270 bars of 4/4 at a walking 80 BPM, 12:44 of playing, on crash, hi-hat, snare, floor tom, kick and hi-hat foot.
74 out of 100: demanding, mostly on the independence between the hands and the feet.
silence through bars 1-5, snare through bars 6-14 and hi-hat through bars 15-270.
The beat the song is built on is one bar, played through bars 111-113, 115-117 and 119-121, and 9 more places -- 13.6% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
111
1...........2...........3...........
CC |x-----------------------------------|
HH |o-----x-----o-----------o-----x-----|
SD |X-----------x-----x-----x-----x-----|
FT |x-----------------------------------|
BD |X-----------------------------------|
HF |------------------g-----------------|There are no fills to speak of: the part holds one beat the whole way through.
It cuts the song into 37 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.
80 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.
74 out of 100: demanding, mostly on the independence between the hands and the feet. The beat itself is 62 out of 100; the rest of the number is everything around it.
270 bars, about 12:44 at the written tempo. The course breaks it into 37 exercises over 14 sittings, about 24 minutes each.
crash, hi-hat, snare, 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.