RSL Piano Grade 4

 

PianoGrade PianoGrade44 Performancepieces,technicalexercises,supportingtestsandin-depth guidancefor guidan ceforRocksch Rockschoolexam oolexaminat  inations ions

Allaccompanyingandsupportingaudiocanbedownloadedfrom: www.rslawards.com/downloads Inputthefollowingcodewhenprompted:  N28LKUV3UX Formoreinformation,turntopage5

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Acknowledgements PublishedbyRockschoolLtd.©2019 CatalogueNumber:RSK200093 ISBN:978-1-78936-058 ISBN:978-1-78936-058-5 -5 www.rslawards.com/errata InitialRelease|Erratadetailscanbefoundat InitialRelease|Erratadetailscan befoundat   www.rslawards.com/errata

SYLLABUS

MUSICIANS

SyllabusdesignedandwrittenbyJonoHarrison SyllabusDirector:TimBennett-H SyllabusDirector:TimB ennett-Hart art Syllabusconsultants:GarySanctuary,ChrisStanbury, SimonTroupandJennieTroup HitTunearrangementsbyJonoHarrisonandGarySanctuary SupportingTestswrittenbyJonoHarrison,ChrisStanbury, NikPrestonandAshPreston Syllabusadvisors:TimBennett-Hart,BrianAshworth, StuartSlater,PeterHuntington,BruceDarlington, SimonTroupandJennieTroup

PianoandKeyboards:JonoHarrison,GarySanctuary, RossStanley&TaniaIlyashova Drums&Percussion:PeteRileyandRichardBrook Bass&SynthBass:AndyRobertson Guitars:RoryHarvey,NatMartinandJonoHarrison Saxophone:JonathanGriffiths Trombone:TomGeorge Trom bone:TomGeorgeWhiteand WhiteandNortonYork NortonYork Trumpet:NickMeadandJohnSimpson LeadandBackingVocals:GlenHarvey&KatieHector AdditionalProgramming:JonoHarrison

PUBLISHING

DISTRIBUTION DISTRIBUTION

ProofreadingofarrangementsbySharonKelly,SimonTroup, JennieTroupandJonoHarrison MusicengravingandbooklayoutbySimonandJennieTroupof  DigitalMusicArt FactfileswrittenandeditedbyAbbieThomas NoteswrittenbyRolandPerrin ProofreadingandcopyeditingbyGemmaBull,JonoHarrison andJennieTroup CoverdesignbyPhilipMillardofRatherNiceDesign Coverphotograph:JohnLegend©FilmMagic/GettyImages

ExclusiveDistributors:HalLeonard

AUDIO

ProducedbyJonoHarrison EngineeredbyJonoHarrison,GarySanctuary,TimBennett-Hart, PeteRiley,RichardBrook,RoryHarveyandAndyRobertson AssistedbyPaulPritchardatAbbeyRoad RecordedatDockStreetStudios,TheDairyandAbbeyRoad MixedbyPatrickPhillips MasteredbyFrancisGorini SupportingTestsrecordedbyChrisStanburyandJonoHarrison

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CONTACTINGROCKSCHOOL www.rslawards.com

Telephone:+() [email protected] Email: [email protected] EXECUTIVEPRODUCERS

JohnSimpson,NortonYork

 

TableofContents Introductions&Informa Introductions& Information tion 1 1 2 3 4 6

TitlePage TitlePage Acknowledgements Ackn Acknowl owled edge geme ment ntss Ta Tabl Tab ble leofContents of ofContents Welcome Welcometo elcometoRocksch Rockschool oolPiano PianoGrade Grade44 Performanceand Perf Perfor orma manc nce eandT Technical TechnicalGuidance echnical Guidance

RockschoolGradePieces 77 13 13 17 17 23 23 29 29 35 35

........................................ ................................. ............. JohnLegend ‘All Al lOf OfMe’ Me’’ .................... Me ..................................... ........................................ .................... ArethaFranklin ‘Respect’ ‘Resp Respec ect’ t’ ................. ....................................................... ................. From‘Frozen’(2013) ‘LetIt ‘LetItGo’ Go’...................................... . ........... EltonJohn ‘GoodbyeY ‘Good Goodby bye eYellow YellowBrick ellowBrickRoad’ Road’............ ‘ISee ‘ISeeFire’ Fire’ .................. ..................................... .................................... ................. EdSheeran ................... ............. BonJovi ‘Livin’On ‘Li Livvin’OnA APrayer’ Prayer’ ................................

TechnicalExercises Technical echnicalExercises 41 41 Scales,Arpegg Scales, Arpeggios, ios,Chord ChordV Voicings Voicings& oicings &T Technical TechnicalStudies echnical Studies

SupportingTests 49 49 50 50 51 52 52

SightReading SightReading Improvisation& Im Impr prov ovis isat atio ion n&Interpretation Interpretation EarTests Tests GeneralMusicianship General MusicianshipQuestions Questions

AdditionalInformation 53 53 54 54 55 55 56 56

EnteringRockschool Ente nteri ring ngRockschoolExams Exams MarkingSchemes MarkingSchemes Copyright Copyrig htInformation Information PianoNotation PianoNotationExplained Explained

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WelcometoRockschoolPianoGrade4

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

PianoExams

Ateachgradeyou Ateach Ateachgradeyouhavetheoptionof gradeyouhavethe havetheoptionoftakingoneoftwo optionoftakingoneoftwo takingoneoftwodifferenttypesofexamination: differenttypesofexamination: GradeExam ■ 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TechnicalExercisesection.Thisaccountsfor75%of  theexammarks.Theother25%consistsof:eitheraSightReadingoranImprovisation&Interpretationtest(10%), twoEarTests(10%),andfinallyyouwillbeaskedfiveGeneralMusicianshipQuestions(5%).Thepassmarkis60%. Performance rmanceCertificate Certificate ■ Perfo 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  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participat Allelements requiredtoparticipateinaRocks einaRockschoolexamcan choolexamcanbefoundinthe befoundinthegradebook.These gradebook.Theseareasfollows areasfollows:: ■ ExamPieces The2019syllabuscomprisessix‘hittune’arrangements,benchmarkedanddevisedsoastoequipcontemporary  pianistswithindustry-relevantskillsinanyperformanceenvironment.Thesefallintothreecategories: Melody&Accompanim Melody&Accompaniment ent Thesearrangementsareperformedtofull Thesearrangemen tsareperformedtofullbandbackingtracks,withthe bandbackingtracks,withthepianoperformingbothmelody  pianoperformingbothmelody  andaccompaniment SoloPianoArrangement Thesearefullsolopianoarrangements,performedwithoutbackingtracks VocalAccompaniment Thesearrangementscovertheskillsrequiredofcontemporarypianistsinensembleenvironments,betheyon thestageorinthestudio.The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 echnicalExercises ■ Technical Thereareeitherthreeorfourgroupsoftechnicalexercise,dependingonthegrade:

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Debut–Grade Debut–Gra de8: 8: GroupA:Scales GroupB:Arpeggios/BrokenChords GroupC:ChordVoicings Grades4–8only: GroupD:TechnicalStudy

 

■ SupportingTests Therearethreetypesofunpreparedsupportingtestsintheexam: candidate’schoice): 1.Thefirsttypecanbeoneoftwooptions(thisisthe 1.Thefirsttypecanb eoneoftwooptions(thisisthe  candidate’s 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.The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 ,whichyouwillbe askedbytheexaminerattheendofeachexam

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

Audio Inadditiontothegradebook,wehavealsoprovid Inadditionto thegradebook,wehavealsoprovidedaudiointheformof edaudiointheformof backi backingtracks(minu ngtracks(minuspiano)andfulltracks s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.Thisaudiocanbedownloadedfrom www.rslawards.com/downloads www.rslawards.com/downloads RSLdirectlyat   www.rslawards.com/downloads

Youwillneedtoinputthiscodewhenprompted: N28LKUV3UX Theaudiofilesare Theaudiofil esaresuppliedinM suppliedinMP3format.On P3format.Oncedownloade P3format.Oncedownloadedyouwillbe cedownloade cedownloadedyouwillbe dyouwillbeabletoplaythemon dyouwill beabletoplaythemonanycompatible abletoplaythemon abletopla ythemonanycompatible anycompatibledevice. device.

FurtherInformation YoucanfindfurtherdetailsaboutRockschool’sContemporaryPianosyllabusbydownloadingth YoucanfindfurtherdetailsaboutRockschool’sCon temporaryPianosyllabusbydownloadingthesyllabusguidefromour esyllabusguidefromour website: www.rslawards.com www.rslawards.com Allcandidatesshoulddownloadandread Allcandidatess houlddownloadandreadtheaccompanyings theaccompanyingsyllabusguidewhen yllabusguidewhenusingthisgr usingthisgradebook. ade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 Notationshould beperformedexactlyas as written,except written,except wherethereareperforman wherethereareperformanceindicat ceindicationstoad.lib, ionstoad.lib,impr improvise ovise,, develop,etc.Inthese deve lop,etc.Intheseinstance instances,thecandid s,thecandidatewill atewillbe be mark markedontheirability edontheirabilityto to inter interpretthemusi pretthemusicina cina styl stylistic istically  ally  appropriateway,commensuratewiththegradelevel.

Adaptation Asmalldegree ofadaptationis Asmalldegree ofadaptationisallow allowedwhere, edwhere, forexample,handstretch forexample,handstretchesdo esdonotfacilit notfacilitatetherequired atetherequirednotatedparts. notatedparts. Marksmaybe Mark smaybe deducted deducted ifadaptat ifadaptationresult ionresultsin sin over-sim over-simplific plification ation ofthenotation. ofthenotation. Ifin doubtyou doubtyou cansubm cansubmitany  itany  adaptationenquiriesto [email protected] adaptationenquiriesto  [email protected] [email protected]

Articulation&Dynamics Wherearticulationanddynamic Wherearticulat ionanddynamicsare saremarke markedon don thenotation,theyshouldbefollowed thenotation,theyshouldbefollowed.Whereit .Whereitisopento isopentointer interpreta pretation, tion, thecandidateisfreetotaketheirownapproach.

Pedalling Thecandidatemayusethepedalfreel Thecandidate mayusethepedalfreelyatanygrade, yatanygrade,butitshouldbeapplied butitshouldbeappliedjudiciou judiciouslyasmarks slyasmarksmaybededucte maybedeductedforany  dforany  over ove rusa usageresu geresulti ltingin ngin anuncleartone. anuncleartone. Inaddition Inaddition,,whe wherepedal repedallin ling giswritt iswritteninto(or eninto(orout out of) of) the the notati notation, on, this thissho should uld beobserved.

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

4 e d a r G o n a i P

6

 

AllOfMe SONGTITLE: ALBUM: RELEASED:

‘ALLOFME’ LOVEINTHEFUTURE 2013

LABEL:

COLUMBIA

GENRE:

R&B/SOUL/POP

WRITTENBY: PRODUCEDBY:

q

 B Ballad p B 126   Pop

=

Fm

JOHNSTEPHENS/TOBYGAD DAVETOZER/JOHNLEGEND

UKCHARTPEAK: 2

‘AllofMe’wasthethirdsingletobereleasedfrom JohnLegend’sfourthstudioalbum, LoveintheFuture. ThesongwaswrittenasatributetoLegend’sthen Fiancée(andnowwife)ChrissyTeigen,whomhe metin2007onthesetofhisvideofor‘Stereo’.Legend achievedglobalsuccesswiththesingle,peakingat number2intheUKandtoppingthechartsintheUS byknockingPharrellWilliams’‘Happy’offthetop spotafteraten-weekreign.‘AllofMe’alsoproved tobeahitinAustralia,Canada,Ireland,Portugal, Sweden,SwitzerlandandTheNetherlands,inallof  whichittoppedthesinglescharts.Attheendof2014 itwasannouncedthatWilliams’‘Happy’wasthebestsellingsongoftheyear,followedcloselybynoneother than‘AllofMe’insecondplacewith4.67millionsales fortheyear. JohnLegendwasbornJohnRogerStephensin JohnLegendwasborn JohnRogerStephensin 1978inOhio,wherehewasoneoffourchildren. AttheageofjustfouryearsoldLegendwasalready  performingwithhischurchchoirandtookupthe pianoattheyoungageofseven.Aftergraduating fromHighSchoolLegendwentontostudyEnglishat fromHighSchoolLegendwenton tostudyEnglishat theUniversityofPennsylvania,whereheservedasthe presidentandmusicaldirectorofaco-edjazzandpop acappellagroupcalledCounterparts.Thegroupwere sosuccessfulthatLegend’snamebecameknownand nosoonerwashe beingintroducedtoglobalsuperstar LaurynHill.HillhiredLegendtoplayonhersong

‘EverythingisEverything’andthisledtothestartofa brilliantmusicalcareer. Whilstworkingonsongwritinganddemo recordingsto recordingstosendouttorecord recordingstosendout sendouttorecordproducers,Le torecordproducers,Legend producers,Legend gend wasintroducedtotheupandcomingstarKanye West.Shor West.Shortlyafterperformings est.Shortlyafter est.Shortlyafterperformings tlyafterperformingsomesession performingsomesessionvoca omesessionvocals voca ls forWest,LegendfoundhimselfsigningtoWest’s labelandsoonreleasedhisdebutstudioalbum labelandsoonreleasedhisdebutstudioalbum Get  Lifted(2004). Althoughaworldwidesuccess,JohnLegendhad towaitalongtimeforhisfirstcharttopper.‘All ofMe’washisfirstUSnumber1 single,tenyears afterreleasinghis afterreleasinghisdebutalbum.A debutalbum.Afactwhichseems factwhichseems inconceivablewhen inconceivablewhenresearchinghis researchinghispastwork pastworkand and achievements.Todate,JohnL achievements.T odate,JohnLegendhaswon odate,JohnL egendhaswonan egendhaswon an impressivetenGrammyAwards,aswell impressivetenGrammyAwar ds,aswellasanAcademy  ds,aswell asanAcademy  Awardfor‘BestOriginalSong’.Althoughhewaited alongtimetoreceivetherecognitionhedeserved, alongtimetoreceivetherecogn itionhedeserved,it it isevidentthat isevidentthatheisnowviewed heisnowviewedintheindustryas intheindustryasan an incrediblytalentedsongwriterandmusician.

4 e d a r G o n a i P

7

 

AllOfMe JohnLegend q 126PopBallad =

Fm

A

D

A

D   maj7

Fm 5 1

4

E

A

5

3 1

[5]

E

Fm

 

D

[8]

A sus4

4 e d a r G o n a i P

8

A

E

[11] Words&MusicbyJohnLegend&TobiasGad ©Copyright2011JohnLegendPublishing/BMGSapphireSongs/GadflySongs/AtlasHoldings. BMGRightsManagement(US)LLC. AllRightsReserved. AllRights Reserved.IInternational nternationalCopyrightSecured. CopyrightSecured.

Fm

 

D   maj7

A

E

[14]

Fm

 

  4 A sus

D

A  

E

[17]

B

B m

5 3

5 3

 

5 3

A

E

3

1

2

 

2

4

1

[21]

B m

 

A

E

4 e d a r G o n a i P [25]

9

 

A 2

 

1 5

 

4

 

1

 

9 F mad mad ad add d

4

2

 

5

2

1

2

 

3 2

[29]

D 6

5

E   9sus 4

2

 

1

5

 

2

 

1

 

E

2

5

1

 

1

2

5

[33]

A

9 madd F madd

D 6

E   9sus 4

[37]

4 e d a r G o n a i P

5

[41]

10

2

 

1

 

5

 

2

 

1

 

5

E

2

1

5

2

1

 

C

Fm

A

D

E 5

1   2 2

4

1

2

5

2   3

1

1

dolce

[45]

ToCoda Fm

D

E 5

A

3

[49]

D maj7

Fm

A

E 5

4

3

 

5

 

4

 

3

[53]

Fm

D

A

E

D. .alCoda . .al alCoda Coda

[57]

Coda E 5 4 e d a r G o n a i P [61]

11

 

Notes

Thereisapowerfulthemeofromancebehindthiscompositio Thereisapowerfulthemeofromancebehindthis romancebehindthiscompositio composition,emphasisedby n,emphasisedbybothapersisten n,emphasisedbybotha bothapersistentrhythmicpulse(asseen trhythmicpulse(asseenin in thestarkopenchordalrhythmsofbars1–4),versusflowingarpeggiolinesbetweenbothhands(bars29–30,forexample). Throughouttheperformancethereshouldbeastrongsenseofthequarter-notepulseinthebar,andtheteachercan encouragethepupiltointernalisethisbytappingonefoottothepulseduringpractice. Careisalsoneededtomakesurethattheson Careisalsoneededtomakesu rethatthesong’smelo g’smelodyisprojec dyisprojectedclear tedclearly.Fromlet ly.FromletterAuntilthe terAuntiltheend,thetoppartsho end,thetoppartshould uld singoutlouderthantheaccompaniment,andagoodmethodistopractisethemelodyinsectionsonitsown.Itcanalso helptoexperimentwiththeaccompanimentinisolation,balancingthechordtonesandarpeggiosagainstthelowestbass notes.. Notethat at notes atcerta certain in points points themelody the melody is isacco accompanie mpanied d by a weaving weavingconst constant anteight eighth-not h-note e figure, figure,for forexampl example e bars 25and29–32.Thestudentmustbeclear 25and29–32.Thestud entmustbeclearwhichnotesaremelod whichnotesaremelodyandwhichareaccompa yandwhichareaccompaniment nimentwithinthese withinthesepatterns patterns,and ,and studyingtheoriginalrecordingwillhelpachievethis. Ifthestudentfindstheindependenceofthehandschallengingattimes,itcanbehelpfulto‘loop’abarplayingjusttheleft hand han dpar part.Theymigh t.Theymightthenadd tthenaddbea beat t1of 1of the the rig righthandpart hthandpart totheloop, totheloop, the thenthe nthesec second ond bea beat,buil t,buildin dingup gup the the bar bar and sectioninthisway.Thedirectemotionalintensityofthissongwillonlybeportrayedwhenthestudentiscompletelyfamiliar withthemusic.Practisin withthemusic. Practisingin ginsecti sectionsslowly onsslowlywillhelphere,steadilyincr willhelphere,steadilyincreasin easingthetempoas gthetempoasthetechn thetechnicalstab icalstabilitydevel ilitydevelops. ops. Itisimportanttounderstandnotonlythedetailsofeachbar,buthowthewidersectionsplayarolewithinthecomposition.

4 e d a r G o n a i P

12

 

Respect SONGTITLE: ALBUM:

‘RESPECT’ INEVERLOVED AMANTHEWAY ILOVEYOU

RELEASED:

114   Soul

=

1967

LABEL:

ATLANTIC

GENRE:

SOUL

WRITTENBY:

OTISREDDING

PRODUCEDBY:

JERRYWEXLER

UKCHARTPEAK:

q

7

C

10

‘Respect’waswrittenandoriginallyreleasedby  MotownlegendOtisReddingin1965.Although Reddingachievedsignificantsuccesswiththe song, itbecamemorefamouslyknownasaglobalhitfor iconicvocalistArethaFranklin.Redding’soriginal intentionofthesongtellsthestoryofahardworking manbringingmoneyhometohisabidinghousewife. However,Franklinflipsthisonit’sheadanddelivers alyricdescribingastrongandindependentwoman. Manyhaveviewedtheoriginalasmisogynistic,while Franklin’sversionhasbeen Franklin’svers ionhasbeencitedasala citedasalandmarkfor ndmarkfor thefeministmovement–quitea thefeministmovemen t–quiteacontrast.Thehu contrast.Thehugely  gely  famousR-E-S-P-E-C-Tmiddleeight famousR-E-SP-E-C-Tmiddleeightwasactually  wasactually  addedbyFranklinherself,withherbackingsingers respondingwiththewell-knownreply“sockittome…”. ArethaFranklinwasanincrediblytalentedwoman andlentherhandtomanycourageousroles,such assinger,songwriter,actress,pianistandcivilrights activist.Herloveformusicbeganataveryyoung age,singinggospelatthechurchwhereherfather wasministerinherhometown.At18yearsoldshe signedforColumbiarecords,recordingsecularmusic andachievingminorsuccess.Itwasonsigningwith andachievingminorsuccess.Itwason signingwith AtlanticRecordsin1966thatFranklinachieved globalsuccess,withhitssuchas‘Respect’,‘Chainof  Fools’,‘Think’and‘(YouMakeMe Fools’,‘Think’and ‘(YouMakeMeFeelLikea)Na FeelLikea)Natural tural Woman’(tonameafew).Thesingersoonbecame widelyknownas“TheQueenofSoul”.

FranklinsadlypassedawayinAugust2018atthe Franklinsadlypassedawayin August2018atthe ageof76,butleftbehindanunbelievablelegacy.Not onlydidsherecord112Billboardchartingsingles, onlydidshe record112Billboardchartingsingles, butshealsobecamethefirstfemaleperformertobe inductedintotheRockandRollHallofFamein1987. Shehasinspiredthousandswithherincrediblevocal andstunninginterpretationofendlesshits.In2008 RollingStoneMagazineactuallyrankedFranklinas thenumber1greatestsingerofalltime,aposition verymuchdeserved. verymuchdeserved. ‘Respect’sentFranklinflyingintosuccess,topping theBillboardchartsandpeakingatnumber10inthe UK.Itsoldwellover1millioncopiesandwentonto belistedbyRollingStonemagazineasthe5 thgreatest songofalltime.ThroughouthercareerFranklin receivedamesmerising44Grammynominations, 18ofwhichshewon,includingnomination 18ofwhich shewon,includingnominationsfor sfor BestR&BVocalPerformance(Female)fortenyears runningbetween1974and1984.Haditnotbeenfor runningbetween1974and1984.Haditnotbeen for hericonicversionof‘Respect’wemayneverhave knownthelegendthatwasArethaFranklin. knownthelegendthatwas ArethaFranklin.

4 e d a r G o n a i P

13

 

Respect ArethaFranklin q 114 Soul =

C

7

F

7

A

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F

G

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[5] G

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7

[9]

F

7

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7

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7

[12] B

DeveloponrepeatandafterD.S. Developonrepeatandafter D.S. G

F

G

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F

4 e d a r G o n a i P

14

G

[18]

Words&MusicbyOtisRedding ©Copyright1965CotillionMusicInc/IrvingMusic ©Copyright1965 1965CotillionMusicIn CotillionMusicInc/IrvingMusic Inc/IrvingMusic c/IrvingMusicInc. Inc. RondorInternationalInc/Warner/ChappellNorthAmericaLimited. AllRightsReserved. AllRights Reserved.IInternational nternationalCopyrightSecured. CopyrightSecured.

F

 

C7

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[21]

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[25]

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[29]

Coda D

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[33]

E

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[37]

F

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F

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4 e d a r G o n a i P [40]

15

 

Notes

Studentswillneedtohaveasolidunderstandingofthemusic’srhythmicvocabularytohelpbuildasecureand confidentperformance. Beforeplayinganyofthenotes,studentsshouldlightlytapthequarternotepulseatamediumtempowithonefoot.Then theycanvocaliseabarof theycanvocaliseabarof16thnotesubdivisions,for 16thnotesubdivisions,forexampleby examplebysaying‘ta-ka-ta-ka’ saying‘ta-ka-ta-ka’or‘1-e-&-a or‘1-e-&-a 2-e-& 2-e-&-a -a 3-e-& 3-e-&-a -a 4-e-& 4-e-&-a’ 4-e-&-a’. -a’. Withregularworkonthisrhythmicfounda Withregu larworkonthisrhythmicfoundation,teac tion,teacherscanhelpstude herscanhelpstudentsunders ntsunderstandhowdifferen tandhowdifferent16thnoterhythmsfit t16thnoterhythmsfit togetherlateron,asfoundinthispiece. Topractisetheopening,stu Topractisetheopen ing,students dentscanclapcompo canclapcompositerhy siterhythmsoffirs thmsoffirsttwobars–thentapthe ttwobars–thentapthemoutastheyarespl moutastheyaresplitbetwee itbetween n bothhands.Studentswillnowbereadytoslowlyputtogetherthefirstfourbarsofthepianopart. LetterAandB presentdiffere LetterAandB presentdifferentrhythmi ntrhythmicchallen cchallengestotheopenin gestotheopeningbars,withinve gbars,withinventive ntiverighthandchorda righthandchordalworkandmore lworkandmore pronounced prono unced bass bass rhythmsin rhythmsintheleft.Thequartertheleft.Thequarter-notepulse notepulse andtheoverlaying16th-note andtheoverlaying16th-notesubdivisi subdivisionstillneedto onstillneedtobekept bekept inmind.Thegrooveinthesebarsmustbe,asfunkmusicianscallit, inmind.Thegrooveinthesebarsmustbe,as funkmusicianscallit, inthepocket. Thegrooveintensifiessubtlybetweenbar21and24,andwillneedcarefulattention.The16th-notephraseinthebassline needstobe legato ,andplayedwithfullweight. legato,andplayedwithfullweight. forteandsustainedinbothhands. TeachersshouldguidestudentstomakearealcontrastatletterC,wherethemusicis forte andsustainedinbothhands. Inthecoda,itisveryimportanttoplaythesingleeighth-notechordscrisply,carefullyarticulatingtherests.The16thnote legatophrasingasbefore. basslineneedstobeplayedwiththesame basslineneedstobe playedwiththesame legato phrasingasbefore.

4 e d a r G o n a i P

16

 

LetItGo

SONGTITLE: SONGTITLE:

LETITGO



ALBUM:



RELEASED:



LABEL:

WALTDISNEY



GENRE:

MUSICALTHEATRE



VOCALS:

IDINAMENZEL

ORCHESTRATION:

DAVEMETZGER DAVEMETZGER

WRITTENBY:

FROZEN 2013

q

=

ra  ck   Soundtr 68 Fm

KRISTENANDERSON-LOPEZ, ROBERTLOPEZ

PRODUCEDBY:

KRISTENANDERSON-LOPEZ, ROBERTLOPEZ, CHRISTOPHEBECK, CHRISMONTAN, TOMMACDOUGALL TOMMACDOUGALL

UKCHARTPEAK:

11

Thissongrepresentsa Thissong representsadefiningmoment definingmomentinthe inthe Disneyanimatedfilm, Frozen Frozen,forQueenElsa; themomentsherealises themoment themomentsherealisesshenolongerhasto sherealisessheno shenolongerhas longerhastohid tohide hidee herabilitiesandisnowfreefromtherestrictive childhoodsheenduredtryingtokeepherpowers childhoodsheenduredtryingto keepherpowers secret.‘LetItGo’haswonbothanOscaranda Grammyandhasbecomeoneofthebiggestselling singlesofalltime. Thesongwasapparentlywritteninasingleday, withthehusbandandwifesongwritingteam(Kirsten withthehusbandandwife songwritingteam(Kirsten Anderson-Lopez&RobertLopez)improvisingonthe pianowhilstbrainstorminglyricalideas.Thepiano pianowhilstbrainstorminglyricalideas.The piano andvocalscorewasthensenttoorchestratorand composer,DaveMetzger,whocreatedtheorchestral score.MetzgerisalsoknownforhisworkonDisney’s 1999adaptionofTarzan,aswellasBoxOfficehits ArmageddonandHancock(tonameafew). Ithasbeensaidthatthesongitselfcauseda Ithasbeensaidthatthesong itselfcauseda rewritingofthemovietoensurethatQueenElsa becameoneofthemaincharactersandwaswrittenas afarmorecomplexandvulnerablecharacter;shewas originallymeanttoappearasa originallymeanttoappea rasavillain.Thestoryis  villain.Thestoryis  villain.The storyis basedontheHansChristianAndersontale  TheSnow TheSnow Queen.Script-writerandDirectorJenniferLeesaid shehadusedthefilmanditsstrongfemalecharacter shehadusedthe filmanditsstrongfemalecharacterss toinspireherowndaughter,whohadbeenbullied atschool.JenniferLeehasbeenknownforhavingto

flitbetweenpeoplewho flitbetween flitbetweenpeoplewhosaidtheylovedthefilm peoplewhosaidthey saidtheylovedthe lovedthefilm filmto to apologisingforthenumberoftimesinwhichtheir childrenhaveincessantlylistenedtothesongsand watchedthemovie. Frozen haswontwo haswontwoOscars(one Oscars(oneofwhichwasfor ofwhichwasfor

thissong),twoBAFT thissong), twoBAFTAsandtwoGrammys.Ithas AsandtwoGrammys.Ithas earnednearly$1.3billiondollarsat earnednearly$1.3 billiondollarsattheboxoffice theboxoffice andhasbecomethehighestgrossinganimatedfilm todate.

4 e d a r G o n a i P

17

 

LetItGo KristenAnderson-LopezandRobert KristenAnderson-LopezandRobertLopez Lopez From‘Frozen’(2013)

q 68 Soundtrack =

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4 e d a r G o n a i P

18

 

D

[9] MusicandLyricsbyKristenAnderson-LopezandRobertLopez ©2013WonderlandMusicCompany,Inc. AllRightsReserved. AllRights Reserved.IInternational nternationalCopyrightSecured. CopyrightSecured.

4

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[11]

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[18]

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[20]

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D

4 e d a r G o n a i P

19

 

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[28]

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20

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[36]

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E

Fm

 

D

[40]

D   m7

Cm

 

C

subito

[42]

D   add 9

4 e d a r G o n a i P [44]

21

 

Notes

Theopeningsyncopatedrhythmsmightneedtobepractisedslowly,onebaratatime.Oncethenoteshavebeenmastered,a lighttouchisrequiredtoachievetherighteffect. pianodynamic,itshouldprojectmorestronglythanthe The‘sung’melodybeginsatLetterA,and,althoughstillata  piano introductionofthepiece.

Throughoutthesong,themelodyshouldbegivenplentyoflightandshade.Teachersshouldguidestudentswithhowto bringthetoplinealivewithcarefuluseofshapingandphrasingideas.Thiscanbehelpedbylisteningtotheoriginaland studyinghowthevocalistaddsemphasisandarticulationtocertainlines. AtletterC,wherethehandscrossover,thetoppartcanbethoughtofasamusicbox.Aclear,bellliketoneisrequiredat thispoint. Studentsmustensurethatthelefthandis staccato staccatointhefirstfourbarsofletterD,andslightlyquieterthantherighthand melody.Staccatodoesnotmeanaccented! Beawarethatthesudden pianoattheendbeginsonthelast16thnoteinbar43tocoincidewiththefinalvocalline.Thisisa dramaticcompositionaleffectwhichbringsanabruptbutsatisfyingclosetothepiece.

4 e d a r G o n a i P

22

 

GoodbyeYellowBrickRoad SONGTITLE:

‘GOODBYEYELLOW BRICKROAD’

ALBUM:

GOODBYEYELLOW BRICKROAD

RELEASED:

1973

LABEL:

MCA/DJM

GENRE:

SOFTROCK/GLAMROCK

WRITTENBY:

q

=

122   Rock/Pop F

 

s C /E

ELTONJOHN/ BERNIETAUPIN

PRODUCEDBY: UKCHARTPEAK:

GUSDUDGEON 6

‘GoodbyeYellowBrickRoad’wasthesecondsingle tobereleasedfromEltonJohn’sseventhstudioalbum ofthesamename.Thesinglehitthechartsin1973 ofthesamename.Thesinglehitthechartsin 1973 andquicklysurpassedthesuccessofhisprevious andquicklysurpassedthesuccess ofhisprevious single‘SaturdayNight’sAlrightforFighting’,making ittothetopteninboththeUKandUSsingles ittothetopteninb oththeUKandUSsinglescharts. charts. ByJanuary1974thesonghadreachedgoldstat ByJanuary1974thesonghad reachedgoldstatusin usin theUS,onlytobere-certifiedasplati theUS,onlytobe re-certifiedasplatinumin1995. numin1995. WithEltonJohnwritingthemusicandBernie Taupinthelyrics,thesongwassuretobea commercialhit.Taupin’slyricsareinspiredbythe classicstoryof‘TheWizardofOz’.The1939adaption wasthefirstfilmTaupineversawandsoitsplot remainedsomewhatnostalgictothewriter.John singsofwantingtoreturntohisrootsandtoasimpler time,similartothecharacterofDorothywhofollows theyellowbrickroadinherquesttogetbackhome. Theduoreceivedexcellentreviewsfortheirlatest hit,withmanyclaimingthatitwasJohn’sbestrelease yet.Allmusicdescribedthetrackasa“vocaltriumph” anda“pinnacleofitsstyle”,withothermusiccritics praisingitforitsdelicacyandbeauty.Thealbumon whichthesongfeatur whichthesong features,also es,alsonamed named Goodbye GoodbyeY  Yellow ellow wasalsometby criticalacclaimandis mandis BrickRoad, wasalsometbycriticalacclai regardedasJohn’smostsuccessfulandrecognisable work.Onitsreleasein1993itenteredtheUSalbum chartatnumber17,beforeclimbingtothetopspot

whereitstayedforeightweeks.In2003thealbum wasinductedintotheGrammyHallofFameandwas rankednumber91onRollingStonemagazine’s‘The 500GreatestAlbumsofallTime’list.Withsalesof  over8millioncopiesintheUS,theiconicalbumis nowcertified8xPlatinum. EltonJohnandBernieTaupinareoneofthe mostsuccessfulwritingteamsofthe20 thCentury, theirworkincludessmashhits‘Candleinthe Wind’,‘BennieandtheJets’and‘CrocodileRock’ tonamejustafew.Theirworkingpartnershipis highlyregardedinthemusicindustry,withmany  fansthrivingtoknowmoreaboutthepair.Taupin haspublishedseveralbooksabouthistimeworking withElton,including‘BernieTaupin:TheOneWho WritestheWordsforEltonJohn’whichisactuallya collectionofallofhisworkforthealbum Goodbye YellowBrickRoad.

4 e d a r G o n a i P

23

 

GoodbyeYellowBrickRoad EltonJohn q 122 Rock/Pop Rock/Pop =

F



s C C/ //E E

7

7

Dm

B

D m /C

F/ C C/E

F

A 7

Gm

7

G m /B

C

B /F

E

7

C C/E /E

F



F F/ //A A

[5]

B

E /B /B

7

C /E

C C

[8]

7

F

4 e d a r G o n a i P

24

Gm

[11] WordsbyBernieTaupin MusicbyEltonJohn ©Copyright1973Universal ©Copyright1973 Universal/DickJamesMusicLimited. /DickJamesMusicLimited. AllRightsReserved. AllRights Reserved.IInternational nternationalCopyrightSecured. CopyrightSecured.

7

G m /B

 

C

7

7

F

C /E



F F/ //A A

B /F

B

[14]

E

E / /B B

C



C /E /E

F

[17]

B

B m

B m/F

E

E /G

A

A /C

[21]

D

D /C

B m

B m/F

C



C C/ //G G

4 e d a r G o n a i P [24]

25

 

C

A

F

7

B

[27]

F



F/ F//C C

D

7

Gm

[30]

C

7

F



F F/ //E E

Dm

[33]

A

4 e d a r G o n a i P [36]

26

7

7

A /E

B

D

E

 

F



F F/ //E E

Dm

 

D m/C

B

C

[40]

D

B   m/F

B m

E

E /G

A

A /C

[43]

1 1.. D

2. 2.

D /C

 

B m

Rit.

 

F

 

B   m/F

C

B m

B   m/F

[46]

4 e d a r G o n a i P [50]

27

 

Notes

Aswithallthegreatestpopsongs,thelyrics Aswithallthe greatestpopsongs,thelyricsofthissong ofthissongareasimportantasthemusic.This areasimportantasthemusic.Thisarrangementpr arrangementpresentsstudents esentsstudents withaparticularchallenge:tomakethisinstrumentalversionasconvincingasthevocalone. Teachersmightrecommendthatstudentscanachievethisin Teachersmightrecommendthatstudentscanachievethisinthefollowingways: eachersmightrecommendthatstudentscanachievethisin thefollowingways: ■ Ensurethatthemelodysingsoutandisplayedsignificantlystrongerthantheaccompaniment.Thiswillrequire understandingwhichnotesintherighthandtake understandingwhichnotesintherighthandtakethemelodyline.Forexample themelodyline.Forexample:inbar6, :inbar6,thenoteswiththestems thenoteswiththestems pointingdownwardsareaccompaniment.Thewholeofbar12isalsoaccompaniment.Carefulstudyoftheoriginal recordingwillhelpstudentsbecomefamiliarwiththis. ■ Dynamiccontrasts Dynamic Dynamiccontrastsareveryimportantinthissong.Thisis contrastsarev areveryim eryimportant portantinthis inthissong.Thisisparticularl particularlytrue ytrueatletterB:studentsshouldmakesurethey  atletterB:studentsshouldmakesurethey  crescendoleadingintothissection,andalsothe  diminuendo diminuendoattheendofit. observethe crescendo Tohelpnavigatethekeychanges,it Tohelpnavigatethekeychanges, it isrecommende isrecommendedthatstuden dthatstudentsbecom tsbecomeveryfamilia everyfamiliarwiththescales rwiththescalesof of Fmajorand A m maj major. ajor or.. Attentionneedstobepaidtotherighthandpartinbars9to11.Here,itisrequiredthatthenotesareplayedoneoctave lowerthanwritten. Thesongeffectivelyfin Thesong effectivelyfinishesinbar51,but effectivelyfinishesin ishesinbar51,butthediscipline ishesinbar51,bu bar51,butthedi tthedisciplineof thedisciplineofholdingth sciplineofholdingthefinalchordan ofholdingthe holdingthefinalchordandcounting e finalchord finalchordandcounting andcountingsilentlyu dcountingsilentlyu silentlyuptothe ptotheendof53 ptotheendof endof53 endof 53 isimportant.

4 e d a r G o n a i P

28

 

ISeeFire



 

SONGTITLE: SONG TITLE: ISEEFIRE ALBUM: THEHOBBIT: THEDESOLATION OFSMAUG, X(EDSHEERAN) X(EDSHEERAN) RELEASED: 2013 LABEL: WATERTOWERMUSIC,DECCA GENRE: FOLK WRITTENBY: WRITTEN BY: EDSHEERAN, CHARLIEMILNER PRODUCEDBY: EDSHEERAN UKCHART UK CHARTPEAK: PEAK: 13

Thissongfeaturedonthesoundtrackofthe2013 film TheHobbit:TheDesolationofSmaug, appearing attheendcredits.Thefilm’sproducer,PeterJackson, choseSheeranbecausehisdaughterwasafanof  thesinger.Edagreedtowriteforthefilmduetohis childhoodconnectionwith childhoodconnect childhoodconnectionwiththebooks;thef  ionwiththebooks; thebooks;thefirstbook  thefirstbook  irstbook  hehadeverreadwas TheHobbit.Healsoenjoyed .Healsoenjoyed the LordoftheRingsTrilogybyauthorJ.R.R.Tolkein byauthorJ.R.R.Tolkein andwasafanofPeterJackson’smoviesbasedon thebooks.Inthespaceofoneday,Edsawthefilm, wrote,andrecordedthesong.Thesong,accordingto Jackson,isSheeran’semotionalresponsetothefilm andsaysthathewasadvisedbyJacksonto“writea songthattakestheaudiencebythehandandlead themfromMiddleEarthbackintoreality.”

q

=

ra  ck 76   Soundtr Bm

In2010,despitenothavinganygigsbooked, In2010,despitenothavinganygigs booked, SheeranboughthimselfaplanetickettoLosAngeles andsetoffinthehopeoflaunchinghismusiccareer. Heplayedseveralopen-micnightsbeforebeing spottedbyactorJamieFoxx.Foxxwassoimpressed hegaveSheerantheuseofhisrecordingstudioand lethimstayinhisHollywoodhomefortherestof  lethimstayinhis Hollywoodhomefortherestof  histrip.SheeranhaswonfiveBRITawardsandfour IvorNovelloAwards.Hehasbeennominatedforan astonishing13Grammy’s,fourofwhichhewon.His careerreachednewheightswhenhewasappointedan MBEin2017forhisservicestomusicandcharity.

Notably,Sheeranplaysmostoftheinstrumentson thetrackandsays:“Igotthechancetoproduceand playalltheinstrumentsonitapartfromthecello,and Imanagedtolearntheviolinforaday.”Sheerandid dictatethecelloparttothecellist,however,despite notplayingithimself. ThesongisinspiredbyCelticfolksoundsasPeter JacksonhadsuggestedthatSheeranwritesomething Jacksonhadsuggestedthat Sheeranwritesomething withinthefolkgenre.Thelyricsoftheballadtella story,basedonSheeran’sattemptstounderstandthe experienceandfeelingsofthecharacte experienceandfeelingsofthe charactersin rsinthefinal thefinal scenesofthefilm.

4 e d a r G o n a i P

29

 

ISeeFire EdSheeran

From‘TeHobbit:TeDesolationofSmaug’(2013) q 76 Soundtrack =

Bm

G

G

A

Bm

A

Bm

3

[3]

A

Bm

D

A

G maj7

[5]

Bm

4 e d a r G o n a i P

30

D

A

[7] Words&MusicbyEdSheeran ©Copyright2013UnitedLionMusic. Sony/ATVMusicPublishing(UK)Limited. AllRightsReserved. AllRights Reserved.IInternational nternationalCopyrightSecured. CopyrightSecured.

E m7

3

 

Bm

D

A

G maj7

3

[9]

E m7

F m

G

[11]

Bm

G

A

Bm

[13]

B

Bm

D

A

G maj7

[15]

Bm

D

3

A

E m7

3

4 e d a r G o n a i P [17]

31

 

B m7

D

A

G maj7 3

[19]

E m7

F m

G

3

[21]

E madd9

F m

G

[23]

C

B m7

G add 9

A

B m7

stronger stronge r

[25]

B m7 4 e d a r G o n a i P [27]

32

G add 9

A

B m7

 

B m7

G add 9

B m7

A

[29]

1. G add

9

A

7

E madd 9

Em

[31]

D

Bm

G

A

Bm

[34]

G

A

Bm

[36]

2. E madd 9

4 e d a r G o n a i P [38]

33

 

Notes

Thissonghasa quiet,understa quiet,understatedfeeling tedfeeling,but ,butshoul shouldstillbe dstillbe playe playedwith dwithasteadygroove.Inprepara asteadygroove.Inpreparationandpractice tionandpractice,, studentscouldlightlytapthequarternotepulsewithafootatslowertemposand/oralongwithametronome,before movinguptofulltempotoplayalongtothebackingtrack. Theopeningrighthandphrasewasoriginallyplayedontheguitar.Onthepiano,itcanbeslightlyawkwardifnotprepared properly.Fingeringpreferencecandifferonphrasessucha properly.Fingeringpreferencec andifferonphrasessuchasthese,soexperimentationisimpor sthese,soexperimentationisimportant.Studentsmaywishtoplay  tant.Studentsmaywishtoplay  theopeningdiadwith1&4,leavingtheminastrongpositionforthefasterF -E-Drun(5,4,3).Theymightthenwishtotake thelowernotesA&Bbothwith1,toensuretheycanmovebackuptopositiontoplaythefinalD,F andGwith1,4&5. Thegracenotesinbars2and4shouldbeomitteduntilthephrasecanbeplayedconfidently:thisisaguitarphrase,andthe Thegracenotesinbars2and4 shouldbeomitteduntilthephrasecanbeplayedconfidently:thisisaguitarphrase,andthe articulationischaracteristicofthatinstrument. Studentsshouldhaveanawarenessaboutwhichpartofthesongis‘sung’melodyandwhichisinstrumentalinterlude. Teachersmightdiscusswithstudentsabouthowthiscouldaffectinterpretation,andshouldguidestudentsin ensuringadifferencebetweenthetwoparts. Thevocallineisfromthelastbeatandahalfofbar4, Thevocallineisfromthelastb eatandahalfofbar4,totheendofbar12. totheendofbar12.Itreturn Itreturnsonlastbeatanda sonlastbeatandahalfofbar14,to halfofbar14,tothe the endofbar33.The2ndtimeendingisalsosung.Therestof endofbar33.The2nd timeendingisalsosung.Therestofthesongisinstrumental. thesongisinstrumental. StudentsshouldbeencouragedtobringoutthechorusatletterD,butwithoutdisturbingtheoverallpeacefulnessofthesong.

4 e d a r G o n a i P

34

 

Livin’OnAPrayer SONGTITLE: ALBUM:

‘LIVIN’ONAPRAYER’ SLIPPERYWHENWET

RELEASED: 1986 LABEL:

MERCURY

GENRE:

HARDROCK/GLAMMETAL

WRITTENBY:

q

12 2 Rock

=

JONBONJOVI/RICHIE SAMBORA/DESMONDCHILD

PRODUCEDBY:

BRUCEFAIRBAIRN

UKCHARTPEAK: 4

1

2

 

1

5

‘Livin’OnaPrayer’wasa1986hitformulti-million sellingrockbandBonJovi.Thetrackwasthe second singletobereleasedfromtheirthirdstudioalbum, singletobe releasedfromtheirthirdstudioalbum, SlipperyWhenWet,andgavethemtheirsecond SlipperyWhenWet, andgavethemtheirsecond consecutiveUSnumber1singleprecededbythe iconic‘Y iconic ‘Y ‘YouGive ouGiveLovea ouGive LoveaBadName’ Lovea BadName’.Bon .Bon Jovi’shit shit was shitwas wellreceivedaroundtheglobe,toppingthecharts inCanada,NewZealandandNorwayaswellasthe US,peakingatnumber4onthe UKsingleschart andachievingtoptenstatusinAustralia,Belgium, Finland,Ireland,theNetherlands,SouthAfrica,Spain andSweden. ‘Livin’OnaPrayer’waswrittenbyBonJovi’s frontmanJonBonJovi,thenguitaristRichieSambora andrenownedsongwriterDesmondChild.Onfirst recordingthesong,theprestigiousfrontmanwas unhappywiththeresultandwantedtoscrapthesong, butSamborapersuadedhimtoperseveresayingthat theyhadsimplyapproacheditwrong.Instrument partswerechangedandre-recordedandtheband finallyagreedthatthesongshouldfeatureontheirup andcomingalbum, SlipperyWhenWet. SlipperyWhenWet.Thisdecision Thisdecision certainlypaidoff,withthesongoriginallymarking certainlypaidoff,withthe songoriginallymarking physicalsalesof800,000onitsreleaseandlaterbeing physicalsalesof800,000 onitsreleaseandlaterbeing certified3xPlatinumin2013forover3million digitaldownloads.

SlipperyWhenWet wasmetwithpositivereviews SlipperyWhenWet  wasmetwithpositivereviews andreachednumber6intheUKalbumchart.It producedafurtherthirdsuccessfulsinglerelease with‘WantedDeadorAlive’,givingthebandthree consecutiveUStoptenhits.Thealbumhasnow  beencertifiedDiamondintheUS,withsalesofover beencertifiedDiamondintheUS,withsales ofover th 12millioncopiesandwasranked44 intheRock  andRollHallofFame’slist‘Definitive200Albums ofAllTime’.BonJovihavereleasedthirteenstudio albumstodate,andwithfiveofthemtoppingthe UKalbumchartstheyareclearlyanassettothe commercialworldofrockmusic.In1996theywon BestInternationalGroupattheannualBritawards, confirmingtheirimportanceinthe90srockscene. confirmingtheirimportanceinthe90s rockscene. Althoughtheline-uphaschangedsincetheir formationin1983,BonJovicontinuetotour worldwideandplansfora2019globaltourarewell underway.Thebandhaveperformedover2,700times inmorethan50countriesandhavesoldover100 millionrecordsworldwide,makingthemoneofthe best-sellingAmericanrockbandsofalltime. best-sellingAmericanrockbandsofall time.

4 e d a r G o n a i P

35

 

Livin’OnAPrayer BonJovi q 122 Rock =

1

 

2

1

5

A

5 3 1

5 2 1

[3]

3

4 2

[6]

5 3 1

4 e d a r G o n a i P

36

[9] Words&MusicbyJonBonJovi,RichieSambora&DesmondChild ©Copyright1986Sony/ATVTunesLLC,USA/AggressiveMusic,USA/BonJoviPublishing,USA/UniversalPolygramInternationalPublishing. Sony/ATVMusicPublishing(UK)Limited/UniversalMusicPublishingLimited. AllRightsReserved. AllRights Reserved.IInternational nternationalCopyrightSecured. CopyrightSecured.

5 2 1

 

3

[12]

[15]

B 5 2 1

4 2 1

[19]

3

3

[23]

C

5 2 1

5 3 1

5 2 1

5

4

3 

2

 

1

 

2

 

1

4 e d a r G o n a i P

[27]

37

 

[30]

[33]

D

3 2 1

4

 

5

 

4 2 1

5 1

3 1

[37]

5 2

[40]

2

4 e d a r G o n a i P

subito

[43]

38

3

1   2

  3

  4

5 1

 

3

3

 

3

3

[46]

E

[50]

[53]

[56]

4 e d a r G o n a i P [59]

39

 

Notes

Thisisquintessentialrock Thisisquintessen tialrockmusicarrange musicarrangedforsolopiano,andneedstobeperformedwithallthedramaandpower dforsolopiano,andneedstobeperformedwithallthedramaandpower associatedwiththestyle. Thefamousintroductorybassandguitarfigure Thefamousintroductorybassa oductorybassandguitarfigure(or‘riff  ndguitarfigure(or‘riff’)takenbythelefthandat (or‘riff  (or‘riff’)takenbythelefthandatbars1and ’)takenbythelefthandat ’)takenbythe lefthandatbars1and2 bars1and2needs bars1and2needstobeclearandprecise 2needs needstobeclearandprecise tobeclearandprecise –thisisoneofthemosticonicpartsofthesong.Studentscanpractisehowbesttoarticulatethispassage,experimenting withthe‘weight’anddurationofthenotes. AtletterA,theleft-handpartplaysamoresupportiveroletotheright,withchordtonerootsandoctavesinasimpleand supportiverhythmicpattern,allowingspaceforthemelody.Therighthandcarriesboththevocallineandchordtones,to addrichnesstothetexture.Itisimportanttoachieveabalancesomelodytakesprecedence. Forthis piano piano arrangemen arrangement, t, t, mezzo  mezzo mezzo piano piano isindicate isindicated ddyna dynamic mic intheint inthe introd roduct uction ion and and A Asec sectio tion ninorder inorder toallow toallow more more contrastwiththelatt contr astwiththelattersecti ersectionsofthepiece.Not onsofthepiece.Notehowa ehowabrief briefbutwell-judg butwell-judged ed   crescendo crescendo(bar18beats3&4)willsetupthe (bar18beats3&4)willsetupthe dynamicofsectionB.Itisimpor dynamicofsectionB.Itisimportantnottoove tantnottooveremphas remphasisethis isethisshift,asthe shift,asthereneeds reneedstobeheadroomfor tobeheadroomforthe the mezzofortedynamicofsec mezzoforte chorusforte chorus fortedynamicatsectionC. forte dynamicatsectionC. Quarter-notetripletsfeatureatvariousplacesinthepiece,andtobecomefamiliarwiththisrhythmitcanbeahelpful exercisetotapaquarter-notepulsewiththefoot,whilstclappingsixquarter-notetripletsevenlywithineachbaroffour. Theoriginalguitarsoloisre-interpretedforsolopianofromletterD(bar37),andshouldbetreatedwiththesameapproach toprojectionasthemelody.Forimpact,asudden piano toprojectionasthemelody.Forimpact,asudden dynamicdropoccurs dynamicdrop occursinbar44,settin inbar44,settinguptheclimax guptheclimaxofthesolo ofthesolo  piano pianodynamicdrop piano  crescendo crescendothrough crescendo overa crescendothroughtobar46.Careisneede overa throughtobar46.Careisneededtoensureabarofthre dtoensureabarofthreebeatsiscou ebeatsiscountedatbar49,atimesig ntedatbar49,atimesignatu nature‘tric re‘trick’ k’ whichaddsweighttotheimpactofthekeychange which addsweighttotheimpactofthekeychangeinthefollowingbar. inthefollowingbar.Familiari FamiliaritywithbothGmajorandB tywithbothGmajorandB majorscales (andtheirrelatedpentatonics)willensurethatthesepassagescanbenavigatedsuccessfully. Finally,maintaininganinter Finally,maintai ninganinternalcount nalcountisimportant isimportantrightthroug rightthroughthefinalbars,ens hthefinalbars,ensuring uringthatthefinalchordisheldforthe thatthefinalchordisheldforthe durationindicated.

4 e d a r G o n a i P

40

 

T Technical echnicalExercises echnical Exercises

6.Cdiminished7(C 6.Cdiminished7(Cdim dim 7orC 7)arpeggio )arpeggio 1

 

2

 

4

4

3

1

 

2

4 5

 

4

 

 

3

5

3

2

 

3

2

1

1

7.Cminor9|righthand 5 2

1

 

3

 

4

 

3

 

2

8.Cminor9|lefthand

5

 

4

1

9.Cdominant9|righthand 5 1

 

2

 

4

3

10.Cdominant9|lefthand

1 5

 

4

 

3

 

2

GroupC:ChordVoicings Intheexamyouwillbeaskedtoplay  oneofthe chord exercises exer exercisesbelow,frommemory.Theexaminerwillstatethechord cises below, below, frommemory. frommemory. Theexaminer Theexaminerwillstatethe willstatethe chord type.Thistestisperformedinfreetime(withoutbackingtrackorclick),buttheexaminerwillbelookingforthespeedof  yourresponse. Ex1:Major9thChords

4 e d a r G o n a i P

45

 

TechnicalExercises Technical echnical Exercises

Ex2:Dominant9thChords Ex2:Dominant9thChords

Ex3:Minor9thChords

GroupD:TechnicalStudies Intheexamyouwillbeaskedtoperformyourchoiceof   oneof thefollow thefollowingthree ingthreetechnica technicalstudies lstudiesalongwiththe alongwiththe accompanyingbacking accompanyingbackingtrack. track. 1.IIm–V–Iprogressions&walkingbass

c 105  

s

F m9

B   m9

[5]

4 e d a r G o n a i P

46

E 7

B9

E maj7

A   maj9

D m7 5

G 9

G m7 5

C m9

C7

F m9

 

T Technical echnicalExercises echnical Exercises

2.Dorianmodalstudy

c 118

[3]

5 2

 

4 1

5 2

[5]

[7]

4 e d a r G o n a i P

47

 

TechnicalExercises Technical echnical Exercises

3.Mixolydianmodalstudy

c 85 

s

E 7

sus 4

E 5

E 7

E 6

[3]

C m7

  7 D maj

 

E 7

[5]

D /E

[7]

4 e d a r G o n a i P

48

E

 

SightReading  Intheexam,youhaveachoicebetweeneitheraSightReadingtestoranImprovisation&Interpre Intheexam,youhavea choicebetweeneitheraSightReadingtestoranImprovisation&Interpretationtest  tationtest.Th .Theex  eexaminerw aminerwill illask ask youwhichoneyouwisht  youwhich oneyouwishtochoosebefor  ochoosebeforecommenci ecommencing.Onceyouh ng.Onceyouhavedecide avedecidedyoucan dyoucannotchan notchangeyourmi  geyourmind.  geyourmi nd.

Inthesightreadingtest,theexaminerwillgiveyoua8barmelodyinthe Inthesightreadingtest, Inthesight readingtest,theexamine theexaminerwillgive rwillgiveyoua8bar youa8barmelodyin melodyinthekeyofeitherEmajoror thekeyofeitherEmajororA keyofeitherEmajororA A major.Youwillfirstbe given90sec given90secondstopractise,afterwhichthe given90secondsto ondstopractise,afterwhichtheexaminerw practise,afterwhichtheex practise,after whichtheexaminerwill examinerwillplaythe aminerwillplaythebackingtracktwice.T illplaythe playthebackingtracktwice.Thefirsttime backingtracktwice.Thefir backingtrackt wice.Thefirsttimeisforyoutopractise hefirsttimeis sttimeisforyoutopractise is foryoutopractise andthesecondtimeis andthesec andthesecondtimeisforyouto ondtimeisforyoutoperformthefinalver foryoutoperformthefinalversionfortheex performthefinalversionforthe performthefinal versionfortheexam.For sionfortheexam.Foreach exam.Foreachplaythrou am.Foreachplaythrough,t eachplaythrough,thebacking playthrough,thebackingtrack gh,thebackingtrackwillbegin hebackingtrackwillbegin trackwillbegin willbegin withaonebarcount-in.Thetempois  qq=60–130. Duringthepracticetime,youwillbegiventhec Duringthepracticetim e,youwillbegiventhechoiceofametronomeclic hoiceofametronomeclickthroughoutoraonebarcoun kthroughoutoraonebarcountinatthebeginning. tinatthebeginning. Thebacking Thebackingtrackis trackiscontinuous,so trackiscontinuous,so continuous,soonce continuous, sooncethefirstplaythroughhas oncethefirst oncethe thefirstplaythroughhasfinished, firstplaythroughhas playthroughhasfinished, finished,thecount thecountinofthese iin nofthese n ofthe ofthese secondplaying condplayingwillstartimmediate condplayingwillstartimmediately.. condplayingwillstartimmediately. willstartimmediately  ly .

SightReading|Example1 c 60   Spiritual

[5]

Pleasenote:Thetestsshownareexamples:Theexaminerwillgiveyouadifferentversionintheexam

SightReading|Example2 Ballad d60  Ballad

[5]

Pleasenote:Thetestsshownareexamples:Theexaminerwillgiveyouadifferentversionintheexam

4 e d a r G o n a i P

49

 

Improvisation Impro visat  visation&In ion&Interpr &Interpretation terpretatio etation n Intheexam,youhaveachoicebetweeneitheraSightReadingtestoranImprovisation&Interpre Intheexam,youhavea choicebetweeneitheraSightReadingtestoranImprovisation&Interpretationtest  tationtest.Th .Theex  eexaminerw aminerwill illask ask youwhichoneyouwisht  youwhich oneyouwishtochoosebefor  ochoosebeforecommenci ecommencing.Onceyouh ng.Onceyouhavedecide avedecidedyoucan dyoucannotchan notchangeyourmi  geyourmind.  geyourmi nd.

IntheImprovisa IntheImpro visation&Inter tion&Interpreta pretationtest tiontest,theexamin ,theexaminerwillgive erwillgiveyoua8–12barchordprogre youa8–12barchordprogressio ssioninthekeyofeither ninthekeyofeither EmajororA major.Youwillfirstbegiven90secondstopractise,afterwhichtheexaminerwillplaythebackingtrack  twice.Thefirsttimeis twice.The firsttimeisforyouto foryoutopractiseand practiseandthesecond thesecondtimeisforyoutoperformthefinal thesecondtimeis timeisforyoutoperformthefinalversionforth timeis foryoutoperfor foryoutoperformthefinalv mthefinalversionforthe versionfortheexam.F ersionfortheexam.For eexam.Foreach exam.Foreach oreach each playthrough,thebackingtrackwillbeginwithaonebarcount-in.Thetempois   q=60–130. Duringthepracticetime,you Duringthepract icetime,youwillbegiven willbegiventhechoiceof thechoiceofametronomec ametronomeclickthroughoutor lickthroughoutoraonebarcou aonebarcount-inatthebe nt-inatthebeginning. ginning. Thebackingtrackiscontinuous,sooncethefirstplaythroughhasfinished,thecount-inofthesecondplayingwill startimmediately  startimmediately.. Youwillneedtoimprovise Youwillnee dtoimprovisediatonic,single diatonic,singlenotemelodies notemelodieswithrighthand withrighthandandchords andchordsinlefthand. inlefthand.

Improvisation&Interpretation|Example1 q = 100 E

B

E

B

A

B

A

A

E

G m

A

F m

B

[5] E

A

B

E

[9]

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

Improvisation&Interpretation|Example2 q = 100 A

E

A

E

D

E

D

D

A

Cm

D

 

B m

E

[5]

4 e d a r G o n a i P

50

A

D

E

[9]

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

A

 

EarTests

Inthissection,therearetwoeartests: ■ Me MelodicR  lodicRecall ecall ■ Harmoni HarmonicRecall cRecall Youwillfindoneexampleofeachtypeoftestprintedbelowandyouwillneedperformbothofthemintheexam.

Test1:MelodicRecall Test1:Melodic est1:MelodicRecall

Theexaminerwillplayyoua2bardiatoni Theexaminerwillplayyoua2bar diatonicmelodyinthe cmelodyinthekeyofCmajorwitha keyofCmajorwitharangeuptoasixth.Thefirstnotewill rangeuptoasixth.Thefirstnotewillbethe 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.Thetempois whichyouwillneedtoplaythemelodyto theclick.Thetempois   q=95bpm. Itisacceptabletoplayoverthetrackasitisbeingplayedaswellaspracticingafterthesecondplaythough.Thelengthof  timeavailable time availableafterthesecondplayt afterthesecondplaythroug hroughis hisprepre-recor recordedontheaudiotracksothecount-i dedontheaudiotracksothecount-inmaybeginwhile nmaybeginwhileyouare 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

TheexaminerwillplayyouachordprogressioncontainingchordsI,IVandVinanyorderorcombinationinthekeyof  Cmajor.Youwillhearthechordprogressiontwice,eachtimewithaonebarcount-in.Youwillthenhearafurtherone barcountinbeforeplayingbacktoaclick.Pleasenote,thereisnorequirementforthechordstobevoicing-specific. Thetempois  qq=95bpm.

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

4 e d a r G o n a i P

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GeneralMusicianshipQuestions Thefinalpartof your examistheGeneralMusiciansh Thefinalpartofyour examistheGeneralMusicianshipQuestion ipQuestionssection, ssection,whichfeatures whichfeatures fivequest fivequestionsrelat ionsrelatingto ingtooneof  oneof  yourchoiceoftheperformancepieces. 11.. Y Youwillbeaskedaquestionrelatingto ouwillbeaskedaquestionrelatingtotheharmonyfromasectionofoneof ouwillbeaskedaquestionrelatingtotheharmonyfromasectionofoneofyourpieces yourpieces 22.. Y Youwillbeaskedaquestionrelatingto ouwillbeaskedaquestionrelatingtothemelodyinasectionofoneofyourp ouwillbeaskedaquestionrelatingtothemelodyinasectionofoneofyourpieces ieces 33.. Y Youwillbeaskedaquestionrelatingto ouwillbeaskedaquestionrelatingtotherhythmsusedinasectionofoneofyourp ouwillbeaskedaquestionrelatingtotherhythmsusedinasectionofoneofyourpieces ieces 44.. Y Youwillbeaskedaquestionrelatingto ouwillbeaskedaquestionrelatingtothetechnicalrequirementsofoneofyourpieces ouwillbeaskedaquestionrelatingtothetechnicalrequirementsofoneofyourpieces 55.. Y Youwillbeaskedaquestionrelatingtothegenreofoneofyourpieces ouwillbeaskedaquestionrelatingtothegenreofoneofyourpieces ou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

4 e d a r G o n a i P

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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 www.rslawards.com ■ AllcandidatesshouldensuretheybringtheirownGradesyllabusbook Allcandidatesshouldensuretheybringtheirown Allcandidatesshould ensuretheybringtheirown Gradesyllabusbooktotheexam totheexamorhaveproofofdigitalpurchase 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. AllGrade6–8candidatesmustensurethattheybringvalidphotoIDto theirexam.

4 e d a r G o n a i P

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MarkingSchemes MarkingSchemes GE|DG8 EL ELE LE EM ME ME EN NT NT

PA AS SS SS

ME ME ER R RIIIT T

DI DIIS SST T TIIIN N NC C CT T TIIIO O ON N

PerformancePiece Perfo rmancePiece11

 – – –  o ou u utt o of  f   

   – – –  o ou u utt o of  f   

  + + o ou u utt o of f   

PerformancePiece Perfo rmancePiece22

 – – –  o ou u utt o of  f   

   – – –  o ou u utt o of  f   

  + + o ou u utt o of f   

PerformancePiece Perfo rmancePiece33

 – – –  o ou u utt o of  f   

   – – –  o ou u utt o of  f   

  + + o ou u utt o of f   

TechnicalExercises

– – –  o ou u utt o of f   

   – – –  o ou u utt o of  f   

  + o ou u utt o of  f   

o ou u utt o of f  

– – – o ou u utt o of f  

+ o ou u utt o of f   

EarTests EarTests

o ou u utt o of f  

– – – o ou u utt o of f  

+ o ou u utt o of f   

GeneralMusicianshipQuestions

o ou u ut to off  

o ou u ut to off  

o ou u ut to off  

TOT TO OTA AL LM MA A AR  RK RK KS S

660 0% 0%+ %+

774 44% %+ %+

990 00% %+ %+

SightReading  or

Improvisation&Interpretation

PC| PC |DG DG

4 e d a r G o n a i P

54

EL ELE LE EM ME ME EN NT NT

PAS ASS SS

ME ME ER R RIIIT T

DI DIIS SST T TIIIN N NC CT CT TIIIO O ON N

PerformancePiece Performa ncePiece11

 – – –  o ou u utt o of  f   

   – – –  o ou u utt o of f   

  + + o ou u utt o of f   

PerformancePiece Performa ncePiece22

 – – –  o ou u utt o of  f   

   – – –  o ou u utt o of f   

  + + o ou u utt o of f   

PerformancePiece Performa ncePiece33

 – – –  o ou u utt o of  f   

   – – –  o ou u utt o of f   

  + + o ou u utt o of f   

PerformancePiece Performa ncePiece44

 – – –  o ou u utt o of  f   

   – – –  o ou u utt o of f   

  + + o ou u utt o of f   

PerformancePiece Performa ncePiece55

 – – –  o ou u utt o of  f   

   – – –  o ou u utt o of f   

  + + o ou u utt o of f   

TOT TO OTA AL L MA MAR A  RK RK KS S

660 0% 0% %+ +

775 55% %+ %+

990 00% %+ %+

 

CopyrightInformation AllOfMe (Legend/Gad) BMGRightsManagement(UK)Limited/BuddeMusicUK Respect (Redding) UniversalMusicPublishingLimited/Warner/ChappellNorthAmericaLimited LetItGo(from“Frozen”) (Anderson-Lopez/Lopez) UniversalMusicPublishingLimited GoodbyeYellowBrickRoad (Taupin/John) Universal/DickJamesMusicLimited. ISeeFire (Sheeran) Sony/ATVMusicPublishing(UK)Limited Livin’OnAPrayer (Bon Jovi/Sambora/Child) Sony/ATVMusicPublishing(UK)Limited/UniversalMusicPublishingLimited

4 e d a r G o n a i P

55

 

PianoNotationExplained

THEMUSICALSTAVE showspitchesand showspitchesand

rhythmsandisdividedbylinesintobars. rhythmsandisdividedbylines intobars. Pitchesarenamedaerthefirstsevenletters Pitchesarenamedaerthefirst sevenletters ofthealphabet.

C

D

E

F

G

A

B

D

C

E

F

G

A

B

GraceNote: Playthegracenoteon orbeforethebeatdependingonthe styleofmusic,thenmovequicklyto thenoteitleadsonto.

PedalMarking: Depressandthenreleasethe sustainpedal.Multiplepedal Multiplepedaloperationsin operationsina shortspaceoftime shortspace shortspaceoftimemay oftimemaybesimplifiedas maybesimplifiedasshown besimplifiedasshown shown inthelasttwobeatsofthebarbelow. twobeatsofthebarbelow.

SpreadChord: Playthechordfromthebottomnoteup (topdownonlyifthere (topdo wnonlyifthereisadownwardarrow isadownwardarrowhead). head). efinalnoteshouldsoundbythe appropriate notatedbarposition.

Glissando: Playthenotesbetweenthenotated pitchesbyslidingoverthekeyboard slidingoverthekeyboardwiththe withthe fingersorfingernails.

C

gliss.

FingerMarkings: esenumbersrepresent yourfingers.1isthethumb,2theindex fingerandsoon.

Tremolando: Tremolando: Oscillateatspeed betweenmarkednotes.

1

(accent)

• Accentuatenote(playitlouder).

al alCod Coda a D. . alCoda

2

3

4

5

• Gobacktothesign(),thenplayuntil Gobacktothesign( ),thenplayuntil thebarmarked ToCoda thenskipto thesectionmarked Coda.

D.C.alFine D.C.alFine

• Gobackto Gobacktothebeginningof Gobacktothe thebeginningofthesong beginningofthesongand thesongand and playuntilthebarmarked playuntilthebar marked Fine(end).

(a (acc ccen ent) t)

• Acce A ccent ntua uate teno note tewi with thgr grea eati tint nten ensi sity  ty.. • Usesopedal

UnaCorda

• Repeatthe Repeatthebarsbetweent barsbetweentherepeatsig herepeatsigns. ns. (sta (stacc ccat ato) o) 4 e d a r G o n a i P

56

• SShor horte tent ntim imev  eval alue ueof ofno note te.. 11..

(a (acc ccen ent) t)

A ccent ntua uate teno note tewi with thmo more rear arm mwe weig ight ht.. • Acce

22..

• Whenarepeatedsectionhasdifferent endings,playthefirstendingonly endings,playthefirstendingonlythefirst thefirstendingonlythe the first timeandthesecondendingonlythe secondtime.