82 bars of 4/4 at 120 BPM, about 2:44 of playing, on crash, hi-hat, snare, high tom, mid tom, floor tom and kick.
60 out of 100, a step up from a first song, and the work is in how much of it falls off the beat.
toms through bar 1, hi-hat through bars 2-34, silence through bars 35-64, hi-hat through bars 65-80 and kick and crashes through bars 81-82.
The beat the song is built on is one bar, played through bars 22-24, 27-28 and 31-32, and 4 more places -- 28.8% 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 |o---o---o---o---|
SD |---xxx------x---|
BD |xxxxxxxxxxxxxxxx|There are no fills to speak of: the part holds one beat the whole way through.
It cuts the song into 18 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.
120 BPM, in 4/4, with the time kept in sixteenth 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 how much of it falls off the beat. The beat itself is 58 out of 100; the rest of the number is everything around it.
82 bars, about 2:44 at the written tempo. The course breaks it into 18 exercises over 9 sittings, about 20 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.