108 bars of 3/4 -- not four -- at 100 BPM, 3:12 of playing on crash, ride, hi-hat, snare, floor tom and kick.
47 out of 100, a step up from a first song, and the work is in the independence between the hands and the feet.
snare through bars 2-39, hi-hat through bars 40-51, ride through bars 52-74, silence through bars 75-78, snare through bars 79-105 and kick and crashes through bars 106-108.
The beat the song is built on is one bar, played through bars 2, 4 and 8, and 9 more places -- 20.8% 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+a
SD |------r-----|
BD |x---x---x---|There are no fills to speak of: the part holds one beat the whole way through.
It cuts the song into 25 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.
100 BPM, in 3/4, 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.
47 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 6 out of 100; the rest of the number is everything around it.
108 bars, about 3:12 at the written tempo. The course breaks it into 25 exercises over 7 sittings, about 25 minutes each.
crash, ride, hi-hat, snare, floor tom and kick. That is most of a full kit; the part moves around it rather than sitting in one place.