Sei sulla pagina 1di 66

Male Vocals

Grade 8

Performance pieces, technical exercises and in-depth guidance


for Rockschool examinations

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


Input the following code when prompted: UVJ6FYDQNA
For more information, turn to page 4

www.rslawards.com

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

Backing tracks produced by Music Sales Limited


Supporting test backing tracks recorded by Jon Musgrave, Jon Bishop and Duncan Jordan
Supporting test vocals recorded by Duncan Jordan
Supporting tests mixed at Langlei Studios by Duncan Jordan
Mastered by Duncan Jordan
MUSICIANS

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

Compiled and edited by James Uings, Simon Troup, Stephen Lawson and Stuart Slater
Internal design and layout by Simon and Jennie Troup, Digital Music Art
Cover designed by Philip Millard, Philip Millard Design
Fact Files written by Stephen Lawson, Owen Bailey and Michael Leonard
Additional proofing by Chris Bird, Ronan Macdonald, Jonathan Preiss and Becky Baldwin
Cover photography Startraks Photo / Rex Features
Full transcriptions by Music Sales Ltd.
SYLLABUS

Vocal specialists: Martin Hibbert and Eva Brandt


Additional Consultation: Emily Nash, Stuart Slater and Sarah Page
Supporting Tests Composition: Martin Hibbert, James Uings, Jon Musgrave, Jodie Davies,
Ryan Moore, Chris Hawkins, Jonathan Preiss
DISTRIBUTION

Exclusive Distributors: Music Sales Ltd.


CONTACTING ROCKSCHOOL

Male Vocals Grade 8

www.rslawards.com
Telephone: +44 (0)845 460 4747
Email: info@rslawards.com

Table of Contents
Introductions & Information


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

Rockschool Grade Pieces







5 Ray Charles. . ....................................................... . A Song For You


13 OneRepublic..................................................... . . . . . . . . . . . . . . . Apologize
19 Jeff Buckley........................................................ . . . . . . . . . . . . . . . . . . . . . . . Grace
25 Foo Fighters....................................................... . . . The Pretender
37 Bon Jovi......................................................... Livin On A Prayer
45 The Commitments........................ Try A Little Tenderness

Technical Exercises

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

Supporting Tests


58 Quick Study Piece


60 Ear Tests
61 General Musicianship Questions

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

Male Vocals Grade 8

Welcome to Rockschool Male Vocals Grade 8


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

Vocals Exams

At each grade you have the option of taking one of two different types of examination:
Grade Exam: a Grade Exam is a mixture of music performances, technical work and tests. You prepare three pieces
(two of which may be Free Choice Pieces) and the contents of the Technical Exercise section. This accounts for 75%
of the exam marks. The other 25% consists of: a Quick Study Piece (10%), two Ear Tests (10%), and finally you will be
asked five General Musicianship Questions (5%). The pass mark is 60%.
Performance Certificate: in a Performance Certificate you sing five pieces. Up to three of these can be Free Choice
Pieces. Each song is marked out of 20 and the pass mark is 60%.

Book Contents

The book is divided into a number of sections. These are:


Exam Pieces: in this book you will find six well-known pieces of Grade 8 standard. Each song is preceded by a Fact File
detailing information about the original recording, the artist who sang on it and some recommended listening if you
wish to research the artist further.
Piano and guitar notation: every exam piece is printed with a piano part and guitar chords. Both are a representation
of the overall band arrangement. These have been included to assist you with your practice should you wish to use a
piano and/or guitar for accompaniment. In your exam you must perform to the backing tracks provided.
Vocal score: in addition to the piano/vocal/guitar arrangement there is also a separate vocal-only score to allow you to
view the vocal part on a single sheet of paper.
Technical Exercises: there are a range of technical exercises in this grade. Some are notated in full, and some give a
range of starting notes.
Supporting Tests and General Musicianship Questions: in Vocals Grade 8 there are three supporting tests a Quick
Study Piece, two Ear Tests and a set of General Musicianship Questions (GMQs) asked at the end of each exam. Examples
of the types of tests likely to appear in the exam are printed in this book.
General Information: finally, you will find information on exam procedures, including online examination entry,
marking schemes, information on Free Choice Pieces and improvisation requirements for each grade.

Audio

Each song in Vocals Grade 8 has an audio track that can be downloaded from RSL directly at www.rslawards.com/
downloads. This is a backing track with the vocal taken off so you can sing along with the band. The backing tracks should
be used in examinations. There are also audio examples of the supporting tests printed in the book.
When downloading audio files you will need to input this code when prompted: UVJ6FYDQNA
The audio files are supplied in MP3 format, the most widely compatible audio format in common usage MP3s will likely
be familiar to anyone with a computer, iPod, smartphone or similar device. Once downloaded you will be able to play them
on any compatible device; we hope that you find this extra versatility useful.

Male Vocals Grade 8

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

Supporting Test Notation

The supporting tests in this book and its corresponding exam are written one octave higher than they sound. This is
common practice and avoids excessive use of ledger notes.
We hope you enjoy using this book. You can find further details about Rockschools Vocals and other instrumental
syllabuses on our website: www.rslawards.com

Ray Charles
ALBUM:
RELEASED:

A SONG FOR YOU


MY WORLD

LABEL:

WARNER BROS.

GENRE:

SOUL

PERSONNEL:

RAY CHARLES (VOX+PIANO)

UK CHART PEAK:

N/A

US CHART PEAK:

N/A

BACKGROUND INFO


NOTES

A Song For You was Ray Charless 1993 cover of


Leon Russells tender 1970 ballad, which Elton John
described as an American classic. It featured on Ray
Charless album My World.
THE BIGGER PICTURE

q=56

1993

Charles was 62 when he recorded the 1993


album My World, an attempt to update his sound by
including programmed rhythms and influences in
vogue at the time. It was praised for Charless ability
to put his indelible stamp on the songs of other artists.
When interviewed in Entertainment Magazine in
1993, he summed it up by saying: The best way to
understand what I do is to think of an actor. You get
a script, you read it and then you ask yourself if you
can fit into that script. Can I become that character?
Thats what I do with my songs. When I think about
doing a song, the first thing I deal with is the lyrics:
are they making any sense to me, can I put myself into
3frA Song For You finds Charles in
this? Leon Russells
classic mood on vocal and keys, backed by a dynamic
orchestral arrangement. A Song For You has that
line about: Living my life on stages, with 10,000
people watching, he said. You could tell that fella
had been there.

Ray Charles Robinson was born in Georgia in 1930,


and lost his sight aged seven due to glaucoma. At a
school for the deaf and blind in St Augustine, Florida
he learned to play piano, sax, trumpet and clarinet. By
the age of 15, he was touring in the south, and when
he moved to Seattle, his first recordings followed.
Stylistically indebted to his idol, Nat King Cole, he
played on (and arranged) Guitar Slims 12-bar blues
hit The Things That I Used To Do and soon had
a breakthrough of his own with the song I Got A
Woman in 1955. A string of hits followed, including
Whatd I Say and Hit The Road, Jack, and Charless
combination of gospel with blues and jazz coalesced
into a sonic brew that became soul. The Father Of
Soul didnt rest on his laurels. He had hits in the big
band style, and brought his talents to the country
and western genre in the 1960s. He re-emerged in
the 1990s, and died of liver failure in 2004. A major
biopic, Ray, was released that year.

Cm

Ive

RECOMMENDED LISTENING

Ray performs the song together with its author,


Leon Russell, and Willie Nelson on the live DVD
Willie Nelson & Friends: Live And Kickin. The Very
Best Of Ray Charles is also recommended.

been s
Male Vocals Grade 8

SONG TITLE:

A Song For You


Ray Charles

A Song For You

Words&MusicbyLeonRussell

q=56

G7

3fr

Cm

G7/B
3fr

Ive

been so

ma - ny

pla - ces in my

Male Vocals Grade 8

life

and

time.

Cm/Bb

Cm/A

3fr

Ive sung

lot of

songs, Ive made some

4fr

bad rhymes.

Copyright1970SkyhillPublishingCompanyIncorporated,USA. RondorMusic(London)Limited.
AllrightsinGermanyadministeredbyRondorMusikverlagGmbH.AllRightsReserved.
InternationalCopyrightSecured.

Ebsus2/G
4fr

Ab

Eb/Bb
4fr

Eb/G

Ive act - ed out my life on sta - ges

with ten thou- sand peo - ple watch - ing,

Bb7sus4

6fr

but were

a - lone

just

a - sing

know your i - mage of me

ing this song

for you.

G7/B

hope to

be,

ba - by.

Cm/A

treat - ed you un - kind - ly

G7
6fr

is what I

Cm/Bb

Eb

3
3

Cm
3fr

and Im

6fr

Fm7

4fr

but girl,

cant you see

Male Vocals Grade 8

Ab

Ab

Eb/G
4fr

Fm7

Cm

Eb/Bb

4fr

6fr

You came out in front

my song

for

you.

Cm/A

of the

truth

with - hold - ing no - thing.

Ab/Eb

Eb

G7
6fr


and

G7

4fr

Ab

Cm/Bb

You taught me pre - cious se - crets

Eb

6fr

sing - ing

and now Im

G7/B

6fr

3fr

see through me

Bb7sus4

6fr

cos were a - lone

So darl - ing, cant you please

Eb/Bb
4fr

Male Vocals Grade 8

Ab

theres no -one more im - por - tant to me?

Eb/G

was hid - ing,

yeah.

Cm

G7/B

Eb/Bb

Cm/A

3
3

3fr

6fr

But now Im

so much bet - ter

F7
3fr

Bb7sus4

Bb

6fr

6fr

cos my loves

lis - ten to the me - lo - dy

dont come to - ge - ther,

Gm7
4fr

Ab

so if my words

4fr

in there

hid - ing.


G7

N.C.

3fr

G7/B
3fr

love you in

a place

where theres no


space

or

time,

Male Vocals Grade 8

Cm

Cm/Bb

Cm/A

4fr

love

you for my life,

is ov -

Eb/Bb

4fr

Eb/Db

Eb/G

a - lone

Bb7sus4

Eb

6fr

and I

were

6fr

we

was

sing

Db

6fr

ing my song

for

Male Vocals Grade 8

you.

Ab

4fr

10

re - mem - ber when we walked to - ge - ther,

er

Ab

mine.

Fm7

And when my life

Eb/G
4fr

friend of

Ab

cos youre a

Gm7b5

C7

Fm7/Eb

Dm7b5

G7#5

3fr

I
5

Cm

G7/B


3fr

loved



ff

you in a place

where

theres no

Ive loved you for my life,

yes,

Ab

time,

4fr



youre a friend of mine.

Eb/G

space or

Cm/A

3fr

Cm/Bb

Fm7

And when my life

is ov - er,

Eb/G

4fr

re - mem - ber when we were to - ge - ther,

Male Vocals Grade 8

G7

5fr

Fm7

11

Ab

Eb/Bb
4fr

we

were

Ab

Bb7sus4

6fr

a - lone

Eb/Bb
4fr

Eb

6fr

and

was

sing - ing my

song

for you.

Eb

Ab
6fr

Male Vocals Grade 8

12

song,

6fr

sing - ing my song,

6fr


sing - ing my

was

sing - ing my

Bb

poco rall.

Eb

sing - ing my song,

4fr

sing - ing my song,

Ab/Eb

were a - lone and I

Ab
4fr

we

4fr

Yeah,

Db

was sing - ing this song for you.

Eb/G
4fr

6fr

we were a - lone and I

Yes,

Bb7sus4

6fr

6fr

song.

OneRepublic
ALBUM:
RELEASED:

APOLOGIZE
DREAMING OUT LOUD

LABEL:

INTERSCOPE

GENRE:

POP

PERSONNEL:

q = 122

2006

3fr

RYAN TEDDER (VOX+KEYS)


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

UK CHART PEAK:

US CHART PEAK:

C7sus4

Cm

3fr

3fr

BACKGROUND INFO

NOTES

Apologize was the debut single from OneRepublic.


Thanks to a remix by Timbaland not to mention
the songwriting skills of frontman Ryan Tedder it
became a monster hit in 2007.
THE BIGGER PICTURE

C7sus4/Ab

Cm

OneRepublic formed in Los Angeles circa 2003,


after frontman Ryan Tedder persuaded his former
school bandmate Zach Filkins to join him in LA.
Tedder had worked in the music industry since
college, first as an intern at Dreamworks Records,
then as an apprentice to RnB producer Timbaland,
who also helped Tedder with his own development as
a music artist. OneRepublic a rock band that has an
obsession with pop melodies, according to Tedder
were signed to Columbia Records and spent two and
a half years working on their debut album. However,
just months before the records scheduled release date,
the band were dropped by their label. Fortunately,
OneRepublic were gaining fans on MySpace. We
blew up out of nowhere, said Tedder. OneRepublic
were hot property and offers from record companies
flooded in. In the end, the band decided to sign with
a subsidiary of Interscope, represented by Tedders
former employer Timbaland.

By the time OneRepublic signed their deal


with Interscope, the bands debut album was already
written, including a sparse ballad called Apologize.
Ryan Tedder told DigitalSpy: Timbaland then
re-mixed the song and told us that he thought the
song was a hit with or without him. But then he
said, If you let me put this song on my album, it
will speed the process up But OneRepublic were
wary, concerned that a remix would give people the
wrong impression of the band. Were not hard rock
but we are a rock band, Tedder said, So to have our
song remixed and made so much more pop, we were
very reluctant. But then we were like, If this opens
the door and allows
3fr more people to hear our album,
it gives us the opportunity to let them hear our other
songs. I think we can win them over. And win
them over they did; Apologize was an international
success, and in America it ranked as the biggest
radio airplay hit in the history of Billboards weekly
airplay chart.

Csus4/Ab

Cm

3fr


RECOMMENDED LISTENING

OneRepublics debut album, Dreaming Out Loud,


may have had a troubled launch, but it stands as the
best testimony to the bands abilities.

Male Vocals Grade 8

SONG TITLE:


13

Csus4/Ab

Apologize
OneRepublic

Apologize
q = 122
Cm

C7sus4/Ab

3fr

Cm

C7sus4/Ab

3fr

Words&MusicbyRyanTedder

Eb

3fr

C7sus4/D
6fr

3fr

Eb

3fr

C7sus4/D

6fr

3fr

Cm

Csus4/Ab

3fr

Eb

3fr

C7sus4/D

6fr

3fr

Cm

Male Vocals Grade 8

14


Csus4/Ab

3fr

Eb

3fr

C7sus4/D

6fr

3fr

1. Im

Copyright2005Sony/ATVTunesLLC/VelvetHammerMusic/MidniteMiracleMusic.
Sony/ATVMusicPublishing.
AllRightsReserved.InternationalCopyrightSecured.

Cm

Csus4/Ab
3fr


hold - ing on your rope,
got me
(2.) take an - oth - er chance, take a

Eb

3fr

6fr

ten
fall,

feet
take a

off
shot

the ground.
for you.

C7sus4/D

Cm

3fr

Csus4/Ab

3fr

3fr

but I
And Im hear - ing what you say,
and I
need you like a heart needs a

just
beat,

cant
but its

make
noth -

a sound.
in new.

Eb

C7sus4/D

6fr

3fr

Yeah,

yeah.

You tell me that you need


I loved you with a fire

Eb

3fr

go and cut
now its turn


me down.
ing blue.

Csus4/Ab

then you

Cm

3fr

me,
red

C7sus4/D
6fr


But wait,
And you say,

3fr

you

Male Vocals Grade 8

Oh,

15

Cm

Csus4/Ab
3fr

tell me that youre sor


sor - ry like an an

ry,
gel

did - nt think Id turn


heav - en let me think

its

(1 only)

too

Its

Cm7

too late

too late.

to a - pol - o - gize.

said, its

C7sus4/D

Its too late.

3fr

6fr

gize.

Eb

a - pol - o -

3fr

C7sus4/D

C7sus4/Ab
3fr

and say,
but Im

to

late

6fr

Male Vocals Grade 8

3fr

6fr

a - round
was you,

Eb

16

that

3fr

C7sus4/Ab

Cm7

3fr

a - fraid,

C7sus4/D

Eb

3fr

3fr


Too late.

1.

Cm

Csus4/Ab
3fr

Eb

3fr

Csus4/D
6fr

3fr

Oh.


2. Id

2.

Cm

C7sus4/Ab
3fr

6fr

Eb

3fr

Csus4/D

3fr

Csus4/D
6fr

3fr

Its

Male Vocals Grade 8

Eb

Csus4/Ab
3fr

Cm

3fr

17

Cm7

C7sus4/Ab


3fr

to a - pol - o - gize.

C7sus4/D

Cm7

I said, its

too late

too late.

Cm

Male Vocals Grade 8

rall.

to a - pol - o - gize.

Its

2.

C7sus4/D

3fr

3fr

I said, its

Im

Eb

3fr

hold - ing

on

your

Csus4/Ab

3fr

rope,

got

me

feet

ten

off

the

ground.

6fr

18

C7sus4/Ab

1.

C7sus4/D
6fr

too late.

3fr

Eb

Its

3fr

3fr


6fr

too late

Eb

3fr

Grac
Jeff Buckley
GRACE

ALBUM:

GRACE

RELEASED:
LABEL:

COLUMBIA

GENRE:

ALT. ROCK

PERSONNEL:

Brightly q. = 64

1994

Fm

JEFF BUCKLEY (VOX+GTR)


GARY LUCAS (GTR)
MICK GRNDAHL (BASS)

mf

MATT JOHNSON (DRUMS)


UK CHART PEAK:

N/A

US CHART PEAK:

N/A

Em

BACKGROUND INFO

NOTES

Grace was the title track of Jeff Buckleys only


studio album released in his lifetime, Grace.

The song Grace originated from Buckleys time


playing in New York City in 1991. The song was
based on an instrumental called Rise Up To Be,
written by Buckleys then-collaborator, guitarist
Gary Lucas. Lucas was 20 years Buckleys senior and
a veteran of Captain Beefhearts band, but the two
worked together under the name Gods And Monsters.
Buckley developed the song but Lucas has a co-writer
credit, as he does for Graces opener, Mojo Pin.
Buckleys lyrics were inspired by his saying goodbye to
his then-girlfriend at the airport on a rainy day. In his
spoken intro on the Live At Sin- EP, Buckley says, Its
about not feeling so bad about your own mortality
when you have true love. Buckleys leaping and
vibratod vocals were a trademark he could literally
go from whisper to scream in a single song. Buckley
cited vocal inspirations as diverse as Led Zeppelins
4. Billie
Robert1,Plant,
Nusrat Fateh Ali Khan, Morrissey,
2, 3.
s4
Dsu
Holliday and Robert Johnson.
Dsus4

THE BIGGER PICTURE


Jeffrey Scott Buckley (19661997) was one of the
most critically-acclaimed singers of the 1990s. He was
the son of 1960s1970s folk/jazz artist Tim Buckley,
but the two met only once, when Jeff was eight years
old. Buckleys mother is a classically-trained pianist
and cellist, and Buckley decided to pursue a career in
music aged 12. He started playing a guitar he found
in his grandmothers closet and played in his school
jazz band. As an early teen, he listened to a lot of
progressive/heavy rock such as Rush, Genesis, Yes
and Led Zeppelin. Buckley attended LAs Musicians
Institute and completed a one-year course at 19.
He sometimes seemed ambivalent about music
school. Buckley once told Rolling Stone it was the
biggest waste of time, but later noted he appreciated
studying music theory, saying, I was attracted to
really interesting harmonies, stuff that I would hear in
Ravel, Ellington, Bartk Grace was the only studio
album he completed. Buckley drowned in 1997 while
working on his second album, subsequently released
as Sketches For My Sweetheart The Drunk.

RECOMMENDED LISTENING

Start with Grace, full of remarkable singing. For

contrasting Buckley vocals, listen to his gently soulful


falsetto on Everybody Here Wants You and Opened
Once from Sketches

sfz

Male Vocals Grade 8

SONG TITLE:

1. Ther
2. An
3. An


19

Grace

Grace

Jeff Buckley
Words&MusicbyJeffBuckley&GaryLucas

Brightly q. = 64
Fm

Gm

mf

Em

1, 2, 3.

Male Vocals Grade 8

20

Dsus4

mf

4.

Dsus4

sfz

Em

1. Theres the moon


2. And
she weeps
3. And
I
feel


ask - ing to
on
my
them drown my

Copyright1994Sony/ATVTunesLLC/ElViejitoMusic/GaryLucasMusic,USA.
Sony/ATVMusicPublishing/Universal/MCAMusicLimited.
AllRightsReserved.InternationalCopyrightSecured.

stay
arm,
name,

so

Em

Eb



long e - nough for
to
walk - ing
sy
ea

the clouds
the bright
to know

to fly
lights

me a - way.
in
sor
row.
and
forget with this kiss.

Fmaj9

com - ing,
time
my
drink a bit of wine, we
a - fraid to
not

die.
love.

Im
both might
go,

go

not a - fraid,
to - mor
but it goes

My
And the

row,
so

slow...


Oh,
Oh,

its
Im

To Coda

(a -) fraid
oh,

to
my



Em

Eb

Em

Em

F#dim

fad
rain

is

ing voice
fall

G6

A6

sings
ing

of
and I be -

Male Vocals Grade 8

Fmaj9

21

Bm

A%

love.
- lieve

Em

F#dim

G6

cries
minds

Em

my time


has

come.

But she
It re -

Em

me

of

to

time,
leave,

A%

of
I might

oh,
leave

be -

Em

Fmaj9

time.
- hind.

the click - ing


the pain

Bm7

A6

Wait

in the

fire,


wait

in

the fire.

Eb

Male Vocals Grade 8

22

Em/Eb

Eb

Em/Eb

Fmaj9

Em

Wait

in

the fire,


wait

in

the fire.

Coda

Em

Burn.

Em

D.C. al Coda


Burn.

To Coda

Eb

F#11(b9)

G6

Ah.

Em


Fmaj9

G6

Burn.



Fmaj9

B5

A5
2fr

Please.

Male Vocals Grade 8

Eb

23

Em

F#dim

G6

A6

Bm('11)
2fr

(2 & 3 vocal ad lib.)

1, 2.

3.

A'9

Please.

Em

A'9

leave

be

hind

D.C. al Coda


ay

ay.

F9(#11)

Coda


Em

(1-4 vocal ad lib.)


in
(5-7) Wait

the fire,

Male Vocals Grade 8

24

in

Em/Eb

the fire.

7.

Em/Eb

wait

1-6.

dim.

te
re
P
e
h
T
Foo Fighters
SONG TITLE:
ALBUM:

THE PRETENDER

q = 88
A9

ECHOES, SILENCE,
PATIENCE & GRACE

RELEASED:

2007

LABEL:

RCA

GENRE:

ROCK

PERSONNEL:

TAYLOR HAWKINS (DRUMS)


NATE MENDEL (BASS)
CHRIS SHIFLET (GTR)
8

US CHART PEAK:

37

DAVE GROHL (VOX+GTR)

UK CHART PEAK:

D9/

A9

The Pretender was the first single released from


the Foo Fighters sixth studio album, Echoes, Silence,
Patience & Grace.
THE BIGGER PICTURE
Not content with being a member of just one of
rocks all-time great bands, Nirvana drummer Dave
Grohl emerged from that outfits tragic end in 1994 to
rise again a year later with Foo Fighters, a project that
began as a 100-copy demo. The Foos signed to RCA
and released these songs, which Grohl had played all
the instruments on, as their eponymous debut. This
Is A Call proved a popular single, and the bands
follow-up albums, 1997s The Colour And The Shape
and 1999s There Is Nothing Left To Lose, ushered in
various line-up changes and a more polished sound,
yielding a reservoir of hits such as Everlong, Monkey
Wrench, Learn To Fly and My Hero. 1995s double
album In Your Honor comprised a hard-edged rock
half and a star-studded acoustic half, whereas 2007s
Echoes, Silence, Patience & Grace mixed the two
sounds, and saw second-album producer Gil Norton
return to the desk. Almost two decades on, the bands
remarkable consistency has earned Foo Fighters their
place in the pantheon of modern rock acts.


The Pretender showcases what the Foo Fighters

NOTES

You know they all


do
best.
An exercise
dark. it begins
the dynamics,
in in rock
p you
Kee
with a subdued, contemplative arpeggio intro before
relentlessly upping the ante with layers of guitar and
a chanted chorus, which Grohl admits may have been
influenced by the Sesame Street song One Of These
Things Is Not Like The Other. Then the song takes
a detour, swerving between a Chuck Berry-esque
shuffle, the subdued intro and the all-out onslaught
of the chorus all in a breathless four and a half
minutes. It was a relatively spontaneous creation, as
Dave Grohl told Guitar World: It was just something
I fooled around with between takes We put the
whole
thing
9 together in five minutes. Then we
A
recorded a demo version of it, and our demo version
wound up being the basis of the recorded version. My
guitars that we used on the demo are the ones on the
final version.

the
in
Keep you
RECOMMENDED
LISTENING

dark,

and

so

all

it


AndTheShape
and There Is Nothing

LeftTheTo Colour

for crafting
Lose
Grohls knack
demonstrate
memorable melodic hooks, while 2011s Wasted Light,
helmed by Nirvana producer Butch Vig, is a hardhitting granite slab of rock.

Male Vocals Grade 8

BACKGROUND INFO


25

The Pretender

The Pretender
q = 88
A9

A9

D9/F#

in

the

dark.

You know they all

A9

Male Vocals Grade 8

F7

in

the

dark,

and

so

it

all

F7

be - gan.

pre - tend.

D9/F#

Keep you

26

F7

Words&MusicbyDaveGrohl,TaylorHawkins,
NateMendel&ChrisShiflett

D9/F#

Keep you

Foo Fighters

Copyright2007SongsOfUniversalInc./LivingUnderARockMusic/ILoveThePunk RockMusic/M.J.-TwelveMusic/FlyingEarformMusic.
UniversalMusicPublishingLimited/Universal/MCAMusicLimited/BugMusicLimited.
AllRightsReserved.InternationalCopyrightSecured.

Twice as fast
A5

Am

5fr

&

1. Send in

& # #
?

your


J J

j
fi

ske

le

j
fi
-

tons.

D/F#

fij
J
J J

Sing as

their

bones come

& #

?

j
fi

march - ing in

F2

a - gain.

# #


#
#
Am

&

& #

? n
n

&

fij
J

The need you

the se - crets

& #


J J

that

you


J J

keep are


J J

j
fi

bur

j
fi

ied

deep,

D/F#

at

the

rea

dy.

Male Vocals Grade 8

&

27

F2

&

j
fi

Are

you

& #

? n
n
&

read

ig

y?

no - rance, that

Male Vocals Grade 8

&

28

mak -

the wheel is

spin - ning

& #

?

ing

sense,

de - fense.


J J

in -

fi

ni


J J

ty,

but

D/F#

me.

Spin- ning

# #


#
#

old

Am

& #

? n
n

fin -ished

fij
J
J J

F2

D/F#

& # #


&

2. Im


J
J J

done plead - ing

fij

Am

Its

j
fi

nev

J
er

end

ing,

#
# #



# #

F2

j
fi

nev

er

end

& #

? n
n
$ A9

say

Im not

&

&

?

What if

D9/F#


J
an - oth - er

&
?

F7

old

sto

&

? n
n

say

the oth - ers?

What if

say

Im not



#
#

will

ry.

of your

fij

j
fi

Same

like

one



#
#

G5/D

ing.

just

What if

j
fi


& J

&

D2

plays?

Youre the pre - tend



#
#

A9


nev - er

sur - ren

What if

der?

er.

say

Im

not

Male Vocals Grade 8

&

D5

29

D9/F#


& J

like

&
?

&

the oth - ers?

What if

say

Im

not

just


of your

plays?

Youre the pre - tend

&

er.


J
an - oth - er

one



#
#

F7


What if

To Coda

say

will

? # # n
# # n
&

A5

Am

5fr

nev - er sur - ren - der?

&

j
fi

3. In

? # #

j
fi

time, or

so

D/F#

Male Vocals Grade 8

& J

30

Im

j
fi

told,

Im

& # #


J J

j
fi

just an - oth

er

J
soul

fij
for sale.

F2

Oh,

well.

& #

?
#


& J

of

n
n

tem

&

fij

- rar

ar

perm

nent,

y.

j
fi

out

F2

j
fi

y,

D2

is

were

tem


J
po

n

# n
D5


J J

& #

not

por

& #

?
#

are

j
fi

n
J


J
We

D/F#

&

& #

The page

print.

j
#fi

G5/D

fij

j
fi

D.S. al Coda

Same

old

sto

ry.

Male Vocals Grade 8

&

Am

31

Coda

F7

&

D5


nev - er sur - ren

&

? n
n

D2

G5/D

der?

A5
5fr

&

Im

? # # # #

?

& J

J J

the


J J

voice in - side


J J

your

head

j j

you re - fuse

to

hear.

? # # #

?

& J
Male Vocals Grade 8


J
J

the

32

face that you have

to

face,

j j

mir- rored

in

your

stare.

? # # #

?

Im

Im

# &

& J J J J
whats

left.

Im


J
JJ
J
whats

right.

Im

the en - e - my.

Im

j
j
j
j
&
j
j
j
j


?





& J J
the

hand that will take


J
J
you

down,

j j
j
j

bring you

to

& j j j j

?




&

#
J

are

&

&

Yeah,

who

who

j j

j
j

n #
J
J
are

So

you?

Yeah,

who

are

&
?

you?

n #
J
J

knees.

#J

fij

you?

Yeah,

who

are

fij

you?

#
j

Male Vocals Grade 8

your

33

Half tempo
A9

D9/F#

F7

j j
&
J
J

& j

Keep you

in

the

dark.

know they

Twice as fast
A9

all

&

You

j
#
#

say

Im not

?

&

like

pre - tend.

# n w
# n w

D9/F#


J J

&
What if I

the oth - ers?

What if

say

Im not

just

an - oth - er one

#
#

F7

3 times
Play

&
of your plays?

Youre the pre - tend - er.

What if I

say

I will nev - er sur - ren - der?

? # # n
# # n
A9

Male Vocals Grade 8

&

34

D9/F#


What if I

say

Im not


J
like

the oth - ers?


J
J
What if

say

Im not

just

an - oth- er one

&
?

#
#

&


of your

F7

plays?

Youre the pre - tend

&

er.

What if

say

will

? # # n
# # n
D5


J
&
nev - er

sur - ren

D2

# w
J

G5/D

der?

So

who

?
& #
? #

A5

? #
?

&

are

you?

Yeah,

who

are

you?

Yeah,

who


?
?

are


J
you?

> >
> >


> >
> >

Male Vocals Grade 8

&

5fr

35

n
i
v
i
L
Bon Jovi
LIVIN ON A PRAYER

ALBUM:

SLIPPERY WHEN WET

RELEASED:
LABEL:

MERCURY

GENRE:

ROCK

PERSONNEL:

q = 122
E9

1986

JON BON JOVI (VOX)


RICHIE SAMBORA (GTR+VOX)
DAVID BRYAN (KEYS)

TICO TORRES (DRUMS)


ALEC JOHN SUCH (BASS)
UK CHART PEAK:

US CHART PEAK:

BACKGROUND INFO
Livin On A Prayer was Bon Jovis second US
Number 1 from their third album, Slippery When Wet.
It is credited to Jon Bon Jovi, Richie Sambora and
producer/songwriter Desmond Child.
THE BIGGER PICTURE
Jon Bon Jovi himself didnt originally rate the
nascent song, demod a year before, but Richie
Sambora convinced him to continue work on it with
a new bassline. It ended up being Bon Jovis signature
song. Slippery When Wet made the band superstars,
the album having now sold a reported 28 million-plus
copies. Its follow-up, New Jersey, was a double US/
UK Number 1. At the 2010 Grammy Awards, Bon Jovi
performed this song as a result of a fan vote. Asked
the same year if he ever got tired of singing it, JBJ
quipped, Not when I see the jet with my name on it.
NOTES
This is a classic character song, about a fictional
working-class couple, Tommy and Gina. Tommy
used to work on the docks but then the unions
been on strike, hes down on his luck. Gina works

at a diner, workin for her man. Jon Bon Jovi says


the character Tommy went through changes: It was
a fictional character. The inspiration was a young
couple who got pregnant and gave up everything they
had, but that didnt read right, so we changed the
story. Some have speculated the song is influenced
by fellow New Jerseyan Bruce Springsteen, who
used a similar scenario of hard economic times
and a character couple in his 1981 song The River
Springsteen is one of Jon Bon Jovis songwriting
heroes. However, Desmond Child says Tommy and
Gina were based on people he knew while working as
a New York
C/ECity cab driver in the 1970s. The names?D/E
Jon Bon Jovi has family relations called Tommy and
Gina. So its a mix of inspirations.

RECOMMENDED LISTENING
The song works acoustically see Bon Jovi and
Samboras performance at the 1989 MTV Music
Awards. In 2000, on Bon Jovis Its My Life, Tommy
and Gina returned as characters in song: This is for
the ones who stood their ground, for Tommy and
Gina who never backed down. Sambora used a guitar
talkbox on Its My Life in a nod to the songs history.
Its been in Glee, of course, and Bowling For Soup
mentioned the characters in their Punk Rock 101
Like Tommy
C/Eand Gina, theyre living on a prayer.

D/E

Male Vocals Grade 8

SONG TITLE:

37

Livin On A Prayer
Bon Jovi

Livin on a Prayer

Words&MusicbyJonBonJovi,RichieSambora&DesmondChild

q = 122
E9

C/E

D/E

E9

D/E

C/E

Male Vocals Grade 8

38

Spoken: Once up - on a time,


not so long a - go

Copyright1986BonJoviPublishing/PolyGramInternationalMusicPublishing Incorporated/AggressiveMusic/Sony/ATVTunesLLC.
UniversalMusicPublishingLimited/Sony/ATVMusicPublishing.
AllRightsReserved.InternationalCopyrightSecured.

#
&

1. Tom - my
2. Tom - mys

#
&

? #
<>

used
got

to
his

work
six

on
string

the
in

docks.
hock.

Un-ions been on strike,


hes
hold - ing in

down
hes
when he used

j
#
&
?#


<>
D9/E

&

on
to
3

Now

C/E

his
luck,
make it talk

its
so

tough,
tough,

mm,

so
its

tough.
tough.

&

?#


<>

Male Vocals Grade 8

&

39

&

Gi - na
Gi - na

#
&

?#
<>

&

works the
dreams of

din - er
run - ning

all
a -

day.
way.

Work-ing for her man,


cries
in the night,

she brings home her


Tom - my whis - pers;

#
&

for
pay
Ba - by, its

When she

C/E

love,
o - kay,

3
j



3

?#




<>
D9/E

#
&
Male Vocals Grade 8

mm,

40

j j

for
love.
some - day.

#
j j

&
?#


<>

She says: Weve got to


We got to

&

D4

j
#

&
hold

on

?#
<>
C

j
#
& J
?#
<>
E

&

oth - er,

D4

lot

not.

Weve

D4

j
w
w

for

3
J

love.

Well give it
3

a shot.

D4

Whoa,

#
&
?#

<>

were half - way

D4

hand,

there.

Oh,

#
Take my

and thats

j j

J
J

&


J
J

#
&
?#

<>

J
J
to what weve got.
It does - nt make a diff -rence if we make it or
j

j

J
J

D4

#
& J

got each

well make it,

swear.

in on a prayer.
j

liv

Oh,

liv -

Male Vocals Grade 8

41

1.

&

#
-

in on

prayer.

w
w
w

w
w

&
?#


<>
2.

C7

C6/G

C7



&
J

? #
<>

&

Liv - in on

prayer.

# n
&

J
?#


<>
G

Male Vocals Grade 8

&

42

D
3fr


w
w

E5

Oo,


we got to

&
J

?#

<>

&

hold

on,

rea - dy or

j
#
&

not.

D5

3 3 3 3
J
4

bb

j

J

3
w
w
4
w

bb

43

bb

You live for the fight when thats

?# w
<>
G

Eb
3fr

b
& b 44
b
&b
? bb

fij

F4

Whoa,

fij
4
4

Eb

there.


J
J

Whoa,

liv

44 n n

<>
G

Eb
3fr

F4

Bb

6fr


b
J
J
&b

b
b
&

Take my

hand

and well make it, I

swear.

Whoa,

in on a prayer.

j
j

F
6fr


J
were half - way

Bb

6fr

all that youve got.

Eb


J
J
6fr

liv

Repeat twice and fade

in on a prayer.

j
j

n
? bb


<>

Male Vocals Grade 8

43

The Commitments
SONG TITLE:
ALBUM:

TRY A LITTLE TENDERNESS

RELEASED:

1991

LABEL:

MCA

GENRE:

SOUL

PERSONNEL:

q = 80

THE COMMITMENTS

N.C.

ANDREW STRONG (VOX)


MARIA DOYLE KENNEDY (VOX)
BRONAGH GALLAGHER (VOX)

ANGELINE BALL (VOX)


MICHAEL AHERNE (KEYS)
GLEN HANSARD (GUITAR)
KEN MCCLUSKEY (BASS)
DICK MASSEY (DRUMS)

FLIM GORMLEY (SAX)

US CHART PEAK:

N/A

BACKGROUND INFO
Try A Little Tenderness was one of the standout
recordings from the 1991 film The Commitments. It
is a cover of Otis Reddings 1966 version of a song
written in 1932.
THE BIGGER PICTURE
The Commitments was a film adaptation of the
novel of the same name by acclaimed Irish writer
Roddy Doyle (whose other novel Paddy Clarke Ha
Ha Ha won the Booker Prize in 1993). The film is
set in Dublin and tells the story of a soul band made
up of white working class Dubliners. Alan Parker,
the films director, picked real musicians to play the
fictional band members, preferring musical ability
over acting chops. This resulted in an authenticity
to the films musical performances and most of the
cast being featured on the accompanying soundtrack
album, released in the same year as the movie. The
soundtrack features a number of classic songs from
labels such as Motown, Atlantic and Stax. Try A Little
Tenderness is a key song in the development of the
band as it is depicted in the film, and was based on
Otis Reddings version for Stax Records.

q = 92
E

C#m
4fr

1. Oh,

she may be

NOTES

Written in 1932 by Woods, Campbell and Connelly,


Try A Little Tenderness had been performed by
everyone from Bing Crosby to Aretha Franklin. Cut
in three takes in 1966, Otis Reddings version begins
with a three-part horn intro, leading into a sparse
showcase of his restrained yet emotional vocal. Three
minutes and 46 seconds after it began, Redding
and the band had one of pops greatest ensemble
performances in the can. Quoted in Robert Gordons
Respect Yourself, Stax Records co-founder Jim Stewart
considered it the labels best record: It exemplifies
what Stax really was, that one record. When I hear
it today, I still get that same feeling that I got when
we rolled that tape in the studio. For the young,
unknown cast of The Commitments to replicate that as
well as they did was no mean feat.

RECOMMENDED LISTENING

The Commitments soundtrack album (1991) is an


impressive achievement by the films youthful cast.
Otis Reddings third solo album, Otis Blue (1966), is
essential and the posthumous Dock Of The Bay (1968)
is a fitting tribute.

Male Vocals Grade 8

N/A

UK CHART PEAK:

45 D7

Try A Little Tenderness


The Commitments

Try A Little Tenderness

Words&MusicbyHarryWoods,JamesCampbell&ReginaldConnelly

Words & Music by


Harry Woods, Jimmy Campbell & Reg Connelly

q = 80

N.C.

q = 92
E

1. Oh,

she may be wea - ry,

Male Vocals Grade 8

46

B7
3

and young girls,they do get wea

ry

C#7

old

shab- by

dress.

4fr


same

that

D7

wear - ing

F#m7

4fr

C#m

Copyright1932&1960ChesterMusicLimitedtradingasCampbellConnelly&Co.
AllrightsfortheUSAandCanadaassignedtoEMIRobbinsCatalog,Inc.
AllRightsReserved.InternationalCopyrightSecured.

F#m

But when she gets wea

ry

try

E/G#

lit - tle

ten

der -

ness.

q = 100
E

(Fan - dan - go.)

B7

G7

F#m7

2. You
3. You

Male Vocals Grade 8

B7

47

C#m7

4fr

F#m7

know shes wait wont re - gret

ing,
it,

just
young girls

an - ti - ci - pat
they nev - er for - get

ing
it.

the

Emaj7

B7

things
Love

that
is

C#7
4fr

she
their

nev - er,
on - ly

nev

er, nev - er, nev - er


hap - pi - ness.

pos - ess - es, yeah.

F#m

Male Vocals Grade 8

48

But
But

while
shes there
it
is all so

wait - ing
eas - y,


with - out them,
3

B7

all

you

E9

E/G#

This is for you.

G#7

Its not

lit - tle ten - der - ness.

Thats all you got - ta do.

try

got - ta

just

4fr


sen - ti - men- tal,


no,

no.

Male Vocals Grade 8

To Coda

49

C#m

F#7
4fr


She has


her

grief

and

her

care.


But

they are
3

Male Vocals Grade 8

50

F#7
4fr

spoke

G#7

words,

the soft


so

gen - tle,

it makes it

eas

i - er,

F#m7

eas

2fr

i - er

to

bear,

Coda

is

try

ten - der - ness.

lit - tle

Oh,

yeah.

F#m7
4fr

E/G#

C#7

yeah.

do

E/G#

Squeeze her,

we tease her,

nev - er

Male Vocals Grade 8

D.S. al Coda
Baug7

B7

51

Bbdim

leave

her.

You

C#m

try

Male Vocals Grade 8

52

got - ta,

you

E
6fr

lit - tle

ten - der - ness,

yeah.

C#7

2fr

4fr

Yeah,

you

Eb
5fr

got - ta,

D'9

you

got - ta,

D
4fr

got - ta

yeah.

F#m7

Squeeze her,

E/G#

we

tease

her,


nev - er

leave

Bbdim

her.

You

got - ta,

Play 5 times ad lib

you

got - ta,

ten

you

der

you

got - ta

D
4fr

got - ta,

E7

C#m

Eb
5fr

try

6fr

lit - tle

ness. (Vocal ad lib.)

Male Vocals Grade 8

53

Technical Exercises
Group A: Scales

The chromatic scale should be prepared as shown below. You may select any starting note from AE. You will be asked if you
would like to sing along to a metronome click or hear four clicks before you start. Whichever option you choose, you will
hear your chosen starting note before the count starts. You may perform this test using any vocal sound except humming or
whistling. The tempo is q =100.
q = 100

4
&4

# # n n # n # n
# # #
#

Group B: Arpeggios

In this group, the arpeggio exercise needs to be prepared as shown below.


This test is performed to a metronome click track and you may select any starting note from CG. You will hear the root
note played on piano followed by a one-bar (four click) count-in. You may perform this test using any vocal sound except
humming or whistling. The tempo is q =100.
C diminished 7 arpeggio
q =100

& 44

b
b

b
b

Group C: Intervals

In this group, the two interval sequences need to be prepared as below. You will be asked to perform one of them in the
exam, as chosen by the examiner.
The examiner will choose a starting note within the range DF. You will hear this note followed by a four-beat count-in. You
may perform this test using any vocal sound except humming or whistling. The tempo is q =90.
Major 7th, minor 7th and octave intervals
q = 90

& 44 w

Candidate sings:

Candidate sings:

Male Vocals Grade 8

Major 3rd and minor 3rd intervals

54

q = 90

& 44 w

Group D: Backing Vocals

In this group, all three backing vocal parts need to be prepared as shown below. You will be asked to perform one of them
in the exam, as chosen by the examiner. The chosen part must be sung alongside the other two parts on the recording.
The backing tracks for these can be found in the downloadable audio.
Am

Lets

& 44

Lets

4
&4

Lets

Rock

get

down,

get

down,

now,

do it

now

get

&
Am

Do

it

right

&
Do

it

right

&
Do

it

right

down,

now,

now,

its

its

its

time

time

time

right

right


do it

get

do it

to

right

to

to

get

get

loud,

loud,

loud,

now


J J

were the heart

and

were the heart

soul

soul

are

the

fu

we

are

the

fu

we

are

this

j j

soul

of

and


J J
and

were the heart

we

now

the

fu

of

of

this

this

town.

town.

town.

ture.

ture.

ture.

Male Vocals Grade 8

q =130

4
&4
A

55

Technical Exercises

Group E: Stylistic Studies

You will need to choose one stylistic technical study from the group listed below. Your choice will determine the style of the
Quick Study Piece. If you choose the jazz and blues stylistic study, for example, the examiner will give you a QSP from the
jazz and blues group.
Pop and musical theatre
Soul and RnB
Jazz and blues
Rock and indie

Stylistic Study | Pop and Musical Theatre


q = 70

Dramatic dynamics and inflections / Sustains with vibrato

Music Theatre

F
D

Bm

# 4
& #4

On

&

##

my

Em

lone - ly

av

#
& #

Bm

fa - ther

will

be proud

## ~~~~~~~~~~~~

.
&
J
a

Ill

pack

my

tears

~~~~~~j

and

hide

my

and pick my

F
J

of.

Ill

be - tween the

face

up

to

~~~~~~~~~

the

of

life.

b
G # m7 5

re - gain

that

pride.

plagued

my

Ill

& 44

Soul

Its

F6

&

Male Vocals Grade 8

A m7/G

56

been

G6

&

so

F6

G6

long

A m7

my

Ill

A m7/G

&

Now

C m6/E b

ne - ver for - get


F6

near.
A m7

the

for - mer

my

dig - ni - ty

and

.
~~~~~~~~~~~~~~~~~~~~~

life.

A m7/G

since you went

I,

G6

walk

Long melisma / Register flips

A m7/G

will be - come the man

Stylistic Study | Soul and RnB


q = 70

my

des - ti - ny,

fear

sta - tues

my

.
~~~~~~~~~~~~

bove

way

F
3

J

e - nues,

home

r
.

jour - ney

rise

you

a - way.
F6

swear.

G6

A m7/G

G6

I want

G6

to

be

Ooh.

you

Woh.

know


that youll ne - ver come

C m6/E b

back.

F6

Now

know


that

since

you

E m7


went

Am

.
way.

Technical Exercises

Stylistic Study | Jazz and Blues


Jazz

P
#6
& 8 .

B m7

&

F #m

take

you

b
F # m7 5

#
&

find

the


J
B

hand

your won - der -land.

dont

ig - nore

Em

#
& 68

out

my

of

luck

you

good

ad - vice

and

treat

F #m

me

B7


J
J

and

out

of

time

so

you

on

hap - pi - ness

C maj 7

44 .

grab

Or

youll

your

chance

the

b
F # m7 5

find

and

on

b
& b b 44
Bb

b
&bb

way

with the bonds

Bb

b b ~~~~~~~~~~~
b
&
We

Cm

of

b b ~~~~~~~~~~~
b
&

wont

ci - tys cry - in out theres a

wont

Bb

We

ry

to

dance

to

ly rule.

P
r
46
But

6
8

runn - ing

f

J

Em

fol - low

me.

Slides to scream / Register flips

Metal

The

your - self

Stylistic Study | Rock and Indie


q = 140

B7

thats

fool.

mer

b
F # m7 5

coz

will - ing
Am

Im

like

tience

Am

pa

lead

pro - mise

tle

Am

Em

Em

lit

and

F
j

B7

by

# 6 Em b
& 4

With

Em

Ab

Bb

op - pres - sion,
Ab

take

this

Ab

take

this

Bb

.
J
ri - ot

com - ing.

Cm

cry,

no,

no,

sitt - ing
Bb

sitt - ing

Cm

down.

Cm

down.

Im

cal - ling on the gods

of

war

A-

.
~~~~~~~~~~~~~~

no.



.
~~~~~~~~~~~~~~~

Male Vocals Grade 8

q = 82

Un-accompanied chromatic runs / Wide pitch jumps

57

Quick Study Piece


At this grade you will be asked to prepare and perform a short Quick Study Piece (QSP). This will consist of four bars
of melody and eight bars of improvisation. Bars 14 of the test will be a notated melody and you will need to sing all the
written detail, including lyrics. In bars 58, you will need to improvise a variation on bars 14, developing both the lyrics
and melody as you feel appropriate. In bars 912, you will need to improvise with no requirement to reference bars 14. You
may use any vocal sound except humming or whistling for these bars.
The examiner will give you the sheet music, then you will hear a full mix version of the track, including the notated parts.
This first playthrough will be preceded by the root note and a one-bar count-in. After the full mix, you will have three
minutes to practise. The root note will be played at the start of this practice time and then again after 90 seconds. During the
practice time, you will be given the choice of a metronome click throughout or a one-bar count-in at the beginning.
At the end of three minutes, the backing track will be played twice more with the notated parts now absent. The first time
is for you to rehearse and the second time is for you to perform the final version for the exam. Again, you will hear the root
note and a one-bar count-in before both playthroughs. The backing track is continuous, so once the first playthrough has
finished, the root note and count-in of the second playthrough will start immediately. The tempo is q =70160.
The QSP style will be from one of the following four groups. These match the groups of the stylistic studies in the Technical
Exercises section.
Pop and musical theatre
Soul and RnB
Jazz and blues
Rock and indie
The style given to you in the exam will be from the same group as your choice of stylistic study. The examiner will decide
which one, specifically (i.e. rock or indie).

Quick Study Piece | Pop and Musical Theatre


q = 120

& b 44 w
&b

make

it

real?

&b
F

Bb

&b

Were on the

Male Vocals Grade 8

Dm

edge

of

[Improvise freely 4 bars]

58

Pop

[Vary melody 4 bars]

Example test

Dm

Bb

some

Dm

Bb

thing,

the
Bb

Dm

Lets

do

edge

this now,

can we

of
Dm

some

thing.

Quick Study Piece | Soul and RnB

&

##

&

##

&

##

RnB

think of what it could

[Improvise freely 4 bars]

be.

[Vary melody 4 bars]

Em

Bm

Em

Bm

j

E

am watch - ing
Bm

Bm

too.

Bm

Bm

me

E m7

Em

see,

E m7

and youre watch - ing

you

you

What
Bm

Em

Bm

Quick Study Piece | Jazz and Blues

Example test

j
Jazz q q = q q
3

q = 120

b
& b 44
b
&b

C m7

dont
Bb

b
&b

you

7#5

move,

b
&b
D7

Bb

Stop

B dim7

[Vary melody 4 bars]

[Improvise freely 4 bars]

C m7

C m7

G m7

7#5

Im

think - ing that Im

C m7

C m7

F7

in

F7

there,

right

love.

B dim7

F7

Bb

Quick Study Piece | Rock and Indie


q. =120

Rock

b
& b 12
8 w.
b
& b J
F

&

bb

&

bb

Cm

Ab

gon - na feel

Eb

[Vary melody 4 bars]

Eb

[Improvise freely 4 bars]

Example test

.
J

al - right,

.
F

Ab

say - ing good - bye

is

Cm

Ly - ing


Ab

Cm

Eb

Cm

mak - ing

Cm

Eb

me

die

a - wake

Eb

and

and won - der - ing when

Eb


J
Ab


J
I

.
F

Ab

.
Bb

see

Im

.
J

Ab

the light.

Cm

Male Vocals Grade 8

q = 80

# 4
& #4

Example test

59

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

Test 1 | Melodic Recall

The examiner will play you a two-bar melody played to a drum backing. It will use the D major or E natural minor scale
(the examiner will decide which) and the first note will be the root, 3rd or 5th. You will hear the test twice. Each time
the test is played, it starts with the root note and a four-beat count-in. There will be a short gap for you to practise after
each playthrough. Next you will hear a vocal count-in, after which you should sing the melody to the drum backing.
The tempo is q =90.
It is acceptable to sing over the track as it is being played as well as practising after the first two playthroughs. The length of
time available after the second playthrough is pre-recorded on the audio track, so the vocal count-in may begin while you
are still practising.
You may perform this test using any vocal sound except humming or whistling.

q = 90

#
& 44 .. w

J J

..

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

Test 2 | Harmony Vocals

The examiner will play you a four-bar melody in the key of D major or E minor, based on any diatonic chords. There will be
two recorded vocal parts that will sing the root, 3rd or 5th of each chord, and you need to harmonise a diatonic 3rd or 4th above
the highest-sounding part using the same rhythm. The examiner will give you the lyrics.
You will hear the test twice. Each time the test is played, it starts with the root note and a four-beat count-in. There will be
a short gap for you to practise after each playthrough. Next, you will hear a vocal count-in, after which you should perform
the harmony line. The tempo is q =90140.
It is acceptable to sing over the track as it is being played as well as practising after the first two playthroughs. The length of
time available after the second playthrough is pre-recorded on the audio track, so the vocal count-in may begin while you
are still practising.
q =130

#
& 44 .. w
Male Vocals Grade 8

q =130

60

#
& 44 .. w


w

w

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

Em

..

Ill

j
j
j

G

do

what - ev - er it takes

to

win

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

Em

Ill

.
J

do

D

J

what - ev - er it takes

to

win

you

you

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

..

Em

back

a - gain.

..

Em

back

a - gain.

General Musicianship Questions


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

Part 1 | General Music Knowledge

The examiner will ask three 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 and explain:
Any notation used in the chosen piece;
Recognition of intervals up to a 10th between two adjacent notes. (You will need to state major, minor or perfect.)

Part 2 | Improvisation

You will also be asked to briefly describe and demonstrate with reference to melody, rhythm, phrasing and dynamics your
approach to how you would improvise any part of your chosen song. You can choose the part.

Part 3 | Your Voice And The Microphone

The examiner will also ask you one question about your voice or the microphone. Brief demonstrations to assist your answer
would be acceptable.

Male Vocals Grade 8

You will be asked:


What is melisma and what exercises can help you develop it?
Describe techniques you might employ to build emotional intensity in a soul/RnB-style ballad.
Give two examples of exercises designed to develop intensity/power in a singers mix voice.
Explain the difference between a dynamic and a condenser microphone, including one example each of their uses.

61

Entering Exams, Exam Procedure & Marking Schemes


Entering Exams

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

Exam procedure

In the exam you can decide whether to start with the Performance Pieces or the Technical Exercises. These will be followed
by the Supporting Tests (Ear Tests and Quick Study Pieces) and General Musicianship Questions.

Use Of Microphone

At Level 1 (Grades 13) microphone use is optional, although candidates may use one if they feel it will enhance their
performance. At Level 2 (Grades 45) microphone use is obligatory for all pieces and at Level 3 (Grades 68) for the whole exam.

Marking Schemes

Below are the marking schemes for the two different types of Rockschool exam.
Grade Exams | Grades 68
ELEMENT

PASS

MERIT

DISTINCTION

Performance Piece 1

1214 out of 20

1517 out of 20

18+ out of 20

Performance Piece 2

1214 out of 20

1517 out of 20

18+ out of 20

Performance Piece 3

1214 out of 20

1517 out of 20

18+ out of 20

Technical Exercises

910 out of 15

1112 out of 15

13+ out of 15

Quick Study Piece

6 out of 10

78 out of 10

9+ out of 10

Ear Tests

6 out of 10

78 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%+

Male Vocals Grade 8

Performance Certificates | Grades 18

62

ELEMENT

PASS

MERIT

DISTINCTION

Performance Piece 1

1214 out of 20

1517 out of 20

18+ out of 20

Performance Piece 2

1214 out of 20

1517 out of 20

18+ out of 20

Performance Piece 3

1214 out of 20

1517 out of 20

18+ out of 20

Performance Piece 4

1214 out of 20

1517 out of 20

18+ out of 20

Performance Piece 5

1214 out of 20

1517 out of 20

18+ out of 20

TOTAL MARKS

60%+

75%+

90%+

Improvisation Requirements & Free Choice Pieces


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

Improvisation Requirements

From Grade 3, all songs, whether from the grade book or chosen as FCPs, need to incorporate improvisation. The
improvisation can be prepared in advance, but is expected to be individually constructed, and needs to include both vocal
ad-libbing and re-working of existing melody lines as follows:
Level 1 Grade 3:
Level 2 Grades 45:
Level 3 Grades 67:
Level 3 Grades 8:

Vocal ad-libbing (24 bars) and re-working of melody line (4 bars)


Vocal ad-libbing (48 bars) and re-working of melody line (48 bars)
Vocal ad-libbing (812 bars) and re-working of melody line (8 bars)
Vocal ad-libbing (1216 bars) and re-working of melody line (8 bars)

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

Notes
You are free to choose where you improvise. However, in all cases, improvisations need to be a continuous number of
bars, not a number of smaller bars which in total add up to the ranges shown.
Vocal ad-lib could be demonstrated in, for example, introductions, endings or open instrumental parts.
Re-working of a melody could be demonstrated by altering any existing singing parts; for example, verses, choruses, bridges.
For both ad-lib and re-working of a melody, you need to demonstrate an awareness of harmony, melody, phrasing, use
of rhythms and incorporation of any appropriate expression in a stylistically appropriate manner. Range and content
will be expected to increase progressively as you move through the grades.
We would encourage re-working to take place later in a piece after the original has been presented to show you can
portray the original, then you are able to adapt appropriately with individual colour.
Improvisation can be a good place to demonstrate your head voice, which can often be omitted, reducing the technical
content of a piece at a particular grade.

Free Choice Pieces (FCPs)

An FCP is defined as any piece outside the grade book, and can fall into two categories:
1) W
 ider Repertoire: a full list of pre-approved and regularly updated pieces can be found on www.rslawards.com. These
songs can be used without prior approval from Rockschool.
2) O
 wn Choice: candidates can choose any song in any genre outside the grade book and wider repertoire. These songs can,
however, only be used with prior approval from Rockschool. This requirement is compulsory and you need to contact the
office to have your chosen piece(s) approved. Please allow five weeks before your exam to receive a decision.

For all grades, candidates can choose the following number of FCPs in the exam:
Grade Examinations:
Up to 2 of 3 pieces can be free choice. (At least one piece must be from the grade book.)
Performance Certificates: Up to 3 of 5 pieces can be free choice. (At least two pieces must be from the grade book.)
For all FCPs, candidates will need to bring the sheet music and a backing track (without vocal part) on the day. A memory
stick, iPod or CD/DVD is acceptable and we would also suggest a second source to be safe. It will not be necessary to bring
the sheet music or backing tracks for pieces chosen from the grade book.

Male Vocals Grade 8

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

63

Copyright Information
A Song For You
(Russell)
Universal Music Publishing Limited
Apologize
(Tedder)
Sony/ATV Music Publishing (UK) Limited
Grace
(Buckley/Lucas)
Sony/ATV Music Publishing (UK) Limited/Universal/MCA Music Limited
The Pretender
(Grohl/Hawkins/Mendel/Shiflett)
Universal Music Publishing Limited/Universal/MCA Music Limited/Bug Music Limited
Livin On A Prayer
(Jovi/Sambora/Child)
Universal Music Publishing Limited/Sony/ATV Music Publishing (UK) Limited

Male Vocals Grade 8

Try A Little Tenderness


(Woods/Campbell/Connelly)
Campbell Connelly & Company Limited

64