rockschoo '

Performance pieces, technical exercises and in-depth guidance

for Rockschoolexaminations
Acknowledgements

Published by Rockschool LtcL O 2012

Catalogue Number RSK051220
ISBX: 978-1-908920-19-5

AUDIO
Recorded at Fisher Iane Studios
Produced and engineered by Nick Davis
Assistant engineer and Pro Tools operator Mark Binge
llixed and mastered at Langlei Studios
llixing and additional editing by Duncan Jordan
Supporting '1'ests recorded by Duncan Jordan and Kit Morgan
Mastered by Duncan Jordan
Fxecutive producers James Uings, Jeremy Ward and Noam Lederman

MUSICIANS
James Arben, Joe Bennett, Jason Bowld, Larry Carlton, Stuart Clayton, Andy Crompton, Neel Dhorajiwala, Fergus Gerrand,
Charlie Griffiths, Felipe Karam, Kishon Khan, Noam Lederman, DJ Harry Love, Dave Marks, Kit Morgan, Jon Musgrave,
Jake Painter, Richard Pardy, Ross Stanley, Stuart Ryan, Carl Sterling, Henry Thomas, Camilo Tirado, Simon Troup,
James Uings, Steve Walker, Chris Webster, Norton York, Nir 7.

PUBLISHING
Fact Files written by Luke Aldridge, Jason Bowld, Neel Dhorajiwala, Stephen Lawson, Noam Lederman and David West
Kalkthroughs written by Noam Lederman
llusic engraving and book layout by Simon Troup and Jennie Troup of Digital Music Art
Proof and copy editing by Noam Lederman, Claire Davies, Stephen Lawson, Simon Pitt and James Uings
Publishing administration by Caroline Uings
Cover design by Philip Millard

SYLLABUS
Syllabus director: Jeremy Ward
Instrumental specialists: Stuart Cla)ton, Noam Lederman and James Uings
Special thanks to: Brad Fuller and Georg Voros

SPONSORSHIP
Xoam Lederman plays Mapex Drums, PAISTE cymbals and uses Vic Firth Sticks
Rockschool would like to thank the following companies for donating instruments used in the cover artwork

PRIITING
Printed and bound in the United Kingdom by Caligraving Ltd
CDs manufactured in the European Union by Software Logistics

DISTRIBUTION
Fxclusive Distributors: Music Sales Ltd

CONTACTING ROCKSCHOOL
inni;rockschoot.co.uk
Telephone: +44 (0)845 460 4747
Fax: +44 (0)845 460 1960
Table of Contents

Introductions & information

Page

2 A c knowledgements
3 T able of Contents
4 W elcome to Rockschool Drums Grade 1

Rockschool Grade Pieces

CD Full Afix C D Backing C DBacki ng
Page n o Click wi th C l i ck

5 Kaiser Roll 2 3
9 Bend And Snap 4 5 6
13 Jangle Road 8 9
17 West Coast Rollin' 10 11 12
21 Deep Trouble 13 14 15
25 Munky Fusic 16 17 18

Technical Exercises

Page CD Track

29 Rudiments & Fill 19

Supporting Tests

Page CD Track

30 Sight Reading
31 Im p r ovisation & Interpretation 20
32 Ear Tests 21-23
33 General Musicianship Questions

hdditional information

Page CD Track

34 Entering Rockschool Exams

35 D r ums Grade 1 Marking Schemes
36 D r um Notation Explained
37 D r ums Grade 2 Preview 24
Welcome to Rockschool Drums Grade 1

Wdcome to Drums Grade 1

Welcome to the Rockschool Drums Grade 1 pack. I'his book and CD contain everything you need to play drunis at this
grade. In the book you will find the exam scores in drum notation. The CD has full stereo mixes of each tune, backing tracks
to play along to for practice and spoken two bar count-ins to both the full mixes and backing track versions of the songs.
There arc hvo backing tracks of each song: one with a click and one without. You can choose which one to play along with in
the exam.

Drum Extuns
At each grade, you have the option of taking one of hvo different t>~ of examination:

• Grade Eaun: a Grade Exam is a mixture of music performances, tcchnical work and tests. You prepare three pieces
(two of which may be Free Choice Pieces) and the contents of the Technical Exercise section. 'I'his accounts for 7596
of theexam marks. 'I'he othcr 2596 consists oF.either a Sight Reading or an Improvisation 8c Interpretation test (1096),
a pair of instrument specific Fm Tests (1096) and finally you will be asked five General Musicianship Questions (596).
The pass mark is 6096.

• Performance Certificate: in a Performance Certificate you play Five pieces. Up to three of these can be Free Choice
Pieces. Fach song is marked out of 20 and the pass mark is 6096.

Book Contents
I'he book is divided into a number of sections. These are

• Exam Pleces:in this book you will find six specially commissioned picces of Grade I standard. Each of these is
preceded by a Fact File. Fach Fact File contains a summary of the song, its style, tempo, key and technical features,
along with a list of the musicians who played on it. There is additional information on the tcchniques and style
as well as recommended further listening. The song itself is printed on two pages. Immediately after each song is
a N'alkthrough. This covers the song from a performance perspective, focusing on the technical issues you will
encounter. Fach Walkthrough features two graphical musical 'highlights' showing particular parts of the song. Each
song comes with a full mix version and a backing track Both versions have spoken count-ins at the beginning. Please
note that any solos played on the full mix versions are indicative only.

• Technical Exerdses: you should prepare the exercises set in this grade as indicated. There is also a Fill test that should
be practised and playcd to the backing track

• Supporting Tests and General Musicianship Questions:in Drums Grade I there are three supporting tests —either
a Sight Reading or an Improvisation fk Interpretation test and hvo Ear 'I'ests — and a set of General Musicianship
Questions (GMQs) asked at the end of each exam. Examples of the h~ o f tests likdy to appear in the exam are
printed in this book. Additional test examples of both types of test and the GMQs can be found in the Rockschool
Compwion Guidc 'lb Drums.

• Grade 2 Preview: we have included in this book one of the songs found in the Grade 2 Drums book as a taster. 1'he
piece is printed with its Fact File and Walkthrough, and the full mix and backing tracks can be found on the CD.

• General lnformation: finally, you will find information on exam procedures, including online examination entry,
marking schemes, and what to do ivhen arriving, and waiting, for your exam.

We hope you enjoy using this book You will find a Syllabus Guidefor Drums and other exam information on our website
ivini.rockschooLco.uk. Rockschool Graded Music Exams are accredited in England, Wales and Vorthern Ireland by Ofqual,
the DfE and CCEA and by SQA Accreditation in Scotland.
 SONG TITL~ K.GPZ ROLL
GEZRQ V ' .3I = ROCK
115 ~;
FMTURER " R 4SH HITS
O~ H I - % 4T
~ IOVING '~~ Q i3 A IS
X )~PCSER: I'OQ! L Q ~ ' 4 ~ '
~O m ~ STU .Vm meI (GTR)
THOI e P.eS)
NO.QI L DHP'4Ã (DRlPS/
USSICI
O ~V V V
'Kaiser Roll' is written in the style of mod­
influenced British indie groups including Blur, Kaiser
Chiefs and Ocean Colour Scene. It should be played
with the energy of rock and its techniques include
open hi-hat and moving between cymbals.
STYLZ PE;US
This style of drumming takes its lead from
mod music of the late 1970s and early 1980s. hIod
drummers had more fi nesse than their punk peers
and looked to the grooves of northern soul for
inspiration. Rick Buckler of The Jam could power a
track like "A' Bomb In Wardour Street' with as much
energy as a punk drummer, but he could easily groove
like a Motown drummer on songs such as 'Town
Called Malice'. Steve White, who played with Paul
Weller in The Style Council and later solo, is a master
of soul and R8tB influenced rock who frequently uses
accents on his hi-hat to add a pulse to his grooves.
T HE 3I~ PI ' T U RZ
Fven though their music was faster and tougher,
The Jam were inspired by their forefathers The Who,
J = 115 Indie Rock
The Small Faces and The Kinks. Later in the band's
career, their music had a touch of northern soul
as well as punk as their catchy, guitar driven songs
boasted memorable hooks and driving drum beats.
The Jam's frontman Paul Weller turned his back on
the mod scene when he formed 'I'he Style Council,
only to return to the fold in the 1990s with acclaimed
albums N"tldWood(1993) and Heavy Soul(1997).
'I'he Kaiser Chiefs picked up where The Jam ended
with a sound dominated by crunchy guitars. Later,
the band replaced their punk influences with pop
sensibilities inspired by the great British bands of the
1980s, especially Madness.
RWB J M EO I Z K .N I N G
The Kaiser Chiefs' debut albumEmployment
(2005) boasts two standout songs: 'Oh My God'
and 'I Predict A Riot'. For Motown-influenced mod
drumming, listen to Rick Buckler on the The Jam's hit
'Town Called Malice' from their final albumThe Gift
(1981). Weller's albumStanley Road (1995), featuring
the single 'The Changingman', is a mod classic with
drumming from Steve White. Lastly, Ocean Colour
Scene's 'The Day We Caught The 'I'rain' is a good
example of this style from indie's Britpop era.
Kaiser Roll Tracks 1, 2 & 3

Noam Lederman

~=115 Indie Roc+

A

0 Copvight 20) 2 Rock S~ L t d .

0 Copvright 2012 Rock School Ltd.
Walkthrough

A Section (Bars 1-12)
This is thc A section of the piece which, in most rock songs,
is referred to as thc vcrsc. Thc groove is introduced straight
away with eighth note hi-hats, backbcat snare and a varied
bass drum pattern. 'I'he open/closed hi-hat is added from
bar 9 and there is a snare/bass drum fill in bar 12.
Bars 1-4 I Groove
The snare and bass drum pattern follows thc guitar riff, so
pay attention to what is playcd on the track Isolating each
beat and focusing upon the bass drum pattern is a good
starting point when working on this scction. On beat one
there are two consecutive bass drums to play. Remember
that these must bc performed evenly and, as long as you
focus on thc balance and do not stop the natural bounce of
the bass drum beater, this should be achieved.
Bar 1 ) Quarter-note rest
In the third beat of the bar thcrc is a quarter-note rest. This
means that nothing will be played at the bottom part of the
stave. However, the hi-hats notated above the rest should
be played. Thesc will also help you maintain a steady and
consistent pulse.
pattern, which include.' tour eighth notes followed by a
quarter note. 'I'herc are iwo sticking options for this snare
fill: alternatc sticking starting with your leading hand (R L
R L R) or play all stroke»with your leading hand (R R R R
R). Whichever sticking option you decide to use, ensure that
the rh)Nms are accuratc and co-ordinatcd well with the bass
drum (Fig. 2 with hvo sticking options).
B Section (Bars 13-20)
I'his is thc sccond section of the piecc, usually referred to as
the chorus in rock music. 'I he groove is played on the ride
c)mbal with a few crash c)mbal hits.
Bar 13 ~Crash cymbal
The first cymbal note in this bar indicates the crash cymbal
should be played. Co-ordinating the crash with the bass
drum is an important and useful skill for every drummer.
Bar 13 ~Ride cymbal
Apart from the crash hits, all the cymbal notes in this section
tell you that the ride c)mbal should be played. I'he ride
will replace the natural part of the hi-hat in the groove and
should be played with accuracy and in unison.

Bar 5 ( )Vote values Bar 20 ~Crashing

There are two rhythmic note values used in this bar: quarter In this bar, therc are two crash hits played with the bass
notes and eighth notes. Remembcr that quarter notes are drum. These are placed on beats one and three with quartcr­
countedas"I 234 and eighthnotesas"I &2 & 3 &4 &". note rests in bctween. 'I'o cnsure you perform the crash
and bass drum in unison, hit the crash with conviction and
Bar 9 ( Open hi-hat continue to count the bcats during the rests.
The small circle above the hi-hat note means that the hi-hat
should bc played in the open position. This open hi-hat
sound is created by loosening the hi-hat pedal and hitting
the hi-hat at the same time. In order to play open hi-hat in
timc you will need to co-ordinatc the movement of your
hi-hat foot with your hand that plays the hi-hat. Your hi-hat
foot should stay in contact with the pedal because removing
it iiN affcct your posture, balancc and timing. Avoid leaning
backwards, sideways or forwards (Fig. I).

Bar 10 ( Closed hi-hat

Fig. i: Opcn hi-hai
The '+' sign above the first hi-hat note indicatcs the hi-hat
should be played in thc closcd position. This is achievcd
by pressing the hi-hat pedal down with your foot and
tightening thc hi-hat c)mbals. As with the open hi-hat, you
will still need to hit the hi-hat with your hand at the same
time. 'I'his movcment must be timed well or else the closcd >) R L R L R
(b) R R R R R
hi-hat will still sound like an opcn (or half open) hi-hat.

Bar 12 ~Snare and bassf ill

In this bar, thcre is a drum fill that indicates the end of the
A scction and the beginning of the 8 section in bar 13. 'I'he
bass drum plays three consecutive quarter notes and rests
on beat four. This needs to be co-ordinatcd with the snare
 SCNG TITI~ ~ D .Q;D SNAP
~;RL P CP
TVPC ll 3 3P !':
P 4TURM ' 3ASS DRUY; VARIATIOIIS
S.".ARZ DRU.'iVARIATIONS
RID P .3AI GROOV­
X )liPO~ ~ & R P.;T I 'iT
~ C . '.
~O F N '.W F O AYi I DER'AN(DRViS)
JON IZSGRAV­ (PROD)
O ~V V V
'Bend And Snap' is a pop track written in the dance
floor friendly st)0e of artistslike Lady Gaga, Madonna
and Rihanna. The song features bass and snare drum
variations and a ride gmbal quarter-note groove
among its techniques.
Modern pop is influenced extensively by the many
permutations of dance music from soul to Kn'B and
hip hop. In the studio, most drumming on a wide
range of pop artists' singles and albums comes from
samplers and sequencers, but when these artists go on
tour they often prefer to have live musicians on stage,
even if only to serve the purpose of creating the visual
impact of a real band. The beats are neither complex
nor fancy, so concentrate on keeping thc groove
steady and making your drums sit in the pocket.
It is the job of a pop drummer to give the singers a
rhythmic platform upon which to perform.
TH 3I ~ PI " TL 'RZ
Michael Jackson and Madonna wcre the respective
King and Queen of pop in the 1980s and 1990s,
J =>>3 Pop
and both artists have drawn inspiration from dance
music throughout their careers. Aiadonna brought
an obscure dance fad from the 'Xew York clubs to
the world vrith her hit 'Vogue', and her constantly
morphing image paved the way for the visual excesses
of I~dy Gaga.
Modern pop is the domain of the producer. The
legendary Quincy Jones masterminded Jackson's
record breaking albumsOf 'I'helt'ull (1979) and
Thriller (1982), the latter of which is the biggest­
sclling album of all time. Producers like Jones do use
samples but they also call upon the services of top
session drummers. For example, John 'JR' Robinson,
the late Jeff Porcaro and the versatile Josh Freese.
These players play in the pocket with superb feel and
never play a note more than is neccssary for the song.
R CI2. hD D IZF-I'.IhG
The Fame(2008) by Iady Gaga spawned the hits
'Just Dance' and 'Poker Face', which exemplify modern
dance pop. The Saturdays have also caught thepublic
ear with their take on electro pop, and their single
'Higher' tipped its hat to the sounds of Iady Gaga
and Rihanna. For a global perspective, try Korean
pop group Girls Generation and their Lee Soo llan
produced single 'I'he Bois'.
Bend And Snap We
Tracks 4, 5 & 6

Peter Huntington

r = 1 13 Pop

i Coplvight 2012 Rock School IM

 0

4' ~ T ( ght 2012 Rodc School Lld. 1his musk is cnprright, Photocopying is iUegaL
Walkthrough

A Section (Bars 1-4)
'I'he A section uses a breakdown type groove that leads to
the full groove in bar 5. In bar 4, there is a break on beat one
that is followed by a snare drum filL
Bar 1 ~ Breakdown groove
is groove consists of eighth notes on the hi-hat and a
crash on the first beat. The bass drum plays on beats one
and three as well as the offbeat of the third bcat. Playing this
groove accurately and with a secure pulse requires practise.
ride until you achieve a consistent pulse before putting it
together with the snare and bass drum pattern.
Bar 14 ~Ogvat bass drum
On beat three, there is an eighth-note rest followed by an
eighth-note bass drum. The bass drum is played on the
'&' ofbeat three, the offbeat. Co-ordinating this with the
quarter note hi-hat may be challenging at first. Counting all
theeighth notesinthebar("I & 2 & 3 & 4 & " ) and usinga
metronome should solve this.

Bar4 ( Break
In this bar there's a break of one and a half beats after the
initial snarc/hi-hat/bass drum hit. Count all the eighth notes
in the bar and strike the snare on the offbeat of the third beat
with comiction (Fig. I).
D Section (bars 21-28)
This begins with a four-bar breakdown groove then develops
to a full groove from bar 25. The rhythmic phrase in bar 28
is played with the hi-hat, snare and bass drum.

Bar 26 ( Open hi-hat

B Section (Bars 5-12) This is the only open hi-hat in the piece but the same
This is the first main section of the song, usually referred to principles apply. Your hi-hat foot should stay in contact with
as the verse in pop music. The groove is played on the hi-hat thc pedal in order to maintain your posture, balance and
with some snare and bass variations. timing. Avoid leaning backwards, sideways or forwards.

Bar 5 ~Crash on beat one Bar 28 ( Ending phrase

Playing the crash c>mbal on the first beat of this bar
indicates the beginning of a new section. The crash is played
with a bass drum in order to make this statement more
pronounced. Focus on moving your right hand in the most
efficient way, ensuring it is prepared to play the cymbal
indicated when neede(L Co-ordinating the crash and bass
drum accurately ii% lead to a more convincing opening to
the section.
This is a musical interpretation of the rh)~ ic p h rase the
other instruments play. The hi-hat plays the first four eighth
notes in the bar then rests on beats three and four. l'he bass
drum plays on the first and fourth eighth notes, and the
snare plays on the second and third eighth notes. The half
note (minim) rest on the third and fourth beats applies to
both parts of the stave, so the offbeat of the second beat is
the last note you have to play.

Bars 5-12 ~Snare / bass drum variations

I'he basic pattern that was introduced in bar 5 continues
to develop and vary throughout the section. Try practising
the snare/bass pattern without the cymbals and ensure all
rhythmic values are accurate. When you feel ready, add the
iqmbals and play along with the track or a metronome.
count ( Al ( 2( (Q gi I a

C Section (Bars 13-20) Fil. 1: Break

This is the second main section of the song, which is mostly
referred to as the chorus in pop music. The groove here
is played on the ride cymbal, which continually changes
between quarter notes and eighth notes. Bar 20's drum fill
indicates the end of this section and the beginning of section
I) in bar21.

Bar 13-18 ~Ride cymbal

Apart from the crash hits, all the cymbal notes in this section
indicate that the ride c)mbal should be played. The ride
nmbal pattern changes rhythm every bar, from eighth notes
to quarter notes and vice versa. Practise this pattern on the
 SONG TITL~ JANGLE RCAD
CZK~ R CCK 9" ROLL
~i P CC l 15 3R!

F 4TVRM DOU3LE-SNARE 3- 4T
SIh!PLE 3R- QZ
SHARE FILLS

C OhlPO~ ~ Y THOh ' 4 S

P~ om ~ ST UART RYAH (GTR)

Y THO."4S (3ASS)
N OAh! LDW' 4 Ã (DRUh5/
~ U S SIOÃ)
h '4RTIH KH~ T (VCCALS)
ROSS STAKL Y OKYS)

T HE HI~ PI ' T U RE

'Jangle Road' is a rock 'n' roll track in the style of
1960s groups such as The Beatles and The Byrds, as
well as legendary surf rockers like Dick Dale.'1'he
track features simple breaks and syncopated snare hits
among its drum techniques.
STYLE FOCUS
'Jangle Road' harks back to the middle of the 1960s
when The Byrds and others took rock 'n' roll and
balanced it with a touch of folk, 12-string guitars,
increasingly psychedelic lyrics and catchy melodies.
The Beatles put their own Mersey beat spin on
American rock 'n' roll while The Shadows lit up the
charts with their guitar based instrumentals.
Drummers like The Beatles' Ringo Starr were
inspired by R&B, drawing upon the blucprint of
New Orleans session legend Earl Palmer who cut
dassics with everyone from Fats Domino and l.ittle
Richard to Frank Sinatra and Glen CampbelL '1'his
musical style can be heard in the double snarc hits in
'Janglc Road', induded to give the track a lilt that was
common in early 1960s rock 'n' roll and surf guitar
music. The breaks are simple and act as a form of
punctuation between verses and choruses.
In the 1960s, The Beatles, The Rolling Stones and
The Animals fell in love with American rock 'n' roll
and R&B, which they then exported back to America
in what became known as The British Invasion.
The music was deaner and less raw than that of the
original R&B performers, therefore making it more
radio friendly. As The Rolling Stones and The Beatles
dominated the charts in both Britain and America,
and wrote more of their own matcrial, the music
developed a distinct sound and identity.
Soon after, American bands and artists like '1'he
B)vds and Bob Dylan were exchanging ideas with
their British counterparts, encouraging them to
explore new vistas in their playing. Ultimately, the
most important facet was that these drummers each
kept good time and played danceable beats.
hihWII) D LISTVM G
The Byrd's debutMr 'lambourine Man (1965)
features the iconic title track '1'he Beatles' early output
includes a host of great songs that mix rock 'n' roll,
R&B and pop.
For example, 'Please Please Me' and
'Love Me Do'. Also, listcn to Dick Dale's dassic surf
rock tracks 'Let's Go Trippin and 'Take It Off'.
 Qo
Jangle Road Tracks 7, 8 8r 9

Henry Thomas

e=115 Rork 'n'Roll

A

nn

n31

: (.i~vight K>2 Rock School Ud.

 0

4'. Copyright 2012 Rock School IM 1 hls mllac 5 cop)Tlght. Photocop 1. < . r . : i
Walkthrough

A Section (Bars 1-4) Bar 20 ~Snare and bussfill

The A scction utilises a catchy musical rh)thmic phrase that
servcs to lead into the full groove that begins in bar 5.
Bar 1 ( Counting the beats
In order to play this rhythmic phrasc accurateiy, you will
ntvd to count the beats and rests in the bar. Start by counting
all the eighth notcs and tapping the following rhtthm on the
snarc: '1 rest & 3 4'. lVhcn it feels comfortable, move it to the
kit and play the tiTittcn voicings. Remember to play thc bass
drum and ride cymbal trith reliable co-ordination and place
the snare drum exactly on beat four (Fig. I).
Bar4 ~ Brcak
A similar concept applies in bar 4. However, there is a break
ot'ttso quarter notes in the middle of the bar. Play the bass
drum and nash on the first beat, count and rcst on the
sccond and third and, finally, play the quarter-note snare on
the Iourth bcat.
B Section (Bars 5-20)
This is the main section, which brings into play a rock 'n' roll
groovc with many bass and snare drum variations.
Bar 5 ( Crush on beat nne
Plaring thc crash cltnbal on the first beat of this bar
indicates the beginning of a new section. The crash is played
irith a bass drum in order to make this statement more
pronounccd. Focus on moving your right hand in the most
efficient way, ensuring that it is prepared to play the ntr)bal
indicated when needed. Co-ordinating the crash and bass
drum accurately trill proride a solid and conrincing opcning
to this section.
The drum fill in this bar indicates the end of the B section
and the beginning of the C section in bar 21. The bass
drum and ride cltnbal play on beat one and the snare plays
thc following rhphmic phrase 'rest 2 & 3 4'. You should
count the eighth notcs in the bar in order to undcrstand the
rh>thmic values used.
C Section (Bars 21-33)
'I'he last section of the song features a rock 'n' roll groove on
the hi-hat, a one backbeat groove and the same rh)thmic
phrase that was used in section A.
Bars 27-29 ~ One backbcat groove
In thcse bars, there is only one backbeat per bar, which
should be played on the fourth beat. When plapng grooves
with only one backbeat, you might feel as if the groove slows
down and begins to lose its intensity. However, the tempo
docs not change. This is simply a rhythmic illusion created
by plapng less backbeats.
Bars 30) Closing the hi-hat
Sometimes you will have to ciosc thc hi-hat irith your foot,
but instead of playing the hi-hat with your hand at the same
time simply hit a different cymbal. In this particular case, the
'+' above the ride cymbal note indicates that the ride needs
to be played and co-ordinated with closing the hi-hat with
your foot (Fig. 2).

Bar 5 ~hfovi)tg brtween cymbals

The ability to move your hands accurately between the COunt ) ( S) (2) ar 3 (Ll 4 (s)
nttibals is integral to drumming. Ensure that the hi-hat, 1 rest S 3 e
ride, and crash are set in the most comfortable way so that it
iseasy for you to reach and move behveen them. Fig. i: C~nting the beats

Bars 5-19 ( Snare and bass vririations

The basic pattern introduced in bar 5 continues to develop
and vary throughout the section. Try practising the snare
and bass pattern without the cymbals and ensure that all the
o pen do s ed
rhphmic valucs arc accurate. When you feel ready, add the h i-het hi- h et
cymbals and play along with the track or a metronome. 0 +

Bar 6 ( Quarter-notc rcst

In the third beat of the bar thcre is a quarter-note rest.
This means that nothing will be played at the bottom part
of the stave. Howcvcr, the ride cltr)bal notated above the
rest should be playecL This trill also help you to maintain a Fig. 2: Qosing the hi-hat
steady and consistent pulse.
 SO~;G TITL= lPST X)AST ROLLIF,'
~R ~ HI P H OP
TV!PQ 9 r 3PY.
~~.. F- 4TURM STROFG 3A"1HEAT
0~ ' . W - K 4TS
SFAR- 3RV.'; 7ILLS
XC5'OSW: ~ 3HO R Q IWAL4
P~ OX~~ i~ 3 HOR Q ZWAL4 (PR03)
1IO.Q. LW~" 4"; (DRU? IS)
~V TV t f
'West Coast Rollin is a hip hop track in thc G-funk
sh le popularised by artists like Dr Dre, Snoop Doggy
Dogg and Warren G. It has a solid yet chilled out
backbeat fccl and features open hi-hats, snare drum
fills and other techniques.
STYLZ PCCUS
F~ly G-funkborrowed from thc feelofGeorge
Clinton's P-funk, especially the basslines of later
Parliament and Funkadelic records. These synth­
laden bass sounds formed a rich, full sound which,
when coupled with eighth-note feel instrumentation,
gives this style the core of its groove. Beats two and
four (the backbeat) routinely have the usual snares
layered with hand claps to create a bigger sound and
place more emphasis on these beats. It is not unusual
for thc drum part to play a solid backbeat feel for the
majority of the track and to use fills sparingly.
T H- 3I ~ PI " T U R ­
The West Coast hip hop scene, of which G-funk
was a part, differed from that of America's East Coast.
From lus Angeles to San Francisco's Bay Area, late
3= 95 Hip Hop
1970s funk and 1980s electro funk held e i ay, whereas
in New York (the birth place of hip hop) producers
were more likely to sample jazz or early funk records.
West Coast producers likc Dr Dre and DJ Quik
pioneered the signature G-funk bounce and began
to move away from sampling towards the use of
livc musicians who would generate new grooves or
replicate loops sampled from old records. G-funk
continues to influence contemporary artists including
50 Cent and Mann, whose single 'Buzzin" was an
international hit and, in its sampling of Xu Shooz'
'I Can't Wait', a throwback to the classic West Coast
production style.
R O."P~ ;3 - 3 LZST '.B;G
Dr Dre's classic solo album 1he Chronic (1992)
was G-tunk's first major release. Thc tracks 'Dre
Day', Nuthin' But A G Thang' and 'Let Mc Ride' are
essential listening. Dre also produced Snoop Dogg's
controversial debut Doggstyle (1993), which brought
G-funk to the mainstrcam. 2Pac Rgan his carcer
as a member of Digital Underground and is a key
figure. 1995's Me Against Tlte l4'ortdwas popular
with an audience bcyond G- funk's native Wcst Coast.
ll'arning: these rccords nia> contain coiiteiit that is
unsuitablefor children.
West Coast Rollin' We
Tracks 10, 11 & 12

Neel Dhorajiwala

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Walkthrough

A Section (Bars 1-8) the following rhythmic phrase "1 & rest & 3 4". Count the
'I he first section of this piece features a basic hip hop groove. eighth notes in the bar in order to understand the rhythmic
There are consistent eighth note hi-hats, with occasional values and rest that are used. When playing phrases like this
open/closed marks, backbeat snare, a straight bass drum one on the drum kit it is recommended to experiment with
pattern and one crash c)mbal hit in bar I, different sticking options until you find the one that works
best for you. In order to develop reliable hand technique,
Bar1 ~ Crash on beatone try using the following sticking: R I. rest L R L Alternate
Drummers employ this technique frequently so it is worth sticking such as the one suggested here will help you to
practising it until it becomes second nature, You must play develop a more accurate and even single stroke roll. (See
the crash cymbal and bass drum in unison while ensuring Fig. 2 for sticking example.)
accurate timing and secure co-ordination. The crash and
bass drum hit on beat one generally indicates the start of a C Section (Bars 17-25)
neiv section (Fig. 1). This is the reprise of the A section and the groove features
crash cymbals and open/dosed hi-hats. The drum part in
Bar 4 ~ Open hi-hats on oflbeats bars 24 and 25 follows the rhythms played on the backing
In order to produce a solid open hi-hat sound you will track by the other instruments.
need to co-ordinatc your hi-hat foot movement with your
hand that plays the hi-hat. In this bar the open hi-hats are Bars 24-25 ( Ending phrase
played on the oAbeats of beats three and four (the offbeat The rhythm of this phrase is straightforward: six consecutive
is the second eighth note of each beat, which is generally quarter notes are played and followed by a rest on the final
counted as "&"). The hi-hat should be played as closed in the two beats. In bar 24 all four quarter notes are played with the
tollowing eighth notes, so co-ordinate the movement of your bass drum and open hi-hat, and in bar 25 both quarter notes
hi-hat foot with the bass drum, which needs to be played at are played with the bass drum and crash cymbal. Apart from
the same time. When working on this technique it is vital maintaining a consistent open hi-hat sound and keeping
that you remember this principle in order to achieve a solid your posturebalanced, you need to focus on moving your
pulse, your body should remain balanced; therefore, avoid hand in time between the cymbals.
leaning backwards, sideways or forwards.
Bars 24-25 ( Moving between kit parts
Bar8 ( Fill The ability to move your hands accurately between the
In bar eight there is a snare fill of four consecutive eighth drums and cymbals is integral to drumming. Fnsure that
notes. There are a few sticking options for you to choose your drum kit is set in the most comfortable way so that it is
from: singles (RRRRor LL L I.); alternate(RL R Lor L easy for you to reach each part of the kit.
R L R); or doubles (R R L L or L L R R). Try them all and
sce which feels most comfortable and works best with your
technique. Counting the eighth notes in these bars as "1 & 2
& 3 & 4 & will helpyou to lock in with thedickor track.

B Section (Bars 9-16)

This is the breakdown section of the piece where there is
onlyone backbcat snare per bar.The bassdrum playson Fil. i: Crash on beat one
most beats and there is a fill in bar 16 that indicates the end
of the section.

Bars 9-15 ~One backbeat groove

lVhen you play only one backbeat per bar you will feel as
R L
though the groove has slowed down and lost its intensity.
This is frequently used in hip hop to createQvmmic changes
in different sections.

Bar 16 ( Snare and bassftll a 2 a 3 a

The drum fill in this bar indicates the end of the B section
and the beginning of the C section in bar 17. The bass drum
plays tour consecutive quarter notes and the snare plays
 SOETG TITL~ D~ T R OUBLZ
"LQSIC RCCK
97 3P.";
F 4TURM SNARL' PILLS
SYFX)PATZ3 A~ ;TS
O~ H I - K 4T
&15'~ "OI ZH WOOLMAY
P ERSOhlFL: hOAN I ..D~ R H (3RUIS)
STUART RYAh (GTR)
~R Y THOY4S(3ASS)
ROSS STQILVI QKYS)
'Deep Trouble' takes its lead from classic bands like
Deep Purple, Led Zeppelin and Cream. It features
solid drumming played in the pocket to provide a
firm foundation for the distorted guitar riff that is the
calling card of many classic rock classics.
STYLZ PE;US
This style of no frills rock drumming centres
around keeping things simple and well played. It is
vital that you keep the main pulse of the groove in
the pocket or as tight to a dick track as possible. This
inspires confidence in the bass playcr who will lock
in rhythmically with conviction, in turn having a
positive effect on the rest of the band. This is when
a dynamic performance is achieved and it all comes
down to the drums being played in time.
THZ 3IGRR PI'TURZ
Classic rock was born in the late 1960s thanks to
bands such as Led Zeppelin, Deep Purplc and Cream.
The sound is a modiFication of rock 'n' roll; louder
drums, virtuoso vocals and heavier guitar riffs arc all
part of the classic rock souncL
assic oc
0 0
FMy classic rock bands of the 1960s featured some
skilful drummers, in particular Led Zeppclin's John
Bonham, Deep Purplc's lan Paice and Cream's Ginger
Baker. This is a trend that continued with the later
emergence of Free, Bad Company and AC/DC.
Deep Purple drummer Paice is the only remaining
member of the band's original line-up and one of
classic rock's few famous left-handed drummcrs.
He still holds drum clinics to demonstrate differing
techniques and tours the world with his band.
Classic rock progressed throughout the late
1970s and 1980s through groups like ZZ Top, Alice
Cooper and Van Halen. Fach of thesc groups is worth
cxploringfor dosesofclassic hard rock drumming.
R C ~ P~
i ;3M I Z P ÃB ; G
Deep Purple'sFircball (1971), Machine Head (1972)
and the liveMade In Japan (1972) feature outstanding
drumming by Paice. The song 'Fireball' boasts his
famous drum solo at the start in which he uscs a
double-bass pedal. Bonham's beats on 'IVhcn The
Levcc Breaks' and 'Rock And Roll' on Lcd Zeppelin's
Lcd Zeppelin Il' (1971) have become signature
grooves, whilc Cream's live version of 'Toad'contain~
a 14 minute drum solo from Baker!
 Deep Trouble Tracks 13, 14 & 15

Colin Woolway

~=97 Classic Rack

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 Walkthrough

A Section (Bars 1-8) B Section (Bars 9-16)

This is the A section of the piece, which in most rock songs This is the second scction of the piece which is usually
is rcftvrcd to as the verse. In the first four bars there is an rcferred to as thc chorus in rock The groove is played on the
introduction type ofbeat with a fill in bar 4. The groove that ride c)mbal with a few crash c)mbals and a fill in bar 16.
enters in bar 5 features eighth note hi-hats, backbeat snarc,
opcn hi-hat, crash cymbal and a varied bass drum pattern. Bar 9( Crash cymbal
The first cymbal note in this bar indicates that the crash
Bar 1 ) Introduction bcat c)mbal should be playecL Co-ordinating the crash with
'I his beat featurcs quarter note open hi-hats and bass drum the bass drum is an important and useful skill that every
backbeats. When the hi-hat is continually open your hi-hat drummer should havc.
toot needs to remain loose but always in contact with the
pedal (Fig. 1). Bar 9 I Ride cymbal
Apart from the first cymbal note, which is a crash, all cymbal
Bar 3 ) Syncopation notes here indicate that the ride cymbal should be playecL
In this bar there is a snare/crash hit on the offbeat of 1'hc ride will replace the natural part of the hi-hat in the
beat tour. This follows the open hi-hat/bass stroke on the groove and should be played with accuracy and in unison.
backbeat ofbeat four. Make sure to move your hands quickly
to the required position and ensure that the offbeat is struck Bars 15-16 ~Rhythmic phrase and f ill
in unison. Continue to count the beats following this offbeat Listening to the full version of this track might be the
in order to accurately place in the fill in bar 4. quickest ii ay of undcrstanding the rhythms because the
guitar and bass play the same rhythmic phrase. However, it is
Bars 3-4 I Fill important that you spend time studying and undcrstanding
At the end of bar four there are four consecutivc eighth notc the combination of quarter notcs, eighth notes and rests
snare drums. This is a preparation fill for the entry of the full used in these bars.
groove in bar 5. There are a few sticking options for you to
choose from here: singles (R R R R or L I. L L); alternate
(RLRI,or LRLR);ordoubles(RRLLor LLRR). Try C Section (Bars 21-29)
thcm all and see which feels most comfortable and works This is the reprise of the A section and features a full groove
best with your technique. Apart from thc sticking, your with crash c)mbals and open/closed hi-hats and fills.
other challenge will be starting the fill in time bccause it
comes after a two beat rest that follows a crash/snare hit at
thc end ofbar 3. Counting the eighth notes in thesc bars as
"I &2 & 3 &4 &" w ill help you tolockin with theclickor
track (Fig. 2).
J J
Bar 6 ) Open hi-hat
In order to play the groove's open hi-hat in time, you will
need to co-ordinate the movement of your hi-hat foot with
the hand that plays the hi-hat. Practisc this hi-hat pattern Fig. i: Introduction bcat
and focus on timing and consistency of sound. 'I'o achievc
a solid pulse whilc working on this technique it is vital that
your body remains balanced, so avoid lcaning backwards,
sideways or foriiwrds.

()a) R R R R
Bar 7 ) Closed hi-hat (1b) L L L L
1he '+' sign above the first hi-hat note in this bar indicates (2a) R L R L

that the hi-hat should be playcd in thc closcd position. This

tcchniquc is achieved by pressing the hi-hat pedal down J J J
with your foot and tightening thc hi-hat c)mbals. Apart
from tightening your hi-hat foot, you i iill also need to hit
the hi-hat and the bass at exactly the same time. This specific Count 1 (4) 2 (a ) 3 (L) 4 (L (11 (Ri (2) (a) 3 a 4
movement and usc of voicing is common in drumming and
a valuable commodity to have in your tool bag, so take your Fig. ~ I")II
time and get comfortable with it.
 SOFG TITL~ ?';EZY PUSI
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) = 105 Funk
F."- ATURM C~ ; HI-KA
THR~ VOI - I~'ISOF;
GROOV 0Ã RIDZ "Y?BAL

X)? IPOS~ L M AL3 R I 3GZ

~S O?a~ ST U ART RY.V; (GTR)

~; R Y THOVLS (3ASS)
~;OAI. Lmm' V ( W UIZ)
ROSS STA~!L- Y QHYS)
ZmGIm ~ ~ ~a
PULL PAT HORÃS (HRASS)

At the same time, Jimi Hendrix was becoming a

'Munky Fusic' is a funk tune with a rock influence rock guitar hero while incorporating into his style
in the style of bands like Sly & The Family Stone, Red elements of soul and R&B which he had absorbed
Hot Chili Peppers and Wild Cherry. lt features open while touring as a session guitarist with soul and R&B
hi-hat and a three voice unison among its techniques. legends The Isley Brothers.

When George Clinton, leader of the doo wop group

As with all funk drumming thc groove is key but
the rock element in this piece requires a big, rounded
sound. The first groove is straightforward but your
focus should be to keep it solid and tight.
The Parliaments, discovered the music of Hendrix
and IM Zeppelin in the late 1960s he changed course
musically and renamed his newly guitar heaig group
Funkadclic. This band crystalliscd thc funk rock
sound with cult hits such as 'Maggot Brain', 'Super
Stupid' and 'Red Hot Mamma'.

In thc 1980s, Clinton produced RHCP's album

TH 3IGGW PI'TUR­
If James Brown invented funk with his musically
radical single 'Cold Sweat' in 1967, Sly Stone has
a fair claim for the invention of funk rock Sly was
the leader of the mixed race, mixed gender Sly &
'I'he Family Stone, a group that was as comfortable
breaking musical barriers as it was boundaries of sex
and ethnicity. In the case of funk rock, the latter was
to prove most profound. Sly & The Family Stone's
1969 album Stand! combined the dance floor friendly
rhythms of black funk acts with the distorted guitar
licks of white rock groups.
Freakcy Styky (1985) and helped stcer the band
towards their own unique funk rock sound.
R- C?PM
i 'DW LISTBM G
'Play 'l'hat Funky Music' by Wild Cherry is an
obvious influence here and the guitar riff that runs
throughout it pins down thc groove. The drumming
on Sly & '1'he Family Stone's single 'Dance To The
Music' shows a solid, simple and funky approach,
while you should also check out RHCP at their
funkiest on their 1991 album BloodSugarSexMagik.
Munky Fusic lQ
Tracks 16, 17 & 18

Luke Aldridge

I
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 Walkthrough

A Section (Bars 1-4) Bar 17 Moving

1 he first section features a musical rhythmic phrase and a
till that leads to the full groovc that enters in bar 5.
Bar 1 ~ Counting the bcats
In order to play this rh)thmic phrasc accurately, you need
to understand thc beats used in this bar. 'I'hc hi-hat plays on
the backbeat (beats hvo and four) and the bass drum plays
on beats one, three and the offbeat of thc second beat. Start
by counting all the eighth notes and tapping the following
rhghm on the snare I 2 & 3 4. When it feels comfortable,
move it to the kit and play the written voicings.
Bar 4 ( UnisonPll
Approach this hectic fill by breaking it down to the upper
and lower parts of the stave. In the upper part there are six
consecutive eighth notes followed by a crash on beat four.
'I'he lower part has a similar pattern on the snarc and four
quarter note bass drums. When ready, put it together and
practise. Remember the concept of unison and pay attention
ivhen three drum voices are playcd togcther (Fig. I).
B Section (Bars 5-16)
This scction features thc main funk groove of the piece with
variations and fills.
Bar 5 )Groove
This basic funk groove consists of eighth notes on the hi-hat
and backbeat snare. The bass drum is played on beats one
and three as well as the offbcats of the sccond and fourth
beats. Co-ordinate thc patterns accurately with a consistent
pulse in order to achieve a solid groove.
~ behveen cymbals
Moving your hands accurately bctwecn the cymbals is an
integral technique of drumming. Fnsure that the hi-hat, ride
and crash are set up in the most comfortable way so it is easy
foryou to reach and move between them.
Bar 23 ( Openlclosed hi-hat
The hi-hat pattern in this bar can be challenging at first.
Start by playing consistent eight notes on the hi-hat and
counting "I & 2 & 3 & 4 &". Yext, try achieving the open
hi-hat sound (by loosening your hi-hat pedal) on the
offbeats. Remember that you will need to close the hi-hat
on the beats in order to achieve fluency here. Adding thc
bass drum on each beat should not be difficult if you have
understood and absorbed the hi-hat pattern (Fig. 2).
Bars 24-25 ~Ending phrase
You may find it helpful to break down the fill in bar 24
into two sections of two beats. In the first section of the fill
(beats one and two) there arc two snares, crash/bass hit and
another snare. The second section (beats three and four)
has two bass drums, an open hi-hat/snare hit and another
bass drum. All strokes are played as eighth notes so you can
focus on playing the written notation accurately. After you
feel comfortable with both sections, put them together and
complete the passage with the crash/bass drum hit at the
beginning of bar 25.

Bar 5 ~Crash on beat one

Playing the crash cymbal on the first beat of this bar
indicates a new section. 'I'he crash is played with a bass drum
in ordcr to make a more pronounced statement. Focus on
moving your right hand in the most efficient way, ensuring
that it is prepared to play the cymbal indicated when needed.
Fig. t: Unison Sll
Co-ordinate the crash and bass drum accurately to create a
convincing opening to the section.

Bars5-15 ~Snarelbassvariations
The basic pattern introduced in bar 5 continues to develop
and vary throughout this scction. Try practising the snare open dosed o p e n d o sed o pen d osed o p en
o + o + o + o
and bass pattern without the hi-hat and ensure that all the
rhythmic valuesare accuratc.

C Section (Bars 17-25) Count 1 & 2 & 3

'I'he last section fcatures a slightly imied groove on the ride
cymbal and, in the last few bars, some drumming which
should prove a challenge to you.
Technical Exercises

In this section the examiner will ask you to play a selection of cxercises drawn from each of thc three groups shown he!»;.
In addition there is a Fill exercise which you will play using the designated backing track on the CD. You do noi n»»~:.~
memorisc the exercises (and can use the book in the exam) but the examiner will be looking for the speed of your respon.e.

The stickings shown (L 8r R) are there as a guide for right handed drummers. Lcft handed drummers should ri~.erse i'.".e
sticking patterns. Before you start the section you will be asked whether you would like to play the exercises along with th»
dick or hear a single bar of click before you commence the test. Groups A-C should be played at = 70.

Group A: Single and Double Strokes

Single and double strokes in eighth notes, alternate bars.

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

Group B: Single and Double Strokes

Single and double strokes in 16~ notes, alternate bars.

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

Group C: Paradiddles
Single paradiddle in 16~ notes

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

Group D: Fill
In the cxam you will be asked to play the three bar groove shown followed by one of the notated fills chosen by the
examiner. 1'he fills consist of alternating eighth- and I6'"-note single and double stroke fills. You will perform this exercise to
the backing track on the CD. The tempo is = 80.

~=80 Funk
0 + 0 + o + A
R L R L R L R L R L R L

B
R R L L RR L L RR L L

C
R L RL R L R L R L R L

D
R RL L R R L L R R L L
Sight Reading

In this section you have a choice between either a sight reading test or an improvisation & interpretation test (see facing
page). You will be asked to prepare a sight reading test which will be given to you by the examiner. The test is four bars long
and played on the snare drum. The examiner will allow you 90 seconds to prepare it and will set the tempo for you. The
tempo is i =80.

r~80
Improvisation R Interpretation Tfdisi

You will be asked to play a written one bar groove, vary it in the following two bars and improvise a fill in the fourth b ..
The test will be played to a backing track using the bass drum, hi-hat and snare drum. You have 30 seconds to prepare the.-.
d
you will be allowed to practise during the first playing of the backing track, before playing it to the examiner on the secon~
playing of the backing track This test is continuous with a one bar count-in at the beginning and after the practice session.
The tempo is J=80.

J =SO Roek
1 2 3 4 Fill
Ear Tests , Qo'
Track 21, 22 5 23

There are two ear tests in this grade. The examiner will play each test to you twice. You will find one example of each rl~ of
tcst printed below.

Test 1: Fill Playback and Recognition

Thc cxaminer will play you a one bar fill in common time played on the snare drum. You will play back the fill on the snare
drum. You will then identify thc fill from two printed examples shown to you by the examiner. You will hear the test twice.

F~h 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 = 70.

Test 2: Groove Recall

'l'he examiner will play you a two-bar groove played on the bass drum, hi-hat and snare. 1'his 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.

Fach time the test is played it is preceded by a onc-bar vocal count-in. 1'he tempo is J= 80.
General Musicianship Questions

ln this part of the exam you will be asked five questions. Four of these questions will be about general music knoii ie~<e:-.. '
the fifth question will be asked about your instrument.

Music Knowledge
The examiner will ask you four music knowledge questions based on a piece of music that you have played in the exam. Yo .
will nominate the piece of music about which the questions will be askecL

In Grade I, you will be asked to identify:

• Drum voices on the stave

• The time signature

• Quarter and eighth note values

• A rest in the piece

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

In GradeI you will be asked to identify:

• The following parts of the drum kit — bass drum, snare, high tom, medium tom, floor tom, hi-hat, ride cymbal and
crash cymbal

• Two main drum kit makes

Further Information
Tips on how to approach this part of this exam can be found in the Syllabus Guide for Drums, the Rockschool Drums
Companion Guideand on the Rockschool website www.rockschooi.co,uk.
Entering Rockschool Exams

Fntering a Rockschool exam is easy. You may enter either online at www.rockschool.co.uk or by downloading and
filling in an exam entry form. Information on current exam fees can be obtained from Rockschool online or by calling
+m (o)8<S~6o ~7~7.

• You should enter for your exam when you feel ready.

• You may enter for any one of the three examination periods shown below with their closing dates:

EXAMINATION PERIODS

PERIOD DURATION CLOSING DATE

Period A 1" February to 31" March 1" December

Period B 1" May to 31' July 1" April

Period C 23" Octoberto 15 December 1" October

17iese dates applyfrom l" September 2012 until further notice

• The full Rockschool examination terms and conditions can be downloaded from our website. The information shown
beiow is a summary.

• Please complete your entry with the information required. Fill in the type and level of exam and instrument, along
with the examination period and year. Paper entry forms should be sent with a cheque or postal order (payable to
Rockschool Ltd) to the address shown on the entry form. Entry forms sent by post will be acknowledged either by
letter or email, while all entries made online will automatically be acknowledged by email.

• Applications received after the expiry of the dosing date, whether made by post or online, may be accepted subject to
the payment of a late fee.

• Rockschool will allocate your exam to a specific centre and you e% receive notification of the exam showing a date,
location and time, as well as advice on what to bring to the centre. We endeavour to give you four weeks notice ahead
of your exam date.

• You should inform Rockschool of any cancellations or alterations to the schedule as soon as you can because it may not
be possible to transfer entries from one centre, or one period, to another without the payment of an additional fee.

• Please bring your music book and CD to the exam. You may use photocopied music if this helps you avoid awkward
page turns. The examiner will sign each book during each examination. Please note, you may be barred from taking an
exam if you use someone else's music.

• You should aim to arrive for your exam 15 minutes before the time stated on the schedule. Guitarists and bass players
should get ready to enter the exam room by taking their instrument from its case and tuning up. This will help with the
smooth running ofeach exam day.

• Fach Grade 1 exam is scheduled to last 20 minutes. You can use a small proportion of this time to set up and check the
sound levels.

• You will receive a copy of the examiner's marksheet two to three weeks after the exam. If you have passed you will also
receive a Rockschool certificate of achievement.
Drums Grade 1 Marking Schemes

GRAnE ExAMs ( GRAnEs 1-5

ELEMENT MERIT DISTINCTION

Performance Piece 1 12-14 0Ut of 20 15-17 out 0F 20 18+ out of 20

Performance Piece 2 12-14 out of 2o 15-17 0Ut of 20 18+ out of 20

Performance Piece 3 12-14 Out OF20 15-17 out of 20 18+ out of 20

Technical Exerdses g-10 out of 15 11-12 0Ut oF 15 13+ out of15

Bther
Sight Reading
6 out of Io 7-8 out of 10 9+ out of10
Improvisation & Interpretation

6 out o f 1 0 7-8 out of 10 9+ out of10

General Musidanship
3 outof 5 4outof 5 5outof 5
Questions

TOTAL MhRKS 74%+

PERFORMANCE CERTIFICATES i GRADES 1-8

MERIT DISTINCTION

Performance Piece 1 12-14 out of 2o 15-17 out of 20 18+ out of 20

Performance Piece 2 12-14 OL1t OF20 15-17 OUt Of 20 18+ out of 20

Performance Piece 3 12-14 0Ut 0F20 15-17 OUt Of 20 18+ OUt Of 20

Performance Piece 4 12-14 0Ut of 20 15-17 OUt Of 20 I8+ out of 20

Performance Piece 5 12-14 Out OF20 15-17 0LIt of 20 18+ out of 20

TOThL MhRKS 75%+

Drums Notation Explained

• • •

Stcar cccvv a»»r pacr ~ a cr ~

a«ct sc<ccce/IC<pSr
f4 •at cacrv ~ ctf<aacecr aer>ct<cr

•
•

o +

r c>c M mthr '.w' ~ h > e 'atrcac tcAacc sc <~ >vem Aet>ctr

aa qycccaats tcrrace wr ~ r» re arrcccrcrs
cv a> ~ b
trrate>*~d'Caaaar Qcea ~ h t s r u > i ra ~ ' t" ;~ » trat
r t>re >rrauc8 Ascc<cr'Arr&;t t>wlr>ctcc>c • >cser <tcattr<r >» r<a<' ccs
ctcr<ccots >ac»tcr rcr>r+lot'> atcAe c>~ c> rec>cd axr,cect
% e rehT c»w ~ ao d ~ sa
sa csr
r
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e ac»ccccr rac d'u <'acrv or<ccqcrc>>ed c> xcatat<«acrd Pc>srra5.
at the sara mc>enccrt Vvt the ~ s ra e>Sr ~

• • •

Slashes are used to demarcate bars

durlng soios, filis, developments
and other ad lib. sections.

Go back to the sign A), then play

GS. al Coda until the bar marked Repeat the bars between the
To Code 8 then skip to the repeat sigtls,
section marked 8 Code.

When a repeated section has

Go backto the beginning ofthe different endings, play the first
D.C al Fine song and p4y until the bar ending only the first time and
marked Rne (end). the second ending only the
second time.

Repeat the prevrous bar. In higher Repeat the previous two bars. In
grades these may abo be matked higher grades these may aiso be
sim or cont sim. marked sim. orcont sim.

R L L RR L L R
In rudiments, each stem slash
subdivides the note value by half.

• • •

Piay an individual, stylistic fill. Extend the rnusical part in a stylistically

appropriate ITlsnrler.

Continue in a similar way but varythe Rlt (rltetdaatdo) Gr a dually slow the tempo.
pattern slrghtly.
 SONG TITL~ MRA .Q'D H3OTSY
KVJRQ HP.;K
j•
T .1PO: 105 3P.'

F 4TVRM EI G F H - i '.OT- TRIPL- TS

SFARE & TOV. PILLS
UNISON 3ASS .O'D P.;AR

"O."O'OS!W: LUK- ALDR~

P350~i2T (GTR)
ST UART RYAÃ
~, RY THOY4S (3ASS)
NO.Qi LDHK Q'; (DRB5)
ROSS ST.Q1L Y (KEYS)
PULL PAT HORHSPRASS)
~ GUS ~ Qm ~ g

O~VTBN degreeofsyncopation and an emphasis on the

'Dora And Bootsy' is a funk track written in the
style of the legendary and flamboyant bass player
Bootsy Collins, who began his career in the 1970s
playing with funk and soul artists including James
Broim, George Clinton's Parliament-Funkadclic and
with his own group Bootsy's Rubber Band. This funk
flavoured track incorporates drum techniques and
features like flams, open hi-hat, and unison bass and
snare among others.
first beat or, as it is known in funk circles, 'the one'.
Brown is said to have created funk with the relcase
of his single 'Cold Sweat' in 1967, which featured
this emphasis. In the early 1970s, Brown worked
with a band named The J.B.s, an outfit that included
Bootsy Collins and drummer John 'Jabo' Starks
among many other musicians, some of whom went
on to join George Clinton's Parliament-Funkadelic.
Their influence can be heard in the music of more
contemporary groups likc the jam and funk jam band
Galactic (featuring drummer Stanton Moorc) who
mix classic funk styles with modern elements.

The focus of funk is rhythm. With this in mind, R BX).'F~;D- D LIS~ ; P I G

don't be fooled by the simplicity of some funk grooves
because even the simplest of ideas must be played to a
high standard to crcate a fluid funk sound. A groove
has to be solid to capture the essence of funk; you will
hear that demonstrated on this track where the bass
drum and the bassline lock in on the A section.
T HE 3I ~ PI " TU R E
Funk developed from soul, R8cBand blues during
the 1960s. '1'hese earlier styles used a backbeat (the
snare on beats two and four) but funk uses a greater
Broiim's drummers Clyde Stubblefield, Melvin
Parker and John 'Jabo' Starks are essential listening
for those looking to progress in funk. Classic tracks
'Cold Sweat' ,'Funky Drummer' and 'Sex Machine' are
standouts, but then the majority of Brown's catalogue
throws up many gems. The Parliament- Vunkadelic
songs X3nc Nation Under A Groove' and 'Up For The
Down Stroke' capture the bandin full funk flow. 'I'o
hear the P-Funk influence in a more contemporary
context, listen to Galactic's 2007 album From The
Corner To '11ie Blockand Rage! (2008) by lxttuce,
showcasing the talents of drummer Adam Deitch.
 Dora And Bootsy (Grade 2 Preview) , Qo
Track 24

Luke Aldridge

r~105 Ft(nk
A

! e

(10)

< Copyright 2012 Rrxk Schonl IM

I24l

39
0 Col~ght 2012 Rock School IM
Walkthrough (Grade 2 Preview)

A Section (Bars 1-9)
.:".e iirst section of this piece features a funky groove with
.~. en hi-hats. In bar 8, therc is a repeat sign indicating that
'= rs I-. should be played again. After plapng this scction
:or th» second time, skip the first timc bar and continue
=:rectlv to this sccond time bar.
Pick-up bar ~ Counting the pick-up
:n this piece, there is a pick-up snare flam before the groove
starts in bar I. 'I'he snare flam is placed on the last beat of
:he spoken count in (i.e. the fourth beat of the second bar).
Bar 3 ( Quarter-note open hi-hat
The open hi-hat in this bar is opened on beat one and
should only close on bcat hvo. 'I'his means that the open
hi-hat sound needs to ring for a full value of a quarter note.
Practise the hi-hat pattern until you achieve fluency then
co-ordinate it with the snare and bass drum.
Bar 5 ~ Closing the hi-hat
'I he '+' above the crash cymbal note indicates that the hi-hat
should be closcd while plapng thc crash at the same time.
Bar 8 ( Triplet fill
The fiII in the second part of bar 8 includes an eighth-note
triplet on the snare. In a triplet, all three notes should be
even. As these are eighth-note triplets, thcy are played in the
space of one quarter note. 'Vhere arc many sticking options
that will lcad you to the crash on the fourth beat. Howevcr,
the first stage is deciding whethcr you prefer hitting the
crash with your right or left hand. Both sticking options are
shown above the triplet on the third bcat of Fig. 1.
from the third where only two eighth notes are to bc played.
Because 16» n notes are most commonly counted as "1 e & a 2
e & a", count the phrase used hereas"I e & 2 e &". Although
you are not plapng on the "a", the value of this 16~ note
should be preservecL Once you understand the rhythms in
this bar, look at the voices used and practise moving around
the toms with confidcnce and a solid pulse (Fig. 2).
Bar 17 ) Unison fill
Your ability to play this fill well will depend on your
achieving accurate unison between the drums. Start with
the handspattern and cut out unnccessary fl ams between
the snare and toms then add the bass drum and focus on the
balance (your natural tendency will be to play the bass drum
louder than the snare and toms).
C Section (Bars 18-25)
'I'his is a reprise of the A section but the groove is played on
the ride cymbaL
Throughout ~ Sound production
In order to produce the best sound from the drums, it is
important to keep in mind some fundamental principles.
The snare and toms should be struck in the middle of the
drum head. After hitting a drum, allow your hand to bounce
back Ensure that your grip on the stick is not too tight and
allows the stick some movement.
Sticking opt)ont:
R L R L
R L L R

B Section (Bars 10 —
17)
The groove changes in this section, ofFering many variations
and fills that allow the drummer to shine.

Bar 10 1Groove
'I'his groove is a musical interpretation of the parts played by
I"tl. i: TripIet N
thc other instruments. The unorthodox snare and bass drum
pattern may be hard to co-ordinatc at first, but if played
com~ncingly this is an impressive funky drum moment.

Bar 11 ~Groove variation

In this bar, the snare plays on the third beat and the hass
drum on the other three. Changing to this pattern from the
previous bar might require some preparation. Try playing
bars 10 and 11 repeatedly and aim for fluent movement
between the ride or crash c)mbal and the hi-hat. Count ) e 4 ie) 2 e 4 ie) 3 ',e) a ie) 4 e 4 ie)

Bar 13 ~Fill
This fill is based on the rhythmic phrase of two 16~ notes Fig. 2: Fill
and an eighth note. 'I'his phrase is used on every beat apart