Sticking For The Double Stroke Triplet In 5/4 Applying this triplet sticking to a new time signature.
Sticking For The Flam Accent In 5/4 Applying this simple eight note triplet sticking within the new time signature.
Sticking For The Inverted Paradiddle In 5/4 Applying the rudiment sticking within the new time signature.
Sticking For The Single Stroke 7 In 5/4 Applying two different single stroke 7 stickings to the new time signature.
Sticking For The Single Stroke Triplet In 5/4 Applying this simple eight note triplet sticking within the new time signature.
Sticking For The Standard Paradiddle In 5/4 Switching this basic rudiment sticking to the time signature of 5/4.
Three Beat 16th Note Fills At The End Of A 5/4 Bar Applying this three beat fill concept first applied in 4/4 within the new time signature.
Three Beat 16th Note Fills At The End Of A 5/4 Bar Starting A Quaver Early Extending three beat fills in 5/4 to create an interesting fill length.
Three Beat 5/4 Fills Following A '3 + 4e+ 5e+a' Some ideas for fill construction using a set rhythm in the time signature of 5/4.
Three Beat 5/4 Fills Following A '3 +a4e a5e+' Some ideas for fill construction using a set rhythm in the time signature of 5/4.
Three Beat 8th Note Fills At The End Of A 5/4 Bar Applying this three beat fill concept first applied in 4/4 within the new time signature.
Two Beat 16th Note Fills At The End Of A 5/4 Bar Applying this short two beat fill concept first applied in 4/4 within this new time signature.
Two Beat 16th Note Fills At The End Of A 5/4 Bar Starting A Quaver Early Extending two beat fills in 5/4 to create an interesting fill length.
Two Beat 8th Note Flls In 5/4 Applying this short two beat fill concept first applied in 4/4 within this new time signature.
Two Beat 8th Note Triplet Fills In 5/4 Switching the rhythm of a full bar fill to give me options in construction.
Very Short Fills At The End Of A 5/4 Bar Applying this subtle fill concept first applied to 4/4 within this new time signature.