Keys Grade 5

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: CK8GD4DV6R

For more information, turn to page 5

www.rslawards.com
 Acknowledgements

Published by Rockschool Ltd. © 2019

Catalogue Number: RSK200103
ISBN: 978-1-78936-077-6
Initial Release | Errata details can be found at www.rslawards.com/errata

SYLLABUS
Syllabus designed and written by Jono Harrison
Syllabus Director: Tim Bennett-Hart
Syllabus consultants: Gary Sanctuary, Chris Stanbury,
Simon Troup and Jennie Troup
Hit Tune arrangements by Jono Harrison and Gary Sanctuary
Supporting Tests written by Jono Harrison, Chris Stanbury,
Nik Preston and Ash Preston
Syllabus advisors: Tim Bennett-Hart, Brian Ashworth,
Stuart Slater, Peter Huntington, Bruce Darlington,
Simon Troup and Jennie Troup
MUSICIANS
Piano and Keyboards: Jono Harrison, Gary Sanctuary,
Ross Stanley & Tania Ilyashova
Drums & Percussion: Pete Riley and Richard Brook
Bass & Synth Bass: Andy Robertson
Guitars: Rory Harvey, Nat Martin and Jono Harrison
Saxophone: Jonathan Griffiths
Trombone: Tom George White and Norton York
Trumpet: Nick Mead and John Simpson
Lead and Backing Vocals: Glen Harvey & Katie Hector
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: Bruno Mars © Denise Truscello / WireImage
via 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 5

2
Table of Contents

Introductions & Information

1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Keys Grade 5
6 Performance and Technical Guidance

Hit Tunes | Keys Arrangements

7 ‘24K Magic’......................................................... . . . . . . . . . . . . . . . . Bruno Mars

13 ‘Man In The Mirror ’..................................... . . . . . . . . . . . . . . . . Michael Jackson
19 ‘Fireflies’.. ............................................................. . . . . . . . . . . . . . . . . . Owl City

Hit Tunes | Piano Arrangements

25 ‘Teardrop’............................................................. . . . . . . . . . . . . . . . . Massive Attack

31 ‘A Thousand Miles’........................................ . . . . . . . . . . . . . . . . . Vanessa Carlton
39 ‘You’ve Got A Friend In Me’.................... . . . . . . . . . . . . . . . . . From ‘Toy Story’ (1995)

Technical Exercises

46 Scales, Arpeggios, Chord Voicings & Technical Studies

Supporting Tests

54 Sight Reading
56 Improvisation & Interpretation
58 Ear Tests
59 General Musicianship Questions

Additional Information

60 Entering Rockschool Exams

61 Marking Schemes
62 Copyright Information
63 Keys Notation Explained
64 Rockschool Popular Music Theory
Keys Grade 5

3
 Welcome to Rockschool Keys Grade 5

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 5

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: CK8GD4DV6R

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 5

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 5

6
 24K Magic
Split Patch: Upper: Bright synth lead
Lower: Saw Synth/Brass Synth
need to be applied to the lowe
FX/Other: A volume or filter effect will
. This can also be achieve
synth sound during the C sesction
SONG TITLE: ‘24K MAGIC’ alternative sound
with a second patch setting with an
ALBUM: 24K MAGIC
Funk/Disco/R&B
. .
q =107

. .
RELEASED: 2016

. . .
œ œ . .
œ œ œ œ
LABEL: ATLANTIC

œ œ œ
A F m11

bb bb 4
GENRE: FUNK/DISCO/R&B

& 4
WRITTEN BY: BRUNO MARS/
PHILIP LAWRENCE/
CHRISTOPHER BRODY BROWN

b bb 4 œ ..
PRODUCED BY: SHAMPOO PRESS & CURL/

b œœœ Œ Ó
& 4 œœœ ..
THE STEREOTYPES

œ.
UK CHART PEAK: 5

Upper staff ind icates upper voice an

. .
œ . .
œ . . . œ.
œ
‘24K Magic’ is the lead single from Bruno Mars’ ‘24K Magic’ was met by mixed reviews, most of

bb bb œ. œ. œ œ. œ œ œ
third studio album of the same name, originally which were very11 positive with the only minor negative
released in October 2016. As an ‘instant grat’ for Fm
feedback ascertaining to the fact that the track lacked

&
album pre-orders the song went on to become a
smash hit worldwide. Mars’ track made it to number
4 on the US singles chart and number 5 in the UK,
as well as top ten positions in no less than twenty-
two other countries worldwide. The album was also
innovation. Given Mars openly states that ‘Uptown
Funk’ was in many ways his inspiration it would
be difficult to find fault with this criticism. The
majority of reviewers praised Mars for his uplifting
track, likening it to much of his earlier work such as

b bb œ .. œœœ Œ Ó
well received, making it to number 2 in the US and ‘Just the Way You Are’ and ‘Locked Out of Heaven’,

& b œœœ ..
number 3 in the UK. claiming that the new release was even better due

The song was written by Bruno Mars, Philip
Lawrence and Christopher Brody Brown around the
time of Mars’ hugely successful collaboration with
Mark Ronson, ‘Uptown Funk’. Singer-songwriter,
Mars, states that he hoped to recreate the party
atmosphere of his previous hits and it’s clear that he
achieved his goal, with several reviewers titling the
track ‘Uptown Funk II’. On recording the track Mars
œ.
to its upgraded ‘detail and finesse’. Jason Lipshutz
of Billboard admired Mars’ ability to lure nostalgia,
relating the technique to that used by the makers of
the Netflix sensation ‘Stranger Things’.
[3]
At the 2017 Grammy Awards Ceremony, Mars
won a staggering six awards for his album 24K
Magic. This brought his total Grammy wins up to
eleven, a number which one can only assume will

. . . .
invited previous collaborators, The Stereotypes, to grow throughout his career. In 2017 he also took

. œ . .
œ œ
bb bb œ. œ. œ œ. œ
join him in the studio. He was looking for a drum the Guinness World Record for the ‘First Male

œ œ
track to finalise the ‘feel good’ mood he was aiming Artist to Achieve11
F m three 10 million Selling Singles’,
for and the production team didn’t disappoint. Having a status which clearly reflects his writing and

&
not collaborated since 2007, The Stereotypes were performance skills.
excited to be working with the star again and went on
to feature on several tracks on the album.
Keys Grade 5

b b bb œ .. œœœ Œ Ó
& œœœ .. œ. 7
 24K Magic Keys Arrangement

Bruno Mars

Split Patch: Upper: Bright synth lead

Lower: Saw Synth/Brass Synth

FX/Other: A volume or filter effect will need to be applied to the lower

synth sound during the C sesction. This can also be achieved
with a second patch setting with an alternative sound

q =107 Funk/Disco/R&B

. .
œ . . œ. œ. . œ. œ. . œ. œ. B bœm.
œ œ
b b b 4 œ. œ œ. œ œ. œ œ. œ
A
F m11 7

b
& 4 Œ Ó

b
& b b b 44 œœœ .... œœœ Œ Ó œœ . œœœ Œ Ó
œ œ. œœ ... œ.
Upper staff indicates upper voice and lower staff indicates lower voice throughout.

. . . œ. . . œ. œ. . . œ. œ. . . œ. œ. B bœm.
œ œ
b œ œ œ œ œ œ œ œ
& b bb
F m11 7

Œ Ó

b
& b b b œœœ .... œœœ Œ Ó œœ . œœœ Œ Ó
œ œ. œœ ... œ.
[3]

. .
œ . . œ. œ. . œ. œ. . œ. œ. B bœm.
œ œ D b maj 7
# #
b b b œ. œ œ. œ œ. œ œ. œ
F m11 7 C7 5 9

& b Œ Ó

b j
& b b b œœœ .... œœœ Œ Ó œœœ .. œœœ Œ œœœ ‰ n # œœj ‰
œ œ. œ .. œ. œ. # œœ
.
[5]
B B

b .œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
& b bb ∑
F m11

b r
& b b b b n œœœ œœœ ⇥ Œ Ó œœœ ⇥ ‰ Œ œœœ œœœ
Keys Grade 5

œ œ. œ œ œ
[7]
Words & Music by Philip Lawrence, Peter Hernandez & Christopher “Brody” Brown

8 © Copyright 2016 Mars Force Music/Westside Independent Music Publishing LLC/Late 80’s Music/Thou Art The Hunger/ZZR Music LLC/BMG Onyx/Warner Geo Met Ric Music.
Universal/MCA Music Limited /Warner/Chappell North America Limited/BMG Rights Management (UK) Limited, a BMG Company.
All Rights Reserved. International Copyright Secured.
 B b m7 B b m7
B

bb b b F m ∑ ∑ ∑ ∑
11 F m11

&

b
& b b b œœœ .... œœœ Œ Ó œœ . œœœ Œ Ó œœœ ... œœœ Œ Ó œœ . œœœ Œ Ó
œ œ. œœ ... œ. œ. œ. œœ ... œ.
[9]

# #
B b m7 D b maj 7
b
& b bb ∑ ∑ ∑ ∑
F m11 C7 5 9 F m11

b r r⇥ ‰ r
& b b b œœœ .... œœœ Œ Ó œœœ .. œœ Œ œ
œ ⇥ ‰ #
œœ n # œœœœ b n œœœœ œœœ ⇥ Œ Ó œœœ ⇥ ‰ Œ œœœ œœœ
œ œ. œ .. œœ. œ. œ œ œ
[13]
B B

b E b/F D b maj 7 E b/F

C

bb b b D. maj ∑ ∑ ∑ ∑
7

& .

b j j
& b b b .. œœœ ... œœœ ˙˙˙ www œœœ ..
. œœœ ˙˙˙ www
[17] Slowly ‘open up’ sound using either a volume control or a sweeping effect (e.g. filter)

b E b/F D b maj 7 E b/F B b m7 D b maj 7

bb b bD maj ∑ ∑ ∑ ∑
7 C m7

&

b j j j ‰ œj ‰ œj ‰ œj ‰
& b bb œœœ ..
. œœœ ˙˙˙ www œœœ ..
. œœœ ˙˙˙ œœœ œœœ œœœ œœœ
[21]
œ

. .
œ . . œ. œ. . œ. œ. . œ. œ. B bœm.
œ œ
b b b œ. œ œ. œ œ. œ œ. œ
D
F m11 7

& b Œ Ó
Keys Grade 5

b
& b b b œœœ .... œœœ Œ Ó œœœ .. œœœ Œ Ó
œ œ. œ .. œ.
[25]
9
 . .
œ . .
œ . .
œ . .
œ Bbm
œ.
bb b b œ. œ. œ œ. œ. œ œ. œ. œ œ. œ. œ œ
F m11 7

& Œ Ó

b
& b b b œœœ .... œœœ Œ Ó œœ . œœœ Œ Ó
œ œ. œœ ... œ.
[27]

. . . œ. . . œ. œ. . . œ. œ. . . œ. œ. B bœm.
œ œ D bmaj 7
# #
bbb œ œ œ œ œ œ œ œ
F m11 7 C7 5 9

& b Œ Ó
r
b
& b b b œœœ .... œœœ Œ Ó œœ . œœœ Œ œœœ ⇥ ‰ # œr ⇥ ‰
œ œ. œœ ... œ. œ n # œœœ
[29]
B B

b .œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
& b bb ∑
F m11

b r
& b b b b n œœœ œœœ ⇥ Œ Ó œœœ ⇥ ‰ Œ œœœ œœœ
œ œ. œ œ œ
[31]

B b m7 B b m7
1.
E

b
& b bb
F m11 F m11

∑ ∑ ∑ ∑

b
& b b b œœœ .... œœœ Œ Ó œœœ .. œœœ Œ Ó œœœ ... œœœ Œ Ó œœœ .. œœœ Œ Ó
œ œ. œ .. œ. œ. œ. œ .. œ.
[33]

# #
B b m7 D b maj 7 C #7 5 9
bbbb ∑ ∑ ∑ ∑ ..
F m11 F m11

&
r r
Keys Grade 5

b
& b b b œœœ .... œœœ Œ Ó œœœ .. œœœ Œ œœ ⇥ ‰ # œœr ⇥ ‰
œ ∑ œœœ ⇥ ‰ Œ œœœ œœœ ..
œ œ. œ .. œ. œ n # œœ œ œ œ
10
[37]
B B
 B b m7 B b m7
F 2.

bbbb ∑ ∑ ∑ ∑
Fm F m11 F m11

&

b r r
& b bb Ó œœœ ⇥ ‰ œœ www Ó œœœ ⇥ ‰ œœ www
œ œœ w œ œœ w
B B
[41]

B b m7 D b maj 7 B b m7 C m7 D b maj 7
b
& b bb ∑ ∑ ∑ ∑
F m11 F m13

b r j j j
& b bb Ó œœœ ⇥ ‰ œœœ www ˙˙˙
˙
˙
n ˙˙˙ œ
j‰
b œœœ œœœ ‰ œœœ ‰ œœœ ‰
œ œ w œ œ œ
B
[45]

B b m7
G

bb b b F mŒ œ œ œ œ œ œ œ. œ Œ Ó Œ œ œœ œ
œœœœ
11 F m11

& œ
b
& b b b œœœ .... œœœ Œ Ó œœœ .. œœœ Œ Ó œœœ ... œœœ Œ Ó
œ œ. œ .. œ. œ. œ.
[49]

# #
B b m7 B b m7 D b maj 7
b
& b bb ∑ Œ œ œ œ œ œj œ œj œ œ. œ Œ Ó
F m11 C7 5 9
j
œ

r r
& bbbb œœœ .. œœœ Œ Ó œœœ ... œœœ Œ Ó œœœ .. œœœ Œ œ
œœœ ⇥ ‰ n # # œœœ ⇥ ‰
œ .. œ. œ. œ. œ .. œ. œ
[52]
B B

œ
b œ
& b bb ∑ ∑ Œ Ó
F m11 N.C.
Keys Grade 5

b
& b b b b n œœœ œœœ ⇥ Œ Ó œ œ.
n œ œ. bœ bœ. Œ Ó
œ œ.
[55]
œ œ. œ
11
 Notes

24K Magic features a distinctive lead synth line and a chordal synth hook.

Slow practise will be required to achieve the mechanical rhythmic and dynamic feel of the right hand/upper part figure in
bars 1–2, versus the sustained stabs in the left hand/lower part.

At bar 6, although notated in the left hand (to relate to the keyboard split), the D b maj 7 and C 7 5 9 chords may need to be
# #
taken in the right hand, while the left performs the glissandos that characterise these hits.

At letter C, the lower part requires the same sound but with volume control applied (which can be performed with the right
hand or with a volume pedal). If available, a filter effect would achieve a similarly authentic result.

Students should be careful in counting bars, observing the first and second time repeats. A ‘trick’ displacement in the
rhythm can be found at letter F, and counting beats is vital through this bridge section.

Lastly, the upper part synth plays an arrangement of the lead vocal ad. libs. on the record. It is important that these aren’t
rushed and groove correctly.
Keys Grade 5

12
 Man In The Mirror

SONG TITLE: ‘MAN IN THE MIRROR’

ALBUM: BAD Patch 1: Elec Piano Layer/Pad
RELEASED: 1988
Patch 2: Acoustic Piano
LABEL: EPIC/CBS
GENRE: POP/DANCE/FUNK/SOUL/ROCK Patch 1

œ œ œœ œ D/F #
q = 100 Pop

œ œ
WRITTEN BY: GLEN BALLARD
E m7

#4 .
A G

J J J
AND SIEDAH GARRETT

& 4 .
PRODUCED BY: MICHAEL JACKSON
AND QUINCY JONES

p
UK CHART PEAK: 21 (1988) AND 2 (2009)

? # 44 .. ∑

#
#
‘Man in the Mirror’ was the fourth single to be In the 1980s Jackson stunned the world with D
E m7

∑
released from Michael Jackson’s 1987 solo album G videos forD/
his music hitsF‘Beat It’, ‘Billie Jean’ and

&
Bad, peaking at number 1 in the United States in
March of 1988. Jackson’s album Bad was immensely
successful in the US, with five of its singles (including
‘Man in the Mirror’) topping the Billboard charts on
‘Thriller’. Many believe the videos themselves
contributed a great deal to breaking down racial
barriers, as well as commercialising iconic dance
moves such as the robot and the moonwalk (to which

# œ. j jœ j . j
their release – making it the first album in history to he gave the name).

& œw. œ œ œ œw œ
contain so many number one hits.
Jackson’s career had an enormous effect on the
Reviewed as containing “one of the greatest music industry as we know it, with hugely successful
key changes in music history”, this song did not artists such as Beyoncé, Green Day and Madonna (to
disappoint and offered its listeners a huge vocal name a few) citing him as an important influence.
range of more than 2 octaves. The original recording [5]Throughout his lifetime Jackson won an incredible
featured a gospel choir as well as backing vocals from number of awards, including the highly acclaimed
co-writer Siedah Garrett. Jackson later went on to ‘Grammy Legend Award’, the ‘Grammy Lifetime
#
#
feature a gospel choir in the original recording of his Achievement Award’, 24 American Music Awards
m7 D

∑
hit ‘Will You Be There’. (more thanG any otherD/ F and countless E
artist) others.

To this day, Michael Jackson is considered one of

the most successful music artists of all time and has & ‘Man in the Mirror’ originally peaked at number 21
in the UK Singles Chart in 1988. However, following
sold an estimated 750 million records worldwide. His the singer’s death the single was re-released and went

# œ. j jœ j . j
career spanned decades, having hit the charts with on to peak at number 2. Michael Jackson released a

& œw. œ œ œ œ˙ œ
‘The Jackson 5’ in 1969 he then went on to launch staggering 10 solo albums throughout his career, as
his solo career in the early 1970s and continued to well as more than 60 singles on which he featured as
entertain the world until his untimely death in the the lead artist. His influence on the world of music,
summer of 2009. dance and fashion is undeniable and he will remain
an icon in the arts for centuries to come.
Keys Grade 5

[9]

# Œ
B
A m7add
4 G sus 2/B
13

˙
 Man In The Mirror Keys Arrangement

Michael Jackson

Patch 1: Elec Piano Layer/Pad

Patch 2: Acoustic Piano

Patch 1
q = 100 Pop
D/F #
œ œ œ œ œ E mœ œ œ D œ C add 7 9

#4 . œ œ
A G

. J J J J J œ œ œœ œœœ œ œ œ œ ..
& 4 J œ œ œœ œ
p
? # 44 .. ∑ ∑ ∑ ∑ .
&.

# D/F # ⇥
∑ ∑ ‰ œj œ œ œ œ œ œ œ œ œ œ
E m7 C add 9

œ œ
G D

&

# Ó Œ
j j j
& œœ .. œ œ œ œ œw. j j
œ œ œ j œœ ˙˙ ˙˙ .. œ
w œ wœ . œœ œ
[5]
J

D/F #
# ∑
E m7
∑
C add 9
‰ œj œ œ œ œ œ œ œ œ
œ œ
G D

& œ œ

# j j j
& œœ ..
w œ œ œ œ œ˙ . j j j
œ œœ œœ . œ ww ww
?

[9]
J w w

#
B

j j Œ ‰ œj œ j j
œ œ œj
A m7add 4 G sus 2/B C add2 G sus 2/B

& Π.
w œ œ ˙ œ. œœ œœ œ . ˙˙˙ œ Óœ œ œ œ œ
w œ
P
? # ‰ œj œ ˙ œ œ ˙
w
‰ œj œ ˙ œ œ ˙
w œ œ
[13]

# A m add
j wŒ ‰ œj ˙
j Œ ‰ œ œ œ
7 4 G sus 2/B C add2 D 9sus 4

& œ. j j
œ œ œ œ wœw. œ ˙ J
Œ ‰ j Ów ‰
?# œ œ ˙ w œ ˙ ww ww œœœ œ
Keys Grade 5

œ w
[17] œ
Words & Music by Glen Ballard & Siedah Garrett

14 © Copyright 1987 Universal Music Corporation/Yellow Brick Road Music/Arlovol Music.

Universal/MCA Music Limited/BMG Rights Management (US) LLC.
All Rights Reserved. International Copyright Secured.
 C

# G G add2/B C add2
j
C/D G
j
G add2/B
j
C add2

‰ j œ
C/D

& ˙˙ œœ .. œœœ ˙˙˙ ... œœ œœ .. œœ œœ .. œœœ ˙˙˙

˙ œœ .. œ ˙. œ œ. œœ œœ .. œ ˙ œ œœ œ
F
?# j j
j œ œ œ. œ œ œ œ #œ œ
˙ œ œ œ. œ
[21] œ. œ ˙

A 9/C #
# j ‰ œœj ‰ œœj
j
G G 9/B C add2 D m7add 4

& n œœ œœœ ˙˙˙ n n œœœœ œœœœ

˙˙˙˙ œœœœ œ. œ œ ˙ # œœœ œ œœœ œ œœ œœ
j j
?#
˙ œ. nœ œ. œ #œ ‰ œj œ ‰ j ‰ j
[25] œ œ œ œ

D/F #
# j j j j j
œœœœ n œœœœ œœœœ œœœ œ œœœœ ‰ œœœœ
G add2 E m7

œœ .. œœ .. œœ œ .
D

& # œœ œœ .. œœ œœ
œœ .. œ œ. œ œ. œ œ
?# œ œ œ. œ œ œœœ œ œ
œ œœœ œ
j
J œ
œ

[28] œ œ œ œ

D/F # D/F #
# j j j j j j j j j
œ œ œ
C add 9 C add2/E E m7

œœ ..
D G

& œ˙. . œ œ œ œ œœœœ œœœœ œœ œœœœ œœœœ œœ .. w œ

˙. œ ‰ œ.
J
? # ˙. œ œ œ œ œ
œ œ œ œ œj œ j j
œ œ œ. œ œœ
[31]

# D
j j j
C add 9
œ œ œ œ œ œ œ œ œ œ
& œ˙ . œ œœ œœ œœœ œœœ œ œ œ
J œ œ
Keys Grade 5

? # œ œ œ œ œ. œ
œ œ œ œ œ œ œ
[34] ˙ w
15
 # A m add
D

j j j
7 4 G sus 2/B C add2

& œ. œ ˙ ˙˙ œœ œ œ www
œœ .. w
?#
œ.
j
œ œ œ œ bœ nœ.
j
œ œ. j œ ‰ œj œ œ œ œ œ œ
œ
[37]

# G sus /B j j j
2 A m7add 4 G sus 2/B

& œ. œ œ œœ ww œœœ .. œœ œœ œ .
œœ .. œœ w . œœ œœ
?# j j j
œ. œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ
œ œœ œ
j
œ
[40]

# C add j r
œœœ ... œœœ ‰ œœœ
2 C/D

& œœœ .. œœ ˙˙ ˙˙˙

œ .. œ ˙
?#
j j
nœ. bœ œ œ œ œ œ
œ. œ. œ œ œ œ
bœ
[43] œ œ œ œ œ #œ

#
E

j ‰
G add2/B C add2 D m9

œœ ..
G

& ˙˙ œœœ ˙˙˙ n œœœœ ..

˙ œœ .. œ ˙ .
?# j
œ. œ j j
[45] nœ œ œ œ œ œ #œ œ œ œ œ

# G add ‰ œj j j
œœœ ‰ œœœ
2 G 9/B C add2 C/D G add2 G add2/B C add2

& œœ œœœ œ œœ ˙˙˙ j œ. œœœ

œœ œœœ œœœœ ..
n œœ œ ˙ œ œ .. n œ œœœ ... œ
Keys Grade 5

?# œ. j j j
œ œ œ œ nœ œ œ œ œ œj œ œ œ. œ
[47] œ œœ ˙
16
 A 9/C #
# j nbb b
j ‰ œj ‰ œœj ‰ n œœj ‰ ‰ œœ œœ Œ
D m7add 4

& j n œœœ œ . b
˙˙˙
˙
œ
# œœœ œœœœ œ nœ œœœ ... œœ œœ œœ œœ œœ
?# œ j j œ ‰ j‰ j nbb b
œ œ œ #œ œ œ Œ b
[50] œ œ œ œ œ œ œ œ œ

Patch 2

Ab A b add2/C D b add2 E b m9 A b add2 A b 9/C D b add2

bb b b œœœœ ... œœ
œœ ‰ œœ œ œ ‰ œj œœ . œœ ‰ œœj ‰ œœj Œ j
F

& . œœ œœ b œœœœ œœ ‰ œ
œœœ œ œ œ .. œ œ œ œœ œ œœ œœœ
f
? bb b j œj œ œ œœ œ. j
b œ. œ œ œ œ œ nœ œ œ œ œ
œ bœ
[53]
J J

D b/E b A b add2 A b add2/C D b add2 B b 9/D

b r œœœ œœ œœœ j j j
& b b b œœœœ œœœ ‰ œ œ œ
œœ
œ
œ
b œœœœ œœœœ œœœœ œœœœ œœœ .. œ
œ n œœœ
.
œœœ ‰
œ œ
? bb b œ œ j j j
œ œ œ œ. œ œ œ œ œ nœ œ œ
œ œ
j
b œ œœ ˙
[56]

E b m7add 4 Ab E b/G
j j
.. œœ ‰ œœ ‰ œj œ œ œj œ j
F m7

b ‰ b œœ œœœ ... œœœ œœœ Œ

& b bb Œ
b œ œ œœ œœ
bœ œ œ b œœ œ œ. œœ œ œœ œœ œœ œ
j j
? bb b œ œ. œ œ. œ
b ‰ j ‰ j Œ œ.
œ œ œ œ œ œ œ œ œ œ œ. œ
[59]

Eb D b add9
b j
& b b b œœ .. œœ œœ œ œ www w www
œ. ww wwww ww
j P
Keys Grade 5

? bb b œ ‰ œ ˙
b œ œ ˙ w w w
w w
[62]

17
 Notes

This song builds gradually through the arrangement from a soft, tender opening to a closing passionate cry for an end to
the world’s sufferings. It must be played with both sensitivity and drive and it is of great importance to follow the dynamic
markings exactly.

The gentle nature of the opening should not deter students from playing with rhythmic precision. The melody uses an Afro-
Latin rhythm, and the groove should not be neglected at any point in the performance.

The repeat of the first four bars requires a difficult jump from the end of bar 4 to the beginning of bar 1. Students should
practise this section slowly, from the last three notes of bar 4 to the first two notes of bar 1 – the quarter note on beat 1 of
bar 1 should be played with the fourth finger.

With the right-hand chord on the fourth beat of bar 40, the two lowest notes should both be played by the thumb. This is the
same for the second chord in bar 42.

At the end of bar 52, students must change to the second patch, timing this switch carefully. The change should be treated as
a specific rhythm, changing to the appropriate preset exactly on the fourth beat.

Section F, which is the climax to which all the previous music is heading, should be played with controlled passion. Slow and
precise practise is essential preparation.

The music subsides at bar 62. The diminuendo should allow for the final chord at bar 63 to be played at the correct
dynamic level.
Keys Grade 5

18
 Fireflies

SONG TITLE: FIREFLIES Patch 1: Sine synth

ALBUM: OCEAN EYES Patch 2: Acoustic Piano
RELEASED: 2009 Patch 3: Strings
LABEL: ISLAND
GENRE: POP Patch 1: Sine Synth

œ
PERSONNEL: MATT THIESSEN (VOX)

œ
q = 90 Pop
Bb E b sus 2
œ œ œ œ
ADAM YOUNG (VARIOUS)

b bb 4 ‰ R
& 4
UK CHART PEAK: 1
US CHART PEAK: 1

b bb 4 œ œ ‰ œ ‰ Œ
& 4 œ R
œ
œ

‘Fireflies’ topped both the UK and US singles charts (2007) and album Maybe I’m Dreaming (2008) – were

œ œ œ œ œ œ œ
and was the first major label release for American released independently via CD Baby and iTunes,
b him
b
œ
Electronica project, Owl City. Taken from the debut before Young’s social media presence brought

bb ‰ œ
of Universal Republic,Ethe major

b
album, Ocean Eyes, the song also topped the charts to the Battention

&
in Australia, Denmark, Belgium, Finland and several
other countries worldwide.
The singer-songwriter and multi-instrumentalist
label that signed him. His first album with Universal
Republic, Ocean Eyes, made it to the Top 10 in the UK
and USA, and spawned Young’s biggest hit to date,
‘Fireflies’.

‘Fireflies’ is sung by guestrvocalist

b(Relient ‰ œ ‰ Œ
b œ ‰
behind Owl City, Adam Young, was born in 1986

b œ œ
& explained the inspiration behind the song to the
and grew up in Owatonna, Minnesota. In 2002, Matt Thiessen

Young formed the pop punk band Windsor Airlift
with his friends Anthony and Andy Johnson. Their
debut recording, The Basement EP, was released
independently in 2003. Since then, the group has
changed musical direction twice (from pop punk to
math rock, then ambient post rock) and managed to
release a total of five albums and eight EPs without
the support of a record label.
œ
K) but was written by Adam Young, who
website Cross Rhythms: “ ‘Fireflies’ was inspired by a
[3]
camping trip I took up to a totally rustic and kind of
remote lake in northern Minnesota, where there isn’t
really much of anything. I can remember sleeping
out on a dock on the edge of this lake and looking up
at the sky. There was a meteor shower that night. I

œ œ œ œ œ œ
remember thinking, what a cool idea of shooting stars

E b sus 2
Bb
œ
Young’s involvement with Windsor Airlift dropped A being fireflies, and trying to translate that into music.”

b bb ‰ R
off in 2007, when his project Owl City took off

&
following a successful social media campaign – one of ‘Fireflies’ went 7 x Platinum in the US, with sales
the earliest examples of an artist developing a fanbase of over seven million. Owl City’s collaboration with
online. Young’s manager, Steve Bursky, later explained Carly Rae Jepson, ‘Good Time’, in 2012 saw the
the reason for his act’s success on the web: “People project gain their second UK and US top ten.

bb œ œ ‰ œ ‰ Œ
feel like they know him, like they’ve got a direct

& b œ
connection to him because of how he approaches his
Keys Grade 5

œ œ R
connection with them online.”
Owl City’s first two records – the EP Of June

[5]
19
 Fireflies Keys Arrangement

Owl City
Patch 1: Sine synth

Patch 2: Acoustic Piano

Patch 3: Strings

Patch 1: Sine Synth

œ
q = 90

œ œE sus œ œ œ œ
Pop
Bb b b
b
& b b 44 ‰ R œ A‰ œ œ œ œ ‰ œ œ œ œ œ œ
2

b
& b b 44 œ œ ‰ œ œ ‰ Œ ‰ ‰ Œ
œ œ
œ œ R œ œ
œ

œ œ œ œ œ œ œ œ A‰
b Eb b
bb b B‰ œ œ œ œ ‰ œ œ œ œ œ
& R R
b r
&bb œ ‰ œ ‰ œ œ ‰ Œ œ ‰ œ r‰
œ œ œ œ œ
[3]

œ œ
Bb
œ œ œ œ
b b
œ œ œ
A

b R œE sus œ A‰ œ œ œ œ ‰
&bb ‰ œ œ œ
2

b
&bb œ œ ‰ œ œ ‰ Œ œ ‰ ‰ œ œ Œ
œ œ R œ œ
[5]

œ œ
Bb Eb
œ œ œ œ œ œ A‰
b
b œ œ œ œ œ œ œ œ
&bb ‰ R
œ ‰
R
b r
&bb œ ‰ ‰ œ ‰ Œ r‰
Keys Grade 5

œ œ œ œ œ ‰ œ œ
œ œ
[7]
Words & Music by Adam Young

20 © Copyright 2009 Ocean City Park, USA./Universal Music Corporation.

Universal/MCA Music Limited.
All Rights Reserved. International Copyright Secured.
 œ œ œ œ œ œ
b b b
bb b B‰ R œE sus œ A‰ œ œ œ œ ‰ œ œ œ œ œ œ
2

&

b
&bb œ œ ‰ œ œ ‰ Œ œ ‰ ‰ œ œ Œ
œ œ R œ œ
[9]

œ œ œ œ œ œ œ œ A‰
b Eb b
bb b B‰ œ œ œ œ ‰ œ œ œ œ œ
& R R
b r
&bb œ ‰ œ ‰ œ œ ‰ Œ œ œ ‰ œ r‰ ?
œ œ œ œ
[11]

Patch 2: Piano

Ab E b/G B b sus 4 Ab Eb Ab
B

bbb
Gm

& ˙˙˙ ˙˙ ww ˙˙˙ ˙˙ ˙˙

˙ ˙ ˙ ˙˙
? bb ww ˙˙
b ˙ ˙ ˙ ˙ ˙
[13]

Eb Ab Bb Ab Eb E b/G
bbb
F7

n ˙˙ ..
Cm

& ˙˙˙ ˙˙ œœœ œœœ ˙˙˙ ˙˙˙ ˙˙ œœ

˙ ˙ ˙.
? bb ˙ ˙
b ˙ œ œ ˙ ˙ ˙. œ
[17]

Patch 3: Strings

Bb E b sus 2 Ab
C

b r
&bb œ œ ‰ r œ œ ‰ r ‰ r œ œ ‰ œ
œ œ œ œ œ
Keys Grade 5

? bb œ œ ‰ r œ ‰ r r œ œ ‰ œ
b œ œ œ œ œ ‰ œ R
[21]
21
 Bb Eb Ab
bbb r r
œ ‰ œ ‰
& r ‰ œ ‰
œ œ œ œ œ œ œ œ œ œ
? bb œ œ ‰ r œ œ ‰ œ œ œ œ ‰
b œ R œ ‰ R œ œ œ
[23]

Bb E b sus 2 Ab
bbb r
œ ‰ œ ‰
& r r ‰ r œ œ ‰
œ œ œ œ œ œ
œ œ
? bb œ œ ‰ r œ ‰ r r œ œ ‰ œ
b œ œ œ œ œ ‰ œ R
[25]

Bb Eb Ab
bbb r r r .
& œ œ ‰ œ œ œ ‰ œ œ ‰ Œ Ó

? bb œ œ ‰ œ œ œ ‰ œ œ ‰. Œ Ó
b R R R
[27]

b E b sus 2 Ab œ. œ œ
D

bb b Bœ . 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
? bb
b
[29]

b œ. Bb
œ œ Eb
œ. œ œ œ Ab
œ. œ œ œ. œ
&bb œ œ œ œ œ
œ œ œ
Keys Grade 5

œ. œ œ œ œ. œ. œ œ œ œ œ. œ œ
? bb œ
b
[31]
22
 bb b Bœ .
b
œ œ E b sus 2
œ. œ œ Ab 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
? bb
b
[33]

Bb
œ Eb
œ. œ œ œ Ab
œ œ. œ œ œ
& bbb œ . œ œ œ. œ œ
œ. œ œ œ. œ œ
œ. œ œ œ œ œ œ. œ œ œ
? bb
b
[35]

Ab E b/G B b sus 4 Ab Eb Ab
E

b
& b b .. ẇ www ẇ ẇ
Gm

˙˙ ˙˙ ˙ ˙˙
˙ ˙
? b b .. ww
b ˙ ˙ ˙ ˙ ˙ ˙
[37]

1.
Eb Ab Bb Ab Eb E b/G
b ..
& b b ˙˙˙
F7

n ˙˙ ..
Cm

˙˙ œœœ œœœ ˙˙˙ ˙˙˙ ˙˙ œœ

˙ ˙ ˙.
? bb ˙ ˙ ..
b ˙ œ œ ˙ ˙ ˙. œ
[41]

Ab Eb Bb
2.

b
& b b ˙˙ ˙˙ www www
b˙ ˙
Keys Grade 5

? bb
b ˙ w w
[45]
˙
23
 Notes

The main challenge for students with this song is mastering the sophisticated groove in the opening section.

Students should pay attention to how, in this groove, the hands never play at the same time.

The first four bars are repeated twice. Here is how students might practice them:

■■Hear the 16th-note pulse in their head, thinking hi-hat (‘ta-ta-ta-ta’ for every beat) at a slow tempo
■■Lightly tap the quarter-note pulse with one foot
■■Loop the first bar at the slow tempo
■■Once this is confident, learn the rest of the pattern one bar at a time
■■When confidently learnt, loop the first four bars at a slow tempo
■■When ready, gradually increase the speed up to the written tempo

At letter A, students must maintain a light touch – think Fireflies! This part should drive the music without getting in the
way of the main melody, and needs to be a little quieter than the tune.

At the end of bar 12, the patch should be changed with left hand.

The sustained chords at letter B should be played smoothly and a little more in the background than the previous part.

Student should make sure they play the string part at letter C with short notes throughout. This should be achieved with
precise observation of the rests rather than using staccato articulation on the notes.

Letter D is a sustained version of the music at letter C. It is one octave higher and should be played more powerfully.

Letter E is a variation of the music at letter B, and is played by the strings. Here, the intensity of letter D should be
maintained until the end of the song.
Keys Grade 5

24
 Teardrop

SONG TITLE: ‘TEARDROP’

ALBUM: MEZZANINE
RELEASED: 1998
q = 75 Trip Hop
LABEL: VIRGIN

# ## 4 N.C‰ .
GENRE: TRIP HOP/ELECTRONICA

& 4 j œ œ
WRITTEN BY: ROBERT DEL NAJA/

œ œ
ELIZABETH FRASER/

p
GRANTLEY MARSHALL/
ANDREW VOWLES

? # ## 44 ∑
PRODUCED BY: NEIL DAVIDGE/
MASSIVE ATTACK
UK CHART PEAK: 10

# ## ‰ ‰
A su
A sus 4

& j œ œ œ œ
‘Teardrop’ was a top ten hit for British trip hop (a ‘Teardrop’ peaked at number 10 in the UK singles

œ œ
fusion of hip hop and electronica) group, Massive chart and remains their only top ten hit to date.

œ
Attack. The song features on their third studio The song has featured heavily in television and film

P
album, Mezzanine (1998), and was the second song broadcasts, including US hit series’ Prison Break
to be released from said album. Mezzanine topped and House.

? # ##
the album charts in the UK, Australia, Ireland

n
and New Zealand, making it the groups most The song has proved a popular cover choice

w
commercially successful release to date. Their fourth amongst musicians, with many having released

n
studio album, 100th Window, also topped the UK their reworkings over the years. Newton Faulkner’s

w
album chart in 2003. 2007 version features a complex acoustic guitar
[3] accompaniment, which features in our 2016 Acoustic
‘Teardrop’ was written by the three founding Guitar syllabus, and made it to number 60 in the
members of Massive Attack (Robert Del Naja, UK singles chart. British band Elbow performed
Grantley Marshall and Andrew Vowles), as well as ‘Teardrop’ for a BBC Radio 1 Live Lounge session in
guest vocalist Elizabeth Fraser (Cocteau Twins). The 2003 and their version proved so popular that they

# ## ‰
idea for the song originally stemmed from a simple decided to include a studio version on their ‘Not a Job’ A
harpsichord riff and grew to become something quite single theA sus 4 year. Last but by no means least,
following

& j œ œ œ œ
unique in sound. Looking for a guest vocalist, Andrew O’Hooley & Tidow were praised for their intricate

Vowles sent the demo to Madonna, hoping she would
perform the vocal as she had done for their earlier
collaboration on ‘I Want You’. Unfortunately, Vowles
was outvoted by fellow bandmates Marshall and Del
œ œ œ
adaptation of the track with Guardian music critic
Jude Rogers voting it one of the best tracks of 2012.
Massive attack have been praised for their original

? # ##
Naja and to Madonna’s dismay the band didn’t choose and exclusive sound and were awarded the ‘Innovation

w
her for guest vocals. Instead, Elizabeth Fraser of in Sound Award’ by Q magazine in 2008. The group
Cocteau Twins was brought in and the result did not have proved particularly successful in Europe and

w
disappoint. Fraser delivers a haunting and emotional have won several awards reflecting this, including
lyrical performance, one which she claims was the MTV Europe Music Award for Best Video with
Keys Grade 5

inspired by the untimely passing of her dear friend [6]‘Teardrop’ and the award for Best Foreign Album for
Jeff Buckley. Mezzanine at the 1998 Fryderyk awards (Poland).

25

# A sus
4
 Teardrop Piano Arrangement

Massive Attack
q = 75 Trip Hop

# # # 4 N.C.
& 4 ‰ j œ œ ‰ j
œ œ œ œ œ œ œ œ œ œ œ œ
p
? # # # 44 ∑ ∑

# # # A sus
‰ j ‰ ‰
4 A sus 4/G D sus 2

& j j
œ œ œ œ œ œ
œ
œ œ œ œ œ œ
œ
œ œ œ œ œ œ
œ
P
? ###
w nw
w w
[3]
nw w

# # # A‰sus ‰ ‰
4 A sus 4/G D sus 2

& j œ j œ j œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? ###
w nw w
w nw w
[6]

###
A sus 4 A sus 4/G

& œ œœ œ œ œ œ œ . œ œ œœ œ œ
‰ œ œ œ œ œ œ nœ œ œ œ
J ≈ nœ . Ó
? ###
w nw
[9] w nw

###
D sus 2 A sus 4

j
3

& nœ œ œ œ œ œ œ. œ œ œ œ ˙. œ œ œ œ
nœ œ œ Œ ‰ J œ
? ###
Keys Grade 5

w
w w
w
[11]

Words & Music by Robert Del Naja, Grant Marshall, Andrew Vowles & Elizabeth Fraser
26 © Copyright 1998 Universal/Island Music Limited/Cocteau Twins Limited/Ajs Music Limited.
Universal/Island Music Limited/Sony Music Publishing (UK) Limited.
All Rights Reserved. International Copyright Secured.
 ###
A sus 4 A sus 4/G

& œ œœ œ œ nœ œ œ . œ œ œœ . œ œ œj œ n œ œ œ œ
‰ œ œ œ œ œ ≈ nœ œ Ó
J
? ###
w nw
[13] w nw

###
D sus 2 A sus 4

j
3

& nœ œ œ œ œ œ œ. œ œ œ œ ˙. œ œ œ œ
nœ œ œ Œ ‰ J œ
? ###
w
w w
w
[15]

###
F maj 7 G

Œ
3

& œ œ œ. œ œ nœ œ œ œ nœ œ œ œ œ n œœ œ .
nœ. nœ œ
? ###
nw nw
[17]
nw nw

### A
‰
A sus 4

& œ œ œ œ ˙‰ . œ œ œ œ j œ œ œ œ
Œ œ œ œ œ
J
? ###
w w
[19] w w

### œ œœ
A sus 4 A sus 4/G

œ œ œ
& ‰ œ œ ˙ œ œ . n œ œ œ œœ œ .
≈
œ nœ œ œ œ
J Ó
F
Keys Grade 5

Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ
#
? ## w
w n ww
[21]
27
 ### nœ œ œ œ
D sus 2/4
œ œ œ œ œ
A sus 4
œ ˙.
& nœ Œ œ

Œ œ œ Œ œ œ
3

œ œ œ œ
? # # # n ww
n œ œ ww œ œ
[23]
A sus 4 A sus 4/G

### œ œ œ œ œ œ œ œ n œ œ œ. œ œ œ œ.œ œ nœ œ œ œ
& ≈ œ ≈ œ Ó
≈ nœ œ
Ó
Œ œ œ œ œ Œ œ œ œ œ
#
? ## w œ œ œ œ
w n ww
[25]

### nœ œ œ œ œ ˙.
œ œ œ œ œ œ œ
D sus 4 A sus 4

& nœ

Œ œ œ Œ œ œ
3

œ œ œ œ
? # # # n n ww œ œ ww œ œ
[27]
F maj 7

≈
G

j
3

###
œ. œ œ œ. œ nœ œ œ œ nœ œ œ œ œ œ œ œ n. œ œ œ
& nœ
≈ œ ≈ 3 Œ
≈
Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ
#
? ## n w
nw n ww
œ œ œ
[29]

# # # Aœ œ œ œ œ ≈ œ œ œ œ œ œ œ
F maj 7
œ œ. œ nœ œ œ œ
&
3

Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ
? ### w
[31]
w n n ww
G F maj 7

### n œ œ. œ œ ˙.
œ œ œ. Œ n œw œ
&
Keys Grade 5

Œ œ œ œ œ Œ œ œ œ œ
? ### w œ œ œ œ
[33]
nw n n ww
28
 ### w ˙. œ œ œ œ œ nœ œ œ œ
G A F maj 7

‰ J œ œ œ œ œ œ œ nœ
& J J
f
Œ œ œ Œ œ œ Œ œ œ
? ### w œ œ œ œ ww œ œ œ œ œ œ œ œ
[35]
nw n n ww

# # # n ˙˙ gg n ˙˙˙ n ˙˙˙˙ ....

F maj 7
j j
gg ˙
G

& ‰ œ œ œ œ œ n œœ œœ œ œ
J œ œ œ œ œ nœ
P
? ### w
nw nw w
[38]
nw w
###
∑ ‰
G sus 2 A sus 4

& w j œ
nw œ œ œ œ œ œ
p
? ### ∑ ∑ w
[41] w
œœœ
# # # F ‰/ ‰ jœ
G 6/9
Œ ‰ ≈R œœœ œ œ
69 A

& jœ œ œ
œ œ œ œ œ œ œ œ œ œ 3

Œ œ œ œ œ œ
? ### ww œ
nw nw
[44]
nw nw

### n œ n œ œ œ œ œ œ ˙.
F 6/9 G 6/9 A sus 4

. œ
n œ œ œ œ œJ 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
? ### n w ww
nw n ww
[47]

# # # A‰sus ‰
4

& j œ j œ
œ œ œ œ œ œ œ œ œ œ w
œ œ
Keys Grade 5

? ### w
w w
[50] w w 29
 Notes

‘Teardrop’ is a laid back song with an underlying forward driving groove, creating a relaxed yet brooding drama. Space,
relaxation and an insistent groove are the fundamentals of the style.

Before beginning to play the opening eight bars, students should look to bar 9 and internalise the opening melodic phrase.
This will help establish a secure tempo.

At bar 9, the arrangement has a three-part texture. Here, the melody should be projected clearly, while the inner harmony
parts should be kept quieter and legato. In the lowest voice, the bass part should be a little quieter than the melody, but still
provide a sense of solidity.

There is a further challenge in the variety of rhythms contained in the melody, in particular switching from 16th-note
subdivisions to eighth-note triplets. Working to a metronome click or counting out loud, students should isolate the more
challenging rhythmic passages and practise at a slower tempo until secure.

In bars 21 to 37, the performer will need to employ careful use of the pedal to sustain the whole notes while moving the
hand position to play the eighth-note pattern in beats two to four. Students should practise the right-hand spread chord in
bar 38 to get an effortless sounding and even spread of notes downwards.

The tied chord should be held over into bar 41 for its full length before carefully continuing to count through bar 42.
A re-introduction of the motif (bars 43–45) sets up a piano outro (bar 46 to end), which features some melodic ideas drawn
from the motif and the vocal melody. Although at a piano dynamic, these can still be played with expression and shape.

Throughout the piece, pedalling can be applied not just for legato purposes, but for tone. This is an important aspect of the
technique, where light touches at certain points can bring extra sonority to the music as the overtones of the strings resonate.
It may be useful to experiment with this in mind, exploiting the contrast between pedalled and non-pedalled passages.
Keys Grade 5

30
 A Thousand Miles

SONG TITLE: ‘A THOUSAND MILES’

ALBUM: BE NOT NOBODY
RELEASED: 2002 q = 95 Pop
F # add 4

# œ œ œ œ
LABEL: A&M B 5/E

## # 4 ‰ . œ œ œ
GENRE: BAROQUE POP/POP ROCK
WRITTEN BY:
PRODUCED BY:
VANESSA CARLTON
RON FAIR/ & # 4 R
P œ œ
CURTIS SCHWEITZER

œ.
UK CHART PEAK: 6

? # ## # 44 Œ
#

‘A Thousand Miles’ was a hit for American singer but felt that some of the music was a little disjointed
songwriter, Vanessa Carlton. The song was released and lacked the emotional pull it should be feeling.

# #
œ œ
as the lead single for Carlton’s debut studio album, Although Carlton had turned down many offers

œ œ œ œ
4 due to their

#
Be Not Nobody, and became her breakthrough to B 5/Eand labelsFin add
from producers the past, B/D

## # œ œ
commercial success. The track achieved global demands for change, she seemed to take Fair’s advise

& #
success, reaching the top ten in the UK singles charts on board and the two worked together to create
and topping the Australian chart. Carlton also had something brilliant. Many changes were made to
success with the hit in France, Italy, The Netherlands the original demo of this song, including the change
and Ireland. of name, a shortened piano intro and an orchestral

œ. œ œ œ œ
section. It would seem that Fair was indeed right to
Vanessa Carlton began writing the hit at her make these decisions as ‘A Thousand Miles’ soon

? # ## #
parent’s house in Philadelphia in the summer of became a household name and it’s popularity was

1998, starting with the unforgettable piano riff which
famously introduces the song. Meeting a writer’s block
along the way, she found the determination to finish
it a few months later after receiving positive feedback
on playing it to a record producer. On finishing the
song she named it ‘Interlude’, a name that many would
suggest she change and of course eventually became ‘A
Thousand Miles’.
Carlton worked hard for success, sending demos
to producers and labels whenever she could and
standing firm when offers were made which she felt
would jeopardise her sound. Some years down the
line, having sent out countless demos and turned
#
spreading worldwide.
‘A Thousand Miles’ received three Grammy
award nominations, for Record of the Year, Song
[3] of the Year and Best Instrumental Arrangement
Accompanying Vocalist(s). Sadly, these remained
only nominations and she lost out on all three, with
Norah Jones taking Record of the Year for ‘Don’t
Know Why’. The song proved extremely popular
with US troops at the time of its release and quickly
became the most requested song on radio station
‘British Forces Broadcasting Service’.
# #
# ## # œ .
B/D E
A B 5/E F add 4

œœ Œ
down several offers, one of Carlton’s tapes had found
Keys Grade 5

& # œ. œœ .
its way to head of A&M Records, Ron Fair. Fair

œ. œ .
loved the demo and was keen to work with Carlton,

P 31

# œ .
 A Thousand Miles Piano Arrangement

Vanessa Carlton
q = 95 Pop
# B/D # # #
#### 4 ‰ . œ œ
B 5/E
œF add
œ œ œ œ œ œF add
œ œœ œ œ œœœ
4 B/E B/D B 5/EB/E 4

& #4 œ œ œ œœ œ œ œ œ œ œ
R
P
œ. œ œ œ œ œ œ. œ œ œ œ œ
? # # # # 44 Œ
#

F # add 4 B/D # F # add 4 B/D #

#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
B 5/E B/E B 5/E E6

œ œ œ œœ ..
& # J
p
œ. œ œ œ œ œ œ. œ œ œ œ œ.
? #### J
#
[3]

F # add 4 B/D # F # add 4 B/D #

#### œ .
A
B 5/E E B 5/E E

œœ Œ œœ ..
œœ Œ œœ Œ œœ ‰
& # œ. œ œ ≈ r
œ. œ œ .. œ. œ œ .. œ
P F
? #### œ . œ Œ œ. œ Œ œ. œ Œ œ. œ Œ
#
[5]

F # add 4 B/D # F # add 4 B/D #

#### œ
B 5/E B 5/E B/E

& # 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
Keys Grade 5

#
[7]

Words & Music by Vanessa Carlton

32 © Copyright 2001 Rosasharn Publishing/Songs Of Universal Incorporated.

Universal/MCA Music Limited.
All Rights Reserved. International Copyright Secured.
 F # add 4 B/D # F # add 4 B/D #
####
B 5/E E B 5/E E

& # œœ .. œœ Œ œœ Œ œœ .. œœ Œ œœ ‰ ≈ r
œ. œ œœ .. œ. œ œœ .. œ
P F
? #### œ . œ Œ œ. œ Œ œ. œ Œ œ. œ Œ
#
[9]

F # add 4 B/D # F # add 4 B/D #

####
B 5/E B/E B 5/E B/E

& # 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
#
[11]

B/F # B add 9/D # B/F # B add 9/D #

#### œ
B

œ œ œ œ
E sus 2 E sus 2

& # Ó ≈ œ œ Ó ≈ œ œ
P œœ œœ œœ œœ œœ œœ
? # # # # œœœ ... œ œ œœ ≈ Ó œœœ ... œ œ œœ ≈ Ó
#
[13]

B/F # B add 9/D # F#

#### j
E sus 2 E sus 2

# Ó ‰ œ œ œ ˙w œ. œ
&
œœ œœ œœ ˙˙
? # # # # œœœ ... œ œ œœ ≈ Ó ˙˙
#
[15]

E sus 2 F # add 4 B/D #

#### œ. j j
E

œ
C

& # œœ .. œœ œœ œ œ. œ œ œœ œœ .. œœ œœ œ œ. œœ
F
Keys Grade 5

? #### œ . œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ
#
[17]
33
 F # add 4 B/D # F # add 4
j
E sus 2 E sus 2

j
E

#### œ œ. j œ œ œœ œœ œ œ
& œ œ
# œœ .. œ œ œ œ . œ œ œ
œ œœ .. œœ œœ œœ œœ œ œ œœ œœ .. œœ œœ œ œ œ

? #### œ . œ œ œ œ . œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ
#
[19]

B/D # G # m7 F # 6/A # F#
# # # # œœ . œ œ œ œ œ œ œ
E

& # œ .. œ œ œœ .. œœœ œœœ œœœ ˙˙˙ .. ‰. œ

. R
J
? #### œ . œ œ œ œ ‰ œJ œ. œ œ œ ˙.
# J Œ
[22]

F # add 4 B/D # F # add 4 B/D #

#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
E sus 2 E E sus 2 E

& # 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
#
[25]

F # add 4 B/D # F # add 4 B/D #

#### œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œœ
E sus 2 E E sus 2 E6

& # œ œ œ œ œ J ‰

? #### œ . œ œ œ œ œ œ. œ œ œ œ œ ‰
# J
[27]

G #m7 F #/A # F #/C # G # m7 F #/A #

####
D
B maj 7

& #
. œ œ œ
P œœ .. œœ œœ œ œœ .. œœ œœ œ œ œ œœ œ œœ . œ œœ .. œœ œœ œ œœ .. œœ œœ œ
Keys Grade 5

? ####
# œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ
34
[29]
◊
 F #/C # F #/A #
#### G # m7
B maj 7

& # œ œ œ
œ œœ œ œœ .. œœ .. œœ œœ œœ .. œœ œœ
œ œ œ

? #### œ . œ œ œ œ
# œ œ œ œ. œ œ œ œ. œ œ. œ
(◊)
[32]

# # # # B maj F #/C # G # m7 F #/A # F # 7sus 4

7

& #
œ œ œœ œ œœ .. œ œ œœ œœ .. œœ œœ œ œœ .. œœ œœ œ œ www
f p
œ œ œ œ œ œ
? #### œ . œ œ
subito

# œ œ. œ œ. œ ≈ œ. w
(◊)
[34]

F # add 4 B/D # F # add 4 B/D #

####
E
B 5/E E B 5/E E

œœ .. œœ Œ œœ .. .
& #
œ. œ œœ .. œœ Œ œ.
œœ Œ
œ œœ .
. œœ ‰ œ
r
F
? #### œ. œ Œ œ. œ Œ œ. œ Œ œ. œ Œ
#
[37]

F # add 4 B/D # F # add 4 B/D #

#### œ
B 5/E B/E B 5/E B/E

& # 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
[39]
œ œ œ œ

F # add 4 B/D # F # add 4 B/D #

# # # # œœ œ œœ œœœ Œ
B 5/E B 5/E

œ œ œ œ Œ
B/E B/E

& # œ œ œœ œœ œœ Œ œ œ ‰. r
œ œ œ œ œ
œ œ
F
Keys Grade 5

? #### œ . œ Œ œ. œ Œ œ. œ Œ œ. œ Œ
#
[41]
35
 F # add 4 B/D # F # add 4 B/D #
####
B 5/E B/E B 5/E B/E

& # 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
f
? ####
# œ. œ œ œ œ. œ œ œ
[43] œ œ œ œ

B/F # B add 9/D # B/F # B add 9/D #

#### œ
F

œ œ œ œ
E sus 2 E sus 2

& # Ó œ œ Ó œ œ
P œœ œœ œœ œœ œœ œœ
? # # # # œœœ ... œ œ œœ ≈ Ó œœœ ... œ œ œœ ≈ Ó
#
[45]

B/F # B add 9/D # F#

#### œ 42 œ .
E sus 2 E sus 2

# Ó ‰ œ œ
& w˙ ˙ œ
J
œœ œœ œœœ ˙˙
? # # # # œœœ ... œ œ œ ≈ Ó
˙˙ 24 ˙˙
#
[47]

F # add 4 B/D #
#### œ œ.
G
E sus 2 E

& # œ. œ œ œ œ. œ œ œ œ. œ
J J
p œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ
? ####
#
[50]

F # add 4 B/D #
#### œ œ.
E sus 2

œ
E

& # œ. œ œ œ œ. œ œ œ œ œ œ
J
œ. œ œ œ
Keys Grade 5

œ. œ œ œ œ. œ œ œ œ. œ œ œ
? ####
#
[54]
36
 F # add 4 B/D #
#### œœ œœ j
œ
E sus 2 E

# œœ .. œœ œœ œ œœ .. œ œ œ œ œ œ œ œ œ
& œ œ œ œ.
F J
? #### œ . œ œ œ œ. œ œ œ œ. œ œ œ œ ‰ œ
# J
[58]

G # m7 F # 6/A # F#
#### œœœ œœœ œœœ ˙˙˙
& # œœ ..
p J
? #### œ . œ œ œ ˙
# J
[62]

F # add 4 B/D #

#### œ œ œ œ œ œ œ œ
E sus 2 E

& # œœ ‰. œ œ œ œ œ œ œ œ œ œ
R
f
? #### œ Œ
# œ. œ œ œ
[65] œ œ

F # add 4 B/D # #
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F add œ œ
E sus 2 E E sus 2 4

& # œ œ œ œ œ œ

? ####
# œ. œ œ œ œ. œ œ
[68] œ œ œ

B/D #
F # add 4 B/D #
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
E

œœ ..
E sus 2 E6

& # J
p
œ. œ œ œ.
Keys Grade 5

œ œ
? #### J
# œ œ
[71]
37
 Notes

This song is full of subtle light and shade with quick transitions between melodic and rhythmic ideas. It is important for the
performer to observe the dynamics carefully as this detail helps to shape and emphasise the shifting, restless feel of the song.

The 16th-note phrase found in the opening four bars of the right-hand part is re-visited throughout the song with slight
variations. Students should take time to master this pattern in isolation from the left hand part and at a slower tempo.
Once secure, students should read through the whole arrangement to see where this pattern is repeated, identifying and
comparing the differences. Once secure, these passages should sound light and effortless with a precise delivery.

Bars 5 and 6 should be legato and without any hint of accent or staccato. Both hands should be equally balanced with the
rhythmic pattern carefully observed.

This light and precise approach also applies to section B. As the left and right hand parts alternate in bars 13 to 15, care
should be taken to observe the rests between each phrase, keeping the 16th notes short and un-accented.

The opening six bars of section C builds on the original syncopated groove with both hands repeating the two-beat pattern.
Care should be taken to keep a steady quarter-note pulse and to avoid the music inadvertently speeding up. Although the
volume is mezzo forte at this point, students need to be careful to balance parts appropriately to allow the melody line to be
clearly heard above the accompaniment.

Section D creates a sudden contrast with the previous section with both a drop in register and volume. Keeping the parts
well balanced and legato, take care not to anticipate the crescendo too early. The subito piano in bar 36 followed by an
immediate shift again back to mezzo forte is a key moment in the song. Students should take time carefully rehearsing this
section with particular attention to these dynamic changes, keeping a steady pulse throughout.

While section F is an almost direct repeat of the previous section B, section G is a pared down version of C and should
be played piano. Maintaining this volume throughout the section will allow the performer dynamic space to create a
contrasting final flourish as the 16th-note melody returns for a final time at forte.
Keys Grade 5

38
 You’ve Got A Friend In Me

SONG TITLE: ‘YOU’VE GOT A FRIEND

IN ME’
ALBUM: TOY STORY
q = 116 Soundtrack s
Eb
RELEASED: 1996
G 7/D
LABEL: WALT DISNEY

bb 4 ‰ j œ œ œ # œJ n
GENRE: COUNTRY/POP

b œ
3/4

& 4
5
WRITTEN BY: RANDY NEWMAN 4
2
PRODUCED BY: RANDY NEWMAN

F
1
UK CHART PEAK: N/A

œœ
3

? bb 44 œ œ
b

Bb7 Eb
E b/B b
j j j
bb œ œ œœ n b œœ .. ‰
b œ. # n œœ
‘You’ve Got a Friend in Me’ was written by Toy Story 2) and the same award for his piece ‘Our

& œ
Randy Newman, for use in the 1995 Disney classic Town (from Cars) in 2006.

J J
Toy Story and later released as a single featuring

P
Newman himself and Lyle Lovett. The song went on Disney-Pixar’s Toy Story was the first feature-
to appear in each Toy Story film in some capacity, length film to be entirely computer-animated and

b œœ
b œœ
either in its original format or song by one of the was the first feature-length release from the highly

? bb b œ œ
many endearing characters. Although the single regarded collaborating conglomerations. Toy Story

b œ
didn’t chart, the song itself was well received and was was extremely well received, being nominated
nominated for two prestigious awards; the Academy for three Academy Awards and winning a Special
Award for Best Original Song and the Golden Globe Achievement Academy Award for its contribution to
for the same award, both of which it lost out on to animated film. Toy Story was followed by its sequel,
[3]
Pocahontas’ ‘Colours of the Wind’. Toy Story 2, in 1999 and its trilogy, Toy Story 3, in
2010. The franchise has been hugely successful and
Newman is an American singer-songwriter, so far has grossed at over $1.9 billion worldwide.

b b Eb9
arranger and composer. Since the 1980s he has been Disney-Pixar are currently working on Toy Story 4,

j œ
best known for his work in film scoring, especially A expectedEfor release in June 2019Bweaugcan rest assured

b bb j œ œœ œ Œ
for his work with Disney-Pixar for whom he has that it will prove as popular as the previous films in

& œ œ. œ #
n œ
scored eight films. Although Newman’s ‘You’ve Got the franchise.

J
a Friend in Me’ missed out on the above awards,
many of his compositions for film were more
successful in this sense and many of those were

œœ œœ
other Disney-Pixar collaborations. In 2002 he took

? bb œ
the Academy Award for Best Original Song with

b œ œ
his Monsters, Inc. classic ‘If I Didn’t Have You’ and
in 2011 he won the same coveted award with his
song ‘We Belong Together’ written for Toy Story
3. Newman also holds seven Grammy Awards,
Keys Grade 5

[6]
including Best Song Written for a Motion Picture at
the 2000 ceremony for ‘When She Loved Me (from

Ab
E b/B b

b
39
‰
 You’ve Got A Friend In Me Piano Arrangement

Randy Newman
From ‘Toy Story’ (1995)
q = 116 Soundtrack s
#
Eb
j j
G 7/D B 9 11

j j
Cm

b j œ œ œ # œJ n œœ œ œ #œ œ nœ œ
& b b 44 ‰ œ œ œ. œ n œ œ. œ
3/4 5
5

J
4

J J
2 1 4
1 3

F
1

œœ n œœ
# n œœ
3

? b b 44 œ œ œœ
b œ nœ

E b/B b Bb7 Eb B b aug B b m7 B b aug

j
bb b œ œ n œj j
œœ n b œœ .. ‰ ‰ j #œ ‰ j nœ ‰ j #œ
& œ. #œ j œœ
J J œ œ œ œ œ œ b œ œ œn œ œ
P
? bb b œ b œœ b œœ œ
b œ Œ œ Œ œ Œ œ Œ
[3]

Eb B b aug Eb9 Ab
A

b j j ‰ œJ œœ œ ‰ # œœ .
A dim7

& b b œ œœ . œ œ n # œœœ œ Œ
b n œœ œœ.
‰
œœ ..
œ
œ
J
J
? bb œœ œœ œ
œ œ
3

b œ œ œ œ œ œ œ nœ œ
[6]

E b/B b Ab E b/G G7

j
Cm

b ‰ œJ œ œ œ œ . ‰ œJ ˙œ . œ œ œ œ œ
&bb Œ œœ #œ œ
œ œJ œ .. œ.
? bb œ œ
b œ œ bœ œ œ œ œ
œ œ nœ œ
[9] œ

Ab E b/G G7 Cm Ab A dim7 E b/B b G/B C m

b œ
&bb œ œ œ œ ‰ œœ j Œ ‰ b œ b œœ œ n œœ œ œ œ
œ œ œœœ œœœ
j
J
œ
nœ
Keys Grade 5

? bb œ œ œ œ œ
b œ œ œ œ nœ œ nœ œ
[12]

40 Music and Lyrics by Randy Newman

© 1995 Walt Disney Music Company
All Rights Reserved. International Copyright Secured.
 Ab7 G7 B b13 Eb

bbb j j œ œ œ b œ œj j
œ ‰ œ œ œ ‰ n œj
bœ œ
C m7 F7 C7

& # œœ n œœ œœ Œ œ œ J
F P
? bb j œ nœ bœ n˙ bœ œ œœ œœ
j œ œ œ œ n
b bœ œ b˙
[15] 3

F7 Bb7 Eb G 7/D

j œ
3
j
b œ œ # œ
b œ˙ j œ œ
œ œ œ œ
& b b n˙ œ ‰ œ nœ œ
J
3/4 5
4 5 4
1 1
2
1

? bb œ n œœ b œœ œ œœ n œœ
b œ œ
[18]

#
E b/B b Bb7
j j
Cm B 9 11

j bœ œ nœ j j j j
bb b œ œ œ œ œ
& œ. nœ œ. nœ œ. n
#œ œ œœ n b œœ ..
J J J J
? bb œ
b
œœ
nœ # n œœ bœ b œœ œ
b œœ
[20]

Eb B b aug Eb9 Ab
B

b j œ œ œ œ œ œ
& b b ‰ œ œœ œ œ œ
A dim7

‰ .
œ œ ‰ ‰ J œ
œ bœ œ œœ ..
P J
? bb œ œ # œœ œœ n œœ
œ œ œ
3

b œ œ nœ œ œ nœ
[22]

E b/B b Ab E b/G
b ‰ œJ œœ œ . œœ
G7 Cm

&bb Œ œœ œ ‰ Jœ œ œ œ œ Œ œ Œ
œ # œœJ œ ..
Keys Grade 5

? bb œœ œœ
b œ œ œ nœ œ œ
œ œ œ œ
[25]
41
 Ab E b/G Ab E b/G
b j j ‰ œj œœ œ b œ œ Œ
G7 Cm

& b b ‰ œJ œœ œ œœ œ œ œ œ œœ œœ œœ œ œ
œ nœ œ œ bœ
? bb œ œ œ œ œ œ
b œ œ œ œ œ œ
[28]

B b13 Eb
b œœ ‰ œ ‰ œ œ œ b œ œj j
G7 F7 C7

& b b n œœœ œœœ

Cm

Ó œ
J
œ
J J J œœ œ
bœ œ
j
nœ . Œ
f P
œ œ nœ bœ n˙ bœ œ œœ
? bb
b œ œ b˙ œ œ n œœ
[31] 3

B b13 Eb Eb7
bb b F‰ bœ œ œ œ œ œ Œ ‰
7

& J œœ œœ b œœ ..
? bb b n œœ b œœ œ
3

b œ œ œ œ œ œ œ
[34]

Ab Eb6
C

b œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ Œ œ œ œ œ œ
&bb Œ Œ
D7 D7
j
4 3 2 1 2 1 3 4

F
œœ # œœ n n œœœ œœ
3 3

œœ
3

? bb œ nœ œ œ œ Œ
b œ
[36]

Eb6 D/F #
Ó ‰ j D7 E m7
j
F dim7

& bbb œ #œ nœ #œ ˙ œ œ œ Œ # n œœ œ œ˙ ‰ œ œœ . œ n œœ œ˙ œ œ œ
J
1 2 1 2 1
Keys Grade 5

? bb œ œ b œ n œ ˙ œ nœ œ #œ
b nœ œ #œ
nœ
1 2 3 2 1

[39]
42
 B b13

b b œj j j j
Gm C7 F m7

b œ œ œ˙ . œ j Œ
& œ. nœ œ b˙ œ œ œœ œœ
J
œœ
? bb
b œ œ n œœ b œœ œ
œœ
[42]
œ

Eb B b aug Eb9 Ab
n œ. .
D

b j ‰ b œœ ‰ œœœ ‰ n œœœ œ œ ‰ œ œ
A dim7

& b b ‰ œ œ œ # œ˙˙ œ
œ
œ
J J #œ
œ
œ
J J
P
? bb œœ œœ œ œ # œœ
b œ œ œ œ œ œ œ nœ
3

[44]
œ
E b/B b Ab E b/B b
rit.

- U̇
A dim7 G aug/B Cm

b j ‰ Jœ œ œ # œ˙ œ œ œœ n œœ œ
&bb Œ œœ ‰ # œœj œœ .. ˙
.
f
? bb œœ œ n œœ œ- œœ- U˙-̇
˙
b œ œ œ œ nœ œ nœ
[47]

B b13 Eb B b13
a tempo

b œ j bœ œ œ j
& b b ‰ J œ b œ œ œ ‰ œ œ œ ‰ Jœ ‰ œj n œ œ ‰
F7 C7 F7

œ œ œ œ
p
? b b n ˙˙ bœ œ œœ n œœ b n œœ b œœ
b b˙ œ œ œ
[50] œ
Eb B b13 Eb
C7 F7
j œ G 7/D
j
b œ bœ œ œ œ œ #
‰ œj œ œ ‰ n œœ œ
& b b ‰ J œ œ ‰ œj œ n œ œ œ œ œ
J
F
œœ n œœ
œœ n œœ b n œœ b œœ
3

? bb œ œ œ
b œ œ œ
[53]

#
E b/B b B b7 Eb
rit.

j
Cm
j j B 9 11
j j
bb b œ œ #œ œ nœ œ œ œ j j U
& œ. n œ œ. œ œ. n
#œ œ œœ n b œœ . œœ ww
J J J J J
p
Keys Grade 5

U
? bb œ
b
œœ
nœ # n œœ bœ b œœ œ
b œœ
[56]
w
43
 Notes

This light-hearted tribute to friendship is heavily influenced by New Orleans piano styles. Students should be encouraged
to listen to artists such as Jelly Roll Morton, Professor Longhair, Doctor John and the original performance of this song by
Randy Newman for context.

Students need to be clear which parts in the right hand are the original vocal melody and which are accompaniment,
to achieve the correct balance. It can be helpful to think of the piano part as representing a full band arrangement – for
example, the left hand part (in keeping with the New Orleans style of the song) could be thought of as a tuba or a double
bass. This will need to be controlled carefully to maintain clarity with the changes of dynamics through the piece. The notes
do not sustain for very long, so they should bounce along – detached but not staccato – and any pedalling should be very
light if being applied.

The swung rhythms of the music shouldn’t be laboured – it can be a useful exercise to compare straight and swung eighth-
note rhythms by tapping a foot on the pulse, and clapping the two subdivisions in order to understand the feel before
playing the notes. Confidence with swung rhythms will help achieve the desired effect in performance.

An alternating fingering pattern is suggested at bar 36 (letter C) – this can be a useful technique on faster repeated notes
to ensure that the delivery is smooth – this can also be adopted in bar 37. These are only suggestions for the ease of the
performer and can be freely adapted.
Keys Grade 5

44
45
Keys Grade 5
 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.

■■Candidates can choose to play either natural minor or harmonic minor scales
■■Major scales, minor scales, chromatic scales and arpeggios need to be played hands together, in straight or swung feel,
ascending and descending, across three octaves (except contrary motion scales, pentatonics, lydian and phrygian modes,
which must be played over two octaves and extended arpeggios which are one octave only)
■■Pentatonic scales are right hand only
■■Lydian and Phrygian modes need to be played hands separately
■■Groups A, B and C (scales, arpeggios and chords) need to be played from memory. You may use your book for
Group D (technical studies)

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 =126 bpm.

1. B major (three octaves, two octave example shown)

#### œ œ œ œ œ œ œ œ œ œ
œ
& # œ œ œ œ œ œ œ œ œ œ œ œ œ
1 4 5
2 3 4 3
1 2

œ œ œ œ
1 2 3 1 2 3

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
&
4 3 2 1 4 3œ 2 1
3 2 1 4 3 2 1

œ œ œ œ œ œ œ œ
2. B major | contrary motion

#### œ œ œ œ œ œ œ œ œ
5

& # œ œ œ œ œ œ œ
2 3 4 1 3 4
1 2

œ œ œ œ
1 2 3 1 2 3

œ
? #### œ œ œ œ œ œ œ œ œ œ œ œ œ œ
# œ œ œ œ œ œ œ
1 2 œ œ œ œ œ œ œ œ
3 4 1 2 3 1 2 3 4 1 2 3 4

3. D b major (three octaves, two octave example shown)

œ œ œ œ œ œ œ œ œ œ œ œ
bb b b œ
2

& b œ œ œ œ œ œ œ œ œ œ œ œ œ
4 1
2 3
3 1 2 1

œ œ œ
2 3 4 1 2 3

œ
? bb œ œ œ œ œ œ œ œ œ œ œ œ ?œ œ œ œ œ
bbb &œ œ œ œ œ œ œ œ œ œ œ
3 2 1 3 2 1 4 3
3 2 1 4 2 1 3

4. D b major | contrary motion

œ œ œ œ œ œ œ œ œ œ œ œ
bb b b œ
2

& b œ œ œ œ œ œ œ œ œ œ œ œ œ
4 1
3
Keys Grade 5

2 1 2
3 1

œ œ œ
2 3 4 1 2 3

œ œ œ œ œ œ œ œ œ œ
? bb œ œ œ œ œ œ œ œ œ œ
46 bbb
3 1 2
œ œ œ œ œ œ œ œ œ
3 1 2 3 4
4 1 2 3 1 2 3
5. G # natural minor (three octaves, two octave example shown)

#### œ œ œ œ œ œ œ œ œ œ
& # œ œ œ œ œ œ œ œ œ
3 2 3
3 1 2 1

œ
3 4 1 2 4 1 2 3

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 œ œ œ 1
œ3œ œ œ œ œ 4 3 2 1 4 3
2 1 3
2 1

6. B b natural minor (three octaves, two octave example shown)

bb b b œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
4

& b œ œ œ œ œ œ œ
1 2 3 4 2 3
3 1

œ œ œ œ
3 1 2 3 1 2

œ
? bb b œ œ œ œ œ œ œ œ œ œ ?œ œ œ
bb œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
&
2 1 3 2 1 œ 4 3 2
1 3 2 1 4 3 2

7. G # harmonic minor (three octaves, two octave example shown)

#### œ œ œ ‹œ œ œ œ œ œ
& # œ œ œ œ œ œ #œ œ
3 2 3
1 2

‹ œ
3 1

œ
3 4 1 2 4 1 2 3

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 2 œ œ œ
1 4
œ œ œ œ #œ œ 1 3 3 2 1 3
3 2 1 4
2

8. B b harmonic Minor (three octaves, two octave example shown)

bb b b œ œ œ nœ œ œ œ œ œ œ
œ
& b œ œ œ œ œ nœ œ œ œ œ bœ œ œ
4 3 4
1 2 3 2
3 1

œ œ œ œ
3 1 2 3 1 2

œ
? bb b œ œ œ nœ œ ?œ œ œ
bb œ œ œ œ œ n œ œ œ œ œ œ œ
œ œ œ œ œ œ œ bœ
&
2 1 3 2 1 œ 4 3 2
1 3 2 1 4 3 2

9. B major pentatonic | right hand

#### œ œ œ œ œ
œ œ œ œ œ œ œ
4

#
2

& œ
1

œ œ œ œ œ
1 2 3 1 2 1 2 3

œ œ œ

10. D b major pentatonic | right hand

bb b b œ œ œ œ œ œ œ œ
œ
5

& b œ œ œ œ œ œ œ œ œ
2 3
2 3 1 2 1

œ œ œ
3 1 2
Keys Grade 5

47
 Technical Exercises

11. G # minor pentatonic | right hand

#### œ œ œ œ œ œ œ œ
2 1 2

œ
1

#
2

& œ œ œ œ œ œ
1
2 1 2 3 3

œ œ œ œ œ
œ
12. B b minor pentatonic | right hand

bb b b œ œ œ œ œ œ œ œ œ
5

œ œ œ œ œ œ
4

& b
3

œ
2

œ
2 3 4 1 2 3 1

œ œ œ œ

13. C lydian | right 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
1 3 4
1 2 3 2
4 1

œ œ œ œ
1 2 3 4 2 3

14. C lydian | 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 4 3 2 1 3 2 1
4 3 2 1
3 2 1
5

15. C phrygian | right hand

b œ œ œ bœ bœ œ œ œ œ œ œ œ
b œ
5

& œ bœ bœ œ œ bœ bœ œ œ œ œ œ œ
2 3 4 1 3 4
1 2
3

œ œ œ
1 2 3 1 2

16. C phrygian | left hand

? œ œ b œ bœ œ œ œ œ œ œ
bœ bœ œ bœ b œ œ œ œ œ
b œ œ œ œ œ œ œ œ
œ bœ 4 3 2 1 3 2 1
4 3 2 1
3 2 1
5

17. Chromatic Scale | starting on any black key stated by examiner, example given in B (three octaves, two octave example shown)

œ œ # œ œ # œ œ # œ œ b œ n œ b œ n œ b œ n œ betc.œ
œ # œ
& œ #œ œ #œ œ œ #œ œ #œ œ #œ œ œ #œ
1 3 1
1 3 1 3 1 3
3 1 2 3 1 2 3
1 2 3 1 1 2 3 1 3

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 b œ nœ bœ nœ bœ nœ bœ
etc.
Keys Grade 5

2 1 3 1 1 3 1 3 2 1 3 1 1 2 3 1 3 1 3 2
3 2 1 3 3

48
 Technical Exercises

Group B: Arpeggios
The tempo for this group is q = 86 bpm.

1. B major arpeggio (three octaves, two octave example shown)

#### 3 œ œ œ
œ œ
5

œ œ
1

& #4
3 3

œ œ
1 2 2

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

2. D b major arpeggio (three octaves, two octave example shown)

œ œ œ
b œ œ
4

& b b b b 43 œ
œ œ
2

œ œ
1

œ œ
2 1 2 4

˙.
œ œ
? b b b 43 œ œ œ ?œ œ ˙.
bb &œ œ œ œ
4 2 1 4
œ
2 1 2

3. G # minor arpeggio (three octaves, two octave example shown)

#### 3 œ œ œ
& #4 œ œ
4

œ œ
2 4
2 1 1 2

œ œ œ œ œ
œ œ œ ˙.
? #### 3 œ œ œ œ
#4 œ œ œ œ œ
1 1 4 2
˙.
2 2
4

4. B b minor arpeggio (three octaves, two octave example shown)

b œ œ œ
& b b b b 43 œ œ
2

œ œ
1 2
1

œ œ
2 3 3

œ œ œ œ ˙.
œ œ œ œ
? b b b 43 œ œ œ œ
bb œ œ œ ˙.
3 2 1 3 2 1 2

5. Cm maj 7 arpeggio (three octaves, two octave example shown)

œ œ œ œ œ
& 44 œ b œ œ bœ bœ œ œ
4 5

œ
1 2 3 4 3

œ œ bœ
1 2

w
? 44 œ b œ œ œ œ œ œ
œ œ œ œ œ ? bœ w
œ bœ bœ
&
Keys Grade 5

4 3 2 1
5 4 3 2 1

49
 Technical Exercises

6. C 7add 4 arpeggio (three octaves, two octave example shown)

œ œ œ bœ œ œ œ œ œ œ
& 44 œ œ œ œ b œ œ
2 3

bœ œ œ œ
1 3 1
1 2 3 2 1 2

˙
? 44 œ œ œ œ b œ œ bœ œ œ
œ bœ œ œ œ œ œ œ œ ˙
?
&œ œ
2 1 2 1 3 2 1 2
3 1
5

#
7. Cmaj 9 11 arpeggio | right hand

#œ
& 43 œ œ œ œ œ
1 2

œ œ
5

œ œ
1 3 3

œ
#
8. Cmaj 9 11 arpeggio | left hand

œ œ #œ œ œ
? 43 œ œ œ œ œ œ
1 3 1 2
5 3

9. C m11 arpeggio | right hand

œ
& 43 œ bœ œ œ bœ
1 2

œ œ
5

bœ bœ
1 3 3

10. C m11 arpeggio | left hand

œ œ œ
? 43 œ œ bœ bœ œ
bœ bœ œ
1 3 1 2
5 3
Keys Grade 5

50
 Technical Exercises

#
Group C: Chord Voicings | Minor 11 and Major 9 11 Chords
In the exam you will be asked to play one of the chord exercises below, from memory. The examiner will state the chord
type. This test is performed in free time (without backing track or click), but the examiner will be looking for the speed of
your response.

Ex 1: C m 11 chords

& 44 ww b b wwww b b wwww

bw
? 44 b www ww w

#
Ex 2: C maj 9 11 chords

#w
& 44 n ww w
# www
www n # wwww
? 44 n ww
w

Group D: Technical Studies

In the exam you will be asked to perform your choice of one of the following three technical studies along with the
accompanying backing track.

Example 1 | VIm – IIm – V – I progressions, syncopation and walking bass

c 110 s
b
G # m11 C # m9 F#9 A # m7 5 D#7 G # m11
#### 4 nnnn bb b
B maj 9 E maj 9

& # 4 ‰ œœ œj ˙ ‰ ‰ ‰ j ‰ jÓ n bb
œœœ ... œœœœ ... œœœ œœ ˙˙ œ œ
œœ ˙
P œ. œ ˙ œ. . . . œ. œ ˙ ‹ œœœ. œœœ
.
? # # # # 44 nnnn bb b
# œ nœ œ œ œ œ œ œ œ n bb
œ œ ‹œ
œ œ œ nœ
b
B b m9 E b m9 Ab9 D b maj 9 G b maj 9 B b m9
b b b ‰ œj ‰ j ‰ œœj Œ ‰ œj ‰ œj ˙ ‰ œj Œ
C m7 5

‰ œj Œ
F7

b
& b œœœ ˙˙˙ ˙
œ.œ œœœ œœ œœœ œœ ˙˙ n œœœ. b ˙˙˙
œ ˙ . . .
? bb b œ œ
bb œ œ œ nœ ˙
œ œ œ œ nœ bœ œ œ
Keys Grade 5

[5]

51
 Technical Exercises
Ex 2: Lydian Mode - Film Soundtrack

Example 2 | Lydian modal study

c 120
#
D b maj 7 11
b œ œ œ œ œ œ.
& b b b b 44 ‰ œ œ œ œ n œœ œœ œœ œœ œœœ œ
f œ œ œ œ œ œ
? b b b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > >
œ œ œ œ r
bb b b ‰ n œ œ œ œ œ œ œ œ œ œ œ >œ
œœ ‰ .
r
& b n œœœ ‰ . œœ œœœ
> œ
>
? bb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb
[3] œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

b nœ. œ. œ nœ œ œœ. >œ

œ œ œ œ. œ
C m7

& b b b b ˙˙˙ œ nœ ‰ œœ
˙ J
? bb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb
[5] œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
#
D b maj 7 11 Eb D b maj 7

j j
C m7

b b b b ˙˙˙ .. œœ œ ‰ n œœœ ‰ œœœ ˙˙˙ www

& b . œ n œœ
œ œ œ ˙ w
p
? bb b œ œ œ œ œ œ œ œ j j
bb ‰ œ ‰ œ ˙ w
[7] œ œ œ œ œ œ œ œ œ œ ˙ w
Keys Grade 5

52
 Technical Exercises
Ex 3: Phrygian Mode - Heavy Rock

Example 3 | Phrygian modal study

c 117
b
D#5 D # m/F #
#### 7
E maj 7 5 E maj 7

& # 4 œœ œ œœ œ œœ œ œœ œœ œœ œ œ ˙˙ œ œ ww
œ œ œ œ œ œ œ œ œ ˙
F œ œ œ œ œ
? # # # # 74
# œ œ œ œ œœ œ
˙. ˙ ˙ œ œ
˙. ˙ ˙ œ
D # m7 j
# # # # ‰ j œ œ œ œ œj œ œ œj œ œ œ
B

& # œœ ˙ ˙ œ œ œ œœœ ˙. œ œ
J Ó
? #### œ œ œ œ œ œ œ œ œ nœ œ #œ # œ œ nœ œ œ œ œ
# nœ œ œ œ
[3] œ œ nœ œ #œ nœ œ œ
F #/G # E maj 7 D#5

œœ œ œœ œœ ˙˙ .. ww
#### œ œ œ œ œ œ
œ œ œ
œ œ ˙. œ œ w
& # œ œœ œ œ œ œ œœ œ œœ œœ œœ œœ œ œœ œ œ œ œ œ œœœ
œ œœ œ œ œœ œ œ œ œ œ Œ ‰
p f
? #### ˙. ˙ ˙ œœ˙
# ˙. ˙ ˙ ˙. ˙ ˙ ˙. w
[5]
˙. ˙ ˙ ˙. w

Keys Grade 5

53
 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 an 8–16 bar example in the key of either B major or D b 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 = 60–130.

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.

Please note:
■■You will be required to play all notation and create appropriate parts to chord symbols.
■■Time signatures will be either 4/4 or 3/4.

Sight Reading | Example 1

c 80 Film Score
#### 3
& #4 Œ Œ ˙˙ Œ œœ
˙˙ œ ˙˙ ..
p j f
? # # # # 43 ‰ œ ˙ ‰ œj ˙ ‰ œj ˙ œ œ
# ˙. ˙. ˙. œ

####
& # ˙˙ œ œ ˙˙ œ œ ˙˙ œ œ ˙˙ ..
p ˙.
? #### ˙ . ˙˙ .. ˙˙ . ˙˙ ..
# .
[5]

####
& # Œ Œ ˙˙ Œ œœ
˙˙ œ ˙˙ ..
p f p
j
? #### ‰ œ ˙ ‰ œj ˙ ‰ œj ˙ ˙˙ ..
# ˙. ˙. ˙.
[9]

Please note: The test shown is an example. The examiner will give you a different version in the exam.
Keys Grade 5

54
Sight Reading | Example 2

c 80 Pop Ballad
j œ ˙
b
& b bbb c ‰ œ œ ‰ œj œ œ ˙ ‰ œj œ œ œ œ œ œ œ œ œ œ œ œ
p
˙. œ ˙. œ w w
? bb b c
bb

‰ œj œ œ
˙
b
& b bbb w œ œ ˙. ‰ œj œ œ ˙
p
˙ ww œ œ
? bb b ‰ œ œ œ ˙. ˙.
bb J
[5]

b
& b b b b ‰ œj œ œ œ œ œ œ œ œ œ œ œ
œ ˙˙ ˙˙ ww

? bb b j j w
bb w w œ. œ œ. œ w
[9]

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

Keys Grade 5

55
 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 8–16 bar chord progression in the key of either
B major or D b 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 = 60–130.

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 will need to improvise diatonic, single note melodies with right hand and chords in left hand.

Improvisation & Interpretation | Example 1

c 110
b b D b maj 7 Ebm A b 9sus 4
bb b b 4 D G maj 7

& b4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Db Gb A b 9sus 4 D b maj 7

& bbbb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[5]

Gb6 Db Bbm Ab7

b
& b bbb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[9]

Ab9 Db Bbm Ebm Ab7 D b maj 7

& bbbb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[13]

Please note: The test shown is an example: The examiner will give you a different version in the exam
Keys Grade 5

56
Improvisation & Interpretation | Example 2

c 110

#### 4 B C#m F # 9sus 4

7 B maj 7

& #4 ’ ’ ’ ’
E maj

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

#### F # 9sus 4 B maj 7

# ’ ’ ’ ’
B E

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[5]

#### E6 G#m F#7

# ’ ’ ’ ’
B

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[9]

#### F#9 G#m C#m F#7 B maj 7

# ’ ’ ’ ’
B

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[13]

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

Keys Grade 5

57
 Ear Tests

In this section, there are two ear tests:

■■Melodic Recall
■■Harmonic Recall

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 a 2 bar diatonic melody in the key of C major with a range up to an octave. The first note will be
the root note or a fifth. You will hear the test twice, each time with a one bar count-in, then you will hear a further one bar
count-in after which you will need to play the melody to the click. The tempo is q = 95 bpm.

It is acceptable to play over the track as it is being played as well as practising after the second playthough. The length of
time available after the second playthrough is pre-recorded on the audio track so the count-in may begin while you are
still practising.

œ œ œ œ œ
4
&4 œ œ œ œ ˙

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

Test 2: Harmonic Recall

The examiner will play you a chord progression containing chords I, II, IV, V, VI in any order or combination in the key of
C major. You will hear the chord progression twice, each time with a one bar count-in. You will then hear a further one bar
count in before playing back to a click. At this grade, seventh chords are introduced. Please note, there is no requirement for
the chords to be voicing-specific. The tempo is q = 95 bpm.

& 44 ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙˙

˙ ˙ ˙
? 44 ˙ ˙
˙ ˙

Please note: The test shown is an example: The examiner will give you a different version in the exam
Keys Grade 5

58
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 5

59
 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 5

60
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 Grade 5

61
 Copyright Information

24K Magic
(Lawrence/Hernandez/Brown)
Universal/MCA Music Limited/Warner/Chappell North America Limited/BMG Rights Management (UK) Limited

Man In The Mirror

(Ballard/Garrett)
Universal/MCA Music Limited/BMG Rights Management (US) LLC

Fireflies
(Young)
Universal/MCA Music Limited

Teardrop
(Del Naja/Marshall/Vowles/Fraser)
Universal/Island Music Limited/Sony Music Publishing (UK) Limited

A Thousand Miles
(Carlton)
Universal/MCA Music Limited

You’ve Got A Friend In Me (from “Toy Story”)

(Newman)
Universal Music Publishing Limited
Keys Grade 5

62
Keys Notation Explained

œ œ œ œ œ
4
&4 œ œ œ œ œ œ œ
THE MUSICAL STAVE shows pitches and
œ œ œ
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 5

time and the second ending only the

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

63
 Introducing…
Rockschoo
new theorl’s
y
exams!

POPULAR
MUSIC THEORY
GRADES DEBUT–8

OUT NOW!
Discover more at
www.rslawards.com/theory
Enter online at
www.rslawards.com/enter-online