120 bars, 6:24, at 75 BPM: slow enough that every note is exposed. Crash, hi-hat, snare, high tom, mid tom, floor tom and kick and nothing else.
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 1-7, hi-hat through bars 8-44, snare through bars 45-54, hi-hat through bars 55-82, snare through bars 83-86 and hi-hat through bars 87-95, and 2 more changes after that.
The beat the song is built on is one bar, played through bars 87-89, 91-93 and 103-118 -- 21% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
87
1...........2...........3...........4...........
CC |x-----------------------------------------------|
HH |------o-----o-----o-----o-----o-----o-----o-----|
SD |------------x-----------------------x-----------|
BD |x-----x-----------x-----x-----x-----------x-----|6 fills to learn, played 12 times: bars 28, 32, 36, 44, 45, 46 and 6 more.
It cuts the song into 28 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.
75 BPM, in 4/4, with the time kept in thirty-second notes. Slow enough to hear every mistake, which is why the room lets you sit at the written tempo rather than under it.
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 43 out of 100; the rest of the number is everything around it.
120 bars, about 6:24 at the written tempo. The course breaks it into 28 exercises over 10 sittings, about 24 minutes each.
crash, 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.
6 fills to learn, played 12 times: bars 28, 32, 36, 44, 45, 46 and 6 more.