65 bars of 4/4 at a walking 90 BPM, 2:53 of playing, on crash, hi-hat, snare, 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 1-7, hi-hat through bars 8-18, snare through bars 19-27, hi-hat through bars 28-32, toms through bars 33-48 and snare through bars 49-65.
The beat the song is built on is one bar, played through bars 25-26, 49-51 and 53-55 -- 13.8% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
49
1e+a2e+a3e+a4e+a
CC |x-x-x-x-x-x-x-x-|
SD |--------x-------|
BD |xxxxxxxx-----x-x|7 fills to learn, played 14 times: bars 12, 18, 20, 21, 22, 28 and 8 more.
It cuts the song into 30 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.
90 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 45 out of 100; the rest of the number is everything around it.
65 bars, about 2:53 at the written tempo. The course breaks it into 30 exercises over 8 sittings, about 27 minutes each.
crash, hi-hat, snare, mid tom, floor tom and kick. That is most of a full kit; the part moves around it rather than sitting in one place.
7 fills to learn, played 14 times: bars 12, 18, 20, 21, 22, 28 and 8 more.