118 bars of 4/4 at 142 BPM, about 3:19 of playing, on crash, ride, hi-hat, snare, high tom, mid tom, floor tom and kick.
63 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 1-10, toms through bars 11-20, snare through bars 21-32, toms through bars 33-36, hi-hat through bars 37-57 and kick and crashes through bars 58-59, and 2 more changes after that.
The beat the song is built on is one bar, played through bars 5, 7 and 9, and 9 more places -- 11.1% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
5
1.......2.......3.......4.......
FT |x-----------x-------------------|
BD |x-----------x-------------------|7 fills to learn, played 10 times: bars 20, 33, 34, 35, 36, 67 and 4 more.
It cuts the song into 42 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.
142 BPM, in 4/4, with the time kept in thirty-second 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.
63 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 9 out of 100; the rest of the number is everything around it.
118 bars, about 3:19 at the written tempo. The course breaks it into 42 exercises over 16 sittings, about 23 minutes each.
crash, ride, 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.
7 fills to learn, played 10 times: bars 20, 33, 34, 35, 36, 67 and 4 more.