GuitarBassDrums 2006-2012 Syllabus Guide

GUITARBASS

DRUMSSyllabus Guide

2006-2012

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


• 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


• 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



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


• 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



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



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.



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




• Diminished 7 triplet arpeggios


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



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


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.




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








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.


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.


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.


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.


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.


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


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





• 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.




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




apply modal ideas in a number of soloing contexts. Please note that some of the tunes may now







to all aspects of musical presentation. Please note that some of the tunes may now be written out

over three pages.






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.



repertoire.

Technical Exercises


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.


• 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.


• Major 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.


• Major scale


• Major pentatonic scale

• Blues 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

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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




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



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






the first bar and candidates are asked to complete the line by moving the same pattern on to the



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


• Chromatic scale with ghost notes

Group B Chords & Arpeggios,

• Chords: major, minor, dominant 7, minor 7 to be plucked or strummed





the first two bars and candidates are asked to complete the line by playing the same pattern over

a different chord in subsequent bars.


prepared chromatically in the keys G# -B inclusive.

Group A Scales & Modes, 2 octaves

• Major scale

• Mixolydian 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.


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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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.






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)












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.









passages. TAB fingerings are also included where appropriate.


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












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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.


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


the drum backing. The test is continuous. 80 bpm.


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.


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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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.


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



Grade 8: candidates are asked play back on the bass the root notes and identify the chord types



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General Musicianship Questions






Grade 7 and 8: in addition to the above candidates will also be asked a third category: history

and styles.




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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





• 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.




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 and




apply varied rhythmic ideas around the kit in a number of soloing contexts.






to all aspects of musical presentation.






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.



repertoire.

Technical Exercises


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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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,

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 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.


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.






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.




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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.









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.


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




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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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SGeneral Musicianship Questions






Grade 7 and 8: in addition to the above candidates will also be asked a third category: history

and styles.




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.

Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

35

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

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q = 90 Rock

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A7 A

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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.

? #

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Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

45

ã 4

4

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To the Edge

Hussein Boon


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.

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1° Chords2° Guitar Solo (11 bars)

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7 7 5 5 3 3 2 2

Hazi Taxi (extract)


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

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2 2 0 04 4

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Develop part on D.S.F

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3 3 3 3 3 3

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2 2 0 03 3 2 2

Hazi Taxi (extract)

Jason Woolley


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

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y

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yŒ

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y y y y

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3

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Hazi Taxi (extract)

Jason Woolley


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

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1/4

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33 5 3

1/4

5

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3

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3

&

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b

b

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3 5

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3

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5

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b

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3

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33

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36

36 8

There and Beck (extract)

Simon Troup


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)

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ad lib. around groove

Drum Solo

Jalapeño (extract)

Noam Lederman and Geoff Lai


DRUMS Grade 7

Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

51

&

TAB

#

#

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4

q=93

F

q q

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q q

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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

Documents

GuitarBassDrums 2006-2012 Syllabus Guide