115 bars of 4/4 at 120 BPM, about 3:50 of playing, on crash, hi-hat, snare, mid tom, floor tom and kick.
59 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 1-6, snare through bars 7-23, kick and crashes through bars 24-27, snare through bars 28-40, hi-hat through bars 41-44 and snare through bars 45-47, and 13 more changes after that.
The beat the song is built on is one bar, played through bars 16-18, 20-21 and 28-30, and 4 more places -- 19.6% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
16
1...............2...............3...............4...............
CC |x---------------x---------------x---------------x---------------|
SD |----------------x-------------------------------x---------------|
BD |x-------------------------------x-------------------------------|There are no fills to speak of: the part holds one beat the whole way through.
It cuts the song into 46 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 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.
59 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.
115 bars, about 3:50 at the written tempo. The course breaks it into 46 exercises over 14 sittings, about 25 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.