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Acknowledgements

Published by Rockschool Ltd. @ 2012 & 2018

Catalogue Number: RSK20006 1

CONTACTING ROCKSCHOOL
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Thble of Contents

Introductions & Information

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

Hit Tunes

5 Queen.. .....'I Want to Break Free'

9 Wilson Pickett.. 'In The Midnigh.t Hour'
13 Sam and Dave...... ......,.'Soul Man
L7 Wretch 32............ 'Liberatiort'
2l Michael |ackson............, 'Billie Jean
25 Usher 'Yeah'

Rockschool Originals

29 'Kaiser Roll'
33 'Bend And Snay'
37 '|angle Road'
4L 'West Coast Rollin'
45 'Deep Troubld
49 'Munky Fusic'

Technical Exercises

53 Single and Double Strokes, Paradiddles & Fill

Supportirg Tests

54 Sight Reading
55 Improvisation & Interpretation
56 Ear Tests
57 General Musicianship Questions

Additional Infornrration

58 Entering Rockschool Exams

59 Marking Schemes
60 Drums btrotation Explained
61 Mechanical Copyright Information
62 Rockschool Popular Music Theory
64 Rockschool Digital Downloads
Welcome to Rockschool Drums Grade 1

Welcome to Drums Grade I

Welcome to the Rockschool 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 find the exam scores in standard drum notation, as
well as Fact Files and Wallrthroughs for each song.
The downloadable audio includes:
. firll stereo mixes of 6 Rockschool compositions and 6 arrangements of classic and contemPorary hits
. backing tracks (in both click and no-click versions, minus the assessed drum part)
. all necessary audio for the complete range ofsupporting tests

Drum Exams
At each grade, you have the option of taking one of two different Qpes of examination:

. Grade Exam: a Grade Exam is a mixture of music performances, technical work and tests. You prepare three pieces
(two ofwhich may be Free Choice Pieces) and the contents ofthe Technical Exercise section. This accounts for 75Vo
of the exam marks. The other 25% consists of: either a Sight Reading or an Improvisation & Interpretation test (10%),
a pair of instrument specilc Ear Tests (10%) and finallyyou will be asked five General Musicianship Questions (57o).
The pass mark is 607o.

. Perfonnance Certificatq in a Performance Certificate you play five pieces. Up to three of these can be Free Choice
Pieces. Each song is marked out of 20 and the pass mark is 60/o.

Book Contents
The book is divided into a number of sections. These are:

. Exam Pieces: in this bookyou will find six specially commissioned pieces of Grade 1 standard. Each of these is
preceded by a Fa ct File.Each Fact File contains a summary of the song, its style, tempo, key and technical features,
along with a list of the musicians who played on it. The song itself is printed on two Pages. Immediately after each
song is a Walkthrough. This covers the song from a performance perspective, focusing on the technical issues you will
encounter. Each song comes with a full mix version and a backing track Both versions have spoken count-ins at the
beginning. Please note that any soios played on the full mix versions are indicative only.

. Technical Exercises: you should prepare the exercises set in this grade as indicated. There is also a Fill test that should
be practised and played 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 & Interpretation test and two Ear Tests - and a set of General Musicianship Questions
(GMQs) asked at the end of each exam. Examples of the tlpes of tests likely to appear in the exam are printed in this book
Additional er<amples of both types of test and the GMQs can be found in the Rocks chool Companion Guide 'Io Drums.

. Additional Information: finally, you will find information on exam procedures, marking schemes, and the ftrll
notation and backing track ofa piece from tJre next grade as a taster.

Audio
Audio is provided in the form of backing tracks (ininus drums, and in two versions: click and no-ciick ) and examples
(including drums) for the pieces and the supporting tests where applicable. Audio files are supplied in MP3 format to enable
playback on a wide range of compatible devices. Digital versions of the book include audio files in the download. Download
audio for hardcopy books from RSL directly at www.rslawards.com/downioads yon will need to inPut this code when
-
prompted: GBEAT4VFMS

Syllabus Guide
AII candidates should read the accompanying syllabus guide when using this grade book This can be downloaded from the
RSL website: www.rslawards.com

Errata
Updates and changes to Rockschool books are documented online. Candidates should check for errata periodically while
studying for any examination. Further details can be found on the RSL website: www.rslawards.com/errata
 J ='t 09 Rock

BACXGROIIND INI'O their reaction. 'I \{ant To Break Fred followed the
hugely successful 'Radio Ga-Ga', written by drummer
'I Want To Break Free' was reieased in April 1984 Roger Taylor.
and achieved great success. T'he song tvas rrritten
by Queen's bassist Iohn Deaccn and featured on Queen released 18 no.1 albums, 18 no.1 singles
the album The Worl<s.In 1984 Queen were a hugely and 10 no.1 DVDs. Their record sales are over 150
popular band with a varied catalogue of highly million with some estimates mentioning over 300
successful and influential recor:ds under their belt. million units. Their 20A6 Greatest Hits is the best-
selling album in the UK, rvith sales nearing 5.5
The video for'I Want To Break Free', released at million copies.
the peak of the MTV era, featured all band members
dressed in women's clothirg. The idea was devised Drummer Roger Thylor is also a multi-
by drummer Roger Taylor as a parody of the long instrumentalist and song\{riter - he composed at least
running soap opera Coronation Street.The video was one track on every Queen album. He is recognizedfor
banned by MTV America and various radio stations his unique drum sound and style and has mentioned
in the US - this played a significant role in the low Mitch Mitchell and Keith Moon as early influences. In
ranking of the song in that territory. It reached the D7A Taylor turned down a chance to become Genesis'
Top 10 in most European countries and, in parts drummer which led to Phil Collins joining instead.
of South America and South Africa, the song was Tay'or's vocal range is legend*y, he is known to
adopted as an anthem against social oppression. reach very high notes live in full voice, whilst playing
drums. The raspiness of his delivery and high falsetto
In Brazil the reaction to the video was diametrically make his singing immediately recognisable.
oppcsed to the success of the song. In 1985 Queen
performed in front of an audience of 325,000 at Rock
In Rio and when Freddie Mercury started singing the
song wearing a female outfit stones were thrown at
him. He realised that his outfit was the reason and
so he removed it and calmed the audience down.
Mercury remained puzzled and disappointed about
 I Want to Break Free
Queen
Words & Music by iohn Deacon

J=109 Rock
Verse

tsI

@ Copyright 1984 Queen Music Limited-

EMI Music Publishing Limited-
All Rights Reserved. International Copyright Secured-
Walkthrough
 J =1 Q Soul

SACjI(GROUND INFO achievements in the music world, in a career that

spanned through the 1950s to the 1980s.
'In The Midnight Hour' was written by Wilson
Pickett and Steve Cropper. The song was allegedly 'In The Midnight Hour'was a breakthrough record
written during a meeting they had at the Lorraine for Wilson Pickett. Until then his career was relatively
Motel in Memphis, where Dr. Martin Luther Kirg was successful but Wexler, and Pickett himsel{ l.:new there
assassinated three years later. Upon its release 'In The was rnore to explore. 'In The Midnight Hour'peaked
Midnight Hour' reached no. I on the R&B charts and the R&B charts and sold more than a million copies"
no.21 on the Pop charts. After its success Pickett did not return to Stax because
label owner ]irn Stewart banned outside sessions
lerry Wexler (Atlantic Records president at from the label. Pickett recorded in other studios
the time) decided to bring in Wilson Pickett for a associated with Atlantic Records and prcduced other
recording at Stax. That prompted Steve Cropper, who hugely successful singles during a short period.
as a member of Booker T, & the MG's was in house These included 'Land of 1,000 Dances', 'Mustang
guitarist and one of the labels main co-writers, to Sally' and'Funky Broadwayi all million sellers. More
research a little of Pickett's provenance. Cropper used successful recordings followed and in the early 1970s
to work in a record shop and found some records he recorded 'Call My Name, I'11 Be there' and 'Fire and
Pickett had recorded. A single by the Falcon's featured Water' at Muscle Shoals in Alabama.
a song called "I Found a Love' on which Pickett sang
the lead - it contained the line And sometimes I
call in the midnight hour' which stuck in Cropper's
head. With this in mind he set out to write an R&B
song for Pickett. For the recording the MG's were
assembled and Donald "Duck" Dunn and Al |ackson
Ir. added their now legendary groove. The type of
backbeat used was something that ]erry Wexler, a
music journalist-turned-record producer, insisted
upon. Wexler is responsible for coining the term
'Rhyhm and Blues' amongst many other significant
In The Midnight Hour
Wilson Pickett
Words & Music by Steve Cropper & Wilson Pickett

J=112 Soul

@ Copyright 1965 (Renewed) Cotillion Music Incorporated/East Publishing Incorporated-

Carlin Music Corporation.
All Rights Reserved International Copyright Secured-
Walkthrough
SACKGROUN} n[FO The exclamation 'play it Steve' heard on the song
refers to guitarist Steve Cropper. Two versions were
'Soul Man was composed by the legendary Isaac cut on the same session, with a notable difference
Hayes in collaboration with David Porter and became in the opening drum roli and lyric. One version was
a huge commercial success for Sam & Dave, who recorded in mono for the single release and the stereo
released it as a single in 1967 on Stax Records. They version \lras included on the album.
won a Grammy Award for Best Rhythm and Blues
Group Performance, Vocal or Instrumental. Sam & Dave built a reputation for being a strong
and dynamic live act, earning the nickname 'Double
The song's inspiration was found in the turmoil Dynamitei At the time of Soul Men, Sam & Dave
of the Civil Rights Movement. Isaac Hayes saw a averaged 280 shows per year. In L972, with the
television news item on the aftermath of the 12th demise of the Stax label due to legal and financial
Street riot in Detroit, Michigan. He noted that the complications, they spent some time without a label
buildings that had not been destroyed during the but with demand for their shows in Europe. They
riot were marked with the word 'soul' - most of recorded for United Artists in L97 5 and in I97 6 they
these building were owned and operated by provided vocals on 'Corne On, Come Over' for |aco
African -Americans. The lyrics, borrowing from Pastorius' eponymous debut alburn. The duo were
the biblical story of Passover, talk about rising known for their infighting, resulting in them not
above one's conditions. speakingoff stage for 13 years and requiring separate
dressing rooms.
Sam & Dave (Sam Moore and Dave Prater)
recorded the song in their classic style alternating Isaac Hayes released his flrst solo album in 1968. It
vocals and occasionally joining together. The backing was a commercial failure but he went on to produce
band was Stax's usual outfit, Booker T. & The M.Gls, the highly acclaimed Hot Buttered Soul in 1969 and
featuring Booker T on keyboards, Donald "Ducli' the Oscar winning soundtrack for Shaft in I97L.
Dunn on bass, Steve Cropper on guitar and Al
|ackson |r. on drums. The horns were recorded by
The Mar-Keys Horns.
Soul Man
Sam and Dave
Words & Music by Isaac Hayes & Darid Porter

J=113 Soul
lntro

Vamp

@ Copl'right 1967 Almo Music CorporationAtralden Music Incorporated

Rondor International Incorporated/Warner/Chappell North America Limited-
All Rights Reserved International Copyright Secure&
 Walkthrough

Intro Bridge (Bar 25)

The piece begins with a quarter-note based pattern, played Here, the right hand moves over to the ride cymbal along
between the ride cymbal bell and bass drum. The ride plays urith a change in bass drurn pattern. Noticc also the crash
quarter-notes and the bass drum plays beats 2 and 4. This on beat 1 of bar 25 and the snare drum accent on beat 4 of
kind of pattern is effective in conveying the pulse and offers bar 29.
a lighter feel than playrng all of the quarter-notes on the
bass drum.
Outro (Bar 30)
If it is too challenging to play the ride cymbal bell The outro sees a return to the intro pattern and quarter-
consistently, you could plai, the body ofthe cymbal. notes on the ride cymbal beil. Notice that there is no crash
However, the beli sound is one of the identi$ing features or bass drum on beat 1 of bar 30 with the bass drum playrng
of the piece, so should ideally be worked toward". \,Vhen only beats 2 and 4. Bars 29 and 30 are quite different so the
playrng the bell, a fuller sound can be generated by striking transition between them can be challenging and perhaps
it using the shoulder of the stick as opposed to the tip. worth working on isolation.
Most drummers play the ride bell this way in most playrng
situations, however, it's worth remembering that if played The piece ends \^rith an eighth-note fill on the snare drum
too hard it can also be an overpowering sound relative to the which at this tempo could be executed using just the right
rest of the kit. hand, moving it down from the ride cymbal on beat 2.

The intro finishes with an accented note on the snare drum

on beat 3 of bar 4. This is probably easiest played
with the right hand, simply by moving it frorn the ride
cymbal to snare.

Vamp (Bar 5)
Bar 5 sees the introduction of main groove which features
an eighth-note feel played between the bass drum, snare
drum and hi-hats. Notice the crash on beat 1 - this means
getting straight back to the hi-hats for: the second eighth-
note of the bar.

Verse (Bar 9)
The eight-bar verse begins in bar 9, however, there is no
change in the drum part to signi$, this. This section ends
with a slight variation in the basic feel, with an additional
snare drum on the last eighth-note of the bar, which works
as way of signalling the transition into the chorus.

Chorus (Bar L7)

The chorus begins with a crash on beat 1 of bar 17 where
the groove also changes. Here the bass drum plays all
eighth-notes except for beats 2 and 4, where the snare plays.
This is an effective and driving rhythm, but requires care
in avoiding the bass drurn playrng all of the eighth-notes
along with the right hand. This eight-bar section ends with
an eighth-note fill on the snare in bar 24, which is probably
easiest played with the right hand moving from the hi-hats
to the snare drum.
 J = 90 f{ip l{op

BACXGROI]N} n[FO His success led to various collaborations with

artists including Ed Sheeran, with whom he recorded
Wretch 32 is |ermaine Scott Sinclair's stage name. 'Hush Little Baby, featured on Wretch 32's debut
'Wretcltrospective
He is a very successful grime artist from Tottenh&rn, album and released as its fifth single.
London, whose debut album Black and White has sold During April and May of 20L2 he toured arenas
over a million copies. The single'Don't Go'peaked at around the UK. In 2013 he collaborateci with Emeli
no. 1 in the UK Singles chart in 201 1. In 20L2 he was Sand6 and Naughty Boy. He also toured the UK with
chosen as one of the main faces for the Adidas and George The Poet, |acob Banks and Context. His live
Coca-Cola advertising campaigns during the London band has included drumrners MckNasty (]osh.ua 'losh'
Olympic Games. After a number of self-produced McKenzie) and Luke Harris. Wretch 32 also recorded
releases in the early part of his career his profile began with drummer Richard Spaven on a version of Bob
to rise and he was nominated for the BBC's Sound of Itzlarley's 'Could You Be Loved?'
20L1, an annual poll that predicts which artists will
progress in the course the upcoming year. Wretch 32 His ciebut album for Polydor Recorcis Gro wing Over
signed to Ministry of Sound soon after and released Life was releasecl in September 20L6 and spanned five
Black and White later in that year to great critical and singles. The album reached no.5 in the UK Album
commercial acclaim. Charts. His 2017 release FR32, also for Polydor, did
not chart.
Liberation

J= 90 Hip Hop
Walkthrough

C Section (Bars 13-16)

In this section, the ride line changes frcm eighth notes on
the hi-hat to quarter notes on the ride cymbal. Also, there
is no snare drum in bars 13-15, so the groove here becomes
very spacious, which requires a degree of anticipation and
counting, to feel the space and to ensure a good time flow of
notes. The section ends with crash cymbal and snare drum
unisons, punctuated with bass drum ofreats.

D Section (Bars L7 -2L)

In this end section of the arrangement, the groove ride
line changes from quarter notes on the ride cymbal to
eighth notes on the hi-hat, with snare drum backbeats,
bass drum variations and open and closed hi-hats, similar
to the groove and feel of the B Section. Again, be aware of
anticipating the movement and time-feel change from the
previous section, accordingly.

The arrangement ends with quarter note crash cymbals and

respective snare drum and bass drum unisons on beats 3
and 4 ofbar 20, into bar 21 to finish.
 J =lfl Rock/Pop

BACXGROUND NIFO

'Billie Iean was released as a single in |anuary

1983. It reached the no.1 spot on the charts in many
countries and together with other cuts from the
Thriller album it dominated much of the airwaves
during that year. Thriller is the best selling album of
all time. 'Billie Jean spent seven weeks at no. 1 on the
Billboard Hot 100.

|ackson knew he had a successful single from the

word go - it made him dance and that made him
pursue the idea. He produced an elaborate derno and
was very keen on the song. It is alleged that Quincy
]ones was not in favour of includirg the song on the
record and that he asked /ackson to cut the intro.
This, together with disagreements over production
credits and royalties, led to a temporary fallout
between |ackson and |ones. Once th.y resolved their
differences they recorded the song. )ackson cut his
lead vocal in one take and overdubbed backing vocals
through a six foot long cardboard tube. Saxophonist
Tom Scott played the lyricon and bassist Louis
|ohnson was called to cut the bass already composed
by |ackson. After playing the now iconic bass line
on every bass guitar he owned ]ackson settled for
the sound of a Yamaha. Greg Phillinganes played the
keyboards and the drums were recorded by Leon
Ndugu Chancler. The song was mixed by Bruce
Billie )ean
Michael ]ackson
Words & Music by Michael Jackson

@ Copyright 1982 Mijac Music.

Sony/ATV Music Publishing.
All Rights Reserved- International Copyright Secured.
Walkthrough

A Section (Bars L-4) D Section (Bars 2L-33)

BartlThegroove Bar 2l I Crash cymbal
'Billie Iean' contains one of the most iconic drum beats The crash cymbal is used like a capital letter at the beginning
of the twentieth century. The track begins rvith a two-bar of a sentence. In bar 21 the crash cymbal signifies and
groove solo. The groove is in 414 time and the bass drurn enhances the start of the chorus. Play the crash cymbal
and snare drum take up equal prominence within the confidently but at a volume in sympathy with the rest of
rhythm. The bass drum is played on beats 1 and 3 and the the drum kit. Take into account the size of the room being
snare drum on two and four. A strong accented stress on the played in, the proximity of the }-istening audience as well
second and fourth beats of the bar is called the backbeat. as the volume of the music be:.ng played whether that is a
The hi-hat remains closed for the most part and proviCes backing track or live musicians.
the eighth note momentum to the rhythm. Listen to the
original recording to absorb the relative volumes of the bass Bar 33 I Res ts of dffirent note values
drum, snare drum and hi-hat. In drumming, the "internal As a drummer it is equally important to recognise silence as
dynamics" of a groove are referred to when considering how much as sound and be familiar with the notation for both.
loud each part of the drum kit is in relation to the other. In bar 33 there are three beats of silence indicated by the
use of a quarter-note rest iollowed by a half-note rest. Be
When practicing with the click and the backing track try to sure to learn all the note sounds and rests for the grade you
play as consistently and as accurately as possible from the are studying.
first beat of bar 1. Avoid taking the first bar to settle into
the rhythm. Once the band joins in at bar 3, lock in with
the bass guitar part which moves in eighth notes" Although
this is a seemingly simple groove it can take a long time to
master it.

Experiment with different ways to phrase the hi-hat. Try an

accent on the first of every two notes or perhaps plapng all
notes at the same volume. Also, try playing on the edge of
the hi-hats, on the top, or a combination of both.

B Section (Bars 5-16)

Bar 5l Song structure
In any arrangement it is important for the drummer to be
aware of the tbrm of the music. In 'Billie Iean the first verse
(which begins at bar 5) is 12 bars long. This is followed by an
eight bar pre-chorus and a L2 bar chorus. The introduction
in this arrangement is four bars long; two bars of solo drum
groove followed by two bars of fulI band groove.

C Section (Bars 17-20)

Bar 18-20 | Open and ciosed hi-hat
The open hi-hat adds a different flavour to the beat. Notice
how the use of open hi-hat increases as the tension in the
song heightens at the end of the pre-chorus. In bar 18 the
hi-hat opens only once on the off-beat of beat 4. In bar 19
the hi-hat opens twice and in bar 20 the hi-hat oPens and
closes four times. This creates a feeling of excitement which
helps to create tension in the music. The oPen hi-hat is
indicated with "o" written above the hi-hat note on the
stave and a "+" symbol indicates a closed hi-hat.
 J ={04 Llrban PoP

BACXGROI]ND INFO that touch upon love, relationships and lifesfle, and
much of what he sings about is autobiographical.
'Yeah' was the lead single from Usher's fourth Usher says he is profoundly influenced by Michael
album Confessions.It topped the Billboard charts for |ackson and Prince. His vocal technique is highly
twelve weeks until Usher's following single, 'Burn', developed and rather unusual for someone in the
replaced it at the top spot. 'Yeah' also reached the R&B/rap genre - this gives his music a wide reaching
top of the charts in twelve other countries including appeal and a melodic dimension unusual in the style.
the UK, New Zealand, Australia, Canada, Belgium, Usher's performances are typically sleek productions
Germany and Norway. The song won a Grammy with a great deal of showmanship and choreography.
Award for Best Rap/Sung Collaboration and sold over He is an outspoken social commentator, known to
4 million copies in the US alone. support feminism and eryoy art, which he collects.

In the Autumn of 2A$ Usher finished Confessions Usher owns a record label, RBMG, which counts
and submitted it to the record company. Upon Iustin Bieber as one of its acts. Ln2010 he joined
hearing it Arista's president, L.A Reid, felt the album the American TV show The Voice and also made
lacked a lead single and asked Usher to record a few an appearance on Britainb Got Talent. Usher had
more tracks. 'Yeah' was recorded in the sessions that a role in the film Hands Of Stone, a bicpic about
followed, produced by Lil Ion. The song gained a the Panamanian boxer Roberto Durdn. He acted
great deal of praise from music critics. 'Yeah's' mix alongside Robert De Niro, Edgar Ramire z, Ana de
of hip hop, soul and ballad made it interesting yet Armas and Ellen Barkin.
accessible and that captured the public's imagination.
The video for'Yeah' won two awards for Best Dance
Video and Best Male Video at the 2005 MTV Video
Music awards

Usher is a global pop star. He has sold over 75

million records and topped the charts all over the
world. He is an influential role model to many. His
style is a singular blend of R&B and pop with lyrics
Yeah
Usher
Wrcrds & Music by Garrett Hamler, Patrick Smith, ]ames Phillips'
Christopher Bridges, LaMarquis )efferson, )onaiharr Smith & Robert McDowell

) =104 Urban Pop

Music/
@ Copyright 20o4 Air Control Music lncorporated/Hitco Music/Hitco South/Christopher G-a11ett's/Christopher lr'Iatthew Music/Basajamba
Ludacris Music Publishing Incorporated/Me And Marg Music/EMI April Music Incorporated/Reservoir_4l5.
Manag.*";1,,if;1;i:J"i:fl#l[t*:lfdj;tfid/B.MGx'i8hs Management (us) LLC'
Reservoir Media
Walkthrough

A Section (Bars 1-8) Bar l0 I Clo sed hi-hat

Bars 1-S I Introduction On the first beat of bar10 there is a cross "+" notated above
This hip hop influenced pop track contains two drum the hi-hat. This means to close the hi-hat using the foot on
patterns. Both grooves incorporate the hi-hat, bass drum the pedal. Do this while the stick connects with the hi-hat to
and snare drum. The first pattern is played during the play beat 1. When playrng the open hi-hat on the last eighth
introduction (eight bars), and contains quarter notes on the note of bar 9 and beat 1 of bar 10 the sound generated will
hi-hat. Play these at a consistent volurne along with the snare be similar to the words "pea-souy''. Use that as a reference to
drum (which is playing with the hi-hats on beats 2 and 4). help create the sound. I'Ioticc that when the hi-hat is being
Play the snare drum firmly in the centre of the drum head, closed by the foot the bass drum is also playing so both feet
but not overly loud. The bass drum is playing on the first will press down together. Try practicing this slowly and
beat of the bar and then the fourth eighth note of the bar, focus on accuracy and tirning, and to aid coordination..

Bar B I Two bar repeat

B Section (Bars 9-25) In bar 13 there is a two bar repeat. This is a diagonal line
Bars 9-23 | Groove Pattern 2 travelling from one bar through to the bottom corner of
The second groove is located between bars 9 and 22. the other. The bar line is the vertical line in the middle,
Notice that the bass drum and snare drum parts are the indicating that the drummer needs to repeat the previous
same as those in the introduction, however, the hi-hat has two bars. This is very common on drum charts where the
changed from quarter notes to eighth notes. This increased arranger wants the drummer to play a two bar loop over and
rhythmic movement creates a feeling of excitement in the over again.
music. When moving between different hi-hat rhythms
and playing static bass drum and snare drum parts, aim Bar 2 l Ending phrase
to keep the static parts consistent and unaffected by the In the penultimate bar the drummer plays two quarter note
alteration in the changing hi-hat part. This may prove to be figures with rests in between. There is a hi-hat and snare
a challetrBe, but work slowly beat by beat and eventually the drum in unison on beat 1. This is followed by two quarter-
groove will be mastered. note rests and then a snare drum on beat 4, concluding with
a crash cymbal and bass drum together on beat 1.
BarglCrashcymbal
Playing the crash cymbal on beat 1 of bar 9 indicates the
start of a new section. In this instance the crash indicates the
start of the verse. The use of the crash cymtral at the start of
a new section is like a capital letter at the start of a sentence.
The bass drum is played with the crash cymbal; be careful
that both instruments play at exactly thc sarne time and not
slightly before or after each other.

Bar glOpenhi-hat
((0"
On the last eighth note of bar 9 there is a small circle
above the hi-hat note. This means to open the hi-hai using
the foot on the pedal while playing the hi-hat with the
hand. Try not to lean back or rock to the side when Playrng
either the bass drum or hi-hat pedal. Keep the body as
centred as possible.
Ovm\rrE\'l The Small Faces and The Kinks. Later in the band's
career, their music had a touch of northern soul
'Kaiser Roll' is written in the style of mod- as well as punk as their catchy, guitar driven songs
influenced British indie groups including BIur, Kaiser boasted memorable hooks and driving drum beats.
Chiefs and Ocean Colour Scene. It should be played
with the energy of rock and its techniques include 'fhe Jam's frontman Paul Weller turned his back on
open hi-hat and moving between cymbals. the mod scene rvhen he formed 'Ihe Sryl. Council,
only to return to the fold in the 1990s with acclaimed
albums Wild Wood (1993) and Heavy Scul (1997).
STYIE FOOI]S
The Kaiser Chiefs picked up where The Iam ended
This style of drumming takes its lead from \^rith a sound dominated by crunchy guitars. Later,
mod music of the late 1970s and early 1980s. Mod the band replaced their punk influences with pop
drummers had more finesse than their punk peers sensibilities inspired by the great Ilritish bands of the
and looked to the grooves of northern soul for 1 980s, especially Madness.

inspiration. Rick Buckler of The Iam could power a

track like 'A Bomb [n Wardour Street' with as much
energy as a punk drummer, but he could easily groove RECOMMENDED T STENT}IG
like a Motown drummer on songs such as 'Town
Called Malice'. Steve White, who played with Paul The Kaiser Chiefs'debut album Employment
Weller in The Styl. Council and later solo, is a master (2005) boasts two standout songs: 'Oh My God'
of soul and R&B influenced rock who frequently uses and 'I Predict A Riot'. For Motown-influenced mod
accents on his hi-hat to add a pulse to his grooves. drumming, listen to Rick Buckler on the The lam's hit
'Town Called Malice' from their final album fhe Gift
(19S1). Weller's album Stanley Road (1995), featuring
rHE BTGGER PTCTURE the single 'The Changingmanl is a mod classic with
drumming from Steve White. Lastly, Ocean Colour
Even though their music was faster and tougher, Scene's 'The Day We Caught The Train is a good
The Iam were inspired by their forefathers The Who, example of this style from indie's Bripop era.
Kaiser Roll
Noam Lederman

J=115IndieRock

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Walkthrough

A Section (Bars L-LZ) which includes four eighth notes followed by a quarter note.
This is the A section of the piece which, in most rock songs, There are two sticking options for this snare filL alternate
is referred to as the verse. The groove is introduced straight sticking starting with your ieading haud (R L R L R) or play
away with eighth note hi-hats, backbeat snare and a varied all strokes with your leading hand (R R R R R). Whichever
bass drum pattern. The open/closed hi-hat is added from sticking option you decide to use, ensure that the rhythms
bar 9 and there is a snare/bass drum fiIl in bar L2. are accurate and co-ordinated well with *.he bass drum (Fig.
2 with two sticking opticns).
Bars l-4 I Groove
The snare and bass drum pattern follows the guitar riff, so B Section (Bars L3-20)
pay attention to what is played on the track. Isolating each This is the second section of the piece, usually referred to as
beat and focusing upon the bass drum pattern is a gcod the chorus in rock music. The groove is played on the ride
starting point when working on this section. On beat 1 there cymbal \^rith a few crash cymbal hits.
are two consecutive bass drums to play. Remember that
these must be performed evenly and, as long as you focus on Bar 13 | Crash cymbal
the balance and do not stop the natural bounce of the bass The first cymbal note in this bar indicates the crash cymbal
drum beater, this should be achieved. should be played. Co-ordinating the crash \ rith the bass
drum is an important and useful skill for every drummer.
Bar I I Quarter-note rest
In the third beat of the bar there is a quarter-note rest. This Bar 13 | Ride cymbal
means that nothing will be played at the bottom part of the Apart from the crash hits, all the cymbal notes in this section
stave. However, the hi-hats notated above the rest should tell you that the ride cymbal should be played. The ride
be played. These will also help you maintain a steady and will replace the natural part of the hi-hat in the groove and
consistent pulse. should be played with accuracy and in unison.

Bar 5lNotevalues Bar 2O I Crashing

There are two rhythmic note values used in this bar: quarter In this bar, there are two crash hits played with the bass
notes and eighth notes. Remember that quarter notes are drurn. These are placed on beats 1 and 3 with quarter-note
counted as "1 23 4" and eighth notes as "1 &2 &3 &4 &': rests in between. To ensure you perform the crash and bass
drum in unison, hit the crash with conviction and continue
BarglOpenhi-hat to count the beats during the rests.
The U symbol above the hi-trat note means that the hi-hat
should be 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
time you will need to co-ordinate 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 renloving
it \^rill affect your posture, balance and timing. Avoid leaning
backwards, sideways or forwards (Fig. 1).

Bar lO I Closed hi-hat

The '+' sign above the first hi-hat note indicates the hi-hat
should be played in the closed position. This is achieved
by pressing the hi-hat pedal down with your foot and
tightening the hi-hat cymbals. As u,ith the open hi-hat, you
will still need to hit the hi-hat with your hand at the same
time. This movement must be timed well or else ttre closed
hi-hat will still sound like an open (or half open) hi-hat.

Bar 12 | Snare and bass fill

In this bar, there is a drum fill that indicates the end of the
A section and the beginning of the B section in bar 13. The
bass drum plays three consecutive quarter notes and rests on
beat 4. This needs to be co-ordinated with the snare pattern,
CVER\TIEW

'Bend And Snap is a pop track written in the dance

floor friendly style of artists like Lady Gaga, Madonna
and Rihanna. The song features bass and snare dnrm
variations and a ride cymbal quarter-note groove
among its techniques.

STYIE FOCI]S

Modern pop is influenced extensively by the many

permutations of dance music from soul to Rn B and
hip hop. In the studio, most drumming on a wide
range of pop artists' singles and alL,urns comes frcrm
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 the groove
steady and making your drums sit in the pocket.
It is the job of a pop drummer to give the singers a
rirythmic piaiforrn upon which to perform.

$IE STGGSR PTCTURE

Michael |ackson and Madonna were the respective

Kirg and Queen of pop in the 1980s and 1990s,
Bend And Snap
Peter Huntington

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Walkthrough

ride until you achieve a consistent pulse before putting it

together with the snare and bass drurn pattern.

Bar 14l Offbeat bass drum

On beat 3, there is an eighth-note rest followed by an eighth-
note bass drum. The bass drum is played on the'&'of beat 3,
the oftbeat" Co-ordinating this with the quarter note hi-hat
rnay be challenging at first. Counting all the eighth notes in
the bar ("1 & 2 &3 &4 &") and using ametronome should
solve this.

D Section (bars 2L--25)

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

This is the only open hi-hat in the piece but the same
principles apply. Your hi-hat foot should stay in contact with
the pedal in order tc maintain your posture, balance and
timing. Avoid leaning backwards, sideways or forwards.

Bar 28 | Ending phrase

This is a musical interpretation of the rhythmic phrase the
other instruments play. The hi-hat plays the first four eighth
notes in the bar then rests on beats 3 and 4. The 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 appl,ies to both parts of the
stave, so the offbeat of the second beat is the last note you
have to play.
 .l =1 15 Rock'n'Roll

rHE STGGER PTTTURE

In the 1960s, The Beatles, The Rolling Stones and

The Animals feli in love with American rock n roll
and R&8, which th.y then exported back to America
in what became known as The British Invasion.
The rnusic was cleaner 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 material, the music
developed a distinct sound and identity.

Soon after; American bands and artists like The

Byrds anci tsob Dylan were exctranging ideas with
their British counterparts, encouraging them to
explore new vistas in their playrng. Ultimately, the
most important facet \{as that these drummers eaclr
kept good time and played danceable beats.

RECOM},IENDED I,ISTEryING

The Byrd's debut Mr Tambourine Man (1965)

features the iconic title track. The Beatles' early output
includes a host of great songs that mix rock 'n roll,
R&B arr,J pop. For example, lPlease Please Md and
'Love Me Do'. AIso, listen to Dick Dale's classic surf
rock tracks 'Let's Go Trippin' and 'Take It Off:
 |angle Road
Henry Thomas

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Walkthrough

A Section (Bars l-4) Bar 2O I Snare and bass fill

The A section utilises a catc\ musical rhythmic phrase that The drum fill in this bar indicates the end of the B section
serves to lead into the firll groove thatbegins in bar 5. and thebeginning ofthe C section inbar2l. The bass
drum and ride cymbal play on beat 1 and the snare plays
Bar I I Counting the beats the follo*ing rhythmic phrase: 'rest 2 & 3 4i You should
In order to play this rhythmic phrase accurately, you will count the eighth notes in the bar in order to understand the
need to count the beats and rests in the bar. Start by counting rhythmic values used.
all the eighth notes and tapping the fcllowing rhythm cn the
snare: 'l rest & 3 4'. When it feels comfortable, move it to the
kit and play the written voicings. Remember to play the bass C Section (Bars 2l -33)
drum and ride cfmbal with reliable co-ordination and place The last section ofthe song features a rock n' roll groove on
the snare cirum exactly on beat a (Fig. 1). the hi-hat, a one backbeat groove and the same rhythmic
phrase that ilras used in section A.
Bar 4lBreak
A similar concept applies in bar 4. However, there is a break Bars27-29 | One backbeat groove
of two quarter notes in the middle of the bar. Play the bass In thesc bars, therc is only onc backbeat per bar, whidr
drum and crash on the first beat, count and rest on the should be played on the fourth beat. When playing grooves
second and third and, finally, playthe quarter-note snare on with only one backbea! you might feel as ifthe groove slows
the fourth beat. down and begins to lose its intensity. However, the tempo
does not change. This is simply a rhythmic illusion created
by pl.yrng less backbeats.

but instead of playrng the hi-hat with your hand at the same
Bar 5 | Crash on beat 1 time simply hit a different cymbal. In this particular case, the
Playing the crash cymbal on the first beat ofthis bar '+' above the ride cymbal note indicates that the ride needs
indicates the beginning of a new section. The crash is played to be played and co-ordinated with closing the hi-hat with
with a bass drum in order to make this statement more your foot (Fig. 2).
 J=95 Hip Hop

OVER\TIEW 1970s funk and 1980s electro funk held sway, whereas
in New York (the birth place of hip hop) producers
'West Coast Rollirt'' is a hip hop track in the G-funk were more likely to sample jazz or early funk records.
style popularised by artists like Dr Dre, Snoop Doggy
Dogg and Warren G. It has a solid yet chilled out West Coast producers like Dr Dre and DJ Quik
backbeat feel and features open hi-hats, snare drum pioneered the signature G-funk bounce and began
fills and other techniques. to move away from sampling towards the use of
live musicians who wouid generate new grooves or
replicate loops sampled from old records. G-funk
STYIE I'CCIIJS continues to influence contemporary artists including
50 Cent and Mann, whose single'Buzzii'was an
Early G-funk borrowed from the feel of George international hit and, in its sampling of Nu Shooz'
Clinton's P-funh especially the basslines of later
Parliament and Funkadelic records. These synth- production style. '
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 RECOI IMEIrDED rrsTE]rING
four (the backbeat) routinely have the usual snares
layered with hand claps to create a bigger sound and Dr Dre's classic solo album The Chronic (1992)
place more emphasis on these beats. It is not unusual was G-funk's first major release. The tracks 'Dre
for the drum part to play a solid backbeat feel for the Dayi 'Nuthin' But A G Thang' and'Let Me Ride' are
majority of the track and to use fills sparingly. essential listening. Dre also produced Snoop Dogg's
controversial debut Doggystyle (L993), which brought
G-funk to the mainstream. 2Pac began his career
[}IE STGCF,R. PiC.TIIRE as a member of Digital Underground and is a key
figure. 1995's Me Against The World was popular
The West Coast hip hop scene, of which G-funk with an audience beyond G-funk's native West Ccast.
from that of America's East Coast.
was a part, differed Warning: these records ma), contain content that is
From Los Angeles to San Francisco's Bay Area, late un suit able for childre n.
 Neel Dhorajiwala

J=95 Hip Hop

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Walkthrough

A Section (Bars 1-8) the follo*ing rhythmic phrase: "1 & rest &.3 4". Count the
The 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 playrng phrases like this
open/closed marks, backbeat snare, a straight bass drum one on the drum kit it is recommended tc experiment with
pattern and one crash cymbal hit in bar 1. different sticking options until you find the one that works
best for you. In order to develop reliable hand technique,
Bar | | Crash on beat 1 try using the following sticking: R L 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 craslt and
bass drum hit on beat 1 generally indicates the start of a ne\ " C Section (Bars 17 -25)
section (Fig. 1). This is the reprise of the A section and the groove features
crash cymbals and open/closed hi-hats. The drum part in
Bar I Open hi-hats on offbeats bars 24 and 25 follows the rhythms played on the backing
In order to produce a solid open hi-hat sound you will need track by the other instruments.
to co-ordinate your hi-hat foot movement with your hand
that plays the hi-hat. In this bar the open hi-hats are played Bars 24-25 | nnding phrase
on the offbeats of beats 3 and 4 (the offbeat is the second The rhythm of this phrase is straightforward: six consecutive
eighth note of each beat, which is generally counted as "&"). quarter notes are played and followed by a rest on the final
The hi-hat should be played as closed in the following eighth two beats. In bar 24 ail, four quarter notes are played with the
notes, so co-ordinate the movement of your hi-hat foot bass drum and open hi-hat, and in bar 25 both quarter notes
with the bass drum, which needs to be played at the same are played with the bass drum and crash cymbal. Apart from
time. When working on this technique it is vital that you maintaining a consistent open hi-hat sound and keeping
remember this principle: in order to achieve a solid pulse, your posture balanced, you need to focus on moving your
your body should remain balanced; therefore, avoid leaning hand in time between the cymbals.
backwards, sideways or forwards.
Bars 24-25 | Moving between kit parts
Bar 8 I Fill The ability to move your hands accurately between the
In bar 8 there is a snare fill of four consecutive eighth notes. drums and cymbals is integral to drumming. Ensure that
There are a few sticking options for you to choose from: your drum kit is set in the most comfortable way so that it is
singles (R R R R or L L L L); alternate (R L R L or L R L R); easy for you to reach each part of the kit.
or doubles (R R L L or L L R R). Try them ail and see which
feels most comfortable and works best with your technique.
Counting the eighth notes in these bars as "1 & 2 & 3 & 4 &"
will help you to lock in with the cUck or track.

B Section (Bars 9-i6)

This is the breakdown section of the piece where there is
only one backbeat snare per bar. The bass drum plays on
most beats and there is a fill in bar 16 that indicates the end
of the section.

Bars 9-15 | One backbeat groove

When you play oniy one backbeat per bar you will feel as
though the groove has slowed down and lost its intensity.
This is frequently used in hip hop to create dynamic changes
in different sections.

Bar 16 | Snare and bass fill

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 four consecutive quarter notes and the snare plays
 E.rly classic rock bands of the 1960s featured some
skilful drummers, in particular Led Zeppelin's |ohn
Bonham, Deep Purple's Ian Paice and Cream's Ginger
with the later
Baker. This is a trend that continued
emergence of Free, Bad Company and AC/DC.

Deep Purple drummer Paice is the only remaining

member of the ban-d's original line-up and one of
classic rock's few fhmous left-handed drummers.
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 lkeZZ Top, Alice
Cooper and Van Halen. Each of th.ese groups is worth
exploring for doses of classic hard rock drummirg.

RECOMMENDED IJSIEI.I.nfG

Deep Purple's Fireball (lg7l), Machine Head (Lg72)

and the live Made In lapan (1972) feature outstanding
drumming by Paice. the song'Fireball' boasts his
famous drum solo at the start in which he uses a
double-bass pedal. Bonham's beats on 'When The
Levee Breaks' and 'Rock And Roll' on Led Zeppelin's
Led Zeppelin IV (L971) have become signature
grooves, while Creant's live version of 'Toad' contains
a 14 minute drum solo from Baker!
 Deep Tlouble
CoiinWoolway

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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 section of the piece which is usually
is referred to as the verse. In the first four bars there is an referred to as the chorus in rock. The groove is played on the
introduction type of beat with a fill in bar 4. The groove that ride cymbal with a few crash cyrnbals and a fill in bar 16.
enters in bar 5 features eighth note hi-hats, backbeat snare,
open hi-hat, crash cyrnbal and a varied bass drum pattern. BarglCrashcymbal
The first cymbal note in this bar indicates that the crash
Bar II Introduction beat cymbal should be played. Co-ordinating the crash with
This beat features 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 have.
foot needs to remain loose but always in contact with the
pedal (Fig. 1). BarSlkidecymbal
Apart from the first cymbal note, which is a crash, all cymbal
Bar 3 | Syncopation notes here indicate that the ride cymbal should be played.
In this bar there is a snare/crash hit on the offbeat of beat 4. The ride will replace the natural part of the hi-hat in the
This follows the open hi-hat/bass stroke on the backbeat grooye and should'be plal'ed r^'*h accuracy and in unison.
of beat 4. Make sure to move your hands quickly to the
required position and ensure that the offbeat is struck in Bars 15-f 6 | Rhythmic phrdse andfill
unison. Continue to count the beats following this offbeat in Listening to the fuli version of this track might be the
order to accurately place in the filI in bar 4. quickest rvay of understanding the rhythms because the
guitar and bass play the same rhythmic phrase. However, it is
Bars 3-4 | Fill important that you spend time studying and understanding
At the end of bar 4 there are four consecutive eighth note the combination of quarter notes, 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 stickirg options for you to
choose from here: singles (R R R R or L L L L); alternate
(R L R L or L RL R); or Coubles (R R L L or L L R R). Try C Section (Bars 2X,-29)
them all and see which feels most comfortable and works This is the reprise of the A section anC features a full groove
best with your technique. Apart frcm the sticking, your with crash cymbals and open/closed hi-hats and fills.
other challenge will be starting the fill in tirne because it
comes after a two beat rest that follows a crash/snare hit at
the end of bar 3. Counting the eighth notes in these bars as
*1
& 2 & 3 & 4 &" will help you to locli in with the ctrick or
track (Fig. 2).

Bar 6l 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 urith
the hand that plays the hi-hat. Practise this hi-hat pattern
and focus on timing and consistcncy of sound. To achieve
a solid pulse while working on this technique it is vital that
your body remains balanced, so avoid leaning liackwards,
sideways or forwards.

Bar 7lClosedhi-hat
The '+' sign above the first hi-hat note in this bar indicates
that the hi-hat should be played in the closed position. This
technique is achieved by pressing the hi-hat pedal down
with your foot and tightening the hi-hat cymbals. Apart
from tightening your hi-hat foot, you will also need to hit
the hi-hat and the bass at exactly the same time. This specific
movement and use of voicing is common in drumming and
a valuable commodity to have in your tool bag, so take your
time and get comfortable with it.
)=1 05 Funk
 Luke Aldridge

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Walkthrough

A Section (Bars l'4) Bar 17 | Moving between cymbals

The first section features a musical rhythmic phrase and a Moving your hands accurately between the cymbals is an
fill that leads to the full groove that enters in bar 5. integral technique of drumming. Ensure that the hi-hat, ride
and crash are set up in the most comfortable way so it is easy
Bar I I Counting the beats for you to reach and move between them.
In order to play this rhythmic phrase accurately, you need
to understand the beats used in this bar. The hi-hat plays Bar X I Open/closed hi-hat
on the backbeat (beats 2 and4) and the bass drum plays on The hi-hat pattern in this bar can be challenging at first.
beats 1, 3 and the offbeat of beat 2. Start by counting all the Start by pl.yrng consistent eight notes on the hi-hat and
eighth notes and tapping the follo*ing rhythm on the snare: counting "1 & 2 & 3 & 4 &". Next, try achieving the oPen
L 2 & 3 4. When it feels comfortable, move it to the kit and hi-hat sound (by loosening your hi-hat pedal) on the
play the written voicings. ofreats. Remember that you will need to close the hi-hat
on the beats in order to achieve fluency here. Adding the
Bar 4l Unison fill bass drum on each beat should not be ciifficult if you have
Approach this hectic fill by breaking it down to the upper understood and absorbed the hi-hat pattern (Fig. 2).
and lower parts of the stave. In the upPer part there are
six consecutive eighth notes followed by a crash on beat 4. Bars 24-25 | nnding phrase
The lower part has a similar pattern on the snare and four You may find it helpful to break down the fill inbar 24
quarter note bass drums. When ready, put it together and into two sections of tr,rro beats. In the first section of the
practise. Remember the concept of unison and Pay attention fitl (beats 1 and 2) there are two snares, crashibass hit and
when three drum voices are played together (Fig. 1). another snare. The second section (beats 3 and 4) has two
bass drums, an open hi-hat/snare hit and another bass
drurn. All strokes are olayed as eighth notes so you can
B Section (Bars 5-16) focus on playing the written notation accurately. After you
This section features the main funk groove of the piece with feel comfortable \^rith both sections, Put them together and
variations and fills. complete the passage with the crash/bass drum hit at the
beginning of bar 25.
Bar 5 | Groove
This basic funk groove consists of eighth notes on the hi-hat
and backbeat snare. The bass drum is playeci on beats 1
and 3 as well as the offbeats of the seconci and fourth beats.
Co-ordinate the patterns accurately with a consistent pulse
in order to achieve a solid groove.

Bar 5 | Crash on beat 1

Playing the crash cymbal on the first beat of this bar
indicates a new section. The crash is played with a bass drum
in order 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.
Co-ordinate the crash and bass drum accurately to create a
convincing opening to the section.

Bars 5-15 | Snare/bass variations

The basic pattern introduced in bar 5 continues to develop
and vary throughout this section. Tiy practising the snare
and bass pattern lvithout the hi-hat and ensure that all the
rhythmic values are accurate.

C Section (Bars L7 -25)

The last section features a slightly varied 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 exercises drawn from each of the three groups shown below.
In addition there is a Fill exercise which you will play using the designated backing track 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 resporse.

The stickings shown (L & R) are there as a guide for right handed drummers. Left handed drummers should reverse the
sticking patterns. Before you start the section you will be asked whether you would like to play the exercises along with the
click or hear a single bar of click before y,ou commence the test. Groups A-C should be playedat )=70.

Group A: Single and Double Strokes

Single and double strokes in eighth notes, alternate bars.

Group B: Single and Double Strokes

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

Group C: Paradiddles
in 16e notes
Single paradiddle

Group D: Fill
In the exam you will be asked to play the three bar groove shown followed by one of the notated fills chosen by the
examiner. The fiils consist ofalternating eighth- and l6s-note single and double stroke ftlIs. You will perform this exercise to
the backing track. The tempo is J = 80.

)=80 Funk
o+o+o+^
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 Le asked to prepare a Sight Reading test which will be given to you by the examiner. The test is four bars long
*i pt"y.a on the snare drum. The examiner will allow you 90 seconds to PrePare it and will set the tempo for you. The
tempo is J=80.

J=so
Improvisation & Interpretation

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 bar.
The test will be played to a backing track using the trass drum, hi-hat and snare drum. You have 30 seconds to prepare then
you will be allowed to practise during the first playing of the backing track, before playing it to the examiner on the second
Pl"ytttg ofthe 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.
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 Playback and Recognition

The examiner will play you a one bar fill in common time played on the snare drum. You will play back'fte fill on the snare
drum. You will then identiS the fill from two printed examples shown to you by the examlner. 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.

Test 2: Groove Recall

The examiner will play you a two-bar groove played on the bass drum, hi-hat and snare. 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.

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

J=eo
General Musicianship Questions
Entering Rockschool Exams
Gneor Exeus I Drrur ro Gnaor,5 *

Gnepr Exeus I Gneons 6-8

PEnronMANcE CEnrrrrcATEs I Drnur ro Gnapr 8*

* Note that there are no Debut Vocal exams.

Drums Notation Explained

Bass drum Floor tom Medium tom High tom Ghost snare Rim'shot Cross stick Buzz snare

Strike snare drum Place palm on snare

and surrounding drum head and
rim at same time strike rim with stick

Closed Half open open Closed

t Ctosed
t foot
Hi-hat Hi-hat foot
closed open

t L)sed on the first closed hi-hat that follows an open hi'hat

$ The hi-hatr c/osed without being struck. Note that the hi-hat closed (cross) symbol may appear above
drum voics other than the hi-hal bs shown above). This simply mer,ns another drum wice is being played
at the same moment that the hi-hat is being closed.

t
GENERAL MUSIC NOTATION

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 (ff) then

Repeat the bars between the
play untilthe bar marked
repeat signs.
To Coda O tnen skip to the
section marked SCoda.

When a repeated section has

different endings, play the first
Go back to beginning of song and
play untit 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.

ln rudiments, each stem stash

subdivides the note value by half.

Play an individual, stylistic fill. Develop Extend the musical part in a stylistically
appropriate manner.

Continue in similar way but vary the Rit. (ritardando) Gradually slow the tempo.
pattern slightly.
Mechanical Copyright Information
 The syllabus consists of 11 finely-tuned books:

W0Rl000l$ Debut to Grade B. Each grade includes a sample paper

SUIIIEB00KS Split into two levels; Debut to Grade 5 and Grades 6 to B

Discover eve46hing you need to know The ideal preparation for students
about popular musical theory taking Rockschool theory exams
Regardless of your current level of technical The range of Workbooks, frorn Debut to
ability, or srylistic preferences, our Popular Grade B, serve as grade-specific, practice
Music Theory Guidebooks will provicle texts, which enable each student to practice
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to progress seamlessly through the the study of the Guidebooks, within the
Rockschool graded theory exams. same structure and format of the actual
Rockschool theory exams.
Acquire a hugely impressive knowledge of:
O Popular music composition Each book includes sample questions
t Arranging and perforrnance techniques for the fcllowing sections:
t How to read and analyse a rnusical score C Music notation
t Specialist notation and techniques for all I Popular rnusic harmony
band instrurnents O Bar,d knowledge
I Harmony, theory and key chord O Band analysis
progressions
 rockschool '

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