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Syllabus guide
KEYSBAND
BAS
ED
Debut to Grade 5
KEYS
• DE
BUT-
5
D-5
Band Based Keyboards
WelcomeQuick Overview
General Technical SpecificationsEntry LevelLevel 1Level 2
Grade Specifications DebutGrade 1Grade 2Grade 3Grade 4Grade 5
Exam RegulationsAssessment Requirements
34
555
61016222834
4042
Syllabus Guide2006–2012
www.rockschool.co.uk
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2Acknowledgements
We would like to thank the following people who have made this syllabus series possible. Syllabus Director: Jeremy WardBook Editors: Jeremy Ward, Alastair Gavin, Simon Pitt, Simon TroupMusic Engraving: Simon Troup: www.digitalmusicart.comAudio Production: Alastair Gavin & Matt GendreuxDesign: www.fuelcreativity.comPhotography: Max Hamilton A very special thank you is due to Roland UK who loaned us the Juno-G keyboard featured on the front cover of the grade books.
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3
Welcome To The Band Based Keyboards Syllabus
Welcome to Rockschool’s new Band Based Keyboard (BBK) Syllabus Guide. This is the first accredited keyboard syllabus that puts the player at the heart of a band. The syllabus provides keyboard arrangements for the performance pieces found in Rockschool’s highly acclaimed Guitar, Bass and Drum syllabuses. At Grades 3 and 5, BBK players perform from the same repertoire. For the other grades we have used pieces found in the equivalent grades for these three instruments. For each grade you will need a keyboard with at least 61 keys, with the following patches: acoustic piano, electric piano, organ, strings and synth. At Grades 4 and 5 you will also need a sustain pedal. Each grade book contains everything a candidate needs in order to attempt a grade. For the first time we have include a ‘Fact File’ as a way of introducing each performance piece containing useful information on the style of music and players/bands featured in each piece. This is followed by a detailed ‘Walkthrough’ which highlights specific areas of technique and/or phrasing that need care and attention when practising. These sections include highlighted bars.
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BBK
Sum
mar
y Sh
eet
Deb
ut
Gr
aD
e 1
Gr
aD
e 2
Gr
aD
e 3
Gr
aD
e 4
Gr
aD
e 5
Per
for
ma
nc
e Pi
eces
M
ajor
/Min
orM
ajor
/Min
orM
ajor
/Min
orM
ajor
/Min
orM
ajor
/Min
orM
ajor
/Min
or
tec
hn
ica
l ex
erc
ises
Scal
esq
=70
q=
80q
=10
0q
=60
q=
100
q=
100
Cho
rds
q=
70q
=60
q=
60q
=60
q=
60q
=60
7ths
q=
60q
=10
0q
=13
5
Riff
q=
90q
=90
q=
90q
=12
0q
=13
5q
=90
siG
ht
rea
Din
GRH
Min
orRH
Maj
orLH
Min
orTw
o ha
nds M
ajor
Two
hand
s Min
orTw
o ha
nds M
ajor
imPr
ov
isat
ion
& in
ter
Pret
atio
nN
/AM
inor
Maj
orM
inor
Maj
orM
inor
ear
tes
ts
Ear T
est 1
Rhyt
hmic
RH M
inor
LH M
ajor
RH M
inor
RH M
ajor
LH B
lues
Ear T
est 2
RH M
ajor
RH M
ajor
RH M
inor
RH M
ajor
RH M
ajor
RH B
lues
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5
General Technical Specifications
entry level
Debut BBK is part of the Entry Level. Entry Level is for players who are beginners and who are looking to establish a simple and reliable technical facility. This will be shown through simple hand co-ordination in the delivery of very simple rhythms. Focus will be on maintaining solid pulse and understanding of note values and pitches.
level 1 (Grades 1–3) Grades 1, 2 and 3 form Level 1. This Level is for players who are just starting out and who are looking to establish a basic, solid technical facility as well as the emergence of stylistic awareness. This will be shown through secure hand co-ordination in the delivery of simple rhythms which will include simple syncopation. There will be some varying of articulation and basic ability to change instrumental patches and to be able to achieve the basic playing techniques associated with them.
level 2 (Grades 4 & 5) Grades 4 and 5 form Level 2. This Level is for players who have a secure basic technique and the beginnings of stylistic awareness. Candidates are looking to become fully competent in the main areas of keyboard technique and will continue to develop stylistic awareness by consolidating specific instrumental techniques and playing styles. This is shown through pieces of appropriate length and structure. Candidates will show more advanced hand co-ordination and independence of hand movement. Rhythms will be further developed to include cross-rhythms and rhythmic work between the hands. There is a wider use of articulations and an expectation of fluency between them. There is a requirement to change patches more regularly with less preparation time.
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Debut Overview
6
DPerformance Pieces Bean Scent
Patch: Electric Piano ■Blockbuster
Patch: Organ ■Detroit Spinna
Patch: Synth ■Nick of Time
Patch: Organ ■Paisley On My Mind
Patch: Piano ■Technotronica
Patch: Strings ■
technical exercises
Group a: scales q■■ =70
Right hand only ■
Pentatonic scales: A minor and E minor ■
Major Scales:C major ■
Group b: chords
q■■ =70 Right or Left hand as directed by ■the examiner
Chords i & iv and i & v
In A minor ■ Chords I & IV and I & V
In C major ■
Group c: riff q■■ =90
Played to a backing track ■ One bar right hand only riff pattern repeated with three different root notes over four bars.
sight reading
One hand (treble clef) ■Four bars ■Piano patch ■A minor pentatonic ■90 seconds preparation time ■
ear tests These tests are played on a CD
test 1: two bar rhythm recall, middle C, treble clef, q =70 piano patchtest 2: two bar melodic recall, C major scale q =70 piano patch
General musicianship Questions Five questions will be asked by the examiner, based on a piece played by the candidate. Two kinds of questions will be asked:
Simple music theory ■Knowledge of the instrument ■
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7
Debut
The technical specifications for the grade exam at Debut are shown below.
Performance Pieces (60 marks) Candidates are required to play three pieces printed in the grade book. Each piece is worth 20 marks. Pieces will be no longer than one minute to enable the player to sustain concentration and fluency. They will use simple note values and rhythms. Hand co-ordination will be basic and phrases will generally fall within five finger shapes occasionally requiring some finger changes. Articulations will be limited to understanding values and pieces will be written for one instrument patch only. Any simple instrumental techniques will written out in the music.
technical exercises (15 marks) Candidates will be required to play a selection of exercises from three printed groups (Groups A, B & C) as directed by the examiner. One of these is a four bar riff which is performed to a backing track on the grade CD supplied with each book. Candidates will not be required to memorise the exercises, and may use the book in the exam, but the examiner will be looking for the following: a prompt and accurate response, fluency and consistency of pulse. Groups A and B are to be played at q =70. All scales and chords should be played using the piano patch. Group a: scales all scales are to be prepared right hand only
A minor pentatonic scale ■E minor pentatonic scale ■C major scale ■
Group b: chords all chord sequences should be played with the right or left hand as directed.
Chords i and iv in A minor ■Chords i and v in A minor ■Chords I and IV in C major ■Chords I and V in C major ■
Group c: riff in the exam you will be asked to played a riff to the backing track of the CD. The riff pattern shown in bar 1 should be played in the following bards using the nearest right
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2Debut
hand inversions for the stated chords, referring to the Group B chords where necessary. The root notes of the chords to be played are shown in the music.
sight reading (10 marks) Candidates are asked to perform a piece of music using the piano patch on the keyboard. The sight reading test is four bars long, in the right hand only and will use the A minor pentatonic scale. The examiner will allow the candidate 90 seconds to preparation time and will set the tempo for the candidate with a metronome. The candidate may choose not to have the metronome running during the performance of the test. Candidates have the option to practise and play the sight reading test using a metronome.
ear tests (10 marks) There are two tests in this section which are played to the candidate by the examiner on CD. The test will be played back using the piano patch on the keyboard. test 1: rhythm recall candidates will be asked to play back on their keyboard a two bar rhythm played on middle C. Candidates hear the rhythm played twice with a drum backing followed by a short break for the candidate to practice. The candidate then plays the rhythm back with a drum backing. This test is continuous. test 2: melodic recall candidates will be asked to play back a simple two bar melody composed from the first three notes of the C major scale. Candidates are given the tonic note and the starting note and hear the test twice with a drum backing. After a short break, the test recommences and the candidate replays the melody with the drum backing.
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9
Debut
General musicianship Questions (5 marks)
The examiner asks the candidate five questions at the end of the exam, based on a piece that the candidate has played. Some of the theoretical topics can be found in the Technical Exercises. The topics fall into two categories:
■ music theory: the questions will cover (i) note pitches; (ii) note values and (iii) time signatures Knowledge of the keyboard: ■ this will cover (i) keys; (ii) on/off switch; (iii) volume control; (iv) patches and (v) how black notes are grouped.
In the Performance Certificate exam, candidates are required to play five of the pieces (worth 20 marks each) printed in the grade book.
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Grade 1 Overview
10
1Performance Pieces Café Negative
Patch: Organ ■Crescent City Voodoo
Patch: Piano ■Gone But Not Forgotten
Patch: Synth ■Jazz Trip
Patch: Electric Piano ■Just Keep Walking
Patch: Organ ■Ruff And Smooth
Patch: Strings ■
technical exercises Group a: scales
q■■ =80 To be prepared both hands ■separately
Pentatonic scales:
A minor & E minor ■Major Scales:
C major & G major ■ Group b: chords
q■■ =60 Right or Left hand as directed by ■the examiner
Chords i & iv and i & v
In A minor & E minor ■ Chords I & IV and I & V
In C major & G major ■
Group c: riff q■■ =90
Played to a CD backing track ■ One bar two hands riff pattern repeated with two different root notes per bar over four bars.
sight reading
q■■ =70One hand (treble clef) ■Four bars ■Piano or electric piano patch ■C major or G major ■90 seconds preparation time ■
improvisation & interpretation
q■■ =70 Four bars ■Organ or electric piano patch ■ A minor pentatonic or E minor ■pentatonicPlayed to a CD backing track ■30 seconds preparation time ■
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11
ear tests
These tests are played on a CD test 1:
q■■ =90 Two bar melodic recall ■ A minor pentatonic or E minor ■pentatonic scale Piano patch ■
test 2: q■■ =90
Two bar chord & rhythm recall ■C major or G major ■Chords I, IV & V ■Piano patch ■
General musicianship Questions Five questions will be asked by the examiner, based on a piece played by the candidate. Two kinds of questions will be asked:
Simple music theory ■Knowledge of the instrument ■
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2Grade 1
The technical specifications for the grade exam at Grade 1 are shown below.
Performance Pieces (60 marks) Candidates are required to play three pieces printed in the grade book. Each piece is worth 20 marks. Pieces will be no longer than one and a half minutes to enable the player to maintain concentration and fluency. They will use simple note values and rhythms as well as very simple syncopations. Hand co-ordination will be basic and phrases will generally fall within simple hand shapes occasionally requiring small movements. Articulation will be limited to understanding values and pieces will be written for one instrument patch only. Any simple instrumental techniques are written out in the music.
technical exercises (15 marks) Candidates will be required to play a selection of exercises from three printed groups (Groups A, B & C) as directed by the examiner. One of these is a four bar riff which is performed to a backing track on the grade CD supplied with each book. Candidates will not be required to memorise the exercises, and may use the book in the exam, but the examiner will be looking for the following: a prompt and accurate response, fluency and consistency of pulse. Groups A is to be played at q =80. Group B is to be played at q =60. All scales and chords should be played using the piano patch. Group a: scales all scales are to be prepared both hands separately
A minor pentatonic scale ■E minor pentatonic scale ■C major scale ■G major scale ■
Group b: chords all chord sequences should be played with the right or left hand as directed by the examiner.
Chords i and iv in A minor and E minor ■Chords i and v in A minor and E minor ■Chords I and IV in C major and G major ■Chords I and V in C major and G major ■
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Grade 1
Group c: riff in the exam you will be asked to played a riff to the backing track of the CD. The riff pattern shown in bar 1 should be played in the following bars using the nearest right hand inversions for the stated chords, referring to the Group B chords where necessary. The root notes of the chords to be played are shown in the music.
Either sight reading (10 marks) Candidates are asked to perform a four bar piece of music using either the piano or the electric piano patch on the keyboard. The sight reading test is four bars long, in the right hand only and is in the key of either C major or G major. The examiner will allow the candidate 90 seconds to preparation time and will set the tempo for the candidate with a metronome. The candidate may choose not to have the metronome running during the performance of the test. Candidates have the option to practise and play the sight reading test using a metronome.
Or improvisation & interpretation (10 marks) Candidates will be asked to play an improvised line of four bars to a backing track played on CD. Candidates will use either the electric piano or organ patch on their keyboard and the improvisation will be in the key of either A minor pentatonic and E minor pentatonic, using the chords i, iv and v. Candidates are allowed 30 seconds to prepare and then practise during the first playing of the test on CD. Candidates perform the improvisation on the second playing. The test in continuous, with a one bar count in before each playing.
ear tests (10 marks) There are two tests in this section which are played to the candidate by the examiner on CD. The test will be played back using the piano patch on the keyboard. test 1: melodic recall candidates will be asked to play back a simple two bar melody composed from either the A minor or E minor pentatonic scales. Candidates are given the tonic note and the starting note and hear the test twice with a drum backing. After a short break, the test recommences and the candidate replays the melody with the drum backing test 2: chord and rhythm recall candidates will be asked to play back on their keyboard a given two bar rhythmic chord progression. Candidates hear the rhythmic chord progression
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2Grade 1
made up of chords I, IV and V in the key of either C major or G major played twice with a drum backing followed by a short break for the candidate to practise. The candidate then plays the rhythmic chord sequence back with a drum backing. This test is continuous.
General musicianship Questions (5 marks) The examiner asks the candidate five questions at the end of the exam, based on a piece that the candidate has played. Some of the theoretical topics can be found in the Technical Exercises. The topics fall into two categories:
■ music theory: the questions will cover (i) note pitches; (ii) note values; (iii) rests, (iv) time signatures, (v) knowledge of major and minor chord types. ■ Knowledge of the keyboard: this will cover a demonstration by the candidate of (i) an octave from any black or white key; (ii) where the patches are located and how they are set. In addition, candidates will need to show knowledge of: (i) keys; (ii) on/off switch; (iii) volume control; and (iv) patches.
In the Performance Certificate exam, candidates are required to play five pieces (worth 20 marks each). Up to two of these pieces can be a Free Choice Piece. Criteria for candidates choosing performance repertoire to play in the Performance Certificate exam can be found on the Rockschool website: www.rockschool.co.uk
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15Back to Contents Page
Grade 2 Overview
16
2Performance Pieces Blue Phones
Patch: Electric Piano ■Get Real
Patch: Synth ■Glitter Ballz
Patch: Organ ■Like it Is
Patch: Piano ■M & C’s Tune
Patch: Strings ■Soul Fire
Patch: Organ ■
technical exercises Group a: scales
q■■ =100 To be prepared both hands ■separately
Pentatonic scales:
A minor, D minor & E minor ■Natural minor scales:
A minor, D minor & E minor ■Major Scales:
C major, D major, F major & G ■major
Group b: chords q■■ =60
Right or Left hand as directed by ■the examiner
Chords i & iv and i & v
In A minor, D minor or E minor ■Chords I & IV and I & V
In C major, D major, F major or ■G major
Group c: riff
q■■ =90 Played to a backing track ■
Two bar two hands riff pattern repeated.
sight reading
q■■ =70One hand (bass clef) ■Four bars ■Piano or electric piano patch ■ A minor pentatonic or E minor ■pentatonic90 seconds preparation time ■
improvisation & interpretation
q■■ =80Four bars ■Piano or organ patch ■C major or G major ■Played to a CD backing track ■30 seconds preparation time ■
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ear tests
These tests are played on a CD
test 1:q■■ =80
Two bar melodic recall ■Bass clef ■G major or F major scales ■Piano patch ■
test 2:q■■ =80
Two bar chord & rhythm recall ■A minor or D minor ■Chords I, iv & v ■Treble clef ■Piano patch ■
General musicianship Questions Five questions will be asked by the examiner, based on a piece played by the candidate. Two kinds of questions will be asked:
Simple music theory ■Knowledge of the instrument ■
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2Grade 2
The technical specifications for the grade exam at Grade 2 are shown below.
Performance Pieces (60 marks) Candidates are required to play three pieces printed in the grade book. Each piece is worth 20 marks. Pieces will be no longer than one minute 45 seconds to enable the player to sustain concentration and fluency. Rhythms will include syncopations, some simple swing rhythm and groupings of values may include subdivisions of the beat. Hand co-ordination will show increased ability to play different note values between the hands and passages will require wider hand movement in both hands. Articulations will include simple variation and be clearly notated and pieces will be written for one instrument patch only. Any simple instrumental techniques are written out in the music.
technical exercises (15 marks) Candidates will be required to play a selection of exercises from three printed groups (Groups A, B & C) as directed by the examiner. One of these is a four bar riff which is performed to a backing track on the grade CD supplied with each book. Candidates will not be required to memorise the exercises, and may use the book in the exam, but the examiner will be looking for the following: a prompt and accurate response, fluency and consistency of pulse. Groups A is to be played at q =100. Group B is to be played at q =60. All scales and chords should be played using the piano patch. Group a: scales all scales are to be prepared both hands separately
Minor pentatonic scale in A minor, D minor and E minor ■Natural minor scale in A minor, D minor and E minor ■Major scale in C major, G major, D major and F major ■
Group b: chords all chord sequences should be played with the right or left hand as directed.
Chords i & iv and i & v in A minor, D minor and E minor ■Chords I & IV and I & V in C major, G major, D major and F major ■
Group c: riff in the exam you will be asked to play an eight bar riff to the backing track of the CD. The riff pattern shown in bars 1 & 2 should be played in the following bars using the nearest right hand inversions for the stated chord base. The chord relationship of I IV should
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Grade 2
be followed throughout, referring to the patterns in Group B where necessary. The root notes of the chords to be played are shown in the music.
Either sight reading (10 marks) Candidates are asked to perform a four bar piece of music using either the piano or the electric piano patch on the keyboard. The sight reading test is four bars long, in the left hand only and uses either the A minor pentatonic scale or the E minor pentatonic scale. The examiner will allow the candidate 90 seconds to preparation time and will set the tempo for the candidate with a metronome. The candidate may choose not to have the metronome running during the performance of the test.
Or improvisation & interpretation (10 marks) Candidates will be asked to play an improvised line of four bars to a backing track played on CD. Candidates will use either the electric piano or organ patch on their keyboard and the improvisation will be in the key of either C major or G major, using the chords I, IV and V. Candidates are allowed 30 seconds to prepare and then prepare during the first playing of the test on CD. Candidates perform the improvisation on the second playing. The test in continuous, with a one note count in before each playing.
ear tests (10 marks) There are two tests in this section which are played to the candidate by the examiner on CD. The test will be played back using the piano patch on the keyboard. test 1: melodic recall candidates will be asked to play back a simple two bar bassline composed from either the G major or F major scales. Candidates are given the tonic note and the starting note and hear the test twice with a drum backing. After a short break, the test recommences and the candidate replays the melody with the drum backing test 2: chord and rhythm recall candidates will be asked to play back on their keyboard a given two bar rhythmic chord progression. Candidates hear the rhythmic chord progression made up of chords i, iv and v in the key of either A minor or D minor played twice with a drum backing followed by a short break for the candidate to practise. The candidate then plays the rhythmic chord sequence back with a drum backing. This test is continuous.
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2Grade 2
General musicianship Questions (5 marks) The examiner asks the candidate five questions at the end of the exam, based on a piece that the candidate has played. Some of the theoretical topics can be found in the Technical Exercises. The topics fall into two categories:
music theory: ■ the questions will cover (i) note pitches; (ii) note values; (iii) rests, (iv) time signatures, (v) dynamics (piano to fortissimo), (vi) repeat markings, (vii) accents and staccato, (viii) key signatures, (ix) knowledge of major and minor chord types. Knowledge of the keyboard: ■ this will cover a demonstration by the candidate of (i) where the patches are located and how they are set; (ii) how to make a sharp or flat. In addition, candidates will need to show knowledge of: (i) keys; (ii) on/off switch; (iii) volume control; (iv) patches, (vi) knowledge of major keyboard makes.
In the Performance Certificate exam, candidates are required to play five pieces (worth 20 marks each). Up to two of these pieces can be a Free Choice Piece. Criteria for candidates choosing performance repertoire to play in the Performance Certificate exam can be found on the Rockschool website: www.rockschool.co.uk
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21Back to Contents Page
Grade 3 Overview
22
3Performance Pieces Been There
Patch: Strings & Piano ■Download
Patch: Organ ■Hazi Taxi
Patch: Piano & Organ ■Little Shady
Patch: Strings & Piano ■Pipeline
Patch: Piano ■Trenchtown
Patch: Organ ■
technical exercises Group a: scales
q■■ =60 (in 8th notes) To be prepared both hands ■separately and together
Pentatonic scales:
C minor, G minor & F minor ■Natural minor scales:
C minor, G minor & F minor ■Major scales:
D major, A major & B ■ b major Group b: chords
q■■ =60 Right or Left hand as directed by ■the examiner
Chords i, iv & v
In C minor, G minor or F minor ■Chords I, IV & V
In D major, A major or B ■ b major
Group c: Dominant seventhsq■■ =60C ■ 7, G7, D7, A7 and B b7
Group D: riffq■■ =120
Played to a backing track ■ Two bar two hands riff pattern repeated over twelve bars.
sight reading
q■■ =80Two hands ■Eight bars ■Piano or electric piano patch ■D major or A major ■90 seconds preparation time ■
improvisation & interpretation
q■■ =80Eight bars ■Strings or piano patch ■ C minor pentatonic or G minor ■pentatonicPlayed to a CD backing track ■30 seconds preparation time ■
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23
ear tests
These tests are played on a CD
test 1:q■■ =90
Two bar melodic recall ■Treble clef ■ C minor pentatonic or G minor ■pentatonic scalesPiano patch ■
test 2:q■■ =90
Four bar chord & rhythm recall ■D major or A major ■Chords I, IV & V7 ■Treble clef ■Piano patch ■
General musicianship Questions Five questions will be asked by the examiner, based on a piece played by the candidate. Two kinds of questions will be asked:
Simple music theory ■Knowledge of the instrument ■
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2Grade 3
The technical specifications for the grade exam at Grade 3 are shown below.
Performance Pieces (60 marks) Candidates are required to play three pieces printed in the grade book. Each piece is worth 20 marks. Pieces will be no longer than two and a half minutes to enable the player to display an increasing ability to sustain concentration, fluency and the beginnings of stylistic awareness through some solo passage work. Rhythms will be more developed, employing syncopation between the hands, swing rhythm in increasing notation complexity and a wider range of note values. Players will be expected to show the beginnings of stylistic awareness through use of appropriate techniques and articulation associated with patch changes. Where patch changes are required, these will be limited to two patches per piece.
technical exercises (15 marks) Candidates will be required to play a selection of exercises from four printed groups (Groups A, B, C & D) as directed by the examiner. One of these is an eight bar riff which is performed to a backing track on the grade CD supplied with each book. Candidates will not be required to memorise the exercises, and may use the book in the exam, but the examiner will be looking for the following: a prompt and accurate response, fluency and consistency of pulse. Groups A–C are to be played at q =60. All exercises should be played using the piano patch. Group a: scales all scales are to be prepared hands separately and together
Minor pentatonic scale in C minor, G minor and F minor ■Natural minor scale in C minor, G minor and F minor ■Major scale in D major, A major, and B ■ b major
Group b: chords all chord sequences should be played with the right or left hand as directed.
Chords i, iv & v in C minor, G minor and F minor ■Chords I, IV & V in D major, A major, and B ■ b major
Group c: Dominant 7ths this exercise should be prepared on C7, G7, D7, A7 and B b7
Group c: riff in the exam you will be asked to play an twelve bar riff to the backing track of the CD. The riff pattern shown in bars 1 & 2 should be played in the same shape in bars 3–12.
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Grade 3
The root notes of the chords to be played are shown in the music. Where only one bar is shown play only the first half of the riff.
Either sight reading (10 marks) Candidates are asked to perform an eight bar piece of music using either the piano or the electric piano patch on the keyboard. The sight reading test is four bars long, in the right hand only and is in the key of either D major or A major. The examiner will allow the candidate 90 seconds to preparation time and will set the tempo for the candidate with a metronome. The candidate may choose not to have the metronome running during the performance of the test.
Or improvisation & interpretation (10 marks) Candidates will be asked to play an improvisation of eight bars to a backing track played on CD. Candidates will use the patch indicated on the music on their keyboard and the improvisation will be in the key of either C minor pentatonic or G minor pentatonic, using the chords I, IV and V. You will be asked to play comping chords using either the string or piano patch. Candidates are allowed 30 seconds to prepare and then prepare during the first playing of the test on CD. Candidates perform the improvisation on the second playing. The test in continuous, with a one note count in before each playing.
ear tests (10 marks) There are two tests in this section which are played to the candidate by the examiner on CD. The test will be played back using the piano patch on the keyboard. test 1: melodic recall candidates will be asked to play back a four bar melody composed from either the C minor pentatonic or G minor pentatonic scales. Candidates are given the tonic note and the starting note and hear the test twice with a drum backing. After a short break, the test recommences and the candidate replays the melody with the drum backing.
test 2: chord and rhythm recall candidates will be asked to play back on their keyboard a four bar rhythmic chord progression. Candidates hear the rhythmic chord progression made up of chords I, IV and V 7 in the key of either D major or A major played twice with a drum backing followed by a short break for the candidate to practise. The candidate then plays the rhythmic chord sequence back with a drum backing. This test is continuous.
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26
Band
Bas
ed K
eybo
ards
| Sy
llabu
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de |
2009
–201
2Grade 3
General musicianship Questions (5 marks) The examiner asks the candidate five questions at the end of the exam, based on a piece that the candidate has played. Some of the theoretical topics can be found in the Technical Exercises. The topics fall into two categories:
music theory: ■ the questions will cover (i) note pitches; (ii) note values; (iii) rests, (iv) time signatures, (v) dynamics (piano to fortissimo), (vi) repeat markings, (vii) accents and staccato, (viii) key signatures, (ix) crescendo and diminuendo; (xi) D.S. and D.C. Al Coda; (xii) knowledge of major, minor and dominant 7th chord types. Knowledge of the keyboard: ■ this will cover a demonstration by the candidate of (i) where the patches are located and how they are set; (ii) basic stylistic techniques in the pieces. In addition, candidates will need to show knowledge of: (i) keys; (ii) on/off switch; (iii) volume control; (iv) patches, (vi) knowledge of major keyboard makes.
In the Performance Certificate exam, candidates are required to play five pieces (worth 20 marks each). Up to two of these pieces can be a Free Choice Piece. Criteria for candidates choosing performance repertoire to play in the Performance Certificate exam can be found on the Rockschool website: www.rockschool.co.uk
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Band
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2009
–201
2
27Back to Contents Page
Grade 4 Overview
28
4Performance Pieces Bling Thing
Patch: Electric Piano & Pad ■Enough Said
Patch: Organ ■Folded
Patch: Piano ■Let it Go
Patch: Synth ■My Goodness
Patch: Electric Piano ■Wouldn’t it be Wonderful
Patch: Electric Piano ■
technical exercises Exercises to be prepared as follows: Either:
Group a: ■ C, D b & D and Groups b and c: ■ E b, E & F
Or: Group a: ■ E b, E & F and Groups b and c: ■ C, D b & D
Group a: scales
q■■ =100 (in 8th notes) To be prepared both hands ■separately and together
Scales and modes:Blues scale ■Natural minor scale ■Major scale ■Mixolydian mode ■
Group b: chordsq■■ =100
Right or left hand as directed by the ■examinerMinor and major chord sequences ■Two bars each ■2 chords per bar ■ Play two consecutive progressions ■
Group c: minor seventhsq■■ =100
Four bars repeated ■ Group D: riff
q■■ =135Played to a CD backing track ■
One bar two hands riff pattern repeated over eight bars.
sight reading
q■■ =60–90Two hands ■Eight bars ■Piano or electric piano patch ■ D minor pentatonic or E minor ■pentatonic90 seconds preparation time ■ 2 bars of improvisation at the end ■of the sequence.
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improvisation & interpretation
q■■ =70–90Eight bars ■Organ or electric piano patch ■C major or F major ■Chords used: I, ii7, IV, V & vi ■30 seconds preparation time ■Played to a CD backing track ■ Two bars of rhythmic notation as ■a prompt at the beginning of the sequence
ear tests
These tests are played on a CD test 1:
q■■ =90Four bar melodic recall ■Treble clef ■D major or E major scales ■Piano or electric piano patch ■
test 2:q■■ =90
Four bar chord & rhythm recall ■Treble clef ■Chords I, ii7 IV & V ■D major or E major ■Piano or electric piano patch ■
General musicianship Questions Five questions will be asked by the examiner, based on a piece played by the candidate. Two kinds of questions will be asked:
Simple music theory ■Knowledge of the instrument ■
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Band
Bas
ed K
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ards
| Sy
llabu
s Gui
de |
2009
–201
2Grade 4
The technical specifications for the grade exam at Grade 4 are shown below.
Performance Pieces (60 marks) Candidates are required to play three pieces printed in the grade book. Each piece is worth 20 marks. Pieces will be up to 2 minutes 45 seconds to allow the player to show increasing concentration and understanding of structure and shape. Development of stylistic awareness and performance will be shown through extended solo passage work that will involve more advanced rhythms, including basic cross rhythms and independence between the hands. Swing rhythms will employ increasing notation complexity and a wider range of note values. There will be some use of extended chords and the awareness of voicing and balance will be needed. Players will be expected to show the development of stylistic awareness through use of appropriate techniques such as glissando and tremolo and be able to identify the appropriate articulation associated with patch changes. Where patch changes are required these will be limited to two patches per piece.
technical exercises (15 marks) Candidates will be required to play a selection of exercises from four printed groups (Groups A, B, C & D) as directed by the examiner. One of these is an eight bar riff which is performed to a backing track on the grade CD supplied with each book. Candidates will not be required to memorise the exercises, and may use the book in the exam, but the examiner will be looking for the following: a prompt and accurate response, fluency and consistency of pulse. Groups A–C are to be played at q =100. All exercises should be played using the piano patch. Candidates can choose to play Groups A–C as follows:
either: ■ Group A: C, D b (C #), D and Groups B & C: E b, E, For: ■ Group A: E b, E, F and Groups B & C: C, D b (C #), D
Group a: scales all scales are to be prepared hands separately and together
Blues scale ■Natural minor scale ■Major scale ■Mixolydian mode ■
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2
31
Grade 4
Group b: chords all chord sequences should be played with both right and left hands separately. The examiner will select two consecutive chord progressions from three printed in both sections below.
Minor chord sequence ■Major chord sequence ■
Group c: minor 7ths this exercise should be prepared in the keys designated above. Group D: Riff in the exam you will be asked to play an eight bar riff to the backing track on the CD. The riff pattern shown in bar 1 should be played in the same shape in bars 2–8. The root notes of the chords to be played are shown in the music.
Either sight reading (10 marks) At this grade there is an element of improvisation in the form of a two bar ending. The improvised ending should draw on patterns used in the sight reading test. Candidates are asked to perform an eight bar piece of music using the piano patch on the keyboard. The sight reading test is eight bars long, in both hands and uses either the D minor pentatonic or E minor pentatonic scale. The examiner will allow the candidate 90 seconds to preparation time and will set the tempo for the candidate with a metronome. The candidate may choose not to have the metronome running during the performance of the test.
Or improvisation & interpretation (10 marks) At this grade there is an element of sight reading in the form of a two bar rhythmic phrase. Candidates will be asked to play an improvised line of eight bars to a backing track played on CD. Candidates will use either the electric piano or organ patch on their keyboard and the improvisation will be in the key of either C major or F major, using the chords I, ii 7, IV, V and vi. Candidates are allowed 30 seconds to prepare and then prepare during the first playing of the test on CD. Candidates perform the improvisation on the second playing. The test in continuous, with a one note count in before each playing.
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Band
Bas
ed K
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| Sy
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2009
–201
2Grade 4
ear tests (10 marks) There are two tests in this section which are played to the candidate by the examiner on CD. The test will be played back using the piano or electric piano patch on the keyboard. test 1: melodic recall candidates will be asked to play back a simple two bar melody composed from either the D major or E major scales. Candidates are given the tonic note and the starting note and hear the test twice with a drum backing. After a short break, the test recommences and the candidate replays the melody with the drum backing test 2: chord and rhythm recall candidates will be asked to play back on their keyboard a four bar rhythmic chord progression. Candidates hear the rhythmic chord progression made up of chords I, ii 7, IV and V7 in the key of either D major or E major played twice with a drum backing followed by a short break for the candidate to practise. The candidate then plays the rhythmic chord sequence back with a drum backing. This test is continuous.
General musicianship Questions (5 marks) The examiner asks the candidate five questions at the end of the exam, based on a piece that the candidate has played. Some of the theoretical topics can be found in the Technical Exercises. The topics fall into two categories:
■ music theory: the questions will cover (i) note pitches; (ii) note values; (iii) rests, (iv) time signatures, (v) dynamics (piano to fortissimo), (vi) repeat markings, (vii) accents and staccato, (viii) key signatures, (ix) crescendo and diminuendo; (xi) D.S. and D.C. Al Coda; (xii) glissando, (xiii) spread chords, (xiv) knowledge of major, minor, dominant 7th and minor 7th chord types. Knowledge of the keyboard: ■ this will cover a demonstration by the candidate of (i) patch selection and stylistic reasons for choice; (ii) basic stylistic techniques in the pieces. In addition, candidates will need to show knowledge of: (i) keys; (ii) on/off switch; (iii) volume control; (iv) patches, (vi) pitch shifter, (vii) knowledge of major keyboard makes.
In the Performance Certificate exam, candidates are required to play five pieces (worth 20 marks each). Up to two of these pieces can be a Free Choice Piece. Criteria for candidates choosing performance repertoire to play in the Performance Certificate exam can be found on the Rockschool website: www.rockschool.co.uk
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Band
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| Sy
llabu
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2009
–201
2
33Back to Contents Page
Grade 5 Overview
34
5Performance Pieces
Alka SetzerPatch: Piano ■
All Funked UpPatch: Organ ■
Bust UpPatch: Piano, Synth & Pad ■
D & APatch: Strings ■
SidewinderPatch: Pad & Synth ■
X-Blues IIIPatch: Piano & Organ ■
technical exercises
Exercises to be prepared as follows: Either:
Group a: ■ F #, G & A b and Groups b and c: ■ A, B b & B
Or:Group a: ■ A, B b & B and Groups b and c: ■ F #, G & A b
Group a: scales
q■■ =100 (in 8th notes) To be prepared both hands ■separately and together
Scales and modes:
Blues scale ■Natural minor scale ■Major scale ■Mixolydian mode ■
Group b: chordsq■■ =100
Both right and left hands as ■directed by the examinerMajor, minor and seventh chords ■Two bars each ■2 chords per bar ■ Play two consecutive progressions ■
Group c: major sevenths
q■■ =135Six bars ■
Group D: riff
q■■ =135Played to a backing track ■
Two bar, two hands riff pattern repeated over eight bars.
sight reading
q■■ =90–120Two hands ■Eight bars ■Piano or electric piano patch ■G major or A major ■90 seconds preparation time ■ 2 bars of improvisation at the end ■of the sequence
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35
improvisation & interpretation
q■■ =90–120Eight bars ■Organ or electric piano patch ■G minor or A minor ■Played to a CD backing track ■30 seconds preparation time ■ Two bars of notation as a prompt at ■the beginning of the sequence
ear tests
These tests are played on a CD test 1:
q■■ =70Four bar melodic recall ■Bass clef ■G blues or B blues scales ■Piano or electric piano patch ■
test 2:q■■ =70
Four bar chord & rhythm recall ■Treble clef ■Chords i7, iv & v ■G blues or B blues scales ■Piano or electric piano patch ■
General musicianship Questions Five questions will be asked by the examiner, based on a piece played by the candidate. Two kinds of questions will be asked:
Simple music theory ■Knowledge of the instrument ■
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36
Band
Bas
ed K
eybo
ards
| Sy
llabu
s Gui
de |
2009
–201
2Grade 5
The technical specifications for the grade exam at Grade 5 are shown below.
Performance Pieces (60 marks) Candidates are required to play three pieces printed in the grade book. Each piece is worth 20 marks. Pieces will be up to three minutes in duration and will be made up of structures that require a competent understanding of shape and phrasing. Players will demonstrate a good grasp of performance and communication through extended solo and improvised work and understanding of balance within a band context. There will be considerable rhythmic development and a greater expectation of independence between the hands and the definition of more than one part in one hand. Chords will often consist of extensions and players will demonstrate a musical understanding of balance and voicing. Stylistic awareness will be shown through good understanding of instrumental techniques and the understanding of playing techniques associated with them. Patch changes will often be required in a short space of time and the player will demonstrate the ability to move between the technical demands with increasing confidence and security.
technical exercises (15 marks) Candidates will be required to play a selection of exercises from four printed groups (Groups A, B, C & D) as directed by the examiner. One of these is a four bar riff which is performed to a backing track on the grade CD supplied with each book. Candidates will not be required to memorise the exercises, and may use the book in the exam, but the examiner will be looking for the following: a prompt and accurate response, fluency and consistency of pulse. Groups A–C are to be played at q =100. All exercises should be played using the piano patch. Candidates can choose to play Groups A–C as follows:
either: ■ Group A: F #, G. Ab and Groups B & C: A, B b, Bor: ■ Group A: A, B b, B and Groups B & C: F #, G, A b
Group a: scales all scales are to be prepared hands separately and together
Blues scale in ■Natural minor scale ■Major scale ■Mixolydian mode ■
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2009
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2
37
Grade 5
Group b: chords all chord sequences should be played with both right and left hands separately. The examiner will select two consecutive chord progressions from four printed in the grade book. Group c: major 7ths this exercise should be prepared in the keys designated above. Group D: riff in the exam you will be asked to play an eight bar riff to the backing track on the CD. The riff pattern shown in bars 1 & 2 should be played in the same shape in bars 3–7. The root notes of the chords to be played are shown in the music.
Either sight reading (10 marks) At this grade there is an element of improvisation in the form of a two bar ending. The improvised ending should draw on patterns used in the sight reading test. Candidates are asked to perform a twelve bar piece of music using either the piano or electric piano patch on the keyboard. The sight reading test is twelve bars long, uses both hands and is in the key of either G major or A major. The examiner will allow the candidate 90 seconds to preparation time and will set the tempo for the candidate with a metronome. The candidate may choose not to have the metronome running during the performance of the test.
Or improvisation & interpretation (10 marks) At this grade there is an element of sight reading in the form of a two bar, chord-based riff. Candidates should play the chord sequence indicated in the designated rhythm. Candidates will be asked to play an improvised line of twelve bars to a backing track played on CD. Candidates will use either the electric piano or organ patch on their keyboard and the improvisation will be in the key of either G minor or A minor. Candidates are allowed 30 seconds to prepare and then prepare during the first playing of the test on CD. Candidates perform the improvisation on the second playing. The test in continuous, with a one note count in before each playing.
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38
Band
Bas
ed K
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ards
| Sy
llabu
s Gui
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2009
–201
2Grade 5
ear tests (10 marks) There are two tests in this section which are played to the candidate by the examiner on CD. The test will be played back using either the piano or electric piano patch on the keyboard.
test 1: melodic recall candidates will be asked to play back a four bar bass clef melody composed from either the G blues or B blues scales. Candidates are given the tonic note and the starting note and hear the test twice with a drum backing. After a short break, the test recommences and the candidate replays the melody with the drum backing test 2: chord and rhythm recall candidates will be asked to play back on their keyboard a four bar rhythmic chord progression. Candidates hear the rhythmic chord progression made up of chords i 7, iv and v in the key of either G blues or B blues played twice with a drum backing followed by a short break for the candidate to practise. The candidate then plays the rhythmic chord sequence back with a drum backing. This test is continuous.
General musicianship Questions (5 marks) The examiner asks the candidate five questions at the end of the exam, based on a piece that the candidate has played. Some of the theoretical topics can be found in the Technical Exercises. The topics fall into two categories:
■ music theory: the questions will cover (i) note pitches; (ii) note values; (iii) rests, (iv) time signatures, (v) dynamics (piano to fortissimo), (vi) repeat markings, (vii) accents and staccato, (viii) key signatures, (ix) crescendo and diminuendo; (xi) D.S. and D.C. Al Coda; (xii) knowledge of major, minor and dominant 7th chord types. Knowledge of the keyboard: ■ this will cover a demonstration by the candidate of (i) where the patches are located and how they are set; (ii) basic stylistic techniques in the pieces. In addition, candidates will need to show knowledge of: (i) keys; (ii) on/off switch; (iii) volume control; (iv) patches, (vi) knowledge of major keyboard makes.
In the Performance Certificate exam, candidates are required to play five pieces (worth 20 marks each). Up to two of these pieces can be a Free Choice Piece. Criteria for candidates choosing performance repertoire to play in the Performance Certificate exam can be found on the Rockschool website: www.rockschool.co.uk
Back to Contents Page
Band
Bas
ed K
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ards
| Sy
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2009
–201
2
39Back to Contents Page
40
Exam Regulations
1. Rockschool exams are open to all persons, irrespective of age and in accordance with our Equal Opportunities policy.
2. Full payment and relevant documentation must reach the offices of Rockschool on or before the chosen exam period’s closing date. Rockschool cannot guarantee an exam for any applications received after this date.
3. Exam entries may not be transferred from one candidate to another.
4. Any changes to the examination will incur a fee.
5. Cancellation of an exam will result in loss of the exam fee unless as a result of illness or injury. Such cases must be substantiated by a medical certificate. In this event, the exam will be re-scheduled on receipt of half of the original exam entry fee.
6. Names on certificates will be as on candidate’s acknowledgement letter. Replacement certificates will incur a charge of £5.
7. On application, candidates may state times within an exam period when they are unavailable. However,
Rockschool cannot guarantee to avoid all such dates.
8. Rockschool reserves the right to defer exams until the next available exam period. After one deferral, an exam is guaranteed at an exam centre chosen by Rockschool. This may not be your local centre.
9. Candidates must use only the official Rockschool sheet music for their respective exam. Photocopying of any material to facilitate page turns in the exams is allowable and the copies will be retained by the examiner. Sole use of photocopying is prohibited and may result in disqualification.
10. No refunds are given.
11. No teacher, or other person, must be present during the preparation of a candidate’s Quick Study Piece. Any assistance given to a candidate will result in disqualification from the examination.
12. Only the examiner and candidate are allowed to be present in the examination room with the exception of moderators appointed by Rockschool.
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41
13. Candidates must bring in two copies of music for the ‘free choice piece’. Players must use an original copy of the tune to be performed, and must provide a second copy for the examiner, which may be a photocopy. If there is no music available, a zero mark will be given for the piece. Any queries in writing should be addressed to the Director of Operations at least two weeks prior to the exam date.
14. Any backing tracks provided by the candidate for use with ‘free choice’ pieces must be capable of a music minus 1 playback without the examination part being audible to the examiner. If an unacceptable backing track is submitted, a zero mark will be given for the piece.
15. All band exams are the advertised instruments only. Backing tapes may not be used in the exam.
16. Any special needs candidates must notify the Rockschool office prior to the exam.
17. The examiner’s decision is final. Normally, an examiner will hear every component in full, but on occasion an examiner may conclude an examination when a decision has been reached.
18. Replacement certificates may be obtained by successful candidates. All replacements certificates will be marked as such and will incur a charge.
19. Rockschool operates a quality assured appeals process. All appeals must be made in writing no later than 14 days after the exam date. There are two criteria for formal appeals, these are:
■ Appeals in respect of errors in procedure
■ Appeals in respect of errors in matching comments to marks awarded.
Full details of Rockschool Ltd’s appeal process are available from the Rockschool office or website.
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Band
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2009
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2 Appe
ndix
A: P
erfo
rman
ce P
iece
sD
ebu
t &
Gra
De
1Gr
aDes
2 &
3
GraD
es 4
& 5
D
isti
ncti
on17
+/20
1:
Ver
y sec
ure b
asic
tech
niqu
es
2: M
usica
l use
of a
ppro
priat
e exp
ress
ive
tech
niqu
es
3: S
ecur
e rhy
thm
/pul
se/d
urat
ion
4: S
eam
less s
ync;
secu
re co
ntin
uity
5:
Hig
hly c
onfid
ent &
assu
red
pres
enta
tion
1: F
luen
t bas
ic te
chni
ques
2:
Flu
ent u
se o
f app
ropr
iate i
nstru
men
tal
tech
niqu
es. v
ib., s
tacc
ato
etc.
3: M
usica
l use
of r
hyth
m/p
ulse
/dur
atio
n4:
Sea
mles
s syn
c; se
cure
cont
inui
ty
5: H
ighl
y con
fiden
t & as
sure
d pr
esen
tatio
n 6:
Hig
h de
gree
of s
tylis
tic aw
aren
ess
1: F
luen
t tec
hniq
ues
2: F
luen
t use
of a
ppro
priat
e ins
trum
enta
l te
chni
ques
. vib
., sta
ccat
o et
c. 3:
Mus
ical u
se o
f rhy
thm
/pul
se/d
urat
ion
4: S
eam
less s
ync;
effo
rtles
s con
tinui
ty
5: H
ighl
y con
fiden
t & as
sure
d pr
esen
tatio
n 6:
Hig
h de
gree
of s
tylis
tic aw
aren
ess
7: H
igh
level
of ap
prop
riate
impr
ovisa
tion
Mer
it15
+/20
1:
Sec
ure b
asic
tech
niqu
es2:
Cor
rect
use
of a
ppro
priat
e exp
ress
ive
tech
niqu
es
3: S
ecur
e rhy
thm
/pul
se/d
urat
ion
4: St
rong
sens
e of s
ync/
cont
inui
ty5:
Main
ly co
nfid
ent p
rese
ntat
ion
1: S
ecur
e bas
ic te
chni
ques
2: C
orre
ct u
se o
f app
ropr
iate t
echn
ique
s3:
Sec
ure r
hyth
m/p
ulse
/dur
atio
n4:
Stro
ng se
nse o
f syn
c/co
ntin
uity
5: C
onfid
ent p
rese
ntat
ion
6: S
ome d
egre
e of s
tylis
tic aw
aren
ess
1: S
ecur
e tec
hniq
ues
2: M
usica
l use
of a
ppro
priat
e tec
hniq
ues
3: S
ecur
e rhy
thm
/pul
se/d
urat
ion
4: St
rong
sens
e of s
ync/
cont
inui
ty5:
Con
fiden
t pre
sent
atio
n6:
Som
e deg
ree o
f sty
listic
awar
enes
s7:
Con
siste
nt ap
prop
riate
impr
ovisa
tion
Pass
13+/
20
1: M
ainly
secu
re b
asic
tech
niqu
es
2: S
ome e
vide
nce o
f app
ropr
iate e
xpre
ssiv
e te
chni
ques
3:
Gen
eral
ly ac
cura
te rh
ythm
/pul
se/ d
urat
ion
4: M
ainly
sync
hron
ised;
occ
asio
nal s
lips o
f co
ntin
uity
5:
Gen
eral
ly co
nfid
ent p
rese
ntat
ion
with
min
or
lapse
s
1: M
ainly
secu
re b
asic
tech
niqu
es2:
Som
e evi
denc
e of a
ppro
priat
e tec
hniq
ues
3: G
ener
ally
accu
rate
rhyt
hm/p
ulse
/ dur
atio
n4:
Main
ly sy
nchr
onise
d; o
ccas
iona
l slip
s of
cont
inui
ty5:
Gen
eral
ly co
nfid
ent p
rese
ntat
ion
6: B
egin
ning
s of s
tylis
tic aw
aren
ess
1: M
ainly
secu
re te
chni
ques
2: M
ainly
corr
ect u
se o
f app
ropr
iate t
echn
ique
s3:
Gen
eral
ly ac
cura
te rh
ythm
/pul
se/ d
urat
ion
4: Sy
nchr
onise
d w
ith o
ccas
iona
l slip
s of
cont
inui
ty5:
Gen
eral
ly co
nfid
ent p
rese
ntat
ion
6: E
vide
nce o
f sty
listic
awar
enes
s7:
Som
e app
ropr
iate i
mpr
ovisa
tion
belo
w P
ass 1
9–12
/20
1: In
secu
re b
asic
tech
niqu
es2:
Inco
nsist
ent u
se o
f exp
ress
ive t
echn
ique
s.3:
Inco
nsist
ent r
hyth
mic
sens
e4:
Poo
r syn
chro
nisa
tion;
una
war
e of e
rror
s5:
Hes
itant
pre
sent
atio
n
1: In
secu
re b
asic
tech
niqu
es2:
Inco
nsist
ent u
se o
f som
e exp
ress
ive
tech
niqu
es.
3: S
ome i
ncon
siste
nt rh
ythm
ic se
nse
4: P
oor s
ynch
roni
satio
n; u
naw
are o
f err
ors
5: H
esita
nt p
rese
ntat
ion
6: In
cons
isten
t sty
listic
awar
enes
s
1: In
secu
re te
chni
ques
2: In
cons
isten
t or i
ncor
rect
use
of i
nstru
men
tal
tech
niqu
es3:
Inco
nsist
ent r
hyth
mic
sens
e4:
Pro
blem
s of s
ynch
roni
satio
n/ co
ntin
uity
5: H
esita
nt p
rese
ntat
ion
6: In
cons
isten
t sty
listic
awar
enes
s7:
Inap
prop
riate
impr
ovisa
tion
belo
w P
ass 2
1–8/
20
1: C
onsis
tent
bas
ic te
chni
cal e
rror
s2:
Fai
lure
to u
se an
y exp
ress
ive t
echn
ique
s3:
Way
war
d pu
lse; in
corr
ect r
hyth
m/ d
urat
ion
4: N
o sy
nc; b
ig co
ntin
uity
gaps
; fals
e sta
rts5:
Hig
hly n
ervo
us p
rese
ntat
ion
1: C
onsis
tent
bas
ic te
chni
cal e
rror
s2:
Fai
lure
to o
bser
ve ex
pres
sive m
arks
3: W
ayw
ard
pulse
/rhyt
hm/d
urat
ion
4: N
o sy
nc; b
ig co
ntin
uity
gaps
; fals
e sta
rts5:
Hig
hly n
ervo
us p
rese
ntat
ion
6: St
ylist
ically
una
war
e
1: C
onsis
tent
tech
nica
l err
ors
2: F
ailu
re to
obs
erve
expr
essiv
e mar
ks3:
Poo
r pul
se; la
rgely
inco
rrec
t rhy
thm
/du
ratio
n4:
Litt
le or
no
sync
hron
isatio
n; la
rge g
aps i
n co
ntin
uity
; fals
e sta
rts5:
Hig
hly n
ervo
us p
rese
ntat
ion
6: St
ylist
ically
una
war
e7:
No
impr
ovisa
tion
Back to Contents Page
Band
Bas
ed K
eybo
ards
| Sy
llabu
s Gui
de |
2009
–201
2
43
Appe
ndix
A: P
erfo
rman
ce P
iece
sD
ebu
t &
Gra
De
1Gr
aDes
2 &
3
GraD
es 4
& 5
D
isti
ncti
on17
+/20
1:
Ver
y sec
ure b
asic
tech
niqu
es
2: M
usica
l use
of a
ppro
priat
e exp
ress
ive
tech
niqu
es
3: S
ecur
e rhy
thm
/pul
se/d
urat
ion
4: S
eam
less s
ync;
secu
re co
ntin
uity
5:
Hig
hly c
onfid
ent &
assu
red
pres
enta
tion
1: F
luen
t bas
ic te
chni
ques
2:
Flu
ent u
se o
f app
ropr
iate i
nstru
men
tal
tech
niqu
es. v
ib., s
tacc
ato
etc.
3: M
usica
l use
of r
hyth
m/p
ulse
/dur
atio
n4:
Sea
mles
s syn
c; se
cure
cont
inui
ty
5: H
ighl
y con
fiden
t & as
sure
d pr
esen
tatio
n 6:
Hig
h de
gree
of s
tylis
tic aw
aren
ess
1: F
luen
t tec
hniq
ues
2: F
luen
t use
of a
ppro
priat
e ins
trum
enta
l te
chni
ques
. vib
., sta
ccat
o et
c. 3:
Mus
ical u
se o
f rhy
thm
/pul
se/d
urat
ion
4: S
eam
less s
ync;
effo
rtles
s con
tinui
ty
5: H
ighl
y con
fiden
t & as
sure
d pr
esen
tatio
n 6:
Hig
h de
gree
of s
tylis
tic aw
aren
ess
7: H
igh
level
of ap
prop
riate
impr
ovisa
tion
Mer
it15
+/20
1:
Sec
ure b
asic
tech
niqu
es2:
Cor
rect
use
of a
ppro
priat
e exp
ress
ive
tech
niqu
es
3: S
ecur
e rhy
thm
/pul
se/d
urat
ion
4: St
rong
sens
e of s
ync/
cont
inui
ty5:
Main
ly co
nfid
ent p
rese
ntat
ion
1: S
ecur
e bas
ic te
chni
ques
2: C
orre
ct u
se o
f app
ropr
iate t
echn
ique
s3:
Sec
ure r
hyth
m/p
ulse
/dur
atio
n4:
Stro
ng se
nse o
f syn
c/co
ntin
uity
5: C
onfid
ent p
rese
ntat
ion
6: S
ome d
egre
e of s
tylis
tic aw
aren
ess
1: S
ecur
e tec
hniq
ues
2: M
usica
l use
of a
ppro
priat
e tec
hniq
ues
3: S
ecur
e rhy
thm
/pul
se/d
urat
ion
4: St
rong
sens
e of s
ync/
cont
inui
ty5:
Con
fiden
t pre
sent
atio
n6:
Som
e deg
ree o
f sty
listic
awar
enes
s7:
Con
siste
nt ap
prop
riate
impr
ovisa
tion
Pass
13+/
20
1: M
ainly
secu
re b
asic
tech
niqu
es
2: S
ome e
vide
nce o
f app
ropr
iate e
xpre
ssiv
e te
chni
ques
3:
Gen
eral
ly ac
cura
te rh
ythm
/pul
se/ d
urat
ion
4: M
ainly
sync
hron
ised;
occ
asio
nal s
lips o
f co
ntin
uity
5:
Gen
eral
ly co
nfid
ent p
rese
ntat
ion
with
min
or
lapse
s
1: M
ainly
secu
re b
asic
tech
niqu
es2:
Som
e evi
denc
e of a
ppro
priat
e tec
hniq
ues
3: G
ener
ally
accu
rate
rhyt
hm/p
ulse
/ dur
atio
n4:
Main
ly sy
nchr
onise
d; o
ccas
iona
l slip
s of
cont
inui
ty5:
Gen
eral
ly co
nfid
ent p
rese
ntat
ion
6: B
egin
ning
s of s
tylis
tic aw
aren
ess
1: M
ainly
secu
re te
chni
ques
2: M
ainly
corr
ect u
se o
f app
ropr
iate t
echn
ique
s3:
Gen
eral
ly ac
cura
te rh
ythm
/pul
se/ d
urat
ion
4: Sy
nchr
onise
d w
ith o
ccas
iona
l slip
s of
cont
inui
ty5:
Gen
eral
ly co
nfid
ent p
rese
ntat
ion
6: E
vide
nce o
f sty
listic
awar
enes
s7:
Som
e app
ropr
iate i
mpr
ovisa
tion
belo
w P
ass 1
9–12
/20
1: In
secu
re b
asic
tech
niqu
es2:
Inco
nsist
ent u
se o
f exp
ress
ive t
echn
ique
s.3:
Inco
nsist
ent r
hyth
mic
sens
e4:
Poo
r syn
chro
nisa
tion;
una
war
e of e
rror
s5:
Hes
itant
pre
sent
atio
n
1: In
secu
re b
asic
tech
niqu
es2:
Inco
nsist
ent u
se o
f som
e exp
ress
ive
tech
niqu
es.
3: S
ome i
ncon
siste
nt rh
ythm
ic se
nse
4: P
oor s
ynch
roni
satio
n; u
naw
are o
f err
ors
5: H
esita
nt p
rese
ntat
ion
6: In
cons
isten
t sty
listic
awar
enes
s
1: In
secu
re te
chni
ques
2: In
cons
isten
t or i
ncor
rect
use
of i
nstru
men
tal
tech
niqu
es3:
Inco
nsist
ent r
hyth
mic
sens
e4:
Pro
blem
s of s
ynch
roni
satio
n/ co
ntin
uity
5: H
esita
nt p
rese
ntat
ion
6: In
cons
isten
t sty
listic
awar
enes
s7:
Inap
prop
riate
impr
ovisa
tion
belo
w P
ass 2
1–8/
20
1: C
onsis
tent
bas
ic te
chni
cal e
rror
s2:
Fai
lure
to u
se an
y exp
ress
ive t
echn
ique
s3:
Way
war
d pu
lse; in
corr
ect r
hyth
m/ d
urat
ion
4: N
o sy
nc; b
ig co
ntin
uity
gaps
; fals
e sta
rts5:
Hig
hly n
ervo
us p
rese
ntat
ion
1: C
onsis
tent
bas
ic te
chni
cal e
rror
s2:
Fai
lure
to o
bser
ve ex
pres
sive m
arks
3: W
ayw
ard
pulse
/rhyt
hm/d
urat
ion
4: N
o sy
nc; b
ig co
ntin
uity
gaps
; fals
e sta
rts5:
Hig
hly n
ervo
us p
rese
ntat
ion
6: St
ylist
ically
una
war
e
1: C
onsis
tent
tech
nica
l err
ors
2: F
ailu
re to
obs
erve
expr
essiv
e mar
ks3:
Poo
r pul
se; la
rgely
inco
rrec
t rhy
thm
/du
ratio
n4:
Litt
le or
no
sync
hron
isatio
n; la
rge g
aps i
n co
ntin
uity
; fals
e sta
rts5:
Hig
hly n
ervo
us p
rese
ntat
ion
6: St
ylist
ically
una
war
e7:
No
impr
ovisa
tion
Back to Contents Page
44
Band
Bas
ed K
eybo
ards
| Sy
llabu
s Gui
de |
2009
–201
2
Appe
ndix
B: B
and
Piec
es (P
erfo
rman
ce C
ertifi
cate
)Le
veL
1 (G
raD
es 1
-3)
Leve
L 2
(Gra
Des
4 &
5)
Dis
tinc
tion
18
+/20
1:
Flu
ent b
asic
tech
niqu
es2:
Flu
ent u
se o
f exp
ress
ive t
echn
ique
s3:
Mus
ical u
se o
f rhy
thm
/pul
se/d
urat
ion
4: S
eam
less s
ync w
ithin
the b
and;
secu
re co
ntin
uity
5: H
ighl
y con
fiden
t & as
sure
d pe
rform
ance
s6:
Hig
h de
gree
of s
tylis
tic aw
aren
ess
7: St
rong
sens
e of i
nter
nal c
omm
unica
tion
with
in th
e ban
d8:
Stro
ng ef
fort
to co
mm
unica
te co
llect
ive m
usica
l ide
ntity
1: F
luen
t tec
hniq
ues
2: F
luen
t use
of e
xpre
ssiv
e tec
hniq
ues
3: M
usica
l use
of r
hyth
m/p
ulse
/dur
atio
n4:
Sea
mles
s int
erna
l syn
c; ef
fortl
ess c
ontin
uity
5: H
ighl
y con
fiden
t & as
sure
d pe
rform
ance
s6:
Hig
h de
gree
of s
tylis
tic aw
aren
ess
7: H
igh
level
of ap
prop
riate
impr
ovisa
tion
8: M
usica
l sen
se o
f int
erna
l com
mun
icatio
n w
ithin
ban
d9:
Succ
essfu
l com
mun
icatio
n of
colle
ctiv
e mus
ical i
dent
ity
Mer
it
16+/
20
1: S
ecur
e bas
ic te
chni
ques
2: C
orre
ct u
se o
f exp
ress
ive t
echn
ique
s3:
Sec
ure r
hyth
m/p
ulse
/dur
atio
n4:
Stro
ng se
nse o
f int
erna
l syn
c/co
ntin
uity
5: M
ainly
conf
iden
t per
form
ance
s6:
Som
e deg
ree o
f sty
listic
awar
enes
s7:
Som
e sen
se o
f int
erna
l com
mun
icatio
n w
ithin
the b
and
8: S
ome e
ffort
to co
mm
unica
te co
llect
ive m
usica
l ide
ntity
1: S
ecur
e tec
hniq
ues
2: M
usica
l use
of e
xpre
ssiv
e tec
hniq
ues
3: S
ecur
e rhy
thm
/pul
se/d
urat
ion
4: St
rong
sens
e of i
nter
nal s
ync/
cont
inui
ty5:
Main
ly co
nfid
ent p
erfo
rman
ces
6: S
ome d
egre
e of s
tylis
tic aw
aren
ess
7: E
xten
sive a
ppro
priat
e im
prov
isatio
n8:
Stro
ng se
nse o
f int
erna
l com
mun
icatio
n w
ithin
the b
and
9: S
ome e
ffort
to co
mm
unica
te co
llect
ive m
usica
l ide
ntity
Pass
14+
/20
1: M
ainly
secu
re b
asic
tech
niqu
es2:
Som
e use
of e
xpre
ssiv
e tec
hniq
ues
3: G
ener
ally
accu
rate
rhyt
hm/p
ulse
/dur
atio
n4:
Main
ly sy
nchr
onise
d in
tern
ally
; 1 o
r 2 co
ntin
uity
erro
rs5:
Som
e hes
itant
per
form
ance
s6:
Beg
inni
ngs o
f sty
listic
awar
enes
srov
isatio
n7:
Min
imal
sens
e of i
nter
nal c
omm
unica
tion
with
in b
and
8: S
ome a
ckno
wled
gem
ent o
f aud
ience
pre
senc
e
1: M
ainly
secu
re te
chni
ques
2: M
ainly
corr
ect u
se o
f exp
ress
ive t
echn
ique
s3:
Gen
eral
ly ac
cura
te rh
ythm
/pul
se/d
urat
ion
4: Sy
nchr
onise
d in
tern
ally
with
1 o
r 2 co
ntin
uity
erro
rs5:
Som
e hes
itatio
n in
per
form
ance
s6:
Beg
inni
ngs o
f sty
listic
awar
enes
s7:
Som
e app
ropr
iate i
mpr
ovisa
tion
8: S
ome s
ense
of i
nter
nal c
omm
unica
tion
with
in th
e ban
d9:
Som
e effo
rt to
com
mun
icate
colle
ctiv
e mus
ical i
dent
ity
belo
w P
ass 1
9–
13/2
0 1:
Inse
cure
bas
ic te
chni
ques
2: In
cons
isten
t use
of s
ome e
xpre
ssiv
e tec
hniq
ues
3: In
cons
isten
t rhy
thm
/pul
se/d
urat
ion
4: P
oor i
nter
nal s
ynch
roni
satio
n; u
naw
are o
f err
ors
5: L
ack
of co
nfid
ence
6: St
ylist
ically
una
war
e7:
Lac
k of
und
ersta
ndin
g bet
wee
n ba
nd m
embe
rs8:
No
effo
rt to
com
mun
icate
colle
ctiv
e mus
ical i
dent
ity
1: In
secu
re te
chni
ques
2: S
ome u
se o
f exp
ress
ive t
echn
ique
s3:
Inco
nsist
ent r
hyth
m/p
ulse
/dur
atio
n4:
Pro
blem
s of i
nter
nal s
ynch
roni
satio
n/co
ntin
uity
5: L
ack
of co
nfid
ence
6: St
ylist
ically
una
war
e7:
Inap
prop
riate
impr
ovisa
tion
8: M
inim
al se
nse o
f int
erna
l com
mun
icatio
n w
ithin
ban
d9:
Litt
le ac
know
ledge
men
t of a
udien
ce p
rese
nce
belo
w P
ass 2
1–
8/20
1:
Con
siste
nt b
asic
tech
nica
l err
ors
2: F
ailu
re to
obs
erve
expr
essiv
e mar
ks3:
Way
war
d pu
lse/rh
ythm
/dur
atio
n4:
No
sync
; big
cont
inui
ty ga
ps; f
alse s
tarts
5: H
ighl
y ner
vous
pre
sent
atio
n6:
Styl
istica
lly u
naw
are
7: L
ack
of u
nder
stand
ing b
etw
een
band
mem
bers
8: N
o ef
fort
to co
mm
unica
te co
llect
ive m
usica
l ide
ntity
1: C
onsis
tent
tech
nica
l err
ors
2: F
ailu
re to
obs
erve
expr
essiv
e mar
ks3:
Poo
r pul
se; la
rgely
inco
rrec
t rhy
thm
/dur
atio
n4:
Litt
le or
no
sync
; larg
e gap
s in
cont
inui
ty; f
alse s
tarts
5: V
isibl
y ner
vous
pre
sent
atio
n6:
Styl
istica
lly u
naw
are
7: N
o im
prov
isatio
n at
tem
pted
8: L
ack
of u
nder
stand
ing b
etw
een
band
mem
bers
9: N
o ef
fort
to co
mm
unica
te co
llect
ive m
usica
l ide
ntity
Back to Contents Page
Band
Bas
ed K
eybo
ards
| Sy
llabu
s Gui
de |
2009
–201
2
45
Appe
ndix
B: B
and
Piec
es (P
erfo
rman
ce C
ertifi
cate
)Le
veL
1 (G
raD
es 1
-3)
Leve
L 2
(Gra
Des
4 &
5)
Dis
tinc
tion
18
+/20
1:
Flu
ent b
asic
tech
niqu
es2:
Flu
ent u
se o
f exp
ress
ive t
echn
ique
s3:
Mus
ical u
se o
f rhy
thm
/pul
se/d
urat
ion
4: S
eam
less s
ync w
ithin
the b
and;
secu
re co
ntin
uity
5: H
ighl
y con
fiden
t & as
sure
d pe
rform
ance
s6:
Hig
h de
gree
of s
tylis
tic aw
aren
ess
7: St
rong
sens
e of i
nter
nal c
omm
unica
tion
with
in th
e ban
d8:
Stro
ng ef
fort
to co
mm
unica
te co
llect
ive m
usica
l ide
ntity
1: F
luen
t tec
hniq
ues
2: F
luen
t use
of e
xpre
ssiv
e tec
hniq
ues
3: M
usica
l use
of r
hyth
m/p
ulse
/dur
atio
n4:
Sea
mles
s int
erna
l syn
c; ef
fortl
ess c
ontin
uity
5: H
ighl
y con
fiden
t & as
sure
d pe
rform
ance
s6:
Hig
h de
gree
of s
tylis
tic aw
aren
ess
7: H
igh
level
of ap
prop
riate
impr
ovisa
tion
8: M
usica
l sen
se o
f int
erna
l com
mun
icatio
n w
ithin
ban
d9:
Succ
essfu
l com
mun
icatio
n of
colle
ctiv
e mus
ical i
dent
ity
Mer
it
16+/
20
1: S
ecur
e bas
ic te
chni
ques
2: C
orre
ct u
se o
f exp
ress
ive t
echn
ique
s3:
Sec
ure r
hyth
m/p
ulse
/dur
atio
n4:
Stro
ng se
nse o
f int
erna
l syn
c/co
ntin
uity
5: M
ainly
conf
iden
t per
form
ance
s6:
Som
e deg
ree o
f sty
listic
awar
enes
s7:
Som
e sen
se o
f int
erna
l com
mun
icatio
n w
ithin
the b
and
8: S
ome e
ffort
to co
mm
unica
te co
llect
ive m
usica
l ide
ntity
1: S
ecur
e tec
hniq
ues
2: M
usica
l use
of e
xpre
ssiv
e tec
hniq
ues
3: S
ecur
e rhy
thm
/pul
se/d
urat
ion
4: St
rong
sens
e of i
nter
nal s
ync/
cont
inui
ty5:
Main
ly co
nfid
ent p
erfo
rman
ces
6: S
ome d
egre
e of s
tylis
tic aw
aren
ess
7: E
xten
sive a
ppro
priat
e im
prov
isatio
n8:
Stro
ng se
nse o
f int
erna
l com
mun
icatio
n w
ithin
the b
and
9: S
ome e
ffort
to co
mm
unica
te co
llect
ive m
usica
l ide
ntity
Pass
14+
/20
1: M
ainly
secu
re b
asic
tech
niqu
es2:
Som
e use
of e
xpre
ssiv
e tec
hniq
ues
3: G
ener
ally
accu
rate
rhyt
hm/p
ulse
/dur
atio
n4:
Main
ly sy
nchr
onise
d in
tern
ally
; 1 o
r 2 co
ntin
uity
erro
rs5:
Som
e hes
itant
per
form
ance
s6:
Beg
inni
ngs o
f sty
listic
awar
enes
srov
isatio
n7:
Min
imal
sens
e of i
nter
nal c
omm
unica
tion
with
in b
and
8: S
ome a
ckno
wled
gem
ent o
f aud
ience
pre
senc
e
1: M
ainly
secu
re te
chni
ques
2: M
ainly
corr
ect u
se o
f exp
ress
ive t
echn
ique
s3:
Gen
eral
ly ac
cura
te rh
ythm
/pul
se/d
urat
ion
4: Sy
nchr
onise
d in
tern
ally
with
1 o
r 2 co
ntin
uity
erro
rs5:
Som
e hes
itatio
n in
per
form
ance
s6:
Beg
inni
ngs o
f sty
listic
awar
enes
s7:
Som
e app
ropr
iate i
mpr
ovisa
tion
8: S
ome s
ense
of i
nter
nal c
omm
unica
tion
with
in th
e ban
d9:
Som
e effo
rt to
com
mun
icate
colle
ctiv
e mus
ical i
dent
ity
belo
w P
ass 1
9–
13/2
0 1:
Inse
cure
bas
ic te
chni
ques
2: In
cons
isten
t use
of s
ome e
xpre
ssiv
e tec
hniq
ues
3: In
cons
isten
t rhy
thm
/pul
se/d
urat
ion
4: P
oor i
nter
nal s
ynch
roni
satio
n; u
naw
are o
f err
ors
5: L
ack
of co
nfid
ence
6: St
ylist
ically
una
war
e7:
Lac
k of
und
ersta
ndin
g bet
wee
n ba
nd m
embe
rs8:
No
effo
rt to
com
mun
icate
colle
ctiv
e mus
ical i
dent
ity
1: In
secu
re te
chni
ques
2: S
ome u
se o
f exp
ress
ive t
echn
ique
s3:
Inco
nsist
ent r
hyth
m/p
ulse
/dur
atio
n4:
Pro
blem
s of i
nter
nal s
ynch
roni
satio
n/co
ntin
uity
5: L
ack
of co
nfid
ence
6: St
ylist
ically
una
war
e7:
Inap
prop
riate
impr
ovisa
tion
8: M
inim
al se
nse o
f int
erna
l com
mun
icatio
n w
ithin
ban
d9:
Litt
le ac
know
ledge
men
t of a
udien
ce p
rese
nce
belo
w P
ass 2
1–
8/20
1:
Con
siste
nt b
asic
tech
nica
l err
ors
2: F
ailu
re to
obs
erve
expr
essiv
e mar
ks3:
Way
war
d pu
lse/rh
ythm
/dur
atio
n4:
No
sync
; big
cont
inui
ty ga
ps; f
alse s
tarts
5: H
ighl
y ner
vous
pre
sent
atio
n6:
Styl
istica
lly u
naw
are
7: L
ack
of u
nder
stand
ing b
etw
een
band
mem
bers
8: N
o ef
fort
to co
mm
unica
te co
llect
ive m
usica
l ide
ntity
1: C
onsis
tent
tech
nica
l err
ors
2: F
ailu
re to
obs
erve
expr
essiv
e mar
ks3:
Poo
r pul
se; la
rgely
inco
rrec
t rhy
thm
/dur
atio
n4:
Litt
le or
no
sync
; larg
e gap
s in
cont
inui
ty; f
alse s
tarts
5: V
isibl
y ner
vous
pre
sent
atio
n6:
Styl
istica
lly u
naw
are
7: N
o im
prov
isatio
n at
tem
pted
8: L
ack
of u
nder
stand
ing b
etw
een
band
mem
bers
9: N
o ef
fort
to co
mm
unica
te co
llect
ive m
usica
l ide
ntity
Back to Contents Page
46
Band
Bas
ed K
eybo
ards
| Sy
llabu
s Gui
de |
2009
–201
2
Appe
ndix
D: S
ight
Rea
ding
and
Impr
ovis
atio
n &
Inte
rpre
tatio
nsi
Ght
reaD
inG
Deb
ut
– Gr
aDe
3 si
Ght
reaD
inG
GraD
es 4
–5
iMPr
ov &
inte
rPre
tati
on
GraD
es 1
–3
iMPr
ov &
inte
rPre
tati
on
GraD
es 4
–5
Dis
tinc
tion
9+
/10
1: T
echn
ically
accu
rate
and
mus
ical
2: C
onsis
tent
, acc
urat
e pul
se3:
Stro
ng se
nse o
f sty
le4:
Com
mun
icativ
e per
form
ance
1: T
echn
ically
assu
red
and
effo
rtles
s2:
Stro
ng se
nse o
f exp
ress
ive l
ogic
3: C
onsis
tent
pul
se th
roug
hout
4: St
rong
sens
e of s
tyle
5: St
rong
sens
e of m
usica
l co
mm
unica
tion
6: St
rong
sens
e of i
mpr
ovisa
tion
1: T
echn
ically
accu
rate
and
mus
ical
2: W
ide r
ange
of e
xpre
ssiv
e te
chni
ques
3: St
rong
and
cons
isten
t sen
se o
f pu
lse4:
Stro
ng se
nse o
f idi
omat
ic
impr
ovisa
tion
5: C
omm
unica
tive p
erfo
rman
ce
1: T
echn
ically
assu
red
and
effo
rtles
s2:
Wid
e ran
ge o
f exp
ress
ive
tech
niqu
es3:
Stro
ng an
d co
nsist
ent s
ense
of
pulse
4: St
rong
sens
e of i
diom
expr
esse
d th
roug
h us
e of l
icks/g
roov
es5:
Stro
ng se
nse o
f dist
inct
ive
mus
ical c
omm
unica
tion
with
in
style
6: C
onsis
tent
and
exac
t sig
ht
read
ing
Mer
it
7–8/
10
1: T
echn
ically
accu
rate
2: C
onsis
tent
, acc
urat
e pul
se3:
App
ropr
iate s
tylis
tic aw
aren
ess
4: C
onfid
ent p
erfo
rman
ce
1: T
echn
ically
accu
rate
and
mus
ical
2: A
ll ex
pres
sion
mar
ks an
d te
chni
ques
obs
erve
d3:
Acc
urat
e pul
se4:
Qui
te st
rong
styl
istic
awar
enes
s5:
Con
fiden
t per
form
ance
6: G
ood
sens
e of i
mpr
ovisa
tion
1: T
echn
ically
accu
rate
2: S
ome u
se o
f var
ied ti
mbr
e/
artic
ulat
ion/
regi
ster/
dyna
mics
3: C
onsis
tent
, acc
urat
e pul
se4:
App
ropr
iate s
tylis
tic aw
aren
ess
in im
prov
isatio
n5:
Con
fiden
t per
form
ance
1: T
echn
ically
accu
rate
and
mus
ical
2: R
ange
of e
xpre
ssiv
e tec
hniq
ues
3: C
onsis
tent
, acc
urat
e pul
se4:
Qui
te st
rong
awar
enes
s of c
lassic
fe
atur
es o
f the
idio
m5:
Ver
y con
fiden
t per
form
ance
6: A
ccur
ate s
ight
read
ing
Pass
6/
10
1: M
ainly
tech
nica
lly ac
cura
te
but s
ome m
inor
pitc
h an
d/or
rh
ythm
erro
rs2:
Lar
gely
cons
isten
t pul
se (a
nd
<10%
too
fast
or to
o slo
w)
3: S
ome s
tylis
tic aw
aren
ess
4: A
dequ
ate s
ense
of
com
mun
icatio
n
1: M
ainly
tech
nica
lly ac
cura
te
but s
ome m
inor
pitc
h an
d/or
rh
ythm
erro
rs2:
Som
e rec
ogni
tion
of ex
pres
sion
mar
ks an
d te
chni
ques
obs
erve
d3:
Lar
gely
cons
isten
t, ac
cura
te
pulse
4: B
asic
stylis
tic aw
aren
ess
5: A
dequ
ately
flue
nt p
erfo
rman
ce6:
Ade
quat
e sen
se o
f im
prov
isatio
n
1: M
ainly
tech
nica
lly ac
cura
te w
ith
som
e err
ors
2: O
ccas
iona
l use
of v
aried
tim
bre/
ar
ticul
atio
n/re
giste
r/dy
nam
ics3:
Lar
gely
cons
isten
t pul
se (a
nd
<10%
too
fast
or to
o slo
w)
4: V
estig
ial s
tylis
tic aw
aren
ess i
n im
prov
5: G
ener
ally
conf
iden
t pe
rform
ance
1: M
ainly
tech
nica
lly ac
cura
te w
ith
occa
siona
l err
ors
2: S
ome u
se o
f var
ied ti
mbr
e/
artic
ulat
ion/
regi
ster/
dyna
mics
3: L
arge
ly co
nsist
ent,
accu
rate
pu
lse4:
Bas
ic sty
listic
awar
enes
s5:
Ade
quat
ely fl
uent
per
form
ance
6: A
dequ
ate s
ight
read
ing
belo
w P
ass 1
4–
5/10
1:
Sev
eral
erro
rs o
f pitc
h/rh
ythm
2: P
ulse
not
ably
slow
/fast/
inco
nsist
ent
3: L
ittle
evid
ence
of s
tylis
tic
awar
enes
s4:
Ner
vous
and
hesit
ant
perfo
rman
ce o
r inc
ompl
ete
rend
ition
1: S
ever
al er
rors
of p
itch/
rhyt
hm/
key
2: E
xpre
ssio
n m
arks
and
tech
niqu
es la
rgely
not
obs
erve
d3:
Pul
se sl
ow/fa
st/in
cons
isten
t4:
Litt
le ev
iden
ce o
f sty
listic
aw
aren
ess
5: N
ervo
us, h
esita
nt o
r inc
ompl
ete
perfo
rman
ce6:
Litt
le or
inco
rrec
t im
prov
isatio
n
1: S
ever
al er
rors
of b
asic
te
chni
ques
2: E
xpre
ssiv
e mon
oton
y3:
Pul
se n
otab
ly sl
ow/fa
st/in
cons
isten
t4:
Litt
le ev
iden
ce o
f sty
listic
aw
aren
ess i
n im
prov
isatio
n5:
Som
e hes
itant
per
form
ance
1: S
ever
al er
rors
of b
asic
te
chni
ques
2: O
ccas
iona
lly va
ried
timbr
e/
artic
ulat
ion/
regi
ster/
dyna
mics
3: P
ulse
slow
/fast/
inco
nsist
ent
4: L
ittle
evid
ence
of s
tylis
tic
awar
enes
s5:
Ner
vous
/hes
itant
/inco
mpl
ete
perf.
6: I
nacc
urat
e sig
ht re
adin
g
belo
w P
ass 2
1–
3/10
1:
Lar
gely
inco
rrec
t in
all
para
met
ers
2: W
ayw
ard
sens
e of p
ulse
/rhyt
hm3:
No
evid
ence
of s
tylis
tic
awar
enes
s4:
Ext
rem
ely h
esita
nt p
erfo
rman
ce
or le
ss th
an 1
/4 o
f the
test
com
plet
ed
1: L
arge
ly in
corr
ect i
n al
l pa
ram
eter
s2:
Exp
ress
ion
mar
ks an
d te
chni
ques
not
obs
erve
d3:
Way
war
d se
nse o
f pul
se/rh
ythm
4: N
o ev
iden
ce o
f sty
listic
aw
aren
ess
5: E
xtre
mely
hes
itant
per
form
ance
or
less
than
1/4
of t
he te
st co
mpl
eted
1: L
arge
ly in
corr
ect i
n al
l pa
ram
eter
s2:
Exp
ress
ive m
onot
ony
3: W
ayw
ard
sens
e of p
ulse
4: N
o ev
iden
ce o
f sty
listic
aw
aren
ess
5: E
xtre
mely
hes
itant
per
form
ance
or
less
than
1/4
of t
he te
st co
mpl
eted
1: L
arge
ly in
corr
ect i
n al
l pa
ram
eter
s2:
Exp
ress
ive m
onot
ony
3: W
ayw
ard
sens
e of p
ulse
4: N
o ev
iden
ce o
f sty
listic
aw
aren
ess
5: E
xtre
mely
hes
itant
per
form
ance
or
less
than
1/4
of t
he te
st co
mpl
eted
6: L
ittle
or in
com
plet
e sig
ht
read
ing
Back to Contents Page
Band
Bas
ed K
eybo
ards
| Sy
llabu
s Gui
de |
2009
–201
2
47
Appe
ndix
D: S
ight
Rea
ding
and
Impr
ovis
atio
n &
Inte
rpre
tatio
nsi
Ght
reaD
inG
Deb
ut
– Gr
aDe
3 si
Ght
reaD
inG
GraD
es 4
–5
iMPr
ov &
inte
rPre
tati
on
GraD
es 1
–3
iMPr
ov &
inte
rPre
tati
on
GraD
es 4
–5
Dis
tinc
tion
9+
/10
1: T
echn
ically
accu
rate
and
mus
ical
2: C
onsis
tent
, acc
urat
e pul
se3:
Stro
ng se
nse o
f sty
le4:
Com
mun
icativ
e per
form
ance
1: T
echn
ically
assu
red
and
effo
rtles
s2:
Stro
ng se
nse o
f exp
ress
ive l
ogic
3: C
onsis
tent
pul
se th
roug
hout
4: St
rong
sens
e of s
tyle
5: St
rong
sens
e of m
usica
l co
mm
unica
tion
6: St
rong
sens
e of i
mpr
ovisa
tion
1: T
echn
ically
accu
rate
and
mus
ical
2: W
ide r
ange
of e
xpre
ssiv
e te
chni
ques
3: St
rong
and
cons
isten
t sen
se o
f pu
lse4:
Stro
ng se
nse o
f idi
omat
ic
impr
ovisa
tion
5: C
omm
unica
tive p
erfo
rman
ce
1: T
echn
ically
assu
red
and
effo
rtles
s2:
Wid
e ran
ge o
f exp
ress
ive
tech
niqu
es3:
Stro
ng an
d co
nsist
ent s
ense
of
pulse
4: St
rong
sens
e of i
diom
expr
esse
d th
roug
h us
e of l
icks/g
roov
es5:
Stro
ng se
nse o
f dist
inct
ive
mus
ical c
omm
unica
tion
with
in
style
6: C
onsis
tent
and
exac
t sig
ht
read
ing
Mer
it
7–8/
10
1: T
echn
ically
accu
rate
2: C
onsis
tent
, acc
urat
e pul
se3:
App
ropr
iate s
tylis
tic aw
aren
ess
4: C
onfid
ent p
erfo
rman
ce
1: T
echn
ically
accu
rate
and
mus
ical
2: A
ll ex
pres
sion
mar
ks an
d te
chni
ques
obs
erve
d3:
Acc
urat
e pul
se4:
Qui
te st
rong
styl
istic
awar
enes
s5:
Con
fiden
t per
form
ance
6: G
ood
sens
e of i
mpr
ovisa
tion
1: T
echn
ically
accu
rate
2: S
ome u
se o
f var
ied ti
mbr
e/
artic
ulat
ion/
regi
ster/
dyna
mics
3: C
onsis
tent
, acc
urat
e pul
se4:
App
ropr
iate s
tylis
tic aw
aren
ess
in im
prov
isatio
n5:
Con
fiden
t per
form
ance
1: T
echn
ically
accu
rate
and
mus
ical
2: R
ange
of e
xpre
ssiv
e tec
hniq
ues
3: C
onsis
tent
, acc
urat
e pul
se4:
Qui
te st
rong
awar
enes
s of c
lassic
fe
atur
es o
f the
idio
m5:
Ver
y con
fiden
t per
form
ance
6: A
ccur
ate s
ight
read
ing
Pass
6/
10
1: M
ainly
tech
nica
lly ac
cura
te
but s
ome m
inor
pitc
h an
d/or
rh
ythm
erro
rs2:
Lar
gely
cons
isten
t pul
se (a
nd
<10%
too
fast
or to
o slo
w)
3: S
ome s
tylis
tic aw
aren
ess
4: A
dequ
ate s
ense
of
com
mun
icatio
n
1: M
ainly
tech
nica
lly ac
cura
te
but s
ome m
inor
pitc
h an
d/or
rh
ythm
erro
rs2:
Som
e rec
ogni
tion
of ex
pres
sion
mar
ks an
d te
chni
ques
obs
erve
d3:
Lar
gely
cons
isten
t, ac
cura
te
pulse
4: B
asic
stylis
tic aw
aren
ess
5: A
dequ
ately
flue
nt p
erfo
rman
ce6:
Ade
quat
e sen
se o
f im
prov
isatio
n
1: M
ainly
tech
nica
lly ac
cura
te w
ith
som
e err
ors
2: O
ccas
iona
l use
of v
aried
tim
bre/
ar
ticul
atio
n/re
giste
r/dy
nam
ics3:
Lar
gely
cons
isten
t pul
se (a
nd
<10%
too
fast
or to
o slo
w)
4: V
estig
ial s
tylis
tic aw
aren
ess i
n im
prov
5: G
ener
ally
conf
iden
t pe
rform
ance
1: M
ainly
tech
nica
lly ac
cura
te w
ith
occa
siona
l err
ors
2: S
ome u
se o
f var
ied ti
mbr
e/
artic
ulat
ion/
regi
ster/
dyna
mics
3: L
arge
ly co
nsist
ent,
accu
rate
pu
lse4:
Bas
ic sty
listic
awar
enes
s5:
Ade
quat
ely fl
uent
per
form
ance
6: A
dequ
ate s
ight
read
ing
belo
w P
ass 1
4–
5/10
1:
Sev
eral
erro
rs o
f pitc
h/rh
ythm
2: P
ulse
not
ably
slow
/fast/
inco
nsist
ent
3: L
ittle
evid
ence
of s
tylis
tic
awar
enes
s4:
Ner
vous
and
hesit
ant
perfo
rman
ce o
r inc
ompl
ete
rend
ition
1: S
ever
al er
rors
of p
itch/
rhyt
hm/
key
2: E
xpre
ssio
n m
arks
and
tech
niqu
es la
rgely
not
obs
erve
d3:
Pul
se sl
ow/fa
st/in
cons
isten
t4:
Litt
le ev
iden
ce o
f sty
listic
aw
aren
ess
5: N
ervo
us, h
esita
nt o
r inc
ompl
ete
perfo
rman
ce6:
Litt
le or
inco
rrec
t im
prov
isatio
n
1: S
ever
al er
rors
of b
asic
te
chni
ques
2: E
xpre
ssiv
e mon
oton
y3:
Pul
se n
otab
ly sl
ow/fa
st/in
cons
isten
t4:
Litt
le ev
iden
ce o
f sty
listic
aw
aren
ess i
n im
prov
isatio
n5:
Som
e hes
itant
per
form
ance
1: S
ever
al er
rors
of b
asic
te
chni
ques
2: O
ccas
iona
lly va
ried
timbr
e/
artic
ulat
ion/
regi
ster/
dyna
mics
3: P
ulse
slow
/fast/
inco
nsist
ent
4: L
ittle
evid
ence
of s
tylis
tic
awar
enes
s5:
Ner
vous
/hes
itant
/inco
mpl
ete
perf.
6: I
nacc
urat
e sig
ht re
adin
g
belo
w P
ass 2
1–
3/10
1:
Lar
gely
inco
rrec
t in
all
para
met
ers
2: W
ayw
ard
sens
e of p
ulse
/rhyt
hm3:
No
evid
ence
of s
tylis
tic
awar
enes
s4:
Ext
rem
ely h
esita
nt p
erfo
rman
ce
or le
ss th
an 1
/4 o
f the
test
com
plet
ed
1: L
arge
ly in
corr
ect i
n al
l pa
ram
eter
s2:
Exp
ress
ion
mar
ks an
d te
chni
ques
not
obs
erve
d3:
Way
war
d se
nse o
f pul
se/rh
ythm
4: N
o ev
iden
ce o
f sty
listic
aw
aren
ess
5: E
xtre
mely
hes
itant
per
form
ance
or
less
than
1/4
of t
he te
st co
mpl
eted
1: L
arge
ly in
corr
ect i
n al
l pa
ram
eter
s2:
Exp
ress
ive m
onot
ony
3: W
ayw
ard
sens
e of p
ulse
4: N
o ev
iden
ce o
f sty
listic
aw
aren
ess
5: E
xtre
mely
hes
itant
per
form
ance
or
less
than
1/4
of t
he te
st co
mpl
eted
1: L
arge
ly in
corr
ect i
n al
l pa
ram
eter
s2:
Exp
ress
ive m
onot
ony
3: W
ayw
ard
sens
e of p
ulse
4: N
o ev
iden
ce o
f sty
listic
aw
aren
ess
5: E
xtre
mely
hes
itant
per
form
ance
or
less
than
1/4
of t
he te
st co
mpl
eted
6: L
ittle
or in
com
plet
e sig
ht
read
ing
Back to Contents Page
48
Band
Bas
ed K
eybo
ards
| Sy
llabu
s Gui
de |
2009
–201
2
Appendix C: Technical ExercisesGraDes 1–5
Distinction14+/15
1: Fluent, musical level of technical accuracy2: Exact sense of pulse3: Always prompt responses
Merit 12+/15
1: Correct pitches/rhythms2: Strong sense of pulse3: Generally prompt responses
Pass 11/15
1: Correct pitches/rhythms with occasional mistakes2: Consistent if either slower or faster than requested3: Some prompt responses
below Pass 1 9–10/15
1: Errors in pitches and rhythms2: Excessively cautious/hurried tempi; irregular pulse3: Hesitant with occasional false starts
below Pass 2 1–8/15
1: Incorrect tests played2: A number of significant and/or repeated errors; no sense of pulse3: Frequent breakdowns
Back to Contents Page
Band
Bas
ed K
eybo
ards
| Sy
llabu
s Gui
de |
2009
–201
2
49
Appendix E: Ear TestsDebut – GraDe 3 GraDes 4 & 5
Distinction 9+/10
Melody: Exact recall throughout in all areas Rhythm/Chords: Exact recall throughout
Melody: Exact recall throughout in all areas
Rhythm/Chords: Exact recall throughout with chord extensions correct
Merit 7–8/10
Melody: Close recall with 1 – 2 slips in pitch, rhythm or techniques where appropriate
Rhythm/ Chords: Close recall with 1 – 2 slips in rhythm or chords
Melody: Close recall with 1 – 2 slips in pitch, rhythm or techniques
Rhythm/ Chords: Close recall with 1 – 2 slips in rhythm, chords or extensions
Pass 6/10
Melody: Generally correct with 3 – 4 slips in pitch, rhythm or techniques where appropriate
Rhythm/ Chords: Generally correct recall with 3 – 4 slips in rhythm or chords
Melody: Generally correct with 3 – 4 slips in pitch, rhythm or techniques
Rhythm/ Chords: Generally correct recall with 3 – 4 slips in rhythm, chords or extensions
below Pass 1 4–5/10
Melody: Hesitancy and with more than 4 slips in pitch, rhythm or techniques where appropriate
Rhythm/Chords: Hesitancy and with more than 4 slips in rhythm or chords
Melody: Hesitancy and with more than 4 slips in pitch, rhythm or techniques
Rhythm/Chords: Hesitancy and with more than 4 slips in rhythm, chords or extensions
below Pass 2 1–3/10
Melody: largely or completely incorrect
Rhythm/Chords: largely or completely incorrect
Melody: largely or completely incorrect
Rhythm/Chords: largely or completely incorrect
Back to Contents Page
D-5
Band Based Keys is about playing the music you love and getting a
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KEYS • DEBUT-5
Syllabus guide
KEYSBAND
BAS
ED
Debut to Grade 5
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