110 bars of 4/4 at 115 BPM, about 3:50 of playing, on hi-hat, snare, high tom, mid tom, floor tom and kick.
53 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 5-14, hi-hat through bars 15-90 and snare through bars 91-110.
The beat the song is built on is one bar, played through bars 23-25, 27-29 and 39-45, and 7 more places -- 32.7% of every bar the kit plays. That is the spine of it; everything else is what happens around it.
23
1e+a2e+a3e+a4e+a
HH |x-x-x-x-x-x-x-x-|
SD |----x-------x---|
T1 |----------x-----|
T2 |-------x--------|
FT |------x---------|
BD |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 24 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.
115 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.
53 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 57 out of 100; the rest of the number is everything around it.
110 bars, about 3:50 at the written tempo. The course breaks it into 24 exercises over 7 sittings, about 27 minutes each.
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.