105 bars of 4/4 at 120 BPM, about 3:30 of playing, on crash, hi-hat, snare, high tom, mid tom, floor tom, kick and hi-hat foot.
68 out of 100: demanding, mostly on the independence between the hands and the feet.
silence through bars 1-12, hi-hat through bars 13-90, snare through bars 91-95 and hi-hat through bars 96-105.
The beat the song is built on is one bar, played through bars 16, 18-28 and 56-60, and 3 more places -- 23.7% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
16
1e+a2e+a3e+a4e+a
HH |x-o-x-o-x-o-x-o-|
SD |----x-------x---|
BD |x---x---x---x---|6 fills to learn, played 16 times: bars 36, 38, 40, 42, 44, 64 and 10 more.
It cuts the song into 40 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.
120 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.
68 out of 100: demanding, mostly on the independence between the hands and the feet. The beat itself is 49 out of 100; the rest of the number is everything around it.
105 bars, about 3:30 at the written tempo. The course breaks it into 40 exercises over 11 sittings, about 28 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.
6 fills to learn, played 16 times: bars 36, 38, 40, 42, 44, 64 and 10 more.