Keys 1

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

guidance for Rockschool examinations
RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx
All accompanying and supporting audio can be downloaded from: www.rslawards.com/downloads
Input the following code when prompted: DSW76EZR6T
For more information, turn to page 5
www.rslawards.com
Acknowledgements
Published by Rockschool Ltd. © 2019

Catalogue Number: RSK200099
ISBN: 978-1-78936-073-8
Initial Release | Errata details can be found at www.rslawards.com/errata
SYLLABUS MUSICIANS
Syllabus designed and written by Jono Harrison Piano and Keyboards: Jono Harrison, Gary Sanctuary,
Syllabus Director: Tim Bennett-Hart Ross Stanley & Tania Ilyashova
Syllabus consultants: Gary Sanctuary, Chris Stanbury, Drums & Percussion: Pete Riley and Richard Brook
Simon Troup and Jennie Troup Bass & Synth Bass: Andy Robertson
Hit Tune arrangements by Jono Harrison and Gary Sanctuary Guitars: Rory Harvey, Nat Martin and Jono Harrison
Supporting Tests written by Jono Harrison, Chris Stanbury, Saxophone: Jonathan Griffiths
Nik Preston and Ash Preston Trombone: Tom George White and Norton York
Syllabus advisors: Tim Bennett-Hart, Brian Ashworth, Trumpet: Nick Mead and John Simpson
Stuart Slater, Peter Huntington, Bruce Darlington, Lead and Backing Vocals: Glen Harvey & Katie Hector
Simon Troup and Jennie Troup Additional Programming: Jono Harrison
PUBLISHING DISTRIBUTION
Proof reading of arrangements by Sharon Kelly, Simon Troup, Exclusive Distributors: Hal Leonard
Jennie Troup and Jono Harrison
Music engraving and book layout by Simon and Jennie Troup of CONTACTING ROCKSCHOOL
Digital Music Art www.rslawards.com
Fact files written and edited by Abbie Thomas Telephone: +44 (0)345 460 4747
Notes written by Roland Perrin Email: info@rslawards.com

Proof reading and copy editing by Gemma Bull, Jono Harrison
and Jennie Troup EXECUTIVE PRODUCERS
Cover design by Philip Millard of Rather Nice Design John Simpson, Norton York
Cover photograph: Taylor Swift © John Shearer / Getty Images
AUDIO
Produced by Jono Harrison
Engineered by Jono Harrison, Gary Sanctuary, Tim Bennett-Hart,
Pete Riley, Richard Brook, Rory Harvey and Andy Robertson
Assisted by Paul Pritchard at Abbey Road
Recorded at Dock Street Studios, The Dairy and Abbey Road
Mixed by Patrick Phillips
Mastered by Francis Gorini
Supporting Tests recorded by Chris Stanbury and Jono Harrison

Keys Grade 1
2
Table of Contents
Introductions & Information
1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Keys Grade 1
6 Performance and Technical Guidance
Hit Tunes | Keys Arrangements
7 ‘Can’t Stop The Feeling!’............................. . . . . . . . . . . . . . . . . . Justin Timberlake

11 ‘Daniel ’................................................................ . . . . . . . . . . . . . . . . . Bat For Lashes
15 ‘Human’................................................................ . . . . . . . . . . . . . . . . Rag’n’Bone Man
Hit Tunes | Piano Arrangements
19 ‘Wildest Dreams’............................................ . . . . . . . . . . . . . . . . . Taylor Swift

23 ‘Hallelujah’.......................................................... . . . . . . . . . . . . . . . . Jeff Buckley
27 ‘Tattooed Heart’.............................................. . . . . . . . . . . . . . . . . . Ariana Grande
Technical Exercises
32 Scales, Arpeggios & Chord Voicings

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

42 Marking Schemes
43 Copyright Information
44 Keys Notation Explained
Keys Grade 1
3
Welcome to Rockschool Keys Grade 1
Welcome to Rockschool’s keyboard syllabus 2019. This syllabus is designed to support keyboard players in their
progression from Debut to Grade 8, through an engaging and rigorous pathway covering all the genres, stylistic elements,
techniques and musical skills required for success as a contemporary pianist.
Keyboard Exams
At each grade you have the option of taking one of two different types of examination:
rade Exam
G
A Grade Exam is a mixture of music performances, technical work and tests. You are required to prepare three pieces, at
least one of which must be a keyboard specialist piece (see table of contents) and two of which may be free choice pieces, and
the contents of the Technical Exercise section. This accounts for 75% of the exam marks. The other 25% consists of: either
a Sight Reading or an Improvisation & Interpretation test (10%), two Ear Tests (10%), and finally you will be asked five
General Musicianship Questions (5%). The pass mark is 60%.
■■Performance Certificate
A Performance Certificate is equivalent to a Grade Exam, but in a Performance Certificate you are required to perform five
pieces. A maximum of three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark is 60%.
All elements required to participate in a Rockschool exam can be found in the grade book. These are as follows:
■■Hit Tune Arrangements

The 2019 syllabus comprises six hit tune arrangements, meticulously researched and benchmarked to meet grade standards.
The arrangements are devised so as to equip contemporary keyboard players with industry-relevant skills in any performance
environment. These include:

Three keyboard arrangements – focusing on keyboard playing styles and graded levels of sound manipulation as follows:
Debut (Entry Level 3) & Grades 1–3 (Level 1)

Single patch settings, including layers. Basic use of effects/sound manipulation (e.g. Pitch bend)
Grades 4–5 (level 2)

Patch switching, solos, layers and splits, specialist styles
Grades 6–8 (level 3)

Multiple patch switching, solos, layers and multiple splits, advanced specialist styles and techniques
Three piano arrangements – based on traditional pianistic techniques, falling into three categories:
Melody & Accompaniment

The arrangement is performed to backing track, with the piano performing both melodies and backing/
accompaniment parts in a tailor-made arrangement.
Solo Piano Arrangement

These arrangements are repertoire pieces which are performed without backing tracks.
Vocal Accompaniment
These arrangements cover the skills required of contemporary pianists in ensemble environments, be they on the
stage or in the studio. The backing tracks feature vocalists, and the piano parts are reflective of what session
pianists would perform live or on mainstream commercial recordings.
Keys Grade 1
Each Hit Tune arrangement is preceded by a Fact File, giving surrounding context to the piece and the original
performers/recording artists.
4
■■Technical Exercises
There are either three or four groups of technical exercise, depending on the grade:
Debut–Grade 8:
Group A: Scales
Group B: Arpeggios/Broken Chords
Group C: Chord Voicings
Grades 4–8 only:

Group D: Technical Study
■■Supporting Tests
There are three types of unprepared supporting tests in the exam:
1. The first type can be one of two options (this is the candidate’s choice):
Either:
Sight Reading tests, developing the musician’s ability to read and perform previously unseen material;
or:
Improvisation & Interpretation tests, developing the musician’s ability to develop previously unseen
material in a stylistic way and perform improvised passages of melody. The book contains examples of
both types of test – equivalent ‘unseen’ examples will be provided for the examination
2. Ear Tests
Debut–Grade 3: feature Melodic Recall and Chord Recognition

Grades 4–8: feature Melodic Recall and Harmonic Recall
3. General Musicianship Questions (GMQs), which you will be asked by the examiner at the end of each exam
General Information
You will find information on exam procedures, including online examination entry, marking schemes, information on
Free Choice Pieces and improvisation requirements for each grade.
Audio
In addition to the grade book, we have also provided audio in the form of backing tracks (minus piano) and full tracks
(including piano) for all ‘hit tune’ arrangements, technical exercises and supporting tests (where applicable). We have
provided professional performance recordings of all solo piano pieces in the syllabus. This audio can be downloaded from
RSL directly at www.rslawards.com/downloads
You will need to input this code when prompted: DSW76EZR6T
The audio files are supplied in MP3 format. Once downloaded you will be able to play them on any compatible device.
Further Information
Keys Grade 1
You can find further details about Rockschool’s Contemporary Piano syllabus by downloading the syllabus guide from our
website: www.rslawards.com
All candidates should download and read the accompanying syllabus guide when using this grade book.
5
Performance and Technical Guidance
Patch/registration settings and sounds (keyboard arrangements only)

Candidates may program their instruments how they wish, but must:
1. Show that they can perform any of the following where indicated on the score:
■ Layer/dual voice or splits
■ Change patches (e.g. from a main part to a solo part)
2. Select close alternative sounds where those suggested are not available – (for instance, a synth lead may be replaced by
an alternative lead sound).
Notation for keyboard arrangements:

Treble and Bass staff: Generally, for keyboard splits (i.e. upper and lower voice patches) the treble clef is assigned the upper,
the bass clef the lower.
Fingering
Any fingering annotation is given as a guide only.
Interpretation
Notation should be performed exactly as written, except where there are performance indications to ad. lib. / improvise
/ develop, etc. In these instances, the candidate will be marked on their ability to interpret the music in a stylistically
appropriate way, commensurate with the grade level.
Adaptation
A small degree of adaptation is allowed where, for example, hand stretches do not facilitate the required notated parts.
Marks may be deducted if adaptation results in over-simplification of the notation. If in doubt you can submit any
adaptation enquiries to info@rslawards.com

Articulation & Dynamics
Where articulation and dynamics are marked on the notation, they should be followed. Where it is open to interpretation,
the candidate is free to take their own approach.
Pedalling
The candidate may use the pedal freely at any grade, but it should be applied judiciously as marks may be deducted for
any over usage resulting in an unclear tone. In addition, where pedalling is written into (or out of) the notation, this
should be observed.
Please note, pedalling is not obligatory at Premier (Entry Level 2), Debut (Entry Level 3) or Grades 1–3 (Level 1).
Chord Symbols
Most Hit Tune arrangements have chord symbols written above the notation. This is purely for guidance, and to assist the
candidate and teacher.
Keys Grade 1
6
Can’t Stop The Feeling!
SONG TITLE: ‘CAN’T STOP THE FEELING’

ALBUM: TROLLS: ORIGINAL MOTION
PICTURE SOUNDTRACK Piano Pad
RELEASED: 2016
LABEL: RCA A q = 113 Pop
44
C A m7
GENRE: DISCO/POP/SOUL
& ww ww
WRITTEN BY: JUSTIN TIMBERLAKE/
MAX MARTIN/
P
JOHAN SCHUSTER
? 44 ww
PRODUCED BY: JUSTIN TIMBERLAKE/
MAX MARTIN/
JOHAN SCHUSTER ww
UK CHART PEAK: 2
Hit song writing team Max Martin and Johan A m7

stranger to awards and has won over 150 in his career
Schuster (professionally known as Shellback) C
so far, including a more than respectable 10 Grammy

& w ww
co-wrote alongside Justin Timberlake to create this Awards, 4 Emmy Awards, 3 Brit Awards and 9 People’s
w
chart topping disco-pop song. ‘Can’t Stop the Feeling’ Choice Awards.
was originally written for the DreamWorks animation
Trolls and was written to a very clear brief, including Timberlake first found musical success in the late
ww
details of the characters who were to sing it. The film 1990s with American boy band, NSync. Following a
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version features additional vocals from Hollywood fruitful career with the band Timberlake launched his
stars Anna Kendrick, James Corden, Gwen Stefani solo career with debut album Justified in 2002. Since
and Zooey Deschanel, as well as a prominent vocal then he has topped the charts with four UK number
from Timberlake himself. 1 singles and three UK number 1 albums, not to
mention five chart topping singles and four number 1
[5]
Timberlake released his single version of ‘Can’t albums in the US.
Stop the Feeling’ on the 6th May 2016, six months
before the film debuted and subsequently 6 months ‘Can’t Stop the Feeling’ went straight in at number
before the film version of the track was heard. The 1 on the US Billboard Hot 100, only the 26th song in
single version met with excellent reviews, described the chart’s history to debut at the top spot. To date,
as a ‘feel good summer jam’ Timberlake was praised the track has sold over 3 million copies and claimed
for his infectious disco hit. On creating the track number A m7
C 1 status in more than fifteen countries. The
& w ww
Timberlake felt that the characters and scene they Soundtrack for which it was originally written proved
were writing for merited a classic disco feel, a genre hugely popular, topping the soundtrack album charts
w
that he felt was often underrated. in both the UK and the US on it’s release.
The film version of ‘Can’t Stop the Feeling’ won
? ww ww
several awards, including a Grammy Award for ‘Best
Song Written for Visual Media’, the ‘Hollywood Song
Award’ at the 2016 Hollywood Film Awards and ‘The
Keys Grade 1
Best Song Written for an Animated Film’ at the 2016

Hollywood Music in Media Awards. Timberlake is no
[9]
7
Can’t Stop The Feeling! Keys Arrangement
Justin Timberlake
Piano Pad
A q = 113 Pop
& 44
C A m7 C/F A m7
ww ww ww ww
P
? 44 ww ww ww
w
C A m7 C/F A m7
& w
w ww ww ww
? ww ww ww
[5]
w
C A m7 C/F A m7
& w

w ww ww ww
? ww ww ww
[9]
w
C A m7 C/F A m7
& w
w ww ww ww
? ww ww ww
[13]
w
B b/C B bmaj 7/C

B
‰ œj ‰ œj
C C
& ˙. ww ww
b˙. œ b ˙˙ .. œ
F
? w
Keys Grade 1
w w w
[17]
Words & Music by Justin Timberlake, Max Martin & Shellback
8 © Copyright 2016 Tennman Tunes/DWA Songs /MXM Music AB/Universal Music - Z Songs LLC.
Kobalt Music Publishing Limited/Universal Music Publishing MGB Limited/Rondor International Inc.
All Rights Reserved. International Copyright Secured.
A b/B b Bb A b maj 7/B b
‰ j
F m9
& œ ww
b ˙˙ .. bœ b ww ww
? Œ
bw bw w bœ œ œ
[21]
C
C A m7 C/F A m7
& www ww www www

w
f
? œj ‰ œj ‰ œj ‰ Œ ‰ œj œ œ œj ‰ œj ‰ j ‰ j ‰ j ‰ Œ ‰ œj œ œ œj ‰ Œ
[25]
œ œ œ
C A m7 C/F A m7
& ww ww ww ww
w w w w

[29]
œ œ œ
& .. www ww ww ww ..
C A m7 C/F A m7
w w w
? .. œj ‰ œj ‰ œj ‰ Œ ‰ œj œ œ œj ‰ œj ‰ j ‰ j ‰ j ‰ Œ ‰ œj œ œ œj ‰ Œ ..
[33]
œ œ œ
&
Keys Grade 1
[37]
œ œ œ
9
Notes
This bright, positive and highly danceable pop song requires student’s full concentration as the keyboard part has three
distinct sections.
Bars 1 to 16 should be played smoothly, with no gaps between the chord changes. Students need to be aware that the first
four bars are played four times, and must be counted carefully to ensure that they move to letter B at the right time.
Letter B is slightly more rhythmic: the eighth-note rests on beat four of bars 17, 19 and 21 need to be precisely observed.
This piece introduces some chromatic notes which add excitement to the chord changes before letter C.
If students find the right-hand syncopation challenging, they can practise by playing this passage without the ties at first.
After mastering this, they can then play it with the ties.
Letter C is even more rhythmic. Students need to have a very definite and secure left hand, making sure that the bass line is
played with short articulation.
In addition, to give the whole performance the intended shape, it is important that the dynamics in each of the different
sections are carefully observed.

Keys Grade 1
10
Daniel
SONG TITLE: ‘DANIEL’

ALBUM: TWO SUNS
RELEASED: 2009 Brass or String Pad (with fast attack)
LABEL: PARLOPHONE
q = 135 Synth Pop
44
GENRE: SYNTHPOP/FOLKTRONICA
& w
WRITTEN BY: NATASHA KHAN
w
PRODUCED BY: NATASHA KHAN/
DAVID KOSTEN
UK CHART PEAK: 1
? 44
The song ‘Daniel’ was written by British singer- singer’s debut album. Bat for Lashes now has a total
songwriter Natasha Khan, professionally known as of four studio albums under her belt, many of which

Bat for Lashes. Released as the lead single from her have been met by critical acclaim.
second studio album Two Suns, the song is her best
selling track to date and the first to make it to the UK A Although she is yet to achieve major chart success,
G/B
& .. w
top 40 where it peaked at number 36. Khan’s songwriting and musicianship has certainly been
approvedAm by the mass market with three of her four
˙
As well as writing the track, the talented Khan albums receiving nominations for the Mercury Prize.
plays all instrumentation but the bass line appearing
on the recording. Assisted only by Yeasayer’s Natasha Khan lends her hand to many musical
(American experimental Rock Band) bassist Ira Wolf ventures, including lead vocals for a collaboration
œ œJ œ j ˙
Tuton, Khan delivers a mesmerizing and enchanting with British rock band Troy and record producer
? .. œ
recording, one which was met by critical acclaim on Dan Carey.
œ. J
its release. Described repeatedly as a homage to both
Fleetwood Mac and Stevie Nicks herself, as well as
being likened to Kate Bush’s ‘Running Up That Hill’,
Khan’s entrancing vocal and lyric delivers somewhat
[5]
of an eighties feel. Pitchfork magazine actually
labelled ‘Daniel’ as the fourth best song of its release
year (2009), with Spin Magazine rating the song’s
music video 11th in their ‘Top 20 Best Videos of 2009’.
Bat for Lashes released her debut single ‘The

Wizard’ independently in 2006, before signing to
Echo (a record label known as a stepping stone for
many before moving on to a major signing) that year
to release her debut album Fur and Gold. In 2007, Bat
Keys Grade 1
for Lashes and Echo signed a major licensing deal

with Parlophone records who then re-released the G/B
Am
& w ˙ 11
Daniel Keys Arrangement
Bat For Lashes

Brass or String Pad (with fast attack)
q = 135 Synth Pop
& 44 w w w ˙ ˙
? 44
& ..
Am G/B G F G sus 4 G
w ˙ ˙ w ˙ ˙
? ..
œ. œ Jœ œ j
œ ˙
j
œ œJ œ j j
[5]
J ˙ œ. œ œ. œ ˙

..
Am G/B G F sus 2 G sus 4 G
& w ˙ ˙ ww ˙ ˙
? œ Jœ œ j j
œ œJ œ j j ..
œ. J œ ˙ ˙ œ. œ œ. œ ˙
[9]
ww
B
w ˙˙ ˙˙
& .. w ww
Am G/B G F sus 2 D 9omit 3 G sus 4
? .. ˙
Keys Grade 1
w ˙ ˙ w ˙
[13]
Words & Music by Natasha Khan

12 © Copyright 2008 BMG Rights Management (UK) Limited, a BMG Company.
All Rights Reserved. International Copyright Secured
w ww ˙˙
& w ww ˙˙
Am G/B G F sus 2 D 9omit 3 G sus 4
?
w ˙ ˙ w ˙
[17] ˙
˙˙
A m7 G sus 4 F sus 2
& ww ˙ ww
G/B G
˙˙ ˙
D 7omit 3
? ˙
w ˙ ˙ w ˙
[21]
ww
A m7 G/B F sus 2 D 7sus 4 G
& ww ww ˙˙ ˙˙ ..

? ˙ ..
w w w ˙
[25]
˙
C
Am G/B F sus 2
& w w w
? w w ww
[29]
G sus 4 G Am
& ˙
˙ w w
Keys Grade 1
? ˙ ˙ w w
[32]
13
Notes
It is fundamental that students establish a steady inner pulse to ensure that the opening long notes are played without
speeding up or slowing down.
Teachers should encourage students to tap the quarter-note pulse lightly with one foot, and to count the four beats in each
bar during practise sessions – either silently or very quietly.
The syncopated left-hand part at letter A should be practised on its own until it can be played securely and confidently.
Some students will benefit from memorising the bass line.
This piece features carefully arranged chord voicings based around A natural minor, with subtle variations throughout.
The chords at letter B must be played with smooth transitions from one to the next. Careful attention to fingering is essential
in order to achieve this.
The intro re-appears as an outro at letter C, with extra chord tones in the left hand. These can be played with right hand only
if preferred.

Keys Grade 1
14
Human
SONG TITLE: ‘HUMAN’

ALBUM: HUMAN
RELEASED: 2016 Piano Pad
LABEL: SONY/COLUMBIA
GENRE: SOUL/BLUES/POP
q = 76 Blues/Pop
44
WRITTEN BY: JAMIE HARTMAN/ Bass & percussion intro
&
RORY GRAHAM
PRODUCED BY: TWO INCH PUNCH
UK CHART PEAK: 2
? 44
‘Human’ was the first major label single release A Although it only peaked at number 2 in the UK,
G
& .. ˙ .
for singer songwriter Rory Charles Graham, better the single
A mdid top the charts in over ten European

œ
known as Rag’n’Bone Man. The song hit the charts countries and the album charted at number 1 in
in late 2016 and achieved the Christmas number to seven countries. With sales of over 1 million copies
in the UK Singles Chart, only missing out on the top in the UK since its release, the debut album has been
p
spot due to a lack of streams despite being the top certified 3xPlatinum and stemmed a further UK top
œœ
? .. ˙˙ ..
selling single of that week. ‘Human’ is taken from 40 hit with his second single ‘Skin’.
his debut studio album of the same name, released
in February 2017. The album itself did not miss out Rag’n’Bone Man began his music career with rap
on number 1 and topped the UK Album Charts on group Rum Committee, together they supported
release, and with initial sales of over 117 thousand up and coming Hip Hop artists with the hope of
copies it became the fastest selling debut album by a launching their career. Since his solo debut release
male artist since the 2000’s. [3] he has won several awards, including ‘British
Breakthrough Act’ & ‘Choice Award’ at the 2017
‘Human’ was co-written by Rory Graham and Brit Awards and ‘International Newcomer’ &
Jamie Hartman of Ben’s Brother. The hit was ‘International Male Artist’ at the 2017 Echo Awards.
produced by internationally acclaimed producer Ben
Ash, professionally known as Two Inch Punch and
renowned for his work with the likes of Year & Years G
Am
& ˙.
and Sam Smith. The hit was met with critical acclaim,
œ
described as having “instant impact, honest lyrics
and throwback to ‘real’ music in a time of corporate
pop” (Cameron Adams, The Daily Telegraph). In 2018
? ˙˙ .. œœ
‘Human’ won the Brit Award for ‘British Single of the
Year’, quite an achievement for a track that missed the
top spot on the UK Singles chart.
Keys Grade 1
[5]
15
Human Keys Arrangement
Rag’n’Bone Man
Piano Pad
q = 76 Blues/Pop
& 44
Bass & percussion intro
2
? 44 2
& .. ˙ .
Am G Am G
œ ˙. œ
p
? .. ˙˙ .. œœ ˙˙ .. œœ
[3]
Am G Am G
& ˙.

œ ˙. œ
? ˙˙ .. œœ ˙˙ .. œœ
[5]
F Dm
& w w
? ww www
[7]
1. 2.
.. Ó
Am G Am G
& ˙. ˙. ˙
œ œ
? ˙˙ .. œœ ˙˙ .. œœ .. ˙˙ Ó
Keys Grade 1
[9]
Words & Music by Jamie Hartman, Rory Graham
16 © Copyright 2016 Reservoir 416.

Warner/Chappell Music Limited/Reservoir Reverb Music Ltd.
B
Am G Am G
& œ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ
f
?
˙. œ ˙. œ
[12]
Am G Am G
& œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ
?
˙. œ ˙. œ
[14]
F Dm
& œœœ œœ œœ œœ œœœ œœ œ œœ œ œœ œ

œ œ œ
?
[16]
˙. œ œ w

Am G Am G
& œ œœ œœ œœ œœ œœ
œ œ œ œ œœ œ
œœ
œ œ
?
˙. œ ˙. œ
[18]
F Dm
& œœœ œœ œœ œœ œœœ œœ œ œœ œ œœ œ

œ œ œ
?
[20]
w w
Am G Am
& œœ œœ œœ œœ ww
œ
Keys Grade 1
?
˙. œ w
[22]
17
Notes
This song has a universal feeling of sympathy for humankind, which needs to be conveyed in the performance by sustaining
focus throughout, keeping the tempo steady and observing the dynamic contrasts.
Section A requires students to keep a faultless and steady beat through the long held notes – lightly tapping a foot on the
quarter note pulse is recommended during practise sessions.
Section B should be played as a passionate, almost angry outcry. Students must not think that quiet means slow and loud
means fast; the tempo must remain absolutely the same.
The sustained final chord should be held for precisely 4 beats – students should count in their head ‘1, 2, 3, 4’ and come off
release the chord at the end of the fourth beat.

Keys Grade 1
18
Wildest Dreams
SONG TITLE: ‘WILDEST DREAMS’

ALBUM: 1989
RELEASED: 2014
LABEL: BIG MACHINE/REPUBLIC q = 140 Pop
#4
GENRE: DREAM POP C Em
& 4
WRITTEN BY: TAYLOR SWIFT/
MAX MARTIN/SHELLBACK
p
PRODUCED BY: MAX MARTIN/SHELLBACK
ww
UK CHART PEAK: 40
? # 44 ww
#
Em
C
&
‘Wildest Dreams’ was a chart hit for American singer and honed the sounds of her then home
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singer songwriter Taylor Swift and was the 5th single Nashville. Swift quickly found success and was signed

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to be released from her popular album 1989. The by Big Machine Records, making her the youngest
song was written by Taylor Swift, Max Martin and person ever to have been signed by the Sony/ATV
Johan Schuster (professionally known as Shellback), Music publishing house. In 2006 she released her self-
a common collaborative for Swift, with hits including titled debut album, which peaked at number 5 on the
three tracks on her earlier album Red. Together the US album chart and included the track ‘Our Song’ –
trio created what has been described as a “dream [5] for this particular song she became the youngest ever
pop power ballad” and although the song did well artist to solely write and perform a number one hit for
jœ
commercially it did receive some mixed reviews. the Hot Country Songs chart.
# ‰ œj œ œ œ
A Em
‰
Many felt that the sound was simply too comparable
œ
C
& œ
to that of Lana Del Rey, claiming that it was so similar In 2008 the crossover from country to pop began
that they couldn’t tell whether the song was intended for Swift with her second album, Fearless. The album
as a homage or a parody. received rave reviews and became the highest selling
US album of 2009. The album also won Swift a cool
Nevertheless, the track went on to achieve success four Grammy awards, amongst which was the Album
? # ww ww
in the US charts where it peaked at a very respectable of the Year award for which she become the youngest
number 5. This gave Swift her 5th consecutive top ten ever winner.
single from her chart topping 3rd album, 1989. The
single was by no means her most successful in the Taylor Swift’s repertoire has now reached an
UK, peaking at only number 40 on the UK Singles impressive six studio albums, a feat only achieved
Chart. However, the album itself had great success due to launching her career at such a young age.
[9]
j
in the UK and topped the chart on it’s first week of During her career she has received an impressive
#
release, thus becoming her second number one album number of awards, including an outstanding total of Em
œ œ œ ‰ Œ
C
œ
in the UK. 10 Grammy’s (31 nominations). ‘Wildest Dreams’
& œ œ œ
became Swift’s 13th top ten hit in the US, a clear
Taylor Swift was born and raised in Pennsylvania representation of her success in the industry.
Keys Grade 1
but moved to Nashville at the young age of 14 in

search of a music career. She originated as a country
? # ww ww 19
Wildest Dreams Piano Arrangement
Taylor Swift
q = 140 Pop
#4 C Em D
& 4
p
? # 44 ww ww ww ww
# C Em D
Ó ‰ œj œ
&
? # ww ww ww ww
[5]
# j
A
‰ œj œ œ œ ‰ œj œ
C Em D
& œ œ œ ‰ œ œ œ œ œ ‰ jœ œ œ œ œ Œ
4
œ œ5 5
œ 2 2 1
? # ww ww ww ww

[9]
# j
C Em D
& œ œ œ œ œ œ œ ‰ Œ œ œ œ œ œ Œ Œ ‰ j œ œ œ œ œ œ œ
œ œ
? # ww ww ww ww
[13]
# œ ‰ œj œ Œ ‰ œj œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? # www www www www

[17]
# j
‰ œj œ ‰ œ œj œ . j
œ œ œ œ œ
& Œ œ Ó
œ œ œ 5 4 3
œ œ.
2
www
1
? # www www www

Keys Grade 1
[21]
Words & Music by Taylor Swift, Shellback & Max Martin
20 © Copyright 2014 Taylor Swift Music/Sony/ATV Tree Publishing /MXM Music AB.
Sony/ATV Music Publishing (UK) Limited/Kobalt Music Publishing Limited.
# j
B
j
G D Am C
& œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ
4
˙
2 3
œ œ
f
? # ˙˙˙ ... œœ ˙˙˙ ˙˙˙ ww ˙˙˙ ˙˙˙
œ w
[25]
# j j
G D Am C
& œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙
?# ˙˙ .. œœ ˙˙˙ ˙˙˙ ww ˙˙˙ ˙˙˙

˙. œ w
[29]
# œ
G D Am
˙. œ œ œ œ Œ
5
& œ
4 3
œ ˙
? # www ˙˙˙ ˙˙˙ ww ˙˙˙ ..

w . œ
[33]

# œ
G D Am C
& ˙. œ œ œ œ Œ œ ˙
œ
? # www www ww ˙˙˙ ˙˙˙
w
[37]
# Em D
&
p
? # ww ww ww ww
[41]
# C Em D
&
Keys Grade 1
? # ww ww ww ww
[45]
21
Notes
The successful performance of this song depends on holding a steady tempo. Students should be encouraged to keep
thinking in a strict quarter-note pulse throughout the opening eight bars in preparation for the introduction of the melody
towards the end of bar 8.
Be aware of the different roles for each hand and ensure that the left-hand part steps back to allow the right-hand melody to
shine through without the need to increase volume.
As the right-hand part follows the original vocal melody line, keep in mind that the rests are where the vocalist would
breathe and allow this to guide you in shaping the musical phrases.
The right-hand part contains some interesting and varied syncopated patterns. Take time to play this through slowly to
ensure that you are aware of exactly where the patterns repeat and differ and where the notes fall on or off beat.
Counting out loud during practice sessions can be helpful. It is also worth spending time playing the right-hand part
separately and securing the rhythmic patterns first before putting both hands together.

Keys Grade 1
22
Hallelujah
SONG TITLE: ‘HALLELUJAH’

ALBUM: GRACE
RELEASED: 2007
LABEL: COLUMBIA qd = 60 Folk/Rock
68 ‰ ‰
GENRE: FOLK/ALTERNATIVE ROCK C Am
& œ œ œ
œ œ œ
WRITTEN BY: LEONARD COHEN
PRODUCED BY: JEFF BUCKLEY/
p
ANDY WALLACE
j
UK CHART PEAK: 2
? 68 œ . œ œ œ.
j j œ œ œ
Am
& .. œ
C
œ œ œ
This song was written and originally released It seemed that at last the mastery of the song was
by Canadian singer songwriter Leonard Cohen. receiving the acclaim it deserved.

Featuring on his 1984 album Various Positions, the
œ˙ ..
track initially found little success and peaked at Jeff Buckley’s album Grace was released in 1994 and
number 59 on the US Billboard singles chart. It is with initially achieved poor sales, peaking at number 149
? .. ˙˙˙ ... ˙.
Jeff Buckley’s 1994 version that the song received the in the US Billboard Album Chart. However, by 2007
critical acclaim it deserved. Certainly a songwriter’s the album as a worldwide success and had sales of
masterpiece, Cohen delivered a powerful lyric and over 2 million copies globally. Grace has been cited by
melody. However, it was Buckley’s haunting vocal and critics and listeners as one of the greatest albums of all
arrangement that saw the song peak at number 2 in time. Sadly, Jeff Buckley never lived to see the success
the UK Singles Chart. of his work and will never know the impression his
[5]
adaption of Hallelujah had on its listeners. At six and
Jeff Buckley featured his version of the track on a half minutes long, his version takes the listener on a
his one and only album, Grace (1994). Hallelujah was whirlwind of emotions, with constant highs and lows
never officially released as a single at the time and his vocal is mesmerising to listen to and the lyrics
j j
featured only as an album track. It wasn’t until ten can be heard far clearer than on Cohen’s original. Of
j
years after Buckley’s untimely passing that the song course, the credit for writing such a beautiful piece
œ œ œ œ œ
F Cohen’s but had it not been for Buckley’s
& œ
was released as a single in 2007. Since it’s release, remains
Buckley’s version has been held as one of the greatest interpretation we may never have known the genius of
interpretations of all time and is regarded highly by the lyric.
artists to this day. John Legend famously reports that
˙˙˙ ... œœœ ...

Buckley’s posthumous release is ‘…one of the most
beautiful pieces of recorded music I’ve ever heard.’
In 2004 ‘Rolling Stone Magazine’ ranked Buckley’s

rendition at number 259 in their ‘The 500 Greatest ?
Songs of All Time’ list, long before its single release. In
Keys Grade 1
2007, Buckley’s ‘Hallelujah’ was named ‘The Greatest

[9]
Song of All Time’ by The International Observer.
23
F
Hallelujah Piano Arrangement
Jeff Buckley
qd = 60 Folk/Rock
& 68 ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ j
C Am C Am
œ
p
? 68 œ . j j j
œ œ œ. œ œ œ. œ œ ˙.
j j j j j
& .. œ j
C Am C Am
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? .. ˙˙˙ ... œ˙ .. œ. ˙˙˙ .. œœ .. œ œ

˙. . œ. œ
[5]
F
j j j
G
j
C
j Œ.
G
Œ j
& œ œ œ œ œ œ œ œ œ œ œ. œ

. œœœ ... œœœ .. œ.
? ˙˙˙ .. . œ œ œ œ œ.
œ œ
2
[9] 1
5 3
C
j j
F
j Gœ ‰ œ Am
œ œ œ œ œ œ œ œ
F
œ
& œ œ œ œ œ œ J J J J J
œ ˙˙ .. œœœ ...
? œ. œ. œ œ œ œ œ œ œ œ
[13]
œ œ œ œ œ j
& œ œ œ œ œ
J œ œ. Œ.
G E Am
J J J œ œ
F
œ. œ œ œ
? œœ .. # œœœ ... Œ. œ œ œ œ Œ.
Keys Grade 1
œ œ œ.
[17]
© Copyright 1984 Bad Monk Publishing.

24 Sony/ATV Music Publishing (UK) Limited.
1.
j j
F Am
& œ. œ. œ. œ œ œ. œ. œ. œ œ
P
˙. ˙˙˙ ... ˙˙ .. œœ .. œœ ..
? ˙˙ .. ˙.
[21]
j
F C G
& œ. œ. œ. œ œ œ. œ œ œ œ. œ œ œ
˙. ˙˙ ..
? ˙˙ .. ˙. ˙. œ œ œ.
œ
[25]
‰ ‰ j .
C Am C Am
& œ œ œ œ œ œ œ œ œ .
œ. œ œ œ œ œ œ œ œ œ
p

? ˙. j j ..
œ. œ œ œ. œ œ ˙.
[29]
2.
j j
F Am F
& œ. œ. œ. œ œ œ. œ. œ. œ œ œ. œ.
P
˙. ˙˙˙ ... ˙˙ .. ˙˙ .. ˙˙˙ ...
? ˙˙ .. ˙. ˙.
[33]
j
C G C
‰ œ
5
& œ. œœ
4
œœ œœ ..
3 3 2 3
œœ œ œ
2 1 4 3 1 5 4 1
œœ .. œ ˙˙ .. ˙˙ ..
p
Keys Grade 1
˙.
? ˙˙ .. ˙˙ .
. œ œ œ. ˙˙ .. ˙˙ ..
œ
[38]
25
Notes
F
The tender, semi-religious feel of this song needs to be mirrored by the performer’s careful following of the dynamic
markings – the playing must never rise above the marked .
The opening four bars help set the mood of the piece and should be played legato, allowing the flowing pattern to pass
evenly between the hands.
After the simple introduction, the left hand takes on a more of an accompanying role while the right hand should be allowed
to take the lead, continuing to play legato. Be careful not to allow this shift in roles to lead to an increase in the overall
volume, and strive to maintain the gentle quiet mood established in the introduction.
Note that the lyrical melody line in the right-hand part starts on the final eighth-note of bar 4 and not at the start of bar 5!
This is also the case for the final eighth note at the end of the first time repeat in bar 32.
It is worth spending time practicing the left hand part separately to secure all of your hand position changes when moving
from one chord voicing to the next. Pay particular attention to the hand position change when moving from the G major
chord position in bar 17 to the E major chord in bar 18. Playing these two bars in isolation at a slower tempo will help to
secure a confident and quick change.
From bar 21 onwards, many bars contain longer, sustained rhythm patterns. It will be important to keep the pulse steady to
avoid speeding up or slowing down.

Keys Grade 1
26
Tattooed Heart
SONG TITLE: ‘TATTOOED HEART’

ALBUM: YOURS TRULY
Pop s
RELEASED: 2013
q = 75
LABEL: REPUBLIC
#4 ˙
A
˙˙˙
G
˙˙
GENRE: POP/R&B
& 4 ˙˙
WRITTEN BY: GRANDE/BABYFACE/
RIDDICK-TYNES/
˙
P
THOMAS III/DIXON/
˙
SQUIRE/SEAN FOREMAN
? # 44 w
PRODUCED BY: BABYFACE/DIXON/
THE RASCALS/SQUIRE/
NATHANIEL MOTTE
UK CHART PEAK: N/A
# C has released four studio albums, all of
˙˙˙
‘Tattooed Heart’ is the fourth song to feature on Grande
& ˙˙˙ ˙˙˙

Ariana Grande’s debut studio album, Yours Truly. which debuted in the top ten of the UK album charts,

Although never released as a single, the song has and has three UK number 1 singles so far. With her
over 7 million views on YouTube and over 44 million fifth studio album Thank U, Next due for release soon,
streams on Spotify. The album from which it stems it can only be assumed that her success will continue
was met by critical acclaim, with many reviewers and she’ll have yet another top ten album to be proud
?# w ˙
being surprised by its sophistication and Grande’s of. The lead single from the up and coming album
vocal capabilities. Many compared Grande to the likes of the same name recently broke a UK Chart record
on Mariah Carey, which doesn’t surprise as she is and now claims the highest number of streams in a
renowned for her ability to mimic others. week, hitting 14.9 million and overtaking Ed Sheeran’s
‘Shape of You’ which previously held the record at
Ariana Grande was born in Florida in 1993 to [5] 14.2 million.
Italian heritage and began her show business career
at the young age of 15, starring in Broadway musical Although she is yet to win a Grammy, Grande does
‘13’. She then went on to fill the role of Cat Valentine have six nominations to her name and has won three
for Nickelodeon’s television series ‘Victorious’, with American Music Awards, two NME awards and a long
# ˙
whom she launched her music career by featuring on list of many more.
˙˙˙ ˙˙
the official Music from Victorious (2011) soundtrack. G
& ˙˙ ˙
Her debut album, Yours Truly, was released in 2013
and topped the US Billboard album charts, whilst
peaking at number 7 in the UK. Grande lists her
influences for Yours Truly as Whitney Houston,
˙
Amy Winehouse, Christina Aguilera and Mariah
?# w
Carey, detailing that much of the album is a homage
to the R&B sounds of the 90s which many of these
talented singers contributed to. The album also had
top ten success in Australia, Canada, Denmark, The
Keys Grade 1
Netherlands, and Japan.

[9]
27
Tattooed Heart Piano Arrangement
Ariana Grande
q = 75 Pop s
D 7/F #
#4 ˙
A
G Em D
˙˙˙ ˙˙ œœ œœ œœœ œœœ

& 4 ˙˙ ˙ œ ˙˙ ˙˙ ˙˙
œ ˙ ˙ ˙
P
? # 44 w ˙ œ œ w ˙ œ œ
C#
# C D
Œ Ó
& ˙˙˙ ˙˙˙ ˙˙˙ œœœ # # # œœœ ˙˙˙ ˙˙˙ œœœ
.
?# w ˙ œ #œ w œ. Œ Ó
[5]
D 7/F #
# ˙˙˙
G Em D
& ˙˙˙ ˙˙ œœ œœ ˙˙˙ ˙˙˙ ˙˙ œœœ œœœ

˙ œ œ ˙
?# w ˙ œ œ w ˙ œ œ
[9]
C#
#
C D
& ˙˙˙ ˙˙˙ ˙˙˙ œœœ # # # œœœ ˙˙˙ ˙˙˙ œœœ Œ Ó

.
?# w ˙ œ #œ w œ. Œ Ó &
[13]
G D/F #
# œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
B
&
. . . . . . . . . . . . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
3 3 3 3 3 3 3 3
# œ œ œ œ œ œ œ œ œ œ œ œ
Lightly
Keys Grade 1
&
3 3 3 3 3 3 3 3
[17]
Words & Music by Kenneth Edmonds, Antonio Dixon, Matthew Squire, Ariana Grande, Sean Foreman, Leon Thomas & Khristopher Van Riddick Tynes
28
© Copyright 2013 Seven Peaks Music/Faze 2 Music/EMI Blackwood Music Inc/Universal Music Corporation/Songs Of Universal Inc/Cletis Jones/Sony-ATV Tunes LLC/
Rafael’s Son Music/Master Falcon Music/Khristopher Van Riddick Tynes Music Publishing/Tone Face Music/Grandarimari.
Universal Music Publishing Limited/Kobalt Music Publishing Limited/Sony/ATV Music Publishing (UK) Limited/EMI Music Publishing Limited /Universal /MCA Music Limited.
( )
Em D
# œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
&
# œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
3 3 3 3 3 3 3 3
&
3 3 3 3 3 3 3 3
[19]
C#
( )
C
# œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ.
&
# œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ.
3 3 3 3 3 3 3 3
&
3 3 3 3 3 3 3 3
[21]
# ( œ. ) œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
D
& œ. œ. œ. œ. œ. œ. œ. Œ
# œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
3 3 3 3 3 3
& Œ ?
3 3 3 3 3 3

[23]
D 7/F #
#
C
˙˙˙
G Em
& ˙˙˙ ˙˙
˙
œœ
œ
œœ ˙˙ ˙˙
œ ˙ ˙
?# w ˙ œ œ ˙ ˙
[25]
C#
#
D C
& ˙˙ œœœ œœœ ˙˙˙ ˙˙˙ ˙˙˙ œœœ

˙ # # # œœœ
?# ˙ œ œ ˙ ˙ ˙ œ #œ
[28]
#
Œ Ó ww ww
D
˙˙˙ ˙˙˙ œœœ

G
& w w
.
Keys Grade 1
?# ˙ ˙ œ. Œ Ó w w
[31]
29
Notes
Although there are no eighth-note rhythms in the piano part, teachers might think about preparing students for other songs
by discussing the concept of swing feel – perhaps by explaining that swing feel skips, rather than ticking like a clock.
This song is influenced by pop music from the 1950’s, and teachers might enjoy listening to Elvis Presley (‘Can’t Help Falling
In Love’) and The Righteous Brothers (‘Unchained Melody’) with students. Understanding the context and history of songs
can help deepen the student’s engagement with the music.
It is important that students should keep a steady pulse throughout Section A. In slow moving passages of music, the
challenge lies in avoiding the temptation to pre-empt each chord and inadvertently speed up. Practise the right hand
separately before adding in the left-hand bass line. When you put both hands together, make sure to listen carefully and aim
for all notes within the chord to sound clearly and precisely at the same time.
Pay careful attention to the staccato chords in bars 8 and 16. Remember that staccato chords are different from accented
chords. Aim to keep the volume the same as the previous bar and count the following rests carefully.
In bars 17 to 24, the left hand plays quite high in the treble clef. Students will need to learn to move their left arm across
their body, and must be discouraged from moving to the right of the piano stool. Teacher must also ensure that students
maintain a straight back during this passage.
Section C is a repeat of the opening first 8 bars of the piece. Be careful to observe the tied whole-note rhythm in bars 33
and 34, holding the chord right to the end of the final bar of the piece.

Keys Grade 1
30
31
Keys Grade 1 RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx
Technical Exercises
In this section you will be required to play a selection of exercises drawn from each of the groups below. The examiner will
be looking for the speed of your response and will also give credit for the level of your musicality. Please see the syllabus
guide for details on the marking criteria.
All scales and arpeggios need to be played hands separately, in straight feel, ascending and descending, in the keys, octaves
and tempos shown. Pentatonic scales are right hand only. You may use your book for Group A and Group B. Group C
exercises must be played from memory.
Note that Groups A and B need to be played to a click and any fingerings shown are suggestions only.
Group A: Scales
The tempo for this group is q = 60 bpm.
1. F major scale | right hand
œ œ œ œ œ œ œ œ œ œ
3 4 1
&b œ
2
œ œ
4
1 2 3 4 1 2 3 1 2 3
œ
2. F major scale | left hand
?b œ œ œ œ œ œ œ œ œ
œ œ

4 3 2 4 3 2 1 3 2 1
5 1
1 3 2
3. G major scale | right hand
#
œ œ œ œ œ œ œ œ œ œ œ œ œ
5
& œ œ œ œ œ œ œ œ
2 3 4 1 3 4
1 2 3 1 2 3 1 2
œ
4. G major scale | left hand
?# œ œ œ œ œ œ œ œ œ
œ œ 4 3 2 4 3 2 1 3 2 1
5 1
1 3 2
5. D natural minor scale | right hand
5
&b œ œ œ œ œ œ œ œ
3 4
1 2
œ œ œ œ
1 2 3 1 2 3
2 3 4 1
6. D natural minor scale | left hand
Keys Grade 1
?b œ œ œ
œ œ œ œ 1 3 2 1
œ œ œ œ
3 2 1
3 2 4 3 2 1
5 4
32
7. E natural minor scale | right hand
# œ œ œ œ œ œ œ œ œ œ œ œ
œ
5
3 4
& œ œ œ œ œ œ
1 2
2 3 1 3
œ œ œ
1 1 2
2 3 4
8. E natural minor scale | left hand
?# œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
œ œ 3 2 1 3 2 1 4 3 2 1 3 2 1
5 4
9. F major pentatonic scale | right hand
&b œ œ œ œ œ œ œ œ
1 2 3
œ
2 4
œ œ œ œ œ
1 2 3 1 1 2
œ œ œ œ œ œ
œ
10. G major pentatonic scale | right hand
# œ œ œ œ œ
œ œ œ œ œ
1 2 3
œ œ
2 4
&
2
œ
1 2 3 1 1
œ œ œ œ œ
œ œ œ

11. D minor pentatonic scale | right hand
œ
5
œ œ œ œ
4
&b œ œ œ œ œ
3 2 3
1 2
œ œ œ
2 1
1 2
12. E minor pentatonic scale | right hand
# œ
5
œ œ œ œ œ
4
& œ œ œ œ œ
3 2 3
2 1 2 1
œ œ
1 2
Keys Grade 1
33
Technical Exercises
Group B: Arpeggios
The tempo for this group is q =100 bpm.
1. F major broken chord | right hand
œ œ ˙. œ œ
& b 43 œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
5
œ
3 5 1 2 5 1 3 3
1
2. F major broken chord | left hand
? b 43 œ œ ˙. œ œ
œ œ œ œ
œ œ œ œ œ œ œ œ œ œ ˙.
5 3 1 5 3 1 5 2 1 2
3. G major broken chord | right hand
œ œ œ œ
# œ œ ˙. œ œ ˙.
& 43 œ œ œ œ œ œ œ œ œ
5
œ
1 5 1 3 3
3 5 1 2
4. G major broken chord | left hand
œ œ œ

? # 43 œ œ œ ˙. œ œ ˙.
5 3 1 5 3 1 5 2 1 2
5. D natural minor broken chord | right hand
œ ˙. œ œ
& b 43 œ œ œ œ œ œ œ œ
œ œ œ œ œ œ ˙.
1 3 5 1 2 5 1 3 5 3
6. D natural minor broken chord | left hand
? b 43 œ œ ˙. œ œ
œ œ œ œ
œ œ œ œ œ œ œ œ œ œ ˙.
3 5 1
3 1 5 1 2 2
5
Keys Grade 1
34
Technical Exercises
7. E natural minor broken chord | right hand
#3 œ œ œ œ
& 4 œ œ œ œ œ œ œ ˙. œ œ œ œ œ œ ˙.
1 5
œ
3 5 1 2 5 1 3 3
8. E natural minor broken chord | left hand
? # 43 œ œ œ œ
œ œ œ œ œ œ œ ˙. œ œ œ
œ œ œ œ ˙.
3 1 5 3 5 1
5 1 2 2
9. C diminished arpeggio | right hand
& 43 bœ œ bœ
1 2 3
bœ bœ
5
œ ˙.
10. C diminished arpeggio | left hand
bœ œ bœ
? 43 œ bœ bœ ˙.

1
5 3 2
11. C augmented arpeggio | right hand
3 œ
&4 œ #œ #œ
1 2 3
œ œ
5
˙.
12. C augmented arpeggio | left hand
#œ œ #œ
? 43 œ œ œ ˙.
1
5 3 2 Keys Grade 1
35
Technical Exercises
Group C: Chord Voicing

Diminished and Augmented triads
In the exam you will be asked to play either the C diminished or the C augmented triads below, from memory.
The examiner will state the exercise. This test is performed in free time (without backing track or click), but the examiner
will be looking for the speed of your response.
1. C diminished
bw
& 44 b b www w
b b ww b ww
2. C augmented
w
& 44 # ww # www # ww
w

Keys Grade 1
36
Sight Reading
In the exam, you have a choice between either a Sight Reading test or an Improvisation & Interpretation test. The examiner will ask
you which one you wish to choose before commencing. Once you have decided you cannot change your mind.
In the sight reading test, the examiner will give you a 4–6 bar melody in the key of either G major or F major. You will
first be given 90 seconds to practise, after which the examiner will play the backing track twice. The first time is for you to
practise and the second time is for you to perform the final version for the exam. For each playthrough, the backing track
will begin with a one bar count-in. The tempo is q = 70.
During the practice time, you will be given the choice of a metronome click throughout or a one bar count in at the beginning.
The backing track is continuous, so once the first playthrough has finished, the count in of the second playing will
start immediately.
Sight Reading | Example 1
#
& 44 œ œ ˙ ∑ œ œ œ œ Œ Œ
œ œ
?#4 œ œ ˙ œ œ
4 ∑ ∑ Œ Œ
Sight Reading | Example 2

& b 44 ∑ ∑ œ œ œ œ ˙ ˙
? b 44 ˙ ˙ œ œ ˙ ∑ ˙ ˙
Please note: The tests shown are examples: The examiner will give you a different version in the exam.
Keys Grade 1
37
Improvisation & Interpretation
In the exam, you have a choice between either a Sight Reading test or an Improvisation & Interpretation test. The examiner
will ask you which one you wish to choose before commencing. Once you have decided you cannot change your mind.
In the Improvisation & Interpretation test, the examiner will give you a 4–6 bar chord progression in the key of either G
major or F major. You will first be given 90 seconds to practise, after which the examiner will play the backing track twice.
The first time is for you to practise and the second time is for you to perform the final version for the exam. For each
playthrough, the backing track will begin with a one bar count-in. The tempo is q = 70.
During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at the beginning.
The backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will
start immediately.
You are only required to improvise single note melodies, with either right or left hand. It is permissible to play chord
voicings, but please note you will only be marked on melodic content.
Improvisation & Interpretation | Example 1
q = 70
Bb Bb
& b 44 ’ ’ ’ ’
F C
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Improvisation & Interpretation | Example 2
q = 70
#4 G C D C
& 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Please note: The tests shown are examples: The examiner will give you a different version in the exam
Keys Grade 1
38
Ear Tests
In this section, there are two ear tests:

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

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

The examiner will play you a sequence of chords, each with a C root note. You will hear the chord sequence twice, each time
with a one bar count-in. You will then be asked to identify the chord quality of each chord, from a choice of major, minor,

diminished and augmented. The tempo is q = 95 bpm.
& 44 ww b b www
w
? 44 w w
Please note: The test shown is an example. The examiner will give you a different version in the exam.
Keys Grade 1
39
General Musicianship Questions
The final part of your exam is the General Musicianship Questions section, which features five questions relating to one of
your choice of the performance pieces.
1. You will be asked a question relating to the harmony from a section of one of your pieces
2. You will be asked a question relating to the melody in a section of one of your pieces
3. You will be asked a question relating to the rhythms used in a section of one of your pieces
4. You will be asked a question relating to the technical requirements of one of your pieces
5. You will be asked a question relating to the genre of one of your pieces
Further guidance on the types of questions asked at this grade can be found at the RSL website www.rslawards.co.uk

Keys Grade 1
40
Entering Rockschool Exams
Entering a Rockschool exam is easy, just go online and follow our simple six step process. All details for entering online,
dates, fees, regulations and Free Choice pieces can be found at www.rslawards.com
■■All candidates should ensure they bring their own Grade syllabus book to the exam or have proof of digital purchase
ready to show the examiner.
■■All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam.

Keys Grade 1
41
Marking Schemes
Grade Exams | Debut to Grade 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
Sight Reading
or 6 out of 10 7–8 out of 10 9 + out of 10
Improvisation & Interpretation
Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10
General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5
TOTAL MARKS 60%+ 74%+ 90%+
Performance Certificates | Debut to Grade 8
ELEMENT PASS MERIT DISTINCTION

TOTAL MARKS 60%+ 75%+ 90%+

Keys Grade 1
42
Copyright Information
Can’t Stop The Feeling

(Timberlake/Martin/Shellback)
Kobalt Music Publishing Limited/Universal Music Publishing MGB Limited/Universal Music Publishing Limited
Daniel
(Khan)
BMG Rights Management (UK) Limited
Human
(Hartman/Graham)
Warner/Chappell Music Limited/Reservoir Reverb Music Ltd
Wildest Dreams
(Swift/Shellback/Martin)
Sony/ATV Music Publishing (UK) Limited/Kobalt Music Publishing Limited
Hallelujah
(Cohen)
Sony/ATV Music Publishing (UK) Limited
Tattooed Heart
(Edmonds/Dixon/Squire/Grande/Foreman/Thomas/Riddick Tynes)
Universal Music Publishing Limited/Kobalt Music Publishing Limited/Sony/
ATV Music Publishing (UK) Limited/EMI Music Publishing Limited /Universal /MCA Music Limited

Keys Grade 1
43
Keys Notation Explained
œ œ œ œ œ
4 œ œ œ œ œ
&4 œ œ œ œ œ
THE MUSICAL STAVE shows pitches and
œ œ œ œ
rhythms and is divided by lines into bars.
?4 œ
C D E F G A B C D E F G A B C
œ œ œ
Pitches are named after the first seven letters
4 œ œ œ
of the alphabet.
œ œ œ œ
Grace Note: Play the grace note on Pedal Marking: Depress and then release the
or before the beat depending on the sustain pedal. Multiple pedal operations in a
style of music, then move quickly to short space of time may be simplified as shown
the note it leads onto. in the last two beats of the bar below.
3 4 œ
&4 œ
j ˙˙ .. &4 œ œ œ œ œ œ œ
° °
Spread Chord: Play the chord from the bottom note up Glissando: Play the notes between the notated
(top down only if there is a downward arrow head). pitches by sliding over the keyboard with the
The final note should sound by the appropriate fingers or fingernails.
# 4 g ˙˙ ggg ˙˙˙˙
notated bar position.
& 4 ggg n ˙˙ g & h h

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

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

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

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

second time.
(accent) • Accentuate note with more arm weight.
44

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Keys Grade 1

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

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

All accompanying and supporting audio can be downloaded from: www.rslawards.com/downloads

Input the following code when prompted: DSW76EZR6T

For more information, turn to page 5

Published by Rockschool Ltd. © 2019

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Supporting Tests recorded by Chris Stanbury and Jono Harrison

Introductions & Information

Hit Tunes | Keys Arrangements

7 ‘Can’t Stop The Feeling!’............................. . . . . . . . . . . . . . . . . . Justin Timberlake

Hit Tunes | Piano Arrangements

19 ‘Wildest Dreams’............................................ . . . . . . . . . . . . . . . . . Taylor Swift

32 Scales, Arpeggios & Chord Voicings

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

41 Entering Rockschool Exams

■■Hit Tune Arrangements

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Debut (Entry Level 3) & Grades 1–3 (Level 1)

Grades 4–5 (level 2)

Grades 6–8 (level 3)

Melody & Accompaniment

Solo Piano Arrangement

Grades 4–8 only:

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

You will need to input this code when prompted: DSW76EZR6T

Patch/registration settings and sounds (keyboard arrangements only)

Notation for keyboard arrangements:

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

SONG TITLE: ‘CAN’T STOP THE FEELING’

Hit song writing team Max Martin and Johan A m7

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

The film version of ‘Can’t Stop the Feeling’ won

Best Song Written for an Animated Film’ at the 2016

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

B b/C B bmaj 7/C

Words & Music by Justin Timberlake, Max Martin & Shellback

& www ww www www

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

SONG TITLE: ‘DANIEL’

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Bat for Lashes released her debut single ‘The

for Lashes and Echo signed a major licensing deal

Bat For Lashes

q = 135 Synth Pop

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Words & Music by Natasha Khan

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

SONG TITLE: ‘HUMAN’

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Words & Music by Jamie Hartman, Rory Graham

16 © Copyright 2016 Reservoir 416.

& œœœ œœ œœ œœ œœœ œœ œ œœ œ œœ œ

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

& œœœ œœ œœ œœ œœœ œœ œ œœ œ œœ œ

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

SONG TITLE: ‘WILDEST DREAMS’

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

but moved to Nashville at the young age of 14 in

RSL-914991043744 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

■■Hit Tune Arrangements