RSK200090_Piano_2019_G1_DIGITAL.pdf

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

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















Acknowledgements Published by Rockschool Ltd. © 2019 Catalogue Number: RSK200090 ISBN: 978-1-78936-055-4 978-1-78936-055-4 Initial Release | Errata details can be ound at www.rslawards.com/errata

SYLLABUS

MUSICIANS

Syllabus designed and written by Jono Harrison Syllabus Director: im B Bennett-H ennett-Hart art Syllabus consultants: Gary Sanctuary, Chris Stanbury, Simon roup and Jennie roup Hit une arrangements by Jono Harrison and Gary Sanctuary Supporting ests written by Jono Harrison, Chris Stanbury, Nik Preston and Ash Preston Syllabus advisors: im Bennett-Hart, Brian Ashworth, Stuart Slater, Peter Huntington, Bruce Darlington, Simon roup and Jennie roup

Piano and Keyboards: Jono Harrison, Gary Sanctuary, Ross Stanley & ania Ilyashova Drums & Percussion: Pete Riley and Richard Brook Bass & Synth Bass: Andy Robertson Guitars: Rory Harvey, Nat Martin and Jono Harrison Saxophone: Jonathan Griiths rombone: rombone: om George White and Norton York rumpet: Nick Mead and John Simpson Lead and Backing Vocals: Glen Harvey & Katie Hector Additional Programming: Jono Harrison

PUBLISHING

DISRIBUION

Proo reading o arrangements by Sharon Kelly, Simon roup, Jennie roup and Jono Harrison Music engraving and book layout by Simon and Jennie roup o Digital Music Art Fact iles written and edited by Abbie homas Notes written by Roland Perrin Proo reading and copy editing by Gemma Bull, Jono Harrison and Jennie roup Cover design by Philip Millard o Rather Nice Design Cover photograph: Ariana Grande © Kevin Mazur / Getty Images

Exclusive Distributors: Hal Leonard

AUDIO

Produced by Jono Harrison Engineered by Jono Harrison, Gary Sanctuary, im Bennett-Hart, Pete Riley, Richard Brook, Rory Harvey and Andy Robertson Assisted by Paul Pritchard at Abbey Road Recorded at Dock Street Studios, he Dairy and Abbey Road Mixed by Patrick Phillips Mastered by Francis Gorini Supporting ests recorded by Chris Stanbury and Jono Harrison

CONACING CONACING ROCKSCHOOL www.rslawards.com elephone: +�� (�)�� Email: [email protected] EXECUIVE PRODUCERS

John Simpson, Norton York















able o Contents C ontents Introductions & Information Information 1 2 3 4 6

itle Page Acknowledgements able o Contents Welcome to Rockschool Rocksch ool Piano Grade 1 Perormance and echnical Guidance

Rockschool Grade Pieces 7 11 15 19 23 27

....................................................... ............... Ariana Grande ‘attooed Heart’ ........................................ .......................................................... ............................ ......... Jeﬀ Buckley ‘Hallelujah’....................................... ‘Can You Feel Te Love onight’ .................. From ‘Te Lion King’ (1994) ..................................................... ............... aylor Swif ‘Wildest Dreams’ ...................................... ‘Let It Be’....................................... ........................................................... ................................ ............ Te Beatles ......................................... .. Sam Smith ‘I’m Not the Only One’ .......................................

Technical Exercises 32

Scales, Arpeggios Arpegg ios & Chord Voicings

Supporting Tests 37 Sight Reading 38 Improvisation & Interpretation 39 Ear ests 40 General Musicianship Questions

Additional Information 41 42 43 44

Entering Rockschool Exams Marking Schemes Copyright Copyrig ht Inormation Piano Notation Explained















Welcome to Rockschool Piano Grade 1 Welcome to Rockschool’s Piano syllabus 2019. his syllabus is designed to support pianists in their progression rom Debut to Grade 8, through an engaging and rigorous pathway covering all the genres, stylistic elements, techniques and musical skills required or success as a contemporary pianist.

Piano Exams At each grade you have the option o taking one o two dierent types o examination: ■ Grade Exam A Grade Exam is a mixture o music perormances, technical work and tests. You are required to prepare three pieces (two o which may be Free Choice Pieces) and the contents o the echnical Exercise section. his accounts or 75% o the exam marks. he other 25% consists o: either a Sight Reading or an Improvisation & Interpretation test (10%), two Ear ests (10%), and inally you will be asked ive General Musicianship Questions (5%). he pass mark is 60%. Performance Certificate ■ Performance A Perormance Certiicate is equivalent to a Grade Exam, but in a Perormance Certiicate you are required to perorm ive pieces. A maximum o three o these can be Free Choice Pieces. Each song is marked out o 20 and the pass mark is 60%.

All elements required to participate in a Rockschool exam can be ound in the grade book. hese are as ollows: ■ Exam Pieces he 2019 syllabus comprises six ‘hit tune’ arrangements, benchmarked and devised so as to equip contemporary pianists with industry-relevant skills in any perormance environment. hese all into three categories: Melody & Accompanim Accompaniment ent

hese arrangements arrangements are perormed to ull band backing tracks, with the piano perorming both melody and accompaniment Solo Piano Arrangement

hese are ull solo piano arrangements, perormed without backing tracks Vocal Accompaniment

hese arrangements cover the skills required o contemporary pianists in ensemble environments, be they on the stage or in the studio. he backing tracks eature vocalists, and the piano parts are relective o what session pianists would perorm live or on mainstream commercial recordings Each ‘hit tune’ arrangement is preceded by a Fact File, giving surrounding context to the piece and the original perormers/recording artists. Furthermore, at the end o each arrangement you will ind notes giving additional supportive context to get the most out o the pieces. ■ Technical Exercises here are either three or our groups o technical exercise, depending on the grade:















■ Supporting Tests here are three types o unprepared supporting tests in the exam: 1. he irst type can be b e one o two options (this is the candidate’s choice): Either: Sight Reading tests , developing the musician’s ability to read and perorm previously unseen material; or:

Improvisation & Interpretation tests , developing the musician’s ability to develop previously unseen material in a stylistic way and perorm improvised passages o melody. he book contains examples o both types o test – equivalent ‘unseen’ examples will be provided or the examination

2. Ear Tests Debut–Grade 3: eature Melodic Recall and Chord Recognition Grades 4–8: eature Melodic Recall and Harmonic Recall

3. General Musicianship Questions (GMQs), which you will be asked by the examiner at the end o each exam

General Information Information You will ind inormation on exam procedures, including online examination entry, marking schemes, inormation on Free Choice Pieces and improvisation improvisation requirements or each grade. g rade.

Audio In addition to the grade book, we have also provided audio in the orm o backing tracks (minus piano) and ull tracks (including piano) or all ‘hit tune’ arrangements, technical exercises and supporting tests (where applicable). We have provided proessional perormance recordings o all solo piano pieces in the syllabus. his audio can be downloaded rom RSL directly at www.rslawards.com/downloads

You will need to input this code when prompted: 2YA5STMH4L he audio iles are supplied in MP3 ormat. Once downloade d you will be able to play them on any compatible device.

Further Information You can ind urther details about Rockschool’s Contemporary Piano syllabus by downloading the syllabus guide rom our website: www.rslawards.com All candidates should download and read the accompanying syllabus guide when using this grade book.

















Perormance and echnical Guidance Fingering Any ingering annotation is given as a guide only.

Interpretation Notation should be perormed exactly as written, except where there are perormance indications to ad. lib, improvise, develop, etc. In these instances, the candidate will be marked on their ability to interpret the music in a stylistically appropriate way, commensurate with the grade level.

Adaptation A small degree o adaptation is allowed where, or example, hand stretches do not acilitate the required notated parts. Marks may be deducted i adaptation results in over-simpliication o the notation. I in doubt you can submit any adaptation enquiries to [email protected]

Articulation & Dynamics Where articulation and dynamics are marked on the notation, they should be ollowed. Where it is open to interpretation, the candidate is ree to take their own approach.

Pedalling he candidate may use the pedal reely at any grade, but it should be applied judiciously as marks may be deducted or any over usage resulting in an unclear tone. In addition, where pedalling is written into (or out o) the notation, this should be observed.

Chord Symbols Most hit tune arrangements have chord symbols written above the notation. his is purely or guidance, and to assist the candidate and teacher.

















Tattooed Heart SONG TITLE: ALBUM: RELEASED:

‘TATTOOED HEART’ YOURS TRULY 2013

LABEL:

REPUBLIC

GENRE:

POP/R&B

WRITTEN BY:

q 75 Po p =

A

s

G

GRANDE/BABYFACE/ RIDDICK-TYNES/ THOMAS III/DIXON/ SQUIRE/SEAN FOREMAN

PRODUCED BY:

BABYFACE/DIXON/ THE RASCALS/SQUIRE/ RASCALS/SQUIRE/ NATHANIEL MOTTE

UK CHART PEAK:

N/A

‘attooed Heart’ is the ourth song to eature on Ariana Grande’s debut studio album, Yours Truly. Although never released as a single, the song has over 7 million views on Youube and over 44 million streams on Spotiy. he album rom which it stems was met by critical acclaim, with many reviewers being surprised by its sophistication and Grande’s vocal capabilities. capabilities. Many Many compared compared Grande Grande to the likes on Mariah Carey, which doesn’t surprise as she is renowned or her ability to mimic others. Ariana Grande was born in Florida in 1993 to Italian heritage and began her showbusiness

Grande has released our studio albums, all o which debuted in the top ten o the UK album charts, and has three UK number 1 singles so ar. With her ith studio album Thank U, Next due or release soon, it can only be b e assumed that her success will continue and she’ll have yet another top ten album to be proud o. he lead single rom the up and coming album o the same name recently broke a UK Chart record and now claims the highest number o streams in a week, hitting 14.9 million and overtaking Ed Sheeran’s ‘Shape o You’ which previously held the record at 14.2 million.

















attooed attooe d Heart Hear t Ariana Grande q 75 75 Pop =

A

C

s 7

G

D /F

C

Em

D

D

[5]

7

G

D /F

Em

C

C

D

[9]

D

















Em

D

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

[19] C

C

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

[21] D

[23]

C

G

[25]

7

D /F

Em

















Notes

Although there are no eighth-note rhythms in the piano part, teachers might think about preparing students or other songs by discussing the concept o swing eel – perhaps by explaining that swing eel skips, rather than ticking like a clock. his song is inluenced by pop music rom the 1950’s, and teachers might enjoy listening to Elvis Presley (‘Can’t Help Falling In Love’) and he Righteous Brothers (‘Unchained Melody’) with students. Understanding the context and history o songs can help deepen the student’s engagement with the music. It is important that students should keep a steady pulse throughout Section A. In slow moving passages o music, the challenge lies in avoiding the temptation to pre-empt each chord and inadvertently speed up. Practise the right hand separately beore adding in the let-hand bass line. When you put both hands together, make sure to listen careully and aim or all notes within the chord to sound clearly and precisely at the same time. Pay careul attention to the staccato chords in bars 8 and 16. Remember that staccato chords are dierent rom accented chords. Aim to keep the volume the same as the previous bar and count the ollowing rests careully. In bars 17 to 24, the let hand plays quite high in the treble cle. Students Students will need to learn to move their let arm across their body, and must be discouraged rom moving to the right o the piano stool. eacher must also ensure that students maintain maintain a straight back during this passage. Section C is a repeat o the opening irst 8 bars o the piece. Be careul to observe the tied whole-note rhythm in bars 33 and 34, holding the chord right to the end o the  inal bar o the piece.



















Hallelujah SONG TITLE: ALBUM: RELEASED:

‘HALLELUJAH’ GRACE 2007

LABEL:

COLUMBIA

GENRE:

FOLK/ALTERNATIVE ROCK

WRITTEN BY:

LEONARD COHEN

PRODUCED BY:

JEFF BUCKLEY/

qd 60 =

F olk / Rock

C

ANDY WALLACE UK CHART PEAK:

2

his song was written and originally released by Canadian singer songwriter Leonard Cohen. Featuring on his 1984 album , the

It seemed that at last the mastery o the song s ong was receiving the acclaim it deserved.



















Hallelujah Jeﬀ Buckley qd 60 Folk/Rock =

C

C

Am

C

Am

C

Am

Am

[5]

F

G

C

G



















1. F

Am

F

C

[21]

G

[25]

C

Am

C

Am



















Notes

he tender, semi-religious eel o this song needs to be mirrored by the perormer’s careul ollowing o the dynamic markings – the playing must never rise above the marked . he opening our bars help set the mood o the piece and should be played legato, allowing the lowing pattern to pass evenly between the hands. Ater the simple introduction, the let hand takes on a more o an accompanying role while the right hand should be allowed to take the lead, continuing to play legato. Be careul not to allow this shit in roles to lead to an increase in the overall volume, and strive to maintain maintain the gentle gentle quiet mood established in the introduction. introduction. Note that the lyrical melody line in the right-hand part starts on the inal eighth-note o bar 4 and not at the start o bar 5! his is also the case or the inal eighth note at the end o the irst time repeat in bar 32. It is worth spending time practicing the let hand part separately to secure all o your hand position changes when moving rom one chord voicing to the next. Pay particular attention to the hand position change when moving rom the G major chord position in bar 17 to the E major chord in bar 18. Playing these two bars in isolation at a slower tempo will help to secure a conident and quick change. From bar 21 onwards, many bars contain longer, sustained rhythm patterns. It will be important to keep the pulse steady to avoid speeding up or slowing down.



















Can You Feel The Love Tonight SONG TITLE:

‘CAN YOU FEEL THE LOVE TONIGHT’

ALBUM:

THE LION KING:

q 60

ra ck Soundt r

=

ORIGINAL MOTION PICTURE SOUNDTRACK RELEASED:

1994

LABEL:

WALT DISNEY

GENRE:

POP

WRITTEN BY: PRODUCED BY: UK CHART PEAK:

D /F

G

3

2

ELTON JOHN/TIM RICE CHRIS THOMAS 14

‘Can You Feel the Love onight’ was written by Elton John and im Rice. he pair were commissioned to write the song or Disney’s 1994

1

Elton John was born Reginald Kenneth Dwight in 1947 and grew up in the Pinner area o London. He began playing the piano at a very young age and





















Can You Feel Te Love onight Elton John From ‘Te Lion King’ (1994)

q 60 Soundtrack =

G

D /F

3

2

C /E

5

4

G /D

5

C

4

2

1

3

G

2

5

1 1

D/F

G

Am

G/B

C

G /B

C

G /B

2

1



















1. G

7 5

C

1

C m

D

C

5

2

[15]

7

Em

G /D

C

Am

G /B

C

7 5

C m

D

G /D



















Notes

his is a simple, romantic ballad and students should make sure they play the song at the correct tempo in order to be true to the sentiment o the lyrics. As the let-hand part moves rom a hal-note rhythm pattern to quarter-notes rom bar 4 onwards, it can be tempting or students to allow the tempo to speed up. o avoid this, students should have a clear quarter-note pulse in mind beore beginning the piece. Note that the rhythm pattern in the right-hand part o bar 5 is syncopated. ake time to work out clearly where each note alls between the two parts by slowing down the tempo and playing the bar in isolation until secure. ime would be well spent identiying where this pattern repeats and noting where it diers, or example in bar 7. o improve the eectiveness o the song, students should be aware o the contrast in articulation between the right hand and the let hand. he right hand should maintain a smooth, singing legato, whilst the let hand should add impetus by allowing a small amount o separation when playing the quarter notes.



















Wildest Dreams Dreams SONG TITLE:

‘WILDEST DREAMS’

ALBUM:

1989

RELEASED:

2014

LABEL:

BIG MACHINE/REPUBLIC

GENRE:

DREAM POP

WRITTEN BY:

TAYLOR SWIFT/ MAX MARTIN/SHELLBACK MARTIN/SHELLBACK

PRODUCED BY: UK CHART PEAK:

MAX MARTIN/SHELLBACK MARTIN/SHELLBACK 40

q 140 Po p =

C



















Wildest Dreams aylor Swif q 140 Pop =

C

C

Em

Em

D

D





















B

G 2

[25]

D 3

4

Am

C



















Notes

he successul perormance o this song depends on holding a steady tempo. Students should be encouraged to keep thinking in a strict quarter-note pulse throughout the opening eight bars in preparation or the introduction o the melody towards the end o bar 8. Be aware o the dierent roles or each hand and ensure that the let-hand part steps back to allow the right-hand melody to shine through without the need to increase volume.



















Let It Be SONG TITLE: ALBUM: RELEASED: LABEL:

‘LET IT BE’ LET IT BE 1970 APPLE

q 65 Po p / Rock =



















Let It Be Te Beatles q 65 Pop/Rock =

C

G

Am

F maj7

F6



















B

Am

E m/G

F 3

[13]

C 2

1

2

1

5























































































































































































































































































RSK200090_Piano_2019_G1_DIGITAL.pdf

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