Keys Debut

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

guidance for Rockschool examinations

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

Input the following code when prompted: 4EV2ND4XCB

For more information, turn to page 5

www.rslawards.com
 Acknowledgements

Published by Rockschool Ltd. © 2019

Catalogue Number: RSK200098
ISBN: 978-1-78936-072-1
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, Piano on ‘Imagine’: Charlie Connell
Simon Troup and Jennie Troup Drums & Percussion: Pete Riley and Richard Brook
Hit Tune arrangements by Jono Harrison and Gary Sanctuary Bass & Synth Bass: Andy Robertson
Supporting Tests written by Jono Harrison, Chris Stanbury, Guitars: Rory Harvey, Nat Martin and Jono Harrison
Nik Preston and Ash Preston Saxophone: Jonathan Griffiths
Syllabus advisors: Tim Bennett-Hart, Brian Ashworth, Trombone: Tom George White and Norton York
Stuart Slater, Peter Huntington, Bruce Darlington, Trumpet: Nick Mead and John Simpson
Simon Troup and Jennie Troup Lead and Backing Vocals: Glen Harvey & Katie Hector
Additional Programming: Jono Harrison
PUBLISHING
Proof reading of arrangements by Sharon Kelly, Simon Troup, DISTRIBUTION
Jennie Troup and Jono Harrison Exclusive Distributors: Hal Leonard
Music engraving and book layout by Simon and Jennie Troup of
Digital Music Art CONTACTING ROCKSCHOOL
Fact files written and edited by Abbie Thomas www.rslawards.com
Notes written by Roland Perrin Telephone: +44 (0)345 460 4747
Proof reading and copy editing by Gemma Bull, Jono Harrison Email: info@rslawards.com
and Jennie Troup
Cover design by Philip Millard of Rather Nice Design EXECUTIVE PRODUCERS
Cover photograph: Emeli Sandé © Dave J Hogan / Getty Images John Simpson, Norton York

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 Debut

2
Table of Contents

Introductions & Information

1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Keys Debut
6 Performance and Technical Guidance

Hit Tunes | Keys Arrangements

7 ‘Ain’t No Sunshine’.. ........................................ . . . . . . . . . . . . . . . . Bill Withers

11 ‘Mr Brightside’................................................. . . . . . . . . . . . . . . . . . The Killers
15 ‘One Love/People Get Ready’................. . . . . . . . . . . . . . . . . . Bob Marley & The Wailers

Hit Tunes | Piano Arrangements

19 ‘Next to Me’ ...................................................... . . . . . . . . . . . . . . . . . Emeli Sandé

23 ‘Beauty And The Beast’ .. ............................. . . . . . . . . . . . . . . . . From ‘Beauty And The Beast’ (1991)
27 ‘Imagine’.............................................................. . . . . . . . . . . . . . . . . . John Lennon

Technical Exercises

32 Scales, Arpeggios/Broken Chords & Chord Voicings

Supporting Tests

34 Sight Reading
35 Improvisation & Interpretation
36 Ear Tests
37 General Musicianship Questions

Additional Information

38 Marking Schemes
39 Entering Rockschool Exams
39 Copyright Information
40 Keys Notation Explained
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3
 Welcome to Rockschool Keys Debut

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 Debut

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: 4EV2ND4XCB

The audio files are supplied in MP3 format. Once downloaded you will be able to play them on any compatible device.

Further Information
Keys Debut

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.
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6
 Ain’t No Sunshine

SONG TITLE: AIN’T NO SUNSHINE

ALBUM: JUST AS I AM
LABEL: SUSSEX Electric Piano
GENRE: SOUL/R&B
h = 75 Soul

44
WRITTEN BY: BILL WITHERS Am E m7

& ww ˙˙
PRODUCED BY: BOOKER T. JONES

UK CHART PEAK: 40

? 44 w ˙

‘Ain’t No Sunshine’ is regarded by many as a
songwriting masterpiece. It was released in 1971 and
quickly became a classic all over the world. It reached
the number 3 spot on the Billboard Hot 100 and has
been covered by many artists since.
Withers wrote the song after watching the movie
In 1975, after signing with Columbia Records
and returning to recording after a hiatus produced
by contractual complications, he recorded three
successful albums, one of which was his 1977 album,
Menagerie, which contained the now classic song
‘A Lovely Day’. Further contractual complications
followed but Withers managed to continue E m7
A m

& ww
The Days of Wine and Roses. He was 31 years old collaborating with other musicians and recorded

when the song was released and at the time he was
working in the assembly line of a factory, making
toilet seats for Boeing 747s. It is said that with this in
mind the record company presented Withers with a
˙˙
the classic ‘Just The Two Of Us’ with saxophonist
Grover Washington Jr. (included on the best-
selling Winelight) and ‘In The Name Of Love’ with
percussionist Ralph MacDonald. He also penned the

golden toilet seat when the record went gold. It was
the first of his three gold records in the US.
‘Ain’t No Sunshine’ was actually a B side to Withers’
single ‘Harlem’, but DJs hugely favoured the hit and
played it instead. The record was produced by Booker
[5]
T. Jones and his band, the MG’s, were used to back
Withers. The band was by then a seasoned outfit that
had played on countless records on the Stax label –
amongst them was none other than ‘(Sittin’ On) The
Dock The Bay’ by Otis Redding.
? w ˙
successful ‘Grandma’s Hands’.
Numerous legal complications connected with his
record contracts led Withers to decide he was going
to retire form the music industry, including live
performance, in the mid 1980s. Although his music
continues to gain attention in various forms, he has
expressed comfort with his decision and says his
relatively late arrival in the business equipped him to
deal with it with no regrets.

‘Ain’t No Sunshine’ won a Grammy Award at the

14th annual ceremony in 1972. Withers followed its
success with the massive hits ‘Lean On Me’ and
Keys Debut

‘Use Me’.

E m7

& w w
7
 Ain’t No Sunshine Keys Arrangement

Bill Withers
Electric Piano

h = 75 Soul

& 44 ww
Am E m7 G Am

˙˙ ˙ w w
? 44 w ˙ ˙ w ˙ œ œ

Am E m7 G Am

& w ˙˙
w ˙ w w
? w ˙ ˙ w w
[5]

E m7 D m7

& w w w w
? ww ˙ ˙ ww ww
[9]

Am E m7 G Am

& ww ˙˙ ˙ w w
? w ˙ ˙ w ˙ œ œ
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[13]

Words & Music by Bill Withers

8 © Copyright 1971 Interior Music Corporation.

Universal/MCA Music Limited.
All Rights Reserved. International Copyright Secured.
 Em G Am

& ˙ ˙ ˙˙ ˙
˙ ww ww

? ˙ ˙ w w
w
[17]

˙ ˙
Em G Am

& ˙˙ ˙ ww ww

? ˙ ˙ w w
w
[21]

E m7 D m7

& ww ww
ww ww

? w w w w
[25]

Am Em G Am

& ˙˙ ˙ ˙˙ ˙ ww

? ˙ ˙ w
w
[29]

& ww
Keys Debut

? w
w w
[32]
9
 Notes

This song has a melancholy feel which is reflected in the rich and slow moving minor chords in the keyboard part.

Students should maintain a steady inner pulse, focusing on the four quarter-note beats in each the bar. Once the notes have
been securely learnt, students should rehearse the piece along to a metronome click. When this can be done confidently,
switch the metronome off while maintaining a constant internal pulse throughout.

There are several points in this piece that require holding notes across two bars. It is important that students hold each note
for the correct length before moving onto the next phrase.

Note that both hands play a mixture of single notes and diads (two notes sounding together). Where there are two notes to
be played together within one hand, students should listen carefully to the sound produced to ensure that they are played at
exactly the same time and are evenly balanced – both notes should be heard clearly. This will benefit from practising each
part separately and slowly to master a precise and even performance.

Even and legato playing requires secure fingering patterns. Students should take time to master a pattern that works well for
them, identifying and rehearsing hands separately until the patterns become intuitive and feel comfortable.

While both hands frequently share the same rhythm patterns, there are moments where one part moves independently and
the other hand is either holding a previous note or has a rest. An example of this can be found in bar 4 where the right hand
continues to hold the note from the previous bar while the left hand plays quarter notes on beats 3 and 4. Students should be
aware of the occasions where the hands move independently and practise these bars carefully.
Keys Debut

10
 Mr Brightside

SONG TITLE: MR. BRIGHTSIDE

ALBUM: HOT FUSS
LABEL: ISLAND / LIZARD KING Synth Strings
GENRE: ALT. POP / POST PUNK /
NEW WAVE
q = 135 Rock
A

44
WRITTEN BY: BRANDON FLOWERS
C C/B

& w w
AND DAVE KEUNING
PRODUCER: THE KILLERS
 UK CHART PEAK: 10

? 44 ww w

C/B
C

‘Mr Brightside’ was the first single to be released

by Las Vegas natives, The Killers. It featured on their
& w
debut album Hot Fuss (2004), which many critics
w
Formed in 2001, The Killers are Brandon Flowers
(lead vocals/keyboards), Dave Keuning (guitar),
Mark Stoermer (bass guitar) and Ronnie Vannucci

? ww
compared to the work of new wave and post-punk Jr. (drums). Having been fired from his previous

acts such as Joy Division, Gang of Four, Wire, The
Fall, Magazine, and The Cure.
‘Mr Brightside’ was written by guitarist Dave
Keuning and frontman Brandon Flowers, although
[5]
work on the composition actually started before the
pair even met. Keuning set to work on much of the
melody before ‘The Killers’ had formed, focusing
w
band, Flowers was on the lookout for a new venture
when he came across an advert in a Las Vegas
newspaper. Flowers contacted Keuning regarding
his advertisement, the two met to discuss and so
The Killers were born. The band’s name derives
from a fictitious band portrayed in New Order’s
music video for the song ‘Crystal’, clearly seen on
the bass drum skin. C/B
C

& ww
predominantly on the verse. On meeting Flowers he
presented his ideas, resulting in the pragmatic singer
adding lyrics and finalising the chorus melody.
The song was originally released on September 29
ww
The Killers have released five consecutive chart
topping studio albums and have seven Grammy
nominations, three Brit Awards and seven NME
awards under their belt (to name but a few). Having

? w
2003 and achieved only minor notoriety. It became sold an estimated 22 million albums worldwide, they

w
more popular upon its re-release in 2004, peaking at are arguably one of the most successful rock acts of
number 10 in both the US and UK singles charts. ‘Mr. the modern era.
Brightside’ went on to be named ‘Song of the Decade’
by Absolute Radio and XFM, and in April 2010
Last.fm disclosed that it was the most listened to track [9]
since the launch of the online music service, with over
12.2 million plays. It is still one of the top fifteen most
downloaded rock tracks ever in the UK. C/B
C

& ww ww
Keys Debut

?
11
 Mr Brightside Keys Arrangement

The Killers
Synth Strings

q = 135 Rock
A

& 44 w
C C/B F5

w w w
? 44 ww w w w
C C/B F5

& w w w w
? ww w ww ww
[5]

C C/B F5

& ww ww ww ww

? w w
[9]
w w
C C/B F5

& ww ww ww ww

? w w w w
[13]

j j
Am C/G

& w œ. œ œ œ. œ œ
œ œ
? w w w w
[17]

j
F

& œ. œ œ œ
? ww ww ww ww
Keys Debut

[21]

Words & Music by Brandon Flowers, Dave Keuning, Mark Stoermer & Ronnie Vannucci
12 © Copyright 2003 Universal Music Publishing Limited.
All Rights Reserved. International Copyright Secured.
 B
C F5 A m7 G

& w ww w œ
w w œ œ œ
? w w
w w
[25]

C F5 A m7 G

& ww ww ww œ œ œ œ
? w w
w w
[29]

ww
A m7

ww
C F G

& ww œ œ œ œ
?w w w w
[33]

C F5 A m7 G

& w ww w œ
w w œ œ œ
? w w
w w
[37]

C F Am

&œ œ œ œ œ œ œ œ œ œ œ œ

?w
w w
[41]

G C

&œ œ œ œ w
Keys Debut

? w
w
[44]
13
 Notes

The simmering anger of this song should guide students when making a difference between passages where there are
sustained accompanying chords (e.g. bars 1 to 16) and more melodic parts (e.g. bars 18, 20 and 22).

The sustained passages need to be played quietly and smoothly. The short melodies need to stand out and must be played
slightly louder.

Students must be careful not to over-emphasise the keyboard counter-melodies, as they would be complimentary to a lead
singer’s main vocal line if performing in a band. An awareness of how the keyboard part contributes to the whole sound
is important.

With so many passages of sustained playing, students need to be constantly aware of the four downbeats in each bar, and to
keep a steady pulse. Lightly tapping a foot on the downbeats is recommended.
Keys Debut

14
 One Love/People Get Ready

SONG TITLE: ‘ONE LOVE/

PEOPLE GET READY’
ALBUM: EXODUS Electric Piano or Organ
RELEASED: 1977
h = 76 Reggae

˙˙
LABEL: ISLAND A

44 Ó
GENRE: ROOTS REGGAE C

&
WRITTEN BY: BOB MARLEY/
CURTIS MAYFIELD
PRODUCED BY: BOB MARLEY

? 44 w
AND THE WAILERS
UK CHART PEAK: 5

˙˙
& Ó
G

‘One Love/People Get Ready’ is a song by Bob The greatest hits album, Legend, was released in
Marley and The Wailers and features on their ninth 1984, 3 years after Marley sadly passed away. The
studio album, Exodus. The song was originally album achieved extraordinary success and is the

recorded and released in 1965 by Marley’s vocal
group, The Wailers, and was titled simply ‘One Love’,
with writing credits only listing Marley himself.
Although the original version (1965) was likened
to Curtis Mayfield’s ‘People Get Ready’, there were
no official copyright laws in place for Jamaican
? w
best-selling Reggae album of all time, with global
sales of approximately 43 million copies. In 2003
Rolling Stone Magazine ranked it number 46 in their
‘500 Greatest Albums of all Time’ list, alongside the
likes of Sgt. Pepper’s Lonely Hearts Club Band (The
[3] Beatles), Thriller (Michael Jackson) and Love and
Theft (Bob Dylan).

œ œ œ
Recordings at that time and so acknowledgment of
this wasn’t necessary. However, on rerecording with
F
Bob Marley was posthumously inducted into the

&
Bob Marley and The Wailers in 1977, Marley was
advised to credit Mayfield as a co-writer by his label.
This wasn’t strictly required, but the label wished to
avoid any copyright disputes or upset. Hence the new
Rock and Roll Hall of Fame in 1994 and in 2001 he
received his first Grammy Award, none other than
‘The Grammy Lifetime Achievement Award’. Sadly,
he was unable to see the effect his music has had on

˙
name, ‘One Love/People Get Ready’, and a writing the industry today. He remains praised for bringing

? ˙
credit for Curtis Mayfield. Reggae to global popularity and his song ‘One Love/
People Get Ready’ was famously branded ‘Song of the
‘One Love/People Get Ready’ was not officially Millennium’ by the BBC.
released as a single until 1984, as promotion for the
up and coming compilation album Legends. It was
[5]
at this point that it achieved chart success, peaking
at number 5 in the UK singles chart. Exodus itself

˙ ˙
was extremely successful at its time of release (1977),
G

&
remaining in the UK album charts for a total of 56
weeks. It also contained chart hits ‘Jamming’, ‘Waiting
Keys Debut

in Vain’ and ‘Three Little Birds’, all of which were top

tens in the UK.

? ˙ ˙ 15
 One Love/People Get Ready Keys Arrangement

Bob Marley & The Wailers

Electric Piano or Organ

A h = 76 Reggae

˙˙ ww
& 44 Ó
C

? 44 w w

˙˙ ww
& Ó
G

? w w
[3]

œ œ œ œ ˙ œ œ
F C

&

? ˙ ˙ w
[5]

˙
G
˙
C
w
&

? ˙ ˙ w
[7]

& Œ Œ Œ œœ. Œ œœ.

C Am

œœ œœ
. .
? ∑ ∑
[9]

& Œ œœ Œ œœ Œ Œ
F C

. . œœ œœ
. .
? ∑ ∑
Keys Debut

[11]

Words & Music by Bob Marley & Curtis Mayfield

16 © Copyright 1977 Odnil Music Limited/Warner Tamerlane Publishing Corporation/Mijac Music.
Blue Mountain Music Limited/Warner/Chappell North America Limited/Sony/ATV Music Publishing (UK) Limited.
& Œ Œ Œ œœ. Œ œœ.
Am

œœ œœ
. .
? ∑ ∑
[13]

& Œ œœ Œ œœ Œ Œ
F G C

. . œœ œœ
. .
? ∑ ∑
[15]

˙˙ ww
& Ó

? w ∑
[17]

& Ó ˙˙ ww
G

? w ∑
[19]

œ
F
œ œ œ ˙
C
œ œ
&

? ˙ ˙ w
[21]

˙
G
˙ w
C

&
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? ˙ ˙ w
[23]
17
 Notes

It is recommended that students lightly tap a foot on the quarter note pulse. Teachers could explain to students that the
music was originally played for people to dance to and, to get the right feeling, the keyboard parts should be precise
and light (as seen with the right hand staccatos and rests), and the melodies should be legato (bars 5-8 and 21-24).

The rhythmic precision that this song requires goes right to the last note – it must not be cut short, or played for longer
than four beats.
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18
 Next to Me

SONG TITLE: ‘NEXT TO ME’

ALBUM: OUR VERSION OF EVENTS
RELEASED: 2012 q = 95 Pop
LABEL: VIRGIN
Am

44 œ œ œ œ œ
GENRE: R&B/SOUL/GOSPEL 4

&
WRITTEN BY: EMELI SANDÉ/HUGO CHEGWIN/
HARRY CRAZE/ANUP PAUL

œœ œœ œœ
PRODUCED BY: CRAZE & HOAX/MOJAM MUSIC

œœ œœ
UK CHART PEAK: 2

? 44
2
4

œ œ œ
Am

& œ œ œ
British singer songwriter Emeli Sandé released her felt strongly about writing her own material, rather
single ‘Next to Me’ in 2012, the third to be released than performing songs written by others, and found
from her debut album Our Version of Events. The it to be a natural talent. In 2009 she collaborated with
track was originally released in Ireland where it rapper Chipmunk on his track ‘Diamond Rings’. The

œœ œœ œœ œœ œœ œœ
topped the charts, it was then released in the UK song achieved top 10 status on the UK charts and led

shortly after and peaked at number two. ‘Next to
Me’ hit the US Billboard charts in April of 2012 and
gave Sandé her first US top 40, peaking at number
25. The song is listed as the 14 best selling single
th
of 2012 in the UK, a brilliant achievement for the
singer songwriter.
Emeli Sandé received positive feedback for the hit,
with many reviewers left wondering if the “morally
righteous” man she refers to in her lyric is in fact
a partner. Listeners may well construe that she is
referring to her faith, or maybe even music itself. In
?
to many more musical ventures for Sandé.
In 2011 she released her first solo single ‘Heaven’
and shortly after released her debut studio album Our
Version of Events. The album was a great success and
[3]topped the UK album chart, spending ten consecutive
weeks at number 1 and becoming the best selling UK
album of 2012. Not stopping there, the album went on
to win her British Album of the Year at the 2013 Brit
Awards Ceremony. She also won Best British Female
Solo artist at the same ceremony, an outstanding G/
Am
Aaccomplishment
for such a young singer songwriter. 1

œœ
5 4

& ˙˙ ..
2013 the song made an appearance in an episode 2
of US Musical Sitcom Glee and was performed by Long Live the Angels was Sandé’s second studio
Rachel Berry and none other than Broadway star album and peaked at number 2 in the UK album chart
Idina Menzel. Here the pair sing a harmony led (2016). In 2017 she was appointed the prestigious

˙˙ .. œ
arrangement and keep Sandé’s gospel feel very much status of MBE for her services to music. Her
alive in the song. songwriting and outstanding vocal have clearly left an

?
1 2
impact on3 the UK’s music industry, the MBE status is
Born Adele Emily Sandé in 1987 and raised in well deserved for such a talented individual.
Aberdeenshire, Sandé showed a keen interest in music
and songwriting from an incredibly young age. She
Keys Debut

wrote her first song at the age of 11 and immediately

knew that music was the path she had to follow. She [5]

19

G
 Next To Me Piano Arrangement

Emeli Sandé
q = 95 Pop
Am G/B C

& 44 œ œ œ œ œ œ œ œ œ œ
4 3

œ œ œ œ œ œ
1

œœ œœ
? 44 œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ
2 1
4 3 2

Am G/B C

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ œœ
? œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ
[3]

A Am G/B C
5

& ˙˙ ..
1

œœ œœ
2

˙.
4 2

. ˙.
? ˙˙ . œ œ
1
3 2 1

[5]

Œ
Am G/B C

& ˙˙ .. œœ ˙.
. ˙.
? ˙˙ . œ
Œ
[7]

Am G/B C

& ˙˙ .. œ ˙. œœ
. œœ ˙.
? ˙˙ . œ
Keys Debut

[9]

Words & Music by Harry Craze, Hugo Chegwin, Emeli Sandé & Anup Kumar Paul
20 © Copyright 2012 Stellar Songs Limited/Naughty Words Limited.
EMI Music Publishing Limited/Sony/ATV Music Publishing (UK) Limited/BMG Rights Management (UK)
 Am G C G/B

& ˙. œ œ œ œ œœ
.
? ˙˙ . œœ œ œ œ œ
[11]

B
Am G/B C

& œ œ œ œ œ œ œ œ œ
1

œ œ œ œ œ œ œ
? œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
5

[13]

Am G/B 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
[15]

Am G/B 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
[17]

Am G/B C

& ˙˙ .. œ ww
Keys Debut

? ˙. œœ
2

w
3 4
5

[19]
21
 Notes

The lyrics in ‘Next To Me’ express the value of constancy and friendship, and this sentiment is reflected in the steady pulse
and repetitive rhythm of the opening piano chords.

In order to play this passage, it may be helpful to count the beats out loud (1, 2, 3, 4) and then add the eighth notes
(1 & 2 & 3 & 4 &). Once comfortable, this should be counted silently. It may help to play this passage with a fairly ‘loose’
wrist, observing hand position and fingering as the notes move closer together from bar 1 to bar 2.

The verse of the song (A) starts at bar 5 and the chords become sustained, providing a ‘bed’ for the vocal melody. It is good
practice to ensure that all the notes in the chords sound clearly and evenly.

The rhythm builds to quarter notes in bar 12, setting up the chorus (B) at bar 13. Here, the piano part plays the same chords
as the introduction, but using different voicings. Care is needed here in the wider separation between the two hands.

Lastly, be sure to hold the final chord for its full length, to the end of the final bar.
Keys Debut

22
 Beauty And The Beast

SONG TITLE: ‘BEAUTY AND THE BEAST’

ALBUM: BEAUTY AND THE BEAST:
ORIGINAL MOTION

œ
PICTURE SOUNDTRACK q = 81 Soundtrack

44 Ó œ
RELEASED: 1991
C 5

&
4
LABEL: WALT DISNEY
GENRE: SHOW TUNE
WRITTEN BY: HOWARD ASHMAN/ALAN MENKEN
PRODUCED BY: HOWARD ASHMAN/ALAN MENKEN

? 44 ww
UK CHART PEAK: 9

œ œ œ
& Ó
C 3

‘Beauty and the Beast’ was written by lyricist Both Lansbury and Dion/Bryson’s versions were
Howard Ashman and composer Alan Menken for hugely successful, winning multiple awards including

? ww
Disney’s 1991 animated feature film of the same a Golden Globe and Academy Award for Best
name. Originally recorded by actress Angela Lansbury Original Song, as well as a Grammy Award for Best
for her role as the voice of character Mrs. Potts, the Song Written for Visual Media. In 2004 the original
song told the story of main characters Belle and the composition was officially deemed one of the greatest
Beast. The song features in the famous ballroom songs in film history by the American Film Institute
scene, in which the two characters discover for [3] who ranked it number 62.
their love for each other despite their differences. A
chorale version also features in the final scene of the ‘Beauty and the Beast’ was again recorded in 2017

œ œ
& Ó
movie, while themes of the song appear frequently by actress
C Emma Thompson for the character of Mrs

throughout the film’s full score.
Having been vacant from the pop charts for over
30 years, Disney saw an opportunity to promote their
œ
Potts. As a homage to Dion and Bryson’s beautiful
portrayal of the song, Ariana Grande and John
Legend recorded a similar duet to be released for the
2017 adaption of ‘Beauty and the Beast’.

j
feature film and popularise their music again. They

? œ. ˙
enlisted the help of Celine Dion (a newcomer at the Disney’s original animated feature film, ‘Beauty

time) and Peabo Bryson to record a pop version
of the theme song. Disney had originally planned
to use Dion as a soloist for the recording, but were
concerned that her status at the time wasn’t big
enough to draw attention and so Bryson was brought
in to duet. Little did they know that Celine Dion
would go on to become a worldwide, multimillion
œ
and the Beast’ (1991), became the first ever animated
film to win the Golden Globe Award for Best Picture
– Musical or Comedy. With an original budget of $25
million the animation went on to gross $425 million
[5]worldwide and became one of Disney’s best selling
feature films of all time.

& Ó œ
selling artist. Of course, they may well have played a C

œ
hand in her success by introducing her to the mass
market with this iconic theme tune.
Keys Debut

1 2

? œ. j
œ ˙ 23
 Beauty And The Beast Piano Arrangement

Alan Menken
From ‘Beauty And The Beast’ (1991)
q = 81 Soundtrack

œ œ œ
& 44 Ó
œ ˙
C F/C

˙
4 5 4
3 2
1

? 44 ww ww

œ œ œ œ ˙
& Ó ˙
C F/C 5
3
1

? ww ww
[3]

& Ó œ œ Ó
C F/C

œ œ ˙

? œ. j j
œ ˙ œ. œ ˙
[5]

œ ˙
& Ó œ Ó
C G

œ œ
5
4
3
1 2

? œ. j œ. œ ˙
œ ˙ J
[7]

œ œ œ œ œ œ œ œ
& Ó œ Œ
C Em

? ww ww
[9]

œ œ œ
& œ Œ œ
F G

w
5 4
3 2
1

? ww ˙˙ ˙˙
Keys Debut

[11]

Words by Howard Ashman

24 Music by Alan Menken

© Copyright 1991 Wonderland Music Company Incorporated/Walt Disney Music Company.
All Rights Reserved. International Copyright Secured.
& Ó œ œ Ó
C F

œ œ ˙

? œ. j j
œ ˙ œ. œ ˙
[13]

˙ œ œ œ œ
& Ó œ œ
C G

œ œ

? œ. j œ. œ ˙
œ ˙ J
[15]

œ œ œ œ œ
& ˙ œ œ œ
F C/E Dm G

? ˙˙ ˙˙ ˙˙ ˙˙
[17]

œ œ œ œ
& ˙ Ó Ó
C G

? ww ww
[19]

œ œ œ œ œ
& ˙ œ œ œ
F C/E Dm G

? ˙˙ ˙˙ ˙˙ ˙˙
[21]

&w
C
Keys Debut

? ww ww
[23]
25
 Notes

There is a serene quality to this song. To reflect this in performance, the notes should be played smoothly and evenly, with
the performer being careful not to rush against the pulse.

The melody is performed by the right hand, and needs to be clearly projected over the left hand accompaniment without
being too heavy. It is important to observe the rests – these are where the singer would breathe, giving a natural ‘shape’ to
the music.

The fingerings may prove a useful starting point in building stability. Each melodic phrase differs from the last, so a solid
fingering technique will ensure confidence.

Be careful to hold the notes in the final two bars for their full duration, noting that the right hand finishes at the end of bar
23 while the left hand notes are tied and held throughout the final bar.
Keys Debut

26
 Imagine

SONG TITLE: ‘IMAGINE’

ALBUM: IMAGINE
RELEASED: 1971 q =76 Pop/Rock
LABEL: APPLE
A

44 ‰ j œ
GENRE: SOFT ROCK/POP C

& œ œ œ
1
WRITTEN BY: JOHN LENNON/YOKO ONO
PRODUCED BY: JOHN LENNON/YOKO ONO/
PHIL SPECTRE

? 44 ww
UK CHART PEAK: 1
1
5

j œ
CThe song itself has sold over 1.6 million copies

& ‰ œ œ
Written by John Lennon in 1971, ‘Imagine’ was

a worldwide hit which conveyed themes of politics,
religion and love. Lennon wrote the song at his
home in Berkshire and was heavily influenced by the
poetry works of his wife Yoko Ono, specifically her
œ œ
in the UK alone, making it by far Lennon’s biggest
success as a solo artist. He is of course widely known
as one part of the multimillion selling quartet, The
Beatles. During their time together, The Beatles took

? ww
book Grapefruit, so much so that she was later given
a writing credit. His song speaks of a world where
all humans are one, with no countries or religion
to separate them. Lennon was often criticised by
religious groups, claiming that the song was an atheist
anthem. However, Lennon is quoted as stating that
the song was not about a world with no religion at all [3]
but rather a world of one religion without competition
as to whose God is the most powerful. An intriguing
sentiment which was well received by the ever-liberal
movement of the 1970s.
the world by storm, shaping the music industry as
we know it today an immeasurable amount. To date,
The Beatles are the best-selling band of all time, with
estimated sales of over 800 million records worldwide.
Following his huge success with The Beatles,
Lennon went on to influence countless musicians
and was highly regarded in the industry. His song’
‘Imagine’ was actually inducted into the Rock and
Roll Hall of Fame’s 500 Songs that Shaped Rock and
Roll and earned him a Grammy Hall of Fame Award.
Since it’s original release ‘Imagine’ has been covered

j
C

& ‰ œ
‘Imagine’ was released in the US in late 1971 by dozens of successful artists, including: Madonna,

and peaked at number 3 on the Billboard Hot 100
chart. Although the single wasn’t officially released
in the UK at that time, the LP on which it featured
(of the same name) managed to top the UK album
charts in the November of that year. It was later
œ œ œ
Stevie Wonder, Elton John, Joan Baez and Diana Ross.
It is a fitting tribute to the incredible songwriter that
was John Lennon, that so many music icons would
want to cover this unquestionably remarkable song.

? ww
released as a single in the UK in 1975 to promote a
compilation LP and peaked at a respectable number
6. Re-released for one last time following the Singers
tragic death in 1980, ‘Imagine’ finally achieved the
Keys Debut

position it deserved and claimed number 1 in the

UK Singles Charts. [5]

27
 Imagine Piano Arrangement

John Lennon
q =76 Pop/Rock
A

& 44 ‰ j
C F

œ œ œ Œ Ó
œ œ œ œ
1

? 44 ww
1
5 ˙˙ ..
2
4 œ

j
C F

& ‰ œ œ œ œ œ œ œ Œ Ó

? ww ˙˙ .. œ
[3]

j
C F

& ‰ œ œ œ œ œ œ œ Œ Ó

? ww ˙˙ .. œ
[5]

j
C F

& ‰ œ œ œ œ œ œ œ Œ Ó

? ww ˙˙ .. œ
[7]

j œ œ œ œ œ œ j
& ‰ œ œ œ ‰ Ó
1 A m/E Dm D m/C

? ˙ ˙ ˙ ˙
Keys Debut

[9]

Words & Music by John Lennon

28 © Copyright 1971 Lenono Music.

Downtown Music UK Limited
All Rights Reserved. International Copyright Secured.
 œ. œ œ ˙
G

& œJ œ Ó
1

? w 1 w
1

[11]

& Œ œ œ œ œ œ Œ Ó
E7

œ œ
F G C
1

˙˙ ˙˙ œ œ
? ˙˙
[13]

F G C E7

& Œ œ œ œ œ œ œ Œ Ó
œ
3 1

? ˙˙ ˙˙ œ
Œ œ œ
[15]

& Œ œ œ œ œ œ Œ Ó
E7

œ œ
F G C

˙˙ ˙˙ œ
? ˙˙ Œ
[17]

œ œ œ œ œ œ œ ˙
& Œ œ
F G C
1

w
Keys Debut

? ˙˙ ˙˙
[19]
29
 Notes

‘Imagine’ features essential melody and accompaniment techniques which, when mastered, provide a good foundation
for pop and rock piano styles. The left hand in bars 1–8 outlines the chords, with a single note adding movement to every
second bar on the fourth beat. By contrast, the right-hand melody is based around quarter notes and eighth notes, mirroring
John Lennon’s vocal line. At bar 9, the left hand plays a descending stepwise scale, until two-note chords are reintroduced in
the chorus at bar 13.

The right hand melody needs to be played evenly and securely, using five fingered positions where possible. It may also be
useful to refer to the fingering guidance on the score. It is important to produce clear chords and bass notes in the left hand,
without becoming overpowering.

The rests should be observed carefully in this arrangement, and there should be an awareness of when one of the hands is
resting and where both hands are resting. For example, care is needed in bar 2 not to play the first note in the right hand for
longer than a quarter note. Also, in bar 10, the third note in the right hand should be shorter than the first note in bar 2. In
bar 16, for the first time, both hands are resting, creating a silence in both the accompaniment and the melody.

Lastly, be sure to hold the last notes in both hands until the very end of the final bar.
Keys Debut

30
31
Keys Debut
 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 = 52 bpm.

1. C major scale | right hand

œ
3 4 5

œ œ
2

& œ œ œ œ œ œ œ œ
1 2 3 1

œ œ œ œ

2. C major scale | left hand

œ œ œ œ œ œ œ
?œ œ œ œ œ œ œ œ
1 3 2 1
5 4 3 2

3. A natural minor scale | right hand

œ
3 4 5

& œ œ
2

œ œ œ œ
1 2 3 1

œ œ œ œ œ œ œ œ
4. A natural minor scale | right hand

? œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
5 4 3 2 2 1
1 3

5. C major pentatonic scale | right hand

œ
5

& œ œ œ
3 4

œ œ
1 2

œ œ œ

6. A minor pentatonic scale | right hand

Keys Debut

& œ
5

œ œ
1 2 3 4

œ œ œ œ œ œ
32
Group B: Arpeggios/Broken Chords
The tempo for this group is q = 92 bpm.

1. C major broken chord | right hand

œ œ œ
& 43 œ œ œ œ œ œ ˙. œ œ ˙.
1

œ œ œ œ œ œ
5 2 5 1 3 5 3
3

œ
1

2. C major broken chord | left hand

œ œ ˙. œ œ
? 43 œ œ œ œ œ œ œ œ œ œ
œ œ œ œ ˙.
5 1 3 1 5 2 1 2
3 5

3. A natural minor broken chord | right hand

& 43 œ œ œ
5 1 3 3

œ œ œ ˙. œ œ
5

˙.
5 2

œ œ œ œ œ œ œ œ œ
1 3 1

4. A natural minor broken chord | left hand

œ œ ˙. œ œ
? 43 œ œ œ œ
œ œ œ œ œ œ œ œ œ œ ˙.
5 3 5 1 2 1 2
1 3 5

Group C: Chord Voicings

Major and Minor Triads

In the exam you will be asked to play either the C major voicings or the C minor voicings below, from memory. The
examiner will state the exercise and the key. 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 major

ww
& 44 www ww
w w

2. C minor

b ww
& 44 b www w
b ww w
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33
 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 C 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 = 60.

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 ˙ ˙ ˙

? 44 œ œ ˙ ˙ ˙
∑ ∑

Sight Reading | Example 2

& 44 ˙ œ œ ˙ ˙ ∑ ∑

? 44 ∑ ∑ ˙ œ œ ˙ ˙

Please note: The tests shown are examples: The examiner will give you a different version in the exam
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34
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 C 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 = 60.

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.

& 44 ’ ’ ’ ’
C Am F C

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

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

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35
 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 two consecutive notes. You will need to identify whether the last note is higher or lower than the
first. 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 word ‘higher’ or ‘lower’ in your answer.

˙
& 44 ˙

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 which chord played was major and which chord was minor.
The tempo is q = 95 bpm.

& 44 b www n www

? 44 w w

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

36
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 Debut

37
 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

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

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

Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15

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

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

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

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

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

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

TOTAL MARKS 60%+ 75%+ 90%+

Keys Debut

38
Entering Rockschool Exams

Entering a Rockschool exam is easy, just go online and follow our simple six step process. All details for entering online,
dates, fees, regulations and Free Choice pieces can be found at www.rslawards.com

■■All candidates should ensure they bring their own Grade syllabus book to the exam or have proof of digital purchase
ready to show the examiner.

■■All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam.

Copyright Information

Ain’t No Sunshine
(Withers)
Universal/MCA Music Limited

Mr. Brightside
(Flowers/Keuning/Stoermer/Vannucci)
Universal Music Publishing Limited

One Love (People Get Ready)

(Marley/Mayfield) .
Blue Mountain Music Limited/Warner/Chappell North America Limited/Sony/ATV Music Publishing (UK) Limited

Next To Me
(Craze/Chegwin/Sande/Kumar Paul)
EMI Music Publishing Limited/Sony/ATV Music Publishing (UK) Limited/BMG Rights Management (UK) Limited

Beauty And The Beast

(Ashman/Menken)
Universal Music Publishing Limited

Imagine
(Lennon)
Downtown Music UK Limited
Keys Debut

39
 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
time and the second ending only the
Keys Debut

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

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