121 bars, 8:51, at 52 BPM: slow enough that every note is exposed. Crash, hi-hat, snare, high tom, mid tom, floor tom, kick and hi-hat foot and nothing else.
49 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 1-12 and hi-hat through bars 13-121.
The beat the song is built on is one bar, played through bars 17-19, 23-24 and 27-28, and 10 more places -- 25.7% of every bar the kit plays. That is the spine of it; everything else is what happens around it.
17
1e+a2e+a3e+a4e+a
CC |x---------------|
HH |----o---o---o---|
SD |x---x---x---x---|
BD |x---x---x---x---|5 fills to learn, played 20 times: bars 20, 44, 45, 47, 55, 70 and 14 more.
It cuts the song into 25 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.
52 BPM, in 4/4, with the time kept in sixteenth notes. Slow enough to hear every mistake, which is why the room lets you sit at the written tempo rather than under it.
49 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 11 out of 100; the rest of the number is everything around it.
121 bars, about 8:51 at the written tempo. The course breaks it into 25 exercises over 7 sittings, about 26 minutes each.
crash, 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.
5 fills to learn, played 20 times: bars 20, 44, 45, 47, 55, 70 and 14 more.