RSL Vox-M G8 2014 OnlineEdition 13Nov2015

8/17/2019 RSL Vox-M G8 2014 OnlineEdition 13Nov2015

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www.rslawards.com

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

Male Vocals

Grade 8

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

Input the following code when prompted: UVJ6FYDQNA

For more information, turn to page 4



2 M

a l e V o c a l s G r a d e 8

Published by Rockschool Ltd. © 2014 under license from Music Sales Ltd.Catalogue Number RSK091416R ISBN: 978-1-910975-15-2

AUDIO

Backing tracks produced by Music Sales LimitedSupporting test backing tracks recorded by Jon Musgrave, Jon Bishop and Duncan JordanSupporting test vocals recorded by Duncan JordanSupporting tests mixed at Langlei Studios by Duncan JordanMastered by Duncan Jordan

MUSICIANS

Neal Andrews, Lucie Burns (Lazy Hammock), Jodie Davies, enisha Edwards, Noam Lederman,Beth Loates- aylor, Dave Marks, Salena Mastroianni, Paul Miro, Ryan Moore, Jon Musgrave,Chris Smart, Ross Stanley, -Jay, Stacy aylor, Daniel Walker

PUBLISHING

Compiled and edited by James Uings, Simon roup, Stephen Lawson and Stuart SlaterInternal design and layout by Simon and Jennie roup, Digital Music ArtCover designed by Philip Millard, Philip Millard DesignFact Files written by Stephen Lawson, Owen Bailey and Michael LeonardAdditional proofing by Chris Bird, Ronan Macdonald, Jonathan Preiss and Becky BaldwinCover photography © Startraks Photo / Rex FeaturesFull transcriptions by Music Sales Ltd.

SYLLABUS

Vocal specialists: Martin Hibbert and Eva BrandtAdditional Consultation: Emily Nash, Stuart Slater and Sarah PageSupporting ests Composition: Martin Hibbert, James Uings, Jon Musgrave, Jodie Davies,

Ryan Moore, Chris Hawkins, Jonathan PreissDISTRIBUTION

Exclusive Distributors: Music Sales Ltd.

CONTACTING ROCKSCHOOL

www.rslawards.comelephone: +44 (0)845 460 4747

Email: [email protected]

Acknowledgements



3

able of Contents

Introductions & Information

2 Acknowledgements 3 able of Contents 4 Welcome to Rockschool Male Vocals Grade 8

Rockschool Grade Pieces

5 Ray Charles . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . .‘A Song For You’ 13 OneRepublic . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . .‘Apologize’ 19 Jeff Buckley . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . .‘Grace’ 25 Foo Fighters. . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .‘Te Pretender’ 37 Bon Jovi . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .‘Livin’ On A Prayer’ 45 Te Commitments . . . . . . . . . . . . . . . . .. . . . . .‘ ry A Little enderness’

Technical Exercises

54 Scales, Arpeggios, Intervals, Backing Vocals & Stylistic Studies

Supporting Tests

58 Quick Study Piece 60 Ear ests 61 General Musicianship Questions

Additional Information 62 Entering Exams, Exam Procedure & Marking Schemes 63 Improvisation Requirements & Free Choice Pieces 64 Copyright Information



4 M


Welcome to Rockschool Male Vocals Grade 8

Welcome to the Rockschool Female Vocals Grade 8 pack. his book and accompanying downloadable audio containeverything you need to sing at this grade.

Vocals ExamsAt 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 echnical Exercise section. his accounts for 75%of the exam marks. he other 25% consists of: a Quick Study Piece (10%), two Ear ests (10%), and finally you will beasked five General Musicianship Questions (5%). he pass mark is 60%.

■Performance Certificate: in a Performance Certificate you sing five pieces. Up to three of these can be Free ChoicePieces. Each song is marked out of 20 and the pass mark is 60%.

Book Contentshe book is divided into a number of sections. hese are:

■ Exam Pieces: in this book you will find six well-known pieces of Grade 8 standard. Each song is preceded by a Fact Filedetailing information about the original recording, the artist who sang on it and some recommended listening if youwish to research the artist further.

■ Piano and guitar notation: every exam piece is printed with a piano part and guitar chords. Both are a representationof the overall band arrangement. hese have been included to assist you with your practice should you wish to use apiano and/or guitar for accompaniment. In your exam you must perform to the backing tracks provided.

■Vocal score: in addition to the piano/vocal/guitar arrangement there is also a separate vocal-only score to allow you to view the vocal part on a single sheet of paper.

■ echnical Exercises: there are a range of technical exercises in this grade. Some are notated in full, and some give arange of starting notes.

■ Supporting ests and General Musicianship Questions: in Vocals Grade 8 there are three supporting tests – a QuickStudy Piece, two Ear ests and a set of General Musicianship Questions (GMQs) asked at the end of each exam. Examplesof the types of tests likely to appear in the exam are printed in this book. ■General Information: finally, you will find information on exam procedures, including online examination entry,marking schemes, information on Free Choice Pieces and improvisation requirements for each grade.

AudioEach song in Vocals Grade 8 has an audio track that can be downloaded from RSL directly at www.rslawards.com/ downloads. his is a backing track with the vocal taken off so you can sing along with the band. he backing tracks shouldbe used in examinations. here are also audio examples of the supporting tests printed in the book.

When downloading audio files you will need to input this code when prompted: UVJ6FYDQNA

he audio files are supplied in MP3 format, the most widely compatible audio format in common usage – MP3s will likelybe familiar to anyone with a computer, iPod, smartphone or similar device. Once downloaded you will be able to play themon any compatible device; we hope that you find this extra versatility useful.

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

Supporting Test Notationhe supporting tests in this book and its corresponding exam are written one octave higher than they sound. his is

common practice and avoids excessive use of ledger notes.

We hope you enjoy using this book. You can find further details about Rockschool’s Vocals and other instrumentalsyllabuses on our website: www.rslawards.com



5

BACKGROUND INFO

‘A Song For You’ was Ray Charles’s 1993 cover ofLeon Russell’s tender 1970 ballad, which Elton Johndescribed as “an American classic”. It featured on Ray

Charles’s album My World .

THE BIGGER PICTURE

Ray Charles Robinson was born in Georgia in 1930,and lost his sight aged seven due to glaucoma. At aschool for the deaf and blind in St Augustine, Floridahe learned to play piano, sax, trumpet and clarinet. Bythe age of 15, he was touring in the south, and whenhe moved to Seattle, his first recordings followed.Stylistically indebted to his idol, Nat ‘King’ Cole, he

played on (and arranged) Guitar Slim’s 12-bar blueshit ‘ he hings hat I Used o Do’ and soon hada breakthrough of his own with the song ‘I Got AWoman’ in 1955. A string of hits followed, including‘What’d I Say’ and ‘Hit he Road, Jack’, and Charles’scombination of gospel with blues and jazz coalescedinto a sonic brew that became soul. he Father OfSoul didn’t rest on his laurels. He had hits in the bigband style, and brought his talents to the countryand western genre in the 1960s. He re-emerged inthe 1990s, and died of liver failure in 2004. A majorbiopic, Ray , was released that year.

NOTES

Charles was 62 when he recorded the 1993album My World , an attempt to update his sound byincluding programmed rhythms and influences in

vogue at the time. It was praised for Charles’s abilityto put his indelible stamp on the songs of other artists.When interviewed in Entertainment Magazine in1993, he summed it up by saying: “ he best way tounderstand what I do is to think of an actor. You geta script, you read it and then you ask yourself if youcan fit into that script. ‘Can I become that character?’

hat’s what I do with my songs. When I think aboutdoing a song, the first thing I deal with is the lyrics:are they making any sense to me, can I put myself intothis?” Leon Russell’s ‘A Song For You’ finds Charles inclassic mood on vocal and keys, backed by a dynamic

orchestral arrangement. “‘A Song For You’ has thatline about: ‘Living my life on stages, with 10,000people watching’,” he said. “You could tell that fellahad been there.”

RECOMMENDED LISTENING

Ray performs the song together with its author,Leon Russell, and Willie Nelson on the live DVDWillie Nelson & Friends: Live And Kickin’ . The VeryBest Of Ray Charles is also recommended.

Ray Charles

=56

Cm

A SONG FOR YOUMY WORLD1993

WARNER BROS.SOUL

RAY CHARLES (VOX+PIANO)

N/AN/A

SONG TITLE:ALBUM:

RELEASED:

LABEL:GENRE:

PERSONNEL:

UK CHART PEAK:US CHART PEAK:



M


6

=56

3fr

G

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G B

and time.

3fr

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I’ve sung a lot of songs, I’ve made some bad

4fr

Cm A

rhymes.

5

© Copyright 1970 Skyhill Publishing Company Incorporated, USA. Rondor Music (London) Limited.

All rights in Germany administered by Rondor Musikverlag GmbH. All Rights Res erved.International Copyright Secured.

Words & Music by Leon Russell

Ray Charles

A Song For You



7

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13

BACKGROUND INFO

‘Apologize’ was the debut single from OneRepublic.hanks to a remix by imbaland – not to mention

the songwriting skills of frontman Ryan edder – it

became a monster hit in 2007.

THE BIGGER PICTURE

OneRepublic formed in Los Angeles circa 2003,after frontman Ryan edder persuaded his formerschool bandmate Zach Filkins to join him in LA.

edder had worked in the music industry sincecollege, first as an intern at Dreamworks Records,then as an apprentice to R’n’B producer imbaland,who also helped edder with his own development as

a music artist. OneRepublic – “a rock band that has anobsession with pop melodies”, according to edder –were signed to Columbia Records and spent two anda half years working on their debut album. However, just months before the record’s scheduled release date,the band were dropped by their label. Fortunately,OneRepublic were gaining fans on MySpace. “Weblew up out of nowhere,” said edder. OneRepublicwere hot property and offers from record companiesflooded in. In the end, the band decided to sign witha subsidiary of Interscope, represented by edder’sformer employer imbaland.

NOTES

By the time OneRepublic signed their dealwith Interscope, the band’s debut album was alreadywritten, including a sparse ballad called ‘Apologize’.

Ryan edder told DigitalSpy: “ imbaland thenre-mixed the song and told us that he thought thesong was a hit with or without him. But then hesaid, ‘If you let me put this song on my album, itwill speed the process up…’” But OneRepublic werewary, concerned that a remix would give people thewrong impression of the band. “We’re not hard rockbut we are a rock band,” edder said, “So to have oursong remixed and made so much more pop, we were very reluctant. But then we were like, ‘If this opensthe door and allows more people to hear our album,it gives us the opportunity to let them hear our other

songs. I think we can win them over.’” And winthem over they did; ‘Apologize’ was an internationalsuccess, and in America it ranked as the biggestradio airplay hit in the history of Billboard’s weeklyairplay chart.


OneRepublic’s debut album, Dreaming Out Loud ,may have had a troubled launch, but it stands as thebest testimony to the band’s abilities.

OneRepublic

= 122

3f rCm

C7

Cm C7sus Ab

Cm Csus Ab

Csus Ab

APOLOGIZEDREAMING OUT LOUD2006

INTERSCOPEPOP

RYAN TEDDER (VOX+KEYS)ZACH FILKINS (GTR+VIOLA)DREW BROWN (VARIOUS)EDDIE FISHER (DRUMS)BRENT KUTZLE (CELLO)

32

SONG TITLE:ALBUM:

RELEASED:

LABEL:GENRE:

PERSONNEL:




M


4

= 122

3fr

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I’m1.

© Copyright 2005 Sony/A V unes LLC/Velvet Hammer Music/Midnite Miracle Music.

Sony/A V Music Publishing.All Rights Reserved. International Copyright Secured.

Words & Music by Ryan edder

OneRepublic

Apologize



15

hold

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19

BACKGROUND INFO

‘Grace’ was the title track of Jeff Buckley’s onlystudio album released in his lifetime, Grace.

THE BIGGER PICTURE

Jeffrey Scott Buckley (1966–1997) was one of themost critically-acclaimed singers of the 1990s. He wasthe son of 1960s–1970s folk/jazz artist im Buckley,but the two met only once, when Jeff was eight yearsold. Buckley’s mother is a classically-trained pianistand cellist, and Buckley decided to pursue a career inmusic aged 12. He started playing a guitar he foundin his grandmother’s closet and played in his school jazz band. As an early teen, he listened to a lot of

progressive/heavy rock such as Rush, Genesis, Yesand Led Zeppelin. Buckley attended LA’s MusiciansInstitute and completed a one-year course at 19.He sometimes seemed ambivalent about musicschool. Buckley once told Rolling Stone it was “thebiggest waste of time”, but later noted he appreciatedstudying music theory, saying, “I was attracted toreally interesting harmonies, stuff that I would hear inRavel, Ellington, Bartók…” Grace was the only studioalbum he completed. Buckley drowned in 1997 whileworking on his second album, subsequently releasedas Sketches For My Sweetheart The Drunk.

NOTES

he song ‘Grace’ originated from Buckley’s timeplaying in New York City in 1991. he song wasbased on an instrumental called ‘Rise Up o Be’,

written by Buckley’s then-collaborator, guitaristGary Lucas. Lucas was 20 years Buckley’s senior anda veteran of Captain Beefheart’s band, but the twoworked together under the name Gods And Monsters.Buckley developed the song but Lucas has a co-writercredit, as he does for Grace’s opener, ‘Mojo Pin’.Buckley’s lyrics were inspired by his saying goodbye tohis then-girlfriend at the airport on a rainy day. In hisspoken intro on the Live At Sin-é EP, Buckley says, “It’sabout not feeling so bad about your own mortalitywhen you have true love.” Buckley’s leaping and vibrato’d vocals were a trademark – he could literally

go from whisper to scream in a single song. Buckleycited vocal inspirations as diverse as Led Zeppelin’sRobert Plant, Nusrat Fateh Ali Khan, Morrissey, BillieHolliday and Robert Johnson.


Start with Grace, full of remarkable singing. Forcontrasting Buckley vocals, listen to his gently soulfulfalsetto on ‘Everybody Here Wants You’ and ‘OpenedOnce’ from Sketches…

Jeff Buckley

Br ight l y . = 64

f

F m

sfz

E m

s u s s u s

GRACEGRACE1994

COLUMBIAALT. ROCK

JEFF BUCKLEY (VOX+GTR)GARY LUCAS (GTR)MICK GRØNDAHL (BASS)MATT JOHNSON (DRUMS)

N/A

N/A

SONG TITLE:ALBUM:

RELEASED:

LABEL:GENRE:

PERSONNEL:

UK CHART PEAK:

US CHART PEAK:



M


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Brightly . = 64

1, 2, 3. 4.

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1. There’s2. And3. And

theshe

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moonweeps

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Em

ask on

drown

ing- tomymy

stayarm,

name, so

© Copyright 1994 Sony/A V unes LLC/El Viejito Music/Gary Lucas Music, USA.Sony/A V Music Publishing/Universal/MCA Music Limited.

All Rights Reserved. International Copyright Secured.

Words & Music by Jeff Buckley & Gary Lucas

Jeff Buckley

Grace



21

To Coda

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25

BACKGROUND INFO

‘ he Pretender’ was the first single released fromthe Foo Fighters’ sixth studio album, Echoes, Silence,Patience & Grace.

THE BIGGER PICTURE

Not content with being a member of just one ofrock’s all-time great bands, Nirvana drummer DaveGrohl emerged from that outfit’s tragic end in 1994 torise again a year later with Foo Fighters, a project thatbegan as a 100-copy demo. he Foo’s signed to RCAand released these songs, which Grohl had played allthe instruments on, as their eponymous debut. ‘ hisIs A Call’ proved a popular single, and the band’s

follow-up albums, 1997’s The Colour And The Shape and 1999’s There Is Nothing Left To Lose, ushered in various line-up changes and a more polished sound,yielding a reservoir of hits such as ‘Everlong’, ‘MonkeyWrench’, ‘Learn o Fly’ and ‘My Hero’. 1995’s doublealbum In Your Honor comprised a hard-edged ‘rock’half and a star-studded ‘acoustic’ half, whereas 2007’sEchoes, Silence, Patience & Grace mixed the twosounds, and saw second-album producer Gil Nortonreturn to the desk. Almost two decades on, the band’sremarkable consistency has earned Foo Fighters theirplace in the pantheon of modern rock acts.

NOTES

‘ he Pretender’ showcases what the Foo Fightersdo best. An exercise in rock dynamics, it beginswith a subdued, contemplative arpeggio intro before

relentlessly upping the ante with layers of guitar anda chanted chorus, which Grohl admits may have beeninfluenced by the Sesame Street song ‘One Of hese

hings Is Not Like he Other’. hen the song takesa detour, swerving between a Chuck Berry-esqueshuffle, the subdued intro and the all-out onslaughtof the chorus – all in a breathless four and a halfminutes. It was a relatively spontaneous creation, asDave Grohl told Guitar World : “It was just somethingI fooled around with between takes… We put thewhole thing together in five minutes. hen werecorded a demo version of it, and our demo version

wound up being the basis of the recorded version. Myguitars that we used on the demo are the ones on thefinal version.”


The Colour And The Shape and There Is NothingLeft To Lose demonstrate Grohl’s knack for craftingmemorable melodic hooks, while 2011’s Wasted Light ,helmed by Nirvana producer Butch Vig, is a hard-hitting granite slab of rock.

Foo Fighters

= 88

A„̂ ˆ9

A‹ „ˆˆ9

A‹ „ˆˆ9

THE PRETENDERECHOES, SILENCE,PATIENCE & GRACE

2007RCAROCK

DAVE GROHL (VOX+GTR)TAYLOR HAWKINS (DRUMS)NATE MENDEL (BASS)CHRIS SHIFLET (GTR)

837

SONG TITLE:ALBUM:

RELEASED:LABEL:GENRE:

PERSONNEL:




M


6

= 88

A„ˆˆ9 D9 F F‹ƒ‰7

Keep

A‹„ˆˆ9

you in the dark. You know they all

D9 F

pre tend.-

F‹ƒ‰7

Keep

A‹„ˆˆ9

you in the dark, and so it all

D9 F

be gan.-

F‹ƒ‰7

© Copyright 2007 Songs Of Universal Inc./Living Under A Rock Music/I Love Te Punk Rock Music/M.J.- welve Music/Flying Earform Music.

Universal Music Publishing Limited/Universal/MCA Music Limited/Bug Music Limited.All Rights Reserved. International Copyright Secured.

Words & Music by Dave Grohl, aylor Hawkins,Nate Mendel & Chris Shiett

Foo Fighters

Te Pretender



27

Twice as fast

&5fr

A5

∑ ∑Am

1. Send in your ske le- tons.-

&? ∑ ∑

& Sing as their bones come march ing- in

D/F#

a gain.-

&?

&F

∑Am

The need you bur ied- deep,

&?

&the se crets- that you keep are at

D/F#

the rea dy.-

&

?

Œœ œ œ œ œjœ œœ œjœ œŒ

œ œ œœœ œ œ œ œ œ œ œœœ œ œ œœ œŒ Œœ œœœ œ œ œ œœ œ œŒÓœ œœœ œ œœ œŒ Œœ œ œ œŒ Ó

Œœ œ œ œ œjœ œœœ œ œjœ œœ

œ œj‰ Œ Ó

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Œœ œ œ œ œ œœœ œœ œ œ œ œ œŒ

œ œŒ Œœ œœœ œ œ œ œœ œ œŒÓœ œœœ œ œ œœ œŒ Œœ œœœ œ œ œ œœ œ œŒÓœ œœœ œ œ

œ œŒ Œœ œ œ œŒ Ó œ œŒ Œœ œ œ œŒ Ó



M


8

&Are

F“2

you read y?-

Am

2. I’m fin ished- mak ing- sense,

&?

& done plead ing- ig no- rance,- that old

D F

de fense.-

&?

&F“2

∑Am

Spin ning- in fi- ni- ty,- but

&?

&the wheel is spin ning- me. It’s nev

D F

er - end- ing,-

&

?

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œœ œœ

œj

œ œ

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œ œŒ Œœ œœœ œ œ œ œœ œ œŒœ œœœ œ œ œœœ œ œŒ Œœ œœœ œ œ œ œœ œ œŒÓœ œœœ œ œ œœ œŒ Œœ œ œ œŒœœœœœ œ œ œ œ œ œ œ œ

Œœ œ œ œ œ œœœ œœŒ œjœ œ ˙ ˙ œŒ

œ œŒ Œœ œœœ œ œ œ œœ œ œŒÓœ œœœ œ œ œœ œŒ Œœ œœœ œ œ œ œœ œ œŒÓœ œœœ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ



29

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&nev

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er - end- ing.- Same

D5

old

D“2

sto

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ry.

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-

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D9/F#

of your plays? You’re the pre tender.-

&?

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F‹ƒ

if I say I will nev er - sur ren- der?- What

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if I say I’m not

&

?

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M


0

To Coda

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D9/F#

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F‹ƒ‰7

if I say I will

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∑ ∑

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3. In time, or so

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D/F#

&

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œ œŒ œ œŒ Œœ œ œ œŒ œ œŒ Œœ œ



31

D.S. al Coda

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&Oh, well.

F“2

∑Am

The page is out

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por r a- - y, met-

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-

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Ó œœ œœŒ Ó Œœ œ œ œ

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œ œŒ Óœ œœœ œ œ œœ œŒ Œœ œœœ œ œ œ œœ œ œŒ Óœ œœœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ™

œJ œ œ™

œ œŒ

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œ œ™ œ œŒ œ œ™ œ œ œ

œ œŒœ œœœ œ œ œœœ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ

œ œ œ œ œœœœœ œ œ œœ œ œ œœ œ œ œœ œ œ œ



M


2

Coda

&nev

F‹ƒ‰7

er - sur ren- der?-

D5 D“2 D G5 D

& ?

?

&

5fr

5

∑ ∑ ∑ I’m

?? ∑ ∑ ∑ ∑

&the voice in side- your head you re fuse- to hear. I’m

??

&the face that you have to face, mir rored- in your stare. I’m

? &

?

œ œœœ œœ œ˙ œœ œ œ ˙

œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœn œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ

Ó Œœœ 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 Œœ œ œ œ œ œ œ Œ Œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œŒ

œ

Œ

œ

Œ

œ

Œ

œ

Œ

œ

Œ

œ

Œ

œ

Œ

œœ œ œ œ œœœ œ œ œ œŒœ œ œ œ œ œ œŒ Œœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

ŒœŒœ ŒœŒœ Œœ Œœ ŒœŒœ



33

&what’s left. I’m what’s right. I’m the en e- my. m’I-

&?

& the hand that will take you down, bring you to your knees. So who

&?

&are you? Yeah, who are you? Yeah, who

&?

&are you? Yeah, who are you?

&

?

œ œ œ œ‰ ‰œ œ œ œ œ‰ ‰œ œœœœjœ™ Ó Œ ‰œ

œ œœœjœœj œ œœœjœœj œ œœœjœœj œ œœœjœœj

œ œ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœœ œ œ

œ œ œ œ œ œ œ œ œ œ œ

Œ œjœ œ

jœjœ œ

jœ

Œ ‰œœJ

œ œœœjœœj œ œœœjœœj œ œœ œjœœj œ œœœjœœj


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œ œœœœ œœ œ œœœœ œœ œ œœœœ œœ œ œœœjœ™




M


4

Half tempo

Twice as fast

Play 3 times

&Keep

A‹„ˆˆ9

you in the dark. You know they all

D9/F#

pre tend.-

F‹ƒ

&?

&What

A‹„ˆˆ9

if I say I’m not like the oth ers?- What if I say I’m not just an other - one

D9/F#

&?


F‹ƒ

if I say I will nev er - sur ren- der?-

&?

&What

A‹„ˆˆ9

if I say I’m not like the oth ers?- What if I say I’m not just an other - one

D9/F#

&

?

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j˙ œ œœ œ w

œ œœ œ œ œ œ œ œ œœŒ

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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ



35


F‹ƒ‰7

if I say I will

&?

&nev er - sur ren- der?-

D5 D“2 D G5 D

So who

& ?

?

&5fr

5

are you? Yeah, who are you? Yeah, who

??

&are you?

∑ ∑? > > > >

? > > > >

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w ˙ œ

œ

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œ œœ œœ œ œ œœ œœœ œ œŒ Œœ œ œ œŒ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œŒ Œœ œ œ œŒ





37

BACKGROUND INFO

‘Livin’ On A Prayer’ was Bon Jovi’s second USNumber 1 from their third album, Slippery When Wet .It is credited to Jon Bon Jovi, Richie Sambora and

producer/songwriter Desmond Child.

THE BIGGER PICTURE

Jon Bon Jovi himself didn’t originally rate thenascent song, demo’d a year before, but RichieSambora convinced him to continue work on it witha new bassline. It ended up being Bon Jovi’s signaturesong. Slippery When Wet made the band superstars,the album having now sold a reported 28 million-pluscopies. Its follow-up, New Jersey , was a double US/

UK Number 1. At the 2010 Grammy Awards, Bon Joviperformed this song as a result of a fan vote. Askedthe same year if he ever got tired of singing it, JBJquipped, “Not when I see the jet with my name on it.”

NOTES

his is a classic character song, about a fictionalworking-class couple, ommy and Gina. ommy“used to work on the docks” but then the “union’sbeen on strike, he’s down on his luck”. Gina works

at a diner, “workin’ for her man”. Jon Bon Jovi saysthe character ommy went through changes: “It wasa fictional character. he inspiration was a youngcouple who got pregnant and gave up everything theyhad, but that didn’t read right, so we changed the

story.” Some have speculated the song is influencedby fellow New Jerseyan Bruce Springsteen, whoused a similar scenario of hard economic timesand a character couple in his 1981 song ‘ he River’– Springsteen is one of Jon Bon Jovi’s songwritingheroes. However, Desmond Child says ommy andGina were based on people he knew while working asa New York City cab driver in the 1970s. he names?Jon Bon Jovi has family relations called ommy andGina. So it’s a mix of inspirations.

RECOMMENDED LISTENINGhe song works acoustically – see Bon Jovi and

Sambora’s performance at the 1989 M V MusicAwards. In 2000, on Bon Jovi’s ‘It’s My Life,’ ommyand Gina returned as characters in song: “ his is forthe ones who stood their ground, for ommy andGina who never backed down.” Sambora used a guitartalkbox on ‘It’s My Life’ in a nod to the song’s history.It’s been in Glee, of course, and Bowling For Soupmentioned the characters in their ‘Punk Rock 101’ –“Like ommy and Gina, they’re living on a prayer.”

Bon Jovi

= 122

E‹

/E D/E

/E D/E

LIVIN’ ON A PRAYERSLIPPERY WHEN WET1986

MERCURYROCK

JON BON JOVI (VOX)RICHIE SAMBORA (GTR+VOX)DAVID BRYAN (KEYS)TICO TORRES (DRUMS)ALEC JOHN SUCH (BASS)

41

SONG TITLE:ALBUM:

RELEASED:

LABEL:GENRE:

PERSONNEL:




M


8

= 122

E‹

/E D/E E‹„ˆˆ E‹

Spoken:

/E

Once up on- a time,

D/E

not so long a go…

E‹

-

© Copyright 1986 Bon Jovi Publishing/PolyGram International Music Publishing Incorporated/Aggressive Music/Sony/A V unes LLC.Universal Music Publishing Limited/Sony/A V Music Publishing.


Words & Music by Jon Bon Jovi, Richie Sambora & Desmond Child

Bon Jovi

Livin’ On A Prayer



39

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41

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45

BACKGROUND INFO

‘ ry A Little enderness’ was one of the standout

recordings from the 1991 film The Commitments . Itis a cover of Otis Redding’s 1966 version of a songwritten in 1932.

THE BIGGER PICTURE

The Commitments was a film adaptation of thenovel of the same name by acclaimed Irish writerRoddy Doyle (whose other novel Paddy Clarke HaHa Ha won the Booker Prize in 1993). he film isset in Dublin and tells the story of a soul band made

up of white working class Dubliners. Alan Parker,the film’s director, picked real musicians to play thefictional band members, preferring musical abilityover acting chops. his resulted in an authenticityto the film’s musical performances and most of thecast being featured on the accompanying soundtrackalbum, released in the same year as the movie. hesoundtrack features a number of classic songs fromlabels such as Motown, Atlantic and Stax. ‘ ry A Little

enderness’ is a key song in the development of theband as it is depicted in the film, and was based onOtis Redding’s version for Stax Records.

NOTES

Written in 1932 by Woods, Campbell and Connelly,

‘ ry A Little enderness’ had been performed byeveryone from Bing Crosby to Aretha Franklin. Cutin three takes in 1966, Otis Redding’s version beginswith a three-part horn intro, leading into a sparseshowcase of his restrained yet emotional vocal. hreeminutes and 46 seconds after it began, Reddingand the band had one of pop’s greatest ensembleperformances in the can. Quoted in Robert Gordon’sRespect Yourself , Stax Records co-founder Jim Stewartconsidered it the label’s best record: “It exemplifieswhat Stax really was, that one record. When I hearit today, I still get that same feeling that I got when

we rolled that tape in the studio.” For the young,unknown cast of The Commitments to replicate that aswell as they did was no mean feat.


The Commitments soundtrack album (1991) is animpressive achievement by the film’s youthful cast.Otis Redding’s third solo album, Otis Blue (1966), isessential and the posthumous Dock Of The Bay (1968)is a fitting tribute.

The Commitments

= 80

N.C.

E C m

E

TRY A LITTLE TENDERNESSTHE COMMITMENTS1991

MCASOUL

ANDREW STRONG (VOX)MARIA DOYLE KENNEDY (VOX)BRONAGH GALLAGHER (VOX)ANGELINE BALL (VOX)MICHAEL AHERNE (KEYS)GLEN HANSARD (GUITAR)

KEN MCCLUSKEY (BASS)DICK MASSEY (DRUMS)FÉLIM GORMLEY (SAX)

N/AN/A

SONG TITLE:ALBUM:

RELEASED:

LABEL:GENRE:

PERSONNEL:




M


6

= 80

= 92

N.C.

E

1. Oh, she may

4fr

C m

be wea ry,-

F m

and young girls,they do

get wea

B

ry-

E

wear ing- that same

D

old shab by

- dress.

4fr

C

© Copyright 1932 & 1960 Chester Music Limited trading as Campbell Connelly & Co.All rights for the USA and Canada assigned to EMI Robbins Catalog, Inc.


Words & Music by Harry Woods, James Campbell & Reginald Connelly

Te Commitments

ry A Little enderness



47

= 100

F m

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3

ry-

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a lit tle- ten der

E G

- ness.-

G7

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(Fan dan- go.)-

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49

To Coda B7

all you got ta- try a lit tle- ten der

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4fr

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F

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spoke

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so gen tle,- it makes it eas

F

i- er,-



51

D.S. al Coda

Coda

eas i- er - to bear,

F m7

yeah.

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do

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yeah.



53

Squeeze

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her, we tease

E G

her, nev er - leave

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lit

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tle-

ten

E7

der - ness.- (Vocal ad lib.)



4 M


echnical Exercises

Group A: Scaleshe chromatic scale should be prepared as shown below. You may select any starting note from A–E. You will be asked if you

would like to sing along to a metronome click or hear four clicks before you start. Whichever option you choose, you willhear your chosen starting note before the count starts. You may perform this test using any vocal sound except humming orwhistling. he tempo is q=100.

Group B: ArpeggiosIn this group, the arpeggio exercise needs to be prepared as shown below.

his test is performed to a metronome click track and you may select any starting note from C–G. You will hear the rootnote played on piano followed by a one-bar (four click) count-in. You may perform this test using any vocal sound excepthumming or whistling. he tempo is q=100.

C diminished 7 arpeggio

Group C: IntervalsIn this group, the two interval sequences need to be prepared as below. You will be asked to perform one of them in theexam, as chosen by the examiner.

he examiner will choose a starting note within the range D–F. You will hear this note followed by a four-beat count-in. Youmay perform this test using any vocal sound except humming or whistling. he tempo is q=90.

Major 7 th, minor 7 th and octave intervals

Major 3 rd and minor 3 rd intervals

4wq=

100

w¿ ¿ ¿ ¿

œ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œŒ Ó

4w

q= 90

w¿ ¿ ¿

œœ

œœCandidate sings:

œœ

wq= 90

w ¿ ¿ ¿ œ œ œ œCandidate sings:

w

wq=100

w¿ ¿ ¿ ¿

œœœœœœœœ œœœœœœœœ œ Œ Ó



55

Group D: Backing VocalsIn this group, all three backing vocal parts need to be prepared as shown below. You will be asked to perform one of themin the exam, as chosen by the examiner. he chosen part must be sung alongside the other two parts on the recording.

he backing tracks for these can be found in the downloadable audio.

œ œ œ ‰JLet’s get down, it’s

œ œ œ‰JLet’s get down, it’s

œ œ œ‰jLet’s get down, it’s

A m

q=130

RockA

B

C

œ œœ œ ‰œœtime to get loud, we’re the

œ œ œ œ‰œœtime to get loud, we’re the

œ œ œ œ‰œœtime to get loud, we’re the

F

œ ‰J J‰œheart and soul

œ ‰J J‰ œheart and soul

œ ‰j j ‰œheart and soul

C

‰J œ œ Œof this town.

‰j œ œ Œof this town.

‰j œ œŒof this town.

G

œœœ œ‰œœDo it right now, do it



A m

œ œÓright now

œ œ Óright now

œ œÓright now

F

3œ œ œ œ œwe are the fu ture.

3œ œ œ œ œwe are the fu ture.

3

œ œ œ œ œwe are the fu ture.

G

-

-

-



6 M


echnical Exercises

Group E: Stylistic StudiesYou will need to choose one stylistic technical study from the group listed below. Your choice will determine the style of theQuick Study Piece. If you choose the jazz and blues stylistic study, for example, the examiner will give you a QSP from the jazz and blues group.

■ Pop and musical theatre ■ Soul and R’n’B ■ Jazz and blues ■ Rock and indie

Stylistic Study | Pop and Musical Theatre Dramatic dynamics and inflections / Sustains with vibrato

Stylistic Study | Soul and R’n’B Long melisma / Register flips

& 4

~~~~~~œ

œ œ œ œœ

œ œOn my jour ney home I’ll pack my

D

q= 70 Music T eatre

F

œ œ œœœj ‰

3

œœœ

tears and hide my pride. I’ll walk the

B m

-

& œœ œœœr‰.3

œœœlone ly av e nues, and pick my

E m

. œ œœœœœœway be tween the sta tues o f my

A

J ‰3

œœœœœ œ‰Jlife. I w ill be come the man my

DF- - - - - -

& œœœœœ œœ‰Jfa ther will be proud of. I’ll

B m F œœ œœ œœœ ‰œ œface up to my des ti ny, re gain

G G m 7 b5f œœ œœ œœœ‰Jmy for mer dig ni ty and- - - - - - -

& ~~~~~~~~~~~~ ~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~. J . Jrise a bove the

A G

œ ‰ j œ œ œfear that plagued my

A

. Œlife.

ƒ-

4 j ‰œœIt’s been so

A m 7 /G

q= 70 Soul

j ‰œœœœlong since you went a

F 6 G 6

Œ œœway. Ooh.

A m 7 /G G 6 A m 7 /G

-

œ œœœ œŒF 6 G 6

œ ‰. rœœœ œ œœœI, I’ll ne ver for get you I

A m 7 C m 6 /E b œ ‰. rœœœœswear. I want you to be

F 6 G 6

- -

œ œœœœœ ‰ Jnear. Woh.

A m 7 /G G 6 A m 7 /G

œ œ œœ œ œ ŒF 6 G 6

œœœ œœœœœ œJ ‰Now I know that you ’ll ne ver come back.

A m 7 C m 6 /E b œœœ œœœœœœœœNow I know that since you went a

F 6 E m 7

. Œway.

A m

- -



57

echnical Exercises

Stylistic Study | Jazz and Blues Un-accompanied chromatic runs / Wide pitch jumps

Stylistic Study | Rock and Indie Slides to scream / Register flips

bbb4Ó Œ ‰JThe

q= 140 Metal

œ œ œ œœœœci ty’s cry in’ out there’s a

C m

J . œœ‰Jri ot com ing. I’m

œ œ œ œœ œ œcal ling on the gods of war

Œ ‰JA- - - - - -

~~~~~~~~~~ bbbœ œœœ œ œ

way with the bonds of op

Bb œœŒ Œœpres sion, cry,

A b B b œ œ no, no, no.

C m . Œ--

bbb~~~~~~~~~~~œ ŒWe won’t

Bb œ œ J œ ‰take this sitt ing

A b Bb . œœœdown.

C m œœœ œÓ-

~~~~~~~~~~~ bbb~~~~~~~~~~~œ Œ

We won’t

Bb œ œ J œ ‰take this sitt ing

A b B bwdown.

C m . Œ-

8 .j

œœ

œWith a lit tle

Bm7

q = 82 Jazz

P œ œœ œ . œpa tience I’m will ing to

Em A

- - -

œ œ œ œ œ jtake you by the hand and

B7F mœ œ œ œ œ œ œ œ

lead you on a mer ry dance to

Em Am

-

4œœ œJ ‰jfind your won der land. I

BF m 7b5 F œœ . œœœ rpro mise you hap pi ness ’coz

Em Am

œ œœ œœ r

that’s the on ly rule. But

B7F m 7b5 P- - - - - -

4 8œœ œœœ œœ œœœœœ œœœœœ œ.don’t ig nore my good ad vice and treat me like a fool. Or you’ll find your self runn ing

Em Am F m 7b5

- - - -

8 4J œ Jout of luck and

Em A

‰œœJ ‰Jout of time so

F m B7

. œ œœ œ. œœgrab your chance and fol low

Cmaj 7

J ‰ Œ Óme.

Emf-





59

Quick Study Piece | Soul and R’n’B Example test

Quick Study Piece | Jazz and Blues Example test

Quick Study Piece | Rock and Indie Example test

&bb4wq=

120 Jazz q q q q= j3

¿ ¿ ¿ ¿ ‰œ j

Stop right there,

Bb B dim 7

&bbœ œ œ œœ œdon’t you move,

C m 7 G 7 5

‰j3

œœœœ œœI’m think ing that I’m in love.

C m 7 F 7

Ó-

&bb’ ’ ’ ’Bb B dim 7

[Vary melody – 4 bars] ’ ’ ’ ’

C m 7 G 7 5

’ ’ ’ ’C m 7 F 7

’ ’ ’ ’

&bb’ ’ ’ ’D 7

[Improvise freely – 4 bars] ’ ’ ’ ’

G m 7

’ ’ ’ ’C m 7 F 7

’ ’ ’ ’Bb

bb82 q.=120 Rockq.=120 Rock

œ œ œ œJ œœ œ œJLy ing a wake and won der ing when I’m

C m Eb

- - - -

bbJ Œ ‰œ œœ J gon na fee l a l r ight ,

F A b œ œ œ œJ œ œ œ œJsay i ng good bye is mak ing m e die and

C m EbJ Œ ŒJ œ J

I see the light.

F A b

- - - - -

bb C m Eb[Vary melody – 4 bars]

F A b C m Eb F A b

bb Eb F

[Improvise freely – 4 bars] A b C m

Eb F

A b B b C m

4w

q= 80 RnB

¿ ¿ ¿ ¿

œ œ‰j

œŒ

What you see,

B m E

œœœœœ œ œ ‰œœthink of what it could be. I am

E m B m

œœ‰j œ ‰œœwatch ing you and you’re

E

œœœœ œ Œwatch ing me too.

E m 7 B m

- -

’ ’ ’ ’B m E

[Vary melody – 4 bars] ’ ’ ’ ’

E m B m

’ ’ ’ ’E

’ ’ ’ ’E m 7 B m

’ ’ ’ ’E m

[Improvise freely – 4 bars] ’ ’ ’ ’

B m

’ ’ ’ ’E E m

’ ’ ’ ’B m



0 M


Ear ests

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

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 Recallhe examiner will play you a two-bar melody played to a drum backing. It will use the D major or E natural minor scale

(the examiner will decide which) and the first note will be the root, 3 rd or 5th. You will hear the test twice. Each timethe test is played, it starts with the root note and a four-beat count-in. here will be a short gap for you to practise aftereach playthrough. Next you will hear a vocal count-in, after which you should sing the melody to the drum backing.

he 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. he length oftime available after the second playthrough is pre-recorded on the audio track, so the vocal count-in may begin while youare still practising.

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

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

Test 2 | Harmony Vocals

he examiner will play you a four-bar melody in the key of D major or E minor, based on any diatonic chords. here will betwo recorded vocal parts that will sing the root, 3 rd or 5th of each chord, and you need to harmonise a diatonic 3 rd or 4th abovethe highest-sounding part using the same rhythm. he examiner will give you the lyrics.

You will hear the test twice. Each time the test is played, it starts with the root note and a four-beat count-in. here will bea short gap for you to practise after each playthrough. Next, you will hear a vocal count-in, after which you should performthe harmony line. he tempo is q=90–140.

It is acceptable to sing over the track as it is being played as well as practising after the first two playthroughs. he length oftime available after the second playthrough is pre-recorded on the audio track, so the vocal count-in may begin while youare still practising.

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

4. .q= 90

w¿ ¿ ¿ ¿œ œœœœœJ ‰ ‰J œœœœœœ‰œœ‰

& 4. .q=130

w¿ ¿ ¿ ¿. j œ‰jI’ll do what

Em

Candidate hears: (You will not be shown this in the exam)

œ œ œ œ œ ‰jev er it takes to

G win you

D

œœ œback a gain.

Em

- - -

& 4. .q=130

w¿ ¿ ¿ ¿. J . J

I’ll do what

Em

Candidate sings: (you will not hear or be shown this in the exam)

œ œ œ œ œ‰Jev er it takes to

G win you

D œœ œback a gain.

Em

- - -



61

General Musicianship Questions

In this part of the exam you will be asked five questions. hree of these will be about general music knowledge, the fourthwill be about improvisation, and the fifth will be about your voice or the microphone.

Part 1 | General Music Knowledgehe examiner will ask three music knowledge questions from the categories below. he 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 and explain: ■ Any notation used in the chosen piece; ■ Recognition of intervals up to a 10th between two adjacent notes. (You will need to state major, minor or perfect.)

Part 2 | ImprovisationYou will also be asked to briefly describe and demonstrate – with reference to melody, rhythm, phrasing and dynamics – your

approach to how you would improvise any part of your chosen song. You can choose the part.

Part 3 | Your Voice And The Microphonehe examiner will also ask you one question about your voice or the microphone. Brief demonstrations to assist your answer

would be acceptable.

You will be asked: ■ What is ‘melisma’ and what exercises can help you develop it? ■ Describe techniques you might employ to build emotional intensity in a soul/R’n’B-style ballad. ■ Give two examples of exercises designed to develop intensity/power in a singer’s ‘mix’ voice. ■ Explain the difference between a dynamic and a condenser microphone, including one example each of their uses.



2 M


Entering Exams, Exam Procedure & Marking Schemes

Entering ExamsEntering a Rockschool exam is easy. You can enter online at www.rslawards.com or by downloading and filling in an examentry form. he full Rockschool examination terms and conditions as well as exam periods and current fees are availablefrom our website or by calling +44 (0)845 460 4747.

Exam procedureIn the exam you can decide whether to start with the Performance Pieces or the echnical Exercises. hese will be followedby the Supporting ests (Ear ests and Quick Study Pieces) and General Musicianship Questions.

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

Marking SchemesBelow are the marking schemes for the two different types of Rockschool exam.

P C | G –

ELEMENT PASS MERIT DISTINCTION

Performance Piece 1 – out of – out of + out of





TOTAL MARKS 60%+ 75%+ 90%+

G E | G 6–8

ELEMENT PASS MERIT DISTINCTION




echnical Exercises – out of – out of + out of

Quick Study Piece out of – out of + out of

Ear ests out of – out of + out of

General MusicianshipQuestions out of out of out of

TOTAL MARKS 60%+ 74%+ 90%+



63

Improvisation Requirements & Free Choice Pieces

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

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

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

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

Notes

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

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

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

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

■We would encourage re-working to take place later in a piece after the original has been presented to show you canportray the original, then you are able to adapt appropriately with individual colour.

■Improvisation can be a good place to demonstrate your head voice, which can often be omitted, reducing the technicalcontent of a piece at a particular grade.

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

1) Wider Repertoire: a full list of pre-approved and regularly updated pieces can be found on www.rslawards.com. hesesongs can be used without prior approval from Rockschool.

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

however, only be used with prior approval from Rockschool. his requirement is compulsory and you need to contact theoffice to have your chosen piece(s) approved. Please allow five weeks before your exam to receive a decision.

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

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

Performance Certificates: Up to 3 of 5 pieces can be free choice. (At least two pieces must be from the grade book.)

For all FCPs, candidates will need to bring the sheet music and a backing track (without vocal part) on the day. A memorystick, iPod or CD/DVD is acceptable and we would also suggest a second source to be safe. It will not be necessary to bringthe sheet music or backing tracks for pieces chosen from the grade book.



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Copyright Information

A Song For You(Russell)Universal Music Publishing Limited

Apologize

(Tedder)Sony/A V Music Publishing (UK) Limited

Grace(Buckley/Lucas)Sony/A V Music Publishing (UK) Limited/Universal/MCA Music Limited

he Pretender(Grohl/Hawkins/Mendel/Shiflett)Universal Music Publishing Limited/Universal/MCA Music Limited/Bug Music Limited

Livin’ On A Prayer

(Jovi/Sambora/Child)Universal Music Publishing Limited/Sony/A V Music Publishing (UK) Limited

ry A Little enderness(Woods/Campbell/Connelly)Campbell Connelly & Company Limited



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