Piano Piano Grade 1 Performance pieces, technical exercises, supporting tests and in-depth guidance guidance for Rockschool Rockschool examinat examinations ions
All accompanying and supporting audio can be downloaded rom: www.rslawards.com/downloads Input the ollowing code when prompted: 2YA5STMH4L For more inormation, turn to page 5
www.rslawards.com
Acknowledgements Published by Rockschool Ltd. © 2019 Catalogue Number: RSK200090 ISBN: 978-1-78936-055-4 978-1-78936-055-4 Initial Release | Errata details can be ound at www.rslawards.com/errata
SYLLABUS
MUSICIANS
Syllabus designed and written by Jono Harrison Syllabus Director: im B Bennett-H ennett-Hart art Syllabus consultants: Gary Sanctuary, Chris Stanbury, Simon roup and Jennie roup Hit une arrangements by Jono Harrison and Gary Sanctuary Supporting ests written by Jono Harrison, Chris Stanbury, Nik Preston and Ash Preston Syllabus advisors: im Bennett-Hart, Brian Ashworth, Stuart Slater, Peter Huntington, Bruce Darlington, Simon roup and Jennie roup
Piano and Keyboards: Jono Harrison, Gary Sanctuary, Ross Stanley & ania Ilyashova Drums & Percussion: Pete Riley and Richard Brook Bass & Synth Bass: Andy Robertson Guitars: Rory Harvey, Nat Martin and Jono Harrison Saxophone: Jonathan Griiths rombone: rombone: om George White and Norton York rumpet: Nick Mead and John Simpson Lead and Backing Vocals: Glen Harvey & Katie Hector Additional Programming: Jono Harrison
PUBLISHING
DISRIBUION
Proo reading o arrangements by Sharon Kelly, Simon roup, Jennie roup and Jono Harrison Music engraving and book layout by Simon and Jennie roup o Digital Music Art Fact iles written and edited by Abbie homas Notes written by Roland Perrin Proo reading and copy editing by Gemma Bull, Jono Harrison and Jennie roup Cover design by Philip Millard o Rather Nice Design Cover photograph: Ariana Grande © Kevin Mazur / Getty Images
Exclusive Distributors: Hal Leonard
AUDIO
Produced by Jono Harrison Engineered by Jono Harrison, Gary Sanctuary, im Bennett-Hart, Pete Riley, Richard Brook, Rory Harvey and Andy Robertson Assisted by Paul Pritchard at Abbey Road Recorded at Dock Street Studios, he Dairy and Abbey Road Mixed by Patrick Phillips Mastered by Francis Gorini Supporting ests recorded by Chris Stanbury and Jono Harrison
1 e d a r G o n a i P
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CONACING CONACING ROCKSCHOOL www.rslawards.com elephone: +�� (�)��� ��� ���� Email:
[email protected] EXECUIVE PRODUCERS
John Simpson, Norton York
able o Contents C ontents Introductions & Information Information 1 2 3 4 6
itle Page Acknowledgements able o Contents Welcome to Rockschool Rocksch ool Piano Grade 1 Perormance and echnical Guidance
Rockschool Grade Pieces 7 11 15 19 23 27
....................................................... ............... Ariana Grande ‘attooed Heart’ ........................................ .......................................................... ............................ ......... Jeff Buckley ‘Hallelujah’....................................... ‘Can You Feel Te Love onight’ .................. From ‘Te Lion King’ (1994) ..................................................... ............... aylor Swif ‘Wildest Dreams’ ...................................... ‘Let It Be’....................................... ........................................................... ................................ ............ Te Beatles ......................................... .. Sam Smith ‘I’m Not the Only One’ .......................................
Technical Exercises 32
Scales, Arpeggios Arpegg ios & Chord Voicings
Supporting Tests 37 Sight Reading 38 Improvisation & Interpretation 39 Ear ests 40 General Musicianship Questions
Additional Information 41 42 43 44
Entering Rockschool Exams Marking Schemes Copyright Copyrig ht Inormation Piano Notation Explained
1 e d a r G o n a i P
3
Welcome to Rockschool Piano Grade 1 Welcome to Rockschool’s Piano syllabus 2019. his syllabus is designed to support pianists in their progression rom Debut to Grade 8, through an engaging and rigorous pathway covering all the genres, stylistic elements, techniques and musical skills required or success as a contemporary pianist.
Piano Exams At each grade you have the option o taking one o two dierent types o examination: ■ Grade Exam A Grade Exam is a mixture o music perormances, technical work and tests. You are required to prepare three pieces (two o which may be Free Choice Pieces) and the contents o the echnical Exercise section. his accounts or 75% o the exam marks. he other 25% consists o: either a Sight Reading or an Improvisation & Interpretation test (10%), two Ear ests (10%), and inally you will be asked ive General Musicianship Questions (5%). he pass mark is 60%. Performance Certificate ■ Performance A Perormance Certiicate is equivalent to a Grade Exam, but in a Perormance Certiicate you are required to perorm ive pieces. A maximum o three o these can be Free Choice Pieces. Each song is marked out o 20 and the pass mark is 60%.
All elements required to participate in a Rockschool exam can be ound in the grade book. hese are as ollows: ■ Exam Pieces he 2019 syllabus comprises six ‘hit tune’ arrangements, benchmarked and devised so as to equip contemporary pianists with industry-relevant skills in any perormance environment. hese all into three categories: Melody & Accompanim Accompaniment ent
hese arrangements arrangements are perormed to ull band backing tracks, with the piano perorming both melody and accompaniment Solo Piano Arrangement
hese are ull solo piano arrangements, perormed without backing tracks Vocal Accompaniment
hese arrangements cover the skills required o contemporary pianists in ensemble environments, be they on the stage or in the studio. he backing tracks eature vocalists, and the piano parts are relective o what session pianists would perorm live or on mainstream commercial recordings Each ‘hit tune’ arrangement is preceded by a Fact File, giving surrounding context to the piece and the original perormers/recording artists. Furthermore, at the end o each arrangement you will ind notes giving additional supportive context to get the most out o the pieces. ■ Technical Exercises here are either three or our groups o technical exercise, depending on the grade: Debut–Grade Debut–Grade 8: 1 e d a r G o n a i P
4
Group A: Scales Group B: Arpeggios/Broken Chords Group C: Chord Voicings Grades 4–8 only:
Group D: echnical Study
■ Supporting Tests here are three types o unprepared supporting tests in the exam: 1. he irst type can be b e one o two options (this is the candidate’s choice): Either: Sight Reading tests , developing the musician’s ability to read and perorm previously unseen material; or:
Improvisation & Interpretation tests , developing the musician’s ability to develop previously unseen material in a stylistic way and perorm improvised passages o melody. he book contains examples o both types o test – equivalent ‘unseen’ examples will be provided or the examination
2. Ear Tests Debut–Grade 3: eature Melodic Recall and Chord Recognition Grades 4–8: eature Melodic Recall and Harmonic Recall
3. General Musicianship Questions (GMQs), which you will be asked by the examiner at the end o each exam
General Information Information You will ind inormation on exam procedures, including online examination entry, marking schemes, inormation on Free Choice Pieces and improvisation improvisation requirements or each grade. g rade.
Audio In addition to the grade book, we have also provided audio in the orm o backing tracks (minus piano) and ull tracks (including piano) or all ‘hit tune’ arrangements, technical exercises and supporting tests (where applicable). We have provided proessional perormance recordings o all solo piano pieces in the syllabus. his audio can be downloaded rom RSL directly at www.rslawards.com/downloads
You will need to input this code when prompted: 2YA5STMH4L he audio iles are supplied in MP3 ormat. Once downloade d you will be able to play them on any compatible device.
Further Information You can ind urther details about Rockschool’s Contemporary Piano syllabus by downloading the syllabus guide rom our website: www.rslawards.com All candidates should download and read the accompanying syllabus guide when using this grade book.
1 e d a r G o n a i P
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Perormance and echnical Guidance Fingering Any ingering annotation is given as a guide only.
Interpretation Notation should be perormed exactly as written, except where there are perormance indications to ad. lib, improvise, develop, etc. In these instances, the candidate will be marked on their ability to interpret the music in a stylistically appropriate way, commensurate with the grade level.
Adaptation A small degree o adaptation is allowed where, or example, hand stretches do not acilitate the required notated parts. Marks may be deducted i adaptation results in over-simpliication o the notation. I in doubt you can submit any adaptation enquiries to
[email protected]
Articulation & Dynamics Where articulation and dynamics are marked on the notation, they should be ollowed. Where it is open to interpretation, the candidate is ree to take their own approach.
Pedalling he candidate may use the pedal reely at any grade, but it should be applied judiciously as marks may be deducted or any over usage resulting in an unclear tone. In addition, where pedalling is written into (or out o) the notation, this should be observed.
Chord Symbols Most hit tune arrangements have chord symbols written above the notation. his is purely or guidance, and to assist the candidate and teacher.
1 e d a r G o n a i P
6
Tattooed Heart SONG TITLE: ALBUM: RELEASED:
‘TATTOOED HEART’ YOURS TRULY 2013
LABEL:
REPUBLIC
GENRE:
POP/R&B
WRITTEN BY:
q 75 Po p =
A
s
G
GRANDE/BABYFACE/ RIDDICK-TYNES/ THOMAS III/DIXON/ SQUIRE/SEAN FOREMAN
PRODUCED BY:
BABYFACE/DIXON/ THE RASCALS/SQUIRE/ RASCALS/SQUIRE/ NATHANIEL MOTTE
UK CHART PEAK:
N/A
‘attooed Heart’ is the ourth song to eature on Ariana Grande’s debut studio album, Yours Truly. Although never released as a single, the song has over 7 million views on Youube and over 44 million streams on Spotiy. he album rom which it stems was met by critical acclaim, with many reviewers being surprised by its sophistication and Grande’s vocal capabilities. capabilities. Many Many compared compared Grande Grande to the likes on Mariah Carey, which doesn’t surprise as she is renowned or her ability to mimic others. Ariana Grande was born in Florida in 1993 to Italian heritage and began her showbusiness career at the young age o 15, starring in Broadway musical ‘13’. She then went on to ill the role o Cat Valentine or Nickelodeon’s television series ‘Victorious’, with whom she launched her music career by eaturing on the oicial Music from Victorious Victorious (2011) soundtrack. Her debut album, Yours Truly, was released in 2013 and topped the US Billboard album charts, whilst peaking at number 7 in the UK. Grande lists her inluences or Yours Truly as Whitney Houston, Amy Winehouse, Christina Aguilera and Mariah Carey, detailing that much o the album is a homage to the R&B sounds o the 90s which many o these talented singers contributed to. he album also had top ten success in Australia, Canada, Denmark, he Netherlands, and Japan.
Grande has released our studio albums, all o which debuted in the top ten o the UK album charts, and has three UK number 1 singles so ar. With her ith studio album Thank U, Next due or release soon, it can only be b e assumed that her success will continue and she’ll have yet another top ten album to be proud o. he lead single rom the up and coming album o the same name recently broke a UK Chart record and now claims the highest number o streams in a week, hitting 14.9 million and overtaking Ed Sheeran’s ‘Shape o You’ which previously held the record at 14.2 million. Although she is yet to win a Grammy, Grande does have six nominations to her name and has won three American Music Awards, two NME awards and a long list o many more.
1 e d a r G o n a i P
7
attooed attooe d Heart Hear t Ariana Grande q 75 75 Pop =
A
s 7
G
D /F
C
C
Em
D
D
[5]
7
G
D /F
Em
C
C
D
D
[9]
[13]
G
D/F
B
3
1 e d a r G o n a i P
8
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Lightly
3
[17] Words & Music by Kenneth Edmonds, Antonio Dixon, Matthew Squire, Ariana Grande, Sean Foreman, Leon Tomas & Khristopher Van Riddick ynes © Copyright 2013 Seven Peaks Music/Faze 2 Music/EMI Blackwood Music Inc/Universal Music Corporation/Songs O Universal Inc/Cletis Jones/Sony-AV unes LLC/ Raael’s Son Music/Master Falcon Music/Khristopher Van Riddick ynes Music Publishing/one Face Music/Grandarimari. Universal Music Publishing Limited/Kobalt Music Publishing Limited/Sony/AV Music Publishing (UK) Limited/EMI Music Publishing Limited /Universal /MCA Music Limited. All Rights Reserved. International Copyright Secured.
Em
D
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
[19] C
C
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
[21] D
[23]
C
7
G
D /F
Em
[25]
D
C
C
[28]
D
G
1 e d a r G o n a i P [31]
9
Notes
Although there are no eighth-note rhythms in the piano part, teachers might think about preparing students or other songs by discussing the concept o swing eel – perhaps by explaining that swing eel skips, rather than ticking like a clock. his song is inluenced by pop music rom the 1950’s, and teachers might enjoy listening to Elvis Presley (‘Can’t Help Falling In Love’) and he Righteous Brothers (‘Unchained Melody’) with students. Understanding the context and history o songs can help deepen the student’s engagement with the music. It is important that students should keep a steady pulse throughout Section A. In slow moving passages o music, the challenge lies in avoiding the temptation to pre-empt each chord and inadvertently speed up. Practise the right hand separately beore adding in the let-hand bass line. When you put both hands together, make sure to listen careully and aim or all notes within the chord to sound clearly and precisely at the same time. Pay careul attention to the staccato chords in bars 8 and 16. Remember that staccato chords are dierent rom accented chords. Aim to keep the volume the same as the previous bar and count the ollowing rests careully. In bars 17 to 24, the let hand plays quite high in the treble cle. Students Students will need to learn to move their let arm across their body, and must be discouraged rom moving to the right o the piano stool. eacher must also ensure that students maintain maintain a straight back during this passage. Section C is a repeat o the opening irst 8 bars o the piece. Be careul to observe the tied whole-note rhythm in bars 33 and 34, holding the chord right to the end o the inal bar o the piece.
1 e d a r G o n a i P
10
Hallelujah SONG TITLE: ALBUM: RELEASED:
‘HALLELUJAH’ GRACE 2007
LABEL:
COLUMBIA
GENRE:
FOLK/ALTERNATIVE ROCK
WRITTEN BY:
LEONARD COHEN
PRODUCED BY:
JEFF BUCKLEY/
qd 60 =
F olk / Rock
C
ANDY WALLACE UK CHART PEAK:
2
his song was written and originally released by Canadian singer songwriter Leonard Cohen. Featuring on his 1984 album Various Positions, the track initially ound little success and peaked at number 59 on the US Billboard singles chart. It is with Je Buckley’s 1994 version that the song received the critical acclaim it deserved. Certainly a songwriter’s masterpiece, Cohen delivered a powerul lyric and melody. However, it was Buckley’s haunting vocal and arrangementt that saw the song peak at number 2 in arrangemen the UK Singles Chart. Je Buckley eatured his version o the track on his one and only album, Grace (1994). Hallelujah was never oicially released as a single at the time and eatured only as an album track. It wasn’t until ten years ater Buckley’s untimely passing that the song was released as a single in 2007. Since it’s release, Buckley’s version has been held as one o the greatest interpretations o all time and is regarded highly by artists to this day. John Legend amously reports that Buckley’s posthumous release is ‘…one o the most beautiul pieces o recorded music I’ve ever heard.’ In 2004 ‘Rolling Stone Magazine’ ranked Buckley’s rendition at number 259 in their ‘he 500 Greatest Songs o All ime’ list, long beore its single release. In 2007, Buckley’s ‘Hallelujah’ was named ‘he Greatest Song o All ime’ by he International Observer.
It seemed that at last the mastery o the song s ong was receiving the acclaim it deserved. Je Buckley’s album Grace was released in 1994 and initially achieved poor sales, peaking at number 149 in the US Billboard Album Chart. However, by 2007 the album as a worldwide success and had sales o over 2 million copies globally. Grace has been cited by critics and listeners as one o the greatest albums o all time. Sadly, Sadly, Je Buckley never lived to see the success o his work and will never know the impression his adaption o Hallelujah had on his pears. At six and a hal minutes long, his version takes the listener on a whirlwind o emotions, with constant highs and lows his vocal is mesmerising to listen to and the lyrics can be heard ar clearer than on Cohen’s original. O course, the credit or writing such a beautiul piece remains Cohen’s but had it not been or Buckley’s interpretation we may never have known the genius o the lyric.
1 e d a r G o n a i P
11
Hallelujah Jeff Buckley qd 60 Folk/Rock =
C
Am
C
C
Am
Am
C
Am
[5]
F
G
C
G
2
[9]
5
C
F
G
3
Am
[13]
G
1 e d a r G o n a i P
12
E
Am
[17] © Copyright 1984 Bad Monk Publishing. Sony/AV Music Publishing (UK) Limited. All Rights Reserved. International Copyright Secured.
1
F
1. F
Am
F
C
[21]
G
[25]
C
Am
C
Am
[29]
2. F
Am
F
[33]
5 3
4 2
C
G
3 1
2 1
4
3
C 5
4
3 1
1 e d a r G o n a i P [38]
13
Notes
he tender, semi-religious eel o this song needs to be mirrored by the perormer’s careul ollowing o the dynamic markings – the playing must never rise above the marked . he opening our bars help set the mood o the piece and should be played legato, allowing the lowing pattern to pass evenly between the hands. Ater the simple introduction, the let hand takes on a more o an accompanying role while the right hand should be allowed to take the lead, continuing to play legato. Be careul not to allow this shit in roles to lead to an increase in the overall volume, and strive to maintain maintain the gentle gentle quiet mood established in the introduction. introduction. Note that the lyrical melody line in the right-hand part starts on the inal eighth-note o bar 4 and not at the start o bar 5! his is also the case or the inal eighth note at the end o the irst time repeat in bar 32. It is worth spending time practicing the let hand part separately to secure all o your hand position changes when moving rom one chord voicing to the next. Pay particular attention to the hand position change when moving rom the G major chord position in bar 17 to the E major chord in bar 18. Playing these two bars in isolation at a slower tempo will help to secure a conident and quick change. From bar 21 onwards, many bars contain longer, sustained rhythm patterns. It will be important to keep the pulse steady to avoid speeding up or slowing down.
1 e d a r G o n a i P
14
Can You Feel The Love Tonight SONG TITLE:
‘CAN YOU FEEL THE LOVE TONIGHT’
ALBUM:
THE LION KING:
q 60
ra ck Soundt r
=
ORIGINAL MOTION PICTURE SOUNDTRACK RELEASED:
1994
LABEL:
WALT DISNEY
GENRE:
POP
WRITTEN BY: PRODUCED BY: UK CHART PEAK:
D /F
G
3
2
ELTON JOHN/TIM RICE CHRIS THOMAS 14
‘Can You Feel the Love onight’ was written by Elton John and im Rice. he pair were commissioned to write the song or Disney’s 1994 musical release o ‘he Lion King’, the 32 nd animated eature ilm to be released by the conglomerate. John and Rice are well known or their partnership, with John on composition and rice on lyrics, and they did not disappoint. hey tell a moving tale o responsibility and love, delivered perectly by the cast or the in-scene ilm version; Kristle Edwards, Joseph Williams, Sally Dworsky, Nathan Lee and Ernie Sabella. Elton John’s recording o ‘Can You Feel the Love onight’ was released approximately six weeks beore the ilm was due to hit the box oice, working as promotion or Disney’s latest release. his proved a successul marketing technique and John’ John’s recording made it to number 4 on the US Billboard Singles Chart and number 14 in the UK. With sales o over one million copies, the song was certiied as Platinum in the US. On its release, ‘he Lion King’ took the box oice by storm with an initial gross o $766 million and inished its theatrical run as the highestgrossing release o 1994.
1
Elton John was born Reginald Kenneth Dwight in 1947 and grew up in the Pinner area o London. He began playing the piano at a very young age and soon became interested in songwriting. He met his long-term writing partner, Bernie aupin, in 1967 when they both responded to an advertisement seeking songwriters. ogether the duo wrote hits or existing artists (such as Lulu) or two years, beore John released his debut album in 1969. Since then, they have achieved unmeasurable unmeasurable success and have collaborated on more than 30 albums. Elton John was appointed a CBE in 1995 and was knighted by Queen Elizabeth II in 1998 or his commendable commendable charity work. He has been perorming or more than ive decades and has sold more than 300 million records worldwide, making him one o the best-selling music artists o all time. ‘Can You Feel the Love onight’ won John his irst Academy Award in 1995 or ‘Best Original Song’, he actually had three nominations in that same category or that same year, all o which were compositions or ‘he Lion King’. He has been nominated or 34 Grammy Awards, ive o which he has won including the Grammy Legend Award in 2000. His songwriting has certainly been acknowledged as outstanding, with a staggering ten wins at the Ivor Novello Awards over the years.
1 e d a r G o n a i P
15
Can You Feel Te Love onight Elton John From ‘Te Lion King’ (1994)
q 60 Soundtrack =
G
D /F
3
C /E
2
5
G /D
4
5
C
4
2
1
G
5
2
3
1 1
D/F
2
3
[4]
C
G
Am
G/B
1
2
1
2
1
2
G /B
C
Am
G /B
C
D
C
G /B
G /B
[7]
C
G /B
C
7
Em
F
D
[10]
G
1 e d a r G o n a i P
16
D /F
7
Em
[13] Music by Elton John Lyrics by im Rice © 1994 Wonderland Music Company, Inc. All Rights Reserved. International Copyright Secured.
2
C 1
2
1
1. G
7 5
C
1
C m
D
C
G /D
5
2
[15]
7
Em
G /D
C
Am
G /B
7 5
C
C m
D
[18]
2. C
7
G /B
Em
G /D
C
Am
G /B
C
6
D sus
4
[21]
G sus
4
G
C
G
[24]
7
Em
D
C
Am
G /B
C
6
D sus
4
G sus
4
G
1 e d a r G o n a i P [26]
17
Notes
his is a simple, romantic ballad and students should make sure they play the song at the correct tempo in order to be true to the sentiment o the lyrics. As the let-hand part moves rom a hal-note rhythm pattern to quarter-notes rom bar 4 onwards, it can be tempting or students to allow the tempo to speed up. o avoid this, students should have a clear quarter-note pulse in mind beore beginning the piece. Note that the rhythm pattern in the right-hand part o bar 5 is syncopated. ake time to work out clearly where each note alls between the two parts by slowing down the tempo and playing the bar in isolation until secure. ime would be well spent identiying where this pattern repeats and noting where it diers, or example in bar 7. o improve the eectiveness o the song, students should be aware o the contrast in articulation between the right hand and the let hand. he right hand should maintain a smooth, singing legato, whilst the let hand should add impetus by allowing a small amount o separation when playing the quarter notes.
1 e d a r G o n a i P
18
Wildest Dreams Dreams SONG TITLE:
‘WILDEST DREAMS’
ALBUM:
1989
RELEASED:
2014
LABEL:
BIG MACHINE/REPUBLIC
GENRE:
DREAM POP
WRITTEN BY:
q 140 Po p =
C
TAYLOR SWIFT/ MAX MARTIN/SHELLBACK
PRODUCED BY: UK CHART PEAK:
MAX MARTIN/SHELLBACK 40
‘Wildest Dreams’ was a chart hit or American singer songwriter aylor Swit and was the 5 th single to be released rom her popular album 1989. he song was written by aylor Swit, Max Martin and Johan Schuster (proessionally known as Shellback), a common collaborative or Swit, with hits including three tracks on her earlier album Red. ogether the trio created what has been described as a “dream pop power ballad” and although the song s ong did well commercially it did receive some mixed reviews. Many elt that the sound was simply too comparable to that o Lana Del Rey, claiming that it was so similar that they couldn’t tell whether the song was intended as a homage or a parody. Nevertheless, the track went on to achieve success in the US charts where it peaked at a very respectable number 5. his gave Swit her 5 th consecutive top ten single rom her chart topping 3 rd album, 1989. he single was by no means her most successul in the UK, peaking at only number 40 on the UK Singles Chart. However, the album itsel had great success in the UK and topped the chart on it’s irst week o release, thus becoming her second number one album in the UK. aylor Swit was born and raised in Pennsylvania but moved to Nashville at the young age o 14 in search o a music career. She originated as a country
singer and honed the sounds o her then home Nashville. Swit quickly ound success and was signed by Big Machine Records, making her the youngest person ever to have been signed by the Sony/AV Sony/AV Music publishing house. In 2006 she released her seltitled debut album, which peaked at number 5 on the US album chart and included the track ‘Our Song’ – or this particular song she became the youngest ever artist to solely write and perorm a number one hit or the Hot Country Songs chart. In 2008 the crossover rom country to pop began or Swit with her second album, Fearless. he album received rave reviews and became the highest selling US album o 2009. he album also won Swit a cool our Grammy awards, amongst which was the Album o the Year award or which she become the youngest ever winner. aylor Swit’s repertoire has now reached an impressive six studio albums, a eat only achieved due to launching her career at such a young age. During her career she has received an impressive number o awards, including an outstanding total o 10 Grammy’s (31 nominations). ‘Wildest Dreams’ became Swit’s 13th top ten hit in the US, a clear representation o her success in the industry.
1 e d a r G o n a i P
19
Wildest Dreams aylor Swif q 140 Pop =
C
Em
D
C
Em
D
C
Em
D
[5] A
4
5
5
2
2
1
[9] C
Em
D
[13]
[17]
5
1 e d a r G o n a i P
20
4
[21] Words & Music by aylor Swif, Shellback & Max Martin © Copyright 2014 aylor Swif Music/Sony/AV ree Publishing /MXM Music AB. Sony/AV Music Publishing (UK) Limited/Kobalt Music Publishing Limited. All Rights Reserved. International Copyright Secured.
3
2
1
B
G 2
D
4
3
Am
C
Am
C
[25]
G
D
[29]
G
5
D
Am 4
3
[33]
G
D
Am
Em
D
C
[37]
[41]
C
Em
D
1 e d a r G o n a i P [45]
21
Notes
he successul perormance o this song depends on holding a steady tempo. Students should be encouraged to keep thinking in a strict quarter-note pulse throughout the opening eight bars in preparation or the introduction o the melody towards the end o bar 8. Be aware o the dierent roles or each hand and ensure that the let-hand part steps back to allow the right-hand melody to shine through without the need to increase volume. As the right-hand part ollows the original vocal melody line, keep in mind that the rests are where the vocalist would breathe and allow this to guide you in shaping the musical phrases. he right-hand part contains some interesting and varied syncopated patterns. ake time to play this through slowly to ensure that you are aware o exactly where the patterns repeat and dier and where the notes all on or o beat. Counting out loud during practice sessions can be helpul. It is also worth spending time playing the right-hand part separately and securing the rhythmic patterns irst beore putting both hands together.
1 e d a r G o n a i P
22
Let It Be SONG TITLE: ALBUM: RELEASED:
‘LET IT BE’ LET IT BE 1970
LABEL:
APPLE
GENRE:
ROCK/POP/GOSPEL
WRITTEN BY:
q 65 Po p / Rock =
C
JOHN LENNON/ PAUL MCCARTNEY
PRODUCED BY: UK CHART PEAK:
GEORGE MARTIN 2
‘Let it Be’ was the inal single to be released by he Beatles. Following an incredible career, this was the 22nd single to be released by the collective in only nine years. Shortly ater writing the hit McCartney announced his soon to be departure departure rom the band, a decision that would leave Beatlemania in disarray. he single was irst released in March o 1970 and sadly the band announced their break up shortly aterwards in the April o that year. ‘Let it Be’ is taken rom their 23 rd studio album o the same name, although the album version o the track was in act a little dierent to the single release. Slightly longer and eaturing a second guitar solo, the album version was remixed by none other than Phil Spectre and introduced a more prominent instrumentation. he studio album, Let it Be, was sadly the last to be released by the British super group but it would be ollowed by solo careers or all our o them. he Beatles are listed as the world’s highest selling artists o all time and it could be argued that this isn’t surprising, with 23 studio album releases in only nine years. When they irst ormed he Beatles had a mission to release an album every 6 months and they certainly did not disappoint. In 1962 they took the world by storm with their debut single ‘Love Me Do’ and suddenly Beatlemania was born. he band
were enormously inluential to the music industry, both then and now, and are regarded as largely responsible or the shit rom Rock and Roll to Brit Pop. Pop. he Beatles B eatles have been awarded an outstanding iteen Ivor Novello awards and seven Grammys, not to mention having been collectively listed in The Century’s 100 most inluential Times ‘he wentieth Century’s People’. In 1988 the band were inducted into the Rock and Roll Hall o Fame, a status that it’s unlikely anyone would argue. ‘Let it Be’ was oten regarded as a religious song, with reerences to ‘Mother Mary’ being misconstrued as biblical. However, McCartney actually wrote the song about his mother, Mary, who had sadly died o cancer when he was only ourteen. During a diicult time with the band he tells o a dream in which his mother visits him to tell him to “let it be”. Although this is oten misunderstood McCartney is known or assuring his listeners that they should interpret the song in whichever way they eel. he single peaked at number 2 on the UK Singles Chart and topped the US Billboard Hot 100, where it stayed or two weeks. he song gave he Beatles their seventh consecutive year o charting a number 1 hit in the US, sharing the all time record o that time with Elvis Presley.
1 e d a r G o n a i P
23
Let It Be Te Beatles q 65 Pop/Rock =
C
C
G
G
F maj7
Am
F
C /E
Dm
C
[3]
A
C
G 2
Am
F
1
[5]
C
G
F
C
G
Am
C
G
F
C
[7]
F
[9]
1 e d a r G o n a i P
24
[11] Words & Music by John Lennon & Paul McCartney © Copyright 1970 Sony/AV unes LLCD/B/A. Sony/AV Music Publishing (UK) Limited. All Rights Reserved. International Copyright Secured.
C
F6
B
Am
E m/G
F 3
C 2
2
1
1
5
[13] C
G
F
E m/G
F
C
[15] Am
3
2
2
1
C 1
5
[17] C
G
F
C
C
G
Am
C
G
F
[19] C
F
[21] C
[23] F 3
1
[25]
C /E 2
2
Dm
C
B
1
3
2
3
1
2
Am
G
F
C
1
2
1
1 3
3
1
2
1 5
1 e d a r G o n a i P
25
Notes
he irst our bars o this song are a scene-setting introduction with a strong melodic identity. Observing the piano dynamic marking will help ensure the solemnity o this introduction. In the A section, the verse is comprised comprised o two near-identical near-identical our bar phrases. his section maintains the solemnity o the introduction. While continuing to play quietly, allow the right-hand part to sing out over the let hand accompaniment, staying legato throughout. he let hand part will beneit rom being played slightly detached and a little bit quieter than the melody line. In the B section, the chorus is more passionate, releasing the previous inward eeling into an outward hopeul prayer. Pay attention to the forte dynamic here. he ingering o the melody in bar 14 will need slow and careul practise, with the right hand alone. he C section returns to the calm mood o the A section. he solemn mood in the irst part o the song needs to be recreated, so it is important to observe the piano dynamic marking. Fingering Fingering in bars 25 and 26 will need to b e practised slowly – hands separately at irst, then together. Be aware that there is B in bar 25, which is then cancelled out in bar 26. Finally, make sure that the tied C major chord in bar 26 across to bar 27 is held or the ull six beats.
1 e d a r G o n a i P
26
I’m Not the Only One SONG TITLE: ALBUM: RELEASED:
‘I’M NOT THE ONLY ONE’ IN THE LONELY HOUR 2014
LABEL:
CAPITOL
GENRE:
SOUL
WRITTEN BY: PRODUCED BY:
/ Po p q 82 Soul / =
F
SAM SMITH/JAMES NAPIER JAMES NAPIER/ STEVE FITZMAURICE FITZMAURICE
UK CHART PEAK:
3
‘I’m Not the Only One’ was the third single to be released rom British singer songwriter Sam Smith’s debut album, In the Lonely Hour (2014), preceded by ‘Money on My Mind’ and ‘Stay with Me’. he song was written by Sam Smith and James Napier (better known in the industry as Jimmy Napes) and became a global hit or the pair, peaking at number 1 in the UK, number 5 in the US and achieving top ten positions in more than ten other countries worldwide. he song itsel was originally built around a piano ballad, but on production it became instrumentally impressive with escalating strings and gospel vocals. Smith himsel elt that there were ar more obvious tracks on In the Lonely Hour which could have been released but that ‘I’m Not the Only One’ showed a dierent and more sophisticated side to his debut album, an opinion which many reviewers shared. he track was met with praise and was described by many as a turning point on the album, showing real depth, impressive vocal skills and a spellbinding strings section. Sam Smith irst ound success with his collaboration on Disclosure’s single ‘Latch’, which peaked at number 11 on the UK Singles Chart in 2012. his was ollowed shortly by eatured vocals on Naughty Boy’s ‘La La La’ in 2013 which topped the charts on release and gave the singer his irst taste
or the top spot. In 2014 he released his debut album In the Lonely Hour , which despite initially receiving lukewarm reviews achieved global success – topping topping the album charts in 6 countries and becoming the UK’s second-best selling album o 2014. Although his vocal was well well received received by reviewers reviewers the songwriting songwriting on the album was initially met with disappointment. However, on release o the 3 rd single ‘I’m Not the Only One’ several o these opinions were quashed with many reviewers eeling that the song showed a richer complexity to Smith’s songwriting. In 2015 Smith and Napes achieved huge success with their song ‘Writing’s on the Wall’ which they wrote together or the 24 th James Bond ilm Spectre. he song won Smith both a Golden Globe and Academy Award or Best Original Song. he singer’s second studio album, ‘The Thrill Of It All’, was released in 2017 and continued his success in the charts worldwide, topping both the UK and US album charts. Among his many achievements are 4 Grammy Awards, 3 Brit Awards, 7 UK number 1 singles and 4 People’s Choice nominations.
1 e d a r G o n a i P
27
I’m Not the Only One Sam Smith q 82 Soul/Pop =
F
A
F
A
B maj 7
Dm
B maj7
Dm
F
A
Dm
[3]
B maj 7
C7
F
F
[6]
A
F
A
Dm
B maj 7
[9]
F
1 e d a r G o n a i P
28
A
Dm
B maj7
F
[11] Words & Music by James Napier & Sam Smith © Copyright 2014 Stellar Songs Limited/Naughty Words Limited/Salli Isaak Songs Limited. Downtown Music UK Limited/EMI Music Publishing Limited/Sony/AV Music Publishing (UK) Limited. All Rights Reserved. International Copyright Secured.
A
Dm
B maj 7
C7
F
F
[14]
B
F
A
B maj 7
Dm
F
A
Dm
[17]
B maj7
F
A
Dm
B maj7
[20]
F
C7
F
[23]
F
C7
F 1 e d a r G o n a i P
[26]
29
Notes
his soulul ballad has some challenging syncopations to negotiate in both hands. o ensure correct rhythmic patterns, students should keep thinking in a steady quarter-note pulse throughout. It will be helpul to mentally count a couple o bars to secure the tempo beore starting to play. I students ind these syncopated phrases diicult, they should play them slowly without the ties. Once this can be b e done securely, the ties can be put back in. While many o the syncopated patterns are are identical in both hands (or example beats 3 and 4 o bar 1), pay careul attention attention to the occasions where hands are syncopated but move independently. A good example o this can be ound in bars 9 and 10. hese two bars would beneit rom playing in isolation and at a much slower tempo to identiy and learn how the parts it together.
1 e d a r G o n a i P
30
1 e d a r G o n a i P
31
echnical Exercises In this section you will be required to play a selection o exercises drawn rom each o the groups below. he examiner will be looking or the speed o your response and will also give credit or the level o your musicality. Please see the syllabus guide or details on the marking criteria. All scales and arpeggios need to be played hands separately, in straight eel, ascending and descending, in the keys, octaves and tempos shown. Pentatonic scales are right hand only. You may use your book or Group A and Group B. Group C exercises must be played rom memory. Note that Groups A and B need to be played to a click and any ingerings shown are suggestions only.
Group A: Scales he tempo or this group is q = 60 bpm. 1. F major scale | right hand 2 1
2
3
4
1
2
3
1
3
2
1
3
4
1
3
2
1
3
4
1 2
3
2
4
2. F major scale | let hand
5
4
3
2 1
4
3
2
1
3
2
3
1
2
3
4
3
2
1
3
1
3. G major scale | right hand 1
2
3
1
2
4
5
4. G major scale | let hand
5
4
3
2 1
2
1
4
5
2
1
5. D natural minor scale | right hand 1
1 e d a r G o n a i P
32
2
3
1 2
3
4
1
2
3
1
2
2
1
3
6. D natural minor scale | let hand
5
4
3
2
1
3
2
1
4
3
3
7. E natural minor scale | right hand 1
1
3
2
2
4
3
1
2
3
1
3
2
2
5
4
3
8. E natural minor scale | let hand
5
2
3
4
1
3
2
1
4
1
3
2
1
9. F major pentatonic scale | right hand 2 1
2
3
1
2
3
1
4 1
2
1
2
10. G major pentatonic scale | right hand 2 1
2
3
1
2
3
1
4
11. D minor pentatonic scale | right hand 4 2
1
2
3
1 1
2
5
3
2
12. E minor pentatonic scale | right hand 4 2
1
2
3
1 1
2
5
3
2
1 e d a r G o n a i P
33
echnical Exercises
Group B: Arpeggios he tempo or this group is q =100 bpm. 1. F major broken chord | right hand 1
3
5
1
2
5
3
5
1
3
1
5
2
5
1
3
1
5
2
1
2
3
5
3
2. F major broken chord | let hand
5
3
1
5
3
1
2
3. G major broken chord | right hand 1
3
5
1
2
5
3
4. G major broken chord | let hand
5
3
1
5
3
5. D natural minor broken chord | right hand 1
3
5
1
2
5
1
6. D natural minor broken chord | let hand
3 5
1 e d a r G o n a i P
34
1
5
3
5 1
1 2
2
echnical Exercises
7. E natural minor broken chord | right hand 1
3
1
5
2
5
1
3
5
3
8. E natural minor broken chord | let hand
3
1
5
5
3
5 1
1 2
2
9. C diminished arpeggio | right hand 1
2
3 5
10. C diminished arpeggio | let hand
1 5
3
2
11. C augmented arpeggio | right hand 1
2
3 5
12. C augmented arpeggio | let hand
1 5
3
2
1 e d a r G o n a i P
35
echnical Exercises
Group C: Chord Voicing Diminished and Augmented triads In the exam you will be asked to play either the C diminished or the C augmented triads below, rom memory. he examiner will state the exercise. his test is perormed in ree time (without backing track or click), but the examiner will be looking or the speed o your response. 1. C diminished
2. C augmented
1 e d a r G o n a i P
36
Sight Reading In the exam, you have a choice between either a Sight Reading test or an Improvisation & Interpretation Interpretation test. test. The Th e examiner ex aminer will w ill ask you which one you wish to to choose before before commencing. commencing. Once you have have decided decided you cannot cannot change change your mind. mind.
In the sight reading test, the examiner will give you a 4–6 bar melody in the key o either G major or F major. You will irst be given 90 seconds to practise, ater which the examiner will play the backing track twice. he irst time is or you to practise and the second time is or you to perorm the inal version or the exam. For each playthrough, the backing track will begin with a one bar count-in. he tempo is q = 70. During the practice time, you will be given the choice o a metronome click throughout or a one bar count in at the beginning. he backing track is continuous, so once the irst playthrough has inished, the count in o the second playing will start immediately.
Sight Reading | Example 1
Sight Reading | Example 2
Please note: The tests shown are examples: The examiner will give you a different version in the exam.
1 e d a r G o n a i P
37
Improvisation & Interpretation In the exam, you have a choice between either a Sight Reading test or an Improvisation & Interpretation test. The examiner will ask you which one you wish to choose before commencing. Once you have decided you cannot change your mind.
In the Improvisation & Interpretation test, the examiner will give you a 4–6 bar chord progression in the key o either G major or F major. You will irst be given 90 seconds to practise, ater which the examiner will play the backing track twice. he irst time is or you to practise and the second time is or you to perorm the inal version or the exam. For each playthrough, the backing track will begin with a one bar count-in. he tempo is q = 70. During the practice time, you will be given the choice o a metronome click throughout or a one bar count-in at the beginning. he backing track is continuous, so once the irst playthrough has inished, the count-in o the second playing will start immediately. immediately. You are only required to improvise single note melodies, with either right or let hand. It is permissible to play chord voicings, but please please note you will only be marked marked on melodic melodic content. content.
Improvisation & Interpretation | Example 1 q = 70 F
B
C
B
D
C
Improvisation & Interpretation | Example 2 q = 70 G
C
Please note: The tests shown are examples: The examiner will give you a different version in the exam
1 e d a r G o n a i P
38
Ear ests In this section, there are two ear tests: ■ Melodic Melodic Recall Recall ■ Chord Chord Recognition Recognition You will ind one example o each type o test printed below and you will need to perorm both o them in the exam.
Test 1: Melodic Recall he examiner will play you three consecutive notes. You will need to identiy whether the last two notes are higher or lower than the irst. his means you will need to tell the examiner whether the second note is higher or lower than the irst, and whether the third note is higher or lower than the second. You will hear the test twice, each time with a one bar count-in. he tempo is q = 95 bpm. For this exercise, please use the words ‘higher’ and ‘lower’ in your answer.
Please note: The test shown is an example. The examiner will give you a different different version in the exam.
Test 2: Chord Recognition he examiner will play you a sequence o chords, each with a C root note. You will hear the chord sequence twice, each time with a one bar count-in. You will then be asked to identiy the chord quality o each chord, rom a choice o major, minor, diminished and augmented. he tempo is q = 95 bpm.
Please note: The test shown is an example. The examiner will give you a different different version in the exam.
1 e d a r G o n a i P
39
General Musicianship Musicianship Questions he inal part o your exam is the General Musicianship Questions section, which eatures ive questions relating to one o your choice o the perormance pieces. 1. 2. 3. 4. 5.
You will be asked a question relating to the harmony rom a section o one o your pieces You will be asked a question relating to the melody in a section o one o your pieces pieces You will be asked a question relating to the rhythms used in a section o one o your pieces pieces You will be asked a question relating to the technical requirements o one o your pieces You will be asked a question relating to the genre o one o your pieces
Further guidance on the types o questions asked at this grade can be ound at the RSL website www.rslawards.co.uk
1 e d a r G o n a i P
40
Entering Rockschool Exams Entering a Rockschool exam is easy, just go online and ollow our simple six step process. All details or entering online, dates, ees, regulations and Free Choice pieces can be ound at www.rslawards.com ■ All candidates should ensure they bring their own Grade syllabus book to the exam or have proo o digital purchase ready to show the examiner. ■ All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam.
1 e d a r G o n a i P
41
Marking Schemes G���� E���� | D���� �� G���� 8 ELEMENT
PASS
MERIT
DISTINCTION
Perormance Perormance Piece 1
��–�� out o ��
��–�� out o ��
��+ out o ��
Perormance Perormance Piece 2
��–�� out o ��
��–�� out o ��
��+ out o ��
Perormance Perormance Piece 3
��–�� out o ��
��–�� out o ��
��+ out o ��
echnical Exercises
�–�� out o ��
��–�� out o ��
�� + out o ��
Sight Reading or Improvisation & Interpretation
� out o ��
�–� out o ��
�+ out o ��
Ear ests
� out o ��
�–� out o ��
�+ out o ��
General Musicianship Questions
� out o �
� out o �
� out o �
TOTAL MARKS
60%+
74%+
90%+
P���������� C����������� C����������� | D���� �� G���� �
1 e d a r G o n a i P
42
ELEMENT
PASS
MERIT
DISTINCTION
Perormance Perormance Piece 1
��–�� out o ��
��–�� out o ��
��+ out o ��
Perormance Perormance Piece 2
��–�� out o ��
��–�� out o ��
��+ out o ��
Perormance Perormance Piece 3
��–�� out o ��
��–�� out o ��
��+ out o ��
Perormance Perormance Piece 4
��–�� out o ��
��–�� out o ��
��+ out o ��
Perormance Perormance Piece 5
��–�� out o ��
��–�� out o ��
��+ out o ��
TOTAL MARKS
60%+
75%+
90%+
Copyright Inormation Tattooed Heart (Edmonds/Dixon/Squire/Grande/Foreman/Thomas/Riddick Tynes) Universal Music Publishing Limited/Kobalt Music Publishing Limited/Sony/ AV Music Publishing (UK) Limited/EMI Music Publishing Limited /Universal/MCA Music Limited Hallelujah (Cohen) Sony/AV Music Publishing (UK) Limited Can You Feel The Love Tonight (from “The Lion King”) (John/Rice) Universal Music Publishing Limited Wildest Dreams (Swift/Shellback/Martin) Sony/AV Music Publishing (UK) Limited/Kobalt Music Publishing Limited Let It Be (Lennon/McCartney) Sony/AV Music Publishing (UK) Limited I’m Not The Only One (Napier/Smith) Downtown Music UK Limited/EMI Music Publishing Limited/Sony/AV Music Publishing (UK) Limited
1 e d a r G o n a i P
43
Piano Notation Explained
THE MUSICAL STAVE shows pitches and
rhythms and is divided by lines into bars. Pitches are named aer the first seven letters of the alphabet.
C
D
E
F
G
A
B
C
D
E
F
G
A
B
Grace Note: Play the grace note on
Pedal Marking: Depress and then release the
or before the beat depending on the style of music, then move quickly to the note it leads onto.
sustain pedal. Multiple pedal operations in a short space of time may be simplified as shown in the last two beats of the bar below.
Spread Chord: Play the chord from the bottom note up
Glissando: Play the notes between the notated
(top down only if there is a downward arrow head). e final note should sound by the appropriate notated bar position.
pitches by sliding over the keyboard with the fingers or fingernails.
C
gliss.
Tremolando: Oscillate at speed between marked notes.
Finger Markings: ese numbers represent
your fingers. 1 is the thumb, 2 the index finger and so on. 1
(accent)
• Accentuate note (play it louder).
D. . al Coda
2
3
4
5
• Go back to the sign ( ), then play until the bar marked To Coda then skip to the section marked Coda.
D.C. al Fine
• Go back to the beginning of the song and play until the bar marked Fine (end).
(acc (accen ent) t)
• Acce Accent ntua uate te note note with with grea greatt int inten ensi sity ty.. • Use so pedal
Una Corda
• Repeat the bars between the repeat signs. (sta (stacc ccat ato) o) 1 e d a r G o n a i P
44
• Shor Shorte ten n tim timee val value ue of note note.. 1.
(acc (accen ent) t)
• Acce Accent ntua uate te note note with with more more arm arm weig weight ht..
2.
• When a repeated section has different endings, play the first ending only the first time and the second ending only the second time.
