160 bars of 3/4 -- not four -- at 115 BPM, 4:10 of playing on crash, ride, hi-hat, snare, mid tom, floor tom and kick.
60 out of 100, a step up from a first song, and the work is in the independence between the hands and the feet.
ride through bars 3-4, hi-hat through bars 5-12, snare through bars 13-14, silence through bars 15-17, hi-hat through bars 18-22 and silence through bars 23-25, and 23 more changes after that.
The beat the song is built on is one bar, played through bars 41, 43 and 45, and 8 more places -- 19.3% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
119
1...........2...........3...........
CC |x-----x-----x-----x-----x-----x-----|
SD |------------------x-----------------|
BD |x-----------x-----------x-----x-----|7 fills to learn, played 17 times: bars 30, 40, 47, 48, 68, 72 and 11 more.
It cuts the song into 50 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.
115 BPM, in 3/4, with the time kept in thirty-second notes. The room plays it at any tempo from a quarter of that up to the written one, against the record where the record can follow.
60 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 47 out of 100; the rest of the number is everything around it.
160 bars, about 4:10 at the written tempo. The course breaks it into 50 exercises over 14 sittings, about 29 minutes each.
crash, ride, hi-hat, snare, mid tom, floor tom and kick. That is most of a full kit; the part moves around it rather than sitting in one place.
7 fills to learn, played 17 times: bars 30, 40, 47, 48, 68, 72 and 11 more.