Canto 8

Vocals
Grade 8
Performance pieces, technical exercises and in-depth guidance
for Rockschool examinations
ISBN: 978-1-78936-309-8
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Catalogue Number: RSK200155
ISBN: 978-1-78936-309-8
18 May 2022 | Errata details can be found at www.rslawards.com/errata
2021 Syllabus 2014 Syllabus Content

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Vocals Grade 8
2
Table of Contents
Introductions & Information
1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Vocals Grade 8
6 Repertoire Overview
Hit Tunes
7 I Care. . . ............................................................. Beyoncé

13 Writing’s on the Wall.. ............................. Sam Smith
19 When You Were Young......................... The Killers
27 A Night in Tunisia.................................... Ella Fitzgerald
37 This Is Me...................................................... from The Greatest Showman
49 Weak.. . . ............................................................. Skunk Anansie
55 A Song for You.. .......................................... Ray Charles
63 Rise Up............................................................ Andra Day
71 Kiss from a Rose........................................ Seal
81 I Have Nothing........................................... Whitney Houston
Technical Exercises
88 Scales, Arpeggios, Intervals, Backing Vocals & Stylistic Studies

Supporting Tests
97 Quick Study Piece

102 Ear Tests
104 General Musicianship Questions
Additional Information
105 Pre-Examination Checklist

106 Entering Exams, Exam Procedure & Marking Schemes
107 Musical Interpretation & Free Choice Pieces
108 Copyright Information Vocals Grade 8
3
Welcome to Rockschool Vocals Grade 8
Welcome to Rockschool Vocals Syllabus 2021. This book and accompanying downloadable audio contain everything you
need to sing at Grade 8.
Vocals Exams
At each grade you have the option of taking one of two different types of examination:
■ Grade Exam
A Grade Exam is a mixture of music performances, technical work and tests. You prepare three pieces (two of which
may be Free Choice Pieces) and the contents of the Technical Exercise section. This accounts for 75% of the exam marks.
The other 25% consists of: a Quick Study Piece (10%), two Ear Tests (10%), and finally you will be asked five General
Musicianship Questions (5%). The pass mark is 60%.
■ Performance Certificate
In a Performance Certificate you sing five pieces. Up to three of these can be Free Choice Pieces. Each song is marked
out of 20 and the pass mark is 60%.
Book Contents
This book is divided into a number of sections. These are:
■ Exam Pieces
Ten popular songs covering a breadth of contemporary musical styles, arranged for the grade level. At the beginning
of the book there is a Repertoire Overview page outlining the key, tempo, genre and melodic range of the song, as
well as a summary of the main technical and stylistic features to implement.
Each score is preceded by background information about the original recording, performing artist, and recommended

listening for further research (where applicable). Lastly, expanded performance notes give further guidance on
approaching the songs.
The scores are notated as top line vocal parts with lyrics, chord symbols and backing vocal references where
helpful. The notation also includes professionally-arranged piano accompaniments for teaching, audition and
performance purposes.
In addition to the book notation, there is also a separate vocal-only digital score included in your downloads for
extra ease of use.
■ Technical Exercises
A selection of scales, arpeggios, intervals, harmony exercises and studies must be performed in the exam. Depending
on the exercise, you may see an example (with a range of optional starting notes), or a choice between exercises (to
suit your vocal range). There is a pre-examination checklist at the back of the book, where you can note your choices
of starting notes and examples ahead of the examination.
■ Supporting Tests
A Quick Study Piece testing your ability to sight read and improvise, and two Ear Tests testing melodic recall and
harmonisation. These tests are previously unseen and examples are given in the book. In this section, you will be able
to choose whether you prefer a higher-pitched test or lower-pitched version for both the QSP and the harmonisation
tests, however, you will not see the example until the choice is made in the exam. You will also be asked a set of
General Musicianship Questions (GMQs) at the end of the exam, relating to your choice of one of your performance
pieces. Examples of the types of tests likely to appear in the exam are printed in this book.
Vocals Grade 8
■ General Information
Finally, you will find information on exam procedures, including online examination entry, marking schemes, your
pre-exam checklist, and information on Free Choice Pieces and improvisation requirements for each grade.
4
Audio
Each song in Vocals Grade 8 has two audio tracks that can be downloaded from RSL directly from the following URL:
www.rslawards.com/downloads
These are:
■ A full track, featuring a professional vocalist’s stylistic interpretation of the score. This can be helpful for further ideas
beyond the original recorded version.
■ A backing track with the vocal removed so you can sing along with the band or piano. The backing tracks should be
used in examinations. There are also audio examples of the supporting tests printed in the book.
There are also example recordings and backing tracks included as part of your download for the technical exercises and
supporting test sections.
When downloading audio files, you will need to input this code when prompted: ES8C53WBPL
All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded from
the RSL website: www.rslawards.com
Audio Access
Audio for this book can be accessed via the QR code on the right (requires a compatible smartphone
or tablet) or by using the URL and download code shown above.

Vocals Grade 8
5
Repertoire Overview
Song/Artist Key & Range Info Key Features to Implement at this Grade
# œ Genre: Contemporary R&B/Pop ■ Well-managed falsetto and/or upper head voice with
&
I Care Key: G major secure pitching
œ
■ Confident rhythmic placement to the backing track
Beyoncé Tempo: E90
■ Variations of tone colour for stylistic effect
Range: A3 to B5 ■ Dynamic expression to support the lyrical content
bbbb
■ Well-managed falsetto and/or upper head voice with
œ
Genre: Soundtrack
&
Writing’s on the Wall Key: F minor secure pitching
■ Confident rhythmic placement to the backing track
œ
Sam Smith Tempo: q64
F3 to D b 5 (†)
■ Variations of tone colour for stylistic effect
Range: ■ Dynamic expression to support the lyrical content
#### Genre: Alternative Rock ■ Confident breath control and management of registers
When You Were Young
& # œ Key: B major ■ Use of stylistically appropriate vocal effects
œ
The Killers Tempo: q128 ■ Sustained dynamic control and tone colouring
Range: E3 to G # 4 (†) ■ Powerful and stylistic communication
b œ ■ Confident management of registers with stylistic
& b bbb
Genre: Jazz
A Night in Tunisia
Key: B b minor tone colours
Ella Fitzgerald/ ■ Rhythmic authority and understanding of timing changes
œ
Tempo: q136 (swung)
F3 to A b 5
■ Expressive techniques and sustained lyrical communication
Chaka Khan Range: ■ Extensive development and scat improvisation
## œ
Genre: Pop ■ S ecure management of wide tessitura and projected tone quality
This Is Me
& Key: D major
■ Advanced demonstration of breath control and support
œ
from The Greatest ■ Expressive techniques including wide-ranging dynamic changes
Tempo: q96
A3 to F # 5
Showman ■ Convincing communication of lyrical content with personalised

Range: ad-libs
# œ
Genre: Rock ■ Secure register blending with maintained projection
&
Weak Key: E minor ■ Wide variations of dynamics and tone colour
Skunk Anansie œ Tempo: q100 ■
■
Use of stylistically appropriate vocal effects
Individual development of the melodic content
Range: B3 to E5
b œ
Genre: Jazz
&bb
■ Use of wider tessitura with confident register changes
A Song for You Key: C minor ■ Rhythmic and stylistic security to backing track
Ray Charles œ Tempo: q56 ■ Advanced development of the melodic content
Range: A b2 to C5 (†) ■ Use of a range of expressive techniques to convey lyrical content
b œ
& b bbb
Genre: Pop ■ Well-managed register changes and use of wide tessitura
Rise Up Key: D b major ■ Confident rhythmic phrasing to track
Andra Day
œ Tempo:
Range:
q58
A b3 to A b 5
■
■
Stylistic melodic phrasing with personalised riffs
Strong communication of the lyrical content
■ Complex melody lines, comprising challenging pitches

# œ
Genre: Pop and intervals
Kiss from a Rose
& œ
Key: G major ■ Variations of rhythmic phrasing within a feel
y
Seal Tempo: Q44 ■ Stylistic expression, including variations in dynamics
Range: D3 to C5 (†) and vocal tone
■ Individual communication of the lyrical content and story
Vocals Grade 8
# œ
Genre: Contemporary R&B/Pop ■ Secure melodic phrasing with personalised melismas and riffs
&
I Have Nothing Key: G major ■ Rhythmic and stylistic confidence with a feel
y
œ
Whitney Houston Tempo: Q51 ■ Management of a wide-ranging tessitura including a key change
Range: G3 to F # 5 ■ Expressive performance and development of the notated vocal part
6 † Range and notation in this table is displayed at actual pitch. The associated score is notated one octave higher than it sounds for legibility.
I Care | Beyoncé 
Album: 4 Genre: Contemporary R&B/Pop

Released: 2012 Written by: Beyoncé Knowles, Jeff Bhasker
Label: Columbia and Chad Hugo
Produced by: Jeff Bhasker and Beyoncé Knowles
Background Info 
‘I Care’ is the second track on American pop icon Beyoncé’s fourth studio album 4. The song was well-received by
critics, many of whom praised Beyoncé’s strong vocal performance, with a Rolling Stone journalist claiming ‘I Care’ is
“one of the finest tracks on the record”. Although the song didn’t chart in the US, ‘I Care’ remains a constant in the singer’s
live set and has proven extremely popular among fans.
Throughout her performing career both as a founding member of US girl group Destiny’s Child and as a solo artist,
Beyoncé has sold over 100 million records worldwide. Beyoncé has won multiple awards, including 28 Grammys, eight
MOBOs, three BRIT awards and an Ivor Novello award. In 2020 she was included in Time magazine’s list of 100 women
who defined the 20th century.
Performance Notes 

With this contemporary R&B/pop song, Beyoncé shows us her amazing ability to alternate between vocal registers,
volumes and intensity. Managing your breath support is fundamental for a successful performance, as doing so will give
you greater control over soft and loud phrases, with a focus on creating crescendos and diminuendos.
Well-managed breath support will also aid the staccato phrasing of the melody line and the sustained projection of
the mix and head voice. For the chorus parts you do not need to sing the lyrics in brackets (which are shown for reference
only), and you should focus on developing the vocal line here as the song progresses.
The unison section with the guitar (from bar 40) gives a good opportunity to display management of your higher range
and the ability to sing a scored melody as part of an instrumental section. The end repetition is an opportunity to show
your own stylistic understanding and development of this genre.
‘Key Features to Implement at this Grade’ are shown in the Repertoire Overview on page 6.
Vocals Grade 8
7
I Care
Words and Music by Beyonce Knowles, Jeff Bhasker and Chad Hugo Beyoncé
q90 R&B/Pop
# 4 C Em C Em
Ó Œ ‰ j
Vocals & 4 œ
I
#
& 44 ww ww ww ww ww ww ww ˙˙ ..
w w w w w w w ˙. œœœ œ
Piano
P
?# 4
4
# j
C Em
& .. œ œ œ œ œ j
œ œ œ œ œœ œ
œ œ œ œ Œ Ó
told you how you hurt me, ba - by, but you don’t care.
Ev - er since you knew your pow - er, you made me cry.
#
& .. ww ww ww
w w w
? # .. œ œ œ œ œ œ œ œ œ
œ œœ œœ œ œ œ œœ œœ œ œ œ œœ œœ œ œ

9
# j
C
& Ó Œ œ œ œ œ œ j
œ œ œ œ œ œœ
œ
œ œ œ œ œ œœ
œ
Now I’m cry - in’ and de - sert - ed, ba - by, but you don’t care.
#
And now ev - ’ry time our love goes sour you won’t sym - pa - thize.
& ww ww ww
w w w
?# œ œ œ œ œ œ œ œ œ
12
œ œœ œœ œ œ œ œœ œœ œ œ œ œœ œœ œ œ
# Œ Ó Ó Œ Œ
Em C
& œ œ œ œ œ œ œœ
œ œ œ œœ
œ œ œ œ œ œ œ.
Ain’t no - bo - dy tell me this is love,
#
You see these tears fall - in’ down to my ears,
& ww ww ww
w w w
Vocals Grade 8
?# œ œ œ œ œ œ œ œ œ
15
œ œœ œœ œ œ œœœ œœ œ œ œ œ œ œ œ œ œ
8 Copyright © 2011 B-Day Publishing, Sony Music Publishing LLC, Way Above Music and Universal Music - Careers
All Rights on behalf of B-Day Publishing, Sony Music Publishing LLC and Way Above Music Administered by Sony Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved
#
Œ
Em
& œ œ œ œ œ œ œ œ
œ w
when you’re im - mune to all my pain.
#
I swear you like when I’m in pain.
& ww ww
w w
?# œ œ œ œ œ œ
18 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
#
C
& Ó ‰. r œ œ œ œ œ œ œ. Œ
œ œ œ œ
I need you to tell me this is love,
I try to tell you all my fears,
#
& ww ww
w w
?# œ œ œ œ œ œ
20
œ œ œ œ œ œ œ œ œ œ œ œ œ œ

# j œ œ
& Œ ‰
Em
œ œ
œ œœ œ œœ œœ
œ œœœ œ ˙ ˙ œ
‰. R
you don’t care, but that’s o - kay.
Well, I care.
you still don’t care, that’s o - kay.
#
& ww ww ww
w w w
?# œ œ œ œ œ œ œ œ Œ
22 œ œ œ œœ œ œ œ œœ œœ œ œ œ œœ œœ
# Œ œŒ
G F Em F Dm
‰. r œ.
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ nœ œ œ.
J
I know you don’t care too much, but I still care, ba - by.
(La, la, la, la, la.)
# j j j
& œœ .. œœ œœ œœ n œœ .. œœ œœ œœ œœ . œ œ n œœœ œœœ œœ ..
œ. œ œ œ œ. œ œ œ œ. J J nœ.
Vocals Grade 8
?#
œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ
25
9
# ‰ œ œ
Óœ j œ œ œ œ œ
Em F Dm G
& œ œ. œ
œ œ œ œ n œJ œœ .
Oh, I care. I know you don’t care too
#
(La, la, la, la, la, la.)
j j
& œœ . œ œ œœœ œ n œœœ œœ .. œœ .. œœ œœ œœ
œ. œ. œ œ œ
J J nœ.
?#
œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ
28
# œ Œ œŒ
F Em F Dm Em F Dm
& œ œ œ œ œ œ œœ œ. ..
œ œ nœ œ
J œ. œ œ œ œ œ n œJ œ.
much, but I still care, ba - by.
(La, la, la, la, la. La, la, la, la, la, la.)
# j j j ..
& n œ .. œœ œœ œœ œœ . œ œ n œœ œœ œ .. œœ . œ œ œœ œ n œœ œ ..
œœ . œ œ œ œ. œ œ œ œ. œ œ n œœ .
J J nœ. J J
?# .
30
nœ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ .

# D/F #
# A/C j
œ œ œ œ œ
C6
& ‰ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ.
Boy, may - be if you cared e - nough I would - n’t have to care so much. What hap-pened to our
#
& # ˙˙˙ ˙˙
˙
˙˙
˙
˙˙
˙ ˙˙ ˙˙
˙ ˙
? # #œ œ œ œ nœ œ œ œ
33
œ œ œ œ
E/G #
# œ
F
& n˙ œ œ œ œ œ œ. œ œ œ œ œ #œ
trust? Now you’re just giv - in’ up. You used to be so in
#
& n ˙˙˙ ˙˙
˙ # ˙˙ ˙˙
˙ ˙
Vocals Grade 8
?#
nœ œ œ œ #œ œ œ œ
36
10
nœ.
A F C/E Dm C G/B Am
# #œ œ œ œ œ œ œ œ œ œ œ œ.
& œ œ œ œ œ œ œ
love, now you don’t care no more.
# œœ .. œœ œœ
& # ˙˙˙ œœ œœ n œœ œœ œ .
œ. œœ œœ
?# nœ. œ œ œ œ œ.
œ œ œ œ œ œ
38
# G˙ . œbœ œ nœ œ œœœ œ œœœ

F Em F Dm
& œ ˙ œ œ. œ œ.
Ooh, ooh, ooh, ooh,
# j j j
& œœœ ... œœ œœ
œ œ
œœ
œ n œœœ ... œœ œœ
œ œ
œœ
œ œœ . œ œ n œœ œœ œ ..
œ. œ œ n œœ .
J J
?#
40

œ ˙. œ. œ ˙ œ œœœœœ
Em F Dm G F
# œ œ œ
& œ œ œœ œœœœ
ooh, ooh, ooh,
# j j j
& n œ œœ .. œœ œœ œœ n œœœ ... œœ œœ œœ
œœ . œ œ œœœ œ œœ œœ .. œ. œ œ œ œ œ œ
œ. J J nœ.
?#
œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
43
Em F Dm Em F Dm
# œ œ œ. œ œ œ œ œ
& œ œ œ œ œ ‰ œ œ œ œ œ
œ
ooh, ooh, oh. Well, I care.
# j j
& œœ . œ œ n œœ œœ œ . œœ . œ œ œœœ œ n œœœ œ.
œ. œ œ œ. œ. n œœ ..
J nœ.
Vocals Grade 8
J J J
?#
46
œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ
11
# Œ œŒ
G F Em F Dm
‰. r œ.
& œ œ œ œ œ œ œ œ œ œ œ œ œœ
œœ œ œ nœ œ œ.
J
I know you don’t care too much, but I still care, ba - by.
#
(La, la, la, la, la.
j j j
& œœ .. œœ œœ œœ n œœ .. œœ œœ œœ œœ . œ œ n œœ œœ œ ..
œ. œ œ œ œ. œ œ œ œ. œ œ n œœ .
J J
?#
48
# EmÓ ‰ j œ œ
œ œ œ œ œ
F Dm G
& œ œ œ. œ
œ œ œ œ n œJ œœ .
Oh, I care. I know you don’t care too
La, la, la, la, la.)
# j j
& œœ . œ œ œœœ œ n œ œœ .. œœ œœ œœ
œ. œœ n œœœ ... œ. œ œ œ
J J
?#
œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ
51

# Œ œŒ
F Em F Dm Em F Dm
& œ œ œ œ œ œ œ œœ œ.
nœ
Óœ œ œ œ œ œ
œ œ œ œ J œ. œ œ œ œ n œJ œ.
much, but I still care, ba - by. I still care.
(La, la, la, la, la, la, la. La, la, la. la, la, la, la.
# j j j
& n œ .. œœ œœ œœ œœ . œ œ n œœ œœ œ . n œ
œœ . œ œ œœ œ œ œ ..
œœ . œ œ œ œ. œ œ n œœ .. œ. œ œ œ
J J J J nœ.
?#
53
nœ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ
# Œ U
E5
Ó
Em F Dm Em F Dm
& .. œœ œ œ œ œ n œJ œ.
Óœ œ œ œ œ
œ œ œ œ œ ( ) .. œ
nœ œ.
Œ Ó
J
I still care.
U
La, la, la, la, la, la, la. La, la, la, la, la, la, la.
#
& .. œ œ œ œ œ n œj œ
‰ œ œ
œœ . œ œ œœœ œ n œœ œœ .. œ œ œ .
. ww
œœ .. œœ œœ n œœ œ.
Vocals Grade 8
J J J J
? # .. U
.. w
56
œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ w
12
Writing’s on the Wall | Sam Smith 
Released: 2015 Genre: Orchestral Pop

Label: Capitol Written by: Sam Smith and James Napier
Produced by: James Napier, Steve Fitzmaurice
and Disclosure
Background Info 
‘Writing’s on the Wall’ was the theme song for the 24th James Bond feature film, Spectre. Performed and co-written
by British singer-songwriter Sam Smith, the track was hugely successful and topped the UK singles chart on its release.
Surprisingly, this was the first ever Bond theme to reach the number one spot in the UK – a record matched by Billie
Eilish’s ‘No Time to Die’ in 2020.
Sam Smith launched his career with several successful collaborations, including his performance on Naughty Boy’s
‘La La La’ in 2013 which topped the charts on release and gave the singer his first number 1. He has since released three
solo studio albums, two of which peaked at number 1 in the UK, and as of April 2021 his global sales surpassed 30 million
(streaming equivalent).
‘Writing’s on the Wall’ gained Sam Smith the 2016 Golden Globe and Oscar for Best Original Song.

This soundtrack ballad displays the very best of Sam Smith’s vocal abilities and demands a strong falsetto and register
management with a powerfully supported upper chest voice into the transition. To exploit the ‘falsetto style’ resonance
in the upper head voice, it may be useful to transpose the song to a different key, depending on your own vocal range.
Studying Sam Smith’s original rhythmic phrasing will help you to develop a stylistic performance that sits comfortably
with the orchestral backing track.
For a powerful performance, remember to display emotional conviction to support the lyrics, using strong and clear
diction throughout. You should also aim to show stylistic awareness in your delivery, leaning towards musical theatre
without losing the contemporary pop feel.
Vocals Grade 8
13
Writing’s on the Wall
from SPECTRE Sam Smith
Words and Music by Sam Smith and James Napier
q64 Soundtrack
Slowly
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Piano
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With pedal
Note: Vocal sounds one octave lower than notated throughout
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1. I’ve been here be - fore, but al- ways hit the floor.
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you, I’m feel - ing some - thing that makes me want to stay.
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Vocals Grade 8
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11 w w
Copyright © 2015 Sony Music Publishing UK Limited, Naughty Words Limited, Stellar Songs Ltd., United Lion Music, U/A Music, Inc. and Salli Isaak Songs Ltd.
All Rights on behalf of Sony Music Publishing UK Limited, Naughty Words Limited and Stellar Songs Ltd. Administered by Sony Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
14 All Rights on behalf of United Lion Music Administered by Songs Of Universal, Inc.
All Rights on behalf of U/A Music, Inc. Administered by Universal Music Corp.
All Rights on behalf of Salli Isaak Songs Ltd. Administered by Songs Of Downtown
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2. I’m pre - pared for this;
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I nev - er shoot to miss. But I
that haunt me from my past. As the
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15
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b
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‰ ‰
feel like a storm is com-ing if I’m gon - na make it through the day. And there’s
stars be - gin to gath - er, and the light be - gins to fade, when all
b
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no more use in run - ning; this is some - thing I’ve got - ta face.
hope be - gins to shat - ter, know that I will be a - fraid.
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Vocals Grade 8
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1.
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all, ’cause the writ - ing’s on the wall.
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Œ
Vocals Grade 8
F
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w ‰ œj ˙ œ
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30
16
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2.
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3
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wall. The writ - ing’s on the
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wall.
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3
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39
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live? How do I breathe? When you’re not here, I’m suf - fo - cat - ing. I wan - na feel
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b g˙
& b bb g g g g
Vocals Grade 8
P
b
& b b b ˙˙ ˙˙ ˙˙ ˙˙
42
17
œ
Fm
œ œ œ
E b 6/9
œ œ œ œ
D b maj 7
E b 6/9
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& bbbb
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love run through my blood. Tell me, is this where I give it all up? How do I
b g˙
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& b b b ˙˙ ˙˙ ˙˙ ˙˙ ?
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b 6/9
44
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b
& b bb
live? How do I breathe? When you’re not here, I’m suf - fo - cat - ing. I wan-na feel
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& b bb œ œ
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b
46
œ
Fm
œ œ œ
E b 6/9
œ œ œ œ D b maj 7
7
b œ
Cm
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love run through my blood. Tell me, is this where I give it all up? For
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& b bb œ œ

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bb
48
B b m7
œ œ. œ œ. œ w
b œ
Cm7 C7
& b bb ‰. R
you, I have to risk it all,
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& b bb œ œ œ œ œ œ œ œ œ œ œ
˙˙
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50
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bb
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N.C.
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’cause the writ - ing’s on the wall.
bb œ U w
& b b œœ Œ Ó w
Vocals Grade 8
? bb b œœœ U U
w
b œ Œ Ó
52
w
18
When You Were Young | The Killers 
Album: Sam’s Town Genre: Alternative Rock

Released: 2006 Written by: Brandon Flowers, Dave Keuning,
Label: Island/Mercury Mark Stoermer and Ronnie Vannucci
Produced by: Flood, Alan Moulder and The Killers
Background Info 
‘When We Were Young’ was released as the first single from The Killers’ second album Sam’s Town, and it is one of
their most successful singles to date, peaking at number 14 on the Billboard Hot 100, as well as giving the band their first
number one on the U.S. Modern Rock Tracks chart. There was heavy expectation around the release of Sam’s Town, given
the popularity and success of the band’s debut release Hot Fuss in 2004. However, lead vocalist Brandon Flowers knew
that the band were on to something special with the track, which is underpinned by driving energy and lyrical themes
reminiscent of Bruce Springsteen’s songs ‘Born to Run’ and ‘Thunder Road’.
The Killers were formed in Las Vegas in 2001, and have released six consecutive chart-topping studio albums to date.
The band has been nominated for seven Grammy Awards, seven BRIT Awards, and twenty-four NME Awards, winning
‘Best International Band’ at the NME awards four times. The video for ‘When You Were Young’ won ‘Best Video’ at the
Q Awards in 2006.

In this ‘heartland rock’ style song from the Killers, we get to hear Brandon Flowers’ powerful and expressive voice at its
very best. To perform this song with conviction, advanced singers should focus on stylistic elements and tone colour, with
a high level of communication and energy throughout the performance.
The main challenge in this song is to manage and maintain the projected tone quality throughout without the
voice sounding strained. Communication of the lyrical content is an important feature and you should aim to deliver a
performance with a variety of dynamics, tone colours and expressive techniques, like the spoken effects and vowel
placement/shaping on the legato phrasing.
You may look to vary or develop the melody on the break-down and end section with more personalised phrasing –
don’t be afraid to show off your vocal and performance abilities.
Vocals Grade 8
19
When You Were Young
Words and Music by Brandon Flowers, Dave Keuning, The Killers
Mark Stoermer and Ronnie Vannucci
q128 Alternative Rock

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Vocals Grade 8
Play cue sized notes on repeat and D.S.
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11
20
Copyright © 2006 UNIVERSAL MUSIC PUBLISHING LTD.
All Rights in the United States and Canada Controlled and Administered by UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC.
All Rights Reserved Used by Permission
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Vocals Grade 8
23
21
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35
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Vocals Grade 8
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49
23
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now. But you can dip your feet
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61
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Vocals Grade 8
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65
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Vocals Grade 8
77
25
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83

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26
A Night in Tunisia | Ella Fitzgerald 
Album: Clap Hands, Here Comes Charlie Genre: Jazz

Released: 1961 Written by: John “Dizzy” Gillespie and Frank Paparelli
Label: Verve Produced by: Norman Granz
Background Info 
Ella Fitzgerald recorded her version of ‘A Night in Tunisia’ in 1961 and featured it on her studio album, Clap Hands,
Here Comes Charlie. Written by trumpet virtuoso Dizzy Gillespie, the song is now considered a jazz standard, and in 2004
the 1946 recording was inducted into the Grammy Hall of Fame. First composed as an instrumental, Fitzgerald often
mimicked the horns players’ techniques when developing her sound.
Sometimes referred to as the ‘First Lady of Song’, or the ‘Queen of Jazz’, she was known for her improvisational
technique, tone, scat singing and intonation. Fitzgerald recorded many jazz standards throughout her career, including
‘Dream a Little Dream of Me’ and ‘Cheek to Cheek’. She shared the stage with jazz icons Duke Ellington and Louis
Armstrong, and was an active performer for more than five decades.

You will find many instrumental and vocal performances of this classic jazz tune, all of which will be worth exploring
for inspiration. This Rockschool arrangement celebrates the phenomenal jazz scat techniques of Ella Fitzgerald.
At this advanced level you will be expected to show a confident understanding of both the physical and expressive
techniques required for this style, and also demonstrate extensive melodic development and scat improvisation.
Look to incorporate both the original melodic phrasing and the triplet-to-straight rhythmic feel in the verses, before
you go onto developing your own melodic ideas after the vocal scat break in bars 53–54. This is an abridged arrangement
of Ella’s original version (from her album Clap Hands, Here Comes Charlie); however, it still gives plenty of opportunity to
improvise and show off your ability to use the voice as an instrument. Remember to articulate the lyrics clearly, so as to
create contrast against the scat parts.
Vocals Grade 8
27
A Night in Tunisia
By John “Dizzy” Gillespie and Frank Paparelli Ella Fitzgerald
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moon is the same moon a - bove you, a - glow with its cool eve - ning
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Vocals Grade 8
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28 Copyright © 1944 UNIVERSAL MUSIC CORP.
Copyright Renewed
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Vocals Grade 8
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27
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30
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Vocals Grade 8
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where the nights are filled with peace.
b j
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bb ‰ j ‰ b œj ww ˙˙ .. ‰ œ
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Vocals Grade 8
j
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49
N.C.
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Use jazz scat vocal sounds
’ ’ ’ ‰ j
Improvise scat (2 bars)
& b œ œ œ œ ’ ’ ’ ’
œ nœ œ nœ œ œ œ
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b
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53
Develop melody
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3 3
& b œ œ œ œ œ œ œ œ
3 3

œ œ
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moon is the same moon a - bove you, a - glow with its cool eve - ning
bbbb j Œ ‰ œj Œ
(Example Vamp)
& b œœ œœ Œ ‰ œœœ Œ ’ ’ ’ ’
⇥ œœ ⇥ œœ œ
⇥ œœœ
n œœœ œœœœ œ
Continue to vamp following changes
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light, a - shin - ing at night in Tu - nis - ia,
b
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Vocals Grade 8
? bb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
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60
32
b b
B b m7 Cb9
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Œ Œ ‰
3
& b œ œ œ œ bœ j œ œ œ œ œ
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nœ œ œ œ œ
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nev - er does it shine so bright. The stars are a - glow in the
b
& b bbb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
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63
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66

b b
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7
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shin - ing at night in Tu - nis - ia, they guide you through the des - sert sand.
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69
b b
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Words fail to tell a tale too ex -
b
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Vocals Grade 8
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
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72
33
b
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& bbbb j
b œ œ j œ œ Œ œ. j
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75
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78

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lease, each won- der - ful night in Tun - is - ia,
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Vocals Grade 8
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84
34
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b
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Vocals Grade 8
? bb b ∑ Ó ˙
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35
36
Vocals Grade 8

This Is Me | from The Greatest Showman 
Album: The Greatest Showman: Original Motion Genre: Pop

Picture Soundtrack Written by: Benj Pasek and Justin Paul
Released: 2017 Produced by: Greg Wells, Justin Paul, Adam Gubman
Label: Atlantic and Alex Lacamoire
Background Info 
‘This Is Me’ was written for the 2017 musical film The Greatest Showman. Released as the official lead single for the
soundtrack, the song achieved worldwide success, peaking at number 3 on the UK Singles Chart and reaching the top 10
in several countries.
The lead for ‘This Is Me’ was performed by American Broadway star Keala Settle. The actor and singer made her
Broadway debut in 2011 as Shirley in Priscilla, Queen of the Desert. She later went on to originate the role of Norma
Valverde in Hands on a Hardbody, for which she received several nominations including the Tony Award nomination for
Best Featured Actress in a Musical.
The Greatest Showman was also a huge commercial success, grossing an income of over $435 million worldwide. The
film achieved several award nominations, including ‘Best Original Song’ for ‘This Is Me’ at the 2018 Golden Globes.

Originally sung by the fabulous Keala Settle, this contemporary soundtrack anthem is a great challenge for an
advanced singer bridging into diploma level. The application of advanced breath control to support the dynamic variations
and expressive techniques will be key to portraying the stylistic essence of the song, including the lyrical content.
You should aim to demonstrate sustained and secure management of your upper chest voice and transition, with a
projected tone quality right up into the head voice hitting notes up to F#5. For this reason, it may be useful to explore the
best key for your voice, to ensure the top of your range does not sound strained.
As the song progresses, there is ample opportunity to develop the vocal line further and create your own build-up of
ad lib. lines around the backing vocals.
Vocals Grade 8
37
This Is Me
from THE GREATEST SHOWMAN Keala Settle
Words and Music by Benj Pasek and Justin Paul
q96 Pop
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Copyright © 2017 Breathelike Music, Pick In A Pinch Music and T C F Music Publishing, Inc.
38 All Rights for Breathelike Music and Pick In A Pinch Music Administered Worldwide by Kobalt Songs Music Publishing
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learned to be a - shamed of all my scars. Run a - way,
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I won’t let them break me down to dust. I know that there’s a place for us,
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I am bruised, I am who I’m meant to be. This is me.
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Look out, ’cause here I come; and I’m march -
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- in’ on to the beat I drum. I’m not scared
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to be seen, I make no a - pol - o - gies. This is me.
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(Oh.) (Oh, oh, oh, oh.)
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oth - er round of bul - lets hits my skin. Well, fire a - way,
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I won’t let them break me down to dust, I know that there’s a place for us,
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send a flood, gon - na drown ’em out. I am brave,
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I am bruised, I am who I’m meant to be. This is me.
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Look out, ’cause here I come; and I’m march-
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And I know that I de - serve your love.
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There’s noth-ing I’m not worth - y of,
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send a flood, gon - na drown ’em out. This is brave,
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(Look out, ’cause here I come; and I’m march-
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48
Weak | Skunk Anansie 
Album: Paranoid & Sunburnt Genre: Alternative Rock

Released: 1995 (album release), 1996 (single release) Written by: Deborah Dyer, Robert France,
Label: One Little Indian Martin Kent and Richard Lewis
Produced by: Sylvia Massy and Skunk Anansie
Background Info 
‘Weak’ was a song featured on Skunk Anansie’s debut album Paranoid & Sunburnt. The song was the fourth single to be
released from the album, peaking at number 20 in the UK, and certified Silver with over 200,000 copies sold.
Skunk Anansie are a British alternative rock band formed in the mid-90s. The band gained great popularity and the
lead singer Skin became the first black British woman to headline the Pyramid Stage at Glastonbury. After releasing three
albums, the band split up in 2001 to pursue solo careers and other ventures. Skunk Anansie reunited in 2009 and they
continue to record and tour to this day. In 2019 they won the Hall of Fame Award at the Kerrang! Awards.
In this classic rock song from the late ’90s, Skin shows her amazing ability to manage strong and consistent vocal

projection with a wide range of dynamics, combined with variations in tone colour.
As a rock vocalist, one key element is to blend the chest and head voice together to create a powerful projected tone,
and there are many approaches in how to achieve this ‘mixed quality’ stylistically. Importantly, if wanting to add effects
like ‘grit’, ‘rasp’ or ‘distortion ‘ to your tone, ensure this is done safely so as to not strain or damage your voice.
Performing this song, you could start in a softer aspirated voice and gradually build to a stronger projected tone in
the chorus. Pay attention to the melodic variations in the second verse (bars 17–18), and further embellishments in the
second chorus and onwards. You can use these sections as a starting point to develop the vocal line further.
Vocals Grade 8
49
Weak
Words and Music by Deborah Dyer, Robert France, Skunk Anansie
Martin Kent and Richard Lewis
q100 Rock
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50 Copyright © 1995 BMG Rights Management (UK) Ltd.
All Rights Administered by BMG Rights Management (US) LLC
(Develop on repeat)
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what am I now I’m love’s last hope, I’m all of the soft words I
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fly home. A cir - cle of an - gels deep in war, ’cause I
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want - ed you.
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no tears for you, weak as I am, no tears
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51
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& œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ
for you, deep as I am, I’m no - one’s fool, weak as I am.
#
& œœ œœ œœ œœ œœ œœ œœ œœ ‰ œœj œœ œœ œœ œœ
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Em D C 1. 2.
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27
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G A7 C D
& ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
In this taint - ed soul, in this weak young heart, am I too much
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& œœ œœ œœ # œœ œœœ # œœœœ œœœ nœ œ œœœ œœœ œ
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30
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& œœœ œœœ œœœ œœ œœ œœ œœœ # œœœœ
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Vocals Grade 8
?# œ œ œ œ œ œ œ ‰ j
33
52
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young heart, am I too much for you? In this taint -
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& œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ
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36
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- ed soul, in this weak young heart, am I too much
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for you? Weak as I am,
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Vocals Grade 8
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43
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53
1. 2. 3. (2nd & 3rd time, sing cue notes) 4.
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48
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Vocals Grade 8
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54
54
A Song for You | Ray Charles 
Album: My World Genre: Soul

Released: 1993 Written by: Leon Russell
Label: Warner
Background Info 
‘A Song for You’ was originally written and performed by American singer-songwriter Leon Russell. The song was
famously covered and recorded by several artists including Ray Charles, who recorded his version in 1993 and featured it
on his studio album My World. His version soon became popular, and in 1993 it won him the Grammy Award for Best R&B
Vocal Performance, Male.
Ray Charles was an American singer-songwriter, musician and composer. Sometimes nicknamed “The Genius”,
Charles helped to popularise soul music in the 1950s, and was known for his ability to blend genres such as jazz, blues,
R&B and gospel. His career spanned more than five decades and he recorded 55 studio albums. In 1987, he was
recognised with the Grammy Lifetime Achievement Award having had ten of his recordings inducted into their hall of fame.

This song has been a staple repertoire feature for many artists, and with this version Ray Charles displays his
incredible ability to communicate a song with sophisticated melodic phrasing and innate timing.
You should use the recorded version as a starting point to develop the song and make it your own. Try not to simplify
any scored phrases, and see if you can develop your own coloratura and riffs while maintaining the harmonic and
rhythmic feel in your performance with the backing track.
Look to use the full range of your voice to display advanced management of tessitura and register changes. Take note
of the scored dynamics to further incorporate a range of expressive techniques to communicate the lyrical content – the
longer notes are particularly inviting to demonstrate well-managed crescendos and diminuendos.
Vocals Grade 8
55
A Song for You
Words and Music by Leon Russell Ray Charles
q56 Jazz
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& 4 nœ bœ œ bœ œ nœ
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Vocals Grade 8
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56 Copyright © 1970 IRVING MUSIC, INC.
Copyright Renewed
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but we’re a - lone and I’m just a - sing - ing this song for you.
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I treat - ed you un - kind - ly but, girl, can’t you see
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Vocals Grade 8
œ œ œ
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there’s no - one more im - por - tant to me. So, darl - ing, can’t you please see through me
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’cos we’re a - lone and now I’m sing - ing my song for you.
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Vocals Grade 8
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lis - ten to the me - lo - dy ’cos my love’s in there hid - ing.
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I love you in a place where there’s no space or time,
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Vocals Grade 8
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I love you for my life, ’cos you’re a friend of mine.
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we were a - lone and I was sing - ing my song for you.
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Vocals Grade 8
nœ
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loved you in a place where there’s no space or time,
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b œ œ
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I’ve loved you for my life, yes, you’re a friend of mine.
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Vocals Grade 8
n ˙˙
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b œ œ œ œ
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we were a - lone and I was sing - ing my song for you. Yes,
b œ œœ
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& b b œœ œœœ œ œ œœœ j
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sing - ing my song, sing - ing my song, sing - ing my
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3 poco rall.
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song, sing - ing my song, singing my song.
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Vocals Grade 8
? bb ˙ . U
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62
Rise Up | Andra Day 
Album: Cheers to the Fall Genre: Contemporary R&B

Released: 2015 Written by: Cassandra Batie and Jennifer Decilveo
Label: Warner Bros. Produced by: Jennifer Decilveo and Adrian Gurvitz
Background Info 
‘Rise Up’ is a single by American Singer Andra Day. The track features on her debut studio album Cheers to the Fall and
remains her only charting single to date. Although the album only peaked at number 48 on the US Billboard chart, it was
met with positive reviews and was nominated for Best R&B Album at the 2016 Grammy Awards. Andra has also received
great recognition for her live performances, and performed ‘Rise Up’ as part of the 2021 US president inauguration parade.
Alongside her music career, Andra Day is also an actor, and portrayed Billie Holiday in the 2021 biopic The United
States vs. Billie Holiday. For this role, she won the Golden Globe Award for Best Actress in a Motion Picture and was
nominated for Best Actress at the Oscars.
This contemporary ballad shows Andra Day’s wide vocal range, effortless timing and use of tone colour. It is a good

challenge for an advanced singer to display secure register control with note clarity and intonation – especially in the
higher register.
You will notice the scored line in the chorus is slightly simplified and doesn’t include Andra’s flipped higher notes on
some of the ‘for you’ phrases. You may choose to include these and also study the original recording for variations on the
subsequent verse and bridge part. You can then either replicate these or adapt to make the riffs your own.
The verses are supported by very sparse piano, which almost gives the impression of rubato when in fact the tempo
remains throughout. You should therefore maintain a strong rhythmic pulse and secure phrasing, and be careful not to
simplify the timing. The lyrical content of this song offers a great opportunity to show advanced communication skills in
your performance.
Vocals Grade 8
63
Rise Up
Words and Music by Cassandra Batie and Jennifer Decilveo Andra Day
q58 Pop
Db Ab Bbm Gb
b 4
& b bbb 4 ‰ . r œ
‰. r
œœ
Vocals
œ œ
œ
You’re bro - ken down and ti - red of liv - ing life on a mer - ry - go -
˙ ˙˙
When the si - lence is - n’t qui - et and it feels like it’s get - ting hard to
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˙ ˙ ˙
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round; and you can’t find the fight - er, but I see it in you, so we gon’ walk it out.

˙ ˙˙
breathe; and I know you feel like dy - ing, but I prom - ise we’ll take the world to its feet.
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& b bbb ‰ œ œ œ œ œ œ ‰.
Move moun - tains. We gon’ walk it out
Move moun - tains. Bring it to its feet
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Vocals Grade 8
? bb b
bb ˙ ˙ ˙
5 ˙
Copyright © 2015 BMG Gold Songs, Londanta Publishing and Jumpin Benz Music
64 All Rights Administered by BMG Rights Management (US) LLC
Db Ab Bbm
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& b bbb œ œ œ œ œ œ œ œ
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and move moun - tains.
And I’ll rise
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and move moun - tains.
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up, I’ll rise like the day. I’ll rise up, I’ll rise un - a - fraid. I’ll rise
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up and I’ll do it a thou - sand times a - gain. And I’ll rise
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up high like the waves. I’ll rise up in spite of the ache. I’ll rise
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Vocals Grade 8
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& b bbb œ œ
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up and I’ll do it a thou - sand times a - gain for you,
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b œ. œ œ. œ œ. œ œ. œ œ. œ œ œ
& b bbb œ œ œ œ œ œ
for you, for
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bbb œ . œ œ œ œ. œ œ œ œ œ
D.C. al Coda
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& b Œ ‰ œ Œ
you, for you.
b
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fi Coda Gb Db
b œ œ. œ œ. œ œ. œ
& b bbb œ œ œ œ. œ œ ‰ œ œ œ œ
times a - gain for you, for you,
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& b b b œœœ œœ
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Vocals Grade 8
? bb b ˙. œ œ
b b ˙. œ œ ˙. œ œ
66
21
˙. œ œ
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b œ. œ œ. œ œ œ œ. œ
& b bbb œ œ œ œ Œ ‰ œ
you, for you.
b
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All we need, all we
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need is hope. And for that we have each oth - er, and for that we have each
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oth - er, and we will rise, we will rise,
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Vocals Grade 8
? bb b ˙. œ œ
bb ˙ ˙ ˙. œ œ
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˙ ˙ 67
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& b bbb œ œ. œ œ œ œ œ œ œ œ œ œ œ Œ ‰ œ
we’ll rise up. We’ll
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rise. I’ll rise up, rise like the day. I’ll rise
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up in spite of the ache. I will rise a thou - sand times
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a - gain. And we’ll rise up high like the waves. We’ll rise
bb ˙˙˙
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Vocals Grade 8
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up in spite of the ache. We’ll rise up and we’ll do it a thou - sand
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times a - gain for you, for you,
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& b bbb œ œ Œ Œ œ Œ Œ ‰ œ
you, for you. (Hm, hm,
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Vocals Grade 8
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70
Vocals Grade 8

Kiss from a Rose | Seal 
Album: Seal (Seal II) Genre: Pop/Contemporary R&B/Soul

Released: 1994 Written by: Henry Olusegun Adeola Samuel
Label: ZTT/Warner Bros. Produced by: Trevor Horn
Background Info 
‘Kiss from a Rose’ is the second single release taken from Seal’s self-titled 1994 studio album Seal (aka Seal II). The
song performed well on the UK chart following its initial release, and peaked at number 20. In 1995 the song featured in
the blockbuster film Batman Forever and was subsequently re-released as part of the soundtrack. It was this release that
saw Seal reach number 4 on the UK Singles chart and top the US Billboard Hot 100.
With Batman Forever taking ‘Kiss from a Rose’ to a larger audience, Seal was awarded three Grammys winning Record
of the Year, Song of the Year and Best Male Pop Vocal Performance.
Throughout his career Seal has released ten studio albums with record sales of over 20 million, and he has won
multiple Ivor Novello and Grammy Awards.

This is a classic pop ballad in that presents a great challenge with its complex melodic and rhythmic components,
y
preparing an ambitious singer for diploma and professional performance level.
Seal delivers an effortless-sounding performance, and it may take some studying of the melodic and rhythmic details
to ensure a smooth and consistent vocal throughout. Listen closely to the rhythmic phrasing and changes, and watch out
for the bars which shift the feel of the first beat.
o
You may use the bridge part from bar 56 to vary the melody and create your own ad-libs before returning to the melody
in bar 65. At this grade, aim to personalise the song with stylistic expression and variations in tone colour. If choosing to
alter the phrasing and melody, be careful that this is not a simplification of the key elements of the song.
Vocals Grade 8
71
Kiss from a Rose
Words and Music by Henry Olusegun Adeola Samuel Seal
E44 Pop
Slowly, in 1
6 œ œ
Gm F G
Vocals &8 œ œ bœ. œ œ œ œ œ œ œ œ œ

Ba ya ya ba da ba da da da ba ya ya. Ba ya
6 bœ. œ œ
&8 œ œ œ œ œ œ œœ œ œ œ œ œ œ
‰ œ ‰ nœ œ œ œ
F
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Piano
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& bœ. œ œ bœ. œ œ

Gm F G Gm F
ya ba da ba da da da ba ya ya. Ba ya ya ba da ba da da
& bœ. œ œ œ œ œ œ œ œ œ œ bœ. œ œ œ œœ

œ œœ œ
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‰ ‰ nœ
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b œ b œœ
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œ œ œ œ œ œ œ J œ.J œ.

3
œ œ
G Gm F G
&œ œ œ œ œ œ bœ. œ œ œ œ œ œ œ ‰
da ba ya ya. Ba ya ya ba da ba da da da ba ya ya.
&œ œ œ œ œ b œœ . œ œ œ œ œ œ œœ œ .
œ œœ œ œ b œœ œ œ œ œ
‰ nœ œ nœ œ œ œ.
? œœ .. œœ œ. bœ œ ˙˙ ..
bœ œ œ œ œ ˙.
6
E b maj 9
98 œ œ ‰ ‰ œ # œ œ .
F G
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 68
& R œ J
There used to be a grey - ing tow - er a - lone on the sea. You be-came the
98 ‰ œ ‰ ‰ œ 68
& ‰ œœœ
‰
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˙˙ .. b œœœ .. œ œ œœ . œ œ n ˙˙ .. œ œ œ. œ œ
. .
Vocals Grade 8
? 98 68
œ. œ œ œ bœ. œ. œ œœœ œœ œ .
9
72
Copyright © 1994 PERFECT SONGS LTD.
All Rights Administered by UNIVERSAL - SONGS OF POLYGRAM INTERNATIONAL, INC.
E b maj 7
œ œ œ. œ
œ 6 œ œ œ œ œ œ œ
F G F C
& 68 œ œ œ œ œ 98 œ œ ‰ . œ œ 98
nœ J 8
light on the dark side of me. But love re - mains a drug that’s the high and not the
& 68 ‰ œ ‰ œ 98 ‰ œ ‰ ‰ œ 68 œ 98
b œœœ .. œ œ œœ .. œ œ n ˙˙ .. œ œ œœœ œ. œ œ œœ œœ œ œœ
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.
? 68 j 98 . 68 œ œ œ œ œ œ 98
bœ. œ œ œ œ. œ.
12
E b maj 7
œ #œ œ œ j
& 98 œ œ 68 b œ . œ œ
G Gm F
œ œ. œ bœ œ œ œ œ
pill. But did you know that when it snows, my eyes be - come large and the
& 98 œ . 68 ‰
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b b œœ ...
œ
? 98 68 j ‰
œ œ œ œ. œ œ œ bœ œ œ œ
15

E b maj 7 bœ
œ J
F G
& bœ. œ œ œ œ nœ. Œ

light that you shine can’t be seen. Ba -
& œ œ œ
œœœ . œ œ œ œ œ œœ
b b œœœœ .... n œœ
. œ. œ œœ œ œ
?
bœ. œ œ œ œ œ œ œ œ œ œ œ
17
E b maj 7
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
F G
œ œ œ bœ œ œ
& œ R
by, I com-pare you to a kiss from a rose on the grey. The more I get of you the
& œœ .. œœ .. œœ .. œœ .. œœ ..
œ. œ. b œœœ . œ œ œ œ œ nœ. œ œ œ. œ œ
Vocals Grade 8
? j
œ œ œ. œ œ œ bœ. œ œ œ œ œ œ.
19 œ
73
E b maj 7
œ
Fsus 4
œ œ œ œ
F G
œ œ œ œ œ œ F
& œ nœ œ œ œ œ bœ
R R
strang - er it feels, yeah. And now that your rose is in bloom, a
& œœ j œœ .. œœ .. œœ .. œœ
b œœ œ œ œ œ œ. œ. b œœœ œ œ œ œ œ
? j j
œ œ œ œ œ. œ œ œ œ œ bœ œ œ. œ œ
22 œ
E b maj 7
œ œ
F G Gm7 F
œ œ œ bœ œ œ
& œ œ œ œ. œ œ œ bœ. œ œ œ
light hits the gloom on the grey. Ba ya ya ba da ba da da
& œ. œœ .. œ. œœ œ œ b œ . œœ œ œœœ œ œ œœ
b œœ .. œ œ œ œ œ n œœ .. œ ‰ œ
? j œ œ
bœ œ œ œ œ œ. œ œ œ bœ. œ œ œ
25

G Gm7 F G
&œ œ œ œ œ œ bœ. œ œ œ œ œ œ œ œ.
œ
da ba ya ya. Ba ya ya ba da ba da da da ba ya ya.
&œ œœ œœœ œœœ œœœ œ œœ b œœœ . b œœ œ œœ œ œ œ œ œœ œœ œœ œ œ

‰ bœ œ œ œ nœ œ œ œ œ
? œ œ
œ œ œ bœ. œ œ œ œ œ œ
28
œ œ œ œ.
E b maj 9
œ œ œ b œ 98 œ n œ ‰ ‰ œ # œ œ . œ œ
F G
œ œ œ œ œ œ œ œ œ œ 6
& R œ J 8
There is so much a man can tell you, so much he can say. You re - main my
& ‰ ‰ ‰ œ ‰ œ 98 ‰ œœ ‰ ‰ œ 68
˙˙ .. œ œ œ œ œ œ b œœœ .. œ œ œœ .. œ œ n ˙˙ .. œ œ
œ œ œ œ œ
. .
Vocals Grade 8
? 98 68
œ. œ œ œ bœ. œ. œ œœœ œ œ œ.
31
74
E b maj 7 E b maj 7
F G F
& 68 œ œ œ bœ . œ œ bœ œ œ œ œ #œ œ œ œ œ œ œ
pow - er, my pleas - ure, my pain. Ba - by, to me you’re like a grow-ing ad - dic - tion that I can’t de -
j
& 68 œœ .. œœ ‰ ‰ ‰ œœ
œ œ œ œ œ
b œœ .. œ œ œ œœ œœ œœ œ b œœœœ œœœ œ œœ
œ œ œœœ œ
? 68 j Œ.
bœ œœœ œ œ œ ‰ ‰ bœ. œ œ
j
34
E b maj 7
œ #œ œ
œ #œ bœ j
G F G Gm
& œ. œ œ œ œ œ œ bœ œ œ ‰. œ nœ. œ
ny. Won’t you tell me, is that health-y, babe? But did you know that when it snows, my
j
& ‰ œ œ œ ‰ œ œ œ œœ œ
j
œœœ . œ
˙˙ .. œ. œœ .. b œœœ ...
. œ.
? j
œ. œ œ œ œ. œ bœ
37
bœ œ œ œ œ œ

E b maj 7 E b maj 7 bœ
œ œ œ œ J
& bœ. bœ.
F F G
œ œ œ œ œ œ œ. Œ
eyes be-come large and the light that you shine can’t be seen. Ba -
& œœ œ œ. œ n œ œ œœœ . œ œ œ œ
œ œ b œœœ œ œ œœ œ
bœ œ œ œ œ œœ œ œ . n œœ .. .
? j
bœ œ œ œ œ bœ œ œ œ. œ. œ.
40
E b maj 7
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
F G
œ œ œ bœ œ œ œ
& R
by, I com - pare you to a kiss from a rose on the grey. The more I get of you the
œ. œœœ ... œœ œœ œœ œœ œœ .. œœ ..
& œœœ ... œ. œ œ œ
J
œ œœ .. œœ ..
J
Vocals Grade 8
?
œ. œ œ œ. œ œ bœ. œ œ œ œ œ œ. œ œ
43 œ
75
E b maj 7
œ nœ
Gm/F F G F
& œ œ bœ
R R
strang - er it feels, yeah. And now that your rose is in bloom, a
œœ . œœ ..
& œœ œœ
b œœ œ œ œ n œœœ ... œœœ ... œœ . œ b œ œ. œ œ
œ. œ. œœ ..
? j
œ œ œ œ œ œ œ. œ œ œ. œ œ bœ œ œ.
46
E b maj 7
œ œ
F G
& œ œ œ bœ œ. Œ.
œ œ œ
light hits the gloom on the grey.
& b œœœ ... œœœ œ œ œ. œ. œ œ

n œœ .. œœ .. œ
? bœ œ j
bœ. œ œ œ œ. œ œ
49
E b maj 7 F G E b maj 7 F
& b œœœ ... œ œ œ bœ. œ œ

œ œ œ œœ ..
œ. œ œ
œœ .. œ œ nœ. œ œ œ œœ .. œœ .. œ

?
œ œ. œ j
51
bœ. œ œ œ bœ. œ.
G E b maj 7 F E b maj 7 F
& œ. œ œ b œœœ ... œ œ œœ œ b œœ .. œ œ œœ œ b

nœ. œ œ œ œœ œ. œ. œ. œ. œ
? j j b
œ œ œ œ œ bœ. œ œ bœ œ œ. œ œ
54
b
œ
œ j
œ.
F C/F C B F C/F
œ. œ œ œ œ œ œ œ œœ œœ
& b œ. œ. J
I’ve been kissed by a rose on the grey. I’ve been
(I’ve been
& b ‰ œ œ œ œœ œ œ œ œœ .. œœ .. œ œ œ œ œœ
œ œ œ œ œ
Vocals Grade 8
r œ œ
? b ˙. œ
˙. œ. œ. œ œ ˙˙ .
.
57
76
C Bb F C/F C Bb
œœ œœ œœ n œœ œœ œ. œ œ œ œ œ œ œ œ
& b œ œ œ œ.
J
kissed by a rose on the grey. I’ve been kissed by a rose on the grey.
œ œ œ œ œ œ œ œ.
kissed by a rose).
& b œœ .. œœ .. œ œœ .. œœ ..
œ œ œ.
rœ œ Œ. œœ .. rœ œ
? b œ. œ œ
œ. œ œ ˙˙ .
.
œ. œ. œ œ
60
Bb
j
F C/F C
œ. œœ œœ œœ œœ œœ œœ œœ œ œ œ
b
& œ. n
J J
I’ve been kissed by a rose on the grey.
(I’ve been kissed by a rose.)
œ
&b œ œ œ œ œ œ œ œœ ..
œ. ‰
œ œ œ
n
Œ. œœ .. r
? b ˙. œœ œœ œ œ œ
˙. œ. n
63

E b maj 9
œ œ nœ œ.
G F Gsus 4 Gmaj 7
r œ œ œ œ œ œ œ œ œ œ bœ #œ œ œ
& œ œ J
There is so much a man can tell you, so much he can say. You re-main my
œœ ..
& œœ .. œœœœ .... b œœœ ... œœœ ..
.
œœ .. # n œœœ ...
œ.
? j
œ. œœ œ œ. œ bœ œ œ œ œ œ. œœ œ œ. œ
65
E b maj 9 E b maj 7
œ.
G5 C 13sus 4 F add 9
nœ œ œ
F
& œ œ œ Œ bœ
R
œ bœ œ œ œ œ #œ œ œ œ œ œ #œ
pow - er, my pleas - ure my pain. To me you’re like a grow-ing ad - dic - tion that I can’t de -
œ
& b œœ . œ œ œœœ ...
œœ œœ ‰ ‰ b œœœœ ..
. b œœœœ .... œœœœ œ œ œ
Vocals Grade 8
œœ ..
?
bœ œ œ œ œ œ œ œ ‰ ‰ bœ. œ œ œ
68
77
E b maj 7
œ #œ œ #œ j
G F G Gm
r ‰ bœ œ œ œ œ nœ. bœ
& œ œ œ œ œ œ œ œ œ œ œ
j j
ny. Now won’t you tell me, is that health-y, ba - by? But did you know that when it snows, my
& œœ .. œœ œœ œœ œœ j
œ œœ œœ œœ j œ
nœ. œœ œ œ œ œ œ œ œ œ b œœ œ
? j
œ. œ œ œ œ œ œ bœ. œ œ œ. œ. œ œ
71
E b maj 9 E b maj 9
œ œ
F F
& bœ. œ œ œ œ bœ. œ œ œ œ

eyes be - come large and the light that you shine can’t be
j
& b œœœ ... œœœ œœ b œœœœ .... œ œ œ œœ œœœ
œ. œ œ J
?
74
bœ œ œ œ œ œ bœ. œ.
bœ œ œ œ œ œ
Œ J œ œ œ œ
G
& œ.
seen. Ba - by, I com - pare you to a
nœ œœœ ... œœœ ...

& n œœœ œ œ n œ œ # œœ œ œœ œ œœ
œ œ. œ.

?
œ. œ œ œ œ. œ œ œ. œ œ
76
E b maj 7
F G Gm/F F
œ œ œ bœ œ nœ
& .. œ œ œ R
kiss from a rose on the grey. The more I get of you the strang - er it feels, yeah.
œœ œœ œœ œœ œœ .. œœ .. œ. œœ ..
.
.
& œ œ œ œ œœ .. œœ .. b œœœ œœ œœ œ œ œ
J J
? ..
bœ. œ œ œ œ œ œ. œ œ œ œ œ œ œ œ
78 œ
1.
E b maj 7 E b maj 7
r œ œ œ œ œ œ
G F F6
œ œ œ œ œ œ œ bœ
&œ œ bœ
R œ œ œ
And now that your rose is in bloom, a light hits the gloom on the
œ. œœœ ...
& œœœ ... œœ . œ b œ œ.
œœ .. œ œ
b œœ .. œœœ œ œ
Vocals Grade 8
œ. œ. .
? j bœ œ
œ. œ œ œ. œ œ bœ œ œ. bœ. œ œ œ
81
78
2.
E b maj 7
F 6/9
œ
G
& œ ‰. .. ⇥ bœ
R
grey. Yes, I com - pare you to a rose is in bloom, a
œ œ œ
& œœ .. œ. œ œ .. b œœœ .... œœœœ ...
œ. œœ .. œ .
? j ..
œ. œ œ bœ. œ œ œ œ œ
84
#
E b maj 7 11 E b add 9
œ œ
F 6/9 G
œ œ œ bœ œ œ ∑
& œ ˙.
light hits the gloom on the grey.
œœ .. œœ bœ n œœ .. œœ
& œ. œœ bœ n œœ .. œœ œ œ b œœ .. œ œ œ œœ œœ
J
Œ. œœ . ⇥ r ⇥
? j . œœ œ œœ
bœ. œ œ œ œ ˙. bœ. œ.
86

E b maj 7
œ
G5
& Œ. bœ. œ œ œ œ œ œ. œ bœ
F G
Œ œ œ œ œ œ
Now that your
Ba ya ya ba da ba da da da ba ya ya.
& œ œœ œ œ œ œœ bœ. œ œ œ œ œœ œ œ œ.
‰ œ ‰ œ b œ œ. bœ œ œ œ nœ œ œœ œ .
⇥ œr œ ⇥ œr œ
?
œ. œ. bœ. œ. œ œ œ
89
œ.
Freely
U" U"
E b maj 7
U
G5
œ œ bœ œ œ œ œ bœ œ œ œ œ œ œ œ.
& ‰. œ ‰
rose is in bloom, a light hits the gloom on the grey.
U
& ˙˙ .. ∑ Œ.
œœ .
.
Vocals Grade 8
U
? b b ˙˙ .. ∑ Œ. œœ ..
92
79
80
Vocals Grade 8

I Have Nothing | Whitney Houston 
Album: The Bodyguard: Original Soundtrack Album Genre: Contemporary R&B/Pop/Soul

Released: 1993 Written by: David Foster and Linda Thompson-Jenner
Label: Arista Produced by: David Foster
Background Info 
‘I Have Nothing’ was written by David Foster and Linda Thompson for the 1992 feature film The Bodyguard. The
song was performed by Whitney Houston in her role as female lead Rachel Marron, and features in the film’s official
soundtrack. The song was met with critical acclaim, peaking at number 4 in the US and number 3 in the UK upon its
release. ‘I Have Nothing’ received several nominations, including the Academy Award for Best Original Song.
Whitney Houston was an American singer and actress. Throughout her career, she released seven studio albums,
sold more than 200 million records worldwide and won over 400 awards. She is regarded by many to be one of the most
influential female vocalists of all time, and in 2020 she was honoured with an induction into the Rock and Roll Hall of Fame.
This classic soulful Contemporary R&B ballad in time shows Whitney Houston’s astonishing command of melismas

y
and melodic phrasing. The song is a good challenge for a confident singer and helps build a bridge into diploma and
professional performance level.
Whitney Houston’s performance exemplifies powerfully maintained vocal projection of the mix and head voice. Unless
you have the technical stamina to sustain it, you should avoid singing too loudly at the start of the song as your voice may
become fatigued, leading to a strained vocal sound.
Instead, you could approach this song with dynamic variation to suit your vocal type, using your resonators to add extra
colour to the sound. This approach will help you to create a convincing and engaging build up to the famous key change at
the end.
The vocal score has a simplified melody compared to Whitney Houston’s melismatic vocal line, and you may use the
second verse onwards to create your own variations inspired by the original.
Vocals Grade 8
81
I Have Nothing
Words and Music by David Foster and Linda Thompson-Jenner Whitney Houston
E51 R&B/Pop
Moderately, with "2" feel
Gmaj 7 Em11
# 6 œ œ œ œ œ œ œ œ
& 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
F ˙œ . ˙˙ ..
œ. œ
? # 68 ˙ . . ‰ œ
Piano
œœ ..
Pedal throughout
œ.
#
Cmaj 9 11 Gm13
# œ
D N.C.
œ œ œ œ œ œœ œœ ‰ œœœ œœœ ‰
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?# œœœ ... œœ .. œœ . œœœœ ...

.
œœ .. œœ .. œ .. œ œ ‰ œ œ ‰
5
# .
Gmaj 7 Em11
& . œ. œ. œ. œ œ œ Œ j
œ œœœ œœ œ œ œ

œ
Share my life, take me for what I am. ’Cause
You see through, right to the heart of me. You
& .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙. œ.
? # .. ˙ . œ. œœœ ... œœœ ... œœœ ...
10
œ.
#
Cadd 9 D/C Gmaj 9/B Am7 D7
& Œ j
œ œ œ œ. œ œ œ œ œ œ œ œ.
I’ll nev - er change all my col - ors for you.
break down my walls with the strength of your love.
#
& œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œœœœ œ œ œœœ œ
œ œ œ œ œ
?# œœ .. œ. ‰ œ œ.
Vocals Grade 8
˙˙ .. ˙˙ ..
14
Copyright © 1992 by One Four Three Music, Linda’s Boys Music and Warner-Barham Music LLC
All Rights for One Four Three Music Administered by Peermusic Ltd.
82 All Rights for Linda’s Boys Music Administered by Warner-Tamerlane Publishing Corp.
All Rights excluding print for Warner-Barham Music LLC Administered by Songs Of Universal, Inc.
Exclusive Print Rights for Warner-Barham Music LLC Administered by Alfred Music
# Gmaj
7 Em11
& œœ . œ. œ.œ. œ œ œ j Œ j
œ œœ œ
œ œ œ
œ œ
œ. œ œ
œ œ
Take my love, I’ll nev - er ask for too much just
I nev - er knew love like I’ve known it with you. Will a
& 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.
18
# Cadd ‰.
9 D/C Gmaj 9/B
& œ œ œ œ œ. œ œ œ œ œ œ ˙.
all that you are and ev - ’ry - thing that you do.
mem - ory sur - vive, one I can hold on to?
# œ œ œ œ œ œ œ
& œ œ œ œ œœ œ œœ œ œ œ œ
œ. œ. œ.
?# œœ ..
œ .. œ ..
22 œ œ

# Am
11 Dadd 2 Am9 Bm7 Em9
& j
I don’t real - ly need to look ver - y much farth - er,
#
œœœœ .. œ
& œœœœ ...
. .. œ
œ œ œ
œ œ œ œ œ œœ . œ œ
?# œ ˙. œœ .. j
œ. œ œ ˙. œ
25
œ
# Am
9 Bm7 Em11 Am9
& œ œ ‰ j
œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ
I don’t wan - na have to go where you don’t fol - low. I won’t hold it back a - gain, this
# ‰
œ
& œ
œ œ œ
œ œ œ œ œ œœœ œœœ œ
œ œ œ
œ œ
> >
Vocals Grade 8
? # ˙. œœ .. ‰ ˙.
˙. œ œ ˙.
28
> > 83
# 38 68
Bm7 Cmaj 9 Am7 Bm7 Cmaj 7
& j œ œ œ œ œ œ œ œ
pas - sion in - side. Can’t run from my - self, there’s no - where to
# 38 68
& œ œ œ œ œœœ œ œœœ œ œœ œœ œœ
? # ˙˙ .. ˙. 38 œ œ 68
œ
31
2° only
# bb
& 68 ˙ .
D 9sus 4 D9
Œ. œ bœ œ
N.C.
œ œ œ œ œ œ œ œ œ œ œ œ œ.
hide. Your love I’ll re-mem - ber for - ev - er. Don’t make me
# bb
& 68 ˙˙˙˙ ... œœ œœ œ œ œœ œœ
œ œ œ œ œ œœœ œ œœœ œ œ œœœ .. œœœ ...
œ bœ œ
. J .
? # 6 ˙. ‰ ‰ j Œ. bb
8
34 œ œ œ œ œ œ œ. œ.

E b maj 9
b .
&b œ œ
Dm7 Cm9 Dm7
œ œ œ œ. ‰ œ œ œ œ œ. œ œ œ
close one more door. I don’t wan - na hurt an - y -
b .
& b œœœœ ... œœœ ... œœ œ œ œœ œ œœœ œ œœœ œ œ
œ. œ œ œ œ œ œ
? bb
j
38
œ. œ œ œ œ. œ œ ˙.
B b/F E b maj 9
œ r
bb œ œ. œ œ œ. œ
Gm7 Dm7 Cm7
& œ œ ‰ ‰ œ œ œ œ œ œ
more. Stay in my arms if you dare, or must I i -
b
&b œ . ‰ œœ œ œœ œ œœ œœ œ
œœœ .. œœœ œœ
.
Vocals Grade 8
? bb ‰ j
œ. œ œ œ. œ œ œ
41 œ. œ œ
84
b
Dm7 Gm7 Dm7/F Cm7 Dm7 Gm7
& b œ. œ œ œ œ œ ‰ œ œ ⇥ œ œ œ œ œ. œ. ‰ œ œ
mag - ine you there? Don’t walk a - way from me. I have
b
& b œœœœ œ œ œœœœ œ œ œœ œ œœœ ‰ œœ œ œ œœ œ œ œ
œ œ œ œœœ œ œ œ œœ œ œ œ œ œœ œ œœ
? bb ‰ j
˙. œ. œ œ œ. œ œ œ. œ œ œ
44
1.
E bmaj 7 B b add 2/D Cm7/F F7 Bb
b œ œ ‰ ‰ œ œ œ œ œ.
&b œ œ ‰ œ œ ‰ œ. œ. J
noth - ing, noth - ing, noth - ing if I don’t have you,
bb ‰ j ˙˙˙˙ ....
& œœ œœ
œ œ œœœ œœœ ‰ œœœ œœœ œœœœ ....
œœ œ
œ œ œ œœ œ œ
œ œ
? bb ˙.
‰ ‰ j
48
œ œ œ œ œ œ œ. ˙.

E b maj 9
b
Gm7
& b Œ. Œ.
F
œ œ œ œ. œ. œœ ‰ œ œ œ œ ‰
œ œ œ
you, you, you, you.
b
& b œœœ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œœœ œœ œ
œ œ œœ œ œ
œ œ œ œ œ œ
? bb œ œ .
J œ Œ
˙. œ œ œ. ˙.
52
2.
####
bb .. œJ
D 7sus 4 D7 Cm7/F
œ œ. œ. œ. œ.
N.C.
& ∑ œ. #
noth - ing. Don’t make me
j ####
& bb œœ .. œœœ œœœœ œœœœ ... œœœœ ... œ. œ. œ. #
œ œ œ # œœœ œ n œ œ . .
Vocals Grade 8
œ. œ. œ.
? bb œ. .. j ####
œ. œ œ œ. œ. #
56
85
# # # # Emaj
.
D # m7 C # m9 D # m7
& # œ œ œ œ œ œ. œ œ œ œ œ.
9
‰ œ œ œ
close one more door. I don’t wan - na hurt an - y -
#### œ œ œ œ œ œ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ

& # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
œ œ œ œ œ œ
? #### j j
# œ. œ œ œ œ. œ œ
60 œ. œ œ
#### G # m7
‰
D # m/F #
œ œ œ œ.
Emaj 9
œ œ
D # m7
œ œ œ
C # m9
r œ. œ
& # œ œ œ œ œ
more. Stay in my arms if you dare, or must I i -
#### œ œœœ œœœ œœœ œœ ‰ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
& # œœœ œ œ œ œ
? #### ‰ j
# œ. œ œ œ. œ œ œ
63 œ. œ œ

D # m7 G # m7 D # m7/F # C # m7
####
& # œ. œ œ œ œ œ œ ‰ œ œ œ œ œ œ.
œ
mag - ine you there? Don’t walk a - way from me,
##
& # # # œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœ
œ
œœœ œœœ œœ
œ œ œ œœœ ‰ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
? #### j ‰ j
# œ œ œ œ. œ œ
66 . œ. œ œ
# # # # D œm.
# G#m F# C # m7 D # m7 G # m7
œ œ œ œ œ œ œ. œ œ œ œ
7
& # œ ‰ œ
no. Don’t walk a - way from me. Don’t you dare walk a -
#### œ
& # œœ œœ œœœ œœœ œœœœ ‰
œ œ œ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœ œœœ œœœ œœœ œ œœœœ œœœœ
œ œ œ œ
Vocals Grade 8
? #### j ‰ j œ
# œ œ œ œ œ. œ œ œ
69 œ. œ œ
86
C # m7 D # m7 B/D #
#### œ j
Emaj 7
& # œ œ œ œ Œ. ‰ œ œ ‰ œ œ ‰
œ œ
way from me. I have noth - ing, noth - ing,
#### œ œ œ œ œœœœ œœœœ

& # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ‰ œœœ œœœ ‰
? #### j ‰ ‰
# œ. œ œ œ œ œ œ
72 œ. œ œ œ
# # # # F œsus œ .
#7
œ œ œ œ œ œ œ.
4
œ ‰ œ
B
& # œ œ œ.
noth - ing if I don’t have you,
# # # # œj œ œœœ .. ˙˙˙ .. œ œ
& # œœ œœ œ œ œ œ œ œ
œ œ œ .. ˙ ..
? ####
# œj œ œ. ˙. ˙.
75

B/A # G # m7 F # add 4
#### Œ .
& # œ œ œ œ. Œ. ‰ œ œ œ.
you. If I don’t
##
& # # # œœ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œœ
œ œ œ
? #### œ .
# œ. ˙. œ. œ.
78
#### F # 7sus 4 F#7

U
Œ.
Emaj 9
‰ ‰
B
& # œ œ œ œ.
œ œ œ œ œ œ. œ
U
have you, oh, ooh.
#### ˙˙ ..
& # œœ œ
œ œ œ œœ œ œ œœœ œ œ œ œ œ œ ˙˙ ..
Vocals Grade 8
? #### U
rit.
# ˙. ˙. ˙.
81
87
Technical Exercises
Group A: Scales
In this group, you will be asked to perform a chomatic scale. The example below is shown from the starting note of A3,
however, you may perform it from a starting note of your choice. Please note: the examiner can play starting notes in the
range A3–G#4, but you may sing in any octave.
This test is performed to a compulsory metronome click. The examiner will ask you which starting note you have chosen.
You will hear the starting note followed by a one-bar (four click) count-in. You may perform this test using any vocal sound
except humming or whistling. The tempo is q =100.
Chromatic Scale
¿ ¿ ¿ ¿
q = 100
4 Œ Ó
&4 œ œ #œ œ #œ œ œ n œ œ n œ œ #œ n œ #œ n œ œ
w w œ #œ œ œ #œ œ #œ #œ œ
Group B: Arpeggios
In this group, the arpeggio exercise needs to be prepared as shown below. The example is shown on the starting note of C4,
but you may perform it from a starting note of your choice. Please note: the examiner can play starting notes in the range
A3–G#4, but you may sing in any octave.
You will hear the starting note followed by a one-bar (four click) count-in. You may perform this test using any vocal sound

Diminished 7 arpeggio
¿ ¿ ¿ ¿
q =100
& 44 w w œ bœ bœ
œ œ œ œ œ
œ bœ bœ
œ œ œ œ œ
œ
Œ Ó
Vocals Grade 8
88
Group C: Intervals
In this group, the two interval sequences need to be prepared as below.
You will be asked to perform one of them in the exam, as chosen by the examiner. The examples below are shown on the
starting note of F4, but you may perform them from a starting note of your choice. Please note: the examiner can play starting
notes in the range A3–G#4, but you may sing in any octave.
You will hear the starting note followed by a one-bar (four click) count-in You may perform this test using any vocal sound
Major 7th, minor 7th and octave intervals
¿ ¿ ¿ ¿
q = 90
4 œ bœ œ
Candidate sings:
&4 w w œ œ œ ˙
Major 3rd and minor 3rd intervals
¿ ¿ ¿ ¿
q = 90
& 44 w
Candidate sings:
w œ œ œ bœ w

Vocals Grade 8
89
Technical Exercises
Group D: Backing Vocals

In this group, you must prepare all three vocal parts to your choice of one of the exercises below.
The Examiner will ask which exercise you have prepared: Exercise 1 (in G minor) or Exercise 2 (in A minor). You will then
be asked to perform one backing vocal part (A, B or C) in the exam, as selected by the examiner. The selected part must be
sung alongside the other two parts on the recording.
The backing tracks for these can be found in the downloadable audio.
Important note
The exercises are not gender specific. You are free to choose the range which best matches your voice, regardless of the
gender of the vocalist on the recorded examples.
Exercise 1 | G minor
q =130 Rock
Eb Bb
b j j j j
A
& b 44 œ
Gm F
œ œ ‰ œ œ œ œ œ ‰ œ œ œ ‰ œ œ ‰ œ ‰ œ œ œ Œ
Let’s get down, it’s time to get loud, we’re the heart and soul of this town.
b ‰ œj œ œ œ
B
& b 44 œ œ œ œ ‰
œ œ œ
‰ œj œj ‰ œ ‰ œj œ œ Œ
b
C
& b 44 œ œ œ
‰ j
œ œ œ œ œ ‰ ‰ j j ‰ œ ‰ j Œ

Eb
bb
Gm F
œ œ ‰ œ œ œ œ Ó œ
3
& œ œ œ œ œ œ
Do it right now, do it right now we are the fu - ture.
b
&b œ œ ‰
œ œ œ œ Ó
3
b
&b ‰ Ó
3
Vocals Grade 8
90
Technical Exercises
Exercise 2 | A minor
(Vocal on recording sounds an octave lower than notated)
q =130 Rock
4 œ œ œ ‰ Jœ œ œ œ œ œ ‰ œJ œ
A
‰ œ œ ‰ œ œ ‰ œ œ
Am F C G
&4 J J Œ
j
B
& 44 œ œ œ ‰ œ
J
œ œ œ œ ‰ œ œ œ ‰ œ œ ‰ œ
J J
‰ œ œ œ Œ
j ‰ œj œj ‰ œ ‰ œj œ
C
4 ‰ œ œ œ œ ‰ œ œ Œ
&4 œ œ œ œ œ œ
œ œ ‰ œ œ œ œ
Am F G
& œ œ Ó œ œ œ œ œ
3
œ
& œ œ œ œ ‰ œ œ œ Ó œ œ œ œ œ
3
& œ œ œ œ ‰ œ œ œ œ Ó
3
œ œ œ œ œ

Vocals Grade 8
91
Technical Exercises
Group E: Stylistic Studies

You will need to prepare one stylistic technical study from one of the genre groups listed below. Your choice will determine
the style of the Quick Study Piece. If you choose the Jazz and Blues Stylistic Study, for example, the examiner will give you a
QSP from the Jazz and Blues group.
■ Pop and Musical Theatre

■ Soul and Contemporary R&B
■ Jazz and Blues
■ Rock and Indie
The examiner will ask you which genre group you have chosen, and which of the two studies you have prepared (Study 1 or
Study 2). The examiner will then play the backing track and you must perform the prepared Stylistic Study.
Important note
Studies 1 and 2 are not gender specific. You are free to choose the range which best matches your voice, regardless of the gender
of the vocalist on the recorded examples. You may sing in any octave but the studies cannot be transposed to a different key.
Minor changes of lyrics are acceptable and do not need to be cleared by the examiner.

Vocals Grade 8
92
Technical Exercises
Stylistic Studies | Pop and Musical Theatre | Study 1 Dramatic dynamics and inflections / Sustains with vibrato
q = 75 Musical Theatre
Ab Dbm
p
bb b 4 œ j ‰ œ œ œ
& b 4 œ œ œ œ œ œ bœ œ bœ œ
œ œ
Wait - ing for re - al - i - ty to dawn, in my wak - ing mind I
Ab Dbm
p ~~~~~~~~~~~~~~~~~~ f
Fm
bb b œ b˙. Œ j œ nœ
& b œ œ œ. œ œ œ œ ‰ œ œ œ œ œ
œ > > œ > >
feel your pres - ence in my fad - ing dreams. Out, I must purge you like the de -
~~~~ ~~~~~~~~~~~~~~~~~ P
j >œ j
E Fm E
bb n˙.
&bb œ œ œ nœ nœ œ ‰ œ œ. œ ‰ œ
> > œ œ œ œ >œ œ
- mon that you are. I can not
>
let your mor - tal soul be free. So
Ab Dbm p Ab
~~~~~~~~~
bb ‰ b œj œ œ ˙
&bb œ œ œ
I must fo - cus all my pow'r and send you to the dark - ness. Be - yond my dreams.

Stylistic Studies | Pop and Musical Theatre | Study 2 Dramatic dynamics and inflections / Sustains with vibrato
q = 70 Music Theatre
F
D Bm
# œ ~~~~~~j
& # 44 œ œ œ œ œ œ ‰ œ
3
On my jour - ney home I’ll pack my tears and hide my pride. I’ll walk the
# F œ
œ ‰ œ œ œ œ
Em A D
r
& # œ œ œ œ ‰. œ œ œ œ. œ œ œ œ œ œ œ œ œ ‰ J
3 3
œ œ J
lone - ly av - e - nues, and pick my way be - tween the sta - tues of my life. I will be - come the man my
## œ œ œ œ œ œ F f
b
G # m7 5
œ ‰ œJ œ œ œ œ œ œ œ ‰ œ
Bm G
& œ œ œ œ œ œ ‰ œ bœ œ J
fath - er will be proud of. I’ll face up to my des - ti - ny, re - gain my for - mer dig - ni - ty and
ƒ
˙~~~~~~~~~~~~~~~~~~~~~
A G A
# # œ~~~~~~~~~~~~
. œ œ~~~~~~~~~~~~
. œ œ~~~~~~~~~ ‰ j œ œ œ .
& J œ Œ
J
Vocals Grade 8
rise a - bove the fear that plagued my life.
93
Technical Exercises
Stylistic Studies | Soul and Contemporary R&B | Study 1 Long melisma / Register flips
q = 75 R&B
Eb B b m6 Eb
b 4 j j
&bb4 Œ Œ
Cm
œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ j
j
œ œ œ.
œ
Filled with guilt and with fear. Now that you’ve gone and I need you
Ab Eb B b m6
& b bb Œ œ bœ Œ ‰ j œ œ
˙ œ. œ œ œ œ œ ˙ œ œ œ
near. Don’t look back, I’m mov - ing on.
Eb Ab
Cm Fm 3
& b œ œ. œ œ. œ œ œ œ œ ˙ Ó Œ
œ œ œ
I will al - ways be
Ab Abm Eb
b
Cm
&bb Œ Œ œ œ œ œ œ œ Ó
˙. œ œ ˙
here, I will al - ways be near.

Stylistic Studies | Soul and Contemporary R&B | Study 2 Long melisma / Register flips
q = 70 Soul
& 44 ˙ j
œ ‰ œ
j ‰ Œ
A m7/G F6 G6 A m7/G G6 A m7/G
œ ˙ œ œ œ œ œ œ œ
˙
It’s been so long since you went a - way. Ooh.
b
r rœ œ
œ œ
F6 G6 A m7 C m6/E F6 G6
& œ Œ œ ‰. œ ‰. œ
œ œ œ œ
I, I’ll nev - er for - get you I swear. I want you to be
A m7/G G6 A m7/G F6
œ œ œ œ œ
G6
œ
& œ œ œ œ œ œ ‰ œ
J
Œ
near. Woh.
C m6/E b
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
A m7 F6 E m7
‰ Œ
Am
& J œ ˙.
Now I know that you’ll nev - er come back. Now I know that since you went a - way.
Vocals Grade 8
94
Technical Exercises
Stylistic Studies | Jazz and Blues | Study 1 Unaccompanied chromatic runs / Wide pitch jumps
q = 82 Jazz
6 j
E m7 Am D Bm E7
& 8 œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ
With a lit - tle pat - ience I’m wil - ling to take you by the hand and
b
Am Dm B m7 5 E7 Am Dm
& œ œ j ‰ j œ œ œ. œ œ œ
œ
lead you on a mer - ry dance to find the won - der - land. I prom - ise you hap - pi - ness ’cos
b b
r 6 6
B m7 5 E7 Am Dm B m7 5
& œ
œ œ œ œ œ 4 œ bœ œ bœ œ œ bœ œ œ œ œ œ nœ œ œ œ œ œ œ œ. 8
that’s the on - ly rule. But don’t ig - nore my good ad - vice and treat me like a fool or you’ll find your - self run - ning
6 œ œ 4 j
Am D Bm E7 F maj 7 Am
&8 œ œ ‰ œ œ œ ‰ œ 4 œ. œ œ œ œ œ. œ œ œ ‰ Œ Ó
J J
out of luck and out of time. So grab your chance and fol - low me.

Stylistic Studies | Jazz and Blues | Study 2 Unaccompanied chromatic runs / Wide pitch jumps
q = 82 Jazz
F#m
P B m7
j
Em A B7
j
#6 œ œ œ œ œ œ œ
& 8 œ. œ œ. œ œ œ œ œ œ œ
With a lit - tle pa - tience I’m will - ing to take you by the hand and
b
F # m7 5 F œ œ œ œ œ
# œ œ œ œ œ œ. r
Em Am B Em Am
& œ œ œ œ œ œ œ œ ‰ œ œ
J J
lead you on a mer - ry dance to find your won - der - land. I pro - mise you hap - pi - ness ’cos
b
F # m7 5
P Em b
F # m7 5
# r 6 œ bœ œ bœ 68
œ œ œ œ œ œ œ œ.
B7 Am
& œ œ œ œ œ œ 4 œ bœ œ œ œ œ œ nœ
that’s the on - ly rule. But don’t ig - nore my good ad - vice and treat me like a fool. Or you’ll find your - self runn - ing
# 6 Eœm œ Aœ œ F#m
œ œ.
‰ œ œ œ ‰ œ 44 œ . œ œ œ œ œ œ ‰ Œ
B7 C maj 7
J J Ó
Em
& 8 J J J
f
out of luck and out of time so grab your chance and fol - low me.
Vocals Grade 8
95
Technical Exercises
Stylistic Studies | Rock and Indie | Study 1 Slides to scream / Register flips
q =155 Rock
#4 j
E5 D5 E5
& 4 Œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ
‰
œ œ œ œ œ
Gon - na get you go - ing high, gon - na get you go - ing low. We don’t want to know
# ˙.
D5
œ œ œ œ
C
œ œ œ œ œ œ
3
& œ œ œ œ w
we’ve come so far. Woa -
# œ œ œ œ œ
œ Ó ‰ œ œ œ Œ œ œ.
D C
& œ œ
- oh. Oo - oo - oh. Take, take, take, take,
#
& œ. œ Œ ˙. œ œ
E5
œ œ œ œ w
D
take all of your love.

Stylistic Studies | Rock and Indie | Study 2 Slides to scream / Register flips
œ œ. œ
q = 140 Metal
b œ œ
& b b 44 Ó Œ ‰ œJ œ œ œ œ œ J œ œ ‰ œ œ œ œ œ œ œ ˙ Œ ‰ œJ
Cm
J
The ci - ty’s cry - in’ out there’s a ri - ot com - ing. I’m call - ing on the gods of war. A-
Bb Ab Bb ˙~~~~~~~~~~~~~~
.
b œ œ œ œ œ œ œ œ Œ œ œ œ ˙
&bb Œ Œ
Cm
way with the bonds of op - pres - sion, cry, no, no, no.
Bb Ab Bb
b b ˙~~~~~~~~~~~ œ œ œ œ
J œ
˙. œ œ œ œ œ œ
Cm
& b Œ ‰ œ Ó
We won’t take this sitt - ing down.
b Ab Bb ˙~~~~~~~~~~~~~~~
.
bb b ˙~~~~~~~~~~~ œ œ œ œ œ w
B Cm
& Œ J ‰ Œ
We won’t take this sitt - ing down.
Vocals Grade 8
96
Quick Study Piece
At this grade you will be asked to prepare and perform a short Quick Study Piece (QSP). This will consist of four bars
of melody and eight bars of improvisation. Bars 1–4 of the test will be a notated melody and you will need to sing all the
written detail, including lyrics. In bars 5–8, you will need to improvise a variation on bars 1–4, developing both the lyrics
and melody as you feel appropriate. In bars 9–12, you will need to improvise with no requirement to reference bars 1–4. You
may use any vocal sound except humming or whistling for these bars.
The examiner will ask you whether you prefer a higher-pitched test or lower-pitched test. An example of both is shown for each
group on the following pages. This choice is not gender-specific regardless of the gender of the vocalist on the recorded examples.
Minor changes of lyrics are acceptable and do not need to be cleared by the examiner.
The examiner will then give you the sheet music, then you will hear a full mix version of the track, including the notated
parts. This first playthrough will be preceded by the root note and a one-bar count-in. After the full mix, you will have three
minutes to practise. The root note will be played at the start of this practice time and then again after 90 seconds. During the
practice time, you will be given the choice of a metronome click throughout or a one-bar count-in at the beginning.
At the end of three minutes, the backing track will be played twice more with the notated parts now absent. The first time
is for you to rehearse and the second time is for you to perform the final version for the exam. Again, you will hear the root
note and a one-bar count-in before both playthroughs. The backing track is continuous, so once the first playthrough has
finished, the root note and count-in of the second playthrough will start immediately. The tempo is q =70–160.
The QSP style will be from one of the following four groups. These match the groups of the stylistic studies in the Technical
Exercises section.
■ Pop and Musical Theatre

■ Soul and Contemporary R&B
■ Jazz and Blues
■ Rock and Indie

The style given to you in the exam will be from the same group as your choice of stylistic study. The examiner will decide
which one, specifically (i.e. rock or indie).
Vocals Grade 8
97
Quick Study Piece
Pop and Musical Theatre | Higher-pitched example
¿ ¿ ¿ ¿
q = 120 Pop
#4 ∑
G
‰ j ‰
& 4 w œ œ œ œ œ œ
Let’s do this now, can we
#
D Em C Em D
& œ Œ œ œ
œ œ œ œ œ œ œ œ ⇥ œ œ œ œ œ œ œ
make it real? We’re on the edge of some - thing, the edge of some - thing.
# G D Em C Em D
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[Vary melody – 4 bars]
# C Em C G
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[Improvise freely – 4 bars]
Please note: the test shown is an example. The examiner will give you a different version in the exam.

Pop and Musical Theatre | Lower-pitched example
(Vocal part sounds one octave lower than notated)
¿ ¿ ¿ ¿
q = 120 Pop
œ œ œ œ
& b 44 w ∑ ‰ J œ œ ‰
F
Let’s do this now, can we
Bb
œ
C
œ œ œ œ œ œ
Dm
œ œ œ ⇥ œ œ œ
Dm
œ œ œ œ
C
œ
&b Œ
make it real? We’re on the edge of some - thing, the edge of some - thing.
Bb
&b ’
F C Dm Dm C
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Bb Bb
&b ’
Dm F
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Vocals Grade 8
98
Quick Study Piece
Soul and Contemporary R&B | Higher-pitched example
¿ ¿ ¿ ¿
q = 80 R&B
# 4
& #4 ‰ j Œ
Bm E
w œ œ œ œ
What you see,
## j
Em Bm E E m7 Bm
& nœ œ œ œ œ ‰ ‰ œ œ
‰ œ œ œ œ œ Œ
think of what it could be. I am watch - ing you and you’re watch - ing me too.
## Bm E Em Bm E E m7 Bm
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
## Em Bm E Em Bm
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Soul and Contemporary R&B | Lower-pitched example
¿ ¿ ¿ ¿
q = 80 R&B
#
& # 44 ‰ j Œ
Bm E
w œ œ œ œ
What you see,
## j
Em Bm E E m7 Bm
& nœ œ œ œ œ ‰ ‰ œ œ
‰ œ œ œ œ œ Œ
think of what it could be. I am watch - ing you and you’re watch - ing me too.
## Bm E Em Bm E E m7 Bm
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
## Em Bm E Em Bm
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Vocals Grade 8
99
Quick Study Piece
Jazz and Blues | Higher-pitched example

j 3
Jazz q q = q q
¿ ¿ ¿ ¿ C # dim7
q = 120
4 ‰ ‰
C
&4 w j .
œ œ œ
Stop right there,
#
D m7 A7 5 D m7 G7
& œ œ œ #œ œ ‰ j œ œ œ œ Œ Ó
3
œ œ œ œ œ
don’t you move, I’m think - ing that I’m in love.
C C # dim7 D m7 A 7#5 D m7 G7
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
E7 A m7 D m7 G7 C
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Jazz and Blues | Lower-pitched example

j 3
Jazz q q = q q
¿ ¿ ¿ ¿
q = 120
Bb
b
& b 44 ‰
B dim7
œ j ˙
w œ
Stop right there,
#
b
&b œ ‰ Ó
C m7 G7 5 C m7 F7
œ œ #œ œ j œ
œ œ œ œ œ
3
œ œ ˙
don’t you move, I’m think - ing that I’m in love.
#
Bb
bb
B dim7 C m7 G7 5 C m7 F7
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Bb
bb
D7 G m7 C m7 F7
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Vocals Grade 8
100
Quick Study Piece
Rock and Indie | Higher-pitched example
¿. ¿. ¿. ¿.
q. =120
Bb
Rock
b 12 j j
Gm
& b 8 w. œ œ œ œ œ œ œ œ œ œ
Ly - ing a - wake and won - der - ing when I’m
Eb Bb Eb
b j j j j j
C Gm C
&b œ Œ ‰ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ.
J J
gon - na feel al - right, say - ing good - bye is mak - ing me die and I see the light.
Bb Eb Bb Eb
b
& b ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’.
Gm C Gm C
Bb Eb Bb Eb
b
& b ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’.
C Gm C F Gm

Rock and Indie | Lower-pitched example
¿. ¿. ¿. ¿.
q.=120 Rock
Eb
b
& b 12
8 w. œ
Cm
J J
Ly - ing a - wake and won - der - ing when I’m
b Eb b
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
& b œJ Œ ‰ œ œ J œ. œ œ Œ Œ
F A Cm F A
J J J J J
gon - na feel al - right, say - ing good - bye is mak - ing me die and I see the light.
Eb Ab Eb Ab
bb ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’.
Cm F Cm F
&
Eb Ab Eb Ab Bb
bb ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’.
F Cm F Cm
&
Vocals Grade 8
101
Ear Tests
In this section, there are two ear tests:
■ Test 1: Melodic Recall (The examiner will choose the scale, but you may sing back in any octave)
■ Test 2: Harmony Vocals (You may choose either a higher-pitched or lower-pitched test. The examiner will select the key.)
Examples of Test 1 and 2 are printed on the following pages. You will be given both Test 1 and Test 2 in the exam. Test 1 may
be sung in any octave, test 2 will need to be sung (a diatonic 3rd or 4th) above the highest-sounding part.
Test 1 | Melodic Recall

The examiner will play you a two-bar melody played to a drum backing. It will use the B major or E natural minor scale
(the examiner will decide which) and the first note will be the root, 3rd or 5th. You will hear the test twice. Each time
the test is played, it starts with the root note and a four-beat count-in. There will be a short gap for you to practise after
each playthrough. Next you will hear a vocal count-in, after which you should sing the melody to the drum backing.
The tempo is q =90.
¿ ¿ ¿ ¿
q = 90
#4 œ œœœœ
& 4 .. w w œ œ œ œ œ œ œJ ‰ ‰ J œ œ ‰ œ œ ‰ ..
It is acceptable to sing over the track as it is being played as well as practising after the first two playthroughs. The length of
time available after the second playthrough is pre-recorded on the audio track, so the vocal count-in may begin while you
are still practising. You may perform this test in any octave, using any vocal sound except humming or whistling.

Vocals Grade 8
102
Test 2 | Harmony Vocals
The examiner will play you a four-bar melody based on any diatonic chords. You may choose between a higher-pitched
or lower-pitched test (regardless of the gender of the vocalist on the recorded example). Please use the examples below as
a guide to the approximate range of the tests. If choosing the higher-pitched tests (Option 1), the key will be A major or
B minor. If choosing the lower-pitched tests (Option 2), the key will be D major or E minor. There will be two recorded
vocal parts that will sing the root, 3rd or 5th of each chord, and you need to harmonise a diatonic 3rd or 4th above the highest-
sounding part using the same rhythm. The examiner will give you the lyrics.
You will hear the excerpt three times with a short gap between each playthrough. The first two playthroughs are for
preparation and practise, and begin with a root note followed by a four-beat click to indicate the tempo. The third (final)
playthrough is the examined test and begins with a vocal count-in, after which you should perform the harmony line. The
tempo is q =90–140.
It is acceptable to sing over the track as it is being played as well as practising after the first two playthroughs.
Option 1 | Higher-pitched test Key of A major or B minor
¿ ¿ ¿ ¿
q =130 Candidate hears: (You will not be shown this in the exam)
#
& # 44 .. j ‰ j œ œ œ œ œ ‰ œj ˙˙ ..
Bm D A Bm
w w œœ .. œœ œœ œœ œ œ œ œ œ œ ˙˙ œœ œœ œœ ˙˙
I’ll do what - ev - er it takes to win you back a - gain.
¿ ¿ ¿ ¿
q =130 Candidate sings: (you will not hear or be shown this in the exam)
# j
& # 44 ..
j j
œ œ œ œ œ œ ‰ œ ˙ ..
Bm D A Bm
œ. œ œ. ˙ œ œ œ ˙
w w

Option 2 | Lower-pitched test Key of D major or E minor
(Vocal part sounds an octave lower than notated)
¿ ¿ ¿ ¿
Candidate hears: (You will not be shown this in the exam)
j
q =130
# j j
& 44 .. w œœ œœ ‰ œœ œœ œœ œœ œœ œœ ‰ œœ ˙˙ ..
Em G D Em
œœ .. ˙˙ œœ œœ œœ ˙˙
w
¿ ¿ ¿ ¿
q =130 Candidate sings: (you will not hear or be shown this in the exam)
# œ œ œ œ œ ‰ œ ˙ œ
& 44 .. w œ. œ œ. œ ˙ œ œ ˙ ..
Em G D Em
w J J J
Vocals Grade 8
103
General Musicianship Questions
In this part of the exam you will be asked five questions. Three of these will be about general music knowledge, the fourth
will be about improvisation, and the fifth will be about your voice or the microphone.
Part 1 | General Music Knowledge

The examiner will ask three music knowledge questions from the categories below. The questions will be based on one of the
pieces (including Free Choice Pieces) as performed by you in the exam. You can choose which one.
If there are handwritten notes on the piece you have chosen, the examiner may ask you to choose an alternative.
You will be asked to identify and explain:

■ Any notation used in the chosen piece;
■ Recognition of intervals up to a 10th between two adjacent notes. (You will need to state major, minor or perfect.)
Part 2 | Improvisation
You will also be asked to briefly describe and demonstrate – with reference to melody, rhythm, phrasing and dynamics – your
approach to how you would improvise, develop or create ad libs to any part of your chosen song. You can choose the part.
Part 3 | Your Voice And The Microphone

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

■ What is ‘melisma’ and what exercises can help you develop it?
■ Describe techniques you might employ to build emotional intensity in a soul/contemporary R&B-style ballad.

■ Give two examples of exercises designed to develop intensity/power in a singer’s ‘mix’ voice.
■ Explain the difference between a dynamic and a condenser microphone, including one example each of their uses.
Vocals Grade 8
104
Pre-Examination Checklist
PERFORMANCE PIECES
Piece 1:
Piece 2:
Piece 3:
TECHNICAL EXERCISES
Group A: Scales Starting note:
Group B: Arpeggios Starting note:
Group C: Intervals Starting note:
Group D: Backing Vocals Options:
§ Exercise 1 | G minor
§ Exercise 2 | A minor

Group E: Stylistic Study Options: Secondary options:
§ Pop & Musical Theatre § Study 1 (higher)

§ Soul and Contemporary R&B § Study 2 (lower)
§ Jazz and Blues
§ Rock and Indie
SUPPORTING TESTS
Quick Study Piece Options:
§ Higher-pitched test
§ Lower-pitched test
Ear Tests Options (Test 2):
§ Higher-pitched test
§ Lower-pitched test
Vocals Grade 8
General Musicianship Questions No options (All sections must be prepared):
§ Part 1 | General Music Knowledge

§ Part 2 | Improvisation
§ Part 3 | Your Voice And The Microphone 105
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)345 460 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 (Quick Study Pieces and Ear Tests) and General Musicianship Questions.
Use Of Microphone
At Levels 1 and 2 (Grades 1–5) microphone use is optional, although candidates may use one if they feel it will enhance their
performance. At Level 3 (Grades 6–8) microphone use is obligatory for all aspects of the exam.
Marking Schemes
Below are the marking schemes for the two different types of Rockschool exam.
Grade Exams | Grades 6–8
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
Quick Study Piece 6 out of 10 7–8 out of 10 9 + out of 10
Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10
General Musicianship
3 out of 5 4 out of 5 5 out of 5
Questions
TOTAL MARKS 60%+ 74%+ 90%+
Performance Certificates | Grades 1–8
ELEMENT PASS MERIT DISTINCTION

Vocals Grade 8
TOTAL MARKS 60%+ 75%+ 90%+

106
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. For reference, the downloadable audio accompanying this book
contains example performances of the pieces by professional singers demonstrating their interpretation of the scores.
Free Choice Pieces (FCPs)

Free Choice Pieces are accepted in all Vocals grades. An FCP is defined as any piece outside the grade book, and can fall into
two categories:
1) W
ider Repertoire: a full list of suggested pieces can be found on our website www.rslawards.com
2) O
wn Choice: Candidates can choose or compose any song in any genre outside of the grade book and wider repertoire.
These songs should demonstrate a comparable level of technical and musical demand to the pieces given in the set
selections in the grade books which can be referred to as an indication of appropriate level. Candidates should refer to
the Free Choice Piece Criteria available on our website when accessing the level of a potential piece: www.rslawards.com/
music/graded-music-exams/free-choice-pieces
For all grades, candidates can choose the following number of FCPs in the exam:
Graded Examinations and Graded Certificates:

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.)
Candidates must provide a device containing the downloaded audio for free choice piece backing tracks. This can be any

device with a 3.5mm jack output eg. MP3 player, portable CD player, phone or tablet. We recommend that where possible
two different sources are brought as a back-up. Audio must be available ‘offline’ – it cannot be streamed as we cannot
guarantee that good internet connectivity will be available in all venues.
Free Choice Pieces must be available in fully notated sheet music and candidates must bring a copy of the sheet music for
the examiner to refer to during the examination. If there is any doubt about the appropriateness of the chosen piece, please
contact freechoicepieces@rslawards.com.
For a full list of vocals wider repertoire, and more information on free choice pieces including free choice piece criteria,
please visit www.rslawards.com/free-choice-pieces.
Vocals Grade 8
107
Copyright Information
I Care
(Knowles/Bhasker/Hugo)
Sony Music Publishing (UK) Ltd./Universal Music Publishing MGB Ltd.
I Have Nothing
(Foster/Thompson-Jenner)
Warner Chappell North America Limited/Peermusic (UK) Ltd./Universal/MCA Music Limited
Kiss from a Rose

(Samuel)
Universal Music Publishing Limited
A Night in Tunisia
(Gillespie/Paparelli)
Universal/MCA Music Limited
Rise Up
(Batie/Decilveo)
BMG Rights Management (UK) Limited
A Song for You

(Russell)
Universal Music Publishing Limited
This Is Me
(Pasek/Paul)
EMI Music Publishing Ltd. (Twentieth Century Fox)/Kobalt Music Publishing Ltd.

Weak
(Dyer/France/Kent/Lewis)
BMG Rights Management (UK) Limited
When You Were Young

(Flowers/Keuning/Stoermer/Vannucci)
Universal Music Publishing Ltd.
Writing’s on the Wall

(Smith/Napier)
Universal/MCA Music Limited/EMI Music Publishing Ltd./Downtown Music UK Limited/
Sony Music Publishing (UK) Limited
Vocals Grade 8
108
VOCALS GRADE 8
VOCALS GRADE 8
Everything you need for your Grade 8 exam in one essential book
Learn to sing in rock, pop and contemporary music styles with Rockschool. Our specially written arrangements develop the skills
and techniques you need to sing some of the world’s most popular songs and help you achieve your musical goals.
For Rockschool’s 2021 Vocals syllabus we have commissioned arrangements of titles reflecting popular music’s rich heritage in all its
forms. Each piece has been tailored to fit the relevant grade level and support the development of your singing.
FEATURING PLUS
I Care Beyoncé Fact Files: band and artist background information
Writing’s on the Wall Sam Smith Performance Notes: Preparation and performance
When You Were Young The Killers guidance on every track
Night in Tunisia Ella Fitzgerald Downloadable audio: Audio recordings of all
This Is Me from The Greatest Showman performance pieces
Weak Skunk Anansie Technical Exercises and example tests: All the scales
A Song for You Ray Charles and tests that you need for the Rockschool exam plus
Rise Up Andra Day exemplar tests for the unseen elements
Kiss from a Rose Seal
I Have Nothing Whitney Houston

All accompanying and
supporting audio can be
downloaded from:
rslawards.com/downloads
Find out more about Rockschool exams at: www.rslawards.com

Join us online: www.facebook.com/rslawards | @RSLAwards | RSL Awards | RSL Awards
The assessment body of choice for all professional music teachers, schools, musicians and students
Contact us:
Phone +44 (0)345 460 4747
Email info@rslawards.com
Web rslawards.com/contact-us
RSL Awards Ltd. brings together the leading names in Contemporary Arts.
We are a global, specialist awarding body. We pride ourselves on our
knowledge of the sectors we work in, and the quality and integrity of the ISBN 978-1-78936-309-8
qualifications we award. RSL’s qualifications are regulated in the UK by the
qualifications regulators of England (Ofqual), Wales (Qualifications Wales),
Northern Ireland (CCEA) and the Scottish Qualifications Authority (SQA).
When you take an RSL exam you will have a qualification and measure of
your achievement that is recognised around the world. It shows you can
perform your music to a high standard when it really counts.
9 781789 363098
Catalogue Num: RSK200155
ISBN: 978-1-78936-309-8

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© 2021 by RSL Awards Ltd. and Hal Leonard Europe Ltd.

2021 Syllabus 2014 Syllabus Content

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

Contacting RSL Awards

Introductions & Information

7 I Care. . . ............................................................. Beyoncé

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

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

97 Quick Study Piece

105 Pre-Examination Checklist

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

b œ ■ Confident management of registers with stylistic

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

■ Complex melody lines, comprising challenging pitches

Album: 4 Genre: Contemporary R&B/Pop

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

# G˙ . œbœ œ nœ œ œœœ œ œœœ

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

Released: 2015 Genre: Orchestral Pop

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

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RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

ggg ˙˙˙ ggg ˙˙˙˙˙ ggg ˙˙˙˙

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

ggg ˙˙˙˙˙ ggg ˙˙˙˙ ggg ˙˙˙˙˙

ggg ˙˙˙ ggg ˙˙˙˙˙ ggg ˙˙˙˙ ggg ˙˙˙˙˙

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

Album: Sam’s Town Genre: Alternative Rock

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

q128 Alternative Rock

& # 4 ggg www Œ ‰ œ œ œ œ œ œ

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

Play cue sized notes on repeat and D.S.

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

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RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

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RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

Album: Clap Hands, Here Comes Charlie Genre: Jazz

RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

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RSL-863550114127 / 1 / erick nava / crunaer_@hotmail.com

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b œ ■ Confident management of registers with stylistic

■ Complex melody lines, comprising challenging pitches

Album: The Greatest Showman: Original Motion Genre: Pop