Rockschool Drums Syllabus pdf

GUITARBASS

DRUMSSyllabus Guide

2006-2012

Europes No. 1 rock music exam board

Syllabus Guide

2006-2012

DRUMS

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

rockschool, the rockschool logo and all other rockschool product or service names are trademarks of rockschool Ltd. 2010 Rock School Ltd. All Rights Reserved.

Phone: 08454604747Fax: 08454601960


Contents page

Welcome to the Drums Syllabus 3

Examinations 4

Performance Pieces 5

Technical exercises 6

Sight Reading or Improvisation and Interpretation (Grades 1-5) 9

Quick Study Piece (Grades 6-8) 10

Ear Tests (Grades 1-8) 11

General Musicianship Questions 12

Exam Regulations 13

Assessment Requirements 14

Sample Music 20

back to contents page 3rockschool, the rockschool logo and all other rockschool product or service names are trademarks of rockschool Ltd. 2010 Rock School Ltd. All Rights Reserved.

Welcome to the Drums Syllabus

Welcome to the Rockschool 2006 syllabus for Drums. This Syllabus Guide is designed to give teachers, learners and candidates practical information on the graded examinations run byRockschool.

If you have any queries about the syllabus for Guitar, Bass and Drums, PopularPiano, and Vocals or any of the Awards, Certificates and Diplomas for Music Practitioners and forMusic Educators, or our instrumental and teaching diplomas, then please do not hesitate to call uson 08454604747 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 criteriaas well as notated and audio examples of all the types of tests used in the exams and handy tips onhow 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

Rockschools 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

Rockschools 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

Rockschools 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 Drums

Performance Pieces

Rockschools 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 standardshould 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 ofquarter 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 solidtechnical 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 beencountering 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 confidenceincluding 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. Youwill 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 rangeof 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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S Grade 7: in this grade you are now confident in your abilities across the range of physical andexpressive 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 yourcommand. 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 Debutexamination 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 gradepacks, or two pieces from the grade pack and one brought into the exam by the candidate. Thismay 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.


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.



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DRUMS

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.


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 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,


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 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,


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 of4 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 8bars. 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 oftwelve (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 andchords 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 andchords will be indicated along with some written notation, dynamics and other musical notation



Grade 8: the QSP will consist of up to 30 bars excluding repeats and DC, DS. The rhythms andchords will be indicated along with some written notation, dynamics and other musical notation



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 combinationsall 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 combinationsall 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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SGeneral 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: historyand 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 periods 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 candidates 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 candidates 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 examiners 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 Ltds appeal process are available from the Rockschool office or website.


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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

r ati

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

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

.


back to contents page 14

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/

du

rati

on4:

Seam

less

inte

rnal

syn

c;ef

fort

less

con

tin

uit

y5:

Hig

hly

ass

ure

d,pr

ofes

sion

al p

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

s8:

Con

spic

uou

s se

nse

of

inte

rnal

ban

d co

mm

un

icat

ion

9:Su

cces

sfu

l com

m.o

fd

isti

nct

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

perf

orm

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

perf

orm

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

empt

ed8:

Lac

k of

un

ders

tan

din

g be

twee

n b

and

mem

bers

9:N

o ef

fort

to

com

mu

nic

ate

colle

ctiv

e m

usi

cal i

den

tity

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 pe

rfor

man

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

perf

orm

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

empt

ed b

ut

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

empt

ed8:

Lac

k of

un

ders

tan

din

g be

twee

n b

and

mem

bers

9:N

o ef

fort

to

com

mu

nic

ate

colle

ctiv

e m

usi

cal i

den

tity

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

se s

tart

s5:

Hig

hly

ner

vou

s pr

esen

tati

on6:

Styl

isti

cally

un

awar

e7:

No

impr

ovis

atio

n a

ttem

pted

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

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

ompt

res

pon

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 r

espo

nse

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

ompt

res

pon

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 p

laye

d2:

A n

um

ber

ofsi

gnif

ican

t an

d/or

rep

eate

d er

rors

;n

o se

nse

of

puls

e3:

Freq

uen

t br

eakd

own

s

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 r

espo

nse

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 p

laye

d2:

Som

e si

gnif

ican

t or

rep

eate

d er

rors

; lit

tle

or n

o se

nse

of

puls

e3:

Freq

uen

t br

eakd

own

s

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

ple

te 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

perf

orm

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

perf

orm

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 y

e > e ee >

..m Buzz Snare

> e ee >

e > e J > y F

yy .

2 crash cymbals

> e ee >

e

> e ee >

..m > e ee >

e

> e ee > y

. > e ee >

e > e ee >

..m > e ee > jy e

> e ee >

jy e > e ee >

jy > e 4:4

> > > 3 y y e > e ee

3

y>

.H.H. foot ends

y . y e y e

>ey e y

>y e

>ey e

ad lib. around groove

Drum Solo

Jalapeo (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

53

44q q = 3q qq=93 Jazz Funk

F . ry . R

% ad lib. on repeat jY y y y y y y y y y Y J . . jy y y y y y y y Yy . .

jy y y y 3y y y 3y y y y y Yy . .

jy y y Y^ . ryy . . R

jY y y y y y y y y Y J . .

jy y y y y y y y Yy . .

jy y y y y y y y Y J . . y y y Y .y yy .

f

Y Y Y Y Y Y Y Yy y y y y y y y

Y Y Y Y Y Y Y Yy y y y y y y

Y Y Y Y Y Y Y Yy y y y y y y y

Y Y jY .jyy y y y

6

y> > y

> > y>

ycont. sim.

43 Fill

y y y y y jy

y y y y yy y y

43 44 43 44 jy y y y y y

3

y y> y Y y Y Y Y jy

y y y y y y y y

To Coda jy y y y y J y y

44 .Half time feel - Straight 8sBass Solo

Py y Y y y Y y y Y y y Y f y y Y y y Y y y Y y y Y. J f

Some You Win (extract)

Kit Morgan

2006 by Rockschool Ltd. This music is copyright. Photocopying is illegal

DRUMS Grade 8



back to contents

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/CreateJDFFile false /Description > /Namespace [ (Adobe) (Common) (1.0) ] /OtherNamespaces [ > /FormElements false /GenerateStructure false /IncludeBookmarks false /IncludeHyperlinks false /IncludeInteractive false /IncludeLayers false /IncludeProfiles false /MultimediaHandling /UseObjectSettings /Namespace [ (Adobe) (CreativeSuite) (2.0) ] /PDFXOutputIntentProfileSelector /DocumentCMYK /PreserveEditing true /UntaggedCMYKHandling /LeaveUntagged /UntaggedRGBHandling /UseDocumentProfile /UseDocumentBleed false >> ]>> setdistillerparams> setpagedevice

/ColorImageDict > /JPEG2000ColorACSImageDict > /JPEG2000ColorImageDict > /AntiAliasGrayImages false /CropGrayImages true /GrayImageMinResolution 300 /GrayImageMinResolutionPolicy /OK /DownsampleGrayImages true /GrayImageDownsampleType /Bicubic /GrayImageResolution 300 /GrayImageDepth -1 /GrayImageMinDownsampleDepth 2 /GrayImageDownsampleThreshold 1.50000 /EncodeGrayImages true /GrayImageFilter /DCTEncode /AutoFilterGrayImages true /GrayImageAutoFilterStrategy /JPEG /GrayACSImageDict > /GrayImageDict > /JPEG2000GrayACSImageDict > /JPEG2000GrayImageDict > /AntiAliasMonoImages false /CropMonoImages true /MonoImageMinResolution 1200 /MonoImageMinResolutionPolicy /OK /DownsampleMonoImages true /MonoImageDownsampleType /Bicubic /MonoImageResolution 1200 /MonoImageDepth -1 /MonoImageDownsampleThreshold 1.50000 /EncodeMonoImages true /MonoImageFilter /CCITTFaxEncode /MonoImageDict > /AllowPSXObjects false /CheckCompliance [ /None ] /PDFX1aCheck false /PDFX3Check false /PDFXCompliantPDFOnly false /PDFXNoTrimBoxError true /PDFXTrimBoxToMediaBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXSetBleedBoxToMediaBox true /PDFXBleedBoxToTrimBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXOutputIntentProfile () /PDFXOutputConditionIdentifier () /PDFXOutputCondition () /PDFXRegistryName () /PDFXTrapped /False

/CreateJDFFile false /Description > /Namespace [ (Adobe) (Common) (1.0) ] /OtherNamespaces [ > /FormElements false /GenerateStructure false /IncludeBookmarks false /IncludeHyperlinks false /IncludeInteractive false /IncludeLayers false /IncludeProfiles false /MultimediaHandling /UseObjectSettings /Namespace [ (Adobe) (CreativeSuite) (2.0) ] /PDFXOutputIntentProfileSelector /DocumentCMYK /PreserveEditing true /UntaggedCMYKHandling /LeaveUntagged /UntaggedRGBHandling /UseDocumentProfile /UseDocumentBleed false >> ]>> setdistillerparams> setpagedevice

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