Grade 7

KEYBOARDS

I214 •216 Pa~eur, Ward 6, Dist. 3, HCMC

IT~: {84) (8) 3822 0606
Where music fulflll1 you Iwww.soulacademy.com.vn

~INITY
COLLEGE LONDON
THE EXAM
AT A GLANCE
For your Rock & Pop exam you will need to perform a set of three songs
and one of the Session skills assessments, either Playback or Improvising.
You can choose the order in which you play your set-list.

Song 1
Choose a song from this book

OR from www.trinityrock.com

Song 2
. Choose a different song from this book

OR from www.trinityrock.com

OR perform a song you have chosen yourself: this could be your own
cover version or a song you have written. It should be at the same level
as the songs in this book. See the website for detailed requirements.

Song 3: Technic,~I focus

Choose one of the Technical focus songs from this book,
which cover three specific technical elements.

Session skills
Choose either Playback or Improvising.
 CONTENTS
Songs Bat Out Of Hell 4
I Belong To You 14
'····-
Music 22
Such A Night 28
Technicql focus songs Changes 34
Great Balls Of Fire 42

About the songs Bat Out Of Hell 49

I Belong To You 50
Music 51
Such A Night 52
Changes 53
Great Balls Of Fire 54

'
Session skills Playback -~:-\
55
Improvising 58

Help pages Choosing a song for your exam 60

Improvising in songs 61
Performing 62
Playing with backing tracks 64
Copyright in a song 64

Trinity College London's Rock & Pop syllabus and supporting publications
have been devised and produced in association with
Faber Music and Peters Edition London.
Trinity College London Cover and book design by Chloe Alexander
Registered office: Brand development by Andy Ashburner@ Cafleinehit (www.cafleinehit.com)
89 Albert Embankment Photographs courtesy of Rex Features Ltd
London SEl 7TP UK Printed in England by Caligraving Ltd
T + 44 (0)20 7820 6100 . . .
F + 44 (0) 2o 7820 6161 Audio produced.mixed and mastered.by Tom Fleming
E music@;rini;yco::ege.co.u~ ~~~~n~nt~a~:Sba~~~~~~~~~gT~~ ~Ye~~~lngham
www. nm yco ege.co.u -Musicians
Registered in the UK. Company no. 02683033 Vocals: Bo Walton & Brendan Reilly
Charity no. 1014792 Piano/keyboards: Dave Marie
Patron HRH The Duke of Kent KG Guitar: Tom Fleming
Copyright© 2012 Trinity College London DBass: BeGn HillyardD bl
F' t bl' h d. 2012 b T. 't C 0 II L d rums: eorge ou e
irs pu is e in Y nm Y ege on on Studio Engineer: Joel Davies www.thelimehouse.com
Second impression, October 2012 All rights reserved
ISBN: 978-0-85736-243-8
 BAT OUT demo backing

OF HELL Meat Loaf

Words and Music by Jim Steinman

d= 126 Driving Rock I Yi bars (6 beats) count in

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© 1977 Edward B Marks Music Company• Used by kind permission of Carlin Music Corp, London NWl 8BD
For Australia and New Zealand: Administered by J Albert & Son Ply ltd with print rights administered by Sasha Music Publishing, a division of All Music Publishing & Distribution Ply Ltd ACN 147 390 814
www.ampd.com.au • Used by Permission. All Rights Reserved. Unauthorised reproduction is illegal

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 I BELONG TO e o eking

YOU (+MON CO:UR S'OUVRE A TA VOIX) Muse

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 II Fm Cm Fm

When these pi! lars get_ pulled down,_ it will be_ you_

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 MUSIC b

John Miles
Words and Music by John Miles

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 II BID~ Aid EIB F~IA~

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Faster, driving
J=

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Em7 Aadd9 CID D 136
62 ._ •...- • - !~ (change keyboard voice)
• Q_

--
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fl J.O n ~

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no pedal

www.trinityrock.com
 66 Em DIE Em DIE Em

70 c DIC c Am 7 DIA B7sus 4 B7 B7sus 4 B7

74 Em DIE Em DIE Em

rit.
78 c DIC c Am? DIA B A/B

Tempo I (~ = 84)
82

-
fl
JI
J.I
..
B7

---
J.I +!:,_
E

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BID~
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Mu-sic .was my first love _ _ and it will be my
(change keyboard voice)

j -·--·--- -r - •- .. -
-- - -
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J.I
.. LL
l+
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u l+!. ~ ~-! !. • I I I
f
l-...- -· =
..
- "
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-
".
with pedal
f vr f vr r ~i

www.trinityrock.com
 86

-
.,~
I~ .i. lf
Aid
~,.
E/B

- ~
- - ~
--
f#/A#

'
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-
- last, mu-sic of the fu - ture _ _ and mu - sic of the

f ""'" ,,
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11 J,J. i+
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I
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,

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c:; II II
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poco rit. a tempo

B E f#m/E BID#
90

-- - -
l\.i.+t - • , ~ F- ~0 ,
..,.
.- ..,. ~ ~

I n .,
! _J

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f past. To live with-out my mu - sic would be im-pos - si - ble to

.:tt.
- - •
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11 J,J. ....I
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rr r vr
rit.
94 Aid E/B f#/A#
- A/B
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do, 'cause in this world of trou - hies my mu - sic pulls me

f\ i+ I ....11
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a tempo rit.
98

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J,J.
E f#/E
-
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-
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17'1
-
.
I

f through.
- - - -

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www.trinityrock.com
 SUCH A NIGHT de o bac ing

Dr John
Words and Music by Moc Rebennock

J= I 15 Swung, New Orleans piano style I bar count-in

F Gm7 F/A BP BPm
3 3

'-.._.,/ '-.._.,/

Such_ a night, such_ a night,

>-

5 F/C A7/E Dm

sweet con - fu sion un-der the moon -

9 Cm 3 F7 BP BPm
3

'-"
Such_ a night, it's such

© 1973 WB Music Corp

Warner/Chappell North America Ltd

www.trinityrock.com
 13 F/C A7/E Om

Got-ta steal a - way_ _ _ __ the time_ seem

17 F7 Bi>
3
,-3----i

Ba - by your eyes_ met mine _ __

20 Bl>m F A7/E
3

'-.._.,/

glance. You let me know _ _ _ __

L-3__J

24 Om F7 Bi>?

that this was my chance._ You came here with my best friend Jim,

www.trinityrock.com
 27 c Dm EPdim C/E C9aug F BP
i---3

steal you a - way___ from him. 'fl don't do it some-

3

31 F7 BP F BP f7 BP F BP

'fl don't do it some -

L_3_J 3

35 F BP7 f7 BP F Gm7 F/A

'fl don't do it some - bo - dy else And - a,

38 BP BPm F
,; ,;
• • ;

-" ·- _, _, -
- - - ~ ~

-
-
11-· ~ ~
" v "" - w
.,; \._.,/ \._./
8
such_ a night, such_'..· a night, sweet con - fu -

.
--
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(

-, ,_
~

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"!{ ;mp"'"' ocrompoo;mom

\
- .. v
-

www.trinityrock.com
 43 A7/E Dm Cm7 3 F sb
_,1\ I r--r--r ',,
5

-
-
~-i
-
-- -
~~-

-· - -
• - - ~ : ·- \...._,/
~

tJ
8 ' Such_ a
- sion un-der the moon - light. night,

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·- ·- • • n- ",... ,...
loo--

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sbm

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NIE

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f
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it's such_ a night,

'.__/
~

got- ta steal a - way_ _ _

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52 Dm f7 sb
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-

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'-.._../

the time_ seem_

- '-.._../

right.
-
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- :

Babe I could-n't be-lieve my

•
~

-
ears,
:. -

f:~~ #~ ~ bE,-._E ~ q~ b~ ~ ~#q~ ~ 1.{,,~

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my heart jusLskipped a beat._ Told me we could slip a - way yeah,

(\
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- ,_ "'- -· : .,... - ·- -
~

l
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..
'•
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-

www.trinityrock.com
 60 Dm f7 Bb7

f
1
"" -.
,-3-----,
"'
- -
,..
-- -<-

"
- - - I -
.
- ,,
-

down the dark end of the street, came in with my best friend Jim,

3 3
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c Dm ED dim C/E C9aug

63
. . .--

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here I am __ I'm try'n' - a steal_ you a - way___ from him._

<
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66 F sb F7 sb F sb F7 sb

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f improvise accompaniment

- .. ....

70 F sb f7 sb F sb F Gm F/A

II

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 Keyboard solo
BP BPm

> >

F
78
I
\

>

BP BPm

> >

86 F BP7 F BP7 F BP7 F BP7 F BP7

I\

lr---:mpro""tiM - boo
~)

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: 6
'

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F BP7 F F/Eb Ddim BPm/Db F F#9 Fl3

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# 5 ~· q

www.trinityrock.com
CHANGES
In your exam, you will be assessed on the followi~g technical elements:

Time signature changes

!,
Most of 'Changes' is in but there are changes to the time signature throughout
the song. In bars 28-37, the time signature changes five times. The first change is at
2.
bar 29 where it changes to Notice that the 2 bar is divided into three main beats:
you should think in terms of three J beats per bar. Make sure that it is clear where the
main beats are throughout this passage.

Dynamics and articulation

Pay careful attention to the dynamics and articulation markings. The song has
both sudden and gradual changes of dynamics. In the first seven bars, for example,
the song opens mezzo piano, followed by a crescendo to forte before suddenly
dropping back to mezzo piano. There are also many detailed articulation markings
throughout the song (for example, staccato, accents and tenuto) which need
particular attention.

Improvising a melody
There is an improvised jazzy piano melody from bar 91 until the end of the song.
Use the underlying chords as the basis of your improvisation. It will help to learn the
appropriate modes and use these as the basis of your melody. Your solo need not be
entirely 'made-up on the spot': some preparation is a good idea, though the effect
should be one of spontaneity.

www.trinityrock.com
 P"""''
/~Ac''\
l~-<>,;+
J.
\
(CJ., f
\, 9.,,/ ""••....,~H,-1<

CHANGES demo backing

David Bowie
Words and Music by David Bowie

~ = I I0 Alternative rock 2 bars count-in

'.:·, . ..,,_,.
Cmaj7 Dl>6 D"".7.::<c:...- Ei>7 F7

q:§: >-

-e-
£ro·----''----------''------''--------'
6 D F7 D F7

>- >- >- >-

---
10
,, Em
-
F

.- -.
l

._;
8
- • -
Still don't know what
• -
I was
..... :. - ......
wait-ing for
..... ~

-·
I

and my time
-
was
....
-
run-ning
- ....__,,
wild_
'
~·

Ii
-- I ~ ,_ I
.- -
'
-I -·-· ---- - --
l ._;..,~~~
~- = - -
-
~

r' - '-- ~

ef
. -
I - ••
a•

-a-
a•

-e- ..
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...
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...
with pedal

13 G F c Em
i ""'I ""'I - -
...

f ~ .. .. -
__. - __.
•.,___.;
__.
#
-
•

-
__.
..
__.
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__.
..
__.
-
- -
•

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----- - -·
__. ..-1 ..-1

a mil-lion dead-end streets and ev-'ry time_ I thought I'd got it made, it seemed the

-
Ii I
--
- - -
-·
~I
- -- - -- -
~
- - .........
I
....
I

l
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.. I - I >-- - - I I I I -

- •• -. - • •
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, ~-6
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© 1971 EMI Music Publlshing Ltd, Chrysalis Music Ltd and Tintoretto Music • EMI Music Publishing Ltd, Chrysalis Music Ltd and RZO Music Ltd •This arrangement© 2012 EMI Music Publlshlng Ltd, Chrysalis Music Ltd and Ttntoretto Music
All Right. fo.r EMI Music Publishing Ltd Controlled and Administered by Screen Gems-EMI Music Inc. • All Rights for Tintoretto Music Administered by RZO Music Ltd •All Right. for Chrysalis Music Ltd Administered by Chrysalis Music Ltd.
All Rights Reserved. lnternatlonal Copyright Secured. Used by Permission. • Reproduced by kind permission of Hal Leonard Corporation, Chrysalls Music ltd
and RZO Music ltd • For Australia and New Zealand: EMI Music Publishing Australla Ply limited • All Rights Reserved. Used by Permission

www.trinityrock.com
 16 Fmaj7 G Cmaj7 Dm7 Em7 Ebm7

So I turned my - self to face_ me_ but

-
-
--

20 Dm7 G Cmaj7 Dm7

.,,

t-
n
- - - - - -
-
- ;., - .. w
- ~ •
. - - -
,
- - ~

-
~

3
I have ne - ver caught a glimpse of how the 0 - thers must see the fa -

1- -.
ll
....... ..... " -- - - -
,.,
-
...., . .
- - -
I

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23 Em7 Ebm7 Dm7 G F

I'm much too fast to take that test._ Ch - ch - ch - ch - chan ges.

no pedal

26 c C/B CIA C/G F F/E

,-._

and face the strange)_ ch - ch -··cqari - - ges,_ don't wan - na be a rich -

www.trinityrock.com
 29 D G F c C/B

ch - ch - ch - ch - chan ges. (Turn and face the strange)

31 CIA C/G F F/E D Am? G B~

just gon-na have to be a diff-'rent man,_ time_ may change

34 F C/E 06 F/G c
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- -
, ~

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me but I can't trace time. _ _

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38 D f7 D f7

>- >- >- >-

www.trinityrock.com

L_
 42 c Em F
II I
. I

r
._,

• -
I watched the
• -
~

rip - pies
......

change
- -
their
_,
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size_
~ '""'
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but
-
I

ne - ver
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leave
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the stream_
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with pedal

45 G F c Em

r --
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II

.~

-
• • - - -
of warm im - per-ma - nence
. -
'----"' and ---
- . ------
so the days_
-
float through
,..
I
~

my
-~-

eyes_ but
,..
still_
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iu
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48 Fmaj7 G Cmaj7 Dm7

-\
fl
--· - - - - ._,
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the days seem the same.

'
And these child - ren that you_

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51 Em? E~m7 Dm7 G

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i spit_ on ___ as they try to ch~nge their worlds are im -
--

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www.trinityrock.com
 54 Cmaj7 Dm7 Em7 Ebm7 Dm7
~ ,.....__ -
/) • - - -
---- - -· -
' I

' ,,
~

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t-J
8
r I
-mune_ to your_ con - sul - ta - tions, they're quite a - ware_ of what they're go - ing through.

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57 G F c C/B CIA C/G

,,-._

(Turn and face the strange)_ ch - ch - chan - ges,_

60 F F/E D G c C/B

it,_ ch - ch - ch - chan ges, (turn and face the strange)_

63 CIA C/G F F/E D Am G Bb

www.trinityrock.com

l
 66 F C/E D F/G c Dm7 Em7 F
-
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me but you can't trace time. _ _ _ Strange fas - ci -
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70 c F/C c F

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fas ci - na - ting me._ Chan - ges_ are

74 G F

tak ing__ the pace I'm go - ing through. Ch - ch - ch - ch - chan ges.

77 c C/B CIA C/G F F/E

,--._
-
~ ...
..--:.\39'
,.;;.

and face the strange)_ ch - ch - chan - ges,_ oh look out you rock 'n' roll -

www.trinityrock.com
 80 D G F c C/B CIA C/G

ch - ch - ch - ch-chan - ges. (Turn and face the strange)_ ch - ch - chan - ges_

83 F F/E D G BP F

soon_ now_ you're gon - na get old - er, time_ may change me but

- ---
86 C/E D6 F/G Am G BP F C/E D6 Dm/G
I

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www.trinityrock.com
GREAT BALLS OF FIRE
In your exam, you will be assessed on the follo\ii7ing technical elements:

1 Improvising a solo
There is an improvised piano solo in bars 53-68. Aim to make your solo continue from
the previous bars in a way that makes the music develop in a logical and interesting
way, as well as following the chord symbols. Learn the blues scale in C (C, E~, F, F#, G,
B~, C) and devise your own licks (short stylistic motifs). Your solo need not be entirely
'made-up on the spot': some preparation is a good idea, though the effect should
be one of spontaneity.

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2 Playing the left-hand boogie-woogie pattern

The pounding left hand provides a solid background for the right-hand melody lines.
Take care to balance the two parts. Play the left-hand part steadily, strictly in time
and powerfully (but without tension). The left hand requires power and stamina:
strength should be built up with regular practice.

~~~~~~~li')>i§~~~~tilM••f,f.t·~0\~'!fi:.;~1A~~i.fi1~~·~~~~.;.@AA~~;~)lr~~~'r2<:!Jt«~.<'t;{'#Af~'~'1.r1t.~~~~-.:~~ll~~#<\\

3 Glissandi and tremolandi

To play the glissandi, use your third (middle) finger or thumb, at an angle, and slide
across the white notes. Try to get all the notes to sound but do not press too hard.
Most of the glissandi in this song start on an A and end on a C (except for bar 50,
where you can choose your end point). Aim to make the notes even and end on the
correct beat.

The first tremolando is in bars 17 and 18. The marked lines are double so the notes
should be played as ), notes. All the other tremolandi should be played as }ffi
notes. Use a fluid turning wrist action and aim to make the alternating notes even.

·,_~:~·:...::;~.-~
...........:;.':,~;.. -·:·

www.trinityrock.com
 GREAT BALLS demo

OF FIRE Jerry Lee Lewis

Words and Music by Otis Blackwell and Jack Hammer

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9 c f7

love 'cause thought it was fun - ny, you came a - long and moved_

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me, ho - ney. I've changed my mind, this love is fine.
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 ----------
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good! Hold me, ba by. Well _ _ _ _ __

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www. trinityrock. com

32 G7 F7

is fun._ Come on, ba - by, you drive me era - zy,

ness gra - cious, great__ balls of fire!

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www.trinityrock.com
 G7 F C
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www.trinityrock.com
 77 N.C.

You're fine,_ so kind,_ got to tell this world that you're

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chew my nail and then twid - die my thumb,

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www.trinityrock.com
 Meat Loaf

Meat Loafs real name is Marvin Lee Addy. Born in Dallas, Texas, he first started acting
in school plays. His early professional breaks came from acting in musicals, notably
Hair and the film of The>R,C!c_ky Horror Picture Show. Eventually he left the theatre to
concentrate exclusiveiy<&A- music.
'I ·'

An exuberant performer, Meat Loaf achieved worldwide success with the grandiose
concept album Bat Out Of Hell (1977). Co-written by Meat Loaf and his mentor Jim
Steinman, this album has over-the-top excesses of rock, heavy metal and opera. The
strong melodies and Meat Loaf's powerful vocals are enriched by top quality wall-of-
sound production and a full orchestra.

The piano part for the song 'Bat Out Of Hell' is played by Roy Bitton, with additional
keyboards by Todd Rundgren and Jim Steinman. Roy Bitton, nicknamed The Professor,
is best known as a member of Bruce Springsteen's E Street Band; as a session
musician he has played keyboards on albums by David Bowie, Chicago, Dire Straits,
and Peter Gabriel.

''
'Bat Out Of Hell' is an e·nergetic song with driving rhythms. The original recording used
an acoustic piano: you should aim to create a similar sound, if available on your
keyboard. There are left-hand octaves throughout the song - play them evenly and
with consistent articulation and dynamic control. The power should come from your
wrists: your arms and fingers should not get tired.

There are two passages of improvisation in the song. There is an improvised fill in bars
149-150, which should end on a descending glissando. The first note of the glissando
is an F but you can choose your end point. Aim to make the notes even and end on
the correct beat. There is an improvised accompaniment in bars 163-172: this can
include chor'cis and/or arpeggios. For both improvised sections, you should follow the
chord symbols and continue from the preceding material in a logical and interesting
way, maintaining the style of the song.

www.trinityrock.com
 Muse

Muse is made up of three multi-instrumentalists-who met when they were at school -

Matt Bellamy, Christopher Wolstenholme and Dominic Howard. They are well-known
for their spectacular live performances. Muse combine a range of different musical
styles - including hard rock, electronic, progressive and classical music - to create
their own unique sound.

Matt Bellamy (whose father was the rhythm guitarist with the 1960s pop group The
Tornados) started playing the piano at age 6 and guitar when he was 14, and is
largely self-taught on both. He considered being a classical performer - and classical
music influences can be heard in soroe of the band's songs. The middle section of 'I
Belong To You', for example, includes an excerpt from the opera Samson Et Dalila by
the French composer Saint-Saens.

'I Belong To You' is taken from Muse's 2009 epic album The Resistance. The song was
included on the soundtrack to New Moon - the second film in the Twilight Saga film
series (although, for this remix, extra guitars were added).

The original recording of 'I Belong To You' used an acoustic piano: you should
aim to create a similar sound, if available on your keyboard. The song has a wide
dynamic range; the rock sections' should be loud and rhythmically punchy,
contrasting with the quiet delicate chanson sections (in, for example, bars 41-48).
Aim to play with panache.

There are two descending glissandi in the song - at bars l 0 and 20. The crossed
note-head means that you can choose where to start each glissando, and you can
also choose your end point. Aim to make the notes even and take care to end on
the correct beat. Bars 41-48 include ad lib arpeggios: follow the chord symbols and
remain within the style of the song (particularly the arpeggio passages on the last
page), but play freely.

www.trinityrock.com
 I
John Miles

The singer-songwriter, keyboards player and guitarist John Miles was brought up in the
north-east of England and had piano lessons as a child. He released four albums and
18 singles during the 1970s,~o-writing most of his songs with the bass player from his
band, Bob Marshall. --

John Miles is best known for his 1976 hit single 'Music',which only took him about half
an hour to write. Since then, he has continued to work as a musician, and has toured
frequently with Tina Turner.

'Music' is an epic rock ballad with lots of dramatic gestures - dynamic contrasts,
pauses, tempo changes and key changes. You need to listen carefully - and respond
- to the backing track. The original recording of this song used an acoustic piano: you
should aim to create a similar sound, if available on your keyboard.

Pedalling is required in the ballad sections (for example, bars 1-16) but has not been
marked - you will need to experiment with what feels and sounds right. The faster
rhythmic passages (for example bars 17-25) should be played without the pedal.

I.
Bars 17-23 have a time signature of It may help to think of the seven beats being
made up of 2 + 2 + 3. This passage has octaves in the left hand with sixths and thirds
in the right hand: make sure that you place them carefully. Aim to play the chords
evenly and with consistent articulation and dynamic control. The power should come
from your wrists: your arms and fingers should not get tired.

www.trinityrock.com
 Dr John

The singer-songwriter Dr John was born in New e>rleans and is best known as a
boogie and blues pianist with a distinctive growling voice. He has worked as a
musician since the 1950s, firstly as a session musician on guitar and bass under his
real name Mac Rebennack, switching to piano and taking the name Dr John (from
a legendary Louisiana voodoo practitioner) after one of his fingers was damaged in
a gun incident. His 50-year career has veered between very different musical styles
while his idiosyncratic personality and eccentric stage presence has attracted a cult
following, from artists such as Eric Clapton and Mick Jagger.

'Such A Night' is taken from the 1973 olbum In The Right Place which Dr John
recorded with the funk band The Meters. It is an early Drifters song (from 1953), with
lyrics telling of forbidden love. There have been several covers, most notably by
Elvis Presley.

Dr John's New Orleans-style piano is a unique blend of boogie, stride, blues and jazz.
It would be a good idea to listen to some of his recordings in order to capture his
style, and learn some of his licks (short stylistic motifs) such as those in bars 7, 15-16
and 35 of 'Such A Night'. The sound on the original recording is an electric grand
''
piano. You should aim to create a similar sound, if available on your keyboard.

There are three passages of improvisation in 'Such A Night'. There are improvised
accompaniments in bars 38-61 and 66-73, and an improvised piano solo in bars
86-91. All of these improvisations should follow the chord symbols and continue from
the preceding material in a logical and interesting way, maintaining the style of the
song. You could include or adapt Dr John's licks as well as devising your own.

www.trinityrock.com
 David Bowie

David Bowie was hugely influential during the 1970s - with his effortless cool and his
ever-changing image he achieved cult status, reinventing himself at every turn. He
was one of the first musicians to treat rock concerts as shows with costumes and
choreography. DurinQ }he4ate 1970s, Bowie lived in Berlin and worked with ex-Roxy
Music member Brian Eno. They experimented with electronic music, producing much
innovative work.

'Changes' was originally released on the album Hunky Dory in December 1971 and
as a single in January 1972. The lyrics encapsulate his chameleon-like stage persona.
The songs on Hunky Dory are good solid rock numbers with a relentless Beat, plenty
of hooks and riffs, often rising to melodramatic climaxes. 'Changes' features guest
piano work by the progressive rock keyboard player Rick Wakeman, who started
playing piano at the age of 5 and studied at the Royal College of Music in the 1960s
before leaving after a year to work as a session musician. He is probably best known
as the keyboards player with the band Yes and for his flamboyant solo stage shows.

The original recording, of this song used an acoustic piano: you should aim to create
a similar sound, if available on your keyboard.

There are pedal markings in the opening four bars and in bar 37. Pedalling has
not been marked elsewhere, so you will need to experiment with what feels and
sounds right.

www.trinityrock.com
 Jerry Lee Lewis

Jerry Lee Lewis came from a poverty-stricken background in the Deep South of the
US. He learnt piano as a child and, after he abandoned his studies at a Texan Bible
college, he made a living by playing in clubs and bars. Having been rejected by
several record companies, he eventually got his lucky break when he was signed
to the iconic Sun Records by Sam Phillips. In 1957, 'Great Balls Of Fire' brought him
international fame.

Lewis was an electrifying live performer with a crazy reputation - singing with wild
abandon, pounding the keys,jumping onto the piano and playing with his feet.
Nicknamed 'The Killer', he has been described as the Father of Rock and Roll.
He mixed the influences of black music with gospel and country, coming up with
his own unique rock and roll piano style - his left hand playing a rock-solid boogie-
pattern while his right hand played the high keys with flamboyant glissandi and
flourishes of sound.

The original recording of this song used an acoustic piano: you should aim to create
a similar sound, if available on your keyboard. The left hand plays a typical boogie
woogie pattern. You should·~~e little or no pedal.

The glissando was one of Jerry Lee Lewis's trademarks and there are several in
this song. There are also several tremolandi - where two notes are played in rapid
alternation, producing a rumbling effect.

www.trinityrock.com
 PLAYBACK
For your exam, you can choose either Playback or Improvising (see page 58).
If you choose Playback, you will be asked to play some music you have not seen or
heard before.

In the exam, you will be given the song chart and the examiner will play a recording
of the music. You will hear several four-bar to eight-bar phrases on the recording:
you should play each of them straight back in turn. There's a rhythm track going
throughout, which helps you keep in time. There should not be any gaps in the music.

In the exam you will have two chances to play with the recording:
• First time - for practice
• Second time - for assessment

You should listen to the audio, copying what you hear; you can also read the music.
Here are some practice song charts which are also on the CD in this book.

Don't forget that the Playback test can include requirements which may not be
shown in these examples, including those from earlier grades. Check the parameters
at www.trinityrock.com to prepare for everything which might come up in your exam.

Steve Vai

www.trinityrock.com
 n
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17

www.trinityrock.com
 IMPROVISING
For your exam, you can choose either Playback-{see page 55), or Improvising. If you
choose to improvise, you will be asked to improvise over a backing track that you
haven't heard before in a specified style.

In the exam, you will be given a song chart and the examiner will play a recording
of the backing track. The backing track consists of a passage of music played on
a loop. You can choose whether to play a lead melodic line, rhythmic chords, or a
combination of the two.

In the exam you will have two chance,s to play with the recording:
• First time - for practice
• Second time - for assessment

Here are some improvising charts for practice which are also on the CD in this book.

Don't forget that the Improvising test can include requirements which may not be
shown in these examples, including those from earlier grades. Check the parameters
at www.trinityrock.com to prepare for everything which might come up in your exam.

Practice improvisation 1

J= I I 0 jazz (swung)

El>maj7 Cm El>maj7 Al>maj7 Bl>7

5

5
Cm7 Fm Gm? Ai> Fm7 G G7

9
Cm 7 F7 BPmaj7 El>maj7 Adim D7CP9l Gm7

JJ '· L L L
Dm7 G7 Cmaj7 Fmaj7 · Bm7Ce5) F A Be/Ae

www.trinityrock.com
 Practice improvisation 2

J= 140 Boogie-style rock

II
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C7 p
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C7
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5
D7 Em Fdim D7/F~ - G7 E~7 D7

9
G7 C7 G7 N.C.

solo break- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -1

13
DY Bm Am Em c D7

Joe Satriani

www.trinityrock.com
CHOOSING A SONG
FOR YOUR EXAM
There are lots of options to help you choose yoUl-'.three songs for the exam.
For Songs 1 and 2, you can choose a song which is:
• from this book
•. from www.trinityrock.com

Or for Song 2 you can choose a song which is:

• sheet music from a printed or online source.
• your own arrangement of a song or a song you have written yourself.

You can play the song unaccompanied or with a backing track (minus the keyboards
part). If you like, you can create a backing track yourself (or with friends), or you
could add your own vocals - or both.

For Grade 7 the song should last between two-and-a-half and four minutes, and
the level of difficulty should be similar to your other songs. When choosing a song,
think about:
• Does it work on my instrument?
• Are there any technical elements that are too difficult for me? (If so, perhaps
save it for when you do the next grade.)
• Do I enjoy playing it? ,,
• Does it work with my othe.rpieces to create a good set-list?

See www.trinityrock.com for further information and advice on choosing your

own song.

www.trinityrock.com

l
 IMPROVISING IN
SONGS
Improvisation is an exciting and creative way to make the music your own. Rock and
pop music often includes opportunities for musicians to improvise during a song - this
is a great way to display Y()U! instrumental/vocal skills and musical abilities. This might
include playing your o,wnfftelody line, ad-libbing around a given tune or making up
an accompaniment.

Make sure you know the song well and feel comfortable and confident with the
rhythms, chord progressions and the general groove that underpins the music.
Once you're familiar with it, the best way to learn how to improvise is to do it!

Some useful starting points might be:

• Identify just a few notes that sound good over the chord progressions, and
experiment with these first.
• Add more notes as your musical ideas start to develop - improvising is often most
effective when a simple idea is repeated, varied and extended.
• You don't need to fill every gap! Silence can be an important- and very
effective - part of your improvisation.
• The more you impr.ovise - and experiment - the better you will become, until your
improvisations seem· effortless.

It's important to be aware of the tonality of the song and to recognise different
scales and modes that are appropriate to use. Start by familiarising yourself with:

• the minor pentatonic scale

• the blues scale
• the Dorian mode
• major and minor scales

You might find' it useful to listen to some original versions of different rock and pop
songs. Have a go at learning the solos that are played - this will help you to develop
an understanding of how other musicians develop musical material.

www.trinityrock.com

...
PERFORMING
Being well prepared is the secret of a good perf<:Jrmance. The more you practise,
the better you will perform.

Top Ten Practice Tips

Develop a regular practice routine. Try to set aside a certain amount of time
every day.

Choose specific things to practise each week.

Set goals for each practice session and continually review your progress.

Play a wide variety of songs - not just your favourites over and over again -
to increase your skill and adaptability.

Identify the parts of the songs you find difficult and give them special
attention.

Practise those techniques that you struggle with as well as those you
find easier.

Don't reinforce mistakes by repeating them over and over again.

!
Include warm-ups and technical exercises in your practice sessions as well
as songs.

Use a metronome.

Record yourself on audio or video. Listen to your older recordings to see

how much you have improved.

Try to memorise the music - aim to sound free and natural and put your own stamp
on the songs.

www.trinityrock.com
 PERFORMING

• Watch and listen to others perform. Go to live performances and watch

some videos online. Think about the aspects of performances you particularly
like and try them out.' .. --
• Practise playing in front of an audience and communicate with them.
• Make sure your instrument is in good working order.
• Learn some relaxation and breathing exercises.
• Be positive about your performance. Think about how good your performance
will be.
• Know your music.

E E
• Wear something comfortable.
• Try some physical exercises.
• Warm up.
• Do some relaxation and breathing exercises.
'

''
E E
Your audience may be large or small - and in an exam may only be one person -
but it is important to give a sense of performance no matter how many people
are present.

• Walk into the room confidently.

• Keep your head up, so you can look at your audience and acknowledge them.
• Focus on the music.
• Look confident and keep going, no matter what happens.
• Engage with your audience.
• Enjoy yourself.

www.trinityrock.com

.......
PLAYING WITH
BACKING TRACKS
The CD contains demos and backing tracks of oH the songs in the book. The
additional songs at www.trinityrock.com also come with demos and backing tracks.

• In your exam, you can perform with the backing track or create your own.
• The backing tracks begin with a click track, which sets the tempo and helps
you start accurately.
• Be careful to set the balance between the volume of the backing track and
your instrument.
• Listen carefully to the backing track to ensure you are playing in time.
• Keyboard players should not use a1,Jto-accompaniment features for these exams
as the aim is to play with the backing track.

If you are creating your own backing track here are some further tips:
• Make sure the sound quality is of a good standard.
• Think carefully about the instruments/sounds you are putting on the
backing track.
• Avoid copying what you are playing on the backing track - it should support
not duplicate.
• Do you need to include a click track at the beginning?

www. trinityrock. com