The drum beat in slain in the cemetary

The beat the song is built on is a 2-bar phrase, played through bars 17-24, 55-57 and 59, and 5 more places -- 21.4% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.

It is played on crash, hi-hat, snare, high tom and kick, counted in thirty-second notes. On its own it scores 62 out of 100 -- a step up -- and the thing that decides that is how much of it falls off the beat.

The whole song is 78 out of 100, so the beat is not the hard part: what costs you is everything around it, the joins and the fills.

A part this hard is not learned by playing it slowly and hoping. The room opens it on its simplest reduction -- the timekeeper alone, at 81 BPM -- and adds the notes back over 4 rungs, each with a tempo to reach and a gate to pass before the next.

1. Kick and snare, whole. The feet and the snare exactly as written, hi-hat pulled back to quarter notes. This is the part to know by heart.
2. Every note, flat. All the notes, but the hi-hat stays closed and nothing is ghosted or accented.
3. As written. Open hi-hat, ghost notes, accents and the crash where they belong.

Tempo goes 81, 96, 110 and 125 BPM, and the gate at each one is 8 loops in a row with no wrong note and no wobble in the time.