rO⊂ k5⊂ h001°

ru s ra c
Performance pieces, technical exercises and in-depth guidance
fo, Rockscho ol examinations

XH貞ごII冨 芯LARDC
No part of thk publication may be reproduced in any form or by
any means without the prior written permission of the Publisher.

Yisit HaI Leonard Onlineat

ww*'.halleonard.com

Contact Us: ln Europe contact: In Australia contact:

Hal Leonard Hal Leonard Europe Limited Hal Lecnard Ar:stralia Pty. Ltd.
7777 West Bluemound Road Distribution Centre, Newmarket Road 4 Lentara Court
Milwaukee, WI53213 Bury St Edmunds, Suffolk, IP33 3YB Email: info@ Cheltenham, Victoria, 3 1 92 Australia
Email: info@halleonard.com halleonardeurope.com Email: info@halleonard.com.au
 Acknowledgements
Published by Rockschool Ltd. @ 2012 & 2018
Catalogue Number: RSK200068
CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)345 46A 4747
Email info@rslawards. com
Syllabus Designer
Nik Preston
Producer
Nik Preston
Syllabus Advisor and Project Management
Sharon Kelly
Proof reading
Sharon Kelly, |ono Harrison, Nik Preston (and all arrangers/performers)
Syllabus Consultants (Hit Tunes 2018 Repertoire)
Guitar: |ames Betteridge, Andy G |ones
Bass: Joe Hubbard, Diego Kovadloff, Joel Mclver
Drums: Paul Elliott, Pete Riley
Arangers (Hit Tunes 2018 Repertoire)
Guitar: |ames Betteridge, Andy G Jones, Mike Goodman, Viv Lock
Bass: Diego Kovadloff, Andy Robertson, Joe Hubbard
Drums: Paul Elliott, Stu Roberts, Pete Riley
Publishing (Hit Tunes 2018 Repertoire)
Fact files by Diego Kovadloff
Covers designed by Phil Millard (Rather Nice design)
Music engraving, internal design and layout by
Simon Troup & Jennie Troup (Digital Music Art)
Printed and bound in the united Kingdom by caligraving Ltd.
Musicians (Hit Tunes 2018 Repertoire)
Guitar: Andy G Iones, fames Betteridge, Mike Goodman,
David Rhodes (Peter Gabriel)
Bass: Nik Preston, |oe Hubbard, Stuart Clayton,
Andy Robertson, John Illsley (Dire Straits)
Drums: Paul Elliott, Pete Riley, Peter Huntington, Stu Roberts,
Billy Cobham (Miles Davis, Mahavishnu Orchestra)
Vocals: Kim Chandler
Keys: )ono Harrison, Hannah v (on'Red Baron'), Andy Robertson
Horns: Tom Walsh (tpt), Martin Williams (sor), Andy Wood (trmb)
Endorsements (Hit Tunes 2018 Repertoire)
Nik Preston: Overwater basses, Positive Grid amPs
Paul Elliott Liberty drums, Istanbul Mehmet cymbals,
Regal Tip drumsticks, Remo heads,
ACS custom ear plugs, Protection Racket cases
Stu Roberts: Paiste cymbals, Regal Tip drumsticks,
Yamaha drums, Protection Racket cases
∞ ｏづ ”上り 望Ｅ︻
● ︼口一  ︵Ｚ
剛漁 :脚輝
Ⅲ撻
Recording &Audio Engineering (Hit Tunes 2018 Repertoire)
Recording engineers: Oli Jacobs, Scott Barnett, Patrick Phillips
Mixing engineer: Samuel Vasanth
Mastenng engineer: Samuel Vasanth
Audio production: Nik Preston
Audio management: Ash Preston, Samuel Vasanth
Recording studios: Real World Studios, The Premises
Publishing (Rockschool 2OL2 Repertoire)
Fact Files written by |oe Bennett, Charlie Griffiths, Stephen Lawson,
Simon Pitt, Stuart Ryan and |ames Uings
Walkthroughs written by |ames Uings
Music engraving, internal design and layout by
Simon Troup & Jennie Troup (Digital Music Art)
Proof reading and copy editing by Chris Bird, Claire Davies, Stephen
Lawson, Simon Pitt and )ames Uings
Publishing administration by Caroline lJings
Additional drum proof reading by Miguel Andrews
nstrum ental Specialists (Ro
I clcs ch o ol 20 12 Rep ertoi re)
Guitar: )ames Uings
Bass: Stuart Clayton
Drums: Noam Lederman
Musicians (Rockschool 20LZ Repertoire)
Aody Crompton, Camilo Tirado, Carl Sterling, Charlie Griffiths,
Chris Webster, Dave Marks, D] Harry Love, Felipe Karam,
Fergus Gerrand, Henry Thomas, ]ake Painter' James Arben,
|ames Uings, |ason Bowld, ]oe Bennett, Jon Musgrave, Kishon Khan,
Kit Morgan, Larry Carlton, Neel Dhorajiwala, Nir Z, |Jcam Lederman,
Norton York, Richard Pardy, Ross Stanley, Simon Troup, Steve Walker'
Stuart Clayton, Stuart Ryan
Endorsements (Rockschool 2012 Repertoire)
Noam Lederman: Mapex drutns, Paiste cymbals, Vic Firth Stici$
Recording & Audio Engineering (Rocksch ool20l2 Repertoire)
Recorded at The Farm (Fisher Lane Studios)
Produced and engineered by Nick Davis
Assistant engineer and Pro Tools operator Mark Binge
Mixed and mastered at Langlei Studios
Mixing and additional editing by Duncan iordan
Supporting Tests recorded by Duncan |ordan and Kit Morgan
Mastered by Duncan |ordan
Executive producers: )ames Uings, )eremy Ward and Noam Lederman
Executive Producers
John Simpson, Norton York
Table of Contents

Introductions & Information

1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Drums Grade 8

Hit Tunes

5 Billy Cobham 'Red Baron

11 Cole Porter... All Of You'
L7 Dirty Loops .......'Hit Me'
23 Brecker 8rothers............... ........'Some Skunk Funk'
29 Knife Party..... ...'Bonfire'
35 Moderat ........'Last Timd

Rockschool Originals

39 'Meet Darth Ear'

45 'Mind The Gaps'
51 'Lead Sheet'
57 'Freightshaker'
63 'Nosso Samba'
69 'Dark Matter'

Technical Exercises

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

Supporting Tests

81 Quick Study Piece

84 Ear Tests
85 General Musicianship Questions

Additional Information

86 Marking Schemes
87 Entering Rockschool Exams
87 MechanicerlCopyrightInfonnation
88 Drums Notation E4plained
∞００”︼
０∽日ョ︼∩   ＾
ｊ
 Welcome to Rockschool Drums Grade I

Welcome to lDrums G}rade 8

Welcome to the lRockschoo1 2018]Drums syllabus.This book and the accompanying downloadable audio contain
everything you need to Play drums at this grade.In the book you will and the exam scores in standard drum notation,as
well as Fact Files and Walkthroughs for each song.
The downloadable audio includes:
.負 u stereo lnlxes of6 Rockschool compositions and 6 arrangements ofclassic and contemporary hits
・ backing tracks(in bOth chck and no― dick versions,minus the aSsessed drum part)
・ all necessary audio for the complete range ofsupporting tests

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

・ Grade txam:a Grade Exam is a mixture ofmusic Performances,technical work and tests.You prepare threc Pieces
(tW0 0fWhiCh may be Free Choicё Pieces)and the cOntents ofthe Technical Exercise section.This accounts for 75%of
the exam markse The other 25%consists ofa QuiCk Study Piece(10%),a pa士 Ofinstrument specinc Ear Tests(10%),
and anally you win be asked flve General Musicianship QueStiOns(5%).The pass mark is 60%.

・ Perfornlance Certiflcate:in a Performance Certiflこ ate you Play flve pieces.Up to three ofthese can be Free Choice
Piecese Each song is lnarked out of20 and the pass IIlark is 60%.

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

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

・ Techdcal Exercises:you should Prepare the exercises setin this grade in the keys indicatedo You should also choose
ο g Stylistic Study from the three printed to practise and play to the backing track in the exame The style you choose
“ determine the style ofthe Quick Study Piece.
will

a Quick
・ Supporting Tests and General Musicianship QueStiOns:in Drums Grade 8 there are three suPPorting tests―
Study Piece,a pair ofEar Tests and a set ofGeneral Musicianship QueStiOns(GMQs)aSked atthe end ofeach exam.
Examples ofthe types oftests hkely to appear in the exam are printed in this book.Additional examples ofboth types
oftest and the GMQs can be fOund in the Rockschool Cο η α′ ο4G夕 ′ グarO Dr“ se
“ “

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

Audio
Audio is provided in the form 6f backing tracks(minus drums,and in two versions:click and no― click)and examples
(inCluding drums)for the pieces and the supporting tests where applicable.Audio files are supplied in MP3 formatto enable
pl″ baCk On a宙 dc range of compatible de宙 ces.Digital versions ofthe book indude audio nles in the download.Download
audio for hardcopy books from RSL directly at w″ ″rslα ″αrJs.ε ο″〃θ″ Iθ α法 ― you will need to input this code when
“
PЮ mpted:D3Y5N7MG9F

Syllabus Guide
∞ ωづ ●■り 望Я︻

An candidates should read the accompanying syllabus guide when using this grade bookt This can be downloaded from the
RSL website:″ ″″rslα ″αrJseε θ
“
Errata
● ︼ぬ︻

UPdates and changes to Rockschool books are documented onlinee Candidates should check for errata periodically whie
studying fOr any examinationo Further deta■ s can be found on the RSL websitα ″w″ rSIα ″αrJs.ε ο たr“ ″
  ／一

“

SONG TITLE: RED BARON
ALBUM: SPECTRUM
LtBEL: ATLANTIC
GENRE: 」感 Z FUSION
WRttEN BY: BILLY 00BHAM
PRODUCED BY: BILLY COBHAM
UK CHART PEAK: N/A
BACi(GROI]ND n[FO
'Red Baron is included on the jazz fusion
masterpiece Spectrum by Billy Cobham, retreased in
October L973. The record \ ias an unprecedented
success, reaching the no.l spot on the Billboard
lazz Album chart and a respectable no.26 on the
Billboard 200 Chart.
Spectrum contuns a number of memorable tunes
such as 'stratus', 'To The Women In My Life / Le Lis'
and'snoopy's Search / Red Baronl There is a freshness
and groove that make the record stand out. There are
exemplar contributions from |an Hammer on piano,
keyboards and Moog synthesizer, Lee Sklar on electric
bass, Ron Carter on acoustic bass, Ray Barreto on
congas, |oe Farrell and Iimmy Owens on horns and
flute, and Tom Bolin and |ohn Tkopea on guitars.
Spectrum is regarded as a benchmark in jazz-fusion.
By the trme he released Spe ctrum Billy Cobham
was a major league player. He started playing with
his father at a young age. Upon being drafted into
the army he played in the US Army band and after
his discharge he joined the legendary Horace Silver's
quintet. He was a successful session drurnrner,
working as house drummer for Atlantic Records
and recording sessions for CTI and Kudu Records.
He recorded with George Benson on White Rabbit,
B CObham
J = 84 Fusion
with Milt Iackson on Sunflower and with Grover
Washington |r. on Soul Box. He started a jazz-rock
group .utl.d Dreams featuring the Brecker Brothers
on horns and John Abercrombie on guitar. In the late
1960s he joined Miles Davis, toured extensively, and
recorded the seminal Bitches Brew and A Tribute to
Iack lohnson In 1 97 | he left Davis' band together with
guitarist John Mclaughlin and formed Mahavishnu
Orchestra. 'fhe group toured extensively and recorded
The Inner Mounting Flame. and Birds Of Fire, both
albums are regarded as jazz-fusion masterpieces.
Billy Cobham has since released 35 solo albums and
collaborated on many projects.
Cobham's open hand drumming is characterised
by immense precision, great groove and impeccable
technique. The rigour of his musical education
and of army band playing furnished him with solid
rudiments and strong chops. His drumming is
steepeci in the jazz tradition but also takes strong
influences irom various Latin percussion styles.
Cobham's legendary career continues with great
success. He is a dedicated performer and educator
with engagements all over the world.
∞ ｏづ “主り 望日︻
づ ︼凸︻
  ミＪ
 Red Baron
Billy Cobham
Words & Music by Billy Cobham

」=84 F2s′ ο″

I j-I

l-3-J

t-6-r t- 6-t t- 6-t t- 6-t

l-3-l

t 3-J
∞ ｏづ “上り 望Ｆ︻
● ︼ぬ︻

E
  κｕ

@ Copyright 1973 Chippewa Music Incorporated-

BMG Rights Management (UK) Limited, a BMG Company.
All Rights Reserved. International Copyright Secured-
 Fill (around rhythmic hits)
l-.?
rTT TT ロ‐ ‐‐
-3

cont. sim.
-.1
-l プフリ ブ リ メフノ

ノブ ノ 朋 ノノノノ ノノノノ剛
'7月

Guitar So:o(32 bars〕

Develop throughout solo

∞ｏづＣ︼
０∽日●︼∩   ７
 Keys Solo (16 bars)

Develop throughout solo

Bass So:0(8 bars)

cont. sfm. throughout solo

∞ ｏづ”主り 望日︻
●姜口  Ｑｏ
回 Drum Sdo 16b計 9

〔
48]

Play 4 times

6_t t-6-r 6-1 6-t

∞ ｏ芍“上り 望Ｅ︻
づ ︼ぬ︻
  ０７
 Walkthrough
A Section (Bars 1-5)
This classic Fusion track, composed by and featuring the
legendary Billy Cobham, has a predominantly swung
16th-note feel throughout, which means that the "e's"
and "a's" of the 16th notes, though written 'straight', need
to be interpreted and played as 16th triplets. However,
this concept is not an exact science and the drums have a
wonderful loose and organic feel, so it's important to get
familiar with the time-feel and movement of the 16th notes,
which indeed are sometimes played a liule straighter than
swung but always with great feel and conviction.
This piece begins with a drum pick up fill and it's important
to feel the 16th-note triplet subdivisions before coming
in with the fill. This r+,ill help set up the A Section groove,
which has an eighth note feel on the hi-hat, together
urith selected 16th-note hi-hat embellishments. Also, pay
attention to the open and closed hi-hat figures and ghost
stroke combinations. Listen to the backing track and work
through the groove many times, to establish a balanced and
dynamic sound and time-feel.
The section ends with a snare drum and bass drum filL Be
positive and definite with this fill to set up the following section.
B Section (Bars 6-14)
This section introduces the nine bar melodic cycle of the
arrangement and it's very important to get familiar with this
cycle, together with the integral melodies and rhythmic hits.
The drum groove continues in a similar way against a
backdrop of the main melody. Pay attention to the iconic
drum fill at bar 9, which features a paradidcile feel, played
between hi-hat and snare drum, with the bass drum
following the hi-hat part. Playing the paradidcile through
16th-note triplets creates a cross-rhythmic feel, which can
be challenging, so break down the fill - work slowly and
methodically, locking in with the other instrumentation.
Continue with the main groove and prepare to pick up the
integral tutti section, which begins on beat 4 of bar 11 and runs
through bars lz-L4,finishing with very definite rhythmic hit,
which should be played urith definition and conviction.
C Section (Bars 15-23)
This section continues with a similar groove and, melodic.liy,
repeats the nine bar cycle introduced in the B Section.
∞暑 “︼
The section requires improvisation and orchestration
around the rhythmic hits and tutti melodies, as shown in
ｏ∽
bars 18 and bars 20-23, respectively, finishing positively
日 〓 ∩  ０
with the 16th-note phrase, to set up the solo sections.
１
With reference to the improvised fills and orchestration,
keep things stylistically appropriate, simple and spacious.
Avoid overplaying.
D Section (Bars 24-31) Guitar Solo (32 Bars)
E Section (Bars 32-39) Keys Solo (16 Bars)
F Section (Bars 40-47) Bass Solo (8 Bars)
SectionS D, E and F, feature guitar, keys and bass solos,
respectively. The solos are played over a repeated melodic
vamp, as per the A Section.
Each solo section provides a sample two bar groove. In
supporting the solos and developing the groove, it makes
sense to create subtle embellishments of the groove, rather
than adding too much. For example, one idea might be to
move to the ride cymbal for part of a section - or create
further hi-hat embellishments, such as open and closed
techniques. Perhaps add more 16th notes to hi-hat, ride
cymbal or snare, for example, to highlight the swung feel
and to build dynamics and intensity.
Listen carefully to the melodic solos and develop the
drum grooves accordingly with respect to stylistic and
dynamic authenticity.
G Section (Bars 48-51)
This section features a sixteen bar drum solo over the
melodic vamp.
Please note that the solo should not be a free form technical
demonstration but rather an extension of the groove
development section, with firrther improvisation. Of course,
this is a drum feature, but, as always, pay respect to the
context of the track.
H Section (Bars 52-6A)
This final section returns to the familiar nine bar cycle,
featuring the integral melodies and rhythmic hits.
Pay attention to the paradiddle-based drum fill at bar 55,
continue with the main groove and prepare to pick up
the integral tutti section, which begins on beat 4 of bar 57
and runs through bars 58-60, finishing strongly with a
linear-based 16th tripiet fill into the 16th-note rhythmic
hit, played between bass drum and choked crash cymbal,
to finish.

SONG TITLE: ALL OF YOU
ALBUM: BROADけ AY MY WAY
LABEL: CAPITOL
Gl弧 RE: 田SICだ LTmmE/SnZ
Ⅳ Drums solo
WRttEN BY: 00LE PORTER
PRODUσ ED BY: DAVE CAVANAUGH
?fAK:
UK CiLARI N/A
BACKGROI]ND n[FO
All Of You'was written by Cole Porter in 1954
and quickly became a standard of the jazz repertoire.
He is also the composer of classics including 'Night
and Dayi 'I Love You' and'What trs this Thing
Called Love?'
Cole Porter was born into a wealthy family from
Indiana and followed his wish of becoming a musician
much against the wishes of his domineering father.
Cole Porter was classically trained and developed an
interest in musical theatre early in his life. He started
to get recognition in the 1920s after a slow start.
Unlike most of his peers he wrote music and lyrics
for his songs.
During the First World War Porter moved to Paris
to work for a relief organisation. He said he served in
the Foreign Legion but there are conflicting accounls
about that. Porter led a lavish and extravagant
lifestyle. He threw legendary parties and lived in
palatial glamour. In L923 he moved to Venice where
he lived in rented palaces. I{e continued writing
songs during these years and in 1928 he reintroduced
himself to Broadway achieving great success. This led
to success in Hollywood and the West End. In 1937 he
had a horseback riding accident that left him disabled
and in great pain for the rest of his life. Nonetheless,
COle rOFttr
1- 3-r
'n = J )
J =200 Jazz/Funk
L}コ
げ L3 1
L L
he continued and enjoyed much success. He remained
in New York, Iiving at the Waldorf Towers, until his
death in 1964.
All Of You'has been recorded by notable iazz artists
including Ahmad Jamal, Bill Evans, Frank Sinatra,
Miles Davis, Sarah Vaughan, Ella Fitzgerald, Modern
lazz Quartet, Mel Torme, Toty Bennett, Kenny Burrell,
and Billie Hcliday amongst many others.
Nancy Wilson recorded hll Of You' for her album
Broadway My Way, released in 1963. The record
was arranged by George Shearing and was a great
success. Nancy Wilson had an illustrious career ancl
a catalogue that includes orrer 20 studio and live
alburns. Her association with Shearing also yielded
'Hollywood My Way'. Her collaborations include
studio and live work with Cannonball Adderley, Hank
|ones, Chick Corea, |oe Henderson, Ramsey Lewis
and Stanley Clarke amongst many others. Nancy
Wilson is the recipient of three Grammy Awards. She
appeared on countless TV shows during the 1960s
and 1970s and became a household name in her
native US.
∞ｏ電 ︼
ｏ∽
日〓 ∩  Ｈ
 Al1 0fYou
Cole Porter
Words & Music by Cole Porter

﹁
ｒ
♪
Ｊ
J =200 Jazz/Funk
Drums solo

ヴ L3-

ad !ib. around groove

> > >

_3-― ￢ r-3-r t-3-r
∞瑠 ”︼
ｏ∽日〓 ∩  ２
１
mlp @ mf tOO"n snare from Chorus 2)

∞遇 ”︼
ｏ∽日〓 ∩  ３
１
 Drums Solo (over first half of form)
t- 3-r r-3-r 1-3-1 1-3-1 r-3-r 1-3-1
l-3-r o r-3-r l-3-r o 1-3-1 1-3-1 o o+o

RRLRRLRLLRRL

I v , ^ l-r .
3_I l-J-t f-r-l \ I-r-I
-t -.1
-7- -J

1-3-1
∞ｏ可”︼

r-3-r I:-, 1-3-1

1-3-1
０∽日〓 ∩  ４

￨
１

RLRLLRLRLL
1-3-1 r-J-----r l-3-r t-3-r t-3-r
l-
a J r

-?-
l-3-r 1-3-1

∞瑠 ｃ︼
０∽日〓 ∩  ５
︲
 Walkthrough

This piece is a modern interpretation of the Cole Porter
jazz standard 'Alt Of You'. The regular jazz time playing is
replaced with a swung funk backbeat though retains the
original swing quality. The piece also features a 16-bar
drum solo.
The third chorus features a guitar solo and is again over the
same 32 bars and once again looks to the drums to continue
to develop and respond to the guitar solo but also to stay
within the mezzo forte dynamic.

Drum Solo (bar 49)

Eight-bar drum solo
The piece begins with an eight-bar drum solo intro preceded
by two-beat linear fill. The linear filI features a similar
" and l6th-note rates and predominately features linear
approach to that used in bars 7 and 8 where the bass drum
and right hand state the rhythmic essence of the figure while
the left hand fills in the missing eighth-note triplets.
As for the time feel it's essentially a half-time swung funk
feel based around the jazz time pattern. In other words the
right hand and left foot are playing the traditional iazz ride
pattern and stepped two and four respectively. The snare
then adds the main backbeat on beat 3 but also fills in the
missing swung eighth-notes on the'&' of beats I and 3.
However there is here, and throughout the piece, no strict
adherence to one particular pattern. Instead the drums are
expected to ebb and flow with the piece in terrns of bass
drum and snare placement whilst always conyeying the
fundamental swing feel and remaining in keeping with the
dynamic and genre.
After three repeats of the chorus we reach the fourth chorus
and drum solo. Flere the drums solo over the first 16 bars
of the chorus. The solo is a mixture of eighth-note triplet
combinations played between the hands and bass drum. The
triplet rate this mostly consists of the right hand and/or bass
drum playing a phrase while the left hand fills in the missing
triplets. While in the 16th-notes inverted double-strokes are
used to move accents between downbeats and upbeats. The
left foot steps quarter-notes throughout, which also allows
the open sounds, played with the left han{ to be created-
Chorus 4 (Bar 65)
The band rejoins in bar 65 to complete rest of the fourth
chorus which ends with a similar figure to the one seeR
during the intro, only now the figure stops on the '&' of
beat 2 in bar 80.

Intro (Bar 9) Outro (Bar 81)

The band enters in bar 9 to play an eight-bar intro. Flere
the drums continue with the same kind of feel as was seen
during the drum solo intro and ends with a six-stroke roll
based fill in bar 15. Notice that the left hand plays the last
eighth-note of the bar on the open hi-hats before the left foot
closes the hi-hats on beat 1 of bar 16.
The ending features a simple turnaround frcm bar 81 and
finishes with a fill that ends on an oPen hi-hat note on
the last eighth-note of bar 83. This is then closed on the
downbeat of bar 84 before hitting the final crash on the'&'
of beat 2.

Choruses 1-3 (Bar 17)

In jazz the form of a piece, which the band solo over, is
referred to as a chorus. The length of that chorus depends
upon the piece which might be a l2-bar blues or a 32-bar
form. This piece features the latter which is played four
tirnes through during the course of the piece and with the
first three repeats played before the drum solo atbar 49.

The first time at bar 17 the melody is played and drums

play a lighter version of the previous groove featuring
a cross-stick as opposed to the open snare along with a
simpler bass drum pattern. This change in pattern suPPorts
the drop in dynamics to mezzo forte. The cross-stick is
∞還 “︼

maintained through the first 32-bar chorus and changes to

open snare for the second chorus and keyboard solo. The
ｏ∽

concept is a subtle lift in dynamics and intensity with the

日 〓 ∩  ６

drums developing and responding to the changes within the

keyboard solo.
１

SONG TITLE: ME
田
鵬 UM: LOOPttD
LABEL: 阻 VE
GENRE: POP FUSION
WRIWEN BY: JONAH-ON,
HENRIK LttNDER,
ARON FELLERG」頓tDH
PRODUCED BY: DIRTY L00PS AND
DAD FOSTER
UK mART PEAK: N/A
BACKGROUND NMO
'Hit Me' is the lead single from Loopified, Dirty
Loops' debut album released in 2014. Dirty Loops
started playing covers erranged blending pop, gospel
and jazz fusion. In similar fashion to Snarky'Puppy
they posted videos of themselves playing live on
YouTube and gained notority fcr their arrangments.
Their popularity quickly grew as the videos are
testament to their superb musicianship. Their covers
included 'Baby' by |ustin Bieber, 'Rolling In The
Deey' by Adele, 'Wake Me Up' by Avicii, 'Sexyback
by |ustin Timberlake, 'Rude Boy' by Rhianna
(retitled 'Prude Girl') and 'Circus' by Britney Spears,
amongst many others. The group's videos have been
viewed over 20 million times on YouTube.
Their outstanding work got the attention of
Swedish producer Andreas Carlsson who signed the
group to a management deal. In 2012 Dirty Loops
auditioned for David Foster in Los Angeles and Foster
signed them to Verve Records. The band have toured
a number of times since, including the Asian leg of
David Foster and friends. In 2015 Dirty Loops opened
for Maroon 5 during their Australasian tour.
貯 L00pS
3-1
J=130 Funk fr=fi
「
1 3-
Lο ap′ θ
グincludes eleven original compositions
and three coverso The albumis lead single`Hit lMピ
reached the JapaneSe ToP 10 upOn its releaseo The
songb lyrics were written in collaboration with
Andreas Carlsson.
E)irty LooPs are Jonah Nilsson on keys and vocals,
H[endrik Linder on bass and Aron Mellergardh
on drums.They met whiststudying atthe Royal
College ofMusic in Stockhollno The廿 outstanding
musicianship gotthem noticed as a group and
individually.Hcndrik Linder rnade the cover ofBass
Player rnagazinc and has been hailed as one oftodayゝ
most technicaly gifted bass Players.Henrik Linder
and Aron Mellergardh endorse a number ofbrands
for their respect市 e instrumentse The band rece市 ed
much praise from musicians a1l over the l″ orld,
including Quincy lones and stevie Wonden
Dirty LooPs started work on a secOnd album in
2015 but alleged creative differences put the proJcct
on hold and the band havc decided to go on a hiatus
and Pursue individual interestse
∞遇 “︼
ｏ∽日〓 ∩  ７
１
 Hit Mc
Dirty Loops
Words & Music by Andreas Carlsson,
Aron Mellergaargh, Henrik Linder & Ionah Nilsson

J=130 Funk n=fi

r-3 -r_31

Fill- -
∞遇 “︼
ｏ∽日〓 ∩  ８
１

@ Copyright 2014 Andreas Carlsson Publishing, AB

Chrysalis Music Limited, a BMG Company/BMG Rights Management (UK) Limited, a BMG Company-
Atl fughts Reserved. International Copyright Secured
Fill― ――――――――¨“――― い―・
3

∞ω電 ︼
０∽日 〓 ∩  ９
・
 ァ 蝿 .
♪ 7♪ .具 . 具͡
∞選 ”︼

□鼠批鷲 重::性 。
wn h由 メ
hm nOta」 8→
ｏ∽日〓 ∩  ０
２
 ∞ｏ驚 ︼
ｏ∽日〓 ∩  ︲
２
ｋ ＲＮガ
ｏ ＞
ｈ

7 ♪ Bass sd。
 Walkthrough
Drum Pick Up and A Section (Bars 1-9)
This lively funk track has a swung 16th-note feel. This
means that the "e's" and "ds" of the 16th notes - though
written 'straight' - need to be interpreted and played as
16th triplets. This concept is not an exact science; so it's
important to listen carefully to the instrumentation of the
original track and backing trach to get farniliar with the
subtle movement and potitiorring of the 16th notes to create
the implied swing feel.
The track has a drum pick uP, so be sure to internalise the
pulse and to feel the 16th-note triplets before playing
the linear fill.
The groove in Section A features an eighth note feel on
the hi-hat, together with snare rim-shot backbeats and
syncopated bass drum variations. The bass drum figures
lock in with the melodic rhythmic arrangement, so listen
carefully to the backing track to get comfortable with
the time-feel.
Be aware of the eighth note crash cymbal push at the end
of bars 5 and also at the end of bar 8, which is followedby
a short improvised fill into bar 9, picking up the 16th-note
rhythmic stab and finishing the section with the open hi-hat
to set up Section B.
B Section (Bars 10-25)
This section begins with a'four on the floor'bass drum
through bars 10-16, leading into the tutti at bar 17. Keep
this tight and finish positively on the snare hit on final
eighth note of the bar.
The driving bass drum feel continues through bars L8-24,
together with snare backbeats and hi-hat variations,
finishing with the fill at bar 25 andPaylng attention the
crash cymbal push, followed by the syncopated snare hits.
C Section (Bars 26-35)
This section repeats the A Section through bars 26-33,
with the ride line changing from hi-hat to the bell and
body of the ride cymbal. Again, there is an improvised fill
(Bar 33) picking up the rhythmic stab and the open hi-hat
figure, leading to and introducing a two bar groove over
Bars 34-35.
∞暑 “︼
ｏ∽日 〓 ∩  ２
２
D Section (Bars 36-51)
This section begins \ rith a two beat rest and then picks up
the feel of the groove introduced at the end of the previous
section, featuring syncopated hi-hat figures through bars
37-42.The groove finishes on the last eighth note of bar
42 with a thirty-second note snare drum fill to set up the
rhythmic and melodic hits, played as hi-hat and bass drum
unisons, through bar 43.
Bars M-s},features offbeat hi-hat accents, leading to the
linear filI at bar 51. It's very irnportant at bars 43 and 51 to
break down the respective phrasing and to experiment with
related sticking patterns.
E Section (Bars 52-63)
Bars 52-58 of this section repeat the syncopated groove
featured in Sections A and C with the predominant snare
drum fitls setting up the crash cymbal and bass drum unison
accents through bars 59-60, locking in with the melodic
structure and creating some breathing sPace before the long
16th-note triplet fiU through bar 63.
F Section (Bars 64-7L)
This section features an eight bar drum solo, played around
the rhythmic stabs. Be careful not to overplay the solo and
respect the context of the arrangement, maintaining a sense
of groove, together with creative improvisation.
G Section (Bars 72-79)
This section is similar in feel to the D Section - heavy on
bass drum and backbeats and featuring syncopated hi-hats'
The section ends on bar 79 with a repeat of the fill at bar 51.
H Section (Bars 80-88)
The arrangement finishes with a chailenging ride cymbal
rhythm, played over the driving bass drum and backbeat,
through bars 80-86. Pay attention to the cymbal bell pattern.
This groove leads into the crash cymbal and bass drum
unison accents through bar 87, supporting the melodic hits
and pushing into bar 88, which ends with a cymbal choke,
as directed.

SONG TPLE: SOPIE SKUNK FUNX
ABUM: BREm BROS.
LABEL: ARttTげ BMG
GⅢRE:」 協 FUS10N/JttZ FUNXi:
WRWEN BY: RANDY BRm
PRODUσ ED BY: RANDY BRE―
UK OHART PBAK: N/A
mⅨ GROUm mTFo
`Some Skunk Funk'isthe opening track on The
Brecker Brothers'cPonymous debut albunl,released
in lanuary 1975.The record was a great success
and`Some Skunk Funr recelved three G}raΠIIny
Award nonlinatilns,inclllding Best lnstrttmental
Arrangelmtent for`Some Skunk Funに
Rantt Brecker worked宙 th Blood,Sweat&Tears,
the Horace Silver Quintet and Art Blakeyゝ IaZZ
Messengers.He recorded his flrst solo albunl,Sε θ
燿7,in
1968。 Michael Breckerwas also a sideman andjoined'
the Horace Silver Quintet.In the earけ 1970s he was
an already estabhshed session inusician whose solos
were in demand in a varieサ ofstyliStic nelds ranging
fromjazz to R&B and rock The Brecker Brothers
worked■ 7ith Billy Cobham in the band DreaIIIs,
whose bass Player was Win Lee.Lee,oined the
Brecker Brothers for`Some Skunk Funr and,together
with drunllner H[arvey Mason,pro宙 ded a nuid and
funky groove that pushed the tune along seamlesslヌ
adding new elements to the musicalterritory explored
by bandslike Tower OfPowen
Harvey Mason is known for his unique feel,
groove,and amazing precision and tilne kecPingO He
has worked宙 th ma"jazz andjazz― fusion artists
including Herbic Hancock,Bob lameS,Donald Byrd
Brecker Brothers
J= 130 Futtk/Ft'tsion
日
and Gary Bartz. His sound became familiar to many
when he recorded with Herbie Hancock on the L973
Head Hunters album, and to an even wider audience
when he recorded with guitarist George Benson on
the 1 97 6 multi-platinum - s ell tng Breezin'. Mas on
started recording solo albums in L975 and achieved
significant success in the late 1970s. In addition, he
also recorded with Chick Corea, Donna Summer,
Patrice Rushen, Rufus, |oe Henderson, Casiopea,
The Brothers |ohnson, Carole King and the classic
Survival of The Fittest with The Headhunters. Since
1990 he has been the drummer with smooth iazz
sensation Fourplay, together with bassist Nathan East,
pianist Bob |ames and guitarists Lee Ritenour and
Larry Carlton.
'Some Skunk Funk' features Mason's classic groove
and displays the Brecker Brothers' musicality in full"
Their horn section work is highly rated by musicians
as is their individual playing. Both Randy and Michael
are gifted composers, arrangers and producers. 'Some
Skunk Funk is a classic of the jazz-fusion and jazz-
funk eras. Michael Brecker died aged 57 in 2007.
∞Φ電 ︼
ｏ∽
日〓 ∩  ３
２
 Some Skunk Funk
Brecker Brothers
Words & Music by Randy Brecker

J=130 Funk/Fusion
∞壱 ”︼
ｏ∽日〓 ∩  ４
２

@ Copyright 1975 Bowery Music Publishing.

Universal Music Publishing International Limited-
Rights Reserved. International Copyright Secured-
All
 ∞喘 ｃ︼
ｏ∽日 配 ∩  ５
２
Develop

Develop
 Develop on repeat

As intro - fill around rhythm hits

日￨l around rhythm htts

Guitar 5o:o

Develop

Guitar Solo (cont.)

∞還 ”︼
ｏ∽

Fill around rhythm hits

日〓 ∩  ６
２
 Guitar Solo (cont.)

Develop

Guitar Solo (cont.)

Develop

Fill around rhythm hits

Fi‖ around rhvthm hits

tr Drunr Solo (2 bars)

El ,',' around rhythm hits

∞瑠 ”︼
ｈ
ｏ ｌｌ 姜

０∽

Fill around rhythrn hits

日 〓 ∩  ７
２
 Walkthrough

A Section(BarS l-5) E Section (Bars 26-37)

Bars l-5 ofthis energetic fusion track introduce the`head'
ofthe arrangeltttent and feature a 16th― note orchestrated
tuttic Notice the combinations ofsounds through bars l-3,
featuring crash cymbal and bass drunl unisons,open hi― hat
and bass drun■ unisons,supported宙 th a driving snare
drum to lock in宙 th the melody
Listen to the backing track and feel the transitions flom the
4/4 tilne signature in bar 3 into the 7/8 1inear fln in bar 4,
then back to 4/4 in bar 5。 Itb import〔 Ilt to play the flam at
the beginning ofbar 5 with Power and deflnition to create
the tension ofthe dead stoP,fOl10Wed by the rests over
beats 2 and 3,leading to the cynibal crash on the last eighth
note ofthe bar to set up the B Section.
Be aware that there are different bptions― but no rules―
regarding the choice ofsticking patterns played throughout
the whole section.Work methodically and exPeriment with
sticking Patterns in relation to the speciflc combinations of
sounds,as indicated in the arrangement.
B Section(Bars 6-13)
This section comes in wlth a crash cymbal then settles lrlto
an eighth note feel on the hi― hat,together Ⅵnth snare rlrrl―
shot backbeats and bass drunl variations,locking in Ⅵath the
backing track.Notice the syncopated snare backbeats in bars
8,9 and 12,which create rnovement and energy.The section
ends at bar 13 with a 16th― note tutti phrase,Played as a
power flanl on beat 3,ending with a 16th― note phrase on the
snare drum to set up the next section.
C Section(Bars 14-17)
In this short section,the eighth note ride line changes from
hi― hatto the ben and body ofthe ride cymbal,together
宙 th syncoPated bass drum and snare drum lrlterPlay and
incorporating stepped hi― hats on quarter notes in bars
14-16.The section flnishes at bar 17宙 th an orchestration
ofthe melody over beats l and 2,fouowed by the nl leading
into the I)Section.
This section, featuring the ride cymbal, is very syncopated
and varied. Bars 26-27,28-29 and 30-31 have a repeated
two bar groove and rhythmic phrase structure, with the
phrase played first on the cymbal bell, then cymbal body
and then on crash cymbal. Notice the ghosted snare in bars
27,29 and 31, which adds movement and energy to the
respective phrases.
Pay attention to the 718 atbar 32, together with the fill,
and to the transition back to 414 in bar 33. Bars 33-37 are
essentially tutti phrases and feel quite syncopated against the
backing track.
F Section (Bars 38-39)
This section has a two bar structure, repeated three times.
Notice the two beat fill and the grooves should be developed
during the repeats, as stated.
G-K Sections (49 -64)
The G-K Sections repeat the A-E Sections, though featuring
more scope for interpretation and improvisation around
the rhythmic hits, as indicated. Notice that the guitar solo
replaces the melody but that the rhythmic and supporting
melodic structure remains the same.
L Section (Bars 65-66)
This has a two bar drum solo, rvhich can be played as an
extension of the groove or as a fill to set up the M Section
(Bars 67-71), which repeats the structure of the A and G
Sections to finish the arrangement.

D Section(BarS 18-25)
This section has the same melodic and rhythmic structure
as the B Section and features a two bar groove plus two
bars develoPment Ofthe groove,over bars 18-21 and bars
22-25 respectively.Listen to the backing track and refer
∞遇 ”︼

to the syncopated grooves in bars 8-9,and 12-13 for

development guidance.
０∽日 〓 ∩  ８
２
 K饉 fe Fa晦

SONG IITIE: BONFIRE

AIAUM: RAGE VAI,IEY
L,A3EI: / BrG BEAI
fl4 Dubstep
EARSTCRM
GENRE: NE\,I WAVE / DANCE-PCP J=

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

UK mART HttK:45

BACXGROI]ND I}[FO 'Bonfire'has been viewed over 56 million times

on YouTube. The song blends a hard edged drum
Knife Party are an offshoot of Australian drum and and bass style with elements of dub. The album
bass band Pendulum. Members Rob Swire and Gareth Haunted House was Knife Party's biggest commercial
McGrillen are a highly regarded electro house duo success, reaching no.l in the US Dance charts in 2013.
that has worked with artists such as Skrillex, Swedish Abandon Ship reached the no.2 spot of the US Dance
House Mafia, Steve Aoki, Mistaiam, Foreign Beggirs, Charts in 20L4.
ISee MONSTAS, Tom Staar and Rage Against The
Machine's guitarist lbm Morello. Knife Party remixed Pendulum's track'Blood Sugar'
for the album Reworks, released in 2,016.
Knife Party's hard edge sound is made using the
Digital Audio Workstation application Nuendo
as their main platform. They released I,{o Modern
Talking in 20LL, Rage Valley in 20L2, Haunted House
in 2013, Abandon Ship in 20 L4, Trigger Warning in
20L5, and Battle Sirens in 2016, featuring
Tom Morello.

'Bonfird was included on Rage Valley. The EP was

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

Knife Party have been a regular presence in festivals

and the club circuit all over the world. Swire and
∞ｏ罵 ︼

McGrillen alternate these presentations with their

Pendulum schedule, which also sees them play to
０∽

large crowds all over the world.

日〓 ∩  ９
２
 Bonfire
Knife Party
Words & Music by Rob Swire & Gareth McGrillen

) =fi4 Dubstep
∞遇 ”︼
０∽日〓 ∩  。
３

o copyright 20I2 Sony/ATV Music Publishing/EMl Music Publishing Limited-

All Rights Reserved. International Copyright Secured-
 ∞０瑶 ︼
０∽日〓 ∩ 
３．
ノ  ー

回真
1491ノ
∞壱 ”﹄
ｏ∽日 〓 ∩  ２
３
 ∞瑠 ”︼
ｏ∽日〓 ∩  ３
３
Develop
 Walkthrough

A Section (Bars 1-8) E Section (Bars 49-64)

Bars l-8 of this high energy Dubstep to
track, feel similar
a reggae bne drop groove, due to the melodic structure
and the bass drum falling predominantly on beat 3. The
subdivisional variations ofthe hi-hat, together with open
and closed figures, create an interesting groove mix.
Pay attention to the snare and crash at the very beginning
of the track and be aware of the rim-shot snare on beat 3 of
bars 4 and 8, which accentuates the half-time feel, Ieading to
the fill at bar 8.
B Section (Bars 9-16)
This section comes crashing in, Iiterally, then settles into
an eighth note feel on the hi-hat, featuiing open and closed
hi-hat figures, together with snare rim-shot backbeats and
bass drum variations, to create a driving and positive half-
time groove. Listen to the ba&ing track and be aware of the
instrumentation - lock in accordingty and notice that this
section is repeated.
This section changes dyhamic as the groove moves
from the heavy hi-hat to a closed hi-hat feel. The whole
section has a predominant linear feel and this can be very
challenging, particularly considering the 16th-note hi-hat
embellishments. Work slowly on bars 49-56 to get familiar
with the linear feel and to establish which stickings feel most
comfortable. Bars 57-62 continue and develop on the linear
theme. When developing, be careful not to overplay. Aim
for subtle and creative embellishments of the general groove.
The section ends overbars 63-64 with a syncopated snare
drum phrase played against eighth notes on the hi-hat and
quarter note bass drum.
F Section (Bars 65-80)
Notice the dynamic change of this section, similar to
the D Section, with some minor bass drum and filI
embellishments. Bars 73-80 continue and develop on this
heavy groove. Be carefrrl not to overplay - aim for subtle
creative and sonic embellishments.

Notice the snare drum and bass drum figure at bar 16, which
needs to be played positivety, with the sn'are ptayed G Section (Bars 81-88)
as a power flam. This repeated section is similar in structure and feel to the B
Section, with a few minor variations, as directed. Notice the
dynamic change, as the hi-hal returns to a cleaner sound.
C Section (BarslT-32)
This is a breakdown section, featuring a predominant
quarter note bass drum throughout which anchors the H Section (Bars 89-96)
ofibeat feel ofthe hi-hatand the snare drum on beats 4 of This final section ofthe arrangement features an eighth note
bars 18 and 20, The section builds and introduces the unison hi-hat feel, together with snare backbeats, and syncopation,
tom fills in bars 22 and 24 and continues with this theme played over a quarter note bass drum. The arrangement ends
through bars 25-28 with the tom and snare drum figures with a 16th-note snare drum crescendo over bars 95-96 and
providing further intensity. Bars 29-30 have a repeated finishing on beat 3 ofbar 96, as directed.
snare drum phrasg together with specific accents and notice
the subtle crescendo leading into, and through, the driving
16th-note fiIl at bar 30, finishing on beat I ofbar 32. This
accented dead stop creates a degree ofmusical tension in
anticipation ofthe next section.

D Section (Bars 33-48)

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

A
34

｀
｀｀ヽ
ヽヽ、
ゝ、、
、、ヽ
ヽヽヽ
___
 Moder説

SO}IG fMIE: I,A,S TTME

AI*BUM: MODERAI IT
′θ
漁んJε α
IASEI: MONI(EYTCWN RECORM
GENRE: EI.,EffrRoNrCA / IIOITSE /
J=147 EJθ ε
rDM / MINrITAI rECriNO

WRttEN BY: GERNtt BRONSERT AND

PRODUσ ED BY: SEBttTIAN SttY
MODERAT

I]K OIIART PEAK: N/A

BACKGROTIND NMO

Moderat are a Berlin based electronic music

group. They have released three studio albums,
Moderat, Moderat II and Moderat III. Moderat II
charted atno.73 and Moderat Iil at no.53 in the UK
aibum charts.

The group's first release, Auf Kosten der

Gesundheiti released in2002, got the band noticed
and as result they started touring, regularly featuring
on the club and festival circuits.

In 2009, Moderat were voted best live act by

readers of the online electronic music magazine
Resident Advisor.

The group, made of Sascha Ring, Sebastian Szary

and Gernot Bronsert, announced their choice to
take indefinite leave after finishing a world tour in
September 20L7.

'Last Time' has been viewed over five million times

on YouTube.
∞瑠 “︼
ｏ∽日〓 ∩  ５
３

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

)=1a7 Electronica

Develop
∞還 ”︼
ｏ∽日 〓 ∩  ６
３

@ Copyright 2013 Random Noize Musick

Budde Music Publishing GmbH/Coplright Control.
All Rights Reserved. International Copyright Secured-
Develop

To Coda S

Fill around rhythm hits

D。 %口 al Coda◆

S coda

Develop
∞ω罵 ︼
ｏ∽

Fill around rhythm hits

日〓 ∩  ７
３

＼
 Walkthrough

A Section (Bars 1-8) D Section (Bars 4L-45)

The opening section of this Electronica track features the
interplay between eighth notes on the hi-hat and the sparse
but repetitive bass drum pattern, together with oPen and
closed hi-hat figures, 16th-note hi-hat embellishments and
selected snare backbeats - all of which combine to provide
movement, definition and urgency to the groove.
Pay attention to the syncopated fill at bar 8 and anticipate
the change of dynamic, together with the introduction of the
snare cross stick in the following section.
B Section (Bars 9-24)
Be aware of the dynamic change and the introduction of the
cross stick on beat 3 of bars 9-15, which creates ahalf-time
feel. The feel appears to be quite spacious - but deceptively
so, as there is still a lot of rnovement and interplay on the
drum kit, particularly given the open and closed hi-hat
figures. Also, notice the snare drum phrase at the end of bar
16, played as a cross stick against the hi-hat.
Bars 17 -23 continue and develop the groove. Be careful
to stay in context, respecting the general structure and
sonic qualities of the groove and then develop with subtle
ernbellishments, which might include additional open and
closed hi-hats and 16th-note hi-hat embellishments, or even
additional bass drum notes and cross stick, for example.
This is essentially a breakdown section, featuring a lower
dynamic, predominant hi-hat eighth notes and repetitive
bass drum pattern. Be aware of the open and closed hi-hat
figures, ghost strokes and syncoPated backbeats - all of
which contribute to the energy and texture of this section
through bars 4L-47, ending with an improvised fill around
the Rhythm Hits at bar 48.
At the end of bar 48 there is a D.S. al Coda, which means
returning to the sign at bar 9, playing through as directed to
the end of bar 40, then taking the Coda at bar 49, which is
the E Section.
E Section (Bars 49-58)
This final section is very similar in technical and sonic
approach to Section C but features a significant change in
snare drum positioning; moving from beat 4 to beat 3 over
alternative bars. This effectively break" tP the half-time feel.
Bars 49-50 and 5l-52 demonstrate this. Also, be aware that
these two bar sequences feature a layered feel followed by
"
linear feel, which is challenging.
Bars 49-52 are repeated and this is followed by a
development section through bars 53-56 - again repeated.
As always, keep the development section in context and
avoid overplaying.

The section ends at bar 24, with a syncopated cross stick The arrallgement ends with an improviseci syncoPated fill
phrase played against the hi-hat. around the Rhythm Hits at bar 57 -58.

C Section (Bars 25-40)

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

Bars 2g-32are very similar to bars 25-28and the section

ends with bars 33-40 developing this theme. As always when
∞ｏ罵 ︼

developing, pay respect to the general groove and crcntext

and avoid overplaying. Subtle and creative embellishments
ｏ∽

are the key to developing the groove.

日 〓 ∩  ８
３
 MeeL DaFttl Ear

SONG TITLE: Ⅳ圧IT

DARTH EAR
CrENRE: PROGRBM METAL
TEP艶 120 BPM
J= QA Progressive Met'
O

︱美
TEσ H FEATUR“ : 墜巡 T DOUBL蘭
WITH RIGHT F00T
VARED NOTE VAL鵬
ODD TM SIGNATUR3

00MPOSittR3: mARLIE GR― THS

&Sヽ ON BOWLD

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

OVER\TIEW drummers and is revered as one of the world's most

'Meet Darth Ear' is a prog metal track celebrating
the style of bands in the vein of Drearn Theater,
Megadeth ancl Annihilator. The track features tirne
signature changes, fast doubles with the right foot,
and complex fills that accelerate through different
note values among its techniques.
SI'YIE FOCI]S
influential players.
The prog tag comes from both genres' use of
odd time signatures, complex structures and a wide
range of influences from jazz to classical. Prog rnetal
emerged as a genre in its own right during the mid
1980s. At this point, Queensriche, Dream Theater
and Fates Warning were born, all blessed with
talented, drummers (Mike Portnoy of Dream Theatre
especially became widely respected).

Prog metal requires a great degree of focus and
accuracy to ensure the drums perfectly accentuate
specific guitar riffs and accents. Rhythmic changes
to the groove and time signature are a natural
occurrence in this style so you must be familiar with
the 'road map of the song before embarking on a full
performance of it.
Even bands of other genres of nnetal have injected
aspects of proginto their sound, including Megadeth
and Pantera, while prog rnetal's spirit continues tcday
in Mastodon, Opeth and Coheed And Cambria.
RECOMMENDED IISTENING

Portnoy's drumming encompasses the modern

TIIE STGGER PTCTURE
Prog metal is a sub-genre of metal with its roots
in progressive (prog) rock of the 1970s. Bands such
prog metal sound and 'Under A Glass Moon from
their L992 album Irnages And Words is a gooC point
of reference. Brann Dailor's drumming for Mastodon
is worth investigating, especially on their 2011 alburn
∞壱 “︼

as King Crimson, Uriah Heep and Rush championed The Hunter. Far something vintage that still stands
the style commercially at that time and the latter up, Peart's style can't be ignored. 'spirit Of The Radid
ｏ∽

continue to do so to this day. Neil Peart of Rush set and other songs display a broad range of sryles and
日〓 ∩  ９

the standard for all aspiring prog metal and prog rock techniques that are essential to the prog sound.
３
 Meet Darth Ear
Charlic Grimths&JasOn BOwld

」
=120 Pragrassナ に■
々″′
∞還 ”彙
ｏ∽日 〓 ∩  。
４

@ Copyright 2012 Rock School Ltd- This music is copyright- Photocopf ing is illegal.
〔
26〕

〔
301

回1111 1111 1111

∞０電 ︼

Bass Solo (8 bars)

０∽日〓 ∩ 
４．

@ Copyright 2012 Rock School Ltd- This music is copyright- Photocopy'ing is illegal.
 □:」 翼Sd° .6詭 →
∞還 “︼
ｏ∽日〓 ∩  ２
４

This music is copyright Photocopf ing is illegal.

@ Copyright 2012 Rock School Ltd.
回 Drum Sdo ttba→

∞ｏ電 ︼
０∽日〓 ∩  ３
４

@ Copyright 2012 Rock School Ltd. This music is copyrighl Photocopying is illegal.
 Walkthrough

A Section (Bars 1-9) F Section (Bars 49-64)

This section features a groove featuring quick right foot The previous groove is developed dynamically and breaks
doubles and synchronisation with the guitar riff. into a powerful build on the toms from bar 57 to 64.

Bar 4 | Dotted crash filt
This fill has a dotted eighth-note feel on the four crash
cymbals. Try the sticking outlined in Fig. 1.
B Section (Bars 10-16)
Odd time signatures lengthen and shorten the groove here
for dramatic rhythmic changes and fiIls.
Bars 10-16 | Odd time signatures
In addition to 4l4there are four other time signatures in
this section. The easiest to way to think of them is simply
extra beats added on to 414. Bar 13 in 314is a fill.
C Section (Bars 17-32)
This section features a ride groove in718 that develops.
Bars 49-56 | Developing the 7/8 cross stick grocve
Musically, this section is similar to the first 718 ride groove
which was played in bars 17 -24, but with more room for
developrnent. You have the freedom to play some dynamic
fills such as six stroke rol.ls or other rudimentary patterns.
G Section (Bars 65-72)
It is important to explore possibilities such as playing over
the bar or creating two-bar phrases in this solo. Bar 72
should form a unison drum and guitar fill.
as
H & I Sections (Bars 73-57)
Section H is a reprise of the A section with slightly dif;ferent
filIs. Section I is a reprise of the B section, excePt that the
ride bell is favoured over the hi-hats.

Bars 17-241Zrc ride groove Bars 86-87 l Changing gears

In this groove, every bar is similar in that two bass hits are To end this song, you are required to switch from 16m notes
always played on beats I and 3, and the backbeat always to eighth-note triplets. These final two bars can be counted
lands on beat 5. Every other bar feels different simply as "1e& 2& 3&a 4-trip-let 1" (Fig. 2).
because it is displaced by * eighth note.

Bars 25-32 | Zrc development

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

D Section (Bars 33-40)

This section features a hard-hitting groove embellished by
fills that complement the guitar riff every four bars.

Bars 33-40 | Rock groove and fills

In order to sound big, the crashes should not be over-hit in Fis-
C'
1: Dotted crash filI ' '

',
this rock groove. Therefore, the backbeats, bass drum and
the fills in bars 36 and 40 should be played as Powerfully.

E Section (Bars 4l-45)

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

Bars 4l-47 | ZtS cross stick groove t-3-J

∞暑 〓 ｏ ∽

Here, the cross stick plays on every quarter note. As it is in & (a) 2 (e) & (a) 3 (e) & a 4 triP let
7l\,be aware that this will displace onto the offbeat in every
other bar. The bass drum locks down with the bass and a
日 〓 ∩  ４

polyrhythm occurs during bar 44 as the ride breaks into a

shuffle pattern, eft'ectively playing six over seven.
４
 M_ind The Gtts

SONG ITmLE: PEND THE GA郎

GENRE: FUNK
TEPIPO: 96 BPM
J=96 Funk
> > >
TECH FttT駅 : 1伊 “Ntt TRPLE闘
“ 3?P NOTES ON I{I-ILAT
■ 一 一 一

COMPOsEH: KTT MORGAN

螂 ONNEL: STUARI RYAN (GTR)

T,ARRY CARLTCN (CtR)
HENRY ffIoMAS (BASS)
NOAM TEDEFfiAN (DRUMS)
Ross sfAli-rEY (rmYs)
r.ERGUS GERRAND (PERc)
FLu Ftt HORNS(B榔 )

0駅 剛 Eddie Bo created a type of funk played with a looser

`Mind The Gaps'is a track in the style of 1970s
instrumental ink groupslike The Average White
Band,The crusaders and Tower OfPowen lt features
16th― note tripletS,32nd notes on the hi― hat and
ghosting among its techniques.
STLE FOttS
Funk O■ en fOcuses on syn,opation,whether that
means disPlacing the snare accents away from a
straight`2'and`4'or dropping in the bass drunl orthe
downbeatto change the feel ofa groove.You can add
■ourishes on thc hi― hat to add texture and interest to a
part but,whatever you do,stay in the pocket and kecP
the grooves flowing.Many funk drunllners favour
thin snare druΠ ls,even Picco10 Snares,often made
from brass to give their beats a real snapo HoweveL it
is importantto ensure a clear separation in the volume
levels between your ghost notes and accents to avoid
yourplayrlg beconling cluttered and lnessy。
feel (check out Bo's 'Hook And Sling' with |ames
Black on drums).
In the 1970s, groups like The Average White Band,
The Crusaders and 'Iower Of Power smoothed out
funk's rougher edges to produce music that was slick
and polished. Tower Of Power's drummer David
Garibaldi is one of the genre's finest exponents.
George Clinton assembled a cast of players for
his groups Parliament and Funkadelic, mixing Led
Zeppelin style rock grooves and disco beats.
REOOMI"IE}MED IJSTEI\TINC
Tower Of Power's hit 'What Is Hip?' captures
Garibaldi on top form. |arnes 'Diamond' Williams of
the Ohio Players is a great funk player too. You can
hear his playing on the tracks 'Fire', 'Skin Tight' and
'Love Rollercoaster' which was later covered by the
Red Hot Chili Peppers. The Average White Band have
cut their share of funk standards including 'Pick Up
The Pieces', with original drummer Robbie Mclntosh,
∞ω罵 ︼

THE BIGGER PImURE and'Cut The Cake' and'school Boy Crush' 'with
Steve Ferrone behind the kit. Parliament's Mothership
ｏ∽

IameS BrOヽヽ dassic funk was sharp and Punchヌ Connectian (L975) is a diverse set of grooves and
日〓 ∩  ５

while in New Orleans artistslike The Meters and tempos and a cornerstone for your funk collection.
４
 Mind The Gaps
Kit Morgan

6
r3￢ 3￢
+
「

3￢ r3￢
+ +

3￢
+
「

3￢
+
「

3￢
Develop on repeat +
「
∞ｏ驚 ︼

3￢
+
０∽

「
日〓 ∩  ６
４

This music is copyright Photocopying is illegal'

@ Copyright 2012 Rock School Ltd.
 Drum Solo (8 bars)
!-t Solo around stabs
lDl-
∞瑠 ”︼

q) q)
０∽日〓 ∩  ７
４

@ Copyright 2012 Rock School Ltd- This music is copyright- Photocopying is illegal.
 7♪ ・ 7♪ ・
︲
︲
３
５    回

Guitar So:o(16 bars)

Develop
∞還 ”︼
ｏ∽日 〓 ∩  ８
４

@ Copyright 2ol2 Rock School Ltd- This music is copyrighr Photocopying is illegal.
 Bass Solo (12 bars)

□ 1

〔
55〕

L――-3-… ……J

L― …………6-― ―………」
∞ｏ福 ︼

>
◆Coda
♪
０∽日〓 ∩  ９
４

@ Copyright 2012 Rock School Ltd. This music is copyrighl Photocopying is illegal.
 Walkthrough

A Section(BarS l-4) the hi-hat that can be played with either singles or doubles.
This section features an introductoryhi-hat pattern and a fill In the following eight bars develop the part and provide a
in bar 4 that prepares for the entry ofthe groove in bar 5. solid foundation for the soloist.

Bar 4lEill
open/
The two challenges in this filI are the sextuplet and
closed hi-hat. With the sextuplet follow thesticking,
RLRLFF, and ensure accuracy and flow. The open hi-hat
ofthe e' ofbeats 1 and 2 should be followed by a closed
hi-hat on the'&1 Co-ordinating this with the 166-note bass
drums will require practice but will improve your four-way
co― ordination(Fig.1).
F Section (Bars 55-58)
The first 12 bars in this section are the bass solo and th.ere
are three drum parts to consider. The fust introduces an
advanced and intricate funk groove, the second is open for
development and the third is similar to the A section with
added variations. Remember that when repeating the section
from bar 13 (on D.S.) you need to develop the part.

Bars 55-58 | Funky beat

B Section(Bars 5-20)
The is the verse part ofthe piece where the first funk
groove is introduced. This beaf consists of a solid rim-shot
backbeat, funlcy 16ft-note patterns with the bass drum and a play all the ghost notes with this hand. Your right hand will
challenging hi-hat pattern that includes l6e-note triplets.
Bar 5 | Sixteenth note triplets on hi-hat
There are two logical ways to approadr this phrase on the
hi-hat. You could use the Moeller method and produce three
strokes with one motion using the natural rebound of the
drumstick, or you could divide the phrase into an upstroke,
a downstroke followed by another upstroke. The upstroke
can be performed with fast wrist movement, Moeller or
push-pull. Experiment with these and see which technique
helps you achieve the most accurate and fluent groove.
This groove involves 32"d ghost notes on the snare and oPen
hi-hats. To ensure that all the ghost notes are balanced,
position your left hand close to the snare drum head and
play the hi-hat and move to the snare in order to play the
backbeat. Aim to achieve a smooth but solid groove (Fig. 2).
Bar 58 | Endingfill
The first six strokes of this fill should be played with perfect
unison between the hands. The most straightforward way
to do that is to use your Ieft hand on the snare and move
your right hand anticlockwise between the toms. Avoid any
unnecessary flams between the drums by practising the
movement at a slower tempo.

Bar20 1 SFiCた j暉
Ifyou already feel comfortable with the inverted Paradiddle― 0 + 0 +
diddle rudilnent,the sticking RLLRRL/LRRLLR will be ideal
when Playing the sextuplet on beat 3。

6
C Section(Bars 21-28) l e & a 2 e & a 3 & 4
The C secuon is effect市 ely the chorus and the groove is
moved to the ride cymbale This fbur― way co― ordination
groove requires control and a balanced Posturee ■■■￨■ ￨￨￨141,￨‐

D Section(BarS 29-36)
Itis important to understand the rhメ hm ofthe written stabs
before attempting to soloe Start by holding quarter notes
with your hi― hat foot and playing the written stabs on the
snare.When you feel confldent vnth the placenlent ofall
the stabs,start adding flus and develoPing your soloo Aim to
demonstrate technical command,musicahty and dynamic
電 COntr。 1宙 thout compromising the pulse.
づ

む E Section(BarS 37-54)
自 The rlrst eight bars Ofthis section
―
are notated and the 12/8 ■11■ ■￨■ rllrlゃ ￨￨■ ￨￨■ ■￨￨
屋gr00Ve is based on the hi― hat.There are 16血 note phrases on

50
 Lead Sh鏡
SONG TITLE: LttD S融
GⅢRE:ROCK
TEPIPO: 98 BPM
: 」 た
=98 沢む lθ

TEσ H… TURES: SNARE DRUM&TOM BEA堅

H―
Ntt TRIPLW―
16T‐

DOUBLБ

COWOsER: JAⅣ 鵬 園 GS

P酪 ONNEL: STUART RYAN(GTR)

f L3
I

孤Ⅶ ЩRKS CB趨 )
NOAPI LED3_AN(DRUMS)

omv「 Lw
`Lcad Sheet'is a rap rock track in the style ofRage
Against The Machine(RATM),Limp Bizkit and Red
Hot Chili Peppers(RHCP).It cOntains snare drum
and tonl beats,16th・ note triplet a■ s and doubles.
RHCP's L99 I album BioodSugarSexMagik
spawned the rap rock classics 'Funlcy Monks', 'Suck
My Kiss' and 'Sir Psycho Sexyl The following yeai;
RATM released their self-titied ciebut and turned
a generation of rockers on to a form of rock where
groove and aggression were k y.

STLE FOCUS This next wave of hip hop influenced rockers

In this style,the drummer must use their technical
abihty to creat■ e and musical effecto Altho,gh the
generalvibe is groovyD strong tcchnique is requ廿
but only used tasteh■y and sParingly in Phrases that
use anything from subtle ghosting and double― stroke
rolls to dynamic,note‐ value changing ronse Rim― shots
are evident on the main snare backbeats so accuracy
and control are also needed.
THE BIGGER PICTURE
Hip hop pЮ ducers had bcen sampling rock riffs
since the rrLid 1980s when Run E)MC,Public Enemy
and the Beastie Boys an scored hits that borrowcd
included Limp Bizkit and Incubus. Unlike RATM,
whose guitarist Tom Morello simulated turntable
effects, these groups employed Dls to introduce hip
ed hop techniques including scratching and cutting;
RECOI IME]IDED I,TSTE]m{G
'She Watch ChannelZero?!' from Public Enemy's
album It Takes A Nation Of Millions... (1988) samples
Slayer's Angel Of Death and demonstrates the perfect
fusion of heavy guitars and hip hop beats. On RATM's
self-titied debut, Brad Wilk's steady grooving provides
a solid base for the rap inspired vocals. |on Theodore's
playing on the eponymous EP by One Day As A Lion
(2008) continues the traciition of RATM with a more
∞摺 “︼

fro]m Aero,mith,Slayer and Led Zeppelin.RHCR funk rock inspired styie. Limp Bizkit's 2000 album
RATM and others saw the potentialin this rap rock Chocolate Starfish And The Hotdog Flavoured Water
ｏ∽

crossover and combined live,distorted guitar rilヽ isworth investigating for the tracks 'My Generation',
日〓 ∩ 

宙 th rap vocals。 'Rollin' anci 'Thke a Look Around'.

５．
 Lead Sheet
)ames Uings

J=98 Rock

＞    
t r-3 I-3 ' l-3-J

Ｏ
ooooooo

5-l
∞瑠 “︼
ｏ∽日 〓 ∩  ２
５

@ Copyright 2012 Rock School Ltd. This music is copyrighr Photocopf ing is illegal.
 ∞ｏ罵 ︼
ｏ∽日〓 ∩  ３
５

@ Copyright 2012 Rock School Ltd. This music is copyrighl Photocopying is illegal.
 Guitar Solo(12 bars)

Develop
∞０づ“︼
０∽日 〓 ∩  ４

147]
５

This music is copyright. Photocopy'ing is illegal.

tr Drum Solo (12 bars)

1491″
__ ￨ : II::

151〕

153] _

i55]

157]

〔
59〕

L-3コ L-3コ L-3-― 」

∞ｏ罵 ︼

> >> >> >> >

√預 ♪其
ｏ∽日〓 ∩  ５

7
５

∬
@ Copyright 2012 Rock School Ltd- This music is copyrighL Photocop)'ing is illegal.
 Walkthrough

A Section(BarS l-10)
The rnalrl groove enters in bar 2 atter the opening a■ and
consists ofopen hi― hats,riln― shot snare and 16th― note bass
drumse The ilnprovlsed fl■ in bar 10 1eads to section B.
Bar llS放 ″
θθ4滋 θ
たιr″ Jθ ′
“ PhraSC Played宙 th the guitar and bass
The unison opening
includes 16th― note triPlets and is knowrl as Csingle stroke
fouri This rudilnent is Played宙 th alternate sticking,starting
with either your right or lett hando The main challenge is
maintaining the rhythm whie ensuring that the strokes
sound consistent and even.Start by playing eighth notes
with the rnetronome,then divide the eight notes that Play
on the beatto three equal strokeso The eighth notes on the
offbeat remain the same.Use the power ofyour wrist but
ensure that it is relatively loose and your flngers are active in
order to pё rform this accurate与
B Section(Bars ll-18)
The B section groove is based on 16th notes on the snare and
toms.Your hi― hat foot plays consistent eighth notes and the
bass druin maintains the 16山 ―
note feel frOm section A.
Bars ll-18 1 Groο νθ
This drunl beat win require advanced co― ordination skills;
therefore,itis recominended that you break it down and
work on each Pattern scParate,Start With both hands on
the snare,use alternate sticking and hit all the riln― shots wlth
your right hand.Yourlett hand win lnove to play the toms
and open hi― hato The 32nd notes atthe end ofthe bar can be
played with doubles using flngers techniqueo Next,add the
hi― hat foot pattern and,flnaly9the bass drum.Ensure that
the sound is balanced and your posture is correct(Fig.1).
to the following sticking pattern: RLRR LRRL RRLR RLRL
RLRR LRR. You will notice that there was one adjustment
in the sticking when crossing bars. This is because playing
three consecutive strokes with the same hand on the floor
tom would be hard to perform convincingly (Fig. 2).
E Section (Bars 37 -48)
The guitar solo is 16 bars long and oPens with the main
groove of the piece. This should be developed stylistically
from bar 41 to support the soloist on the backing track
F (Bars 49-60) & G Sections (Bars 6l-67)
In the F section you can demonstrate your technical ability,
musicality and dynamic control. Listen to the drummer Brad
Wilk (RATkI, Audioslave) for ideas on improvisation in this
style. The G section inciudes a heavy crash cymbal groove
and thundering snare filIs.
Bars 65-66 | Dynamic control
The snare fill in these bars should be played with crescendo.
A fluent combination of fingers, wrists and hands technique
is required to perform this convincingly. Remember to start
close to the drum head and gradually lift your hands higher
to create a louder sound. The 32d notes in bar 66 will be
straightforward to play with singles accenting as notated,
while maintaining a slightly loose griP and active fingers.
R L R L R L R L R L R L R L R L
> > ヽ >

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

D Section(BarS 29-36)
The bass solo consists oftwo paFtS.The flrst is a breakdown
groove Ⅵnth hi― hat foot,cighth notes and accented stabs;the Ck「 gT・ OT: R L R L R L R L R L R L
・言
second,a lnusical interpretation around the kite
R L R R L R R L R R L R R L R R

Bars 33-34 1 Bα ssSθ lο groο νθ

There are tw0 10gical ways ofsticking this Pattern.You
∞ｏ■ ︼

could start vnth your right hand on the floor tom and follow
alternate sticking.Because both hands will have to FnOVe
ｏ∽

around the kit,focus on balance and consistent pr● ectiOn.

日 〓 ∩  ６

Your other option would be to PlaCe your right hand on the

floor and lnove your le■ between the tomse That would lead
５
 FreigI賊 IshJ{er

SONG TITLE: FRIGHttHAKER

GENRE: BLLS
3￢
TEPIPO: 170 BPM

」 〕θ
=170 正 s J]=」 ♪ Jπ 「

TECH FEATUR那 : TRIPLET■ lEEL 0

O
S― E VARmTIOhTs
DYNAMIC CONTROL
■
COMPOsER: SIMON TROUP

PERSONNEI: STUART RYAN (GrR)

I{ENRY THCMAS (BA.SS)

NOAM IEDERII{AN (DRUMS)

07ER剛 THE BIGGER PICTURE

`Freightshaker'is the lKind ofhot blues that Texas
has becomё renowned brthanks to the early ouっ
ofrock trio ZZ Top and the legendary guitarist Stevie
Ray Vaughan,as well as later blueslnen lke Ke■
穐 yne Shepherd who were particularly insPired by
Vaughatt sound and style ofplaying.It ittures a
triplet feel,shume variations and dynamic con廿 ol
anlong its tedhniques。
STYLE FOCUS
Blues grew out ofthe music ofthe MississIPPi
ut Delta region and when the rnusicians lnoved iom the
country to the cities,Particularly to Chicago,acoustic
ny blues was electrinedo The chicago style,cPitomiSed
by the blues elder statesman Mudtt Waters,has a
stomping feel vnth a hea.vy emphasis on the downbeat。
Texas blues was played lhster and soon became a
showcasc for guitarists,whereas Chicago blues was
much more doseけ asSOCiated宙 th the grett blues
vocalists hke Howliゴ Worand harHlonica players
such as Little Walten

Triplets and shumes are the order ofthe day here。

`Freightshaker'charges along with the power ofa RECOMMENDED LISTENING
speeding locomotive and takes in several difR〕 rent
feels along its routee There is a straightforward shume, ZZ TOtt albumル θ
s 10″ bres(1973)is PaCked fun
a triPlet shufne played between thc hands and a ofgreat blues,PartiCularly`IesuS Iust Lctt Cllicagざ
jazz swing for good measureo Mitch Mitchen and and the unstoppable boogie of`La G}rangd You canit
Ginger Bakett who drummed for Thelimi Hendr破 go wrong with Albert Kingゝ brilhant Bθ r4 U物 ′θ
r
ExPeFiCnce and Cream respectivelyD brought the A Bα グSな 4(1967),whiCh bOasts the wonderful Al
imprOvisational quality ofja7z to theiF pltting but laCkSOn lr On drums.The great SP Leary cut sessions
most blues players tend to sit deep in the pocket. with legends Muddy Waters,T― Bone Walker and
Chris Laytoll,who plard With Stevie ttayVallghan, others and you can hear hiln layit down on C)tis
∞ｏ罵 ︼

could lり down big grooves and ZZ Ъ tt Frank Beard SPan五 ゝTttθ BI“ ハたν ノ(1964)perfOrmillg
`rDた
is rock solid.Both ofthese players know when to a great shuffle “
on CMust Have Been The Devill
ｏ∽

lie back as the guitarists solo and when to kick their Bonamasζ ホ L′ ν θFratt Tた θRo/ar Aル ar′ H♭ II(2010)
日〓 ∩  ７

perforHlance up a gean shows the blues in robust health today.

５
 Freightshaker
Simon Troup

l-J-

)=170 Blues ,rl =.1 )

EJ oo -
I-J-1 r-3-l

ff oevetop on repeat

t3)

,3) ,3) t3)

l-3-J o
t-3-l uE)

To Coda S

l-3-I
∞ｏ電 ︼
ｏ∽日 〓 ∩  ８
５

@ Copyright 2o12 Rock School Ltd. This music is copyright- Photocopf ing is illegal.
 >>>>
-3-￢ F 3… ￢ F 3… ￢ F 3-￢ r-3-r r-3-r l-3-r r-3-r
「

L3」

Guitar Solo (16 bars)

t-3-ro' r-3-r
+ 'r-3-r r-3--'r r-3'- r-3'-r r-3'r r-3-r t-3-r t-3'r r-3'- r-3-r t-3- r-3- r3'- r-3-r

r-3-r 'r-3-r
3￢ 3￢
i l-3-r t-3-r t-3-r l-3-t t-3-r r-3-t r-3-t r-3-r ;-3-l 3￢

「 「 「
∞ｏ■ ︼

3マ -3-￢ r-3… ￢
73￢ 3￢ r-3-r l-3-r r-3-r l-3-r r-3-t t-3-r r-3-r 「 t-3-r r-3-r r-3-r
ｏ∽

「 「
日 〓 ∩  ９
５

@ Copyright 2ol2 Rock School Ltd- This music is copyrighr Photocopy'ing is illegal.
 -3-￢ -3-￢ -3-￢
t-3-r 1-3- r-3-r 「 73￢ 3￢ 3￢「 「 + l-3-r r-3-r l-3-r l-3-r r-3-r r-3-r
「 「

L-3」

L-3」

Cresc.
∞選 ”︼

Drum Solo (12 bars)

Solo around stabs

tr/l-
ｏ∽日日 ∩  。
６

@ Copyright 2ol2 Rock School Ltd- This music is copyrighr Photocopying is illegal.
 1)l D.%.alCoda 0

S coua
Bass Solo (12 bars)

oo
l-3-J l-3-J
∞ｏ罵 負

1J't
０∽

J*J
日〓 ∩  ︲

l-3-J l-3-J l-3-J l-3-J

６

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

A Section (Bars L-4)
The opening section consists of crash hits, quarter-note open
hi-hats and triplet fills. The rhythmic figure above bar 1
indicates that all eighth notes should be swung in this piece.
B Section (Bars 5-20)
The rnain shuffle groove is introduced here. This should
be played on the hi-hat with swung eighth notes, rim-shot
backbeat on the snare and bass drum on beats 1 and 3.
Bar 6 | Swung eighth notes on hi-hat
Playing consistent swung eighth notes in this tempo urill
require solid right hand technique. Use the concept of
downstroke on the beats and upstrokes on the offbeats,
while using a loose grip and active fingers. It is vital that you
move your middle finger, ring finger and pinky together as
one unit in order to ensure a consistent rhythm and sound.
C Section (Bars 2L-36)
In this section the groove moves to the ride cymbal and
stylistic fills are added. The hi-hat foot plays on the backbeat
and the bass drum pattern varies. The syncopated push in
bar 35 and following fill lead to the guitar solo section.
Bar 28 | Crossing sticks
When playing intricate fills around the kit, it is common to
cross sticks in order to help the flow of the movement. The
hand that plays the stroke usually crosses over the other
hand, so make sure that your sticks do not clash. Tiy the
following sticking pattern, practise the fill slowly and aim to
internalise the movement: RLR LRL RLR LRL. (Fig. 1).
written two bars you need to develop the part stylistically.
Listen to the backing track and interact with it musically.
F Section (Bars 73-104)
Ensure that you play the notated stabs and continue to
improvise between them. When repeating section B
remember to develop the drum part until you reach the Coda
where the dynamic level drops once more to moderately soft.
Ensure that all the written details in this final section (cross
stick, open/half open/closed hi-hat, splashed hi-hat foot, fills
and syncopated stabs) are observed.
Bar 100 I Splashed hi-hat
The circle below the hi-hat foot in this bar indicates that
it should be played as open. This involves using the hi-hat
splash technique because both hands are busy with playing
the fill. The open splash sound is created by hitting the
middle part of the hi-hat pedal with your heel. However,
you need to ensure that your toes do not touch the pedal
and allow the splash sound to ring. In this bar there are
three splashed hi-hats on beat s 2, 3 and 4 without closing, so
all you need to clo is strike the pedal with your heel on the
required beats. The complete technique involves the closed
hi-hat as well. This will be played by pressing the top part of
the pedal with your toes. Achieving this consistent heel-toe
movement will allow you to play continuous oPen/closed
hi-hat patterns with your foot.
Crossing sticks
f
R L R L R L ln'l L R L R L

r-3-r r-3-r , r-3-r

-3
D Section (Bars 37 -60)
Stylistic grooves are notated in this guitar solo. From bar 53
the groove becomes heavier on the ride and crash cymbals.
In preparation for section E there is a crescendo drum roll
on the snare in bar 60. F,多 ￨￨￨"￨IⅢ ￨￨
=￨111卜

Bars 37 -52 | Triplet groove

Alternate sticking can be used throughout this section. In
the first eight bars, you can start with your right hand on
the hi-hat and hit the backbeat with your left, or vice versa.
From bar 45 move your right hand to the ride cymbal and R L R L R L R L R L R L
………3-――￢ r― ―-3-――￢ r… ……3-――￢ ………3-― ―￢
use your left between the hi-hat and snare. Ensure that the 「 「

open/closed hi-hats do not affect your tirning and that the

rirn-shots sound consistent and convincing (Fig. 2).
∞遇 “︼
０∽

E Section (Bars 6L-72)

日〓 ∩  ２

The dynamic level in this section is moderately soft and

the groove changes to more of a jazz feel. After playing the
６
 Nosso Samba

SONG TITLE: NOSO SAttX

GmE: SAMBA
TEMPO: 110 BPM 」
=1 10 Sα bα
“
TECH… TUR薦 : FOUR― WAY 00-ORDnTATION Drum S010(16 bars)
GHOST NOT3 0N SNARE solo around stabs
SYNCOPAllED m

00口OSER: NOAM LEDERMAN ■ ・

メ '7
P耶 ONNEL: IIOtt LEDE翻 ぶ (DRUMS)
HENRY THOyLAS Oジ 〔S)
STUART RYAN(GT⇒
鶴 HON KHAN(KEYS)
1lExGUS GERRAND(PERC)
σHRB ttT・ ER(TROMBONE)

0\IETt\rrEi'I exposure outside of the favelas (slums). It made

'Nosso Samba' is written in the style of classic
Brazilian artists like Antonio Carlos |obim, Gilberto
Gil and the modern day sarnba group Nosso Trio. It
features four-way co-ordination, ghost notes on the
snare, and syncopated fills among its techniques.
STYIE FOCIUS
The drum grooves in this composition are a
mixture of traditional and current samba, and simba
fusion variations. Samba beats were originally created
by many percussion players performing together, so
the drum beats that have been developed over the
last 50 years are mostly intricate and challengirg.
The written fills in this composition are based on
traditionai rhythmic phrases that drummers and
percussionists used in Brazil's samba schools.
such an impression that, in the 1930s, the nationalist
dictatorship in power at the time supported its
promotion to the nationai music of Brazil.
E.rly samba relied on the power of drums and
percussion, and was revered for its raw energy rather
than musical sophistication. However, this changed in
the 1950s when young middle class suburbanites like
|oio Gilberto and Antonio Carlos Iobim brought in
supple melodies and jazzinfluenced harmonies. This
new style, or'bossa nova', exposed Braztlian music
to the world;'its best known song is rThe Giri From
Ipanema', which was translated into English from the
original Brazilian and performed by Frank Sinatra
and Nat King Cole.
More recently, Nosso lrio have developed modern
samba and inspired instrumentalists from every
corner of the planet to exploreBrazllian music.

THE STGGER PTCTTIRE RECOMME]MED IISTEN-ffG

Samba is the rhythmic, syncopated rnusic of Gilberto's Chega De Saudade (1959) is a bossa nova
∞ｏ罵 ︼

with its roots in the African culture of the

Brazil, classic. To hear how Brazilian music changed in the
country's black population. The first samba record is 1960s, listen to Caetano Veloso (1968) by Caetano
０∽

believed to be a song called 'Pelo Telefond that was Veloso. Finally, Nosso 'Irio's modern take on samba
日〓 ∩  ３

released in 19L7, and gave the sryle its first significant can be heard on their 2A06 debut Vento Bravo.
６
 Nosso Samba
Noam Lederman

J=1 10 Samba

?i[T,::i:xi,:''
E nqm

0
ノ '7ノ ・7'

0
メ '7ノ 7' ・
ノ ,7ノ 7'

0
ノ '7ノ 7'
∞暑 “︼
０∽日 〓 ∩  ４
６

@ Copyright 2012 Rock School Ltd- This music is copyright- Photocopying is illegal.
 7

7
∞遇 “︼
０∽

7
日ご ∩  ５

7ソ フ
６

@ Copyright 2012 Rock School Ltd. This music is copyright- Photocopying is illegal.
 Fi:l(4 bars)On%

Bass Solo (20 bars)

∞遇 “︼

Guitar So!o(20 bars)

ｏ∽日 〓 ∩  ６
６

@ Copyright 2012 Rock School Ltd. This music is copyrighL Photocopy'ing is illegal.
 Develop

D口 %.ai Coda◆

S coda

∞ω環 ︼
ｏ∽日 〓 ∩  ７
６

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

A Section (Bars 1-16) Bars 69-82 lPartido alto

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

B Section (Bars f7-36)

The first samba groove is introduced here on the hi-hat and E Section (Bars 85-104)
bass drum. Because the melody is played by the bass guitar, This is the bass solo section. The fust four bars are notated
it is important that the dynamic marknrytis observed. and the groove is based on the hihat. In the following 16
bars you need to develop the part and provide a solid and
Bars l9-2A I Samba on the hi-hat musical foundation for the soloist.
This groove consists of 16th notes on the hi― hat with accents
and the samba pattern bass drum.There are two logical ways
ofsticking this pattem.You could start宙 th your right hand, F Section(BarS 105-141)
and use alternate sticking and both hands for accents。 Or Follow the groove as notated and develop the part fronl bar
you could start vnth your right hand,hit all the accents宙 th 109.Aner repeating section D you will move to the Cθ ′α
thesame hand and i■ in between with yourle食 .ExPerilnent where the ride cymbal pattern‐ is simpler but the snare is
with these options(or any Others)and ChOose the one that busien Ensure that an the notated details are observed in this
allows you to perform effortlessly (Fig. 1). flnal sectione

Bar 24 | fhirty-second notes on the hi-hat Bars 124&1401S′ ′

In order to maintain the flow of the groove, try plapng the
32"d note as a double without changing the sticking. Slightly
loosening the grip and ensuring your fingers are active will
allow the stick to bounce and create this double naturally.
εた
The sextuplet on beat '4g
I in bar 124 will be straightforward to
play with the inverted paradiddle-diddle sticking, RLLRRL.
However, the sextuplets in bar 140 should follow the pattern
RLRLFF because it is the most natural way of moving
clockwise around the kit.

C Section(Bars 37-56)
In this section the groove moves to the ride cymbal and
stylistic fills are added. Sticking Options:
R L R L R L R L R L R L R L R L
R L R L L R L R L R L L R L R L
Bars 37… 38 1Sα bα ο Йθr′ ル ッ bα I > > > > > > >
“on the
The phrase played “ ride cymbal
“ can be counted as
“1-1受 a2-8Kゴ l lfyou are farniliar wlth the Moeller rnethod,
it would be idealto use it here in order to achieve accuracy
and a consistent soundo The bass drun■ Pattern remains the
same and the hi‐ hat footis added on every o■ beat(Fig。 2).

Bar461 Mo`II`r ttθ Йθグ

This method is a combination oftraditionaljazz drumming
techniques that ailns to improve speed,Power and control.
In this speciflc case,using the Moeller method will allow
you to perform three consecutive strokes on the ride cymbal
with one motion and lninilnal effort`

D Section(BarS 57-84)
電 The nrst groove ofthis section is samba funk,which 1(e)&a2(e)&a l(e)&a2(e)&a
罵 inCludes 16th notes on the hi― hat,backbeat snare and
O syncopated bass drun■ vnth open hi"hats.The broken
碧 rhythmic Phrasc thatis the basis for the second groove
known as Parudo dtd
￨￨:￨￨￨‐ ￨￨IⅢ ⅢIⅢIIII
属WhiCh begins h bar 69お
68

SONG TttLE: DARK MAttER
GmE: 3ユ Z
TEPIPO: 121 BPM
TE田 回 AT駅 那 :FL■TK SYNCOnTIoN
BUZZ“ AND GHOS鴨
SEXTUPIIET■ LБ 1上
COMPOSERS: STI」 ART RYAN,KUNG FU
DRUMPIER&HENRY
THOPttS
PERSONNEL: STUART RYAN(GTRI
HEITRY THOMAS (3ASS)
NOAM IEDERMJN (DRUMS)
凛鵬 側 Ⅲ CSAD
om剛
`I)ark Matter is a fusion track that tiPs itS hat
tO IOhn scOfleld and groundbreaking groups hke
Mahavishnu C)rchestra and Tony Williattnis Lifetilne.
It features funk syncopation,buzzes and ghosts,and
sextuplet fills among its techniques.
STYLE FOCUS
Fusion sprang fro]m thei]mprovisation ofjazz
meeting the power ofrockelt,an be technica■
demanding beCause rnany fusion artists favour odd―
tilne signatures and comPlex arrangeIIlents.From
the drummerb perspect市 e,fusion is all attract市 e
genre because you can draw on a wide vocabulary of
styles.U」 ike tradittonaljazz,where the drummer
has to carefuny lnatch his volume to the acoustic
instruments,the prevelence ofelectric guitars and
keyboards in fusion anows the drunllner to Play
with in Power and Lltensiサ while stin ettoying the
improvisational possibiitieS ofjazz.
THE BIGGER PImE
The birth ofilsion is often traced back to Miles
Da宙 s'3Jた たoB“ ″ (1970),on WhiChiazz muSiCians
Dafc M r
E J=Q1 Jazz
ノ
played amplified, groove based music free from the
constraints of the traditio nal jazz grouP format.
Alongside Davis, key early exponents included
Herbie Hancock and Donald Byrd, who blended iazz
and funk respectively, the Mahavishnu Orchestra
with the powerhouse Billy Cobham on drums, and
Weather Report who threw world music and Afro
Cuban rhythms into the mix.
Composer and keyboardist Chick Corea became
a keyfigure in the 1970s and 1980s with his groups
y Return To Forever and Chick Corea's Elektric Band.
Fusion has produced many technically gifted
drummers including Dave Weckl, Tory Williams,
Steve Smith and Lenny White.
RECOMMENDED I.TSIENING
Birds af Fire (1973) by the Mahavishnu Orchestra,
and Jeff Beck's albumBlow By Blow (L975) are jazz
rock fusion favourites. From the same period, check
out Cobham's solo outing Spectrum i1973). For a
∞ｏ罵 ︼
funkier flavour try Hancock's Head Hunters (L973),
with Harvey Mason Sr on the kit. More recently,
ｏ∽
Israeli borrr, London based Asaf Sirkis has impressed
日〓 ∩  ９
with his trio and the album The Song Within (2007).
６
 Dark Matter
Stuart Ryan, Kung Fu Drummer & Henry Thomas

@ J=rZr Jazz
∞壱 ”︼
ｏ∽日 〓 ∩  ０
７

This music is copyright- Photocopf ing is illegal.

@ Copyright 2012 Rock School Ltd.
 ∞ｏ電 ︼

Bass Solo (16 bars)

０∽日ご ∩ 
７．

o Copyright 2ol2 Rock School Ltil This music is copyrighl Photocopyirrg is illegal.
 Develop
∞暑 ”︼
ｏ∽日〓 ∩  ２
７

This music is copyright- Photocopying is illegal.

回□ Drum Sdo 16ba→

Play 4 times

Guitar Solo(1 6 bars}

Develop on repeat

￨■ ￨
∞ｏ罵 ︼

D.C.a:Fine
０∽日 〓 ∩  ３

l- 5-l
７

@ Copyright 2012 Rock School Ltd. -6 This music is cop.yright Photocopying is illegal.
 Walkthrough

A & G Sections (Bars 1-8) F Section (Bars 45-53)

The bass drum and snare patterns in this section follow the
phrases played by the guitar and bass on the track. There
are rim-shots, ghost notes and a short roll to perform on the
snare as well as a 166-note triplet on the hi-hat.
B & H Sections (Bars 9-24)
In this section the groove becomes busier \^rith more ghost
notes and complex variations.
Bars 9-24 | Groove
When parts of the groove follow what is played by the other
instruments so closely, it is vital to ensure these are played
accurately. Start by breaking down the section and practising
individual bars (even beats, if needed) until you feel
comfortable. Ensure that all the technical and co-ordination
issues have been addressed then listen to what is played on
the track then identify what part of the groove should be
synchronised with the guitar and bass. Put it all together,
play with the track and aim to achieve seamless continuity.
C Section (Bars 25-40)
The 16 bar bass solo consists of two drum parts. The first is
sirnilar in concept to the grooves previously introduced, with
the drum patterns follo*irg the accomPanylng guitar. The
second part introduces a musical and intricate interpretation
with two hands on the snare. During this section you
have the opportunity to develop the written parts and
demonstrate your stylistic understanding.
This is the guitar solo section which lasts for 16 bars. The
first eight bars are notated and the groove is based on the
ride cymbal. There are 16n-note phrases on the ride, flams
between toms, hi-hat foot and many syncopated pushes. In
the following eight bars you need to develop the part and
provide a solid and musical foundation for the soloist.
Bar a6 | Moeller method
The ride cymbal phrases in this bar will be produced most
convincingly with the use of the Moeller method. This
method is a combination of traditional iazzdrumming
techniques that aims to improve sPeed, power and control.
Bar 47 | Flam between drums
The flam rudiment is primarily played on one drum.
Howevef in this bar the flarn is played on the medium and
floor tom. The grace note is played on the medium tom and
the main stroke on the floor tom. Perform this with accurate
flam technique to achieve the sound naturally.
Bar $llntricatefill
Before attempting this fill, focus on the phrasing and
sticking. There are three sextuplets, but the phrasing is in
nine. So the total 18 strokes are divided into two groups of
nine and the logical sticking pattern will be: RLRLFFRLL.
Practise this with a metronome at a slower tempo and let
your body learn the movement, so when you speed up the
movement will flow effortlessly (Fig - 2).

R L R L R L R L R L R L R L R L
Bars 33-34 | Bass solo groove
The 16s-note snare strokes will be played in three dynamic
levels: accented rim-shot, unaccented snare and ghost note.
It is vital that these are projected with conviction and the
groove flows well. The 32d notes in bar 34 canbe played
with either doubles or singles. However, doubles should be
easier, especially if you feel comfortable with the five stroke
roll rudiment. The most logical way of sticking this groove is ￨￨￨■ 111111111111:￨￨￨
alternate starting with the right hand but feel free to choose
another option if it suits your technique better (Fig. 1).

D & E Sections (Bars 4l-44) Pattern RePeat

These sections contain the drum solo, where you are r--.tr--
1 tt t
required to improvise and show your musicality, technical RLRLFFRLLRLRLFFRLL
abihty and personal interpretation of the style. The E section
starts on the third of the four repeats. While this doesnt
∞暑 ”

signifr much in the way of change for the drummer, the

guitar and bass parts change significantly. Listening to the
︼ｏ∽

work of drummers Dennis Chambers and Dave Weckl

日巳 ∩  Ｚ

with the guitarist Mike Stern, will offer you creative ways of
improvising in this style.
∞ｏ電 ︼
ｏ∽日〓 ∩  ５
７
 Technical Exercises

In this section the examiner will ask you to playa selection of exercises drawn from each of the five groups shown below. In
Group E you will be asked to prepare oze stylistic study from the three printed. The choice of stylistic study will determine
the style of the Quick Study Piece. You do not need to memorise the exercises (and can use the book in the exam) but the
examiner will be looking for the speed of your response.

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

Group A: Single Strokes

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

t3t 1- 3-J l-3-J

tt5-J l- 5-J 5-J

6-J 1- d-J l-6 | t- 6-t

L L....'.,........,,..'.,........._z',,,,,,,,,,,,,,,,_----...J L1-----J t--z-----) t--7---r

∞ｏ罵 ︼

l--g------l I-9 I
t49----_----I t--9-----J
ｏ∽日 配 ∩  ６
７

L-5--J t--s----t t--5--------J l--S-------J L-5---, L-s-J t-s------I l--5-J

Group B: Paradiddles
Paradiddle-diddle and alternative paradiddle-diddle in sextuplets around the kit. The tempo is .l = 90.
RLRRI LRLRRLLRLRRLLRl´ RRLL RL[.RRLRLLRRLRLLR R L R L L R R
、 ヽ ≧> ゝ
_
>>

……」 ____6-― ……」

………」 ι ………」
-6-― -6… -6…

Group C: Triplets
Swiss Ar*y triplet and pataflafla. The tempo is J = 85.

Ｒ ＞
LR R L LR R L LR R L LR R L LR R RL LR R RL R RL LR L R RL
> > > > > > >

1-3-J l-3-I l-3-J l-3-I

Ｌ
Ｒ
﹂月
Group D: Ratamacues
Triple ratamacue. The tempo is J = 85.
LLR LLR LLR L R L RP.L RRL RR!- R L R LLR LLR LLR L R L RRL R L R
3-￢ :>
r-3-￢ :>

Group E: Rolls
1. Seven stroke rollphrase with accents on toms. The tempo is J=90.
Ｒ＞

R LLRRLLR L R L R L
>

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

∞ω驚 ︼
Ｌ ＞一
Ｒ ＞

RRLLR Li.RRL RRL LLRR RRLLR

>
ｏ∽日〓 ∩  ７
７
 Technical Exercises

Group F: Stylistic Studies

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

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

J=l35 Rock

J
∞還 “︼
０∽日 〓 ∩  ８
７
 Technical Exercises

2. Funk: linear funk with 32"d notes, stepped hi-hat

J=80 Funk

∞ｏ驚 ︼
ｏ∽日 巳 ∩  ９
７
 Technical Exercises

3。 Iazz/Latin/Blueま 3-2 and 2-3 dave

J=200 Salsa
∞毛 ”︼
ｏ∽日 〓 ∩  ０
８
Quick Study Piece

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

The style of your QSP is determined by the stylistic study you selected in the technical exercise section. The QSP is in the
form of a lead sheet and it is up to you to create yow own interpretation of the music in the parts marked for improvisation.

)=140 Rock

Develop

=コ

∞０電 ︼
０∽日〓 ∩ 
８．
 Quick Study Piece

J=80 Funk

Develop
∞還 ”︼
０∽日 巳 ∩  ２
８
 Quick Study Piece

J=l10 Latin
o+

Develcp

∞ｏ罵 ︼
ｏ∽日〓 ∩  ３
８
 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 l: Fill Playbackand Recognition

The examiner will play you a one bar fill in common time played on the snare drum. You will play back the fiIl on the snare
drum. You will then identifr 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 J = 70.

l-- 6-_--J

L3--J

- -6-----J

6,-l

Test 2: Groove Recall

The examiner will play you a two-bar groove played on the whole kit. The test may be n 414,618,514 or 7/8 time. This is a
two bar groove repeated. You will hear the test twice. You will be asked to play the groove back on the drum voices indicated
for four bars then identi& the style from four choices given to you by the examiner.

Each time the test is played it is preceded by a one bar vocal count-in. The tempo is J= 80-160.

A: Samba
B: Funk
C: TripHop
D: Blues

).=st
∞壱 ”︼
ｏ∽日 配 ∩  ４
８
General Musicianship Questions

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

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

In Grade 8 you will be asked to explnin:

. Any notation used in the chosen piece

. Any dynamic marking found in the piece

. What makes the drum groove stylistically appropriate

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

lnstrument Knowiedge
The examiner will also ask you one question regarding your instrument.

In Graile 8 you will be asked to erplain and demonstrate

. Care and mainterrance of drums, cymbals and hardware

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

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

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

∞ω罵 ︼
ｏ∽日〓 ∩  ５
８
 Markirg Schemes

Gnenn Exeus I Dnnur ro Gneon 5 *

ELEMENT nss MERIT DISTINCTION

￨￨■ I Plrfor血 a五 ここPioこ 11■ ￨￨■ :,￨1411111fll i‐
31:″ ￨￨10111 i31 out6f五 6
￨￨￨￨￨￨:￨￨￨:11::￨￨￨￨￨￨￨￨￨￨￨￨￨￨￨￨￨■ ■■￨￨￨￨￨￨￨￨￨￨￨￨￨￨￨■ ￨￨￨￨￨￨￨■ ￨￨￨

Performancc Piece 2 ■2-■ 4 0ut of20 ■5-17 0ut of20 18+Out Of 20

二16ut‐ もf生 6
111111111111111 1'￨1410110fll 1511フ 10111111 1な

9-■ 0 0ut of■ 5 ■■―■2 0ut Of■ 5 13+Out Of15

11■ ￨￨lghtlladil:1111 616it bf iblll 1,￨10111f‐ 111

11■ ￨■ ■￨■ ￨■ ￨￨￨■ ■■■
1■ 1ン ￨￨￨￨￨10「 ￨￨ 1‐

IIⅢ ,Ⅲ 平￨11101‐ 1撃 I111rpl111111■

Ear Tests 6 out of■ o ァー8 out of■ o 9+Out Oflo
l■ ■■●■■■■■■■■■■■■■■■■■￨■ ■ ￨

GⅢ Ⅲ
ⅢⅢl平￨1111111Ⅲ l'IQIIltiOII l1310111f31111 l1410111f;￨￨ l1501tlf31‐ ￨

TOTAL MARKS 60%+ 74%十 90%+

Gnepn Exaus I Gneuns 6-8

ELEMENT nss MERIT DISTINCTION

￨￨￨￨IPlrformant● IPiOこ こ1■ ■￨￨￨ :,￨二 410111fll :,￨,フ ￨￨￨￨lfll i3116tt 6fi6

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

11111:島 Iふ 轟tど r長 ど
■￨￨￨ 1五 ￨1410111f10 131ニ ブ101110fll 18116it‐ 6f26

Technical Exercises 9-10 0ut of■ 5 l■ -12 0ut Of■ 5 13+Out Of15

1ラ 1311110FI:￨:￨ ,■ ￨¨ ￨111●
llllllllllllll11111 11‐

`16tt 6f11611
Ear Tests 6 out of■ o ァー8 out of■ o 9+Out Oflo

ll二 ￨:111章 ￨11111二 shi`101111:Ⅲ I l13101tlf3111 ●411161■ ￨ l1311=10F;￨￨

TOTAL MARKS 60%十 74%十 90%十

PenronMANcE CnnrrucATEs I Dnnur ro Gnepn 8*

ELEMENT nss MERIT DISTINCTION

Performancё PiOこ こ￨■ ‐
二 10 :311シ ￨￨￨￨lf'0 18■ 6ut 6f'6
'￨￨'4101110f二
Performance Piece 2 12… 14 0ut of20 ■
5-■ 7 0ut of20 18+Out Of 20
∞還 ”︼

Plrformanこ ‐PiOこ ё13 ￨‐ 121,41110f1210 :夕 ￨=ラ ￨￨￨￨lf,0 18110ut Ofう 0

Performance Piece 4 ■2-14 0ut of20 ■5-■ 7 0ut of20 ■8+out of 20

ｏ∽日 〓 ∩  ６

Perfor轟 ancc Piec1 5 1‐ 二

￨,410110fll :3111シ 10tt Ofll 18116it‐ 6f'6

TOTAL MARKS 60%+ 75%十 90%+

８

'Note that there are no Debut Vocal exams.

Entering Rockschool Exams

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

. All candidates should ensure they bring their own Grade syllabus book to the exam or have proof of digital purchase
ready to show the examiner.

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

Mechanical Copyright Information

Red Baron
(Cobham)
BMG Rights [,lanagement (UK) LimiteC

All Of You
(Porter)
Warner/Chappell Music Limited

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

Some Skunk Funk

(Brecker)
Universal Music Publishing International Limited

Bonfire
(Swire/McGrillen)
Sony/ATV Music Publishirg (UK) Limited/EMl Music Publishing Limited

Last'fime
( Ring/ Bro n s er t / S zar y )
Budde Music Publishing GmbH/Copyright Control

mcps
∞壱 ”︼
ｏ∽日〓 ∩  ７
８
 Drums Notation Explained

BASS DRUM&TOMS ￢

Bass drum Floor tom Medium tom High tom Ghost snare Rim-shot Cross stick Buz snare
Strike snare dium Place palm on snare
and surrounding drum head and
rim at same time strike im wtth sti.k

I OTHER CYMBALS

Closed Half open Open Ctosedt Closedt Hi-hatfoot Hi-hatfoot Ride Ride (bell) Crash Crash* Crash roll
closed open
Allow all cymbals to ring on unlss explicitly stoppd, as indicated by
t Used on the first closd hi-hat that follows an open hi-hat the keword 'Choke'. accasionally ties may be used (*) to emphasise that
t The hi-hat is closd without being struck. Note that the hi-hat closed (cross) symbol may appar above qmbals should be allowed to ring on. This can awid confusion duirq
drum voices other than the hihat (as shown above). This simply means another drum voice is being playd syncopations and pushes.
at the same moment that the hi-hat is being closed.

Slashes are used to demarcate bars

Accentuate note (play it louder). during solos, fills, developments
and other ad lib. sections.

Go back to the sign (X)then

Repeat the bars between the
a%.ar coda play untilthe bar marked
To Coda Oth"n skip to the repeat signs.
section marked scoda.

Go back to beginning of song and

Ir lT When a repeated section has
different endings, play the first
aCa′ Fline play until bar marked Fine (end). ending only the first time and
the second ending only the
second time.

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

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

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

∞暑 ”﹄

Fill PIay an individual, stylistic fill. Develop Extend the musical part in a stylistically
appropriate manner.
ｏ∽

Cont. sim. Continue in similar way but vary the Rit. (rltardando) Gradually slow the tempo.
pattern slightly.
日 〓 ∩  ８
８