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A drum fill is used to "fill in" the space between the end of one verse and the beginning of another verse or chorus. Fills vary from a simple few strokes on a tom or snare, to a distinctive rhythm played on the hi-hat, to sequences several bars long that are short virtuosic drum solos. As well as adding interest and variation to the music ...
In drumming, a fill is defined as a "short break in the groove—a lick that 'fills in the gaps' of the music and/or signals the end of a phrase. It's akin to a mini-solo." [3] A fill may be played by rock or pop instruments such as the electric lead guitar, bass, organ, drums or by other instruments such as strings or horns. In blues or swing ...
A heavy drum beat centered around fills and syncopation on the snare and tom-toms, a signature part of drummer Laurence "Loz" Colbert's style, is also a major force of the song's composition. After two verses and two choruses, the song closes with a nearly two-minute string-laden instrumental coda.
A drum fill can be used to "fill in" the space between the end of one verse and the beginning of another verse or chorus. [12] Fills vary from a simple few strokes on a tom or snare to a distinctive rhythm played on the hi-hat, to sequences several bars long that are short virtuosic drum solos.
The first commercial drum loop was created for the song “Stayin’ Alive” for the movie Saturday Night Fever by Albhy Galuten and Karl Richardson. It was created by recording two measures of drums from the song “Night Fever” and recording them onto a two-track analog tape which was then fed between the capstan and the pinch roller ...
Initially, the transition to the breakdown was an abrupt absence of most of the arrangement in a disco record, as described above. Records in the hi-NRG style of the late 1970s to early 1980s would typically use a pronounced percussive element, such as a drum fill, to cover the transition. Later dance genres typically reach the breakdown ...
He wrote that BloodPop provided "an insistent beat", "a tight verse-prechorus-chorus structure" and "an on-trend wordless hook". [12] Jordan Sargent of Spin thinks that the four songwriters "seem to nod overtly at that song", and that the song "has the same little between-beat drum fills as 'Sorry', as well as its pitched-up vocal counterpoints ...
The song is famous for its use of the gated reverb drum sound. Fellow musicians and journalists have commented on its use in the record. Black Sabbath singer Ozzy Osbourne called the drum fill "the best ever – it still sounds awesome", [15] while music critic and broadcaster Stuart Maconie was quoted: