Acoustic Guitar Grade 3 Performance pieces, technical exercises, supporting tests and in-depth guidance guidance for Rocksch Rockschool ool examinat examinations ions
All accompanying and supporting audio can be downloaded rom: www.rslawards.com/downloads Input the ollowing code when prompted: 3ZE5N4XJHG For more inormation, turn to page 5
www.rslawards.com
Acknowledgements Published by Rockschool Ltd. © 2016 Catalogue Number RSK200023 ISBN: 978-1-910975-30-5 978-1-910975-30-5 Initial release | Errata details can be ound at www.rslawards.com SYLLABUS
Syllabus written and devised by Nik Preston and Andy G Jones Syllabus consultants: Andy G Jones, Carl Orr and James Betteridge Arrangements by Andy G Jones, Carl Orr and James Betteridge Supporting ests written by Nik Preston and Andy G Jones Syllabus advisors: Simon roup and Jamie Humphries PUBLISHING
Fact Files written by Diego Kovadlo Music engraving and book layout by Simon roup and Jennie roup o Digital Music Art Proo reading and copy editing by Diego Kovadlo, Carl Orr and Mary Keene Cover design by Philip Millard Cover photograph © Scott Gries/Getty Images AUDIO
Produced by Nik Preston, Andy G Jones, Carl Orr and James Betteridge Engineered by Andy G Jones, Carl Orr, James Betteridge, Jonas Persson and Music Sales Mixed by Andy G Jones, Carl Orr, James Betteridge Mastered by Ash Preston and Paul Richardson Supporting ests recorded by Andy G Jones Executive producers: John Simpson and Norton York MUSICIANS
Andy G Jones, Carl Orr, James Betteridge, Nik Preston, Ian homas, Mike Finnigan, Noel McCalla, Patti Revell and Hannah Vasanth SPONSORSHIP
Andy G Jones endorses homastik Ineld strings, Providence cables and pedal switching systems, Free he one eects, JJ Guitars, Ergoplay guitar supports and Wampler Pedals. All nylon strings parts recorded direct with the Yamaha NX2000. Carl Orr endorses MI Audio Revelation amps & eects, and Picato strings. James Betteridge plays Martin guitars and D’addario strings. DISTRIBUTION
Exclusive Distributors: Music Sales Ltd CONTACTING ROCKSCHOOL
www.rslawards.com elephone: +44 (0)345 460 4747 Email:
[email protected]
3 e d a r G r a t i u G c i t s u o c A
2
able o Contents Introductions & Information Information 2 3 4 6
Acknowledgements able o Contents Welcome to Rockschool Rocksch ool Acoustic Guitar Grade 3 Acoustic Guitar Notation Explained
Rockschool Grade Pieces 7 11 15 19 23 31
................................................. ........... ‘Tinking Out Loud’ Ed Sheeran ...................................... ................................... ‘Everything Has Changed’ aylor aylor Swif ................................... ........................................................... ......................... ..... ‘Best O You’ Foo Fighters....................................... You’ ........................... ‘I Don’t Want o Miss A Ting’ Aerosmith ........................... Alison Krauss ................... ‘When You Say Nothing At All’ Rascal Flatts ....................................... ....................................... ‘Bless Te Broken Road’
Technical Exercises 39
Scales, Arpeggios Arpegg ios & Chord Voicings
Supporting Tests 44 Sight Reading 45 Improvisation & Interpretation 46 Ear ests 47 General Musicianship Questions
Additional Information 48 49 50 51 52
Entering Rockschool Exams Marking Schemes Copyright Copyrig ht Inormation Rockschool Digital Downloads Rockschool Rocksch ool Popular Music Teory
3 e d a r G r a t i u G c i t s u o c A
3
Welcome to Rockschool Acoustic Guitar Grade 3 Welcome to Rockschool’s 2016 Acoustic Guitar syllabus. his syllabus has been designed to equip all aspiring guitarists with a range o stylistically appropriate, industry relevant skills and a thoroughly engaging learning experience. Utilising an array o well known repertoire and a truly crucial range o supporting tests, the continued progression o any student is assured rom Debut through to Grade 8. he syllabus has been authored to ensure that each student can develop as accompanists, soloists, sight readers and improvisers, improvisers, whilst enabling both teacher and student to choose the areas that they wish to specialise in. Rockschool’s long standing commitment to raising academic standards, assessing industry-relevant skills and ensuring student engagement is world renowned. he 2016 Acoustic Guitar syllabus has been conceived in order to build upon this success and continue the evolution o the contemporary music world’s irst awarding body. When combined with Rockschool’s 2015 Popular Music Theory syllabus, this syllabus is guaranteed to urnish every candidate with both the practical skills and theoretical understanding necessary to perorm at the highest level, across a whole range o contemporary repertoire. Nik Preston – Head of Product Development and Publishing
Acoustic Guitar Exams At each grade you have the option o taking one o two dierent types o examination: ■ Grade Exam (Debut to Grade 5)
A Grade Exam is a mixture o music perormances, technical work and tests. You are required to prepare three pieces (two o which may be Free Choice Pieces) and the contents o the echnical Exercise section. his accounts or 75% o the exam marks. he other 25% consists o: either a Sight Reading or an Improvisation & Interpretation test (10%), two Ear ests (10%), and inally you will be asked ive General Musicianship Questions (5%). he pass mark is 60%. (Grades 6–8)
A Grade Exam is a mixture o music perormances, technical work and tests. You are required to prepare three pieces (two o which may be Free Choice Pieces) and the contents o the echnical Exercise section. his accounts or 75% o the exam marks. he other 25% consists o: a Quick Study Piece (10%), two Ear ests (10%), and inally you will be asked ive General Musicianship Questions (5%). he pass mark is 60%. Performance Certificate ■ Performance A Perormance Certiicate is equivalent to a Grade Exam, but in a Perormance Certiicate you are required to perorm ive pieces. A maximum o three o these can be Free Choice Pieces. Each song is marked out o 20 and the pass mark is 60%.
Book Contents he book is divided into a number o sections: s ections:
3 e d a r G r a t i u G c i t s u o c A
4
■ Exam Pieces Each exam piece is preceded by a Fact File detailing inormation about the original recording, the composer and the artist/s who perormed it. here is also a echnical Guidance section at the end o each piece which provides insight rom the arrangers as to the harmonic, melodic, rhythmic and technical nuance o each piece. Every exam piece is notated or acoustic guitar, but certain pieces eature two ‘assessed’ parts, meaning the candidate has the choice o which part they wish to perorm in the exam. Certain pieces contain ‘non-assessed’ ‘non-assessed’ guitar parts, which are intended or duet/ensemble practice and perormance. Likewise, certain pieces include notated vocal melodies in addition to the assessed guitar part. hese have been included as reerence material and to provide
opportunity or duet and ensemble practice and perormance. In your exam you must perorm your pieces to the backing tracks provided. ■ Technical Exercises here are either three or our types o technical exercise, depending on the grade: Group A – scales Group B – arpeggios/broken chords Group C – chord voicings Group D – a choice o stylistic studies. Please note, Group D only exists at Grades 6–8. ■ Supporting Tests You are required to undertake three kinds o unprepared, supporting test: 1. Sight Reading or an Improvisation & Interpretation test at Debut to Grade 5. Please note, these are replaced by mandatory Quick Study Pieces (QSPs) at Grades 6–8. 2. Ear ests: Debut to Grade 3 eature Melodic Recall and Chord Recognition. Grades 4–8 eature Melodic Recall and Harmonic Recall. 3. General Musicianship Questions (GMQs), which you will be asked by the examiner at the end o each exam. Each book eatures examples o the types o unprepared tests likely to appear in the exam. he examiner will give you a dierent version in the exam. ■ General Information You will ind inormation on exam procedures, including online examination entry, marking schemes, inormation on Free Choice Pieces and improvisation requirements or each grade.
Audio In addition to the Grade book, we have also provided audio in the orm o backing tracks (minus assessed guitar part) and examples (including assessed guitar part) or both the pieces and the supporting tests where applicable. his can be downloaded rom RSL directly at www.rslawards.com/downloads You will need to input this code when prompted: 3ZE5N4XJHG he audio iles are supplied in MP3 ormat. Once downloaded you will be able to play them on any compatible device. You can ind urther details about Rockschool’s Acoustic Guitar syllabus by downloading the syllabus guide rom our website: www.rslawards.com All candidates should download and read the accompanying syllabus guide when using this grade book.
3 e d a r G r a t i u G c i t s u o c A
5
Acoustic Guitar Notation Explained Finger picking
Notes:
THE MUSICA L STAVE
shows pitches and rhythms and is divided by lines into bars. Pitches are named aer the first seven letters of the alphabet.
E F CD B AG F E
ww œ œ œ œ w D
& ˙
represents the guitar fingerboard. Each horizontal line represents a string, and each number represents a fret.
E B G D A E
i
index
m
a
middle annular 3
Am
F
4
2
1
Fretting hand fingers
Strings:
TABLATURE graphically
p
thumb
T A B
2 3 2 0
2
0 1 2 2 0
10 10 9 10
4th string, 2nd fret
Open D chord
Ad lib. and cont. sim. sections
Rhythm notation with suggested fingering
are shown in slash notation
Definitions For Special Guitar Notation HAMMER ON: Pick the lower note,
PULL OFF: Pick the higher note then
SLIDE: Pick the first note, then slide
STRING BENDS: Pick the first note then
then sound the higher note by fretting it without picking.
sound the lower note by liing the finger without picking.
to the next with the same finger.
bend (or release the bend) to the pitch indicated in brackets.
& œ œ
& œ œ
& œ œ
œ œ œ & BU
T A B
5
7
T A B
7
5
T A B
2
4
T A B
BD
( 6)
5
(5)
GLISSANDO: A small slide off of a note VIBRATO: Vibrate the note by bending
NATURAL HARMONICS: Lightly
ARTIFICIAL HARMONICS: Fret the note
toward the end of its rhythmic duration. Do not slide ‘into’ the following note – subsequent notes should be repicked.
touch the string above the indicated fret then pick to sound a harmonic.
indicated in the TAB, then (with picking hand) lightly touch the string above fret indicated between staves, and pick to sound the harmonic.
& œ œ T A B
2
4
and releasing the string smoothly and continuously.
~~~~~~~~~~ w & ~~~~~~~~~~ T A B
8
‚ ‚ ‚ & NH
T A B
& ‚ ‚ AH 14
12 12 12
T A B
AH 15
2 3
PRE-BENDS: Before picking the note,
PICK HAND TAP: Strike the indicated
FRET HAND TAP: As pick hand tap,
QUARTER TONE BEND: Pick the note
bend the string from the fret indicated between the staves, to the equivalent pitch indicated in brackets in the TAB
note with a finger from the picking hand. Usually followed by a pull off.
but use fretting hand. Usually followed by a pull off or hammer on.
indicated and bend the string up by a quarter tone.
œ & ˙
œ #œ &
&
#œ œ
1/4
& œ œ
PB 7
1/4
BD
T A B 3 e d a r G r a t i u G c i t s u o c A
6
( 9)
( 7)
TRILL: Rapidly alternate between the
two bracketed notes by hammering on and pulling off.
Ÿ~~~~~ & œœw Ÿ~~~~~ T A B
(5
7) 5
T A B
7
2
T A B
%.
D.
9
5
al Coda
D.C. al Fine
. .
. 1.
.
2.
T A B
5 7
%
fifi
• Go back to the sign ( ), then play until the bar marked To Coda then skip to the section marked Coda. • Go back to the beginning of the song and play until the bar marked Fine (end). • Repeat bars between signs.
• When a repeated section has different endings, play the first ending only the first time and the second ending only the second time.
Tinking Out Loud
Ed Sheeran Arranged by Andy G Jones
q= 82 D
T A B
0
D/F
3 2 0 2
G
A
0 0
2 2 0
2
4 4
0
3
T A B [9] Em
T A B
0 0 2 2 0
A
0 0 0 2 2 0
0 0 2 2 0
2 2 2 0
D
2 3 2 0
Em
2 3 2 0
A
0 0 2 2 0
0 0 0 2 2 0
0 0 2 2 0
0 2 2 2 0
2 2 2 0
[17] Em
T A B
0 0 2 2 0
0 0 0 2 2 0
0 0 2 2 0
A
Bm
2 2 2 0
3 4 4 2
Em
3 4 4 2
A
0 0 2 2 0
0 0 0 2 2 0
0 0 2 2 0
2 2 2 0
2 2 2 0
[21] D
T A B 3 e d a r G r a t i u G c i t s u o c A
8
0
D/F
3 2 0 2
G
A
0 0
2 2 0
2
4 0
3
[25]
T A B
4
1. Bm
A
G
D /F
3 4 4 2
2 2 2 0
0 0 0
3 2 0
3
2
Em
A
0 0 2 2 0
2 2 2 0
[31]
Words & Music by Ed Sheeran & Amy Wadge © Copyright 2014 Sony/AV Music Publishing/BDi Music Limited. All Rights Reserved. International Copyright Secured.
D
2 3 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2.
T A B
Em
A
0 0 2 2 0
2 2 2 0
D
D
2 3 2 0
7 7 7
7 7
5
D /F
10 9
9
10 9
(11)
7
9
G
7
7 7 9
BU
9
A
7 7 9
7 7
7 7
0
7 7
7 7
7 7
9
9
[35]
D
D /F
G
A
D
D /F
BU
T A B
BU
12 (14)
10
10 12
9 11
11
9
7
9
10 12
10
12 (14)
10
7
[38]
G
A
D
D /F
G
A
3
3
3
T A B
10 10 12
10
10
10 10
10 12 10 12
10 12
10 9 11 9
10 10 12 12
10 7
10 12
9 10
3
3
9 10
9 10
7 8
7 8
7 8
5 7
5 7
5 7
9 11
8 9
[41]
D
T A B
0
D /F
3 2
2
G
A
0 0
2 2 0
2 4
4 0
3
[44]
T A B
Bm
A
G
D /F
3 4 4 2
2 2 2 0
0 0 0
3 2 0
3
2
Em
A
0 0 2 2 0
2 2 2 0
D
2 3 2 0
Bm
A
G
D /F
3 4 4 2
2 2 2 0
0 0 0
3 2 0
3
2
[52]
Em
A
D
Bm
A
G
D/F
Em
A
D
Slight rall.
T A B [55]
0 0 2 2 0
2 2 2 0
2 3 2 0
3 4 4 2
2 2 2 0
0 0 0
3 2 0
0 0
3
2
0
3 e d a r G r a t i u G c i t s u o c A
9
Tinking Out Loud | echnical Guidance ‘hinking Out Loud’ by Ed Sheeran is a relatively simple tune with a I–IV–V harmonic movement reminiscent o Van Morrison. he irst inversion o the irst chord D major adds movement with the F bass leading smoothly into the G major chord. he electric guitar solo is included in the acoustic part as it is ull o classic ideas. It is similar to Michael Landau’s solo on Michael Buble’s version o Van Morrison’s ‘Crazy Love’, it is understated yet very eective, soulul and bluesy. he solo has many slides and some bends. I these are impossible due to a sti action on your guitar, they could be changed to hammerons or slides. he double stops on bar 35 are typical o soul guitar and very useul to any aspiring guitarist. he hammer on rom A (5th) to B (6th) is typical o soul playing, rom Curtis Mayield onwards. he hammer on rom D (root) to E (9th) is another idea worth incorporating to exploit in other contexts. he last idea in the solo, the diatonic double stops in bar 43, is also a classic approach heard in many styles, including Rockabilly. his phrase is delivered in triplets. When Ed Sheeran plays rhythm he manages to hit the guitar on 2 and 4, many times managing to pick notes with his right hand at the same time as hitting the guitar or the guitar strings. his must be a legacy o his time spent playing solo as the percussive approach adds propulsion to the groove. Note that in bar 2 Sheeran uses the 9th (B) and the 6th (F ) over an A major chord. his gives the pattern a soul or jazz eel. he descending bass line in bar 32 is harmonised also resembling Van Morrison’s ‘Crazy Love’.
3 e d a r G r a t i u G c i t s u o c A
10
Everything Has Changed
aylor Swif Arranged by Carl Orr
q = 80 G
G sus
4
G
G sus
4
7
G
Em
T A B
3 2
C
4
4
2
4
5
D
T A B
5
5
G
3 4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
2 5
5
5
[5] 7
Em
T A B
C
2
5
4
4
2
4
D
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
5
5
5
[8] G
Am
C
Softer
T A B
3
3 4
4
2
2
4
4
2
2
4
4
2
2
4
4
2
4
4
2
2
4
4
2
2
3 4
3 4
1 2
0 0
5
[11]
Em
D
[14]
12
[17]
5
4
4
2
5
4
1
1
1
2
2
2
3 4
3 4
1 2
1 2
3 4
3 4
1 2
1 2
3 4
3 4
1 2
1 2
7
7
5
5
5
3
3
7
7
5
5
5
4
4
5
C
T A B
Am
1 1
3 3
T A B 3 e d a r G r a t i u G c i t s u o c A
G
Em
3 3
3 4
3 4
1 2
1 2
3 4
3 4
1 2
1 2
D
3 4
1 2
G
3 4
Words & Music by aylor Swif & Ed Sheeran © Copyright 2012 aylor Swif Music/Sony/AV ree Publishing. Sony/AV Music Publishing. All Rights Reserved. International Copyright Secured.
3 0
Em
T A B
D
7
7
7
7
5
5
5
5
5
5
3
3
4
3 0
4
C
7
7
5
5
5
8
7
5
3
5
3
2
3
7
7
5
5
5
9
7
5
4
5
4
2
4
[20]
G
T A B
Em
7
7
7
7
5
5
5
5
5
5
3
3
4
7 3 0
4
7
D
7
5
7
5
5
5
5 5
3
3
4
3 0
4
7
7
5
5
5
8
7
5
3
7
7
5
5
5
9
7
5
4
[23]
To Coda
C
T A B
Em
C
5
3
3
2
3
3
3
3
5
7
7
3
3
5
7
7
5
4
4
2
4
4
4
4
5
7
7
4
4
5
7
7
5 7
7 8
7 8
[26]
G
D
7
T A B
3
7
5 3
3 0
4
7 5
Em
5 3
3 5
3 5
3 5
[29]
C
G
3 5
T A B
3 5
3 5
5 7
7 8
7 8
D. . al Coda
D
7 8
3 3
7 8
3 4
5 3
[32]
Coda
Guitar Solo (7 bars) G
T A B [35]
1. Em
D
C
2. C
G
5
3
3
2
5
4
4
2
3 0
3 e d a r G r a t i u G c i t s u o c A
13
Everything Has Changed | echnical Guidance he irst section o this song is essentially the classic I, VI, IV, V chord sequence used in countless songs since the middle o the last century. he bridge (bars 11–18) consists o G major (I/tonic), A minor (II/supertonic), C major (IV/subdominant) to D major (V/dominant) with a passing chord o E minor (VI/submediant) beore the D major. he second section (bars 19–26) is a slight variation o the irst section chords, with the D major (V) and C major (IV) chords reversed. Although Ed Sheeran’s propulsive acoustic guitar strumming drives this poignant song, the melody made or a more challenging exam piece, laced as it is, rom start to inish, with the obeat and subtle syncopations Sheeran is amous or. As the rhythms o the melody are intricate, it is important to clap each phrase beore playing the notes. he melody can be broken down into 2–4 bar phrases or practice; bars 2–6, bars 7–10, bars 11–14, bars 15–16, bars 17–18, bars 19–22, bars 23–26, bars 27–30, bars 30–33. Once the rhythm is secure, the pitches can be learnt and applied to each phrase, eventually playing the whole melody. As the melody is a harmonised duet, both vocal parts have been written out as an option. I you choose to play the melody without the harmony part, play the lower part rom bars 15 to 18, and the upper part rom bar 19. he melody can be played with alternating up and down strokes as you see it. he harmony part, however, presents greater technical challenges. he double-stopped melody section rom bars 15 to 18 can be played with index (i) and second (m) ingers and rom bar 19 onwards with index inger (i) and third inger (a) through to the end. However, it is also possible to play it with pick and ingers. It is important to igure out what is best or you, what sounds best and eels most natural. his song is very challenging but rewarding and is a great technical study or sharpening up syncopated rhythms, and, i the harmonised melody is chosen, it is an excellent grounding in double-stops.
3 e d a r G r a t i u G c i t s u o c A
14
Best O You
Foo Fighters Arranged by James Betteridge
q=130 7 C m
A sus
0
T A B
0
0
0
0
4
2
4
2
4
2
0
4
A sus
0
0
2
0
0
0
0
4
4
4
4
0 0 2 2 0
0
4
2
0
4
2
4
B sus
0
0
4
7 C m
T A B
2
2
2
0
[5]
7 C m
A sus
2
cont. sim. 0 0 4 2 4
T A B
2 4
0 0 4 2 4
2 4
2 4
0 0 4 2 4
2 4
0 0 4 2 4
2 4
2 4
0 0 4 2 4
2 4
2 4
0 0 4 2 4
2 4
0 0 4 2 0
2 4
2 0
0 0 4 2 0
2 0
2 0
0 0 4 2 0
2 0
0 0 4 2 0
2 0
2 0
2 0
0 0 4 2 0
2 0
2 0
0 0 4 2 0
2 0
2 0
0 0 4 2 0
2 0
[9]
7
C m
T A B
0 0 4 2 4
A sus
2 4
2 4
0 0 4 2 4
2 4
2 4
0 0 4 2 4
2 4
0 0 4 2 4
2 4
2 4
0 0 4 2 4
2 4
2 4
0 0 4 2 4
2 4
2
0 0 4 2 0
2 0
2 0
0 0 4 2 0
2 0
0 0 4 2 0
2 0
2 0
0 0 4 2 0
2 0
0 0 4 2 0
2 0
0 0 4 2 0
2 0
2 0
0 0 4 2 0
2 0
[13]
3 e d a r G r a t i u G c i t s u o c A
16
B sus
T A B [17]
0 0 4 4 2
4
A sus
4 2
4 2
0 0 4 4 2
4 2
4 2
0 0 4 4 2
4 2
0 0 4 4 2
4 2
4 2
0 0 4 4 2
4 2
4 2
0 0 4 4 2
4 2
0 0 4 2 0
2
2 0
2 0
2 0
0 0 4 2 0
2 0
Words & Music by Dave Grohl, aylor Hawkins, Nate Mendel & Chris Shiflett © Copyright 2005 Flying Earorm Music/MJ welve Music/Songs O Universal Incorporated/Living Under A Rock Music/I Love Te Punk Rock Music. Bug Music Limited/Universal/MCA Music Limited. All Rights Reserved. International Copyright Secured.
2 0
0 0 4 2 0
2 0
2 0
0 0 4 2 0
2 0
7
C m
T A B
0 0 4 2 4
B sus
2 4
2 4
0 0 4 2 4
2 4
2 4
0 0 4 2 4
2 4
4
0 0 4 4 2
A sus
4 2
4 2
0 0 4 4 2
4 2
4 2
0 0 4 4 2
4 2
2
0 0 4 2 0
2 0
2 0
0 0 4 2 0
2 0
0 0 4 2 0
2 0
2 0
0 0 4 2 0
2 0
0 0 4 2 0
2 0
0 0 4 2 0
2 0
0 0 4 2 0
2 0
2 0
0 0 4 2 0
2 0
0 0 4 2 0
2 0
2 0
0 0 4 2 0
2 0
2 0
0 0 4 2 0
2 0
[21]
7
C m
T A B
0 0 4 2 4
B sus
2 4
2 4
0 0 4 2 4
2 4
2 4
0 0 4 2 4
2 4
4
0 0 4 4 2
A sus
4 2
4 2
0 0 4 4 2
4 2
4 2
0 0 4 4 2
4 2
2
0 0 4 2 0
2 0
2 0
2 0
2 0
[25]
1. 7
C m
T A B
0 0 4 2 4
B sus
2 4
2 4
0 0 4 2 4
2 4
2 4
0 0 4 2 4
2 4
4
0 0 4 4 2
A sus
4 2
0 0 4 4 2
4 2
4 2
4 2
0 0 4 4 2
4 2
2
0 0 2 2 0
[29]
2. 7 C m
T A B
0
0
0
0
0
4
4
2
0
4
2
4
0 0 4
2
4
2
0
0
[33]
B sus
T A B [37]
4
A sus
0
0 0
0 0
4
0
4
2 4
2
4
4 2
2 0
0 0 2 2 0
3 e d a r G r a t i u G c i t s u o c A
17
Best O You | echnical Guidance ‘Best O You’ is in the key o C minor and is based around three diatonic chords – C m 7 (I/tonic), Asus 2 (VI/submediant), and Bsus 4 (VII/leading note). Sus chords, such as B sus 4, have the third replaced by the second or ourth, giving the sound a “suspended” quality. he diagram below illustrates where these chords belong in the key.
The C natural minor scale:
I
II
III
IV
V
VI
VII
C m
D dim
E maj
F m
G m
A maj
B maj
A maj
B maj
C m
hese chords can eel complex to begin with. he voicings eatured involve using the open B and E strings to provide a drone eect that adds an unusual texture and colour to the overall sound. he intro to the song is an arpeggiated pattern. Whilst this part is not on the original recording, it provides a good exercise in pick control. It is important to make sure all the notes are picked cleanly so they can be heard clearly. he main rhythm is a driving 8th note pattern. It is advisable to use all down strokes or this part. his will add urgency to the sound. It might be useul to experiment using dierent gauge plectrums to produce an even sound across the strings. As a general rule, a thinner pick will help achieve this. When practising the song, it is important to strive or accuracy irst. I using a metronome, it is advisable to set it to a manageable tempo and only increase it once the parts are learnt. Other alternative rock bands to listen to include Nirvana, Red Hot Chili Peppers, Radiohead, Coldplay and Muse. hey all eature good examples o unusual and creative guitar playing. It is important to use dynamic range and play harder during the chorus.
3 e d a r G r a t i u G c i t s u o c A
18
I Don’t Want o Miss A Ting
Aerosmith Arranged by James Betteridge
q= 60 C
7
G /B
Am
F
G
C
0
T A B
1
0
1
0
0
2
0
0
3
2
2
C
0
1 0
2
3
2
2
2
0 1 0 2 3
3 0
3
0
7
G /B
Am
F
C/E
0
G
0
T A B
1 0
2
2 3
3 0 2 0
0 0 2
3
1
1
1
0 2
2 3
2
0
0 3
0 2
2 0
0
0
0
0
2
0
[5]
C
T A B
7
G /B
Am
F
C/E
0 1 0
2
2 3
3 0 2 0
0 3
0 2
1
1 0 2
1 2 3
2
0
0 3
0
[9]
3 e d a r G r a t i u G c i t s u o c A
20
7
G
T A B [12]
Em
F
C/G
0 0 2 0
0
0
0 2
2
1
3
3 0 2 2 0
0
0 1 2 3
1
3
0 1 0 2 3
Words & Music by Diane Warren © Copyright 1998 Realsongs. Universal/MCA Music Limited. All Rights Reserved. International Copyright Secured.
G
3 0 0 2 3
0 2
6
C
T A B
7
G /B
0
0
3
0 3 0 0 2
C
G /B
2
7 4 D sus
Dm
3
1 1 2 0
3
1
3 1 2 0
1
F
1
G
0 3
1
3 2 3
0 1
1
3
1
1
3
2
0
[15]
T A B
6
0
0
7
0 3 0 0 2
2 3
7 4 D sus
Dm
3
1 1 2 0
3
1
3 1 2 0
1
F
1
G
0 3
1
3 2 3
0 1
1
3
1
1
3
2
0
[18]
1.
T A B
2.
C
G /B
0 1 0 2 3
0 0 0 2
7
Dm
C
1 1 2 0
G /B
1 0
0
0
0
2 3
0 2
[21]
7
Am
T A B [24]
F
G
C
0 1
1
0 2 0
0 2
2
2 2
3
0 3
3 0
0 1 0 2 3
3 e d a r G r a t i u G c i t s u o c A
21
I Don’t Want o Miss A Ting | echnical Guidance his abridged arrangement o ‘ I Don’t Want o Miss A hing’ is based around a verse and chorus o the song. It is in the key o C major and uses the C major (I/tonic), F major (IV/subdominant), G major (V/dominant), A minor (VIm/submediant) and D minor (IIm/supertonic) chords.
he C major scale: I
II
III
IV
V
VI
VII
C maj
Dm
Em
F maj
G maj
Am
B dim
C maj
Dm
F maj
G maj
Am
he song starts with an 8th note arpeggiated pattern that outlines C major, G major, Aminor 7 and F major. For this section the ocus should be on trying to achieve an even sound. It is important to avoid unwanted open strings. Both sections involve playing the melody interspersed with chord ragments to provide the harmony. he melody is based around the notes rom the C major scale, and contains some tricky 16th note rhythmic passages. Some chord names in this arrangement might be unamiliar. For example, G/B is a irst inversion o a G major triad. his simply means that the notes o the G chord have been arranged so that the B (third o the chord) is the lowest sounding note in it. Diicult passages should be slowed down to a comortable tempo during practice, striving or accuracy irst. It is advisable to practice playing the chords and the melody separately to begin with. For inger style playing, it would useul to remember these simple general guidelines: ■ Let the thumb play the lowest note in the chord. ■ I there is more than one note being played on a string, avoid using the same right hand inger twice. o play along with the original recording, which is in the key o D major, a capo on the second ret should be utilised. he chord shapes will remain the same.
3 e d a r G r a t i u G c i t s u o c A
22
When You Say Nothing At All
Alison Krauss Arranged by Andy G Jones
q= 85 D add
9
A sus
4
G
A
A sus
4
0
T A B
3
3
2 0 0
3
2
0
2
2
2
0
3
2
0
2
0
0 3
[1]
D add
9
A sus
4
G
A
A sus
4
D add
9
A sus
It’s
T A B
a - maz
0
4
-
ing
how
you
0
3
3
2
3
2
0
2
0
2
3
3
2
0
2
0
3
2
2
0
2
0
0
3
[3]
G
A
can speak
T A B
A sus
right
to
my
4
D add
9
A sus
4
G
A
A sus
heart.
0 3
2
0
3
3
2
0
3
2
2
3
2
0
2
0
2
0
3
2
0
2
0
0
3
3
[6]
D add
3 e d a r G r a t i u G c i t s u o c A
24
9
A sus
With - out
T A B [9]
4
say
-
4
G
in’
a
A
word
youcanlight
A sus
up
the
4
D add
9
A sus
4
dark.
0
0
3
3
2
3
2
0
2
0
2
0
0
3
3
2 2
3
2
2
0
0 3
Words & Music by Don Schlitz & Paul Overstreet © Copyright 1988 Don Schlitz Music/Scarlet Moon Music Incorporated/Screen Gems-EMI Music Incorporated/Universal Music Corporation. Kobalt Music Publishing Limited/Universal/MCA Music Limited/Screen Gems-EMI Music Limited. All Rights Reserved. International Copyright Secured.
2 0
G
A
A sus
4
G add
9
Try
T A B
A add
as
I
might
I
could nev
9
-
er
ex - plain
0 3
2
0
3
0
2
0
2
2
2
4
0
2
2
0
0
3
0
3
[12]
D
A sus
what
T A B
I
4
hear
G
when
you
A
don’t
say
a
thing.
0 3
0
3
2
2
0
0
2
2
0
2
2
0
0
0
3
[15]
D add
The
T A B
9
smile
A sus
on
your
0 0
4
face
G
lets
me
A
know
that
you
A sus
need
me.
4
There’s a
0 3
2
0
2
3
2 2
3
2
0
2
0
2
0
3
2
0
2
0
0 3
[18]
D add 9
truth
T A B [21]
A sus 4
in
your
eyes
G
say - in’
you’ll
A sus 4
A
nev - er
leave
me.
The
D add 9
A sus 4
t ouch o f
your
0
han d
says you’ll
catch
0
3
3
2
3
2
0
2
0
2
0
0
2 0
3
3
3
2
3
2
2
0
2 0
3 e d a r G r a t i u G c i t s u o c A
25
G
A
me
T A B
where ev - er
I
G/B
A /C
fall.
0 3
0
3
0
3
0
0
2
0
2
2
2
2
0
0 3
3
0 2
2
4
3
[24]
G
You
T A B
A
s ay
it
D add
best
when you
say
no - t hing
at
9
A sus
4
all.
0 3
3
0
2 2 2 0
0
0
0
3
3
3
2
2
0
2 0
3
[27]
G
T A B
A
A sus
4
D add
9
A sus
4
G
A
A sus
4
0 3
2
0
3
3
2
0
3
2
2
3
2
0
2
0
2
0
3
2
0
2
0
0
3
3
[30]
D add 9
3 e d a r G r a t i u G c i t s u o c A
26
A sus 4
All
day
long
G
I
can
hear
A sus 4
A
peo - ple
talk
-
in’
o ut
D add 9
A sus 4
loud, [Mandolin fills]
T A B [33]
0
57
3
3
2
3
2
0
2
0
2
0
0
2 0
3
3
7
2
7 7
7
G
A
A sus
4
D add
9
A sus
but when
4
you
G
hold
me
A
near
A sus
y ou d ro wn
o ut
t he
4
c ro wd .
3
3
T A B
7
5
7
0 7
5
7
3
7
7
6
3
2 7
5
4
3
2
0
2
0
2
3
2
0
2
0
0 3
[36]
D add
9
A sus
4
G
A
A sus
4
G add
9
Old M r. Web - ster
3
3
T A B
0
17 17
could ne - ver
10
10
10 12
10
3
7
5
7
7
2
8
0
7
0
[39]
A add 9
A sus 4
D
de
-
fine
what’s
be - ing
said
17
T A B
8
7
G
bet - ween
your
hea rt
9
a nd
mine.
7
10 9
7
[42]
D add 9
A
The
3
T A B [45]
5
10 5 7 10
smile
on
y our
face
G
lets
me
know
A sus 4
A
that y ou
need
me.
There’s a
3
7
5
0 5
7 7 5
3
3
7 7
A sus 4
3
2
3
2
0
2
0
2
2
0
0
2 0
3
3
3 e d a r G r a t i u G c i t s u o c A
27
D add
9
truth
T A B
A sus
in
your
eyes
4
G
say - in’
A
you’ll
nev - er
leave
A sus
me.
4
D add
The
9
A sus
t ou ch o f
y ou r
4
h an ds
0
s ay s y ou ’l l
c at ch
0
3
3
2
3
2
0
2
0
2
3
3
2
0
2
0
3
2
2
0
2
0
0
3
[48]
G
A
me
T A B
if
ev - er
I
fall.
0 3
0
3
0
3
0
0
2
0
2
2
2
0
0 3
3
0
2
2
2
4
3
[51] G
A
You
say
it
D add
best
when you
say
noth - ing
at
9
A sus
4
all. [Elec. gtr. solo]
T A B
5 3
3
0
2 2 2 0
0
0
0
3
7
5
5
7
6
5 6
3
[54] G
T A B
5
A sus 4
A
7
5
3
2
0
D add 9
0
0
2
0
3 6
7
6
4
2
0
0
2
A sus 4
G
0 2 2
5 3 4
A sus 4
A
3
2
0
2
0
0
2
2
[57]
3 e d a r G r a t i u G c i t s u o c A
28
D add
T A B [60]
0
9
A sus
4
G
A
2 3
3 2
4
5
5
7
5
5
3
3
3 2
4
5
5
7
5
5 5
5 5 7
4
6
5
G
D add 9
A
The
T A B
10 10 12
10
A sus 4
smile
on
your
14 10
10 12
10
face
G
lets
me
A sus 4
A
know
that
y ou
need
me.
There’s a
0 12 10
3 12
3
2
3
2
0
2
0
2
3
2
0
2
0
0 3
[63] D add
9
A sus
truth
in
your
4
eyes
G
say - in’
you’ll
nev - er
leave
me.
The
3
T A B
5
0 2 0
3
3 2
0
0 4
2
0 3
[66] D add 9
A sus 4
t ouch
T A B
of
yo ur
h ands
G
says yo u’ll
A
catch
me
if
ev - er
I
fall.
0
0
3
3
2
3
2
0
2
0
3
0
0
0
2
0
2
2
0
2
0 3
3
[69] G
A
Yo u s ay
T A B
it
b es t
D add
when you
say n oth - in’
at
0 2
0
3 2
A sus
0
0 3
0
0
2
0
2
2
3
2
2
2
0
2
0 3
0
3
[72] G
T A B [76]
D add
9
A sus
4
G
D add
9
A sus
0 3
3
0 0
0
3
0
0
3
2
3
2
0
3
0
2
0
0
3
3
3
4
D
2
3
0
0 3
4
all.
3
0 2
9
2 0
2 0
3 e d a r G r a t i u G c i t s u o c A
29
When You Say Nothing At All | echnical Guidance his adaptation o ‘When You Say Nothing At All’ has its roots in Alison Krauss’ classy version. Her band Union Station are masterul musicians. Jerry Douglas is considered one o the inest dobro players and he heralded the modern approach to the instrument. Both guitarists in the band are outstanding players. At irst glance the accompaniment is very simple. However, sometimes it’s the simple stu that is the hardest to play well. Note the requent use o the added 9th degree to the D and G major voicings. he 4th degree is used to spice up the A major chord (V). hese details add character to the harmony. Some details rom the mandolin part on Krauss’ recorded version are incorporated in this arrangement. See bars 35–36 or a typical mandolin style ill. his enhances the country eel o the piece.
3 e d a r G r a t i u G c i t s u o c A
30
Bless Te Broken Road
Rascal Flatts Arranged by Andy G Jones
q= 70 C add 9/E
T A B
8
7
F
8
G
Am
8 7
Em
T A B
F6
5
5
7
6
5
4
5
5
7
G
5
6
C /G
6
C
5
5 5
F
5 4
F/G
5
Am
8 5
F
5
5
F/G
6
6
7
C
6
5
7
5
[3]
9
C add /E
I
T A B
F
set
6
out
G
on
a nar
-
Am
row
F
road
F/G
ma - ny
C /G
years
9
C
C add /E
a - go.
F
Hop - ing
6
I
G
would
find
Am
true
love
a -
8 8
8
6
5 5
4
5 7
6
6
5
5
5
8
6
8
8
6
5
7
5
7
4
5 7
7
[5]
F
3 e d a r G r a t i u G c i t s u o c A
32
long
T A B [8]
6
F/G
C
the bro - ken
6
road.
Am
But
I
8 10
5
G
got
lost
8 10
a
time
8 10
F
or
7 8
two,
7 8
F/E
wipe my
brow
Dm
and k ept
F/G
push - in’
through.
5
5
8
8
6
5
6
5 5
Words & Music by Bobby Boyd, Marcus Hummon & Jeff Hanna © Copyright 1994 Jeff Diggs Music Limited/Careers BMG Music Publishing. Bug Music Limited/Universal Music Publishing International MGB Limited. All Rights Reserved. International Copyright Secured.
5
C add 9/E
I
T A B
F6
could - n’t
8
G
see
8
how
6
5
7
Am
ev - e r - y
sign
4
7
5
F
F/G
point - ed
5
straight
6
5
C /G
6
to
you.
5
Ev - e r - y
5
5
7
5
[11]
F
C
long
1 1 2 3 3 1
T A B
G
lost
dream
1 1 2 3 3 1
0 1 0 2 3
led me to
3
0
C
where
2
F
you
are.
3 3 0 0
3 3 0 0
3
3
0 1 0 2 3
Oth - ers who
3
broke
0
my
heart,
1 1 2 3 3 1
0 1 2 2 0
1 1 2 3 3 1
1 3
Am
2
they were like
[14]
Dm
C
north
T A B
-
-
2
0
G
ern
1 3
stars
0 3
F
point - ing
0 1
0
me
on
my
way
in - to
2
1 1 2 3 3 1
1 1 2 3 3 1
0 1 0 2 3
3
3
3
0
3
3
C
0
your
2
[17]
G
lov
T A B [19]
Am
-
ing
arms.
3 3 0 0
3 3 0 0
3
3
0 1 2 2 0
Dm
3
This much
I
C /E
know
2
1
is
1 2
0
F maj 7
F
1
true:
3
1
1
1
that
5 2
0
1
3
0
3 e d a r G r a t i u G c i t s u o c A
33
F
F/G C/G
led
me
F/C
straight
to
C
F
C
you.
[Guitar solo]
T A B
6
6
5
1 2 3
3
1 2 3
1 0 2
6 8
6
8
5
8 8
8 10
5
1
[45]
G
C
F
Dm
G
Am
Dm
G
Now I’m just a
PB (15)
T A B
1 0
8 5
0
2
7 9
BU 13 12 ( ) 15 15 17
12 10 12
15
BD (17) (15) 13
8 8 10 8
8 9
8 7
9
7 5
3 5 7
7
5
[48]
F
roll
T A B
C
-
1 1 2 3 3 1
G
in’
home
1 1 2 3 3 1
0 1 0 2 3
in - to my
1 2
0
0
3
0
lov
2
Am
-
Dm
3
ers
arms,
3 3 0 0
3 3 0 0
3
3
0 1 2 2 0
this much
8 10 8 10
I
8 8
C/E
know
2
1
is
1 2 0
1
F maj 7
F
true:
3
1 1
1 5 2 0
1
3
[51]
3 e d a r G r a t i u G c i t s u o c A
36
that
T A B [54]
0
C/E
F6
God
blessed
8
8
G
the bro
7
5
4
-
Am
ken
5
road
7
5
F
that
led
5
6
F/G C/G
me
straight
6
to
5
you,
9
C add /E
F
6
G
Am
F
F/G
C /G
C
that
8
T A B
10 9
7
5
5 7
7
5
7
5
7 10
[57]
9
C add /E
F
God
T A B
G
blessed
1 0 2
the
bro
-
1 2 3 3 1
0
Am
ken
road
that
0 1 2 2 0
0 0 0 3
[59]
F
led
T A B
C add 9/E
G
me
straight
1 1 2
to
G
Am
you.
0 0 0
1
F6
8
8 7
5
5 7
5
4
5
5
7
5
3
[61]
F
F/G C/G
9
C
C add /E
F
6
G
Am
F
F/G
C
Rall.
T A B [63]
1 1 2
1 1 2
0 1 0
1 0 2
5 5 3
1
3
7
6
8
8
5 7
5
4
5
7
1 1 2
1 1 2
1
0 3
1
1 0 2 3
3 e d a r G r a t i u G c i t s u o c A
37
Bless Te Broken Road | echnical Guidance he parts on the original ‘Bless he Broken Road’ recording are a master class in good taste in the modern country rock style. his version takes elements rom the guitar, mandolin and piano parts to create constant melodic interest. he electric guitar solo rom Rascal Flatts’ recording has been adapted or our acoustic setting. I any o the detailed articulation is tricky, it is advisable to practise slowly and be very deliberate about ingering. Many o the melodic lines in this part could have been played lower. ablature in the middle register is included so it is easier to transpose any ideas or use in other tunes. Hybrid picking or ingerstyle can be used to execute this piece. Note that the solo was probably played with a pick. Some o the chordal and arpeggio based igures would be inappropriate or lat picking (using a pick only). he harmony in this piece is peppered with chord inversions. he chords in bar 2 demonstrate a common technique taken rom gospel music. he F/G chord is ollowed by a C/G chord. F is a perect 4th above C and this is called ‘back cycling’. In many gospel inluenced tunes, these chords would have been ollowed by a G 7 chord beore hitting C major.
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echnical Exercises In this section, you will be asked to play a selection o exercises, chosen by the examiner, rom each o the groups below. All exercises need to be played: ■ In the keys, octaves and tempos shown. ■ In either swung or straight eel, as directed by the examiner. You can use your book in the exam or Groups A and B. Group C must be perormed rom memory. Note that Groups A and B need to be played to a click and any ingerings shown are suggestions only.
Group A: Scales he tempo or this group is q =80 bpm. 1. A major scale
T A B
4 5 4 4 4 5
5
6
6
5
4
7
7
5
7
7
6
4
7
7
6
4
7
7
5
4
7
7
5
2
0
8
6
2. A major scale
T A B
0 0 1 0 0
0 4
2
0
2
2
2
2
3
3
2
0
2
2
1
4
4
2
0
4
4
4
3. E major scale
T A B
8 8 7 5 6
6
8
8
9
10
11
10
8
11
11
9
8
10
10
8
7
10
10
8
6
5
8
4. E major scale
T A B
6 6 5 5 6
5
5 8
6
8
6
8
6
8
7
8
8
9
9
8
6 8
7
5 8
6
5 8
6
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echnical Exercises
11. Chromatic scale on A | Descending
T A B
5
4
3
2 6
5
4
3 6
5
4
3 7
6
5
4 8
7
6
5 9
8
7
6
5
7
8
9
10
11
10
9
8
7
6
12. Chromatic scale on E | Ascending
T A B
6 6
7
8
9
7
8
9
10
8
7
6
7
8
9
10
10
9
8
7
6
7
8
9
10
11
10
9
8
7
6
10
13. Chromatic scale on E | Descending
T A B
11
10
9
8
7 11
10
9
Group B: Arpeggios he tempo or this group is q =69 bpm. 1. A major arpeggio
T A B
5 2
5
5
2
2
2
2 0
2
4
4
0
2. E major arpeggio
T A B
11 8 8 8 6
10
11
11
8 8 8 10
6
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echnical Exercises
3. F minor arpeggio
2
T A B
2
2
2
2
4
4
4 2
4
5
5
2
4. C minor arpeggio
8
T A B
8 5
8
8
8
5
5
5
6
6
8
8
5. C major 7 (Cmaj 7 ) arpeggio
T A B
7 5 4
8
7
8
8
5
5
5
4
5 3
5
7
7
3
6. C major 9 11 (Cmaj 9 11) arpeggio
T A B
2
2
3
3
4 2
4
5
5
2
3
3
3
7. C major 13 11 (Cmaj 13 11) arpeggio
T A B
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2 3 4 2 3
5
5
2 3 4 5
2 3
echnical Exercises
Group C: Chord Voicings In the exam you will be asked to play, rom memory, your choice o one chord voicing rom each o the ollowing exercises, without the aid o a backing track or metronome. However, or practice purposes a demonstration o the chords played to a metronome click is available in the downloadable audio. 1. C major 7 (Cmaj 7)
T A B
0 0 2 3
5 4 5 3
3 5 4 3
2. C dominant 9sus 4 (C 9sus 4 )
T A B
3 3 3 3
1 3 3
6 3 3
3 8
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Sight Reading In this section you have a choice between either a sight reading test or an improvisation and interpretation test (see acing page). he examiner will ask you which one you wish to choose beore commencing. Once you have decided you cannot change your mind. In the sight reading test, the examiner will give you a 4–8 bar melody in the key o E major or A major. You will irst be given 90 seconds to practise, ater which the examiner will play the backing track twice. he irst time is or you to practise and the second time is or you to perorm the inal version or the exam. For each playthrough, the backing track will begin with a one bar count-in. he tempo is q = 60–95. During the practice time, you will be given the choice o a metronome click throughout or a one bar count-in at the beginning. he backing track is continuous, so once the irst playthrough has inished, the count-in o the second playing will start immediately.
Sight Reading | Example 1 q = 88
Please note: The test shown is an example. The examiner will give you a different version in the exam.
Sight Reading | Example 2 q = 88
Please note: The test shown is an example. The examiner will give you a different version in the exam.
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Improvisation & Interpretation In the improvisation and interpretation test, the examiner will give you a 4–8 bar chord progression in the key o E major or A major. You will irst be given 90 seconds to practise, ater which the examiner will play the backing track twice. he irst time is or you to practise and the second time is or you to perorm the inal version or the exam. For each playthrough, the backing track will begin with a one bar count-in. he tempo is q = 60–95. During the practice time, you will be given the choice o a metronome click throughout or a one bar count-in at the beginning. he backing track is continuous, so once the irst playthrough has inished, the count-in o the second playing will start immediately. You are only required to improvise single note melodies.
Improvisation & Interpretation | Example 1 q = 90 E maj7
A maj7
C m7
B
E maj 7
A maj 7
G m7
B 7
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 A maj7
D maj7
F m7
E
A maj 7
D maj7
C m7
E7
Please note: The test shown is an example. The examiner will give you a different version in the exam.
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Ear ests In this section, there are two ear tests: ■ Melodic Recall ■ Chord Recognition You will ind one example o each type o test printed below and you will need perorm both o them in the exam.
Test 1: Melodic Recall he examiner will play you a 2 bar diatonic melody in the key o C major with a range up to a ith. he irst 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 urther one bar count-in ater which you will need to play the melody to the click. he tempo is q = 95 bpm. It is acceptable to play over the track as it is being played as well as practising ater the second playthough. he length o time available ater the second playthrough is pre-recorded on the audio track so the count-in may begin while you are still practising.
Please note: The test shown is an example. The examiner will give you a different version in the exam.
Test 2: Chord Recognition he examiner will play you a sequence o 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 identiy the chord quality o two o the chords, rom a choice o major, minor, diminished, augmented, dominant 7th and major 7th. he tempo is q = 95 bpm. Cm
C
C maj 7
C
Please note: The test shown is an example. The examiner will give you a different version in the exam.
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General Musicianship Questions he inal part o your exam is the General Musicianship Questions section, which eatures 5 questions relating to one o your choice o the perormance pieces. 1. You will be asked a question relating to the harmony rom a section o one o your pieces. 2. You will be asked a question relating to the melody in a section o one o your pieces. 3. You will be asked a question relating to the rhythms used in a section o one o your pieces. 4. You will be asked a question relating to the technical requirements o one o your pieces. 5. You will be asked a question relating to the genre o one o your pieces.
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Entering Rockschool Exams Entering a Rockschool exam is easy, just go online and ollow our simple six step process. All details or entering online, dates, ees, regulations and Free Choice pieces can be ound at www.rslawards.com ■ All candidates should ensure they bring their own Grade syllabus book to the exam or have their KR app ready and the ull book downloaded. ■ All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam. ■ Candidates will receive their exam results (and certiicates i applicable) a maximum o 3 weeks ater their exam. I nothing has been received ater this time then please call +44 (0)345 460 4747 or email to
[email protected]
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3 e d a r G r a t i u G c i t s u o c A
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Copyright Inormation Best Of You (Grohl/Mendel/Hawkins/Shiflett) Universal/MCA Music Limited/Bug Music Ltd Thinking Out Loud (Sheeran/Wadge) BDI Music Limited/Sony/AV Music Publishing (UK) Limited I Don’t Want to Miss A Thing (Warren) Universal/MCA Music Limited When You Say Nothing At All (Overstreet/Schlitz) Screen Gems EMI Music Ltd/Universal/MCA Music Limited/Kobalt Music Publishing Limited Everything Has Changed (Swift/Sheeran) Sony/AV Music Publishing (UK) Limited Bless The Broken Road (Hanna/Boyd/Hummon) Bug Music Ltd/Universal Music Publishing MGB Limited
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