125 bars, 7:28, at 67 BPM: slow enough that every note is exposed. Crash, hi-hat, snare, high tom, mid tom, floor tom and kick and nothing else.
57 out of 100, a step up from a first song, and the work is in how fine the subdivision is.
silence through bars 1-3, hi-hat through bars 4-121 and kick and crashes through bars 122-125.
The beat the song is built on is one bar, played through bars 11-16, 27-28 and 30, and 5 more places -- 16.4% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
11
1.......2.......3.......4.......
HH |x-x-x-x---x-x-x-x-x-x-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 37 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.
67 BPM, in 4/4, with the time kept in thirty-second notes. Slow enough to hear every mistake, which is why the room lets you sit at the written tempo rather than under it.
57 out of 100, a step up from a first song, and the work is in how fine the subdivision is. The beat itself is 44 out of 100; the rest of the number is everything around it.
125 bars, about 7:28 at the written tempo. The course breaks it into 37 exercises over 12 sittings, about 26 minutes each.
crash, hi-hat, snare, high tom, mid tom, floor tom and kick. That is most of a full kit; the part moves around it rather than sitting in one place.