RSK200150 Rockschool Vocals 2021 G3 DIGITAL 17feb2022

Vocals
Grade 3
Performance pieces, technical exercises and in-depth guidance
for Rockschool examinations
ISBN: 978-1-78936-304-3
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Acknowledgements
© 2021 by RSL Awards Ltd. and Hal Leonard Europe Ltd.

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Catalogue Number: RSK200150
ISBN: 978-1-78936-304-3
17 Feb 2022 | Errata details can be found at www.rslawards.com/errata
2021 Syllabus 2014 Syllabus Content

Syllabus Designers: Jono Harrison and Eva Brandt Syllabus design and production: James Uings, Simon Troup,
Syllabus Director: Tim Bennett-Hart Stephen Lawson, Stuart Slater
Syllabus Consultants: Eva Brandt, Samantha Richards, Vocal specialists and consultants: Martin Hibbert, Eva Brandt,
Sarah Page, Jamie Spencer, Abbie Thomas Emily Nash, Stuart Slater, Sarah Page
Syllabus Advisors: Dr. Andrew McBirnie, Stuart Slater, Full transcriptions and backing tracks by Hal Leonard LLC
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Vocal and piano arrangements by Jono Harrison,
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2021 Audio
Produced by Jono Harrison, Rory Harvey, Pete Riley,
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Vocals Grade 3
2
Table of Contents
Introductions & Information
1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Vocals Grade 3
6 Repertoire Overview
Hit Tunes
7 Valerie................................................................... . . . . . . . . . . . . . . . . . Amy Winehouse

15 Happy. . ................................................................... . . . . . . . . . . . . . . . . Pharrell Williams
23 22.. . . . . . . . . . .................................................................. . . . . . . . . . . . . . . . . . Taylor Swift
29 Radioactive........................................................ . . . . . . . . . . . . . . . . . Imagine Dragons
35 It’s All Right (from Soul)............................ . . . . . . . . . . . . . . . . . Jon Batiste
41 Shotgun. . ............................................................... . . . . . . . . . . . . . . . . George Ezra
49 Colors of the Wind.. ....................................... . . . . . . . . . . . . . . . . from Pocahontas
57 Marry You........................................................... . . . . . . . . . . . . . . . . Bruno Mars
63 People Help the People............................... . . . . . . . . . . . . . . . . . Birdy
69 All of Me.. ............................................................ . . . . . . . . . . . . . . . . . Billie Holiday
Technical Exercises

73 Scales, Arpeggios, Intervals & Technical Studies
Supporting Tests
76 Sight Reading
77 Improvisation & Interpretation
Additional Information
81 Pre-Examination Checklist
82 Entering Exams, Exam Procedure & Marking Schemes
83 Musical Interpretation & Free Choice Pieces
84 Copyright Information
Vocals Grade 3
3
Welcome to Rockschool Vocals Grade 3
Welcome to Rockschool Vocals Syllabus 2021. This book and accompanying downloadable audio contain everything you
need to sing at Grade 3.
Vocals Exams
At each grade you have the option of taking one of two different types of examination:
■ Grade Exam
A Grade Exam is a mixture of music performances, technical work and tests. You prepare three pieces (two of which
may be Free Choice Pieces) and the contents of the Technical Exercise section. This accounts for 75% of the exam marks.
The other 25% consists of: either a Sight Reading or an Improvisation & Interpretation test (10%), two Ear Tests (10%),
and finally you will be asked five General Musicianship Questions (5%). The pass mark is 60%.
■ Performance Certificate
In a Performance Certificate you sing five pieces. Up to three of these can be Free Choice Pieces. Each song is marked
out of 20 and the pass mark is 60%.
Book Contents
This book is divided into a number of sections. These are:
■ Exam Pieces
Ten popular songs covering a breadth of contemporary musical styles, arranged for the grade level. At the beginning
of the book there is a Repertoire Overview page outlining the key, tempo, genre and melodic range of the song, as
well as a summary of the main technical and stylistic features to implement.

Each score is preceded by background information about the original recording and performing artist, and this is
followed by expanded performance notes giving further guidance on approaching the songs.
The scores are notated as top line vocal parts with lyrics, chord symbols and backing vocal references where
helpful. The notation also includes professionally-arranged piano accompaniments for teaching, audition and
performance purposes.
In addition to the book notation, there is also a separate vocal-only digital score included in your downloads for
extra ease of use.
■ Technical Exercises
A selection of scales, arpeggios, intervals and technical studies must be performed in the exam. Depending on the
exercise, you may see an example (with a range of optional starting notes), or a choice between exercises (to suit
your vocal range). There is a pre-examination checklist at the back of the book, where you can note your choices of
starting notes and examples ahead of the examination.
■ Supporting Tests
Firstly, you may choose either a Sight Reading or an Improvisation & Interpretation test. These tests are previously
unseen and examples are given in the book. You will then need to respond to two Ear Tests focusing on melodic
and rhythmic recall. You will also be asked a set of General Musicianship Questions (GMQs) at the end of the exam.
Examples of the types of tests likely to appear in the exam are printed in this book.
■ General Information
Finally, you will find information on exam procedures, including online examination entry, marking schemes, your
Vocals Grade 3
pre-exam checklist, and information on Free Choice Pieces and improvisation requirements for each grade.
4
Audio
Each song in Vocals Grade 3 has two audio tracks that can be downloaded from RSL directly from the following URL:
www.rslawards.com/downloads
These are:
■ A full track, featuring a professional vocalist’s stylistic interpretation of the score. This can be helpful for further ideas
beyond the original recorded version.
■ A backing track with the vocal removed so you can sing along with the band or piano. The backing tracks should be
used in examinations. There are also audio examples of the supporting tests printed in the book.
There are also example recordings and backing tracks included as part of your download for the technical exercises and
supporting test sections.
When downloading audio files, you will need to input this code when prompted: SLXEYH4Z3F
All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded from
the RSL website: www.rslawards.com
Audio Access

Audio for this book can be accessed via the QR code on the right (requires a compatible smartphone
or tablet) or by using the URL and download code shown above.
Vocals Grade 3
5
Repertoire Overview
Song/Artist Key & Range Info Key Features to Implement at this Grade
b
Genre: Contemporary R&B/Soul
&bb œ
■ Confident management of register changes
Valerie Key: E b major ■ Secure rhythmic and melodic phrasing
œ
Amy Winehouse Tempo: q108 ■ Dynamic changes and variation of tone colours
Range: G3 to B b 4 ■ Strong communication and articulation of lyrical content
œ
Genre: Pop
&b
■ Confident falsetto management with secure intonation
Happy Key: F major
œ
■ Secure rhythmic phrasing of the melody line
Pharrell Williams Tempo: q160 ■ Expressive and dynamic variations
Range: C4 to C5 (‡) ■ Strong communication and articulation of the lyrics
#
■ Confidence with tone quality and register management
œ
Genre: Pop
&
22 ■ Secure rhythmic and melodic phrasing with accuracy
Key: G major
of pitching
œ
Taylor Swift Tempo: q104 ■ Expressive dynamic variation and tone colours
Range: G3 to D5 ■ Secure communication to emphasis the lyrical content
##
Genre: Rock ■ Well-managed and projected chest voice and transition
Radioactive
& œ Key: B minor
■ Sustained breath support for management of melodic
phrasing
q136
œ
Imagine Dragons Tempo:
■ Expressive variation of dynamics and tone colour
Range: E3 to B4 (†) ■ Strong communication and expression
## œ
Genre: Soundtrack/Soul ■ Managing the falsetto/head voice with secure intonation
&
It’s All Right Key: D major

■ Confident rhythmic phrasing with a ‘swung’ feel
Jon Batiste (from Soul)
œ Tempo:
Range:
q104
A3 to C # 5 (†)
■
■
Exploring a range of tone colours in the voice
Strong communication and articulation of the lyrics
Genre: Pop
&b
■ Strong tone quality and register management
œ
Shotgun Key: F major ■ Confidence in managing rhythms with accented notes
œ
George Ezra Tempo: q116 ■ Vocal effects on higher and lower notes
Range: F2 to F4 (†) ■ Dynamic variation and communication of the lyrics
## œ
Genre: Soundtrack ■ Maintaining a suitable tone across the registers
&
Colors of the Wind Key: D major ■ Secure management of tempo changes and rhythms
from Pocahontas
œ Tempo:
Range:
q100
A3 to D5
■
■
Secure dynamic changes between sections
Strong communication and articulation of the lyrics
Genre: Pop ■ Confidence in managing falsetto/head voice quality with
&b œ
Marry You Key: F major secure intonation
œ
■ Secure rhythmic and melodic phrasing
Bruno Mars Tempo: q145
C4 to B b4 (†)
■ Expressive dynamics changes and breath support
Range: ■ Strong communication of lyrical content
## #
& # ## œ
Genre: Chamber Pop ■ Secure management of both chest and head voice
People Help the People Key: F # major ■ Secure rhythmic phrasing of the melody
Birdy
œ Tempo:
Range:
q72
A # 3 to A #4 (†)
■
■
Longer phrases managed with secure breath support
Confidence in articulation and delivery of the lyrical content
Vocals Grade 3
œ
Genre: Jazz
&b
■ Secure management of chest and head voice
All of Me Key: F major ■ Attention to melodic and rhythmic details
Billie Holiday
œ Tempo:
Range:
q105 (Swung 8ths)
A3 to C5
■
■
Stylistic shaping of tone colours
Personal variation of the melody
6 † Range and notation in this table is displayed at actual pitch. The associated score is notated one octave higher than it sounds for legibility.
‡ Range and notation in this table is displayed at actual pitch. Lead vocal is notated one octave higher than it sounds for legibility, backing vocals are notated at pitch.
Valerie | Amy Winehouse 
Album: Version Written by: Sean Payne, David McCabe, Abigail Harding,
Released: 2007 Boyan Chowdhury and Russell Pritchard
Label: Columbia/Island Produced by: Mark Ronson
Genre: Soul
Background Info 
‘Valerie’ is a song originally released by British indie rock band The Zutons as a part of their 2006 album Tired of Hanging
Around. The song was discovered by Amy Winehouse after its initial success, and she decided to cover the song for Mark
Ronson’s 2007 music project, which consisted of soul renditions of guitar-based genres of music such as rock. The song
was then released as a single from Mark Ronson’s second studio album Version to great critical and commercial success,
peaking at number 2 on the UK Singles Chart. In 2011 it was included in a posthumous album release named Lioness:
Hidden Treasures, featuring some of Winehouse’s greatest performances selected by Ronson and the singer’s family.
During her short but influential career, Amy Winehouse released two solo studio albums. Her second studio album
Back to Black was very highly regarded in the UK and internationally, and won five Grammys at the 2007 Grammy Awards.
After her untimely death in 2011, Amy Winehouse continues to be an influence on modern musicians and performers,
with famous artists such as Jessie J, Sam Smith and Billie Eilish citing her as an influence in their music and career.

Performance Notes 
This contemporary R&B/soul song was made famous by Amy Winehouse when she recorded it with Mark Ronson in
2007. It is a good example of how Amy managed her distinct voice with an array of tone colours and expression.
Pay attention to the clarity of the lower notes in the verses, while still aiming to be in your upper chest voice for the
beginning of the chorus so as to achieve a richer tone colour in the transition between registers. You can switch to
your head voice for the higher notes in the chorus, and aim to use your resonators to maintain a projected tone without
it sounding pushed or strained. Don’t be afraid to experiment with the pronunciation and positioning of the words
– in particular the placement of the vowels, as is often the chase with Amy’s singing approach.
Pay attention to the rhythmic phrasing in order to achieve a stylistically laid-back feel with the backing track. The
lyrical content of the story is important to articulate with clear diction and expressive communication throughout.
‘Key Features to Implement at this Grade’ are shown in the Repertoire Overview on page 6
Vocals Grade 3
7
Valerie
Words and Music by Sean Payne, David McCabe, Abigail Harding, Amy Winehouse
Boyan Chowdhury and Russell Pritchard
q108 Contemporary R&B/Soul
b
& b b 44 Ó Œ
N.C.
œ œ
Vocals
Well, some -
b
& b b 44
Piano
? b b 44
b œ ‰ œ ‰ œj ‰ œj œ ‰ ‰ j‰ j
œ œ œ œ œ ‰ ‰ j‰ j
œ œ œ œ œ ‰ ‰ j ‰ œ bœ œ œ
œ œ œ
E b maj 7
b j
Fm7
&bb œ ‰ œ j Ó
œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
times I go out by my - self and I look a - cross the wa - ter.
b
&bb
? bb

b œ ‰ œ ‰ œj ‰ œj œ œ ‰ œ
‰ j ‰
œ œ œ nœ œ‰ œ
‰ j‰ j
œ œ œ
5
E b maj 7
b
&bb Ó Œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ. œ œœœ œ œ
And I think of all the things, what you’re do - in’, and in my head I paint a
b
&bb
? bb
b œ ‰ œ ‰ œj ‰ œ œ n œ œ ‰ œ ‰ œj ‰ j
œ œ œ‰ œ
‰
œ
j ‰
œ œ nœ
8
Ab
b j
Fm7
& b b œ œ. Ó œ œ œ œ œ œ
œ
pic - ture. Since I’ve come home, well my
b œœœ œœœ j œœœ œœœ j

& b b œœœ œœœ œœœ ..
. œ œ œ œœœ œœœ ‰ œœœ ..
. œ œ œœ
œ
œœ ‰ œœ ..
œ œ.
œœ œœ
œ œ
Vocals Grade 3
? bb j j
b œ ‰ œ ‰ œj ‰ œj œ ‰ j ‰
œ‰ œ œ œ œ nœ œ ‰ œ‰ œ ‰ œ œ
11
8 Copyright © 2006 EMI Music Publishing Ltd.

All Rights Administered by Sony Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved
Ab
bbb
Gm7 Gm7
& œ œ œœ œ œ œ Œ
œ œ œ œœ œ œ œ œ œ œ œ œ œœ œ œ
bod - y’s been a mess and I’ve missed your gin - ger hair and the way you like to dress.
b œœœ ... œœœ œœœ œœœ ... œœœ œœœ

& b b œœœ œœœ œœ
œ
œœ
œ
œœ .. œœ œœ
œ. œ œ œœ œœœ
? bb j ‰ œj œ j j ‰ j ‰ œj œ
b œ‰ œ‰ œ œ‰ œ‰ œ ‰ œ œ œ‰ œ œ
14
Ab
b j
Gm7
&bb ‰ œ œ œ œ. œ œ
Œ ‰ œ œ œ œ œ œ œ œ
Won’t you come on o - ver? Stop mak - in’ a fool out of
b œœœ œœœ œœœ ... œœœ œœœ

& b b œœœ œœ
œ
œœ ..
œ.
œœ œœ
œ œ
? b j j j j
bb œ ‰ œ ‰ œ ‰ œ œ œ ‰ œ ‰ œ ‰ œ œ
17

Bb
b j Ó
& b b œ œ. œ œ œ œ œ œ œ œ. œ
me. Why don’t you come on o - ver, Val - er -
œ œ œ œ
b œ œœ œœ œœ
& b b œœ œ œ œ œ œ œ œ
? b œ ‰ j j j
bb œ ‰ œ ‰ œ œ œ ‰ œ ‰ œ œ œ œ œ
19
E b maj 7
bbb j
Fm7
& Œ Ó Ó Œ œ œ œ œ œ. Ó
œ
ie. Val - er - ie.
b œ œœ œœœœ Œ
& b b ˙˙˙ œ œœ œœœœ Œ ˙˙˙ œ œœ œœœ Œ
œ ˙˙˙
˙ œ ˙ œ ˙ œ
Vocals Grade 3
? b
b b œ ‰ œ ‰ œj ‰ j
œ œ œ ‰ œ
‰ j ‰
œ œ œ nœ
‰ j‰ j
œ‰ œ œ œ œ
21
9
E b maj 7
b
&bb Ó ‰ œ œ œ œ Œ Ó Ó Œ œ œ œ
Val - er - ie. Val - er - ie.
b œ œœ œœœœ Œ
&bb ˙˙˙
˙ œ
˙˙˙ œ œœ œœœœ Œ ˙˙˙ œ œ œœœ Œ
œ
˙ œ ˙ œ œ
? bb
b œ ‰ œ ‰ œj ‰ œ œ nœ
‰ j‰
œ‰ œ œ
j
œ œ
‰ j ‰
œ‰ œ œ œ œ nœ
24
b j
Fm7
&bb œ œ. Ó Ó Œ
œ œ
Did you
b œœœ Œ œœœ Œ
& b b ˙˙˙˙ œ œœ œ ˙˙˙ œ œ œ
œ ˙ œ œ
? bb ‰ j ‰ j ‰ j ‰
b œ ‰ œ œ œ œ œ ‰ œ œ œ œ nœ
27

E b maj 7
b
&bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
have to go to jail, put your house on up for sale, did you get a good
b
& b b ww ˙˙ œ œ
w ˙
? bb ‰ j ‰ j ‰ j ‰
b œ ‰ œ œ œ œ œ ‰ œ œ œ œ nœ
29
E b maj 7
b j
Fm7
& b b œj œ œ œ Œ Ó Œ œ œ œ œ ‰ œ œ œ œ œ œ œ
law - yer? Hope you did - n’t catch a tan, I hope you
b j œœœ Œ
& b b ww ˙˙ œ Œ œœ ‰ œœ ..
œ œ œ.
w ˙
Vocals Grade 3
? bb
b œ ‰ œ ‰ œj ‰ œj œ œ‰ œ
‰ j‰
œ œ œ nœ œ ‰ œ
‰
œ
j ‰ j
œ œ
31
10
b œ œ œ œj œ .
Fm7
&bb œ œ œ œ œ œ œ Ó Ó Œ œ œ
find the right man who will fix it for you. Are you
b j j œœœ œœœ j œœœ œœœ

œœ .. œœœ œœœ œœ ‰ œœ .. œœœ ‰ œœœ ..
&bb Œ œœ
œ
‰
œ.
Œ œ œ. œ œ Œ œ œ .. œ œ
? bb
b œ ‰ œ‰ œ
j ‰
œ œ nœ œ‰ œ
‰ j‰ j
œ œ œ œ‰ œ
‰ j‰
œ œ œ nœ
34
E b maj 7
b j
& b b .. œ œ œ œ œ
Fm7
Ó
œ œ œ œ. œ œ œ œ œ œ œ œ.
shop - ping an - y - where, change the col - or of your hair, are you bus - y?
times I go out by my - self and I look a - cross the wa - ter.
b j j j œœœ œœœ
& b b .. Œ œœ ‰ œœ .. œœœ Œ Œ œœ ‰ œœ .. œœœ œœœ Œ œœ ‰ œœ ..
œ œ. œ œ. œ œ. œ œ
? b ..
b b œ ‰ œ ‰ œj ‰ œj œ œ ‰ œ
‰ j ‰
œ œ œ nœ œ‰ œ
‰ j‰ j
œ œ œ
37

E b maj 7
b œ.
&bb Ó Œ ⇥ œ œ œ œœ œ œ œ
œ œ œ œ. œœ œœœ œ œ
And did you have to pay that fine you was dodg - ing all the time? Are you still
And I think of all the things, what you’re do - ing, in my head I paint a
b œœœ œœœ .. œœœ œœœ œœ .. œœœ Œ œœ .. œœœ œœœ

&bb Œ œ œ .. œ œ Œ œœ
œ œ.
Œ œœ
œ œ.
? bb
b œ ‰ œ ‰ œj ‰ œ œ n œ ‰ j ‰ j
œ‰ œ œ œ œ
‰ j ‰
œ‰ œ œ œ œ nœ
40
Ab
b j
Fm7
& b b œ œ. Ó ∑
œ œ
Ó Œ ‰ œ
J
œ œ œ œ œ
diz - zy?
Since I’ve come home, well my
pic - ture. ’Cause
b j œœœ œœœ j œœœ œœœ j

&bb Œ œœ ‰ œœ .. Œ œœœ ‰ œœœ .. œœ œœ ‰ œœ .. œœ œœ
œ œ. œ œ œ œ .. œ œ œ œ œ. œ œ
Vocals Grade 3
? bb j j
b œ ‰ œ ‰ œj ‰ œj œ œ‰ œ
‰ j ‰
œ œ œ nœ œ‰ œ‰ œ ‰ œ œ
43
11
Ab
bbb
Gm7 Gm7
& œ œ œœ œ œ œ Œ
œ œ œ œœ œ œ œ œ œ œ œ œ œœ œ
bod - y’s been a mess. And I’ve missed your gin - ger hair and the way you like to dress.
b œœœ ... œœœ œœœ œœœ ... œœœ œœœ

& b b œœœ œœœ œœ
œ
œœ
œ
œœ .. œœ œœ
œ. œ œ œœ œœœ
? bb j j
b œ ‰ œ ‰ œj ‰ œj œ œ‰ œ‰ œ ‰ œ œ œ‰ œ‰ œ
j ‰ œj œ
46
Ab Bb
b ‰ œj œ œ œ œ j
Gm7
&bb ‰ œ œ œ œ œ œ œ Œ œ œ œ œ œ. Ó
Won’t you come on o - ver? Stop mak - in’ a fool out of me.
b œœœ œœœ œœœ ... œœœ œœœ œœ œœ œœ œœ

& b b œœœ œœ
œ
œœ ..
œ.
œœ œœ
œ œ œ œ œ œ
? bb j j j j j j
b œ‰ œ ‰ œ ‰ œ œ œ‰ œ‰ œ ‰ œ œ œ‰ œ‰ œ ‰ œ œ
49

E b maj 7
& bbb œ œ œ œ œ œ œ œ. œ œ Œ Ó Ó Œ œ œœ
Why don’t you come on o - ver, Val - er - ie. Val - er - ie.
œ œ œ œ
bb b œ
& œ œ œ ˙˙˙ œ œœ œœœœ Œ ˙˙˙ œ œœ œœœ Œ
œ
˙ œ ˙ œ
? b b œ ‰ œ ‰ œj œ ‰ j‰ j ‰ j ‰
b œ œ œ ‰
œ œ œ œ œ ‰
œ œ œ œ œ nœ
52
E b maj 7
b j
Fm7
& b b œ œ. Ó Ó ‰ œ œ œ œ Œ Ó
Val - er - ie.
b œ œœ œœœœ Œ œœœ Œ
&bb ˙˙˙
˙ œ
˙˙˙
˙
œ œœ
œ œ ˙˙˙ œ œœ œœœ Œ
œ
˙ œ
Vocals Grade 3
? bb
b œ ‰ œ ‰ œj ‰ j
œ œ
‰ j ‰
œ‰ œ œ œ œ nœ ‰ ‰ j ‰
œ œ œ
j
œ œ
55
12
1. 2.
b j .. œj œ
Fm7 Fm7
&bb Ó Œ œ œ œ œ œ. Œ . Ó
œ œ
Val - er - ie. Well some‐
b œ œœ œœœœ Œ .. ˙˙ œ œœ œœœœ Œ
& b b ˙˙˙ œœ œœœ Œ
œ
˙˙˙ ˙˙
˙ œœ ˙ œ œ
? bb .. ‰ ‰ j ‰ j
b œ ‰ œ ‰ œj ‰ œ œ nœ
‰ j ‰ j
œ‰ œ œ œ œ œ œ œ œ œ
58
Ad lib. melody to * E b maj 7

b
&bb Ó Œ œ œœ œ œœœ Ó Ó Œ œ œœ
Val - er - ie, Val - er - ie,
b
& b b ˙˙˙ œ œœ œœœœ Œ ˙˙˙ œ œ œœœœ Œ ˙˙˙ œœ œœœ Œ
œ
˙ œ ˙ œœ ˙ œœ
? bb
b œ ‰ œ ‰ œj ‰ œj œ ‰ ‰ j‰ j
œ œ œ œ œ ‰ ‰ j ‰
œ œ œ œ œ nœ
61

Fm7 E b maj 7
b
& b b œ œ œ ˙. Ó Œ œ œ œ œ œ œ ˙
Val - er - ie,
b œœœ Œ œ œœ œœœœ Œ
&bb ˙˙˙
˙
œ œœ
œ œ ˙˙˙
˙ œ ˙˙˙ œœ œœœ Œ
œ
˙ œœ
? bb
b œ ‰ œ ‰ œj ‰ j
œ œ
‰ j ‰ j
œ‰ œ œ œ œ
‰ j ‰
œ‰ œ œ
j
œ œ
64
E b maj 7
b U
*Ad libs to end
&bb Ó ‰ j œ. œ œ œ œ œ ‰ œj
rit.
œ œ œ œ œ œ œ œ œœ œ w
Oh, Val - er - ie, why don’t you come on ov - er Val - er - ie.
U
bbb
rit.
& ˙˙˙ œ œœ œœœœ Œ ˙˙˙ œ œœ œœœœ Œ ˙˙˙ œ œœ œœœœ Œ

˙ œ ˙ œ ˙ œ wwww
Vocals Grade 3
? bb U
b œ ‰ œ ‰ œj ‰ œ œ n œ ‰ j‰ j
œ‰ œ œ œ œ œ‰ œ
‰ j‰ j
œ œ œ w
67
13
14
Vocals Grade 3

Happy | Pharrell Williams 
Album: Despicable Me 2: Original Motion Picture Genre: Soul

Soundtrack/Girl Written by: Pharrell Williams
Released: 2013 Produced by: Pharrell Williams
Label: Back Lot Music/I Am Other/Columbia
Background Info 
‘Happy’ was written and performed by American producer and singer-songwriter Pharrell Williams. The track was
released as part of the soundtrack for the 2013 animated film Despicable Me 2 as the lead single, and later released on
Pharrell’s 2014 studio album Girl. ‘Happy’ topped the charts in multiple countries and sold millions of copies worldwide.
Pharrell Williams first achieved success as part of contemporary R&B duo The Neptunes, and hip hop rock band
N.E.R.D. Since launching his solo career, he has released two studio albums and both have reached the top ten in the UK.
Pharrell has also won 13 Grammy Awards and received two Academy Awards nominations.

In this up-tempo soul/pop song Pharrell’s flawless falsetto and intricate melodic phrasing creates a good challenge to
aspire to at this grade.
The verses and chorus are sung in a soft falsetto/head voice quality and you will need to focus on this sounding as clear
as possible with secure intonation and forward projection to avoid any breathiness on the tone.
Varying the dynamics will help you move into a more projected and strong tone quality in the bridge, and you can
experiment with creating expressive changes that support the lyrical content.
The rhythmic feel is important and may be emphasised by staccato and accented phrasing, particularly for the verses.
In the bridge section you are free to embellish and stylistically develop the line if you wish, whilst maintaining a secure
delivery against the backing vocals on the backing track.
Vocals Grade 3
15
Happy
from DESPICABLE ME 2 Pharrell Williams
Words and Music by Pharrell Williams
q160 Pop
& b 44 .. Œ ‰ œJ œJ œ œ œ œ œ œ bœ œ œ
F7 N.C.
Vocals J
It might seem cra - zy what I’m ’bout to say:
Here come bad news, talk - in’ this and that.
& b 44 b œœœ œœœœ œœœœ œœœœ

.. œ
b œœœ Œ Ó
œ
Piano F
? 4 œ œ œ œ .. œ œ œ œ œ
b 4 œ œ œ œ œ œ œ œ œ œ œ œ
Note: Lead vocal sounds one octave lower than notated throughout. Backing vocals are notated at pitch.
Bb Ab6 Bb B b/A b
bœ œ œ œ œ
C F7 N.C.
&b Œ œ J J
J
‰
Sun - shine, she’s here;
j j
Well, gim - me all you got,
& b b œœ œ œœ .. Œ Œ Ó
œœ œœœ œœ .. nœ œœœ œœœ
n b œœœ
œ

?b œ bœ œ œ œ œ œ
J bœ œ œ œ œ œ œ
J
4
œ œ œ œ
œ œ Ab6 Bb Bb
œ œ bœ œ
F7
&b Ó Œ
C
bœ œ
you can take a break. I’m a
j ‰ œj ˙
no hold - ing back.
&b b œœœœ n œœ œœœ

œ
œœœ œœ .. œœ ˙˙
? œ œ œ bœ œ œ ‰ œ bœ œ
b œ J Œ œ bœ
7
œ œ œ
Ab6 Bb
œœ œ œ œ œ bœ œ œ œ œ œ
F7 N.C. F7 C
&b Œ
œ
œ
J
‰
hot air bal - loon that could go to space
j
Well, I should prob - ’bly warn you, I’ll be just fine.
& b b œœ Œ Ó b œœœœ b œœœœ œœœ .. œ

n œœ
œœ .
Vocals Grade 3
?b œ œ œ œ œ
œ œ œ œ œ œ œ œ œ bœ œ œ œ
10
Copyright © 2013 EMI April Music Inc., More Water From Nazareth and Universal Pictures Global Music
16 All Rights on behalf of EMI April Music Inc. and More Water From Nazareth Administered by Sony Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
All Rights on behalf of Universal Pictures Global Music Controlled and Administered by Universal Music Works
B b/A b j
‰ b Jœ œ œ œ ‰ œ b œJ œ œ œ bœ œ œ œ œ
F7 N.C.
&b Ó œ œ J œ
with the air like I don’t care, ba - by, by the way.
No of - fense to you, don’t waste your time.
j Œ Ó
& b œœœ ... œœ ˙˙ b œœœœ
œ ˙
? j j œ œ œ œ œ
b œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
13
Ab6 Bb Bb D b maj 7
Œ Ó Œ j
F7 C
& b œ bœ œ œ
œ
œ
j
œ œ œ œ . œ b œ œœ .. œ
œ
‰ J ‰ Jœ œ
‰
bœ J J
Ó
Huh! Clap a - long if
Here’s why: (Be - cause I’m hap - py.)
j ‰ œj ˙
& b b œœ œ œœœ b ˙˙˙ ... œœœ œœ
œœ œœœ œœ .. n œœ œœ ˙˙ bœ
?b œ bœ œ œ œ bœ œ œ
J ‰ Œ bœ ‰ j b œ bœ
16 bœ œ œ

j j Œ
Cm7 F7
œ œ œ œ œ bœ œ˙ œ œ Ó
b w b œœ œœ œ
œ
& . bœ
‰ Jœ œ
you feel like a room with - out a roof.
(Be - cause I’m
& b www .
b ˙˙˙ .. œœœ œœ ww
œ w
?b ‰ j œ ‰ j œ ‰ j
œ œ œ œ œ œ
19 œ œ œ œ œ œ
D b maj 7
Œ j j j
Cm7
œ b œ œœ .. œ œ bœ œ œ œ˙ b œ œ œ œœ œœ
b
& Jœ œ . œ w œ .
J
Clap a - long if you feel like hap - pi - ness is the truth.
hap - py.)
& b b ˙˙˙ ... œœœ œœ

bœ www .
b ˙˙˙ .. œœœ œœ
œ
Vocals Grade 3
?b ‰ j bœ ‰ j œ ‰ j œ
22 bœ œ œ bœ œ œ œ œ œ œ œ œ
17
D b maj 7
j j
F7 Cm7
Œ Ó Œ œ œ œ bœ œ œ œ
œ œ œ. œ. œ œ œ bœ
b
& œ œ w
bœ J J
‰ œJ œ
Clap a - long if you know what
(Be - cause I’m hap - py.)
& b www b ˙˙˙ ... œœœ œœ

bœ www
?b ‰ j ‰
œ œ œ œ j bœ bœ ‰ j œ œ
25 bœ œ œ œ œ œ
F7
Œ Ó
D b maj 7
Œ j
œ bœ œ œ œœ œœ œ œœ .. œ
& ˙.
b œ œ œ. œ bœ œ
bœ J J
‰ œJ œ
hap - pi - ness is to you. Clap a - long if
& b b ˙˙˙ ... œœœ œ

œœ ww b ˙˙˙ ... œœœ œœ
bœ
w
?b ‰ j œ ‰ j ‰ j bœ
28 œ œ œ œ œ œ œ œ bœ œ œ bœ

1.
j j
Cm7 F7
œ bœ œ˙ œ bœ œ
&b w
œ œ
œ . œœ œœ œ
œ Œ Ó ..
you feel like that’s what you wan - na do.
& b www . ..
œ w
?b ‰ j œ ‰ j œ ‰ j œ œ œ ..
œ œ œ œ œ
2.
F7
Œ Ó j
j œ œ œ Œ
N.C.
œ bœ œ œ Ó œ œ œ
œ œ b œ bœ
&b œ
‰ Œ Œ Ó
Bring me down, can’t noth - in’
(Hey! Come on!) (Hap - py!)
& b ww Œ œ œ œ Œ
w œ œ œ
Vocals Grade 3
?b ‰ j œ œ ‰ j œ ‰ j œ
34
œ œ œ œ œ œ œ œ œ œ œ œ
18
j œ j j
Ó
œ œ b œ œ œ œ ‰ œj b œ œ œ bœ Œ
œ œ b œ
j œ œ
&b
Œ Ó Œ Ó
bring me down; your love is too high. Bring me down,
(Hap - py!) (Hap - py!)
&b Œ œ œ œ Œ Œ œ œ œ Œ
œ œ œ œ œ œ
?b ‰ j œ ‰ j œ ‰ j œ
37
Œ Ó j j
œ œ bœ œ œ œ œ b œ œ œ œ œ œœ œ b œÓ œ œ
&b
Œ Ó Œ
can’t noth - in’ bring me down. I said:
(Hap - py!) (Let me tell you now.)
&b Œ œ œ œ Œ
œ œ œ
?b ‰ j œ ‰ j œ ‰ j œ

40
% N.C. j j Œ
E b/F
j j
Ó Ó
F5
b œœ œœ œ œ bœ œ œ b œœ œœ œ
& b œJ œ . J . b œ œœ . œ œ. œ œ.
J J .
J J
Bring me down, can’t noth - in’ bring me down;
j
(Hap - py, Hap - py, hap - py, hap - py.) (Hap - py, hap - py,
j j j
& b œJ œ . œ œ.
J bœ œ. œ œ. œœ œœ .
. œ .
b œœ œœœ ..
?b ‰ j œ ‰ j œ ‰ j œ
43
E b/F
j
Fm Fm Fm
‰ j Œ j
œ œ œ b œœ œœ œ
bœ
œ œ. b œœ œœ œ œ œ Œ bœ œ œ
& b b œJ œ . J . bœ œ. œ œ.
J . J J J
your love is too high. Bring me down, can’t noth - in’
j
hap - py, hap - py.) (Hap - py, hap - py, hap - py, hap - py.)
j j j j j
& b bœ œ. œœ œœ .. b œœ œœœ ...
œ .
b œœ œœœ ..
œ b œœ œœ .. œœ œœ ..
œ œ.
Vocals Grade 3
?b ‰ j œ ‰ j œ ‰ j œ
46
19
E b/F
Ó j j Ó
Fm N.C.
b œœ œ œ œ
& b œJ œ.
J
œ. œ œ
bœ
Œ ‰ œ œ
J
bring me down. I said...
j
(Hap - py, hap - py.) (Be - cause I’m
j
œ
& b b œœ œœœ .. œ œœœ ... Œ ‰ j
. b œœ œ œ bœ
?b ‰ j œ ‰ j œ
49
œ œ œ œ œ œ œ œ
D b maj 7
Œ j j j
Cm7
œ œ . œ bœ œœ .. œœ œw œ œ œ œ bœ œ˙ œ œ b œœ œ
b
& J . œ
J
Clap a - long if you feel like a room with - out a roof.
hap - py.)
& b b ˙˙˙ ... œœœ œœ

bœ
www .
b ˙˙˙ .. œœœ œœ
œ
?b ‰ bœ ‰ œ ‰ œ
j b œ j œ j œ
bœ œ œ œ œ œ œ œ œ

51
D b maj 7
Œ Œ j j j
F7 Cm7
œ Ó œœ .. œ œ bœ
b
& œ œ œ. œ bœ œ w œ œ œ
‰ œJ œ bœ J J
Clap a - long if you feel like
& b www b ˙˙˙ ... œœœ œœ

bœ www
?b ‰ j ‰ bœ ‰ œ
œ œ œ œ j b œ j œ
Œ Ó
F7
œ bœ œ œ œ œ
& b ˙. œœ œ œ
œ œ bœ
‰ J
hap - pi - ness is the truth.
(Be - cause I’m
& b b ˙˙˙ ... œœœ œœ ww

œ w
Vocals Grade 3
?b ‰ œ ‰ j
j œ œ œ œ œ
57 œ œ œ
20
D b maj 7
j j
Cm7
Œ œ œ œ bœ œ œ œ œ œ œ bœ
& b œJ œ. œ. œ
J
w
Clap a - long if you know what

hap - py.)
& b b ˙˙˙ ... œœœ

b œœœ www
?b ‰ bœ ‰ œ
j bœ j œ
D b maj 7
F7
Œ Ó Œ j
œ
& b
œ˙ b œ œ
.
œ œœ œœ œ
œ œ œ . œ b œ œœ .. œ
œ œ bœ J J
‰ J
hap - pi - ness is to you. Clap a - long if

& b b ˙˙˙ ... œœœ œœ ww b ˙˙˙ ... œœœ œœ
bœ
œ w
?b ‰ j œ œ ‰ j ‰ j bœ bœ
61 œ œ œ œ œ œ œ bœ œ œ
j
Cm7 F7
œ bœ j j
œ œ œ˙ œ bœ œ œœ œœ œ
&b w œ . œ ‰ ¿ Œ ¿ ¿‰
you feel like that’s what you wan - na do. Heh. Come on.
& b www .
œ w
Vocals Grade 3
?b ‰ œ ‰ œ ‰ j œ œ œ
j œ j œ œ œ œ
21
22
Vocals Grade 3

22 | Taylor Swift 
Album: Red Genre: Dance-Pop

Released: 2013 Written by: Taylor Swift, Max Martin and Shellback
Label: Big Machine Produced by: Max Martin and Shellback
Background Info 
‘22’ was the fourth single released from Taylor Swift’s studio album Red. The song was written by Swift in collaboration
with songwriters Max Martin and Shellback, who had previously written hits for famous artists, including Britney Spears
and Usher. ‘22’ peaked at number 9 on the UK Singles Chart and number 20 in the US.
Throughout her career, Taylor Swift has topped the UK Album charts seven times, with 17 top ten singles. She has won
11 Grammy Awards and has been inducted into the Songwriter’s Hall of Fame. She has twice been awarded Billboard’s
Woman of the Year, and has appeared in Time magazine’s list of 100 Most Influential People in the World three times.

Written and performed by Taylor Swift, this catchy pop song is a great example of where the lyrical content is in focus.
Aim to find a comfortable key for your voice type so your tone is not pushed, and sounds natural when you go into the
transition/on to the higher notes.
Adapting a ‘speech style’ tone quality and projecting your voice as if you were speaking directly to someone can help
you maintain expressiveness and communication in order to emphasise the story.
You can choose to follow this abridged arrangement exactly; however, you are welcome to incorporate your own
riffs and variations and you should look to vary the dynamics with softer and stronger tone qualities on the verses and
choruses as the song progresses.
Vocals Grade 3
23
22
Words and Music by Taylor Swift, Max Martin and Shellback Taylor Swift
q104 Pop
# 4 G5 D5 C5 D5
& 4 ∑ ∑
F
œœ œœ œœ œœ
Piano
? # 44 œ œœ ‰ œœ œœ ‰
œ J J
# G5 D5 C5
≈
D5 G5
≈
D5
&
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
It feels like a per - fect night to dress up like hip - sters and make fun of our ex - es.
# ∑ ∑ ∑
&
?# œ œœ ‰ œœ œœ œœ œœ ‰ œœ œœ œœ œœ ‰ œœ œœ
œ J J J

3
# C‰
5 D5 G5 D5 C5 D5
& j ‰ j ≈
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Uh, uh, uh, uh. It feels like a per - fect night for break - fast at mid - night,
# ∑ ∑ ∑
&
? # œœ œœ ‰ œœ œœ œœ œœ ‰ œœ œœ œœ œœ ‰ œœ œœ
6
J J J
# G≈
5 D5 C5 D5
& ‰ j ‰ j
œ œ œ œ œ œ œ œ œ œ œ
to fall in love with stran - gers. Uh, uh, uh, uh.
# ∑ ∑
&
Vocals Grade 3
?# œ œœ œœ œœ œœ œœ œœ
œœ ‰ ‰
œ J J
9
Copyright © 2012 SONGS OF UNIVERSAL, INC., TAYLOR SWIFT MUSIC, SONY MUSIC PUBLISHING LLC, MXM and KMR MUSIC ROYALTIES II SCSP
24
All Rights for TAYLOR SWIFT MUSIC Administered by SONGS OF UNIVERSAL, INC.
All Rights for SONY MUSIC PUBLISHING LLC Administered by SONY MUSIC PUBLISHING LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
All Rights for MXM and KMR MUSIC ROYALTIES II SCSP Administered Worldwide by KOBALT SONGS MUSIC PUBLISHING
All Rights Reserved Used by Permission
# .G j
‰
G C D
& .˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Yeah, we’re hap - py, free, con - fused and lone - ly at the same
Yeah, we’re hap - py, free, con - fused and lone - ly in the best
# j j
& .. ˙˙˙ ‰ œœœ œœœ ˙˙
˙
‰ œœœ œœœ
? # .. œ œœ œœ œœ œœ œœ œœ
œœ ‰ ‰
œ J J
11
# j
Œ ‰
G D C D
& j œ œ œ œ œ œ œ œ œ
œ œ. œ œ.
time. It’s mis - ’ra - ble and mag - i - cal. Oh,
way. It’s mis - ’ra - ble and mag - i - cal. Oh,
# j j
& ˙˙ ‰ œœœ œœœ ˙˙˙ ‰ œœœ œœœ
˙
œœ ‰ ‰
œ J J

13
# j
‰
G D C D
& ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
yeah, to - night’s the night when we for - get a - bout the dead -
yeah, to - night’s the night when we for - get a - bout the heart -
# j j
& ˙˙˙ ‰ œœœ œœœ ˙˙˙ ‰ œœœ œœœ
œœ ‰ ‰
œ J J
15
%
# ‰ œj œ
Cadd 2
‰ Œ ‰ œ œ œ œ œ
G D G D
& j j œ
œ œ. œ œ ˙
- lines. It’s time. Oh, oh, I don’t know a - bout you,
- breaks. It’s time. Oh, oh,
# ˙ ‰ j Œ ‰ j
& ˙˙ œœœ œœœ www œœ œœœ œœœ œœœ ...
œœ œ œ œ.
Vocals Grade 3
?# œ œœ œœ www
œœ ‰ Œ ‰ j œ
œ J œ œ œ.
17
25
# ≈ j
C Em D C D
& œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
but I’m feel - in’ twen - ty - two. Ev - ’ry - thing will be al - right if you keep me next to you.
# Œ ‰ œj œœ œœ .. Œ ‰ œœj œœ œœ .. Œ ‰ œœj œœ œœ ..
& œœœ œœ œ œ . œœ œœ
œ œ œ œ. œœ œœ œœ œœ .. œœ œœ œœ œœ ..
?# Œ ‰ j œ Œ ‰ j œ Œ ‰ j œ
20 œ œ œ. œ œ œ. œ œ œ.
#
G D C Em D C
& Œ ‰ œ œ œ œ œ œ ≈
œ œ œ œ œ œ
œ œ ‰ œ œ œ œ œ œ
œ œ
You don’t know a - bout me, but I’ll bet you want to. Ev - ’ry - thing will be al - right if
# Œ ‰ j Œ ‰ œj œœ œœ .. Œ ‰ œj œœ œœ ..
& œœ
œœ œœœ œœœ œœœ ... œœœ œœ œ œ . œœœ œœ œ œ .
œ œ œ. œ œ œ œ. œ œ œ œ.
?# Œ ‰ j œ Œ ‰ j œ Œ ‰ j œ
œ œ œ. œ œ. œ
23 œ œ œ.

# ‰ j
D G D C
& œ œ œ œ œ œ œ Ó œ œ œ œ œ œ ˙.
we just keep danc - in’ like we’re twen - ty - two,
# Œ ‰ j Œ ‰ œœj œœ œœ .. Œ ‰ œœj œœ œœ ..
& œœ œ œœ œœ ..
œ œœ œœœ
œœ œœ œœ œœ .. œœ œœ œœ œœ .. œ œœ œœ œœ ..
?# Œ ‰ j œ ‰ œœ‰ j œ ‰ ‰ j œ
œ œ œ. œ œ œ.
26 œ œ œ œ œ.
1.
# Ó
Em D G5 D5
& œ œ œ œ œ œ œ. œ œ. œœ œ œ œ œ œ œ œ
twen - ty - two. It seems like one of those nights.
# Œ ‰ œœj œœ œœ .. Œ ‰ œœj œœ œœ .. ∑
& œœœ œœ
œ œœ œœ œœ .. œœ œœ œœ œœ ..
Vocals Grade 3
?# œœ œœ
‰ ‰ j œ ‰ ‰ j œ œœ œœ ‰
29 œ œœ œ œ. œ œœ œ œ. J
26
# C5 D5 G5 D5 C5 D5
& ‰ j ‰ j ‰ j ‰ j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
This place is too crowd - ed, too man - y cool kids. Uh, uh, uh, uh.
#
& ∑ ∑ ∑
œœ œœ ‰ œœ œœ
? # œœ œœ œœ œœ œ œ
‰ œœ œœ ‰ œ œ
32
J J J
# G5 D5 C5 D5 G5 D5
& ‰ j ‰ j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
It seems like one of those nights we ditch the whole scene and end up dream - in’
#
& ∑ ∑ ∑
œœ œœ
?# œ œœ ‰ œœ œœ ‰ œœ œœ œœ œœ ‰ œœ œœ
œ J J J

35
2. 3.
# ‰ j
C5 D5 G5 D5 C5
& œ œ œ œ œ œ .. Ó œ œ œ œ œ œ ˙.
in - stead of sleep - in’. Twen - ty - two,
# ∑ .. œ Œ ‰ œœj œœ œœ .. Œ ‰ œœj œœ œœ ..
& œœœ œœœ
œœ œœ œœ .. œ œœ œœ œœ ..
? # œœ œœ ‰ œœ œœ .. ‰ œ œ ‰ j œ ‰ ‰ j œ
J œ œ œ.
38 œ œœ œ œ.
# Ó
Em D G D
& œ œ œ œ œ œ œ. œ œ. œœ œ œ œ œ œ œ œ
twen - ty - two. It feels like one of those nights
#
& œœœ Œ ‰ œœj œœ œœ .. œœ Œ ‰ œœj œœ œœ .. œœ Œ ‰ j
œœœ œœœ œœœ ...
œ œœ œœ œœ .. œœ œœ œœ œœ .. œœ œ œ œ.
Vocals Grade 3
?# ‰ ‰ j œ ‰ ‰ j œ œ ‰ œ œ ‰ j œ
41 œ œœ œ œ. œ œœ œ œ. œ œ.
27
# ‰ j ‰ œj œ œ
C Em D
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
we ditch the whole scene. It feels like one of those nights we won’t be sleep - ing.
# Œ ‰ œj œœ œœ .. Œ ‰ j Œ ‰ œœj œœ œœ ..
& œœœ œœœ œœ œœ œ. œœ
œ
œœ œ œ .
œ œ œ. œ œœ œœ œœœ ... œœ œœ œœ œœ ..
?# ‰ ‰ j œ ‰ ‰ j œ ‰ ‰ j œ
44 œ œœ œ œ. œ œ œ œ œ. œ œœ œ œ.
To Coda fi
# ‰ œj œ œ ‰ œj œ œ œ . œ œ
G D C Em
& œ œ œ œ œ œ œ œ œ
It feels like one of those nights. You look like bad news. I got - ta have you,
# Œ ‰ j Œ ‰ œj œœ œœ .. Œ ‰ œj œœ œœ ..
& œœ œ œœ œœ ..
œ œœœ œœ œ œ . œœœ œœ œ œ .
œœ œœ œœ œœ .. œ œ œ œ. œ œ œ œ.
?# ‰ ‰ j œ ‰ ‰ j œ ‰ ‰ j œ
œ œ œ œ œ. œ œœ œ œ. œ œœ œ œ.
47

# D‰ j œ œ Ó Œ ‰ œj œj œ . Ó
G D C
& œ œ œ œ
I got - ta have you. Oh,
# Œ ‰ œœj œœ œœ .. ‰ œj œ œ . ‰ œj œ œ .
& œœ ˙˙ ˙˙˙
œœ œœ œœ œœ .. ˙ œœ œœ œœ ..
˙ œœœ œœœ œœœ ...
?# ‰ ‰ j œ
œ œ œ œ œ. œ œ œ œ
50 œ œ œ œ
D.%. al Coda
Take 3rd ending fi Coda
# œ. œ œ œ œ œ. œ ‰ œj œ œ œ œ
Em D N.C. D
& œ œ ˙. œ
oh, yeah, yeah! I got - ta have you.
# ‰ œœj œœ œœ .. ‰ œœj œœ œœ ..
& ˙˙˙ œœ .. œœ œœ œœ œœ œœ .. Œ œœ Œ
˙ œ œ œ. œ. œ œ œ œ œ. œœ œœ œœ œœ ..
Vocals Grade 3
?# œ. œ œ œ œ œ. œ ‰ ‰ j œ
53 œ œ œ œ œ œ. œ. œ œ œ œ œ. œ œœ œ œ.
28
Radioactive | Imagine Dragons 
Album: Night Visions Written by: Daniel Reynolds, Benjamin McKee,

Released: 2012 Daniel Sermon, Alexander Grant
Label: KidinaKorner/Interscope and Josh Mosser
Genre: Pop Rock Produced by: Alex da Kid
Background Info 
‘Radioactive’ is a song by American rock band Imagine Dragons and features on their debut studio album Night Visions.
It gave the band their first major chart success, peaking at number 12 in the UK. Having featured in several commercials
in the US, the song slowly climbed the Billboard Hot 100 chart several months after its initial release. ‘Radioactive’
eventually reached number 3, becoming the band’s first US top ten single.
Imagine Dragons originally formed in 2008. After releasing several EPs they gained greater commercial success with
their debut studio album in 2012, which included several popular singles such as ‘Radioactive’, ‘Demons’ and ‘On Top of
the World’. Imagine Dragons have released four studio albums, all of which made it to the top ten on the UK album chart.
The band have won multiple awards, including ten Billboard Music Awards and the Grammy for Best Rock Performance in
2013 for ‘Radioactive’. Imagine Dragons are still active and releasing current material, with their newest studio album due
to be released in 2021.

In this alternative rock song with elements of dubstep, we hear Dan Reynolds’ powerful vocals projected above the
band. In order to sing this song confidently you will need to support your voice with confident breath control, so you can
achieve a strong and projected tone without straining.
You should be engaging your resonators in your higher range rather than trying to belt on notes that are outside
your range. Try to further achieve a convincing tone quality, by focusing on the enunciation of the words with a forward
placement in the mouth.
You will maintain energy in the performance by varying the dynamic expression, (so you are not just at forte
throughout), whilst also demonstrating understanding of the lyrical content with engaged communication and expression.
Vocals Grade 3
29
Radioactive
Words and Music by Daniel Reynolds, Benjamin McKee, Imagine Dragons
Daniel Sermon, Alexander Grant and Josh Mosser
q136 Rock
# # Bm
4
(add ) 7 4 D 6/9 A 6/9sus 4
& 4
w ˙ ˙ w
Vocals
(Oh.)
#
& # 44 œœ œ œ œœ œœ œ œ
œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ œ
œ œ
F
Piano
? # # 44 wœ ˙œ ˙ wœ
œ ˙ œ œ ˙ œ œ ˙ œ
Note: Vocal sounds one octave lower than notated throughout
#
& #
Bm7(add 4 )
∑
w w
#
(Oh.)
œ œ œ
& # œœ œ œ ww
w
ww
w

? # # wœœ ww ww
˙ œ w w
4
# # . N.C. j
‰ œj œ œ œ
‰ œj
œ œ œ œ œ œ œœ œœ
& .Œ ‰ œ œ
I’m wak - ing up to ash and dust; I wipe my

I raise my flag and dye my clothes. It’s a rev - o -
## .
Play 2nd time only
& . œ
œ œ
œ
œ œ œ
œ œ
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
œ œ
? # # .. œ œ œ Œ
œ
7 œ œ œ œ œ œ œ œ
# ‰ œj œ œ œ
& # œ œ œ œ œ œ œ ‰ œj œ œ œ
brow and I sweat my rust. I’m breath - ing in the chem - i - cals.
lu - tion, I sup - pose. We’re paint - ed red to fit right in.
# # (2° only)
& œ œ œ
œ
œ œ
œ
œ œ œ
œ œ
œ
œ œ œ œ œ œ œ œ œ œ
Vocals Grade 3
? ## œ œ
œ
10
30 Copyright © 2012 SONGS OF UNIVERSAL, INC., IMAGINE DRAGONS PUBLISHING, ALEXANDER GRANT and JMOSSER MUSIC
All Rights for IMAGINE DRAGONS PUBLISHING and ALEXANDER GRANT Controlled and Administered by SONGS OF UNIVERSAL, INC.
Œ Ó ∑
## œ œ œ
Œ ‰ œj
Bm
& œ œ
œ œ
œ
œ œ
‰ J ‰ J Ó
Gasping inhale… …exhale I’m break - ing in
Whoa, whoa.
#
& # ∑ ∑ œ œ œ œ œ œ œ œ
œ œ œ œ
? ## ‰ Œ
j œ ‰ j œ
œ
13 œ. œ œ œ œ œ
œ œ œ
## œ ‰ œj œ œ œ œ ‰ œj Jœ œ œ œ œ œ œ œ œ
D A E5
& J
and shap - ing up, then check - ing out on the pris - on bus.
#
& # œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
? ## œ Œ œ
œ œ œ œ
16 œ œ œ œ œ

## œ œ œ œ j œ œ
Bm D A
& Ó J J œ œ œ œ œ œ Œ ‰
œ
This is it, the A - poc - a - lypse. Whoa,
#
& # œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ
œ œ œ œ œ œ
? ## œ œ Œ
œ
19 œ œ œ œ œ œ œ œ
%
#
N.C. Bm
œ œ œ œ
D
œ œ
A
œ œ œ
& # Œ œ œœ œ œ œ œ œ œ
‰ Ó
I’m wak - ing up. I feel it in my bones, e - nough to make my
# œ
Whoa.
œ œ œ œ
& # w œ ˙ œ œ
˙
w
Vocals Grade 3
? ## ∑ œ
˙ œ ˙
22 ˙ œ ˙ œ ˙ 31
## # œ œ œ œ œ œ œ œ œ œ
E5
œ
Bm D
& Œ œ Œ œ
sys - tems blow. Wel - come to the new age, to the new age.
## ˙ œ œ œ œ œ ˙
& œ œ
œ
? ## œ œ ˙
26
˙ œ ˙ œ ˙
E/G #
# # Aœ œ œ œ œ œ œ œ œ œ œ
œ Œ œ œ œ œ
Bm
&
Wel - come to the new age, to the new age. Whoa, oh.
##
& œ œ
˙
œ ˙ œ œ œ œ œ œ œ œ
œ
? ##
˙ ˙ #˙ ˙ œ
29 ˙ œ

## œ œ œ #œ œ #œ œ œ œ
‰ œJ œ œ œ œ
‰ J
E5
œ ‰ J
D A
&
Whoa, I’m ra - di - o - ac - tive, ra - di - o - ac - tive.
# œ œ
& # œ œ œ œ œœ œ œ œ œ œ œ œ # œœ œ œ
œ œ œ œ œ
? ## œ œ
˙ ˙ œ
32 ˙ œ ˙
To Coda fi
# œ œ œ œ œ œ œ #œ œ
& # ‰ J ‰ œJ œ œ œ ‰ J
Asus 2
œ œ
Bm D
Whoa, oh. Whoa, I’m ra - di - o - ac - tive,
# œ œ œ œ œ
& # œ œ œ œ œ œ œ œ œ ∑
Vocals Grade 3
? ## ww
œ ˙ w
35 ˙ œ ˙
32
## #œ œ œ œ œ œ. œ œ
.. ˙ œ ˙. j
N.C.
& ‰ J ‰ œ
ra - di - o - ac - tive. All sys - tems go; the
## ∑ .. ∑ ∑
&
? ## .. ww ww
∑
38
## ˙ œ. ˙ œ. œ œ œ
& œ œ œ ˙. Œ
sun has - n’t died. Deep in my bones,
## ∑
& ∑ ∑
? # # ww ww œ œ ˙
œ
41

Œ
D.%. al Coda
#
& # ˙. Œ ˙ œ. œ œ œ ˙. œ œ œ
Œ
straight from in - side... ...I’m wak - ing
#
& # ∑ ∑ ∑
? ## œ œ œ œ œ œ ww
œ œ œ œ
44
fi Coda
# #œ œ œ œ œ
& # ‰
N.C.
J
ra - di - o - ac - tive.
# #œ œ œ œ œœ
& # ‰ # œœ œœ œœ œœ œ
J
Vocals Grade 3
? ## Ó Œ
47
œœ
33
34
Vocals Grade 3

It’s All Right | Jon Batiste 
Album: Soul: Original Motion Picture Soundtrack Genre: Jazz/Soul

Released: 2020 Written by: Curtis Mayfield
Label: Walt Disney Produced by: Jon Batiste
Background Info 
‘It’s All Right’ was originally released in 1963 by American soul group The Impressions. It was written by critically
acclaimed soul artist Curtis Mayfield and gained commercial success for the group, peaking at number 4 in the US singles
chart. In 2020, the song was covered and arranged by Jon Batiste for the Disney Pixar animated film Soul, and is the main
inspiration for this performance piece. The song is played during the closing credits of the film and features on the official
soundtrack.
Soul was a box office hit and received several awards and nominations. The soundtrack won both an Oscar and a
Golden Globe for Best Original Score.
Jon Batiste is an American singer and musician. He has performed alongside icons such as Stevie Wonder, Prince and
Willie Nelson. Batiste has been featured on TV several times in his career, and as a member of the band Stay Human, who
served as the house band for The Late Show With Stephen Colbert. Since composing music for the film Soul, Batiste has
released his fifth studio album We Are in 2021.

This is an abridged arrangement of Jon Batiste’s recent jazzy cover of this classic Curtis Mayfield song from the 1960’s.
Showing confidence and understanding of the rhythmic feel is key to performing this song, and you should aim to have
a laid-back swung feel at all times. The falsetto part should sound stable, clear and not pushed, and you may need to find
a suitable key where you can comfortably reach the top notes with secure intonation.
This song gives opportunity to demonstrate different tone colours and you could look to do this in two ways; either by
increasing or decreasing the mass of vocal folds vibrating or by changing your resonance space, e.g. moving your tongue,
soft palate, jaw, cheeks etc.
Don’t be afraid to explore your sound to see how this can add different moods and expressiveness to your performance.
Vocals Grade 3
35
It’s All Right
from SOUL Jon Batiste
Words and Music by Curtis Mayfield
Moderately, with a strict triple feel (s)

## 4 j œ œ
Œ ∑ Œ ‰ œ Jœ
N.C.
Vocals & 4 J
√
Say it’s all right.
œ œ
j œ ˙. j œ
## 4 œ
œ w
& 4
F
# ˙.
Piano
& # 44 j œ œ j œ ?
œ w
œ œ
## j
∑ Œ ‰ œ œ œ œ ∑
D G D G D G
& J J
# œœ
& # Œ œœœ œœ
œœ œœœ
‰ j œ Œ
œ. œœœ œœ. œœœ
Œ œœœ œœ
œœ œ
j
œ. . . . œ. .
œ.

? ## œ. ‰ œ.
j .œ ‰ œj œ. œ
œ. œ. œ. œ
. . œ œ.
3 .
#
œ œ œ œ
7 E7 A 9sus 4
# œ œ œ
D G D F m
J œ. œ
J œ œ
& # Ó J Œ œ
J J
It’s all right. Have a good time, ’cause it’s all right,
# œ .
& # œ œ ‰ j œj œ
3
œœœ œœœ Œ œœ ‰ j
3
œœœ œ œ œ œ # ˙˙ œ. œœ
. .
. n œœ .. œ
? ## œ ‰ œj œ œ
simile 3
œ. œ. œ œ œ #œ œ
6 œ. . œ œ œ œ
# # D‰ œ. œ œ œ œ œ
Bm7 A/C #
œ
‰ œ œ œ
G D A
& J J J
whoa, it’s all right. Now lis - ten to the beat.
# j œœ œœ
& # ‰ j œœ ‰ j j œœ œ œ
j Œ œ
œœ
œ
œœ
œœ œœ œœ œœ
œ
œ œ
œ œ œ œ
Vocals Grade 3
? ## œ œ
œ œ œ œ œ œ œ
9 œ œ
36 © 1964 (Renewed) WARNER-TAMERLANE PUBLISHING CORP.
## œ œ œ œ œ.
D G D G D G
& ∑ Œ œ œ Ó
J
Kind - a pat your feet.
œ œ œœ œœœ œœ œœœ
## Œ œ œœœ œœœ ‰ œœ
j
œ ‰ ‰ œœ ‰ œj œœ œœ Œ œ œœ œ Œ
& J J œ J
œœœ œœœ œ œœœ
? ## œ œ œ œ œ
œ œ œ œ œ
11 œ œ œ
F # m7
œ œ œ œ
E7 A 9sus 4
# ‰ œ œ œ œ j
D G D
J œ œ œ œJ œ œ
& # Ó J J
‰ J
You’ve got soul, and ev - ’ry - bod - y knows that it’s all right,
# # œœœ
& œ œœœ œœœ ‰ œj œœ j ‰ j
3
œ ˙˙ œœ œ.
˙ œ œ # ˙˙ n œœ ..
œœ
œ
? ## œœœ œ œ œ
3
œ œ œ œ #œ œ
14 œ œ œ œ œ

# # D‰ œ. œ œ œ
œ œ Ó Œ
G D
& J J
whoa, it’s all right. When you
## ‰ Ó
& j
3
œ œœœ œœ œœ œœ œœ œœ
œœ œ œ œ œœ œ œ œ
? ## œ œ œ
œ œ
œ œ œ œ œ F # m7
œ œ 3œ œ œ 3œ œ
# # œJ œ œ œ œ œ œ œ
Bm Bm
J Œ
&
wake up ear - ly in the morn - ing feel - ing sad like so man - y oth - ers do,
## j
& œœœ ˙˙˙
ww œœœ ... œ ˙ ww
w w
Vocals Grade 3
? ## j œ œ œ œ œ œ. j
3 3
œ œ œ œ #œ œ. J œ œ œ œ #œ
19 œ. 3 37
F # m7 F # m7 Fm7 Em7
## ˙ œ œ œ œ œ œ. œ
Bm
œ œ œ
‰ œJ œ
3
& Œ J J œ
J
just hum a lit - tle soul, make life your goal, and
## j
œœœ ˙˙˙ j
& œœœ ... œ ˙ œœ ‰ ‰ œœj ˙˙ œœœ
œœ # # # ## œœœœœ n n n nn œœœœœ ˙˙˙
œ œ ˙ ˙˙
j
? ## œ œ œ œ œ œj ‰ ‰ œ ˙ œ nœ œ ˙
œ. J œ ˙ œ nœ œ ˙
22
3
F # m7 F # m7
## œ œ œ œ œ œ œ œ œ œ. j œ œ
Em7 Em7 A
œ œ J
3 3
& J J
sure - ly some - thing’s got - ta come to you. Say it’s all right.
# j j j j j j
& # œœœœ ‰ ‰ œœœ ˙˙˙ œœœ
œœ
‰ ‰ œœœ ‰ œ œ ‰
œ œœ ˙˙ œœ œ œ
j j j j œ œ
? ## œ ‰ ‰ œ ˙ œ ‰ ‰ œ ‰ ‰
œ œ ˙ œ œ œ œ
25 J J

## j
∑ Œ ‰ œ œ œ œ ∑
D G D G D G
& J J
œœœ œ œ œœ ˙ √ œ
## Œ œ œ œ œ œ œ
‰ œ ‰ œœœ ‰ œœœ œœ ‰ ˙˙˙
3 3 3
& Ó Œ œ œ
J J 3 3
œœœ œœœ œœœ œœœ œœœ œœ

? ## œ œ œ
œ œ œ œ
27 œ œ œ
F # m7
œ œ œ œ
E7 A9sus 4
# œ œ œ
D G D
J œ. œ
J œ œ
& # Ó J Œ œ
J J
It’s all right. Have a good time, ’cause it’s all right.
# œ
& # œœ œœœ œœœ ‰ œj œœ j j
3
œ œ œ
œ œœ œœ ˙˙ œ
# œœ œ œ n œœ .. œœ
œ
Vocals Grade 3
? ## œ œ œ
œ œ œ
œ œ œ œ œ œ
30 œ œ
38
A/C #
## œ. œ
D G D A 9sus 4 Bm7 D G
‰ œ œ œ ‰ œ œ œ œ œ œ œ ∑
& J
3 3
J
Whoa, it’s all right. Now ev - ’ry - bod - y clap your hands.
## ‰ j ‰ j œœœ œœ œœœ œœ
œœ œœ œœ œœ
3 3
& œœœ œœœ ‰ ‰ œœ j Œ œ œ œœ œœ œœ œœ Œ œ œ

œœ
œ
œ œ œœ œœ œ œ œ œ
? ## œœ œœ
œ œ œ œ œ
33
## Œ œ œ œ.
D G D G
& œ œ œ œ Ó
J
Give your - self a chance.
œ œœ œœœ œœ œœ œœ
# # œœœ œœ œ œœœ œœ œœœ œœœ
œ ‰ Jœœ ‰ œœ
3 3 3
& Œ j ‰ Œ ‰ œ œ
œœœ J
? ## œœœ œœœ œœ
œ œ
œ œ œ œ œ
36

F#7
œ œ œ œ
E7 A 9sus 4
## œ œ œ œ
D G D
& Ó J J Œ œ ‰ œ œJ œ œ
J
J
You’ve got soul. Ev - ’ry - bod - y knows that it’s all right.
# # œœœ ‰ œ œ
& œJ œj œœ œœ ‰ œj œJ œ ‰ ‰ j
3
œœ œ œ œ œ
n œœœ œœœ œœ
œ #œ œ #œ œ
j
#œ œ
? ## œ œ
œ œ œ œ
œ œ œ œ œ
œ œ
38
œ
# œ. œ œ
A 9sus 4
œ œ œ œ œ
D G D
& # ‰ ‰ œ œ œ œ
3
J
3
J
Whoa, it’s all right. Now ev - ’ry - bod - y clap your hands.
# j ‰ œœj ‰
& # ‰ œœœ Œ Œ
3
œœ œ œ œœ œœ œœ œœ
œ œœ œœ œœ œ œ œ œ
Vocals Grade 3
? ## œœœ œœ
œ œ œ
41
39
## ˙ œ œ œ.
D G/D D
& Ó Œ œ œ œ œ Ó
J
Give your - self a chance.
# # ˙˙ ˙˙ ww ˙˙ ˙˙
& ˙ ˙ w ˙ ˙
? ##
43 w w w
œ œ
# b
F#7 5
## œ œ œ
‰ œj J
œ
B7 E7 9 A 9sus 4
Œ J ∑ Ó J J
&
’Cause you’ve got soul. (Spoken:) Let me say it again You’ve got soul.
# ww œ ‰ n # œœœ n #n œœœ
& # w Œ # œœ Œ ‰ n œœœ
J J œ œ
# œœ
? ## œ # n œœ # œœ
œ
w œ œ œ
46

b #
F#7 5 9
##
# b b
œ œ œ
J
B7 5 9 E7 9 A 9sus 4
& ∑ Ó J
You’ve got soul,
n œœ œœ œ œ n œ
# œ
j
œ nœ. ‰ n œ œ nn œœ œ
& # ‰ ‰ œ œ ‰ œ #œ nœ œ
œ 3 3 3
J œ
3
# œœ
? ## œ # n œœ # œœ
œ
œ œ œ
49
F#7
# ‰ œJ n œ œ œ œ. nœ
B7 E 7(no3 rd ) A 9sus 4 D
œ œ œ
& # Œ œ
J J J
and ev - ’ry - bod - y knows that it’s all right.
œ œ œ œ œ œœ n œœ # œ œ œ n œ
# œœ
3
#
5
j
œ œ œ œ œ œ œœ œ
3
& # Œ ‰ ‰ J
nœ
œ
# œœ
Vocals Grade 3
3 3
? ## œ # œœ # œœœ
œ œ œ œ
51
œ œ
40
Shotgun | George Ezra 
Album: Staying at Tamara’s Written by: George Barnett, Joel Laslett Pott
Released: 2018 and Fred Gibson
Label: Columbia/Sony Produced by: Cam Blackwood
Genre: Pop Rock
Background Info 
‘Shotgun’ was the third single from George Ezra’s second studio album Staying at Tamara’s. The song was met with
positive reviews from both critics and fans alike, and was nominated for British Single of the Year at the 2019 Brit Awards.
‘Shotgun’ was George Ezra’s first UK number one, selling more than 3 million copies in the UK alone.
George Ezra is a British singer-songwriter who first rose to fame in 2013 with the release of his single ‘Budapest’.
‘Budapest’ featured on his debut album Wanted on Voyage, which topped the UK Album Chart, along with his second
album in 2018.

This folky pop song shows George Ezra managing his bass baritone voice effectively, with confident projection of his
lower range and the ability to flip into falsetto notes effortlessly. Notice the way he adds texture to his tone by enunciating
the words in the chorus, and how the ‘speech style’ quality in his voice helps him to emphasise the lyrical content.
Aim to be rhythmically secure and locked in with the backing track throughout. You could add accents in the form of
stronger attacks on some words; in particular on the quarter notes in the chorus. For this grade, the note pitches of the
octave leap in bar 11 and the lowest notes in bar 55 may not be within your range, and you are free to pick alternative
pitches as long as the stylistic effects can still be achieved.
The ‘break down’ section from bar 38 provides a great opportunity to demonstrate dynamic variations while
maintaining confidence in communication with clear articulation of the words.
Vocals Grade 3
41
Shotgun
Words and Music by George Barnett, George Ezra
Joel Laslett Pott and Fred Gibson
q116 Pop
œœ œœ ˙˙ Bb
œœœ œœ ˙˙
& b 44 Œ œ œ ˙
F
‰ Œ ‰ œ ˙
Piano P
& b 44 gg www ggg www
g
œœœ œœœ ˙˙˙ œœœ œœ ˙˙

&b Œ ‰ Œ ‰ œ ˙
Dm C
& b gg www ?
g ggg www
3
Bb

F
& b .. œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ
1. Home - grown al - li - ga - tor, see you la - ter, got - ta hit the
(2.) south of the e - qua - tor, na - vi - gat - or, got - ta hit the
& b .. ggg wwww ggg www

g gw
? b .. Œ œœ œœ œœ œœ
Œ Œ Œ
5
Dm C
&b œ œ œ Œ ‰
œ œ œ œ œ œ
Œ Ó
road, got - ta hit the road.
road, got - ta hit the road.
&b ggg www ggg www

Vocals Grade 3
?b Œ œœ œœ œœ œœ
Œ Œ Œ
7
Copyright © 2018 BMG Rights Management (UK) Ltd. and Promised Land Music Ltd.
42 All Rights for BMG Rights Management (UK) Ltd. Administered by BMG Rights Management (US) LLC
All Rights for Promised Land Music Ltd. Administered by Universal - PolyGram International Publishing, Inc.
Bb
&b œ œ œ œ
F
œ
Some - thing changed in the at - mos - phere, ar - chi - tec - ture un - fa - mi - liar,
Deep - sea div - ing round the clock, bi - ki - ni bot - toms, la - ger tops,
&b ggg www ggg www

gw gw
Œ Œ Œ
9
œ.
&b Œ
Dm C
œ œ œ œ œ
I could get used to this.
I could get used to this.
& b gg www ggg www

g
Œ Œ Œ
11

Bb
&b œ œ
F Dm
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Time flies by in the yel - low and green, stick a - round and you’ll see what I mean.
&b www ww www

w ww
? b ˙. œ œ ˙. œ œ ˙. œ œ
13
Bb
j œ œ j
C F
&b œ ‰ Œ Œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ
There’s a moun - tain - top that I’m dream - ing of, if you need
& b www www ww

w ww
Vocals Grade 3
? b ˙. œ œ ˙. œ œ ˙. œ œ
16
43
%
j
C F
&b œ œ œ œ ‰ Œ œ œ œ œ œ œ œ œ
me, you know where I’ll be. I’ll be rid - ing shot - gun un - der - neath the
& b www ww
w œœ œœ Ó
œ œ
f
? b ˙. œ œ ˙ Ó œ œ œ
19
œ œ œ
Bb
&b œ Ó Ó
Dm C
hot sun, feel - ing like a some - one. I’ll be rid - ing
& b œœ œœœ Ó œœ œœ Ó Ó Ó
œ œ œ
œ œ œ œ œ œ
?b œ œ œ œ œ œ œ œ œ œ œ œ
22

To Coda fi
Bb
&b œ Ó
F Dm
œ œ œ œ œ œ œ œ œ œ œ œ œ
shot - gun un - der - neath the hot sun, feel - ing like a some - one.
& b œœ œœ Ó œœœ œœœ Ó œœ œœ Ó

œ œ œ œ
œ œ œ œ œ œ
?b œ œ œ œ œ
25
1. 2.
.. Ó j ‰ Œ
C C F
&b Ó Œ Œ œ œ œ œ œ œ œ
œ
2. The We got two in the front,
&b Ó Œ .. Œ Œ œ œ œœ œœ Ó
œ œœ
œ œ œ
Vocals Grade 3
?b œ œ Ó .. œ œ œ œ œ œ
28
œ œ œ œ
44
Bb
j ‰ Œ œ
Dm C
b
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
two in the back, sail - ing a - long and we don’t look back.
& b œœ œœœ Ó œœ œœ Ó Ó Ó
œ œ œ
œ œ œ œ œ œ
?
b œ œ œ œ œ œ œ œ œ œ œ œ
31
Bb
Œ Œ
F
œœ œœ ˙˙ œœœ œœœ ˙˙˙
& b gg www ‰ œ œ ˙ ‰
g ggg www
?b
˙ ˙ ˙ ˙
34
Œ Œ
Dm C
œœ œœ ˙˙ œœ œœ ˙˙
& b gg www ‰
ggg www
‰
g
?b ˙

˙ ˙ ˙
36
Bb
&b œ œ
F Dm
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
Time flies by in the yel - low and green, stick a - round and you’ll see what I mean.
&b ggg www ggg www ggg www

gw gw
?
b
38
Bb
j œ œ ‰ œj
C F
&b œ ‰ Œ Œ œ œ œ œ œ œ œ œ
œ œ œ
There’s a moun - tain - top that I’m dream - ing of, if you need
& b g www ggg www ggg www

g g w gw
Vocals Grade 3
?
b
41
45
j
&b œ ‰ Œ
Dm C
œ œ œ œ
me, you know where I’ll be. I’ll be rid - ing
& b gg www gg www

g
?b
44
Bb
&b œ Ó
F Dm
œ œ œ œ œ œ œ œ œ œ œ œ œ
shot - gun un - der - neath the hot sun, feel - ing like a some - one.
&b www ww www

w ww
?b ˙. œ œ ˙. œ œ
˙. œ œ

46
Bb
&b Ó
C F
œ
I’ll be rid - ing shot - gun un - der - neath the hot sun, feel - ing like a
& b www www ww

w ww
? b ˙. œ œ ˙. œ œ
49
˙. œ œ
D.%. al Coda
&b œ Ó Ó
Dm C
œ œ œ œ œ
some - one. I’ll be rid - ing
& b www www

Vocals Grade 3
? b ˙. œ œ ˙ œ œ
52
46
fi Coda
&b œ
Dm C
some - one, some - one, some - one, some - one.
& b œœ œœ Ó
ww
œ œ w
œ œ œ
?b œ œ œ œ œ œ œ
54
Bb
œ œœ œ œ œ. j
F Begin fade out
& b œœ œ œœ .. œ œœ .
œ ..
œœ œœ
œ œ
Œ ‰ œ œ
œ œ œ
?b œ œ œ œ œ œ
56
œ œ œ
⇥ œœœ œœœ œœ œœ

‰ œj œ œœ ..
Dm C F
& b œœœ œœ ˙˙ ˙˙ Œ œœ œ œ œ.
œœ œ
œ œ œ
?b œ œ œ œ œ œ œ œ œ œ œ œ
58
œ œ œ
œœ œœœ ...
Bb
œœœ œœœ œœœ œœœ œœœ ... œœœ œœ œœ œœ ˙˙˙ ..
‰ œœ
Dm C
& b œœœ ‰.
R
‰. œ œ œ œ .
R
?b œ œ œ œ œ œ œ œ œ œ œ
61
œ œ œ œ œ œ
&b œ œ œ. œ ˙ œ œ œ œ œ Ó
Vocals Grade 3
P
?b ∑ ∑ ∑
64
47
48
Vocals Grade 3

Colors of the Wind | from Pocahontas 
Album: Pocahontas: An Original Walt Disney Genre: Soundtrack

Records Soundtrack Written by: Alan Menken and Stephen Schwartz
Released: 1995 Produced by: Alan Menken and Stephen Schwartz
Label: Walt Disney Records
Background Info 
‘Colors of the Wind’ features in the 1995 Disney animated film Pocahontas. The song was written by Alan Menken and
Stephen Schwartz, who also wrote the music for the 1996 Disney film The Hunchback of Notre Dame. Met with critical
acclaim, ‘Colors of the Wind’ won several awards, including the Oscar and Golden Globe for Best Original Song and Best
Song Written for a Motion Picture at the 1996 Grammy Awards.
‘Colors of the Wind’ was originally performed by American actor and singer Judy Kuhn, in her role as the singing voice
for the main character Pocahantas. Kuhn is best known for her work in musical theatre and has filled several iconic roles,
featuring in shows such as Les Misérables, Chess, Sunset Boulevard and Fiddler on the Roof.

This arrangement offers an opportunity for anyone keen on the film score genre to tell a convincing story with a strong
emphasis on the articulation and communication of the lyrics.
The song has a wide range (A3–D5) and larger intervallic leaps, and you should start by finding a suitable key where
you can comfortably reach the top notes, aiming for these to be sung with a clear and consistent tone quality.
P ƒ
ƒ
There is a range of dynamic markings, from (moderately quiet) to (very loud). You should establish what your
position is and scale down from this loudest point to avoid pushing yourself beyond what is comfortable and safe.
The accompaniment gives a sense of ‘following the singer’ with a tempo markings, and you should work on these
changes appearing natural, as if the music is following you and not the other way around.
Vocals Grade 3
49
Colors of the Wind
Music by Alan Menken from Pocahontas
Lyrics by Stephen Schwartz
q100 Soundtrack
Moderately
# # 4 œœ œœ œœ œœ ˙˙ œœ œœ œœ œœ ˙˙
D Bm D
& 4 œœ œœ œœ œœ œœ œ œ œ
F
‰ œ œ ˙ ‰ ˙
œ œ œ
Piano
? # # 44 w œ j
w œ ˙
œ.
P a tempo
Bm D Bm
##
poco rall.
& Ó Œ ‰ j œ œ œ œ œ œ œ ‰ j
œ œ ˙
œ œ
You think you own what - ev - er land you land on; the
## a tempo
& ww
œœ œœ œœ œœ ˙˙ ww
P
œ.
? ## œ œ.
œ. œ. .
poco rall.
j Œ ‰ Œ
œ ˙ œ œ
œ. œ. . .

4 œ.
F#m
##
‰ œj
D Bm
& œ œ œ œ œ œ œ œ ˙. œ œ œ œ œ œ œ
œ
earth is just a dead thing you can claim; but I know ev - ’ry rock and tree and
#
& # ww ww ggg www
œ œ. .
? ## œ
œ. œ. . Œ ‰
œ œ. Œ ‰
œ. œ.
Œ
œ. œ . œ.
7
œ. .
G E 7sus 4 A 9sus 4 Bm
#
& # œ œ œ œ œ œ œ œ œ œ
‰ j
˙ ˙. œ
crea - ture has a life, has a spir - it, has a name. you
#
& # g ww ggg ˙˙˙ ˙˙
Œ œœ ˙˙˙
gg w
ggg
ggg
Vocals Grade 3
? ## ‰ . ggg ˙ ˙ .
œ
œ ˙ ‰ œ Œ
œ. œ œ ggg ˙
10
œ. œ
. œ. œ. .
50 © 1995 Wonderland Music Company, Inc. and Walt Disney Music Company
All Rights Reserved. Used by Permission.
## D Bm D
j j
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙ œ œ
think the on - ly peo - ple who are peo - ple are the peo - ple who look and think like
## ww
& www www
w
. œ.
? ## œ. œ œ. œ
œ œ Œ ‰ œ Œ œ. œ. . Œ
13 œ. . . œ
œ. . . œ.
F#m
## ‰ œj
Bm G
& ˙. œ œ œ œ œ
œ œ œ œ ˙ œ œ
you, but if you walk the foot - steps of a strang - er you’ll learn
# œœ œ œ
& # ggg www ggg www œ ˙˙
œ. Œ
? ## ‰ . œ œ œ
œ. œ. Œ ‰ œ Œ ‰˙ œ
œ. œ. œ. . œ œ
œ.
- -
16

f expressively
Em7add 4 A 9sus 4 D Bm
## œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ j‰ œ œ œ œ
˙ œ
things you nev - er knew you nev - er knew. Have you ev - er heard the wolf cry to the
# ˙ ˙˙
& # gggg ˙˙ ˙˙ œœ œ œ œ œ œ œœ œœ ˙ ˙˙
˙
ggg ˙ œ œ œ œ œ
ggg f expressively
ggg
? # # ggg ˙˙ ˙ œ œ œ
ggg ˙ ˙ ˙ œ œ ‰ œ œ œ
19 g ˙ œ œ w œ
F#m F#m
# j
Gadd 9
& # œ
G Bm
œ œ. ˙. œ œ
blue corn moon, or asked the grin - ning bob - cat why he grinned? Can you
# ˙˙
& # ˙˙˙ ˙œ
˙ œ ˙ ˙˙
˙ ww
w
Vocals Grade 3
œ œ œ
? ## ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œ
œ œ ‰ œ œ œ œ
˙ ˙ œ w
22 w
51
Dadd 9/F #
F
Gadd 9 A Bm7 G 6/9
## œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ
˙ œ œ
sing with all the voic - es of the moun - tain? Can you paint with all the col - ors of the
#
& # ˙˙ œ œ ˙œ ggg wwww
˙˙ œ
ggg
ggg F
ggg
? ## ˙ ˙˙ j œ ˙˙ ggg ww
˙ ‰ œ ˙ ggg w
25
˙
Bm7add 4 Em7add 4 A 9sus 4
#
rit.
& # ˙ œ
j ‰
œ œ
wind? Can you paint with all the col - ors of the
Œ
&
## œ œ œ œ œ œ œ œ œ œ ggg ˙˙˙ ˙˙
ggg wwww ggg ˙
ggg ggg rit.
ggg ˙
? # # gggg ˙ .. ggg ˙ ˙
gg ˙ gg ˙ ˙
œ

28
# # ƒ a tempo
D Bm D
& w ∑ ∑
wind?
## œœ œœ œœ œœ ˙˙
a tempo
& œœ œœ œœ œœ ˙˙ œœ œœ œœ œœ œœ œ œ œ
œ œ œ
ƒ F
‰ œ ‰ œ œ
? ## ‰
œ œ œ ‰ œ œ œ ˙
œ œ ˙ œ ‰ œj ˙ .
30 ˙ ˙ w
P
Bm D Bm
# # Ópoco accel.
A bit brighter
& Œ ‰ j œ œ œ œ œ œ œ œ ‰ j
œ ˙
œ œ
Come run the hid - den pine trails of the for - est, come
## ggg www
j ‰ Œ ggg www
poco accel.
& œœ œœ œœ œœ œœ
Vocals Grade 3
P
œ¨ œ¨ œ¨ œ¨ œ¨ œ¨ œ¨ œ¨ œ œ œ œ œ œ œ œ
sim.
? ## ‰ j ‰ Œ
œ œ
˙. œ œ œ ‰
J
33
52
F#m
##
‰ œj œ œ œ œ œ œ œ
D Bm Bm/A
& œ œ œ œ œ œ œ œ ˙. œ
taste the sun - sweet ber - ries of the earth; come roll in all the rich - es all a -
# # g ww ˙
& gg w ggg www ˙ ˙˙
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
36
##
G Em7 A 9sus 4 Bm A
F
‰ j
cresc.
& œ
œ ˙ œ œ œ œ œ œ œ œ ˙. œ
round you, and for once nev - er won - der what they’re worth. The
# w ˙˙
& # ww ˙˙ ˙˙ ..
˙.
Œ
F
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ-
œ œ
39

##
D Bm D
& œ œ œ œ œ œ œ œ ‰ j œ œ œ œ œ œ œ œ
œ ˙ œ
rain - storm and the riv - er are my broth - ers; the her - on and the ot - ter are my
# # gg www ggg www ggg www

& gg w gw gw
‰ œ œ œ œ œ œ
? ## ‰
œ œ œ œ œ œ œ w œ ‰ œ œ œ œ œ œ œ
42 w w
F#m
f poco a poco cresc.
Bm G
#
& # ˙. ‰ œj œ œ œ œ œ œ œ
œ œ ˙ œ œ
friends; and we are all con - nect - ed to each oth - er in a
œœ œœ ww
# # œœœ œœ
œ # œ w ww
& w
f poco a poco cresc.
Vocals Grade 3
‰ œ œ ˙
? ## ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ
w w w
45
53
ƒ broadening
Em7 A 9sus 4 D
##
& Œ
œ œ œ œ œ œ œ œ œ ˙.
cir - cle, in a hoop that nev - er ends.
## ˙ ˙˙ wœ œœœ
& ˙ ˙ œ œœœ œœ
ƒ broadening
‰ j
? ## ‰ j œ œ
3
œ œ œ. œœ œ. œ œ œ. œœœ œ œ
˙ ˙
48 w
F#m Dadd 9/F #
f
G Bm C
## œ œ œ œ œœœ œ
& ˙ œ œ œ œ
œ œ œ œ œ
How high does the syc - a - more grow? If you cut it down, then you’ll
# ˙˙ n ˙˙˙ ... œ œ
& # ˙˙˙ ˙˙ ˙˙˙ ˙
f
œ œ ‰ œj œ
≈ Œ
? ## œ œ œ œ œ ˙˙ œ nœ œ
‰ œ
50
˙œ œ˙ ˙ ˙ n˙. œ

ƒ a tempo
G/A A G/A A G/A A Bm
## j
rall.
& œ. œ ˙ ˙ œ œ œ œ
nev - er know, And you’ll nev - er hear the wolf cry to the
# œ. j œœ ˙˙a tempo
. œœœ
& # ˙˙
œ # ˙˙˙ œœœ œœœ œœœ œœ ˙˙ ...
rall.
œ œ
ƒ
‰ œ ‰ œ #œ œ œ
‰ ˙˙
? ## œ œ œ œ
˙ ˙ œ œ œ œ w œ œ ˙
œ w
>
53
F#m F#m
# j
Gadd 9
œ œ œ œ œ œ œ ‰ œj œ œ
G Bm
& # œ œ œ. œ œ ˙
blue corn moon, for wheth - er we are white or cop - per skinned, we need to
œœ ˙œ ˙˙ .. œœœ ww
# œ ˙˙ œ ˙˙ ..
& # œœœ œœ œ ww
Vocals Grade 3
œ ˙˙ ˙
? ## ‰ œ œ ˙˙ ‰ œ ‰ œ œ œ
˙ ˙ œ œ ˙ ˙. œ
56 w
54
## œ œ œ
G A Badd 9/F # Bm
F G 6/9
& œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ
œ œ œ
sing with all the voic - es of the moun - tain, need to paint with all the col - ors of the
˙ ˙˙
# # ˙˙˙ ˙˙ œœœœ ˙˙ .. ggg wwww
& ggg
ggg F
‰ ggg w
? ## œ œ ‰ œ œ ‰ œ œ ggg ˙˙ ggg w
œ ˙ œ œ gg ˙
˙ ˙
59
Bm7add 4 Em A F#m G
#
rit. e cresc.
& # ˙ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
wind. You can own the earth and still all you’ll own is earth un - til you can
Œ œœ ˙˙
# # www œœœœœœœœœ œ gg ˙˙˙ ˙˙˙ œœ œ ˙˙
rit. e cresc.
& w ggg œ
ggg
w ggg
? # # ggg w ggg ˙ ˙˙ œ gg ˙˙
gg w ggg ˙˙ ˙ ‰ œ œ ggg ˙
g ˙ g

62
f P
Bm Gmaj 7 G/A D Bm
# # Uœ " œ œ U U
œ
a tempo rall.
& œ œ œ œ w w
paint with all the col - ors of the wind.
Uœ
## œœ U U œœ œœ œœ œœ ˙˙
œ ‰ œœ œœ œœ œœ ˙˙
a tempo
& J Œ j ‰ œj ‰
œ œ
f
U P
‰ œ œ œ ˙ ‰
rall.
? ## ggg ˙˙ j U U
œœ ‰ œœ ‰ w œ
œ œ ˙
gg ˙ w
65 J
## Em7/A
∑ ∑ ∑
G D
&
U
w
# " ggg www
g
& # œ
expressively
œ œ ∑
˙ œ œœ œ œ œ gggg
ggg p
Vocals Grade 3
Œ ggg π
? ## ˙ ˙ ggg U
w ? j
œ ‰ Œ Ó
˙ ˙ & gg w
68 g w œ.
55
56
Vocals Grade 3

Marry You | Bruno Mars 
Album: Doo-Wops & Hooligans Genre: Pop

Released: 2010 Written by: Bruno Mars, Ari Levine and Philip Lawrence
Label: Warner Produced by: The Smeezingtons
Background Info 
‘Marry You’ is a song by American singer-songwriter Bruno Mars and featured on his debut studio album Doo-Wops
& Hooligans. The song was released as an international single and was well-received in several countries, peaking
at number 11 in the UK. The song’s popularity has led to it being regularly performed at live shows, and several cover
versions have been made by well-known artists, including Childish Gambino.
Some of Bruno Mars’ earliest commercial works were as a songwriter and music producer, writing hits for several
artists such as Cee Lo Green and Travie McCoy. He then released his first single as a solo artist in 2010, and went on to
release three studio albums, all of which have been top 5 in the UK charts. Bruno Mars has won 11 Grammy Awards, and
was featured in Time magazine’s 2011 list of the 100 Most Influential People in the World.

This up-tempo pop song demonstrates Bruno Mars’s innate ability to manage his upper range with a strong yet bright
and resonant falsetto tone quality.
The overall range of the song is less than an octave (C4–B b 4, written an octave higher for legibility), and you should
aim for the main part of the song to sit comfortably in the upper part of your chest voice and falsetto/head voice. This
means you may have to transpose the song up or down to fit best with your voice type. You should aim to engage your
resonators in your higher range to achieve a smooth transition and clarity on your top notes. The intonation/pitching of
these notes is important and applying consistent breath support will help you to achieve this.
Other key elements are to ensure secure rhythmic phrasing to the backing track, while displaying accuracy with the
melodic details. The lyrical content of the song calls for strong communication with demonstration of dynamic changes,
in particular when going into the pre-chorus in bar 41.
Vocals Grade 3
57
Marry You
Words and Music by Bruno Mars, Bruno Mars
Ari Levine and Philip Lawrence
q145 Pop
j œ. j j
b 4 j œ œ œ œ œ œ œ œ œ. œ œ
F Gm
& 4 œ. œ œ œ.
w w w w
Piano F
? b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Bb
&b Ó Œ œ œ
F
It’s a
j j
œ œ œ œ œ. œ œ j œ
j
œ œ. œ
& b œ. œ. œ œ
œ œ
w w w w
? b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

5
œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙ œ œ
Gm
&b ‰ J Ó ‰ J
beau - ti - ful night. We’re look-ing for some - thing dumb to do. Hey, ba -
j j j
j œ œ œ. œ œ œ œ. œ
& b œ. œ œ œ œ. œ œ œ
w w w w
?b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
9
Bb
œ œ. œ œ œ
‰ Jœ œ œ œ œ œ
F
& J
b Œ Œ Ó Ó ‰ œJ œ œ
- by, I think I wan - na mar - ry you. Is it the
j j
j
œ œ. œ
& b œ. œ. œ œ
œ œ
w w w w
Vocals Grade 3
13
Copyright © 2010 BMG Firefly, Marsforce Music, BMG Gold Songs, Toy Plane Music, WC Music Corp., Round Hill Songs, Universal Music Corp., Roc Nation Music and Music Famamanem LP
58 All Rights for BMG Firefly, Marsforce Music, BMG Gold Songs and Toy Plane Music Administered by BMG Rights Management (US) LLC
All Rights for Roc Nation Music and Music Famamanem LP Administered by Universal Music Corp.
œ œ œ œ ˙ œ œ 3œ œ œ
Gm
œ
œ ˙
œ œ
&b Œ Ó Œ
look in your eyes, or is it this danc - ing juice? Who cares,
j j j
w w w w
?b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
17
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bb
œ œ œ Œ œ
‰ œJ œ œ œ œ œ œ ˙
F
& J
b J Ó Ó Œ œ œ
ba - by; I think I wan - na mar - ry you. Well, I
j j
j
œ œ. œ
& b œ. œ. œ œ
œ œ
w w w w
21

œ œœ œ œ œ œ œ œ œ œ œ œ œ ˙ ‰ Jœœ œJœ œœ œœ
Gm
& b .. œ œ œ œ Œ
œ œ œ
J
know this lit - tle chap - el on the boul - e - vard, we can go. No one will
I’ll go get a ring; let the choir bells sing, like, “Ooh.” So, what you wan - na
& b .. w www www

ww www
? b .. j j j j
œ. œ œ œ œ œ. œ œ œ. œ œ œ œ œ. œ œ
25
Bb
œ œ œ œ ˙ œ œ ˙. œ œ ˙.
F
& b Ó ‰ Jœ ‰ œJ
know. Oh, come on, girl. Who
do? Let’s just run, girl.
& b ww www
w www www
Vocals Grade 3
?b
j j œ œ œ œ œ
29 œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ œ 59
œ œ œ œ ˙ j j
œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
Gm
& b œœ œ œ œ Œ ‰ J
œ
cares if we’re trashed, got a pock- et full of cash we can blow. Shots of Pa -
If we wake up and you wan - na break up, that’s cool. No, I won’t blame
&b w www www

ww ww
w
?b j j j j
œ œ œ œ œ. œ œ œ. œ œ œ œ œ. œ œ
33
œ.
Bb
œ œ œ œ ˙ œ œ ˙ œ.
Gm/F F
& b Ó ‰ Jœ œ ˙ ‰ œJ œ
J
trón and it’s on, girl.
Don’t say,
you; it was fun, girl.
& b ww ww
w w www www
?b j j œ œ œ œ œ
37 œ. œ œ œ œ œ. œ œ œ œ œ œ œ

œ œ œ œ œ ˙ œ œ œ œ
‰ Jœ œ œ œ
Gm
œ ˙
&b J J ‰ J
“No, no, no, no, no.” Just say, “Yeah, yeah, yeah, yeah, yeah,” and we’ll
j j j
w w w w
?b œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ
41
Bb
œ œ œ œ œ œ œ. œ œ œ.
‰ œJ œ
F
œ ˙ ‰ Jœ œ ‰ œJ œ œ
&b J J J J
go, go, go, go, go, if you’re read - y like I’m read - y. ’Cause it’s a
j j
j
œ œ. œ
& b œ. œ. œ œ œ
w w w w
Vocals Grade 3
?b œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ
45
60
œ œ œ œ ˙ œ œ œ œ œ œ œ œ
œ ˙
œ œ
J
Gm
&b ‰ Ó ‰ J
beau - ti - ful night. We’re look - ing for some-thing dumb to do. Hey, ba -
b œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ
?b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
49
Bb
œ œ. œ œ œ
‰ Jœ œ œ œ œ œ
F
& J
b Œ Œ Ó Ó ‰ œJ œ œ
- by, I think I wan - na mar - ry you. Is it the
&b œ œ œ œ
? b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
53

œ œ œ œ ˙ œ œ 3œ œ Gm
œ œœ ˙ œ œ Bb
œœ œ
&b Œ Ó Œ J J Œ ‰ œJ
look in your eyes, or is it this danc - ing juice? Who cares, ba - by; I
&b œ œ œ œ
?b œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ
57
œ œ œ œ œœœœ œœœœœœœœ œœœœ œœœœ œœœœœœœ œ
œ œ œ œ œ œ œ ˙ œ œ
F 1. 2.
& b Ó Œ. J Œ ..
think I wan - na mar - ry you. Oh!
œ œ œ œ œ œ œ œ œ .. œ œ œ
&b œ œ œ œ ww
w
Vocals Grade 3
? b œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ w
62
œœœœœœœœ œ œœ œ œ œ œœ œœœœœœœœ w
61
62
Vocals Grade 3

People Help the People | Birdy 
Album: Birdy Genre: Chamber Pop

Released: 2011 Written by: Simon Aldred
Label: 14th Floor/Atlantic Produced by: James Ford
Background Info 
‘People Help the People’ was originally released in 2007 by British band Cherry Ghost. The song featured on their
debut studio album Thirst for Romance, and saw the songwriter Simon Alfred win an Ivor Novello award for Best Song. In
2011, Birdy released a cover version of ‘People Help the People’ as the third single from her debut self-titled album. After
its release Birdy’s distinctive interpretation of this song became popular worldwide, and is the main inspiration for this
performance piece.
As a musician, Birdy is well-known for her own personal covers of songs, and initially gained success with her piano
ballad rendition of Bon Iver’s ‘Skinny Love’, which peaked at number 17 on the UK Singles Chart. She has since gone on
to release four studio albums, featuring both covers and original songs. In 2014, she was nominated for a Brit Award for
British Female Solo Artist, and her music has appeared in a variety of television series and films, including The Hunger
Games and Brave.

This abridged arrangement is based on the cover version of the song by Birdy (from her debut album Birdy, released
in 2012).
For a stylistically convincing tone quality you can use a ‘speech style’ position, aiming for your head voice to not sound
too ‘breathy’ by engaging your mouth resonators.
The verses have longer melodic phrases that will need good breath support to manage, and you should aim to leave
room to build up your dynamics gradually with crescendos.
Make sure you give attention to the clarity and articulation of the lyrics and on the longer phrase of the verses. Notice
how Birdy pronounces the word ‘people’ at the start of the chorus, making it sound like ‘pe-hi-ple’, you can choose to
copy this or just extend the ‘ee’ sound here. Rhythmically, aim to copy the a tempo feel on the verses and the more tempo
rubato feel at the end of the choruses.
Vocals Grade 3
63
People Help the People
Words and Music by Simon Aldred Birdy
Chamber Pop
Tempo rubato
F#
#### # 4 œ w
& # 4 œ œ œ œ
œ œ
Piano
? # # # # # 44 w ˙. œ
#
Con pedale
A#m F#
#### # œ œ ˙. œ
& # œ œ #œ œ œ #œ œ
œ œ œ œ œ
? #### # w w w
#
3

U U
‰ œ. œ˙ #œ A#m U
‰ œœ .. œ #œ
#### # w œ . œ œ w ˙
& # œ œ #œ œ œ
U
? #### # w w w
#
6
a tempo q72
#### # . œ F#
œ.
A#m
œ œ œ œ œ
& # . œ œ œ œ œ œ œ œ œ
1. God knows what is hid - ing in those weak and drunk - en hearts. Guess he kissed
2. God knows what is hid - ing in this world of lit - tle con - se - quence. Be -
#### # . œœ œœ œœ œœ
& # . œœ œ
œœ
œ
œœ
œ
œœ œ œ œ œ œ
Vocals Grade 3
? # # # # # .. ˙ œ. œ w
# J
9
Copyright © 2007 Sony Music Publishing (UK) Limited

64 All Rights Administered by Sony Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
# # # # # Gœ .
# F# ,
& # #œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ.
the girls and made them cry. Those hard - faced queens of mis - ad - ven - ture.
,
hind the tears, in - side the lies a thou - sand slow - ly dy - ing sun - sets.
## #
& # # # # œœ œ
œœ
œ
œœ
œ
œœ
œ œ
œœ œœ # œœ œœ
œ œ œ
,
? #### # w w
#
11
## # A#m
œ œ œ œ
& # ## œ œ œ. œ œ œ œ œ œ œ œ œ
God knows what is hid - ing in those weak and sunk - en eyes. Fier - y throngs
God knows what is hid - ing in those weak and drunk - en hearts. Guess the lone -
#### # œœ œœ œœ œœ
& # œœ œ
œœ
œ
œœ
œ
œœ œ œ œ œ œ
? #### # ˙ œ. œ w
# J

13
# # # # # Gœ # œ
# F# ,
& # œ œ œ
of mu - ted an - gels giv - ing love but get - ting no - thing back. Oh,
,
- li - ness came knock - ing. No one needs to be a - lone. Oh, sing - ing,
#### # # œ œœ œœ œœ
& # œ œ œ œ œ œ
œœ
œ
œœ
œ
œœ
œ
œœ
,
? #### # ˙ ˙ w
#
15
F# A#m
#### # œ œ œ. œ œ.
œ œ
œ œ œ. œ œœœ
& # œ œ œ œ.
peo - ple help the peo - - - ple. And if you’re
#### # œœ œœ œœ œœ
& # œœ œœ œœ œœ œ œ œ œ œ
œ œ œ
Vocals Grade 3
j
? #### # ˙ œ. œ w
# ˙ œ. œ w
17
65
# # # # # Gœ
#
& # #œ œ œ œ œ œ œ œ
home - sick give me your hand and I’ll
# ## #
& # # # œœ œ
œœ
œ
œœ
œ
œœ œ œ
? #### # w
# w
19
# # # # # Fœ
#
œ œ œ. œ œ œ. œ œ
& # œ Ó œ
hold it. Peo - ple help the peo -
#### #
& # œœ œœ œ œ œ œœ œœ œ œ œ œœ œœ œœ œœ
œ œ œ œ œ
j
? #### # w ˙ œ. œ
# w ˙ œ. œ

20
A#m G#
#### # œ œ œ. œ œ œ. œ œ œ œ œ œ
& # œ œ œ
- - - ple. Noth - ing will drag you down. Oh, and if
#### # œ œœ œœ œœ # œœ œœ œœ œœ
& # œ œ œ œ œ œ œ œ œ œ
? #### # w ˙ ˙
# w w
22
Tempo rubato
D#m C# F# D#m C# F#
#### # œ œ œ œ œ œ œ œ œ œ œ
& # œ œ œ ‰ œ œ œ ‰ ≈ œ
J J
I had a brain, oh, and if I had a brain I’d be cold
# # # # # g œœ ggg œœœ ggg œœœ ggg œœœ

& # gg œ ggg ˙˙˙ ggg ˙˙˙
Vocals Grade 3
œ œ œ œ
? #### # ˙ ˙
#
24
66
D#m C# F# D#m E#7
#### # œ œ œ œ
& # œ œ
as a stone and rich as the fool that turned all those good hearts a - way.
# ## # œ œ
& # # œ œ œ œ œ œ œ œœ œœ œœ
œ œ œ œ œ‹ # œ˙˙ œ
œ œ
? #### # ˙ ˙ ˙
#
26
1.
a tempo q72
F#
#### # Œ Ó ∑ ..
& # œ
#### # ..

& # œœ œœ œ œ #œ œ œ œ œ œ œ œœ œœ œœœ
œ œ
? # # # # # ‰ œj œ œ œ œ ˙ ‰ œ
j œ œ ˙ ..
# w w
28
2.
F#
#### #
& # œ Œ Ó ∑ ∑
j U U
œ œ œ ˙.
#### # Œ j #œ œ œ œ ˙.
& #
3
œœ œœ œ œ œ œ œ œ œ œ ww œ
œ œ œ ww
Vocals Grade 3
? # # # # # ‰ œj œ œ œ œ ˙ w U
w
# w w w
30
67
68
Vocals Grade 3

All of Me | Billie Holiday 
Released: 1941 Genre: Jazz

Label: OKeh Records Written by: Seymour Simons and Gerald Marks
Background Info 
Billie Holiday’s take on the 1931 jazz standard ‘All of Me’ was recorded in 1941. The standard was written by American
composers Gerald Marks and Seymour Simon, and was performed by a variety of jazz musicians and singers. The 1941
performance by Billie Holiday is one of the definitive versions of this song and is the main inspiration for this performance
piece. In 2001, Legacy Recordings released a boxset honouring the singer’s work during the period in which she recorded
‘All of Me’, and the song is included in the ten disk collection Lady Day: The Complete Billie Holiday on Columbia 1933–1944.
Billie Holiday was an influential jazz singer. She began her career in the early 1930s and over two decades produced
several singles and albums. Billie Holiday unfortunately died in her 40s due to illness, but has received several awards
and recognitions for her contributions to music, and was posthumously honoured with an induction into the Grammy Hall
of Fame in 2005.

This classic jazz tune has been covered by many artists over the years. This Rockschool arrangement is based on Billie
Holiday’s 1941 recording, and shows her development of the original melody underpinned by her particular phrasing and
communicative style.
When singing this song it is important to use stylistically convincing tone colours. Although you do not have to emulate
the original vocal performance, you could try experimenting with the positioning of the tone and the shaping of the
vowels to find a stylistic approach you feel suits the song. Notice how Billie often uses vocal glides – you could choose to
add this effect or keep to the melody written in the score.
You are invited to vary the melody on the D.S. al Coda; this could include both rhythmic and melodic variations, while
still maintaining clear articulation and communication of the lyrics.
Vocals Grade 3
69
All of Me
Words and Music by Seymour Simons and Gerald Marks Billie Holiday
q105 Jazz s % Vary on D.S.

& b 44
Dm7 Gm7 C7 F6
∑ ∑
F
˙ œ œ
Vocals
All of me,
‰ œ œ œ œ œ œ œ œ n œœœœ
& b 44 Œ œ œ # œj œ œ œ J
˙ œ.
œ œœ œœ œœ
Piano 3 3
? 4 œ œ œ
b 4 œ œ œ œ œ œ
#
‰ œj œj œ j j j
A9 A9 5
&b œ œ œ. œ #œ œ
j Ó
œ n˙
why not take all of me?
. œ j
& b ‰ œœœœ ... ‰ j Œ n # œœœ œ # œ n # œœœ œœœœ ‰ œœœ ‰ # œ .
˙˙˙ n # œœœ œœœ œœœ # œ n œœœ ...

?b
3
4 œ
b
‰ b œj ˙ ‰ b œj
D9 D7 9 D7
&b j j Œ
3 Gm
œ. œ œ œ œ œ œ ˙
Can’t you see I’m no good with - out
j
œ œ.
# œœ œœœ ...
& b n n ˙˙ œ j œœ œœ # œœ œœ
œœœ ... b œœœ ˙˙˙ œ œ œ
# ˙˙ œ. #œ ˙ œ
?b
œ œ œ œ œ œ
7 œ œ œ œ œ œ
j j
Gm6 A7 A9
& b œj Ó ‰ œ œ œ. œ œ Œ ˙
3
œ œ
you. Take my lips, I
œœœ ...
& b ˙˙˙ ‰ ?
˙. œœœ ... j
˙ œ. # ˙˙˙ ... œœ œœœœ œ. # œœ ˙˙
Vocals Grade 3
?b
10 œ
Copyright © 1931 Sony Music Publishing LLC, Redwood Music, Round Hill Songs, Marlong Music Corp. and Bourne Co. (ASCAP)
70 Copyright Renewed
All Rights on behalf of Sony Music Publishing LLC Administered by Sony Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
All Rights on behalf of Redwood Music Administered by Round Hill Carlin
j j j
Dm G9
& b œ. ‰ œ
3 3
œ ˙ œ œ œ ˙. œ œ œ œ
want to lose them. Take my arms,
œ
?b Ó œ œ œ œ œ
j
œ
J œ œ œ. j
J J &
n œœœ ... œœœ ˙˙˙
?b
œ œ œ œ œ œ
Gm9/C Dm7/C C7
j j
& b œ. œ œ œ œ j Ó
3 3
I’ll nev - er use them.
œœœœ œ œœœ œ œœœ

&b j Œ ?
œœœ ... œ
n œœœ ˙˙˙ b œ œœœœœœ &
˙ œ
?b œ œ
16 œ œ œ

F6 A9
& b œ. j j Ó œ
3
œ œ œ œ œ ˙. œ
œ
Your good - bye left me with eyes that
œœœ œœœœ ...

&b œ ‰ . ‰ j Œ n # œœœ œ # œ
˙. œ ˙˙˙ n # œœœ œœœ œœœ
3
?b
19 œ œ œ œ
# b
‰ b œj ˙
A9 5 D9 D7 9
&b ˙. Œ Œ
œ œ œ œ œ
cry. How can I go on,
b n # œœœ œœ ‰ œj ‰ œœ œœœœ ... j

& œ œœ # œœœ n # œœœœ .... n #n ˙˙˙˙ .... œœœ # œœ . b œœœ ˙˙˙
œ #œ ˙
Vocals Grade 3
?b
22 œ œ œ œ œ
71
#
Gm7 D7 Gm F7 5 B b maj 7
& b ‰ b œj œ œ ˙ Ó ‰ œ. Œ
3
œ
3
œ œ œ œ œ
dear, with - out you? You took the
You took the
& b œœ œœ # œœ ‰b n œ. j
œ œ œ
œœ ˙˙
˙ # œœœ ... œœœ ‰ Œ Ó
œ œ
?b
25 œ œ
B b m6 Fmaj 7 D9 To Coda fi
&b œœœ Œ ‰ œj ‰ j Œ ‰ j
3
œ ˙œ œ
œ œ ˙ œ
part that once was my heart.
So
best so why not take the rest.
& b ‰ b n œœœ ... œ www ww

b œœœ
œ. œœœ
w # ww
?b œ œ œ œ œ œ œ œ
28 œ œ œ œ

# b #
C#9 5 C 13sus 4 C 13 9 F Dm Gm C7 5 D.%. al Coda
& b œ œ ˙. ‰ œ. œ Ó ∑
œ œ ˙
why not take all of me.
œœ œ œ œ œ œ
j œ
‰ Jœ œ J
œ œ œ œ œ œ #œ œ œ
& b ẇ˙
?
œœ . b œœ ˙˙˙
œ &
# œ n œ
n œ . b œ œ ..
.
J
3 3 3 3
3
?b œ œ œ œ œœ œœ
œ œ bœ œ œ œ œ œ œ
31 œ œ œ
fi Coda b
G b 6/9 F 6/9
j
G9 C 13 9 F N.C.
& b œ œ. Œ ‰ œ. œ. j œ Œ Ó
œ œ œ œ ˙.
Ba - by, take all of me.
˙ œœ j
& b n n ˙œ œ . œ œ n œœ ˙˙ b ˙˙˙ œœ œ b œJ ‰ œ œ # œ œ œ . b b œœœ n ˙˙
J œ ˙ b˙ œ ˙
Vocals Grade 3
œ bœ œ œ #œ œ œ. j
?b J ‰
œ œ œ œ œ œ œ b b œœ n ˙˙
35 œ œ
72
Technical Exercises
Group A: Scales
The major and natural minor scales should be prepared as shown below. The example below is shown from the starting note
of A3, however, you may perform it from a starting note of your choice. Please note: the examiner can play starting notes in
the range A3–G#4, but you may sing in any octave.
This test is performed to a compulsory metronome click. The examiner will ask you which starting note you have chosen.
You will hear the starting note 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 =90.
Major scale
##4 ¿ ¿ ¿ ¿
q = 90
& # 4 œ œ œ œ œ œ œ œ œ
w w œ œ œ œ œ ˙
Natural minor scale
¿ ¿ ¿ ¿
q = 90
& 44 œ œ œ œ œ œ œ œ œ

Group B: Arpeggios
In this group, both of the arpeggio exercises need to be prepared as shown below. You will be asked to perform one of them
in the exam, as chosen by the examiner.
The examples are shown on the starting note of A3, but you may perform them from a starting note of your choice. Please
note: the examiner can play starting notes in the range A3–G#4, but you may sing in any octave.
Major arpeggio
## ¿ ¿ ¿
q = 90
& # 43 œ œ œ œ œ œ Ó
˙. ˙. œ œ œ œ œ œ œ
Minor arpeggio
¿ ¿ ¿
q = 90
Vocals Grade 3
& 43 œ œ œ œ œ œ Ó
˙. ˙. œ œ œ œ œ œ œ
73
Technical Exercises
Group C: Intervals
In this group, both the perfect 4th and perfect 5th intervals 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 examples below are shown on the starting note of F4, but you may perform them from a starting note of your choice.
Please note: the examiner can play starting notes in the range A3–G#4, but you may sing in any octave.
Perfect 4th interval
¿ ¿ ¿ ¿
q = 90
4 b˙
Candidate sings:
&4 w w ˙
Perfect 5th interval
¿ ¿ ¿ ¿
q = 90
& 44 w ˙
Candidate sings:
w ˙

Vocals Grade 3
74
Technical Exercises
Group D: Technical Studies

This group consists of two Technical Studies: one rhythmic and one melodic. The examiner will ask you to perform one
in the exam. The examiner will decide which, so you must prepare both before the exam. For the melodic study, you may
choose Option 1 (in F # minor) or Option 2 (in B minor) – both examples are shown below. If the examiner chooses the
melodic test, they will ask you which option you have chosen.
The rhythmic test starts with a four-beat count. The melodic test starts with a root note followed by a four-beat count. Both
tests should be performed to the appropriate backing track which can be found in the audio.
Important note
The melodic studies below are not gender specific. You are free to choose the range which best matches your voice,
regardless of the gender of the vocalist on the recorded examples.
Study 1 | Rhythmic (Rhythmic Accuracy)
4 ¿ ¿ ¿ ¿
q = 95
&4 ∑ .. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
Each and ev - ’ry time I keep tel - lin’ you, it’s time to move on, but you keep com - ing back so strong. What’s
& J¿ ‰ ¿ ¿ ¿ ¿ ¿ ⇥ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ..
wrong? What is go - in’ on? The name of the game is to get up and stay real strong.

Study 2 | Melodic (Quick dynamic changes and bends)
Option 1: F # minor
## ¿ ¿ ¿ ¿ F#m F#m
q =115
j
& # 44 w .. œ Œ j ..
œ ‰ œ. œ œ œ ‰ ˙ Ó
E
w > œ œ œ œ. œ œ œ œ
f p f p
Stop, qui - et now. I want to, I want to sleep.
Option 2: B minor
(Vocal on recording sounds an octave lower than notated)

¿ ¿ ¿ ¿
q =115
#
& # 44 w .. >œ œ. œ œ
Bm A Bm
w œ œ œ Œ œ. œ œ œ œ ‰ œ œ ‰ ˙ Ó ..
J J
f p f p
Stop, qui - et now. I want to, I want to sleep.
Vocals Grade 3
75
Sight Reading
In this section you have a choice between:
■ Either – a Sight Reading test

■ Or – an Improvisation & Interpretation test (see facing page).
The examiner will ask you which one you wish to choose before commencing. Once you have decided, you cannot change
your mind.
The examiner will give you a four-bar melody in the key of F major or D minor, covering a range up to a perfect 5th. You will
be given 90 seconds to practise, after which you will perform the test. You may sing in any octave. The tempo is q =75–85.
During the practice time you will be given the choice of a metronome click throughout or a count-in of four beats at the
beginning. Whichever option you choose, the practice time will start with the examiner playing the root note. You will
receive the same choice when performing the test. The test will start with the root note.
Note: Note: You may sing in any octave using any vocal sound except humming or whistling..
¿ ¿ ¿ ¿
q = 80
4 ˙ œ
&b4 w w œ œ Œ œ ˙ œ œ Œ œ w
Please note: the test shown is an example. The examiner will give you a different version in the exam.

Vocals Grade 3
76
Improvisation & Interpretation
The examiner will give you a chord sequence in the key of G major or E minor. You must improvise a melody over the
backing track. You will hear the backing track three times. The first and second time is for you to rehearse and the third time
is for you to perform the final version for the exam. Each playthrough will begin with the root note and a four-beat count-
in. The backing track is continuous throughout, so once the first playthrough has finished, the root note and count-in of the
second and third playthroughs will start immediately. The tempo is q =80–90.
Note: You may perform the improvised bars in this test using any vocal sound except humming or whistling.
¿ ¿ ¿ ¿
q = 80 Pop
#4
& 4 .. w ’ ’ ’ ’ ..
G Bm Am C G
w ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Vocals Grade 3
77
Ear Tests
In this section, there are two ear tests:
■ Melodic Recall
■ Rhythmic Recall
You will find one example of each type of test printed below and you will be given both of them in the exam.
Test 1 | Melodic Recall

The examiner will play you a two-bar melody played to a drum backing. It will use the first five notes of the C major or
A natural minor scales and the first note will be the root note. You will hear the test twice. Each time the test is played, it is
preceded by the root note and a four-beat count-in. There will be a short gap for you to practise after each playthrough. Next
you will hear a vocal count-in, after which you should sing the melody to the drum backing. The tempo is q =90.
It is acceptable to sing over the track as it is being played as well as practising after the first two playthroughs. The length
of time available after the second playthrough is pre-recorded on the audio track, so the count-in may begin while you are
still practising.
Note: You may perform this test using any vocal sound except humming or whistling. You may sing in any octave.
¿ ¿ ¿ ¿
q = 90
& 44 .. œ
Œ ..

Vocals Grade 3
78
Test 2 | Rhythmic Recall
This test comes in two parts:
Part 1 | Rhythmic Recall

The examiner will play you a two-bar rhythm played on a single note to a drum backing. You will hear the test twice.
Each time the test is played it is preceded by a four-beat count-in. There will be a short gap for you to practise after each
playthrough. Next, you will hear a vocal count-in, after which you should sing the rhythm back. The tempo is q =90.
For this exercise, use ‘da’ or ‘ba’ vocal sounds.
It is acceptable to sing over the track as it is being played as well as practising after the first two playthroughs. The length of
time available after the second playthrough is pre-recorded on the audio track, so the vocal count-in may begin while you
are still practising.
Part 2 | Identification
You will then be asked to identify the rhythm heard in part 1 from two printed examples shown to you by the examiner.
q = 90
& 44 .. œ ‰ j ..
A
q = 90
& 44 .. œ ..
B

Vocals Grade 3
79
General Musicianship Questions
In this part of the exam you will be asked five questions. Four of these will be about general music knowledge and the fifth
will be about your voice.
Part 1 | General Music Knowledge

The examiner will ask four music knowledge questions from the categories below. The questions will be based on one of the
pieces (including Free Choice Pieces) as performed by you in the exam. You can choose which one. If there are handwritten
notes on the piece you have chosen, the examiner may ask you to choose an alternative.
You will be asked to identify:

■ Any pitch name. (You will need to state flat, sharp or natural)
■ Whole-, half-, quarter-, eighth-, triplet eighth- and 16th-note values
■ Any rest value
■ Recognition of any interval up to a fifth between two adjacent notes
(You will not need to state major, minor or perfect)
You will be asked to identify and explain:

■ The meaning of the 4/4 time signature marking
■ The meaning of repeat marks, first and second time bars
■ The meaning of staccato marks
■ The meaning of slurs
■ The meaning of crescendo/diminuendo
■ The meaning of D.C., D.S., al Coda and al Fine markings
■ The meaning of ad lib.

Part 2 | Your Voice
The examiner will also ask you one question about your voice. Brief demonstrations to assist your answer are acceptable.
You will be asked:

■ What is the meaning of the ‘break’?
■ What is the meaning of ‘transition’?
■ How do you support a long sustained note?
■ Give an example of each of the following:
a) a type of food that would be good to eat before a performance?
b) a type of food that would not be good to eat before a performance?
Vocals Grade 3
80
Pre-Examination Checklist
PERFORMANCE PIECES
Piece 1:
Piece 2:
Piece 3:
TECHNICAL EXERCISES
Group A: Scales Starting note:
Group B: Arpeggios Starting note:
Group C: Intervals Starting note:
Group D: Technical Study Study 1 | Rhythmic (Rhythmic Accuracy)

No options
Study 2 | Melodic (Quick dynamic changes and bends)

Options:
§ Option 1 | F # minor
§ Option 2 | B minor
SUPPORTING TESTS
Sight Reading Options:
§ Sight Reading
or
Improvisation & Interpretation
§ Improvisation & Interpretation
Ear Tests No options (All sections must be prepared):
§ Test 1 | Melodic Recall

§ Test 2 | Rhythmic Recall
General Musicianship No options (All sections must be prepared):
§ Part 1 | General Music Knowledge

Questions
§ Part 2 | Your Voice

Vocals Grade 3
81
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)345 460 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.
Grade Exams | Grades 1–5
ELEMENT PASS MERIT DISTINCTION
Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20

Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15
Either Sight Reading

6 out of 10 7–8 out of 10 9 + out of 10
or Improvisation & Interpretation
Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10
General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5
TOTAL MARKS 60%+ 74%+ 90%+
Performance Certificates | Grades 1–8
ELEMENT PASS MERIT DISTINCTION

Vocals Grade 3
TOTAL MARKS 60%+ 75%+ 90%+

82
Musical Interpretation & Free Choice Pieces
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. For reference, the downloadable audio accompanying this book
contains example performances of the pieces by professional singers demonstrating their interpretation of the scores.
Free Choice Pieces (FCPs)

Free Choice Pieces are accepted in all Vocals grades. An FCP is defined as any piece outside the grade book, and can fall into
two categories:
1) W
ider Repertoire: a full list of 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:
Graded Examinations and Graded Certificates:

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.)

Candidates must provide a device containing the downloaded audio for free choice piece backing tracks. This can be any
device with a 3.5mm jack output eg. MP3 player, portable CD player, phone or tablet. We recommend that where possible
two different sources are brought as a back-up. Audio must be available ‘offline’ – it cannot be streamed as we cannot
guarantee that good internet connectivity will be available in all venues.
Free Choice Pieces must be available in fully notated sheet music and candidates must bring a copy of the sheet music for
the examiner to refer to during the examination. If there is any doubt about the appropriateness of the chosen piece, please
contact freechoicepieces@rslawards.com
For a full list of vocals wider repertoire, and more information on free choice pieces including free choice piece criteria,
please visit www.rslawards.com/free-choice-pieces
Vocals Grade 3
83
Copyright Information
All of Me
(Simons/Marks)
Sony/ATV Music Publishing (UK) Limited/Redwood Music Ltd./Round Hill Music UK
Colors of the Wind

(Menken/Schwartz)
Universal Music Publishing Limited
Happy
(Williams)
EMI Music Publishing Ltd./Universal/MCA Music Limited
It’s All Right

(Mayfield)
Warner Chappell North America Limited
Marry You
(Hernandez/Levine/Lawrence)
Warner Chappell North America Limited/Universal/MCA Music Limited/BMG Rights Management (UK) Limited
People Help the People

(Aldred)
Sony Music Publishing (UK) Limited
Radioactive

(Reynolds/McKee/Sermon/Grant/Mosser)
Universal/MCA Music Limited/Bluewater Music UK
Shotgun
(Barnett/Pott/Gibson)
BMG Rights Management (UK) Limited/Universal Music Publishing Limited
22
(Swift/Shellback/Max)
Sony/ATV Music Publishing (UK) Limited/Kobalt Music Publishing Ltd./Universal/MCA Music Limited
Valerie
(Payne/McCabe/Harding/Chowdhury/Pritchard)
EMI Music Publishing Ltd./Warner Chappell Music Ltd.
Vocals Grade 3
84
VOCALS GRADE 3
VOCALS GRADE 3
Everything you need for your Grade 3 exam in one essential book
Learn to sing in rock, pop and contemporary music styles with Rockschool. Our specially written arrangements develop the skills
and techniques you need to sing some of the world’s most popular songs and help you achieve your musical goals.
For Rockschool’s 2021 Vocals syllabus we have commissioned arrangements of titles reflecting popular music’s rich heritage in all its
forms. Each piece has been tailored to fit the relevant grade level and support the development of your singing.
FEATURING PLUS
Valerie Amy Winehouse Fact Files: band and artist background information
Happy Pharrell Williams Performance Notes: Preparation and performance
22 Taylor Swift guidance on every track
Radioactive Imagine Dragons Downloadable audio: Audio recordings of all
It’s All Right from Soul Jon Batiste performance pieces
Shotgun George Ezra Technical Exercises and example tests: All the scales
Colors of the Wind from Pocahontas and tests that you need for the Rockschool exam plus
Marry You Bruno Mars exemplar tests for the unseen elements
People Help the People Birdy
All of Me Billie Holiday

All accompanying and
supporting audio can be
downloaded from:
rslawards.com/downloads
Find out more about Rockschool exams at: www.rslawards.com

Join us online: www.facebook.com/rslawards | @RSLAwards | RSL Awards | RSL Awards
The assessment body of choice for all professional music teachers, schools, musicians and students
Contact us:
Phone +44 (0)345 460 4747
Email info@rslawards.com
Web rslawards.com/contact-us
RSL Awards Ltd. brings together the leading names in Contemporary Arts.
We are a global, specialist awarding body. We pride ourselves on our
knowledge of the sectors we work in, and the quality and integrity of the ISBN 978-1-78936-304-3
qualifications we award. RSL’s qualifications are regulated in the UK by the
qualifications regulators of England (Ofqual), Wales (Qualifications Wales),
Northern Ireland (CCEA) and the Scottish Qualifications Authority (SQA).
When you take an RSL exam you will have a qualification and measure of
your achievement that is recognised around the world. It shows you can
perform your music to a high standard when it really counts.
9 781789 363043
Catalogue Num: RSK200150
ISBN: 978-1-78936-304-3

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Contacting RSL Awards

Introductions & Information

7 Valerie................................................................... . . . . . . . . . . . . . . . . . Amy Winehouse

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Genre: Pop ■ Confidence in managing falsetto/head voice quality with

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q108 Contemporary R&B/Soul

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b œœœ œœœ j œœœ œœœ j

8 Copyright © 2006 EMI Music Publishing Ltd.

b œœœ ... œœœ œœœ œœœ ... œœœ œœœ

b œœœ œœœ œœœ ... œœœ œœœ

RSL-873520105248 / 1 / Maya Stoyanova / jazzymaya@gmail.com

RSL-873520105248 / 1 / Maya Stoyanova / jazzymaya@gmail.com

b j j œœœ œœœ j œœœ œœœ

RSL-873520105248 / 1 / Maya Stoyanova / jazzymaya@gmail.com

b œœœ œœœ .. œœœ œœœ œœ .. œœœ Œ œœ .. œœœ œœœ

b j œœœ œœœ j œœœ œœœ j

b œœœ ... œœœ œœœ œœœ ... œœœ œœœ

b œœœ œœœ œœœ ... œœœ œœœ œœ œœ œœ œœ

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Ad lib. melody to * E b maj 7

RSL-873520105248 / 1 / Maya Stoyanova / jazzymaya@gmail.com

& ˙˙˙ œ œœ œœœœ Œ ˙˙˙ œ œœ œœœœ Œ ˙˙˙ œ œœ œœœœ Œ

RSL-873520105248 / 1 / Maya Stoyanova / jazzymaya@gmail.com

Album: Despicable Me 2: Original Motion Picture Genre: Soul

RSL-873520105248 / 1 / Maya Stoyanova / jazzymaya@gmail.com

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RSL-873520105248 / 1 / Maya Stoyanova / jazzymaya@gmail.com

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RSL-873520105248 / 1 / Maya Stoyanova / jazzymaya@gmail.com

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RSL-873520105248 / 1 / Maya Stoyanova / jazzymaya@gmail.com

you feel like that’s what you wan - na do.

RSL-873520105248 / 1 / Maya Stoyanova / jazzymaya@gmail.com

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RSL-873520105248 / 1 / Maya Stoyanova / jazzymaya@gmail.com

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Clap a - long if you know what

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RSL-873520105248 / 1 / Maya Stoyanova / jazzymaya@gmail.com

RSL-873520105248 / 1 / Maya Stoyanova / jazzymaya@gmail.com

Album: Red Genre: Dance-Pop

RSL-873520105248 / 1 / Maya Stoyanova / jazzymaya@gmail.com

Genre: Pop ■ Confidence in managing falsetto/head voice quality with

Album: Despicable Me 2: Original Motion Picture Genre: Soul

Album: Night Visions Written by: Daniel Reynolds, Benjamin McKee,

Album: Pocahontas: An Original Walt Disney Genre: Soundtrack