Rockschoo ': Formance Pieces, Technical Exercises And In-depth Guidance

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 Page 5 9 13 17 21 25

Kaiser Roll

Bend And Snap Jangle Road

4

West Coast Rollin'

10 13 16

Deep Trouble Munky Fusic

Technical Exercises Page

CD Track

29 Rudiments & Fill

19

Supporting Tests Page

CD Track

30 Sight Reading 31 Im p r ovisation & Interpretation 32 Ear Tests

20 21-23

33 General Musicianship Questions

hdditional information Page 34 35 36 37

CD Track Entering Rockschool Exams D r ums Grade 1 Marking Schemes D r um Notation Explained D r ums Grade 2 Preview

24

C D Backing C DBacki ng n o Click

wi th C l i ck

2 5 8 11 14 17

3 6 9 12 15 18

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.

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O ~V V V 'Kaiser Roll' is written in the style of mod­ influenced British indie groups including Blur, Kaiser

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.

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.

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).

STYLZ PE;US 'I'he Kaiser Chiefs picked up where The Jam ended 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

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.

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

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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.

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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

Fven though their music was faster and tougher,

The Jam were inspired by their forefathers The Who,

Scene's 'The Day We Caught The 'I'rain' is a good example of this style from indie's Britpop era.

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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.

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).

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.

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 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

Bar 13 ~Ride cymbal

be played. Thesc 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 5 ( )Vote values There are two rhythmic note values used in this bar: quarter notes and eighth notes. Remembcr that quarter notes are countedas"I 234 and eighthnotesas"I &2 & 3 &4 &".

Bar 20 ~Crashing

Bar 9 ( Open hi-hat

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

In this bar, therc are two crash hits played with the bass drum. These are placed on beats one and three with quartcr­ note rests in bctween. 'I'o cnsure you perform the crash and bass drum in unison, hit the crash with conviction and 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 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

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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.

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 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.

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Michael Jackson and Madonna wcre the respective

King and Queen of pop in the 1980s and 1990s,

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

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Walkthrough A Section (Bars 1-4) 'I'he A section uses a breakdown type groove that leads to

ride until you achieve a consistent pulse before putting it together with the snare and bass drum pattern.

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 14 ~Ogvat bass drum

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.

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 first main section of the song, usually referred to as the verse in pop music. The groove is played on the hi-hat with some snare and bass variations. Bar 5 ~Crash on beat one 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. 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.

C Section (Bars 13-20) 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

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

Bar 28 ( Ending phrase 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.

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'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,

PI ' T U RE

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

increasingly psychedelic lyrics and catchy melodies.

B)vds and Bob Dylan were exchanging ideas with

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.

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. 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.

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'.

Jangle Road

Qo Tracks 7, 8 8r 9

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Walkthrough A Section (Bars 1-4) 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.

Bar 20 ~Snare and bussfill 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.

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. Bar 5 ~hfovi)tg brtween cymbals The ability to move your hands accurately between the nttibals is integral to drumming. Ensure that the hi-hat, ride, and crash are set in the most comfortable way so that it iseasy for you to reach and move behveen them.

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).

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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 rhphmic valucs arc accurate. When you feel ready, add the cymbals and play along with the track or a metronome. 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 steady and consistent pulse.

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in New York (the birth place of hip hop) producers 'West Coast Rollin is a hip hop track in thc G-funk

were more likely to sample jazz or early funk records.

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.

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 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.

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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

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

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Walkthrough A Section (Bars 1-8) 'I he first section of this piece features a basic hip hop groove. There are consistent eighth note hi-hats, with occasional

open/closed marks, backbeat snare, a straight bass drum pattern and one crash c)mbal hit in bar I, Bar1 ~ Crash on beatone Drummers employ this technique frequently so it is worth practising it until it becomes second nature, You must play the crash cymbal and bass drum in unison while ensuring accurate timing and secure co-ordination. The crash and bass drum hit on beat one generally indicates the start of a neiv section (Fig. 1).

the following rhythmic phrase "1 & rest & 3 4". Count the eighth notes in the bar in order to understand the rhythmic values and rest that are used. When playing phrases like this one on the drum kit it is recommended to experiment with different sticking options until you find the one that works best for you. In order to develop reliable hand technique, try using the following sticking: R I. rest L R L Alternate

sticking such as the one suggested here will help you to develop a more accurate and even single stroke roll. (See Fig. 2 for sticking example.)

C Section (Bars 17-25)

In order to produce a solid open hi-hat sound you will

This is the reprise of the A section and the groove features crash cymbals and open/dosed hi-hats. The drum part in bars 24 and 25 follows the rhythms played on the backing 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

Bar 4 ~ Open hi-hats on oflbeats

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 though the groove has slowed down and lost its intensity.

R

L

This is frequently used in hip hop to createQvmmic changes in different sections.

Bar 16 ( Snare and bassftll 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

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FMy classic rock bands of the 1960s featured some

skilful drummers, in particular Led Zeppclin's John 'Deep Trouble' takes its lead from classic bands like Deep Purple, Led Zeppelin and Cream. It features

Bonham, Deep Purplc's lan Paice and Cream's Ginger Baker. This is a trend that continued with the later

solid drumming played in the pocket to provide a

emergence of Free, Bad Company and AC/DC.

firm foundation for the distorted guitar riff that is the

calling card of many classic rock classics.

Deep Purple drummer Paice is the only remaining

member of the band's original line-up and one of STYLZ PE;US

classic rock's few famous left-handed drummcrs. He still holds drum clinics to demonstrate differing techniques and tours the world with his band.

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

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.

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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

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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 is rcftvrcd to as the verse. In the first four bars there is an introduction type ofbeat with a fill in bar 4. The groove that enters in bar 5 features eighth note hi-hats, backbeat snarc, opcn hi-hat, crash cymbal and a varied bass drum pattern.

This is the second scction of the piece which is usually rcferred to as thc chorus in rock The groove is played on the ride c)mbal with a few crash c)mbals and a fill in bar 16.

Bar 9( Crash cymbal The first cymbal note in this bar indicates that the crash

Bar 1 ) Introduction bcat 'I his beat featurcs quarter note open hi-hats and bass drum backbeats. When the hi-hat is continually open your hi-hat toot needs to remain loose but always in contact with the

pedal (Fig. 1). Bar 3 ) Syncopation In this bar there is a snare/crash hit on the offbeat of beat tour. This follows the open hi-hat/bass stroke on the backbeat ofbeat four. Make sure to move your hands quickly to the required position and ensure that the offbeat is struck in unison. Continue to count the beats following this offbeat in order to accurately place in the fill in bar 4.

Bars 3-4 I Fill At the end of bar four there are four consecutivc eighth notc snare drums. This is a preparation fill for the entry of the full 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

c)mbal should be playecL Co-ordinating the crash with the bass drum is an important and useful skill that every drummer should havc.

Bar 9 I Ride cymbal Apart from the first cymbal note, which is a crash, all cymbal notes here indicate that the ride cymbal should be playecL 1'hc ride will replace the natural part of the hi-hat in the groove and should be played with accuracy and in unison.

Bars 15-16 ~Rhythmic phrase and f ill

Listening to the full version of this track might be the quickest ii ay of undcrstanding the rhythms because the guitar and bass play the same rhythmic phrase. However, it is important that you spend time studying and undcrstanding the combination of quarter notcs, eighth notes and rests used in these bars.

(RLRI,or LRLR);ordoubles(RRLLor LLRR). Try

C Section (Bars 21-29)

thcm all and see which feels most comfortable and works best with your technique. Apart from thc sticking, your 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

This is the reprise of the A section and features a full groove with crash c)mbals and open/closed hi-hats and fills.

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 and focus on timing and consistency of sound. 'I'o achievc a solid pulse whilc working on this technique it is vital that

Fig. i: Introduction bcat

your body remains balanced, so avoid lcaning backwards, sideways or foriiwrds.

Bar 7 ) Closed hi-hat

()a) R (1b) L

1he '+' sign above the first hi-hat note in this bar indicates that the hi-hat should be playcd in thc closcd position. This tcchniquc is achieved by pressing the hi-hat pedal down 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 movement and usc 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.

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'Munky Fusic' is a funk tune with a rock influence in the style of bands like Sly & The Family Stone, Red Hot Chili Peppers and Wild Cherry. lt features open hi-hat and a three voice unison among its techniques.

At the same time, Jimi Hendrix was becoming a rock guitar hero while incorporating into his style elements of soul and R&B which he had absorbed while touring as a session guitarist with soul and R&B

legends The Isley Brothers. When George Clinton, leader of the doo wop group

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'.

TH 3IGGW PI'TUR­

Freakcy Styky (1985) and helped stcer the band

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

In thc 1980s, Clinton produced RHCP's album towards their own unique funk rock sound. 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.

R- C?PM 'DW LISTBM G i '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

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Walkthrough A Section (Bars 1-4) 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 17 Moving ~ 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 )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. 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. Co-ordinate the crash and bass drum accurately to create a convincing opening to the section.

Fig. t: Unison Sll

Bars5-15 ~Snarelbassvariations The basic pattern introduced in bar 5 continues to develop and vary throughout this scction. Try practising the snare and bass pattern without the hi-hat and ensure that all the rhythmic valuesare accuratc.

C Section (Bars 17-25) '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.

open dosed

Count 1

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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

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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

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L

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B R

R

L

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RR L L RR L L

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D R RL L R R L L R

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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 MERIT

ELEMENT

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

6 out of Io

7-8 out of 10

9+ out of10

6 out o f 1 0

7-8 out of 10

9+ out of10

3 outof 5

4outof 5

5outof 5

Bther

Sight Reading Improvisation & Interpretation

General Musidanship Questions

74%+

TOTAL MhRKS

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

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Slashes are used to demarcate bars durlng soios, filis, developments and other ad lib. sections.

GS. al Coda

Go back to the sign A), then play until the bar marked To Code 8 then skip to the section marked 8 Code.

D.C al Fine

Go backto the beginning ofthe song and p4y until the bar

Repeat the bars between the repeat sigtls,

When a repeated section has different endings, play the first ending only the first time and the second ending only the second time.

marked Rne (end).

Repeat the prevrous bar. In higher grades these may abo be matked sim or cont sim.

R

Repeat the previous two bars. In higher grades these may aiso be marked sim. orcont sim.

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

•

•

•

Piay an individual, stylistic fill.

Continue in a similar way but varythe pattern slrghtly.

Extend the rnusical part in a stylistically appropriate ITlsnrler.

Rlt (rltetdaatdo)

Gr a dually slow the tempo.

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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.

The focus of funk is rhythm. With this in mind, 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

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.

R BX).'F~;D- D LIS~ ; P I G 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)

Luke Aldridge

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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.

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

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.

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 R L L

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

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Fig. 2: Fill

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