Female 1 PDF

Female Vocals
Grade 1
Performance pieces, technical exercises and in-depth guidance
for Rockschool examinations
www.rslawards.com
Acknowledgements
Published by Rockschool Ltd. © 2014 under license from Music Sales Ltd.
Catalogue Number RSK091401R
ISBN: 978-1-912352-23-4
29 August 2017 | Errata details can be found at www.rslawards.com
AUDIO
Backing tracks produced by Music Sales Limited
Supporting test backing tracks recorded by Jon Musgrave, Jon Bishop and Duncan Jordan
Supporting test vocals recorded by Duncan Jordan
Supporting tests mixed at Langlei Studios by Duncan Jordan
Mastered by Duncan Jordan
MUSICIANS
Neal Andrews, Lucie Burns (Lazy Hammock), Jodie Davies,Tenisha Edwards, Noam Lederman,
Beth Loates-Taylor, Dave Marks, Salena Mastroianni, Paul Miro, Ryan Moore, Jon Musgrave,
Chris Smart, Ross Stanley, T-Jay, Stacy Taylor, Daniel Walker
PUBLISHING
Compiled and edited by James Uings, Simon Troup, Stephen Lawson and Stuart Slater
Internal design and layout by Simon and Jennie Troup, Digital Music Art
Cover designed by Philip Millard, Philip Millard Design
Fact Files written by Stephen Lawson, Owen Bailey and Michael Leonard
Additional proofing by Chris Bird, Ronan Macdonald, Jonathan Preiss and Becky Baldwin
Cover photography © Michael Buckner / Getty Images
Full transcriptions by Music Sales Ltd.
RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

SYLLABUS
Vocal specialists: Martin Hibbert and Eva Brandt
Additional consultation: Emily Nash, Stuart Slater and Sarah Page
Supporting tests composition: Martin Hibbert, James Uings, Jon Musgrave, Jodie Davies,
Ryan Moore, Chris Hawkins, Jonathan Preiss
Rhythmic test lyrics: Lucie Burns (Lazy Hammock)
DISTRIBUTION
Exclusive Distributors: Music Sales Ltd.
CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)845 460 4747
Email: info@rslawards.com
Female Vocals Grade 1
2
Table of Contents
Introductions & Information
1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Female Vocals Grade 1
Rockschool Grade Pieces
5 Feist.. . . . . .................................................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ‘1234’

11 Billie Holiday..................................................... . . . ‘God Bless’ The Child’
17 Ellie Goulding................................. ‘I Need Your Love’ (Radio Edit)
25 Katy Perry.. .......................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ‘Roar’
31 Katrina And The Waves............................. . . ‘Walking On Sunshine’
39 Lily Allen.. ................................................ ‘Somewhere Only We Know’
Technical Exercises
46 Scales, Arpeggios, Intervals & Technical Studies
Supporting Tests

48 Sight Reading
49 Improvisation & Interpretation
50 Ear Tests
51 General Musicianship Questions
Additional Information
52 Entering Exams, Exam Procedure & Marking Schemes

53 Musical Interpretation & Free Choice Pieces
54 Copyright Information
55 Rockschool Digital Downloads
56 Rockschool Popular Music Theory
3
Welcome to Rockschool Female Vocals Grade 1
Welcome to the Rockschool Female Vocals Grade 1 pack. This book and accompanying audio contain everything you need
to sing at this grade.
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
The book is divided into a number of sections. These are:
■■Exam Pieces: in this book you will find six well-known pieces of Grade 1 standard. Each song is preceded by a Fact File
detailing information about the original recording, the artist who sang on it and some recommended listening if you
wish to research the artist further.
■■Piano and guitar notation: every exam piece is printed with a piano part and guitar chords. Both are a representation
of the overall band arrangement. These have been included to assist you with your practice should you wish to use a
piano and/or guitar for accompaniment. In your exam you must perform to the backing tracks provided.
■■Vocal score: in addition to the piano/vocal/guitar arrangement there is also a separate vocal-only score to allow you to
view the vocal part on a single sheet of paper.
■■Technical Exercises: there are a range of technical exercises in this grade. Some are notated in full, and some give a

range of starting notes.
■■Supporting Tests and General Musicianship Questions: in Vocals Grade 1 there are three supporting tests – either a
Sight Reading or an Improvisation & Interpretation test and two Ear Tests – and a set of General Musicianship Questions
(GMQs) asked at the end of each 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, information on Free Choice Pieces and improvisation requirements for each grade.
Audio
Each song in Vocals Grade 1 has an audio track which has been provided for you. This is a backing track with the vocal
taken off so you can sing along with the band. The backing tracks should be used in examinations. There are also audio
examples of the supporting tests printed in the book. The audio files are supplied in MP3 format.
All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded from the
RSL website: www.rslawards.com
4
Feist
SONG TITLE: 1234

K
ALBUM: THE REMINDER Moderately q = 110 iq = q e
RELEASED: 2007
LABEL: POLYDOR D5 A/D
GENRE: INDIE POP 5fr
  
  
PERSONNEL: LESLIE FEIST (VOX+BANJO)
  

BEN MINK (GUITAR)
JULIAN BROWN (BASS)
JESSIE BAIRD (DRUMS)
       
GONZALES (PIANO)
UK CHART PEAK: 8

US CHART PEAK: 8
A/D Bm
BACKGROUND INFO NOTES D5
5fr

‘1234’ was the second single from Feist’s third In 2005, while touring Let It Die, Feist was
studio album The Reminder.
 
supported by New Buffalo aka Australian singer-
  
songwriter Sally Seltmann. Seltmann had written
THE BIGGER PICTURE   

a song after listening to Let It Die and thought it
sounded too much like a Feist track to record under
her New Buffalo stage name, so she offered it to Feist,
Leslie Feist was born in Nova Scotia, Canada in who began1. Onite,live and
playing three,it as four,
o, recorded
twlater
1976. Her father was a painter, and her mother, a ‘1234’ for her fourtheet - hea rt, Thebit - ter It- heart,
Reminder. n
2. Sw studio album,
 
student of ceramics. Aged 12, Feist performed as proved to be her best-selling single. This was in no
one of 1,000 dancers in the opening ceremony of small part due to a witty choreographed video that
     
the Calgary Winter Olympics (she later cited this went viral on YouTube and the song being used in the
experience as the inspiration for the video for ‘1234’).
As a child, Feist was interested in becoming a writer
 
TV ads for Apple’s iPod Nano. Following the airing of
the iPod ad, ‘1234’ went from Number 102 in the UK
and spent much of her time singing in choirs. At the singles chart to Number 8. In America, the song had
age of 15 she formed her first band, a punk outfit been selling 2,000 downloads per week prior to the
       
called Placebo (not to be confused with the English iPod adverts and ended up shifting over 73,000 total
rock group of the same name), in which she sang lead downloads thanks to Apple’s use of it.
vocals. Placebo won a local battle of the bands and
were awarded the opening slot at a festival, at which
Feist met Brendan Canning who she later joined RECOMMENDED LISTENING
in the group Broken Social Scene. Her solo career
kicked off in 1999 with the release of her debut album, ‘Mushaboom’ featured on Feist’s major label
Monarch (Lay Your Jewelled Head Down). Her major debut, Let It Die, and was chosen to feature on the
label debut, Let It Die, followed in 2004. Feist toured soundtrack of the film 500 Days Of Summer. It has a
for three years, helping the album go platinum in similarly laid-back sound to ‘1234’. ‘I Feel It All’, from
Canada and earning her two Juno Awards for Best The Reminder,Bm /D indie rock in flavourG5and
is more
/Dwas
New Artist and Best Alternative Rock Album. used in the British TV series The InBetweeners.
 5
      
1234
1234 Feist
Words & Music by Feist & Sally Seltmann
Moderately q = 110 iq = qK e
D5 A/D Bm/D G5/D
5fr
 
   
         

      
             

D5 A/D Bm/D G5/D D5 A/D

5fr 5fr

                 

1. One, two, three, four, tell me that you love me more. Sleep - less long nights,
2. Sweet - heart, bit - ter - heart, now I can tell you a - part. Co - sy and cold,
 
  
           
        
               
Bm/D G5/D D Em Bm G6 G7

     
               
that is what my youth was for. Old teen - age hopes are a - live at your door,
 
put the horse be - fore the cart. Those teen - age hopes who have tears in their eyes,
   
  
         
  
         
    
6 © Copyright 2007 Songs Of SMP
Kobalt Music Publishing Limited/Universal Music Publishing MGB Limited.
All Rights Reserved. International Copyright Secured.
D Em Bm G6 G7 A
 
3
 
3
 
3
           
   

left you with noth - ing but they want some more. Oh, oh, oh, you’re
too scared to own up to one lit - tle lie.
       
  
         

 
        
    
Gmaj7 A G
   
               
   
chang - ing your heart. Oh, oh, oh, you know who you are.
            
           
 
   

 


              
μ


3
              
One, two, three, four, five, six, nine and ten, money can’t buy you
        
     
          
    
D A6/C# Bm G/B

            
  
back the love that you had then.


3
           
               
        
   
7
D A6/C# Bm G/B D A6/C#

    
 
One, two, three, four,
        
3
    
           
         
          

Bm7 G D A6/C# Bm7 G
 3 
                

five, six, nine and ten, money can’t buy you back the love that you had then.
          
         
    
                    
   

D A Bm G/B D A
 
   
 

           
            

            
   
Bm G/B A6 Gmaj7
  
   
       
 
Oh, oh, oh, you’re chang - ing your heart.

       
         
        
   
    3
    
        
8
1. 2.
A Gmaj7 G%
      3
   
    
    
    
 
Oh, oh, oh, you know who you are. know who you are.
        
          
   
 
3
  
            
D Em Bm G
   
          
     
Who you are,
         
 
    
      

  
   

 3  
               
D Em Bm G D Em
 
3
                 
 
 

     
are. Ooh, ooh.
       
3
      
          
            

3 3
               
    
Bm G D Em Bm G
 
                   3
  
         
3
    
   
   
 
3
  
3 3 3
        
         
9
1.
D Em7 Bm7 G D Em7 Bm7 G
 
               
             
 
Ta - ra, ta - ra - ra, ta - ra - ra, ta - ra - ra. Ta - ra, ta - ra - ra, ta - ra - ra, ta - ra - ra.
                
          
3
                         
  
3 3 3 3 3
                 
    
2.
Bm7 G6 Dmaj9 Em9 Bm7 G Dmaj9 Em9
  
               
   

ra - ra, ta - ra - ra. Be - fore, be -fore the teen -age boys.
     
heart before the teen - age boys.
                   
 
            

3
      
       
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They’re break -ing your They’re break -ing your heart.
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
     
10
Billie Holiday God Bless
SONG TITLE: GOD BLESS’ THE CHILD
ALBUM: N/A
Slowly with feeling
RELEASED: 1942
LABEL: OKEH BbŒ„Š7 Bb7 Eb6 BbŒ„Š
GENRE: JAZZ

         
PERSONNEL: BILLIE HOLIDAY (VOX)
EDDIE HEYWOOD (PIANO)
ROY ELDRIDGE (TRUMPET)
ERNIE POWELL (TRUMPET) p
JIMMY POWELL (ALTO SAX)
   
LESTER BOONE (ALTO SAX)
PAUL CHAPMAN (GUITAR)
 
GRACHAN MONCUR (BASS)
HERBERT COWANS (DRUMS)
$
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UK CHART PEAK: N/A G‹ D‹/F
US CHART PEAK: N/A 3fr

 Goodman. By then she had madea name for herself


BACKGROUND INFO
  
for her unique singing style: rather than sing a song’s
‘God Bless’ The Child’ is a song co-written by melody as written, Holiday would improvise in em that’s
Ththe got

Billie Holiday in 1939, and first recorded in 1941. way jazz instrumentalists would. Her vocals were also

Hundreds of artists have since recorded the song and intensely emotional, influenced by Louis Armstrong’s
        
it is considered a jazz ‘standard’. The version presented vocal style, as Holiday seemed to take a song’s lyrics to

in this book is a reworking of the original song as heart. Holiday later starred with her hero Armstrong
typically found in song books, popular among jazz
musicians, known as ‘real’ or ‘fake’ books.
 
in the film New Orleans and performed with other
jazz artists such as Count Basie, Lester Young (who 
gave her the title ‘Lady Day’) and Artie Shaw.
mf
THE BIGGER PICTURE
NOTES
  
The song’s
  a fight over 
lyricswere inspired by

 
Billie Holiday was born Eleanora Fagan in
Baltimore in 1915. Her father, jazz guitarist Clarence
Holiday, never married Fagan’s mother and left when money that Holiday had with her mother, in which her
she was a baby. She had a troubled childhood due mother said, “God bless’ the child that’s got his own.”
to her mother not being at home and was sent to a
Catholic reform school at the age of 10. Two years
later, Fagan and her mother moved to New York for RECOMMENDED LISTENING
Bb13
Db7 F‹7
F‹7
work. Once settled in her new surroundings, Fagan

began singing in clubs in Harlem. It was then that The Essential Billie Holiday – The Columbia Years
  
she rebranded herself ‘Billie Holiday’ (‘Billie’ after an features the original version of ‘God Bless’ The Child’
     
actress she admired called Billie Dove and ‘Holiday’ along with a swathe of material from the earliest days
after her father). At 18, Holiday made her debut as of Holiday’s career. Lady Sings The Blues (1956) has
a recording artist when she cut a single with Benny her in good form a few years before her death.
ble said, and it still

Bi -
 
11
   
God Bless’ The Child
Billie Holiday

Words & Music by Billie Holiday & Arthur Herzog Jr.
Slowly with feeling

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Them that’s got shall get, them that’s not shall lose, so the

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
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
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 
Bi - ble said, and it still is news; Ma - ma may have,

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
12 © Copyright 1941 Edward B. Marks Music Company.
Reproduced by kind permission of Carlin Music Corporation.
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 
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
Pa - pa may have, but God bless’ the child that’s got his own! That’s
 
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
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got his own. Yes, the strong gets more, while the


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
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
weak ones fade, emp - ty pock - ets don’t ev - er make the grade;

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Ma - ma may have, Pa - pa may have, But God bless’ the child that’s
 
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
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got his own! That’s got his own.

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
            
Mon - ey, you got lots o’ friends, crow - din’ ’round the

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
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door. When you’re gone and spend - in’ ends,
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 
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
             
bread and such, you can help your - self, but don’t take too much!

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15
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Ma - ma may have, Pa - pa may have, But God bless’ the child that’s
 
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got his own! That’s got his own! Them that’s

 3
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16
5
I Need You
Ellie Goulding
SONG TITLE: I NEED YOUR LOVE

C‹
(RADIO EDIT) q = 128 3fr
ALBUM: HALCYON
RELEASED: 2013
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GENRE: POP love.
I need your
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BACKGROUND INFO NOTES
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village in Herefordshire. She began playing clarinet
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Harris the first artist in British chart history to
have eight songs in the Top 10 from one album (the
˙
14. Within a year of picking up the guitar she was previous record holder was Michael Jackson). Ellie
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I Need Your Love (Radio Edit)
Ellie Goulding
Words & Music by Adam Wiles & Ellie Goulding
I Need Your Love
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18 © Copyright 2012 TSJ Merlyn Licensing BV.
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24
Roa
Katy Perry
SONG TITLE: ROAR

q = 88
ALBUM: PRISM
B¨
RELEASED: 2013

LABEL: CAPITOL
 
 
GENRE: POP
PERSONNEL: KATY PERRY (VOX)

      
     
 
 
UK CHART PEAK: 1
US CHART PEAK: 1
         
 
Perc.
B¨
 Like
 many pop

‘Roar’ was the lead single from Katy Perry’s fourth
album, Prism, and a Number 1 hit around the world.  
 of songwriters. often co-writes
 with singer-    
songs, ‘Roar’ was written by a team
Perry
songwriter Bonnie McKee, who is credited as a writer
bite my tongue and hold my brea
1. ,Iso use
on ‘Roar’ twotomost
the d likely traded lyric ideas at
 
THE BIGGER PICTURE an early stage of the song’s development. The song’s

           
producers – Dr. Luke, Max Martin and Cirkut – also
In 2001 Katy Hudson released her self-titled get a share of the writing credits and would have
debut album. She grew up in a religious household written the backing track collaboratively for Perry
and was forbidden from listening to anything other to sing over. Gottwald and Martin are among pop’s
  
than sacred music, so naturally Katy Hudson was a most successful writers and there’s a good chance they
Christian rock record. Shortly after, though, Hudson also had some input on the vocal melody (top line)
started working with pop producers who saw her and song arrangement. This process of co-writing
commercial potential – ‘Katy Hudson’ became ‘Katy
Perry’ and her music turned from praising God to  is common in pop music and it’s not unusual to see
even more names listed in a song’s credits, especially if
raising eyebrows. Perry’s breakthrough single was another song is sampled and its writers credited too.
the controversial ‘I Kissed A Girl’, featured on her
first post-Hudson album, 2008’s One Of The Boys. It G‹7
was during the writing of this album that her musical RECOMMENDED
3fr LISTENING

relationship with producer Dr. Luke began. Luke has
been responsible for some of the biggest hits of the
  early highlight
 withandits swaggering
Katy Perry’s breakthrough single, ‘I Kissed A Girl’,
 was     
unforgettable   
21st century, including ‘I Kissed A Girl’ and ‘California an rock riffing,
Gurls’ with Perry, as well as ‘Since U Been Gone’ vocal hooks racy lyrics. ‘Last Friday
(Kelly Clarkson) and ‘Wrecking Ball’ (Miley Cyrus). Night (T.G.I.F.)’, from 2010’s Teenage Dream wentet - ly,
sat qui -
So I
It’s a relationship that continued through all of Katy even further lyrically with its tales of debauchery and
Perry’s albums up to Prism, the record on which Perry
  
cheeky music video. ‘Firework’, from the same album,
got serious, with its themes of failed relationships,
   
shows a more emotional, less tongue-in-cheek side to

living in the present and self-empowerment.
  
Perry and a powerful vocal performance.
 
25

Roar
Katy Perry
Roar Words & Music by Katy Perry, Lukasz Gottwald,
Bonnie McKee, Max Martin
& Henry Russell Walter
q = 88
B¨ B¨(“2)

   
             
               

 
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     
   
Perc. cont. sim.
B¨ B¨(“2)/C

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
           
      
    
1. I used to bite my tongue and hold my breath. Scared to rock the boat and make a mess.

               
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
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So I sat qui - et - ly, a - greed po - lite - ly.


         
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  
  
   
 
26 © Copyright 2013 Kobalt Music Publishing Limited/Warner/Chappell North America Limited/
Kassner Associated Music Publishers Limited.
B¨ B¨(“2)/C
3fr

          
       
       
2. I guess that I for - got I had a choice. I let you push me past the break - ing point.
3. Now I’m float - ing like a but - ter - fly, sting - ing like a bee. I earned my stripes.

                
         
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3fr
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                 

I stood for noth - ing, so I fell for ev - ’ry - thing. You

I went from ze - ro to my own he - ro.

                   
  
  
  

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 
B¨ B¨(“2)/C
3fr
 
                 
held me down but I got up, al - read - y brush - ing off the dust. You
  
                  
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G‹7 B¨(“2)/E¨
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  
hear my voice, you hear that sound. Like thun - der gon - na shake the ground. You
  
               
   
  
   
  27
2
B¨ B¨(“2)/C
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 
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see it all. I see it now. I got the eye of the ti -
 
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  
  
  
G‹7 E¨
3fr 6fr
     
            
am a cham - pion and you’re gon - na hear me roar.
      
     


   
     

  
   
28  
3
B¨ C‹
3fr
   
               
Lou - der, lou - der than the li - on. ’Cause I
    
    


   
   


   

  
  
  
G‹7 E¨ B¨
3fr 6fr
    
                    
am a cham - pion and you’re gon - na hear me roar. Oh, oh, oh, oh, oh.
        
  
              
    
 
  
   
 
 

C‹ G‹7
3fr 3fr

                    
Oh, oh, oh, oh, oh, oh. Oh, oh, oh, oh, oh, oh.
 
      

   
     

   
  
  
  
1. 2, 3.
E¨ B¨ B¨(“2) B¨
6fr
    
   

            
   
     
You’re gon - na hear me roar. Oh, oh, oh, oh, oh.
              


   
    

           
   
 
 Perc.
29
4
C‹ G‹7
3fr 3fr

                    
Oh, oh, oh, oh, oh, oh. Oh, oh, oh, oh, oh, oh.
 
      

   
     

   
  
  
  
E¨ B¨ C‹ G‹
6fr 3fr 3fr
To Coda Ø
    
           
     
You’re gon - na hear me roar.
      
      
   

 
   
    
   

 
F
   
             
Roar. Roar. Roar. Roar. Roar.
 
   

 
 

 
                        
  
Ø Coda B¨
μ D.S. al Coda
  
              
I got the eye of the ti -

 
         

 

        
   
30
5
Walking
Katrina And The Waves
SONG TITLE: WALKING ON SUNSHINE

(8 bar drum intro)
ALBUM: WALKING ON SUNSHINE h = 110
Bb Eb
RELEASED: 1985 6fr
6fr
LABEL: CAPITOL RECORDS
  
 
GENRE: POP ROCK
PERSONNEL: KATRINA LESKANICH (VOX)

KIMBERLEY REW (GUITAR)
    
VINCE DE LA CRUZ (BASS)
        
ALEX COOPER (DRUMS)
     
UK CHART PEAK: 8
      
  
  
US CHART PEAK: 9

2. Bb
6fr
    
 


‘Walking On Sunshine’ was the breakthrough single Success didn’t come quickly for Katrina And The
for the UK-based pop rock group Katrina And The Waves. Although Rew’s knack for writing I
1. catchy, used to
Waves, after years on the covers circuit. guitar-driven pop seemed tailor-made for the (2.) used to
     
 
charts, only a small independent record label, Attic
    
Records, had the faith to sign the band. And even
THE BIGGER PICTURE
   
then, K&TW’s records were only released in Canada.
Nevertheless, this exposure led to one of Rew’s songs, 
The roots of Katrina And The Waves go back to ‘Going Down To Liverpool’, being chosen for The
1975, when guitarist Kimberly Rew and drummer
     
Bangles’ debut album, which in turn led to the major

  
Alex Cooper formed a group called The Waves. For labels at last becoming interested in Katrina And
two years they played in and around their home
town of Cambridge before Rew left to join a group

The Waves. Capitol Records signed the band and
released its self-titled debut album worldwide in 1985.  
called The Soft Boys. The Waves carried on after It went Top 30 in the UK and US, and K&TW were
Rew’s departure until 1979, when Cooper also left to nominated Eb
F in the Grammys’ ‘Best Band’ category. The
6fr
join a covers band called Mama’s Cookin’, featuring album’s lead8frsingle, ‘Walking On Sunshine’, went Top

American singer Katrina Leskanich. Mama’s Cookin’ 10 on both sides of the Atlantic.
played England’s US military bases (a rite of passage
for many bands at the time) performing soul, pop, 
RECOMMENDED
    
R&B and seventies rock. Then, in 1981, The Soft LISTENING
Boys split up and Alex Cooper persuaded Kimberley
- by
Rew to join Mama’s Cookin’, which was renamed Before it was a me ‘Going Down ba
hit ,for The Bangles,now
one, of many songsnow writtenIby know
that
The Waves after Cooper and Rew’s first group. To Liverpool’ wasme
Initially, Rew was the lead singer and the group’s sole

Kimberley Rew for Katrina And The Waves. The
songwriter as they added more original songs to their
   
group had a late career revival when they represented
 
 
set. However, Rew saw potential in Leskanich and the UK in the Eurovision Song Contest with Rew’s
made her the lead singer, renaming the band for the ‘Love Shine A Light’ – and won. The song was a Top
final time, ‘Katrina And The Waves’. 10 hit across Europe.
     
     31
Walking On Sunshine
Katrina & The Waves
Walking On Sunshine Words & Music by Kimberley Rew
(8 bar drum intro)

h = 110 1.
Bb Eb F Eb Eb/F
6fr 6fr 8fr 6fr 8fr
 
     
          
                  
               
          
     
          
2. Bb Eb
6fr 6fr

 
  
       

1. I used to think may - be you love
(2.) used to think may - be you love

       
       
       
       
   
          
F Eb Bb Eb
8fr 6fr 6fr 6fr
 
         
me, now ba - by I’m sure;

me, now I know that it’s true;
   


       
      
       
           
32 © Copyright 1985 Kyboside Limited.
Touch Tones Music Limited.
F Eb Bb Eb
8fr 6fr 6fr 6fr
  
  
   

and I just can’t wait

and I don’t wan - na spend
           
    
       
             
          
   
          
F Eb
8fr 6fr

      
     
till the day when you knock down the door!
 my whole life just a wait - ing for you!
       
        
  
         
   
      

Bb Eb F Eb
6fr 6fr 8fr 6fr
     

  
Now,
          
Now, I
             
               
  
           
   
          
Bb Eb F Eb
6fr 6fr 8fr 6fr

                
ev - ’ry time I go for the mail - box, got - ta hold my - self down,

don’t want you back for the week - end, not back for a day.
                 

    

          
   
          
33
Bb Eb F Eb
6fr 6fr 8fr 6fr

        
’cause
     
I said,

                     
               
           
   
          
Bb Eb F Eb
6fr 6fr 8fr 6fr
 
               
I just can’t wait till you write me you’re com - ing a - round.

ba - by I just want you back, and I want you to stay.

             
      
  
         
   

          
Bb Eb F Eb
6fr 6fr 8fr 6fr
  
       
 
 I’m walk - ing on sun -
     
              
             
  
         
   
          
$ Dm/F
6fr
Eb
6fr
 
             
- shine, whoa. I’m walk - ing on sun -

    
             
   
       
   
              
34
Dm/F Eb
6fr 6fr
 
             
- shine, whoa. I’m walk - ing on sun -
   
      
       
   
       
   
              
Dm/F Eb Bb
6fr 6fr 6fr
  
            
- shine whoa; and don’t it feel good!
     
             
   
       
   
              

To Coda Ø
Bb Eb F Eb 1.
6fr 6fr 8fr 6fr
    
            
Hey, al - right now, and don’t it feel good!
    
                
    
          
         
   
           
Bb Eb F Eb
6fr 6fr 8fr 6fr
   
     
 
Hey, yeah! 2. I
         
                 
              
          
   
          
35
Bb Eb F Eb
2. 6fr 6fr 8fr 6fr
  
             
don’t it feel good! Yeah, oh, yeah, and
   
             
           
          
        

              
Bb Eb F Eb
6fr 6fr 8fr 6fr

          
don’t it feel good!
     
                  
               
          
    
          

Bb Eb F Eb
6fr 6fr 8fr 6fr
     

      
                   
               
          
    
          
Eb/F Bb Eb F Eb
8fr 6fr 6fr 8fr 6fr

          
Walk - ing on sun - shine.
        
                   
               
          

              
36
Eb/F Bb Eb F Eb
8fr 6fr 6fr 8fr 6fr
 
         
Walk - ing on sun - shine.
        
                   
               
          
    
          
Eb/F Bb Eb
8fr 6fr 6fr

              

I feel a - live, I feel a - live, I feel the love
       
               
           
         
 
      

  
F Eb Eb/F Bb Eb
8fr 6fr 8fr 6fr 6fr
  
              
that’s real - ly real! I feel a - live, I feel a - live,
      
             
            
       
    
       
F Eb Bb
8fr 6fr 6fr

               
I feel the love that’s real - ly real! I’m on sun -

       
               
           
         
    
      
37
Bb Eb F Eb
6fr 6fr 8fr 6fr
  
            
- shine, ba - by. Oh, oh, yeah, I’m on sun -
     
            
      
           
   
           
Bb Eb F Eb
6fr 6fr 8fr 6fr
  
       
- shine, ba - - by. Oh, I’m
  
      
   
   
       
   
       

D.S. al Coda Ø Coda
Eb Bb Eb

6fr 6fr 6fr
 
             
walk - ing on sun - don’t it feel good! ad lib. vocal

   
               
       
           
  
         
Repeat ad lib. to fade
F Eb Eb/F
8fr 6fr 8fr
 
   

          


   

  

        
  
          
    
      
38
Lily Allen
SONG TITLE: SOMEWHERE ONLY WE KNOW

ALBUM: SHEEZUS q = 84
RELEASED: 2013 B¨
        
LABEL: PARLOPHONE
 
GENRE: POP
PERSONNEL: LILY ALLEN (VOX)   

PAUL BEARD (PIANO)
PAUL SAYER (GUITAR)
 
   
UK CHART PEAK: 1

US CHART PEAK: N/A
BACKGROUND INFO records being released officially. Her debut album,

Cm(2006), went Top 40 in 13 countries

Alright, Still
‘Somewhere Only We Know’ was Lily Allen’s third and suddenly Allen
3fr was a media sensation, known
Number 1 single in the UK. It is a cover of a song by
   
 
 

for her risqué persona and outspokenness. In 2009,

the rock group Keane.
       
her second album, It’s Not Me, It’s You, was an even


bigger success, topping the UK albums chart. Sheezus
followed in 2014 and also went to Number 1.
THE BIGGER PICTURE
Lily Rose Beatrice Allen was born in London in NOTES

1985. She is the daughter of actor Keith Allen and
  
film producer Alison Owen. Allen’s parents split up ‘Somewhere Only We Know’ was originally written

when she was four, which may have had an influence and recorded by the English piano rock group Keane,
on her behaviour at school – she was expelled from
several schools for a range of wrongdoings. In spite    
and released in 2004. Lily Allen’s version was made
available for digital download before the release of her 
of this, Allen was a keen student of music, taking third album, Sheezus. It also featured in John Lewis’s
singing lessons and playing piano, violin, guitar and Christmas television ad, which had already proved
trumpet. She dropped out of school aged 15, went on lucrative for several singers before Allen.
holiday to Ibiza and ended up staying on, working
in a record shop but again living a far from virtuous
lifestyle. Fortunately, she was discovered by A&R RECOMMENDED LISTENING
man George Lamb, who rescued her and took her
on as his client. Allen signed her first record deal in
a tempo q = 84
‘Smile’ and ‘LDN’ were Top 10 hits from Lily Allen’s
B¨ Still, and are representative of
2002, but her label, London Records, lost interest debut album, Alright,
and nothing was released. Lily persevered and in her early sound – cutesy pop with an edge. ‘The Fear’
2005 signed to a subsidiary of Parlophone records. and ‘Not Fair’ are standout tracks from her second
The singer’s success was largely down to her posting
 
album, It’s Not Me, It’s You, while ‘Hard Out Here’, the
songs she recorded for the label on her MySpace page,
     
first single from Sheezus, was a continuation of the

which created a buzz on social media prior to any Lily Allen sound and attitude.
1. I walked a - cross 39
2. I came a - cross
Somewhere Only We Know
Lily Allen
Somewhere Only We Know Words & Music by Richard Hughes, Tim Rice-Oxley & Tom Chaplin
q = 84
B¨ Dm/A
                          
         

        
 
rit.
Cm F(“4) F
    
3fr
        

             

     
  

a tempo q = 84
B¨ Dm/A

          
    
1. I walked a - cross an emp - ty land.
2. I came a - cross a fall - en tree.
                          
         
  
  
        
  
40 © Copyright 2004 BMG Music Publishing Limited.
Universal Music Publishing MGB Limited.
Cm F(“4) F
3fr
 
             

I knew the path - way like the back of my hand.
I felt the branch - es of it look - ing at me.
               
                

             
   

B¨ Dm/A

       
     
I felt the earth be - neath my feet.

Is this the place we used to love?
                         
        

       
   
  
Cm F(“4) F
3fr
 
             

Sat by the riv - er and it made me com - plete.
Is this the place that I’ve been dream - ing of?
               

                
            
    

41
2
Gm Dm
3fr
    
  
  
  
Oh, sim - ple thing, where have you gone?
               
             
  
 
1. 2.
E¨ Cm rit. F(“4) F6 Cm F(“4) F6
6fr 3fr 3fr
 
   
                    
I’m get - ting tired and I need some - one to re - ly on. some - thing to re - ly on.
I’m get - ting old and
 I need
                     

        



       
   
$ Cm B¨/D
3fr

          
  
And if you have a min - ute, why don’t we go

  


       
   

 

       
Cm B¨/D Cm
 
3fr 3fr

              
     
 
talk a - bout it some - where on - ly we know. This could be the

       
          
  

 

           
42
3
Dm E¨Œ„Š7 F6 rit.
6fr
To Coda Ø
     
               
end of ev - ’ry - thing. So why don’t we go. some - where on - ly we

 
    

            

  
  
 

       
E6 B¨/F F6 F(“4) B¨
  
     
       
know. Some - where on - ly we know.

          
      
 


  
       


 
   
     


a tempo q = 84
Gm Dm
3fr
 
   
   (Ah,
   
ah.
  
           
   
     
   
 
Con pedale

Fm Cm
3fr

     
   
Ah, ah.
       
                  
   
      
   
 
43
4
Am Em

  
       
Ah, ah.
                    
   
    
    
    
 

B¨ D

   
   
Ah, ah.)
                  


  
   
         
  

Gm Dm
3fr
    
  
  
  
           
                       
  
 
E¨ Cm rit. F(“4) D7/F©
6fr 3fr
 
              
I’m get - ting old and I need some - one to re - ly on.
            
                   
    
  
44
5
a tempo q = 84
Gm Dm
3fr
  
  
   
    
So tell me when you’re gon - na let me in.
           
                       
 
        
D.S. al Coda
E¨ Cm F7(“4) F6
6fr 3fr
  
             
I’m get - ting tired and I need some - where to be - gin.
            
                
  
 
 
    

Ø Coda a tempo q = 80
E¨Œ„Š7 F6 D7/F© Gm7
6fr
rit. 3fr

 
   

       
 

So why don’t we go some - where on - ly we know.
 
   

      
   
 

    
 
 
   
Gm rit. E¨Œ„Š7 Slower F% Dm7/E¨ B¨

3fr 6fr

    
      
Some - where on - ly we know.

         
       
       

      


  

   
 
45
6
Technical Exercises
Group A: Scales
The major scale should be prepared as shown below. You may select any starting note from A–E. You will be asked if you
would like to sing along to a metronome click or hear four clicks before you start. Whichever option you choose, you will
hear your chosen starting note before the count starts. You may perform this test using any vocal sound except humming or
whistling. The tempo is q =70.
##4 ¿ ¿ ¿ ¿
q = 70
& # 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 exercises need to be prepared as shown below. You will be asked to perform one of them
in the exam, as chosen by the examiner.
This test is performed to a metronome click track and you may select any starting note from A–E. You will hear the root
note followed by a one-bar (three or four click) count-in. You may perform this test using any vocal sound except humming
or whistling. The tempo is q =70.
A major arpeggio | Pattern 1
¿ ¿ ¿ ¿

### 4
q = 70
& 4 œ œ Œ Ó
w w œ œ œ œ œ œ œ
A major arpeggio | Pattern 2
## ¿ ¿ ¿
q = 70
& # 43 œ œ œ œ œ œ Ó
˙. ˙. œ œ œ œ œ œ œ
46
Group C: Intervals
In this group, both the major 2nd and major 3rd intervals need to be prepared as below. You will be asked to perform one of
them in the exam, as chosen by the examiner.
The examiner will choose a starting note within the range A–C. You will hear this note followed by a four-beat 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
4
Candidate sings:
&4 ˙
w w ˙
Group D: Technical Studies

This group consists of two Technical Studies: one rhythmic and one melodic. The examiner will ask you to perform one in
the exam. The examiner will decide which, so you must prepare both before the exam. 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
¿ ¿ ¿ ¿
q =110
& 44 .. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
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

¿ ¿ ¿ ¿
q = 90
& 44 w .. ‰ œj œ ..
C Am Em Dm G C
œ œ ˙ œ œ œ œ
w ˙ w
f p
Climb up the moun - tain. Then walk back down a - gain.
47
Sight Reading
In this section you have a choice between:
■■Either – a sight reading test

■■Or – an improvisation and 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 melody in the key of C major covering a range up to a major 3rd. You will be given 90
seconds to practise, after which you will perform the test. The tempo is q =70.
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 = 70
4
&4 ˙ œ ˙ ˙ ˙
w w ˙ œ w
Please note: the test shown is an example. The examiner will give you a different version in the exam.

48
Improvisation & Interpretation
The examiner will give you a chord sequence in the key of C major. You must improvise a melody over the backing track.
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 .. ’ ’ ’ ’ ..
C F G C
w w ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

49
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 | Rhythmic 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.
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 ..
A
q = 90
& 44 .. œ Œ Œ ..
B
œ œ œ œ œ œ
50
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) 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?

51
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)845 460 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, Sight Reading and Improvisation & Interpretation) 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

TOTAL MARKS 60%+ 75%+ 90%+

52
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.
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:
ider Repertoire: a full list of suggested pieces can be found on our website, www.rslawards.com
1) W
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:
Grade Examinations: 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.)
For all FCPs, candidates will need to bring the sheet music and a backing track (without vocal part) on the day. A memory
stick, iPod or CD/DVD is acceptable and we would also suggest a second source to be safe. It will not be necessary to bring
the sheet music or backing tracks for pieces chosen from the grade book.

53
Copyright Information
1234
(Feist/Seltmann)
Kobalt Music Publishing Limited/Universal Music Publishing MGB Limited

(Holiday/Herzog)
Carlin Music Corporation
I Need Your Love

(Wiles/Goulding)
EMI Music Publishing Limited/Global Talent Publishing
Roar
(Perry/Gottwald/McKee/Max/Walter)
Kobalt Music Publishing Limited/Warner/Chappell North America Limited/Kassner Associated Music Publishers Limited
Walking On Sunshine
(Rew)
Touch Tones Music Limited
Somewhere Only We Know

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

54
Digital downloads
now available!
All your favourite Rockschool titles are now available to download
instantly from the RSL shop. Download entire grade books, individual
tracks or supporting tests to all your devices.
Start downloading now

www.rslawards.com/shop
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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Female Vocals

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

Introductions & Information

Rockschool Grade Pieces

5 Feist.. . . . . .................................................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ‘1234’

46 Scales, Arpeggios, Intervals & Technical Studies

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

52 Entering Exams, Exam Procedure & Marking Schemes

Female Vocals Grade 1

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

SONG TITLE: 1234

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

THE BIGGER PICTURE   

D5 A/D Bm/D G5/D D5 A/D

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

back the love that you had then.

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

work. Once settled in her new surroundings, Fagan

ble said, and it still

God Bless’ The Child

Slowly with feeling

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

F‹7 Db7 Bb13 F‹7 B9(b5) Bb9 EbŒ„Š7 Eb6

Bb6 D‹ G‹ D‹ Eb6 C‹7 F7 BbŒ„Š7 Bb7 Eb6

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

BbŒ„Š7 Bb7 Eb6 F‹7 Db7 Bb13 F‹7 B9(b5) Bb9

C‹9 F7 Bb6 Eb7 D7

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

G‹ G‹(Œ„Š7) G‹7 G‹6 D‹

D‹ G7 F#9(b5) F9 C‹7 F BbŒ„Š7 Bb7 Eb6

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

BbŒ„Š7 Bb7 Eb6 F‹7 Db7 Bb13 F‹7 B9(b5) Bb9

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

        

SONG TITLE: I NEED YOUR LOVE

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

I Need Your Love

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

3fr 4fr 6fr

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

SONG TITLE: ROAR

PERSONNEL: KATY PERRY (VOX)

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx

RSL-514487039776 / 1 / GMartell Mexico / rsl@gmartell.edu.mx