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rockschool '

Debut Drums Performnnce pieces, technical exercises and in-depth guidance

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ol examinations

II冨 ご 目 菫 H貞 ご LARD。 No part of this publication may be reproduced in any form or by any meanswithout the priar written permission of the Publisher.

Visit Hal Leonard Qnlins

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www.halleonard.com

Contact Us: Hal Leonard 7777 West Bluemound Road Milwaukee, WI53213 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,

3

1

92 Australia

Email : [email protected]

Acknowledgements Published by Rockschool Ltd. @ 2012 & 2018 Catalogue Number: RSK200060

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

Email

info @rslaw ards. com

Syllabus Designer

Nik Preston

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

Mixing Nik Preston Syllabus Advisor and Project Management Sharon Kelly

Proof reading Sharon Kelly, |ono Harrison, Nik Preston (and all arrangers/performers)

Syllabus Consultants (Hit Tunes 20f 8 Repertoire) Guitar: )ames Betteridge, Andy G Jones Bass: Joe Hubbard, Diego Kovadloff, Joel Mclver Drums: Paul Elliott, Pete Riley

Arrangers (Hit Tunes 2018 Repertoire)

Guitar:

Bass: Drums:

]ames Betteridge, Andy G Iones, Mike Goodman, Viv Lock Diego Kovadloff, Andy Robertson, Joe Hubbard Paul Elliott, Stu Roberts, Pete Riley

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 & Jennie Troup (Digital Music Art) Printed and bound in the United Kingdom by Caligraving Ltd. Musicians (Hit Tunes 2018 Repertoire) Guitar: Andy G Jones, |ames Betteridge, Mike Goodman, David Rhodes (Peter Gabriel) Bass: Nik Preston, Ioe Hubbard, Stuart Clayton, Andy Robertson, )ohn 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 Barort'), Andy Robertson Horns: Tom Walsh (tpt), Martin Williams (sa:r), 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

engineer:

Masteringengineer:

Producer

∽︻口澤姜餞 一●０■Ｑ   つ４

懸 瓶 脚臨

Audio production: Audio management: Recording studios:

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

Publishing (Rockschool 20LZ Repertoire) Fact Files written by |oe Bennett, Charlie Griffiths, Stephen Lawson, Simon Pitt, Stuart Ryan and James Uings Walkthroughs written by |ames Uings Music engraving, internal design and layout by Simon Troup & Jennie 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 reading by Miguel Andrews

Instrumental Specialists (Rocksch ool 2Al2 Repertoire)

Guitar:

Bass:

)ames Uings Stuart Clayton

Drums: Noam Lederman Musicians (Rockschool 20L2 Repertoire) Aody Crompton, Camilo Tirado, Carl Sterling, Charlie Griffiths, Chris Webster, Dave Marks, D| Harry Love, Felipe Karam, Fergus Gerrand, Henry Thomas, )ake Painter, |ames Arben, )ames Uings, ]ason Bowld, |oe Benneff, Ion Musgrave, Kishon Khan, Kit Morgan, Larry Carlton, Neel Dhorajiwala, Nir Z, Noam Lederman, Norton Yorh Richard Pardy, Ross Stanley, Simon Troup, Steve Walker, Stuart Clayon, Stuart Ryan

Endorsements (Rockschool 2OL2 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 Mark Binge Mixed and mastered at Langlei Studios Mixing and additional editing by Duncan |ordan Supporting Tests recorded by Duncan Iordan and Kit Morgan Mastered by Duncan ]ordan Executive producers: |ames Uings, ]eremy Ward and Noam Lederman Executive Producers |ohn Simpson, Norton York

Table of Contents Introductions & Information

1 2 3 4

Title Page Acknowledgements Table of Contents Welcome to Rockschool Debut Drums

Hit Tunes

5 Coldplay .......'yellow' 9 Otis Redding .. .'(Sittin on) The Dock Of The Bry' 13 Eminem .............'My Name Is' 'Untirled (How Does It Feel)' 17 D4ngelo.............. 2l Curtis Mayfield & The Impressions........ ..'People Get Ready'

Rockschool Originals

29 33 37 4l 45 49

'Full Rudder'

'Z' 'Rattlesnake' 'Big Ideas'

'HazeeDazd 'Hoedown

Technical Exercises

52

Single Strokes, Double Strokes, Paradiddles & Fill

Supporting Tests

53 54 55

Sight Reading Ear Tests General Musicianship Questions

Additional Information

56 57 58 59 60

Entering Rockschool Exams Marking Schemes Drums Notation Explained

MechanicalCopyrightlnformation Rockschool Popular Music Theory

∽︻目●姜餞 一●ハｐ∩   ２Ｊ

Welcome to Rockschool Debut Drums Welcome to Debut Drums Welcome to the Rockschool 2018 Drums syllabus. This book and the accompanying downloadable audio contain everything you need to play drums at this grade. In the book you will find the exam scores in standard drum notation, as well as Fact Files and Walkthroughs for each song. The downloadable audio includes: . full stereo mixes of 6 Rockschool compositions and 6 arrangements of classic and contemporary hits . backing tracks (in both click and no-click versions, minus the assessed drum part) . all necessary audio for the complete range ofsupporting tests

Drum Exams At each grade, you have the option oftaking one oftwo different types ofexamination:

. Grade Exam: a Grade Exam

is a mixture of music performances, technical work and tests. You prepare three pieces (two ofwhich may be Free Choice Pieces) and the contents ofthe Technical Exercise section. This accounts for 75% of the exam marks. The other 25% consists of a Sight Reading test (10%), a pair of instrument specific Ear Tests (10%), and finally you will be asked five General Musicianship Questions (5%). The pass mark is 60%.

r Performance Certiffcate: in a Performance Certificate you play five pieces. Up to three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark is 60%.

Book Contents The book is divided into a number of sections:

. Exam Pieces: in this book you will find six specially commissioned pieces of Debut standard. Each of these is preceded by a Fact File. Each Fact File contains a summary of the song, its style, tempo, key and technical features, along a list of the musicians who played on it. The song itself is printed on one page. Immediately after each song is a Walkthrough. This covers the whole song from a performance perspective, focusing on the technical issues you will encounter along the way. Each song comes with a full mix version and a backing track Both versions have spoken count-ins at the beginning. Please note that any solos played on the full mix versions are indicative only.

with

. Technical Exercises: you should prepare the exercises be practised and played to the backing track

set

in this grade

as

indicated. There is also a Fill test that should

. SuPPorting

Tests and General Musicianship Questions: in Debut Drums there are two supporting tests which are Sight Reading and Ear Tests, and a set of General Musicianship Questions (GMQs) asked at the end of each exam. Examples of the types of tests likely to appear in the exam are printed in this book Additional examples of both types of test and the GMQs can be found in the Rockschool Companion Guide to Drums.

. Additional [nformation: finally, you will find information on exrm procedures, marking schemes, and the full notation and backing track ofa piece from the next grade as a taster.

Audio Audio is provided in the form of backing tracks (minus drums, and in two versions: click and no-click ) and examples (including &ums) for the pieces and the supporting tests where applicable. Audio files are supplied in MP3 format to enable playback on a wide range of compatible devices. Digital versions of the book include audio files in the download. Download audio for hardcopy books from RSL directty at www.rslawards.corn/downloads - you will need to input tlris code when prompted: ZM27DQ4!5R

∽戸口澤姜餞 一●ハｏぬ︻  五〓

Syllabus Guide All candidates should read the accompanying syllabus guide when using this grade book This

can be downloaded

from the

RSL website: www.rshwards.com

Errata Updates and changes to Rockschool bools are documented online. Candidates should check for errata periodically while studying for any examination. Further details can be found on the RSL website: www.rslawards.com/errata

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SACI(GROI]ND INFO

Coldplay have released seven commercially successful albums to date, each accompanied by

'Yellow was the second single from Coldplays debut album Parachufes. The song was very well received by radio DJs and the music press and reached the top five in the UK Singles chart. 'Yellow' was written whilst the band were recording Parachutes. The inspiration for the song came from staring at stars in the night sky. The melody came to Martin's head and he related it to the band. ]ohnny Buckland developed a guitar part and the lyrics were collaboratively written. They are about devotion and unrequited love for someone or something. There is a smart mix of melancholy and anthemic pop in the song which resonated with audiences worldwide. The recording of the song took some experimentation until the right tempo was found. The band tracked 'Yellow' live and later added guitar overdubs and the lead vocal.

Drummer Will Champion also provides backing vocals live, occasionally taking the lead vocal. He plays percussion, guitar, piano, violin, harmonica and tin whistle and has recorded on Magne Furuholmen's (A-Ha) first solo alburn and with Brian Eno and Karl Hyde. He made a cameo appearance in Game Of Thrones, and he is also an endorsee of Yamaha drums and Zildjian cymbals. Until the A Head Full Of Drearzs tour in2016 he did not own a drum kit he could call his own, using various kit provided by endorsers or owned by the band. Coldplay remain a worldwide chart topping act

with a loyal following and record sales over one hundred million. 'Yellow' is still amongst their most popular songs. ∽︻目 ●姜 餞 一● ´聟 ∩   ＥＪ

'Yellow' was released as the lead single from in the US. It had a very good response from college radio and managed to establish Coldplay's presence in the US, l"yrrg the foundations for successful tours which began to peak upon the release of A Rush Of Blood To The Head. Parachutes sold over four million copies worldwide. Parachufes

extensive touring. Their first no.l single was 'Viva La Vida' released in 2008. They have since become a stadium band worldwide and have embraced mainstream pop and electronica. Singer Chris Martin has collaborated with a number of high profile artists such aslay-Z, Kanye West, Dua Lipa, and Avicii.

Yellow Coldpl*y Words & Music by Guy Berryman, )onny Buckland, WiIl Champion & Chris Martin

) =87 Pop

∽︻目● 姜 餞 一澤 ´ｏ金︻  イ０ @

Copyright 2000 Universal Music Publishing MGB Limited. All Rights Reserved. International Copyright Secured-

Walkthrough ASection (Bars

1-2)

C Section (Bars

1l-19)

This arrangement features a classic eighth note pop feel, with the groove in bars 1-2 serving as an introduction and creating the time-feel for the whole piece.

This section continues with a similar feel on hi-hat and snare and introduces further bass drum variations. Bars 11- 12, 13-14, and 15-16 all feature the same two bar pattern.

This track has a 4/4 time signature, which means that it four quarter note pulse beats in the bar, which can be divided into eighth notes and counted as "1 & 2 & 3 & 4 &: Try feeling the quarter note pulse and counting the eighth notes out loud. Counting is a very imPortant concept, which helps to internalise the feel and timing of the groove. Also, the tempo of this track is relatively slow, which means more time and space between the pulse - all of which will affect time keeping. So, keep counting!

Again, the bass drum moves between downbeats and offbeats, before and after the snare backbeats, which is very typical of this style. Take as mudr time as required to get comfortable with these repeated two bar patterns.

has

When comfortable with this, practice playing the eighth notes on the hi-hat to create the essential time-feel ofthe groove and arrangement. Aim for a good consistent flow ofeighth notes and pay attention to the co-ordination of the bass drum variations and snare drum backbeats - all of which fall in unison with the hi-hat. Aim for a good clean unison and be careful not to flam. Listen to how the groove sits in relation to the click or backing track How does it sound? How does it feel?

As with previous sections, aim for a good consistent flow of notes on the hi-hat, together with clean unisons and a good consistent balance of sounds. Bars l7-19 represent the end section ofthe arrangement and in bar 17 the hi-hat part dranges from eighth notes to quarter notes. Moving from eighth notes to quarter notes can be tricky, so itt very important to keep counting eighth notes and feeling the spaces and rests in those final bars. There is a short fill in bar l8 played on the snare drum on the "&" of beat 3 and beat 4. Pay attention to the time flow and rests leading up to that fill, finishing positively with the unison between hi-hat and bass drum on beat I of bar 19.

Be aware ofthe dynamics and balance ofsounds between the hi-hat, snare drum and bass drum. Be careful not to have any one sound too prominent in the mix and, when comfortable with the balance, keep that balance consistent. To become more familiar with the concept of the audio mix and balance of sounds on the drum kit, listen to the backing track with drums and also to the original recording, together

with other songs in

a

similar sryle.

B Section (Bars 3-10) The groove in this section continues in a iimilar way and introduces some bass drum variations. Bars 3-4, 5-6, and 7-8 all have the same two bar pattern. Practice this two bar pattern repeatedly to get familiar with the bass drum variation. Bar 9 introduces another variation ofbass drum note played on the offbeats (the &'s) of beats 3 and 4, whidr fall before and after the snare backbeat.

∽︻目●姜餞 一ぅ０■∩   ワノ

Again, all the bass drum figures and the snare drum backbeats fall in unison with the hihat. Be aware of this and pay attention to the flow ofnotes on the hi-hat, together with clean unisons and a good consistent balance ofsounds, as the arrangement develops.

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the other two victims were the plane's pilot and the band's valet. There was only one survivor, Ben Cauley,

'(Sittin On) The Dock Of The B"y' is one of the most critically successful songs of all time. It was released in |anuary 1968, shortly after Otis Redding's untimely death in a plane crash. The record was the first posthumous release to reach the number one spot in the UK and US charts.

Steve Cropper mixed the song at Stax and added the sound of seagulls and waves Redding had wished to include. The song was released and became the instant classic we now know. The recording features the legendary Al )ackson |r. on drums.

AI Jackson )r. was an influential drummer who recorded some of the rnost iconic tracks in popular music. He worked with artists including Rufus Thomas, Carla Thomas, Sam & Dave, Otis Redding, Albert King, whose work he produced, Al Green, Elvis Presley, Bill Withers, Leon Russell, lerry Lee Lewis, Eric Clapton, Donny Hathaway, Herbie Mann, and Rod Stewart.

∽ ●´ｏ∩   ９ 日●﹄∩ “

Redding had written and recorded the song together with Steve Cropper, who was the guitarist with Booker T. & the MG's as well as a Stax Records producer. Redding had started writing the song whilst staying in a houseboat in San Francisco Bay where he was performing. He completed the lyrics in collaboration with Cropper and recorded it in November 1967 at Stax Studios in Memphis, Tennessee. Redding wanted the song to signal a departure from his usual sryle. In the Outro of the song, he whistled the haunting and now iconic melody. He also wanted to add a recording of seagulls and \ryaves crashing, reminiscent of the sounds he heard whilst staying on the houseboat. He had plans to record the song again at the next possible session and continued with his touring schedule. On December 10th 1967 his chartered plane crashed into Lake Monona, outside Madison, Wisconsin, killing him and six other passengers. Four were members of the Bar-Kays, with whom Redding was touring, efld

also a band member.

(Sittin'On) The Dock Of The Bay Otis Redding Words & Music by Otis Redding & Steve Cropper

∽ 日 〓 ∩ ち 電 ∩  ０ １ @ Copyright 1957 Cotillion Music Incorporatedllrving Music Corporation. Rondor International Incorporated/Warner/Chappell North America LimitedAll Rights Reserved- International Copyright Secured-

Walkthrough A Section (Bars L-4)

C Section (Bars L3-2L)

This soul arrangement has a 4l4time signature and begins with a very sparse four bar introduction; featuring only hi-hat played on beats 2 and 4. While this is not so technically challenging, playrng quarter notes in this way (particularly at moderately slow tempos) can be. More time and space between the pulse notes can cause problems with time keeping.

This section continues with the eighth-note Soul groove and features a minor bass drum variation from that of the B Section. Bars L3-14 and 15-16 are two-bar repeated patterns, with bars 13 and 15 having a bass drum on the '&' of beat 4, so be aware of this and anticipate accordirgly. -L9 feature another bass drum variation, with the (&" of beat 2, after the snare '1" of beat 3. backbeat, and on the Bars

L7

bass drum being played on the It's important to internalise the time-feel of the track before

coming in with the hi-hat and, for this purpose, counting eighth notes as "1 & 2 & 3 & 4 &" will help. Dont be shy! Count the eighth notes out loud and, when comfortable, practice plapng all four quarter notes on the hi hat, while still feeling and counting eighth notes. Then, practice playrng beats 2 and 4 only, as written, while feeling the value of the rests on beats

1

and 3.

B Section (Bars 5-L2)

Again, in general, pay attention to the flow of notes on the hi-hat, together with clean unisons within the groove and a good consistent balance of sounds throughout the section. In bar 20 watch out for the snare drum eighth notes played on the snare drurn in unison with the hi-hat, on the last two eighth notes of beat 4. This is followed by the final bar of the arrangement, with a unison played between hi-hat and bass drum on beat 1 of bar 21.

In this section, the full groove is established and the hi-hat changes from quarter notes on beats 2 and 4 to constant eighth notes. Please continue to feel and internalise the

eighth note count hi-hat transition.

as

before, as this

wil

help to anticipate the

Pay attention to the co-ordination of the bass drum figures and snare drum backbeats against the hi-hat eighth notes. Bars 5-6, 7-8, and 9-10 all have the same two bar repeated pattern, with the bass drum playrng on beats 1 and over beat 3, as shown. The snare drum backbeats fall on beats 2 and 4, which is typical of this style.

All bass drum and snare drum parts in unison with the hi-hat, and it's essential that

Be aware of unisons. are played

unisons fall together, without-flamming, Pay attention to the dynamics and balance of sounds between the hi-hat, snare drum and bass drum. Be careful not to have any one sound too prominent in the mix and, when comfortable with the balance, keep that balance consistent. To becorne more familiar with the concept of the audio mix and balance of sounds on the drum kit, listen to the backing track with drums and also to the original recording, together with other songs in a similar style.

Generally, listen to how the groove sits in relation to the click or backing track. How does it sound? How does it feel?

over beats 3 and 4.

∽ 日〓 ∩ 督 電 ∩  Ｈ

This section ends at bar 12, with a bass drum and snare drum figure played in unison with the eighth note hi-hat,

∽ 日 巳 ∩ ち 電 ∩  ２ ・

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'My Name Is' is featured on Eminern's debut album The Slim Shady LP, a massive worldwide success that transformed Erninem into a celebrity. In the US the record topped the Billboard R&B charts and reached no.2 in the Billboard 200 and no. 3 on the Billboard Catalog Albums chart. The record sold over the 5.5 million units in the US alone. The song won a Grammy Award for Best R"p Solo Performance and the album won a Grammy Award for Best RaP Album.

him perform in arenas and stadiums. Eminem has sold over 100 million records worldwide. Amongst the drummers who have played live with Eminem are Aaron Draper and Devin Webster. Labi Siffre's songs have been covered by u number of artists. Madness covered 'It Must Be Love', reaching no. 4 in the UK charts. The Wu Tang Clan, Def Squad, Primal Scream and lay-Z also sampled'I Got The..l |oss Stone covered the song in her sixth album, Olivia Newton John and Rod Stewart covered'Crying Laughing Loving Lyingi

'My Name Is' was as successful as it was controversial. The song utilises a sample of Labi Siffre's 'I Got The..l which was only cleared for usage once Eminem changed some of his lyrics, a request made by Siffre. Once released, the song caused much controversy due to its lyrics and supposed meaning in relation to Eminen's mother's alleged drug use, which Ied to a highly publicised court case. Eminem later referred to this on his 2A02 song 'Without Me'.

I

poet and social commentator.

∽ 日〓 ∩ 督 電 ∩  ３ １

Eminem has released nine records to date and has acted in movies including the semi-autobiographical 8 Mile, for which he co-wrote the Oscar winning song 'Lose Yourself'. He also acted in the film The Interview. He published his biography, The Way Am, in 2008. Eminem remains an important figure in the hip hop world. His RevivalTour of 2018 saw

Siffre released a number of successful albums in between 1 970 and L975 and later between 1988 and 1998. He has always been a vocal and eloquent defender of his rights of expression and promoted equally amongst fellow human beings. He is also a

MyName Is Eminem Words by Marshall Mathers & Andre Young Music by Labi Siffre

J=

85 Hip Hop

∽ 日●︼∩ 督 ´ｏ０  ４ １ @

1999 Chrysalis Music Limited, a BMG Company. fughts Reserved International Copyright Secured.

Copyright

All

Walkthrough A Section (Bars L-4)

B Section (Bars 5-L2)

This hip hop arrangement is in 414 time signature and, despite the predominant quarter note feel of the four bar introduction groove, it's important to establish a counting system based around eighth notes, which will help to internalise the feel, timing and flow of the groove. Playing quarter notes at slow tempos can be very challenging, given that there is more time and space between the pulse notes, which can affect time keeping.

In this section, the hi-hat changes from quarter notes to eighth notes, which can be challenging, so please continue to feel and internalise the eighth note count, as before, which will make for a smoother transition on the hi-hat.

Work with a click and with the backing track and try feeling the quarter note pulse while counting eighth notes out loud as "1 & 2 & 3 & 4 &". When comfortable with this, practice playrng the quarter notes on the hi hat, while still feeling and counting eighth notes. This will help to create the essential time-feel and consistent flow of notes of the groove.

This section also introduces some bass drum variations with bars 5-6, 7-8, and 9-10 all having the same two bar pattern, with the bass drum plapng on selected downbeats. This naturally results in a three-part unison on beat 2, in bars 5, 7 and 9. Again , pay attention to the flow of notes on the hi-hat, together with clean unisons and a good consistent balance of sounds throughout the section. This section ends on bar 12, \ rith a bass drum and snare drum figure played in unison with the eighth note hi-hat, over beats 3 and 4.

drum figures and snare drum backbeats against the hi-hat quarter notes. For the most part, the bass drum falls on beats 1 and 3, with the snare drum backbeats falling on beats 2 and 4, which is tfpical of this style. All bass drum and snare drum parts are played in unison with the hi-hat, so it's essential that unisons fall together, without flamming, which can be challenging at slower rates of notes.

challenging, so please continue to feel and internalise the eighth-note count as before, as this will make for a smoother transition on the hi-hat.

Please note that in bar 2 there is a bass drum on beat 4, which creates a three-part unison and bar 4 finishes with two eighth notes played on the snare drum in unison with the hi-hat. Listen to how the groove sits in relation to the click or backing track. How does it sound? How does it feel?

In bar 16 watch out for the bass drurn and snare drum figure played in unison with the eighth note hi-hat over beats 3 and 4. This is followed by the final bar of the arrangement, with a positive unison played between hi-hat and bass drum on beat 1 of bar L7 .

Pay attention to the co-ordination of the bass

C Section (Bars 13-17) In this final section of the arrangement, the hi-hat changes from eighth notes back to quarter notes and the groove is the same as that played in the A Section. Again, this can be

Pay attention to the dynamics and balance of sounds between the hi-hat, snare drum and bass drum. Be careful not to have any one sound too prominent in the mix and, when comfortable with the balance, keep that balance consistent. To become rnore familiar with ihe concept of the audio mix and balance of sounds on the drum kit, listen to the backing track with drums and also to the original recording, together with other songs in a similar s{le.

∽ 日〓 ∩ 督 電 ∩  ５ ・

∽ 日 〓 ∩ ち 電 ∩  ６ ︲

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BACXGROI]ND INFO

'Untitled (How Does It Feel)' is featured on the highly acclaimed album Voodoo by DAngelo, released in early 2000. The record is regarded a milestone in the neo-soul genre and has inspired a myriad of different artists in the sffle and beyond. Voodoo won Grammy Awards for Best R&B Album and Best Male R&B Performance. 'Untitled (How Does It Feel)' reached the no.2 spot on the R&B charts in the US. The album was recorded with D'Angelo playing a drum beat with even dynamic output, resembling a drum machine, but with a very loose time feel. 'Untitled (How Does It Feel)' is a tribute to the early sound of Prince, who DAngelo much admires. It was produced by DAngelo in collaboration with Raphael Saadiq who played guitar and bass and contributed part of the arrangement.

DAngelo released his third record in 2015 after a long absence from the studio and stage. Black Messiah was met with universal acclaim and i,s testimony to DAngelo's creative and conceptual prowe

ss.

Black

Messiah takes the feel element of his comPositions a step further, this time with drummer Chris Dave providing a uniquely nimble and powerful delivery.

∽ 日〓 ∩ 督 電 ∩  ７ １

Vaodoo packs in a singular blend of funk, R&B and soul wrapped into a hypnotic and laid-back feel very much DAngelo's own. This is a critical element in his music and is something he has developed further on each of his releases .InVoodoo D'Angelo pushed the boundaries of his own writing and produced a layered and at times more abstract set of comPositions. The J Dilla influenced drum programming and playrng add a unique flavour and atmosphere to the record.

Drummer Ahmir Thompson (Questlove) contributed his highly original playrng to Voodoo. He is a founding member of the acclaimed band The Roots and his unique drumming and production styles have led to collaborations \^rith artists including Jill Scott, Erykah Badu, I^y-Z, Al Green, Amy Winehouse, and Iohn Legend. He is also a member of the production team The Soulquarians.

Untitled (How Does It Feel) DAngelo Words & Music by Michael Archer & Raphael Saadiq

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14 NuSoul

∽ 日〓 ∩ 〓 電 ∩  ８ ・ @

Copyright

1999

Ah Choo Publishing/Ugmoe

All

Music/Universal Polygram International Publishing. Universal Music Publishing LimitedRights Reserved. International Coppight Secured-

Walkthrough A Section (Bars L-4)

C Section (Bars 9-17)

Bars l-41 Groove pattern analysis The first four bars form the introduction of the arrangement. The groove pattern is introduced straight away and is in a 6/8 time signature.6lS is described as a tompound time signature' - this means that each main pulse beat can be divided into 3 eighth notes. In one bar of 6/8 tirne there are six beats of an eighth note duration. To prepare to play the groove pattern practice counting out loud in triplets 'bne-

Bars 9-17 | Chorus

trip-let, two-trip-let". Play each of these beats with the hi-hat hand. Experiment with accenting the first of each group of three notes or play them all with a flat dynamic. Choose the type of phrasing that feels the most comfortable and musical. For this groove pattern, the bass drum plays on the first beat of the bar and the snare on the fourth eighth note of the bar. Using the counting method explained above, the bass drum plays on the word 'bne" and the snare drum on the word "two". The hi-hat plays on all six eighth notes in every bar. While the hi-hat is playing and still counting out loud add the bass drum and snare drum in their respective places. Remember to keep counting out loud and space the notes evenly. Be sure to pay attention to each bass drurn and snare drum note, playing them at a similar level every bar as the piece progresses. In this instance bar 1 should sound exactly like those which follow and there ought not to be any dynamic change.

The chorus groove is the same as in the introduction and verse. Continue to play this pattern with conviction and focus on being as accurate as possible with the instrumental backing track (and the click track metronome contained within it). The dynamic level should be the same as played in the previous two sections of the arrangement.

Bar 17 presents the final notes of the arrangement. A dotted quarter note is played in unison by the hi-hat and bass drum. A dotted quarter note is the main pulse beat within a compound time signature, and it lasts the same duration as three eighth note beats. When practicing Playrng the final notes, ensure that the hi-hat and bass drum foot are played in unison (accurately together) and are not slightly separated. Another important element of bar 17 is the dotted quarter-note rest. Remember that in drumming the rests are as important as the played notes, and there must be familiarity and accuracy with both. The mark of a good drummer is found in playing simple things really well, not just in advanced repertoire and technique. To go further, investigate other songs u'ith a similar feel and think about ways in which th.y differ. With all music look for transferable ingredients and ideas.

This is a classic drum beat which is heard on many recordings with compound time feels. It is an essential groove in any drummer's repertoire.

B Section (Bars 5-8) Bars 5-8 | Internal dynamics The verse begins at bar 5 and continues until bar 8 and the drum groove continues to be the same as in the introduction. The important element here is to concentrate on playing the snare drum and bass drum at a sympathetic volume to the hi-hat whilst balancing the drum kit as a complete instrument. Refer to the original recordings to hear the internal dynamics between each drum kit element. It is recommended that flat foot technique is used on the bass drum as this has a softer attack than playrng with the full leg using heel up technique.

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ALBUM: PEOPLE GET RIADY LABEL: ABC PARAMOUNT GENRE: SOLTL

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SACKGROUND INFO 'People Get Ready' was written by Curtis Mayfield when he was a member of The Impressions, a band he joined in 1956 (at that time th.y were called The Roosters). The song was released as a single in 1965 and reached the no.3 spot on the R&B charts and no.14 on the Billboard Pop Chart. Mayfield was a prolific songwriter and'People Get Ready' displays a growing political and social awareness in his writirg. The train imagery used in the song is a metaphor for freedom and signifies the escape to the north during the times of slavery in pre-civil war America. 'People Get Ready' was very well received at the time of its release in the midst of the Civil Rights Movement.

Curtis Mayfield is a pivotal figure in American popular music. His success with The Impressions was followed by an influential and commercially successful solo career starting in 1970. His first solo album Curtis has often been compared to Marvin Gaye's

What\ Going On? because of its socially aware

message and lush instrumentation.

'People Get Ready' has been covered by many artists. The long list includes versions by Bob Marley and The Wailers in 1965 and L977 , Rod Stewart and Ieff Beck, The Housernartins, Eva Cassidy, Vanilla Fudge, Petula Clark, Aretha Franklin, George Benson, Bob Dylan, John Denver, Dusty Springfield, David Sanborn, Phil Upchurch, The Walker Brothers, The Blind Boys of Alabama and Ladysmith Black Mambazo.

∽ 日〓 ∩ 督 電 ∩  ︲ ２

In L972 Mayfield released the soundtrack to Bla:rploitation movie Super Fly which became a resounding critical success and the commercial peak of his career. Mayfield had earlier created his own label, Curtom, and through it he released music by

Leroy Huston, The Staple Singers and Mavis Staples amongst others. Roots, released in I971 is also regarded as classic of the Chicago soul he helped develop. In 1975 Mayfield released There\ No Place Like America Today. The album is considered a masterpiece of the soul genre and it blends Mayfield's singular brand of instrumental and vocal delivery with sharp social and political commentary in a way also explored by Marvin Gaye and Gil Scott-Heron. Mayfield continued touring and recording until 1990 when he had a tragic accident on stage that left him paralysed from the neck down. He died in 1999. His legacy is immense and relevant to date.

People Get Ready Curtis Mayfield & The Impressions Words & Music by Curtis Mayfield

) =77 Soul Ballad

∽ 日 〓 ∩ ち 電 ∩  ２ ２ @

Cogyright I 955 Warner-Tamerlane PubLishing Corp oration/Mijac Music. North America LimitedSony/ATV Music Publishing/Warner/Chappell All fughts Reserved- International Copyright Secured-

Walkthrough A and B Sections (Bars l-12) Bars l-z\Drum kit groove The introduction is two bars long, and the groove played in 1 repeats throughout the piece. The hi-hat part contains eighth notes, and you can prepare for this by firstly counting 'bne and two and three and four and", to match a full bar of eighth notes. This gives you a guide for placing the different rhythms. At the same time as counting, Play the rhythm with the hi-hat hand. Next, add the snare drum. On "four" play the snare at the same time as the hi-hat. Play it firmly but not too aggressively, and aim to balance the sound of the snare within the drum kit as a whole. In this instance, it is best to play the snare drum in the centre. If it is played too close to the outside edge of the drum it \^rill create more 'ring' and additional over tones. Also, try to avoid playing a rim-shot on the snare drum in this piece. A rim-shot occurs when the snare drum centre is struck at the same time as the rim of the drum. This is a loud sound which would not be appropriate in this context.

bar

Next, let's add the bass drum part. Play the bass drum on beat 1 and then the off-beat of beat 2. This could be described as the frst eighth note of the bar and the fourth eighth note of the bar. It is a good idea in the early stages of playrng the drums to develop both a'heel up and'flat foot' technique on the bass drum. Experimenting with this will reveal a difference in the sound created by each technique - try to judge which sound best fits this context. It's also important to ensure the hi-hat foot does not lift off the pedal while playing the bass drum with the other foot.

C Section (Bars 13- 17) Bars 13 | Backbeat The groove develops further here, in what can be described as the butrol, The snare drum begins to play a backbeat, a term referring to accents on beats 2 and 4. This is another classic drum groove that can be practiced in isolation and used in other pieces. There is a distinct feeling of forward motion when a backbeat is introduced where it has been previously absent. In this piece it is worth noting how the arranger has used the snare drum to create tension and release within the music, by adding it to the beat (Bar 13) or taking it away (Bar 11). In todays hip-hop and dance music, producers will often use the same technique to create

rhythmical contrast.

Bar 16 | Snare drum variations The co-ordination is at its most complex in the penultimate bar where the additional backbeat and snare drum variation previously found in bar 13 is present. It may be necessary to focus on this bar individually if it proves challenging. Work on the co-ordination beat by beat until it all comes together.

Remember to listen to the bass player on the backing track, and play in a way that compliments the bass guitar part and the overall groove. When playing music that looks simple and repetitive, remember that the most popular drumming is often the sirnplest. Playing simple grooves with great sound and feel should be your focus in nearly every

drumming situation. Bars ll-12 | Groove variations Rhythmic variation is achieved in bar 11, simply by leaving one element of the groove out (the snare drum is not played). This is a classic arranging trick In bar 12 the snare drum is reintroduced playrng a syncopated figure which functions as a fill, while the main rhythmic feel is maintained by the hi-hat and bass drum.

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'Rebel Without A Pausd was featured on If Takes A Nation Of Millions To Hold Us Back, released by

Public Enemy in 1988. The album was a socially and

politically charged commentary with an innovative sonic edge. The group set out to produce the hip hop equivalent of l,Vhati Going On? (Marvin Gaye). It Takes A Nation Of Millions To Hold Us Back was critically acclaimed and gradually became a commercial success.

Ice Cube, Beastie Boys, l^y-Z, |urassic 5, Madonna and My Bloody Valentine, amongst many who were inspired by them or sampled their work. Rebel Without A Pause' uses samples from 'The Grunt'by the I.B's, 'I Don't Know What This World Is Coming To' by the Soul Chicken, 'Rock'N RolI Dude' by Chuck Roch 'Pee-Wee's Danc.'by Ioeski

Love, 'Rock Music' by |efferson Starship, and'Funlcy

Drummer' and 'Get Up Offa That Thing' by |ames Brown, 'Rebel Without A Pausd appears in the video games Thrasher: Skate and Destroy, Grand

The album is regarded as one of hip hop's finest and most influential recordings. It was released on Def Iam Records with production from Chuck D, Hank Schocklee and Rick Rubin. It Takes A Nation Of Millions To Hold Us Back blends old school funk samples with recorded and found sounds, some guitars, scratching and avant-garde noise, creating a layered and novel mix. The tempi are fast and allow for the sharp and abrasive delivery that Chuck D is now known for.

Public Enemy performed the album in its entirety part of the All Tomorrow\ Parties Festival Don't Look Back Series in 2008. The shows took place in London, Manchester, Nottingham, Glasgow, as

Barcelona and Chicago.

∽ 日〓 ∩ ち 電 ∩  ５ ２

Public Enemy were a relentless and polished live act and got audiences engaged with their message and powerful show. By the late 1980s they were amongst a handful of very popular acts, primarily Def Iam related, such Run D.M.C, LL Cool J and Beastie Boys. Their influence is acknowledged by

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Rebel Without A Pause Public Enemy Words & Music by Carl Ridenhour, Eric Sadler, Hank Shocklee & Norman Rogers

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Walkthrough A Section (Bars

1-13)

BarlltJnisonfigure

This piece begins with three quarter note hits. Play

frmly

these to to

on the snare drum and listen to the backing track make sure they are played in unison with the band. Aim make each strike the same tone and

volume.

Bar 2 | Groove

pattern

means original Stubblefield's

The groove pattern is in a 4/4 time signature which tlrere are four quarter note beats per bar. The recording by Public Enemy features Clyde drum beat from the fames Brown song'The Funlcy Drummer'. This part has been simplified for Debut, but it is worth listening to 'The Funlcy Drummer'for

inspiration. by and' is some Try work drum drum

The hi-hat is playing eighthnotes that can be played counting out-loud, 'bne and two and three and four and playing the hi-hat at the same time as everyword spoken. The bass drum part will be challenging to because it contains two notes played consecutively. playing the hihat and bass drum together and through the pattern until comfortable. Once the bass and hi-hats can be played smoothly add the snare backbeal A backbeat is a common term used when referring to a rhythmical accent on beats 2 and

4.

bass eighth-note beat

As well as drawing attention to the two consecutive drum notes it is worthwhile mentioning the rest and off-beat eighth note which occurs during 3. Be sure to focus on the bass drum being played at the same time as the hi-hat and avoid the bass drum playing slightly before or after the hi-hat hand. In addition, make sure the hi-hat foot is not lifting off the pedal when the bass drum is playing. The hi-hat should have a consistent sound. Experiment with playing on the edge or the top of the hi-hat and use the sound that feels most appropriate. As with all drum beats try to balance the internal dynamics of ' the groove correctly. Internal dynamics refers to how loud or quiet each element of the kit is in relation to the other. By Iistening carefully and critically consider how the drum kit sounds as a complete instrument.

B Section (Bars f4-f5) Barl4-15 lNewgroove Bars 14 and 15 feature a new rhythm on the hi-hat and an additional bass drum syncopation. Syncopation is a term used to describe rhythmic playing which is not on the main beats of the bar. On beats 3 and 4 the bass drum is syncopated because it is playing on the off-beat eighth notes. The hi-hat is playing quarter notes and the bass &um is playing in the gaps. this is very different co-ordination to that ofthe frst groove pattern and an excellent challenge to try and perfect.

C Section (Bars 16-19) Bar f8 |

Bass drum development Bar 16 and 17 sees the return ofthe original groove. However, bar 18 features the bass drum playing all eighth notes within the pattern. This maybe a co-ordination challenge but it is a pattern common in many musical situations. The final bar sees a return to the rhythmic shape ofthree unison quarter notes as per t}re introduction. This time the bass drum joins the snare drum to create an enhanced final phrase. When playing these final three notes make sure the bass drum lands at exactly the same time as the snare drum.

As always, listen carefuily to the backing track and try to lock in with the rhythm section while making transitions between each ofthe patterns.

Bar 13 | DrumfiIl The last two beats ofbar 13 are notated with rhythm slashes and the term "Fill' is notated above. This is common on many professional charts where the drummer is expected to use stylistic knowledge to play a drum fill which is appropriate to the music, the type of drums being used and the dynamic required. Use this as an opportunity ∽ 日〓 ∩ ョ 電 ∩  ７ ２

to experiment.

∽ 日〓 ∩ ち 電 ∩  ８ ２

F嘔HL Rttdder SONG TttLE: FUL RUDDER GttE: CLASSIC ROσ K TEPIPO: 98 BPM TEσ

J=98 Classic Rock

H「_ATUR那 : BACKBEA盤 郎

DRUM VAttTIOhTS

COhTSttTEhTT HI― IIAT PAttEⅢ

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00MPObEx: NOAPI LEDERMAN

ONNEL NOAM LEDERMAN(DRUMS) STUART RYAN(GTRI

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HENRY THOⅣ 蹟S OWES)

OVERVTE\'I

'Full Rudder' is a classic rock track in the sryle of AC/DC, Led Zeppelin and Aerosmith. It pays homage particularly to the hard rock style of AC/DC's Phil Rudd and features backbeats, bass drum variations and a consistent hi-hat pattern among its techniques.

STYIE

FOCUS

This no-nonsense style of classic rock drumming is the very definition of the phrase 'less is more'. The need to provide space for the guitars and vocals to breathe cannot be emphasised enough in this style of music. A drummer's principal responsibility in a band, after all, is to provide accurate timekeeping and a solid, consistent sound. An awareness of timing and the ability to listen to the music as well as the drums are essential in making you a well-rounded musician. A good, strong right hand technique is also important in this style of music to help sustain consistent eighth notes on the hi-hat.

STGGEB PTCTURE

Hard rock developed as a major s$e in the with bands such as Led Zeppelin, Aerosmith,

1970s

Well-disciplined drummers are a must in hard rock because the groove has to sit perfectly within the music. If it is too fast it becomes punk; too slow and it becomes blues. Hard rock legends AC/DC have had one of the best timekeepers in the genre in the form of drummer Phil Rudd, who is also famous for his heavy hitting and unique feel. AC/DC's success has spanned from the early 1970s through to the present d.y. They continue to gain fans from younger generations and inspire new hard rock bands.

RECOMMMIDED ITSTENII{G To gain a broad view of hard rock, listen to any of AC/DC's albums. For example, High Vohage (1976), Back In Black (1980) and Highway To Hell

(1979). Rock In a Hard Place ( 1982) by American hard rock superstars Aerosmith features the drum talents of )oey Kramer, while Van Halen's eponymous, groundbreaking debut (1978) features the 'brown snare sound' of Alex Van Halen. Check out 'Hot for Teacher' to hear some of his double-bass drum style.

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Van Halen and AC/DC bringing it to the fore. The traditional hard rock sound typically consists of distorted guitars accompanied by big, heavy drums, thumping basslines and vocals that are more abrasive than those of mainstream rock.

Full Rudder Noam Lederman Words&Musicbyffi

J=98

Classic Rock

∽ 日 〓 ∩ 督 電 ∩  ０ ３ @

Copyright 2012 Rock School Lt&

This music is copyright- Photocopying is illegal.

Walkthrough A Section (Bars

l-4)

C Section(Bars 13-20)

introduction/breakdown plays consistent eighth notes and the bass

The feel ofthe groove is different in this section. The bass drumvariations are played mainlyon the offbeats ofbeats groove. Thehi-hat 1 and 3, rather than on the offbeats oftwo and four as drum plays on the baclSeat (the second and fourth beats eadr bar). In bar4 there is one additional bass drum and one presented in theprevious section. In bar 20, there is a final fill that ends the piece. snare on beat 4 that prefigures the full groove in bar

This section features a classic

of

5.

Bar l l4/4 time The time signature 4/4 indicates that there are four note beats in each bar in this piece.

Bar I I Introduction groove

quarter-

be are

The consistent hi-hat hits are all eighth notes. These can counted as "l & 2 & 3 & 4 &i Ensure that the strokes even and synchronised with the click or backing track The backbeat bass drums must be played with conviction a secure pulse. Dorlt forget to allow the quarter-note their full length.

and rests

Bar 4l Preparation fill Although the variations in this bar are minor, they Iead to the entry ofthe full groove in bar 5. The bass drum plays on beats l, 2 and 3, while the snare hits only on beat 4. Focus on co-ordinating effectively the bass and snare drum with the elghi notes on the hi― hat(Fig。

1)。

B Section(Bars 5-12)

Bar 13 | Offbeats of '1' and 'i' Co-ordinating these types ofoffbeats in the bass drum pattern should be slightly easier than the ones you saw in section B. However, the concept should be the same and you need to focus on accuracy and timing. Listening closely to the guitar parts should assist you in playing with good synchronisation to the backing track (Fig. 2). Bar 15 | Togetherness At the end ofbar 16, there are two eighth notes to be played on the snare and hi-hat. In order to achieve accuracy and fluency, aim to play these at exactly the same time. If you hear that one is played slightly before the other, try to adjust your playing until it sounds right. It is also important that both strokes are even and balanced. Bar 20 | Ending phrase This is a rnusical interpretation of the final guitar phrase. The hi-hat plays the first four eighth notes in the bar then rests on beats 3 and 4. The snare hits on the first eighth note are followed by three eighth-note bass drums. The half-note rest on the third and fourth beats applies to both parts ofthe stave, so the offbeat of the second beat is the last note you

In this section, the groove develops and the snare is played on both backbeats (beats 2 and 4). The bass drum follows the guitar riffand plays many offbeats. These offbeats largely have to play here. follow the snare drurn and are played after beats 2 and 4 of the bar. There can be a natural tendency to rush during this part so pay attention to the pulse and ensure that each snare and bass drum are played to their full length. Bar 5 I Offbeats When counting the eighth notes in the bar as " 1 & 2 8< 3 & 4 &'; the offbeats are referred to as '&"s. It may feel less comfortable playrng the offbeats than pla)rrng on the beats (1,2,3, 4), but it is simply a matter of practising and getting used to this slightly different feel. Playing the offbeat without the follo*ing beat can create a feeling of unevenness, which witl in turn affect your timing. LIse the consistent hi-hat pattern as your anchor and focus on co-ordinating the offbeat bass drums accurately.

Count:

1

&

2

&

3

&

4

&

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∽ 日〓 ∩ 督 電 ∩  ３．

Bar 6 | No bass drum on beat 1 This can also feel uncomfortable at first, but if you repeat the steps outlined above it should solve the problem for you. Listening closely to the guitar and bass riffs will provide you with an understanding of the rhythmic patterns featured on the drum part.

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SONG TttLE: Z

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GENRE: 融 HOP TEPIPO: 90 BPM TEtt mTttES:

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QUARTEx― NOTE HI― HAS

COMPOsEx: NEEL DHOmALA P酪 ONNE■ : NOAM LED― (DRUMS) MEL DHOttJⅣ Jn(PRO動

0vmvTE\d 'Z' is a hip hop track written in the style of artists from America's West Coast scene such as Dr Dre, ZPac (Tupac Shakur) and Snoop Dogg. By playing this track you witt learn how to maintain a strong backbeat, as well as mastering bass drum and hi-hat synchronisation among other techniques.

STYIE

FOOT]S

The West Coast sub genre of hip hop is based on solid quarter-note feel that is often coupled \ rith rhythmic pianos and strings. Beats two and four (known jointly as the backbeat) are core to the groove, so snares are often combined with hand-claps to give these beats even more emphasis. Straight-feel drum parts are layered with electronic drums on top, which produces a tight sound and a 'head-nod' vibe that is the nucleus of a hip hop groove. A hip hop drummer \^ri11 usually play a solid backbeat feel for the majority of the track and use fills sparingly.

super producer Dr Dre's record label Aftermath Entertainment. Dre developed the sound along with his in-house producers Mel-Man, Focus and Mike Elizondo when th.y moved purposely away from sample based tracks, as was common in hip hop at the time, and concentrated on using more instruments and synthesizers instead. Countless artists can attribute their sound to the style and meticulous production of Dr Dre and his in-house stable of Aftermath producers, including rappers 50 Cent, Eminem, Snoop Dogg, Busta Rhymes and Raekwon.

a

RECoMME\rDED r,TsrEIirNG To get to grips with the Aftermath and West Coast hip hop styles, listen to classic Dr Dre productions such as 'Still DREI 'Xxplosive' and'The Watcher', all of which can be found on the album 2001(1999). 50 Cent's album Get Rich Or Die Tryin'(2003), The Game's The Documentary QA05), Eminem's Relapse (2009) and Busta Rhymes' The Big Bang (2006) are

Diggity' and G-Unit's'Poppin' Them Thangs'. This particular form of West Coast hip hop is known as the Aftermath sound, narned after

Warning: these records may contain content that is for children.

unsuitable

∽ 日〓 ∩ ち 電 ∩  ３ ３

THE BTGGER PTCTURE

also good examples. Classic West Coast style singles include'California Lov.' by 2Pac, Blackstreet's'No

Z Neel Dhorajiwala

J=90 Hip Hop

∽ 日〓 ∩ 〓 電 ∩  ４ ３ This music is copyright- Photocopying is illegal.

Walkthrough A Section(BarS l-4)

with feel one

The opening four bars feature a basic hip hop beat rhythmic values ofquarter and eighth notes. This can quite challenging to play initially because there is only backbeat snare in each bar.

Bar llOnebackbeat

In most hip hop beats you will hear two backbeat snare hits in each bar, on the second and fourth beats. Howevet in

this groove there is only one backbeat, which is played on the fourth beat in the bar. The bass drum is played on every beat apart from the fourth beat. Ensure that this unorthodox voicing does not affect the consistency ofthe pulse (Fig. l).

Bar B I Playing quarter notes This bar may look straightforward on the page but it can be challenging to play well. Practising bars 12 and 13 repeatedly with a click will help you overcome this challenge. Bar 16 | Quarter-note rests This bar consists of solid eighth notes on the hi-hat and quarter note bass drums on the frst and third beats of the bar. Between the bass drum notes you will see the symbol for a quarter-note rest. This means that nothing is being played there apart from the hihat (on the top part ofthe stave).

D Section (Bars 17-21) Bar 4 | One added snare In the last bar ofthis section, there is one additional snare hit on the third beat. This variation adds movement to the groove and prepares you for the next section in bar 5.

The final section of the piece features a similar groove and variations to the ones you saw in section B. The piece ends with one quarter-note stroke on the hi-hat and bass drum. Bars 17…

201磁 おOη

lt is necessary to play two,three and,sometimes,lour hmbs

B Section(Bars 5-12)

the are in

Here the groove develops with consistent eighth notes on hi-hat. The snare is played on both backbeats and there variations in the bass drum pattern. Changing rhythms yourlead hand can affectyourtiming and synchronisation with the backing track Practise the hi-hat pattern in sections A and B with a metronome to help you understand rhythmic change and maintain a consistent

the pulse.

Bar 5lTwobackbeats

fourth

The snare is played on both backbeats (second and beats) throughout this section. Playing two backbeats in each bar should feel more comfortable than the one, so you can focus on the bass drum variations and secure co-ordination of your three limbs. This is a good opportunity for you to check if your posture is balanced and that you can reach the bass drum pedal comfortably (Fig. 2).

Bars ll-12 | Bass drum and snare variations You witl need to perform the written variations in the bass drum and snare parts while maintaining an even hi-hat pattern. It might be a good idea to break this section down into individual bars. Try practising each bar a few times, focusing on the minor variations in each bar until it feels comfortable. When you feel ready, put it all together and

together when drumming.Your goalisto move your hmbs in perfect time in order to hit the surface of the drums or cymbals to produce a unison sound. Here there are only two t)?es of unison: hi-hat + snare and hi-hat + bass drum. Practise both on the kitto improveyourunison playing. Bars 18 lTwo consecuth'e snares When playing two consecutive snare strokes, keep the dynamic level balanced by lifting your hand to the same height before hitting the drum both times. The hi-hat keeps constant eighth notes, so make sure your hands dont clash.

Count:1&2&3&4

1■ ￨■ ■￨十 11111■ ■￨■

￨

build up your speed if necessary.

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∽ 日〓 ∩ ち 電 ∩  ５ ３

C Section (Bars 13-16) This is the breakdown section of the song. The bass drum and snare patterns are similar to sectior A, but the hi-hat plays quarter notes instead of eighth notes. In bar 16 there is a simple but effective hip hop fiIl that uses eighth notes on the hi-hat and quarter notes on the bass drum.

∽ 日〓 ∩ ぢ 電 ∩  ６ ３

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HEAVY BACIGEAT

ErIJS CCMPOSER: PETER HU}ITI}IGION

PERSONITEk STUART RYAN (CrR) i{E}dRY THOI,LLS (B.A.SS) NOAM IEDER}AN (MUUS)

ovm\rlElf

your instrument well

as

long

as

you played it with

a

suitable level of aggression. Fans of punk-influenced indie rock and garage groups like The Strokes, The Hives and The Datsuns will be interested in the track'Rattlesnake', which features bass drum variations, a heary backbeat and fills among its techniques.

STYIE ICfl]S This style of rock is about simplicity, energy and attitude. The drum pattern will invariably lock into the guitar riff to give the whole track plenty of percussive punch. Fills are used sparingly, if at all. Try to keep your time keeping steady - don t be tempted to rush - and play with unwavering commitment to the backbeat. The snare hits need to be heard through the overdriven guitars, so this is no tirne to be gentle.

[I]E

STGGER PTCIIIRE

mind set. For example, The Strokes' back to basics approach, along with The Hives' manic intensity and the next generation of Detroit rockers The Von Bondies and The \Ahite Stripes. All of these bands played rock stripped down to its essentials of simple chord structures and plenty of attitude. Chris Dangerous of The Hives brings a machinelike consistency to his band, planng few fills and powering the tracks along with unrelenting energy and a devotion to keeping the beat

RECOMMENDED T.TSTE}TNdG The birth of garage rock came with the release of MC5's live debut album Kick Out The lams (1969) and The Stooges' self-titled debut (1969) that contained the blistering lo-fi track'No Furt' Garage rock was a big influence on Dangerous' stripped-down, aggressive drumming with The Hives on the tracks 'Walk Idiot Walli from Tyrannosaurus Hives (2004) and 'Hate To Say I Told You So from Veni Vidi Vicious (2000). 'Harmonic Generator' from The Datsuns' eponymous debut (2002) is another recent example of garage rock's influence.

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The MC5 and IgW And The Stooges led the charge that burst out of the economic collapse and social discontent of Detroit in the late 1960s. They were punk before the name was ever applied to their music: simple rock n roll played at furious volumes. In this type of garage rock it didnt matter if you couldnt Play

Modern bands influenced by punk revisited the garage rock

Rattlesnake Peter Huntington

J=89 Indie

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Copyright 2012 Rock School Ltd.

This music is copyright- Photocopying is illegal.

Walkthrough A Section (Bars L-4) The piece starts with a full and heavy indie rock groove. There are consistent eighth notes on the hi-hat, snare drum on each backbeat (beats 2 and 4), and various bass drum hits. Note that there is one eighth-note rest in the middle of bar 2.

Bar I I Groove It is important to play the eighth note hi-hats accurately and to synchronise them with the rhythm guitar Part. Next, you must focus on the bass and snare drum parts. Remember that these are a combination of quarter notes and eighth notes. The bass drum plays on beats 1 and 3 as well as the offbeats of three and four. Practising this bass drum pattern \ rith the backbeat snare is a good way to start working on this groove (Fig. 1).

Bar 2l Eighth-note rest The eighth-note rest in this bar is placed on the third beat. Because it is notated in the bottom part of the stave, the hi-hat above it should still be played. A good tip for instances such as this is to always use the most consistent limb/part as your anchor. In this case it is the hi-hat, so as long as you keep the hi-hat even and co-ordinate the variations well this will sound convincing.

B Section (Bars 5-12) In this section, there are various snare and bass drum variations. However, apart from these changes in the groove you will notice how the hi-hat pattern isn t always consistent. Counting the eighth notes in each bar throughout this section will help you to perform this accurately.

have to play three drurn voices in unison. Make sure that all three parts are hit at the same time and that the follo*ing quarter-note rest is observed (Fig. 2).

C Section (Bars L3-20) The drum groove and variations continue to follow the guitar riffs in this section.

Bar 14 | Bass drum and snare variations

While maintaining an even hi-hat pattern, /ou will need to perform the written variations in the bass drum and snare parts. Try practising the bass and snare drum pattern without the hi-hat until it feels comfortable and before bringing in the hi-hat pattern.

Bar 16 | Lonely backbeat This is the only bar in the piece where the backbeat is played without the support of the hi-hat. Ensure that your timing is accurate and the snare sounds convincing. Remember, the backbeat snare is a quarter note so allow it its full length when playrng this bar.

Bar 20 | Ending phrase This is a musical interpretation of the final guitar phrase. The hi-hat plays the first four eighth notes in the bar then rests on beats 3 and 4. The snare hits on the second eighth note and the bass drum on the remaining three. The halfnote rest on the third and fourth beats applies to both parts of the stave, so the offbeat of the second beat is the last note you have to play here.

Bar $lWhen the hi-hat stops The main challenge in this bar lies in the fact that you can no longer rely solely on the eighth note hi-hats as your anchor because the last two eighth notes are missing. This is the tirne for you to develoP a solid pulse that many drummers refer to as the internal clock Countin g" l & 2 & 3 & 4 &" while you practise is the best way of develoPing this internal clock, but you will also need a metronome to help you keep the pulse consistent. Try practising this hi-hat pattern without the snare and bass drum until it is accurate and comfortable.

Count:t

(&)

(2)

(&)

3

&

4

&

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Bar 12 | Rhythmic values As well as this section's break in the hi-hat pattern, there is also a combination of two rhythmic values here: quarter notes and eighth notes. You need to understand the rhythm being played in this bar: "1 (& 2 &) 3 &,4 &". It is still necessary to count and not miss the offbeats of one and two in order to remain in sync with the backing track. The first stroke in this bar is the only tirne in the piece where you will

Ⅲ■￨■ ■■ IⅢ Ⅲ

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Dig Ideas SONG TttLE: BIG ID那 GENRE: POP

EPm:9o BPM TEσ

H「_ATLTR3:

0■ 夏 郎

1カ 1」

J=90 Pop

EAT tt DRUM

GHTH州 ∝ E駆 &SNttE“

別

ON

COMPOSEB: JON MUSGRAVE

& KI]NG Fi] PERSoNNEk JoN

DRUMMER

MUSGRAVE

(pnol)

NoAM TEDERMAN (DRUMS)

cvmvTEul 'Big Ideas' is written in the sryle of boy bands similar to Take That, Westlife and Boyzone. It features simple patterns, smooth grooves and aspects of Rn B among its varied techniques.

STYIE

tr'OCITJS

There is nothing flash in'Big Ideas'. With pop acts the drummer is there simply to play for the song and to support the vocals. Pop is about catchy hooks, melodies that stick in your head and a beat that people can dance to. To be a good pop drummer you need to find the groove and sit as deeply in the pocket as possible. Your drumming needs to be tasteful and uncluttered. The snare will typically fall on the'2' and '4' of the bar to make it easy for audiences to clap in time to the music, but there is also room for creating syncopation (pl.yrrg off the beat) on the bass drum. Your hi-hat playrng needs to be slick and smooth to make sure the rhythm flows under the melody.

STGGER PTCTURE

Pop can be a dirty word for some musicians, but the genre is full of talented songwriters and great

There are some terrific session drummers who make their living backing the biggest pop stars, both in the studio and live: Donavan Hepburn, who tours with Take That; Karl Brazil, who has played with Robbie Williams; and Steve Barney, who has recorded with Will Young and The Sugababes.

RECOMMENDED

r,TsrElirffG

Take That's 2006 comeback album Beautiful World contains elegantly crafted contemporary pop. The singles'Patience' and'Shine' are great examples of modern pop drumming.Westlife are one of the most successful groups in the history of British pop. Their self-titled debut (1999) was irnmaculately produced

and headed up by the single 'Flying Without Wingsi Boyzone's 1998 album, Where We Belong (1998), shifted millions thanks to its blend of Rn B and Pop.

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rHE

players. The British charts were dominated by many boy bands in the 1990s, and the most successful of those bands filled stadiums and sold millions of albums - a feat that is rarely seen in other genres of music. Many boy bands are treated' by managers and record labels and, as such, there will be often be a legion of songwriters behind the scenes crafting their hits; although some bands, such as Take That, co-write much of their own material.

Big Ideas Ion Musgrave & Kung Fu Drummer

)=90 Pop

∽ 日●︼∩ 督 Ｏｏ∩  ２ ４ @

Copyright 2012 Rock School Ltd-

This music is copyright- Photocopying is illegal.

Walkthrough A Section(BarS l-8)

steady pulse and ensure that these three eighth notes are even to produce a solid groove. consistent pop beat featuring The piece starts with a flowing eighth notes on the hi-hat, snare drum on each backbeat (beats 2 and 4) and various bass drum hits. There are two C Section (Bars 13-20) additional eighth notes on the snare dmm in bar 8 that The drum groove and variations in this section are similar to prefigure thechange in the groove introduced in bar 9. the ones in section A. Howevet there are more eighth-note rests and a short endingphrase in bar 20. BarllGroove It is important to play the eighth note hi-hats accurately and to synchronise them with the rhythm guitar part. Next, Bars l3-19 lBass drum and snare variations You will need to perform the written variations in the bass focus on the bass and snare drum parts. Remember that drum and snare parts while maintaining an even hi-hat these parts are a combination of quarter notes and eighth pattern. Trypractising the bass and snare drum pattern notes. The bass drum plays on beats I and 3 as well as the without the hi-hat until it feels comfortable. offbeat of three. Practising this bass &um pattern with the backbeat snare is a good way to start working on this groove. Bar 14 | Offbeat bass drum Apart from playrng at the beginning of the groove, the bass Bar alEighth-noterest The eighth-note rest in this bar is placed on the third beat. It plays the offbeats ofthe second and third beats in this bar. The offbeats are the second eighth note in each beat, most is notated in the bottom part of the stave, which means the hi-hat above it should still be played. A good tip is to use the commonly counted as '&'. When emphasising the offbeats there may be a tendenry to play ahead of the track but if you most consistent limb/part as your anchor (in this case, the hi-ha$. As long as you keep the hi-hat even and co-ordinate listen carefully to the click this should not happen. the variations well this will sound convincing (Fig. l). Bar 20 | Ending phrase The hi-hat plays the first two eighth notes in the bar then Bar 8 | Snare fill and unison Apart from playing the backbeats, the snare drum should hit rests on beats 2,3 and 4. The snare hits on the fust eighth on the oftbeats ofbeats 3 and 4 to create three consecutive note and the bass drum on the second- This is followed by a snare drum strokes that form the basis of more advanced quarter-note rest and a half note (minim) rest. As the rests apply to both parts of the stave, the offbeat of the first beat drum fills you will find in higher grades. Remember the will be the final note ofthe piece (Fig. 2). concept ofunison here because playing the drum voices exactly together will create accurate time and consistent synchronisation with the backing track. Pay attention to the three-limb hit on beat 4 because this is the only place in the piece that you will have to perform this.

B Section (Bars g-Lz) This is the breakdown section of the piece, which is common in modern pop chart hits. The hi-hat remains as consistent eighth notes but the bass and snare drum Patterns develop throughout the section.

&2&3&4&

￨■ ■￨￨￨￨￨￨￨■ ■■11

Count

Bar 12 | Consecutive bass drums There are three consecutive eighth note bass drums in this bar played between the two backbeat snares. Maintain a

I

&

(2)

(3)

●￨￨1計

(4)

■■￨■ ￨■ ■11 =￨141ど

`1基

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Bars 9- 1 I I Moving the snare The snare part in this section is as follows: Bar 9: no snare Bar 10: snare on beat 4 Bar 1 1: snare on beat 3 Ensure that moving the snare does not affect your tirning and that each quarter note is played fully. The consistent hi-hat pattern can be your anchor here.

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Hazee Daze SONG TITLE:

賤

EE

GmE: FL■VK TEMPO: 92 BPM 電田

)=g2 Funk

mTURES:

&SNttE-ON QUARTER― Ntt RttTS TWO CO∬ EttTM SNAR“

00mSER:

IUi(E AIDRIDGE

PRONNEL:

郎

■

sfuARr RYAN (GrR) i{ENRY THoru,LS (BASS) NoAM IEDERI\4A}T (PNUIIS/ PERCUSSTox)

Ross srA]ffEY JAMES AnBEN

(ITEYS)

(FturE)

0VERVTEI'/

'HazeeDazd is a funk track in the ttyl. of acts like Iamiroquai, |ames Taylor Quartet and US3 that

much of its earthy, furLy qualities, gaining in their place sophisticated harmonies and slick studio production that was typical of its time.

leans towards the acid jazz or jazz

funk sub-genres. It features unison snare and bass hits, eighth-note rests and offbeat bass drum notes.

The late 1980s was the era of acid iazz. This subgenre was named after the Acid lazz record label renowned for releasing records that harked back to the classic jazz funk of the 1970s with a modern twist.

SIYIE

Acid jazz enjoyed a revival in the 1990s with the |ames Taylor Quartet, US3 and )amiroquai achieving commercial success with their own unique blends. The style featured in ttie charts and was played. on a variety of radio stations from Radio L to lazz FM, such was the crossover appeal of the music.

FOCI]S

Watch out for the intro to 'HazeeDazd: the hi-hat plays on the backbeat ('2' and '4') but once the groove gets going in the second line, the main pulse is performed as eighth notes on the hi-hat. The bass drum plays \^rith the snare in places to add some weight.

Typically of jazz funk or acid jazz,'HazeeDazd features a more complex chord progression than most funk tunes. The piano part is partic,rlutly jazzy.

fiIE

BTGGER PTCTURE

]amiroquai's first album, Emergency On Planet Earth (1993), has more of an old school funk feel, whereas their subsequent album Travelling Without Moving (1996) betrays a disco influence. Herbie Hancoclts Head Hunters (L973) and Man-Child (197 5) are great examples of keyboards leading an ensemble. Maroon 5 are a more modern example of a funk-influenced band who feature keyboards in their line-up. Their debut, Songs About lane (2002), is worth listening to.

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lazzfunk was born in the late 1960s when musicians such as Miles Davis and Herbie Hancock began using funk grooves as a basis for compositions and vehicles upon which to improvise. The genre developed throughout the 1970s, eventually losing

REOOMMENDED TTSTENTT{G

Hazee Daze Luke Aldridge

∽ 日 〓 ∩ ち 電 ∩  ６ ４ o Copyright

2012 Rock School Ltd-

This music is copyright" Photocopying is illegal.

Walkthrough A Section (Bars

l-4)

This A section is the intro. It consists of quarter notes on the hi-hat and bass drum. There is a short snare drum filI in bar 4 that leads to the full groove in bar 5.

Bar tlQuarter notes In the opening bar, the bass drurn plays quarter notes on beats 1 and 3 and the hi-hat plays quarter notes on beats 2 and4. All quarter notes should be even and played in synchronisation with the backing track (Fig. 1).

Bar

l-4 '

Quarter-note rests

There are many quarter-note rests in this section, but as long as you understand the pattern and remember to count the beats in each bar this should not be too challenging to perform. Remember that in drum notation the various drum voices are divided between the upper and lower parts of the stave. So whenever you feel that a certain pattern looks difficult, you can break it down and practise each Part individually. As always, it is important to count the rests and allow the full length of each rest, otherwise the timing might be affected.

Bar 4 | Two consecutive snares When performing two consecutive snare strokes it is important to ensure that the dynamic level is balanced. This can be done by lifting the hand that plays the snare to the same height before hitting the drum. Remember that there is a quarter note hi-hat to play at the same time, so make sure that your hands do not clash.

too. However, playing three parts n'ith exact timing and co-ordinating hands and feet can be more challenging, so be patient and give your body time to learn the movement. Bars 7 -12 I Bass drum and snare variations Maintaining the even hi-hat pattern will help you to perform the written variations in the bass drum and snare parts. It might be useful to break this section down into individual bars. Try practising each bar a few times, focusing on the minor variations until it feels comfortable to play.

C Section (Bars L3-20) Apart from a busier pattern, there is an eighth-note rest to consider in bar 16 and the ending phrase/fiIl in bar 20.

Bar 16 | Eighth-note rest In this bar the eighth-note rest is placed on the third beat. As notated in the bottom Part of the stave, the hi-hat above it should stilt be played. A good tip is to always use the most consistent limb/part as your anchor. In this case, this is the hi-hat. Therefore, as long as you keep the hi-hat even and co-ordinate the variations well this Part should sound convincing (Fig. 2). Bar 20 | Ending phrase This is probably the most challenging bar in the entire piece. It is recommended that you practise the bottom part of the stave separately before adding the hi-hat once you are comfortable. Remember the unison concept and ensure that all eighth notes are even and consistent.

B Section (Bars 5-12) In this section the groove develops with consistent eighth notes on the hi-hat. The snare is played on both backbeats (beats 2 and4) and there are variations in the bass drum pattern. Changing rhythms in your leading'hand can iffect your timing and synchronisation with the backing track. Howevet after the change from quarter notes to eighth notes in bar 5 the hi-hat pattern remains consistent until the end of the piece.

110■ ￨￨:Ⅲ I: =ど

Bar 6 | Backbeat unison with bass drum In the fourth beat of this bar the hi-hat, snare and bass drurn should all be played together. The backbeat unison principle that was explained above can be implemented here,

Count:

1

&

2

&

3

&

4

IIII■ ￨

■￨￨■ ￨￨￨■ ￨■ 'IⅢ

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Bar 5l Backbeat unison The backbeat is played on the snare drum throughout this section and it is important that both hands hit the drum or cymbal at precisely the same time. If you feel that one is being played before the other, try lifting your hand more and co-ordinate its movement so that both hands reach the drum or cymbal surface at the same time.

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Hoedom SONG TttLE: HO珈 GENRE: COLWRY TEMPO: 1∞ BPM

mTURES: QUAR瓢 ―NOTE

J=100 Country) R“ 鴨

SNARE DRUM VARnTIONS DRUM VAttTIOhTS 郎 COMPOSER: m7RY THOyLAS PERSONNEK STUART RYAN (GTR) }{ENRY TI{OMA.S (3ASS) NOAII IEDmMAN (DRUMS) ROSS

STANIEY (KEYS)

IEITPE IGRAM (WoilN)

ovm\rrEw

time music and became a substantial influence on the ro11 and rockabilly.

birth of rock n 'Hoedown' is written in the style of modern country artists such as Shania Twain, Dixie Chicks, Garth Brooks and Keith Urban. The track features a steady backbeat as well as snare and bass drum variations among its techniques.

SIYIE tr'ofl]S Traditional country put the spotlight on the singer and the lyrics. Contemporary country takes the original style and updates it with slicker production and a more modern sound. It retains its identity by employing standard country instrumentation - steel guitars, violins, banjos - but reinforces it with a strong backbeat, electric guitars and keyboards. Country drummers all play for the song and it has never been a genre for those who long to hog the limelight. At high tempos, country is dancing music so keep it steady and bright. Ballads should be played in a more restrained sryle to give the vocalist room to soar.

BTGGER PTCIURE

Country is the music of the southern states of America. It was originally referred to as hillbilly or old

In the 1970s, many big artists drew upon the southern musical heritage. For example, The Band and their country-influenced drummer Levon Helm. Contemporary country made its presence felt on both sides of the Atlantic with Billy Ray Cpus' smash hit Achy Brealry Heart' in the early 1990s. The success of his country s6gte was later built uPon by Shania Twain, Garth Brooks and Dixie Chicks.

RECOMMENDED T.TSTE}EJ(G

Dixie Chicks' Wide Open Spaces (1998) features the hit'There's Your Troublel a contemPorary country classic, while their 2006 album TakingThe LongWoy features Chad Smith of the Red Hot Chili Peppers l"y-rrg down country grooves. New Zealander Keith Urban is arguably the reigning king of contemPorary country and his album Love, Pain & The Whole Crazy Thing (2006) straddles country, rock and Pop.

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[I]E

Buddy Harmon learned his trade as the house drummer at Nashville's Grand OIe OPty and helped define the style of country drumming on hundreds of sessions with country legends including Patsy Cline, |ohnny Cash and a young Elvis Presley.

Hoedown Henry Thomas

∽ 日 〓 ∩ 彗 電 ∩  ０ ５ @

Copyright 2ol2 Rock School Ltd.

This music is copyrighr Photocopying is illegal.

Walkthrough A Section(BarS l-2)

is played on both eighth notes and can therefore be relied

The introduction section is only two bars long in this piece. upon to maintain a solid pulse. Try practising this hi-hat pattern without the snare and bass drum until it is accurate It consists ofquarter note hi-hats on the backbeat (beats 2 and 4), bass drum, which is played mostly on beats and one snare hit in bar 2.

I

and

3,

BartlQuarternota

C Section (Bars 11-20)

In the opening bar, the bass drum plays quarter notes on beats I and 3 and the hi-hat plays quarter notes on beats 2 and 4. All the quarter notes should be even and played in perfect synchronisation with the backing track Bars

l-2

1

Quarter-note rests

and comfortable (Fig. 1).

long the

There are many quarter-note rests in these bars, but as as you understand the pattern and remember to count all beats, including the rests, this shouldrit be too challenging. Remember, in drum notation the various drum voices divided between the upper part and lower part of the Whenever you feel that a certain pattern looks difiicult can break it down and practise each part individually.

are stave. you

B Section(Bars 3-10)

eighth

In this section, the groove develops with consistent notes on the hi-hat. The snare is played on both backbeats (beats 2 and 4) and there are variations in the bass

drum

pattern. Changing rhphms inyourleadinghand can affect your timing and synchronisation with the backing track However, after the change from quarter notes to eighth notes in bar 3, the hi-hat pattern remains largely consistent until

The groove feels slightly different in the first five bars ofthis section. This is because the bass drum variations are played on many offbeats. From bar 17, the groove returns to a straighter feel similar to the one you played in section B. The final phrase of the piece is played in bar 20.

Bar I f I Bass drum ofrbeats When counting the eighth notes in the bar as "l & 2 & 3 & a *i the offbeats are all referred to as the'&"s. It might feel less comfortable playing the offbeats than playing on the beats (1, 2,3,4). However, it is just a matter of practising and getting used to this slightly different feel. Bar 20 | Ending phrase This is a musical interpretation of the final guitar and violin phrase. The hi-hat plays the first four eighth notes followed by a quarter note on beat 3. Apart from the bacl5eat (beat 2) played on the snare, all the other strokes that need to be co-ordinated with the hi-hat are played with the bass drum. The quarter-note rest on the fourth beat applies to both parts of the stave, so the hi-hat and bass drum hit on the third beat will be the final note of this piece. (Fig. 2).

the end of the piece. Bars 3-10 | Bass drum and snare variations You will need to perform the written variations in the bass drum and snare parts while maintaining an even hi-hat pattern. Break this section down into individual bars. Try practising each bar a few times, focusing on the minor

Anchor

variations until it feels comfortable. Bar 8 | Two bass, two snare There are two bass drums followed by two snares in the second part of this bar. The hi-hat maintains the consistent eighth-note pattern and can be used as the anchor. Aim to play both bass drum and snare drum notes at the same dynamic Ievel. Your natural tendency will be to play the second one in each group softer (especially the snare), but this can easily be solved if you lift your hand to the same height both times.

Count:

1

&

2

&

3

(4)

￨■ 11■ ￨■ ￨■ ￨￨￨￨￨￨￨￨■ ￨■ ￨￨￨

∽ 日〓 ∩ ち 電 ∩ 

Bar l0 | Shifting the anchor The main challenge in this bar lies in the fact that you can no longer rely exclusively upon the eighth note hi-hats as your anchor because the last two eighth notes are missing. You can, however, shift your focus to the snare drum, which

５．

Technical Exercises In this section the examiner will ask you to play a selection of exercises drawn from each of the three groups shown below. In addition there is a Fill exercise which you will play using the designated backing track You do not need to memorise the exercises (and can use the book in the exam) but the examiner will be looking for the speed of your response. The stickings shown (L & R) are there as a guide for right handed drummers. Left handed drummers should reverse the sticking patterns. Before you start the section you will be asked whether you would like to play the exercises along with the click or hear a single bar of click before you commence the test. Groups A-C should be played at )=70.

Group A: Single Strokes In eighth notes

Group B: Double Strokes In eighth notes

Group C: Paradiddles Single paradiddle

in eighth notes

Group D: Fill

In the exam you will be

asked to play the three bar groove shown followed by one of the notated examiner. You will perform this exercise to the backing track. The tempo is J = 80.

)=80

Rock

c R

fills chosen by the

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Sight Reading You will be asked to prepare a Sight Reading test which will be given to you by the examiner. The test is four bars long and played on the snare drum. The examiner will allow you 90 seconds to prepare it and will set the tempo for you. The tempo is

J=80. J=eo

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Ear Tests There are two Ear Tests in this grade. The examiner of test printed below.

Test

will play

each test to you twice. You

will find one example of each type

l: Fill Playbackand Recognition

will play you a one bar fill in common time played on the snare drum. You will play back the fill on the snare drum. You will then identifr the fill from two printed examples shown to you by the examiner. You will hear the test twice. The examiner

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 hear the vocal count in and you will then play the fill to the dick The tempo is J = 70.

will

A

Test 2: Groove Recall The examiner will play you a two-bar groove played on the bass drum,

hihat and snare. This is a two bar-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. Each time the test is played it is preceded by a one bar vocal count-in. The tempo is ,J= 80. J=so

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General Musicianship Questions In this part ofthe exam you will be asked five questions. Four ofthese 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 Debut, you will be asked to identifu:

. Drum voices on the

stave

r Quarter note and eighth note values

lnstrument Knowledge The examiner

will

ln Debut you will

also askyou one question regarding your instrument.

be asked to

identify:

. The following pars of the drum kit -

bass drum, snare, high tom, medium tom,

floor tom, hi-hat, ride cymbal and

crash cymbal

Further Information Tips on how to approach this part of this exam can be found in the Syllabus Guide for Drums, the Rockschool Drnzs Companion Guide and onthe Rockschool website: wwwrslawards.com.

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Entering Rockschool Exams Entering a Rockschool exam is easy, just go online and follow our simple six step process. All details for entering online, dates, fees, regulations and Free Choice pieces can be found at www.rslawards,com

. AII candidates should

ensure they bring their own Grade syllabus book to the exam or have proof of digital purchase

ready to show the examiner.

' All Grade 6-8 candidates must

ensure that they bring valid photo ID to their exam.

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Drums Notation Explained

BASS DRUM&TOMS

Bass drum

Floor

I SNARE_

tom

Medium tom

1

High tom

Ghost

snare

Rim-shot

Cross

stick

Buzz snare

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

Closed

Half

open

Closedt

Open

Closed‡

Ride

Hi‐ hatfoot Hi‐ hat foot

closed

Ride(be:!)

Crash

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ERAL MU5iC NOTAT10N >

a%.ar cOda

Accentuate note (play it louder).

Slashes are used to demarcate bars during solos, fills, developments and other ad Iib. sections.

Go back to the sign (S)then play untilthe bar marked To Coda O tnen skip to the section marked SCoda.

Repeat the bars between the repeat signs.

￨12

￨■

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

aCa′ Fline

ト

囲

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

Ｒ＞

LLRRLL

”″

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.

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

MUSICALttERMS W:TH SPECIFIC EXAMiNAT:ON DEFINIT10NS

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individual, stylistic fill.

Fi::

Play an

COnt.5:m.

Continue in similar way but vary the pattern slightly.

Develop Rit.

(ritardando)

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

Mechanical

C op

yright Information

Yellow (B erry man/ Buckland/ Champ io n/ Martin ) Universal Music Publishing MGB Limited

(Sittid On) The Dock Of The Bay (Redding/Cropper)

Universal Music Publishing Limited/Warner/Chappell North America Limited My Name Is (Mathers/Young/Srtr r) Chrysalis Music Limited

Untitled (How Does It Feel) (Archer/Saadiq) Universal Music Publishing Limited People Get Ready

@artieM) Sony/ATV Music Publishirg (UK) Limited/Warner/Chappell North America Limited Rebel Without A Pause (Ri denho ur / S a dler / Sho cklee/ Ro ger s )

Universal Music Publishing Limited/BMc Rights Management (UK) Limited

mcps

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