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rO⊂ k5⊂ h001°

ru s ra c Performance pieces, technical exercises and in-depth guidance

fo,

Rockscho ol examinations

XH貞ごII冨 芯LARDC No part of thk publication may be reproduced in any form or by prior written permission of the Publisher.

any means without the

Yisit HaI Leonard Onlineat ww*'.halleonard.com

Contact Us: Hal Leonard 7777 West Bluemound Road Milwaukee, WI53213 Email: [email protected]

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

In Australia contact: Hal Lecnard Ar:stralia Pty. Ltd. 4 Lentara Court

Cheltenham, Victoria, 3 1 92 Australia Email: [email protected]

Acknowledgements Published by Rockschool Ltd. @ 2012 & 2018 Catalogue Number: RSK200068

CONTACTING ROCKSCHOOL

www.rslawards.com Telephone: +44 (0)345 46A 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 Producer

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 2018 Repertoire) Guitar: |ames Betteridge, Andy G |ones Bass: Joe Hubbard, Diego Kovadloff, Joel Mclver Drums: Paul Elliott, Pete Riley

Arangers (Hit Tunes 2018 Repertoire)

engineer:

Mastenng engineer: Audio production: Audio management: Recording studios:

Publishing (Rockschool 2OL2 Repertoire) Fact Files written by |oe Bennett, Charlie Griffiths, Stephen Lawson, Simon Pitt, Stuart Ryan and |ames 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 lJings Additional drum proof reading by Miguel Andrews

Bass:

|ames Betteridge, Andy G Jones, Mike Goodman, Viv Lock Diego Kovadloff, Andy Robertson, Joe Hubbard

I

Drums:

Paul Elliott, Stu Roberts, Pete Riley

Guitar:

Guitar:

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 Iones, fames Betteridge, Mike Goodman, David Rhodes (Peter Gabriel) Bass: Nik Preston, |oe 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 (sor), Andy Wood (trmb) Endorsements (Hit Tunes 2018 Repertoire) basses, Positive Grid amPs Paul 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

Nik Preston: Overwater

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

nstrum ental Specialists (Ro )ames Uings Bass: Stuart Clayton Drums: Noam Lederman

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Musicians (Rockschool 20LZ Repertoire) Aody Crompton, Camilo Tirado, Carl Sterling, Charlie Griffiths, Chris Webster, Dave Marks, D] Harry Love, Felipe Karam, Fergus Gerrand, Henry Thomas, ]ake Painter' James Arben, |ames Uings, |ason Bowld, ]oe Bennett, Jon Musgrave, Kishon Khan, Kit Morgan, Larry Carlton, Neel Dhorajiwala, Nir Z, |Jcam Lederman, Norton York, Richard Pardy, Ross Stanley, Simon Troup, Steve Walker' Stuart Clayton, Stuart Ryan

Endorsements (Rockschool 2012 Repertoire) Noam Lederman: Mapex drutns, Paiste cymbals, Vic Firth Stici$ Recording & Audio Engineering (Rocksch ool20l2 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 iordan Supporting Tests recorded by Duncan |ordan and Kit Morgan Mastered by Duncan |ordan Executive producers: )ames Uings, )eremy Ward and Noam Lederman

Executive Producers John Simpson, Norton York

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Table of Contents Introductions & Information

1 2 3 4

Title Page Acknowledgements Table of Contents Welcome to Rockschool Drums Grade 8

Hit Tunes

5 Billy Cobham 11 Cole Porter... L7 Dirty Loops 23 Brecker 8rothers............... 29 Knife Party..... 35 Moderat

'Red Baron All Of You' .......'Hit Me' ........'Some Skunk Funk' ...'Bonfire' ........'Last

Timd

Rockschool Originals

39 45 51 57 63 69

'Meet Darth Ear' 'Mind The Gaps' 'Lead Sheet' 'Freightshaker' 'Nosso Samba'

'Dark Matter'

Technical Exercises

76

Single Strokes, Paradiddles, Triplets, Ratamacues, Rolls & Srylistic Studies

Supporting Tests

81 84 85

Quick Study Piece Ear Tests General Musicianship Questions

Additional Information

86 87 87 88

Marking Schemes Entering Rockschool Exams MechanicerlCopyrightInfonnation Drums Notation E4plained

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Welcome to Rockschool Drums Grade I Welcome to lDrums G}rade 8 Welcome to the lRockschoo1 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 and the exam scores in standard drum notation,as well as Fact Files and Walkthroughs for each song.

The downloadable audio includes:

.負 u stereo lnlxes of6 Rockschool compositions and 6 arrangements ofclassic and contemporary hits ・ backing tracks(in bOth chck and no― dick versions,minus the aSsessed drum part) ・ all necessary audio for the complete range ofsupporting tests

D)runl Exams At each grade,you have the option oftakng one oftwo differenttypes ofexaHlination:

・ Grade txam:a Grade Exam is a mixture ofmusic Performances,technical work and tests.You prepare threc Pieces (tW0 0fWhiCh may be Free Choicё Pieces)and the cOntents ofthe Technical Exercise section.This accounts for 75%of the exam markse The other 25%consists ofa QuiCk Study Piece(10%),a pa士 Ofinstrument specinc Ear Tests(10%), and anally you win be asked flve General Musicianship QueStiOns(5%).The pass mark is 60%. ・ Perfornlance Certiflcate:in a Performance Certiflこ ate you Play flve pieces.Up to three ofthese can be Free Choice Piecese Each song is lnarked out of20 and the pass IIlark is 60%.

Book Contents The book is d市 ided into a numbeF OfSё Ctions.These are:

・ Exam Piecettin this book you wil and s破 specia■y commissioned Pieces ofGrade 8 standard.Each ofthese is Fiir`.Each Fact Fle contains a summary ofthe song,its style,tempo,key and technical features, preceded by a lttε ″ along wlth a list ofthe musicians who Played On ito The song itselfis Printed on up to four pages.Immediately atter each song is a ttIた 働ro暉 た.This covers the song from a performance perspect市 e,focusing 9n the technicalissues you will encounten Each song comes宙 th a full ln破 version and a backing track Both versions have sPoken count― ins at the beginninge Please note that any solos Played On the fun m破 versions are indicat市 e on与

・ Techdcal Exercises:you should Prepare the exercises setin this grade in the keys indicatedo You should also choose ο g Stylistic Study from the three printed to practise and play to the backing track in the exame The style you choose “ determine the style ofthe Quick Study Piece. will a Quick ・ Supporting Tests and General Musicianship QueStiOns:in Drums Grade 8 there are three suPPorting tests― Study Piece,a pair ofEar Tests and a set ofGeneral Musicianship QueStiOns(GMQs)aSked atthe end ofeach exam. Examples ofthe types oftests hkely to appear in the exam are printed in this book.Additional examples ofboth types グarO Dr“ se ο4G夕 ′ oftest and the GMQs can be fOund in the Rockschool Cο η α′

“

“

・ AdditionaHnformation:ina■b you will and information on exam procedures,and marking schemes.

Audio Audio is provided in the form 6f backing tracks(minus drums,and in two versions:click and no―

click)and examples

(inCluding drums)for the pieces and the supporting tests where applicable.Audio files are supplied in MP3 formatto enable pl″ baCk On a宙 dc range of compatible de宙 ces.Digital versions ofthe book indude audio nles in the download.Download

audio for hardcopy books from RSL directly at w″ ″rslα ″αrJs.ε ο″〃θ″ Iθ α法 ― you will need to input this code when “ PЮ mpted:D3Y5N7MG9F

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Syllabus Guide An candidates should read the accompanying syllabus guide when using this grade bookt This can be downloaded from the RSL website:″ ″″rslα ″αrJseε θ “

Errata UPdates and changes to Rockschool books are documented onlinee Candidates should check for errata periodically whie studying fOr any examinationo Further deta■ s can be found on the RSL websitα ″w″ rSIα ″αrJs.ε ο たr“ ″ “

B SONG TITLE: RED BARON ALBUM: SPECTRUM LtBEL: ATLANTIC GENRE: 」感 Z FUSION

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CObham

Fusion

WRttEN BY: BILLY 00BHAM PRODUCED BY: BILLY COBHAM UK CHART PEAK: N/A

with Milt Iackson on Sunflower and with Grover

BACi(GROI]ND n[FO 'Red Baron is included on the jazz fusion masterpiece Spectrum by Billy Cobham, retreased in October L973. The record \ ias an unprecedented success, reaching the no.l spot on the Billboard lazz Album chart and a respectable no.26 on the Billboard 200 Chart. Spectrum contuns a number of memorable tunes such as 'stratus', 'To The Women In My Life / Le Lis' and'snoopy's Search / Red Baronl There is a freshness and groove that make the record stand out. There are exemplar contributions from |an Hammer on piano, keyboards and Moog synthesizer, Lee Sklar on electric bass, Ron Carter on acoustic bass, Ray Barreto on congas, |oe Farrell and Iimmy Owens on horns and flute, and Tom Bolin and |ohn Tkopea on guitars. Spectrum is regarded as a benchmark in jazz-fusion. By the trme he released

Spe

ctrum Billy Cobham

was a major league player. He started playing

Washington |r. on Soul Box. He started a jazz-rock group .utl.d Dreams featuring the Brecker Brothers on horns and John Abercrombie on guitar. In the late 1960s he joined Miles Davis, toured extensively, and recorded the seminal Bitches Brew and A Tribute to Iack lohnson In 1 97 | he left Davis' band together with guitarist John Mclaughlin and formed Mahavishnu Orchestra. 'fhe group toured extensively and recorded The Inner Mounting Flame. and Birds Of Fire, both albums are regarded as jazz-fusion masterpieces. Billy Cobham has since released 35 solo albums and collaborated on many projects. Cobham's open hand drumming is characterised by immense precision, great groove and impeccable technique. The rigour of his musical education and of army band playing furnished him with solid rudiments and strong chops. His drumming is steepeci in the jazz tradition but also takes strong influences irom various Latin percussion styles.

with Cobham's legendary career continues with great success. He is a dedicated performer and educator

with engagements all over the world.

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his father at a young age. Upon being drafted into the army he played in the US Army band and after his discharge he joined the legendary Horace Silver's quintet. He was a successful session drurnrner, working as house drummer for Atlantic Records and recording sessions for CTI and Kudu Records. He recorded with George Benson on White Rabbit,

Red Baron Billy Cobham Words & Music by Billy Cobham

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Walkthrough A Section (Bars 1-5) This classic Fusion track, composed by and featuring the legendary Billy Cobham, has a predominantly swung 16th-note feel throughout, which means that the "e's" and "a's" of the 16th notes, though written 'straight', need to be interpreted and played as 16th triplets. However, this concept is not an exact science and the drums have a wonderful loose and organic feel, so it's important to get familiar with the time-feel and movement of the 16th notes, which indeed are sometimes played a liule straighter than swung but always with great feel and conviction. This piece begins with a drum pick up fill and it's important to feel the 16th-note triplet subdivisions before coming in with the fill. This r+,ill help set up the A Section groove, which has an eighth note feel on the hi-hat, together urith selected 16th-note hi-hat embellishments. Also, pay attention to the open and closed hi-hat figures and ghost stroke combinations. Listen to the backing track and work through the groove many times, to establish a balanced and dynamic sound and time-feel. The section ends with a snare drum and bass drum filL Be positive and definite with this fill to set up the following section.

B Section (Bars 6-14) This section introduces the nine bar melodic cycle of the arrangement and it's very important to get familiar with this cycle, together with the integral melodies and rhythmic hits. The drum groove continues in a similar way against a backdrop of the main melody. Pay attention to the iconic drum fill at bar 9, which features a paradidcile feel, played between hi-hat and snare drum, with the bass drum following the hi-hat part. Playing the paradidcile through 16th-note triplets creates a cross-rhythmic feel, which can be challenging, so break down the fill - work slowly and methodically, locking in with the other instrumentation.

Continue with the main groove and prepare to pick up the integral tutti section, which begins on beat 4 of bar 11 and runs through bars lz-L4,finishing with very definite rhythmic hit, which should be played urith definition and conviction.

With reference to the improvised fills and orchestration, keep things stylistically appropriate, simple and spacious. Avoid overplaying.

D Section (Bars 24-31) Guitar Solo (32 Bars) E Section (Bars

32-39)

Keys Solo (16 Bars)

F Section (Bars

40-47)

Bass

Solo (8 Bars)

SectionS D, E and F, feature guitar, keys and bass solos, respectively. The solos are played over a repeated melodic vamp, as per the A Section.

Each solo section provides a sample two bar groove. In supporting the solos and developing the groove, it makes sense to create subtle embellishments of the groove, rather than adding too much. For example, one idea might be to move to the ride cymbal for part of a section - or create further hi-hat embellishments, such as open and closed techniques. Perhaps add more 16th notes to hi-hat, ride cymbal or snare, for example, to highlight the swung feel and to build dynamics and intensity.

Listen carefully to the melodic solos and develop the drum grooves accordingly with respect to stylistic and dynamic authenticity.

G Section (Bars 48-51) This section features a sixteen bar drum solo over the melodic vamp.

form technical demonstration but rather an extension of the groove development section, with firrther improvisation. Of course, this is a drum feature, but, as always, pay respect to the context of the track. Please note that the solo should not be a free

H Section (Bars 52-6A) C Section (Bars 15-23) This section continues with a similar groove and, melodic.liy, repeats the nine bar cycle introduced in the B Section. 日 〓 ∩  ０ ∞暑 “︼ ｏ∽ １

The section requires improvisation and orchestration around the rhythmic hits and tutti melodies, as shown in bars 18 and bars 20-23, respectively, finishing positively with the 16th-note phrase, to set up the solo sections.

This final section returns to the familiar nine bar cycle, featuring the integral melodies and rhythmic hits.

drum fill at bar 55, continue with the main groove and prepare to pick up the integral tutti section, which begins on beat 4 of bar 57 and runs through bars 58-60, finishing strongly with a linear-based 16th tripiet fill into the 16th-note rhythmic hit, played between bass drum and choked crash cymbal, to finish. Pay attention to the paradiddle-based

COle rOFttr SONG TITLE: ALL OF YOU ALBUM: BROADけ AY MY WAY

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All Of You'was written by Cole Porter in 1954 and quickly became a standard of the jazz repertoire. He is also the composer of classics including 'Night and Dayi 'I Love You' and'What trs this Thing Called Love?'

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he continued and enjoyed much success. He remained in New York, Iiving at the Waldorf Towers, until his death in 1964.

All Of You'has been recorded by notable iazz artists including Ahmad Jamal, Bill Evans, Frank Sinatra, Miles Davis, Sarah Vaughan, Ella Fitzgerald, Modern lazz Quartet, Mel Torme, Toty Bennett, Kenny Burrell, and Billie Hcliday amongst many others.

Cole Porter was born into a wealthy family from Indiana and followed his wish of becoming a musician much against the wishes of his domineering father. Cole Porter was classically trained and developed an interest in musical theatre early in his life. He started to get recognition in the 1920s after a slow start. Unlike most of his peers he wrote music and lyrics for his songs.

Nancy Wilson recorded hll Of You' for her album Broadway My Way, released in 1963. The record was arranged by George Shearing and was a great success. Nancy Wilson had an illustrious career ancl a catalogue that includes orrer 20 studio and live alburns. Her association with Shearing also yielded

During the First World War Porter moved to Paris to work for a relief organisation. He said he served in the Foreign Legion but there are conflicting accounls about that. Porter led a lavish and extravagant lifestyle. He threw legendary parties and lived in palatial glamour. In L923 he moved to Venice where

'Hollywood My Way'. Her collaborations include studio and live work with Cannonball Adderley, Hank |ones, Chick Corea, |oe Henderson, Ramsey Lewis and Stanley Clarke amongst many others. Nancy Wilson is the recipient of three Grammy Awards. She appeared on countless TV shows during the 1960s and 1970s and became a household name in her

he lived

in rented palaces. I{e continued writing

in

1928 he reintroduced

himself to Broadway achieving great success. This led to success in Hollywood and the West End. In 1937 he had a horseback riding accident that left him disabled and in great pain for the rest of his life. Nonetheless,

native US. 日〓 ∩  Ｈ ∞ｏ電 ︼ ｏ∽

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Al1 0fYou Cole Porter Words & Music by Cole Porter

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Walkthrough This piece is a modern interpretation of the Cole Porter jazz standard 'Alt Of You'. The regular jazz time playing is replaced with a swung funk backbeat though retains the original swing quality. The piece also features a 16-bar

The third chorus features a guitar solo and is again over the same 32 bars and once again looks to the drums to continue to develop and respond to the guitar solo but also to stay within the mezzo forte dynamic.

drum solo.

Drum Solo (bar 49) Eight-bar drum solo The piece begins with an eight-bar drum solo intro preceded by two-beat linear fill. The linear filI features a similar " approach to that used in bars 7 and 8 where the bass drum and right hand state the rhythmic essence of the figure while the left hand fills in the missing eighth-note triplets. As for the time feel it's essentially a half-time swung funk feel based around the jazz time pattern. In other words the right hand and left foot are playing the traditional iazz ride pattern and stepped two and four respectively. The snare then adds the main backbeat on beat 3 but also fills in the missing swung eighth-notes on the'&' of beats I and 3. However there is here, and throughout the piece, no strict adherence to one particular pattern. Instead the drums are expected to ebb and flow with the piece in terrns of bass drum and snare placement whilst always conyeying the fundamental swing feel and remaining in keeping with the

dynamic and genre.

After three repeats of the chorus we reach the fourth chorus and drum solo. Flere the drums solo over the first 16 bars of the chorus. The solo is a mixture of eighth-note triplet and l6th-note rates and predominately features linear combinations played between the hands and bass drum. The

triplet rate this mostly consists of the right hand and/or bass drum playing a phrase while the left hand fills in the missing triplets. While in the 16th-notes inverted double-strokes are used to move accents between downbeats and upbeats. The left foot steps quarter-notes throughout, which also allows the open sounds, played with the left han{ to be created-

Chorus 4 (Bar 65) The band rejoins in bar 65 to complete rest of the fourth chorus which ends with a similar figure to the one seeR during the intro, only now the figure stops on the '&' of beat 2 in bar 80.

Intro (Bar 9)

Outro (Bar 81)

The band enters in bar 9 to play an eight-bar intro. Flere the drums continue with the same kind of feel as was seen during the drum solo intro and ends with a six-stroke roll based fill in bar 15. Notice that the left hand plays the last eighth-note of the bar on the open hi-hats before the left foot closes the hi-hats on beat 1 of bar 16.

The ending features a simple turnaround frcm bar 81 and finishes with a fill that ends on an oPen hi-hat note on the last eighth-note of bar 83. This is then closed on the downbeat of bar 84 before hitting the final crash on the'&'

Choruses 1-3 (Bar 17) In jazz the form of a piece, which the band solo over, is referred to as a chorus. The length of that chorus depends upon the piece which might be a l2-bar blues or a 32-bar form. This piece features the latter which is played four tirnes through during the course of the piece and with the first three repeats played before the drum solo atbar 49. The first time at bar 17 the melody is played and drums play a lighter version of the previous groove featuring a cross-stick as opposed to the open snare along with a 日 〓 ∩  ６ ∞還 “︼ ｏ∽ １

simpler bass drum pattern. This change in pattern suPPorts the drop in dynamics to mezzo forte. The cross-stick is maintained through the first 32-bar chorus and changes to open snare for the second chorus and keyboard solo. The concept is a subtle lift in dynamics and intensity with the drums developing and responding to the changes within the keyboard solo.

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BACKGROUND NMO

'Hit Me' is the lead single from Loopified, Dirty Loops' debut album released in 2014. Dirty Loops started playing covers erranged blending pop, gospel and jazz fusion. In similar fashion to Snarky'Puppy they posted videos of themselves playing live on YouTube and gained notority fcr their arrangments. Their popularity quickly grew as the videos are testament to their superb musicianship. Their covers included 'Baby' by |ustin Bieber, 'Rolling In The Deey' by Adele, 'Wake Me Up' by Avicii, 'Sexyback by |ustin Timberlake, 'Rude Boy' by Rhianna (retitled 'Prude Girl') and 'Circus' by Britney Spears, amongst many others. The group's videos have been viewed over 20 million times on YouTube.

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eleven original compositions

and three coverso The albumis lead single`Hit lMピ reached the JapaneSe ToP 10 upOn its releaseo The songb lyrics were written in collaboration with

Andreas Carlsson. E)irty LooPs are Jonah Nilsson on keys and vocals, H[endrik Linder on bass and Aron Mellergardh

on drums.They met whiststudying atthe Royal College ofMusic in Stockhollno The廿 outstanding musicianship gotthem noticed as a group and individually.Hcndrik Linder rnade the cover ofBass Player rnagazinc and has been hailed as one oftodayゝ most technicaly gifted bass Players.Henrik Linder

and Aron Mellergardh endorse a number ofbrands for their respect市 e instrumentse The band rece市 much praise from musicians a1l over the l″

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including Quincy lones and stevie Wonden Dirty LooPs started work on a secOnd album in 2015 but alleged creative differences put the proJcct

on hold and the band havc decided to go on a hiatus and Pursue individual interestse

日〓 ∩  ７ ∞遇 “︼ ｏ∽ １

Their outstanding work got the attention of Swedish producer Andreas Carlsson who signed the group to a management deal. In 2012 Dirty Loops auditioned for David Foster in Los Angeles and Foster signed them to Verve Records. The band have toured a number of times since, including the Asian leg of David Foster and friends. In 2015 Dirty Loops opened for Maroon 5 during their Australasian tour.

Hit Mc Dirty Loops Words & Music by Andreas Carlsson, Aron Mellergaargh, Henrik Linder & Ionah Nilsson

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Walkthrough Drum Pick Up and A Section (Bars 1-9)

D Section (Bars 36-51)

This lively funk track has a swung 16th-note feel. This means that the "e's" and "ds" of the 16th notes - though written 'straight' - need to be interpreted and played as 16th triplets. This concept is not an exact science; so it's important to listen carefully to the instrumentation of the original track and backing trach to get farniliar with the subtle movement and potitiorring of the 16th notes to create

unisons, through bar 43.

the implied swing feel. The track has a drum pick uP, so be sure to internalise the pulse and to feel the 16th-note triplets before playing the linear fill. The groove in Section A features an eighth note feel on the hi-hat, together with snare rim-shot backbeats and syncopated bass drum variations. The bass drum figures lock in with the melodic rhythmic arrangement, so listen carefully to the backing track to get comfortable with the time-feel. Be aware of the eighth note crash cymbal push at the end of bars 5 and also at the end of bar 8, which is followedby a short improvised fill into bar 9, picking up the 16th-note

rhythmic stab and finishing the section with the open hi-hat to set up Section B.

B Section (Bars 10-25) This section begins with a'four on the floor'bass drum through bars 10-16, leading into the tutti at bar 17. Keep this tight and finish positively on the snare hit on final eighth note of the bar. The driving bass drum feel continues through bars L8-24, together with snare backbeats and hi-hat variations, finishing with the fill at bar 25 andPaylng attention the crash cymbal push, followed by the syncopated snare hits.

C Section (Bars 26-35) This section repeats the A Section through bars 26-33, with the ride line changing from hi-hat to the bell and body of the ride cymbal. Again, there is an improvised fill (Bar 33) picking up the rhythmic stab and the open hi-hat figure, leading to and introducing a two bar groove over Bars 34-35.

This section begins \ rith a two beat rest and then picks up the feel of the groove introduced at the end of the previous section, featuring syncopated hi-hat figures through bars 37-42.The groove finishes on the last eighth note of bar 42 with a thirty-second note snare drum fill to set up the rhythmic and melodic hits, played as hi-hat and bass drum

Bars M-s},features offbeat hi-hat accents, leading to the linear filI at bar 51. It's very irnportant at bars 43 and 51 to break down the respective phrasing and to experiment with related sticking patterns.

E Section (Bars 52-63) Bars 52-58 of this section repeat the syncopated groove featured in Sections A and C with the predominant snare drum fitls setting up the crash cymbal and bass drum unison accents through bars 59-60, locking in with the melodic structure and creating some breathing sPace before the long 16th-note triplet fiU through bar 63.

F Section (Bars 64-7L) This section features an eight bar drum solo, played around the rhythmic stabs. Be careful not to overplay the solo and respect the context of the arrangement, maintaining a sense of groove, together with creative improvisation.

G Section (Bars 72-79) This section is similar in feel to the D Section - heavy on bass drum and backbeats and featuring syncopated hi-hats' The section ends on bar 79 with a repeat of the fill at bar 51.

H Section (Bars 80-88) The arrangement finishes with a chailenging ride cymbal rhythm, played over the driving bass drum and backbeat, through bars 80-86. Pay attention to the cymbal bell pattern. This groove leads into the crash cymbal and bass drum unison accents through bar 87, supporting the melodic hits and pushing into bar 88, which ends with a cymbal choke, as directed.

日 〓 ∩  ２ ｏ∽ ∞暑 “︼ ２

Brecker Brothers SONG TPLE: SOPIE SKUNK FUNX

ABUM: BREm BROS. LABEL: ARttTげ BMG GⅢRE:」 協 FUS10N/JttZ FUNXi:

WRWEN BY: RANDY BRm PRODUσ ED BY: RANDY BRE―

J=

130 Futtk/Ft'tsion

日

UK OHART PBAK: N/A

mⅨ GROUm mTFo

the Horace Silver Quintet.In the earけ 1970s he was

and Gary Bartz. His sound became familiar to many when he recorded with Herbie Hancock on the L973 Head Hunters album, and to an even wider audience when he recorded with guitarist George Benson on the 1 97 6 multi-platinum - s ell tng Breezin'. Mas on started recording solo albums in L975 and achieved significant success in the late 1970s. In addition, he also recorded with Chick Corea, Donna Summer, Patrice Rushen, Rufus, |oe Henderson, Casiopea, The Brothers |ohnson, Carole King and the classic Survival of The Fittest with The Headhunters. Since 1990 he has been the drummer with smooth iazz sensation Fourplay, together with bassist Nathan East, pianist Bob |ames and guitarists Lee Ritenour and

an already estabhshed session inusician whose solos

Larry Carlton.

`Some Skunk Funk'isthe opening track on The Brecker Brothers'cPonymous debut albunl,released in lanuary 1975.The record was a great success

and`Some Skunk Funr recelved three G}raΠIIny Award nonlinatilns,inclllding Best lnstrttmental

Arrangelmtent for`Some Skunk Funに

Rantt Brecker worked宙 th Blood,Sweat&Tears, the Horace Silver Quintet and Art Blakeyゝ IaZZ 燿 Messengers.He recorded his flrst solo albunl,Sε θ 7,in 1968。

Michael Breckerwas also a sideman andjoined'

were in demand in a varieサ ofstyliStic nelds ranging

funky groove that pushed the tune along seamlesslヌ

'Some Skunk Funk' features Mason's classic groove and displays the Brecker Brothers' musicality in full" Their horn section work is highly rated by musicians as is their individual playing. Both Randy and Michael are gifted composers, arrangers and producers. 'Some Skunk Funk is a classic of the jazz-fusion and jazz-

adding new elements to the musicalterritory explored

funk eras. Michael Brecker died aged 57 in 2007.

fromjazz to R&B and rock The Brecker Brothers

worked■ 7ith Billy Cobham in the band DreaIIIs, whose bass Player was Win Lee.Lee,oined the Brecker Brothers for`Some Skunk Funr and,together with drunllner H[arvey Mason,pro宙 ded a nuid and

by bandslike Tower OfPowen

has worked宙 th ma"jazz andjazz―

fusion artists

including Herbic Hancock,Bob lameS,Donald Byrd

日〓 ∩  ３ ∞Φ電 ︼ ｏ∽ ２

Harvey Mason is known for his unique feel, groove,and amazing precision and tilne kecPingO He

Some Skunk Funk Brecker Brothers Words & Music by Randy Brecker

J=130 Funk/Fusion

日〓 ∩  ４ ∞壱 ”︼ ｏ∽ ２ @ Copyright 1975 Bowery Music Publishing. Universal Music Publishing International LimitedRights Reserved. International Copyright Secured-

All

Develop

Develop

日 配 ∩  ５ ∞喘 ｃ︼ ｏ∽ ２

Develop on repeat

As intro

日￨l

- fill around rhythm

hits

around rhythm htts

Guitar 5o:o

Develop

Guitar Solo

(cont.)

日〓 ∩  ６ ∞還 ”︼ ｏ∽ ２

Fill around rhythm hits

Guitar Solo

(cont.)

Develop

Guitar Solo

(cont.)

Develop Fill around rhythm hits

Fi‖

tr

Drunr Solo

El

,',' around rhythm

around rhvthm hits

(2 bars)

hits

日 〓 ∩  ７ ∞瑠 ”︼ ０∽ ２

ｏ ｌｌ 姜 ｈ

Fill around rhythrn hits

Walkthrough A Section(BarS l-5)

E Section (Bars 26-37)

Bars l-5 ofthis energetic fusion track introduce the`head' ofthe arrangeltttent and feature a 16th― note orchestrated

This section, featuring the ride cymbal, is very syncopated and varied. Bars 26-27,28-29 and 30-31 have a repeated two bar groove and rhythmic phrase structure, with the phrase played first on the cymbal bell, then cymbal body and then on crash cymbal. Notice the ghosted snare in bars 27,29 and 31, which adds movement and energy to the

tuttic Notice the combinations ofsounds through bars l-3, featuring crash cymbal and bass drunl unisons,open hi― hat and bass drun■

unisons,supported宙 th a driving snare

drum to lock in宙 th the melody

respective phrases. Listen to the backing track and feel the transitions flom the 4/4 tilne signature in bar 3 into the 7/8 1inear fln in bar 4,

then back to 4/4 in bar 5。 Itb import〔 Ilt to play the flam at

Pay attention to the 718 atbar 32, together with the fill, and to the transition back to 414 in bar 33. Bars 33-37 are

tutti phrases and feel quite syncopated against the

the beginning ofbar 5 with Power and deflnition to create

essentially

the tension ofthe dead stoP,fOl10Wed by the rests over

backing track.

beats 2 and 3,leading to the cynibal crash on the last eighth note ofthe bar to set up the B Section.

F Section (Bars 38-39) Be aware that there are different bptions―

but no rules―

regarding the choice ofsticking patterns played throughout

the whole section.Work methodically and exPeriment with

This section has a two bar structure, repeated three times. Notice the two beat fill and the grooves should be developed during the repeats, as stated.

sticking Patterns in relation to the speciflc combinations of

sounds,as indicated in the arrangement.

G-K Sections B Section(Bars 6-13) This section comes in wlth a crash cymbal then settles lrlto nth snare rlrrl― an eighth note feel on the hi― hat,together Ⅵ

shot backbeats and bass drunl variations,locking in Ⅵath the

(49

-64)

The G-K Sections repeat the A-E Sections, though featuring more scope for interpretation and improvisation around the rhythmic hits, as indicated. Notice that the guitar solo replaces the melody but that the rhythmic and supporting melodic structure remains the same.

backing track.Notice the syncopated snare backbeats in bars

8,9 and 12,which create rnovement and energy.The section ends at bar 13 with a 16th― note tutti phrase,Played as a

L Section (Bars 65-66)

power flanl on beat 3,ending with a 16th― note phrase on the

This has a two bar drum solo, rvhich can be played as an extension of the groove or as a fill to set up the M Section (Bars 67-71), which repeats the structure of the A and G Sections to finish the arrangement.

snare drum to set up the next section.

C Section(Bars 14-17) In this short section,the eighth note ride line changes from hi― hatto

the ben and body ofthe ride cymbal,together

宙 th syncoPated bass drum and snare drum lrlterPlay and incorporating stepped hi― hats on quarter notes in bars

14-16.The section flnishes at bar 17宙 th an orchestration ofthe melody over beats l and 2,fouowed by the nl leading into the I)Section.

D Section(BarS 18-25) This section has the same melodic and rhythmic structure as the B Section and features a two bar groove plus two

bars develoPment Ofthe groove,over bars 18-21 and bars 日 〓 ∩  ８ ∞遇 ”︼ ０∽ ２

22-25 respectively.Listen to the backing track and refer to the syncopated grooves in bars 8-9,and 12-13 for

development guidance.

K饉 fe Fa晦 SONG

IITIE:

BONFIRE

AIAUM: L,A3EI:

EARSTCRM

RAGE VAI,IEY

/ GENRE: NE\,I WAVE /

BrG BEAI DANCE-PCP

fl4 Dubstep ︱具

WRttEN BY: ROB SWIRE AND GARETH MCGRmEN PRODUCED BY: ROB SWIRE AND GARETH MCGRmEN

J=

UK mART HttK:45

ノ BACXGROI]ND I}[FO Knife Party are an offshoot of Australian drum and bass band Pendulum. Members Rob Swire and Gareth

McGrillen are a highly regarded electro house duo that has worked with artists such as Skrillex, Swedish House Mafia, Steve Aoki, Mistaiam, Foreign Beggirs, See MONSTAS, Tom Staar and Rage Against The Machine's guitarist lbm Morello.

'Bonfire'has been viewed over 56 million times on YouTube. The song blends a hard edged drum and bass style with elements of dub. The album Haunted House was Knife Party's biggest commercial success, reaching no.l in the US Dance charts in 2013. Abandon Ship reached the no.2 spot of the US Dance Charts in 20L4.

I

Knife Party remixed Pendulum's track'Blood Sugar' for the album Reworks, released in 2,016.

Knife Party's hard edge sound is made using the

Digital Audio Workstation application Nuendo as their main platform. They released I,{o Modern Talking in 20LL, Rage Valley in 20L2, Haunted House in 2013, Abandon Ship in 20 L4, Trigger Warning in 20L5, and Battle Sirens in 2016, featuring Tom Morello.

'Bonfird was included on Rage Valley. The EP was the duo's first entry into the Billboard 2A0, peaking at number 75. 'Bonfiri was featured in an episode of Breaking Bad in its fifth season.

日〓 ∩  ９ ∞ｏ罵 ︼ ０∽ ２

Knife Party have been a regular presence in festivals and the club circuit all over the world. Swire and McGrillen alternate these presentations with their Pendulum schedule, which also sees them play to large crowds all over the world.

Bonfire Knife Party Words & Music by Rob Swire & Gareth McGrillen

)

=fi4

Dubstep

日〓 ∩  。 ∞遇 ”︼ ０∽ ３ o copyright 20I2 Sony/ATV Music Publishing/EMl Music Publishing All Rights Reserved. International Copyright Secured-

Limited-

回真

ノ  ー

日〓 ∩  ∞０瑶 ︼ ０∽

３．

1491ノ

日 〓 ∩  ２ ∞壱 ”﹄ ｏ∽ ３

Develop

日〓 ∩  ３ ∞瑠 ”︼ ｏ∽ ３

Walkthrough A Section (Bars 1-8) Bars l-8 of this high energy Dubstep

E Section (Bars 49-64)

to a reggae bne drop groove, due to the melodic structure and the bass drum falling predominantly on beat 3. The subdivisional variations ofthe hi-hat, together with open and closed figures, create an interesting groove mix. track, feel similar

beginning of the half-time feel, Ieading to

Pay attention to the snare and crash at the very of the track and be aware of the rim-shot snare on beat 3

bars 4 and 8, which accentuates the fill at bar

8.

This section changes dyhamic as the groove moves from the heavy hi-hat to a closed hi-hat feel. The whole section has a predominant linear feel and this can be very challenging, particularly considering the 16th-note hi-hat embellishments. Work slowly on bars 49-56 to get familiar with the linear feel and to establish which stickings feel most comfortable. Bars 57-62 continue and develop on the linear theme. When developing, be careful not to overplay. Aim for subtle and creative embellishments of the general groove. The section ends overbars 63-64 with a syncopated snare drum phrase played against eighth notes on the hi-hat and quarter note bass drum.

B Section (Bars 9-16) This section comes crashing in, Iiterally, then settles into an eighth note feel on the hi-hat, featuiing open and closed hi-hat figures, together with snare rim-shot backbeats and bass drum variations, to create a driving and positive halftime groove. Listen to the ba&ing track and be aware of the instrumentation - lock in accordingty and notice that this

Notice the dynamic change of this section, similar to the D Section, with some minor bass drum and filI embellishments. Bars 73-80 continue and develop on this heavy groove. Be carefrrl not to overplay - aim for subtle

section is

creative and sonic embellishments.

repeated.

F Section (Bars 65-80)

Notice the snare drum and bass drum figure at bar 16, which needs to be played positivety, as a

power

with the

sn'are

ptayed

flam.

C Section

G Section (Bars 81-88) This repeated section is similar in structure and feel to the B Section, with a few minor variations, as directed. Notice the dynamic change, as the hi-hal returns to a cleaner sound.

(BarslT-32)

This is a breakdown section, featuring a predominant quarter note bass drum throughout which anchors the ofibeat feel ofthe hi-hatand the snare drum on beats 4 of bars 18 and 20, The section builds and introduces the unison tom fills in bars 22 and 24 and continues with this theme through bars 25-28 with the tom and snare drum figures providing further intensity. Bars 29-30 have a repeated snare drum phrasg together with specific accents and notice the subtle crescendo leading into, and through, the driving 16th-note fiIl at bar 30, finishing on beat I ofbar 32. This accented dead stop creates a degree ofmusical tension in anticipation ofthe next section.

H Section (Bars 89-96) This final section ofthe arrangement features an eighth note hi-hat feel, together with snare backbeats, and syncopation, played over a quarter note bass drum. The arrangement ends with a 16th-note snare drum crescendo over bars 95-96 and finishing on beat 3 ofbar 96, as directed.

D Section (Bars 33-48)

t E (,

This section features a change in dynamic, with a heavy quarter note open hi-hat feel, together with powerful rimshot backbeats and bass drum variations to lock in with the backing track. Play with energy and conviction but pay attention to the feel and sound ofthe open hi-hats in the general groove dynamic and balance ofsounds. The section ends over bars 47-48 with the snare drum phrase, as directed.

A

34

｀ ｀ ｀ ヽ ヽ ヽ 、 ゝ 、 、 、 、 ヽ ヽ ヽ ヽ ___

Moder説 fMIE:

SO}IG

I,A,S

TTME

AI*BUM: MODERAI IT

IASEI:

MONI(EYTCWN RECORM

GENRE: EI.,EffrRoNrCA rDM

/

/

IIOITSE

/

Jε α ん θ 漁 ′ J=147 EJθ ε

MINrITAI rECriNO

WRttEN BY: GERNtt BRONSERT AND PRODUσ ED BY: SEBttTIAN SttY

MODERAT I]K OIIART PEAK: N/A

BACKGROTIND NMO

Moderat are a Berlin based electronic music group. They have released three studio albums, Moderat, Moderat II and Moderat III. Moderat II charted atno.73 and Moderat Iil at no.53 in the UK aibum charts. The group's first release, Auf Kosten der Gesundheiti released in2002, got the band noticed and as result they started touring, regularly featuring on the club and festival circuits.

In 2009, Moderat were voted best live act by readers of the online electronic music magazine Resident Advisor. The group, made of Sascha Ring, Sebastian Szary and Gernot Bronsert, announced their choice to take indefinite leave after finishing a world tour in September 20L7. 'Last Time' has been viewed over five million times on YouTube. 日〓 ∩  ５ ∞瑠 “︼ ｏ∽ ３ ＼ 、

Last Time Moderat Words & Music by Sascha Ring, Gernot Bronsert & Sebastian Szary

)=1a7 Electronica

グ

Develop

日 〓 ∩  ６ ∞還 ”︼ ｏ∽ ３ @ Copyright 2013 Random Noize Musick Budde Music Publishing GmbH/Coplright Control. All Rights Reserved. International Copyright Secured-

Develop

To Coda

Fill around rhythm hits

D。 %口

S

al Coda◆

S coda

Develop

日〓 ∩  ７ ∞ω罵 ︼ ｏ∽ ３

Fill around rhythm hits

＼

Walkthrough A Section (Bars 1-8)

D Section (Bars 4L-45)

The opening section of this Electronica track features the interplay between eighth notes on the hi-hat and the sparse but repetitive bass drum pattern, together with oPen and closed hi-hat figures, 16th-note hi-hat embellishments and selected snare backbeats - all of which combine to provide movement, definition and urgency to the groove.

This is essentially a breakdown section, featuring a lower dynamic, predominant hi-hat eighth notes and repetitive bass drum pattern. Be aware of the open and closed hi-hat figures, ghost strokes and syncoPated backbeats - all of which contribute to the energy and texture of this section through bars 4L-47, ending with an improvised fill around the Rhythm Hits at bar 48.

Pay attention to the syncopated fill at bar 8 and anticipate the change of dynamic, together with the introduction of the snare cross stick in the following section.

At the end of bar 48 there is a D.S. al Coda, which means returning to the sign at bar 9, playing through as directed to the end of bar 40, then taking the Coda at bar 49, which is the E Section.

B Section (Bars 9-24) Be aware of the dynamic change and the

introduction of the half-time

cross stick on beat 3 of bars 9-15, which creates a

E Section (Bars 49-58)

but deceptively so, as there is still a lot of rnovement and interplay on the drum kit, particularly given the open and closed hi-hat figures. Also, notice the snare drum phrase at the end of bar 16, played as a cross stick against the hi-hat.

This final section is very similar in technical and sonic approach to Section C but features a significant change in snare drum positioning; moving from beat 4 to beat 3 over alternative bars. This effectively break" tP the half-time feel. Bars 49-50 and 5l-52 demonstrate this. Also, be aware that these two bar sequences feature a layered feel followed by " linear feel, which is challenging.

feel. The feel appears to be quite spacious

-

17 -23 continue and develop the groove. Be careful to stay in context, respecting the general structure and sonic qualities of the groove and then develop with subtle ernbellishments, which might include additional open and closed hi-hats and 16th-note hi-hat embellishments, or even additional bass drum notes and cross stick, for example.

Bars 49-52 are repeated and this is followed by a development section through bars 53-56 - again repeated. As always, keep the development section in context and avoid overplaying.

The section ends at bar 24, with a syncopated cross stick phrase played against the hi-hat.

The arrallgement ends with an improviseci syncoPated around the Rhythm Hits at bar 57 -58.

Bars

C Section (Bars 25-40) This section has a change of dynamic and introduces the snare backbeat, played as a rim-shot on beat 3 of each bar, which establishes the half-time feel at a heavier dynamic. There are also some significant changes to the hi-hat, including 1 6th-note embellishments, 16th-note phrases and eighth notes, as shown in bars 25-28. This irregular hi-hat movement, and the related interplay with the bass drum, snare backbeats and ghost strokes (Bar 28), results in a combination of layered and linear grooves. Work slowly and methodically though this section. Experiment with different stickings on the hi-hat and establish what feels most technically comfortable

日 〓 ∩  ８ ∞ｏ罵 ︼ ｏ∽ ３

Bars 2g-32are very similar to bars 25-28and the section ends with bars 33-40 developing this theme. As always when developing, pay respect to the general groove and crcntext and avoid overplaying. Subtle and creative embellishments are the key to developing the groove.

fill

MeeL DaFttl Ear DARTH EAR CrENRE: PROGRBM METAL TEP艶 120 BPM

SONG TITLE:

FEATUR“ :

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Progressive Met'

︱美

TEσ H

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VARED NOTE VAL鵬 ODD TM SIGNATUR3 00MPOSittR3: mARLIE GR― THS &Sヽ ON BOWLD

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P酪 ONNEL: mm GRPmHS(GTR) 」SON BOWLD(DRUMS) 孤Ⅶ m鵬 o畑 )

OVER\TIEW

'Meet Darth Ear' is a prog metal track celebrating the style of bands in the vein of Drearn Theater, Megadeth ancl Annihilator. The track features tirne signature changes, fast doubles with the right foot, and complex fills that accelerate through different note values among its techniques.

SI'YIE

FOCI]S

drummers and is revered as one of the world's most influential players. The prog tag comes from both genres' use of odd time signatures, complex structures and a wide range of influences from jazz to classical. Prog rnetal emerged as a genre in its own right during the mid 1980s. At this point, Queensriche, Dream Theater and Fates Warning were born, all blessed with talented, drummers (Mike Portnoy of Dream Theatre especially became widely respected). Even bands of other genres of nnetal have injected into their sound, including Megadeth and Pantera, while prog rnetal's spirit continues tcday in Mastodon, Opeth and Coheed And Cambria.

Prog metal requires a great degree of focus and accuracy to ensure the drums perfectly accentuate specific guitar riffs and accents. Rhythmic changes to the groove and time signature are a natural occurrence in this style so you must be familiar with the 'road map of the song before embarking on a full performance of it.

RECOMMENDED

TIIE

Portnoy's drumming encompasses the modern prog metal sound and 'Under A Glass Moon from

STGGER PTCTURE

IISTENING

their L992 album Irnages And Words is a gooC point of reference. Brann Dailor's drumming for Mastodon is worth investigating, especially on their 2011 alburn The Hunter. Far something vintage that still stands up, Peart's style can't be ignored. 'spirit Of The Radid and other songs display a broad range of sryles and techniques that are essential to the prog sound.

日〓 ∩  ９ ∞壱 “︼ ｏ∽ ３

Prog metal is a sub-genre of metal with its roots in progressive (prog) rock of the 1970s. Bands such as King Crimson, Uriah Heep and Rush championed the style commercially at that time and the latter continue to do so to this day. Neil Peart of Rush set the standard for all aspiring prog metal and prog rock

aspects of prog

Meet Darth Ear Charlic Grimths&JasOn BOwld

」 =120

Pragrassナ

に■ 々″′

日 〓 ∩  。 ∞還 ”彙 ｏ∽ ４ @

Copyright 2012 Rock School Ltd-

This music is copyright- Photocopf ing is illegal.

26〕 〔

301 〔

回1111

1111 1111

日〓 ∩  ∞０電 ︼ ０∽

Bass Solo (8 bars)

４．

@

Copyright

2012 Rock School Ltd-

This music is copyright- Photocopy'ing is illegal.

□:」 翼Sd° .6詭 →

日〓 ∩  ２ ∞還 “︼ ｏ∽ ４ @

Copyright 2012 Rock School Ltd.

This music is copyright Photocopf ing is illegal.

回

Drum Sdo ttba→

日〓 ∩  ３ ∞ｏ電 ︼ ０∽ ４

@

Copyright 2012 Rock School Ltd.

This music is copyrighl Photocopying is illegal.

Walkthrough A Section (Bars 1-9)

F Section (Bars 49-64)

This section features a groove featuring quick right foot doubles and synchronisation with the guitar riff.

The previous groove is developed dynamically and breaks into a powerful build on the toms from bar 57 to 64.

Bar 4 | Dotted crash filt This fill has a dotted eighth-note feel on the four crash cymbals. Try the sticking outlined in Fig. 1.

Bars 49-56 | Developing the 7/8 cross stick grocve Musically, this section is similar to the first 718 ride groove which was played in bars 17 -24, but with more room for developrnent. You have the freedom to play some dynamic fills such as six stroke rol.ls or other rudimentary patterns.

B Section (Bars 10-16) Odd time signatures lengthen and shorten the groove here for dramatic rhythmic changes and fiIls. Bars 10-16 | Odd time signatures In addition to 4l4there are four other time signatures in this section. The easiest to way to think of them is simply extra beats added on to 414. Bar 13 in 314is a fill.

G Section (Bars 65-72) It is important to explore possibilities such as playing over the bar or creating two-bar phrases in this solo. Bar 72 should form a unison drum and guitar fill.

as

H & I Sections (Bars 73-57) Section H is a reprise of the A section with slightly dif;ferent filIs. Section I is a reprise of the B section, excePt that the ride bell is favoured over the hi-hats.

C Section (Bars 17-32) This section features a ride groove in718 that develops. Bars 17-241Zrc ride groove In this groove, every bar is similar in that two bass hits are always played on beats I and 3, and the backbeat always lands on beat 5. Every other bar feels different simply eighth note. because it is displaced by

Bars 86-87 l Changing gears To end this song, you are required to switch from 16m notes to eighth-note triplets. These final two bars can be counted as "1e& 2& 3&a 4-trip-let 1" (Fig. 2).

*

Bars 25-32 | Zrc development Try increasing the bass drum hits for a development idea, playrng in between the eighth note ride beats and also adding fills every other bar to increase the intensity. R L L R L L R L L R L L R L R L

D Section (Bars 33-40) This section features a hard-hitting groove embellished by fills that complement the guitar riff every four bars. Bars 33-40 | Rock groove and fills In order to sound big, the crashes should not be over-hit in this rock groove. Therefore, the backbeats, bass drum and the fills in bars 36 and 40 should be played as Powerfully.

E Section (Bars

Fis1: Dotted crash C' ',

filI

'

4l-45)

The bass solo section features a cross-stick groove played 718 that includes an evolving ride pattern.

in

日 〓 ∩  ４ ∞暑 〓 ｏ ∽ ４

Bars 4l-47 | ZtS cross stick groove Here, the cross stick plays on every quarter note. As it is in 7l\,be aware that this will displace onto the offbeat in every other bar. The bass drum locks down with the bass and a polyrhythm occurs during bar 44 as the ride breaks into a shuffle pattern, eft'ectively playing six over seven.

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M_ind The Gtts SONG ITmLE: PEND THE GA郎 GENRE: FUNK TEPIPO: 96 BPM

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STUARI RYAN (GTR) T,ARRY CARLTCN (CtR)

HENRY ffIoMAS (BASS) NOAM TEDEFfiAN (DRUMS)

Ross sfAli-rEY (rmYs) r.ERGUS GERRAND (PERc)

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`Mind The Gaps'is a track in the style of 1970s

instrumental ink groupslike The Average White Band,The crusaders and Tower OfPowen lt features 16th―

note tripletS,32nd notes on the hi― hat and

ghosting among its techniques.

STLE FOttS Funk O■ en fOcuses on syn,opation,whether that means disPlacing the snare accents away from a

Eddie Bo created a type of funk played with a looser feel (check out Bo's 'Hook And Sling' with |ames Black on drums).

In the 1970s, groups like The Average White Band, The Crusaders and 'Iower Of Power smoothed out funk's rougher edges to produce music that was slick and polished. Tower Of Power's drummer David Garibaldi is one of the genre's finest exponents. George Clinton assembled a cast of players for his groups Parliament and Funkadelic, mixing Led Zeppelin style rock grooves and disco beats.

straight`2'and`4'or dropping in the bass drunl orthe

downbeatto change the feel ofa groove.You can add ■ourishes on thc hi― hat to add texture and interest to a

REOOMI"IE}MED IJSTEI\TINC

part but,whatever you do,stay in the pocket and kecP the grooves flowing.Many funk drunllners favour thin snare druΠ ls,even Picco10 Snares,often made from brass to give their beats a real snapo HoweveL it

is importantto ensure a clear separation in the volume levels between your ghost notes and accents to avoid yourplayrlg beconling cluttered and lnessy。

IameS BrOヽヽ dassic funk was sharp and Punchヌ while in New Orleans artistslike The Meters and

Connectian (L975) is a diverse set of grooves and tempos and a cornerstone for your funk collection.

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THE BIGGER PImURE

Tower Of Power's hit 'What Is Hip?' captures Garibaldi on top form. |arnes 'Diamond' Williams of the Ohio Players is a great funk player too. You can hear his playing on the tracks 'Fire', 'Skin Tight' and 'Love Rollercoaster' which was later covered by the Red Hot Chili Peppers. The Average White Band have cut their share of funk standards including 'Pick Up The Pieces', with original drummer Robbie Mclntosh, and'Cut The Cake' and'school Boy Crush' 'with Steve Ferrone behind the kit. Parliament's Mothership

Mind The Gaps Kit Morgan

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Drum Solo

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(8 bars)

Solo around stabs

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Guitar So:o(16 bars)

Develop

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Bass Solo (12 bars)

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◆Coda

Walkthrough A Section(BarS l-4) This section features an introductoryhi-hat pattern and a fill in bar 4 that prepares for the entry ofthe groove in bar 5. Bar

4lEill

open/ sticking, hi-hat closed bass drums will require practice but will improve your four-way

The two challenges in this filI are the sextuplet and closed hi-hat. With the sextuplet follow the RLRLFF, and ensure accuracy and flow. The open ofthe e' ofbeats 1 and 2 should be followed by a hi-hat on the'&1 Co-ordinating this with the 166-note co― ordination(Fig.1).

B Section(Bars 5-20)

funk rim-shot a triplets.

The is the verse part ofthe piece where the first groove is introduced. This beaf consists of a solid backbeat, funlcy 16ft-note patterns with the bass drum and challenging hi-hat pattern that includes l6e-note

Bar 5 | Sixteenth note triplets on hi-hat There are two logical ways to approadr this phrase on hi-hat. You could use the Moeller method and produce three strokes with one motion using the natural rebound of drumstick, or you could divide the phrase into an upstroke, a downstroke followed by another upstroke. The can be performed with fast wrist movement, Moeller push-pull. Experiment with these and see which technique helps you achieve the most accurate and fluent groove.

the

the

upstroke or

the hi-hat that can be played with either singles or doubles. In the following eight bars develop the part and provide a solid foundation for the soloist.

F Section (Bars 55-58) The first 12 bars in this section are the bass solo and th.ere are three drum parts to consider. The fust introduces an advanced and intricate funk groove, the second is open for development and the third is similar to the A section with added variations. Remember that when repeating the section from bar 13 (on D.S.) you need to develop the part. Bars 55-58 | Funky beat This groove involves 32"d ghost notes on the snare and oPen hi-hats. To ensure that all the ghost notes are balanced, position your left hand close to the snare drum head and play all the ghost notes with this hand. Your right hand will play the hi-hat and move to the snare in order to play the backbeat. Aim to achieve a smooth but solid groove (Fig. 2).

Bar 58 | Endingfill The first six strokes of this fill should be played with perfect unison between the hands. The most straightforward way to do that is to use your Ieft hand on the snare and move your right hand anticlockwise between the toms. Avoid any unnecessary flams between the drums by practising the

movement at a slower tempo.

Bar20 1 SFiCた j暉 Ifyou already feel comfortable with the inverted Paradiddle―

0 +

0 +

diddle rudilnent,the sticking RLLRRL/LRRLLR will be ideal when Playing the sextuplet on beat 3。

6

C Section(Bars 21-28)

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2

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The C secuon is effect市 ely the chorus and the groove is moved to the ride cymbale This fbur― way co― ordination groove requires control and a balanced Posturee

■■■￨■ ￨￨￨141,￨‐

D Section(BarS 29-36) Itis important to understand the rhメ hm ofthe written stabs before attempting to soloe Start by holding quarter notes with your hi― hat foot and playing the written stabs on the

snare.When you feel confldent vnth the placenlent ofall the stabs,start adding flus and develoPing your soloo Aim to

demonstrate technical command,musicahty and dynamic 電 COntr。 1宙 thout compromising the pulse.

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む E Section(BarS 37-54) 自 The rlrst eight bars Ofthis section

屋gr00Ve is based on the hi― 50

―

are notated and the 12/8 hat.There are 16血 note phrases on

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P酪 ONNEL: STUART RYAN(GTR) 孤Ⅶ ЩRKS CB趨 ) NOAPI LED3_AN(DRUMS)

I

omv「 Lw `Lcad Sheet'is a rap rock track in the style ofRage

Against The Machine(RATM),Limp Bizkit and Red Hot Chili Peppers(RHCP).It cOntains snare drum and tonl beats,16th・

note triplet a■ s and doubles.

STLE FOCUS In this style,the drummer must use their technical abihty to creat■ e and musical effecto Altho,gh the generalvibe is groovyD strong tcchnique is requ廿

ed

RHCP's L99 I album BioodSugarSexMagik spawned the rap rock classics 'Funlcy Monks', 'Suck My Kiss' and 'Sir Psycho Sexyl The following yeai; RATM released their self-titied ciebut and turned a generation of rockers on to a form of rock where groove and aggression were k y.

This next wave of hip hop influenced rockers included Limp Bizkit and Incubus. Unlike RATM, whose guitarist Tom Morello simulated turntable effects, these groups employed Dls to introduce hip hop techniques including scratching and cutting;

but only used tasteh■y and sParingly in Phrases that use anything from subtle ghosting and double― stroke rolls to dynamic,note‐ value changing ronse Rim― shots

RECOI

IME]IDED I,TSTE]m{G

are evident on the main snare backbeats so accuracy and control are also needed.

THE BIGGER PICTURE Hip hop pЮ ducers had bcen sampling rock riffs since the rrLid 1980s when Run E)MC,Public Enemy

RATM and others saw the potentialin this rap rock crossover and combined live,distorted guitar rilヽ

宙 th

rap vocals。

And The Hotdog Flavoured Water worth investigating for the tracks 'My Generation', 'Rollin' anci 'Thke a Look Around'. Chocolate Starfish

is

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and the Beastie Boys an scored hits that borrowcd

fro]m Aero,mith,Slayer and Led Zeppelin.RHCR

'She Watch ChannelZero?!' from Public Enemy's album It Takes A Nation Of Millions... (1988) samples Slayer's Angel Of Death and demonstrates the perfect fusion of heavy guitars and hip hop beats. On RATM's self-titied debut, Brad Wilk's steady grooving provides a solid base for the rap inspired vocals. |on Theodore's playing on the eponymous EP by One Day As A Lion (2008) continues the traciition of RATM with a more funk rock inspired styie. Limp Bizkit's 2000 album

Lead Sheet )ames Uings

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Guitar Solo(12 bars)

Develop

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Walkthrough A Section(BarS l-10) and

The rnalrl groove enters in bar 2 atter the opening a■

consists ofopen hi― hats,riln― shot snare and 16th― note bass drumse The ilnprovlsed fl■

in bar 10 1eads to section B.

to the following sticking pattern: RLRR LRRL RRLR RLRL RLRR LRR. You will notice that there was one adjustment in the sticking when crossing bars. This is because playing three consecutive strokes with the same hand on the floor tom would be hard to perform convincingly (Fig. 2).

r″ Jθ ′ 4滋 θ たι θ θ Bar llS放 ″

“ PhraSC Played宙 th the guitar and bass The unison opening includes 16th― note triPlets and is knowrl as Csingle stroke

fouri This rudilnent is Played宙 th alternate sticking,starting with either your right or lett hando The main challenge is

maintaining the rhythm whie ensuring that the strokes

E Section (Bars 37 -48) The guitar solo is 16 bars long and oPens with the main groove of the piece. This should be developed stylistically from bar 41 to support the soloist on the backing track

sound consistent and even.Start by playing eighth notes with the rnetronome,then divide the eight notes that Play

6l-67)

on the beatto three equal strokeso The eighth notes on the

F (Bars 49-60) & G Sections (Bars

offbeat remain the same.Use the power ofyour wrist but

In the F section you can demonstrate your technical ability,

ensure that it is relatively loose and your flngers are active in

musicality and dynamic control. Listen to the drummer Brad ideas on improvisation in this

Wilk (RATkI, Audioslave) for

order to pё rform this accurate与

style. The G section inciudes a heavy crash cymbal groove and thundering snare filIs.

B Section(Bars ll-18) The B section groove is based on 16th notes on the snare and toms.Your hi― hat foot plays consistent eighth notes and the note feel frOm section A. bass druin maintains the 16山 ―

θ Bars ll-18 1 Groο ν This drunl beat win require advanced co― ordination skills; therefore,itis recominended that you break it down and

work on each Pattern scParate,Start With both hands on the snare,use alternate sticking and hit all the riln―

Bars 65-66 | Dynamic control The snare fill in these bars should be played with crescendo. A fluent combination of fingers, wrists and hands technique is required to perform this convincingly. Remember to start close to the drum head and gradually lift your hands higher to create a louder sound. The 32d notes in bar 66 will be straightforward to play with singles accenting as notated, while maintaining a slightly loose griP and active fingers.

shots wlth

your right hand.Yourlett hand win lnove to play the toms and open hi― hato The 32nd notes atthe end ofthe bar can be

played with doubles using flngers techniqueo Next,add the hi― hat

foot pattern and,flnaly9the bass drum.Ensure that

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the sound is balanced and your posture is correct(Fig.1).

C Section(Bars 19-28) This is a reprise ofthe A section with variations and flllse You will notice that,because the tilne signature changes, there are onけ two quttter notes in bar 28.

D Section(BarS 29-36) The bass solo consists oftwo paFtS.The flrst is a breakdown groove Ⅵnth

hi―

hat foot,cighth notes and accented stabs;the

second,a lnusical interpretation around the kite

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There are tw0 10gical ways ofsticking this Pattern.You could start vnth your right hand on the floor tom and follow alternate sticking.Because both hands will have to FnOVe around the kit,focus on balance and consistent pr● ectiOn. Your other option would be to PlaCe your right hand on the floor and lnove your le■

between the tomse That would lead

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FreigI賊 IshJ{er SONG TITLE: FRIGHttHAKER

GENRE: BLLS

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NOAM IEDERII{AN (DRUMS)

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THE BIGGER PICTURE

`Freightshaker'is the lKind ofhot blues that Texas

Blues grew out ofthe music ofthe MississIPPi ut

has becomё renowned brthanks to the early ouっ

ofrock trio ZZ Top and the legendary guitarist Stevie Ray Vaughan,as well as later blueslnen lke Ke■

ny

穐 yne Shepherd who were particularly insPired by

Delta region and when the rnusicians lnoved iom the country to the cities,Particularly to Chicago,acoustic

blues was electrinedo The chicago style,cPitomiSed by the blues elder statesman Mudtt Waters,has a

Vaughatt sound and style ofplaying.It ittures a

stomping feel vnth a hea.vy emphasis on the downbeat。

triplet feel,shume variations and dynamic con廿 ol

Texas blues was played lhster and soon became a showcasc for guitarists,whereas Chicago blues was

anlong its tedhniques。

much more doseけ asSOCiated宙 th the grett blues vocalists hke Howliゴ Worand harHlonica players

STYLE FOCUS

such as Little Walten

Triplets and shumes are the order ofthe day here。

`Freightshaker'charges along with the power ofa speeding locomotive and takes in several difR〕

RECOMMENDED LISTENING

rent

feels along its routee There is a straightforward shume,

s 10″ bres(1973)is PaCked fun ZZ TOtt albumル θ

a triPlet shufne played between thc hands and a jazz swing for good measureo Mitch Mitchen and

ofgreat blues,PartiCularly`IesuS Iust Lctt Cllicagざ

Ginger Bakett who drummed for Thelimi Hendr破

go wrong with Albert Kingゝ

ExPeFiCnce and Cream respectivelyD brought the

A Bα グSな 4(1967),whiCh bOasts the wonderful Al

and the unstoppable boogie of`La G}rangd You canit r brilhant Bθ r4 U物 ′θ

laCkSOn lr On drums.The great SP Leary cut sessions

most blues players tend to sit deep in the pocket.

with legends Muddy Waters,T― Bone Walker and

Chris Laytoll,who plard With Stevie ttayVallghan,

others and you can hear hiln layit down on C)tis

could lり down big grooves and ZZ Ъ tt Frank Beard is rock solid.Both ofthese players know when to

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perforHlance up a gean

shows the blues in robust health today.

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>>>>

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Guitar Solo

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Drum Solo

(12 bars)

Solo around stabs

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1)l

D.%.alCoda 0

S coua Bass Solo (12 bars)

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Walkthrough A Section (Bars L-4) The opening section consists of crash hits, quarter-note open hi-hats and triplet fills. The rhythmic figure above bar 1 indicates that all eighth notes should be swung in this piece.

written two bars you need to develop the part stylistically. Listen to the backing track and interact with it musically.

F Section (Bars 73-104)

B Section (Bars 5-20) The rnain shuffle groove is introduced here. This should be played on the hi-hat with swung eighth notes, rim-shot backbeat on the snare and bass drum on beats 1 and 3.

Bar 6 | Swung eighth notes on hi-hat Playing consistent swung eighth notes in this tempo urill require solid right hand technique. Use the concept of downstroke on the beats and upstrokes on the offbeats, while using a loose grip and active fingers. It is vital that you move your middle finger, ring finger and pinky together as one unit in order to ensure a consistent rhythm and sound.

C Section (Bars 2L-36) In this section the groove moves to the ride cymbal and stylistic fills are added. The hi-hat foot plays on the backbeat and the bass drum pattern varies. The syncopated push in bar 35 and following fill lead to the guitar solo section. Bar 28 | Crossing sticks When playing intricate fills around the kit, it is common to cross sticks in order to help the flow of the movement. The hand that plays the stroke usually crosses over the other hand, so make sure that your sticks do not clash. Tiy the following sticking pattern, practise the fill slowly and aim to internalise the movement: RLR LRL RLR LRL. (Fig. 1).

Ensure that you play the notated stabs and continue to improvise between them. When repeating section B remember to develop the drum part until you reach the Coda where the dynamic level drops once more to moderately soft. Ensure that all the written details in this final section (cross stick, open/half open/closed hi-hat, splashed hi-hat foot, fills and syncopated stabs) are observed.

Bar 100 I Splashed hi-hat The circle below the hi-hat foot in this bar indicates that it should be played as open. This involves using the hi-hat splash technique because both hands are busy with playing the fill. The open splash sound is created by hitting the middle part of the hi-hat pedal with your heel. However, you need to ensure that your toes do not touch the pedal and allow the splash sound to ring. In this bar there are three splashed hi-hats on beat s 2, 3 and 4 without closing, so all you need to clo is strike the pedal with your heel on the required beats. The complete technique involves the closed hi-hat as well. This will be played by pressing the top part of the pedal with your toes. Achieving this consistent heel-toe movement will allow you to play continuous oPen/closed hi-hat patterns with your foot.

Crossing sticks

R

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D Section (Bars 37 -60) Stylistic grooves are notated in this guitar solo. From bar 53 the groove becomes heavier on the ride and crash cymbals. In preparation for section E there is a crescendo drum roll on the snare in bar 60.

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Bars 37 -52 | Triplet groove Alternate sticking can be used throughout this section. In the first eight bars, you can start with your right hand on the hi-hat and hit the backbeat with your left, or vice versa. From bar 45 move your right hand to the ride cymbal and use your left between the hi-hat and snare. Ensure that the open/closed hi-hats do not affect your tirning and that the rirn-shots sound consistent and convincing (Fig. 2).

E Section (Bars 6L-72) The dynamic level in this section is moderately soft and the groove changes to more of a jazz feel. After playing the

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Nosso Samba SONG TITLE: NOSO SAttX GmE: SAMBA TEMPO:

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110 BPM

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NOAM LEDERMAN

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Drum S010(16 bars)

TECH… TUR薦 : FOUR― WAY 00-ORDnTATION GHOST NOT3 0N SNARE SYNCOPAllED m 00口OSER:

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IIOtt LEDE翻 ぶ (DRUMS) HENRY THOyLAS Oジ 〔S)

STUART RYAN(GT⇒ 鶴 HON KHAN(KEYS) 1lExGUS GERRAND(PERC) σHRB ttT・ ER(TROMBONE) 0\IETt\rrEi'I 'Nosso Samba' is written in the style of classic Brazilian artists like Antonio Carlos |obim, Gilberto Gil and the modern day sarnba group Nosso Trio. It features four-way co-ordination, ghost notes on the snare, and syncopated

STYIE

fills among its techniques.

FOCIUS

exposure outside of the favelas (slums). It made such an impression that, in the 1930s, the nationalist dictatorship in power at the time supported its promotion to the nationai music of Brazil.

E.rly samba relied on the power of drums and percussion, and was revered for its raw energy rather than musical sophistication. However, this changed in the 1950s when young middle class suburbanites like |oio Gilberto and Antonio Carlos Iobim brought in supple melodies and jazzinfluenced harmonies. This new style, or'bossa nova', exposed Braztlian music to the world;'its best known song is rThe Giri From Ipanema', which was translated into English from the original Brazilian and performed by Frank Sinatra and Nat King Cole.

The drum grooves in this composition are a mixture of traditional and current samba, and simba fusion variations. Samba beats were originally created by many percussion players performing together, so the drum beats that have been developed over the last 50 years are mostly intricate and challengirg. The written fills in this composition are based on traditionai rhythmic phrases that drummers and

samba and inspired instrumentalists

percussionists used in Brazil's samba schools.

corner of the planet to exploreBrazllian music.

THE STGGER

RECOMME]MED IISTEN-ffG

PTCTTIRE

from every

Brazil,

Gilberto's Chega De Saudade (1959) is a bossa nova classic. To hear how Brazilian music changed in the

believed to be a song called 'Pelo Telefond that was released in 19L7, and gave the sryle its first significant

1960s, listen to Caetano Veloso (1968) by Caetano Veloso. Finally, Nosso 'Irio's modern take on samba can be heard on their 2A06 debut Vento Bravo.

Samba is the rhythmic, syncopated rnusic

with its roots in the African culture of the country's black population. The first samba record is

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of

More recently, Nosso lrio have developed modern

Nosso Samba Noam Lederman

J=1

10

Samba

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0 ノ

'7ノ 7'

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Copyright 2012 Rock School Ltd-

This music is copyright- Photocopying is illegal.

7

7 7

7 7

7ソ フ @

Copyright 2012 Rock School Ltd.

This music is copyright- Photocopying is illegal.

日ご ∩  ５ ∞遇 “︼ ０∽ ６

7

Fi:l(4 bars)On%

Bass Solo (20 bars)

日 〓 ∩  ６ ∞遇 “︼ ｏ∽ ６

Guitar So!o(20 bars)

@

Copyright 2012 Rock School Ltd.

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Develop

D口

%.ai Coda◆

S coda

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@

Copyright 2012 Rock School Ltd-

This music is copyright- Photocopying is illegal.

Walkthrough A Section (Bars 1-16)

Bars 69-82 lPartido alto The piece starts with a drum solo over the notated stabs. The The snare and bass drun pattern follows the partido rhythm ofthe stabs can be counted as "l--a-e-a1 Construct alto rhythm with l6d-note displacements. Listen and synchronise with the bass guitar because it plays the same your solo around the stabs, aiming to achieve fluency rhythm. Use alternate sticking on the hi-hat and perform the stylistic snares and doubles with whichever hand feels more natural.

and

conviction.

B Section (Bars

f7-36)

The first samba groove is introduced here on the hi-hat bass drum. Because the melody is played by the bass it is important that the dynamic marknrytis

and

guitar,

observed.

Bars l9-2A I Samba on the hi-hat

E Section (Bars 85-104) This is the bass solo section. The fust four bars are notated and the groove is based on the hihat. In the following 16 bars you need to develop the part and provide a solid and musical foundation for the soloist.

This groove consists of 16th notes on the hi― hat with accents

and the samba pattern bass drum.There are two logical ways ofsticking this pattem.You could start宙

th your right hand, F Section(BarS 105-141)

and use alternate sticking and both hands for accents。

Or

Follow the groove as notated and develop the part fronl bar

you could start vnth your right hand,hit all the accents宙 th

109.Aner repeating section D you will move to the Cθ

thesame hand and i■ in between with yourle食 .ExPerilnent where the ride cymbal pattern‐ with these options(or any Others)and ChOose the one that

busien Ensure that an the notated details are observed in this

allows you to perform effortlessly (Fig. 1).

flnal sectione

Bar 24 | fhirty-second notes on the hi-hat In order to maintain the flow of the groove, try plapng the 32"d note as a double without changing the sticking. Slightly loosening the grip and ensuring your fingers are active will allow the stick to bounce and create this double naturally.

Bars 124&1401S′ ′ ε た The sextuplet on beat '4g I in bar 124 will be straightforward to play with the inverted paradiddle-diddle sticking, RLLRRL. However, the sextuplets in bar 140 should follow the pattern RLRLFF because it is the most natural way of moving clockwise around the kit.

C Section(Bars 37-56) In this section the groove moves to the ride cymbal and stylistic fills are added.

Bars 37… 38 1Sα

bα

Sticking Options:

ο Йθr′ ル ッ

bα I

R L R L R L R L R L R L R L R L R L R L L R L R L R L L R L R L > > > > > > >

“on the “ ride cymbal “ can be counted as The phrase played “1-1受 a2-8Kゴ l lfyou are farniliar wlth the Moeller rnethod, it would be idealto use it here in order to achieve accuracy

and a consistent soundo The bass drun■ Pattern remains the same and the hi‐ hat footis added on every o■ beat(Fig。 2). Bar461 Mo`II`r ttθ Йθグ This method is a combination oftraditionaljazz drumming techniques that ailns to improve speed,Power and control. In this speciflc case,using the Moeller method will allow you to perform three consecutive strokes on the ride cymbal with one motion and lninilnal effort`

D Section(BarS 57-84) 電 罵 O

The nrst groove ofthis section is samba funk,which inCludes 16th notes on the hi―

Phrasc thatis the basis for the second groove

属WhiCh begins h bar 69お 68

1(e)&a2(e)&a l(e)&a2(e)&a

hat,backbeat snare and

syncopated bass drun■ vnth open hi"hats.The broken

碧 rhythmic

known as Parudo dtd

′α

is simpler but the snare is

￨￨:￨￨￨‐ ￨￨IⅢ

ⅢIⅢIIII

Dafc M

r

SONG TttLE: DARK MAttER GmE: 3ユ Z TEPIPO: 121 BPM

TE田

回

AT駅 那 :FL■TK SYNCOnTIoN BUZZ“ AND GHOS鴨 SEXTUPIIET■ LБ

E

J=Q1

Jazz

1上

COMPOSERS: STI」 ART

RYAN,KUNG FU DRUMPIER&HENRY

THOPttS

ノ

PERSONNEL: STUART RYAN(GTRI HEITRY THOMAS (3ASS) NOAM IEDERMJN (DRUMS)

凛鵬 側 Ⅲ CSAD om剛

played amplified, groove based music free from the constraints of the traditio nal jazz grouP format.

`I)ark Matter is a fusion track that tiPs itS hat

tO IOhn scOfleld and groundbreaking groups hke Mahavishnu C)rchestra and Tony Williattnis Lifetilne.

It features funk syncopation,buzzes and ghosts,and sextuplet fills among its techniques.

Alongside Davis, key early exponents included Herbie Hancock and Donald Byrd, who blended iazz and funk respectively, the Mahavishnu Orchestra with the powerhouse Billy Cobham on drums, and Weather Report who threw world music and Afro Cuban rhythms into the mix.

STYLE FOCUS Fusion sprang fro]m thei]mprovisation ofjazz meeting the power ofrockelt,an be technica■

y

Composer and keyboardist Chick Corea became figure in the 1970s and 1980s with his groups Return To Forever and Chick Corea's Elektric Band.

a key

demanding beCause rnany fusion artists favour odd― tilne signatures and comPlex arrangeIIlents.From

the drummerb perspect市

e,fusion is all attract市 e

genre because you can draw on a wide vocabulary of

Fusion has produced many technically gifted drummers including Dave Weckl, Tory Williams, Steve Smith and Lenny White.

styles.U」 ike tradittonaljazz,where the drummer has to carefuny lnatch his volume to the acoustic

instruments,the prevelence ofelectric guitars and

RECOMMENDED I.TSIENING

keyboards in fusion anows the drunllner to Play

with in Power and Lltensiサ while stin ettoying the improvisational possibiitieS ofjazz.

The birth ofilsion is often traced back to Miles

Da宙 s'3Jた たoB“ ″ (1970),on WhiChiazz muSiCians

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THE BIGGER PImE

Birds af Fire (1973) by the Mahavishnu Orchestra, and Jeff Beck's albumBlow By Blow (L975) are jazz rock fusion favourites. From the same period, check out Cobham's solo outing Spectrum i1973). For a funkier flavour try Hancock's Head Hunters (L973), with Harvey Mason Sr on the kit. More recently, Israeli borrr, London based Asaf Sirkis has impressed with his trio and the album The Song Within (2007).

Dark Matter Stuart Ryan, Kung Fu Drummer & Henry Thomas

@

J=rZr

Jazz

日 〓 ∩  ０ ∞壱 ”︼ ｏ∽ ７ @

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Bass Solo (16 bars)

o Copyright 2ol2 Rock School

Ltil

This music is copyrighl Photocopyirrg is illegal.

Develop

日〓 ∩  ２ ∞暑 ”︼ ｏ∽ ７ This music is copyright- Photocopying is illegal.

回□

Drum Sdo 16ba→

Play 4 times

Guitar Solo(1 6 bars} Develop on repeat

￨

￨■

l@

5-l

Copyright 2012 Rock School Ltd.

-6

This music is cop.yright Photocopying is illegal.

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D.C.a:Fine

Walkthrough A & G Sections (Bars 1-8) The bass drum and snare patterns in this section follow the phrases played by the guitar and bass on the track. There are rim-shots, ghost notes and a short roll to perform on the snare as well as a 166-note triplet on the hi-hat.

F Section (Bars 45-53) This is the guitar solo section which lasts for 16 bars. The first eight bars are notated and the groove is based on the ride cymbal. There are 16n-note phrases on the ride, flams between toms, hi-hat foot and many syncopated pushes. In the following eight bars you need to develop the part and provide a solid and musical foundation for the soloist.

B & H Sections (Bars 9-24) In this section the groove becomes busier \^rith more ghost notes and complex variations.

Bars 9-24 | Groove When parts of the groove follow what is played by the other instruments so closely, it is vital to ensure these are played accurately. Start by breaking down the section and practising individual bars (even beats, if needed) until you feel comfortable. Ensure that all the technical and co-ordination issues have been addressed then listen to what is played on the track then identify what part of the groove should be synchronised with the guitar and bass. Put it all together, play with the track and aim to achieve seamless continuity.

Bar a6 | Moeller method The ride cymbal phrases in this bar will be produced most convincingly with the use of the Moeller method. This method is a combination of traditional iazzdrumming techniques that aims to improve sPeed, power and control. Bar 47 | Flam between drums The flam rudiment is primarily played on one drum. Howevef in this bar the flarn is played on the medium and floor tom. The grace note is played on the medium tom and the main stroke on the floor tom. Perform this with accurate flam technique to achieve the sound naturally. Bar

C Section (Bars 25-40) The 16 bar bass solo consists of two drum parts. The first is sirnilar in concept to the grooves previously introduced, with the drum patterns follo*irg the accomPanylng guitar. The second part introduces a musical and intricate interpretation with two hands on the snare. During this section you have the opportunity to develop the written parts and demonstrate your stylistic understanding.

Bars 33-34 | Bass solo groove The 16s-note snare strokes will be played in three dynamic levels: accented rim-shot, unaccented snare and ghost note. It is vital that these are projected with conviction and the groove flows well. The 32d notes in bar 34 canbe played with either doubles or singles. However, doubles should be easier, especially if you feel comfortable with the five stroke roll rudiment. The most logical way of sticking this groove is alternate starting with the right hand but feel free to choose another option if it suits your technique better (Fig. 1).

D & E Sections (Bars 4l-44) These sections contain the

drum solo, where you are

日巳 ∩  Ｚ ︼ ｏ∽ ∞暑 ”

required to improvise and show your musicality, technical abihty and personal interpretation of the style. The E section starts on the third of the four repeats. While this doesnt signifr much in the way of change for the drummer, the guitar and bass parts change significantly. Listening to the work of drummers Dennis Chambers and Dave Weckl with the guitarist Mike Stern, will offer you creative ways of improvising in this style.

$llntricatefill

Before attempting this fill, focus on the phrasing and sticking. There are three sextuplets, but the phrasing is in nine. So the total 18 strokes are divided into two groups of nine and the logical sticking pattern will be: RLRLFFRLL. Practise this with a metronome at a slower tempo and let your body learn the movement, so when you speed up the

movement will flow effortlessly (Fig - 2).

R L R L R L R L R L R L R L R L

￨￨￨■ 111111111111:￨￨￨

Pattern r--.tr-tt 1 RLRLFFRLLRLRLFFRLL

RePeat

t

日〓 ∩  ５ ∞ｏ電 ︼ ｏ∽ ７

Technical Exercises a selection of exercises drawn from each of the five groups shown below. In Group E you will be asked to prepare oze stylistic study from the three printed. The choice of stylistic study will determine the style of the Quick Study Piece. 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.

In this section the examiner will ask you to play

The stickings shown (L & R) are there as a guide for right handed drummers. Left handed drummers should reverse the sticking patterns. All exercises must be played to a metronome cliclc Groups A-E should be played at the tempo shown for eac.h exercise.

Group A: Single Strokes Single strokes in quarter notes, eighth notes, eighth-note triplets, l6th notes, quintuplet l6th notes, sextuplet l6th notes, sepiuplet 156 notes, 32nd notes, nontuplet 32'd notes and double quintuplet 32od notes. The tempo is J = 65.

1-

tt5-J

l-

5-J

1-

d-J

6-J

L

l-3-J

t3t

3-J

5-J

l-6

|

t-

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L....'.,........,,..'.,........._z',,,,,,,,,,,,,,,,_----...J

L1-----J

t--z-----)

t--7---r

t49----_----I

t--9-----J

l--g------l

I-9

L-5--J

t--s----t

t--5--------J

l--S-------J

L-5---,

L-s-J

t-s------I

6-t

I

l--5-J

Group B: Paradiddles Paradiddle-diddle and alternative paradiddle-diddle in sextuplets around the kit. The tempo is .l = 90.

、

R L R L L R R >>

RRLL RL[.RRLRLLRRLRLLR

RLRRI LRLRRLLRLRRLLRl´

≧>

ヽ

……」

-6-―

-6…

ゝ

_

____6-― ……」 ………」 ι

………」

-6…

Group C: Triplets Swiss

Ar*y triplet and pataflafla.

The tempo is

J = 85. L

R RL LR > >

LR >

l-3-I

1-3-J

l-3-J

R RL >

Ｒ ＞

LR R L LR R L LR R L LR R

LLR L R L

L

RP.L RRL

RR!- R L

R

LLR

LLR

LLR L R L 3-￢ :>

Ｌ Ｒ ﹂月

Group D: Ratamacues LLR

LR >

R RL >

l-3-I

Triple ratamacue. The tempo is J = 85. LLR

R RL >

RRL R L R r-3-￢

:>

「

Group E: Rolls 1. Seven stroke

rollphrase with accents on toms. The tempo is J=90. Ｒ＞

R LLRRLLR

L R

L R

L >

RRL

LLRR

RRLLR

>

Ｌ ＞一

Li.RRL

Ｒ ＞

RRLLR

日〓 ∩  ７ ∞ω驚 ︼ ｏ∽ ７

2. Combined rolls. The tempo is J = 90.

Technical Exercises

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

Rock/Metal rhphmic displacement, 5/4 co-ordination

J=l35

Rock

J

will determine the style

日 〓 ∩  ８ ∞還 “︼ ０∽ ７

Technical Exercises

2. Funk: linear

funk with

32"d notes, stepped

hi-hat

J=80 Funk

日 巳 ∩  ９ ∞ｏ驚 ︼ ｏ∽ ７

Technical Exercises

3。

Iazz/Latin/Blueま

J=200

3-2 and 2-3 dave

Salsa

日 〓 ∩  ０ ∞毛 ”︼ ｏ∽ ８

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 first playing of the backing track' with the notated parts now absent, before playing it to the examiner on the second playing ofthe backing track The style of your QSP is determined by the stylistic study you selected in the technical exercise section. The QSP is in the form of a lead sheet and it is up to you to create yow own interpretation of the music in the parts marked for improvisation.

)=140

Rock

Develop

=コ

日〓 ∩  ∞０電 ︼ ０∽ ８．

Quick Study Piece

J=80 Funk

Develop

日 巳 ∩  ２ ∞還 ”︼ ０∽ ８

Quick Study Piece

J=l10 Latin

o+

Develcp

日〓 ∩  ３ ∞ｏ罵 ︼ ｏ∽ ８

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 fiIl on the snare drum. You will then identifr the fill from three 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 click The tempo is J = 70.

will

A

l--

6-_--J

B

L3--J

-

-6-----J 6,-l

Test 2: Groove Recall The examiner will play you a two-bar groove played on the whole kit. The test may be n 414,618,514 or 7/8 time. 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 identi& the style from four choices given to you by the examiner. Each time the test is played

A:

Samba

B: Funk C: TripHop D: Blues ).=st

it is preceded by a one bar vocal count-in. The tempo is

J=

80-160.

日 配 ∩  ４ ∞壱 ”︼ ｏ∽ ８

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

the

MusicKnowledge 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 identify and demonstrate your answers on your instrument

In Grade

8

as

directed by the examiner.

you will be asked to explnin:

. Any notation used in the chosen piece . Any dynamic marking found in the piece

. What makes the drum groove stylistically appropriate .

Use

ofdrum voices, rhythms and techniques in drum solo sections

lnstrument Knowiedge The examiner

In Graile

.

8

will

also ask you one question regarding your instrument.

you will be asked to erplain and demonstrate

Care and mainterrance of drums, cymbals and hardware

. How to tune the drum kit according to the style ofone ofthe

. How to producs

cross stick, choke cymbal, bell

pieces played

ofride, rim-shots, ghost notes, halfopen hi-hat, accents

Further Information Tips on how to approach this part of this exam can be fbund in the Syllabus Guide for Drums" the Roclschool Drums Companion Guide ar.d on the Rockschool websTte: www.rslawards.com.

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

. All 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.

Mechanical Copyright Information Red Baron (Cobham)

BMG Rights [,lanagement (UK) LimiteC

All Of You (Porter)

Warner/Chappell Music Limited

Hit ll{e C arlss o n / Mellergeargh / Linder / N ilss o n Chrysalis Music Limited/BMc Rights Management (UK) Limited

Some Skunk Funk (Brecker)

Universal Music Publishing International Limited

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Last'fime ( Ring/ Bro n s er t / S zar y

)

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mcps

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Drums Notation Explained

BASS DRUM&TOMS

Bass drum

Floor

￢

tom

Medium

tom

Ghost snare

High tom

Rim-shot

Cross

stick

Buz snare

Strike snare dium Place palm on snare and surrounding drum head and rim at same time strike im wtth sti.k

I

Closed t t

Used on the first

Half

open

Open

Ctosedt Closedt Hi-hatfoot closed

OTHER CYMBALS

Ride

Hi-hatfoot

Ride

(bell)

Crash

Crash*

Crash roll

open Allow all cymbals to ring on unlss explicitly stoppd, as indicated by the keword 'Choke'. accasionally ties may be used (*) to emphasise that qmbals should be allowed to ring on. This can awid confusion duirq

closd hi-hat that follows an open hi-hat

The hi-hat is closd without being struck. Note that the hi-hat closed (cross) symbol may appar above drum voices other than the hihat (as shown above). This simply means another drum voice is being playd at the same moment that the hi-hat is being closed.

syncopations and pushes.

Slashes are used to demarcate bars during solos, fills, developments

Accentuate note (play it louder).

and other ad lib. sections.

Go back to the sign (X)then play untilthe bar marked To Coda Oth"n skip to the section marked scoda.

a%.ar coda

Repeat the bars between the repeat signs.

Ir lT

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

aCa′ Fline

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

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

LLRRLL

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.

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SiCAL ttERMS W:TH SPECIFiC EXAMINAT:ON DEFINIT:ONS

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individual, stylistic fill.

Fill

PIay an

Cont. sim.

Continue in similar way but vary the pattern slightly.

Develop

Rit.

(rltardando)

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