Lesson 9 of 15DrumsIntermediate

Adding triplet phrases to fills

6:11
If you are now changing smoothly between the regular phrases and the triplets on the snare drum, then you can start to use them as fills. Once you are able to play these competently, let's move them around the kit.
Part of the courseFills In Time: Drum Fills & Time-Feel in 15 Lessons15 lessons (1h 26m)

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What's in the course

15 lessons (1h 26m) · 1 free
    • 01. Locking on

      Free lesson

      4:27

    • 02. Moving around the kit: Some basic ideas

      4:37

    • 03. Short fill-ins

      5:43

    • 04. Longer fill-ins

      4:55

    • 05. Playing with music

      4:51

    • 06. Tightening up the Rhythm

      7:00

    • 07. Faster beats

      5:31

    • 08. Triplet phrases: snare drum only

      7:01

    • 09. Adding triplet phrases to fills

      You are here

      6:11

    • 10. Combining triplets and straight sixteenths

      5:28

    • 11. The Shuffle feel

      5:48

    • 12. Dynamics

      6:37

    • 13. The use of long notes and space

      4:54

    • 14. Drum rolls

      5:22

    • 15. The remainder

      8:24

Lesson transcript

Lesson Nine: Two Beat Triplet Fills

Welcome to lesson nine of the Fills in Time series!

Objectives

In this lesson, we're going to focus on playing two beat triplet fills. There are two new phrases for you to learn:

  • Make sure you can play them on their own on a snare drum before attempting them as fills.
  • Ensure that you lock onto the click before you play the exercises.

Playing the Fills

Here's a brief overview of what to expect:

  • I will play one bar of each phrase in combination with the 8th note triplets and sex tuplets.
  • Get accustomed to the phrases and then explore moving them around the kit in as many ways as you can.
  • You may need to utilize some odd stickings to end the fills on your lead hand.

Example Stickings

  • In the second exercise, for instance, I play right-left-left for the eighth note triplet.

Incorporating Phrases

Lastly, here are some triplet phrases within the context of a song. Get ready to expand your drumming repertoire!

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Meet your guru

Alex Reeves

Alex Reeves

Alex is a freelance musician who has performed live and in the studio with artists as diverse as Dizzee Rascal, Unkle, Bat for Lashes, Guy Garvey and Elbow. He has played headline slots at all the major UK festivals, including televised appearances on Glastonbury's Pyramid Stage, Oxygen Main Stage and T In The Park. International TV performances also include Live on MTV, the Jools Holland Hootenanny and The BBC Electric Proms with Dizzee Rascal.

On stage Alex has played with artists who have scored number one singles and albums all over the world, including Boy George, The Jones Girls and Johnny Hates Jazz. Alex has also been Musical Director for Island Records' Cocknbullkid, produced an album for Lotte Mullan, and performed live with Mercury nominated rapper Ty, American Blues legend Earl Thomas and singer-songwriter Ezio.

Alex has recorded in all the major studios in London, including Abbey Road, Angel, Air and Rak, and runs his own private drum studio from East London's Fortress complex. Recorded highlights at The Drum Fortress include the top 5 single Shine with the Lovefreekz, Wretch 32's Breathe, UNKLE's collaboration with Nick Cave and the beat for American rapper Nas's single Nasty. He has also played drums and percussion on major TV adverts for companies that include McDonalds, X-Box and Toyota, provided beats for computer games like Sega Rally 2 and Shellshock 2, and appeared on many TV and film soundtracks, including the major release of Brideshead Revisited.

Alex writes a regular tuition column for Drummer magazine, has written a book with accompanying DVD, and recorded a 1960s funk breaks sample CD. In his MusicGurus course, Fills In Time, he distils all that studio and stage experience into 15 quick lessons that sharpen your time-feel and build a vocabulary of drum fills you can drop straight into your own playing. And yes - he still calls his mum every week.

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