85 bars of 4/4 at 120 BPM, about 2:50 of playing, on crash, hi-hat, snare, mid tom, floor tom and kick.
46 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 1-17, hi-hat through bars 18-42, silence through bars 43-49, hi-hat through bars 50-58, snare through bars 59-60 and hi-hat through bars 61-65, and 2 more changes after that.
The beat the song is built on is one bar, played through bars 18-24, 76-77 and 79-85 -- 28.1% of every bar the kit plays. That is the spine of it; everything else is what happens around it.
19
1e+a2e+a3e+a4e+a
HH |--o---o---o---o-|
SD |----x-------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 21 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.
120 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.
46 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.
85 bars, about 2:50 at the written tempo. The course breaks it into 21 exercises over 7 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.