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T
his special download exclusive comes to us via John
Xepoleas. He’s a long-time teacher, music camp
leader, and performer in northern California who has
has worked one-on-one with top drummers such as
David Garibaldi, Dave Weckl and many others. And he
is no stranger to DRUM! readers as he was featured in a teaching
roundtable in the pages of DRUM! His online lesson site, johnxdrums.
com presents more than 90 step-by-step video lessons with
transcriptions to take your drumming to the next level. He also offers
private lessons to top students around the world.

SWUNG EIGHTH NOTES WITH “THREE HANDS AND A FOOT”

By John Xepoleas
Four
Four Bar Bar Jazz Jazz Fills Fills
Welcome to Part 2 in my Four-Bar Jazz Fill lesson series. View Part 1 or other lessons in the series here

Part
Part
In this series, I will 2 how
2
teach you -- Swung
Swung
8th
Four
8th
to combine four Notes
Bar
Notes
different two-bar with
Jazz
with
fill rhythms "three
Fills
"three
to create hands
hands
a number of nice&sounding
&
a foot"
a foot"four bar fills.
John Xepoleas
These fills will be extremely useful when trading fours in a jazz combo, playing four- and eight-bar fills in a jazz chart or soloing.

in-my
John Xepoleas
AllWelcome
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Welcome to “Jazz-Fill
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my #4”. BartoJazz Fill" lesson series. In this
combine four different two bar fill rhythms to create a number of nice sounding “FourJohn series,
or fourI bars
will ofteach
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time how to
foot" rhythm from Lesson Be sure practice playing all of the examples into two
Xepoleas
feel.
Bar Fills”.
combine four different two bar fill rhythms to create a number of nice
These fills will be extremely useful when trading fours in a jazz combo, playing four and eight barsounding “Four Bar Fills”.
Welcome to
These Part
be 2 in my "Four Barwhen Jazz trading
Fill" lesson series. In this series, I will teach you eight
how to
fills in afills
jazz will
chart extremely
or soloing.usefulAll of the rhythms fours
we’ll in
beausing
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my “Jazz fourFill”
and lesson bar
combine four different two bar fill rhythms to create a number of nice sounding “Four Bar Fills”.
fills in a#’s
series
DRUM KEY
jazz 4. or soloing. All of the rhythms we’ll be using are from my “Jazz Fill” lesson
1 –chart
These fills 1will
series #’s be extremely useful when trading fours in a jazz combo, playing four and eight bar
– 4.
fills in a jazz chart or soloing. All of the rhythms we’ll be using are from my “Jazz Fill” lesson
For this part we’ll combine 8th notes and the “3 hands and a foot rhythm from “Jazz fill Lesson #4”.
series
For this#’spart1 –we’ll
4.
Be sure to practicecombine
playing 8th
all ofnotes and the “3
the examples hands
into two and a foot
or four barsrhythm from time
of a swing “Jazzfeel.
fill Lesson
For these#4”.
Be sure to practice playing all of the examples into two or four bars of
lessons I’ll be playing two bars of time. We'll end examples 1 - 4 and the "and of beat 4" creatinga swing time feel. For these
For this part
lessons bewe’ll combine 8th of notes and the end“3 hands and a foot rhythm fromof “Jazz
beatfill Lesson #4”.
a "push I’llbeat" playing two bars
or an anticipation totime.
beat We'll
one of the examples
following1measure.
- 4 and the "and
NOTE: To make 4" creating
smooth
Be sure to
a "push beat" practice playing all of the examples into two or four bars of a swing time feel. For these
transitions intoorthe
an fill
anticipation
from your to beat
time onebeofsure
feel, the to
following
stop your measure.
jazz rideNOTE: To make
pattern with asmooth
quarter note
lessons
transitionsI’ll be
intoplaying
the two
fill frombars
your of time.
time We'll
feel, be end
sure examples
to stop 1 -
your 4 and
jazz the
ride "and
pattern of beat a4"quarter
with creating note
on beat 4 of measure two. q = 152 - 180 (176)
a "push beat" or
on beat 4 of measure two.an anticipation to beat one of the following measure. NOTE: To make smooth
transitions into
q = 152 - 180 (176)
1 the fill from your time feel, be sure to stop your jazz ride pattern with a quarter note


EXAMPLE


1.
 
onthese
beat 4 ofI’llmeasure two.

   
   
For
1.
lessons be playing two
q = 152 - 180 (176)
bars of time in each segment. We'll end examples 1 – 4 on the & of beat 4 creating a push beat or an

      
anticipation to beat one of the following measure. NOTE: To make smooth transitions into the fill from your time feel, be sure to stop your jazz

  

 R  R  R 
ride pattern with a quarter-note on beat 4 of measure two.

 
1.

    
 R  R  R   R 
R R R R R
R R
 R
 R

R R R R R R R R

        
          
 R L R  R L R  R L R 
 R L R 3  R L R 3  R L R 3 R L R 
  
R L R


 L  R 3  R L  R 3  R  L R 3  R  L R
R

   3 
3 3

             
For
For  example we'll simply play
 the "3 hands and a foot" rhythm first, followedby the
the second example we'll simply play the "3 hands and a foot" rhythm first, followed by the
8th the second
notes.
8th notes.

   
For the second example we'll simply play the "3 hands and a foot" rhythm first, followed by the
2.
     
 R L R  R L R 
2. 8th notes.

   
 
 R L R  R L R 
2.


R
 LL RR  RR LL RR R
R
R
drummagazine.com ©Stringletter Publishing Inc. 3
R L R R L R R L R R L R
   
For the second example we'll simply play the "3 hands and a foot" rhythm first, followed by the 
8th notes.
For the second example we'll simply play the "3 hands and a foot" rhythm first, followed by the
Four Bar
For the second example we'll simply play Jazz Fills
the "3 - Part
hands and2a foot" rhythm first, followed by the
8th notes.



2. 8th notes.2 Four Bar Jazz Fills - Part 2
          
EXAMPLE

         
  
     
2.the second example we'll simply play the "three
For Four BarandJazz
hands a foot"Fills - Part
rhythm 2
first, followed by the eighth-notes.

       
2. 8th notes in this example, "cross the bar-line". Because the rhythmic pattern is based on a 3/4
The
time signature,

initLthis
endsexample,
on the 3rd beatthe
of bar-line".
the 4/4 measure and
thestarts again on theis4th beat.

It
a then


The 8th notes
R R "cross
R L R Because
R Lrhythmic
R patternR based
L onR 3/4
carries
time8th over into
signature, the next measure to create a fill that crosses the bar-line. See how the 8th notes are
The notes
R twoinitLthis
endsexample,
on the 3rd
R of three
beat of bar-line".
"cross
Rand the
the 4/4 measure
L groupR of two. Because and starts again
R theLrhythmic
R
on theis4th
patternR based
L
beat.
on It then
R a 3/4R
grouped into groups one

carries overR intoitLthe
time signature, next
ends Ron measure to create
the 3rd Rbeat of theaR4/4
L fill that crosses
measure R andthe
L bar-line.
startsRagain See how
on the the
R 4th 8th Rnotes
Lbeat. are
It then
R

   
grouped intointo
carries over twothe groups
next of three and
measure to one group
create fill of two. the bar-line. See how the 8th notesRare
Four Bar aJazz that
Fillscrosses
- Part 2
     

                
grouped into two groups of three and one group of two.

 inthisR example,
3. Four Bar Jazz Fills - Part 2
       therhythmic  Ris based onRa 3/4
R  it ends
  "cross
R    Because R pattern


 
3.
    R 4thL beat.R It then


The 8thRnotes R
the bar-line". R L

 

8thRnotes
3.
into  3 measure
 3rd of bar-line". BecauseR  therhythmic
3  8th 
L on
notesare
FourofBar R Jazz
4/4 Fills - RPart 2 starts
 afill 
time signature, R on the 3rd R beat the measure and R again on the

 
The in this
R example, "cross the patternR is based R a 3/4

R R R
groupedinto two 3 of  3 of  3   
The 8th notes in this example, "cross the bar-line". Because the rhythmic pattern is based on a 3/4 
carries over the next to create 3 that crosses the bar-line. See how the
 three and one  
two.    
 4th beat. It then 
 measure to create a  
time signature, it ends on the beat the 4/4 measure and starts again on the 4th beat. It then


groups group
into twoitends  ofthree and onegroup  of 
two.   again

carries over into the next fill that crosses the bar-line. See how the 8th notes are
 signature,
3 3 3
  beat ofthe 4/4   onthe 

grouped
time
 over  
groups
on the 3rd
  measure and starts
  
  
                  
3.
carries
   groups
  of three and onegroup of two.   
into the next measure to create a fill that crosses the

bar-line. See

how

the 8th
notes are


4    
4 
4grouped

into two

 
EXAMPLE 3
   
3.

            
The eighth-notes in this example cross the barline. Because the rhythmic pattern is based on a 3/4 time signature, it ends on the third beat of

 3     3    3    
the 4/4 measure and starts again on the fourth beat. It then carries over into the next measure to create a fill that crosses the barline. See how

    33    33      33       

the eighth-notes are grouped into two groups of three and one group of two.
3.
  

      
        
                   
                     
    
 a"Stickon3Stick"  technique
Now we aregoingto3 incorporate   ofthe  
  of the rhythms
 and
 and 
to a RRR  3tosome 
 ofthe
3to some of the rhythms and
 the  sticking  asticking onon3Stick"  others.(SOS)
(SOS)
change are RLR 3 incorporate some


Now we going to "Stick technique
change
Now we the  sticking
are RLR
going 
to to a RRR
incorporate asticking ononStick"
"Stick some  others.(SOS)
technique  to some  of the rhythms
change the RLR sticking to a RRR sticking on3some of the others.

  4               
                   
3 3
4.
EXAMPLE

NowSOSwe are going  technique

4.

    
Now we are going to incorporate a "Stick on Stick" technique (SOS) to some of the rhythms and change the RLR sticking to a RRR sticking on

(SOS) tosomeof the  rhythms  and

  
a "Stick
 onR Stick"
4.
some of the others.

     

R R
change
to incorporate
the RLR sticking to  a "Stick on Stick"
a RRR
R sticking
R on
R some  technique (SOS) tosome of the rhythms and
of the others. R
are goingto incorporate a "Stick on Stick"  technique (SOS)
Now
SOS we are going to incorporate


 RLR sticking to a RRR stickingon some of the  others.

R R R
change the RLR sticking to a RRR sticking on some of the others. R

 
SOS

  
                   R L R 

R

4.Now we to some of the rhythms and
change the      
     
      R R R      R L R 
4.



   3  
   3  R R R3      3     R
R 
4. SOS 3 3
R L R

    R R  R  
       3     3     
SOS
   
 SOS                    R 
   
3
    
4   

  

drummagazine.com ©Stringletter Publishing Inc.
   R L R 
 
R L R
 5.5.         

 
   5       
  
        
The 8th notes in this example "cross the bar-line", we're using more "Stick on Stick" technique

 
   
The we'll
and 8th notes
come in this
out ofexample "cross
the fill using thethe bar-line",
snare we're on
and cymbal using
themore
first "Stick
beat ofon Stick"
the timetechnique
feel.


5.and we'll come out of the fill using the snare and cymbal on the first beat of the time feel.

 
     

EXAMPLE
       
      
The eighth-notes in this example cross the barline as well. We’re using more "Stick on Stick" technique and we'll come out of the fill using the

  
               
5. snare and cymbal on the first beat of the time feel.

 
  R  R  R        R R  R   
    
5.
  
     RR RR RR      RR RR RR 
3   3 R R  3   R R
        33  R R R 33     33 R  R R 

R

 3  R  R R 
R


  3  R R  R 3  
         

      
    

   33  

        
3 3

   this great
 twofills incorporate
3
 sounding  Philly
3
 JoeJones lick. The lick is
lick is 
and 4 of
Bars 3 and 4of the next two fills incorporate
fills will this  Philly  lick
on a 3/4
the next
 time signature. Onceagain, these fills will crossthe bar-line.
great sounding Joe Jones lick. The is
time
Bars signature. Once
3 and 4 of the again,
next these
two fills incorporate cross
this thesounding
great bar-line. Philly Joe Jones lick. The
based on a 3/4
based on a 3/4 time signature. Once again, these fills will cross the bar-line.
Bars 3 and64 of the next two fills incorporate this great sounding Philly Joe Jones lick. The lick is
EXAMPLE

       
Barsbased
3 and 4 of on
theanext
3/4twotime signature.
fills incorporate Once
this great again,Philly
sounding these fills will
Joe Jones cross
lick. The lick isthe bar-line.
based on a 3/4 time signature. Once again,


6.
these fills will cross the barline.


6.

Bars 3 and 4 of6.the next two fills incorporate this great sounding Philly Joe Jones lick. The lick is

   

Bars
based3 on
anda 4 of time
3/4 the next two fillsOnce
signature. incorporate this great
again, these sounding
fills will Philly
cross the Joe Jones lick. The lick is
bar-line.
6.
 
based on a 3/4 time signature. Once again, these fills will cross the bar-line.


   
  
6.

 
6.
 

      
 
                      
  
7.
EXAMPLES 7-8

  
7. Bars 3 and 4 of the next two fills incorporate this great sounding Philly Joe Jones lick. The lick is based on a 3/4 time signature. Once again,

   R R  R RR RR RR    R R RRR RR RR


these fills will cross the barline.
7.



     R R   
7.

             
7.
 
R R R R

    R R  R      R R R

 
  
      R R R       R R R

 

        
    33  Four
 BarJazz33 Fills - Part
 2

 33   


  3  3  3   3   3   

3


      3     3      3    
8.
                 
   
3 3 3
6
6
         
6
 
 
 
 
 CONTINUED ON NEXT PAGE...

       
6
6
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
3

   3     3    3   
 
                 
      
 

       
CONTINUED FROM PAGE 5...

 
        
Our final fill incorporates many of the ideas we've already explored. However, this one ends on the


Our
"andfinal fill incorporates
of three" like the many example.
3 previos of the ideas we've
3 already explored. However,
3 this one ends on the
    
"and of three" like the
3 previos example.         

3 3

              
Our final fill incorporates many of the ideas we've already explored. However, this one ends on the

  
"and of three" like the previos example.
  
  
  9 
9.


 

9.

EXAMPLE
              
     we've    this oneends 
 ofthree"
Our final fill incorporates many of the ideas we've already explored. However, this one ends on the & of three like the previous example.
9.
 
Our final fill incorporates many of the ideas already explored. However, on the

 like the previos example.  

        
"and of three"
Our final like the
fill incorporatesprevios
many example.
of the ideas we've already explored. However, this one ends on the
"and  
            

 
     
   

9.

   
    3 R RR  RR RR RR       
R
9.


R

  3   3   
R

  3 
 R  R 3
   R R  R 3   
  3   
 3    3   
R


           
  

      
                 
 
  R RR  R RR 
For more information about John Xepoleas lessons, visit johnxdrums.com

R R R R R R


3 3 3
             

3 3 3

     

  

    



     
7
7

7
7

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