127 bars of 4/4 at 150 BPM, about 2:47 of playing, on crash, hi-hat, snare, high tom, mid tom, floor tom and kick.
47 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 1-22, hi-hat through bars 23-102, silence through bars 103-106 and hi-hat through bars 107-127.
The beat the song is built on is one bar, played through bars 35-42, 59-66 and 95-102 -- 24.5% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
35
1e+a2e+a3e+a4e+a
HH |--o-o-o-o-o-o-o-|
SD |x---x---x---x---|
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 28 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.
150 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.
47 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 54 out of 100; the rest of the number is everything around it.
127 bars, about 2:47 at the written tempo. The course breaks it into 28 exercises over 7 sittings, about 27 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.