RSL Piano G1 2015-OnlineEdition 01sep2017

Piano Grade 1
Performance pieces, technical exercises, supporting tests and in-depth

guidance for Rockschool examinations
www.rslawards.com
Acknowledgements
Published by Rockschool Ltd. © 2015

Catalogue Number RSK200002
ISBN: 978-1-910975-85-5
This edition published July 2017 | Errata details can be found at www.rslawards.com
SYLLABUS
Syllabus written and devised by Nik Preston
Syllabus consultants: Hannah Vasanth, Julia Martin, Stuart Slater, Jono Harrison, Simon Troup and Jennie Troup
Hit tune arrangements by Jono Harrison and Nik Preston
Supporting tests written by Jono Harrison, Nik Preston, Ash Preston and Hannah Vasanth
Piano arrangements of Rockschool compositions by Brian Henry
Syllabus advisors: Mary Keene, Patrick Healy, Emily Nash, Dan Phelps and Mike Stylianou
PUBLISHING
Fact Files written by Julia Martin, Joe Bennett, Charlie Griffiths, Stephen Lawson, Simon Pitt, Stuart Ryan and James Uings
Music engraving and book layout by Simon Troup and Jennie Troup of Digital Music Art
Proof reading and copy editing by Simon Troup, Jennie Troup, Jonathan Preiss, Mary Keene, Stuart Slater and Nik Preston
Cover design by Philip Millard
Cover photograph © Christopher Polk/Getty Images
AUDIO
Produced by Ash Preston, Jono Harrison, Brian Henry and Music Sales
Engineered by Ash Preston, Jono Harrison, Brian Henry and Music Sales
Mixed and mastered by Ash Preston
RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

Edited by Ash Preston
Supporting Tests recorded by Ash Preston, Jono Harrison and Hannah Vasanth
Mastered by Ash Preston
Executive producers: John Simpson and Norton York
MUSICIANS
Jono Harrison, Hannah Vasanth, Brian Henry, Nik Preston, James Arben, Jason Bowld, Stuart Clayton, Andy Crompton,
Neel Dhorajiwala, Fergus Gerrand, Felipe Karam, Kishon Khan, Noam Lederman, DJ Harry Love, Dave Marks,
Jon Musgrave, Jake Painter, Richard Pardy, Ross Stanley, Carl Sterling, Henry Thomas, Camilo Tirado, Steve Walker,
Chris Webster, Norton York, Nir Z
DISTRIBUTION
Exclusive Distributors: Music Sales Ltd
CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)845 460 4747
Email: info@rslawards.com
Piano Grade 1
2
Table of Contents
Introductions & Information
1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Piano Grade 1
6 Piano Notation Explained
Rockschool Grade Pieces
7 The Long And Winding Road

11 Make You Feel My Love
15 Read All About It, Part III
19 ICAUFO
23 Umbra Bella
27 Fab Stomp
Technical Exercises
30 Scales, Arpeggios & Chord Voicings

Supporting Tests
35 Sight Reading
36 Improvisation & Interpretation
37 Ear Tests
38 General Musicianship Questions
Additional Information
39 Entering Rockschool Exams

40 Marking Schemes
41 Copyright Information
46 Rockschool Popular Music Theory
48 Rockschool Digital Downloads
Piano Grade 1
3
Welcome to Rockschool Piano Grade 1
Welcome to Rockschool’s 2015 Piano syllabus. This syllabus has been designed to equip all aspiring pianists with both a
diverse range of stylistically appropriate, industry relevant skills and a thoroughly engaging learning experience.
Utilising an array of well known repertoire, Rockschool’s own compositions and a truly innovative range of supporting
tests, the continued progression of any candidate is assured from Debut through to Grade 8. Additionally, the Rockschool
compositions, which are the 4th, 5th and 6th pieces featured in each book, have been arranged for Bass, Drums, Piano and
Guitar at Grades 3, 5 and 8, in order to help pianists perform repertoire in an ensemble environment where available.
The syllabus has been authored to ensure that pianists can develop as accompanists, soloists, sight readers and improvisers
whilst enabling both teacher and candidate to choose the areas that they wish to specialise in.
Rockschool’s long standing commitment to raising academic standards, assessing industry-relevant skills and ensuring
student engagement is world renowned. The 2015 Piano syllabus has been conceived in order to build upon this success and
continue the evolution of the contemporary music world’s first awarding body.
When combined with Rockschool’s Popular Music Theory syllabus, the 2015 syllabus is guaranteed to furnish every
candidate with both the practical skills and theoretical understanding necessary to perform at the highest level, across a
whole range of contemporary music.
Nik Preston – Head of Product Development and Publishing
Piano Exams
At each grade you have the option of taking one of two different types of examination:

■■Grade Exam
A Grade Exam is a mixture of music performances, technical work and tests. You are required to prepare three pieces
(two of which may be Free Choice Pieces) and the contents of the 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
A Performance Certificate is equivalent to a Grade Exam, but in a Performance Certificate you are required to perform
five pieces. A maximum of three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark
is 60%.
Book Contents
The book is divided into a number of sections:
■■Exam Pieces
In this book you will find six pieces of Grade 1 standard. Each song is preceded by a Fact File detailing information
about the original recording, the composer and the artist/s who performed it. Every exam piece is notated for piano,
but a selection also have the vocal melody notated. This is included as reference material and is not intended to be
performed in the exam itself. In your exam you must perform to the backing tracks provided. If certain 3 or 4 note
voicings notated in the pieces are unachievable, you may either reduce the amount of notes in the voicing, or play as a
spread chord if stylistically appropriate. Please note, this is only applicable at Debut and Grade 1.
■■Technical Exercises
There are either three or four types of technical exercise, depending on the grade:
Piano Grade 1
Group A – scales
Group B – arpeggios/broken chords
Group C – chord voicings
Group D – a choice of stylistic studies. Please note, Group D only exists at Grades 6–8.
4
■■Supporting Tests
You are required to undertake three kinds of unprepared, supporting test:
1. Sight Reading or an Improvisation & Interpretation test at Debut to Grade 5.

Please note, these are replaced by mandatory Quick Study Pieces (QSPs) at Grades 6–8.
2. Ear Tests: Debut to Grade 3 feature Melodic Recall and Chord Recognition.
Grades 4–8 feature Melodic Recall and Harmonic Recall.
3. General Musicianship Questions (GMQs), which you will be asked by the examiner at the end of each exam.
Each book features examples of the types of unprepared tests likely to appear in the exam.
The examiner will give you a different version in the exam.
■■General Information
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
In addition to the Grade book, we have also provided audio in the form of backing tracks (minus assessed piano part) and
examples (including assessed piano part) for both the pieces and the supporting tests where applicable. The audio files are
supplied in MP3 format.
You can find further details about Rockschool’s piano syllabus by downloading the syllabus guide from
our website: www.rslawards.com

Piano Grade 1
5
Piano Notation Explained
œ œ œ œ œ
4 œ œ œ œ œ
&4 œ œ œ œ œ
THE MUSICAL STAVE shows pitches and
œ œ œ œ
rhythms and is divided by lines into bars.
?4 œ
C D E F G A B C D E F G A B C
œ œ œ
Pitches are named after the first seven letters
4 œ œ œ
of the alphabet.
œ œ œ œ
Grace Note: Play the grace note on Pedal Marking: Depress and then release the
or before the beat depending on the sustain pedal. Multiple pedal operations in a
style of music, then move quickly to short space of time may be simplified as shown
the note it leads onto. in the last two beats of the bar below.
3 4 œ
&4 œ
j ˙˙ .. &4 œ œ œ œ œ œ œ
° °
Spread Chord: Play the chord from the bottom note up Glissando: Play the notes between the notated
(top down only if there is a downward arrow head). pitches by sliding over the keyboard with the
The final note should sound by the appropriate fingers or fingernails.
# 4 g ˙˙ ggg ˙˙˙˙

notated bar position.
& 4 ggg n ˙˙ g & h h

gliss.
Tremolando: Oscillate at speed Finger Markings: These numbers represent

between marked notes. your fingers. 1 is the thumb, 2 the index
finger and so on.
bw w
& & œ œ œ œ
1 2 3 4 5
>œ
D.%. al Coda
fi
(accent) • Accentuate note (play it louder). • Go back to the sign (%), then play until
fi
the bar marked To Coda then skip to
œ^
the section marked Coda.
D.C. al Fine • Go back to the beginning of the song and

play until the bar marked Fine (end).
(accent) • Accentuate note with great intensity.
Una Corda • Use soft pedal
œ. .. .. • Repeat the bars between the repeat signs.

(staccato) • Shorten time value of note.
œ-
• When a repeated section has different
.. ..
1. 2.
Piano Grade 1
endings, play the first ending only the first

time and the second ending only the
second time.
(accent) • Accentuate note with more arm weight.
6
The Beatles | The Long And Winding Road
B b/C
SONG TITLE:
THE LONG AND
œ œ
q = 67
œ œ
44 Ó ‰ œJ œ œ
WINDING ROAD Dm

& b
ALBUM:
RELEASED:
LET IT BE
1970 Œ J J
LABEL:
APPLE
and wind - ing road
GENRE:
POP The long
œ œ œ œ
‰ œJ œ œ

4 Œ J
&b4 Ó J
VOCALS:
PAUL MCCARTNEY
PIANO:
PAUL MCCARTNEY
œ œ œœ œœ œœ
GUITAR:
GEORGE HARRISON
˙˙ J J
BASS:
JOHN LENNON
? b 44 ∑
DRUMS:
RINGO STARR
RHODES PIANO:
BILLY PRESTON

WRITTEN BY:
JOHN LENNON, PAUL
MCCARTNEY
PRODUCED BY:
PHIL SPECTOR

ORCHESTRATION:
RICHARD HEWSON
However, the orchestral overdubs from Spector still
UK CHART PEAK:
1 found their way into the final album release. It was
said to be the catalyst to McCartney asking for the
Beatles to be dissolved. A wide range of artists has
This was the last single released by the Beatles since covered this song including: Diana Ross, Aretha
b
b
œ œ œ 3œ
from their 12th and final studio album Let It Be. Franklin, George Michael and Ray Charles.
A m7
œ bœ œ ˙ Œ œ
B
Ó
The album was released a month after the band 9
F7 B maj
&b ˙
F
J
officially split up in 1970. Although credited to Let It Be was supposed to be released before Abbey
J
Lennon-McCartney, as all Beatles songs were, this Road. Some critics and fans think that in fact, Abbey
was one of Paul McCartney’s ballads. This is also the Road should be considered their final album, due
only Beatles song where John Lennon played Bass. to the fact that the songs included on Let It Be were
will nev - er dis - ap
œœ
Producer Phil Spector later removed George Harrison supposed to be a return to their simpler approach
œ
to you r door
œ
and Ringo Starr’s parts, so the other two Beatles do to music, which never in fact happened. Following
œ bœ œ ˙ Ó Œ œ
not in fact appear on the released recording at all. the issues faced with Spector’s production, an
&b ˙ J J
album called Let It Be… Naked was released in 2003
Despite the song reaching No.1, Paul McCartney removing most of Spector’s production work and
was angered by Phil Spector’s production of the track. featuring a reworking of some of the songs.
œœ œœ œœ œœ œœœ œœœ
Apparently, during the Beatles last ever recording
œœ œœ
3
? b œœ œœ œœ œœ
session at the famous Abbey Road Studios, Spector
added orchestral overdubs to four tracks: ‘The Long
and Winding Road’, ‘Across the Universe’ and ‘I Me
Mine’ whilst only one Beatle, Ringo Starr, was present
and without the knowledge or permission of the other
three.
[4]
Spector’s additions included: 18 violins, four
violas, four cellos, three trumpets, three trombones,
two guitars and a 14-strong female choir.
Piano Grade 1
McCartney sent a letter to the Beatles’ business

manager, Allen Klein stating “don’t ever do it again”.
7
b F7 Bb A m7
The Long And Winding Road
The Beatles
q = 67
B b/C
œ
4
&b4 Ó Œ ‰ œJ œ œ œ œ Œ œ œ œ
Dm
J œ J
The long and wind - ing road that leads
œ
4
&b4 Ó Œ ‰ œJ œ œ
J œ
œ
J
œ Œ œ œ œ
˙˙ œ œœ œœ œœ œœ œœ œœ ..
? b 44 ∑ J œ J J
B b maj 9 Bb
œ bœ œ ˙ œ œ œ 3œ D˙m
&b ˙
F7 A m7
Ó Œ Ó
F
J J œ

to your door will nev - er dis - ap - pear,
œ bœ œ ˙ œ œ œœ ˙
&b ˙ J J Ó Œ œ Ó
œ œ œ
? b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœ œ œ œ
3
[4]
E b/F Bb
œ Jœ œ
G m7 C9 F7 A m7 D m9
& b ‰ œj œ œ œ
œ œ œ œœœ Œ Œ œ œ œœ œ Ó
œ J
I’ve seen that road be - fore. It al - ways leads me here,
& b ‰ œj œ œ œ œ œ œ œœ Œ Œ œ Jœ œ œ œ œœ œ Ó
œ œ J
œœ œœ œœ œœ œœ œœ œ œ
? b œœœ œœœ œœœ œœœ b œœ œœ œœ œœ œ œ
Piano Grade 1
[8]
8 Words & Music by John Lennon & Paul McCartney

© Copyright 1970 Sony/ATV Music Publishing.
All Rights Reserved. International Copyright Secured.
B b/C
œ œ œ œ œ œ. œ
‰ Jœ œ œ œ œ œ
G m7 C9
œ œ
F Dm
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J œ J Œ J J
lead me to your door. The wild and wind - y night that the rain
œ œ œ œ œ œ. œ
&b Œ J Œ ‰ Jœ œ œ
J œ
œ
J
œ Œ œ œ
J
œ
J
? b œœ œœ œœ œœ œœ œœ œœ œœ ˙˙ œ œ œœ œœ œœ œœ œœ œœ œœ
J J J J
[12]
B b maj 9 Bb
œ bœ œ ˙ œ œ œ œ œ œ œ
&b ˙
F7 A m7
Ó Œ Ó
F Dm
J J
washed a - way, has left a pool of tears
œ bœ œ ˙ œ œ œ œ œ œ œ
&b ˙ J J Ó Œ Ó
? b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

[16]
E b/F Bb
œ œ
G m7 C9 A m7
‰ œJ œ
F
œ œ œ œ œ œ
&b Œ œ œ ˙ Œ Œ
cry - ing for the day. Why leave me stand -
œ œ
&b Œ œ œ œ œ œ œ œ œ ˙ Œ Œ ‰ œJ œ
? b œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ œœ
[20]
œ œ œ œ œ. œ ˙
D m9 G m7 C9
&b œ Ó Œ Ó
F
J
ing here, let me know the way.
œ œ œ œ œ. œ ˙
&b œ Ó Œ J Ó
Piano Grade 1
? b œœ œœ œœ œœ œœ œœ œœ œœ ˙˙
Ó
[23]
9
10
Piano Grade 1

Adele | Make You Feel My Love
SONG TITLE:
MAKE YOU FEEL MY LOVE
ALBUM:
19
œ œ œ œ œ œ œ œ œ
C/E
& b .. Œ œ
RELEASED:
2008
LABEL:
XL
GENRE:
POP/SOUL in yo
1. When the rain is blow - ing
stars a
2. When the eve - ning shad - ows and the
& b .. Œ œ
VOCALS:
ADELE
PIANO:
NEIL COWLEY
STRINGS:
WIRED STRINGS
˙˙ œœ ..
? b .. œœ .. œœ

J
WRITTEN BY:
BOB DYLAN
PRODUCED BY:
JIM ABBISS
UK CHART PEAK:
4 (
REACHED NO. 1 IN [9]
UK INDIE CHART)
This song was released as the fifth and final single

from Adele’s debut album: 19. The song was originally

written by Bob Dylan and appeared on his 1997 has later cited R&B artists such as Destiny’s Child and
album Time Out of Mind. Billy Joel released it two Mary J. Blige as influences too. She has also been very
months earlier under the title ‘To Make You Feel My influenced by Jazz, particularly Ella Fitzgerald and
Love’ on his album Greatest Hits Volume III. Dylan Etta James.
b a wealth of awards for her music Bb m

composed the song on the piano and it was decided
j Œ Œ œ œ
to keep the song as a simple arrangement, to focus on Adele hasBwon
& b œJ œ œ œ
the lyrical meaning. including an Oscar, four BRIT awards, 10 Grammys
and two Ivor Novello awards.
The album’s subject matter focuses on her first
I cou
serious relationship. The singer states that this on your case,
I cou
‘Make You Feel My Love’ is her favourite song on the
j œ
tears,
Œ
your
Œ
dry
& b œJ œ œ œ
album, despite it being a cover and that she selected
it because it perfectly summed up the way she was
feeling in a way that some of her own songs didn’t:
b œœ ..
“I wrote nine songs all in a short space of time about
? b œœ .. œœ ˙˙
this awful relationship I was in. I never quite got down
J
what I was feeling in those songs though. It’s about
regretting not being with someone”.
[12]
Adele graduated from the BRIT school in 2006 (she
was classmates with Leona Lewis and Jessie J) and
was given her first record deal by independent label,
XL Recordings in 2007 after a friend posted a demo
to Myspace. Her career took off when she won the
BRIT Awards ‘Critic’s Choice’ category and the BBC
‘Sound Of…’ To date she has released two albums: 19
Piano Grade 1
and 21, both of which refer to the age she was when
recording them. She has previously said she was a
huge fan of the Spice Girls growing up, although she
B b/C
j j
11
j
œ
G7
&b ‰ œ œ œ œ œ
Make You Feel My Love
Adele
q = 76
4
&b4 ∑ ∑
F C/E
4 œ œ ˙ œ œ œ œ
&b4 Ó ‰ J
? b 44 œœ .. œœ ˙˙ œœ .. œœ ˙˙
J J
Eb Bb Bbm
&b ∑ ∑ ∑

&b ˙ œ œ œ œ œ. œ ˙ œ. œ ˙
J J
? b b œœ .. œœ ˙˙ œœ .. œœ œœ b œœ .. œœ œœ œœ œœ
J J œ œ J
[3]
G7 B b/C
&b ∑ ∑ ∑
F F
j
& b œ. œ ˙ ∑ ∑
n œœ œœ b œœ œœ
œ œ ‰ œœœ
? b œœ .. œœ œœ œœ .. œœ œœ .. j
œ œ
Piano Grade 1
œ œ Œ œ. œ œ. œ
[6]
J J J
12 Words & Music by Bob Dylan
© Copyright 1997 Special Rider Music, USA.
Eb
j
& b .. Œ œ œ œ œ œ œ œ œ œ œ œœœ œ
C/E
Œ Œ œ
œ œ œ J
1. When the rain is blow - ing in your face, and the whole world is
j
2. When the eve - ning shad - ows and the stars ap - pear, and there is no - one there to
& b .. Œ œ œ œ œ œ œ œ œ œ
œ œ œ Œ Œ œ œœœ œ
J œ
? b .. œœ .. œœ ˙˙ œœ .. œœ ˙˙ b œœ .. œœ ˙˙
J J J
[9]
Bb Bbm
j
F
& b œJ œ œ œ Œ Œ œ œœœ œ œ œ œ. œ œ œ œ Œ

on your case, I could off - er you a warm em - brace
j
dry your tears, I could hold you for a mill - ion years
& b œJ œ œ œ Œ Œ œ œœœ œ œ œ œ. œ œ œ œ Œ
? b œœ .. œœ ˙˙ b œœ .. œœ ˙˙ œœ .. œœ ˙˙
[12]
J J J
B b/C
1. 2.
j j j .. w
&b ‰ Œ Ó
G7 F
œ œ œ œ œ œ œ
to make you feel my love.
to make you feel my love.
&b ‰ œ j j Œ Ó .. w
œ œ œ œ œ œ
Piano Grade 1
?b œ œœ œœ œœ œœ .. œœ ˙˙ .. www
nœ b œœ œœ ‰ œ œ. œ ˙
[15]
J J
13
14
Piano Grade 1

?# ˙ ˙ ˙
˙ ˙ ˙
Emeli Sandé | Read All About It, Part III
[27]
SONG TITLE:
READ ALL ABOUT IT,
jœ j œ
Em
jœ j ‰
PART III.
#
D
œ œ œ œ œ œ œ œ
G
œ œ
ALBUM:
OUR VERSION OF EVENTS

&
RELEASED:
2012
LABEL:
VIRGIN œ œ œ
it. Oh, oh,
j œ
a - bout
jœ
GENRE:
R&B/POP a - bout it. Read all
jœ
all
# j œ œ œ
œ œ œ œ œ œ

& œ œ œ œ œ
VOCALS:
EMELI SANDÉ
PIANO:
GAVIN POWELL

WRITTEN BY:
STEPHEN MANDERSON, IAIN
?# JAMES, TOM BARNES, BEN
˙
˙
KOHN, PETE KELLEHER,
EMELI SANDÉ.
˙ ˙ ˙
[31]
PRODUCED BY: GAVIN POWELL
UK CHART PEAK:
3

D Em
D/C
# œ Œ
other artists whilst studying including: Tinie Tempah,
Œ Ó œ
G
œ œ œ œ œ
Cheryl Cole, Professor Green, the Sugababes and
& œ
This song was originally recorded in three different Alesha Dixon. She continued to collaborate until
versions: the first with British rap artist Professor ‘Read All About It (Part I)’ reached the top of
Green featuring vocals from Emeli Sandé; the second, the charts.
an acoustic version with Professor Green featuring Oh,
Fink; and the third, which appeared onoh, Sandé’s debut oh. She has performed for President Obama at The
# œ œ œ œ œ œœ œ
album featuring only Sandé herself. Sandé achieved White House. Sandé has won three BRIT awards,
& œ œ œ œ œ œœ œœ œ
her first number one single with Professor Green on two Ivor Novello awards and three MOBO awards.
Part I of the song. The song was performed at the Her new album is to be released in 2016.
closing ceremony of the 2012 Olympics.
Sandé collaborated once more with Professor
?#
Green for her debut album: Our Version of Events,
˙ ˙ ˙ ˙
which became the top selling album of 2012.
Emeli Sandé began writing songs when she was

11 years old. Her first
[35song
] was for a school talent
˙
show: “that was the first time I thought I might be
a songwriter. I never thought it was an option to
sing anyone else’s songs”. Despite being offered an
album deal when she was 16 as a result of winning
Ó
D
# œ
Trevor Nelson’s BBC Urban Music competition, her
Œ
G for her at the
œ œ œ
management didn’t feel it was right
& œ œ œ
time. She went on to study medicine at Glasgow
University, graduating five years later with a degree
Piano Grade 1
in Neuroscience. She had always said that she wanted

a career to fall back on if she didn’t make it in the
oh.
music industry. She continued to write music oh, for
# œ œ œ ‰15
& œ œ œ œœ ˙˙
Read All About It, Part III
Emeli Sandé
q = 98
#4
Em C maj 7 G D
& 4 ∑ ∑ ∑ ∑
#
& 44 ˙˙ ˙ œœ ˙˙ ˙˙ ˙ ˙˙ ˙˙ œœ ..
J
œ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ ˙
? # 44 œ œ œ œ œ
# Em
∑
C maj 7
∑
G
∑
D
Ó ‰ œj œ œ
&

You’ve got the
# ˙ j j j
& ˙ ˙ ˙˙ œ œ œ œ. œ œ œ. œ. 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 ˙
[5]
# j j
Em C maj 7 G D
& 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
words to change a na - tion but you’re bit - ing your tongue. You’ve spent a life - time stuck in si - lence, a - fraid you’ll say some-thing wrong. If
# j j
& 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
?# ˙ ˙ ˙ ˙ ˙
Piano Grade 1
˙ ˙ ˙
[9]
16 Words & Music by Shahid Khan & Emeli Sandé

© Copyright 2009 Stellar Songs Limited.
EMI Music Publishing Limited/Sony/ATV Music Publishing.
#
œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œj œ
j j j j
C maj 7
j
Em G D
& œ œ œ. œ œ œ œ œ œ œ
no - one ev - er hears it, how we gon - na learn your song? So come on, come on. Come on, come on. You’ve got a
# j j j j j j j
& 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
?# ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙
[13]
#
Em C maj 7 G
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
heart as loud as li - ons so why let your voice be tamed? Ba - by, we’re a lit - tle diff - ’rent. There’s no
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?# ˙ ˙
˙ ˙ ˙ ˙

[17]
C maj 7
#
D Em
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
need to be a - shamed. You’ve got the light to fight the shad - ows, so stop hid - ing it a - way.
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?# ˙ ˙ ˙ ˙
[20]
˙ ˙
# j j
C maj 7
œ œ œ œ
G D Em
& œ œ œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ
Come on, come on. I wan - na sing, I wan - na shout. I wan - na scream
# j j
& œ œ œ œ œ œ œ ˙˙ œ œ œ œœ ˙˙ œ œ œ œœ ˙˙ œ œ œ œœ
Piano Grade 1
?# ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
[23]
17
D/F #
# œ œ œ œ œ j
‰ œj œ œ œ œ œ œ œ œ œj œ
G Em C maj 7
& œ œ œ œ œ œ œ œ œ œ œ
œ
j
till the words dry out. So put in on all of the pa - pers. I’m not a - fraid. They can read
# œœ œ œ œ œ j j
& œ œœ œœ .. œ œ œ œ œœ œœ œ œ œ œ œ œœ œœ œ œ œ œ œ œ
œ
?# ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙
[27]
# jœ j j
j ‰ œj œ œ œ ‰ œj œ œ
G D Em C maj 7
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
all a - bout it. Read all a - bout it. Oh, oh, oh, oh. Oh, oh,
# jœ j jœ j
& œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œœ œœ œ œ œ œ œœ
?# ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙

[31]
# œ
G D/C D Em C maj 7
& œ œ œ œ œ œ Œ Ó Œ œ œ œ œ œ œ œ œ œ œ œ
oh, oh. Oh, oh, oh, oh. Oh, oh,
# œ
& œ œ œ œ œ œœ œœ œ œ œ œ œ œœ œ œ œ œ œœ œœ œ œ œ œ œœ
?# ˙ ˙
˙ ˙ ˙ ˙ ˙
[35] ˙
#
G D G
& œ œ œ œ œ œ œ Œ Ó ∑
oh, oh.
# œ ‰ j ww
& œ œ œ œ œ œœ ˙˙ œ œ œ
Piano Grade 1
?#
˙ ˙ ˙ ˙ w
[39]
18
Rockschool | ICAUFO
SONG TITLE: ICAUFO

GENRE: ROCK
q = 98
˙.
TEMPO: 98 BPM
œ
KEY: E MINOR
44 ˙ .
A
&
COMPOSER: JOE BENNETT
PERSONNEL: STUART RYAN (GTR)

ww ww
? 44
HENRY THOMAS (BASS)
NOAM LEDERMAN (DRUMS)
JOE BENNETT (KEYS)

OVERVIEW Quarry’ and ‘Opposite’ also draw on these elements,
notably the arpeggiated guitar as the backbone of
‘ICAUFO’ is a Melodic Rock piece influenced by the arrangement. ‘Know Your Quarry’ is a great
œ w
bands in the vein of Foo Fighters and Biffy Clyro. example of the keyboards doubling this type of
˙.
guitar part.
&
THE BIGGER PICTURE
ww ww
Melodic Rock kicked off in the late 1960s
when The Beatles, The Doors and others were
experimenting in their songwriting and recording
?
techniques. Increased success led to bigger
recording budgets and it became commonplace for
successful bands to develop complex arrangements
and song structures, and to work with orchestras.
This combination of a big sound, traditional
song structures and powerful melodies has been [5]
adopted by dozens of rock bands including Deep
Purple, Queen, Rush, Big Star, Pixies, Incubus and
Matchbox Twenty.
RECOMMENDED LISTENING
You’ll be able to hear the influence of The Beatles’

‘While My Guitar Gently Weeps’ and Led Zeppelin’s
œ # œ
Piano Grade 1
œ œ œ œ œ
‘Stairway To Heaven’ on this track. More recent
# œ œ œ œ
B
# œ œ œ œ œ œ
recordings such as Foo Fighters’ ‘These Days’ and
‘The Pretender’, and Biffy Clyro songs ‘Know Your
&
œ œ œ œ œ œ
19
ICAUFO
Joe Bennett
q = 98
œ ˙. œ œ œ œ œ
A
˙. w
& 44
ww ww w w
? 44 #w nw
˙. œ w œ œ œ œ œœ œœ œœ œœ ˙˙
&
ww ww
? # ww n œœ œœ œœ œœ ˙˙

[5]
# œœ œœ œœ œœ œœ œœ œ œ œ # œ œ œ ‰ ‰ œ # # œœ œœ œœ œœ œœ œœ œ œ œ # œ ‰
B
# œ ‰ nœ œ
& J J J J
# œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ # œœ œœ
? J ‰ Ó ‰ J ‰ J
[9]
œ œ # œœ œœ ‰ # œœ ˙˙ n œœ œœ ‰ œœ ˙˙ # œœ œœ ‰ œœ ‰ n œœ # œœ ‰
& œ œ ‰ œœJ ˙˙ J J J J J
œœ œœ œœ ˙˙ # œœ œœ # œœ ˙˙˙ n œœœ œœœ œœœ ˙˙˙ # œœ œœ œœ n œœ # œœ
œ œ
? œ œ ‰ œ ˙ ‰ Jœ
Piano Grade 1
J ‰ J ‰ J ‰ J J ‰
[13]
20
© Copyright 2015 Rock School Ltd.
œœ œœ œœ œœ # œœ œœ œœ œœ n œœ œœ œœ œœ # # œœ œœ œœ œœ
C
&
œœ œœ œœ œœ # œœ œœ œœ œœ n œœ œœ œœ œœ # # œœ œœ œœ œœ
?
&
[17]
˙. œ œ œ œ œœœ ˙˙˙ www

œ œ œ #œ œ œ œ
D
& œ œœ œœ œ ˙ w
†
j
&œ œ ˙. œ œ œ œ œ œœ œœœ œœœ www
œ œ #œ
[21]
œ
œ œ œ œ œ w
† If hand size makes the arpeggio in the final two bars a problem,
the notes may be played individually.

Piano Grade 1
21
22
Piano Grade 1

Rockschool | Umbra Bella
SONG TITLE: UMBRA BELLA

GENRE: GUITAR INSTRUMENTAL
TEMPO: 130 BPM q = 130
KEY: D MINOR A
b 44 ∑
A
&
COMPOSER: SIMON TROUP
# ww
# ww
HENRY THOMAS (BASS)
? b 44
ROSS STANLEY (KEYS)

OVERVIEW RECOMMENDED LISTENING
‘Umbra Bella’ is an homage to The Shadows, The Shadow’s version of ‘Apache’ features many
a legendary British instrumental pop group who elements of the group’s sound, especially the tremolo
B and echo-drenched lead guitar melody set against
˙.
formed in the 1950s.
F
D m acoustic guitar strumming of rhythm
& b ˙.
the propulsive
œ
player Bruce Welch. Other Shadows classics include
THE BIGGER PICTURE ‘FBI’, ‘Wonderful Land’ and ‘Guitar Tango.’ Their
playing on Cliff Richards’ ‘Summer Holiday’ also
˙˙ ..
The Shadows were an instrumental group who contains one of the iconic licks of 1960s pop.
ww
were notable for backing pop singer Cliff Richard,
?b
but the tale doesn’t end there. The band also
achieved great success in their own right with a
string of instrumental hits. Instrumental guitar
music flourished through the surf guitar sound of
1950s American groups, with The Ventures and The
Shadows adding their own twist. Marvin developed a [5]
unique guitar sound based on his use of the vibrato,
or tremolo arm, on his Fender Stratocaster and the
echo devices that made his notes repeat after he had
played them. The Shadows’ catchy melodies and
driving rhythms helped them carve out their own
sound that was distinctive from anything else around
at the time. It is unusual now for instrumental groups
to have top 10 hits, and The Shadows remain one of
the most successful instrumental groups of the last 50
Piano Grade 1
Bb
years.
œ œ ˙
F
&b Œ œ
23
Umbra Bella
Simon Troup
q = 130
& b 44 ∑ ∑ ∑ Ó Œ
A
œ
? b 44 # ww # ww # ww # ww
œ
B
˙. ˙. w
Dm F Am C
& b ˙. œ œ
w ˙˙ .. ww ww
?b w Œ

[5]
Bb
œ œ
C7
˙
F Dm
&b Œ œ œ œ ˙. œ w
ww ˙˙ .. ww ww
?b Œ
[9]
Eb Bb
œ œ œ œ œ œ bœ œ
œ œ
F C
&b œ Œ œ ˙ œ œ
ww ˙˙ .. ww ww
?b
Piano Grade 1
Œ
[13]
24
&b ˙ Œ Œ
F C A
œ œ ˙. œ bœ nw œ œ
. ww
? b ˙˙ . Œ
# ww # ww
[17]
w ggg www
C
˙.
Dm F Am C
& b ˙. ˙. œ œ
œ ggg
˙˙ .. ggg
n ˙˙ .. ww ww ggg ww
?b Œ Œ
[21]

œ œ ˙. ww ww
A7
œ œ œ #œ œ
A Dm
&b Œ œ #œ Œ
œ œ w w
? b # ww # ww # ww # ww n ww ww
[26]
Piano Grade 1
25
26
Piano Grade 1

Rockschool | Fab Stomp
SONG TITLE: FAB STOMP

GENRE: 60S POP
TEMPO: 120 BPM q = 120
j œ œ nœ œ nœ.
KEY: D MAJOR
## 4 œ .
A
C
œ
D
& 4
COMPOSER: DEIRDRE CARTWRIGHT
ww n www
? # # 44 w
HENRY THOMAS (BASS)

OVERVIEW And The Dreamers and Wayne Fontana, who, along
with London’s The Dave Clark Five (or ‘The DC5’
‘Fab Stomp’ is an example of 1960s pop in the style as they were often known), followed The Beatles to
## œ . œ œ œ œ œ nœ.
of groups like The Dave Clark 5, The Hollies and America. The DC5 were the second British band to
œ
Freddie And The Dreamers. appear on C
D the Ed Sullivan Show, which was seen as a
& J J
springboard to fame and success in the USA.
STYLE FOCUS
ww n www
RECOMMENDED LISTENING
? ## w
Early to mid 1960s British pop music followed the
model used by The Beatles: two guitars, and often The Dave Clark Five’s first number one, ‘Glad
more than one vocalist performing up-tempo, good- All Over’, knocked The Beatles’ ‘I Wanna Hold
time, melodic songs written in major keys. Some Your Hand’ off the top of the British singles chart
of the songs were written by the bands themselves, in January 1964. The Hollies’ first top 10 hit was
although most were written either by professional ‘Stay’, released in the same year, and was followed
‘Tin Pan Alley’ songwriters, or were cover versions of [5] by ‘Just One Look’ and ‘Carrie Anne’ among other
songs made famous previously by American artists. hits. Freddie And The Dreamers’ frontman, Freddie
Garrity, brought a range of eccentric dance moves
to their performances that were very much a part
THE BIGGER PICTURE of the band’s appeal. This can be seen to great effect
on surviving clips of the band performing their hits
Global Beatlemania in 1963 and 1964 opened the including ‘You Were Made for Me’, ‘I’m Telling You
door to fame for ‘beat combos’ from different parts of Now’ and ‘I Understand’ in their heyday.
Britain, particularly from Manchester and London.
The cream of these bands joined The Beatles by going
˙ œ œ
to America and were part of the ‘British Invasion’
A sus 4
## œ
B
Piano Grade 1
œ
that was to last for most of the 1960s. Foremost A
& œ J
among this collection of groups were the hugely
successful Mancunian bands The Hollies, Freddie
www ˙˙˙ 27
Fab Stomp
Deirdre Cartwright
q = 120
# # 4 Dœ . j œ œ n œ œ n Cœ .
A
œ œ
G D
& 4 œ œ ˙ œ œ. œ w
J
ww n www www ww
? # # 44 w
# # Dœ . œ œ œ œ œ nœ. œ œ
C G D
& J œ ˙ œ œ. œ w
J
ww n www www ww
? ## w

[5]
## œ ˙ œ œ œ œ œ œ
B
œ œ œ ˙ œ œ œ œ
A A sus 4 A D G D
& J œ œ œ œ J J
J
www ˙˙˙ ˙˙˙ ww ˙˙ ˙˙
? ## w ˙ ˙
[9]
## œ ˙ œ œ œ œ œ œ
œ œ œ ˙ œ œ œ œ
A sus 4
œ œ œ œ
A A G D
J
D
& J J J
www ˙˙˙ ˙˙˙ ww ˙˙ ˙˙
? ## w ˙ ˙
Piano Grade 1
[13]
28
# # Bœm ˙. œ œ œ F #m
C
œ w œ œ œ
& œ
ww ww www www
? ## w w
[17]
## œ œ œ œ ˙ œ œ œ œ w
A7
˙
A
& ˙. œ œ
ww ww ww w
? ## w w w www
[21]

D
## œ . j œ œ. Œ
œ œ œ nœ œ ˙
D C G D
& nœ œ œ œ ˙ Ó
ww n www œœœ œœœ œœœ œœœ. ˙˙
? ## w Œ ˙ Ó
[25]
Piano Grade 1
29
Technical Exercises
In this section, you will be asked to play a selection of exercises drawn from each of the groups below. The examiner will be
looking for the speed of your response and will also give credit for the level of your musicality.

All exercises need to be played hands separately, in straight feel, ascending and descending, in the keys, octaves and tempos
shown. You may use your book for Group A and Group B. All Group C exercises must be played from memory.
Note that Groups A and B need to be played to a click and any fingerings shown are suggestions only.
Group A: Scales
The tempo for this group is q = 60 bpm.
1. F major scale | right hand
&b œ œ œ
2 3 4
œ œ
1 4
œ œ
3
œ
1 2
2. F major scale | left hand
?b œ œ œ œ œ œ œ œ

5 4 3 2 1 3 2 1
3. G major scale | right hand
# œ œ œ œ œ œ œ
œ œ
2 3 1
œ œ
1 5
œ œ
4
& œ œ
2 3
4. G major scale | left hand
œ œ œ œ œ œ
?# œ œ
5 4 3 2 1 3 2 1
5. D natural minor scale | right hand
œ œ œ
&b œ œ œ œ œ œ
2 3 1
œ œ
1 5
œ œ
2 3 4
œ œ
Piano Grade 1
30
6. D natural minor scale | left hand
?b œ œ œ œ œ œ
1 3 2 1
5 4 3 2
7. E natural minor scale | right hand
# œ œ œ œ œ
œ œ œ œ
2 3 1
& œ œ
1 5
œ œ
4
œ œ
2 3
8. E natural minor scale | left hand
?# œ œ œ œ œ œ œ œ
3 2 1 3 2 1
5 4

9. C dorian scale | right hand
œ
3 4 5
bœ œ
2
& œ bœ œ œ œ œ œ œ œ
1 2 3 1
œ œ œ
10. C dorian scale | left hand
œ œ bœ œ œ œ œ
?œ œ bœ œ œ œ œ œ
1 3 2 1
5 4 3 2
11. C harmonic minor scale | right hand
œ
3 4 5
œ œ
2
& œ bœ œ œ bœ œ œ œ œ
1 2 3 1
œ œ œ
12. C harmonic minor scale | left hand
œ bœ œ œ œ œ œ
?œ bœ œ œ œ
Piano Grade 1
œ œ œ
1 3 2 1
5 4 3 2
31
Technical Exercises
Group B: Arpeggios
The tempo for this group is q =100 bpm.
1. F major broken chord | right hand
œ œ ˙. œ œ
& b 43 œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
5
œ
3 5 1 2 5 1 3 3
1
2. F major broken chord | left hand
? b 43 œ œ ˙. œ œ
œ œ œ œ œ œ œ œ œ œ
œ œ œ œ ˙.
5 3 1 5 3 1 5 2 1 2
3. G major broken chord | right hand
œ œ œ œ
#3 œ œ ˙. œ œ ˙.
& 4 œ œ œ œ œ œ œ œ œ
5
œ
5 1 3 3
1 3 5 1 2

4. G major broken chord | left hand
œ œ œ œ
? # 43
œ œ œ œ œ œ œ ˙. œ œ œ
œ œ œ œ ˙.
5 3 1 5 3 1 5 2 1 2
5. D minor broken chord | right hand
œ ˙. œ œ
& b 43 œ œ œ œ œ œ œ œ
œ œ œ œ œ œ ˙.
1 3 5 1 2 5 1 3 5 3
6. D minor broken chord | left hand
œ œ œ œ
? b 43 œ œ œ œ œ œ œ ˙. œ œ œ
œ œ œ œ ˙.
3 1 5 3 1 5 2 1 2
5
Piano Grade 1
32
Technical Exercises
7. E minor broken chord | right hand
#3 œ œ œ œ
& 4 œ œ œ œ œ œ œ ˙. œ œ œ œ œ œ ˙.
5
œ
1 3 5 1 2 5 1 3 3
8. E minor broken chord | left hand
œ œ ˙. œ œ
? # 43 œ œ œ œ œ œ œ œ œ œ
œ œ œ œ ˙.
3 1 5 3 1 5 2 1 2
5
9. C augmented arpeggio | right hand
3 œ œ œ œ
& 4 œ œ #œ œ #œ #œ œ ˙. #œ œ #œ #œ œ œ #˙.
1 3 5 1 2 5 1 3 5 3

10. C augmented arpeggio | left hand
œ œ ˙. œ œ
? 43 œ œ # œ œ #œ #œ œ #œ œ #œ
œ #œ œ œ #˙.
3 1 5 2 1 2
5 3 2 5
11. C diminished arpeggio | right hand
bœ bœ œ
& 43 œ b œ b œ bœ bœ
œ bœ œ ˙. bœ œ bœ bœ bœ œ b˙.
1 2 4 1 2 5 1 3 5 3
bœ
12. C diminished arpeggio | left hand
œ bœ ˙. bœ œ
? 43 œ b œ b œ bœ bœ bœ œ bœ œ bœ
bœ bœ bœ œ b˙.
3 1 5 1 2 1
5 3 2 5
Piano Grade 1
33
Technical Exercises
Group C: Chord Voicings

In the exam you will be asked to play, from memory, your choice of one chord voicing from each of the following exercises,
without the aid of a backing track or metronome. However, for practice purposes a demonstration of the chords played to a
metronome click is available in the audio.
1. C diminished
& 44 b b www ∑
b ww
? ∑ b b www bw
2. C augmented
w
& 44 # ww ∑
w
? ∑ # www # ww

Piano Grade 1
34
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.
In the sight reading test, the examiner will give you a 4–6 bar melody in the key of F major or G major. You will first be given
90 seconds to practise, after which the examiner will play the backing track twice. The first time is for you to practise and
the second time is for you to perform the final version for the exam. For each playthrough, the backing track will begin with
a one bar count-in. The tempo is q = 70.
During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at
the beginning.
The backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will
start immediately.
Sight Reading | Example 1
#4
& 4 œ œ œ œ œ œ ˙ ˙ ˙ w

?#4 w w
4 w w
Please note: The test shown is an example. The examiner will give you a different version in the exam.
Sight Reading | Example 2
& b 44 œ œ œ œ œ ˙ ˙ ˙
œ w
? b 44 w w
w w
Piano Grade 1
35
Improvisation & Interpretation
In the improvisation and interpretation test, the examiner will give you a 4–6 bar chord progression in the key of F major or
G major. You will first be given 90 seconds to practise, after which the examiner will play the backing track twice. The first
time is for you to practise and the second time is for you to perform the final version for the exam. For each playthrough, the
backing track will begin with a one bar count-in. The tempo is q = 70.
During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at
the beginning.
The backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will
start immediately.
You are only required to improvise single note melodies, with either right or left hand. It is permissible to play chord
voicings, but please note you will only be marked on melodic content.
Improvisation & Interpretation | Example 1
q = 70
Bb Bb
& b 44 ’ ’ ’ ’
F C
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Improvisation & Interpretation | Example 2
q = 70
#4 G C D C
& 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Piano Grade 1
36
Ear Tests
In this section, there are two ear tests:

■■Melodic Recall
■■Chord Recognition
You will find one example of each type of test printed below and you will need to perform both of them in the exam.
Test 1: Melodic Recall

The examiner will play you three consecutive notes. You will need to identify whether the last two notes are higher or lower
in sequence. This means you will need to tell the examiner whether the second note is higher or lower than the first, and
whether the third note is higher or lower than the second. You will hear the test twice, each time with a one bar count-in.
The tempo is q = 95 bpm.
For this exercise, please use the words ‘higher’ and ‘lower’ in your answer.
˙
& 44 ˙ w
Test 2: Chord Recognition

The examiner will play you a sequence of chords, each with a C root note. You will hear the chord sequence twice, each time
with a one bar count-in. You will then be asked to identify the chord quality of each chord, from a choice of major, minor,
diminished and augmented. The tempo is q = 95 bpm.
& 44 ww b b www
w
? 44 w w
Piano Grade 1
37
General Musicianship Questions
The final part of your exam is the General Musicianship Questions section, which features 5 questions relating to one of
your choice of the performance pieces.
1. You will be asked a question relating to the harmony from a section of one of your pieces.
2. You will be asked a question relating to the melody in a section of one of your pieces.
3. You will be asked a question relating to the rhythms used in a section of one of your pieces.
4. You will be asked a question relating to the technical requirements of one of your pieces.
5. You will be asked a question relating to the genre of one of your pieces.

Piano Grade 1
38
Entering Rockschool Exams
Entering a Rockschool exam is easy, just go online and follow our simple six step process. All details for entering online,
dates, fees, regulations and Free Choice pieces can be found at www.rslawards.com
■■All candidates should ensure they bring their own Grade syllabus book to the exam or have proof of digital purchase
ready to show the examiner.
■■All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam.

Piano Grade 1
39
Marking Schemes
Grade Exams | Debut to Grade 5 *
ELEMENT PASS MERIT DISTINCTION
Performance Piece 1 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
Sight Reading
or 6 out of 10 7–8 out of 10 9 + out of 10
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%+
Grade Exams | Grades 6–8

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 Questions 3 out of 5 4 out of 5 5 out of 5
TOTAL MARKS 60%+ 74%+ 90%+
Performance Certificates | Debut to Grade 8 *

Piano Grade 1
TOTAL MARKS 60%+ 75%+ 90%+

40
* Note that there are no Debut Vocal exams.
Copyright Information
The Long And Winding Road

(Lennon/McCartney)
Sony/ATV Music Publishing (UK) Limited.
Make You Feel My Love

(Dylan)
Special Rider Music, USA.
Read All About It

(Khan & Emeli Sandé)
EMI Music Publishing Limited/Sony/ATV Music Publishing (UK) Limited.

Piano Grade 1
41
42
Piano Grade 1

43
Piano Grade 1 RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com
44
Piano Grade 1

45
Piano Grade 1 RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com
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The syllabus consists of 11 finely-tuned books:
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Acquire a hugely impressive knowledge of:
6 Popular music composition Each book includes sample questions
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Piano Grade 1

Performance pieces, technical exercises, supporting tests and in-depth

Published by Rockschool Ltd. © 2015

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

Introductions & Information

Rockschool Grade Pieces

7 The Long And Winding Road

30 Scales, Arpeggios & Chord Voicings

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

39 Entering Rockschool Exams

Nik Preston – Head of Product Development and Publishing

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

1. Sight Reading or an Improvisation & Interpretation test at Debut to Grade 5.

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

& 4 ggg n ˙˙ g & h h

Tremolando: Oscillate at speed Finger Markings: These numbers represent

D.C. al Fine • Go back to the beginning of the song and

œ. .. .. • Repeat the bars between the repeat signs.

endings, play the first ending only the first

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

McCartney sent a letter to the Beatles’ business

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

8 Words & Music by John Lennon & Paul McCartney

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

This song was released as the fifth and final single

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

b a wealth of awards for her music Bb m

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

?# JAMES, TOM BARNES, BEN

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

Sandé collaborated once more with Professor

Emeli Sandé began writing songs when she was

in Neuroscience. She had always said that she wanted

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

16 Words & Music by Shahid Khan & Emeli Sandé

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

SONG TITLE: ICAUFO

PERSONNEL: STUART RYAN (GTR)

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

You’ll be able to hear the influence of The Beatles’

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

˙. œ œ œ œ œœœ ˙˙˙ www

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

SONG TITLE: UMBRA BELLA

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

SONG TITLE: FAB STOMP

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

RSL-352498037685 / 1 / Louis Newell / louisnewell1985@hotmail.com

1. F major scale | right hand

1. Sight Reading or an Improvisation & Interpretation test at Debut to Grade 5.