Edoc - Pub - RSL Voc 6 8 Male Final PDF

RSL Voc 6-8 male corrections.
qxd 06/05/2004 10:36 Page 1
Better Vocals With...
Rockschool
Welcome To Level 3 Male Vocals 2
Important Information For Candidates 3
Grade 6
Technical Exercises 4
The Boys Are Back In Town 7
Can’t Buy Me Love 10
Brand New Day 12
Summer Of ’69 16
Babylon 19
Sunburn 22
Grade 7
Supreme 27
Suspicious Minds 30
I Can’t Make You Love Me 33
This Year’s Love 36
Trouble 38
I Saw Her Standing There 41
Grade 8
All Right Now 48
Stan 50
If I Ever Lose My Faith In You 52
If You’re Not The One 56
Angels 59
The Guru’s Guide To Level 3 Male Vocals 62
A Rockschool Publication
www.rockschool.co.uk
RSL Voc 6-8 male corrections.qxd 06/05/2004 10:36 Page 2
Welcome To Level 3 Male Vocals

Welcome to the Rockschool Level 3 candidate pack for Male Vocals. This pack includes all the prepared
elements needed by a candidate to take grades 6, 7 and 8. In the book you will find exam scores for the
performance pieces consisting of a vocal line and chord boxes.
The CDs have backing tracks for the technical exercises and backing tracks for each song. Examples of
all the other tests contained in the exam are contained in the Companion Guide accompanying this
series.
If you have any queries about this or any other Rockschool exam, please call us on 020 8332 6303 or
email us at office@rockschool.co.uk. Visit our website http://www.rockschool.co.uk. Good luck!
Grade 6
Pieces at this level will be more complex in construction and content and will require a more solid
understanding of stylistic matters. The candidate will require knowledge of suitable tone, delivery and
rhythm and be expected to portray the song with increasing confidence. The candidate is also expected
to demonstrate increasing knowledge of microphone techniques. The candidate will be expected to be
able to move effortlessly between registers and to have a wide range of dynamic control and articulation.
All pieces are to be memorised to enable the candidate to gain an increasing sense of performance.
A microphone must be used throughout the exam.
Grade 7
At this level pieces will be of a substantial length to enable the candidate to demonstrate a thorough
working knowledge of suitable stylistic techniques. The pieces will require considerable personal
interpretation, with improvisation and ornamentation used to produce a balanced musical result. The
candidate is expected to perform the pieces with a considerable sense of commitment and musical
integrity and with a well grounded sense of performance and communication. All pieces are to be
memorised to enable the candidate to gain an increasing sense of performance. A microphone must be
used throughout the exam.
Grade 8
At this level the main emphasis is on performance and this is demonstrated in a complete control of
suitable stylistic techniques. The candidate is expected to make full use of microphone techniques to
enhance their performance and to demonstrate a secure ability in register and tone. Considerable
improvisation and ornamentation is expected to produce an advanced and mature sense of performance
with a high degree of personal interpretation. All pieces are to be memorised to enable the candidate to
gain an increasing sense of performance. A microphone must be used throughout the exam.
How To Use The CD

Vocals Level 3 - Male
The Level 3 book contains two CDs. On these you will find the backing tracks to the exercises and the
songs. You should prepare the exercises and the songs using these CDs to perform with in the exam.
For the scales in grades 6, 7 and 8, the first backing track is in the key of A. You will find alternative keys
for the scales at the end of the CD in all keys between B b and D around middle C. Any of these keys can
be used in the exam.
2
Important Information For Candidates

Candidates may use this syllabus to enter for either a grade exam or a performance certificate at grades 6, 7 or 8.
If you are entering for a grade exam, you will need to prepare the following elements. You will perform them in
the exam in the order in which they are shown below. Full syllabus requirements can be found in the Rockschool
Vocal Syllabus Guide which can be downloaded from www.rockschool.co.uk.
Technical exercises (10 marks). You will find two sets of exercises printed for each grade: a scale test and backing
tracks exercise.
General Musicianship Questions (5 marks). You will be asked five questions at the end of the exam. Three of
these will refer to the pieces. You will be asked questions on note values, dynamic markings, articulation
markings, key and time signatures and general musical directions. One question will be asked about general vocal
technique and a final question on performance and interpretation. Please refer to the Syllabus Guide for the GMQ
requirements.
Quick Study Piece (15 marks). You will be asked to prepare and perform a Quick Study Piece (QSP) in the exam.
You should arrive at the exam centre half an hour before your due examination time and you will be given the
QSP to practice 20 minutes in advance of entering the exam room. Please refer to the Syllabus Guide for the QSP
requirements. Examples are printed in the Companion Guide.
Aural Tests (10 marks). There are two aural tests in each grade. Examples are printed in the Companion Guide.
The requirements for each grade are as follows:
• Grade 6. You will be given a four bar melodic phrase made up of notes and rests. You will also be given a set
of rhythmic examples. One of these corresponds to the rests in the melodic phrase. You will select the appropriate
test and you will be asked to clap the rest rhythm. The rests will fall on the beat and consist of quaver and
crotchet note values. Next you will be given a simple four bar phrase with chord symbols. You will be asked
harmonise a simple line after hearing the test three times.
• Grade 7. As for Grade 6 but with more complex rhythmic patterns. The rests will fall on and off the beat and
consist of quaver and crotchet note values. There will be some note values combined into rests. (2 semiquavers =
1 quaver rest). The 2nd test will be a chord chart. You will hear the complete test once and will be required to
sing the bass progression, including 1st inversions, on the repeat. This test is continuous.
• Grade 8. You will hear an eight bar melody in major or natural minor twice, and will be asked to harmonise a
moving line on the 3rd hearing. The 2nd test will be a chord chart in a rhythm. You will hear the complete test
once and will be required to sing the bass progression including 1st inversions, on the repeat. This test is
continuous.
Three performance pieces (60 marks). You are not limited solely to the songs printed in this book. You may
perform either three songs from this book (including one or more from the supplementary list printed for each
grade), or you may bring in one song not included in these lists to perform in the exam. This may be a hit from
the chart or a song of your own composing. Please ensure, though, that you have the appropriate backing track.
Please turn to the Guru's Guide on page 62 for the list of supplementary material.
If you are entering a performance certificate, you will perform five songs, of which up to two may be from
repertoire not included in this book or the companion Level 3 volume.
The Level 3 Male Vocals book is a companion to the Level 3 Female Vocals book. Candidates are welcome to
perform repertoire contained in either book in the exam of equivalent difficulty.
3
Grade 6 Technical Exercises

In this section, the examiner will ask you to perform the two exercises printed below. You do not need to
memorise the exercises (and you may use the book in the exam) but the examiner will be looking for the speed
and confidence of your response. The examiner will also give you credit for the level of your musicality in your
attention to directions, including phrasing and dynamics.
Exercise 1: Scales Disc 1 Track 1
You will be asked to perform the following scale and arpeggio exercise beginning on any note between A-D.
You will be asked to give the exercise legato or staccato and with crescendo and diminuendo as directed by the
examiner.
ascending descending
or
q = 140

voice
          
      
CD
      
           
       
         
  
CD
   
        
  
 
     
  
               
       
CD
        
               
 
       



 
 
CD
 
         
      
4
Exercise 2: Backing Vocals
You should prepare all three parts of the following two backing vocal exercises. The examiner will select the part
to be given against the other two parts on a backing track. Two examples to be selected.
q = 110 Eighties Disco Disc 1 Track 2/3/4

Bb F Bb

        
Backing vocals
     
You got my heart yeah,
   
Backing vocals    
     
       
Backing vocals

     
F Eb Gm7

        
    
          
you got my heart mm, you got my heart yeah, you got my heart.
 
     
                
 
 
    
                
5
Exercise 3: Backing Vocals (continued)
Disc 1 Track 5/6/7

q = 100 Smooth – Eighties ballad
  
D'9  D'9
 
Backing vocals               
  
Ma - ny times I’ve tried, ma - ny times I’ve cried,
  
       
Backing vocals            
  
Backing vocals
       
           
Bm'9 Gsus2
      
               
ma - ny times you’ve lied, ma - ny times I’ve tried.
     
           
  

       
           
6
The Boys Are Back In Town

Words & Music by Phil Lynott
Disc 1 Track 8
____  3
  =  
1-3. 4.
Intro A5 B5 D5
5fr
   
       
f
$ A5 C#m D F#sus4
Verse 4fr 5fr
3
           
               
1. Guess who just got back to - day? Them wild eyed boys
2. You know that chick that used to dance a - lot? Ev - ’ry night she’d be on the
() 3. Fri - day night they’ll be dressed to kill down at Di - no’s Bar
C#m7 F#7sus4 Bm7

4fr
            
          

that had been a - way. Have - n’t changed had - n’t much to say,
floor shak - in’ what she got. Man when I tell you she was cool was red hot,
and Grill. The drink will flow and blood will spill and if the boys
Bm7/E A5 C#m7
4fr
  3
     
3
               
 
but man I still think them cats are cra - zy. They were ask - in’ if
I mean she was steam - in’. And that time over at
wan - na fight you bet - ter let ’em. That juke box in the cor - ner
D F
5fr 8fr
3
      3       
  
you were a - round, how you was, where you could
John - ny’s place, well this chick got up and
blast - in’ out my favour - ite songs, the nights are get - tin’ warm
C#m7 F#7sus4
4fr
    
3
 
       

be found. Told them you were liv - in’ down -
she slapped John - ny’s face. Man we just fell a -
and it won’t be long. Won’t be long till
© Copyright 1976 Pippin The Friendly Ranger Music Company Limited. This music is copyright. Photocopying is illegal.
7
Universal Music Publishing Limited.
All Rights Reserved. International Copyright Secured.
Bm7 Bm7/E
 3
          

      
  
- town, driv - in’ all the old men cra - zy.

- bout the place, if that chick don’t wan - na know, for - get her. The
sum - mer comes, now that the boys are here a - gain.
A5 B5 D5
Chorus 5fr
               
   
boys are back in town. The boys are back in town.
A5 B5 D5
5fr
                 
        

I said the boys are back in town. The boys are back in town.
To CodaØ
A5 B5
                 
    
The boys are back in town. The boys are back in town. The
(on  mp )
D5
5fr
N.C.
               
    
boys are back in town.
The boys are back in town.
1. 2.
 
       
G D C#m7 F#7sus4 Bm7 Bm/E

3fr 4fr
Bridge
 3        3
 
        
(ff) f
Spread the word a - round, guess who’s back in
8
F#7sus4 G D C#m7 F#7sus4

3fr 4fr
    3    
         
town? You spread the word a - round.
ff f
Bm7 E11 F#7sus4

2fr
D.S. al CodaØ

     
B5 D5
ØCoda 5fr
                
     
boys are back in town. The boys are back in town. (Spread the word a -
(mp)
A5 B5
                 
     
- round.) The boys are back in town. The boys are back in town. (The
D5 D5
5fr 5fr
N.C.
  
                

boys are back, the boys are back.)
1. 2.
E5 E5
7fr
3 3
N.C.
             
      
a - gain. (2º) Beenhang - in’ down at
Repeat with ad lib vocals to fade

       
         


Di - no’s. (1º) The boys are back in town.
9
Can’t Buy Me Love

Words & Music by
John Lennon & Paul McCartney
Disc 1 Track 9
Em Am Em
Moderately
          
       
Can’t buy me love, oh, love, oh,
Am Dm7 G13 $ C
    

      
     
    
can’t buy me love, oh. 1. I’ll buy you a d ia - mond ring
(2.) give you all I’ve got
3. Instrumental
F7
     
    

     



   
  
my frien d if it make s you feel all right. I’ll get you an - y - thing,
to give if you say you love me too. I may not have a lot
C G
    
   

       



  

my friend, if it make s you feel al - right. ’Cause
to give, But what I’ve got I’ll give to you. For  I don’t care too
1. 2, 3.
F7 F9 C C
N.C.

                  
 

      
muc h for mon - ey, for mon - ey can’t buy me love. 2. I’ll Can’t buy me love
Em Am C
     
          
      

oh, ev - ’ry - bod - y tells me so. Can’t buy me love
10 © Copyright 1964 Northern Songs. This music is copyright. Photocopying is illegal.

Em Am Dm7 G
         
      
oh, no, no, no, no! Say
       
           
    
you don’t need no dia - mond rings and I’ll be sat - is - fied. Tell
F7 C
        
          
       
me that you want th e kind of things that mon - ey just can’t buy.
G F7
N.C. To CodaØ
       
    
I don’t care too muc h for mon - ey,
F9 C
D.S. al CodaØ
   
   

   
mon - ey can’t buy me love.
ØCoda
F7 C Em Am Em
          
          
 
mon - ey can’t buy me love. Can’t buy me love, love.
Am Dm7 G13 C
            
     
Can’t buy me love.
11
Brand New Day

Words & Music by Sting
Disc 1 Track 10
Intro
B'11 A/D E'9/G#
 
             
mf
A'9/C# B'11 A/D E'9/G#
  
              
New tempo
B Em A B
 
      
     
B Em
Verse
     4 
4
     
              
 
1. How man - y of you peo - ple out there been hurt in some kind of love af - fair and
2. Love is pain I hear you say, love has a cruel and bit - ter way of pay - ing you
A B
            
           
how man - y times did you swear that you’d nev - er love a - gain?
back for all the faith you ev - er had in your brain.
Em
  
4
               
      

How man - y lone - ly, sleep - less nights, how man - y lies, how man - y fights? And why
How could it be that what you need the most can leave you feel - ing just like a ghost, you
A B
  4
     
            
would you want to put your - self through all of that a - gain?
nev - er want to feel so sad and lost a - gain.
12 © Copyright 1999 Magnetic Publishing Limited/ This music is copyright. Photocopying is illegal.
EMI Music Publishing Limited.
A/D
4

                         


One day you could be look - ing through an old book in rain - y weath - er, you see a
B/E A/C#
2fr 2fr
4
      4    4        
             

pic - ture of her smil - ing at you when you were still to - geth - er. You could be
B'11 A/D
      
4
  
            
walk - ing down the street and who should you choose to meet, but that
B/E
2fr
        
              
same old smile you’ve been think - in’ of all day, mm. Why don’t we
$ Bsus2 Em11
Chorus
                 
        
turn the clock to ze - ro hon - ey, I’ll sell the stock, we’ll spend all the mon - ey, we’re
turn the clock to ze - ro hon - ey, I’ll sell the stock, we’ll spend all the mon - ey, we’re
f
Asus2 B'11 Bsus2
           
              

start - ing up a brand new day. Turn the clock all the way back, I’ll
start - ing up a brand new day. Turn the clock to zero and back, I’m
Em11 Asus2 B'11

           
               
 
won - der, if she’ll take me back, I’m think - ing in a brand new way.
beg - gin’ her to take me back, I’m think - ing in a brand new way.
13
Bsus2 Em11
               
        
 
Turn the clock to ze - ro sis - ter, you’ll nev - er know how much I missed her, I’m
Turn the clock to ze - ro boss, the riv - er’s wide we’ll swim a - cross, I’m
Asus2 B'11 Bsus2
         
          
   


start - ing up a brand new day. Turn the clock to ze - ro, boss, the
start - ing up a brand new day. Turn the clock to ze - ro, buddy, don’t
Em11 Asus2 B'11
To CodaØ
                  
          
riv - er’s wide, we’ll swim a - cross, start - ing up a brand new day.
wanna be no fud - dy dud - dy, start - ing up a brand new
Bm11 Esus2
Bridge 2fr 2fr
        
       
    

It could hap - pen to you just like it hap - pened to me. There’s sim -
A'9/C# B'11
        
         
    
- ply no im - mu - ni - ty, there’s no gua - ran - tee. I say, love
G'9/B E'9
      
            
      

is such a farce if you find your - self in it. You need some time
         
            
 
for re - flec - tion, you say, ba - by wait a min - ute, wait a min - ute,
p cresc.
D.S. al CodaØ
             
       
  

wait a min - ute, wait a min - ute, wait a min - ute, wait a min - (ute.)
2. You can
14
B'11 Bsus2
ØCoda
            
              
day. I’m the rhy - thm in your tune, I’m the
2. Harmonica solo
pre - sent to your future, you’re the
(Outro choruses see block lyric)
Em11 Asus2
                       
  
sun and you’re the moon, I’m a bat and you’re the cave, you’re the
wound and I’m the su - ture you’re the magnet to my pole, I’m the
B'11 Bsus2
         
                   
beach and I’m the wave. I’m a plough and you are the land. you’re the
dev - il in your soul. You’re the pup - il I’m the teach - er, you’re the
Em11 Asus2
    

  
   
         

 
glove and I’m the hand, I’m a train and you’re the sta - tion, I’m a
church and I’m the preach - er, you’re the flower I’m the rain, you’re the
G6
         
Repeat to fade
    
flag - pole to your na - tion. Yeah.
tunnel, I’m the train. 3. I’m the
Outro Choruses:
4. Stand up all you lovers in the world
Stand up and be counted, every boy and every girl
Stand up all you lovers in the world
We’re starting up a brand new day.
5. You’re the crop to my rotation
You’re the sum of my equation
I’m the answer to your question
If you follow my suggestion.
6. We can turn this ship around
We’ll go up instead of down
You’re the pan and I’m the handle

You’re the flame and I’m the candle.
7. As Chorus 4
15
Summer Of ’69
Words & Music by
Bryan Adams & Jim Vallance
Disc 1 Track 11
D5
Intro Verse
      
  
      
1. I got my first real six string,
mf
A5 D5
  
                         
bought it at the five and dime, played it un - til my fin - gers bled,
A5 D5
          
          

   
was the sum - mer of six - ty - nine. Me and some guys from school
A5 D5
                  
      
had a band and we tried real hard. Jim - my quit, Jo - dy got mar - ried,
Pre-chorus
A5 Bm A
    
         
          
 

I should ’a’ known we’d nev - er get far. Oh when I look back now,
D G Bm A
           
           
 
that sum - mer seemed to last for - ev - er, and if I had the choice
D G Bm A
      
       
           
 
yeah I’d al - ways wan - na be there. Those were the best days of my
© Copyright 1984 Irving Music Incorporated/Adams Communications Incorporated/ This music is copyright. Photocopying is illegal.
16 Almo Music Corporation/Testatyme Music, USA.
Rondor Music (London) Limited.
Chorus D A
  
        
life. Yeah!
$ D5 A5
Verse
       
       
        
2. Ain’t no use in com - plain - in’ when you got a
(  ) 3. And now the times are chang - in’ look at ev - ery - thing that’s
G5 D5
               
  
       
job to do. Spent my eve - nings down at the drive in
come and gone. Some - times when I play that old six string,
Pre-chorus
A5 Bm A
       
              


and that’s when I met you yeah!
I think a - bout you won - d’rin’ what went wrong.  Stand - ing on your ma - ma’s porch,
D G Bm A
        
               
  
you’d wait
you told me that

I’d last
for - ev - er.
 Oh and when you held my hand
D G Bm A
            
           
 
I knew that it was now or nev - er. Those were the best days of my
Chorus
D A
To CodaØ
     
              
life. Oh yeah. Back in the sum - mer of
17
D A Middle 8 F
        
       
         
six - ty - nine. Whoa! Man, we were
Bb C Bb
3fr
  
             
  
      
kill - in’ time, we were young and rest - less, we need - ed to un - wind.
F Bb C
3fr
                   
         
I guess no - thing can last for - ev - er, for - ev - er, no!
D A
D.S. al CodaØ
 
       
Yeah!
ØCoda
D A
 

                  
six - ty - nine. Uh huh. It was the sum - mer of
D A
       
           
   
six - ty - nine. Wooh yeah me and my ba - by in a
D A D
     
      
six - ty - nine!
A D A
Repeat ad lib to fade

 
      
18
Babylon
Words & Music by
David Gray
Disc 1 Track 12
q = 112
Ebmaj9/G Ab Ebmaj9/G Ab Ebmaj9/G
4fr 4fr
     
 
Ab Ebmaj9/G Ab Ebmaj9/G
4fr 4fr
    
 
Ab Ebmaj9/G Ab
4fr 4fr
 
                 
        
1. Fri - day night, an’ I’m go - in’ no - where; all the lights are chang - in’ green to red.
Ebmaj9/G Ab Ebmaj9/G
4fr
        
              
Turn - in’ ov - er T. V. sta - tions, sit - u - a - tions run - nin’ through my
Ab Ebmaj9/G Ab
4fr 4fr
       
         
head. Look - in’ back through time, you know it’s clear
4fr
     
                 
that I’ve been blind I’ve been a fool. To op -
Ab Ebmaj9/G Ab
4fr 4fr

            
            
 

- en up my heart to all that jea - lous - y, that bit - ter - ness, that ri - di - cule.
© Copyright 1998 Chrysalis Music Limited. This music is copyright. Photocopying is illegal. 19
Fm Ebmaj9/G Ab
4fr
       
         
2. Sa - tur - day I’m run - nin’ wild, an’ all
3. Sun - day all the lights in Lon - don
4fr

                

the lights are chang - in’ red to green.
shin - ing, sky is fad - ing red to blue.
Ab Ebmaj9/G
4fr

           
           
Mov - in’ through the crowds I’m push - in’ che - mi - cals are rush - in’ in my
Kick - in’ through the au - tumn leaves an’ won - derin’ where it is you might be
Ab Ebmaj9/G Ab
4fr 4fr
            
    
     
blood - stream. On - ly wish that you were here, you know I’m seein’
go - ing to. Turn - in’ back for home you know I’m feel -
4fr
            
        
it so clear, I’ve been a - fraid to show
- ing so a - lone I can’t be - lieve.
Ab Ebmaj9/G
4fr
  
           
        
you know I real - ly feel, ad - mit to some of those bad mis -
Climb - in’ on the stair I turn a - round to see you smil - ing there in -
Ab Eb Bb
4fr 3fr
          
      

  
- takes I’ve made. An’ if you want it come an’ get it,
- front of me.
20
Fm G11 Eb Bb
3fr
                   
      

for cry - in’ out loud. The love that I was giv - in’ you was
Fm Ab $ Eb Bb
4fr 3fr
3
                
       
  
nev - er in doubt. Let go your heart, let go your head
Fm Bb Eb Bb Fm
3fr
To CodaØ
                       
  
 

      

and feel it now. Let go your heart, let go your head, and feel it
1. Bb Ebmaj9/G Ab Ebmaj9/G Ab
4fr 4fr
       
         
    
now, Ba - by - lon, Ba - by - lon,
2. D.S. al CodaØ
Ebmaj9/G Ab Ebmaj9/G Ab Ebmaj9/G Bb
4fr 4fr
       
       
 

Ba - by - lon. now.
Ab Ebmaj9/G Ab Ebmaj9/G Ab
ØCoda 4fr 4fr 4fr
    
            
     
now, Ba - by - lon, Ba - by - lon,
Ebmaj9/G Ab Ebmaj9/G Ab
4fr 4fr
        
               
Ba - by - lon, Ba - by - lon,
4fr

                   
   
Ba - by - lon, ah.
21
Sunburn
Words & Music by
Matthew Bellamy
Disc 1 Track 13
Moderately fast
Em Am'9 C Am'9 Em Am'9 C Am'9

       
          
          
1. Come waste your mil - li - ons here, se - cret - ly she sneers.
               
      
 
 
   

An - oth - er cor - por - ate show; a guil - ty con - science grows. 2. I’ll
         
         
      
feel a guilt - y con - science grows and I’ll feel
3. Come let the truth be shared, no - one ev - er dared to break
        
         
     
a guilt - y con - science grows.
these end - less lies, se - cret - ly she cried.
Am6 Am7 Em Am6 Am7
       
            
 She burns like the sun, and I can’t look

Em Am6 Am7 Em
           
    
   
a - way. And she’ll burn our ho - ri - zons,
22 © Copyright 1999 Taste Music Limited. This music is copyright. Photocopying is illegal.
1.
A Am7 Em Em Am'9 C Am'9
           
     
make no mis - takes.
Em Am'9 C Am'9 2. Am6 Am7
N.C.
 
       
Em Am6 Am7 Em Am6 Am7 Em Am6 Am7 Em

       
Em Am6 Am7 Em
             
              
And I’ll hide from the world be - hind a bro - ken frame;
Am6 Am7 Em Am6 Am7 Em
 
   
    
 
 
   
         
 
and I’ll run for ev - er, I can’t face the shame.
              
            
And I’ll hide from the world be - hind a bro - ken frame;
             
               
and I’ll run for ev - er, I can’t face the shame.
Em E
1. 2.
  
        
23

examiner.
or
q = 96 ascending descending
voice
  
3 3
     
3 3 3 3 3


     
      
CD
3
 3   3     
3
3 3
3 3 3 3
         
           
CD
3
3 3 3
3
         3 3    3
   
3

3
   
3
      
3
      
3
3
3

3 3 3 3 3
         
          
CD
   3   3
3
 
3
 
3 3 3
 3
 3   
            
3 3   3
 
3 3 3 3 3 3
                
       
CD
3
 3 3 3
  
3 3 3
      
 
          
 
 3 3 3 3 3 3
  
   
 
        
     
24
to be given against the other two parts on a backing track. Two examples will be selected.
q = 110 Seventies Up-tempo Soul Disc 1 Track 15/16/17

Bb Eb
    
Backing vocals  
     
      
 Can’t for - get you, I don’t want to,
       
Backing vocals    
   
 
          
Backing vocals
       
Bb Cm7 F9 Bb
          
          
can’t for - get you, I just can’t get you out of my mind.
  
   
             
    
      
         
25
Exercise 4: Backing Vocals (continued)
Disc 1 Track 18/19/20

q = 110 90s Eighties Pop Ballad
Em Am7 Em Am7 D Em Am7 D B7
              
Backing vocals        
 Life now, come in - to my life now, in - to my
     
             
Backing vocals
 
  
    
Backing vocals
             
Em Am7 D Em Am7 D B7 Em
                 
   
life now, come in - to my life now, in - to my life.
    
               
  
               
  
26
Supreme
Words & Music by Robbie Williams, Guy Chambers,
Dino Fekaris, Frederick Perren & Francois de Roubaix
Disc 1 Track 21
q = 96
Dm

          
1. Oh, it seemed for -
(Verse 2 see block lyric)
Gm7 C
3fr
              
     
- ev - er stopped to - day, all the lone - ly hearts in Lon - don caught a plane
Fmaj7 Dm/A
  
                    
and flew a - way. And all the best wo - men are mar - ried, all the hand -
Abdim7 Asus4 A
      

   
- some men are gay, you feel de - prived.
Dm Gm7
3fr
    
         
Yeah, are you quest - ion - ing your size? Is there a
C Fmaj7
   
     

         
 
tu - mour in your hu - mour, are there bags un - der your eyes? Do you leave
Dm/A Abdim7
                    

dents where you sit, are you get - ting on a bit, will you sur - vive?
© Copyright 2000 EMI Virgin Music Limited (7.5%)/BMG Music Publishing Limited (7.5%)/ This music is copyright. Photocopying is illegal.
Perren-Vibes Music Company/Bibo Music Publishing Incorporated/ 27
Universal Music Publishing Limited (65%)/SiDo Music B Liechti & Cie, Switzerland/
Chelsea Music Publishing Company Limited (20%).
Asus4 A
       
         
You must sur - vive. When there’s no
$ Dm Bbmaj7 F
       
              
love in town this new cen - tu - ry keeps bring - ing you down.
A Dm Bbmaj7
         
          
All the pla - ces you have been, try - ing to find
1.
F To CodaØ A Dm
   
             
a love su - preme, a love su - preme.
2.
Dm Gm7 C Fmaj7
3fr
     
Bbmaj7 Gm7 A A7
3fr
    
Dm
         
Spoken: I spy with my lit - tle eye
28
Gm7 C
3fr
                        
some - thing be - gin - ning with. (ah) Got my back up and now she’s scream - ing so I’ve got to turn the track up.
Fmaj7 Dm/A
                      
Sit back and watch the roy - al - ties stack up. I know this girl, she likes to switch teams,
Abdim7 Asus4 A
D.S. al CodaØ
  
                 
and I’m a friend but I’m liv - ing for a love su - preme. When there’s no
ØCoda
A Dm
        
        

a love su - preme. Come and live a love su - preme,
Bbmaj7 F A7
Repeat ad. lib. to fade

             
              
don’t let it get you down, ev - ’ry - bo - dy lives for love.
Verse 2:
Oh, what are you really looking for?

Another partner in your life to abuse and to adore?
Is it lovey dovey stuff
Do you need a bit of rough?
Get on your knees
Yeah, turn down the love songs that you hear
’Cause you can’t avoid the sentiment
That echoes in your ear
Saying love will stop the pain
Saying love will kill the fear
Do you believe?
You must believe
When there’s no love in town etc.
29
Suspicious Minds
Words & Music
by Francis Zambon
Disc 1 Track 22
q = 120  Verse
G C G C G C
Intro
   
        

1. We’re caught in a trap,
3. So with an old friend I know,
G C F C F
      
     
    
I can’t walk out
a fi - nal say hel - lo
D C G C
           
            
be - cause I love you too much ba - by.
would I still see sus - pi - cion in your eyes?
G C G C G C
 
         

2. Why can’t you see
4. Here we go a - gain
F C F D
             
       
what you’re do - in’ to me, when you don’t be - lieve
ask - in’ where I’ve been. You can’t see
C D C Bm D
   
  
 


       
a word I say?
the tears are real I’m cry - in’.
30 © Copyright 1969 Sony/ATV Songs LLC, USA. This music is copyright. Photocopying is illegal.
Sony/ATV Music Publishing (UK) Limited.
C G Bm
Chorus
         
           
We can’t go on to - geth - er with sus - pi - cious minds.
C D Em Bm
       
       

and we can’t build our dreams
1.
C Dsus4 D Am/D
   
          
on sus - pi - cious minds.
2.
C Bsus4 B Am/D
   
          
on sus - pi - cious minds.
e = 144
Em Bm C
Bridge
           
        
Oh let our love sur - vive, oh, dry the
D Em Bm
            
      
tears from our eyes. Let’s don’t let a good thing die,
jq = eK x
C D G
  
  
  
              
when hon - ey you know why I nev - er lied to you. 31
C G D
3 a tempo
   
          

Mm. Yeah yeah.
G C G C G C
Outro
         
   

  

   

We’re caught in a trap, I can’t walk out
C F D C
            
        
  
be - cause I love you too much ba -
G C G C G C
 
          
- by. Why can’t you see
And don’t you know I
G C F C F
      
      
   
what you’re do - in’ to me,
D C
      
       
    
when you don’t be - lieve the word I say.
G C G C
Repeat to fade
 
            


32 And don’t you know I’m
I Can’t Make You Love Me

Words & Music by
Mike Reid & Allen Shamblin
Disc 1 Track 23
q = 58
Cmaj9 E9sus4 C'9 C G/B

    
Em7 Am7 Cmaj9 E9sus4 C'9

   
C G/B Cmaj7/A Cmaj9 E9sus4
  
        
1. Turn down the lights,
C'9 G/B
      
           
 
turn down the bed, turn down these voi - ces
Em7 Am7 Cmaj9 E9sus4
   
             
in - side my head. Lay down with me,
C'9 G/B Em7 Am7

        
 
            
tell me no lies, just hold me close, don’t pa - tron - ise.
G/D D G/B
    
                
 
Don’t pa - tron - ise me. ’Cause I can’t
© Copyright 1991 BMG Music Publishing Limited (12.5%)/ This music is copyright. Photocopying is illegal. 33
Rondor Music (London) Limited (87.5%).
 C G Cmaj9
        
 
    
      
make you love me if you don’t. You can’t make
G G/B C D
          
        
your heart feel some - thing that it won’t.
Em7 C D/F# Em7
           
        
Here in the dark, these fin - al hours, I will
Cmaj9 D/F# Em7
          
          

lay down my heart and I feel the pow - er, but
G/A Am7 G/D D G/B
      
            
you won’t, no, you won’t. And I can’t
C G C'9 Cmaj9 E9sus4

To Coda Ø
    
         

make you love me if you don’t.
C'9 C G/B Am9

5fr
  
        
34
Cmaj9 E9sus4 C'9 G/B
 
 
        
              
 
2. I’ll close my eyes then I won’t see the love you do not feel when
Em7 Am7 Cmaj9 E9sus4
        
            
you’re hold - ing me. Morn - ing will come and I’ll
C'9 G/B Em7 Am7
     

          
           
 
do what’s right. Just give me till then to give up this fight.
D.S. al CodaØ
G/B Am7 G/D D G/B
           
  
      
And I will give up this fight. And I can’t
ØCoda Cmaj9 E9sus4 C'9 C G/B Em Am7
      
Vocal ad lib.
     

 
don’t.
1.
Cmaj9 E9sus4 C'9 G/B Am7
Repeat ad lib.
 
    
2.
Em7 C'9 Fmaj9
rit.
      
        
3
Some - one’s gon - na love me.
35
This Year’s Love

Words & Music by
David Gray
Disc 1 Track 24
q = 54
Db'9 Eb Db'9 Eb Db'9 Eb Ab Fm
3fr 3fr 3fr 4fr
      
  
Db'9 Eb Db'9 Eb
3fr 3fr
       
      
    
  
Thi s year’s love, it bet - ter last; hea - ven knows it’s high
Db'9 Eb Ab Fm
3fr 4fr
3
    
        


       
time, I’ve been wait - ing on my own too long.
Db'9 Eb Db'9 Eb
3fr 3fr
 
                
    

 


And when you hold me like you do it feels so right , oh now,
Db'9 Eb Ab
 3fr 4fr
 
               
  
I start to for - get how my hear t gets torn when t hat
1.
Fm Bb Db
         
     
        
hur t gets thrown; feel - ing like you can’t go on.
2, 3.
Bb7 Db Ab
4fr
   
                 

 
    


drea m in - side my soul, when you kiss me on that mid - night street, sweep me
36 © Copyright 1998 Chrysalis Music Limited. This music is copyright. Photocopying is illegal.
Fm Bb7 Db
To CodaØ
         
      
     
off my feet, sing - ing ain’t this life so sweet?
Db'9 Eb Db'9 Eb Db'9 Eb

3fr 3fr 3fr
    
      

    
Thi s year’s love, it bet - ter last.
Ab Fm Db'9 Eb Db'9 Eb
4fr 3fr 3fr
D.S. al CodaØ
    
      
    
1, 2.
ØCoda Db'9 Eb Db'9 Eb Db'9 Eb
3fr 3fr 3fr
         
        

   

  
Thi s year’s love, it bet - ter last. Thi s year’s love, it bet - ter last.
3.
Db'9 Eb Db'9 Ab
3fr 4fr
molto rit.
  
4

       
        
  
Verse 2:
Turning circles and time again
It cuts like a knife, oh now
If you love me I got to know for sure
’Cause it takes something more this time
Than sweet, sweet lies, oh now
Before I open up my arms and fall
Losing all control
Every dream inside my soul
When you kiss me on that midnight street
Sweep me of my feet
Singing ain’t this life so sweet.
Verse 3:
’Cause who’s to worry if our hearts get torn

When that hurt gets thrown?
Don’t you know this life goes on?
Won’t you kiss me on that midnight street
Sweep me off my feet
Singing ain’t this life so sweet?
37
Trouble
Words & Music by Guy Berryman,
Jon Buckland, Will Champion & Chris Martin Disc 1 Track 25
1.
q = 72 G Em7 Bm G Em7 Bm
  
      
mf
2.
Bm G Em Bm7
 
             
1. Oh no, I see a spi -
F Am G Em
      
               
- der web is tan - gled up with me. And I lost my head,
Bm7 F Am G
           
         
and thought of all the stu - pid things I’d said.
Em7 Bm G Em7 Bm7

    
G Em Bm7 F Am
 
                      
2. Oh no, what’s this? A spi - der web and I’m caught in the mid - dle.
G Em Bm7
      
        
So I turned to run, and thought
38 © Copyright 2000 BMG Music Publishing Limited. This music is copyright. Photocopying is illegal.
F Am G
           
      

of all the stu - pid things I’d done. And
$ A Em7
        
         

ah, I nev - er meant to cause you trou - ble. And
A Em7
       
         

ah, I nev - er meant to do you wrong. And
A Em7
                

 
ah, well if I ev - er caused you trou - ble, then
To CodaØ
A Em7
   
           
oh no, I nev - er meant to do you harm.
G Em7 Bm G Em7 Bm7

    
G Em Bm7 F Am
 
                       
3. Oh no, I see a spi - der web, and it’s me in the mid - dle.
39
G Em Bm7
      
        
So I twist and turn, but here
Fm9 Am G
D.S. al CodaØ
          
       
am I in my lit - tle bub - ble. Sing - ing out,
ØCoda
Em7 G Em9 Bm7 G Em9 Bm7

       
G Em9 Bm7 G Em9 Bm7

    
Em F#m7 Gmaj7 F#m7 Em F#m7 Gmaj7 F#m7
    
               
 
They spun a web for me, and they spun a web for me,
Em F#m7 Gmaj7 F#m7 Em G Em7
  
             

and they spun a web for me.
Bm7 G Em7 Bm7 G Em7 Bm7 G Em7 Bm7

 
       
40
I Saw Her Standing There

Words & Music by
John Lennon & Paul McCartney
Disc 1 Track 26
E7
q = 160
 
     
Spoken: One, two, three, four.
E7 A7
      
      

   
        

1. Well she was just sev - en - teen, and you know what I mean,
E7 B7
                
     
 
and the way she looked was way be - yond com - pare.
E7 A7 Am
  
          
               

So, how could I dance with an - oth - er, oh, when I
E7 B7 E7
     
        
 
saw her stand - in’ there. 2. Well she
E7 A7 E7
        
               
looked at me and I, I could see that be -

B7
             
    
 
- fore too long I’d fall in love with her.
© Copyright 1963 Northern Songs. This music is copyright. Photocopying is illegal. 41

E7 A7

           
         

She would - n’t dance with an - oth - er, oh,
Am E7 B7 E7
 
       
       
 
when I saw her stand - ing there. Well my
$
               
    
heart went boom when I crossed that room, and I
B7 A
      
        
       

held her hand in mine. 3. Well we danced
E7 A7 E7
               
         
through the night and we held each oth - er tight, and be -
B7
                  
     
 
- fore too long I fell in love with her. Now,
E7 A7 Am
  
         
            

I’ll nev - er dance with an - oth - er oh, since I
42
E7 B7 E7
To Coda Ø    
  

       
 
saw her stand - ing there. (Ah!)
E7

      
Guitar solo
B7 E7 A7

      
E7 B7 E7
D.S. al CodaØ
  
    
Well my
ØCoda E7
    
     

Woh, since I saw her
B7 E7
   
         
 
stand - ing there. Yeah, well since I
B7 A7 E7 E9
   
       
 
saw her stand - ing there.
43

examiner
or
q = 126 ascending descending
voice
 

            
       
      
CD
               
       
        

  
       
         
 
                  
CD

                  
    
                  
     
 
                   
         
CD
44
             
   
           
 
  
             
      
          
  

      
                
       
        
CD

   
 
                 
             
                                
         
                
            
         
  
         

           
         
CD
45
to be given against the other two parts on a backing track. Two examples will be selected.
q = 100 Seventies Funk

Disc 2 Track 2/3/4
F7

Cm7 Cm7
Backing vocals              
The good times,
 
Backing vocals     
   
 
The good times,
        
Backing vocals
    
The good times,
F7
  
             
 
you know we had some good times. The good
  
        
 
 
 
       
        
 
Cm7 F7
    
      
         
times, you know we had some good times.
  
      
 
 
      
        
 
         
46
Disc 2 Track 5/6/7

q = 65 R‘n’B Ballad
  B Em Am D B
Backing vocals                        
What can I say? I don’t want to wait. What can I do

Backing vocals                      
  
  
 
                
Backing vocals
  Em    Am D B

           
to tell you, to tell you? How can you go,
 
               

      
          
Em Am7 D B Em B
                        

leave me in this way? What can I say? What can I say?
      
                 

 
        
                
47
All Right Now

Words & Music by
Paul Rodgers & Andy Fraser
Disc 2 Track 8
A5 D/A A5 D'9/11 D A5
2fr
Intro
    
     
Whoa,
D/A A5 D'9/11 D A5
2fr
       3
          
Ow! 1. There she
A5 D/A A5 D'9/11 D
2fr
Verse
  
                  
 

stood in the street, smil - ing from her head to her
home to my place, watch - in’ ev - ’ry move on her
A5 D/A A5
 
                    

feet. I said - a, “Hey now, what is this now, ba - by?” May - be, may -
face She Said “Look what’s your game, ba - by? Are
D'9/11 D A5 D/A
2fr
             
           
 
- be she’s in need of a kiss. I said - a, “Hey, uh huh, what’s your
you try’n’ to put me in shame?” I said - a, “Slow don’t go so
A5 D'9/11 D A5
2fr
        
           
      
name ba - by?” May - be we can see things the same. Now don’t you
fast. Don’t you think that love can last?” She said,
D/A A5 D'9/11 D
2fr
    
                 
    
wait or he - si - tate, let’s move be - fore they raise the park - ing
“Love, Lord a - bove, now you’re try’n’ to trick me in
48 © Copyright 1970 Blue Mountain Music Limited. This music is copyright. Photocopying is illegal.
A5 A5 G5 D
3fr
  Chorus
                 
  

rate.”
love.”  Ow! All right now, ba - by it’s - a all right now.
A5 G5 D
3fr
  
                 
    2°
All right now, ba - by it’s a all right now,
1.
A5 A5 D/A A5
 
3
     
               
 
woh. Let me tell you now. (Mm eh.)
2.
D'9/11 D A5 A5
2fr

µ[A]
           

2. I took her
Guitar Solo*
G D A G D A G D A

Play 5 times
        
(*edited)
G D E
        
   
I said don’t you know. Oh, yeah.
A5 G5 D A5
3fr
Chorus
                    
   
 
All right now, ba - by it’s a all right now, yeah.
A5 G5 D A5
3fr
Repeat with ad lib. vocals to fade
                      
 

All right now, ba - by it’s a all right now. 49
Stan
Words & Music by Marshall Mathers,
Dido Armstrong & Paul Herman
Disc 2 Track 9
Chorus (female vocals):

(repeat)
Dear Slim, I wrote you but you still ain’t callin’
I left my cell, my pager, and my home phone at the bottom
I sent two letters back in autumn
You must not have got ’em
It probably was a problem at the post office or somethin’.
Sometimes I scribble addresses too sloppy when I jot ’em
But anyways, fuck it, what’s been up man, how’s your daughter?
My girlfriend’s pregnant too, I’m ’bout to be a father
If I have a daughter, guess what I’m-a call her?
I’m-a name her Bonnie.
I read about your uncle Ronnie too, I’m sorry
I had a friend kill himself over some bitch who didn’t want him.
I know you probably hear this every day
But I’m your biggest fan.
I even got the underground shit that you did with Scam.
I got a room full of your posters and your pictures, man.
I like the shit you did with Ruckus too, that shit was fat.
Anyways, I hope you get this man
Hit me back, just to chat
Truly yours, your biggest fan, this is Stan.
Chorus:
Dear Slim, you still ain’t called or wrote, I hope you have a chance
I ain’t mad, I just think it’s fucked up you don’t answer fans.
If you didn’t wanna talk to me outside the concert, you didn’t have to.
But you could have signed an autograph for Matthew.
That’s my little brother, man. He’s only 6 years old.
We waited in the blistering cold for you for 4 hours and you just said no.
That’s pretty shitty man, you’re like his fuckin’ idol
He wants to be just like you man, he likes you more than I do.
I ain’t that mad though, I just don’t like being lied to.
Remember when we met in Denver, you said if I write to you
You would write back. See, I’m just like you in a way.
I never knew my father neither.
He used to always cheat on my mom and beat her.
I can relate to what you’re sayin’ in your songs.
So when I have a shitty day, I drift away and put ’em on.
’Cause I don’t really got shit else, so that shit helps when I’m depressed.
I even got a tattoo with your name across the chest.
Sometimes I even cut myself to see how much it bleeds.
It’s like adrenaline. The pain is such a sudden rush for me.
See, everything you say is real, and I respect you ’cause you tell it.
My girlfriend’s jealous ’cause I talk about you 24/7.
But she don’t know you like I know you, Slim, no one does.
She don’t know what it was like for people like us growing up.
You’ve gotta call me man. I’ll be the biggest fan you’ll ever lose.
Sincerely yours, Stan.

PS: We should be together too.
© Copyright 2000 Eight Mile Style/Ensign Music Corporation/ This music is copyright. Photocopying is illegal.
50 Famous Music Corporation (50%)/Warner/Chappell Music Limited (30%)/
Cheeky Music Limited (20%).
Chorus:
Dear Mr. ‘I’m too good to call or write my fans.’
This’ll be the last package I ever send your ass.
It’s been six months and still no word. I don’t deserve it?
I know you got my last two letters, I wrote the addresses on ’em perfect.
So this is my cassette I’m sending you. I hope you hear it.
I’m in the car right now. I’m doing 90 on the freeway.
Hey Slim, “I drank a fifth of vodka, ya dare me to drive?”
You know that song by Phil Collins from ‘The Air In The Night’?
About that guy who could have saved that other guy from drowning?
But didn’t? Then Phil saw it all then at his show he found him?
That’s kinda how this is. You could have rescued me from drowning.
Now it’s too late. I’m on a thousand downers now. I’m drowsy.
And all I wanted was a lousy letter or a call.
I hope you know I ripped all o’ your pictures off the wall.
I love you Slim, we could have been together. Think about it.
You ruined it now, I hope you can’t sleep and you dream about it.
And when you dream, I hope you can’t sleep and you scream about it.
I hope your conscience eats at you and you can’t breathe without me.
See Slim, [screaming] Shut up bitch! I’m trying to talk!
Hey Slim, that’s my girlfriend screaming in the trunk.
But I didn’t slit her throat, I just tied her up,
See I ain’t like you. ’Cause if she suffocates, she’ll suffer more
And then she’ll die too.
Well, gotta go, I’m almost at the bridge now.
Oh shit, I forgot, how am I supposed to send this shit out?
[Car crashes, splashes into water]
Chorus:
Dear Stan, I meant to write you sooner, but I’ve just been busy.
You said your girlfriend’s pregnant now, how far along is she?
Look, I’m really flattered you would call your daughter that.
And here’s an autograph for your brother: I wrote it on your Starter cap.
I’m sorry I didn’t see you at the show, I must have missed you.
Don’t think I did that shit intentionally, just to diss you.
And what’s this shit you said about you like to cut your wrists too?
I say that shit just clownin’ dawg, c’mon, how fucked up is you?
You got some issues, Stan, I think you need some counsellin’
To help your ass from bouncin’ off the walls when you get down some.
And what’s this shit about us meant to be together?
That type of shit’ll make me not want us to meet each other.
I really think you and your girlfriend need each other
Or maybe you just need to treat her better.
I hope you get to read this letter.
I just hope it reaches you in time.
Before you hurt yourself, I think that you’d be doin’ just fine
If you’d relax a little, I’m glad I inspire you, but Stan
Why are you so mad? Try to understand that I do want you as a fan.
I just don’t want you to do some crazy shit.
I seen this one shit on the news a couple weeks ago that made me sick.
Some dude was drunk and drove his car over a bridge
And had his girlfriend in the trunk and she was pregnant with his kid.
And in the car they found a tape but it didn’t say who it was to.
Come to think about it... his name was... it was you.
Damn!
51
If I Ever Lose My Faith In You

Words & Music by Sting
Disc 2 Track 10
Intro
Am7 A7 A7sus4 Gaug/A
 
         
mp
Asus2 A Gsus2 G Dsus2 D

Verse
   
      
                  
1. You could say I lost my faith in sci - ence and pro - gress.
mf
    
             

You could say I lost my be - lief in the ho - ly church.
Dsus2 D Asus2 A Gsus2 G Dsus2 D
 
          

    
  
You could say I lost my sense of di - rec - tion.
Dsus2 D Asus2 A Gsus2 G
          
       

Yes, you could say all of this and worse, but
E'9 F#sus4 F#7 G6

Chorus
     
           

if I ev - er lose my faith in you,
f
Asus2/4 A'9 E'9 F#7sus4 F#7
 
         
    
there’d be no - thing left for me to do.
52 © Copyright 1992 Magnetic Publishing Limited/ This music is copyright. Photocopying is illegal.
EMI Music Publishing Limited.
G6 Asus2/4 A'9
Verse Asus2 A
          
      
2. Some would say I was a
mf
Gsus2 G Dsus2 D Dsus2 D
        
    

lost man in a lost world.
  3    
              
You could say I lost my faith in the peo - ple on T. V.
          
         
You can say I lost my be - lief in our pol - i - ti - cians.
Dsus2 D Asus2 A F#m11 F#m7
      
            

They all seem like game show hosts to me.
E'9 F#7sus4 F#7 G6

Chorus
     
           

If I ev - er lose my faith in you,
f
Asus2/4 A'9 E'9 F#7sus4 F#7

 
         
    
53
G6 Asus2/4 A'9 Asus2/4 A'9
N.C.
 
        
F#m7 G#m11 Amaj13 Bsus4 B

Bridge 2fr 2fr

          
       

I could be lost in - side their lies with - out a trace,
F#sus2 F# G#sus4 G# B/A A B/A A

4fr 4fr 4fr

            
       

but ev - ’ry time I close my eyes I see your face.

Verse
          
       
3. Nev - er saw no mir - a - cle of sci - ence

                   
 
that did - n’t go from a, a bless - ing to a curse.
Dsus2 D Dsus2 D Asus2 Gsus2 G
   
               
Nev - er saw no mil - i - tary sol - u - tion
Dsus2 D Dsus2 D Asus2 A

     
     
that did - n’t al - ways
54
F#m11 E'9 C#m7

4fr
             
      

end up as some - thing worse, but let me say this first:
Bsus2 C#sus4 Dmaj13

Chorus
4fr
          
             
If I ev - er lose my faith in you, if I ev - er lose
Esus2 Bsus2 C#sus4

2fr 4fr
      
               
my faith in you there’d be no - thing left for me to do,
Dmaj13 Esus2
2fr
      
             

E'9 F#7sus4 F#7 G6
      
        
        
If I ev - er lose my faith, if I ev - er lose
Asus2/4 A E'9 F#7sus4 F#7
 
           
     
my faith, if I ev - er lose my faith,
G6 Asus2/4 A Asus2/4 A
     
           

if I ev - er lose my faith, in you.
Outro
Repeat ad lib to fade

N.C.
   
      
mf
55
If You’re Not The One

Words & Music by
Daniel Bedingfield
Disc 2 Track 11
q = 60
Fsus4 Fsus4
    
        
   
     
1. If you’re not the one then why does my soul feel glad
(2.) I don’t need you then why am I cry - ing on
Ebsus2 Fsus4
            
        
 
to - day? If you’re not the one then why does my hand fit yours
my bed? If I don’t need you then why does your name re - sound
Ebsus2 Fsus4
    
                   
this way? If you are not mine then why does your heart re - turn
in my head? If you’re not for me then why does this dis - tance maim
Ebsus2 Fsus4
            
        
 
my call? If you are not mine would I have the strength to stand
my life? If you’re not for me then why do I dream of you
Ebsus2 F Ebsus2
3
      
              
at all? I nev - er know what the fu - ture brings, but I
as my wife? I don’t know why you’re so far a - way, but I
F Cm7add11 Bb'9
3fr
    
                     
 
know you’re here with me now. We’ll make it through and I hope you are the one I
know that this much is true, we’ll make it through and I hope you are the one I
Ebmaj9 1. Bb'9
              
       
share my life with.
share my life with.  I don’t wan - na run a - way but I
56
© Copyright 2002 Sony/ATV Music Publishing (UK) Limited. This music is copyright. Photocopying is illegal.
Cm7add11 Ebsus2 Bb'9 Cm7add11

3fr 3fr
                     
  
can’t take it, I don’t un - der - stand. If I’m not made for you then why
Ebsus2 Gm7 F
3fr
         
  
           
does my heart tell me that I am? Is there a - ny way that I could stay
Cm7 Eb'9
3fr 5fr
       
   
  
in your arms? 2. If
2. Bbsus2 Eb9
5fr
            
3
 
         
And I wish that you could be the one I die with.
Bb'9 Eb9
5fr
    3  
     
           
And I’m pray - ing you’re the one I build my home with.
Fsus4 Ebsus2 Bb'9
              
         
I hope I love you all my life. I don’t wan - na run a - way but I
Cm7add11 Ebsus2 Bb'9 Cm7add11
3fr 3fr
                     
  
can’t take it, I don’t un - der - stand. If I’m not made for you then why
Ebsus2 Gm7 F
3fr
         
  
           
does my heart tell me that I am? Is there a - ny way that I can stay
57
Cm7 Eb9 Gm Eb
3fr 5fr 3fr 6fr
        
              
 

in your arms? ’Cause I miss you, bo - dy and soul so strong
F Eb Bb Gm Eb
6fr 3fr
             
          

that it takes my breath a - way. And I breathe you in - to my heart and pray
F Eb/Bb Bb Gm Eb
6fr 3fr 6fr
                     
     
for the strength to stand to - day. ’Cause I love you, whe - ther it’s wrong or right
F Eb/Bb Bb Eb F
6fr 6fr
    
          
       
and though I can’t be with you to - night you know my heart is by your
Bb'9 Cm7add11 Ebsus2

3fr
                    
 
side. I don’t wan - na run a - way but I can’t take it, I don’t un - der - stand.
Bb'9 Cm7add11 Ebsus2

3fr
                     
  
If I’m not made for you then why does my heart tell me that I am?
Gm7 F Cm7 Eb'9
3fr 3fr 5fr
    
           
     
Is there a - ny way that I can stay in your arms?
 Repeat to fade
    
 
58
Angels
Words & Music by
Robbie Williams & Guy Chambers
Disc 2 Track 12
q = 76
E
  
           
  
mf I sit and wait, does an an -
Asus2 A C#m/A B
4fr
     
             
   
- gel con - tem - plate my fate? And do they know
E Asus2 A C#m/A
4fr
 
                  
 
the pla - ces where we go when we’re grey and old?
B F#m7 A
       
             
  
’Cause I have been told that sal - va - tion lets their wings
Cm7 A D
4fr
  
                
  
un - fold. So when I’m ly - ing in my bed, thoughts
A/C# A E D A/C#
  
                       
 
run - ning through my head and I feel that love is dead, I’m lov - ing an - gels in - stead.
E
$B C#m
4fr
            
              
 
And through it all she of - fers me pro - tec - tion, a lot of love and af - fec -
59
© Copyright 1997 EMI Virgin Music Limited (50%)/ This music is copyright. Photocopying is illegal.
BMG Music Publishing Limited (50%).
A Asus2 E
        
         

- tion whe - ther I’m right or wrong. And down the wa - ter - fall
B C#m
4fr
           
      
 

wher - ev - er it may take me, I know that life won’t break
A Asus2 E/G# F#m
   
             

    

me when I come to call, she won’t for - sake me,
To CodaØ
Dadd9 A/C# E
   
                 
 
I’m lov - ing an - gels in - stead. When I’m feel - ing weak and my pain
Asus2 A C#m/A B
4fr
    
          
       
walks down a one - way street, I look a - bove
E Asus2 A C#m/A
4fr
        
          
   
and I know I’ll al - ways be blessed with love.
Bb D A/C# A
 
                     
 
And as the feel - ing grows, she brings flesh to my bones and
60
E Dadd9 A/C# E
D.S. al CodaØ
 3
    
              
  
when love is dead, I’m lov - ing an - gels in - stead. And through it all
1.
ØCoda E Bm F#m/A E Bm F#m/A E
  
         
2.
E/G# B C#m
4fr
            
              
 
And through it all she of - fers me pro - tec - tion, a lot of love and af - fec -
A Asus2 E
         
       
 
- tion whe - ther I’m right or wrong. And down the wa - ter - fall
B C#m
4fr
                
    

wher - ev - er it may take me, I know that life won’t break
A Asus2 E/G#
        
         

me when I come to call, she won’t for - sake
rit.
F#m Dadd9 A/C# E
   
           
 
me, I’m lov - ing an - gels in - stead.
61
The Guru’s Guide To Level 3 Male Vocals

Supplementary Material
Rockschool recommends the following songs in addition to the repertoire printed in this book. The list below
shows the songs arranged by grade along with the publications in which they may be found.
Grade 6
Wanted Dead Or Alive Play Guitar With Bon Jovi - Early Years AM971256
I Knew You Were Waiting (For Me) You’re The Voice IMP9007A
You’re In My Heart In Session With Rod Stewart IMP6607A
When A Man Loves A Woman Sing & Party With Tear-jerkers IMP9803A
Don’t Let The Son Go Down On Me Essential Audition Songs: Pop Ballads IMP9776A
Roxanne Play Guitar With The Police AM960993
Grade 7
Careless Whisper You’re The Voice: George Michael IMP9007A
Hello Sing & Party With Tear-jerkers IMP9803A
Reet Petite Audition Songs For Male Singers 3 AM972400
Grade 8
Freedom ’90 You’re The Voice: George Michael IMP9007A
’97 Bonnie And Clyde Rap With Eminem AM972510
The Real Slim Shady Rap With Eminem AM972510
My Name Is Rap With Eminem AM972510
Warm Up
It is important that you prepare for the exam by warming up your voice properly. You should ensure that you
arrive at the exam centre within plenty of time to do this. We have arranged the elements of the grade exam such
that the performances come at the end. The backing tracks and/or accompaniment are always variable in volume
and you should always tell the examiner if you feel that you are straining to be heard.
Free Choice Pieces
In grade exams you are allowed to perform one song not specified in this book. This may be a hit from the chart
or a song composed by yourself. In performance certificate exams you are allowed to perform up to two songs
not specified in this book.
If you wish to find out whether a free choice piece song is appropriate for the grade, you may either contact
Rockschool and submit the song for adjudication, or look on our website www.rockschool.co.uk and consult the
free choice piece criteria.
62
Marking Schemes
The table below shows the marking schemes for grad exams and performance certificates. All Rockschool exams
are marked out of 100 and the pass mark for a grade exam is 65% and for a performance certificate is 70%.
Grade Exam
Element Pass Merit Distinction
Technical Exercises 6 out of 10 7 out of 10 8 out of 10
General Musicianship
3 out of 5 4 out of 5 5 out of 5
Questions
Aural Tests 6 out of 10 7 out of 10 8 out of 10
Quick Study Piece 11 out of 15 12 out of 15 13 out of 15
Piece 1 13 out of 20 15 out of 20 17 out of 20

Performance Certificate
Element Pass Merit Distinction
Examination Criteria
Rockschool examiners assess all examinations according to strict guidelines. Copies of these for vocals can be
found on the website www.rockschool.co.uk or direct from our offices. Please ring 020 8332 6303 for further
details.
Exam Regulations
Entering a Rockschool exam is easy. Please read through the instructions on the back of the entry form
accompanying this book carefully, before filling it in. Information on current fees can be obtained by ringing
Rockschool on 020 8332 6303 or by logging on to the website www.rockschool.co.uk.
63
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RSL Voc 6-8 male corrections.

qxd 06/05/2004 10:36 Page 1

Better Vocals With...

The Guru’s Guide To Level 3 Male Vocals 62

Welcome To Level 3 Male Vocals

How To Use The CD

Important Information For Candidates

Grade 6 Technical Exercises

Exercise 1: Scales Disc 1 Track 1

Exercise 2: Backing Vocals

q = 110 Eighties Disco Disc 1 Track 2/3/4

Exercise 3: Backing Vocals (continued)

Disc 1 Track 5/6/7

The Boys Are Back In Town

C#m7 F#7sus4 Bm7

G D C#m7 F#7sus4 Bm7 Bm/E

F#7sus4 G D C#m7 F#7sus4

Bm7 E11 F#7sus4

Repeat with ad lib vocals to fade

Can’t Buy Me Love

10 © Copyright 1964 Northern Songs. This music is copyright. Photocopying is illegal.

Brand New Day

A'9/C# B'11 A/D E'9/G#

Em11 Asus2 B'11

You’re the pan and I’m the handle

Repeat ad lib to fade

Em Am'9 C Am'9 Em Am'9 C Am'9

Em Am'9 C Am'9 Em Am'9 C Am'9

Em Am'9 C Am'9 Em Am'9 C Am'9

Em Am'9 C Am'9 Em Am'9 C Am'9

 She burns like the sun, and I can’t look

Em Am'9 C Am'9 2. Am6 Am7

Em Am6 Am7 Em Am6 Am7 Em Am6 Am7 Em

Am6 Am7 Em Am6 Am7 Em

Am6 Am7 Em Am6 Am7 Em

Grade 7 Technical Exercises

Exercise 1: Scales Disc 1 Track 14

Exercise 2: Backing Vocals

q = 110 Seventies Up-tempo Soul Disc 1 Track 15/16/17

Exercise 4: Backing Vocals (continued)

Disc 1 Track 18/19/20

Repeat ad. lib. to fade

Oh, what are you really looking for?

When there’s no love in town etc.

Oh let our love sur - vive, oh, dry the

I Can’t Make You Love Me

Em7 Am7 Cmaj9 E9sus4 C'9

C G/B Cmaj7/A Cmaj9 E9sus4

Em7 Am7 Cmaj9 E9sus4

C'9 G/B Em7 Am7

Em7 C D/F# Em7

Cmaj9 D/F# Em7

G/A Am7 G/D D G/B

C G C'9 Cmaj9 E9sus4

C'9 C G/B Am9

Cmaj9 E9sus4 C'9 G/B

Em7 Am7 Cmaj9 E9sus4

C'9 G/B Em7 Am7

ØCoda Cmaj9 E9sus4 C'9 C G/B Em Am7

This Year’s Love

Db'9 Eb Db'9 Eb Db'9 Eb

’Cause who’s to worry if our hearts get torn

1. Oh no, I see a spi -