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Performance pieces, technical exercises and in-depth guidance
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Visit Hal Leonard Online at

wwn'.halleonard.com

Contact Us: In Europe contact: In Australia contact:

Hal Leonard Hal Leonard Europe Limited Hal Leonard Australia Pty. Ltd.
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 Acknowledgements
Published by Rockschool Ltd. @ 2012 & 2018
Catalogue Number: RSK200066
CONTACTING ROCKSCHOOT
www.rslawards.com
Telephone: +44 (0)345 460 4747
Email: info @rslawards. com
Syllabus Designer
Nik Preston
Producer
Nik Preston
Syllabus Advisor and Project Management
Sharon Kelly
Proof reading
Sharon Kelly, |ono Harrison, Nik Preston (and all arrangerslperformers)
Syllabus Consultants (Hit Tunes 2018 Repertoire)
Guitar: ]ames Betteridge, Andy G ]ones
Bass: Joe Hubbard, Diego Kovadloff, Joel Mclver
Drums: Paul Elliott, Pete Riley
Arrangers (Hit Tunes 2018 Repertoire)
Guitar: |ames Betteridge, Andy G Jones, Mike Goodman, Viv Lock
Bass: Diego Kovadloff, Andy Robertson, |oe Hubbard
Drums: Paul Elliott, Stu Roberts, Pete Riley
Publishing (Hit Tunes 2018 Repertoire)
Fact files by Diego Kovadloff
Covers designed by Phil Millard (Rather Nice design)
Music engraving, internal design and layout by
Simon Troup & )ennie Troup (Digital Music Art)
Printed and bound in the United Kingdom by Caligraving Ltd.
Musicians (Hit Tunes 2018 Repertoire)
Guitar: Andy G Iones, |ames Betteridge, Mike Goodman,
David Rhodes (Peter Gabriel)
Bass: Nik Preston, Joe Hubbard, Stuart Clayton,
Andy Robertson, John Illsley (Dire Straits)
Drums: Paul Elliott, Pete Riley, Peter Huntington, Stu Roberts,
Billy Cobham (Miles Davis, Mahavishnu Orchestra)
Vocals: Kim Chandler
Keys: |ono Harrison, Hannah V (on 'Red Baron ), Andy Robertson
Horns: Tom Walsh (tpt), Martin Williams (sax), Andy Wood (trmb)
Endorsements (Hit Tunes 2018 Repertoire)
Nik Preston: Overwater basses, Positive Grid amps
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
つ ｏづ ●■り 望Ｆ︻
● ︼ぬ︻
l器彗撻
  うん
剛臨 山
Recording & Audio Engineering (Hit Tunes 2018 Repertoire)
Recording engineers: Oli Jacobs, Scott Barnett, Patrick Phillips
Mixing engineer: Samuel Vasanth
Masteringengineer: SamuelVasanth
Audio production: Nik Preston
Audio management: Ash Preston, Samuel Vasanth
ReccrCing studios: Real World Studios, The Premises
Publishing (Rockschool 2Ol2 Repertoire)
Fact Files written by ]oe Bennett, Charlie Griffiths, Stephen Lawson,
Simon Pitt, Stuart Ryan and James Uings
Walkthroughs written by fames Uings
Music engraving, internal design and layout by
Simon Troup & ]ennie Troup (Digital Music Art)
Proof reading and copy editing by Chris Bird, Claire Davies, Stephen
Lawson, Simon Pitt and |ames Uings
Publishing administration by Caroline Uings
Additional drum proof readirg by Miguel Andrews
Instrumental Specialists (Rocksch ool 2012 Repertoire)
Guitar: ]ames Uings
Bass: Stuart Clayton
Drums: Noam Lederman
Musicians (Rockschool 2012 Repertoire)
Andy Crompton, Camilo Tirado, Carl Sterling, Charlie Griffiths,
Chris Webster, Dave Marks, D| Harry Love, Felipe Karam,
Fergus Gerrand, Henry Thomas, Iake Painter, |ames Arben,
|ames Uings, |ason Bowld, ]oe Bennett, Ion Musgrave, Krshon Khan,
Kit Morgan, Larry Carlton, Neel Dhorajiwala, Nir Z, Noam Lederman,
Norton York, Richard Pardy, Ross Stanley, Simon Troup, Steve Walker,
Stuart Clayton, Stuart Ryan
Endorsements (Rockschool }ALZ Repertoire)
Noam Lederman: Mapex drums, Paiste cymbals, Vic Firth Sticks
Recording & Audio Engineering (Rocksch ool 2012 Repertoire)
Recorded at The Farm (Fisher Lane Studios)
Produced and engineered by Nick Davis
Assistant engineer and Pro Tools operator Merk Binge
Mixed and mastered at Langlei Stud:os
Mixing and additional editing by Duncan ]ordan
Supporting Tests recorded by Duncan Jordan and Kit Morgan
Mastered by Duncan ]ordan
Executive producers: |ames Uings, ]eremy Ward and Noam Lederman
Executive Producers
Iohn Simpson, Norton York
Table of Contents

Introductions & Information

1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Drums Grade 6

Hit Tunes

5 David Bcrvie... ...'Zigfff Stardust'

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

31 Herbie Hancock.............. ........'Chameleon'

Rockschool Originals

37 'Mohair Mountain'
43 'Pop It In The ToP'
49 'Mindsweeper'
55 'Favela'
59 'Space Future'
65 'You Can Call Miguel'

Technical Exercises

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

Supporting Tbsts

73 Quick Stuciy Piece

76 Ear Tests
77 General Musicianship Questions

Additirrnal I nformation

78 Marking Schemes
79 Entering Rockschool Exams
79 MechanicalCopyrightlnformation
80 Drums Notation Explained
ЮＯづ”︼
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ｊ
 Welcome to Rockschool Drums Grade 6

Welcome to】 Drums Grade 6

Welcome to the lRockschoo1 2018 1Drums syllabus.This book and the accompanying downloadable audio contain
everything you need to play drums at this grade.In the book you w■ l flnd the exam scores in standard drum notation,as
well as Fact Files and Walkthroughs for each song。
The downloadable audio includes:
・ full stereo mlxes of6 Rockschool compositions and 6 arrangenlents ofclassic and contemporary hits
・ backing tracks(in bOth chck and no― click versions,Ininus the assessed drunl Part)
・ all necessary audio for the complete range ofsupporting tests

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

・ G}rade Exanl:aG}rade Exam is a FnlXture oflnusic Pei」 ormances,technical work and tests.Ybu prcPare three pieces
(tW0 0fWhiCh may be Free Choicc Pieces)and the cOntents ofthe Technical Exercise section.This accounts for 75%of
the exam marks.The other 25%consists ofa QtiCk Study Piece(10%),a pa廿 Ofinstrument specinc Ear Tests(10%),
and flnally you will be asked flve General Musicianship QueStiOns(5%).The pass mark is 60%.

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

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

・ Exam Piecett in this book you will and s破 speciany commissioned Pieces ofGrade 6 standardo Each ofthese is
preceded by a FacrF・ iル .Each Fact F■e coitains a summary ofthe song,its style,tempo,key and technical features,
along with a list ofthe lnuζ icians who played on ite The song itselfis prmted on up to four pages.IInmediately atter
each song is a ttJた Йro昭 ヵo ThiS covers the song from a perfOrmancc Perspect市 c,focusing on the technicalissues you
will encounten Each song conles with a fllll m破 version and a backing track.Both versions have sPoken COunt― ins at

the beginning.Please note that aw s010S played on thc fun m破 versions are indicative on与

・ Technical Exercises:you should PreFare the exercises sctin this grade in the keys indicated.You should also choose
ο θStyhstic Study frOm the threc PFinted tO practise and Play to the backing track in the examo The style you choose
“ deteFmine the style ofthe QuiCk Stuゥ Rece.
win

・ Supporting Tests and General Musicianship QueStiOns:in Drums Grade 6 there are three supporting tests― a Quick
Study Piece)a pair ofEar■ sts a■ d a Set ofGeneral Musicianship QueStiOns(GMQs)aSked atthe end ofeach exam.
Examples ёfthel明 peS Oftests hkely to appearin the exam are printed in this book.A.dditional α amples ofboth"es
oftest and the GMQs can be fOund in the Rockschool Cο η α"′ ο G“ J′ θFo Dr“ 5,
“ “
・ Additional lnformation:flllall"you wqill ind information on exanl procedures,Inarldng schemё s,and the fu■
notation and backing track ofa piece from the next grade as a taste■

Audio
Audio is pFOVided in the form of backing tracks(Π linuS drums,and in two versions:click and nO‐ click)and CXamples
(inCluding drums)for the pieces and the supPorting tests where applicable.Audio nles are supplied in MP3 formatto enable
playback on a wide range ofcompatible de宙 cese Digital ttrsions ofthe book include audio mes in the down10ado Download
audio for hardcoPy books from RSL directly at w″ ″rslα ッarJsoε ο″〃ο″″Iο α法 一 ド魁 will need to input this code when
prompted:2TE7AS8PWC
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Syllabus Guide
An candidates should read the accompanying syllabus guide when using this grade book.This,an be downloaded from the
RSL website:″ ″″rs麟7α rJsoε ο
“
●︼口︹

Errata
whie
  ′仕

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

SONG TmLE: ZIGGY STARDUST

ALBUM: THE RBE AND FALL OF

ル
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ZIGGY STARDUST AND
THE SPDEtt FROM P蹟 .RS チ
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」 Jalsijε 」
LABEL: RCA
GENRE: GLAM ROCK intro
殿 Ш IⅢ BI Dtt BO旧
PRODUσ ED BY: DAD BOWIE
胴 酬 SC硼

UK mART PEAK: N/A

BACXGROIIIID n[FO Mick ttbodmansey,oined BOWitt backin3 band

'Ziggy Stardust' rvas rrritten by David Bolvie
and released Ln 1972 as part of the alburn The Rise
And Fall Of Ziggy Stardust And The SpiCet's From
Mars. The song is a description of Bowie's alter €go,
a rockstar who is a messenger fcr extraterrestriai
beings. The character rdras initially inspired by Vince
T.y'or, a rock and roll singer and frontman for
The Playboys, who had a nervous breakdown and
believed he rvas a cross between a god and an alien.
Amongst other influences Bowie mentioneti the
Legendary Stardr.lst Cowboy and Kansai Yamamctc
who designed Bowie's stage costurnes. T'he Ziggy
Stardust character allowed Bowie to develop antics
and mannerisms that tre',vouid late Ceclare voiri upon
'killing' the character. It was the blueprint for Bovvie's
unique chameleon -like changes, containing seemingly
irreconcilable extremes that would eventually
synthesize into further new characters.
'ZigW Stardust' \4,as recorded in early 197 L and
re-recorded for the L972 record reiease. Bowie's
backing band were the The Spiders From Mars and
included Mick Ronson on guitar, Trevor Bolder on
The H月 )e andお llowing a■ w personnel changes
they bccarne The SPidcrS Fronl Marseln 1973
Ⅵbodma,sey Was rcPlaced by Ayrlsley Dunbar but
shortly atter lle reお rmcd The SPidё rs together宙 i
Trevor Bolden Later he formed his own band,Woody
W00dmaFiSeyb U― Boat,and atter that hcjoi■ ed Art
Gaifunkeleln 2014,together with produccr and
bassist Tow Ⅵ SCOnti,Wbodmansey formed Holy
HOtt a bandPerbrming Bo宙 由songs■ om the
1970s that has included a varicty ofnotablc musicians
illits hne uP,such as Glenn Gregory from Hcaven 17,
Steve Nornaan from SPandaa Banct,卜 larc Allnond
■om SOft Cell,guitarist ranles stevenson,who has
worked with Gene Loves leZebel and The Cult,and
lnulti・ instrunlentalist Erda1 lQzi19ay who worked with
Bowie from 1986 unt■ 1995.
Ziggy Stardust was featured in lnany ofBowieis set
lists has been used in a number ofmovies such as The
ル αr`bκ αた【グ,動 θLttAクタαriε 宙 th steve Zissou,
C乃 ″
ο′ε:′lc α グКb4gi Sた グ.The song is also
"JI Islα “
“ video ga.■
■atured in thc le Jtο ε
たBα J3.
“
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bass and Mick Woodmansey on drums, all hailing

frorn East tbrkshire. The band are now ccnsidereC a
legendary glam-rock outfit.
● ︼凸︻
  ミＪ
 Ziggy Stardust
David Bowie
lVords&Muslc by Davld Bowle

J= 83 Classic Rock
lntro
つ ｏづ ”上 り 望Ｅ︻
● トロ一
  イ０

ChrysaLs Music Limited,A BMC Company/RZO Music Linited/EMI Music PubLshing Limited
つωＯＣ︼
０の日ヨ︼∩   円
／

6-t
Reprise
っ ｏ﹁ ”上り 望Ｅ︻
“ ︼６︹
  ｏ０
 Ю ｏづ “上り 望Я︻
づ ﹄ぬ︻
  ０７
Outro
 Walkthrough

This mid‐ tempo rock track■ atires a wide variety ofgrooves Reprisc(BarS 25-28)
and i■ s along with a lnlxture ofsubdivisions.Some ofthe Bar 25
fms are fairly rapid,featuring 16th― note triPlets and thirty― The B section is fonowed by a short reprise― this is a return

second noteS,and so require single― strokes t6 be cOnsistent to the intro feel for four barse Vttltch out for the nam on the
and evene ttk'Ofbeat 4 in bar 26 and the 32nd notesin bar 28.

Intro(Bars l-8) A Section(BarS 29-36)

The drums enter after two bars ofguitar with an eighth― Bar 29 sees a repeat ofthe A section/B section cycle though
note based gЮ ove played between the bass drum,snare 宙 th some variation:Thistime for example we have a one―
drun■ and hi― hato Within the groove crashes are used to beat set― uP in into the crashesin bar 31 while the two― beat
punctuate the rhyttm played by the band while different flu in bar 36 now features the■ oortom.Again this could be
fills complete Ⅲ at iS baSiCa■ y atwO― bar patterno The most played using dternate strokes or宙 th the right hand Playing
demanding ofthese rills is within bar 6 which features al ofthe 16th― notes,but once agam,avoiding using double―
16th― note triplets Played flrst on the snare and ultilnately strokes to play the thirty― second notes.
moved down thetoms.This bar is played using single―

謙 :織詳Ittt露 燎 鷺濯ょ
鳳:穏r
torrl for the flnal three notes.
Bs∝ .。 n
Bar 44
cttS37-40
Like the flrst B section,this second one ends with a
16th― note triplet― based fill only this tilne look out fOr the

A Section(BarS 9-16) eighth― notes on beat 2 and the`ど offoun

The A section features a slightly more syncopated groove to
the intro but renl〔 uns Played between the bass drun■ ,snare
and hi― hat,。 Bar 10■ amres a slighdy inorthodox eightll‐ Outro(Bars 45-53)
note based flgure Played bCtWecn the crash cymb4(s),bass The piece ends宙 th the sarFle feel as appeared on the intro
drum and snare and☆ hich could be played using a single only now宙 th a tWmore variations.PrObably thc most
crash cymbal howcver mo宙 ng between two(or mOК )や enging ofthese is the syncopated fil in bar 46 which
sound egective. "n cha■
features several flams as well as a hand/1bot triPlet on beat
4.This flnal beat is best played as right/1e豊 iヽot/flamo Bar
Bar 16 48 is the salne as we saw in bar 6 and again should be played
BefOre moving into thc B sectiOn bar 16,atureS a two― beat using single― stFOkS tO Cnd up with!he lett hand on the
flll played on the snare dnュ mo Thc nl runs acrё ss beats 3 high― tonl on beat 4.
and 4 and is Plar4 0n the snarё drume There are several
different ways ofPlaying this sich as lsing altemating
strokes throughout or the right hond playing 16th― notes as
the lett alls in the thirty― Sccond rlotese Either ofthcse Ⅵりuld
yield the desired SOund as opposed to uSing d9uble‐ strokes
for the th士 ty‐ seconds which would mostlikely to sOund
weak relat市e to thC Single‐ strolcs.

B Section(Bar 17-24)
Bar 17 sees a change in feel and one which delmandsthe
len hand to play two consecutive 16th― notes behind the
right hand lnaintaining eighth― notes on the hi― hatso Notice
thatthe second ofeach ofthese snare drums is]ピ t ghosted,
instead they■ e expected to be played atthe same volume as
thc flrst.This secuon is essentially made up offour two‐ bar
還 Patterns宙 th the second bar ofeach iaturing a different AⅡ

3五 驚慕::獄 謄ll蹴霊 l肝獅l∬

碧
●
single_stroke 16th― note triplets for the duration ofthe ba■

10
 SONG TLE: I tt YOU CI ttL G00動
ALBUM: I GOT YOU I[■ lEEL 00⇒
C・
LABEL: XING
GENRE: SOUL Щ
WRIWEN BY: Jtt BRu6VllT
PRODUCED BY: J脚 圧S BROWN
UK mT PEAK: 勾
BACKGROI]ND INFO
'I Got You (I Feel Good)' is a classic recording by
|ames Brown and arguably his most well know song.
The lyrics of 'I Gct You (I Feel Good)' are about the
feeling produced by being in partnership ",yith one's
love. The scng features a famous alto sax solo by
Maceo Parker. 'I Got You (I Feel Gcod)' cleveloped
from another song Brown wrote called'I Found You'.
An earlier 1964 version of the song, titled 'I Got You',
including a different arrangement featuring a baritone
sax solo, was withdrawn from circulation due to a
legal dispute with Brown's label at the time.
'I Got You (I Feel Good)' reached the no. 3 spot on
Billboard's Hot 100 chart in late 1964. He had another
91 songs that made the charts, but none charted as
high as 'I Got You (I Feel Good)i The song topped the
Billboard R&B Singles chart, as did 17 of his releases,
including'Papa's Got a Brand New Bag'.
The legendary drums on 'I Got You (I Feel
Good)' were recorded by Melvin Parker, whose
brother Maceo was also a member of Brownt band.
Melvin Parker was drafted into the army in 1965
and was replaced by Clyde Stubblefield and later
Iabo Starks. He rejoined Brown's band in 1969 after
being discharged.
J =1 45 So ul/Funk
百
IameS BrOwn is onc ofthe mostsampkd musicians
ofall tilne.The hst ofvocal and instrumental scctions
sampled fronl his tunes is enOrmous and ongoing.
His lnauence on lnuslc and lnuslclans the■ vorld over
is beyond doubto He is regarded as the`GodfatheF
ofSod His 1968 release LiivaAr物 々 οI10 7oレ θI
is an era derlning record and a prilne example of “
his silgular and highly influential brand ofhard
hnk.BrovJn demanded extreme discipline iom his
musicians and dr6ve a hard line.Ifany lnusician
did not colnpけ fully hiS musical and performance
requirements theソ 、
vere nⅢ ed.His l市 e performance
schedule恥 ras grl■ elling until the end ofhis life.
His early bands included Fredヽ Vesleb Maceo
Parker9 Clive Stubblefleld,Bernard Odum and B。 。tsy
and Catflsh Collins amongst many lnusicians that,
together vnth BrOwn,helped derlne the sound of
early funk.
Ю８ ●︼
ｏ∽
日〓 ∩  Ｈ
 I Got You (I Fee[ Good)
]ames Broryn
Words & Music i:y Iames Brown

) =145 Saul/Funk
Verse 1
o+

Verse 2-3
o+
Ю瑠 ●︼

Bridge 1-2
ｏ∽日 〓 ∩  ２
１

@ Copyright 1966 Fort Knox Music Company.

Lark Music Limited.
All Rights Reserved- International Copyright Secured-
 Verse 4‐ 5
0 +

￨・ 12

Ending
Юｏ罵 ︼
ｏ∽日〓 ∩  ３
１
 Walkthrough

Ve=se l(BarS 2-13) Verse 4-5 (Bars 38-50)

The piece begms with a loud bass drunl note played on
beat 2 ofthe bar before the rlrst versc;in other words beat 2
ofthe second bar ofthe count― ine WCIe then straight into
the flrst verse which features a師 o― bar pattern、 ぼith eighth―
notes Played on the hi― hats and a cross― stick on the snare,
wlth the bass drunl Pattern being what differentiates the
flrst and second btt The eighth― note hi― hats should idea町
be pl∼ ed宙 th a reasonably even dynamic as oPPosed tO
accenting quarter― noteso Playi,g the hi― hat more evenly liice
this not only creates an even dr市 ing quahty but wtt also
help the open hi― hatS On the`&'ofbeats l and 3 speak out.
The verse is eight barslong so this師 o― bar pattern is Played
four times.
Bar 101シ 4ε たグγ
り油解
Att bar 10 we reach
"α a four― bar stop― tilne section which
appears several times throughout the pieceo The syncoPated
rhythm,played dong wlth the rest ofthe ensemble,is
punctuated on the open snareoltt also worth noting the
transition fronl bar 9 into this section which simply ends on
the last eighth― note ofthe barDso nothing is Played on the
downbeat ofbar 10。
After pl.y*g bars L4-37 tlvice we reach the final two verses
starting in bar 38. Once again these are played with a cross-
stick in the left hand and feature the same eight-bar and
four-b ar verse/stop-time sections seen previously. However
bars 49 and 50 makes use of a first and second ending. This
means that the first time through we play bar 49 and repeat
back to bar 38. Then the next time we play to bar 48 and
j,r*p to the second ending in bar 50.
Ending (Bars 51-61)
The piece ends urith a 'turnaround' where the last few bars of
the piece, in this case four, are repeated three times. So when
playing from bar 46 for the second time, thcse four bars,
including the second ending in bar 50, could be regarded
as the frst time. The second turnaround would be from bar
51 to 54, and the third and final turnaround from bar 55.
However notice that bar 58 continues the upbeat eighth-
note accent for a further bar and a half before the flam on
the downbeat of bar 60. The syncopated nature of bars
57 -59 can make it a challenge to retain a sense of where the
beginning of each bar is so it might be worth practising bars
57 -60 as a four-bar cycle to address this.

Verse 2-3(Bars 14-25)

Bar 14 sees the start ofa verse/bridge sequence which is
played twice(notiCe the repeat marksin bars 14 and 37).
Each sequence begins wqith the same eig卜 t― bar verse ttd
four― bar stop「 time sections seen pre宙oustt ho・ 7eVer in
bar 26 we encounter the bridgeお r the flrst time3 This is
introduced宙 th a snare hit on beat 4 ofbar 25 and"hilst it
retalns the cross― stick on two and fb■ ltthe nght hand lnoves
over to the ride cymbal bell where it plays quarter― notes.
There is a tvJo― beat f■llin bar 29 which introduces a nelⅣ

Pattern in bar 30.

Bridge l-2.(BarS 26-37)

α
Bar301 2ソ カ″たSCみ α
4g?
Here thertt a change in dynttics lo fOrte as thё right hand
moves back to the tti■ atStO plγ eighi‐ notes and the le食
hand now PlayS an open snare.Notice how the backbeatis
uoubled'from the llsualtwo and fourD with an additional
eighth― note added on thc`&'ofbeats 2 and 4。

A■ 9r atwo― beat flll mid‐ way through,this eight― bar section

condudes with a syncoPated ngureた 。 turing a nam Ⅱl bar
35 and which stops on the downbё at ofbar 36 on a closed
Ю暑 ”︼

hi― hat.This is fouowed the same accented bass drum note

on beat 2 in bar 37 as was seen atthe beginning ofthe piece.
ｏ∽

From here we repeat back to bar 14-so itゝ worth being

日〓 ∩  ４

nlindful ofthe transition back to lnezzo forte and the cross―

stick in the left hand― and play the same sequence again.
１

SONG TITLE: Sい Ttt10N
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LABEL・ TAⅣ ILA
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WRIWEN BY: m WON⊃ ER
PRODUCED BY: S¨ WONDER,
MAttCOLM CEじ ■ AND
l」
ROBERT MARGOULEFF
UK σHART PEAKl ll
SACKGRCI]]VD I}[IC
'Superstition' was released as a single in October
L972 and reached the no. I spot on the US Billboard
Hot 100 and R&B charts. The song was written whilst
Stevie Wonder was recording the highly acclaimed
Talking Book album. Although Wonder was playrng
most instruments on his records, he was still using
guitarists. Upon hearing that rising star leff Beck
was an admirer of his work, he asked him to become
involved in the sessions in exchange for a song to be
featured on Beck's forthcoming release with bassist
Tim Bogert and drummer Carmine Appice.
'superstition came into being by chance. Beck
was playing drums in between recording sessions
and upon hearing him, Wonder asked him to
continue and started improvising over the beat. He
created most of the song on the spot, including the
famous riff. Once the song's lyrics, arrangement,
recording and production had been finished,
Wonder allowed Beck to record the song as part of
their agreement. Due to Beck's record being delayed,
and Berry Gordy's sense that 'superstition was
going to be a hit and greatly increase the sales of
Talking Book, Wonder released his version first. He
recorded the drums himself at the Record Plant in
Hollywood. The horns were played by Steve Madaio
and Trevor Laurence.
s e wonder
-3-￢
: 「
il=j - J
The song's lyrics are about the negative effect
that superstitious belief can have.
'superstition 'ilras re-recorded by Stevie Wonder
for an episode of Sesame Street in 1973. Stevie R.y
Vaughan recorded a live version in i 986, released
as a single to promote his album Live Alive. TIie
prornotional video shows Vaughan preparing for a
show on Frriday 13th and Wonder appears holding a
black cat at the end. Wonder and Vaughan perfbrmed
the song together for an MTV special in 1989. UB40
recorded a version of the song for Eddie Murphy's
comedy Vampire in Brooklyn.
Stevie Wonder is a figure of great importance in
American popular music. He made his recording
debut aged \2 andhas since produced true
songwriting gems. His lyrics are a mix of simplici{
and poignancy that blenci exceptionally wetrl with
his enormous musical gift. He plays all instruments
and produces his own rec<lrds. Stevie Wonder
remains active as a performer and songwriter, having
coliaborated with the crearn of the popular rnusic
world. He has \ron 25 Gramrny Arvards.
０選 “︼
ｏ∽
日〓 ∩  ５
１
 Superstition
Stevie lVonder
Words & Music by Stevie Wonder

r-3-r

)=97 Funlqt fr=n

cont. sim. [incorporate rhythtn slashes]

Юｏ罵 ︼
ｏ∽日 〓 ∩  ６
１

@ Copyright 1972 Jobete Music Company Incorporated/Black Bull Music Incorporated-

EMI Music Publishing Limited.
 Develop [incorporate rhythm slashes]

Develop [incorporate rhythm slashes]

Ю壱 ‘︼
０∽日〓 ∩  ７
・
 Walkthrough

A Section(BarS l-4) Bar ZZ I tlits and rhythm slashes

Bar ll A“ αε
r夕 sis Bar 22 gives an example of modern chart writing where the
Superstition begins with a two beat anacrusis in 4/4 tilne. time slashes indicate to play the groove and incorporate the
The mixed subd市 ision fill is the perfect prelude to the rhythmic figure written above. In this example the drummer
relaxed and inky groove.Single sticking is ad宙 sed and the plays the figures using crash cymbals rvhile maintaining the
fin is voiced on the snare drum.As noted on the chart 16th groove. This reoccurs throughout the arrangement.
notes are swung.

Bar21 Dr“ ″groο ν

θα4ご r″ Iル θ
I E Section (Bars 29-32)
`″
The groove containslots ofpersonality and dynanlic nuance.
The hi― hat Part can be played by either one hand or two
depending on technical abihty and stylistic Preference.
Listen to the origmal recording to hear how the hi― hats
sound and tiy tO emulate this cla,sic drun■ Part・ The bass
drun■ and snare drunl Play in unison。 ■ y to avoid flams
between each drum.A nanl occurs when one note is placed
fractiona■y before the othen The feel ofthe groo― ve is
strong and the arranger has lnarked the pattern at a ttorte
dynamic,Play conndently宙 th a reasonable volume level for
the style and envむ onment.Be aware ofthe room size and
backing track volume and make all dynamics relat市 e to the
pettorrnance environmente
Bars 3l-32 | Drum fill
There is a drum fill beginning on beat 4 of bar 3 that
continues into bar 32. PIay the fiil strongly and pay attention
to dynamics and flow. The 16th notes should be swung and
single sticking is advised while rnoving arcund the drums
in a clock-wise direction. There is tonal variation in the fill
as both the high tom and mid-tom are used. Note the open
hi-hat on the last 16th note of beat 2. Play this confidently
and accurately, it may be preferable to use an oPen-handed
approach to this part of the fill. Experiment with different
stickings and choose the one which sounds the best.
F Section (Bars 33-36)

B Section(Bars 5T12)
Bar61 Dθ ν
`Iop
On the orig_inal recording there are rnany subtle variations
on the basic groove pattern.In bar 6 the arranger encourages
the candidate to develop the rhyth平 ,ThiS is indicated by the
instruction i`Develoゴ l Experime,t with direrent variations
and tonal colours v「 ithin the gr00ve pattern.■ y playmg in
dilbrent areas on the hi‐ hat and experment wlth alternative
pressure levels on the hi― hat foot plate to challge tte t011c of
the cymbals。
Bar 121 Dr夕 解′ II
Tilne slashes￢ rith the word`n■ 'Ⅵ Titten above indicate
thtt the player should create a drum皿 l overthe btt This
occurs at bar 12.Experilnent and aln to create something
which communicates the geograplly and feelhlg ofthe
arrangemento Always putthe music fllst and avoid Playing
things■hich are over complicate`juSt br the sakc ofiJ
C Section(Bars 13-20)
G Section (Bars 37-M)
H Section (Bars 45-52)
I Section (tsars 53-60)
I Section (Bars 61-5S)
Bar 6t I Outro
The outro sees the Crunamers return to the oPen hi-hat and
"four-on-the-floor" rhythm on the bass drum and snare.
PIay this confidently and inccrporate the rhythm figures
written above the stave. This is the end of the arrangernent
so play with conviction and soiidity. In bar 68 the word fill
is written above tirne slastres. This means PIay two-beat
fill w-hich wili lead into the final rhythmic figure. Choose
something which is concise and to the pornt and will hold
the band tcgether rather than sornething t'hich has a lot of
notes but communicates nothing!

D Section(BarS 21-28)
Bar211 0pθ λα
′ ν
g“ οg
つ壱 ”︼

"た '―
The groove pattern cv61ves at bar 21.The hi― hatis to be
held open wh■ e the bass drum and snare dr市 e tlle rhythm
ｏ∽

forward.Avoid naws between the bass drum and snare and

日〓 ∩  ８

Play宙 th COnⅥ ction.

１
 S]{ream

SONG TLE: Dm m幌
出 UM: SKREAMI

Dttbパ 肋P甲
闘 EL: TEMPA
GENRE: DUISTEP 」=140
WRIWEN BY: SKREAM intro
PRODUtt BY: SKREAPI

UK CIIART PEAK: N/A

BACKGROUNI)m His touring schedule grew exponentially, taking

Skream is the stage na]me ofprOducer 01iver E)ene
JOneSe He was born in Croydon in 1986 and his work
is regarded as an inauential exPonent Ofthe dubstep
genre.He produced a number OfSingles PriOr to
releasing his arst album,Sた ″α ′ ,in 2006.Iones
“
worked atthe Big APPle Record store in Croyd6no The
store was at the centre ofthe carly dubstcP scenet A
number ofother DIs worked there,induding Hatcha,
vJho wasthe n“ t DIto Play Sk℃ aIゴ s dllbplates.
Skrea轟 Ъcarl17 wOtt was made in coll山oration
with Benga and it resultcd in two EPs released by
Bigノ やple Records TF:θ ル々θ Was releascd in
2003 and Hyご in “"′Skream relcased
2004.In 2005
`卜 質 “ Lind the song has been creditcd as
idnight RequeOt
a key track in the cマ olution ofdubsteP,moⅥ ng ttonl a
dark sound int6 a lnore rne10dic,cro:,soVer approach.
`Midnight Request Linご won critical praise trorld宙 de
and brought Skrea五Is work to attention.
As dubstep started to get noticed in the media,
Skream began to incorporate ele】 mtents ofhouse and
dub into his sound.He won praise fronl diverse
him across the UK, Europe, IJS, Canada, Australia
anci Iapan.
Frorn 2A06 he started hosting a weekly show on
Rinse FM calledStella Sessions. In 2010 Benga joined
the show anoi it was rename d The Skrearn and Benga
Show.In 2007 the tracla Angry' and 'Colourful' were
featured in the teen drama show Skins - this was the
first time a dubstep track featured on a TV sirow.
After this Skrearn lvas featured on BBC Radio lb
Essential. Mix.
Skream's 20Ag remix production of 'In For The
Kilf by La Roux gained great critical acclaim and
was viewi:d by many as the reason behind the single's
success. )ones formed Magnetic Man, a live electronic
music project, with fellow dubstep partners Benga and
Artwork. Their debut album peaked at a respectable
no. 5 in the UK album charts and its lead single 'I
Need Air' reached no.10 in the UK charts. Further
work saw |ones producing and collaborating wrth
pop artists such as Kelis, Miles Kane and Chrorneo.
Together with Magnetic Man, |ones pr'cduced Katy B
and |ohn Legend.
Юｏ瑶 ︼

producers such as Ricardo Villalobos and Wiley

and co― prOduced tracks vnth Nia■ Henshaw
ｏ∽

(aka Spectrum).
日〓 ∩  ９
・
 Dutch Flowerz
Skream
Ivlusic by Oliver foues

)=140 Dub/Ska Pop

lntro
Ю選 ”︼
ｏ∽日 〓 ∩  ０
２

o Copyright 2006 Ammunition Promotions Limited-

EMI Music Publishing Limited-
All Rights Reserved International Coplright Secured-
 L R L L R L R L L R L L R L
Vamp

ＯＯ芍“︼
０∽日 〓 ∩ 
２．
Keys Pad Enters
Ю還 “︼
ｏ∽日 巳 ∩  ２
２
167]
″ ・ :]

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

Develop
To ride

Юｏ罵 ︼
ｏ∽日〓 ∩  ３
２
 Walkthrough

The drums on the original verslon of`Dutch Flowers'were Bar 49

pЮ grammed and drummers frequently And themse市 es
situations where they need to replicate programmed Parts.
Here,asis typical ofmany programmed Parts,there are
shghtly unusual and unorthodox eleltttents to negotiate,
a7PprOaches which a drummer might nottypicauy play・
0■en■ le reason for these unusual parts is because
pЮ gralTlming hms ttettently uses a tut and Pastご appproach
」ong with al学 血 gofdireК ntdements ttdrhnms This
can re,uh in Parts WhiCh stoP abruptly or iame unOrthOdox,
or sometimes 9ven unplayable,Patternse ln these sltuatibns
theれ ΠIneris requlred to fmd a way ofconvelpng the
orighal Part h a way thtts Plγ able on the drum kit and this
arrangement is typical ofthis kindofsituatiOni
in At bar 49 the guitar enters followed the by the keyboard pad
eight bars later, changes which are marked with neither a
crash or any other change within the basic pattern. After a
further eight bars this section ends, in bar 64, the same way
as we sa\^r in bar 32, only this time the drums stop after the
16th-notes played on the hi-hats on beat 4. The drums are
then tacet for three bars.
Bar 68
The drums re-enter in bar 68 and play the familiar two-bar
pattern from bar 69 tor a further l6 bars. At this point the
drums end, again with no crash played on the following bar,
leaving the track to fade for the final four bars.

Bar l ´
The piece begins with a two― bar ska― stvle pattern Played
between the bass drum and snare.This two― bar pattern is
repeated once before the hi― hatis added on quarter‐ notes
with this new Pattern again repeated once.Next the pattern
takes on a har― time quality with the snare backbeat nOw
falling on beat 3 and this new two― bar pattern playё d threc
times.The drums then stop for the nexttwo barso Notice
how nothing is played atthe beginning ofbar 15,with this
and bar 16 remainhg cOmpletely empty。

Bar 17
Letter A(Bar 17)i,trOduces the main groove which appears
through almost al ofthe remainder OfⅢ e pieCe.It features
a combinatio■ ofthe sotte Ofthe clements seen during
thc intЮ in cottunCtiOtt with eightll― notes plりed on the
hi― hats.Like the intro examples this is e mo― bar pattern but
featuring additiOnal bass drum mowment.Notice also how
the syncopati9n wピ Ve already see,at the crld ofthe two,bar
intro PattemS iS now ghosted宙th thelelhand With the
flrst ofthese tto ghost notes(thё わЧrth 16tll― note ofbeat 3
in bar 18)fa■ ing in between the eighth‐ ■ote hi‐ latS,While
ghost note on the`&'ofbeat 4 will fall vrith the flnal hi‐ hat
eighth‐ note ofthc ban

Bar 32
SectionA is 16 barslong an4 is fo■ OWё d by a 16 bar vamp.
The tFansition bctweell sections such as this might typically
be marked by a n且 ofsome kind but what can be seen in
bar 32,whist ser宙 ng the Same purPose,lS a little mOre
unusualo Here the pattern plays thc rlist four eighth-1lot,s
ofthe second bar ofourth‐ o― bar Patteril but thcn stops for
one quarter― note on beat 3,before playing four single― stroke
Ю瑠 “︼

16th― notes on the hi― hat.Notice how there is also no crash

on the downbeat ofthe next b額 。
A feature that appears,or
０∽

rather does not appear9 on the all ofthe remaining Sections.

日 〓 ∩  ４
２
 一
Ｊ
LL Co● l

し豊
SONG TttLE: ROCK THE BETlTS
趣 UM: RADIO
LABEL: DEFざ 、 RECORDINGS
J= 90R″
￨

GENRE: HIP HOP

WRIWEN BY: J押 圧S TODD SttH AND

FREDERICK RUBIN
PRCDUσ ED BY: RIⅨ RUBIN AND
LC∞ LJ

UK mART PEAK: 98

>

BACKGROUND INFO The Cultb pivotalth廿 d albunl EIθ ε′7ザ ε

,this tilne
concentrating solely on a tight and punchyrock and
'Rock The Bells' is the third single from LL Cool roll sound.
J'sdebut album Radio, released in 1985. The album
received critical acclaim for its innovative production In 1988 Rllbin decide to lcave DcfJallFI Recording
and LL Cool |'s rap style. It sold 1.5 million copies in and set og,lbr LoS Angeles,where he set up a
the US by the first quarter of 1986. new label caned DefAherican.He later founded
American Recordings and its Arst mづ or release was
Radio projected LL Cool I into the mainstream, and IOhnny Cashb Attθ r′ εα Rθ ε ογ
グ
along with Kurtis Blow and Run D.M.C, he started “ and its
album revived CasIピ s career '4gsin
ln破 1994.Thё
ofcovers
gigging at large venues across the US. The record and songs written for Cash at Rubimb request was
belongs to a pivotal period in the history of hip hop. repeated on another 6け e highly successAll albllms.
It reflects the change from the old school into the new Rubin achiet〕 dmづ or Suむ cess ttith the Red Hot Chii
school and the ghettoblaster subculture. LL Cool |'s Peppers feDr WhO,l he pro`uced S破 albutts.Amongst
rap style explores themes of life in the inner city and Rubi」 s other credits arё Shakira,Iay_z,Metallica,
teenage promiscuity. Tom Petty9 Bllck Sabbath,AC/DC,L■ Iol,Eminem,
U2,ZZ ToP,Neil Diamond and Green Day。
Radio also launched the career of Rick Rubin
whose minimalist production style earned him a I“ L Cooll iS also an actor whose credits include
significant place in hip hop's history. Upon founding movies such as Lα s′ Iわ I'あ ν
,助 IIθ ″θ 」
鬱θ,■ /s
`κ
Def Iam Recordings in New York City he produced and Kr“ 5乃 Groθ ソ
θ:HiS regular Tv appearanccs
records for the Beastie Boys, Public Enemy and Srrθ θ
include parts in HO“ sc,Sι Sα 74c r and Ncls.
Run D.M.C as well as LL Cool |. These were all Since 2015 LL Co1ll has hOsted the show二 ″
highly successful artists in the mid 1980s, a time S/れ σB″ ′Iθ 0

of significant technological and stylistic changes

ЮＯ驚 ︼

in the music industry. The collaboration between

Aerosmith and Run D.M.C on 'Walk This Way'was
Ｏ∽

a massive worldwide success and demand for Rubin's

日〓 ∩  ５

work increased exponentially. In 1987 he produced

２
 Rock The Bells
LL Cool I
Words & It'rusic by Rick Rubin & fames Todd Smith

)=90 Rap
っ壱 ”︼
ｏ∽日巳 ∩  ６
２

@ Copyright 1985 American Def T[nes/L.L Cool I Music/Universal Music Corporation.

Universal/MCA Music Umited./Warner/Chappell North America Limited.
All Rights Reserved. International Coppight Secured-
 Юｏ電 ︼
ｏ∽日〓 ∩  ７
２
□ Devdop
＞ ＩＩ※
睡ント野
具7

ｋ
ｏ ＞・
ｈ
・
真

蹴ン
Develop
Ю壱 ”︼
ｏ∽日〓 ∩  ８
２
 Юｏ罵 ︺
Ｏ∽日〓 ∩  ９
２
＞ ︱︱※

圏
＞ ︱︱※ ィノ     ＞︲︲来
国
 Walkthrough
Bar I I Groove Pattern hi-hat sticking / ghost notes
The hip-hop influenced groove pattern contains constant
16th notes on the hi-hat. Tio generate a machine-like
consistency play with one hand throughout. Experiment
with different phrasing options. Accent the first of every two
notes or the first of every four. Play the accent on the edge of
the hi-hat and the unaccented notes using the tip of the stick
on the bow surface of the cyrnbals.
The snare drum part has both accented and ghosted notes.
Note that the overall dynamic level is mezzo forte and all
internal dynamics are subject to that overall dynamic levei.
To achieve these dynamic differences good technical skills
are required especially from the snare drum hand. The bass
drum volume is to sit comfortably within the overall volume
of the other parts of the kit. Experiment with both heel up
and flat foot technique and chcrose which suits the groove.
Bar 2 | Time slashes and 'iont sim"
Tirne slashes are used from bar 2. This is a frequently
used symbol in rhythm section chart writing. Above this
the arranger has indicated the candidate is to 'tont sim"
- continue similar. Do so with a healthy dose of stylistic
awareness. Avoid excessive tom fills and focus on subtle
variations of timbre and dynamics within the groove.
Bar S I Hi-hat solo fill
In the music and on the original recording the main
rhythm stops to create tension to emphasize the lyrics.
Although the backing track does not contain vocals the
drummer is still makirg space in the music. Play
accurately and really deliver the rhythm with style. Be
wary of underestimating something which appears simple
on paper. The candidate may embellish these bars, however
must use stylistic aw.reness.
Bar 9 | Co-ordination
A co-ordination challenge subtly appears in bar 9. On the
last eighth note of the bar the hi-hat opens while the bass
drum is playing the oft-beat. Theretore, the hi-hat pedal will
be moving in an opposite direction to the bass drum pedal.
If this proves difficult isolate the co-ordination and practice
it at a slower tempo.
Bar 13 | Crash on the one
The crash cymbal is again used as a capital letter at the start
of a new section in bar 13. PIay the crash firmlybut notice
the immediate movement back to the hi-hat tbr the next
16th note and also be aware of the overall dynamic.
Ю還 ”︼
ｏ∽日 己 ∩  ０
３
Bar 17 | Time slashes - develop
Time slashes are used again at bar 17. Time siashes
are common in rhythm section part writing. Continue
to develop the groove in keeping with the musical
environment. Ptay something which carries the groove and
is in keeping with everything that is going on around the
drums. Musical taste and stylistic awareness are integral to
the modern drummer.
Bar 29-33 | Crash cyrnbal accents
There are some featured crash cymbal accents with the
accompanying bass drum. PIay these confidently and make
certain there are no flams between either instrument.
Although the rhythms appear simplistic on the written chart
it takes great skill and stylistic awareness to Play these notes
accurately and to balance the volumes relative to each other
and the other instruments on the accomPanytng
backing track.
Bar 36 | Cymbal choke
In the second half of bar 36 the crash cymbal is choked
three times in quick succession. Chokirg is a technique
where the cymbal is pinched between thumb and fore finger
immediately after being struck. This allows the drummer to
control the length of sustain that the cymbal can generate.
Note the syncopated rhythm which apPears frequently in
many Tpeq of contemporary music. Enjoy Playrng this
challenging piece and aim to develop stvlistic awareness
while learning to get inside the music.
Bars 6l-il1solo fills
As in bar 29-33 the same phrase aPPears at the end of
the arrangement. However this time the drummer is to
play some ad-lib fills in between each cymbal hit.
Use this an opportunity to showcase stylistic knowledge
and technical expertise.

SONG TttLE: 脚 圧工:EЭ N
i
ALBUM: HEAD HUNTERS
LABEL: COLUMBIA
GM、E: Jtt 毬Z ΠJS10N
Π∬区/」 メ
R「 電 N BY: mE脚 OocK,
BttME ttUPШ ,
PAUL」A酪 ON AND
HARⅦ Y M館 ON
PRODUCED BY: HERBIE HANCOCNK AND
】D RUBmSON
UK cHARr PEAK: N/A
BACfiGROIIND INtr'O
'Chameleon is the opening track on the legendary
Head Hunters album by Herbie Hancock and his
newly formed band, released in L97 3. The alburn is
a landmark in the jazz-funk and jazz-fusion genres.
It was the biggest selling jazz album of all time until
George Benson's Breezin' was released in L976. Head
Hunters is an influential album nearly fifty years after
its release.
Head Hunters is the culmination of a highly
experimental period in Herbie Hancock's career.
Whilst in Miles Davis's quintet Hancock released a
number of solo albums in the hard bop and modern
jazz styles related to the group. These were very
successful and include classics such as 'Watermelon
Man', later reworked for the Head Hunters album.
Upon leaving Davis' quintet in the summer of
1968, Hancock started to experiment with electric
instruments influenced by Miles Davis and his
groundbreakin g jazz-fusion style. He recorded
Mwandishi in L97L, Crossings in L972, and Sextant
in L973. The experimental and at times ethereal
nature of these records pushed Hancock to pursue an
earthier and more grounded, funky sound.
Hettie Hancoむ ]《
J ='! 00 Funk Feel
Atter the 1973 album release Harvey Mason was
replaced by Mike Clark whose drumHling is also
legendary.Both drunllners would work with the
band,with and without Hancock
Harvey Mason iζ known for his unique feel and
groove,amazing precision and solid tilne keeping.
He is one oftodayb most critically acdaimed and
revered drunllnerse H[e has worked with a whois who
ofthejazz andjazz― ision worido Atter the success
ofthe Lttα グ助 4′ issound became
`16,Harvey Maso五
fanliliar to an even wlder audience when in 1976 he
recorded the multi― Platinunl― SClling B“θ
θz′ 4'with
guitarist George Bensone Hcこ ontinued working
with Benson,recording tte legendaryル FIなた r,
incllュ ding the masterpiece`The World ls A Ghettd He
started recording solo albums in 1975 and achieved
signincant success in the late 1970s.He recorded ll
solo albums to date.In addition he also recorded
宙 th Herbic H[ancock,Chick Corea,Donna Sumlne島
Patrice Rushen,Rufus,Ioe Henderson,Casiopea,The
Brothers,ohnsOn,Carole King and the classic Sttrν ′
ναI
O/動 θ■rrgS′ 宙 th the band Hcadhunters,amongst
many otherso Since 1990 he has been the drunllner
with smoothjazz sensation Fourplay9together with
Юｏ罵 ︼
bassist Nathan East,Pianist Bob lames and guitarists
Lce Ritenour and Larry Carlton.
ｏ∽日 〓 ∩ 
３．
 Chameleon
Herbie Hancock
Music by Herbie Hancock,
Harvey Mason |r., Paul Iackson & Bennie Maupin

J = 1 00 Funk Feel
つ遇 ”︼
ｏ∽日 〓 ∩  ２
３

@ c opyri ght r e 73 H ancock,ffi any/ Funkdivity Mus i c.

:[ fr:T: il,{f]f,";; ffi[comp
All Rights Reserved International Copyright Secured-
 Юｏ電 ︼
ｏ∽日〓 ∩  ３
３

具
>

・
真
一
周
 Drum Break

￨ : ￨
―
一
員

＞よ ︹

Band Enters

・
真 興͡7

ノ > >
っ還 “︼
ｏ∽日 〓 ∩  ４
３
Ю喘 ”︼
０∽日〓 ∩  ５
３
︵＞、ぉ
一
月

真
>

>
♪
>

>
7
 Walkthrough
Bar I I Snare drum anticipation
The iconic drum groove played by drummer Harvey
Mason on this track features a snare drum anticipation. A
standard backbeat is played on beats 2 and 4. In this piece
the first part of the backbeat is anticipated and played
on the 16th note before beat 2. This use of syncopation
defines the rhythm. If this concept is new to the candidate
it is recommended that focus is placed on the hand part in
isolation with a metrononle at slower tempos to improve
beat placement. To develop feel, play with the original
recording and also listen to the myriad of subtleties rnvolved
in the drumming. In this arrangement a cross-section of
ideas used in the 15 minute version has been ciistilled dcwn.
The candidate should "Develop' the groove throughout as
written above the stave. Do add additional ghost notes and
embellishments in the style of Harvey Mason.
Bar 8 I Cres cendo and fill
A change of dynamic is indicated with a crescendo. The
drum fill slightly builds in volume. Consider this when
thinking about sticking and phrasing. Note that not all
of the notes are accented within the fill. Single sticking is
suggested. The internal dynarnics between the snare drum
and the off-beat bass drum on the third beat should feel like
one sound and phrase rather than a collection of separate
rhythms. Note that the hi-hat opens at the same time as the
bass drum plays which will mean the feet are moving in
contrary motion.
Bar glMetodybegins
The melody or "head" begins at bar 9. 'fhe drums
acknowledge this urith a crash cymbal on beat 1. This song
has a simple Alts form. Dont confuse these terms with the
rehearsal markings on the chart. Keep the groove soiid and
furky throughout. Make sure that bass drum 16th notes are
played accurately.
Bar tZ I Pattern evolution
The B Section (not to be coniused with rehearsal letter B)
begins at bar 17. The groove pattern evolves and the hi-hat
hand moves over onto the snare drum to play the accented
note on beat 4. The candidate can use alternative sticking
here. Note the bass drum 15th note phrases and think about
using heel-up technique and accenting the second of the two
consecutive notes very slightly to shape the rhythm. Listen
to the original recording and hear how Harvey responds to
the music around him when improvising these variatlons.
Also think about the internal dynamics of the part.
Ю壱 ”︼
ｏ∽日 〓 ∩  ６
３
Bar 23 | Snare drum ghost notes
There are many ghost notes in this piece and the candidate
is encouraged to add these from the beginning when
developing the part. The arranger has notated specific
ghosted notes in bar 23.The ghosted notes should be
significantly quieter than all the others. Keep the sticks low
and play between a quarter and half an inch away from the
drum head. Also remember to use the outside area of the
drum head for tonal variation.
Bar 25-26 | Ensemble figures
There are ensemble figures played by the whole band. The
drummer incorporates these into the phrasing in bars
25-26. Play these confidently and listen to the phrasing of
the musicians. Notice the use of flams in the gaps around the
ensemble to set up the phrase in bar 25 and the use of ghost
notes in bar 26 to keep the groove flowing. When striking
the crash repeatedly control the cymbal. Do not let it "roar"
out of control.
Bar 29 | Drum break
There is a drum break at bar 29. Play as written but expand
on these ideas appropriately. Pay specific attention to
dynamics and 'took" the groove at the low volurne at bar 33.
There is no need to add over complicated drum fills just lay
down the groove.
Bar 47 | Crash cymbal use and pattern vocabulary
There are some great variations and patterns to absorb
betrveen bars 47 and,54. Note that the crash cymbal should
be used only on the first tiare bar 47, this indicates the start
of the section Enjoy playing to this infiuential song and
groove. Ncte that the original structure has been reduced to
accommodate the time requirements of the grade. Both the
A and B sections would often be 16 bars in length. This is a
classic track and a great one to learn for jamming with
other musicians.
 Moha■ r Mounttlin

SONG TITLE: MOHAIR MOUNTAIN

GENRE: 郎 IC ROCK

・
Ｃ
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κ人
２
９

α
７ ι

Ｓ
Ｓ
TEPIPO, 92 BPM Rθ εた

Ψ
TEσ H FEATUR郎 : ODD TIME SIGNATUR3
Φ
電聞 (鶏 NG“
郎 DRUM DOUBL鵬

00MPOSERS: 」OE BENNIコT

&KUNG FU DRI」 MPIER

PERSONNEL: NOAM LEDERMAN(DRUMS)

STUART RYAN(GTRI
輛 Y THOMLAS Oだ S)

OVER\TIEW and The Who were pushing amplifiers to their limits

'Mohair Mountain is a classic rock track.,vritten
in the style of bands such as Led Zeppelin anci Deep
Purple, and based on the drumming of Iohn Bonham
and Ian Faice. The track features time changes ancl a
shift in feel from straight to swung, a common feature
of this style.
SIYIE FOCIT]S
Classic rock drummers must have an array of skills
to hand. Being able to play swung or straight and to
switch note values seamlessly when filling are some
of the most important attributes of a drummer. Feel
is also important because the music often conveys
a range of emotions and dynamics which need to
be complemented convincingly by the drum kit.
Your leading bass drum foot must be up to speed
to accurately perform those 16ft triplet bursts in the
spirit of Led Zeppelin's John Bonham.
rHE BTGGER PTCTURE
and recording extended tracks far beyond the remit of
the 45 rpm single.
In the 1970s L,ed Zeppelin and Deep Purple
dominated this stlrle of music, although Led Zeppelin's
recording career was curtailed in 1980 by the death
of their drummer )ohn Bonham. Bonham was one of
the most influential rock drummers of ali tirne and
had many attributes that most drummers can only
dream of: incredible power, a fast bass drum foot and
ferocious hand speed coupled with a unique feel for
the groove of a song. Led Zeppebn reunited in 2007
with Iohn Bonham's son |ason continuing his father's
legacy in the drum stool.
RECOMIVIENDED IISTE}]TIIG
R.esearching this style of music will give you
great pleasure as a drummer tbr the standard of
musicianship is incredibly high. Ginger tsaker's vrork
with Cream on Fresh Cream demonstrates creativity
in its fills and grooves, particularly on the track'Toad'
which features an excellent melodic drum solo. Led
Ｏｏ罵 ︼

Zeppelin's 'Good Times Bad Times' stands out for its

The term classic rock is usually applied to guitar fast bass drum work and dynamic fills; 'Moby Dicki
０∽

bands from the 1970s and 1980s. However, the genre for its characteristic grooving; and 'Fool in the Rain',
日〓 ∩  ７

has it roots in the late 1960s when bands like Cream for that classic Bonharn shuffle.
３
 Mohair Mountain
troe Bennett & Kung Fu Drummer

)=92 Classic Rock

00

L-3-J
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 L¨ 3-… 」

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 Guitar So:o(16 bars)
φ φ

Develop

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 7 1 / 3コ
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 Walkthrough

A Section (Bars 1-8)
This section features the intro riff of the song which consists
of alternating 414 andT lSbars. The heavy rock groove is
built from half open hi-hats, rim-shot snare on the backbeat
and a bass drum figure that is tlpical of the genre.
Bar I I Half open hi-hat
The vertical line through the open hi-hat mark indicates ihat
the hi-hat should be only half open in this section. This can
be done by tightening your foot on the hi-hat pedal. Ideally,
the hi-hat cymbals will be consistently close to each other
and produce a sizzlinq sound.
Bars l-8 I Changing time signatures
In this section the time signature alternates from four
quarter notes to seven eighth notes in a bar. Listen to the
guitar and bass riff carefully in order to understand the
phrasing. If you are using the backing track with the click,
you will hear it changing from quarter notes to eighth notes
in order to help you follow. At this level, you should be able
to move smoothly between time signatures without affecting
the flow of time.
Ensure that you control the stick to achieve two even grace
notes and time these well in betrveen ttre eight-note hi-hats.
D Section (Bars 27 -42)
The D section consists of a 16-bar guitar solo. It comprises
two grooves with slightly different feels and bars that need
to be developed srylistically. Make sure that you observe the
changes in dynamics in bars 35 and 42.
E Section (Bars 43-50)
The eight bar drtrrn solo is based on the structure of the
intro, where the time signature changes. Listen to |ohn
Bonham (Led Zeppebn) for ideas for solos in this style.
F Section (Bars 51-69)
The tempo changes from 92 bpm to 126 bP* in bar 51 and
the groove moves to the ride cymbal. There are rim-shots
and ghost notes to conslder as well as srylistic fills with
advanced hand- foot co ordinstion.

Bar 67 | 3:2 polyrhythm

B Section (Bars 9-16) In this fill you have to co-ordinate quarter-note triplets
This is the verse part of the song and the hi-hat should with quarter notes. That means that every two beats, a full
mostly stay closed. The challenging foot work with the bass quarter-note triplet will be played, hence'3:2 polyrhythml
drum is typical of this genre and will require solid technique. Use your hi-hat foot as your anchor and focus on
performing the triplets accurately with conviction (Fig. 2).
Bar 9 | Fast bass drums
Playing the two consecutive 16s triplet notes at this speed
will demand preparation. Slowing the tempo down and
breaking down the groove is a good way to start practising.
Although this can be played with both heel up and heel
down techniques, you rrright want to attemPt a unique
sliding motion with your bass drum foot. Place your bass
drum foot in the heel up position and pull your foot back
until your toes are in the middle of the footplate. Perform
the frst stroke and allow the beater to continue its naturai
movement in order to create a second stroke as a rebound
of the first. When played correctly, this technique will ￨■￨￨￨￨￨IⅢ
allow you to perform two strokes with one movement. The
concept is similar to performing doubles with your hands
and the same rules apply: practise slowly and internalise the
movement (Fig. 1).

C Section (Bars T7-26)

In this section you rvill return to the haH oPen hi-hat with a
busier bass drum pattern and drags on the snare.
Ю壱 ｃ︼

Bar 17 | Drag
ｏ∽

The drag rudiment consists of two grace notes followed by

日〓 ∩  ２

one main stroke. In this groove, the cirag is played tln the ￨￨￨:'￨￨￨￨101yrhlll
snare and the main stroke on the bass drum and hi-hat.
４
 P5■ h The ToP
SONG TttLE: POP IT IN THE r.DP
GmE: FL■ TK

TEPIPO: 110 BPM

J=1 10 Funk
電 σH「_ATUR那 : SNARE GHOSTlmG
mRttB弘 盤
DOUBL鵬

COMPOSER: LUKE ALDRDCrE

螂 ONNEL STUART RYAN(GTR)

HENRY THOPIAS(BA堅 3)

NIR Z(DRU郎)
FUL FAT HoRNS(BRA駁 3)

Ro"STANLEY(KEYS)
±
lExGUS GERRAND CPERC)

omtJ珈 by tenor saxophonist and 7ocahst Emilio C3asti1lo

and baritone saxophonist Stephen Kupka,the bandb
`POP Itln The TbP'is a funk track written in the hard hitting funk gr。 。ves
mE[ed宙 th lush R&B chord
style ofAmerican R&B band Tower OfPowen lt PrOgressions and sOultinged vocals proved Popular
featurё s snare ghOsting,lincar funk beats and doubles。 with ink and soulfans。

The bandゝ instrumental line― up has rernained the

STYLE FOCUS sarne desPite personnel changes:a signature horn
sё ction(two trumpets,two tenor saxes and a baFitOne
Within this Piece there are a variety ofdi“ ё
rent S籠 ),VOCals,guit“
"keyboardsi bass and drum乱
groovcs that rencct clements OfЪ wer OfPOWer
drummer David Caribaldib pla,ng and thosc ofotheF Tower OfPowerb instantly recognisable sound is
drummers who hⅣ c Played宙 th the group over the largё ly due to its hnear drum sり e combined witll
yearso The piece starts with a silnPle beat that throws staccato,syncopated horn riffS and busy basslines.
in some 16ths and eighths between the handsin the
second barD an idea that is revisited later in the piece.
There are also lnore`linear'grooves that use different RE00MMENDED鵬 駆 NING
sticking and hend and foot combinations rather
than a constant eighth― or 16th― note hi― hat pattern. To、ver OfPower have recorded 18 studio albums
Although these are lnore challenging to PlayDitis but a good Place to startis their hve offering Sο I

essential that they■ owwen and sitjust as comfortably 確 ′

4″ ′ “
ο :Liν θ(1999),WhiCh featured the return of
as the less comphcated beats do. “ “
original drummer Garibaldi.Sο 夕Iθ グ0“ ′ (1995),h7ith
Herman Rlley on drumsゝ includes thc great'Souい ″ith
AC■ ital S'andCDiggr On JameS BrOwポ DroP
⊆IHE BIGGER PImE itln The Slol from the albumル 油θslο ′(1975),is
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an obvious in■ uence on CPoP Itln The ToP'and is

The roots ofTower C)fPowergobackto 1968 played by the bandb classic hne‐ uP,aS dOes the album
ｏ∽

when,inauenced by lameS Brown,they established a L′ ν

θA“ グル L′ ν′g Cθ Jθ r(1976),、 vhiCh iS a rare l市 e
日〓 ∩  ３

ink based style that was distinctly their owrlo Formed “ late 1970s pё riod.
recording from the士
４
 Pop It In The ToP
Luke Aldridge
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 ♪ 7カ ・
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□ D:um Sdo tt barSl

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 Walkthrough

A Section(BarS l-4) D Section (Bars 29-36)

This is a drum introduction that estabhshes the rnain funk The breakdown section has an offbeat eighth-note hi-hat
groovee There are 16th― note bass drums,riln‐ shot snares and groove that develops over the course of these eight bars.
a mlin bar 4。 Ensure that every bass drum and snare stroke are performed
with conviction.

B Section(Bars 5-20)
This is the verse part ofthe song where the groove remains E Section (Bars 37-52)
simiar to the intro.There aFe Stylistic fllls and snare/bass The groove moves to the ride cymbal in this section and
drunl variations. there is room for you to develop the part. From bar 45 a
consistent eighth-note hi-hat foot pattern is added as well as
Bar61 AJ″ ar"α ′ 16rl syncopated crashes.
'電ofthis bar there are fOur 16ぬ
On the second beat notes iat
alternate bemeen the sntte and the hi― hat.K:eep yourle食
hand on the snare ln order to execute the rlnl― shot snarcs F Section (Bars 53-60)
and co― ordinate the hi― hats accurately in between.Make This solo can be interpreted in various ways besides the
sure that the■ ow Ofthe groove is not affected by this linear stabs in bar 58. Whether you decide to base your solo on the
funk apprOach. rhythmic phrase played on the track or not, you must ensure
that the solo is in keeping with the genre, that it develops
Bar 161Sα ′
η ′I`′ II throughout and is performed confidently. Listening to the
There is a sextuplet that uses the high ton■ and snar9 on the drummer David Garibaldi (Tower of Power) will give you
fourth beat ofthis ban This fast phrase can be played with ideas for improvising in this sffle.
various sticking options.Try using the inverted Paradiddle―
diddle sticking(RLLRRL)becauSe this will helP you to
achieve a natural■ ow Also,ailn to kecP allthe strokes even G (Bars 61-68) & H Section (Bars 69-76)
and accurate. Section G is a reprise of the chorus with the linear funk
groove. Section H is a reprise of the verse which leads to the
Bar20 1324グ θs ttθ ending phrase in bar 76.
“ to perforin in this fllle Thesё
There are 32nd notes are
the next subdivision atter 16th nOteS,SO cight ofthem
put together are equalto one quarter note.In order to
ｂ ＲＲＬ

understand the rhythn■ on beat 3,start by playmg fbur 16th

メ

notes on the snare then double the Flrst and create two 32nd
noteso This can be played宙 th singles:RL RLR.When
replacing the last stroke with the bass drum the sticicing will
be as fOl10ws:RL R L R The alternat市 e is to use doubles at
the beginning ofthe phrase:RR L RLorLL RL R.Howeve島
you win requむ e rehable sticking controlin order to perform Count: 1

thё se with apprOpriate prtteC■ On(Fig。 1).

F暮 :■ ￢irty― ヽ
￨￨￨￨● ￨￨￨￨￨

C Section(Bars 21-28)
The second lnain groove is introduced in the C sectione This
is in the fbrnl ofa linear pattern with consistent 16th notes on
the hi― hat and snare.It is vital that the riln― shot and ghost
note snares are clearD balanced and PrtteCted weu。

Bar211 Gた οs′ θ′
gs

The snare notes “

marked in brackets should be played as

還 ghOSt notes.The dynamic level ofthe ghost notes should

罵 be much lowerthan the non― ghOSted snare strokes.Keep
む your hand close to the drum head in orderto produce this
耐 れ 耐
I器 :
Flg121‐ 10い 0111011S

48
 Mindsweく 耳贈r

SONG TコLE: mmER

GENRE: DRUM AND Bだ 贅シ′
P圧 PAL

TEMPO: 1(4 BPM

TECH FEATUR那 : ACCENTED ROTttS

GHOSTING [三 ]
」
=104 π&J七ド
D響孵
POLYRHYTHMS

'/
00MPOsEx: JASON BOWLD

PERSOttL JrSON BOWID(Jtt PAR[脇 )

￨
― 菫

OVIATIEW records (the most popular being Amen, Brother'

'Mindsweeper' is a typical drum and bass/metal
crossover influenced by drummers such as Paul
Kociish anci Incubus' |ose Pasillas as weii as bands
like Pendulum and Pitchshifter. The song features a
variety of typical drum and bass grooves that integrate
ghost notes and accented rolls further embellished
with broken ride cymbal patterns.
by The Winstons) then sped up using softurare for
an electronic feel. DJs Goldie and Roni Size were
pioneers of this approach.
Drummers caught onto this style and started to
replica.te these sampled beats. They infused metal
and rock with drunn and bass rhvthms, sometimes
creating new sryles such as industrial.

Pitchstrifter were one of the first bands to pr:oduce

S'IYIE trCIg[]S
Drurn and bass typically features a strong bass
drum pattern played on the'1'and'3 &'while
retaining a heavy backbeat on the snare. The ghost
notes played between these puises set up the style's
distinctive feel. So, accurate dynamics are crucial:
make sure your backbeats are louder tharr your gtrost
notes. This is also important when executing the
various rolls in the track because they have specific
accents that give them their groove-like shape.
this h1'brid sound by using a mixfirre of live drums
and sampled electronic sounds. Incubus also used
drum and bass elements to complement their melodic
sound, which sat perfectly with the funky style of
drummer Pasillas.
Another notable band is Pendulum, who have
been successful with a more commercial style that
combines drum and bass with rock
RECOMMENDED r,rs[E]rrNc

THE BTGGER PTCTURE Incubus' 'Pardon Me' contains great live drum and
０名 ”︼

bass breaks. For a more electronic sound listen to

During the 1990s, drum and bass grew around the 'Tarantulal by Pendulurn. Finally, Pitchshifter's album
ｏ∽

London and Bristol club scenes. The classic drum www.p it chshift er. com ( 1 99 8 ) features some classic
日〓 ∩  ９

and bass beats (or breaks) were sampled from vinyl drum and bass breaks on 'Please Sir' and 'Genius'.
４
 Mindsweeper
)ason Bowld

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 ￨12.

lt 。 ￨12 。

12

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 [48〕 > >> >>>>>>

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 Walkthrough

A Section(BarS l-16) D Section (Bars 33-53)

The intro to`MindswecPer starts with a cymbal swellthat This section features what cculd be called the chorus
leads into an abstract drun■ and bass groove then progresses followed by a reprise of section B but with a different groove.
to contemporary drun■ and bass grooving.It ends宙 th an
accented snare roll. Bars 37 -N I Chorus groove half-tirte
You wilt need to focus on the click here because the quarter
Bars 2-41の bα J″ II note, half-time feel will reveal any timing discrepancies.
“must start quictly and increase gradualy in
This cymbal ron
volume over two bars to be effect市 eo The main tiP iS notto
gettoo loud too soon. E Section (Bars 54-69)
In this section the dynamics drop to a cross-stick groove that
Bars 9-141 Dr“ α4グ bα s l“ ον θο develops and builds into a crescendo.
“ "働 `riル
ThiS gr。 。ve is characterised mainly by the gllost notes and
bass drums Played on the“ 1"and“ 3&'l Dynarl■ ics are key Bars 54-67 | Cross-stick develapment
in sounding conⅥ ncing here so lnake sure the backbeats are Consistency on the hi-hat is vital here to retain the dynamic.
noticeably louder than the ghost notes. Small wrist xlovernents will help, as will finding the part
of the stick which produces the sweetest cross-stick sound.
Bars 15-16 1 Aε ε
θηた′S“ α″ roII Increasing the bass drum frequency and adding oPen hi-hats
This is the feature roll ofthe song and you will need to be would be a good way to develop this groove further.
aware ofthe offbeat accents that precede the accents on the
beat to inake this sound correct.
F Section (Bars 70-56)
f'his is a reprise of the chorus grooves from the D section
B Section(Bars 17-22) and features improvised fills.
In this section the groove is intensifled by extra crashes.The
accented snare rou continues throughout this section. Bars 70-81 | Fitl development
Following the dotted quarter note crash bars, you have a
Bars 17-201(ン bα l α
εεθ chance to shine \^rith your own fills. Tiy using a variety of
The groove played“in thcse bars is allnostidenticalto the
"rs
note values and pitches to create interest.
previous one,exceptthat crashes are played on beat 4 of
every ban

C SeCtiOn(Bars 23‐ 32) R L R L R

The contemporary drunl and bass grOove continues in this
section then Progresscs on to the ride fbr a brOkell pattern.
The section concludes wlth a powerful snare roll。

Bars 23… 271Hト カα′θ b`J:′sた 綱θ rs

“
ln this drum and bass“groove section,yourlen hand
alternates betlveen playmg th ghost notes on thc snare and 1,,' ,,,, I r . , pig. 1: Hi-hat embellishments
mo宙 ng to thc hiThatto create an embellishmentin evlr,
other ban For this try using the same sticldng,which from‐
beat 2 ofbar 24、 浮ould be R/L.RLRLoL.RL:Watch out
for the displaced baご kbeat on the“ 3&"ofbar 27(Fig。 1).

Bars 28-32 1 Broル rjル gηθνθ

“ here is two bars long and has
The broken ride pattern
a dOtted quarter― note feelo lt is imp6rtant that you play
っｏ﹁”︼

accuratelyfrom the ride SuFfacc to the lё n tO get the Count: 1 (&) 2 & (3) & 4 (&) 1 & (2) & 3 (&) 4 (&)
right soundo You will need to practise● is gr00Ve slod,
０∽

7ith its
in i,olationlefore building,p to speed to dcal■
日〓 ∩  ４

comple対 tyo The counting would be“ 12&&41&2&3&4" ￨￨￨■ ■￨￨￨1事 ,11`燕 ￨:￨::お 轟■￨■ ￨■￨￨
during bars 28 and 29(Fig,2).
５
 Fttla

SONG TItTLE: FAm

GERE: 割響BA
TEⅣ 聾0: 109 BPM
J=1 09 Samba
rrEσ
H mTUR“ : FOUR― WAY COЮ RDINAT10N
SYNCOPATED GR00鵬

00MPOSER:mtt ED―

PERSOWL NOゴ WILEDm (DRUMS)

配 NRY頭 OMLaS仰 部 )

STUART RYAN(GTR)
鶴 HON KHAN(螂 )

■
lExGUS GERRAND(PERの
RI田 想 D PttDY(S→
Stt WALKER(TRUMP恥
ANDY CROmN(TROMB)

OVER\TIEW national music ofBrazile Early samba relied on drums

'Favela' is written in the style of Brazilian samba
and features four-way co - ordination, syncopated
grooves and syncopated fills among its techniques.
STYIE tr'OCI]S
Traditionally, the sarnba beat was created by.
group of percussionists playing different patterns.
From the 1960s these patterns were adapteci for the
drum kit, placing each pattern on a different drum
or cymbal voice. This is the reason why samba
and, indeed, most Latin beats involve advanced
co-ordination, making them particularly attractive to
drummers of all levels.
$IE SfGCEo. PfCfiRE
and percussion(thinkOfthesoun40fRioDeralleir洗
carnival marching bands)and Was revered foF itS raW
eiettry ratter´ than mu,ical SOphistication.Howeve島
this changed in the 1950s when Joao Gilberto and
Antonlo Carlos lobim brOughtin supple melodies
andjazz in■ uenced harmoniese This new style or
`bossa novゴ exPosed Brazilian lnusic to the wondolts
best― known song is`Tle Girl From IPanemこ which
was translated fronl Portuguese into English and
performed by Frank Sinatra。
Bossa novals sense ofsophistication and restraint
made itidealfbr hotelloungё s and Las Vegas theatres,
・lving,ohtiCS Were afootin Braz■ in
but ne、 v le食
the late 1960s:The sounds and sentilnent oftlle
ルν
θレS aupted through te music ofChico Buarque,
caetano ve16so and C)s A4utantes,a molten fusion of
samba9 rock,fu,k andja2z.Its name was tFOpicalia
and it remalns Popular to this day.

Samba is the rhythmic, syncopated music of Brazil

with its roots in the country's atrican culture. The RECOMMENDED L薦 電 NING
first samba record is believed to be 'Pelo Telefone',
Ю壱 ”

released in 191 T.Itgave the style its first significant Gilbert“ cttcrル S`認 Jα ル (1959)is a dassic
︼

exposure outside of the favelas (slums). It made bossa nova recordo Tb hear how Brazilian muslc
ｏ∽

such an impression that, in the 1930s, the nationalist changed in the 1960s,listen to the albulns Cα θム α′
lο
日〓 ０ ５

dictatorship in power supported its promotion to the 秘 bSθ (1969)and Buarqutt Co4srr“ fα θ(1971).
５
 Favela
Noam Lederman

J=109 Samba

Develop on repeat
X

。 + 0 +
っ暑 ”︼
ｏ∽日 〓 ∩  ６
５

@ Copyright 2ol2 Rock School Ltd. This music is copyright- Photocopying is illegal.
E Keyboard Solo (16 bars)

Develop

□ Drum Sヴ 。いa→

1411 Snares o青

D.X. al Coda S

$ coaa
Юｏ驚 ︺
０∽日〓 ∩  ７
５

@ Cogyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Walkthrough

A Section(BarS l-8) drum unison perfectけ withOut any unnccessary nams is

The main samba groove isintroduced in the flrst four bars considered an art(Fig。 2).

ofthis Piece・ You will require al ofyour hmbs to perform

this gЮ ove.FЮ m bar 5 there are rhythmic stabs to perform.
They lnust be synchronised宙 th the track。
Bar l lSα bα
This is one
“ofthe traditional and basic ways ofPlaying
samba on the drum kit.Start by playing the feet patter,
and work on your accuracy and floⅥ I The bass drum can be
played with the heel up technique,but you恥 司L achievc the
right sound more naturally ifylu use heel downe Ensure
that you can Play thiS pattcrn COmfortably and that y)ur
posture relmains balanced:before adding the hand Pattern.
The consistent eighth notes on the ride should not be too
challenging to co― ordinate.Howevett you will need to pay
attention when you add the syncoPated accented snares.
4r′ ″―
Bar41L″ ′ SttO′
A Latin riln― shotis produced by hitting the snare lnd
surrounding rm at the sarFle tilne宙 th the neck Part ofyour
drum stick This will produce a higher pitch and slightly
softer riln― shot sound than the rock equivalent.Perfornling
this technique in a relaxed way will help you to achieve the
stylistic con宙 ction that is required at this level。
B Section(Bars 9_16〉
This is the verse part ofthe song where the groove Ferrlains
simiar to the intro.There is a styhStic ttl using your llands
and feetin bar 12,fouowed by a preparatlon nllin bar 16.
This f11lleads to the C sectlon.
D Section(BarS 25-40)
This is the keyboard solo whё re you have the oPPortunity
to develop the part.The flrst part 6fthe,olo iζ notated,so
follow thiお syn,oPated groove careily
E Section(BarS 41-53)
Fouowing the eight bar drum s01o,you return to the sign
in section B.When repeating this section,do not play the
written Part again but lreel free to develoP it aCCOrding to
your musicality and understanding ofthe stylec
Bar41 1 54α rgSげ
This indicates that the snare w盤 bc Played in the off
POSitiOn,where the snare wlres do nottouch the bottom
drum heado This shOuld be straightforward to do.Howeve島
not an snares have the salme mechanislno Ensure that you
know how to turn the snare wires offand on before starting
the pieceo The sound achieved when Playing with the
snares offis silnilar to the percussion instrument timbale.
Using riln― shots,flams,drags and syncopated Phrases will
help you emulate the sound and feel with a great degree
ofauthenticity.Turning thC snare l輌ires on can be done
anywhere towards the end ofthe solo aslong as you are
ready tO Play When repeating section B.

Bar 16 1Sy″ ε
Opα たノ/iiII

The open hi‐ hats and crasl emphasise the T and∵ and
create a fechng ofSyncOpation.Ensure that all open/
closed hi― hats are pr9jected wen and thatthe Aメ hms aFe
performed accurately(Fig.1)。 Count:1(e)&a2(e)&a3e&a4e&a

C Section(Bars 17-24)
In the chorus section a salnba funk groove is introduced。
Both hands Play 16th notes on the hi― hat.Your right hand
win rnove to the snare on the backbeat.The bass drum
pattern lnaint〔 uns the traditional samba feelin this gr9ove.

Bar 18 1Sα bα ルれ
た
“ m samba funk maintdnsthe dotted 16°
The bass drum 1‐
note
pattern on every beate Aiュ to Play the bass drum strokes

週 eVCnけ and maintain a balttced Posture.Yourhands play

S lTT:鰍 l灘 器盤撃 賞潔∫

:臨 ∬縦模庶亀1寵窯ml瑞=藁 糧 ￨￨141Ⅲ 111■ ■￨￨■

58

SONG TttLE: SPACE FUTURE
GENRE: TRIP HOP
TEMPO: 90 BPM
TEσ H mTUR∬ : ADVANσ ED
COЮ RDRTA・ T10N
6/8 TRIP HOP GR00VE
m
SNARE DRACS
COMP(■ TR: NEヒ :J」 DHORAだ ΠWAI■
PERSONNEL: NEEL D(PRODUttION)
NO皿 LEDERMAN(DRUMS)
ovEF-\rrEw
'Space Future' is a trip hop track in the stv'le of
artists such as Massive Attack, Portishead and Trickv.
It includes a 6/8 groove, advanced co-ordination fills
and snare drags among its techniques.
STYIE FOCI]S
In this track the metre changes from 518 to 414
while the tempo is maintained at the same value.
This gives the impression of a tempo change which
allows the piece to develcp without losing its solid
rhythmic drive. Indeed, it is this breakbeat style of
groove, coupled with a heavy bass line, atmospherics
and lo-fi sarnples/effects that gives this trip hop piece
a sound that is typical of the genre. At the recording
and rnixing stages, the drums tend to be heavily
compressed to make them sound more like samples.
THE STGGSR PTCTURE
Trip hop is a downtempc, largeiy instrumental
ofrshoot of hip hop that enrerged in the early 1990s.
Its exponents were inspired by hip hop's golden age of
the late 1980s when hip hop producers developed the
new technique of sampling into a complex art form.
SPace Ftt「
=9oシ ″Hη
」
■
The genre's birth can be attributed to the Bristol
band Massive Attack whose 1991 album Blue Lines
was an atmospheric, introspective riposte to hip hop
and, especially, r"pt block-rocking beats ancl cocksure
vocal detrivery. Tric\, thc album's guest rapper, went
on to release h.is own LP in 1995, the critically-
acclairn ed Maxinquaye. Geoff Barrow was the
engineer at the studio where Blues Lines \4,as recorded
and, no doubt inspired by the sessions, formed the
band Portishead, whose 1995 debut Durnnry won
that year's Mercury Prize. Tricky, Massive Attack
and Portishead all hailed from Bristol and produced
records sir.ailar enough to warrant the label trio hop,
but they resented the term for fear of being pigeon-
holed and pointed out that Tiicky, although Bristol-
born, was by this time resident in London. Regardless,
by then trip hop was a global phenomenon with D|
Shado'w in Califcrnia and D| Krush in |apan both.
recorcling for the Mo Wax label.
RECCMMENDED T SIE}In{G
Massive,tttack's 'best af' Callectedgives an
overview of their stvle but their debut record Blue
つｏ罵 ︼
Lines,1994's Pratection xtc1199S's Mezzanine are all
excellent. Dummy by Portishead was inspired as rnuch
ｏ∽
by rpy filrn soundtracks as i.t lvas sonl and funk 45s.
日〓 ∩  ９
Triclcy's debut Maxinqua)le is also recommended.
５
 Space Future
Neel Dhorajiwala

.l=90 Trip Hop

Ｏｏ驚 ︼
０∽日 〓 ∩  ０
６

@ Copyright 2012 Rock School Ltd- This music is copyrighr Photocopy'ing is illegal.
回 ュ
͡

η
二 il

Ю壱 “︼
０∽日 〓 ∩ 
６．

@ Copyright 2ol2 Rock School Ltd- This music is copyright- Photocopying is illegal.
 Develop
Юｏ罵 ︼
ｏ∽

Develop
日〓 ∩  ２

〔
73〕
６

This music is copyrighr Photocopf ing is illegal.

匡]婁 ͡ ょ

Embellish wtth snare ghost notes― ―――――――――‐

oooo

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

Юｏ電 ︼

7♪
ｏ∽

1͡
日〓 ∩  ３
６

@ Copyright 2012 Rock School Ltd- This music is copyright- Photocopy'ing is illegal.
 Walkthrough

A Section(BarS l-24)
This section introduces a 6/8 trip hop grooveo The consistent
eighth notes are played on the ride and hi― hat,the cross stick
on the fourth eighth note and the hectic bass drunl Pattern
varieso The nn in bar 16 signals the entry ofthe snare in bar
17 where the groove intenSifles.
Bar l16/8′ rつ た ま
Op bθ α
This is a classic 6/8 trip hop beat where the eighth nOte leads
on the ride cymbal are played with machine― Lke consiste,cy。
The cross― stiCk Should be prominentin this groove,so make
sure yo■ hit the sweet sPOt Ofthe riln and achicve a balanced
―
Pr● eCtiOn.The 16血 note bass drumslttould bc Placed
accuratelybetween the eighth notes(Fige l).
snare and the main stroke on the bass drum and ridelcrash.
Make sure that you control the stick to achieve two even
grace notes and time these well in between the quarter notes.
D Section (Bars 65-80)
The groove returns to the hi-hat, but the pattern is much
busier with l6s-note phrases and open/closed sounds.
Bar 6S I Drop pull
with doubles.
These types of fast 1.6ft notes are usually played
To achieve this you can use the drop pull technique. The
basic concept is creating the second stroke in each group of
doubles by pulling your fingers back and closing your grip.

Bar241F′ II s″ αr′′
4gpο ′
j“

Allow a 16th― note rest aner the initial crash and bass dru血
stroke on beat l then begln the flll宙 ■ the baSS drum on the
second 16th ofthe second eighth notec From there,continue
宙 th consistent 16th notes around the kit using alternate
sticking until you reach the flrst beat ofbar 25。
E Section (Bars 81-84)
In this section, there is a four bar written drum solo which
should be played as notated. The key to this solo is the
sticking, so take your time and plan this in advance.

F Section (Bars 85-101)

B Section(Bars 25-48) The outro is the heaviest section in this piece with double
Fouowing the rhythmic change in bar 25,there are some crashes, open hi-hat and snare rim-shots.
written fl■ s that build up towards the groove which is
introduced in bar 33.This heavy open hi― hat groove Bar 85 | Double crash
includes offbeat bass druⅡ ls and crashes。 Ideally, this will be played on two diffbrent crash cymbals.
However, if you have only one crash cymbal in your set-up,
Bars 25=26 1 Tra4Si′ ′
ο use ttre ride cymbal as a crash but rnake sure you hit it \ rith
"
As notated in b霞 25,there is a liメ hiniC transition and every the neck part of your stick to produce the required sound.
eighth note will be equalto a quarter note.Ensure that you
countthe rests in these bars and internahse the new feelin
order to enter私 江th conviction in bar 27。

Bars 47… 48 1 Fiirrα ε

ross ttθ bα r
ln these bars the eighth notes are divided into groups ofthree,
fOutt three and s破 eighth notes.This creates a challenging fl■
which you will Play across the beats and even across the ban
Pmctise at a slowertempo and fmd the sticking option that alows
you to move around dle kt宙 山 ease.EnSure that hese treS Of
fills arc Played with fluencソ and a balallced sound。 (Fig。 2). Figll‐ 111イ 11:IPい Op.￨￨￨￨￨

C Section(Bars 49-64)
In this section the groor moveS tO tlle ride cylnbal and
there are dragS on the snare and hi‐ hatゎ ot 01l every
beat.Grooves that demandおur― way COordination can be
challenging at rlrst,but remember thatin this speciflc 8rOove
Ю遇 ”︼

the hi‐ hat foot pattern follows the五 de cymbal.

０∽

Bar51 1 Drag
日 〓 ∩  ４

The drag rudilnent consists oftwo grace notes fouowed by Fig・ 121Flll19101111卜 ￨￨■
one rnain strokecln this grOove,the drag is played on the
６
 YoE Can Cご E Mi⊆ 斉lel

SONG TLE: YOU CAN Ctt MIGUEL

GENRE: SOCVttLYPSO
TEMPO: 116 BPPI

TEσ H mTUR邸 : TRIPLET SHUFTL耶 .l =1 16 Soca/CalYPso

SYNCOnttD m酬 ∝

COMTOSL:R: KITA S蜘
■
PERSONNEL STIJART RY鰤 (GTR)
HENRY THOF4AS OWES)
、OAM LEDERMAN(DRUMS)
鵬 HON K■AN(KEYS)
■
lExGUS GERRAND (PERの
IRIttRD PARDY(S鋤
STEⅦ W島 麒 (TRUMPET)
ANDY CROPE狂 ON(TROPIB)

om剛 his albun Calypso which featured the breakthrough

`You Can Ca」 Miguer is a soca― and calypso―
inSPired Piece in the的 咸e Ofartists such as Harry
Belaお nte,The Mighty SParrOw and Arrow lt features
triplet shufnes,as)7nCOpated cadence and a dotted feel
among its teこ hniques.
諏 YLE FOσ US
Soca and calypso are both forms Ofdance music
native to Trinidad md Tobag9,so they havei,
common a driving beat.Howevet unhk disco,17hich
emphasises every downbeatin a four― on― the― ■oor
pattem,calypso and soca tPically disPlaCC every
other beat.The flrst and third accents are played with
a dotted feel on the`1&'and`3&I which creates the
rolling cadence in this song.You私「i■ o■ en play with a
percussionist or even a group ofsteel drunllners when
performing these sち 江es Ofmusic so do not gettoo
busy or you wortleave rooIIl for anyone else.
single'The Banana Boat Song (Day-O)i Traditional
soca music features steel drtrms, but modern artists
like Maximus Dan and Kevin Lyttle favour a more
contemporary sound influenced by American Rn B,
with drum samples rather than live percussion or a
blend of the two. The rhythms of soca and calypso
have found their way into other musical sty'es. For
example, David GaribalCi, drummer with the funk
band Tower Of Power, has incorporated Caribbean
rhythms into his grooves.
RECOMI\M.NDED IISIENTNG
Harry Belafonte, the Kirg Of Calypso, has recorded
many classic, high energy calypso albums. lump Up
Calypso from 1961 features the irresistible track 'lump
In The Line'. The Mighty Sparrow has been recording
calypso and soca albums since the 1960s and has won
the title of Calypso Monarch 11 times. His lyrics are
often politically charged but )/ou can always dance to
tracks like '|ean and Dinah', 'Carnival Boycott' and
'Doh Back Backl Arrow had his moment in the sun
Юｏ罵 ︼

rlnHE BIGGER PIC「 URE with'Hot Hot Hot'but check out his 1992 album
Zombie Soca. David Garibaldi's instructional DVD
ｏ∽

Harry Belafonte putthe rhⅢ ms OfTrinidad and Tower Of Groove shows how he mixes soca into Latin
日〓 ∩  ５

Tbbago on the international music lnap in 1956 with and funk patterns on the track'Soca/Rumbal
６
 You Can Call Miguel
Kita Steuer

」=116 SacゴCal″ sο
Юｏ電 ︼

+ φ +
ｏ∽日 〓 ∩  ６
６

@ Copyright 2012 Rock School Ltd- This music is copyrighr Photocopying is illegal.
 + Φ + φ

回 Drum So:o(8 ba“ )

Saxophone Solo (16 bars)

Develop on repeat
φ +

Develop

D。 %.al Coda◆

具:具 7♪ ょ 1
Юｏ罵 ︼

O c6da
ｏ∽日〓 ∩  ７
６

o Copyrighl 2012 Rock School Ltd. This music is copyrighr Photocopying is illegal.
 Walkthrough

A Section (Bars 1-8) Bar 17 1 Sθ ε

This section introduces a callpso groove with cross-stick
snare and bass drum on every beat as well as consistent
eighth-note hi-hats. In bar 8 there is a stylistic fill that
indicates the end of the section.
Bar I I Calypso
The cross-stick should be prominent in this groove. Aim to
hit the sweet spot and maintain a consistent and balanced
sound throughout. Focus on the unison betvreen the cross-
stick and bass drurn, and avoid any urlnecessary flams. Your
right hand will move frorn the hi-hat to the floor tom on
beat 4 for a three-part unison stroke.
Bar 2 | Fingers technique
In order to perform these fast 16ft notes on the hi-hat
with one hand, you will need to use the fingers technique.
When using this technique, ensure that your thumb and
index finger create a reliable fulcrum and utilise the other
three fingers as a unit in order to manipulate the stick
and perform fast rnultiple strokes. In this case, you need
to play three strokes on the hi-hat with fluency and a
α
The hi― hat pattern alternates betweё n closed and haropen,
while the disPlaced snare on beats l and 3 gives this groove
its uniquc iele Scこ ure co― ordination is ie key here.Place
the 16・ ―
note snare exacdy between the eighth― note hi― hats
and keep yOur posture balanced while perlorr.ing the
complex hi― hat patterne
D Section(BarS 26-29)
In this section there iζ an eight bar drunl solo.Feel free
to inlpro宙 se according to your peFsonalinterpretation
ofthe plece and styleo Howevett remember that your
synchronisation with the baddng track must not be agectede
E Section(BarS 30-43)
The rlrst 16 bars ofthis section are a saxophone soloo The
initial groove develops on the ride in bar 34 and fronl bar 36
needs to be developed furthen After the sextuplet a■ in bar
41 you return to the sign in section B and play through until
readling the Cο Jα .

balanced sound. Practise the hi-hat pattern cn its cwn with

a metronome for reference. Remernber to pull your fingers Bar411S鉱 ′
ψ ′ lθ

back on the thkd stroke so that y'ou are prepared for the next
phrase (Fig. 1).
B Section (Bars 9-16)
The groove remains similar to section A but with a few
added 16ft notes on the hi-hat. In bar 16 the fill includes 32"d
notes on the snare drum, so be prepared for this.
In order to perforill this sextuplet we■ ,you win need to have
attalned a reliable singles tedhnique,As you are rno宙 ng
round the kit,the sticking R L R L R L is the rnostlogical
option.Focus on lno宙 ng your wrists quickly and a■ ow your
Ⅵ鳳th Positioningo Aim to hit all three toms in
arttS tO assist
the middle ofthe drum head for maximum prttectiOn.

Bar 16 | Thirty-second notes

In this filI there are 32"d notes to perform. These are the next
subdivision after 16ft notes, so eight of them put together
are equal to one quarter note. In order to understand the
rhythm on beat 1, start by pl.fng the eighth note crash/
bass drum hit followed by two 16ft notes on the snare then
double the 16ft notes to create four 32"4 notes. Tiy to play F'ま 111F,lge■ ￨￨■ 1lⅢ I
these with R R L L and use the drop pull technique. The
basic concept of this is creating the second stroke in each
group of doubles by pulling your fingers back and closing
your grip. This should follow the first dcwn stroke, where
your fingers are loose after hitting the drum. Although this
can be challenging at first, this technique will produce even
doubles and can be used all around the kit in every sty'e of
music (Fig. 2).
Ю瑠 ”︼

C Section (Bars L7-25)

０∽

The classic soca beat is introduced in the chorus section

日 〓 ∩  ８

with rim-shot snares, half open hi-hats and fills which are FiJ´ ￢11ty― ￨￨￨■ ‐
411111
typical of this genre.
６
Technical Exercises

In this section the examiner will ask you to Play a Selection of exercises drawn fron■ cach ofthё flve grouPs ShOWn below ln
Group E you will be asked to prepareο θsサ hstiC Study from the three p五 ntedo The choice of stylistic study win determine
the style ofthe QuiCk Study Piece.You “
do not need to memorise■ e exercises(and Can use the book in the exam)but the
examiner宙 Ⅱbe looking for the speed ofyour resPOnse.

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

G}rouP A:Single and Double Strotts

Single and double strokes in triplet eighth notes,16血 no† es Pl年 ed dternately as a co,tinuOus exercise.To be plard arsttime
nth singles and second with d6ubles

L3… …」 L3… …」 L3… …」 L3… …」 L3… …」 L3… …」 L3-― 」 L3… …J

l-- 6- lL-- 6- J l- g 6-J l-- 5-Jl- 5,

!- 6-Jl- 6

-Il- -J -J

Group B: Paradiddles
in 16ft notes and paradiddle-diddle in sextuplets
Flam paradiddle
LR L R R RL R L L LR L R R RL R L L R L R R L L R L R R L L L R R L L R L R R
>>>>> > >

l- 5-J 5-J l- 6-1 l-3

-J

Group C: Ratamacues
Single ratamacue
Ｒ ＞

Ｒ ＞
Ｌ ＞

LLR L R RRL LLR RRL

t-3-I L-3-J

Group D: Rolls
1. Five stroke roll phrase with accents on toms
Ｌ＞

Ｌ＞
Ｒ ＞

Ｌ ＞

R L R RRLLR LLRRL RRLLR

> > > >
Ю壱 ”︼

2. Nine stroke roli phrase

ｏ∽

R L R L L R L R RRLLRRLL LLRRLLRR
日 〓 ∩  ９

R
６
 Technical Exercises

Group E: Stylistic Studies

You will prepare a technical study from one group of styles from the list below. Your choice of sryle will determine the style
of the Quick Study Piece.

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

)=7A Rock
0
つｏ壌 ︼
ｏ∽

t- d-r t- 3
日巳 ∩  ０

-l
７
 Technical Exercises

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

Ю遇 “彙
ｏ∽日〓 ∩  ︲
７
 Technical Exercises

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

)=D5 Jau

r-3-l
,_3__i r__3_1

1 1
Юｏ驚 ︼

lr. lF-
ｏ∽

r-3-r l-3-r I-3-r l-3-r

日 〓 ∩  ２

-T
'1 1'1 11
７

1 1 1 1
l- 3-J 1-3-.1 L- 3-J
l-3 l-3-I l-3-l
-J
Quick Study Piece

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

The style of y'our QSP is ,Jetermiiied by ilre stylistic study ,vou selecterl in the technical exercise section. The QSP is in the
form of a lead sheet and it is up to you to create your own interpretation of the music in the parts marked for improvisation.

Develop

Ｏｏ罵 ︼
０∽日〓 ∩  ３
７
 Quick Study Piece

J=100 Funk
o

Develop
つ還 ”︼
ｏ∽日 〓 ∩  ４
７
 Quick Study Piece

)=DO Latin

Develop

つｏ罵 ︼
ｏ∽日〓 ∩  ５
７
 Ear Tests

There are two Ear Tests in this grade. The examiner will play each test to you twice. You will find one example of each tlpe
oftest printed below

Test l: Fill Playback and Recognition

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

Each time the test is played it is preceded by a one bar count in. There will be a short gap for you to practise. Next you will

l-3-J

Test 2: Groove Recall

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

Each time the test is played it is preceded by a one bar vocal count-in. The tempo is J = 80-140.

A: lazz
B: Metal
C: Samba
D: Funk

J=r ro
０名 ”︼
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General Musicianship Questions

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

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

In Grade 6 you will be askeil to explain:

. Any notation used in the chosen piece

. Any dynamic uralking found in the piece

r What makes the drum groove stylistically appropriate

. Use ofdrum voices, rhythms and techniques in drum solo sections

Instrument Knowledge
The examiner will also ask you one question regarding your instrument.

In Grade 6 you will be asked to explain and demonstrate:

. Care antl maintenance of drums

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

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

Further Inforrnation
Tips on how to approach this part of this exam can be found h the Syllabus Guide for Drums, the Rockschool Drums
Companion Guide and on the Rockschool websrtel. www.rslawards,com.

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 Markirg Schemes

Gnepr Exeus I Dnnur ro Gnapn 5 *

ELEMENT nss MERIT DISTINCTION

￨￨￨■ ■Plrforma五 こOPiec1 111■ ■￨￨ 1'11410110f121 1311夕 ltllfう 0 i311out6f二 6

Performance Piece 2 12-■ 4 0ut of20 15-17 0ut of20 ■8+Out Of 20

1■ ￨IIPё rforma五こ￨‐ ‐
Piec1 31■ ■￨￨ 1,￨二 4111t‐ Of二 ￨ 15■ 1'01t oflll 18■ 16it 6f■ 6

Technical Exercises 9-■ 0 0ut of■ 5 ―■2 0ut

■■ Of■ 5 ■3+Out Of■ 5

l■￨￨IIⅢ RelⅢ :■ ■￨
￨￨￨￨￨￨111111■ ￨￨￨10″ ￨￨￨￨￨￨￨￨￨￨￨￨￨￨￨ 1■ 16116ut Of i6● ￨ 1シ 1810110fiOII ,■ 0■ ￨10f111
IIⅢ Iや ,Sa,,1警 II11,,￨lta,l,￨
Ear Tests 6 out of■ o 7-8 out oflo 9+Out Of lo

OIⅢ ⅢlVI1111■ ￨=IPIQIIltilll ll13101t lf;￨￨￨￨ l14111111f31111 l1501=Of 51‐

TOTAL MARKS 60%+ 74%十 90%+

Gneon Exerrs I Gneons 6-8

ELEMENT LSS MERIT DISTINCTION

￨￨￨■ IPё rfOrmanttlPiOこ こ11111111 i'￨141011101,0 ー
￨;￨'ラ ￨￨￨lf,￨ i8キ 16ut Of ttё

Performance Piece 2 ■
2-■ 4 0ut of20 ■
5-■ 7 0ut of20 ■8+Out Of 20

1■ ￨lpさ rfOrm五 五t`lpi屁 ど3111■ 1211410111fl,01 1,11シ ￨￨￨16flll 18116tt6fi6

Technical Exercises 9-■ 0 0ut of■ 5 ■■―■2 0ut Of■ 5 ■3+Out Of 15

■￨■ 01141Ⅲ dy',￨￨￨￨■ 1■ 11`16ut 6fi611 1シ 1810111flll 1う ￨￨￨￨￨￨lf:01

Ear Tests 6 out of■ 0 7-8 out of■ o 9+Out Of■ 0

91Ⅲ Ⅲ
Ⅲll平 ￨11111=￨=1'IQI■ tiOII 1113111t ёfち ￨￨￨ ll1411● ￨lf,￨￨￨ 1113111t Of;￨￨

TOTAL MARKS 60%+ 74%十 90%十

PnnronMANcE CrnrrrrcATEs I Dnnur ro Gneon 8*

ELEMENT MSS MERIT DISTINCTION

IPerformance PiOこ 01 :'￨141011‐ ￨lf二 ￨ ￨‐ ,￨,シ 10■ 10fll 18年 16ut 6f二 6

Performance Piece 2 ■
2-14 0ut of20 ■
5… ■
7 0ut of20 18+out of20
Ю瑠 ｃ︼

PerfOrmancl‐ Pioこ 03 1'￨‐ 1411111f210 :ち ￨,シ ￨￨￨￨lfll 18キ 16tt 6f ib‐

Performancc Piece 4 ■5-■ 7 0ut of20 ■8+Out Of20

Ｏ∽

12-■ 4 0ut of20

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PerfOrmancOIPiOこ 151 1'￨'4101t Ofll 1311ブ 10111f,0 18キ 16tt 6f二 6

TOTAL MARKS 60%+ 75%+ 90%+

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* Note that there are no Debut Vocal exams.

Enterlng Rockschool Exams

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

. All candidates should ensure they bring their own Grade syilabus book to the exam or have proofofdigital purchase
ready to show the examiner.

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

Mechanical Copyright Information

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

I Got You (I Feel Good)

(Brown)
Lark Music Limited

Superstition
(Wonder)
EMI Music Publishing Limited

Dutch Flowerz
0ones)
EMI Music Publishing Limited

Chameleon
(Han co ck/ Mas o n Ir / I ackson/ Maup in)
Kobalt Music Publishing Limited

Rock The Bells

(Rubin/Smith)
Universat/MCA Music Limited/Warner/Chappell North America Limited

mcps
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 Drums lr[otation Explained

BASS DRUM&TOMS 1 SINARE

Bass drum Floor tom Medium tom High tom Ghost snare Rim-shot Cross stick Buzz snare

Strike snare drum Place palm on snare

and surrounding drum head and
rim at same time strike im with stick

「 HAT
Hl‐ OTHER CYMBALS

Closed Half open Open Closedt Ciosed‡ Hi‐ hatfoot Hi‐ hat foot Ride Ride (bell) Crash Crash' Crash roll
closed open
Allow all cymbals to ring on unlss expliitly stcppd. as indkated by
the keyword'Ch*e'. kcasionally tts may be used (*) to emphasise that
≠乃eか わatな crOsd"油 oυ tわ d"stru晨 め te ttarめ eヵ ′ 功at crose」 rcrOリ ンmむ 。 ′ may apttraboF cymbals should be allov,eC 7s rinQ on. Thr can awid confusion during
drum yolces oめ erめ anめ e力 所 ar● s勁 0昭 ]aboye9 7わ なsrmpry用 ηs δη。 er drur77 yOた eな わerng pFdyeci
1わ syncopations and pushu.
“

I crrueRAl Musrc NorATroN

>
Slashes are used to demarcate bars
Accentuate note (play it louder). during solos, fills, developments
and other ad lib. sections.

Go back to the sign (X) then

Repeat the bars between the
a%.ar coda play untilthe bar marked
To Coda O then skip to the repeat signs.
section marked ficoda.

￨■ ￨12 When a repeated section has

Go back to beginning of song and different endings. play the first
aC arFline play until bar marked Fine (end). ending only the first time and
the second ending only the
second time.

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

LLRRLL
ln rudiments, each stem slash
subdivides the note value by half.
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Fill Play an individual, stylistic fill. Develop Extend the musical part in a stylistically
appropriate manner.
ｏ∽

Conte sim. Continue in similar way but vary the Rit. (ritardando) Gradually slow the tempo.
pattern slightly.
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