130 bars of 4/4 at 120 BPM, about 4:03 of playing, on crash, ride, hi-hat, snare, mid tom, floor tom and kick.
61 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 1-8, hi-hat through bars 9-24, ride through bars 25-39, silence through bars 40-42, toms through bars 43-46 and hi-hat through bars 47-77, and 6 more changes after that.
The beat the song is built on is one bar, played through bars 9-16, 19-20 and 101-103, and 3 more places -- 18.6% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
10
1e+a2e+a3e+a4e+a
HH |o---o---o---o---|
SD |----x-------x---|
BD |xxx---xxx-x-xxx-|11 fills to learn, played 15 times: bars 8, 24, 28, 36, 46, 58 and 9 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.
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.
61 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 45 out of 100; the rest of the number is everything around it.
130 bars, about 4:03 at the written tempo. The course breaks it into 50 exercises over 15 sittings, about 27 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.
11 fills to learn, played 15 times: bars 8, 24, 28, 36, 46, 58 and 9 more.