You can count to 7 and still not be in 7. Counting an odd bar as a flat list of numbers keeps you one number ahead of the music, braced for a bar line you have to arrive at instead of a groove you are already inside. The way out is grouping: stop counting the bar and start feeling the small cells it is built from. The 5/4 on this page is a 3 followed by a 2. The 7/8 is 2, then 2, then 3. In both exercises the kick and snare draw those seams for you.
Grouping works because you already own the small numbers. Holding a 2 or a 3 takes no attention; holding 5 equal weights in a row takes all of it. Feel 2 pulses per bar in 5/4 and 3 per bar in 7/8, each one landing on the head of a cell, and the counting underneath takes care of itself. Neither exercise writes an accent, so nothing in the notation puts that weight there for you. The hi-hat runs as unbroken 8ths from one bar line to the next, and the shape has to come from the kick, the snare, and how hard you choose to lean on each cell head.
Where the 3 and the 2 sit in 5/4
Exercise 1A lays 10 hi-hat 8ths across a 5/4 bar at ♩ = 80. The kick lands on 1 and 4, the snare on 3 and 5. Read it as two brackets: beats 1 through 3 open with the kick and close with the snare, then beats 4 and 5 open with the kick and close with the snare. Same gesture, one beat shorter the second time. The beams give you no help here, because the hi-hat is written in pairs, one per quarter, straight across the bar. Count 1 2 3 · 1 2 out loud rather than 1 2 3 4 5, and put real weight on the second 1 where it falls on beat 4.
Loop it first against a click on all 5 quarters so that every beat is backed up. Once it sits, cut the click to one hit per bar on beat 1 and check whether the bar still comes out the same length. At ♩ = 80 those clicks are 3.75 seconds apart, which is long enough for a rushed 3-group to announce itself as an early arrival on the next 1. When that happens, restore the full click and lean the hi-hat harder on 1 and 4 until those are the only two places in the bar that sound like a beginning.
The long cell at the end of 7/8
Exercise 1B counts in 8ths rather than quarters. The tempo is set on the 8th note at 180, the same clock as ♩ = 90, and the bar holds 7 of them. Here the beams do the teaching: a pair, another pair, then a group of 3, so the bar reads as 1 2 · 3 4 · 5 6 7 on sight. Every cell head gets a voice, kick on the 1st 8th, snare on the 3rd, kick on the 5th, so the three attacks under the hi-hat are exactly the three pulses of the bar. Nothing marks the tails the way the snare did in 5/4. The 6th and 7th 8ths are hi-hat alone, and the bar turns over right after them, one 8th short of the 4/4 your body keeps expecting.
Two errors show up in 7/8 and they are opposites. The first is clipping, where 5 6 7 comes out as if it were one more pair, the bar lands in 6, and the next kick arrives an 8th early. The second is padding, sitting on that last 8th until the bar rounds itself off to a comfortable 8. Both are the same reflex, a body that wants bars to be even. Take the tip on 1B literally: the third cell lasts half again as long as either of the first two, so it has to feel noticeably wider than they do. If all three cells feel the same size, the bar is wrong no matter how good the groove sounds.