323688970-Piano-G1-Edition13May2016.pdf

Piano Grade 1 Performance pieces, technical exercises, supporting tests and in-depth guidance for Rockschool examinations

it. ro e ib l @ o f io .c o n e r a z z a n / o f io c o n e ra z a n / 1 / 8 5 5 5 0 1 2 7 4 5 6 9 L S R

All accompanying and supporting audio can be downloaded from: www.rslawards.com/downloads Input the following code when prompted:Z9NN8X526Y For more information, turn to page 5

www.rslawards.com

Acknowledgements Published by Rockschool Ltd. © 2015 Catalogue Number RSK200002 ISBN: 978-1-908920-81-2 Revision 1 | 13 October 2015 | Errata details can be found at www.rslawards.com SYLLABUS

Syllabus written and devised by Nik Preston Syllabus consultants: Hannah Vasanth, Julia Martin, Stuart Slater, Jono Harrison, Simon roup and Jennie roup Hit tune arrangements by Jono Harrison and Nik Preston Supporting tests written by Jono Harrison, Nik Preston, Ash Preston and Hannah Vasanth Piano arrangements of Rockschool compositions by Brian Syllabus advisors: Mary Keene, Patrick Healy, Emily Nash, Henry Dan Phelps and Mike Stylianou PUBLISHING

Fact Files written by Julia Martin, Joe Bennett, Charlie Griffiths, Stephen Lawson, Simon Pitt, Stuart Ryan and James Uings Music engraving and book layout by Simon roup and Jennie roup of Digital Music Art Proof reading and copy editing by Simon roup, Jennie roup, Jonathan Preiss, Mary Keene, Stuart Slater and Nik Preston Cover design by Philip Millard Cover photograph © Christopher Polk/Getty Images AUDIO

Produced by Ash Preston, Jono Harrison, Brian Henry and Music Sales Engineered by Ash Preston, Jono Harrison, Brian Henry and Music Sales Mixed and mastered by Ash Preston Edited by Ash Preston Supporting ests recorded by Ash Preston, Jono Harrison and Hannah Vasanth Mastered by Ash Preston Executive producers: John Simpson and Norton York MUSICIANS

Jono Harrison, Hannah Vasanth, Brian Henry, Nik Preston, James Arben, Jason Bowld, Stuart Clayton, Andy Crompton, Neel Dhorajiwala, Fergus Gerrand, Felipe Karam, Kishon Khan, Noam Lederman, DJ Harry Love, Dave Marks, Jon Musgrave, Jake Painter, Richard Pardy, Ross Stanley, Carl Sterling, Henry homas, Camilo irado, Steve Walker, Chris Webster, Norton York, Nir Z DISTRIBUTION

Exclusive Distributors: Music Sales Ltd CONTACTING ROCKSCHOOL

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

1 e d a r G o n a i P

2


able of Contents Introductions & Information 1 2

itle Page Acknowledgements 3 able of Contents 4 Welcome to Rockschool Piano Grade 1 6 Piano Notation Explained

Rockschool Grade Pieces 7 Te Long And Winding Road 11 Make You Feel My Love 15 Read All About It, Part III 19 ICAUFO 23 Umbra Bella 27 Fab Stomp

Technical Exercises 30

Scales, Arpeggios & Chord Voicings it. ro e ib l @ o f io

Supporting Tests 35 Sight Reading 36 Improvisation & Interpretation

.c o n e r a z z a n / o f io c o n e ra z a n / 1 / 8 5 5 5 0 1 2 7 4 5 6 9 L S R

37 Ear ests 38 General Musicianship Questions

Additional Information 39 Entering Rockschool Exams 40 Marking Schemes 41 Copyright Information 48 Introducing Rockschool Popular Music Teory


3

Welcome to Ro ckschool Piano Grade 1 Welcome to Rockschool’s 2015 Piano syllabus. his syllabus has been designed to equip all aspiring pianists with both a diverse range of stylistically appropriate, industry relevant skills and a thoroughly engaging learning experience. Utilising an array of well known repertoire, Rockschool’s own compositions and a truly innovative range of supporting tests, the continued progression of any candidate is assured from Debut through to Grade 8. Additionally, the Rockschool compositions, which are the 4th, 5th and 6th pieces featured in each book, have been arranged for Bass, Drums, Piano and Guitar at Grades 3, 5 and 8, in order to help pianists perform repertoire in an ensemble environment where available. he syllabus has been authored to ensure that pianists can develop as accompanists, soloists, sight readers and improvisers whilst enabling both teacher and candidate to choose the areas that they wish to specialise in. Rockschool’s long standing commitment to raising academic standards, assessing industry-relevant skills and ensuring student engagement is world renowned. he 2015 Piano syllabus has been conceived in order to build upon this success and continue the evolution of the contemporary music world’s first awarding body. When combined with Rockschool’s Popular Music Theory syllabus , the 2015 syllabus is guaranteed to furnish every candidate with both the practical skills and theoretical understanding necessary to perform at the highest level, across a whole range of contemporary music. Nik Preston – Head of Product Development and Publishing

Piano 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 are required to 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: either a Sight Reading or an Improvisation & Interpretation test (10%), two Ear ests (10%), and finally you will be asked five General Musicianship Questions (5%). he pass mark is 60%. ■ Performance Certificate A Performance Certificate is equivalent to a Grade Exam, but in a Performance Certificate you are required to perform five pieces. A maximum of three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark is 60%.

Book Contents he book is divided into a number of sections: ■ Exam Pieces In this book you will find six pieces of Grade 1 standard. Each song is preceded by a Fact File detailing information about the srcinal recording, the composer and the artist/s who performed it. Every exam piece is notated for piano, but a selection also have the vocal melody notated. his is included as reference material and is not intended to be performed in the exam itself. In your exam you must perform to the backing tracks provided. If certain 3 or 4 note voicings notated in the pieces are unachievable, you may either reduce the amount of notes in the voicing, or play as a spread chord if stylistically appropriate. Please note, this is only applicable at Debut and Grade 1.


4

■ Technical Exercises here are either three or four types of technical exercise, depending on the grade: Group A – scales Group B – arpeggios/broken chords Group C – chord voicings Group D – a choice of stylistic studies. Please note, Group D only exists at Grades 6–8.


■ Supporting Tests You are required to undertake three kinds of unprepared, supporting test: 1. Sight Reading or an Improvisation & Interpretation test atDebut to Grade 5. Please note, these are replaced by mandatory Quick Study Pieces (QSPs) at Grades 6–8. 2. Ear ests: Debut to Grade 3feature Melodic Recall and Chord Recognition. Grades 4–8 feature Melodic Recall and Harmonic Recall. 3. General Musicianship Questions (GMQs), which you will be asked by the examiner at the end of each exam. Each book features

examples of the types of unprepared tests likely to appear in the exam.

he examiner will give you a different version in the exam. ■ General Information You will find information on exam procedures, including online examination entry, marking schemes, information on Free Choice Pieces and improvisation requirements for each grade.

Audio In addition to the Grade book, we have also provided audio in the form of backing tracks (minus piano) and examples (including piano) for both the pieces and the supporting tests where applicable. his can be downloaded from RSL directly at www.rslawards.com/downloads You will need to input this code when prompted:Z9NN8X526Y it. ro e ib l @ o f io

he audio files are supplied in MP3 format. Once downloaded you will be able to play them on any compatible device. You can find further details about Rockschool’s Piano syllabus by downloading the syllabus guide from our website: www.rslawards.com


All candidates should download and read the accompanying syllabus guide when using this grade book.


5

Piano Notation Explained

THE MUSICAL STAVE shows pitches and

rhythms and is divided by lines into bars. Pitches are named aer the first seven letters of the alphabet.

CDEFGABC

DEFGABC

Grace Note:Play the grace note on

Pedal Marking:Depress and then release the

or before the beat depending on the style of music, then move quickly to the note it leads onto.

sustain pedal. Multiple pedal operations in a short space of time may be simplified as shown in the last two beats of the bar below.

Spread Chord:Play the chord from the bottom note up

Glissando:Play the notes between the notated

(top down only if there is a downward arrow head). e final note should sound by the appropriate notated bar position.

pitches by sliding over the keyboard with the fingers or fingernails.

it. ro e ib l @ o f io

gliss.

Tremolando:Oscillate at speed

Finger Markings:ese numbers represent

between marked notes.

your fingers. 1 is the thumb, 2 the index finger and so on. 1

(accent)

• Accentuate note (play it louder).

(accent)

• Accentuate note with great intensity.

D. . al Coda

2

3

4

5

• Go back to the sign ( ), then play until the bar marked To Coda then skip to the section marked Coda.

D.C. al Fine

• Go back to the beginning of the song and

Una Corda

• Use so pedal

play until the bar marked Fine (end).

• Repeat the bars between the repeat signs. (staccato) 1 e d a r G o n a i P

6

• Shorten time value of note. 1.

(accent)

• Accentuate note with more arm weight.

2.

• When a repeated section has different endings, play the first ending only the first time and the second ending only the second time.


The Beatles | The Long And Winding Road SONG TITLE: THE LONG AND WINDING ROAD ALBUM: LET IT BE RELEASED: 1970 LABEL: APPLE GENRE: POP

Dm

Te

long

and

wind - ing

road

VOCALS: MCCARTNEY PIANO: PAULPAUL MCCARTNEY GUITAR: GEORGE HARRISON BASS: JOHN LENNON DRUMS: RINGO STARR RHODES PIANO: BILLY PRESTON WRITTEN BY: JOHN LENNON, PAUL MCCARTNEY PRODUCED BY: PHIL SPECTOR ORCHESTRATION: RICHARD HEWSON UK CHART PEAK: 1

his was the last single released by the Beatles from their 12th and final studio album Let It Be. he album was released a month after the band officially split up in 1970. Although credited to Lennon-McCartney, as all Beatles songs were, this was one of Paul McCartney’s ballads. his is also the only Beatles song where John Lennon played Bass. Producer Phil Spector later removed George Harrison and Ringo Starr’s parts, so the other two Beatles do not in fact appear on the released recording at all. Despite the song reaching No.1, Paul McCartney was angered by Phil Spector’s production of the track. Apparently, during the Beatles last ever recording session at the famous Abbey Road Studios, Spector added orchestral overdubs to four tracks: ‘he Long and Winding Road’, ‘Across the Universe’ and ‘I Me Mine’ whilst only one Beatle, Ringo Starr, was present and without the knowledge or permission of the other three. Spector’s additions included: 18 violins, four violas, four cellos, three trumpets, three trombones, two guitars and a 14-strong female choir.


However, the orchestral overdubs from Spector still found their way into the final album release. It was said to be the catalyst to McCartney asking for the Beatles to be dissolved. A wide range of artists has


since covered this song including: Diana Ross, Aretha Franklin, George Michael and Ray Charles. Let It Be was supposed to be released before Abbey Road. Some critics and fans think that in fact, Abbey Road should be considered their final album, due to the fact that the songs included onLet It Be were supposed to be a return to their simpler approach to music, which never in fact happened. Following the issues faced with Spector’s production, an album called Let It Be… Nakedwas released in 2003 removing most of Spector’s production work and featuring a reworking of some of the songs.


McCartney sent a letter to the Beatles’ business manager, Allen Klein stating “don’t ever do it again”.

7

Te Long And Winding Road Te Beatles q = 67 Dm

Te

F

F7

long

B /C

and

B maj9

to your

wind ing -

road

that

A m7

B

door

will

nev

Dm

3

- er dis ap -


- pear,


3

[4]

G m7

C9

I’ve seen that road


8

E /F

be - fore.

F7

A m7

B

It

[8]

Words & Music by John Lennon & Paul McCartney © Copyright 1970 Sony/AV Music Publishing. All Rights Reserved. International Copyright Secured.

al -ways

leads

D m9

leads

me here,

G m7

C9

F

lead me to

your

Dm

door.

Te

wild

B /C

and

wind -y

night

that the

rain

[12]

F7

F

B maj9

washed a

-

A m7

B

way,

has

le f

Dm

a

pool

of tears


[16]

G m7

C9

cry - ing

for

E /F

the

F

A m7

B

day.

Why leave


me s tand -

[20]

D m9

ing

G m7

here,

C9

let

me

know

F

the

way.

1 e d a r G o n a i P [23]

9



10

Adele | Make You Feel My Love SONG TITLE: MAKE YOU FEEL MY LOVE ALBUM: 19 RELEASED: 2008 LABEL: XL GENRE: POP/SOUL

1. When the rain eve - ning 2. When the

blow - ing is shad - ows and the

VOCALS: ADELE PIANO: NEIL STRINGS: WIREDCOWLEY STRINGS WRITTEN BY: BOB DYLAN PRODUCED BY: JIM ABBISS UK CHART PEAK: 4 ( REACHED NO. 1 IN UK INDIE CHART)

his song was released as the fifth and final single from Adele’s debut album:19. he song was srcinally written by Bob Dylan and appeared on his 1997 album Time Out of Mind. Billy Joel released it two months earlier under the title ‘o Make You Feel My Love’ on his albumGreatest Hits Volume III. Dylan composed the song on the piano and it was decided to keep the song as a simple arrangement, to focus on the lyrical meaning. he album’s subject matter focuses on her first serious relationship. he singer states that this ‘Make You Feel My Love’ is her favourite song on the album, despite it being a cover and that she selected it because it perfectly summed up the way she was feeling in a way that some of her own songs didn’t: “I wrote nine songs all in a short space of time about this awful relationship I was in. I never quite got down what I was feeling in those songs though. It’s about regretting not being with someone”. Adele graduated from the BRI school in 2006 (she was classmates with Leona Lewis and Jessie J) and was given her first record deal by independent label, XL Recordings in 2007 after a friend posted a demo to Myspace. Her career took off when she won the BRI Awards ‘Critic’s Choice’ category and the BBC ‘Sound Of…’ o date she has released two albums: 19 and 21, both of which refer to the age she was when recording them. She has previously said she was a huge fan of the Spice Girls growing up, although she

[9]

has later cited R&B artists such as Destiny’s Child and Mary J. Blige as influences too. She has also been very influenced by Jazz, particularly Ella Fitzgerald and Etta James. Adele has won a wealth of awards for her music including an Oscar, four BRI awards, 10 Grammys and two Ivor Novello awards.



11

Make You Feel My Love Adele q = 76 F

C/E

E

B

B m


[3]

F


12

G

7

B /C

[6]

Words & Music by Bob Dylan © Copyright 1997 Special Rider Music, USA. All Rights Reserved. International Copyright Secured.

F


C/E

1. When the rain 2. When the eve- - ning

is blow - ing shadows and the

E

in stars

your ap

face, pear,-

and and there

the whole is no

world onethere

is to

[9]

B

B m

on dry

your your

case, tears,

F

I I

could off could hold

er you

you for

a a

warm mill -

em ion

-

brace years

[12]

1. G

7

B /C

to to

make make

you you

feel feel

F

my my

2.


love. love.

1 e d a r G o n a i P [15]

13



14

Emeli Sandé | Read All About It, Part III SONG TITLE: READ ALL ABOUT IT, PART III. ALBUM: OUR VERSION OF EVENTS RELEASED: 2012 LABEL: VIRGIN GENRE: R&B/POP

Em

D

Read

a ll

a - bout

it.

Oh,

VOCALS: SANDÉ PIANO: GAVINEMELI POWELL WRITTEN BY: STEPHEN MANDERSON, IAIN JAMES, TOM BARNES, BEN KOHN, PETE KELLEHER, EMELI SANDÉ. PRODUCED BY: GAVIN POWELL UK CHART PEAK: 3

his song was srcinally recorded in three different versions: the first with British rap artist Professor Green featuring vocals from Emeli Sandé; the second, an acoustic version with Professor Green featuring Fink; and the third, which appeared on Sandé’s debut album featuring only Sandé herself. Sandé achieved her first number one single with Professor Green on Part I of the song. he song was performed at the closing ceremony of the 2012 Olympics. Sandé collaborated once more with Professor Green for her debut album:Our Version of Events, which became the top selling album of 2012. Emeli Sandé began writing songs when she was 11 years old. Her first song was for a school talent show: “that was the first time I thought I might be a songwriter. I never thought it was an option to sing anyone else’s songs”. Despite being offered an album deal when she was 16 as a result of winning revor Nelson’s BBC Urban Music competition, her management didn’t feel it was right for her at the time. She went on to study medicine at Glasgow University, graduating five years later with a degree in Neuroscience. She had always said that she wanted a career to fall back on if she didn’t make it in the music industry. She continued to write music for

other artists whilst studying including: inie empah, Cheryl Cole, Professor Green, the Sugababes and Alesha Dixon. She continued to collaborate until ‘Read All About It (Part I)’ reached the top of the charts. She has performed for President Obama at he White House. Sandé has won three BRI awards, two Ivor Novello awards and three MOBO awards. Her new album is to be released in 2016.



15

Read All About It, Part III Emeli Sandé q = 98 C maj7

Em

Em

C maj7

G

G

D

D

You’ve got the


[5]

Em

words to change a


16

C maj7

G

na - tion but you’re bit ing your tongue. You’ve spent -a

D

life - time stuck in si lence, a fraid you’ll say some thing wrong.

[9]

Words & Music by Shahid Khan & Emeli Sandé © Copyright 2009 Stellar Songs Limited. EMI Music Publishing Limited/Sony/AV Music Publishing. All Rights Reserved. International Copyright Secured.


If

C maj7

Em

no -one ev - er hears it, how we

G

gon - na learn your song?

So

D

come on,

come on.

Come on,

come on.You’vegot

a

[13]

C maj7

Em

heart

as

loud

as

li

-ons

so

why

let

G

your voice

be

tamed?

Ba

by, -

we’re

a

lit

- tle

di

ff

- ’rent. Tere’s no


[17]

D

need

C maj7

Em

to

be

a -shamed. You’ve got

the

light

to

fi - ght

the - shad o ws,

so

stop

hid

ing

it

a


way.

[20]

G

Comeo n,

D

come on.

C maj7

Em

I wan -na

sing,

I wan -na

shout.

I wan - na scr eam

1 e d a r G o n a i P [23]

17

G

D/F

till the w ords

dry out.

C maj7

Em

So pu t in on all

of the pa

- pers.

I’m

not a - fraid.

Tey can

read

[27]

G

D

all a b- out

it.

Read

C maj7

Em

all a b- out

it.

Oh,

oh,

oh,

oh.

Oh,

oh,


[31]

G

D /C

oh,

D

C maj7

Em

oh.

Oh,

oh,

oh,

oh.

[35]

G

D

oh,


18

[39]

oh.

G

Oh,

oh,


Rockschool | ICAUFO SONG TITLE: GENRE: TEMPO: KEY:

ICAUFO ROCK 98 BPM E MINOR

q = 98 A

COMPOSER: JOE BENNETT

PERSONNEL: STUART RYAN (GTR) HENRY THOMAS (BASS) NOAM LEDERMAN (DRUMS) JOE BENNETT (KEYS)

OVERVIEW ‘ICAUFO’ is a Melodic Rock piece influenced by bands in the vein of Foo Fighters and Biffy Clyro.

Quarry’ and ‘Opposite’ also draw on these elements, notably the arpeggiated guitar as the backbone of the arrangement. ‘Know Your Quarry’ is a great example of the keyboards doubling this type of guitar part.

THE BIGGER PICTURE Melodic Rock kicked off in the late 1960s when he Be atles, he Doors and others were experimenting in their s ongwriting and recording techniques. Increased success led to bigger recording budgets and it became commonplace for successful bands to develop complex arrangements and song structures, and to work with orchestras. his combination of a big sound, traditional song structures and powerful melodies has b een adopted by dozens of rock bands including Deep Purple, Queen, Rush, Big Star, Pixies, Incubus and Matchbox wenty.


RECOMMENDED LISTENING You’ll be able to hear the influence of he Beatles’ ‘While My Guitar Gently Weeps’ and Led Zeppelin’s ‘Stairway o Heaven’ on this track. More recent recordings such as Foo Fighters’ ‘ hese Days’ and ‘he Pretender’, and Biffy Clyro songs ‘Know Your


19

ICAUFO Joe Bennett q = 98 A


[5]


B

[9]


[13]

20 © Copyright 2015 Rock School Ltd.

C

[17]

D

†

[21]

in the final two bars a problem, the notes may be played individually. † If hand size makes the arpeggio



21



22

Rockschool | Umbra Bella SONG TITLE: GENRE: TEMPO: KEY:

UMBRA BELLA GUITAR INSTRUMENTAL 130 BPM D MINOR

q = 130 A

A

COMPOSER: SIMON TROUP

PERSONNEL: STUART RYAN (GTR) HENRY THOMAS (BASS) NOAM LEDERMAN (DRUMS) ROSS STANLEY (KEYS)

OVERVIEW

RECOMMENDED LISTENING

‘Umbra Bella’ is an homage to he Shadows, a legendary British instrumental pop group who

he Shadow’s version of ‘Apache’ features many elements of the group’s sound, especially the tremolo

formed in the 1950s.

and echo-drenched lead guitar melody set against the propulsive acoustic guitar strumming of rhythm player Bruce Welch. Other Shadows classics include ‘FBI’, ‘Wonderful Land’ and ‘Guitar ango.’ heir playing on Cliff Richards’ ‘Summer Holiday’ also contains one of the iconic licks of 1960s pop.

THE BIGGER PICTURE he Shadows were an instrumental group who were notable for backing pop singer Cliff Richard, but the tale doesn’t end there. he band also achieved great success in their own right with a string of instrumental hits. Instrumental guitar music flourished through the surf guitar sound of 1950s American groups, with he Ventures and he Shadows adding their own twist. Marvin developed a unique guitar sound based on his use of the vibrato, or tremolo arm, on his Fender Stratocaster and the echo devices that made his notes repeat after he had played them. he Shadows’ catchy melodies and driving rhythms helped them carve out their own sound that was distinctive from anything else around at the time. It is unusual now for instrumental groups to have top 10 hits, and he Shadows remain one of the most successful instrumental groups of the last 50 years.



23

Umbra Bell a Simon roup q = 130 A

A

B

Dm

F

Am

C


[5]

B

F

C

7

Dm

[9]

F


C

E

[13]


B


F

C

A

[17]

C

Dm

F

Am

C

[21]


A

[26]

A

7

Dm



25



26

Rockschool | Fab Stomp SONG TITLE: GENRE: TEMPO: KEY:

FAB STOMP 60S POP 120 BPM D MAJOR

q = 120 A

D

COMPOSER: DEIRDRE CARTWRIGHT

PERSONNEL: STUART RYAN (GTR) HENRY THOMAS (BASS) NOAM LEDERMAN (DRUMS)

OVERVIEW ‘Fab Stomp’ is an example of 1960s pop in the style of groups like he Dave Clark 5, he Hollies and Freddie And he Dreamers.

STYLE FOCUS Early to mid 1960s British pop music followed the model used by he Beatles: two guitars, and often more than one vocalist performing up-tempo, goodtime, melodic songs written in major keys. Some of the songs were written by the bands themselves, although most were written either by professional ‘in Pan Alley’ songwriters, or were cover versions of songs made famous previously by American artists.

THE BIGGER PICTURE Global Beatlemania in 1963 and 1964 opened the door to fame for ‘beat combos’ from different parts of Britain, particularly from Manchester and London. he cream of these bands joined he Beatles by going to America and were part of the ‘British Invasion’ that was to last for most of the 1960s. Foremost among this collection of groups were the hugely successful Mancunian bands he Hollies, Freddie

And he Dreamers and Wayne Fontana, who, along with London’s he Dave Clark Five (or ‘he DC5’ as they were often known), followed he Beatles to America. he DC5 were the second British band to appear on the Ed Sullivan Show, which was seen as a springboard to fame and success in the USA.

RECOMMENDED LISTENING he Dave Clark Five’s first number one, ‘Glad All Over’, knocked he Beatles’ ‘I Wanna Hold Your Hand’ off the top of the British singles chart in January 1964. he Hollies’ first top 10 hit was ‘Stay’, released in the same year, and was followed by ‘Just One Look’ and ‘Carrie Anne’ among other hits. Freddie And he Dreamers’ frontman, Freddie Garrity, brought a range of eccentric dance moves to their performances that were very much a part of the band’s appeal. his can be seen to great effect on surviving clips of the band performing their hits including ‘You Were Made for Me’, ‘I’m elling You Now’ and ‘I Understand’ in their heyday.



27

Fab Stomp Deirdre Cartwright q = 120 A

D

D

C

G

C

G

D

D


[5]

B

A

4

A sus

A

D

G

D

[9]

A

4

A sus

A

G D


[13]


D


C

Bm

F m

[17]

A

A

7

[21]

it. ro e ib l @ o f io D

D

[25]

C

G

D



29

echnical Exercises In this section, you will be asked to play a selection of exercises drawn from each of the groups below. he examiner will be looking for the speed of your response and will also give credit for the level of your musicality. All exercises need to be played hands separately, in straight feel, ascending and descending, in the keys, octaves and tempos shown. You may use your book for Group A and Group B. All Group C exercises must be played from memory. Note that Groups A and B need to be played to a click and any fingerings shown are suggestions only.

Group A: Scales q

he tempo for this group is = 60 bpm. 1. F major scale | right hand 1

2

3

4 3

4

1

2

1

3

2

3

1

3

2

1

2

3

4

5

2. F major scale | left hand

5

4

3

2

2

1

3. G major scale | right hand 1

2

3

1 4

5

4. G major scale | left hand

5

4

3

2

5. D natural minor scale | right hand 1


30

2

3

1


6. D natural minor scale | left hand

1

3

2

3

1

3

2

1

2

3

4

5

7. E natural minor scale | right hand 1

3

2

1

4

5

8. E natural minor scale | left hand

2

3

4

5

2

1

9. C dorian scale | right hand 2 1

2

3

3

4

5

1

10. C dorian scale | left hand

1 5

4

3

3

2

1

2

11. C harmonic minor scale | right hand 2 1

2

3

3

4

5

1


12. C harmonic minor scale | left hand

1 5

4

3

2

3

2

1


31

echnical Exercises

Group B: Arpeggios he tempo for this group isq =100 bpm. 1. F major broken chord | right hand 1

3

5

1

2

5

1

3

1

5

2

1

3

5

3

2. F major broken chord | left hand

5

3

1

5

3

1

2

3. G major broken chord | right hand 1

3

5

1

2

5

5

3


4. G major broken chord | left hand

5

3

1

5

3

1

5

2

1

2

1

3

5

3

5

2

1

2

5. D minor broken chord | right hand 1

3

5

1

2

5

6. D minor broken chord | left hand

3 5


32

1

5

3

1



7. E minor broken chord | right hand 1

3

5

1

2

5

1

3

5

2

5

3

8. E minor broken chord | left hand

3

1

5

3

1

1

2

5

9. C augmented arpeggio | right hand 1

3

5

1

2

5

1

3

5

3


10. C augmented arpeggio | left hand

3 5

3

2

1

5

2

1

2

5

11. C diminished arpeggio | right hand 1

2

4

1

2

5

1

3

5

3

12. C diminished arpeggio | left hand

3 5

3

2

1

5

1

2


1

5


33


Group C: Chord Voicings In the exam you will be asked to play, from memory, your choice of one chord voicing from each of the following exercises, without the aid of a backing track or metronome. However, for practice purposes a demonstration of the chords played to a metronome click is available in the downloadable audio. 1. C diminished

2. C augmented



34

Sight Reading In this section you have a choice between either asight reading test or an improvisation and interp retation test (see facing page). he examiner will ask you which one you wish to choose before commencing. Once you have decided you cannot change your mind. In the sight reading test, the examiner will give you a 4–6 bar melody in the key of F major or G major. You will first be given 90 seconds to practise, after which the examiner will play the backing track twice. he first time is for you to practise and the second time is for you to perform the final version for the exam. For each playthrough, the backing track will begin with a one bar count-in. he tempo isq = 70. During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at the beginning. he backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will start immediately.

Sight Reading | Example 1


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

Sight Reading | Example 2




35

Improvisation & Interpretation In the improvisation and interpretation test, the examiner will give you a 4–6 bar chord progression in the key of F major or G major. You will first be given 90 seconds to practise, after which the examiner will play the backing track twice. he first time is for you to practise and the second time is for you to perform the final version for the exam. For each playthrough, the backing track will begin with a one bar count-in. he tempo isq = 70. During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at the beginning. he backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will start immediately. You are only required to improvise single note melodies, with either right or left hand. It is permissible to play chord voicings, but please note you will only be marked on melodic content.

Improvisation & Interpretation | Example 1 q = 70 F

B

C

B


Improvisation & Interpretation | Example 2 q = 70 G

C

D

C



36


Ear ests In this section, there are two ear tests: ■ Melodic Recall ■ Chord Recognition You will find one example of each type of test printed below and you will need to perform both of them in the exam.

Test 1: Melodic Recall he examiner will play you three consecutive notes. You will need to identify whether the last two notes are higher or lower in sequence. his means you will need to tell the examiner whether the second note is higher or lower than the first, and whether theisthird q = 95note he tempo bpm.is higher or lower than the second. You will hear the test twice, each time with a one bar count-in. For this exercise, please use the words ‘higher’ and ‘lower’ in your answer.


Test 2: Chord Recognition he examiner will play you a sequence of chords, each with a C root note. You will hear the chord sequence twice, each time with a one bar count-in. You will then be asked to identify the chord quality of each chord, from a choice of major, minor, diminished and augmented. he tempo isq = 95 bpm.




37

General Musicianship Questions he final part of your exam is the General Musicianship Questions section, which features 5 questions relating to one of your choice of the performance pieces. 1. You will be asked a question relating to the harmony from a section of one of your pieces. 2. You will be asked a question relating to the melody in a section of one of your pieces. 3. You will be asked a question relating to the rhythms used in a section of one of your pieces. 4. You will be asked a question relating to the technical requirements of one of your pieces. 5. You will be asked a question relating to the genre of one of your pieces.



38

Entering Rockschool Exams Entering a Rockschool exam is easy, just go online and follow our simple six step process. All details for entering online, dates, fees, regulations and Free Choice pieces can be found at www.rslawards.com ■ All candidates should ensure they bring their own Grade syllabus book to the exam or have their KR app ready and the full book downloaded. ■ All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam. ■ Candidates will receive their exam results (and certificates if applicable) a maximum of 3 weeks after their exam. If nothing has been received after this time then please call +44 (0)845 460 4747 or email to [email protected]



39

Marking Schemes G

E

|D

G

5*

E L EM ENT

PASS

DISTINCTION

Performance Piece 1

– outof

– outof

+outof

Performance Piece 2

– outof

– outof

+outof

Performance Piece 3

– outof

– outof


– outof

– outof

+outof +outof

Sight Reading or Improvisation & Interpretation

outof

– outof

+outof

Ear ests

outof

– outof

+outof

General Musicianship Questions

out of

TOTAMLARKS

G

E

|G

out of

60%+

out of 74%+

90%+

6–8

E L EM ENT

PASS

M ERI T

DISTINCTION

Performance Piece 1

– outof

– outof

+outof

Performance Piece 2

– outof

– outof

+outof

Performance Piece 3

– outof

– outof

+outof


– outof

– outof

+outof

Quick Study Piece

outof

– outof

+outof

Ear ests

outof

– outof

+outof

General Musicianship Questions

out of

TOTAMLARKS

P

C EL EM EN T


M ERI T

out of

60%+

|D

G

out of 74%+

90%+

* PASS

ME R I T

DISTINCTION

Performance Piece 1 Performance Piece 2

– outof – outof

– outof – outof

+outof +outof

Performance Piece 3

– outof

– outof

+outof

Performance Piece 4

– outof

– outof

+outof

Performance Piece 5

– outof

– outof

+outof

TOTAMLARKS

60%+

75%+

40 * Note that there are no Debut Vocal exams.

90%+


Copyright Information The Long And Winding Road (Lennon/McCartney) Sony/AV Music Publishing (UK) Limited. Make You Feel My Love (Dylan) Special Rider Music, USA. Read All About It (Khan & Emeli Sandé)

EMI Music Publishing Limited/Sony/AV Music Publishing (UK) Limited.



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ti . o re b li @ fo o i .c o n e r a z z a n / o f io c o n e ra z a n / 1 / 8 5 5 5 0 1 2 7 4 5 6 -9 L S R

323688970-Piano-G1-Edition13May2016.pdf

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