98 bars of 4/4 at a walking 95 BPM, 4:07 of playing, on crash, hi-hat, snare, mid tom, floor tom, kick and hi-hat foot.
56 out of 100, a step up from a first song, and the work is in the independence between the hands and the feet.
hi-hat through bars 3-19, silence through bars 20-26, hi-hat through bars 27-42, silence through bars 43-46, hi-hat through bars 47-50 and snare through bars 51-58, and 5 more changes after that.
The beat the song is built on is one bar, played through bars 12-14, 16-17 and 28-29, and 6 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.
12
1e+a2e+a3e+a4e+a
HH |x-x-x-x-x-x-x-x-|
SD |----x-------x---|
BD |x------x--x-----|9 fills to learn, played 25 times: bars 2, 4, 6, 10, 18, 23 and 19 more.
It cuts the song into 32 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.
95 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.
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 35 out of 100; the rest of the number is everything around it.
98 bars, about 4:07 at the written tempo. The course breaks it into 32 exercises over 10 sittings, about 25 minutes each.
crash, hi-hat, snare, mid tom, floor tom, kick and hi-hat foot. That is most of a full kit; the part moves around it rather than sitting in one place.
9 fills to learn, played 25 times: bars 2, 4, 6, 10, 18, 23 and 19 more.