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Male Vocals

Grade 8
Performance pieces, technical exercises and in-depth guidance
for Rockschool examinations

www.rslawards.com
Acknowledgements

Published by Rockschool Ltd. © 2014 under license from Music Sales Ltd.
Catalogue Number RSK091416R
ISBN: 978-1-912352-38-8
This edition published July 2017 | Errata details can be found at www.rslawards.com

AUDIO
Backing tracks produced by Music Sales Limited
Supporting test backing tracks recorded by Jon Musgrave, Jon Bishop and Duncan Jordan
Supporting test vocals recorded by Duncan Jordan
Supporting tests mixed at Langlei Studios by Duncan Jordan
Mastered by Duncan Jordan

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

PUBLISHING
Compiled and edited by James Uings, Simon Troup, Stephen Lawson and Stuart Slater
Internal design and layout by Simon and Jennie Troup, Digital Music Art
Cover designed by Philip Millard, Philip Millard Design

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


Fact Files written by Stephen Lawson, Owen Bailey and Michael Leonard
Additional proofing by Chris Bird, Ronan Macdonald, Jonathan Preiss and Becky Baldwin
Cover photography © Startraks Photo / Rex Features
Full transcriptions by Music Sales Ltd.

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

DISTRIBUTION
Exclusive Distributors: Music Sales Ltd.

CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)845 460 4747
Email: info@rslawards.com
Male Vocals Grade 8

2
Table of Contents

Introductions & Information

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

Rockschool Grade Pieces

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


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

Technical Exercises

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

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


Supporting Tests

58 Quick Study Piece


60 Ear Tests
61 General Musicianship Questions

Additional Information

62 Entering Exams, Exam Procedure & Marking Schemes


63 Musical Interpretation & Free Choice Pieces
64 Copyright Information

Male Vocals Grade 8

3
Welcome to Rockschool Male Vocals Grade 8

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

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

Book Contents
The book is divided into a number of sections. These are:
■■Exam Pieces: in this book you will find six well-known pieces of Grade 8 standard. Each song is preceded by a Fact File
detailing information about the original recording, the artist who sang on it and some recommended listening if you
wish to research the artist further.
■■Piano and guitar notation: every exam piece is printed with a piano part and guitar chords. Both are a representation
of the overall band arrangement. These have been included to assist you with your practice should you wish to use a

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


piano and/or guitar for accompaniment. In your exam you must perform to the backing tracks provided.
■■Vocal score: in addition to the piano/vocal/guitar arrangement there is also a separate vocal-only score to allow you to
view the vocal part on a single sheet of paper.
■■Technical Exercises: there are a range of technical exercises in this grade. Some are notated in full, and some give a
range of starting notes.
■■Supporting Tests and General Musicianship Questions: in Vocals Grade 8 there are three supporting tests – a Quick
Study Piece, two Ear Tests and a set of General Musicianship Questions (GMQs) asked at the end of each exam. Examples
of the types of tests likely to appear in the exam are printed in this book.
■■General Information: finally, you will find information on exam procedures, including online examination entry,
marking schemes, information on Free Choice Pieces and improvisation requirements for each grade.

Audio
Each song in Vocals Grade 8 has an audio track which has been provided for you. This is a backing track with the vocal
taken off so you can sing along with the band. The backing tracks should be used in examinations. There are also audio
examples of the supporting tests printed in the book. The audio files are supplied in MP3 format.

All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded from the
RSL website: www.rslawards.com
Male Vocals Grade 8

4
Ray Charles

SONG TITLE: A SONG FOR YOU

       
ALBUM: MY WORLD
RELEASED: 1993
q=56
LABEL: WARNER BROS. μ

 
GENRE: SOUL

 
 
PERSONNEL: RAY CHARLES (VOX+PIANO)

UK CHART PEAK: N/A

   
US CHART PEAK: N/A

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


       
      
 
BACKGROUND INFO NOTES

‘A Song For You’ was Ray Charles’s 1993 cover of Charles was 62 when he recorded the 1993
Leon Russell’s tender 1970 ballad, which Elton John album My World, an attempt to update his sound by
described as “an American classic”. It featured on Ray including programmed rhythms and influences in


Charles’s album My World. vogue at the time. It was praised for Charles’s ability

 
to put his indelible stamp on the songs of other artists.


When interviewed in Entertainment Magazine in
THE BIGGER PICTURE 1993, he summed it up by saying: “The best way to
understand what I do is to think of an actor. You get
Ray Charles Robinson was born in Georgia in 1930, a script, you read it and then you ask yourself if you
and lost his sight aged seven due to glaucoma. At a can fit into that script. ‘Can I become that character?’
school for the deaf and blind in St Augustine, Florida That’s what I do with my songs. When I think about
he learned to play piano, sax, trumpet and clarinet. By
the age of 15, he was touring in the south, and when
Cm
doing a song, the first thing I deal with is the lyrics:
are they making any sense to me, can I put myself into
3fr‘A Song For You’ finds Charles in

 
he moved to Seattle, his first recordings followed. this?” Leon Russell’s

  
Stylistically indebted to his idol, Nat ‘King’ Cole, he classic mood on vocal and keys, backed by a dynamic


   
played on (and arranged) Guitar Slim’s 12-bar blues orchestral arrangement. “‘A Song For You’ has that


hit ‘The Things That I Used To Do’ and soon had line about: ‘Living my life on stages, with 10,000
a breakthrough of his own with the song ‘I Got A people watching’,” he said. “You could tell that fella
Woman’ in 1955. A string of hits followed, including had been there.”
‘What’d I Say’ and ‘Hit The Road, Jack’, and Charles’s
combination of gospel with blues and jazz coalesced I’ve been s

RECOMMENDED LISTENING

 
into a sonic brew that became soul. The Father Of


 
Male Vocals Grade 8

Soul didn’t rest on his laurels. He had hits in the big

 
band style, and brought his talents to the country Ray performs the song together with its author,


and western genre in the 1960s. He re-emerged in Leon Russell, and Willie Nelson on the live DVD

  
the 1990s, and died of liver failure in 2004. A major Willie Nelson & Friends: Live And Kickin’. The Very


biopic, Ray, was released that year. Best Of Ray Charles is also recommended.

     5

A Song For You
Ray Charles
A Song For You Words & Music by Leon Russell

         
q=56
μ

           

         

    
 

G7

              
3fr

    
           

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


   
      
 
Cm G7/B
3fr

       3

           


I’ve been so ma - ny pla - ces in my life and time.

       
   
       


     
 
 
Cm/Bb Cm/A

   5   
3fr 4fr

 
         
 

I’ve sung a lot of songs, I’ve made some bad rhymes.

      
Male Vocals Grade 8

          
    
 
   
 
6 © Copyright 1970 Skyhill Publishing Company Incorporated, USA. Rondor Music (London) Limited.
All rights in Germany administered by Rondor Musikverlag GmbH. All Rights Reserved.
International Copyright Secured.
Ab Ebsus2/G Fm7 Eb/G

          
4fr

       
      
 
I’ve act - ed out my life on sta - ges with ten thou- sand peo - ple watch - ing,

           
        
  
  3
             
Ab Eb/Bb Bb7sus4 Eb G7
4fr 6fr 6fr 6fr


                  
 
but we’re a - lone and I’m just a - sing -
 
ing this song for you.

        

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


         



  
    
   
Cm G7/B
3fr

      
        
3 3

       
 I know your i - mage of me is what I hope to be, ba - by.

   
          
        
  
 
 
Cm/Bb Cm/A
4fr

        
           
 I treat - ed you un - kind - ly but girl,
 
can’t you see

Male Vocals Grade 8

  
    


     
    
 
   
  7
Ab Eb/G Fm7 Eb/G
4fr

             
       
    
  
there’s no -one more im - por - tant to me? So darl - ing, can’t you please see through me


          
          

 
     
   
Ab Eb/Bb Bb7sus4 Eb G7
4fr 6fr 6fr 6fr

 

                 
 
’cos we’re a - lone and now I’m sing - ing my song
  
for you.


     

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


         
   


 
  
   
   
 
Cm G7/B Cm/Bb Cm/A

  
3fr 4fr

             
        
 You taught me pre - cious se - crets of the truth with - hold - ing no - thing.


               
          
   
    
     
Ab Eb/Bb Ab/Eb Eb G7


4fr 6fr 6fr

      
           
 
You came out in front and I was hid - ing, yeah.
Male Vocals Grade 8

  
         
        

   
  
     
   
8 
Cm G7/B Eb/Bb Cm/A

   3   
3fr 6fr 4fr

             
    
3



But now I’m so much bet - ter so if my words don’t come to - ge - ther,


             
            
  
   
   
Ab Gm7 F7 Bb7sus4 Bb
4fr 3fr 6fr 6fr

    

                 

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


lis - ten to the me - lo - dy ’cos my love’s in there hid - ing.


        


          
 
     
   

 
G7
N.C. 3fr

            
      
            
 
  
 

Cm G7/B
3fr

       
          
 I love you in a place where there’s no space or time,


Male Vocals Grade 8

  
     
       
     
  
 
  9
Cm/Bb Cm/A

     
4fr


           
 I love you for my life, ’cos you’re a friend of
  
mine.


          
        
 
   
 
Ab Eb/G Fm7 Eb/G

 
4fr


                     
  
And when my life is ov - er re - mem - ber when we walked to - ge - ther,

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com



          
             
 
     
   
Ab Eb/Bb Bb7sus4 Eb
4fr 6fr 6fr 6fr

       
          

     
we were a - lone and I was sing - ing my song for you.


          
       
 
  
   
   

Eb/Db Db Ab

         
4fr

             
                     
Male Vocals Grade 8

   
  

   


10
Gm7b5 C7 Fm7 Fm7/Eb Dm7b5 G7#5 G7


5fr 3fr

       

     
I
        
5

          

       
         
    
  
3

    
   
Cm G7/B

       
3fr

    
       

 
loved you in a place where there’s no space or time,


           

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


               
ff
  
 
 
Cm/Bb Cm/A

 
    
3fr 4fr

 
     
 


    
             
I’ve loved you for my life, yes, you’re a friend of mine.
    
       
3 3


 
   
  
Ab Eb/G Fm7 Eb/G


4fr

                      
 



And when my life is ov - er, re - mem - ber when we were to - ge - ther,
    
Male Vocals Grade 8

         
          
 
 
   
  11
Ab Eb/Bb Bb7sus4 Eb
4fr 6fr 6fr 6fr

    
                
 we were a - lone and I was sing - ing my song for you. Yes,
  
          
    
 
 
   
  

Ab Eb/Bb Bb7sus4 Eb Ab Eb/G

    
4fr 6fr 6fr 6fr 4fr

        

               
  
we were a - lone and I was sing - ing this song for you. Yeah, we were a - lone and I was
  
                

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


         
 
 
     
 
Db Ab

  3
4fr 4fr

       
3

 
3

     
 sing - ing my song, sing - ing my song, sing - ing my
 
                  
           
   
  
   
Ab/Eb Eb Bb
4fr 3 6fr
poco rall. 6fr

  
               

 
song, sing - ing my song, sing - ing my song.
 
Male Vocals Grade 8

           

          


   
     

     
12
OneRepublic

SONG TITLE: APOLOGIZE


ALBUM: DREAMING OUT LOUD
RELEASED: 2006 q = 122
LABEL: INTERSCOPE Cm C7sus4
GENRE: POP 3fr

  
      
PERSONNEL: RYAN TEDDER (VOX+KEYS)

      
ZACH FILKINS (GTR+VIOLA)
DREW BROWN (VARIOUS)
EDDIE FISHER (DRUMS)
BRENT KUTZLE (CELLO)
    

UK CHART PEAK:
US CHART PEAK:
3
2
 
Cm C7sus4/Ab

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


3fr
3fr

 
       
BACKGROUND INFO NOTES

         
‘Apologize’ was the debut single from OneRepublic. By the time OneRepublic signed their deal

  
Thanks to a remix by Timbaland – not to mention with Interscope, the band’s debut album was already
the songwriting skills of frontman Ryan Tedder – it written, including a sparse ballad called ‘Apologize’.

   
became a monster hit in 2007. Ryan Tedder told DigitalSpy: “Timbaland then

 
re-mixed the song and told us that he thought the
song was a hit with or without him. But then he
THE BIGGER PICTURE
    
said, ‘If you let me put this song on my album, it


will speed the process up…’” But OneRepublic were
OneRepublic formed in Los Angeles circa 2003, wary, concerned that a remix would give people the
after frontman Ryan Tedder persuaded his former wrong impression of the band. “We’re not hard rock
school bandmate Zach Filkins to join him in LA. but we are a rock band,” Tedder said, “So to have our
Tedder had worked in the music industry since song remixed and made so much more pop, we were
Cm Csus4/Ab
college, first as an intern at Dreamworks Records, very reluctant. But then we were like, ‘If this opens
3fr
then as an apprentice to R’n’B producer Timbaland, the door and allows
3fr more people to hear our album,


who also helped Tedder with his own development as it gives us the opportunity to let them hear our other


a music artist. OneRepublic – “a rock band that has an songs. I think we can win them over.’” And win

    
      
obsession with pop melodies”, according to Tedder – them over they did; ‘Apologize’ was an international


were signed to Columbia Records and spent two and success, and in America it ranked as the biggest
a half years working on their debut album. However, radio airplay hit in the history of Billboard’s weekly
just months before the record’s scheduled release date, airplay chart.
the band were dropped by their label. Fortunately,
OneRepublic were gaining fans on MySpace. “We
Male Vocals Grade 8

blew up out of nowhere,” said Tedder. OneRepublic RECOMMENDED LISTENING

   
were hot property and offers from record companies
flooded in. In the end, the band decided to sign with


OneRepublic’s debut album, Dreaming Out Loud,


a subsidiary of Interscope, represented by Tedder’s may have had a troubled launch, but it stands as the

  
former employer Timbaland. best testimony to the band’s abilities.

 13

Csus4/Ab
Apologize
OneRepublic
Apologize Words & Music by Ryan Tedder

q = 122
Cm C7sus4/Ab Eb C7sus4/D
3fr 3fr 6fr 3fr


               
                            
      
    
 
  

Cm C7sus4/Ab Eb C7sus4/D
3fr 3fr 6fr 3fr


    
                                

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


             
       
   
         
       
Cm Csus4/Ab Eb C7sus4/D
3fr 3fr 6fr 3fr


   
                               

       
  
        
      
Cm Csus4/Ab Eb C7sus4/D
3fr 3fr 6fr 3fr


        
1. I’m

   
                             
  
Male Vocals Grade 8

      
        
    
           

14 © Copyright 2005 Sony/ATV Tunes LLC/Velvet Hammer Music/Midnite Miracle Music.
Sony/ATV Music Publishing.
All Rights Reserved. International Copyright Secured.
Cm Csus4/Ab Eb
3fr 3fr 6fr


                 
hold - ing on your rope, got me ten feet off the ground.


(2.) take an - oth - er chance, take a fall, take a shot for you.

    
                   
      
      
  
      
      
C7sus4/D Cm Csus4/Ab
3fr 3fr 3fr


                  
And I’m hear - ing what you say, but I just can’t make a sound.


Oh, and I need you like a heart needs a beat, but it’s noth - in’ new.

  

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


      
                       
     
  
         

Eb C7sus4/D Cm
6fr 3fr 3fr


            
You tell me that you need me,


Yeah, yeah. I loved you with a fire red

      
            
   
      
       

          
  
Csus4/Ab Eb C7sus4/D
3fr 6fr 3fr


      
        

then you go and cut me down. But wait, you
Male Vocals Grade 8


now it’s turn - ing blue. And you say,

  
        








 

 



  
     
   
       
      15
Cm Csus4/Ab Eb
3fr 3fr 6fr

    
             
tell me that you’re sor - ry, did - n’t think I’d turn a - round and say,


sor - ry like an an - gel heav - en let me think was you, but I’m

          
               
     
  
      
      
C7sus4/D Cm7

 
3fr 3fr

           
 


that it’s too late to a - pol - o - gize.

 a - fraid,
  
  

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


       
      
  
(1° only)

   
     

C7sus4/Ab Eb C7sus4/D

   
3fr 6fr 3fr

      
   
It’s too late. I said, it’s
  
    
       
          
     
           
     
Cm7 C7sus4/Ab Eb C7sus4/D

     
3fr 3fr 6fr 3fr

         
   
Male Vocals Grade 8

too late to a - pol - o - gize. It’s too late. Too late.


   
           
              
       
   
         
16       
1.
Cm Csus4/Ab Eb Csus4/D

  
3fr 3fr 6fr 3fr

  
         
Oh. 2. I’d

                  
                

        
  
         
      
2.
Cm C7sus4/Ab Eb
3fr 3fr 6fr

 
                        

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com



       
      

Csus4/D Cm Csus4/Ab
3fr 3fr 3fr

                  
       

       
  
     

Eb Csus4/D
6fr 3fr
μ
  
     
It’s
   
            
Male Vocals Grade 8

 
 
      

     
  17
Cm7 C7sus4/Ab Eb

    
3fr 3fr 6fr

        
    
too late to a - pol - o - gize. It’s too late.
   
         
              
      
  
      
      
C7sus4/D Cm7 C7sus4/Ab

  
3fr 3fr 3fr


 

           
I said, it’s too late to a - pol - o - gize. It’s
  
         
    
         

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


     
  
         

1. 2.
Eb C7sus4/D C7sus4/D

    
6fr 3fr 3fr


         

too late. I said, it’s I’m
 
              
          
        
 
           
 
Cm Csus4/Ab Eb
3fr 3fr 6fr
rall.
 
 
              
 
hold - ing on your rope, got me ten feet off the ground.


Male Vocals Grade 8

    
       
 



    
 
 
18 
Grac
Jeff Buckley

SONG TITLE: GRACE


ALBUM: GRACE
RELEASED: 1994 Brightly q. = 64
LABEL: COLUMBIA Fm


GENRE: ALT. ROCK

             
    
PERSONNEL: JEFF BUCKLEY (VOX+GTR)
GARY LUCAS (GTR)
MICK GRØNDAHL (BASS)
mf

   
MATT JOHNSON (DRUMS)

UK CHART PEAK: N/A  
US CHART PEAK: N/A

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


BACKGROUND INFO NOTES Em


‘Grace’ was the title track of Jeff Buckley’s only The song ‘Grace’ originated from Buckley’s time

 
studio album released in his lifetime, Grace. playing in New York City in 1991. The song was

       
based on an instrumental called ‘Rise Up To Be’,

  
written by Buckley’s then-collaborator, guitarist
THE BIGGER PICTURE Gary Lucas. Lucas was 20 years Buckley’s senior and
a veteran of Captain Beefheart’s band, but the two
Jeffrey Scott Buckley (1966–1997) was one of the worked together under the name Gods And Monsters. sfz

   
most critically-acclaimed singers of the 1990s. He was Buckley developed the song but Lucas has a co-writer

 
the son of 1960s–1970s folk/jazz artist Tim Buckley, credit, as he does for Grace’s opener, ‘Mojo Pin’.
but the two met only once, when Jeff was eight years Buckley’s lyrics were inspired by his saying goodbye to
old. Buckley’s mother is a classically-trained pianist his then-girlfriend at the airport on a rainy day. In his
and cellist, and Buckley decided to pursue a career in spoken intro on the Live At Sin-é EP, Buckley says, “It’s
music aged 12. He started playing a guitar he found about not feeling so bad about your own mortality
in his grandmother’s closet and played in his school when you have true love.” Buckley’s leaping and
jazz band. As an early teen, he listened to a lot of vibrato’d vocals were a trademark – he could literally
progressive/heavy rock such as Rush, Genesis, Yes go from whisper to scream in a single song. Buckley
and Led Zeppelin. Buckley attended LA’s Musicians cited vocal inspirations as diverse as Led Zeppelin’s
Institute and completed a one-year course at 19. 2, 3.
Robert1,Plant, Nusrat Fateh Ali Khan, Morrissey,4. Billie
He sometimes seemed ambivalent about music Dsus4
Holliday and Robert Johnson. Dsu s4
school. Buckley once told Rolling Stone it was “the

   
biggest waste of time”, but later noted he appreciated
studying music theory, saying, “I was attracted to RECOMMENDED LISTENING

 Start with Grace, full of remarkable singing. For 
Male Vocals Grade 8

really interesting harmonies, stuff that I would hear in


Ravel, Ellington, Bartók…” Grace was the only studio
album he completed. Buckley drowned in 1997 while contrasting Buckley vocals, listen to his gently soulful 1. Ther
working on his second album, subsequently released falsetto on ‘Everybody Here Wants You’ and ‘Opened 2. An
as Sketches For My Sweetheart The Drunk. Once’ from Sketches…
3. An
    
                19
     
Grace
Grace
Jeff Buckley
Words & Music by Jeff Buckley & Gary Lucas

Brightly q. = 64
Fm Gm


   
                                    
 
mf

   
  
 

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


Em D

            
    
               
  
mf
sfz

         
   
 

1, 2, 3. 4.
Dsus4 Dsus4 Em

  
      
  
1. There’s the moon ask - ing to stay
2. And she weeps on my arm,
3. And I feel them drown my name, so
    
                 
              
 
Male Vocals Grade 8

                  


       
 
20 © Copyright 1994 Sony/ATV Tunes LLC/El Viejito Music/Gary Lucas Music, USA.
Sony/ATV Music Publishing/Universal/MCA Music Limited.
All Rights Reserved. International Copyright Secured.
Fmaj9 Em Eb

       
             
  
long e - nough for the clouds to fly me a - way. Oh, it’s
walk - ing to the bright lights in sor - row. Oh,
ea - sy to know and forget with this kiss. I’m
  
                  
  

                        
      
    
    

Fmaj9 Em Eb
To Coda 

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


  
     

          
my time com - ing, I’m not a - fraid, (a -) fraid to
drink a bit of wine, we both might go to - mor - row, oh, my
not a - fraid to go, but it goes so slow...

    
                    
     

                         
      
         

Em Em F#dim G6 A6

       
       
 
die. My fad - ing voice sings of


love. And the rain is fall - ing and I be -

     
        
 
  
Male Vocals Grade 8

  

 
                

  
        
21
2
Bm A% Em

   

         
love. But she
- lieve my time has come. It re -
           
     
 
               
         
   
Em F#dim G6 A6 Bm7 A%

       
          

cries to the click - ing of time, oh,
minds me of the pain I might leave, leave be -

        
    

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


 
     

  

         
              
    
Em Fmaj9 Em

          
   
 
time. Wait in the fire, wait in the fire.

    
- hind.
    
    
   
    
 
             
   
        
Eb Em/Eb Eb Em/Eb Fmaj9 Em

        
    
 
Wait in the fire, wait in the fire.
     
Male Vocals Grade 8

 
       
  
   
                  
             
       
22
3
Eb Em
To Coda  D.C. al Coda 

 
                
Burn.
   
             

                   
    
    
    
  
Em Eb
 Coda
 
        
Burn. Burn.
  
     
          
     

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


          
     
f
   
    
      
G6
Fmaj9

   
 


   
                   
    
    
            
     
  
F#11(b9) Fmaj9 Em G6 A5 B5
2fr

    

        

Ah. Please.

  
                     
Male Vocals Grade 8

    

                  
                     
   
 
 
 
     
23
4
Em F#dim G6 A6 Bm('11)
2fr

       
 
(2 & 3 vocal ad lib.)
                          
      
    

        
     
          
 
1, 2. 3. Em
A'9 A'9

 
2
     
      
Please. leave be - hind

       


                       

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


              
         
FŒ„Š9(#11) Em
D.C. al Coda    Coda
                  
   
ay ay. (1-4 vocal ad lib.)
(5-7) Wait in the fire, wait in the fire.

                 
                           
           

        
     
1-6. 7.

Em/Eb Em/Eb

 
            


Male Vocals Grade 8

                     


                 
dim. 
               
        
      
24
5
T h
Foo Fighters
e P re te
SONG TITLE: THE PRETENDER
ALBUM: ECHOES, SILENCE, q = 88
D
PATIENCE & GRACE A„ˆˆ9
RELEASED: 2007
  

LABEL: RCA
GENRE: ROCK

    
         
PERSONNEL: DAVE GROHL (VOX+GTR)
TAYLOR HAWKINS (DRUMS)
NATE MENDEL (BASS)
CHRIS SHIFLET (GTR)

   
UK CHART PEAK: 8      
US CHART PEAK: 37

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


D9/
A‹„ˆˆ9

              

 ‘The Pretender’ showcases what the Foo Fighters
BACKGROUND INFO NOTES

‘The Pretender’ was the first single released from


the Foo Fighters’ sixth studio album, Echoes, Silence, do best. An exercise
p you in in rock
the dynamics, You know they all
dark. it begins
Kee

Patience & Grace. with a subdued, contemplative arpeggio intro before
   
        
relentlessly upping the ante with layers of guitar and
a chanted chorus, which Grohl admits may have been
THE BIGGER PICTURE influenced by the Sesame Street song ‘One Of These


Things Is Not Like The Other’. Then the song takes
Not content with being a member of just one of
 
a detour, swerving between a Chuck Berry-esque

   
rock’s all-time great bands, Nirvana drummer Dave shuffle, the subdued intro and the all-out onslaught
Grohl emerged from that outfit’s tragic end in 1994 to
rise again a year later with Foo Fighters, a project that

of the chorus – all in a breathless four and a half
minutes. It was a relatively spontaneous creation, as
began as a 100-copy demo. The Foo’s signed to RCA Dave Grohl told Guitar World: “It was just something
and released these songs, which Grohl had played all I fooled around with between takes… We put the
the instruments on, as their eponymous debut. ‘This whole
A‹„ˆˆ thing
9 together in five minutes. Then we
Is A Call’ proved a popular single, and the band’s recorded a demo version of it, and our demo version

             
follow-up albums, 1997’s The Colour And The Shape wound up being the basis of the recorded version. My
and 1999’s There Is Nothing Left To Lose, ushered in

guitars that we used on the demo are the ones on the
various line-up changes and a more polished sound,
yielding a reservoir of hits such as ‘Everlong’, ‘Monkey
final version.”

Wrench’, ‘Learn To Fly’ and ‘My Hero’. 1995’s double dark, and so it all
Keep you in the
album In Your Honor comprised a hard-edged ‘rock’ RECOMMENDED LISTENING

AndTheShape
    
LeftTheTo Colour

half and a star-studded ‘acoustic’ half, whereas 2007’s

 
Male Vocals Grade 8

 demonstrate  for crafting


Echoes, Silence, Patience & Grace mixed the two and There Is Nothing
sounds, and saw second-album producer Gil Norton Lose Grohl’s knack


return to the desk. Almost two decades on, the band’s memorable melodic hooks, while 2011’s Wasted Light,

  
remarkable consistency has earned Foo Fighters their helmed by Nirvana producer Butch Vig, is a hard-
place in the pantheon of modern rock acts.

hitting granite slab of rock.
  

25
The Pretender
Foo Fighters

The Pretender
Words & Music by Dave Grohl, Taylor Hawkins, 
Nate Mendel & Chris Shiflett

q = 88
A„ˆˆ9 D9/F# F‹ƒ‰7


    


                       
  
         
         

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


A‹„ˆˆ9 D9/F# F‹ƒ‰7

   
         
    
Keep you in the dark. You know they all pre - tend.

                      
  

        
          
A‹„ˆˆ9 D9/F# F‹ƒ‰7

                      
    
Keep you in the dark, and so it all be - gan.

                  
   
Male Vocals Grade 8

        
           
26 © Copyright 2007 Songs Of Universal Inc./Living Under A Rock Music/I Love The Punk Rock Music/M.J.-Twelve Music/Flying Earform Music.
Universal Music Publishing Limited/Universal/MCA Music Limited/Bug Music Limited.
All Rights Reserved. International Copyright Secured.
Twice as fast
A5 Am
5fr

∑ ∑ Œ œœœœ œ œœ
œfi
j
œœ
œfi
j
Œ
& J J J J
1. Send in your ske - le - tons.

& œ œ #œœ œ œœ œ œœ œ œ œ #œœ œ œœ œ œœ œœ œœ #œœ œ œœ œ œœœ œœ œœ œœ #œœ œ œœ œ œœ


Œ Œ Œ Ó
? ∑ ∑ œœ œœ Œ Œ œœ œœ œœ œœ Œ Ó

D/F#

& Œ
œ œ œ œ œfij œ œ œ
J J J œ œ œ œfij œ œ œ œ œj ‰ Œ Ó œ œ
œfi
j
J
Sing as their bones come march - ing in a - gain.

& œ œ #œœœ œœ œ œœ œ œœ œœ #œœœ œœÓ œ œœ œœ œœ#œœœ œœ œ œœœ œœ œœ œœ#œœœ Óœœ œ œœ

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


œœ Œ Œ œœ Œ Œ Œ Œ
? œœ Œ Œ œœ œœŒ Ó œ œ Œ Œ œ œ œ œ Œ Ó
œœ œœ œœ #œ œ œ œ #œ œ
F“2 Am

œ œœœœ œ œœ
œfi œœ
œfi
& œ Œ
j
Ó ∑ Œ J J J
j
J Œ
The need you bur - ied deep,

& œ œ #œœ œ œœ œ œœ œ œœ œœ #œœ œ œœÓ œ œœ œœ œœ #œœ œ œœ œ œœœ œœ œœ œœ #œœ œ Óœœ œ œœ


œœŒ Œ œœ Œ Œ Œ Œ
? nœ œ Œ Œ œœ œœŒ Ó œœ œœ Œ Œ œœ œœ œœ œœ Œ Ó
nœ œ œœ œœ
D/F#

& Œ
œœœœ
J
œ œœ
J J œ œ œ™ œ™ œ˙ œ œ œ Œ
J J J
the se - crets that you keep are at the rea - dy.
Male Vocals Grade 8

& œœ œœ #œœœ œœ œ œœœ œœ œœ œœ #œœœ œœÓ œ œœ œœ œœ#œœœ œœ œ œœœ œœ œœ œœ#œœœ œœ œ œœ


Œ Œ Œ Œ Œ Œ Ó
? œœŒ Œ œœ œœ œœ œœ Œ Ó œ œ Œ Œ œ œ œ œ Œ Ó
œœ #œ œ œ œ #œ œ
27
F“2 Am

Ϫ
œfi
j
œ˙ ˙ œfij ˙û
Œ
œ œ œ
J
œ
J
œœ
J œœ Œ
& J J
Are you read - y? 2. I’m fin -ished mak - ing sense,

& œœ œœ #œœœ œœ œ œœœ œœ œœ œœ #œœœ œœœ œœ œœœ œœ œœ #œœœ œœ œ œœœ œœ œœ œœ #œœ œ œœÓ œ œœ
Œ Œ Œ Œ Œ Œ
? nœ œ Œ Œ œœ œœŒ œœ œœ Œ Œ œœ œœ œœ œœ Œ Ó
nœ œ œœ œœ œœœœ
D/F#

œ œ œ œ œœ œ œ œ œfij œ œû œ œ
& Œ J J J J J J Œ Ó Ó
done plead - ing ig - no - rance, that old de - fense.

& œœ œœ #œœœ œœ œ œœœ œœ œœ œœ #œœœ œœ œ œœ œœ œœ#œœœ œœ œ œœœ œœ œœ œœ#œœœ Óœœ œ œœ

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


Œ Œ Œ Ó Œ Œ Œ
? œœ Œ Œ œœ œœ Œ Ó œ œ Œ Œ œ œ œ œ Œ Ó
œœ œœ œœ #œ œ œ œ #œ œ
F“2 Am

& œœŒ Ó ∑ Œ
œ œœœ
J
œ œœ
J J œ œ œû ‰
J J
Spin- ning in - fi - ni - ty, but

& œœ œœ #œœ œ œœ œ œœœ œœ œœ œœ #œœ œ œœœ œœ œœœ


œœ œœ #œœ œ œœ œ œœœ œœ œœ œœ #œœ œ œœ œ œœ
Œ Œ Œ Œ Œ Œ Ó
? nœ œ Œ Œ œ œ œœŒ œœ œ œ œœ
nœ œ œ œ œœ œœ œ œœœ œ
œ œœœ œ œœœœ œœœœ
D/F#

œœœœ
J
œ
J
œœ
J œœœŒ œ™
œfi œ˙ ˙ œ
& Œ Œ
j
J J
the wheel is spin - ning me. It’s nev - er - end - ing,
Male Vocals Grade 8

& œœ œœ #œœœ œœ œ œœœ œœ œœ œœ #œœœ œœÓ œ œœ œœœœ#œœœ œœ œ œœœ œœ œœ œœ#œœœ Óœœ œ œœ


Œ Œ Œ Œ Œ Œ
? œœ
œ œ œ œ œ œ œœ œœ œœ œœ 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
28
F“2 D5 D“2 D G5/D

™ ˙ œ™ ˙
œfi
œfij ˙
& œ œfi œ˙ œ œfi œ˙ j
j
J Πj
J
nev - er - end - ing. Same old sto - ry.

& œ œ #œœœ œœ œ œœ œœ œœ œœ #œœœ œœ œ œœœ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ


œœŒ Œ œ Œ œœ
? nœ œ œ œ œœ œ œ œ œœœœœœœœœ #œœ œœ œœ œœ œœ œœ œœ œœ
nœ œ œ œ œœœ œ œœœœ œœœœ
$ A‹„ˆˆ9

& ™™
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
J J Œ

& ™™ œœœ
What if I say I’m not like the oth - ers? What if I say I’m not

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


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
D9/F#

œ œ œ œ œ œ œ œ œ œû œ œ œ œ œ œ œû
& J J Œ
just an - oth - er one of your plays? You’re the pre - tend - er.

& œœœ œœœ œœœ œœ œœ œœ œœ


œ œ œ œ
œœ œœ
œ œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ œœ
œ œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
? œ œ #œ œ #œœ œœ œœ œœ œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ #œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
F‹ƒ‰7 A‹„ˆˆ9

œ œ œ œ œ œ œ œ œ œ œ œ œû œ œ œ œ œ œ
&
What if I say I will nev - er sur - ren - der? What if I say I’m not
Male Vocals Grade 8

& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ


œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? nœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
29
D9/F#

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& J J ΠJ J
like the oth - ers? What if I say I’m not just an - oth - er one

& œœœœ œœœœ œœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ
œœ
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
F‹ƒ‰7

œû œ œ œ œ œ œ œû
To Coda Ø
œ œ œ œ œ œ œ œ œ
& Œ
of your plays? You’re the pre - tend - er. What if I say I will

& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


? #œœ œœ œœ œœ œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ œœ œœ nœœ œœ œœ œœ œœ œœ œœ œœ
#œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
A5 Am

œ œ œ œ œ œ œû
5fr

∑ ∑ Œ œ
œfi
j œ œ œ
œfi
j
& J J
nev - er sur - ren - der? 3. In time, or so

& œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ∑ ∑ œœ œ œœœ
œœ œœ #œœ œ œœ
Œ Œ
? œœ œœ œœ œœ œœ œœ œœ œœ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ Œ Œ œœ œœ
œœœœ œœœœ œœœœœœœœ œœœœœœœœ œœ
D/F#

œœ
& J
œœ
œfi
j
J Œ Œ œ œœ
J
œfi
j œ œœ
J J œœ œ œfij œ œ œ œ œj ‰ Œ
J
I’m told, I’m just an - oth - er soul for sale.
Male Vocals Grade 8

& œœ œœ #œœœ Óœœ œ œœ œœ œœ #œœœ œœ œ œœœ œœ œœ œœ #œœœ œœ œ œœ œœ œœ#œœœ œœ œ œœœ œœ


Œ Œ Œ Œ Ó Œ Œ
? œœŒ Ó œœ œœ Œ Œ œœ œœ œœ œœ Œ Ó œ œ Œ Œ œ œ
œœ #œ œ œ œ
30
F“2 Am

œ œ œœŒ œœœœ œ
& Ó Ó ∑ Œ J J
Oh, well. The page is out

& œœ œœ#œœœ œœ œ œœ œœ œœ #œœœ œœ œ œœœ œœ œœ œœ #œœœ œœœ œœ œœœ


œœ œœ #œœœ œœ œ œœœ œœ
Œ Ó Œ Œ Œ Œ Œ
? œ œ Œ Ó nœ œ Œ Œ œ œ œœŒ œœ œ œ
#œ œ nœ œ œ œ œœ œœ œ œœœœ
œ œœœ œ

œ œ
& J œ œ Œ Œ
œ œ œ œ
J
œ
J
œ œ
J œ œ œ™û
J J J
of print. We are not perm - a - nent, we’re

& œœ œœ #œœ œ œœ œ œœ œœ œœ #œœ œ œœ œ œœ œ


œ œ œœ œœ #œœ œ œœ œ œœ

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


Œ Ó Œ Œ Œ Ó
? œ œ œœ œœ œ œ œ œ œœ œœ œœ œœ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
D/F# F“2

#œfi
jœ™ nœ ˙ œ™
œfi
j
œ œ Œ œfi
j œ™ œ ˙
& J J J
tem - por - ar - y, tem - po -

& œœ œœ#œœ œ œœ œ œœœ œœ œœ œœ#œœ œ œœ œ œœ


œœ œœ #œœ œ œœ œ œœ œœ
Œ Œ Œ Ó Œ Œ œ
? œ œ œ œ œ œ nœ œ œ œ
#œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
D5 D“2 D G5/D


œ™ ˙
™™
D.S. al Coda
fijœ™ ˙ œfij
œ œ œfi œ ˙ œfi
j
& œ
J Πj
J

™™
- rar - y. Same old sto - ry.
Male Vocals Grade 8

& œœ œœ #œœ œ œœœ œœ œœœ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ


Œ
? œ œ œ œ œ œ œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ œœ œœ ™™
œ œ œ œ œ œ œ œ
31
Ø Coda
F‹ƒ‰7 D5 D“2 D G5/D

œ œ œ œ œ œ œ #˙ ™ œ œ œ™ œ ˙û
& J
nev - er sur - ren - der?

?
& œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
? nœœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ œœ œœ
nœ œ œ œ œ œ œ œ
A5
5fr

& ∑ ∑ ∑ Ó Œ ‰ œ
J
I’m

? œ #œ œ œ œ œ œ#œ œ œ œ #œ œ œ œ œ œ#œ œ œ

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ
? ∑ ∑ ∑ ∑

j j j j
& œJ œ œœœ
J J
œ œœ
J J
œœ‰ Œ
J J œœ œ œœ œ œû Œ Œ ‰ œJ
the voice in - side your head you re - fuse to hear. I’m

? œ #œ œ œ œ œ œ#œ œ œ œ #œ œ œ œ œ œ#œ œ œ
œœœœœœœœ œœœœœœœœ œœœœ œœœœ œœœœœœœœ
? Œ Œ Œ Œ Œ Œ Œ Œ
œ œ œ œ œ œ œ œ

j j j j
& œJ œ œœœ œœ œœ
J J
œœ
J
Œ œ œ œ œœ œ œ Œ Œ ‰œ
J
the face that you have to face, mir- rored in your stare. I’m

? œ #œ œ œ œ œ œ#œ œ œ œ #œ œ œ œ œ œ#œ œ œ &


Male Vocals Grade 8

œœœœœœ œœ œœœœœœœœ œ œœœ œœœœ œœœœœœœœ


? Œ Œ Œ Œ Œ Œ Œ Œ
32 œ œ œ œ œ œ œ œ
& œJ œ œJ œJ ‰ ‰ œJ œ œ œœ ‰ ‰ œ œ œ œ œj œ™ Ó Œ ‰ œJ
J JJ J
what’s left. I’m what’s right. I’m the en - e - my. I’m

& œ œ j j j j j j j j
œ œ œ œ œ œœ œ œ œ œœœ œ œ œ œœœ œ œ œ
?
œ œœœœ œœœ œ œœœœ œœœ œœœœœ œœœ œœœœœ œœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œû Œ j j j j
& œJ œ œJ œ œ œ œ J J œ œ œ œœ œ œû Œ ‰ œ #œJ
the hand that will take you down, bring you to your knees. So who

& œ œ œ j œ œj œ œ œ j œ œj œ œ œ j œ œj j j
œ

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


œ œ œ œœœ œ œ
?
œœœœœ œ œœ œœœœœ œœœ œ œœœ œ œœœ œœœœœ œœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ ‰ ‰ #œ œ ‰ ‰ nœ #œ œ œ ‰ ‰ nœ #œ œ œ‰ ‰ œ œ
& œ J œ œ
J J J J J J J
are you? Yeah, who are you? Yeah, who

& œœœ œ œ œ œ
œœœ œœœ œœœ œœœ œœœ œœœ œœœ
?
œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ™û
œfij œ œ œ œ œ ˙™
œfij #œ œ
& Œ ‰ J ‰ ‰ J Œ ‰ J
are you? Yeah, who are you?
j
Male Vocals Grade 8

& œœœ œœœœ œœœ œœœœ œœœ œœœœ œœœ œ œ™

?
œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 33
Half tempo
A‹„ˆˆ9 D9/F# F‹ƒ‰7

œ œ œ œ œ œ œ œ œj œ œ œj œ œ œ ‰ Œ Œ œ œ œ Œ Ó
& J J J
Keep you in the dark. You know they all pre - tend.

& ‰ jœ œ œ œ œ Œ œœ œœ œœ ‰ jœ œ ˙ ‰ jœ œ ˙
œ œ œ œ
j
? j #œ ˙ #œ œ œ nœ w
w œ œ œ œ #œ ˙ #œ œ œ nœ w
Twice as fast
A‹„ˆˆ9 D9/F#

& ™™
œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ
J J ΠJ J

& ™™ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
What if I say I’m not like the oth - ers? What if I say I’m not just an - oth - er one

œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


œ œ œœœœœ œ œœœœ œ œ œœ
? ™™ #œ œ
œ œœ 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
F‹ƒ‰7

œû œ œ œ œ œ œ œû œû
™™
œœœ œœœ œ œ œ œ œ œ œ œ œPlay 3 times

& Œ

& œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ™™
of your plays? You’re the pre - tend - er. What if I say I will nev - er sur - ren - der?

? #œœ œœ œœ œœ œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ œœ œœ nœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ™™


#œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
A‹„ˆˆ9 D9/F#

œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœœœ
& J J ΠJ J
What if I say I’m not like the oth - ers? What if I say I’m not just an - oth- er one
Male Vocals Grade 8

& œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

? #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
34
F‹ƒ‰7

œ œ œ œû œ œ œ œ œ œ œû œ œ œ œ œ œ
& Œ
of your plays? You’re the pre - tend - er. What if I say I will

& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? #œœ œœ œœ œœ œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ œœ œœ nœœ œœ œœ œœ œœ œœ œœ œœ
#œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
D5 D“2 D G5/D

œ œ œ œ œ œ #œ w ˙ œ
& J J ‰ œ J
nev - er sur - ren - der? So who

?
& œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


? œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ
A5

œ™ œ ˙û œ œ œ™ œ œ™û œ œ
5fr

#œ #œ J
& ‰ ‰ J ‰ J ‰ ‰ J ‰ ‰
are you? Yeah, who are you? Yeah, who

? œ œ#œ œ œ œ œ œ#œ œ œ œ œ#œ œ œ œ œ œ#œ œ œ

?
œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ
œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ

œ ™û œ œ ˙™ œû
& ‰ ‰ J ∑ ∑

œ œ œ œ œ œ œ >œ >œ >œ >œ


are you?
œ œ œ œ œ œ œ
Male Vocals Grade 8

? J J Œ Œ Œ Ó

?
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 Ó
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ >œ œ œ >œ >œ 35
36
Male Vocals Grade 8

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


L i v i n’
Bon Jovi

SONG TITLE: LIVIN’ ON A PRAYER


ALBUM: SLIPPERY WHEN WET
q = 122
RELEASED: 1986
LABEL: MERCURY
E‹9


GENRE: ROCK

   

PERSONNEL: JON BON JOVI (VOX)
RICHIE SAMBORA (GTR+VOX)
DAVID BRYAN (KEYS)

     
TICO TORRES (DRUMS)

 

ALEC JOHN SUCH (BASS)


UK CHART PEAK:
US CHART PEAK:
4
1

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com



  
BACKGROUND INFO at a diner, “workin’ for her man”. Jon Bon Jovi says

 
the character Tommy went through changes: “It was
‘Livin’ On A Prayer’ was Bon Jovi’s second US a fictional character. The inspiration was a young
Number 1 from their third album, Slippery When Wet. couple who got pregnant and gave up everything they
It is credited to Jon Bon Jovi, Richie Sambora and had, but that didn’t read right, so we changed the

     
producer/songwriter Desmond Child. story.” Some have speculated the song is influenced
by fellow New Jerseyan Bruce Springsteen, who


 
used a similar scenario of hard economic times
THE BIGGER PICTURE and a character couple in his 1981 song ‘The River’
– Springsteen is one of Jon Bon Jovi’s songwriting
Jon Bon Jovi himself didn’t originally rate the heroes. However, Desmond Child says Tommy and
nascent song, demo’d a year before, but Richie Gina were based on people he knew while working as
Sambora convinced him to continue work on it with C/ECity cab driver in the 1970s. The names?D/E
a New York
a new bassline. It ended up being Bon Jovi’s signature Jon Bon Jovi has family relations called Tommy and


song. Slippery When Wet made the band superstars, Gina. So it’s a mix of inspirations.


the album having now sold a reported 28 million-plus

 
 

copies. Its follow-up, New Jersey, was a double US/


UK Number 1. At the 2010 Grammy Awards, Bon Jovi RECOMMENDED LISTENING
performed this song as a result of a fan vote. Asked
the same year if he ever got tired of singing it, JBJ The song works acoustically – see Bon Jovi and
quipped, “Not when I see the jet with my name on it.” Sambora’s performance at the 1989 MTV Music

     
Awards. In 2000, on Bon Jovi’s ‘It’s My Life,’ Tommy
and Gina returned as characters in song: “This is for


 
NOTES the ones who stood their ground, for Tommy and
Male Vocals Grade 8

Gina who never backed down.” Sambora used a guitar


This is a classic character song, about a fictional talkbox on ‘It’s My Life’ in a nod to the song’s history.
working-class couple, Tommy and Gina. Tommy It’s been in Glee, of course, and Bowling For Soup
“used to work on the docks” but then the “union’s mentioned the characters in their ‘Punk Rock 101’ –
been on strike, he’s down on his luck”. Gina works “Like TommyC/Eand Gina, they’re living on a prayer.” D/E

       

37
Livin’ On A Prayer
Bon Jovi

Livin’ on a Prayer
Words & Music by Jon Bon Jovi, Richie Sambora & Desmond Child

q = 122
E‹9


  
 
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             
  

      

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


 
 
 
 

              
       
C/E D/E E‹„ˆˆ9 E‹

 
 
 

 
 


              
       
C/E D/E E‹


      

  

      
Spoken: Once up - on a time, not so long a - go…
  
  
 
 

 


Male Vocals Grade 8

              


       
38 © Copyright 1986 Bon Jovi Publishing/PolyGram International Music Publishing Incorporated/Aggressive Music/Sony/ATV Tunes LLC.
Universal Music Publishing Limited/Sony/ATV Music Publishing.
All Rights Reserved. International Copyright Secured.
# ™œ
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1. Tom - my used to work on the docks.


2. Tom - my’s got his six string in hock. Now

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RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


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Un-ion’s been on strike, he’s down on his luck, it’s tough,
he’s hold - ing in when he used to make it talk so tough,
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39
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RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


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RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


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Male Vocals Grade 8

Take my hand, we’ll make it, I swear. Oh, liv -

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Liv - in’ on a prayer.

Ϫ

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


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Male Vocals Grade 8

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hold on, rea - dy or not. You live for the fight when that’s all that you’ve got.

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RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


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Male Vocals Grade 8

& J

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Male Vocals Grade 8

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


The Commitments

SONG TITLE: TRY A LITTLE TENDERNESS


ALBUM: THE COMMITMENTS
q = 80

  
RELEASED: 1991
LABEL: MCA
N.C.
GENRE: SOUL

  
PERSONNEL: ANDREW STRONG (VOX)
MARIA DOYLE KENNEDY (VOX)
BRONAGH GALLAGHER (VOX)

  
ANGELINE BALL (VOX)


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

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


q = 92
UK CHART PEAK: N/A
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  

BACKGROUND INFO NOTES

‘Try A Little Tenderness’ was one of the standout


recordings from the 1991 film The Commitments. It
is a cover of Otis Redding’s 1966 version of a song ‘Try A Little Tenderness’ had been performed by  
Written in 1932 by Woods, Campbell and Connelly,

everyone from Bing Crosby to Aretha Franklin. Cut


written in 1932. in three takes in 1966, Otis Redding’s version begins
with a three-part horn intro, leading into a sparse
1. Oh, she may be
showcase of his restrained yet emotional vocal. Three
THE BIGGER PICTURE minutes and 46 seconds after it began, Redding
and the band had one of pop’s greatest ensemble

 
The Commitments was a film adaptation of the performances in the can. Quoted in Robert Gordon’s
novel of the same name by acclaimed Irish writer Respect Yourself, Stax Records co-founder Jim Stewart

  

Roddy Doyle (whose other novel Paddy Clarke Ha considered it the label’s best record: “It exemplifies

 
Ha Ha won the Booker Prize in 1993). The film is what Stax really was, that one record. When I hear




set in Dublin and tells the story of a soul band made it today, I still get that same feeling that I got when
up of white working class Dubliners. Alan Parker, we rolled that tape in the studio.” For the young,
the film’s director, picked real musicians to play the unknown cast of The Commitments to replicate that as
fictional band members, preferring musical ability well as they did was no mean feat.
over acting chops. This resulted in an authenticity
to the film’s musical performances and most of the

 
cast being featured on the accompanying soundtrack RECOMMENDED LISTENING
album, released in the same year as the movie. The
Male Vocals Grade 8

The Commitments soundtrack album (1991) is an


soundtrack features a number of classic songs from


labels such as Motown, Atlantic and Stax. ‘Try A Little impressive achievement by the film’s youthful cast.
Tenderness’ is a key song in the development of the Otis Redding’s third solo album, Otis Blue (1966), is
band as it is depicted in the film, and was based on essential and the posthumous Dock Of The Bay (1968)
Otis Redding’s version for Stax Records. is a fitting tribute.

E 45 D7
Try A Little Tenderness
The Commitments

Try A Little Tenderness Words & Music by Harry Woods, James Campbell & Reginald Connelly

Words & Music by


Harry Woods, Jimmy Campbell & Reg Connelly

q = 80

 
N.C.

         
          

   
   

q = 92

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


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
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                  

1. Oh, she may be wea - ry, and young girls,they do get wea - ry


 
   

 
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            
wear - ing that same old shab- by dress.


3

          

 
 
 
Male Vocals Grade 8

 
3 3 3 3

           

46 © Copyright 1932 & 1960 Chester Music Limited trading as Campbell Connelly & Co.
All rights for the USA and Canada assigned to EMI Robbins Catalog, Inc.
All Rights Reserved. International Copyright Secured.
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  
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         
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But when she gets wea - ry try


3 3

     

       

 
3 3 3


     
   

E/G# G7

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com



        
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a lit - tle ten - der - ness.


3 3

        
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 
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
         
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3. You


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      

Male Vocals Grade 8

  
 

 
3 3

    
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  
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 
3
know she’s wait - ing, just an - ti - ci - pat - ing the
won’t re - gret it, young girls they nev - er for - get it.
 
3 3

      
       
 
  

 
3

   
 

Emaj7 D C#7
4fr

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


                    
    
things that she nev - er, nev - er, nev - er, nev - er pos - ess - es, yeah.
Love is their on - ly hap - pi - ness.


   

 



  
   

  

F#m


3

             
    
But while she’s there wait - ing with - out them,
But it is all so eas - y,

 
3

         
Male Vocals Grade 8

   
   

 
3

      
     
48
B7 To Coda Ø E

 
         
  
try a lit - tle ten - der - ness.
all you got - ta


3
 
3

           

      

   
   
  

A E E9 E/G#

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com



   
3 3 3
    
     
That’s all you got - ta do. This is for you.

 
3
 
        
 

   

 
3

  
    

A G#7


4fr

  
          
3
          
It’s not just sen - ti - men- tal, no, no.

 
 
Male Vocals Grade 8


   
 

     
  
3

     
   
    49
C#m F#7


4fr

                
She has her grief and her care.

 
 
 
   

 
    

 
3

   
      

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com



             

But the soft words, they are


3

 
 

      
        

 
3
 
         

G#7 F#7

      
4fr


         
spoke so gen - tle, it makes it eas - i - er,

  
       
Male Vocals Grade 8

 
 

    

  
    
      
50
D.S. al Coda
F#m7 B7 Baug7

        
2fr

         

eas - i - er to bear, yeah.

 
             

    

   
         
   

Ø Coda
B E/G#

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


       
    

do is try a lit - tle ten - der - ness.

 
     
 

   

 
         
 

C#7 F#m7 E/G#

 
4fr

             
  
Oh, yeah. Squeeze her, we tease her, nev - er

 
    
      
Male Vocals Grade 8

       

      
       
            
51
A Bbdim B C

            
        
leave her. You got - ta, you got - ta, you got - ta, you


   






  

  

          
         
     

C#m D Eb E

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


   
4fr 5fr 6fr

          

got - ta try a lit - tle ten - der - ness, yeah.

 
       
     
   

         


 
          

D'9 C#7
2fr 4fr

    
       
 
Yeah, yeah.

         


     

  
Male Vocals Grade 8

 
                  
52
F#m7 E/G# A Bbdim

                 


  

Squeeze her, we tease her, nev - er leave her. You got - ta,


 
   








  

          

        

Play 5 times ad lib


B C C#m D Eb

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


    
4fr 5fr 6fr

            

you got - ta, you got - ta, you got - ta try a lit - tle

 
  
    
      
      

            


        
          

E7

   

 
ten - der - ness. (Vocal ad lib.)

  
  


  
Male Vocals Grade 8

  
   

 
53
Technical Exercises

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

¿ ¿ ¿ ¿
q = 100

4 Œ Ó
&4 œ œ #œ œ #œ œ œ n œ œ n œ œ #œ n œ #œ n œ œ
w w œ #œ œ œ #œ œ #œ #œ œ

Group B: Arpeggios
In this group, the arpeggio exercise needs to be prepared as shown below.

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

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


C diminished 7 arpeggio

¿ ¿ ¿ ¿
q =100

& 44 bœ œ œ œ œ œ bœ œ œ œ œ œ Œ Ó
w w œ bœ œ bœ œ

Group C: Intervals
In this group, the two interval sequences need to be prepared as below. You will be asked to perform one of them in the
exam, as chosen by the examiner.

The examiner will choose a starting note within the range D–F. You will hear this note followed by a four-beat count-in. You
may perform this test using any vocal sound except humming or whistling. The tempo is q =90.

Major 7th, minor 7th and octave intervals

¿ ¿ ¿ ¿
q = 90

œ bœ œ
& 44 w
Candidate sings:

w œ œ œ ˙

Major 3rd and minor 3rd intervals

¿ ¿ ¿ ¿
q = 90

& 44 w
Male Vocals Grade 8

Candidate sings:

w œ œ œ bœ w

54
Group D: Backing Vocals
In this group, all three backing vocal parts need to be prepared as shown below. You will be asked to perform one of them
in the exam, as chosen by the examiner. The chosen part must be sung alongside the other two parts on the recording.
The backing tracks for these can be found in the audio.
q =130 Rock

4 œ œ œ œ œ œ œ
‰ Jœ œ ‰ œJ œ
A

‰ œ œ ‰ œ œ ‰ œ œ
Am F C G

&4 Œ
J J
Let’s get down, it’s time to get loud, we’re the heart and soul of this town.

j
B

& 44 œ œ œ ‰ œ
J
œ œ œ œ ‰ œ œ œ ‰ œ œ ‰ œ
J J
‰ œ œ œ Œ
Let’s get down, it’s time to get loud, we’re the heart and soul of this town.

j
‰ œj œj ‰ œ ‰ œj œ
C

4 ‰ œ œ œ œ ‰ œ œ Œ
&4 œ œ œ œ œ œ
Let’s get down, it’s time to get loud, we’re the heart and soul of this town.

œ œ ‰ œ œ œ œ
Am F G

& œ œ Ó œ œ œ œ œ
3

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


Do it right now, do it right now we are the fu - ture.

œ
& œ œ œ œ ‰ œ œ œ Ó œ œ œ œ œ
3

Do it right now, do it right now we are the fu - ture.

& œ œ œ œ ‰ œ œ œ œ Ó
3

œ œ œ œ œ
Do it right now, do it right now we are the fu - ture.

Male Vocals Grade 8

55
Technical Exercises

Group E: Stylistic Studies


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

■■Pop and musical theatre


■■Soul and R’n’B
■■Jazz and blues
■■Rock and indie

Stylistic Study | Pop and Musical Theatre Dramatic dynamics and inflections / Sustains with vibrato
q = 70 Music Theatre

F
D Bm

# 4 œ œ œ œ ~~~~~~j
& #4 œ œ œ ‰ œ
3

œ œ œ œ œ œ œ œ œ
On my jour - ney home I’ll pack my tears and hide my pride. I’ll walk the

## F œ
œ ‰ œ œ œ œ
Em A D

r
œ œ œ œ ‰. œ œ œ œ. œ œ œ œ œ œ œ œ œ ‰ J
3 3

& œ œ

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


J
lone - ly av - e - nues, and pick my way be - tween the sta - tues of my life. I will be - come the man my

# œ œ œ œ œ œ F f
b
G # m7 5

& # œ ‰ œJ œ œ œ œ œ œ œ ‰ œ
Bm G

œ œ œ œ œ œ ‰ œ bœ œ J
fa - ther will be proud of. I’ll face up to my des - ti - ny, re - gain my for - mer dig - ni - ty and

ƒ
˙~~~~~~~~~~~~~~~~~~~~~
A G A

## œ~~~~~~~~~~~~
. œ œ~~~~~~~~~~~~
. œ œ~~~~~~~~~ ‰ j œ œ œ .
Œ
& J J œ
rise a - bove the fear that plagued my life.

Stylistic Study | Soul and R’n’B Long melisma / Register flips


q = 70 Soul

& 44 ˙ j
œ ‰ œ
j ‰ Œ
A m7/G F6 G6 A m7/G G6 A m7/G

œ ˙ œ œ œ œ œ œ œ
˙
It’s been so long since you went a - way. Ooh.

C m6/E b
r rœ œ
œ œ œ œ œ œ œ œ œ œ
F6 G6 A m7 F6 G6

& œ Œ œ ‰. œ ‰. œ
œ œ œ œ
I, I’ll ne - ver for - get you I swear. I want you to be

A m7/G G6 A m7/G F6
œ œ œ œ œ
G6

œ
& œ œ œ œ œ œ ‰ œ
J
Œ
Male Vocals Grade 8

near. Woh.

C m6/E b
œ
A m7
œ œ œ œ œ œ œ œ œ œ
F6
œ œ œ œ œ
E m7
œ œ œ œ œ
‰ Œ
Am

& J ˙.
Now I know that you’ll ne - ver come back. Now I know that since you went a - way.

56
Technical Exercises

Stylistic Study | Jazz and Blues Un-accompanied chromatic runs / Wide pitch jumps
q = 82 Jazz

P B m7

j
Em A

#6 œ œ œ œ œ œ œ
& 8 œ. œ œ. œ
With a lit - tle pa - tience I’m will - ing to

F #m
#
B7
j Em Am

& œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
take you by the hand and lead you on a mer - ry dance to

b
F # m7 5 F b
F # m7 5
P
# œ œ j œ œ œ. œ œ œ r r
& œ œ œ œ 46
B Em Am B7

‰ œ œ œ œ œ œ œ
J
find your won - der -land. I pro - mise you hap - pi - ness ’coz that’s the on - ly rule. But

b
F # m7 5
# 6 Eœm b œ œ bœ œ œ bœ œ œ œ. 6
œ nœ œ
Am

& 4 œ œ œ œ œ œ œ 8
don’t ig - nore my good ad - vice and treat me like a fool. Or you’ll find your - self runn - ing

F #m
f

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


œ œ
B7 C maj 7

œ œ œ.
Em A Em

# œ ‰ œ œ œ ‰ œ œ œ œ ‰ Œ
& 68 J J
J J
44 œ . œ œ œ J Ó
out of luck and out of time so grab your chance and fol - low me.

Stylistic Study | Rock and Indie Slides to scream / Register flips

œ œ. œ
q = 140 Metal

b œ œ
& b b 44 Ó Œ ‰ œJ œ œ œ œ œ J œ œ ‰ œ œ œ œ œ œ œ ˙ Œ ‰ œJ
Cm

J
The ci - ty’s cry - in’ out there’s a ri - ot com - ing. I’m cal - ling on the gods of war A-

Bb Ab Bb ˙~~~~~~~~~~~~~~
.
b œ œ Œ
&bb œ
œ œ œ œ œ Œ œ œ œ ˙ Œ
Cm

way with the bonds of op - pres - sion, cry, no, no, no.

Bb Ab Bb
b b ˙~~~~~~~~~~~ œ œ œ œ œ ˙. œ œ œ œ œ
Cm

& b Œ J ‰ œ œ Ó
We won’t take this sitt - ing down.

Bb Ab Bb ˙~~~~~~~~~~~~~~~
.
b b ˙~~~~~~~~~~~ œ œ œ œ œ w
Cm

& b Œ J ‰ Œ
We won’t take this sitt - ing down.
Male Vocals Grade 8

57
Quick Study Piece

At this grade you will be asked to prepare and perform a short Quick Study Piece (QSP). This will consist of four bars
of melody and eight bars of improvisation. Bars 1–4 of the test will be a notated melody and you will need to sing all the
written detail, including lyrics. In bars 5–8, you will need to improvise a variation on bars 1–4, developing both the lyrics
and melody as you feel appropriate. In bars 9–12, you will need to improvise with no requirement to reference bars 1–4. You
may use any vocal sound except humming or whistling for these bars.

The examiner will give you the sheet music, then you will hear a full mix version of the track, including the notated parts.
This first playthrough will be preceded by the root note and a one-bar count-in. After the full mix, you will have three
minutes to practise. The root note will be played at the start of this practice time and then again after 90 seconds. During the
practice time, you will be given the choice of a metronome click throughout or a one-bar count-in at the beginning.

At the end of three minutes, the backing track will be played twice more with the notated parts now absent. The first time
is for you to rehearse and the second time is for you to perform the final version for the exam. Again, you will hear the root
note and a one-bar count-in before both playthroughs. The backing track is continuous, so once the first playthrough has
finished, the root note and count-in of the second playthrough will start immediately. The tempo is q =70–160.

The QSP style will be from one of the following four groups. These match the groups of the stylistic studies in the Technical
Exercises section.

■■Pop and musical theatre


■■Soul and R’n’B

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■■Jazz and blues
■■Rock and indie

The style given to you in the exam will be from the same group as your choice of stylistic study. The examiner will decide
which one, specifically (i.e. rock or indie).

Quick Study Piece | Pop and Musical Theatre Example test

¿ ¿ ¿ ¿
q = 120 Pop
œ œ œ œ
& b 44 w ∑ ‰ J œ œ ‰
F

Let’s do this now, can we

Bb
œ
C

œ œ œ œ œ œ
Dm
œ œ œ ⇥ œ œ œ
Dm
œ œ œ œ
C

œ
&b Œ
make it real? We’re on the edge of some - thing, the edge of some - thing.

Bb

&b ’
F C Dm Dm C

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[Vary melody – 4 bars]

Bb Bb

&b ’
Dm F

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[Improvise freely – 4 bars]
Male Vocals Grade 8

58
Quick Study Piece | Soul and R’n’B Example test

¿ ¿ ¿ ¿
q = 80 RnB
# 4
& #4 ‰ j Œ
Bm E

w œ œ œ œ
What you see,

## j
Em Bm E E m7 Bm

& nœ œ œ œ œ ‰ ‰ ‰ œ œ œ œ œ Œ
œ œ œ œ œ œ œ œ œ œ
think of what it could be. I am watch - ing you and you’re watch - ing me too.

## Bm E Em Bm E E m7 Bm

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[Vary melody – 4 bars]

## Em Bm E Em Bm

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[Improvise freely – 4 bars]

Quick Study Piece | Jazz and Blues Example test

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j 3

Jazz q q = q q
¿ ¿ ¿ ¿
q = 120
Bb
b
& b 44 ‰
B dim7

œ j ˙
w œ
Stop right there,

7#5
b
&b œ ‰ Ó
C m7 C m7 F7

j œ
G

œ œ #œ œ œ œ œ œ œ
3

œ œ ˙
don’t you move, I’m think - ing that I’m in love.

Bb 7#5
b
&b ’
B dim7 C m7 G C m7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[Vary melody – 4 bars]

Bb
b
&b ’
D7 G m7 C m7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[Improvise freely – 4 bars]

Quick Study Piece | Rock and Indie Example test

¿. ¿. ¿. ¿.
q. =120 Rock
Eb
b
& b 12
8 w. œ œ œ œ œ œ œ œ œ œ
Cm

J J
Ly - ing a - wake and won - der - ing when I’m

Ab Eb Ab
b
& b œJ Œ ‰ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ.
F Cm F

J J J J J J
gon - na feel al - right, say - ing good - bye is mak - ing me die and I see the light.
Male Vocals Grade 8

Eb Ab Eb Ab
bb ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’.
Cm F Cm F

&
[Vary melody – 4 bars]

Eb Ab Eb Ab Bb
bb ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’.
F Cm F Cm

&
[Improvise freely – 4 bars]
59
Ear Tests

In this section, there are two ear tests:


■■Melodic Recall
■■Harmony Vocals

You will find one example of each type of test printed below and you will be given both of them in the exam.

Test 1 | Melodic Recall


The examiner will play you a two-bar melody played to a drum backing. It will use the D major or E natural minor scale
(the examiner will decide which) and the first note will be the root, 3rd or 5th. You will hear the test twice. Each time
the test is played, it starts with the root note and a four-beat count-in. There will be a short gap for you to practise after
each playthrough. Next you will hear a vocal count-in, after which you should sing the melody to the drum backing.
The tempo is q =90.

It is acceptable to sing over the track as it is being played as well as practising after the first two playthroughs. The length of
time available after the second playthrough is pre-recorded on the audio track, so the vocal count-in may begin while you
are still practising.

You may perform this test using any vocal sound except humming or whistling.

¿ ¿ ¿ ¿
q = 90

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


œœœœ
& 44 .. w w œ œ œ œ œ œ œJ ‰ ‰ œJ œ œ ‰ œ œ ‰ ..

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

Test 2 | Harmony Vocals


The examiner will play you a four-bar melody in the key of D major or E minor, based on any diatonic chords. There will be
two recorded vocal parts that will sing the root, 3rd or 5th of each chord, and you need to harmonise a diatonic 3rd or 4th above
the highest-sounding part using the same rhythm. The examiner will give you the lyrics.

You will hear the test twice. Each time the test is played, it starts with the root note and a four-beat count-in. There will be
a short gap for you to practise after each playthrough. Next, you will hear a vocal count-in, after which you should perform
the harmony line. The tempo is q =90–140.

It is acceptable to sing over the track as it is being played as well as practising after the first two playthroughs. The length of
time available after the second playthrough is pre-recorded on the audio track, so the vocal count-in may begin while you
are still practising.

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

j
q =130

# j j
& 44 .. w œœ œœ ‰ œœ œœ œœ œœ œœ œœ ‰ œœ ˙˙ ..
Em G D Em

w œœ .. ˙˙ œœ œœ œœ ˙˙
I’ll do what - ev - er it takes to win you back a - gain.

¿ ¿ ¿ ¿
q =130 Candidate sings: (you will not hear or be shown this in the exam)

# œ œ œ œ œ ‰ œ ˙ œ
& 44 .. w œ. œ œ. œ ˙ œ œ ˙ ..
Em G D Em

w J J J
Male Vocals Grade 8

I’ll do what - ev - er it takes to win you back a - gain.

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

60
General Musicianship Questions

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

Part 1 | General Music Knowledge


The examiner will ask three music knowledge questions from the categories below. The questions will be based on one of the
pieces (including Free Choice Pieces) as performed by you in the exam. You can choose which one.

If there are handwritten notes on the piece you have chosen, the examiner may ask you to choose an alternative.

You will be asked to identify and explain:


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

Part 2 | Improvisation
You will also be asked to briefly describe and demonstrate – with reference to melody, rhythm, phrasing and dynamics – your
approach to how you would improvise any part of your chosen song. You can choose the part.

Part 3 | Your Voice And The Microphone

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


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

You will be asked:


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

Male Vocals Grade 8

61
Entering Exams, Exam Procedure & Marking Schemes

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

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

Use Of Microphone
At Levels 1 and 2 (Grades 1–5) microphone use is optional, although candidates may use one if they feel it will enhance their
performance. At Level 3 (Grades 6–8) microphone use is obligatory for all aspects of the exam.

Marking Schemes
Below are the marking schemes for the two different types of Rockschool exam.

Grade Exams | Grades 6–8

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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

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
3 out of 5 4 out of 5 5 out of 5
Questions

TOTAL MARKS 60%+ 74%+ 90%+

Performance Certificates | Grades 1–8

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


Male Vocals Grade 8

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%+


62
Musical Interpretation & Free Choice Pieces

Musical Interpretation
Musical Interpretation is allowed at all grades in both the Grade Exam and Performance Certificate. Rockschool encourages
individual musicality, articulation, expression and use of dynamics when performing. This applies anywhere in the exam
other than the technical exercises where articulation when specified must be observed. Candidates are reminded that all
musical interpretation should be stylistically appropriate.

Free Choice Pieces (FCPs)


Free Choice Pieces are accepted in all Vocals grades. An FCP is defined as any piece outside the grade book, and can fall into
two categories:

1) W
 ider Repertoire: a full list of suggested pieces can be found on our website, www.rslawards.com
2) O
 wn Choice: Candidates can choose or compose any song in any genre outside of the grade book and wider repertoire.
These songs should demonstrate a comparable level of technical and musical demand to the pieces given in the set
selections in the grade books which can be referred to as an indication of appropriate level. Candidates should refer to
the Free Choice Piece Criteria available on our website when accessing the level of a potential piece: www.rslawards.com/
music/graded-music-exams/free-choice-pieces
For all grades, candidates can choose the following number of FCPs in the exam:
Grade Examinations: Up to 2 of 3 pieces can be free choice. (At least one piece must be from the grade book.)
Performance Certificates: Up to 3 of 5 pieces can be free choice. (At least two pieces must be from the grade book.)

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For all FCPs, candidates will need to bring the sheet music and a backing track (without vocal part) on the day. A memory
stick, iPod or CD/DVD is acceptable and we would also suggest a second source to be safe. It will not be necessary to bring
the sheet music or backing tracks for pieces chosen from the grade book.

Male Vocals Grade 8

63
Copyright Information

A Song For You


(Russell)
Universal Music Publishing Limited

Apologize
(Tedder)
Sony/ATV Music Publishing (UK) Limited

Grace
(Buckley/Lucas)
Sony/ATV Music Publishing (UK) Limited/Universal/MCA Music Limited

The Pretender
(Grohl/Hawkins/Mendel/Shiflett)
Universal Music Publishing Limited/Universal/MCA Music Limited/Bug Music Limited

Livin’ On A Prayer
(Jovi/Sambora/Child)
Universal Music Publishing Limited/Sony/ATV Music Publishing (UK) Limited

Try A Little Tenderness

RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com


(Woods/Campbell/Connelly)
Campbell Connelly & Company Limited
Male Vocals Grade 8

64
RSL-719345050569 / 1 / Martin Thomas Tirante / martintirante@rslawards.com

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