130 bars of 4/4 at 120 BPM, about 4:20 of playing, on crash, ride, hi-hat, snare, high tom, mid tom, kick and hi-hat foot.
62 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 1-5, hi-hat through bars 6-35, ride through bars 36-51, hi-hat through bars 52-64, snare through bars 65-68 and hi-hat through bars 69-84, and 11 more changes after that.
The beat the song is built on is one bar, played through bars 7-8, 10-12 and 14-16, and 9 more places -- 23% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
7
1e+a2e+a3e+a4e+a
HH |x-x-x-x-x-x-x-x-|
SD |----x-------x---|
BD |x-----x-x-x-----|7 fills to learn, played 17 times: bars 5, 19, 43, 49, 51, 52 and 11 more.
It cuts the song into 30 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.
62 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 33 out of 100; the rest of the number is everything around it.
130 bars, about 4:20 at the written tempo. The course breaks it into 30 exercises over 9 sittings, about 28 minutes each.
crash, ride, hi-hat, snare, high tom, mid tom, kick and hi-hat foot. That is most of a full kit; the part moves around it rather than sitting in one place.
7 fills to learn, played 17 times: bars 5, 19, 43, 49, 51, 52 and 11 more.