Acoustic Guitar Debut 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: 8ZYPUPF5NK For more inormation, turn to page 5
www.rslawards.com
Acoustic Guitar Debut 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: 8ZYPUPF5NK For more inormation, turn to page 5
www.rslawards.com
Acknowledgements Published by Rockschool Ltd. © 2016 Catalogue Number RSK200020 ISBN: 978-1-910975-27-5 978-1-910975-27-5 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, Mary Keene and Emily Nash Cover design by Philip Millard Cover photograph © REX Shutterstock 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]
t u b e D r a t i u G c i t s u o c A
2
Table of Contents Introductions & Information Information 2 3 4 6
Acknowledgements able o Contents Welcome to Rockschool Rocksch ool Acoustic Guitar Debut Acoustic Guitar Notation Explained
Rockschool Grade Pieces 7 11 15 19 23 27
........................................................... ....................... ... ‘Learn o Fly’ Foo Fighters ....................................... ............................................................ ...................... .. ‘Chasing Cars’ Snow Patrol ........................................ ........................................................... ........................................ ....................... ... ‘Yellow’ Coldplay ....................................... ................................................. ........... ‘Brown Eyed Girl’ Van Van Morrison ...................................... .......................................................... ........................... ....... ‘I I Were A Boy’ Beyoncé ...................................... Bob Marley ........................................ .............................................. ...... ‘No Woman, No Cry’
Technical Exercises 31
Scales, Arpeggios Arpegg ios & Chord Voicings
Supporting Tests 34 Sight Reading 35 Improvisation & Interpretation 36 Ear ests 37 General Musicianship Questions
Additional Information 38 39 40 42 44
Entering Rockschool Exams Marking Schemes Copyright Copyrig ht Inormation Rockschool Rocksch ool Popular Music Teory Rockschool Digital Downloads
t u b e D r a t i u G c i t s u o c A
3
Welcome to Rockschool Acoustic Guitar Debut 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, 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 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:
t u b e D 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’ 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: 8ZYPUPF5NK 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.
t u b e D 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
t u b e D 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.
Learn To Fly
Foo Fighters Arranged by Carl Orr
q=135 7 F m
B
T A B
0
0
0
0
0
0
2
2
2
2
2
2
7
B
T A B
0
E
F m
4
4
4
4
2
0
2
0
0
0
0
0
0
0
0
0
0
0
E
0
0
0
0
2
1 4
2
[5]
7
B
T A B
4
F m
4
4
4
2
0
1.
E
0
0
2
0
2
1
[9]
2. F m7
B
2
T A B
0
2
2
2
E
0
0
2 4
2
0
8
7 F m
B
T A B [17]
2 0
2
2
2
E
0 4
2
0
2
2
0 4
[13]
t u b e D r a t i u G c i t s u o c A
2
2
4
0 1
Words & Music by Dave Grohl, aylor Hawkins & Nate Mendel © Copyright 1999 Flying Earorm Music/Living Under A Rock Music, USA/MJ welve Music Universal Music Publishing Limited/Bug Music Limited/Kobalt Music Publishing Limited. All Rights Reserved. International Copyright Secured.
2
7
B
F m
2
T A B
2
2
2
E
0
2 4
2
0
2
2
2
0 4
2
[21]
G
T A B
0
5
3
A sus
2
2
0
3
4
A
2
0
0
B
2
0
[25]
t u b e D r a t i u G c i t s u o c A
9
Learn To Fly | Technical Guidance Tis classic tune encapsulates the urious style o the Foo Fighters. While it retains the grunge rom the Nirvana days, a more meticulous approach to the craf o the three minute rock song has been added. Te flawless perormance is clean, letting the flair, musicality and attitude o the song shine through. ‘Learn to Fly’ is in the key o B, which despite its close proximity to the more usual key o E, is still a relative rarity. Tis, however, acilitates the use o open strings and allows the ull sound o the guitar to ring out. Te song pulses steadily at 135 beats per minute and eatures a chord sequence on the B major (I/tonic), F minor (V/dominant) and E major (IV/subdominant) chords, repeated until bar 26, which eatures a cadence rom the G 5 ( VI/submediant) power chord to an Asus 4 ( VII/subtonic) power chord, resolving back to the B major (I/tonic) with a great deal o drama and an element o surprise. Te intro eatures a very simple two note melody (B and C) which propels the song along in quavers. Te verse starting at bar 5 is very simple and memorable. It’s all in the low end o the neck and quite easy to play. Te only tricky bit is the syncopation, such as the A note in bar 6, the phrase in bars 6 and 7 and the phrase ending in bars 10 and 11. In bar 13, there is a slightly oddly placed pickup into the chorus starting on the and (upbeat) o 3. Also watch out or the placement o the notes in bars 18 and 19, which recurs at bars 22 and 23. Te final phrase in bars 26 to 28 is also rhythmically subtle. It is best to practise each phrase individually; or example, bars 5 and 6 constitute a phrase, the musical equivalent o a small sentence. It is advisable to start by clapping the rhythm repeatedly and to play the pitches without any rhythm. Once the rhythm and pitch are secure they can slowly be combined, eventually building up to ull speed.
t u b e D r a t i u G c i t s u o c A
10
Chasing Cars
Snow Patrol Arranged by James Betteridge
q = 104 See note on welcome page about assessed and non-assessed guitar parts
Gtr. 1 (Assessed) A
E/G
let ring throughout 0
T A B
2
0 2
0
0
2
0
2
0
2
2
0 2
0
0
2
0
1
0
1
1
0
0
1
1
0
0
1
0
1
1
Gtr. 2 (Assessed)
0 2 2 2 0
T A B
0 2 2 2 0
0 0 1 2 2 0
D
T A B
T A B
0 0 1 2 2 0
A
0
0
0
0
0
0
0
0
0 2
0
0
0
0
0
2 3 2 0
0
0
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0
2 3 2 0
0 2 2 2 0
0 2 2 2 0
[5] A
T A B t u b e D r a t i u G c i t s u o c A
12
T A B [9]
E/G
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 1
0 1
0 1
0 1
2
0 1
0 1
0 1
0 1
2 1
2
2
Words & Music by Paul Wilson, Gary Lightbody, Jonathan Quinn, Nathan Connolly & om Simpson © Copyright 2006 Universal Music Publishing BL Limited. Universal Music Publishing Limited/Universal Music Publishing BL Limited. All Rights Reserved. International Copyright Secured.
1
1 4
D
T A B
A
0
0
0
0
0
0
0
0
0 2
0
0
0
0
0
T A B
0
0
0
0
2
2
0
0
2
0
2
2
0 2
0 2
0
2
2 1
2
2
2
[13]
A
T A B
T A B
E/G
0 2 2 2 0
0 2 2 2 0
0 2 2 2 0
2
0 2 2 2 0
2
D
0 0 1 2 2 0
2
2
0 0 1 2 2 0
2
0 0 1 2 2 0
0 0 1 2 2 0
0
2
2 3 2 0
2
2
2 3 2 0
2
0 2
[17]
A
T A B
T A B [22]
2 3 2 0
3
2 3 2 0
2
0 2 2 2 0
0 2
2
0 2 2 2 0
0 2 2 2 0
0 2 2 2 0
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2 2 2 0
t u b e D r a t i u G c i t s u o c A
13
Chasing Cars | Technical Guidance ‘Chasing Cars’ is in the key o A major and uses the I (tonic), IV (subdominant) and V (dominant) chords. hese chords are reerred to as primary chords. Harmonising the major scale will yield chords on each degree o the scale. he diagram below illustrates the diatonic chords o the A major scale.
The A major scale:
I
II
III
IV
V
VI
VII
A maj
Bm
C m
D maj
E maj
F m
G dim
D maj
E maj
A maj
his version o the song has been arranged as a duet, with the irst guitar playing the 8th note ri, which cycles through the chord sequence. It is important to avoid any unwanted open strings and keep the ri consistent. In bars 17 to 24 the part switches to playing the underlying open chords. It is important to make sure all the notes in each chord can be heard clearly. he chords are notated as minims (hal notes) on beats 1 and 3. Ensure the chords last or the correct duration. he second guitar starts o playing the open chords during the intro, supporting the main ri played by guitar one. It then switches to playing the melody at the start o the bar 9. he rhythm o the melody is quite syncopated (accenting weaker parts o the beat). For example, the melody in bar 9 starts on the ‘and’ (upbeat) o beat 4. his can take a little while to get used to. It is useul to practice clapping and singing the rhythm irst. It is a great way to help train one’s ears. Singing a line will make playing it much easier. I the original tempo is hard to manage, it is advisable to slow it down to a comortable speed until each section is playable. he tempo can then be gradually increased.
t u b e D r a t i u G c i t s u o c A
14
Yellow
Coldplay Arranged by Carl Orr q= 87 See note on welcome page about assessed and non-assessed guitar parts B
F
Gtr. 1 (Assessed)
2
T A B
2
4
2
4
2
4
2 4 4
2 4 4
2
2
4
2
2 4 4
2 2 3
0
2
2 2 3
2 2 3
0
2
Gtr. 2 (Assessed)
2 4 4
T A B
2 4 4
2 4 4
2 4 4
2 4 4
E
T A B
T A B
2 2 3
2 2 3
2 2 3
2 2 3
B
2 2 3
F
2 0
0
0
1
1
2
4
2 4 4
2 4 4
2
4
2
4
2 4 4
2 4 4
2
4
2
2 4 4
2 2 3
1 4
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
2 4 4
2 4 4
2 4 4
2 2 3
2 2 3
2 2 3
[5]
E
2
T A B t u b e D r a t i u G c i t s u o c A
16
T A B
B
0
2
0
2
2 0
0 1
0 1
2
4
2 4 4
2 4 4
2
4
1 4
2 2 3
2 2 3
2 2 3
2 2 3
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
2 4 4
[10]
Words & Music by Guy Berryman, Chris Martin, Jon Buckland & Will Champion © Copyright 2000 Universal Music Publishing MGB Limited. All Rights Reserved. International Copyright Secured.
2 4 4
2 4 4
2 4 4
2 4 4
2 4 4
F
T A B
T A B
E
B
2 2
0
2
0
2
0
0 1
0 1
1 4
2 2 3
2 2 3
2 2 3
2 2 3
2 2 3
2 2 3
2 2 3
2 2 3
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
2 4 4
2 4 4
2 4 4
2 4 4
[15]
E
G m
4
T A B
T A B
2
2
0
2 4 4
2 4 4
2 4 4
2 4 4
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
F
0 0 1 2 2 0
4 4 4
0
0
4 4 4
4 4 4
E
G m
2
4 4
2 2 3
2 2 3
4
2
2
0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
F
0 0 1 2 2 0
4 4 4
0
0
4 4 4
4 4 4
2 4
2 2 3
4
2 2 3
[20]
E
G m
4
T A B
T A B [25]
2
2
0
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
F
0
0 0 1 2 2 0
0 0 1 2 2 0
4 4 4
4 4 4
B
2
0
4 4 4
E
2 4
2 2 3
2 2 3
4
0
0 0 1 2 2 0
0 0 1 2 2 0
0
2 4
4
2 4 4
t u b e D r a t i u G c i t s u o c A
17
Yellow | Technical Guidance his great Coldplay song is arranged eaturing chords and melody as both are playable at Debut level. he verse consists o B major (I/tonic), F major (V/dominant) and E major (IV/subdominant) played repeatedly, creating a meditative mood, with two bars on each chord, orming a 6-bar phrase. his is a slightly unusual length as most popular music is written in multiples o our bars. In the chorus, rom bar 21, the mood changes by starting on the IV chord (subdominant) or one bar, ollowed by hal a bar on the VI minor (submediant) and hal a bar on the V (dominant) chord. he chords in this section are moving much aster than in the previous one, creating a eeling o urgency. he section inishes with an unresolved IV chord, creating tension resolved by the tonic in the ollowing bar (29). In the verse, all o the chords can be strummed with a downstroke. Alternatively, the second chord in each bar can be played with an upstroke. he chorus can be strummed with downstrokes throughout or with an upstroke on the second and last chord in each bar. It is very important to keep time steadily. It is advisable to use a metronome or tap your oot, as the constant, unwavering beat is the oundation o this song. Most o the chord voicings are small at just three notes, to acilitate easier chord changes, except or the E major chords, which are written out in their ull six-string voicing. Alternatively, only the top three strings o the E major chord can be played, to give them a similar texture to the rest o the voicings. he melody is quite easy and can be played within the irst our rets. It is a undamental aspect o the song, so it is important to execute it clearly and conidently. here are some subtle rhythms in the melody, such as the obeat at the start o the line. It is advisable to clap the rhythm o each bar, then play the pitches without any rhythm, and inally combine rhythm and pitches. Playing evenly, with all the notes at approximately the same volume, will give the melody a good low.
t u b e D r a t i u G c i t s u o c A
18
Brown Eyed Girl
Van Morrison Arranged by Andy G Jones
q= 153 G
C
G
D
Elec. Gtr. – Cue only
T A B
7
8
10
8
7
12
13
15
13
12
7
8
10
8
7
5
8
10
12
10
8
13
15
17
15
13
8
10
12
10
8
7
G
C
G
Hey, where did we
T A B
3
1
0
8
D
go,
1
5 7
days
3
when the
rains
came?
2
2
0 2
0
4
2
[5]
G
C
T A B
Down
in
the
hol
3
3
3
3
-
G
D
low,
play - in’
1
0
a
new
0
2
game.
0
0
[9]
G
C
L au gh - in ’ a nd
T A B
3
3
3
a
G
run - nin’,
3
3
1
hey,
hey!
3
3
D
S ki p - pi n’ a n d 0
a
jump - in’
0 2
0
2
2
[13]
t u b e D r a t i u G c i t s u o c A
20
G
C
in t he mis
T A B [17]
3
3
3
-
ty mor 3
3
-
G
nin’
fog
1
3
with
D
ah,
our
hearts
0
2
that felt
0
Words & Music by Van Morrison © Copyright 1967 Web IV Music Inc. Universal Music Publishing Limited. All Rights Reserved. International Copyright Secured.
0 2
better than new. 0 2
0
C
D
G
My
T A B
brown
eyed
0
Em
girl.
0
2
2
0
[21]
1. C
D
T A B
You,
my
3
0
G
brown 3
0
eyed
D
girl.
0 2
0
[25]
2. D
G
Do
you
re - mem
-
ber when
we used to sing:
”Sha,
la,
la,
la, 0
T A B
0 2
1
0
3
1
2
0
3 2
3
3
0
[29]
C
G
la,
la,
1
3
D
la,
la,
la,
1
1
0
la,
la
te,
0
0
G
da.
Sha,
la
la,
3
3
3
la, 0
T A B
2
2
[33]
C
T A B [37]
G
la,
la,
1
3
D
la,
la,
la,
1
1
0
la,
2
la,
te,
0
0
da.
2
G
La,
te,
0
0
da.”
2
0
t u b e D r a t i u G c i t s u o c A
21
Brown Eyed Girl | Technical Guidance his arrangement o Brown Eyed Girl is presented as a melody. Use your right hand ingers, pure ingerstyle or hybrid picking, which is where you hold the pick normally but also use the other available ingers to pick the strings as well. his is an approach prevalent amongst country guitar players. he Belast elegraph stated that according to Morrison, the single, released in mid-June 1967, was originally entitled Brown Skinned Girl. Remarking on the original title, he said: “hat was just a mistake. It was a kind o Jamaican song… Calypso”. his is quite enlightening as it sheds some light on the inspiration or the rhythm guitar part. It really does have something o the calypso eel (it also sounds a little like a South Arican ownship groove). he guitar intro is written as a cue only and is not required or the exam. As you get more proicient this part might be worth learning, it sets the pace or the whole song. his tune is a covers/party band classic. Note that the rhythm o the melody’s irst phrase (bars 5 and 6) is repeated three times. he next section does the same thing – a moti in bars 13 and 14 is repeated with some variations in the next six bars. Repetition is typical o Van Morrison’s compositions and may, in part, explain his huge popularity. It is a device common in the structure o the classic 12 bar blues where a simple melodic phrase (typically a our bar phrase) is repeated two or three times to complete the structure. here is plenty o syncopation in the song. Many notes landing o the beat add variety to the rhythm o a melody. Whilst these rhythms may seem diicult at irst, you should be aware that you’re learning a vital part o the musical puzzle that will enold as you continue your studies. Rhythms can oten be seen as a combination o set pieces that make up a whole. When students start to study unk rhythm guitar it is best to break rhythms down to basic units comprised o the obvious subdivisions o the bar. his piece can be regarded as an early glimpse into the process o rhythmic studies. he ‘Sha-La-La’ section at the end is also heavily syncopated with many notes alling on the o beat. It is also distinguished by the use o tied notes that give the music a sort o bounce. his is another element that may have contributed to the popularity o the song. he harmony, as with most o Van Morrison’s output is very diatonic - it stays irmly within the home key o G major.
t u b e D r a t i u G c i t s u o c A
22
If I Were A Boy
Beyoncé Arranged by James Betteridge
q= 75 Em
C
D
0
T A B
3
0
1 0
2
3
2 3
3
3
0
2
C
0
3
3
0
3
0
2
1
0
2
D
3
0
Em
2
3
0
G
T A B
G
0
2
Em
C
G
D
0 0 0 2 2 0
0 1 0 2 3
3 3 0 0 2 3
2 3 2 0
[4]
A
T A B
Em
C
G
0 0 0 2 2 0
0 1 0 2 3
3 3 0 0 2 3
D
0 0
0
3
2
Em
C
0 0 0 2 2 0
0 1 0 2 3
[7]
G
T A B
D
3 3 0 0 2 3
0 3
3
0
0
Em
C
G
D
0 0 0 2 2 0
0 1 0 2 3
3 3 0 0 2 3
2 3 2 0
G
D
Em
C
0 0 0 2 2 0
0 1 0 2 3
[10]
t u b e D r a t i u G c i t s u o c A
24
Em
T A B [13]
0
C
0
0
1
0
0 2
0
0
0
1
0 2
0
0
Words & Music by oby Gad & Brittany Carlson © Copyright 2008 BMG Ruby Songs/Liedela Music/Gad Songs LLC/Songs O Universal, Inc./BC Jean Publishing. Universal/MCA Music Limited/BMG Rights Management (US) LLC. All Rights Reserved. International Copyright Secured.
0 2
G
T A B
D
3 3 0 0 2 3
0 0
0
3
2
Em
C
G
0 0 0 2 2 0
0 1 0 2 3
3 3 0 0 2 3
Em
D
0 3
3
0
0
[16]
T A B
Em
C
G
D
0 0 0 2 2 0
0 1 0 2 3
3 3 0 0 2 3
2 3 2 0
G
D
Em
C
0
C
0
0
1
0 2
0
[19]
T A B
G
D
0 0
0
0
1
0
0 2
0
0
3 1
0
3 0
2
0
0
2 3
3
3 2
2
[22]
Em
T A B [25]
C
G
D
0 0 0 2
3 1
3 0
0 2
0
Em
2 3
3
3 2
0 0 0 2 2 0
t u b e D r a t i u G c i t s u o c A
25
If I Were A Boy | Technical Guidance ‘I I Were A boy’ is in the key o E minor, and cycles around E minor (I/tonic), C major ( VI/submediant), G major ( III/ mediant) and D major ( VII/subtonic). he diagram below illustrates where each chord belongs within the key. Notice each degree o the scale is numbered with a roman numeral. Roman numerals allow musicians to quickly identiy the chord progression in a piece o music.
The E natural minor scale:
I
II
III
IV
V
VI
VII
Em
F dim
G maj
A min
B min
C maj
D maj
C maj
D maj
Em
G maj
his abridged arrangement contains the intro and chorus rom the original song. It starts with an 8th note arpeggiated pattern that outlines the chords in the progression. It is advisable to slow the tempo down to begin with and once the arpeggios are comortable the tempo can be raised up to speed. he chorus (Bars 9–21) combines chords and the melody together. ake note o the suggested strumming pattern notated above the tablature. It is important to make sure that all o the notes in the chords are heard clearly and last or the correct duration. he melody is made up o notes rom the E minor scale and is a good exercise or playing melodies in open position. It is advisable to practise the chords and melody separately beore piecing them together. he chord to melody transitions ought to be as smooth as possible and without hesitation. Playing along with a metronome is a good test. he song ends with a recap o the arpeggiated intro igure. Aim or a legato (smooth) sound, letting each note ring into the next.
t u b e D r a t i u G c i t s u o c A
26
No Woman, No Cry
Bob Marley Arranged by Andy G Jones
q= 157 C
T A B
0
1
3
0
Am
1 0 2
F
1 2
0
Dm
1 2 3 3 1
2
2
Em
F
3 0
3
C
T A B
G/B
0
C
G
1 0
0
2
3
2
1
3
0
0
3
3
[6]
C
G/B
No,
Am
wo - m an, no
F
C
F
cry.
No,
1
0
1
1
3
[10]
C
G/B
No,
T A B
wo - man, no
1
0
1
Am
F
C
G/B
cry.
0 2
[16] F
No,
Dm
w o - man, no
0
T A B
Em
1
C
cr y.
Say,
say,
1
1
0 3
1
say
I
re - mem - ber
0
0
3
3
0
[22]
t u b e D r a t i u G c i t s u o c A
28
Am
when
T A B [28]
0
F
we used 0
to
sit
0
C
G/B
in 0
1
Am
the gov - ern - ment 0
0
yard
in
F
Trench- town.
0 3
3
0
2
Words & Music by Vincent Ford © Copyright 1974 Fify-Six Hope Road Music Limited/Blackwell Fuller Music Publishing LLC. Blue Mountain Music Limited. All Rights Reserved. International Copyright Secured.
3
1
C
cry.
0
0 2
C
Dm
wo - m an, no
0
T A B
Em
1
C
G/B
Am
O - b a, o - ba - ser - ving 0
T A B
0
0
0
3
the
0
F
C
hy - po- crites
1
3
G/B
as they would
min - gle
0
0 1
1
w it h
0
t he g oo d peo - p le w e
0
0
0
1
0
3
3
0
[34]
Am
T A B
F
C
G/B
meet.
No,
1
1
wo - man, no 0
1
Am
F
C
G/B
cry.
0 2
[40]
C
F
No,
Dm
C
w o - man, no
0
T A B
Em
1
cr y.
0 3
Here
lit - tle dar - lin’,
3
1
1
0
1
3
[46]
Am
F
don’t shed
no
C
F
tears.
No,
1
T A B
Dm
C
wo - man, no
0
1
Em
1
cry.
0
1
3
1
2
[52]
C
G/B
Ev - ’ry - thing’s
T A B
1
1
gon - na
be
1
1 2
Am
F
a l - rig ht .
Ev - ’ry - thing’s
1
1
1
1
0
gon - na
1
be 1
2
C
a l - rig ht .
Ev - ’ry- thing’s gon - na
1
1
1
1
0
1 2
0
[58]
1. G/B
be
T A B [63]
Am
al - r ig ht .
2. F
Ev - ’ry - thing’s
gon - na
be
F
al - r ight.
be
C
al - right.
No,
0 1
1
wo - m an 0
1
1
1
1 2
0
1
1
1
1
1
1
1
no
cry.
3 1
t u b e D r a t i u G c i t s u o c A
29
No Woman, No Cry | Technical Guidance he Wailers’ style uses authentic reggae with a sophisticated American inluenced soul/R&B sensibility. his melody seems pretty simple, but upon listening to the way that Bob Marley sings it, it will become apparent how much good phrasing can bring to the music. Listen to the backing track and ensure the delivery is in time with the groove. here is room to be quite lyrical with the way the melody is stated. It can be played either ingerstyle or with a pick. he arrangement starts with an intro that outlines the harmony above the classic descending bassline. I holding these chords down is painul or your let hand, be careul not to strain your hand by practising this section or too long. As soon as you eel tension, get up walk around, shake your arms out, even take a little break. I you keep working on it, your strength will quickly improve. Be careul when irst preparing this piece to adhere to the rhythm on the page. I you learn the melody by playing along with Bob Marley’s beautiul version, you’ll be pulled into some complicated rhythms that would not have been appropriate to include in this book at this level.
t u b e D r a t i u G c i t s u o c A
30
Technical 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 straight eel, in the keys, octaves and tempos shown. You may use your book or Group A and Group B. All Group C exercises must be played 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 =52 bpm. 1. C major scale | Ascending irst
T A B
0 0 0
2
1
0
2
2
0
3
3
2
0
3
3
2. C major scale | Descending irst
T A B
1
0 2
0
0 3
2
0
0
2
3
3
2
0
1
2
0
0
2
2
3
3. A natural minor scale | Ascending irst
T A B
0 0 0
2
2
2
0
3
0
3
3
4. A natural minor scale | Descending irst
T A B
2
0 3
2
0
0 3
2
0
2
3
2
3
t u b e D r a t i u G c i t s u o c A
31
Technical Exercises
Group B: Arpeggios he tempo or this group is q =92 bpm. 1. C major arpeggio
T A B
1
1
0
1
0
0
2
0
2
2
3
2
3
3
2. C major arpeggio
T A B
0 1
0 1
0 1
0
1
0
2
0
0
2
3
2 3
2 3
3. A minor arpeggio
T A B
2
2
2 0
2
2
2
3
3
2
0
3
0
3
4. A minor arpeggio
T A B
t u b e D r a t i u G c i t s u o c A
32
1 2 2 0
3
1 2
1 2
2
2 2
3
0
2 3
0
3
Technical 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
T A B
1 0 2 3
0 1 0 2
3 5 5 5
0 1 2
5 5 5
2. A minor
T A B
1 2 2 0
0 5
t u b e D r a t i u G c i t s u o c A
33
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 4–6 bar melody in the key o C 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. 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.
Please note: The test shown is an example. The examiner will give you a different version in the exam.
t u b e D r a t i u G c i t s u o c A
34
Improvisation & Interpretation In the improvisation and interpretation test, the examiner will give you a 4–6 bar chord progression in the key o C 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. 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. 7
Dm
G
C
Please note: The test shown is an example. The examiner will give you a different version in the exam.
t u b e D r a t i u G c i t s u o c A
35
Ear Tests 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 to perorm both o them in the exam.
Test 1 | Melodic Recall he examiner will play you two consecutive notes. You will need to identiy whether the last note is higher or lower than the irst. You will hear the test twice, each time with a one bar count-in. he tempo is q = 95 bpm. For this exercise, please use the word ‘higher’ or ‘lower’ in your answer.
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 which chord played was major and which chord was minor. he tempo is q = 95 bpm.
Please note: The test shown is an example. The examiner will give you a different version in the exam.
t u b e D r a t i u G c i t s u o c A
36
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.
t u b e D r a t i u G c i t s u o c A
37
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]
t u b e D r a t i u G c i t s u o c A
38
Marking Schemes G���� E���� | D���� �� G���� 5 * ELEMENT
PASS
MERIT
DISTINCTION
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Technical Exercises
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Quick Study Piece
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General Musicianship Questions
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TOTAL MARKS
60%+
74%+
90%+
P���������� C����������� | D���� �� G���� � * ELEMENT
PASS
MERIT
DISTINCTION
Performance Piece 1
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��+ out o ��
Performance Piece 2
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��–�� out o ��
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Performance Piece 3
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Performance Piece 4
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Performance Piece 5
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��–�� out o ��
��+ out o ��
TOTAL MARKS
60%+
75%+
90%+
t u b e D r a t i u G c i t s u o c A
39 * Note that there are no Debut Vocal exams.
Copyright Information Chasing Cars (Quinn/Simpson/Lightbody/Connolly/Wilson) Universal Music Publishing BL Limited/Universal Music Publishing Limited Learn to Fly (Grohl/Hawkins/Mendel) Kobalt Music Publishing Limited/Universal Music Publishing Limited/Bug Music Ltd Brown Eyed Girl (Morrison) Universal Music Publishing Limited No Woman, No Cry (Ford) Blue Mountain Music Ltd If I Were A Boy (Gad/Carlson) BMG Rights Management US LLC/Universal/MCA Music Limited Yellow (Champion/Martin/Buckland/Berryman) Universal Music Publishing MGB Limited
t u b e D r a t i u G c i t s u o c A
40
t u b e D r a t i u G c i t s u o c A
41
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