153 bars of 3/4 -- not four -- at 122 BPM, 3:56 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 5-8, hi-hat through bars 9-10, snare through bars 11-21, silence through bars 22-24 and snare through bars 25-40, and 11 more changes after that.
The beat the song is built on is one bar, played through bars 28-29, 34 and 51, and 4 more places -- 7.4% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
57
1.......2.......3.......
CC |x-----x-----x-----x-----|
SD |------------x-----------|
BD |x---x-x---x---x-x-x---x-|7 fills to learn, played 9 times: bars 20, 36, 56, 67, 89, 90 and 3 more.
It cuts the song into 50 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.
122 BPM, in 3/4, 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 70 out of 100; the rest of the number is everything around it.
153 bars, about 3:56 at the written tempo. The course breaks it into 50 exercises over 17 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.
7 fills to learn, played 9 times: bars 20, 36, 56, 67, 89, 90 and 3 more.