CD TRACK LISTINGS

Full Mixes I

667
Bonzo Sampa Samba Fusion Some You Win Whatever Happened

2 3
4

5 6
Backing Tracks No Click

To Jazz?

7
8

667
Bonzo Sampa Samba Fusion Some You Win Whatever Happened

9 10
II

12
Backing Tracks With Clkk

To Jazz?

13
14

667
Bonzo Sampa Samba Fusion Some You Win Whatever Happened Technique Solos
il:

15 16 17 18
Tech Exercises

-~
S_

.
,

):.""

To Jazz?

19-20 21 22

--'

f<
-, _1

Quick Study Piece EarTest

Full Mix Backing Track Test I Test 2

t-;:

23-25 26

~;:

,l

I

667

Q
Tracks
1, 7 \&

~____)

Hussein Boon
J=145 Metal

(

I ill·n
f.

n

.J

;

rF

d;
;

crl

; ~ d;

I
1.·.•. ·.·

Or
~

,J s pIFrrfrrfrlcFrr'fr'FJI
J.

)1 s

J.

.

..
'

III r ; p r

J

~

d;

b! I C

(d

rF

p

I[

J.

C

cf

)1 s

cdr

J

I d rr

,j\

s-

EEEEtrtt" )

.. i\ .• ~

t

I

! C C it
~

II

J

oJ

r~

4

~9
J

M- [tjI::F:_"~wh-; E.J" I it p EY[f_£
,j
r r
l_3-...l

I

I
J

7

7

7

7

r

r

r

r

II

! II II:

J

r
/ / r
7

I 177
:C

cont.sim.
7 7 7 7

I
1.

17

>

2hl
TIT

>

1

>

.,} ~
rTT' FiII--------, _

>

>

>

>

>

111/

2'

z7

r

7

I:

12
7

~1
7
7

1
2
7 7 2'

I

:r

., } ~7
7

r

-7

r

r
.

7'

'11 -'\
.::

)

Fill

2.

III

17
7

>

>

~1
Z
7

1
2
7

>

., } ~ I
Z
7

>

/

ToCoda.
2
7

2

7

2

7

FiII-- - - - - - - - -,
'~,

I

J

..'

r

~

p

~

~

I~

p

# p ..~

;

,',-

"

P

I

J
II

r

;

p

~

~

; I;
p

P
Z

~

r
1
>
2
7

I

I E~ ~. E ~ ~. E ~ ~ • E e Er II d Cd d
I
1
7 7

.,
2'

>

~
7
7

}

>

.,
2
7

}

>

7

7

In
III
!

~
7 Z

~
2'
7

.,
2'
7

}

.,
2'
7

}

I
7

j_
2'
7

~
7 Z

.,
2'
7

}

.,
2'
7

}

I

~
2'
7 7 Z

j_

>

~
7

7

7

2

I

,
,~

.

2'

7

7 2'

2'

7 Z

Fill

I

2

7

2'

7

7 2'

2'

7

II

, In II: r f
J
~.

10 Guitar Solo 2° Bass Solo

f

b
7 r

f
7

I~

f
2'
7

~

L

~

r

I

Develop 2'
7

2'
7

2'

7

2

7

In /

2'

7

2'

2'

"

z

"

7 2'

2'

7

2'

"

1.

/

2'

7

2'

7

7

2'

7

-$- Coda

Inl r
nW I
j_
>
Groove 2'
7•

J
.:;~

ff
2

7· 2'

I
j_
>
7

Ral.

7· 2'

2'


j_
>
2'

7. 2

2'

Follow gtr. phrasing

Ii 7
2' 2'

j_

>

~
2'
7

~
7
7

j_

>
7

j_

>
7

j_

>

I
j_
>

7

2'

/

Fill around accents

t*9

/

2'

7

I

j_

>
7 2'

j_

>

7

I 2'"

"

2'

7

I

7

2'

7

2

7

_.
In f· In L

-========
7 2

2

7

FiH- - - - - - - - - - - -,

I

2'

7

7 2'

2'

7

I

7

"

2

7

2

7

I

2'

7

2'

7

2'

7

_. J ~~~/~~<~~,~7~~I~f~~~~~~I~r~~~~~~11 -==========
FiII-----------------~

00

~

~
6
5

~

Bonzo
J=155 Rock
Hi Hats half open

Q
Tracks 2, 8 \&

it__)

Noam Lederman & James Creed
> >

»

>

>

»

>

>

>

»>

IHI ~ ~ ~ iFF
f
> »>

E fiE ~ F F F F F f I F ~ E fEE
> »> > >

>

~ F Ie F ~ i III
»>
-:.,..

-

'

cant. sim. 7
7

2

7

7

I

7

7 7

2

7

7

7

7 7

7

I

In /

7

z7

-

r 'f r'[ C 'f I r
r E c E r I ErE
/ / / 1/

-

To Coda$-

, ~ ~F

II

. III II:~
111/

C

F r F r E r I f c E r ~ p F I PrE
/ /

r;
/ /

D

F
/

/

1/

/

/

/

1/

II f

c PI ~

J

I

fc PI ~

J

I~

i ~i

P ~i I ~

R. /

/

II

:n~ F UF

IfcErfrF

IErErtrErlPrEr:pF

1£ •
I

J

EJ IfU IEJ r rUF
L3-.1

.,

)-

,

., Ji ., Ji,,

J
1

r

'i

., Ji

~

r

£

J

r

I' r

., Ji

~

£

I

1.

II

r
2. Drum Solo
Half Time Feel

r

-r

r

(2° only)

I II

I

:7

2'

:7

2'

:7

2'

:7

I

7

:7

7

:7

2'

:7

,.

:7

I

}--l
»
:7

1
:7

:7

z

2'

:7

1

7

:7

2

:7

2'

:7

"

:11

Bass Solo

III II:

~

;f; i r r
1 2
:7

~

;. f
2'
:7

pI
12'

com. sim. 2'
:7

2

:7

2

:7

7

:7

I
'1

Z

:7

:7 Z

2

:7

7

:7

(20 only)

III

}--l
2'
:7

1
7
:7

1:7

1
7
:7

1
:7 2'

2'

:7

:7 2'

»

:7

1

2

:7

2'

:7

Z

:7

1

:7

/

1

7

2'

:7

:11

Guitar Solo
Hi Hats half open

2'

:7

2

:7

1

2'

;

2

:7

2'

:7

Z

:7

"-

... :~---

(2° only)

1-

}--l
:7 :7

1
:7 1:7 :7 rTTL

D.Kal Coda-$:7 :7

:

II

7

:7

2

:7

2'

:7

2

:7

1

2'

:7

:7 2

2

:7

7

:7

1:7

rrrr

:11 ~

-$-Coda
Hi Hats half open

III§ ~ J F J ; ~ 1/;;';
m;p
cresco
to end

i

h' / /

I~ ~

f ~~ ~jII ~ i ;Wr
ff
L 3-.1

II

i
00

v

Q

7

SampaSamba
J = 96

Q
Tracks 3, 9 ~

it_)

Kung Fu Drummer, Kita Steuer & Kiko Perrone
Samba Funk

>

In~

jjj

>>

j
~

>

j

>

~

I~
~

JJJ

>>

{J J
d

J

~

I

'I"

I

mf

bF
j

J•

F [ F j•

II

III

5~

...

.,.
C"

) .,
•I

r

I

r

q

>>

j

J

> ~

>

>>

~.

J

I~.~

J

i ~.

J

>

~

J

:

I

>

III~.

J J) ~.J J)

>>

»

I~.

J J) ~.J J)

>>

»

I~.
> >

J J) ~.J J) I~. J J) J~J~) I
>>

»

>>

>

rl==.

~---:::Il I ~"

~J==!i )j Jj ~JJ J
» ...

>

>

j ~" j

_~J~J===Il F J
;

I ~"

r

j}

j

II

!

L

II /

7

7

7

7

7

7

7 2'

17
A A

2

7

To Coda
7
7

-$-

I

7

7

:'

2'

I

7 7

2'

7

Ilr Ijt};UEEdll
..

mf


In

C. J J ] ~.J J ; I~.J J ~ ~. J J ; I~.J J ~ ~. J J ; I'
f

..

fJj~ ~ I _. I II~JJJ ~ ;.IJj~ ~ I ~JJ3 ~ $ _. _.
L...----::IJ" J

~JJt ~ ;.IJJ~ ~ I ~JUJjJ~;. _. ~
J J

~I

In ~. In

JJ

,
'to

: ;. q
r

jj
-~:;:

J

p

I

,u l
~ ~

~.

Jj
~
'_':".~
I

I
~

~.
~

~

~ ~

I ~.

J

:
I

t:
JJ
J

jj ~.

p
f
;)i.

~ ~

~

Ib r

:J

•y

E

II

Drum Solo

In

)
2'
7

~. ~
2'
7

.-

I

2'

7

2'

7

I

)
7
7

,.
2'
7

~

I

7 Z

)
7
7

I

;~
2'
7

7

7

I

7

)
7 7

.,. )
2
7

7

I

7 7

I

s
7
7

2

7

I

Solo around rhythm

In

:;
7 2

;~
7 2'

I

2'
7 7 2'

)

.,.
2'
7

I

)s

2'

7

I

,. ft--)
7

2'

2'

7

7 2'

2'

7

I

s
2'
7

,. ft--) I
7
7

2'

7

7 2'

I

7 2'

7

7

II

In II: /

1° Bass Solo 2° & 3° Guitar Solo

/

I/ I

7 r

I I

7 IT

7

I I

7 IT

7

I I

7 IT

7

I I

7 IT

7

I

7 IT

7

I rz
7

7

Improvise

accompaniment

- Funk style

D.C. al Coda

-$-

~n /

7 7 rrrrrrrrrL

7

7

7

7

7

7

7"

7

/

1/

/

1/

Play 3 times

/

:11
~

-$-~~

I~~~r~· t!J~AHI ¥~~'j~~~ ~"..'¥.~ II J~;"<~i j ..~I~:~"vc-,

~""'' ' ' ~~~:t~'' .' IjI'~II';' ' ' t~'

---========= f

i

"~1;

Fusion

Tracks 4, 10

CV

~

j

Jason Woolley J =115

Funk Fusion

I~ J J J

rJ J ~
t

g J .~ J J j J j I
I .~

'IIi

~j j j

t F

... ~ bFC

[r

IF Jr
t .'.
j

II

§

11 g J ~

H~ J P J~ J .n JJ · ~r f
7'
:7

:~

III ~

JJJ

rJ~~~J; J I
:7 :7 :7

J I~ J J J J
7'
:7

r ~j~J t J i J J j I

III / III
z
:7

7'

Z

2

I

Z

:7

:7 7'

7

:7

7'

:7

:7 2

:7 7

7'

:7

I

t

jJ5
~

J
~

J

~

gj

;

J Jj j J
~

1,~

I

:J:J III~ f
~

==r

J:;::::::F.

H

J ~J X J ~
!t ~

>

>

I [-IF
To Coda

~

~ I • ~ 55 J rJ JJ _

r

P ~J BP J I ~~. J J 1 rr J J J P ~.r r r r I _ ~~. ~ ~
-$> >

I

J

~o

III F -=.

jj1
-i
J

==r~jF=lJ xJ ~ J r ~=

>

>

rt j .j j IIII'
cont.sim.

r

~r

J::;:::::;::j i j ~ ) JJ J It JJ. j ~r~j~jF=lJ; ~J

>

>

>

>

~ ~~
"

·r

j
-

F

W ~

~

r ( [; II
::,;

In / / / / 1/ / / / 1/ / / / 1/ /. / / 1/ ./' / / 1/ / / / I

I·f"

r

f

t ! U'
"

rr
,

f ~f
,

~

j
,

Ir

J

--

er

fEEerll

III ' ,

Guitar Solo Develop groove

TrTr.7

.7

I' ,

.7 TTTr

I'

.7 Trrr

'I

.7 , rrTT,

I' ,

rrrT

.7

,

I 7 , , 71 ' ,
rrrT

.7 TTTT

,

I 7 , 7 , II
rrT,

I{
)1
)J
III { j
Bass Solo Improvise groove - use ghost snares

,ll {

J; $ [

$l

fJ

~~~~~~)l~J~IF~:~,lJ~.f~·~)l~;~j(~~ f. • i E ;I f t
III/ / / / 1/ / / / 1/ / / / 1/ / / / 1/
III /
.7 rrrT .7 ,

r

,7

r
,7

2

,I

I ' /,

rrrr

7

I'

, ; ,2 I ' ///1////11 ,

D.C. al Coda$-

f
cont.sim.

111/

/

/

7

,

I/

2'

,

2'

7

2'

,

I

2'

.7

2'

,

2'

,

2'

.7

I

2'

.7

2'

.7

.7 2'

2

,

II

""lI!IIIIlI! .;

Some You WinC' 1":=15
J=93 Jazz Funk

Q
Tracks 5, 11 '&

W___j

Kit Morgan

~:I~ e)jld fE·a tel : fEtW f PI fA f' @
~ ad lib. on repeat

mf

;: : I ~

I

III

YJ H ~~»U.
mIT t[HUW
2
7 7

1/
I

_.Sim.

/

7

7

7 r

I

2'7

2

7

2

7

7

7 r

27

7 r

7 7

Fill

1112

fj ~6 ~[[r Ii ~ bU
.
L3----l

RIUi " J r a'D

To Coda-@-

III

Bass Solo

12

,
III /
coni.. sin.
2

,

2

,

I

2

,

2

,

2

,

2

,

I

I

,

, ,

2

,

2

,

2

,

,

I'

2

,

7

,

r

,

I"

2

, ,

7

,

/

:11

2° Fill

Develop

I'
2'

2

,

7

,

2

,

2

,

,

I'

2

,

7

,

r

,

I"

z

2

,

2

,

2

,

2'

,

,

I"

7

,

r

,

I'

z

2

,

2

,

/

:11

7

,

2

,

Fill

-$- Coda
DrumSofo

>

>

III

)

2

,

~
2

,

~
2

,

"I

2

,

)1

>

II

~

, »

)
7

>

>

,

~
2

,

)
2

II

,

~

2

,

~

2

,

"I

2

,

)1

II

13

Whatever Happened To Jazz?

Q
Tracks 6, 12 ~

1'f~

Deirdre Cartwright

J=98 Jazz Fusion

I

1-·

'II ~ ~ ;

t ~.Jj; ~~ J ~ f J ~. JA t ~j ~~.&;~~ J t f J ~ eA
>\11.,:,."\<:,,

II

1111: ~

q PB8 Q raB IIIP:; Q P Br-uJ~; U~ P S R g
"i ~
mf

M~~b~p~J ~ f J ~lA &f Hdf;p~ J [PritA
I~ I

=IIi

R p¥ r8 S 8
nf))'
kit in indicated rhythm

I.

II

rQllI
j

,,~-;

'lO>-'-,

1111
)J

fT)'
f Play around

ntmw

>

Haff time feel

II

~
17V_P
"

~J

dJ
..
,jW

j ~J

I

~J

dJ
.

I

.. ,.~;~

III

J

j :)

m
7
7

...... "

l~

I

J

J

j

-

)J

J

I I

cont.sim.
Z
7

L

7

,
7

7

7

.~1i!

III /

z7

z7

I

2

7

7

7

7

7

2'

7

7 7-

2'

7

Z

7

7

7

FiJI

II I
.

7

7

2'

7

2'

7

7 7'

I" /

r

-,

z

7

7 r

I

7 »

2'

7

I

7

I

7

I

k

,

2'

,

I

7

r

7

I

7

r

r

»

z

7

/

IIW /.

Groove

/. /. /. /.

Fill

f

I II .
Z
7

I

7

.

/

.

7

7

.

Z

7

.

I.
Z
7

Z

7

.

Z

7

.

7

7

.

Z

7

.

I.
7 2'

Z

7

.

/. /. /. II

In'if II:

) .,;m., ~ ;~;J; ) ) ) ) ) ) ) )))
Drum Solo
Solo around riff

I

.,;

m., ~ ;,~;~~ ;fro)
;'-:

Play 4 times

:111

z7
Fill

»

7

7 r

I~

}
7 r 7 r 7 r 7 z 7 r 7 r 7 z

>

II'if

-

Fill

Groove

r mf

z

Technical Exercises

Q
Tracks 19\&

'ft__)

In this section, the examiner will ask you to playa selection of exercises drawn from each of the three groups shown below. In addition there is a fill exercise which you will play using the designated backing track on the CD. You do not need to memorise the exercises (and can use your book in the exam) but the examiner will be looking for the speed of your response. The examiner will also give credit for the level of your musicality. The stickings shown (L & R) are there as a guide for right handed drummers. sticking patterns. All exercises must be played to a metronome click.

left handed drummers should reverse the

Group A: Single Strokes

~ = 65

You will be asked to play this as a continuous sequence in single strokes only by the examiner

1II1 r r r r Irrrr:rrrlEffEffEffEffI
In

r r r r r r r r r r r r r r r r Irrrrrrrrrrrrrrrrrrrri
L.__

5____J

L.__

5____J

L.__

5____J

L.__

5____J

III r

L__-6---J

rrrrrrrrrrrrrrrr rrrrrrr I
L__-6----' L__-6----' L__-6----' ~---7---J ~---7--~ ~--7 ~

IIIr r r r r r r r r r r r r r r r F r r r r r r r r r r r I
~--7---J

f11v

VIL (

IlIrrrrrrrrrrrrrrrrcrrrrrrrrrrrrrrrl IlIrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrl
'----9------' '----9------' '------10---' ~---10---J L....--9----' ~--9--~

IIIrr r rr r r r rr r r r rr r r r r rr rr r r rrr r r r rr r r rr r r rII
~--10---J L---10---J

Group B: Paradiddles
1.

~ = 80

Standard paradiddle with moving accent around the toms
>
RLRRLRLL

111111:rJ E r CJ b f rJ E r u Ir r r r r r r r r r r r r r r r I br
> > > > > > >

RLRRLRLL

c:.

- ill r r r r r r F F r r r F r r F r ILr > > > >
z

RLRRLRLL

RLRRLRLL

o·r r cJ Lr ff b r cJ
> > >

>

:11

(\

Group

c: Flams

& Paradiddle-diddles

~ = 100

1. Paradiddle-diddle

in sextuplet sixteenth notes with moving accents around the toms
L L

111111:

>

R

L

R

R

F r Err F r r E E E Err E E E F r
6 6
R L L R R

>

R

L

R

R

L

L

>

>

FF

rrr
>

:11

6----~ ~---6----~

2. Alternative paradiddle-diddle >

in sextuplet sixteenth notes with moving accents around the toms
L L R R

111111:

rrrrrFrfFrrrrrrrrFr
6 6 6
LR L LR L R RL LR L R RL R R RL R RL R L LR RL

»

L

R

»

L

»

FFFF

F

:11

6----~

3. Moving flams in triplet eighth notes
R L LR L L

Group D: Techniques Solos
You will be asked by the examiner to play one of the examples shown below to the backing track in the exam. 1. In sixteenth notes

J =100
played on side rim

Inl f r r f F In [ F
6: J •

Toms with cross noteheads

rrrFEFC
F
6:
~(

j

If I

CC
6:
J

fF

EEjr

LF

II

~

EF
[
t< [<

6:

J

[E[r r r
L
~

r
J

EF

( [ 6:


J

r EFr r
rcr
'8

"'

I"

In [ In Ille
~

f
f

F

r

c

J

rr
~ ~

r[ r
E

[<

•I

ff
~

f r r r cJ

J

•I

x

t

~~;~

t

fr rcr

cd

•I

f cJ

r

~<

cr I
~ ~

~

J
d

r

r

F -]

E F fEF f FEr Ie rFr; rrFFrFrrI III [ 'f' 'f' r f 'f' I [ 'f' It f r r r I err r ; j I In r IT r f F r t r r L· r F r r lEE E F r [ J J il III [ . F r r f r F j [ F '[t f r F j I ( ( erE [ C • [ r erie

,[,'f'r f [F;

e '['It

I

==E:::!:::::j:=j•

~

6:

~

~

6:

~

2 In sextuplet sixteenth notes
Toms with cross noteheads

j = 70
>

played on side rim

>

--6-

L-6----l

frffcrF

Ir r [ [ r r
L_

6----.1 L_6----.1

r [r r r r H r r rr'r
L_ 6----.1 6 _ L6 _

--6-

L___6_

L___6_

L___6_

L-

6

_

L-

tixxxx
r

F F Fer err
~E

~E~(

r r r r r r r r err

r I r r r r err r

rr r r ~6JJJ t Fer
xxxrxxxx

xx

rr

I

H: rrr'rrt'[rf
--6-

L___6_

UL r rrr rr
L6 _

[frfrrE(rfrrl
~6L6 _ L___6_ L6 _ L-6----.1 L6----.1 L___ 6----.1
Choke

4c[[crFr[[rr[c[[crFr[[rrl[r[[cr;
--6L6 _ L___6_ L___6_ L-

L_

EF[[EEr
_ 6

J

II

6

I Ear Tests

'1-.~.f(i;\ i3-~__)
Tracks

There are two ear tests in this grade. The examiner will play each test to you on CD. You will find one example of each type of test you will be given in the exam printed below.

Test I: Fill Recognition
The examiner will play you one bar of snare drum fill twice on a CD and you will then be asked to play then be asked to identify the fill from a set of three examples provided. The tempo is.l = 70.

it back. You wiD

,III
B

A

I

rI

(..f-

A2
• J

rrrrrFr r [

-I-

p ,I
II

1111
c

EJ

+
~5______J

1111

rrrrrrr
L___6--l

2., +

3
'1

+
p

frr

+

,I

-,..:;t.

Test 2: Groove Recall
The examiner will play you a two bar groove repeated on a CD twice. You will be asked to play back the groove as you have heard it on the CD. The examiner will then ask you to identify the style of the groove you have played from a list of four possibilities. A full list of potential styles is printed in the Syllabus Guide. The tempo is = 85.

.I

B Samba C Blues D '~etal

A Be Bop

Hi-hats half open

111111:f...._ ...... r

r

J

I~

r

~

L

~

E

J

:11

General Musicianship Questions
You will be asked five General Musicianship Questions at the end of the exam. The examiner will ask questions based on pieces you have played in the exam. Some of the theoretical topics can be found in the Technical Exercises.

Topics:
i) ii) iii) Music theory Knowledge of your instrument History and styles

The music theory questions will cover the recognition of the following at this grade: Any and all music signs as displayed on the stave

The instrument knowledge questions will cover the following topics at this grade: All aspects of drum construction Care and maintenance of drums, hardware and cymbals Knowledge of use of different cymbals for different styles Knowledge of use of different sized kits for different styles

The history and style questions will cover the following topics: Styles associated with famous players History of style development Impact of famous players on playing styles

Questions on all these topics will be based on pieces played by you in the exam. Tips on how to approach this part of the exam can be found in the Rockschool Companion Guide and on the Rockschool website: www.rockschool.co.uk.

..~

..~

The Guru's Guide To Drums Grade 8
This section contains some handy hints compiled by Rockschool's Drums Guru to help you get the most out of the\! performance pieces. Do feel free to adapt the tunes to suit your playing style. Remember, these tunes are your chance to show your musical imagination and personality. The stickings shown in the music are suggestions only. Feel free to use different sticking combinations as they suit you. Please also note that any solos featured in the full mixes are not meant to be indicative of the standard required for the grade. The track listings below are grouped: 1-16: full mixes; 7-12: backing tracks without clicks; and 13-18: backing tracks Kith clicks.

,4

Drums Grade 8 Tunes
Rockschool tunes help you play the hit tunes you enjoy. The pieces have been written by top pop and rock composers and players according to style specifications drawn up by Rockschool. The tunes printed here fall into two categories. The first category can be called the 'contemporary mainstream' and features current styles in today's charts. The second category of pieces consists of 'roots styles: those classic grooves and genres which influence every generation of performers.
CD full mix track 1, backing tracks 7 & 13: 667

The full-on metal track should be played with bravura but also with complete technical mastery of the kit. This anythingbut -orthodox rock groove drives the song forward but also allows scope for inventiveness and the development of parts, notably in the triplet section and in the section prior to the solos. Think of ways in which you can add colour and interest the part in the almost baroque outro section while underpinning the guitar part. Composer: Hussein Boon.
CD full mix track 2, backing tracks 8 & 14: Bonzo

..

~

- ,.:.::t:

J, ~
-,

;::

The late John Bonham was the rhythmic powerhouse of Led Zeppelin and this is a tribute track to him: have a listen to 'Rock and Roll' from the celebrated 'runes' album to get an idea of what we are after here. The opening, which is played unaccompanied, should be assured while driving the beat forward. The principal pattern is an orthodox rock groove but shaped by dynamics and accents, stabbed fills and triplet rhythms. Composers: Noam Lederman & James Creed.
CD full mix track 3, backing tracks 9 and 15: Sampa Samba

The key to this Latin Samba track is feel. The opening groove is played on hi hat and kick drum only, with the occasional snare beat to punctuate the feel. This allows for the hi hat pulse to be played with two hands. The touch needs to be assured and authoritative without sounding heavy: use the accents as well as the dynamics to shape the part. Your scope for development is much greater in the second half during the solo sections. Composers: Kung Fu Drummer, Kita Steuer & Kiko Perrone.
CD full mix track 4, backing tracks 10 & 16: Fusion

, =

The drum groove in this funk track is quite busy and the rhythmic complexity and dynamic power of the part ensures that it remains at the forefront of the performance. This calls for bold playing but make sure that, even so, you do not swamp the listener with noise. The groove is mainly orthodox funk, accented and played with rhythmic variations and short fills l and so therefore scope for development). In the second half, the ride cymbal is more prominent while in the coda the part travels round the kit to full effect. Composer: Jason Woolley.

I
~

CD full mix track S, backing tracks II & 17: Some You Wm

The groove in this jazz funk piece is played in swinging off-beats that give the track a bouncy, uplifting feel. The main groove features inventive hi hat rhythms, while the secondary groove centres on the hi hat foot pulse and the bell of the ride cymbal. Use the solo sections to develop tasteful accompaniments and shape the part with accents and dynamics where possible. The outro has a shifting time pattern (alternating bars of 4/4 and 3/4) and watch out for that monstrous fill at the

end
Composer: Kit Morgan.

CD full mix track 6, backing tracks 12 & 18: Whatever Happened to Jazz?

The shifting compound time signatures of this modern jazz song give you plenty of scope to develop complex rhythmic parts, while alternating with more 'open' grooves when the time pattern changes. The kit should be used to its fullest extent: . feel free to improvise around the toms, cymbals and rolls during these 'free' sections while not losing Sight of the need to underpin what is happening elsewhere. li Composer: Deirdre Cartwright.
CJ)

Mulidegs:

Guitars: Keith Airey; Deirdre Cartwright; John Parricelli; Hussein Boon; Kit Morgan Bass: Henry Thomas Drums: Noam Lederman Keyboards and programming: Alastair Gavin

Drums Grade 8 Marking Schemes
The table below shows the marking scheme for the Drums Grade 8 exam. ELEMENT Piece I Piece 2
r

PASS 13 out of20 13 out of20 13 out of20 60utofl0 11 out of IS 6 out oflO 3 out of5 Pass: 65%+

MERIT IS out of20 15 out of20 15 out of20 7-8 out of 10 12-13 out of 15 7-8 out of 10 4 out of5 Merit: 75%+

DISTINCfION 17+ out of 20 17+ out of20 17+ out of20 9+ out of 10 14+ out of 15 9+ out of 10 5 out of5 Distinction: 85ctb+

Piece 3 Technical Exercises Quick Study Piece Ear Tests General Musicianship Questions Total Marks

The table below shows the markings scheme for the Drums Grade 8 Performance Certificate and the Level 3 Band Exam.

ELEMENT
Piece 1 Piece 2 Piece 3 Piece 4 Piece 5 Total Marks

PASS 140utof20 14 out of20 14 out of20 14 out of20 14 out of20 Pass: 70%+

MERIT 16 out of20 16 out of20 16 out of20 16 out of20 16 out of20 Merit: 80%+
ci

DISTINCfION 18+ out of20 18+ out of20 18+ out of20 18+ out of20 18+ out of20 Distinction: 90%+

.

Entering Rockschool Exams
Entering a Rockschool exam is easy. Please read through these instructions carefully before filling in the exam entry form. Information on current exam fees can be obtained from Rockschool by ringing 020 8332 6303 or by logging on to our website www.rockschool.co.uk. • You should enter for your exam when you feel ready. • You can enter for anyone of three examination periods. These are shown below with their closing dates. ' PERIOD Period A PeriodB PeriodC DURATION
lSI

-.

CWSINGDATE
1st December

February to 151h March May to 31S1 July

lSI

I" April l" October

23rd October to 15th December

These dates will apply from Ist September 2006 until further notice • Please complete the form giving the information required. Please fill in the type and level of exam, the instrument, along with the period and year. Finally, fill in the fee box with the appropriate amount. You can obtain up to date information on all Rockschool exam fees from the website: www.rockschool.co.uk. You should send this form with a cheque or postal order (payable to Rockschool Ltd) to the address shown on the order form. Please also indicate on the form whether or not you would like to receive notification via email. • Applications received after the expiry of the closing date may be accepted subject to the payment of an additional fee. • When you enter an exam you will receive from Rockschool an acknowledgement letter or email containing a copy of our exam regulations. • Rockschool will allocate your entry to a centre and you will receive notification of the exam, showing a date, location and time as well as advice of what to bring to the centre. We endeavour to give you four weeks' notice of your exam. • You should inform Rockschool of any cancellations or alterations to the schedule as soon as you can as it is usually not possible to transfer entries from one centre, or one period, to another without the payment of an additional fee.
.,,;~;

• Please bring your music book and CD to the exam. You may not use photocopied music, nor the music used by someone else in another exam. The examiner will sign each book during each examination. You may be barred from taking an exam if you use someone else's music. • You should aim to arrive for your Grade 8 exam thirty minutes before the time stated on the schedule. • Each Grade 8 exam is scheduled to last for 30 minutes. ready. You can use a small proportion of this time to tune up and get

• Two to three weeks after the exam you will receive a copy of the examiner's mark sheet. Every successful player will receive a Rockschool certificate of achievement.

Sign up to vote on this title
UsefulNot useful