62 bars, 3:15, at 75 BPM: slow enough that every note is exposed. Crash, hi-hat, snare, mid tom, floor tom and kick and nothing else.
53 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 1-4, kick and crashes through bars 5-6, snare through bars 7-23, hi-hat through bars 24-38, toms through bars 39-45 and hi-hat through bars 46-59, and 1 more change after that.
The beat the song is built on is one bar, played through bars 8-11 and 16-18 -- 12.1% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
9
1e+a2e+a3e+a4e+a
SD |--x-------x-----|
BD |x---x--xx---x--x|2 fills to learn, played 20 times: bars 22, 43, 44, 45, 46, 47 and 14 more.
It cuts the song into 16 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.
75 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.
53 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 16 out of 100; the rest of the number is everything around it.
62 bars, about 3:15 at the written tempo. The course breaks it into 16 exercises over 5 sittings, about 25 minutes each.
crash, 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.
2 fills to learn, played 20 times: bars 22, 43, 44, 45, 46, 47 and 14 more.