rsl voclas f g3

8/17/2019 RSL Voclas F G3

1/58


2/58

www.rslawards.com

Performance pieces, technical exercises and in-depth guidance for Rockschool examinations

Female Vocals

Grade 3

All accompanying and supporting audio can be downloaded rom:www.rslawards.com/downloads

Input the ollowing code when prompted:TCDJ2XB83D

For more in ormation, turn to page 4


3/58

2 F e m a l e V o c a l s G r a d e 3

Published by Rockschool Ltd. © 2014 under license rom Music Sales Ltd.Catalogue Number RSK091403R ISBN: 978-1-910975-02-2

AUDIO

Backing tracks produced by Music Sales LimitedSupporting test backing tracks recorded by Jon Musgrave, Jon Bishop and Duncan JordanSupporting test vocals recorded by Duncan JordanSupporting tests mixed at Langlei Studios by Duncan JordanMastered 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 SlaterInternal design and layout by Simon and Jennie Troup, Digital Music ArtCover designed by Philip Millard, Philip Millard DesignFact Files written by Stephen Lawson, Owen Bailey and Michael LeonardAdditional proo ing by Chris Bird, Ronan Macdonald, Jonathan Preiss and Becky BaldwinCover photography © Kevin Winter / Getty ImagesFull transcriptions by Music Sales Ltd.

SYLLABUS

Vocal specialists: Martin Hibbert and Eva BrandtAdditional consultation: Emily Nash, Stuart Slater and Sarah PageSupporting tests composition: Martin Hibbert, James Uings, Jon Musgrave, Jodie Davies,

Ryan Moore, Chris Hawkins, Jonathan PreissRhythmic test lyrics: Lucie Burns (Lazy Hammock)

DISTRIBUTION

Exclusive Distributors: Music Sales Ltd.

CONTACTING ROCKSCHOOL

www.rslawards.comTelephone: +44 (0)845 460 4747Email: [email protected]

Acknowledgements


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3

Table o Contents

Introductions & Information

2 Acknowledgements 3 Table o Contents 4 Welcome to Rockschool Female Vocals Grade 3

Rockschool Grade Pieces

5 Taylor Swif . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . .‘22’ 13 Nina Simone . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . .‘Ain’t Got No - I Got Li e’ 19 Jessie J. . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .. . . . . . .‘Domino’ 27 Christina Perri . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . .‘Jar O Hearts’ 35 Ellie Goulding. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . .‘Lights’ 43 Adele. . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . .‘Make You Feel My Love’

Technical Exercises

48 Scales, Arpeggios, Intervals & Technical Studies

Supporting Tests

50 Sight Reading 51 Improvisation & Interpretation 52 Ear Tests 53 General Musicianship Questions

Additional Information

54 Entering Exams, Exam Procedure & Marking Schemes 55 Improvisation Requirements & Free Choice Pieces 56 Copyright In ormation


5/58


Welcome to Rockschool Female Vocals Grade 3

Welcome to the Rockschool Female Vocals Grade 3 pack. This book and accompanying downloadable audio containeverything you need to sing at this grade.

Vocals ExamsAt each grade you have the option o taking one o two di erent types o examination:

■ Grade Exam: a Grade Exam is a mixture o music per ormances, technical work and tests. You prepare three pieces(two o which may be Free Choice Pieces) and the contents o the Technical Exercise section. This accounts or 75%o the exam marks. The other 25% consists o :either a Sight Readingor an Improvisation & Interpretation test (10%),two Ear Tests (10%), and inally you will be asked ive General Musicianship Questions (5%). The pass mark is 60%.

■Per ormance Certi icate: in a Per ormance Certi icate you sing ive pieces. Up to three o these can be Free ChoicePieces. Each song is marked out o 20 and the pass mark is 60%.

Book ContentsThe book is divided into a number o sections. These are:

■ Exam Pieces: in this book you will ind six well-known pieces o Grade 3 standard. Each song is preceded by a Fact Filedetailing in ormation about the original recording, the artist who sang on it and some recommended listening i youwish to research the artist urther.

■ Piano and guitar notation: every exam piece is printed with a piano part and guitar chords. Both are a representationo the overall band arrangement. These have been included to assist you with your practice should you wish to use apiano and/or guitar or accompaniment. In your exam you must per orm 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 o paper.

■ Technical Exercises: there are a range o technical exercises in this grade. Some are notated in ull, and some give arange o starting notes.

■ Supporting Tests and General Musicianship Questions: in Vocals Grade 3 there are three supporting tests – either aSight Readingor an Improvisation & Interpretation test and two Ear Tests – and a set o General Musicianship Questions(GMQs) asked at the end o each exam. Examples o the types o tests likely to appear in the exam are printed in this book. ■General In ormation: inally, you will ind in ormation on exam procedures, including online examination entry,marking schemes, in ormation on Free Choice Pieces and improvisation requirements or each grade.

AudioEach song in Vocals Grade 3 has an audio track that can be downloaded rom RSL directly atwww.rslawards.com/ downloads. This is a backing track with the vocal taken o so you can sing along with the band. The backing tracks shouldbe used in examinations. There are also audio examples o the supporting tests printed in the book.

When downloading audio iles you will need to input this code when prompted:TCDJ2XB83D

The audio iles are supplied in MP3 ormat, the most widely compatible audio ormat in common usage – MP3s will likelybe amiliar to anyone with a computer, iPod, smartphone or similar device. Once downloaded you will be able to play themon any compatible device; we hope that you ind this extra versatility use ul.

All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded rom theRSL website:www.rslawards.com


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5

BACKGROUND INFO

‘22’ was the ourth single rom Taylor Swi t’salbum Red . It was co-written by Swi t and the song’sproducers Max Martin and Shellback.

THE BIGGER PICTURE

Taylor Alison Swi t was born in Pennsylvaniain 1989. At the age o nine she became involved inmusical theatre, travelling regularly to Broadway totake vocal and acting lessons and audition or shows.When she turned 12, she learned her irst threechords on guitar and wrote her irst song. Two yearslater, aged 14, she was given an artist developmentdeal with RCA Records and moved to Tennessee with

her amily, which enabled her to become involvedwith the Nashville music scene. The ollowing year,Swi t le t RCA to join the new label Big Machine. Shewas eager to release her music and elt that RCA wasreluctant to launch her career too soon. Big MachinereleasedTaylor Swift in 2006 and it went to Number1 on Billboard’s Top Country Albums chart. Everysong on the album was written or co-written by the16-year-old Swi t.Fearless ollowed in 2008, thenin 2010 Speak Now (written entirely by Swi t) wasreleased and went to Number 1 in America, Canada,Australia, Taiwan and New Zealand.

NOTES

By the time Taylor Swi t came to write her ourthstudio album, Red , she had established a sound anda set way o writing – o ten with long-term writing

partner Nathan Chapman. She wrote 20 songs orRed but then decided she wanted to do somethingdi erent that time around: “I knew I hadn’t jumpedout o my com ort zone, which at the time was writingalone and working with Nathan.” Swi t called in agroup o collaborators, rom the expected (singer-songwriters Ed Sheeran and Gary Lightbody) to theunexpected (pop superproducer Max Martin). “Thepeople who inspired me were the people I reachedout to,” said Swi t, “I have always been so ascinatedby how Max Martin can just land a chorus. He comesat you and hits you, and it’s a chorus – all caps, with

exclamation points!” Martin’s work is all over ‘22’, withits huge ‘CHORUS!’ and danceable contemporary popproduction.

RECOMMENDED LISTENING

‘We Are Never Ever Getting Back Together’ was thelead single romRed and produced by Max Martinand Shellback, so ans o ‘22’ will eel right at home.The album Speak Now is the place to go to hear Swi t’ssongwriting sans collaborators.

M oder ate l y

3fr

G 5f r

D 3f r

C 5f r

D C “

G D

C

C D

G

22RED2013

MERCURYPOP

TAYLOR SWIFT (VOX)

96

SONG TITLE:ALBUM:

RELEASED:

LABEL:GENRE:

PERSONNEL:

UK CHART PEAK:US CHART PEAK:

Taylor Swift


7/58

F e m a l e V o c a l s G r a d e 3

6

Moderately

3fr

G5fr

D3fr

C5fr

D

It

C“

feels like a per fect

5fr

D

- night

3fr

C

to dress up like hip

5fr

D

sters-

3fr

G

and make fun of our ex

5fr

D

es.-

3fr

C

Uh uh, uh

5fr

D

uh. It

3fr

G

feels like a per fect

5fr

D

- night

3fr

C

for break fast- at mid

5fr

D

night,-

3fr

G

to fall in love with stran

5fr

D

gers.-

3fr

C

Uh uh, uh

5fr

D

uh.

© Copyright 2012 Taylor Swif Music/Sony/ATV Tree Publishing/MXM Music AB, Sweden.

Sony/ATV Music Publishing/Kobalt Music Publishing Limited.All Rights Reserved. International Copyright Secured.

Words & Music by Taylor Swif, Max Martin & Johan Schuster

Taylor Swif

22


8/58

7

Yeah.

G

we’re hap

py- free, con fused- and lone

ly- at

in

the

the

same

best

G

time.way. It’s mis

’ra- ble- and ma gi- cal.-

Oh,

yeah,

G

to night’s

- the night when we for get-

a bout- the dead -

G

lines.- It’s

time.

Oh, oh.


9/58


8

G

I don’t know a bout

- you,

but I’m feel in’- twen ty

E‹

- two.-

Ev ’ry- thing- will be al

right- if

you keep me next to you.

G

You don’t know a bout

- me,

but I’ll bet you want

E‹

to.

Ev ’ry- thing- will be al

right- if

we just keep danc in’- like we’re


10/58

9

1.

G

twen ty

D

- two,-

twen ty

E‹

- two.-

D

It

3fr

G

seems like one of those

5fr

D

nights.

3fr

This place is too crowd

5fr

D

ed.-

3fr

G

Too man y- cool

5fr

D

kids.

3fr

Oh uh, uh

5fr

D

uh. It

3fr

G

seems like one of those

5fr

D

nights

3fr

we ditch the whole

5fr

D

scene


11/58


0

2, 3.

3fr

G

and end up dream

5fr

D

in’-

3fr

C

in stead- of sleep

5fr

D

in’.-

Ab„ˆˆ

Twen ty

D

- two,

C

twen ty

E‹

- two.

D

It

G

feels like one of those

D

nights

C

we ditch the whole scene. It feels like on of those

E‹

nights


12/58

11

To Coda

D.S. al Coda Coda

we won’t be sleep ing.- It

G

feels like one of those

nights.

You look like bad news. I got ta- have you.

E‹

I got ta- have you.

G

Oh,

oh,

E‹

yeah,

yeah!

I got ta- have you.


13/58


14/58

13

Nina Simone

= 113

E m

E mG

GD

BACKGROUND INFO

‘Ain’t Got No - I Got Li e’ was a single released in1968 rom Nina Simone’s albumNuff Said .

THE BIGGER PICTURE

Nina Simone was born Eunice Kathleen Waymonin North Carolina in 1933. She began playing pianoaged three and later per ormed at her local church.Aged 12, she made her debut as a concert pianist, ina recital o classical music at a local venue. Simone’slove o classical music began around this time andcontinued throughout her career. Later she woulddescribe her own music as “black classical music” andexpress her disdain or pop. A ter graduating rom

high school, Simone studied music at the prestigiousJulliard School O Music in New York. To help undher studies, Simone per ormed in a bar, where theowner insisted she sing as well as play piano. Her set,consisting o jazz, blues and classical, earned her alocal ollowing. In 1958, Simone recorded her irstsingle, ‘I Loves You, Porgy’, which gave the per ormerher only Top 20 hit in America. Once established asa recording artist, Simone began to address racismin her music and was an activist in the Civil RightsMovement. She died in 2003 and is remembered as agi ted, serious and unique musician.

NOTES

As its title probably suggests, ‘Ain’t Got No - I GotLi e’ is actually a medley o two songs. ‘Ain’t GotNo’ and ‘I Got Li e’ irst appeared in the Broadway

musical Hair , one o the irst rock musicals, setamidst the hippie counterculture o the late 1960s.Galt McDermot, a veteran o musical theatre, wrotethe music, while the lyrics were written by JamesRado and Gerome Ragni. Nina Simone’s versioncame at a later stage o her career and helped generateinterest in the per ormer among a younger audience.It went to Number 2 in the UK singles chart on itsrelease in 1968, making it Simone’s most success ulsingle release in Britain. Later, in 2006, Groove inderremixed the track and sent it back into the chart atnumber 30. The song was also covered in 2012 by

ormer Spice Girl Melanie C on her collection o showtunes entitled Stages.


‘Feeling Good’ is one o Nina Simone’s most amousrecords. Like ‘Ain’t Got No - I Got Li e’, it too wastaken rom a musical,The Roar Of The Greasepaint– The Smell Of The Crowd . ‘To Be Young, Gi ted AndBlack’ was one o Simone’s own compositions andmarked her involvement in the Civil Rights Movement.

AIN’T GOT NO - I GOT LIFENUFF SAID1968

RCA RECORDSPOP

NINA SIMONE (VOX)

294

SONG TITLE:ALBUM:

RELEASED:

LABEL:GENRE:

PERSONNEL:



15/58


4

= 113

Em

I ain’t got no

home,

Em

ain’t got no shoes,

G

ain’t got no mo

Em

ney,- ain’t got no

class,

G

ain’t got no

D

skirts, ain’t got no swea

m

ter,- ain’t got no

© Copyright 1967 EMI U Catalog Inc./Channel H Prod. Inc.

EMI United Partnership Limited.All Rights Reserved. International Copyright Secured.

Words & Music by Galt MacDermot, James Rado & Gerome Ragni

Nina Simone

Ain’t Got No - I Got Li e


16/58

15

per

Em

fume,- ain’t got no beer,

D

ain’t got no mind.

G G

Ain’t got no

mo

Em

ther,- ain’t got no cul

G

ture,- ain’t got no friends,

Em

ain’t got no

school

G

ing,- ain’t got no love,

D

ain’t got no name,

m

ain’t got no

tick

Em

et,- ain’t got no to

ken-

D

ain’t got no God.

G G

And


17/58


18/58

17

m

smile.

D

I got my tongue,

G

got my chin,

C

got my

neck,

G

got my boob

C

ies,- got my heart,

G

got my soul, got my back.

Bm

I got my sex.

m

D

I got my arms,

Em

got my hands,

Bm

got my fin

Em

gers,- got my legs,

Bm

got my

feet,

Em

got my toes,

Bm

got my li

m

ver.-

D

Got my blood.

G

I’ve got

µ

life,


19/58


8

m

I’ve got my free

C

dom,-

D

I’ve got the

life.

G C G C

I’ve got the life.

G C

And I’m gon na- keep

G

it,

C

I’ve got the life.

G C

And no bo- dy’s- gon

G

na- take it a

C

way,- I’ve got the life.

G


20/58

19

Jessie J

“ = 130

“

BACKGROUND INFO

‘Domino’ was the i th single rom Jessie J’s debutalbum, Who You Are. It eatured on the PlatinumEdition o the record and was co-written with Dr.

Luke, Cirkut, Max Martin and Claude Kelly.

THE BIGGER PICTURE

Jessica Ellen Cornish was born in London in 1988.Her sisters, both older, were academic and she wasexpected to ollow in their ootsteps, but rom a youngage Cornish was drawn to more creative activities.“Give me something to draw or an out it to pick orsomeone, or hair, make-up, acting, write a song, I’m

ine with it,” she said, “but anything to do with sums –

it was never my thing.” A natural per ormer, at the ageo 11 she was cast in a production o Andrew LloydWebber’s Whistle Down The Wind in London’s WestEnd. From there she went on to study musical theatreat the amous BRIT School, alma mater o Adele,Leona Lewis and Amy Winehouse. Next she joined agirl group called Soul Deep and began writing songspro essionally, which led to a publishing deal withSony ATV while she was still in her teens. In the

ollowing years, she wrote or artists such as MileyCyrus and Taio Cruz, and had her music eatured ina Nivea commercial.

NOTES

‘Domino’ didn’t eature on the original release oJessie J’s debut album. Instead, it was added, alongwith two other tracks, to the Platinum Edition o Who

You Are. Some accused Jessie J o trying to sound likeKaty Perry on the song’s release. J responded: “Peoplehave 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 doanother song that’s like ‘Price Tag’ or another songlike ‘Do It Like A Dude’.” The presence o co-writersDr. Luke, Cirkut and Max Martin is obvious, butJessie’s inspiration came rom arther back in musichistory. She said: “I listened to a lot o Whitney andPrince… and we kinda just wanted to write a songthat’s timeless, un and upli ting.”


Jessie J’s irst single, ‘Do It Like A Dude’, waswritten or (but never used by) Rihanna and inspiredby the latter’s track ‘Dirty Boy’. ‘Price Tag’ is anupbeat, hip hop-in luenced track romWho You Are, the same album as ‘Domino’ and ‘Do It Like A Dude’.Later, ‘It’s My Party’ ollowed in the same mould as‘Domino’ – another major key belter oozing positivityand personality.

DOMINOWHO YOU ARE2011

ISLANDPOP

JESSIE J (VOX)CLAUDE KELLY (VOX)DR. LUKE (VARIOUS)CIRKUT (VARIOUS)

1

6

SONG TITLE:ALBUM:

RELEASED:

LABEL:GENRE:

PERSONNEL:

UK CHART PEAK:

US CHART PEAK:


21/58


0

“ “

I’m feel ing- sex y- and

= 130

free

mind.

“

like

My heart

glit ter’s- rain

beats

ing

out

- on

of time.

me.

“

You’reI’m

likesee

aing-

shotHol

of ly-

purewood-

gold.stars.

“

IYou

think strum

I’mme

’boutlike

toa

exgui

--

1.

(2.)

© 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.

Words & Music by Max Martin, Lukasz Gottwald, Claude Kelly,Jessica Cornish & Henry Russell Walter

Jessie J

Domino


22/58

21

plode.tar.

G

--

G“

I can taste

G

the ten sion- like a cloud of

G“

smoke in the air. Now I’m breath

G

ing- like I’m run ning- ’cause you’re

G“

tak ing- me there. Don’t you know:

G G“

you spin me out of con trol.

G

-

G“

Ooh, ooh, ooh, ooh.

C

We can do this

A‹

all night. Turn this club, skin

E‹

tight. Ba by,- come on.

D


23/58


2

Ooh, ooh, ooh, ooh.

C

Boom ing- like a

‹

bass drum. Spark in’- up a

rhy

E‹

thm.- Ba by,- come on!

D

Ooh, ooh, ooh, ooh.

C

Rock my world

‹

in to- the sun light.-

E‹

Make this dream

D

the best I’ve ev er - known.

C

Dirt y- danc

‹

ing- in the moon light.-

E‹

Take me down

D


24/58

23

like I’m a do mi- no.-

C

Ev ’ry- se

A‹

cond- is a high light.-

E‹

When we touch

D

don’t ev er - let me go.

C

Dirt y- danc

A‹

-


E‹

Take me down

D


G G“ G G“

You got me los ing- my

1.

2.


25/58


4

C

Ooh, ba by,- ba by,- got

‹

me feel ing- so right.

E‹

Ooh, ba by,- ba by,- danc

D

-

2.


C

Ooh, ba by,- ba by,- got

‹

me feel ing- so right.

E‹

Ooh,ba by,- ba by,- danc

D


E‹

Ooh,ba by,- ba by...-

D

Ooh, ooh,

ooh, ooh.

1. 2.

C

Rock my world

‹

in to- the sun light.-

E‹

Make this dream

D


26/58

25

the best I’ve ev er - known.

C

Dirt y- danc

‹


E‹

Take me down

D

like I’m a do mi no.-

C

Ev ’ry- se

‹

cond- is a high light.-

E‹

When we touch

D

don’t ev er - let me go.

C

Dirt y- danc

‹

-


E‹

Take me down

D



27/58


28/58

27

3f r

C ‹

I

= 7 5

bF ‹

E b b

1.

BACKGROUND INFO

‘Jar O Hearts’ was the debut single rom singer-songwriter Christina Perri. It was released – andcharted – be ore Perri had a record deal.

THE BIGGER PICTURE

Christina Judith Perri was born in 1986 and grewup in Bensalem, a suburb o Philadelphia. Her brotherNick Perri played guitar with Shinedown, Silvertide,Perry Farrell and Matt Sorum. Nick introduced herto the music o groups like Guns ’N Roses, whichwere later to have an in luence on her own music.Aged 16, she taught hersel to play acoustic guitarby watching a per ormance by the rock group Blind

Melon on a VHS tape – she would pause the tape tosee where the guitarist’s ingers were positioned onthe retboard. Around the same time, Perri learnedto play piano and began writing her own songs. Onher 21st birthday, she moved to Los Angeles with asuitcase and a guitar. Later that year, she married andmoved to Florida, where she produced music videos

or a living. Eighteen months a ter her wedding, shedivorced and moved back to Philadelphia, be oredeciding to move out to Los Angeles once more to tryand make it as a singer-songwriter. Perri’s big breakwas just around the corner…

NOTES

In Los Angeles, Perri was signed to a managementcompany while working in a restaurant to payher bills. In June 2010, her riend, a dancer on the

TV show So You Think You Can Dance , handeda copy o Perri’s song ‘Jar O Hearts’ to the show’schoreographer, who liked it enough to eature it onthe programme. Following its airing on So You ThinkYou Can Dance, ‘Jar O Hearts’ entered the iTuneschart and Perri was wooed by record companies eagerto snap up the then unsigned singer-songwriter. “Shewas so con ident and poised,” said COO o AtlanticRecords, Julie Greenwald, on Perri’s audition or thelabel. “You could visualise her at Madison SquareGarden.” A week later, Perri was signed to the label, allthanks to one song: ‘Jar O Hearts’.


‘A Thousand Years’ was the third single romChristina Perri’s debut album, Lovestrong . It waschosen to eature on the soundtrack to the ilmTheTwilight Saga: Breaking Dawn Part 1 and went on tobecome Perri’s best-selling single. ‘Human’ was the

irst single rom Perri’s second album,Head Or Heart (2014) – another piano ballad, but this time with abigger production job.

JAR OF HEARTSLOVESTRONG2010

ATLANTICPOP

CHRISTINA PERRI(VOX+PIANO)

417

SONG TITLE:ALBUM:

RELEASED:

LABEL:GENRE:

PERSONNEL:


Christina Perri


29/58


8

3fr

C‹

I know I can’t take one more

6fr

Eb

step to wards- you

= 75

b

’cause all that’s wait ing- is re gret.-

F‹3fr

C‹

And don’tyou know I’m not your

6fr

Eb

ghost an y- more,-

b

you lost the love I loved the most.

4fr

b F‹

I learned to live

4fr

b

1.

© 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.

Words & Music by Christina Perri, Drew Lawrence & Barrett Yeretsian

Christina Perri

Jar O Hearts


30/58

29

half

3fr

C‹

a live

b

-

F‹

and now you want

4fr

b

me one more

b

time.

6fr

Eb

And who do you think youare

b

run ning- ’round leav ing- scars?

3fr

C‹

Col lect- ing- your jar of hearts

4fr

b

and tear

4fr

b‹

ing- love a part.-

6fr

Eb

You’re gon na- catch a cold

b

fromthe ice in side- your

soul.

3fr C‹

So don’t come back for me.

4fr b

Who

4fr b‹

do you thinkyou are?

6fr Eb


31/58


0

3fr

C‹

I hear you’re ask ing- all a round-

6fr

Eb b

If I am an y- where- to be

F‹

found.

3fr

C‹

But I have grown too strong

6fr

Eb

b

to ev er - fall back in your arms.

4fr

b F‹

And I’ve learned to live

4fr

b

2.


32/58

31

half

3fr

C‹

a live-

b F‹

and now you want

4fr

b

me one more

b

time.

6fr

Eb

And who doyou think you are,

b

run ning- ’round leav ing- scars?

3fr

C‹

Col lect- ing- yourjar ofhearts

4fr

b

and tear

4fr

b‹

ing- love a part.-

6fr

Eb


b

from the ice in side- your


33/58


2

soul.

3fr

C‹

So don’t come back for me.

4fr

Ab

Who

4fr

Ab‹

do you think you are?

6fr

Eb

And

To Coda

it

3fr

C‹

took so long

G B

just to feel

C‹ Bb

al right.

F A

- Re mem

3fr

C‹

- ber - how to put

G B

back the

light

C‹ Bb

in my eyes.

F A

I wish

3fr

C‹

I had missed

G B

the first time

C‹ Bb

that we kissed

F A

’cause

you

3fr

C‹

broke all

G B

your prom

C‹ Bb

is- es.

F A

- And


34/58

33

now

4fr

b

you’re back you don’t get to get

G

me back.

D.S. al Coda

4fr

b

Don’t

4fr

b‹

come back at all.

6fr

Eb

And who do you think you are

b

run ning- ’round leav ing-

Coda

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3fr

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4fr

b

and tear

4fr

b‹

ing- love a part.-

6fr

Eb



35/58


4

Bb

from the ice in side- your soul.

3fr

C‹

Don’t come back for me.

4fr

b4fr

b‹

Don’t comeback at all.

6fr

Eb

Who

4fr

b‡…‹

do you think you

6fr

Eb

are?

Who

4fr

b‡…‹

do you think you

6fr

Eb

are? Who

4fr

b‡…‹

do you think you are?

6fr

Ebrit.


36/58

35

w it h e c h o

4f r

G ©m

= 120

©m G ©m

E

L . H .

Ellie Goulding

BACKGROUND INFO

‘Lights’ was the second single rom the expandededition o Ellie Goulding’s debut album, More Lights.

THE BIGGER PICTURE

Elena Jane Goulding was born in 1986 in a small village in Here ordshire. She began playing theclarinet at the age o nine, then took guitar lessonswhen she turned 14. Within a year o picking up theguitar she was writing her own olk-inspired songsand later won a singing contest at her local college– a promising start. While studying drama at theUniversity o Kent, Goulding discovered electronicmusic and began to develop her unique sound. Be ore

she could inish her studies, Goulding was discoveredby the artist management company Turn First Artists,who insisted she leave university, move to Londonand ocus on her music. She was introduced to theproducer Starsmith and the pair began working onthe material that would orm her debut album, Lights.It was a winning combination, as Lights debuted atNumber 1 on the UK album charts in 2010. Sincethen, Goulding has released an expanded edition oher debut entitled More Lights, eaturing the songo the same name, and her second album,Halcyon,(another UK chart topper) in 2012.

NOTES

‘Lights’ was originally intended to be the irstsingle rom More Lights, an expanded edition o EllieGoulding’s debut album, Lights. However, Goulding’s

cover o Elton John’s ‘Your Song’ was chosen or JohnLewis’s Christmas 2010 TV advert and was hastilyscheduled or release instead. The song was co-writtenby Ellie Goulding and the producers RichardStannard and Ash Howes, who also played bass anddrums, respectively, on the track. Goulding wrote thesong about her ear o the dark: “Sometimes i I’ve hada couple o drinks and I come back and just lie on mybed and all asleep I wake up and realise that thereisn’t a light on and I have to turn a light on,” she toldAmerica’s Amp Radio.


Ellie Goulding’s rendition o ‘Your Song’ has acharm about it that’s entirely down to her tender vocal per ormance. ‘Anything Could Happen’ is moretypical Goulding: heavily e ected vocals matchedwith an upli ting lyric and chord progression. ‘Burn’was Goulding’s irst single to reach Number 1 in theTop 40 with its synth-heavy production and choppyphrasing. ‘How Long Will I Love’, by contrast, is apiano ballad with vulnerable-sounding vocals.

LIGHTSBRIGHT LIGHTS2011

POLYDORPOP

ELLIE GOULDING(VOX+GUITAR)ASH HOWES (DRUMS+KEYS)STEVEN MALCOLMSON(PROGRAMMING)RICHARD STANNARD

(BASS+KEYS)

492

SONG TITLE:ALBUM:

RELEASED:

LABEL:GENRE:

PERSONNEL:



37/58


6

with echo

4fr

G©m F© E

= 120

4fr

©m

I had a wayBoy

4fr

G©m

then,says

F©

Ilos

playing- it

withallin-

1° tacet till *

on

E

my own.my head.

4fr

©m

ITouch

had amy

heartown

4fr

G©m

thenskin

L.H.

1.2.

© 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.

Words & Music by Richard Stannard, Ash Howes & Ellie Goulding

Ellie Goulding

Lights


38/58

37

F©

butand

the queenhope

hasthat

beenI’m still

o

E

breathver - thrown.

ing.--

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©m

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39/58


8

E

Ily-

needtime

toI

pushfeel

4fr

©m

me.safe. You show the

lights

4fr

G©m

that stop me, turn

F©

to stone. You show

E

it me when I’m a lone.-

4fr

©m

And so I tell

4fr

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my self - that I’ll

F©

be strong and

*


40/58

39

dream

E

ing- when they’re gone.

4fr

©m

’Cause they’re call

4fr

G©m

ing,- call ing,- call -

F©

- ing me home. Call

E

ing,- call ing,- call

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lights

4fr

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that stop me, turn

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to stone. You show

E

it me when I’m a lone.-

4fr ©m

4fr G©m F©

To Coda


41/58


0

E4fr

©m4fr

G©m

F© E4fr

©m

Lights,

4fr

G©m

lights, lights,

F©

l l- l- lights.-

Lights,

E

lights, lights,

4fr ©m

lights, lights,

4fr G©m

lights,


42/58

41

lights,

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4fr

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lights. You show the

4fr

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Oh.

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D.S. al Coda

Coda


43/58


44/58

43

Adele

= 76

6f r

Bb5f r

F A

Ebm Bb

Bb

F A

BACKGROUND INFO

‘Make You Feel My Love’ was the i th and inalsingle rom Adele’s debut album,19.

THE BIGGER PICTURE

Adele Laurie Blue Adkins was born in London in1988. She began singing at the age o our and laterbecame a an o the Spice Girls, o whom she has said,“They made me what I am today.” As a teenager, sheattended the BRIT School and graduated in the sameyear as Leona Lewis and Jessie J. Like Jessie J, Adkinsis hersel an accomplished songwriter and wrotemany o the songs on her debut album,19, which wasreleased by XL Recordings in 2008. The album went

to Number 1 in the UK and eventually went doubleplatinum (selling more than two million copies) inAmerica. Her second album, 21, was co-written with various songwriters but rather than giving up controlo her writing and recording process, Adkins seemedmore and more to be calling the shots as she grewin con idence. For example, when Rick Rubin wasemployed to produce inished versions o demos thatshe had recorded previously, she rejected the new versions in avour o the demos. Fans o the singero ten admire this personal strength as much as theydo her considerable artistic merits.

NOTES

‘Make You Feel My Love’ was written by BobDylan or his 1987 album,Time Out Of Mind , butwas recorded and released as a single by Billy Joel

(entitled ‘To Make You Feel My Love’) two monthsbe ore Dylan’s album appeared. Adele’s version wasreleased in 2008 and went to Number 24 in the UKsingles chart. Later, in 2010–2011, the song wasper ormed several times on the UK edition o The XFactor and also on Britain’s Got Talent , which pushedit up to Number 4 and kept it in the chart or 50 weeks(55 including the ive weeks it spent in the chart onits original release). In 2013, radio station Heart’slisteners voted Adele’s version o ‘Make You Feel MyLove’ Number 1 in a poll to ind their 500 avouritesongs o all time. Two more Adele songs eatured in

the top 20: ‘Rolling In The Deep’ (Number 7) and‘Someone Like You’ (Number 13).


‘Chasing Pavements’ and ‘Make You Feel My Love’are good examples o Adele’s vocal talent, but it waslater singles ‘Rolling In The Deep’, ‘Someone Like You’and ‘Set Fire To The Rain’ that showed how muchthe singer had grown in such a short space o time –between the ages o 19 and 21, in act.

MAKE YOU FEEL MY LOVE192008

XLPOP

ADELE (VOX)

4N/A

SONG TITLE:ALBUM:

RELEASED:

LABEL:GENRE:

PERSONNEL:



45/58


4

= 76

6fr

Bb5fr

F A4fr

Ab6fr

Eb

6fr

Ebm6fr

Bb8fr

C8fr

Eb F6fr

Bb

2. When the eve

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your ap

face, pear,- and

4fr

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andthere

theis

wholeno

worldone there-

isto dry

on

© Copyright 1997 Special Rider Music.

All Rights Reserved. International Copyright Secured.

Words & Music by Bob Dylan

Adele

Make You Feel My Love


46/58

45

1. 2.

6fr

Eb

your

your

case,

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6fr

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47/58


6

To Coda

noyou

(2° Cm )

8fr

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(2° E )

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mymy

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48/58

47

D.S. al Coda

Coda rit.

6fr

Bb5fr

F A4fr

Ab

6fr

Eb6fr

Ebm

6fr

Bb8fr

C8fr

Eb F6fr

Bb

6fr

Bb8fr

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to make you feel

8fr

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my love.

6fr

Bb


49/58


Technical Exercises

Group A: ScalesThe major and natural minor scales must be prepared as shown below. You will be asked to per ormone o them in theexam, as chosen by the examiner.

You may select any starting note rom A–E. You will be asked i you would like to sing along to a metronome click or hearour clicks be ore you start. Whichever option you choose, you will hear your chosen starting note be ore the count starts.

You may per orm this test using any vocal sound except humming or whistling. The tempo isq=90.

A major scale

A natural minor scale

Group B: ArpeggiosIn this group, both o the arpeggio exercises need to be prepared as shown below. You will be asked to per orm one o them

in the exam, as chosen by the examiner.

This test is per ormed to a metronome click track and you may select any starting note rom A–E. You will hear the rootnote played on piano ollowed by a one-bar (three click) count-in. You may per orm this test using any vocal sound excepthumming or whistling. The tempo is q=90.

A major arpeggio

A minor arpeggio

& 4wq= 90

w¿ ¿ ¿ ¿

œœœœ œœœœ œœœœ œœ

4wq= 90

w¿ ¿ ¿ ¿

œœœœ œ œ œœ œ œ œ œ œ œ

& 4 .q= 90

.¿ ¿ ¿

œ œ œ œ œ œ œ œ œ œ œ œ œ Ó

4 .q= 90

.¿ ¿ ¿

œ œ œ œ œ œ œ œ œ œ œ œ œ Ó


50/58

49

Group C: IntervalsIn this group, both the per ect 4th and per ect 5th intervals need to be prepared as below. You will be asked to per orm one othem 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 ollowed by a our-beat count-in. Youmay per orm this test using any vocal sound except humming or whistling. The tempo isq=90.

Per ect 4th interval

Per ect 5th interval

Group D: Technical StudiesThis group consists o two Technical Studies: one rhythmic and one melodic. The examiner will ask you to per orm one inthe exam. The examiner will decide which, so you must prepareboth be ore the exam. The rhythmic test starts with a our-

beat count. The melodic test starts with the root note ollowed by a our-beat count. Both tests should be per ormed to theappropriate backing track which can be ound in the downloadable audio.

1. Rhythmic | Rhythmic accuracy

2. Melodic | Quick dynamics changes and bends

& 4 . .q=100

w¿ ¿ ¿œ> œ œ œŒStop, qui et now.F m

f p.œœœ j‰

I want to,

.œœœ j‰I want to

E

f Ó

sleep.

F m

p-

4 ¿ ¿ ¿ ¿q= 95

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿Each and ev ’ry t ime I keep tel l in’ you, i t’s t ime to move

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿on, but you keep com ing back so strong. What’s- - -

‰ ¿ ¿ ¿ ¿ ¿

¿ ¿ ¿ ¿wrong? What is go in’ on? The name of the ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿game is to get up and stay real strong.-

4wq= 90

w¿ ¿ ¿ ¿

Candidate sings:

4wq= 90

w¿ ¿ ¿ ¿ Candidate sings:


51/58


Sight Reading

In this section you have a choice between:

■Either – a sight reading test ■Or – an improvisation and interpretation test (see acing page).

The examiner will ask you which one you wish to choose be ore commencing. Once you have decided, you cannot changeyour mind.

The examiner will give you a our-bar melody in the key o C major or D minor covering a range o up to a per ect 5th. Youwill be given 90 seconds to practise, a ter which you will per orm the test. The tempo isq=75–85.

During the practice time you will be given the choice o a metronome click throughout or a count-in o our beats at thebeginning. Whichever option you choose, the practice time will start with the examiner playing the root note. You willreceive the same choice when per orming the test. The test will start with the root note.

You may per orm this test using any vocal sound except humming or whistling.

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

4wq= 80

w¿ ¿ ¿ ¿œœŒœ œœœŒœ w


52/58

51

Improvisation & Interpretation

The examiner will give you a chord sequence in the key o G major or E minor. You must improvise a melody over thebacking track. You will hear the backing track three times. The irst and second time is or you to rehearse and the third timeis or you to per orm the inal version or the exam. Each playthrough will begin with the root note and a our-beat count-in.The backing track is continuous throughout, so once the irst playthrough has inished, the root note and count-in o thesecond and third playthroughs will start immediately. The tempo is q=80–90.



4. .q= 80 Pop

w¿ ¿ ¿’ ’ ’ ’G

’ ’ ’ ’B m

’ ’ ’ ’A m C

’ ’ ’ ’G


53/58


Ear Tests

In this section, there are two ear tests: ■ Melodic Recall ■ Rhythmic Recall

You will ind one example o each type o test printed below and you will be given both o them in the exam.

Test 1 | Melodic RecallThe examiner will play you a two-bar melody played to a drum backing. It will use a range o up to the irst ive notes o theC major or A natural minor scales (the examiner will decide which) and the irst note will be the root note. You will hear thetest twice, each time with a our-beat count-in. There will be a short gap or you to practise a ter each playthrough. Next youwill hear a vocal count-in, a ter which you should sing the melody to the drum backing. The tempo isq=90.

It is acceptable to sing over the track as it is being played as well as practising a ter the irst two playthroughs. The length o timeavailable a ter the second playthrough is pre-recorded on the audio track, so the count-in may begin while you are still practising.



Test 2 | Rhythmic RecallThis test comes in two parts:

Part 1 | Rhythmic RecallThe examiner will play you a two-bar rhythm played on a single note to a drum backing. You will hear the test twice. Eachtime the test is played, it is preceded by the root note and a our-beat count-in. There will be a short gap or you to practisea ter each playthrough. Next, you will hear avocal 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 a ter the irst two playthroughs. The length o timeavailable a ter the second playthrough is pre-recorded on the audio track, so the count-in may begin while you are still practising.

Part 2 | IdentificationYou will then be asked to identi y the rhythm heard in part 1 rom two printed examples shown to you by the examiner.


4. .wq= 90

w¿ ¿ ¿ ¿

œ œ œœŒ œ œ

4 œ œ‰ j œq= 90

A

œ œ œ œ œ œ

4 œ œ œ œ œq= 90

B

œ œ œ œ œ


54/58

53

General Musicianship Questions

In this part o the exam you will be asked ive questions. Four o these will be about general music knowledge and the i thwill be about your voice.

Part 1 | General Music KnowledgeThe examiner will ask our music knowledge questions rom the categories below. The questions will be based on one o thepieces (including Free Choice Pieces) as per ormed by you in the exam. You can choose which one.

I there are handwritten notes on the piece you have chosen, the examiner may ask you to choose an alternative.

You will beasked to identify: ■ Any pitch name. (You will need to state lat, sharp or natural). ■ Whole-, hal -, quarter-, eighth-, triplet eighth- and 16th-note values. ■ Any rest value. ■Recognition o any interval up to a i th between two adjacent notes. (You will not need to state major,minor or per ect).

You will be asked toidentify and explain: ■ The meaning o the 4/4 time signature marking. ■ The meaning o repeat marks, irst and second time bars. ■ The meaning o staccato marks. ■ The meaning o slurs. ■ The meaning o crescendo/diminuendo . ■ The meaning o D.C ., D.S. , al Coda and al Fine markings. ■ The meaning o ad lib.

Part 2 | Your VoiceThe examiner will also ask you one question about your voice. Brie demonstrations to assist your answer are acceptable.

You will be asked: ■ What is the meaning o the ‘break’? ■ What is the meaning o ‘transition’? ■ How do you support a long sustained note? ■ Give an example o each o the ollowing:

a) a type o ood that would be good to eat be ore a per ormance?b) a type o ood that would not be good to eat be ore a per ormance?


55/58


Entering Exams, Exam Procedure & Marking Schemes

Entering ExamsEntering a Rockschool exam is easy. You can enter online atwww.rslawards.com or by downloading and illing in an examentry orm. The ull Rockschool examination terms and conditions as well as exam periods and current ees are available

rom our website or by calling +44 (0)845 460 4747.

Exam procedureIn the exam you can decide whether to start with the Per ormance Pieces or the Technical Exercises. These will be ollowedby the Supporting Tests (Ear Tests, Sight Reading and Improvisation & Interpretation) and General Musicianship Questions.

Use Of MicrophoneAt Level 1 (Grades 1–3) microphone use is optional, although candidates may use one i they eel it will enhance theirper ormance. At Level 2 (Grades 4–5) microphone use is obligatory or all pieces and at Level 3 (Grades 6–8) or the whole exam.

Marking Schemes

Below are the marking schemes or the two di erent types o Rockschool exam.

P C | G –

ELEMENT PASS MERIT DISTINCTION

Per ormance Piece 1 – out o – out o + out o





TOTAL MARKS 60%+ 75%+ 90%+

G E | G 1–5

ELEMENT PASS MERIT DISTINCTION




Technical Exercises – out o – out o + out o

Either Sight Readingor Improvisation & Interpretation out o – out o + out o

Ear Tests out o – out o + out o

General Musicianship Questions out o out o out o

TOTAL MARKS 60%+ 74%+ 90%+


56/58

55

Improvisation Requirements & Free Choice Pieces

At Rockschool it is our aim to encourage creativity and individualism. We there ore give candidates the opportunity toexpress themselves musically within styles o their own choice. For this reason, Free Choice Pieces are accepted in all Vocalsgrades. In addition, all songs per ormed in exams rom Grade 3 onwards have compulsory improvisation requirements.

Improvisation RequirementsFrom Grade 3, all songs, whether rom the grade book or chosen as FCPs, need to incorporate improvisation. Theimprovisation can be prepared in advance, but is expected to be individually constructed, and needs to include both vocalad-libbing and re-working o existing melody lines as ollows:

Level 1 Grade 3: Vocal ad-libbing (2–4 bars) and re-working o melody line (4 bars)Level 2 Grades 4–5: Vocal ad-libbing (4–8 bars) and re-working o melody line (4–8 bars)Level 3 Grades 6–7: Vocal ad-libbing (8–12 bars) and re-working o melody line (8 bars)Level 3 Grades 8: Vocal ad-libbing (12–16 bars) and re-working o melody line (8 bars)

For all pieces, you will need to highlight the sheet music to show the examiner the location o both ad-libbed and re-workedparts at the beginning o the exam.

Notes

■You are ree to choose where you improvise. However, in all cases, improvisations need to be a continuous number obars, not a number o smaller bars which in total add up to the ranges shown.

■Vocal ad-lib could be demonstrated in, or example, introductions, endings or open instrumental parts.

■Re-working o a melody could be demonstrated by altering any existing singing parts; or example, verses, choruses, bridges.

■For both ad-lib and re-working o a melody, you need to demonstrate an awareness o harmony, melody, phrasing, useo rhythms and incorporation o any appropriate expression in a stylistically appropriate manner. Range and contentwill be expected to increase progressively as you move through the grades.

■We would encourage re-working to take place later in a piece a ter the original has been presented to show you canportray 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 o ten be omitted, reducing the technicalcontent o a piece at a particular grade.

Free Choice Pieces (FCPs)An FCP is de ined as any piece outside the grade book, and can all into two categories:

1) Wider Repertoire: a ull list o pre-approved and regularly updated pieces can be ound onwww.rslawards.com. Thesesongs can be used without prior approval rom Rockschool.

2) Own Choice: candidates can choose any song in any genre outside the grade book and wider repertoire. These songs can,

however, only be usedwith prior approval rom Rockschool. This requirement is compulsory and you need to contact theo ice to have your chosen piece(s) approved. Please allow ive weeks be ore your exam to receive a decision.

We cannot accept any songs which have not been approved or are not contained in the grade book or wider repertoire.

For all grades, candidates can choose the ollowing number o FCPs in the exam:Grade Examinations: Up to 2 o 3 pieces can be ree choice. (At least one piece must be rom the grade book.)

Per ormance Certi icates: Up to 3 o 5 pieces can be ree choice. (At least two pieces must be rom 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 memorystick, iPod or CD/DVD is acceptable and we would also suggest a second source to be sa e. It will not be necessary to bringthe sheet music or backing tracks or pieces chosen rom the grade book.


57/58


Copyright In ormation

22(Swift/Martin/Schuster)Sony/ATV Music Publishing (UK) Limited/Kobalt Music Publishing Limited.

Ain’t Got No - I Got Li e

(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 O 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

Make You Feel My Love(Dylan)Sony/ATV Music Publishing (UK) Limited


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