150 bars of 4/4 at 130 BPM, about 4:51 of playing, on crash, ride, hi-hat, snare, kick and hi-hat foot.
50 out of 100, a step up from a first song, and the work is in the independence between the hands and the feet.
ride through bars 1-26, hi-hat through bars 27-29, snare through bars 30-36, ride through bars 37-95, hi-hat through bars 96-98 and ride through bars 99-123, and 3 more changes after that.
The beat the song is built on is one bar, played through bars 23, 25 and 56, and 11 more places -- 17.5% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
66
1e+a2e+a3e+a4e+a
RD |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 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.
130 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.
50 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 39 out of 100; the rest of the number is everything around it.
150 bars, about 4:51 at the written tempo. The course breaks it into 41 exercises over 11 sittings, about 27 minutes each.
crash, ride, hi-hat, snare, kick and hi-hat foot. That is most of a full kit; the part moves around it rather than sitting in one place.