Professional Documents
Culture Documents
RSL Male Vocal
RSL Male Vocal
Grade 8
Performance pieces, technical exercises and in-depth guidance
for Rockschool examinations
www.rslawards.com
Acknowledgements
Published by Rockschool Ltd. © 2014 under license from Music Sales Ltd.
Catalogue Number RSK091416R
ISBN: 978-1-912352-38-8
This edition published July 2017 | Errata details can be found at www.rslawards.com
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 and Stuart Slater
Internal design and layout by Simon and Jennie Troup, Digital Music Art
Cover designed by Philip Millard, Philip Millard Design
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
DISTRIBUTION
Exclusive Distributors: Music Sales Ltd.
CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)845 460 4747
Email: info@rslawards.com
Male Vocals Grade 8
2
Table of Contents
1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Male Vocals Grade 8
Technical Exercises
Additional Information
3
Welcome to Rockschool Male Vocals Grade 8
Welcome to the Rockschool Female Vocals Grade 8 pack. This book and accompanying 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: a Quick Study Piece (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 8 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
Audio
Each song in Vocals Grade 8 has an audio track which has been provided for you. 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. The audio files are supplied in MP3 format.
All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded from the
RSL website: www.rslawards.com
Male Vocals Grade 8
4
Ray Charles
ALBUM: MY WORLD
RELEASED: 1993
q=56
LABEL: WARNER BROS. μ
GENRE: SOUL
PERSONNEL: RAY CHARLES (VOX+PIANO)
US CHART PEAK: N/A
‘A Song For You’ was Ray Charles’s 1993 cover of Charles was 62 when he recorded the 1993
Leon Russell’s tender 1970 ballad, which Elton John album My World, an attempt to update his sound by
described as “an American classic”. It featured on Ray including programmed rhythms and influences in
Charles’s album My World. vogue at the time. It was praised for Charles’s ability
to put his indelible stamp on the songs of other artists.
When interviewed in Entertainment Magazine in
THE BIGGER PICTURE 1993, he summed it up by saying: “The best way to
understand what I do is to think of an actor. You get
Ray Charles Robinson was born in Georgia in 1930, a script, you read it and then you ask yourself if you
and lost his sight aged seven due to glaucoma. At a can fit into that script. ‘Can I become that character?’
school for the deaf and blind in St Augustine, Florida That’s what I do with my songs. When I think about
he learned to play piano, sax, trumpet and clarinet. By
the age of 15, he was touring in the south, and when
Cm
doing a song, the first thing I deal with is the lyrics:
are they making any sense to me, can I put myself into
3fr‘A Song For You’ finds Charles in
he moved to Seattle, his first recordings followed. this?” Leon Russell’s
Stylistically indebted to his idol, Nat ‘King’ Cole, he classic mood on vocal and keys, backed by a dynamic
played on (and arranged) Guitar Slim’s 12-bar blues orchestral arrangement. “‘A Song For You’ has that
hit ‘The Things That I Used To Do’ and soon had line about: ‘Living my life on stages, with 10,000
a breakthrough of his own with the song ‘I Got A people watching’,” he said. “You could tell that fella
Woman’ in 1955. A string of hits followed, including had been there.”
‘What’d I Say’ and ‘Hit The Road, Jack’, and Charles’s
combination of gospel with blues and jazz coalesced I’ve been s
RECOMMENDED LISTENING
into a sonic brew that became soul. The Father Of
Male Vocals Grade 8
band style, and brought his talents to the country Ray performs the song together with its author,
and western genre in the 1960s. He re-emerged in Leon Russell, and Willie Nelson on the live DVD
the 1990s, and died of liver failure in 2004. A major Willie Nelson & Friends: Live And Kickin’. The Very
biopic, Ray, was released that year. Best Of Ray Charles is also recommended.
5
A Song For You
Ray Charles
A Song For You Words & Music by Leon Russell
q=56
μ
G7
3fr
3
I’ve been so ma - ny pla - ces in my life and time.
Cm/Bb Cm/A
5
3fr 4fr
I’ve sung a lot of songs, I’ve made some bad rhymes.
Male Vocals Grade 8
6 © Copyright 1970 Skyhill Publishing Company Incorporated, USA. Rondor Music (London) Limited.
All rights in Germany administered by Rondor Musikverlag GmbH. All Rights Reserved.
International Copyright Secured.
Ab Ebsus2/G Fm7 Eb/G
4fr
I’ve act - ed out my life on sta - ges with ten thou- sand peo - ple watch - ing,
3
Ab Eb/Bb Bb7sus4 Eb G7
4fr 6fr 6fr 6fr
but we’re a - lone and I’m just a - sing -
ing this song for you.
Cm G7/B
3fr
3 3
I know your i - mage of me is what I hope to be, ba - by.
Cm/Bb Cm/A
4fr
I treat - ed you un - kind - ly but girl,
can’t you see
Male Vocals Grade 8
7
Ab Eb/G Fm7 Eb/G
4fr
there’s no -one more im - por - tant to me? So darl - ing, can’t you please see through me
Ab Eb/Bb Bb7sus4 Eb G7
4fr 6fr 6fr 6fr
’cos we’re a - lone and now I’m sing - ing my song
for you.
Cm G7/B Cm/Bb Cm/A
3fr 4fr
You taught me pre - cious se - crets of the truth with - hold - ing no - thing.
Ab Eb/Bb Ab/Eb Eb G7
4fr 6fr 6fr
You came out in front and I was hid - ing, yeah.
Male Vocals Grade 8
8
Cm G7/B Eb/Bb Cm/A
3
3fr 6fr 4fr
3
But now I’m so much bet - ter so if my words don’t come to - ge - ther,
Ab Gm7 F7 Bb7sus4 Bb
4fr 3fr 6fr 6fr
G7
N.C. 3fr
Cm G7/B
3fr
I love you in a place where there’s no space or time,
Male Vocals Grade 8
9
Cm/Bb Cm/A
4fr
I love you for my life, ’cos you’re a friend of
mine.
Ab Eb/G Fm7 Eb/G
4fr
And when my life is ov - er re - mem - ber when we walked to - ge - ther,
we were a - lone and I was sing - ing my song for you.
Eb/Db Db Ab
4fr
Male Vocals Grade 8
10
Gm7b5 C7 Fm7 Fm7/Eb Dm7b5 G7#5 G7
5fr 3fr
I
5
3
Cm G7/B
3fr
loved you in a place where there’s no space or time,
3fr 4fr
I’ve loved you for my life, yes, you’re a friend of mine.
3 3
Ab Eb/G Fm7 Eb/G
4fr
And when my life is ov - er, re - mem - ber when we were to - ge - ther,
Male Vocals Grade 8
11
Ab Eb/Bb Bb7sus4 Eb
4fr 6fr 6fr 6fr
we were a - lone and I was sing - ing my song for you. Yes,
Ab Eb/Bb Bb7sus4 Eb Ab Eb/G
4fr 6fr 6fr 6fr 4fr
we were a - lone and I was sing - ing this song for you. Yeah, we were a - lone and I was
3
4fr 4fr
3
3
sing - ing my song, sing - ing my song, sing - ing my
Ab/Eb Eb Bb
4fr 3 6fr
poco rall. 6fr
song, sing - ing my song, sing - ing my song.
Male Vocals Grade 8
12
OneRepublic
PERSONNEL: RYAN TEDDER (VOX+KEYS)
ZACH FILKINS (GTR+VIOLA)
DREW BROWN (VARIOUS)
EDDIE FISHER (DRUMS)
BRENT KUTZLE (CELLO)
UK CHART PEAK:
US CHART PEAK:
3
2
Cm C7sus4/Ab
BACKGROUND INFO NOTES
‘Apologize’ was the debut single from OneRepublic. By the time OneRepublic signed their deal
Thanks to a remix by Timbaland – not to mention with Interscope, the band’s debut album was already
the songwriting skills of frontman Ryan Tedder – it written, including a sparse ballad called ‘Apologize’.
became a monster hit in 2007. Ryan Tedder told DigitalSpy: “Timbaland then
re-mixed the song and told us that he thought the
song was a hit with or without him. But then he
THE BIGGER PICTURE
said, ‘If you let me put this song on my album, it
will speed the process up…’” But OneRepublic were
OneRepublic formed in Los Angeles circa 2003, wary, concerned that a remix would give people the
after frontman Ryan Tedder persuaded his former wrong impression of the band. “We’re not hard rock
school bandmate Zach Filkins to join him in LA. but we are a rock band,” Tedder said, “So to have our
Tedder had worked in the music industry since song remixed and made so much more pop, we were
Cm Csus4/Ab
college, first as an intern at Dreamworks Records, very reluctant. But then we were like, ‘If this opens
3fr
then as an apprentice to R’n’B producer Timbaland, the door and allows
3fr more people to hear our album,
who also helped Tedder with his own development as it gives us the opportunity to let them hear our other
a music artist. OneRepublic – “a rock band that has an songs. I think we can win them over.’” And win
obsession with pop melodies”, according to Tedder – them over they did; ‘Apologize’ was an international
were signed to Columbia Records and spent two and success, and in America it ranked as the biggest
a half years working on their debut album. However, radio airplay hit in the history of Billboard’s weekly
just months before the record’s scheduled release date, airplay chart.
the band were dropped by their label. Fortunately,
OneRepublic were gaining fans on MySpace. “We
Male Vocals Grade 8
were hot property and offers from record companies
flooded in. In the end, the band decided to sign with
OneRepublic’s debut album, Dreaming Out Loud,
a subsidiary of Interscope, represented by Tedder’s may have had a troubled launch, but it stands as the
former employer Timbaland. best testimony to the band’s abilities.
13
Csus4/Ab
Apologize
OneRepublic
Apologize Words & Music by Ryan Tedder
q = 122
Cm C7sus4/Ab Eb C7sus4/D
3fr 3fr 6fr 3fr
Cm C7sus4/Ab Eb C7sus4/D
3fr 3fr 6fr 3fr
Cm Csus4/Ab Eb C7sus4/D
3fr 3fr 6fr 3fr
1. I’m
Male Vocals Grade 8
14 © Copyright 2005 Sony/ATV Tunes LLC/Velvet Hammer Music/Midnite Miracle Music.
Sony/ATV Music Publishing.
All Rights Reserved. International Copyright Secured.
Cm Csus4/Ab Eb
3fr 3fr 6fr
hold - ing on your rope, got me ten feet off the ground.
(2.) take an - oth - er chance, take a fall, take a shot for you.
C7sus4/D Cm Csus4/Ab
3fr 3fr 3fr
And I’m hear - ing what you say, but I just can’t make a sound.
Oh, and I need you like a heart needs a beat, but it’s noth - in’ new.
You tell me that you need me,
Yeah, yeah. I loved you with a fire red
Csus4/Ab Eb C7sus4/D
3fr 6fr 3fr
then you go and cut me down. But wait, you
Male Vocals Grade 8
now it’s turn - ing blue. And you say,
15
Cm Csus4/Ab Eb
3fr 3fr 6fr
tell me that you’re sor - ry, did - n’t think I’d turn a - round and say,
sor - ry like an an - gel heav - en let me think was you, but I’m
C7sus4/D Cm7
3fr 3fr
that it’s too late to a - pol - o - gize.
a - fraid,
C7sus4/Ab Eb C7sus4/D
3fr 6fr 3fr
It’s too late. I said, it’s
Cm7 C7sus4/Ab Eb C7sus4/D
3fr 3fr 6fr 3fr
Male Vocals Grade 8
3fr 3fr 6fr 3fr
Oh. 2. I’d
2.
Cm C7sus4/Ab Eb
3fr 3fr 6fr
Csus4/D Cm Csus4/Ab
3fr 3fr 3fr
Eb Csus4/D
6fr 3fr
μ
It’s
Male Vocals Grade 8
17
Cm7 C7sus4/Ab Eb
3fr 3fr 6fr
too late to a - pol - o - gize. It’s too late.
C7sus4/D Cm7 C7sus4/Ab
3fr 3fr 3fr
I said, it’s too late to a - pol - o - gize. It’s
6fr 3fr 3fr
too late. I said, it’s I’m
Cm Csus4/Ab Eb
3fr 3fr 6fr
rall.
hold - ing on your rope, got me ten feet off the ground.
Male Vocals Grade 8
18
Grac
Jeff Buckley
GENRE: ALT. ROCK
PERSONNEL: JEFF BUCKLEY (VOX+GTR)
GARY LUCAS (GTR)
MICK GRØNDAHL (BASS)
mf
MATT JOHNSON (DRUMS)
UK CHART PEAK: N/A
US CHART PEAK: N/A
‘Grace’ was the title track of Jeff Buckley’s only The song ‘Grace’ originated from Buckley’s time
studio album released in his lifetime, Grace. playing in New York City in 1991. The song was
based on an instrumental called ‘Rise Up To Be’,
written by Buckley’s then-collaborator, guitarist
THE BIGGER PICTURE Gary Lucas. Lucas was 20 years Buckley’s senior and
a veteran of Captain Beefheart’s band, but the two
Jeffrey Scott Buckley (1966–1997) was one of the worked together under the name Gods And Monsters. sfz
most critically-acclaimed singers of the 1990s. He was Buckley developed the song but Lucas has a co-writer
the son of 1960s–1970s folk/jazz artist Tim Buckley, credit, as he does for Grace’s opener, ‘Mojo Pin’.
but the two met only once, when Jeff was eight years Buckley’s lyrics were inspired by his saying goodbye to
old. Buckley’s mother is a classically-trained pianist his then-girlfriend at the airport on a rainy day. In his
and cellist, and Buckley decided to pursue a career in spoken intro on the Live At Sin-é EP, Buckley says, “It’s
music aged 12. He started playing a guitar he found about not feeling so bad about your own mortality
in his grandmother’s closet and played in his school when you have true love.” Buckley’s leaping and
jazz band. As an early teen, he listened to a lot of vibrato’d vocals were a trademark – he could literally
progressive/heavy rock such as Rush, Genesis, Yes go from whisper to scream in a single song. Buckley
and Led Zeppelin. Buckley attended LA’s Musicians cited vocal inspirations as diverse as Led Zeppelin’s
Institute and completed a one-year course at 19. 2, 3.
Robert1,Plant, Nusrat Fateh Ali Khan, Morrissey,4. Billie
He sometimes seemed ambivalent about music Dsus4
Holliday and Robert Johnson. Dsu s4
school. Buckley once told Rolling Stone it was “the
biggest waste of time”, but later noted he appreciated
studying music theory, saying, “I was attracted to RECOMMENDED LISTENING
Start with Grace, full of remarkable singing. For
Male Vocals Grade 8
Brightly q. = 64
Fm Gm
mf
mf
sfz
1, 2, 3. 4.
Dsus4 Dsus4 Em
1. There’s the moon ask - ing to stay
2. And she weeps on my arm,
3. And I feel them drown my name, so
Male Vocals Grade 8
long e - nough for the clouds to fly me a - way. Oh, it’s
walk - ing to the bright lights in sor - row. Oh,
ea - sy to know and forget with this kiss. I’m
Fmaj9 Em Eb
To Coda
Em Em F#dim G6 A6
die. My fad - ing voice sings of
love. And the rain is fall - ing and I be -
Male Vocals Grade 8
21
2
Bm A% Em
love. But she
- lieve my time has come. It re -
Em F#dim G6 A6 Bm7 A%
cries to the click - ing of time, oh,
minds me of the pain I might leave, leave be -
time. Wait in the fire, wait in the fire.
- hind.
Eb Em/Eb Eb Em/Eb Fmaj9 Em
Wait in the fire, wait in the fire.
Male Vocals Grade 8
22
3
Eb Em
To Coda D.C. al Coda
Burn.
Em Eb
Coda
Burn. Burn.
F#11(b9) Fmaj9 Em G6 A5 B5
2fr
Ah. Please.
Male Vocals Grade 8
23
4
Em F#dim G6 A6 Bm('11)
2fr
(2 & 3 vocal ad lib.)
1, 2. 3. Em
A'9 A'9
2
Please. leave be - hind
1-6. 7.
Em/Eb Em/Eb
Male Vocals Grade 8
PERSONNEL: DAVE GROHL (VOX+GTR)
TAYLOR HAWKINS (DRUMS)
NATE MENDEL (BASS)
CHRIS SHIFLET (GTR)
UK CHART PEAK: 8
US CHART PEAK: 37
‘The Pretender’ showcases what the Foo Fighters
BACKGROUND INFO NOTES
Things Is Not Like The Other’. Then the song takes
Not content with being a member of just one of
a detour, swerving between a Chuck Berry-esque
rock’s all-time great bands, Nirvana drummer Dave shuffle, the subdued intro and the all-out onslaught
Grohl emerged from that outfit’s tragic end in 1994 to
rise again a year later with Foo Fighters, a project that
of the chorus – all in a breathless four and a half
minutes. It was a relatively spontaneous creation, as
began as a 100-copy demo. The Foo’s signed to RCA Dave Grohl told Guitar World: “It was just something
and released these songs, which Grohl had played all I fooled around with between takes… We put the
the instruments on, as their eponymous debut. ‘This whole
A‹„ˆˆ thing
9 together in five minutes. Then we
Is A Call’ proved a popular single, and the band’s recorded a demo version of it, and our demo version
follow-up albums, 1997’s The Colour And The Shape wound up being the basis of the recorded version. My
and 1999’s There Is Nothing Left To Lose, ushered in
guitars that we used on the demo are the ones on the
various line-up changes and a more polished sound,
yielding a reservoir of hits such as ‘Everlong’, ‘Monkey
final version.”
Wrench’, ‘Learn To Fly’ and ‘My Hero’. 1995’s double dark, and so it all
Keep you in the
album In Your Honor comprised a hard-edged ‘rock’ RECOMMENDED LISTENING
AndTheShape
LeftTheTo Colour
half and a star-studded ‘acoustic’ half, whereas 2007’s
Male Vocals Grade 8
return to the desk. Almost two decades on, the band’s memorable melodic hooks, while 2011’s Wasted Light,
remarkable consistency has earned Foo Fighters their helmed by Nirvana producer Butch Vig, is a hard-
place in the pantheon of modern rock acts.
hitting granite slab of rock.
25
The Pretender
Foo Fighters
The Pretender
Words & Music by Dave Grohl, Taylor Hawkins,
Nate Mendel & Chris Shiflett
q = 88
A„ˆˆ9 D9/F# F‹ƒ‰7
Keep you in the dark. You know they all pre - tend.
A‹„ˆˆ9 D9/F# F‹ƒ‰7
Keep you in the dark, and so it all be - gan.
Male Vocals Grade 8
26 © Copyright 2007 Songs Of Universal Inc./Living Under A Rock Music/I Love The Punk Rock Music/M.J.-Twelve Music/Flying Earform Music.
Universal Music Publishing Limited/Universal/MCA Music Limited/Bug Music Limited.
All Rights Reserved. International Copyright Secured.
Twice as fast
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the se - crets that you keep are at the rea - dy.
Male Vocals Grade 8
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the wheel is spin - ning me. It’s nev - er - end - ing,
Male Vocals Grade 8
™ ˙ œ™ ˙
œfi
œfij ˙
& œ œfi œ˙ œ œfi œ˙ j
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nev - er - end - ing. Same old sto - ry.
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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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& ™™ œœœ
What if I say I’m not like the oth - ers? What if I say I’m not
œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œû œ œ œ œ œ œ œû
& J J Œ
just an - oth - er one of your plays? You’re the pre - tend - er.
œ œ œ œ œ œ œ œ œ œ œ œ œû œ œ œ œ œ œ
&
What if I say I will nev - er sur - ren - der? What if I say I’m not
Male Vocals Grade 8
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& J J Œ J J
like the oth - ers? What if I say I’m not just an - oth - er one
& œœœœ œœœœ œœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ
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F‹ƒ‰7
œû œ œ œ œ œ œ œû
To Coda Ø
œ œ œ œ œ œ œ œ œ
& Œ
of your plays? You’re the pre - tend - er. What if I say I will
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
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œ œ œ œ œ œ œû
5fr
∑ ∑ Œ œ
œfi
j œ œ œ
œfi
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& J J
nev - er sur - ren - der? 3. In time, or so
& œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ∑ ∑ œœ œ œœœ
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Male Vocals Grade 8
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Male Vocals Grade 8
œ œ œ œ œ œ œ #˙ ™ œ œ œ™ œ ˙û
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nev - er sur - ren - der?
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& œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
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œ
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& œœœ œ œ œ œ
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are you? Yeah, who are you?
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Male Vocals Grade 8
?
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of your plays? You’re the pre - tend - er. What if I say I will nev - er sur - ren - der?
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What if I say I’m not like the oth - ers? What if I say I’m not just an - oth- er one
Male Vocals Grade 8
& œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
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34
F‹ƒ‰7
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& Œ
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nev - er sur - ren - der? So who
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are you? Yeah, who are you? Yeah, who
?
œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ
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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ >œ œ œ >œ >œ 35
36
Male Vocals Grade 8
GENRE: ROCK
PERSONNEL: JON BON JOVI (VOX)
RICHIE SAMBORA (GTR+VOX)
DAVID BRYAN (KEYS)
TICO TORRES (DRUMS)
ALEC JOHN SUCH (BASS)
UK CHART PEAK:
US CHART PEAK:
4
1
the character Tommy went through changes: “It was
‘Livin’ On A Prayer’ was Bon Jovi’s second US a fictional character. The inspiration was a young
Number 1 from their third album, Slippery When Wet. couple who got pregnant and gave up everything they
It is credited to Jon Bon Jovi, Richie Sambora and had, but that didn’t read right, so we changed the
producer/songwriter Desmond Child. story.” Some have speculated the song is influenced
by fellow New Jerseyan Bruce Springsteen, who
used a similar scenario of hard economic times
THE BIGGER PICTURE and a character couple in his 1981 song ‘The River’
– Springsteen is one of Jon Bon Jovi’s songwriting
Jon Bon Jovi himself didn’t originally rate the heroes. However, Desmond Child says Tommy and
nascent song, demo’d a year before, but Richie Gina were based on people he knew while working as
Sambora convinced him to continue work on it with C/ECity cab driver in the 1970s. The names?D/E
a New York
a new bassline. It ended up being Bon Jovi’s signature Jon Bon Jovi has family relations called Tommy and
song. Slippery When Wet made the band superstars, Gina. So it’s a mix of inspirations.
the album having now sold a reported 28 million-plus
copies. Its follow-up, New Jersey, was a double US/
UK Number 1. At the 2010 Grammy Awards, Bon Jovi RECOMMENDED LISTENING
performed this song as a result of a fan vote. Asked
the same year if he ever got tired of singing it, JBJ The song works acoustically – see Bon Jovi and
quipped, “Not when I see the jet with my name on it.” Sambora’s performance at the 1989 MTV Music
Awards. In 2000, on Bon Jovi’s ‘It’s My Life,’ Tommy
and Gina returned as characters in song: “This is for
NOTES the ones who stood their ground, for Tommy and
Male Vocals Grade 8
37
Livin’ On A Prayer
Bon Jovi
Livin’ on a Prayer
Words & Music by Jon Bon Jovi, Richie Sambora & Desmond Child
q = 122
E‹9
C/E D/E E‹
Spoken: Once up - on a time, not so long a - go…
Male Vocals Grade 8
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39
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Male Vocals Grade 8
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Male Vocals Grade 8
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Male Vocals Grade 8
œ ˙ œ œ œ̇ œ œ œ
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Male Vocals Grade 8
& J
œ œ œ œ œ œ œ œ œ œ œ œnœ ™
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<“> 43
44
Male Vocals Grade 8
RELEASED: 1991
LABEL: MCA
N.C.
GENRE: SOUL
PERSONNEL: ANDREW STRONG (VOX)
MARIA DOYLE KENNEDY (VOX)
BRONAGH GALLAGHER (VOX)
ANGELINE BALL (VOX)
MICHAEL AHERNE (KEYS)
GLEN HANSARD (GUITAR)
KEN MCCLUSKEY (BASS)
DICK MASSEY (DRUMS)
FÉLIM GORMLEY (SAX)
BACKGROUND INFO NOTES
The Commitments was a film adaptation of the performances in the can. Quoted in Robert Gordon’s
novel of the same name by acclaimed Irish writer Respect Yourself, Stax Records co-founder Jim Stewart
Roddy Doyle (whose other novel Paddy Clarke Ha considered it the label’s best record: “It exemplifies
Ha Ha won the Booker Prize in 1993). The film is what Stax really was, that one record. When I hear
set in Dublin and tells the story of a soul band made it today, I still get that same feeling that I got when
up of white working class Dubliners. Alan Parker, we rolled that tape in the studio.” For the young,
the film’s director, picked real musicians to play the unknown cast of The Commitments to replicate that as
fictional band members, preferring musical ability well as they did was no mean feat.
over acting chops. This resulted in an authenticity
to the film’s musical performances and most of the
cast being featured on the accompanying soundtrack RECOMMENDED LISTENING
album, released in the same year as the movie. The
Male Vocals Grade 8
soundtrack features a number of classic songs from
labels such as Motown, Atlantic and Stax. ‘Try A Little impressive achievement by the film’s youthful cast.
Tenderness’ is a key song in the development of the Otis Redding’s third solo album, Otis Blue (1966), is
band as it is depicted in the film, and was based on essential and the posthumous Dock Of The Bay (1968)
Otis Redding’s version for Stax Records. is a fitting tribute.
E 45 D7
Try A Little Tenderness
The Commitments
q = 80
N.C.
q = 92
4fr
3
1. Oh, she may be wea - ry, and young girls,they do get wea - ry
3 3
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4fr
3
wear - ing that same old shab- by dress.
3
Male Vocals Grade 8
3 3 3 3
46 © Copyright 1932 & 1960 Chester Music Limited trading as Campbell Connelly & Co.
All rights for the USA and Canada assigned to EMI Robbins Catalog, Inc.
All Rights Reserved. International Copyright Secured.
F#m B7
3 3
But when she gets wea - ry try
3 3
3 3 3
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3 3
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$ q = 100
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(Fan - dan - go.) 2. You
3. You
3
Male Vocals Grade 8
3 3
47
C#m7 F#m7 B7
4fr
3
know she’s wait - ing, just an - ti - ci - pat - ing the
won’t re - gret it, young girls they nev - er for - get it.
3 3
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But while she’s there wait - ing with - out them,
But it is all so eas - y,
3
Male Vocals Grade 8
3
48
B7 To Coda Ø E
try a lit - tle ten - der - ness.
all you got - ta
3
3
A E E9 E/G#
3
3
A G#7
4fr
3
It’s not just sen - ti - men- tal, no, no.
Male Vocals Grade 8
3
49
C#m F#7
4fr
She has her grief and her care.
3
3
3
G#7 F#7
4fr
spoke so gen - tle, it makes it eas - i - er,
Male Vocals Grade 8
50
D.S. al Coda
F#m7 B7 Baug7
2fr
eas - i - er to bear, yeah.
Ø Coda
B E/G#
4fr
Oh, yeah. Squeeze her, we tease her, nev - er
Male Vocals Grade 8
51
A Bbdim B C
leave her. You got - ta, you got - ta, you got - ta, you
C#m D Eb E
got - ta try a lit - tle ten - der - ness, yeah.
D'9 C#7
2fr 4fr
Yeah, yeah.
52
F#m7 E/G# A Bbdim
you got - ta, you got - ta, you got - ta try a lit - tle
E7
ten - der - ness. (Vocal ad lib.)
Male Vocals Grade 8
53
Technical Exercises
Group A: Scales
The chromatic scale should be prepared as shown below. 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 =100.
¿ ¿ ¿ ¿
q = 100
4 Œ Ó
&4 œ œ #œ œ #œ œ œ n œ œ n œ œ #œ n œ #œ n œ œ
w w œ #œ œ œ #œ œ #œ #œ œ
Group B: Arpeggios
In this group, the arpeggio exercise needs to be prepared as shown below.
This test is performed to a metronome click track and you may select any starting note from C–G. You will hear the root
note played on piano followed by a one-bar (four click) count-in. You may perform this test using any vocal sound except
humming or whistling. The tempo is q =100.
¿ ¿ ¿ ¿
q =100
& 44 bœ œ œ œ œ œ bœ œ œ œ œ œ Œ Ó
w w œ bœ œ bœ œ
Group C: Intervals
In this group, the two interval sequences 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 D–F. 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.
¿ ¿ ¿ ¿
q = 90
œ bœ œ
& 44 w
Candidate sings:
w œ œ œ ˙
¿ ¿ ¿ ¿
q = 90
& 44 w
Male Vocals Grade 8
Candidate sings:
w œ œ œ bœ w
54
Group D: Backing Vocals
In this group, all three backing vocal parts need to be prepared as shown below. You will be asked to perform one of them
in the exam, as chosen by the examiner. The chosen part must be sung alongside the other two parts on the recording.
The backing tracks for these can be found in the audio.
q =130 Rock
4 œ œ œ œ œ œ œ
‰ Jœ œ ‰ œJ œ
A
‰ œ œ ‰ œ œ ‰ œ œ
Am F C G
&4 Œ
J J
Let’s get down, it’s time to get loud, we’re the heart and soul of this town.
j
B
& 44 œ œ œ ‰ œ
J
œ œ œ œ ‰ œ œ œ ‰ œ œ ‰ œ
J J
‰ œ œ œ Œ
Let’s get down, it’s time to get loud, we’re the heart and soul of this town.
j
‰ œj œj ‰ œ ‰ œj œ
C
4 ‰ œ œ œ œ ‰ œ œ Œ
&4 œ œ œ œ œ œ
Let’s get down, it’s time to get loud, we’re the heart and soul of this town.
œ œ ‰ œ œ œ œ
Am F G
& œ œ Ó œ œ œ œ œ
3
œ
& œ œ œ œ ‰ œ œ œ Ó œ œ œ œ œ
3
& œ œ œ œ ‰ œ œ œ œ Ó
3
œ œ œ œ œ
Do it right now, do it right now we are the fu - ture.
55
Technical Exercises
Stylistic Study | Pop and Musical Theatre Dramatic dynamics and inflections / Sustains with vibrato
q = 70 Music Theatre
F
D Bm
# 4 œ œ œ œ ~~~~~~j
& #4 œ œ œ ‰ œ
3
œ œ œ œ œ œ œ œ œ
On my jour - ney home I’ll pack my tears and hide my pride. I’ll walk the
## F œ
œ ‰ œ œ œ œ
Em A D
r
œ œ œ œ ‰. œ œ œ œ. œ œ œ œ œ œ œ œ œ ‰ J
3 3
& œ œ
# œ œ œ œ œ œ F f
b
G # m7 5
& # œ ‰ œJ œ œ œ œ œ œ œ ‰ œ
Bm G
œ œ œ œ œ œ ‰ œ bœ œ J
fa - ther will be proud of. I’ll face up to my des - ti - ny, re - gain my for - mer dig - ni - ty and
ƒ
˙~~~~~~~~~~~~~~~~~~~~~
A G A
## œ~~~~~~~~~~~~
. œ œ~~~~~~~~~~~~
. œ œ~~~~~~~~~ ‰ j œ œ œ .
Œ
& J J œ
rise a - bove the fear that plagued my life.
& 44 ˙ j
œ ‰ œ
j ‰ Œ
A m7/G F6 G6 A m7/G G6 A m7/G
œ ˙ œ œ œ œ œ œ œ
˙
It’s been so long since you went a - way. Ooh.
C m6/E b
r rœ œ
œ œ œ œ œ œ œ œ œ œ
F6 G6 A m7 F6 G6
& œ Œ œ ‰. œ ‰. œ
œ œ œ œ
I, I’ll ne - ver for - get you I swear. I want you to be
A m7/G G6 A m7/G F6
œ œ œ œ œ
G6
œ
& œ œ œ œ œ œ ‰ œ
J
Œ
Male Vocals Grade 8
near. Woh.
C m6/E b
œ
A m7
œ œ œ œ œ œ œ œ œ œ
F6
œ œ œ œ œ
E m7
œ œ œ œ œ
‰ Œ
Am
& J ˙.
Now I know that you’ll ne - ver come back. Now I know that since you went a - way.
56
Technical Exercises
Stylistic Study | Jazz and Blues Un-accompanied chromatic runs / Wide pitch jumps
q = 82 Jazz
P B m7
j
Em A
#6 œ œ œ œ œ œ œ
& 8 œ. œ œ. œ
With a lit - tle pa - tience I’m will - ing to
F #m
#
B7
j Em Am
& œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
take you by the hand and lead you on a mer - ry dance to
b
F # m7 5 F b
F # m7 5
P
# œ œ j œ œ œ. œ œ œ r r
& œ œ œ œ 46
B Em Am B7
‰ œ œ œ œ œ œ œ
J
find your won - der -land. I pro - mise you hap - pi - ness ’coz that’s the on - ly rule. But
b
F # m7 5
# 6 Eœm b œ œ bœ œ œ bœ œ œ œ. 6
œ nœ œ
Am
& 4 œ œ œ œ œ œ œ 8
don’t ig - nore my good ad - vice and treat me like a fool. Or you’ll find your - self runn - ing
F #m
f
œ œ œ.
Em A Em
# œ ‰ œ œ œ ‰ œ œ œ œ ‰ Œ
& 68 J J
J J
44 œ . œ œ œ J Ó
out of luck and out of time so grab your chance and fol - low me.
œ œ. œ
q = 140 Metal
b œ œ
& b b 44 Ó Œ ‰ œJ œ œ œ œ œ J œ œ ‰ œ œ œ œ œ œ œ ˙ Œ ‰ œJ
Cm
J
The ci - ty’s cry - in’ out there’s a ri - ot com - ing. I’m cal - ling on the gods of war A-
Bb Ab Bb ˙~~~~~~~~~~~~~~
.
b œ œ Œ
&bb œ
œ œ œ œ œ Œ œ œ œ ˙ Œ
Cm
way with the bonds of op - pres - sion, cry, no, no, no.
Bb Ab Bb
b b ˙~~~~~~~~~~~ œ œ œ œ œ ˙. œ œ œ œ œ
Cm
& b Œ J ‰ œ œ Ó
We won’t take this sitt - ing down.
Bb Ab Bb ˙~~~~~~~~~~~~~~~
.
b b ˙~~~~~~~~~~~ œ œ œ œ œ w
Cm
& b Œ J ‰ Œ
We won’t take this sitt - ing down.
Male Vocals Grade 8
57
Quick Study Piece
At this grade you will be asked to prepare and perform a short Quick Study Piece (QSP). This will consist of four bars
of melody and eight bars of improvisation. Bars 1–4 of the test will be a notated melody and you will need to sing all the
written detail, including lyrics. In bars 5–8, you will need to improvise a variation on bars 1–4, developing both the lyrics
and melody as you feel appropriate. In bars 9–12, you will need to improvise with no requirement to reference bars 1–4. You
may use any vocal sound except humming or whistling for these bars.
The examiner will give you the sheet music, then you will hear a full mix version of the track, including the notated parts.
This first playthrough will be preceded by the root note and a one-bar count-in. After the full mix, you will have three
minutes to practise. The root note will be played at the start of this practice time and then again after 90 seconds. During the
practice time, you will be given the choice of a metronome click throughout or a one-bar count-in at the beginning.
At the end of three minutes, the backing track will be played twice more with the notated parts now absent. The first time
is for you to rehearse and the second time is for you to perform the final version for the exam. Again, you will hear the root
note and a one-bar count-in before both playthroughs. The backing track is continuous, so once the first playthrough has
finished, the root note and count-in of the second playthrough will start immediately. The tempo is q =70–160.
The QSP style will be from one of the following four groups. These match the groups of the stylistic studies in the Technical
Exercises section.
The style given to you in the exam will be from the same group as your choice of stylistic study. The examiner will decide
which one, specifically (i.e. rock or indie).
¿ ¿ ¿ ¿
q = 120 Pop
œ œ œ œ
& b 44 w ∑ ‰ J œ œ ‰
F
Bb
œ
C
œ œ œ œ œ œ
Dm
œ œ œ ⇥ œ œ œ
Dm
œ œ œ œ
C
œ
&b Œ
make it real? We’re on the edge of some - thing, the edge of some - thing.
Bb
&b ’
F C Dm Dm C
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[Vary melody – 4 bars]
Bb Bb
&b ’
Dm F
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[Improvise freely – 4 bars]
Male Vocals Grade 8
58
Quick Study Piece | Soul and R’n’B Example test
¿ ¿ ¿ ¿
q = 80 RnB
# 4
& #4 ‰ j Œ
Bm E
w œ œ œ œ
What you see,
## j
Em Bm E E m7 Bm
& nœ œ œ œ œ ‰ ‰ ‰ œ œ œ œ œ Œ
œ œ œ œ œ œ œ œ œ œ
think of what it could be. I am watch - ing you and you’re watch - ing me too.
## Bm E Em Bm E E m7 Bm
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[Vary melody – 4 bars]
## Em Bm E Em Bm
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[Improvise freely – 4 bars]
Jazz q q = q q
¿ ¿ ¿ ¿
q = 120
Bb
b
& b 44 ‰
B dim7
œ j ˙
w œ
Stop right there,
7#5
b
&b œ ‰ Ó
C m7 C m7 F7
j œ
G
œ œ #œ œ œ œ œ œ œ
3
œ œ ˙
don’t you move, I’m think - ing that I’m in love.
Bb 7#5
b
&b ’
B dim7 C m7 G C m7 F7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[Vary melody – 4 bars]
Bb
b
&b ’
D7 G m7 C m7 F7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[Improvise freely – 4 bars]
¿. ¿. ¿. ¿.
q. =120 Rock
Eb
b
& b 12
8 w. œ œ œ œ œ œ œ œ œ œ
Cm
J J
Ly - ing a - wake and won - der - ing when I’m
Ab Eb Ab
b
& b œJ Œ ‰ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ.
F Cm F
J J J J J J
gon - na feel al - right, say - ing good - bye is mak - ing me die and I see the light.
Male Vocals Grade 8
Eb Ab Eb Ab
bb ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’.
Cm F Cm F
&
[Vary melody – 4 bars]
Eb Ab Eb Ab Bb
bb ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’.
F Cm F Cm
&
[Improvise freely – 4 bars]
59
Ear Tests
You will find one example of each type of test printed below and you will be given both of them in the exam.
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 vocal count-in may begin while you
are still practising.
You may perform this test using any vocal sound except humming or whistling.
¿ ¿ ¿ ¿
q = 90
Please note: the test shown is an example. The examiner will give you a different version in the exam.
You will hear the test twice. Each time the test is played, it starts with 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, after which you should perform
the harmony line. The tempo is q =90–140.
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 vocal count-in may begin while you
are still practising.
¿ ¿ ¿ ¿
Candidate hears: (You will not be shown this in the exam)
j
q =130
# j j
& 44 .. w œœ œœ ‰ œœ œœ œœ œœ œœ œœ ‰ œœ ˙˙ ..
Em G D Em
w œœ .. ˙˙ œœ œœ œœ ˙˙
I’ll do what - ev - er it takes to win you back a - gain.
¿ ¿ ¿ ¿
q =130 Candidate sings: (you will not hear or be shown this in the exam)
# œ œ œ œ œ ‰ œ ˙ œ
& 44 .. w œ. œ œ. œ ˙ œ œ ˙ ..
Em G D Em
w J J J
Male Vocals Grade 8
Please note: the test shown is an example. The examiner will give you a different version in the exam.
60
General Musicianship Questions
In this part of the exam you will be asked five questions. Three of these will be about general music knowledge, the fourth
will be about improvisation, and the fifth will be about your voice or the microphone.
If there are handwritten notes on the piece you have chosen, the examiner may ask you to choose an alternative.
Part 2 | Improvisation
You will also be asked to briefly describe and demonstrate – with reference to melody, rhythm, phrasing and dynamics – your
approach to how you would improvise any part of your chosen song. You can choose the part.
61
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 and Quick Study Pieces) and General Musicianship Questions.
Use Of Microphone
At Levels 1 and 2 (Grades 1–5) microphone use is optional, although candidates may use one if they feel it will enhance their
performance. At Level 3 (Grades 6–8) microphone use is obligatory for all aspects of the exam.
Marking Schemes
Below are the marking schemes for the two different types of Rockschool exam.
General Musicianship
3 out of 5 4 out of 5 5 out of 5
Questions
Musical Interpretation
Musical Interpretation is allowed at all grades in both the Grade Exam and Performance Certificate. Rockschool encourages
individual musicality, articulation, expression and use of dynamics when performing. This applies anywhere in the exam
other than the technical exercises where articulation when specified must be observed. Candidates are reminded that all
musical interpretation should be stylistically appropriate.
1) W
ider Repertoire: a full list of suggested pieces can be found on our website, www.rslawards.com
2) O
wn Choice: Candidates can choose or compose any song in any genre outside of the grade book and wider repertoire.
These songs should demonstrate a comparable level of technical and musical demand to the pieces given in the set
selections in the grade books which can be referred to as an indication of appropriate level. Candidates should refer to
the Free Choice Piece Criteria available on our website when accessing the level of a potential piece: www.rslawards.com/
music/graded-music-exams/free-choice-pieces
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.)
63
Copyright Information
Apologize
(Tedder)
Sony/ATV Music Publishing (UK) Limited
Grace
(Buckley/Lucas)
Sony/ATV Music Publishing (UK) Limited/Universal/MCA Music Limited
The Pretender
(Grohl/Hawkins/Mendel/Shiflett)
Universal Music Publishing Limited/Universal/MCA Music Limited/Bug Music Limited
Livin’ On A Prayer
(Jovi/Sambora/Child)
Universal Music Publishing Limited/Sony/ATV Music Publishing (UK) Limited
64
RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com