TRINITY COLLEGE LONDON PRESS 03 DRUMS GRADE TRINITY COLLEGE 448-519, 4th Flo Opp New Del Ph. O11 Published by Trinity College London Press trinitycllege-com Registered in England Company no. 03726123 Photography by Zute Lightfoot, lightfootphotocom © Copyright 2017 Trinity College London Press First impression, August 2017 Unauthorised photocopying silegal No part ofthis publication may be copied or reproduced in any form or by any means without the prior permission ofthe publisher. Printed in England by Calgraving Lt L.M. FURTADO & CO, MUMBAI-2,THE EXAM AT A GLANCE In your exam you will perform a set of three songs and one of the session skills assessments. You can cheose the order of your set list SONG 1 Choose a song from this book, SONG 2 CChoose either a different song from this book ra song from the ist of additonal Trinity Rock & Pop arrangements, available et trinityrockcom or a song you have chosen yourset: this could be your own cover version ora sang that you have written. t should be atthe same level as the songs in this book and match the parameters at trinityrock.com SONG 3: TECHNICAL FOCUS Song 3s designed to help you develop spectic and relevant techniques in performance, Choose one of the technical focus songs from this book, which cover two specific technical elements, SESSION SKILLS Choose either playback or improvising. Session skis are an essential part of every Rock & Pop exam. They are designed to help wou develop the techniques music industry performers need, Sample tests are available in our Session Shlls books and free examples can be downloaded fram trnityrack.com ACCESS ALL AREAS GET THE FULL ROCK & POP EXPERIENCE ONLINE AT TRINITYROCK.COM We nave created arange of ciitl resources to support your leaning and give youinsider information from the musle industry, available online. ‘You wil find support, advice and data cantent on + Songs, performance andtechnique + Session sis + The music industry You can access tips and ticks from industry professionals featuring ‘+ Bite-sized videos that include tips from professional musicians on techniques used inthe songs + "Producer's notes on te tracks, to inerease your knowledge of rock and pop ‘Blog posts on performance tips, musical styles, developing technique and advice from the music industry JOIN US ONLINE AT:CONTENTS DRUM LEGEND 4 ‘ARE YOU GONNA GO MY WAY § DANCING IN THE MOONLIGHT 8 DON'T WANNA FIGHT i INEVER LOVED A MAN (THE WAY 1 LOVE YOU) 15 LONDON CALLING 19 LOVE IS THE DRUG 23 ‘SWEET CHILD 0° MINE 27 ‘SWEET EMOTION 31 HELP PAGES 35 THE AUDIO Music preparation and book layout by Andrew Skirrow for Camden Music Services Music consultants: Nick Crispin, Chris Walters, Christopher Hussey, James Sedge ‘udio arranged, recorded & produced by Tom Fleming To cualeneeiesee Drum arrangements by George Double tracks canbe downloaded free, Musicians see inside cover for details. Rey cation ore Drums: George Double Guitar: Tom Fleming ‘Vocals: Bo Walton, Alison Symons, Brendan ReillyDRUM LEGEND Drum kit notation can vary between different publishers and arrangers. The key below is used throughout this series and is becoming more consistently used aE = = = Ride cymbal Hihat Hihat Closed Open Crash cymbal with foot Hi hat Hi hat 1 4 aE — : = High tom Mid tom Snare drum Floor tom Bass drum J | = | \ tt = - E z Ride bell Cowbell Cross stick Buzz roll On the rim Ghosted noteIRE DRUMS TECHNICAL FOCUS ARE YOU GONNA ae Poe an ny eared RoC Let Love Rule Cra Ronn Someone Like You MV, = Hoboken, New Jersey, USA WORDS AND MUSIC: LENNY KRAVITZ, CRAIG ROSS ier New Yoricborn Lenny Kravitz isa singer, songuriter, multhinstrumentaist anc Pld producer wn has released Il albums since 1989, As wel as scoring big hits such as Co it Aint Over ‘ils Over’ and Fly Away’ he has aso co-written and produced hit singles for Madonna ¢ Lenny Kravitz stily My Love’) and Vanessa Paradis (Be My Baby’) Trettte tack a ingle fromm hs third album, the Hendrixtke ‘Are You Gonna o My Way, helped secure Kravitz his fist top 20 album in the US and his firs No. album both n the UK and Australia, achieving worldwide sales of over four milion, Released in February 1993, thi classic rock anthem reached No.4 in the UK and No. tin Australia, The song was co-uriten by Kravitz with guitarist Craig Ross who had joined Kravitz’s band forthe tour to promote his 1991 album Mama Said Kravitz sie It was one of those songs that happened in five minutes. We were jamming. Jo Henry (Hirsch, engineer and achineson, and we piayedit, And that thought there was something happening. keyboard player to turn the tape Ross played all th drummer guitar e recording, Kravitz taking onthe role of TECHNICAL FOCUS Two technical focus elements are featuredin tis song: + Flams Rhythm This song strongly features flame right from the start. The challenges to get these sounding absolutly consistent, and to replicate this when the flams come back a 39. There ave alsa challenging maments of rhythm, in particular bar 28 which needs tobe played exactly as writen in order to sync withthe backing track,TECHNICAL FOCUS ARE YOU GONNA GO MY WAY ty aa, ee es (nto Roek J= 120 (2 bars count-in) 222 SSS Sa tp te eee f aaaTo Coda. a : _¢s oe noe ae | ee ee — 7 7 ae) a mi DS. al Coda ae Ee03 DRUMS emmee §=DANCING IN THE Dancing In the Moonlight (Stargate Radio Mix) Penance CO CaaS hta) Pura (Live) ae ODER foe WORDS AND MUSIC: SHERMAN KELLY ea ag Bray eee erie Halling from the coastal town of Eastbourne in England, Toploader it big with their milion-seling debut album in 1999. The band are Josegh Washbourn (vocals! keyboard and songurite), Julian Deane (lead guitar), Dan Hiparave (rythm dguitan, Matt Knight (bass) and Rob Green (drums) Toploader originally released ‘Dancing in the Moonlight’ asa single in February 2000, where it reached a UK peak of No. 19. Following the toptve success of their ‘debut album Onka's Big Moka that summer, the song was re-released in November that year. This time it became the band's biggest and most enduring hit, reaching No.7 in the UK and going platinum after spending 25 weeks inthe charts ‘The song is by the band King Harvest, formed in 1970 in Pars, Ame nce, by four n expatriates. Keyboard player Sherman Kelly wrote the song in 1968, and King Harvest released it asa single four years later, earning them ‘one-hit wonder status as the song became thelr sole hit after reaching No.3 In the US. #& PERFORMANCE TIPS ‘The first-time bar and chorus both have an off-beat skipped snare drum part hich adds a nice funky feel to this song. You might want to learn each Individual “Snare sip seporately before puting ther together. Tis section seo includes ° & ‘rag onthe snare (race notes) that comes before the first beat of the bar.DANCING IN THE MOONLIGHT = sors+xewostessvos neu (io) 7 Indie Rock J=112 & \Verse] — chon) : Cop oo on or, Se Se Sree i“ To Coda cont. sim. LT Sa SS oF eS [Breakdown/Keyboard solo] a ‘cont. sim. —— SS FEB = = Z aE = = DS. al Coda 2s (take 2ng-time bar) Ws PALE SS es | =YOUR PAGE OESIRE TKS DON'T WANNA a cert FIGHT nee D See D Po nes HAKES cea WORDS AND MUSIC: ALABAMA SHAKES ‘Alabama Shakes formed In 2009 witha blend of fery blues-rock and hard-iting ‘Southern soul, quicKly bringing them international attention. With aformidabl live reputation and two hit albums they have become one ofthe biggest bands to emerge in the 2010s. “Don't Wanna Fight was the first taste of Alabama Shakes’ second album, 2019 US chart-topper Sound & Color. n electrifying mix of funky guitar ifs, soulful bass, chunky drums and the passionately raspy vocal performance of singe Britany Howard, the impressive track expanded the band’s range into more averse, genre-bending territory Likening the singer's opening how! to a hurricane, Rolin Stone magazine wrote, ‘After reintroducing herself witha spine-tingling squeal, singer-quitarist Brittany Howard goes on to deliver a dizzying vocal performance that splits the difference between James Brown and Barry Gibb! The ‘song received two Grammy Awards in February 2016 for Best Rock Song and Best Rock Performance, with Sound & Colar also picking up the Best Alternative Music Album honour. #& PERFORMANCE TIPS ‘The verse features syncopated snare drum and bass drum notes. Take care to place these accurately ~ subdividing as you count the beat will help. This isthe ‘most technically challenging section, but the rest of the song requires stamina and an energetic, driving fel, Look out forthe change of groove at bar 46.; DON’T WANNA FIGHT eee intro) Grooving +100 (2 bars countin) ( keys) So oa ~Gshaken)& (chorus) To Coda __ [Guitar soto] ee) i aE . —=— +YOUR PAGE oresIRE DRUMS TECHNICAL FOCUS [NEVER LOVED A [iim Pears MAN (THE WAY eS Right Man | L ov E y 0 U ) ee ARETHA PRANK os WORDS AND MUSIC: RONNIE SHANNON WAITER Coens Sra Born in Memphis, Tennessee in 1942, Aretha Franklin grew up singing gospel in her father’s church before signing er frst record deat atthe age of 18. The frst female performer to be inducted into the Rack and Roll Hall of Fame, a 2010 pol by Roling Stone magazine placed ner at Non the 100 Greatest Singers of All Time. [Aretha Franklin recorded nine aloums for Columbia Records between 1960 and 1966. Jerry Wexler signed her to Atlantic Record in 1967 and arranged for her to record with an al-white group of Souther session musicians called the Muscle Shoals Rhythm Section, who had played on Percy Sledge's When a Man Loves ‘a Woman’ and Wilson Pickett's ‘Mustang Sally’. Writen specifically by songwriter Ronnie Shannon, ‘I Never Loved a Man (The Way | Love You) was released as Franklin's debut single with the label and it became her fist top-ten hit as well as topping the US R&B chart for seven weeks). It also provided Franklin withthe tite of her tenth aloum, widely regarded as an atime classic album and ‘one thal established the singer as The Queen of Soul Franiin TECHNICAL FOCUS nical focus elements are featured in this sone + Stow shuffle feo! ‘© Double-stopped crescendo This song features a slow shuffle fe! in time, The challenge 'stokeep this ght ‘and bouncy, relaxed at all times and avoiding heaviness, The double-stopped crescendo in bars ids played wth th and floor tor 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 ‘Swinging J=90 (2 bars countin) — z = FA = =F ou : — (vary fils on repeat) ’ ‘i A = =a — EF AE ——— = SS = | 3 a 3 3 3 3 I= % a a a a ¥ St ea 3 i 3 — ———— — = —— of ed ns Acme ty SonEs 3 3 » : Z re eres) ® —— = Z— F —F Spe ¥ t oo ie Outro} - 3 3 i. s 3 ‘ma ae mS om + = ae = => = Se ——s Cee ee ee ee a a aeYOUR PAGE HOTESLONDON is CALLING ae ere cus Cio WORDS AND MUSIC: JOE STRUMMER, MICK JONES ae eg Cieaeries Mery Formed in London, England, in 1976, The Clash were one of the most paitically motivated and seminal bands of the UK punk scene and by 1978 comprised Joe Strummer (vocals, guitar, Mick Jones (vocals, guitar, Paul Simonon (bass) and Topper Headon (érums!. Al six of the band’s studio albums, and Talbums in reached the UK top 20. [Named after the call signal of the BBC's World Service broadcasts, "London Calling’ was the tile track and only UK single from The Clash’ thi Released at the end of 1979, the single reached No. 1 inthe UK with the album reaching No. 9. The double alourn also marked the band’s commercial breakthrough in the US, and Rolling Stone Calling at No.1in their best aloums of the 80s poll, describing it as azine would later rank London An emergency broadcast from rock's last angry band... skidding between ska, reggae, RSB, third-world music, power pop and fulFtlt pun, the Clash stormed the gates of rock convention and single-handedly set the agenda ‘musically, politically and emotionally ~ for the decade to come, Clash fans Bob Dylan and Br tile track in concert on mare than one occasion, Springsteen have both performes the album's # PERFORMANCE TIPS ‘This song has an angry eneray that you should do your best to capture ~ but try 0 dothis through controlied intensity rather than uncontrolled loudness. There Is 2 lot of variety between sections, requiring precision, and the flammed triplets in the breakdown section will need tobe practised for rhythmic accuracy. You may wish to subalvide your counting of these bars int triplet quavers, counting two of ‘these for each triplet erotehet