ST CECILIA DRUMKIT SYLLABUS Foreword and Syllabus Notes The new drum kit exams offered by St Cecilia s School of Music (SCSM) have been written to suit the needs of the modern drummer be they student or teacher. Examinations are available at seven different levels: Preliminary, Certificates 1-4, Associate Diploma and Diploma. Completion of previous levels is not a prerequisite for the sitting of any level of exam. For example, a student who has been playing for a few years without doing exams may wish to skip the earlier Certificates and go straight to Certificate 3. This is a viable option, but students and their teachers should make sure they are entering at an appropriate level. One of the goals of these exams is to provide a framework for students to gauge their progress through assessment of compulsory requirements and also to develop individuality by providing choice of performance works and, for the upper levels, choices in time-keeping, sight-reading and research. The compulsory material required at each level has been selected for one or more of the following reasons: it is considered essential knowledge for any drummer; it is considered to be a valuable tool for drummers looking for imaginative ways of approaching the instrument; it is information that has applications across a broad range of styles; it is material that will open up new avenues of musicianship to the student. It is also intended as a guide for teachers and students, laying out a clear yet flexible path to better musicianship, giving students freedom in the direction their musical career takes them. The choices in the elective areas have been selected to cater for a wide range of students and there is considerable flexibility within each unit. Students in the earlier levels will largely be following a specifically structured course (with freedom of choice in the performance section), but as the student progresses the level of choice increases, to the point where diploma level students will lay out the own course of study within the guidelines provided. This is all aimed at ensuring the student enjoys their musical experience and is challenged in attaining achievable goals through SCSM examinations. Students are encouraged to extend their learning beyond the drum kit by understanding relevant aspects of music history, song form/structure and by having a basic grasp of theory, though the latter will not be assessed (SCSM provides a separate course for theory which students are encouraged to undertake). In exams students are asked to either prepare written programme notes or speak briefly about the pieces they are performing. It is suggested that students speak about their chosen pieces as this is considered a more useful skill for contemporary musicians, but written programme notes will not be marked at a disadvantage. Students should refer to requirements laid out for each certificate. Notes on Examination Areas The exam requirements have been laid out in five areas: technical, time-keeping, performance, programme notes/research and ear testing.
Technical The technical area has been set out to cover the basic ideas of stick control, coordination and reading. The materials used are generally considered to be the building blocks of good drumming/percussion and students should explore their possibilities beyond the exam requirements. The aim is to apply these ideas to real musical or practice situations, not just exercises for the sake of exercises. The technical section includes exercises, such as the American and Swiss Rudiments, and rhythmic understanding, utilising books such as Syncopation (Ted Reed) and Modern Reading Texts in 4/4 (Louis Bellson). This work should lead to increased stick control and speed, improvised application of rhythms and highly competent coordination between all four limbs. Time-Keeping This section is concerned with the development of the drummer s primary role as a timekeeper, and developing their awareness of the role of the drums in the rhythm section. Students will be required to play rhythms from a wide range of styles/genres and time signatures, including rock/pop, funk, jazz, shuffles, latin (Brazilian and Cuban), 12/8 and hip-hop. Our aim is to develop drummers knowledge of a range of styles, to introduce new time-keeping devices to them, to provide new technical and coordination challenges and to re-enforce their understanding of the central role of the drummer in an ensemble. Students will be asked to perform a selection of rhythms for up to 24 bars each, with the emphasis being on the playing of good time and groove. Examples of required rhythms are provided as well as cross references to recommended resources. Performance The performance section is broken into two separate parts. The first is based on solo material such as snare drum solos, etudes, full kit solos, solos transcribed from recordings and, for the Associate Diploma and Diploma, improvised solos. The second part is based on ensemble playing, though it may include solos and fills. This section has strong ties to the time-keeping section and again the emphasis will be on good time and groove. Students may choose from a variety of ways to present their work in this part such as an accompanied work, use of a play along or a full ensemble. The latter of these is highly desirable for the upper levels, where ensemble playing (ie interaction) will be assessed. Programme Notes/Research This section is aimed at developing a deeper understanding of musical aspects beyond the instrument, but with applicability being a key. Students should research works presented in the performance section and are encouraged to know outlines of the development of important styles (ie, jazz, rock, bossa nova) where applicable. Ear Testing Ear testing is the smallest component of the exam but all students should be encouraged to develop their aural skills to a professional level. Largely the testing will involve repeating a rhythmic phrase played by the examiner. Melodic and harmonic recognition will not be included, but again, students are encouraged to develop these skills.
Certificate 1 iv) 12/8 beats (semiquavers on cymbal, quavers only on snare and bass drum) up to four variations. demonstrate the following rudiments and minimum expected. Other than orchestrations, these should be played from memory and students should give a count-in for each example and mark the pulse with either of the feet - bass drum or hi-hat. Students may be asked to lead with either hand. Dynamics to be played as directed by the examiner. Technical (20 i) Single paradiddle with orchestrations (semiquavers at mm=88) ii) Double paradiddle (quaver triplets at mm=120) iii) Flams (alternating hands - crotchets at mm=88) iv) 5-11 stroke rolls (open semiquavers at mm=80) Students will be asked to play 12 bars of sight-reading on the snare drum. Further examples of Certificate 1 level reading can be found in Syncopation (Ted Reed), exercise 1 through 8 (pages 38-45) or pages 4-8 of Modern Reading Text in 4/4 (Louis Bellson). Students will be asked to perform the following time-keeping patterns (beats). All examples should be played at a stylistically appropriate tempo. Where this is not applicable a minimum tempo has been given. Students should play each beat for a minimum of 8 bars, up to 24 bars, as instructed by the examiner. For further examples refer to Rhythm Section Drumming (Frank Corniola). For i) refer to page 6, ii) pages 15 and 17, and iv) page 29. Refer to appendix for 12/8 cymbal variations and funk beats. i) Basic rock beats (quavers only, including syncopation on bass drum - mm=88) up to eight variations. ii) Rock beats incorporating semiquavers on snare (mm=80) up to 3 variations. iii) Basic funk beats (mm=72) up to four variations. Part 3 Performance (25 For the Certificate 1 exam a minimum of two pieces are required, total duration 5-8 minutes. A copy of the music must be provided for the examiner. a) One etude, snare drum solo, or similar. and b) One or more pieces focussing on timekeeping devices (fills and solos optional). Students may present this as a solo piece, perform with a backing track or be accompanied. If more than one piece is presented in this section it is preferable to choose pieces of contrasting style or tempo. simple questions relating to the performance pieces, ie. time signatures, repeats/codas, type of beat, technical devices etc. Part 5 Ear testing (10 Students are asked to clap two examples of one or two bar rhythms in 4/4 as played to them by the examiner. Rhythms will involve subdivisions up to and including semiquavers (excluding triplets), and will be played twice by the examiner. Certificate 2 The requirements of Certificate 2 pave the way for the choices available in Certificates 3 and 4, bringing a wider range of styles to the student s attention. There is also a continuation of the technical, reading and ear-testing work of the Preliminary level and Certificate 1. demonstrate the following rudiments and minimum expected. These should be played
from memory and students should give a count-in for each example and mark the pulse with either of the feet - bass drum or hi-hat. Students may be asked to lead with either hand. Dynamics to be played as directed by the examiner. Technical (20 i) Paradiddlediddle (quaver triplets mm=120) ii) 13-17 stroke rolls (open - semiquavers mm=88) iii) Drag (alternating hands - crotchets mm=80) iv) Flam Tap (quavers mm=112) v) Flam Accent (quaver triplets mm=72) Students will be asked to play 12 bars of sight-reading on the snare drum. Further examples of Certificate 2 level reading can be found in lessons 6, 9, 10 and 11, of Syncopation (Ted Reed) and pages 9-12 of Modern Reading Text in 4/4 (Louis Bellson). Certificate 2 students are also required to sight read time-keeping patterns of similar standard to Certificate 1 Time-keeping requirements. Students will be asked to perform the following time-keeping patterns (beats). All examples should be played at a stylistically appropriate tempo. Where this is not applicable a minimum tempo has been given. Students should give a count-in (one or two bars) for each example. Students should play each beat for a minimum of 8 bars, up to 24 bars, as instructed by the examiner. For further examples refer to: Rhythm Section Drumming (Frank Corniola) for rock beats; The Art of Bop Drumming (John Riley) and Advanced techniques for the Modern Drummer (Jim Chapin) for jazz and some shuffles; The Beat, The Body and The Brain (Skip Hadden) for shuffles; and The Essence of Afro- Cuban Percussion and Drum Set (Ed Uribe) and Afro-Cuban Rhythms for Drum Set (Frank Malabe and Bob Weiner) for Chachacha. v) Rock beats (semiquavers on snare and bass drums mm=80) up to five variations. vi) Jazz cymbal beat with basic foot patterns and beat for rim-click (mm=100). vii) viii) Basic shuffle beats (mm=80) up to three variations. Simple chachacha beat (mm=100-120) two variations Part 3 Performance (25 For the Certificate 2 exam a minimum of three pieces is required, total duration 8-10 minutes. a) At least one piece in the form of snare solo, etude or full kit solo. and b) At least two pieces focussing on timekeeping devices, at least one of which must utilise either fills or a solo section. Students should demonstrate the ability to play in contrasting styles and tempi. Students may perform these pieces solo, accompanied or with a backing track, but at least one is to be presented with a backing track or accompaniment. questions relating to the performance pieces, ie. time signatures, repeats/codas, type of beat, technical devices etc. They will also be asked to present, in written or aural form, information about the development of one of the styles covered in the Time-keeping section. Part 5 Ear testing (10 Students are asked to clap three or four two bar rhythms in 4/4 played to them by the examiner. Rhythms will involve subdivisions up to and including semiquavers (including quaver triplets), and will be played twice by the examiner. Certificate 3 Certificate 3 offers students considerable choice in their area of study and performance without limiting students to one area. Students are advised to undertake some work in all areas so as to be able to make an informed choice for the exams.
demonstrate the following rudiments and minimum expected. These should be played from memory and students should give a count-in for each example and mark the pulse with either of the feet - bass drum or hi-hat. Students may be asked to lead with either hand. Dynamics to be played as directed by the examiner. Technical (20 Ruff (mm=60) 5-11 stroke rolls (closed, mm=120) Flam paradiddle (quavers, mm=112) Swiss Army Triplets (mm=72) Flamacue (mm=84) Students will be asked to play 12 bars of sight-reading on the snare drum. Further examples of Certificate 3 level reading can be found in lessons 7 and 12, and the 48 bar exercise on page 29 of Syncopation (Ted Reed) as well as pages 12 and 47 of Modern Reading Text in 4/4 (Louis Bellson). Certificate 3 students are also required to sight-read 2 time-keeping patterns of similar standard to Certificate 2 Time-keeping requirements. For Certificate 3 students are given three compulsory beats and then have a choice for the remaining two. The selections are split into three groups jazz, latin (Brazilian and Cuban), and studio styles. Students may select both from the same group. All examples should be played at a stylistically appropriate tempo. Where this is not applicable a minimum tempo has been given. Students should give a count-in (one or two bars) for each example. Students should play each beat for a minimum of 8 bars, up to 24 bars, as instructed by the examiner. Compulsory Jazz beat, with feet, and basic snare drum comping (mm=108). Simple bossa nova variations (hi-hat with hand/rim click/bass drum) (mm=108-132 ). Half-time shuffle(mm=132-152) Choose two (2) of the following beats from any group: Jazz Jazz shuffle. 3/4 jazz cymbal pattern with feet (no snare drum). 4/4 jazz beat, hi-hat on beats 2 and 4, quaver comping on bass drum. Latin a) Brazilian Beats: Futher bossa nova variations. Basic Samba Batucada for drum kit. Basic Baiao for drum kit. Basic Samba do Partido Alto for drum kit. For further examples refer to Brazilian Rhythms for Drumset (Fonseca/Weiner), Brazilian Percussion Manual (Daniel Sabanovich) and The Essence of Brazilian Percussion and Drumset (Ed Uribe). b) Cuban Beats: Basic Mambo for drum kit. Basic Mozambique for drum kit. Basic Songo for drum kit For further examples refer to Afro-Cuban Rhythms for Drumset (Malabe/Weiner) and The Essence of Afro-Cuban Percussion and Drumset (Ed Uribe). Studio Styles Basic Reggae beat. Basic hip-hop beat (swung semiquaver funk beat). Basic Soca beat. Motown style beat (4 to the bar on snare drum). Part 3 Performance (25 For the Certificate 3 exam a programme of 11-15 minutes is required. A minimum of one solo, etude or similar is required. It may be in the form of solo piece, an accompanied work, or a transcribed solo (ie 32 bar jazz solo). and A minimum of two pieces focussing on timekeeping devices, at least one of which must utilise fills or a solo section. Students should demonstrate the ability to perform in contrasting styles and tempi. Students may perform these pieces solo, accompanied, in an ensemble, or with a backing track, but at least one is to be presented accompanied, or with an ensemble or backing track. simple questions relating to the performance
pieces, ie. time signatures, repeats/codas, type of beat, technical devices etc. Students will also be asked to present, in written or aural form information about the development/context of the free choices in the Time-keeping section. Part 5 Ear testing (10 Students are asked to clap 3 two bar rhythms one in 4/4, two in 3/4 - played to them by the examiner. Rhythms will involve subdivisions up to and including semiquavers (quaver triplets used in 4/4 example only), and will be played twice by the examiner. Certificate 4 Certificate 4 has been designed to aid students seeking admission to tertiary music courses as well as being the final step before SCSM Associate Diploma and Diploma study. demonstrate the following rudiments and minimum expected. These should be played from memory and students should give a count-in for each example and mark the pulse with either of the feet - bass drum or hi-hat. Students may be asked to lead with either hand. Dynamics to be played as directed by examiner. Technical (10 13-17 stroke roll (closed mm=120) Pata-fla-fla (mm=112) Ratamacue Flam-paradiddle-diddle (alternating) (mm=120) Students are to choose one of the following areas. i) Jazz snare drum comping in 4/4 (quavers only), 12 bars. ii) Latin Tamborim or mambo-bell patterns 6 2-bar patterns iii) Studio Funk and rock beats 8 beats. For Certificate 4 students are given no compulsory beats but are to choose five examples from the lists given and play a transcription from one of the groups as listed. The options are split into three groups jazz, latin (Brazilian and Cuban), and studio styles. Students may select up to three from the same group and may elect to present examples from all three groups, or just two. All examples should be played at a stylistically appropriate tempo. Where this is not applicable minimum tempo markings have been listed. Students should give a count-in (one or two bars) for each example. Students should play each beat for a minimum of 8 bars, up to 24 bars, as instructed by the examiner. For the transcriptions, students may make their choice from any of the sections. Where two examples are required, they may be from different players, ie. one Steve Gadd pattern and one Rick Marotta pattern. Jazz New Orleans Second Line Feel (mm=132) 4/4 jazz beat with snare drum and bass drum comping (quavers only) (mm=112). For further examples refer to The Art of Bop Drumming (John Riley), pages 26 and 27. 4/4 jazz beat with snare drum comping, including triplets (mm=112). For further examples refer to The Art of Bop Drumming (John Riley), pages 22 and 23. Transcription: 16 bars (solo or time-keeping) from Art Blakey, Billy Higgins or Max Roach. Latin a) Brazilian Beats: Samba Batucada for drum kit. Baiao for drum kit. Samba do Partido Alto for drum kit. Samba for full kit. 3/4 Samba. For further examples refer to Brazilian Rhythms for Drumset (Fonseca/Weiner), Brazilian Percussion Manual (Daniel Sabanovich) and The Essence of Brazilian Percussion and Drumset (Ed Uribe). Transcription: 2 time-keeping patterns by Airto Moreira, Claudio Slon, Joao Palma or Jorge Fattoruso. b) Cuban Beats: Mambo for drum kit. Mozambique for drum kit. Songo for drum kit. Basic 6/8 Afro-Cuban. For further examples refer to Afro-Cuban Rhythms for Drumset (Malabe/Weiner) and
The Essence of Afro-Cuban Percussion and Drumset (Ed Uribe). Transcription: 2 time-keeping patterns from Jose Luis Quintana ( Changuito ), Steve Berrios, Ignacio Berroa, or Robby Ameen. Studio Styles Reggae beat. Hip-hop beat (swung semiquaver funk beat). 7/4 funk or rock beat. Basic One-drop beat. 9/8 Beat. Transcription: 2 time-keeping patterns from Steve Gadd, Bernard Purdie, Rick Marotta or Jeff Porcaro. Part 3 Performance (30 For the Certificate 4 exam a programme of 16-20 minutes is required. A minimum of one solo, etude or similar is required. It may be in the form of solo piece, an accompanied work, or a transcribed solo (ie 32 bar jazz solo). A minimum of two pieces focussing on timekeeping devices, at least one of which must utilise fills or a solo section. Students should demonstrate the ability to perform in contrasting styles and tempi. Students may perform these pieces solo, accompanied, in an ensemble, or with a backing track, but at least one is to be presented accompanied, or with an ensemble or backing track. questions relating to the performance pieces, ie. form, time signatures, repeats/codas, type of beat, technical devices etc. Students will also be asked to present, in written or aural form information about the musician/s they presented transcriptions of. Part 5 - Ear testing (10 Students are asked to clap 4 two bar rhythms two in 4/4, two in 3/4 - played to them by the examiner. Rhythms will involve subdivisions up to and including semiquavers (including quaver triplets), and will be played twice by the examiner.