drum grade books

[JimmyM]

True enough, but the issue isn't "music school", but "standardized curriculum". I don't think anybody's saying that musical education is bad, it's just a question of how standardized it should be.

Standards and conventions exist in school music programs because there are standards and conventions in music. As the old saying goes, you have to know the rules to break them. Music is one of the few subjects that beginners somehow feel like they’re qualified to dictate the curriculum, and I will never get that.

Doesn’t mean you have to like it, nor does it mean you can’t throw it all out the window when you play on your own. But while it may be fun to play music, when you do it in school, there’s going to be standards. It’s school.

 

[Xstr8edgtnrdrmrX]

That makes sense.

The North American experience with standardized curriculum has been rather negative. On this side of the pond, it has tended to mean every student studying the same stuff, and teachers being evaluated by how well their students perform on standardized tests. In the states, a lot of the attitude goes back the the "No Child Left Behind" policy of George H. Bush. In Canada we've also had bad experience with it.

and sadly, all of this is driven to make a few single entities more money.

Standards are not a bad thing. Graded testing is. I have always felt that application of knowledge is the best test.

and if every student is studying the same stuff, that is not always bad. It is if they can apply that "same stuff" that is the true test.

in fact, I think music is one of the best examples of that application. My marching band students learn a litany of fundamentals (the same stuff) that they then have to use to modify for each performance since each performance is slightly different. Venues change. The reaction time of 80 or so kids change pretty much rep to rep. If my students can't react to each situation, they don't know their stuff. If they don't have that same foundation to ground on, they can't vary from it. They could all get an "A" on the written test, but any one can cheat on that. You can't cheat in application

 

[jeffwj]

and sadly, all of this is driven to make a few single entities more money...

This is also seen in the private lesson programs of some big box stores. They tend to have a lot of turnover, possibly due to low teacher pay. Students often have multiple teachers within the same year. This often results in the students quitting lessons. The company’s solution? Instead of the stores paying more in order to attract a higher quality teacher, they adopt a curriculum (set of books) for the teachers to follow.

When one teacher quits, the next teacher just jumps right in, assigning the next page. One teacher calls in sick or is on vacation, another one jumps right in. Student wants to change days, but the teacher is not available? No worries, the other teachers are all interchangeable. Sound like a good idea? Maybe for the company - not necessarily for the student.

 

[Jonathan Curtis]

OK, let me clarify a few things then.

Firstly, "graded" in this sense should be thought of as "levels", and not grades like A-C. There are 8 grades, ascending in difficulty and complexity. Grade 8 is a level 3 internationally recognised qualification, equivalent to an A-level, which 16 year old school students work on at school. At any given moment, a student can be said to be working towards a given grade, and it can take between months and years to attain a single grade, depending on the student and their circumstances.

For the syllabus I teach, there are five elements to a grade:
- two pieces of music to be played with accompaniment. These can be chosen from a repertoire list, or they can be self-selected or even self-composed, so long as Trinity approves them before hand.

- an unaccompanied solo piece: as above

- technical studies that contain grade-appropriate techniques, which usually involve various rudiments, rhythmic concepts/time signatures, and coordination

- sight reading: the student is given a small amount of practice time (30 seconds or so) before being asked to play the piece presented to them, which they have not seen or previously worked on.

- improvisation: the student is given a grade-appropriate rhythm, and is asked to improvise a short (length is grade-dependent) drum solo based on that rhythm.

This last one, improvisation, can be replaced by other "auxiliary" assessments, like musical knowledge or theory knowledge.

These five elements - play along, solo, technical study, sight reading, improv/theory knowledge - are the same for all 8 grades. As you progress, the complexity and body of knowledge grows. At grade 8, you would be expected to not only play the pieces with due musical expression, but demonstrate a command of lots of different rudiments, time signatures, etc. The sight reading and improvisation assessments evidence this, as the pool of rhythms you might be given for the improvisation grows. A grade 1 student can expect a rhythm comprising quarter notes and 8th notes in 4/4. A grade 8 student should expect a rhythm in an odd time signature, utilising syncopation, ties, over-the-barline phrases, and even polyrhythms, and would be expected to demonstrate grade-appropriate rudimental and technical application in their solo.

As you can see, this format presents a lot of opportunity for a well-rounded musical education in the early stages. As I said, grade 8 is a level 3 (within the UK qualification scheme), which is what most 16 year olds would expect to achieve at school. So rather than grade 8 representing a professional level, or the "end" of music lessons, it actually represents the end of the beginning. You have (in theory) covered all of the fundamentals to a high level, and can now embark on the higher concepts of the instrument.

I have grade 8 students who did just tick boxes and pass the exams, and do not play at what you would expect a grade 8 student to play at. These came to me from other teachers, and I now need to fill in the gaps in their knowledge. I also have students with no grades who play at a much higher level. The system is not perfect, nor is it for everyone. It is vulnerable to abuse, and it may be a relic of an outdated system. But, that does not mean it is without value. It is structured, balanced, provides a scheme of qualification and achievement that motivates younger students, and creates an air of achievement and pride for them. When they have a graded exam coming up, they practise and commit themselves, and then that work is rewarded when they achieve the grade.

It doesn't represent the entirety of their lessons. When we are working on one of their pieces, we cover all aspects of that musical context. When working towards the improvisation assessment, we are working towards all sorts of improvisational concepts to ensure they are equipped to tackle whatever they may be given.

It is also worth saying that the US is one of the only countries in the world that does not adopt the graded system. Countries north and south of the US use British-inspired graded systems, many of them actually underwritten by Trinity College itself, as do many countries in Asia and Europe. One of my colleagues is a diploma examiner (which represents post-grade degree-level qualifications), and marks submissions from all over the world, notably excluding the US. I wonder if this is a cultural point within the US, as, as others have stated, there seems to be a culture of hyper-individualism which rallies against any form of...I don't know in this case... standardisation?

Don't get me wrong, the system is by no means perfect, and it is certainly not for everybody. Nor am I a diehard advocate. The moment a student expresses displeasure with the graded work, we abandon it. It is simply something I offer alongside my normal tuition, because my students benefit from it.

 

[jeffwj]

I took a look at the Trinity website. Unless I am mistaken (or went to the incorrect website), I only see Trinity percussion-related books for drum set. What do percussionists use for classical snare drum, marimba, timpani, etc? Is there another series of graded books for those instruments (by another publisher)? Or do students studying those instruments use the standard books such as Cirone, Peters, etc?

In the US, students play those instruments in school as part of the band program. I would assume that, if a graded method were adopted in the US, it would be one including classical percussion, marching percussion, etc.

It‘s nice to have this discussion. Many don’t know about the Trinity method. Others, like myself, only know a little bit about it.

Jeff

 

[Jonathan Curtis]

I took a look at the Trinity website. Unless I am mistaken (or went to the incorrect website), I only see Trinity percussion-related books for drum set. What do percussionists use for classical snare drum, marimba, timpani, etc? Is there another series of graded books for those instruments (by another publisher)? Or do students studying those instruments use the standard books such as Cirone, Peters, etc?

In the US, students play those instruments in school as part of the band program. I would assume that, if a graded method were adopted in the US, it would be one including classical percussion, marching percussion, etc.

It‘s nice to have this discussion. Many don’t know about the Trinity method. Others, like myself, only know a little bit about it.

Jeff

Ah, now you're into a whole new kettle of fish.

Trinity offers syllabi in drum kit and solo snare drum. There are other publishers, notably ABRSM (Associated Board of the Royal School of Music) that offer a broader "percussion" syllabus, which includes snare drum, as well as various tuned and unpitched percussion. There are maybe three of four competing exam bodies for the grades, and each offer their own syllabus. Students, with the help of teachers, choose the best one for them.

The bigger issue is what you talked about in your second paragraph. Compared to the US, our school music programs are often woefully inadequate. Most students choose to pursue music lessons privately, and even many music-centric schools use external (peripatetic) tutors. We don't have band programs in the same way you do, so many students pursue private lessons, and keep it quite separate to school.

This changes as you get older. Students can take GCSE and A-Level music programs, but they are often more theory-focused, and only include a fundamental array of actual practical skills. If students want to go to music colleges and conservatoires, there would be a requirement for musical ability on an instrument, but this is where my experience ends. I always pursued my music privately. @Caz would be better placed to take up this point.

I think there is a vastly different culture to music here than what you're used to in our school system. In many ways we lag behind in a bad way, but I think we make up for it at the collegiate/graduate level. Getting into those places is a whole other thing, and not something I have any experience with.

 

[Xstr8edgtnrdrmrX]

This is also seen in the private lesson programs of some big box stores. They tend to have a lot of turnover, possibly due to low teacher pay. Students often have multiple teachers within the same year. This often results in the students quitting lessons. The company’s solution? Instead of the stores paying more in order to attract a higher quality teacher, they adopt a curriculum (set of books) for the teachers to follow.

When one teacher quits, the next teacher just jumps right in, assigning the next page. One teacher calls in sick or is on vacation, another one jumps right in. Student wants to change days, but the teacher is not available? No worries, the other teachers are all interchangeable. Sound like a good idea? Maybe for the company - not necessarily for the student.

man, I have not had any students come from big box store lessons in a long time....and maybe that is why. That is not surprising at all though. The "ciriculum" makes the (mostly unknowing) parents feel like they are getting their moneys worth, and to the younger students, probably makes for an easy schedule to practice on. It feels just like their normal school stuff.

Pretty much "hands off" for all involved really.

Bruh

 

[TMe]

This is also seen in the private lesson programs of some big box stores.

That's where I've seen the results of an overly standardized curriculum - lots of guitarists who all sound like the same guy, just at different stages of development.

 

[TMe]

It is also worth saying that the US is one of the only countries in the world that does not adopt the graded system.

In my area (Ontario) we use standardized, graded curriculum, but almost exclusively for Classical music. The big school is The Royal Conservatory.

There doesn't seem to be much of a consensus about what a similar curriculum would look like for Pop, Rock, and Jazz - and even less so for drum kit.

How long has the UK had graded material for music other than Classical? Is that a fairly new thing, or has it been around quite a while?

 

[Jonathan Curtis]

In my area (Ontario) we use standardized, graded curriculum, but almost exclusively for Classical music. The big school is The Royal Conservatory.

There doesn't seem to be much of a consensus about what a similar curriculum would look like for Pop, Rock, and Jazz - and even less so for drum kit.

How long has the UK had graded material for music other than Classical? Is that a fairly new thing, or has it been around quite a while?

A good while, yes. At least 20 years, if not more. They have since diversified a little, so Trinity offers a new "Rock and Pop" syllabus, which, in my humble opinion, is watered down to try and attract new students and dispel the old classical image. Their original syllabus has been renamed "Classical and Jazz", which is odd, because it contains the same variety of material it did before. Nevertheless, Trinity and others like the ABRSM, have been offering drum kit grades (alongside other instruments) that are not solely classical for decades.

 

[adamosmianski]

I do understand your point here. I am somebody that teaches one syllabus exclusively (for those that want the grades), and I stand by it. Why shouldn't music and the arts have standardisation. These grades are internationally recognised qualifications carrying UCAS points, and are OFQUAL regulated.

The idea is to professionalise (professional) musicians in the same way as other trades. We would expect a plumber or electrician to have the relevant certification, why not a professional musician hired for a job? Now I understand that plumbers and electricians have a safety aspect to contend with, but i think the point about professionalisation stands.

Yes, many kids do it for the parents, but there's no harm in gaining recognition of a certain attainment. I, too, have students who posses grade x, but are not overall that good, but this is a cause for their continued motivation. A kid with a grade 6 working towards his grade 7 is highly motivated to practise and improve. It is my job as his teacher to make sure any gaps in his knowledge are filled in.

I think you are describing weaknesses in the educational system, and the concept of qualifications on the whole. ANY qualification can be reduced to a box ticking exercise if we're cynical enough. A degree, after all, is no guarantee of talent for any given candidate, but that shouldn't mean we throw out the whole concept of qualification and attainment.

I do get your point too, Jonathan. I think my initial post could’ve been clearer, because I’m not completely against standardization. Actually, that’s part of my beef with the syllabi that we’re talking about. They often leave out some of the things that in my own opinion should be standard practice. This is then made worse by pushy parents, and weak teachers. There’s so much emphasis on just getting through the things they need to do just to get achieve grade X that the teachers don’t fill in those gaps you mentioned. Having seen your work I have no doubt you do fill in those gaps, but I feel like there are far too many teachers who don’t.

On a side note, I’ve enjoyed thinking about this. Because on one hand, I think a certain degree of standardization is good. I’m a firm believer in learning and knowing the rudiments. But then again, we are trying to create art, and if every colored inside the lines we wouldn’t have Andy Warhol. If no one broke the “rules” of the Baroque, we wouldn’t have Beethoven. But I guess that’s getting into a whole other conversation.

 

[adamosmianski]

I’m in the US. I can sort of see the reason for having graded curriculum. I have had students come to me from other teachers. Some come in for their first lesson with a few papers with hieroglyphics from other teachers with S’s, K’s, HH,s, etc. When I put an actual piece of music in front of them, they cannot play it. It is no fault of their own. Their previous “teachers” most likely could not read music themselves. I guess a graded curriculum would weed out the people who are just not qualified to teach.

That being said, people come to me because of my results. While I follow a self-created curriculum consisting of books (not graded books) that have been chosen, tried ,and tested by me, I also asses the student’s needs and adjust the curriculum accordingly. I supplement with my own material, created in Finale and presented in a professional fashion.

Dom Famularo used the analogy of a doctor’s prescription. He assesses the student and “prescribes” material based on that individual. I guess I think about my main curriculum as being the RDA (standard vitamins and minerals) and the extra material being the material individually chosen based on the individual student’s needs.

I have filing cabinets full of books that I do not use. I purchase many method books to be sure that the books that I do use are (in my opinion) the most effective. Even if the US adopted a graded curriculum, I would most likely opt out and still use the exact same curriculum as I use now.

Hope this helps,

Jeff

.

You're speaking my language here, Jeff.

Of course, there is the risk of students ending up with bad teachers, and I fully admit that I don't have a good solution for that. But I would much rather, as you said, guide my students through a series of tried and tested material by many different drummer and supplement that with material I've created on my own, than run every one of my students through the same book that one group of people has determined in the one way to study. It just seems narrow to me, and doesn't allow much space to take the students personal interests into account.

I hadn't heard Dom use that analogy. That's perfect!

 

[C. Dave Run]

The bigger issue is what you talked about in your second paragraph. Compared to the US, our school music programs are often woefully inadequate. Most students choose to pursue music lessons privately, and even many music-centric schools use external (peripatetic) tutors. We don't have band programs in the same way you do, so many students pursue private lessons, and keep it quite separate to school.

Not every school in the US has a music program. My first 9 years of school, "music" class was some lady coming in with a guitar and everyone would sing. That was it. Nothing else.

I had no idea, until I moved, that marching band wasnt just in college. Once I moved to a different state, I was so behind the curve I wasnt allowed to march.

 

[Paul Blood]

Not every school in the US has a music program. My first 9 years of school, "music" class was some lady coming in with a guitar and everyone would sing. That was it. Nothing else.

I had no idea, until I moved, that marching band wasnt just in college. Once I moved to a different state, I was so behind the curve I wasnt allowed to march.

This is true, schools in the US, and their programs can vary greatly state to state, district to district. But I’d say overall, school music programs in the US are very strong compared to other countries. Let’s hope it stays that way!

 

[_-_]

I became a professional rock drummer without instruction or being able to read. However, when I attempted to play jazz, I knew I had to get that aspect together. I took lessons for a few years from some fine teachers. I read well, also. Yeah, there are geniuses like Al Foster and Lenny White and Roy Haynes who don't read. But they're genius level talents. Human drummers need the knowledge.

 

[Xstr8edgtnrdrmrX]

This is true, schools in the US, and their programs can vary greatly state to state, district to district. But I’d say overall, school music programs in the US are very strong compared to other countries. Let’s hope it stays that way!

yeah....within my own district, we have very successful programs on one side of the road, and programs with nothing on the other. It usually boils down to administration. If your board, and admins want a diverse school, they will allow it to happen. If they don't it won't.

the system I work in has 1 high school and 9 middle schools that feed into the high school. Of those 9 feeders, only 6 have band programs. The administration in the other 3 cut the band programs - even though they were hugely successful (one was almost 50 years old) - because "they were distractions to the school envionrement"

my highschool has one of the most successful small school band programs in the State, and we are probably the second best Catholic high school music program in the state of Ohio. Our rival just up the road, has a barely surviving football game pep band. Sadly, it literally just comes down to support from those who write the checks....