80 bars of 4/4 at 132 BPM, about 2:25 of playing, on crash, hi-hat, snare, floor tom and kick.
52 out of 100, a step up from a first song, and the work is in the independence between the hands and the feet.
silence through bars 1-4 and hi-hat through bars 5-80.
The beat the song is built on is a 2-bar phrase, played through bars 5-11, 13-18 and 29-30, and 1 more place -- 22.7% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
5 6
1e+a2e+a3e+a4e+a 1e+a2e+a3e+a4e+a
HH |x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|
SD |----x-------x---|----x-------x--x|
BD |x-------x-x---x-|--x-------x-----|3 fills to learn, played 3 times: bars 20, 36 and 64.
It cuts the song into 18 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.
132 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.
52 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 41 out of 100; the rest of the number is everything around it.
80 bars, about 2:25 at the written tempo. The course breaks it into 18 exercises over 7 sittings, about 23 minutes each.
crash, hi-hat, snare, floor tom and kick. Nothing in the part asks for anything else.
3 fills to learn, played 3 times: bars 20, 36 and 64.