Advanced Linear Fills
These are the patterns that separate intermediate drummers from advanced ones. Not because they require unusual speed or strength, but because they demand something more fundamental: the ability to hold multiple independent coordination patterns in sequence without any single element defaulting to automatic.
Advanced linear fills add length, add doubles at positions you don't expect, and add double kicks inside longer phrases. At beginner and intermediate level, the pattern is short enough that you can almost memorise each stroke individually. At advanced level, the phrase is long enough that you have to internalise the whole shape — and that takes more deliberate work.
This page covers two levels: Level 5 brings five-note patterns with double strokes placed at different positions in the phrase, and Level 6 introduces double kicks at the close of those same five-note phrases.
What Makes These Advanced?
Three things change at this level.
The length. Five-note patterns are longer than anything on the previous pages, which means more coordination to hold in sequence. A single lapse in attention and the phrase breaks down — there's no short pattern to fall back on.
The double placement. In intermediate fills, doubles were predictable — either at the start (RRLLK) or at the end (RLKK). Advanced patterns move the double mid-phrase. In RLRRK, the double right falls at notes 3 and 4. That position is harder to anticipate and harder to execute cleanly because the hands are already in an alternating pattern before the double arrives.
The double kick inside a longer phrase. Level 6 patterns combine a five-note hand sequence with a double kick at the close. The hand phrase needs to be automatic enough that attention is available for the foot. If you're still thinking about where the hands are going, the double kick will suffer.
Work through Level 5 completely before starting Level 6. The hand control built in the first six patterns is the foundation the last four depend on.
Before You Start
These exercises assume you can:
- Play the intermediate linear fills cleanly at 75bpm
- Execute clean hand doubles and double kicks independently at moderate tempo
- Maintain accurate 16th-note and triplet subdivision over longer phrases without losing the pulse
If double kicks still feel unreliable or hand doubles are inconsistent under pressure, go back to the intermediate page first. Five-note patterns will amplify both weaknesses — it's more efficient to address them in shorter patterns before adding length.
Recommended starting tempo: 50–60bpm
What you need: Full kit, metronome
Advanced Linear Fill Exercises
Complete Level 5 before starting Level 6. The hand control in exercises 1–6 is the foundation exercises 7–10 depend on.
Double Strokes into Kick
Exercise 1 — RRLLK
The Bracketed Double
Advanced Linear Fills
What this pattern does
Double right, double left, kick — five notes where the two hand doubles mirror each other before the kick resolves the phrase. Both sets of doubles need to be even before the kick arrives. The challenge isn't any individual double; it's keeping both sets clean inside the same phrase. Think of RRLL as a four-stroke setup for the kick, not two separate doubles.
How to practise it
- 1Play RRLL on its own — both doubles should sound identical. Add the K after and listen for the resolution.
- 2Play at 50bpm. Listen for any difference in volume or timing between the RR pair and the LL pair.
- 3Combine at 50bpm. If either double rushes toward the kick, slow down by 5bpm and rebuild.
- 4Play in context: four bars of groove, one bar of RRLLK — loop the transition.
Exercise 2 — LLRRK
The Bracketed Double, Left Lead
Advanced Linear Fills
What this pattern does
Mirror of RRLLK — double left, double right, kick. Where RRLLK typically feels more natural for right-handed drummers, LLRRK forces the left hand to open. The double right in the middle needs to be as clean as the opening double in RRLLK, but arrived at from a left-hand lead. Any instability between the two sets of doubles will be audible. Practise both patterns back to back.
How to practise it
- 1Isolate the opening double left. Play LL on its own, then LLRR with both doubles equal, then add K.
- 2Compare LLRRK directly with RRLLK — notice which feels less stable and why.
- 3Combine at 50bpm. Both sets of doubles should feel equally controlled.
- 4Practise RRLLK and LLRRK in sequence. Neither should feel significantly harder than the other.
Exercise 3 — RLRRK
The Late Double
Advanced Linear Fills
What this pattern does
Right, left, double right, kick — the double falls at notes 3 and 4, later in the phrase than the RRLLK patterns. The late position makes it harder to anticipate: the pattern starts with a clean alternation (RL) before the double right arrives. Many drummers default to playing note 3 as a single, turning RLRRK into a four-note pattern. Count carefully — the double is there.
How to practise it
- 1Count each note aloud before playing: "R-L-R-R-K". Mark the double clearly at positions 3 and 4.
- 2Isolate the transition from L to RR. Play LRR on its own, then add R before it and K after.
- 3Combine at 50bpm. All attention should be on notes 3 and 4 — that's where timing problems concentrate.
- 4Play in context: groove in, one bar of RLRRK, groove out.
Exercise 4 — LRLLK
The Late Double, Left Lead
Advanced Linear Fills
What this pattern does
Mirror of RLRRK — left, right, double left, kick. The double left at notes 3 and 4 is the equivalent challenge, amplified by the non-dominant hand doing the work. Where RLRRK tests whether the right hand can double mid-phrase, LRLLK tests the same thing on the left. This is often the most difficult of the Level 5 patterns for right-handed drummers — expect to work here longer than elsewhere.
How to practise it
- 1Identify the double left at notes 3 and 4. Isolate the transition: play RLL on its own, then add L before and K after.
- 2Slow down significantly — 45bpm if needed. The late left double in a phrase is a specific weakness for most drummers.
- 3Combine at 50bpm. Compare with RLRRK and target whichever side feels less clean.
- 4Practise RLRRK and LRLLK in alternation — these two together will expose any bilateral imbalance.
Exercise 5 — RRLRK
The Early Double
Advanced Linear Fills
What this pattern does
Double right, left, right, kick — the double opens the phrase, before the alternating sequence continues. This is conceptually different from the other Level 5 patterns: instead of building toward a double, the double launches the phrase and the single strokes follow. The kick at note 5 is a resolution after a phrase that starts heavy and gradually lightens.
How to practise it
- 1Isolate the opening double: RR, then add LRK after. Play RR cleanly before adding the rest.
- 2Combine: RRLRK at 50bpm. The double at the start should feel like a launch, not a stumble.
- 3Listen for whether the single strokes after the double match the momentum of the opening.
- 4Play in context with a groove. The early double makes this pattern feel particularly assertive.
Exercise 6 — LLRLK
The Early Double, Left Lead
Advanced Linear Fills
What this pattern does
Mirror of RRLRK — double left opens, then right, left, kick. The left-hand opening double is the highest coordination demand in the Level 5 group for most drummers. When this pattern feels clean, the left-hand doubles are genuinely reliable — which is a meaningful milestone. Everything that was true of RRLRK applies here with the additional challenge of the non-dominant hand carrying the weight.
How to practise it
- 1Isolate the opening LL. Play it as a double — equal volume, equal spacing.
- 2Add the rest: LL then RLK. Feel the full phrase as one unit, not LL then RLK separately.
- 3Combine at 50bpm. If the left-hand opening double collapses at any tempo, stay there — don't chase speed.
- 4Practise RRLRK and LLRLK together. When both feel equally natural, Level 5 is complete.
Double Kicks
Exercise 7 — RLLKK
Double Left, Double Kick
Advanced Linear Fills
What this pattern does
Right, double left, double kick — a five-note phrase where both the hand and foot have doubles to execute. The double left at notes 2 and 3 is the hand challenge; the double kick at notes 4 and 5 is the foot challenge. Neither can be sloppy for the pattern to work as a linear fill. The second kick typically lags — give it the same deliberate attention as the second left.
How to practise it
- 1Isolate the double kick first. Build clean KK on its own before adding any hands.
- 2Play the hand pattern alone: RLL. Then add KK after — feel the handover from hands to foot.
- 3Combine at 50bpm. Listen for whether the second kick arrives on time with equal weight.
- 4Play in context: groove, one bar of RLLKK, groove. The double kick should land as decisively as any hand stroke.
Exercise 8 — LRRKK
Double Right, Double Kick
Advanced Linear Fills
What this pattern does
Mirror of RLLKK — left, double right, double kick. The double right at notes 2 and 3 sets up the double kick at notes 4 and 5. Most drummers find LRRKK slightly more intuitive than RLLKK — the right-hand double going into the kick double has a natural momentum to it. Use that to your advantage, but don't let it mask any weakness in the left-hand lead.
How to practise it
- 1Isolate the double kick, as with RLLKK.
- 2Play the hand pattern alone: LRR. Then add KK.
- 3Combine at 50bpm. Compare directly with RLLKK — note where the feel differs.
- 4Practise both patterns back to back to build symmetry across the double transitions.
Exercise 9 — RLRKK
Alternating Hands, Double Kick
Advanced Linear Fills
What this pattern does
Right, left, right, double kick — three alternating hand strokes, then double kick to close. Of the Level 6 patterns, this one has the cleanest hand phrase: no doubles in the hands, just single alternating strokes. All the coordination demand concentrates in the double kick at the end. Because the hands are automatic, full attention is available for the foot — which makes RLRKK a useful reference for how the double kick should feel in the other Level 6 patterns.
How to practise it
- 1Play the hand phrase alone: RLR. It should feel effortless — that's intentional.
- 2Add the double kick: RLRKK at 50bpm. Because the hands are simple, the double kick is clearly audible.
- 3Focus on both kicks — first landing cleanly, second arriving with equal weight at equal spacing.
- 4When RLRKK is clean, use it as a reference for how the double kick should feel in RLLKK and LRRKK.
Exercise 10 — LRLKK
Left-Lead Alternating, Double Kick
Advanced Linear Fills
What this pattern does
Mirror of RLRKK — left, right, left, double kick. Three alternating strokes with left lead, then double kick. This is the final pattern on this page and it completes the Level 6 symmetry: both lead hands, both simple and complex hand phrases, all going into double kicks. When LRLKK is clean at 70bpm, the advanced linear fill vocabulary is genuinely under control.
How to practise it
- 1Play the hand phrase alone: LRL. Left-hand lead alternation should feel as automatic as RLR.
- 2Add the double kick: LRLKK at 50bpm. The left-lead approach should not change how the kicks feel.
- 3If LRLKK feels harder than RLRKK, give the left-hand lead specific repetition before combining with the kick.
- 4Practise RLRKK and LRLKK alternately. When both feel equal, this page is complete.
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How to Get the Most From These Exercises
1. Think in phrases, not individual notes
At beginner level, you can get away with thinking about each stroke as it arrives. Five-note patterns are too long for that approach — by the time you're thinking about note 3, notes 4 and 5 have already been decided. Internalise the shape of the whole phrase before picking up sticks. Sing it. Tap it on your legs. The body needs to know the full sentence before it can speak it.
2. Complete Level 5 before touching Level 6
Level 6 patterns require the hand phrase to be automatic — if RLRRK still demands conscious attention, adding a double kick after it will make both elements worse. The Level 5 patterns are the foundation. Trying to rush into Level 6 before they're solid is one of the most common ways advanced drummers stall at this stage.
3. The mid-phrase double is harder than the opening or closing double
RLRRK is harder than RRLLK at the same tempo because the double arrives mid-phrase after an alternating sequence has already started. Your hands have momentum in one direction, and then they need to double. Expect to spend more time on RLRRK and LRLLK than on the other Level 5 patterns. That's normal, not a sign of a weakness.
4. Build the double kick inside a phrase, not in isolation
It's easy to make double kicks clean on their own at slow tempos. The challenge is keeping them clean after a five-note hand phrase where your attention has been on the hands. When practising Level 6, spend deliberate time on the handover point — the moment the hands finish and the foot needs to fire twice. That transition is where the pattern breaks down.
5. Record at performance tempo before declaring a pattern clean
Five-note linear fills contain enough moving parts that small problems — a rushed double, a second kick that lags slightly — are genuinely hard to hear in real time. Record yourself playing each pattern in a musical context at 70bpm. Listen back specifically for the double position in each pattern. Your ear will catch things your playing can't.
Frequently Asked Questions
How are these different from intermediate linear fills?
Intermediate fills are three or four notes long — short enough to memorise stroke by stroke. Advanced fills are five notes, which requires phrase-level thinking rather than note-by-note execution. The double also moves to unexpected positions in the phrase (mid-phrase in RLRRK, for example), which is harder to anticipate than the predictable doubles in intermediate patterns. Level 6 adds double kicks inside the same longer phrases, compounding the coordination demand.
My pattern keeps breaking down at note 3 or 4 — what's happening?
This is the most common failure point in Level 5 patterns, particularly in RLRRK and LRLLK where the double falls mid-phrase. The pattern is breaking down because the hands have momentum in one direction (alternating) and the double requires a change that isn't yet automatic. Isolate the transition specifically — play just the two or three notes around the double until that segment is clean before putting the full pattern back together.
Should I learn Level 5 completely before starting Level 6?
Yes. This isn't a rule for its own sake — Level 6 patterns require the hand phrases from Level 5 to be automatic. RLLKK requires the same hand control as RLRRK but with a double kick added at the end. If the hand phrase still demands attention, the double kick will be compromised. Get each Level 5 pattern to 65bpm before moving to Level 6.
What tempo is performance-ready for these patterns?
70–75bpm is a reasonable target for clean, musical execution. At that tempo, five-note linear fills have enough space to breathe and enough momentum to feel intentional in a song context. That said, many professional linear drummers practise these patterns at 60bpm indefinitely — slower isn't always a sign of incompleteness, it's often a sign of attention to detail.
Why do five-note patterns feel so much harder than four-note ones?
The jump from four notes to five is larger than it looks. Four-note patterns fit neatly inside one beat of 16th notes and have a natural resolution point. Five-note patterns don't divide evenly into standard bar structures, which creates a rhythmic ambiguity that takes time to internalise. The body needs more repetition to find the phrase shape because there's no obvious rhythmic grid to lean on.
I can play these slowly but they fall apart at speed — what should I do?
This is a sign of incomplete internalisation rather than insufficient technique. The pattern hasn't been absorbed deeply enough to survive the additional demand of speed. Two approaches help: first, practise at a tempo just below the breakdown point (not just at a very slow tempo) — that edge is where the pattern actually gets trained. Second, practise the pattern in a musical context rather than just looping it — the pressure of groove transitions exposes the same weaknesses that speed does.
What to Learn Next
Once the advanced fills are clean at 70bpm, the vocabulary is genuinely solid. The next directions are applying the same patterns to different rhythmic contexts, or returning to earlier pages to play them at higher tempos.
These exercises are part of the Learn To Speak Drum methodology — a structured, diagnostic approach to drum education that identifies exactly what you need to work on and gives you a clear path to fix it. Take the free GrooveLab diagnostic →