120 bars of 4/4 at 125 BPM, about 3:50 of playing, on crash, 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 1-4, snare through bars 5-12, kick and crashes through bars 13-16, hi-hat through bars 17-22, snare through bars 23-37 and toms through bars 38-46, and 10 more changes after that.
The beat the song is built on is one bar, played through bars 31, 33 and 35, and 14 more places -- 15% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
31
1.......2.......3.......4.......
CC |x-------x-------x-------x-------|
SD |----------------x---------------|
BD |x-------x-----------x-------x---|14 fills to learn, played 29 times: bars 8, 26, 30, 32, 34, 38 and 23 more.
It cuts the song into 46 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.
125 BPM, in 4/4, with the time kept in thirty-second 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 35 out of 100; the rest of the number is everything around it.
120 bars, about 3:50 at the written tempo. The course breaks it into 46 exercises over 15 sittings, about 24 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.
14 fills to learn, played 29 times: bars 8, 26, 30, 32, 34, 38 and 23 more.