104 bars of 4/4 at 122 BPM, about 3:25 of playing, on hi-hat, snare, kick and hi-hat foot.
19 out of 100: straightforward, and the one thing to watch is the independence between the hands and the feet.
kick and crashes through bars 1-23, silence through bars 24-28, hi-hat through bars 29-32, kick and crashes through bars 33-56, silence through bars 57-59 and hi-hat through bars 60-68, and 7 more changes after that.
The beat the song is built on is one bar, played through bars 29-32, 50 and 66-68, and 1 more place -- 11.8% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
29
1e+a2e+a3e+a4e+a
HH |x-o-x-o-x-o-x-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 11 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.
122 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.
19 out of 100: straightforward, and the one thing to watch is the independence between the hands and the feet. The beat itself is 56 out of 100; the rest of the number is everything around it.
104 bars, about 3:25 at the written tempo. The course breaks it into 11 exercises over 4 sittings, about 21 minutes each.
hi-hat, snare, kick and hi-hat foot. Nothing in the part asks for anything else.