In this lesson, we dive into the world of rock drum fills, specifically focusing on half bar fills. While many drummers starting out might think of fills as always being a full bar long, the truth is that fills can be much shorter – and half bar fills are a fantastic and versatile tool to have in your drumming arsenal, especially when crafting slow rock grooves. Understanding and mastering these shorter fills is a crucial step in developing your ability to create dynamic and interesting drum parts for rock music, and can even be seen as building blocks towards more extended fills, including two-bar fills often heard in slow rock styles.
Half Bar Drum Fill #6: Sixteenth Note Foundation
Our first fill focuses on sixteenth notes, the foundation of many rock drumming techniques. Sixteenth notes involve playing four hits for every single beat. In this fill, we begin on count three, playing four sixteenth notes on the snare drum. Following this, we move to the high tom for two sixteenth notes, and finally, finish on the floor tom with another two sixteenth notes.
If this sounds familiar, it’s because it’s based on a fill you might recognize from earlier lessons, but now condensed into a half bar. This change in note value to sixteenth notes creates a different feel and rhythmic intensity within the shorter timeframe.
It’s understandable if playing a half bar fill feels a bit unusual at first. The key is to start slowly. Listen carefully to the examples played at both 60 and 100 beats per minute. Take your time to practice, initially focusing on counting out loud and getting comfortable with the feel of a half bar fill before increasing speed. Experiment on your kit, playing slowly and deliberately to internalize the rhythm and build muscle memory.
Half Bar Drum Fill #7: Syncopated Snare Entrance
Fill number two introduces a slightly different rhythmic approach within the half bar structure. We begin with two hits on the high tom. Then, we transition to the snare drum for four hits. Here’s the twist: these snare hits don’t start squarely on count three. Instead, they begin on the “and” of count three.
This syncopated entry point on the snare – starting on the off-beat – gives this fill a funkier, less predictable feel. It might feel a little off-kilter initially, as our natural drumming instincts often lead us to start fills squarely on the beat. The sequence is “three-e-and-four-e-and” on the snare, followed by the final two hits on the floor tom.
Don’t be discouraged if this fill feels a bit challenging at first. The rhythmic displacement requires a little more coordination and rhythmic awareness. Practice slowly, focusing specifically on the placement of the snare hits starting on the “and” of three. With a bit of practice, you’ll find this fill adds a cool rhythmic variation to your half bar fill vocabulary.
Half Bar Drum Fill #8: Introducing the Bass Drum and Linear Elements
Our third half bar fill brings in the bass drum and explores a more linear drumming style. Linear drumming, as we touched on in previous lessons, involves avoiding playing multiple drums at the same time, creating a more melodic and less rhythmically dense sound. In our earlier linear fill examples, we primarily used eighth notes. Now, we’re incorporating sixteenth notes, adding complexity and speed.
This fill also features a quick double bass drum hit at the end of count three and the very beginning of count four. This double bass drum kick adds a powerful accent and drives the fill forward. The combination of linear elements, sixteenth notes, and the double bass drum makes this fill a bit more intricate.
To learn this fill effectively, break it down. Isolate the rhythm of the bass drum part and practice it separately by tapping it out. Focus on the transition between the snare and bass drum. Start extremely slowly and gradually increase the tempo as you become comfortable with the coordination between your hands and feet. This fill is a great exercise in developing independence and control.
Half Bar Drum Fill #9: The Linear Sixteenth Note Challenge
Fill number four is arguably the most demanding fill we’ve tackled so far. It’s a linear fill constructed entirely from sixteenth notes, but without any double strokes within the hands. This means each sixteenth note is played on a different drum or cymbal in a linear sequence.
The rhythmic foundation is a continuous stream of sixteenth notes: “one-e-and-a-two-e-and-a-three-e-and-a-four-e-and-a”. Mastering this rhythm is the first step. Practice tapping this rhythm out on your lap or a practice pad, focusing on evenness and consistent timing.
Once the rhythm is secure, you can focus on the orchestration – the specific drums and cymbals you play for each note. Listen carefully to the example and try to “sing” or vocalize the drum sounds to internalize the melody of the fill. This aural approach can significantly aid in memorization and execution when you move to the drum kit. Start slowly and gradually build speed, focusing on maintaining the linear pattern and clean sixteenth note execution.
Half Bar Drum Fill #10: Uncommon Groupings and Single Bass Drum Accents
Our fifth and final half bar fill in this lesson presents perhaps the most unique challenge due to its rhythmic construction. Pay close attention to the end of count two and the beginning of count three. You’ll notice a grouping of three floor tom hits leading into count three.
When we work with sixteenth notes, we are accustomed to groupings of four. Introducing a group of three – even though it’s rhythmically logical within the sixteenth note framework – can often disrupt a drummer’s ingrained sense of timing and feel. This fill is designed to challenge that rhythmic expectation and expand your rhythmic flexibility.
Another key element is the single bass drum hit on the “e” of count four. In our previous linear fills, we’ve often used double bass drum hits, which create a sense of rhythmic symmetry and squareness. Introducing a single bass drum hit disrupts this symmetry and alters the feel of the linear pattern. It changes the sticking patterns and might require you to adjust your cymbal crashes, potentially using your left hand for a crash in this context.
Focus initially on just the rhythm. Practice counting and tapping out the rhythm until you feel comfortable with the unusual grouping of three and the placement of the single bass drum. Then, gradually incorporate the orchestration. This fill is an excellent exercise in breaking free from rhythmic predictability and developing your ability to handle more complex and less conventional rhythmic patterns.
Review and Next Steps
Congratulations on exploring these five half bar rock drum fills! Just like in the previous lesson, resist the urge to immediately move on. Learning these fills effectively requires dedicated practice and time to internalize them.
Download the sheet music and work through each fill systematically. Aim to play each fill at the faster tempo (100 bpm) for two minutes straight before considering yourself proficient and moving to the next lesson. If you find fills number four and five, with their sixteenth notes, particularly challenging at 100 bpm, don’t get discouraged. Practice them at the slower tempo (60 bpm) and gradually work your way up. Consistency and focused practice are key. For those seeking a real challenge, pushing through to master them at 100 bpm for two minutes straight will yield significant progress.
Remember, mastering these half bar fills is a fundamental step towards crafting more elaborate drum parts and fills, including the longer two-bar fills that are characteristic of many slow rock songs. By building a strong foundation with these shorter fills, you’ll be well-equipped to tackle more complex rhythms and create compelling drum grooves in any rock style.
Go to Drum Fill Lesson Video #3 »
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