RSK200149 Rockschool Vocals 2021 G2 DIGITAL 09nov2021

Vocals
Grade 2
Performance pieces, technical exercises and in-depth guidance
for Rockschool examinations
ISBN: 978-1-78936-303-6
For all works contained herein:

Unauthorized copying, arranging, adapting, recording, internet posting, public performance,
or other distribution of the music in this publication is an infringement of copyright.
Infringers are liable under the law.
Visit Hal Leonard Online at

www.halleonard.com
Contact us: In Europe, contact: In Australia, contact:

Hal Leonard Hal Leonard Europe Limited Hal Leonard Australia Pty. Ltd.
7777 West Bluemound Road 42 Wigmore Street 4 Lentara Court
Milwaukee, WI 53213 Marylebone, London, W1U 2RY Cheltenham, Victoria, 3192 Australia
Email: [email protected] Email: [email protected] Email: [email protected]
Acknowledgements
© 2021 by RSL Awards Ltd. and Hal Leonard Europe Ltd.

All Rights Reserved
Catalogue Number: RSK200149
ISBN: 978-1-78936-303-6
9 November 2021 | Errata details can be found at www.rslawards.com/errata
2021 Syllabus 2014 Syllabus Content

Syllabus Designers: Jono Harrison and Eva Brandt Syllabus design and production: James Uings, Simon Troup,
Syllabus Director: Tim Bennett-Hart Stephen Lawson, Stuart Slater
Syllabus Consultants: Eva Brandt, Samantha Richards, Vocal specialists and consultants: Martin Hibbert, Eva Brandt,
Sarah Page, Jamie Spencer, Abbie Thomas Emily Nash, Stuart Slater, Sarah Page
Syllabus Advisors: Dr. Andrew McBirnie, Stuart Slater, Full transcriptions and backing tracks by Hal Leonard LLC
Tim Bennett-Hart, Daniel Francis, Simon Troup Supporting tests composition: Martin Hibbert, James Uings,
Jon Musgrave, Jodie Davies, Ryan Moore, Chris Hawkins,
2021 Publishing Jonathan Preiss, Lucie Burns (Lazy Hammock)
Compiled and edited by Jono Harrison and Eva Brandt Supporting tests recorded, mixed and mastered by
Internal design and layout by Simon Troup (Digital Music Art) Duncan Jordan (Langlei Studios)
Music engraving by Simon Troup (Digital Music Art) Additional supporting test backing tracks recorded by
Cover designed by Phillip Millard (Rather Nice Design) Jon Musgrave and Jon Bishop
Cover updates by Neil Hart and Simon Troup Musicians: Neal Andrews, Lucie Burns (Lazy Hammock),
Fact Files written by Abbie Thomas and Oliver Goss Jodie Davies, Tenisha Edwards, Noam Lederman,
Performance Notes written by Eva Brandt Beth Loates-Taylor, Dave Marks, Salena Mastroianni,
Proofreading by Eva Brandt, Oliver Goss and Jennie Troup Paul Miro, Ryan Moore, Jon Musgrave, Chris Smart,
Cover photography © Helene Pambrun for Getty Images Ross Stanley, T-Jay, Stacy Taylor, Daniel Walker
RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

(Harry Styles, Olympia Hall, Paris, 2017)
Vocal and piano arrangements by Jono Harrison,
Andy Robertson and Hal Leonard LLC
2021 Audio
Produced by Jono Harrison, Rory Harvey, Pete Riley,
Stefan Mehandra and Katie Hector
2021 Musicians
Katie Hector, Katie Virgoe and Stefan Mehandra – Vocals
Jono Harrison – Piano, keys, guitar
Rory Harvey – Guitar, keys, bass, programming
Pete Riley – Drums and percussion
Executive Producers
Norton York, John Simpson and Suzanne Harlow
Distribution
Exclusive Distributors: Hal Leonard
Contacting RSL Awards

www.rslawards.com
Telephone: +44 (0)345 460 4747
Email: [email protected]
Vocals Grade 2
2
Table of Contents
Introductions & Information
1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Vocals Grade 2
6 Repertoire Overview
Hit Tunes
7 Can’t Stop the Feeling!........................... Justin Timberlake

13 Afterglow....................................................... Ed Sheeran
19 Summertime................................................ Ella Fitzgerald
25 Sign of the Times...................................... Harry Styles
31 Seven Nation Army................................. The White Stripes
35 Almost There............................................... from The Princess and the Frog
43 Don’t Upset the Rhythm....................... Noisettes
51 Your Song...................................................... Ellie Goulding
57 I Try. . . . . ............................................................. Macy Gray
63 Summertime Magic................................. Childish Gambino
Technical Exercises

71 Scales, Arpeggios , Intervals & Technical Studies
Supporting Tests
74 Sight Reading
75 Improvisation & Interpretation
76 Ear Tests
78 General Musicianship Questions
Additional Information
79 Pre-Examination Checklist
80 Entering Exams, Exam Procedure & Marking Schemes
81 Musical Interpretation & Free Choice Pieces
82 Copyright Information
83 Rockschool Digital Downloads
84 Rockschool Popular Music Theory
Vocals Grade 2
3
Welcome to Rockschool Vocals Grade 2
Welcome to Rockschool Vocals Syllabus 2021. This book and accompanying downloadable audio contain everything you
need to sing at Grade 2.
Vocals Exams
At each grade you have the option of taking one of two different types of examination:
■ Grade Exam
A Grade Exam is a mixture of music performances, technical work and tests. You prepare three pieces (two of which
may be Free Choice Pieces) and the contents of the Technical Exercise section. This accounts for 75% of the exam marks.
The other 25% consists of: either a Sight Reading or an Improvisation & Interpretation test (10%), two Ear Tests (10%),
and finally you will be asked five General Musicianship Questions (5%). The pass mark is 60%.
■ Performance Certificate
In a Performance Certificate you sing five pieces. Up to three of these can be Free Choice Pieces. Each song is marked
out of 20 and the pass mark is 60%.
Book Contents
This book is divided into a number of sections. These are:
■ Exam Pieces
Ten popular songs covering a breadth of contemporary musical styles, arranged for the grade level. At the beginning
of the book there is a Repertoire Overview page outlining the key, tempo, genre and melodic range of the song, as
well as a summary of the main technical and stylistic features to implement.

Each score is preceded by background information about the original recording and performing artist, and this is
followed by expanded performance notes giving further guidance on approaching the songs.
The scores are notated as top line vocal parts with lyrics, chord symbols and backing vocal references where
helpful. The notation also includes professionally-arranged piano accompaniments for teaching, audition and
performance purposes.
In addition to the book notation, there is also a separate vocal-only digital score included in your downloads for
extra ease of use.
■ Technical Exercises
A selection of scales, arpeggios, intervals and technical studies must be performed in the exam. Depending on the
exercise, you may see an example (with a range of optional starting notes), or a choice between exercises (to suit
your vocal range). There is a pre-examination checklist at the back of the book, where you can note your choices of
starting notes and examples ahead of the examination.
■ Supporting Tests
Firstly, you may choose either a Sight Reading or an Improvisation & Interpretation test. These tests are previously
unseen and examples are given in the book. You will then need to respond to two Ear Tests focusing on melodic
and rhythmic recall. You will also be asked a set of General Musicianship Questions (GMQs) at the end of the exam.
Examples of the types of tests likely to appear in the exam are printed in this book.
■ General Information
Finally, you will find information on exam procedures, including online examination entry, marking schemes, your
Vocals Grade 2
pre-exam checklist, and information on Free Choice Pieces and improvisation requirements for each grade.
4
Audio
Each song in Vocals Grade 2 has two audio tracks that can be downloaded from RSL directly from the following URL:
www.rslawards.com/downloads
These are:
■ A full track, featuring a professional vocalist’s stylistic interpretation of the score. This can be helpful for further ideas
beyond the original recorded version.
■ A backing track with the vocal removed so you can sing along with the band or piano. The backing tracks should be
used in examinations. There are also audio examples of the supporting tests printed in the book.
There are also example recordings and backing tracks included as part of your download for the technical exercises and
supporting test sections.
When downloading audio files, you will need to input this code when prompted: TGN79HMYRZ
All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded from
the RSL website: www.rslawards.com
Audio Access

Audio for this book can be accessed via the QR code on the right (requires a compatible smartphone
or tablet) or by using the URL and download code shown above.
Vocals Grade 2
5
Repertoire Overview
Song/Artist Key & Range Info Key Features to Implement at this Grade
œ
Genre: Pop ■ Secure management of chest voice, transition and falsetto
&
Can’t Stop the Feeling! Key: C major ■ Confident rhythmic and melodic detailing
œ
Justin Timberlake Tempo: q113 ■ Dynamic variation between sections
Range: G3 to E5 (†) ■ Clarity and communication of lyrical content
####
Genre: Pop
œ
■ Secure use of chest voice and falsetto
Afterglow
& # Key: B major ■ Confident rhythmic and melodic detailing
œ
Ed Sheeran Tempo: q113 ■ Dynamic variation and breath control
Range: F # 3 to B4 (†) ■ Clarity and communication of lyrical content
œ
Genre: Jazz ■ Management of chest and head tone quality
& œ
Summertime Key: A minor ■ Secure pitching/intonation through transition
Ella Fitzgerald Tempo: q85 (swung 8ths) ■ Confident melodic and rhythmic phrasing
Range: E4 to E5 ■ Expressiveness and lyrical communication
œ
Genre: Pop
&b
■ Managing contrasting tone colours in the voice
Sign of the Times Key: F major ■ Confident rhythmic and melodic detailing
Harry Styles
œ Tempo:
Range:
h60
A3 to C5 (†)
■
■
Dynamic variations and breath support
Clarity and communication of lyrical content
#
Genre: Blues/Rock
œ
■ Well-managed transition and falsetto
&
Seven Nation Army
œ
Key: E minor

■ Supporting softer notes with breath control
The White Stripes Tempo: q124 ■ Expressive variation of dynamics and tone colour
Range: D4 to B4 (†) ■ Strong communication and expression of lyrics
bbb œ
Genre: Soundtrack ■ Managing suitable tone colours across the registers
E b major
&
Almost There Key: ■ Secure rhythmic management of tempo changes
from The Princess and the Frog œ Tempo: q112 ■ Ability to hold long high notes
Range: B b3 to E b 5 ■ Strong theatrical articulation of the lyrics
####
Genre: Indie Rock/Funk
# œ
■ Managing pitch and intonation in chest and head voice
G # minor
&
Don’t Upset the Rhythm Key: ■ Secure rhythmic phrasing with accented notes
œ
Noisettes Tempo: q120 ■ Including dynamic variation in performance
Range: F # 3 to B4 ■ Clear communication and articulation of the lyrics
b œ
Genre: Pop
&b
■ Managing pitch and intonation in the upper range
Your Song Key: B b major ■ Secure rhythmic phrasing against the backing track
œ
Ellie Goulding Tempo: q68 ■ Expressive tone colours and dynamic changes
Range: F3 to C5 (†) ■ Maintaining breath control on longer phrasing
##
Genre: Soul/Pop ■ Confident intonation and clarity of lower register
& œ
I Try Key: D major ■ Secure melodic and rhythmic phrasing
q76 ■ Expressive variation of tone colour
œ
Macy Gray Tempo:
Range: D3 to G4 ■ Communication and articulation of lyrical content
Vocals Grade 2
Genre: Contemporary R&B ■ Confident falsetto management with secure intonation

Summertime Magic
& œ Key: A minor ■ Secure rhythmic phrasing of the melody line
œ
Childish Gambino Tempo: q100 ■ Expressive vocal line with and around the backing vocals
Range: G3 to A4 ■ Strong communication and articulation of the lyrics
6 † Range and notation in this table is displayed at actual pitch. The associated score is notated one octave higher than it sounds for legibility.
Can’t Stop the Feeling! | Justin Timberlake 
Album: Trolls: Original Motion Picture Soundtrack Written by: Justin Timberlake, Max Martin
Released: 2016 and Shellback
Label: RCA Produced by: Justin Timberlake, Max Martin
Genre: Dance-Pop and Johan Schuster
Background Info 
‘Can’t Stop the Feeling!’ was originally written for DreamWork’s 2016 animated film Trolls. The original version of the
song was released six months before the film debuted as a standalone single, but was also a part of the film’s soundtrack
album. The soundtrack was primarily produced by Justin Timberlake, and included song performances by Gwen Stefani,
Anna Kendrick and Ariana Grande.
Musician and actor Justin Timberlake began his career in his childhood, and starred alongside Britney Spears and
Christina Aguilera on the television show The Mickey Mouse Club. In the late ’90s Timberlake had a string of popular
singles as a part of the American boy band NSYNC. Following a successful career with the band, Timberlake launched his
solo career with debut album Justified in 2002. Since then, he has released several singles that have charted worldwide,
including ‘Rock Your Body’, ‘Cry Me a River’ and ‘Suit & Tie’. Justin Timberlake continues to work as an actor, and recently
featured as the lead in the 2021 film drama Palmer.

Performance Notes 
This upbeat film score song is a fun challenge for this grade with some larger intervallic leaps and high notes. You
should choose a key that suits your voice type so you can be confident in hitting the higher falsetto notes with a clear tone.
It is fine to sing these notes more softly, particularly in the pre-chorus; however, aim to maintain secure intonation and
pitching at all times.
Showing confidence and understanding of the rhythmic feel is key to a successful performance, and you should take
some time to study the phrasing and rhythm of the melody. You should aim for clear diction throughout, and you will need
good breath control to support the phrasing, particularly in the chorus.
Note: you do not have to sing the lyrics in brackets, and you should aim to manage a confident leading line around the
backing vocals.
‘Key Features to Implement at this Grade’ are shown in the Repertoire Overview on page 6
Vocals Grade 2
7
Can’t Stop the Feeling!
from TROLLS Justin Timberlake
Words and Music by Justin Timberlake, Max Martin and Shellback
q113 Pop
œ
& 44 œ œ
Am7 Am7
∑ ∑ ∑ Ó ‰
C C/F
Vocals J
I’ve got this
? 44 ww www www www

Piano F
? 44 w
w w w
Note: Vocal sounds one octave lower than notated throughout
Œ ‰
C Am7 C/F
œ œ ‰ Jœ œ œ œ œ œ œ œ
& .. ‰ œ œ
J
œ œœ œœ œœ œ Œ œ œ œ
feel - ing in - side my bones. It goes e - lec - tric, wav - y when I turn it
Ooh, it’s some - thing mag - i - cal. It’s in the air, it’s in my blood, it’s rush - ing
? .. ww www www
F
? .. w

w w
5
œ j
œ œœ œ œ œ œœŒ ‰ œj œ œ
Am7 C Am7
& œ Œ ‰ œ Œ ‰ œ œ œ
⇥
on. All through my cit - y, all through my home, we’re fly - ing
on. I don’t need no rea - son, don’t need con - trol. I fly so
? www ww www
? w
w w
8
œ œ œ œ œ œ œ œ j
Am7
œ œ œ œ œ œ œ.
C/F C
& œ ‰ œ œœ œ œ œ œ
⇥
up, no ceil - ing, when we in our zone. I got that
sun - shine in my pock - et, got that
ww
high, no ceil - ing, when I’m in my zone. ’Cause I got that
? www www w
Vocals Grade 2
?
w w œ œ œ
11 œ œ œ
Copyright © 2016 by Universal Music - Z Tunes LLC, Tennman Tunes, DWA Songs, MXM and KMR Music Royalties II SCSp
8
All Rights for Tennman Tunes Administered by Universal Music - Z Tunes LLC
All Rights for DWA Songs Administered by Universal Music Corp.
All Rights for MXM and KMR Music Royalties II SCSp Administered Worldwide by Kobalt Songs Music Publishing
International Copyright Secured All Rights Reserved
œ. ‰ œJ œ
& œ œ œ œ œ œ œ œ œ œ. œ
Am7 C/F Am7
œ œ œ œ œ œ œ œ
good soul in my feet. I feel that hot blood in my bod - y when it drops. (Ooh.) I can’t
ww
? www w ww
w
? ‰ j œ œ ‰ œj œ œ
œ œ œ œ œ œ œ œ œ œ œ
14
& œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
C Am7 C/F
œ œ œ œ
take my eyes up off it, mov - ing so phe-nom - e - nal - ly. Room on lock the way we rock it, so don’t
ww
? www ww
w w
? ‰ œj
œ œœ œ œ œ œ œ œ œ œ œœ
17 œ œ œ

B b/C
œ œ œ œ œ. œ œ œ œ œ œ œœ Œ
Am7 C
& œ Œ J ‰ bœ œ œ
J
stop. Un - der the lights when ev - ’ry - thing goes, no - where to
b www ww
? www w
? ‰ j œ œ œ œ œ œ ˙. œ œœ
œ œ œ œ œ
20
B b/C A b/B b
œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ
C
œœœ Œ ‰ bœ œ
& J
hide when I’m get - ting you close. When we move, well, you al - read - y know.
w ww w
? b ww w b b ww
Vocals Grade 2
? œ œ œ œ œ œ ˙. œ œœ bœ œ œ œ œ œ
23
9
Bb Fm7 A b maj 7/B b
Œ bœ œ œ œ œ.
& œ œ bœ Œ ‰. œ bœ œ œ œ œ . œ˙ . œ œ œ bœ. œ ˙˙
œ ˙
˙ ˙
R
So just i - mag - ine,
(Just i - mag - ine).
œœœ œœœ œœœ œœœ

(Just i - mag - ine).
b b www
w b
? b ww bœ œ œ œ
?
˙. bœ ˙. œ œ œ bœ œ œ
26 bœ
Am7
w
C
n ww œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ
&
Noth - ing I can see but you when you dance, dance, dance. I feel a good,
ww w
? w www
? ‰ j

29 œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
Fmaj 7
¿ ¿
Am
&
good creep - ing up on you, so just dance, dance, dance. Come on!
ww www
? ww
? œ œ ‰ j
œ œ œ œ œ œ œ œ œ
31
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
C Am
& œ.
All those things I should - n’t do, but you dance, dance, dance. And ain’t
ww w
? w www
Vocals Grade 2
? ‰ j
33 œ œ œ
10
Fmaj 7
œ œ œ
Am
Ó œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó
no - bod - y leav - ing soon, so keep danc - ing.
w ww
(I can’t stop the feel -
? www w
? œ œ ‰ j
35
C Am Fmaj 7
œ œ. Œ Ó Ó œ œ œ œ œ œ œ. œ Ó
& Ó Œ œ œ œ œ œ Œ Ó Œ œ œ
So just dance, dance, dance. So just
w w www
- ing). (I can’t stop the feel - ing).
? ww www w
? ‰ œj œ œ œ
œ œœ œ œ œ œ œ œ œ
37 œ œ œ

1. 2.
Am7 Am7 C
Ó œ œ œ œ œ œ œ. Œ Ó
& œ œ œ ¿ ¿ .. œ œ œ Œ Ó Œ œ œ
dance, dance, dance, come on! dance, dance, dance. So just
w www ww
(I can’t stop the feel - ing).
? www .. w w
? ‰ j .. ‰ œj œ œ œ
40 œ œ œ
Am7 Fmaj 7 Am7
Ó œ œ œ œ œ œ œ. œ Ó
& œ œ œ Œ Ó Œ œ œ œ œ Ó
dance, dance, dance. So keep danc - ing.
w ww w
? www ww www
Vocals Grade 2
? ‰ j œ œ ‰ œj œ œ œ
œ œ œ œ œ œ œ œ œ œ
43
11
C Am7 Fmaj 7
Ó ⇥ œ œ œ œ œ œ œ. œ Ó
œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ
& Œ J Œ Œ
Got this feel - ing in my bod - y. Got this feel - ing in my
ww w www
? w www w
? ‰ œj œ œ œ
œ œœ œ œ œ œ œ œœ
46 œ œ œ
Am7 C Am7
⇥ œ œ œ œ œ œ œ. Œ ⇥ œ œ œ œ œ
œ œ œ œ œ œ
Ó Ó Ó
& œ. œ œ œ œ Œ œ. œ œ Œ
J J
bod - y. Come on! Wan - na see you move your bod - y.
ww ww w
(I can’t stop the feel - ing). (I can’t stop the feel-
? w
w w www
? ‰ j ‰ œj œ œ œ
œ œ œ œ œ œ œœ œ
49 œ œ œ

Fmaj 7 Am7 N.C.
œ œ. œ Ó
œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ
& Œ J œ œ Œ
Got this feel - ing in my bod - y. Come on! Got this feel - ing in my
w w œœ œœ œœ œœ œœ œ
- ing).
? www www Œ œ œ œ œ œ œœ
? ‰ œj œ œ œ ∑
52
œ œ œ œ œ œ œ
Ó ‰ j Ó
œ œ œ œ œ œ œ œ œ œ.
œ
& œ.
œ œ
œ œ Œ œ œ œ œ œ
J Œ œ
J
bod - y. Got this feel - ing in my bod - y. Come on!
œœ œœ œœ œœ œœ œ
(Can’t stop the feel - ing).
œ. œœ œœ œœ .. œœ œœ
? œœ .. œ œ Œ Œ œ œ œ œ œ œœ œ. œ œ œœœ œœ
œ
J J
Vocals Grade 2
? ∑ ∑ ∑
55
12
Afterglow | Ed Sheeran 
Released: 2020 Genre: Folk Pop

Label: Asylum Written by: Ed Sheeran, David Hodges and Fred Gibson
Produced by: Ed Sheeran, Parisi and Fred Gibson
Background Info 
‘Afterglow’ is a song by British singer-songwriter Ed Sheeran. The track was released as a standalone single in 2020,
after Ed Sheeran had an 18-month hiatus from music. ‘Afterglow’ peaked at number two on the UK Singles chart, giving
Sheeran his 28th top ten single in the UK.
To date, Sheeran has released four studio albums and has sold more than 150 million records worldwide, making
him one of the best-selling artists of all time. He has won four Grammy Awards and four Ivor Novello Awards. He has
also been awarded an MBE in 2017 for his musical career and charity work. Ed Sheeran’s fifth studio album is due to
be released in 2021, and will follow the theme of using maths symbols for the album titles, taking ‘=‘ (Equals) as its
official name.

Ed Sheeran displays his wide range and falsetto quality in this beautiful ballad. You should choose a key that suits your
voice type, so you can be confident with the transitions between chest to falsetto/head voice. It is fine to sing softly on the
top notes, but you should still aim for clarity rather than breathiness. This will require good breath control, which you will
also need to support the longer notes in the chorus.
Take some time to study the finer detailing of the rhythms and melodies. The second verse has some melodic
variations that you can look to apply, and you are also free to add your own variations here if you wish. Pay attention to the
clarity of every word in the verses, and aim to tell a convincing story with clear diction and projection throughout.
Vocals Grade 2
13
Afterglow
Words and Music by Ed Sheeran, David Hodges and Fred Gibson Ed Sheeran
q113 Pop
# # # # 4 ‰Œ
B
j
œ œ œ œ œ œ œ œ œ Œ Ó
Vocals & # 4
Stop the clocks; it’s a - maz - ing.
#### 4
The weath - er out - side’s chang - ing.
& # 4 œ. j j
œœ .. œœ œœ œœ œœ .. œœ œœ œœ
œ œ œ œ. œ œ œ
? #### 4 œ . j j
Piano
# 4 œ œ œ œ. œ œ œ
# # # # ‰Œ
Emaj 9
j
œ œ œ œ œ œ œ œ œ œ œ œ œ
& #
You should see the way the light danc - es off your head.
##
The leaves are bur - ied un - der six inch - es of white.
& # ## œ . j
œœœ œœœ œœœ œœœ ..
j
œœœ œœœ œœœ
œœœ .. œ œ œ œ .. œ œ œ
.
? ####

# œ. j j
3
# # # # F sus
# #
& # ‰ Jœ œ œ œ œ œ œ œ œ Œ œ œ œ œ
4
G m add 7 11 Eadd 2
A mil - lion col - ors of ha - zel, gold - en and red.
####
The ra - di - o is play - ing Iron and Wine.
& # j j j
œœœ ... œœ œœœ
œ œœœ œœœ ... œœœ œœœ œœœ œœœ .. œœœ œœœ œœœ
.
? #### j j j
# œ. œ œ œ œ. œ œ œ œ. œ œ œ
5
#### ‰ Jœ œ œ œ œ œ œ
B
œ œ Œ Ó
& #
Sat - ur - day morn - ing is fad - ing.
##
This is a new di - men - sion,
& # ## j œœ .. œœ
j
œœ œœ œœ .. œœ
j
œœ œœ
œœœ .. œœœ œœœ œœœ œ. œ œ œ œ. œ œ œ
.
Vocals Grade 2
? #### j j
# œ. j œ. œ œ œ œ. œ œ œ
8
œ œ œ
Copyright © 2020 Sony Music Publishing (UK) Limited, 3 Weddings Music and Promised Land Music Ltd.
All Rights on behalf of Sony Music Publishing (UK) Limited Administered by Sony Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
14 All Rights on behalf of 3 Weddings Music Administered Worldwide by Songs Of Kobalt Music Publishing
All Rights on behalf of Promised Land Music Ltd. Administered by Universal Music Works
International Copyright Secured All Rights Reserved
# # # # Emaj œ œ œ œ œ œ œ œ œ œ œ
9
& # ‰ J œ
The sun’s re - flect - ed by the cof - fee in your hand.
####
this is a lev - el where we’re los - ing track of time.
& # œ j j
œœœ ... œœœ œœœ œœœ œœœ .. œœœ œœœ œœœ
. œ œ œ œ .. œ œ œ
? #### j j
# œ. œ œ œ œ. œ œ œ
11
# # # # F sus
# G # m7add 11
4
& # ‰ J œ œ œ Œ œ
My eyes are caught in your gaze all o - ver a - gain.
##
I’m hold - ing noth - ing a - gainst it ’cept you and I.
& # ## œ . j j
œœ .. œœœ œœœ œœœ œœœ ... œœœ œœœ œœœ
? #### j j
13

#### Eadd 2
œ œ œ
& # Ó ‰ J
We were love
##
& # ## j j
œœœ .. œœœ œœœ œœœ œœœ .. œœœ œœœ œœœ
. .
? #### j j
15
#### œ œ œ œ œ œ œ œ œ œ œ œ œ
Emaj 9 B
œ œ œ œ œ
& # J J
drunk, wait - ing on a mir - a - cle, tryin’ to find our - selves in the
#### j j j
& # œ œœœ œœœ œœœ œœœ .. œœœ œœœ œœœ œœ .. œœ œœ œœ
œœœ ...
Vocals Grade 2
. œ œ œ œ .. œ œ œ œ. œ œ œ
? #### j j j
# œ. œ. œ œ œ
17
15
F # sus 4
œ ‰ œJ œ œ
#### œ œ œ œ œ œ œ œ œ œ œ
Emaj 9
& # J J J œ œ œ
J
win - ter snow, so a - lone in love like the world had dis - ap - peared.
#### j j
& # j
œœœ ... œœœ œœœ œœœ œœœ .. œœœ œœœ œœœ œœœ .. œœœ œœœ œœœ
œ .. œ œ œ œ .. œ œ œ
? #### j j j
20
####
F # sus 4
œ œ œ œ
Emaj 9
œ œ œ œ œ
J
B
& # Ó ‰
Oh, I won’t be si - lent and I
##
& # ## œ . œœ
j
œœ œœ j œœœ ..
j
œœ .. œ œ œ œœœ ... œœœ œœœ œœœ œ .. œ œ œ
? #### œ . j j
# œ œ œ j
23
œ. œ œ œ œ. œ œ œ

## œ œ œ ‰ Jœ œ œ
F # sus 4
œ œ œ œ œ œ œ œ œ œ œ
& # ## J œ œ
B
J J J
won’t let go. I will hold on tight - er till the af - ter - glow. And we’ll burn
##
& # ## œ . j
œœœ œœœ œœœ œœ .. œœ
j
œœ œœ j
œœœ .. œ œ œ œ. œ œ œ œœœ ... œœœ œœœ œœœ
.
? #### j j
# œ. j œ. œ œ œ
26
#### œ œ œ œ œ œ œ œ œ œ œ œ
Emaj 9 B
& # J J
so bright till the dark - ness soft - ly clears.
#### j j j
& # œ œœœ œœœ œœœ œœœ .. œœœ œœœ œœœ œœ .. œœ œœ œœ
œœœ ...
Vocals Grade 2
. œ œ œ œ .. œ œ œ œ. œ œ œ
? #### j j j
# œ. œ. œ œ œ
29
16
# # # # F sus
#
‰ Jœ œ œ
4 Emaj 9
& # Ó œ œ œ Œ ‰ œ
J
œ œ œ œ œ œ
Oh, I will hold on to the af - ter - glow.
#### j j
& # j
œœœ ... œœœ œœœ œœœ œœœ .. œœœ œœœ œœœ œœœ .. œœœ œœœ œœœ
œ .. œ œ œ œ .. œ œ œ
? #### j j j
32
1.
#### B F # sus 4
Ó ‰ œJ œ œ
Emaj 9
Œ ‰ œ
& # œ œ œ J
Oh, I will hold on to
##
& # ## œ . œœ
j
œœ œœ j œœœ ..
j
œœ .. œ œ œ œœœ ... œœœ œœœ œ œ .. œ œ œ
? #### œ . j j
# œ œ œ j
35
œ. œ œ œ œ. œ œ œ

##
& # ## œ œ œ œ œ ..
B
œ
the af - ter - glow.
##
& # ## œ . j
œœœ œœœ œœœ œœ .. œœ
j
œœ œœ œœ .. œœ
j
œœ œœ
..
œœœ .. œ œ œ œ. œ œ œ œ. œ œ œ
.
? #### j j ..
# œ. j œ. œ œ œ œ. œ œ œ
38
œ œ œ
2.
F # sus 4
#### Ó ‰ Jœ œ œ
Emaj 9
& # œ œ œ Œ ‰ œ
J
œ œ œ œ œ œ
Oh, I will hold on to the af - ter - glow.
#### j Œ ‰ j j
& # j œœœ .. œœœ œœœ œœœ .. œœœ œœœ œœœ
œœœ ... œœœ œœœ
Vocals Grade 2
œ œ .. œ œ œ .. œ œ œ
? #### j j Œ ‰ j j
# œ. œ œ œ œ. œ œ œ. œ œ œ
41
17
18
Vocals Grade 2

Summertime | Ella Fitzgerald 
Album: Porgy & Bess Genre: Jazz

Released: 1959 Written by: George Gershwin, DuBose and Dorothy
Label: Verve Heyward and Ira Gershwin
Produced by: Norman Granz
Background Info 
‘Summertime’ was originally composed for George Gershwin’s 1935 opera Porgy & Bess. The opera has several songs
which have become popular as well-known jazz standards. American jazz singer Ella Fitzgerald released her own version
of ‘Summertime’ as part of a collaboration with fellow American jazz musician Louis Armstrong, in which they recorded
their own interpretations of songs from the opera on their 1959 album titled Porgy & Bess. This arrangement is based
on Fitzgerald’s performance of the song, but with some simplifications applied to allow beginner vocalists to focus on
Gershwin’s original melody.
Sometimes referred to as the First Lady of Song, or the Queen of Jazz, Ella Fitzgerald was known for her
improvisational technique, tone, scat singing and intonation. She recorded many jazz standards throughout her career,
including ‘Dream a Little Dream of Me’ and ‘Cheek to Cheek’. She shared the stage with jazz icons Duke Ellington and
Louis Armstrong, and was an active performer for more than five decades.

This arrangement presents the original melody as it was composed; however, it features a more complex
accompaniment in a slightly faster tempo, as seen when recorded by singers like Billie Holiday and Ella Fitzgerald.
You should find a comfortable key where the transition between your chest and head voice sounds smooth and
effortless. Aim to articulate the words clearly, and you could experiment with vowel placement as a way of creating a tone
and mood which sounds stylistic and expressive. You can choose to follow the score as written, or look to create your own
rhythmic and melodic variations. If the latter, be sure to keep the theme, lyrics and outline of the song intact.
Vocals Grade 2
19
Summertime
from PORGY AND BESS® Ella Fitzgerald
Music and Lyrics by George Gershwin,
DuBose and Dorothy Heyward and Ira Gershwin
q75 Jazz
b
bœ œ œœ
Bm11 5
& 44 œ œ œ
N.C.
œ œ œ œ œ œ œ œ œ bœ œ bœ
f
w
Piano
? 44 b œ œ œ œ œ œ œ
œ w
q85 s
#
B b 13 11
œ
Am7
œ
D9 Am7 D9
& ∑ ∑ Ó
Sum - mer -

œ œ j˙ Œ Œ
3
& œœœ œ b œ œ ˙ b œœ œ œ
œœœ œœ œœ œ
j œœ œœ ˙˙
œ #œ ˙
F #œ œ
? bb ˙˙ ˙
?
& œ œ ˙ œ œ ˙
3 b ˙˙˙ œ œ œ œ
Am7 D9 Am7 D9 Am7 D7

w œ ‰ œ œ œ œ œ
& J ˙ ˙
time an’ the liv - in’ is eas - y.
& Œ Œ Œ
3
b œœ œ œ œ œ œ œ
3 3
œœ œœ ˙˙ œœ œœ ˙˙
œ œ œ
j
œ #œ ˙ œ #œ ˙ œ
?
3
Vocals Grade 2
œ œ
6 œ œ œ ˙ ˙ ˙
© 1935 (Renewed) NOKAWI MUSIC, FRANKIE G. SONGS, DUBOSE AND DOROTHY HEYWARD MEMORIAL FUND PUBLISHING and IRA GERSHWIN MUSIC
All Rights for NOKAWI MUSIC Administered in the U.S. by STEVE PETER MUSIC
20 All Rights for FRANKIE G. SONGS and DUBOSE AND DOROTHY HEYWARD MEMORIAL FUND PUBLISHING Administered by DOWNTOWN DLJ SONGS
All Rights for IRA GERSHWIN MUSIC Administered by WC MUSIC CORP.
All Rights Reserved Used by Permission
œ œ œ œ ˙. œ œ œ œ œ
Am7 D9 Dm6 F 13 Dm7
& œ Œ Œ
Fish are jump - in’ an’ the cot - ton is
& œœ .. j œœœ œœœ

œœ ˙˙ ˙˙˙ b ˙˙˙˙ œœœœ œœœ œ œ
œ. #œ ˙ ˙ œ
? j
œ ˙
3
œ œ ˙
œ œ œ œ bœ nœ œ œ œ.
9
œ
# #
B b 9 11
‰ œ œ œ œ œ ˙
E7 B7 9 E7 Am7 D9
& w ˙ J J J
high. Oh, yo’ dad - dy’s rich,
& œ #œ nœ j Œ
œ œ bœ nœ œ # ˙˙
˙ œœœ œœœ ... œœ œœ ˙˙
œ #œ ˙
>
f F
b >œ .
cresc.
? #œ # ˙˙˙ œ # œ n œ œj b œ .
3
œ œ œ
œ

12
œ œ œ
Am7 D9 Am6 Am7 E7 5 Am9 D9
& Œ œ œ ˙ Œ
˙ ˙ œ
an’ yo’ ma is good look - in’. So,
& Œ œ œ˙ œ œ œ œœ œ œ
3
# œ œ n œ ˙
œœœ # œœœ ˙˙
˙
œœ œ œ œœ ˙˙
# œœœ
cresc.
? œ˙ #œ œ œ œ # œœ ˙˙
œ œ œ œ œ J
15 œ œ ˙
3
œ ~~~ œ .
D9 G 9sus 4 Am add 2
œ ˙
C/G Am Am Am
j
& œ œ œ œ J w
œ
hush lit - tle ba - by, don’ yo’ cry.
œ œ
& œ˙ œ ˙˙
˙ ˙ ˙ œ˙ œ # œ # œ œ œ
# ˙˙ n ˙˙˙
Vocals Grade 2
f œœ œœœ
? ˙ j œ
œ œj
‰ œ ˙˙
˙ œ œ
œ ˙
18
œ. 21
# # #
b B b 9 11
œ œ œ
F 13 E7 5 9 Am6 E7 9 Am6
& w Œ Œ Ó Ó
3
One of these
œœ . œ œ œœ ˙˙ j
‰ # œœœ œœœ n # œœœœ œœœ j
& œ. nœ ˙ œ œ œ # œœœ. œ œœœ ... œœ ˙˙
J b œœ ˙˙
>
b œœ .. œ.
# œœœ œœœ œ œ œ œ bœ
? œ. bœ
J œ œ œ bœ ˙
>
21
b
œ ˙. ‰ œJ œ œ œ œ œ
Am6 Bm7 5 Am/C E7 Am7 D9
& ˙ ˙
morn - in’s you goin’ to rise up sing - in’.
œ œ
œœ œ œ œœ .. œ œœ œ œ ˙ Œ
& œ œ. J # œœ ˙˙ œœ œœ œœ œœ b œ œœ œ œ
œ #œ œœ œ
œ
F œ œ œ
? # œœœ œœœ # œœœ #œ
œ œ œ œ œ
24
œ œ œ œ ˙

‰ œ œ œ œ œ ˙ œ œ œ
Am7 D9 Dm6 F 13 Dm7
& œ. J J Œ œ œ
Then you’ll spread yo’ wings an’ you’ll take to the
j œœ œœ ˙˙
œœ œ œ œ. œ
& œ .. j œ œ œ ˙˙ ‰ œ œ ˙
œœ . œœ ˙˙ J
#œ ˙
b œœ
? œœœœ bœ œ œœœœ œœœœ
œ œ œ ˙ œ œ
27 œ œ œ
# #
B b 13 11
‰ Jœ œ œ œ œ ˙.
E7 B7 9 E7 Am7 D9
& w ˙
sky. But till that morn - in’
œ j
& # œœ œ œ b œ œ Œ
œ #œ nœ œœ ..
#œ . b œ ˙˙˙
œœ œœœ # œœœ ˙˙˙
Vocals Grade 2
? #œ # ˙˙˙
3
œ œ œ bœ œ œ œ œ œ œ œ
œ bœ œ
22
30 œ
œ œ œ œ œ
Am7 D9 Am7 D9 Am D7
& Œ ˙ ˙ ˙ Œ œ
there’s - a noth - in’ can harm you, with
& Œ œœœ # œœœ ˙˙˙

Œ œœ œœ ˙˙ j œœ œ
œ n œ b œ œ œ œ œ # ˙˙
œ #œ ˙ #œ
?
œ œ œ œ œ œ œ œ œ œ œ œ
33 œ œ œ œ œ ˙
b
B b 13
œ ~~ œ .
Am6 Bm11 5 Am6
œ J ~ ˙
C/G
j
& œ œ œ œ œ w
Dad - dy an’ Mam - my stand - in’ by.
j
œ
& ˙˙ ˙˙ ˙˙˙ œ . ggg ˙˙˙ # wwww
˙ ˙ ggg
f ggg
˙ ggg b ˙
dim.
? ‰ j œœ # œ œ ˙ ggg b ˙ œ œ œ œ œ

œ œ . œ œ
36
œ J
#
D 13 G 9sus 4 C 6/C F 13 B b maj 7 E7 9
& œ˙˙ œ œ ˙˙ œ˙ œ œ ˙˙ ˙˙ n œ˙ œ
œ ˙ ˙ ˙ ˙ #˙
? #œ n˙ œ b˙ œ
œ ˙ œ ˙ œ ˙˙
39 œ œ bœ
Freely, straight 8ths

Am6
œ ww
D 13
œ œ w
& # www œ œ #œ œ
w œ
F ˙
# ˙˙
Vocals Grade 2
?
œ œ œ œ œ ˙
42 œ w
23
24
Vocals Grade 2

Sign of the Times | Harry Styles 
Album: Harry Styles Genre: Pop/Soft Rock

Released: 2017 Written by: Harry Styles, Jeff Bhasker, Mitch Rowland,
Label: Columbia Ryan Nasci, Alex Salibian and Tyler Johnson
Produced by: Jeff Bhasker, Alex Salibian and Tyler Johnson
Background Info 
‘Sign of the Times’ is the debut single by former One Direction member Harry Styles, and part of his 2017 debut self-
titled album. The single was released a little over a year after One Direction announced their indefinite hiatus and was
well-received by critics and fans, peaking at number 1 in the UK Singles chart and being certified 4x Platinum. The song
was co-written and produced by award-winning producer Jeff Bhasker, who has also worked with Kanye West and Mark
Ronson. Harry Styles’ debut album is noteworthy for its musical style, taking influence from ’60s and ’70s rock music with
some critics comparing Harry’s sound to David Bowie and Queen.
Since One Direction disbanded, Harry Styles has continued to release music as a solo artist, releasing a total of two
studio albums. Harry Styles has continued to win awards as a solo artist, including two Brit Awards and a Grammy Award
for Best Pop Solo Performance in 2020.

This is an abridged arrangement of Harry Styles’ original recording, where he demonstrates his command of legato
phrasing and the ability to add different textures and tone colours to his voice. You should choose a key where you are
able to support the upper part of your voice with accurate pitching at all times. Applying ample breath support will help
you achieve this.
You can use the original version to inspire your choice of tone colour, with the aim to create some contrast between
your chest voice and falsetto. For instance, try to position the tone a little further back in the mouth to create a breathier
tone, as heard in the pre chorus on the original recording. There are some great opportunities to apply dynamic
variation when moving between the sections, whilst maintaining strong communication with clear articulation of the
lyrics throughout.
Note: In bar 13 (marked with ‘†’), the phrase “fi - nal show” starts with an E note which Harry Styles intentionally sings
slightly flat in the original recording. Variations of this phrase happen throughout the piece and candidates are free to
emulate the technique if they wish.
Vocals Grade 2
25
Sign of the Times
Words and Music by Harry Styles, Jeff Bhasker, Mitch Rowland, Harry Styles
Ryan Nasci, Alex Salibian and Tyler Johnson
h60 Pop
? b C ˙˙˙
F
˙˙˙ ˙˙˙ ˙˙˙ Dm
˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙
Piano F
?b C
w w w w
? b ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

C
?b
5 w w w w
F Dm
œ
&b Œ Ó

Just stop your cry - ing; it’s a sign of the times.
œ
? b ˙˙˙ ˙˙˙ ˙˙˙ œ˙˙ ˙˙˙ ˙˙˙
?b
9
w w w
†
œ œ œ œ œ œ œ ˙ œ œ œ œ
&b Ó Ó
C
Wel - come to the fi - nal show. Hope you’re wear - ing
? ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

b ˙
?
b œ œ
w w œ ˙
Vocals Grade 2
12
† See the ‘Performance Notes’ for guidance on this phrase
Copyright © 2017 HSA PUBLISHING LTD., SONGS OF UNIVERSAL, INC., WAY ABOVE MUSIC, SONGS BY CABIN MOBILE, UNIVERSAL MUSIC CORP., WHO KILLED LAURA PALMER? MUSIC,
BMG GOLD SONGS, WAY ABOVE SONGS PUBLISHING, THESE ARE PULSE SONGS, ONE YEAR YESTERDAY PUBLISHING and CREATIVE PULSE MUSIC
All Rights for HSA PUBLISHING LTD. in the United States and Canada Administered by UNIVERSAL MUSIC WORKS
All Rights for WAY ABOVE MUSIC and SONGS BY CABIN MOBILE Administered by SONGS OF UNIVERSAL, INC.
All Rights for WHO KILLED LAURA PALMER? MUSIC Administered by UNIVERSAL MUSIC CORP.
26 All Rights for BMG GOLD SONGS and WAY ABOVE SONGS PUBLISHING Administered by BMG RIGHTS MANAGEMENT (US) LLC
All Rights for THESE ARE PULSE SONGS, ONE YEAR YESTERDAY PUBLISHING and CREATIVE PULSE MUSIC Administered by CONCORD COPYRIGHTS c/o CONCORD MUSIC PUBLISHING
œ œ œ ˙ œ œ œ œ œ
&b ‰
F
J
your best clothes. You can’t bribe the door
˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

?
b ˙˙
? j
b w w
15 ˙ œ. œ
œ œ œ œ œ œ
Dm
œ œ œ Œ œ œ œ œ
&b Ó Ó
on your way to the sky. You look pret - ty
œ
? b ˙˙˙ œ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙
?b
18
w w w

œ œ œ ˙ ‰ Jœ œ œ œ œ œ œ Œ
C
&b Œ Ó
good down here, but you ain’t real - ly good.
? ˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

b ˙˙
? j
b
21 w w ˙ œ. œ ˙ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ Œ œ œ
F Dm
&b ‰ J Ó ‰ J
We nev - er learn; we’ve been here be - fore. Why are we al - ways stuck and run - ning from the bul -
˙ ˙˙˙ ˙˙˙ ˙˙˙

? ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙
b
Vocals Grade 2
?
b w œ ˙.
25 w œ ˙.
27
C
˙ œ œ ˙
C7
&b Ó Ó Œ Ó
lets, the bul - lets?
? ˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

b ˙˙
? j
b
29 w œ ˙. ˙ œ. œ
F
&b ‰ J Ó
We nev - er learn; we been here be - fore.
˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ œ˙˙ œ

?
b
?
b œ œ œ w œ ˙.
32 œ œ

œ œ œ œ œ œ
œ œ œ œ œ œ ˙
Dm C
J
&b ‰ Œ Ó
Why are we al - ways stuck and run - ning from the bul - lets,
? ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

b ˙
?
b
35 w œ ˙. w
œ œ C7
˙ C
&b Ó Œ Ó
the bul - lets?
˙ ˙˙˙ ˙˙˙ ˙˙˙ ww

?
b ˙˙ w &
Vocals Grade 2
? j
b œ. œ œ œ œ
38 œ ˙. w
28
œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œj œ œ œ œ
F Dm
&b Œ œ Ó Œ
Just stop your cry - ing; it’s a sign of the times. We got - ta get a -
˙ ˙˙ ˙˙ œ˙ œ ˙˙ ˙˙ ˙˙ œœ œ
& b ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ
? œ. j œ j
b ˙ œ œ œ œ. œ œ œ
41
œ ˙ œ œ
œ œ œ ˙ ‰ Jœ œ œ œ œ œ œ œ ˙
C C7 C
&b Œ
way from here. We got - ta get a - way from here.
& b ˙˙˙ ˙˙
˙
˙˙
˙
˙˙
˙ ˙˙˙ ˙˙
˙
˙˙
˙
˙˙
˙
? œ. j ˙ œ. j
b œ œ œ œ œ œ œ œ œ œ
45 ˙ œ ˙

œ œ œ œ œ œ œ œ œ œ œ œ ‰ œj œ œ œ œ
Dm9
œ œ Œ
F Dm
&b Œ Ó Œ
Just stop your cry - ing; it - ’ll be al - right. They told me that the
˙ ˙˙ ˙˙ œ˙ œ ˙˙ ˙˙ ˙˙ œœ œ
& b ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ
? œ. j œ j
b ˙ œ œ œ. œ œ ˙
49
œ œ ˙ œ
œ œ œ ˙ ‰ Jœ œ œ œ œ œ œ œ ˙
C7
&b Œ
C
end is near. We got - ta get a - way from here.
œ ˙
& b ˙˙˙ ˙˙
˙
˙˙
˙
œ˙ œ œ
˙ ˙˙˙˙ œœœœ .... J ˙˙˙ ˙˙˙˙
Vocals Grade 2
? œ. j ˙ œ. œ œ œ œ œ œ œ
b œ œ J œ
53 ˙ œ ˙
29
œ œ œ œ
J œ. œ. œ œ J œ. œ. œ œ
Fadd 9
œ œ
F Dm
&b Œ J Œ J
We don’t talk e - nough; we should o - pen up,
˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙˙
& b ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
? œ. j ˙ j
b ˙ œ œ œ. œ œ œ
57
œ ˙ œ œ
œ œ œ
J . œ. Bb
œ œ
& b ‰ Jœ œ
C
J
be - fore it’s all too much.
˙ ˙˙ ˙˙ ˙˙ œ œ œ œ œ œ œ œ˙ œ œ œ
& b ˙˙ ˙ ˙ ˙ œw œ œ œ œ
? œ. j ˙ ˙˙ ˙˙ ˙˙ œ˙ œ œ
b œ œ
61 ˙ œ

J œ. œ. œ œ J œ. œ. œ œ
F Fadd 9 Dm
&b Œ J Œ J
Will we ev - er learn? We’ve been here be - fore;
˙˙˙ ˙˙
˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙˙
&b ˙ ˙ ˙ ˙ ˙ ˙ ˙
? ˙ œ. j œ.
b ˙ j
65
œ ˙ ˙ ˙ œ œ œ œ œ œ œ œ
œ œ
J œ. œ. Bb
œ œ œ
&b Œ
C F
J
it’s just what we know.
˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ U
& b ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
www
w
Vocals Grade 2
? j j j U
w
b œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
69 ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w
30
Seven Nation Army | The White Stripes 
Album: Elephant Genre: Alternative Rock/Garage Rock

Released: 2003 Written by: Jack White
Label: XL/V2/Third Man Produced by: Jack White
Background Info 
‘Seven Nation Army’ was the lead single from The White Stripes’ fourth studio album Elephant. The song was written
while the band was touring in Australia, and is known for its catchy guitar riff. ‘Seven Nation Army’ became popular
worldwide, and peaked at number 7 on the UK Singles Chart, achieving Platinum Certification in the UK. The hit
received critical acclaim and in 2008 Rolling Stone magazine ranked it at number 21 in their list of 100 Greatest Guitar
Songs of All Time.
Two-piece band The White Stripes released several critically-acclaimed albums in the 2000s, and were important
in the revival of the popularity of garage rock music, alongside artists such as The Hives, The Strokes and The Vines.
Some of their most well-known songs include ‘Fell in Love with a Girl’, ‘Blue Orchid’ and ‘Icky Thump’. They have won four
Grammy Awards, and in 2015 Rolling Stone magazine named them the sixth greatest rock duo of all time.

In this alternative rock song, we hear how Jack White applies some grit and distortion effects to his tone quality in an
expressive and dynamic performance.
You are not expected to reproduce these effects for this grade; however, you can look to experiment with your tone
quality and aim to vary the colours and placement between your upper chest voice and falsetto/head voice. This could be
achieved by going from a stronger transition to a softer falsetto, creating some flipped-note effects.
Find what works best for your voice type, and ensure that you keep a safe and healthy approach so as to not strain or
damage your voice. Tone colour can be added at lower volume by engaging your resonators in your higher range and
applying ample breath support. This will lead towards more expressive communication of the lyrics.
Vocals Grade 2
31
Seven Nation Army
Words and Music by Jack White The White Stripes
q124 Blues/Rock
# 4 . N.C.
& 4 .
Piano P
? # 44 .. j j
œ. œ œ. œ œ œ ˙ ˙ œ. œ œ. œ œ œ ˙ ˙
#
& Ó ‰ œ œ œ
I’m gon - na
Don’t wan - na
#
&
?# j j
œ. œ œ. œ œ œ ˙ ˙ œ. œ œ. œ œ œ ˙ ˙

5
# œœ œœ œœ
& œ Ó Œ ‰ Jœ œ œ œ œ œ œ œ œ œ. œ œ œ
fight them all, a sev - en na - tion ar - my could - n’t hold me back.
hear a - bout it, ev - ’ry sin - gle one’s got a sto - ry to tell.
#
&
?# j j
9
œ. œ œ. œ œ œ ˙ ˙ œ. œ œ. œ œ œ
# œ œ
& Œ ‰ œJ œ œ œ œ œ Ó Ó œœ œœ œœ œ
They’re gon - na rip it off, tak - ing their

Ev - ’ry - one knows a - bout it, from the Queen of
#
&
Vocals Grade 2
?# j
12 ˙ ˙ œ. œ œ. œ œ œ ˙ ˙
32 Copyright © 2003 SONGS OF UNIVERSAL, INC. and PEPPERMINT STRIPE MUSIC
All Rights Administered by SONGS OF UNIVERSAL, INC.
# œœ œ œœ œœ œ. œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ
& Œ Œ J
‰
time right be - hind my back. And I’m talk - ing to my - self at night
Eng - land to the hounds of hell. And if I catch it com - ing back my way,
#
&
?# j j
15
œ. œ œ. œ œ œ ˙ ˙ œ. œ œ. œ œ œ
# œ œ œ œ #œ. œ œ œ œ
& Œ Ó œ
J
Ó Œ ‰
be - cause I can’t for - get.
I’m gon - na serve it to you. And
#
&
?# œ œ j œ œ
18 œ œ œ. œ œ. œ œ œ œ œ

# œœ œœ œœ œ. œ œ œ œ œ œ œ œ. œ œ œ œ
& œ Œ Ó
Back and forth through my mind, be - hind a cig - ar - ette.
that ain’t what you want to hear, but that’s what I’ll do.
#
&
?# j œ œ j
21
œ. œ œ. œ œ œ œ œ œ. œ œ. œ œ œ
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& Ó Œ
G A
J J
And the mes - sage com - ing from my eyes says leave it a - lone.
And the feel - ing com - ing from my bones says find a home.
# œœ œœ œœ œœ œœ œœ # œœœ œœœ # œœœ œœœ œœœ œœœ œœ

& œ œ œ œ œ œ J #œ
J
Vocals Grade 2
f
?# œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
24 œ œ
33
Guitar solo ad. lib.
# œ
E G5 E5 D5 C B E G5 E5 D5
& Œ Ó
# œœ .. œœ œœ .. œœ œœ œ ˙˙ œ. œœ œœ .. œœ œœ œœ
& œ. J œ ˙ ˙
# ˙˙ # œœ .. J
?# œ œ œ œ
27
œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ
# œ. œœ œœ .. œœ œœ
C5 D5 C5 G5 E5 D5
œœ œœ œœ
B E C B
& œœ .. œœ ˙˙
#˙ # œœ .. J
˙˙
˙ ˙
# ˙˙
?# œ œ
œ œ. œ
30 œ. œ œ œ œ œ œ œ œ œ œ œ

1.
# œ. œœ œœ .. œœ œœ œœ
G5 E5 D5 C5 D5 C5
œœ œœ œœ ˙
E B G
& # œœ .. œœ .. œœ œœ œœ œœ œœ œœ œœ œœ
J # ˙˙ œ œ œ œ œ œ œ œ
?# œ œ
33
œ œ œ. œ œ œ œ. œ œ œ œ
2.
# w
C5 D5 C5
& # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ .. œœ .. œœ œœ œœ # ˙˙˙
A B E
# ww
Vocals Grade 2
?# w
œ œ œ œ œ œ œ œ .. œ œ
Œ Ó
36 œ. œ œ œ œ
34
Almost There | from The Princess and the Frog
Album: The Princess and the Frog Genre: Jazz
Released: 2009 Written by: Randy Newman
Label: Walt Disney Records Produced by: Randy Newman
Background Info 
‘Almost There’ features in the 2009 Disney animated feature film The Princess and the Frog. The song was written by
American singer-songwriter and pianist Randy Newman, who has written several songs for Disney and Pixar movies,
most notably composing and singing the opening theme for Toy Story (‘You’ve Got a Friend in Me’). ‘Almost There’ was
critically well-received, and gained a nomination for Best Original Song at the 2009 Academy Awards.
The track was performed by American actor and singer Anika Noni Rose, in her role as Tiana, the movie’s female lead
character. Her performance in this defining role saw her achieve an award for Outstanding Voice Performance in 2010, and
a Disney Legends award in 2011. Anika Noni Rose has worked on several films and theatre shows, including the 2006 film
Dreamgirls, and as Emmie Thibodeaux in the Broadway production of Caroline, or Change. She remains an active actor
and performer, and has recently done voice acting for animated film Injustice and Disney TV series Amphibia.

As a soundtrack to a film, this song offers an opportunity for anyone keen on the musical theatre genre to apply some
dramatic flair to their performance. The song has a wide range (Bb3–Eb5) and some challenging intervals, and you should
start by establishing a key where you can comfortably reach the top note, aiming for this to be sung confidently with a
clear tone in your head voice.
You can take a speech-based approach to the tone quality, as if you were having a conversation with someone. This
spoken quality will help as you enter into your head voice for the higher parts of the melody.
There is a sense of the accompaniment following the singer with different tempo changes, and you should work on
these appearing natural as if the music is indeed following you.
Vocals Grade 2
35
Almost There
Music and Lyrics by Randy Newman from The Princess and the Frog
Œ
3
Moderately, expressively ( qc.112)
œ œ œ œ
b b 4 ˙˙˙ #˙ ˙˙ œ œ
b
& 4 n ˙˙ ˙ J Œ
F
˙ ˙ ˙.
3
Piano
? b b 44 Œ
b
F
& bbb bœ œ œ œ œ œ œ œ j Ó œ œ œ. œ
J
œ œ.
That’s just gon - na have to wait a while. Ain’t got time for
j
& bbb bœ œ œ œ œ œ œ œ j œ˙ œ œ.
b˙ œ
œœ . œ . ˙˙
#œ
J
? b n ˙˙ b˙ ˙˙ n ˙˙˙
bb ˙ ww

3
b j j
&bb œ œ œ œ ˙ ‰ j œ œ œ ˙ Ó
œ œ
mess - in’ a - round, and it’s not my style.
b j ˙ j j
& b b n œœ .. œ ˙˙ œœ œ œ œ œ ww
nw œ
? bb ww bw
b ww w
6
b j
& b b œJ œ œ
J
œ. œ œ. œ œ
J œ œ œ œ œ œ œ. œ
j
This old town can slow you down, peo - ple tak - in’ the eas - y
b b œj œ j j œœ .. j
& b œœ .. # œœ œœœ ...
œ œ bœ.
œ œ.
J œ. œ
j œœ .
œ œœœ œœœ .. œ
J
Vocals Grade 2
? b b n ˙˙ b˙ ˙˙ ˙ ˙˙ ˙
b ˙ ˙
9
˙
36 © 2009 Walt Disney Music Company

All Rights Reserved. Used by Permission.
b ‰ œj œ j
&bb ˙ Œ œ œ œ œ œ œ
J œ œ œ œ œ
œ œ
way, but I know ex - act - ly where I’m go - in’. I’m get - tin’
œ j
& bbb œ ‰ œj œœœ œ œ œ œœœ œœ œ j
œœœ œœœ
˙˙ œ œ œœ
n ˙˙
? bb Œ ˙ ˙ ˙˙ . Œ
b ˙˙ .. ˙ n˙ .
12
b œ œ œ œ œ œ œ
&bb ‰ œ œ œ œ C
accel.
œ œ
3
J
clos - er and clos - er ev - ’ry day. And I’m
b œ. n˙ œ
&bb ‰ œ. ˙ œ
œœ n œœ œ œœ œ C
œœ b b œœ n n œœ
accel.
? b b n œœ bœ
œ
œ
œ
œ
#œ
œœ
C
b
15

Moderately fast, steadily ( h76)
b j
&bb C ˙ œ. œ
J
œ Œ Ó ‰ j j
œ œ œ
œ œ
al - most there, I’m al - most there.
b j j j
& b b C ˙ œ bœ # œœ .. œ
n œœ œœœ ..
.
œœ ˙˙
nœ ˙ ‰ j
œ bœ j œ œœ
‰ J œ nœ
n œœ
? bb C œ œ # œœ bœ n œœ œ
œœ œœ œœ
b œ œ
17
b œ œ œ œ œ œ œ œ.
&bb œ Œ Ó
J œ Œ
Peo - ple down here think I’m cra - zy,
b j j œ˙ œ œ œœœ œ bœ œ œœœ ...

& b b œœ .. œ ‰ œœ Œ ˙ œ J œ Œ
œ. nœ
Vocals Grade 2
? bb œœ œ œœ
œ nœ œ œ œ
b œ œ bœ nœ
20
37
b j
&bb Œ ‰ j œj œ œ œ Œ Ó ˙ œ œ œ œ
œ
but I don’t care. Trials and trib - u -
b j
& b b n œœJ œ œ
j œj œœ œœ œœ ‰ j ˙˙ b ˙œ œ œ œ
nœ bœ œ œ œ œ
œœ
? bb nœ
œ œ œ œ œ # œœ
b œ œ nœ œ œ
23
b j
&bb ˙ ˙ Œ
œ œ
j œ
œ ˙ Ó
œ
la - tions, I’ve had my share.
b j œ œ œ
& b b n ˙˙˙ ˙
n n ˙˙
Œ b œ œ
j œ
œœ œ. J
œ œ nœ œœ ..
? bb b œ n œœ œ
œœ œœ œ œ œ
b œ œ œ œ nœ
26

b
& b b œJ œ œ œ œ œ œ œ œ œ œ œ.
j
J œ œ œ ˙ œ
There ain’t noth - ing gon - na stop me now ’cause I’m al - most there.
bb b œj œ j
œœ œ˙ œœ
& œœ œ bœ œ œ bœ œ œ
œ œ œ
œ ˙ n ˙˙ b ˙˙
? bb œ œœ n œœ b œœ œ œ
b nœ œ œ œ œ œ
29
b
&bb œ Œ Ó
b j j
& b b œ˙ œ . œ
˙ œ. œ œ ‰ œj œ n œ Œ œ œ ‰ Jœ Œ
˙ ˙
b˙ #œ
j
#œ
j
œ œ
Vocals Grade 2
? bb œ œ œœ œ œ œ œ
b bœ œ bœ œ œ
32
38
b œ œ œ œ œ
&bb Ó Œ œ œ œ œ
J œ.
Ó
I re - mem - ber Dad - dy told me
bb j j
b œ
& # œ œœ ‰ œœ œœœ œ œ n œ
œ œœ œ b œœœ œœœ œ n œœ œœ œ . œœ œ œ
? bb œ ‰ œ œ œ b œœ œœ œ
b œ J œ œ nœ œ nœ
35
œ
b j j j œ j
&bb œ œ œ œ œ œ ˙ Ó Œ ‰
œ J œ œ
fair - y tales can come true, but you got - ta
b j j
j j j œœ b œ
& b b œœ œ œœ œœ œœ œ œ œ Œ œ œœ .. œ œ œ
n œœ œœ n œœ n œœ œ.
? bb œ n œœ
œ œ œ nœ
b bœ œ œ œ bœ nœ
38

b ‰ œj œ œ
&bb œ œ œ œ
œ ‰ œ
j œ. œ œ œ œ œ
J
œ œ Œ
make ’em hap - pen; it all de - pends on you. So I work
b j
& b b œœœ b œ œœ œœ œ ‰ œj n œœœ ... œ œœ
J œ œ b œœœ œœœ œ ‰ œœ # œ œ œ œœœ
œ
b œœ nœ bœ œ
? bb œ
b œ œ œ b œœ n œœ
œ œ œ œ
41
b
& b b œJ œ œ œ
J
œ œ œ œ œ œ ‰ j œ œ œ
j
œ
j
œ œ œ
real hard each and ev - ’ry day. Now things for sure are go -
b b œj œ j
# œœ œœœ
œ œ œ nb œœœ
& b œœ œœ œ œœ œœ ‰ j j j
œ œ œ œœ œ œ
œ bœ œ œ œ
nœ
Vocals Grade 2
? bb œ œ œ œ œ
b œ œ œ œ nœ œ œ
44
œ
39
b j
& b b œj œ œ œ Œ Œ ‰ œJ œ œ œ œ œ
J
œ œ
J Œ
ing my way. Just do - ing what I do,
b œœ . œ œ œ œ j
& b b œj œ j œ œœ .. œœ ˙˙
œœ ˙˙ œœ ˙˙ œ. œ ˙
œ nœ ˙ J
? bb œœ n œœ bœ œ
b œ œ œ nœ œ nœ œ œ
47
b œ bœ œ œ œ œ œ œ œ
&bb J œ œ
J
œ œ œ ˙ œ. œ
J
look out, boys, I’m com - in’ through. And I’m al - most there,
j j j
œbb
& b œ œœ œ œ œœ n œ bœ œ œ
b œœ œ n œœ œ
˙˙ # œœ .. œ
nœ
œ œ nœ œ
? b b n œœ œœ b b œœ n n œœ bœ œ œœ # œœ
b œ œ b œœ n œœ œ œ
50

b j
&bb œ Œ Ó ‰ j j
œ œ œ œ Œ Ó
œ œ
I’m al - most there.
b j
& b b œœ .. œ ‰ j Œ ‰ j j j
nœ j
œ bœ œœ œ œœ œ. œ Œ
œœ .. n œ œœ
œ œ
nœ
? bb b œ n œœ œ
œœ œ œ
b œ œ œ œ bœ nœ
53
b j
& b b œ œ œ œ œJ œ œ œ œ œ œ œ.
j
œ œ ˙ œ
Peo - ple gon - na come here from ev - ’ry - where, and I’m al - most there,
b b b œj œ . ˙˙˙ œœ b œ œœ œœ j
& ˙˙ œ .
˙ œ œ n ˙˙ b œœ . œ
œ
Vocals Grade 2
? bb œœ n œœ bœ œ
b œ nœ œ œ œ œ œ
56
œ
40
b Œ Œ œ ˙ œ. œ œ Œ Ó
&bb œ J
œ œ œ.
I’m al - most there.
œ œ œ
b ‰ œj œ #œ œ œ œ.
&bb œ Œ n ˙˙˙ b œœœ ... J J
œ
nœ bœ œœ œœ
? b œ œ œ œ œ œ bœ
bb œ œ
59
œ œ œ œ.
b œ œ œ bœ œ œ #œ œ œ œ œ œ œ. œ
œ œ b œœ œœ œ œ œ
&bb J
œœ œœ œœ œœ œœ œœ
? bb œ bœ œ bœ œ bœ
b
62
œ nœ œ œ œ. œ.
bb œ œ œ œ. œ. œ œ œ #œ œ œ œ œ ˙
& b J J J J œ œ ˙
? bb œ œœ œœ œœ œœ œœ œ
bœ œ bœ œ œ

b
65
Slower ( qc.104)
bbb œ œ œ. j œ. œ
& œ J œ œ
There’ve been trials and trib - u - la - tions.
b # œœœ œœœ ‰ œJ œœœ œ˙ j œ. j

&bb Œ ˙ œ # œœœ ... œ b n œœ ..
œ œ
˙ œ
? b œ œ œ
œ œ Œ
œ
œ
n˙ b˙ ˙ ˙˙
bb
68
( h76)
b ‰ œj œ œ
a tempo
&bb ‰ j œ œ. ˙ œ œ œ œ œ
œ œ œ œ œ
You know I’ve had my share. But I’ve climbed a moun - tain, I’ve
b
&bb ‰ j ‰ œj œ œœ œ œœœ ˙˙˙
œ œ œ œ˙ œ œ œ. ˙˙ œ œ ˙
n˙
Vocals Grade 2
œœ n œœ
a tempo
? b ˙ ˙ ww œ nœ
bb ˙ ˙
71
41
b
&bb œ œ bœ œ œ œ ˙ œ. œ
j
œ Œ Œ œ
œ
crossed a riv - er, and I’m al - most there. I’m
b b œ b œ œj œ
& b b œœœ j .
j Œ
n œœ
œ
n ˙˙ b œœ .
œ œ ˙
œ ˙
? b œ b œœ œ œ
bb œ œ œ œ œ
œ œ œ
74
b ˙ œ. j Œ ‰ œ œ œ w
&bb œ œ J
al - most there. I’m al - - -
b
& b b b n ˙˙˙ b œœœ .. j œ œ œ œ œ. j œj œœœ ..
. œ œ œ Œ nœ œ b n œœœ ... œ œ ..
œœ
? b
bb
nœ
œ œ
bœ œ œ n œœ
œ œ œ bœ nœ
77

b ˙. Œ w w
&bb
œœ œ b œœœ ˙˙˙
most there.
j j œœ œ œ b œœœ ˙˙˙
b œ œ œ. œ œ ‰ œ ˙
& b b b œœœ ... œ œ œ. œ J
œœ œœ œœ œœ
? b œ œ bœ nœ œ bœ œ bœ
bb
80
œ ˙˙
bb b œœœ œ ‰ œœœ œœœ œ œ n œœœ
œ n œ œœ ˙˙ œœ œ
œ ‰ J ˙
& bœ ˙
J
? bb œ œœ nœ bœ œœ œœ
œ œ œ bœ
b œ bœ œ
83
bœ œ œ nœ
œœ œ ˙˙ œ #œ nœ œ
bb b œ œ œ
& ‰ J ˙
b ‰ n œœ ‰ b œœ ‰ œœœ ‰ Œ
J J J
Vocals Grade 2
œœ œœ
? bb œ œ Œ Ó j ‰ œ ‰ œj ‰ Œ
b bœ œ œœ œ
86 J œ
42
Don’t Upset the Rhythm | Noisettes 
Album: Wild Young Hearts Written by: Shingai Shoniwa, Dan Smith,
Released: 2009 James Morrison, Jason Pebworth
Label: Mercury/Universal and George Astasio
Genre: Indie Rock Produced by: Jim Abbiss
Background Info 
‘Don’t Upset the Rhythm (Go Baby Go)’ is a song by British indie rock band Noisettes, and featured on their second
studio album Wild Young Hearts. ‘Don’t Upset the Rhythm’ was the album’s second single, and the band’s first major chart
success, peaking at number 2 in the UK Singles chart. The track was also regularly used in media and featured on several
adverts in 2009 and 2010.
Noisettes formed in 2003 and released their debut album What’s the Time Mr Wolf? in 2007, which had a punk-
oriented garage rock sound. The release of their 2009 album Wild Young Hearts marked a change in style for the band,
taking greater influence from soul and dance music. Wild Young Hearts peaked at number 7 on the UK Albums chart and
was certified Gold, with sales of over 100,000 copies.

In this fun and up-tempo pop song, we hear Noisettes’ singer and bassist Shingai Shoniwa’s vibrant tone, with her use
of resonant and expressive effects. You don’t have to copy her tone quality; however, you can aim for a forward placement
of the tone, which will create a brighter resonance leading to a contemporary vocal sound.
Aim to be rhythmically secure with a confident start on the phrase “Don’t upset the Rhythm”. You could add accents in
the form of stronger attacks on the quarter notes for the lyrics “Rhy-thm”, and in the pre-chorus leading into the chorus
‘4, 3, 2, 1’.
The changes between sections can also be emphasised by dynamic variation, and you should aim to be confident and
expressive on the spoken parts marked in italics. You don’t have to sing the words in brackets, and you should build your
vocal line around these with secure note pitches and communication of the lyrics.
Vocals Grade 2
43
Don’t Upset the Rhythm
Words and Music by Shingai Shoniwa, Dan Smith, James Morrison, Noisettes
Jason Pebworth and George Astasio
q120 Indie Rock/Funk

# # # # 4 N.C.
& # 4 ∑ œ œ œ œ
Vocals
œ œ œ
Don’t up - set the rhy - thm, no,
#### 4 ‰
& # 4 œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ
? # # # # 44
Piano
# ∑ ∑
#### ∑ ∑
& # œ œ œ œ œ œ
don’t up - set the rhy - thm.
#### ‰
& # œœ‰ œœ‰ œœ‰ œœ ‰ œœ‰ œœ‰ œœ‰ œœ ‰ œœ‰ œœ‰ œœ‰ œœ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

? #### ∑ ∑ ∑
#
3
##
& # ## œ œ œ œ œ œ œ
∑ œ œ œ œ œ œ
Don’t up - set the rhy - thm, no, don’t up - set the rhy - thm.
##
& # ## ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ Œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? #### ∑ ∑ ∑
#
6
# # # # G‰m
#
‰.
B
& # œ r
The time is right, the sun is sleep - ing in the sky,
####
& # w ww
ww
Vocals Grade 2
? #### j ‰ j j j ⇥ œ ‰ œ
œ ‰
# œ ⇥ œ ‰ œ œ ‰ œ ‰ œ J
œ J
9
© 2009 TRANSGRESSIVE PUBLISHING LTD., PEBWORTH MUSIC LTD. and ASTASIO MUSIC LTD.
44 All Rights for TRANSGRESSIVE PUBLISHING LTD. Administered by WARNER-TAMERLANE PUBLISHING CORP.
All Rights for PEBWORTH MUSIC LTD. and ASTASIO MUSIC LTD. Administered by UNIVERSAL - SONGS OF POLYGRAM INTERNATIONAL, INC.
#### G# m
# ‰ ‰.
B
& j œ r
free your mind you nev - er know what you might find.
####
& # w ww
ww
? #### j j j j œ ‰ œ
# œ ‰ œ ‰ œ œ ‰ œ
J œ ‰ œ ‰ œ J
11
#### C#7
& # ‰. r Œ
¿ ¿ ¿ ¿ œ œ œ œ œ œ œ
####
What’s your vice? you know we won’t com - pro - mise.
& # #w # ww
ww w
? #### # œ j œ #œ j
# J ‰ œ ‰ œ œ ‰ J ‰ œ ‰ œ œ ‰ j
J œ
13

# # # # G‰m j
# B
& # œ œ œ
So let me show you some - thing su - per beau - ti - ful,
####
& # w ww
ww
? #### j j j j œ ‰ œ
# œ ‰ œ ‰ œ œ ‰ œ
J œ ‰ œ ‰ œ J
15
# # # # G‰m
# G# m
‰. ‰ j
B
& # j œ œ r œ œ œ œ œ
let’s rock the boat the ma - gic is un - stop - pa - ble. ‘Four on the floor’, it’s the
####
& # w ww www
ww
Vocals Grade 2
? #### j j j j œ‰ œ j j
# œ ‰ œ ‰ œ œ‰ œ
J œ ‰ œ ‰ œ J œ ‰ œ ‰ œ œ‰ œ
J
17
45
#### C#7
j
‰. r Œ # œ ‰ œj ‰ œj ‰ œ
B
& #
œ œ œ œ œ. œ œ œ ¿ ¿ ¿ ¿
rhy - thm you’ve been wait - ing for Pure de - light kick, snare, hat, ride.
####
& # w # ww # ww
w w w
? # # # # œj ‰ œj ‰ œ ⇥ œ ‰ œ j j
# J #œ ‰
J œ ‰ œ ⇥ œ ‰ Jœ # œJ ‰ œ ‰ œ ⇥ œ ‰ j
20
œ
#### G# m B6
& # ∑ Ó
œ œ œ œ ˙
It’s all up to you,
####
& # w ww ww
ww w w
? #### œ œ œ œ œ œ œ œ
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
23

#### Emaj 7
& # œ œ Œ
œ œ
what ev - er you do don’t cut in - to my
####
& # w www www
ww
? #### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
#
26
# # # # G m/D
# #
Œ
N.C.
& # ˙ œ
œ œ œ œ
ac - - tion, 4, 3, 2, 1!
####
& # w œ
ww > œ œ œ
>
Vocals Grade 2
> >
? #### œ >
# œ œ œ œ œ œ œ œ œ œ œ
29 > > >
46
####
& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
(Go ba - by go ba - by go.) Don’t up - set the rhy - thm no, (Go ba - by go ba - by go.)
#### ‰
? #### ∑ ∑ ∑
#
31
####
& # œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ. œ
don’t up - set the rhy - thm. (Go ba - by go ba - by go.) Don’t up - set the rhy - thm don’t you
#### ‰
& # œœ‰ œœ‰ œœ‰ œœ ‰ œœ‰ œœ‰ œœ‰ œœ ‰ œ œ‰ œ œ‰ œ œ‰ œ œ
? #### Ó Œ Œ Ó ∑
# œ œ
34

####
& # œ Ó œ œ œ œ œ
œ œ œ
dare, don’t up - set the rhy - thm.
#### ‰
& # œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ Œ
? #### ∑ ∑
#
37
# # # # G‰m.
# G# m
Œ ‰. Œ
B
& # r r
œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ
Skin and bone and a ba - ton mi - cro - phone, can’t get home,
####
& # œœ ⇥ œœ Œ œœ ⇥ œœ Œ œœ ⇥ œœ Œ œœ ⇥ œœ Œ œœ ⇥ œœ Œ œœ ⇥ œœ Œ
Vocals Grade 2
? #### j j ‰ j‰ j
œ ‰ œ ⇥ œ ‰ Jœ œj ‰ j
# œ ‰ œ œ ⇥ œ ‰ œ
J œ œ ‰ œ ⇥ œ ‰ œJ
39
47
#### G# m
‰ j
B B
& # œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
you can use my dog and bone. We’ll crank that ste - re - o e - ven when the spea-kers blow,
####
& # œœ ⇥ œœ Œ œœ ⇥ œœ Œ œœ ⇥ œœ Œ œœ ⇥ œœ Œ œœ ⇥ œœ Œ œœ ⇥ œœ Œ
? # # # # œj ‰ j
œ ‰ œ ⇥ œ ‰ œJ j j j j
œ ‰ œ ‰ œ ⇥ œ ‰ Jœ
# œ ‰ œ ‰ œ ⇥ œ ‰ Jœ
42
#### C#7
& # ‰. r ‰ j œ œ
¿ ¿ ¿ ¿ œ œ œ œ œ œ
D. I. Y. just meet me up in pa - ra - dise.
####
& # #w # ww
ww w
? #### # œ j œ #œ j
# J ‰ œ ‰ œ ⇥ œ ‰ J ‰ œ ‰ œ ⇥ œ ‰ j
J œ
45

#### G# m B6
& # ∑ Œ ‰ j
œ œ œ ˙ œ
œ
What ev - er it takes, to
####
& # w www www
ww
? #### œ œ œ œ œ œ œ œ
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
47
#### Emaj 7
& # œ œ œ œ œ œ œ j ‰ Œ œ
œ œ œ œ
œ
car - ry you a - way, it all comes down to
####
& # w www www
ww
Vocals Grade 2
? #### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
#
50
48
# # # # G m/D
# #
Œ
N.C.
& #
ac - tions 4, 3, 2, 1!
####
& # w œ
ww > œ œ œ
> > >
? #### œ >
# œ œ œ œ œ œ œ œ œ œ œ
53 > > >
####
& # œ œ œ œ œ œ œ
(Go ba - by go ba - by go.) Don’t up - set the rhy - thm no, (Go ba - by go ba - by go.)
#### ‰
? ####
#
55

####
& # œ œ œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ œ œ. œ
don’t up - set the rhy - thm. (Go ba - by go ba - by go.) Don’t up - set the rhy - thm don’t you
#### ‰
& # œœ‰ œœ‰ œœ‰ œœ ‰ œœ‰ œœ‰ œœ‰ œœ ‰ œ œ‰ œ œ‰ œ œ‰ œ œ
? #### Ó Œ Œ Ó
# œ œ
58
####
& # œ Ó œ œ œ œ œ
œ œ œ
dare, don’t up - set the rhy - thm.
#### ‰
& # œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ Œ
Vocals Grade 2
? ####
#
61
49
50
Vocals Grade 2

Your Song | Ellie Goulding 
Album: Bright Lights Genre: Pop

Released: 2010 Written by: Elton John and Bernie Taupin
Label: Polydor Produced by: Ben Lovett
Background Info 
‘Your Song’ was released by Elton John in 1970, and was part of his self-titled studio album. It was one of the first
songs written together with songwriter Bernie Taupin, who wrote many songs with Elton John throughout his career.
The song has remained popular many years after its release, appearing in the 2001 musical film Moulin Rouge and being
covered by British singer-songwriter Ellie Goulding in 2010. Ellie Goulding’s rendition of ‘Your Song’ was recorded for the
reissue of her debut album Bright Lights. The song was produced by Ben Lovett, a member of folk pop band Mumford &
Sons, and the cover of the song was used as part of John Lewis’s 2010 Christmas advert. The single was very popular, and
was certified Platinum, peaking at number 2 on the UK Singles chart.
Ellie Goulding first rose to fame in 2010, with the release of her chart-topping debut album Lights, and has released a
total of four studio albums. She has won several awards throughout her career, including Brit Awards for Critics’ Choice
and Best Female Solo Artist.

Originally written by Elton John and Bernie Taupin, this arrangement is based on the cover version recorded by Ellie
Goulding for her debut album in 2010, where she displays her soft yet resonant upper range.
You should choose a key where you are able to reach the top notes effortlessly without pushing or straining, and where
your voice sounds consistent when moving through the transition between your chest and head voice. The melody has
some longer phrases, and you will need to manage these with good breath support. Avoid singing too loudly at the start,
so you can gradually build with crescendos and variation in the dynamics as the song progresses.
The accompaniment gives a sense of following the singer, with some changes in time signatures and ‘free time’
markings. You should work on making these changes feel natural, as if the music is following you and not the other
way around.
Vocals Grade 2
51
Your Song
Words and Music by Elton John and Bernie Taupin Ellie Goulding
q68 Pop
Bb Eb Bb
b .. ‰ œ œ œ œ œ œ œ . Œ œ œ œ
& b 44
Gm
‰. œ œ œ
3
Vocals
R
1. It’s a lit - tle bit fun - ny, this feel - ing in - side.
2. So ex - cuse me for - get - ting, but these things I do.
‰ . œr œ
3
b . œ œ œ˙
& b 44 œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ .. ‰ œ œ œœ œ œ œ˙˙ œ œ ˙˙ ˙ œ
Piano
? b b 44 .. œ œ œ œ œ œ œ
Bb Eb Bb
b r r
Gm Dm/A
& b ‰. œ œ œ œ œ œ. œ œ œ. ‰. œ œ œ œ œ œ. Œ

I’m not one of those who can eas - i - ly hide.
See, I’ve for - got - ten if they’re green or they’re blue.
b r ‰. r
& b ‰. œ œœ . œ œ œœœ ˙˙œ . œ œ œ. ˙˙ œ œ œ œ œ˙ œ . œ
? bb œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
4
Bb Eb b
b r œ. œ
& b ‰. ‰. Œ
Gm 3 B 3
R
I don’t have much mon - ey but boy, if I did
An - y - way the thing is what I real - ly mean,
‰. r
3
b r œ œ œ œ ˙˙˙
3
œ.
œ œœ œ œ œ˙˙ œ
& b ‰. ˙˙
Vocals Grade 2
? b œ œ œ œ œ œ œ œ œ œ œ œ
b œ œ œ œ
6
Copyright © 1969 UNIVERSAL/DICK JAMES MUSIC LTD.
52 Copyright Renewed
All Rights in the United States and Canada Controlled and Administered by UNIVERSAL - SONGS OF POLYGRAM INTERNATIONAL, INC.
Eb
b œ œ.
œ œ œ œœœ 42 .. 44
Fsus 2
‰ œ œ œ œ œ Ó
Cm F
& b ‰. R
∑
I’d buy a big house where we both could live.
yours are the sweet - est eyes I’ve ev - er seen.
r œœ .. ‰
b
& b ‰. œ œ œ œ œœœ œœ .. œ œ œ œ œœœ ˙˙˙
4
42 œœ œœ œœ œœ .. 4
œ œ œ œ œ
J
? bb œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ 42 ˙ .. 44
8
%
Eb
b œ œ œ œ œ œ œ œ œ.
& b 44 ‰ .
F Gm Cm
R Œ œ œ œ œ œ œ. Œ
And you can tell ev - ’ry - bod - y this is your song.
. r
bb 4 ‰˙ œ œ œ œ œ œ œ œ œ.
& 4 ˙˙ œ. œ œ œœ œœ . œ œ œœœ œ˙˙ œ . œ
? b b 44 œ œ œ œ œ œ œ

11
Eb
œ œ œ œ œ œ
F Gm Cm
b œ œ œ.
& b ‰. R Œ œ œ œ œ œ œ. Œ
It may be quite sim - ple, but not that it’s done.
. r
bb ‰œ œ œœœ .. œ œ œ œ œ œ œ.
& œœ œ. œ œ. œ œ œœ œœ . œ œ œœœ œ˙˙ œ . œ
? bb œ œ œ œ œ œ œ œ
13
To Coda fi
œ œ œ œ œ. œ œ œ œ
bb ⇥ œ œ œ œ .
b
B b/F Eb
œ œ œ
Gm Em7 5
& ⇥ ‰ Œ
I hope you don’t mind, I hope you don’t mind that I put down in words
⇥ ⇥
bb ˙˙ œ œ œ œ œ . ˙˙ œ œ œ œ
œ. ‰ œ œ œ œ
˙˙ œ ˙˙˙
&
Vocals Grade 2
? bb œ œ œ œ œ œ œ œ nœ œ œ œ b˙
15
b˙
53
B b/F Eb
b œ œ œœœœ œ œ œ œ œ œ œ œ œ
Cm F
&b Œ œ œ. Œ Ó
œ
3
how won - der - ful life is now you’re in the world.
b œœœ œœ œœœ œœ œ œ œœ œ
& b œ œ œ œ œ œ œœ .. œ ˙˙ œ œ œ œ œ ˙˙˙ œœ œœ œœ œœ
œ œ œ
œ œ œ œ œ œ
3
? bb œ œ ˙ ˙ œ œ œ
17
œ œ œ
Bb Eb b Bb
b ‰ . r œ 3œ œ œ œ Œ . œ œ œ œ œ œ. œ œ œ ‰
b ‰ Œ œ œœ œ œ œ
Gm B Gm
& œ R
3. If I was a sculp - tor, but then a - gain, no. Or a girl who makes po - tions in
j ‰. r œ
bb
3
& œ
œœ .. œ œ œ œ ˙˙ œ .
œ ˙˙ œ œ œ ˙˙˙ œ œ œœ œœ œ œ ˙˙œ . œ œ œ .
œ.
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ
˙ ˙ ˙ ˙
20
˙

Eb Bb Bb Eb b
œ
b
&b ‰ œœ œœ œ œ Œ ‰ . œr œ œ œ œ œ Œ ‰ œ œ œ œ œ Œ
Dm/A Gm 3
B 3
a trave - e - ling show. I know it’s not much, but it’s the best I can do.
j
3
b r ‰ œ œ œ œ œ ˙
˙˙ œ .
3
& b œ˙ œ œ œ œ œ ˙˙ ‰. œ œœ œ œ œ ˙˙ ˙˙
œ œœ œ œœ œ œ œ
? bb œ œ œ œ œ œ œ œ œ œ œ œ
œ ˙ œ œ œ œ ˙
˙ ˙ ˙
23
Eb E b 6/G
œ. œ
b œ œ œ œ œ
Cm F
œœœ
&b ‰ 45 ‰ œ œ œ œ œ œ Œ 43
My gift is my song and this one is for you. Ah.
œœ .. œ
b
&b ‰ œ œ œ œ œ œœœ 45 ‰œ . œ œ œ œ œœœ ˙˙˙ œœœ 43
œ J
Vocals Grade 2
? bb œ œ œ œ 45 œ œ œ œ œ œ œ œ œ œ 43
œ œ œ œ ˙ œ
26 ˙ ˙ ˙
54
œ œœ
Bb Eb 6 Bb Eb 6
b 3 ˙ œ œ ˙ œ
F9 F9 Gm7
˙ ˙
Gm
b
& 4
Ah. Ah. Ah. Ah.
b ˙ œ œ
œœœ ˙˙˙ œ œœœœ œ œ
& b 43 ˙˙ œœœ ˙˙˙ œœœ ˙˙
˙
? b b 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙ œ ˙ œ ˙ œ ˙ œ
28
Bb Eb 6 Bb
œ œ
bb ˙ ˙ œ œœ ˙ ˙
F9 Gm7 F9 Gm7 Gm
44
D.%. al Coda
& Ó
Ah. Ah. Ah.
bb ˙˙˙ œœœœ ˙˙
˙ œœœœ œ œ ˙˙˙ œœœœ ˙
44 ˙˙
& œœ œœ œœ œœ
œ œ œ œ
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 44 w
˙ œ ˙ ˙ œ w
32
œ

fi Coda
b
Eb Bb
U U
Em7 5
b œ œ œ œ œ œ œ
Free time
œ œ.
&b ‰ Œ œ œ
that I put down in words how won - der - ful
U U
‰ œ œ œ œ
bb ˙˙ œ œ˙˙ œ œ ˙˙
& Œ œ œ
‰. R
U ˙
? b nœ œ œ œ b˙ ˙ ˙
b n˙ b˙ ˙
36
b
Eb
œ
Bb
U
&b œ œ œ œ œ œ œ Œ Ó
Cm
œ. œ
life is now you’re in the world.
b œ˙ U
& b œ˙ œ. œ œ œ œ œ œ ww
w
Vocals Grade 2
˙ U
? bb ˙ ˙ w
38
˙ w
55
56
Vocals Grade 2

I Try | Macy Gray 
Album: On How Life Is Genre: Soul/Contemporary R&B

Released: 1999 Written by: Macy Gray, Jeremy Ruzumna, Jinsoo Lim
Label: Epic and David Wilder
Produced by: Andrew Slater
Background Info 
‘I Try’ was the second single to be released from American singer-songwriter Macy Gray’s debut album On How Life Is.
The song was a chart hit, peaking at number 6 in the UK and number 5 in the US. Met with critical acclaim, ‘I Try’ remains
Gray’s most successful single to date and achieved Platinum status in the UK. In 2001, the single saw Gray win Best
Female Pop Vocal Performance at the Grammy Awards.
Since the release of On How Life Is in 1999, Macy Gray has released an additional nine studio albums. Three of her
album releases have made it into the UK top 40, with her 2001 album The ID topping the UK album chart. Gray has been
nominated for five Grammy Awards throughout her career and has won two Brit Awards, as well as a Billboard Music
Video Award.

In this soulful pop song from the late ’90s, we hear Macy Gray’s unique voice with its deep and resonant characteristics.
Macy Gray reaches some very low notes in the verses on the original recording, which have been slightly adapted in this
arrangement, but you may approach this however best suits your voice. Whichever approach you choose, you may still
need to find a different key that suits your voice type and range, so you are able to confidently reach the lower notes with
a strong tone.
You do not have to copy Macy Gray’s tone and effects; however, you could explore your natural voice by playing with
the texture and resonator positions, as this can add expressiveness to your performance.
The chorus hook phrase, “My world crumbles when you are not here”, will need some careful attention due to the
intervallic leaps of the melody and the triplet eighth-note rhythms.
Vocals Grade 2
57
I Try
Lyrics by Macy Gray Macy Gray
Music by Macy Gray, Jeremy Ruzumna, Jinsoo Lim and David Wilder
q76 Soul/Pop
[Synth Intro – 2 bars]
[Count in]
# 4 U ¿ ¿ ¿ ¿
D A
& # 4 ∑ Œ
œ œ œ œ œ
Œ ‰ j
œ œ œ œ nœ
Vocals
## 4 U
Games, chang - es and fears, when will they go
& 4 ∑ ∑
ww ww
w w
U
Piano
? # # 44 ∑ ∑ w
w
## Em7
j
Œ ‰ Œ ‰
N.C. D
& j œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
#
from here? When will they stop? I be - lieve that fate has brought us here.
& # w ˙
Ó
ww
w ˙ w

? ## Ó
5
w ˙ w
## A
Œ
Em7
Œ ⇥ Œ Ó
&
œ œ œ œ œ œ nœ œ œ œ œ nœ œ œ œ.
##
We should be to - geth - er, babe, but we’re not.
& ww ww ˙˙ œ œ œ œ
w
? ##
w w w
8
F# m
# # G‰ j Œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ
I play it off, but I’m dream - in’ of you.
##
& www ˙˙˙ ... œœœ
Vocals Grade 2
? ##
w w
11
Copyright © 1999 BMG Platinum Songs, Music Of Stage Three, Ooky Spinalton Music, Jinsoo Lim Music and Roastitoasti Music
58 All Rights for BMG Platinum Songs and Music Of Stage Three Administered by BMG Rights Management (US) LLC
Worldwide Rights for Ooky Spinalton Music, Jinsoo Lim Music and Roastitoasti Music Administered by Wixen Music Publishing, Inc.
# # Em‰
7
j ‰
A
& œ œ œ œ œ œ œ j
I’ll keep my cool, but I’m feel - in’. I try to say good -
##
& www www
? ##
w ˙
13 œ œ œ œ
## Œ
Em7
œ œj ‰ œ œ œ œ œ œ œ œŒ
D A
& œ œ œ œ œ
j
œ
œ
bye and I choke, try to walk a - way and I stum - ble. Though I try to hide it, it’s clear: My world
#
& # œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ
? ##
w œ ˙. œ œ
15 ˙. œ

#
G A 9sus 4 D A
& # œ œ ‰ œj œj ‰. r j‰
3 3
jœ
œ œj œ œ œ œ œ œ œ œ œ
œ œ œ œ
crum - bles when you are not near. Good bye and I choke, I try to walk a - way and I stum - ble. Though I try to
#
& # œ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœœ œœœ
œœ œ œ œ œ œ œ œ œ
? ##
˙ œ w
18 œ œ w
Em7 A 9sus 4
##
G
Œ Œ
3
& œ œ œ
3
œ œ œ œ œ
œ œ œ
j œ œ œ
hide it, it’s clear: my world crum - bles when you are not near.
#
& # œ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœœ
œœ
Vocals Grade 2
? ##
˙. œ œ ˙ œ
21 œ œ
59
# # D‰ A
‰. r ⇥ ⇥
Em7
Œ ⇥
& œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œj œ œ œ # œ œj œ
##
I may ap - pear to be free, but I’m just a pris - on - er of your love.
& œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

œ œ œ œ
? ##
w w w
23
# # N.C.
Ó
D
⇥
A
Œ
& œ œ œj œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j
œ œ
I may seem all right and smile when you leave, but my smiles are just
#
& # ∑ œœ œœ œœ œœ œœœ œœœ œœœ œœœ
œ œ œ œ
? ## ∑
w w
26

# # Em
7
& œœ œŒ Œ ‰ ‰ ¿ Œ ‰
3 3 G
œ œ œœœ œ œ J œ œ œ œ
j
œ
j
œ œ œ
a front, just a front. Hey! I play it off, but I’m dream -
#
& # œ œœœ œœœ œœœ œœœ œœœ
œœ œœœ œ œ œ œœœ œœœ œœœ œœœ
? ##
w ˙. œ œ ˙. œ œ
29
˙. œ
F# m
## Em7
j‰ Œ ‰ j ‰
A
& œ œ œ œ œ œ œ ⇥ œ œ œ œ œj œ œ œ œ
œ œ œ œœ œ œ
j
- ing of you. I keep my cool, but I’m feel - in’. I try to say good -
#
& # œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œœ œœœ œ œ œ œ
œœ
Vocals Grade 2
œ
? ## ˙ . œ
˙. œ œ ˙. œ œ ˙ œ
32 œ œ œ
60
## D
Œ
A
j ‰
& œ œ œ
j
œ œ œ œ œ
bye and I choke, try to walk a - way and I stum - ble Though I try to
##
& œœ œœ œœ œœ œœœ œœœ œœœ œœœ
œ œ œ œ
? ##
35 w w
#
Em7 G A 9sus 4
j
& # œ ⇥ œ Œ ‰
3
œ œ œ
3
œ œ
œ œ œ œ œ
j
œ œ œ
hide it, it’s clear: My world crum - bles when you are not near. Good -
#
& # œ œœ œœ œœ œœ œœ œœ œœ
œœ œ œ œ œ œ œ
? ##
˙. œ œ ˙ œ
37 œ œ

## D
j ‰
A
j ‰
& œ œ œ œ œ œ œ
j
œ œ œ
bye and I choke, try to walk a - way and I stum - ble Though I try to
#
& # œœ œœ œœ œœ œœœ œœœ œœœ œœœ
œ œ œ œ
? ##
39 w w
Em7 A 9sus 4
#
G D
& # œ ⇥ œ Œ ∑
3
œ œ œ
3
œ œ œ œ œj œ œ œ ˙
hide it, it’s clear: My world crum - bles when you are not near.
#
& # œ
œœ œœœ œœœ œœœ œœœ œœœ œœœœ œ œ ww
Vocals Grade 2
w
? ##
w ˙ œ
41 œ œ œ w
61
62
Vocals Grade 2

Summertime Magic | Childish Gambino 
Released: 2018 Genre: Contemporary R&B

Label: Wolf+Rothstein/Liberator Music/RCA Written by: Donald Glover and Ludwig Göransson
Produced by: Donald Glover and Ludwig Göransson
Background Info 
‘Summertime Magic’ is a song by American singer, rapper and producer Childish Gambino. The song was released
digitally in 2018 as part of Childish Gambino’s Summer Pack EP. The song was co-written and produced by composer
Ludwig Göransson, who originally met Childish Gambino while working with him on the set of the TV comedy series
Community. Upon its release, ‘Summertime Magic’ charted in the UK top 40 and was certified Platinum in the US.
Donald Glover (aka Childish Gambino), has worked in the entertainment industry for over a decade. While he released
his first major label studio album in 2011, Glover also released several independent mixtapes and albums while working
as a writer and actor for television, most notably for the TV comedy series 30 Rock and Community. In 2018, his Grammy
Award-winning single ‘This is America’ topped the US Billboard charts, and the YouTube video for the song has more than
750 million views.

This vibey pop song gives you the chance to demonstrate a contemporary R&B vocal style, with soulful phrasing over
a strong backbeat. This abridged arrangement omits the verse section from the original recording (1.36–2.14min), which
means the pre-chorus and chorus is played twice.
Your tone can be based on a soft falsetto/head voice, and you should focus on this sounding as clear as possible, with
secure intonation. Variation of dynamics will help you move into a more projected and strong tone quality in the pre-
chorus, where you can experiment with expressive changes of tone colour that emphasise the lyrical content.
The rhythmic feel is important, and may be emphasised by accented phrasing, particularly in the pre-chorus. In the
chorus, the main vocal line should be confidently weaving around and on top of the backing vocals. You can choose to
follow the scored phrasing exactly or create your own variations.
Vocals Grade 2
63
Summertime Magic
Words and Music by Donald Glover and Ludwig Göransson Childish Gambino
q100 Contemporary R&B
œ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ

? 44 œœ ⇥ œœœ ‰
Am Dm Fmaj 7 Em7 Em
œœ Ó ‰ Jœ ⇥ Rœ ‰ œ ⇥œ‰ œ œ ⇥œ‰ œœ Ó ‰ œœJ ⇥ œœ ‰ œœ ⇥ œœ Œ

J J J R
Piano
? 44 ∑ ∑ ∑ ∑
œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ

? œœœœ
Dm7 Fmaj 7 Em7 Em
Œ Ó ‰ œJ ⇥ œR ‰ œ ⇥œŒ œ ⇥œ‰ œœ Ó ‰ œœJ ⇥ œœ ‰ œœ ⇥ œœ Œ

J R
? ∑ ∑ ∑ ∑
5

Dm7 Dm9 G6
& Œ Ó Œ
Dm Em/G
œ œ
You feel like sum - mer time, you took this
œ œœ œœ œœ œœ œœ œœ œ œœœ œœ œ
? œœ ⇥ œœ ‰ œœ Ó ‰ œJ ⇥ Rœœ ‰
œ œœ ⇥ œœ ‰ œœœ œ ⇥ œœ ‰ œœœ Ó
J J J
?
w w w
9
Dm7 Dm9
Ó Œ ‰
Em
& œ œ œ œ œ j
heart of mine. You’ll be my val - en - tine in the sum -
œ œ œœ œœ œœœ œœ œœ œœ œœ
? ‰ œœœ ⇥ œœœ ‰ œœ ⇥ œœ Œ œ Œ Ó ‰ œœ ⇥ Rœœ ‰ œœ ⇥ œœ Œ
J R J
Vocals Grade 2
?
12
w w w
64 Copyright © 2018 Childish Industries, Songs Of Universal, Inc., Songs Of Roc Nation Music and Ludovin Music
All Rights for Childish Industries Administered Worldwide by Songs Of Kobalt Music Publishing
All Rights for Songs Of Roc Nation Music and Ludovin Music Administered by Songs Of Universal, Inc.
G6 Dm7
Œ ‰ Œ Ó Œ
Em/G Em Dm
& œ j œ œ
œ œ œ œ œ
mer, in the sum - mer. You are my
œ œœ œ œœ œœ œœ œœ œœ œœ œœ
? œœœ ⇥ œœ ‰ œœœ Ó ‰ œJ ⇥ œœ ‰
œ œœ ⇥ œœ Œ œ ⇥ œœ ‰ œœ Ó
J R J
?
w w w
15
Dm9 G6
Ó Œ Ó
Em/G Em
& œ œ œ œ œ œ œ œ œ
œ
on - ly one, just dan - cin’ hav - ing fun.
œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ

? ‰ œ ⇥œ ‰ œ ⇥ œ‰ œ œ ⇥ œœ ‰ œœ Ó ‰ œJ ⇥ œœ ‰
œ œœ ⇥ œœ Œ
J R J J R
?
w w w
18

Dm7 Dm9 G6
& Œ œ œ œ œ œ ‰ œj œ œ Œ ‰ j Œ Ó
Em/G Em
œ œ œ œ œ œ
Out in the shin - ing sun of the sum - mer, of the sum - mer.
œ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ

? œœœ Œ Ó ‰ œJ ⇥ Rœ ‰ œ ⇥œŒ œ ⇥œ‰ œœ ‰ Jœœ ⇥ œœ ‰ œœ ⇥ œœ Œ
J Ó R
? ∑
w w w
21
Dm7 Fmaj 7
∑ Óœ Œ
Dm
Œ œ œ Œ
3 3
3 3
I love
œœœ œœœ œœœ œœœ œœœ

(Do love me, do love me, do, do love me, do love, me, do.)
œœ œœ
? œœœ ⇥ œœ ‰ œœ Ó ‰ œ ⇥ œR ‰ œ ⇥ œ ‰ œ
J J J
Vocals Grade 2
? ∑ ∑
25
65
Œ Ó Œ ⇥
G6 Em/G Em
& œ œ œ œ œ œ œ œœ œ œ œ
Œ
œ œ œ
œ
œ
œœ œ Œ
3 3 3
3
you, put no one else
(Do love me, do love me, do. Do love me, do love me, do.)
œ
? œœœ ⇥ œœ ‰ œœ Ó ‰ œœ ⇥ œœ ‰ œœ ⇥ œœ Œ
J J R
? ∑ ∑
27
Dm7 Fmaj 7
& œ œ Ó Ó Œ œ
œ œœ œ œ œ œ œ
œ
œ œ œ œ œ œ
œ
œ
Œ Œ
3 3 3 3
a - bove you. I love

(Do love me, do love me, do, do love me, do love me, do.)
? œœœ
œ Œ Ó ‰ œ ⇥ œR ‰ œ ⇥ œ Œ
J
? ∑ ∑

29
Œ Ó Ó Œ
G6 Em/G Em
œ
Œ œ œ Œ
3 3
you. 3 3
Oh!
œ
J J R
? ∑ ∑
31
Dm7 Dm9 G6
& Œ Ó Œ
Dm Em/G
œ œ
You feel like sum - mer time, you took this
œ œœ œœ œœœ œœœ œœœ œœœ œ œœœ œœ œ

? œœ ⇥ œœ ‰ œœ Ó ‰ J ⇥ Rœ ‰
œ œ ⇥ œ ‰ œœœ œ ⇥ œœ ‰ œœœ Ó
J J J
Vocals Grade 2
?
w w w
33
66
Dm7 Dm9
Ó Œ ‰
Em
& œ œ œ œ œ j
heart of mine. You’ll be my val - en - tine in the sum -
œ œ œœ œœ œœœ œœœ œœœ œœœ œœœ

? ‰ œœœ ⇥ œœœ ‰ œœ ⇥ œœ Œ œ Œ Ó ‰ œ ⇥ Rœ ‰ œ ⇥ œ Œ
J R J
?
36
w w w
G6
Œ ‰ Œ Ó
Em/G Em
& œ j
œ œ œ œ
mer, in the sum - mer.
œ œœ œœ œœ œœ œœ œœ
J J R
?
w w
39

Dm7 Dm9
∑ Óœ Œ
Dm
Œ œ œ Œ
3 3
3 3
I love

œ œœ
? œœœ ⇥ œœœ ‰ œœ Ó ‰ œ ⇥ œR ‰ œ ⇥ œ ‰ œ
J J J
?
41 w w
Œ Ó Œ ⇥
G6 Em/G Em
& œ œ
œœ œ œ
œ œ œ œ œ œ œ œ œ œ œœ œ
Œ œ
3 3 3
3
you, put no one else
œ
J J R
Vocals Grade 2
?
w w
43
67
Dm7 Dm9
& œ œ Óœ Œ ‰ j
Œ
œ œœ œ œ œ œ œ
œ
œ œ œ œ œ
œ Œ œ
3 3 3 3
a - bove you, so,

(Do love me, do love, me do, do love me, do love me, do.)
œ
? œœœ Œ Ó ‰ œ ⇥ Rœ ‰ œ ⇥ œ Œ
J
?
45 w w
G6
Œ
Em/G Em
& œ œ œ Ó œ
œ œ œœ œ œœ œ œ œ
Œ 3
œ œ œ
Œ
3
3 3
sum-mer time, all I wan - na do is let you
œ
J J R
? ∑
w

47
Dm7 Fmaj 7
& Œ
Dm
˙ .œœ œœ œœ œœ œœ œœ œ ˙ œœ œœ œœ œœ œœ œœ œ œ œ
Œ œ œ Œ
3 3 3 3
shine I love

œ œœ œœ
? œœ ⇥ œœ ‰ œœ Ó ‰ œ ⇥ œR ‰ œ ⇥ œ ‰ œ
J J J
?
⇥ œ ‰ j ‰ j Œ ⇥ œ Œ ‰ j Œ
49 œ œ œ œ œ
Œ Ó Œ
Em7 Em
& œ œ œ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œ . œœ œœ œœ œ œœ œ œ œ.
Œ œ œ
3 3 3 3
you, put no - one else
œ
J J R
Vocals Grade 2
?
⇥ œ ‰ ‰ Œ ⇥ œ Œ
j j ‰ j Œ
51
œ œ œ œ œ
68
Óœ Œ
Dm7 Fmaj 7
& œ. œ œœœ œ œœ œœœ

œœ œœ œœ œ
œ
œ œœ œœ œœ œœ œœ œ
œ œ œ
3 3 3 3
above you. It’s your

(Do love me, do, love me do, do love me do love me do.)
œ
? œœœ Œ Ó ‰ œ œ ‰ œ œ Œ
J R
? ‰ j ‰ j Œ Œ ‰ j Œ
53 œ œ œ œ œ œ œ
Em7 Em Em
& œ œ œ œœ œœ œœ
œ œ œœ œœ œ œœ œ œœ œœ œ
œœ œœ œœ
œ œœ œœ œœ
œ
3 3 3 3
sum - mer time, it’s your sum - mer time ma - gic.
(Do love me, do love me, do, do love me, do love me do.)
œ
? œœœ œœ ‰ œœ Ó ‰ œœ œœ ‰ œœ œœ Œ
J J R

? ‰ j ‰ j Œ Œ ‰ j Œ
55
œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ

? œœœ
Dm7 Dm Fmaj 7 Em7 Em
œœ ‰ œœ Ó ‰ œJ œ œ œ‰ œ œ œœ ‰ œœ Ó ‰ œœJ œœ ‰ œœ œœ Œ
J R‰ J J R
? ‰ j‰ jŒ Œ ‰ j Œ ‰ j‰ jŒ Œ ‰ j Œ
57 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœ œœ
? œœœœ
Dm7 Fmaj 7 Em7
‰ œœJ œœ ‰ œœ œœ Œ
Em
Œ Ó œ œœ ‰ œœ Ó ‰ œœJ œœ ‰ œœ œœ Œ
R J R
Vocals Grade 2
? ‰ j‰ jŒ Œ ‰ j Œ ‰ j‰ jŒ Œ ‰ j Œ
61 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
69
70
Vocals Grade 2

Technical Exercises
Group A: Scales
The natural minor scale should be prepared as shown below. The example below is shown from the starting note of A3,
however, you may perform it from a starting note of your choice. Please note: the examiner can play starting notes in the
range A3–G#4, but you may sing in any octave.
This test is performed to a compulsory metronome click. The examiner will ask you which starting note you have chosen.
You will hear the starting note followed by a one-bar (four click) count-in. You may perform this test using any vocal sound
except humming or whistling. The tempo is q =80.
A natural minor scale
¿ ¿ ¿ ¿
q = 80
4 œ
&4 œ œ œ œ œ œ œ œ
w w œ œ œ œ œ ˙
Group B: Arpeggios
In this group, both of the arpeggio exercises need to be prepared as shown below. You will be asked to perform one of them
in the exam, as chosen by the examiner.

The examples are shown on the starting note of A3, but you may perform them from a starting note of your choice. Please
note: the examiner can play starting notes in the range A3–G#4, but you may sing in any octave.
A minor arpeggio | Pattern 1
¿ ¿ ¿ ¿
q = 80
& 44 œ œ œ œ œ œ
Œ Ó
w w œ œ œ
A minor arpeggio | Pattern 2
¿ ¿ ¿
q = 80
& 43 œ œ œ œ œ œ Ó
˙. ˙. œ œ œ œ œ œ œ
Vocals Grade 2
71
Technical Exercises
Group C: Intervals
In this group, both the major 3rd and minor 3rd intervals need to be prepared as shown below. You will be asked to perform
one of them in the exam, as chosen by the examiner.
The examples below are shown on the starting note of F4, but you may perform them from a starting note of your choice.
Please note: the examiner can play starting notes in the range A3–G#4, but you may sing in any octave.
Major 3rd interval
¿ ¿ ¿ ¿
q = 90
4
Candidate sings:
&4 w w ˙ ˙
Minor 3rd interval
¿ ¿ ¿ ¿
q = 90
& 44 w
Candidate sings:
w ˙ b˙

Vocals Grade 2
72
Technical Exercises
Group D: Technical Studies

This group consists of two Technical Studies: one rhythmic and one melodic. The examiner will ask you to perform one
in the exam. The examiner will decide which, so you must prepare both before the exam. For the melodic study, you may
choose Option 1 (in A major) or Option 2 (in E major) – both examples are shown below. If the examiner chooses the
melodic test, they will ask you which option you have chosen.
The rhythmic test starts with a four-beat count. The melodic test starts with a root note followed by a four-beat count. Both
tests should be performed to the appropriate backing track which can be found in the audio.
Important note
The melodic studies below are not gender specific. You are free to choose the range which best matches your voice,
regardless of the gender of the vocalist on the recorded examples.
Test 1 | Rhythmic (Rhythmic Accuracy)
4 ¿ ¿ ¿ ¿
q = 86
&4 .. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
Time stood still. I was in a daze. My mind all fog - gy, like I was in a haze, I was a -
& ¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ..
mazed, how I slipped down this hole. I fell so fast knew I was out of con - trol.

Test 2 | Melodic (Dynamic Change)
Option 1: A major
## ¿ ¿ ¿ ¿ F #m
q =100
& # 44 .. ..
A E D A D A
w œ œ œ œ œ œ
w w ˙. œ œ œ œ ˙
p f p
Sing loud - er and bright - er then bring it down at the end.
Option 2: E major
(Vocal on recording sounds an octave lower than notated)

#### 4 ¿ ¿ ¿ ¿ C #m
q =100
.. w œ œ œ œ œ œ ..
E B A E A E
& 4 w w ˙. œ œ œ œ ˙
p f p
Sing loud - er and bright - er then bring it down at the end.
Vocals Grade 2
73
Sight Reading
In this section you have a choice between:
■ Either – a Sight Reading test

■ Or – an Improvisation & Interpretation test (see facing page).
The examiner will ask you which one you wish to choose before commencing. Once you have decided, you cannot change
your mind.
The examiner will give you a four-bar melody in the key of C major or A minor, covering a range up to a major 3rd. You will
be given 90 seconds to practise, after which you will perform the test. The tempo is q =70–80.
During the practice time you will be given the choice of a metronome click throughout or a count-in of four beats at the
beginning. Whichever option you choose, the practice time will start with the examiner playing the root note. You will
receive the same choice when performing the test. The test will start with the root note.
Note: You may sing in any octave and perform the improvised bars using any vocal sound except humming or whistling.
¿ ¿ ¿ ¿
q = 70
4 Œ Œ
&4
w w œ ˙ œ œ œ ˙ œ œ w
Please note: the test shown is an example. The examiner will give you a different version in the exam.

Vocals Grade 2
74
Improvisation & Interpretation
The examiner will give you a chord sequence in the key of A minor. You will hear the backing track three times. The
first and second time is for you to rehearse and the third time is for you to perform the final version for the exam. Each
playthrough will begin with the root note and a four-beat count-in. The backing track is continuous throughout, so once the
first playthrough has finished, the root note and count-in of the second and third playthroughs will start immediately. The
tempo is q =80–90.
You may perform the improvised bars in this test using any vocal sound except humming or whistling.
¿ ¿ ¿ ¿
q = 90 Rock
4
& 4 .. ’ ’ ’ ’ ..
Am Dm Em Am
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
w w

Vocals Grade 2
75
Ear Tests
In this section, there are two ear tests:
■ Test 1: Melodic Recall

■ Test 2: Rhythmic Recall
You will find one example of each type of test printed below and you will be given both of them in the exam.
Test 1 | Melodic Recall

The examiner will play you a two-bar melody played to a drum backing. It will use the first three notes of the C major scale
and the first note will be the root note. You will hear the test twice. Each time the test is played, it is preceded by the root
note and a four-beat count-in. There will be a short gap for you to practise after each playthrough. Next you will hear a vocal
count-in, after which you should sing the melody to the drum backing. The tempo is q =85.
It is acceptable to sing over the track as it is being played as well as practising after the first two playthroughs. The length
of time available after the second playthrough is pre-recorded on the audio track, so the count-in may begin while you are
still practising.
You may perform this test using any vocal sound except humming or whistling.
¿ ¿ ¿ ¿
q = 85
& 44 .. ˙ œ œ
..
w w ˙ ˙

Vocals Grade 2
76
Test 2 | Rhythmic Recall
This test comes in two parts:
Part 1 | Rhythmic Recall

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

Vocals Grade 2
77
General Musicianship Questions
In this part of the exam you will be asked five questions. Four of these will be about general music knowledge and the fifth
will be about your voice.
Part 1 | General Music Knowledge

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

■ Any pitch name (You will not need to state flat, sharp or natural)
■ Whole-, half-, quarter-, eighth- and 16th-note values
■ Any rest value
You will be asked to identify and explain:

■ The meaning of the 4/4 time signature marking
■ The meaning of repeat marks, first and second time bars
■ The meaning of staccato marks
■ The meaning of slurs
Part 2 | Your Voice

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

■ What is the meaning of ‘diction’?
■ What is the meaning of ‘tone’?
■ During a song, when would be a better time to take a breath?
■ Why is posture important when singing?
Vocals Grade 2
78
Pre-Examination Checklist
PERFORMANCE PIECES
Piece 1:
Piece 2:
Piece 3:
TECHNICAL EXERCISES
Group A: Scale Starting note:
Group B: Arpeggios Starting note:
Group C: Intervals Starting note:
Group D: Technical Studies Test 1 | Rhythmic

No options
Test 2 | Melodic (Dynamic Change)

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

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

§ Part 2 | Your Voice
Vocals Grade 2
79
Entering Exams, Exam Procedure & Marking Schemes
Entering Exams
Entering a Rockschool exam is easy. You can enter online at www.rslawards.com or by downloading and filling in an exam
entry form. The full Rockschool examination terms and conditions as well as exam periods and current fees are available
from our website or by calling +44 (0)345 460 4747.
Exam procedure
In the exam you can decide whether to start with the Performance Pieces or the Technical Exercises. These will be followed
by the Supporting Tests (Ear Tests and Quick Study Pieces) and General Musicianship Questions.
Use Of Microphone
At Levels 1 and 2 (Grades 1–5) microphone use is optional, although candidates may use one if they feel it will enhance their
performance. At Level 3 (Grades 6–8) microphone use is obligatory for all aspects of the exam.
Marking Schemes
Below are the marking schemes for the two different types of Rockschool exam.
Grade Exams | Grades 1–5
ELEMENT PASS MERIT DISTINCTION
Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20

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

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

Vocals Grade 2
TOTAL MARKS 60%+ 75%+ 90%+

80
Musical Interpretation & Free Choice Pieces
Musical Interpretation
Musical interpretation is allowed at all grades in both the Grade Exam and Performance Certificate. Rockschool encourages
individual musicality, articulation, expression and use of dynamics when performing. This applies anywhere in the exam
other than the technical exercises where articulation when specified must be observed. Candidates are reminded that all
musical interpretation should be stylistically appropriate. For reference, the downloadable audio accompanying this book
contains example performances of the pieces by professional singers demonstrating their interpretation of the scores.
Free Choice Pieces (FCPs)

Free Choice Pieces are accepted in all Vocals grades. An FCP is defined as any piece outside the grade book, and can fall into
two categories:
1) W
ider Repertoire: a full list of suggested pieces can be found on our website www.rslawards.com
2) O
wn Choice: Candidates can choose or compose any song in any genre outside of the grade book and wider repertoire.
These songs should demonstrate a comparable level of technical and musical demand to the pieces given in the set
selections in the grade books which can be referred to as an indication of appropriate level. Candidates should refer to
the Free Choice Piece Criteria available on our website when accessing the level of a potential piece: www.rslawards.com/
music/graded-music-exams/free-choice-pieces
For all grades, candidates can choose the following number of FCPs in the exam:
Graded Examinations and Graded Certificates:

Up to 2 of 3 pieces can be free choice. (At least one piece must be from the grade book.)
Performance Certificates:
Up to 3 of 5 pieces can be free choice. (At least two pieces must be from the grade book.)

Candidates must provide a device containing the downloaded audio for free choice piece backing tracks. This can be any
device with a 3.5mm jack output eg. MP3 player, portable CD player, phone or tablet. We recommend that where possible
two different sources are brought as a back-up. Audio must be available ‘offline’ – it cannot be streamed as we cannot
guarantee that good internet connectivity will be available in all venues.
Free Choice Pieces must be available in fully notated sheet music and candidates must bring a copy of the sheet music for
the examiner to refer to during the examination. If there is any doubt about the appropriateness of the chosen piece, please
contact [email protected]
For a full list of vocals wider repertoire, and more information on free choice pieces including free choice piece criteria,
please visit www.rslawards.com/free-choice-pieces
Vocals Grade 2
81
Copyright Information
Afterglow
(Sheeran/Hodges/Gibson)
Sony Music Publishing (UK) Limited/Universal Music Publishing Limited/Kobalt Music Publishing Ltd.
Almost There
(Newman)
Universal Music Publishing Limited
Can’t Stop the Feeling!

(Timberlake/Max/Shellback)
Universal Music Publishing Limited/Universal Music Publishing MGB Limited/Kobalt Music Publishing Ltd.
Don’t Upset the Rhythm

(Astasio/Pebworth/Morrison/Shoniwa/Smith)
Warner Chappell Music Publishing Limited/Universal Music Publishing Limited
I Try
(Gray/Ruzumna/Lim/Wilder)
Wixen Music UK Ltd./BMG Rights Management (UK) Limited
Seven Nation Army

(White)
Universal/MCA Music Limited
Sign of the Times

(Styles/Bhasker/Salibian/Johnson/Rowland/Nasci)
Universal/MCA Music Limited/BMG Rights Management (UK) Limited/Concord Music Publishing LLC/
Universal Music Publishing Limited
Summertime
(Gershwin/Heyward/Heyward/Gershwin)
Downtown Music UK Limited/Warner Chappell North America Limited/Ira Gershwin Music
Summertime Magic
(Goransson/Glover)
Universal/MCA Music Limited/Kobalt Music Publishing Ltd.
Your Song
(John/Taupin)
Universal/Dick James Music Limited
Vocals Grade 2
82
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

RSK200149 Rockschool Vocals 2021 G2 DIGITAL 09nov2021

Uploaded by

Copyright:

Available Formats

RSK200149 Rockschool Vocals 2021 G2 DIGITAL 09nov2021

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

RSK200149 Rockschool Vocals 2021 G2 DIGITAL 09nov2021

Uploaded by

Copyright:

Available Formats

Vocals

For all works contained herein:

Visit Hal Leonard Online at

Contact us: In Europe, contact: In Australia, contact:

© 2021 by RSL Awards Ltd. and Hal Leonard Europe Ltd.

2021 Syllabus 2014 Syllabus Content

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

Contacting RSL Awards

Introductions & Information

7 Can’t Stop the Feeling!........................... Justin Timberlake

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

Genre: Contemporary R&B ■ Confident falsetto management with secure intonation

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

? 44 ww www www www

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

œœœ œœœ œœœ œœœ

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

Released: 2020 Genre: Folk Pop

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

A mil - lion col - ors of ha - zel, gold - en and red.

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

Album: Porgy & Bess Genre: Jazz

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

Am7 D9 Am7 D9 Am7 D7

& œœ .. j œœœ œœœ

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

hush lit - tle ba - by, don’ yo’ cry.

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

& Œ œœœ # œœœ ˙˙˙

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

Freely, straight 8ths

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

Album: Harry Styles Genre: Pop/Soft Rock

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

? b ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

Wel - come to the fi - nal show. Hope you’re wear - ing

? ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

? ˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

˙ ˙˙˙ ˙˙˙ ˙˙˙

? ˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ œ˙˙ œ

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]

? ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

˙ ˙˙˙ ˙˙˙ ˙˙˙ ww

RSL-198830107683 / 1 / Maya Stoyanova / [email protected]