Acoustic Guitar Grade 5 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 from: www.rslawards.com/downloads Input the following code when prompted: H50QZNID16 For more information, turn to page 5
www.rslawards.com
Acoustic Guitar Grade 5 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 from: www.rslawards.com/downloads Input the following code when prompted: H50QZNID16 For more information, turn to page 5
www.rslawards.com
Acknowledgements Published by Rockschool Ltd. © 2016 Catalogue Number RSK200025 ISBN: 978-1-910975-32-9 978-1-910975-32-9 Initial release | Errata details can be found 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 Kovadloff Music engraving and book layout by Simon roup and Jennie roup of Digital Music Art Proof reading and copy editing by Diego Kovadloff, Carl Orr and Mary Keene Cover design by Philip Millard Cover photograph © Frank Micelotta Archive/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 Infeld strings, Providence cables and pedal switching systems, Free he one effects, 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 & effects, 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]
5 e d a r G r a t i u G c i t s u o c A
2
able of Contents Introductions & Information 2 3 4 6
Acknowledgements able of Contents Welcome to Rockschool Acoustic Guitar Grade 5 Acoustic Guitar Notation Explained
Rockschool Grade Pieces 7 11 19 23 29 39
Bon Jovi ................................................ ‘Wanted Dead Or Alive’ Sting ............................................................... ‘Shape Of My Heart’ Eva Cassidy ....................................................................... ‘Songbird’ Dire Straits ..................................................... ‘Brothers In Arms’ Eric Clapton ..................................................... ‘ears In Heaven’ Te Beatles ....................................................................... ‘Blackbird’
Technical Exercises 43
Scales, Arpeggios & Chord Voicings
Supporting Tests 48 Sight Reading 50 Improvisation & Interpretation 52 Ear ests 53 General Musicianship Questions
Additional Information 54 55 56 58 60
Entering Rockschool Exams Marking Schemes Copyright Information Rockschool Popular Music Teory Rockschool Digital Downloads
5 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 5 Welcome to Rockschool’s 2016 Acoustic Guitar syllabus. his syllabus has been designed to equip all aspiring guitarists with a range of stylistically appropriate, industry relevant skills and a thoroughly engaging learning experience. Utilising an array of well known repertoire and a truly crucial range of supporting tests, the continued progression of any student is assured from Debut through to Grade 8. he syllabus has been authored to ensure that each student can develop as accompanists, soloists, sight readers and 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 of the contemporary music world’s first awarding body. When combined with Rockschool’s 2015 Popular Music Theory syllabus, this syllabus is guaranteed to furnish every candidate with both the practical skills and theoretical understanding necessary to perform at the highest level, across a whole range of contemporary repertoire. Nik Preston – Head of Product Development and Publishing
Acoustic Guitar Exams At each grade you have the option of taking one of two different types of examination: ■ Grade Exam (Debut to Grade 5)
A Grade Exam is a mixture of music performances, technical work and tests. You are required to prepare three pieces (two of which may be Free Choice Pieces) and the contents of the echnical Exercise section. his accounts for 75% of the exam marks. he other 25% consists of: either a Sight Reading or an Improvisation & Interpretation test (10%), two Ear ests (10%), and finally you will be asked five General Musicianship Questions (5%). he pass mark is 60%. (Grades 6–8)
A Grade Exam is a mixture of music performances, technical work and tests. You are required to prepare three pieces (two of which may be Free Choice Pieces) and the contents of the echnical Exercise section. his accounts for 75% of the exam marks. he other 25% consists of: a Quick Study Piece (10%), two Ear ests (10%), and finally you will be asked five General Musicianship Questions (5%). he pass mark is 60%. ■ Performance Certificate A Performance Certificate is equivalent to a Grade Exam, but in a Performance Certificate you are required to perform five pieces. A maximum of three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark is 60%.
Book Contents he book is divided into a number of sections:
5 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 information about the original recording, the composer and the artist/s who performed it. here is also a echnical Guidance section at the end of each piece which provides insight from the arrangers as to the harmonic, melodic, rhythmic and technical nuance of each piece. Every exam piece is notated for acoustic guitar, but certain pieces feature two ‘assessed’ parts, meaning the candidate has the choice of which part they wish to perform in the exam. Certain pieces contain ‘non-assessed’ guitar parts, which are intended for duet/ensemble practice and performance. Likewise, certain pieces include notated vocal melodies in addition to the assessed guitar part. hese have been included as reference material and to provide
opportunity for duet and ensemble practice and performance. In your exam you must perform your pieces to the backing tracks provided. ■ Technical Exercises here are either three or four types of technical exercise, depending on the grade: Group A – scales Group B – arpeggios/broken chords Group C – chord voicings Group D – a choice of stylistic studies. Please note, Group D only exists at Grades 6–8. ■ Supporting Tests You are required to undertake three kinds of 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 feature Melodic Recall and Chord Recognition. Grades 4–8 feature Melodic Recall and Harmonic Recall. 3. General Musicianship Questions (GMQs), which you will be asked by the examiner at the end of each exam. Each book features examples of the types of unprepared tests likely to appear in the exam. he examiner will give you a different version in the exam. ■ General Information You will find information on exam procedures, including online examination entry, marking schemes, information on Free Choice Pieces and improvisation requirements for each grade.
Audio In addition to the Grade book, we have also provided audio in the form of backing tracks (minus assessed guitar part) and examples (including assessed guitar part) for both the pieces and the supporting tests where applicable. his can be downloaded from RSL directly at www.rslawards.com/downloads You will need to input this code when prompted: H50QZNID16 he audio files are supplied in MP3 format. Once downloaded you will be able to play them on any compatible device. You can find further details about Rockschool’s Acoustic Guitar syllabus by downloading the syllabus guide from our website: www.rslawards.com All candidates should download and read the accompanying syllabus guide when using this grade book.
5 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 5 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.
Wanted Dead Or Alive | echnical Guidance his 80’s mega-hit makes for an excellent guitar study, containing arpeggios moving intriguingly down the neck, strummed chords interspersed with riffs, and a solo which makes use of some interesting techniques such as sliding, double stops, and fast, flowing blues lines. he first two bars, originally played on 12-string guitar, comprise arpeggios moving stepwise down the neck over an open D string pedal. Unusually for arpeggios, these are best played with a plectrum rather than finger style, preferably alternate picking starting with a downstroke as indicated. From bar 5 there is a four bar passage of simple blues phrases punctuated with arpeggios; the quavers can be played with alternate picking, or, for a slightly broader sound they can be played with down strokes, and the semiquavers should be played with alternate picking. From bar 9 the verse comprises full-bodied chords interspersed with short phrases; it is important to make sure the chords are bold, strong and that they ring out as the guitar carries this song throughout. From bar 23 an arranged acoustic version of the original solo is featured, with modified electric guitar-type elements to make it playable. All of the bends have been replaced with slides, and the high register phrases originally played above the 12th fret have been dropped down by an octave (end of bar 24 into bar 25). It’s an interesting solo featuring a wide variety of rhythms, and an effective combination of blues riff phrases (bar 23) and fast flowing lines (bar 27–29) with a recurring riff at bars 26 and 30 holding it together. It is advisable to play the fast lines at bars 24, 27, 28 and 29 with alternate picking.
5 e d a r G r a t i u G c i t s u o c A
10
Shape Of My Heart
Sting Arranged by Andy G Jones
q= 85 E6
F m
T A B
10
10
9
9
C 7sus 4
7
7
6
C 7
7
6
4
4
4
11 9
9
7
D/F
T A B
D6
E
10
10
7
6
D
9
9
7 9
5
5
6
C
7
7
6
9
7
5
4
7
sus
4
5
7
C
7
4
7
4
6 4
5
5
4
4
4
[3]
D6
T A B
A add 9
A
0 2 4 2 0
0 2 2 2 0
5 7
7
4
4
4
2
5
6 6 4
[5]
D
T A B
2
2
2 0
2
G m11
F m
2 2 4 4
2 2 2 4 4 2
4
[7]
5 e d a r G r a t i u G c i t s u o c A
12
E6
F m
T A B [9]
10
10
D6
9
9
C 7sus 4
7
7
6
C 7
7
4
6 4
4
11 9
9
7
7
5
5
Words & Music by Sting & Dominic Miller © Copyright 1992 Magnetic Publishing Limited/Steerpike Limited. EMI Music Publishing Limited. All Rights Reserved. International Copyright Secured.
5
4
4
E6
D/F
T A B
D6
C 7sus 4
C 7
7
6
D6
5 10
10
9
9
7 9
7
7
6
9
7
7
4
7
5
7
4
5
5
4
4 4
4
7
4
4
4
5
[11]
T A B
A add 9
A
0 2 4 2 0
0 2 2 2 0
2
D
2
2
2 0
2
G m11
F m
2 2 4 4
2 2 2 4 4 2
6 6 4
4
[14]
F m
T A B
E
10
10
6
D
9
9
6
C
7
7
6
7
sus
4
C
7
7
6
4
4
4
11 9
9
7
7
5
5
5
4
4
4
[17]
D/F
T A B
E
6
D
6
C
7
sus
4
C
7
D
6
5 10
10
9
9
7 9
7
7
6
9
7
7
6
4
7
5
4
5
5
4
7 4
4
4
7 4
4
5
[19]
T A B [22]
A add 9
A
0 2 4 2 0
0 2 2 2 0
2
D
2
2
2 0
2
6 6
G m11
F m
2 2 4 4
2 2 2 4 4 2
4 4
5 e d a r G r a t i u G c i t s u o c A
13
T A B
A add 9
A
0 2 2 4 2 0
0 2 2 2 0
D maj 7
G m11
F m
2 2 2 4 5
2 2 4 4
2 2 2 4
6 4
6
F m7
2 2 2 4
2 2 2 2
2 2 2 2
4
[38]
D maj 7
G m11
2 2 2 4 5
2 2 4 4
2 2 4 4
2 2 4 4
2 2 4 4
2 2 4 4
2 2 4 4
2 2 4 4
2 2 4 4
4
4
4
4
4
4
4
4
T A B [41]
B6
C m
T A B
5
5
4
6
4
A6
4 2
4
1
G 7sus 4
2
2
2
0
4
0
6 0
G 7
5
4
4
4
4
[44]
B6
A/C
T A B
5
5
4
7
4
A6
4 2
4
1
G 7sus 4
2
2
2
0
4
0
G 7
2 0
5
4 4
4
4
[46]
A6
G 7
E
D m7
A
let ring
T A B [48]
0
2 0
4
4
2 4 0
2
1 2 4
6
5 4
6
2 2 2 0
2 2 2 0
6 4 6
6 4 6
5 e d a r G r a t i u G c i t s u o c A
15
C m7
C m
T A B
5 6 6 4
5 6 6 4
D m7
A
4 6
2 2 2 0
4 6
2 2 2 0
A
6 4 6
2 2 2 0
6 4 6
[51]
E6
F m
T A B
10
10
D6
9
9
C 7sus 4
7
7
6
C 7
7
6
4
4
4
11 9
9
7
7
5
5
5
4
4
[54]
D/F
T A B
E
6
D
6
C
7
sus
4
C
7
D
6
5 10
10
9
9
7 9
7
7
6
9
7
7
6
4
7
5
4
5
5
4
7 4
4
7
4
4
4
5
[56]
A add
T A B
2
9
A
0 2 4 2 0
D
0 2 2 2 0
2
2
2 0
2
11 G m
F m
2 2 4 4
2 2 2 4 4 2
6 6 4
4
[59]
5 e d a r G r a t i u G c i t s u o c A
16
E6
F m
T A B [62]
10
10
D6
9
9
C 7sus 4
7
7
6
C 7
7
4
6 4
4
11 9
9
7
7
5
5
5
4
4
E6
D/F
T A B
10 9
10
7
D6
9
9
9
6
7
7
7
C 7
7
6
7
4
5
C 7sus 4
5
5
4
4
D6
4
4
4
5
7
7
4
4
5
[64]
A add 9 A
T A B
0 2 2 4 2 0
D maj 7
0 2 2 2 0
2 2 2 4 5
6 4
G m11
6
2 2 2 4 5
F m7
F m
2 2 4 4
2 2 4 4
4
4
2 2 2 4
2 2 2 4
D maj 7
2 2 2 2
2 2 2 2
G m11
2 2 2 4 5
2 2 2 4 5
2 2 4 4
2 2 4 4
4
4
[67]
F m7
F m
T A B
2 2 2 4
2 2 2 4
2 2 2 2
2 2 2 2
D maj 7
G m11
2 2 2 4 5
2 2 4 4
2 2 4 4
2 2 4 4
2 2 4 4
2 2 4 4
2 2 4 4
2 2 4 4
2 2 4 4
[71]
E6
F m
T A B
10
10
9
9
11
9
D6
7
9
6
C 7sus 4
7
7
7
4
5
7
5
5
C 7
6
4
4
4
4
[75]
E6
D/F
D6
C 7sus 4
C 7
F m
AH 14
T A B [77]
10 9
7 9
10
9 7
6 7
9
7 5
4 5
7
7 5
4
6
4 4
4
2 2 2 4 4 2
2
2
2
5 e d a r G r a t i u G c i t s u o c A
17
Shape Of My Heart | echnical Guidance Shape Of My Heart has a great nylon string guitar part beautifully played by Dominic Miller, Sting’s long time collaborator, whose background in classical guitar is evident in this performance. he guitar part is quite syncopated so when learning it you should make sure the rhythm is played correctly. It’s important not to be casual when learning a new piece. Whatever you practise is what will come out in your playing. If you’re practising mistakes, you’re learning mistakes. he record features a stellar band including drum legend Vinnie Colaiuta. his version features homegrown heavyweight Ian homas on drums. Although not exactly like Sting’s recording, the guitar part is a good representation of Miller’s own. he latin american influence is quite noticeable in it. he way the right hand picks out the syncopated bass notes and outlines the chords above really brings out the harmony. here are no superfluous notes. Every note chosen is a significant chord tone. For those interested in composition, analysing this tune would be useful. he opening harmony is in F minor. Note the use of C 7 in bar 2. his chord would normally resolve back to F minor but Sting goes to D major, which, although closely related, represents a kind of harmonic ‘left turn’. he D 6 chord in bar 2 is a little unusual, common in jazz standards and related compositions. he A add 9 voicing in bar 6 is a nice feature. Utilising the 9th in this way adds a country or gospel feel. he G m11 in bar 15 is unusual and reminiscent of Andy Summer’s guitar part in ‘Walking On he Moon’ by Sting’s former band he Police. he interlude at bars 42 and 43 takes us to C minor. his is the dominant degree of the original key and adds an unusual lift to the tune. his section is strongly based in the original verse figure and winds its way to end on an A major chord, the relative major of the home key of F minor. You could play this tune on either nylon string or steel string guitar. It’s probably better to play it fingerstyle but it could be executed with hybrid picking. In this case the plectrum would only play the bass notes.
5 e d a r G r a t i u G c i t s u o c A
18
1. C sus
T A B
2
D
3 3
D /F
3 3
5
3
5
5
G
3
2
5
5
2
0
2
0
0 1 0
0
0
0
0
0
0 2 0
0
3
5
5
7
5
5
5
7
5
7
5
2
3
[25]
C
T A B
3
G
5 5
4
5
4
2
2
4
2 4 2 0
5 7
5
5
7
[29]
C
3
G
3
T A B
7 8 5 5
4
5
7
7
5
7
5
4
2
4
2
7 8
7
8
7
5
3
0
5 7
[33]
D
C
Em
3
T A B
5
3
3 5 3 2
0
2
3
2
0 3
1
1
3
3
5
5
5
5
7 8
7
7 8
5 7
3 5
[37]
2. C
D
D /F
G
G
NH
T A B
3
3 3
5
3
2
7
5
3
5 5
12 12 12
1 0 0
3 0
0
0 0
2
3
[41]
C add
T A B [46]
9
G
C add
Rall.
0
9
G
0 1
1
0 2
0
1 0
0
0
0
3
0
1 0 2
2
1
0
0 0
3
0
3
0
0 0
0
0
0
3 3
0
3
3
7 8 7 5
5 e d a r G r a t i u G c i t s u o c A
21
Songbird | echnical Guidance he acoustic guitar is a constant presence in ‘Songbird’. Instrumentation is minimal otherwise. While gentle and subtle, performance must be confident and authoritative. he guitar plays an arpeggiated accompaniment throughout with constant and subtle variations giving the part a supple and flexible sound. After establishing the G major tonality in the intro, moving from the I (tonic) to the IV (subdominant) chord, at a rate of one chord per bar, the verse establishes a change of pace by reversing the order of the chords (IV followed by I) and doubling the length of time on each chord to two bars. As a result the chords in the verse provide lots of space for the singer to express herself over a relatively static backdrop. his is a very effective approach. In bar 15, other chords are introduced, A minor (II/supertonic), followed by E minor (VI/submediant). From bar 21 the chords move faster giving the song a feeling of momentum and reaching a close. he tension of the faster moving chords is released at the beginning of the guitar solo (bar 29), when the slower harmonic rhythm of two bars per chord is re-established. Notes with down stems are to be played with the thumb and notes with up stems are to be played with the fingers, nominally one finger per string; first finger on the G string, s econd finger on the B string and third finger on the high E string. While this is only a guideline, it works well for most of the song. he intro has a tricky G bass note at the beginning of bars 1, 3 and 5 which is only held for the duration of the first quaver to enable the guitarist to move a little higher up the neck to execute the rest of the phrase. he only accompaniment is quiet percussion so the intro must be played very clearly. From bar 7 the voice enters and the overall texture of the acoustic guitar part is established with arpeggios played freely without a strict pattern, occasional fills and ornaments such as the quick figure on beat 4 of bar 9 which recurs, with slight variations, variations, in bars 13, 13, 19 and 27. here is some some pleasing harmonic colour colour in the song. In addition addition to regular regular triads there are are numerous sus2 chords in which the 3rd of the chord is replaced by the 2nd. here are also a few add9 chords in which both the 3rd and the 2nd (or 9th) are present, giving a rich and slightly more complex flavour. On the original recording by Eva Cassidy the solo is played on electric guitar, but it works perfectly well on acoustic guitar. It is a melodic, narrative solo beginning with the statement of a simple four bar phrase, which is then repeated with a little variation, variation, and continuing continuing with with phrases containing containing some interesting interesting rhythmic rhythmic ideas, such such as the slurred slurred semiquaver semiquaver triplets triplets in bars, 31, 35 and 37. he solo is understated and continues the mood of the vocal. It finishes with a ringing G chord played in harmonics on the 12th fret. On the original recording it sounds as if the solo is played with thumb and fingers, fingers, giving a mellow tone with a soft attack on the notes. You could also try improvising a solo, or constructing your own in this style of “re-writing the melody” with the aim of enhancing the mood of the song. After the solo, the guitar returns to the accompanying role all the way through to the end. During the last three bars the guitarist navigates the band through a rallentando (gradual slowing down) leading to a stop on the final G chord.
5 e d a r G r a t i u G c i t s u o c A
22
Brothers In Arms
Dire Straits Arranged by Carl Orr
q = 72 D
E
E sus
2
E 3
3
0
T A B
2
0
0
2 2
0
2
2 0
2
0 1
1 4
0
7 4 E sus
A
2
A
0
E/G
F m
C m
3
T A B
0
0 0
2 2 2 0
2
4
5
4 2
2
2
6
0
6 4 5
0
4 4
2
[4]
F m
C m
D
7 4 E sus
D /F
E 3
3
T A B
0 2 2 4
2 4 2 4
2
0
3 2 0
2
2 0
0 2 0
2
0
F m
D
0
0
1
[7]
5 e d a r G r a t i u G c i t s u o c A
24
F m
T A B
C m
2
0
0
5
0 2
2
6
1
2
6 4 2
4
4 2
[10]
Words & Music by Mark Knopfler © Copyright 1985 Straitjacket Songs Limited Universal Music Publishing Limited. All Rights Reserved. International Copyright Secured.
Bm
2 2
3 2 0
4 2
0
E sus 4
T A B
E
0 2
F m
3
0 1
0
2
0
E 7sus 4
D
2
3
3
0
3
2
2
5
0 2 0
4 5
2
E7
4
1
0
[13]
F m
T A B
5
D
7
5
4
6 4
Bm
7 0
F m
5
0
7
7
D
2
4
0
4
5
D
7
5
4
6 4
7
5
7 0
9
7
7
[16]
Bm
T A B
F m
7 7 7
2 2 2
9
9
3
9
2
0
2
2
2
[19]
E sus 4
D
E sus 2
E
E
E 7sus 4
A 3
T A B
2
0
2 0
2
0
1
0 1
4
0
0
2
2
0
2
0
0
0
[22]
A
E/G
F m
C m
D maj7/F
A
3 3
T A B [25]
0 2 4 5
0
0 0
4
2
4
5 2 2
2
4 1 4
2
2 0
2
2 2 0 2
3
0
5 e d a r G r a t i u G c i t s u o c A
25
D/G
T A B
G maj 7/B
E sus 4
3
0 2
2 2
0
2
3
0
4
E
0
F m
3
0
0
0
C m
2
1
5
2
2
0
2
D
Bm
4
6
6
4
[28]
C m
T A B
F m
0
5 4
2
6
0
2
2
2
E 7sus 4
E
3
2 0
0 2
4 2
2
3
0 1
0
2
0
[31]
F m
D 3
T A B
2
E 7sus 4
E7
0 2 0
1
3
4
3
2
2
4 5
2
5
4
0
[34]
F m
T A B
5
D
7
5
4
6 4
Bm
7 0
F m
5
0
7
7
D
2
4
0
4
5
D
7
5
4
6 4
7
5
7 0
7
7
[36]
5 e d a r G r a t i u G c i t s u o c A
26
T A B [39]
Bm
F sus 4
F m
7
2 2 4
2 2 2
7 7
9
9
9
2
4
0
2
E sus 4
2
0
0
2
0
2
9
F m
T A B
E
2
2
2
4
0
0
2
1
4
4
D
2
0
Bm
2 0
2
4 2
4
4
0
4
2
0
[42]
E sus 4
T A B
F m
0
2
2 2 0
2
0
2
E
2
2
2
1
4
4
2
4
0
2
0
[45]
D maj 7
T A B
2 0
9
10
9
7
5
7
5
4
2
9
11
9
7
6
7
6
4
2
5
4
[48]
F m
T A B
5
D
7
5
4
6 4
Bm
7 0
F m
5
0
7
7
D
2
4
0
4
5 6 4
7
D
7
5
4
5
7 0
7
9
7
[50]
T A B [53]
Bm
F sus 4
F m
7
2 2 4
2 2 2 4 4 2
7 7
9
9
9
2
4
0
5 e d a r G r a t i u G c i t s u o c A
27
Brothers In Arms | echnical Guidance Brothers in Arms demonstrates highly creative use of purely diatonic chords. It starts on D major (IV/subdominant), moving to E major (V/dominant), quickly cadencing to A major (I/tonic) in bar 4. he plaintive quality of the song is enhanced by effective and sustained use of minor chords in bars 6, 7, 10 and 11. An interesting feature is that the verse is 15 bars long; the last bar of the first section, bar 16, is actually the first bar of the six bar interlude which recurs throughout the song. his is a very effective device as it gives the song a slightly irregular form, which is an excellent way to create musical interest. On the repeat of the verse the melody is reharmonised in a number of instances, notably in bars 27 and 28, where the original harmony of F minor, C minor, D major, D/F is changed to A major, Dmaj 7/F , D/G, Gmaj 7/B. he part resembles Jimmy Webb’s harmonic style. Jimmy Webb wrote ‘Wichita Lineman’, and ‘By he ime I Get o Phoenix’ for Glenn Campbell. hese chords do not clash with the melody and add a little colour to the harmony. It is also worth noting the sustained Dmaj 7 chord in bars 48 and 49, the only chord in the song that is held for two bars, creating a feeling of tension at the end of the section. Interestingly, the tonality of the song feels like A major at the beginning of the form and F minor at the end. his song is presented as a chord/melody arrangement, one of the most challenging approaches to guitar, yet also one of the most fun and satisfying. he arrangement can be played with or without the backing track. On the first time through the verse from bars 1 to 14, the original harmony is intact. he section finishes with a thematic interlude from bar 16 through to bar 21, recurring at bar 36 and again at the very end of the song from bar 50. he song should be played with a quasi classical technique; thumb playing the down stem notes and the 1st, 2nd and 3rd fingers playing the up stem notes, in a way that feels natural for you. his arrangement is unplayable with a plectrum, although it could be played with pick-and-fingers. It is important to always aim for clear sounding harmony and one way to do this is by keeping the chord tones to a minimum. For example, there are many simple three note voicing of triads with no doublings of any of the notes such as the D major chord in bar 2, the A major chord in bar 4, the B minor chord in bar 12. his gives the chords a clear, sonorous quality and allows the tone of the guitar to shine through without any unnecessary elements that might clutter it otherwise. It is also important to avoid embellishment of the melody, so it is stated simply and clearly allowing its beauty and simplicity to come through. he most important point is to give each note its full value, only moving the left hand fingers when necessary. his gives the guitar a ringing, sustaining quality reminiscent of a piano.
5 e d a r G r a t i u G c i t s u o c A
28
ears In Heaven
Eric Clapton Arranged by Andy G Jones
q = 80 See note on welcome page about assessed and non-assessed guitar parts N.C.
A
7 F m
E/G
3
7 F m /E
Gtr. 1 (Assessed)
T A B
2
3
2
2
5 4
2
5 4
2 2 2
2 2 2
2 2 2
2 2 2
0 0
2
4
4
2
2
2
0
0
0
[1] 7 4 E sus
D/F
T A B
3 2
3 2
E
3 2
7
A
3 1
2 2
2 2
0 2
2
2
0
0
0
2 2
0
2 2
0
0
0
0
2
0
2
Gtr. 2 (Non-assessed)
T A B
3 2
3 2
3 2
0
3 1
0
0
2
2
2
2
2
0 0
0
[3] 7
E/G
7
F m
F m /E
D/F
A
5
Gtr. 1 (3rd time)
1. Would 2. Would 3. Would
you know you hold you know
my my my
name hand name
if if if
I I I
saw you saw you saw you
in in in
hea hea hea -
3
T A B 5 e d a r G r a t i u G c i t s u o c A
30
2
3
2
2
0 0
0 0
4
4
2
2 2 2
2 2 2
2 2 2
2 2 2
3 2
3 2
2 2 2 0
0 2
2
2
0
5
5 4
0
0
2
5
3
2
2 2 2 0
2
0
3
T A B [5]
2
3
0 0
2 2
2 2 2
5 5
7 7
0 7 6
0 4
2
Words & Music by Eric Clapton & Will Jennings © Copyright 1991 Blue Sky Rider Songs E C Music/Rondor International Inc. All Rights Reserved. International Copyright Secured.
5 4
2
0 3
2
3 1
E
A /E
E
7
A
7
E/G
- ven? - ven? - ven?
Would Would Would
it you you
7
F m
be help do
the me the
0 0
0 0
4
4
F m /E
same stand same
3
T A B
0 1 2
0 1
2 2
3 4
2
3
2
2
2
2 2 2
2 2 2
2 2 2
2 2 2
0 0
0
0
0
2
2
2
2
0
0
0
2
4
4
5
4
2
0
2
4
5
6
4
2
1
3
T A B
0
0 1
2 2 2
2
3
2
4
2
5
0
0 0
2 2
2 2
0 4
2 2 2 0 2
[8]
D/F
A/E
if if if
T A B
T A B [11]
3 2
2
I I I
3 2
2
saw saw saw
E
you you you
2 2 2 2
0
in in in
hea hea hea
2 2 2 0
-
A /E
E
7
ven? ven? ven?
0 1 2 0
0 1
0
2 2
0
0
3 4
0
0
0 3
2
3
0 1
0
0
0 1
2 2
0 2
2
4
2
5
5
5 e d a r G r a t i u G c i t s u o c A
31
7
F m
I I’ll I
T A B
T A B
2 2 2 2
must find must
be my be
2 2 2 2
2 2 2 2
2 2 2 2
2
7
C /E
2
2
2
2 2
2
2
strong way strong
and car through night and car
1 2 1
1 2 1
0
1
1
2 2
2
2
2
2 4
A /E
4
1 2 1
1 2 1
1
1
2 1
2
1
4
0 2 0 2 1
0 2 0 2
0
3
-
0 2 0 2
0
1
-
0
0
0
0
0
0
0
3
on, day, on,
0 2 0 2
0 2 1
ry and ry
2
0
2
[13]
1. F
7
F
7
sus
4
’cause ’cause ’cause
5 e d a r G r a t i u G c i t s u o c A
32
T A B
3 2
T A B
3 2
[16]
I I I
2 3 2
4 2 1
2
2
2
7
F /A
Bm
D/E
know know know
3 2 4 2
2
2
2
2
3 2
3 2 4 2
3 2 4
3 2 4
4
3 2 4
4
3 2 4
0
3 2 4
2 0
hea hea hea -
3 2 4 0
3 2 4
2
here in here in here in
0
4 2 2
2
3 2 4 2
be - long can’t stay be - long
2
2 2
don’t just don’t
3 2 4
2 3 2
I I I
0
2
A
7
E/G
7
F m
F m /E
7
D/F
E sus
4
E
7
- ven. - ven. - ven. 3
T A B
2
3
2
2
5 4
2
5 4
2 2 2
2 2 2
2 2 2
2 2 2
3 2
3 2
3 2
3 1
0 4
4
2
2
2
0
5
5 4
0
0
2
5
3 2
2
2
0
0
0
0
3
T A B
2
3
0 0
2
5 5
2 2 2
2
7 7
7 6
5 4
2 2
3 2 0
3 2 0
3 1 0
0
0 4
2
[19]
2. A
To Coda
D/E
here in
A
hea
-
F m7
E/G
ven. 3
T A B
2 2 2 0
2 2 2 0
2 2 2
2 2 2
0
3 2 4
3 2 4
3 2 4
2 3 2 2
0
2
5 4
5 4
2 2 2
0 0
2
0
0
2
4
4
2
3
T A B [22]
2 2
2 2 2
4
4
3
2 4
3 2 4
2 4
3 2 4
3 2 4
0 0
2 3 2 2
0
2 2 2
0 0
0
0
2
4
2
5 e d a r G r a t i u G c i t s u o c A
33
7
F m /E
T A B
2 2 2
2 2 2
2
2
2 2 2
0
7
D/F
E sus
3 2
0
0
3 2
2
2
2
4
7
E
3 2
3 1
0
0
A
2 2 2 0
2 2 2
2 2 2
0
2 2 2
0
0
0
2
cont. w/Gtr. 1
T A B
5 5
2 2 2
7 7
5
5 4
7 6
5 4
2 2
5
3 2
3 2
3 2
0
3 1
0
0
2
2
2
2
2
0 0
0
0
2
2
[25]
C
G /B
Am
Time can bring
D/F
you down,
G
time can bend
D/F
Em
D/F
G
your knees.
Gtrs. 1+2
3
T A B
1 0
0 1 2 2 0
0 0
0
3
2
1
3
3 2
2
3 2
3 0
0 0
2
2
3
3 2
3
3
2
3 2
2
3 0
0 2 2
0
0
3 2
0
3 0
2
2
[28]
C
G
Am
Time can break
5 e d a r G r a t i u G c i t s u o c A
34
T A B [32]
D/F
your heart,
G
D /F
have you beg - gin’ please,
E
1
3
1
1
3 2
3
3
3
2
2
0
0
3 0
2
E
7
beg - gin’ please.
0 1
A /E
3 0
3 2
2
2
2
0 0 1 2
3
0 1
2 2
3 4
0 2
3
3
3
3
0
0
0
0
3
A
7 F m
E/G
7 F m /E
D/F
A
E
3
A /E
E
7
3
Gtr. 1
T A B
0 2 3 2 2
2
5 4
2 2 2
4
2
2 2 2
2 2 2
2 2 2
3 2
3 2
2 2 2 0
0 2
0
0
0
2
2 3 2
0 1
2
0 1
2 2
3 4
0
2
0
0
0
0
Gtr. 2
3
9 10 9 5
T A B
9
12 12
9
10
9 12
9 11
9
10 9
7
9
7
7
7
9
7
7
[36]
A
T A B
7
E/G
3
7
F m /E
F m /E
D/F
A
E
3
A/E
[40]
7
0 2 3 2 2
2
5 4
5 4
2 2 2
2 2 2
2 2 2
2 2 2
3 2
3 2
2 2 2 0
0 4
4
2
2
2
0
0
0
2
2 3 2
0 1
2
0 1
9 10 9
0
9 12 12
9
10
9
10
12 9 11
9
2 2
3 4
0
2
0
0
3
T A B
E
10 9
7
9
7
7
7
9
7
7
0
0
5 e d a r G r a t i u G c i t s u o c A
35
7
F m
B e- y ond
T A B
T A B
7
C /E
2 2 2 2
2 2 2
t he
2 2 2 2
A /E
doo r
2 2 2 2
F
7
F
there’s peace I’m sure,
1 2 1
1 2 1
1 2 1
1 2 1
0 2 0 2
0 2 0 2
0 2 0 2
0 2 0 2
7
sus
4
F /A
and
I
know
2 3 2
3 2
4 2 1
2
2
2
2
2
2
2 2
0
1
1
2
4
1
1
2
2
1 2
2
4
3
1
0
0
1
0
0
0
0
0
0 2
0
3
2
2
2
2
0
2
0
2 3
2
4
4
6
4
7
4
2
[44]
7
Bm
D /E
there’ll be
no
N.C.
more
tears in
A
hea
-
7 F m
E/G
ven. 3
T A B 5 e d a r G r a t i u G c i t s u o c A
36
3 2 4 2
3 2 4 2
3 2 4 2
3 2 4
3 2 4
3 2 4
2 3 2 2
2
2
5 4
5 4
2 2 2
0 0
0
2
4
4
2
3
T A B [48]
3 2 4 2
3 2 4
3 2 4
4
3 2 4
3 2 4
0 0
2 3 2 2
2
2 2 2
0 0
0
0
2
4
2
D. . al Coda 7
F m /E
T A B
2 2 2
5 5
T A B
D/F
2 2 2
2
7 7
2
0
5
5 4
2 2 2
5 4
E sus
3 2
0
7 6
7
2 2
0
2
5
3 2
3 2
2
2
3 2 0
4
E
7
3 2
3 1
0
0
3 2
3 1
0
(no repeats)
A
2 2 2 0
2 2 2
2 2 2
0
2 2 2
0
0 0
2 2
0
2 2
0
2
3
2
2
4
4
2
4
4
0
[51]
Coda A
E/G
̵ ven,
T A B
F m7/E
F m
’ ca us e I
3
2 3 2 2
2
5 4
5 4
2 2
2 2
2 2
B m7
I
k no w
2 2
3 2 4 2
0 4
2
2
2
0
0
D/E
I
don’t
2
3 2 4 2
3 2 4 2
be - long
2
here in hea -
3 2 4 2
3 2 4
0
3 2 4
3 2 4
0
0
0
2
0
2
3
T A B
2 3 2 2
2
5 4
5 4
2 2
2 2
2 2
2 2
3 2 4
0
3 2 4
4
2 4
2
2
2
0
0
3 2 4
3 2 4
3 2 4
2
0
0
0
0
[54]
A
F m7
E/G
F m7/E
E 7sus 4 E
D/F
- ven.
Rit.
A
Rubato
3
3
let ring
T A B
2 3 2 2
2
5 4
5 4
2 2
2 2
2 2
2 2
3 2
3 2
3 2
3 1
2 2
0
0 4
2
2
2
0
0
5
5 7 5 4 6 4
0
2
5
3 2
2
2
0
0
0
3 2 0
3 1 0
3
T A B [58]
3
2 3 2
5 5 4
2
4 6
2
0 0
2 3 2 2
2 2 2
2 2 2
2
2
0
5 5
7 7
2 2
3 2 0
0 4
5 e d a r G r a t i u G c i t s u o c A
37
ears In Heaven | echnical Guidance he harmony features many chords found outside the blues genre for which Clapton is so well known. he descending chord pattern at the start of the verse/intro features inversions of the V (dominant) and IV (subdominant) chords. he chorus moves to F minor – the relative minor of the home key A. he harmony in this section is sophisticated and reminiscent of gospel music. After moving from F minor to a first inversion of the C 7 (V) the sequence moves to A 7/E. his chord is striking but moves smoothly into F 7 which is a secondary dominant of Bm 7, where the song moves to next. Secondary dominants are chords built on diatonic notes and act as dominant chords to notes other than the root. Note the gospel/soul fill over the A chord in the first full bar and in most of the subsequent repeats. he pickup to the A chord (semiquavers on E and F ) is a classic idea that can be found on countless songs spanning R ‘n’ B, soul and blues all the way into country music. E is the 5th of A, F is the 6th. It will really improve your playing if you start to analyse not only what notes are played in the music you’re studying but also their relation to the underlying chords. Note the off beat bass notes in bar 3 and in the section repeat. he guitar part is actually quite self contained. his song can be sung with only this part as accompaniment. Note how the guitar part is based on arpeggios in the bridge section. his more constant movement is in contrast to the style of the verse. One of the marks of a great player is that they know how to delineate the sections of a song clearly. Clapton is one such player. ‘ears In Heaven’ could just as easily be played on nylon string as steel – the choice is yours.
5 e d a r G r a t i u G c i t s u o c A
38
Blackbird
Te Beatles Arranged by Carl Orr
q= 93
m
m
p
T A B
m
i
m
i
i
m
p
p
p
0
1
3
0
p
p
p
12
0
12
0
0
m
0 0
2
0
0 0
10
0 0
10
1
0 0
10
3
0
0
10
0
3
12 0
0 0
2
10
0 0 10
3
m m
p
T A B
3 12 0
10
0
7
0
0
10
8
0
3
p
p
5
5 0
p
m
0
4
8
0
5
0
6
0
0
7
0
0
7
0
0
6
0
6
[6]
T A B
7
8
5
0
4
0
5
0
4
0
0
3
3
0
0
3
0
0
3
2
0
0
3
0
0
2
0
0
2
0
0
0
0
0
0
0
0
0
[11]
To Coda
T A B
1
0 0
0
0
0
1.
5
0
0
0
0
3
0
2
0
1
0
0
0
0
0
0
0
0
0 3 3
2
0
0
0
3
[16]
2.
T A B 5 e d a r G r a t i u G c i t s u o c A
40
0
10 0
0
0
0
8 0
8 3
6
5
0
3
0
7
5
0
5
0
3
0
0
1
0
0
1
0
3
3
3
[21]
T A B
10
8 0
6 0
5 0
3 0
2 0
0
0
0
1 0
0
0
0
0 0
8
7
5
3
1
1
0
[26]
Words & Music by John Lennon & Paul McCartney © Copyright 1968 Sony/AV Music Publishing. All Rights Reserved. International Copyright Secured.
0
0
0 0
0
3.
T A B
10
8
6
0
5
0
8
3
0
7
5
0
5
0
3
0
1
0
10
0
0
1
0
0
3
8
0
0
3
0
8
7
[31]
T A B
6
5
3
0
2
0
0
0
0
1
0
0
0
0
0
0
0
0
0
0 5
3
1
1
0
1
0
3
0
0
0
0
0
0
2
3
[36]
Rall.
T A B
12
12 0
0
10
0
12
0
0
10
0
0
10
12
0
0
10
10
0
0
12
0
0
10
0
0
10
12
0
0
10
0
10
10
[41]
D. . al Coda
a tempo
T A B
12
12
0
0
1
3
0
5
0
0
3
2
0
1
0
0
0
0
0
0 10
10
0
2
3
2
0
0
0
3
[46]
Coda
T A B
5
3 0
2
1
0
0
0
0
0
0 0
0
0
0 3
2
0
0
0
0
0
0
0
0 3
3
[51]
Rall.
T A B [55]
5
3 0
2 0
1 0
0
0
0 0
3
2
0
0 0
0
0
0
0 0
0
0 3
5 e d a r G r a t i u G c i t s u o c A
41
Blackbird | echnical Guidance his Beatles classic features an interesting fingerpicking technique from Paul McCartney. he opening bar starts conventionally, with the thumb playing the bass notes while notes on the B and G strings are struck by the second and first fingers respectively. From bar two onwards things get more unusual – a G note on the 10th fret of the A string sustains under open G notes. hese are struck by alternating the thumb and second finger. his slightly odd “homemade” technique resulted in a truly unique guitar part. he open G string is played at least twice in every bar of the song, and the whole guitar part comprises simple phrases pivoting up and down around the open G string as the focal point. he effect creates a mesmerising and hypnotic feel. his pattern persists throughout the song. In bar 9 there is a slight and recurring variation in which the thumb plays two bass notes, one on the first beat and one on the third beat, rather than reiterating the open G note as in some of the earlier bars, but the fingerpicking pattern remains unchanged. his is a highly intricate song, which, like many other Beatles songs features an unconventional and unpredictable structure, so it takes sometime to memorise it correctly, but the effort is worth it, as it is one of the most distinctive and beautiful guitar parts in popular music, and one of those songs that every guitarist wants to learn and master. As a result the original arrangement is kept completely intact.
5 e d a r G r a t i u G c i t s u o c A
42
echnical Exercises In this section, you will be asked to play a selection of exercises, chosen by the examiner, from each of the groups below. All exercises need to be played: ■ From memory. ■ In the keys and tempos shown. ■ In either swung or straight feel, as directed by the examiner. Note that Groups A and B need to be played to a click and any fingerings shown are suggestions only.
Group A: Scales he tempo for this group is q =126 bpm. 1. B major scale
T A B
4 4 3 1 2
2
4
4
5
6
7
6
4
7
7
5
4
6
6
4
3
6
6
4
2
1
4
4
2
5
7
11
9
2. B blues scale
T A B
7 7 7 7 7 7
8
9
10
7
10
10
7
10
10
9
7
9
9
7
9
9
8
7
10
10
7
9
8
3. D major scale
T A B
8 9 8 8 8 9
9
10
10
9
8
11
11
9
11
11
10
8
11
11
10
8
11
11
11
4. D blues scale
T A B
9
9 12
9
9 12
11
9
9 11
9
9 11
10
9
9 12
9
12
10
11
11
11
12
12
12
9 12
9 12
11
9 11
5 e d a r G r a t i u G c i t s u o c A
43
echnical Exercises
10. Chromatic scale on B
T A B
4 5 4 5 6 7
8
7
8
6
7
5
6
7
6
7
5
6
7
6
5
4
8
8
7
6
5
8
8
7
6
5
8
9
8
7
6
9
10
9
8
7
9 10
11 10
9
8
7
12 1 1 10
9
11. Chromatic scale on D
T A B
6 6 6 7 8 9
10 1 1 12
9
10
11
8
9 10
7
8
9
7
8
9
10
7
8
9
8
7
6 10
9
8
7
6 9
8
7
6 10 9
8
7 11 10
9
8
5 e d a r G r a t i u G c i t s u o c A
45
echnical Exercises
Group B: Arpeggios he tempo for this group is q =88 bpm. 1. B major arpeggio
7
T A B
4
7
7
4
4
4
4
4
6
6
7
7
2. D major arpeggio
9
T A B
6
9
9
6
6
6
6
6
8
8
9
9
3. G minor arpeggio
4
T A B
4
4
4
4
6
6
6 4
6
7
7
4
4. B minor arpeggio
6
T A B
6 3
6
6
6
3
3
3
4
4
6
6
5. C minor 7 5 (Cm 7 5 ) arpeggio
T A B
5 e d a r G r a t i u G c i t s u o c A
46
6
8
6
7 3
5
7
8
8
5
3
4 3
4
6
6
3
6. C diminished 7 (C dim 7 or C 7) arpeggio Á
T A B
5 4 5 4 3
6
7
7
8
5 7
4 5 7
4 6
3
echnical Exercises
Group C: Chord Voicings In the exam you will be asked to play, from memory, your choice of two chord voicings from each of the following exercises, at a tempo of your choice, without the aid of a backing track or metronome. However, for practice purposes a demonstration of the chords played to a metronome click is available in the downloadable audio. 1. C diminished 7 (C dim 7 or C 7) Á
T A B
2 1 2 1
4 2 4 3
5 4 5 4
2. C minor 7 5 (Cm 7 5 )
T A B
2 4 3 3
4 3 4 3
2 1 3 1
5 e d a r G r a t i u G c i t s u o c A
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). he examiner will ask you which one you wish to choose before commencing. Once you have decided you cannot change your mind. In the sight reading test, the examiner will give you a 8–16 bar melody in the key of D major or B major. You will first be given 90 seconds to practise, after which the examiner will play the backing track twice. he first time is for you to practise and the second time is for you to perform the final version for the exam. For each playthrough, the backing track will begin with a one bar count-in. he tempo is q = 60–130. During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at the beginning. he backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will start immediately. Please note: ■ You will be required to play all notation and create appropriate parts to chord symbols. ■ ime signatures will be either 4/4 or 3/4.
Sight Reading | Example 1 q = 80
1.
2.
5 e d a r G r a t i u G c i t s u o c A
48
Please note: The test shown is an example. The examiner will give you a different version in the exam.
Sight Reading | Example 2 q = 80
1.
2.
Please note: The test shown is an example. The examiner will give you a different version in the exam.
5 e d a r G r a t i u G c i t s u o c A
49
Improvisation & Interpretation In the improvisation and interpretation test, the examiner will give you a 8–16 bar chord progression in the key of D major or B major. You will first be given 90 seconds to practise, after which the examiner will play the backing track twice. he first time is for you to practise and the second time is for you to perform the final version for the exam. For each playthrough, the backing track will begin with a one bar count-in. he tempo is q = 60–130. During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at the beginning. he backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will start immediately. You will need to improvise diatonic, single note melodies . Please note: ■ At this level, you will need to improvise as directed over the chord symbols as written. ■ ime signatures will be either 4/4 or 3/4.
Improvisation & Interpretation | Example 1 q = 110 F m7
E m6
B m7
D
Fm
E m7
F m7
B m7
B m7
Fm
E m6
E m6
E m7
G maj 7
Fm
Please note: The test shown is an example. The examiner will give you a different version in the exam.
5 e d a r G r a t i u G c i t s u o c A
50
A 9
Improvisation & Interpretation | Example 2 q = 110 D m7
C m6
G m7
B
D m7
C m7
D m7
D m7
G m7
G m7
C m6
C m6
C m7
E maj 7
D m7
F 9
Please note: The test shown is an example. The examiner will give you a different version in the exam.
5 e d a r G r a t i u G c i t s u o c A
51
Ear ests In this section, there are two ear tests: ■ Melodic Recall ■ Harmonic Recall You will find one example of each type of test printed below and you will need to perform both of them in the exam.
Test 1: Melodic Recall he examiner will play you a 2 bar diatonic melody in the key of C major with a range up to an octave. he first note will be the root note or a fifth. You will hear the test twice, each time with a one bar count-in, then you will hear a further one bar count-in after which you will need to play the melody to the click. he tempo is q = 95 bpm. It is acceptable to play over the track as it is being played as well as practising after the second playthough. he length of time available after the second playthrough is pre-recorded on the audio track so the count-in may begin while you are still practising.
Please note: The test shown is an example. The examiner will give you a different version in the exam.
Test 2: Harmonic Recall he examiner will play you a chord progression containing chords I, II, IV, V, VI in any order or combination in the key of C major. You will hear the chord progression twice, each time with a one bar count-in. You will then hear a further one bar count in before playing back to a click. At this grade, seventh chords are introduced. Please note, there is no requirement for the chords to be voicing-specific. he tempo is q = 95 bpm. D m7
G7
C maj 7
A m7
Please note: The test shown is an example. The examiner will give you a different version in the exam.
5 e d a r G r a t i u G c i t s u o c A
52
General Musicianship Questions he final part of your exam is the General Musicianship Questions section, which features 5 questions relating to one of your choice of the performance pieces. 1. You will be asked a question relating to the harmony from a section of one of your pieces. 2. You will be asked a question relating to the melody in a section of one of your pieces. 3. You will be asked a question relating to the rhythms used in a section of one of your pieces. 4. You will be asked a question relating to the technical requirements of one of your pieces. 5. You will be asked a question relating to the genre of one of your pieces.
5 e d a r G r a t i u G c i t s u o c A
53
Entering Rockschool Exams Entering a Rockschool exam is easy, just go online and follow our simple six step process. All details for entering online, dates, fees, regulations and Free Choice pieces can be found at www.rslawards.com ■ All candidates should ensure they bring their own Grade syllabus book to the exam or have their KR app ready and the full 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 certificates if applicable) a maximum of 3 weeks after their exam. If nothing has been received after this time then please call +44 (0)345 460 4747 or email to
[email protected]
5 e d a r G r a t i u G c i t s u o c A
54
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5 e d a r G r a t i u G c i t s u o c A
55 * Note that there are no Debut Vocal exams.
Copyright Information Wanted Dead Or Alive (Bon/Sambora) Kobalt Music Publishing Limited/SonyAV Music Publishing (UK) Limited Shape Of My Heart (Sumner/Miller) EMI Music Publishing Ltd Tears In Heaven (Jennings/Clapton) Universal Music Publishing Limited/Warner Chappell Music Ltd Songbird (McVie) Universal Music Publishing MGB Limited Blackbird (Lennon/McCartney) Sony/AV Music Publishing (UK) Limited Brothers in Arms (Knopfler) Universal Music Publishing Limited
5 e d a r G r a t i u G c i t s u o c A
56
5 e d a r G r a t i u G c i t s u o c A
57
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