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「OCk5Ch001①

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Performance pieces, technical exercises and in-depth guidance fn, Ro ckscho ol e xernin ati ons

ニ 菫 ビ菖5為 ARDC 目 H∬ ご ι 助 P“ ry O/ι 林 p“ りたα わ ′P7y“ `α "s

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ψ `グ `″ "閣 “ 0“ ιprbr ttirrg“ `γ Par閣 鷺 ′

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Visit Hal Leonard Online at wwn'.halleonard.com

Contact Us: Hal Leonard 7777 WestBluemound Road Milwaukee, WI532i3 Email: [email protected]

In Europe contact: Hal Leonard Europe Limited Distribution Centre, Newmarket Road BurySt Edmunds, Suffolk,IP33 3YB Email info@ halleonardeurope.com

In Australia contact: Hal Leonard Australia Pty. Ltd. 4 Lentara Court

Cheltenham, Victoria, 3l 92 Australia Email: [email protected]

Acknowledgements Published by Rockschool Ltd. @ 2012 & 2018 Catalogue Number: RSK200066

CONTACTING ROCKSCHOOT

www.rslawards.com Telephone: +44 (0)345 460 4747

Email: info @rslawards. com

Recording & Audio Engineering (Hit Tunes 2018 Repertoire) Recording engineers: Oli Jacobs, Scott Barnett, Patrick Phillips

Syllabus Designer

Nik Preston

Mixing

engineer:

Masteringengineer:

Producer

Nik Preston

Audio production: Audio management:

Syllabus Advisor and Project Management Sharon Kelly

ReccrCing

studios:

Samuel Vasanth SamuelVasanth Nik Preston Ash Preston, Samuel Vasanth Real World Studios, The Premises

Publishing (Rockschool 2Ol2 Repertoire) Proof reading Sharon Kelly, |ono Harrison, Nik Preston (and all arrangerslperformers)

Syllabus Consultants (Hit Tunes 2018 Repertoire) Guitar: ]ames Betteridge, Andy G ]ones Bass: Joe Hubbard, Diego Kovadloff, Joel Mclver Drums: Paul Elliott, Pete Riley Arrangers (Hit Tunes 2018 Repertoire) Guitar: |ames Betteridge, Andy G Jones, Mike Goodman, Viv Lock Bass: Diego Kovadloff, Andy Robertson, |oe Hubbard Drums: Paul Elliott, Stu Roberts, Pete Riley

Fact Files written by ]oe Bennett, Charlie Griffiths, Stephen Lawson, Simon Pitt, Stuart Ryan and James Uings Walkthroughs written by fames Uings Music engraving, internal design and layout by Simon Troup & ]ennie Troup (Digital Music Art) Proof reading and copy editing by Chris Bird, Claire Davies, Stephen Lawson, Simon Pitt and |ames Uings Publishing administration by Caroline Uings Additional drum proof readirg by Miguel Andrews

Instrumental Specialists (Rocksch ool 2012 Repertoire)

Guitar:

Bass: Publishing (Hit Tunes 2018 Repertoire) Fact files by Diego Kovadloff Covers designed by Phil Millard (Rather Nice design) Music engraving, internal design and layout by Simon Troup & )ennie Troup (Digital Music Art) Printed and bound in the United Kingdom by Caligraving Ltd.

Musicians (Hit Tunes 2018 Repertoire) Guitar: Andy G Iones, |ames Betteridge, Mike Goodman, David Rhodes (Peter Gabriel) Bass: Nik Preston, Joe Hubbard, Stuart Clayton, Andy Robertson, John Illsley (Dire Straits) Drums: Paul Elliott, Pete Riley, Peter Huntington, Stu Roberts, Billy Cobham (Miles Davis, Mahavishnu Orchestra) Vocals: Kim Chandler Keys: |ono Harrison, Hannah V (on 'Red Baron ), Andy Robertson Horns: Tom Walsh (tpt), Martin Williams (sax), Andy Wood (trmb) Endorsements (Hit Tunes 2018 Repertoire)

Nik Preston: Overwater basses, Positive Grid amps

Elliott

Liberty drums, Istanbul Mehmet cymbals, Regal Tip drumsticks, Remo heads, ACS custom ear plugs, Protection Racket cases Stu Roberts: Paiste cymbals, Regal Tip drumsticks, Yamaha drums, Protection Racket cases

Paul

]ames Uings Stuart Clayton

Drums: Noam Lederman Musicians (Rockschool 2012 Repertoire) Andy Crompton, Camilo Tirado, Carl Sterling, Charlie Griffiths, Chris Webster, Dave Marks, D| Harry Love, Felipe Karam, Fergus Gerrand, Henry Thomas, Iake Painter, |ames Arben, |ames Uings, |ason Bowld, ]oe Bennett, Ion Musgrave, Krshon Khan, Kit Morgan, Larry Carlton, Neel Dhorajiwala, Nir Z, Noam Lederman, Norton York, Richard Pardy, Ross Stanley, Simon Troup, Steve Walker, Stuart Clayton, Stuart Ryan Endorsements (Rockschool }ALZ Repertoire) Noam Lederman: Mapex drums, Paiste cymbals, Vic Firth Sticks Recording & Audio Engineering (Rocksch ool 2012 Repertoire) Recorded at The Farm (Fisher Lane Studios) Produced and engineered by Nick Davis Assistant engineer and Pro Tools operator Merk Binge Mixed and mastered at Langlei Stud:os Mixing and additional editing by Duncan ]ordan Supporting Tests recorded by Duncan Jordan and Kit Morgan Mastered by Duncan ]ordan Executive producers: |ames Uings, ]eremy Ward and Noam Lederman

● ︼ぬ︻ つ ｏづ ●■り 望Ｆ︻   うん

Executive Producers Iohn Simpson, Norton York

剛臨

撻 l器彗 山

Table of Contents Introductions & Information

1 2 3 4

Title Page Acknowledgements Table of Contents Welcome to Rockschool Drums Grade 6

Hit Tunes

5 David Bcrvie... ...'Zigfff Stardust' 11 |arnes Brown .'I Got -/ou (I Feel Gooci)' 15 Stevie Wonder.........................."....... ........'s,rperstition' 'I)utch Flowerz' 19 Skream 31

Herbie

Hancock..............

........'Chameleon'

Rockschool Originals

37 43 49 55 59 65

'Mohair Mountain' 'Pop It In The ToP'

'Mindsweeper' 'Favela' 'Space Future' 'You Can Call Miguel'

Technical Exercises

69

Single and Double Strokes, Paradiddles, R.atarnacues, Rolls & Stylistic Studies

Supporting Tbsts

73 76 77

Quick Stuciy Piece Ear Tests General Musicianship Questions

Additirrnal I nformation

78 79 79 80

Marking Schemes Entering Rockschool Exams

MechanicalCopyrightlnformation Drums Notation Explained

日ョ﹄∩   ︵ ЮＯづ”︼ Ｏ∽ ｊ

Welcome to Rockschool Drums Grade 6 Welcome to】 Drums Grade 6 Welcome to the lRockschoo1 2018 1Drums syllabus.This book and the accompanying downloadable audio contain l flnd the exam scores in standard drum notation,as

everything you need to play drums at this grade.In the book you w■ well as Fact Files and Walkthroughs for each song。

The downloadable audio includes: ・ full stereo mlxes of6 Rockschool compositions and 6 arrangenlents ofclassic and contemporary hits ・ backing tracks(in bOth chck and no― click versions,Ininus the assessed drunl Part) ・ all necessary audio for the complete range ofsupporting tests

D)rum Exams At each grade,you have the option oftaking one oftwo different types ofexanlination:

・ G}rade Exanl:aG}rade Exam is a FnlXture oflnusic Pei」 ormances,technical work and tests.Ybu prcPare three pieces (tW0 0fWhiCh may be Free Choicc Pieces)and the cOntents ofthe Technical Exercise section.This accounts for 75%of

the exam marks.The other 25%consists ofa QtiCk Study Piece(10%),a pa廿

Ofinstrument specinc Ear Tests(10%),

and flnally you will be asked flve General Musicianship QueStiOns(5%).The pass mark is 60%.

・ PerforIIlance CerdAcate:in a Performance Certiflcate you play flve pieceso Up to three ofthese can be Free Choice Pieceso Each song is lnarked out of20 and the pass lnark is 60%.

Book Contents The book is divided into a number ofsections.These are:

・ Exam Piecett in this book you will and s破 speciany commissioned Pieces ofGrade 6 standardo Each ofthese is iル .Each

preceded by a FacrF・

Fact F■e coitains a summary ofthe song,its style,tempo,key and technical features,

along with a list ofthe lnuζ icians who played on ite The song itselfis prmted on up to four pages.IInmediately atter each song is a ttJた

Йro昭 ヵo

ThiS covers the song from a perfOrmancc Perspect市 c,focusing on the technicalissues you

will encounten Each song conles with a fllll m破 version and a backing track.Both versions have sPoken COunt― the beginning.Please note that aw s010S played on thc fun m破

ins at

versions are indicative on与

・ Technical Exercises:you should PreFare the exercises sctin this grade in the keys indicated.You should also choose ο θStyhstic Study frOm the threc PFinted tO practise and Play to the backing track in the examo The style you choose “ deteFmine the style ofthe QuiCk Stuゥ Rece. win Tests and General Musicianship QueStiOns:in Drums Grade 6 there are three supporting tests― a Quick Study Piece)a pair ofEar■ sts a■ d a Set ofGeneral Musicianship QueStiOns(GMQs)aSked atthe end ofeach exam. Examples ёfthel明 peS Oftests hkely to appearin the exam are printed in this book.A.dditional α amples ofboth"es

・ Supporting

oftest and the GMQs can be fOund in the Rockschool Cο

η α"′ ο G“ J′ θFo “

Dr“

5,

“

・ Additional lnformation:flllall"you wqill ind information on exanl procedures,Inarldng schemё

s,and the fu■

notation and backing track ofa piece from the next grade as a taste■

Audio Audio is pFOVided in the form of backing tracks(Π linuS drums,and in two versions:click and nO‐ click)and CXamples (inCluding drums)for the pieces and the supPorting tests where applicable.Audio nles are supplied in MP3 formatto enable

playback on a wide range ofcompatible de宙 cese Digital ttrsions ofthe book include audio mes in the down10ado Download audio for hardcoPy books from RSL directly at w″ ″rslα ッarJsoε ο″〃ο″″Iο α法 一 ド魁 will need to input this code when

prompted:2TE7AS8PWC ●︼口︹ っ ｏづ●■り 望Ｅ︻   ′仕

Syllabus Guide An candidates should read the accompanying syllabus guide when using this grade book.This,an be downloaded from the RSL website:″ ″″rs麟7α rJsoε ο “

Errata UPdates and changes to Rockschool bOoks are documented online.candidates should tteck for errata peFiOdiCalけ α ″ッ″rslα ″αrグ sε ο″/θ r″ ′ studying for any examination.Further detais can be found on the RSL websitα

whie

D藝腱d SONG TmLE: ZIGGY STARDUST ALBUM: THE RBE AND FALL OF ZIGGY STARDUST AND THE SPDEtt FROM P蹟 .RS LABEL: RCA GENRE: GLAM ROCK 殿 Ш IⅢ

PRODUσ ED

Bowie

ル Rθ ε チ Jalsijε 」 」 =83 こ intro

BI Dtt BO旧 BY: DAD BOWIE 胴 酬 SC硼

UK mART PEAK: N/A

Mick ttbodmansey,oined BOWitt backin3 band The H月 )e andお llowing a■ w personnel changes

BACXGROIIIID n[FO 'Ziggy Stardust' rvas rrritten by David Bolvie and released Ln 1972 as part of the alburn The Rise And Fall Of Ziggy Stardust And The SpiCet's From Mars. The song is a description of Bowie's alter €go, a

rockstar who is a messenger fcr extraterrestriai

beings. The character rdras initially inspired by Vince T.y'or, a rock and roll singer and frontman for The Playboys, who had a nervous breakdown and believed he rvas a cross between a god and an alien. Amongst other influences Bowie mentioneti the Legendary Stardr.lst Cowboy and Kansai Yamamctc who designed Bowie's stage costurnes. T'he Ziggy Stardust character allowed Bowie to develop antics and mannerisms that tre',vouid late Ceclare voiri upon 'killing' the character. It was the blueprint for Bovvie's unique chameleon -like changes, containing seemingly irreconcilable extremes that would eventually synthesize into further new characters.

'ZigW Stardust'

\4,as

recorded in early

197 L

and

shortly atter lle reお rmcd The SPidё rs together宙

i

Trevor Bolden Later he formed his own band,Woody W00dmaFiSeyb U― Boat,and atter that hcjoi■ ed Art Gaifunkeleln 2014,together with produccr and bassist Tow Ⅵ SCOnti,Wbodmansey formed Holy HOtt a bandPerbrming Bo宙 由songs■ om the 1970s that has included a varicty ofnotablc musicians illits hne uP,such as Glenn Gregory from Hcaven 17,

Steve Nornaan from SPandaa Banct,卜 larc Allnond ■om SOft Cell,guitarist ranles stevenson,who has worked with Gene Loves leZebel and The Cult,and lnulti・

instrunlentalist Erda1 lQzi19ay who worked with

Bowie from 1986 unt■ 1995. Ziggy Stardust was featured in lnany ofBowieis set lists has been used in a number ofmovies such as The

ル αr`bκ αた【グ,動 θLttAクタαriε 宙 th steve Zissou, ο′ε lc α グК C乃 ″ b4gi Sた グ.The song is also "JI Islα “ “ video ga.■ ■atured in thc le Jtο ε たBα J3. “ :′

● ︼凸︻ Ю ｏづ ”史υ 望Я︻   ミＪ

re-recorded for the L972 record reiease. Bowie's backing band were the The Spiders From Mars and included Mick Ronson on guitar, Trevor Bolder on bass and Mick Woodmansey on drums, all hailing frorn East tbrkshire. The band are now ccnsidereC a legendary glam-rock outfit.

they bccarne The SPidcrS Fronl Marseln 1973

Ⅵbodma,sey Was rcPlaced by Ayrlsley Dunbar but

Ziggy Stardust David Bowie lVords&Muslc by Davld Bowle

J=

83

Classic Rock

lntro

● トロ一 つ ｏづ ”上 り 望Ｅ︻   イ０ ChrysaLs Music Limited,A BMC Company/RZO Music Linited/EMI Music PubLshing Limited

日ヨ︼∩   円 つωＯＣ︼ ０の ／

6-t

Reprise

“ ︼６︹ っ ｏ﹁ ”上り 望Ｅ︻   ｏ０

Outro

づ ﹄ぬ︻ Ю ｏづ “上り 望Я︻   ０７

Walkthrough This mid‐ tempo rock track■ atires

a wide variety ofgrooves Reprisc(BarS 25-28)

and i■ s along with a lnlxture ofsubdivisions.Some ofthe fms are fairly rapid,featuring 16th― note triPlets and thirty― second noteS,and so require single―

strokes t6 be cOnsistent

and evene

Bar 25 The B section is fonowed by a short reprise―

this is a return

to the intro feel for four barse Vttltch out for the nam on the

ttk'Ofbeat 4 in bar 26 and the 32nd notesin bar 28.

Intro(Bars l-8)

A Section(BarS 29-36)

The drums enter after two bars ofguitar with an eighth―

Bar 29 sees a repeat ofthe A section/B section cycle though

note based gЮ ove played between the bass drum,snare

宙 th some variation:Thistime for example we have a one― beat set― uP in into the crashesin bar 31 while the two―

drun■ and hi― hato Within the groove crashes are used to

beat

punctuate the rhyttm played by the band while different flu in bar 36 now features the■ oortom.Again this could be fills complete Ⅲ at iS baSiCa■ y atwO― bar patterno The most played using dternate strokes or宙 th the right hand Playing demanding ofthese rills is within bar 6 which features

al ofthe 16th―

16th― note triplets Played flrst on the snare and ultilnately

notes,but once agam,avoiding using double―

strokes to play the thirty―

second notes.

moved down thetoms.This bar is played using single―

鳳:穏r 謙 :織詳Ittt露 燎 鷺濯ょ torrl for the flnal three notes.

Bs∝ .。 n

cttS37-40

Bar 44 Like the flrst B section,this second one ends with a 16th― note triplet― based fill only this tilne look out fOr the

A Section(BarS 9-16)

eighth―

notes on beat 2 and the`ど offoun

The A section features a slightly more syncopated groove to the intro but renl〔 uns Played between the bass drun■ ,snare

Outro(Bars 45-53) and hi― hat,。 Bar 10■ amres a slighdy inorthodox eightll‐ note based flgure Played bCtWecn the crash cymb4(s),bass The piece ends宙 th the sarFle feel as appeared on the intro only now宙 th a tWmore variations.PrObably thc most drum and snare and☆ hich could be played using a single enging ofthese is the syncopated fil in bar 46 which crash cymbal howcver mo宙 ng between two(or mOК )や "n cha■ sound egective. features several flams as well as a hand/1bot triPlet on beat 4.This flnal beat is best played as right/1e豊 iヽot/flamo Bar Bar 16

48 is the salne as we saw in bar 6 and again should be played

BefOre moving into thc B sectiOn bar 16,atureS a two― beat flll played on the snare dnュ mo Thc nl runs acrё ss beats 3 and 4 and is Plar4 0n the snarё drume There are several different ways ofPlaying this sich as lsing altemating strokes throughout or the right hond playing 16th― the lett alls in the thirty―

notes as

Sccond rlotese Either ofthcse

Ⅵりuld

yield the desired SOund as opposed to uSing d9uble‐ strokes for the th士

ty‐

seconds which would mostlikely to sOund

weak relat市e to thC Single‐ strolcs.

B Section(Bar 17-24) Bar 17 sees a change in feel and one which delmandsthe len hand to play two consecutive 16th―

notes behind the

right hand lnaintaining eighth― notes on the hi― hatso Notice

thatthe second ofeach ofthese snare drums is]ピ t ghosted, instead they■ e expected to be played atthe same volume as thc flrst.This secuon is essentially made up offour two‐

bar

還 Patterns宙

th the second bar ofeach iaturing a different AⅡ

碧 single_stroke ●

16th― note triplets for the duration ofthe ba■

3五 驚慕::獄 謄ll蹴霊 l肝獅l∬ ∩

10

using single― stFOkS tO Cnd up with!he lett hand on the high― tonl on beat 4.

SONG TLE: I tt YOU CI ttL ALBUM: I GOT YOU I[■ lEEL

LABEL: XING GENRE: SOUL

G00動 C・

00⇒

J =1 45 So ul/Funk

Щ

WRIWEN BY: Jtt BRu6VllT PRODUCED BY: J脚 圧S BROWN

UK mT PEAK:

百

勾

BACKGROI]ND INFO

IameS BrOwn is onc ofthe mostsampkd musicians ofall tilne.The hst ofvocal and instrumental scctions

'I Got You (I Feel Good)' is a classic recording by |ames Brown and arguably his most well know song. The lyrics of 'I Gct You (I Feel Good)' are about the feeling produced by being in partnership ",yith one's love. The scng features a famous alto sax solo by Maceo Parker. 'I Got You (I Feel Gcod)' cleveloped from another song Brown wrote called'I Found You'. An earlier 1964 version of the song, titled 'I Got You', including a different arrangement featuring a baritone sax solo, was withdrawn from circulation due to a legal dispute with Brown's label at the time. 'I Got You (I Feel Good)' reached the no. 3 spot on Billboard's Hot 100 chart in late 1964. He had another 91 songs that made the charts, but none charted as high as 'I Got You (I Feel Good)i The song topped the Billboard R&B Singles chart, as did 17 of his releases, including'Papa's Got a Brand New Bag'.

sampled fronl his tunes is enOrmous and ongoing. His lnauence on lnuslc and lnuslclans the■ vorld over is beyond doubto He is regarded as the`GodfatheF

ofSod His 1968 release LiivaAr物 々 οI10

7oレ

θI

is an era derlning record and a prilne example of “

his silgular and highly influential brand ofhard

hnk.BrovJn demanded extreme discipline iom his musicians and dr6ve a hard line.Ifany lnusician did not colnpけ fully hiS musical and performance requirements theソ 、 vere nⅢ ed.His l市 e performance schedule恥

ras grl■

elling until the end ofhis life.

His early bands included Fredヽ Vesleb Maceo Parker9 Clive Stubblefleld,Bernard Odum and B。

。tsy

and Catflsh Collins amongst many lnusicians that,

together vnth BrOwn,helped derlne the sound of early funk.

The legendary drums on 'I Got You (I Feel

and was replaced by Clyde Stubblefield and later Iabo Starks. He rejoined Brown's band in 1969 after being discharged.

日〓 ∩  Ｈ Ю８ ●︼ ｏ∽

Good)' were recorded by Melvin Parker, whose brother Maceo was also a member of Brownt band. Melvin Parker was drafted into the army in 1965

I Got You (I Fee[ Good) ]ames Broryn Words & Music i:y Iames Brown

) =145 Saul/Funk Verse

1

o+

Verse 2-3

o+

日 〓 ∩  ２ Ю瑠 ●︼ ｏ∽ １

Bridge 1-2

@ Copyright 1966 Fort Knox Music Company. Lark Music Limited. All Rights Reserved- International Copyright Secured-

Verse 4‐ 5

0 +

￨・

12

Ending

日〓 ∩  ３ Юｏ罵 ︼ ｏ∽ １

Walkthrough Ve=se l(BarS 2-13) The piece begms with a loud bass drunl note played on beat 2 ofthe bar before the rlrst versc;in other words beat 2

ofthe second bar ofthe count― ine WCIe then straight into the flrst verse which features a師

o― bar

ith eighth― pattern、 ぼ

notes Played on the hi― hats and a cross― stick on the snare, wlth the bass drunl Pattern being what differentiates the flrst and second btt The eighth―

note hi― hats should idea町

be pl∼ ed宙 th a reasonably even dynamic as oPPosed tO

Verse 4-5 (Bars 38-50) After pl.y*g bars L4-37 tlvice

we reach the final two verses starting in bar 38. Once again these are played with a crossstick in the left hand and feature the same eight-bar and four-b ar verse/stop-time sections seen previously. However bars 49 and 50 makes use of a first and second ending. This means that the first time through we play bar 49 and repeat back to bar 38. Then the next time we play to bar 48 and j,r*p to the second ending in bar 50.

accenting quarter― noteso Playi,g the hi― hat more evenly liice this not only creates an even dr市 ing quahty but wtt also help the open hi― hatS On the`&'ofbeats l and 3 speak out.

Ending (Bars 51-61)

The verse is eight barslong so this師 o― bar pattern is Played

The piece ends urith a 'turnaround' where the last few bars of the piece, in this case four, are repeated three times. So when playing from bar 46 for the second time, thcse four bars, including the second ending in bar 50, could be regarded as the frst time. The second turnaround would be from bar 51 to 54, and the third and final turnaround from bar 55. However notice that bar 58 continues the upbeat eighthnote accent for a further bar and a half before the flam on the downbeat of bar 60. The syncopated nature of bars 57 -59 can make it a challenge to retain a sense of where the beginning of each bar is so it might be worth practising bars 57 -60 as a four-bar cycle to address this.

four times.

Bar 101シ

たグγ り油解

4ε

Att bar 10 we reach "α a four―

bar stop― tilne section which

appears several times throughout the pieceo The syncoPated

rhythm,played dong wlth the rest ofthe ensemble,is punctuated on the open snareoltt also worth noting the transition fronl bar 9 into this section which simply ends on the last eighth― note ofthe barDso nothing is Played on the

downbeat ofbar 10。

Verse 2-3(Bars 14-25) Bar 14 sees the start ofa verse/bridge sequence which is played twice(notiCe the repeat marksin bars 14 and 37). Each sequence begins wqith the same eig卜 t― bar verse ttd four― bar stop「

time sections seen pre宙oustt ho・ 7eVer in

bar 26 we encounter the bridgeお r the flrst time3 This is

introduced宙 th a snare hit on beat 4 ofbar 25 and"hilst it retalns the cross― stick on two and fb■ ltthe nght hand lnoves

over to the ride cymbal bell where it plays quarter― notes. There is a tvJo― beat f■llin bar 29 which introduces a nelⅣ

Pattern in bar 30.

Bridge l-2.(BarS 26-37) Bar301 2ソ カ α ″た SCみ α 4g? Here thertt a change in dynttics lo fOrte as thё

right hand

moves back to the tti■ atStO plγ eighi‐ notes and the le食

hand now PlayS an open snare.Notice how the backbeatis uoubled'from the llsualtwo and fourD with an additional eighth― note added on thc`&'ofbeats 2 and 4。

A■ 9r atwo― beat flll mid‐ way through,this eight― bar section condudes with a syncoPated ngureた 。 turing a nam Ⅱl bar 日〓 ∩  ４ Ю暑 ”︼ ｏ∽ １

35 and which stops on the downbё at ofbar 36 on a closed hi― hat.This

is fouowed the same accented bass drum note

on beat 2 in bar 37 as was seen atthe beginning ofthe piece. From here we repeat back to bar 14-so itゝ worth being nlindful ofthe transition back to lnezzo forte and the cross― stick in the left hand― and play the same sequence again.

s

e wonder

SONG TITLE: Sい Ttt10N 鵬 UM: TmGmK LABEL・ TAⅣ ILA

GmE:

Ⅱ中

)=g7 Fttnk),

謳

:

-3-￢ 「

il=j

-

J

WRIWEN BY: m WON⊃ ER WONDER, PRODUCED BY: S¨ MAttCOLM CEじ ■ AND ROBERT MARGOULEFF l」

UK

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PEAKl

SACKGRCI]]VD

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The song's lyrics are about the negative effect that superstitious belief can have.

'Superstition' was released as a single in October L972 and reached the no. I spot on the US Billboard Hot 100 and R&B charts. The song was written whilst Stevie Wonder was recording the highly acclaimed

Talking Book album. Although Wonder was playrng most instruments on his records, he was still using guitarists. Upon hearing that rising star leff Beck was an admirer of his work, he asked him to become involved in the sessions in exchange for a song to be featured on Beck's forthcoming release with bassist Tim Bogert and drummer Carmine Appice.

'superstition came into being by chance. Beck in between recording sessions and upon hearing him, Wonder asked him to continue and started improvising over the beat. He created most of the song on the spot, including the was playing drums

comedy Vampire in Brooklyn. Stevie Wonder is a figure of great importance in American popular music. He made his recording debut aged \2 andhas since produced true songwriting gems. His lyrics are a mix of simplici{ and poignancy that blenci exceptionally wetrl with his enormous musical gift. He plays all instruments and produces his own rec

BACKGROUND INFO

7ザ ε The Cultb pivotalth廿 d albunl EIθ ε ′ ,this tilne concentrating solely on a tight and punchyrock and

'Rock The Bells' is the third single from LL Cool debut album Radio, released in 1985. The album received critical acclaim for its innovative production and LL Cool |'s rap style. It sold 1.5 million copies in the US by the first quarter of 1986.

roll sound.

J's

In 1988 Rllbin decide to lcave DcfJallFI Recording

and set og,lbr LoS Angeles,where he set up a

new label caned DefAherican.He later founded American Recordings and its Arst mづ

Radio projected LL Cool I into the mainstream, and along with Kurtis Blow and Run D.M.C, he started gigging at large venues across the US. The record belongs to a pivotal period in the history of hip hop. It reflects the change from the old school into the new school and the ghettoblaster subculture. LL Cool |'s rap style explores themes of life in the inner city and teenage promiscuity.

and songs written for Cash at Rubimb request was repeated on another 6け e highly successAll albllms. Rubin achiet〕 dmづ or

Suむ

cess ttith the Red Hot Chii

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Tom Petty9 Bllck Sabbath,AC/DC,L■ Iol,Eminem, U2,ZZ ToP,Neil Diamond and Green Day。 I“

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Radio also launched the career of Rick Rubin whose minimalist production style earned him a significant place in hip hop's history. Upon founding Def Iam Recordings in New York City he produced records for the Beastie Boys, Public Enemy and Run D.M.C as well as LL Cool |. These were all highly successful artists in the mid 1980s, a time of significant technological and stylistic changes in the music industry. The collaboration between Aerosmith and Run D.M.C on 'Walk This Way'was a massive worldwide success and demand for Rubin's work increased exponentially. In 1987 he produced

or release was

α Rθ ε ογ グ IOhnny Cashb Attθ r′ ε “ and its '4gsin album revived CasIピ s career ln破 1994.Thё ofcovers

Rock The Bells LL Cool

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Words & It'rusic by Rick Rubin & fames Todd Smith

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Copyright 1985 American Def T[nes/L.L Cool I Music/Universal Music Corporation. Universal/MCA Music Umited./Warner/Chappell North America Limited. All Rights Reserved. International Coppight Secured-

□ Devdop

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Walkthrough Bar I I Groove Pattern hi-hat sticking / ghost notes The hip-hop influenced groove pattern contains constant 16th notes on the hi-hat. Tio generate a machine-like consistency play with one hand throughout. Experiment with different phrasing options. Accent the first of every two notes or the first of every four. Play the accent on the edge of the hi-hat and the unaccented notes using the tip of the stick on the bow surface of the cyrnbals.

Bar 17 | Time slashes - develop Time slashes are used again at bar 17. Time siashes are common in rhythm section part writing. Continue to develop the groove in keeping with the musical environment. Ptay something which carries the groove and is in keeping with everything that is going on around the drums. Musical taste and stylistic awareness are integral to the modern drummer.

The snare drum part has both accented and ghosted notes. Note that the overall dynamic level is mezzo forte and all internal dynamics are subject to that overall dynamic levei. To achieve these dynamic differences good technical skills are required especially from the snare drum hand. The bass drum volume is to sit comfortably within the overall volume of the other parts of the kit. Experiment with both heel up and flat foot technique and chcrose which suits the groove.

Bar 29-33 | Crash cyrnbal accents There are some featured crash cymbal accents with the accompanying bass drum. PIay these confidently and make certain there are no flams between either instrument. Although the rhythms appear simplistic on the written chart it takes great skill and stylistic awareness to Play these notes accurately and to balance the volumes relative to each other and the other instruments on the accomPanytng backing track.

Bar 2 | Time slashes and 'iont sim" Tirne slashes are used from bar 2. This is a frequently used symbol in rhythm section chart writing. Above this the arranger has indicated the candidate is to 'tont sim" - continue similar. Do so with a healthy dose of stylistic awareness. Avoid excessive tom fills and focus on subtle variations of timbre and dynamics within the groove. Bar S I Hi-hat solo fill In the music and on the original recording the main rhythm stops to create tension to emphasize the lyrics. Although the backing track does not contain vocals the drummer is still makirg space in the music. Play accurately and really deliver the rhythm with style. Be wary of underestimating something which appears simple on paper. The candidate may embellish these bars, however must use stylistic aw.reness.

Bar 9 | Co-ordination

A co-ordination challenge subtly appears in bar 9. On the last eighth note of the bar the hi-hat opens while the bass drum is playing the oft-beat. Theretore, the hi-hat pedal will be moving in an opposite direction to the bass drum pedal. If this proves difficult isolate the co-ordination and practice it at a slower tempo.

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Bar 13 | Crash on the one The crash cymbal is again used as a capital letter at the start of a new section in bar 13. PIay the crash firmlybut notice the immediate movement back to the hi-hat tbr the next 16th note and also be aware of the overall dynamic.

Bar 36 | Cymbal choke In the second half of bar 36 the crash cymbal is choked three times in quick succession. Chokirg is a technique where the cymbal is pinched between thumb and fore finger immediately after being struck. This allows the drummer to control the length of sustain that the cymbal can generate. Note the syncopated rhythm which apPears frequently in many Tpeq of contemporary music. Enjoy Playrng this challenging piece and aim to develop stvlistic awareness while learning to get inside the music. Bars

6l-il1solo fills

As in bar 29-33 the same phrase aPPears at the end of the arrangement. However this time the drummer is to play some ad-lib fills in between each cymbal hit. Use this an opportunity to showcase stylistic knowledge and technical expertise.

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BACfiGROIIND INtr'O

Atter the 1973 album release Harvey Mason was replaced by Mike Clark whose drumHling is also

'Chameleon is the opening track on the legendary Head Hunters album by Herbie Hancock and his newly formed band, released in L97 3. The alburn is a landmark in the jazz-funk and jazz-fusion genres. It was the biggest selling jazz album of all time until George Benson's Breezin' was released in L976. Head Hunters is an influential album nearly fifty years after its release.

legendary.Both drunllners would work with the

band,with and without Hancock Harvey Mason iζ known for his unique feel and groove,amazing precision and solid tilne keeping. He is one oftodayb most critically acdaimed and revered drunllnerse H[e has worked with a whois who ofthejazz andjazz― ision worido Atter the success ofthe Lttα グ助

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`16,Harvey Maso五

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fanliliar to an even wlder audience when in 1976 he recorded the multi― Platinunl― SClling B“θ θ z′ 4'with

guitarist George Bensone Hcこ ontinued working

with Benson,recording tte legendaryル FIなた r, incllュ ding the masterpiece`The World ls A Ghettd He started recording solo albums in 1975 and achieved signincant success in the late 1970s.He recorded ll solo albums to date.In addition he also recorded

宙 th Herbic H[ancock,Chick Corea,Donna Sumlne島 Patrice Rushen,Rufus,Ioe Henderson,Casiopea,The Brothers,ohnsOn,Carole King and the classic Sttrν ′ ν αI

O/動 θ■rrgS′ 宙 th the band Hcadhunters,amongst many otherso Since 1990 he has been the drunllner with smoothjazz sensation Fourplay9together with bassist Nathan East,Pianist Bob lames and guitarists Lce Ritenour and Larry Carlton.

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Head Hunters is the culmination of a highly experimental period in Herbie Hancock's career. Whilst in Miles Davis's quintet Hancock released a number of solo albums in the hard bop and modern jazz styles related to the group. These were very successful and include classics such as 'Watermelon Man', later reworked for the Head Hunters album. Upon leaving Davis' quintet in the summer of 1968, Hancock started to experiment with electric instruments influenced by Miles Davis and his groundbreakin g jazz-fusion style. He recorded Mwandishi in L97L, Crossings in L972, and Sextant in L973. The experimental and at times ethereal nature of these records pushed Hancock to pursue an earthier and more grounded, funky sound.

Chameleon Herbie Hancock Music by Herbie Hancock, Harvey Mason |r., Paul Iackson & Bennie Maupin

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Walkthrough Bar

I

I Snare

drum anticipation

The iconic drum groove played by drummer Harvey Mason on this track features a snare drum anticipation. A standard backbeat is played on beats 2 and 4. In this piece the first part of the backbeat is anticipated and played on the 16th note before beat 2. This use of syncopation defines the rhythm. If this concept is new to the candidate it is recommended that focus is placed on the hand part in isolation with a metrononle at slower tempos to improve beat placement. To develop feel, play with the original recording and also listen to the myriad of subtleties rnvolved in the drumming. In this arrangement a cross-section of ideas used in the 15 minute version has been ciistilled dcwn. The candidate should "Develop' the groove throughout as written above the stave. Do add additional ghost notes and embellishments in the style of Harvey Mason.

Bar 8 I Cres cendo and

fill

A change of dynamic is indicated with

a crescendo. The drum fill slightly builds in volume. Consider this when thinking about sticking and phrasing. Note that not all of the notes are accented within the fill. Single sticking is suggested. The internal dynarnics between the snare drum and the off-beat bass drum on the third beat should feel like one sound and phrase rather than a collection of separate rhythms. Note that the hi-hat opens at the same time as the bass drum plays which will mean the feet are moving in contrary motion.

Bar glMetodybegins The melody or "head" begins at bar 9. 'fhe drums acknowledge this urith a crash cymbal on beat 1. This song has a simple Alts form. Dont confuse these terms with the rehearsal markings on the chart. Keep the groove soiid and furky throughout. Make sure that bass drum 16th notes are played accurately.

Bar 23 | Snare drum ghost notes There are many ghost notes in this piece and the candidate is encouraged to add these from the beginning when developing the part. The arranger has notated specific ghosted notes in bar 23.The ghosted notes should be significantly quieter than all the others. Keep the sticks low and play between a quarter and half an inch away from the drum head. Also remember to use the outside area of the drum head for tonal variation.

Bar 25-26 | Ensemble figures There are ensemble figures played by the whole band. The drummer incorporates these into the phrasing in bars 25-26. Play these confidently and listen to the phrasing of the musicians. Notice the use of flams in the gaps around the ensemble to set up the phrase in bar 25 and the use of ghost notes in bar 26 to keep the groove flowing. When striking the crash repeatedly control the cymbal. Do not let it "roar"

out of control. Bar 29 | Drum break There is a drum break at bar 29. Play as written but expand on these ideas appropriately. Pay specific attention to dynamics and 'took" the groove at the low volurne at bar 33. There is no need to add over complicated drum fills just lay down the groove.

Bar 47 | Crash cymbal use and pattern vocabulary There are some great variations and patterns to absorb betrveen bars 47 and,54. Note that the crash cymbal should be used only on the first tiare bar 47, this indicates the start of the section Enjoy playing to this infiuential song and groove. Ncte that the original structure has been reduced to accommodate the time requirements of the grade. Both the A and B sections would often be 16 bars in length. This is a classic track and a great one to learn for jamming

other musicians.

Bar tZ I Pattern evolution The B Section (not to be coniused with rehearsal letter B) begins at bar 17. The groove pattern evolves and the hi-hat hand moves over onto the snare drum to play the accented note on beat 4. The candidate can use alternative sticking here. Note the bass drum 15th note phrases and think about using heel-up technique and accenting the second of the two consecutive notes very slightly to shape the rhythm. Listen to the original recording and hear how Harvey responds to the music around him when improvising these variatlons. Also think about the internal dynamics of the part.

with

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SONG TITLE: MOHAIR MOUNTAIN GENRE: 郎 IC ROCK

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OVER\TIEW

'Mohair Mountain is a classic rock track.,vritten in the style of bands such as Led Zeppelin anci Deep Purple, and based on the drumming of Iohn Bonham and Ian Faice. The track features time changes ancl a shift in feel from straight to swung, a common feature of this style.

SIYIE

FOCIT]S

Classic rock drummers must have an array of skills to hand. Being able to play swung or straight and to switch note values seamlessly when filling are some of the most important attributes of a drummer. Feel is also important because the music often conveys a range of emotions and dynamics which need to be complemented convincingly by the drum kit. Your leading bass drum foot must be up to speed to accurately perform those 16ft triplet bursts in the spirit of Led Zeppelin's John Bonham.

BTGGER PTCTURE

The term classic rock is usually applied to guitar bands from the 1970s and 1980s. However, the genre has it roots in the late 1960s when bands like Cream

In the 1970s L,ed Zeppelin and Deep Purple dominated this stlrle of music, although Led Zeppelin's recording career was curtailed in 1980 by the death of their drummer )ohn Bonham. Bonham was one of the most influential rock drummers of ali tirne and had many attributes that most drummers can only dream of: incredible power, a fast bass drum foot and ferocious hand speed coupled with a unique feel for the groove of a song. Led Zeppebn reunited in 2007 with Iohn Bonham's son |ason continuing his father's legacy in the drum stool.

RECOMIVIENDED

IISTE}]TIIG

R.esearching this style of music will give you great pleasure as a drummer tbr the standard of

musicianship is incredibly high. Ginger tsaker's vrork

with Cream on Fresh Cream demonstrates creativity in its fills and grooves, particularly on the track'Toad' which features an excellent melodic drum solo. Led Zeppelin's 'Good Times Bad Times' stands out for its drum work and dynamic fills; 'Moby Dicki for its characteristic grooving; and 'Fool in the Rain', for that classic Bonharn shuffle. fast bass

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and The Who were pushing amplifiers to their limits and recording extended tracks far beyond the remit of the 45 rpm single.

Mohair Mountain troe

Bennett & Kung Fu Drummer

)=92 Classic Rock

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Walkthrough A Section (Bars 1-8) This section features the intro riff of the song which consists of alternating 414 andT lSbars. The heavy rock groove is built from half open hi-hats, rim-shot snare on the backbeat and a bass drum figure that is tlpical of the genre.

Bar I I Half open hi-hat The vertical line through the open hi-hat mark indicates ihat the hi-hat should be only half open in this section. This can be done by tightening your foot on the hi-hat pedal. Ideally, the hi-hat cymbals will be consistently close to each other and produce a sizzlinq sound.

Bars l-8 I Changing time signatures In this section the time signature alternates from four quarter notes to seven eighth notes in a bar. Listen to the guitar and bass riff carefully in order to understand the phrasing. If you are using the backing track with the click, you will hear it changing from quarter notes to eighth notes in order to help you follow. At this level, you should be able to move smoothly between time signatures without affecting the flow of time.

B Section (Bars 9-16) This is the verse part of the song and the hi-hat should mostly stay closed. The challenging foot work with the bass drum is typical of this genre and will require solid technique. Bar 9 | Fast bass drums Playing the two consecutive 16s triplet notes at this speed will demand preparation. Slowing the tempo down and breaking down the groove is a good way to start practising. Although this can be played with both heel up and heel down techniques, you rrright want to attemPt a unique sliding motion with your bass drum foot. Place your bass drum foot in the heel up position and pull your foot back until your toes are in the middle of the footplate. Perform the frst stroke and allow the beater to continue its naturai movement in order to create a second stroke as a rebound of the first. When played correctly, this technique will allow you to perform two strokes with one movement. The concept is similar to performing doubles with your hands and the same rules apply: practise slowly and internalise the movement (Fig. 1).

Ensure that you control the stick to achieve two even grace notes and time these well in betrveen ttre eight-note hi-hats.

D Section (Bars 27 -42) The D section consists of a 16-bar guitar solo. It comprises two grooves with slightly different feels and bars that need to be developed srylistically. Make sure that you observe the changes in dynamics in bars 35 and 42.

E Section (Bars 43-50) The eight bar drtrrn solo is based on the structure of the intro, where the time signature changes. Listen to |ohn Bonham (Led Zeppebn) for ideas for solos in this style.

F Section (Bars 51-69) The tempo changes from 92 bpm to 126 bP* in bar 51 and the groove moves to the ride cymbal. There are rim-shots and ghost notes to conslder as well as srylistic fills with advanced hand- foot co ordinstion.

Bar 67 | 3:2 polyrhythm In this fill you have to co-ordinate quarter-note triplets with quarter notes. That means that every two beats, a full quarter-note triplet will be played, hence'3:2 polyrhythml Use your hi-hat foot as your anchor and focus on performing the triplets accurately with conviction (Fig. 2).

￨■￨￨￨￨￨IⅢ

C Section (Bars T7-26) 日〓 ∩  ２ Ю壱 ｃ︼ ｏ∽ ４

In this section you rvill return to the haH oPen hi-hat with a busier bass drum pattern and drags on the snare.

Bar 17 | Drag The drag rudiment consists of two grace notes followed by one main stroke. In this groove, the cirag is played tln the snare and the main stroke on the bass drum and hi-hat.

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COMPOSER: LUKE ALDRDCrE 螂

ONNEL STUART RYAN(GTR) HENRY THOPIAS(BA堅

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by tenor saxophonist and 7ocahst Emilio C3asti1lo

`POP Itln The TbP'is a funk track written in the

style ofAmerican R&B band Tower OfPowen lt

and baritone saxophonist Stephen Kupka,the bandb mE[ed宙 th lush R&B chord

hard hitting funk gr。 。 ves

featurё s snare ghOsting,lincar funk beats and doubles。

PrOgressions and sOultinged vocals proved Popular with ink and soulfans。

STYLE FOCUS

sarne desPite personnel changes:a signature horn

The bandゝ instrumental line― up has rernained the sё

Within this Piece there are a variety ofdi“ ё rent

groovcs that rencct clements OfЪ

ction(two trumpets,two tenor saxes and a baFitOne

S籠 ),VOCals,guit“

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"keyboardsi bass and drum乱

Tower OfPowerb instantly recognisable sound is

drummer David Caribaldib pla,ng and thosc ofotheF drummers who hⅣ c Played宙 th the group over the

largё ly

yearso The piece starts with a silnPle beat that throws

staccato,syncopated horn riffS and busy basslines.

due to its hnear drum sり e combined witll

in some 16ths and eighths between the handsin the second barD an idea that is revisited later in the piece.

There are also lnore`linear'grooves that use different

RE00MMENDED鵬

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sticking and hend and foot combinations rather To、ver

than a constant eighth― or 16th― note hi― hat pattern.

OfPower have recorded 18 studio albums

Although these are lnore challenging to PlayDitis

but a good Place to startis their hve offering Sο

essential that they■ owwen and sitjust as comfortably

“ ′ 4″ ′ ο :Liν θ(1999),WhiCh featured the return of “ “ original drummer Garibaldi.Sο 夕Iθ グ0“ ′

as the less comphcated beats do.

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L3‐ 」

Walkthrough A Section(BarS l-4)

D Section (Bars 29-36)

This is a drum introduction that estabhshes the rnain funk

The breakdown section has an offbeat eighth-note hi-hat groove that develops over the course of these eight bars. Ensure that every bass drum and snare stroke are performed

groovee There are 16th― note bass drums,riln‐ shot snares and a mlin bar 4。

with conviction.

B Section(Bars 5-20) This is the verse part ofthe song where the groove remains

E Section (Bars 37-52)

simiar to the intro.There aFe Stylistic fllls and snare/bass

The groove moves to the ride cymbal in this section and there is room for you to develop the part. From bar 45 a consistent eighth-note hi-hat foot pattern is added as well syncopated crashes.

drunl variations.

Bar61 AJ″ ar"α ′

16rl

'電ofthis bar there are fOur 16ぬ On the second beat alternate bemeen the sntte and the hi―

notes iat

hat.K:eep yourle食

hand on the snare ln order to execute the rlnl― and co― ordinate the hi―

shot snarcs

hats accurately in between.Make

sure that the■ ow Ofthe groove is not affected by this linear

funk apprOach.

Bar 161Sα

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as

II

There is a sextuplet that uses the high ton■ and snar9 on the

fourth beat ofthis ban This fast phrase can be played with

F Section (Bars 53-60) This solo can be interpreted in various ways besides the stabs in bar 58. Whether you decide to base your solo on the rhythmic phrase played on the track or not, you must ensure that the solo is in keeping with the genre, that it develops throughout and is performed confidently. Listening to the drummer David Garibaldi (Tower of Power) will give you ideas for improvising in this sffle.

various sticking options.Try using the inverted Paradiddle―

diddle sticking(RLLRRL)becauSe this will helP you to achieve a natural■ ow Also,ailn to kecP allthe strokes even

G (Bars 61-68) & H Section (Bars 69-76)

and accurate.

Section G is a reprise of the chorus with the linear funk groove. Section H is a reprise of the verse which leads to the ending phrase in bar 76.

Bar20 1324グ

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“ to perforin in this fllle Thesё There are 32nd notes

are

the next subdivision atter 16th nOteS,SO cight ofthem put together are equalto one quarter note.In order to ｂ ＲＲＬ メ

understand the rhythn■ on beat 3,start by playmg fbur 16th notes on the snare then double the Flrst and create two 32nd

noteso This can be played宙

th singles:RL RLR.When

replacing the last stroke with the bass drum the sticicing will

be as fOl10ws:RL R L R The alternat市 e is to use doubles at

the beginning ofthe phrase:RR L RLorLL RL R.Howeve島 you win requむ e rehable sticking controlin order to perform thё se

with apprOpriate prtteC■ On(Fig。

Count:

1

1).

￨￨￨￨● ￨￨￨￨￨ F暮 :■ ￢irty― ヽ

C Section(Bars 21-28) The second lnain groove is introduced in the C sectione This is in the fbrnl ofa linear pattern with consistent 16th notes on the hi― hat and snare.It is vital that the riln―

shot and ghost

note snares are clearD balanced and PrtteCted weu。 gs Bar211 Gた οs′ θ′

The snare notes “ marked in brackets should be played as

還 ghOSt notes.The dynamic level ofthe ghost notes should 罵 be much lowerthan the non― ghOSted snare strokes.Keep

む

your hand close to the drum head in orderto produce this

I器 : 48

耐

れ

耐

Flg121‐ 10い 0111011S

Mindsweく 耳贈r SONG TコLE: mmER

GENRE: DRUM AND Bだ 贅シ′ P圧 PAL TEMPO: 1(4 BPM TECH FEATUR那 : ACCENTED ROTttS GHOSTING

POLYRHYTHMS

[三 ]

」 =104

π&J七ド D響孵 '/

00MPOsEx: JASON BOWLD

PERSOttL JrSON BOWID(Jtt PAR[脇 )

￨ ―

OVIATIEW 'Mindsweeper' is a typical drum and bass/metal crossover influenced by drummers such as Paul Kociish anci Incubus' |ose Pasillas as weii as bands like Pendulum and Pitchshifter. The song features a variety of typical drum and bass grooves that integrate ghost notes and accented rolls further embellished with broken ride cymbal patterns.

S'IYIE

trCIg[]S

Drurn and bass typically features a strong bass drum pattern played on the'1'and'3 &'while retaining a heavy backbeat on the snare. The ghost notes played between these puises set up the style's distinctive feel. So, accurate dynamics are crucial: make sure your backbeats are louder tharr your gtrost notes. This is also important when executing the various rolls in the track because they have specific accents that give them their groove-like shape.

records (the most popular being Amen, Brother' by The Winstons) then sped up using softurare for an electronic feel. DJs Goldie and Roni Size were pioneers of this approach.

Drummers caught onto this style and started to replica.te these sampled beats. They infused metal

and rock with drunn and bass rhvthms, sometimes creating new sryles such as industrial.

Pitchstrifter were one of the first bands to pr:oduce this h1'brid sound by using a mixfirre of live drums and sampled electronic sounds. Incubus also used drum and bass elements to complement their melodic sound, which sat perfectly with the funky style of drummer Pasillas. Another notable band is Pendulum, who have been successful with a more commercial style that combines drum and bass with rock

RECOMMENDED

r,rs[E]rrNc

Incubus' 'Pardon Me' contains great live drum and electronic sound listen to 'Tarantulal by Pendulurn. Finally, Pitchshifter's album

bass breaks. For a more

During the 1990s, drum and bass grew around the London and Bristol club scenes. The classic drum and bass beats (or breaks) were sampled from vinyl

www.p it chshift

er.

com

( 1 99 8

) features some classic

drum and bass breaks on 'Please Sir' and 'Genius'.

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THE BTGGER PTCTURE

菫

Mindsweeper )ason Bowld

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Walkthrough A Section(BarS l-16)

D Section (Bars 33-53)

The intro to`MindswecPer starts with a cymbal swellthat

This section features what cculd be called the chorus followed by a reprise of section B but with a different groove.

leads into an abstract drun■ and bass groove then progresses

to contemporary drun■ and bass grooving.It ends宙 th an accented snare roll.

Bars 2-41の

bα J″ II

“must start quictly and increase gradualy in This cymbal ron

Bars 37 -N I Chorus groove half-tirte You wilt need to focus on the click here because the quarter note, half-time feel will reveal any timing discrepancies.

volume over two bars to be effect市 eo The main tiP iS notto

E Section (Bars 54-69)

gettoo loud too soon.

Bars 9-141 Dr“ α4グ bα s l“ ον θο "働 `riル “ ve is characterised mainly by the gllost notes and ThiS gr。 。 bass drums Played on the“ 1"and“ 3&'l Dynarl■ ics are key in sounding conⅥ ncing here so lnake sure the backbeats are noticeably louder than the ghost notes. Bars 15-16 1 Aε ε θ ηた′S“ α″ roII This is the feature roll ofthe song and you will need to be

In this section the dynamics drop to a cross-stick groove that develops and builds into a crescendo. Bars 54-67 | Cross-stick develapment Consistency on the hi-hat is vital here to retain the dynamic. Small wrist xlovernents will help, as will finding the part of the stick which produces the sweetest cross-stick sound. Increasing the bass drum frequency and adding oPen hi-hats would be a good way to develop this groove further.

aware ofthe offbeat accents that precede the accents on the beat to inake this sound correct.

F Section (Bars 70-56) f'his is a reprise of the chorus grooves from the D section

B Section(Bars 17-22)

and features improvised fills.

In this section the groove is intensifled by extra crashes.The

accented snare rou continues throughout this section.

Bars 17-201(ン

bα l

α ε ε θ

The groove played“in thcse bars is allnostidenticalto the "rs

Bars 70-81 | Fitl development Following the dotted quarter note crash bars, you have a chance to shine \^rith your own fills. Tiy using a variety of note values and pitches to create interest.

previous one,exceptthat crashes are played on beat 4 of every ban

C SeCtiOn(Bars 23‐ 32)

R L R L R

The contemporary drunl and bass grOove continues in this section then Progresscs on to the ride fbr a brOkell pattern. The section concludes wlth a powerful snare roll。 Bars 23… 271Hト カα′θ b`J:′sた 綱θ rs “ ln this drum and bass“groove section,yourlen hand

alternates betlveen playmg th ghost notes on thc snare and

mo宙 ng to thc hiThatto create an embellishmentin evlr,

1,,' ,,,, I

r

.

, pig. 1: Hi-hat embellishments

other ban For this try using the same sticldng,which from‐ beat 2 ofbar 24、 浮ould

be R/L.RLRLoL.RL:Watch out

for the displaced baご kbeat on the“ 3&"ofbar 27(Fig。

Bars 28-32 1 Broル

1).

rjル gηθ νθ

“ here is two bars long and has The broken ride pattern 日〓 ∩  ４ っｏ﹁”︼ ０∽ ５

a dOtted quarter― note feelo lt is imp6rtant that you play accuratelyfrom the ride SuFfacc to the lё

n tO get the

Count:

1 (&) 2

& (3) &

4 (&)

1

& (2) &

3 (&) 4 (&)

right soundo You will need to practise● is gr00Ve slod, in i,olationlefore building,p to speed to dcal■

comple対 tyo The counting would be“ during bars 28 and 29(Fig,2).

7ith its

12&&41&2&3&4"

￨￨￨■ ■￨￨￨1事 ,11`燕 ￨:￨::お 轟■￨■ ￨■￨￨

Fttla SONG TItTLE: FAm GERE: 割響BA TEⅣ 聾0:

109 BPM

J=1 rrEσ

09 Samba

H mTUR“ : FOUR― WAY COЮ RDINAT10N SYNCOPATED GR00鵬 00MPOSER:mtt ED― PERSOWL NOゴ WILEDm (DRUMS) 配 NRY頭 OMLaS仰 部 ) STUART RYAN(GTR) 鶴 HON KHAN(螂 )

lExGUS GERRAND(PERの

■

RI田 想 D PttDY(S→

Stt WALKER(TRUMP恥 ANDY CROmN(TROMB) national music ofBrazile Early samba relied on drums

OVER\TIEW

and percussion(thinkOfthesoun40fRioDeralleir洗 'Favela' is written

in the style of Brazilian samba

and features four-way co - ordination, syncopated grooves and syncopated fills among its techniques.

carnival marching bands)and Was revered foF itS raW eiettry ratter´ than mu,ical SOphistication.Howeve島

this changed in the 1950s when Joao Gilberto and

Antonlo Carlos lobim brOughtin supple melodies andjazz in■ uenced harmoniese This new style or

STYIE

`bossa novゴ exPosed Brazilian lnusic to the wondolts

tr'OCI]S

best― known

Traditionally, the sarnba beat was created by. group of percussionists playing different patterns. From the 1960s these patterns were adapteci for the drum kit, placing each pattern on a different drum or cymbal voice. This is the reason why samba and, indeed, most Latin beats involve advanced co-ordination, making them particularly attractive to drummers of all levels.

song is`Tle Girl From IPanemこ

which

was translated fronl Portuguese into English and performed by Frank Sinatra。 Bossa novals sense ofsophistication and restraint

made itidealfbr hotelloungё s and Las Vegas theatres, but ne、 v le食 ・lving,ohtiCS Were afootin Braz■ in

the late 1960s:The sounds and sentilnent oftlle

θ レS ルν

aupted through te music ofChico Buarque,

caetano ve16so and C)s A4utantes,a molten fusion of samba9 rock,fu,k andja2z.Its name was tFOpicalia

$IE

SfGCEo.

PfCfiRE

Samba is the rhythmic, syncopated music of Brazil

and it remalns Popular to this day.

RECOMMENDED L薦 電 NING

dictatorship in power supported its promotion to the

秘 bSθ (1969)and Buarqutt Co4srr“

Gilbert“ cttcrル S`認 Jα ル (1959)is a dassic bossa nova recordo Tb hear how Brazilian muslc

ム α′ lο θ θ (1971). fα

changed in the 1960s,listen to the albulns Cα

︼ 日〓 ０ ５ Ю壱 ” ｏ∽ ５

with its roots in the country's atrican culture. The first samba record is believed to be 'Pelo Telefone', released in 191 T.Itgave the style its first significant exposure outside of the favelas (slums). It made such an impression that, in the 1930s, the nationalist

Favela Noam Lederman

J=109 Samba

X

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E

Keyboard Solo

(16 bars)

Develop

□ Drum

Sヴ 。 いa→

1411 Snares o青

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Walkthrough A Section(BarS l-8)

drum unison perfectけ withOut any unnccessary nams is

The main samba groove isintroduced in the flrst four bars

considered an art(Fig。

2).

ofthis Piece・ You will require al ofyour hmbs to perform

this gЮ ove.FЮ m bar 5 there are rhythmic stabs to perform.

They lnust be synchronised宙

D Section(BarS 25-40)

th the track。

This is the keyboard solo whё Bar l lSα

re you have the oPPortunity

to develop the part.The flrst part 6fthe,olo iζ

bα

This is one “ofthe traditional and basic ways ofPlaying

follow thiお

notated,so

syn,oPated groove careily

samba on the drum kit.Start by playing the feet patter, and work on your accuracy and floⅥ I The bass drum can be played with the heel up technique,but you恥 司L achievc the

E Section(BarS 41-53)

right sound more naturally ifylu use heel downe Ensure

Fouowing the eight bar drum s01o,you return to the sign

that you can Play thiS pattcrn COmfortably and that y)ur

in section B.When repeating this section,do not play the

posture relmains balanced:before adding the hand Pattern.

written Part again but lreel free to develoP it aCCOrding to

The consistent eighth notes on the ride should not be too

your musicality and understanding ofthe stylec

challenging to co― ordinate.Howevett you will need to pay

Bar41 1 54α rgSげ

attention when you add the syncoPated accented snares.

This indicates that the snare w盤

Bar41L″ ′ 4r′ ″― SttO′

bc Played in the off

POSitiOn,where the snare wlres do nottouch the bottom drum heado This shOuld be straightforward to do.Howeve島

A Latin riln― shotis produced by hitting the snare lnd

surrounding rm at the sarFle tilne宙 th the neck Part ofyour

not an snares have the salme mechanislno Ensure that you

drum stick This will produce a higher pitch and slightly

know how to turn the snare wires offand on before starting

softer riln―

shot sound than the rock equivalent.Perfornling

this technique in a relaxed way will help you to achieve the

the pieceo The sound achieved when Playing with the snares offis silnilar to the percussion instrument timbale. Using riln― shots,flams,drags and syncopated Phrases will

stylistic con宙 ction that is required at this level。

help you emulate the sound and feel with a great degree ofauthenticity.Turning thC snare l輌ires on can be done

B Section(Bars 9_16〉

anywhere towards the end ofthe solo aslong as you are

This is the verse part ofthe song where the groove Ferrlains

ready tO Play When repeating section B.

simiar to the intro.There is a styhStic ttl using your llands

and feetin bar 12,fouowed by a preparatlon nllin bar 16. This f11lleads to the C sectlon.

Bar 16 1Sy″ ε Opα た ノ /iiII

and

The open hi‐ hats and crasl emphasise the T and∵

create a fechng ofSyncOpation.Ensure that all open/ closed hi― hats are pr9jected wen and thatthe Aメ

hms aFe Count:1(e)&a2(e)&a3e&a4e&a

performed accurately(Fig.1)。

C Section(Bars 17-24) In the chorus section a salnba funk groove is introduced。 Both hands Play 16th notes on the hi― hat.Your right hand

win rnove to the snare on the backbeat.The bass drum pattern lnaint〔 uns the traditional samba feelin this gr9ove.

Bar 18 1Sα

bα

た ルれ

“ m samba funk maintdnsthe dotted 16° The bass drum pattern on every beate Aiュ

週 eVCnけ and

1‐

note

to Play the bass drum strokes

maintain a balttced Posture.Yourhands play

S lTT:鰍 l灘 器盤撃 賞潔∫ =藁 糧 :臨 ∬縦模庶亀1寵窯ml瑞 58

￨￨141Ⅲ 111■ ■￨￨■

SPace Ftt「 SONG TttLE: SPACE FUTURE GENRE: TRIP HOP TEMPO: 90 BPM TEσ

H mTUR∬

」 =9oシ ″Hη

: ADVANσ ED COЮ RDRTA・ T10N

m

6/8 TRIP HOP GR00VE SNARE DRACS COMP(■ TR: NEヒ

:J」

■

DHORAだ ΠWAI■

PERSONNEL: NEEL D(PRODUttION) NO皿 LEDERMAN(DRUMS)

ovEF-\rrEw 'Space Future' is a trip hop track in the stv'le of artists such as Massive Attack, Portishead and Trickv. It includes a 6/8 groove, advanced co-ordination fills and snare drags among its techniques.

STYIE

FOCI]S

In this track the metre changes from 518 to 414 while the tempo is maintained at the same value. This gives the impression of a tempo change which allows the piece to develcp without losing its solid rhythmic drive. Indeed, it is this breakbeat style of groove, coupled with a heavy bass line, atmospherics and lo-fi sarnples/effects that gives this trip hop piece a sound that is typical of the genre. At the recording and rnixing stages, the drums tend to be heavily compressed to make them sound more like samples.

The genre's birth can be attributed to the Bristol band Massive Attack whose 1991 album Blue Lines was an atmospheric, introspective riposte to hip hop and, especially, r"pt block-rocking beats ancl cocksure vocal detrivery. Tric\, thc album's guest rapper, went on to release h.is own LP in 1995, the criticallyacclairn ed Maxinquaye. Geoff Barrow was the engineer at the studio where Blues Lines \4,as recorded and, no doubt inspired by the sessions, formed the band Portishead, whose 1995 debut Durnnry won that year's Mercury Prize. Tricky, Massive Attack and Portishead all hailed from Bristol and produced records sir.ailar enough to warrant the label trio hop, but they resented the term for fear of being pigeonholed and pointed out that Tiicky, although Bristolborn, was by this time resident in London. Regardless, by then trip hop was a global phenomenon with D| Shado'w in Califcrnia and D| Krush in |apan both. recorcling for the Mo Wax label.

RECCMMENDED

T SIE}In{G

THE STGGSR PTCTURE Massive,tttack's 'best af' Callectedgives an overview of their stvle but their debut record Blue Lines,1994's Pratection xtc1199S's Mezzanine are all excellent. Dummy by Portishead was inspired as rnuch by rpy filrn soundtracks as i.t lvas sonl and funk 45s. Triclcy's debut Maxinqua)le is also recommended.

日〓 ∩  ９ つｏ罵 ︼ ｏ∽ ５

Trip hop is a downtempc, largeiy instrumental ofrshoot of hip hop that enrerged in the early 1990s. Its exponents were inspired by hip hop's golden age of the late 1980s when hip hop producers developed the new technique of sampling into a complex art form.

Space Future Neel Dhorajiwala

.l=90 Trip Hop

日 〓 ∩  ０ Ｏｏ驚 ︼ ０∽ ６ @

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Embellish wtth snare ghost notes―

―――――――――‐

oooo

“――――――…………――――――――――"― ―“―――

Embellish with snare ghost 710teS‐ 2-― ―――――――“

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Walkthrough A Section(BarS l-24) This section introduces a 6/8 trip hop grooveo The consistent eighth notes are played on the ride and hi― hat,the cross stick

snare and the main stroke on the bass drum and ridelcrash. Make sure that you control the stick to achieve two even grace notes and time these well in between the quarter notes.

on the fourth eighth note and the hectic bass drunl Pattern varieso The nn in bar 16 signals the entry ofthe snare in bar

D Section (Bars 65-80)

17 where the groove intenSifles.

Bar l16/8′ rつ

The groove returns to the hi-hat, but the pattern is much busier with l6s-note phrases and open/closed sounds.

ま た Op bθ α

This is a classic 6/8 trip hop beat where the eighth nOte leads

on the ride cymbal are played with machine― Lke consiste,cy。

Bar 6S I Drop pull

The cross― stiCk Should be prominentin this groove,so make

with doubles. To achieve this you can use the drop pull technique. The basic concept is creating the second stroke in each group of doubles by pulling your fingers back and closing your grip.

sure yo■ hit the sweet sPOt Ofthe riln and achicve a balanced

― Pr● eCtiOn.The 16血 note bass drumslttould bc Placed accuratelybetween the eighth notes(Fige l).

These types of fast 1.6ft notes are usually played

j“ Bar241F′ II s″ αr′′ 4gpο ′

Allow a 16th― note rest aner the initial crash and bass dru血

stroke on beat l then begln the flll宙

■ the baSS drum on the

second 16th ofthe second eighth notec From there,continue

宙 th consistent 16th notes around the kit using alternate

E Section (Bars 81-84) In this section, there is a four bar written drum solo which should be played as notated. The key to this solo is the sticking, so take your time and plan this in advance.

sticking until you reach the flrst beat ofbar 25。

F Section (Bars 85-101) B Section(Bars 25-48) Fouowing the rhythmic change in bar 25,there are some

The outro is the heaviest section in this piece with double crashes, open hi-hat and snare rim-shots.

written fl■ s that build up towards the groove which is

introduced in bar 33.This heavy open hi― hat groove includes offbeat bass druⅡ ls and crashes。 Bars 25=26 1 Tra4Si′ ′ ο

"

As notated in b霞 25,there is a liメ hiniC transition and every

Bar 85 | Double crash Ideally, this will be played on two diffbrent crash cymbals. However, if you have only one crash cymbal in your set-up, use ttre ride cymbal as a crash but rnake sure you hit it \ rith the neck part of your stick to produce the required sound.

eighth note will be equalto a quarter note.Ensure that you countthe rests in these bars and internahse the new feelin order to enter私 江 th conviction in bar 27。 Bars 47…

48 1 Fiirrα

ross ε

ttθ bα r

ln these bars the eighth notes are divided into groups ofthree, fOutt three and s破 eighth notes.This creates a challenging fl■

which you will Play across the beats and even across the ban Pmctise at a slowertempo and fmd the sticking option that alows

you to move around dle kt宙 山 ease.EnSure that hese treS Of fills arc Played with fluencソ

and a balallced sound。

(Fig。 2).

Figll‐ 111イ

11:IPい Op.￨￨￨￨￨

C Section(Bars 49-64) In this section the groor moveS tO tlle ride cylnbal and there are dragS on the snare and hi‐ hatゎ ot 01l every

beat.Grooves that demandおur― way COordination can be 日 〓 ∩  ４ Ю遇 ”︼ ０∽ ６

challenging at rlrst,but remember thatin this speciflc 8rOove the hi‐ hat foot pattern follows the五

de cymbal.

Bar51 1 Drag The drag rudilnent consists oftwo grace notes fouowed by one rnain strokecln this grOove,the drag is played on the

Fig・ 121Flll19101111卜

￨￨■

YoE Can Cご E Mi⊆ 斉lel SONG TLE: YOU CAN Ctt MIGUEL GENRE: SOCVttLYPSO TEMPO: TEσ

116 BPPI

.l =1

H mTUR邸 : TRIPLET SHUFTL耶 SYNCOnttD m酬 COMTOSL:R:

16 Soca/CalYPso

∝

■

KITA S蜘

PERSONNEL STIJART RY鰤 (GTR) HENRY THOF4AS OWES) 、OAM 鵬

LEDERMAN(DRUMS) HON K■AN(KEYS)

lExGUS GERRAND (PERの

■

IRIttRD PARDY(S鋤 STEⅦ W島 麒 (TRUMPET) ANDY CROPE狂 ON(TROPIB)

om剛 `You Can Ca」 Miguer is a soca― and calypso― inSPired Piece in the的 咸e Ofartists such as Harry Belaお nte,The Mighty SParrOw and Arrow lt features triplet shufnes,as)7nCOpated cadence and a dotted feel among its teこ hniques.

諏 YLE

albun Calypso which featured the breakthrough single'The Banana Boat Song (Day-O)i Traditional soca music features steel drtrms, but modern artists like Maximus Dan and Kevin Lyttle favour a more contemporary sound influenced by American Rn B, with drum samples rather than live percussion or a blend of the two. The rhythms of soca and calypso have found their way into other musical sty'es. For example, David GaribalCi, drummer with the funk band Tower Of Power, has incorporated Caribbean rhythms into his grooves. his

FOσ US

Soca and calypso are both forms Ofdance music

native to Trinidad md Tobag9,so they havei,

common a driving beat.Howevet unhk disco,17hich emphasises every downbeatin a four― on― the― ■oor

RECOMI\M.NDED

pattem,calypso and soca tPically disPlaCC every

Harry Belafonte, the Kirg Of Calypso, has recorded many classic, high energy calypso albums. lump Up Calypso from 1961 features the irresistible track 'lump In The Line'. The Mighty Sparrow has been recording calypso and soca albums since the 1960s and has won the title of Calypso Monarch 11 times. His lyrics are often politically charged but )/ou can always dance to tracks like '|ean and Dinah', 'Carnival Boycott' and 'Doh Back Backl Arrow had his moment in the sun with'Hot Hot Hot'but check out his 1992 album Zombie Soca. David Garibaldi's instructional DVD Tower Of Groove shows how he mixes soca into Latin and funk patterns on the track'Soca/Rumbal

other beat.The flrst and third accents are played with

a dotted feel on the`1&'and`3&I which creates the rolling cadence in this song.You私「i■ o■ en play with a percussionist or even a group ofsteel drunllners when performing these sち 江es Ofmusic so do not gettoo busy or you wortleave rooIIl for anyone else.

Harry Belafonte putthe rhⅢ ms OfTrinidad and Tbbago on the international music lnap in 1956 with

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rlnHE BIGGER PIC「 URE

IISIENTNG

You Can Call Miguel Kita Steuer

」=116 SacゴCal″ sο

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Drum So:o(8 ba“

Saxophone Solo

φ

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(16 bars)

Develop on repeat φ

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1

日〓 ∩  ７ Юｏ罵 ︼ ｏ∽ ６

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Walkthrough A Section (Bars 1-8)

Bar 17 1 Sθ

This section introduces a callpso groove with cross-stick snare and bass drum on every beat as well as consistent eighth-note hi-hats. In bar 8 there is a stylistic fill that

The hi― hat pattern alternates betweё

while the disPlaced snare on beats l and 3 gives this groove

indicates the end of the section.

the 16・ ― note snare exacdy between the eighth― note hi― hats

ε α n closed and haropen,

its uniquc iele Scこ ure co― ordination is ie key here.Place

and keep yOur posture balanced while perlorr.ing the

Bar

I

I Calypso

The cross-stick should be prominent in this groove. Aim to a consistent and balanced sound throughout. Focus on the unison betvreen the crossstick and bass drurn, and avoid any urlnecessary flams. Your right hand will move frorn the hi-hat to the floor tom on beat 4 for a three-part unison stroke.

hit the sweet spot and maintain

complex hi― hat patterne

D Section(BarS 26-29) In this section there iζ an eight bar drunl solo.Feel free

to inlpro宙 se according to your peFsonalinterpretation

ofthe plece and styleo Howevett remember that your synchronisation with the baddng track must not be agectede

Bar 2 | Fingers technique In order to perform these fast 16ft notes on the hi-hat with one hand, you will need to use the fingers technique. When using this technique, ensure that your thumb and index finger create a reliable fulcrum and utilise the other three fingers as a unit in order to manipulate the stick and perform fast rnultiple strokes. In this case, you need to play three strokes on the hi-hat with fluency and a balanced sound. Practise the hi-hat pattern cn its cwn with a metronome for reference. Remernber to pull your fingers back on the thkd stroke so that y'ou are prepared for the next phrase (Fig. 1).

E Section(BarS 30-43) The rlrst 16 bars ofthis section are a saxophone soloo The initial groove develops on the ride in bar 34 and fronl bar 36

needs to be developed furthen After the sextuplet a■ in bar 41 you return to the sign in section B and play through until readling the Cο Jα

.

Bar411S鉱 ′ ψ ′ lθ

In order to perforill this sextuplet we■ ,you win need to have attalned a reliable singles tedhnique,As you are rno宙

ng

round the kit,the sticking R L R L R L is the rnostlogical

B Section (Bars 9-16) The groove remains similar to section A but with a few added 16ft notes on the hi-hat. In bar 16 the fill includes 32"d notes on the snare drum, so be prepared for this.

Bar 16 | Thirty-second notes In this filI there are 32"d notes to perform. These are the next subdivision after 16ft notes, so eight of them put together are equal to one quarter note. In order to understand the rhythm on beat 1, start by pl.fng the eighth note crash/ bass drum hit followed by two 16ft notes on the snare then double the 16ft notes to create four 32"4 notes. Tiy to play these with R R L L and use the drop pull technique. The basic concept of this is creating the second stroke in each group of doubles by pulling your fingers back and closing your grip. This should follow the first dcwn stroke, where your fingers are loose after hitting the drum. Although this can be challenging at first, this technique will produce even doubles and can be used all around the kit in every sty'e of music (Fig. 2).

option.Focus on lno宙 ng your wrists quickly and a■ ow your Ⅵ鳳th Positioningo Aim to hit all three toms in the middle ofthe drum head for maximum prttectiOn. arttS tO assist

F'ま 111F,lge■ ￨￨■ 1lⅢ I

日 〓 ∩  ８ Ю瑠 ”︼ ０∽ ６

C Section (Bars L7-25) The classic soca beat is introduced in the chorus section with rim-shot snares, half open hi-hats and fills which are typical of this genre.

411111 FiJ´ ￢11ty― ￨￨￨■ ‐

Technical Exercises cach ofthё flve grouPs ShOWn below ln

In this section the examiner will ask you to Play a Selection of exercises drawn fron■

ο θsサ hstiC Study from the three p五 ntedo The choice of stylistic study win determine the style ofthe QuiCk Study Piece.You “ do not need to memorise■ e exercises(and Can use the book in the exam)but the examiner宙 Ⅱbe looking for the speed ofyour resPOnse. Group E you will be asked to prepare

The stickings shown(L&R)are there as a guide for right handed drllmmers.Lett handed drummers should reverse the sticking patternse An exercises must be played to a metЮ nome click Groups A一 D should be played at」 =80.

G}rouP A:Single and Double Strotts Single and double strokes in triplet eighth notes,16血

no† es Pl年 ed

dternately as a co,tinuOus exercise.To be plard arsttime

nth singles and second with d6ubles

L3…

…」

L3…

…」

L3…

…」

L3…

l--

L3…

…」

6-

L3…

…」

lL-- 6-

J l-

…」

L3-―

」

L3… …J

l--

6-J

g

5-Jl-

!-

5,

-Il-

6-Jl-

6

-J

-J

Group B: Paradiddles in 16ft notes and paradiddle-diddle in sextuplets

Flam paradiddle

LR L R R RL R L L LR L R R RL R L L >>>>>

R L R

R L L R L R R L L >

l-

5-J

L R R L L R L R R >

l-

5-J

6-1

l-3 -J

Group C: Ratamacues Single ratamacue

t-3-I

LLR

RRL

Ｒ ＞

RRL

R

Ｌ ＞

L

Ｒ ＞

LLR

L-3-J

Group D: Rolls 1. Five stroke

roll phrase with accents on toms RRLLR

LLRRL >

>

RRLLR >

L R L R

RRLLRRLL

R

LLRRLLRR

日 〓 ∩  ９ Ю壱 ”︼ ｏ∽ ６

roli phrase

R L R L

Ｌ＞

Ｌ ＞

2. Nine stroke

Ｒ ＞

>

Ｌ＞

R L R

Technical Exercises

Group E: Stylistic Studies You will prepare a technical study from one group of styles from the list below. Your choice of sryle of the Quick Study Piece. 1.

will determine the style

Rock/MetaL halfopen hi-ha! busy 166-note bass drum pattern

)=7A

Rock

0

日巳 ∩  ０ つｏ壌 ︼ ｏ∽ ７

t-

d-r

t-

3

-l

Technical Exercises

2. Funk: snare drum ghost notes, quick open/closed hi-hats

日〓 ∩  ︲ Ю遇 “彙 ｏ∽ ７

Technical Exercises

3

. I azz lLatin/Blues: p olyrhythm, advanced co - ord.ination

)=D5 Jau

,_3__i

r-3-l

r__3_1

1

1

日 〓 ∩  ２ Юｏ驚 ︼ ｏ∽ ７

r-3-r

lr.

l-3-r

I-3-r

l-3-r

lF-T

1

'1

1

l- 3-J

l-3 -J

1

l-3-I

1'1

1-3-.1

11

L- 3-J

1

l-3-l

Quick Study Piece At this grade you will be asked to prepare and play a short Quick Study Piece (QSP). Printed below are three examples of the type of QSP you are likely to receive in the exam. You will be shown the test and played the track with the notated parts played. Any bars that require improvisation will not be demonstrated. You will then have three minutes to study the test. The backing track will be played twice more. You will be allowed to practise during the fust playing of the backing tradg with the notated parts now absent. before playing it to the examiner on the second playing ofthe backing track The style of y'our QSP is ,Jetermiiied by ilre stylistic study ,vou selecterl in the technical exercise section. The QSP is in the

form of a lead sheet and it is up to you to create your own interpretation of the music in the parts marked for improvisation.

Develop

日〓 ∩  ３ Ｏｏ罵 ︼ ０∽ ７

Quick Study Piece

J=100 Funk o

Develop

日 〓 ∩  ４ つ還 ”︼ ｏ∽ ７

Quick Study Piece

)=DO Latin

Develop

日〓 ∩  ５ つｏ罵 ︼ ｏ∽ ７

Ear Tests There are two Ear Tests in this grade. The examiner

will play each test to you twice. You will find one example of each tlpe

oftest printed below

Test

l: Fill Playback and Recognition

The examiner will play you a one bar fill in common time played on the snare drum. You will play back the fiIl on the snare drum. You will then identi$ the fill from three printed examples shown to you by the examiner. You will hear the test twice. Each time the test is played

it

is preceded by a one bar count

in. There will be a short gap for you to practise. Next you will

l-3-J

Test 2: Groove Recall The examiner will play you a two-bar groove played on the whole kit. This is a two bar groove repeated. You will hear the test twice. You will be asked to play the groove back on the drum voices indicated for four bars then identifr the style from four choices given to you by the examiner. Each time the test is played

A:

lazz

B: Metal C: Samba D: Funk J=r ro

it is preceded by

a one bar vocal

count-in. The tempo is J = 80-140.

日 〓 ∩  ６ ０名 ”︼ ｏ∽ ７

General Musicianship Questions In this part of the exam you will be asked five questions, Four of these questions will be about general music knowledge and the fifth question asked will be about your instrument.

Music Knowledge The examiner will ask you four music knowledge questions based on a piece of music that you have played in the exam. You will nominate the piece of music about which the questions will be asked. In this grade you will be asked to demonstrate your answers on your instrument

as

directed by the examiner.

In Grade 6 you will be askeil to explain:

. Any notation

used

in the chosen piece

. Any dynamic uralking found in the piece r What makes the drum groove stylistically appropriate

.

Use

ofdrum voices, rhythms and techniques in drum solo sections

Instrument Knowledge The examiner

In Grade

.

6

will

also ask you one question regarding your instrument.

you will be asked to explain and demonstrate:

Care antl maintenance of drums

r How to tune the drum kit according to the style ofone ofthe pieces played

. How

to produce: cross stick, choke cymbal, bell ofride, rim-shots, ghost notes, halfopen hi-hat, accents

Further Inforrnation Tips on how to approach this part of this exam can be found

h

the Syllabus Guide for Drums, the Rockschool Drums

Companion Guide and on the Rockschool websrtel. www.rslawards,com.

日〓 ∩  ７ Юｏ罵 ︼ ｏ∽ ７

Markirg

Schemes

Gnepr Exeus I Dnnur ro Gnapn 5 *

ELEMENT

nss

MERIT

DISTINCTION

￨￨￨■ ■Plrforma五 こ OPiec1 111■ ■￨￨

1'11410110f121

1311夕 ltllfう 0

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Performance Piece 2

12-■ 4 0ut of20

15-17 0ut of20

■8+Out Of 20

1,￨二 4111t‐ Of二 ￨

15■ 1'01t

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18■ 16it 6f■

6

9-■ 0 0ut of■ 5

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Of■ 5

■3+Out Of■

5

1■ ￨IIPё rforma五こ ￨‐ ‐ Piec1 31■

■￨￨

Technical Exercises

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1■

16116ut Of i6●

￨

1シ 1810110fiOII

,■ 0■ ￨10f111

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Ear Tests

6 out of■ o

7-8 out oflo

9+Out Of lo

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ll13101t lf;￨￨￨￨

l14111111f31111

l1501=Of 51‐

TOTAL MARKS

60%+

74%十

90%+

LSS

MERIT

DISTINCTION

Gneon Exerrs I Gneons 6-8

ELEMENT こ11111111

￨￨￨■ IPё rfOrmanttlPiOこ

Performance Piece 2

i'￨141011101,0

￨;￨'ラ

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■8+Out Of 20

Of ttё

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1211410111fl,01

1,11シ ￨￨￨16flll

18116tt6fi6

Technical Exercises

9-■ 0 0ut of■ 5

■■―■2

■3+Out Of 15

■￨■ 01141Ⅲ dy',￨￨￨￨■ 1■

11`16ut 6fi611

Ear Tests

1113111t

TOTAL MARKS

PnnronMANcE CrnrrrrcATEs I Dnnur

ёfち ￨￨￨

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90%十

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DISTINCTION

ro Gneon

8*

MSS :'￨141011‐ ￨lf二 ￨

Performance Piece 2

■ 2-14

日 〓 ∩  ８ Ю瑠 ｃ︼ Ｏ∽ ７

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03

1'￨‐

￨￨￨￨￨￨lf:01

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IPerformance PiOこ 01

PerfOrmancl‐

1う

7-8 out of■ o

60%+

ELEMENT

1810111flll

0

6 out of■

91Ⅲ Ⅲ Ⅲll平 ￨11111=￨=1'IQI■ tiOII

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￨‐

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of20

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18年 16ut 6f二 6

18+out of20 18キ 16tt 6f ib‐

Performancc Piece 4

12-■ 4 0ut of20

■5-■ 7 0ut of20

■8+Out Of20

PerfOrmancOIPiOこ 151

1'￨'4101t Ofll

1311ブ 10111f,0

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TOTAL MARKS

60%+

75%+

* Note that there are no Debut Vocal exams.

90%+

6

Enterlng Rockschool Exams Entering a Roclachool exam is easy, just go online and follow our simple six steP Process. AII details for entering online' dates, fees, regrrlations and Free Choice pieces can be

. All candidates should

found atwww.rslawards.com

ensure they bring their own Grade syilabus book to the exam or have

proofofdigital purchase

ready to show the examiner.

. All Grade 6-8 candidates must ensure that they bring valid photo ID to their exam.

Mechanical Copyright Information ZigW Stardust (Bowie) Chrysalis Music Limited IRZO Music Limited/EMl Music Publishing Lirnited

I Got You (I Feel Good) (Brown)

Lark Music Limited

Superstition (Wonder)

EMI Music Publishing Limited Dutch Flowerz 0ones)

EMI Music Publishing Limited Chameleon (Han

co

ck/ Mas o n Ir / I ackson/ Maup in)

Kobalt Music Publishing Limited Rock The Bells (Rubin/Smith) Universat/MCA Music Limited/Warner/Chappell North America Limited

mcps

日〓 ∩  ９ Юｏ罵 ︼ ｏ∽ ７

Drums lr[otation Explained

BASS DRUM&TOMS

Bass drum

Floor

1

tom

Medium

tom

SINARE

High tom

Rim-shot

Ghost snare

Cross

stick

Buzz snare

Strike snare drum Place palm on snare and surrounding drum head and rim at same time strike im with stick

「

Hl‐

HAT

OTHER CYMBALS

Closed

Half

open

Closedt

Open

Ciosed‡

Hi‐ hatfoot Hi‐ hat foot

closed

Ride Allow all

(bell)

Crash

Crash'

Crash

roll

ring on unlss expliitly stcppd. as indkated by the keyword'Ch*e'. kcasionally tts may be used (*) to emphasise that cymbals should be allov,eC 7s rinQ on. Thr can awid confusion during

≠乃eか わatな crOsd"油 oυ tわ d"stru晨 め te ttarめ eヵ ′ 功at crose」 rcrOリ ンmむ 。 ′ may apttraboF drum yolces oめ erめ anめ e力 所 ar● s勁 0昭 ]aboye9 7わ なsrmpry用 ηs δη。 er drur77 yOた eな わerng pFdyeci “

cymbals to

syncopations and pushu.

1わ

I

Ride

open

crrueRAl Musrc NorATroN > Slashes are used

Accentuate note (play it louder).

Go back to the sign (X) then play untilthe bar marked To Coda O then skip to the section marked ficoda.

a%.ar coda

￨■

￨12

囲

Repeat the previous bar. ln higher grades these may also be marked sim. or cont. sim.

When a repeated section has different endings. play the first ending only the first time and the second ending only the second time.

Repeat the previous two bars. ln higher grades these may also be marked sim. or cont. sim.

Ｒ＞

LLRRLL

ln rudiments, each stem slash subdivides the note value by half.

日巳 ∩  ０ Юｏ驚 ﹄ ｏ∽ ８

individual, stylistic fill.

Fill

Play an

Conte sim.

Continue in similar way but vary the pattern slightly.

bars

Repeat the bars between the repeat signs.

Go back to beginning of song and play until bar marked Fine (end).

aC arFline

to demarcate

during solos, fills, developments and other ad lib. sections.

Develop

Rit.

(ritardando)

Extend the musical part in a stylistically appropriate manner. Gradually slow the tempo.