115 bars, 7:14, at 60 BPM: slow enough that every note is exposed. Crash, hi-hat, snare, floor tom and kick and nothing else.
56 out of 100, a step up from a first song, and the work is in the independence between the hands and the feet.
toms through bar 1 and hi-hat through bars 2-115.
The beat the song is built on is one bar, played through bars 18-20, 22-24 and 26-28, and 5 more places -- 20.9% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
19
1...........2...........3...........4...........
HH |x-----x-----x-----x-----x-----o-----x-----x-----|
SD |------------r-----------------------r-----------|
BD |------------------x-----x-----------------x-----|5 fills to learn, played 5 times: bars 1, 33, 41, 73 and 115.
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.
60 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.
56 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 32 out of 100; the rest of the number is everything around it.
115 bars, about 7:14 at the written tempo. The course breaks it into 30 exercises over 9 sittings, about 25 minutes each.
crash, hi-hat, snare, floor tom and kick. Nothing in the part asks for anything else.
5 fills to learn, played 5 times: bars 1, 33, 41, 73 and 115.