Beruflich Dokumente
Kultur Dokumente
NIRVANA
FLEETWOOD MAC
RED HOT CHILI PEPPERS
THE WHITE STRIPES
GUNS N’ ROSES
AMY WINEHOUSE
IRON MAIDEN
STING
PRINCE
QUEEN
TOTO
CHIC
WHAT’S CHANGED?
This syllabus features the following changes from the 2015–2017 syllabus:
New selection of songs at all levels, expertly arranged for the grade and in a wide
range of styles
Revised marking criteria, providing examiners, teachers and candidates with increased
detail on how exams are marked (see pages 34–37)
Revised parameters for own-choice songs (see pages 21–25)
Electric drum kits can now be used up to Grade 6
Technical focus songs now feature two technical elements
Band exams are no longer offered
OVERLAP ARRANGEMENTS
This syllabus is valid from 1 January 2018. The 2015–2017 syllabus will remain valid until
31 December 2018, giving a one year overlap. During this time, candidates may present
songs from the 2015–2017 syllabus or the syllabus from 2018, but not both. Candidates
should indicate which syllabus they are presenting on the appointment form handed to
the examiner at the start of the exam.
DRUMS
SYLLABUS
Qualification specifications
for graded exams from 2018
1
Contents
3 / WELCOME
38 / INITIAL
39 / GRADE 1
40 / GRADE 2
41 / GRADE 3
42 / GRADE 4
43 / GRADE 5
44 / GRADE 6
45 / GRADE 7
46 / GRADE 8
47 / PUBLICATIONS
48 / POLICIES
51 / NOTES
Trinity College London accepts entries for its exams on the condition that candidates
conform to the requirements of the appropriate syllabus. Any amendments to the
requirements will be published on our website and in reprints of the document.
2
Welcome
Welcome
Welcome
Welcome to Trinity College London’s Rock & Pop Drums syllabus. Whether self-taught or taking
lessons, learning for fun or heading for a career in the music industry, these exams help musicians
develop real technical and performance skills to achieve their musical ambitions. We place
performance at the heart of our Rock & Pop exams, so everything in this syllabus is assessed
within a performance context that mirrors the skills you need in the industry.
REAL SONGS
Play the music you love with our huge range of hit songs spanning all contemporary styles.
Choose your set list from the eight songs in our graded songbooks, play a song of your own
choice, or perform a song you’ve written yourself.
REAL SKILLS
Develop the improvisation and playback session skills that professional musicians need.
Showcase your technical skills in a real-life context through our technical focus songs and
demonstrate your ability to deliver a compelling live performance.
REAL PROGRESS
Achieve your goals with an externally regulated and internationally recognised qualification.
Trust the 140-year heritage Trinity brings to contemporary music, and benefit from marks and
comments on your performance from industry experts.
The exams are supported by a range of resources that provide essential support for learners:
graded songbooks containing all the songs needed for the exam, background information
on the songs, and performance hints and tips
demo and backing tracks for the songs in the books, as downloads or on CD
additional Trinity Rock & Pop arrangements suitable for use as own-choice songs, available
at trinityrock.com/extra-songs — check the website for the latest additions
session skills example tests books.
We hope you enjoy exploring the songs on offer in this syllabus and we wish you every success
in the exams and your wider music-making.
Introduction to Trinity’s
Rock & Pop exams
OBJECTIVE OF THE QUALIFICATIONS PARENTAL AND TEACHER GUIDANCE
Trinity’s graded Rock & Pop exams provide a The songs in Trinity’s Rock & Pop syllabuses
structured yet flexible framework for progress, have been arranged to represent the artists’
which enables a learner to demonstrate original recordings as closely and authentically
their own musical personality and promotes as possible. Popular music frequently deals
enjoyment in music performance. with subject matter that some may find
offensive or challenging. It is possible that the
The exams assess music performance,
songs may include material that some might
technical ability and responses to set
find unsuitable for use with younger learners.
musical tests through face-to-face practical
assessment. They offer learners of any age the There is no requirement that all songs in this
opportunity to measure their development as syllabus must be learnt. We recommend that
performers against a series of internationally parents, guardians and teachers exercise their
understood benchmarks, taking them from own judgement to satisfy themselves that the
beginner level to the point where they can lyrics of selected songs are appropriate for the
progress to higher education in music. learners concerned. Trinity does not associate
itself with, adopt or endorse any of the opinions
or views expressed in the selected songs.
WHO THE QUALIFICATIONS ARE FOR
Trinity’s Rock & Pop exams are open to all
learners, with no age restrictions or other ASSESSMENT AND MARKING
limitations. There is no requirement to have Trinity’s graded exams in Rock & Pop are
passed lower grades, theory exams or other assessed by external examiners, who are
qualifications, although the grades represent industry experts trained and moderated
a system of progressive mastery and the by Trinity. Examiners provide marks and
outcomes for each level assume confidence comments for each section of the exam
in the requirements of previous grades. using the marking criteria on pages 34–37.
We are committed to making our exams The exam is marked out of 100. Candidates’
accessible to all, and each candidate is treated results correspond to different attainment
individually when considering how assessments levels as follows:
can be adapted for those with special needs.
Find more information at trinitycollege.com/ Mark Attainment level
music-csn
87–100 DISTINCTION
75–86 MERIT
60–74 PASS
4
Introduction to Trinity’s Rock & Pop exams
Introduction
Guided learning hours Independent learning hours Total qualification time
(GLH) (ILH) (TQT) (hours)
Initial 8 32 40
Grade 1 12 48 60
Grade 2 18 72 90
5
Introduction to Trinity’s Rock & Pop exams
WHERE THE QUALIFICATIONS COULD LEAD Theory exams are available from Grade 1 to
support learners to develop their understanding
While for some learners graded Rock & Pop
of the technical language of music. However, no
exams represent a personal goal or objective,
theory qualifications or other prerequisites are
they can also be used as a progression
required to enter graded or certificate exams at
route towards:
any level. Find more information about theory
music courses at conservatoires and exams at trinitycollege.com/theory
universities, for which Grade 8 is often
specified as an entry requirement
employment opportunities in music
OTHER QUALIFICATIONS OFFERED BY TRINITY
and the creative arts. After Grade 8 or the Advanced Certificate in
classical subjects, candidates can progress
to diplomas at Associate (ATCL), Licentiate
HOW TO BOOK AN EXAM (LTCL) and Fellowship (FTCL) levels. These
Exams can be taken at Trinity’s public exam assess higher skills in performance, teaching
centres, which are available throughout and theory. Find more information about
the world. Details are available at diploma exams at trinitycollege.com/diplomas
trinityrock.com/exam-centres, and Adults who work as music educators may also
candidates should contact their local Trinity wish to consider Trinity’s Level 4 Certificate
representative for more information. for Music Educators (Trinity CME). Find more
In the UK you may book a public centre exam information about the Trinity CME at
session online at trinityrock.com/book. trinitycollege.com/CME
Alternatively, schools and private teachers Music Tracks is an initiative in the UK designed
with sufficient candidates may apply for an to support teachers in delivering instrumental
exam visit (please see trinityrock.com/ tuition for both large and small groups. Find
exam-visit for details). more information about Music Tracks at
trinitycollege.com/musictracks
TRINITY QUALIFICATIONS THAT COMPLEMENT We also offer:
THE ROCK & POP QUALIFICATIONS graded, certificate and diploma qualifications
Trinity’s music qualifications offer flexible in drama-related subjects
progression routes from beginner to advanced
levels in a range of musical styles. All are English language qualifications
designed to help candidates develop as teaching English qualifications
musicians according to their individual needs
Arts Award (only available in certain
as learners. countries).
Graded music exams assess a broad range of Specifications for all these qualifications can
musicianship skills, including performance, be downloaded from trinitycollege.com
while certificate exams (available for classical
instruments and voice) focus entirely on
performance, including separate marks for
presentation skills. Find more information
about graded exams at trinitycollege.com/
gradedexams and about certificate exams
at trinitycollege.com/certificates
Candidates can enter any combination of
graded or certificate exams, and do not need
to pass any particular level in order to proceed
to a higher level.
6
Introduction to Trinity’s Rock & Pop exams
Introduction
7 7 FTCL
6 6 LTCL LMusTCL
ATCL AMusTCL
4 5
Certificate for Music
Educators (Trinity CME)
Grade 8 Grade 8 Grade 8 Advanced Advanced
Entry Initial
1 Initial Initial
Level 3 Track
Entry First
Levels Access
1–2 Track
7
Introduction to Trinity’s Rock & Pop exams
Initial
TCL Graded Examination in Rock and Pop (Initial) (Entry 3) 600/3695/3
Grade 1
TCL Level 1 Award in Graded Examination in Rock and Pop (Grade 1) 600/3546/8
Grade 2
TCL Level 1 Award in Graded Examination in Rock and Pop (Grade 2) 600/3588/2
Grade 3
TCL Level 1 Award in Graded Examination in Rock and Pop (Grade 3) 600/3590/0
Grade 4
TCL Level 2 Certificate in Graded Examination in Rock and Pop (Grade 4) 600/3591/2
Grade 5
TCL Level 2 Certificate in Graded Examination in Rock and Pop (Grade 5) 600/3592/4
Grade 6
TCL Level 3 Certificate in Graded Examination in Rock and Pop (Grade 6) 600/3593/6
Grade 7
TCL Level 3 Certificate in Graded Examination in Rock and Pop (Grade 7) 600/3594/8
Grade 8
TCL Level 3 Certificate in Graded Examination in Rock and Pop (Grade 8) 600/3595/X
8
Learning outcomes and assessment criteria
Learning outcomes
INITIAL
(RQF Entry Level 3)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a performance that 1.1 Perform with adequate continuity and a sense of pulse
demonstrates a basic foundation
on their instrument and shows 1.2 Perform with some evidence of individual interpretation
some interpretation
2.
Perform audibly with a sense
2.1 Demonstrate some sense of performance with some confidence and
of enthusiasm and enjoyment
capacity for audience engagement
and with some awareness of
audience
3.
Demonstrate that the Demonstrate a generally adequate technique
3.1
foundations of a secure
technique have been established 3.2 Perform with an adequate basic sound
4.
Demonstrate a range of Respond to a quick study piece with attention to note values and pitches
4.1
technical and musical abilities 4.2 Improvise with some melodic development, some harmonic awareness,
through either a quick study and a basic use of instrumental/vocal resources relevant to Initial level
piece or improvisation
9
Learning outcomes and assessment criteria
GRADE 1
(RQF Level 1)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a performance that Perform with general continuity and a sense of pulse
1.1
demonstrates preparation and 1.2 Perform with a developing feeling of individual interpretation
the beginnings of interpretation
4. Respond to a quick study piece with continuity of pulse and attention to note
4.1
Demonstrate a range of values and pitches
technical and musical abilities
through either a quick study 4.2 Improvise with some melodic development, harmonic awareness, and use of
piece or improvisation basic instrumental/vocal resources relevant to Grade 1
GRADE 2
(RQF Level 1)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a performance that Perform with generally secure rhythm and a sense of pulse
1.1
demonstrates preparation,
understanding and the beginnings Perform with a general feeling of individuality and commitment
1.2
of thoughtful interpretation
2. Give a performance that is generally accurate and fluent with fair attention
2.1
Perform clearly and accurately to musical and notational details
and be able to create and convey
mood to the audience 2.2 Demonstrate a competent sense of performance
10
Learning outcomes and assessment criteria
1.
Produce a performance that Perform with secure rhythm and pulse
1.1
demonstrates careful preparation,
understanding and the beginnings 1.2 Perform with clear evidence of an emerging musical personality
of thoughtful interpretation
2.
Perform clearly and accurately, Give a performance that is accurate and fluent with perceptive attention
2.1
with a sense of spontaneity and to musical and notational details
be able to create and convey 2.2 Demonstrate a confident, communicative and consistent sense of performance
mood to the audience
GRADE 4
(RQF Level 2)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a performance that Give a performance that pays attention to musical and notational details
1.1
demonstrates an understanding Perform with some evidence of stylistic awareness and a general attempt
1.2
of the material, leading to a to convey individual musical intent
personal interpretation
2.
Perform clearly and with Demonstrate an overall sense of performance with confidence and some
2.1
projection, supporting mood capacity for audience engagement
and character and engaging
with the audience
3.
Show evidence of a basic Perform with a generally reliable technique
3.1
exploration of and familiarity 3.2 Perform with an adequate basic sound with some evidence of tonal control
with the fundamentals of and projection
instrumental/vocal technique
11
Learning outcomes and assessment criteria
GRADE 5
(RQF Level 2)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a performance Give a performance that pays close attention to musical and notational
1.1
that demonstrates a sound details
understanding of the material, Perform with awareness of and sensitivity to appropriate style, with
1.2
leading to a personal and evidence of an emerging musical personality
imaginative interpretation
4. Respond to a quick study piece with fluency, accurate notes and tonality,
4.1
Demonstrate a range of technical and detailed phrasing, articulation and dynamics
and musical abilities through 4.2 Improvise with well-controlled and imaginative melodic development,
either a quick study piece or strong planning and structure, appropriate harmonic vocabulary, and full
improvisation use of instrumental/vocal resources relevant to Grade 5
GRADE 6
(RQF Level 3)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a secure and sustained 1.1 Perform with attention to dynamics, articulation and phrasing
performance that demonstrates Perform with general evidence of stylistic awareness and some attempt
1.2
a stylistic awareness and mature to convey individual musical intent and commitment
grasp of the material
2.
Perform with confidence and Demonstrate an overall sense of performance with general confidence
2.1
a sense of ownership and and a recognisable capacity for audience engagement
self-awareness that engages
the audience wholeheartedly
3.
Show familiarity with the full Give a performance that is technically reliable with generally secure
3.1
compass of the instrument/voice intonation and a good quality of tone
and use some advanced techniques
4. Respond to a quick study piece with mostly accurate notes and tonality,
4.1
Demonstrate a range of technical adequate continuity, musical development, and well-planned use of
and musical abilities through instrumental/vocal resources
either a quick study piece or 4.2 Improvise with imaginative melodic development, appropriate harmonic
improvisation procedures, well-planned length, and use of instrumental/vocal resources
12
Learning outcomes and assessment criteria
2.
Perform with confidence and Demonstrate a comfortable sense of performance with consistent
2.1
a sense of ownership and audience engagement
self-awareness, which engages
the audience
3.
Show familiarity with the full Give a performance that is fluent and accurate, with a strong technical
3.1
compass of the instrument/voice facility and a high quality of tone and intonation
and employ advanced techniques
4. Respond to a quick study piece with general accuracy in notes and tonality,
4.1
Demonstrate a range of with continuity and creative musical development, and with a wide use of
technical and musical abilities instrumental/vocal resources
through either a quick study 4.2 Improvise with creative melodic development, harmonic awareness,
piece or improvisation appropriate length and a wide use of instrumental/vocal resources
GRADE 8
(RQF Level 3)
LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1.
Produce a secure and sustained Perform with keen attention to dynamics, articulation and phrasing
1.1
performance that demonstrates Perform with a high level of musical sensitivity and a convincing grasp of
1.2
a discriminating and sensitive appropriate style, with a clear, distinctive and authoritative musical personality
personal interpretation
2.
Perform with confidence and a
sense of authority and control Perform with confidence and effective engagement with the audience
2.1
that engages the audience
wholeheartedly
3.
Show familiarity with the full
compass of the instrument/ 3.1 Perform with a strong command of technique with musical and sensitive
voice and employ advanced control of intonation and other instrumental/vocal resources
techniques with even control
across all registers
4. 4.1 Respond to a quick study piece with accuracy in notes and tonality, fluency,
Demonstrate a range of imaginative musical development, strong planning and construction, and full
technical and musical abilities and creative use of instrumental/vocal resources
through either a quick study 4.2 Improvise with well-controlled and imaginative melodic development, clear
piece or improvisation and appropriate harmonic vocabulary, appropriate length and full and
creative use of instrumental/vocal resources
13
About the exam
SONGS
80 MARKS
SESSION SKILLS
20 MARKS
14
About the exam
Maximum
marks
SONG 1 25
SONG 2 25
SESSION SKILLS 20
SONG 3 30
TOTAL 100
15
About the exam
EXAM DURATIONS
Exams are designed to include sufficient time for setting up and presenting all sections, and
overall durations are as follows:
16
About the exam
17
About the exam
19
Exam guidance: Songs
A song from the 2015–2017 Trinity Rock & Pop REPEATS, EXPRESSIVE TECHNIQUES
syllabus may be selected as an own-choice AND TEMPI
song, provided that it meets the current
All songs should be prepared in full with all
own-choice parameters. A list of suitable songs
repeats, da capo and dal segno instructions
can be found at trinityrock.com
and 1st and 2nd time bars observed.
Candidates are encouraged to include a range
SONG 3 of expressive techniques as appropriate to the
style of the song, particularly in the higher
Three of the songs in each Trinity songbook
grades. Candidates should observe terms
are identified as technical focus songs, and
showing tempo, dynamics, character and style
these are marked with [TF] in the song list
of the music.
sections further on in this syllabus. One of
these should be chosen for song 3, and it must
be performed with the Trinity backing track. BACKING TRACKS
These songs are designed to develop technical Backing tracks for own-choice songs must be
skills, and each song has two technical of good quality, in MP3 format and presented
elements specifically identified. Guidance on on a USB stick or computer-readable audio CD.
the preparation of these technical skills is They must not include the solo part.
included in the songbooks.
For the technical focus song, higher marks are PERFORMING FROM MEMORY
available in the technical control component
Candidates may perform any or all of their
to reflect the increased emphasis on this area.
songs from memory. However, this is not
Examiners will refer to the technical elements
compulsory and no additional marks are
in their comments.
given for this.
If a candidate includes two or three technical
focus songs in their set list, they should clearly
indicate on the appointment form which one is MUSIC AND COPIES
to be marked as the technical focus song. It is essential that candidates bring an original
copy, or an authorised download, of the music
being performed into the exam room. If an
PERFORMANCE AND INTERPRETATION unauthorised copy is used, Trinity may not
Trinity’s Rock & Pop exams are designed award marks for that song. Original copies of
to encourage musical performances that own-choice sheet music can be purchased or
reflect a candidate’s own personal style and downloaded from music shops and publishers.
approach. This is because we understand that Proof of purchase will be required for downloads.
contemporary music is flexible in its stylistic Allowances cannot be made for delays in
interpretation, particularly at the higher obtaining printed music.
grades. However, performances should not be
simplified and musical integrity should always
be maintained. PAGE TURNERS
The examiner will not be able to help with page
turning. Difficult page turns may be overcome
by photocopying the relevant pages. A page
turner may assist at Grades 6–8 if necessary,
but must only be present in the exam room
when required to turn pages. The page turner
should not be the candidate’s teacher.
20
Exam guidance: Songs
Syncopation None
Time signatures , ,
Techniques Cross stick, snares on/off, short notated solo breaks/fills, trashy/tight hi hat
Improvisation None
21
Exam guidance: Songs
GRADE 1
Duration 1 – 2.5 minutes
Rhythmic values Dotted crotchet, semiquaver (more frequent use), equivalent rests
Other directions/
Accent, slash notation/cont. sim.
markings
Kit/beaters As Initial
Independence As Initial
Techniques As Initial
Improvisation None
GRADE 2
Duration 1.5 – 3 minutes
Other directions/
Subito dynamics
markings
Open/closed hi hat, fills containing grace note rudiments, very simple swing
Techniques
patterns
22
Exam guidance: Songs
GRADE 3
Duration 1.5 – 3.5 minutes
Dynamics pp, ff
Other directions/
Marcato accent, phrasing marks above the stave
markings
Time signatures ,
Other directions/
Any, as relevant to the music
markings
Kit/beaters Brushes
23
Exam guidance: Songs
GRADE 5
Duration 2.5 – 4 minutes
Time signatures Occasional irregular time signatures, more frequent changes of time signature
GRADE 6
Duration 3 – 4.5 minutes
Independence More complex left hand off-beats under right-hand 16th patterns
24
Exam guidance: Songs
GRADE 7
Duration 3 – 4.5 minutes
GRADE 8
Duration 3.5 – 5 minutes
25
Exam guidance: Session skills
Contemporary musicians need to develop a In the exam candidates have two chances to
range of listening and improvisation skills, play along with the track:
whether they are an artist or session musician. first time — for practice
The session skills tests have been specifically
designed to develop and reinforce those skills. second time — for assessment.
Candidates choose either playback Candidates should follow the musical direction
or improvising. in the written score, and copy the expressive
techniques heard on the track. No variation
or improvisation is required — the song chart/
PLAYBACK recording should be copied as accurately
as possible, including details of articulation
Professional musicians need excellent listening
and dynamics.
and sight reading skills. The playback test
develops both. Technical expectations for the playback test
Candidates choosing this option are required are given in the table on pages 28–29.
to perform some music they have not seen or All requirements are cumulative, meaning
heard before. that tests may also include requirements from
lower grades.
Sample tests are available in our Session Skills
books (see page 47) and free examples can be
downloaded from trinityrock.com
26
Exam guidance: Session skills
27
Exam guidance: Session skills
Playback
Length of
repeated 2 bars 2 to 4 bars
sections
Time signatures ,
minims, semiquavers,
Note values crotchets, dotted minims dotted
quavers crotchets
minims, quavers,
Rest values
crotchets semibreves
HH with foot,
HH and RC,
SD, BD, HT, LT, mid tom tom, off-beat BD
Additional mostly 2-way
crash cymbal; some 2-way rhythms,
parameters coordination,
single line only coordination 3-way
ties
coordination
4 to 8 bars
time signature
, , , , , changes
dotted
semibreves,
quavers, crotchet
dotted
quaver triplets semiquaver triplets,
semiquavers,
triplets, duplets
demisemiquavers
sextuplets
dotted
dotted
quavers,
dotted minims,
dotted
any common
crescendo and
pp, ff and sfz terms and
diminuendo
signs
29
Exam guidance: Session skills
Improvising
Total bars 4 8
Time signatures ,
& rhythm swung
quavers
Solo break
12 16
, time signature
, changes
syncopation
more varied
some use of
rate of
2 chords
harmonic
per bar
change
up to 2 bars up to 4 bars
any common
style including
funk, jazz,
reggae, Latin, hybrid styles
shuffle, boogie-woogie,
31
Exam guidance: Marking
8 12 TECHNICAL CONTROL
COMMUNICATION
9 10
& STYLE
TOTAL MAXIMUM
25 30 MARK FOR
EACH SONG
32
Exam guidance: Marking
The marks for song 3 are different because HOW SESSION SKILLS ARE MARKED
higher marks are awarded under technical Session skills are awarded a single mark that
control to reflect the two areas of technical focus. corresponds to different attainment levels
Total marks awarded for songs correspond to as follows:
the attainment levels as follows:
Overall mark Attainment level
Songs Song 3 Attainment level
1&2 17–20 DISTINCTION
33
Exam guidance: Marking
Communication 9 MARKS (SONGS 1 & 2) 8 MARKS (SONGS 1 & 2) 6-7 MARKS (SONGS 1 & 2)
& style 10 MARKS (SONG 3) 9 MARKS (SONG 3) 7-8 MARKS (SONG 3)
Highly convincing Very good communication Good communication
communication and engagement with only and engagement
and engagement. momentary insecurities. overall though with
Excellent stylistic Very good stylistic occasional insecurities.
understanding and understanding and Good stylistic
realisation of musical realisation of musical understanding
detail. detail with minimal and realisation of
lapses. musical detail despite
occasional lapses.
34
Exam guidance: Marking
5 MARKS (SONGS 1 & 2) 3-4 MARKS (SONGS 1 & 2) 1-2 MARKS (SONGS 1 & 2)
6 MARKS (SONG 3) 4-5 MARKS (SONG 3) 1-3 MARKS (SONG 3)
Generally reliable level Unreliable communication Little or no communication
of communication and and engagement. and engagement.
engagement though with Unreliable stylistic Extremely unreliable stylistic
some insecurities. understanding and understanding and realisation
Reasonable stylistic realisation of musical detail. of musical detail.
understanding and
realisation of musical
detail despite some lapses.
35
Exam guidance: Marking
36
Exam guidance: Marking
37
Initial
Initial
EXAM STRUCTURE SONGS
The Initial exam contains the following: See pages 19–21 for requirements about the
selection of songs.
Maximum The following songs are included in the Trinity
marks Initial Drums songbook.
38
Grade 1
Grade 1
InitiAL GRADE 1
EXAM STRUCTURE SONGS
The Grade 1 exam contains the following: See pages 19–21 for requirements about the
selection of songs.
Maximum The following songs are included in the Trinity
marks Grade 1 Drums songbook.
39
Grade 2
Grade 2
EXAM STRUCTURE SONGS
The Grade 2 exam contains the following: See pages 19–21 for requirements about the
selection of songs.
Maximum The following songs are included in the Trinity
marks Grade 2 Drums songbook.
40
Grade 3
Grade 3
EXAM STRUCTURE SONGS
The Grade 3 exam contains the following: See pages 19–21 for requirements about the
selection of songs.
Maximum The following songs are included in the Trinity
GRADE 2 GRADE 3
marks Grade 3 Drums songbook.
DANCING IN THE
Either a different song chosen from the Trinity Toploader
MOONLIGHT
Grade 3 Drums songbook
or a song from the additional Trinity drums DON’T WANNA FIGHT Alabama Shakes
arrangements at trinityrock.com/extra-songs
or an own-choice song I NEVER LOVED A MAN
Aretha Franklin
(THE WAY I LOVE YOU) [TF]
or a song composed by the candidate
If song 2 is an own-choice song or one LONDON CALLING The Clash
composed by the candidate it may:
LOVE IS THE DRUG Roxy Music
be unaccompanied
b
e played to a backing track (which can SWEET CHILD O’ MINE [TF] Guns N’ Roses
be pre-recorded by the candidate)
include added vocals, performed live by SWEET EMOTION Aerosmith
the candidate
include an accompaniment played or sung SESSION SKILLS
live by another musician
Candidates choose either playback
or improvising.
SESSION SKILLS 20
See pages 26–31 for full details of the
requirements and parameters.
Either playback or improvising
TOTAL 100
The Grade 3 exam lasts 15 minutes.
41
Grade 4
Grade 4
EXAM STRUCTURE SONGS
The Grade 4 exam contains the following: See pages 19–21 for requirements about the
selection of songs.
Maximum The following songs are included in the Trinity
marks Grade 4 Drums songbook.
42
Grade 5
Grade 5
EXAM STRUCTURE SONGS
The Grade 5 exam contains the following: See pages 19–21 for requirements about the
selection of songs.
Maximum The following songs are included in the Trinity
marks Grade 5 Drums songbook.
GRADE 4 GRADE 5
ALIVE [TF] Pearl Jam
SONG 2 25
HERE COMES THE SUN The Beatles
Either a different song chosen from the Trinity
MUSICOLOGY Prince
Grade 5 Drums songbook
or a song from the additional Trinity drums Queens of the
arrangements at trinityrock.com/extra-songs NO ONE KNOWS [TF]
Stone Age
or an own-choice song
RIFF RAFF [TF] AC/DC
or a song composed by the candidate
If song 2 is an own-choice song or one Ocean Colour
THE RIVERBOAT SONG
composed by the candidate it may: Scene
be unaccompanied
SIR DUKE Stevie Wonder
b
e played to a backing track (which can
be pre-recorded by the candidate) YOU KNOW I’M NO GOOD Amy Winehouse
include added vocals, performed live by
the candidate
SESSION SKILLS
include an accompaniment played or sung
live by another musician Candidates choose either playback
or improvising.
SESSION SKILLS 20
See pages 26–31 for full details of the
requirements and parameters.
Either playback or improvising
EXAM DURATION
SONG 3 30
43
Grade 6
Grade 6
EXAM STRUCTURE SONGS
The Grade 6 exam contains the following: See pages 19–21 for requirements about the
selection of songs.
Maximum The following songs are included in the Trinity
marks Grade 6 Drums songbook.
TOTAL 100
The Grade 6 exam lasts 25 minutes.
44
Grade 7
Grade 7
EXAM STRUCTURE SONGS
The Grade 7 exam contains the following: See pages 19–21 for requirements about the
selection of songs.
Maximum The following songs are included in the Trinity
marks Grade 7 Drums songbook.
GRADE 6 GRADE 7
arrangements at trinityrock.com/extra-songs TOXICITY [TF] System of a Down
or an own-choice song
THE TROOPER Iron Maiden
or a song composed by the candidate
If song 2 is an own-choice song or one TWO WEEKS [TF] Grizzly Bear
composed by the candidate it may:
WHAT’D I SAY Ray Charles
be unaccompanied
b
e played to a backing track (which can WITH A LITTLE HELP
be pre-recorded by the candidate) Joe Cocker
FROM MY FRIENDS [TF]
include added vocals, performed live by
the candidate
SESSION SKILLS
include an accompaniment played or sung
live by another musician Candidates choose either playback
or improvising.
SESSION SKILLS 20
See pages 26–31 for full details of the
requirements and parameters.
Either playback or improvising
EXAM DURATION
SONG 3 30
45
Grade 8
Grade 8
EXAM STRUCTURE SONGS
The Grade 8 exam contains the following: See pages 19–21 for requirements about the
selection of songs.
Maximum The following songs are included in the Trinity
marks Grade 8 Drums songbook.
ROSANNA Toto
Either a different song chosen from the Trinity
Grade 8 Drums songbook
SCHISM [TF] Tool
or a song from the additional Trinity drums
arrangements at trinityrock.com/extra-songs SEVEN DAYS [TF] Sting
or an own-choice song
SILLY PUTTY Stanley Clarke
or a song composed by the candidate
If song 2 is an own-choice song or one THE SPIRIT OF
Rush
composed by the candidate it may: RADIO [TF]
be unaccompanied
SUE (OR IN A SEASON
b David Bowie
e played to a backing track (which can OF CRIME)
be pre-recorded by the candidate)
include added vocals, performed live by WAR PIGS Black Sabbath
the candidate
include an accompaniment played or sung SESSION SKILLS
live by another musician
Candidates choose either playback
SESSION SKILLS 20 or improvising.
See pages 26–31 for full details of the
Either playback or improvising requirements and parameters.
SONG 3 30
EXAM DURATION
TOTAL 100
The Grade 8 exam lasts 30 minutes.
46
Publications
publications
The following Trinity publications support SESSION SKILLS
this syllabus. All are available from Specimen playback and improvising tests are
trinityrock.com/shop or from your local available in Trinity’s Session Skills series. A CD
music shop. is included with each book.
ROCK & POP SONGBOOKS FROM 2018 Drums Session Skills Initial–Grade 2 TCL 014276
Trinity’s Rock & Pop songbooks contain eight
Drums Session Skills Grades 3–5 TCL 014283
songs (including three technical focus songs),
plus background information on the songs and Drums Session Skills Grades 6–8 TCL 014290
performance tips. Each also contains a code
that gives free access to downloadable MP3
Syllabuses and Rock & Pop songbooks are also
files of demo and backing tracks for the songs.
available for:
Drums Initial TCL 016980 b
ass
Drums Grade 1 TCL 016997 guitar
Drums Grade 2 TCL 017000 keyboards
GRADE 8 publications
Drums Grade 8 TCL 017062
47
Policies
policies
CHILD PROTECTION DATA PROTECTION
Trinity College London is fully committed to Trinity College London is registered as
safeguarding and protecting the candidates a Data Controller with the Information
that we work with. All posts, including Commissioner’s Office in the United Kingdom
examiners, are subject to a safer recruitment under data protection legislation. Please
process, including the disclosure of criminal see trinitycollege.com/policies for the most
records and vetting checks. Our safeguarding up-to-date information about data protection
policies and procedures are regularly reviewed procedures and policies. You can write to the
and promote safeguarding and safer working Data Protection Officer at Trinity’s central
practice across all parts of our work. office for further information.
48
Policies
Policies
MALPRACTICE
rinity requires its registered exam centres
T
to report any suspected malpractice
by candidates, teachers or examiners.
In situations where a centre is found to be
inadequate or to be guilty of malpractice,
either in terms of provision of facilities or
in administration, the exam centre may be
required to suspend all of its activities relating
to Trinity exams until the cause of the problem
is identified and rectified, if appropriate.
In extreme circumstances, the centre may no
longer be permitted to act as an exam centre
registered with Trinity.
In the very rare cases or circumstances where
a centre or individual may be suspected
of malpractice, Trinity will aim to minimise
any inconvenience caused to any affected
candidate, and would like to thank candidates,
teachers and centre staff for their kind
co-operation in reporting any suspected
incident of cheating, thereby assisting Trinity
in upholding the quality and integrity of its
exam process.
49
Access all areas…
Find out more and download the app for iOS and Android at trinityrock.com/app
GET IN TOUCH
You can contact the music support team at Trinity’s central office at music@trinitycollege.com,
or find the contact details of your local representative at trinityrock.com/exam-centres
50
Access all areas… NOTES
Notes
51
Notes
notes
Notes
Notes
52