105 bars of 4/4 at 120 BPM, about 3:30 of playing, on crash, ride, hi-hat, snare, high tom, mid tom, floor tom, kick and hi-hat foot.
46 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 1-3, hi-hat through bars 4-24, ride through bars 25-32, hi-hat through bars 33-52, ride through bars 53-68 and hi-hat through bars 69-76, and 3 more changes after that.
The beat the song is built on is one bar, played through bars 9-11, 13-15 and 17-19, and 5 more places -- 23.5% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
9
1e+a2e+a3e+a4e+a
HH |x---x---x---x---|
SD |----x-------x---|
BD |x-------------x-|
HF |--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 21 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.
46 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 35 out of 100; the rest of the number is everything around it.
105 bars, about 3:30 at the written tempo. The course breaks it into 21 exercises over 6 sittings, about 28 minutes each.
crash, ride, hi-hat, snare, high tom, 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.