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Published by Rockschool Ltd © 2006
Unauthorised reproduction of any part of this publication by any
means including photocopying is an infringement of copyright
Compiled and edited by: Jeremy Ward & Simon Pitt
Cover design: Chris Davis
Text layout: Bet Ayer
Printed and bound in the United Kingdom
Visit the Rockschool website atwww.rockschool.co.uk
Phone: 020 8332 6303Fax: 020 8332 6297
Contents
Welcome to the Guitar, Bass and Drums Syllabus 4
Examinations 5
Syllabus Guide for Electric Guitar 6
Syllabus Guide for Bass Guitar 16
Syllabus Guide for Drums 26
Exam Regulations 34
Assessment Requirements 35
Sample Music 42
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Welcome to the Guitar, Bass and Drums Syllabus
Welcome to the Rockschool 2006 syllabus for electric guitar, bass and drums. This Syllabus Guide
is designed to give teachers, learners and candidates practical information on the graded
examinations run by Rockschool.
If you have any queries about the syllabus for electric guitar, bass and drums, popular
piano, and vocals or any of the Awards, Certificates and Diplomas for Music Practitioners and
for Music Educators, or our instrumental and teaching diplomas, then please do not hesitate
to call us on 020 8332 6303 or email us at [email protected]. The Rockschool website,
www.rockschool.co.uk, has detailed information on all aspects of our examinations, including
examination regulations, detailed marking schemes and marking criteria as well as notated and
audio examples of all the types of tests used in the exams and handy tips on how to get the most
out of the performance pieces. Companion Guides are also available for Vocals, Guitar, Bass and
Drums.
This Syllabus Guide covers the following examinations:
• Grade examinations offered by Rockschool at Grades 1-8
• Performance Certificates offered by Rockschool at Debut and Grades 1-8
• Band exams at Grades 3, 5, 8
In the Guide, the examination requirements for each grade are shown in italics.
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Examinations
Grade Examinations
Rockschool’s graded examinations are made up of the following elements:
• Performance pieces (Debut and Grades 1-8)
• Technical exercises (Grades 1-8)
• Sight Reading or Improvisation & Interpretation (Grades 1-5 only)
• Quick study piece (Grades 6-8 only)
• Ear tests (Grades 1-8)
• General musicianship questions (Grades 1-8)
Performance Certificates
Rockschool’s performance certificates are available at every grade and consist of the following
elements:
• Debut: 5 pieces to be selected from the debut pack. No own choice is allowable at this level.
• Grades 1-8: 5 performance pieces to be selected from the appropriate grade book or 3
pieces from the appropriate grade book and 2 own choice. For information on criteria for own
choice please visit the website at: www.rockschool.co.uk
Band Exams
Rockschool’s band exams are available at grades 3, 5 & 8 for guitar, bass and drums and consist of
the following elements:
• Grades 3, 5 and 8: 5 performance pieces to be selected from the appropriate grade book or 3
pieces from the appropriate grade book and 2 own choice. For information on criteria for own
choice please visit the website at: www.rockschool.co.uk
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Syllabus Guide for Electric Guitar
Performance Pieces
Rockschool’s electric guitar grades are designed to showcase instrumental performance across a
range of popular styles. The performances are the benchmark by which the grades are measured
and the printed performance repertoire reflects the general standards which players should be able
to attain if they are successfully to complete the exam. All the repertoire pieces performed in the
exam should be played to a CD backing track.
The performance characteristics of each grade are printed in the relevant grade books and are
reproduced below. The grade descriptions assume competence in the areas described in grades
lower down the sequence.
• Debut: in Debut Guitar you will be concentrating on playing tunes. A player of Debut standard
should be able to play up to 20 bars of music in 4/4 time, using simple first position melodies
composed of whole, half and quarter notes and associated rests, as well as a range of basic first
position chords. The pieces very often use open strings and melodies move mainly between
adjacent strings.
• Grade 1: a player of Grade 1 standard should be able to play up to 32 bars of music using first
position chords and melodies composed of whole, half, quarter and eighth notes and associated
rests, tied notes, and dotted half and quarter notes. Performances should include basic legato
and staccato playing where marked.
• Grade 2: in this grade you are beginning to acquire a range of physical and expressive techniques,
including palm muting and the use of double stops on adjacent strings, simple legato and
staccato and slides, as well as simple dynamics. In this grade you will also begin to work on your
stylistic appreciation.
• Grade 3: this grade continues the foundation work started in Grade 2. As a player you will
be encountering syncopated eighth and sixteenth note strumming as well as developing the
palette of expressive techniques to include fretting hand vibrato, hammer ons and pull offs, slides
and simple bends. The pieces of music are now longer, covering two pages and you should
be developing your stylistic awareness, taking into account amp and pick up settings for each
song.
• Grade 4: in this grade you use a range of physical and expressive techniques with confidence,
damping and the use of double stops and adjacent strings, legato and staccato, slides, fretting
hand vibrato, hammer ons and pull offs, and accents, and you are experimenting with a range of
dynamics from very quiet to very loud. In this grade you are continuing to develop your ability
to play with stylistic authority.
• Grade 5: you will be confident in a range of physical and expressive techniques. You will be able
to demonstrate your abilities across a number of styles and have control over tone and sound
adjustments to suit the playing style of your choice. Please note that some of the tunes may now
be written out over three pages.
• Grade 6: in this grade you are developing the confidence of the advanced player across the range
of physical and expressive techniques. You will start experimenting with a range of techniques
across a number of musical styles. There is a greater emphasis on personal expression and you
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Rwill display your own musical personality through ad libbing and soloing. Please note that some
of the tunes may now be written out over three pages.
• Grade 7: in this grade you are now confident in your abilities across the range of physical and
expressive techniques. You will be experimenting with a range of these techniques across a
number of styles. You will also be comfortable with a range of rhythms and time signatures other
than common time. Your solos will be musically expressive and you will have the confidence to
apply modal ideas in a number of soloing contexts. Please note that some of the tunes may now
be written out over three pages.
• Grade 8: you will play effortlessly with a wide range of physical and expressive techniques at your
command. You will be able to use these at will across a range of styles and musical contexts. You
will be comfortable playing pieces employing a number of different time signatures (including
changes from bar to bar) and you will display mastery of a number of musical styles. Your solos
will be highly musical and employ techniques across the range. You will also be highly sensitive
to all aspects of musical presentation. Please note that some of the tunes may now be written out
over four pages.
Exam RequirementsDebut: candidates are asked to perform five out of the six pieces printed in the Debut
examination pack. No free choice option is allowed.
Grades 1-8: candidates are asked to perform either three out of the six pieces printed in the grade
packs, or two pieces from the grade pack and one brought into the exam by the candidate. This
may be either a self-composed piece or a piece of established popular repertoire. If a backing track
is used it must be a music minus version (without the guitar part).
Candidates taking Grade 2 and above can adapt the performance pieces to suit their playing style.
This is permitted so long as these adaptations keep within the style of the piece. Candidates are
required, in any case, to include improvisation passages in addition to those indicated by the score
from grade 3.
Guidelines are published by Rockschool for those candidates who wish either to write a piece of
their own for performance in the exam or to use as a guide when choosing a piece of established
repertoire. Visit the website at www.rockschool.co.uk.
Technical Exercises
The range of technical exercises to be played by candidates is published in each book. These are
played to a tempo set for the candidate by the examiner. Candidates can choose to play along with
the metronome click or without it. TAB fingerings for guitarists and bass players are offered in the
examples as a guide, but candidates may use their own fingering patterns when playing the
exercises.
Candidates are asked to prepare the exercises in the keys (where appropriate) and the tempos
indicated. The final exercise should be played along to the backing track on the CD
Exam RequirementsGrade 1These should be played at 80 beats per minute (bpm) in a straight feel: quarter notes.
Group A Scales 1 octave
• C major scale
• A natural minor scale
• E & A minor pentatonic scales
Group B Chords:
• Power chords: B5, A5, G5 Two note chords to be played as a continuous sequence
• Major chords: A, D & E
• Minor chords: Am, Dm & Em
Group C Riff. The riff is played over a four bar backing track. The initial riff pattern is given and
candidates are asked to complete the riff by playing the same pattern over a different chord in the
subsequent three bars.
Grade 2These should be played at 100 bpm in a straight feel: quarter notes
Group A Scales 1 octave
• C & G major scales
• E & A natural minor scale
• C & G minor pentatonic scales
Group B Chords:
• Power chords: B5, A5, G5 Three note chords to be played as a continuous sequence
• Major chords: C, F & G
• Minor chords: Am7, Dm7 & Em7
Group C Riff. The riff is played over an eight bar backing track. The initial riff pattern is given
(two bars) and candidates are asked to complete the riff by moving the same pattern on to the
indicated root of a different chord over the subsequent bars.
Grade 3These should be played at 60 bpm in a straight feel: eighth notes
Group A Scales 2 octaves to be prepared in the keys of G, A and B
• Major scales
• Natural minor scale
• Minor pentatonic scales
• Blues Scales
Group B Arpeggios 2 octaves to be prepared in the keys of G, A and B
• Major arpeggios
• Minor arpeggios
Group C Chords:
• Barre chords: G, Am, Bm to be played as a continuous sequence
• Dominant 7 chords: A7, C7, D7 & E7 to be prepared in open position or in barre chord form
Group D Riff. The riff is played over an eight bar backing track. The initial riff pattern is given
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R(two bars) and candidates are asked to complete the riff by moving the same pattern on to the
indicated root of a different chord over the subsequent bars.
Grade 4These should be played at 80 bpm in a straight feel: eighth notes
Group A Scales 2 octaves to be prepared chromatically in the keys of G-B, root note 6th string and
C-E, root note 5th string
• Major scales
• Natural minor scale
• Major pentatonic scales
• Minor pentatonic scales
• Blues Scales
Group B Arpeggios 2 octaves to be prepared in the same keys as the scales above
• Minor 7 arpeggios
• Dominant 7 arpeggios
Group C Chords
• Extended barre chords: Bm7, A7, G. Play as a continuous sequence
Group D Riff. The riff is played over an eight bar backing track. The initial riff pattern is given
(two bars) and candidates are asked to complete the riff by moving the same pattern on to the
indicated root of a different chord over the subsequent bars.
Grade 5These should be played at 100 bpm in a straight feel: eighth notes
Group A Scales 2 octaves to be prepared chromatically in the keys of G-B, root note 6th string
• Minor pentatonic scales: The candidate must prepare all positions and the examiner will ask
two consecutive positions
Group B Arpeggios 2 octaves to be prepared chromatically in the keys C-E, root note 5th string
• Major arpeggios
• Minor arpeggios
• Minor 7 arpeggios
• Dominant 7 arpeggios
Group C Chords
• Root 5th string barre chords: C, Dm, Em7, F, G. Play as a continuous sequence
Group D Legato Study. Candidates should prepare the eight bar legato study to be performed with
the backing track.
Grade 6These should be played at 60 bpm in a straight feel: sixteenth notes
Group A Scales & Modes 2 octaves to be prepared chromatically in the keys of G-B, root note 6th
string
• Ionian, Dorian and Phrygian modes. The candidate should prepare all and they will be asked
to play as pairs: Ionian-Dorian or Dorian-Phrygian
• Diminished scales
• Harmonic Minor scales
Group B Arpeggios 2 octaves to be prepared in the keys as above, root note 6th string
• Major 7 arpeggios
• Minor 7b5 arpeggios
• Diminished 7 arpeggios
• Dominant 7 triplet arpeggios
Group C Chords: play as a continuous sequence. Candidates should prepare both sequences and
the examiner will select one
• Root 6th string chords: Gmaj7, Bbdim, F#7b5, Gmaj7. Sequence to be prepared chromatically
in keys G-B
• Root 5th string chords: Cmaj7, Ebdim Bm7b5, Cmaj7. Sequence to be prepared chromatically
in keys C-E
Group D Tapping Study. Candidates should prepare the eight bar tapping study to be performed
with the backing track.
Grade 7These should be played at 70 bpm in a straight feel: sixteenth notes
Group A Scales & Modes 2 octaves to be prepared chromatically in the keys of G-B, root note 6th
string
• Lydian, Mixolydian and Aeolian modes. To be prepared consecutively
• Chromatic scales
• Whole Tone scales
Group B Arpeggios 2 octaves to be prepared chromatically in the keys C-E, root note 5th string
• Major 7 arpeggios
• Minor 7 arpeggios
• Dominant 7 arpeggios
• Diminished 7 triplet arpeggios
Group C Chords: play as a continuous sequence. Candidates should prepare both sequences and
the examiner will select one.
• Sequence 1 Root 6th string chords: Gmaj9, Em9, Am9, D9. Sequence to be prepared chromatically
in keys G-B
•Sequence 2 Root 5th string chords: Cmaj9, Am9, Dm9, G9. Sequence to be prepared chromatically
in keys C-E
Group D Harmonics Study. Candidates should prepare the eight bar harmonics study. To be
played with the backing track
Grade 8These should be played at 80 bpm in a straight feel: sixteenth notes
Group A Scales & Modes 2 octaves to be prepared chromatically in the keys of G-B, root note 6th
string
• Ionian, Dorian, Phrygian, Lydian, Mixolydian & Aeolian modes. To be played as three
consecutive scales from a note and mode given by the examiner.
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RGroup B Arpeggios 2 octaves to be prepared in the keys as above, root note 6th string
• Dominant 7#5 arpeggios
• Dominant 7b5 arpeggios
• Minor 7#5 arpeggios
Group C Chords: play as a continuous sequence. Candidates should prepare both sequences and
the examiner will select one.
• Sequence 1 Root 6th string chords: Am7#5, D7b5, D7#5, G. Sequence to be prepared
chromatically in keys G-B
• Sequence 2 Root 5th string chords: Dm7#5, G7b5, G7#5, C. Sequence to be prepared
chromatically in keys C-E
Group D Sweep picking study. Candidates should prepare the eight bar sweep picking study. To
be played with the backing track
Sight Reading or Improvisation & Interpretation (Grades 1-5 only)
Candidates attempting Grades 1-5 inclusive have a choice of taking either the sight reading or theimprovisation & interpretation test. Examples of the type of tests required in the exam are printedin the grade packs. Further examples can be found in the Companion Guide.
Please note that at Grades 4 and 5, the sight reading and improvisation & interpretation testscontain a small amount of the other skill. The requirements are shown for each grade below.
Exam Requirements: Sight ReadingCandidates will be asked to prepare a sight reading test which is given to them by the examiner.
The test may be in one of the following styles: blues and rock (Grades 1-3) or blues, funk, rock or
jazz (Grades 4-5). The examiner will allow the candidate 90 seconds to prepare the test and will
set the tempo on a metronome. The candidate can choose to play with or without the metronome
for the duration of the test. TAB fingerings are given along with standard notation in all sight
reading tests.
Grade 1: 4 bars, 60-80 bpm, common time. (C major &A minor)
Grade 2: 4 bars, 60-80 bpm, common time. (C major, A minor, G major, E minor)
Grade 3: 8 bars, 70-90 bpm, common time. Keys to be taken from the technical exercises at this
grade. The test may include hammer ons.
Grade 4: At this Grade there is an element of improvisation. This is in the form of a two bar
ending. The improvised ending will use chord patterns that have been used in the sight reading
part of the test. 8 bars, 70-90 bpm, time signatures 2/4, 3/4, 4/4. Keys to be taken from the
technical exercises at this grade. The test may include hammer on, pull offs bend up and slides.
Grade 5: At this Grade there is an element of improvisation. This is in the form of a two bar
ending. The improvised ending will use chord patterns that have been used in the sight reading
part of the test. 12 bars, 60-90 bpm, time signatures 2/4, 3/4, 4/4. Keys to be taken from the
technical exercises at this grade. The test may include hammer ons, pull offs, bend up, slides and
vibrato.
Exam Requirements: Improvisation & InterpretationCandidates will be asked to prepare an improvisation & interpretation test which is given to them
by the examiner. The test may be in one of the following styles: blues and rock (Grades 1-3) or
blues, funk, rock or jazz (Grades 4-5).
Grades 1-2: : the candidate will be asked to play an improvised line to a backing track of four
bars. The candidate may choose to play either rhythmic chords or a melodic lead line. The
candidate is allowed 30 seconds to prepare and is then allowed to practise through on playing of
the backing track before playing it a second time in the exam. The test is continuous with a one
bar count in at the beginning and after the practice session. Grade 1: 4 bars, 60-80 bpm, common
time. (C major &A minor) Grade 2: 4 bars, 60-80 bpm, common time. (C major,, G major, A
minor, E minor).
Grade 3: the candidate will be asked to play an improvised line to a backing track of eight bars.
The candidate may choose to play either rhythmic chords or a melodic lead line. The candidate
is allowed 30 seconds to prepare and is then allowed to practise through on playing of the backing
track before playing it a second time in the exam. The test is continuous with a one bar count in
at the beginning and after the practice session. 8 bars, 70-90 bpm, common time. Keys to be taken
from the technical exercises at this grade.
Grades 4-5: in these grades there is a small element of sight reading. This takes the form of a two
bar chord rhythm at the beginning of the test. The candidate will be asked to play the chords in
the rhythms indicated and to complete the test using an improvised line made up of chords and
lead where indicated. This is played to a backing track of no more than eight bars. The candidate
is allowed 30 seconds to prepare and is then allowed to practise through on playing of the backing
track before playing it a second time in the exam. The test is continuous with a one bar count in
at the beginning and after the practice session. Grade 4: 8 bars, 70-90 bpm, time signatures 2/4,
3/4, 4/4. Grade 5: 12 bars, 60-90 bpm, time signatures 2/4, 3/4, 4/4. Keys to be taken from the
technical exercises at this grade.
Quick Study Piece (Grades 6-8 only)
Candidate attempting any of these grades will be asked to perform a Quick Study Piece (QSP).
This is given to the candidate 20 minutes before they enter the exam room and candidates entered
for these grades are asked to arrive at the exam centre at least ten minutes before they are given
their QSP to practise.
Candidates will be asked to perform from a paper outline and a CD given to them by the examiner.
The outline is in the form of a ‘lead sheet’ or ‘session chart’ and will contain information on style,
tempo and length, along with other musical information such as dynamics and marked solo
passages. TAB fingerings are also included where appropriate.
The CD contains a backing track to be used for both practise and performance in the examination.
Each QSP will be in the style of rock, funk, blues or jazz. The performance should reflect the style
of the piece and candidates should use the spaces in the music to develop their musical ideas.Gui
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RExam Requirements: Quick Study PieceGrade 6: the QSP will consist of up to 30 bars excluding repeats and DC, DS. The rhythms and
chords will be indicated along with some written notation, dynamics and other musical notation
information. The note lengths and rhythms will reflect the standard of a Grade 4 performance.
Time signatures and Tempo: 2/4, 3/4, 4/4, 6/8. 60-140 bpm. Keys: any major or minor
Grade 7: the QSP will consist of up to 30 bars excluding repeats and DC, DS. The rhythms and
chords will be indicated along with some written notation, dynamics and other musical notation
information. The note lengths and rhythms will reflect the standard of a Grade 5 performance.
Time signatures and Tempo: 2/4, 3/4, 4/4, 6/8. 60-140 bpm. Keys: any major or minor
Grade 8: the QSP will consist of up to 30 bars excluding repeats and DC, DS. The rhythms and
chords will be indicated along with some written notation, dynamics and other musical notation
information. The note lengths and rhythms will reflect the standard of a Grade 6 performance.
Time signatures and Tempo: 2/4, 3/4, 4/4, 6/8. 60-140 bpm. Keys: any major or minor
Ear Tests (Grades 1-8)
Candidates will be asked to take two ear tests in the exam. The tests are played on CD and use real
instrument sounds. Each test is played to the candidate by the examiner twice and the candidate
plays each test to a drum backing. Candidates my use their instrument while the CD is playing.
Exam Requirements: Test 1 – Melodic RecallGrade 1: candidates are asked to play back on their instrument a two bar melody composed from
the first three notes of the C major scale (C, D & E). Candidates will hear the tonic note and told
the starting note and will hear the test twice with drum backing. There is a short break in the test
for the candidate to practise and then the test will recommence and the candidate is required to
play the melody with the drum backing. The test is continuous. 90bpm.
Grade 2: candidates are asked to play back on their instrument a two bar melody composed from
the C or G minor pentatonic scales. Candidates will hear the tonic note and told the starting note
and will hear the test twice with drum backing. There is a short break in the test for the candidate
to practise and then the test will recommence and the candidate is required to play the melody
with the drum backing. The test is continuous. 90bpm.
Grade 3: candidates are asked to play back on their instrument a four bar melody composed from
the G major or G minor pentatonic scales. Candidates will hear the tonic note and told the
starting note and will hear the test twice with drum backing. There is a short break in the test for
the candidate to practise and then the test will recommence and the candidate is required to play
the melody with the drum backing. The test is continuous. 80bpm. The test may include hammer
ons and pull offs.
Grade 4: candidates are asked to play back on their instrument a four bar melody composed from
the C major or C minor scales. Candidates will hear the tonic note and told the starting note and
will hear the test twice with drum backing. There is a short break in the test for the candidate to
practise and then the test will recommence and the candidate is required to play the melody with
the drum backing. The test is continuous. 80bpm. The test may include hammer on, pull offs and
slides.
Grade 5: candidates are asked to play back on their instrument a four bar melody composed from
the G, A or B minor pentatonic scales. Candidates will hear the tonic note and told the starting
note and will hear the test twice with drum backing. There is a short break in the test for the
candidate to practise and then the test will recommence and the candidate is required to play the
melody with the drum backing. The test is continuous. 80bpm. The test may include hammer ons,
pull offs, slides, vibrato and bends.
Grade 6: candidates are asked to play back on their instrument a four bar melody composed from
the G, A or B Ionian mode. Candidates will hear the tonic note and will hear the test twice with
drum and bass backing. There is a short break in the test for the candidate to practise and then
the test will recommence and the candidate is required to play the melody with the drum and bass
backing. The test is continuous. 70-90bpm. The test may include hammer ons, pull offs, slides,
vibrato and bends.
Grade 7: candidates are asked to play back on their instrument a four bar melody composed from
the G, A or B Aeolian mode. Candidates will hear the tonic note and will hear the test twice with
drum and bass backing. There is a short break in the test for the candidate to practise and then
the test will recommence and the candidate is required to play the melody with the drum and bass
backing. The test is continuous. 70-90bpm. The test may include hammer ons, pull offs, slides,
vibrato and bends.
Grade 8: candidates are asked to play back on their instrument a four bar melody composed from
the G, A or B Dorian or Mixolydian mode. Candidates will hear the tonic note and will hear the
test twice with drum and bass backing. There is a short break in the test for the candidate to
practise and then the test will recommence and the candidate is required to play the melody with
the drum and bass backing. The test is continuous. 70-100bp. The test may include hammer ons,
pull offs, slides, vibrato and bends.
Exam Requirements: Test 2 – Rhythmic RecallGrade 1: candidates are asked to play back on their instrument a two bar rhythm on the bottom
E string on the guitar. The rhythm is played twice with a drum backing. There is a short break in
the test for the candidate to practise and the test will recommence and the candidate is required
to play the rhythm with the drum backing. The test is continuous. 90 bpm
Grade 2: candidates are asked to play back on their instrument a two bar rhythm played on an
open E minor 7 chord on the guitar. The rhythm is played twice with a drum backing. There is a
short break in the test for the candidate to practise and the test will recommence and the
candidate is required to play the rhythm with the drum backing. The test is continuous. 90 bpm
Exam Requirements: Test 2 – Chord and Rhythm RecallGrades 3-5: The test will include chord types and keys used in the technical work up to andincluding the appropriate grade. Candidates are asked play back on their instrument a four bar
rhythmic chord sequence played on the guitar. Candidates are told the tonic chord and the piece
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Ris played twice with a drum backing. There is a short break in the test for the candidate to practise
and the test will recommence. The candidate is required to play the rhythmic chord sequence with
the drum backing. The test is continuous. 80 bpm.
Grades 6-8: The test will include chord types and keys used in the technical work up to andincluding the appropriate grade. Candidates are asked play back on their instrument a four bar
rhythmic chord sequence played on the guitar. Candidates are told the tonic chord and the piece
is played twice with a drum backing. There is a short break in the test for the candidate to practise
and the test will recommence. The candidate is required to play the rhythmic chord sequence with
the drum backing. The test is continuous. 60-90 bpm.
General Musicianship Questions
Each Rockschool grade finishes with five General Musicianship Questions. These questions are
asked of the candidate orally by the examiner, who uses a performance piece played by the
candidate as a starting point.
Exam RequirementsGrades 1-6: candidates will be asked questions in two main areas: (i) music notation and (ii)
knowledge of the instrument.
Grades 7 and 8: in addition to the above candidates will also be asked a third category: history
and styles.
A complete list of the topics covered in the music notation and theory category is printed in each
book. Sample questions may be found on the Rockschool website and in the Companion Guide.
All questions concerning instrument knowledge will deal with the instrument played by the
candidate.
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Syllabus Guide for Bass
Performance Pieces
Rockschool’s bass grades are designed to showcase instrumental performance across a range of
popular styles. The performances are the benchmark by which the grades are measured and the
printed performance repertoire reflects the general standards which players should be able to
attain if they are successfully to complete the exam. All the repertoire pieces performed in the
exam should be played to a CD backing track.
The performance characteristics of each grade are printed in the relevant grade books and are
reproduced below. The grade descriptions assume competence in the areas described in grades
lower down the sequence.
• Debut: in Debut Bass you will be concentrating on playing tunes. A player of Debut standard
should be able to play up to 20 bars of music in 4/4 time, using simple first position grooves
composed of whole, half and quarter notes and associated rests. The pieces very often use open
strings and the grooves move mainly between adjacent strings.
• Grade 1: a player of Grade 1 standard should be able to play up to 32 bars of music using first
position grooves composed of whole, half, quarter and eighth notes and associated rests, tied
notes, and dotted half and quarter notes. Performances should include basic legato and staccato
playing where marked.
• Grade 2: in this grade you are beginning to acquire a range of physical and expressive techniques,
including staccato and slides, as well as simple dynamics. In this grade you will also begin to work
on your stylistic appreciation.
• Grade 3: in this grade you will be encountering syncopated eighth and sixteenth notes as well as
developing the palette of expressive techniques to include slapped and pulled notes, fretting hand
vibrato, hammer ons and pull offs, slides and simple bends. The pieces of music are now longer,
covering two pages and you should be developing your stylistic awareness, taking into account
tone settings for each song.
• Grade 4: in this grade you use a range of physical and expressive techniques with confidence,
legato and staccato, slides, hammer ons and pull offs, slaps and pulls and accents and you are
experimenting with a range of dynamics from very quiet to very loud. In this grade you are
continuing to develop your ability to play with stylistic authority.
• Grade 5: as a player you will be confident in a range of physical and expressive techniques,
including the use of double stops. You will be able to demonstrate your abilities across a number
of styles and have control over tone and sound adjustments to suit the playing style of your
choice. Please note that some of the tunes may now be written out over three pages.
• Grade 6: in this grade you are developing the confidence of the advanced player across the range
of physical and expressive techniques. You will start experimenting with a range of techniques
across a number of musical styles. There is a greater emphasis on personal expression and you
will display your own musical personality through ad libbing and soloing. Please note that some
of the tunes may now be written out over three pages.
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• Grade 7: in this grade you are now confident in your abilities across the range of physical and
expressive techniques. You will be experimenting with a range of these techniques across a
number of styles. You will also be comfortable with a range of rhythms and time signatures other
than common time. Your solos will be musically expressive and you will have the confidence to
apply modal ideas in a number of soloing contexts. Please note that some of the tunes may now
be written out over three pages.
• Grade 8: you will play effortlessly with a wide range of physical and expressive techniques at your
command. You will be able to use these at will across a range of styles and musical contexts. You
will be comfortable playing pieces employing a number of different time signatures (including
changes from bar to bar) and you will display mastery of a number of musical styles. Your solos
will be highly musical and employ techniques across the range. You will also be highly sensitive
to all aspects of musical presentation. Please note that some of the tunes may now be written out
over three pages.
Exam RequirementsDebut: candidates are asked to perform five out of the six pieces printed in the Debut
examination pack. No free choice option is allowed.
Grades 1-8: candidates are asked to perform either three out of the six pieces printed in the grade
packs, or two pieces from the grade pack and one brought into the exam by the candidate. This
may be either a self-composed piece or a piece of established popular repertoire. If a backing track
is used it must be a music minus version (without the bass part).
Candidates taking Grade 2 and above can adapt the performance pieces to suit their playing
style. This is permitted so long as these adaptations keep within the style of the piece. Candidates
are required, in any case, to include improvisation passages in addition to those indicated by the
score from grade 3.
Guidelines are published by Rockschool for those candidates who wish either to write a piece of
their own for performance in the exam or to use as a guide when choosing a piece of established
repertoire.
Technical Exercises
The range of technical exercises to be played by candidates is published in each book. These are
played to a tempo set for the candidate by the examiner. Candidates can choose to play along with
the metronome click or without it. TAB fingerings for guitarists and bass players are offered in the
examples as a guide, but candidates may use their own fingering patterns when playing the
exercises.
Candidates are asked to prepare all the exercises in the keys (where appropriate) and the tempos
indicated. The final exercise/study should be played along to the backing track provided on the
CD.
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Exam RequirementsGrade 1These should be played at 70 beats per minute (bpm) in a straight feel: quarter notes. Groups A
and B should be prepared in the keys of E, A & G.
Group A Scales 1 octave
• Major scale
• Minor pentatonic scale
Group B Arpeggios:
• Major arpeggios:
• Minor arpeggios:
Group C Bassline. The bassline is played over a four bar backing track. The initial riff pattern is
given in the first bar and candidates are asked to complete the line by moving the same pattern
on to the indicated root of a different chord over the subsequent bars.
Grade 2These should be played at 80 bpm in a straight feel: quarter notes. Groups A and B should be
prepared in the keys of A, G, C & B.
Group A Scales 1 octave
• Major scale
• Natural minor scale
• Minor pentatonic scale
Group B Arpeggios:
• Major arpeggios:
• Minor arpeggios:
Group C Bassline. The bassline is played over an eight bar backing track. The initial riff pattern
is given in the first two bars and candidates are asked to complete the line by moving the same
pattern on to the indicated root of a different chord over the subsequent bars.
Grade 3These should be played at 85 bpm in a straight feel: eighth notes. Groups A and B should be
prepared in the keys of G, C, B, D & F.
Group A Scales 1 octave
• Major scale
• Natural minor scale
• Major pentatonic scale
• Blues scale
Group B Arpeggios:
• Major arpeggios
• Minor arpeggios
• Minor 7 arpeggios
• Dominant 7 arpeggios
Group C Bassline. The bassline is played over an eight bar backing track. The initial riff pattern
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is given in the first bar and candidates are asked to complete the line by moving the same pattern
on to the indicated root of a different chord over the subsequent bars.
Grade 4These should be played at 85 bpm in a straight feel: major scale and major arpeggio quarter notes,
all others eighth notes. Groups A and B should be prepared in the keys of B, D, Bb, F# & Eb.
Group A Scales & Modes 1 octave
• Major scale prepared slap (quarter notes)
• Harmonic minor scale
• Dorian mode
Group B Arpeggios
• Major arpeggios prepared pop (quarter notes)
• Minor arpeggios
• Major 7 arpeggios
• Minor 7 arpeggios
• Dominant 7 arpeggios
Group C Bassline. The bassline is played over a backing track. The initial riff pattern is given in
the first bar and candidates are asked to complete the line by moving the same pattern on to the
indicated root of a different chord over the subsequent bars.
Grade 5These should be played at 90 bpm in a straight feel: eighth notes. Groups A and B should be
prepared in the keys of D, Bb, F#, Ab & C#.
Group A Scales & Modes 1 octave
• Major scale, prepared slap & muted slap
• Minor pentatonic scale prepared hammer on and pull off
• Dorian mode
• Mixolydian mode
Group B Arpeggios
• Major arpeggios prepared pop & muted pop
• Major 7 arpeggios
• Minor 7b5 arpeggios
• Dominant 9 arpeggios
• Diminished 7 arpeggios
Group C Bassline. The bassline is played over a backing track. The initial riff pattern is given in
the first bar and candidates are asked to complete the line by moving the same pattern on to the
indicated root of a different chord over the subsequent bars.
Grade 6These should be played at 100 bpm in a straight feel: eighth notes. Groups A and B should be
prepared chromatically in the keys E-G inclusive.
Group A Scales 2 octaves
• Major scale
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• Minor pentatonic scale, shape 2
• Minor pentatonic scale, shape 3
• Natural minor scale
• Chromatic scale with ghost notes
Group B Chords & Arpeggios,
• Chords: major, minor, dominant 7, minor 7 to be plucked or strummed
• Minor 7b5 arpeggios
• Dominant 9 arpeggios
• Diminished 7 arpeggios
Group C Bassline. The bassline is played over a backing track. The initial riff pattern is given in
the first two bars and candidates are asked to complete the line by playing the same pattern over
a different chord in subsequent bars.
Grade 7These should be played at 120 bpm in a straight feel: eighth notes. Groups A and B should be
prepared chromatically in the keys G# -B inclusive.
Group A Scales & Modes, 2 octaves
• Major scale
• Mixolydian scale
• Minor pentatonic scale
• Jazz melodic minor scale
Group B Chords & Arpeggios
• Chords: dominant 7, major 7, minor 7, major 6 to be plucked or strummed
• Major arpeggios 2 octaves
• Minor arpeggios 2 octaves
• Dominant 7 arpeggios 2 octaves
• Minor 7 arpeggios 2 octaves
Group C Bassline. At this grade, candidates will be asked to play one of two walking root 5th
bassline patterns to an eight bar backing track. The pattern will be chosen by the examiner.
Grade 8These should be played at 140 bpm in a straight feel: eighth notes. Groups A and B should be
prepared chromatically in the keys C-Eb inclusive.
Group A Scales & Modes, 2 octaves
• Major scale
• Dorian scale
• Superlocrian (altered) scale
• Diminished (whole tone/half tone) scale
Group B Arpeggios
• Major arpeggio inversion (all inversions)
• Minor arpeggio inversion (all inversions)
Group C Harmonics. At this grade, candidates will be asked to perform the Harmonics study to
a backing track.
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Sight Reading or Improvisation & Interpretation (Grades 1-5 only)
Candidates attempting Grades 1-5 inclusive have a choice of taking either the sight reading or the
improvisation & interpretation test. Examples of the type of tests required in the exam are printed
in the grade packs. Further examples can be found in the Companion Guide.
Please note that at Grades 4 and 5, the sight reading and improvisation & interpretation testscontain a small amount of the other skill. The requirements are shown for each grade below.
Exam Requirements: Sight ReadingCandidates will be asked to prepare a sight reading test which is given to them by the examiner.
The test may be in one of the following styles: blues and rock (Grades 1-3) or blues, funk, rock or
jazz (Grades 4-5). The examiner will allow the candidate 90 seconds to prepare the test and will
set the tempo on a metronome. The candidate can choose to play with or without the metronome
for the duration of the test. TAB fingerings are given along with standard notation in all sight
reading tests.
Grade 1: 4 bars, 60-80 bpm, common time. (A &E minor pentatonic)
Grade 2: 4 bars, 60-80 bpm, common time. (C & A major, C & A minor)
Grade 3: 8 bars, 60-90 bpm, common time. (G, F, C major; G, F, C minor)
Grade 4: At this Grade there is an element of improvisation. This is in the form of a two bar
ending. The improvised ending will use chord patterns that have been used in the sight reading
part of the test. 8 bars, 60-90 bpm, time signatures 2/4, 3/4, 4/4. Keys to be taken from the
technical exercises at this grade.
Grade 5: At this Grade there is an element of improvisation. This is in the form of a two bar
ending. The improvised ending will use chord patterns that have been used in the sight reading
part of the test. 12 bars, 60-90 bpm, time signatures 2/4, 3/4, 4/4. Keys to be taken from the
technical exercises at this grade.
Exam Requirements: Improvisation & InterpretationCandidates will be asked to prepare an improvisation & interpretation test which is given to them
by the examiner. The test may be in one of the following styles: blues and rock (Grades 1-3) or
blues, funk, rock or jazz (Grades 4-5).
Grades 1-2: the candidate will be asked to play an improvised line to a backing track of four bars.
The candidate is then allowed 30 seconds to prepare and is allowed to practise through on playing
of the backing track before playing it a second time in the exam. The test is continuous with a one
bar count in at the beginning and after the practice session. Grade 1: 70 bpm, common time.
Grade 2: 70 bpm, common time. Keys to be taken from the technical exercises at this grade.
Grade 3: the candidate will be asked to play an improvised line to a backing track of eight bars.
The candidate is then allowed 30 seconds to prepare and is allowed to practise through on playing
of the backing track before playing it a second time in the exam. The test is continuous with a one
bar count in at the beginning and after the practice session. Grade 3: 8 bars, 70-90 bpm, common
time. Keys to be taken from the technical exercises at this grade
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Grades 4-5: : in these grades there is a small element of sight reading. This takes the form of a
two bar bass line at the beginning of the test. The candidate will be asked to play the bassline as
indicated and to complete the test using an improvised line made up from the chord symbols
provided. The candidate is then allowed 30 seconds to prepare and is allowed to practise through
on playing of the backing track before playing it a second time in the exam. The test is continuous
with a one bar count in at the beginning and after the practice session. Grade 4: 8 bars, 70-90
bpm 2/4, 3/4, 4/4. Grade 5: 12 bars 60-90 bpm, 2/4, 3/4, 4/4. Keys to be taken from the technical
exercises at this grade.
Quick Study Piece (Grades 6-8 only)
Candidate attempting any of these grades will be asked to perform a Quick Study Piece (QSP).
This is given to the candidate 20 minutes before they enter the exam room and candidates entered
for these grades are asked to arrive at the exam centre at least ten minutes before they are given
their QSP to practise.
Candidates will be asked to perform from a paper outline and a CD given to them by the examiner.
The outline is in the form of a ‘lead sheet’ or ‘session chart’ and will contain information on style,
tempo and length, along with other musical information such as dynamics and marked solo
passages. TAB fingerings are also included where appropriate.
The CD contains a backing track to be used for both practise and performance in the examination.
Each QSP will be in the style of rock, funk, blues or jazz. The performance should reflect the style
of the piece and candidates should use the spaces in the music to develop their musical ideas.
Exam Requirements: Quick Study PieceGrade 6: the QSP will consist of up to 30 bars excluding repeats and DC, DS. The rhythms and
chords will be indicated along with some written notation, dynamics and other musical notation
information. The note lengths and rhythms will reflect the standard of a Grade 4 performance.
Time signatures and Tempo: 2/4, 3/4, 4/4, 6/8. 60-140 bpm. Keys: any major or minor
Grade 7: the QSP will consist of up to 30 bars excluding repeats and DC, DS. The rhythms and
chords will be indicated along with some written notation, dynamics and other musical notation
information. The note lengths and rhythms will reflect the standard of a Grade 5 performance.
Time signatures and Tempo: 2/4, 3/4, 4/4, 6/8. 60-140 bpm. Keys: any major or minor
Grade 8: the QSP will consist of up to 30 bars excluding repeats and DC, DS. The rhythms and
chords will be indicated along with some written notation, dynamics and other musical notation
information. The note lengths and rhythms will reflect the standard of a Grade 6 performance.
Time signatures and Tempo: 2/4, 3/4, 4/4, 6/8. 60-140 bpm. Keys: any major or minor
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Ear Tests (Grades 1-8)
Candidates will be asked to take two ear tests in the exam. The tests are played on CD and use real
instrument sounds. Each test is played to the candidate by the examiner twice and the candidate
plays each test to either a drum backing (Grades 1-5) or to a guitar and drum backing (Grades 6-
8). Candidates my use their instrument while the CD is playing.
Exam Requirements: Test 1 – Melodic RecallGrade 1: candidates are asked to play back on their instrument a two bar melody composed from
the first three notes of the E minor pentatonic scale (E, G & A). Candidates will hear the tonic
note and told the starting note and will hear the test twice with drum backing. There is a short
break in the test for the candidate to practise and then the test will recommence and the candidate
is required to play the melody with the drum backing. The test is continuous. 70 bpm.
Grade 2: candidates are asked to play back on their instrument a two bar melody composed from
the C major scale. Candidates will hear the tonic note and told the starting note and will hear the
test twice with drum backing. There is a short break in the test for the candidate to practise and
then the test will recommence and the candidate is required to play the melody with the drum
backing. The test is continuous. 70 bpm.
Grade 3: candidates are asked to play back on their instrument a four bar melody composed from
the F major pentatonic scale. Candidates will hear the tonic note and told the starting note and
will hear the test twice with drum backing. There is a short break in the test for the candidate to
practise and then the test will recommence and the candidate is required to play the melody with
the drum backing. The test is continuous. 80 bpm.
Grade 4: candidates are asked to play back on their instrument a four bar melody composed from
the F# minor scale. Candidates will hear the tonic note and told the starting note and will hear
the test twice with drum backing. The melody may contain an element of slap or pop. There is a
short break in the test for the candidate to practise and then the test will recommence and the
candidate is required to play the melody with the drum backing and to include the appropriate
technical aspects in their response. The test is continuous. 80bpm.
Grade 5: candidates are asked to play back on their instrument a four bar melody composed from
the F# major pentatonic scales. Candidates will hear the tonic note and told the starting note and
will hear the test twice with drum backing. The melody may contain an element of slap and pop.
There is a short break in the test for the candidate to practise and then the test will recommence
and the candidate is required to play the melody with the drum backing and to include the
appropriate technical aspects in their response. The test is continuous. 80bpm.
Grade 6: candidates are asked to play back on their instrument a bass line of four bars scored
for guitar, bass and drums composed in the keys of the technical exercises at grade 6. Candidates
will be told the key, hear the tonic and the test twice with full band backing. There is a short break
in the test for the candidate to practise and then the test will recommence and the candidate is
required to play the bass line with the guitar and drum backing. The test is continuous. 70-90bpm
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Grade 7: candidates are asked to play back on their instrument a bass line of four bars scored
for guitar, bass and drums composed in the keys of the technical exercises at grade 7.
Candidates will be told the key, hear the tonic and the test twice with full band backing. There
is a short break in the test for the candidate to practise and then the test will recommence and
the candidate is required to play the bass line with the guitar and drum backing. The test is
continuous. 70-90bpm.
Grade 8: candidates are asked to play back on their instrument a bass line of four bars scored
for guitar, bass and drums composed in the keys of the technical exercises at grade 8.
Candidates will be told the key, hear the tonic and the test twice with drum backing. There is
a short break in the test for the candidate to practise and then the test will recommence and the
candidate is required to play the bass line with the guitar and drum backing. The test is
continuous. 70-90bpm.
Exam Requirements: Test 2 – Rhythmic RecallGrade 1: candidates are asked to play back a two bar rhythm played on CD on the bottom E
string on the bass. The rhythm is played twice. 70 bpm.
Grade 2: candidates are asked to play back a two bar rhythm played on CD on the bottom E
string on the bass. The rhythm is played twice. 70 bpm.
Exam Requirements: Test 2 – Harmonic RecallGrade 3: candidates are asked to play back on the bass the root notes of a four bar chord sequence
played on CD. Candidates are told the tonic chord and the sequence is played twice with a drum
backing. (There is a short break in the test for the candidate to practise and the test will
recommence and the candidate is required to play the root notes with the drum backing.) In the
keys of F major or minor and consisting of chords I, IV, V. The test is continuous. 80 bpm.
Grade 4-5: candidates are asked play back on the bass the root notes in the given rhythm of a four
bar rhythmic chord sequence played on CD. Candidates are told the tonic chord and the sequence
is played twice with a drum backing. There is a short practice break and the test will recommence.
The candidate is required to play the rhythmic root notes with the drum backing. Grade 4: keys
of F# major or minor and consisting of chords I, IV, V. Grade 5: keys of F# or Bb major or minor
and consisting of chords I, II, IV, V. The test is continuous. 80 bpm.
Exam Requirements: Test 2 – Harmonic Recognition & Recall Grade 6: candidates are asked play back on the bass the root notes and identify the chord types
from a four bar chord sequence played on CD. Candidates are told the tonic chord and the
sequence is played twice. 60 - 90 bpm. Keys of the technical exercises at grade 6.
Grade 7: candidates are asked play back on the bass the root notes and identify the chord types
from a four bar chord sequence played on CD. Candidates are told the tonic chord and the
sequence is played twice. 60 - 90 bpm. Keys of the technical exercises at grade 7.
Grade 8: candidates are asked play back on the bass the root notes and identify the chord types
from a four bar chord sequence played on CD. Candidates are told the tonic chord and the
sequence is played twice. 60 - 90 bpm. Keys of the technical exercises at grade 8.
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General Musicianship Questions
Each Rockschool grade finishes with five General Musicianship Questions. These questions are
asked of the candidate orally by the examiner, who uses a performance piece played by the
candidate as a starting point.
Exam RequirementsGrades 1-6: candidates will be asked questions in two main areas: (i) music notation and (ii)
knowledge of the instrument.
Grade 7 and 8: in addition to the above candidates will also be asked a third category: history
and styles.
A complete list of the topics covered in the music notation and theory category is printed in each
book. Sample questions may be found on the Rockschool website and in the Companion Guide.
All questions concerning instrument knowledge will deal with the instrument played by the
candidate.
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Syllabus Guide for Drums
Performance Pieces
Rockschool’s drum grades are designed to showcase instrumental performance across a range of
popular styles. The performances are the benchmark by which the grades are measured and the
printed performance repertoire reflects the general standards which players should be able to
attain if they are successfully to complete the exam. All the repertoire pieces performed in the
exam should be played to a CD backing track.
The performance characteristics of each grade are printed in the relevant grade books and are
reproduced below. The grade descriptions assume competence in the areas described in grades
lower down the sequence.
• Debut: in Debut Drums you will be concentrating on playing tunes. A player of Debut standard
should be able to play up to 20 bars of music in 4/4 time, using simple grooves composed of
quarter and eighth notes and associated rests. The hi hat remains closed at all times during the
pieces. There are simple fills notated and can be found at the ends of each four bar pattern. These
pieces will only consist hi hat, snare and bass drum.
• Grade 1: A player of Grade 1 standard should be able to play up to 32 bars of music composed of
quarter and eighth notes and associated rests. There are simple notated fills usually played at the
end of a four or eight bar section as well as some variations in the basic groove. Some hi hats are
played open and crash and ride cymbals are also played.
• Grade 2: in this grade you are beginning to develop your groove playing while building a solid
technical foundation for the future. Grooves feature development and variation and you may be
asked to show this in your playing. Notated fills feature at the end of four or eight bar sections. In
this grade you will also begin to work on your stylistic appreciation. Basic dynamics will be used.
• Grade 3: this grade continues the foundation work started in Grade 2. As a player you will be
encountering syncopated eighth and sixteenth note grooves and a greater degree of hand-foot
co-ordination around the kit. The pieces of music are now longer, covering two pages, giving you
opportunities for inventive fills (with the use of toms) which feature at the end of four or eight
bar sections as well as the start of some pieces. Graduated dynamics will be used in the pieces.
• Grade 4: in this grade you will use a range of physical and expressive techniques with confidence
including those drawn from the technical exercise section of the exam. The rhythms are more
complex with sixteenth and dotted notes and the syncopations are now also more complex. You
will be experimenting with a range of dynamics from very quiet to very loud. It is at this grade
that you are continuing to develop your ability to play with stylistic sensitivity and authority.
• Grade 5: as a player you will be confident in a range of physical and expressive techniques. You
will be able to demonstrate your abilities across a number of styles and have control over sound
and volume adjustments to suit the playing styles of your choice.
• Grade 6: in this grade you are developing the confidence of the advanced player across the range
of physical and expressive techniques. You will start experimenting with a range of techniques
across a number of musical styles. There is a greater emphasis on personal expression and you
will display your own musical personality through ad libbing and soloing.
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DR
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S• Grade 7: in this grade you are now confident in your abilities across the range of physical and
expressive techniques. You will be experimenting with a range of these techniques across a
number of styles. You will also be comfortable with a range of rhythms and time signatures other
than common time. Your solos will be musically expressive and you will have the confidence to
apply varied rhythmic ideas around the kit in a number of soloing contexts.
• Grade 8: you will play effortlessly with a wide range of physical and expressive techniques at your
command. You will be able to use these at will across a range of styles and musical contexts. You
will be comfortable playing pieces employing a number of different time signatures (including
changes from bar to bar) and you will display mastery of a number of musical styles. Your solos
will be highly musical and employ techniques across the range. You will also be highly sensitive
to all aspects of musical presentation.
Exam RequirementsDebut: candidates are asked to perform five out of the six pieces printed in the Debut
examination pack. No free choice option is allowed.
Grades 1-8: candidates are asked to perform either three out of the six pieces printed in the grade
packs, or two pieces from the grade pack and one brought into the exam by the candidate. This
may be either a self-composed piece or a piece of established popular repertoire. If a backing track
is used it must be a music minus version (without the drum part).
Candidates taking Grade 2 and above can adapt the performance pieces to suit their playing style.
This is permitted so long as these adaptations keep within the style of the piece. Candidates are
required, in any case, to include improvisation passages in addition to those indicated by the score
from Grade 3.
Guidelines are published by Rockschool for those candidates who wish either to write a piece of
their own for performance in the exam or to use as a guide when choosing a piece of established
repertoire.
Technical Exercises
The range of technical exercises to be played by candidates is published in each book. These are
played to a tempo set for the candidate by the examiner. From grade 1 to 3 candidates can choose
to play along with the metronome click or without it but from grade 4 playing with the metronomeis compulsory. Sticking is offered in the examples as a guide, but in some cases candidates may usetheir own sticking patterns when playing the exercises. The exercises should be played with sticks,the use of hot rods, brushes and other bitters is not allowed.
Candidates are asked to prepare all the exercises at the tempos indicated. The final exercise should
be played along to the backing track provided on the CD.
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Exam RequirementsGroups A-DGrade 1: Groups A-D played on the snare drumGroup A: Single Strokes – in eighth notes and triplet eighth notes. 70 bpm.
Group B: Double Strokes – in eighth notes. 70 bpm.
Group C: Paradiddles -standard paradiddle in sixteenth notes. 70 bpm.
Group D: Triplets – standard triplet in eighth notes. 70 bpm.
Group E: Fill – candidates are asked to play a one bar groove repeated consisting of three notated
bars (kick drum, snare and hi hat) in a rock style and one of the four notated fills nominated by
the examiner. This is played to a backing track. 80 bpm.
Grade 2: Group A: Single Strokes – in eighth & sixteenth notes. 70 bpm
Group B: Double Strokes – in eighth & sixteenth notes. 70 bpm
Group C: Paradiddles – standard & inverted paradiddles in sixteenth notes. 70 bpm
Group D: Flams – flams in quarter notes. 70 bpm
Group E: Triplets – standard triplet in eighth notes incorporating toms. 70 bpm
Group F: Fill – candidates are asked to play a one bar groove repeated consisting of three notated
bars (kick drum, snare and hi hat) in a rock style and one of the four notated fills nominated by
the examiner. This is played to a backing track. 75 bpm.
Grade 3Group A: Single Strokes – in eighth, triplet eighth & sixteenth notes. Played as a continuous
sequence. 75 bpm.
Group B: Double Strokes – in sixteenth notes. 70 bpm.
Group C: Paradiddles – standard & inverted paradiddles in sixteenth notes, snare drum and
moving around the toms. 70 bpm.
Group D: Flams & Drags – flams & drags in quarter notes. 70 bpm.
Group E: Triplets – standard & reversed triplets in eighth notes incorporating toms. 70 bpm.
Group F: Fill – candidates are asked to play a one bar groove repeated consisting of three notated
bars (kick drum, snare and hi hat) in a hip hop style and one of the four notated fills nominated
by the examiner. This is played to a backing track. 75 bpm.
Grade 4Group A: Single & Double Strokes – in eighth, triplet eighth & sixteenth notes. Played as a
continuous sequence. The examiner will nominate stroke which should played. 75 bpm.
Group B: Paradiddles – standard & inverted paradiddle using kick drum, snare and hi hat. 75 bpm.
Group C: Rolls – five stroke roll. 70 bpm.
Group D: Flams, Drags & Ruffs – flam taps in eighth notes, drags & ruffs in quarter notes. 75
bpm.
Group E: Hands & Feet Patterns – four patterns around the kit, two in sixteenth notes and two
in triplet rhythm. 80 bpm.
Group F: Fill – candidates are asked to play a one bar groove repeated consisting of three notated
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bars (kick drum, snare, hi hat and crash cymbal) in a funk style and one of the four notated hand
and feet patterns from Group E above nominated by the examiner. This is played to a backing
track. 80 bpm.
Grade 5Group A: Single & Double Strokes – in eighth, triplet eighth & sixteenth notes. Played as a
continuous sequence. The examiner will nominate which should played. 80 bpm.
Group B: Paradiddles – standard & inverted paradiddle using kick drum, snare and hi hat. 80 bpm
Group C: Rolls – five & seven stroke rolls. 75 bpm.
Group D: Flams, Drags & Ruffs – flams in triplet eighth notes, drags in eighth notes & ruffs in
quarter notes. 80 bpm.
Group E: Hands & Feet Patterns – four patterns around the kit, two in sixteenth notes and two
in triplet rhythm. 90 bpm.
Group F: Fill – candidates are asked to play a one bar groove repeated consisting of three notated
bars (kick drum, snare, hi hat and crash cymbal) in a metal style and one of the four notated
hand and feet patterns from Group E above nominated by the examiner. This is played to a
backing track. 90 bpm.
Grade 6Group A: Single & Double Strokes - in triplet eighth, sixteenth or sextuplet sixteenth notes. Played
as a continuous sequence. The examiner will nominate which stroke should be played. 80 bpm.
Group B: Paradiddles – standard paradiddle in sixteenth notes with moving accent. 80 bpm.
Group C: Rolls – nine stroke roll. 80 bpm.
Group D: Flam & Drags – flamadiddle & dragadiddle in sixteenth notes. 80 bpm.
Group E: Technique Solos – Candidates are asked to perform one of two printed techniques solos,
one in sixteenth notes (100 bpm) or sextuplet sixteenth notes (70 bpm). Both must be prepared.
This is played to a backing track.
Grade 7Group A: Single Strokes – in quarter, eighth, triplet eighth, sixteenth, quintuplet sixteenth,
sextuplet sixteenth, septuplet sixteenth and thirtysecond notes, one bar of each and played as a
continuous sequence. 65 bpm.
Group B: Paradiddles – standard paradiddle in sixteenth notes with moving accent. 80 bpm.
Group C: Flams & Paradiddle-diddles – standard & alternative paradiddle-diddle in sextuplet
sixteenth notes. Moving flams in triplet eighth notes. 90 bpm.
Group D: Technique Solos – Candidates are asked to perform one of two printed techniques solos,
one in sixteenth notes (100 bpm) or sextuplet sixteenth notes (70 bpm). Both must be prepared.This is played to a backing track.
Grade 8Group A: Single Strokes – in quarter, eighth, nontuplet, dixtuplet, sextuplet sixteenth, septuplet
sixteenth and thirtysecond, nonuplet thirtysecond and dixuplet thirtysecond notes, one bar of
each and played as a continuous sequence. 65 bpm.
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Group B: Paradiddles – standard paradiddle in sixteenth notes with moving accent. 80 bpm.
Group C: Flams & Paradiddle-diddles – standard & alternative paradiddle-diddle in sextuplet
sixteenth notes with moving accents and moving around the toms. Moving flams in triplet eighth
notes. 100 bpm.
Group D: Technique Solos – Candidates are asked to perform one of two printed techniques solos,
one in sixteenth notes (100 bpm) or sextuplet sixteenth notes (70 bpm). Both must be prepared.This is played to a backing track.
Sight Reading or Improvisation & Interpretation (Grades 1-5 only)
Candidates attempting Grades 1-5 inclusive have a choice of taking either the sight reading or the
improvisation & interpretation test. Examples of the type of tests required in the exam are printed
in the grade packs. Further examples can be found in the Companion Guide.
Please note that at Grades 4 and 5, the sight reading and improvisation & interpretation testscontain a small amount of the other skill. The requirements are shown for each grade below.
Exam Requirements: Sight ReadingCandidates will be asked to prepare a sight reading test which is given to them by the examiner.
The test may be in one of the following styles: blues and rock (Grades 1-3) or blues, funk, rock or
jazz (Grades 4-5). The examiner will allow the candidate 90 seconds to prepare the test and will
set the tempo on a metronome. The candidate can choose to play with or without the metronome
for the duration of the test.
Grade 1: 4 bars, 60-80 bpm, common time, snare drum only.
Grade 2: 4 bars, 60-80 bpm, common time, snare drum only.
Grade 3: 8 bars, 60-90 bpm, 3/4 common time, snare drum only.
Grade 4: At this Grade there is an element of improvisation. This is in the form of a two bar fill.
The improvised ending will use chord patterns that have been used in the sight reading part of
the test. 12 bars, 60-90 bpm, time signatures as for Grade 3 above, full kit.Grade 5: At this Grade there is an element of improvisation. This is in the form of a two bar fill.
The improvised ending will use chord patterns that have been used in the sight reading part of
the test. 12 bars, 60-90 bpm, time signatures as for Grade 3 above and also 12/8, full kit.
Exam Requirements: Improvisation & InterpretationCandidates will be asked to prepare an improvisation & interpretation test which is given to them
by the examiner. The test may be in one of the following styles: blues and rock (Grades 1-3) or
blues, funk, rock or jazz (Grades 4-5).
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Grades 1-2: the candidate will be asked to play an improvised drum groove to a backing track of
4 bars. One bar of groove is notated at the beginning and a bar of fill is indicated at the end. The
candidate is allowed 30 seconds to prepare and is allowed to practise through on playing of the
backing track before playing it a second time in the exam. The test is continuous with a one bar
count in at the beginning and after the practice session.
Grade 3: the candidate will be asked to play an improvised drum groove to a backing track of 8
bars. Two bars of groove are notated at the beginning. The candidate will be asked to the play
drum groove as indicated and to complete the test with a two bar fill at the end. The candidate is
allowed 30 seconds to prepare and is allowed to practise through on playing of the backing track
before playing it a second time in the exam. The test is continuous with a one bar count in at the
beginning and after the practice session.
Grade 4-5: the candidate will be asked to play an improvised drum groove to a backing track of
twelve (Grade 4) sixteen (Grade 5) bars. Two bars of groove are notated at the beginning. The
candidate will be asked to play drum groove as indicated and to complete the test with a four bar
solo at the end. This is played to a backing track. The candidate is allowed 30 seconds to prepare and
is allowed to practise through on playing of the backing track before playing it a second time in the
exam. The test is continuous with a one bar count in at the beginning and after the practice session.
Quick Study Piece (Grades 6-8 only)
Candidate attempting any of these grades will be asked to perform a Quick Study Piece (QSP).
This is given to the candidate 20 minutes before they enter the exam room and candidates entered
for these grades are asked to arrive at the exam centre at least ten minutes before they are given
their QSP to practise.
Candidates will be asked to perform from a paper outline and a CD given to them by the examiner.
The outline is in the form of a ‘lead sheet’ or ‘session chart’ and will contain information on style,
tempo and length, along with other musical information such as dynamics and marked solo
passages. Sticking indications are also included where appropriate. Examples of the type of tests
required in the exam are printed in the grade packs. Further examples can be found in the
Companion Guide.
The CD contains a backing track to be used for both practise and performance in the examination.
Each QSP will be in the style of rock, funk, blues, latin or jazz. The performance should reflect the
style of the piece and candidates should use the spaces in the music to develop their musical ideas.
Exam Requirements: Quick Study PieceGrade 6: the QSP will consist of up to 30 bars excluding repeats and DC, DS. The rhythms and
chords will be indicated along with some written notation, dynamics and other musical notation
information. The note lengths and rhythms will reflect the standard of a Grade 4 performance.
Time signatures and Tempo: 2/4, 3/4, 4/4, 6/8. 60-140 bpm. Keys: any major or minor
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Grade 7: the QSP will consist of up to 30 bars excluding repeats and DC, DS. The rhythms and
chords will be indicated along with some written notation, dynamics and other musical notation
information. The note lengths and rhythms will reflect the standard of a Grade 5 performance.
Time signatures and Tempo: 2/4, 3/4, 4/4, 6/8. 60-140 bpm. Keys: any major or minor
Grade 8: the QSP will consist of up to 30 bars excluding repeats and DC, DS. The rhythms and
chords will be indicated along with some written notation, dynamics and other musical notation
information. The note lengths and rhythms will reflect the standard of a Grade 6 performance.
Time signatures and Tempo: 2/4, 3/4, 4/4, 6/8. 60-140 bpm. Keys: any major or minor
Ear Tests (Grades 1-8)
Candidates will be asked to take two ear tests in the exam. The tests are played on CD and use real
instrument sounds. Each test is played to the candidate by the examiner twice. Candidates my use
their instrument while the CD is playing.
Exam Requirements: Test 1 – Fill RecognitionGrade 1-3: The candidate will hear one bar of drum fill made up of four beat value combinations
all played on the snare drum in common time. The candidate will be asked to play the fill back
and then identify the correct fill from a pair printed on a sheet of paper. 70 bpm.
Grade 4-8: The candidate will hear one bar of drum fill made up of four beat value combinations
all played on the snare drum in common time. The candidate will be asked to play the fill back
and then identify the correct fill from three examples printed on a sheet of paper. 70 bpm.
Exam Requirements: Test 2 - Groove RecallGrades 1-3: Candidates will hear a four bar drum groove (two bars repeated) twice on a CD.
This is played on the kick drum, hi hat and snare (and crash cymbal at Grade 3) in common time.
Candidates are required to play back what they have heard for four bars on the appropriate drum
voices. 80 bpm.
Grades 4-5: Candidates will hear a four bar drum groove (two bars repeated) twice on a CD.
This is played on the kick drum, toms, snare (including rim shot) hi hat, crash and is in common
time. Candidates are required to play back what they have heard for four bars on the appropriate
drum voices. When they have completed this, they should identify the style from one of the
following: Latin, funk, jazz, blues or rock. They will be required to make their selection from a list
of three asked by the examiner. 80-120 bpm.
Grades 6-8: Candidates will hear a four bar drum groove (two bars repeated) twice on a CD.
This is played on the kick drum, snare (rim shot and ghost snare) hi hat (open, closed and half
open at Grade 8) and snare in common time. Candidates are required to play back what they
have heard for four bars on the appropriate drum voices. When they have completed this, they
should identify the style from one of the following: Latin, funk, jazz, shuffle, blues, heavy metal,
hip hop, techno drum & bass or rock. They will be required to make their selection from four styles
asked by the examiner. 80-140 bpm.
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DR
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Each Rockschool grade finishes with five General Musicianship Questions. These questions are
asked of the candidate orally by the examiner, who uses a performance piece played by the
candidate as a starting point.
Exam RequirementsGrades 1-6: candidates will be asked questions in two main areas: (i) music notation and (ii)
knowledge of the instrument.
Grade 7 and 8: in addition to the above candidates will also be asked a third category: history
and styles.
A complete list of the topics covered in the music notation and theory category is printed in each
book. Sample questions may be found on the Rockschool website and in the Companion Guide.
All questions concerning instrument knowledge will deal with the instrument played by the
candidate.
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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.
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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Mar
k B
and
Dis
tin
ctio
n17
+/2
0
Mer
it15
+/2
0
Pas
s13
+/2
0
Bel
ow P
ass
19-
12/2
0
Bel
ow P
ass
21-
8/20
Deb
ut
& G
rad
e 1
1:V
ery
secu
re b
asic
tec
hn
iqu
es2:
Mu
sica
l use
of
appr
opri
ate
expr
essi
ve
tech
niq
ues
3:Se
cure
rhy
thm
/pu
lse/
dura
tion
4:Se
amle
ss s
ync;
secu
re c
onti
nu
ity
5:H
igh
ly c
onfi
den
t &
ass
ure
dpr
esen
tati
on
1:Se
cure
bas
ic t
ech
niq
ues
2:C
orre
ct u
se o
fap
prop
riat
e ex
pres
sive
te
chn
iqu
es3:
Secu
re r
hyth
m/p
uls
e/du
rati
on4:
Stro
ng
sen
se o
fsy
nc/
con
tin
uit
y5:
Mai
nly
con
fide
nt
pres
enta
tion
1:M
ain
ly s
ecu
re b
asic
tec
hn
iqu
es2:
Som
e ev
iden
ce o
fap
prop
riat
eex
pres
sive
tec
hn
iqu
es3:
Gen
eral
ly a
ccu
rate
rhy
thm
/pu
lse/
dura
tion
4:M
ain
ly s
ynch
ron
ised
;occ
asio
nal
slip
sof
con
tin
uit
y5:
Gen
eral
ly c
onfi
den
t pr
esen
tati
onw
ith
min
or la
pses
1:In
secu
re b
asic
tec
hn
iqu
es2:
Inco
nsi
sten
t u
se o
fex
pres
sive
tech
niq
ues
.3:
Inco
nsi
sten
t rh
yth
mic
sen
se4:
Poor
syn
chro
nis
atio
n;u
naw
are
ofer
rors
5:H
esit
ant
pres
enta
tion
1:C
onsi
sten
t ba
sic
tech
nic
al e
rror
s2:
Failu
re t
o u
se a
ny e
xpre
ssiv
ete
chn
iqu
es3:
Way
war
d pu
lse;
inco
rrec
t rh
yth
m/
dura
tion
4:N
o sy
nc;
big
con
tin
uit
y ga
ps;f
alse
star
ts5:
Hig
hly
ner
vou
s pr
esen
tati
on
Gra
des
2 &
3
1:Fl
uen
t ba
sic
tech
niq
ues
2:Fl
uen
t us
e of
appr
opri
ate
inst
rum
enta
lte
chn
iqu
es.v
ib.,
stac
cato
etc
.3:
Mu
sica
l use
of
rhyt
hm/p
uls
e/du
rati
on4:
Seam
less
syn
c;se
cure
con
tin
uit
y5:
Hig
hly
con
fide
nt
& a
ssu
red
pres
enta
tion
6:H
igh
deg
ree
ofst
ylis
tic
awar
enes
s7:
Con
vin
cin
g ap
prop
riat
eim
prov
isat
ion
(gr
ade
3)
1:Se
cure
bas
ic t
ech
niq
ues
2:C
orre
ct u
se o
fap
prop
riat
ete
chn
iqu
es3:
Secu
re r
hyth
m/p
uls
e/du
rati
on4:
Stro
ng
sen
se o
fsy
nc/
con
tin
uit
y5:
Con
fide
nt
pres
enta
tion
6:So
me
degr
ee o
fst
ylis
tic
awar
enes
s7:
Som
e ap
prop
riat
e im
prov
isat
ion
(gra
de 3
)
1:M
ain
ly s
ecu
re b
asic
tec
hn
iqu
es2:
Som
e ev
iden
ce o
fap
prop
riat
e te
chn
iqu
es3:
Gen
eral
ly a
ccu
rate
rhy
thm
/pu
lse/
dura
tion
4:M
ain
ly s
ynch
ron
ised
;occ
asio
nal
slip
sof
con
tin
uit
y5:
Gen
eral
ly c
onfi
den
t pr
esen
tati
on6:
Beg
inn
ings
of
styl
isti
c aw
aren
ess
7:Im
prov
isat
ion
evi
den
t bu
t w
ith
oc
casi
onal
slip
s (g
rade
3)
1:In
secu
re b
asic
tec
hn
iqu
es2:
Inco
nsi
sten
t u
se o
fso
me
expr
essi
ve
tech
niq
ues
.3:
Som
e in
con
sist
ent
rhyt
hm
ic s
ense
4:Po
or s
ynch
ron
isat
ion
;un
awar
e of
erro
rs5:
Hes
itan
t pr
esen
tati
on6:
Inco
nsi
sten
t st
ylis
tic
awar
enes
s7:
No
impr
ovis
atio
n (
grad
e 3)
1:C
onsi
sten
t ba
sic
tech
nic
al e
rror
s2:
Failu
re t
o ob
serv
e ex
pres
sive
mar
ks3:
Way
war
d pu
lse/
rhyt
hm
/du
rati
on4:
No
syn
c;bi
g co
nti
nu
ity
gaps
;fal
sest
arts
5:H
igh
ly n
ervo
us
pres
enta
tion
6:St
ylis
tica
lly u
naw
are
7:N
o im
prov
isat
ion
(gr
ade
3)
Gra
des
4 &
5
1:Fl
uen
t te
chn
iqu
es2:
Flue
nt
use
ofap
prop
riat
e in
stru
men
tal
tech
niq
ues
.vib
.,st
acca
to e
tc.
3:M
usi
cal u
se o
frh
ythm
/pu
lse/
dura
tion
4:Se
amle
ss s
ync;
effo
rtle
ss c
onti
nu
ity
5:H
igh
ly c
onfi
den
t &
ass
ure
dpr
esen
tati
on6:
Hig
h d
egre
e of
styl
isti
c aw
aren
ess
7:H
igh
leve
l of
appr
opri
ate
impr
ovis
atio
n
1:Se
cure
tec
hn
iqu
es2:
Mu
sica
l use
of
appr
opri
ate
tech
niq
ues
3:Se
cure
rhy
thm
/pu
lse/
dura
tion
4:St
ron
g se
nse
of
syn
c/co
nti
nu
ity
5:C
onfi
den
t pr
esen
tati
on
6:So
me
degr
ee o
fst
ylis
tic
awar
enes
s7:
Con
sist
ent
appr
opri
ate
impr
ovis
atio
n
1:M
ain
ly s
ecu
re t
ech
niq
ues
2:M
ainl
y co
rrec
t use
of
appr
opri
ate
tech
niqu
es3:
Gen
eral
ly a
ccu
rate
rhy
thm
/pu
lse/
dura
tion
4:
Syn
chro
nis
ed w
ith
occ
asio
nal
slip
s of
con
tin
uit
y5:
Gen
eral
ly c
onfi
den
t pr
esen
tati
on6:
Evid
ence
of
styl
isti
c aw
aren
ess
7:So
me
appr
opri
ate
impr
ovis
atio
n
1:In
secu
re t
ech
niq
ues
2:In
con
sist
ent
or in
corr
ect
use
of
inst
rum
enta
l tec
hn
iqu
es3:
Inco
nsi
sten
t rh
yth
mic
sen
se4:
Pro
blem
s of
syn
chro
nis
atio
n/
con
tin
uit
y5:
Hes
itan
t pr
esen
tati
on6:
Inco
nsi
sten
t st
ylis
tic
awar
enes
s7:
Inap
prop
riat
e im
prov
isat
ion
1:C
onsi
sten
t te
chn
ical
err
ors
2:Fa
ilure
to
obse
rve
expr
essi
ve m
arks
3:Po
or p
uls
e;la
rgel
y in
corr
ect
rhyt
hm
/du
rati
on
4:L
ittl
e or
no
syn
chro
nis
atio
n;l
arge
gaps
in c
onti
nu
ity;
fals
e st
arts
5:H
igh
ly n
ervo
us
pres
enta
tion
6:St
ylis
tica
lly u
naw
are
7:N
o im
prov
isat
ion
Gra
des
6 -
8
1:E
ffor
tles
s te
chn
iqu
es
2:Fl
uen
t us
e of
appr
opri
ate
inst
rum
enta
lte
chn
iqu
es.
3:D
isti
nct
ivel
y m
usi
cal r
hyth
m/p
uls
e/du
rati
on4:
Seam
less
syn
c;ef
fort
less
con
tin
uit
y5:
Hig
hly
ass
ure
d,pr
ofes
sion
alp
erfo
rman
ce
6:N
ativ
e le
vel o
fst
ylis
tic
awar
enes
s7:
Ext
ensi
ve &
indi
vidu
al im
prov
isat
ion
s
1:Se
cure
tec
hn
iqu
es2:
Mu
sica
l use
of
appr
opri
ate
tech
niq
ues
3:Se
cure
use
of
rhyt
hm
/pu
lse/
dura
tion
4:St
ron
g se
nse
of
syn
c/co
nti
nu
ity
5:C
onfi
den
t,as
sure
d pr
esen
tati
on6:
Hig
h d
egre
e of
styl
isti
c aw
aren
ess
7:E
xten
sive
app
ropr
iate
impr
ovis
atio
n
1:M
ain
ly s
ecu
re t
ech
niq
ues
2:C
orre
ct u
se o
fin
stru
men
tal
tech
niq
ues
3:Se
cure
rhy
thm
/pu
lse/
du
rati
on4:
Syn
chro
nis
ed w
ith
occ
asio
nal
slip
s of
con
tin
uit
y5:
Gen
eral
ly c
onfi
den
t pr
esen
tati
on6:
Evid
ence
of
styl
isti
c aw
aren
ess
7:So
me
appr
opri
ate
impr
ovis
atio
n
1:So
me
inse
curi
ty o
fte
chn
iqu
es2:
Inco
nsi
sten
t u
se o
fex
pres
sive
tec
hs.
3:So
me
inco
nsi
sten
cies
in r
hyth
mic
sen
se4:
Poor
syn
chro
nis
atio
n a
nd
con
tin
uit
y5:
Hes
itan
t pr
esen
tati
on6:
Inco
nsi
sten
t st
ylis
tic
awar
enes
s7:
Inap
prop
riat
e im
prov
isat
ion
1:In
secu
re t
ech
niq
ues
2:In
con
sist
ent
use
of
expr
essi
ve t
ech
s.3:
Poor
sen
se o
fpu
lse;
ofte
n in
corr
ect
rhyt
hm
/du
rati
on
4:L
ittl
e or
no
syn
chro
nis
atio
n;l
arge
gaps
in c
onti
nu
ity;
fals
e st
arts
5:H
igh
ly n
ervo
us
pres
enta
tion
6:St
ylis
tica
lly u
naw
are
7:N
o im
prov
isat
ion
Assessment RequirementsA
ppen
dix
A:P
erfo
rman
ce P
iece
s
NB mark the Performance Certificate pieces to the above criteria/standards, but the thresholds are: pass 14-15/20; merit 16-17/20, and distinction 18+/20
All
ref
eren
ces
to v
ibra
to a
nd
sta
ccat
o re
fer
to G
uit
ar a
nd
Bas
s ex
ams
only
.
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
36
Mar
k B
and
Dis
tin
ctio
n18
+/2
0
Mer
it16
+/2
0
Pas
s14
+/2
0
Bel
ow P
ass
19-
13/2
0
Bel
ow P
ass
21-
8/20
Lev
el 3
(G
rad
es 6
-8)
1:E
ffor
tles
s te
chn
iqu
es
2:Fl
uen
t u
se o
fex
pres
sive
tec
hn
iqu
es3:
Dis
tin
ctiv
ely
mu
sica
l rhy
thm
/pu
lse/
dura
tion
4:Se
amle
ss in
tern
al s
ync;
effo
rtle
ss c
onti
nu
ity
5:H
igh
ly a
ssu
red,
prof
essi
onal
per
form
ance
6:
Nat
ive
leve
l of
styl
isti
c aw
aren
ess
7:E
xten
sive
& in
divi
dual
impr
ovis
atio
ns
8:C
onsp
icu
ous
sen
se o
fin
tern
al b
and
com
mu
nic
atio
n9:
Succ
essf
ul c
omm
.of
dist
inct
ive
colle
ctiv
e m
usi
cal i
.d.
1:V
ery
secu
re t
ech
niq
ues
2:M
usi
cal u
se o
fex
pres
sive
tec
hn
iqu
es3:
Mu
sica
l use
of
rhyt
hm
/pu
lse/
dura
tion
4:N
ear-
seam
less
sen
se o
fin
tern
al s
ync/
con
tin
uit
y5:
Con
fide
nt,
assu
red
per
form
ance
s6:
Hig
h d
egre
e of
styl
isti
c aw
aren
ess
7:E
xten
sive
app
ropr
iate
impr
ovis
atio
n8:
Stro
ng
sen
se o
fin
tern
al c
omm
un
icat
ion
wit
hin
th
eba
nd
9:Su
cces
sfu
l com
m.o
fco
llect
ive
mu
sica
l ide
nti
ty1:
Secu
re t
ech
niq
ues
2:C
orre
ct u
se o
fex
pres
sive
tec
hn
iqu
es3:
Secu
re r
hyth
m/p
uls
e/du
rati
on4:
Syn
chro
nis
ed in
tern
ally
wit
h 1
or
2 co
nti
nu
ity
erro
rs
5:O
ccas
ion
al h
esit
atio
n in
per
form
ance
s6:
Som
e de
gree
of
styl
isti
c aw
aren
ess
7:So
me
appr
opri
ate
impr
ovis
atio
n8:
Som
e se
nse
of
inte
rnal
com
mu
nic
atio
n w
ith
in t
he
ban
d9:
Som
e ef
fort
to
com
mu
nic
ate
colle
ctiv
e m
usi
cal i
den
tity
1:So
me
inse
curi
ty o
fte
chn
iqu
es2:
Som
e er
rors
in u
se o
fex
pres
sive
tec
hn
iqu
es3:
Som
e in
con
sist
enci
es in
rhy
thm
/pu
lse/
dura
tion
4:Po
or in
tern
al s
ynch
ron
isat
ion
an
d co
nti
nu
ity
5:H
esit
ant;
lack
ing
in c
onfi
den
ce6:
Beg
inn
ings
of
styl
isti
c aw
aren
ess
7:In
appr
opri
ate
impr
ovis
atio
n8:
Min
imal
sen
se o
fin
tern
al c
omm
un
icat
ion
wit
hin
ban
d9:
Lit
tle
ackn
owle
dgem
ent
ofau
dien
ce p
rese
nce
1:In
secu
re t
ech
niq
ues
2:V
ery
inco
nsi
sten
t u
se o
fex
pres
sive
tec
hn
iqu
es3:
Poor
sen
se o
fpu
lse;
ofte
n in
corr
ect
rhyt
hm
/du
rati
on
4:L
ittl
e or
no
syn
c;la
rge
gaps
in c
onti
nu
ity;
fals
e st
arts
5:V
isib
ly n
ervo
us
pres
enta
tion
6:St
ylis
tica
lly u
naw
are
7:N
o im
prov
isat
ion
att
emp
ted
8:L
ack
ofu
nde
rsta
ndi
ng
betw
een
ban
d m
embe
rs9:
No
effo
rt t
o co
mm
un
icat
e co
llect
ive
mu
sica
l ide
nti
ty
Lev
el 2
(G
rad
es 4
& 5
)
1:Fl
uen
t te
chn
iqu
es2:
Flu
ent
use
of
expr
essi
ve t
ech
niq
ues
3:M
usi
cal u
se o
frh
yth
m/p
uls
e/du
rati
on4:
Seam
less
inte
rnal
syn
c;ef
fort
less
con
tin
uit
y5:
Hig
hly
con
fide
nt
& a
ssu
red
per
form
ance
s6:
Hig
h d
egre
e of
styl
isti
c aw
aren
ess
7:H
igh
leve
l of
appr
opri
ate
impr
ovis
atio
n8:
Mu
sica
l sen
se o
fin
tern
al c
omm
un
icat
ion
wit
hin
ban
d9:
Succ
essf
ul c
omm
un
icat
ion
of
colle
ctiv
e m
usi
cal i
den
tity
1:Se
cure
tec
hn
iqu
es2:
Mu
sica
l use
of
expr
essi
ve t
ech
niq
ues
3:Se
cure
rhy
thm
/pu
lse/
dura
tion
4:St
ron
g se
nse
of
inte
rnal
syn
c/co
nti
nu
ity
5:M
ain
ly c
onfi
den
t p
erfo
rman
ces
6:So
me
degr
ee o
fst
ylis
tic
awar
enes
s7:
Ext
ensi
ve a
ppro
pria
te im
prov
isat
ion
8:St
ron
g se
nse
of
inte
rnal
com
mu
nic
atio
n w
ith
in t
he
ban
d9:
Som
e ef
fort
to
com
mu
nic
ate
colle
ctiv
e m
usi
cal i
den
tity
1:M
ain
ly s
ecu
re t
ech
niq
ues
2:M
ain
ly c
orre
ct u
se o
fex
pres
sive
tec
hn
iqu
es3:
Gen
eral
ly a
ccu
rate
rhy
thm
/pu
lse/
dura
tion
4:
Syn
chro
nis
ed in
tern
ally
wit
h 1
or
2 co
nti
nu
ity
erro
rs
5:So
me
hes
itat
ion
in p
erfo
rman
ces
6:B
egin
nin
gs o
fst
ylis
tic
awar
enes
s7:
Som
e ap
prop
riat
e im
prov
isat
ion
8:So
me
sen
se o
fin
tern
al c
omm
un
icat
ion
wit
hin
th
e ba
nd
9:So
me
effo
rt t
o co
mm
un
icat
e co
llect
ive
mu
sica
l ide
nti
ty
1:In
secu
re t
ech
niq
ues
2:So
me
use
of
expr
essi
ve t
ech
niq
ues
3:In
con
sist
ent
rhyt
hm
/pu
lse/
dura
tion
4:P
robl
ems
ofin
tern
al s
ynch
ron
isat
ion
/con
tin
uit
y5:
Lac
k of
con
fide
nce
6:St
ylis
tica
lly u
naw
are
7:In
appr
opri
ate
impr
ovis
atio
n8:
Min
imal
sen
se o
fin
tern
al c
omm
un
icat
ion
wit
hin
ban
d9:
Lit
tle
ackn
owle
dgem
ent
ofau
dien
ce p
rese
nce
1:C
onsi
sten
t te
chn
ical
err
ors
2:Fa
ilure
to
obse
rve
expr
essi
ve m
arks
3:Po
or p
uls
e;la
rgel
y in
corr
ect
rhyt
hm
/du
rati
on
4:L
ittl
e or
no
syn
c;la
rge
gaps
in c
onti
nu
ity;
fals
e st
arts
5:V
isib
ly n
ervo
us
pres
enta
tion
6:St
ylis
tica
lly u
naw
are
7:N
o im
prov
isat
ion
att
emp
ted
8:L
ack
ofu
nde
rsta
ndi
ng
betw
een
ban
d m
embe
rs9:
No
effo
rt t
o co
mm
un
icat
e co
llect
ive
mu
sica
l ide
nti
ty
Lev
el 1
(G
rad
es 1
-3)
1:Fl
uen
t ba
sic
tech
niq
ues
2:Fl
uen
t u
se o
fex
pres
sive
tec
hn
iqu
es3:
Mu
sica
l use
of
rhyt
hm
/pu
lse/
dura
tion
4:Se
amle
ss s
ync
wit
hin
th
e ba
nd;
secu
re c
onti
nu
ity
5:H
igh
ly c
onfi
den
t &
ass
ure
d p
erfo
rman
ces
6:H
igh
deg
ree
ofst
ylis
tic
awar
enes
s7:
Ext
ensi
ve a
ppro
pria
te im
prov
isat
ion
8:St
ron
g se
nse
of
inte
rnal
com
mun
icat
ion
wit
hin
the
ban
d9:
Stro
ng
effo
rt t
o co
mm
un
icat
e co
llect
ive
mu
sica
l ide
nti
ty
1:Se
cure
bas
ic t
ech
niq
ues
2:C
orre
ct u
se o
fex
pres
sive
tec
hn
iqu
es3:
Secu
re r
hyth
m/p
uls
e/du
rati
on4:
Stro
ng
sen
se o
fin
tern
al s
ync/
con
tin
uit
y5:
Mai
nly
con
fide
nt
per
form
ance
s6:
Som
e de
gree
of
styl
isti
c aw
aren
ess
7:So
me
appr
opri
ate
impr
ovis
atio
n8:
Som
e se
nse
of
inte
rnal
com
mu
nic
atio
n w
ith
in t
he
ban
d9:
Som
e ef
fort
to
com
mu
nic
ate
colle
ctiv
e m
usi
cal i
den
tity
1:M
ain
ly s
ecu
re b
asic
tec
hn
iqu
es2:
Som
e u
se o
fex
pres
sive
tec
hn
iqu
es3:
Gen
eral
ly a
ccu
rate
rhy
thm
/pu
lse/
dura
tion
4:M
ain
ly s
ynch
ron
ised
inte
rnal
ly;1
or
2 co
nti
nu
ity
erro
rs
5:So
me
hes
itan
t p
erfo
rman
ces
6:B
egin
nin
gs o
fst
ylis
tic
awar
enes
s7:
Att
emp
ted
but
inco
nsi
sten
t im
prov
isat
ion
8:M
inim
al s
ense
of
inte
rnal
com
mu
nic
atio
n w
ith
in b
and
9:So
me
ackn
owle
dgem
ent
ofau
dien
ce p
rese
nce
1:In
secu
re b
asic
tec
hn
iqu
es2:
Inco
nsi
sten
t u
se o
fso
me
expr
essi
ve t
ech
niq
ues
3:In
con
sist
ent
rhyt
hm
/pu
lse/
dura
tion
4:Po
or in
tern
al s
ynch
ron
isat
ion
;un
awar
e of
erro
rs5:
Lac
k of
con
fide
nce
6:St
ylis
tica
lly u
naw
are
7:N
o im
prov
isat
ion
att
emp
ted
8:L
ack
ofu
nde
rsta
ndi
ng
betw
een
ban
d m
embe
rs9:
No
effo
rt t
o co
mm
un
icat
e co
llect
ive
mu
sica
l ide
nti
ty1:
Con
sist
ent
basi
c te
chn
ical
err
ors
2:Fa
ilure
to
obse
rve
expr
essi
ve m
arks
3:W
ayw
ard
puls
e/rh
yth
m/d
ura
tion
4:N
o sy
nc;
big
con
tin
uit
y ga
ps;f
alse
sta
rts
5:H
igh
ly n
ervo
us
pres
enta
tion
6:St
ylis
tica
lly u
naw
are
7:N
o im
prov
isat
ion
att
emp
ted
8:L
ack
ofu
nde
rsta
ndi
ng
betw
een
ban
d m
embe
rs9:
No
effo
rt t
o co
mm
un
icat
e co
llect
ive
mu
sica
l ide
nti
ty
App
endi
x B
:Ban
d P
iece
s (P
erfo
rman
ce C
erti
fica
te)
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
37
Mar
k B
and
Dis
tin
ctio
n14
+/1
5
Mer
it12
+/1
5
Pas
s11
/15
Bel
ow P
ass
19-
10/1
5
Bel
ow P
ass
21-
8/15
Mar
k B
and
Dis
tin
ctio
n9+
/10
Mer
it7+
/10
Pas
s6/
10
Bel
ow P
ass
14-
5/10
Bel
ow P
ass
21-
3/10
Gra
des
1-5
(ou
t of
15)
1:Fl
uen
t,m
usi
cal l
evel
of
tech
nic
al a
ccu
racy
2:E
xact
sen
se o
fpu
lse
3:A
lway
s pr
omp
t re
spon
ses
1:C
orre
ct p
itch
es/r
hyth
ms
2:St
ron
g se
nse
of
puls
e3:
Gen
eral
ly p
rom
pt
resp
onse
s
1:C
orre
ct p
itch
es/r
hyth
ms
wit
h o
ccas
ion
al m
ista
kes
2:C
onsi
sten
t if
eith
er s
low
er o
r fa
ster
th
an r
equ
este
d3:
Som
e pr
omp
t re
spon
ses
1:E
rror
s in
pit
ches
an
d rh
yth
ms
2:E
xces
sive
ly c
auti
ous/
hurr
ied
tem
pi;i
rreg
ula
r pu
lse
3:H
esit
ant
wit
h o
ccas
ion
al f
alse
sta
rts
1:In
corr
ect
test
s pl
ayed
2:A
nu
mbe
r of
sign
ific
ant
and/
or r
epea
ted
erro
rs;
no
sen
se o
fpu
lse
3:Fr
equ
ent
brea
kdow
ns
Gra
des
6 -
8 (
out
of10
)
1:Fl
uen
t,ef
fort
less
ly m
usi
cal t
ech
nic
al a
ccu
racy
2:
Exa
ct s
ense
of
puls
e3:
Alw
ays
nea
r-in
stan
t re
spon
ses
1:C
orre
ct p
itch
es/r
hyth
ms
wit
h s
ome
flu
ency
2:St
ron
g se
nse
of
puls
e w
ith
no
hes
itat
ion
3:G
ener
ally
nea
r-in
stan
t re
spon
ses
1:C
orre
ct p
itch
es/r
hyth
ms
wit
h o
ccas
ion
al m
ista
kes
2:C
onsi
sten
t if
eith
er s
low
er o
r fa
ster
th
an r
equ
este
d3:
Gen
eral
ly p
rom
pt
resp
onse
s
1:E
rror
s in
pit
ches
an
d rh
yth
ms
2:So
me
cau
tiou
s/hu
rrie
d te
mpi
;irr
egu
lar
puls
e3:
Hes
itan
t w
ith
occ
asio
nal
fal
se s
tart
s
1:In
corr
ect
test
s pl
ayed
2:So
me
sign
ific
ant
or r
epea
ted
erro
rs;l
ittl
e or
no
sen
se o
fpu
lse
3:Fr
equ
ent
brea
kdow
ns
App
endi
x C
:Tec
hnic
al E
xerc
ises
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
38
App
endi
x D
:Sig
ht R
eadi
ng a
nd I
mpr
ovis
atio
n &
Int
erpr
etat
ion
Impr
ov &
Inte
rpre
tati
on G
rade
s 4-
5
1:Te
chn
ical
ly a
ssu
red
and
effo
rtle
ss2:
Wid
e ra
nge
of
expr
essi
ve t
ech
niq
ues
3:G
roov
ing
sen
se o
fpu
lse
4:St
ron
g se
nse
of
idio
m e
xpre
ssed
th
rou
ghu
se o
flic
ks/g
roov
es5:
Stro
ng
sen
se o
fdi
stin
ctiv
e m
usi
cal
com
mu
nic
atio
n w
ith
in s
tyle
6:C
onsi
sten
t an
d ex
act
sigh
t re
adin
g
1:Te
chn
ical
ly a
ccu
rate
an
d m
usi
cal
2:R
ange
of
expr
essi
ve t
ech
niq
ues
3:C
onsi
sten
t,ac
cura
te p
uls
e4:
Qu
ite
stro
ng
awar
enes
s of
clas
sic
feat
ure
sof
the
idio
m5:
Ver
y co
nfi
den
t p
erfo
rman
ce6:
Acc
ura
te s
igh
t re
adin
g
1:M
ain
ly t
ech
nic
ally
acc
ura
te w
ith
occa
sion
al e
rror
s2:
Som
e u
se o
fva
ried
tim
bre/
arti
cula
tion
/reg
iste
r/dy
nam
ics
3:L
arge
ly c
onsi
sten
t,ac
cura
te p
uls
e4:
Bas
ic s
tylis
tic
awar
enes
s5:
Ade
quat
ely
flu
ent
per
form
ance
6:A
dequ
ate
sigh
t re
adin
g
1:Se
vera
l err
ors
ofba
sic
tech
niq
ues
2:O
ccas
ion
ally
var
ied
tim
bre/
arti
cula
tion
/reg
iste
r/dy
nam
ics
3:P
uls
e sl
ow/f
ast/
inco
nsi
sten
t4:
Lit
tle
evid
ence
of
styl
isti
c aw
aren
ess
5:N
ervo
us/
hes
itan
t/in
com
plet
e p
erf.
6:In
accu
rate
sig
ht
read
ing
1:L
arge
ly in
corr
ect
in a
ll pa
ram
eter
s 2:
Exp
ress
ive
mon
oton
y3:
Way
war
d se
nse
of
puls
e4:
No
evid
ence
of
styl
isti
c aw
aren
ess
5:E
xtre
mel
y h
esit
ant
per
form
ance
or
less
than
1/4
of
the
test
com
plet
ed6:
Lit
tle
or in
com
plet
e si
ght
read
ing
Impr
ov &
Inte
rpre
tati
on G
rade
s 1-
3
1:Te
chn
ical
ly a
ccu
rate
an
d m
usi
cal
2:W
ide
ran
ge o
fex
pres
sive
tec
hn
iqu
es3:
Con
sist
ent,
accu
rate
pu
lse
4:St
ron
g se
nse
of
idio
mat
ic im
prov
isat
ion
5:C
omm
un
icat
ive
per
form
ance
1:Te
chn
ical
ly a
ccu
rate
2:So
me
use
of
vari
ed t
imbr
e/ar
ticu
lati
on/r
egis
ter/
dyn
amic
s3:
Con
sist
ent,
accu
rate
pu
lse
4:A
ppro
pria
te s
tylis
tic
awar
enes
s in
impr
ovis
atio
n5:
Con
fide
nt
per
form
ance
1:M
ain
ly t
ech
nic
ally
acc
ura
te w
ith
som
eer
rors
2:O
ccas
ion
al u
se o
fva
ried
tim
bre/
arti
cula
tion
/reg
iste
r/dy
nam
ics
3:L
arge
ly c
onsi
sten
t pu
lse
(an
d <
10%
too
fast
or
too
slow
)4:
Ves
tigi
al s
tylis
tic
awar
enes
s in
impr
ov5:
Gen
eral
ly c
onfi
den
t p
erfo
rman
ce
1:Se
vera
l err
ors
ofba
sic
tech
niq
ues
2:E
xpre
ssiv
e m
onot
ony
3:P
uls
e n
otab
ly s
low
/fas
t/in
con
sist
ent
4:L
ittl
e ev
iden
ce o
fst
ylis
tic
awar
enes
s in
impr
ovis
atio
n5:
Som
e h
esit
ant
per
form
ance
1:L
arge
ly in
corr
ect
in a
ll pa
ram
eter
s 2:
Exp
ress
ive
mon
oton
y3:
Way
war
d se
nse
of
puls
e4:
No
evid
ence
of
styl
isti
c aw
aren
ess
5:E
xtre
mel
y h
esit
ant
per
form
ance
or
less
than
1/4
of
the
test
com
plet
ed
Sigh
t R
ead
ing
Gra
des
4-5
1:Te
chn
ical
ly a
ssu
red
and
effo
rtle
ss2:
Stro
ng
sen
se o
fex
pres
sive
logi
c3:
Con
sist
ent
puls
e th
rou
ghou
t4:
Stro
ng
sen
se o
fst
yle
5:St
ron
g se
nse
of
mu
sica
l com
mu
nic
atio
n
6:tr
ong
sen
se o
fim
prov
isat
ion
1:Te
chn
ical
ly a
ccu
rate
an
d m
usi
cal
2:A
ll ex
pres
sion
mar
ks a
nd
tech
niq
ues
obse
rved
3:
Acc
ura
te p
uls
e4:
Qu
ite
stro
ng
styl
isti
c aw
aren
ess
5:C
onfi
den
t p
erfo
rman
ce6:
Goo
d se
nse
of
impr
ovis
atio
n
1:M
ain
ly t
ech
nic
ally
acc
ura
te b
ut
som
em
inor
pit
ch a
nd/
or r
hyth
m e
rror
s2:
Som
e re
cogn
itio
n o
fex
pres
sion
mar
ksan
d te
chn
iqu
es o
bser
ved
3:L
arge
ly c
onsi
sten
t,ac
cura
te p
uls
e4:
Bas
ic s
tylis
tic
awar
enes
s5:
Ade
quat
ely
flu
ent
per
form
ance
6:A
dequ
ate
sen
se o
fim
prov
isat
ion
1:Se
vera
l err
ors
ofpi
tch
/rhy
thm
/key
2:E
xpre
ssio
n m
arks
an
d te
chn
iqu
es la
rgel
yn
ot o
bser
ved
3:P
uls
e sl
ow/f
ast/
inco
nsi
sten
t4:
Lit
tle
evid
ence
of
styl
isti
c aw
aren
ess
5:N
ervo
us,
hes
itan
t or
inco
mpl
ete
per
form
ance
6:L
ittl
e or
inco
rrec
t im
prov
isat
ion
1:L
arge
ly in
corr
ect
in a
ll pa
ram
eter
s 2:
Exp
ress
ion
mar
ks a
nd
tech
niq
ues
not
obse
rved
3:W
ayw
ard
sen
se o
fpu
lse/
rhyt
hm
4:N
o ev
iden
ce o
fst
ylis
tic
awar
enes
s5:
Ext
rem
ely
hes
itan
t p
erfo
rman
ce o
r le
ssth
an 1
/4 o
fth
e te
st c
ompl
eted
Sigh
t R
ead
ing
Gra
des
1-3
1:Te
chn
ical
ly a
ccu
rate
an
d m
usi
cal
2:C
onsi
sten
t,ac
cura
te p
uls
e3:
Stro
ng
sen
se o
fst
yle
4:C
omm
un
icat
ive
per
form
ance
1:Te
chn
ical
ly a
ccu
rate
2:C
onsi
sten
t,ac
cura
te p
uls
e3:
App
ropr
iate
sty
listi
c aw
aren
ess
4:C
onfi
den
t p
erfo
rman
ce
1:M
ain
ly t
ech
nic
ally
acc
ura
te b
ut
som
em
inor
pit
ch a
nd/
or r
hyth
m e
rror
s2:
Lar
gely
con
sist
ent
puls
e (a
nd
<10
%
too
fast
or
too
slow
)3:
Som
e st
ylis
tic
awar
enes
s4:
Ade
quat
e se
nse
of
com
mu
nic
atio
n
1:Se
vera
l err
ors
ofpi
tch
/rhy
thm
2:P
uls
e n
otab
ly s
low
/fas
t/in
con
sist
ent
3:L
ittl
e ev
iden
ce o
fst
ylis
tic
awar
enes
s4:
Ner
vou
s an
d h
esit
ant
per
form
ance
or in
com
plet
e re
ndi
tion
1:L
arge
ly in
corr
ect
in a
ll pa
ram
eter
s 2:
Way
war
d se
nse
of
puls
e/rh
yth
m3:
No
evid
ence
of
styl
isti
c aw
aren
ess
4:E
xtre
mel
y h
esit
ant
per
form
ance
or
less
than
1/4
of
the
test
com
plet
ed
Ou
t of
10
Dis
tin
ctio
n9+
/10
Mer
it7-
8/10
Pas
s6/
10
Bel
ow P
ass
14-
5/10
Bel
ow P
ass
21-
3/10
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
39
App
endi
x E:
Qui
ck S
tudy
Pie
ces
Ou
t of
15
Dis
tin
ctio
n14
+/1
5
Mer
it12
-13/
15
Pas
s11
/15
Bel
ow P
ass
18-
10/1
5
Bel
ow P
ass
21-
7/15
Gra
de
6-8
1:Fl
uen
t,m
usi
cal t
ech
niq
ue;
ton
alit
y ob
serv
ed2:
Ext
ensi
ve,m
usi
cal u
se o
fdy
nam
ics
& a
rtic
ula
tion
s3:
Acc
ura
te,i
diom
atic
sen
se o
fpu
lse/
con
tin
uit
y4:
Hig
h d
egre
e of
styl
isti
c aw
aren
ess
5:H
igh
leve
l of
mu
sica
l com
mu
nic
atio
n6:
Hig
hly
con
vin
cin
g an
d ap
prop
riat
e ra
nge
of
impr
ovis
atio
n7:
Hig
h d
egre
e of
syn
c to
bac
kin
g tr
ack
1:Se
cure
tec
hn
iqu
es;t
onal
ity
obse
rved
2:A
ll w
ritt
en d
ynam
ic/e
xpre
ssiv
e m
arks
obs
erve
d3:
Con
sist
ent,
accu
rate
sen
se o
fpu
lse/
con
tin
uit
y4:
Stro
ng
evid
ence
of
styl
isti
c aw
aren
ess
5:C
onfi
den
t,in
volv
ing
per
form
ance
6:G
ood
ran
ge o
fap
prop
riat
e im
prov
isat
ion
7:G
ood
leve
l of
syn
c to
th
e ba
ckin
g tr
ack
1:M
ain
ly a
ccu
rate
tec
hn
iqu
e;to
nal
ity
obse
rved
2:So
me
wri
tten
dyn
amic
/exp
ress
ive
mar
ks o
bser
ved
3:C
onsi
sten
t se
nse
of
puls
e/co
nti
nu
ity
4:Ev
iden
ce o
fso
me
styl
isti
c aw
aren
ess
5:Fa
irly
con
fide
nt
per
form
ance
6:So
me
appr
opri
ate
impr
ovis
atio
n7:
Flu
ent
wit
h o
ccas
ion
al s
lips
to t
he
back
ing
trac
k
1:E
rror
s in
pit
ch/r
hyth
m;t
onal
ity
not
obs
erve
d2:
Dyn
amic
/exp
ress
ive
mar
ks n
ot o
bser
ved
3:In
con
sist
ent
or t
oo c
auti
ous
puls
e/co
nti
nu
ity
4:L
ittl
e ev
iden
ce o
fst
ylis
tic
awar
enes
s5:
Rat
her
hes
itan
t,in
secu
re p
erfo
rman
ce6:
Inap
prop
riat
e im
prov
isat
ion
7:Sl
ips
or b
reak
s to
th
e fl
uen
cy t
o th
e ba
ckin
g tr
ack
1:C
onsi
sten
t ba
sic
erro
rs in
tec
hn
iqu
e;to
nal
ity
not
obs
erve
d2:
Dyn
amic
/exp
ress
ive
mar
ks n
ot o
bser
ved
3:V
ery
inco
nsi
sten
t pu
lse
wit
h f
requ
ent
brea
kdow
ns
4:N
o ev
iden
ce o
fst
ylis
tic
awar
enes
s5:
Ver
y te
nta
tive
,in
secu
re p
erfo
rman
ce6:
Impr
ovis
atio
n s
ecti
ons
omit
ted
or s
ingl
e ch
ords
/sti
ckin
gs p
er b
ar7:
Lit
tle
flu
ency
or
accu
racy
to
the
back
ing
trac
k
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
40
App
endi
x F:
Ear
Test
s fo
r G
uita
r A
ppen
dix
G:E
ar T
ests
for
Bas
s
Ou
t of
10
Dis
tin
ctio
n9+
/10
Mer
it7-
8/10
Pas
s6/
10
Bel
ow P
ass
14-
5/10
Bel
ow P
ass
21-
3/10
Gra
de
3-5
Mel
ody:
Exa
ct r
ecal
lth
rou
ghou
t in
all
area
s
Har
mon
ic R
ecal
l:E
xact
reca
ll th
rou
ghou
t
Mel
ody:
Clo
se r
ecal
l wit
h
1-2
slip
s in
pit
ch,r
hyth
m o
rte
chn
iqu
es
Har
mon
ic R
ecal
l:C
lose
reca
ll w
ith
1-2
slip
s in
pit
chor
rhy
thm
Mel
ody:
Gen
eral
ly c
orre
ctw
ith
3-4
slip
s in
pit
ch,
rhyt
hm
or
tech
niq
ues
Har
mon
ic R
ecal
l:G
ener
ally
corr
ect
reca
ll w
ith
3-4
slip
sin
pit
ch o
r rh
yth
m
Mel
ody:
Hes
itan
cy a
nd
wit
hm
ore
than
4 s
lips
in p
itch
,rh
yth
m o
r te
chn
iqu
es
Har
mon
ic R
ecal
l:H
esit
ancy
and
wit
h m
ore
than
4 s
lips
in p
itch
or
rhyt
hm
Mel
ody:
larg
ely
orco
mpl
etel
y in
corr
ect
Har
mon
ic R
ecal
l:la
rgel
y or
com
plet
ely
inco
rrec
t
Gra
de
1-2
Mel
ody:
Exa
ct r
ecal
lth
rou
ghou
t in
all
area
s
Rhy
thm
:Exa
ct r
ecal
lth
rou
ghou
t
Mel
ody:
Clo
se r
ecal
l wit
h
1-2
slip
s in
pit
ch o
r rh
yth
m
Rhy
thm
:Clo
se r
ecal
l wit
h
1-2
slip
s in
rhy
thm
Mel
ody:
Gen
eral
ly c
orre
ctw
ith
3-4
slip
s in
pit
ch o
rrh
yth
m
Rhy
thm
:Gen
eral
ly c
orre
ctre
call
wit
h 3
-4 s
lips
inrh
yth
m
Mel
ody:
Hes
itan
cy a
nd
wit
hm
ore
than
4 s
lips
in p
itch
or r
hyth
m
Rhy
thm
:Hes
itan
cy a
nd
wit
h m
ore
than
4 s
lips
inrh
yth
m
Mel
ody:
larg
ely
orco
mpl
etel
y in
corr
ect
Rhy
thm
:lar
gely
or
com
plet
ely
inco
rrec
t
Ou
t of
10
Dis
tin
ctio
n9+
/10
Mer
it7-
8/10
Pas
s6/
10
Bel
ow P
ass
14-
5/10
Bel
ow P
ass
21-
3/10
Gra
de
5-8
Mel
ody:
Exa
ct r
ecal
lth
rou
ghou
t in
all
area
s
Rhy
thm
/Ch
ords
:Exa
ctre
call
thro
ugh
out
wit
hch
ord
exte
nsi
ons
corr
ect
Mel
ody:
Clo
se r
ecal
l wit
h
1 –
2 sl
ips
in p
itch
,rhy
thm
or t
ech
niq
ues
Rhy
thm
/ C
hor
ds:C
lose
reca
ll w
ith
1 –
2 s
lips
inrh
yth
m,c
hor
ds o
rex
ten
sion
s
Mel
ody:
Gen
eral
ly c
orre
ctw
ith
3 –
4 s
lips
in p
itch
,rh
yth
m o
r te
chn
iqu
es
Rhy
thm
/ C
hor
ds:G
ener
ally
corr
ect
reca
ll w
ith
3 –
4sl
ips
in r
hyth
m,c
hor
ds o
rex
ten
sion
s
Mel
ody:
Hes
itan
cy a
nd
wit
hm
ore
than
4 s
lips
in p
itch
,rh
yth
m o
r te
chn
iqu
es
Rhy
thm
/Ch
ords
:Hes
itan
cyan
d w
ith
mor
e th
an 4
slip
sin
rhy
thm
,ch
ords
or
exte
nsi
ons
Mel
ody:
larg
ely
orco
mpl
etel
y in
corr
ect
Rhy
thm
/Ch
ords
:lar
gely
or
com
plet
ely
inco
rrec
t
Gra
de
1-4
Mel
ody:
Exa
ct r
ecal
lth
rou
ghou
t in
all
area
s
Rhy
thm
/Ch
ords
:Exa
ctre
call
thro
ugh
out
Mel
ody:
Clo
se r
ecal
l wit
h
1 –
2 sl
ips
in p
itch
,rhy
thm
or t
ech
niq
ues
wh
ere
appr
opri
ate
Rhy
thm
/ C
hor
ds:C
lose
reca
ll w
ith
1 –
2 s
lips
inrh
yth
m o
r ch
ords
Mel
ody:
Gen
eral
ly c
orre
ctw
ith
3 –
4 s
lips
in p
itch
,rh
yth
m o
r te
chn
iqu
es w
her
eap
prop
riat
e
Rhy
thm
/ C
hor
ds:G
ener
ally
corr
ect
reca
ll w
ith
3 –
4sl
ips
in r
hyth
m o
r ch
ords
Mel
ody:
Hes
itan
cy a
nd
wit
hm
ore
than
4 s
lips
in p
itch
,rh
yth
m o
r te
chn
iqu
es w
her
eap
prop
riat
e
Rhy
thm
/Ch
ords
:Hes
itan
cyan
d w
ith
mor
e th
an 4
slip
sin
rhy
thm
or
chor
ds
Mel
ody:
larg
ely
orco
mpl
etel
y in
corr
ect
Rhy
thm
/Ch
ords
:lar
gely
or
com
plet
ely
inco
rrec
t
NB If in doubt about overall marks, or if the overall mark does not tally with your assessment of the overall performance in this section, use the following rule ofthumb. Mark each test out of FIVE, assuming the Distinction criteria to justify a mark out of 5/5, the Merit criteria to justify 4/5, the Pass criteria 3/5, the Failcriteria 2/5 and the Poor Fail 1/5. This will mean that Distinction + Merit = 9/10, Distinction + Pass = 8/10, Distinction + Fail = 7/10, and so on.
Gra
des
6-8
Mel
ody:
Exa
ct r
ecal
lth
rou
ghou
t in
all
area
s
Har
mon
ic R
ecog
:Exa
ctre
call
thro
ugh
out
Mel
ody:
Clo
se r
ecal
l wit
h
1-2
slip
s in
pit
ch o
r rh
yth
m
Har
mon
ic R
ecog
:Clo
sere
call
wit
h 1
-2 s
lips
Mel
ody:
Gen
eral
ly c
orre
ctw
ith
3-4
slip
s in
pit
ch o
rrh
yth
m
Har
mon
ic R
ecog
:Gen
eral
lyco
rrec
t re
call
wit
h 3
-4 s
lips
Mel
ody:
Hes
itan
cy a
nd
wit
hm
ore
than
4 s
lips
in p
itch
or r
hyth
m
Har
mon
ic R
ecog
:Hes
itan
cyan
d w
ith
mor
e th
an 4
slip
s
Mel
ody:
larg
ely
orco
mpl
etel
y in
corr
ect
Har
mon
ic R
ecog
:lar
gely
or
com
plet
ely
inco
rrec
t
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
41NB If in doubt about overall marks, or if the overall mark does not tally with your assessment of the overall performance in this section, use the following rule ofthumb. Mark each test out of FIVE, assuming the Distinction criteria to justify a mark out of 5/5, the Merit criteria to justify 4/5, the Pass criteria 3/5, the Failcriteria 2/5 and the Poor Fail 1/5. This will mean that Distinction + Merit = 9/10, Distinction + Pass = 8/10, Distinction + Fail = 7/10, and so on.
Ou
t of
10
Dis
tin
ctio
n9+
/10
Mer
it7-
8/10
Pas
s6/
10
Bel
ow P
ass
14-
5/10
Bel
ow P
ass
21-
3/10
Gra
des
6-8
Fills
:Exa
ct r
ecal
l
Gro
ove:
Exa
ct R
ecal
l
Rec
ogn
itio
n:b
oth
cor
rect
Fills
:Clo
se r
ecal
l wit
h 1
-2 s
lips
Gro
ove:
Clo
se r
ecal
l wit
h 1
-2 s
lips
Rec
ogn
itio
n:b
oth
cor
rect
Fills
:Gen
eral
ly c
orre
ct r
ecal
l wit
h 3
slip
s
Gro
ove:
Gen
eral
ly c
orre
ct r
ecal
l wit
h 3
-4 s
lips
Rec
ogn
itio
n:1
ou
t of
2 co
rrec
t
Fills
:Hes
itan
t re
call
wit
h 4
or
mor
e er
rors
Gro
ove:
Hes
itan
t re
call
wit
h m
ore
than
4 e
rror
s
Rec
ogn
itio
n:b
oth
inco
rrec
t
Fills
:com
plet
ely
inco
rrec
t;or
sev
ere
hes
itan
cy a
nd
som
eer
rors
Gro
ove:
larg
ely
to c
ompl
etel
y in
corr
ect;
or s
ever
al e
rror
san
d se
vere
hes
itan
cy/v
.poo
r pu
lse
Rec
ogn
itio
n:b
oth
inco
rrec
t
Gra
des
4-5
Fills
:Exa
ct r
ecal
l
Gro
ove:
Exa
ct R
ecal
l
Rec
ogn
itio
n:b
oth
cor
rect
Fills
:Clo
se r
ecal
l wit
h 1
-2 s
lips
Gro
ove:
Clo
se r
ecal
l wit
h 1
-2 s
lips
Rec
ogn
itio
n:b
oth
cor
rect
Fills
:Gen
eral
ly c
orre
ct r
ecal
l wit
h 3
slip
s
Gro
ove:
Gen
eral
ly c
orre
ct r
ecal
l wit
h 3
-4 s
lips
Rec
ogn
itio
n:1
ou
t of
2 co
rrec
t
Fills
:Hes
itan
t re
call
wit
h 4
or
mor
e er
rors
Gro
ove:
Hes
itan
t re
call
wit
h m
ore
than
4 e
rror
s
Rec
ogn
itio
n:b
oth
inco
rrec
t
Fills
:com
plet
ely
inco
rrec
t;or
sev
ere
hes
itan
cy a
nd
som
eer
rors
Gro
ove:
larg
ely
to c
ompl
etel
y in
corr
ect;
or s
ever
al e
rror
san
d se
vere
hes
itan
cy/v
.poo
r pu
lse
Rec
ogn
itio
n:b
oth
inco
rrec
t
Gra
des
1-2
Fills
:Exa
ct r
ecal
l an
d co
rrec
t re
cogn
itio
n
Gro
ove:
Exa
ct R
ecal
l
Fills
:Clo
se r
ecal
l wit
h 1
-2 s
lips.
Cor
rect
rec
ogn
itio
n
Gro
ove:
Clo
se r
ecal
l wit
h 1
-2 s
lips
Fills
:Gen
eral
ly c
orre
ct r
ecal
l wit
h 3
slip
s.C
orre
ctre
cogn
itio
n
Gro
ove:
Gen
eral
ly c
orre
ct r
ecal
l wit
h 3
-4 s
lips
Fills
:Hes
itan
t re
call
wit
h 4
or
mor
e er
rors
.In
corr
ect
reco
gnit
ion
Gro
ove:
Hes
itan
t re
call
wit
h m
ore
than
4 e
rror
s
Fills
:com
plet
ely
inco
rrec
t;or
sev
ere
hes
itan
cy.I
nco
rrec
tre
cogn
itio
n
Gro
ove:
larg
ely
to c
ompl
etel
y in
corr
ect
App
endi
x H
:Ear
Tes
ts fo
r D
rum
s
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
42
Sample Music
Printed below is a set of samples from the exam music for guitar, bass and drums. Candidates will
find short tips on how to play the pieces in the Guru’s Guide section of each book and some of
these are shown below.
Gotta Lotta Rosa: Joe BennettThis is an unashamedly old fashioned rock song, reminiscent of AC/DC at their best. The opening
chords should be played with plenty of attack but make sure that each chord is given its full length
and that you play the part evenly. The notation suggests down strikes only here and towards the
end of the piece when the theme is restated.
Fake Tortoise: Jason WoolleyThe main groove of this indie rock track is played in eighth notes and is divided into a number of
sections. The introduction lasts for five bars and is followed by a further four bars of eighth notes
alternating between the open strings and second fret of the bottom two strings. Bars 21 and 22 are
the same as bars 4 and 5 but played in first position.
To the Edge: Hussein BoonThis song, a homage to mid-90s U2 is quite intricate and is made up of a number of sections.The
first four bars are played on the kit drum, ‘four to the floor’, with an eighth note snare beat
announcing the arrival of the groove. The hi hat is played open in quarter notes for four bars
before a complete change of groove in bars 12-15.
Hazi Taxi: Jason WoolleyA modern guitar rock track in the style of The Kaiser Chiefs The opening chord riff looks quite
tricky but is made up of power chords and should be played with an even up-and-down
strumming action, while remembering not to sound the unwanted strings. The piece should be
played with wit and invention using some of the suggested tricks in the score. Watch out for the
sustained bends towards the end of the piece.
There and Beck: Simon TroupJeff Beck is perhaps the forgotten British guitar hero of the 60s, more commonly remembered for
the kitsch ‘Hi Ho Silver Lining’ than for his sparse, earthy guitar work. This track is a tribute to
him and features the slides, quarter bends, vibrato, dirty guitar sound and dynamic range that
mark out his playing.
Jalapeño: Noam Lederman and Geoff LaiThis funk piece. inspired by the Red Hot Chili Peppers, is rhythmically challenging: the hi hat is
played in off-beat sixteenth notes; similarly the kick and snare drums. This complexity calls for a
total command of technique and confidence around the kit as well as the ability to shape the part
dynamically and colour it with accents. ghost snares, buzz rolls etc.
Some You Win: Kit MorganA laid back jazz fusion piece that requires complete technical command to be in any way
convincing. This song is rhythmically complex and features all manner of expressive techniques
such as slides, ghost notes and accents to give it musical colour. The solo section gives you the
opportunity to introduce a change of mood as well as a chance to demonstrate your chops.
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
43
&
TAB
#
#
#
4
4..
.
.
q = 90 Rock
Drum intro
∑
œœœ
œ
œ
≥
œœœ
œ
œ
≥
‰
œœœ
œ
œ
≥
j
œœœ
œ
œ
≥
‰ Œ
A
02220
02220
02220
02220
œœ
œ
œ
≥
œœ
œ
œ
≥
‰
œœ
œ
œ
≥
j
œœ
œ
œ
≥etc.
‰ Œ
D
2320
2320
2320
2320
&
TAB
#
#
#
.
.
.
.
œœœ
œ
œ
œœœ
œ
œ
‰
œœœ
œ
œ
j
œœœ
œ
œ
‰ Œ
A
02220
02220
02220
02220
œœ
œ
œ
œœ
œ
œ
‰
œœ
œ
œ
œ
œ
œ
œ
nœœ
œ
œ
D Dsus4 D
2320
2320
2320
3320
2320
œ œœn
œ œœ
œ
A
0 03
03
0
œ œœn
œ œœ
œœ
D
0 03
0 2 03
&
TAB
#
#
#
œ œœn
œ œœ
œ
A
0 03
03
0
œ œ
‰
œnœ
œ
D
0 03
03
œ œœn
œ œœ
œ
A
0 03
03
0
œ œœn
œ œœ
œ
D
0 03
03
0
&
TAB
#
#
#œ
œœœ
œ
œ
≥
œ
œœœ
œ
œ
≥
œ
œœœ
œ
œ
≥
œ
œœœ
œ
œ
≥
œ
œœœ
œ
œ
≥
œ
œœœ
œ
œ
≥
œ
œœœ
œ
œ
≥
œ
œœœ
œ
œ
≥
E
001220
001220
001220
001220
001220
001220
001220
001220
œ
œœœ
œ
œ
≥
Œ
Drum fill
Ó
001220
œœœ
œ
œ
œœœ
œ
œ
‰
œœœ
œ
œ
j
œœœ
œ
œ
‰
œœ
œœœn
n
n
A C
02220
02220
02220
02220
01023
œœ
œ
œ
œœ
œ
œ
‰
œœ
œ
œ
j
œœ
œ
œ
‰
œœ
œœœn
n
n
D C
2320
2320
2320
2320
01023
&
TAB
#
#
#œœœ
œ
œ
#œœœ
œ
œ
‰
œœœ
œ
œ
j
œœœ
œ
œ
‰
œœ
œœœn
n
n
A C
02220
02220
02220
02220
01023
œœ
œ
œ
œœ
œ
œ
‰
œœ
œ
œ
œ
œ
œ
œ
nœœ
œ
œ
D Dsus4 D
2320
2320
2320
3320
2320
œœ
œnœ œ
œœn
œ
A7 A
2 03 0
0 30
Gotta Lotta Rosa
Joe Bennett
© 2006 by Rockschool Ltd. This music is copyright. Photocopying is illegal
GUITAR Grade 1
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
44
Fake Tortoise
Jason Woolley
This music is copyright. Photocopying is illegal© 2006 by Rockschool Ltd.
? #
#
#
#4
4
q =115 Indie Pop
˙œ
‰J
œ
E F#m
2 42
w
A
2
˙œ
Œ
E F#m
2 4
œ œ œ œ œœ
Œ
A G#m
2 2 2 2 2 1
? #
#
#
#
œ œ œ œ œœ
Œ
A B
2 2 2 2 2 4
œ œ œ œ
œ œ œ
œ
E B
0 0 0 02 2 2
2
œ œ œ œœ œ œ œ
F#m A
2 2 2 20 0 0 0
œ œ œ œ
œ œ œ
œ
E B
0 0 0 02 2 2
2
? #
#
#
#
œ œ œ œ œ œ œœ
F#m
2 2 2 2 2 2 2 4
œ œ œ œœ
A
0 0 0 0 2
œ œ œ œœ
C#m
4 4 4 4 2
œ œ œ œœ
G#m
4 4 4 40
? #
#
#
#œ œ œ œ
B
2 2 2 2
œ œ œ œœ
A
0 0 0 0 2
œ œ œ œœ
C#m
4 4 4 4 2
œ œ œ œœ
G#m
4 4 4 40
? #
#
#
#œ œ œ œ
B
2 2 2 2
œ
‰ j
œœ
‰j
œ
F#m G#m
2 2 4 4
œ
‰j
œœ
‰j
œ
A G#m
0 04 4
œ
‰ j
œœ
‰j
œ
F#m G#m
2 2 4 4
œ œ œ œ œœ
Œ
A G#m
0 0 0 0 04
? #
#
#
#
œ œ œ œ œœ
Œ
A B
0 0 0 0 0 2
œ œ œ œ
œ œ œ
œ
E B
0 0 0 02 2 2
2
œ œ œ œœ œ œ œ
F#m A
2 2 2 20 0 0 0
œ œ œ œ
œ œ œ
œ
E B
0 0 0 02 2 2
2
œ œ œ œ œ œ œ œ
F#m
2 2 2 2 2 2 2 2
? #
#
#
#
œ œ œ œ
œ œ œ
œ
E B
0 0 0 02 2 2
2
œ œ œ œœ œ œ œ
F#m A
2 2 2 20 0 0 0
œ
‰ j
œœ
‰j
œ
F#m G#m
2 2 4 4
œ
‰j
œœ
‰
j
œ
A B
0 0 2 2
w
E
2
BASS Grade 1
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
45
ã 4
4
q =108 Pop∑
œ œ œ œ
∑
œ œ œ œ
∑
œ œ œ œ
∑
œ œ œ œ
œ
ã
y y y y y y y Y
œ œ œ œ
œ
y y y y y y y y
œ œ œ œ
y y y y y Y y Y
œ œ œ
œ
œ
œ
y Y Y Y
œ
œ
œ œ
œ
ã
Y Y Y Y
œ
œ
œ œ
œ œ
Y Y Y Y
œ
œ
œ œ
œ
Y Y Y Y
œ œ
œ
œ œ
œ œ œ
y y y y y y y Y
œ
œ
œ‰
J
œ
œ
ã
y y y y y y y Y
œ
œ
œ‰
J
œ
œ
y y y y y y y Y
œ
œ
œ‰
J
œ
œ
y y y y y y y Y
œ
œ
œ‰
J
œ
œ
∑
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
ã
.
...
yy y y
œ
œ
œ œ
œy y y y
œ œ
œ
œ œ
œ œy y y y
œ
œ
œ œ
œy y
y y
œ œ
œ
œ
œ
œ
œ
œ
yŒ Ó
œŒ Ó
To the Edge
Hussein Boon
© 2006 by Rockschool Ltd. This music is copyright. Photocopying is illegal
DRUMS Grade 1
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
46
&
TAB
#
4
4
Drum fill
∑
f
q =140 Modern Guitar Pop
etc.
q q q q
= j
3
œ
œœœ
œ
œ
#
≥
œ
œœœ
œ
œ
≥
œ
œ
œn
n
≥
œ
œ
œ
≥
œ
œ
œ
≥
œ
œ
œ
≥
œ
œ
œ
≥
œ
œœœ
œ
œ
#
≥
E G5 A5 G5 E
001220
001220
553
553
775
775
553
001220
œ
œœœ
œ
œ
œ
œœœ
œ
œ
# œ
œ
œn
n œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœœ
œ
œ
#
G5 A5 G5 E
001220
553
553
775
775
553
001220
œ
œœœ
œ
œ
œ
œœœ
œ
œ
# œ
œ
œn
n œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœœ
œ
œ
#
G5 A5 G5 E
001220
553
553
775
775
553
001220
Œ ‰
j
¿
¿¿
¿
n
g
ggg
g
†
† behind nut
†¿
¿
¿
¿g
ggg
g
Œ ‰
j
œ
œœœ
œ
œ
#
E
001220
&
TAB
#
%
œ
œœœ
œ
œ
#
œ
œœœ
œ
œ
œ
œ
œn
n œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœœ
œ
œ
#
G5 A5 G5 E
001220
001220
553
553
775
775
553
001220
œ
œœœ
œ
œ
œ
œœœ
œ
œ
# œ
œ
œn
n œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœœ
œ
œ
#
G5 A5 G5 E
001220
553
553
775
775
553
001220
œ
œœœ
œ
œ
œ
œœœ
œ
œ
# œ
œ
œn
n œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœœ
œ
œ
#
G5 A5 G5 E
001220
553
553
775
775
553
001220
Œ ‰j
œ .œn
j
œ
œœœ
œ
œ
#
E
2BUslow
3( )
001220
&
TAB
#œ
œœœ
œ
œ
#
œ
œœœ
œ
œ
œ
œ
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n œ
œ
œ
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#
G5 A5 G5 E
001220
001220
553
553
775
775
553
001220
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œ
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# œ
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n œ
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#
G5 A5 G5 E
001220
553
553
775
775
553
001220
œ
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# œ
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n œ
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#
G5 A5 G5 E
001220
553
553
775
775
553
001220
Œ
¿
¿
œ ˙
0
&
TAB
#
1° Chords2° Guitar Solo (11 bars)
F
œ
œœ
œ
.œ
œœ
œ
.œ
œœ
œ
.œ
œœ
œ
.
Am7
5555
5555
5555
5555
œœ
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.œœ
œœ
.œœ
œœ
.œœ
œœ
.
Em/G
3545
3545
3545
3545
œ
œœ
œ
#
.œ
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œ
.œ
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œ
.œ
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œ
.
B7
5444
5444
5444
5444
œœ
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.œœ
œœ
.œœ
œœ
.œœ
œœ
.
Em/G
3545
3545
3545
3545
œ
œœ
œ
.œ
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œ
.œ
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œ
.œ
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œ
.
Am7
5555
5555
5555
5555
œœœ
.œœœ
.œœœ
.œœœ
.Em
789
789
789
789
&
TAB
#
œ
œœ
œb
.œ
œœ
œ
.œ
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œ
.œ
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œ
.
C7
8898
8898
8898
8898
œœ
œn
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œ
‰
J
œ
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œ
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œ
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‰
j
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B7
797
797
778
778
778
797
œœ
œ
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œ
‰
J
œ
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œ
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œ
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‰
j
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797
797
778
778
778
797
œœ
œ
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œ
œ
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œ
œœ
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œ
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œ
œ
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œ
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797
797
778
778
797
797
778
778
œ œœ œ
œ œœ œ
7 7 5 5 3 3 2 2
Hazi Taxi (extract)
© 2006 by Rockschool Ltd. This music is copyright. Photocopying is illegal
Jason Woolley
Band Piece Grade 3 Guitar part
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
47
? #
4
4
Drum fill
∑
q =140q q q q
= j
3
f
Modern Guitar Pop
œ œœ œ
œ# œœ
œ
E G5 A5 G5 E
2 2 0 04 4
0 2
œ œœ œ
œ# œœ
œ
G5 A5 G5 E
2 0 04 4 2
2
œ œœ œ
œ# œœ
œ
G5 A5 G5 E
2 0 04 4
0 2
∑
? #
%
œ œœ œ
œ# œœ
œ
G5 A5 G5 E
2 2 0 04 4
0 2
œ œœ œ
œ# œœ
œ
G5 A5 G5 E
2 0 04 4
0 2
œ œœ œ
œ# œœ
œ
G5 A5 G5 E
2 0 04 4 2
2
∑
? #œ œ
œ œœ# œ
œ
œ
.
E G5 A5 G5 E
2 2 0 04 4 2
2
‰œ
œ œœ# œ
œ
œ
.
G5 A5 G5 E
2 0 04 4 2
2
‰œ
œ œœ# œ
œœ
G5 A5 G5 E
2 0 04 4
0 2
∑
? #
Develop part on D.S.F
œ œ œ œœ
œ
Am7
2 2 2 2 04
œ œ œ œœ
œ
Em/G
2 2 2 2 4 2
œ# œ œœ
œn œ#
B7
1 1 12
0 1
œ œ œ œœ
œ
Em/G
2 2 2 2 40
? #œ œ œ œ
œœ
Am7
2 2 2 2 04
œ œ œ œœ
Em
0 0 0 04
œ œ‰
j
œ œ œ‰
j
œ
C7
3 3 3 3 3 3
? #
œ œ‰
j
œ
œ œ
‰
j
œ
B7
2 2 2
4 4
2
œ œ‰
j
œ
œ œ
‰
j
œ
2 2 2
4 4
2
œ œ
œ œ
œ œ
œ œ
2 2
4 4
2 2
4 4
œ œœ œ
œ œœ œ
2 2 0 03 3 2 2
Hazi Taxi (extract)
Jason Woolley
© 2006 by Rockschool Ltd. This music is copyright. Photocopying is illegal
Band Piece Grade 3 Bass part
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
48
ã 4
4
q =140 Modern Pop Guitarq q q q
= j
3
f
Y Y YŒ
Ó ‰œ œ œ
y y y y
œ œ
œ
œ œ
œ
y y y y
œ œ
œ
œ œ
œ
y y y y
œ œ
œ
œ œ
œ
ã
yŒ Ó
œŒ ‰
J
œ
3
œ œ œ
%
y y y y
œ œ
œ
œ œ
œ
y y y y
œ œ
œ
œ œ
œ
y y y y
œ œ
œ
œ œ
œ
ã
Fill
y
œ ? ? ?
y y y y
œ œ
œ
œ œ
œ
y y y y
œ œ
œ
œ œ
œ
y y y y
œ œ
œ
œ œ
œ
ã
Fill
yŒ
œŒ
? ?
F
y y y y
œ œ œ
œ
œ
œ
cont. sim.
ã
ã
F
Y y y y
œ
œ
œ œ
œ
Y y y y
œ
œ
œ œ
œ
Y Y Y Y
œ
œ
œ œ
œ
∑
œ œœ œ
3
œ œœ
3
œ
œ œ
Hazi Taxi (extract)
Jason Woolley
© 2006 by Rockschool Ltd. This music is copyright. Photocopying is illegal
Band Piece Grade 3 Drums part
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
49
&
TAB
b
b
4
4
P
q =70 Rock Ballad
Œœ j
œœ œ
œ
1/4
œ
G Gm7
33 5 3
1/4
5
œœ
1/4
œ œœ
1/4
œ
3
1/4
5 1
1/4
3
&
TAB
b
b
.˙ œ
œœ
G Gm7
3 5
œœ
œ
1/4
œœ ˙
35
3
1/4
5
Œœ j
œœ œ
œ
1/4
œ
G Gm7
33 5 3
1/4
5
&
TAB
b
b
œœ
1/4
œ œ
œ
1/4
œ
3
1/4
5
3
1/4
5
.˙≈
.
j
œ
1/4G Gm7
1
1/4
.˙
Œ
3
&
TAB
b
b
F
.˙
j
œœ
œ
B bmaj7
33 5 3
.˙
œœ
œœ
Eb
3 52 3
.œœ
œœ
œ .œœ
œœ
œœ
Fmaj9
5 3 25 3 5
2 3 53
&
TAB
b
b .œœ
œœ
œ œ œœ
œœ
œœ
Eb
4 35 3
5 52 3 5
3 4
.œnœ
œœ
œ œ
œ
œ
Dm9
5 35 3 5
33
œ
œœ œ
œj
œœ
Ebmaj7 F
36
36 8
There and Beck (extract)
Simon Troup
© 2006 by Rockschool Ltd. This music is copyright. Photocopying is illegal
GUITAR Grade 4
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
50
ã 44 ..q=82
q q =3q q
Fill
FunkÓ ? ? f≈ Y Y ‰ ≈ rY ≈ rY ‰ Œœ œ œ ‰ œ œ ≈ Rœ ‰ Jœ œ
≈ Y Y ‰ ≈ rY ≈ rY ‰ Œœ œ œ ‰ œ œ ≈ Rœ ‰ œ œ œ
ã ..≈ Y Y ‰ ≈ rY ≈ rY ‰ Œœ œ œ ‰ œ œ ≈ Rœ ‰ Jœ œ
1.≈ Y Y ‰ ≈ rY Óœ œ œ ‰ œ œ ≈ œ ≈ œ œ œ œ
2.≈ Y Y Œ y Œœ œ œ Œ .œ œ œ œ
ã ..H.H. foot cont. sim. (14 bars)
y Œ Óœy y œ œy
> e œy œy eey œ œy> œ
y∑
œ e œ œ> e œ œ ee œ œ
> œ ∑..œœm† Buzz Snare
†
œ œ> e œ œ ee œ œ
> œ
ã∑
œ e œ œ> e œ Jœ œ>
y Fyy Œ Ó.œ
††
†† 2 crash cymbals
œ œ> e œ œ ee œ œ
> œ ∑œ e œ œ
> e œ œ ee œ œ> œ
ã∑..œœm œ œ
> e œ œ ee œ œ> œ ∑
œ e œ œ> e œ œ ee œ œ
> œ y Œ Ó.œ œ œ
> e œ œ ee œ œ> œ
ã∑
œ e œ œ> e œ œ ee œ œ
> œ ∑..œœm œ œ> e œ œ ee œ œ
> œ Ó Œ ‰ jyœ e œ œ
> e œ œ ee œ œ>
œ
ãÓ Œ ‰ jy‰ eœ œ
> e œ œ ee œ œ>
œÓ Œ ‰ jy‰ œ œ œ
> e œ4:4
œ> œ œ> œ œ> œÓ Œ 3‰ y y‰ eœ œ
> e œ œ ee œ3
œy>œ œ
ã ..H.H. foot ends
y Œ Óœ Œ .œ œ œ œ
y e y e œ>ey e y œ
>y e œ
>ey eœ œ ‰ ‰ œ œ ‰ œ œ Œ
ad lib. around groove
Drum Solo
Jalapeño (extract)
Noam Lederman and Geoff Lai
© 2006 by Rockschool Ltd. This music is copyright. Photocopying is illegal
DRUMS Grade 7
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
51
&
TAB
#
#
4
4
q=93
F
q q
=3
q q
Jazz Funk
≈ . œ
œ
œ
œ
.
.
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≈ .
RÔ
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^
9
7
9
7
7
5
9
7
11
9
%
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.
.
.
¿¿
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.
.
.
.
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n
.
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.
.
.
.
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^
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.
.
.
¿¿
¿
¿
¿
¿
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^
Em9 A13
775
6646
7757
77
77
7775
5765
&
TAB
#
#≈ .
¿
¿
¿
¿
.
.
¿
¿
¿
¿
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^.
.
.
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Em9
76
765
10
7
8
5
10
7
7
4
≈ .
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.
.
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n
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.
.
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.
.
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.
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¿
¿
¿
¿
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^
A13
775
7775
6646
7757
7767
777
7775
5765
&
TAB
#
#≈ .
¿
¿
¿
¿
.¿
¿
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n...
.
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n
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^
G13 G#13 A13
576
3543
4654
5765 9
7
7
5
9
7
11
9
≈ .
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.
¿
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¿
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n
Em9 A13
7775
7775
6664
7775
777
7775
576
&
TAB
#
#
.
.
¿
¿
¿
¿
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œ
.
.
¿
¿
¿
¿
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^
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¿
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.
.
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Em9
576
576
576
0
10
7
12
9
8
5
10
7
775
≈ .
¿¿
¿
¿
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.
.
.
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¿
¿
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^
A13
77757
7775
6646
7757
7757
7757
7775
5765
&
TAB
#
#≈ .
œ
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œ≈ .
œ
œ
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^
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n
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D7#5#9 Dmaj7
765
765
5765
0
57650
77656
57675
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n
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.
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≈ .œ#
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G# 7 Gmaj7
754
4
344
3
3 43
7 5
Some You Win (extract)
Kit Morgan
© 2006 by Rockschool Ltd. This music is copyright. Photocopying is illegal
GUITAR Grade 8
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
52
? #
#4
4
~~
~~
q=93 Jazz Funk
q q
=3
q q
Ó Œ ‰ .r
œ
0
%
œ≈
œ
>
œ œ
>
œ ¿
¿
≈
.œ#œ
>
Em9
0 2 2 3 40
‰
œœ œ
.œœ
≈
œ#œ
œ
A7
03 3 2
0 1 20
? #
#
~~
~~
~~
~~
œ≈
œ
>
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>
j
œ
‰
.œ#œ
>
Em9
0 2 2 3 40
Œ ≈
œ
>
œ#œ
Œ ≈œ
œœ
A7
5 6 7
75 7
œ œ
>
œ œ
>
j
œ
‰
.œ#œ
>
Em9
0 0 2 2 3 4 5
? #
#‰ .
r
œ
.
PM
œ œ.œ
œ
fl
≈
œ#œ
œ
A7
03 3 2
0 1 22
œ
œ
. œœ œ
.
j
œ
≈
œ œ#œ
œ
>
Em9
20 2 2 3 3 4
0
2
œ
œ
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j
œ
≈
R
œ.
œ
>
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.
.
œ
œb
œ
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A7 Eb7#5#9 Dmaj7
20 7 7
4 5 76
675
? #
#
œ
œ
.
.
œ
œb
nœ
œ
œ
œ
œ
œ
≈
œ
.
PM
A b Gmaj7
5
4
4
3 2
.
j
œ
≈œ
.
PM
œ œnœ
>
œ œœ
F#m7 Bm7
24 4 3 2 2 0
œœ œb
œœ# œ
œn
œ#œ
Gmaj7 E7/G#
32 1 0
42
6 4
? #
#
~~~
~~~
œ.œ
œ
≈
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≈
.
.
J
œ
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A11 Eb7#5#9
0 4
2 24
6
6
.
.
J
œ
œ ≈
.
.
œ
œb
nœ
œ
œ
œ
Œ
Dmaj7 A b7 Gmaj7
75
5
4
4
3
.
j
œ
≈ ≈
œ. œ
.
œ
‰œ
.
œœ
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F#m7 Bm7
20 4
44 0
2 0
? #
#4
3
œ œ
œ
>
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Gmaj7 E7/G#
3
5
42
21
.
J
œ
≈
œ.
œ
.
œ
œ# œ
œ#
A11 A#dim
2 24 2
1
3
.œ
T
œ
T
œœ
Tœ
œ
Pœ
œ
T
œ
T
‰j
œ
T
>
Bm7 Gmaj7
2
T
2
T
0 2
T
44P
4
T
2
T
3
T
Some You Win (extract)
Kit Morgan
© 2006 by Rockschool Ltd. This music is copyright. Photocopying is illegal
BASS Grade 8
Gui
tar B
ass
and
Drum
s Sy
llabu
s G
uide
53
ã 4
4
q q
=3
q q
q=93 Jazz Funk
F
Ó Œ ‰ .
r
y
Ó Œ ‰ .
R
œ
%ad lib. on repeat
‰j
Y y y y y y y y y y Y
‰
J
œ
.œ
œ œ
.œ
œ
‰j
y y y y y y y y Y
yœ
.œ
œ œ œ
.œ
œ
ã
‰j
y y y y
3
y y y
3
y y y y y Y
yœ
.œ
œ œ œ
.œ
œ
‰j
y y y Y
^
Œ ‰ .
r
y
yœ
.œ
œ
Œ ‰ .
R
œ
‰j
Y y y y y y y y y Y
‰
J
œ
.œ
œ œ
.œ
œ
ã
‰j
y y y y y y y y Y
yœ
.œ
œ
œ
œ
.œ
œ
‰j
y y y y y y y y Y
‰
J
œ
.œ
œ œ œ
.œ
œ
‰
y y y Y.y y
yœ
œ
œ .œ œ
ã
f
‰
Y Y
‰
Y Y
‰
Y Y
‰
Y Y
y y
œ
y yœy y
œ
œ
y y
‰
Y Y
‰
Y Y
‰
Y Y
‰
Y Y
œy y
œ
œ
y yœ
yœ
œ
yœ
y
‰
Y Y
‰
Y Y
‰
Y Y
‰
Y Y
œy y
œ
œ
y yœy y
œ
œ
y y
ã
‰
Y Y
‰j
Y
Œ≈
.
j
y
œy y
œ
œ
yœy
6
œ
y
>
œœ
>
œ
y
œ
>
œ
>
œ
y
>
œy
cont. sim.
’ ’ ’ ’ ’ ’ ’ ’
ã 4
3
’ ’ ’ ’
Fill
’ ’ ’ ’
yy
yy y
‰
j
y
œy y
œ
œ
y yœy
œ
y
œ œ œ œ
y
œ
œy
ã 4
3
4
4
4
3
4
4
‰j
yy
Œ
yœy
œ
y y
œ
3
œy
œ œ œ
y
>y
Yy
Y Y Y
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Some You Win (extract)
Kit Morgan
© 2006 by Rockschool Ltd. This music is copyright. Photocopying is illegal
DRUMS Grade 8
Want to play rock, pop, funk and world music and achieve arecognition of your playing standard? Rockschool grades inguitar, bass and drums allow musicians of all ages to developtheir musicianship within a Qualifications and CurriculumAuthority accredited framework.
All Rockschool books contain tunes written by the UK’s toprock and pop composers. Professionally producedbacking CDs give the feeling of playing with a live band!
This Syllabus Guide contains detailed information on everyaspect of guitar, bass and drums exams, and guidance onhow to enter.
• Technical exercises• Sight reading• Improvisation & Interpretation• Quick Study Pieces• Ear tests• Assessment Criteria
For more information see the Rockschool website at www.rockschool.co.uk
Rockschool is the UK’s only accredited pop and rock musicexaminations board, offering exams in guitar, bass, drums, vocalsand piano. We have built partnerships with key music providersacross the UK, using our expertise to create new accreditedcourses. We also provide support and advice to teachers andeducational bodies, as well as research into music education.
Rockschool Ltd245 Sandycombe RoadKew GardensSurrey TW9 2EWTel: 020 8332 6303E.mail: [email protected]: www.rockschool.co.uk