Female Vocals Grade 3
Performance pieces, technical exercises and in-depth guidance for Rockschool examinations
All accompanying and supporting audio can be downloaded from: www.rslawards.com/downloads Input the following code when prompted: TCDJ2XB83D For more information, turn to page 4
www.rslawards.com
Acknowledgements Published by Rockschool Ltd. © 2014 under license from Music Sales Ltd. Catalogue Number RSK091403R ISBN: 978-1-910975-02-2 AUDIO
Backing tracks produced by Music Sales Limited Supporting test backing tracks recorded by Jon Musgrave, Jon Bishop and Duncan Jordan Supporting test vocals recorded by Duncan Jordan Supporting tests mixed at Langlei Studios by Duncan Jordan Mastered by Duncan Jordan MUSICIANS
Neal Andrews, Lucie Burns (Lazy Hammock), Jodie Davies,Tenisha Edwards, Noam Lederman, Beth Loates-Taylor, Dave Marks, Salena Mastroianni, Paul Miro, Ryan Moore, Jon Musgrave, Chris Smart, Ross Stanley, T-Jay, Stacy Taylor, Daniel Walker PUBLISHING
Compiled and edited by James Uings, Simon Troup, Stephen Lawson, Stuart Slater Internal design and layout by Simon and Jennie Troup, Digital Music Art Cover designed by Philip Millard, Philip Millard Design Fact Files written by Stephen Lawson, Owen Bailey and Michael Leonard Additional proofing by Chris Bird, Ronan Macdonald, Jonathan Preiss and Becky Baldwin Cover photography © Kevin Winter / Getty Images Full transcriptions by Music Sales Ltd. SYLLABUS
Vocal specialists: Martin Hibbert and Eva Brandt Additional consultation: Emily Nash, Stuart Slater and Sarah Page Supporting tests composition: Martin Hibbert, James Uings, Jon Musgrave, Jodie Davies, Ryan Moore, Chris Hawkins, Jonathan Preiss Rhythmic test lyrics: Lucie Burns (Lazy Hammock) DISTRIBUTION
Exclusive Distributors: Music Sales Ltd. CONTACTING ROCKSCHOOL
Female Vocals Grade 3
www.rslawards.com Telephone: +44 (0)845 460 4747 Email:
[email protected]
2
Table of Contents Introductions & Information
2 Acknowledgements 3 Table of Contents 4 Welcome to Rockschool Female Vocals Grade 3
Rockschool Grade Pieces
5 Taylor Swift......................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ‘22’ 13 Nina Simone.................................... ‘Ain’t Got No - I Got Life’ 19 Jessie J................................................................... . . . . . . . . . . . . . . . . . . ‘Domino’ 27 Christina Perri................................................. . . . . . . . ‘Jar Of Hearts’ 35 Ellie Goulding.................................................. . . . . . . . . . . . . . . . . . . . . . . . ‘Lights’ 43 Adele.. . . ................................................. ‘Make You Feel My Love’
Technical Exercises
48 Scales, Arpeggios, Intervals & Technical Studies
Supporting Tests
50 51 52 53
Sight Reading Improvisation & Interpretation Ear Tests General Musicianship Questions
Additional Information 54 Entering Exams, Exam Procedure & Marking Schemes 55 Improvisation Requirements & Free Choice Pieces 56 Copyright Information
Female Vocals Grade 3
3
Welcome to Rockschool Female Vocals Grade 3 Welcome to the Rockschool Female Vocals Grade 3 pack. This book and accompanying downloadable audio contain everything you need to sing at this grade.
Vocals Exams
At each grade you have the option of taking one of two different types of examination: ■■Grade Exam: a Grade Exam is a mixture of music performances, technical work and tests. You 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 Certificate: in a Performance Certificate you sing five pieces. Up to three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark is 60%.
Book Contents
The book is divided into a number of sections. These are: ■■Exam Pieces: in this book you will find six well-known pieces of Grade 3 standard. Each song is preceded by a Fact File detailing information about the original recording, the artist who sang on it and some recommended listening if you wish to research the artist further. ■■Piano and guitar notation: every exam piece is printed with a piano part and guitar chords. Both are a representation of the overall band arrangement. These have been included to assist you with your practice should you wish to use a piano and/or guitar for accompaniment. In your exam you must perform to the backing tracks provided. ■■Vocal score: in addition to the piano/vocal/guitar arrangement there is also a separate vocal-only score to allow you to view the vocal part on a single sheet of paper. ■■Technical Exercises: there are a range of technical exercises in this grade. Some are notated in full, and some give a range of starting notes. ■■Supporting Tests and General Musicianship Questions: in Vocals Grade 3 there are three supporting tests – either a Sight Reading or an Improvisation & Interpretation test and two Ear Tests – and a set of General Musicianship Questions (GMQs) asked at the end of each exam. Examples of the types of tests likely to appear in the exam are printed in this book. ■■General Information: finally, you will find information on exam procedures, including online examination entry, marking schemes, information on Free Choice Pieces and improvisation requirements for each grade.
Audio
Each song in Vocals Grade 3 has an audio track that can be downloaded from RSL directly at www.rslawards.com/ downloads. This is a backing track with the vocal taken off so you can sing along with the band. The backing tracks should be used in examinations. There are also audio examples of the supporting tests printed in the book. When downloading audio files you will need to input this code when prompted: TCDJ2XB83D
Female Vocals Grade 3
The audio files are supplied in MP3 format, the most widely compatible audio format in common usage – MP3s will likely be familiar to anyone with a computer, iPod, smartphone or similar device. Once downloaded you will be able to play them on any compatible device; we hope that you find this extra versatility useful.
4
All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded from the RSL website: www.rslawards.com
Hal Leonard - NOT FOR SMD
22
Taylor Swift 22
ALBUM:
RED
RELEASED:
2013
LABEL:
MERCURY
GENRE:
POP
PERSONNEL:
TAYLOR SWIFT (VOX)
UK CHART PEAK:
9
US CHART PEAK:
6
Moderately D5 G5
3fr
3fr
5fr
THE BIGGER PICTURE Taylor Alison Swift was born in Pennsylvania in 1989. At the age of nine she became involved in musical theatre, travelling regularly to Broadway to take vocal and acting lessons and audition for shows. When she turned 12, she learned her first three chords on guitar and wrote her first song. Two years later, aged 14, she was given an artist development deal with RCA Records and moved to Tennessee with her family, which enabled her to become involved with the Nashville music scene. The following year, Swift left RCA to join the new label Big Machine. She was eager to release her music and felt that RCA was reluctant to launch her career too soon. Big Machine released Taylor Swift in 2006 and it went to Number 1 on Billboard’s Top Country Albums chart. Every song on the album was written or co-written by the 16-year-old Swift. Fearless followed in 2008, then in 2010 Speak Now (written entirely by Swift) was released and went to Number 1 in America, Canada, Australia, Taiwan and New Zealand.
It feels l
NOTES
C5
D5
3fr
5fr
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‘22’ was the fourth single from Taylor Swift’s album Red. It was co-written by Swift and the song’s producers Max Martin and Shellback.
5fr
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BACKGROUND INFO
C“2
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Uh uh, es.fourth - her By the cameexto write of our e fun Swift makTaylor andtime studio album, Red, she had established a sound and a set way of writing – often with long-term writing partner Nathan Chapman. She wrote 20 songs for Red but then decided she wanted to do something different that time around: “I knew I hadn’t jumped out of my comfort zone, which at the time was writing alone and working with Nathan.” Swift called in a group of collaborators, from the expected (singersongwriters Ed Sheeran and Gary Lightbody) to the unexpected (pop superproducer Max Martin). “The G5 D5 I reached C5 who inspired me were the people people 3fr 5fr 3fr out to,” said Swift, “I have always been so fascinated by how Max Martin can just land a chorus. He comes at you and hits you, and it’s a chorus – all caps, with exclamation points!” Martin’s work is all over ‘22’, with its huge ‘CHORUS!’ and danceable contemporary pop to fall in love w production. for break - fast at mid - night,
LISTENING RECOMMENDED
‘We Are Never Ever Getting Back Together’ was the lead single from Red and produced by Max Martin and Shellback, so fans of ‘22’ will feel right at home. The album Speak Now is the place to go to hear Swift’s songwriting sans collaborators.
Female Vocals Grade 3
SONG TITLE:
5
22 Hal Leonard - NOT FOR SMD
Moderately G5 D5 3fr
C5 5fr
22
D5 3fr
C“2
D5 3fr
ex
es.
D5 3fr
for break - fast
at mid -
uh,
uh
night,
feels like a per - fect night
C5 5fr
to fall in love with stran -
It
D5
5fr
uh.
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to dress up like hip - sters
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C5
Female Vocals Grade 3
3fr
-
6
5fr
C5 5fr
D5 3fr
and make fun of our
C5 5fr
G5
D5
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Words & Music by Taylor Swift, Max Martin & Johan Schuster
It feels like a per - fect night
Taylor Swift
gers.
© Copyright 2012 Taylor Swift Music/Sony/ATV Tree Publishing/MXM Music AB, Sweden. Sony/ATV Music Publishing/Kobalt Music Publishing Limited. All Rights Reserved. International Copyright Secured.
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and
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we’re
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the same at hap - py free, con - fused and lone - ly in the best
D
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a - bout
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oh.
Female Vocals Grade 3
G
7
$
G
D
I
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D
Female Vocals Grade 3
8
if
D
You don’t know a - bout
feel - in’
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but I’m
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will
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you,
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you
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me
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like
we’re
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5fr
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kids.
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we ditch the whole
scene
Female Vocals Grade 3
G
9
G5
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and
end
up
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2, 3.
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-
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Female Vocals Grade 3
10
we
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Female Vocals Grade 3
D
11
Music by Galt
Nina Simone SONG TITLE: ALBUM: RELEASED:
AIN’T GOT NO - I GOT LIFE 1968
LABEL:
RCA RECORDS
GENRE:
POP
PERSONNEL:
q = 113
NUFF SAID
2
US CHART PEAK:
94
NINA SIMONE (VOX)
UK CHART PEAK:
Em
f
BACKGROUND INFO
NOTES
‘Ain’t Got No - I Got Life’ was a single released in 1968 from Nina Simone’s album Nuff Said.
As its title probably suggests, ‘Ain’t Got No - I Got Life’ is actually a medley of two songs. ‘Ain’t Got No’ and ‘I Got Life’ first appeared in the Broadway musical Hair, one of the first rock musicals, set amidst the hippie counterculture of the late 1960s. got no shoes, ain’t theatre, home, a veteran of musical Galt McDermot, wrote the music, while the lyrics were written by James Rado and Gerome Ragni. Nina Simone’s version came at a later stage of her career and helped generate interest in the performer among a younger audience. It went to Number 2 in the UK singles chart on its release in 1968, making it Simone’s most successful single release in Britain. Later, in 2006, Groovefinder remixed the track and sent it back into the chart at number 30. The song was also covered in 2012 by former Spice Girl Melanie C on her collection of show tunes entitled Stages.
Nina Simone was born Eunice Kathleen Waymon in North Carolina in 1933. She began playing piano aged three and later performed at her local church. Aged 12, she made her debut as a concert pianist, in a recital of classical music at a local venue. Simone’s love of classical music began around this time and continued throughout her career. Later she would describe her own music as “black classical music” and express her disdain for pop. After graduating from high school, Simone studied music at the prestigious Julliard School Of Music in New York. To help fund her studies, Simone performed in a bar, where the owner insisted she sing as well as play piano. Her set, consisting of jazz, blues and classical, earned her a local following. In 1958, Simone recorded her first single, ‘I Loves You, Porgy’, which gave the performer her only Top 20 hit in America. Once established as a recording artist, Simone began to address racism in her music and was an activist in the Civil Rights Movement. She died in 2003 and is remembered as a gifted, serious and unique musician.
G
D
‘Feeling Good’ is one of Nina Simone’s most famous records. Like ‘Ain’t Got No - I Got Life’, it too was taken from a musical, The Roar Of The Greasepaint – The Smell Of The Crowd. ‘To Be Young, Gifted And Black’ was one of Simone’s own compositions and ain’t got no marked cla her ss, involvement in the Civil Rights Movement.
RECOMMENDED LISTENING
G
Female Vocals Grade 3
THE BIGGER PICTURE
Em
skirts,
13
Ain't Got No - I Got Life Ain’t Got No - I Got Life Words by James Rado & Gerome Ragni Music by Galt MacDermot
Nina Simone
Words & Music by Galt MacDermot, James Rado & Gerome Ragni
q = 113
Em
I ain’t got no
f
Em
G
home,
Female Vocals Grade 3
14
no
shoes,
D
ain’t got
no
skirts,
ain’t got
class,
ain’t got
G
Em
no
mo - ney,
ain’t got
no
Bm7
ain’t got no
swea - ter,
ain’t got no
© Copyright 1968 EMI Catalogue Partnership/EMI U Catalog Incorporated, USA. © Copyright 1967 EMI U Catalog Inc./Channel H Prod. Inc. EMI United Partnership Limited. Worldwide print rights controlled by Warner Bros. Incorporated, USA/International Music Publications Limited. All Rights Reserved. International Copyright Secured. Reproduced by permission of International Music Publications Limited. All Rights Reserved. International Copyright Secured.
per -fume,
Em
mo - ther,
G
ain’t got no
love,
C
D
tick - et,
ain’t got no
to - ken
G
ain’t got no God.
ain’t
got no
And
name,
C
G
ain’t got no
Bm
Ain’t got no
friends,
ain’t got no
ain’t got no
Em
cul - ture,
D
Em
mind.
G
G
ain’t got no
C
ain’t got no
school - ing,
beer,
G
ain’t got no
D
C
Female Vocals Grade 3
Em
15
C
what a - bout
God?
Yeah,
what a - bout
God?
take a - way.
Female Vocals Grade 3
16
brains,
C
µ
got my ears,
got my
G
eyes,
got my
nose,
G
C
got my head,
got my mouth.
got my
Bm7
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3
way?
D7
an - y -
a - live
Why am I
Am7
3
I
got
my
Am7
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got my
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G
Bm7
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feet,
got my
arms,
got my toes,
got my
hands,
Bm7
got my
got my
D
li - ver.
my
fin - gers, got my legs,
blood.
got my
Bm7
G
Got
Em7
sex.
Am7
I got my
Am7
Bm7
Em7
Em7
I
neck, got my boob - ies, got my heart, got my soul, got my back.
got my
I
smile.
C
G
µ
I’ve got
life,
Female Vocals Grade 3
17
Am7
C
G
C
Female Vocals Grade 3
18
C
keep
C
And no - bo - dy’s gon - na take it a - way, I’ve got the life.
And I’m gon - na
G
G
C
life.
I’ve got the life.
it,
I’ve got the
G
dom,
G
I’ve got the
C
G
life.
G
D7
I’ve got my free -
C
Domi Jessie J ALBUM: RELEASED:
DOMINO 2011
LABEL:
ISLAND
GENRE:
POP
PERSONNEL:
q = 130 G
WHO YOU ARE
JESSIE J (VOX) CLAUDE KELLY (VOX) DR. LUKE (VARIOUS) CIRKUT (VARIOUS)
UK CHART PEAK:
1
US CHART PEAK:
6
G“4
G
BACKGROUND INFO ‘Domino’ was the fifth single from Jessie J’s debut album, Who You Are. It featured on the Platinum Edition of the record and was co-written with Dr. Luke, Cirkut, Max Martin and Claude Kelly.
NOTES
G“4
‘Domino’ didn’t feature on the original release of Jessie J’sfree debut album. Instead, it was added, along with twomin other d. tracks, to the Platinum Edition of Who (2.) You Are. Some accused Jessie J of trying to sound like Katy Perry on the song’s release. J responded: “People have heard ‘Domino’ and said, ‘It’s nothing like you.’ But I’m like, well the album’s really eclectic anyway, and I never go into the studio and say ‘I wanna do another song that’s like ‘Price Tag’ or another song like ‘Do It Like A Dude’.” The presence of co-writers Dr. Luke, Cirkut and Max Martin is obvious, but Jessie’s inspiration came from farther back in music history. She said: “I listened to a lot of Whitney and Prince… and we kinda just wanted to write a song G that’s timeless, fun and uplifting.”
THE BIGGER PICTURE Jessica Ellen Cornish was born in London in 1988. Her sisters, both older, were academic and she was expected to follow in their footsteps, but from a young age Cornish was drawn to more creative activities. “Give me something to draw or an outfit to pick for someone, or hair, make-up, acting, write a song, I’m fine with it,” she said, “but anything to do with sums – it was never my thing.” A natural performer, at the age of 11 she was cast in a production of Andrew Lloyd Webber’s Whistle Down The Wind in London’s West End. From there she went on to study musical theatre at the famous BRIT School, alma mater of Adele, Leona Lewis and Amy Winehouse. Next she joined a girl group called Soul Deep and began writing songs professionally, which led to a publishing deal with Sony ATV while she was still in her teens. In the following years, she wrote for artists such as Miley Cyrus and Taio Cruz, and had her music featured in a Nivea commercial.
‘DoIt Like A Dude’ Jessie J’s first , was single, RECOMMENDED LISTENING
written for (but never used by) Rihanna and inspired gold. a shot of pure e like You’r by the latter’s track ‘Dirty Boy’. ‘Price Tag’ is an stars. - wood l - lyWho Hofrom see - ingtrack upbeat, hip I’m hop-influenced You Are, the same album as ‘Domino’ and ‘Do It Like A Dude’. Later, ‘It’s My Party’ followed in the same mould as ‘Domino’ – another major key belter oozing positivity and personality.
like glit My hea
Female Vocals Grade 3
SONG TITLE:
19
Domino Jessie J
Domino
Words & Music by Max Martin, Lukasz Gottwald, Claude Kelly, Jessica Cornish & Henry Russell Walter
q = 130 G
G“4
G
G“4
1. I’m feel - ing sex - y and
G
G“4
Female Vocals Grade 3
20
You’re like a shot of pure I’m see - ing Hol - ly - wood
G
free (2.) mind.
G
like glit -ter’s rain - ing on My heart beats out of
gold. stars.
me. time.
G“4
G“4
I think I’m ’bout to You strum me like a
© Copyright 2011 Warner Tamerlane Publishing Corporation/Kasz Money Publishing/ Studio Beast Music/Prescription Songs LLC/Kobalt Music Services America, Inc/Traintracks Studio/MXM Music AB, Sweden. Kobalt Music Publishing Limited/Warner/Chappell North America Limited/Sony/ATV Music Publishing. All Rights Reserved. International Copyright Secured.
ex gui -
G
- plode. - tar.
G
I
G
smoke in the
air.
G
can
G“4
taste the ten - sion like
a cloud of
Now I’m breath - ing like I’m run - ning ’cause you’re tak - ing me there. Don’t you know:
G“4
C
G“4
G
G“4
you spin me out of con - trol.
A‹
We can do this
E‹
all
night.
Turn this club,
skin
Ooh,
tight.
ooh, ooh, ooh.
D7
Ba - by, come on.
Female Vocals Grade 3
G“4
21
C
Ooh,
A‹
ooh, ooh,
ooh.
Boom- ing like
E‹
rhy - thm.
Ba - by, come on!
Female Vocals Grade 3
C
22
the sun
ooh, ooh,
ooh.
D7
-
light.
Make
this
dream
A‹
Dirt
Ooh,
E‹
in - to
-
a
y
danc
ing
C
drum.
Spark- in’ up
in
the moon
A‹
Rock
my
light.
world
the best I’ve ev - er known.
-
a
E‹
-
bass
D7
D7
Take
me
down
C
like I’m
a
do - mi - no.
E‹
When
we
ing in
the moon
1.
G
-
’ry
se
-
touch
E‹
don’t ev - er
-
C
D7
a high
-
light.
A‹
Dirt
-
y
down
like I’m
a
danc -
do - mi - no.
G“4
G
cond is
Take me
light.
let me go.
G“4
Ev
D7
-
2. You got me los- ing my
Female Vocals Grade 3
A‹
23
2.
C
A‹
E‹
Ooh, ba - by, ba - by,
-
ing
in
the moon
-
got
me feel - ing so
E‹
right.
C
Ooh, ba - by, ba - by,
A‹
light.
Ooh, ba - by, ba - by,
got
me feel - ing
E‹
danc -
C
Female Vocals Grade 3
Rock
my
world
so
right.
D7
Ooh, ba - by, ba - by...
A‹
24
ing in the moon - light.
2.
D7
Ooh,ba - by, ba - by,
danc -
1.
D7
μ
Ooh, ooh, ooh, ooh.
E‹
in - to
the sun
-
light.
D7
Make
this
dream
the best I’ve ev - er known.
E‹
D7
Take
me
-
y
danc
When
like I’m a
ing in
the moon
we
do mi- no.
Ev
-
’ry
touch
light.
se
don’t ev - er
E‹
Take
let me go.
D7
me
down
-
light.
-
cond is a high - light.
the moon
A‹
in
C
-
ing
D7
-
E‹
-
Dirt
C
down
A‹
Dirt
-
A‹
y
danc -
like I’m
a
do - mi - no.
Female Vocals Grade 3
C
25
Jar of Hea
Christina Perri ALBUM: RELEASED:
JAR OF HEARTS
C‹
2010
LABEL:
ATLANTIC
GENRE:
POP
PERSONNEL:
q = 75
LOVESTRONG
CHRISTINA PERRI (VOX+PIANO) 4
US CHART PEAK:
17
1. I know I ca
F‹
Bb
BACKGROUND INFO ‘Jar Of Hearts’ was the debut single from singersongwriter Christina Perri. It was released – and charted – before Perri had a record deal.
UK CHART PEAK:
3fr
NOTES
toa management In Los Angeles, Perri wassigned company while working in a restaurant to pay - gret.
is reon the t - inga dancer ’s wai thather se all her bills.’cau In June 2010, friend, TV show So You Think You Can Dance, handed a copy of Perri’s song ‘Jar Of Hearts’ to the show’s choreographer, who liked it enough to feature it on the programme. Following its airing on So You Think You Can Dance, ‘Jar Of Hearts’ entered the iTunes chart and Perri was wooed by record companies eager to snap up the then unsigned singer-songwriter. “She was so confident and poised,” said COO of Atlantic Records, Julie Greenwald, on Perri’s auditionBbfor the Eb label. “You could visualise her at Madison Square 6fr Garden.” A week later, Perri was signed to the label, all thanks to one song: ‘Jar Of Hearts’.
Christina Judith Perri was born in 1986 and grew up in Bensalem, a suburb of Philadelphia. Her brother Nick Perri played guitar with Shinedown, Silvertide, Perry Farrell and Matt Sorum. Nick introduced her THE BIGGER PICTURE
to the music of groups like Guns ’N Roses, which were later to have an influence on her own music. Aged 16, she taught herself to play acoustic guitar by watching a performance by the rock group Blind Melon on a VHS tape – she would pause the tape to see where the guitarist’s fingers were positioned on the fretboard. Around the same time, Perri learned to play piano and began writing her own songs. On her 21st birthday, she moved to Los Angeles with a suitcase and a guitar. Later that year, she married and moved to Florida, where she produced music videos for a living. Eighteen months after her wedding, she divorced and moved back to Philadelphia, before deciding to move out to Los Angeles once more to try and make it as a singer-songwriter. Perri’s big break was just around the corner…
RECOMMENDED LISTENING
ghost
an - y - more,
you lost the love I l
‘A Thousand Years’ was the third single from Christina Perri’s debut album, Lovestrong. It was chosen to feature on the soundtrack to the film The Twilight Saga: Breaking Dawn Part 1 and went on to become Perri’s best-selling single. ‘Human’ was the first single from Perri’s second album, Head Or Heart (2014) – another piano ballad, but this time with a bigger production job.
Female Vocals Grade 3
SONG TITLE:
27
Jar Of Hearts Christina Perri
Jar of Hearts
Words & Music by Christina Perri, Drew Lawrence & Barrett Yeretsian
q = 75 C‹
Eb
Female Vocals Grade 3
28
step
to -wards you
C‹ 3fr
re - gret.
F‹
’cause all that’s wait - ing is
1. I know I can’t take one more
Bb
6fr
Eb
3fr
Bb
6fr
And don’t you know I’m not your
Ab
4fr
ghost
F‹
Ab
4fr
an - y - more,
you lost the love I loved the most.
© Copyright 2010 WB Music Corp/Miss Perri Lane Publishing/Primary Wave Yeretsian/Piggy Dog Music. Wixen Music UK Ltd/Fintage Publishing B.V./Warner/Chappell North America Limited/Copyright Control. All Rights Reserved. International Copyright Secured.
I learned to live
C‹
F‹
Ab
half
Bb 4fr
a - live
and now you want me
Eb
one
more
Bb
Ab
Ab‹
4fr
run - ning ’round leav - ing
scars?
Col - lect - ing your jar of hearts
Eb
Bb
6fr
3fr
So don’t come back for me.
You’re gon - na catch
a cold
Ab‹
4fr
from the ice
Ab
soul.
3fr
C‹
4fr
and tear - ing love a - part.
C‹
6fr
And who do you think you are
time.
in - side your
Eb 4fr
Who do you think you are?
6fr
Female Vocals Grade 3
Bb 3fr
29
C‹
Eb
3fr
Bb
6fr
2. I hear you’re ask - ing all
a - round
F‹
C‹
found.
Bb
have grown too strong
be
6fr
Ab
F‹
3
Ab 4fr
3 to ev - er
Female Vocals Grade 3
am an - y- where to
4fr
30
I
Eb 3fr
But I
If
fall
back in your
arms.
And I’ve learned to live
C‹
F‹
half
Bb 4fr
a - live
and now you want me one
$
Ab
Eb
more
Bb
time.
3fr
And who do you think you are,
run - ning ’round leav- ing
Ab
4fr
Ab‹
C‹
6fr
scars?
Col - lect - ing your jar of hearts
Eb
Bb
4fr
6fr
and tear - ing love a - part.
You’re gon - na
catch
a cold
from the ice in - side your
Female Vocals Grade 3
Bb 3fr
31
C‹
Ab To Coda Ø
3fr
Ab‹ 4fr
soul.
So don’t come back for me.
C‹
6fr
Who do you think you are?
G/B
Eb 4fr
C‹7/Bb
F/A
C‹
3fr
And
G/B 3fr
3
it took so long just to feel al - right. Re - mem - ber how to put back the C‹7/Bb
F/A
C‹
3
light
in my eyes.
Female Vocals Grade 3
C‹
32
C‹7/Bb
I
wish
I had missed
the first time
F/A
broke
C‹7/Bb
all
that we kissed
’cause
G/B 3fr
you
G/B 3fr
your
F/A
prom
-
is - es.
And
G
4fr
now you’re back
you don’t get
to
Ab
Ab‹
get
back.
me
Eb
Bb
4fr
4fr
6fr
Don’t come back at all.
C‹
Ab
3fr
scars?
Col - lect - ing your jar of hearts
run -ning ’round leav-ing
And who do you think you are
Ø Coda
D.S. al Coda
Ab‹
4fr
Eb
4fr
6fr
and tear - ing love a - part.
You’re gon - na catch
a cold
Female Vocals Grade 3
Ab
33
Bb
C‹
from the ice
Ab
soul.
Don’t come back
Who do
you think
Who do
you think
Eb
4fr
are?
are?
rit. Ab‡…‹7
you
6fr
Who do you think you
6fr
Eb
Eb
me.
4fr
for
Ab‡…‹7 6fr
Don’t come back at all.
4fr
Female Vocals Grade 3
3
3
Eb 4fr
Ab‡…‹7
34
your
Ab‹ 4fr
in - side
3fr
6fr
you are?
Ellie Goulding SONG TITLE: ALBUM: RELEASED:
LIGHTS 2011 POLYDOR
GENRE:
POP
PERSONNEL:
q = 120
BRIGHT LIGHTS
LABEL:
G©m 4fr
with echo
ELLIE GOULDING (VOX+GUITAR) ASH HOWES (DRUMS+KEYS)
L.H.
STEVEN MALCOLMSON
(PROGRAMMING) RICHARD STANNARD (BASS+KEYS) UK CHART PEAK:
49
US CHART PEAK:
2
Lig
G©m
C©m7 4fr
NOTES was originally intended to be the first ‘Lights’ was the second single from the expanded ‘Lights’ edition of Ellie Goulding’s debut album, More Lights. single from More Lights, an expanded edition of Ellie Goulding’s debut album, Lights. However, Goulding’s y
4fr
BACKGROUND INFO
1. I
Elena Jane Goulding was born in 1986 in a small village in Herefordshire. She began playing the clarinet at the age of nine, then took guitar lessons when she turned 14. Within a year of picking up the guitar she was writing her own folk-inspired songs and later won a singing contest at her local college – a promising start. While studying drama at the University of Kent, Goulding discovered electronic music and began to develop her unique sound. Before she could finish her studies, Goulding was discovered by the artist management company Turn First Artists, who insisted she leave university, move to London and focus on her music. She was introduced to the producer Starsmith and the pair began working on the material that would form her debut album, Lights. It was a winning combination, as Lights debuted at Number 1 on the UK album charts in 2010. Since then, Goulding has released an expanded edition of her debut entitled More Lights, featuring the song of the same name, and her second album, Halcyon, (another UK chart topper) in 2012.
wa 2. Boy
1° tac
RECOMMENDED LISTENING
Ellie Goulding’s rendition of ‘Your Song’ has a charm about it that’s entirely down to her tender vocal performance. E ‘Anything Could Happen’ is more typical Goulding: heavily effected vocals matched with an uplifting lyric and chord progression. ‘Burn’ was Goulding’s first single to reach Number 1 in the Top 40 with its synth-heavy production and choppy phrasing. ‘How Long Will I Love’, by contrast, is a piano ballad with vulnerable-sounding vocals.
on
my
own. my
head.
C©m7 Female Vocals Grade 3
THE BIGGER PICTURE
had a
cover of Elton John’s ‘Your Song’ was chosen for John Lewis’s Christmas 2010 TV advert and was hastily scheduled for release instead. The song was co-written by Ellie Goulding and the producers Richard Stannard and Ash Howes, who also played bass and drums, respectively, on the track. Goulding wrote the song about her fear of the dark: “Sometimes if I’ve had a couple of drinks and I come back and just lie on my bed and fall asleep I wake up and realise that there isn’t a light on and I have to turn a light on,” she told America’s Amp Radio.
35
4
Lights Ellie Goulding
Lights
Words & Music by Richard Stannard, Ash Howes & Ellie Goulding
q = 120 G©m
F©
E
4fr
L.H. with echo
C©m7
G©m
4fr
F© 4fr
1. I had a
way 2. Boy
then, says
1° tacet till *
E
Female Vocals Grade 3
36
C©m7
on
my
own. my
it all with-in
4fr
I had a heart Touch my own
head.
ing
G©m
4fr
los I play
then skin
© Copyright 2010 Major 3rd Music Limited. Sony/ATV Music Publishing (UK) Limited/Global Talent Publishing/BMG Rights Management (UK) Limited. All Rights Reserved. International Copyright Secured.
F©
C©m7 4fr
but and
the queen hope
And I’m And I
not think
sleep - ing back to
now. when
my
is The dark bro - ther
beat. ter slept
And I’m in
not an
keep - ing un - locked
now, place.
too and
hard my
to sis -
F© 4fr
G©m
4fr
-
E
F© 4fr
has been o - ver - thrown. that I’m still breath - ing.
C©m7
G©m
the strength The on -
Female Vocals Grade 3
E
37
E
$
need time
to I
push feel
G©m
that
stop me,
turn
stone.
I
You
You
show the
*
tell
me
when I’m
a - lone.
F©
my - self that
I’ll
show it
4fr
G©m
And so
Female Vocals Grade 3
me. safe.
to
4fr
38
E
C©m7
F© 4fr
lights
4fr
I ly
-
C©m7
be
strong
and
E
C©m7
dream - ing
when they’re
gone.
-
ing
me
home.
ing,
C©m7
lights
that
stop me,
ing,
call - ing,
-
ing
home.
turn
4fr
to
stone.
You
G©m
call -
call
ing,
4fr
F© 4fr
-
call -
-
E
Call
call
C©m7
’Cause they’re
G©m
F©
4fr
You show the
E
To Coda Ø
show it
F©
me
when I’m
a - lone.
4fr
Female Vocals Grade 3
G©m
4fr
39
E
C©m7
F©
4fr
G©m
4fr
E
4fr
Female Vocals Grade 3
40
μ
F© 4fr
Lights,
lights,
lights,
E
C©m7
G©m
3
l - l - l - lights.
C©m7
G©m
4fr
Lights,
lights,
lights,
4fr
lights,
lights,
lights,
C©m7 3
lights,
l - l - l - lights.
Oh.
4fr
Oh.
C©‹7
F©
1-3.
You show the
4fr
E
G©‹
4fr
lights.
C©‹7
Lights,
Ø Coda
D.S. al Coda
4fr
4.
C©‹7
4fr
Oh.
μ
Female Vocals Grade 3
F©
41
You Feel MakeAdele ALBUM: RELEASED:
MAKE YOU FEEL MY LOVE
XL
GENRE:
POP ADELE (VOX)
UK CHART PEAK:
4
US CHART PEAK:
N/A
F/A
Bb
2008
LABEL:
PERSONNEL:
q = 76
19
5fr
6fr
THE BIGGER PICTURE Adele Laurie Blue Adkins was born in London in 1988. She began singing at the age of four and later became a fan of the Spice Girls, of whom she has said, “They made me what I am today.” As a teenager, she attended the BRIT School and graduated in the same year as Leona Lewis and Jessie J. Like Jessie J, Adkins is herself an accomplished songwriter and wrote many of the songs on her debut album, 19, which was released by XL Recordings in 2008. The album went to Number 1 in the UK and eventually went double platinum (selling more than two million copies) in America. Her second album, 21, was co-written with various songwriters but rather than giving up control of her writing and recording process, Adkins seemed more and more to be calling the shots as she grew in confidence. For example, when Rick Rubin was employed to produce finished versions of demos that she had recorded previously, she rejected the new versions in favour of the demos. Fans of the singer often admire this personal strength as much as they do her considerable artistic merits.
Bb 6fr
6fr
‘Make You Feel My Love’ was the fifth and final single from Adele’s debut album, 19.
Ebm BACKGROUND INFO
‘Make You Feel MyLove’ was written by Bob
NOTES
Dylan for his 1987 album, Time Out Of Mind, but was recorded and released as a single by Billy Joel (entitled ‘To Make You Feel My Love’) two months before Dylan’s album appeared. Adele’s version was released in 2008 and went to Number 24 in the UK singles chart. Later, in 2010–2011, the song was performed several times on the UK edition of The X Factor and also on Britain’s Got Talent, which pushed it up to Number 4 and kept it in the chart for 50 weeks (55 including the five weeks it spent in the chart on its original release). In 2013, radio station Heart’s listeners voted Adele’s version of ‘Make You Feel My F/A Bb 1 in a poll to find their 500 favourite Love’ Number 5fr 6fr Two more Adele songs featured in songs of all time. the top 20: ‘Rolling In The Deep’ (Number 7) and ‘Someone Like You’ (Number 13).
in your fac stars ap - pea
RECOMMENDED LISTENING the rain 1. When
is blow - ing and the 2. When the eve - ning shad - ows
‘Chasing Pavements’ and ‘Make You Feel My Love’ are good examples of Adele’s vocal talent, but it was later singles ‘Rolling In The Deep’, ‘Someone Like You’ and ‘Set Fire To The Rain’ that showed how much the singer had grown in such a short space of time – between the ages of 19 and 21, in fact.
Female Vocals Grade 3
SONG TITLE:
43
Make You Feel My Love Adele
Make You Feel My Love
Words & Music by Bob Dylan
q = 76 Bb
F/A 6fr
Eb/F 8fr
Bb 8fr
6fr
F/A 6fr
Ab 5fr
4fr
1. When the rain is blow - ing 2. When the eve - ning shad - ows and the
Bb
Female Vocals Grade 3
C7
6fr
44
Bb 6fr
6fr
Ebm
Eb 4fr
Ab 5fr
in your face, stars ap - pear,
and the whole world is on and there is no - one there to dry
© Copyright 1997 Special Rider Music. All Rights Reserved. International Copyright Secured.
Ebm
6fr
your your
case, tears,
C7
Bb 6fr
I could of - fer I could hold you
1.
Bb/F
6fr
Bb 6fr
8fr
Bb
6fr
Eb/G
7fr
you wrong. but I would nev - er do of re - gret and on the high - way
I’ve known it from the the winds of change are
Gbaug
6fr
6fr
6fr
Eb
2.
I know you have -n’t made your mind up yet, The storms are rag - ing on the roll - ing sea,
love. love.
Eb
warm em - brace mil - lion years
Bb 6fr
a a
Bb
to make you feel my to make you feel my
$
you for
8fr
Eb/F 8fr
6fr
mo - ment blow - ing
that we met; wild and free;
Female Vocals Grade 3
Eb
45
(2° Cm7) C7
F
8fr
8fr
no you
(2° Eb)
doubt ain’t
in
my seen
mind where noth - ing
you like
Ab
go you
hun - gry, hap - py,
I’d make
Female Vocals Grade 3
C7
would - n’t earth for
do you
To Coda Ø
feel my feel my
that I of the
6fr
Bb
8fr
6fr
Know there’s noth - ing the ends Go to
Eb/F
to make you to make you
8fr
blue, true,
e - nue. n’t do.
6fr
Ebm
Bb
46
-
and come
6fr
-
black dreams
Eb
4fr
go your
I’d go crawl-ing down the av noth - ing that I would
5fr
F/A
6fr
3. I’d 4. I could make
Bb
be - long. me yet.
love. love,
Bb
Ab 5fr
4fr
Eb
Ebm
6fr
Bb
C7 6fr
6fr
Eb/F
rit.
C7 6fr
6fr
Eb/F
D.S. al Coda
6fr
Bb 8fr
love.
to make you feel my
8fr
Bb 8fr
Bb
8fr
Ø Coda
Female Vocals Grade 3
F/A 6fr
47
Technical Exercises Group A: Scales
The major and natural minor scales must be prepared as shown below. You will be asked to perform one of them in the exam, as chosen by the examiner. You may select any starting note from A–E. You will be asked if you would like to sing along to a metronome click or hear four clicks before you start. Whichever option you choose, you will hear your chosen starting note before the count starts. You may perform this test using any vocal sound except humming or whistling. The tempo is q =90. A major scale
##4 & # 4
¿ ¿ ¿ ¿
q = 90
w
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
w
˙
A natural minor scale
¿ ¿ ¿ ¿
q = 90
& 44
w
w
˙
Group B: Arpeggios
In this group, both of the arpeggio exercises need to be prepared as shown below. You will be asked to perform one of them in the exam, as chosen by the examiner. This test is performed to a metronome click track and you may select any starting note from A–E. You will hear the root note played on piano followed by a one-bar (three click) count-in. You may perform this test using any vocal sound except humming or whistling. The tempo is q =90. A major arpeggio
### 3 & 4
¿ ¿ ¿
q = 90
˙.
˙.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
Ó
A minor arpeggio
Female Vocals Grade 3
q = 90
48
& 43
˙.
¿ ¿ ¿ ˙.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
Ó
Group C: Intervals
In this group, both the perfect 4th and perfect 5th intervals need to be prepared as below. You will be asked to perform one of them in the exam, as chosen by the examiner. The examiner will choose a starting note within the range A–C. You will hear this note followed by a four-beat count-in. You may perform this test using any vocal sound except humming or whistling. The tempo is q =90. Perfect 4th interval q = 90
4 &4
w
¿ w
¿
¿
¿
Candidate sings:
¿
¿
¿
¿
Candidate sings:
˙
˙
Perfect 5th interval q = 90
4 &4
w
w
˙
˙
Group D: Technical Studies
This group consists of two Technical Studies: one rhythmic and one melodic. The examiner will ask you to perform one in the exam. The examiner will decide which, so you must prepare both before the exam. The rhythmic test starts with a fourbeat count. The melodic test starts with the root note followed by a four-beat count. Both tests should be performed to the appropriate backing track which can be found in the downloadable audio. 1. Rhythmic | Rhythmic accuracy
¿
& J¿
∑
¿
¿
.. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Each and ev - ’ry time
‰
wrong?
¿ ¿ ¿ ¿ ¿ What
is
go - in’
I keep tel - lin’ you, it’s time to move
⇥ ¿ ¿
on?
The name
¿ ¿ of
the
¿
¿ ¿ ¿
¿ ¿ ¿
¿
on,
but you keep
com - ing back
so
¿
¿
strong. What’s
¿
¿
¿
¿
¿
¿
¿
¿
¿
game
is
to
get
up
and
stay
real
strong.
..
2. Melodic | Quick dynamics changes and bends
## & # 44 w q =100
¿ ¿ ¿ ¿ w
F #m
.. œ > f
Stop,
œ œ œ
p
qui - et now.
Œ
œ. œ œ I
œ
want
j œ ‰ œ. œ œ E
to,
f
I
œ
want
F #m
j œ ‰ ˙
to
p
sleep.
Ó
..
Female Vocals Grade 3
¿ 4 &4 q = 95
49
Sight Reading In this section you have a choice between: ■■Either – a sight reading test ■■Or – an improvisation and interpretation test (see facing page). The examiner will ask you which one you wish to choose before commencing. Once you have decided, you cannot change your mind. The examiner will give you a four-bar melody in the key of C major or D minor covering a range of up to a perfect 5th. You will be given 90 seconds to practise, after which you will perform the test. The tempo is q =75–85. During the practice time you will be given the choice of a metronome click throughout or a count-in of four beats at the beginning. Whichever option you choose, the practice time will start with the examiner playing the root note. You will receive the same choice when performing the test. The test will start with the root note. You may perform this test using any vocal sound except humming or whistling. q = 80
4 &4
w
¿ ¿ ¿ ¿ w
œ
œ
Œ
œ
˙
˙
œ
œ œ Œ
œ
Female Vocals Grade 3
Please note: the test shown is an example. The examiner will give you a different version in the exam.
50
w
Improvisation & Interpretation The examiner will give you a chord sequence in the key of G major or E minor. You must improvise a melody over the backing track. You will hear the backing track three times. The first and second time is for you to rehearse and the third time is for you to perform the final version for the exam. Each playthrough will begin with the root note and a four-beat count-in. The backing track is continuous throughout, so once the first playthrough has finished, the root note and count-in of the second and third playthroughs will start immediately. The tempo is q =80–90. You may perform this test using any vocal sound except humming or whistling. q = 80
Pop
#4 & 4 .. w
¿ ¿ ¿ ¿ w
G
’ ’ ’ ’
Bm
’ ’ ’ ’
Am
C
’ ’ ’ ’
’ ’ ’ ’ .. G
Female Vocals Grade 3
Please note: the test shown is an example. The examiner will give you a different version in the exam.
51
Ear Tests In this section, there are two ear tests: ■■Melodic Recall ■■Rhythmic Recall You will find one example of each type of test printed below and you will be given both of them in the exam.
Test 1 | Melodic Recall
The examiner will play you a two-bar melody played to a drum backing. It will use a range of up to the first five notes of the C major or A natural minor scales (the examiner will decide which) and the first note will be the root note. You will hear the test twice, each time with a four-beat count-in. There will be a short gap for you to practise after each playthrough. Next you will hear a vocal count-in, after which you should sing the melody to the drum backing. The tempo is q =90. It is acceptable to sing over the track as it is being played as well as practising after the first two playthroughs. The length of time available after the second playthrough is pre-recorded on the audio track, so the count-in may begin while you are still practising. You may perform this test using any vocal sound except humming or whistling.
¿
q = 90
& 44 ..
w
w
¿
¿
¿
œ
œ
œ
œ
Œ
œ
œ
..
˙
Please note: the test shown is an example. The examiner will give you a different version in the exam.
Test 2 | Rhythmic Recall
This test comes in two parts: Part 1 | Rhythmic Recall The examiner will play you a two-bar rhythm played on a single note to a drum backing. You will hear the test twice. Each time the test is played, it is preceded by the root note and a four-beat count-in. There will be a short gap for you to practise after each playthrough. Next, you will hear a vocal count-in and you should sing the rhythm back. The tempo is q =90. For this exercise, use ‘da’ or ‘ba’ vocal sounds. It is acceptable to sing over the track as it is being played as well as practising after the first two playthroughs. The length of time available after the second playthrough is pre-recorded on the audio track, so the count-in may begin while you are still practising. Part 2 | Identification You will then be asked to identify the rhythm heard in part 1 from two printed examples shown to you by the examiner. q = 90
& 44 .. œ
œ
œ
& 44 .. œ
œ
œ
‰
Female Vocals Grade 3
A
52
q = 90
j œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
..
œ
B
œ
œ
œ
Please note: the test shown is an example. The examiner will give you a different version in the exam.
œ
œ
œ
..
General Musicianship Questions In this part of the exam you will be asked five questions. Four of these will be about general music knowledge and the fifth will be about your voice.
Part 1 | General Music Knowledge
The examiner will ask four music knowledge questions from the categories below. The questions will be based on one of the pieces (including Free Choice Pieces) as performed by you in the exam. You can choose which one. If there are handwritten notes on the piece you have chosen, the examiner may ask you to choose an alternative. You will be asked to identify: ■■Any pitch name. (You will need to state flat, sharp or natural). ■■Whole-, half-, quarter-, eighth-, triplet eighth- and 16th-note values. ■■Any rest value. ■■Recognition of any interval up to a fifth between two adjacent notes. (You will not need to state major, minor or perfect). You will be asked to identify and explain: ■■The meaning of the 4/4 time signature marking. ■■The meaning of repeat marks, first and second time bars. ■■The meaning of staccato marks. ■■The meaning of slurs. ■■The meaning of crescendo/diminuendo. ■■The meaning of D.C., D.S., al Coda and al Fine markings. ■■The meaning of ad lib.
Part 2 | Your Voice
The examiner will also ask you one question about your voice. Brief demonstrations to assist your answer are acceptable.
Female Vocals Grade 3
You will be asked: ■■What is the meaning of the ‘break’? ■■What is the meaning of ‘transition’? ■■How do you support a long sustained note? ■■Give an example of each of the following: a) a type of food that would be good to eat before a performance? b) a type of food that would not be good to eat before a performance?
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Entering Exams, Exam Procedure & Marking Schemes Entering Exams
Entering a Rockschool exam is easy. You can enter online at www.rslawards.com or by downloading and filling in an exam entry form. The full Rockschool examination terms and conditions as well as exam periods and current fees are available from our website or by calling +44 (0)845 460 4747.
Exam procedure
In the exam you can decide whether to start with the Performance Pieces or the Technical Exercises. These will be followed by the Supporting Tests (Ear Tests, Sight Reading and Improvisation & Interpretation) and General Musicianship Questions.
Use Of Microphone
At Level 1 (Grades 1–3) microphone use is optional, although candidates may use one if they feel it will enhance their performance. At Level 2 (Grades 4–5) microphone use is obligatory for all pieces and at Level 3 (Grades 6–8) for the whole exam.
Marking Schemes
Below are the marking schemes for the two different types of Rockschool exam. Grade Exams | Grades 1–5 ELEMENT
PASS
MERIT
DISTINCTION
Performance Piece 1
12–14 out of 20
15–17 out of 20
18+ out of 20
Performance Piece 2
12–14 out of 20
15–17 out of 20
18+ out of 20
Performance Piece 3
12–14 out of 20
15–17 out of 20
18+ out of 20
Technical Exercises
9–10 out of 15
11–12 out of 15
13 + out of 15
Either Sight Reading or Improvisation & Interpretation
6 out of 10
7–8 out of 10
9 + out of 10
Ear Tests
6 out of 10
7–8 out of 10
9 + out of 10
General Musicianship Questions
3 out of 5
4 out of 5
5 out of 5
TOTAL MARKS
60%+
74%+
90%+
ELEMENT
PASS
MERIT
DISTINCTION
Performance Piece 1
12–14 out of 20
15–17 out of 20
18+ out of 20
Female Vocals Grade 3
Performance Certificates | Grades 1–8
Performance Piece 2
12–14 out of 20
15–17 out of 20
18+ out of 20
Performance Piece 3
12–14 out of 20
15–17 out of 20
18+ out of 20
Performance Piece 4
12–14 out of 20
15–17 out of 20
18+ out of 20
Performance Piece 5
12–14 out of 20
15–17 out of 20
18+ out of 20
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TOTAL MARKS
60%+
75%+
90%+
Improvisation Requirements & Free Choice Pieces At Rockschool it is our aim to encourage creativity and individualism. We therefore give candidates the opportunity to express themselves musically within styles of their own choice. For this reason, Free Choice Pieces are accepted in all Vocals grades. In addition, all songs performed in exams from Grade 3 onwards have compulsory improvisation requirements.
Improvisation Requirements
From Grade 3, all songs, whether from the grade book or chosen as FCPs, need to incorporate improvisation. The improvisation can be prepared in advance, but is expected to be individually constructed, and needs to include both vocal ad-libbing and re-working of existing melody lines as follows: Level 1 Grade 3: Level 2 Grades 4–5: Level 3 Grades 6–7: Level 3 Grades 8:
Vocal ad-libbing (2–4 bars) and re-working of melody line (4 bars) Vocal ad-libbing (4–8 bars) and re-working of melody line (4–8 bars) Vocal ad-libbing (8–12 bars) and re-working of melody line (8 bars) Vocal ad-libbing (12–16 bars) and re-working of melody line (8 bars)
For all pieces, you will need to highlight the sheet music to show the examiner the location of both ad-libbed and re-worked parts at the beginning of the exam.
Notes ■■You are free to choose where you improvise. However, in all cases, improvisations need to be a continuous number of bars, not a number of smaller bars which in total add up to the ranges shown. ■■Vocal ad-lib could be demonstrated in, for example, introductions, endings or open instrumental parts. ■■Re-working of a melody could be demonstrated by altering any existing singing parts; for example, verses, choruses, bridges. ■■For both ad-lib and re-working of a melody, you need to demonstrate an awareness of harmony, melody, phrasing, use of rhythms and incorporation of any appropriate expression in a stylistically appropriate manner. Range and content will be expected to increase progressively as you move through the grades. ■■We would encourage re-working to take place later in a piece after the original has been presented to show you can portray the original, then you are able to adapt appropriately with individual colour. ■■Improvisation can be a good place to demonstrate your head voice, which can often be omitted, reducing the technical content of a piece at a particular grade.
Free Choice Pieces (FCPs)
An FCP is defined as any piece outside the grade book, and can fall into two categories: 1) W ider Repertoire: a full list of pre-approved and regularly updated pieces can be found on www.rslawards.com. These songs can be used without prior approval from Rockschool. 2) O wn Choice: candidates can choose any song in any genre outside the grade book and wider repertoire. These songs can, however, only be used with prior approval from Rockschool. This requirement is compulsory and you need to contact the office to have your chosen piece(s) approved. Please allow five weeks before your exam to receive a decision.
For all grades, candidates can choose the following number of FCPs in the exam: Grade Examinations: Up to 2 of 3 pieces can be free choice. (At least one piece must be from the grade book.) Performance Certificates: Up to 3 of 5 pieces can be free choice. (At least two pieces must be from the grade book.) For all FCPs, candidates will need to bring the sheet music and a backing track (without vocal part) on the day. A memory stick, iPod or CD/DVD is acceptable and we would also suggest a second source to be safe. It will not be necessary to bring the sheet music or backing tracks for pieces chosen from the grade book.
Female Vocals Grade 3
We cannot accept any songs which have not been approved or are not contained in the grade book or wider repertoire.
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Copyright Information 22 (Swift/Martin/Schuster) Sony/ATV Music Publishing (UK) Limited/Kobalt Music Publishing Limited. Ain’t Got No - I Got Life (MacDermot/Rado/Ragni) EMI United Partnership Limited Domino (Martin/Gottwald/Kelly/Cornish/Walter) Kobalt Music Publishing Limited/Warner/Chappell North America Limited/Sony/ATV Music Publishing (UK) Limited Jar Of Hearts (Perri/Lawrence/Yeretsian) Wixen Music UK Ltd/Fintage Publishing B.V./Warner/Chappell North America Limited/Copyright Control Lights (Stannard/Howes/Goulding) Sony/ATV Music Publishing (UK) Limited/Global Talent Publishing/BMG Rights Management (UK) Limited
Female Vocals Grade 3
Make You Feel My Love (Dylan) Sony/ATV Music Publishing (UK) Limited
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