TCL Grade 6 Snare Drum

General Info

1. Candidates must provide their own sticks, which should be suitable for the repertoire being performed.
2. Damping dusters may be used if appropriate for the drum or the music.

Pieces / Studies

Candidates can express their musical identity by choosing pieces and studies from our varied repertoire lists. Drum kit candidates choose two pieces with backing tracks and one unaccompanied piece, from a wide range of authentic styles including jazz, funk, show tunes, film, TV, Latin, reggae and swing. Percussionists choose from a varied selection of tuned percussion, timpani and snare drum pieces with accompanied and unaccompanied options. Candidates can further personalize their program by including an own composition.

Song List

Item	Works	Composer	Publication	Publisher
1	Compilation no. 1	Gert Bomhof	21 Solos for Snare Drum	De Haske
2	Etude in 7/8	Morris Goldenberg	Modern School for Snare Drum	Alfred Music Publishing
3	Sombrero Bolero	Ben Hans	40 Intermediate Snare Drum Solos	Hal Leonard
4	A Riddle of Rudiments	Jackie Kendle	Percussion World: Snare Drum	Trinity College London Press
5	No. 25	Keith Larson	Artistic Studies for Snare Drum	C. Alan Publishing
6	Variations on a Bolero	Michael Skinner	Percussion Exam Pieces & Studies Snare Drum Book 2: Grades 6-8	Trinity College London Press
7	Chops Are Us	Jay Wanamaker	Alfred's Rudimental Contest Solos	Alfred Music Publishing
8	Free Flight	Jay Wanamaker	Alfred's Rudimental Contest Solos	Alfred Music Publishing
9	No. 6	Garwood Whaley	Recital Solos for Snare Drum	Meredith Music Publications
10	Silver	Brian Wilshere	Percussion World: Snare Drum	Trinity College London Press

Study List

Item	Works	Composer	Instrument	Publications	Publisher	Video
1	Diddle Dance	Lorne Pearcey	Snare Drum	Snare Drum Studies	Mark Aldous
2	Grade 6 Rudimental Study	Michael Skinner	Snare Drum	Percussion Exam Pieces & Studies Snare Drum Book 2: Grades 6-8	Trinity College London Press

Technical Works

Orchestral Figures and Multiple Bounce Roll Study

1. Grade 6 Orchestral Figures
2. Grade 6 Multiple Bounce Roll Study by Michael Skinner

Orchestral Extracts

Candidates choose one extract to play first. Examiners then selet one of the remaining two extracts to be performed.
1. Mahler: Symphony No. 3 1st Movement
2. Prokofiev: Romeo & Juliet Suite No. 1 - No.7: Death of Tybalt
3. Rimsky-Korsakov: Capriccio Espagnol - III: Alborada
Materials can be found in the Orchestral Excerpts For Percussion - Snare Drum (Volume 2).

Sight reading

This test assesses candidates’ ability to perform a previously unseen musical extract, at a level approximately two grades lower than the exam being taken.

About the Test

After 30 seconds’ preparation time, candidates perform a previously unseen musical extract at a level lower than the exam being taken.

Supporting Publications

For practice purposes, sample Sight-reading tests are published by Trinity College London Press in Graded Percussion Sight-Reading, Grades 1-8. Purchasing the book is not a requirement.

Aural

This test supports the development of candidate's abilities in musical perception and understanding by requiring them to recognize musical features by ear. All questions are based on a single musical example played at the piano by the examiner.

About the Test

1. Listen to the piece once and Identify the time signature
2. Listen to the piece once and comment on the dynamics
3. Listen to the piece once and comment on the articulation
4. Listen to the piece twice and comment on three other characteristics of the piece
5. Study a copy of the piece, listen to it twice with three changes, locate and describe the changes as pitch or rhythm.

Supporting Publications

For practice purposes, sample Sight-reading tests are published by Trinity College London Press in Aural Tests Book 2 from 2017 (Grade 6-8). Purchasing the book is not a requirement.

Improvisation

This test assesses candidates’ ability to improvise fluently, coherently and creatively in response to a musical stimulus.

Rhythmic stimulus

• Candidates are given a notated rhythmic stimulus, which the examiner plays twice. The examiner then invites the candidate to play it back to ensure that they have understood it.
• Candidates are then given 60 seconds’ preparation time, during which they may prepare for their improvisation aloud.