7 Stroke Roll Drum Fills – James Payne

Hi guys welcome to another episode today
we’re going to talk about controlling a seven strokes fill controlling odd time
fills sometimes can be hard because they don’t develop in a
regular time frame especially when we play in a 4/4 situation so it is good
for us to spend some time and understand and learn to hear and control this type
of fills which I really like because it kind of gives you that odd time feeling
that then goes back into one when you close it and it’s just kind of like it
gets out of the bars and then back in so I really like it you can become very
creative with it we’re going to see how to develop and to learn to hear this and
then a few variations that we can use to start to be creative and then of course
you guys will come up with your own ideas once you have the perfect
control of this fill so first of all we have to learn to literally hear the
seven strokes so we can either just accent the first stroke every 7 or
divide the accents so that we have a better structure and that can help us
hearing this so let’s start playing this on the snare and see how this sounds
like okay so it’s so we can see how already just keeping
the single strokes going we start one time with the right hand and
one time with the left hand we can change the sticking and we can do this
while we’re working on this so that maybe we can have a easier sticking to
start with especially when we start to put this in a regular 4/4 bar and so
that it doesn’t confuse us too much but for now let’s see what I meant by
adding accents so that we have a better structure to work on if for example i
accent three the three right hands and then the three left hands
it’s going to be a little bit more easier for me to start to control this
it will sound like this okay it’s going to be easier for a
matter of every right hand that I will play before changing the hand it’s
gonna be accents so if for example I move my hands the accents of my hand on the
floor Tom and my left on the Tom it will sound like this okay so I can start hearing and counting
1 2 3 1 2 3 1 2 3 1 so the reason why it becomes a little bit easier it’s
because there’s less space and less time to think of the switching so I don’t
have to think One 2 3 4 5 6 7… it’s going to be 1 2 3 1 2 3 1 2 3 so in your
head it just gets easier or we can change the sticking so that we don’t have
to start with different hands every time and we’ll just play the regular single
notes and then the double ghost note will play just with our left hand so in
this way okay so in this way even if we speed
this up it’s going to be a little bit easier because there won’t be too much
motion in changing the hands and changing the accents so for example if
we speed this up a lot it’ll sound like this okay great so now we kind of know
how the seven strokes sound it’s going to be one two three one two three one
two three one two three but what if we have to put this in a regular time frame
so let’s start keeping the hi-hat quarter notes on the hi-hat and when
the four measures are done we will have to go back on one with our hands so we
won’t continue endlessly in repeating this but when the fourth bar ends we
have to then close our seven stroke rolls so that it becomes it closes on
one so in this way so I know that if I want this seven
strokes exactly in a 4/4 measure it will sound like this and then it will repeat so I will have
to memorize this and start to work on this this is going to be like my seven
strokes this is controlling a seven stroke feel in a four measure space so
it’s going to sound like this so it’s going to be three accents with my right
hand three accents with my left and one accent with my right and then I’ll repeat okay so from here I can start working on
the stickings as I was doing before so now I was just playing single strokes
and then alternating my hands if I keep the sticking always starting with my
right hand it will sound like this okay so just by changing the accents
moving the accents around the kit or between my floor tom and the snare I start to create some kind of phrases and some kind of like movement
in the fill and this is just like a very simple and basic sticking and idea
just accenting the one two three right hand strokes moving them around so this
already creates kind of like a nice and odd feeling on the fill so it’s a fill
that we can really develop and take to whatever we want once we can control
this the next step was going to be adding the bass drum to this fill and
start to understand how we can develop a linear a seven strokes linear fill on
this for example we can alternate the accents that we’re playing and we play
the ghost notes with our kick so in this way okay so doing this we already have a
very nice fill and a very nice idea that we can really for example if we speed
this up and we put it in a regular frame in a regular time frame this will start
to sound like a very difficult thing a very weird and odd thing instead it’s
pretty simple as we just saw is just alternating our hand and foot and
playing a double stroke when we have to play the six and seven strokes with our
bass drum so speeding this up it will start to sound like this okay so a very
nice effect that we can start using let’s put this now in a regular time
frame and start to controlling in a four measures situation so also here I can see how I will start
once with my right hand and once with my left hand and if you didn’t notice this
I will now play the one of the four four measures with my feet on the floor Tom
and then on the first tom with my left hand so that you guys can hear this
better and understand what I meant ok so now I know in my head for example for
this idea to put it in the 4/4 measure it will sound like this once I’m here I
can move this around the kit and just have so many variations based on the one
sticking working on a seven strokes linear fill it’s like already an endless
you already have endless opportunity of using this changing it making it sound
like many different things instead you’re just playing the same thing over
and over again and you control one thing but it’s just it can vary so much that
it can give you all this effect musical effect that I think it’s very cool so
now we can start moving this around moving one hand a time for example I can
start moving my right hand to the floor tom and then my left hand on the
first tom and see how this would sound okay and then for example we can also
use this on cymbals like adding a cymbal and playing instead of a linear fill we
can play just accenting with the bass drum whatever we do with our right hand
so for example something like this when we speed this up it will sound something
like this okay so then introducing this in a
groove in something that could be like metal context or then of course you can
use this in any context as you can hear but for a more metal groovy
type of situation we could do something we could use it in this way ok so these are just a few ideas that
you can come up with and these are actually very simple and basic ideas and
a simple way of developing the seven strokes fill you can of course go on
with this and make it something completely different you can put this in
other linear phrases that you’re playing so just adding it to your vocabulary
it’s just a new word and a new sticking and thing that we hear that we can
work on so the only technical thing that you might want to see in this it’s
the double stroke with the foot which I use as usual the slide technique so
when I play the the foot pattern it sounds and it’s something like this so it’s just regular single strokes with a double stroke in between to play the
sixth and the seventh stroke of the leaner fill so that might just
be the only thing that can cause a little bit of troubles playing it and
executing this fill but for the rest is pretty simple
it’s pretty much all leg and arm motion even when you speed it up a lot
so have fun and I’ll see you next time

One comment


    I like your personality and your level of awesomeness the way you master your instrument! Great tutorial thanks!

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