RSK200091_Piano_2019_G2_DIGITAL.pdf

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Piano Piano Grade 2 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 from: www.rslawards.com/downloads















Acknowledgements Published by Rockschool Ltd. © 2019 Catalogue Number: RSK200091 ISBN: 978-1-78936-056-1 978-1-78936-056-1 Initial Release | Errata details can be found 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 Griffiths 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

Proof reading of arrangements by Sharon Kelly, Simon roup, Jennie roup and Jono Harrison Music engraving and book layout by Simon and Jennie roup of Digital Music Art Fact files written and edited by Abbie homas Notes written by Roland Perrin Proof reading and copy editing by Gemma Bull, Jono Harrison and Jennie roup Cover design by Philip Millard of Rather Nice Design Cover photograph: Ed Sheeran © Michael ran / 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 of Contents C ontents Introductions & Information Information 1 2 3 4 6

itle Page Acknowledgements able of Contents Welcome to Rockschool Rocksch ool Piano Grade 2 Performance and echnical Guidance

Rockschool Grade Pieces 7 11 15 19 23 27

.............................. Ed Sheeran ‘Tinking Out Loud’ .............................. ................................................... ............. From ‘Te Greatest Showman’ (2017) ‘Tis Is Me’ Me’ ...................................... ‘Te Pink Panther Teme’. .................. From ‘Te Pink Panther’ (1963) ............................................ ....... Nina Simone ‘Feeling Good’ ..................................... ‘Roar’ ........................................ ............................................................ ....................... ... Katy Perry ............................................... .......... Dionne Warwick ‘Walk ‘Walk On By’ .....................................

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 Information Piano Notation Explained















Welcome to Rockschool Piano Grade 2 Welcome to Rockschool’s Piano syllabus 2019. his syllabus is designed to support pianists in their progression from Debut to Grade 8, through an engaging and rigorous pathway covering all the genres, stylistic elements, techniques and musical skills required for success as a contemporary pianist.

Piano 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 are required to prepare three pieces (two of which may be Free Choice Pieces) and the contents of the echnical Exercise section. his accounts for 75% of the exam marks. he other 25% consists of: either a Sight Reading or an Improvisation & Interpretation test (10%), two Ear ests (10%), and finally you will be asked five General Musicianship Questions (5%). he pass mark is 60%. Performance Certificate ■ Performance 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%.

All elements required to participate in a Rockschool exam can be found in the grade book. hese are as follows: ■ 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 performance environment. hese fall into three categories: Melody & Accompanim Accompaniment ent

hese arrangements arrangements are performed to full f ull band backing tracks, with the piano performing both melody and accompaniment Solo Piano Arrangement

hese are full solo piano arrangements, performed without backing tracks Vocal Accompaniment

hese arrangements cover the skills required of contemporary pianists in ensemble environments, be they on the stage or in the studio. he backing tracks feature vocalists, and the piano parts are reflective of what session pianists would perform 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 performers/recording artists. Furthermore, at the end of each arrangement you will find notes giving additional supportive context to get the most out of the pieces. ■ Technical Exercises here are either three or four groups of technical exercise, depending on the grade:















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

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

2. Ear Tests Debut–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

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

Audio In addition to the grade book, we have also provided audio in the form of backing tracks (minus piano) and full tracks (including piano) for all ‘hit tune’ arrangements, technical exercises and supporting tests (where applicable). We have provided professional performance recordings of all solo piano pieces in the syllabus. his audio can be downloaded from RSL directly at www.rslawards.com/downloads

You will need to input this code when prompted: NZGKS28LB4 he audio files are supplied in MP3 format. Once downloade d you will be able to play them on any compatible device.

Further Information You can find further details about Rockschool’s Contemporary 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.

















Performance and echnical Guidance Fingering Any fingering annotation is given as a guide only.

Interpretation Notation should be performed exactly as written, except where there are performance 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 of adaptation is allowed where, for example, hand stretches do not facilitate the required notated parts. Marks may be deducted if adaptation results in over-simplification of the notation. If 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 followed. Where it is open to interpretation, the candidate is free to take their own approach.

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

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

















Thinking Out Loud SONG TITLE:

THINKING OUT LOUD

ALBUM:

X

LABEL:

ASYLUM / ATLANTIC

GENRE:

BLUE EYED SOUL / POP

q 79 Po p =

A

D

WRITTEN BY:

D /F

ED SHEERAN, AMY WADGE AND JULIAN WILLIAMS

PRODUCED BY: UK CHART PEAK:

JAKE GOSLING 1

‘hinking Out Loud’ was released as a single in September 2014 and reached the no.2 spot on the Billboard Hot 100 subsequently spending a year in the op Forty. It reached no.1 in many countries across the world and by 2015 it had reached half a billion streams on Spotify and over 2 billion views on You Youube. ube. he song won two Grammy Awards, for Best Pop Solo Performance and Song Of he Year respectively. ‘hinking Out Loud’ was written in partnership with long-time collaborator Amy Wadge, who Sheeran has worked with since 2007. hey also

His 2017 album ‘ ÷’ had, at one time, a record 10 singles in the UK Singles Chart Sheeran was born in West Yorkshire in 1991 and raised in Suffolk. He dropped out of school aged 16 to pursue a career in music and moved to London. His independent releases caught the attention of Elton John and Jamie Foxx, and he signed to Asylum records in 2011. He is one of today’s most popular and commercially commercially successful artists. Sheeran is an outspoken artist, not afraid of making his political and social views known, and he remains

















Tinking Out Loud Ed Sheeran q 79 Pop =

A

D

D /F

G

A

7

D

D /F

[3]

G

A

7

D

D /F

G

A

7

[6]

D

[9]

D /F

G

A

7

D

D /F

















B 7

Em

A

A

Em

7

D

Em

[17] 7

A

Bm

[20]

7

Em

A

[23]

C

D

D /F

G

A

7

D

D /F

3

[25] G

A

7

D

3

3

D /F

G

A

7

3

















Notes

In section A, one of the biggest challenges is to maintain the pulse where the music is sustained across a beat. In the opening eight bars of the piece, each two-bar melodic phrase starts consistently on the and of of the second beat. Similarly, as the left hand chord is tied across to beat three, it is up to the performer to keep a strict quarter-note internal pulse to make sure the tempo stays steady. Be careful not to let the left hand chords overwhelm the right-hand melody line. While they help provide the harmony and reinforce the syncopated groove, sections A and and B should be performed with a light touch and remaining moderately quiet throughout. While the rests between the phrases in the right-hand melody mirror those phrases sung by the vocalist, there are three key points in the pi ece where both hands have simultaneous rests (bars 16, 18 and 22). Be sure to observe these rests in order to create the contrast provided by these brief moments of silence. In bar 24, note that there is a crescendo leading into section C. Be careful to moderate this increase in volume to avoid changing the light open character, while allowing the melody to sing out above the left hand chords.

Students should take notice of the triplets in bars 26, 28 and 30. hese bars are best practised in isolation to ensure they understand the rhythm pattern of the melody line in relation to the pulse. One approach would be to focus solely on the rhythm by tapping out a steady quarter-note pulse with the left hand while tapping out the rhythm pattern with their right hand to understand how it fits across the four beats. It may be beneficial to practise this slowly, before bringing up to tempo.



















This Is Me SONG TITLE: ALBUM:

‘THIS IS ME’ THE GREATEST SHOWMAN:

q 96

ORIGINAL MOTION PICTURE SOUNDTRACK RELEASED:

2017

LABEL:

ATLANTIC

GENRE:

POP

WRITTEN BY: PRODUCED BY:

=

ra ck Soundt r

A

Bm

A /C

BENJ PASEK/JUSTIN PAUL GREG WELLS/JUSTIN PAUL/ ADAM GUBMAN/ ALEX LACAMOIRE

UK CHART PEAK:

3

‘his Is Me’ is a pop song with an anthemic feel, written for the 2017 musical film release ‘he Greatest Showman’. he song was originally released

‘he Greatest Showman’ was met with mixed reviews, with many praising the performances, music and production values, while others criticised the



















Tis Is Me Keala Settle and Te Greatest Greatest Showman Ensemble From ‘Te Greatest Showman’ (2017)

q 96 Soundtrack =

A

Bm

A/C

Bm

A/C

D

G

D

Bm

G

Bm

[5]

G maj7

A

Bm

A/C

D

A

A sus 4

A

A



















C

Bm

A/C

D

G

Bm

A sus 4

Bm

A/C

D

G

Bm

A

[26]

[30]

D

G maj 7

[34]

A

Bm

A/C

D

A add 4

A



















Notes

‘his Is Me’ features distinct lifts in dynamic and groove from one section to the next, enforcing the theme of positivity and strength running through the lyrics. he first part of this song (bars 1 to 13) have a quiet and direct simplicity, and this hymn-like section will be most effective when played with clear and precise articulation. Students should avoid the temptation to over-use the pedal, which could adversely affect the clarity between the chords. As both the treble and bass clef often follow the same rhythmic pattern, students should listen carefully to their timing to ensure that the left and right hands sound precisely together at these points, paying careful attention to the balance of every note in each chord. At bar 9, there is a slight lift to mezzo piano dynamic, as we anticipate the first chorus at bar 14 (section B). Care is needed to avoid inadvertently increasing the volume when the left hand moves to a quarter-note pattern in bars 20 to 23. Furthermore, some students might find the right hand syncopations in bars 20 and 22 are challenging. If so, bar 20 can be practised by playing it as a ‘loop’ with the ties omitted – the notes ‘E’ and ‘G’ being repeated. Once this has been mastered at the correct tempo, the ties can be included. Sections C and D build on the previous previous two sections s ections and should be performed moderately moderately loudly. loudly. Be careful not to raise the volume too much at at this point point in the piece piece to allow allow room for for a good contrast contrast with the following following louder section. section. While this this should feel like a sense of progression and development, it is important to maintain the original dignified and calm character of the previous sections. he second part of the song, at bar 38, breaks out into a defiant marching groove. his needs to be played forte. Students should ensure that this change provides a real sense of contrast – there should be no hint of a crescendo in the bars leading up to it. One of the principal challenges of this piece is to keep a sense of forward motion and development while avoiding a gradual drift of tempo. Students could benefit from playing alongside a metronome click at a slower tempo at first, to help prepare for playing to the backing track. Finally the piano part finished on an unresolved ‘A’ chord – this is because the piece is actually finished by the singer, with



















The Pink Panther Theme SONG TITLE: ALBUM: RELEASED:

‘THE PINK PANTHER THEME’ THE PINK PANTHER 1963

LABEL:

RCA VICTOR

GENRE:

JAZZ

WRITTEN BY: PRODUCED BY: US CHART PEAK:

q 117 =

ra ck Soundt r

s

HENRY MANCINI JOE REISMAN 8

‘he Pink Panther heme’ was composed by Henry Mancini for the release of the original 1963 film he Pink Panther. he piece was subsequently nominated

writing the score for the stage adaption of ‘Victor Victoria’, a musical comedy which he wrote the original film score for in 1982, but sadly he





















Te Pink Panther Teme Henry Mancini q 117 Soundtrack =

s

From ‘Te Pink Panther’ (1963)



















2.

[14]

3

[16]



















Notes

his song has a jazzy feel and a sense that there is much more behind the music than first appears. he notes appear fairly simple but, if they are played with precision and attention to the details of articulation, the piece will sound cool . For practice purposes, students could be encouraged to count a medium slow ‘one, two, three, four’ and, at the same time, click their fingers or clap their hands on the second and fourth beats. Once the tempo and feel have been set in this way, it is important to maintain a steady pulse throughout. Students Students need to be very precise in observing the rests in the left-hand part. In this song, the left hand imitates a double bass. Note the staccato quarter-note at the start of bar 15. While there is a small crescendo leading up to this left-hand staccato note, be careful not to over emphasise this note as an accented note. Instead, save the peak moment for the accented chord on the final beat of bar 23. For full effect, students should observe the diminuendo in bar 19, followed by playing bars 20 to 22 right back down to piano. he forte at the end will truly startle listeners. Make sure the last two bars are played for the correct length.



















Feeling Good SONG TITLE: ALBUM: RELEASED:

‘FEELING GOOD’ I PUT A SPELL ON YOU 1965

LABEL:

PHILIPS/MERCURY

GENRE:

JAZZ/BLUES

WRITTEN BY:

LESLIE BRICUSSE/ ANTHONY NEWLEY

PRODUCED BY: UK CHART PEAK:

HAL MOONEY 40

q. 75 =

z J az z Blues /

Gm

G



















Feeling Good Nina Simone q. 75 Blues/Jazz =

Gm

G m/F

E maj 7

D7

Gm

G m/F





















Trumpet Solo Gm

[12]

G m/F

E maj 7

D7

Gm

G m/F



















Notes

In this blues/jazz song, it is essential to keep a strict feeling for the twelve eighth-note beats in each bar. he melody in bars 1 to 10 should be articulated as much like a singer as possible, maintaining right hand legato whilst bringing out the melody above the left hand. Make sure the left hand part is a little quieter than the right, allowing the melody to project clearly.



















Roar SONG TITLE:

‘ROAR’

ALBUM:

PRISM

RELEASED: LABEL:

2013 CAPITOL

q 90 Po p =

t



















Roar Katy Perry q 90 Pop =

B

t 7

Cm



















B

[13]

7

Cm























































































































































































































































































RSK200091_Piano_2019_G2_DIGITAL.pdf

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