TRINITY (olen el a Ko oN asc) SS CeCe ery acumen nny Pee cu eo) eer aSTRINITY COLLEGE LONDON PRESS 01 DRUMS GRADE Published by ‘Trinity College London Press trinitycolege.com Registered in England Company no, 09726123 Photography by Zute Lightfoot, lightfootphoto.com © Copyright 2017 Trinity Colege London Press First impression, August 2017 Unauthorised photocopying is illegal No part ofthis publication may be copied or reproduced in any form or by any means without the prior permission of the publisher. Printed in England by Caligraving Lt.EXAM AT A GLANCE In your exam you will perform a set of three songs and one ofthe session skills assessments, You can choose the order of your set ist. SONG 1 Choose a song from this book SONG 2 Choose either a itferent song from this book fr a song from the list of additional Trinity Rock & Pop arrangements, available at trinityrock.com (ra song you have chosen yourself: this could be your own cover version or a song that you have written t should be at the same level as the ‘songs in this book and match the parameters at trinityrock.com SONG 3: TECHNICAL FOCUS Song 3 is designed to help you develop specific and relevant techniques in performance. Choose one of the technical focus songs from this book, which cover two specific technical elements. SESSION SKILLS Choose either playback or improvising Session skills are an essential part of every Rock & Pop exam. They are designed to help you develop the techniques music industry performers need, ‘Sample tests are availabe in our Session Skills books and free examples can be downloaded from trnityrack.com ACCESS ALL AREAS GET THE FULL ROCK & POP EXPERIENCE ONLINE AT TRINITYROCK.COM We have created a range of digital resources to support your learning and give you insider information from the music industry, available onlin. You will find support, advice and digital content on: + Songs, performance and technique + Session sls + The music industry ‘You can access tips and tricks from industry professionals featuring: + Bite-sized videos that include tips from professional musicians on techniques used inthe songs * “Producer's notes’ on the tracks, to increase your knowledge of rock and pop + Blog posts on performance tips, musical styles, developing technique and advice from the music industry JOIN US ONLINE A’ EE rrr FFerrnre scr Ervine re at rerCONTENTS ANOTHER ONE BITES THE DUST BILLIE JEAN FEVER FLOAT ON MUSTANG SALLY ‘SEVEN NATION ARMY THE WEIGHT UPTOWN FUNK HELP PAGES ‘DRUM LEGEND THE AUDIO TECHNICAL FOCUS TECHNICAL FOCUS TECHNICAL FQCUS01 DRUMS = ANOTHER ONE — BITES THE ares erat I) Preece ries CC eg jad: a) WORDS AND MUSIC: JOHN DEACON John Deacon ‘Queen formed in London, England in 1970, with an early output that straddled hhard rock, prog rock and heavy metal. All four members provided material, and with each successive album they honed their sound to embrace inventive yet polished and radio-friendly pop to immense global success. ‘Another One Bites the Dust was the fourth single to be released from Queen's eighth album, 1980's The Game. It became their second song to top the US singles chart following ‘Crazy Little Thing Called Love' from the same album. Credited to the band’s bassist John Deacon, the taut, funky, roove-based song marked ‘notable departure from their familiar rock sound. Michael Jackson, a fan of ‘Queen's, suggested the band release it as a single, although drummer Roger Taylor was initially against the idea. It went on to become a huge it, even beating ‘Bohemian Rhapsody’ to remain the band's biggest-selling single and notching up sales of over seven milion copies worldwide. 4 #& PERFORMANCE TIPS Be precise with the fils inthis song, as quavers and semiquavers don't always appear in the same order. Your beat will need to be consistent enough for people to dance to! The hi hat should have an even sound with no stray accents. Look out for the two accents on the last two semiquavers ~ play them cleanly and strongly to finish the track.ANOTHER ONE BITES THE DUST — ===~2sse.s0 ss Solid Rock Feel J=100 (2 bars count-in) ) (©1920 ousen Macc Ls [Rights Admintere by Son/ATV Murs Publishing LLC, 424 Church Stree, Ste 200, Nash, TW 3729 Intrationa! Copyright Secures. Al gts Reserved Repinted by permission ot al Leonard LLCYOUR PAGE NOTESiy DRUMS BILLIE JEAN ee CHAEL a at J li ( KS 0 N Cereal WORDS AND MUSIC: MICHAEL JACKSON CLS Cu er Diener) The self-proclaimed King of Pop, Michael Jackson was a star from the age of when the Jackson Five scored No, Tits in the US with their fist four singles in 1970. He began his solo career a year later and, with the release of 1982's Thriller, would break the world record for the best-seling album in history ‘lie Jean’ was the second single from Thriller, released a month after the album in January 1983 and going on to top the US and UK singles charts two months later. Its accompanying video was the first by a solo black artist to be given hheavy rotation on MTV, and only after it had reached No.1. Jackson memorably performed the song at the ‘Motown 25: Yesterday, Today, Forever’ TV special, broadcast in May that year to more than 50 million people, during which he Unveiled what would become his signature dance move, the moonwalk Both single and album picked up numerous awards, including an unprecedented eight Grammy Awards and eight American Music Awards. # PERFORMANCE TIPS Néugu Chancler played the drums on this song, and you can hear im on other tracks with Miles Davis, Herbie Hancock, George Duke, Frank Sinatra, Weather Report, Thelonious Monk and John Lee Hooker. The beat is all about consistency ~ that's what makes people dance. The hi at quavers should be controled in timing ‘and éynamics, as should all the snare and bass drums. aBILLIE JEAN wonvs an wise ana seh Pop 4~108 (2 bars count-in) Verse) Pre-chorus| People always told me. (Chorus /ARights Administered by Sony/AT tii Publiing LLC 424 Church Street, Ste 200 Nase, TN 37219 s Intemational Copyngt Secured Al igts Reserved. Reprinted by permsion of Mal LeorargLLC01 DRUMS mame FEVER me Se BLACK Pee) orn rm Peery sal Peete) i WORDS AND MUSIC: DAN AUERBACH, PATRICK CARNEY Poy SRAM BURTON creat Paro riatay Peace Sr ney Ohio's The Black Keys formed in 2001 when childhood friends Dan Auerbach (auitar/vocals) and Patrick Carney (drums) began recording demos together in Carney's basement. They steadily built up a huge following through relentless touring, scoring ther first No. in the US with their 8th album, 2014's Turn Blu. With its memorable organ rtf and punchy rhythmic swagger, the catchy, psychedelic ‘Fever’ was a natural choice as lead single of Turn Blue. This was the {duo's fourth collaboration with producer Brian ‘Danger Mouse’ Burton, following Attack & Release (2008), Brothers (2010) and EI Camino (2011). Turn Blue was the first Black Keys album that took months to record, their first two albums both taking no more than a day each. Fever" was recorded in separate studio sessions, the bulk of it at Key Club in Michigan and the coda at Hollywood's legendary Sunset Sound studio. #% PERFORMANCE TIPS In this song, aim to play the hi hat with the tip ofthe stick to get the clean sharp : ‘sound that original drummer, Patrick Carney, achleves. Make sure that bars 5-8. are perfectly synced between the hi hat, snare and kick with no flamming..WORDS AND Music: DAN AUERBACH, PATRICK CARNEY, BRIAN BURTON Intro| Rock 4 = 116 (1 bars count-in) Chorus | Trashy HH © 20:4 ueloore cess Publishing (BMD and Set SenceASCAP) Rights cn beta of eMoore McLest Ptening in he word exuding Astral and New esana Anns by Wen Msi Pubs. ‘Rights on bena of MeMore McLesst Posing n Australia an New Zeon Anstey GaGe Mase ‘ARH Reserved UseabyPerisionReprted by prmsson ot Hal Leonard LLC 1ty DRUMS TECHNICAL FOCUS FLOAT 0 a Pec — J Pera) — L aor} it Saar) ere ol Cee my Cera ry > Cee ea LY (aibum) WORDS AND MUSIC: ISAAC BROCK, DANN GALLUCCI ERIC JUDY, BENJAMIN WEIKEL cor ere es Pree Modest Mouse have been going since 1992, formed by Isaac Brock vocals/quitan, ier Eric Judy (bass) and Jeremiah Green (drums) in Washington, Seattle. Former eo collaborator Dann Galluci joined the band on guitar for their fourth album, the 2004 commercial breakthrough Good News for People Who Love Bad News, nee Frontman Isaac Brock was inspired to write ‘Float On’ an ode to looking at the bright sie inthe face of disaster, following the death of two close friends and the temporary departure of Green from the band following a nervous breakdown. To a stomping rhythm, the song details a number of mishaps which are offset by the positive message of the chorus. The song's slow-burning success helped Good News for People Who Like Bad News sell over 15 milion copies in the US alone, and ‘Float (n’ topped the Biboard Modern Rock Tracks chart almost six months after its inital release. Catchy, humorous and optimistic, it has become the band's signature song ‘and was nominated for a Grammy Award for Best Rack Song in 2008, TECHNICAL FOCUS Two technical focus elements are featured inthis song: * Double snare hit + Semiquavers ‘This song features two variations ofthe double snare Rit. n bar 4 the double hit ison the two quavers of beat 4. In bars 20 and 36 itis anticipated on the second uaver of 3 and beat 4, Take care to differentiate between these and play them with precision. The chorus features some fast semiquavers on the hi hats. Keep these even and well synced with the ‘four on the floor’ bass drum pattern, aTECHNICAL FOCUS FLOAT ON uate soto Gace ERIC JUDY, BENJAMIN WEIKEL Verse| Indie Rock 95 (2 bars count-in) Verse’ {© 2004 SonyATV Music Publishing LLC Ut Csanow, Tech Msc and The Bet Oreste Chichen Town [Aight Aministre by Sonya Music Pubishing LLC, 428 Church Sted, Sut 200 Nasi TN 37219 Internationa Copyright Secure. Al Rohs Reserved Reorfe by permis ef hal Leonard LLC01 DRUMS eee MUSTANG : SALLY WILSON ae GKETT rere WORDS AND MUSIC: MACK RICE Rick Hall Gospeltrained, Alabama-born Wilson Pickett started out as lead singer of the Falcons, an REB vocal group, before signing to Atlantic Records and embarking on ‘a solo career. He hit it big in 1965 with the classic ‘in the Midnight Hour’ Mustang Sally’ was written by Pickett’s former Falcons bandmate Sir Mack Rice, who started writing the song as ‘Mustang Mama’ before Aretha Franklin suggested he change the ttle to suit the chorus. The song was recorded at FAME studios, converted tobacco warehouse in Muscle Shoals, Alabama, where Percy Sledge's classic ‘When a Man Loves a Woman’ was recorded, After Pickett finished his final vocal take, the tape recording the session flew off the reel and broke into pieces. Tom Dowd, the legendary engineer and producer, calmly cleared the room and pieced back together the tape that would become one of the funkiest anthems of the 60s by one of the greatest singers in southern soul history, 4 # PERFORMANCE TIPS Roger Hawkins is the drummer on the original version ofthis song, Jerry Wexl the producer who coined the term REB, called him ‘the greatest drummer in the world’. This song should be played with a confident relaxed feel. The bass drum part is quite busy, so don't play it too hard ~it should flow with the groove. Look ‘ut for the clean stop in bar 23 and the crescendo in bar 27, going from p tof with fan accent to finish In the final barMUSTANG SALLY snes AE RoE ee 100 (2 bars count-in) 8) ° (ray ” (a6) Pp —_————— ¢ © 1965 (Renewed 193) FOURTEENTH HOUR MUSIC and SPRINGTIME MUSIC NE. ‘Rights forthe Wor exclaing the US. and Canada Controes and distr by EMI MUSCPUBLISHNG LTD. A Rights Reservea International Copyright Secure. Used by Permission Reprinted by permission a Hal eonaré LLC "01 DRUMS eee §=SEVEN NATION — ARMY {ie eed Heber we = STR D WORDS AND MUSIC: JACK WHITE eee aE The married duo of Jack White (quitar/vocals) and Meg White (drums) formed the White Stripes in Detroit, Michigan in 1997, initially presenting themselves as, brother and sister. They released six albums between 1999 and 2007, during which time they made a huge impact on the rock scene and achieved global success. Released as the lead single from their fourth album, Elephant, the mighty ‘Seven Nation Army’ proved to be the song that broke the band worldwide after three {09-30 hit singles in the UK from their previous album. The famous riff was ‘composed at a sound check before a show in Melbourne, Australia. Jack White recalled to Rolling Stone: didn’t have lyrics for it until later on, and | was just calling it ‘Seven Nation Army’, that's what I called the Salvation Army when | was a id The riff consists of seven notes repeated in the same order throughout, made to sound ike a bass quitar by running White's semacoustic guitar through an effects pedal set down an octave, Appropriately enough the song reached No. 7 in, the UK, and the following year won the Grammy Award for Best Rock Song. #% PERFORMANCE TIPS Note the crescendo in bar 13-14 going from p tof; and be careful not to speed up ‘ong into bar 15. Notice that there is no hi hatin this song, so you will need to make sure that the floor tom, snare and kick are perfectly synced as these willbe clearly audible.SEVEN NATION ARMY wombs ano muse: 4k wie 20 (2 bars count-in) a I'm gonna fight sub. p [Instrumental refrain) dd dnd, did gas 1 ae © 2003 PEPPERMINT STRIPE MUSIC ‘Al Rights Administered by SONGS OF UNIVERSAL, NC A Rights Reserved Used byPermesion Reprinted by permission of Hal Leonard LLC ”01 HTK TECHNICAL FOCUS OT EAGT Oe ee D Cera WORDS AND MUSIC: ROBBIE ROBERTSON Cosette een The quintet of Robbie Robertson (quitar/vocals), Levon Helm (drums/vocals), Rick Danko (bass/vocal), Richard Manuel (piano/vacals) and Garth Hudson (keyboards/sax) backed Ronnie Hawkins as The Hawks before becoming Bob Dylan's band between 1965 and 1967. Their pivotal 1968 debut album as The Band, Music from Big Pink, proved to be hugely influential on many of the era's biggest artists. One ofthe distinctive characteristics of The Band wasits three lead vocalist, Manuel, Danko and Helm, who each take a verse of ‘The Weight" as well as, harmonising onthe song's chorus. The Weight’ reached No. 21 in the UK in 1968, {and in 1969 The Band performed the song on the final night of the legendary Woodstock Festival. In 2011 the song made the top 50 of Roling Stone's 500 ‘greatest songs of alltime, and at the 2013 Grammy Awards it was performed by Mavis Staples, Elton John, Mumford and Sons, the Zac Brown Band, T Bone Burnett and Alabama Shakes’ Brittany Howard, in tribute to Helm who had ded the previous 4 TECHNICAL FQCUS Two technical focus elements are featured inthis song: + Push note * Counting Moke sue you count the push nate onthe second quaerof bar 1. You wil nee to fel the placing of beat 2 to keep your place inthe song. Lookout forthe bra he ao lt! end ofthe chorus, which wil requir careful counting.TECHNICAL FOCUS, THE WEIGHT wonos avo Wise ROBIE OEETon Folk Rock /=74 (2 bars count-in) Verse! cont. sim. FILL nf (©1968 owar Muse. Copyright Renewed [ARightsAamnstred by SOnyATV Mus Pbtshng LLC 424 Che Street, ute 200, Nash, TN 37219 Internatann Copyiht Secures. Al Rights Resered Reprinted by permiston of ol Leonard LLC aYOUR PAGE NOTES 2NE DRUMS TECHNICAL FOCUS U PT 0 W N ae FUNK ae MARK RONSON wi Pod rear. BRUNO WARS een WORDS AND MUSIC: MARK RONSON, JEFF BHASKER, BRUNO MARS ee PHILIP LAWRENCE, NICHOLAS WILLIAMS as DEVON GALLASPY, LONNIE SIMMONS Cand RONNIE WILSON, CHARLES WILSON A Abaca ROBERT WILSON, RUDOLPH TAYLOR ‘Mark Ronson is an English musician, producer, songwriter and D, schooled in hip-hop, REB, funk, soul, pop and rock. He came to prominence in the 2000s with his productions forthe likes of Lily Allen, Christina Aguilera and Amy Winehouse ‘alongside his own highly colaborative solo output. Deeg Pon een Peet This exuberant homage to the 1980s electro-funk sound of Prince and The Time was cord written and produced by Ronson with Jeff Bhasker and Bruno Mars, who provides the lead vocal as well as playing drums on the track. It follows the success of the trio's previous collaboration on Mars's 2012 ‘Locked Out of Heaven’, which reached 'No.1in the US. The song took over a half a year to complete, with 82 takes on the guitar part alone. it became the bestselling single of 2015 on both sides ofthe Atlantic, topping the charts for '4 consecutive weeks in the US and a total of seven weeks in the UK. It won three Grammy Awards, including the prestigious Record of the Year, as well as the Brit Award for British Single ofthe Year. The video received itsillonth view on YouTube in September 2015, becoming YouTube's third most watched video in history. TECHNICAL FQCUS Two technical focus elements are featured in tis song: ‘Timing withthe backing track Even crescendo In this arrangement, watch out forthe horn hits starting in bar 32, The snare drum plays semiquavers exactly in time withthe horns (trumpet, saxophone, trombone), so timing with the backing track is crucial here. Take care to play even quavers in bars 25-28 to create a wellgradated and even crescendo. aTECHNICAL FOCUS WORDS AND MUSIC: UPTOWN FUNK ee eae RONNIE WILSON, CHARLES WILSON, ROBERT WILSON, RUDOLPH TAYLOR Solid += 110 This hit. 5B ® © 2014 Mars ere Musle/Woy Above Musk Sony Song L/W 8 Music Cop/Thaw Art The Hunaet/ ‘engs MrSorWATV Balaa/Sengs Of Zta/22R Muse LLC Publishing LLC naa Pubsting/imagem Music BVIBMG Ory ona Mase Plshing/ Unveral/MCA Music Litea/BMG Rights Management (UX Limited! nape Music Warner/chapel Nort Ameria Limited /Songs Muse Publishing LLCiNew Songs Adminstration Limited 2 ‘An Rights Reserved nteratonal Copyright Secured21 Girls hit you halletuiah. Girls hit you hallelujah (4)HELP PAGES CHOOSING SONGS FOR YOUR EXAM SONG 1 ‘Choose a song from this book SONG 2 Choose a song which is Either a different song from this book or from thelist of additional Trinity Rock & Pop arrangements, available at trinityrock.com or from a printed or online source fr your own arrangement fra song that you have written yourselt ‘You can play Song 2 unaccompanied or with a backing track (minus the drum part) f you like, you can create a backing track yourself (or with friends), add your own vocals, or be accompanied live by another musician. “The level of dificuty and length of the song should be similar to the songs in this book and match the parameters available at triityrock.com When choosing a song, think about: ‘© Does it work on my instrument? ‘Are there any technical elements that are too difficult for me? (If so, perhaps save it for when you do the next grade) ‘+ Dol enjoy playing it? ‘+ Does it work with my other songs to create a good setlist? SONG 3: TECHNICAL FOCUS ‘Song 3is designed to help you develop specific and relevant techniques in performance. Choose one ofthe technical focus songs from this ‘book, which cover two specific technical elements. SHEET MUSIC It your choice for Song 2 is not from this book, you must provide the examiner with a photocopy. The tite, writers of the song and your name should be on the sheet music. You must also bring an original copy of the book, or a download version with proof of purchase, for each song that you perform in the exam. Your music can be: * lead sheet with lyrics, chords and melody line + Acchord chart with Iyries *Afull score using conventional staff notationHELP PAGES PLAYING WITH BACKING TRACKS All your backing tracks can be downloaded from soundwise.co.uk * The backing tracks begin witha cick track, which sets the tempo and helps you start accurately + Be careful to balance the volume of the backing track against your instrument ‘+ Listen carefully tothe backing track to ensure that you are paving in time It you are creating your own backing track, here are some further tps: ‘+ Make sure thatthe sound quality is ofa good standard + Think carefully about the instruments/sounds you are using on the backing track + Avoid copying what you ae playing inthe exam on the backing track - it should support, not duplicate + Doyouneed to include a click track at the beginning? COPYRIGHT IN A SONG It you are a singer, instrumentalist or songwriter itis important to Know about copyright. When someone writes a song they aut ‘own the copyright (sometimes called ‘the rights}. Copyright begins once a piece of music has been documented or recorded ( or score notation) and protects the interests ofthe creators. This means that others cannot copy it, sellit, make it available. without the owner's permission or the appropriate licence, COVER VERSIONS When an artist creates a new version of a song it is called a ‘cover version’ video, CD 1 oF record it + The majority of songwriters subscribe to licensing agencies, also known as ‘collecting societies’. When a songwriter is a member of such an agency, the performing rights to their material are transferred to the agency (this includes cover versions of their songs) * The agency works on the writer's behalf by issuing licences to performance venues, who report what songs have been played, which inturn means that the songwriter will receive a payment for any songs used * You can create a cover version of a song and use it in.an exam without needing a licence ‘There are different rules for broadcasting (e9 TV, raio, internet), selling or copying (pressing CDs, DVDs ete), and for printed material, and the ‘appropriate licences should be sought out.DRUM LEGEND Drum kit notation can vary between different publishers and arrangers. The key below is used throughout this series and Is becoming more consistently used. k+ ko 2 7 Ride cymbal Hi hat Hi hat Closed Open Crash cymbal with foot Hi hat Hi hat. — = = = f= High tom Mid tom ‘Snare drum Floor tom Bass drum He \ 4 : # . Ride bell Cowbell Cross stick Buzz roll On the rim Ghosted note 8