Grade 6 Performance Pieces, Technical Exercises and In-Depth Guidance for Rockschool Examinations

Home , Charlene Soraia, Fumbling Towards Ecstasy, Paul Francis Webster, Wherever You Will Go

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Female Vocals Grade 6 Performance pieces, technical exercises and in-depth guidance for Rockschool examinations

www.rslawards.com 2 Female Vocals Grade 6 Email: Telephone: +44(0)8454604747 www.rslawards.com Ltd. Music Sales Distributors: Exclusive Ryan Moore, Hawkins, Chris Jonathan Preiss Supporting Tests Composition: Martin Hibbert, James Uings, Jon Musgrave, Jodie Davies, Additional Consultation: Emily Nash, Stuart Slater and Sarah Page Vocal Martin specialists: Hibbert and Eva Brandt Full transcriptions by Music Ltd. Sales Cover photography Features ©Rex Additional proofing by Bird, Chris Ronan Macdonald, Jonathan Preiss Baldwin and Becky Fact written Files by Stephen and Lawson,Bailey Michael Owen Leonard Cover by designed Philip Millard, Philip Millard Design Internal design and layout by Simon and Jennie Troup, Music Digital Art Compiled and edited by James Uings, Simon Troup, Stephen Lawson and Stuart Slater Smart,Chris Ross Stanley, T-Jay, Taylor, Stacy Daniel Walker Loates-Taylor,Beth Dave Marks, Mastroianni, Salena Paul Miro, Ryan Moore, Jon Musgrave, Neal Andrews, Lucie Hammock), Burns (Lazy Jodie Davies,Tenisha Edwards, Noam Lederman, Mastered by Duncan Jordan Supporting tests mixed at Studios Langlei by Duncan Jordan Supporting test recorded vocals by Duncan Jordan Supporting test backing tracks recorded by Jon Musgrave, Jon Bishop and Duncan Jordan Backing tracks produced by Music Limited Sales This edition published July 2017|Errata found details can be at ISBN: 978-1-912352-28-9 Catalogue Number RSK091406R Published by Ltd. Rockschool ©2014under license from Music Ltd. Sales Acknowledgements CONTACTING ROCKSCHOOL DISTRIBUTION SYLLABUS PUBLISHING MUSICIANS AUDIO [email protected] www.rslawards.com

Acknowledgements

RSL-121359032617 / 1 / Louise Metcalfe / [email protected] Table of Contents

Rockschool Grade Pieces Grade Rockschool Information & Introductions Additional Information Supporting Tests Technical Exercises 33 25 17 56 55 54 53 52 51 50 48 44 39 9 5 4 3 2 1 Beyoncé Acknowledgements Charlene Soraia Kelly Clarkson MisérablesLes Sarah McLachlan Welcome to Female Rockschool Vocals Grade 6 Table of Contents Title Page Rockschool PopularRockschool Music Theory Downloads Digital Rockschool Copyright Information Musical Interpretation &Free Choice Pieces Entering Exams, Exam Procedure &Marking Schemes MusicianshipGeneral Questions TestsEar Quick Study Piece Intervals, Backing Vocals Arpeggios, Scales, &Stylistic Studies Sarah Vaughan ...... ‘Wherever You Will Go’ ‘Since Gone’ UBeen ‘On My Own’ ‘Black Coffee’‘Black ‘Angel’ ‘Halo’ Table ofContents 3 Female Vocals Grade 6 RSL-121359032617 / 1 / Louise Metcalfe / [email protected] 4 Female Vocals Grade 6 RSL website: candidatesAll should read accompanying the syllabus guide This using when downloaded can from book. be grade this the examples of supporting the tests printed The audio book. inthe are files supplied inMP3format. you offtaken so can sing along with band. the The backing inexaminations. tracks should used be There are audio also songEach inVocals Grade 6has an audio provided track which has been for you. This is abacking track with vocal the Audio is divided intoThe book anumber of are: These sections. Contents Book At each you grade have option the of one taking of two different of types examination: Vocals Exams to sing at grade. this Welcome Female to Rockschool the Vocals Grade and 6pack. This book accompanying audio contain you need everything Welcome Female to Vocals Rockschool 6 Grade ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ marking schemes, information on Free Choice Pieces and improvisation requirements for each grade. Information:General of of types the tests likely to appear exam inthe are printed book. inthis Study Piece, two Tests Ear and of Musicianship aset General Questions (GMQs) asked at end the of each exam. Examples Supporting Tests Musicianship and General Questions: range of starting notes. Exercises: Technical on part asingle vocal sheet the ofview paper. Vocal score: piano and/or guitar for accompaniment. In your exam you must perform to backing the tracks provided. of overall the band arrangement. have These included been to assist you with your practice should you wish to a use Piano and guitar notation: wish to research artist the further. detailing information about recording, original the sang artist the who on it and some recommended listening ifyou Pieces: Exam Pieces. song Each is marked out of 20and pass the mark is 60%. Performance Certificate: asked Musicianship five General Questions (5%).The pass mark is 60%. of exam the marks. The other 25% consists of: a Quick Study Piece (10%), two Tests Ear (10%), and you be finally will (two of which may Free be Choice Pieces) and contents the of Technical the Exercise This accounts section. for 75% Exam: Grade www.rslawards.com inaddition to piano/vocal/guitar the arrangement there aseparate is also vocal-only score to allow you to in this book yousix well-known find book inthis will pieces of Grade 6standard. song Each is preceded by aFact File aGrade Exam is amixture of music performances, technical work and tests. You prepare three pieces there are arange of technical exercises grade. inthis Some are notated and infull, some give a finally, you information find will on exam procedures, including online examination entry, inaPerformance you sing Certificate five pieces. Up to three Free of can be these Choice every exam piece is printed every with apiano and part guitar chords. are Both arepresentation in Vocals Grade 6 there are three supporting tests – a Quick Welcome Female toRockschool Vocals Grade6

RSL-121359032617 / 1 / Louise Metcalfe / [email protected] Rockschool GradePieces UK CHARTPEAK: US CHARTPEAK: date is 1997’s Fumbling Towards Ecstasy followed in1993with release the of album the in Canada on its release in1991.International success follow-up, included hit the song ‘Vox’. However, it was album, contract and made move the to Vancouver. Her debut a year of college behind her –McLachlan her signed a famous rock star”. Two years later schooland –high predicted yearbook high-school she would “become in music. No wonder aclassmate inMcLachlan’s school before moving to Vancouver to pursue acareer label Nettwerk, but her parents insisted she finish a recording contract with Vancouver-based record Following group’s the McLachlan first gig, was offered had asong released on an independent record label. fronting arock band formed at her school, which as achild. By she time the was 17,McLachlan was Canada. She took piano vocal, and guitar lessons THE BIGGERPICTURE McLachlan’s fourth studio album, BACKGROUND INFO Sarah McLachlan was in1968Nova born Scotia, ‘Angel’ was fourth the single from Sarah SONG TITLE: PERSONNEL: RELEASED: Touch Solace ALBUM: GENRE: LABEL: , was released on Nettwerk in1988and Surfacing , that was to prove her breakthrough WARNER 1998 SURFACING ANGEL 4 36 (VOX+PIANO) SARAH MCLACHLAN POP , featuring hit the song ‘Angel’. . Her album best-selling to Surfacing Touch . ’s ’s

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  for ‘Building AMystery’ and ‘Sweet Surrender’. was from, taken include ‘Possession’ and ‘Ice Cream’. The album ‘Angel’ she emerged as afully-formed artist. Highlights international breakthrough and album the on which RECOMMENDED LISTENING but I’ve done plenty of other things to escape.” and here’s escape this route. I’ve never done heroin, know you who are anymore, and you’re miserable – you’re ******up so and you’re lost that so you don’t with its famous users: “I’ve inthat been place where she she had could never drug, empathise the taken are getting picked off by it”. Although singer the stated music people and who, these industry all one by one, of series turn Thewho to singer drugs. had recently read a “stuff to say” on was people based limelight inthe stuff that Ican write that’s good.” In that case, this my faith again. have Istill stuff to say and there’s still McLachlan. “It came out easily and that just solidified sessions was discarded. “I really loved it,” said for NOTES  

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- 6 Female Vocals Grade 6 Angel                                        break build vul not G¨ D¨                         -    - good tures ing that               e would the =117  and e  - nough,       lies       D¨  make      thieves     B¨‹ (2º only:)            D¨6(“4)  at  it © Copyright 1997Sony/ATV SongsLLC/Tyde Music,USA. Words &MusicbySarahMcLachlan      that and your       All Rights Reserved. International Copyright Secured. .Sedalyu time your all Spend 1.  o    - you it’s   © Copyright 1997 Sony/ATV Songs LLC/Tyde Music, USA.   back. kay. All Rights Reserved. International Copyright Secured. hard make Sony/ATV Music Publishing. D¨             A¨      Angel Sony/ATV Music Publishing.       up at    the for  (2.)        all end There’s straight       E¨‹7 wait The B¨‹                        A¨¸Û storm o that for -  life; ing al      that of    some - keeps ways     you   the        on  lack. day. and     A¨6 sec G¨ ev            E¨‹7 twist         - rea -      ond ’ry -where Words & Music by Sarah McLachlan        - - son ing;  Sarah McLachlan Sarah chance,   It I  A¨¸Û o turn you don’t     need       keep    to  make some         feel on  for   there’s dis     no      a -

RSL-121359032617 / 1 / Louise Metcalfe / [email protected]                                                                         - mad E¨‹7 E¨‹7 arms room - emp trac D¨ tel                                     - dif-fer -ence, dif-fer - tion,  ness,    ty,      ftean the of                            oh,    oh,       h a oh,      and       this    n weight and    es     - h end the           -  beau     cap G¨ G¨ gel,      glo                 - - ing

   ti   esness less - - re - D¨ -      one ful less,          ri  - last   l way a fly     and ous    - lease.   time;       sad may        B¨‹          - - ness, 2        htyufear. you that be F‹          it’s eas      that I’ll        brings    find D¨       rmhere, from Me D¨        -          ries - some mo me A¨       i   -   - B¨‹  er  to peace          seep B¨‹                        my to  from o r pulled are You  - to     night.   my    be -lieve     knees.  rmti dark, this from   A¨             D¨          veins;     A¨         G¨             from            A¨¸Û A¨¸Û    in let           cold   this me        nthe In    sweet       be ho the     7 Female Vocals Grade 6 RSL-121359032617 / 1 / Louise Metcalfe / [email protected] 8 Female Vocals Grade 6                                                       G¨/D¨ rc age wreck G¨         an                 3 -  -        gel;  3      D¨                 fyu si your of       a o find you may           D¨6(“4)   F‹                 D¨        -      2.  otired So     B¨‹ lent                   3   e er rev   of   ie. -     the    -  A¨                2. D¨                        here.   A¨¸Û       some           o fort com    o’ei h arms the in You’re  G¨/D¨   -              1.    D¨              rit. G¨      here.        G¨¸Û       D¨   of                      the 

RSL-121359032617 / 1 / Louise Metcalfe / [email protected] UK CHARTPEAK: US CHARTPEAK: at last shine as brightly as it had promised to… album, to pursue solo careers –was followed by studio afinal hiatus –inwhich three the remaining members began mostthe successful groups girl of before time all a Columbia Records. Destiny’s one became Child of nametheir to Destiny’s with and Child adeal signed support established R’n’B In acts. changed 1996,they topolish extent act their the that were they able to regularlypractise ina“bootcamp” and managed to Roberson and LeToya Tuckett. He had girls the four members: Beyoncé, Kelly Rowland, LaTavia to manage group the and cut then it down to 1992. Beyoncé’s father, Matthew Knowles, volunteered Girl’scalled Tyme, with Kelly Rowland joining in for group. agirl The pair joined then another group 1990, she met LaTavia auditioning Roberson while The Performing And Visual inHouston. Arts In dance classes, later attending High the For School Texas. As achild, sang Beyoncé inchoirs and took THE BIGGERPICTURE studio album, BACKGROUND INFO Beyoncé KnowlesBeyoncé was in1981Houston, born ‘Halo’ was fourth the single from Beyoncé’s third SONG TITLE: PERSONNEL: RELEASED: Destiny Fulfilled ALBUM: GENRE: LABEL: I Am… Sasha Fierce COLUMBIA 2009 I AM…SASHAFIERCE HALO 5 4 RYAN TEDDER(VARIOUS) BEYONCÉ (VOX) POP/R’N’B , in2004.Beyoncé’s star could .

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 10 Female Vocals Grade 6 Halo                       F#m A                          q =80  A      © Copyright 2008 EMI April Music Inc./B-Day Publishing/Write 2 Live Publishing/Sony/ATV Songs LLC/Here’s Lookin At You Kidd Music.             EMI April Music Inc./Kobalt Music Publishing Limited/Sony/ATV Music Publishing.     Bm      All Rights Reserved. International Copyright Secured.    Halo        Bm   D   F#m       Words & Music by Ryan Tedder, Beyoncé Knowles & Evan Bogart               D                    Beyoncé     

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   

   

3fr

3fr Cm 

  



   

    

 

3fr    

 

Am 



 



 



   

 

Dm 

5fr





  

     

  D7 



5fr

  

  Bb 

  



 





Cm 



 



 

     

3fr 

   

    Am

 

3fr





      

   



 18 Female Vocals Grade 6 On My Own                      Gm Bb                  Andante q    nnwImall I’m Andnow 3fr                            Cm   Dm =69     Am              3fr   5fr      lone a Gm gain; a -             3fr       owhere no - Dm       Bb      Eb         5fr  Am           6fr  English Lyrics © Copyright 1985 Alain Boublil Music Limited (ASCAP).   © Copyright (Music & Lyrics) 1980 Editions Musicales Alain Boublil. ogo, to -    On MyOwn     All Rights Reserved. International Copyright Secured.     Cm       Bb      Am          3fr         oone no      oturn to -       Am         Bb        Bb Dm                     5fr  English Lyrics by Herbert Kretzmer,Trevor Nunn & John Caird   to.              Cm Gm         Cm      Original Lyrics by Alain Boublil & Jean-Marc Natel  3fr   3fr      3fr                Am     Dm      Music by Claude-Michel Schönberg Dm          5fr    5fr  D7               Bb   Les Misérables Les      Cm Cm                  3fr  3fr      Am                

RSL-121359032617 / 1 / Louise Metcalfe / [email protected]                               Dm near;           F Dm Bb             oetimes Some   5fr       hno him thinkof I 5fr      didnotwant I walk I -               Gm      Cm            Em         n hnI’mhap then and 3fr  o canmake I now     oro ey, yourmon 3fr         lone a tnight, at -               sir, - Am  rit.        D           Dm F       ihthecom with -   py      hnv’ry whenev 5fr    Icameouthere   elieve be       -       bod - Gm               -y Cm  eshere. he’s Em      3fr ny -        pa     cueIwstold was I ’cause 3fr  lei sleep is else - ’ keep I’m -    a tempo     Gm             3fr                     F            -      Am - ing.          ing.    to.        Am   Dm       Gm                3fr     Bb              Am Bb  Eb                       6fr      Am            nnwteih is thenight Andnow  h cit The         B¨(b5) Gm                   osto goes -   3fr      y                     19 Female Vocals Grade 6 RSL-121359032617 / 1 / Louise Metcalfe / [email protected] 20 Female Vocals Grade 6                               rit. bed, Am morn      - riv  A D D          sil side            -    - -  ing. er.     ver. me.                   n a live can I and                   A/G# D/C#   Em A                        nside in      -      .O yown, my 1. On With      In   All All        my     him, -  the     a  out  the    -I (2.) rain, q

   lights = 60atempo akness, dark       lone,     Bm G             D      p      head. -     D                     the      I    are pre the   trees     feel F#7            ing - Em/D  walk   pave tend mis  E7             Em          - - -    with are his ty   ment      arms full       shines him he’s  in                 of    a the - till like   be          -

RSL-121359032617 / 1 / Louise Metcalfe / [email protected]                               - though love      F      -    - round know      Em Bb      mf      star Bm    him           -          light tson it’s me    Cm7b5/Bb     nwthathe know I                    in -  ly     and and u when but                   ymind; my  Gm/F       sblind, is        when  Em  all           Bb              B    see I I  oemy lose           h night the   is    Bb/A    way, him            and tl say I still    htImtalk I’m that     I     close  so is   me       my for   Am7   Em/D        Gm er - eyes           F ev        om self my to -  -  3fr ing   and -         and he    ver,           has for     hr’away there’sa n not and - Bb/F         -              found  ev A            -  me!      er.    C7          ohim. to   F/E 3fr          for       

  

Eb        

         6fr us.                  eis he        2. In  3. I And      n al- And      the   I                    21 Female Vocals Grade 6 RSL-121359032617 / 1 / Louise Metcalfe / [email protected] 22 Female Vocals Grade 6                         gone, him, - love        Dm out Bb        ff    F     trees    Gm          i,btev but him,     3fr    r ae n ev and bare, are                    Bb/F           h riv the      day -  ’ry where -     ’ry   ’ learn I’m - h world the    G7 h streets the -              just -      A     er’s          Gm/F       F                -  r ulo stran  of full are  ing,       round a    -      riv a           C         F/E      -        C echan me    er.          -  l ylife, my all     gers.                Dm      Dm               -    C/B      ges;   

 

’eon I’ve

              G7               been -  ly      the   4. I           With -  pre           -

RSL-121359032617 / 1 / Louise Metcalfe / [email protected]                     mf     - tend        Dm      C    love  world love    Gm     F            -  3fr    htsfl fhap of full that’s ing.     him, a tempo      him       C/B           rit.        ness - ihout With pi      htI that -   rit. u on but      ehsworld his me -  Bb  f          Bbm/Db                   aenver nev have  nm own. my on -     ly  love I       known. -        A    F/Eb                      him,  

     C   



ilgo will    



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RSL-121359032617 / 1 / Louise Metcalfe / [email protected] UK CHARTPEAK: US CHARTPEAK: and won Grammy several awards. in 2002.Since she then, has released six studio albums coveted materialised form inthe of with RCA adeal contest. the win The recording contract Clarkson had American Idol audition for television anew show, talent the contest moved back to Texas, where encouraged friends her to to produce demo anew –again, to no avail. Clarkson workedtime Goffin with veteran Gerry songwriter contract, Clarkson moved to Hollywood and for a companies. When to failed this land her arecording career. She recorded ademo and sent it to record she could make an immediate on start her musical offered scholarships to study music but declined so got sing. You’re so destined to sing.” Clarkson was member told her, “God has given you You’ve gift. this musicals and at atalent show, where an audience hallway.the She subsequently sang school inhigh school choirthe after ateacher heard her singing in Worth, Texas. Aged 12, she was to persuaded join THE BIGGERPICTURE Clarkson’s second studio album, BACKGROUND INFO Kelly Brianne Clarkson was in1982Fort born ‘Since Gone’ UBeen single was lead from the Kelly SONG TITLE: PERSONNEL: RELEASED: ALBUM: GENRE: LABEL: . She passed the audition. She the passed and went on to RCA 2004 BREAKAWAY SINCE UBEENGONE 2 5 OLLE DAHLSTEDT(VARIOUS) DR. LUKE(VARIOUS) KELLY CLARKSON(VOX) POP ROCK Breakaway .

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RSL-121359032617 / 1 / Louise Metcalfe / [email protected] ? & & ? & & ? & & ? & & # # # # # # # # # # # # 1. Em Em Ó œ œ w w w œ w w w ˙ ˙ œ œ œ œ œ œ œ œ ˙ ˙ œ œ ˙ . . . . œ œ œ œ œ œ ‰ œ œ Since œ œ Œ œ œ ‰ œ œ œ œ œ œ I j j œ œ U œ œ get œ œ ˙ œ œ œ œ œ œ I j j been what Ó œ œ œ œ œ œ œ œ get œ œ œ œ œ œ œ œ œ œ œ œ œ œ gone. I what œ œ œ œ want œ œ œ œ œ œ – G œ œ w w w œ œ œ œ œ ...... I œ œ 2. — — – œ œ — Em œ œ ˙ ˙ ˙ œ want. œ œ œ œ œ œ Œ œ œ Ó œ œ ˙ ˙ ˙ œ œ D/F# œ œ w w w w œ œ Œ œ œ œ œ Ó œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ you œ œ œ œ œ œ Since j ˙ ˙ œ œ should œ œ œ œ œ œ œ œ U œ œ œ œ know œ œ œ œ œ œ been Ó œ œ ˙ ˙ ˙ œ œ Am œ œ œ œ ˙ ˙ ˙ œ œ œ gone. œ œ œ œ œ œ œ œ µ œ œ œ œ Œ œ œ œ œ œ œ Since ˙ ˙ œ œ Œ Œ Am7 ‰ œ œ œ œ œ w w w w w U œ œ w ∑ that œ œ œ J œ Ó Ó been œ œ œ œ œ œ ∑ I gone. œ œ œ œ get, œ œ œ œ œ œ 31 Female Vocals Grade 6 RSL-121359032617 / 1 / Louise Metcalfe / [email protected] 32 Female Vocals Grade 6

RSL-121359032617 / 1 / Louise Metcalfe / [email protected] UK CHARTPEAK: US CHARTPEAK: would turn out acover to be version… iTunesthe UKfolk chart. Her big break, however, last of which, continued to release EPs through late the 2000s,the her own EP give up on her solomaterial, though, and released which released an Retrospect, EP.called Soraia didn’t While attending school, the she joined arock band and Amy Winehouse) without aGCSE inmusic. into attended (also BRIT the School by Jessie J, Adele hard this All work paid off Soraia when was accepted beforetime her performances to do her homework. singer-songwritertime, fledgling the would the use night inBromley, London. at aschoolgirl Still the Soraia aregular became performer at an open mic and prog rock group King Crimson. Around 2004, influences were David Pink Floyd Bowie, The Beatles, first time. Unusually for an eight-year-old, Soraia’s Aged eight, she performed to an audience for the was five years old she when first picked up aguitar. THE BIGGERPICTURE Charlene Soraia’s debut album, BACKGROUND INFO Charlene Soraia wasinLondon born in1988.She ‘Wherever You Will Go’ single was lead from the SONG TITLE: PERSONNEL: RELEASED: ALBUM: GENRE: LABEL: Lemonade Lemonade One Of TheOne Of Sun PEACEFROG 2011 MOONCHILD WHEREVER YOUWILLGO N/A 3 CHARLENE SORAIA(VOX) INDIE POP around same the time. She , reached Number 1in Moonchild .

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RSL-121359032617 / 1 / Louise Metcalfe / [email protected] & ? & & ? & & ? & & ? & # # # # # # # # # # # # $ # # # # # # # # # # # # # # # # # # # # # # # # A A A A w Œ œ w Œ w œ ˙ ˙ ˙ œ w w w Œ w Œ w œ w ‰ Œ ’Cause œ œ Way œ Œ œ œ œ j œ ‰ ‰ œ œ œ if up œ œ œ $ ‰ ˙ œ œ œ I œ œ œ ˙ œ œ And 8vb till* . . And j j œ œ I high J œ œ j j ˙ œ œ œ œ j j could know . . be may œ œ œ œ œ œ - . . tween œ œ J œ w ‰ w Œ E Œ - now be œ œ œ w ‰ w Œ E Œ w Œ œ œ E j œ or œ œ œ œ . j the Amaj7/G# œ œ œ then down œ œ œ œ œ œ œ J œ œ œ sand w w w w Œ Œ I œ œ œ œ œ œ ˙ ˙ œ J œ j j j low. œ œ ˙ and œ œ œ œ œ j j would. just . . I’ll œ œ œ œ œ . . stone œ J œ j F#m7 quite work œ œ F#m7 F#m7 ˙ ‰ w w Œ Œ w w Œ Œ w ‰ w Œ ˙ ˙ œ . œ œ œ j œ j j œ Œ I’ll j œ œ œ I’ll how œ œ œ out œ œ œ œ œ œ go could . . œ œ œ go ˙ œ œ œ ˙ œ œ j j . j j œ œ ˙ wher you j j œ œ wher œ œ . . œ œ œ F#m7 . . w w w Œ w Œ make J œ œ J œ - j D'9 - ˙ D'9 ev w ‰ ˙ œ œ œ D'9 ev j j œ œ œ w Œ - my j j w Œ œ œ J œ 2fr . . er œ œ œ œ œ a - j 2fr . j er œ œ 2fr œ œ it œ œ œ life way œ œ you œ œ œ you J œ œ œ œ œ on œ J œ œ œ j j j j j j œ œ œ œ œ œ œ œ j j ˙ œ œ œ œ œ œ œ j j . . j j your . . will will and œ œ œ œ œ to œ œ œ œ œ . . œ œ own? love œ œ œ go. J œ œ œ go. œ œ ‰ j j j j * 35 Female Vocals Grade 6 RSL-121359032617 / 1 / Louise Metcalfe / [email protected] 36 Female Vocals Grade 6 ? & & ? & & ? & & ? & & # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # Bm/F# F#m7 make A Œ w ˙ œ w ‰ œ œ E w w w Œ œ J œ w Œ w w w w w Œ j j j might œ œ œ œ œ Œ œ it j I’ll ‰ ‰ œ œ œ through stay œ œ J œ ‰ ˙ œ J œ J œ still back j œ œ wave J œ Well, j œ J œ with J œ J œ ˙ œ J œ ˙ œ J œ j œ œ I j some go shall the œ œ œ œ hope œ œ œ œ . . you on œ œ day, ˙ ‰ w œ œ E œ J œ fall j j j there’s . dark œ œ œ D w w w ‰ œ J œ F#m7 j j ˙ ‰ ˙ ˙ œ A w w œ œ w ‰ œ œ œ - for . est œ œ œ some j œ œ œ œ œ j j œ ˙ œ J œ - j œ Œ one in to œ œ œ œ œ all of œ J œ œ - œ œ j your wards œ œ œ out œ J œ œ œ ˙ j ‰ ˙ œ œ F#m7 ˙ œ œ w w œ J œ w ‰ œ of your œ œ œ j it there j œ œ œ - œ heart you, œ j ’ll œ œ œ œ œ œ œ œ who fall œ œ œ œ J œ œ time. days. œ j œ œ ˙ œ œ E(„ˆˆ4) . Œ w ‰ œ œ Œ 1° only D6 w ‰ w w œ œ A ˙ ˙ ˙ œ w Œ ‰ . . j j can œ J œ œ up œ œ œ j j j œ Œ bring and to œ œ œ D w ‰ w w œ J œ œ - j œ me on œ œ œ your guide œ J œ œ œ œ œ œ œ j j j ‰ œ œ œ ˙ œ ˙ œ œ ˙ ˙ ˙ œ œ j j back œ œ J œ œ If J œ j us œ œ œ mind you œ œ œ œ œ œ a œ œ to œ œ œ all. œ œ you. œ œ œ œ œ great œ œ 3 œ œ 3 * œ œ

RSL-121359032617 / 1 / Louise Metcalfe / [email protected] ? & & ? & & ? & & ? & & # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # F#7sus4 * A A D w ‰ ˙ ˙ œ œ w Œ œ œ œ ˙ w Œ w œ œ w Œ w œ ‰ ’Cause j j ...... œ œ Way ‰ œ œ œ j œ œ œ j . . œ œ œ œ j j œ œ œ œ if up œ œ œ œ œ œ œ I œ œ œ œ ˙ œ œ j j high ˙ œ œ Œ œ œ œ œ œ œ Ó j j could . . œ œ œ œ . . Run D w Œ ˙ ˙ œ œ œ œ œ Œ w Œ w Œ E œ œ a w Œ w Œ E Œ - way œ œ œ or œ œ œ Run then w Œ ˙ ˙ œ œ œ œ œ œ down œ œ œ with I œ œ œ œ œ œ J œ œ œ œ a j j - œ œ œ way j j œ œ œ my œ œ œ œ œ œ œ low. j j would. œ œ œ œ œ œ œ . . œ . . heart. œ œ œ ‰ œ j j with œ ˙ œ œ j j Esus4 F#m7 F#m7 my ‰ w Œ œ ˙ w w Œ ˙ Œ Œ œ œ w ‰ Œ w w Œ . . J œ œ I’ll œ œ œ œ œ œ j love... œ œ I’ll œ œ œ go œ œ œ œ œ œ œ j œ œ œ go Esus4 œ œ ˙ w w Œ w w j j wher œ J œ ˙ Ó ˙ œ œ œ œ œ j j wher . œ œ . . œ œ œ ‰ œ . . - J œ D'9 - ˙ œ J œ ev C#m7 ˙ œ œ D'9 w Œ j Run œ j j ev w Œ w w œ œ w Œ œ œ œ - 2fr j j er œ œ œ œ . . - œ œ 2fr a er œ œ œ - way œ ‰ œ œ œ œ you œ œ œ j j œ you œ J œ œ œ œ j j j œ with C#m7 œ œ œ œ œ œ œ œ œ œ œ œ w w w w j j j j D.S.alCoda j j . . . . will will To Coda œ œ œ my œ œ œ œ œ ∑ œ œ œ hope. œ œ go. œ œ J œ œ œ ‰ go. j j j j j j Ø 37 Female Vocals Grade 6 RSL-121359032617 / 1 / Louise Metcalfe / [email protected] 38 Female Vocals Grade 6 ? & & ? & & ? & & # # # # # # # # # # # # # # # # # # # # # # # # # # # Ø ? & & A A A w Œ w w w ˙ ˙ w w ˙ w Œ w w œ œ w Œ Coda . . # # # # # # ‰ œ œ # # # ‰ – — œ œ If œ œ A ˙ w Œ œ œ ˙ j j œ . . j ˙ œ œ I ˙ œ œ j j could . œ J œ œ œ œ œ œ j . . . ‰ ˙ ˙ ˙ œ œ œ j . If œ œ Œ Esus4 Esus4 j turn w Œ ˙ ˙ œ œ w Œ œ œ œ I œ œ œ j . . . could . . œ œ œ A/E œ w Œ œ œ œ œ J œ œ . . . E œ œ œ œ make œ w Œ œ œ œ j j j back ∑ . . ˙ ˙ œ œ E œ œ œ œ . . Esus4 ˙ ˙ œ œ œ œ œ œ œ œ J œ œ œ you œ œ j j j œ ∑ œ œ time œ ˙ ˙ œ ˙ ˙ œ œ œ œ œ œ . . F#m œ F#m7 Ó w w w w Œ œ E œ œ œ œ ˙ Œ œ œ œ mine œ . . . œ œ œ œ ‰ . . F#m F#m7 œ œ œ Œ œ œ ˙ œ w Œ w Œ œ œ œ j . . . . . J œ œ œ œ Œ œ ‰ œ œ J œ œ œ ˙ ˙ œ ˙ ‰ I’d œ œ j ‰ œ ˙ ˙ œ I’d œ œ œ œ œ go I’d œ œ œ œ œ j j ∑ j go œ œ œ wher go œ œ œ ˙ ˙ œ œ œ wher wher œ œ D'9 - œ œ œ ev w Œ œ œ œ œ - j j - . . ev D œ œ w Œ w w - 2fr ev D w ‰ œ œ w w j j er œ œ - j j Dsus2 - er rit. œ œ er œ œ œ ‰ U u Œ w w w w w j œ œ œ J œ œ œ J œ you j j œ œ œ you you œ œ œ j j œ j j ˙ ˙ ˙ œ œ U œ œ œ ∑ œ œ œ j j j j œ will œ U will ˙ will œ œ œ œ œ œ œ œ œ œ œ œ go. œ go. œ go. œ œ j j j j

RSL-121359032617 / 1 / Louise Metcalfe / [email protected] UK CHARTPEAK: US CHARTPEAK: those two yearsthose included greats jazz the Dizzy before going soloinlate 1944. Her bandmates during performed with Hines’s group Billy then Eckstine’s to join his band. next the two Over years, Vaughan pianist Earl Hines, asked who 18-year-old the singer Apollo, Vaughan was introduced to bandleader and opening for Fitzgerald. Ella her During at time the at theatre. the In 1943,she got her week’s engagement, theatre. Her prize was $10and aweek of appearances an amateur night contest at Harlem’s famous Apollo break came aged in 1942 when, 18,Vaughan won to become aprofessional musician herself. Her she dropped out of schoolwith an high ambition venueslocal to watch and touring local bands. Later, mid-teens Vaughan into was (illegally) sneaking choir. Newark had alively music and scene by her lessons at age the of and seven sang inher church neither pursued music as acareer. Sarah took piano father played piano and guitar, her mother sang –but New Jersey. her parents Both were musical –her THE BIGGERPICTURE single released after signing to Columbia Records. BACKGROUND INFO Sarah Lois Vaughan was in1924Newark, born ‘Black Coffee’ wassinger jazz Sarah Vaughan’s first SONG TITLE: PERSONNEL: RELEASED: ALBUM: GENRE: LABEL: COLUMBIA 1949 N/A BLACK COFFEE 13 N/A SARAH VAUGHAN(VOX) JAZZ BLUES Sarah Vaughan

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 of Vaughan’s work for Columbia the label. Profile RECOMMENDED LISTENING but Ican put blues the inwhatever Ising.” she said. “I can’t sing ablues –just aright-out blues – some people] I’m either singer ajazz or ablues singer,” was modest about her ability to sing blues. the “[To of Vaughan’s bluesier recordings, thoughsinger the in 1960through to Sinéad O’Connor in1992.It is one song covered has been many times, by Fitzgerald Ella Burke (music) and Paul Francis Webster The (lyrics). NOTES highest honour, NEAJazz the Masters Award, in1989. National Endowment For awarded The Arts her its Roulettethe and Mercury record labels. America’s lasted into 1960sand the included contracts with Miles Davis. Thus began her which classic period, were pop-orientated, but cut she records also with Columbia Records. Many of her records for Columbia labels until small she 1948,when toseveral signed Gillespie and Charlie Parker. Vaughan recorded for

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 40 Female Vocals Grade 6 Black Coffee                   F7(#9)   have  F7(#9)         in     Very slowandbluesy         lp wink, a slept -       F7(#9)   mp   etween be      n't              drink I -                  

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RSL-121359032617 / 1 / Louise Metcalfe / [email protected] ? & & ? & & ? & & ? & & b b b b b b b b b b b b n Gm7 F7(#9) œ œ F7(#9) fi F7(#9) fi j j Œ œ Œ œ œ w ‰ broom. w talk all œ ‰ œ œ œ ‰ œ œ b b œ fi b b n - j œ b n fi j b œ œ œ in' n œ œ œ œ œ in œ œ œ œ Œ œ œ œ œ œ I ...... œ . . . œ fi j œ fi b b to j this œ œ œ œ do œ œ œ œ œ 3 3

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RSL-121359032617 / 1 / Louise Metcalfe / [email protected]

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RSL-121359032617 / 1 / Louise Metcalfe / [email protected] & q 4 4 =

90 w w ¿ ¿ ¿ ¿ Candidate sings: œ œ œ œ w The backing tracks for found can be these audio. in the exam,in the as chosen by examiner. the The must chosen part sung be alongside other the on two parts recording. the In group, this prepared to need be three parts backing all vocal as shown below. You asked be to perform one will of them Group Vocals D:Backing & & & & & & A C B b b b b b b b b b b b b Now Now Now 4 4 4 4 4 4 G q ˙ ˙ ˙ m = Now Now Now 120 G ˙ ˙ ˙ m Pop let’s let’s let’s œ œ œ . . . let’s let’s let’s œ œ œ . . . B œ œ œ go go go b j j j œ œ œ B œ œ œ go go go b j j j Œ Œ Œ œ œ œ to to to œ œ œ Œ Œ Œ # œ œ œ a a a place place place G œ œ œ m to to to œ œ œ Œ Œ Œ # n œ œ œ a a a Œ Œ Œ place place place C œ œ œ where where where m œ œ œ in in in œ œ œ the the the œ œ œ the the the œ œ œ C sun sun sun ˙ ˙ ˙ m sun. sun. sun. œ œ œ shines. shines. shines. D ˙ ˙ ˙ m Œ Œ Œ

45 Female Vocals Grade 6 RSL-121359032617 / 1 / Louise Metcalfe / [email protected] 46 Female Vocals Grade 6 Stylistic Study and R’n’B |Soul Stylistic Study |Pop and Musical Theatre from and jazz the blues group. ofstyle Quick the Study Piece. If you and jazz the choose blues study, stylistic for example, examiner the give you will aQSP You to need choose will Group E:Stylistic Studies Technical Exercises & & & & & & ■ ■ ■ ■ b b b # # # ■ ■ ■ ■ b b b Come night Rock andRock indie Jazz and blues andSoul R’n’B Pop and musical theatre rock b b b C E C œ œ œ b b b m / / E E . . G A I’ll G & & come œ œ know œ . / b B on œ b # b 4 4 q b b =

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RSL-121359032617 / 1 / Louise Metcalfe / [email protected] Stylistic Study and |Rock Indie Stylistic Study |Jazz and Blues & & & & & & # b b b # # - D G E A It’s ne D C œ œ œ œ œ # m m m I b j j j œ d 7 7 I i m & & - all œ could n ver ly œ œ œ œ # b feel œ 4 4 4 4 q q = =

hear # 135 118 ov G œ œ Ó Ó j œ think your hold G Indie Jazz œ œ œ n œ j j the - j œ j car q œ er œ œ q rhy - œ with œ - = j œ q - 3 q ing. œ b j thm ing œ now. œ œ œ j j Œ - Œ your œ D of œ j œ C œ œ m 7 . œ out. my ‰ œ ress œ j ‰ Fal œ œ G œ It’s As D C œ œ œ beat # # (Students may use their own adlib/scats here as an alternative) an as here adlib/scats own their use may (Students j A E ski j j œ œ . 7 7 j - n send œ - - pi œ œ 3 all œ ing D œ E - œ œ I m m dy œ j - ing Œ ling do œ œ œ G œ walked ov j œ j heart. œ œ j # wah œ A shi Ne œ D œ œ œ - œ for 7 j j j œ - - down ver F # wah vers œ œ œ / œ er C œ j œ j - œ your hold œ Œ ‰ so œ Œ œ j down # œ now. di œ œ œ Scat singing / Smooth phrasing with gentle bends gentle with phrasing Smooth / singing Scat j - j j j street œ ing - my œ long œ œ j j G D You E Tell D pi œ œ œ œ m m m j 7 . B - D d œ œ spine. out. œ œ i me j m œ j j ty œ œ 3 last œ D set E œ œ ˙ woo m m œ œ Trill downs /Registration flips œ J what œ G j œ œ night, woo. œ j Technical Exercises Œ me œ œ œ j B œ œ b œ Œ b you’re œ on œ œ œ Ó œ Œ ‰ œ œ Œ j real œ fire and œ œ œ j ‰ j - 47 Female Vocals Grade 6 RSL-121359032617 / 1 / Louise Metcalfe / [email protected] 48 Female Vocals Grade 6 Quick StudyQuick |Pop Piece and Musical Theatre which one, specifically. The given style to you from be exam same inthe the group will as your choice of study. stylistic The examiner decide will Exercises section. fromThe be QSP one will style of following the four groups. match These groups the of studies stylistics the Technical inthe finished, root the note and count-in of second the playthrough immediately. start will The tempo is note and aone-bar count-in before playthroughs. both The backing track is continuous, once so first playthrough the has is for you to rehearse and second is the time for you version to final perform the for exam. the Again, you hear root the will At end the of three minutes, played be backing the track more will twice with notated the now parts absent. The first time practice time, given you be choice the will of ametronome click throughout or aone-bar count-in at beginning. the minutes to practise. The root played note be will at of start the practice this and time again then after 90seconds. the During This playthrough first preceded by be root the will note and aone-bar count-in. mix, you have full After the will three The examiner give you will sheet the music, mix version you then hear afull will of track the including notated the parts. You may any use sound except vocal humming or whistling for bars. these and melody as you feel appropriate. In bars 9–12,you to need improvise will with no requirement to reference bars 1–4. written detail, including Inlyrics. bars 5–8, you to need improvise will a variation on bars 1–4, developing lyrics the both of melody and eight bars of improvisation. Bars 1–4 of a notated test be the will melody and you to need sing the all will At asked you grade this be to prepare will and perform ashort Quick Study Piece (QSP). consist This will of four bars StudyQuick Piece Supporting Tests & & & ■ ■ ■ ■ b b b ■ ■ ■ ■ time. Rock andRock indie Jazz and blues andSoul R’n’B Pop and musical theatre G D G [Improvise freely–4bars] ’ [Vary melody–4bars] ’ œ m m m & b ’ ’ 4 4 q Œ =

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RSL-121359032617 / 1 / Louise Metcalfe / [email protected] & & & & & & & & & # # # # # # # # # # # # # # # dore E G G B œ [Vary melody –4bars] [Improvise freely–4bars] ’ ’ F smil E m ev’ D œ [Improvise freely–4bars] ’ [Vary melody–4bars] ’ [Improvise freely–4bars] ’ [Vary melody–4bars] ’ # œ m D m m j 7 & & & 7 - - ry ing œ # # # œ # # ’ ’ 4 4 q ’ ’ ’ ’ 4 4 4 4 q q me, = œ

= = 155 -

125 110 ‰ w w w Indie where Jazz RnB ’ ’ œ face ’ ’ ’ ’ œ j j q Œ q œ Œ = ’ ’ ’ ’ q ’ ’ 3 q j you’d œ ‰ ‰ C ’ G B E B ’ D ’ ’ ’ ’ m m m 7 7 and do œ you œ œ j œ I ’ ’ ’ ’ ’ ’ make E F an D like œ # m œ œ m 7 - ’ ’ ’ ’ œ ’ ’ y me œ - ¿ ¿ ¿ thing ‰ œ feel ’ œ ’ ’ ’ ’ ’ to œ œ for j ¿ ¿ ¿ A I’m œ s D F E ’ œ œ see D E G u ’ ’ ’ # ’ ’ m j s m m 4 7 7 me œ ¿ al ¿ œ œ ¿ ’ ’ ’ ’ ’ ’ but œ you - œ A you ¿ A œ right. ¿ ¿ œ ’ ’ ’ s ’ j ’ ’ s u u s s 4 4 smile. can’t C œ G D œ œ ’ ’ ’ ’ ’ ’ When E Œ seem D D m œ Œ œ œ I E ’ D ’ ’ m D C to G ’ œ ’ ’ D Œ Œ You œ œ get I œ œ find keep ’ œ ’ ’ to œ ’ ’ ’ say œ œ see see œ œ Ó Ó ’ ’ ’ - ’ ’ ’ the œ ing œ you œ your way. œ you œ ’ ’ ’ œ ’ ’ ’ œ a - Quick Study andQuick |Rock Indie Piece StudyQuick |Jazz Piece and Blues and R’n’B StudyQuick |Soul Piece & & & & & & & & & # # # # # # # # # # # # # # # dore E G G B [Vary melody –4bars] [Improvise freely–4bars] ’ ’ œ F smil E m ev’ D ’ [Improvise freely–4bars] ’ [Vary melody–4bars] ’ œ [Improvise freely–4bars] ’ [Vary melody–4bars] # œ m D m m j 7 & & & 7 - - ry ing œ # # # œ # # ’ ’ 4 4 q ’ ’ ’ ’ 4 4 4 4 q q me, = œ

= = 155 -

125 110 ‰ w w w Indie where RnB Jazz ’ ’ œ face ’ ’ ’ ’ œ j j q Œ q œ Œ = ’ ’ ’ ’ q ’ ’ 3 q j you’d œ ‰ ‰ C B ’ G E B ’ D ’ ’ ’ ’ m m m 7 7 and do œ you œ œ j œ I ’ ’ ’ ’ ’ ’ make E F an D like œ # m œ œ m 7 - ’ ’ ’ ’ œ ’ ’ y me œ - ¿ ¿ ¿ thing ‰ œ feel ’ œ ’ ’ ’ ’ ’ to œ for œ j ¿ ¿ ¿ A I’m œ s D F E ’ œ œ see D E G u ’ ’ ’ # ’ ’ m j s m m 4 7 7 me œ ¿ al ¿ œ œ ¿ ’ ’ ’ ’ ’ ’ but œ you - œ A you ¿ A œ right. ¿ ¿ œ ’ ’ ’ s ’ j ’ ’ s u u s s 4 4 smile. can’t C œ G D œ œ ’ ’ ’ ’ ’ ’ When E Œ seem D D m Œ œ œ œ I E ’ D ’ ’ m D C to G ’ œ ’ ’ D Œ Œ You œ œ get I œ find œ keep ’ œ ’ ’ to œ ’ ’ ’ say œ œ see see œ œ Ó Ó ’ ’ ’ - ’ ’ ’ the œ ing œ Example test Example test Example test Example you œ your way. œ you œ ’ ’ ’ œ ’ ’ ’ œ a - 49 Female Vocals Grade 6 RSL-121359032617 / 1 / Louise Metcalfe / [email protected] 50 Female Vocals Grade 6 Please note: the test shown an is example. The examiner give will you adifferent version in the exam. are practising. still availabletime after second the playthrough is pre-recorded on audio the count-in vocal the track, so you may while begin It is acceptable to sing over track the as it is beingplayed as well as practising after first two the playthroughs. The length of harmonythe line. The tempo is a short gap for you to after practise each playthrough. Next, you hear a will You hear test the test the will time twice. Each is played, it with root starts the note and afour-beat count-in. There be will usingpart same the rhythm. The examiner give you will lyrics. the recorded sing root, the will part 3 vocal The examiner play will you a four-bar melody key in ofthe either Cmajor or A major, on I–IV–V–VI the based chords. The Test 2|Harmony Vocals Please note: the test shown an is example. The examiner give will you adifferent version in the exam. You may perform test this using any sound except vocal humming or whistling. are practising. still availabletime after second the playthrough is pre-recorded on audio the count-in vocal the track, so you may while begin It is acceptable to sing over track the as it is beingplayed as well as practising after first two the playthroughs. The length of The tempo is after each playthrough. Next, you hear a will test the time is played, it with root starts the note and afour-beat count-in. ashort There be gap will for you to practise which), examiner and(the decide root the first note the will be note You will or fifth. the hear test the will Each twice. The examiner play will you a two-bar melody played backing. to It a drum A major the use will or C natural minor scales Test 1|Melodic Recall You one find example will of of each type test printed below and given you of be both exam. inthe them will In there section, are this two ear tests: TestsEar & & & ■ ■ q q b 4 4 4 4 ■ ■ b = = Harmony Vocals Harmony Melodic Recall b 120 120 . . . . 4 4 q =

w w 90 . . w q =90. w ¿ w ¿ q ¿ ¿ =90–120. w ¿ ¿ ¿ rd ¿ or 5 or ¿ ¿ th th ¿ vocal of each chord and you to need harmonise a diatonic third or fourth above this Dah, Dah, C œ Candidate sings:(youwillnothearorbeshownthisintheexam) C œ Candidate hears:(You willnotbe shownthisintheexam) j j ‰ ‰ ¿ count-in, after which you should sing melody backing. the to drum the ‰ ‰ dah, dah, œ œ j j dah. œ dah. œ œ j j ‰ ‰ Œ Œ Œ A A ‰ ‰ m m dah, Dah, œ œ j j ‰ ‰ œ dah, dah, œ œ j j vocal œ dah. œ dah. œ j j ‰ ‰ œ Œ Œ count-in, after which you should perform Ooo, Ooo, ‰ G G ˙ ˙ œ œ ooo, ooo, F ˙ F ˙ œ œ œ ooo. ooo. C w C w œ œ Ear Tests Œ ......

RSL-121359032617 / 1 / Louise Metcalfe / [email protected] & & & q q 4 4 4 4 b b = = b 120 120 . . . . 4 4 q =

w w 90 . . w w ¿ w ¿ ¿ ¿ w ¿ ¿ ¿ ¿ ¿ ¿ ¿ Dah, Dah, C œ Candidate sings:(youwillnothearorbeshownthisintheexam) C œ Candidate hears:(You willnotbe shownthisintheexam) j j ‰ ‰ ¿ ‰ ‰ dah, dah, œ œ j j dah. œ dah. œ œ j j ‰ ‰ Œ Œ Œ A A ‰ ‰ m m dah, Dah, œ œ j j ‰ ‰ œ dah, dah, œ œ j j œ dah. œ dah. œ j j ‰ ‰ œ Œ Œ Ooo, Ooo, ‰ G G ˙ ˙ œ œ ooo, ooo, F ˙ F ˙ œ œ œ ooo. ooo. C w C w œ œ Œ ...... You asked: be will to assist your answer are acceptable. askThe examiner you also will one question about your voice or microphone. the which. decide Brief demonstrations will They Part 3|Your Voice And Microphone The – your approach to how you would improvise any of part your chosen song. You part. can the choose You asked be to briefly will Part 2|Improvisation You asked be to will If there are handwritten notes on piece the you have chosen, examiner the may ask you to an choose alternative. pieces (including Free Choice Pieces) as performed by you exam. inthe You canwhich one. choose The examiner ask three music will knowledge questions from categories the below. The on questions one based be of will the MusicPart 1|General Knowledge about be will improvisation asked be about will and your fifth the voice or microphone. the In of part this exam the asked you be five questions. will about Three be of will general these music knowledge, fourth the Musicianship Questions General ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ head/falsetto voice register)? (high How can you your balance sound on microphone switching when chest between voice (low register) and Which exercises might safe be to your perform when voice is tired or you have asore throat? Explain difference the ‘aspirate between onset’ and ‘glottal onset’. Name three resonators effective for singing. minor or perfect.) Recognition of any up interval to an two octave adjacent between notes. (You to need state will major, Any notation chosen inthe piece. used identify and explain: describe and demonstrate and describe –with reference to melody, rhythm, phrasing, dynamics and expression General MusicianshipQuestions

51 Female Vocals Grade 6 RSL-121359032617 / 1 / Louise Metcalfe / [email protected] 52 Female Vocals Grade 6 Below are marking the schemes for two the different of exam. types Rockschool Marking Schemes performance. At 3(Grades Level 6–8)microphone is obligatory use of for exam. the aspects all At 1and Levels 2(Grades 1–5)microphone is optional, use although candidates may one use feel enhance it ifthey their will Use Of Microphone by Supporting the Tests Tests (Ear and Quick Study Pieces) and Musicianship General Questions. In exam the you can to whether with Performance decide start the Pieces or Technical the followed Exercises. be will These procedure Exam from our website or by +44(0)8454604747. calling examination form. Rockschool entry The full terms and conditions as well and as exam current periods fees are available Entering exam aRockschool is easy. You can enter online at Entering Exams Entering Procedure Exam Exams, &Marking Schemes Additional Information Performance Certificates |Grades 1–8 Grade |Grades Exams General Musicianship General Performance 1 Piece Performance 3 Piece Performance 2 Piece Performance 5 Piece Performance 4 Piece Performance 3 Piece Performance 2 Piece Performance 1 Piece Technical Exercises Quick StudyQuick Piece TOTAL MARKS TOTAL MARKS ELEMENT ELEMENT Questions Ear TestsEar 6–8 12–14 12–14 12–14 12–14 12–14 12–14 12–14 12–14 9–10 6 6 3 out of of out of out out of of out 60%+ 60%+ PASS PASS out of of out out of of out of out of out out of of out of out of out of out of out 10 10 5 15 20 20 20 20 20 20 20 20 www.rslawards.com Entering Exams,ExamProcedure&Marking 11–12 15–17 15–17 15–17 15–17 15–17 15–17 15–17 15–17 7–8 7–8 4 MERIT MERIT out of of out 74%+ 75%+ out of of out out of of out out of of out of out of out of out out of of out of out of out of out of out or by downloading and inan exam filling 5 10 10 15 20 20 20 20 20 20 20 20 DISTINCTION DISTINCTION 13 18 18 18 18 18 18 18 18 9 9

+ out of + out of 5

+ out of + out of + out of + out of + out of + out of + out of + out of + out of out of of out 90%+ 90%+ 5 10 10 Schemes 20 20 20 20 20 20 20 20 15

RSL-121359032617 / 1 / Louise Metcalfe / [email protected] the sheetthe music or backing tracks for pieces chosen from book. grade the stick, iPod or CD/DVD is acceptable and we would suggest also asecond source safe. to be It to bring not necessary will be For FCPs, all candidates to need bring sheet will the music and abacking track (without on part) day. the vocal Amemory Performance Certificates: Examinations: Grade For grades, candidates all following can the choose number of FCPs exam: in the 2) 1) categories: two Free Choice Pieces are accepted Vocals in all as grades. An any FCP is defined piece outside and into book, grade can the fall (FCPs)Free Pieces Choice musical interpretation appropriate. should stylistically be other than technical the exercises Candidates must where articulation observed. specified when be are reminded that all individual musicality, articulation, expression and of use dynamics performing. when This applies anywhere exam inthe Musical Interpretation is allowed at Grade the grades inboth Exam and all Performance encourages Rockschool Certificate. Interpretation Musical Musical Interpretation &Free Pieces Choice music/graded-music-exams/free-choice-pieces Freethe Choice Piece Criteria available on our website accessing when level the of apotential piece: referred which can be books grade selections inthe to as an indication of appropriate level. Candidates should refer to songsThese should demonstrate acomparable level of technical and musical demand to pieces the given set inthe Choice: Own Wider Repertoire: Candidates canor choose compose any song inany genre outside and of book widerrepertoire. grade the a full list of afull suggested pieces found can be on our website,

Up to 3of 5pieces choice. free can be (At least two pieces must from be book.) grade the Up to 2of 3pieces choice. free can be (At least one piece must from be book.) grade the Musical Interpretation & Free ChoicePieces Musical Interpretation&Free www.rslawards.com www.rslawards.com/ 53 Female Vocals Grade 6 RSL-121359032617 / 1 / Louise Metcalfe / [email protected] 54 Female Vocals Grade 6 Universal Music Publishing Limited/Chelsea Music Publishing Company Limited (Webster/Burke) Black Coffee Universal Music Publishing MGB Limited/BMG Rights Management (UK)Limited/Aaron Kamin (Kamin/Band) Wherever You Will Go Kobalt Music Publishing Limited/Imagem London Limited (Sandberg/Gottwald) Gone Since UBeen Warner/Chappell North AmericaLimited (Schönberg/Boublil/Natel/Kretzmer/Nunn/Caird) On My Own EMI Music Publishing Limited/Kobalt Music Publishing Limited/Sony/ATV Music Publishing (UK)Limited (Tedder/Knowles/Bogart) Halo Sony/ATV Music Publishing (UK)Limited (McLachlan) Angel Information Copyright Copyright Information

RSL-121359032617 / 1 / Louise Metcalfe / [email protected] RSL_single_page_website_ad.indd 1 Digital downloads instantly from the RSL shop. Download entire grade books, individual individual books, grade shop. Download entire RSL the from instantly All your favourite Rockschool titles are now available are to download titles Rockschool yourAll favourite now available! now Start now downloading tracks or supporting tests to all your devices. tests orsupporting tracks www.rslawards.com/shop www.rslawards.com/shop 14/01/2016 13:47 RSL_single_page_website_ad.indd 1 Digital downloads instantly from the RSL shop. Download entire grade books, individual individual books, grade shop. Download entire RSL the from instantly All your favourite Rockschool titles are now available are to download titles Rockschool yourAll favourite now available! now Start now downloading tracks or supporting tests to all your devices. tests orsupporting tracks www.rslawards.com/shop www.rslawards.com/shop Rockschool DigitalDownloadsRockschool 14/01/2016 13:47

RSL-121359032617 / 1 / Louise Metcalfe / [email protected] new_theory_ad.indd 1 MUSIC THEORY MUSIC POPULAR www.rslawards.com/enter-online GRADES DEBUT–8GRADES www.rslawards.com/theory Introducing… Discover more at OUT NOW! OUT Enter online at

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