Piano Piano Grade 5 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: URBKDQ42X5 For more inormation, turn to page 5
www.rslawards.com
Acknowledgements Published by Rockschool Ltd. © 2019 Catalogue Number: RSK200094 ISBN: 978-1-78936-059-2 978-1-78936-059-2 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: Vanessa Carlton © Sipa/REX/Shutterstock
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
5 e d a r G o n a i P
2
CONACING CONACING ROCKSCHOOL www.rslawards.com elephone: +�� (�)��� ��� ���� Email:
[email protected] EXECUIVE PRODUCERS
John Simpson, Norton York
able of Contents C ontents Introductions & Information Information 1 2 3 4 6
itle Page Acknowledgements able o Contents Welcome to Rockschool Rocksch ool Piano Grade 5 Perormance and echnical Guidance
Rockschool Grade Pieces 7 15 21 27 33 39
........................................................ ................... Vanessa Carlton ‘A ‘A Tousand Miles’ ..................................... ......................................................... ....................................... ................... Massive Attack ‘eardrop’ ..................................... ‘Every Little Ting She Does Is Magic’ . ............. Te Police ............................................................ ................................ ............ David Guetta eat. Sam Martin ‘Dangerous’ ........................................ ‘Lie On Mars?’ ....................................... .......................................................... ......................... ...... David Bowie .................................... From ‘oy Story’ (1995) ‘You’ve ‘You’ve Got A Friend In Me’ ....................................
Technical Exercises 46
Scales, Arpeggios, Arpegg ios, Chord Voicings & echnical Studies
Supporting Tests 54 Sight Reading 56 Improvisation & Interpretation 58 Ear ests 59 General Musicianship Questions
Additional Information 60 61 62 63 64
Entering Rockschool Exams Marking Schemes Copyright Copyrig ht Inormation Piano Notation Explained Rockschool Rocksch ool Popular Music Teory
5 e d a r G o n a i P
3
Welcome to Rockschool Piano Grade 5 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: 5 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: URBKDQ42X5 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.
5 e d a r G o n a i P
5
Performance 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.
5 e d a r G o n a i P
6
A Thousand Miles SONG TITLE: ALBUM:
‘A THOUSAND MILES’ BE NOT NOBODY
RELEASED:
2002
LABEL:
A&M
GENRE:
BAROQUE POP/POP ROCK
WRITTEN BY: PRODUCED BY:
q 95 Po p =
5 B /E
F
VANESSA CARLTON RON FAIR/ CURTIS SCHWEITZER
UK CHART PEAK:
6
‘A housand Miles’ was a hit or American singer songwriter, Vanessa Carlton. he song was released as the lead single or Carlton’s debut studio album, breakthrough to Be Not Nobody , and became her breakthrough commercial success. he track achieved global success, reaching the top ten in the UK singles charts and topping the Australian chart. Carlton also had success with the hit in France, Italy, he Netherlands and Ireland. Vanessa Carlton began writing the hit at her parent’s house in Philadelphia in the summer o 1998, starting with the unorgettable unorgettable piano ri which amously introduces the song. Meeting a writer’s block along the way, she ound the determination to inish it a ew months later ater receiving positive eedback on playing it to a record producer. On inishing the song she named it ‘Interlude’, a name that many would suggest she change and o course eventually became ‘A housand Miles’. Carlton worked hard or success, sending demos to producers and labels whenever she could and standing irm when oers were made which she elt would jeopardise her sound. Some years down the line, having sent out countless demos and turned down several oers, one o Carlton’s tapes had ound its way to head o A&M Records, Ron Fair. Fair loved the demo and was keen to work with Carlton,
but elt that some o the music was a little disjointed and lacked the emotional pull it should be eeling. Although Carlton had turned down many oers rom producers and labels in the past, due to their demands or change, she seemed to take Fair’s Fair’s advise on board and the two worked together to create something brilliant. Many changes were made to the original demo o this song, including the change o name, a shortened piano intro and an orchestral section. It would seem that Fair was indeed right to make these decisions as ‘A ‘A housand Miles’ soon became a household name and it’s popularity was spreading worldwide. ‘A housand Miles’ received three Grammy award nominations, or Record o the Year, Song o the Year and Best Instrumental Arrangement Accompanying Vocalist(s). Sadly, these remained only nominations and she lost out on all three, with Norah Jones taking Record o the Year or ‘Don’t Know Why’. Why’. he song proved extremely popular with US troops at the time o its release and quickly became the most requested song on radio station ‘British Forces Broadcasting Service’. 5 e d a r G o n a i P
7
A Tousand Miles Vanessa Carlton q 95 Pop =
B 5/E
B 5/E
F add 4
F add 4
B/D
B/D
B/E
B/E
B 5/E
B 5/E
F add 4
F add 4
B/D
B/E
E6
B/D
[3]
A
B 5/E
F add 4
B 5/E
F add 4
B /D
E
B 5/E
F add 4
B/D
E
[5]
5 e d a r G o n a i P
8
B/ D
B 5/E
F add 4
[7] Words & Music by Vanessa Carlton © Copyright 2001 Rosasharn Publishing/Songs O Universal Incorporated. Universal/MCA Music Limited. All Rights Reserved. International Copyright Secured.
B/D
B/E
B 5/E
F add 4
B 5/E
F add 4
B /D
B 5/E
E
F add 4
B/D
E
[9]
B/D
B /E
B 5/E
F add 4
B/D
B/E
[11]
B
E sus 2
B/F
B add 9/D
E sus 2
B /F
B add 9/D
[13]
E sus 2
B /F
B add 9/D
E sus 2
F
[15]
C
E sus 2
F add 4
B/ D
E
5 e d a r G o n a i P [17]
9
E sus 2
F add 4
B/D
E
G m7
E sus 2
E
F add 4
[19]
B /D
F 6/A
F
[22]
E sus 2
F add 4
B /D
E
E sus 2
E sus 2
F add 4
B/D
E
E sus 2
F add 4
B/D
E
[25]
F add 4
B/D
E6
[27]
D
5 e d a r G o n a i P
10
[29]
G m7
F /A
B maj 7
F /C
G m7
F /A
B 5/E
F add 4
B /D
B /E
B 5/E
F add 4
B /D
B/F
B add 9/D
B/E
[43]
F
E sus 2
B/F
B add 9/D
E sus 2
[45]
E sus 2
B/F
B add 9/D
E sus 2
F
[47]
G
E sus 2
F add 4
B/D
E
E sus 2
F add 4
B/D
E
[50]
5 e d a r G o n a i P
12
[54]
E sus 2
F add 4
B/ D
E
[58]
G m7
F 6/A
F
[62]
E sus 2
F add 4
B/D
E
[65]
E sus 2
F add 4
B /D
E
E sus 2
F add 4
B /D
F add 4
[68]
B/D
E
E sus 2
E6
5 e d a r G o n a i P [71]
13
Notes
his song is ull o subtle light and shade with quick transitions between melodic and rhythmic ideas. It is important or the perormer to observe the dynamics careully as this detail helps to shape and emphasise the shiting, restless eel o the song. he 16th-note phrase ound in the opening our bars o the right-hand part is re-visited throughout the song with slight variations. Students should take time to master this pattern in isolation rom the let hand part and at a slower tempo. Once secure, students should read through the whole arrangement to see where this pattern is repeated, identiying and comparing the dierences. Once secure, these passages should sound light and eortless with a precise delivery. Bars 5 and 6 should be legato and without any hint o accent or staccato. Both hands should be equally balanced with the rhythmic pattern careully observed. his light and precise approach also applies to section B. As the let and right hand parts alternate in bars 13 to 15, care should be taken to observe the rests between each phrase, keeping the 16th notes short and un-accented. he opening six bars o section C builds on the original syncopated groove groove with both hands repeating the two-beat pattern. Care should be taken to keep a steady quarter-note pulse and to avoid the music inadvertently speeding up. Although the volume is mezzo forte at this point, students need to be careul to balance parts appropriately to allow the melody line to be clearly heard above the accompaniment. Section D creates a sudden crontrast with the previous section with both a drop in register and volume. Keeping the parts well balanced and legato, take care not to anticipate the crescendo too early. he subito piano in bar 36 ollowed by an immediate shit again back to mezzo forte is a key moment in the song. Students should take time careully rehearsing this section with particular attention to these dynamic changes, keeping a steady pulse throughout. While section F is an almost direct repeat o the previous section B, section G is a pared down version o C and should be played piano . Maintaining this volume throughout the section will allow the perormer dynamic space to create a contrasting contrasting inal lourish lourish as the 16th-note melody returns or a inal time at forte.
5 e d a r G o n a i P
14
Teardrop SONG TITLE:
‘TEARDROP’
ALBUM:
MEZZANINE
RELEASED:
1998
LABEL:
VIRGIN
GENRE:
TRIP HOP/ELECTRONICA HOP/ELECTRONICA
WRITTEN BY:
p H o p r i p q 75 T r =
N.C.
ROBERT DEL NAJA/ ELIZABETH FRASER/ GRANTLEY MARSHALL/ ANDREW VOWLES
PRODUCED BY:
NEIL DAVIDGE/ MASSIVE ATTACK
UK CHART PEAK:
10
‘eardrop ‘eardrop’’ was a top ten hit or British trip hop (a usion o hip hop and electronica) group, Massive Attack. he song eatures on their third t hird studio album, Mezzanine (1998), and was the second song to be released rom said album. Mezzanine topped the album charts in the UK, Australia, Ireland and New Zealand, making it the groups most commercially successul release to date. heir ourth studio album, 100th Window, Window, also topped the t he UK album chart in 2003. ‘eardrop’ was written by the three ounding members o Massive Attack (Robert Del Naja, Grantley Marshall and Andrew Vowles), as well as guest vocalist Elizabeth Fraser (Cocteau wins). wins). he idea or the song originally stemmed rom a simple harpsichord ri and grew to become something quite unique in sound. Looking or a guest vocalist, Andrew Vowles sent the demo to Madonna, hoping she would perorm the vocal as she had done or their earlier collaboration on ‘I Want You’. Unortunately, Vowles was outvoted by ellow bandmates Marshall and Del Naja and to Madonna’s dismay the band didn’t choose her or guest vocals. Instead, Elizabeth Fraser o Cocteau wins was brought in and the result did not disappoint. Fraser delivers a haunting and emotional lyrical perormance, one which she claims was inspired by the untimely passing o her dear riend Je Buckley.
‘eardrop’ peaked at number 10 in the UK singles chart and remains their only top ten hit to date. he song has eatured heavily in television and ilm broadcasts, including US hit s eries’ Prison Break and House. he song has proved a popular cover choice amongst musicians, with many having released their reworkings over the years. Newton Faulkner’s 2007 version eatures a complex acoustic guitar accompaniment, which eatures in our 2016 Acoustic Guitar syllabus, and made it to number 60 in the UK singles chart. British band Elbow perormed ‘eardrop’ or a BBC Radio 1 Live Lounge session in 2003 and their version proved so popular that they decided to include a studio version on their ‘Not a Job’ single the ollowing year. Last but by no means least, O’Hooley & idow were praised or their intricate adaptation o the track with Guardian music critic Jude Rogers voting it one o the best tracks o 2012. Massive attack have been praised or their original and exclusive sound and were awarded the ‘Innovation in Sound Award’ by Q magazine in 2008. he group have proved particularly successul in Europe and have won several awards relecting this, including the MV Europe Music Award or Best Video with ‘eardrop’ and the award or Best Foreign Album or Mezzanine Mezzanine at the 1998 Fryderyk awards (Poland).
5 e d a r G o n a i P
15
eardrop Massive Attack q 75 Trip Hop =
N.C.
A sus
4
A sus /G
4
D sus
2
4
A sus /G
4
D sus
2
[3]
A sus
[6]
A sus
4
4
A sus /G
[9]
D sus
2
A sus
4
3
5 e d a r G o n a i P
16
[11] Words & Music by Robert Del Naja, Grant Marshall, Andrew Vowles & Elizabeth Fraser © Copyright 1998 Universal/Island Music Limited/Cocteau wins Limited/Ajs Music Limited. Universal/Island Music Limited/Sony Music Publishing (UK) Limited. All Rights Reserved. International Copyright Secured.
A sus 4
A sus 4/G
[13]
D sus 2
A sus 4 3
[15]
F maj7
G 3
[17]
A
A sus 4
[19]
A sus 4
A sus 4/G
5 e d a r G o n a i P [21]
17
G
F maj 7
A
[35]
F maj 7
G
[38]
G sus 2
A sus 4
[41]
F 6 / 9
G 6 / 9
A
3
[44]
F 6 / 9
G 6 / 9
A sus 4
[47]
A sus 4 5 e d a r G o n a i P [50]
19
Notes
‘eardrop’ is a laid back song with an underlying orward driving groove, creating a relaxed yet brooding drama. Space, relaxation and an insistent groove are the undamentals o the style. Beore beginning to play the opening eight bars, students should look to bar 9 and internalise the opening melodic phrase. his will help establish a secure tempo. At bar 9, the arrangement has a three-part texture. Here, the melody should be projected clearly, while the inner harmony parts should be kept quieter and legato. In the lowest voice, the bass part should be a little quieter than the melody, but still provide a sense o solidity. here is a urther challenge in the variety o rhythms contained in the melody, in particular switching rom 16th-note subdivisions to eighth-note triplets. Working to a metronome click or counting out loud, students should isolate the more challenging rhythmic passages and practise at a slower tempo until secure. In bars 21 to 37, the perormer will need to employ careul use o the pedal to sustain the whole notes while moving the hand position to play the eighth-note pattern in beats two to our. Students should practise the right-hand spread chord in bar 38 to get an eortless sounding and even spread o notes downwards. he tied chord should be held over into bar 41 or its ull length beore careully continuing to count through bar 42. A re-introduction o the moti (bars 43–45) sets up a piano outro (bar 46 to end), which eatures some melodic ideas drawn rom the moti and the vocal melody. Although at a piano dynamic, these can still be played with expression and shape. hroughout the piece, pedalling can be applied not just or legato purposes, but or tone. his is an important aspect o the technique, where light touches at certain points can bring extra sonority to the music as the overtones o the strings resonate. It may be useul to experiment with this in mind, exploiting the contrast between pedalled and non-pedalled passages.
5 e d a r G o n a i P
20
G A
D
G
A
D
G A
D
D. . al Coda
[50]
Coda
D
A
B
G m7
C/F
A m7
[54]
B maj 7
C/F
D
[58]
B
C/F
G m7
A m7
[62]
G m7
C/F
D
G
[66]
G
5 e d a r G o n a i P
24
[70]
A
B
C /F
G m7
A m7 B maj 7
A
D
C/F
D
[75]
E
B
C/F
G m7
A m7
B maj7
[79]
C/F
D
[83]
B maj7
C 6/F
[87]
G m9
A m11
B maj 7 11
C/F
[91]
D sus 4 5 e d a r G o n a i P [95]
25
Notes
he main eeling students need to capture in this arrangement is one o exuberance, relected in the ast tempo and requent use o eighth-note eighth-note passages. Students would beneit rom listening to the original recording to gain an understanding o how this piano arrangement is a combination o both the instrument parts and the original vocal melody. his will help to phrase, shape and balance the parts within the two hands. he crescendo that begins in bar 21 is important in building the music up to the next section. Students should aim or a smooth and steady increase o volume rom mezzo piano to forte with an accented emphasis on the inal eighth note o bar 23. Note that this note is also articulated with a staccato in both hands to enhance the punchy ending. Ater observing two beats o silence, the energy should immediate pick right back up to drive the music orward into the upbeat chorus at letter B. Students should take care to observe the eighth-note rest on beat 4 in the right hand melody in bars 25, 27 and 29. Letter C eatures the same opening melody with a new arrangement. Students are required to make a clear dierence between the melodic line and let hand accompaniment. he busy let hand part needs to be quieter than the right hand part, staying even and lowing. Students should practise the hand position shit rom the end o bar 41 into 42 and again rom the end o bars 45 into 46 to make sure that they are prepared to move the let hand position down in time or the start o the ollowing pattern beginning on a low G to avoid arriving late. Section D eatures longer sustained and syncopated chords. It is important that the perormer keeps a clear pulse throughout this section to keep the momentum o the music and tempo steady. Note the descending glissando in bar 82. his needs to be careully timed so that the perormer is ready to play the next musical phrase in bar 83, the eect sounding eortless. Students may beneit rom the playing the right hand part o bars 81 to 84 in isolation as a loop, counting out loud to master the timing and hand position moves. he coda has some beautiul contrasting and spacious music. Students should aim or a ull, rich tone by ensuring that all the notes o every chord are ully sounded.
5 e d a r G o n a i P
26
Notes
he rhythmic precision required to play this music convincingly will be helped i students lightly tap one oot on all our quarter notes in the bar, during practise, while keeping an inner eeling or the 16th-note subdivision o the beat. he opening 16th-note pattern needs to be played rhythmically precisely with an even tone and secure legato. o help develop the inger strength and control required, a useul technical exercise would be to loop one bar o the 16th-note pattern and practise slowly, playing staccato. Starting at hal speed, allow or a loose wrist, paying attention to the hand position and keeping the ingers gently rounded. Aim to keep the volume even across all notes to ensure that the traditionally weaker ourth and ith ingers are matching the speed and volume o the other ingers. As the exercise is mastered, gradually increase the tempo. When the student returns to perorming the passage at legato, it should controlled and even in tone. he right-hand part in letters A and B, then later at D, are rom the vocal melodies in the original recording and should sound above the lilting let-hand part. he challenge here is to play two simultaneous dierent articulations with a quieter more legato let hand part at the same time as a slightly more detached and orthright right-hand part. At section D, there the let hand should be punchier with quarter-note chords alternating with rapid spread chords. he character o section F requires a keen observance o the rhythmic pattern and articulations to create space and texture. Note how there the right hand plays an accented note immediately ater a staccato note in bars 47, 49 and 51. his should be practised in isolation to ensure the two articulations articulations sound correctly. correctly. his section s ection also requires requires careul observance o the varied dynamic dynamic indications. indications. he arpeggios in the let-hand part within section G require a loose wrist and good hand movement to reach up rom the lowest note o each arpeggio to a ith above and then stretch up to the tenth. his passage would beneit rom playing the let hand separately and observing the wrist movement, irst practising without the pedal to aim or precise timing and an even tone. Once secure, the perormer can add careul pedalling and then introduce the right-hand part above.
5 e d a r G o n a i P
32
B a tempo
G m7
E
G aug
[13]
F
Fm
B
E
C m7
E m7
[15]
G m7
G aug
[17]
F
C m7
Fm
E m7
[19]
Gm
G m7/F
G m/F
E m7 5
[21]
F
F dim
Gm
D dim7
Am
rall.
[23]
B
B m
5 e d a r G o n a i P
35
F a tempo
F /E
D7
F /E
[27]
Gm
C7
G m/F
[29]
F
F 7/E
F /E
D sus 4
D7
[31]
Gm
G m7/F
B /C
C aug/E
Fm
C
[33]
C m/E
A /G
[35]
D
F aug/A
B m
B add 9 5 poco rall.
5 e d a r G o n a i P
36
[37]
B a tempo
G m7
E
G aug
[39]
F
C m7
Fm
E m7
[41]
B
G m7
E
G aug
[43]
F
C m7
Fm
E m7
[45]
Gm
G m/F
G m7/F
E m7 5
F
F dim
[47]
Gm
B /F
E molto rall.
E m
B 5 e d a r G o n a i P
[50]
37
Notes
his song requires a steady quarter-note pulse kept throughout and to carry the music across the syncopated rhythms. Note that the chords in the right-hand part o bar 9 and, or some, in bar 10, involve a large hand stretch. I the student inds that this is physically not possible, they should simply omit the lowest note o these chords. Students will notice that there are several places within the score that require accurate hand position changes, such as the chords in the right-hand part o bar 15 and again at bar 25. While these quarter-note chords are relatively slow moving, students should aim to move quickly between each chord position to allow each chord to sound or their ull value. Students may ind us o the pedal can be helpul at these points. Make sure to lit the pedal halway through each o these bars, just beore each chord change, to avoid a muddy texture. Although the right hand should take the melodic lead or the majority o this song, while the let plays a supporting role, both hands should be evenly balanced in bars 29 and 30, as the melodic pattern pattern passes back and orward between parts. While the let hand poses ewer technical challenges than the right hand part, it is worth paying particular attention to the 16th-note descending chromatic igure repeated our times in bars 15 and 19, then again in bars 41 and 45. his aster octave work will beneit rom playing slowly in isolation. Students should experiment with the inger pattern or this passage to establish what its most comortably under their ingers to produce an even and legato eel. While some might ind using the irst and ith inger throughout works well, others might ind it easier to use the ourth inger or the lower E lat.
5 e d a r G o n a i P
38
You’ve Got A Friend In Me SONG TITLE:
‘YOU’VE GOT A FRIEND IN ME’
ALBUM: RELEASED:
TOY STORY 1996
LABEL:
WALT DISNEY
GENRE:
COUNTRY/POP
WRITTEN BY:
RANDY NEWMAN
PRODUCED BY:
RANDY NEWMAN
UK CHART PEAK:
N/A
‘You’ve Got a Friend in Me’ was written by Randy Newman, or use in the 1995 Disney classic oy Story and later released as a single eaturing Newman himsel and Lyle Lovett. he song went on to appear in each oy Story ilm ilm in some s ome capacity, either in its original ormat or song by one o the many endearing characters. Although the single didn’t chart, the song itsel was well received and was nominated or two prestigious awards; the Academy Award or Best Original Song and the Golden Globe or the same award, both o which it lost out on to Pocahontas’ ‘Colours o the Wind’. Newman is an American singer-songwriter, arranger and composer. Since the 1980s he has been best known or his work in ilm scoring, especially or his work with Disney-Pixar or whom he has scored eight ei ght ilms. ilms . Although Althoug h Newman’s Newman’s ‘You’ve Got a Friend in Me’ missed out on the above awards, many o his compositions or ilm were more successul in this sense and many o those were other Disney-Pixar collaborations. collaborations. In 2002 he took the Academy Award or Best Original Song with his Monsters, Inc. classic classi c ‘I I Didn’ Didn’tt Have You’ and in 2011 he won the same coveted award with his song ‘We Belong ogether’ written or oy Story 3. Newman also holds seven Grammy Awards, including Best Song Written or a Motion Picture at the 2000 ceremony or ‘When She Loved Me (rom
q 116 =
ra ck Soundt r
s
E 4
5
2 1
3
oy Story 2) and the same award or his piece ‘Our own (rom Cars) in 2006. Disney-Pixar’s oy Story was the irst eaturelength ilm to be entirely computer-animated and was the irst eatur eature-length e-length release rom the highly regarded collaborating conglomerations. oy Story was extremely well received, being nominated or three Academy Awards and winning a Special Achievement Academy Award or its contribution to animated ilm. oy Story was ollowed by its sequel, oy Story 2, in 1999 and its trilogy, oy Story 3, in 2010. he ranchise has been hugely successul and so ar has grossed at over $1.9 billion worldwide. worldwide. Disney-Pixar are currently working on oy Story 4, expected or release in June 2019 we can rest assured that it will prove as popular as the previous ilms in the ranchise.
5 e d a r G o n a i P
39
You’ve Got A Friend In Me Randy Newman q 116 Soundtrack =
From ‘Toy Story’ (1995)
s G 7/D
E
4
3/4
5
2
B 9 11
Cm 5 1
4 1
3
1
3
E /B
B 7
E
B m7
B aug aug
B aug aug
[3]
A
E
B aug aug
E 9
A
A dim7
G7
Cm
3
[6]
E /B
A
E /G
[9]
A
5 e d a r G o n a i P
40
E /G
G7
Cm
[12] Music and Lyrics by Randy Newman © 1995 Walt Disney Music Company All Rights Reserved. International Copyright Secured.
A
A dim7
E /B
G/B Cm
A 7 G7
C m7
F7
B 13
C7
E
3
[15]
F7
B 7
G 7/D
E 3
4
3/4
5
1
2
1
5
4 1
[18]
B 9 11
Cm
B 7
E /B
[20]
B
E
B aug aug
E 9
A
A dim7
3
[22]
E /B
A
E /G
G7
Cm 5 e d a r G o n a i P
[25]
41
A
G7
E /G
Cm
A
E /G
[28]
G7
F7
Cm
B 13
C7
E
3
[31]
F7
B 13
E 7
E
3
[34]
C
A
4
3
2
1
2
1
3
D7
E 6
D7 4
3
3
3
[36]
E 6
5 e d a r G o n a i P
42
[39]
D7
1
2
1
2
1
1
2
3
2
1
E m7
F dim7
D/F
C7
Gm
F m7
B 13
[42]
D
E
E 9
B aug aug
A dim7
A
3
[44]
rit.
E /B
A dim7
A
E /B
G aug aug/B
Cm
[47]
a tempo F7
B 13
E
C7
F7
C7
F7
B 13
E
B 13
[50]
E
G 7/D
3
[53]
rit.
Cm
B 9 11
E /B
B7
E
5 e d a r G o n a i P [56]
43
Notes
his light-hearted tribute to riendship is heavily inluenced by New Orleans piano styles. Students should be encouraged to listen to artists such as Jelly Roll Morton, Proessor Longhair, Doctor John and the original perormance o this song by Randy Newman or context. Students need to be clear which parts in the right hand are the original vocal melody and which are accompaniment, to achieve the correct balance. It can be helpul to think o the piano part as representing a ull band arrangement – or example, the let hand part (in keeping with the New Orleans style o the song) could be thought o as a tuba or a double bass. his will need to be controlled careully to maintain clarity with the changes o dynamics through the piece. he notes do not sustain or very long, so they should bounce along – detached but not staccato – and any pedalling should be very light i being applied. he swung rhythms o the music shouldn’t be laboured – it can be a useul exercise to compare straight and swung eighthnote rhythms by tapping a oot on the pulse, and clapping the two subdivisions in order to understand the eel beore playing the notes. Conidence with swung rhythms will help achieve the desired eect in perormance. perormance. An alternating ingering pattern is suggested at bar 36 (letter C) – this can be a useul technique on aster repeated notes to ensure that the delivery is smooth – this can also be adopted in bar 37. hese are only suggestions or the ease o the perormer and can be reely adapted.
5 e d a r G o n a i P
44
5 e d a r G o n a i P
45
echnical Exercises
6. C 7add 4 arpeggio (three octaves, two octave example shown) 3
2 1
2
3
2 5
1
1
2
1
2
1
2
3
1
3
2
1
2
1
3
7. Cmaj 9 11 arpeggio | right hand 1 1
2 5 3
3
8. Cmaj 9 11 arpeggio | let hand
1 5
3
1
2
3
9. C m11 arpeggio | right hand 1 1
2 5 3
3
10. C m11 arpeggio | let hand
1 5
5 e d a r G o n a i P
50
3
3
1
2
echnical Exercises
Group C: Chord Voicings | Minor 11 and Major 9 ( 11) Chords In the exam you will be asked to play one o the chord exercises below, rom memory. he examiner will state the chord type. his test is perormed in ree time (without backing track or click), but the examiner will be looking or the speed o your response. Ex 1: Cm 11 chords
Ex 2: Cmaj 9 11 chords
Group D: Technical Studies In the exam you will be asked to perorm your choice o one o the ollowing three technical studies along with the accompanying backing track. Example 1 | VIm – IIm – V – I progressions, progressions, syncopation syncopation and walking bass c 110
s
G m11
B m9
[5]
E m9
C m9
A 9
F 9
B maj 9
D maj 9
E maj9
G maj9
A m7 5
C m7 5
D 7
G m11
F7
B m9
5 e d a r G o n a i P
51
echnical Exercises
Example 2 | Lydian modal study c 120 D maj 7 11
[3]
C m7
[5]
D maj 7 11
[7]
5 e d a r G o n a i P
52
E
C m7
D maj 7
echnical Exercises
Example 3 | Phrygian modal study c 117 D 5
E maj 7 5
D m7
E maj 7
D m/F
B
[3]
F /G
E maj 7
D 5
[5]
5 e d a r G o n a i P
53
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 an 8–16 bar example in the key o either B major or D major. You will first be given 90 seconds to practise, afer which the examiner will play the backing track twice. Te first time is or you to practise and the second time is or you to perorm the final version or the exam. For each playthrough, the backing track will begin with a one bar count-in. he tempo is q = 60–130. 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. Please note: ■ You will be required to play all notation and create appropriate parts to chord symbols. symbols . ■ ime signatures signatures will be either either 4/4 or 3/4.
Sight Reading | Example 1 c 80 Film Score Score
[5]
[9]
5 e d a r G o n a i P
54
Please note: The test shown is an example. The examiner will give you a different different version in the exam.
Sight Reading | Example 2 c 80 Pop Ballad
[5]
[9]
Please note: The test shown is an example. The examiner will give you a different different version in the exam.
5 e d a r G o n a i P
55
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 8–16 bar chord progression in the key o either B major or D 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 = 60–130. 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. You will need to improvise diatonic, single note melodies with right hand and chords in let hand.
Improvisation & Interpretation | Example 1 c 110 D
G maj 7
D maj 7
A 9sus 4
E m
D
G
A 9sus 4
D maj7
G 6
D
B m
A 7
A 9
D
[5]
[9]
B m
E m
A 7
D maj 7
[13]
Please note: The test shown is an example: The examiner will give you a different version in the exam
5 e d a r G o n a i P
56
Improvisation & Interpretation | Example 2 c 110 B
E maj 7
B maj 7
F 9sus 4
C m
B
E
F 9sus 4
B maj 7
E6
B
G m
F 7
F 9
B
[5]
[9]
G m
C m
F 7
B maj7
[13]
Please note: The test shown is an example: The examiner will give you a different version in the exam
5 e d a r G o n a i P
57
Ear ests In this section, there are two ear tests: ■ Melodic Melodic Recall Recall ■ Harmoni Harmonicc Recall 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 a 2 bar diatonic melody in the key o C major with a range up to an octave. he irst note will be the root note or a ith. You will hear the test twice, each time with a one bar count-in, then you will hear a urther one bar count-in ater which you will need to play the melody to the click. he tempo is q = 95 bpm. It is acceptable to play over the track as it is being played as well as practising ater the second playthough. he length o time available ater 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 version in the exam
Test 2: Harmonic Recall he examiner will play you a chord progression containing chords I, II, IV, V, VI in any order or combination in the key o C major. You will hear the chord progression twice, each time with a one bar count-in. You will then hear a urther one bar count in beore playing back to a click. At this grade, seventh chords are introduced. Please note, there is no requirement or the chords to be voicing-speciic. voicing-speciic. he tempo is q = 95 bpm.
Please note: The test shown is an example: The examiner will give you a different version in the exam
5 e d a r G o n a i P
58
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
5 e d a r G o n a i P
59
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.
5 e d a r G o n a i P
60
Marking Schemes G���� E���� | D���� �� G���� 8 ELEMENT
PASS
MERIT
DISTINCTION
Performance Performance Piece 1
��–�� out o ��
��–�� out o ��
��+ out o ��
Performance Performance Piece 2
��–�� out o ��
��–�� out o ��
��+ out o ��
Performance Performance 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���� � ELEMENT
PASS
MERIT
DISTINCTION
Performance Performance Piece 1
��–�� out o ��
��–�� out o ��
��+ out o ��
Performance Performance Piece 2
��–�� out o ��
��–�� out o ��
��+ out o ��
Performance Performance Piece 3
��–�� out o ��
��–�� out o ��
��+ out o ��
Performance Performance Piece 4
��–�� out o ��
��–�� out o ��
��+ out o ��
Performance Performance Piece 5
��–�� out o ��
��–�� out o ��
��+ out o ��
TOTAL MARKS
60%+
75%+
90%+
5 e d a r G o n a i P
61
Copyright Information A Thousand Miles (Carlton) Universal/MCA Music Limited Teardrop (Del Naja/Marshall/Vowles/Fraser) Universal/Island Music Limited/Sony Music Publishing (UK) Limited Every Little Thing She Does Is Magic (Sumner) G M Sumner Dangerous (Robbins/Martin/Guetta/Tuinfort/Evigan) BMG Rights Management (UK) Limited/Kobalt Music Publishing Limited Life On Mars? (Bowie) RZO Music Limited/EMI Music Publishing Limited/Chrysalis Music Limited You’ve Got A Friend In Me (from “Toy Story”) (Newman) Universal Music Publishing Limited
5 e d a r G o n a i P
62
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)
• 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.
5 e d a r G o n a i P
63
