151 bars of 4/4 at 120 BPM, about 5:02 of playing, on crash, hi-hat, snare, mid tom, floor tom, kick and hi-hat foot.
58 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 8-145 and snare through bars 146-151.
The beat the song is built on is one bar, played through bars 12, 14 and 16, and 18 more places -- 14.5% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
36
1e+a2e+a3e+a4e+a
HH |x-x-x-xxx-x-x-xx|
SD |----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 44 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.
58 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 48 out of 100; the rest of the number is everything around it.
151 bars, about 5:02 at the written tempo. The course breaks it into 44 exercises over 16 sittings, about 25 minutes each.
crash, hi-hat, snare, 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.