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Introduction
Nick Mason’s drumming with Pink Floyd is defined by spacious, song-serving playing rather than flashy technique. He emphasizes space and dynamics by dropping notes from simple patterns, leaving rests, and letting the music flow. Mason’s signature fills and approach focus on feel, subtlety, and dramatic contrast. He deliberately avoids overplaying—as Mason himself notes, “the space between the notes is key”—so his drum parts leave room for the song.[1] Technically, he mostly uses basic single‑stroke/double‑stroke rolls and simple stickings rather than complex rudiments.
His touch is light and controlled, often using brushes or mallets to embellish the songs with subtle, layered dynamics (e.g., the mallet-tom groove on “Set the Controls for the Heart of the Sun”).
This blog post explores 10 of Nick Mason’s most remarkable drum fills, including the transcription for each piece and a brief explanation. The songs were selected to represent Pink Floyd’s early, mid, and late eras; listed and presented in chronological order. We’ll delve into their timeless albums (both studio and live), A Saucerful of Secrets, Meddle, Pink Floyd: Live at Pompeii, The Dark Side of the Moon, Wish You Were Here, Animals, The Wall, and The Division Bell—when authentic music ruled the airwaves!
Drum Fills Analysis
1. A Saucerful Of Secrets
“A Saucerful Of Secrets” is an instrumental composition by Pink Floyd from the album of the same name (1968). The track was composed by Roger Waters, David Gilmour, Nick Mason, and Richard Wright. It’s divided into four sections: Something Else, Syncopated Pandemonium, Storm Signal, and Celestial Voices.[2] In the second section, Mason plays a one-bar drum loop of 8th and 16th notes between the snare and toms in a circular motion. This loop gives the tune a tribal-ethnic and psychedelic feel, ending with a gradual fade-out.
2. Echoes
Widely recognized by fans and critics as one of Pink Floyd’s most iconic compositions, “Echoes” never loses its status as a timeless musical suite. Even after Pink Floyd effectively disbanded, David Gilmour played it multiple times in concert. New versions and covers by other artists were released over the years. The track was originally included on Pink Floyd’s sixth album, Meddle (1971). It was composed by Richard Wright, David Gilmour, Roger Waters, and Nick Mason, with lyrics written by Waters.
From a drumming perspective, in over 23 minutes of song, there’s a world to analyze. The one-bar fill that introduces the first verse features a phrase that will define Mason’s drumming style in later albums. It consists of a 16th-note tom phrase; simple, straightforward, but incredibly effective and functional to the song.
3. One of These Days
Originally released on Meddle (1971), the live version of “One of These Days” from Pink Floyd: Live at Pompeii (1972) is a timeless classic. The track is an instrumental composition featuring prominent, captivating Nick Mason drumming. The following drum fill is remarkable for its adaptability and versatility. You can hear it on several Pink Floyd songs, for example, on “Money.” I also included a variation, featuring an 8th-note triplet passage from the highest to the lowest tom. Try combining the two bars and experiment with different orchestrations. Nick Mason’s performance in this version offers many ideas for inspiration.
4. Breathe (In The Air)
Pink Floyd’s magnum opus, The Dark Side of the Moon (1973), features some of Nick Mason’s most memorable grooves and fills. The drum fill that opens the chorus of “Breathe” is probably Nick Mason’s signature drum fill par excellence. Beyond this apparently simple 16th-note tom phrase, there’s a laid-back feel with a light swing that can’t be transcribed. Don’t underestimate this fill, which requires a proper dynamic without overplaying or rushing. The same drum fill can be heard on countless Pink Floyd songs.
5. Time
Another classic! “Time” is a landmark track that blends conceptual songwriting with one of rock’s most recognizable drum intros. Nick Mason opens the piece with a hypnotic array of rototoms, carefully tuned and arranged into layered, almost metronomic patterns that gradually build tension through repetition and subtle dynamic shaping. The effect is both mechanical and organic, setting up the song’s thematic focus on the relentless passage of time.[3]
As the intro unfolds, the rhythmic density increases until Mason breaks the cycle with a powerful, articulate drum fill—fluid yet precise in its orchestration across the kit. This transition is crucial: it releases the built-up tension and cleanly propels the track into the first verse, establishing the main groove with striking contrast and dramatic impact. The drum fill is similar to the previous one we analyzed on “Breathe.” The main difference is the orchestration involving tom unisons and a 16th-note snare pattern on the fourth beat.
6. Money
“Money” stands out for its unconventional 7/4 groove and instantly recognizable tape-loop intro, where Nick Mason locks into a tightly controlled, laid-back pocket that balances precision with a slightly behind-the-beat feel. The drum performance is built on restraint and clarity, allowing the rhythmic oddity to feel surprisingly natural and groove-oriented.
A key point of interest for drummers is the drum fill in the guitar solo in a 4/4 time signature, which is conceptually similar to the transition approach used in “One of These Days.” On “Money,” the orchestration is more contained and linear, emphasizing groove continuity, while “One of These Days” expands the phrasing with a more explosive, tom-driven spatial effect.
7. Shine On You Crazy Diamond
“Shine On You Crazy Diamond (Pts. 1-5)” is a multi-part suite that opens the album Wish You Were Here (1975). It’s built as a heartfelt tribute to Syd Barrett and structured as a gradual, evolving musical journey rather than a conventional song form. The composition unfolds in distinct sections: it begins with an atmospheric Part I, centered on sustained synthesizer textures and David Gilmour’s slow, expressive guitar motif that establishes the harmonic world; Parts II–IV feature Nick Mason’s restrained but deeply supportive drumming underpinning the iconic “Syd’s” theme; finally, Part V returns and expands the opening material, building intensity through layered instrumentation, saxophone lines, and a more driving groove that leads the suite toward its climactic resolution.[2]
The following 16th-note tom fill recurs often throughout the tune and in other Pink Floyd songs in a 12/8 time signature. The overall idea is easy, straightforward, and musical.
8. Dogs
“Dogs” (Animals, 1977) is a long-form progressive rock piece built around shifting harmonic landscapes, extended instrumental development, and a relentless rhythmic pulse that mirrors its lyrical themes of ambition, manipulation, and survival. Structurally, the track evolves in multiple contrasting sections rather than a fixed verse–chorus format. It moves from atmospheric, guitar-driven openings into more defined groove passages, anchored by steady, cyclical bass and drum interplay.
Nick Mason’s drumming plays a crucial role in maintaining momentum through extended transitions. The song gradually builds toward its climactic mid-section and final descent, where the arrangement thins out, and the harmonic tension resolves into a stark, reflective ending. The tom drum fill that introduces the main drum beat is syncopated and based on a 3-over-4 polyrhythm, with slight variants. Except for the first tom hit, the orchestration follows a cyclical phrase from the highest to the lowest tom.
9. In the Flesh?
Opening The Wall (1979) with a sharp, theatrical impact, “In the Flesh?” immediately establishes the album’s dramatic narrative language through stark contrasts between heavy, full-band rock sections and unsettling moments of restraint. The composition is arranged in clearly defined blocks rather than a conventional verse–chorus structure. It basically consists of a forceful opening statement driven by dense instrumentation, a more controlled and eerily detached middle passage, and a return to the main motif with an increased intensity that heightens the psychological tension.
Nick Mason’s drumming provides a solid structural backbone throughout, combining a steady, almost militaristic pulse with precise cymbal accents and effective fills that articulate transitions and reinforce the track’s cinematic progression. The drum fill that closes the song’s first part features a fluid tom passage on the last beat. This 16th-note tom phrase is anticipated and embellished by a ruff of two 32nd notes (alternating sticking), launching the fill with absolute majesty.
A reminder for drummers: a ruff is typically played with a defined rhythmic subdivision leading into the main stroke, whereas a drag consists of very tight grace notes close to the primary stroke, similar in feel to a flam. The same drum part, along with “Shine On You Crazy Diamond,” can be transcribed in 6/8 time.
10. High Hopes
Closing The Division Bell (1994) with a reflective and expansive atmosphere, “High Hopes” unfolds as a gradual, cinematic build that contrasts nostalgic lyricism with a carefully orchestrated instrumental arrangement. The composition moves through a verse–chorus form, beginning with a sparse, bell-like piano motif and acoustic textures. Nick Mason’s drumming enters with a restrained, song-serving approach focused on deep pocket and smooth dynamic shaping. As the track develops, layered guitars, organ, and subtle orchestral elements accumulate, guiding the piece toward its climactic middle section and ending with a magnificent and touching lap steel guitar solo.
This drum fill is representative of Nick Mason’s drumming experience. It features both 8th and 16th notes, resulting in a precise and carefully orchestrated tom phrase. This drum fill occurs at the end of the second chorus, opening the guitar solo with great musicality and touch.
Musical Legacy
Nicholas Berkeley Mason’s musical heritage is defined by an architectural sense of restraint, spatial awareness, and a “less-is-more” philosophy. Unlike his contemporaries, Mason used his lack of formal training to bypass standard rock clichés, focusing instead on how his drumming could serve the song’s atmosphere. Rather than acting as a traditional, bottom-heavy timekeeper, his drumming served as a decorative, melodic voice that floated atop the mix, complementing sprawling, psychedelic soundscapes.
Throughout Pink Floyd’s catalog, Mason used the studio as an active instrument, pioneering early avant-garde tape loops in A Saucerful of Secrets. Another example is the multi-tracking of Remo Rototoms for the melodic, pitch-tuned intro of “Time.” While his studio work was pristine and controlled, his live performances on Ummagumma and Pink Floyd: Live at Pompeii showcased a far more powerful, kinetic, and aggressive style heavily influenced by jazz-leaning drummers like Mitch Mitchell and Ginger Baker.[4] This dual mastery of studio precision and live improvisation solidified his place in the pantheon of classic rock drummers.
With a career spanning more than 60 years, Nick Mason inspired many drummers, including Neil Peart, Gavin Harrison, Danny Carey, Chad Smith, Mick Fleetwood, Steven Drozd, and many others. His drumming is a formative influence for thousands of drummers and musicians worldwide.
Nick Mason is the only member to appear, record, and perform on every Pink Floyd album. In addition to his active role with the band, Mason maintained an established profile as an independent record producer for progressive and punk acts alike. His lifelong dedication to the band’s early, experimental era culminated in the formation of his touring group, Nick Mason’s Saucerful of Secrets, in 2018. By performing early material from 1967 to 1972, Mason has experienced a complete musical rejuvenation, proving to a new generation of listeners that the true power of drumming lies in the beauty of the spaces left behind.
Free PDF
All the drum fills transcribed are available in a printable PDF file. Elevate your drumming!
Notes and References
- Budodsky, Adam. “Pink Floyd’s Nick Mason. Plus, a sidebar with Heavy Rock’s Most Traveled Drummer, Carmine Appice, About Recording With Pink Floyd.” Modern Drummer, n.d.
- Manning, Toby. The Rough Guide to Pink Floyd. 1st ed., Rough Guides, London, 2006.
- Csathy, Peter. “The Story Behind Pink Floyd’s Psychedelic Smash ‘Time’.” Consequence, June 20, 2023. https://consequence.net/2023/06/pink-floyd-time-nick-mason-the-story-behind-the-song.
- Golsen, Tyler. “The five favourite drummers of Pink Floyd’s Nick Mason.” Far Out Magazine, June 30, 2022. https://faroutmagazine.co.uk/five-favourite-drummers-pink-floyd-nick-mason.