81 bars, 4:16, at 72 BPM: slow enough that every note is exposed. Crash, hi-hat, snare, high tom, mid tom, floor tom and kick and nothing else.
48 out of 100, a step up from a first song, and the work is in the independence between the hands and the feet.
silence through bars 1-9, snare through bars 10-18, toms through bars 19-20, silence through bars 21-25, hi-hat through bars 26-33 and toms through bars 34-37, and 6 more changes after that.
The beat the song is built on is one bar, played through bars 26-33, 50-56 and 58-65 -- 34.8% of every bar the kit plays. That is the spine of it; everything else is what happens around it.
27
1e+a2e+a3e+a4e+a
HH |x-g-x-g-x-g-x-x-|
SD |----x-------x---|
BD |x------xx-x-----|There are no fills to speak of: the part holds one beat the whole way through.
It cuts the song into 15 exercises -- the grooves, the fills, and the joins between sections, which is where players actually come off -- and puts them in the order a teacher would. Each one opens on a reduction you can already play and adds the notes back a rung at a time, with a tempo to reach and a gate to pass before the next.
72 BPM, in 4/4, with the time kept in sixteenth notes. Slow enough to hear every mistake, which is why the room lets you sit at the written tempo rather than under it.
48 out of 100, a step up from a first song, and the work is in the independence between the hands and the feet. The beat itself is 32 out of 100; the rest of the number is everything around it.
81 bars, about 4:16 at the written tempo. The course breaks it into 15 exercises over 4 sittings, about 25 minutes each.
crash, hi-hat, snare, high tom, mid tom, floor tom and kick. That is most of a full kit; the part moves around it rather than sitting in one place.