81 bars of 4/4 at 125 BPM, about 2:36 of playing, on crash, hi-hat, snare, high tom, mid tom, floor tom and kick.
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 bars 1-56, hi-hat through bars 57-64 and snare through bars 65-81.
The beat the song is built on is one bar, played through bars 1-5, 7-9 and 11-13, and 3 more places -- 24.7% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
1
1e+a2e+a3e+a4e+a
CC |x---x---x---x---|
SD |----x-------x---|
BD |xx-x-x-x-x-xxxxx|6 fills to learn, played 6 times: bars 10, 22, 32, 40, 54 and 56.
It cuts the song into 34 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.
125 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.
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 48 out of 100; the rest of the number is everything around it.
81 bars, about 2:36 at the written tempo. The course breaks it into 34 exercises over 10 sittings, about 26 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.
6 fills to learn, played 6 times: bars 10, 22, 32, 40, 54 and 56.