98 bars of 5/4 -- not four -- at 107 BPM, 4:35 of playing on crash, snare, kick and hi-hat foot.
48 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 5-52, kick and crashes through bars 53-55, snare through bars 56-81 and silence through bars 82-98.
The beat the song is built on is a 2-bar phrase, played through bars 57, 59 and 63-67, and 1 more place -- 15.6% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
63 64
1e+a2e+a3e+a4e+a5e+a 1e+a2e+a3e+a4e+a5e+a
SD |x-xxxxx-xx-xxxx-xxx-|x-xxxxx-x-x-xx-xx-x-|
BD |x---x---x---x---x---|x---x---x---x---x---|
HF |----x-------x-------|x-------x-------x---|There are no fills to speak of: the part holds one beat the whole way through.
It cuts the song into 35 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.
107 BPM, in 5/4, 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.
48 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 46 out of 100; the rest of the number is everything around it.
98 bars, about 4:35 at the written tempo. The course breaks it into 35 exercises over 11 sittings, about 26 minutes each.
crash, snare, kick and hi-hat foot. Nothing in the part asks for anything else.