RSK200092_Piano_2019_G3_DIGITAL.pdf

Piano Piano Grade 3 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 from: www.rslawards.com/downloads Input the following code when prompted: 3KW9AGQY2Q For more information, turn to page 5

www.rslawards.com

Acknowledgements Published by Rockschool Ltd. © 2019 Catalogue Number: RSK200092 ISBN: 978-1-78936-057-8 978-1-78936-057-8 Initial Release | Errata details can be found 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 Griffiths 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

DISTRIBUTION

Proof reading of arrangements by Sharon Kelly, Simon roup, Jennie roup and Jono Harrison Music engraving and book layout by Simon and Jennie roup of Digital Music Art Fact files written and edited by Abbie homas Notes written by Roland Perrin Proof reading and copy editing by Gemma Bull, Jono Harrison and Jennie roup Cover design by Philip Millard of Rather Nice Design Cover photograph: Norah Jones © Scott Gries / 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

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CONTACTING ROCKSCHOOL www.rslawards.com elephone: +�� (�)��� ��� ���� Email: [email protected] EXECUTIVE PRODUCERS

John Simpson, Norton York 

Table of Contents Introductions & Information Information 1 2 3 4 6

itle Page Acknowledgements able of Contents Welcome to Rockschool Rocksch ool Piano Grade 3 Performance and echnical Guidance

Rockschool Grade Pieces 7 11 17 21 27 31

................................................... ............. Rihanna ‘Unfaithful’ ...................................... ‘Somewhere Only We Know’ ............ Keane ................................... Norah Jones ‘Don’t ‘Don’t Know Why’ ................................... ............................ From ‘Aladdin’ ‘A Whole New World’ ............................ ‘Aladdin’ (1992) (19 92) ‘Skyfall’ ....................................... ........................................................... .................... From ‘Skyfall’ (2012) ........................................................ ................. Coldplay  ‘Paradise’.......................................

Technical Exercises 38

Scales, Arpeggios Arpegg ios & Chord Voicings

Supporting Tests 43 Sight Reading 44 Improvisation & Interpretation 45 Ear ests 46 General Musicianship Questions

Additional Information 47 48 49 50 51 52

Entering Rockschool Exams Marking Schemes Copyright Copyrig ht Information Piano Notation Explained Rockschool Digital Downloads Rockschool Rocksch ool Popular Music Teory 

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Welcome to Rockschool Piano Grade 3 Welcome to Rockschool’s Piano syllabus 2019. his syllabus is designed to support pianists in their progression from Debut to Grade 8, through an engaging and rigorous pathway covering all the genres, stylistic elements, techniques and musical skills required for success as a contemporary pianist.

Piano Exams At each grade you have the option of taking one of two different types of examination: ■ Grade Exam A Grade Exam is a mixture of music performances, technical work and tests. You are required to prepare three pieces (two of which may be Free Choice Pieces) and the contents of the echnical Exercise section. his accounts for 75% of the exam marks. he other 25% consists of: either a Sight Reading or an Improvisation & Interpretation test (10%), two Ear ests (10%), and finally you will be asked five General Musicianship Questions (5%). he pass mark is 60%. Performance Certificate ■ Performance A Performance Certificate is equivalent to a Grade Exam, but in a Performance Certificate you are required to perform five pieces. A maximum of three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark is 60%.

All elements required to participate in a Rockschool exam can be found in the grade book. hese are as follows: ■ 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 performance environment. hese fall into three categories:  Melody & Accompanim Accompaniment  ent 

hese arrangements arrangements are performed to full f ull band backing tracks, with the piano performing both melody and accompaniment Solo Piano Arrangement 

hese are full solo piano arrangements, performed without backing tracks Vocal Accompaniment 

hese arrangements cover the skills required of contemporary pianists in ensemble environments, be they on the stage or in the studio. he backing tracks feature vocalists, and the piano parts are reflective of what session pianists would perform 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 performers/recording artists. Furthermore, at the end of each arrangement you will find notes giving additional supportive context to get the most out of the pieces. ■ Technical Exercises here are either three or four groups of technical exercise, depending on the grade: Debut–Grade Debut–Grade 8:    3   e     d   a   r    G   o   n   a    i    P

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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 of unprepared supporting tests in the exam: 1. he first type can be b e one of two options (this is the candidate’s choice): Either: Sight Reading tests , developing the musician’s ability to read and perform previously unseen material; or:

Improvisation & Interpretation tests , developing the musician’s ability to develop previously unseen material in a stylistic way and perform improvised passages of melody. he book contains examples of both types of test – equivalent ‘unseen’ examples will be provided for the examination

2. Ear Tests Debut–Grade 3: feature Melodic Recall and Chord Recognition Grades 4–8: feature Melodic Recall and Harmonic Recall

3. General Musicianship Questions (GMQs), which you will be asked by the examiner at the end of each exam

General Information Information You will find information on exam procedures, including online examination entry, marking schemes, information on Free Choice Pieces and improvisation improvisation requirements for each grade. g rade.

Audio In addition to the grade book, we have also provided audio in the form of backing tracks (minus piano) and full tracks (including piano) for all ‘hit tune’ arrangements, technical exercises and supporting tests (where applicable). We have provided professional performance recordings of all solo piano pieces in the syllabus. his audio can be downloaded from RSL directly at www.rslawards.com/downloads

You will need to input this code when prompted: 3KW9AGQY2Q he audio files are supplied in MP3 format. Once downloade d you will be able to play them on any compatible device.

Further Information You can find further details about Rockschool’s Contemporary Piano syllabus by downloading the syllabus guide from our website: www.rslawards.com All candidates should download and read the accompanying syllabus guide when using this grade book.

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Performance and Technical Guidance Fingering  Any fingering annotation is given as a guide only.

Interpretation Notation should be performed exactly as written, except where there are performance 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 of adaptation is allowed where, for example, hand stretches do not facilitate the required notated parts. Marks may be deducted if adaptation results in over-simplification of the notation. If 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 followed. Where it is open to interpretation, the candidate is free to take their own approach.

Pedalling  he candidate may use the pedal freely at any grade, but it should be applied judiciously as marks may be deducted for any over usage resulting in an unclear tone. In addition, where pedalling is written into (or out of) the notation, this should be observed.

Chord Symbols Most hit tune arrangements have chord symbols written above the notation. his is purely for guidance, and to assist the candidate and teacher.

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Unfaithful SONG TITLE: UNFAITHFUL ALBUM: A GIRL LIKE ME RELEASED: 2006 LABEL: DEF JAM, SRP GENRE: POP/R&B

q 144 Po p =

Cm

VOCALS: RIHANNA PIANO: CARL STURKEN STRING ARRANGEMENT: ROBERT MOUNCEY PERCUSSION: TED HEMBERGER WRITTEN BY: SHAFFER SMITH, MIKKEL S. ERIKSEN, TOR ERIK HERMANSEN PRODUCED BY: STARGATE, MAKEBA RIDDICK UK CHART PEAK: 2

‘Unfaithful’ ‘Unfaithful’ was the second single to be released from Rihanna’s second album, A Girl Like Me. Songwriter Shaffer Smith is better known as Ne-Yo, who has also had a string of hits both as songwriter and artist.

Rihanna is originally from Bridgetown, Barbados. Producer Evan Rogers noticed the singer and helped her put together a demo that gained the attention of Def Jam records. he president of Def Jam at the time, JayZ, signed her immediately on the night she auditioned. auditioned.

he track encountered some controversy because of the lyrics. In an interview, Rihanna stated that “finally someone put it in perspective: girls cheat too”.

Rihanna is currently one of the biggest selling artists of all time, with sales of over 60 million albums and 215 million digital tracks worldwide. During her career she has won two BRI awards and nine Grammys. After the success of ‘Better Have My Money’ in July 2015, the Recording Industry Industry Association of America (RIAA) announced that Rihanna had become the first artist to surpass more than 100 million digital singles.

In response, a critic stated they were concerned that the lyrics could be interpreted as “devoid of remorse” but the songwriters remained confident that they expressed regret. he singer said of the song that she wanted to speak about personal experiences: “what it’s like to be a girl like me”. he song is a Pop/R&B ballad. he writers created the song around the piano part as they worked. Rihanna said that singing a ballad was “new ground” for her but this turned out to be one of her favourite songs from the album.

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Unfaithful Rihanna q 144 Pop =

Cm

A

F m/C

F m/A

Cm

A maj 7

F m/C

G 7sus 4

G7

[5]

A

Cm

F m/C

Cm

F m/C

[9]

A

F m/A

A maj 7

G 7sus 4

G7

[13]

Cm

F m/C

A

F m/A

Cm

F m/C

[17]

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8

A maj7

[21] Words & Music by Mikkel Eriksen, or Erik Hermansen & Shaffer Smith © Copyright 2006 Zomba Songs/Super Sayin Publishing. Publishing. Sony/AV Music Publishing (UK) Limited/EMI Music Publishing Limited/Concord Music Publishing LLC. All Rights Reserved. International Copyright Secured.

G 7sus 4

G7

B

A

B

A

B

Cm

B /D

E

[25]

A add 9

[29] C

Cm

A

1

F m7

B

2

2

[33]

Cm

A

B

Cm

A

F m7

Fm

[37]

B

[41]

A add 9

B

[45] D

Cm

F m/C

Cm

F m/C

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9

Notes

he opening eight-bar introduction sets the mood for the song. he lilting rhythm that passes between both hands should be played with an even balance to sound as one cohesive musical line. Students should aim for an even legato  sound, adopting light and precise approach to any use of pedalling to maintain clarity. Notice how the left hand part is divided into two voices, with the first note being held for the full duration of the bar. Be careful to hold these notes for their full four beats, while avoiding any over-emphasis or accenting. Section A signifies the start of the first verse. he piano part here continues to play the rhythmic accompaniment to the original vocal part, dropping back to moderately quiet. It is important to keep the part flowing evenly between both hands. Although bar 25 is the beginning of a new section, be aware that the right hand part picks up the vocal melody in the previous bar. At this point the right hand is mirroring the original vocal melody and the balance between hands needs to subtly shift to allow this melody line to rise just a little above the left-hand part. However, the left-hand part continues to play an important role in maintaining the character of the song while providing a sense of continuous forward motion. he crescendo  through bars 25 to 28 should be carefully prepared in order to achieve the correct build in intensity. his must be followed by a well-judged decrescendo in the right-hand part for the last two beats of bar 28, to release this tension and bring the listener back for the next phrase. It is important to drop right back to the original dynamic at this point and avoid the temptation for a second crescendo through the next four bars. his will help to create a sense of real contrast and progression progression at the start of section C. Although section C needs a similar technical approach to section B, the right-hand part will require additional attention to detail. Students should take time to practise this section with the right hand separately and slowly to ensure they are able to understand which notes are part of the melody line and which are accompanimental, balancing and shaping the phrasing accordingly. accordingly. Section D mirrors the opening four bars and re-captures the evenly balanced, lilting pattern of the introduction.

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Somewhere Only We Know SONG TITLE:

‘SOMEWHERE ONLY WE KNOW’

ALBUM: RELEASED:

HOPES AND FEARS 2004

LABEL:

ISLAND

GENRE:

POP ROCK/SOFT ROCK

WRITTEN BY:

TIM RICE-OXLEY/TOM RICE-OXLEY/TOM

q 86

I ndie Rock

=

A

CHAPLIN/RICHARD CHAPLIN/RICHARD HUGHES PRODUCED BY:

ANDY GREEN/ JAMES SANGER/KEANE SANGER/KEANE

UK CHART PEAK:

 ped al e c on pe

3

‘Somewhere Only We Know’ was the debut single for British alternative rock band Keane and featured on their first studio album Hopes and Fears. he song achieved global success and became one of the biggest selling singles of 2004. ‘Somewhere Only We Know’ was originally played on guitar, before moving to a piano led sound prior to its release. he album Hopes and Fears topped the UK album chart upon its release in 2004, quite an achievement for the bands debut release. It was the second bestselling album of the year by a British artist, missing out on the top spot only to Scissor Sisters’ debut. With more than 2.7 million copies sold in the UK, Hopes b est-selling albums in the and Fears ranks 11th in the best-selling UK in the 2000s. A brilliant accomplishment for the homegrown band.

Hopes and Fears received several award nominations, including a nomination for the 2004 Mercury Prize to which they lost out to Franz Ferdinand’s self-titled debut album. Since their debut, Keane have continued to achieve chart success in the UK. hey now have five UK number 1 albums, four UK top tens and their keyboardist (im RiceOxley) even holds an Ivor Novello award for his contributions contributions to songwriting.

‘Somewhere Only We Know’ was inspired by David Bowie’s hit ‘Heroes’. It was one of the first songs the band wrote and recorded together, with the first demo featuring Dominic Scott on guitar before he left the band. Keane performed the single at the historic Live 8 event in 2005 at London’s Hyde Park.

‘Somewhere Only We Know’ was covered by Lily Allen for John Lewis’ coveted Christmas advert in 2013. Her gentle adaption proved hugely popular and actually topped the UK chart on its release in November 2013. It spent 15 weeks in the UK singles chart and was Allen’s first number 1 since her single ‘he Fear’ in 2009.    3   e     d   a   r    G   o   n   a    i    P

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Somewhere Only We Know  Keane q 86 =

Indie Rock

A

A sus 4/G

A/G

A/G

con pedale

B m7

E sus 4

E sus 4

E

[3]

A

A

A maj 7

B m7

A

A/G

[5]

E 7sus 4

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12

E7

E sus 4

[8] Words & Music by Richard Hughes, im Rice-Oxley & om Chaplin © Copyright 2004 BMG Music Publishing Limited. Universal Music Publishing MGB Limited. All Rights Reserved. International Copyright Secured.

A sus 4/G

A/G

7

7

Bm

E sus

4

E

7

E sus

4

[11]

B

F m

C m

D

F m

C m

[13]

7

E sus

4

E

6

[16]

D

E

7

E

6

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13

C

A

4

A/G

A sus /G

[21]

7

7

Bm

E sus

4

E

7

7

E sus

4

A

[23]

A/G

4

A sus /G

A/G

7

Bm

7

E sus

[26]

D

F m

C m

D

F m

C m

[29]

E

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14

[32]

7

E

6

4

A/G

E7

D

E6

[35]

E

B m7

A/C

A /E

E

[37]

B m7

A/C

A /E

E

B m7

[39]

A/C

A /E

E

D maj 7

E6

A

[42]

D

E6

D

A

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Notes

An important part of this song is its driving beat. here is a repeated note accompaniment throughout, which should be played with a steady focus. However, it is important that these repeated notes do not overpower the melody. he pedal should not be used until all the notes have been confidently mastered. Once the pedal is introduced, students should re-take on each new chord, to ensure clarity of texture. Note the placement of accents within the first four introductory bars of the piece. hese should be carefully prepared as they give the chord sequence a sense of purpose and momentum. Students should take time to practise each part at section A separately. he key to master the left hand part is in learning to hold the whole notes for the full length of each bar while continuing to play the steady eighth-note repeated pattern above. he next challenge is to fit the syncopated right-hand part on top of this. his section is worth taking each bar in isolation, slowing down the tempo and focussing on understanding how the parts fit together. Students should use the continuous eighth-note movement throughout these bars as a guide to keep the pulse steady. he continuous eighth-note driving pattern requires shaping to avoid sounding overly repetitive and heavy. Observing the dynamics carefully will help provide provide a sense of structure and direction.

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Don’t Know Why  SONG TITLE:

DON’T KNOW WHY

ALBUM:

COME AWAY WITH ME / 2002

LABEL:

FAVORED NATIONS

GENRE:

POP/JAZZ

WRITTEN BY: GUITAR:

JESSE HARRIS

r y  / Po p z /    Count r  q 90  J az z  =

B ma j 7

B 7

JASON ROBERTS AND NORAH JONES

PRODUCER:

NORAH JONES, ARIF MARDIN AND JAY NEWLAND

‘Don’t Know Why’ was featured in Norah Jones’ 2002 Platinum release, Come Away With Me . Te track was well received in the US where it peaked at number 30 in the Billboard chart, and the album is her most successful to date having spent four consecutive weeks at the top of the UK album chart. he single won Grammy awards for Record of he Year, Song of he Year and Best Female Pop Vocal Performance. ‘Don’t Know Why’ was written by Jesse Harris and has been covered by numerous artists as a result of Norah Jones’ recording success.

Jones has released six studio albums to date. She is a versatile and curious artist and has taken part in a variety of other projects. hese include singing in Herbie Hancock’s version of ‘Court and Spark’ by Joni Mitchell, co-writing with Ryan Adams, playing piano and singing in ‘Victoria Moon’ by the Foo Fighters, and being in the alternative alternative country band For the Good imes. For her fifth studio album, Little Broken Hearts , Jones teamed up with DJ and producer Danger Mouse. Jones also recorded a Christmas duet with Cyndi Lauper. She has toured extensively to promote each of her records.

Norah Jones was born in 1979 in Brooklyn, New York. She is the daughter of Indian sitar virtuoso Ravi Shankar and Sue Jones, an American concert producer. She started singing at junior school and by high school had won Down Beat Student Music award for Best Vocalist and Best Composition. She attended he University of North exas (UN) where she majored in piano. During this time she met Jesse Harris, with whom she started a band in 1999 after moving to New York City. Jones was signed to Blue Note Records after presenting a three track demo, including two standards and a song by Harris.    3   e     d   a   r    G   o   n   a    i    P

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Don’t Know Why  Norah Jones q 90  Jazz/Country/Pop =

B maj7

B 7

D7

E

G m7

C7

F 9sus 4

A

B maj 7

B 7

B maj 7

B 7

B maj7

B 7

E

D aug aug

G m7

C7

F 9sus 4

B

[5]

E

D aug aug

G m7

C7

F 9sus 4

B

D aug aug

G m7

C7

F 9sus 4

B

[9]

E

[13]

To Coda B maj 7

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18

B 7

E

D aug aug

G m7

[17] Words & Music by Jesse Harris © Copyright 2002 B eanly Songs/Sony/AV Songs/Sony/AV Songs LLC. Sony/AV Music Publishing (UK) Limited. All Rights Reserved. International Copyright Secured.

C7

F 9sus 4

B

B

Gm

C 13

F7

Gm

C 13

F7

[21]

D. . al Coda

[25]

Coda G m7

C7

E /F

G m7

B

C7

E /F

[29]

B maj 7

B 7

E

D7

[32]

G m7

C7

F 9sus 4

B

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19

Notes

his gentle jazz/country song of regret requires students to have a sensitive touch and a good sense of the balance required between the different parts. Students should allow the melody to sing out above the accompaniment. However, the left-hand part must be played with clear definition so that the groove is maintained. Once the student has a good understanding of the basic syncopated groove pattern, the next important step will be in understanding how the two parts fit together, where both hands play the same rhythm and where the hands move independently. Students would benefit from taking each bar in isolation, practising each hand separately while counting the eighth-beats out loud (‘ one and two and three and four and ’), before attempting to put both parts together. Note that the music has Coda notation. Students should practise moving from bar 28 back to bar 13 (observing the symbol) and again from bar 20 to the Coda, starting at bar 29. Pay careful attention to maintain a steady sense of pulse from bar 31 to bar 33 while moving through the 2/4 bar, allowing the music to flow seamlessly across the bars. Students may find it helpful if they are familiar with Norah Jones’ original recording of the song, so that they can understand the overall sentiment and feel of the piece.

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A Whole New World SONG TITLE: ALBUM:

‘A WHOLE NEW WORLD’ ALADDIN: ORIGINAL MOTION PICTURE SOUNDTRACK

RELEASED:

1992

LABEL:

WALT DISNEY

GENRE:

POP

WRITTEN BY:

ALAN MENKEN/TIM RICE

PRODUCED BY:

ALAN MENKEN/TIM RICE

UK CHART PEAK:

q 124 =

ra   ck Soundt r  9

D add

N/A 1

2

2 5

‘A Whole New World’ World’ was written for Disney’s 1992 animated feature film Aladdin, the 31 st film to be released by the global conglomerate, with music by Alan Menken and lyrics by im Rice. he duet was originally recorded by Brad Kane and his screen partner Lea Salonga in their corresponding corresponding roles as the singing voices of main characters Aladdin and Princess Jasmine. he song was the lead track for the film and achieved great success, winning ‘Best Original Song’ at the 1993 Academy Awards. Lea Salonga is widely known for her work in both musical theatre and voice over, featuring as two Disney Princesses she was hailed a Disney Legend in 2011 (Disney’s Hall of Fame) for her work as both Princess Jasmine and Mulan. She is also renowned for outstanding Broadway performances, having originated Miss Saigon’s Kim on both the West End and Broadway at the young age of 18. In 1991 she was awarded ‘Best Actress in a Musical’ at the ony Awards for her portrayal of the role, making her the first ever Asian woman to win a ony Award. American recording artists Peabo Bryson and Regina Belle also recorded the song in 1962 and released it as a single, it was well received and made it to number 12 on the UK singles chart before topping the US Billboard chart in early 1963. his version also features on the Disney animated release during the

end credits and was officially named ‘A Whole New World (Aladdin’s heme)’. Both artists subsequently released the song on their debut albums, Belle with her 1993 release Passion and Bryson with his 1994 release Through the Fire. heir version of the Menken/ Rice collaboration became the first Disney song s ong to top the Billboard charts, a feat now also achieved by the likes of Bryan Adams, Rod Stewart and Phil Collins. Aladdin was the most successful Box Office release of 1992, grossing $217 million sales in the US and over $500 million worldwide. For a short period, it was the best-selling animated film of all time, only to be overtaken by Disney’s own ‘he Lion King’ two years later. he romantic tale won two Academy Awards, the first for ‘Best Original Score’ and the second for ‘Best Original Song’ with none other than ‘A Whole New World’.

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21

A Whole New World Alan Menken From ‘Aladdin’ (1992) q 124  Soundtrack =

D add 9

2

1 2 5

A

D 4

G /D 3

1

D

5

4

G maj 7/B

G/D

A /E

2

1

1

[5]

1.

G6 4

F 3

F /A

5

4

Bm

D/A

G add 9

1

1 1

[9]

2.

D

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22

A7

G add 9

[12] Music by Alan Menken Lyrics by im Rice © 1992 Wonderland Music Company, Inc. and Walt Disney Music Company  All Rights Reserved. International Copyright Secured.

D

2 1

3 1

5 3

B

A

D

5 2

1

5

3

2

A /G

1

D

2

2

[15]

A 7/C

A

4

D add 2/F

D add 2/F

A /G

B m7 5 3 1

4

3

E 7sus 4

E7

3 1

2 1

A 7sus 4

[19]

A

D

A

A dim7

F

Bm

D7

[23]

A /G

D add 2/F

A /G

D add 2/F

B m7

E 7sus 4

E7

[27]

C sus 2

G 7/A

A

D

   3   e     d   a   r    G   o   n   a    i    P [30]

23

C

F

B /F

F

F

B /F

F

B maj 7/D

C /E

[33]

B 6

A7

A 7/E

Dm

F /A

B add 9

F

[37]

D

C

F

C 7/E

C

F

[41]

C/B

F add 2/A

C /B

F add 2/A

D m7

G 7sus 4

G

C9 5 1

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24

[45]

5

C sus 4

C

3 1

1

5 2

F

C dim7

C

Dm 3

[49]

F add 2/A

C/B

C/B

F add 2/A

D m7

G 7sus 4

G

E sus 2

F /C

C7

[53]

Dm

F /C

B sus 2

F/A

G m11

F /A

B sus 2

C 7sus 4

[57]

Rit.

5 1

5

3

1

2

5 4 2

1

2

[61]

F

5 2 1

[65]

3

2

1

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25

Notes

his song has the excitement and innocence of a young person on the threshold of a new era in their life. his sentiment can guide the performance of the music with a sense of light and movement throughout. he gentleness of the music is enhanced by the dynamic markings. Students will benefit from being made aware that the dynamic changes are small – the crescendos  and diminuendos   are not dramatic, but create shades of the same colour. As the piece has a limited volume range from to , the performer will need to control these crescendos and diminuendos carefully to provide musical contrast while maintaining a contained lightness of touch. Note that the right hand often plays both the melody line and supporting harmony notes. It is important that students understand the different parts within the same stave and allow the melody to sing out above the accompanying harmony. Equally important, students should observe the note lengths and practise holding notes precisely. his is particularly relevant when the same hand is playing two parts with different rhythms. Letter C is quite dramatic due to the modulation, but this should not be emphasised by playing loudly – the change in key signature is enough to create the desired effect. Finally, in order to keep a sense of lightness and ease throughout, establishing a secure fingering pattern through those more challenging bars is vital.

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26

Skyfall SONG TITLE: RELEASED:

SKYFALL 2012

LABEL:

XL, COLUMBIA

GENRE:

ORCHESTRAL POP

VOCALS:

ADELE

PIANO:

q 76 =

ra   ck Soundt r  d9

C m ad

NIKOLAJ TORP LARSEN

GUITAR:

JAMES REID

DRUMS:

LEO TAYLOR

BASS:

TOM HERBERT

CHOIR:

METRO VOICES

PERCUSSION: PAUL EPWORTH ORCHESTRA LEADER:

THOMAS BOWES

WRITTEN BY:

ADELE ADKINS AND PAUL EPWORTH

PRODUCED BY: UK CHART PEAK:

PAUL EPWORTH 2

he song was written as the theme tune for the 2012 James Bond film, Skyfall  –  – the 23rd film in the franchise. Adele was approached by the film’s producers to write the tune and after reading the script, she accepted. he producers allegedly asked her as they felt it might bring back the “classic Shirley Bassey feel” that was associated with iconic bond themes. Adele and co-writer Paul Epworth wanted to create a song that was true to the narrative, rather than the Romanticism of the film, but were originally concerned that it might be ‘too dark’.

Both Epworth and Adele mention that they worked hard to incorporate elements of previous Bond themes and motifs into the composition. Producer and co-writer Epworth decided to watch all of the first thirteen Bond films to understand what he called the “musical code” of the existing scores. He said he was looking for a way to give ‘Skyfall’ what he called the “60s jazzy quality” that typifies Bond themes. he song won Best Single at the 2013 Brit Awards and was the first ever Bond theme to win an Oscar.

Co-writer, Paul Epworth, had worked with Adele previously on her single ‘Rolling in the Deep’ and has written with other artists such as: Florence and the Machine, Plan B and Lana Del Rey. ‘Skyfall’ was recorded in two sessions at the legendary Abbey Road Studios with a 77-piece orchestra, conducted by J.A.C. Redford. It received its first play on Adele’s website at 0:07 GM on the 5th October 2012; dubbed ‘James Bond Day’ as it marked the 50th anniversary of the release of the first ever James Bond film, Dr. No.    3   e     d   a   r    G   o   n   a    i    P

27

Skyfall Adele

q 76  Soundtrack =

From ‘Skyfall’ (2012)

C madd9

A

Cm

F7

A

Cm

F7

A

[3]

Cm

F7

A

G 7sus 4

C m/D

G

3

[7]

B

Cm

A

F7

F m7

Cm

A

F7

F m7

[11]

Cm

F7

A

F m7

C m/D

G sus 4

G

[15]

C

Cm

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28

A maj7

F m7

[19] Words & Music by Adele Adkins & Paul Epworth © Copyright 2012 Melted Stone Publishing Limited. Universal Music Publishing Limited/EMI Music Publishing Limited. All Rights Reserved. International Copyright Secured.

D 7sus 4

G

A maj7

Cm

D7

F

G7

[23]

Cm

[27]

D

F m9

A 6

E /B

E aug aug/B

Cm

3

[31]

A maj9

F m7

G7

C m/D

[35]

A maj7

Cm

F m7

[39]

G sus 4/D

G 7/F

Cm

C m/B

A

A /G

[42]

F sus 4

C madd9

Freetime

   3   e     d   a   r    G   o   n   a    i    P [45]

29

Notes

he first chord of Skyfall is played with an accent which, combined with the foreboding tension of the harmony (the added ninth giving a degree of dissonance), gives the listener a sense of the drama to follow. his accent can be treated with full force, allowing the chord to die away naturally. here is a repeated, relentless and fateful quarter-note pulse throughout the song – sometimes in the bass, and sometimes in the treble or inner right hand part. hese repeated quarter-notes should all be played in the same way: slightly separated, insistently, but kept in the background. Students will need to identify which notes in the right-hand part form the melody line and which help support the harmony. his will inform students in allowing the melody to sing over the accompanying parts. Careful practice will be required in order to play the melody lines in conjunction with the secondary parts and accompanying chords, particularly as these build in texture from section A into section B. Similarly, the left-hand bass notes become richer chordal accompaniment patterns in section C, and practising hands separately at slower tempos will ensure stability with these techniques. he insistent feel of all the repeated notes is released in the last four bars. Students should be encouraged to enjoy the freedom of free time playing, shaping the final phrase.

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30

Paradise SONG TITLE: ALBUM: RELEASED:

‘PARADISE’ MYLO XYLOTO 2011

LABEL:

PARLOPHONE/CAPITOL

GENRE:

POP ROCK

WRITTEN BY:

q 140 Po p / Rock =

GUY BERRYMAN/JONNY BUCKLAND/WILL CHAMPION/ CHRIS MARTIN

PRODUCED BY:

MARKUS DRAVS/DANIEL

 tro]  trings In tr [S tr

GREEN/RIK SIMPSON/ BRIAN ENO UK CHART PEAK:

1

‘Paradise’ was a 2011 hit for British rock band, Coldplay. he song was the second single to be released from their fifth studio album,  Mylo available as  Xyloto  X yloto,, the song was originally made available an immediate download on iunes to anyone who preordered the album meaning it wasn’t chart eligible. However, after the albums official release the song became available for purchase and soon debuted within the top ten. On the 1 st January 2012, four months after its official release, ‘Paradise’ had climbed to the top spot making it the first number 1 single of the year. In 2010 frontman Chris Martin was approached by the producers of popular IV show, he X Factor, and was asked to write a hit for the next seasons winner. ‘Paradise’ was originally written in response to this request, but drummer Will Champion insisted that the song should remain theirs and should be included Xyloto album. Champion’s decision on their Mylo Xyloto proved fruitful with the hit making it to the top 5 in no less than sixteen countries, as well as number 15 in the US Billboard chart. Coldplay released their debut album, Parachutes, in July 2000 and quickly rose to fame. Featuring hits such as ‘Shiver’, ‘Yellow’ and ‘rouble’, the album received positive positive reviews and soon s oon topped the UK album chart. At the 2001 Grammy Awards Ceremony

Parachutes won Best Alternative Music Album, giving the band their first Grammy just one year after their first release. hey have gone on to win seven Grammys in total (so far) and have been nominated for twenty-nine of the coveted awards.

Coldplay have released seven studio albums to date. With each of them topping the UK album chart and with sales of over 100 million records, they have become one of the best-selling rock bands of the 21st century. hey are highly regarded for their contribution to the music industry, as well as their outstanding charity work across the globe. In the early years of their career the band decided that they would donate 10% of all earnings to charity, an incredible gesture which they still adhere to. hey are renowned for their work with the likes of Amnesty International, Oxfam and Make Poverty History and continue to work towards banishing global poverty to this day.

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31

Paradise Coldplay  q 140  Pop/Rock =

[Strings Intro]

A

B 6

F

C /E

Gm

B 6

F

C /E

D m7

B add 9

F /A

C /G

D m7

B add 9

F /A

C /G

Gm

con pedale

[5]

[9]

[13]

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32

[17] Words & Music by Guy Berryman, Jonny Buckland, Will Champion, Chris Martin & Brian Eno © Copyright 2011 BMG Music PublishingLimited. Universal Music Publishing MGB Limited/Opal Music administered by Bucks Music Group Limited, NW1 8AW. All Rights Reserved. International Copyright Secured.

B 6

Gm

F

C /E

[21]

G m7

B 6

C5

F

[25]

D sus 4

D m7

B sus 2

F

C5

D sus 4

D m7

B sus 2

F

C5

[29]

[33]

B

B

F add 9/A

C/G

   3   e     d   a   r    G   o   n   a    i    P [37]

33

B add 9

D m7

C

[41]

G m7

B add 9

F

C

[45]

G m7

B add 9

B /D

F

[49]

C

B

[53]

C sus 4

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34

[56]

C

F

C

Gm

B

6

F

C /E

[59]

Gm

B

6

[62]

1. F

2. C /E

F

C /E

[65]

D

B

7

C

Dm

[69]

9

G /B

B

   3   e     d   a   r    G   o   n   a    i    P [73]

35

Notes

Most of this song is accompaniment. However, the constantly evolving piano part demands student’s close attention. Each four-bar phrase should be practised separately, slowly and with hands together until mastered. he first half of section A, up until the end of bar 12, is a powerful instrumental introduction introduction and should be played with full commitment. he melody enters at bar 13, and students have the role of accompanist. It is important to play sensitively here, making sure that the melody is not overpowered in any way. Bars 29 to 36 are an instrumental interlude, and students should allow the melody to project, while maintaining the same moderately loud volume. At letter B, the piano part returns to an accompaniment role, with carefully constructed passages and chord inversions complimenting the ensemble sound. A mezzo forte dynamic is maintained throughout, emphasising that the piano part should be clear and strong but not overpowering, leaving enough room for the change to  forte at letter C. Particular attention may be needed in bar 53 to bar 58, where we see counterpoint between the two hands. Maintaining a strong internal pulse is vital to keep a steady beat through this phrase. he accompaniment part returns between bar 59 and bar 67. his is the climax of the song, and needs to be played strongly, although still with care not to overpower the melody. he final section is an instrumental section and requires sensitivity to ‘wind down’ the intensity of the previous sections of the song. Students should take care to hold the final chord for the full eight beats.

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36

   3   e     d   a   r    G   o   n   a    i    P

37

Technical Exercises

4. F  minor arpeggio

4 1

2

4

2

1

2

4

2

1

2 4

1

2

5. C dominant seventh (C 7) arpeggio 1

2

3

4

4 1

2

4 5

4

3

2

5

3

3

2

3

4

3

2

1

1

6. C minor sixth (Cm6) arpeggio 5 1

2

3

4 1

2

4 5

4

3

2

1

1

   3   e     d   a   r    G   o   n   a    i    P

41

Technical Exercises

Group C: Chord Voicings Harmonised Harmonised Scale in 7ths 7th Chords and voicings In the exam you will be asked to play one of harmonised scale exercises below, from memory. he examiner will state the exercise. his exercise is performed to a metronome click. he tempo for this group is q = 80 Ex 1: C major harmonised scale in 7ths (root in bass)

Ex 2: C major harmonised scale in 7ths (3rd in bass)

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42

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 of either A major or E major. You will first be given 90 seconds to practise, after which the examiner will play the backing track twice. he first time is for you to practise and the second time is for you to perform the final version for the exam. For each playthrough, the backing track will begin with a one bar count-in. he tempo is q = 60–95. During the practice time, you will be given the choice of a metronome click throughout or a one bar count in at the beginning. he backing track is continuous, so once the first playthrough has finished, the count in of 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

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43

Improvisation Improvisation & Interpretation 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 Improvisation & Interpretation test, the examiner will give you a 4–6 bar chord progression in the key of either A major or E major. You will first be given 90 seconds to practise, after which the examiner will play the backing track twice. he first time is for you to practise and the second time is for you to perform the final version for the exam. For each playthrough, the backing track will begin with a one bar count-in. he tempo is q = 60–95. During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at the beginning. he backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will start immediately. You are only required to improvise single note melodies, with either right or left 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 = 90 E maj7

C m7

B 7

B 7

A maj 7

A maj7

E maj 7

E maj7

[5]

Please note: The test shown is an example. The examiner will give you a different different version in the exam.

Improvisation & Interpretation | Example 2 q = 90 A maj7

F m

E7

E7

D maj 7

D maj 7

A maj7

A maj 7

[5]

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44

Please note: The test shown is an example. The examiner will give you a different different version in the exam.

Ear Tests In this section, there are two ear tests: ■ Melodic Melodic Recall Recall ■ Chord Chord Recognition Recognition You will find one example of each type of test printed below and you will need to perform both of them in the exam.

Test 1: Melodic Recall he examiner will play you a two bar diatonic melody in the key of C major with a range up to a fifth. he first note will be the root note. You will hear the test twice, each time with a one bar count-in, then you will hear a further one bar count-in after which you will need to play the melody to the click. he tempo is [crotchet] = 95. It is acceptable to play over the track as it is being played as well as practising after the second playthrough. he length of time available after the second playthrough is pre-recorded on the audio track so the count-in may begin while you are still practising.

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 of 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 identify the chord quality of each chord, from a choice of major, minor, diminished, augmented, dominant 7th and major 7th. 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.

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45

General Musicianship Questions he final part of your exam is the General Musicianship Questions section, which features five questions relating to one of your choice of the performance pieces. 1. 2. 3. 4. 5.

You will be asked a question relating to the harmony from a section of one of your pieces You will be asked a question relating to the melody in a section of one of your pieces pieces You will be asked a question relating to the rhythms used in a section of one of your pieces pieces You will be asked a question relating to the technical requirements of one of your pieces You will be asked a question relating to the genre of one of your pieces

Further guidance on the types of questions asked at this grade can be found at the RSL website www.rslawards.co.uk

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46

Entering Rockschool Exams Entering a Rockschool exam is easy, just go online and follow our simple six step process. All details for entering online, dates, fees, regulations and Free Choice pieces can be found at www.rslawards.com ■ All candidates should ensure they bring their own Grade syllabus book to the exam or have proof of digital purchase ready to show the examiner. ■ All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam.

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47

Marking Schemes G���� E���� | D���� �� G���� 8 ELEMENT

PASS

MERIT

DISTINCTION

Performance Performance Piece 1

��–�� out of ��

��–�� out of ��

��+ out of ��

Performance Performance Piece 2

��–�� out of ��

��–�� out of ��

��+ out of ��

Performance Performance Piece 3

��–�� out of ��

��–�� out of ��

��+ out of ��

Technical Exercises

�–�� out of ��

��–�� out of ��

�� + out of ��

Sight Reading or  Improvisation & Interpretation

� out of ��

�–� out of ��

�+ out of ��

Ear Tests

� out of ��

�–� out of ��

�+ out of ��

General Musicianship Questions

� out of �

� out of �

� out of �

TOTAL MARKS

60%+

74%+

90%+

P���������� C����������� C����������� | D���� �� G���� �

   3   e     d   a   r    G   o   n   a    i    P

48

ELEMENT

PASS

MERIT

DISTINCTION

Performance Performance Piece 1

��–�� out of ��

��–�� out of ��

��+ out of ��

Performance Performance Piece 2

��–�� out of ��

��–�� out of ��

��+ out of ��

Performance Performance Piece 3

��–�� out of ��

��–�� out of ��

��+ out of ��

Performance Performance Piece 4

��–�� out of ��

��–�� out of ��

��+ out of ��

Performance Performance Piece 5

��–�� out of ��

��–�� out of ��

��+ out of ��

TOTAL MARKS

60%+

75%+

90%+

Copyright Information Unfaithful (Eriksen/Hermansen/Smith) Sony/AV Music Publishing (UK) Limited/EMI Music Publishing Limited/Concord Music Publishing LLC Somewhere Only We Know  (Hughes/Rice-Oxley/Chaplin) Universal Music Publishing MGB Limited Don’t Know Why  (Harris) Sony/AV Music Publishing (UK) Limited A Whole New World (from “Aladdin”) (Menken/Rice) Universal Music Publishing Limited Skyfall (from the Motion Picture “Skyfall”) (Adkins/Epworth) Universal Music Publishing Limited/EMI Music Publishing Limited Paradise Berryman/Buckland/Champion/Martin/Eno Universal Music Publishing MGB Limited/Opal Music

   3   e     d   a   r    G   o   n   a    i    P

49

Piano Notation Explained

THE MUSICAL STAVE  shows pitches and

rhythms and is divided by lines into bars. Pitches are named aer 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)    3   e     d   a   r    G   o   n   a    i    P

50

• 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.