Fill-ins e ideas creativas
Lesson time: (5min 0sec)
Pat Levett comparte ideas de fills melódicos para la batería estilo Nueva Orleans, fraseando con el bombo y pensando en la tensión y la relajación, y luego improvisa sobre el groove.
Course preview
This lesson is part of the course Batería estilo Nueva Orleans
Watch a preview of the full course below.
Lesson transcript:
New Orleans Drumming Lesson: Fills and Phrasing
Hello and welcome to another lesson in New Orleans drumming! Today, I want to discuss fills within the styles we've been covering. These styles are primarily based on the groove, and it's essential to focus on these grooves.
The patterns might even seem simple, especially if you're an advanced player. However, as I've mentioned from the start, it's all about the particular phrasing. You really have to listen to fully understand it and have it reflected in your playing.
The Importance of Groove
There's nothing wrong with the groove, so truly concentrate on that. However, when we have the chance to incorporate fills within New Orleans drumming, try to be as melodic as possible.
- Singing the Phrase: Try to sing the phrase you want to play.
- Bass Drum: The bass drum is incredibly important, so consider phrasing with it.
For example, if I'm playing the groove, it might sound like this:
"So bad, bosh."
Practicing Fills
Now, I'll play the groove for a bit longer and throw in a few fills, so you can get a feel for it. Remember, I don't want to be too strict about this; it's very much about self-expression. Once you grasp the rhythm, feel free to unleash your own creativity.
Here are a few ideas that you might find useful:
- Creativity and Funk: We can build up into various elements; it could even end up sounding funky. There's space for creativity within it.
- Understated Styles: I've seen many New Orleans bands that are quite quiet; it's very understated.
Think about tension and release, perhaps using some triplets.
The Essence of Phrasing
While it can be a place to show off, it's more about phrasing. It's crucial to get your phrasing polished. Now that you've started learning these styles and, hopefully, listening to a lot of music, your phrasing should be evolving into something more personal.
You'll be able to express yourself on the drum kit using those rhythms, especially in fills and later with solo ideas.
Conclusion
This wraps up the course, which is meant to be an introduction to New Orleans drumming. It is by no means a definitive guide. Each of these lessons could be a comprehensive course on its own, with details reflecting lifetimes and lifestyles of music-making.
Please take the time to explore each area properly. I hope you enjoy the music as much as I do; it is a valid and enjoyable art form. You can apply it to many aspects of drumming within your own music.
Thank you for joining!
About the instructor

Tras graduarse en batería por la Guildhall School of Music en 1999, Pat ha actuado y grabado con Liane Carroll, el James Taylor Quartet, Tim Minchin, los Ronnie Scott's All Stars, Zigaboo Modeliste (The Meters), Earl Thomas, Paddy Milner, el Phil Stevenson Trio, los Downtown Dukes, 24 Pesos, las Puppini Sisters, Sandi Thom y Bernard Purdie, entre otros. Ha girado ampliamente por América, Rusia, Asia y Europa, tocando en numerosas salas de prestigio, festivales y espacios de televisión y radio. Pat también toca la armónica cromática y es solista destacado en dos álbumes de Will Grove-White (Ukulele Orchestra of Great Britain). Entre sus propios proyectos figuran 'The Coalminers', dedicado a tocar funk y soul de Nueva Orleans, y 'June Afternoon', un trío de órgano con Ross Stanley y Nat Martin. En su curso New Orleans Style Drumming, Pat desgrana los grooves, el feel y el vocabulario del second line que definen el sonido de la ciudad, para que puedas encajar en un funk y un soul auténticos tras la batería. read more




