DFS Workbook

75

description

dfs

Transcript of DFS Workbook

Page 1: DFS Workbook

DVD Workbook

By: Lionel Duperron

Page 2: DFS Workbook
Page 3: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

DVDs 1 & 2 - Beginner

DVD 3 - Trillion Fill Formula

DVDs 4 & 5 - Intermediate

DVD 6 - Advanced

DVD 7 - Additional Exercises & Extras

DVDs 8 & 9 - Play-Alongs

The Drum Fill System............................................................. How To Use This System........................................... A Good Practice Routine............................................ Tension Of Beats..........................................................

Beginner Section...................................................................... Drum Theory................................................................... Beat Fill Beat Exercises.............................................. Fills In A Musical Context...........................................

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

Intermediate Section............................................................... Styles Of Fills................................................................. Dynamics In Fills........................................................... Independence Fills....................................................... Rudimental Fills.............................................................

Advanced Section................................................................... Fills In Odd Meters........................................................ Common Time To Odd Time..................................... Beat Inflection Fills....................................................... Drum Fill Permutations................................................

Crossover Patterns.................................................................Using The Encyclopedia Of Drum Fills..........................

Play-Alongs............................................................................... CD Track Listings..........................................................

My Take On Success.............................................................. Conclusion................................................................................. Credits & Special Thanks...................................................

05070812

13141924

27

3031434547

4950535660

6768

7172

737475

Table Of Contents

3

Page 4: DFS Workbook

Copyright © 2010 Railroad Media, Inc.4

Page 5: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

THE DRUM FILL SYSTEMI would like to welcome you to the Drum Fill System. Fills are a very important part of a drummer’s 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. It’s 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 1000’s of people in person, and over the Internet. I love playing the drums more now than ever before. There’s 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. It’s 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. It’s also used in child’s play, and in monumental speeches. The diversity of the letter “i” is much the same concept as these fills. I’m going to take you through all kinds of nuances that will highlight and diversify your personal creativity on the drum set.

5

Page 6: DFS Workbook

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 it’s 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 don’t 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. I’m 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.

6

Page 7: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

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:

This section discusses the basics of drum theory and drum fills. Start at this section no matter what skill level you are at.

Here you will find additional patterns, techniques, and extras that you can use in your drum fills.

Take a look at the formula I have developed to create an endless amount of drum fills!

This section will direct you through the Play-Alongs on the Drum Fill System, with CD track listings as well.

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

Take your drum fills to the next level in this section. Advanced drum fills are challenging, and offer a lot of versatility.

Beginner DVDs Part I & IIBook Pages 13 - 26

Additional Exercises & Extras DVDBook Pages 67 - 70

The Trillion Fill Formula Book Pages 27 - 29

Play-Alongs DVDsBook Pages 71 - 72

Intermediate DVDs Part I & IIBook Pages 30 - 48

Advanced DVDBook Pages 49 - 66

How To Use This System

7

Page 8: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

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 don’t 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 it’s 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:

A Good Practice Routine

Drum Rudiments----------------Drum Fills-------------------------Soloing to a Click---------------Styles of Music-------------------

15 min.15 min.15 min.15 min.

8

Page 9: DFS Workbook

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 won’t 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!

With a metronome, it’s 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, I’ll 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 don’t want to take a year to get to faster tempos that I can use right now.

Using Your Metronome

9

Page 10: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

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. I’m sorry to say I’m 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.

“...proper practicemakes better...”

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 I’ve 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 can’t. 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.

Balance Your Practice Time With Strengths and Weaknesses

10

Page 11: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

It’s very important to have healthy competition. By this, I mean I don’t want us to get depressed about what others can do and we can’t. It’s 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 aren’t too many Buddy Rich’s 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.

Find A Healthy Competition

11

Page 12: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

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). That’s 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.

Tension Of Beats

12

Page 13: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

Even though this section has the title “Beginner”, I don’t want the more intermediate and advanced players to think that they don’t 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 aren’t 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.

Beginner Section

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 I’m enjoying myself. I feel that it’s vital that you have fun as you begin your musical adventure. If you start a fill section that doesn’t 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!

DVDs 1 & 2

13

Page 14: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

Drum Theory DVD 1 - Beginner Part I

Let’s 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

Page 15: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

Drum Notation Key

œ œ œ œœ œ œ œ

x x x x

x x x x z z z z

œ œ œ œ

œ œ œ œœ œ œ œ

œ œ œ œ

y yt t Å Å Å Å

x x x x

x

o

x

o

x

+

x

+

œ( ) œ( ) œ( ) œ( ) œ

>

œ

>

œ

>

œ

>

Open Hi-Hat Closed Hi-Hat Ghost Notes Accented Notes

Cross-Stick Cowbell Ride Cymbal Bell Hi-Hat With Foot

2nd Tom (Mid Tom) 3rd Tom (Low Tom) 2nd Bass Drum

Ride Cymbal Crash Cymbal (Choked) 1st Tom (High Tom)

Snare Drum Bass Drum Hi-Hat

15

Page 16: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

w1)

˙ ˙2)

œ œ œ œ3)

3

œ œ œ

3

œ œ œ4)

œ œ œ œ œ œ œ œ5)

Whole Note

Half Notes

Quarter Notes

Quarter Note Triplets

8th Notes

16

Page 17: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ6)

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ7)

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ8)

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ9)

œ Œ œ Œ10)

8th Note Triplets

16th Notes

16th Note Triplets

32nd Notes

Quarter Note Rests

17

Page 18: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

‰ œ ‰ œ ‰ œ ‰ œ11)

3

œ ‰ œ

3

œ ‰ œ

3

œ ‰ œ

3

œ ‰ œ12)

j

œ .œ

j

œ13)

z z

Ó14)

z

Œ Ó15)

8th Note Rests

8th Note Triplet Rests

Dotted Notes

Tie

No Tie

18

Page 19: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

! !

3

! !

œ œ œ œ

3

œ œ œ

3

œ œ œ16)

8th Notes To 8th Note Triplets

x

œ

x x

œ

x x

œ

x x

œ

x

17)

3

œ

œœ

3

œœ

œ

3

œ

œœ

3

œœ

œ

x

œ

x x

œ

x x

œ

x x

œ

x

18)

19)

3

œ

œ œ

3

œ œ œ

3

œ œ œ

3

œ

œ œ

1)

2)

3)

Beat Fill Beat ExercisesIn 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 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!

DVD 2 - Beginner Part II

19

Page 20: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

3

œœ

œ

3

œ œ œ

3

œœ

œ

3

œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

20)

16th Notes To 16th Note Triplets

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

x

œ

x x x

œ

x x x x

œ

x x x

œ

x x x

21)

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

x

œ

x x x

œ

x x x x

œ

x x x

œ

x x x

22)

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

16th Notes To 32nd Notes

23) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

24)

4)

5)

6)

7)

8)

20

Page 21: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x x

œ

x x x x

œ

x x x

œ

x x x

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

x

œ

x x x

œ

x x x x

œ

x x x

œ

x x x

25) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

x

œ

x x x

œ

x x x x

œ

x x x

œ

x x x

26) œ œ œ œœ œ œ œ œ œ

œ œ

œ œ œ œœ œ œ œ œ œ

œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

27)

8th Note Triplets To 16th Notes

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3

x

œ

x x

3

x

œ

x x

3

x

œ

x x

3

x

œ

x x28)

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

9)

10)

11)

12)

13)

21

Page 22: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

3

x

œ

x x

3

x

œ

x x

3

x

œ

x x

3

x

œ

x x29)

œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

8th Note Triplets To 8th Notes

30) œ œ œ œ œ œ œ œ

3

x

œ

x x

3

x

œ

x x

3

x

œ

x x

3

x

œ

x x

31) œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ32)

8th Notes To 16th Notes

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

33) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

14)

15)

16)

17)

18)

22

Page 23: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

34) œ œ œ œ

œ œ œ œœ œ œ œ

œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

35) œ œ

œ œœ œ

œ œ œ œ

œ œœ œ

œ œ

3

x

œ

x x

3

x

œ

x x

3

x

œ

x x

3

x

œ

x x36)

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

!

!

DVD 2 - Fills In A Musical Context

19)

20)

21)

8th Note Triplets To 16th Note Triplets

23

Page 24: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

37)

x

œ

x x

œ

x

œ œ

œ œœ

x

œ

x x

œ

x x

œ

x x

œ

x

38)x

œ

x x

œ

x

œ

œœ œ

œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

39)x

œ

x x

œ

œ œ

œœ

œ

3

x

œ

x

3

x

œ

œ

x

3

x

œ

x

3

j

x

œ

œ

‰ ‰40)

3

œ

œ œ œ

3

œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

41) œ œ œ œ

œœ œ œ œ œ œ œ

Fills In A Musical ContextIt 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!

DVD 2 - Beginner Part II

1)

2)

3)

4)

24

Page 25: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

37)

x

œ

x x

œ

x

œ œ

œ œœ

x

œ

x x

œ

x x

œ

x x

œ

x

38)x

œ

x x

œ

x

œ

œœ œ

œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

39)x

œ

x x

œ

œ œ

œœ

œ

3

x

œ

x

3

x

œ

œ

x

3

x

œ

x

3

j

x

œ

œ

‰ ‰40)

3

œ

œ œ œ

3

œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

41) œ œ œ œ

œœ œ œ œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

42) œ œ

œ œ

œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

43)œ œ œ œ

œ œ œ œ œ œ œœ œœœ œ

z

œ

z

œ

œ œ

z

œ

z

œ

3

x

œ

x x

3

x

œ

x x

3

x

œ

x x

3

x

œ

x x

40)

3

œ œ œ

3

œ ‰ œ

3

œ œ œœ

3

œ ‰œ

3

œ

‰ œ

3

œ ‰ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

45) œ œ œ

œ

3

" " œ œ ‰ j

œ

j

œœ

œ

x

œ

x x

œ

x x

œ

x x

œ

x

46) œ

œ

‰ œœ œ œ

5)

6)

7)

8)

9)

25

Page 26: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

42) œ œ

œ œ

œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

43)œ œ œ œ

œ œ œ œ œ œ œœ œœœ œ

z

œ

z

œ

œ œ

z

œ

z

œ

3

x

œ

x x

3

x

œ

x x

3

x

œ

x x

3

x

œ

x x

40)

3

œ œ œ

3

œ ‰ œ

3

œ œ œœ

3

œ ‰œ

3

œ

‰ œ

3

œ ‰ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

45) œ œ œ

œ

3

" " œ œ ‰ j

œ

j

œœ

œ

x

œ

x x

œ

x x

œ

x x

œ

x

46) œ

œ

‰ œœ œ œ

10)

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!

That’s 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!

26

Page 27: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

Trillion Fill FormulaDVD 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, I’ve explained this formula in great detail. Then, I’ve 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

Page 28: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰47)

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰48)

3

œ

>

œ œ

>3

œ œ œ

3

œ

>

œ œ

>3

œ œ œ

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰49)

3

œ

>

œ œ

>3

œ œ œ

3

œ

>

œ œ

>3

œ œ œ

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰50)

3

œ

>

œ œ

>3

œ œ œ

3

œ

>

œ œ

> 3

œ œ œ

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰51)

3

x

œ

+o>

œ

x

œ

>o +

3

œ œ œ

3

z

œ

>

œ

z

œ

>

3

œ œ œ

DVD 3 - Trillion Fill Formula

1)

2)

3)

4)

5)

28

Page 29: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

52) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

x

œ

x x

œ

œ

x x

œ

x x

œ

œ

x

53) œ

œ

>

œ œ œ

>

œ

œ

œ œ

>

œ œ

œ

>

œ œ

>

œ œ

œ

>

œ

>

œ œ

x

œ

x x

œ

œ

x x

œ

x x

œ

œ

x

54) œ

œ

>

œ œ œ

>

œ

œ

œ œ

>

œ

œ

œ

>

œ œ

>

œ œ

œ

>

>

x

œ

x x

œ

œ

x x

œ

x x

œ

œ

x

55) œ

œ

>

œ œ œ

>

œ

œ

œ œ

>

œ

œ

œ

>

œ

>

œ

>

œ

œ

>

œ

>

œ

>

œ

x

œ

x x

œ

œ

x x

œ

x x

œ

œ

x

56) œ

œ

>

œ œ œ

>

œ

œ

œ œ

>

œ

œ

x

œ

>o

x

œ

>o

x

œ

>o

œ

z

œ

>

z

œ

>

z

œ

>

œ

6)

7)

8)

9)

10)

29

Page 30: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

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 don’t 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 I’m trying to do, so that when I start my 15-minute increments they will be most beneficial. It’s 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.

Intermediate SectionDVDs 4 & 5

30

Page 31: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

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.

Styles Of FillsDVD 4 - Intermediate Part I

Fills 1 - 5 Rock Fills

Fills 6 - 10 Heavy Metal Fills

Fills 11 - 13 Funk 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!

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 won’t 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!

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!

31

Page 32: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

Fills 14 - 18 Bossa Nova Fills

Fills 19 - 23 Jazz Fills

Fills 24 - 29 Shuffle Fills

Fills 30 - 31 Reggae 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.

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!

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.

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

Page 33: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

Fills 34 - 38 Double Bass Fills

Fills 32 - 33 Country 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!

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 can’t 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 Peart’s drum solos almost note for note. So I was thinking that this country gig should be easy; I’d 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 couldn’t feel them. I was thinking to myself that I need to show these guys what I can do if I’m 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 don’t 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 didn’t 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

Page 34: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

57)œ œ

œ œœ œ

œ œœ œ

œ œ

j

œ œ

z

œ

x

œ

x x

œ

x x

œ

x x

œ

x

58)œ œ

œ œœ œ

œ œ œ œ

œ œ

z

œœ

x

œ

x x

œ

x x

œ

x x

œ

x

59) œ

>

œ œ œ

>

œ œœ œ œ œ œ œ

œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

60) œœ

œ œ

œœ

œ œ œ j

œ œ

z

œ

x

œ

x x

œ

x x

œ

x x

œ

x

61)r

œ œœ œ

r

œ œœ œ

r

œ œ

œ œ

œœ œœ

Rock Fills

1)

2)

3)

4)

5)

34

Page 35: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

62) œ œœ œ

œ œ

œ œ

œ œ

œ œœ œ

x

œ

x x

œ

x x

œ

x x

œ

x

63) œ œœ œ

œ œœ œ

œ œœ œ

œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

64)œ œ

œ œ

œ œœ œ œ œ

œ œ

z

œ

z

œ

x

œ

x x

œ

x x

œ

x x

œ

x

65) œ

>

œ œ œ

>

œ œœ œ

œ œ œ œœ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

66) œ œ œœ œ œ

œ œ œœ

œ

Heavy Metal Fills

6)

7)

8)

9)

10)

35

Page 36: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

67)j

œ œ

x

œ

o +

j

x

œ

o +

‰ œœ

œ

x

œ

x x

œ

x x

œ

x x

œ

x

68)x

œ

x x

œ

x

3

œ œ œ

3

x

œ

o

œ

+

œ

3

œ œ œ

3

œ œ œ

R L L...

x

œ

x x

œ

x x

œ

x x

œ

x

69)x

œ

x x

œ

x x

o

œ œ

+

œ

x

o

œ œ

+

œ

x

o

œ œ

+

œ

x

o

œ œ

+

œ

x

y

œ

x x

x

x

y

œ

x

œ

x x

y

x

x

œ70)

x

œ

x x

y

x

x

œ

x

œ

x

y

x

x

x

œ

j

œ

œœ

œ œ

x

j

œ

œœ

œ

œ

œj

œ

œ

xœ œ

œ

x

œ

œ

œ

œ

œœ

x

œœ

Bossa Nova Fills

Funk Fills

11)

12)

13)

14)

36

Page 37: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

y

œ

x x

x

x

y

œ

x

œ

x x

y

x

x

œ71)

x

œ

x x

y

x

x

œ

x

œ

x

y

x

x

x

œ

x

y

œ

x x

x

x

y

œ

x

œ

x x

y

x

x

œ

œ

œ

œœ

x

œœ

œœ

œ œ

! !

x

y

œ

x x

x

x

y

œ

x

œ

x x

y

x

x

œ72)

x

œ

x x

y

x

x

œ

x

œ

x

y

x

x

x

œ

œ

œ

!

œ œ

x

œœ

œœ

>

œ œ

x

œœ

œ

œ

!

œ œ

x

œœ

œœ

>

œœ

x

y

œ

x x

x

x

y

œ

x

œ

x x

y

x

x

œ71)

x

œ

x x

y

x

x

œ

x

œ

x

y

x

x

x

œ

x

y

œ

x x

x

x

y

œ

x

œ

x x

y

x

x

œ

œ

œ

œœ

x

œœ

œœ

œ œ

! !

x

y

œ

x x

x

x

y

œ

x

œ

x x

y

x

x

œ72)

x

œ

x x

y

x

x

œ

x

œ

x

y

x

x

x

œ

œ

œ

!

œ œ

x

œœ

œœ

>

œ œ

x

œœ

œ

œ

!

œ œ

x

œœ

œœ

>

œœ

15)

16)

37

Page 38: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

y

œ

x x

x

x

y

œ

x

œ

x x

y

x

x

œ73)

x

œ

x x

y

x

x

œ

x

œ

x

y

x

x

x

œ

j

œ œ

œ

œœ

x

j

œ œ

œ œ

j

œ œ

xœ œ

j

œ œ

j

œ œœ

! !

x

y

œ

x x

x

x

y

œ

x

œ

x x

y

x

x

œ74)

x

œ

x x

y

x

x

œ

x

œ

x

y

x

x

x

œ

x

y

œ

x x

x

x

y

œ

x

œ

x x

y

x

x

œ

x

œ

x

x

œ

œ

œœœ

œ j

œ œ

x

y

œ

x x

x

x

y

œ

x

œ

x x

y

x

x

œ73)

x

œ

x x

y

x

x

œ

x

œ

x

y

x

x

x

œ

j

œ œ

œ

œœ

x

j

œ œ

œ œ

j

œ œ

xœ œ

j

œ œ

j

œ œœ

! !

x

y

œ

x x

x

x

y

œ

x

œ

x x

y

x

x

œ74)

x

œ

x x

y

x

x

œ

x

œ

x

y

x

x

x

œ

x

y

œ

x x

x

x

y

œ

x

œ

x x

y

x

x

œ

x

œ

x

x

œ

œ

œœœ

œ j

œ œ

17)

18)

38

Page 39: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

3

j

œ ‰ ‰

3

œ

x

‰ œ

3

j

œ ‰ ‰

3

œ

x

‰ œ75)

Left Hand Circles. Once per quarter note.

3

œ ‰ œ

>3

œ ‰ œ

>3

œ œ œ œ

3

j

œ ‰ ‰

3

œ

x

‰ œ

3

j

œ ‰ ‰

3

œ

x

‰ œ76)

Left Hand Circles. Once per quarter note.3

œ ‰ œ

3

œ ‰ œ

3

‰ ‰

j

œ

3

œ ‰ œ

3

j

x

‰ ‰

3

x

x

x

3

j

x

‰ ‰

3

j

x

x

‰ ‰77)

3

œ ‰ œ

3

œ ‰

z

œ

3

‰ ‰

j

œ

3

œ‰

z

œ

3

j

x

‰ ‰

3

x

x

x

3

j

x

‰ ‰

3

j

x

x

‰ ‰78)j

œ

3

œ ‰j

œ

œ j

œ

3

œ‰

j

œœ

3

‰ ‰j

œ

j

œ

3

‰ ‰j

œ

j

œ

3

j

x

‰ ‰

3

x

x

x

3

j

x

‰ ‰

3

j

x

x

‰ ‰79)

3

œ ‰ œ

œ

3

‰ ‰j

œ

j

œ

3

‰ ‰

j

œ

j

œ

3

‰ ‰

j

z

œ

Jazz Fills - Brushes

Jazz Fills - Sticks

19)

20)

21)

22)

23)

39

Page 40: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

3

x

œ‰

x

3

x

œ ‰

x

3

x

œ‰

x

3

x

œ ‰

x

80)

3

œ‰ j

œ œj

œ

3

œ ‰œ

3

œ œœ œ

3

x

œ‰

x

3

x

œ ‰

x

3

x

œ‰

x

3

x

œ ‰

x

81)j

œ

3

œ ‰

z

œ

3

z

œ‰

j

œ œ

j

œ

3

œœ œ

z

œ

3

x

œ‰

x

3

x

œ ‰

x

3

x

œ‰

x

3

x

œ ‰

x

82)j

œ

3

œœ œ

j

œ

3

œ

œ œ

j

œ

3

œœ œ

j

œ

3

œ

œ œ

3

x

œ‰

x

3

x

x

3

x

œ ‰

x

3

x

x

83)

3

œ

>

œ œ

>3

œ œ œ

>3

œ

>

œ œ

>3

œ œ œ

>

3

x

œ‰

x

3

x

x

3

x

œ ‰

x

3

x

x

84)

3

œ

>

œœ

> 3

œ œœ

>

3

œ

>

œœ

> 3

œ œœ

>

Full Time Shuffle Fills

Half Time Shuffle Fills

24)

25)

26)

27)

28)

40

Page 41: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

3

x

œ‰

x

3

x

x

3

x

œ ‰

x

3

x

x

85)

3

œ

>

œ œ

>

3

œ œœ

> 3

œ

>

œ œ

>

3

œ œœ

>

3

x

x

3

x

x

3

x

œ‰

x

3

x

x

86)œ œ

3

œ œ œ

z

œ Œ

3

x

x

3

x

œ‰

x

3

x

x

3

x

œ‰

x

87)

3

œœ( )

œ

3

œœ( ) œ)( œ

z

œ

œœ

œ œ

x

>

œ œœ

œ œ

x

>

œ œœ

œ œ

x

>

œ œœ

œ œ

x

>

œ88) œœ

>

œ œ

x

œ

>

œœ

>

œ œ

x

œ œœ

œ

>

œ

x

>

œ œœ

>

œ œ

x

œ

œœ

œ œ

x

>

œ œœ

œ œ

x

>

œ œœ

œ œ

x

>

œ œœ

œ œ

x

>

œ89) œœ

œ œ

x

>

œ

>

œœ

œ œ

x

>

œ

>

œœ

œ œ

x

>

œ œœ

>

œ œ

x

>

œ

>

Reggae Fills

Country Fills

29)

30)

31)

32)

33)

41

Page 42: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

90) œ œœ

œ

œ œœ

œ

œ œœ

œ

œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

91)

3

œœ

œ

3

z

œœ

œ

3

œœ

œ

3

z

œœ

œ

3

œœ

œ

3

z

œœ

œ

œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

92) œ

œœ

œ

x

œ

o

œ

+

x

œ

o

œ

+

œœ

œ

>

œœ

œ

>

œœ

œ

>

.

.

œ

œ

>

x

œ

x x

œ

x x

œ

x x

œ

x

93)œ

œ

œœ

œœ

z

œ

œœ

œœ

œ

œ

œœ

œœ

œ œ

œ

x

œ

x x

œ

x x

œ

x x

œ

x

94) œ œ œ œœ

œœ

œ

œ œ œ œ

œœ

œœ

œ œ œ œœ

œœ

œ

œ œ

Double Bass Fills

34)

35)

36)

37)

38)

42

Page 43: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

1)

2)

3)

! !

3

! !

x

œ

x x

œ

x x

œ

x x

œ

x

95) œ œ œ œœ œ œ œ

œœ

3

x

œ‰

x

3

x

œ ‰

x

3

x

œ‰

x

3

j

x

œ ‰ ‰96)

3

œ œ œ

3

œ œ œ

3

j

œ ‰ ‰

3

j

œ‰ ‰

x

œ

x x

œ

x x

œ

x x

œ

x

97) œ

>

œ œ œ

>

œ œ œ

>

œ œ œ œ

>

œ œ

>

œ œ œ

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 control of the pace. Then begin to push the speed faster.

The dynamic practice routine can be done with the entire encyclopedia. Don’t 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).

Dynamics In FillsDVD 5 - Intermediate Part II

43

Page 44: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x xy

x x

œ

x xy

x

98)œ œ œ œ

œ œ œ œœ œ œ œ œ œ

x

œ

x xy

x x

œ

x xy

x

99)œ œ

œ œœ œ

œ œ œ œ œ œ œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

100) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

101)œ

œ

x

œ œ œ

œœ œ

x

œ

œ œœ

x

Right hand floor tom

x

œ

x x

œ

x x

œ

x x

œ

x

102)œœ

x

œ

œœ

j

œ œ

x

œœ

r

œ

œ

œœ

r

œ œ

œœ

Right hand snare and floor tom

4)

5)

6)

44

Page 45: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x xy

x x

œ

x xy

x

98)œ œ œ œ

œ œ œ œœ œ œ œ œ œ

x

œ

x xy

x x

œ

x xy

x

99)œ œ

œ œœ œ

œ œ œ œ œ œ œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

100) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

101)œ

œ

x

œ œ œ

œœ œ

x

œ

œ œœ

x

Right hand floor tom

x

œ

x x

œ

x x

œ

x x

œ

x

102)œœ

x

œ

œœ

j

œ œ

x

œœ

r

œ

œ

œœ

r

œ œ

œœ

Right hand snare and floor tom

1)

2)

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 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.

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.

Independence FillsDVD 5 - Intermediate Part II

Hand-To-Feet Combination Fills

45

Page 46: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

3

œ œœ

3

œ œœ

3

œ œœ

3

œ œœ

R L R L R L R L

103)

3

œœ œ

3

œœ œ

3

œœ œ

3

œœ œ

R R R R

104)

œ œœ

œ

œ œœ

œ

œ œœ

œ

œ œœ

œ

R L R L R L R L

105)

3

œœ

œ

3

œœ

œ

3

œœ

œ

3

œœ

œ

R R R R

106)

3

œ œ œ

3

œœ

œ

3

œ œ œ

3

œ

œœ

3

œ œ œ

3

œ

œœ

3

œ œ œ

3

œœ

œ

R L R L R L R L R L R L R L R L

107)

1)

2)

3)

4)

5)

46

Page 47: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

1)

2)

3)

x

œ

x x

œ

x x

œ

x x

œ

x

108) œ œ

!œ!

œ œ

!œ!

œ œ

!œ!

œ œ

!œ!

x

œ

x x

œ

x x

œ

x x

œ

x

109) œ!

œ!

œ!

œ!

œ!

œ!

œ!

œ!

œ œ œ œœ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

110) œ

>

œ œ œ œ

>

œ œ œ œ

>

œ œ œ œ

>

œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

111) œ œ œ œœ

œ œ œ œ œ œ œœ

.

.

z

œ

x

œ

x x

œ

x x

œ

x x

œ

x

Flam Taps

112)j

œ œ œ

j

œ œœ j

œ œ œ

j

œ œœ

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. It’s a good idea to practice all of them however, that way you will develop greater efficiency in all your playing. It’s 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:

Rudimental FillsDVD 5 - Intermediate Part II

1. Single Stroke Roll3. Flam Stroke 5. Drag7. Single Paradiddle

2. Double Stroke Roll4. Flam Tap6. Single Drag Tap

Double Stroke Roll

Single Paradiddle

47

Page 48: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

108) œ œ

!œ!

œ œ

!œ!

œ œ

!œ!

œ œ

!œ!

x

œ

x x

œ

x x

œ

x x

œ

x

109) œ!

œ!

œ!

œ!

œ!

œ!

œ!

œ!

œ œ œ œœ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

110) œ

>

œ œ œ œ

>

œ œ œ œ

>

œ œ œ œ

>

œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

111) œ œ œ œœ

œ œ œ œ œ œ œœ

.

.

z

œ

x

œ

x x

œ

x x

œ

x x

œ

x

Flam Taps

112)j

œ œ œ

j

œ œœ j

œ œ œ

j

œ œœ

x

œ

x x

œ

x x

œ

x x

œ

x

113)r

œ œ œr

œ œ œ œ ‰j

œ

r

œ œ œœ

z

œ

x

œ

x x

œ

x x

œ

x x

œ

x

Drags

114) œ œ œœ

œ œ œ œ œ œ œœ

œ œ

x

œ

o +

x

œ

x x

œ

x x

œ

x x

œ

x

115) œ œ œ œ œ

œœ œ

œœ œ œ œ œ œ

>

z

œ

z

œ

z

œ

4)

5)

6)

7)

8)

48

Page 49: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

Advanced SectionDVD 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 wasn’t built in a day” and, “if it’s worth waiting for, it’s 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”. Don’t 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. That’s okay however, because I can hear it. Once I get more comfortable with it, the timing takes care of itself, which is why it’s 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.

49

Page 50: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

! !

3

! !

x

œ

x x

œ

x x

œ

x

116) œ œ œ œœ

œœ œ œ œ

x

œ

x x

œ

x x

œ

x

117)œ œ

œœ œ

œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x x

œ

x

5/4

118) œ œ œ œœ œ

œ œ œ œ œ œ

z

œ

Fills In Odd MetersDVD 6 - Advanced

I love playing in odd time because it opens a new door for being creative. I don’t 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 I’m 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 I’ll hit it with my snare to keep me in the 4/4 feel. Again, be patient and creative.

1)

2)

3)

3/4

50

Page 51: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x x

œ

x

119) j

œ œœ œ

j

œ œ œ

œ œ œ œœ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x x

œ

x

120)œ œ

œ œ œœ œ œ œ

œ

j

x

œ

j

x

j

x

j

x

œ

j

x

j

x

6/8

121)j

œ

j

œj

œ

j

œ

j

œ

j

œj

œ

j

œ

j

x

œ

j

x

j

x

j

x

œ

j

x

j

x

122)j

œ

j

œ j

œj

œ

j

œj

œ

j

œ

j

x

œ

j

x

j

x

œ

j

x

j

x

œ

j

x

j

x

œ

7/8

123)œ œ œ œ

j

œ

j

œ

j

œ

j

œj

œ

4)

5)

6)

7)

8)

51

Page 52: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

j

x

œ

j

x

j

x

œ

j

x

j

x

œ

j

x

j

x

œ124) j

œ

j

œj

œ

j

œ j

œ

j

œ œ œ

j

x

œ

j

x

j

x

œ

j

x

j

x

œ

j

x

j

x

œ125) œ œ œ œœ œ

œ

j

œ œ œ

j

œ

j

x

œ

j

x

j

x

j

x

œ

j

x

j

x

j

x

œ

j

x

j

x

9/8

126)j

œ

j

œ j

œj

œ‰

j

œ

j

œ

j

œ

j

œ

j

œ

j

x

œ

j

x

j

x

j

x

œ

j

x

j

x

j

x

œ

j

x

j

x

126)j

œ

j

œ

j

œ

j

œj

œ

j

œ ‰

j

œ j

œ

j

œ

j

œ

j

x

œ

j

x

j

x

œ

j

x

j

x

œ

x

œ

j

x

j

x

œ

j

x

127)j

œ

j

œ œ œ

j

œj

œ

j

œj

œ

j

œj

œ

j

œj

œ

j

œ

9)

10)

11)

12)

13)

52

Page 53: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

129) œ

>

œ œ œ

>

œ œœ œ œ œ œ œ

œ œ œ œ

x

œ

x x

œ

x x

œ

x

130) œ

>

œ œ œ

>

œ œœ œ œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x x

œ

x

131) œ

>

œ œ œ

>

œ œœ œ œ œ œ œ

œ œ œ œœ

>

œ œ œ

>

j

x

œ

j

x

j

x

j

x

œ

j

x

j

x

132)j

œ

>j

œ

j

œ

j

œ

>

j

œ

j

œ

j

x

œ

j

x

j

x

œ

j

x

j

x

œ

j

x

j

x

œ133) œ

>

œ œ œ

>

œ œœ œ œ œ œ œ

œ œ

1)

2)

3)

Common Time To Odd TimeDVD 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

3/4

5/4

53

Page 54: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

j

x

œ

j

x

j

x

j

x

œ

j

x

j

x

j

x

œ

j

x

j

x

134) œ

>

œ œ œ

>

œ œœ œ œ

3

x

œ‰

x

3

x

œ ‰

x

3

x

œ‰

x

3

j

x

œ ‰ ‰135)

3

œ

>

œ œ

>

3

œ œœ

>3

œ

>

œ œ

>3

œ œ œ

>

3

x

œ‰

x

3

x

œ ‰

x

3

j

x

œ ‰ ‰

3

œ

>

œ œ

>

3

œ œœ

>3

œ

>

œ œ

>

3

x

œ‰

x

3

x

œ ‰

x

3

x

œ‰

x

3

x

œ ‰

x

3

j

x

œ‰ ‰137)

3

œ

>

œ œ

>

3

œ œœ

>3

œ

>

œ œ

>3

œ œ œ

> 3

œ

>

œ œ

>

j

x

œ

j

x

j

x

j

x

œ

j

x

j

x

138) œ

>

œ œ

>

œ œœ

>

4)

5)

6)

7)

8)

x

œ

x x

œ

x x

œ

x x

œ

x

129) œ

>

œ œ œ

>

œ œœ œ œ œ œ œ

œ œ œ œ

x

œ

x x

œ

x x

œ

x

130) œ

>

œ œ œ

>

œ œœ œ œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x x

œ

x

131) œ

>

œ œ œ

>

œ œœ œ œ œ œ œ

œ œ œ œœ

>

œ œ œ

>

j

x

œ

j

x

j

x

j

x

œ

j

x

j

x

132)j

œ

>j

œ

j

œ

j

œ

>

j

œ

j

œ

j

x

œ

j

x

j

x

œ

j

x

j

x

œ

j

x

j

x

œ133) œ

>

œ œ œ

>

œ œœ œ œ œ œ œ

œ œ

6/8

7/8

9/8

4/4

3/4

54

Page 55: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

j

x

œ

j

x

j

x

j

x

œ

j

x

j

x

j

x

œ

j

x

j

x

134) œ

>

œ œ œ

>

œ œœ œ œ

3

x

œ‰

x

3

x

œ ‰

x

3

x

œ‰

x

3

j

x

œ ‰ ‰135)

3

œ

>

œ œ

>

3

œ œœ

>3

œ

>

œ œ

>3

œ œ œ

>

3

x

œ‰

x

3

x

œ ‰

x

3

j

x

œ ‰ ‰

3

œ

>

œ œ

>

3

œ œœ

>3

œ

>

œ œ

>

3

x

œ‰

x

3

x

œ ‰

x

3

x

œ‰

x

3

x

œ ‰

x

3

j

x

œ‰ ‰137)

3

œ

>

œ œ

>

3

œ œœ

>3

œ

>

œ œ

>3

œ œ œ

> 3

œ

>

œ œ

>

j

x

œ

j

x

j

x

j

x

œ

j

x

j

x

138) œ

>

œ œ

>

œ œœ

>

j

x

œ

j

x

j

x

œ

j

x

j

x

œ

j

x

j

x

œ

j

x

j

x

139) œ

>

œ œ

>

œ œœ

>

œ

>

œ œ

>

œ œ œ

>

œ

>

œ œ

>

œ œœ

>

j

x

œ

j

x

j

x

œ

j

x

j

x

œ

x

œ

j

x

140) œ

>

œ œ

>

œ œœ

>

œ

>

œ œ

>

œ œ œ

>

œ

>

œ

!

!

!

9)

10)

11)

12)

5/4

6/8

9/8

7/8

55

Page 56: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

!

! !

x

œ

x x

œ

x x

œ

x x

œ

x

141)x

œ

x x

œ

x x

œ

x

3

x

œ " "

3

x x x

x

œ

x x

œ

x x

œ

x x

œ

x

142)x

œ

x x

œ

x x

œ

x x x

œ

x x x

x

œ

x x

œ

x x

œ

x x

œ

x

143)x

œœ( )

x

œ( ) œ œ( )

x

œœ

( )

x

œ( )

x

œœ( ) œ œ( )

x

œ( )

Beat Inflection FillsDVD 6 - Advanced

I don’t 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

Ghost Note Embellishments

1)

2)

3)

56

Page 57: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

Hi-Hat Embellishments

Ghost Note Embellishments

x

œ

x x

œ

x x

œ

x x

œ

x

144)x

œœ(

x

œ)œ

x

œ

x

œ

x

œœ( )

x

œ

x

œ

x

x

œ

x x

œ

x x

œ

x x

œ

x

145)x

œ

x

œ

x x

œ

x x

œ

x x

œ

x

œ

x x

œ

x x

œ

x x

œ

x

146)x

œ

x

œ

x x x x

œ

x x

œ

x

œ

x x

œ

x x

œ

x x

œ

x

147)

.

.

x

œ

œœ œ ‰

œ œœ

x

o

x

œ

x x

œ

x x

œ

x x

œ

x

148)x

œ

x x

œ œ œœ œ

x

œ

o

Beat Displacement

Tom Embellishments

4)

5)

6)

7)

8)

57

Page 58: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

149)x

œ

3

x

œœ

x

œ

3

x

œœ

x

3

x

œœ

x

œ

x

x

œ

x x

œ

x x

œ

x x

œ

x

150)x

œ

x x

œ

x x

œœ

x

œœ

x

œœ

œ

x

œœ

x

œ

x x

œ

x x

œ

x x

œ

x

151)x

œ

x

œ œ

x

œ

x

œ

x

œ

x

œ

x

œ

x

x

œ

x x

œ

x x

œ

x x

œ

x

152)x

œ

x

œ

x

œœ

x

œ

x

œ

x

œ

z

œ

x

œ

x x

œ

x x

œ

x x

œ

x

153)Å

œ

Å Å

œ

Å Åx

œ

Å Å

œ

x

Double Pedal Embellishments

Single Pedal Embellishments

Ride Embellishments

9)

10)

11)

12)

13)

58

Page 59: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

Double Pedal Embellishments

Single Pedal Embellishments

Ride Embellishments

x

œ

x x

œ

x x

œ

x x

œ

x

154)Å

œ

x xÅ

œ

x xÅ

œ

x xÅ

œ

x x

3

x

œ‰

x

3

x

œ ‰

x

3

x

œ‰

x

3

j

x

œ ‰ ‰155)

3

œ

>

œ œ

3

œ

>

œ œ

3

œ œ œ

3

œ

>

œ œ

3

x

œ‰

x

3

x

œ ‰

x

3

x

œ‰

x

3

j

x

œ ‰ ‰156)

3

œ

>

œ œ

3

œ

>

œ œ

3

œ œ œ

3

œ

>

œ œ

3

x

œ‰

x

3

x

œ ‰

x

3

x

œ‰

x

3

j

x

œ ‰ ‰157)

3

z

œ

>

œ œ

3

z

œ

>

œ œ

3

œ œ œ

3

z

œ

>

œ œ

3

x

œ‰

x

3

x

œ ‰

x

3

x

œ‰

x

3

j

x

œ ‰ ‰158)

3

z

œ

>

œ œ

3

x

œ

>o

œ

+

œ

3

œ œ œ

3

x

œ

>o

œ

+

œ

14)

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!

59

Page 60: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

œ

>

œ œ œ œ

>

œ œ œ

>

œ

>

œ œ œ œ

>

œ œ œ

1) Leading with the right hand R L R L ...2) Leading with the left hand L R L R ...3) Right hand Lead

a)R L L R R L L R R L L R R L L R b)R L L L R L L R R L L L R L L L4) Left hand Lead

a)L R R L L R R L L R R L L R R L b)L R R R L R R L L R R R L R R R

Now that you know the sticking we want to move the accents around to different voices on the kit.1) Accents on the snare with a rimshot2) Accents on the toms, right hand on the floor tom left hand on the 1st tom3) Accents on the crash with the bass drum4) Right hand accents with crash and bass left hand with open hi-hat and bass5) Just for leading with the right and hand (#1and 2 from above). Doubles on the unaccented notes and singles on the accented ones.

3

œ

>

œ œ

3

œ

>

œ œ

3

œ œ œ

3

œ

>

œ œ

1) Leading with the right hand R L R ...2) Leading with the left hand L R L ...3) Right hand Lead

a) R L L R L L R L L R L L b) R L L R L L L L L R L L 4) Left hand Lead

a) L R R L R R L R R L R R b) L R R L R R R R R L R R

œ

>

œ œ œ œ

>

œ œ œ

>

œ

>

œ œ œ œ

>

œ œ œ

1) Leading with the right hand R L R L ...2) Leading with the left hand L R L R ...3) Right hand Lead

a)R L L R R L L R R L L R R L L R b)R L L L R L L R R L L L R L L L4) Left hand Lead

a)L R R L L R R L L R R L L R R L b)L R R R L R R L L R R R L R R R

Now that you know the sticking we want to move the accents around to different voices on the kit.1) Accents on the snare with a rimshot2) Accents on the toms, right hand on the floor tom left hand on the 1st tom3) Accents on the crash with the bass drum4) Right hand accents with crash and bass left hand with open hi-hat and bass5) Just for leading with the right and hand (#1and 2 from above). Doubles on the unaccented notes and singles on the accented ones.

3

œ

>

œ œ

3

œ

>

œ œ

3

œ œ œ

3

œ

>

œ œ

1) Leading with the right hand R L R ...2) Leading with the left hand L R L ...3) Right hand Lead

a) R L L R L L R L L R L L b) R L L R L L L L L R L L 4) Left hand Lead

a) L R R L R R L R R L R R b) L R R L R R R R R L R R

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 straight 16ths or 8ths. If you begin to fuse the Trillion Fill Formula with this permutation section, you can have another whole line of fills to experiment with.

There are literally thousands of fills you can come up with; however, for training purposes I will show you 2 examples. One is an 8th note triplet pattern, while the other is a 16th note pattern. Follow along with the DVD to see how to change these patterns up. When you think you have the concept down, refer to the permutation section in the Encyclopedia Of Drum Fills for more!

To change the fills, you just change the voice of the accents. As you can see in these examples, I will change the voice of the accents to the bass drum, snare rim shot, toms, and crash cymbal. This will change any fill you have, and make it sound completely different.

Finally, to add even more change, turn the unaccented notes into doubles. Again, this changes the dynamic of the fill, and makes it sound a lot more unique. Memorize the accents in these 2 examples below, and follow along with the fills on the next few pages.

The first thing you want to do is play these fills with different sticking patterns, as well as right and left hand leads. Instead of alternating R-L-R-L, try R-L-L or L-R-R etc.

Once you have that covered, it is time to change the fills up.

Example #1 - Fills 1 - 14

Example #2 - Fills 15 - 27

Drum Fill PermutationsDVD 6 - Advanced

60

Page 61: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

1)

2)

3)

4)

5)

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰155)

3

œ

>

œ œ

3

œ

>

œ œ

3

œ œ œ

3

œ

>

œ œ

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰156)

3

œ

>

œ œ

3

œ

>

œ œ

3

œ œ œ

3

œ

>

œ œ

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰157)

3

z

œ

>

œ œ

3

z

œ

>

œ œ

3

œ œ œ

3

z

œ

>

œ œ

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰158)

3

z

œ

>

œ œ

3

x

œ

>o

œ

+

œ

3

œ œ œ

3

x

œ

>o

œ

+

œ

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰159)

3

œ

>

œ!

œ!

3

œ

>

œ!

œ!

3

œ!

œ!

œ!

3

œ

>

œ!

œ!

61

Page 62: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

6)

7)

8)

9)

10)

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰160)

3

œ

>

œ œ

3

œ

>

œ œ

3

œ œ œ

3

œ

>

œ œ

L R L R...

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰161)

3

œ

>

œ œ

3

œ

>

œ œ

3

œ œ œ

3

œ

>

œ œ

L R L R...

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰162)

3

z

œ

>

œ œ

3

z

œ

>

œ œ

3

œ œ œ

3

z

œ

>

œ œ

L R L R...

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰163)

3

x

œ

>o

œ

+

œ

3

z

œ

>

œ œ

3

œ œ œ

3

z

œ

>

œ œ

L R L R...

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰164)

3

œ

>

œ!

œ!

3

œ

>

œ!

œ!

3

œ!

œ!

œ

3

œ

>

œ!

œ!

L R L R...

62

Page 63: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

11)

12)

13)

14)

15)

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰165)

3

œ

>

œ œ

3

œ

>

œ œ

3

œ œ œ

3

œ

>

œ œ

R L L R L L R L L R L L

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰166)

3

œ

>

œ œ

3

œ

>

œ œ

3

œ œ œ

3

œ

>

œ œ

R L L R L L L L L R L L

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰167)

3

œ

>

œ œ

3

œ

>

œ œ

3

œ œ œ

3

œ

>

œ œ

L R R L R R L R R L R R

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰168)

3

œ

>

œ œ

3

œ

>

œ œ

3

œ œ œ

3

œ

>

œ œ

L R R L R R R R R L R R

x

œ

x x

œ

x x

œ

x x

œ

x

169) œ

>

œ œ œ œ

>

œ œ œ

>

œ

>

œ œ œ œ

>

œ œ œ

63

Page 64: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

16)

17)

18)

19)

20)

x

œ

x x

œ

x x

œ

x x

œ

x

170) œ

>

œ œ œ œ

>

œ œ

œ

>

œ

>

œ œ œ œ

>

œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

171)

z

œ

>

œ œ œ

z

œ

>

œ œ

z

œ

>

z

œ

>

œ œ œ

z

œ

>

œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

172)

z

œ

>

œ œ œ

z

œ

>

œ œ

x

œ

o>

z

œ

+>

œ œ œ

z

œ

>

œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x

173) œ

>

œ!

œ!

œ!

œ

>

œ!

œ!

œ

>

œ

>

œ!

œ!

œ!

œ

>

œ!

œ!

œ!

x

œ

x x

œ

x x

œ

x x

œ

x

174) œ

>

œ œ œ œ

>

œ œ œ

>

œ

>

œ œ œ œ

>

œ œ œ

L R L R...

64

Page 65: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

21)

22)

23)

24)

25)

x

œ

x x

œ

x x

œ

x x

œ

x

175)œ

>

œ œ œ

œ

>

œ œ œ

>

œ

>

œ œ œ

œ

>

œ œ œ

L R L R...

x

œ

x x

œ

x x

œ

x x

œ

x

176)

z

œ

>

œ œ œ

z

œ

>

œ œ

z

œ

>

z

œ

>

œ œ œ

z

œ

>

œ œ œ

L R L R...

x

œ

x x

œ

x x

œ

x x

œ

x

177)x

œ

>o

œ

+

œ œ

x

œ

>o

œ

+

œ

z

œ

>

x

œ

>o

œ

+

œ œ

x

œ

>o

œ

+

œ œ

L R L R...

x

œ

x x

œ

x x

œ

x x

œ

x

178) œ

>

œ œ œ œ

>

œ œ œ

>

œ

>

œ œ œ œ

>

œ œ œ

R L L R R L L R R L L R R L L R

x

œ

x x

œ

x x

œ

x x

œ

x

179) œ

>

œ œ œ œ

>

œ œ œ

>

œ

>

œ œ œ œ

>

œ œ œ

R L L L R L L R R L L L R L L L

65

Page 66: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

180) œ

>

œ œ œ œ

>

œ œ œ

>

œ

>

œ œ œ œ

>

œ œ œ

L R R L L R R L L R R L L R R L

x

œ

x x

œ

x x

œ

x x

œ

x

181) œ

>

œ œ œ œ

>

œ œ œ

>

œ

>

œ œ œ œ

>

œ œ œ

L R R R L R R L L R R R L R R R

26)

27)

66

Page 67: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

In this section I will teach you crossover patterns. This is a very fun thing to learn. It also looks 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 a new freedom 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 your limbs.

Have fun with these 3 fills below. Do not forget to expand on these by referring to the Encyclopedia Of Drum Fills!

Crossover PatternsDVD 7 - Additional Exercises & Extras

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰182)

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

R L R L...

x

œ

x x

œ

x x

œ

x x

œ

x

183)œ

œ œ œ œ œ

œ

œ

œ

œ œ œ œ œ

œ

œ

L R L R...

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰182)

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

R L R L...

x

œ

x x

œ

x x

œ

x x

œ

x

183)œ

œ œ œ œ œ

œ

œ

œ

œ œ œ œ œ

œ

œ

L R L R...

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰184)

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

R L R L...

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰182)

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

R L R L...

x

œ

x x

œ

x x

œ

x x

œ

x

183)œ

œ œ œ œ œ

œ

œ

œ

œ œ œ œ œ

œ

œ

L R L R...

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰182)

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

R L R L...

x

œ

x x

œ

x x

œ

x x

œ

x

183)œ

œ œ œ œ œ

œ

œ

œ

œ œ œ œ œ

œ

œ

L R L R...

3

x

œ

x

3

x

œ ‰

x

3

x

œ

x

3

j

x

œ ‰ ‰184)

3

œ œ œ

3

œ œ œ

3

œ œ œ

3

œ œ œ

R L R L...

1)

2)

3)

67

Page 68: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

I’m 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.

Using The Encyclopedia Of Drum Fills

DVD 7 - Additional Exercises & Extras! !

! !

! !

x

œ

x x

œ

x x

œ

x x

œ

x

185) œ œ œ

œ œ œ

œ œ œ

Original Fill

x

œ

x x

œ

x x

œ

x x

œ

x

186) œ œ œ

œ œ œ

œ œ œ

Play the fill backwards

1)

68

Page 69: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

j

x

œ

j

x

j

x

œ

j

x

j

x

œ

j

x

j

x

œ

j

x

j

x

187) œ œ œ

œ œ œ

œ œ œ œ œ

Change the fill to 9/8

x

œ

x x

œ

x x

œ

x

188) œ œ œ

œ œ œ

œ œ

Change the fill to 3/4

x

œ

x x

œ

x x

œ

x x

œ

x

189)œ

œ

œ

œ

œ

œ

œœ

œœ

œœ œ

œœœ œ œ

Double up the notes

x

œ

x x

œ

x x

œ

x x

œ

x x

œ

x

190) œ œ œ

œ œ œ

œ œ œ œ œ œ

Change the fill to 5/4

x

œ

x x

œ

x x

œ

x x

œ

x

191) œ œ œ

œ œ œ

œ œ œ œ œ œ

Add in the ending from a different fill

2)

3)

4)

5)

6)

69

Page 70: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

x

œ

x x

œ

x x

œ

x x

œ

x

192) œ œ œ œ œ œ œœ

œ

Take one quarter note beat from four different fills

x

œ

x x

œ

x x

œ

x x

œ

x

193) œœ

œ œ œ œ œ œ œ

x

œ

x x

œ

x x

œ

x x

œ

x x

œ

x x

œ

x x

œ

x

194) œ œ œ

œ œ œ

œ œ œ œ œ œ œ œ œ

œ œ

Change the fill to 7/4

j

x

œ

j

x

j

x

œ

j

x

j

x

œ

j

x

j

x

œ195) œ œ œ

œ œ œ

œ œ œ

Change the fill to 7/8

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

7)

8)

9)

10)

,

70

Page 71: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

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 play-along 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!

Play-AlongsDVDs 8 & 9

71

Page 72: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

CD Track ListingsCDs 1 - 5

CD 1 - Drumless 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 Shuffle10. Full Time Shuffle11. Heavy Metal12. Reggae13. Country

CD 3 - Band Tracks 1. Blues 2. Fast Rock 3. Slow Rock 4. Country 5. Metal 6. Reggae 7. Funk 8. Amazing Grace 9. Punk10. Pop

CD 2 - Drumless 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 Shuffle10. Full Time Shuffle11. Heavy Metal12. Reggae13. Country

CD 5 - Metronome Tracks

CD 4 - Band Tracks With Click 1. Blues 2. Fast Rock 3. Slow Rock 4. Country 5. Metal 6. Reggae 7. Funk 8. Amazing Grace 9. Punk10. Pop

1. 50 BPM2. 55 BPM3. 60 BPM4. 65 BPM5. 70 BPM6. 75 BPM7. 80 BPM8. 85 BPM

9. 90 BPM10. 95 BPM11. 100 BPM12. 105 BPM13. 110 BPM14. 115 BPM15. 120 BPM16. 125 BPM

17. 130 BPM18. 135 BPM19. 140 BPM20. 145 BPM21. 150 BPM22. 155 BPM23. 160 BPM24. 165 BPM

25. 170 BPM26. 175 BPM27. 180 BPM28. 185 BPM29. 190 BPM30. 195 BPM31. 200 BPM

72

Page 73: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

My Take On SuccessMost 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 didn’t 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. I’m 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”. It’s 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 don’t burn bridges. The music world is a lot smaller than we think. We don’t know when we will need either a good reference or a connection down the road, that we can’t see now. As much as possible, live in peace with others.

73

Page 74: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

ConclusionI 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 didn’t think was possible. Take care, and happy drumming!

74

Page 75: DFS Workbook

Copyright © 2010 Railroad Media, Inc.

Credits & Special ThanksProduced 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:

Railroad Media, Inc.Drum Fill System - Copyright 2010

Railroad Media, Inc. All Rights Reserved Worldwide

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 Téa 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.

75