83 bars of 6/4 -- not four -- at 112 BPM, 3:55 of playing on crash, ride, hi-hat, snare, high tom, mid tom, floor tom, kick and hi-hat foot.
57 out of 100, a step up from a first song, and the work is in the independence between the hands and the feet.
snare through bar 1, hi-hat through bars 2-17, ride through bars 18-21, hi-hat through bars 22-51, ride through bars 52-57 and silence through bars 58-83.
The beat the song is built on is one bar, played through bars 2-4, 7-8 and 23-24, and 1 more place -- 17.5% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
3
1e+a2e+a3e+a4e+a5e+a6e+a
HH |o---o---o---o---o---o---|
SD |----X-------X-------X---|
BD |--x-----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 25 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.
112 BPM, in 6/4, 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.
57 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 36 out of 100; the rest of the number is everything around it.
83 bars, about 3:55 at the written tempo. The course breaks it into 25 exercises over 8 sittings, about 25 minutes each.
crash, ride, 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.