Female 4 PDF

Female Vocals
Grade 4
Performance pieces, technical exercises and in-depth guidance
for Rockschool examinations
www.rslawards.com
Acknowledgements
Published by Rockschool Ltd. © 2014 under license from Music Sales Ltd.
Catalogue Number RSK091404R
ISBN: 978-1-912352-26-5
This edition published July 2017 | Errata details can be found at www.rslawards.com
AUDIO
Backing tracks produced by Music Sales Limited
Supporting test backing tracks recorded by Jon Musgrave, Jon Bishop and Duncan Jordan
Supporting test vocals recorded by Duncan Jordan
Supporting tests mixed at Langlei Studios by Duncan Jordan
Mastered by Duncan Jordan
MUSICIANS
Neal Andrews, Lucie Burns (Lazy Hammock), Jodie Davies,Tenisha Edwards, Noam Lederman,
Beth Loates-Taylor, Dave Marks, Salena Mastroianni, Paul Miro, Ryan Moore, Jon Musgrave,
Chris Smart, Ross Stanley, T-Jay, Stacy Taylor, Daniel Walker
PUBLISHING
Compiled and edited by James Uings, Simon Troup, Stephen Lawson and Stuart Slater
Internal design and layout by Simon and Jennie Troup, Digital Music Art
Cover designed by Philip Millard, Philip Millard Design
Fact Files written by Stephen Lawson, Owen Bailey and Michael Leonard
Additional proofing by Chris Bird, Ronan Macdonald, Jonathan Preiss and Becky Baldwin
Cover photography © Jason Squires / WireImage / Getty Images
Full transcriptions by Music Sales Ltd.
RSL-514487039776 / 1 / GMartell Mexico / [email protected]

SYLLABUS
Vocal specialists: Martin Hibbert and Eva Brandt
Additional Consultation: Emily Nash, Stuart Slater and Sarah Page
Supporting Tests Composition: Martin Hibbert, James Uings, Jon Musgrave, Jodie Davies,
Ryan Moore, Chris Hawkins, Jonathan Preiss
DISTRIBUTION
Exclusive Distributors: Music Sales Ltd.
CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)845 460 4747
Email: [email protected]
Female Vocals Grade 4
2
Table of Contents
Introductions & Information
1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Female Vocals Grade 4
Rockschool Grade Pieces
5 Katie Melua.. ............................ ‘The Closest Thing To Crazy’

11 Beyoncé.. ............................................................... . ‘If I Were A Boy’
19 Moulin Rouge!.................................... ‘One Day I’ll Fly Away’
25 Adele.. . . ......................................................... ‘Rolling In The Deep’
35 Birdy.. . . .................................................................. . . . . . . . . . ‘Skinny Love’
43 Duffy.. . . ................................................................. ‘Warwick Avenue’
Technical Exercises
50 Scales, Arpeggios, Intervals, Melodic Study and Backing Vocals
Supporting Tests

52 Sight Reading
53 Improvisation & Interpretation
54 Ear Tests
55 General Musicianship Questions
Additional Information
56 Entering Exams, Exam Procedure & Marking Schemes

57 Musical Interpretation & Free Choice Pieces
58 Copyright Information
59 Rockschool Digital Downloads
60 Rockschool Popular Music Theory
3
Welcome to Rockschool Female Vocals Grade 4
Welcome to the Rockschool Female Vocals Grade 4 pack. This book and accompanying audio contain everything you need
to sing at this grade.
Vocals Exams
At each grade you have the option of taking one of two different types of examination:
■■Grade Exam: a Grade Exam is a mixture of music performances, technical work and tests. You prepare three pieces
(two of which may be Free Choice Pieces) and the contents of the Technical Exercise section. This accounts for 75%
of the exam marks. The other 25% consists of: 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
The book is divided into a number of sections. These are:
■■Exam Pieces: in this book you will find six well-known pieces of Grade 4 standard. Each song is preceded by a Fact File
detailing information about the original recording, the artist who sang on it and some recommended listening if you
wish to research the artist further.
■■Piano and guitar notation: every exam piece is printed with a piano part and guitar chords. Both are a representation
of the overall band arrangement. These have been included to assist you with your practice should you wish to use a
piano 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.
■■Technical Exercises: there are a range of technical exercises in this grade. Some are notated in full, and some give a

range of starting notes.
■■Supporting Tests and General Musicianship Questions: in Vocals Grade 4 there are three supporting tests – either a
Sight Reading or an Improvisation & Interpretation test and two Ear Tests – and a set of General Musicianship Questions
(GMQs) asked at the end of each 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, information on Free Choice Pieces and improvisation requirements for each grade.
Audio
Each song in Vocals Grade 4 has an audio track which has been provided for you. This is a backing track with the vocal
taken off so you can sing along with the band. The backing tracks should be used in examinations. There are also audio
examples of the supporting tests printed in the book. The audio files are supplied in MP3 format.
All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded from the
RSL website: www.rslawards.com
4
T h e C lo se st Thing
Katie Melua
SONG TITLE: THE CLOSEST THING

TO CRAZY
q = 64 F/A
ALBUM: CALL OFF THE SEARCH F C
RELEASED: 2003
LABEL: DRAMATICO
 
GENRE: POP 
   
 
PERSONNEL: KATIE MELUA (VOX)
  
UK CHART PEAK: 10
     
US CHART PEAK: N/A    
      
    
F C/G
F C
   
BACKGROUND INFO  Ketevan, feature orchestral arrangements by2013’s
recent releases, 2012’s Secret Symphony and
Batt.    

This regret-tinged tear-jerker from Katie Melua’s 1. How can I think
debut album, Call Off The Search, helped her become
2. How can you make
   
one of the most successful artists of the 2000s. NOTES
 ‘The Closest ThingTo Crazy’ was written by Mike

 Men   

 of thewarmusical
as part   Who
 Itappeared on one
THE BIGGER PICTURE Batt March
Away.
 of his earlier albums and
  me
Georgian-born Ketevan ‘Katie’ Melua moved Melua read the lyrics off the sleeve as the pair were
to Northern Ireland aged eight, before settling in
 auditioning one of Batt’s other songs. “It blew

England aged 14 and enrolling in the BRIT School in
London. During a talent showcase event, she came
away,
 a huge hit, butthere was a lot riding on its
” Melua said. “It was an instant classic.” The song
became
to the attention of producer-composer Mike Batt success – Mike Batt had remortgaged his house to
(writer of two British pop culture classics in ‘Bright put the record out on his own indie label, Dramatico.
B¨ F
Eyes’ from Watership Down and the theme tune B¨6
Speculatively, he gave a recording of it to a producer

from The Wombles). Batt was looking for someone on the Terry Wogan Show on Radio 2. Wogan played
to perform his material in the style of late singer
  
it on air and the touchpaper was lit. “Someone said
 
Eva Cassidy, who could handle both jazz and blues
songs. The pair bonded over their music taste, and         
when it came on the radio, they had to stop the car,”
Melua recalled. “Someone else said they started 
built up a collection of songs (many of them Batt’s crying. Then our website was inundated with fans feet?
be - We
air buy the song. neath my
own compositions) that would become 19-year-old where the
askingfeel they could hadn’t even lies?
with that - ing
lovchanged.
 
Melua’s debut album, Call Off The Search. A winning break
planned out afall
to putmy single. Suddenly, ”
   

blend of radio-friendly pop, jazz and blues, it became
 RECOMMENDED  
 LISTENING   
2004’s biggest-selling album in the UK. Two more
albums with Batt followed, until 2010’s The House
saw electronic producer William Orbit take the helm
and Melua spread her wings slightly, into artier pop
  
For an introduction to all things Melua, listen to

territory, while still playing to her strengths. Her

Live At The O2 Arena (2009).
   
5
The Closest Thing To Crazy
Katie Melua
Words & Music by Mike Batt
q = 64
F C F/A B¨6 B¨

   
            

        
  
 
     
       
      
F C F C/G F/A F
     

 
   
    
1. How can I think I’m stand - ing strong yet
2. How can you make me fall a - part then
          
        
  
          
  


      
    

B¨6 B¨ F
 
   
       
  
feel the air be - neath my feet?
break my fall with lov - ing lies?

   
       
      
   
 
  
  
        
6 © Copyright 1992 Dramatico Music Publishing Limited.

Sony/ATV Music Publishing.
All Rights Reserved. International Copyright Secured.
Dm D‹7/C B¨

          

How can hap - pi - ness feel so wrong?
 
It’s so ea - sy to break a heart.
            
         
    
    
Am C9 F C7
        


 
How can mi - se - ry feel so sweet?

It’s so ea - sy to close your eyes.
       
     
       
 


   
  

F C/G F/A F
  
        
    
How can you let me watch you sleep then
How can you treat me like a child yet
 
   
 

   



 
     


  
     
 
B¨6 B¨ F
 
   
       
  
break my dreams the way you do?
   
like a child I yearn for you?
 
          
     
     
      
7
2
Dm D‹7/C B¨

           
How can I have got in so deep?
How can a - ny - one feel so wild?

   

        
         
    
    
Am C9 F C7
       
   
  

Why did I fall in love with you?
This is the
How can a - ny - one feel so blue?
      
            
   
 
  

    

F Dm9
3fr
           
   
 
clos - est thing to cra - zy I have ev - er been. Feel - ing
             
       
   
       
Gm6 C6 C
        
    
twen - ty two, act - ing sev - en - teen. This is the
   
  
    
 
     
   
8
3
F Dm9
3fr
            
   
 
near - est thing to cra - zy I have ev - er known. I was
              
       
    
        
Gm7 B¨m[maj7]
3fr
  
           

nev - er cra - zy on my own and

      
  
  
         


F Dm B¨

 
 3
    

      
now I know that there’s a link be - tween the two.
 
  
        
   
  
   
    
 
D¨ F Dm
4fr

           


 
 
Be - ing close to cra - zi - ness and


    

        
       
       
   
 
  
9
4
1.
C F C7/G

    

  
be - ing close to you.

   
     
      

  
        
 
F/A B¨sus4 B¨m
  
  
      
   
 

   
         

F 2. F Dm B¨ Csus4

           

And be - ing close to
                  

 
      


               
     
rit.
F Dm7 B¨'9 Csus4 F

           
      
you. And be - ing close to you.


   
  


 
   




 

        

  
10
5
If I Were
Beyoncé
SONG TITLE: IF I WERE A BOY Ebm7

ALBUM: I AM… SASHA FIERCE Moderately 6fr
  
RELEASED: 2008
LABEL: COLUMBIA

    
GENRE: POP
   
PERSONNEL: BEYONCE KNOWLES (VOX) If I were a boy,
REGGIE PERRY (GUITAR)
  
TOBY GAD (VARIOUS)
     
JENS GAD (DRUMS)
   
mp
      
UK CHART PEAK: 1
US CHART PEAK: 3
 
Cb Gb D
Ebm7
6fr
‘If IWere A Boy’ was writtenby singer-songwriter 

BACKGROUND INFO NOTES

 BC Jean and producer Toby Gad. Jean was inspired


‘If I Were A Boy’ was the lead single from Beyoncé’s
third studio album, I Am… Sasha Fierce.
one day while the pair were walking through Times
Square and smelled pizza, at which point Jean
  
THE BIGGER PICTURE

declared, “I wish I were a boy… That pizza smells

 
really good and I’m trying not to eat carbs, and I wish
Beyoncé Knowles was born in 1981 in Houston,
  
I were a boy so I didn’t care.” Gad asked what else she

Texas. As a child, Beyoncé sang in choirs and took
dance classes, later attending the High School For  
would do if she were a boy and Jean replied, “I’d be

a better man than my ex-boyfriend!” Jean and Gad
The Performing And Visual Arts in Houston. In went back to the studio and recorded the track on that
1990, she met LaTavia Roberson while auditioning
     
very day. Initially, Jean wanted to include ‘If I Were A

for a girl group. The pair then joined another group
 
Boy’ on a solo album she was hoping to release, but


called Girl’s Tyme, with Kelly Rowland joining in when her record deal fell apart, Gad started shopping
1992. Beyoncé’s father, Matthew Knowles, volunteered the songs he had written with Jean to other recording
to manage the group and then cut it down to artists. That’s when Beyoncé heard the track and
four members: Beyoncé, Kelly Rowland, LaTavia chose to record it for her album I Am… Sasha Fierce.
Roberson and LeToya Tuckett. He had the girls BC Jean’s original, /F be heard on
Dbstill Ebm7
Gb grittier version can
practise regularly in a “bootcamp” and managed to her MySpace page. 6
 
polish their act to the extent that they were able to

 
support established R’n’B acts. In 1996, they changed
 Child gives
RECOMMENDED LISTENING
 VeryBest Of Destiny’s  a  

their name to Destiny’s Child and signed a deal with
Columbia Records. Destiny’s Child became one of

the most successful girl groups of all time before a Playlist: The
hiatus – in which the three remaining members began good overview of Beyoncé’s work beforent
what with
onis littered
she went
I wa - ed, then go

throw
 
to pursue solo careers – was followed by a final studio solo. Her solo career great singles,

album, Destiny Fulfilled, in 2004. Beyoncé’s star could including ‘Crazy In Love’, ‘Halo’, ‘Single Ladies (Put A
 
       
at last shine as brightly as it had promised to… Ring On It)’ and ‘Deja Vu’.

11

If I Were A Boy
Beyoncé
If I Were a Boy
Words & Music by Toby Gad & Brittany Carlson
Moderately Ebm7 Cb Gb Db/F

6fr
      
     
     
If I were a boy, e - ven just for a day,

      
     
     
  

mp
          
   

Ebm7 Cb Gb Db/F Ebm7 Cb


6fr 6fr
      
          
I’d roll out - ta bed in the morn - ing and

   
   
             
 
       
    
 
Gb Db/F Ebm7 Cb Gb Db/F

6fr
       
             
throw on what I want - ed, then go drink beer with the guys

     
               
 
       
      
 
Copyright © 2008 Cherry Lane Music Publishing Company, Inc. (ASCAP),
12 Liedela Music (ASCAP), Gad2008Songs
© Copyright LLC
BMG Ruby (ASCAP)
Songs/Liedela and
Music/Gad Britney
Songs LLC/Songs Carlson
Of Universal, Publishing Designee (Unknown)
Inc./BC Jean Publishing
Universal/MCA Music Limited/BMG Rights Management (US) LLC.
Worldwide Rights for Liedela Music and Gad All Songs LLC Administered
Rights Reserved. International Copyrightby Cherry Lane Music Publishing Company, Inc.
Secured.
International Copyright Secured All Rights Reserved
 Ebm7
6fr
Cb Gb Db
4fr
Ebm7
6fr
Cb

     
 
 
     


and chase af - ter girls.
and make the rules as I go

                         
    
mf
             
 
        
Gb Db/F Ebm7 Cb
6fr

     
         

I’d kick it with who I want - ed and I’d
’cause I know that she’d be faith - ful,

         
           
          
     
  
Play 1st time only
Gb Db Ebm7 Cb Gb Db
4fr 6fr 4fr
      
    
               
nev - er get con - front - ed for it, ’cause they’d stick up for me. If I were a boy,
wait - in’ for me to come home,
 
       
                
 
             
    
      
13
2
Play 2nd time only
Ebm7 Cb Gb Db Ebm7 Cb
6fr 4fr 6fr
      
   
  
 
 
to come home. If I were a boy,
   
                
 
   
         
            
   
Gb Db Ebm7 Cb Gb Db
4fr 6fr 4fr
       
          
I think I could un - der - stand how it
 
           
        
  
               
 

          
6fr 4fr 6fr
 
                      
feels to love a girl. I swear I’d be a bet - ter man.
 
                       
              
           
Gb Db/F Ebm7 Cb Gb Db
6fr 4fr
             
       
  
I’d lis - ten to her ’cause I know how it hurts
         
   
     

     
     
             
      
14
3
6fr 4fr 6fr

                
when you lose the one you want - ed ’cause he’s

                   

   
       
    
 
 
 
       
Gb Db Cbadd9
4fr
To Coda Ø
             
         
   
tak - en you for grant -ed and ev - ’ry - thing you had got de - stroyed. If I were a boy,
       
 
      
     
 
    
   
   
mp
           
    

    
6fr 4fr 6fr

      
     


I would turn off my phone,
    
         
      
  
        
   
   
Gb Db Ebm7 Cb
4fr 6fr

        

       
tell ev - ’ry - one it’s bro - ken so they’d


      
   
  
       

        
   
  
15
4
Gb Db Ebm7 Cb Gb Db
4fr 6fr 4fr
D.S. al Coda

       
            
think that I was sleep - in’ a - lone. I’d put my - self first

    
  

          
      
     
   
 
 


       

Ø Coda Gb/Bb Abm Cb
4fr

         
It’s a lit - tle too late
 
  

         
 
       

          


Gb Db Abm Cb Ebm7 Db
4fr 4fr 6fr 4fr

                          
for you to come back, say it’s just a mis - take, think I’d for - give you like that.
 
                          
 
               
  
       

Abm Cb Ebm7 Db
4fr 6fr 4fr
          
        
If you thought I would wait for you, you thought
 
      

   


     
           
   
    
16
5
Cbadd9 Ebm7 Cb

6fr

         

   

 

    
wrong. But you’re just a boy.


 
     

     
mp
 
 
    
Gb Db Ebm7 Cb Gb Db/F
4fr 6fr
   
   

           
        
You don’t un - der - stand how it
 
(Yeah, you don’t un - der - stand, oh.)

       
      

 
   
  
    

              
    
Ebm7 Cb Gb Db
6fr 4fr

                     
feels to love a girl some - day. You wish you were a bet - ter man.
                
       
mf
         
    
 
Ebm7 Cb Gb Db
6fr 4fr
 
               
You don’t lis - ten to her.
         
   
     
  
       
     
      
17
6

6fr 4fr 6fr
   
        
You don’t care how it hurts
    
      
  
           
                
    
     
Gb Db Ebm7 Cb
4fr 6fr

               
un - til you lose the one you want - ed ’cause you’ve

           

    

         
           

Gb Db Cb
4fr
 
                    
tak - en her for grant - ed and ev - ’ry - thing you have got de - stroyed.
 
                   

 
           
     
Ebm7 Cb Gb Db

6fr 4fr

μ
        
     

 


   
But you’re just a boy.

      
 
      

mp


       
     
18
7
One DaybyI'Willl
Words
Music by Jo
Moulin Rouge!
SONG TITLE: ONE DAY I’LL FLY AWAY
   
ALBUM: MOULIN ROUGE! SOUNDTRACK
   

RELEASED: 2001
LABEL: INTERSCOPE
GENRE: MUSICAL THEATRE
PERSONNEL: NICOLE KIDMAN (VOX)

    
Play freely
 

 
UK CHART PEAK: N/A
US CHART PEAK: N/A
  
    

p
   


‘One Day I’ll Fly


‘One Day I’ll Fly Away’ was originally a hit for soul- Away’ was Randy Crawford’s
jazz singer Randy Crawford. This version of the song biggest hit and was later featured in Moulin Rouge!,
featured in the musical Moulin Rouge!, with actress sung by Nicole Kidman’s can't
night character Satine. Nicole
  
Nicole Kidman on lead vocals. Kidman sought out the role of Satine, but had to
 
convince Baz Luhrmann of her singing and dancing
 
abilities (having shown neither in her previous movie  
THE BIGGER PICTURE 
roles). She auditioned, performing ‘Nobody Does
It Better’, and Luhrmann checked out her turn in
Moulin Rouge! is a musical film directed by Baz the play The Blue Room. Luhrmann was convinced
Luhrmann and starring Nicole Kidman, Ewan and the job was hers. On set, the director insisted
McGregor and Jim Broadbent. It is set in Paris’s
 
all the actors perform their lines live rather than lip-
famous Moulin Rouge cabaret venue in the late 1890s
      
synching. Kidman said, “It’s hard when you’re crying
and tells the story of English writer Christian (Ewan
McGregor), who falls in love with the terminally

and singing, and trying to stay in the right key and the
right timing without accompaniment.” Girls Aloud’s
ill star of the cabaret, Satine (Nicole Kidman). The Kimberley Walsh also covered the song on her album
film is a ‘jukebox musical’ (i.e. one made up of Centre Stage. It was picked as the lead single.
previously released popular songs rather than original
compositions) and features many songs from the B
B Em/B
late 20th century. There are so many songs on the RECOMMENDED LISTENING
soundtrack, it took two years to get permission to
    
use them all. Director Baz Luhrmann explained his Musical theatre is a genre rich in great vocal
 

decision to use modern songs: “[The] whole stylistic performances. Classic singers to watch out for include
premise has been to decode what the Moulin Rouge
was to the audiences of 1899 and express that same
   
Elaine Page, Sarah Brightman and Liza Minnelli. The
style is as popular today as ever. Pop stars Melanie 
thrill and excitement in a way to which contemporary C and Kimberley Walsh have both recorded musical
Whentimes wil l I C’s Stagesbe - gin

movie-goers can relate.” The film was nominated for theatre albums in recent – Melanie
     

 
eight Oscars and won two in 2001. (2012) and Kimberley Walsh’s Centre Stage (2013).
  
   19

One Day I’ll Fly Away
One Day I'll Fly Away Moulin Rouge!
Words by Will Jennings Words by Will Jennings
Music by Joe Sample Music by Joe Sample
B Em/B
  
           

I fol - low the
  
Play freely
 
 
 
       

   
     
  
p
mp
B C#m7/B B
4fr
 
   
     

night can't stand the light
  
       
     
         
    
B Em/B B C#m7/B B
4fr
 
 
        
    
When will I be - gin to live a - gain
 

      
    
    
   
 
    
   
20 © Copyright 1980 Irving Music.

Rondor Music International, Inc./Chrysalis Music Limited.
B Em/B B G#sus4 G#m C#m F#
4fr 4fr 4fr
  
          
        
    
One day I'll fly a - way leave all this to yes - ter - day
  
      
     
     
        
   
 
     
   
  
Bm Bm7/A Em9 A Adim A Gm/D D
    
 
      

       

what more could your love do to me when will love be through with me
  
          
               
   
  

        
    
 
Bm Em A F#/A# Bm

   
    
     
      
Why live life from dream to dream, and dread the day when
          

         
      
 
 


        
    
 
21
Gmaj7 F# Em9 Bm9/F#
  
     
 
dream - ing ends
      
           
      
                
  
    
Em9 Bm9/F# Gm9 Dm9/A
8fr
 
      
                           

 
                       

        
                  
 

Bbmaj7 A Bm/A A

       
         
                 
      
 
          
      
     
D Gm/D D Bm
3fr
 
   
       
   

     One
   
day I'll fly a - way leave all this to
                  
            
   
         
  
rit.    
22 ff
Em A Dm Gm7 C
   
    
    



  
yes - ter - day Why live life from dream to dream
   
       
    
    
   

    
     
  

C#dim Dm9 Bbmaj7 A
11fr 3fr
 
 
  
       
 
   day
 
and dread the when dream - ing
       

    
 
       
  

mp
Dm B Em
 
     
     


ends One day I'll fly a -

     
    
    

     
    
B Em B
 
 

   
    
 
way fly fly a - way
  
 
      


   
  
   
  

rit.  23
24

Words & Music by Adele A
Adele
SONG TITLE: ROLLING IN THE DEEP

ALBUM: 21 q = 104
RELEASED: 2010 C5
3fr
LABEL: XL
GENRE: POP
  
 
PERSONNEL: ADELE (VOX)
  
 
UK CHART PEAK: 2
US CHART PEAK: 1
         
 
C5
3fr
  
  In The Deep’ wasco-written with indie

‘Rolling
 songwriter    

‘Rolling In The Deep’ was the first single released
from Adele’s second album, 21. and producer Paul Epworth. “I guess it’s
sort of my musical equivalent of saying thingsfirein the
ere’s a
heat1.ofTh
the moment and word vomiting,” said Adele.
I’ll leave wi
THE BIGGER PICTURE See
“It was2.my reaction to how
being told that my life was
 
going to be boring and lonely and rubbish, and that

Adele Laurie Blue Adkins was born in London in
1988. She began singing at the age of four and later     
I was a weak person if I didn’t stay in a relationship.
I was very insulted [by that] and wrote [‘Rolling In
became a fan of the Spice Girls, of whom she has said, The Deep’] as a f*** you!” Adele wasn’t sure if writing
Drums 2°
   
“They made me what I am today.” As a teenager, she with Epworth would be worthwhile, because of their
attended the BRIT School and graduated in the same
      
different musical backgrounds. However, “it ended
  
year as Leona Lewis and Jessie J. Like Jessie J, Adkins
is herself an accomplished songwriter and wrote   
up being a match made in heaven.” Adele said, “He’s
one of the most amazing writers and producers I’ve
many of the songs on her debut album, 19, which was worked with. He’s got so many ideas and just brought
released by XL Recordings in 2008. The album went a lot out of me. He brought my voice out as well.
to Number 1 in the UK and eventually went double There are notes I hit in that song that I never even
platinum (selling more than two million copies) in knew I could hit.”
America. Her second album, 21, was co-written with Bb5
various songwriters but rather than giving up control
    
of her writing and recording process, Adkins seemed RECOMMENDED LISTENING
more and more to be calling the shots as she grew
   Pavements’ and ‘Make You FeelMy Love’
 ‘Chasing  
in confidence. For example, when Rick Rubin was

employed to produce finished versions of demos that are good indicators of Adele’s vocal talent, but it was
she had recorded previously, she rejected the new later singles ‘Rolling In The Deep’, ‘Someone
a feLike ver pitch
- You’ and
rea ch - ing
versions in favour of the demos. Fans of the singer and ‘Set Fire To The Rain’ that showed how
- der - es much - ti - mate the
often admire this personal strength as much as they the singer had grownun
Don’t in such a short space of time –

do her considerable artistic merits. between the ages of 19 and 21, in fact.

     
25
Rolling In The Deep
Adele
Rolling In The Deep Words & Music by Paul Epworth & Adele Adkins
Words & Music by Adele Adkins & Paul Epworth
q = 104
C5
3fr
 
   
 
   
    





























 
C5 G5
3fr 3fr

     

         
 
1. There’s a fire start - ing in my heart,
2. See how I’ll leave with ev - ’ry piece of you.

           
Drums 2°
    














       
       
Bb5 G5 Bb5
3fr

            

     
reach - ing a fe - ver pitch and it’s bring - ing me out the dark.
Don’t un - der - es - ti - mate the things that I will do.

  
      
                 
                
26 © Copyright 2010 Universal Music Publishing

© Copyright 2010, 2011 Melted Stone Publishing Ltd.
Limited (50%) (administered in Germany
Universal Music Publishing Limited/EMI Music Publishing Limited. by Universal Music Publ. GmbH)/
EMI Music
All Rights Publishing
Reserved. Limited
International (50%).
Copyright Secured.

C5 G5
3fr 3fr

            

  
Fin - al - ly I can see you crys - tal clear.
There’s a fire start - ing in my heart,

         
   














       
       
Bb5 G5 Bb5
3fr
 
           

   
Go a - head and sell me out and I’ll lay your shit bare.
reach - ing a fe - ver pitch and it’s bring - ing me out the dark.
 
         
cont. sim.
                  
                

$ Ab 4fr
Bb Gm7
3fr

                

The scars of your love re - mind me of us. They keep me

     


   
 
                        
Ab Bb
4fr
 
           
       
think - ing that we al - most had it all. The scars of your love, they leave me

         
   

 
 
                        
27
Gm G Cm
3fr 3fr
      
           

  

breath - less. I can’t help feel - ing we could have had it all.
        
               
      
      
                
    
Bb Abmaj7 Bb
4fr

                 
Roll - ing in the deep. You had my heart and
                        
                          
 
               
         

    
Cm Bb
3fr
 
            
soul ’side of your hand. And you played
                
                  
      
     
         
Abmaj7 Bb
4fr

To Coda Ø

          

it to the beat.
    
    




















    
 
          
28          
C5 G5
3fr 3fr
 
             
   
3. Ba - by, I have no sto - ry to be told. But

         
Drums
   














       
       
Bb5 G5 Bb5
3fr
  
          

    
I’ve heard one on you now I’m gon - na make your head burn.

         
                 
                

C5 G5
3fr 3fr

            

  
Think of me in the depths of your des - pair.
 
        
   














       
       
Bb5 G5 Bb5
3fr

D.S. al Coda
      
       
Make a home down there as mine sure won’t be shared.

         
                 
                
29
Ø Coda
Abmaj7 Bb Abmaj7
4fr 4fr
   
     

   
Could have had it all.
            
    




            
 
           
          
Bb Cm
3fr
  
        
Roll - ing in the deep.
                
                  
      
     
         

Bb Abmaj7
4fr
      
        
You had my heart and soul ’side of your hand.
                
                  
 
          
         
Bb

                  
But you played it with a beat - ing.
                        
                          
 
              
30              

µ
         
  
Throw your soul through ev - ’ry o - pen door.

   
         
        
Drums

              
 
Count your bless - ings to find what you look for.
     
 
         
        

cont. sim.

            
 
  
Turn my sor - rows in - to trea - sured gold. You’ll

         

       
  
        
Cm
3fr

µ
       
      
pay me back in kind and reap just what you’ve sown.
  
              
  

       
  
         31
Cm Bb
3fr
 
    
    
We could have had it
   












 















 
  
 
 
Abmaj7 Bb Cm
4fr 3fr
   
          
    
all. We could have had it all.
                        

                          
  
   
 

 
Bb Abmaj7 Bb
4fr

               
     
It all. It all. It all. We could have had it
     








 
              





               
 
    
   
Cm Bb
3fr
 
    

      
all. Roll - ing in the
                 
                
       
     
         
32
Abmaj7 Bb Cm
4fr 3fr

   
             
deep. You had my heart and soul ’side of your hand.
                
                          
      
          
              
1.
Bb Abmaj7
4fr
  
              
And you played it to the beat.
                
                  
 
         

        
2.
Bb Bb

           

 
 
Could have had it And you played

             













      
   
          
          
Abmaj7 Ab Bb Cm
4fr 4fr 3fr

                      
               
it, you played it, you played it, you played it to the beat.
         
            
    
            
            
33
34

Skinny L
Birdy
SONG TITLE: SKINNY LOVE

ALBUM: BIRDY q = 76
C#m A E
RELEASED: 2011
4fr
 
LABEL: 14TH FLOOR RECORDS
 

GENRE: INDIE POP

PERSONNEL: BIRDY (VOX)
   

 
   

UK CHART PEAK: 17

US CHART PEAK: 62
 
  
   
Con pedale
C#m A
4fr

NOTES    
BACKGROUND INFO
    
 ‘Skinny Love’ was one of 10 cover versions featured

‘Skinny Love’ was the lead single from Birdy’s debut
album, the eponymous Birdy. on Birdy’s debut album.skin
It was- written
ny by Justin
lov e, just last
1. Com e on
Vernon, the singer-songwriter behind the band Bon
  

Iver. The original version of ‘Skinny Love’ appeared
 
THE BIGGER PICTURE on Bon Iver’s debut album, For Emma, Forever Ago,
which was released in 2007 to critical acclaim. Both
Jasmine Van Den Bogaerde was born in Hampshire the album and the song were based on Vernon’s failed
 
in 1996. Birdy was the nickname Jasmine’s parents relationship with an ex-girlfriend called Emma. They
gave her, which later became her stage name. Her
mother, Sophie, is a concert pianist and taught 
  
were written while Vernon – still upset by his break-
up and suffering from glandular fever – ‘hibernated’
Jasmine to play aged five. By the age of eight, she was in a cabin in Wisconsin, cut off from the outside
writing her own songs. Bogaerde’s big break came world. He recorded all the basic tracks there in his
in 2008, when she won a national open mic contest. cabin, then later added extra instruments, before self-
She performed her own song ‘So Be Free’ and her releasing the album in 2007. Influential indie music
prize was time in the studio with producer Gareth websiteC# m
Pitchfork included it in its albumsAof the year
Henderson. The recordings they made helped Birdy list and Mojo 4fr
magazine gave the record a five-star
      
land a publishing deal, followed by a record deal review, naming it a ‘Mojo Instant Classic’.
with 14th Floor Records. Her debut album, Birdy – a
collection of covers and one original composition    
RECOMMENDED LISTENING
by Van Den Bogaerde – was released in 2011. The
follow-up Fire Within appeared in 2013. This time a lit - tle salt, we were nev - er
Pour
she wrote two of the 11 tracks and co-wrote the ‘Wings’ was the first single from Birdy’s second
remainder. Van Den Bogaerde’s music has been
 
album, Fire Within. It features huge indie rock


 
described as ‘indie folk’, an acknowledgement of its production and was co-written with One Republic’s
similarity to the likes of Bon Iver and Mumford & Ryan Tedder. Birdy’s cover of Ed Sheeran’s ‘A Team’,
Sons (with whom she contributed the song ‘Learn Me meanwhile, has a stripped-back vocal and piano
 
Right’ to the Brave soundtrack). arrangement similar to ‘Skinny Love’.

  
35
Skinny Love
Birdy
Skinny Love Words & Music by Justin Vernon
q = 76
C#m A E C#m A E
  
4fr 4fr
     
          
          




   
     

Con pedale
C#m A E
 
4fr

             
1. Come on skin - ny love, just last the year.
     
     
 
   
C#m A E
 
4fr
                 
   
Pour a lit - tle salt, we were nev - er here. My my my,
    
       
 
   
36 © Copyright 2008 April Base Publishing, USA.

Kobalt Music Publishing Limited.
C#m A E
  
4fr
        
              
my my my, my my my my my. Star - ing at the
   
      
       
  
  
    
F#m7 C#m
 
4fr
    
     
sink of blood and crushed ven - eer.
         

  
 
   

C#m A E B/D#
 
4fr
           

2. Tell my love to wreck it all.
 
           
       
 
       

C#m A E B/D#
4fr
 
                  
   
Cut out all the ropes and let me fall. My my my,

 
         
        
 
       

37
C#m A E
  
4fr
        
              
my my my, my my my my my. Right at the mo-
 
   
          
     
      

F#m7 C#m
  
4fr
   
          
- ment this or - der’s tall. And I
 
      
 
       

$ E B/D# C#m
 
4fr
                
    
told you to be pa - tient and I told you to be fine. And I
 
        
       
        

E B/D# C#m
4fr
 
                  
   
told you to be bal - anced and I told you to be kind. And in the
 
$ And now
      
        
 
        

38
E B/D# C#m
4fr
 
                
      
morn - ing I’ll be with you, but it will be a dif - f’rent kind. ’Cause I’ll be
 
all your love is wast - ed, then who the hell was I? ’Cause now I’m
      
        
 
        

E B/D# C#m
4fr
 
                    
hold - ing all the tick - ets and you’ll be own - ing all the fines.
 
break - ing at the brit - ches and at the ends of all your lines.
      
        
  
       

C#m A
 
4fr
To Coda Ø
           
    
3. Come on skin - ny love, what hap - pened here?
 
       
 
         




         

E B/D# C#m A
 
4fr
               
Suc - kle on the hope in lite bras - siere.

 
        
           
 
        
39
E B/D# C#m A
 
4fr
         
            
My my my, my my my, my my my my my.
 
           
         
        
E F#m7 C#m
 
4fr
D.S. al Coda
          
        
Sul - len load is full, so slow on the split. And I
 
     
          

 
         

Ø Coda E B/D# C#m E
  
4fr
                 
 
  
Who will love you?

Who will fight?
 
 
And who will fall

  
 



   

  
B/D# C#m rit.
 
4fr
    
     
far be - hind?
      
                

    
   
 
40
a tempo
C#m A E B/D# C#m A
  
4fr 4fr
          
Come on skin - ny love.
  
       
            
            
         
  
E B/D# C#m A
 
4fr
        
            
 
     
      
    
 
        

E B/D# C#m A E B/D#
 
4fr
          
          
 
        
      
         
 
          

rit.
C#m A E B/D# C#m A E
  
4fr 4fr
    

 
  
                         
   


     
    
  
41
42

Warwick A
Duffy
SONG TITLE: WARWICK AVENUE

ALBUM: ROCKFERRY q = 84
Bb Dm
RELEASED: 2008 5fr

LABEL: A&M
GENRE: POP SOUL

  
PERSONNEL: DUFFY (VOX)
BERNARD BUTLER (GTR)
   
     
JAMES BANBURY (CELLO)
 
UK CHART PEAK: 3  
US CHART PEAK: N/A
   
   
 Bb
Gbmaj7
     
BACKGROUND INFO NOTES     

‘Warwick Avenue’ was the third single from Duffy’s Duffy started writing the lyrics get to
1. Whenof ‘Warwick
I
debut album, the award-winning Rockferry. Avenue’ shortly after she arrived in London from (2.) get to
Wales. The singer got off at the wrong stop on the
  
Underground – the titular Warwick Avenue, on the
 
THE BIGGER PICTURE
  
Bakerloo line – and simply liked the sound of it. “I
 
Amiee Ann Duffy was born in 1984 in Bangor,

got off at that stop and the name just kind of took
me by surprise,” she said. The next day she began  
Wales. Aged 15, she started singing in local bands. She work on the song’s lyrics: “I wrote it from a secretive
was discovered on the internet by Swiss songwriter
 
perspective. Everyone is talking about it now. It meant
 
and producer Soren Mounir, who invited her to
   
something different to me all those years ago… There
Switzerland to sing vocals with him under the
  
are lyrics about certain exes.” In the music video that
  
name Soulego. Duffy then relocated to the north of
England, where she studied Contemporary Music  
accompanied the single, Duffy is seen crying in the
backseat of a London black cab. According to the
Production and Performing Arts at Chester University singer, she Gbmaj7
Eb didn’t have to fake those tears: “Being there
and was a regular performer at a local jazz and blues on the video6frset, I got a bit upset… That’s as close as

venue. In 2003, she returned to Wales and took I’m ever going to get to doing a performance that’s

part in a talent show on Welsh television. She came real in a video!”
second. The following year, Duffy was introduced to
        
Jeanette Lee of Rough Trade Records, who moved her
to London and hooked her up with Bernard Butler

RECOMMENDED LISTENING of the tube.
(Suede, McAlmont & Butler). Lee became Duffy’s by the en - trance
but more
no is bittersweet than two.
r

hou‘Warwick
 
manager in 2006, while Butler helped develop Duffy’s Where Avenue’ blue-eyed
    
 
artistic identity and produced her debut album, soul, ‘Mercy’, the second single from Rockferry, is
Rockferry, released in 2008. Its vintage-sounding
 
a hollering, testifying blast inspired by gospel and
 
blue-eyed soul was a hit with critics and fans, helping blues. ‘Stepping Stone’, also from Rockferry, bears the
Duffy win a Grammy and three BRIT Awards. Its influence of Burt Bacharach in its lush production,
follow-up, Endlessly, was released in 2010. which puts all the emotion in Duffy’s vocal to the fore.
  
    
 
43
Warwick Avenue
Duffy
Warwick Avenue Words & Music by James Hogarth, Aimee Duffy & Francis Eg White
q = 84
Bb Dm Eb
5fr 6fr

    
     
         
       

   
  
   
           
Gbmaj7 Bb Dm
5fr
   

         
         
1. When I get to War - wick Av - e - nue meet me
(2.) get to War - wick Av - e - nue we’ll spend an
      
      
       
  
  
     
 
           
Eb Gbmaj7 Bb
6fr
 
     
             
by the en - trance of the tube. We can talk things o - ver a lit - tle
hour but no more than two. Our on - ly chance to speak once
  
           
  
   
 
  
 
   
 

            
44 © Copyright 2008 BMG VM Music Limited/Universal Music Publishing Limited/Kobalt
Music Publishing Limited.
Dm Eb
5fr 6fr
   
               
time. Prom - ise me you won’t step out of line.
more. I showed you the an - swers, now here’s the door.
    
     

    
  
  
     
   
Gbmaj7 Bb Dm
5fr
   
 
 

      
  
   
When I get to War - wick Av - e - nue please drop
When I get to War - wick Av - e - nue I’ll tell you

     
        
 

   
  
 
    
 
            
1° only
Eb Gbmaj7 Bb
6fr
 
       
 
 
   
        
the past and be true. Don’t think we’re O. K. just be - cause I’m

 
           
    
   
  
 
   
 

         45
Dm Ab Gb Fm7
5fr 4fr

    
  
    
         

here. You hurt me bad but I won’t shed a tear. I’m
  
ba - by that we’re through.
    
    
 
    
   
  

 
     
          
   
Bb Fm7 Db Eb Cm7 Bb7
4fr 6fr 3fr
     
  
          
  
leav - ing you for the last time, ba - by. You think you’re lov - ing but you
      
       
      

 


   
     
       


       
Ab Gm Cm7 Gm7 Fm7
4fr 3fr 3fr 3fr
   
            
      
don’t love me. I’ve been con - fused out of my mind late - ly.
    
               

          
    
         
 
 
   

 
1.
Eb Dm7 Gm7
6fr 5fr 3fr
 
µ
       
         
You think you’re lov - ing but I want to be free. Ba - by

2° you
          
    
 
          

   
46
Cm7 Bb Dm
3fr 5fr
 
    
    
you’ve hurt me.
       
          
         

     
       
      
2.
Eb Gbmaj7 Dm7 Gm7
6fr 5fr 3fr
        

       
2.When I don’t love me. I want
        
             
  
       

    
      
    
Cm7 Fm7 Eb Bb
3fr 6fr


    
     
     

to be free. Ba - by, you’ve hurt me.

    
       
     
         

      
    
  

Cm Cm/Bb Cm/A
3fr
 
       
 
   
 
All the days spent to - geth - er, I wished for bet -


   





























 
    
             47
Abmaj7 Gm7 Cm Cm/Bb
6fr 3fr 3fr

         
         
- ter, but I did - n’t want the train to come. Now it’s de - part -
                 

         
 
  
             
F/A Fm/Ab Gm7
3fr
  
     
 
          
- ed, I’m bro - ken heart - ed; seems like we nev - er start - ed.
             

                   
 
  

          
Cm7 Fm7
3fr

         
    
 
       
All those days spent to - geth - er, when I wished for bet -

     

 

 


  
  

 


    
        
    
Ab Gm Gb Fm7
4fr 3fr
    

         
 
- ter, and I did - n’t want the train to come.
  
 
      

  

   
        

    
              
48
Bb Fm7 Db Eb Cm7 Bb7 Ab Gm
4fr 6fr 3fr 4fr 3fr

    
 

                  

            

  
    
               

     
Cm7 Gm7 Fm7 Eb
3fr 3fr 6fr
   
µ
    
 
              
You think you’re lov - ing but you
          
        
 
    


 
   


   
 

Dm7 Gm7 Cm7 Fm7 Eb Bb
5fr 3fr 3fr 6fr

  
                 
don’t love me. I want to be free. Ba - by, you hurt me. You don’t
    
                  
           
  
           
   
Dm7 Gm7 Cm7 Fm7 Eb Bb'9

5fr 3fr 3fr 6fr 6fr

  
                  
love me. I want to be free. Ba - by, you’ve hurt me.


             
         
      
   
        
        49
Technical Exercises
Group A: Scales
The major pentatonic scale should be prepared as shown below. You may select any starting note from A–E. You will be
asked if you would like to sing along to a metronome click or hear four clicks before you start. Whichever option you
choose, you will hear your chosen starting note before the count starts. You may perform this test using any vocal sound
except humming or whistling. The tempo is q =80.
##4 ¿ ¿ ¿ ¿
q = 80
& # 4 œ œ œ œ œ Ó
w w 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.
This test is performed to a metronome click track and you may select any starting note from A–E. You will hear the root
note played on piano followed by a one-bar (four click) count-in. You may perform this test using any vocal sound except
humming or whistling. The tempo is q =80.
A major arpeggio
## ¿ ¿ ¿ ¿
q = 80
& # 44 œ œ œ œ œ œ œ œ Œ Ó

w w œ œ œ œ œ œ œ œ œ
A major arpeggio (ascending) and E 7 arpeggio (descending)
## ¿ ¿ ¿ ¿
q = 80
& # 44 œ œ œ œ œ œ œ œ œ œ Œ Ó
w w œ œ œ œ œ œ œ
50
Group C: Intervals
In this group, both the major 6th and major 7th intervals need to be prepared as below. You will be asked to perform one of
them in the exam, as chosen by the examiner.
The examiner will choose a starting note within the range A–C. You will hear this note followed by a four-beat count-in. You
may perform this test using any vocal sound except humming or whistling. The tempo is q =90.
Major 6th interval
¿ ¿ ¿ ¿
q = 90
4
Candidate sings:
&4 ˙
w w ˙
Major 7th interval
¿ ¿ ¿ ¿
q = 90
4 ˙
Candidate sings:
&4
w w ˙
Group D: Melodic Study

In this group, the melodic test must be prepared as shown below. The test starts with a root note followed by a four-beat

count. The test should be performed to the appropriate backing track which can be found in the audio.
Slides and Trilldowns
¿ ¿ ¿ ¿
q =115
#
& # 44 Œ Œ œ ‰ j œ Œ
Bm Em G A Bm
w w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Say that you wan - na touch the sky and sigh.
##
œ œ Œ Œ œ œ Œ
A Bm Em G A Bm
& ˙ œ œ œ œ œ œ œ œ œ œ œ
œ œ
Oh, have you ev - er, ev - er need - ed to fly.
Group E: Backing Vocals

In this group, both backing vocal parts need to be prepared as shown below. You will be asked to perform one of them in the
exam, as chosen by the examiner. The test should be performed to the appropriate backing track which can be found in the
audio.
q =115 Pop
# j
A
& # 44 œ j
œ œ ‰ œ œ œ œ
j
œ œ ‰ œ œ œ œ œ œ ‰ œ ˙ Ó
D Em D
œ
Keep on mov - ing, we’re gon - na keep mov - ing, we’re gon - na keep mov - ing a - long.
#
B
& # 44 œ œ œ œ
‰ j
œ œ œ œ œ œ
‰ j
œ œ œ œ
j
œ œ ‰ œ ˙
Ó
Keep on mov - ing, we’re gon - na keep mov - ing, we’re gon - na keep mov - ing a - long.
51
Sight Reading
In this section you have a choice between:
■■Either – a sight reading test

■■Or – an improvisation and 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.
You will be given an eight-bar melody in the keys of either D major, B b major, B minor or D minor. It will feature lyrics
and cover a range of up to an octave. At this grade there is an element of improvisation. Bars 5 and 6 are a repeat of
bars 1 and 2, and you need to improvise a melody in the final two bars. You will be given 90 seconds to practise, after which
you will perform the test. The tempo is q =80–90.
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.
You may perform the improvised bars in this test using any vocal sound except humming or whistling.
¿ ¿ ¿ ¿
q = 90
#
& # 44 œ œ œ œ œ œ œ œ Œ œ œ œ œ œ
w w œ
If you want to know what’s go - ing on, fol - low that crowd right
## Œ Ó Œ
Improvise melody
& œ œ œ ’ ’ ’ ’ ’ ’ ’ ’

œ œ œ œ œ œ œ
now. If you want to know what’s go - ing on,
Please note: the test shown is an example. The examiner will give you a different version in the exam.
52
Improvisation & Interpretation
The examiner will give you a chord sequence in the key of either D major, B b major, E minor or D minor. You must
improvise a melody over the backing track. At this grade, there is also an element of sight reading, consisting of a two-bar
section featuring lyrics, at the beginning of the test. You will be given 30 seconds to practise, after which the examiner will
play the backing track twice. The first time is for you to rehearse and the second time is for you to perform the final version
for the exam. The backing track will begin with a root note and a four-beat count-in on both playthroughs. The backing
track is continuous, so once the first playthrough has finished, the root note and count-in of the second playthrough will
start immediately. The tempo is q =90–100.
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 may perform the improvised bars in this test using any vocal sound except humming or whistling.
3
j
Jazz q q = q q
¿ ¿ ¿ ¿
q = 95 Improvise melody
# 4
& # 4 .. w
D maj 7 G maj 7 B m7 A7
Œ œ œ œ œ œ Œ œ œ œ ’ ’ ’ ’ ’ ’ ’ ’
w œ
He does - n’t want to get out of bed.
#
## F m ..
7 G maj 7 A7 D maj 7
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

53
Ear Tests
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 Recall

The examiner will play you a two-bar melody played to a drum backing. It will use up to the first six notes of the D major or
B natural minor scales (the examiner will decide which) and the first note will be the root note. You will hear the test twice.
Each time the test is played it starts with the root note and a four-beat count-in. There will be a short gap for you to practise
after each playthrough. Next you will hear a vocal count-in and then 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 vocal count-in may begin while you
are still practising.
You may perform this test using any vocal sound except humming or whistling.
¿ ¿ ¿ ¿
q = 90
#
& # 44 .. w w œ œ Œ œ œ œ œ œ ˙
..

Test 2 | Harmony Vocals

The examiner will play you a three-bar melody in the key of C major or A major, based on the I–IV chords. The recorded
vocal part will sing the root note of each chord and you need to harmonise a major third above this part using the same
rhythm. The 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. There will be
a short gap for you to practise after each playthrough. Next, you will hear a vocal count-in, after which you should perform
the harmony line. The tempo is q =90–100.
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.
## ¿ ¿ ¿ ¿
q = 90 Candidate hears: (You will not be shown this in the exam)
& # 44 .. ..
A D A
w w w ˙ ˙ w
Don’t leave me now.
## ¿ ¿ ¿ ¿
q = 90 Candidate sings: (you will not hear or be shown this in the exam)
& # 44 .. ..
A D A
w ˙ ˙ w
w w
Don’t leave me now.
54
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 or the microphone.
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 an appropriate flat, sharp or natural.)
■■Whole-, half-, quarter-, eighth-, triplet eighth- and 16th-note values, and adjacent note value combinations.
■■Whole-, half-, quarter-, eighth- and 16th-note rests, and adjacent rest combinations.
■■Recognition of any interval up to a 7th 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 any time signature.
■■The meaning of ‘ad lib’.
■■The meaning of any dynamic marking.
■■The meaning of the tempo marking.
Part 2 | Your Voice And The Microphone

The examiner will also ask you one question about your voice or the microphone. They will decide which. Brief
demonstrations to assist your answer are acceptable.
You will be asked:

■■How do you ensure consistent vocal tone?
■■How do you create breathy (aspirate) tone?
■■When would you use vibrato?
■■How does a microphone amplify sound?
55
Entering Exams, Exam Procedure & Marking Schemes
Entering Exams
Entering a Rockschool exam is easy. You can enter online at www.rslawards.com or by downloading and filling in an exam
entry form. The full Rockschool examination terms and conditions as well as exam periods and current fees are available
from our website or by calling +44 (0)845 460 4747.
Exam procedure
In the exam you can decide whether to start with the Performance Pieces or the Technical Exercises. These will be followed
by the Supporting Tests (Ear Tests, Sight Reading and Improvisation & Interpretation) 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

TOTAL MARKS 60%+ 75%+ 90%+

56
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.
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:
ider Repertoire: a full list of suggested pieces can be found on our website, www.rslawards.com
1) W
2) O
wn Choice: Candidates can choose or compose any song in any genre outside of the grade book and wider repertoire.
These songs should demonstrate a comparable level of technical and musical demand to the pieces given in the set
selections in the grade books which can be referred to as an indication of appropriate level. Candidates should refer to
the Free Choice Piece Criteria available on our website when accessing the level of a potential piece: www.rslawards.com/
music/graded-music-exams/free-choice-pieces
For all grades, candidates can choose the following number of FCPs in the exam:
Grade Examinations: Up to 2 of 3 pieces can be free choice. (At least one piece must be from the grade book.)
Performance Certificates: Up to 3 of 5 pieces can be free choice. (At least two pieces must be from the grade book.)
For all FCPs, candidates will need to bring the sheet music and a backing track (without vocal part) on the day. A memory
stick, iPod or CD/DVD is acceptable and we would also suggest a second source to be safe. It will not be necessary to bring
the sheet music or backing tracks for pieces chosen from the grade book.

57
Copyright Information

(Batt)
Sony/ATV Music Publishing (UK) Limited
If I Were A Boy
(Gad/Carlson)
Universal/MCA Music Limited/BMG Rights Management (UK) Limited
One Day I’ll Fly Away

(Jennings/Sample)
Universal Music Publishing Limited/Chrysalis Music Limited
Rolling In The Deep

(Epworth/Adkins)
Universal Music Publishing Limited/EMI Music Publishing Limited
Skinny Love
(Vernon)
Kobalt Music Publishing Limited
Warwick Avenue
(Hogarth/Duffy/White)
BMG VM Music Limited/Universal Music Publishing Limited/Kobalt Music Publishing Limited

58
Digital downloads
now available!
All your favourite Rockschool titles are now available to download
instantly from the RSL shop. Download entire grade books, individual
tracks or supporting tests to all your devices.
Start downloading now

www.rslawards.com/shop
Introducing…
Rockschoo
new theorl’s
y
exams!
POPULAR
MUSIC THEORY
GRADES DEBUT–8
OUT NOW!
Discover more at
www.rslawards.com/theory
Enter online at
www.rslawards.com/enter-online

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Female Vocals

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

Introductions & Information

Rockschool Grade Pieces

5 Katie Melua.. ............................ ‘The Closest Thing To Crazy’

50 Scales, Arpeggios, Intervals, Melodic Study and Backing Vocals

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

56 Entering Exams, Exam Procedure & Marking Schemes

Female Vocals Grade 4

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

SONG TITLE: THE CLOSEST THING

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

 ‘The Closest ThingTo Crazy’ was written by Mike

The Closest Thing To Crazy

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

6 © Copyright 1992 Dramatico Music Publishing Limited.

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

twen - ty two, act - ing sev - en - teen. This is the

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

Be - ing close to cra - zi - ness and

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

you. And be - ing close to you.

SONG TITLE: IF I WERE A BOY Ebm7

‘If IWere A Boy’ was writtenby singer-songwriter 

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

 VeryBest Of Destiny’s  a  

Columbia Records. Destiny’s Child became one of

Moderately Ebm7 Cb Gb Db/F

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

Play 1st time only

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

tell ev - ’ry - one it’s bro - ken so they’d

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

If you thought I would wait for you, you thought

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

You don’t lis - ten to her.

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

SONG TITLE: ONE DAY I’LL FLY AWAY

PERSONNEL: NICOLE KIDMAN (VOX)

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

20 © Copyright 1980 Irving Music.

Bm Bm7/A Em9 A Adim A Gm/D D

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

          

                           

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

day I'll fly a - way leave all this to

       

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

SONG TITLE: ROLLING IN THE DEEP

  In The Deep’ wasco-written with indie

RSL-514487039776 / 1 / GMartell Mexico / [email protected]

in confidence. For example, when Rick Rubin was

Words & Music by Adele Adkins & Paul Epworth