Piano G1 Edition13May2016

Piano Grade 1 RSL-965472105558 / 1 / nazareno ciofo / [email protected]

Performance pieces, technical exercises, supporting tests 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: Z9NN8X526Y For more information, turn to page 5

www.rslawards.com

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

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

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

MUSICIANS

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

Exclusive Distributors: Music Sales Ltd CONTACTING ROCKSCHOOL

Piano Grade 1

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

2

RSL-965472105558 / 1 / nazareno ciofo / [email protected]

AUDIO

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

Table of Contents Introductions & Information

1 Title Page 2 Acknowledgements 3 Table of Contents 4 Welcome to Rockschool Piano Grade 1 6 Piano Notation Explained

Rockschool Grade Pieces

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

Technical Exercises

Supporting Tests

35 36 37 38

Sight Reading Improvisation & Interpretation Ear Tests General Musicianship Questions

Additional Information

39 40 41 48

Entering Rockschool Exams Marking Schemes Copyright Information Introducing Rockschool Popular Music Theory


30 Scales, Arpeggios & Chord Voicings

Piano Grade 1

3

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

Piano Exams

■■Grade Exam A Grade Exam is a mixture of music performances, technical work and tests. You are required to prepare three pieces (two of which may be Free Choice Pieces) and the contents of the 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 A Performance Certificate is equivalent to a Grade Exam, but in a Performance Certificate you are required to perform five pieces. A maximum of three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark is 60%.

Book Contents

The book is divided into a number of sections:

Piano Grade 1

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

4

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


At each grade you have the option of taking one of two different types of examination:

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

■■General Information You will find information on exam procedures, including online examination entry, marking schemes, information on Free Choice Pieces and improvisation requirements for each grade.

Audio

In addition to the Grade book, we have also provided audio in the form of backing tracks (minus piano) and examples (including piano) for both the pieces and the supporting tests where applicable. This can be downloaded from RSL directly at www.rslawards.com/downloads

You can find further details about Rockschool’s Piano syllabus by downloading the syllabus guide from our website: www.rslawards.com All candidates should download and read the accompanying syllabus guide when using this grade book.

Piano Grade 1

The audio files are supplied in MP3 format. Once downloaded you will be able to play them on any compatible device.


You will need to input this code when prompted: Z9NN8X526Y

5

Piano Notation Explained

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Pedal Marking: Depress and then release the sustain pedal. Multiple pedal operations in a short space of time may be simplified as shown in the last two beats of the bar below.

Grace Note: Play the grace note on or before the beat depending on the style of music, then move quickly to the note it leads onto.

3 &4

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Glissando: Play the notes between the notated pitches by sliding over the keyboard with the fingers or fingernails.

Spread Chord: Play the chord from the bottom note up (top down only if there is a downward arrow head). The final note should sound by the appropriate notated bar position.

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Tremolando: Oscillate at speed between marked notes.

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..

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However, the orchestral overdubs from Spector still found their way into the final album release. It was said to be the catalyst to McCartney asking for the Beatles to be dissolved. A wide range of artists has since covered this song including: Diana Ross, Aretha Franklin, George Michael and Ray Charles. A m7 B 9

This was the last single released by the Beatles from their 12th and final studio album Let It Be. The album was released a month after the band B maj F7 F officially split up in 1970. Although credited to Let It Be was supposed to be released before Abbey Lennon-McCartney, as all Beatles songs were, this Road. Some critics and fans think that in fact, Abbey was one of Paul McCartney’s ballads. This is also the Road should be considered their final album, due only Beatles song where John Lennon played Bass. to the fact that the songs included on Let It Be were nev will Producer Phil Spector later removed George Harrison supposed to be a return to their simpler approach door r you to to music, which never in fact happened. Following and Ringo Starr’s parts, so the other two Beatles do not in fact appear on the released recording at all. the issues faced with Spector’s production, an album called Let It Be… Naked was released in 2003 Despite the song reaching No.1, Paul McCartney removing most of Spector’s production work and featuring a reworking of some of the songs. was angered by Phil Spector’s production of the track. Apparently, during the Beatles last ever recording session at the famous Abbey Road Studios, Spector added orchestral overdubs to four tracks: ‘The Long and Winding Road’, ‘Across the Universe’ and ‘I Me Mine’ whilst only one Beatle, Ringo Starr, was present and without the knowledge or permission of the other three. Spector’s additions included: 18 violins, four [4] violas, four cellos, three trumpets, three trombones, two guitars and a 14-strong female choir.

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Adele | Make You Feel My Love SONG TITLE: MAKE YOU FEEL MY LOVE

ALBUM: 19

RELEASED: 2008

LABEL: XL

GENRE: POP/SOUL

VOCALS: ADELE

PIANO: NEIL COWLEY

STRINGS: WIRED STRINGS

WRITTEN BY: BOB DYLAN

PRODUCED BY: JIM ABBISS

UK CHART PEAK: 4 ( REACHED NO. 1 IN

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

has later cited R&B artists such as Destiny’s Child and Mary J. Blige as influences too. She has also been very influenced by Jazz, particularly Ella Fitzgerald and Etta James.

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SONG TITLE: READ ALL ABOUT IT,

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PIANO: GAVIN POWELL

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This song was originally recorded in three different versions: the first with British rap artist Professor Green featuring vocals from Emeli Sandé; the second, an acoustic version with Professor Green featuring Fink; and the third, which appeared onoh, Sandé’s debut oh. album featuring only Sandé herself. Sandé achieved her first number one single with Professor Green on Part I of the song. The song was performed at the closing ceremony of the 2012 Olympics.

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Emeli Sandé began writing songs when she was 11 years old. Her first was for a school talent ] [35song show: “that was the first time I thought I might be a songwriter. I never thought it was an option to sing anyone else’s songs”. Despite being offered an album deal when she was 16 as a result of winning Trevor Nelson’s BBC Urban Music competition, her G for her at the management didn’t feel it was right time. She went on to study medicine at Glasgow University, graduating five years later with a degree in Neuroscience. She had always said that she wanted a career to fall back on if she didn’t make it in the music industry. She continued to write music oh, for

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Em D other artists whilst studying including: Tinie Tempah, D/C Cheryl Cole, Professor Green, the Sugababes and Alesha Dixon. She continued to collaborate until ‘Read All About It (Part I)’ reached the top of the charts.

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[5]

Piano Grade 1

&

16

&

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j j œ œ œ. ˙

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j j 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 ‰ œ C maj 7

Em

words to change a

G

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

D

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

j 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 œ

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˙

˙

˙

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

˙

˙

˙

If

j œ


q = 98

no - one ev - er hears it, how we

˙

[13]

& &

# #

?#

[17]

& &

heart

as

loud

as

so

˙

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need

why

let

a - shamed. You’ve got

# j œ œ

Come on,

# j & œ œ ˙

the

tamed?

j œ œ œ œ œ œ

come on.

j œ œ œ œ œ ˙˙ ˙

˙

˙

G

œ œ œ œ œ œ œ œ

Ba - by,

we’re

a

lit - tle

diff - ’rent. There’s no

˙

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˙

to

fight

the

shad - ows,

so

˙

C maj 7

œ œ œ œ œ œ Œ

stop

hid - ing

it

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œ œ œ œ œ œ œ


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j œ œ œ œ œ


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a


light

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j œ œ

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your voice

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j j œ œ œ.

Em

œ œ œ œ œ œ œ œ be

j j œ œ œ

j œ œ œ œ œ

j œ œ

come on.


˙

to

come on,

C maj 7


[20]

[23]

li - ons

So

˙


D

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Em

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&

gon - na learn your song?

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#

j œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œj œ G

I wan - na scream

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Piano Grade 1

&

#

C maj 7

Em

17

# œ œ œ œ œ

œ œ œ

till the words

dry out.

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[27]

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˙

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Piano Grade 1

G

18

# œ & œ [39]

˙

all

a - bout

Oh,

D

Em

œ

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œ

oh.

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I’m

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œ

œ

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a - fraid.

˙

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œ

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oh,

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oh,

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pers.

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all

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D/F #

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Rockschool | ICAUFO SONG TITLE: ICAUFO TEMPO: 98 BPM KEY: E MINOR

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

OVERVIEW

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

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

Melodic Rock kicked off in the late 1960s when The Beatles, The Doors and others were experimenting in their songwriting and recording techniques. Increased success led to bigger recording budgets and it became commonplace for successful bands to develop complex arrangements and song structures, and to work with orchestras. This combination of a big sound, traditional song structures and powerful melodies has been adopted by dozens of rock bands including Deep Purple, Queen, Rush, Big Star, Pixies, Incubus and Matchbox Twenty.

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44 ˙ . & ww ? 44 A

COMPOSER: JOE BENNETT

THE BIGGER PICTURE

q = 98

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GENRE: ROCK

RECOMMENDED LISTENING

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Piano Grade 1

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

ICAUFO Joe Bennett

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Piano Grade 1

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20

œ œ & œ œ ‰ œœJ ˙˙ œœ œœ œœ ˙˙ ? œ œ ‰ œ ˙ J

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© Copyright 2015 Rock School Ltd.

œ ‰ nœ œ J J œœ # œœ œœ J ‰ J

# œœ œœ ‰ œœ ‰ J # œœ œœ œœ ‰ J ‰

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A

q = 98

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˙. ˙.

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


&

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Piano Grade 1

C

21

22

Piano Grade 1


Rockschool | Umbra Bella SONG TITLE: UMBRA BELLA GENRE: GUITAR INSTRUMENTAL

q = 130

A

44 b &

COMPOSER: SIMON TROUP PERSONNEL: STUART RYAN (GTR) HENRY THOMAS (BASS)

? b 44

NOAM LEDERMAN (DRUMS) ROSS STANLEY (KEYS)

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

∑

A

# ww

# ww

RECOMMENDED LISTENING The Shadow’s version of ‘Apache’ features many elements of the group’s sound, especially the tremolo B and echo-drenched lead guitar melody set against the propulsive D m acoustic guitar strumming of rhythm player Bruce Welch. Other Shadows classics include ‘FBI’, ‘Wonderful Land’ and ‘Guitar Tango.’ Their playing on Cliff Richards’ ‘Summer Holiday’ also contains one of the iconic licks of 1960s pop.

& b ˙. ?b

œ

ww

[5]

Bb

&b Œ

œ

œ

œ

˙.

F

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KEY: D MINOR

Piano Grade 1

TEMPO: 130 BPM

˙

F

23

Umbra Bella Simon Troup

& b 44

∑

A

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B

Dm

& b ˙.

# ww

˙. ˙˙ ..

&b Œ ?b

ww

œ

œ

˙

F

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Piano Grade 1

&b œ

24

?b

[13]

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C

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Bb

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[21]

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Piano Grade 1

&b ˙ F

25

26

Piano Grade 1


Rockschool | Fab Stomp SONG TITLE: FAB STOMP

KEY: D MAJOR

## 4 œ . & 4 ww ? # # 44 w A

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

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

&

D

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

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RECOMMENDED LISTENING Early to mid 1960s British pop music followed the model used by The Beatles: two guitars, and often The Dave Clark Five’s first number one, ‘Glad more than one vocalist performing up-tempo, goodAll Over’, knocked The Beatles’ ‘I Wanna Hold time, melodic songs written in major keys. Some Your Hand’ off the top of the British singles chart of the songs were written by the bands themselves, in January 1964. The Hollies’ first top 10 hit was although most were written either by professional ‘Stay’, released in the same year, and was followed ‘Tin Pan Alley’ songwriters, or were cover versions of [5] by ‘Just One Look’ and ‘Carrie Anne’ among other songs made famous previously by American artists. hits. Freddie And The Dreamers’ frontman, Freddie Garrity, brought a range of eccentric dance moves to their performances that were very much a part THE BIGGER PICTURE of the band’s appeal. This can be seen to great effect on surviving clips of the band performing their hits Global Beatlemania in 1963 and 1964 opened the including ‘You Were Made for Me’, ‘I’m Telling You door to fame for ‘beat combos’ from different parts of Now’ and ‘I Understand’ in their heyday. Britain, particularly from Manchester and London. The cream of these bands joined The Beatles by going to America and were part of the ‘British Invasion’ B A that was to last for most of the 1960s. Foremost among this collection of groups were the hugely successful Mancunian bands The Hollies, Freddie

&

##

œ œ œ www

˙

C


q = 120

TEMPO: 120 BPM

œ œ J ˙˙˙ 27

A sus 4

Piano Grade 1

GENRE: 60S POP

œ J

Fab Stomp Deirdre Cartwright

j œ œ n œ œ n Cœ . œ

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G

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www

G

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[5]

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&

##

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˙

A sus 4

œ œ œ

˙

A sus 4

A

www ? ##

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˙

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˙

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œ œ œ œ J ˙˙˙

D

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œ œ œ œ J

D

A

ww w

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œ œ œ œ J ˙˙ ˙

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œ œ œ œ J

G

D

[9]

Piano Grade 1

&

28

##

A

www ? ##

˙˙˙

A

˙˙˙

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[13]


G

˙˙ ˙

D

˙˙ ˙


q = 120

# # Bœm & C

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F #m

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[17]

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Piano Grade 1

D


[21]

29

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

Group A: Scales

The tempo for this group is q = 60 bpm.

&b œ 1

2

œ

3

œ

2. F major scale | left hand

?b œ 5

œ

œ

œ

4

1

2

œ 3

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

4

3

2

1

3

2

1

œ

œ

œ 3

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

3. G major scale | right hand

&

#

1

œ

2

œ

3

œ

4. G major scale | left hand

?# œ 5

4

1

2

4

5

œ

œ

œ

œ

œ

œ

œ

4

3

2

1

3

2

1

œ

œ

œ

œ

5. D natural minor scale | right hand

Piano Grade 1

&b

30

1

œ

2

œ

3

œ

œ 1

2

3

4

5


1. F major scale | right hand

6. D natural minor scale | left hand

?b œ 5

œ

œ

œ

4

3

2

œ

œ

œ

œ

1

3

2

1

œ

œ

œ

œ

œ

œ

œ

œ

œ

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œ

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œ

œ

œ

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œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

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3

2

1

8. E natural minor scale | left hand

?# œ 5

2

3

4

5

œ

œ

œ

œ

œ

œ

œ

4

3

2

1

3

2

1

9. C dorian scale | right hand

& œ 1

2

œ

bœ 3

œ

œ

œ

bœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

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bœ

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œ

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1

3

2

1

œ

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3

4

1

2

3

10. C dorian scale | left hand

?œ 5

œ

bœ

œ

4

3

2

4

5

11. C harmonic minor scale | right hand

& œ 1

2

œ

bœ 3

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bœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

bœ

œ

œ

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1

3

2

1

œ

œ

œ

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2

œ

12. C harmonic minor scale | left hand

?œ 5

œ

bœ

œ

4

3

2

5

Piano Grade 1

&

#


7. E natural minor scale | right hand

31

Technical Exercises

Group B: Arpeggios

The tempo for this group is q =100 bpm. 1. F major broken chord | right hand

& b 43 œ œ œ 1

3

5

œ œ œ 1

2

5

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 œ

œ œ œ

œ œ œ

˙.

œ œ œ

˙.

œ œ œ

œ œ œ

œ œ œ

˙.

œ œ œ

˙.

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œ œ œ

œ œ œ

˙.

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˙.

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2

œ œ œ

˙.

5

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1

3

5

3

? b 43

œ œ œ 5

3

1

œ œ œ 5

3

1

3. G major broken chord | right hand

#3 & 4 œ œ œ 1

3

5

œ œ œ 1

2

5

4. G major broken chord | left hand

? # 43

œ œ œ 5

3

1

œ œ œ 5

3

1

5

1

5

2

3

2

1

5

1

2

3

2

5. D minor broken chord | right hand

& b 43 œ œ œ 1

3

5

œ œ œ 1

2

5

6. D minor broken chord | left hand

? b 43 œ œ œ Piano Grade 1

5

32

3

1

œ œ œ 5

3

1

1

3

2

5

1

3


2. F major broken chord | left hand

Technical Exercises

7. E minor broken chord | right hand

#3 & 4 œ œ œ 1

3

œ œ œ

5

1

2

5

8. E minor broken chord | left hand

œ œ œ

? # 43 œ œ œ 3

5

1

5

3

œ œ œ

˙.

œ œ œ

œ œ œ

œ œ œ

˙.

œ œ œ

˙.

œ œ œ

œ œ œ

˙.

5

2

œ œ œ

1

1

5

3

2

3

1

1

3

5

2

5

3

2

˙.

œ œ #œ

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#˙.

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˙.

œ œ #œ

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#˙.

5

10. C augmented arpeggio | left hand

? 43 œ œ # œ

œ #œ œ

œ œ #œ 1

œ œ #œ 3

5

1

1

5

3

2

5

1

3

2

11. C diminished arpeggio | right hand

& 43 œ b œ b œ 1

2

4

œ bœ bœ 1

2

5

12. C diminished arpeggio | left hand

? 43 œ b œ b œ 5

3

2

œ bœ bœ 5

3

1

bœ bœ œ

˙.

bœ œ bœ

œ bœ bœ

bœ bœ œ

b˙.

bœ bœ œ

˙.

bœ œ bœ

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bœ bœ œ

b˙.

1

5

3

1

5

2

3

1

Piano Grade 1

3 & 4 œ œ #œ


9. C augmented arpeggio | right hand

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Technical Exercises

Group C: Chord Voicings

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

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∑

∑

b b www

b ww bw

w & 44 # ww

Piano Grade 1

?

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∑

# www

∑

w # ww


2. C augmented

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

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w

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w

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w w

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

Sight Reading | Example 2

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w w

Piano Grade 1

#4 & 4 œ


Sight Reading | Example 1

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Improvisation & Interpretation In the improvisation and interpretation test, the examiner will give you a 4–6 bar chord progression in the key of F major or G major. You will first be given 90 seconds to practise, after which the examiner will play the backing track twice. The first time is for you to practise and the second time is for you to perform the final version for the exam. For each playthrough, the backing track will begin with a one bar count-in. The tempo is q = 70. During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at the beginning. The backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will start immediately. You are only required to improvise single note melodies, with either right or left hand. It is permissible to play chord voicings, but please note you will only be marked on melodic content. Improvisation & Interpretation | Example 1

& b 44 ’ ’ ’ ’ F

Bb

’ ’ ’ ’

C

’ ’ ’ ’

Bb

’ ’ ’ ’


Improvisation & Interpretation | Example 2 q = 70

#4 G & 4 ’ ’ ’ ’

C

’ ’ ’ ’

D

’ ’ ’ ’

C

’ ’ ’ ’

Piano Grade 1


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q = 70

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

Test 1: Melodic Recall

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

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Piano Grade 1

The examiner will play you a sequence of chords, each with a C root note. You will hear the chord sequence twice, each time with a one bar count-in. You will then be asked to identify the chord quality of each chord, from a choice of major, minor, diminished and augmented. The tempo is q = 95 bpm.


Test 2: Chord Recognition

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

Piano Grade 1


5. You will be asked a question relating to the genre of one of your pieces.

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Entering Rockschool Exams Entering a Rockschool exam is easy, just go online and follow our simple six step process. All details for entering online, dates, fees, regulations and Free Choice pieces can be found at www.rslawards.com ■■All candidates should ensure they bring their own Grade syllabus book to the exam or have their KR app ready and the full book downloaded. ■■All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam.

Piano Grade 1


■■Candidates will receive their exam results (and certificates if applicable) a maximum of 3 weeks after their exam. If nothing has been received after this time then please call +44 (0)845 460 4747 or email to [email protected]

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Marking Schemes Grade Exams | Debut to Grade 5 * ELEMENT

PASS

MERIT

DISTINCTION

Performance Piece 1

12–14 out of 20

15–17 out of 20

18+ out of 20

Performance Piece 2

12–14 out of 20

15–17 out of 20

18+ out of 20

Performance Piece 3

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

Sight Reading or Improvisation & Interpretation

6 out of 10

7–8 out of 10

9 + out of 10

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%+

ELEMENT

PASS

MERIT

DISTINCTION

Performance Piece 1

12–14 out of 20

15–17 out of 20

18+ out of 20

Performance Piece 2

12–14 out of 20

15–17 out of 20

18+ out of 20

Performance Piece 3

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

Quick Study Piece

6 out of 10

7–8 out of 10

9 + out of 10

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%+

Piano Grade 1

Performance Certificates | Debut to Grade 8 *

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ELEMENT

PASS

MERIT

DISTINCTION

Performance Piece 1

12–14 out of 20

15–17 out of 20

18+ out of 20

Performance Piece 2

12–14 out of 20

15–17 out of 20

18+ out of 20

Performance Piece 3

12–14 out of 20

15–17 out of 20

18+ out of 20

Performance Piece 4

12–14 out of 20

15–17 out of 20

18+ out of 20

Performance Piece 5

12–14 out of 20

15–17 out of 20

18+ out of 20

TOTAL MARKS

60%+

75%+

90%+

* Note that there are no Debut Vocal exams.


Grade Exams | Grades 6–8

Copyright Information The Long And Winding Road (Lennon/McCartney) Sony/ATV Music Publishing (UK) Limited. Make You Feel My Love (Dylan) Special Rider Music, USA.

Piano Grade 1


Read All About It (Khan & Emeli Sandé) EMI Music Publishing Limited/Sony/ATV Music Publishing (UK) Limited.

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Introducing… Rockschoo new theorl’s y exams!

GRADES DEBUT–8

OUT NOW! Discover more at www.rslawards.com/theory Enter online at www.rslawards.com/enter-online


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Piano G1 Edition13May2016

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