GUITAR BASS DRUMS - leemcdonough.com fileGUITAR BASS DRUMS Syllabus Guide 2006-2012 Europe’s No. 1...

GUITARBASS

DRUMSSyllabus Guide

2006-2012

Europe’s No. 1 rock music exam board

Syllabus Guide

2006-2012

BASS

Published by Rockschool Ltd © 2006

Unauthorised reproduction of any part of this publication by any

means including photocopying is an infringement of copyright

Compiled and edited by: Jeremy Ward & Simon Pitt

Cover design: Chris Davis

Text layout: Bet Ayer

Printed and bound in the United Kingdom

Visit the Rockschool website atwww.rockschool.co.uk

Phone: 020 8332 6303Fax: 020 8332 6297

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

Phone: 08454604747Fax: 08454601960


Contents page

Welcome to the Bass Syllabus 3

Examinations 4

Performance Pieces 5

Technical exercises 6

Sight Reading or Improvisation and Interpretation (Grades 1-5) 10

Quick Study Piece (Grades 6-8) 11

Ear Tests (Grades 1-8) 12

General Musicianship Questions 14

Exam Regulations 15

Assessment Requirements 16

Sample Music 22

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

Welcome to the Bass Syllabus

Welcome to the Rockschool 2006 syllabus for Bass. This Syllabus Guideis designed to give teachers, learners and candidates practical information on the gradedexaminations run by Rockschool.

If you have any queries about the syllabus for Guitar, Bass and Drums, PopularPiano, and Vocals or any of the Awards, Certificates and Diplomas for Music Practitioners and forMusic Educators, or our instrumental and teaching diplomas, then please do not hesitate to call uson 08454604747 or email us at [email protected].

The Rockschool website,www.rockschool.co.uk, has detailed information on all aspects of our examinations, including examination regulations, detailed marking schemes and marking criteriaas well as notated and audio examples of all the types of tests used in the exams and handy tips onhow to get the most out of the performance pieces. Companion Guides are also available for Vocals,Guitar, Bass and Drums.

This Syllabus Guide covers the following examinations:

• Grade examinations offered by Rockschool at Grades 1-8• Performance Certificates offered by Rockschool at Debut and Grades 1-8• Band exams at Grades 3, 5, 8

In the Guide, the examination requirements for each grade are shown in italics.

Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

5

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


Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

16

Syllabus Guide for Bass

Performance Pieces

Rockschool’s bass grades are designed to showcase instrumental performance across a range of

popular styles. The performances are the benchmark by which the grades are measured and the

printed performance repertoire reflects the general standards which players should be able to

attain if they are successfully to complete the exam. All the repertoire pieces performed in the

exam should be played to a CD backing track.

The performance characteristics of each grade are printed in the relevant grade books and are

reproduced below. The grade descriptions assume competence in the areas described in grades

lower down the sequence.

• Debut: in Debut Bass you will be concentrating on playing tunes. A player of Debut standard

should be able to play up to 20 bars of music in 4/4 time, using simple first position grooves

composed of whole, half and quarter notes and associated rests. The pieces very often use open

strings and the grooves move mainly between adjacent strings.

• Grade 1: a player of Grade 1 standard should be able to play up to 32 bars of music using first

position grooves composed of whole, half, quarter and eighth notes and associated rests, tied

notes, and dotted half and quarter notes. Performances should include basic legato and staccato

playing where marked.

• Grade 2: in this grade you are beginning to acquire a range of physical and expressive techniques,

including staccato and slides, as well as simple dynamics. In this grade you will also begin to work

on your stylistic appreciation.

• Grade 3: in this grade you will be encountering syncopated eighth and sixteenth notes as well as

developing the palette of expressive techniques to include slapped and pulled notes, fretting hand

vibrato, hammer ons and pull offs, slides and simple bends. The pieces of music are now longer,

covering two pages and you should be developing your stylistic awareness, taking into account

tone settings for each song.

• Grade 4: in this grade you use a range of physical and expressive techniques with confidence,

legato and staccato, slides, hammer ons and pull offs, slaps and pulls and accents and you are

experimenting with a range of dynamics from very quiet to very loud. In this grade you are

continuing to develop your ability to play with stylistic authority.

• Grade 5: as a player you will be confident in a range of physical and expressive techniques,

including the use of double stops. You will be able to demonstrate your abilities across a number

of styles and have control over tone and sound adjustments to suit the playing style of your

choice. Please note that some of the tunes may now be written out over three pages.

• Grade 6: in this grade you are developing the confidence of the advanced player across the range

of physical and expressive techniques. You will start experimenting with a range of techniques

across a number of musical styles. There is a greater emphasis on personal expression and you

will display your own musical personality through ad libbing and soloing. Please note that some

of the tunes may now be written out over three pages.


Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

17

BA

SS

• Grade 7: in this grade you are now confident in your abilities across the range of physical and

expressive techniques. You will be experimenting with a range of these techniques across a

number of styles. You will also be comfortable with a range of rhythms and time signatures other

than common time. Your solos will be musically expressive and you will have the confidence to

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

be written out over three pages.

• Grade 8: you will play effortlessly with a wide range of physical and expressive techniques at your

command. You will be able to use these at will across a range of styles and musical contexts. You

will be comfortable playing pieces employing a number of different time signatures (including

changes from bar to bar) and you will display mastery of a number of musical styles. Your solos

will be highly musical and employ techniques across the range. You will also be highly sensitive

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

over three pages.

Exam RequirementsDebut: candidates are asked to perform five out of the six pieces printed in the Debut

examination pack. No free choice option is allowed.

Grades 1-8: candidates are asked to perform either three out of the six pieces printed in the grade

packs, or two pieces from the grade pack and one brought into the exam by the candidate. This

may be either a self-composed piece or a piece of established popular repertoire. If a backing track

is used it must be a music minus version (without the bass part).

Candidates taking Grade 2 and above can adapt the performance pieces to suit their playing

style. This is permitted so long as these adaptations keep within the style of the piece. Candidates

are required, in any case, to include improvisation passages in addition to those indicated by the

score from grade 3.

Guidelines are published by Rockschool for those candidates who wish either to write a piece of

their own for performance in the exam or to use as a guide when choosing a piece of established

repertoire.

Technical Exercises

The range of technical exercises to be played by candidates is published in each book. These are

played to a tempo set for the candidate by the examiner. Candidates can choose to play along with

the metronome click or without it. TAB fingerings for guitarists and bass players are offered in the

examples as a guide, but candidates may use their own fingering patterns when playing the

exercises.

Candidates are asked to prepare all the exercises in the keys (where appropriate) and the tempos

indicated. The final exercise/study should be played along to the backing track provided on the

CD.


Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

18

Exam RequirementsGrade 1These should be played at 70 beats per minute (bpm) in a straight feel: quarter notes. Groups A

and B should be prepared in the keys of E, A & G.

Group A Scales 1 octave

• Major scale

• Minor pentatonic scale

Group B Arpeggios:

• Major arpeggios:

• Minor arpeggios:

Group C Bassline. The bassline is played over a four bar backing track. The initial riff pattern is

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

on to the indicated root of a different chord over the subsequent bars.

Grade 2These should be played at 80 bpm in a straight feel: quarter notes. Groups A and B should be

prepared in the keys of A, G, C & B.


• Major scale

• Natural minor 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

• Minor 7 arpeggios

• Dominant 7 arpeggios

Group C Bassline. The bassline is played over an eight bar backing track. The initial riff pattern


Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

19

BA

SS

is given in the first bar and candidates are asked to complete the line by moving the same pattern

on to the indicated root of a different chord over the subsequent bars.

Grade 4These should be played at 85 bpm in a straight feel: major scale and major arpeggio quarter notes,

all others eighth notes. Groups A and B should be prepared in the keys of B, D, Bb, F# & Eb.

Group A Scales & Modes 1 octave

• Major scale prepared slap (quarter notes)

• Harmonic minor scale

• Dorian mode

Group B Arpeggios

• Major arpeggios prepared pop (quarter notes)

• Minor arpeggios

• Major 7 arpeggios

• Minor 7 arpeggios


Group C Bassline. The bassline is played over a backing track. The initial riff pattern is given in

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

indicated root of a different chord over the subsequent bars.


prepared in the keys of D, Bb, F#, Ab & C#.

Group A Scales & Modes 1 octave

• Major scale, prepared slap & muted slap

• Minor pentatonic scale prepared hammer on and pull off

• Dorian mode

• Mixolydian mode

Group B Arpeggios

• Major arpeggios prepared pop & muted pop

• Major 7 arpeggios

• Minor 7b5 arpeggios


• Diminished 7 arpeggios


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.


prepared chromatically in the keys E-G inclusive.

Group A Scales 2 octaves

• Major scale


Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

20

• 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

• Minor 7b5 arpeggios


• Diminished 7 arpeggios


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.


Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

21

BA

SS

Sight Reading or Improvisation & Interpretation (Grades 1-5 only)

Candidates attempting Grades 1-5 inclusive have a choice of taking either the sight reading or the

improvisation & interpretation test. Examples of the type of tests required in the exam are printed

in the grade packs. Further examples can be found in the Companion Guide.

Please note that at Grades 4 and 5, the sight reading and improvisation & interpretation testscontain a small amount of the other skill. The requirements are shown for each grade below.

Exam Requirements: Sight ReadingCandidates will be asked to prepare a sight reading test which is given to them by the examiner.

The test may be in one of the following styles: blues and rock (Grades 1-3) or blues, funk, rock or

jazz (Grades 4-5). The examiner will allow the candidate 90 seconds to prepare the test and will

set the tempo on a metronome. The candidate can choose to play with or without the metronome

for the duration of the test. TAB fingerings are given along with standard notation in all sight

reading tests.

Grade 1: 4 bars, 60-80 bpm, common time. (A &E minor pentatonic)

Grade 2: 4 bars, 60-80 bpm, common time. (C & A major, C & A minor)

Grade 3: 8 bars, 60-90 bpm, common time. (G, F, C major; G, F, C minor)

Grade 4: At this Grade there is an element of improvisation. This is in the form of a two bar

ending. The improvised ending will use chord patterns that have been used in the sight reading

part of the test. 8 bars, 60-90 bpm, time signatures 2/4, 3/4, 4/4. Keys to be taken from the

technical exercises at this grade.

Grade 5: At this Grade there is an element of improvisation. This is in the form of a two bar

ending. The improvised ending will use chord patterns that have been used in the sight reading

part of the test. 12 bars, 60-90 bpm, time signatures 2/4, 3/4, 4/4. Keys to be taken from the

technical exercises at this grade.

Exam Requirements: Improvisation & InterpretationCandidates will be asked to prepare an improvisation & interpretation test which is given to them

by the examiner. The test may be in one of the following styles: blues and rock (Grades 1-3) or

blues, funk, rock or jazz (Grades 4-5).

Grades 1-2: the candidate will be asked to play an improvised line to a backing track of four bars.

The candidate is then allowed 30 seconds to prepare and is allowed to practise through on playing

of the backing track before playing it a second time in the exam. The test is continuous with a one

bar count in at the beginning and after the practice session. Grade 1: 70 bpm, common time.

Grade 2: 70 bpm, common time. Keys to be taken from the technical exercises at this grade.

Grade 3: the candidate will be asked to play an improvised line to a backing track of eight bars.

The candidate is then allowed 30 seconds to prepare and is allowed to practise through on playing

of the backing track before playing it a second time in the exam. The test is continuous with a one

bar count in at the beginning and after the practice session. Grade 3: 8 bars, 70-90 bpm, common

time. Keys to be taken from the technical exercises at this grade


Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

22

Grades 4-5: : in these grades there is a small element of sight reading. This takes the form of a

two bar bass line at the beginning of the test. The candidate will be asked to play the bassline as

indicated and to complete the test using an improvised line made up from the chord symbols

provided. The candidate is then allowed 30 seconds to prepare and is allowed to practise through

on playing of the backing track before playing it a second time in the exam. The test is continuous

with a one bar count in at the beginning and after the practice session. Grade 4: 8 bars, 70-90

bpm 2/4, 3/4, 4/4. Grade 5: 12 bars 60-90 bpm, 2/4, 3/4, 4/4. Keys to be taken from the technical

exercises at this grade.

Quick Study Piece (Grades 6-8 only)

Candidate attempting any of these grades will be asked to perform a Quick Study Piece (QSP).

This is given to the candidate 20 minutes before they enter the exam room and candidates entered

for these grades are asked to arrive at the exam centre at least ten minutes before they are given

their QSP to practise.

Candidates will be asked to perform from a paper outline and a CD given to them by the examiner.

The outline is in the form of a ‘lead sheet’ or ‘session chart’ and will contain information on style,

tempo and length, along with other musical information such as dynamics and marked solo

passages. TAB fingerings are also included where appropriate.

The CD contains a backing track to be used for both practise and performance in the examination.

Each QSP will be in the style of rock, funk, blues or jazz. The performance should reflect the style

of the piece and candidates should use the spaces in the music to develop their musical ideas.

Exam Requirements: Quick Study PieceGrade 6: the QSP will consist of up to 30 bars excluding repeats and DC, DS. The rhythms and

chords will be indicated along with some written notation, dynamics and other musical notation

information. The note lengths and rhythms will reflect the standard of a Grade 4 performance.

Time signatures and Tempo: 2/4, 3/4, 4/4, 6/8. 60-140 bpm. Keys: any major or minor

Grade 7: the QSP will consist of up to 30 bars excluding repeats and DC, DS. The rhythms and




Grade 8: the QSP will consist of up to 30 bars excluding repeats and DC, DS. The rhythms and





Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

23

BA

SS

Ear Tests (Grades 1-8)

Candidates will be asked to take two ear tests in the exam. The tests are played on CD and use real

instrument sounds. Each test is played to the candidate by the examiner twice and the candidate

plays each test to either a drum backing (Grades 1-5) or to a guitar and drum backing (Grades 6-

8). Candidates my use their instrument while the CD is playing.

Exam Requirements: Test 1 – Melodic RecallGrade 1: candidates are asked to play back on their instrument a two bar melody composed from

the first three notes of the E minor pentatonic scale (E, G & A). Candidates will hear the tonic

note and told the starting note and will hear the test twice with drum backing. There is a short

break in the test for the candidate to practise and then the test will recommence and the candidate

is required to play the melody with the drum backing. The test is continuous. 70 bpm.

Grade 2: candidates are asked to play back on their instrument a two bar melody composed from

the C major scale. Candidates will hear the tonic note and told the starting note and will hear the

test twice with drum backing. There is a short break in the test for the candidate to practise and

then the test will recommence and the candidate is required to play the melody with the drum

backing. The test is continuous. 70 bpm.

Grade 3: candidates are asked to play back on their instrument a four bar melody composed from

the F major pentatonic scale. Candidates will hear the tonic note and told the starting note and

will hear the test twice with drum backing. There is a short break in the test for the candidate to

practise and then the test will recommence and the candidate is required to play the melody with

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


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


Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

24


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




Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

25

BA

SS

General Musicianship Questions

Each Rockschool grade finishes with five General Musicianship Questions. These questions are

asked of the candidate orally by the examiner, who uses a performance piece played by the

candidate as a starting point.

Exam RequirementsGrades 1-6: candidates will be asked questions in two main areas: (i) music notation and (ii)

knowledge of the instrument.

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

and styles.

A complete list of the topics covered in the music notation and theory category is printed in each

book. Sample questions may be found on the Rockschool website and in the Companion Guide.

All questions concerning instrument knowledge will deal with the instrument played by the

candidate.


back to contents page 14

Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

34

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

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

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/

du

rati

on4:

Seam

less

inte

rnal

syn

c;ef

fort

less

con

tin

uit

y5:

Hig

hly

ass

ure

d,pr

ofes

sion

al p

erfo

rman

ce

6:N

ativ

e le

vel o

fst

ylis

tic

awar

enes

s7:

Ext

ensi

ve &

indi

vidu

al im

prov

isat

ion

s8:

Con

spic

uou

s se

nse

of

inte

rnal

ban

d co

mm

un

icat

ion

9:Su

cces

sfu

l com

m.o

fd

isti

nct

ive

colle

ctiv

e m

usi

cal i

.d.

1:V

ery

secu

re t

ech

niq

ues

2:M

usi

cal u

se o

fex

pres

sive

tec

hn

iqu

es3:

Mu

sica

l use

of

rhyt

hm

/pu

lse/

dura

tion

4:N

ear-

seam

less

sen

se o

fin

tern

al s

ync/

con

tin

uit

y5:

Con

fide

nt,

assu

red

perf

orm

ance

s6:

Hig

h d

egre

e of

styl

isti

c aw

aren

ess

7:E

xten

sive

app

ropr

iate

impr

ovis

atio

n8:

Stro

ng

sen

se o

fin

tern

al c

omm

un

icat

ion

wit

hin

th

eba

nd

9:Su

cces

sfu

l com

m.o

fco

llect

ive

mu

sica

l ide

nti

ty1:

Secu

re t

ech

niq

ues

2:C

orre

ct u

se o

fex

pres

sive

tec

hn

iqu

es3:

Secu

re r

hyth

m/p

uls

e/du

rati

on4:

Syn

chro

nis

ed in

tern

ally

wit

h 1

or

2 co

nti

nu

ity

erro

rs

5:O

ccas

ion

al h

esit

atio

n in

per

form

ance

s6:

Som

e de

gree

of

styl

isti

c aw

aren

ess

7:So

me

appr

opri

ate

impr

ovis

atio

n8:

Som

e se

nse

of

inte

rnal

com

mu

nic

atio

n w

ith

in t

he

ban

d9:

Som

e ef

fort

to

com

mu

nic

ate

colle

ctiv

e m

usi

cal i

den

tity

1:So

me

inse

curi

ty o

fte

chn

iqu

es2:

Som

e er

rors

in u

se o

fex

pres

sive

tec

hn

iqu

es3:

Som

e in

con

sist

enci

es in

rhy

thm

/pu

lse/

dura

tion

4:Po

or in

tern

al s

ynch

ron

isat

ion

an

d co

nti

nu

ity

5:H

esit

ant;

lack

ing

in c

onfi

den

ce6:

Beg

inn

ings

of

styl

isti

c aw

aren

ess

7:In

appr

opri

ate

impr

ovis

atio

n8:

Min

imal

sen

se o

fin

tern

al c

omm

un

icat

ion

wit

hin

ban

d9:

Lit

tle

ackn

owle

dgem

ent

ofau

dien

ce p

rese

nce

1:In

secu

re t

ech

niq

ues

2:V

ery

inco

nsi

sten

t u

se o

fex

pres

sive

tec

hn

iqu

es3:

Poor

sen

se o

fpu

lse;

ofte

n in

corr

ect

rhyt

hm

/du

rati

on

4:L

ittl

e or

no

syn

c;la

rge

gaps

in c

onti

nu

ity;

fals

e st

arts

5:V

isib

ly n

ervo

us

pres

enta

tion

6:St

ylis

tica

lly u

naw

are

7:N

o im

prov

isat

ion

att

emp

ted

8:L

ack

ofu

nde

rsta

ndi

ng

betw

een

ban

d m

embe

rs9:

No

effo

rt t

o co

mm

un

icat

e co

llect

ive

mu

sica

l ide

nti

ty

Lev

el 2

(G

rad

es 4

& 5

)

1:Fl

uen

t te

chn

iqu

es2:

Flu

ent

use

of

expr

essi

ve t

ech

niq

ues

3:M

usi

cal u

se o

frh

yth

m/p

uls

e/du

rati

on4:

Seam

less

inte

rnal

syn

c;ef

fort

less

con

tin

uit

y5:

Hig

hly

con

fide

nt

& a

ssu

red

perf

orm

ance

s6:

Hig

h d

egre

e of

styl

isti

c aw

aren

ess

7:H

igh

leve

l of

appr

opri

ate

impr

ovis

atio

n8:

Mu

sica

l sen

se o

fin

tern

al c

omm

un

icat

ion

wit

hin

ban

d9:

Succ

essf

ul c

omm

un

icat

ion

of

colle

ctiv

e m

usi

cal i

den

tity

1:Se

cure

tec

hn

iqu

es2:

Mu

sica

l use

of

expr

essi

ve t

ech

niq

ues

3:Se

cure

rhy

thm

/pu

lse/

dura

tion

4:St

ron

g se

nse

of

inte

rnal

syn

c/co

nti

nu

ity

5:M

ain

ly c

onfi

den

t p

erfo

rman

ces

6:So

me

degr

ee o

fst

ylis

tic

awar

enes

s7:

Ext

ensi

ve a

ppro

pria

te im

prov

isat

ion

8:St

ron

g se

nse

of

inte

rnal

com

mu

nic

atio

n w

ith

in t

he

ban

d9:

Som

e ef

fort

to

com

mu

nic

ate

colle

ctiv

e m

usi

cal i

den

tity

1:M

ain

ly s

ecu

re t

ech

niq

ues

2:M

ain

ly c

orre

ct u

se o

fex

pres

sive

tec

hn

iqu

es3:

Gen

eral

ly a

ccu

rate

rhy

thm

/pu

lse/

dura

tion

4:

Syn

chro

nis

ed in

tern

ally

wit

h 1

or

2 co

nti

nu

ity

erro

rs

5:So

me

hes

itat

ion

in p

erfo

rman

ces

6:B

egin

nin

gs o

fst

ylis

tic

awar

enes

s7:

Som

e ap

prop

riat

e im

prov

isat

ion

8:So

me

sen

se o

fin

tern

al c

omm

un

icat

ion

wit

hin

th

e ba

nd

9:So

me

effo

rt t

o co

mm

un

icat

e co

llect

ive

mu

sica

l ide

nti

ty

1:In

secu

re t

ech

niq

ues

2:So

me

use

of

expr

essi

ve t

ech

niq

ues

3:In

con

sist

ent

rhyt

hm

/pu

lse/

dura

tion

4:P

robl

ems

ofin

tern

al s

ynch

ron

isat

ion

/con

tin

uit

y5:

Lac

k of

con

fide

nce

6:St

ylis

tica

lly u

naw

are

7:In

appr

opri

ate

impr

ovis

atio

n8:

Min

imal

sen

se o

fin

tern

al c

omm

un

icat

ion

wit

hin

ban

d9:

Lit

tle

ackn

owle

dgem

ent

ofau

dien

ce p

rese

nce

1:C

onsi

sten

t te

chn

ical

err

ors

2:Fa

ilure

to

obse

rve

expr

essi

ve m

arks

3:Po

or p

uls

e;la

rgel

y in

corr

ect

rhyt

hm

/du

rati

on

4:L

ittl

e or

no

syn

c;la

rge

gaps

in c

onti

nu

ity;

fals

e st

arts

5:V

isib

ly n

ervo

us

pres

enta

tion

6:St

ylis

tica

lly u

naw

are

7:N

o im

prov

isat

ion

att

empt

ed8:

Lac

k of

un

ders

tan

din

g be

twee

n b

and

mem

bers

9:N

o ef

fort

to

com

mu

nic

ate

colle

ctiv

e m

usi

cal i

den

tity

Lev

el 1

(G

rad

es 1

-3)

1:Fl

uen

t ba

sic

tech

niq

ues

2:Fl

uen

t u

se o

fex

pres

sive

tec

hn

iqu

es3:

Mu

sica

l use

of

rhyt

hm

/pu

lse/

dura

tion

4:Se

amle

ss s

ync

wit

hin

th

e ba

nd;

secu

re c

onti

nu

ity

5:H

igh

ly c

onfi

den

t &

ass

ure

d pe

rfor

man

ces

6:H

igh

deg

ree

ofst

ylis

tic

awar

enes

s7:

Ext

ensi

ve a

ppro

pria

te im

prov

isat

ion

8:St

ron

g se

nse

of

inte

rnal

com

mun

icat

ion

wit

hin

the

ban

d9:

Stro

ng

effo

rt t

o co

mm

un

icat

e co

llect

ive

mu

sica

l ide

nti

ty

1:Se

cure

bas

ic t

ech

niq

ues

2:C

orre

ct u

se o

fex

pres

sive

tec

hn

iqu

es3:

Secu

re r

hyth

m/p

uls

e/du

rati

on4:

Stro

ng

sen

se o

fin

tern

al s

ync/

con

tin

uit

y5:

Mai

nly

con

fide

nt

perf

orm

ance

s6:

Som

e de

gree

of

styl

isti

c aw

aren

ess

7:So

me

appr

opri

ate

impr

ovis

atio

n8:

Som

e se

nse

of

inte

rnal

com

mu

nic

atio

n w

ith

in t

he

ban

d9:

Som

e ef

fort

to

com

mu

nic

ate

colle

ctiv

e m

usi

cal i

den

tity

1:M

ain

ly s

ecu

re b

asic

tec

hn

iqu

es2:

Som

e u

se o

fex

pres

sive

tec

hn

iqu

es3:

Gen

eral

ly a

ccu

rate

rhy

thm

/pu

lse/

dura

tion

4:M

ain

ly s

ynch

ron

ised

inte

rnal

ly;1

or

2 co

nti

nu

ity

erro

rs

5:So

me

hes

itan

t p

erfo

rman

ces

6:B

egin

nin

gs o

fst

ylis

tic

awar

enes

s7:

Att

empt

ed b

ut

inco

nsi

sten

t im

prov

isat

ion

8:M

inim

al s

ense

of

inte

rnal

com

mu

nic

atio

n w

ith

in b

and

9:So

me

ackn

owle

dgem

ent

ofau

dien

ce p

rese

nce

1:In

secu

re b

asic

tec

hn

iqu

es2:

Inco

nsi

sten

t u

se o

fso

me

expr

essi

ve t

ech

niq

ues

3:In

con

sist

ent

rhyt

hm

/pu

lse/

dura

tion

4:Po

or in

tern

al s

ynch

ron

isat

ion

;un

awar

e of

erro

rs5:

Lac

k of

con

fide

nce

6:St

ylis

tica

lly u

naw

are

7:N

o im

prov

isat

ion

att

empt

ed8:

Lac

k of

un

ders

tan

din

g be

twee

n b

and

mem

bers

9:N

o ef

fort

to

com

mu

nic

ate

colle

ctiv

e m

usi

cal i

den

tity

1:C

onsi

sten

t ba

sic

tech

nic

al e

rror

s2:

Failu

re t

o ob

serv

e ex

pres

sive

mar

ks3:

Way

war

d pu

lse/

rhyt

hm

/du

rati

on4:

No

syn

c;bi

g co

nti

nu

ity

gaps

;fal

se s

tart

s5:

Hig

hly

ner

vou

s pr

esen

tati

on6:

Styl

isti

cally

un

awar

e7:

No

impr

ovis

atio

n a

ttem

pted

8:L

ack

ofu

nde

rsta

ndi

ng

betw

een

ban

d m

embe

rs9:

No

effo

rt t

o co

mm

un

icat

e co

llect

ive

mu

sica

l ide

nti

ty

App

endi

x B

:Ban

d P

iece

s (P

erfo

rman

ce C

erti

fica

te)


Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

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

ompt

res

pon

ses

1:C

orre

ct p

itch

es/r

hyth

ms

2:St

ron

g se

nse

of

puls

e3:

Gen

eral

ly p

rom

pt r

espo

nse

s

1:C

orre

ct p

itch

es/r

hyth

ms

wit

h o

ccas

ion

al m

ista

kes

2:C

onsi

sten

t if

eith

er s

low

er o

r fa

ster

th

an r

equ

este

d3:

Som

e pr

ompt

res

pon

ses

1:E

rror

s in

pit

ches

an

d rh

yth

ms

2:E

xces

sive

ly c

auti

ous/

hurr

ied

tem

pi;i

rreg

ula

r pu

lse

3:H

esit

ant

wit

h o

ccas

ion

al f

alse

sta

rts

1:In

corr

ect

test

s p

laye

d2:

A n

um

ber

ofsi

gnif

ican

t an

d/or

rep

eate

d er

rors

;n

o se

nse

of

puls

e3:

Freq

uen

t br

eakd

own

s

Gra

des

6 -

8 (

out

of10

)

1:Fl

uen

t,ef

fort

less

ly m

usi

cal t

ech

nic

al a

ccu

racy

2:

Exa

ct s

ense

of

puls

e3:

Alw

ays

nea

r-in

stan

t re

spon

ses

1:C

orre

ct p

itch

es/r

hyth

ms

wit

h s

ome

flu

ency

2:St

ron

g se

nse

of

puls

e w

ith

no

hes

itat

ion

3:G

ener

ally

nea

r-in

stan

t re

spon

ses

1:C

orre

ct p

itch

es/r

hyth

ms

wit

h o

ccas

ion

al m

ista

kes

2:C

onsi

sten

t if

eith

er s

low

er o

r fa

ster

th

an r

equ

este

d3:

Gen

eral

ly p

rom

pt r

espo

nse

s

1:E

rror

s in

pit

ches

an

d rh

yth

ms

2:So

me

cau

tiou

s/hu

rrie

d te

mpi

;irr

egu

lar

puls

e3:

Hes

itan

t w

ith

occ

asio

nal

fal

se s

tart

s

1:In

corr

ect

test

s p

laye

d2:

Som

e si

gnif

ican

t or

rep

eate

d er

rors

;lit

tle

or n

o se

nse

of

puls

e3:

Freq

uen

t br

eakd

own

s

App

endi

x C

:Tec

hnic

al E

xerc

ises


Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

38

App

endi

x D

:Sig

ht R

eadi

ng a

nd I

mpr

ovis

atio

n &

Int

erpr

etat

ion

Impr

ov &

Inte

rpre

tati

on G

rade

s 4-

5

1:Te

chn

ical

ly a

ssu

red

and

effo

rtle

ss2:

Wid

e ra

nge

of

expr

essi

ve t

ech

niq

ues

3:G

roov

ing

sen

se o

fpu

lse

4:St

ron

g se

nse

of

idio

m e

xpre

ssed

th

rou

ghu

se o

flic

ks/g

roov

es5:

Stro

ng

sen

se o

fdi

stin

ctiv

e m

usi

cal

com

mu

nic

atio

n w

ith

in s

tyle

6:C

onsi

sten

t an

d ex

act

sigh

t re

adin

g

1:Te

chn

ical

ly a

ccu

rate

an

d m

usi

cal

2:R

ange

of

expr

essi

ve t

ech

niq

ues

3:C

onsi

sten

t,ac

cura

te p

uls

e4:

Qu

ite

stro

ng

awar

enes

s of

clas

sic

feat

ure

sof

the

idio

m5:

Ver

y co

nfi

den

t p

erfo

rman

ce6:

Acc

ura

te s

igh

t re

adin

g

1:M

ain

ly t

ech

nic

ally

acc

ura

te w

ith

occa

sion

al e

rror

s2:

Som

e u

se o

fva

ried

tim

bre/

arti

cula

tion

/reg

iste

r/dy

nam

ics

3:L

arge

ly c

onsi

sten

t,ac

cura

te p

uls

e4:

Bas

ic s

tylis

tic

awar

enes

s5:

Ade

quat

ely

flu

ent

per

form

ance

6:A

dequ

ate

sigh

t re

adin

g

1:Se

vera

l err

ors

ofba

sic

tech

niq

ues

2:O

ccas

ion

ally

var

ied

tim

bre/

arti

cula

tion

/reg

iste

r/dy

nam

ics

3:P

uls

e sl

ow/f

ast/

inco

nsi

sten

t4:

Lit

tle

evid

ence

of

styl

isti

c aw

aren

ess

5:N

ervo

us/

hes

itan

t/in

com

ple

te p

erf.

6:In

accu

rate

sig

ht

read

ing

1:L

arge

ly in

corr

ect

in a

ll pa

ram

eter

s 2:

Exp

ress

ive

mon

oton

y3:

Way

war

d se

nse

of

puls

e4:

No

evid

ence

of

styl

isti

c aw

aren

ess

5:E

xtre

mel

y h

esit

ant

per

form

ance

or

less

than

1/4

of

the

test

com

plet

ed6:

Lit

tle

or in

com

plet

e si

ght

read

ing

Impr

ov &

Inte

rpre

tati

on G

rade

s 1-

3

1:Te

chn

ical

ly a

ccu

rate

an

d m

usi

cal

2:W

ide

ran

ge o

fex

pres

sive

tec

hn

iqu

es3:

Con

sist

ent,

accu

rate

pu

lse

4:St

ron

g se

nse

of

idio

mat

ic im

prov

isat

ion

5:C

omm

un

icat

ive

perf

orm

ance

1:Te

chn

ical

ly a

ccu

rate

2:So

me

use

of

vari

ed t

imbr

e/ar

ticu

lati

on/r

egis

ter/

dyn

amic

s3:

Con

sist

ent,

accu

rate

pu

lse

4:A

ppro

pria

te s

tylis

tic

awar

enes

s in

impr

ovis

atio

n5:

Con

fide

nt

perf

orm

ance

1:M

ain

ly t

ech

nic

ally

acc

ura

te w

ith

som

eer

rors

2:O

ccas

ion

al u

se o

fva

ried

tim

bre/

arti

cula

tion

/reg

iste

r/dy

nam

ics

3:L

arge

ly c

onsi

sten

t pu

lse

(an

d <

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 pe

rfor

man

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 pe

rfor

man

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

perf

orm

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

perf

orm

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 pe

rfor

man

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

perf

orm

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


App

endi

x G

:Ear

Tes

ts fo

r B

ass

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

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


App

end

ix F

: Ear

Tes

ts fo

r B

ass



Sample Music

Printed below is a set of samples from the exam music for bass. Candidates willfind short tips on how to play the pieces in the Guru’s Guide section of each book and some of theseare shown below.

Fake Tortoise: Jason Woolley. Bass Grade 1. The 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.

Hazi Taxi: Jason Woolley. Bass Grade 3.A modern guitar rock track in the style of The Kaiser Chiefs The opening chord riff looks quite trickybut 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 towardsthe end of the piece.

Some You Win: Kit Morgan. Bass Grade 8. A 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 tointroduce 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

44

Fake Tortoise

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

? #### 44q=115 Indie Pop

˙ œ ‰ JœE F#m

2 42

wA

2

˙ œ ŒE F#m

2 4

œ œ œ œ œ œ ŒA G#m

2 2 2 2 2 1

? #### œ œ œ œ œ œ ŒA B

2 2 2 2 2 4

œ œ œ œ œ œ œ œE B

0 0 0 02 2 2

2

œ œ œ œ œ œ œ œF#m A

2 2 2 20 0 0 0


0 0 0 02 2 2

2

? #### œ œ œ œ œ œ œ œF#m

2 2 2 2 2 2 2 4

œ œ œ œ œA

0 0 0 0 2

œ œ œ œ œC#m

4 4 4 4 2

œ œ œ œ œG#m

4 4 4 40

? #### œ œ œ œB

2 2 2 2

œ œ œ œ œA

0 0 0 0 2

œ œ œ œ œC#m

4 4 4 4 2

œ œ œ œ œG#m

4 4 4 40

? #### œ œ œ œB

2 2 2 2

œ ‰ jœ œ ‰ jœF#m G#m

2 2 4 4

œ ‰ jœ œ ‰ jœA G#m

0 04 4


2 2 4 4

œ œ œ œ œ œ ŒA G#m

0 0 0 0 04

? #### œ œ œ œ œ œ ŒA B

0 0 0 0 0 2


0 0 0 02 2 2

2


2 2 2 20 0 0 0


0 0 0 02 2 2

2

œ œ œ œ œ œ œ œF#m

2 2 2 2 2 2 2 2

? #### œ œ œ œ œ œ œ œE B

0 0 0 02 2 2

2


2 2 2 20 0 0 0


2 2 4 4

œ ‰ jœ œ ‰ jœA B

0 0 2 2

wE

2

BASS Grade 1


Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

47

? # 44Drum fill

∑q=140q q q q= j3

f

Modern Guitar Pop

œ œ œ œ œ# œ œ œE G5 A5 G5 E

2 2 0 04 4

0 2

œ œ œ œ œ# œ œ œG5 A5 G5 E

2 0 04 4 2

2


2 0 04 4

0 2

∑

? #% œ œ œ œ œ# œ œ œG5 A5 G5 E

2 2 0 04 4

0 2


2 0 04 4

0 2


2 0 04 4 2

2

? # œ œ œ œ œ# œ œ œ.E G5 A5 G5 E

2 2 0 04 4 2

2

‰ œ œ œ œ# œ œ œ.G5 A5 G5 E

2 0 04 4 2

2

‰ œ œ œ œ# œ œ œG5 A5 G5 E

2 0 04 4

0 2

? #Develop part on D.S.Fœ œ œ œ œ œAm7

2 2 2 2 04

œ œ œ œ œ œEm/G

2 2 2 2 4 2

œ# œ œ œ œn œ#B7

1 1 12

0 1

œ œ œ œ œ œEm/G

2 2 2 2 40

? # œ œ œ œ œ œAm7

2 2 2 2 04

œ œ œ œ œEm

0 0 0 04

œ œ ‰ jœ œ œ ‰ jœC7

3 3 3 3 3 3

? # œ œ ‰ jœ œ œ ‰ jœB7

2 2 2

4 4

2

œ œ ‰ jœ œ œ ‰ jœ2 2 2

4 4

2

œ œ œ œ œ œ œ œ

2 2

4 4

2 2

4 4

œ œ œ œ œ œ œ œ2 2 0 0

3 3 2 2

Hazi Taxi (extract)

Jason Woolley

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

Band Piece Grade 3 Bass part



Gui

tar B

ass

and

Drum

s Sy

llabu

s G

uide

52

? # # 44 ~~~~

q=93 Jazz Funk

q q =3q q

Ó Œ ‰ . rœ0

%œ ≈ œ> œ œ> œ ¿

¿

≈ .œ# œ>Em9

0 2 2 3 40

‰ œ œ œ .œ œ ≈ œ# œ œA7

03 3 2

0 1 20

? # # ~~~~

~~~~œ ≈ œ> œ œ>

jœ ‰ .œ# œ>Em9

0 2 2 3 40

Œ ≈ œ> œ# œ Œ ≈ œ œ œA7

5 6 7

75 7

œ œ> œ œ>jœ ‰ .œ# œ>

Em9

0 0 2 2 3 4 5

? # # ‰ . rœ.PM

œ œ .œ œfl ≈ œ# œ œA7

03 3 2

0 1 22

œ œ. œ œ œ .jœ ≈ œ œ# œ œ>

Em9

20 2 2 3 3 4

0

2

œ œ œ jœ ≈ Rœ. œ> œ œ œ ..œœb œœA7 Eb7#5#9 Dmaj7

20 7 7

4 5 76

675

? # # œœ ..œœbn œœ œœ œœ ≈ œ.

PM

A b Gmaj7

5

4

4

3 2

.jœ ≈ œ.PM

œ œn œ> œ œ œF#m7 Bm7

24 4 3 2 2 0

œ œ œb œ œ# œ œn œ# œGmaj7 E7/G#

32 1 0

42

6 4

? # # ~~~~~~

œ .œ œ ≈ œ œ ≈ ..JœœbA11 Eb7#5#9

0 4

2 24

6

6

..Jœœ ≈ ..œœbn œœ œœ Œ

Dmaj7 A b7 Gmaj7

75

5

4

4

3

.jœ ≈ ≈ œ. œ. œ ‰ œ. œ œ œF#m7 Bm7

20 4

44 0

2 0

? # # 43œ œ œ> œ# œ œ œ œ#

Gmaj7 E7/G#

3

5

42

21

.Jœ ≈ œ. œ. œ œ# œ œ#A11 A#dim

2 24 2

1

3

.œT œT œ œT œ œP œ œT œT ‰ jœT>Bm7 Gmaj7

2

T

2

T

0 2

T

44P

4

T

2

T

3

T

Some You Win (extract)

Kit Morgan

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

BASS Grade 8



GUITAR BASS DRUMS - leemcdonough.com fileGUITAR BASS DRUMS Syllabus Guide 2006-2012 Europe’s No. 1...

Documents

Transcript of GUITAR BASS DRUMS - leemcdonough.com fileGUITAR BASS DRUMS Syllabus Guide 2006-2012 Europe’s No. 1...