of tempo settings. Most of us have a gravity
tempo. This is basically the tempo we feel most comfortable playing. This is the tempo we have
the tendency to speed up or slow down to during our playing. What has helped me throughout
my drumming life is to start at a tempo that is easy for me to play the pattern to, and set the click
to that. When the pattern is sitting well with the click, I will then slow it down and speed it up.
Depending on the exercise, I will then go down to as slow as 35 bpm, and as fast as 300 bpm. It
is best to do all the speeds and move up and down in certain increments. What I like to do is go
in increments of ten. For example, Ill start at 50, and move up to 60, 70, and so forth. Then, I
will do 55, 65, 75; then 52, 62, 72; again 57, 67, 77 - you get the idea. Doing this will prevent me
from getting bored with the tempos moving so slowly. I also dont want to take a year to get to
faster tempos that I can use right now.

Copyright 2010 Railroad Media, Inc.

...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.

Balance Your Practice Time With Strengths and Weaknesses


While working on this material, I want you to be balanced in your practice. Meaning, I would like
you to work on your weaknesses, but also your strengths. In the past, when Ive worked on just
my weaknesses, it was all I could think of when I started playing with people. I wanted to play my
weaknesses in those songs so I could get better at them; which was nice, but not so good for the
musicians that I was playing with. Working with our strengths will help us be more positive. With
that, we can be confident in what we can do and not always think about what we cant. This way,
we can bring our best to the music and leave our practice in the practice room.
So, even if you are very confident with your beginner fills or your triplet fills, remember to keep up
with your practice. Now this does not mean you have to practice them as much, just do not forget
to continually work on all aspects of drumming. This way, you will create a good balance between
your strengths and weaknesses on the drums, and remain positive.

10

Copyright 2010 Railroad Media, Inc.

Find A Healthy Competition


Its very important to have healthy competition. By this, I mean I dont want us to get depressed
about what others can do and we cant. Its great that we can learn from others, but everyone is
on their own journey. I remember being upset with my progress a few years ago. I remember my
wife asking me, well are you a better drummer than you were last year? My answer was yes.
That allowed me to stand back and realize that not everyone gets the same chances and has the
same gifts. There are some people that are half my age doing things that I will never be able to
do in my life time - whether that is because of natural talent or just the availability of practice time.

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.

Copyright 2010 Railroad Media, Inc.

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

Copyright 2010 Railroad Media, Inc.

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!

Copyright 2010 Railroad Media, Inc.

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.

Before you even start on the exercises on theory, make sure


you know what the notation for a drum set is on sheet music.
On the following page you will see a notation key. This is to
show you what each note looks like, and what it represents on
the drum kit. Once you are familiar with this, you can move onto
the exercises on theory.
On the theory exercises following the notation key, I start out
by breaking each note value down, starting at a whole note
and going all the way to 32nd notes. Exercises 10 through
15 will then discuss rests, dotted notation, and ties. These are
all discussed on the Beginner DVD Part I, so if you have any
concerns, just refer to the video.

14

Copyright 2010 Railroad Media, Inc.

Drum Notation Key


Bass Drum

Snare Drum

Hi-Hat

2nd Tom (Mid Tom)

1st Tom (High Tom)

Cowbell

o
x

o
x

Closed Hi-Hat

+
x

Ghost Notes

( )

( )

>

>

Accented Notes

+
x
( )

Hi-Hat With Foot

Open Hi-Hat

Ride Cymbal Bell

2nd Bass Drum

Cross-Stick

3rd Tom (Low Tom)

Crash Cymbal (Choked)

Ride Cymbal

( )

Copyright 2010 Railroad Media, Inc.

>

>

15

Whole Note
1)

Half Notes
2)

Quarter Notes
3)

Quarter Note Triplets


3

4)

8th Notes
5)

16

Copyright 2010 Railroad Media, Inc.

8th Note Triplets


3

6)

16th Notes
7)

16th Note Triplets


3

8)

32nd Notes
9)

Quarter Note Rests


10)

Copyright 2010 Railroad Media, Inc.

17

8th Note Rests


11)

8th Note Triplet Rests


3

12)

Dotted Notes

13)

Tie

14)

No Tie

z
15)

18

Copyright 2010 Railroad Media, Inc.

Beat! Fill Beat Exercises


!
DVD 2 - Beginner Part II

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!

8th Notes To 8th Note Triplets


3

1)
16)

2)
17)

x x x x x x x x

x x x x x x x x

3
3

Copyright 2010 Railroad Media, Inc.

19)

18)
3)

19

3
3

4)

x x x x x x x x

16th Notes To 16th Note Triplets


3

20)
5)

xxxx xxx xxxx xxx

3
3

7)
22)

6)
21)

3
3
xxxx xxx xxxx xxx

16th Notes To 32nd Notes

8)
23)

24)

20

Copyright 2010 Railroad Media, Inc.

9)

xxxx xxx xxxx xxx

10)
25)

xxxx xxx xxxx xxx

26)
11)

xxxx xxx xxxx xxx


8th Note Triplets To 16th Notes


27)

12)

28)
13)

x x x x x x x x x x x x

Copyright 2010 Railroad Media, Inc.

21

29)
14)

x x x x x x x x x x x x

8th Note Triplets To 8th Notes


3

15)
30)

16)
31)

x x x x x x x x x x x x

8th Notes To 16th Notes

17)
32)

33)
18)

x x x x x x x x

22

Copyright 2010 Railroad Media, Inc.

19)
34)

x x x x x x x x

35)
20)

x x x x x x x x

8th Note Triplets To 16th Note Triplets


3

3
3

36)

21)

3
3
x x x x x x x x x x x x

Copyright 2010 Railroad Media, Inc.

23

Fills In A Musical Context


DVD 2 - Beginner Part II

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)
40)

x x x x x x x x

j
x xx xx xx

24

Copyright 2010 Railroad Media, Inc.

40)

x x x x x x x x

6)42)

x x x x x x x x

7)43)

z z
z z
x x x x x x x x

5)
41)

8)40)

xxx xxx xxx xxx



9)45)

x x x x x x x x

" "

46)

25

Copyright 2010 Railroad Media, Inc.

x x x x x x x x

45)

x x x x x x x x

10)
46)

x x x x x x x x

" "

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

Copyright 2010 Railroad Media, Inc.

Trillion Fill Formula


DVD 3 - The Trillion Fill Formula

In my opinion, this section is


virtually endless. Any drummer at
any developmental stage can get
something out of this if they just
apply themselves. You can start
with the beginning of a pattern,
or with a pattern that interests
you the most. You can also take
any one of your favorite fills you
already know, and apply this
formula to that! I find this section
very interesting, in that the only
limiting component is how creative
I want to be.
There are so many different ways you can use this formula, and I encourage you to use it as
much as you can. Never again will you be short for fills!
What I recommend if you are having a hard time being motivated or being creative is to get in
with a band where you are being challenged. This will give you more of a need for this material.
As you get better at writing out these fills, you will get better at reading; therefore increasing
your musicianship, which will make you a more valuable player. Also, try adding rudiments into
the patterns for an extra challenge and creativity. Remember, the mother of all invention is
necessity.

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!

Copyright 2010 Railroad Media, Inc.

27

DVD 3 - Trillion Fill Formula


3

1)
47)

3)
49)

4)
50)

j
3
3
> 3 >
> 3 >
x
x x
x x
x x



3
3
>
>
j
3
3
> >
x
x x
x x
x x

> 3 >
j
3
3
3
>
>
x
x x
x x
x x

>+ 3
o
j
x
x
x x
x x
x x




3

5)
51)

j
3
3
3
3
x x
x x
x x
x



2)
48)

28

> 3 >
o> + 3
3
z
z
x

Copyright 2010 Railroad Media, Inc.

6)
52)

x x x x x x x x

53)
7)

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 x x x

o>
>
>
> x

54)
8)

55)
9)

56)
10)

Copyright 2010 Railroad Media, Inc.

>o
x

o> > > >


z z z
x

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

Copyright 2010 Railroad Media, Inc.

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.

Fills 1 - 5 Rock Fills


Rock is one of the most popular styles of music these days; so learn these fills and how to
apply them to music. The rock fills you will see on the DVD are notated on page 34, and
are all in 4/4 time. Have fun with these, and remember, for more rock fills check out the
Encyclopedia of Drum Fills!

Fills 6 - 10 Heavy Metal Fills


This is a style that drummers have misconceptions of. With heavy metal, some of the jazz
guys might think that it is too basic, and is just a bunch of hard slamming. To play heavy
metal musically can be very challenging. One needs to understand the mood and energy to
be able to play it well. There are a lot of techniques that are needed to be able to play with
all that energy, and not tire out. One needs to know how to be dynamic in a setting that may
seem to be one volume. I feel that there are a lot of subtleties within heavy metal music that
are not seen on the surface, and wont be discovered until one dives into the style.One
needs to have a good understanding of the Moeller technique to get the power, and one
also needs a good relaxed grip, or else one could wreck their wrists. Have fun with these!

Fills 11 - 13 Funk Fills


Funk is a very fun style of music to play. There are a lot of aspects to drumming that make
funk so unique. These fills will give you an idea of what they are. Refer to the Encyclopedia
Of Drum Fills for more!

Copyright 2010 Railroad Media, Inc.

31

Fills 14 - 18 Bossa Nova Fills


The Bossa Nova is a very popular style of Latin music. Learning how to play drum fills in
the Latin style will increase your creativity in all styles of music. Notice how the beats before
the fills are a 3 bar pattern. This is to accommodate the clave pattern in the groove.

Fills 19 - 23 Jazz Fills


These fills are very common in jazz. There are 2 fills I show using brushes, and then 3 fills
using sticks. As you first get into brushes, try to get a nice smooth sound. You are in no way
limited by this, but it is nice to master this texture before moving on. This way, you will
understand the broad spectrum of brushes. After you get a good feel for them, you can go
through the entire encyclopedia with this approach. Again, broadening your perspective of
drum fills. Enjoy!

Fills 24 - 29 Shuffle Fills


For this section, I demonstrate how to implement drum fills from a shuffle beat. I show 3
examples of a full time shuffle, then 3 examples of a half time shuffle! Shuffles are used in
a lot of blues music, as well as jazz and classic rock. Learning to play fills with this triplet
feel is challenging, so take your time.

Fills 30 - 31 Reggae Fills


This is a quick section, however reggae has a unique feel and style. Notice the beat I play
before the fill. This is important to set up that reggae groove. Reggae may not be the most
popular style of music, still, the concept behind it is unique. Mastering this will allow you to
start changing up your playing style in all sorts of other musical genres.

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

Copyright 2010 Railroad Media, Inc.

Fills 32 - 33 Country Fills


I see country music in much the same way that I see heavy metal music. Some of the
drummers might think that country is just too basic. Again, there is a mood and a texture
to the style that I believe one cant appreciate until one gets in the setting long enough to
discover it.

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.

Fills 34 - 38 Double Bass Fills


This section is a challenging one, as I incorporate my left foot into drum fills. Take this
section slow at first. Be sure you are playing the patterns correctly. Adding in double bass
to your fills is a great way to add another voice to your drumming. Most of the time the bass
drum is not a dominant voice for fills. This is why incorporating it into your drum fills is a
great way to add some flare!

Copyright 2010 Railroad Media, Inc.

33

Rock Fills

57)
1)

x x x x x x x x

58)
2)

x x x x x x x x

59)
3)

x x x x x x x x

>
>

60)
4)

x x x x x x x x

61)
5)

x x x x x x x x

34

Copyright 2010 Railroad Media, Inc.

Heavy Metal Fills


6)
62)

x x x x x x x x

7)
63)

x x x x x x x x

64)
8)

x x x x x x x x

65)
9)

x x x x x x x x

>
>

10)
66)

x x x x x x x x

Copyright 2010 Railroad Media, Inc.

35

Funk Fills
11)
67)

x x x x x x x x

o +
x

oj +
x

R L L...
3

12)
68)

13)
69)

x x x x x x x x

x x x x x x x x

o +3
3
3
x

o + o + o + o +
x
x
x
x

xy
x

Bossa Nova Fills

14)
70)

xy

x
x

36

xy

xy
x

Copyright 2010 Railroad Media, Inc.

xy

x
x

x
x

xy

xy
x

71)

xy

xy
x

xy

x
x

15)
71)

xy

x
x

xy

xy
x

xy
x

xy

x
x

xy

x
x

xy

xy
x

xy

x
x

xy

xy
x

16)
72)

xy

x
x

xy

xy
x

xy
x

x
x

x
x

xy

xy
x

72)

xy

xy
x

>

>

x xy x

x
>

x
>

x

Copyright 2010 Railroad Media, Inc.

xy

37

x
x

xy

xy
x

73)

xy

xy
x

xy

x
x

17)
73)

xy

x
x

xy

xy
x

xy
x

xy

x
x

x
x

18)
74)

xy

x
x

xy

xy
x

xy
x

xy

x
x

x
x

xy

xy
x

74)

xy

xy
x

xy

x
x

xy

x
x

xy

xy
x

x
x

xy

x
x

xy

xy
x

x
x

38

Copyright 2010 Railroad Media, Inc.

Jazz Fills - Brushes


Left Hand Circles. Once per quarter note.

19)
75)

3
3
3
3
3
3
3
>
>
j
j

x
x

Left Hand Circles. Once per quarter note.


3

20)
76)

j
j
j

x
x
Jazz Fills - Sticks
3

21)
77)

j
x

x

x

22)
78)

j
x

23)
79)

j
xx

x

x

j
x

j
xx

x

x

j
3
3
z
z
x
j


x

j
x

x

3
3

j
j j j j j j

j
xx

3
j
j
3
3
3
3
j
z
x
j
j

j

Copyright 2010 Railroad Media, Inc.

39

Full Time Shuffle Fills


3

3
3

24)
80)

x x x x x x x x

j
j

25)
81)

x x x x x x x x

3
z z
z
j
j

3
3

26)
82)

x x x x x x x x

Half Time Shuffle Fills


3

27)
83)

3
3
3
3
>
>
>
>
>
>
x x x x x xx x

28)
84)

3
3
> 3 >
> 3 >
>
>
x x x x x xx x

40

Copyright 2010 Railroad Media, Inc.

29)
85)

3
3
> > 3 >
>
3
>
>
x x x x x xx x

Reggae Fills
3

30)
86)

x x

31)
87)

x x xx x

x x x x x x x

( )

( ) ( )

Country Fills
32)
88)

>
>
>
> >
> >
> > >

x
x
x
x
x
x
x
x

33)
89)

>
>
>
>
> >
>>
> >
> >

x
x
x
x
x
x
x
x

Copyright 2010 Railroad Media, Inc.

41

Double Bass Fills


34)
90)

x x x x x x x x

x x x x x x x x

z
z
z

36)
92)

x x x x x x x x

o
x

x x

37)
93)

x x x x x x x x

38)
94)

x x x x x x x x

35)
91)

42

+ o
x

x

Copyright 2010 Railroad Media, Inc.

>
>

x x x

> >
.
x .

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 >

Copyright 2010 Railroad Media, Inc.

43

4)
98)

x x xy x x x xy x

5)99)

x x xy x x x xy x

100)
6)

x x x x x x x x

Right hand floor tom

101)

x x x x x x x x
x

Right hand snare and floor tom

102)

x x x x x x x x
j

x
x

44

Copyright 2010 Railroad Media, Inc.

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

Right hand floor tom

1)
101)

x x x x x x x x
x

Right hand snare and floor tom

2)
102)

x x x x x x x x
j

x
x

Hand-To-Feet Combination Fills


On the following page I go through a number of hand-to-feet combination fills. These are a great
way to improve your independence with all 4 limbs. The most challenging aspect to hand-to-feet
combos is the timing with your feet. Most drummers are not used to incorporating their feet into
patterns they are playing with their hands. So make sure you play these with a metronome, and
are playing each note on time. Only then will the fill sound complete.

Copyright 2010 Railroad Media, Inc.

45

1)
103)

3)
105)

L R L
3

L R L

R L
3

5)107)

4)
106)

L
3

2)104)

R L R L
3

46

Copyright 2010 Railroad Media, Inc.

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)

z.
x x x x x x x x





.
Flam Taps

5)
112)

x x x x x x x x

113)
6)

x x x x x x x x

Drags

7)
114)

x x x x x x x x

o+
x

>
115)
8)

x x x x x x x x

48

Copyright 2010 Railroad Media, Inc.

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.

Another good way to work with your fills is to play to a


sequencer, and have the sequencer play one bar of time and
then one bar of silence. During the one bar of silence just
improve your fills. Do it in two different feels, one straight, and
the other in triplets. Have a range of tempos from 35 bpm to
300 bpm, depending on the style. Then, increase the amount
of silent bars as you get more comfortable. My goal is to get to
one bar of time and then 12 bars of silence. As you find areas
of interest and challenge, there can be endless opportunities of
exploration.

Copyright 2010 Railroad Media, Inc.

49

Fills In Odd Meters


DVD 6 - Advanced

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

Copyright 2010 Railroad Media, Inc.

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

Copyright 2010 Railroad Media, Inc.

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

Copyright 2010 Railroad Media, Inc.

j
j j j

Common Time To Odd Time


DVD 6 - Advanced

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

Copyright 2010 Railroad Media, Inc.

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

> > >


> > >
>
j j j j j j j j j > >
x x x x x x x x x

139)
11)

7/8
140)
12)

>
> >
>
> >
j j j j j
j >
x x x x x x x

Copyright 2010 Railroad Media, Inc.

55

Beat Inflection Fills


DVD 6 - Advanced

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

Ghost Note Embellishments

3)
143)

x x x x x x x x

56

x x
x
x
x
x

( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )

Copyright 2010 Railroad Media, Inc.

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.
.

Copyright 2010 Railroad Media, Inc.

o
x

o
x

57

Double Pedal Embellishments


3

9)149)

150)
10)

x x x x x x x x

x x x x x x x x

x
x
x
x

Single Pedal Embellishments

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

Copyright 2010 Railroad Media, Inc.

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)

Copyright 2010 Railroad Media, Inc.

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

2) Leading with the left hand


ThereLare literally
R
Lthousands
R ... of fills you can come up with; however, for training purposes I will
show
2 examples.
One is an 8th note triplet pattern, while the other is a 16th note pattern.
3) you
Right
hand Lead
Follow
see how
a)RalongLwith Lthe DVD
R to R
L to change
L
Rthese
R patterns
L Lup. When
R you
R think
L youL haveRthe
concept down, refer to the permutation section in the Encyclopedia Of Drum Fills for more!
b)R L
L
L
R L
L
R R L L
L
R
L L
L
4) Left
Lead
The
firsthand
thing you
want to do is play these fills with different sticking patterns, as well
as right
a)L
R andRleft hand
L leads.
L RInstead
R of Lalternating
L RR-L-R-L,
R try
L R-L-L
L orRL-R-RRetc. L
Once
you
have
that
covered,
it
is
time
to
change
the
fills
b)L R
R R L R
R L L R R
R L up. R R
R
To Now
change
the you
fills, you
justthe
change
the voice
of the accents.
youaccents
can see in
these examples,
that
know
sticking
we want
to moveAsthe
around
to different
I will change the voice of the accents to the bass drum, snare rim shot, toms, and crash
voices on the kit.
cymbal. This will change any fill you have, and make it sound completely different.

1) Accents on the snare with a rimshot


2) Accents
on more
the toms,
right
on the floor
tom
handAgain,
on the
tom
Finally,
to add even
change,
turnhand
the unaccented
notes
intoleft
doubles.
this1st
changes
Accents
onfill,
the
crash
with
the bass
drum
the3)
dynamic
of the
and
makes
it sound
a lot more
unique. Memorize the accents in these 2
examples
below,
and
follow along
the fills
the next
pages.
4) Right
hand
accents
withwith
crash
andonbass
leftfew
hand
with open hi-hat and bass
5) Just for leading with the right and hand (#1and 2 from above). Doubles on the
unaccented notes and singles on the accented ones.
Example #1 - Fills 1 - 14

>

>

1) Leading with the right hand


R
L
R ...
Example #2 - Fills 15 - 27
2) Leading with the left hand
L
R
L ...
>
3) Right hand Lead >
a) R L L R L
b) R
L
L
R
L
4) Left hand Lead
a) L
R
R
L
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60

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Copyright 2010 Railroad Media, Inc.

R L
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2) Leading with the left hand

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Copyright 2010 Railroad Media, Inc.

61

160)
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62

Copyright 2010 Railroad Media, Inc.

165)
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63

16)
170)

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64

Copyright 2010 Railroad Media, Inc.

L R L R...
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Copyright 2010 Railroad Media, Inc.

>o +
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65

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66

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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

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67

Using The Encyclopedia Of


! Drum Fills
!
DVD 7 - Additional Exercises & Extras

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!

10 Ways To Change A Fill

1. Play the fill backwards.


2. Take the first 8th note value of the fill and put it on the end, to make a 9/8 fill.
3. Take the last quarter note off, making it a 3/4 bar.
4. Double up the notes on your drums.
5. Take the first quarter note of the bar and add it on the end, to make it a 5/4 fill.
6. Add in the ending of a different fill.
7. Take one quarter note beat from 4 different fills and add them all together.
8. Take half of one fill, and half of another, and rearrange it.
9. Add a 3/4 fill to an existing fill, to make it a 7/4 fill.
10. Take the last 8th note off to make a bar in 7/8.

Original Fill

185)

x x x x x x x x

Play the fill backwards

1)
186)

x x x x x x x x

68

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Change the fill to 9/8

2)
187)

j j j j j j j j j
x x x x x x x x x

Change the fill to 3/4

3)
188)

x x x x x x

Double up the notes

4)
189)

x x x x x x x x

Change the fill to 5/4

5)
190)

xx xx xx xx xx

Add in the ending from a different fill

6)
191)

x x x x x x x x

Copyright 2010 Railroad Media, Inc.

69

Take one quarter note beat from four different fills

7)
192)

x x x x x x x x

Take half of one fill, and half of another, and rearrange it

193)
8)

x x x x x x x x

Change the fill to 7/4

194)
9)

xx xx xx xx xx xx xx

Change the fill to 7/8

10)
195)

j j j j j j j
x x x x x x x

70

Copyright 2010 Railroad Media, Inc.

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!

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71

CD Track Listings
CDs 1 - 5

CD 1 - Drumless Tracks

CD 2 - Drumless Tracks With Click

CD 3 - Band Tracks

CD 4 - Band Tracks With Click

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

17. 130 BPM


18. 135 BPM
19. 140 BPM
20. 145 BPM
21. 150 BPM
22. 155 BPM
23. 160 BPM
24. 165 BPM

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25. 170 BPM


26. 175 BPM
27. 180 BPM
28. 185 BPM
29. 190 BPM
30. 195 BPM
31. 200 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.

Copyright 2010 Railroad Media, Inc.

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

Copyright 2010 Railroad Media, Inc.

Credits & Special Thanks


Produced by: Jared Falk
Featuring: Lionel Duperron
Director of Cinematography: Nick Metzger
Graphic / Product Design: Dave Atkinson
Head Post Editor: James Falk
Assistant Editor: Jeff Claassen
Assistant Editor: Victor Guidera
Audio Engineer and Mastering: Victor Guidera
Audio Engineer: Steve Klassen
Guitar: Nate Savage & Steve Davis
Keyboards: Brett Ziegler
Drums: Lionel Duperron
Bass: Steve Klassen

Lionel would like to thank:


I would like to thank Jesus Christ for helping me to be the father and husband that I have always wanted to be.
Thanks to my wife Angela, for your support and commitment to me and our children.
To my children Joshua, Madelaine, and Ta for allowing me to have a fuller and happier life.
For all the hard work of the Railroad Media team, who made this product possible.
To Casey Drums, for helping the drumming community to progress.
And to Steve Klassen for always keeping us laughing.

Railroad Media, Inc.


Drum Fill System - Copyright 2010
Railroad Media, Inc. All Rights Reserved Worldwide

Copyright 2010 Railroad Media, Inc.

75