Rockschool G6 2012

Drums Grade 6
Performance pieces, technical exercises and in-depth guidance

for Rockschool examinations
RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net
www.rslawards.com
Acknowledgements
Published by Rockschool Ltd. © 2012

Catalogue Number RSK051225
ISBN: 978-1-910975-75-6
This edition published July 2017 | Errata details can be found at www.rslawards.com
AUDIO
Recorded at Fisher Lane Studios
Produced and engineered by Nick Davis
Assistant engineer and Pro Tools operator Mark Binge
Mixed and mastered at Langlei Studios
Mixing and additional editing by Duncan Jordan
Supporting Tests recorded by Duncan Jordan and Kit Morgan
Mastered by Duncan Jordan
Executive producers James Uings, Jeremy Ward and Noam Lederman
MUSICIANS
James Arben, Joe Bennett, Jason Bowld, Larry Carlton, Stuart Clayton, Andy Crompton, Neel Dhorajiwala, Fergus Gerrand,
Charlie Griffiths, Felipe Karam, Kishon Khan, Noam Lederman, DJ Harry Love, Dave Marks, Kit Morgan, Jon Musgrave,
Jake Painter, Richard Pardy, Ross Stanley, Stuart Ryan, Carl Sterling, Henry Thomas, Camilo Tirado, Simon Troup,
James Uings, Steve Walker, Chris Webster, Norton York, Nir Z
PUBLISHING
Fact Files written by Luke Aldridge, Jason Bowld, Neel Dhorajiwala, Stephen Lawson, Noam Lederman and David West
Walkthroughs written by Noam Lederman
Music engraving and book layout by Simon Troup and Jennie Troup of Digital Music Art
Proof and copy editing by Noam Lederman, Claire Davies, Stephen Lawson, Simon Pitt and James Uings

Publishing administration by Caroline Uings
Cover design by Philip Millard
SYLLABUS
Syllabus director: Jeremy Ward
Instrumental specialists: Stuart Clayton, Noam Lederman and James Uings
Special thanks to: Brad Fuller and Georg Voros
SPONSORSHIP
Noam Lederman plays Mapex Drums, PAISTE cymbals and uses Vic Firth Sticks
Nir Z plays GMS drums, Sabian cymbals, PRO-MARK drumsticks, Evans drumheads, Gibraltar hardware
Rockschool would like to thank the following companies for donating instruments used in the cover artwork
PRINTING
Printed and bound in the United Kingdom by Caligraving Ltd
DISTRIBUTION
Exclusive Distributors: Music Sales Ltd
CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)845 460 4747
Drums Grade 6
Email: info@rslawards.com
2
Table of Contents
Introductions & Information
1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Drums Grade 6
Rockschool Grade Pieces
5 Mohair Mountain
11 Pop It In The ToP
17 Mindsweeper
23 Favela
27 Space Future
33 You Can Call Miguel
Technical Exercises
37 Single and Double Strokes, Paradiddles, Ratamacues, Rolls & Stylistic Studies
Supporting Tests
41 Quick Study Piece

44 Ear Tests
45 General Musicianship Questions
Additional Information
46 Entering Rockschool Exams

47 Marking Schemes
48 Drums Notation Explained
49 Grade 7 Preview
55 Rockschool Digital Downloads
56 Rockschool Popular Music Theory
Drums Grade 6
3
Welcome to Rockschool Drums Grade 6
Welcome to Drums Grade 6

Welcome to the Rockschool Drums Grade 6 pack. This book and the accompanying audio contain everything to play drums
at this grade. In the book you will find the exam scores in drum notation. The audio includes full stereo mixes of each tune,
backing tracks to play along to for practice and spoken two bar count-ins to both the full mixes and backing track versions
of the songs. There are two backing tracks of each song: one with a click and one without. You can choose which one to play
along with in the exam.
Drum Exams
At each grade, you have the option of taking one of two different types of examination:
■■Grade Exam: a Grade Exam is a mixture of music performances, technical work and tests. You prepare three pieces
(two of which may be Free Choice Pieces) and the contents of the Technical Exercise section. This accounts for 75% of
the exam marks. The other 25% consists of a Quick Study Piece (10%), a pair of instrument specific Ear Tests (10%),
and finally you will be asked five General Musicianship Questions (5%). The pass mark is 60%.
■■Performance Certificate: in a Performance Certificate you play five pieces. Up to three of these can be Free Choice
Pieces. Each song is marked out of 20 and the pass mark is 60%.
Book Contents
The book is divided into a number of sections. These are:
■■Exam Pieces: in this book you will find six specially commissioned pieces of Grade 6 standard. Each of these is
preceded by a Fact File. Each Fact File contains a summary of the song, its style, tempo, key and technical features,
along with a list of the musicians who played on it. The song itself is printed on up to four pages. Immediately after

each song is a Walkthrough. This covers the song from a performance perspective, focusing on the technical issues you
will encounter. Each song comes with a full mix version and a backing track. Both versions have spoken count-ins at
the beginning. Please note that any solos played on the full mix versions are indicative only.
■■Technical Exercises: you should prepare the exercises set in this grade in the keys indicated. You should also choose
one Stylistic Study from the three printed to practise and play to the backing track in the exam. The style you choose
will determine the style of the Quick Study Piece.
■■Supporting Tests and General Musicianship Questions: in Drums Grade 6 there are three supporting tests – a Quick
Study Piece, a pair of Ear Tests and a set of General Musicianship Questions (GMQs) asked at the end of each exam.
Examples of the types of tests likely to appear in the exam are printed in this book. Additional test examples of both
types of test and the GMQs can be found in the Rockschool Companion Guide to Drums.
■■Additional Information: finally, you will find information on exam procedures, marking schemes, and the full
notation and backing track of a piece from the next grade as a taster.
Audio
In addition to the Grade book, we have also provided audio in the form of backing tracks (minus assessed drum part) and
examples (including assessed drum part) for both the pieces and the supporting tests where applicable. The audio files are
supplied in MP3 format.
You can find further details about Rockschool’s drum syllabus by downloading the syllabus guide from
our website: www.rslawards.com
Drums Grade 6
Syllabus Guide
All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded from the
RSL website: www.rslawards.com
4
Mohair Mountain
SONG TITLE: MOHAIR MOUNTAIN
p p p
GENRE: CLASSIC ROCK
TEMPO: 92 BPM
q = 92 Classic Rock
y y yh y
TECH FEATURES: ODD TIME SIGNATURES
44
TEMPO CHANGES
A
ã œ
BASS DRUM DOUBLES
COMPOSERS: JOE BENNETT
f
& KUNG FU DRUMMER
PERSONNEL: NOAM LEDERMAN (DRUMS)

STUART RYAN (GTR)
HENRY THOMAS (BASS)
p p p
OVERVIEW and The Who were pushing amplifiers to their limits
and recording extended tracks far beyond the remit of

‘Mohair Mountain’ is a classic rock track written the 45 rpm single.
y y yh y
in the style of bands such as Led Zeppelin and Deep
Purple, and based on the drumming of John Bonham In the 1970s Led Zeppelin and Deep Purple
44
and Ian Paice. The track features time changes and a dominated this style of music, although Led Zeppelin’s
ã œ
shift in feel from straight to swung, a common feature recording career was curtailed in 1980 by the death
of this style. of their drummer John Bonham. Bonham was one of
the most influential rock drummers of all time and
had many attributes that most drummers can only
STYLE FOCUS dream of: incredible power, a fast bass drum foot and
ferocious hand speed coupled with a unique feel for
Classic rock drummers must have an array of [3]skills the groove of a song. Led Zeppelin reunited in 2007
to hand. Being able to play swung or straight and to with John Bonham’s son Jason continuing his father’s
switch note values seamlessly when filling are some legacy in the drum stool.
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 RECOMMENDED LISTENING
be complemented convincingly by the drum kit.
Your leading bass drum foot must be up to speed Researching this style of music will give you
p p p
to accurately perform those 16th triplet bursts in the great pleasure as a drummer for the standard of
spirit of Led Zeppelin’s John Bonham. musicianship is incredibly high. Ginger Baker’s work
with Cream on Fresh Cream demonstrates creativity
in its fills and grooves, particularly on the track ‘Toad’
y yh y
THE BIGGER PICTURE
y
which features an excellent melodic drum solo. Led
Zeppelin’s ‘Good Times Bad Times’ stands out for its
44
Drums Grade 6
The term classic rock is usually applied to guitar fast bass drum work and dynamic fills; ‘Moby Dick’,
ã œ
bands from the 1970s and 1980s. However, the genre for its characteristic grooving; and ‘Fool in the Rain’,
has it roots in the late 1960s when bands like Cream for that classic Bonham shuffle.
5
[5]
Mohair Mountain
Joe Bennett & Kung Fu Drummer
q = 92
p
Classic Rock
p p
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⇥ œ ⇥ œ 44
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3
6
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
y y y y y y y y y y A Œ ⇥ yj .
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Drums Grade 6
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Drums Grade 6
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Drum Solo (8 bars)
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q =126
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Drums Grade 6
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3
9
Walkthrough
A Section (Bars 1–8) Ensure that you control the stick to achieve two even grace
This section features the intro riff of the song which consists notes and time these well in between the eight-note hi-hats.
of alternating 4/4 and 7/8 bars. The heavy rock groove is
built from half open hi-hats, rim-shot snare on the backbeat
and a bass drum figure that is typical of the genre. D Section (Bars 27–42)
The D section consists of a 16-bar guitar solo. It comprises
Bar 1 | Half open hi-hat two grooves with slightly different feels and bars that need
The vertical line through the open hi-hat mark indicates that to be developed stylistically. Make sure that you observe the
the hi-hat should be only half open in this section. This can changes in dynamics in bars 35 and 42.
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 sizzling sound. E Section (Bars 43–50)
The eight bar drum solo is based on the structure of the
Bars 1–8 | Changing time signatures intro, where the time signature changes. Listen to John
In this section the time signature alternates from four Bonham (Led Zeppelin) for ideas for solos in this style.
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, F Section (Bars 51–69)
you will hear it changing from quarter notes to eighth notes The tempo changes from 92 bpm to 126 bpm in bar 51 and
in order to help you follow. At this level, you should be able the groove moves to the ride cymbal. There are rim-shots
to move smoothly between time signatures without affecting and ghost notes to consider as well as stylistic fills with
the flow of time. advanced hand-foot coordination.
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 polyrhythm’.
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 16th triplet notes at this speed
will demand preparation. Slowing the tempo down and
breaking down the groove is a good way to start practising. +
4 y y y
Although this can be played with both heel up and heel
y yh y y y
≈œœh
down techniques, you might want to attempt a unique
sliding motion with your bass drum foot. Place your bass ã4 œ œ
drum foot in the heel up position and pull your foot back J
until your toes are in the middle of the footplate. Perform 3
the first stroke and allow the beater to continue its natural
movement in order to create a second stroke as a rebound
of the first. When played correctly, this technique will Fig. 1: Fast bass drums
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 17–26) 3 3
h œ h œ
ã y œ y œ
In this section you will return to the half open hi-hat with a j j
œ œ
busier bass drum pattern and drags on the snare. y y
Drums Grade 6
Bar 17 | Drag
The drag rudiment consists of two grace notes followed by
one main stroke. In this groove, the drag is played on the Fig. 2: 3:2 Polyrhythm
snare and the main stroke on the bass drum and hi-hat.
10
Pop It In The ToP
SONG TITLE: POP IT IN THE TOP

GENRE: FUNK
TEMPO: 110 BPM
q =110 Funk
y y yh y
TECH FEATURES: SNARE GHOSTING
44
LINEAR FUNK BEATS A
ã œ
DOUBLES
f
COMPOSER: LUKE ALDRIDGE
PERSONNEL: STUART RYAN (GTR)

HENRY THOMAS (BASS)
NIR Z (DRUMS)
FULL FAT HORNS (BRASS)
ROSS STANLEY (KEYS)
y y yh y y
FERGUS GERRAND (PERC)
. œ œ
ã œ
OVERVIEW by tenor saxophonist and vocalist Emilio Castillo
and baritone saxophonist Stephen Kupka, the band’s

‘Pop It In The ToP’ is a funk track written in the hard hitting funk grooves mixed with lush R&B chord
style of American R&B band Tower Of Power. It progressions and soul tinged vocals proved popular
features snare ghosting, linear funk beats and doubles. with funk and soul fans.
[3]
The band’s instrumental line-up has remained the
STYLE FOCUS same despite personnel changes: a signature horn
section (two trumpets, two tenor saxes and a baritone
Within this piece there are a variety of different sax), vocals, guitar, keyboards, bass and drums.
grooves that reflect elements of Tower Of Power
y y
drummer David Garibaldi’s playing and those of other Tower Of Power’s instantly recognisable sound is
y y yh
drummers who have played with the group over the largely due to its linear drum style combined with
years. The piece starts with a simple beat that throws staccato, syncopated horn riffs and busy basslines.
B
œ
in some 16ths and eighths between the hands in the
ã œ
second bar, an idea that is revisited later in the piece.
There are also more ‘linear’ grooves that use different RECOMMENDED LISTENING
sticking and hand and foot combinations rather
than a constant eighth- or 16th-note hi-hat pattern. Tower Of Power have recorded 18 studio albums
Although these are more challenging to play, it is but a good place to start is their live offering Soul
essential that they flow well and sit just as comfortably
[5] Vaccination: Live (1999), which featured the return of
as the less complicated beats do. original drummer Garibaldi. Souled Out (1995), with
Herman Riley on drums, includes the great ‘Soul With
A Capital S’ and ‘Diggin’ On James Brown’. ‘Drop
THE BIGGER PICTURE it In The Slot’, from the album In the Slot (1975), is
an obvious influence on ‘Pop It In The ToP’ and is
Drums Grade 6
y y
The roots of Tower Of Power go back to 1968 played by the band’s classic line-up, as does the album
y y yh
when, influenced by James Brown, they established a Live And In Living Color (1976), which is a rare live
funk based style that was distinctly their own. Formed recording from their late 1970s period.
ã œ
11
œ
Pop It In The ToP
Luke Aldridge
q =110 Funk
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Drums Grade 6
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Drums Grade 6
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Drums Grade 6
S S S S S S
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14
F
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Drums Grade 6
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[73]
3
15
Walkthrough
A Section (Bars 1–4) D Section (Bars 29–36)

This is a drum introduction that establishes the main funk The breakdown section has an offbeat eighth-note hi-hat
groove. There are 16th-note bass drums, rim-shot snares and groove that develops over the course of these eight bars.
a fill in bar 4. Ensure that every bass drum and snare stroke are performed
with conviction.
B Section (Bars 5–20)

This is the verse part of the song where the groove remains E Section (Bars 37–52)
similar to the intro. There are stylistic fills and snare/bass The groove moves to the ride cymbal in this section and
drum 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
Bar 6 | Alternating 16th syncopated crashes.
On the second beat of this bar there are four 16th notes that
alternate between the snare and the hi-hat. Keep your left
hand on the snare in order to execute the rim-shot snares 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 flow of the 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 16 | Sextuplet fill throughout and is performed confidently. Listening to the
There is a sextuplet that uses the high tom and snare on the drummer David Garibaldi (Tower of Power) will give you
fourth beat of this bar. This fast phrase can be played with ideas for improvising in this style.
various sticking options. Try using the inverted paradiddle-
diddle sticking (R L L R R L) because this will help you to
achieve a natural flow. Also, aim to keep all the 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
Bar 20 | Thirty-second notes ending phrase in bar 76.
There are 32nd notes to perform in this fill. These are
the next subdivision after 16th notes, so eight of them
put together are equal to one quarter note. In order to
understand the rhythm on beat three, start by playing four Sticking options:
16th notes on the snare then double the first and create two R L R L
œ œ œ œ
R R L R
32nd notes. This can be played with singles: RL R L R. When L L R L
replacing the last stroke with the bass drum the sticking will
be as follows: RL R L F. The alternative is to use doubles at
ã œ
the beginning of the phrase: RR L R L or LL R L R. However,
you will require reliable sticking control in order to perform Count: 1 e & a
these with appropriate projection (Fig. 1).

Fig. 1: Thirty-second notes
C Section (Bars 21–28)

The second main groove is introduced in the C section. This
is in the form of a linear pattern with consistent 16th notes on
the hi-hat and snare. It is vital that the rim-shot and ghost
note snares are clear, balanced and projected well. > >
y. y h y y e y e y y h y e e
ã œ
‰ J ‰ J ≈ J.
Bar 21 | Ghost notes
The snare notes marked in brackets should be played as œ œ œ
ghost notes. The dynamic level of the ghost notes should
Drums Grade 6
be much lower than the non-ghosted snare strokes. Keep

your hand close to the drum head in order to produce this
sound naturally and hit the middle of the drum for the most Fig. 2: Ghost notes
rounded tone (Fig. 2).
16
Mindsweeper
SONG TITLE: MINDSWEEPER

GENRE: DRUM AND BASS/METAL
TEMPO: 164 BPM
Drum & Bass/Metal

TECH FEATURES: ACCENTED ROLLS
44
q =164
∑
GHOSTING A
ã
POLYRHYTHMS
COMPOSER: JASON BOWLD
PERSONNEL: JASON BOWLD (ALL PARTS)
OVERVIEW records (the most popular being ‘Amen, Brother’

by The Winstons) then sped up using software for

y y y
‘Mindsweeper’ is a typical drum and bass/metal an electronic feel. DJs Goldie and Roni Size were
yœ
crossover influenced by drummers such as Paul pioneers of this approach.
. œœ œ ‰
Kodish and Incubus’ Jose Pasillas as well as bands
ã œ œ
like Pendulum and Pitchshifter. The song features a Drummers caught onto this style and started to
variety of typical drum and bass grooves that integrate replicate these sampled beats. They infused metal
ghost notes and accented rolls further embellished and rock with drum and bass rhythms, sometimes
with broken ride cymbal patterns. creating new styles such as industrial.
Pitchshifter were one of the first bands to produce
f
STYLE FOCUS [5] this hybrid sound by using a mixture of live drums
and sampled electronic sounds. Incubus also used
Drum and bass typically features a strong bass drum and bass elements to complement their melodic
drum pattern played on the ‘1’ and ‘3 &’ while sound, which sat perfectly with the funky style of
retaining a heavy backbeat on the snare. The ghost drummer Pasillas.
notes played between these pulses set up the style’s
distinctive feel. So, accurate dynamics are crucial: Another notable band is Pendulum, who have
make sure your backbeats are louder than your ghost been successful with a more commercial style that
notes. This is also important when executing the combines drum and bass with rock.
various rolls in the track because they have specific
accents that give them their groove-like shape.
Ó
RECOMMENDED LISTENING
y œ 1
yœ œ
THE BIGGER PICTURE Incubus’ ‘Pardon Me’ contains great live drum and
œ
œ
bass breaks. For a more electronic sound listen to
⇥
Drums Grade 6
ã œ œ
During the 1990s, drum and bass grew around the ‘Tarantula’ by Pendulum. Finally, Pitchshifter’s album
œ
London and Bristol club scenes. The classic drum www.pitchshifter.com (1998) features some classic
and bass beats (or breaks) were sampled from vinyl drum and bass breaks on ‘Please Sir’ and ‘Genius’.
17
[8]
Mindsweeper
Jason Bowld
wæ wæ
ã 44
A q =164 Drum & Bass/Metal
∑ ∑
p
y y
ã œ œ œ. œy y œ y œ y
⇥ œ œ. œy y œ y y
⇥ œ œ œ. œy y œ
œ œ ‰ J œ œ ‰ J œ œ ‰ J
f
[5]
y œ yœ 1œ Ó œ y y y y y y y y y y y y y y y y
ã⇥ œ œ
œ œ œ œ œ œ. e ⇥ e œ œ. e œ œ. e ⇥ e œ œ. e

[8]
y y yœ . y e y⇥ e y yœ . y e y‰ y yœ y e y⇥ e y yœ . y e y y yœ . y e y⇥ e y yœ . y e
ã œ œ œ œ œ œ œ
[11] J
y y yœ . y e y e y yœ . œ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
ã œ ⇥ œ
[14] > > >> >> > > > > >> >> > > >>
Drums Grade 6
(2° Ride) 1.
y y y y y y y y y y y y y y y y y y y y y y y y
. œ. e ⇥ e
œ . e œ
œ. e ⇥ e
œ . e œ
œ. e ⇥ e œ. e
B
.
ã œ œ œ
œ
[17]
18
2.
y y œy y e y e y yœ . y e . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ã ‰ œ œ ⇥ œ .
[20] J > >> >> > > > > >> >> > >> >
j
y y y y y y y y y y y yyyyA ‰ y y y y y y y y y
(2° Closed HH)
ã .. œ œ. e ⇥ e œ œ. e œ ‰ œ œ. e œ œ. e ⇥ e œ œ. e
C
œ
[23] J y .
‰ j
1. 2.
y y y y y y y A y y y y y y A
ã œ œ œ ‰ œ œ. e .. œ œ œ ‰ œ Œ
J y. J
[26]
y ‰ yj 0 ‰ yj 0 ‰ yj 0
.
ã . œ œy 0 ‰ œ œ
y 0 œ ‰ œ 0œ 0 yœ 0 ‰ œ œ
œ œ

[28] J J J
‰ j Œ Ó
1. 2.
y 0 œ y 0 0œ .. yœ 0 œ œ œ œ œ œ œ œ œ œ œ
ã œ œ ‰ œ
[31] J
j j
D
y. 2 Œ y yœ . y œ y y yœ . y œ y yœ y. 2 Œ y
ã œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ
J J
[33]
> > > >

Drums Grade 6
yœ . y œ y y Óœ œ œ œ y B Bœ B B B œB œ B
ã œ œ œ œ œ œ œ ‰ œ œ ‰ œ Œ Œ
[36] J J
19
> > >
Œ Ó j
y B B B B œ œ y. 2 Œ y
ã œ ‰ œ œ œ ‰ œ œ œ œJ œ œ œ œ œ ‰ œ œ
J J
[39]
j
y y y y yœ . y œ y yœ y. 2 Œ y yœ . y œ y y Óœ œ œ œ
ã œ. œ œ œ œ œ œ ‰ œ œ
J œ œ œ œ œ œ
[42]
ã œ œ œ e ⇥ e
œ
œ . e ‰ œ œ . e œ œ . e œ œ. e ⇥ e œ œ. œ
[45] J >
y A A A y A A A
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .
. œ œ œ ‰ œ œ œ œ ‰ œ œ œœ
J œ J

> >> >> > > >>
[48]
1. 2.
y A A y A A Œ y A A Ó
ã œ œ œ ‰ œ œ œ œ ‰ œ
œ œ
œ œ
œ œ .. ‰ œ ‰ œ œJ œ œ œœ
J J J J
[51]
y y y y y y y y y y y y fy y y y y y y y y y y y y y y y y A
.
E
ã œ ‰ œ f Œ Œ ‰ œ œ Œ œ ‰ œ f f ‰ f
J Œ ‰ œ f f Œ
J J J J
P
[54]
Drums Grade 6
Develop
ã’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[58]
20
ã’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[62]
y Œ Ó ∑
ã’ ’ ’ ’ ’ ’ ’ ’ œœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ
[66]
j j
F
y. 2 Œ y y. 2 Œ y
œ œ ‰ œ œ œ œ ‰ œ œ
Fill Fill
ã œ J ’ ’ ’ ’ œ J ’ ’ ’ ’
f
[70]
> > > > > > >

y B B B B B B œ B y B B Bœ B œ œŒ œ Ó œ œ
ã œ ‰ œ œ œ ‰ œ Œ œ œ œ ‰ œ œ ‰ œ œJ œ

[74] J J J
j j
y. 2 Œ y y. 2 Œ y
œ œ ‰ œ œ œ œ ‰ œ œ
Fill
ã œ J ’ ’ ’ ’ œ J
[78]
y y y y y y y y y y y y y y y y
œ œ e ⇥ e œ œ. e ‰ œ œ. e œ e ‰ œ. e
Fill
ã’ ’ ’ ’ œ
[81] J
j
Drums Grade 6
y y y y y y y y y. 2 Œ y
ã œ œ . e ⇥ e
œ
œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ ‰ œ œ
J
[84] > > >> >> > > >>
21
Walkthrough
A Section (Bars 1–16) D Section (Bars 33–53)

The intro to ‘Mindsweeper’ starts with a cymbal swell that This section features what could be called the chorus
leads into an abstract drum and bass groove then progresses followed by a reprise of section B but with a different groove.
to contemporary drum and bass grooving. It ends with an
accented snare roll. Bars 37–40 | Chorus groove half-time
You will need to focus on the click here because the quarter
Bars 2–4 | Cymbal roll note, half-time feel will reveal any timing discrepancies.
This cymbal roll must start quietly and increase gradually in
volume over two bars to be effective. The main tip is not to
get too loud too soon. E Section (Bars 54–69)
In this section the dynamics drop to a cross-stick groove that
Bars 9–14 | Drum and bass groove on the ride develops and builds into a crescendo.
This groove is characterised mainly by the ghost notes and
bass drums played on the “1” and “3 &”. Dynamics are key Bars 54–67 | Cross-stick development
in sounding convincing here so make sure the backbeats are Consistency on the hi-hat is vital here to retain the dynamic.
noticeably louder than the ghost notes. Small wrist movements will help, as will finding the part
of the stick which produces the sweetest cross-stick sound.
Bars 15–16 | Accented snare roll Increasing the bass drum frequency and adding open hi-hats
This is the feature roll of the song and you will need to be would be a good way to develop this groove further.
aware of the offbeat accents that precede the accents on the
beat to make this sound correct.
F Section (Bars 70–86)
This 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 intensified by extra crashes. The
accented snare roll continues throughout this section. Bars 70–81 | Fill development

Following the dotted quarter note crash bars, you have a
Bars 17–20 | Cymbal accents chance to shine with your own fills. Try using a variety of
The groove played in these bars is almost identical to the note values and pitches to create interest.
previous one, except that crashes are played on beat four of
every bar.
C Section (Bars 23–32) R
‰ j
L R L R L R R R L
The contemporary drum and bass groove continues in this
y y yœ y y y y A œ. y e
‰ œ
section then progresses on to the ride for a broken pattern.
The section concludes with a powerful snare roll. ã œ y.
J
Bars 23–27 | Hi-hat embellishments
In this drum and bass groove section, your left hand
alternates between playing the ghost notes on the snare and Fig. 1: Hi-hat embellishments
moving to the hi-hat to create an embellishment in every
other bar. For this try using the same sticking, which from
beat two of bar 24 would be R/L . R L R L . L . R L. Watch out
for the displaced backbeat on the “3 &” of bar 27 (Fig. 1).
j j
y y 0 ‰ y 0 y 0 ‰ y 0
Bars 28–32 | Broken ride groove
0
ã
The broken ride pattern here is two bars long and has
a dotted quarter-note feel. It is important that you play
accurately from the ride surface to the bell to get the
Drums Grade 6
Count: 1 (&) 2 & (3) & 4 (&) 1 & (2) & 3 (&) 4 (&)
right sound. You will need to practise this groove slowly
in isolation before building up to speed to deal with its
complexity. The counting would be “1 2& &4 1& 2& 3& 4” Fig. 2: Broken ride groove
during bars 28 and 29 (Fig. 2).
22
Favela
SONG TITLE: FAVELA

GENRE: SAMBA
TEMPO: 109 BPM
q =109 Samba
y y y y
TECH FEATURES: FOUR-WAY CO-ORDINATION
44
SYNCOPATED GROOVES A
COMPOSER: NOAM LEDERMAN

ã 5 y 5 5 y
f
PERSONNEL: NOAM LEDERMAN (DRUMS)
HENRY THOMAS (BASS)
STUART RYAN (GTR)
KISHON KHAN (KEYS)
RICHARD PARDY (SAX)
y y y y y y y
STEVE WALKER (TRUMPET)
ANDY CROMPTON (TROMB)
ã 5 y55 y55 y55

OVERVIEW national music of Brazil. Early samba relied on drums

and percussion (think of the sound of Rio De Janeiro’s
‘Favela’ is written in the style of Brazilian samba carnival marching bands) and was revered for its raw
and features four-way co-ordination, syncopated energy rather than musical sophistication. However,
grooves and syncopated fills among its techniques.[3] this changed in the 1950s when João Gilberto and
Antonio Carlos Jobim brought in supple melodies
and jazz influenced harmonies. This new style or
STYLE FOCUS ‘bossa nova’ exposed Brazilian music to the world. Its
best-known song is ‘The Girl From Ipanema’, which
Traditionally, the samba beat was created by a was translated from Portuguese into English and
group of percussionists playing different patterns. performed by Frank Sinatra.
From the 1960s these patterns were adapted for the
. hŒ œ œ œ
drum kit, placing each pattern on a different drum Bossa nova’s sense of sophistication and restraint
œ
or cymbal voice. This is the reason why samba made it ideal for hotel lounges and Las Vegas theatres,
ã y y
œœ
y
and, indeed, most Latin beats involve advanced but new left-wing politics were afoot in Brazil in
y
co-ordination, making them particularly attractive to the late 1960s. The sounds and sentiment of the
drummers of all levels. favelas erupted through the music of Chico Buarque,
Caetano Veloso and Os Mutantes, a molten fusion of
samba, rock, funk and jazz. Its name was tropicalia
THE BIGGER PICTURE [6] and it remains popular to this day.
Samba is the rhythmic, syncopated music of Brazil
%
with its roots in the country’s African culture. The RECOMMENDED LISTENING
first samba record is believed to be ‘Pelo Telefone’,
released in 1917. It gave the style its first significant
De velop Chega
Gilberto’s on re de pe at (1959) is a classic
Saudade
Drums Grade 6
exposure outside of the favelas (slums). It made bossa nova record. To hear how Brazilian music
y y y y y y y
such an impression that, in the 1930s, the nationalist changed in the 1960s, listen to the albums Caetano
dictatorship in power supported its promotion to the Veloso (1969) and Buarque’s Construção (1971).
B
ã 5 55 y55 y55
23
Favela
Noam Lederman
> >
q =109 Samba
A
4 y y y y y y y y œ y y y y y y y y œ
ã4 5 y 5 5 y 5 5 y 5 5 y 5 5 y 5 5 y 5 5 y 5 5 y 5
f
> > >
y y y y y y y y y y y y y y y y hy œ œ œ.
ã 5 y 5 5 y 5 5 y 5 5 y œ5 5 y 5 5 y œ5 5 y 5 5 y 5 y
œ
y
œœ
y
œ œ
[3] Œ
‰. r Œ
1 y y
ã yœ . hŒ œœœ œ œœœ œ œ œ. œ œœ œ œ œ œ œ œ œ 5 5 œ
y y y y y y y 5
[6]
% Develop on repeat
> >

ã 5 y 5 5 y 5 5 y 5 5 y 5 5 y 5 5 y 5 5 y 5 5 y œ5 5 y 5 5 y 5 5 y 5 5 y œ5
B
[9]
> > >

y y y y y œœ y y y y y y y y y y y y y y y y
ã 5 y 5 5 y 5 5 œ œy 5 5 y 5 5 y 5 5 y 5 5 y 5 5 y œ5 5 y 5 5 y œ5 5 y 5 5 y œ5
[12]
> + o +
y y y y y y y y œ y y y y y e e A y y
ã 5 y 5 5 y 5 5 y 5 5 y 5 5 y 5 5 y 5 5. 5 5 5
[15]
C
o + > > > > > > > > > > >
y y yyyyyyyœyyy yyyyœyyyyyyyœyyy yyyyœyyyyyyyœyyy
ã 5 œ
‰. 5 5. 5 5. 5 5. 5 5. 5 5. 5 5. 5 5. 5 5. 5 5. 5 5. 5
[17]
> > > > > > > > > >
Drums Grade 6
y y y y œ y y y y y y y œ y y y y y y y œ y y y y y y y œ y y y y y y y œ y y y œ œœœ œ œ œ œ y
ã 5. 5 5. 5 5. 5 5. 5 5. 5 5. 5 5. 5 5. 5 5. 5 5 5
[20]
Œ ‰. R
24
To Coda fi
> > > r
y y y y y y y y y y y y Ó Œ ‰ . y
ã 5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‰. 5 5. 5 5. 5 5 5 5 5 5
[23]
D Keyboard Solo (16 bars)
y ‰
ã 5 œ5y œy 5 5œy .. œy 5 œy
5 œy
5 5
y
5 œy
5 œy 5 5œy .. œy 5 œy
5 œy
5
[25]
y y y y y y y
‰ y y y y. y y y ‰ y y y y. y y y ‰ y y y y. y y y
ã 5 y 5 5œ yœ 5 5œ . y 5œ 5 œ y 5œ 5 y 5 5œ yœ 5 5œ . y 5œ 5 œ y 5œ 5 y 5 5œ yœ 5 5œ . y 5œ 5 œ y 5œ
[27]
‰ y y y œy .. œy œy œy ‰ y œy œy œy .. œy œy œy ’
ã 5 y 5 5œ yœ 5 ’ ’ ’
Fill
5 y55 y5 5 y55 y5 5 y55 y5

[30]
Develop
ã’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[33]

ã’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[37]
E Drum Solo (8 bars)
ã’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[41] Snares off
D.%. al Coda fi
ã’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[45] Snares on
fi Coda
ã’ ’ ’ ’ 5y œ œ œ. œ œ œ œ œ
Fill
[49]
y y y
+
. r
Drums Grade 6
‰ A Ó
œ
ã œ. h ’ ’ ’ œ œ œ. œ œœ œ œ œ œ œ Œ œ
Fill
Œ y y y y Œ 5 œ
J
[51]
25
Walkthrough
A Section (Bars 1–8) drum unison perfectly without any unnecessary flams is
The main samba groove is introduced in the first four bars considered an art (Fig. 2).
of this piece. You will require all of your limbs to perform
this groove. From bar 5 there are rhythmic stabs to perform.
They must be synchronised with the track. D Section (Bars 25–40)
This is the keyboard solo where you have the opportunity
Bar 1 | Samba to develop the part. The first part of the solo is notated, so
This is one of the traditional and basic ways of playing follow this syncopated groove carefully.
samba on the drum kit. Start by playing the feet pattern
and work on your accuracy and flow. The bass drum can be
played with the heel up technique, but you will achieve the E Section (Bars 41–53)
right sound more naturally if you use heel down. Ensure Following the eight bar drum solo, you return to the sign
that you can play this pattern comfortably and that your in section B. When repeating this section, do not play the
posture remains balanced before adding the hand pattern. written part again but feel free to develop it according to
The consistent eighth notes on the ride should not be too your musicality and understanding of the style.
challenging to co-ordinate. However, you will need to pay
attention when you add the syncopated accented snares. Bar 41 | Snares off
This indicates that the snare will be played in the off
Bar 4 | Latin rim-shot position, where the snare wires do not touch the bottom
A Latin rim-shot is produced by hitting the snare and drum head. This should be straightforward to do. However,
surrounding rim at the same time with the neck part of your not all snares have the same mechanism. Ensure that you
drum stick. This will produce a higher pitch and slightly know how to turn the snare wires off and on before starting
softer rim-shot sound than the rock equivalent. Performing the piece. The sound achieved when playing with the
this technique in a relaxed way will help you to achieve the snares off is similar to the percussion instrument timbale.
stylistic conviction that is required at this level. Using rim-shots, flams, drags and syncopated phrases will
help you emulate the sound and feel with a great degree

of authenticity. Turning the snare wires on can be done
B Section (Bars 9–16) anywhere towards the end of the solo as long as you are
This is the verse part of the song where the groove remains ready to play when repeating section B.
similar to the intro. There is a stylistic fill using your hands
and feet in bar 12, followed by a preparation fill in bar 16.
+ o +
This fill leads to the C section.
y y y y y e e A ≈ y ≈ y
Bar 16 | Syncopated fill
The open hi-hats and crash emphasise the ‘a’ and ‘e’ and
create a feeling of syncopation. Ensure that all open/ ã œ y œ œ y œ œ. œ ≈ œ ≈ œ
closed hi-hats are projected well and that the rhythms are
performed accurately (Fig. 1). Count: 1 (e) & a 2 (e) & a 3 e & a 4 e & a
C Section (Bars 17–24) Fig. 1: Syncopated fill

In the chorus section a samba funk groove is introduced.
Both hands play 16th notes on the hi-hat. Your right hand
will move to the snare on the backbeat. The bass drum
pattern maintains the traditional samba feel in this groove.
> > > >
y y y y œ y y y y y y y œ y y y
Bar 18 | Samba funk
ã œ.
The bass drum in samba funk maintains the dotted 16th-note
pattern on every beat. Aim to play the bass drum strokes œ œ. œ œ. œ œ. œ
evenly and maintain a balanced posture. Your hands play
Drums Grade 6
alternate sticking on the hi-hat with offbeat accents. You will

be able to perform the accent correctly by lifting your hand
higher or striking with the neck part of your drumstick. Fig. 2: Samba funk
In samba funk, performing the backbeat snare and bass
26
Space Future
SONG TITLE: SPACE FUTURE

GENRE: TRIP HOP
TEMPO: 90 BPM
q = 90 Trip Hop
y y y y y
TECH FEATURES: ADVANCED
68 ⇥ ⇥ f
CO-ORDINATION FILLS A
ã œ œ œ
6/8 TRIP HOP GROOVE
J R R
SNARE DRAGS
COMPOSER: NEEL DHORAJIWALA
PERSONNEL: NEEL D (PRODUCTION)

NOAM LEDERMAN (DRUMS) F
OVERVIEW The genre’s birth can be attributed to the Bristol

band Massive Attack whose 1991 album Blue Lines

‘Space Future’ is a trip hop track in the style of was an atmospheric, introspective riposte to hip hop
y y⇥ y⇥ yf y y y
artists such as Massive Attack, Portishead and Tricky. and, especially, rap’s block-rocking beats and cocksure
It includes a 6/8 groove, advanced co-ordination fills vocal delivery. Tricky, the album’s guest rapper, went
œ
and snare drags among its techniques. on to release his own LP in 1995, the critically-
ã œ œ œ œ
acclaimed Maxinquaye. Geoff Barrow was the
J J
engineer at the studio where Blues Lines was recorded
J R R
STYLE FOCUS and, no doubt inspired by the sessions, formed the
band Portishead, whose 1995 debut Dummy won
In this track the metre changes from 6/8 to 4/4 that year’s Mercury Prize. Tricky, Massive Attack
while the tempo is maintained at the same value. [5] This and Portishead all hailed from Bristol and produced
gives the impression of a tempo change which allows records similar enough to warrant the label trip hop,
the piece to develop without losing its solid rhythmic but they resented the term for fear of being pigeon-
drive. Indeed, it is this breakbeat style of groove, holed and pointed out that Tricky, although Bristol-
coupled with a heavy bass line, atmospherics and a born, was by this time resident in London. Regardless,
lo-fi sound that gives this trip hop piece a sound that by then trip hop was a global phenomenon with DJ
is typical of the genre. At the recording and mixing Shadow in California and DJ Krush in Japan both
stages, the drums tend to be heavily compressed to recording for the Mo Wax label.
make them sound more like samples.
RECOMMENDED LISTENING
THE BIGGER PICTURE
Massive Attack’s ‘best of ’ Collected gives an
y y⇥ y⇥ yf y y y
Trip hop is a downtempo, largely instrumental overview of their style but their debut record Blue
offshoot of hip hop that emerged in the early 1990s. Lines, 1994’s Protection and 1998’s Mezzanine are all
Drums Grade 6
œ
Its exponents were inspired by hip hop’s golden age of excellent. Dummy by Portishead was inspired as much
ã œ œ œ œ
the late 1980s when hip hop producers developed the by spy film soundtracks as it was soul and funk 45s.
J J
new technique of sampling into a complex art form. Tricky’s debut Maxinquaye is also recommended.
[9] J R R 27
Space Future
Neel Dhorajiwala
q = 90 Trip Hop
y y y y y y y y y yf y y y y⇥ y⇥ yf y y y ⇥y y⇥ 0f..
ã 68 œ ⇥ œ ⇥ œ f
A
œ œ ⇥œ⇥œ œ œ œ œ œ œ œ œ
J R R J J R R J J R R J J R R
F
y y y yf y y y y⇥ ⇥y yf y⇥ f ⇥y f y y⇥ y yf y y y y⇥ y⇥ yf.
ã œ ⇥œ ⇥œ œ œ œ œJ R R œ œ ⇥œ œ œ œ œ œœ
[5] J R R J J R R J R R J J R R
y y y yf y y y ⇥y y yf y y y y⇥ y yf . y y y y y yf y y
ã œ ⇥œ ⇥œ œ œ œ ⇥œ œ œ œ ⇥œ œ. ⇥
J œ
⇥œ

[9] J R R J J R R J J R R R R
y y y yf y y y ⇥y y yf y y y y⇥ y yf y y y y⇥ y⇥ œy . œ œ œ
ã œ ⇥œ ⇥œ œ œ œ ⇥œ œ œ œ ⇥œ œ œ œ œ
[13]J R R J J R R J J R R J J R R
y y y y y y y y y yœ y y y y y yœ y y y y y œA . œ œ œ
ã œ ⇥œ⇥œœ œ œ ⇥œ ⇥œ œ œ ⇥œ ⇥œ œ œ ⇥œ⇥œ y
J R R J J R R J J R R J J R R
o
[17]
+ o
Drums Grade 6
y y y C y y y y y y y y y y A C y y y. Œ.
œœœœœœ 4
ã œ œ œ œ œ ⇥œ⇥œœ œ œ œ œ œ œ ⇥œœœ 4
[21] J J J R R J J J
28
e=q
1
4 œ œ œ œ œœœ œ
B
ã4 œ Œ Ó œ œ œ œ œ œ œ œ
œ
f
[25]
1 Ó Œ ‰ yj
ã œ Œ Ó œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
P
[29]
y A Aœ A A A Aœ A A A Aœ A A A Aœ A œ
ã œ Œ ‰ œ Œ œ Œ œ Œ ‰ œ Œ œ ‰ J
J J
f
[33]

y A Aœ A A A Aœ A A A Aœ A A A A Œ
ãœ Œ ‰ œ Œ œ Œ œ Œ ‰ œ Œ œ œ œ œ œ
[37] J J
y A y A A A Aœ A A A A A A A Aœ A œ
ã œ Œ œ ‰ œ Œ Œ ‰ œ œ ‰ œ Œ œ ‰ J
œ œ œ œ œ
[41] J J J
Drums Grade 6
y A A A A A A A
ã œ ‰ œ œ ‰ œ Œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
[45] J J
29
C
y y yœ y y y yœ y y y yœ y y y yœ y
ã œy y y y œ y œy y y
œ œ
œy y y y œ y œy y y
[49]
y y yœ y y y yœ y y y y y y y y y
ã œ œ
œy y y y œ y œy y y
œ œ
œy y
œ œ
œy y
œ œ
œy y
œ œ
œy y
[53]
ã’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Develop
[57]
ã’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

[61]
+ +
‰ y y y j
D
y y A y y y y ‰ y y yy y y y y ‰ y y y yyyyA ‰ y y y
ã œ Œ œ ‰ œ Œ œ œ Œ œ Œ œ ‰ œ Œ œ œ Œ
[65] J J
+ +
y y y y ‰œ y y y y y A ‰ yj y y C y y y y ‰ y y y y y A Ó
ã œ œ ‰ œ Œ œ œ Œ œ Œ œ ‰ œ Œ œ œ œ œ œ
[69] J J
Drums Grade 6
ã’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Develop
[73]
30
ã’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[77]
1 Œ Ó
œ œ
E
ã œ œœœ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œœœ œ œ œ œœœ œ œ œ Œ

[81]
Embellish with snare ghost notes

o
F
yy A A A A A A A A A A A A A A y y
ã œ Œ h ‰ œ Œ œ h Œ œ ‰ œ h ‰ œ Œ œ h ‰ œ
[85] J J J J
y A y A A A Ah A A A Ah A
ã œ h ‰ œ Œ Œ ‰ ‰ œ ’ ’ ’ ’
Fill
œ œ œ œ œ

[89] J J J
Embellish with snare ghost notes
y A y A A A A A A A A A
ã œ œ h ‰ œ Œ œ œ h Œ œ ‰ œ h ‰ œ
[93] J J J
A A Ah Œ y A y A A A Ah A
ãŒ œ œ œJ œ œ œ œ h ‰ œ Œ œ Œ
[96] J
‰ yj
Drums Grade 6
Ó Œ 1
œ
ãœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ Œ Ó
[99]
31
Walkthrough
A Section (Bars 1–24) one main stroke. In this groove, the drag is played on the
This section introduces a 6/8 trip hop groove. The consistent snare and the main stroke on the bass drum and ride/crash.
eighth notes are played on the ride and hi-hat, the cross stick Make sure that you control the stick to achieve two even
on the fourth eighth note and the hectic bass drum pattern grace notes and time these well in between the quarter notes.
varies. The fill in bar 16 signals the entry of the snare in bar
17 where the groove intensifies.
D Section (Bars 65–80)
Bar 1 | 6/8 trip hop beat The groove returns to the hi-hat, but the pattern is much
This is a classic 6/8 trip hop beat where the eighth note leads busier with 16th-note phrases and open/closed sounds.
on the ride cymbal are played with machine-like consistency.
The cross-stick should be prominent in this groove, so make Bar 68 | Drop pull
sure you hit the sweet spot of the rim and achieve a balanced These types of fast 16th notes are usually played with doubles.
projection. The 16th-note bass drums should be placed To achieve this you can use the drop pull technique. The
accurately between the eighth notes (Fig. 1). basic concept is creating the second stroke in each group of
doubles by pulling your fingers back and closing your grip.
Bar 24 | Fill starting point
Allow a 16th-note rest after the initial crash and bass drum
stroke on beat one then begin the fill with the bass drum E Section (Bars 81–84)
on the second 16th of the second eighth note. From there, In this section, there is a four bar written drum solo which
continue with consistent 16th notes around the kit using should be played as notated. The key to this solo is the
alternate sticking until you reach the first beat of bar 25. sticking, so take your time and plan this in advance.
B Section (Bars 25–48) F Section (Bars 85–101)

Following the rhythmic change in bar 25, there are some The outro is the heaviest section in this piece with double
written fills that build up towards the groove which is crashes, open hi-hat and snare rim-shots.

introduced in bar 33. This heavy open hi-hat groove
includes offbeat bass drums and crashes. Bar 85 | Double crash
Ideally, this will be played on two different crash cymbals.
Bars 25–26 | Transition However, if you have only one crash cymbal in your set-up,
As notated in bar 25, there is a rhythmic transition and every use the ride cymbal as a crash but make sure you hit it with
eighth note will be equal to a quarter note. Ensure that you the neck part of your stick to produce the required sound.
count the rests in these bars and internalise the new feel in
order to enter with conviction in bar 27.
Bars 47–48 | Fill across the bar

6 y y≈ y
≈ yf y y
ã8 œ
In these bars the eighth notes are divided into groups
œ œ œ
J R R J
of three, four, three and six eighth notes. This creates a
challenging fill which you will play across the beats and
even across the bar. Practise at a slower tempo and find the
sticking option that allows you to move around the kit with
ease. Ensure that these types of fills are played with fluency Fig. 1: 6/8 trip hop beat
and a balanced sound. (Fig. 2).

In this section the groove moves to the ride cymbal and
œ œ œ œ œ œ
ãœ œ œ œ œ œ œ œ œ œ
there are drags on the snare and hi-hat foot on every
beat. Grooves that demand four-way coordination can be
challenging at first, but remember that in this specific groove
Drums Grade 6
the hi-hat foot pattern follows the ride cymbal.
Bar 51 | Drag Fig. 2: Fill across the bar

The drag rudiment consists of two grace notes followed by
32
You Can Call Miguel
SONG TITLE: YOU CAN CALL MIGUEL

GENRE: SOCA/CALYPSO
TEMPO: 116 BPM
TECH FEATURES: TRIPLET SHUFFLES q =116 Soca/Calypso
y y y y
SYNCOPATED CADENCE
44 f fœ
A
ã œ
COMPOSER: KITA STEUER
PERSONNEL: STUART RYAN (GTR)
f
HENRY THOMAS (BASS)
NOAM LEDERMAN (DRUMS)
KISHON KHAN (KEYS)
+
RICHARD PARDY (SAX)
‰
STEVE WALKER (TRUMPET)
y y fy y fy A fœ
ANDY CROMPTON (TROMB)
f
ã œ œ œ œ
OVERVIEW his album Calypso which featured the breakthrough

single ‘The Banana Boat Song (Day-O)’. Traditional
‘You Can Call Miguel’ is a soca- and calypso- soca music features steel drums, but modern artists
inspired piece in the style of artists such as Harry like Maximus Dan and Kevin Lyttle favour a more
Belafonte, The Mighty Sparrow and Arrow. It features contemporary sound influenced by American R’n’B,
triplet shuffles, a syncopated cadence and a dotted feel with drum samples rather than live percussion or a
among its techniques. [3] blend of the two. The rhythms of soca and calypso
have found their way into other musical styles. For
+
example, David Garibaldi, drummer with the funk
STYLE FOCUS band Tower Of Power, has incorporated Caribbean
‰
rhythms into his grooves.
Soca and calypso are both forms of dance music
y y y fy y y fy A fœ
native to Trinidad and Tobago, so they have in
common a driving beat. However, unlike disco, which RECOMMENDED LISTENING
f
emphasises every downbeat in a four-on-the-floor
ã œ œ œ œ
pattern, calypso and soca typically displace every Harry Belafonte, the King Of Calypso, has recorded
other beat. The first and third accents are played with many classic, high energy calypso albums. Jump Up
a dotted feel on the ‘1&’ and ‘3&’, which creates the Calypso from 1961 features the irresistible track ‘Jump
rolling cadence in this song. You will often play with a In The Line’. The Mighty Sparrow has been recording
percussionist or even a group of steel drummers when calypso and soca albums since the 1960s and has won
performing these styles of music so do not get too the title of Calypso Monarch 11 times. His lyrics are
busy or you won’t leave room for anyone else.
[6] often politically charged but you can always dance to
tracks like ‘Jean and Dinah’, ‘Carnival Boycott’ and
% +
‘Doh Back Back’. Arrow had his moment in the sun
THE BIGGER PICTURE with ‘Hot Hot Hot’ but check out his 1992 album
Drums Grade 6
‰
Zombie Soca. David Garibaldi’s instructional DVD
Harry Belafonte put the rhythms of Trinidad and Tower Of Groove shows how he mixes soca into Latin
y y y y y fy A f
Tobago on the international music map in 1956 with and funk patterns on the track ‘Soca/Rumba’.
f
B
33
You Can Call Miguel
Kita Steuer
+ +
j j
q =116 Soca/Calypso
y y ‰ ‰
4 fœy y fœy A y fœy y y fœy y y fœy A y
A
f
ã4 œ fœœ fœœ
f
+ + +
j j j
yf y fy y fy A f‰ y yf y y fy y y fy A f‰ y y y yy y y A ‰ y
fœ fœ fœ fœœ
ã œ œ œ œœ œ œ œ œœ
[3]
+ +
j j
yf y y fy y y fy A f‰ y yf y fy y fy A f‰ y ‰ j ‰ j j ‰ j j ‰
œ œ œ œ
ã œ œœ œœ œœœ œ œ œœ
j
œ œ œ œ œ œ
[6]
% + +
‰ j ‰ j
y y y y y y A y fœy y y fœy y fœy y y fœy y yf y y fy y y fy A f y

B
ã œ fœ fœ fœ œ œ œ œ
[9]
+
j
y y y fy y fy y y fy y y y y y y y A ‰ y
fœ y y fœy y fœy y y fœy y
y
ã fœ œ œ œ fœ fœ fœ fœ
[12]
y y y 1 Œ Ó
f
ã œ fœy y y fœy y fœy y
œ œœœœœ œ œ ⇥ œ œ œ œ ‰
[15]
p + p
C
y y y y C B C B C B CyB C B CyB C B CyB C B CyB
ã œ. h œ h œ. h œ h œ. h œ h œ. h œ h œ. h œ h œ. h œ h
[17]
p
Drums Grade 6
C B h C y Bh C Bœ Bœ œ œ y y h C y Bh C B h C y Bh C B h C y Bh C B h C y Bh
ã œ. œ œ œ œ. œ œ. œ œ. œ œ. œ
[20]
34
To Coda fi
C B C B C B CyB Ó ‰ Bj B
ã œ. h œ h œ. h œ h œ œœœ œ ⇥ œ œ œ œ œ œ œœ œœ ‰ œœ œœ ‰ ‰ œ œ œ œ œ œ
[23]
ã .. ’ ..
D
Drum Solo (8 bars)
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[26]
Saxophone Solo (16 bars)
p + p
Develop on repeat
y y y y C B C B C B C B C B C B
.
E
.
ã œ. h œ h œ. h œ h œ. h œ h œ e h œ h
[30]
C B h C Bh C B h C Bh C B h C Bh C e B h B œ œ œ .
ã œ. œ œ. œ œ. œ œ œ .
[32]

y y h y y y e y h y yh y 0 h y 0h y 0 h y 0h
ã œ. h œ. œ.
œ œ œ œ œ
[34]
ã’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Develop
[36]
‰ j Œ D.%. al Coda fi
y. y y œœœœ y
ã’ ’ ’ ’ ’ ’ ’ ’ œ. œ ‰ œ œœœ
[39] J
6
fi Coda
Drums Grade 6
∑ Œ Ó
Choke
œ œ œ y
ã œœ œœ ‰ œœ œœ ‰ ⇥ œœœ œ œ œ œ œ œ œ Ó
[42]
3
35
Walkthrough
A Section (Bars 1–8) Bar 17 | Soca

This section introduces a calypso groove with cross-stick The hi-hat pattern alternates between closed and half open,
snare and bass drum on every beat as well as consistent while the displaced snare on beats one and three gives this
eighth-note hi-hats. In bar 8 there is a stylistic fill that groove its unique feel. Secure co-ordination is the key here.
indicates the end of the section. Place the 16th-note snare exactly between the eighth-note
hi-hats and keep your posture balanced while performing
Bar 1 | Calypso the complex hi-hat pattern.
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 between the cross- D Section (Bars 26–29)
stick and bass drum, and avoid any unnecessary flams. Your In this section there is an eight bar drum solo. Feel free
right hand will move from the hi-hat to the floor tom on to improvise according to your personal interpretation
beat four for a three-part unison stroke. of the piece and style. However, remember that your
synchronisation with the backing track must not be affected.
Bar 2 | Fingers technique
In order to perform these fast 16th notes on the hi-hat
with one hand, you will need to use the fingers technique. E Section (Bars 30–43)
When using this technique, ensure that your thumb and The first 16 bars of this section are a saxophone solo. The
index finger create a reliable fulcrum and utilise the other initial groove develops on the ride in bar 34 and from bar 36
three fingers as a unit in order to manipulate the stick needs to be developed further. After the sextuplet fill in bar
and perform fast multiple strokes. In this case, you need 41 you return to the sign in section B and play through until
to play three strokes on the hi-hat with fluency and a reaching the coda.
balanced sound. Practise the hi-hat pattern on its own with
a metronome for reference. Remember to pull your fingers Bar 41 | Sextuplet
back on the third stroke so that you are prepared for the next In order to perform this sextuplet well, you will need to have
phrase (Fig. 1). attained a reliable singles technique. As you are moving

round the kit, the sticking R L R L R L is the most logical
option. Focus on moving your wrists quickly and allow your
B Section (Bars 9–16) arms to assist with positioning. Aim to hit all three toms in
The groove remains similar to section A but with a few the middle of the drum head for maximum projection.
added 16th notes on the hi-hat. In bar 16 the fill includes 32nd
notes on the snare drum, so be prepared for this.
+
Bar 16 | Thirty-second notes
‰ j
In this fill there are 32nd notes to perform. These are the next y y y
f fœy y y fœy A fœœ y
subdivision after 16th notes, so eight of them put together ã œ
are equal to one quarter note. In order to understand the
rhythm on beat one, start by playing the eighth note crash/
bass drum hit followed by two 16th notes on the snare then
double the 16th notes to create four 32nd notes. Try to play Fig. 1: Fingers technique
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 down stroke, where
your fingers are loose after hitting the drum. Although this
can be challenging at first, this technique will produce even
1 Œ Ó
œœœœœ œ œ ≈ œ œ œ œ‰
ã œ
doubles and can be used all around the kit in every style of
music (Fig. 2).
Drums Grade 6
Count: 1 (e) & a 2 e (&) a (3) e (&) a 4 e (&) (a)

The classic soca beat is introduced in the chorus section with
rim-shot snares, half open hi-hats and fills which are typical Fig. 2: Thirty-second notes
of this genre.
36
Technical Exercises
In this section the examiner will ask you to play a selection of exercises drawn from each of the five groups shown below. In
Group E you will be asked to prepare one stylistic study from the three printed. The choice of stylistic study will determine
the style of the Quick Study Piece. You do not need to memorise the exercises (and can use the book in the exam) but the
examiner will be looking for the speed of your response.
The stickings shown (L & R) are there as a guide for right handed drummers. Left handed drummers should reverse the
sticking patterns. All exercises must be played to a metronome click. Groups A–D should be played at q = 80.
Group A: Single and Double Strokes

Single and double strokes in triplet eighth notes, 16th notes played alternately as a continuous exercise. To be played first time
with singles and second with doubles
ã 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L
3 3 3 3 3 3 3 3
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L
[4]
6 6 6 6 6 6 6 6
Group B: Paradiddles
Flam paradiddle in 16th notes and paradiddle-diddle in sextuplets
>œ œ œ œ œj >œ œ œ œ œj >œ œ œ œ œj >œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ

4 .
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 R L R R L L R L R R
ã4 . œ
j
..
6 6 6 3
Group C: Ratamacues
Single ratamacue
4 . >œ œ œ >œ œ œ >œ œ œ >œ ..

L L R L R L R R L R L R L L R L R L R R L R L R
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ã4 .
3 3 3 3
Group D: Rolls
1. Five stroke roll phrase with accents on toms
> >œL >œL >œ >œ

ã 44 .. œ œ œ œ œ >œ > >
R L R L R R L R L R R R L L R L L R R L R R L L R L L R R L
œ œ œ œ D œ D D œ D ..
Drums Grade 6
2. Nine stroke roll phrase
> œ œ œ œ >œ >œ >œ

ã 44 .. œ œ œ œ œ œ œ ..
R L R L R L R L R L R R L L R R L L R L L R R L L R R L
æ æ
37
Technical Exercises
Group E: Stylistic Studies

You will prepare a technical study from one group of styles from the list below. Your choice of style will determine the style
of the Quick Study Piece.
1. Rock/Metal: half open hi-hat, busy 16th-note bass drum pattern
q = 70 Rock
4 B B Bœ B B B Bœ B B B Bœ B B B B Bœ
ã4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ
B B Bœ B B B Bœ B B B
ãœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ Œ ‰ œ œ

[3]
C œ y yœ y y y y yœ y œ y yœ y y y y yœ œ
ãœ œ . œ œ œ œ ≈ œ œ œ œ . œ œ œ œ ≈ œ
[5]
Drums Grade 6
y œ y yœ y y y y yœ
6
Œ 3
œ œ œ œ œ œ œ
6
ã œ . ≈ œœœœœœ œ œ œ
œ œ œ œ œ œ Ó.
[7]
38
Technical Exercises
2. Funk: snare drum ghost notes, quick open/closed hi-hats
q = 90 Funk
y yh y yh y e e yh y
4
ã4 œ e e œ œ e œ. œ . e e hy e
œ œ œ œ œ
+
≈ Aj
h œ.
y y y yh y y y
ã œ e e œ h œ e œ. œ . e œ e e œ h œ e œ e
[3]

y y y yh y e e yh e y y
ã œ e e œ h e œ œ. œ . e
œ œ œ œ h œ œ
[5]
Drums Grade 6
+ +
≈
y e e yh e y yh y e e yh y œœœ œ œ A A
ã œ œ œ œ. œ . e œ œ . œ œ œ œ
[7]
39
Technical Exercises
3. Jazz/Latin/Blues: polyrhythm, advanced co-ordination
q = 125 Jazz > >

4 . y y y y y œy y y y y y œy
.
ã4 Œ Œ Œ ‰ œ
y y y J y
>
j ‰ j j ‰ j
3
‰ ‰
3 3 3
y y y y y œy y œ y œy y œ y œy ..
ãŒ Œ Œ œ Œ œ
[3]
y y y y

3 3
y y y y y œ œ y y y y y y œ œ y
ã .. Œ y œ y ‰ Jœ œ y œ y ‰ œJ
[5]
‰ J J ‰ J J
3 3
Drums Grade 6
>
1. 2.
3 3 3 3 3 3
y y y y y œ œ y œ œ y œ œ y œ œ y œ .. œ œ y œ œ y y
ãœ Œ
[7]
y ‰ Jœ Jy ‰ œJ ‰ ‰ Jœ Jy ‰ Jœ ‰ ‰ œJ y ‰ ‰ Jœ Jy ‰ œJ œ
40 3 3
3
3
3
3
Quick Study Piece
At this grade you will be asked to prepare and play a short Quick Study Piece (QSP). Printed below are three examples of
the type of QSP you are likely to receive in the exam. You will be shown the test and played the track with the notated parts
played. Any bars that require improvisation will not be demonstrated. You will then have three minutes to study the test.
The backing track will be played twice more. You will be allowed to practise during the first playing of the backing track,
with the notated parts now absent, before playing it to the examiner on the second playing of the backing track.
The style of your QSP is determined by the stylistic study you selected in the technical exercise section. The QSP is in the
form of a lead sheet and it is up to you to create your own interpretation of the music in the parts marked for improvisation.
q = 85 Rock
4 A A A A A A A A A A A A A A A A
ã4 œ œ ≈ œ œ œ œ œ œ ≈ œ œ œ œ œ
R R
A A Aœ A A A A Aœ A A Aœ A A
ãœ œ ≈ œ œ œ ‰ œ œ œ œ œ œ œ œ
[3] R J

ã’ ’ ’ ’ ’ ’ ’ ’
Develop
[5]
ã’ ’ ’ ’ ’ ’ ’ ’
[7]
ã’ ’ ’ ’ ’ ’ ’ ’
[9]
Drums Grade 6
o o o
y Œ y
y y y A A A A A A A A
ã œ œ œ Œ œ œ ‰ œ œ œ œ œ œ œ
[11] J
41
Quick Study Piece
q = 100 Funk
y A Cœ y y y yœ y y A Cœ y y y yœ y œ
ã 44 œ . œ ‰ œ œ. œ ‰ œ .
J J
y A C y y y y y y A C y
ã œ. œ œ ‰ œ œ œ. œ œ Óœ œ œ œ œ œ
[3] J
ã’ ’ ’ ’ ’ ’ ’ ’
Develop
[5]

ã’ ’ ’ ’ ’ ’ ’ ’
[7]
ã’ ’ ’ ’ ’ ’ ’ ’
[9]
Drums Grade 6
‰. r Œ
y y yœ y y y yœ y œ y y yœ y A
ã œ. œ ‰ œ . œ. œ œ œ œ œ Œ
[11] J
42
Quick Study Piece
q = 120 Latin
y y y
4 f
ã 4 œ. fy y y fy y y y fy y y fy y y
œ œ. œ œ. œ œ. œ
J J J J
y
f y y fy y y fy y y y fy y y
ã œ. œ œ. œ œ. œ œ. œ œ œ
[3] J J J J
ã’ ’ ’ ’ ’ ’ ’ ’
Develop
[5]

ã’ ’ ’ ’ ’ ’ ’ ’
[7]
ã’ ’ ’ ’ ’ ’ ’ ’
[9]
Drums Grade 6
y y Œ
f
ã œ. fy y y
œ.
œy y y fœy y fy y y y
œ Œ
œ œ . œ œ
[11] J J J
43
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 type of
test printed below.
Test 1: 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 fill on the snare
drum. You will then identify 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
hear the vocal count in and you will then play the fill to the click. The tempo is q = 70.
ã 44 œ
A
œ œ œ œ œ ‰ œ ‰ œ œ œ œ
J J
6
ã 44 œ
B
œ œ œ ‰ œ œ ‰ œ œ œ.
J
ã 44 œ
C
œ œ œ œ œ œ œ œ Œ œ œ œ

6 3
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 identify 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 q = 80–140.
A: Jazz
B: Metal
C: Samba
D: Funk
q = 110
y y y y œ y y y yœ y y y y œ y y yœ y
4 .
.
ã4 œ œ. œ. ..
‰ œ ‰ J ‰ œ œ œ
J J
Drums Grade 6
44
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 will be asked 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 asked to explain:
■■Any notation used in the chosen piece
■■Any dynamic marking found in the piece
■■What makes the drum groove stylistically appropriate
■■Use of drum 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 and maintenance of drums

■■How to tune the drum kit according to the style of one of the pieces played
■■How to produce: cross stick, choke cymbal, bell of ride, rim-shots, ghost notes, half open hi-hat, accents
Further Information
Tips on how to approach this part of this exam can be found in the Syllabus Guide for Drums, the Rockschool Drums
Companion Guide and on the Rockschool website: www.rslawards.com.
Drums Grade 6
45
Entering Rockschool Exams
Entering a Rockschool exam is easy, just go online and follow our simple six step process. All details for entering online,
dates, fees, regulations and Free Choice pieces can be found at www.rslawards.com
■■All candidates should ensure they bring their own Grade syllabus book to the exam or have proof of digital purchase
ready to show the examiner.
■■All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam.

Drums Grade 6
46
Marking Schemes
Grade Exams | Debut to Grade 5 *
ELEMENT PASS MERIT DISTINCTION
Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20
Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15
Sight Reading
or 6 out of 10 7–8 out of 10 9 + out of 10
Improvisation & Interpretation
Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10
General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5
TOTAL MARKS 60%+ 74%+ 90%+
Grade Exams | Grades 6–8

Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15
Quick Study Piece 6 out of 10 7–8 out of 10 9 + out of 10
Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10
General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5
TOTAL MARKS 60%+ 74%+ 90%+
Performance Certificates | Debut to Grade 8 *

Drums Grade 6
TOTAL MARKS 60%+ 75%+ 90%+

47
* Note that there are no Debut Vocal exams.
Drums Notation Explained
BASS DRUM & TOMS SNARE
œ œ œ œ e h f D
ã œ ã
Bass drum Floor tom Medium tom High tom Snare 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 rim with stick
HI-HAT OTHER CYMBALS
+ ~~~
y B A C y o y 0 y 1 y
ã y y ã
Closed Half open Open Closed † Closed ‡ Hi-hat foot Hi-hat foot Ride Ride (bell) Crash Crash* Crash roll
closed open
Allow all cymbals to ring on unless explicitly stopped, as indicated by
† Used on the first closed hi-hat that follows an open hi-hat the keyword ‘Choke’. Occasionally ties may be used (*) to emphasise that
‡ The hi-hat is closed without being struck. Note that the hi-hat closed (cross) symbol may appear above cymbals should be allowed to ring on. This can avoid confusion during
drum voices other than the hi-hat (as shown above). This simply means another drum voice is being played syncopations and pushes.
at the same moment that the hi-hat is being closed.
GENERAL MUSIC NOTATION
>
œ Accentuate note (play it louder). ’ ’ ’ ’
Slashes are used to demarcate bars
during solos, fills, developments

and other ad lib. sections.
D.%. al Coda
Go back to the sign (%) then
.. ..
fi
play until the bar marked Repeat the bars between the
fi
To Coda then skip to the repeat signs.
section marked Coda.
.. ..
1. 2. When a repeated section has
Go back to beginning of song and different endings, play the first
D.C. al Fine play until bar marked Fine (end). ending only the first time and
the second ending only the
second time.
2
‘ «
Repeat the previous bar. In higher Repeat the previous two bars. In
grades these may also be marked higher grades these may also be
sim. or cont. sim. marked sim. or cont. sim.
œ œ œ œ >œ
R L L R R L L R
! ! !
In rudiments, each stem slash
subdivides the note value by half.
MUSICAL TERMS WITH SPECIFIC EXAMINATION DEFINITIONS
Fill Play an individual, stylistic fill. Develop Extend the musical part in a stylistically
Drums Grade 6
appropriate manner.
Cont. sim. Continue in similar way but vary the Rit. (ritardando) Gradually slow the tempo.
pattern slightly.
48
GRADE 7 PREVIEW
DRUMS
DRUMS GRADE 7
SONG TITLE: RAZORHEAD Leading Rock
exams since
1991
GENRE: METAL
TEMPO: 168 BPM
GRADE 7
Full notation
Backing tracks on CD
TECH FEATURES: GHOSTING (click & non-click)
BROKEN 16TH ROLLS

ODD TIME SIGNATURES
COMPOSER: JASON BOWLD
PERSONNEL: JASON BOWLD (ALL PARTS)
EVER Y THIN G YOU NEED FOR

YOUR EXAM IN ONE ESSENTIA
L BOOK
OVERVIEW Metallica, Anthrax, Slayer and Megadeth (also

known as The Big Four) are the most famous of the

‘Razorhead’ is influenced by Slipknot, Sepultura bands that emerged from the 1980s thrash scene.
and Bullet For My Valentine. You will find relentless, The use of two bass drums became common practice
regular changes in rhythm and note values as well as among drummers Dave Lombardo (Slayer), Charlie
dynamic subtleties and odd time signatures here. Benante (Anthrax) and Lars Ulrich (Metallica), who
were reaching speeds of 200 bpm.
STYLE FOCUS In the 1990s nu metal bands Korn and Limp Bizkit
mixed styles such as death metal and rap, while
Good technique and stamina are required to Slipknot continued to push the boundaries of speed
play metal convincingly. More importantly, an even thanks to their drummer Joey Jordison.
consistency should be achieved with the volume
of backbeats on the snare and the bass drum beats. Since the turn of the millennium, the rise of groups
This consistency should be continued into any drum like Lamb Of God, Mastodon and Trivium led to
fills so that the intensity level demanded by the style the New Wave Of American Heavy Metal, while
doesn’t drop. Also, try to balance or mix yourself the British group Bullet For My Valentine reached
when playing metal because you may find that you number 3 in the US Billboard charts in 2010 with
tend to overhit the cymbals and hi-hats. their album Fever.
THE BIGGER PICTURE RECOMMENDED LISTENING
The British band Black Sabbath are recognised Jordison’s drumming on Iowa (2001) by Slipknot
as the creators of metal. Their self-titled debut was is a great starter, as is Lombardo’s work on Slayer’s
released in 1970, and soon after bands such as Judas Reign In Blood (1986). For vintage drumming try Bill
Drums Grade 6
Priest and Iron Maiden became part of the New Wave Ward on Black Sabbath and Paranoid (both 1970).
Of British Heavy Metal that influenced the faster sub- For a modern approach, Ulrich’s playing on Master Of
genres of thrash and speed metal in the 1980s. Puppets (1986) features some excellent compositions.
49
Razorhead (Grade 7 Preview)
Jason Bowld
Metal
> > >
A q =168
ã 44 hœ hœ hœ Ó
Drum Solo (6 bars)
’ ’ ’ ’ ’ ’ ’ ’
f
ã’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[5]
y Ah A A A Ó 1 Œ 1 œ Œ Ó
ã œ œ ‰ œ h œ œ hœA œ A‰ Ah œœ œœ œœ h œœ h œ œ h œ œ œ
œ œ œ œ œ
[9]
y y y A A A Ah A Ah Œ y A A 1 Œ Ó

ã œ œ œ ‰ œ h œ œ œ œ ‰ hh
œ h ‰ h œ œ h œ œ œ œœ œœ
œ
œ œ J
[13]
3 3
%
1 Œ Ó
œ
B
ã œ œœ hœ œ œœ œœ hœ œœ œœ œœ hœ œ œœ œœ hœ œœ œ œœ œœ h œ œœ œœ hœ œœ œœ œœ hœ œœ œœ h œœ œ
[17]
ã œœ œœ hœ œœ hœ œœ hœ œœ hœ œœ hœ œœ hœ œœ hœ hœ œœ œœ hœ œœ œœ œœ hœ œœ
[21]
j j fi
Ó ‰ 2 ‰ 2
To Coda
>h œ œ >h >h œ œ >h >h œ œ >h >h œ œ >h

œ
ã œ œ œ œ œœ h œ h
œ œ
[24]
Drums Grade 6
y y y y y h y 1 Œ y y y y y h y 1 Œ
œ
C
ã œ ‰ Jh ‰ œ œ ‰ œ œ h œ œ œ ‰ Jh ‰ œ œ œ ‰ œ œ h œ œ œ
[27] J
50
y y y y y h y 1 Œ y y y y y h y Ó
‰ Jh ‰ œ œ œ
ã œ ‰ œ œ h œ œ œ ‰ Jh ‰ œ œ œ ‰ œ œ œœ œœ œœ œœ
[31] J
y A A A A A A A y A A A A A A A
ã œ œ œ h œ ‰ œ œ œ œ ‰ œ h œ œ œ œ h œ ‰ œ œ œ œ ‰ œ h œ
[35] J J
D.%. al Coda fi
Ó Œ j
y A A A A A A A œ œ 1 y .œ œ œ œ œ 2 Œ y y
h œ ‰ œ œœœœœ
ã œ œ œ œ œ œ ‰ œ h œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
[39] J
fi Coda j‰ j j
y.
e e e y œy e
y y e ‰ y Aœ Ce e
ã Œ ‰ œœœ œ œ œ œ ‰ J œ
[43]
F

j j j j j
y e ‰e y ‰e y œy e y e ‰ y Aœ eC e y e ‰e y ‰e y œy e
ã œ œ ‰ J œ œ œ
[47]
y ‰ yj A C y ‰ yj ‰ yj A >h œ œ >h >h œ œ >h >h œ œ >h >h œ œ >h

ã ‰ eJ œ œ e e œ e e œ e œ
[50]
f
y y y y y h y 1 Œ
‰ Jh ‰ œ œ œ
‰ œ œ h œ œ
Fill
ã œ ’ ’ ’ ’ ’ ’ ’ ’
cont. sim.
[53] J
Drums Grade 6
Fill Fill
ã’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[57]
51
j j
y. 1 Œ 1 ‰ y. y y y. 1 Œ 1 ‰ y. y y
h
ã œ œ h œ œ h œ œ
h œ œ h œ h œ h œ œ h œ œ h œ œ
h œ œ h œ h
ƒ
[61]
Œ Œ Œ Ó
Choke
y y y A A 1
œœ œœ œœ h œœœœ œœ œœ œœ œœ
D
ã œ œ œ Ó œ Œ
[65]
3
y y y Œ Ó 1 Œ Ó
Choke
A œ œœ œœ œœ œ
ã œ œ œ Ó Œ œ œ h œ œœ œ œœœœœœ œ œœ
J œ œ œ œ œ
[69]
3 3
3
ã œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œ œœ
œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ
[73]

œœ œœ œœ œœ œœ œœ œœ œœ
ã œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œœ œ
œ œ œ
[77]
1.
y y y y y y y y y y y y
.
ã . œ œ œ h œ ‰ œ œ œ œ ‰ œ h œ œ œ œ h œ ‰ œ
[81] J J
y y y y
2.
ã œ ‰ h .
œ . ’ ’ ’ ’ ’ ’ ’ ’
Fill
œ œ œ
[84]
Drums Grade 6
E
y y yh y y y y y y y yh y y y yh y A
ã œ œ ‰ œ Œ Œ ‰ œ h Œ œ œ ‰ œ Œ Œ œ œ œ
J J J
f
[87]
52
‰ Aj Œ y y y y y y A Œ y y
ã y œ y œ h Œ ‰ œ ‰ œ h œ œ ‰ œ œ œy œ h
œ ‰ œ œ
J
œ œ œœ œ œ œ œ œ
[91] J J J
y y y y y y y y y y y y y y y y A
ã œ œ ‰ œ h œ œ œ ‰ œ h œ Œ œ œ ‰ œ h Œ Œ œ h œ œ
[95] J J J
‰ Aj Œ y y y y y y A Œ y y
ã y œ y œ h œ ‰ œ ‰ œ h œ œ œ œ œ œy œ h ‰ œ
[99] J J J
y y
ã œ œ œœ œ œ œ œ œ 54 œ 0 0h 0 0 h
‰ œ 0 0h 0 0 h
‰
œ œ œ œ J œ œ œ œ J
œ
J
[102]

y œ 0 Ó Œ ‰ Aj ‰ Aj Œ Ó
ã œ œ h0 œ 0œ 0 h 4 œ œœœ
‰ 4 œ
œ œ œ œ
h
œy
h œœ œœ
œy œ J œ J
J J
[105]
F
y y y y
ã œ œ h œ œ œ h œ ‘ ‘ ‘
ƒ
[109]
y y y y
h h h
ã œ œ h œ ‘ ‘ ’ ’ ’ ’
Fill
œ
[113]
Drums Grade 6
y y 1 Ó 1 œ Œœ œ œÓ œ œ œ >œ >œ >œ

ã œ œ œ h œœœœ œ œ œ œ œ œ œ œ œœ œœ œœ Ó
[117]
3
53
Walkthrough (Grade 7 Preview)
A Section (Bars 1–16) the second bar. The pre-chorus snare roll returns in bar 52,
The intro is based on stabs which the drums solo around. where the dynamics increase to loud (Fig. 1).
This leads to the groove that locks in with the guitar riff.
Bars 53–64 | Extended chorus groove
Bars 1–8 | Stab solo Towards the end of this extended chorus, a two bar groove
Try to emphasise the stabs throughout. They are counted as develops that must be played loud with snare and crashes on
“1&2” and can be disguised within drum fills for added flow. every dotted quarter note. The bass drum fills the gaps, so
you will have to be careful not to rush your hands.
Bars 11–16 | Groove fills
In bar 12, the most comfortable sticking would be to use
your left hand for the snare and travel around the crashes D Section (Bars 65–86)
and toms with your right. Bar 16 concludes with a quarter- This section features the three stabs that characterise the
note triplet fill. Count “1-trip-let 3-tripl-let” to keep your main riff of the whole song. These occur at the start of every
timing accurate. other bar with the drums changing every eight bars, so use
this as a compass to find your groove.
B Section (Bars 17–26)

This section can be interpreted as the verse of the song and E Section (Bars 87–108)
features a heavy tom groove that accentuates the guitar riff. This section starts with a drop in dynamics with a half-time
groove that progresses to the 5/4 section.
Bars 17–25 | Tom groove
This groove is intense on the right hand so try not to choke Bars 103–105 | 5/4 groove
the sticks, which will inhibit your speed. Try counting “1&2 3&4 5&” as a way of tackling this groove’s
odd timing (Fig. 2).
Bar 26 | Snare roll
The key features of this roll are the offbeat accents before the

beat. A loose grip is vital for power and consistency. F Section (Bars 109–119)
Make sure you observe that the final chorus should be
played louder and faster than the others.
This section features the chorus of the song and returns to
the intro guitar riff but with a half-time feel.
j j
R
‰
R L L R L R L
y.
Bars 27–34 | Chorus groove L
The feel of this two bar groove is a mixture of normal and

e e y e y yœ e
half-time. Focus on the crashes on beat one and beat three of
each respective bar because these match the harmonic shifts
ã œ œ
in the music.
Bars 35–40 | Half-time groove Fig. 1: Layered ghost groove

Watch out for the displaced backbeat onto beat four in the
second bar of this two bar groove.
Coda (Bars 43–64)

y œ 0
The coda has a medium loud groove that increases
5 h0 œ 0œ 0
‰ Jh
dynamically towards the choruses.
ã 4 œ œ
Bars 43–52 | Layered ghost groove
After the coda’s initial fill, you will play a groove in bar
Drums Grade 6
Count: 1 & 2 (&) 3 & 4 (&) 5 &

45 which features a sticking that is similar to an inverted
paradiddle: R L L R L R R L. The only difference is that
the last right features a layered left double. There is a more Fig. 2: 5/4 groove
fragmented approach and an open hi-hat on beat three of
54
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Drums Grade 6

Performance pieces, technical exercises and in-depth guidance

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

Published by Rockschool Ltd. © 2012

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

Introductions & Information

Rockschool Grade Pieces

41 Quick Study Piece

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

46 Entering Rockschool Exams

Welcome to Drums Grade 6

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

SONG TITLE: MOHAIR MOUNTAIN

COMPOSERS: JOE BENNETT

PERSONNEL: NOAM LEDERMAN (DRUMS)

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

Bar 67 | 3:2 polyrhythm

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

C Section (Bars 17–26) 3 3

SONG TITLE: POP IT IN THE TOP

PERSONNEL: STUART RYAN (GTR)

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RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

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RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

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RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

A Section (Bars 1–4) D Section (Bars 29–36)

B Section (Bars 5–20)

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

these with appropriate projection (Fig. 1).

C Section (Bars 21–28)

be much lower than the non-ghosted snare strokes. Keep

SONG TITLE: MINDSWEEPER

Drum & Bass/Metal

COMPOSER: JASON BOWLD

PERSONNEL: JASON BOWLD (ALL PARTS)

OVERVIEW records (the most popular being ‘Amen, Brother’

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

Pitchshifter were one of the first bands to produce

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

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RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

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RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

A Section (Bars 1–16) D Section (Bars 33–53)

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

C Section (Bars 23–32) R

SONG TITLE: FAVELA

COMPOSER: NOAM LEDERMAN

ã 5 y55 y55 y55

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

Samba is the rhythmic, syncopated music of Brazil

RSL-626574020862 / 1 / Gary Watton / gwatton64@talktalk.net

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D Keyboard Solo (16 bars)

■■Any notation used in the chosen piece

■■Any dynamic marking found in the piece

■■What makes the drum groove stylistically appropriate

■■Use of drum voices, rhythms and techniques in drum solo sections

■■Care and maintenance of drums