80 bars, 4:15, at 74 BPM: slow enough that every note is exposed. Crash, ride, hi-hat, snare, high tom, mid tom, floor tom and kick and nothing else.
66 out of 100: demanding, mostly on the independence between the hands and the feet.
silence through bars 1-14, hi-hat through bars 15-19, silence through bars 20-21, hi-hat through bars 22-25, toms through bars 26-27 and hi-hat through bars 28-44, and 5 more changes after that.
The beat the song is built on is one bar, played through bars 49, 51 and 63, and 7 more places -- 16.9% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
49
1.......2.......3.......4.......
RD |x-------x-------x-------x-------|
SD |--------x---------------x---g-g-|
BD |----x-------x-------x-----------|8 fills to learn, played 10 times: bars 26, 27, 31, 35, 39, 43 and 4 more.
It cuts the song into 27 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.
74 BPM, in 4/4, with the time kept in thirty-second notes. Slow enough to hear every mistake, which is why the room lets you sit at the written tempo rather than under it.
66 out of 100: demanding, mostly on 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.
80 bars, about 4:15 at the written tempo. The course breaks it into 27 exercises over 9 sittings, about 25 minutes each.
crash, ride, 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.
8 fills to learn, played 10 times: bars 26, 27, 31, 35, 39, 43 and 4 more.