Piano Grade 3

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

guidance for Rockschool examinations

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

Input the following code when prompted: 3KW9AGQY2Q

For more information, turn to page 5

www.rslawards.com
 Acknowledgements

Published by Rockschool Ltd. © 2019

Catalogue Number: RSK200092
ISBN: 978-1-78936-057-8
Initial Release | Errata details can be found at www.rslawards.com/errata

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

PUBLISHING DISTRIBUTION
Proof reading of arrangements by Sharon Kelly, Simon Troup, Exclusive Distributors: Hal Leonard
Jennie Troup and Jono Harrison
Music engraving and book layout by Simon and Jennie Troup of CONTACTING ROCKSCHOOL
Digital Music Art www.rslawards.com
Fact files written and edited by Abbie Thomas Telephone: +44 (0)345 460 4747
Notes written by Roland Perrin Email: info@rslawards.com
Proof reading and copy editing by Gemma Bull, Jono Harrison
and Jennie Troup EXECUTIVE PRODUCERS
Cover design by Philip Millard of Rather Nice Design John Simpson, Norton York
Cover photograph: Norah Jones © Scott Gries / Getty Images

AUDIO
Produced by Jono Harrison
Engineered by Jono Harrison, Gary Sanctuary, Tim Bennett-Hart,
Pete Riley, Richard Brook, Rory Harvey and Andy Robertson
Assisted by Paul Pritchard at Abbey Road
Recorded at Dock Street Studios, The Dairy and Abbey Road
Mixed by Patrick Phillips
Mastered by Francis Gorini

Supporting Tests recorded by Chris Stanbury and Jono Harrison

Piano Grade 3

2
Table of Contents

Introductions & Information

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

Rockschool Grade Pieces

7 ‘Unfaithful’.................................................... Rihanna
11 ‘Somewhere Only We Know’............. Keane
17 ‘Don’t Know Why’.................................... Norah Jones
21 ‘A Whole New World’............................. From ‘Aladdin’ (1992)
27 ‘Skyfall’............................................................ From ‘Skyfall’ (2012)
31 ‘Paradise’.. ....................................................... Coldplay

Technical Exercises

38 Scales, Arpeggios & Chord Voicings

Supporting Tests

43 Sight Reading
44 Improvisation & Interpretation
45 Ear Tests
46 General Musicianship Questions

Additional Information

47 Entering Rockschool Exams

48 Marking Schemes
49 Copyright Information
50 Piano Notation Explained
51 Rockschool Digital Downloads
52 Rockschool Popular Music Theory
Piano Grade 3

3
 Welcome to Rockschool Piano Grade 3

Welcome to Rockschool’s Piano syllabus 2019. This syllabus is designed to support pianists in their progression from
Debut to Grade 8, through an engaging and rigorous pathway covering all the genres, stylistic elements, techniques and
musical skills required for success as a contemporary pianist.

Piano 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 are required to 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
A Performance Certificate is equivalent to a Grade Exam, but in a Performance Certificate you are required to perform
five pieces. A maximum of three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark
is 60%.

All elements required to participate in a Rockschool exam can be found in the grade book. These are as follows:

■■Exam Pieces
The 2019 syllabus comprises six ‘hit tune’ arrangements, benchmarked and devised so as to equip contemporary
pianists with industry-relevant skills in any performance environment. These fall into three categories:

Melody & Accompaniment

These arrangements are performed to full band backing tracks, with the piano performing both melody
and accompaniment

Solo Piano Arrangement

These are full solo piano arrangements, performed without backing tracks

Vocal Accompaniment
These arrangements cover the skills required of contemporary pianists in ensemble environments, be they on
the stage or in the studio. The backing tracks feature vocalists, and the piano parts are reflective of what session
pianists would perform live or on mainstream commercial recordings

Each ‘hit tune’ arrangement is preceded by a Fact File, giving surrounding context to the piece and the original
performers/recording artists.

Furthermore, at the end of each arrangement you will find notes giving additional supportive context to get the most
out of the pieces.

■■Technical Exercises
There are either three or four groups of technical exercise, depending on the grade:

Debut–Grade 8:
Group A: Scales
Group B: Arpeggios/Broken Chords
Piano Grade 3

Group C: Chord Voicings

Grades 4–8 only:

Group D: Technical Study

4
 ■■Supporting Tests
There are three types of unprepared supporting tests in the exam:

1. The first type can be one of two options (this is the candidate’s choice):

Either:
Sight Reading tests, developing the musician’s ability to read and perform previously unseen material;

or:
Improvisation & Interpretation tests, developing the musician’s ability to develop previously unseen
material in a stylistic way and perform improvised passages of melody. The book contains examples of
both types of test – equivalent ‘unseen’ examples will be provided for the examination

2. Ear Tests
Debut–Grade 3: feature Melodic Recall and Chord Recognition
Grades 4–8: feature Melodic Recall and Harmonic Recall

3. General Musicianship Questions (GMQs), which you will be asked by the examiner at the end of each exam

General Information
You will find information on exam procedures, including online examination entry, marking schemes, information on
Free Choice Pieces and improvisation requirements for each grade.

Audio
In addition to the grade book, we have also provided audio in the form of backing tracks (minus piano) and full tracks
(including piano) for all ‘hit tune’ arrangements, technical exercises and supporting tests (where applicable). We have
provided professional performance recordings of all solo piano pieces in the syllabus. This audio can be downloaded from
RSL directly at www.rslawards.com/downloads

You will need to input this code when prompted: 3KW9AGQY2Q

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

Further Information
You can find further details about Rockschool’s Contemporary Piano syllabus by downloading the syllabus guide from our
website: www.rslawards.com

All candidates should download and read the accompanying syllabus guide when using this grade book.
Piano Grade 3

5
 Performance and Technical Guidance

Fingering
Any fingering annotation is given as a guide only.

Interpretation
Notation should be performed exactly as written, except where there are performance indications to ad. lib, improvise,
develop, etc. In these instances, the candidate will be marked on their ability to interpret the music in a stylistically
appropriate way, commensurate with the grade level.

Adaptation
A small degree of adaptation is allowed where, for example, hand stretches do not facilitate the required notated parts.
Marks may be deducted if adaptation results in over-simplification of the notation. If in doubt you can submit any
adaptation enquiries to info@rslawards.com

Articulation & Dynamics

Where articulation and dynamics are marked on the notation, they should be followed. Where it is open to interpretation,
the candidate is free to take their own approach.

Pedalling
The candidate may use the pedal freely at any grade, but it should be applied judiciously as marks may be deducted for any
over usage resulting in an unclear tone. In addition, where pedalling is written into (or out of) the notation, this should
be observed.

Chord Symbols
Most hit tune arrangements have chord symbols written above the notation. This is purely for guidance, and to assist the
candidate and teacher.
Piano Grade 3

6
 Unfaithful

SONG TITLE: 
UNFAITHFUL
ALBUM: 
A GIRL LIKE ME
RELEASED: 
2006
q = 144 Pop

œ œ
LABEL: 
DEF JAM, SRP

bb 4 Œ œ œ œ
F m/

œ J J
GENRE: 
POP/R&B Cm

b
& 4
VOCALS: 
RIHANNA
PIANO: 
CARL STURKEN

F
STRING ARRANGEMENT: 
ROBERT MOUNCEY

bb b 4 ‰ j
PERCUSSION: 
TED HEMBERGER

˙. ‰
& 4 wœ
WRITTEN BY: 
SHAFFER SMITH,

w
MIKKEL S. ERIKSEN,
TOR ERIK HERMANSEN
PRODUCED BY: 
STARGATE,

F m/A b
Ab
œ œ œ
MAKEBA RIDDICK

bb Œ œ œ œJ œ J
UK CHART PEAK: 
2

& b
‘Unfaithful’ was the second single to be released Rihanna is originally from Bridgetown, Barbados.

‰ œj ˙
from Rihanna’s second album, A Girl Like Me. Producer Evan Rogers noticed the singer and helped

b bb ‰ j
Songwriter Shaffer Smith is better known as Ne-Yo, her put together a demo that gained the attention of Def

& œ ˙.
who has also had a string of hits both as songwriter Jam records. The president of Def Jam at the time, Jay-

w
and artist. Z, signed her immediately on the night she auditioned.

The track encountered some controversy because

of the lyrics. In an interview, Rihanna stated that
w Rihanna is currently one of the biggest selling
artists of all time, with sales of over 60 million
“finally someone put it in perspective: girls cheat too”. [5] albums and 215 million digital tracks worldwide.
During her career she has won two BRIT awards
In response, a critic stated they were concerned that
A and nine Grammys. After the success of ‘Better Have

bb Πj
the lyrics could be interpreted as “devoid of remorse” My Money’ in July 2015, the Recording Industry

j
F m/C

b œ œ œ
but the songwriters remained confident that they C mof America (RIAA) announced that
Association

& œ œ œ œ
expressed regret. The singer said of the song that she Rihanna had become the first artist to surpass more
wanted to speak about personal experiences: “what it’s than 100 million digital singles.

P j j
like to be a girl like me”.

The song is a Pop/R&B ballad. The writers created

‰ œ ˙ . ‰ œ ˙
? bb w w
the song around the piano part as they worked.

Rihanna said that singing a ballad was “new

ground” for her but this turned out to be one of her
favourite songs from the album.
b
[9]

F m/A b
Ab

& b bb Œ j œ œj œ
Piano Grade 3

œ œ œ
‰ 7 j
j
? b ‰ œ ˙. œ
 Unfaithful
Rihanna

q = 144 Pop

b b 4 Œ œ œ œ œ Jœ œ œœ œœ œ œ œ œ œJ œ Jœ œ œ œ œ œ.
Cm F m/C Cm F m/C

b
& 4 J J J J
F
b j
& b b 44 ‰ œ ˙ . ‰ œj ˙ . ‰ œj ˙ . ‰ œj ˙ .
w w w w
Ab F m/A b A b maj 7
b œ œ œ œ œJ œ œ œ œ œ œ œ œ œJ œ œJ w œ œ nœ
G 7sus 4 G7

&bb Œ œ
J J J Œ

b ‰ œj ˙ . ‰ œj ˙ .
& b b ‰ œj ˙ . ‰ j
œ œ ˙ ?

[5]
w w w w
A

bb b CŒm j
jœ œ œ œ
F m/C
jœ j
Cm
j
jœ œ œ œ
F m/C
j œ.
& œ œ œ œ œ œ œ œ œ œ œ œ
P j j j j
‰
? bb w œ ˙ . ‰ œ ˙ . ‰ œ ˙ . ‰ œ ˙.
b w w w
[9]

Ab F m/A b A b maj 7
b j œ œj œ j œ œj Œ
&bb Œ jœ j
G 7sus 4 G7

œ œ œ œ œ œ œ œ œ œ œ w œ œ nœ
‰ j ‰ j ‰ j ‰ j
? bb œ ˙ . œ ˙ . œ ˙. œ œ ˙
b w w w w
[13]

bb b CŒm j œ œj œ œ jœ j
F m/C
j œ œj œ œ j œ.
Cm F m/C

& œ œ œ œ œ œ œ œ œ œ
œ œ
j j j j
? bb w‰ œ ˙ . ‰ œ ˙ . ‰ œ ˙ . ‰ œ ˙.
b w w w
[17]

b F m/A b A b maj 7
bb b AŒ j œ œj œ jœ j j j j œ œj w
G 7sus 4 G7

& œ œ œ œ œ œ œ œ œ œ œ œ œœœœ
‰ j ‰ j ‰ j ‰ j ˙
? bb œ ˙ . œ ˙.
Piano Grade 3

œ ˙ .
b w w w wœ œ
[21]

Words & Music by Mikkel Eriksen, Tor Erik Hermansen & Shaffer Smith

8 © Copyright 2006 Zomba Songs/Super Sayin Publishing.

Sony/ATV Music Publishing (UK) Limited/EMI Music Publishing Limited/Concord Music Publishing LLC.
All Rights Reserved. International Copyright Secured.
 Ab Bb B b/D b
jE
B

bbb j j j œ œ œ œ œ
Cm

& œ œ œ œ. œ œ œ œ. œ œ œ œ.
œ.
j
? b b ‰ œj ˙ . ‰ œj ˙ . ‰ œj ˙ . ‰ œ œ ˙˙
b w w w ˙
[25]

Ab Bb A b add 9

& bbb j œ œ
j
œ œ œ ‰ œj ˙ œœ ‰ jœ
œ . œ œ œ. œ ˙ œ œ œ œ
j
? bb ‰ œ ˙ . ‰ œj ˙ . ‰ œj ˙ . ˙
b w w w Ó
[29]

Ab Bb
j
C

bbb
F m7

œ œ ˙ œ.
œ œ œ
Cm

& œ˙ œ œ œ œ˙ œ˙ œ œ œ œw œ œ œ
˙ ˙˙
F
? bb ‰ j œ œ ˙ ‰ œj œ ˙ ‰ œj œ œ ˙ ‰ j ˙.
2
1

b œ w
2

w w œ
[33] w
Ab Bb

bbb j j
‰ Œ ‰ j œ œ œj œ j
Cm Fm

& ˙ œ˙ œ œ œ œ˙ œ œ˙ œ . œ œ œ œ œ œœ œ
w
? bb ‰ jœ œ ˙ ‰ œj œ ˙ ‰ jœ œ ˙ ‰ œj œ œ ˙
b w
[37] wœ wœ w
Ab Bb
j
bbb œ œ œj œ j
F m7

Œ œ ‰
Cm

& œ œ œ œ œ œ œ œ
œw ˙ ˙ œ. œœ .. œ œ œ œ œ. œ ˙ œ
J
? bb ‰ jœ œ ˙ ‰ œj œ ˙ ‰ œj œ œ ˙ ‰ jœ œ ˙
b w
[41] wœ w
w œ
b Bb
bb bA add
9

& ww œ œ œ œ œ œ œ j
w œ. œ œ œ œ œ
P
? bb w ww ww ww
b w &
[45]

œ œJ œ œ œ œ œ œJ œ
D

bb Œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
Cm F m/C Cm F m/C

& b J J J J J
p
Piano Grade 3

b j
& b b ‰ œ ˙. ‰ œj ˙ . ‰ œj ˙ . ‰ œj ˙ .
w w w w
[49] 9
 Notes

The opening eight-bar introduction sets the mood for the song. The lilting rhythm that passes between both hands should
be played with an even balance to sound as one cohesive musical line. Students should aim for an even legato sound,
adopting light and precise approach to any use of pedalling to maintain clarity.

Notice how the left hand part is divided into two voices, with the first note being held for the full duration of the bar. Be
careful to hold these notes for their full four beats, while avoiding any over-emphasis or accenting.

Section A signifies the start of the first verse. The piano part here continues to play the rhythmic accompaniment to the
original vocal part, dropping back to moderately quiet. It is important to keep the part flowing evenly between both hands.

Although bar 25 is the beginning of a new section, be aware that the right hand part picks up the vocal melody in the
previous bar. At this point the right hand is mirroring the original vocal melody and the balance between hands needs to
subtly shift to allow this melody line to rise just a little above the left-hand part. However, the left-hand part continues to
play an important role in maintaining the character of the song while providing a sense of continuous forward motion.

The crescendo through bars 25 to 28 should be carefully prepared in order to achieve the correct build in intensity. This
must be followed by a well-judged decrescendo in the right-hand part for the last two beats of bar 28, to release this tension
and bring the listener back for the next phrase. It is important to drop right back to the original dynamic at this point and
avoid the temptation for a second crescendo through the next four bars. This will help to create a sense of real contrast and
progression at the start of section C.

Although section C needs a similar technical approach to section B, the right-hand part will require additional attention
to detail. Students should take time to practise this section with the right hand separately and slowly to ensure they are
able to understand which notes are part of the melody line and which are accompanimental, balancing and shaping the
phrasing accordingly.

Section D mirrors the opening four bars and re-captures the evenly balanced, lilting pattern of the introduction.
Piano Grade 3

10
 Somewhere Only We Know

SONG TITLE: ‘SOMEWHERE ONLY

WE KNOW’
ALBUM: HOPES AND FEARS
q = 86 Indie Rock

# ## 4
RELEASED: 2004
LABEL: ISLAND A

& 4 œœœ œœœ œœœ œœœ œœœ

GENRE: POP ROCK/SOFT ROCK
WRITTEN BY: TIM RICE-OXLEY/TOM

F
CHAPLIN/RICHARD HUGHES

? # ## 44
PRODUCED BY: ANDY GREEN/
con pedale

œ œ œ
JAMES SANGER/KEANE
UK CHART PEAK: 3
œ œ

‘Somewhere Only We Know’ was the debut single Hopes and Fears received several award
for British alternative rock band Keane and featured nominations, including a nomination for the 2004
on their first studio album Hopes and Fears. The song Mercury Prize to which they lost out to Franz
achieved global success and became one of the biggest Ferdinand’s self-titled debut album. Since their debut,

# ##
selling singles of 2004. ‘Somewhere Only We Know’ Keane have continued to achieve chart success in
was originally played on guitar, before moving to a B m7now have five UK number 1 albums,
the UK. They

& œœ œœ œœ œœ
piano led sound prior to its release. four UK top tens and their keyboardist (Tim Rice-

œœ œœ
Oxley) even holds an Ivor Novello award for his

>
The album Hopes and Fears topped the UK album contributions to songwriting.

>
chart upon its release in 2004, quite an achievement
for the bands debut release. It was the second best- ‘Somewhere Only We Know’ was inspired by David

? # ## œ œ
selling album of the year by a British artist, missing Bowie’s hit ‘Heroes’. It was one of the first songs the

œ œ œ œ
out on the top spot only to Scissor Sisters’ debut. With band wrote and recorded together, with the first demo

more than 2.7 million copies sold in the UK, Hopes
and Fears ranks 11th in the best-selling albums in the
UK in the 2000s. A brilliant accomplishment for the
homegrown band.
> >
featuring Dominic Scott on guitar before he left the
band. Keane performed the single at the historic Live
8 event in 2005 at London’s Hyde Park.
[3]

‘Somewhere Only We Know’ was covered by Lily

Allen for John Lewis’ coveted Christmas advert in
2013. Her gentle adaption proved hugely popular
and actually topped the UK chart on its release in
November 2013. It spent 15 weeks in the UK singles
chart and was Allen’s first number 1 since her single
‘The Fear’ in 2009.
Piano Grade 3

#
## ‰
A
A

& j œ œœ ˙
œ 11

p
 Somewhere Only We Know
Keane

q = 86 Indie Rock

### 4 A A/G # A sus 4/G # A/G #

& 4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œœ œœ
F > > >
? # # # 44
con pedale

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > >

### Bm
7 E sus 4 E E sus 4

& œœ œœ œ œœ œ œ œ œœ œ
œœ œœ œœ œœ
>
œœ œœ œœ œ œ œ œ œ
> > > > >
? ###
œ œ œ œ œ œ œ œ
> > > œ œ œ œ œ œ œ œ
[3]
> > >

###
A

‰ j
A A maj 7 B m7

& œ œœ ˙
œ œ œ œ œ œ ˙ œ œ œ œœ œ œ œ œ
p
? # # # Œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
w w w
[5]

# # # E sus ‰ j œ œ
A/G #

‰
A sus 4/G # A/G #
7 E 4 7 E sus 4 A

& œ œ œ œ œ j
œ œ œ ˙ œ œ œ œ œ œ.
Œ
? # # # œw œ œ œ œ œ œ œ œ œ œ œ œ œ wœ œ œ œ œ œ œ œ
Piano Grade 3

ww
[8]

Words & Music by Richard Hughes, Tim Rice-Oxley & Tom Chaplin
© Copyright 2004 BMG Music Publishing Limited.
12 Universal Music Publishing MGB Limited.
All Rights Reserved. International Copyright Secured.
 # # # B m‰ j
7 E 7sus 4 E7 E sus 4

& œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
? # # # œw œ œ œ œ œ œ œ œw œ œ œ œ œ œ œ
[11]

# # # F ‰m
# C#m
B

‰ j œ œ ‰ j
D

& j œ œœ ˙ œ œ œœ œ œ œ œ
œ œ œ ˙
‰ œ œ œ œ œ œ œ
? # # # œœw œœ œœ œœ œœ œœ œœ œœ œ œ œ
wœœ œ œ œ
œœ œœ œœ œœ ww
[13]

### F#m C#m

‰ j œ œœ ˙ ‰ j œ œ
E 7sus 4 E6

& œ œ œ œ œ œ œ œ œ ˙
? # # # œ˙˙ œ œ œ œ˙ œ œ œ œœ œœ œœ œœ
w
œœ œœ œœ œœ œœw œœ œœ œœ œœ œœ œœ œœ
[16]

# # # D‰ j
E7 E6

& œ œ œ œ œ œ œ œ œ
œ œ œ œ
Piano Grade 3

‰ œ œ œ œ œ œ œ œ˙ œ
? # # # ww ˙˙œ œ œ œ œ œ
[19]
13
 # # # A‰ A/G # A sus 4/G # A/G #
C

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

### Bm
‰ j ‰ j œ œ
7 E 7sus 4 E7 E 7sus 4 A

& œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ ˙
? # # # œww œ œ œ œ œ œ œ wœ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ
[23]

# # # A/G
# # A/G #

‰ j œ j
A sus /G 4 B m7 E 7sus 4

& j
œ œ œ ˙ œ œ œ œœ œ œ œ œ œ œ
œœ œœ œœ
? ### œ œ œ œ œ œ œ œ œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ w
[26]

### F m
# C#m
D

‰ j œ œœ ˙ ‰ j œ œ ‰ j
D

& œ œ œ œ œ œ œ
œ œ œ ˙
‰ œ œ œ œ œ œ œ
? # # # œœw œœ œœ œœ œœ œœ œœ œœ
wœœ œœ œœ œœ œœ œœ œœ œœ ww
[29]

### F#m C#m

‰ j œ œœ ˙ ‰ j œ œ
E7 E6

& œ œ œ œ œ œ œ œ œ ˙
Piano Grade 3

? # # # œœ œœ œœ œœ œ˙ œ œ œ œœ œœ œœ œœ
w
œœ œœ œœ œœ œœ œœ œœ œœ
w œœ œœ œœ œœ
[32]
14
 # # # D‰ j
E7 E6

& œ œ œ œ œ œ œ œ œ
œ œ œ œ
‰ œ œ œ œ œ œ œ œ˙ œ
? # # # ww œœ œœ œœ œœ œ œ
[35]

### Bm j A/C #
E
7 A/E E

œœ
& œœœ ..
. ˙œ œ œ œ œœ œ œ œ œœ œœ
f J
? ###
[37] œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

### Bm j A/C #
j
7 A/E E B m7

& œœ œ˙ œ œ œ œœœ .. œœ œ˙ œ œ œ
œœ ..
œ. J œœ œ œ œ œœ œœ . J
? ###
[39] œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

### A/C # A/E E D maj 7 E6 A

& j
œœ œ œ œ œœ œœ œw œ œ œ œ œ . œ˙ . œ œ œ œ œ
F
? ###
[42] œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

### D E6 D A

&
w œœ œ œ œ œœ œœ ww
Piano Grade 3

p
? # # # œœ œœ œœ œœ œœ œœ œœ œœ
˙˙ w
[45]
œ œ
15
 Notes

An important part of this song is its driving beat. There is a repeated note accompaniment throughout, which should be
played with a steady focus. However, it is important that these repeated notes do not overpower the melody.

The pedal should not be used until all the notes have been confidently mastered. Once the pedal is introduced, students
should re-take on each new chord, to ensure clarity of texture.

Note the placement of accents within the first four introductory bars of the piece. These should be carefully prepared as they
give the chord sequence a sense of purpose and momentum.

Students should take time to practise each part at section A separately. The key to master the left hand part is in learning to
hold the whole notes for the full length of each bar while continuing to play the steady eighth-note repeated pattern above.
The next challenge is to fit the syncopated right-hand part on top of this. This section is worth taking each bar in isolation,
slowing down the tempo and focussing on understanding how the parts fit together. Students should use the continuous
eighth-note movement throughout these bars as a guide to keep the pulse steady.

The continuous eighth-note driving pattern requires shaping to avoid sounding overly repetitive and heavy. Observing the
dynamics carefully will help provide a sense of structure and direction.
Piano Grade 3

16
 Don’t Know Why

SONG TITLE: DON’T KNOW WHY

ALBUM: COME AWAY WITH ME / 2002

LABEL: FAVORED NATIONS q = 90 Jazz/Country/Pop
GENRE: POP/JAZZ
B b maj 7 Bb7 Eb

b4 œ œ b œ œœ œ œ œ
WRITTEN BY: JESSE HARRIS

b
& 4
GUITAR: JASON ROBERTS
AND NORAH JONES
œ œ œ œ
P Œ ‰ j
PRODUCER: NORAH JONES,

b œ ˙ œœ ..
ARIF MARDIN AND

4
? bb 4 w
w
JAY NEWLAND

B bstudio Eb
B b ma
A

b ‰ œ
Da

j
7
j 7released six

b j
‘Don’t Know Why’ was featured in Norah Jones’ Jones has albums to date. She

& œ œ œ œ œ œ œ ˙.
2002 Platinum release, Come Away With Me. The is a versatile and curious artist and has taken part
track was well received in the US where it peaked in a variety of other projects. These include singing
at number 30 in the Billboard chart, and the album in Herbie Hancock’s version of ‘Court and Spark’ by
is her most successful to date having spent four Joni Mitchell, co-writing with Ryan Adams, playing

bœ œ œ œœ .. #
consecutive weeks at the top of the UK album chart. piano and singing in ‘Victoria Moon’ by the Foo

? bb œ .
Fighters, and being in the alternative country band

œ œ
The single won Grammy awards for Record of The For the Good Times. For her fifth studio album, Little

Year, Song of The Year and Best Female Pop Vocal
Performance. ‘Don’t Know Why’ was written by Jesse
Harris and has been covered by numerous artists as a
result of Norah Jones’ recording success.
J
Broken Hearts, Jones teamed up with DJ and producer
Danger Mouse. Jones also recorded a Christmas duet
with Cyndi Lauper. She has toured extensively to
[5] promote each of her records.

Norah Jones was born in 1979 in Brooklyn, New

York. She is the daughter of Indian sitar virtuoso

Eb
Ravi Shankar and Sue Jones, an American concert

B b maj 7 Bb7
b ‰ œ
producer. She started singing at junior school and D

b j
by high school had won Down Beat Student Music

& œ œœ œœ œ ‰ œ
award for Best Vocalist and Best Composition. She

œ œ
attended The University of North Texas (UNT) where
she majored in piano. During this time she met Jesse
Harris, with whom she started a band in 1999 after

bœ œ œ œœ œœ ..
moving to New York City. Jones was signed to Blue

? bb œ . #
Note Records after presenting a three track demo,

œ œ
including two standards and a song by Harris.

J
Piano Grade 3

[9]

%
17

b
 Don’t Know Why
Norah Jones
q = 90 Jazz/Country/Pop
B b maj 7 Bb7 Eb
b
D7 G m7 C7 F 9sus 4

& b 44 œ œ œ b œœ œœ œ œ œ œ # œœ œœ œ œ n œ
j j
œ œ n œ œj b œj œj œ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ.
P Œ ‰ j
? b b 44 w b œ ˙ œœ .. n œ œ .. j j œ œ œ
w œ œ œ œ .. œ œ œ
J œ œ œ œ

B b maj 7 Bb7 Eb Bb
A

b
& b ‰ œ œ œ œj œ
D aug G m7 C7 F 9sus 4

j ‰ j j
œ œ œ ˙. œœ œ œœ œœ œ œœ œœ œ œ ˙

? bb . bœ œ œ œœ .. # œœ œœ n œœ œœ œ ˙
œ œ œ J
œ œ ..
œ œ bœ œ. œ ˙
[5]
J J nœ œ. J

B b maj 7 Bb7 Eb Bb
b
G m7 C7 F 9sus 4

& b ‰ œ œ œœ œœ œ ‰ œ
D aug

j j ‰ j j
œ œ œ ˙ œœ œ œœ œœ œ œœ œœ œ œ ˙

? bb . bœ œ œ œœ œœ .. # œœ œœ n œœ œœ œ
œ œ œ J
œ
œ. œ bœ œ œ œœ
[9]
J J nœ œ œ

%b
Bb7 Eb Bb
bb ‰
B maj 7 D aug G m7 C7 F 9sus 4

& œ œ œ œ ‰
œ œ œ œ œ œ œ œ œ œ œj œ j
˙ œœ œœ œœ œ œœ ˙˙

? b b œ .. bœ œ œ œœ .. # œœ œœ n œœ œœ œ œœ œœ œ
œ œ œ J
œ ..
œ œ bœ œ
[13]
J nœ #œ J nœ œ

To Coda fi
B b maj 7 Bb7 Eb Bb
b
G m7 C7 F 9sus 4

& b ‰ œœ œ œœ œœ œ ‰ œ œ œ
D aug

j j j j j ‰ j
œ ˙ œœ œ œœ œœ œ . œœ œ œœ œœ œ
? b b œ .. bœ œ œ œœ ..
Piano Grade 3

# œœ œœ œ .. n œœ œœ œœ bœ œ œœ
œ œ œ J nœ œ #œ œ J œ œ
[17]
J
Words & Music by Jesse Harris

18 © Copyright 2002 Beanly Songs/Sony/ATV Songs LLC.

Sony/ATV Music Publishing (UK) Limited.
All Rights Reserved. International Copyright Secured.
 j j j
B

b j j œ œ œ œœ œœ œ œ œ œ œ
Gm C 13 F7

& b œ. œ.
œ œ
œ œ n œœœ ... œœ œœ œ œ œ œœ . œ
œ œ œ œ œ .. ‰ Ó
j œ œ j j
? bb ˙ œ œ. œ
˙ Œ œ œ. œ œ. œ ˙
˙ œ w w
[21]

j D.%. al Coda fi
b j
Gm C 13 F7

& b œ. œ.
œ œ
œ œ œ œ œ
œ.
nœ. œœ œœ œ œ œ œœ .. j
b œœ œœ œ œœ j
œ œ œœ œ. œ œ œ œ œœ œœ .
œ œ
? bb œ ˙ œ œ œ ˙ j œ œ.
œ. J œ œ œ. J j j
[25]
œ. œ œ. œ

fi Coda
E b/F Bb E b/F
bb G‰m 2
7 C7 G m7 C7

& j j Œ œ œ ‰ j j 4
œœ œ œœ œœ œ œœ œ œ œœ œ œœ œœ œ
j
œœ œœ
œ

? bb œ .
œ.
n œœ œœ
J
œ bœ
œ
œ.
œ.
œ œ
œ œ œ œ ..
œ
n œœ œœ
J
œ bœ
œ 42
[29]
J

B b maj 7 Bb7 Eb
b
& b 42 j œ 4
D7

j 4 ‰ œ œ bœ œ œ
œ œ œ œ œ #œ œœ œ nœ
œœ œ œ œ œ œ
? b b 42 œ 44 œ .. bœ œ. œ œœ .. nœ œ ..
œ œ J J œ œ j
œ J œ
[32]

Bb
bb G m j
7 C7 F 9sus 4

& œ œ nœ œ j œœ œœ
œ œ œœ œœ œ œ b œœ œœ œ œ œ œœœ œ ˙ w
˙ ˙ w
Piano Grade 3

p
? bb j
œ. œ œ. j w w
[35]
œ ˙. œ
19
 Notes

This gentle jazz/country song of regret requires students to have a sensitive touch and a good sense of the balance required
between the different parts.

Students should allow the melody to sing out above the accompaniment. However, the left-hand part must be played with
clear definition so that the groove is maintained. Once the student has a good understanding of the basic syncopated groove
pattern, the next important step will be in understanding how the two parts fit together, where both hands play the same
rhythm and where the hands move independently. Students would benefit from taking each bar in isolation, practising each
hand separately while counting the eighth-beats out loud (‘one and two and three and four and’), before attempting to put
both parts together.

Note that the music has Coda notation. Students should practise moving from bar 28 back to bar 13 (observing
the % symbol) and again from bar 20 to the Coda, starting at bar 29.

Pay careful attention to maintain a steady sense of pulse from bar 31 to bar 33 while moving through the 2/4 bar, allowing
the music to flow seamlessly across the bars.

Students may find it helpful if they are familiar with Norah Jones’ original recording of the song, so that they can understand
the overall sentiment and feel of the piece.
Piano Grade 3

20
 A Whole New World

SONG TITLE: ‘A WHOLE NEW WORLD’

ALBUM: ALADDIN: ORIGINAL
MOTION PICTURE
SOUNDTRACK q =124 Soundtrack

## 4
D add 9
∑
RELEASED: 1992

& 4
LABEL: WALT DISNEY
GENRE: POP

p
WRITTEN BY: ALAN MENKEN/TIM RICE

? # # 44 ‰ œj œ œ ˙
PRODUCED BY: ALAN MENKEN/TIM RICE

‰
UK CHART PEAK: N/A

w ˙.
2
1
2
5

‘A Whole New World’ was written for Disney’s
1992 animated feature film Aladdin, the 31st film to
be released by the global conglomerate, with music
by Alan Menken and lyrics by Tim Rice. The duet
was originally recorded by Brad Kane and his screen
end credits and was officially named ‘A Whole New
World (Aladdin’s Theme)’. Both artists subsequently
released the song on their debut albums, Belle with
her 1993 release Passion and Bryson with his 1994
release Through the Fire. Their version of the Menken/

## .
A D
partner Lea Salonga in their corresponding roles as D
Rice collaboration becameG/ theDfirst Disney song to top

& . œ œ œœ œœ œ œœ
the singing voices of main characters Aladdin and 4 5
the Billboard charts, a3feat now 4
also achieved 2 the
by

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Princess Jasmine. The song was the lead track for likes of Bryan Adams, Rod Stewart and Phil Collins.

œ.
the film and achieved great success, winning ‘Best

J
Original Song’ at the 1993 Academy Awards. Aladdin was the most successful Box Office release
of 1992, grossing $217 million sales in the US and
1

? # # .. Œ
Lea Salonga is widely known for her work in both over $500 million
1 worldwide. For 1 a short period, it

œ
musical theatre and voice over, featuring as two was the best-selling animated film of all time, only

w
Disney Princesses she was hailed a Disney Legend to be overtaken by Disney’s own ‘The Lion King’

w
in 2011 (Disney’s Hall of Fame) for her work as both two years later. The romantic tale won two Academy
Princess Jasmine and Mulan. She is also renowned Awards, the first for ‘Best Original Score’ and the
for outstanding Broadway performances, having
[5] second for ‘Best Original Song’ with none other than
originated Miss Saigon’s Kim on both the West End ‘A Whole New World’.
and Broadway at the young age of 18. In 1991 she
was awarded ‘Best Actress in a Musical’ at the Tony
Awards for her portrayal of the role, making her the
first ever Asian woman to win a Tony Award.

American recording artists Peabo Bryson and

Regina Belle also recorded the song in 1962 and
released it as a single, it was well received and made it
Piano Grade 3

F #/A #
to number 12 on the UK singles chart before topping

F#
the US Billboard chart in early 1963. This version also

##
features on the Disney animated release during the G6

# œ # œœ œ˙ œ œ
1

&
3 5 4

œœ .
4

21
 A Whole New World
Alan Menken
From ‘Aladdin’ (1992)
q =124 Soundtrack

## 4
D add 9

& 4 ∑ ∑ ∑ ∑
p
? # # 44 ‰ j œ œ ˙ ‰ œj œ œ ˙ œ ‰ œj œ œ ˙ ‰ œj œ œ ˙ œ
œ
w ˙. w ˙.
1 2

2
5

## .
A
D G/D D G/D G maj 7/B A/E

& . œ œ œ œ œ œ œ œ œ œ œ œ
4

˙
3 5 4

˙
2

œ. œ œ œ ww œ. œ œ œ ˙
J J
? # # .. ˙ ˙
1 1

Œ œ œ œ
1

œ ˙ ˙
[5] w w w

1.
F# F #/A #
##
G6 Bm D/A G add 9

& ‰ j
œœ . # œ # œœ œ˙ œ œ œ˙ œ œ
4 3 5 4 1

nœ n œ˙ œ œw œ
1
J
? ## j ˙˙ ˙ ˙w. œ
1

œ. œ œ #œ n˙
[9]

2.

## j ‰ œj œœ
5

.. j j j œœ
D A7 G add 9 D 2 3 3

& j œ œ œ
1 1

œ œw œ œ œ œ œ
œ. œ œ œ œ œ
? ## Œ
Piano Grade 3

.. Ó
œ œ œ œ w ˙
[12] w w
Music by Alan Menken

22 Lyrics by Tim Rice

© 1992 Wonderland Music Company, Inc. and Walt Disney Music Company
All Rights Reserved. International Copyright Secured.
 A 7/C #
#
B
A D A D

j
& # w œœ œ Ó œ˙ œ œ œ .
5

œœ .. œœ œœ œ œ œ œ œ
1 2

œ ˙
2

œ. œ
F J
œ
? ## œ œ œ œ œ œ œœ œœ .. j
œ œ ˙. œ œ œ œ œ
[15] 2 4 œ œ
5 2 1 3

A/G D add 2/F # A/G D add 2/F # B m7 E 7sus 4 E7 A 7sus 4

## œ j œœœ .. œ œ œ . ‰ œj n œœ
5

& ˙˙ œ œœ . j œœ
3 3 2

œ ˙ œ œ˙˙ œ œ œ œ œ
1 4 3 1 1

. œ J œ #œ n œ˙
? ## œ œ
˙ œ ˙ œ ˙ ˙ ˙
[19]
˙

A # dim7 F#
## j j
œœ œœ œœ
A D A Bm D7

& w œ œ œ œ.
œ ˙œ. œœ .. œ œ œ œ œ. ˙˙
˙ n œ˙ œ œ
J
? ## œ œ œ œ œ ˙. œ œ
œ œ #œ œ j
œ œ œ #œ œ. œ ˙
[23] œ

D add 2/F # D add 2/F #

## # œ
A/G
j œ
A/G
j
B m7 E 7sus 4 E7

& œœ .. œ œœ œœ . j œ j
œ œœ .. œœ œœ . œ˙ œ œ
œ œœ
J . J . ˙ #œ
? ## œ œ
˙ œ ˙ œ ˙
[27]
˙

## C sus 2 G 7/A A D
nnb
& j
n ˙n œ˙ œ œ˙ . #œ ˙ œ œ œ œ œ
˙ œ
Piano Grade 3

? ## ˙ œ nnb
˙ œ œ
[30] n˙ œ ˙ ˙
23
 B b/F B b/F B b maj 7/D
C
F F F F C/E

& b œ œ œœ œœ œ œ œ œ œœ œœ œ œ ˙˙ ˙
œ. œ ww œ. œ
J P J
?b ˙ ˙
Œ œ œ œ œ ˙ ˙
[33]
w w w

Bb6 B b add 9
j
j j ‰ œœj œœ œœ
A7 A 7/E Dm F/A F

& b œœ . # œ # œœ œ˙ œ œ œ˙ n œ n œ˙ œ j
œw œ œ œ œ œ œ
œ
J
?b . j #œ
˙˙ ˙
n˙
Œ œ œ œ œ ˙˙ . Œ
œ œ œ w .
[37]

j
D

œœ
C F C C 7/E F

&b w œœ .. œœ œœ œ œ œ œ œ œ Ó œ˙ œ œ œ .
œ. œ ˙ œ
F J
œ
?b œ œ œ œ ˙. œ œ œ œ.
œ œ. j œ
œ œ œ œ œ œ œ œ
[41]

C/B b F add 2/A C/B b F add 2/A D m7 G 7sus 4 G C9 C sus 4 C

œ j œœœ .. œ œœ œœ .
5

& b œœ .. œ œœ œœ .. j
5

œ œ
2

œ œ˙˙ œ
1 1

œ œœ n œœ œ œ
5 3

œ œ˙
J .
1

J ‰ ˙
Piano Grade 3

?b œ œ ˙
˙ œ ˙ œ ˙ ˙ ˙
˙
[45]
24
 C # dim7
j j j j j
F C Dm

œœ
& b wœ . œœ œœ œ œ œœ œœ œ œœ œœ œœ
3

œ ˙ œœ .. œ œœœ ˙˙
J ˙
œ œ œ œ œ œ œ
?b œ œ ˙. œ #œ ˙ œ. j
œ œ ˙
[49]

C/B b C/B b E b sus 2

œ‰ œ ˙
F add 2/A F add 2/A D m7 G 7sus 4 G F/C C7

œ œœ œœœ œœœ .. j œœ
&b œ . œ œœ ˙˙ œ˙ œ œ œ
˙ œ nœ b b˙œ˙ œ œœ b n œœ œ
J œ
f
?b œ œ ˙ ˙
˙ œ ˙ œ ˙
[53]
b˙

B b sus 2
j œ ww œ˙ . j œ œ
Dm F/C F/A

&b w œ. œ œ œ œ˙
w œ.
?b ˙ ˙˙ œ w
œ œ w
[57]
œ w

B b sus 2 U
Rit.

j œ
& b ww œ˙ . ww
G m11 C 7sus 4

œ œ˙
F/A

œœœ .. jœ œ œ
. œ œ 5
œ œ 5

p
4
1 2

œ œ ˙
1

?b œ œ ˙ ˙˙ œ œ ˙
2

œ
1 3

œ
5 2

[61] ˙

&b w œ œ œ œ œ œ
F

œ œ œ œ œ œ ww ww
Piano Grade 3

5
2
1 3 2
1

?b œ ˙ ww ww ww
[65]
œ. J
25
 Notes

This song has the excitement and innocence of a young person on the threshold of a new era in their life. This sentiment can
guide the performance of the music with a sense of light and movement throughout.

The gentleness of the music is enhanced by the dynamic markings. Students will benefit from being made aware that the

p F
dynamic changes are small – the crescendos and diminuendos are not dramatic, but create shades of the same colour. As
the piece has a limited volume range from to , the performer will need to control these crescendos and diminuendos
carefully to provide musical contrast while maintaining a contained lightness of touch.

Note that the right hand often plays both the melody line and supporting harmony notes. It is important that students
understand the different parts within the same stave and allow the melody to sing out above the accompanying harmony.
Equally important, students should observe the note lengths and practise holding notes precisely. This is particularly
relevant when the same hand is playing two parts with different rhythms.

Letter C is quite dramatic due to the modulation, but this should not be emphasised by playing loudly – the change in key
signature is enough to create the desired effect.

Finally, in order to keep a sense of lightness and ease throughout, establishing a secure fingering pattern through those more
challenging bars is vital.
Piano Grade 3

26
 Skyfall

SONG TITLE: SKYFALL

RELEASED: 2012 q = 76 Soundtrack

U
LABEL: XL, COLUMBIA C madd9

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GENRE: ORCHESTRAL POP

? bb 44 ww
VOCALS: ADELE
PIANO: NIKOLAJ TORP LARSEN
GUITAR:
DRUMS:
JAMES REID
LEO TAYLOR b
U
BASS: TOM HERBERT

? bb 44
CHOIR: METRO VOICES

b
PERCUSSION: PAUL EPWORTH

w
ORCHESTRA LEADER: THOMAS BOWES

>
◊
WRITTEN BY: ADELE ADKINS
AND PAUL EPWORTH
PRODUCED BY: PAUL EPWORTH

Ab
UK CHART PEAK: 2 F7
Cm

œ
A

b bb œ œ œ œ œ œ œ
& ˙ œ œ œ œ
The song was written as the theme tune for the Both Epworth and Adele mention that they worked
2012 James Bond film, Skyfall – the 23rd film in hard to incorporate elements of previous Bond
the franchise. Adele was approached by the film’s themes and motifs into the composition. Producer
producers to write the tune and after reading the and co-writer Epworth decided to watch all of the first

? bb ˙
script, she accepted. The producers allegedly asked thirteen Bond films to understand what he called the

˙
her as they felt it might bring back the “classic Shirley “musical code” of the existing scores. He said he was

b w
Bassey feel” that was associated with iconic bond looking for a way to give ‘Skyfall’ what he called the
themes. Adele and co-writer Paul Epworth wanted “60s jazzy quality” that typifies Bond themes.
to create a song that was true to the narrative, rather
than the Romanticism of the film, but were originally [3] The song won Best Single at the 2013 Brit Awards

Ab
j˙
concerned that it might be ‘too dark’. and was the first ever Bond theme to win an Oscar.
F7

bb œ ‰œ œ œœ œœ œ œ
Cm

b
Co-writer, Paul Epworth, had worked with Adele

& œœ œ œ
previously on her single ‘Rolling in the Deep’ and has
written with other artists such as: Florence and the
Machine, Plan B and Lana Del Rey.

‘Skyfall’ was recorded in two sessions at the

? bb ˙
legendary Abbey Road Studios with a 77-piece

b ˙ w
orchestra, conducted by J.A.C. Redford. It received its
first play on Adele’s website at 0:07 GMT on the 5th
October 2012; dubbed ‘James Bond Day’ as it marked
the 50th anniversary of the release of the first ever
[7]

Ab
James Bond film, Dr. No.
F7

n œœœ œœœ
B Cm

b bb œ œ œ œ œ œ
Piano Grade 3

& œœ œœ œ œ

?
27
 Skyfall
q = 76 Soundtrack
Adele
From ‘Skyfall’ (2012)
U
C madd9

>w ˙˙ .
? b b 44 ww ˙ .. ‰ œ
b &J

? b b 44 U Œ
b
w ˙.
>
◊
A Cm Ab F7 Cm Ab F7

b œ œ œ œ œ œ œ œœ œ œ œ œ
&bb ˙ œœ œ œ
œ
œ
œ
œ
œ
œ
œ ˙ œ œ œ
œ
œ
œ
œ
œ
œ
? bb ˙ ˙
b ˙ w ˙ w
[3]

b
b œ j A˙ F7
œœ œœ œ
G 7sus 4
œ œ
œ œ œ œ
Cm C m/D G

& b b œœ ‰ œ œœ œœ œ œ œœ œœ œœ œ œ nœ œœ
œ œ œ œ
? bb ˙
3

b ˙ w
w w
[7]

Ab Ab
j
B Cm F7 F m7 Cm F7 F m7

b œ .
& b b œœœ œ œ œœœ œ œ œ œ œ œ œ œ œ œ n œœœ œœœ œ b œœœ œ œœœ œ
œ œ n œœ œœ b œœ œ œœ œœ ˙œœ
œ œœ

? bb ˙ ˙
b ˙ w ˙ w
[11]

Ab

œœ œ œwœ œœ n œœœ œ œ
Cm F7 F m7 C m/D G sus 4 G

b œ œœ b œ˙ œ œ œ œ ˙œœ . œœ
& b b œœœ œœ œ œœ œ œ œœ n œœ œœ œ
? bb ˙ w
b ˙ w w
[15]

œ ˙ A b maj œ ˙ œ œ . œ œ œ œ D sus
œ œ. œ œ œ. œ œ
C

bb b œ . œ ˙ œ œ œ . œ œ œ .
Cm Fm 7 7 7 4 G

& J

? b b œww œœ œœ œ œw œ œ œ œœœ œœ œœ œœ œœ œœ n œœœœ œœ

Piano Grade 3

b ww œ
[19]

Words & Music by Adele Adkins & Paul Epworth

28 © Copyright 2012 Melted Stone Publishing Limited.

Universal Music Publishing Limited/EMI Music Publishing Limited.
All Rights Reserved. International Copyright Secured.
 A b maj 7
œ ˙ œ œ. œ œ œ œ
bb œ . œ ˙ œ # œ . œ .
œœ œ œ
7 7

œ œ œ. œ œ œ.
Cm F D G

& b
œœ œœ n œœœ œœ œœ œœ œ
? b b wwœ wwwœ œ œ œ œ # œœ n n ˙˙˙
b bœ
[23]

bb b Cœm œ œ œ œ œ Œ Œ ‰ œœœ œ Œ Œ ‰ œœœ œ Œ j

& #œ. œ ˙

? b b www www w ˙.
b œ
[27] w ˙.
Ab6 E b/B b E baug/B
r Œ
j ‰ . œr œ œ œwj œ . ‰. œ œ œ œ œ
F m9

œ
D Cm

bb b œw œ . œ œ œ
3

w œ
˙˙ œ œ œ œœœ . œ œœœ œ ˙˙ œ œ
& ww œœ œ

? bb ˙ œ bœ
b œ œ. œ œ œ œ œ œ. œ œ œ œ œ. œ œ nœ œ
[31]

A b maj 9 F m7 C m/D
j G7
j
œ œ œœ œ ˙ œ œ nœ
b b b œ˙˙ . œ ˙ ww
œ œ œ œ œ œ œ
w ˙ œ œ
Œ œ œ
& .
œ œ n œ˙ œ
? bb œ. wwœ ˙ œ ˙˙˙ ˙˙
b œ œ œ œ œ œ. œ œ œ œ
[35]

A b maj 7
b
F m7

& b b œœ œ œ bœ œ œ œ œ œ ‰ œœœ œ œœœ

Cm

˙œ Óœ Œ
œ œ œ œ œ
œww œ œ œ
? b b ˙˙ œœ œ ˙˙ œ œ w
b bœ
C m/B b Ab A b/G
[39]

b j
G sus 4/D G 7/F Cm

& b b œ œ œ œ œ. ˙ ˙œœ œœ œœ œœ œœ œ ˙œœ .

œ . œ œœ ˙˙ œœœœ
œ œœ
? b b œ˙˙ œ
˙n œ˙ œœ . j
œ œœ b œœ œœ . j œ
b . . œ œœ œ
[42]

U
w
F sus 4 C madd9

b ww
Freetime

& b b ˙˙˙ ... œœ œ Œ œ œj œ œ . œ œ œ œ œ œ ?

œ œ œ œ
Piano Grade 3

? bb U
b w w w w
◊
[45]
29
 Notes

The first chord of Skyfall is played with an accent which, combined with the foreboding tension of the harmony (the added
ninth giving a degree of dissonance), gives the listener a sense of the drama to follow. This accent can be treated with full
force, allowing the chord to die away naturally.

There is a repeated, relentless and fateful quarter-note pulse throughout the song – sometimes in the bass, and sometimes
in the treble or inner right hand part. These repeated quarter-notes should all be played in the same way: slightly separated,
insistently, but kept in the background.

Students will need to identify which notes in the right-hand part form the melody line and which help support the harmony.
This will inform students in allowing the melody to sing over the accompanying parts. Careful practice will be required in
order to play the melody lines in conjunction with the secondary parts and accompanying chords, particularly as these build
in texture from section A into section B. Similarly, the left-hand bass notes become richer chordal accompaniment patterns
in section C, and practising hands separately at slower tempos will ensure stability with these techniques.

The insistent feel of all the repeated notes is released in the last four bars. Students should be encouraged to enjoy the
freedom of free time playing, shaping the final phrase.
Piano Grade 3

30
 Paradise

SONG TITLE: ‘PARADISE’

ALBUM: MYLO XYLOTO
RELEASED: 2011
LABEL: PARLOPHONE/CAPITOL q = 140 Pop/Rock

44 ∑
GENRE: POP ROCK
WRITTEN BY: GUY BERRYMAN/JONNY
BUCKLAND/WILL CHAMPION/ & b
CHRIS MARTIN
PRODUCED BY: MARKUS DRAVS/DANIEL [Strings Intro]

? b 44 ∑
GREEN/RIK SIMPSON/
BRIAN ENO
UK CHART PEAK: 1

Bb6
œœ .. j œœ œœ
A
Gm

œœ œœ
& b œœ .. œ œ œ
‘Paradise’ was a 2011 hit for British rock band, Parachutes won Best Alternative Music Album,
Coldplay. The song was the second single to giving the band their first Grammy just one year after
be released from their fifth studio album, Mylo their first release. They have gone on to win seven
Xyloto, the song was originally made available as Grammys in total (so far) and have been nominated
an immediate download on iTunes to anyone who for twenty-nine of the coveted awards.

j
preordered the album meaning it wasn’t chart eligible. con pedale

?b œ
However, after the albums official release the song Coldplay have released seven studio
became available for purchase and soon debuted albums to date. With each of them topping the

œ œ œ œ.
within the top ten. On the 1st January 2012, four UK album chart and with sales of over 100 million

months after its official release, ‘Paradise’ had climbed
to the top spot making it the first number 1 single of
the year.
In 2010 frontman Chris Martin was approached by
the producers of popular ITV show, The X Factor, and
was asked to write a hit for the next seasons winner.
˙
records, they have become one of the best-selling rock
bands of the 21st century. They are highly regarded
[5] for their contribution to the music industry, as well
as their outstanding charity work across the globe. In
the early years of their career the band decided that
they would donate 10% of all earnings to charity, an
b
incredible gesture which they still adhere to. They are

œœ œœœ
6

œœœ ... j œœœ

‘Paradise’ was originally written in response to this renowned for their work with the likes ofBAmnesty
G m

b œœ œ
request, but drummer Will Champion insisted that International, Oxfam and Make Poverty History and

& œ
the song should remain theirs and should be included continue to work towards banishing global poverty to
on their Mylo Xyloto album. Champion’s decision this day.
proved fruitful with the hit making it to the top 5 in
no less than sixteen countries, as well as number 15 in
the US Billboard chart.

Coldplay released their debut album, Parachutes,

?b œ
œ.
in July 2000 and quickly rose to fame. Featuring hits

œ œ œ
Piano Grade 3

such as ‘Shiver’, ‘Yellow’ and ‘Trouble’, the album

˙
received positive reviews and soon topped the UK
album chart. At the 2001 Grammy Awards Ceremony [9]

31

b 9
 Paradise
Coldplay

q = 140 Pop/Rock

& b 44 ∑ ∑ ∑ ∑
f
? b 44
[Strings Intro]

∑ ∑ ∑ Ó Œ
œ œ

Bb6
œœ .. œœ œœ œœ œœ .. j œœœ œœœ œœœ
A

j
Gm F C/E

& œœ ..
b œ œ œœ œœ œ œ œ œ. œ œ œ œ œ œ œ.
J
?b j ‰ œj
con pedale

œ œ œ œ. œ Œ
˙ œ œ œ œ. J
[5]
˙ œ œ œ œ. œ œ

Bb6
. j œœœ j œœœ j œœœ .. jœ œœœ œœœ j œœœ ..
& b œœœ .. œœœ œœœ
Gm F C/E

œ œ œ œ œ . œ œ œ œ œ œ œ ..

?b j ˙˙ œœ œ œœ œœ .. œ Œ
œ œ œ ˙ œ J œ
œ œ.
[9]
˙ œ œ œ œ. œ

B b add 9
˙.
D m7

& b ˙˙˙ ... œœ ww ˙˙˙ .. œœ ˙˙ ..

F/A C/G

. Œ
œ w œ ˙.
F ˙.
?b œ w ˙˙ .. œ ˙. œ œ
œ ˙.
[13]

B b add 9
.
& b ˙˙˙˙ ...
D m7

œœ ww ˙˙˙ .. œœ ww
F/A C/G

œ w . œ w
˙. œ w ˙˙ .. œ ˙. œ œ
?b
Piano Grade 3

œ ˙.
[17]
Words & Music by Guy Berryman,
Jonny Buckland, Will Champion, Chris Martin & Brian Eno

32 © Copyright 2011 BMG Music

Publishing Limited.
Universal Music Publishing MGB Limited/Opal Music administered by Bucks Music Group Limited, NW1 8AW.
All Rights Reserved. International Copyright Secured.
 Bb6

& b ˙˙˙ ˙˙˙ œœœ œœœ j j

Gm F C/E

œ ˙˙˙ œœ .. œœ œœ œ ˙ ˙
J œ. œ œ œ ˙ ˙
? b ˙. œ œ œ ˙ ˙
œ œ œ œ œ œ. œ œ
J œ œ
[21]

Bb6
j j ‰ œœ
G m7 C5

& b ˙˙
F

˙˙ œœ œœ j ˙˙ œœ .. œœ œœ œœ œœ œœ
˙˙ ˙˙ œœ œœ œ ˙˙ œ. œ œ œ œ œ
?b œœ ˙ œ œ œ w
˙. œœ œ ˙
[25]

D sus 4 D m7 B b sus 2 F C5

& b œœ œ œœ œœ œ œœ œœ œœ œ œœœ ... j

œ œœ œ œ
œ œœ œœ œœ œ
œ œ œ ˙

? b ˙˙ .. ˙˙ .. œœ ˙˙ . œ œ
œœ ˙˙ .. œœ .
[29]

D sus 4 D m7 B b sus 2 C5

& b œœ œ œœ
j
F

œœ œ œœ œœ œœ œ œœœ ... œ œœ œ œœ œœ œ œœ œœ œ
œ œ ˙

? b ˙˙ .. ˙˙ .. œœ ww
œœ ˙˙ .. œœ
[33]

Bb
B

& b ˙˙˙˙ œœœ œœœ œ œœœ .. œœ œœ ˙˙

F add 9/A C/G

œ œ . j œ œ ˙˙
œ œ œ œ œ œ
Piano Grade 3

?b Πj j
œ ˙ œ œ œ
[37] ˙ œ œ. ˙ œ œ. œ œ 33
 B b add 9

& b œœœœ .... j œœ j œ œœ

D m7 C

œœ œœ œ œœ .. œœ œœ œ œœ ‰ œ.
œ œœ œ œ œ œ œ œ œ. œ œœ œ.
?b j j j
œ œ. œ ˙˙ œ œœ œœ .. œ ˙
[41] ˙ œ œ œ œ.

B b add 9

&b ˙ j j œj ‰ œj œj j œœ Œ
G m7 F C

œœ œ œœ j . jœ
˙˙ œ œ œ œ œ œ œ œ œœœ .. œ œœ œœ œœ œ œ œ œ
?b j ‰ jœ ˙
˙ œ œ ˙ œ œ
[45]
˙ œ. ˙. œ œ œ

B b add 9 B b/D
˙
œ œ ˙˙˙ ...
G m7 F

&b ˙ j œœ œœœ ˙˙˙

œœ œœ œœ ..
˙˙ œ œ œ
œ œ œ œ œ . œ
œ œ
?b œ œ œ œ
j ˙. J
œ
[49]
˙ œ. œ

Bb
œ œ œ œ Fœ
j œ œ
C

œ
& b ˙˙˙ ˙˙
˙
œœ œœ ..
œ œ.
œœ
œ
œ j œ j ˙ œ œ œ œ œ
? b œ. j
œ œ œ œ œ J J œ
[53]

˙ œ œ ˙˙˙ ...
C sus 4
œœœ ˙˙˙ ˙˙˙
œ œ
C

&b
Piano Grade 3

œ œ œ œ
œ
?b J
œ œ œ œ œ œ. œ œ œ œ
J J Ó
[56]
34
 Bb6
œœ œœ .. j œœœ
C

. j
& b .. œœœ .. œœœ œœœ
Gm F C/E

œ œ œ œ œ œ. œ œ œ
f
? b .. j j
œ œ œ. œ œ
[59]
˙ œ œ œ œ. œ œ œ œ

œœœ œœœ œœœ ... j œœœ Bb6

œœœ œœœ j œœœ j
b œ œ.
Gm

& œ œ œ œ œ œ
J
?b œ Œ j
J œ œ œ
œ. œ œ
[62]
˙ œ œ œ œ.

1. 2.

œœ .. œœœ œœœ j œœœ ... œœœ œœœ œœœ

jœ .. œœœ ... jœ
F C/E F C/E

b
& œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ œ.
J
?b j Œ .. j ‰ Œ
œ. œ œ. œ œ.
[65]
œ œ œ œ œ œ œ œ œ œ œ œ

Bb
j
D

.
& b œœ .
D m7

œ œ œ œ œ œ. œ. œ.
C

œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ
œ J œ J œ œ. J œ
P
?b ‰ œj ˙ . œ œ ˙. œ œ ˙.
w
[69]

Bb
. j j
œ.
& b œœ .
G 9/B

œ œ œ œ œ œ œ œ
œ œ œ. œ œ www www
Piano Grade 3

?b œ ˙. œ ˙.
b ww ww
nœ nœ
[73]
35
 Notes

Most of this song is accompaniment. However, the constantly evolving piano part demands student’s close attention. Each
four-bar phrase should be practised separately, slowly and with hands together until mastered.

The first half of section A, up until the end of bar 12, is a powerful instrumental introduction and should be played with full
commitment. The melody enters at bar 13, and students have the role of accompanist. It is important to play sensitively here,
making sure that the melody is not overpowered in any way.

Bars 29 to 36 are an instrumental interlude, and students should allow the melody to project, while maintaining the same
moderately loud volume.

At letter B, the piano part returns to an accompaniment role, with carefully constructed passages and chord inversions
complimenting the ensemble sound. A mezzo forte dynamic is maintained throughout, emphasising that the piano part
should be clear and strong but not overpowering, leaving enough room for the change to forte at letter C.

Particular attention may be needed in bar 53 to bar 58, where we see counterpoint between the two hands. Maintaining a
strong internal pulse is vital to keep a steady beat through this phrase.

The accompaniment part returns between bar 59 and bar 67. This is the climax of the song, and needs to be played strongly,
although still with care not to overpower the melody.

The final section is an instrumental section and requires sensitivity to ‘wind down’ the intensity of the previous sections of
the song. Students should take care to hold the final chord for the full eight beats.
Piano Grade 3

36
37
Piano Grade 3
 Technical Exercises

In this section you will be required to play a selection of exercises drawn from each of the groups below. The examiner will
be looking for the speed of your response and will also give credit for the level of your musicality. Please see the syllabus
guide for details on the marking criteria.

Major, natural and harmonic minor scales and arpeggios need to be played hands together, in straight or swung feel,
ascending and descending, in the keys, octaves and tempos shown. Pentatonic scales are right hand only. The melodic minor
scale needs to be played hands separately, and the chromatic scale on A needs to be played hands together. You may use your
book for Group A and Group B. Group C exercises must be played from memory.

Note that Groups A, B and C need to be played to a click and any fingerings shown are suggestions only.

Group A: Scales
The tempo for this group is q = 80 bpm.

1. E b major scale
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
3

bbb œ œ œ
1 2
4

œ œ œ œ œ œ
3

œ
1 2 3 2

& œ
3 1

œ
3

œ
4 1 2

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

2. A major scale

### œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
5

œ œ
3 4 1 4

&
2 3

œ
2

œ œ œ œ œ œ
1 2 3 1 2 3 1

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

3. C natural minor scale

œ œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ œ
5

&bb œ œ œ œ œ œ œ œ
2 3 4 1 3 4
2

œ œ œ œ œ
3 1
1 2 3 1 2

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

4. F # natural minor scale

œ œ œ œ œ œ œ œ œ œ
### œ œ œ œ œ œ
3

œ œ
1 2

œ
3

œ œ œ œ œ œ
2

œ
4 1 2 1

œ
3 4

& œ œ
2 3
3 1

œ œ œ
Piano Grade 3

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

38
5. C harmonic minor scale
nœ œ œ œ œ œ
b œ œ œ œ œ œ œ œ œ œ
5

& b b œ œ œ œ œ œ nœ œ
2 3 4 1 3 4
2

œ œ œ œ œ
3 1
1 2 3 1 2

? bb œ œ œ œ œ œ n œ œ œ nœ œ œ œ œ œ œ ? œ œ œ œ
œ
b
1 3 2 1
&
œ œ œ œ 3 2 1
œ œ œ œ
2 4
5 4 3 3 2 1

6. F # harmonic minor scale

œ œ œ #œ œ œ œ œ œ œ
### œ œ œ œ œ œ
3

#œ œ
1 2

œ
3

œ œ œ œ œ œ
2

œ
4 1 2 1

œ
3 4

& œ œ
2 3
3 1

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

7. E b major pentatonic scale | right hand

œ œ œ œ œ
œ œ œ œ œ œ œ
3

bb
1

œ
4

b œ œ œ œ œ
3 1 2 4 2

& œ œ œ
3 1
1

8. A major pentatonic scale | right hand

### œ œ œ œ œ œ œ œ
1 2 3

œ
2 4

& œ œ œ œ œ
1 2

œ
1 2 3 1

œ œ œ œ œ œ

9. C minor pentatonic scale | right hand

bb b œ œ œ œ œ œ œ œ œ
5

œ œ œ œ œ
4
2

& œ
3 1 2 1

œ œ œ œ
1 3

œ
4 1

10. F # minor pentatonic scale | right hand

### œ œ œ œ œ œ œ
œ
2 1 2

œ
1

&
2

œ œ œ œ œ œ
2 1 2 3 3 1

œ œ œ œ œ
œ
11. C melodic minor scale | right hand

b œ œ œ œ œ œ œ œ œ œ œ œ
œ
5

& œ œ bœ œ œ œ œ œ œ œ œ œ œ
1 4
Piano Grade 3

2 3 4 3
1 2
3

œ œ œ
1 2 3 1 2

39
 Technical Exercises

12. C melodic minor scale | left hand

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

13. Chromatic scale on A | right hand

œ # œ œ # œ œ œ # œ œ # œ œ # œ n œ # œ n œ œ # œ netc.œ
3 1 2

œ #œ œ #œ œ
1 1 3 1
3

&
2 3 1 2 3

n œ # œ
1

œ
1 3 1 2 3 1 3 1 3 1 3

œ #œ œ œ #œ œ # œ

œ # œ œ # œ n œ # œ n œ œ # œ netc.œ
14. Chromatic scale on A | left hand

œ # œ œ # œ œ œ # œ
? œ # œ œ n œ # œ œ #œ œ #œ œ
œ #œ œ œ # œ
1 3 2 1 1 3 1 3 1 3 2 1 3 1 3 2 1 3 1 3 1
3 1 3 2

Group B: Arpeggios
The tempo for this group is q = 69 bpm.

1. E b major arpeggio
œ œ œ
œ œ
4

b œ œ
& b b 43 œ
2

œ œ
1

œ œ
2 1 4

˙.
2

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

2. A major arpeggio

### 3 œ œ œ
œ œ
5

œ œ
1

& 4
3 3

œ œ
1 2 2

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

3. C minor arpeggio

œ œ œ
b œ œ
& b b 43
5

œ œ
3 1
3
Piano Grade 3

œ œ
2

œ œ
1 2

œ ˙.
œ œ
? b b 43 œ œ œ ?œ œ
b &œ œ œ œ ˙.
40 2 1 4 2 1
œ
1 4
 Technical Exercises

4. F # minor arpeggio
œ œ œ
### 3 œ œ
4

œ œ
2

œ œ
1

œ œ
1

& 4 œ
2 4

˙.
2

œ œ œ
? # # # 43 œ œ œ œ œ ? œ ˙.
&œ œ œ
2 1 4 2 2
1 4

5. C dominant seventh (C 7) arpeggio

œ bœ œ bœ œ
œ œ
& 44 œ
5

œ œ bœ
4

œ bœ
1 2 3 4 3

œ
2

œ œ
1

w
? 44 œ œ bœ œ bœ œ
œ œ bœ œ bœ œ ? œ w
&
œ œ 3 2 1
œ
4
5 4 3 2 1

6. C minor sixth (Cm6) arpeggio

œ œ œ œ œ bœ
& 44 œ bœ
5

œ
4

œ œ
2 3 4 3

œ œ bœ
1 2

œ bœ
1

w
? 44 œ b œ œ œ œ œ œ bœ
œ œ œ œ œ bœ ? w
œ bœ
&
4 3 2 1
5 4 3 2 1

Piano Grade 3

41
 Technical Exercises

Group C: Chord Voicings

Harmonised Scale in 7ths

7th Chords and voicings

In the exam you will be asked to play one of harmonised scale exercises below, from memory. The examiner will state the
exercise. This exercise is performed to a metronome click. The tempo for this group is q = 80

Ex 1: C major harmonised scale in 7ths (root in bass)

& 44 ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

˙ ˙˙ ˙˙ ˙˙
˙˙ ˙˙ ˙˙ ˙˙
? 44 ˙˙

Ex 2: C major harmonised scale in 7ths (3rd in bass)

˙ ˙ ˙
& 44 ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
˙ ˙ ˙ ˙˙
˙˙ ˙
˙
˙ ˙ ˙ ˙
? 44 ˙ ˙ ˙
Piano Grade 3

42
Sight Reading

In the exam, you have a choice between either a Sight Reading test or an Improvisation & Interpretation test. The examiner will ask
you which one you wish to choose before commencing. Once you have decided you cannot change your mind.

In the sight reading test, the examiner will give you a 4–6 bar melody in the key of either A major or E b major. You will
first be given 90 seconds to practise, after which the examiner will play the backing track twice. The first time is for you to
practise and the second time is for you to perform the final version for the exam. For each playthrough, the backing track
will begin with a one bar count-in. The tempo is q = 60–95.

During the practice time, you will be given the choice of a metronome click throughout or a one bar count in at the beginning.

The backing track is continuous, so once the first playthrough has finished, the count in of the second playing will
start immediately.

Sight Reading | Example 1

### 4 œ œ œ ˙ œœœœ˙ œ. œ œ œ w œ œœœ œ

& 4 œ J w

? ### 4 ˙ . œ ˙. œ w ˙˙ ˙˙ ˙ ww
˙
4

Sight Reading | Example 2

b
& b b 44 œœ .. œœj ˙˙ j Œ œ
œœ .. œœ ˙˙ œ œ œ œ ˙ ˙ œ œœ œœ ww

? b b 44 w w ˙ œ œ œ œ Ó Œ œ w
b ˙

Please note: The tests shown are examples: The examiner will give you a different version in the exam

Piano Grade 3

43
 Improvisation & Interpretation

In the exam, you have a choice between either a Sight Reading test or an Improvisation & Interpretation test. The examiner will ask
you which one you wish to choose before commencing. Once you have decided you cannot change your mind.

In the Improvisation & Interpretation test, the examiner will give you a 4–6 bar chord progression in the key of either
A major or E b major. You will first be given 90 seconds to practise, after which the examiner will play the backing track
twice. The first time is for you to practise and the second time is for you to perform the final version for the exam. For each
playthrough, the backing track will begin with a one bar count-in. The tempo is q = 60–95.

During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at the beginning.

The backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will
start immediately.

You are only required to improvise single note melodies, with either right or left hand. It is permissible to play chord
voicings, but please note you will only be marked on melodic content.

Improvisation & Interpretation | Example 1

q = 90

b Bb7 A b maj 7 E b maj 7

bb b 4 E maj
7

& 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Bb7 A b maj 7 E b maj 7

bb b C m
7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[5]

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

Improvisation & Interpretation | Example 2

q = 90

# # # 4 A maj
7 E7 D maj 7 A maj 7

& 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

### F#m E7 D maj 7 A maj 7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[5]
Piano Grade 3

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

44
Ear Tests

In this section, there are two ear tests:

■■Melodic Recall
■■Chord Recognition

You will find one example of each type of test printed below and you will need to perform both of them in the exam.

Test 1: Melodic Recall

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

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

œ œ œ ˙ ˙
& 44 œ

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

Test 2: Chord Recognition

The examiner will play you a sequence of chords, each with a C root note. You will hear the chord sequence twice, each time
with a one bar count-in. You will then be asked to identify the chord quality of each chord, from a choice of major, minor,
diminished, augmented, dominant 7th and major 7th. The tempo is q = 95 bpm.

& 44 www www

w www b www

? 44 w w w w

Please note: The test shown is an example. The examiner will give you a different version in the exam.
Piano Grade 3

45
 General Musicianship Questions

The final part of your exam is the General Musicianship Questions section, which features five questions relating to one of
your choice of the performance pieces.

1.  You will be asked a question relating to the harmony from a section of one of your pieces
2.  You will be asked a question relating to the melody in a section of one of your pieces
3.  You will be asked a question relating to the rhythms used in a section of one of your pieces
4.  You will be asked a question relating to the technical requirements of one of your pieces
5.  You will be asked a question relating to the genre of one of your pieces

Further guidance on the types of questions asked at this grade can be found at the RSL website www.rslawards.co.uk
Piano Grade 3

46
Entering Rockschool Exams

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

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

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

Piano Grade 3

47
 Marking Schemes

Grade Exams | Debut to Grade 8

ELEMENT PASS MERIT DISTINCTION

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

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

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

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

Sight Reading
or 6 out of 10 7–8 out of 10 9 + out of 10
Improvisation & Interpretation

Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10

General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5

TOTAL MARKS 60%+ 74%+ 90%+

Performance Certificates | Debut to Grade 8

ELEMENT PASS MERIT DISTINCTION

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

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

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

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

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

TOTAL MARKS 60%+ 75%+ 90%+

Piano Grade 3

48
Copyright Information

Unfaithful
(Eriksen/Hermansen/Smith)
Sony/ATV Music Publishing (UK) Limited/EMI Music Publishing Limited/Concord Music Publishing LLC

Somewhere Only We Know

(Hughes/Rice-Oxley/Chaplin)
Universal Music Publishing MGB Limited

Don’t Know Why

(Harris)
Sony/ATV Music Publishing (UK) Limited

A Whole New World (from “Aladdin”)

(Menken/Rice)
Universal Music Publishing Limited

Skyfall (from the Motion Picture “Skyfall”)

(Adkins/Epworth)
Universal Music Publishing Limited/EMI Music Publishing Limited

Paradise
Berryman/Buckland/Champion/Martin/Eno
Universal Music Publishing MGB Limited/Opal Music

Piano Grade 3

49
 Piano Notation Explained

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

œ œ œ œ
rhythms and is divided by lines into bars.

?4 œ
C D E F G A B C D E F G A B C

œ œ œ
Pitches are named after the first seven letters

4 œ œ œ
of the alphabet.

œ œ œ œ

Grace Note: Play the grace note on Pedal Marking: Depress and then release the
or before the beat depending on the sustain pedal. Multiple pedal operations in a
style of music, then move quickly to short space of time may be simplified as shown
the note it leads onto. in the last two beats of the bar below.

3 4 œ
&4 œ
j ˙˙ .. &4 œ œ œ œ œ œ œ
° °

Spread Chord: Play the chord from the bottom note up Glissando: Play the notes between the notated
(top down only if there is a downward arrow head). pitches by sliding over the keyboard with the
The final note should sound by the appropriate fingers or fingernails.

# 4 g ˙˙ ggg ˙˙˙˙
notated bar position.

& 4 ggg n ˙˙ g & h h

gliss.

Tremolando: Oscillate at speed Finger Markings: These numbers represent

between marked notes. your fingers. 1 is the thumb, 2 the index
finger and so on.

bw w
& & œ œ œ œ
1 2 3 4 5

>œ
D.%. al Coda
fi
(accent) • Accentuate note (play it louder). • Go back to the sign (%), then play until

fi
the bar marked To Coda then skip to

œ^
the section marked Coda.

D.C. al Fine • Go back to the beginning of the song and

play until the bar marked Fine (end).
(accent) • Accentuate note with great intensity.
Una Corda • Use soft pedal

œ. .. .. • Repeat the bars between the repeat signs.

(staccato) • Shorten time value of note.

œ-
• When a repeated section has different

.. ..
1. 2.
Piano Grade 3

endings, play the first ending only the first

time and the second ending only the
second time.
(accent) • Accentuate note with more arm weight.

50
Digital downloads
now available!
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