67 bars of 4/4 at 130 BPM, about 2:04 of playing, on crash, hi-hat, snare, high tom, mid tom, floor tom, kick and hi-hat foot.
63 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 1-8, toms through bars 9-12, hi-hat through bars 13-23, silence through bars 24-29, kick and crashes through bars 30-40 and hi-hat through bars 41-55, and 2 more changes after that.
The beat the song is built on is one bar, played through bars 13-14, 17-18 and 21-22, and 5 more places -- 26.3% of every bar the kit plays. That is the spine of it; everything else is what happens around it.
18
1...........2...........3...........4...........
HH |x-----x-----x-----x-----x-----x-----x-----x-----|
SD |r--------r--------r-----------r-----r-----------|
BD |x-----------x-----------x-----------x-----------|There are no fills to speak of: the part holds one beat the whole way through.
It cuts the song into 20 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 thirty-second 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.
63 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 69 out of 100; the rest of the number is everything around it.
67 bars, about 2:04 at the written tempo. The course breaks it into 20 exercises over 6 sittings, about 26 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.