I don't do that, I improvise, using pretty simple patterns-- combinations of RLB, RLBB, RLRLB, maybe RLRLBB. RLRL-BRLB is an easy combination to do fast, and it sounds good, and I never play it because I don't want to be that on-purpose about it.
Some drummers have a thing about playing a part or fill more than once, but I'm not really sure why. I don't know if it's an "I must always evolve and grow" thing, or if they just don't know what they want.
This seems to be a common thing. Limiting your fill choices will definitely force you to come up with new ones. But it doesn't take into account why the fill is there in the first place.
The fill played should depend on the purpose of the fill. Sometimes the fill is a not really a fill, but instead a "part" -- the song relies on it, and listener expects to hear a specific thing from the drums. But sometimes a fill really is just a fill: a way to fill space and/or create tension in the music. In this case, the style of fill depends on the overall style of the song, the expectations of the audience, and the particular energy of the ensemble performing the tune. It takes a certain musical maturity to know the difference.
Do you always incorporate memorized patterns, or do you sometimes completely improvise linear fills? I'm referring to longer fills, like a 16th note fill over 2 or 3 bars.
Sometimes, instead of playing a non-essential/signature fill, I'll just play the beat straight through, not even a crash on the 1. That non-fill is also a fill of sorts, and can set-up the next section in a cool way. Deciding to not fill is a very spontaneous decision though, I don't set-out at the start of the song with the idea that coming out of the solo, I won't do a fill. So I am always thinking, but it's always with the best parts & fills in mind. If it's a signature fill, I do it the 'correct' way every time, without fail, and take great pride knowing that I'm serving the music.
Bermuda
I practice alot of groups of 3,5 and 7
so examples of 3
Rlk, rLk, RLk, kRl, krL, Rll
some 5
RlRll RlRlK, rrllk
7
RlRlRlk RlRlRll and so one
If you want to sound fresh (and SPECIALLY to yourself) the second is the way to go...
This is the Gary Chaffee approach (who taught Tony Williams, Steve Smith, and Vinnie Colaiuta), which is taught in the Technique Patterns book. This is NOT what most of the gospel players are doing; they are playing quick patterns of 4 (as 32nds or 16ths) and 6 notes (as sextuplets), most often, not too many 3s, 5s, and 7s. However, the 3s can be combined into groups of 6, to be played as sextuplets.
Both approaches are worthwhile of course, but the gospel approach is more downbeat oriented and less "jagged" (syncopated). This is a good thing! It means you can play super flashy stuff, without throwing off your band too badly. The fundamental difference is that the Chaffee approach teaches you to play odd groupings, while the gospel approach relies on even groupings.
I like this though. More often its what you DON"T play that makes the music. A solid groove for a whole song will never get you in trouble, even if you don't play a single fill or crash... You go over the top on one fill and you risk ruining the song completely or standing out at least.
I actually tried this in my band last night.. I have one fill I over used in a few songs so rather than change it I just kept the beat going over that spot and it felt and sounded awesome.. Maybe I'm maturing haha.
There is a time and place though. Everything in context
In a band setting too many fills, to long of fills, too crazy of fills are terrible. If I'm playing in a blues gig, or to some straight forward song and you start doing some beat displacement and modulation because you think your going to look badass your wrong.
On the other hand, when I am in my bassment jamming out to spotify or music I LOVE doing that stuff. or even just playing solo on the kit in my bassment. I really do enjoy over playing and doing fills when no one is around / soloing. Would I do this on stage? no.
My genera of music calls for shredding guitars and the drums are really up front with blast beats and double bass so If I do an over the top every 8-16 bars I blend right in.. Even still I try to hold back.
I was going to state to OP.. tempo of the song often decides for me if its a memorized pattern. If I'm playing metal at 230 BPM you better believe its a simple memorized fill I have done 1000x as my brain doesn't work that fast... If I am grooving out to some nice slow funk I can change it up on the fly and not worry. Once you have the muscle memory down for the patterns I just hear it in my head and play it in real time.
Well my first question is who wouldn't want to play like Tony Williams, Steve Smith, and Vinnie Colaiuta? hahahaha
I love the jaggged syncopated stuff personally, but I am interested about the gospal stuff.
Got any links to books, lessons, videos explaining this?
or are you just saying do the same thing with 4 and 6?
like rlkk, rlrlkk, rllk, and so on?
...These are the type of fills I was wondering how many people can improvise, because I know most of the time they are memorized (with good reason).