RSK200148 Rockschool Vocals 2021 G1 DIGITAL

Vocals
Grade 1
Performance pieces, technical exercises and in-depth guidance
for Rockschool examinations
ISBN: 978-1-78936-302-9
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Acknowledgements
© 2021 by RSL Awards Ltd. and Hal Leonard Europe Ltd.

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Catalogue Number: RSK200148
ISBN: 978-1-78936-302-9
Initial release September 2021 | Errata details can be found at www.rslawards.com/errata
2021 Syllabus 2014 Syllabus Content

Syllabus Designers: Jono Harrison and Eva Brandt Syllabus design and production: James Uings, Simon Troup,
Syllabus Director: Tim Bennett-Hart Stephen Lawson, Stuart Slater
Syllabus Consultants: Eva Brandt, Samantha Richards, Vocal specialists and consultants: Martin Hibbert, Eva Brandt,
Sarah Page, Jamie Spencer, Abbie Thomas Emily Nash, Stuart Slater, Sarah Page
Syllabus Advisors: Dr. Andrew McBirnie, Stuart Slater, Full transcriptions and backing tracks by Hal Leonard LLC
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Vocal and piano arrangements by Jono Harrison,
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2021 Audio
Produced by Jono Harrison, Rory Harvey, Pete Riley,
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Vocals Grade 1
2
Table of Contents
Introductions & Information
1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Vocals Grade 1
6 Repertoire Overview
Hit Tunes
7 We Will Rock You. . ........................................ . . . . . . . . . . . . . . . . . Queen

11 Don’t Stop the Music.. .................................. . . . . . . . . . . . . . . . . . Rihanna
17 A Million Dreams.......................................... . . . . . . . . . . . . . . . . . from The Greatest Showman
23 I Love You.. ......................................................... . . . . . . . . . . . . . . . . . Billie Eilish
29 Stand by Me. . ..................................................... . . . . . . . . . . . . . . . . . Ben E. King
33 Fireflies. . ................................................................ . . . . . . . . . . . . . . . . Owl City
39 How Far I’ll Go.. .............................................. . . . . . . . . . . . . . . . . . from Moana
47 Somewhere Only We Know. . .................... . . . . . . . . . . . . . . . . Lily Allen
53 Friends.. ................................................................ . . . . . . . . . . . . . . . . . Kelvin Jones
59 It Means Beautiful.......................................... . . . . . . . . . . . . . . . . from Everybody’s Talking About Jamie
Technical Exercises
65 Scales, Arpeggios, Intervals & Technical Studies
Supporting Tests
68 Sight Reading
69 Improvisation & Interpretation
70 Ear Tests
71 General Musicianship Questions
Additional Information
72 Pre-Examination Checklist
73 Entering Exams, Exam Procedure & Marking Schemes
74 Musical Interpretation & Free Choice Pieces
75 Copyright Information
76 Rockschool Popular Music Theory
Vocals Grade 1
3
Welcome to Rockschool Vocals Grade 1
Welcome to Rockschool Vocals Syllabus 2021. This book and accompanying downloadable audio contain everything you
need to sing at Grade 1.
Vocals Exams
At each grade you have the option of taking one of two different types of examination:
■ Grade Exam
A Grade Exam is a mixture of music performances, technical work and tests. You prepare three pieces (two of which
may be Free Choice Pieces) and the contents of the Technical Exercise section. This accounts for 75% of the exam marks.
The other 25% consists of: 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
In a Performance Certificate you sing five pieces. Up to three of these can be Free Choice Pieces. Each song is marked
out of 20 and the pass mark is 60%.
Book Contents
This book is divided into a number of sections. These are:
■ Exam Pieces
Ten popular songs covering a breadth of contemporary musical styles, arranged for the grade level. At the beginning
of the book there is a Repertoire Overview page outlining the key, tempo, genre and melodic range of the song, as
well as a summary of the main technical and stylistic features to implement.
Each score is preceded by background information about the original recording and performing artist, and this is
followed by expanded performance notes giving further guidance on approaching the songs.
The scores are notated as top line vocal parts with lyrics, chord symbols and backing vocal references where
helpful. The notation also includes professionally-arranged piano accompaniments for teaching, audition and
performance purposes.
In addition to the book notation, there is also a separate vocal-only digital score included in your downloads for
extra ease of use.
■ Technical Exercises
A selection of scales, arpeggios, intervals and technical studies must be performed in the exam. Depending on the
exercise, you may see an example (with a range of optional starting notes), or a choice between exercises (to suit
your vocal range). There is a pre-examination checklist at the back of the book, where you can note your choices of
starting notes and examples ahead of the examination.
■ Supporting Tests
Firstly, you may choose either a Sight Reading or an Improvisation & Interpretation test. These tests are previously
unseen and examples are given in the book. You will then need to respond to two Ear Tests focusing on melodic
and rhythmic recall. You will also be asked a set of General Musicianship Questions (GMQs) at the end of the exam.
Examples of the types of tests likely to appear in the exam are printed in this book.
■ General Information
Finally, you will find information on exam procedures, including online examination entry, marking schemes, your
Vocals Grade 1
pre-exam checklist, and information on Free Choice Pieces and improvisation requirements for each grade.
4
Audio
Each song in Vocals Grade 1 has two audio tracks that can be downloaded from RSL directly from the following URL:
www.rslawards.com/downloads
These are:
■ A full track, featuring a professional vocalist’s stylistic interpretation of the score. This can be helpful for further ideas
beyond the original recorded version.
■ A backing track with the vocal removed so you can sing along with the band or piano. The backing tracks should be
used in examinations. There are also audio examples of the supporting tests printed in the book.
There are also example recordings and backing tracks included as part of your download for the technical exercises and
supporting test sections.
When downloading audio files, you will need to input this code when prompted: TYBN2DV4ZJ
All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded from
the RSL website: www.rslawards.com
Audio Access
Audio for this book can be accessed via the QR code on the right (requires a compatible smartphone
or tablet) or by using the URL and download code shown above.
Vocals Grade 1
5
Repertoire Overview
Song/Artist Key & Range Info Key Features to Implement at this Grade
#
Genre: Rock ■ Confident chest voice management with breath support
We Will Rock You
& œ Key: E minor
q80
■ Secure rhythmic phrasing of the melody line
œ
Queen Tempo: ■ Dynamic variation between verses and chorus
Range: E3 to A4 ■ Clarity of the diction and articulation of the lyrics
###
Genre: Dance-Pop ■ Managing pitch and intonation in chest and head voice
Don’t Stop the Music
& œ Key: F # minor ■ Secure rhythmic phrasing to the backing track
Rihanna
œ Tempo:
Range:
q115
A3 to A4
■
■
Including dynamic variation in performance
Confident and clear diction and articulation
bbb œ
Genre: Musical Theatre ■ Maintaining a suitable tone across the registers
E b major
&
A Million Dreams Key: ■ Secure rhythmic and melodic management
œ
from The Greatest Showman Tempo: q148 ■ Confident management of dynamic changes between sections
Range: G3 to C5 ■ Strong communication and articulation of the lyrics
œ Genre: Pop ■ Secure control of tone colour and intonation

& œ
I Love You Key: C major ■ Legato phrasing and dynamic variation
Billie Eilish Tempo: q69 ■ Ability to support longer notes and phrases
Range: G3 to A4 (†) ■ Clarity of the diction
### œ Genre: Soul ■ Managing registers changes and falsetto/head voice

Stand by Me
& œ Key:
Tempo:
A major
q118
■
■
Secure rhythmic and melodic phrasing
Confident dynamic changes between sections
Ben E. King
Range: A3 to A4 (†) ■ Strong communication and articulation of the lyrics
œ
bbb
Genre: Synth-pop
œ
■ Confident management of chest voice and falsetto
E b major
&
Fireflies Key: ■ Rhythmic phrasing with secure pitching
Owl City Tempo: q90 ■ Staccato and legato phrasing
Range: B b 3 to B b 4 (†) ■ Strong clarity of articulation and diction
### œ
Genre: Musical Theatre ■ Competent management of chest and head voice
It Means Beautiful
F # minor
from Everybody’s Talking & Key: ■ Secure rhythmic and melodic detailing
œ
Tempo: q89 ■ Confident breath support on phrases
About Jamie Range: F # 3 to C #5 ■ Clarity and communication of lyrical content
#### œ
Genre: Soundtrack ■ Maintaining a suitable tone across the registers
&
How Far I’ll Go Key: E major ■ Secure melodic detailing and pitching
from Moana œ Tempo: M oderately
M ■
■
Ability to manage longer notes and phrases
Engaged articulation of the lyrics
Range: B3 to D5
bb
Genre: Pop
œ
■ Managing pitch and intonation in chest and head voice
B b major
&
Somewhere Only We Know Key: ■ Secure rhythmic phrasing to the backing track
Lily Allen œ Tempo: q84 ■ Maintaining breath support on longer phrasing
Range: B b3 to B b 4 ■ Clear and confident diction and articulation of the lyrics
Vocals Grade 1
# œ
Genre: Pop ■ Managing tone in the upper chest voice and transition
&
Friends
œ
Key: G major ■ Secure phrasing with staccato and accents
Kelvin Jones Tempo: q110 ■ Ability to manage longer phrases with breath support
Range: D3 to E4 (†) ■ Clarity and expression of the lyrics
6 † Range and notation in this table is displayed at actual pitch. The associated score is notated one octave higher than it sounds for legibility.
We Will Rock You | Queen 
Album: News of the World Genre: Rock

Released: 1977 Written by: Brian May
Label: EMI/Elektra Produced by: Queen and Mike Stone
Background Info 
‘We Will Rock You’ was a worldwide hit for British rock band Queen, and features on their sixth studio album News
of the World. The track was written by the band’s lead guitarist Brian May, who also had songwriting success with hits
such as ‘Hammer To Fall’ and ‘Tie Your Mother Down’. ‘We Will Rock You’ famously begins by using stomps and claps to
keep the beat, encouraging audience participation during live performances. Queen were a global phenomenon who are
regarded to have had a profound influence on rock music. Their ability to blend genres such as funk, disco and jazz with
classic rock brought them worldwide acclaim and saw them inducted into the Rock and Roll Hall of Fame. With frontman
Freddie Mercury, the band released over ten studio albums (including posthumous recordings) and became one of the
best selling artists of all time.
Performance Notes 
In this iconic rock song from the early ’80s we hear Freddie Mercury’s powerful and theatrical performance.
When learning the song it would be a good idea to break the verses into smaller chunks, clapping the rhythm while
slowing down the tempo, before you start applying lyrics and melody.
You should aim to sing with a projected and strong tone quality in your chest voice and this will be easier to maintain
if you apply consistent breath support on the phrasing. You can look for an assertive ‘speech style’ tone quality; as if you
had an important message to deliver to a friend or a group of people.
Finally, take your time to learn the lyrics so you can sing these with clear articulation, and look also to include dynamic
variation that supports the changes between the verses and chorus for dramatic effect, as heard in the original recording.
‘Key Features to Implement at this Grade’ are shown in the Repertoire Overview on page 6.
Vocals Grade 1
7
We Will Rock You
Words and Music by Brian May Queen
q80 Rock
# 4 N.C.
& 4
Piano etc.
? # 44 ¿ ¿ ¿ ¿
Clap
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
# .
& .œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bud- dy, you’re a boy, make a big noise play - in’ in the street. Gon - na be a big man some - day. You got
Bud- dy, you’re a young man, hard man shout - in’ in the street. Gon - na take on the world some - day. You got
Bud- dy, you’re an old man, poor man plead - in’ with your eyes. Gon - na make you some peace some - day. You got
#
& .. 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
? # ..
3
#
& œ œ œ œ œ œ œ œœ œœ œœ œœ œ œœ œ œœ
œ
œ œ œ œ œ
œ
mud on yo’ face, you dis - grace, kick - in’ your can all o - ver the place. Sing - in’
blood on yo’ face, you big dis - grace, wav - in’ your ban - ner o - ver the place. Sing - in’
mud on your face, you big dis - grace. Some - bod - y bet - ter put you back in - to your place. Sing - in’
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
?#
5
#
1. 2.
& œ œ œ œ ..
œ œ œ œ ˙. œ œ œ œ ˙.
we will, we will rock you. We will, we will rock you.
# ..
& œ œ œ œ œ œ ˙. œ œ œ œ œ œ ˙.
Vocals Grade 1
?# ..
7
Copyright © 1977 Queen Music Ltd.
8 Copyright Renewed
All Rights Administered by Sony Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved
#
3.
& œ œ Ó œ œ
œ œ œ œ œ œ œ
We will, we will rock you. We will, we will
# j Ó
& œ œ œ œ œ œ. œ œ œ œ
?# w w w
11
# Ó Ó
C
& œ œ œ œ œ œ œ œ œ œ
rock you. We will, we will rock you.
# Ó Ó
?# w w
14 w
# j
A G A G A D A D A
& # œœœ œœ œœœ œœœ œœ .. œœ œœœ œœœ # œœ œœ œœœ œœœ œ œœœ ˙˙ # œœ œœ œœ œœ œœœ œ œœœ œœ ˙˙
œ œ. œ œ œ œœ ˙ œ œ œ œ œœ œ ˙
?# j
œ œ œ œ œ. œ œ œ œ œ œ œ œœ˙ œœœœ œœœœ ˙
17
Asus 4 Asus 4 Asus 4

#
D A A A
& # œœœ œœœ œœœ œœ œœœ œœœ ˙˙˙ # œœ œœ œœ

œ œ œ
œœ œœ œœ œœ œ œœ
œ œœ œ œœ
# œœ œœ œœ œœ œœ œœ œœ ˙˙
œ œ œ œ œ œ œ ˙
?#
œ œ œ œ œ œ ˙ œ œ œ œœ œ œ œ œ œ œ œ œ ˙
20
# # œ œ œ œ œ œ œ œ œj ‰ j j
Asus 4 A Asus 4 A Asus 4 A
& œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ # œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰
œ œ œœœœ œ œ œ œ œ œœœœ œ œ œ
Vocals Grade 1
?# j j j
œ œ œœœœ œ œ œ ‰ œ œ œœœœ œ œ œ ‰ œ œ œœœœ œ œ œ ‰
23
9
10
Vocals Grade 1
Don’t Stop the Music | Rihanna 
Album: Good Girl Gone Bad Genre: Dance-Pop

Released: 2007 Written by: Tor Erik Hermansen, Frankie Storm,
Label: Def Jam/SRP Mikkel Eriksen and Michael Jackson
Produced by: StarGate
Background Info 
‘Don’t Stop the Music’ is a song released by singer Rihanna. The track features on her third studio album Good Girl Gone
Bad, and proved popular worldwide. The song topped the charts in several countries, and was certified 4x platinum in the
US where it sold over 4 million copies.
Rihanna started releasing music in 2003 after she was discovered in her home country of Barbados. She then
auditioned and was signed to Jay-Z’s record label Def Jam in 2005. Rihanna has released eight studio albums, four of
which have gone on to top the UK Album Chart. The singer has collaborated with many famous artists, including Kanye
West, Eminem, Paul McCartney and Jay-Z. She has received nine Grammys, and holds six Guinness World Records.
This up-tempo pop song demonstrates Rihanna’s ability to create a vibrant and resonant tone colour, particularly in her
chest voice.
You don’t have to copy her tone quality; however, you should aim for a ‘forward placement’ of the tone, which means
to direct/create resonance that vibrates in the harder and ‘brighter’ parts of the vocal tract. This positioning can help to
produce a more contemporary vocal sound.
Aim to be rhythmically secure throughout with a confident entry on the lyrics ‘Please don’t stop the music’. You could
add accents (stronger attacks) on the quarter notes in the chorus for dynamic emphasis on these words. In the pre-
chorus make sure the melodic detailing of the note pitches and intonation is secure.
The lyrical content of the song calls for engaged communication and some demonstration of dynamic changes,
particularly between the chorus and verses.
Vocals Grade 1
11
Words and Music by Tor Erik Hermansen, Frankie Storm, Rihanna
Mikkel Eriksen and Michael Jackson
q115 Dance-pop
### 4
N.C.
Vocals & 4 œ œ œ œ .. œ œ Ó ∑
##
Please don’t stop the mu - sic,
& # 44 Ó ..
œ œ œ. œ œ œ.
œ œ œ œ œ œ
Piano ⇥
? # # # 44 Ó .. œ œ œ. œ œ œ œ œ œ. œ œ œ
⇥
###
& ∑ Ó œ œ œ œ œ œ Ó
###
Please don’t stop the mu - sic.
& œ œ œ. œ œ œ.
œ œ œ œ œ œ
œ œ œ. œ œ œ
(⇥)
? ### œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ
3
(⇥)
###
1.
& ∑ ∑ Ó œ œ œ œ ..
###
Please don’t stop the
& ..
œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ
(⇥)
? ### ..
6
(⇥)
### Ó
2.
& Œ ‰ j ‰ j
œ œ œ ˙ œ œ œ œ œ œ œ œ œ
###
It’s get - tin’ late, I’m mak - in’ my way o - ver to my
& ∑ ∑
œ œ œ. œ œ œ
(⇥)
? ###
Vocals Grade 1
œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ
œ œ œ. œ œ œ
9
(⇥) ⇥
Copyright © 2007 EMI Music Publishing Ltd., Sony Music Publishing LLC, Dabney Music Publishing, Sony Music Publishing UK Limited and Mijac Music
12 All Rights Administered by Sony Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
- contains a sample of “Wanna Be Startin’ Something” by Michael Jackson
###
& œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
###
fav - ’rite place. I got - ta get my bod - y mov - in’, shake the stress a - way. I was - n’t
& ∑ ∑ ∑
? ### œ œ œ œ œ . œ œ œ œ œ œ œ œ . œ œ
œ œ œ œ. œ œ œ
12
(⇥)
###
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
###
look - in’ for no - bod - y when you looked my way, pos - si - ble can - di - date, yeah.
& ∑ ∑ ∑
? ###
15
(⇥)
### Œ ‰ j
& œ ˙ œ œ œ œ œ œ œ œ ˙ œ
œ œ
### Œ
Who knew that you’d be up in here look - in’ like you do? You’re
& j Œ ‰ Œ j ‰ Œ Œ j ‰
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
18 (⇥)
###
& œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ
##
mak - in’ stay - in’ o - ver here im - pos - si - ble. Ba - by, I must say your au - ra is in -
& # Œ j Œ Œ ‰‰ j Œ Œ ‰ j 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
21
(⇥)
##
& # œ œ œ ‰ j
D
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
###
cred - i - ble. If you don’t have to go, don’t. Do you know what you start - ed?
& Œ ‰ j Œ Œ ‰ j Œ ww
Vocals Grade 1
œ œ. œ œ œ. œ w
? ### œ œ œ œ œ. œ œ œ
œ œ œ. œ œ œ œ œ œ. œ œ œ
24
(⇥) 13
###
& ‰ j œ œ ‰ j œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
I just came here to par - ty, but now we’re rock - in’ on the dance floor act - in’ cra - zy,
###
& ww ww ww
w w w
? ### œ œ œ œ œ œ œ œ. œ œ œ œ œ.
œ œ. œ œ œ œ œ œ œ œ œ
27
( )
# # # F ‰m
#
& j œ œ œ œ œ œ œ œ œ œ œ œ œ
Your hands a - round my waist. Just let the mu - sic play. We’re hand in hand, dan - cing
###
& ww ww ww
w w w
? ###
( )
30
### D
& œ œ. œ. œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
fast and now we’re here to stay I wan - na take you a - way. Let’s es - cape in - to the
###
& ww ww ww
w w w
? ### œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ
œ œ œ. œ œ œ
( )
33
### F#m
& œ. œ Œ œ œ œ œ
œ. œ œ œ œ œ œ œ œ œ œ œ œ
mu - sic, D - J, let it play. I just can’t re - fuse it, like the way you
###
& ww ww ww
w w w
Vocals Grade 1
? ### œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ
( )
36
14
###
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
do this. Keep on rock - in’ to it. Please don’t stop the, please don’t stop the mu - sic.
###
& ww ww ww
w w w
? ###
( )
39
###
D E/D Dmaj 7 E/D Dmaj 7
& œ. œ œ œ œ œ œ.
œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ
I wan - na take you a - way. Let’s es - cape in - to the mu - sic, D - J, let it
##
& # Œ œœ
œ œœ œœ œœ œœ œœ œœ ww
œ œ œ œ œ œ w
? ### œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ
42
( )
F#m E/F # F#m E/F #

### Œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
play. I just can’t re - fuse it, like the way you do this. Keep on rock - in’
### Œ
& ww œœ œœ œœ œœ œœ œœ œœ
w 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
( )
45
### F m
# D
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
to it. Please don’t stop the, please don’t stop the, please don’t stop the mu - sic.
###
& œœ œœ Ó
www www œ œ
Vocals Grade 1
? ### œ œ Ó
œ œ œ. œ œ œ œ œ œ. œ œ œ
( )
48
15
16
Vocals Grade 1
A Million Dreams | from The Greatest Showman 
Album: The Greatest Showman: Original Motion Genre: Musical Theatre

Picture Soundtrack Written by: Benj Pasek and Justin Paul
Released: 2017 Produced by: Joseph Trapanese, Justin Paul
Label: Atlantic and Alex Lacamoire
Background Info 
‘A Million Dreams’ was written for the 2017 musical film The Greatest Showman. The song was performed by Ziv
Zaifman, Hugh Jackman and Michelle Williams, and featured on the film’s official soundtrack. Originally written for three
singers, the arrangement for this performance piece has been written for a solo vocalist.
Although ‘A Million Dreams’ wasn’t released as an official single, its popularity among listeners has led to several cover
versions/renditions being released by famous musicians, including Susan Boyle and Pink.
The film The Greatest Showman was a great commercial success, and grossed an income of over $435 million
worldwide, alongside several award nominations, including Best Original Song for ‘This Is Me’ at the 2018 Golden Globes.
This popular song from ‘The Greatest Showman’ is an opportunity for anyone keen on the film score genre to tell a
convincing story with a strong emphasis on the communication of the lyrics.
The original recording features three different voices, but this abridged version has been arranged in the key of E b to
offer better positioning for a solo vocal performance. You may still prefer to perform the song in a different key, to suit
your voice type and to allow you to comfortably reach the top notes with a clear and consistent tone quality. Note that for
this grade, the last phrase (from bar 56) may be sung in either octave.
Notice how the melody requires you to be confident with your rhythmic phrasing, with some accented notes and
emphasis on the enunciation and positioning of words. You should also try varying your dynamics in order to demonstrate
communication and expression of the lyrical content.
Vocals Grade 1
17
A Million Dreams
from THE GREATEST SHOWMAN Ziv Zaifman, Hugh Jackman
Words and Music by Benj Pasek and Justin Paul and MichelleWilliams
q148 Musical Theatre

Eb B b/D Ab 5
b
Cm7
&bb C
Piano P
b
&bb C œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
With pedal
œ œ œ œ
Eb B b/D Ab 5
w w w
& bbb Ó ˙
˙
b
&bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
5
œ œ œ œ œ œ œ œ
Eb Bb Ab 5
b ‰ œj œ ‰ œj œ ‰ œj œ
Cm7
&bb Œ œ œ œ œ œ œ œ œ œ œ Œ œ œ
œ
I close my eyes and I can see a world that’s wait - ing up for me,
b
&bb
b
&bb œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
9
Eb B b/D Ab 5
& bbb ˙ Œ Œ œ Œ Ó
œ œ œ ˙
that I call my own.
b ˙
&bb Ó ˙ ˙˙ ˙˙
Vocals Grade 1
b
&bb 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
13
œ
18 Copyright © 2017 Breathelike Music, Pick In A Pinch Music and T C F Music Publishing, Inc.
All Rights for Breathelike Music and Pick In A Pinch Music Administered Worldwide by Kobalt Songs Music Publishing
All Rights Reserved Used by Permission
Eb B b/D Ab 5
b j
Cm7
&bb Ó œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ œ j œ œ
œ œ
Through the dark, through the door, through where no one’s been be - fore,
˙˙ ˙ w w
b b b w˙ w˙ ˙ w w
&
b
&bb œ œ œ œ œ œ œ œ œ œœœœ œ œ œ
œ œ œ œ
œ œ œ œ
17
Eb B b/D Ab 5
& bbb ˙ Œ Œ Œ Ó
œ œ œ œ ˙
but it feels like home,
w ww
bb ww w ww www ?
& b
b
&bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?
21
%
Bb Bb A b add 2
b j œ œ œj œ
Cm7
&bb Œ œ œ œ ‰ œ œ œ j
œ œ œ ˙.
They can say, they can say it all sounds cra - zy.
? bb ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. j j
& œ œœ œœ
œ œœ
j
b J
? bb w œ
b ˙ ˙ w Ów Œ
25 w
Bb E b/G A b sus 2
b j
Cm7
&bb Œ œ œ œ ‰ œ œ œ œ œ œ œœ œ
( ) w
They can say, they can say I’ve lost my mind.
bb b œ ? œ œ
œ œ œ œ œ œ
&
œ œ œ œ œ
œ
Vocals Grade 1
? bb w ˙
b ˙ w
29 w
19
Bb Bb
bbb j ‰ œj œ
Fm7 Cm7
& Œ œ œ œ ‰ œ œ œ œ œ
I don’t care, I don’t care, so call me cra -
œ. œ œ œ œ œ œ œ œ œ œ
? bb J J J œ œ œ œ œ
œ œ œ
b
? b b ‰ œj ˙ œ w ˙ ˙
b w
32 w
A b add 2 Bb
& bbb Ó ‰ œ œ œ œ œ œ
œ œ ˙. ˙ J
- zy. We can live in a
œ. œ œ. j j j j j œ œ œ œ œ
? bb J œ œœ œ œœ œœ
œ œœ œœ ?œ
b &œ
œ
j ˙.
? bb ‰ œ œ œ œ œ œ
w
b w w
35 w
E b/G A b sus 2
b
Cm7
&bb œ œ œ œ œœ
œ
œ
w
w Ó Œ ‰ j
œ
world that we de - sign. ’Cause
œ œ œ .
? bb œ œ œ œ œ www œœœ .. œœœ œœœ œœœ œ
b J J J&
? bb ˙ ww œœ œ œ œ
b ˙ œ œ
38
Eb Bb
& bbb œ œ œ œ œ œ ‰ j j j ‰ j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ev - ’ry night I lie in bed, the bright - est col - ors fill my head. A
b
&bb ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Vocals Grade 1
? bb œ œ œ œ œ
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
41 œ œ œ œ œ œ œ
20
E b/G A b sus 2
b
Fm11
&bb œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ‰ j
w ˙ œ
mil - lion dreams are keep - in’ me a - wake. I
b j
& b b ˙˙ ˙ ˙ ˙˙ œ œ œ œ œ œœ œœœ œœœ œœœ œœ ..
˙ ˙ œ œœ œœ œœ œœ œœ œ
j
? b b ‰ œj œ œ œ
œ
j j
œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b w ˙ œ œ œ
45
Eb Bb
b ‰ œj
&bb œ œ œ œ œ œ œ œ œ ‰ j jœ j
œ œ œ œ œ œ œ œ œ
œ œ œ
think of what the world could be, a vi - sion of the one I see. A
b ˙ ˙ ˙
&bb ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙
? bb œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
49 œ
E b/G A b sus 2
b
Fm11
&bb œ œ œ œ œ œ œ œ œ œ œ w ˙ Œ
œ œ
mil - lion dreams is all it’s gon - na take. Oh, a
b b b ˙˙ ˙
˙ ˙ ˙˙ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& ˙
? bb œ œ œJ œ j jœ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ
b œ œ œ ˙‰ œ œ w w
53
Eb
& bbb
mil - lion dreams for the world we’re gon - na make.
b
&bb
www
Vocals Grade 1
w
? b b ww www
b w
57
21
22
Vocals Grade 1
I Love You | Billie Eilish 
Album: When We All Fall Asleep, Where Do We Go? Genre: Pop

Released: 2019 Written by: Billie Eilish O’Connell and Finneas O’Connell
Label: Darkroom/Interscope Produced by: Finneas O’Connell
Background Info 
‘I Love You’ is a song by American singer-songwriter Billie Eilish, and features on her debut studio album When We
All Fall Asleep, Where Do We Go?. The track was co-written by Billie Eilish and her older brother Finneas O’Connell.
Although it wasn’t released as a single, ‘I Love You’ received positive reviews and commercial success, becoming certified
platinum in the US. After her first singles and EP, Billie Eilish went on to release her first studio album in 2019 to great
critical acclaim, and debuted on top of the US Billboard and UK Album Chart. Her distinct singing and musical style has
led to her gaining a large and diverse fanbase. Billie Eilish continues to release material today, with her second studio
album due to be released in 2021.
In this beautiful pop ballad from Billie Eilish, we hear her unique tone with its atmospheric breathiness and her ability
to manage longer phrases and notes effortlessly.
For this abridged arrangement notice the melody has been written an octave higher than sung and there is an
alternative lyric suggestion in bar 12 which you may use if you prefer.
If you choose to opt for a breathier tone quality, you should still use ample support to achieve clarity and secure
intonation. Aim to pronounce the words with clear articulation and forward placement for a contemporary sound.
There are great opportunities to apply dynamic variation and expression on the phrases, particularly in the chorus. The
legato “Mm hmm” phrase into the chorus doesn’t leave you much space for taking a breath. You can delay this until later in
the phrase, but you will need good breath control to achieve this.
Vocals Grade 1
23
I Love You
Words and Music by Billie Eilish O’Connell and Finneas O’Connell Billie Eilish
q69 Pop
b
Fmaj 7 5 Cmaj 7
œ œ œ œ œ œ
& 44 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
Piano p
? 44 ‰ w
w w
Note: Vocal sounds one octave lower than notated throughout
Pedal ad lib. throughout
b
‰ œJ œ œ œ œ œ.
Fmaj 7 5
& Ó Œ ˙ œ Œ Ó
It’s not true. Tell me I’ve been
œ œ œ œ œ œ
& œ œœ œœœ œœ œœ œ œœ œœœ œœ œœ œ œ œ œ œ œ œ œ œ œ
? w
4
w w
œ œ œ œ.
Cmaj 7
& ˙ œ Œ Ó œ
lied to. Cry - ing is - n’t
œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? w w
7
b
˙ œ œ œ œ œ œ
Fmaj 7 5
& ˙ Ó
like you. Ooh.
œ œ œ œ
Vocals Grade 1
?
9
w w
24 Copyright © 2019 UNIVERSAL MUSIC CORP., DRUP and LAST FRONTIER

All Rights for DRUP Administered by UNIVERSAL MUSIC CORP.
All Rights for LAST FRONTIER Administered Worldwide by KOBALT SONGS MUSIC PUBLISHING
˙
Cmaj 7
œ œ œ œ œ œ
& Ó Ó
†
the hell
What did I
on earth
œ œ œ œ
& œ œ œ œ œ
œ
œ œ œ œ
œ
œ œ œ œ
œ
œ œ œ œ
? w w
11 † Alternative lyric provided below in italics
b
˙ œ œ œ œ
Fmaj 7 5
& œ Œ Ó œ œ
do? Nev - er been the type
œ œ œ œ
?
13
w w
œ
Cmaj 7
& ˙ œ Œ Ó œ œ œ œ
to let some - one see
œ œ œ œ
? w w
15
b
Fmaj 7 5
& ˙ Ó
right through. Ooh.
œ œ œ œ
Vocals Grade 1
?
17
w w
25
˙ œ œ œ œ œ œ œ
Cmaj 7
& Ó Ó œ
Mm, hmm, mm, hmm.
œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? w w
19
œ œ œ œ œ œ œ œ œ œ œ œ
F F 6( 5) Fmaj 7 F6
& œ œ œ œ œ œ œ œ œ œ œ œ œ
May - be, won’t you take it back, say you were try - ing to make me laugh; and noth -
& ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
? œ œ œ œ œ œ
21
œ œ
œ œ œ œ. œ
œ œ œ œ œ ‰ œ œ œ œ œ œ
G7 G6 G9 G 11
& œ œ œ œ
G
- ing has to change to - day: you did - n’t mean to say, “I love
˙ ˙ œ œ
˙ ˙ œ œ
& ˙ ˙
? œ œ œ œ œ œ
œ œ
23
w
Asus 2
œ œ
Ó ‰ J
Am
&
you.” I love
w wœ
& œ œ œ
œ
œ œ
œ
œ œ
œ
œ œ œ œ
œ
œ œ
œ
œ œ
œ
œ œ
Vocals Grade 1
œ œ œ œ œ œ
? ‰ œ œ œ œ œ œ œ œ
w ˙ œ
25
26
œ œ œ
œ ˙. ‰. œ œ
Cmaj 7
Œ
C
& R
you, and I don’t want
& œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‰ j œ œ œ œ œ œ
? w œ œ œ œ œ œ œ œ
˙ œ
27
b
Fmaj 7 Fmaj 7 5
& ˙ Ó
to. Ooh.
˙
& œ œ œ
œ
œ œ
œ
œ œ
œ
? ‰ j œ œ œ œ œ œ œ
29
w w
˙
Cmaj 7
œ œ œ œ œ œ
& Ó Ó
Ooh.
œ œ œ œ
& œ œ œ œ œ
œ
œ œ œ œ
œ
œ œ œ œ
œ
œ œ œ œ
? ‰ j œ œ œ
œ œ œ œ
31 w w
˙ œ œ œ œ œ œ ˙ U
Em/F N.C.
& Ó Ó Ó
Ooh.
w ˙˙ œœ œ œ œ œ œ ˙ U
& ww ˙ œ œ œ œ œ ˙ Ó
Vocals Grade 1
?
33
w w
27
28
Vocals Grade 1
Stand by Me | Ben E. King 
Album: Don’t Play That Song! Genre: Soul

Released: 1961 Written by: Jerry Leiber, Mike Stoller and Ben E. King
Label: Atco Produced by: Jerry Leiber and Mike Stoller
Background Info 
‘Stand by Me’ was a song released by American singer-songwriter Ben E. King. The song was originally released in
1961 and written with songwriting team Jerry Leiber and Mike Stoller, who famously wrote several hits for Elvis Presley
in the 1950s. It was later re-released in 1986 for the 25th anniversary of the feature film of the same name. ‘Stand by Me’
was commercially very successful, reaching number 4 on the US Billboard Hot 100 and achieving Platinum status in the
UK. The popularity of ‘Stand by Me’ has led to hundreds of cover versions, including renditions by Otis Redding, John
Lennon and Tracy Chapman..
Ben E. King started his music career in the late 1950s when he joined R&B group The Drifters. He later left the group
and went on to release music as a solo artist, leaving a large catalogue of music spanning more than 50 years. His songs
during the ’50s and ’60s remain influential to modern soul music to this day.
This is an abridged arrangement of Ben E. King’s classic soul song from the ’60s, and will suit any vocalists looking to
explore the upper parts of their chest voice, transition and head voice.
You may need to find a suitable key where you can comfortably reach the top notes with secure intonation. For a
convincing tone quality, you can use a ‘speech style’ approach, making sure the tone in your falsetto/head voice is not too
‘breathy’ by engaging your resonators and applying breath support.
Showing confidence and understanding of the rhythmic feel is a key element to performing this song, and you
should aim for a laid back delivery, while still being securely placed on the beat with the bassline riff. You can look to
communicate the lyrical content further by by starting softly and then building up with crescendos into the choruses.
Vocals Grade 1
29
Stand by Me
Words and Music by Jerry Leiber, Mike Stoller and Ben E. King Ben E. King
q118 Soul
# # # 4 AŒ j j
& 4 œœ ‰ œœ Œ Œ œœ ‰ œœ Œ
œ œ œ œ
Piano P
? # # # 44 ‰ j ‰ j
F# m F# m
### Œ j E
‰ œœj Œ ‰ œœj Œ
D
& œœœ ‰ œœœ œœœ Œ œœ Œ œœœ

œ œ œ
? ### ‰ j ‰ j ‰ j
3
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
### E A
Ó Œ œ œ
&
1. When the
### Œ j j j
& œœœ ‰ œœœ Œ Œ œœ œ
‰ œœ Œ Œ œœ œ
‰ œœ Œ
œ œ
? ### ‰ j ‰ œj œ ‰ œj œ
6
‰
### . œ
A
Œ Œ œœ œ œœ œœ
Œ Ó
& . œ œ
night has come

(2.) sky that we look up - on
### . j j
& .Œ œœ ‰ œœ Œ Œ œœ ‰ œœ Œ
œ œ œ œ
Vocals Grade 1
? # # # .. ‰ j ‰ j
9
Copyright © 1961 Sony Music Publishing LLC

30 Copyright Renewed
All Rights Administered by Sony Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
F# m F# m
###
E
& Œ œ œ œœ œ œ œ Œ Œ œ œ
and the land is dark and the
j
should tum - ble and fall and the
### œœœ œœœ j

& Œ ‰ œœœ Œ œœ ‰ œœ Œ
œ œ
? ### ‰ j ‰ j
11
# # # œj j
D E A
& œ. œ œ œ œœJ . œ . œ œœ œ œ w
moon is the on - ly light we see,
## j j
moun - tains should crum - ble in - to the sea,
& # Œ œœœ ‰ œœj Œ Œ œœœ ‰ œœœ Œ Œ œœ ‰ œœœ Œ

œ œ
? ### ‰ ‰ j ‰ œj œ
j œ
13 œ œ œ œ œ œ œ œ œ œ œ œ
### Ó œ œ œ ‰ Jœ œ œ œ ‰ œJ œ œ œ œ œ
& Œ Œ
oh, I won’t be a - fraid, no, I
j j j
I won’t cry, I won’t cry, no, I won’t
### Œ œœ œ
‰ œœ Œ œœ œ œœ œ
& œ Œ œ ‰ œœ Œ Œ œ ‰ œœ Œ
? ### ‰ œj œ ‰ œj œ ‰ œj œ
16
F# m F# m
### œ j
E D
& Œ ‰ œJ œ ˙. œ œ œ œ. œ œ œ
won’t be a - fraid just as long as you
j
shed a tear
###
& Œ œœœ ‰ œœœ œœœ Œ œœ ‰ œœj Œ Œ œœœ ‰ œœj Œ
œ œ œ
Vocals Grade 1
? ### ‰ j ‰ j ‰
œ œ œ œ œ œ œ œ j
19
œ œ œ œ œ œ
31
### œ œ œ
‰ Jœ œ œ ‰ Jœ œ
E A
& ˙ ˙.
stand, stand by me. So dar - ling, dar - ling,
### Œ j j j
& œœœ ‰ œœœ Œ Œ œœ ‰ œœœ Œ Œ œœ ‰ œœœ Œ
œ œ
? ### ‰ j ‰ œj œ ‰ œj œ
22
### œ œ ˙ œ œ ˙. F# m
œ œ œ
Œ Ó
E
&
stand by me, stand by
### ‰ œœj œœ ‰ œœj œœ ‰ œœj œœ

& œœ œ œ œœ œ œ œœ œœ
? ### œ œ œ œ œ œ œ œ œ
25
F# m
###
D E
& ˙. œ œ œ ˙. Œ œ œ œ œ.
J
me, oh stand, stand by me,
### ‰ œœj œœ ‰ œj œ ‰ œœj œœ

& œœ œ œ œœ œœ œœ œ œ œœ œ œ
? ### œ œ œ œ œ œ
28 œ œ œ œ
# # # AŒ œ œ ..
1. 2.
& œ œ œ œ. Ó Œ
J
stand by me. 2. If the
### ‰ œœj œœ ‰ œœj ˙˙ .. w

& œœ œ œ œœ ww
œ œ œ œ œ ˙
Vocals Grade 1
? ### œ œ œ œ œ œ .. w
œ œ œ œ œ œ
31
32
Fireflies | Owl City 
Album: Ocean Eyes Genre: Synth-Pop

Released: 2009 Written by: Adam Young
Label: Universal Republic Produced by: Adam Young and Matt Thiessen
Background Info 
‘Fireflies’ is a song by American electronic music project Owl City. Taken from their second album Ocean Eyes, the
song topped the charts in several countries worldwide. It was written by Owl City’s founding member Adam Young, with
featured vocals by Matt Thiessen, a songwriter for American rock band Relient K. The song was met with critical acclaim,
and went on to sell over 7 million copies in the US.
Owl City started their career with two online self-releases before finding further global success following a record
deal with Universal Republic and releasing Ocean Eyes. Founder and creator Adam Young has also had success making
film music, and has created songs for animated movies, including The Croods, Wreck-It Ralph and The Smurfs 2. ‘Fireflies’
remains Owl City’s most successful single release.
This synth-pop tune is a fun challenge for this grade with some complex rhythms and larger intervallic leaps.
You can use the original version to inspire your choice of tone colour, and you should aim to sound consistent in both
your chest voice and falsetto with a confident yet soft tone quality.
You should also aim to engage your resonators in your higher range to get a smooth transition and clarity on your top
notes. Intonation and pitching of these notes are important and applying breath support will help you achieve this.
There is a range of expressive techniques to implement with the staccato phrasing of the melody in the verses to
the longer notes in the chorus. You can try over-enunciating the words to explore how it supports the clarity of the
articulation of the lyrics as well as the rhythmic synchronisation to the backing track.
Vocals Grade 1
33
Fireflies
Words and Music by Adam Young Owl City
q90 Synth-pop
Bb œ œ œ Eb Ab
b œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ
& b b 44 ‰ J
œ œ
P
œ œ. œ œ œ
Piano
b
& b b 44 œ œ Œ ?
œ œ œ
Bb œ œ œ Eœb œ œ œ œ œ A b Bb Eb
b 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 ˙
? bb œ œ œ œ œ. œ. œ œ
b Œ
3
Ab Bb Eb Ab
b œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œœ œœœœ
&bb œ œ œ œ œ œ
œ œ œ
œ œ ˙ œ
? bb œ œ. œ œ œ œ œ œ œ.
b
6
Bb b Ab
b œ œ œ œ œ œ œ œ
&bb ‰ œ œ ‰ œ œ œ œ œ œ
E
You would not be - lieve your eyes if ten mil - lion fire - flies
b
&bb ˙ ˙˙
˙˙ ˙ ww
w
? bb œ . Œ ‰ œ Œ j ‰. r
b œ J œ. œ ‰ œ œ œ œ
9
b
Bb
œ œ œ œ
Eb
œ œ Ab
&bb ‰ J œ œ œ œ œ Œ Ó
lit up the world as I fell a - sleep.
b
&bb ˙ ˙˙
˙˙ ˙ ww
w
Vocals Grade 1
? bb œ . œ j j
b œ Œ ‰ J
Œ œ. œ ‰ œ œ œ ‰ œ
11
34 Copyright © 2009 UNIVERSAL MUSIC CORP. and OCEAN CITY PARK

All Rights Controlled and Administered by UNIVERSAL MUSIC CORP.
Bb b Ab
b œ œ œ œ Eœ œ œ œ œ œ
&bb ‰ œ œ œ œ œ œ œ œ
’Cause they’d fill the o - pen air and leave tear - drops ev - ’ry - where. You’d think
b
&bb ˙ ˙˙ ww
˙˙ ˙ w
? bb œ . œ Œ ‰ œ Œ j
b J œ. œ ‰ œ œ œ Œ
13
bb b œ œ œ
Bb Eb Ab
& œ œ œ Ó
me rude, but I would just stand and stare.
b ‰. r
&bb ˙ ˙˙ ˙˙ œ œ œ
˙˙ ˙ ˙
? bb œ . œ ‰. r
b œ Œ ‰ J
Œ œ Œ œ œ œ œ
15
E b/G B b sus 4
b œ œ œ œ œ œ. œ œ œ ˙ œ œ œ
&bb ‰ J ‰ œ
J
I’d like to make my - self be - lieve that plan - et Earth
b
& b b ˙˙ ˙˙ www
? bb w
b ˙ ˙
17
Ab Eb E b maj 9/G Ab
b ˙
&bb ˙ ˙ œ œ. œ
turns slow - ly. It’s
b
&bb ˙ ˙˙ ˙˙
˙˙ ˙˙˙ ˙˙
Vocals Grade 1
˙
? bb
b ˙ ˙ ˙ ˙
19
35
œ œ œ œ œ
Eb Ab Bb
b œ œ. œ œ œ œ
&bb œ œ œ œ œ œ œ. œ
Cm
hard to say that I’d rath - er stay a - wake when I’m a - sleep, ’cause
b
&bb ˙ œœ œœ ˙˙
˙˙ ˙˙ œ œ ˙
? bb ˙ œ ˙
b ˙ œ
21
Ab Eb E b/G
œ œ.
F
b œ œ œ œ œ œ œ
&bb œ œ œ œ œ Œ
ev - ’ry - thing is nev - er as it seems.
b
&bb ˙ ˙˙ .
˙˙ ˙ n ˙˙˙ .. œœ
œ
? bb
b ˙ ˙ ˙. œ
23
Bb b Ab
œ œ œ œ œ œ
b œ œ œ
&bb ‰ œ ‰ œ œ œ œ œ œ
E
’Cause I get a thou - sand hugs from ten thou - sand light - ning bugs
b
& b b œ. œ œ œ œ œ. œ œ œ
œ. œ œœ .. œ œ. œ œ œ œ.
? bb œ . œ j ‰. r
b œ Œ ‰ J
Œ œ. œ ‰ œ œ œ œ
25
Bb Eb Ab
b œ œ œ œ œ œ. œ œ œ
&bb œ œ Œ Ó
as they try to teach me how to dance.
b
& b b œ. œ œ œ œ œ œ œ œœ .. œ
œ. œ œœ .. œœ .. œœ œœ œ œ
Vocals Grade 1
œ. œ œ œ.
? bb œ . œ œ j
b œ Œ ‰ J ‰ J œ. œ œ œ œ œ ‰ œ
27
36
Bb b Ab
b œ œ œ œ œ œ œ œ
&bb ‰ œ œ ‰ œ œ œ œ œ œ œ œ
E
A fox - trot a - bove my head, a sock hop be - neath my bed. A dis -
b
& b b œ. œ œ œ œ œ. œ œ œ
œ. œ œœ .. œ œ. œ œ œ œ.
? bb œ . œ j ‰. r
b œ Œ ‰ J Œ œ. œ ‰ œ œ œ œ
29
bb b œ œ œ œ œ œ œ
Bb Eb Ab
œ œ œ œ œ
& Œ Ó
- co ball is just hang - ing by a thread.
b œ.
& b b œ. œ œ œ œ. œ œ œ œœœ ... œ œ œ œ Œ
œ.
? bb œ . œ œ ‰ œ. Œ
b œ œ. œ œ œ
31
A b add 9 B b sus 4
œ œ œ œ œ.
Cm7
b œ œ œ œ ˙ œ œ œ
&bb ‰ J ‰ œ
J
F
I’d like to make my - self be - lieve that plan - et Earth
b
& b b œœœ œœ
œ
œœ
œ
œœ
œ
œœœ œœœ œœœ œœœ
œ œ œ œ
F
? bb ˙ w
b ˙
33
œ œ œ œ œ
A b add 9 Eb E b add 9/G A b add 9 Eb
b ˙ œ œ.
&bb ˙ ˙ œ œ. œ œ œ œ œ
turns slow - ly. It’s hard to say that I’d rath - er stay a - wake
b
& b b œœœ œœ
œ
œœœ œœœ œœœ œœœ œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœœ œœœ
œ œ œ œ
Vocals Grade 1
? bb ˙ ˙
b ˙ ˙ ˙ ˙
35
37
A b add 9 Bb A b add 9 b B b sus 4
bb œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ Cmœ œ
œ œœ
Cm7 7
œ. œ œ
E
& b œ
when I’m a - sleep, ’cause ev - ’ry - thing is nev - er as it seems when I fall a -
b
&bb œœœ
œ
œœ
œœ
œœœ
œ
œœœ
œ
œœœ
œ
œœœ
œ
œœœ œœœ œœœ œœœ œœœ œœœ
œ
œ œ œ œ œ
? bb œ ˙ ˙ œ œ œ œ
b œ ˙
38
A b add 9 B b sus 4 A b add 9 Eb

œ œ œ œ œ œ.
Cm7
b œ œ œ œ ˙
&bb ‰ œ œ œ œ ˙ ˙
J
sleep. I’d like to make my - self be - lieve that plan - et Earth turns
b
& b b œœœ œœ
œ
œœ
œ
œœ
œ
œœœ œœœ œœœ œœœ œœ
œ
œœ
œ
œœœ œœœ
œ œ œ œ
? bb ˙ w ˙
b ˙ ˙
41
b
E b add 9/G A b add 9 A b add 9
œ œ œ œ Eb
œ œ. A b add 9
œ œ œ
b
&bb ˙ œ œ. œ œ œ œ œ œ œ œ œ œ. œ
B Cm 7
slow - ly. It’s hard to say that I’d rath - er stay a - wake when I’m a - sleep, ’cause
b
& b b œœœ œœœ œœœœ œœœœ œœœ
œ
œœœ
œ
œœœ œœœ œœœ
œ
œœ
œœ
œœœ
œ
œœœ
œ
œ œ œ œ
? bb ˙ œ ˙
b ˙ ˙ ˙ œ
44
A b add 9 Eb B b sus 4 Ab
bb œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ
Cm7
& b œ
ev - ’ry - thing is nev - er as it seems when I fall a - sleep.
b
& b b œœœœ œœ
œœ
œœœ œœœ œœœ œœœ œœœ œœœ
œ www
œ œ œ œ œ
Vocals Grade 1
? bb ˙ œ œ œ œ
b ˙ w
47
38
How Far I’ll Go | from Moana 
Album: Moana: Original Motion Picture Soundtrack Genre: Pop

Released: 2016 Written by: Lin-Manuel Miranda
Label: Walt Disney Records Produced by: Lin-Manuel Miranda
Background Info 
‘How Far I’ll Go’ was written for Disney’s 2016 animated film Moana. The song was performed in the film by actor and
singer Auli’i Cravalho, with a separate version of the track performed by Alessia Cara and released as a single. Both
versions appear on the 2016 release of Moana: Original Motion Picture Soundtrack, which peaked at number 7 on the UK
Albums chart.
The popularity of the film and song led to several award nominations, including Best Original Song at the 2017
Academy Awards, and winning Best Song Written for Visual Media at the 2018 Grammy Awards.
This popular film score song offers a great challenge for anyone keen on the musical theatre genre.
The song has a wide range (B3-D5) and some larger intervallic leaps and you should start by establishing a key where
you can comfortably reach the top notes, aiming for these to be sung with a confident tone in your head voice.
Take time to study the melodic detailing for secure intonation and be sure to prepare for the key change (from bar 35)
taking the last chorus up a semitone.
You can look to use a speech-style tone quality, as if you are talking directly to someone in conversation. This will
help you avoid singing too loud and pushing the upper part of your range. Confident emphasis of the lyrics with clear
articulation will help your overall phrasing and communication of the lyrics.
Vocals Grade 1
39
How Far I’ll Go
from MOANA Auli’i Cravalho
Music and Lyrics by Lin-Manuel Miranda
Moderately
U˙ . Uœ
#### 4 U U
Bsus 4 Bsus 4/A
w ww ˙˙˙ ... œœœ

& 4 w
æ æ æ
P U U
## U U
Piano
& # # 44 wæ ˙æ. œ ?
w ˙. œ
#### E5 B 5/F #
& œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ. œ œ œ
œ œ
I’ve been star - ing at the edge of the wa - ter long as I can re -
####
&
w ggg ww
? # # # # gggg ww gw
4
#### C m
# Asus 2
& œ. œ œ œ œ œ œ œ œ Œ Ó
œ
mem - ber, nev - er real - ly know - ing why.
#### Œ ‰ j
& œ ˙˙˙
ggg œœ
‰. œ ˙ ‰.
? #### œ œ œ ˙.
R R
6
#### E5 B 5/F #
& œ. ‰ œ. œ œ œ œ œ œ
I wish I could be the per - fect daugh - ter, but I come back to the
####
&
ggg ww ggg ww
Vocals Grade 1
? #### gw gw
8
40 © 2016 Walt Disney Music Company

All Rights Reserved. Used by Permission.
#### C m
#
œ ‰.
Asus 2
& œ. r Œ Œ ‰
œ œ
wa - ter no mat - ter how hard I try. Ev - ’ry
#### ∑ Œ
&
ggg ˙˙˙ ...
‰. œ ˙
? #### œ œ ww
R
10
#### C m
# Bsus 2/D #
& œ œ œ œ ⇥ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
turn I take, ev - ’ry trail I track, ev - ’ry path I make, ev - ’ry road leads back to the
####
& œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ.
œ. œ. œ. œ. œ. œ. œ. œ. . . . . . . .
P
? ####
cresc.
12 w w
####
E Am6
& œ œ œ œ œ œ œ. ‰
œ œ œ œ œ œ nœ œ œ
place I know where I can - not go, where I long to be. See the
####
& œœ œœ œœ œœ œœ œœ œœ œœ n ˙˙ ˙˙
œ. œ. œ. œ. œ. œ. œ. œ.
? #### www
14
w
#### j ‰. r œ œ.
E5 Bsus 4
œ
B
& œ œ œ œ œ œ œ œ œ œ.
œ
line where the sky meets the sea, it calls me, and no one
#### Œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ
&
Vocals Grade 1
F
? #### w w
16
w w
41
#### C # m7
j
C # m9
j
œ œ.
Aadd 2
& œ. œ œ. œ. œ œ ‰
œ œ œ
knows how far it goes. If the
#### Œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ
&
? #### w
˙. œ œ
18 w ˙. œ œ
#### j
j œ œ.
E5 Bsus 4
œ ‰
B
& œ œ œ œ œ œ œ œ œ œ œ. œ
wind in my sail on the sea stays be - hind me, one day I’ll
#### Œ œ œ Œ œ œ œ œ œ œ œ œ œ
& œ
F
? #### w
w w
20 w
C #m7
#### j
Am6
& œ. œ œ ‰ œ œ œ œ œ nœ œ œ œ œ œ
know. If I go, there’s just no tell - ing how far I’ll
#### Œ œ œ œ œ œ œ œ œ œ
& ∑ ?
? #### w ggg n ww
ggg w
22 w
#### E5 F # 7sus 4
& œ ⇥ œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ
œ œ œ œ
go. I know ev - ’ry - bod - y on this is - land seems so hap - py on this
œœ œœ
? # # # # œœ .. œœ
Ó œœ .. œœ œœ œœ œœ Œ &
Vocals Grade 1
? ####
24
42
#### C m
# Asus 2
& œ. œ œ œ œ œ œ œ Œ Ó
œ œ œ
is - land. Ev - ’ry - thing is by de - sign.
####
& œœ ˙˙ ..
œœœ œœœ œœœ œœœ œœœ
œœ .. œœœ œœœ œœœ
œœ ..
> > > >
? #### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
26
#### E F # m7add4
& œ. œ œ œ. œ œ œ œ œ. œ œ œ. œ œ œ
œ œ œ œ
I know ev - ’ry - bod - y on this is - land has a role on this
#### Ó Œ ‰
& œœ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ
œ
>
? #### œœ .. œœ œœ œœ ˙˙
28
> >
#### C m
# C # m/B
Œ Œ ‰
A E
& œ. œ œ. œ œ œ œ œ œ œ œ œ œ œ
is - land, so may - be I can roll with mine. I can
####
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? #### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
30 > > >
#### C m
# Bsus 2/D #
lead with pride, I can make us strong. I’ll be sat - is - fied if I play a - long, but the
####
& œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ
Vocals Grade 1
? #### j
‰ œ ˙ ‰ œ ˙
32 œ œ œ œ J
43
####
E Am
& œ œ œ œ œ œ œ œ ⇥ œ œ nœ nœ œ Œ Ó Œ ‰ nœ nœ b
voice in - side sings a dif - f ’rent song. What is wrong with me? See the
#### ∑ b
& œœ œ œœœ œœ œœ œœ œœ œœ œœ nw
œ œ œ œ œ œ
p
? #### ‰ œ ˙ ww ∑
œ œ J b
34
j œ œ.
Csus 4
œ
F C
&b œ œ œ œ œ œ œ œ œ œ. œ. œ
line where the sky meets the sea, it calls me, and no one
& b gg ww œœ œœ œœ œœ œœ œœ œœ œœ
ggg w œ œ
? œ œ œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
37
B b maj 7 C/B b
j œ œ. j
Dm Dm9 C C 7sus 4
& b œ. œ œ. œ. œ œ ‰ œ œ
œ
knows how far it goes. If the
w œ. œ œ œ
œ. œ œ œ
&b w J
Vocals Grade 1
?b 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 œ œ œ œ œ œ œ œ œ œ œ œ
44
œ j œ œ.
Csus 4
&b œ ‰
C
œ œ œ œ œ œ œ œ œ œ.
œ
j
œ
wind in my sail on the sea stays be - hind me, one day I’ll
˙. œ œ œ œ œ
˙. œ œ œ œ œ œ
& b J
J
?b œ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ œœ œœ œœ œœ œœ
41
œ
b
Ab A b/G
j
Dm Fmaj 9/C Fm Dm7 5
& b œ. œ œ œ. w
œ œ
w
know how far I’ll go!
w j
&b œ. œœ œœœ œœœ
b b œœœ ... œœ œ œ
j
? b œœ œœ œœ œœ œ œ œ œ bœ. œ œ
œ œ œ œ bœ. œ
œ œ œ
43
& b ˙.
C5
Œ
æ j
& b www œœ
œ
‰ Œ Ó
Vocals Grade 1
f
? b wæ j ‰ Œ Ó
w œ
œ
45
45
46
Vocals Grade 1
Somewhere Only We Know | Lily Allen 
Album: Sheezus Genre: Pop

Released: 2013 Written by: Tim Rice-Oxley, Richard Hughes
Label: Regal/Parlophone and Tom Chaplin
Produced by: Paul Beard
Background Info 
‘Somewhere Only We Know’ was a song originally released in 2004 by British rock band Keane. The success and
popularity of the song led to several cover versions, including a cover in 2013 by Lily Allen. Lily Allen’s version was
featured on a John Lewis Christmas advert and became her third number 1 single.
Lily Allen gained popularity after uploading her music to the social networking site MySpace, leading to mainstream
success when her debut single ‘Smile’ peaked at number one in the UK. She has since released four studio albums, and
has sold more than 5 million records worldwide.
Originally written and recorded by Keane, this pop/rock ballad was reimagined by Lily Allen and is suitable for both
male and female candidates.
In this arrangement you will be performing two verses and a chorus, and this is an opportunity to show how you
manage the shift from chest into lower head voice or mix quality. You should work towards an even and secure vocal tone
with clear rhythmic phrasing throughout, and this could be supported with a crescendo into the chorus.
Confidence in articulation and communication of the lyrics is another key element that you should look to maintain
and the melody has some longer phrases that will require you to engage breath support to manage these. Practise the
rhythmic phrasing to the backing track with a steady pulse, and watch out for the change of time signature in bar 25.
Vocals Grade 1
47
Somewhere Only We Know
Words and Music by Tim Rice-Oxley, Richard Hughes Lily Allen
and Tom Chaplin
q84 Pop
Bb
b
& b 44
Dm/A
Vocals
b b 4 œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ
& 4
Piano
b
& b 44 ‰ œ. ˙ ‰ œ. ˙
w w
rit.
bb œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ ggg ˙˙˙
Cm Fsus 4 F
& g
b j w
& b ‰w ?
œ œ ˙
3
a tempo
Bb
b
& b .. ‰ Œ ‰ Œ
Dm/A
j œ œ œ œ
1. I walked a - cross an emp - ty land.
2. I came a - cross a fall - en tree.
b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ
& b .. œ œ œ œ œ œ œ œ
‰ j œ œ œ œ ‰ œ œ œ œ œ œ
Vocals Grade 1
? b b .. w œ
Œ w Œ
5
Copyright © 2004 by Universal Music Publishing MGB Ltd.

48 All Rights in the United States Administered by Universal Music - Careers
b j
Fsus 4
&b ‰
Cm F
I knew the path - way like the back of my hand.
bb œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ
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&
j
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7
Bb
b
&b ‰ Œ ‰
Dm/A
j œ œ œ œ œ œ œ œ œ œ œ
œ
I felt the earth be - neath my feet.
b œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ
Is this the place we used to love?
&b
‰ j œ œ œ œ ‰
? bb w Œ w
9
b j
Fsus 4
&b ‰
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Sat by the riv - er and it made me com - plete.
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Is this the place that I’ve been dream - ing of?
&
Vocals Grade 1
j
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? bb w ˙ ˙
11
49
b
&b ‰ j œ œ ‰ j
Gm Dm
œ ˙ œ œ œ œ ˙
Oh, sim - ple thing, where have you gone?
Oh, sim - ple thing, where have you gone?
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rit.
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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ
I’m get - ting tired and I need some - one to re - ly on. some-thing to re - ly on.
U
I’m get - ting old and I need
b œ œ œ œ œ œ .. œ˙ œ œ œ œœ˙
& b œœ œ œœ œ œœ œ œœ œ œœ œ œœœ œ œœœ œ œœœ œ ˙ œ œ œ œ˙ œœ œœ
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b
& b œœ œœ
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Vocals Grade 1
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50
b j B b/D
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&b Œ ‰ œ œ œ œ œ Œ ‰ œ œ œ œ œ
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talk a - bout it some-where on - ly we know. This could be the
b j j
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œw.
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rit.
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bb 43 œ 44
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know.
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b œ
& b 44 œœ œœ œœ œœ œœ œœ œœ œœ
œ˙ œ œ œœ œœ ggg www
wœ œ œ œ œ œ œ œ ˙ œ œ g
Vocals Grade 1
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26
51
52
Vocals Grade 1
Friends | Kelvin Jones 
Released: 2020 Genre: Pop

Label: Universal Written by: Tinashe Mupani, Alexander Tidebrink
and Lucas Riemenschneider
Background Info 
‘Friends’ is a song by British-Zimbabwean singer Kelvin Jones, and was released as a digital single in 2020.
Kelvin Jones first achieved success in 2014 with his debut single ‘Call You Home’. The song went viral after being
uploaded online, receiving millions of views on YouTube and eventually leading to Kelvin being signed by Sony. Jones has
recently supported major UK acts, including James Morrison and KT Tunstall, and continues to release new music.
This up-tempo pop song from UK singer-songwriter Kelvin Jones is a fun challenge for a singer looking to explore the
upper parts of their chest voice and transition.
The overall range of the song is just over an octave and you should aim for the main part to sit comfortably in the upper
part of your chest voice. You will need to think about your breath support on the longer phrases, particularly in the pre-
chorus, in order to maintain clarity of the tone and accuracy of intonation.
The rhythmic feel is important too, and may be emphasised by staccato phrasing on the triplet eighth-notes in the
verse and the accented notes in the chorus where the lyrics say ‘I, I, I, I’.
Finally, aim for the upbeat message of the song lyrics to be portrayed with strong communication and expression.
Vocals Grade 1
53
Friends
Words and Music by Tinashe Mupani, Alexander Tidebrink Kelvin Jones
and Lucas Riemenschneider
q110 Pop
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Vocals Grade 1
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9
Copyright © 2020 Budde Music UK Ltd., Budde Music, Inc., Universal Music Publishing AB and Edition Tanzdichgluecklich
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54 All Rights for Universal Music Publishing AB Administered by Universal - PolyGram International Tunes, Inc.
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# œ œ
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& œ Œ œ. œ œ œ Œ ‰. r œ
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qui - et lit - tle town. We’re tired of the
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3 3 3
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ques - tions, gave ’em no answ - ers, do what we want, we’re tak - in real chanc - es and
# j j j j
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they know we’re right. Said one day you’ll
# ‰ j Œ ‰ j ‰ j Ó ‰ ‰ j
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# œ œ œ œ œ œ œ œ œ j j
3
3 3
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see us, we will be lead - ers, you’re gon - na beg for a chance to meet us but
# ‰ j Œ ‰ j ‰ j Ó ‰ œ ‰ j
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Vocals Grade 1
?# œ Œ ‰ œ ‰ œ Ó œ ‰ œ ‰
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17
55
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we won’t have time.
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I got all my friends, and we fin - al - ly made it,
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yeah we fin - al - ly made it. Oh, oh
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I, I got all my friends, and you know that we made it,
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Vocals Grade 1
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I, I, I, I, we fin - al - ly made it. I, I, I, I,
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œ œ œ œ œ œ
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œ œ œ œ œ œ
29 œ œ
# Œ
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‰ j œ œ œ œ œ œ Œ ‰ j œ œœœ œ œ
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you know that we made it. I, I, I, I, we fin - al - ly made it.
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& œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœœ œœœ œœœ œœœ œœœ œ œ
œ
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& ‰ J œ œ œ œ œ. ‰ j
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#
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œ œ œ œ
Vocals Grade 1
?# Œ ‰ j ‰ j Ó
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35 œ 57
58
Vocals Grade 1
It Means Beautiful | from Everybody’s Talking About Jamie 
Album: Everybody’s Talking About Jamie Label: Wilton Way Records

(The Concept Album) Genre: Musical Theatre
Released: 2017 Written by: Daniel Sells and Tom MacRae
Background Info 
‘It Means Beautiful’ was written for the musical Everybody’s Talking About Jamie. This performance piece is based on
a version performed by British actor and singer Courtney Brown, who was featured on a professionally filmed version of
the musical released to cinemas in 2018. The song is performed by main character Pritti, who tells Jamie that his name
means ‘beautiful’ in Arabic.
Everybody’s Talking About Jamie first premiered in 2017 at Sheffield’s Crucible Theatre. Inspired by the 2011 TV
documentary Jamie: Drag Queen at 16, the musical has gained popularity internationally, and is performed worldwide.
It has received several award nominations, including Best New Musical at the Laurence Olivier Awards in 2018. A feature
film version of the musical is due to be released in 2021.
This powerful ballad from the British musical theatre show ‘Everybody’s talking about Jamie’ has a strong lyrical
message about self-belief and overcoming prejudice.
A convincing tone quality would be for your chest voice to sound well-supported with a soft yet clear and supported
tone, also on the lower notes. You could seek for a similar tone colour in your head voice and it may help you to engage
your mouth resonators to not sound too breathy here.
Take some time to study the finer detailing of the rhythmic and melodic features, particularly in the chorus where you
have some larger intervallic leaps to manage with secure intonation maintained.
The phrases in both verses and chorus will need good breath support applied and with clarity and conviction on the
lyrics in order to tell a convincing story with clear diction.
Vocals Grade 1
59
It Means Beautiful
from EVERYBODY’S TALKING ABOUT JAMIE Courtney Bowman
Words and Music by Daniel Sells and Tom MacRae
q89 Musical Theatre

F# m F# m
### 4 œ œ
A D A
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P
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Piano
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With pedal
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It means some - thing that’s on - ly yours to give, it means
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œ œ œ œ œ œ œ ‰ . œr œ œ ˙
#
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### F m
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‰ Œ œ œ œ œ œ œ œj ‰ œ œ œ
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& œ
œ œ œ œ œ œ œ œ œ œ œ œ. œ œ
choos - ing the way you want to live, it means won - der - ful and it means
### œ œ
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pow - er - ful and it means true. It means
###
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Vocals Grade 1
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10
60 Copyright © 2017 UNIVERSAL MUSIC PUBLISHING LTD. and TOM MACRAE PUBLISHING DESIGNEE
All Rights for UNIVERSAL MUSIC PUBLISHING LTD. Administered by UNIVERSAL - SONGS OF POLYGRAM INTERNATIONAL, INC.
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some - thing as per - fect as it’s pure, it means wait - ing un - til you know you’re
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sure. It means beau - ti - ful, and it’s
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beau - ti - ful like you. Beau - ti -
###
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Vocals Grade 1
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grey. Beau - ti - ful, beau - ti - ful, some - thing
###
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24
œ (œ) œ (œ) ˙ ˙ ˙ ˙
To Coda fi
### Bm7 Eadd 4
Œ
& œ œ œ œ œ. œ œ œ œ œ ˙ œ œ
sim - ply
pre - cious you don’t give a - way It means
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p
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sleep. It means sim - ple and it means mag - i - cal like a
### œ
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Vocals Grade 1
‰ . œr œ œ ˙ ‰ . œr œ œ œ œ œ œ ‰ . œr œ œ ˙œ
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32
62
# # # Eadd A/C # F# m
4
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˙ ˙ ˙ ˙
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j‰ j‰
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up - on, not some fleet - ing thing you find one day is gone. It means
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this. Beau - ti -
##
& # œ. œ œ. œ œ. œ œ. œ
Vocals Grade 1
? ### ˙ ˙ ˙ ˙
43
˙ ˙ ˙ ˙
63
# # # A/C
#
j ‰ œ œ œ j ‰.
D
& œ. œ œ œ J œ œ œ r
œ
- ful, beau - ti - ful, a
##
& # œ. œ. œ. œ œ. œ
œ. œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ. œ œ œ
? ### ˙ ˙ ˙ ˙
# # # Bm A/C #
j œ œ
7 Eadd 4
& œ œ œ œ œ. œ œ. j‰ œ œ œ. œ œ œ ‰
œ œœ œ œœ œ œ
lit - tle - bit of glit - ter in the grey. Beau - ti - ful, beau - ti -
###
& œ. œ œ. œ œ. œ.
œœ .. œ œ œ œ œœ .. œ œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ œ. œ œ œ œ
? ### ˙ ˙ ˙ ˙ ˙
˙
# # # Dœ œ j ‰. r
Bm7 Eadd 4
& œ œ œ œ ‰ œ œ œ œ œ. œ œ œ œœ ˙ œ œœœ
œ œ
- ful, some - thing pre - cious you don’t rush to give a - way. Beau - ti -
###
& œ. œ œ. œ œ. œ ˙
œ. œ œ œ œ. œ œ œ œœ .. œ œ œ œ œœ .. œ œ œ œ œ. œ œ œ ˙
? ### ˙ ˙ ˙ ˙
˙ ˙ œ œ œ œ
### U
Œ Ó
A rit.
&
œ œ. ˙. œ
- ful.
## U
& # œ œ œ. œ œ œ. œ œ œ. ˙
Vocals Grade 1
p
U˙
? ### œ . œ œ œ œ. œ œ œ œ. œ œ œ
rit.
53
64
Technical Exercises
Group A: Scales
The major scale should be prepared as shown below. The example below is shown from the starting note of A3, however, you
may perform it from a starting note of your choice. Please note: the examiner can play starting notes in the range A3–G#4, but
you may sing in any octave.
This test is performed to a compulsory metronome click. The examiner will ask you which starting note you have chosen.
You will hear the starting note followed by a one-bar (four click) count-in. You may perform this test using any vocal sound
except humming or whistling. The tempo is q =80.
Major scale
##4 ¿ ¿ ¿ ¿
q = 80
& # 4 œ œ œ œ œ œ œ œ œ
w w œ œ œ œ œ ˙
Group B: Arpeggios
In this group, both of the arpeggio patterns need to be prepared as shown below. You will be asked to perform one of them in the
exam, as chosen by the examiner. The examples are shown on the starting note of A3, but you may perform them from a starting
note of your choice. Please note: the examiner can play starting notes in the range A3–G#4, but you may sing in any octave.
This test is performed to a compulsory metronome click. The examiner will ask you which starting note you have chosen. You
will hear the starting note followed by a one-bar (four click) count-in. You may perform this test using any vocal sound except
humming or whistling. The tempo is q =80.
A major arpeggio | Pattern 1
### 4 ¿ ¿ ¿ ¿
q = 80
& 4 Œ Ó
w w œ œ œ œ œ œ œ œ œ
A major arpeggio | Pattern 2
### 3 ¿ ¿ ¿
q = 80
& 4 œ œ Ó
˙. ˙. œ œ œ œ œ œ œ œ œ œ œ
Vocals Grade 1
65
Technical Exercises
Group C: Intervals
In this group, both the major 2nd and major 3rd intervals need to be prepared as shown below. You will be asked to perform
one of them in the exam, as chosen by the examiner. The examples below are shown on the starting note of F4, but you may
perform them from a starting note of your choice. Please note: the examiner can play starting notes in the range A3–G#4, but
you may sing in any octave.
This test is performed to a compulsory metronome click. The examiner will ask you which starting note you have chosen.
You will hear the starting note followed by a one-bar (four click) count-in. You may perform this test using any vocal sound
except humming or whistling. The tempo is q =90.
Major 2nd interval
¿ ¿ ¿ ¿
q = 90
4
Candidate sings:
&4 w w ˙ ˙
Major 3rd interval
¿ ¿ ¿ ¿
q = 90
& 44 w
Candidate sings:
w ˙ ˙
Vocals Grade 1
66
Technical Exercises
Group D: Technical Studies

You must prepare both the rhythmic and melodic studies in this group, as shown below. The examiner will ask you to
perform one of them in the exam. For the melodic study you may choose option 1 (in C major) or option 2 (in F major). If
the examiner requests the melodic study, they will also ask which key/option you have chosen.
The rhythmic test starts with a four-beat count. The melodic test starts with a root note followed by a four-beat count. Both
tests should be performed to the appropriate backing track which can be found in the audio.
1. Rhythmic | Rhythmic accuracy
4 ¿ ¿ ¿ ¿
q =110
&4 .. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
You keep tel - ling me what you wan - na do. You keep tel - ling me why you’re on the move.
& ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ..
You keep tel - ling me all that you could lose. Just be your own per - son you’ve no - thing to prove.
2. Melodic | Dynamic change
Option 1 (C major)
¿ ¿ ¿ ¿
q = 90
& 44 w .. ‰ œj œ ..
C Am Em Dm G C
œ œ ˙ œ œ œ
w ˙ œ w
f p
Climb up the moun - tain. Then walk back down a - gain.
Option 2 (F major)
¿ ¿ ¿ ¿
q = 90
& b 44 w .. ˙ œ ˙ œ ‰ Jœ œ œ ..
F Dm Am Gm C F
w œ œ œ w
f p
Climb up the moun - tain. Then walk back down a - gain.
Vocals Grade 1
67
Sight Reading
In this section you have a choice between:
■ Either – a Sight Reading test

■ Or – an Improvisation & Interpretation test (see facing page).
The examiner will ask you which one you wish to choose before commencing. Once you have decided, you cannot change
your mind.
The examiner will give you a four-bar rhythm on the note C4 The rhythm will be made up of half notes and quarter notes.
An example of the kind of test you will be given is shown below. You will be given 90 seconds to practise, after which you
will perform the test. The tempo is q =80.
During the practise time you will be given the choice of a metronome click throughout or a count-in of four beats at the
beginning. Whichever option you choose, the practise time will start with the examiner playing the root note. You will
receive the same choice when performing the test. The test will start with the root note.
You may perform this test using any vocal sound except humming or whistling.
¿ ¿ ¿ ¿
q = 80
& 44 w w ˙ ˙ œ œ ˙ ˙ ˙ w
Please note: the test shown is an example. The examiner will give you a different version in the exam.
Vocals Grade 1
68
Improvisation & Interpretation
The examiner will give you a four-bar chord sequence in the key of C major. You must improvise a melody over the backing
track. The test will be based on chords I, IV and V and will start and finish on the root chord (C).
You will hear the backing track three times. The first and second time is for you to rehearse and the third time is for you
to perform the final version for the exam. Each playthrough will begin with the root note and a four-beat count-in. The
backing track is continuous throughout, so once the first playthrough has finished, the root note and count-in of the second
and third playthroughs will start immediately. The tempo is q =70–80.
You may perform this test using any vocal sound except humming or whistling.
¿ ¿ ¿ ¿
q = 75 Pop
4
& 4 .. w ’ ’ ’ ’ ..
C F G C
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
w
Vocals Grade 1
69
Ear Tests
In this section, there are two ear tests:

■ Melodic Recall
■ Rhythmic Recall
You will find one example of each type of test printed below and you will be given both of them in the exam.
Test 1 | Melodic Recall

The examiner will play you three consecutive notes. You will need to identify whether the last two notes are higher or lower
in sequence. This means you will need to tell the examiner whether the second note is higher or lower than the first, and
whether the third note is higher or lower than the second. You will hear the test twice, each time with a four-beat vocal
count-in. The tempo is q =85.
Please use the words ‘higher’, ‘lower’, ‘up’ or ‘down’ in your answer.
q = 85
4 ˙
& 4 .. w ˙ ..
Test 2 | Rhythmic Recall

This test comes in two parts:
Part 1 | Rhythm Recall

The examiner will play you a two-bar rhythm played on a single note to a drum backing. You will hear the test twice.
Each time the test is played it is preceded by a four-beat count-in. There will be a short gap for you to practise after each
playthrough. Next, you will hear a vocal count-in, after which you should sing the rhythm back. The tempo is q =90.
For this exercise, use ‘da’ or ‘ba’ vocal sounds. You may sing back the test in any octave.
It is acceptable to sing over the track as it is being played as well as practising after the first two playthroughs. The length of
time available after the second playthrough is pre-recorded on the audio track, so the vocal count-in may begin while you
are still practising.
Part 2 | Identification
You will then be asked to identify the rhythm heard in part 1 from two printed examples shown to you by the examiner.
q = 90
& 44 .. œ Œ Œ ..
A
q = 90
& 44 .. œ Œ Œ ..
B
œ œ œ œ œ œ
Vocals Grade 1
70
General Musicianship Questions
In this part of the exam you will be asked five questions. Four of these will be about general music knowledge and the fifth
will be about your voice.
Part 1 | General Music Knowledge

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

■ The treble clef
■ The time signature
■ Whole-, half-, quarter- and eighth-note values
■ A rest in the piece
Part 2 | Your Voice

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

■ Where is your diaphragm?
■ Where is your larynx?
■ What is the difference between head voice and chest voice?
■ Why is it important to warm up before singing?
Vocals Grade 1
71
Pre-Examination Checklist
PERFORMANCE PIECES
Piece 1:
Piece 2:
Piece 3:
TECHNICAL EXERCISES
Group A: Scales Starting note:
Group B: Arpeggios Starting note:
Group C: Intervals Starting note:
Group D: Technical Studies If examiner requests the melodic study, your choice of key is:
§ Option 1 | C major
§ Option 2 | F major
SUPPORTING TESTS
Sight Reading Options:
§ Sight Reading
or
Improvisation & Interpretation
§ Improvisation & Interpretation
Ear Tests No options
General Musicianship Questions No options (both sections must be prepared):
§ Part 1 | General Music Knowledge

§ Part 2 | Your Voice
Vocals Grade 1
72
Entering Exams, Exam Procedure & Marking Schemes
Entering Exams
Entering a Rockschool exam is easy. You can enter online at www.rslawards.com or by downloading and filling in an exam
entry form. The full Rockschool examination terms and conditions as well as exam periods and current fees are available
from our website or by calling +44 (0)345 460 4747.
Exam procedure
In the exam you can decide whether to start with the Performance Pieces or the Technical Exercises. These will be followed
by the Supporting Tests (Ear Tests and Quick Study Pieces) and General Musicianship Questions.
Use Of Microphone
At Levels 1 and 2 (Grades 1–5) microphone use is optional, although candidates may use one if they feel it will enhance their
performance. At Level 3 (Grades 6–8) microphone use is obligatory for all aspects of the exam.
Marking Schemes
Below are the marking schemes for the two different types of Rockschool exam.
Grade Exams | Grades 1–5
ELEMENT PASS MERIT DISTINCTION
Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20
Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15
Either Sight Reading

6 out of 10 7–8 out of 10 9 + out of 10
or 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 | Grades 1–8
ELEMENT PASS MERIT DISTINCTION

Vocals Grade 1
TOTAL MARKS 60%+ 75%+ 90%+

73
Musical Interpretation & Free Choice Pieces
Musical Interpretation
Musical interpretation is allowed at all grades in both the Grade Exam and Performance Certificate. Rockschool encourages
individual musicality, articulation, expression and use of dynamics when performing. This applies anywhere in the exam
other than the technical exercises where articulation when specified must be observed. Candidates are reminded that all
musical interpretation should be stylistically appropriate. For reference, the downloadable audio accompanying this book
contains example performances of the pieces by professional singers demonstrating their interpretation of the scores.
Free Choice Pieces (FCPs)

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

Up to 2 of 3 pieces can be free choice. (At least one piece must be from the grade book.)
Performance Certificates:
Up to 3 of 5 pieces can be free choice. (At least two pieces must be from the grade book.)
Candidates must provide a device containing the downloaded audio for free choice piece backing tracks. This can be any
device with a 3.5mm jack output e.g. MP3 player, portable CD player, phone or tablet. We recommend that where possible
two different sources are brought as a back-up. Audio must be available ‘offline’ – it cannot be streamed as we cannot
guarantee that good internet connectivity will be available in all venues.
Free Choice Pieces must be available in fully notated sheet music and candidates must bring a copy of the sheet music for
the examiner to refer to during the examination. If there is any doubt about the appropriateness of the chosen piece, please
contact freechoicepieces@rslawards.com
For a full list of vocals wider repertoire, and more information on free choice pieces including free choice piece criteria,
please visit www.rslawards.com/free-choice-pieces
Vocals Grade 1
74
Copyright Information

(Hermansen/Storm/Eriksen/Jackson)
Sony Music Publishing (UK) Limited/EMI Music Publishing Ltd.
Fireflies
(Young)
Universal/MCA Music Limited
Friends
(Tidebrink/Riemenschneider/Mupani)
Universal Music Publishing Limited/Budde Music UK/Copyright Control
How Far I’ll Go

(Miranda)
Universal Music Publishing Limited
I Love You
(O’Connell/O’Connell)
Universal/MCA Music Limited/Kobalt Music Publishing Ltd.
It Means Beautiful
(Sells/MacRae)
Universal Music Publishing Limited/Copyright Control
A Million Dreams
(Pasek/Paul)
Emi Music Publishing Ltd (Twentieth Century Fox)/Kobalt Music Publishing Ltd.
Somewhere Only We Know

(Rice-Oxley/Hughes/Chaplin)
Universal Music Publishing MGB Limited
Stand by Me
(Leiber/Stoller/King)
Sony Music Publishing (UK) Limited
We Will Rock You

(May)
EMI Music Publishing Ltd.
Vocals Grade 1
75
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

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Contacting RSL Awards

Introductions & Information

7 We Will Rock You. . ........................................ . . . . . . . . . . . . . . . . . Queen

65 Scales, Arpeggios, Intervals & Technical Studies

œ Genre: Pop ■ Secure control of tone colour and intonation

### œ Genre: Soul ■ Managing registers changes and falsetto/head voice

Album: News of the World Genre: Rock

Copyright © 1977 Queen Music Ltd.

Asus 4 Asus 4 Asus 4

& # œœœ œœœ œœœ œœ œœœ œœœ ˙˙˙ # œœ œœ œœ

Album: Good Girl Gone Bad Genre: Dance-Pop

F#m E/F # F#m E/F #

Album: The Greatest Showman: Original Motion Genre: Musical Theatre

q148 Musical Theatre

Album: When We All Fall Asleep, Where Do We Go? Genre: Pop

24 Copyright © 2019 UNIVERSAL MUSIC CORP., DRUP and LAST FRONTIER

Album: Don’t Play That Song! Genre: Soul

& œœœ ‰ œœœ œœœ Œ œœ Œ œœœ

night has come

Copyright © 1961 Sony Music Publishing LLC

### œœœ œœœ j

& # Œ œœœ ‰ œœj Œ Œ œœœ ‰ œœœ Œ Œ œœ ‰ œœœ Œ

### ‰ œœj œœ ‰ œœj œœ ‰ œœj œœ

### ‰ œœj œœ ‰ œj œ ‰ œœj œœ

### ‰ œœj œœ ‰ œœj ˙˙ .. w

Album: Ocean Eyes Genre: Synth-Pop

34 Copyright © 2009 UNIVERSAL MUSIC CORP. and OCEAN CITY PARK

A fox - trot a - bove my head, a sock hop be - neath my bed. A dis -

A b add 9 B b sus 4 A b add 9 Eb

Album: Moana: Original Motion Picture Soundtrack Genre: Pop

w ww ˙˙˙ ... œœœ

40 © 2016 Walt Disney Music Company

Album: Sheezus Genre: Pop

Copyright © 2004 by Universal Music Publishing MGB Ltd.

Released: 2020 Genre: Pop

Album: Everybody’s Talking About Jamie Label: Wilton Way Records

q89 Musical Theatre

A major arpeggio | Pattern 1

A major arpeggio | Pattern 2

Major 2nd interval

Major 3rd interval

Group D: Technical Studies

1. Rhythmic | Rhythmic accuracy

2. Melodic | Dynamic change

In this section you have a choice between:

■ Either – a Sight Reading test

In this section, there are two ear tests:

Test 1 | Melodic Recall

Test 2 | Rhythmic Recall

Part 1 | Rhythm Recall

Part 1 | General Music Knowledge

You will be asked to identify:

Part 2 | Your Voice

Album: The Greatest Showman: Original Motion Genre: Musical Theatre

Album: Everybody’s Talking About Jamie Label: Wilton Way Records