All sounds a bit Zen hehehe.
Yes! A fill isn't a mini solo that has nothing to do with the song. It's not your time to show off your new chops, it's a chance for you to express a musical idea in the context of the song that you are playing.Amen!!!
will drummers ever understand this ?????
been preaching this for years
please stop thinking of "beats" and "fills" as separate entities and start thinking about music ....for the love of Pete !!!!
OK, yeah. That makes a lot of sense.This from Wiki.
"In popular music, a fill is a short musical passage, riff, or rhythmic sound which helps to sustain the listener's attention during a break between the phrases of a melody."
This is the idea I am trying to convey.
That's certainly how a lot of players do it.I think "fill" is short for filibuster.
That's where the drummer decides to take over the song and nobody can do a thing about it until the drummer relinquishes control over the song.
the first "fill" I introduce is always the 4e+ of measure 4 of which we use "banana"That's certainly how a lot of players do it.
For my students, their first fills are always presented as a whole bar of eighths following on from an 8th note groove. I introduce the idea of 4-bar phrases at the same time so they begin to understand where and why fills generally take place, their role as connections/signposts in the music and how they're part of the overall groove or time feel of the song.
I get them using their first fills along with tracks immediately, so they can develop the ability to keep their time steady when they leave the comfort of the hihats and snare drum to venture around the kit. I'll even have them just play the fills alone along to tracks so they can hear them as part of the music. Tommy Igoe's tracks are great for this, especially the first few grooves in Volume I. They follow simple musical forms and the chord progressions are often 4 bars in length. This way, they learn to HEAR where the fill commences and when to return to their groove based on the musical signals (harmony, hooks, etc.) in the track. Of course, it sounds clunky when they play a fill every 4 bars at first, but once they understand and can hear basic form it's not difficult to get them to lengthen their phrases to 8, 12, 16 or more bars to fit the tune. Again, Igoe's stuff is really helpful because the charts show where different instruments enter and exit and it's easy to have the student play a fill as an introduction to a new instrument being added or subtracted.
The important thing is to present fills in musical context. They're never presented as stand-alone rhythms or licks. Even when explaining a new fill idea, it's always immediately linked back to timekeeping. Even young students are quick to grasp the idea that a fill's job is to provide a variation on the groove and a signal that the phrase has ended and a new one is about to begin.
I usually don't have too many problems with them understanding that more complicated fills generally need to follow the same principles later.