64 bars of 4/4 at a walking 95 BPM, 2:40 of playing, on crash, hi-hat, snare, high tom, mid tom, floor tom, kick and hi-hat foot.
54 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 2-12, silence through bars 13-16, hi-hat through bars 17-28, snare through bars 29-32, silence through bars 33-36 and hi-hat through bars 37-48, and 2 more changes after that.
The beat the song is built on is one bar, played through bars 37-39, 56-58 and 60-62 -- 15.5% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
38
1e+a2e+a3e+a4e+a
HH |x-x-x-x-x-x-x-x-|
SD |----x----x--x---|
BD |x------x--x-----|5 fills to learn, played 11 times: bars 8, 15, 16, 20, 23, 24 and 5 more.
It cuts the song into 30 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.
54 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 38 out of 100; the rest of the number is everything around it.
64 bars, about 2:40 at the written tempo. The course breaks it into 30 exercises over 8 sittings, about 27 minutes each.
crash, hi-hat, snare, high tom, 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.
5 fills to learn, played 11 times: bars 8, 15, 16, 20, 23, 24 and 5 more.