Female Vocals

Grade 3
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 RSK091403R
ISBN: 978-1-912352-25-8
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, Stuart Slater
Internal design and layout by Simon and Jennie Troup, Digital Music Art
Cover designed by Philip Millard, Philip Millard Design
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 © Kevin Winter / Getty Images
Full transcriptions by Music Sales Ltd.

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

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
Rhythmic test lyrics: Lucie Burns (Lazy Hammock)

DISTRIBUTION
Exclusive Distributors: Music Sales Ltd.

CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)845 460 4747
Email: info@rslawards.com
Female Vocals Grade 3

2
Table of Contents

Introductions & Information

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

Rockschool Grade Pieces

5 Taylor Swift......................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ‘22’

13 Nina Simone.................................... ‘Ain’t Got No - I Got Life’
19 Jessie J................................................................... . . . . . . . . . . . . . . . . . . ‘Domino’
27 Christina Perri................................................. . . . . . . . ‘Jar Of Hearts’
35 Ellie Goulding.................................................. . . . . . . . . . . . . . . . . . . . . . . . ‘Lights’
43 Adele.. . . ................................................. ‘Make You Feel My Love’

Technical Exercises

48 Scales, Arpeggios, Intervals & Technical Studies

Supporting Tests

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50 Sight Reading
51 Improvisation & Interpretation
52 Ear Tests
53 General Musicianship Questions

Additional Information

54 Entering Exams, Exam Procedure & Marking Schemes

55 Musical Interpretation & Free Choice Pieces
56 Copyright Information

Female Vocals Grade 3

3
 Welcome to Rockschool Female Vocals Grade 3

Welcome to the Rockschool Female Vocals Grade 3 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: either a Sight Reading or an Improvisation & Interpretation test (10%),
two Ear Tests (10%), and finally you will be asked five General Musicianship Questions (5%). The pass mark is 60%.
■■Performance Certificate: 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 3 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
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

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

range of starting notes.
■■Supporting Tests and General Musicianship Questions: in Vocals Grade 3 there are three supporting tests – either a
Sight Reading or an Improvisation & Interpretation test and 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 3 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
Female Vocals Grade 3

4
 Hal Leonard - NOT FOR SMD
22
Taylor Swift

SONG TITLE: 22
ALBUM: RED Moderately
D5 C5 D5 C“2
RELEASED: 2013 G5
3fr 5fr
3fr 5fr


LABEL: MERCURY
 
 
GENRE: POP
 
PERSONNEL: TAYLOR SWIFT (VOX) It feels l

    
 
UK CHART PEAK: 9
US CHART PEAK: 6

       
        
  
   
D5 C5
G5 3fr
5fr
3fr

   
 NOTES   
     
BACKGROUND INFO

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

‘22’ was the fourth single from Taylor Swift’s By the - her
cameexto write
of our es.fourth Uh uh,
andtime
makTaylor
e fun Swift

      
  
album Red. It was co-written by Swift and the song’s studio album, Red, she had established a sound and
producers Max Martin and Shellback.
 
a set way of writing – often with long-term writing
 partner Nathan Chapman. She wrote 20 songs for
Red but then decided she wanted to do something

  
THE BIGGER PICTURE

different that time around: “I knew I hadn’t jumped

     
out of my comfort zone, which at the time was writing

 
Taylor Alison Swift was born in Pennsylvania alone and working with Nathan.” Swift called in a
in 1989. At the age of nine she became involved in group of collaborators, from the expected (singer-
musical theatre, travelling regularly to Broadway to songwriters Ed Sheeran and Gary Lightbody) to the
take vocal and acting lessons and audition for shows. unexpected (pop superproducer Max Martin). “The
D5 I reached G5
When she turned 12, she learned her first three C5 who inspired me were the people
people 3fr
5fr
chords on guitar and wrote her first song. Two years out to,” said
3fr Swift, “I have always been so fascinated
later, aged 14, she was given an artist development

by how Max Martin can just land a chorus. He comes

deal with RCA Records and moved to Tennessee with
at you and hits you, and it’s a chorus – all caps, with
 
    
her family, which enabled her to become involved exclamation points!” Martin’s work is all over ‘22’, with
with the Nashville music scene. The following year, its huge ‘CHORUS!’ and danceable contemporary pop
to fall in love w
Swift left RCA to join the new label Big Machine. She for break - fast at mid - night,
production.

     
was eager to release her music and felt that RCA was

 LISTENING 
RECOMMENDED
reluctant to launch her career too soon. Big Machine
released Taylor Swift in 2006 and it went to Number
Female Vocals Grade 3

1 on Billboard’s Top Country Albums chart. Every

 
song on the album was written or co-written by the ‘We Are Never Ever Getting Back Together’ was the

      

16-year-old Swift. Fearless followed in 2008, then lead single from Red and produced by Max Martin
in 2010 Speak Now (written entirely by Swift) was
released and went to Number 1 in America, Canada, 
and Shellback, so fans of ‘22’ will feel right at home.
The album Speak Now is the place to go to hear Swift’s
 
Australia, Taiwan and New Zealand. songwriting sans collaborators.

5
 22
Taylor Swift
Hal Leonard - NOT FOR SMD
22
Words & Music by Taylor Swift, Max Martin & Johan Schuster

Moderately
G5 D5 C5 D5 C“2 D5 C5 D5
3fr 5fr 3fr 5fr 5fr 3fr 5fr


    
          
It feels like a per - fect night to dress up like hip - sters

               
 

             
 
     

     
G5 D5 C5 D5 G5 D5

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

3fr 5fr 3fr 5fr 3fr 5fr

  
  
                 
and make fun of our ex - es. Uh uh, uh uh. It feels like a per - fect night

               
     

         
            
  
C5 D5 G5 D5 C5 D5
3fr 5fr 3fr 5fr 3fr 5fr

   
  
             
for break - fast at mid - night, to fall in love with stran - gers. Uh uh, uh uh.

        
        
Female Vocals Grade 3

   
         


   
    
6 © Copyright 2012 Taylor Swift Music/Sony/ATV Tree Publishing/MXM Music AB, Sweden.
Sony/ATV Music Publishing/Kobalt Music Publishing Limited.
All Rights Reserved. International Copyright Secured.
 G D C D

 
 

            
   
in the best
at the same

 
Yeah. we’re hap - py free, con - fused and lone - ly

               
       
            
   
G D C D

 
            
   

time.
It’s mis - ’ra - ble and ma - gi - cal. Oh,

way.

  
            
 
          
  

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

G D C D

  
                 
yeah, to - night’s the night when we for - get a - bout the dead -


                  
  
          
  
G D C

 
      
    
Female Vocals Grade 3

- lines. It’s time. Oh, oh.

 
        
 
      

   
7
 $ G D C E‹


         
     
 
I don’t know a - bout you, but I’m feel - in’ twen - ty - two.
        
           
  
   
  
      
   

D C D

  
                
Ev - ’ry - thing will be al - right if you keep me next to you.
  
                 

  
     
  
 
    

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

G D C E‹


         
     
 
You don’t know a - bout me, but I’ll bet you want to.

        
     
      
   
  
      
    
D C D

 
                 
Female Vocals Grade 3

Ev - ’ry - thing will be al - right if we just keep danc - in’ like we’re
 
                
  
     
  
 
    
8
 G D C


 
   
  
twen - ty - two,

  

     
         

   
  
  
        
D
E‹



       
  

 
twen - ty - two.

 
 

        
 

  
     
        

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

1.
G5 D5 C5 D5 G5 D5
3fr 5fr 3fr 5fr 3fr 5fr

  
  
                 
It seems like one of those nights. This place is too crowd - ed. Too man - y cool kids.

                    
 
         
            
  
C5 D5 G5 D5 C5 D5
3fr 5fr 3fr 5fr 3fr 5fr

  
   
               
Female Vocals Grade 3

Oh uh, uh uh. It seems like one of those nights we ditch the whole scene
                 
  

   
         


   
    
9
 G5 D5 C5 D5


3fr 5fr 3fr 5fr

 
         
    


and end up dream - in’ in - stead of sleep - in’.
      
      
 
           
  
2, 3.
Ab„ˆˆ9 D C E‹

      
 
    
Twen - ty two, twen - ty two.
       
  

              

    
       
  
      

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

 
D G D


 
            

 
It feels like one of those nights

 
 
     



    
   
  
           
C E‹

 
            
Female Vocals Grade 3

we ditch the whole scene. It feels like on of those nights

 
     
        
 

 
    
  
 
     
10
 D G D

 
              
we won’t be sleep - ing. It feels like one of those nights.
  
            
    
     
         
  
To Coda Ø
C E‹ D

 
                  
 
You look like bad news. I got - ta have you. I got - ta have you.

 
            


          
 


        
              

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

G D C E‹

      
 
    
Oh, oh,


         
 

  
     
   
  
       
D.S. al Coda Ø Coda
D D

     
μ
 
          
Female Vocals Grade 3

 
      
yeah, yeah! I got - ta have you.
 
               

           
           
11
12
Female Vocals Grade 3

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

 Music by Galt

Nina Simone

SONG TITLE: AIN’T GOT NO - I GOT LIFE

ALBUM: NUFF SAID q = 113
RELEASED: 1968 Em
LABEL: RCA RECORDS   
GENRE: POP
 
     
PERSONNEL: NINA SIMONE (VOX)
     
 
UK CHART PEAK:
US CHART PEAK:
2
94

f
     
      


BACKGROUND INFO NOTES G

Em
 

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

‘Ain’t Got No - I Got Life’ was a single released in
1968 from Nina Simone’s album Nuff Said.
  
As its title probably suggests, ‘Ain’t Got No - I Got
Life’ is actually a medley of two songs. ‘Ain’t Got
 
No’ and ‘I Got Life’ first appeared in the Broadway
musical Hair, one of the first rock musicals, set   
THE BIGGER PICTURE amidst the hippie counterculture of the late 1960s.
home, a veteran of musical got no shoes,
ain’t theatre,

Galt McDermot, wrote

  
  
Nina Simone was born Eunice Kathleen Waymon the music, while the lyrics were written by James
in North Carolina in 1933. She began playing piano
 
Rado and Gerome Ragni. Nina Simone’s version

aged three and later performed at her local church.
Aged 12, she made her debut as a concert pianist, in   
came at a later stage of her career and helped generate
interest in the performer among a younger audience.
a recital of classical music at a local venue. Simone’s It went to Number 2 in the UK singles chart on its
love of classical music began around this time and

release in 1968, making it Simone’s most successful
 

continued throughout her career. Later she would single release in Britain. Later, in 2006, Groovefinder
describe her own music as “black classical music” and
express her disdain for pop. After graduating from  
remixed the track and sent it back into the chart at
number 30. The song was also covered in 2012 by
high school, Simone studied music at the prestigious former Spice Girl Melanie C on her collection of show
Julliard School Of Music in New York. To help fund tunes entitled Stages.
her studies, Simone performed in a bar, where the
owner insisted she sing as well as play piano. Her set,
consisting of jazz, blues and classical, earned her a RECOMMENDED LISTENING
D
local following. In 1958, Simone recorded her first G
  
Female Vocals Grade 3


single, ‘I Loves You, Porgy’, which gave the performer ‘Feeling Good’ is one of Nina Simone’s most famous

   
 
her only Top 20 hit in America. Once established as records. Like ‘Ain’t Got No - I Got Life’, it too was
a recording artist, Simone began to address racism taken from a musical, The Roar Of The Greasepaint
in her music and was an activist in the Civil Rights
Movement. She died in 2003 and is remembered as a

– The Smell Of The Crowd. ‘To Be Young, Gifted And
Black’ was one of Simone’s own compositions and skirts,
her ss,
marked cla
ain’t got no

gifted, serious and unique musician. involvement in the Civil Rights Movement.

   
   
 13
 
 Ain't
Ain’t Got No - I Got Got No - I Got Life
Life
Words by James Rado & Gerome Ragni
Music by Galt MacDermot
Nina Simone
Words & Music by Galt MacDermot, James Rado & Gerome Ragni

q = 113
Em

      
   
                                
I ain’t got no

 
f

                        
  

Em G Em

      

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

            
home, ain’t got no shoes, ain’t got no mo - ney, ain’t got no

               
        
    
       

G D Bm7

          
           
class, ain’t got no skirts, ain’t got no swea - ter, ain’t got no

               
Female Vocals Grade 3

        

  
 


14 © Copyright 1968 EMI Catalogue Partnership/EMI U Catalog Incorporated, USA.

© Copyright 1967 EMI U Catalog Inc./Channel H Prod. Inc.
Worldwide print rights controlled by Warner Bros. Incorporated, USA/International Music Publications Limited.
EMI United Partnership Limited.
Reproduced by permission of International Music Publications Limited.
All Rights Reserved. International Copyright Secured.

All Rights Reserved. International Copyright Secured.

 Em C D G C G

     
                 
per -fume, ain’t got no beer, ain’t got no mind. Ain’t got no
  
              
        

 
  
   

    

Em G Em

       
     
       
mo - ther, ain’t got no cul - ture, ain’t got no friends, ain’t got no

               
        
   
        

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

G D Bm

      
      
      
 
school - ing, ain’t got no love, ain’t got no name, ain’t got no

       



 

 



 

  
  
 


Em C D G C G
 
                   
   
tick - et, ain’t got no to - ken ain’t got no God. And

    

Female Vocals Grade 3

         
        

 
  
    
     

15
 C Am7
  3
 
     
         
what a - bout God? Why am I a - live an - y - way?
  
    
   
  

       





  

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

   3

  
           

Yeah, what a - bout God? No - bo - dy can
  
        
    
           

     
           

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

D7 µ G C

      
       
take a - way.
Got my hair, got my head, got my
  
 
                

          
 
    
           


            

G C G Bm7
 
 
      
          
brains, got my ears, got my eyes, got my nose, got my mouth. I got my

Female Vocals Grade 3

            
     
  
       
16
 Am7 D7 G C

      
           
smile. I got my tongue, got my chin, got my
  
              
      

  
       

G C G Bm7 Am7

   
          
         
neck, got my boob - ies, got my heart, got my soul, got my back. I got my sex.

                
       

   
          

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

D7 Em7 Bm7 Em7 Bm7

  
          
    
I got my arms, got my hands, got my fin - gers, got my legs, got my

    
  
             
          
  
     
 

Em7 Bm7 Am7 D G µ


      
              
feet, got my toes, got my li - ver. Got my blood.
 I’ve got life,

 
Female Vocals Grade 3

             
       
   
   
  
17
 Am7 C D7
 
           
       
I’ve got my free - dom, I’ve got the
  
   

     

        
             

  
             


G C G C G C

     
          
life. I’ve got the life. And I’m gon - na keep
    
                   
                 

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

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx


G C G C G C

      
                
it, I’ve got the life. And no - bo - dy’s gon - na take it a - way, I’ve got the life.

  
                   
                 

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

G

      

 
Female Vocals Grade 3

                 
            
 

 
 

             
18 
 Domi
Jessie J

SONG TITLE: DOMINO

ALBUM: WHO YOU ARE q = 130
G G“4
RELEASED: 2011

 
LABEL: ISLAND
GENRE: POP
  
PERSONNEL: JESSIE J (VOX)
CLAUDE KELLY (VOX)
  
 
DR. LUKE (VARIOUS)
CIRKUT (VARIOUS)

       
           
UK CHART PEAK: 1
US CHART PEAK: 6

G G“4

NOTES      
  
BACKGROUND INFO   

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

‘Domino’ was the fifth single from Jessie J’s debut ‘Domino’ didn’t feature on the original release of
album, Who You Are. It featured on the Platinum Jessie J’sfree
debut album. Instead, it was added, along
like glit

     
My hea
Edition of the record and was co-written with Dr. with twomin
(2.) d. tracks, to the Platinum Edition of Who
other


       
 
Luke, Cirkut, Max Martin and Claude Kelly. You Are. Some accused Jessie J of trying to sound like


Katy Perry on the song’s release. J responded: “People
have heard ‘Domino’ and said, ‘It’s nothing like you.’

  
THE BIGGER PICTURE

But I’m like, well the album’s really eclectic anyway,
and I never go into the studio and say ‘I wanna do

 


Jessica Ellen Cornish was born in London in 1988. another song that’s like ‘Price Tag’ or another song

 

   
Her sisters, both older, were academic and she was like ‘Do It Like A Dude’.” The presence of co-writers
expected to follow in their footsteps, but from a young
    
Dr. Luke, Cirkut and Max Martin is obvious, but
 
age Cornish was drawn to more creative activities.
“Give me something to draw or an outfit to pick for 
Jessie’s inspiration came from farther back in music
history. She said: “I listened to a lot of Whitney and
someone, or hair, make-up, acting, write a song, I’m Prince… and we kinda just wanted to write a song G
fine with it,” she said, “but anything to do with sums – that’s timeless, fun and uplifting.”

   
it was never my thing.” A natural performer, at the age

 
of 11 she was cast in a production of Andrew Lloyd

 , was
 ‘DoIt Like A Dude’
RECOMMENDED LISTENING
 Jessie J’s first
Webber’s Whistle Down The Wind in London’s West
End. From there she went on to study musical theatre
at the famous BRIT School, alma mater of Adele,  single,
Leona Lewis and Amy Winehouse. Next she joined a written for (but never used by) Rihanna and inspired gold.
You’r e like a shot of pure
Female Vocals Grade 3

  
girl group called Soul Deep and began writing songs by the latter’s track ‘Dirty Boy’. ‘Price Tag’ is an stars.
Hofrom
see - ingtrack - wood
l - lyWho
professionally, which led to a publishing deal with upbeat, hip I’m
hop-influenced You Are,
Sony ATV while she was still in her teens. In the
  
the same album as ‘Domino’ and ‘Do It Like A Dude’.

        
following years, she wrote for artists such as Miley Later, ‘It’s My Party’ followed in the same mould as
Cyrus and Taio Cruz, and had her music featured in ‘Domino’ – another major key belter oozing positivity
a Nivea commercial.

and personality.


         19 
       
 Domino
Jessie J

Domino
Words & Music by Max Martin, Lukasz Gottwald, Claude Kelly, 
Jessica Cornish & Henry Russell Walter

q = 130
G G“4 G G“4

       
    
1. I’m feel - ing sex - y and

           
     
                       
    

G G“4 G G“4

   
             

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

free like glit -ter’s rain - ing on me.

 
          
(2.) mind. My heart beats out of time.
    
       
     
    
                 
                 
G G“4


        
           
You’re like a shot of pure gold. I think I’m ’bout to ex -

    
I’m see - ing Hol - ly - wood stars. You strum me like a gui -
   
                  
  
Female Vocals Grade 3

  
       
          
                 

20 © Copyright 2011 Warner Tamerlane Publishing Corporation/Kasz Money Publishing/
Studio Beast Music/Prescription Songs LLC/Kobalt Music Services America, Inc/Traintracks Studio/MXM Music AB, Sweden.
Kobalt Music Publishing Limited/Warner/Chappell North America Limited/Sony/ATV Music Publishing.
All Rights Reserved. International Copyright Secured.
 G G“4 G G“4


               


- plode. I can taste the ten - sion like a cloud of


- tar.
           
        
             
               
                 
G G“4

              
         
smoke in the air. Now I’m breath - ing like I’m run - ning ’cause you’re tak - ing me there. Don’t you know:

                


       
    
      
           
                 

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

G G“4 G G“4

                   

  
 
      
you spin me out of con - trol. Ooh, ooh, ooh, ooh.

           
                            
 
             
       
            
C A‹ E‹ D7


                  
We can do this all night. Turn this club, skin tight. Ba - by, come on.

Female Vocals Grade 3

               
                 

 
    
             
           
      21
 C A‹

  
                 

Ooh, ooh, ooh, ooh. Boom- ing like a bass drum. Spark- in’ up a
   
           
             
        
    
   

    
            
           
E‹ D7 C A‹

 
          
        
 
rhy - thm. Ba - by, come on! Ooh, ooh, ooh, ooh. Rock my world

    

                
       
    
       
            
            
       

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

E‹ D7

      
             

in - to the sun - light. Make this dream the best I’ve ev - er known.
  
          

        
                
      
  

 
  
              
                     
C A‹ E‹ D7

 
                  

 
Female Vocals Grade 3

Dirt - y danc - ing in the moon - light. Take me down

      
       
           
              
                
              
               
22
 C A‹

 
                   


like I’m a do - mi - no. Ev - ’ry
 se - cond is a high - light.

                    
            
 

              
           
                       
E‹ D7 C A‹


                   

 
When we touch don’t ev - er let me go. Dirt - y danc -
 
  

           
   
 
              
             
            
                       

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

E‹ D7

      
             
   
- ing in the moon - light. Take me down like I’m a do - mi - no.

                   
              
          
   

       
      
  
               
1.
G G“4 G G“4


         
  

   
Female Vocals Grade 3


2. You got me los- ing my

 
  
            
         

                      
             
23
 2.
C A‹ E‹ D7

 
             
          

  
         
Ooh, ba - by, ba - by, got me feel - ing so right. Ooh, ba - by, ba - by, danc -
       
                
     
          
 
   
          
C A‹

   
                     

- ing in the moon - light. Ooh, ba - by, ba - by, got me feel - ing so right.
  
                    
                  
         
                

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

1. 2.
E‹ D7 E‹ D7

                      
   
μ

   
 

     
Ooh,ba - by, ba - by, danc - ing in the moon - light. Ooh, ba - by, ba - by... Ooh, ooh, ooh, ooh.
   
       
          
  
        
        
         
           
C A‹ E‹ D7


                    
Female Vocals Grade 3

 
Rock my world in - to the sun - light. Make this dream

      

 
 
          

 
              
              
             
             
24        
 C A‹

 
                   
the best I’ve ev - er known. Dirt - y danc - ing in the moon - light.

                    
           
      

    

  

  

       
      
                       
E‹ D7 C A‹

             
        

     
Take me down like I’m a do mi- no. Ev - ’ry se - cond is a high - light.

              
                    
        
 
 
             
      
     

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

  
E‹ D7 C A‹


                   

 
When we touch don’t ev - er let me go. Dirt - y danc -
       
         
                   
         
              


                       
E‹ D7

 
                  
Female Vocals Grade 3


- ing in the moon - light. Take me down like I’m a do - mi - no.

           

        
                 
          
        
  

 
       
                
25
26
Female Vocals Grade 3

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

 Jar of Hea
Christina Perri

SONG TITLE: JAR OF HEARTS

q = 75
ALBUM: LOVESTRONG
C‹


RELEASED: 2010
3fr


LABEL: ATLANTIC

    
  
GENRE: POP

PERSONNEL: CHRISTINA PERRI

1. I know I ca
(VOX+PIANO)

 
  
     
   
UK CHART PEAK: 4 




US CHART PEAK: 17

      


F‹
Bb

  
NOTES 
BACKGROUND INFO

   wassigned   
 toa management

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

‘Jar Of Hearts’ was the debut single from singer- In Los Angeles, Perri
songwriter Christina Perri. It was released – and company while working in a restaurant to pay
charted – before Perri had a record deal. her bills.’cau se all
In June 2010, ’s wai
thather friend,
- gret.
is reon the
t - inga dancer


TV show So You Think You Can Dance, handed
  
       
a copy of Perri’s song ‘Jar Of Hearts’ to the show’s
THE BIGGER PICTURE


choreographer, who liked it enough to feature it on
 

the programme. Following its airing on So You Think
Christina Judith Perri was born in 1986 and grew You Can Dance, ‘Jar Of Hearts’ entered the iTunes
up in Bensalem, a suburb of Philadelphia. Her brother
   chart and Perri was wooed by record companies eager

Nick Perri played guitar with Shinedown, Silvertide,
Perry Farrell and Matt Sorum. Nick introduced her
 to snap up the then unsigned singer-songwriter. “She
was so confident and poised,” said COO of Atlantic
to the music of groups like Guns ’N Roses, which Records, Julie Greenwald, on Perri’s auditionBbfor the
Eb

 
were later to have an influence on her own music. label. “You could visualise her at Madison Square
6fr
Aged 16, she taught herself to play acoustic guitar Garden.” A week later, Perri was signed to the label, all

    

by watching a performance by the rock group Blind thanks to one song: ‘Jar Of Hearts’.
Melon on a VHS tape – she would pause the tape to
 
    
see where the guitarist’s fingers were positioned on
the fretboard. Around the same time, Perri learned RECOMMENDED LISTENING
to play piano and began writing her own songs. On
an - y - more, you lost the love I l
ghost

 
her 21st birthday, she moved to Los Angeles with a ‘A Thousand Years’ was the third single from
 
       


suitcase and a guitar. Later that year, she married and Christina Perri’s debut album, Lovestrong. It was

    
Female Vocals Grade 3

moved to Florida, where she produced music videos chosen to feature on the soundtrack to the film The
for a living. Eighteen months after her wedding, she Twilight Saga: Breaking Dawn Part 1 and went on to
divorced and moved back to Philadelphia, before
deciding to move out to Los Angeles once more to try

become Perri’s best-selling single. ‘Human’ was the
first single from Perri’s second album, Head Or Heart
and make it as a singer-songwriter. Perri’s big break
  
(2014) – another piano ballad, but this time with a
was just around the corner…

bigger production job.

27
 Jar Of Hearts
Christina Perri

Jar of Hearts
Words & Music by Christina Perri, Drew Lawrence & Barrett Yeretsian

q = 75
C‹ Eb


3fr 6fr


        
       
1. I know I can’t take one more step to -wards you

  
             
   
 
 
   


      
 
 
Bb F‹ C‹

   

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

3fr

    
  
             
’cause all that’s wait - ing is re - gret. And don’t you know I’m not your

      

           

          
   

 
Eb Bb Ab F‹ Ab

   
6fr 4fr 4fr


   
   
              
 
ghost an - y - more, you lost the love I loved the most. I learned to live

            
 
         
Female Vocals Grade 3


        

  
  
  

28 © Copyright 2010 WB Music Corp/Miss Perri Lane Publishing/Primary Wave Yeretsian/Piggy Dog Music.
Wixen Music UK Ltd/Fintage Publishing B.V./Warner/Chappell North America Limited/Copyright Control.
All Rights Reserved. International Copyright Secured.
 C‹ Bb F‹ Ab Bb
3fr 4fr


        
         
half a - live and now you want me one more time.

    
 
               
         
     
  
Eb Bb C‹

     
6fr 3fr


                 
   

And who do you think you are run - ning ’round leav - ing scars? Col - lect - ing your jar of hearts

                        
            
     
 

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Ab Ab‹ Eb Bb


4fr 4fr 6fr


   
                        

 
and tear - ing love a - part. You’re gon - na catch a cold from the ice in - side your

              
              
   
         
   
   
C‹ Ab Ab‹ Eb
3fr 4fr 4fr 6fr


                 

Female Vocals Grade 3

soul. So don’t come back for me. Who do you think you are?
 
            
                 

 
  
     
      
29
 C‹ Eb Bb

             
3fr 6fr


     

   

   
2. I hear you’re ask - ing all a - round If I am an - y- where to be

          
      
               
     

      
      
   

F‹ C‹ Eb


3fr 6fr

      
         
      
 
found. But I have grown too strong

        

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

   
       
               

      
      
   

Bb Ab F‹ Ab

        
4fr 4fr

           
3

  
    

 
to ev - er fall back in your arms. And I’ve learned to live

 
              

3

   
Female Vocals Grade 3

           
  

  

          
30
     
 C‹ Bb F‹ Ab Bb


3fr 4fr


              
      
half a - live and now you want me one more time.


    
        
       

    

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

$ Eb Bb C‹

            
6fr 3fr


                  
And who do you think you are, run - ning ’round leav- ing scars? Col - lect - ing your jar of hearts

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx


 
                           
      

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

Ab Ab‹ Eb Bb

  
4fr 4fr 6fr


                
    
        


and tear - ing love a - part. You’re gon - na catch a cold from the ice in - side your


                 

 
    
Female Vocals Grade 3

                

   
          
      31
 C‹ Ab Ab‹ Eb

 
3fr
To Coda Ø 4fr 4fr 6fr


         
      
        
soul. So don’t come back for me. Who do you think you are? And
 
             
             
        
      
     
    
 
C‹ G/B C‹7/Bb F/A C‹ G/B
3fr 3fr

 3

        
          
     
it took so long just to feel al - right. Re - mem - ber how to put back the

                    
   
                       
 


RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

C‹7/Bb F/A C‹ G/B C‹7/Bb F/A
3fr

 3

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

  
light in my eyes. I wish I had missed the first time that we kissed ’cause
 
      
           
         
   
                
C‹ G/B C‹7/Bb F/A

  
3fr


           
Female Vocals Grade 3

you broke all your prom - is - es. And

  
               

                
 
32
 Ab G


4fr
D.S. al Coda
   
            
   
now you’re back you don’t get to get me back.

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

Ø Coda Ab Ab‹ Eb Bb

                  
4fr 4fr 6fr


                
Don’t come back at all. And who do you think you are run -ning ’round leav-ing

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

 
                 
    
   
    
      
   

C‹ Ab Ab‹ Eb

                         
3fr 4fr 4fr 6fr


           
scars? Col - lect - ing your jar of hearts and tear - ing love a - part. You’re gon - na catch a cold

  
                        
Female Vocals Grade 3

         
           

   
          
     
33
 Bb C‹

       
3fr


        
3

    
  
from the ice in - side your soul. Don’t come back for me.


    
     
             

        
    
   

Ab Ab‹ Eb Ab‡…‹7 Eb
4fr 4fr 6fr 4fr 6fr

 3
 
               

Don’t come back at all. Who do you think you are?

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

   
    
                  
                
  

       
         
 

rit.
Ab‡…‹7 Eb Ab‡…‹7 Eb
4fr 6fr 4fr 6fr

   
        
 

    

Who do you think you are? Who do you think you are?

       
             
Female Vocals Grade 3

            

           
 

     

       
    
  
34
 Lig
Ellie Goulding

SONG TITLE: LIGHTS

ALBUM: BRIGHT LIGHTS q = 120
RELEASED: 2011 G©m
LABEL: POLYDOR 4fr

GENRE: POP

         
with echo

       
PERSONNEL: ELLIE GOULDING

 
(VOX+GUITAR)
ASH HOWES (DRUMS+KEYS) 
STEVEN MALCOLMSON L.H.

  
(PROGRAMMING)


RICHARD STANNARD
(BASS+KEYS)

UK CHART PEAK: 49
G©m
US CHART PEAK: 2 C©m7 4fr
4fr


NOTES  
  
BACKGROUND INFO

‘Lights’ was the second single from the expanded   was originally intended to be the first

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

   
‘Lights’
edition of Ellie Goulding’s debut album, More Lights. single from More Lights, an expanded edition of Ellie
Goulding’s debut album, Lights. However, Goulding’s
1. I had a y wa
cover of Elton John’s ‘Your Song’ was chosen for John
THE BIGGER PICTURE Lewis’s Christmas 2010 TV advert and was hastily 2. Boy

           
scheduled for release instead. The song was co-written

         
Elena Jane Goulding was born in 1986 in a small by Ellie Goulding and the producers Richard

 
village in Herefordshire. She began playing the Stannard and Ash Howes, who also played bass and
clarinet at the age of nine, then took guitar lessons drums, respectively, on the track. Goulding wrote the

 
when she turned 14. Within a year of picking up the song about her fear of the dark: “Sometimes if I’ve had
guitar she was writing her own folk-inspired songs a couple of drinks and I come back and just lie on my
and later won a singing contest at her local college bed and fall asleep I wake up and realise that there
– a promising start. While studying drama at the
   
isn’t a light on and I have to turn a light on,” she told
University of Kent, Goulding discovered electronic
music and began to develop her unique sound. Before 
America’s Amp Radio.

she could finish her studies, Goulding was discovered
1° tac
by the artist management company Turn First Artists, RECOMMENDED LISTENING
who insisted she leave university, move to London
and focus on her music. She was introduced to the Ellie Goulding’s rendition of ‘Your Song’ has a
producer Starsmith and the pair began working on charm about it that’s entirely down to her tender
the material that would form her debut album, Lights. E ‘Anything Could Happen’ is more
vocal performance. C©m7
Female Vocals Grade 3

It was a winning combination, as Lights debuted at typical Goulding: heavily effected vocals matched 4


Number 1 on the UK album charts in 2010. Since with an uplifting lyric and chord progression. ‘Burn’
then, Goulding has released an expanded edition of was Goulding’s first single to reach Number 1 in the

      

her debut entitled More Lights, featuring the song Top 40 with its synth-heavy production and choppy
of the same name, and her second album, Halcyon, phrasing. ‘How Long Will I Love’, by contrast, is a
(another UK chart topper) in 2012. piano ballad with vulnerable-sounding vocals.

on my own.
my head. 35


 Lights
Ellie Goulding

Lights Words & Music by Richard Stannard, Ash Howes & Ellie Goulding

q = 120
G©m F© E
4fr

   
with echo

                          
  
    


   

 

L.H. 
    

C©m7 G©m F©

 
4fr 4fr

   
             
   

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

1. I had a way then, los - ing it all
2. Boy says I play with-in
  
                           
   
    


   
 
          
           
1° tacet till *

E C©m7 G©m

 
4fr 4fr

    
     
  
   
on my own. I had a heart then
my head. Touch my own skin
 
                            
        
Female Vocals Grade 3

   
    
       
    
        
      
36 © Copyright 2010 Major 3rd Music Limited.
Sony/ATV Music Publishing (UK) Limited/Global Talent Publishing/BMG Rights Management (UK) Limited.
All Rights Reserved. International Copyright Secured.
 F© E C©m7

 
4fr

         
        
but the queen has been o - ver - thrown. And I’m
and hope that I’m still breath - ing. And I

  
                      
              
     
  
    
  

 
 
  
    
      

G©m F© E

  
4fr

   
         
  
not sleep - ing now. The dark is too hard to

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

think back to when my bro - ther and my sis -

  
                         
  
 
    


   

 
 
           
            



C©m7 G©m F©

 
4fr 4fr

   
         
     
beat. And I’m not keep - ing now, the strength
- ter slept in an un - locked place. The on -

 
Female Vocals Grade 3

                         

   
    


  
 
         
             
     
37
 E C©m7

  
4fr

       
        

I need to push me. You show the
- ly time I feel safe.

 
                     
 
     
    
    
      
          *

$ G©m F© E

  
4fr

         
             

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

lights that stop me, turn to stone. You show it me when I’m a - lone.

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

    
  
   

  
   

C©m7 G©m F©
4fr 4fr

           
       
       
And so I tell my - self that I’ll be strong and

  
Female Vocals Grade 3

 
     


    

    
    

  
38  
 E C©m7 G©m
4fr 4fr

             
                
dream - ing when they’re gone. ’Cause they’re call - ing, call - ing, call -
   
     
   
  
   
    
    
 

   
  
F© E C©m7

  
4fr

   
                         

- ing me home. Call - ing, call - ing, call - ing home.

   You show the

 
    

    

   
  
 

 

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

  
G©m F© E
To Coda Ø

  
4fr

          
            
lights that stop me, turn to stone. You show it me when I’m a - lone.
   
     
   
      
   
 
 
   

  
   
C©m7 G©m F©
4fr 4fr

   
      
Female Vocals Grade 3

           
 

       
         
 
      
  


39
 E C©m7 G©m
4fr 4fr

 
                                
     
      
  

       
  

F© E C©m7
4fr

 
μ

                   
    
        
    
   
   


RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

G©m F©

 
4fr

           
Lights, lights, lights, l - l - l - lights.

  
     

   
   
   
   
E C©m7 G©m

 
4fr 4fr

            
Lights, lights, lights, lights, lights, lights,
Female Vocals Grade 3

   
     
   
  
   
    
    
 

   
40   
 F© C©m7
D.S. al Coda
 
4fr

             
 
lights, l - l - l - lights. Lights, lights. You show the
  
 
  
 
    
  
 

 
  
Ø Coda C©‹7 G©‹ F©

 
4fr 4fr

   
             
    

  
Oh. Oh.

  
   

  

    
     

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

 

    
    
1-3. 4.
E C©‹7 C©‹7

  
4fr 4fr

         

Oh.

 
  
      



   
 
 
   

  

 
 
 
 
Female Vocals Grade 3

   
μ
 
                            
      
                  
 
 

    
41
42
Female Vocals Grade 3

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

 You Feel
MakeAdele
SONG TITLE: MAKE YOU FEEL MY LOVE
ALBUM: 19 q = 76
RELEASED: 2008 Bb F/A
5fr
6fr
LABEL: XL
GENRE: POP
  
 
PERSONNEL: ADELE (VOX)

  
UK CHART PEAK: 4 
       
 

  
 
US CHART PEAK: N/A   
    
     
 

Ebm Bb
6fr
6fr

 
  ‘Make You Feel MyLove’ was written by Bob
BACKGROUND INFO NOTES

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

‘Make You Feel My Love’ was the fifth and final
single from Adele’s debut album, 19. Dylan for his 1987 album, Time Out Of Mind, but

   
was recorded and released as a single by Billy Joel

          
(entitled ‘To Make You Feel My Love’) two months
THE BIGGER PICTURE
         
before Dylan’s album appeared. Adele’s version was
released in 2008 and went to Number 24 in the UK
Adele Laurie Blue Adkins was born in London in singles chart. Later, in 2010–2011, the song was
1988. She began singing at the age of four and later
   
performed several times on the UK edition of The X
 
became a fan of the Spice Girls, of whom she has said,
“They made me what I am today.” As a teenager, she      
Factor and also on Britain’s Got Talent, which pushed
it up to Number 4 and kept it in the chart for 50 weeks
attended the BRIT School and graduated in the same (55 including the five weeks it spent in the chart on
year as Leona Lewis and Jessie J. Like Jessie J, Adkins its original release). In 2013, radio station Heart’s
is herself an accomplished songwriter and wrote listeners voted Adele’s version of ‘Make You Feel My
F/A
many of the songs on her debut album, 19, which was Bb 1 in a poll to find their 500 favourite
Love’ Number 5fr
released by XL Recordings in 2008. The album went songs of all time.
6fr Two more Adele songs featured in


to Number 1 in the UK and eventually went double the top 20: ‘Rolling In The Deep’ (Number 7) and

           
platinum (selling more than two million copies) in ‘Someone Like You’ (Number 13).
America. Her second album, 21, was co-written with
various songwriters but rather than giving up control
of her writing and recording process, Adkins seemed RECOMMENDED LISTENING
the rain is blow - ing in your fac
1. When
and the stars ap - pea

more and more to be calling the shots as she grew
2. When the eve - ning shad - ows
Female Vocals Grade 3

in confidence. For example, when Rick Rubin was ‘Chasing Pavements’ and ‘Make You Feel My Love’

     
  
employed to produce finished versions of demos that are good examples of Adele’s vocal talent, but it was
she had recorded previously, she rejected the new
   
later singles ‘Rolling In The Deep’, ‘Someone Like You’
 
versions in favour of the demos. Fans of the singer
often admire this personal strength as much as they
   
and ‘Set Fire To The Rain’ that showed how much
the singer had grown in such a short space of time –

   
do her considerable artistic merits. between the ages of 19 and 21, in fact.
  
  43
 Make You Feel My Love
Adele

Make You Feel My Love Words & Music by Bob Dylan

q = 76
Bb F/A Ab Eb
6fr 5fr 4fr 6fr


     

     
               
                   
  
             
  
    
Ebm Bb C7 Eb/F Bb
6fr 6fr 8fr 8fr 6fr

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

    

     
              
      
      
        
 
   
        
       

Bb F/A Ab
6fr 5fr 4fr

     
             
  
1. When the rain is blow - ing in your face, and the whole world is on
2. When the eve - ning shad - ows and the stars ap - pear, and there is no - one there to dry

  
             
Female Vocals Grade 3

          
      
    
     
    
 
44 © Copyright 1997 Special Rider Music.
All Rights Reserved. International Copyright Secured.
 Eb Ebm Bb


6fr 6fr 6fr

     
             

  
your case, I could of - fer you a warm em - brace


your tears, I could hold you for a mil - lion years

      
   
       


  
 

 
   

  
     
       
1. 2.
C7 Eb/F Bb Bb


8fr 8fr 6fr 6fr

         
       
to make you feel my love.

 to make you feel my love.

  
     
               
        
 
 
        

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

     

$ Eb Bb/F Gbaug Eb/G

      
6fr 6fr 7fr 8fr

       
          
I know you have -n’t made your mind up yet, but I would nev - er do you wrong.

 
The storms are rag - ing on the roll - ing sea,
  and on the high - way of re - gret

        
                
     
  
          
       
 
Bb Eb Bb


6fr 6fr 6fr


               
 I’ve known it from the mo - ment that we met;
Female Vocals Grade 3

 
the winds of change are
 blow - ing wild and free;

        

             
   
      
      
       
  
     45
 (2° Cm7)
C7 F
8fr 8fr


       
    
no doubt in my mind where you be - long.

 
you ain’t seen noth - ing like me yet.

         
     
      
  
(2° Eb)

   
      

Bb F/A
6fr 5fr


           
  
3. I’d go hun - gry, I’d go black and blue,


4. I could make you hap - py, make your dreams come

true,

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

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

    
Ab Eb Ebm


4fr 6fr 6fr

        
              
I’d go crawl-ing down the av - e - nue. Know there’s noth - ing that I

 
noth - ing that I would - n’t do.

Go to the ends

of the

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

        
 
          
        
       
    
 To Coda Ø
Bb C7 Eb/F Bb
6fr 8fr 8fr 6fr


        
         
Female Vocals Grade 3

would - n’t do to make you feel my love.

 earth for you


to make you feel my love,

     
         
      
     
   
      
    
46 
 Bb F/A Ab
6fr 5fr 4fr


 
      


 
 

      
    

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

Eb Ebm
6fr 6fr

       
             
 


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

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Bb C7 Eb/F Bb
6fr 8fr 8fr 6fr

  
D.S. al Coda
   
      
                  
         

  

      

         
 

Ø Coda rit.
Bb C7 Eb/F Bb


6fr 8fr 8fr 6fr


       
       
to make you feel my love.

 
Female Vocals Grade 3

 
        
            

   
      
   
 47
 Technical Exercises

Group A: Scales
The major and natural minor scales must be prepared as shown below. You will be asked to perform one of them in the
exam, as chosen by the examiner.

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 =90.

A major scale

##4 ¿ ¿ ¿ ¿
q = 90

& # 4 œ œ œ œ œ œ œ œ œ œ œ
w w œ œ œ ˙

A natural minor scale

¿ ¿ ¿ ¿
q = 90

& 44 œ œ œ œ œ œ œ œ œ œ œ
w w œ œ œ ˙

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Group B: Arpeggios
In this group, both of the arpeggio exercises need to be prepared as shown below. You will be asked to perform one of them
in the exam, as chosen by the examiner.

This test is performed to a metronome click track and you may select any starting note from A–E. You will hear the root
note played on piano followed by a one-bar (three click) count-in. You may perform this test using any vocal sound except
humming or whistling. The tempo is q =90.

A major arpeggio

### 3 ¿ ¿ ¿
q = 90

& 4 œ œ œ œ œ œ Ó
˙. ˙. œ œ œ œ œ œ œ

A minor arpeggio

¿ ¿ ¿
q = 90

& 43 œ œ
œ œ œ œ œ
œ œ œ
Ó
˙. ˙.
Female Vocals Grade 3

œ œ œ

48
Group C: Intervals
In this group, both the perfect 4th and perfect 5th intervals 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 A–C. 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.

Perfect 4th interval

¿ ¿ ¿ ¿
q = 90

4
Candidate sings:

&4 ˙
w w ˙

Perfect 5th interval

¿ ¿ ¿ ¿
q = 90

4
Candidate sings:

&4 ˙
w w ˙

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Group D: Technical Studies
This group consists of two Technical Studies: one rhythmic and one melodic. The examiner will ask you to perform one in
the exam. The examiner will decide which, so you must prepare both before the exam. The rhythmic test starts with a four-
beat count. The melodic test starts with the root note followed by a four-beat count. Both tests should be performed to the
appropriate backing track which can be found in the audio.

1. Rhythmic | Rhythmic accuracy

¿ ¿ ¿ ¿
q = 95

4 ∑ .. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
&4
Each and ev - ’ry time I keep tel - lin’ you, it’s time to move on, but you keep com - ing back so strong. What’s

& J¿ ‰ ¿ ¿ ¿ ¿ ¿ ⇥ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ..
wrong? What is go - in’ on? The name of the game is to get up and stay real strong.

2. Melodic | Quick dynamics changes and bends

Female Vocals Grade 3

## ¿ ¿ ¿ ¿ F #m F #m
q =100

j
& # 44 w .. œ Œ j ..
œ ‰ œ. œ œ œ ‰ ˙ Ó
E

w > œ œ œ œ. œ œ œ œ

f p f p
Stop, qui - et now. I want to, I want to sleep.

49
 Sight Reading

In this section you have a choice between:

■■Either – a sight reading test

■■Or – an improvisation and interpretation test (see facing page).

The examiner will ask you which one you wish to choose before commencing. Once you have decided, you cannot change
your mind.

The examiner will give you a four-bar melody in the key of C major or D minor covering a range of up to a perfect 5th. You
will be given 90 seconds to practise, after which you will perform the test. The tempo is q =75–85.

During the practice time you will be given the choice of a metronome click throughout or a count-in of four beats at the
beginning. Whichever option you choose, the practice time will start with the examiner playing the root note. You will
receive the same choice when performing the test. The test will start with the root note.

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

¿ ¿ ¿ ¿
q = 80

4 Œ
&4
w w œ œ œ ˙ ˙ œ œ œ Œ œ w

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

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Female Vocals Grade 3

50
Improvisation & Interpretation

The examiner will give you a chord sequence in the key of G major or E minor. You must improvise a melody over the
backing track. You will hear the backing track three times. The first and second time is for you to rehearse and the third time
is for you to perform the final version for the exam. Each playthrough will begin with the root note and a four-beat count-in.
The backing track is continuous throughout, so once the first playthrough has finished, the root note and count-in of the
second and third playthroughs will start immediately. The tempo is q =80–90.

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

¿ ¿ ¿ ¿
q = 80 Pop
#4
& 4 .. w ’ ’ ’ ’ ..
G Bm Am C G

w ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

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

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Female Vocals Grade 3

51
 Ear Tests

In this section, there are two ear tests:

■■Melodic Recall
■■Rhythmic Recall

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 a range of up to the first five notes of the
C major or A natural minor scales (the examiner will decide which) and the first note will be the root note. You will hear the
test twice, each time with 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 count-in may begin while you are still practising.

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

¿ ¿ ¿ ¿
q = 90

& 44 .. œ œ
Œ
œ
..
w w œ œ œ ˙

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

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Test 2 | Rhythmic Recall
This test comes in two parts:

Part 1 | Rhythmic Recall

The examiner will play you a two-bar rhythm played on a single note to a drum backing. You will hear the test twice. Each
time the test is played, it is preceded by 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 and you should sing the rhythm back. The tempo is q =90.

For this exercise, use ‘da’ or ‘ba’ vocal sounds.

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 count-in may begin while you are still practising.

Part 2 | Identification
You will then be asked to identify the rhythm heard in part 1 from two printed examples shown to you by the examiner.

q = 90

& 44 .. œ ‰ j ..
A

œ œ œ œ œ œ œ œ œ œ
q = 90

& 44 .. œ ..
Female Vocals Grade 3

œ œ œ œ œ œ œ œ œ œ œ

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

52
General Musicianship Questions

In this part of the exam you will be asked five questions. Four of these will be about general music knowledge and the fifth
will be about your voice.

Part 1 | General Music Knowledge

The examiner will ask four 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:

■■Any pitch name. (You will need to state flat, sharp or natural).
■■Whole-, half-, quarter-, eighth-, triplet eighth- and 16th-note values.
■■Any rest value.
■■Recognition of any interval up to a fifth between two adjacent notes. (You will not need to state major,
minor or perfect).

You will be asked to identify and explain:

■■The meaning of the 4/4 time signature marking.
■■The meaning of repeat marks, first and second time bars.
■■The meaning of staccato marks.
■■The meaning of slurs.
■■The meaning of crescendo/diminuendo.
■■The meaning of D.C., D.S., al Coda and al Fine markings.
■■The meaning of ad lib.

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Part 2 | Your Voice
The examiner will also ask you one question about your voice. Brief demonstrations to assist your answer are acceptable.

You will be asked:

■■What is the meaning of the ‘break’?
■■What is the meaning of ‘transition’?
■■How do you support a long sustained note?
■■Give an example of each of the following:
a) a type of food that would be good to eat before a performance?
b) a type of food that would not be good to eat before a performance?

Female Vocals Grade 3

53
 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, Sight Reading and Improvisation & Interpretation) 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 1–5

ELEMENT PASS MERIT DISTINCTION

Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

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

Either Sight Reading

6 out of 10 7–8 out of 10 9 + out of 10
or Improvisation & Interpretation

Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10

General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5

TOTAL MARKS 60%+ 74%+ 90%+

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

Female Vocals Grade 3

Performance Piece 2 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 3 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 4 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 5 12–14 out of 20 15–17 out of 20 18+ out of 20

TOTAL MARKS 60%+ 75%+ 90%+

54
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:

 ider Repertoire: a full list of suggested pieces can be found on our website, www.rslawards.com
1) W
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.)

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.

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Female Vocals Grade 3

55
 Copyright Information

22
(Swift/Martin/Schuster)
Sony/ATV Music Publishing (UK) Limited/Kobalt Music Publishing Limited.

Ain’t Got No - I Got Life

(MacDermot/Rado/Ragni)
EMI United Partnership Limited

Domino
(Martin/Gottwald/Kelly/Cornish/Walter)
Kobalt Music Publishing Limited/Warner/Chappell North America Limited/Sony/ATV Music Publishing (UK) Limited

Jar Of Hearts
(Perri/Lawrence/Yeretsian)
Wixen Music UK Ltd/Fintage Publishing B.V./Warner/Chappell North America Limited/Copyright Control

Lights
(Stannard/Howes/Goulding)
Sony/ATV Music Publishing (UK) Limited/Global Talent Publishing/BMG Rights Management (UK) Limited

Make You Feel My Love

(Dylan)
Sony/ATV Music Publishing (UK) Limited

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Female Vocals Grade 3

56