‘COLLEGE LONDON PRESS | Pe SNe Pee ae eae AA) ee THECLASH Mat ity : oe na) Gt mm ms Pe tar vie eT arya tas oe ply ace es1 TRINITY COLLEGE LONDON PRESS 03 DRUMS GRADE Published by “Fini College London Press trinitycollegecom Registered in England Company no. 09726123, Photography by Zute Lightfoot, lightfootphate.com {© Copyright 2017 Tinty Colege London Press Fist impression, August 2077 Unauthorised photocopying ilegal No part ofthis publication may be copied or reproduced in any M.FURTADO & CO, foxmor by any means without the prior permission of the publisher. MUMBAI-2, Printed in England by Caigraving Lt.EXAM AT A GLANCE In your exam you will perform a set of three songs and one ofthe session skills assessments. You can choose the order of your setlist. SONG 1 CChoose a sang from this book SONG 2 Choose either a citferent song from this book cr a song from the list of additional Trinity Rock & Pep arrangements, available at trinityrockcom fr asong you have chosen yourself: this coulé be your own cover version or a song that you have written. It should be atthe same level as the songs in this book and match the parameters at triityrock.com SONG 3: TECHNICAL FOCUS ‘Song 3s designed to help you develop specific and relevant techniques in performance. Choose one ofthe technical focus songs from this ‘book, which cover two specific technical elements. SESSION SKILLS Choose either playback or improvising Session skils are an essential part of every Rack & Pop exam. They are designed to help you develop the techniques music industry performers need. ‘Sample tests are available in our Session Skil books and free examples can be downloaded trom trinityrockcom ACCESS ALL AREAS GET THE FULL ROCK & POP EXPERIENCE ONLINE AT TRINITYROCK.COM We have created a range of digital resources to support your learning and give you insider information from the music industry, avaliable online ‘You wl find suppor, advice and digital content on + Songs, performance and technique + Session sils +The music industry ‘You can access tis and tics fom industry professionals featuring + Bite-sized videos that include tips from professional musicians on techniques used inthe songs + "Producer's notes’ on the tracks o increase your knowledge of rock and pop + Blog posts on performance tips, musica styles, developing technique and advice from the music industry JOIN US ONLINE AT:CONTENTS ORUM LEGEND ‘ARE YOU GONNA GO MY WAY DANCING IN THE MOONLIGHT DON'T WANNA FIGHT INEVER LOVED A MAN (THE WAY I LOVE YOU) LONDON CALLING LOVE IS THE DRUG ‘SWEET CHILD O° MINE ‘SWEET EMOTION HELP PAGES THE AUDIO 15 19 23 21 TECHNICAL FOCUS TECHNICAL FOCUS TECHNICAL FOCUSDRUM LEGEND Drum kit notation can vary between lferent publishers and arrangers. The key below is used throughout this series and is becorning ‘more consistently used. 1 IE Ride cymbal Hi hat Hi hat Closed Open Crash cymbal with foot Hi hat Hi hat 2 + JE = = High tom Mid tom ‘Snare drum Floor tom Bass drum | 5 d 4 4 4 Ride bell Cowbell Cross stick Buzz roll On the rim Ghosted noteIR NY TECHNICAL FOCUS ARE YOU GONNA jj rrr Rtn reunLOnr) feet i eer ues Pos ea NTN | Com Ray WORDS AND MUSIC: LENNY KRAVITZ, CRAIG ROSS rey gees New Yorkborn Lenny Kravitz singer, songwriter, mult-nstrumentait and Craig Ross producer wh has released 1! albums since 1989, As well as scoring bg hits suchas It Ait Over k's Over’ and ‘Fly Away, hebas aso cownitten and produced hit singles for Madonna (Justify My Love) and Vanessa Paradise My Baby’. ent a ‘Thetitle track and lead single rom his third album, the Hendrictke Are You Gonna Go My Way, helped secure Kravitz his ist top20 album in the US and his first No. album both inthe UK and Australia, achieving worldwide sales of over four rilion, Released in February 1993, this classi rock anthem reached No. 4 the UK {and No.1in Australia. Te song was co-written by Kravitz with guitarist Craig Ross, vino had joined Kravit’s band forthe tour te promate his 199 album Mama Said Kravitz sale Itwas one of those songs that happened in five minutes. We were jamming, | thought there was something happening. | told Henry (Hirsch, engineer and keyoard player to tur the tape machines on, and we playedit. And that wast Ross played allthe guitar parts onthe recording, Kravitz taking onthe role of crummer. TECHNICAL FOCUS Two technical focus elements are + Flams + Rhythm allengeistoget these scome back at bar 28 which needs This song strongly features lams right fro sounding absolutely consistent, 39, There are as0 challenging mo tobe played exactly as writen inTECHNICAL FOCUS. ARE YOU GONNA GO MY WAY tow macs Rock J= 120 (2 bars count-in) £1992 wine Musca is Besse sic 25) WarnerChapoel Nat Ameria Li ann. SDA Rerouced by permision cl aber Masini A igh Reserved SSibeb us Bese Mus ond Mage Mas A igs Adrseedby MG Rs Management (US) LLC AI hts Reserve, Used Perms 6 "erie by geminal Leonard LC Used ypemion l abe Music inedAre you gonna go my way: ~JT sang Are you gonna go my way.uk TS eee DANCING IN THE Dancing in the Moonlight Cero Seed CEO Cun) PSR (Live) meee OWI oF WORDS AND MUSIC: SHERMAN KELLY ca Sony rge Drakoullas Haiing from the coastal town of Eastbourne in England, Toploader hit big with their milion-eting debut album in 1999. The band are Joseph Washbourn (vocals! keyboard and songwriter, Juan Deane (lead guitar), Dan Hiparave (rhythm guitar), Matt Knight (bass) and Rob Green (drums). Toploader originally released ‘Dancing in the Moonlight’ as a single in February 2000, where itreached a UK peak of No 19 Following the toptive success of their debut album Onka's Big Moka that summer, the song was rereleased in November that year. This time it became the band's biggest and most enduring hit, reaching No.7 inthe UK and going platinum after spending 25 weets in the charts. Te song i by the band King Harvest, formed in 1970 in Paris, France, by four ‘American expatriates. Keyboard player Sherman Kelly wrote the song in 1968, and king Harvest released it as a single four yeas later, earning them ‘one-hit wonder status asthe song became their sole hit after reaching No.3 inthe US. # PERFORMANCE TIPS ‘The first-time bar and chorus both have an off-beat skipped snare drum part which as a nice funky fel to this song, You might want to learn each individual ‘snare skp’ separately before puting them together. This section also includes 0 rag onthe snare (grace nates) that comes before the fist beat of the bar.DANCING IN THE MOONLIGHT sss intro’ fi Indie Rock «= 112 ® (Verse) 4 P Ghorus] 1b ” cont, sim. Breakdown/Keyboard solo’ T } cont. sim, DS. al Coda 25 (take 2nd-time bar) 21970 vcataog ie Ewes Parneanip ites [iit Resear Copa Seed °YOUR PAGE NOTES03 OTR DON'T WANNA fc ee _ FIGHT vm ; [i L ih R ih Ml ih Pear eet SHAKES om WORDS AND MUSIC: ALABAMA SHAKES Alabama Shakes formed in 2009 with a blend of fiery blues-rock and harc-iting Southern soul, quickly bringing them international attention. With a formidable ive reputation and two it albums they have become one af the biggest bands to emerge in the 2010s, ‘Don't Wanna Fight' was the fist taste of Alabama Shakes’ second album, 2015 US chart topper Sound & Colo. An electrifying mix of funky guitar ifs, soulful bass, chunky drums and the pasionately raspy vocal performance of singer Brittany Howard, the impressive track expanded the band’s range into more diverse, genre-bending territory. Likening ning howl te Polling Stone magazine wrote, ‘After reintroducing herself witha spine-tingling ‘squeal, singer-guitarit Britany Howard goes on to deliver a dizzying vocal performance that splits the ciference beb ws Brown and Barry Gibb! The song received two Grammy Awar for Best Rock Song and Best Rock Performance, with S king up the Best ternative Music Album honout PH PERFORMANCE TIPS ‘The verse features syncopated snare drum and bass drum notes. Take care to place these accurately ~ subdividing 2s you count the beat will hep. This isthe mos echt chalngg section bt he et fhe soe eure tina and an enegeti, ving We Lao et fr te change of reve at bar 46. a' DON’T WANNA FIGHT wom ute Antu as Intro, Grooving += 100 (2 bars count-in) 4A A SSS (+ keys) r (shaker) Verse 1 2015 Ata Saks Paistieg User use Pusising Lined ts Reseed nertion| Copy SeedChorus, To CodaYOUR PAGE WOTESIK UT TECHNICAL FOCUS | NEVER LOVED A Ss Deen _ MAN (THE WAY (ame Cats ~TLOVE YOU) we ARE THA PRANK as WORDS AND MUSIC: RONNIE SHANNON Jerry Wexler Born in Memphis, Tennessee in 1942, Aretha Frankin grew up singing gospel in her father’s church before signing he fist record deal atthe age of 18. Te frst female performer tobe inducted into the Rock and Roll Hall of Fame, a 2010 pall by Rolling Stone magazine placed her at No.1in the 100 Greatest Singers of Al Time. Aretha Franklin recorded nine albums for Columbia Record between 1960 and 1966, Jerry Wexler signed her to Atlantic Recards in 1967 and arranged for her to record with an all-white group of Southern session musicians calles the Muscle Shoals Rhythm Section, who had played on Percy Sledge's "When a Man Loves ‘3 Woman’ and Wilson Picket's Mustang Sally. Written specifialy for Franklin by songwriter Ronnie Shannon, 1 Never Loved a Man (The Way Love You” was released as Frankin’s debut single wit the label and it became her fist top-ten hit (as well a topping the US RSB chart for seven weeks). It also provided Frank withthe ttle of her tenth album, widely regarded as an alltime classic album and ‘one that established the singer as ‘The Queen of Sout TECHNICAL FOCUS Two technical focus elements ae featured inthis song: + Siow shuttle feel + Douiblestopped crescendo ‘This song features a slow shuffle feelin’ time, The challenge is to keep this light ‘and bouncy, relaxed at altimes and avoiding heaviness. The double-stopped «rescendo in bars 41-42 splayed with the snare and flor tom together. Keep this, tight and controlled no flaming) with an even crescendo in into bar 43.TECHNICAL FOCUS | NEVER LOVED A MAN (THE WAY | LOVE YOU) WORDS AND MUSIC: RONNIE SHANNON Intro} Swinging J= 90 (2-ars count-in) 3 i 3 3 3 mp uy Verse (HH on feoeat) 4 , anf on repeat only aa (vary fills on repeat) 3 3 (19 Feteonth Hour Muse cep ana Punt Msc Cop Renee “av Ronts inser Sony asic Pung LC 24 Crh Stree Sut 208. Navle, TN 3722 Internation! apy Scie ARM Reserve, Repirted by permission ot al Leon LC2 B 3 a 6 0 uy pane ie anes as me mf [Bridge 3 Fl 3 = = | as J 3 4 ey a BE ; bo lt ‘eo 3 f f | fh = oom Outro] 3 i 3 FLL Fu 3 3 3 Fiut ajIRF UTS LONDON a CALLING = as ca WORDS AND MUSIC: JOE STRUMMER, MICK JONES rg eres formed in London, England, in 1976, The Clash were one of the most politically pce ‘motivated and seminal ands ofthe UK punk scene and by 978 comprised Joe ‘Strummer (vocals, quitan, Mick Jones vocals, guitar, Paul Simonon (bass) and Topper Headon (drums). Al six ofthe band’s studio albums, and albums in total, reached the UK top 20. Named after the call signal of the BBC's World Service broadcasts, London Calin’ was the ttl rack and oniy UK single from The Clash’ third album, Relaased at the end of 1979, the single reached No, inthe UK withthe album reaching No.9. The double album also marked the band's commercial breakthrough in the US, and Rolin Stone magazine would later rank London Calling at No.1 in their best albums of the 80s pl, describing it as ‘An emergency broadcast from roc’ last angry band .. skiing between ska, reggae, REB, third-world musi, power nop and ful punk, the Clash stormed the gates of rock convention and single-handedly set the agenda ‘musically, politically and emotionally ~ forthe decade to come, Clash fans Bob Dylan and Bruce Springsteen have both performed the album's ile track in concert on more than ane occasion. # PERFORMANCE TIPS This song has an angry eneray that you should de your best te capture ~ but try ‘0.60 ths through controled intensity rather than uncentrlie loudness. There Is lo of variety between sections, requiring precision, and the flamed triplets In the breakdown section will ned tobe practised for rhythmic accuracy. You may wish tesa ou cortng o thee asin ret queers cuntig too these foreach triplet crotch. aWORDS AND Music: JOE STRUMMER, MICK JONES Intro} Driving J= 132 (2 bars count-in) 3 i i i 3 2 Trashy HH (©1979 Nace ite, Ue Msc Putin Linke, ARs Reserved rational Copyright Seared ‘Au nsintbe US an Canada Canoe and Aarne by UNIVERSAL -POGRAM INTERNATIONAL PUBLISHING NG 20 Aig Rese Used Permion, Repel persion ef a LenardLLCBridge, ® tneteeAgeiscoing sy (Breakdown) "od 4 4 Trashy HH “ DAS. al Coda @) © CodaYOUR PAGE NOTES03: DRUMS LOVE IS THE ie DRUG [as OKY MUSIC . Ceca WORDS AND MUSIC: BRYAN FERRY, ANDY MACKAY Perry Creer Roxy Music were a hugely influential and commercially successful art rack band who made an instant impact with their debut ingle ‘Virginia Plain’ in 1972 atthe ‘onset of glam rock mania. Fronted by Bryan Ferry and intaly featuring rian Eno on synthesizer, Roxy Music produced ten UK it singles over the next decade, Written by Rony Music's saxophone and oboe player Andy Mackay with Iyrcs and vocal line by Ferry, ‘Love Is the Drug’ was the lead single and opening track on the band’ fifth aloum, 1975 Siren. The single reached No. 2in the UK (kept off the top spot bya reissue of David Bowie's ‘Space Odtity’) and was also the band's first and biggest hit in the US. Grace Jones covered the song for her 1980 Wa Leatherette album, and Fery later reinterpreted the song ina 1920s jazz sty the soundtrack to Baz Luhrmann's 2013 fl The Great Gatsby. #H PERFORMANCE TIPS The hi hat being opened on beat 4 atthe same time as the snare drum is an Interesting feature ofthis song Be sue to keep the hi hat open for the whole Crotchet until the first beat ofthe next bar. The ending section goes int a half ne ely main teste tat a hae hee teLOVE IS THE DRUG brran Fey ANDY MACHA 2 Intro’ Rock J= 124 (1% bars eount-in) Snares off nf ‘15S NG Rahs Magner (UO Lined & BMG Company A igh Reserve rations Copy Secred Aittsin the Uses States and anaes mastered Umer Mase MB Songs tate apr Secee. Al U eseved etitesy permission fH Leora LLCBri Oh 25 cont sin, 2bar groove d [Enaing) Half-time feel ay fTECHNICAL FOCUS SWEET CHILD 0° MINE SH ROS WORDS AND MUSIC: AXL ROSE, SLASH, IZZY STRADLIN DUFF MCKAGAN, STEVEN ADLER Formed in LA in 965, Guns N’ Roses are an American rock group who became ‘one ofthe worl’ biggest ands by the end ofthe decade. Going through various incarnations ver the years, the best-known neup comprises vocalist Atl Rose, lead guitarist Siash, rhythm guitarist izy Stradlin, bassist Duff Mckagan and ‘rummer Steven Acer ‘Sweet Child 0’ Mine’ was released asa single in August 1988 and reached No. in the US the following month, renewing interest in the band's debut album Appetite for Destruction which had been released more than a year earl By the end of the year, the album had sold three milion copies woridnide, To date it has sold ‘more than 30 milion copies, making it one ofthe estseling albums ever leased and the bestselling debut in US history, Not ll members ofthe band are fans of their biggest hit It was ikea joke said McKagan, be nothing Ne though, what i this song? its gonna Slash commented: | hated i for years, but it would cause such a reaction. Just playing the fist stupid notes used to evoke this hysteria 30 Ive finaly ‘gotten to appreciate it TECHNICAL FOCUS Two technical focus elements are featured inthis song + Triplet flams chorus, take care with the placement ofthe crashes which come onthe frst beat and halfway through the second beat The latter are called pushes. You may want to count through them until you are comfortable with the rhythm, The song ends with a bar of crotchet tripe flams - you wll need to practise Keeping the pulse consistent as you play this completely new rhythm. 03: DRUMS egos Oar) ee) Creer a Rae) Dacia ein) March-April 1987 eerie yy Park, California, USA Looe os Cr mee ety ‘The Record Plant, Los POC nL CS eaten CoM eT ert purr Erne Serer ig PiroTECHNICAL FOCUS SWEET CHILD 0° MINE fo est sa a tas DUFF NCKAGAN, STEVEN ADLER Intro’ Rock = 122 (bars courtin i 3 8 é (guitar) oo fi 00> a Verse ewe e: ey & © 67 cuns Woes MsiBUC Fog Mut USA Warns ‘haps Ares Mis Linear AG Me Pisin tes hts Reserve erratonal Copy Secures we eprinteay permission of Hal Leona LC Faber sic Lid and tse SalesPater soto a ” Bars time Breakdown Where do we go?.YOUR PAG NOTESNR ~ SWEET = EMOTION fame eae eOSMITH = WORDS AND MUSIC: STEVEN TYLER, TOM HAMILTON i Steven Tyler ere eee ‘American rock band Aerosmith formed in Boston, Massachusetts, in 1970, and by the folowing year comprised Steven Tyler (vocals), Joe Perty(quitar, Brad Whitford (uitan, Tom Hamiton bass) and Joey Kramer (drums). They are the best-seling American heavy rock band in music history with worldwide sales of ‘over 150 milion, almost half ofthat in the US alone. Towa 0s the end of sessions for Aerosmith’ third album, 1975's Toys in the Ati, producer Jack Douglas asked the band for any additional musical ideas they might have. Bassist Hamilton dusted off a rif he had been playing with for several years, inspired by Jeff Beck's 1969 instrumental rack ‘Rice Pudding. ter presenting an arrangement tothe band, ‘Steven took the itr, t aged key resolution ofthe song’ Hamiton expained. "Br edit around, ¢ ‘anid we usedit as the tag t Joey and | went home. Nex time we heard "Sweet Emotion” it had the vocals and| flipped out. loved what they cid with it e overdubs, AH PERFORMANCE TIPS Keep both your feet on the pedals forthe open hihats that are played simultaneously withthe bass drum, starting at bar 9, Rif 2 features some double- handed hi hat playing, requiring precision. The semiquavers on the hi hat should run smoothly and evenly into the semiquavers onthe snare atthe end ofeach barWORDS AND MuSiC: SWEET EMOTION seve Nn NAO Rock += 100 (2 bars count-in) lane) vary fill on repeats 1. 2. fo Coda. ~= nono) ee, dy {©1975 Renewed 2003 sO tage Tre (OM) fights Admistredy BHC Ris Manapeent US) LLC trots Cop Sete. Al RS Reseed ovine permission Hal Leonard LLC| 2 time FILL around kit an aHELP PAGES PLAYING WITH BACKING TRACKS All your backing tracks can be downloaded from soundwiseco.uk ‘+The backing tracks begin witha click track, which ets the tempo and helps you start accurately + Be careful to balance the volume of the backing track against your instrument + Usten carefully to the backing track to ensure that you are playing in time 1 you are creating your own backing trac, here are some further tps: + Make sue that the sound qual iso good standard + Think carefully about the instuments/sounds you are using on te Backing track ‘+ Avoid copying what you are playing inthe exam onthe backing track it should support, nat duplicate Do you need to include a click track atthe beginning? COPYRIGHT IN A SONG It you are a singer, instrumentalist or songwriter its important to Know about copyright. When someone writes a song they au ‘own the copyright (sometimes called ‘the rights). Copyright begins once a piece of music has been documented or recorded ( ‘or score notation) and protects the interests ofthe creators This means that athers cannot copy, sell, make it available gfe or record it without the owner's permission or the appropriate licence. COVER VERSIONS ‘+ When an artis creates a new version ofa song itis called a ‘cover version! + The majority of songwriters subscribe to licensing agencies, also known as ‘collecting societies. When a songwriter is a member of such an agency, the performing rights to their material are transferred tothe agency (this includes cover versions of their songs) ‘+ The agency works onthe writer's behalf by issuing icences to performance venues, who report what songs have been played, which in turn means thatthe songwriter will receive a payment for any songs used + Youcan create a cover version of a song and useit in an exam without needing a licence ‘There are different rules for broadcasting (eg TV, rao, internet), seling or copying (pressing CDs, DVDs et), and for printed material, and the appropriate licences shouldbe sought out,HELP PAGES CHOOSING SONGS FOR YOUR EXAM SONG 1 (Choose a song from this book. SONG 2 CChoose a song whichis: Either aciferent song from this book or from the list of adlitional Trinity Rock & Pop arrangements, available at trinityrock.com or roma printed or online source cr your own arrangement Cr a song that you have written yourself ‘You can play Song 2 unaccompanied or witha backing track (rninus the drum part) If youlke, you can create a backing track yourself (or with {tiends), add your own vacals, or be accompanied ve by another musician ‘The level of dificulty and length ofthe song should be similar tothe songsin this book and match the parameters available at trinityrock.com ‘When choosing a song, think about + Doesit work on my instrument? + Are there any technica elements that are too dificult for me? (iso, perhaps save for when you do the next grade) * Dol enjoy playing it? Does it work with my other songs to create a good setlist? SONG 3: TECHNICAL FOCUS ‘Song 3is designed to help you develop specific and relevant techniques in performance. Choose one of the technical focus songs from this, book, which cover two specitic technical elements. SHEET MUSIC If your choice for Song 2s nat from this book, you must provide the examiner with a photocopy. The ttle, writers ofthe song and your name shouldbe on the sheet music, You must also ring an orignal copy ofthe book, or a download version with proof of purchase, for each song that you perform inthe exam, Your music canbe © Alead sheet with lyrics, chords and melody line ‘© ehord chart with iyries ‘© Aful score using conventional staff notation %6eeu eee ee a Piauuaeol tea Gpeeneslas Scour ‘Whether you are self-taught or taking lessons, learning for fun or héading for a tareer in the music industry, Trinity College London Rock & Pop exams will help Peete eee ee rater ia oe Available'ar bass; drums, guitar, Keyboards and vocals, tram Initial (beginner) FR A MSU ch CAC ACARI nt 3 giving a great choice in all rock and plop styles, UTC LAs LV 9 CU LALA ST : MMA Ma Te e ea UCU LIRA A Le Cas UCL oie eee 1 al ae E : a aaa yA ANY ‘ Ea aa Ns Aad PAs Roce ou Mth o Renee eck see inside cover for details. ‘Session Skills ~ Playback and Improvisation ~ are an essential Cece Sea ae develop the techniques real music industry performers need. ‘ * Ce CRU Cue CaCI Cs ablé:to improvise, Both in the studio and on stage. This book CUE NM cae Scueni eaugu et ccs see” I nee) oe Od “Additonal nas ard support, andthe Rock & Pop sylabuses are avilable at Creed ees ll 412 =F FURTADOS — pessay AIOONNARAAREE A