125 bars of 4/4 at 128 BPM, about 3:54 of playing, on crash, hi-hat, snare, mid tom, floor tom and kick.
45 out of 100, a step up from a first song, and the work is in the independence between the hands and the feet.
kick and crashes through bars 3-18, snare through bars 19-34, hi-hat through bars 35-41, snare through bars 42-50, hi-hat through bars 51-83 and silence through bars 84-86, and 6 more changes after that.
The beat the song is built on is one bar, played through bars 3-18 and 87-93 -- 19.7% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
3
1e+a2e+a3e+a4e+a
BD |x---x---x---x---|9 fills to learn, played 11 times: bars 26, 30, 34, 42, 49, 66 and 5 more.
It cuts the song into 41 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.
128 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.
45 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 0 out of 100; the rest of the number is everything around it.
125 bars, about 3:54 at the written tempo. The course breaks it into 41 exercises over 10 sittings, about 27 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.
9 fills to learn, played 11 times: bars 26, 30, 34, 42, 49, 66 and 5 more.