Acoustic Guitar Grade 5
Performance pieces, technical exercises, supporting tests and in-depth guidance for Rockschool examinations
All accompanying and supporting audio can be downloaded from: www.rslawards.com/downloads Input the following code when prompted: 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 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 Tests written by Nik Preston and Andy G Jones Syllabus advisors: Simon Troup and Jamie Humphries PUBLISHING
Fact Files written by Diego Kovadloff Music engraving and book layout by Simon Troup and Jennie Troup 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 Tests recorded by Andy G Jones Executive producers: John Simpson and Norton York MUSICIANS
Andy G Jones, Carl Orr, James Betteridge, Nik Preston, Ian Thomas, Mike Finnigan, Noel McCalla, Patti Revell and Hannah Vasanth SPONSORSHIP
Andy G Jones endorses Thomastik Infeld strings, Providence cables and pedal switching systems, Free The Tone effects, JJ Guitars, Ergoplay guitar supports and Wampler Pedals. All nylon strings parts recorded direct with the Yamaha NTX2000. 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
Acoustic Guitar Grade 5
www.rslawards.com Telephone: +44 (0)345 460 4747 Email:
[email protected]
2
Table of Contents Introductions & Information
2 Acknowledgements 3 Table of Contents 4 Welcome to Rockschool Acoustic Guitar Grade 5 6 Acoustic Guitar Notation Explained
Rockschool Grade Pieces
7 Bon Jovi................................................. ‘Wanted Dead Or Alive’ 11 Sting.. . . . ........................................................... ‘Shape Of My Heart’ 19 Eva Cassidy......................................................... . . . . . . . . . . . . . . . ‘Songbird’ 23 Dire Straits...................................................... ‘Brothers In Arms’ 29 Eric Clapton...................................................... ‘Tears In Heaven’ 39 The Beatles......................................................... . . . . . . . . . . . . . . . ‘Blackbird’
Technical Exercises
43 Scales, Arpeggios & Chord Voicings
Supporting Tests
48 50 52 53
Sight Reading Improvisation & Interpretation Ear Tests General Musicianship Questions
Additional Information 54 55 56 58 60
Entering Rockschool Exams Marking Schemes Copyright Information Rockschool Popular Music Theory Rockschool Digital Downloads
Acoustic Guitar Grade 5
3
Welcome to Rockschool Acoustic Guitar Grade 5 Welcome to Rockschool’s 2016 Acoustic Guitar syllabus. This 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. The 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. The 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 Technical Exercise section. This accounts for 75% of the exam marks. The other 25% consists of: either a Sight Reading or an Improvisation & Interpretation test (10%), two Ear Tests (10%), and finally you will be asked five General Musicianship Questions (5%). The pass mark is 60%. (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 Technical Exercise section. This accounts for 75% of the exam marks. The other 25% consists of: a Quick Study Piece (10%), two Ear Tests (10%), and finally you will be asked five General Musicianship Questions (5%). The pass mark is 60%. ■■Performance Certificate A Performance Certificate is equivalent to a Grade Exam, but in a Performance Certificate you are required to perform five pieces. A maximum of three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark is 60%.
Book Contents
Acoustic Guitar Grade 5
The book is divided into a number of sections:
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. There is also a Technical 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. very exam piece is notated for acoustic guitar, but certain pieces feature two ‘assessed’ parts, meaning the candidate E 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. These 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 There 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 Tests: 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. The 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. This can be downloaded from RSL directly at www.rslawards.com/downloads You will need to input this code when prompted: H50QZNID16 The 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
Acoustic Guitar Grade 5
All candidates should download and read the accompanying syllabus guide when using this grade book.
5
Acoustic Guitar Notation Explained Finger picking Notes: E F CD B AG F E
Strings:
TABLATURE graphically represents the guitar fingerboard. Each horizontal line represents a string, and each number represents a fret.
E B G D A E
# ww w w
& ˙ 2
2 3 2 0
4th string, 2nd fret
Open D chord
T A B
œ œ b œ œ p
D
thumb
i
m
a
index middle annular
3
4
2
1
Fretting hand fingers
10
9
10
Am
Û Û Û Û
THE MUSICAL STAVE shows pitches and rhythms and is divided by lines into bars. Pitches are named after the first seven letters of the alphabet.
F
’ ’ ’ ’
0 1 2 2 0
10
Ad lib. and cont. sim. sections are shown in slash notation
Rhythm notation with suggested fingering
Definitions For Special Guitar Notation HAMMER ON: Pick the lower note, then sound the higher note by fretting it without picking.
œ
& œ T A B
5
7
PULL OFF: Pick the higher note then sound the lower note by lifting the finger without picking.
œ
& T A B
7
œ 5
SLIDE: Pick the first note, then slide to the next with the same finger.
œ
& œ T A B
2
4
GLISSANDO: A small slide off of a note VIBRATO: Vibrate the note by bending NATURAL HARMONICS: Lightly toward the end of its rhythmic duration. and releasing the string smoothly touch the string above the indicated Do not slide ‘into’ the following note – and continuously. fret then pick to sound a harmonic. subsequent notes should be repicked.
œ
& œ T A B
2
4
PRE-BENDS: Before picking the note, bend the string from the fret indicated between the staves, to the equivalent pitch indicated in brackets in the TAB
&
Acoustic Guitar Grade 5
T A B
6
œ
PB 7
( 9)
˙
BD
(7)
TRILL: Rapidly alternate between the two bracketed notes by hammering on and pulling off.
Ÿ~~~~~ œ &œ w Ÿ~~~~~ T A B
(5 7) 5
& T A B
w~~~~~~~~~~ ~~~~~~~~~~
8
PICK HAND TAP: Strike the indicated note with a finger from the picking hand. Usually followed by a pull off.
& T A B
œ 7
#œ 2
& T A B
‚ ‚ ‚
NH
12
12
12
FRET HAND TAP: As pick hand tap, but use fretting hand. Usually followed by a pull off or hammer on.
& T A B
#œ
œ
9
5
STRING BENDS: Pick the first note then bend (or release the bend) to the pitch indicated in brackets.
& T A B
œ œ BU
5
(6)
œ
BD
(5)
ARTIFICIAL HARMONICS: Fret the note indicated in the TAB, then (with picking hand) lightly touch the string above fret indicated between staves, and pick to sound the harmonic.
&
‚
AH 14
T A B
‚
AH 15
2
3
QUARTER TONE BEND: Pick the note indicated and bend the string up by a quarter tone. 1/4
& œ
œ
1/4
T A B
5
7
fi
D.%. al Coda
• Go back to the sign (%), then play until the bar marked To Coda then skip to the section marked Coda.
D.C. al Fine
• Go back to the beginning of the song and play until the bar marked Fine (end).
.. ..
..
1.
..
2.
fi
• 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.
Bon Jovi | Wanted Dead Or Alive
SONG TITLE: WANTED DEAD OR ALIVE
ALBUM: SLIPPERY WHEN WET 1986
LABEL: MERCURY
GENRE: ROCK/POP
WRITTEN BY: JON BON JOVI AND RICHIE SAMBORA
GUITAR: RICHIE SAMBORA AND JON BON JOVI
T A B
PRODUCER: BRUCE FAIRBAIRN UK CHART PEAK: 13
&b
‘Wanted Dead or Alive’ was inspired by Bob Seger’s ‘Turn The Page’. Bon Jovi were listening to the song whilst on tour in the Midwest in 1985 and decided to write a similar piece. ‘Wanted Dead or Alive’ was composed the following year. The lyrics are Jon Bon Jovi’s homage to the old West heroes. He is said to identify with them as being hated (wanted dead or alive) and relates the lifestyle of a rock ‘n’ roll band with that of outlaws.
œ
œ
13
12
10
0
œ
œ
14
14
≥ ≤ ≥ ≤
œ
œ nœ œ
œ
0
12
12
0
10
œ ‰ œœœ
Bon Jovi and Sambora in different periods. Ritchie Sambora left the band in 2013. Bon Jovi continue to record and tour.
T A B
5
5
0
0
&b œ œ œ T A B
3
1
3
5
Bon Jovi have been phenomenally successful since [4] the release of their 1986 album Slippery When Wet. They have released 13 albums so far and Jon Bon Jovi and Ritchie Sambora were inducted into the Songwriters Hall of Fame in 2009. The band’s sound is an effective blend of hard rock with pop. Their hit tunes have an anthemic quality, which transformed them into a stadium phenomenon worldwide. As well as rock, country music is a significant influence on their style. This is most evident in the record Lost Highway, from 2007. The band’s relentless live and studio schedule produced much publicised friction over the years, leading to periods of inactivity and almost no contact amongst band members. The original bass player, Alec John Such, was replaced by Hugh McDonald in 1994. Solo work was released by
œ
œ œ œ œ œ 44 b & œ œ œ P q = 75
0
3
4
4
4
œ œ
2
œ œ œ œ 0
0
[7]
C add 9
G5
œœ œœ œœ œœ œœ œœ œœ &b œ œ œ œ œ œ œ
3
2 Acoustic Guitar Grade 5
7
3
Wanted Dead Or Alive
Bon Jovi Arranged by Carl Orr
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ b n œ œœœ & 4 œ œ œ œ œ œ P
œ œ œ œ œ œ œœœ œœœ œ œ œ œ
q = 75
13
T A B
&b T A B
œ
0
œ nœ œ
5 0
14
≥ ≤ ≥ ≤
œ
œ
12
14
œ
0
12
5
4
4
8
10
5
9
0
9
0
3
5
5
0
œ œ œ œœ œ œ
1
4
0
0
10
œœœœ ‰
3
5
10
12
2 0
0
0
3
3
1
4
13
4 4 2
0
T A B
0
3
0
3
3
3
2
0
3
2
0
0
0
0
3
3 3
2
0
0
œœ & b œœœ
œœ œœ œ
œœ œœ œ
œœ œœ œ
3 3 0 2 3
3 3 0 2 3
3 3 0 2 3
3 3 0 2 3
T A B
œœ œœ œ
G5
œœ œœ œ
C add 9
œœ œœ œ
3 3 0 0
œ nœ œ 0
3
0
2
œœ œœ œ
œœ œœ œ
œœ œœ œ
œœ œœ œ
3 3 0 2 3
3 3 0 2 3
3 3 0 2 3
3 3 0 2 3
œœ œœ œ
œœ œœ œ 3 3 0 0
3
3
.. # œœœ ˙ F . 232 . 0
0 0
G5
0
D
[7]
C add 9
0
12
10 12
0
0
3
2
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ ˙˙ 0
12 14
10
8 10
0
9
9
œœ œ œœ œ œ œœ œ œœ œ œ œ œ œ œ œ
[4]
&b
14
œœ œœ œ
j œ n œœ œ œ
œ nœ œ 0
3
2
2
œ œœ œ œ œœ œ œ Œ
2 3
2
3 3
2
0
0
2 3 2 0
D
3 0 0 0
1 1 2 3 3 1
2 3 2 0
0
2
3
2 2
[10]
C add 9
œœ & b œœœ P
T A B
3 3 0 2 3
œœ œœ œ
œœ œœ œ
œœ œœ œ
3 3 0 2 3
3 3 0 2 3
3 3 0 2 3
œœ œœ œ
G5
œœ œœ œ
F
œœ œœ œ
3 3 0 0
œœ .. œœ .. œ .. œ
œ nœ œ 0
3
2
1 1 2 3 3 1
0
œœ ‰ œœ œ œ
j # œœ ‰ . œ œ œ R œ œœ D
1 1 2 3 3 1
2 3 2 0
3 2
3
C add 9
2
œœ œœ œ
œœ œœ œ
œœ œœ œ
œœ œœ œ
3 3 0 2 3
3 3 0 2 3
3 3 0 2 3
3 3 0 2 3
œœ œœ œ
G5
œœ œœ œ
œœ œœ œ
3 3 0 0
œ nœ œ 0
3
2
Acoustic Guitar Grade 5
[13]
8
D
&b T A B [16]
œ #œ œ œ œ ≈ œ œ œ œ œ 3 3
0
3
0
2
3
0
3
2
C add 9
œœ œœ œ
œœ œœ œ
œœ œœ œ
œœ œœ œ
3 3 0 2 3
3 3 0 2 3
3 3 0 2 3
3 3 0 2 3
œœ œœ œ
G5
œœ œœ œ 3 3 0 0 3
œœ œœ œ
D
œ nœ œ 0
2
Words & Music by Richie Sambora & Jon Bon Jovi © Copyright 1986 Sony/ATV Tunes LLC/Agressive Music/Bon Jovi Publishing Kobalt Music Publishing Limited/Sony/ATV Music Publishing. All Rights Reserved. International Copyright Secured.
0
œ œ œ œ œ 3
0
j œœ # œœ œœ .. œ œ œ œ .. œœ œœ œœ . œ . œœ
F
3
3
2
œœ ..
G
0
3
0
0
3
0
# œœ œœ œ œ 2 3 2
0
. .
œ œ œ œ œ œ œœœ œœœ œ œ œ nœ œ œ œ œ œ œ b & œ œ œ œ œ œ T A B
13 0
14
12 14
12
0
10 12
10
0
8 10
0
9
5 9
3
5
0
5
1
4
0
œ œ œ œ œ œ œœœ œœœ œ œ œ œ 13
4 4 2
14
0
12 14
12
0
10 12
10
0
8 10
9
0
9
[19]
&b œ œ T A B
œ
œ nœ œ
5 0
5
œ
œœœœ œ
3 5
0
D
4
4
G
œ œ œ œœœ œ
œœœ
7
5 7
3
œœœ œ œœœ ƒ
1
4
C
œœœ
2 5
3
5
5
3
5
3
5
5
7
7
7
5
œœœ
6
8
5 7
6 8
[22]
œ
&b
C
T A B
5
G œ œ œ
8
F D œœ. œ œ œ œ ˙ œ œ œ œ ˙
˙
5
6
8 7
6 5
7 7
5 5
œ œ œ œ œ œ œ œ œ
œ œ œ
G
D
7 7
5
6
7
7
5
7
7
6
5
8
8
6
[25]
G œ œ œ œ œ œ œ œ œ œ œ œ œ
T A B
7
G
6
[28]
&b œ P
T A B
0
œ
T A B [33]
5
œ
7
œ
6
œ
6
5
œ
13 14
[31]
&b œ
7
œ
œ
0
œ
12
œ
13 0
14
8
œ
œ
œ
12 14
œ
6
œ
œ
0
œ
10
œ
12 14
0
12
œ
10
œ
8
8
œ
10
œ
10 12
œ
F D œœ. œ œ œ œ ˙ œ œœœ ˙
C
œ
0
œ
9
œ
10 12
0
10
8
œ
10
œ
8
œ
8 10
œ
œ
8
0
9
œ
œ
0
œ
5
œ
8 10
8
8 7
10
œ
œ
œ
nœ
5 9
œ
10
G
4
0
œ
œ
nœ
0
5
5
0
4
5 5
7 7
œ œ œ œ
œ
1 4
5 9
7 7
3 5
œ
6 5
4
2
U
œ
#˙ œ ˙˙ ˙
3
2 3 2 0
4
Acoustic Guitar Grade 5
œ œœœ˙ &b œ œ œ œ C
9
Wanted Dead Or Alive | Technical Guidance This 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. The 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.
Acoustic Guitar Grade 5
It is advisable to play the fast lines at bars 24, 27, 28 and 29 with alternate picking.
10
Sting | Shape Of My Heart
SONG TITLE: SHAPE OF MY HEART
ALBUM: TEN SUMMONER’S TALES
LABEL: A&M
GENRE: POP
q = 85
F# m
# ## 4 œ & 4 œ
WRITTEN BY: STING AND DOMINIC MILLER
GUITAR: DOMINIC MILLER PRODUCER: HUGH PADGHAM UK CHART PEAK: 57
‘Shape of My Heart’ is featured in Sting’s 1993 release Ten Summoner’s Tales. The record is regarded by many as Sting’s best solo work.
T A B
œ
œ œ
E6
œ
œ œ œ
9
9
11
D/F #
7
E6
Miller has been his guitaristœsince 1990 œ #their œcollaboration #andDominic in Shape œ ofœ My Heart is rare, # seeing that Sting has written most of his work alone. nœ œ & œ œ
The song was co-written by Sting and guitarist Sting is also a committed and outspoken activist, Dominic Miller, whose versatile and original style has concerned with environmental issues since the mid roots in classical and Latin American guitar. The story 1980’s. 10 is that Miller brought the riff and Sting produced the 10 7 melody and lyrics, a meditation on life and the inner logic of luck and chance. The song was featured in the 7 9 9 soundtrack to the movie Leon and was subsequently covered and sampled by a number of artists including [3] Craig David and The Sugababes, in the UK. On August 11th 1994, a compact disc of Ten Summoner’s Tales became the first item securely purchased on line.
# ## & T A B [5]
D6
œ
œ œ œ œ
7
œ œ 5
4 5
7
4
œ
9
T A B
Sting was the lead singer and bassist with The Police from 1977 to 1984. The band was arguably the biggest band in the world at the time of their split in 1984. Their original blend of a finely tuned pop sensibility with high instrumental level brought them success worldwide. Their live schedule was relentless and their personal differences eventually broke the band. Sting’s choice to pursue a solo career at the peak of the band’s fame was questioned by some but he has enjoyed considerable success since. Sting has explored a number of different avenues in his writing, featuring jazz and world music from early on.
9
10
10
Acoustic Guitar Grade 5
11
G # m11
Shape Of My Heart
Sting Arranged by Andy G Jones
q = 85
F#m
### 4 œ & 4 œ T A B
9
D/F #
### œ & œ T A B
œ
10
œ œ œ
10
9
11
9
œ œ
œ
10
9
9
œ œ
œ
7
œ. 9
6
œ
œ œ 4
5
œ
œ œ œ
7
7 5
D6
œ œ
C # 7sus 4
5
7
7
œ œ 4
5
œ œ
œ
7
œ.
7
E6
œ nœ œ
D6
9
6
7
œ œ œ 7
9
œ
œ œ œ
10
E6
C # 7sus 4
œ œ œ
7
7 5
#œ œ œ
œ
6
4
4
œ
5
C#7
œ 4
4
C#7
#œ œ œ
œ
6
4
4
œ 4
4
[3]
& T A B
###
D6
œ œ œ œ
œ
œ
5
7
4
œ œ
A add 9
7
4
œœœ .. œ ... œ
œ
j œ
4
0 2 2 4 2 0
5
A
œœœ œ œ 0 2 2 2 0
œœœ œ œ
#œ
œ
œ
6 6
4
[5]
D
œ œ
2
2
2 0
2
### œ . œ. & œ. T A B
G # m11
œ œ
F#m
˙˙˙ ˙ ˙
ggg www ggg ww gg w gg 22 ggg 2 ggg 44 g2
2 2 4 4 4
Acoustic Guitar Grade 5
[7]
12
F#m
### . œ . œ & T A B [9]
. .
œ œ œ
10 9
9
11
E6
œ
œ œ œ
10
9 7
œ
œ œ 6
7
œ. 9
D6
œ œ
œ
7 5
C # 7sus 4
œ œ œ
œ œ œ
7
7
4 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
œ
C#7
#œ œ œ 6
4 4
œ 4
D/F #
E6
œ œ œ œ. ### œ œ œ œ & œ œ nœ œ œ T A B
10
10
7
9
9
9 7
7
C#7
œ œ œ œ œ œ #œ œ œ œ œœ œ œ
9
6
C # 7sus 4
D6
7
7
7
4
5
5
7 5
6
4
4
4
D6
œ
4
4
œ œ œ œ œ œ œ œ 5
7
4
7
4
4
5
[11]
&
###
A add 9
j œ
A
œœœ .. œ ... œ
œœœ œ œ
0 2 2 4 2 0
T A B
œœœ œ œ
0 2 2 2 0
œ
D
#œ
œ
6 4
6
œ. œœ . .
œ œ œ œ
2
2
2 0
2
G # m11
F#m
˙˙˙ ˙ ˙
ggg www ggg ww gg w ggg 22 ggg 24 ggg 42
2 2 4 4 4
[14]
F#m
### œ & œ T A B
œ œ
œ
10 9
E6
œ
œ œ œ
10
9
11
9
œ.
œ œ
œ
œ œ
9
6
7
D6
œ
7
7
œ œ 4
5
.. . . C # 7sus 4
œ
œ œ œ
7
7
5
5
C#7
#œ œ œ
œ
6
4
4
4
œ 4
4
[17]
D/F #
E6
œ œ œ œ. ### œ œ œ œ & œ œ nœ œ œ T A B
10
10
7
9
9
9 7
9
6 7
C # 7sus 4
D6
C#7
œ œ œ œ œ œ #œ œ œ œ œœ œ œ 7 5
7
4 5
7 5
6
4
4
4
D6
œ
4
œ 4
œ œ 7
œ
œ œ œ 5
4
7
œ 4
5
& T A B [22]
###
A add 9
j œ
œœœ .. œ ... œ
0 2 2 4 2 0
A
œœœ œ œ 0 2 2 2 0
œœœ œ œ
œ œ
#œ 6
4
6
D
œ. œœ . .
œ œ œ œ
2
2
2 0
2
G # m11
˙˙˙ ˙ ˙ 2 2 4 4 4
F#m
ggg www ggg ww gg w ggg 22 ggg 24 ggg 42
Acoustic Guitar Grade 5
[19]
13
F#m
### œ & œ T A B
œ œ
œ
10
6
9
E6
œ
œ œ œ
10
9
9
œ.
œ œ
œ
œ œ
9
6
7
D6
œ
7
7
œ œ œ
œ œ œ
7
7
4
5
C # 7sus 4
5
5
C#7
#œ œ œ
œ
6
4
4
œ 4
4
[25]
D/F #
E6
œ œ œ œ. ### œ œ œ œ & œ œ nœ œ œ T A B
10
10
7
9
9
9 7
C#7
œ œ œ œ œ œ #œ œ œ œ œœ œ œ
9
6
C # 7sus 4
D6
7
7
7
4
5
5
7 5
6
4
4
D6
œ
4
4
œ œ œ œ œ œ œ œ 5
7
4
7
4
4
5
[27]
& T A B
###
A add 9
j œ
2
A
œœœ .. œ .. œ.
œœœ œ œ
0 2 4 2 0
œœœ œ œ
0 2 2 2 0
#œ
œ œ
6 4
6
D
œ. œœ . .
œ œ œ œ
2
2
2 0
2
G # m11
F#m
˙˙˙ ˙ ˙
gg www ggg ww gg w g ggg 22 ggg 24 gg 42 g
2 2 4 4 4
[30]
F#m
### œ & œ T A B
œ œ œ
10 9
9
E6
œ
œ œ œ
10
9
11
œ œ
œ
œ.
œ œ
9
6
7
D6
œ
7
7
œ œ 4
5
C # 7sus 4
œ
œ œ œ
7
7
5
5
C#7
#œ œ œ
œ
6
4
4
œ 4
4
Acoustic Guitar Grade 5
[33]
14
D/F #
E6
œ œ œ œ. ### œ œ œ œ & œ œ nœ œ œ T A B [35]
10 9
4
7
10
4
9 7
6 7
C # 7sus 4
D6
C#7
œ œ œ œ œ œ #œ œ œ œ œœ œ œ 7 5
4 5
7
7 5
4
6
4 4
D6
œ
4
œ œ œ œ œ œ œ œ 4
5
7
5 4
7
4
## & # T A B
A add 9
A
œœœ .. œ ... œ
j œ
œœœ œ œ
0 2 4 2 0
2
œœœ œ œ
0 2 2 2 0
œ
G # m11
F#m
œœ œœ
œœ œœ
2 2 2 4 5
2 2 4 4
2 2 2 4
2 2 2 4
˙˙ ˙˙˙
#œ
œ
D maj 7
6 4
6
˙˙˙ ˙ ˙
F # m7
œœ œœ
œœ œœ
2 2 2 2
2 2 2 2
42
4
[38]
D maj 7
# # # 2 ˙˙ & 4 ˙˙˙
44
G # m11
2 2 2 4 5
T A B
œœœ œ œ
œœœ œ œ
œœœ œ œ
œœœ œ œ
œœœ œ œ
œœœ œ œ
œœœ œ œ
œœœ œ œ
4
4
4
4
4
4
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
2 2 4 4
[41]
C#m
### œ & œ T A B
œ œ œ
5 4
œ
#œ œ œ
5
4
6
4
B6
2
œ œ
œ
œ.
œ œ
4
1
G # 7sus 4
A6
œ œ
œ
2
2
œ
œ œ œ
2
0
4
0
6 0
G#7
#œ œ œ
œ
œ
5
4
4
4
4
[44]
A/C #
### œ & œ T A B
œ
œ œ
5 4
œ
#œ nœ œ
5
4
7
4
B6
2
œ œ
œ
œ.
œ œ
4
1
G # 7sus 4
A6
œ
œ œ œ
œ œ œ
2
2
2
2
0
4
0
0
G#7
#œ œ œ
œ
œ
5
4 4
4
4
& T A B [48]
###
A6
œ
œ œ œ œ œ œ œ œ 0
2 0
4
4
2
E let ring
œ.
4 0
œ œ œ 2
G#7
œ
1 2 4
#œ #œ œ œ 6
5 4
6
A
œœ œ œ
œœ œ œ
2 2 2 0
2 2 2 0
D # m7
œ # œœ
œœ œ
6 4 6
6 4 6
Acoustic Guitar Grade 5
[46]
15
C#m
## œ & # œœ œ
œœ œ œ
T A B
5 6 6 4
5 6 6 4
C # m7
œœ
œœ
4 6
4 6
A
œœ œ œ
œœ œ œ
2 2 2 0
2 2 2 0
D # m7
œ # œœ
œœ œ
6 4 6
6 4 6
A
ww w w 2 2 2 0
[51]
F#m
### . œ . œ & . .
T A B [54]
10 9
œ
œ œ œ
10
9
œ œ
œ
E6
11
9
E6
10
10
7
9
9
9 7
œ œ œ
7
7
5
C # 7sus 4
5
C#7
œ œ œ œ œ œ #œ œ œœ œ œ œ œ 7
7
7
4
5
5
7 5
C # 7sus 4
œ œ œ 4
5
D6
9
6
œ
7
7
œ œ œ œ. ### œ œ œ œ & œ œ nœ œ œ T A B
œ œ
9
6
7
D/F #
œ.
œ œ
œ
D6
6
4
4
4
D6
œ
4
œ
#œ œ œ
œ
6
4
4
œ œ
œ 4
4
œ œ œ
œ
5
7
4
C#7
7
4
œ 4
5
[56]
& T A B
###
A add 9
j œ
2
A
œœœ .. œ ... œ
œœ œœ œ
0 2 4 2 0
œœ œœ œ
0 2 2 2 0
œ
œ
D
#œ 6
4
6
œ. œ. œ.
œ œ œ œ
2
2
2 0
2
G # m11
F#m
˙˙˙ ˙ ˙
ggg www ggg ww gg w ggg 22 ggg 24 ggg 42
2 2 4 4 4
Acoustic Guitar Grade 5
[59]
16
F#m
### œ & œ T A B [62]
œ œ œ
10 9
9
11
E6
œ
œ œ œ
10
9 7
œ
œ œ 6
7
œ. 9
D6
œ œ
œ
7 5
. . C # 7sus 4
œ œ œ
œ œ œ
7
7
4 5
..
5
4
œ
C#7
#œ œ œ 6
4 4
œ 4
D/F #
E6
œ œ œ œ. ### œ œ œ œ & œ œ nœ œ œ T A B
10
10
7
9
9
9
7
C#7
D6
œ œ œ œ œ œ #œ œ œ œ œœ œ œ
9
6
C # 7sus 4
D6
7
7
7
4
5
5
7 5
6
4
4
œ œ œ œ œ œ œ œ
œ
4
4
5
7
4
7
4
4
5
[64]
& T A B
###
A add 9 A
j œ
œœœ .. œ ... œ
0 2 2 4 2 0
œœœ œ œ 0 2 2 2 0
D maj 7
œœœ #œ œ œ œ œ 6 4
6
œœ œœœ
œœ œœœ
2 2 2 4 5
2 2 2 4 5
G # m11
œœœ œ œ
œœœ œ œ
4
4
2 2 4 4
F#m
2 2 4 4
œœ œœ
œœ œœ
2 2 2 4
2 2 2 4
F # m7
œœ œœ
œœ œœ
2 2 2 2
2 2 2 2
D maj 7
œœ œœœ
œœ œœœ
2 2 2 4 5
2 2 2 4 5
G # m11
œœœ œ œ
œœœ œ œ
4
4
2 2 4 4
2 2 4 4
[67]
F#m
# # # œœ œœ &
œœ œœ
2 2 2 4
2 2 2 4
T A B
F # m7
œœ œœ
œœ œœ
2 2 2 2
2 2 2 2
42
G # m11
D maj 7
˙˙ ˙˙˙
44 œœœ œ
œœœœ
œœœœ
œœœœ
œœœœ
œœœœ
œœœœ
œœœœ
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]
F#m
### œ & œ T A B
œ œ œ
10 9
E6
œ
œ œ œ
10
9
11
9
7
œ
œ œ
D6
œ.
œ œ
9
6
œ
7
7
œ œ 4
5
C # 7sus 4
œ
œ œ œ
7
7
5
5
C#7
#œ œ œ
œ
6
4
4
œ 4
4
D/F #
E6
œ. œ ### œ œ œ œ œ œ & œ œ nœ œ œ T A B [77]
10 9
7 9
10
9 7
6 7
9
C # 7sus 4
D6
C#7
œ œ œ #œ œ œ œ œ œ œ œ œ œ œ 7 5
4 5
7
7 5
4
6
4 4
4
F#m
œœ .. œ. œœ ... œ 2 2 2 4 4 2
··
·.
AH 14
2
2
2
Acoustic Guitar Grade 5
[75]
17
Shape Of My Heart | Technical 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. The 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. The record features a stellar band including drum legend Vinnie Colaiuta. This version features homegrown heavyweight Ian Thomas on drums. Although not exactly like Sting’s recording, the guitar part is a good representation of Miller’s own. The latin american influence is quite noticeable in it. The way the right hand picks out the syncopated bass notes and outlines the chords above really brings out the harmony. There are no superfluous notes. Every note chosen is a significant chord tone. For those interested in composition, analysing this tune would be useful. The opening harmony is in F # minor. Note the use of C # 7 in bar 2. This 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’. The D 6 chord in bar 2 is a little unusual, common in jazz standards and related compositions. The Aadd 9 voicing in bar 6 is a nice feature. Utilising the 9th in this way adds a country or gospel feel. The G # m11 in bar 15 is unusual and reminiscent of Andy Summer’s guitar part in ‘Walking On The Moon’ by Sting’s former band The Police. The interlude at bars 42 and 43 takes us to C # minor. This is the dominant degree of the original key and adds an unusual lift to the tune. This 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.
Acoustic Guitar Grade 5
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.
18
Eva Cassidy | Songbird
SONG TITLE: SONGBIRD
ALBUM: SONGBIRD / 1998
LABEL: BLIX STREET RECORDS
GENRE: ADULT POP BALLAD
q =76
œ ‰ œœ ‰ œ œ œ #4 œ œ œ œ œ & 4 w Œ ‰ œ J
WRITTEN BY: CHRISTINE MCVIE GUITAR: EVA CASSIDY AND KEITH GRIMES
PRODUCER: EVA CASSIDY AND CHRIS BIONDO
C sus 2
G
T A B
UK CHART PEAK: 1
0
0
The song was written by Christine McVie from Fleetwood Mac and appeared in the 1977 release Rumours, considered by many a classic album. According to her guitarist, Keith Grimes, Eva Cassidy’s acoustic guitar parts were carefully crafted, always with the vocal melody in mind. She started playing and singing aged 11 and was also interested in other forms of expression such as painting, sculpting and jewellery design. Eva Cassidy was very committed to her stylistic approach and unwilling to make many compromises. This, arguably, hindered her chances of securing a deal in a fickle recording industry. Together with bassist and producer Chris Biondo, she decided to release Live at Blues Alley. She was initially unhappy with the vocal sound, due to a cold, but eventually agreed to release the record provided it included the studio track ‘Oh, I had a Golden Thread’. Her subsequent releases were posthumous. She is now acknowledged as a huge and inspiring talent and her records have been certified platinum a number of times.
3
0
0
5
3 3
‰ œœ ‰ œ œ œ œ œ œ # œœ œœ˙œ œ œ œœ & Ó œ‰Œ J 2 T A B
D
N.C.
G
Eva Cassidy died aged 33 in 1996. She did not enjoy commercial success during her lifetime but the posthumous Songbird compilation was a worldwide success.
5 7
7
3
3
5 7
3 7
0 3
0
3 5
0
0
0
0
0
2
3
2
3
[5]
œœ œœ œ # ‰ œ œœ œ ‰œœ œ œ & œ œœ œ w ˙ C sus 2
T A B
0 3
0
1 0
0
0
3 2
0 3
[10]
5
5
3 3
Acoustic Guitar Grade 5
19 Em
5
Songbird
Eva Cassidy Arranged by Carl Orr
q =76
C sus j œ œ œ j œ œ œ œ œ œœ œj œ œ œœ œœ œ œ œ œ œ œ wœ œ ‰ Œ J
j ‰ ‰ œ œ œ œ œ # œ & 44 œ œ œ œ œ œw œ œ œ œ œ œ ‰ Œ J C sus 2
G
T A B
0
# œœœ‰ & œ œ œ‰Œ J 0 3
7
5 7
0
0
0
3
3 7
0
3 3
5
5
3
3
G
T A B
3
3
2
G
0
5
7 8
3
5 7
0
5
0
0
3
5
5
3
3
3 3
5
5
5
œœ ‰ œœ œ œ œœ œ œ ˙ œ œ .. ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œœ œœ œœ w Ó Ó ˙ N.C.
5 7
3 5
0
0
C add 9
D
0
2
0
3
2
0
. .
2
3
[5]
G
3
1
0
2
0
1 0
0 2
1
0
1
0
0
0
0
0
0
0 1 0 0
0 2 0
3
C sus 2
&
7 8
œ œ œ œ # ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œœ œ w œ w Ó œœ ˙ œ œ œ œ ˙ ˙
T A B
0
0
1 0
3
3
0
0
0
2
G
5
3
3 3
5
5
5
5
5
3
3 3
5
0
5
5
5
0
0
0
0 1
0
0 2
0
0
0
3
0
1 0
3
0
0
3
0
2
[10]
C sus 2
œœ œœ œ œœ œœ # ‰ œ œ œ œ œœ œœ œ œ œ œ œ œ œ ‰ œ œ & œ œ wœ œ œ wœ œ œ œ œ œœ œ œ Ó œ wœ ˙ w Am
T A B
0
Em
2
2
1 2
1
2
0 2
0
2
0
0
0
0
G
3 2
3
0
5
5
3 3
5
5
3 5
3
5
5
3 3
5
5
5
0
0
œœœ œœ
3 3
0 1 0
0 2
0
3
Acoustic Guitar Grade 5
[15]
20
& T A B [20]
#
œ œ j j œ œœÓ ‰ œ œ œ œ œ ‰œœœ œœœ ‰œœœœœœ ‰œœœœœœœ œÓ œ ‰ œœœ ˙ Œ Jœ ‰ ˙ Ó Ó ˙œ ˙ ˙ C add 9
D
0 0 3
0
3 3
0
2
3
0
2
3
2
2
3 0
2 3
2
Em
0
1 0
0
1
0
Words & Music by Christine McVie © Copyright 1977 Universal Music Careers. Universal Music Publishing MGB Limited. All Rights Reserved. International Copyright Secured.
2 0
0
0
0
2
0
0
0 0
0
0
0
0
0 2
C sus 2
&
D/F #
1.
# ‰ œ œœ œ œœ œ œ ‰˙ œ œ œ Œ œ œ œ œ w œ Œ
T A B
D
5
3
5
3 3
3 3
5
5
5
3
2
0
2
‰ œ œ œ œ œœ œ Œ œ œ œ œ w
3
2
0
G
0
0
2
0
0 1 0
0
0
‰ j j œ œj œ œ œœœ
0 2 0
0
3
5 5 7
5 7
5
[25]
&
#
T A B
C
Œ
˙
˙
œ œ
5
≈œœœ œ œ
5
5
4
5
4
œ œ. ‰ œ œ œ ˙ 3
G
2
2 4
Œ
‰
j j œ œj œ œ œ œ œ
2 4 2 0
7
5 5 7
5 5 7
5
[29]
&
#
T A B
Œ
C
˙
œ œ
5
‰ œ ≈œœ J
˙ 5
5
4
5
œ
œ œœœœ
G
œ œœœ œ 3
3
7
7
5 7 5 4
2 4 2
œœ œœ œ œ œ œ œ œ
œ
7 8
0
7 8
7
8
7
5
3
7
[33]
& T A B
#
j œ
œ
œ œœœœ
D
œ œœ œ œ œ œ œ
3
5
3
œ œ œ œ. œ œ œ œ œ. œ
C
3 5 3 2
0 2
3
2
0
3
Em
1
1
3
3 5
5 5 5 7
œœ
œœ
œœ
œœ
7 8
7 8
5 7
3 5
[37]
&
# b œœ œœ .. œœ
T A B
D/F #
œ œ. ‰ J ≈J
˙
D
j œ
2.
¥¥ ¥
w
G
G
.. ‰ œ œ œ œ œ œ œ œ œ ˙
NH 3
3 5 3 5
5
3
2
7
5
3
. .
12 12 12
[41]
0
0 3
1 0
0
U ww # œ œ œ w œ œ œ œ œ œ œ œ w & ˙ œ œ œ œ œ ‰ œ œ œ œ œ ˙ œ œ œ œ œ ‰ œ œ œ œ œ œ Ó ˙ ˙ Ó Ó C add 9
T A B
[46]
G
0 3
2
0
1 0
0
1
0
0 3
C add 9
Rall.
0
1 0
0
0
3 2
G
0
0 3
2
0
1 0
0
1
0
0 3
0
0
0
3
0
3
7 8 7 5
0
3
0
2
Acoustic Guitar Grade 5
œœ œ ≈ Jœ .
C
21
Songbird | Technical Guidance The acoustic guitar is a constant presence in ‘Songbird’. Instrumentation is minimal otherwise. While gentle and subtle, performance must be confident and authoritative. The 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. This 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. The 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, second 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. The 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. The 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, in bars 13, 19 and 27. There is some pleasing harmonic colour in the song. In addition to regular triads there are numerous sus2 chords in which the 3rd of the chord is replaced by the 2nd. There 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, and continuing with phrases containing some interesting rhythmic ideas, such as the slurred semiquaver triplets in bars, 31, 35 and 37. The 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, 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.
Acoustic Guitar Grade 5
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.
22
Dire Straits | Brothers In Arms
SONG TITLE: BROTHERS IN ARMS
ALBUM: BROTHERS IN ARMS / 1985
LABEL: WARNER BROTHERS
GENRE: ROCK/POP
WRITTEN BY: MARK KNOPFLER
GUITAR: MARK KNOPFLER
q = 72
# ## 4 Π& 4
œ
œ
PRODUCER: NEIL DORFMAN AND MARK KNOPFLER
œ 3
T A B
UK CHART PEAK: 16
‘Brothers in Arms’ is the title song of Dire Straits’ 1985 album release. The record was a worldwide success, selling an estimated 30 million copies. The song was written by Mark Knopfler in 1982. There are two studio versions featuring slightly different guitar solos at the beginning and end of the song. There is also a live version featured in the live album On the Night. The song was re-released in 2007 to commemorate the 25th anniversary of the Falklands War and raise funds for veterans suffering from post traumatic stress disorder. Dire Straits were formed in 1977 and their sound included a blend of rock, blues and jazz. This made them stand out from the punk and new wave trend of the time, rooting the band in the pub rock tradition. Knopfler’s singular guitar style immediately caught people’s attention and he is now regarded as a highly influential guitarist and songwriter. By the time the band recorded Brothers in Arms they had been touring regularly and the record was another step in the direction of more complex material, as developed in their previous studio record, Love Over Gold. The album won two Grammy awards and remains one of the best selling records of all time.
2
2
# ## ˙ & ˙˙
2
A
Ó œ
œ
œ
œ ˙˙
2
2
2 0
2 0
0
˙ ˙˙ 2 0
E 7sus 4
A
T A B
2
œ
D
œ
4 5
0
[4]
F# m
# ## ‰ & œ ˙ T A B [7]
C#m
j œœ œœ œ Œ œ œœ 2 2
2
4
2 4 2 4
3
3
0
D
w ˙˙ 2 2 0
Acoustic Guitar Grade 5
23
Brothers In Arms
Dire Straits Arranged by Carl Orr
q = 72
### 4 & 4 ΠT A B
œ
2
2
œ 2
œ
D
˙ ˙ ˙
E
0
2
0
˙œ ˙
2 0
‰ œj œ˙ Œ ˙
E sus 2
Œ œ
œ
2
E
0
1
4
E 7sus 4
### ˙ & ˙ ˙
Ó œ
A
œ
œ
œ ˙˙
0
2 2 0
œ
2
0
2 4 5
0
E/G #
œ
œ 3
0 1
0
A
T A B
œ
3
0
2
0
œ˙ ˙
œ
œ
0 0
2
4
3
F#m
˙ ‰ œ œ J ˙ 5
˙ ‰ œ œ ˙ J 4
2
2
4
C#m
4
2
6
6
[4]
& T A B
###
F#m
C#m
‰ ˙ œ
j œœ œœ œ œ œœ Œ
D
0
2
2 2 2
4
3
2 4 2 4
3
w ˙˙ 2 0
D/F #
E 7sus 4
˙˙ ˙
œœœ w
2 0
0 2 0
2
0
F#m
D
œ 0
E
œ œ
3
œ
œ
0
0
0
1
Acoustic Guitar Grade 5
[7]
24
F#m
### ˙ ‰ œ & œ ˙ J
T A B
[10]
2
2 2
4
C#m
˙‰ œ ˙ Jœ
0
5 4
‰ œj œ ˙
6
6
1 4
œ˙ œ œ œ ˙ 0 2
2
0
2
Words & Music by Mark Knopfler © Copyright 1985 Straitjacket Songs Limited Universal Music Publishing Limited. All Rights Reserved. International Copyright Secured.
2
˙ ˙˙ 2 2 0
Bm
˙ ˙˙ 3 4 2
E sus 4
## & # Πw
T A B
E
œœ 0 2
œ
3
œ˙
œ
0 1
2
0
0
F#m
œ ˙
œ
2
0
D
3
œ
œ˙
2
3
œ
œ
3
2
E 7sus 4
˙ .˙ w w
˙
0 2 0
4 5
2
E7
œ
œ
5
4
1
0
[13]
F#m
D
Bm
# # # œ˙ œ œ œ œ ˙ œ œ & ˙ œ 5
T A B
7
5
4
6 4
7 0
Ó
œ
Œ œ œ œ œ Œ
œ œ
5
0
7
7
D
2
4
0
4
F#m
œ œ œ œœ œ œ œ œ œ ˙˙ œ œ ‰ 5
D
7
5
4
6 4
7
5
7 0
9
7
7
[16]
### w & œ œ Bm
œ
œ
7
T A B
7 7
9
9
Ó
˙˙˙ ˙
œ
F#m
œ
œœ œ œ
œ
2 2 2
9
œ Œ
œ Ó
2
2
œ
œ 3
0
2
2
[19]
E sus 4
## ˙ & # ˙˙ D
˙œ ˙
2
T A B
Œ œ
E sus 2
E
œ
E
0
2 0
2
1
œ Œ
œ˙ ˙
œ
0
0 1
2
4
0
œ
3
0
E 7sus 4
A
w ˙
œ
2
2
0
0
0
œ
œ
0
& T A B [25]
###
A
œ ˙˙ 2 4 5
E/G #
œ œ œ˙ ˙
œ
œ
0
2
4
0
0 0 4
3
F#m
˙ ‰ œ œ J ˙ 5
2 2
2
C#m
˙ ‰ œ œ ˙ J 4 1 4
A
œ Œ œ œ œ œœ
2
2 0
2
D maj 7/F #
œ˙ ˙ ˙
œ
2 2 0
3
2
3
œ 0
Acoustic Guitar Grade 5
[22]
25
G maj 7/B
## ˙ œ & # œ nœ D/G
˙ œ nœ œ
2
T A B
3
2
0
E sus 4
2
3
œ
œ˙ ˙
œ ˙ ˙
0
0 2
0
4
E
0
3
œ
œ
0
0
F#m
C#m
˙‰ œ œ ˙ J
˙‰ œ œ ˙ J
2
1
5
2
2
0
2
˙ ˙˙
Bm
4
6
6
4
[28]
& T A B
###
C#m
F#m
‰ œj œ ˙
œ˙ œ œ œ ˙ 0
5 4
D
6
0
2
2
˙ ˙ ˙
2
2
E 7sus 4
Πw
œœ
3
2 0
0 2
4 2
2
E
œ
3
œ˙
œ
0 1
2
0
0
[31]
F#m
## & # œ ˙ T A B
D
2
3
œ
œ
4
2
œ˙
3
œ
œ
3
2
E 7sus 4
˙ .˙ w w
˙
0 2 0
4 5
2
E7
œ
œ
5
4
1
0
[34]
F#m
D
# # # œ˙ œ œ œ œ ˙ œ œ & ˙ œ T A B
5
7
5
4
6 4
7 0
Bm
Ó
Œ œ œ œ œ Œ
œ œ œ
5
0
7
7
D
2
4
0
4
F#m
œ œ œ œœ œ œ œ œ œ ˙ ‰ ˙ œ œ 5
D
7
5
4
6 4
7
5
7 0
7
7
Acoustic Guitar Grade 5
[36]
26
### w & œ œ Bm
T A B [39]
œ
œ
œ
7 7 7
9
9
F # sus 4
˙˙˙ ˙
Ó œ
F#m
œ
2 2 4
9
2
œœ œ œ 2 2 2
4
0
2
‰ œj œ œ œ œ Œ ˙ E sus 4
2
0 0
2
0
2
9
F#m
## & # w œ œ T A B
œ
2 2
œ
2
œ
œ œ
4
0
0
2
1
4
4
‰ œj œ Œ œ œ Ó œ
E
2
D
Bm
Œ œ œ œœ œ œ œ
˙ œ
0
2 0
2
4 2
4
4
0
4
[42]
&
###
T A B
E sus 4
œœ .. œ.
j œ œ
œ
0
2
2
2 2 0
œ
œ
0
2
F#m
w œ œ
œ
2 2
œ
2
œ
2
1
4
4
‰ j œ Œ œ œ ‰ Ó œ œ
œ œ
E
4
0
2
0
2
0
[45]
& T A B
###
D maj 7
˙ w 2 0
œ œ
œ œ
œ œ
œ œ
œ œ w
œ œ
œ œ
œ œ
œ œ
9
10
9
7
5
7
5
4
2
9
11
9
7
6
7
6
4
2
œ
œ
5
4
[48]
F#m
D
# # # œ˙ œ œ œ œ ˙ œ œ & ˙ œ T A B
5
7
5
4
6 4
7 0
Bm
Ó
Œ œ œ œ œ Œ
œ œ œ
5
0
7
7
D
2
4
0
4
F#m
œ œ œ œœ œ œ œ œ œ ˙ ˙ œ œ ‰ 5 6 4
7
D
7
5
4
5
7 0
7
9
7
### w & œ œ Bm
T A B [53]
œ
œ
œ
7 7 7
9
9
F # sus 4
˙˙˙ ˙
Ó œ
F#m
œ
2 2 4
9
2
4
0
gg www ggg ww gg w g gg 22 ggg 2 gg 44 gg 2
Acoustic Guitar Grade 5
[50]
27
Brothers In Arms | Technical 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. The 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. This 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. The part resembles Jimmy Webb’s harmonic style. Jimmy Webb wrote ‘Wichita Lineman’, and ‘By The Time I Get To Phoenix’ for Glenn Campbell. These 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. This 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. The 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. The 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. The 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. This 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. This 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.
Acoustic Guitar Grade 5
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. The most important point is to give each note its full value, only moving the left hand fingers when necessary. This gives the guitar a ringing, sustaining quality reminiscent of a piano.
28
Eric Clapton | Tears In Heaven
ALBUM: MTV UNPLUGGED / 1992
LABEL: WARNER BROTHERS
GENRE: POP / ROCK
q = 80
SONG TITLE: TEARS IN HEAVEN
# ## 4 ‰ ‰ & 4 œœ ˙
A
N.C.
WRITTEN BY: ERIC CLAPTON AND GUITAR: ERIC CLAPTON PRODUCER: RUSS TITELMAN UK CHART PEAK: 5
T A B
j œœœ œ œ 3
Gtr. 1 (Assessed)
WILL JENNINGS
ut assessed and
See note on welcome page abo
2
2
3
2
2
0
0 2
[1]
D/F #
# ## œ œ & œ J
‘Tears in Heaven’ is a song written by Eric Clapton in collaboration with Will Jennings after the death of Clapton’s four year old son, Connor, who fell from a window of a 53rd floor New York apartment in March 1991. Clapton isolated himself for sometime before getting back to music. He began working again by writing music for the movie Rush (1991). He released ‘Tears in Heaven’ as a single to the soundtrack but it is the version featured on MTV Unplugged that had massive success. The record was nominated for nine Grammy Awards.
T A B
The song had a healing effect for Clapton and proved very hard for Jennings to complete the lyrics given the sensitivity of the subject. He did so at Clapton’s insistence. Clapton stopped playing the song in 1994. He started playing it again for his 50th anniversary tour in 2013.
œœ œ
E 7sus 4
œœ
been acknowledged as influential by a plethora of guitarists worldwide. He has released 24 solo albums and has toured extensively.
œ
œ J
Clapton assembled his famous ‘Blackie’ Fender Stratocaster out of three guitars in 1970. In 1988, Fender introduced the Eric Clapton Stratocaster. At3 3 3 it was one of two artist the time, 2 2 models available. He 2 has appeared on many records as guest, and in movies such as Tommy as well as adverts by Mercedes Benz 0 2 2 2 and T-Mobile.
# ## œ œ & ‰
œœ
T A B
œ
3 2
3 2
0
%
# ## . Π.
0
œœ œ J
Gtr. 2 (Non-assessed)
Eric Clapton is regarded as a true rock and blues Icon. He was born in 1945 in Ripley, Surrey. He was a member of many seminal English groups such as the Yardbirds, John Mayall and Bluesbreakers, Cream and Blind Faith. Since the 1970’s he has been hugely successful as a solo artist. He is the recipient of 18 Grammy awards and the only three [3] time inductee to the Rock and Roll Hall of Fame. Clapton started playing in his early teens and by the age of 16 his playing was advanced. His playing has
œ
œ J
œ
3 2
0
E/G #
0
j Û
Acoustic Guitar Grade 5
Gtr. 1 (3rd time)
œ
œ
j œ
‰
œ
‰
F# m
j Û
œ29 œ
Tears In Heaven
Eric Clapton Arranged by Andy G Jones
q = 80
F # m7
F # m7/E
See note on welcome page about assessed and non-assessed guitar parts
# # # 4 Gtr. 1 (Assessed) j œ œ œ œ & 4 ‰ ‰ œ œœ ˙ N.C.
T A B
3
2
2
œœ
œ
3 2
œœ œ
œ J
2
œœ
œ
3 2
3 2
0
2
0
œ J
œœ œ J
Acoustic Guitar Grade 5
30
0
‰
j Û
œ 1. Would 2. Would 3. Would
j œ œœ
you know you hold you know
‰
my my my
0 0
4
4
œ œ œ œ œœ œ
¿¿ ¿ ¿¿ ¿
T A B [5]
. .
2
2 3 2
2
0 3
2 3 2 0
2 2 2
2
2
2
0 0 4
œœ œ J
œ
œœ
œ
2 2
œ J
œœ œ œ J
2
0
œœ œ
œ
2 2 2
0
œ J
3 1
0
0
œ J
œ J
2 2 2 0
0
‰ ˙
œ
2 2
œ
2 2
2
j Û
2 2 2 2
2
œœ œ œ 2 2 2 2
œœ œ œ
¿
œ œ œ œ œ œj œ
Œ
¿
I I I
saw you saw you saw you
in in in
hea hea hea -
œœ œœ œ œ œ œ J Jœ œ J
œœ œœ œœ œœ œ œ œ œ œ œ œ J œ J J J
2
2
2 2 2
2 2 2
0
0
0
3 2
œœ œœ œ œ œ œ œœœ œ œ
œ
5 5
3
7 7
2
A5
if if if
2 2 2
œ œ 0
name hand name
œ
2
2
2
D/F #
Ó
œœ œ
œ
0
F # m7/E
œœ œ ‰œ
0
j œ
‰ œ.
œ
2
‰ œ œ
0
0
F # m7
œœ œ œ
j œœ
œ
0
2
0
œœ œ J
2 2
œ œ œ œœœ œ
0 0
&
œœ œ
œ
A
œœ
0
œœ œ
.. Œ ˙
4
0
œ
## j œ & # .. ‰ œ œ œ œ œ œ ˙ œ
###
œœ œ‰
2 2 2
3 1
Gtr. 1 (3rd time)
3
. .
5 4
œœ œ
œ
3 2
E/G #
%
T A B
œœ œ œ J
E7
3 2
0
[3]
## & # .. Œ
œ
4
Gtr. 2 (Non-assessed)
T A B
œœ ‰
5 4
2
E 7sus 4
3 2
### œ œ & ‰
2
œœ œ
[1]
D/F #
2
3
E/G
0
0 2
### œ œ & œ J
T A B
A
5
5 4
7 6
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
5
3 2
2
2
2 2 2 0
0
2 2 2
0
œ œ œ œ œ œ 0
3
2
3
0 1
## & # œ E
Œ
Ó
- ven? - ven? - ven?
0 1 2
T A B
0
E/G #
j œ œœ
œ
Œ
2 2
3 4
2
0
œœ
0 1
0
2 3 2
2
0
2
œœ
2
4
2
5
0
2 3 2
2
0
the me the
œœ œ
4
4
2 2
Ó
same stand same
œœ œ œ 2 2 2
œœ œ œ J
œœ œ
œ
2 2 2
2
2
œ œœ œœ œ
0 0 4
F # m7/E
œ œ œ œœœ œ
0 0
‰ œj œ œ œ œ œœ ˙ œ
œ œ œ
F # m7
0 0
3
2 2 2
be help do
3
0
œœ
it you you
j œœ ‰ œœ ‰ œj œ œ œ œ œœ œ œ œ œœ ˙ J
0 1
0
### œ &
A
Would Would Would
### œ œœ œœ & œ œ œ J J
T A B
E7
A/E
œœ œ œ
œ
2 2 2
2
œœ œ 2 2 2
0
0
œ J 0
œ œ œ œœ œ œ œ œ œ #œ nœ œ œ
œ
2 2 2
œœ œ œ œ J J
2
4
4
5
4
2
0
2
4
5
6
4
2
1
0
2
[8]
D/F #
Œ
œ
œ
A/E
### œ œ & œ J
if if if
I I I
saw saw saw
œœ
œ J
œœ œ œ J
2
0
0
œ
œ
2
3
&
T A B
& T A B [11]
œ
3 2 2
###
œ œ
3 2 2
œ
œ
œ
3 0 2
0
0
œ
œ
you you you
œ
2 2 2
œ
in in in
œœ œ 2 2 2
œ œ
hea hea hea
œ J
-
E
œ
Œ
A/E
œœœ œ J
œœ
œ J
œœ œ J
0
0
ven? ven? ven?
0 1 2
0
œ
œ
0 1
œ
0 1 0
œ
œœ
0
0 1
Ó
œ
2 2
œ œ
œœ
E7
œœ 3 4
0
œ
œ J 0
œ
œ
5
5
2 2 2
4
2
Acoustic Guitar Grade 5
###
31
F # m7
## & # Œ
# # # œœ œœ & œ œ J 2 2 2 2
T A B
&
2
###
T A B
‰ œj œ
œ
I I’ll I
be my be
œœ œœ 2 2 2 2
must find must
œœ œœ œ œ œ J J 2 2 2 2
2
2
œœ
strong way strong
j œœ ‰ œœ œ J 2 2 2 2
2
0
2
4
2 2
4
2
2 4
Œ
and car through night and car
# œœ œœ œœ œœ œ œ œ œ #œ œ œ œ œ œ J J J J 1 2 1
1 2 1
1 2 1
1
nœ n n œœœ nœ œ J
1 2 1
1
1
2
1
2
2 1
3
2
1
1
3
œœ œœ
0 2 0 2 0
œ œ # œ œœ œ œ œœ œ #œ
2 2
‰ n œj œ
A 7/E
‰ Ó
œ.
1
œ œ œ œ œ œ œ œ œ œ œ 2
C #/E #
2 1
0 2 0 2
0 2 0 2
0
0
ry and ry
œœ œœ 0 2 0 2
0
œ œ œ
œ
0
0
2
on, day, on,
œ J
0
œ nœ œ 0
-
œœ œœ œ œ œ J J
0
nœ
-
œ œ œ
0
0
2
[13]
&
###
&
###
Acoustic Guitar Grade 5
T A B
32
& T A B [16]
F#7
F #/A #
#œ œ œ œ œ
Œ
œ
’cause ’cause ’cause
I I I
œ œœ # œœ œœ œ œ œ œ œ #œ J J 3 2 2
###
F # 7sus 4
3 2 2
2
4 2 2
2
1
œ œ œœ # œœ œ œ œ œ œ 3 2 2
3 2 2
know know know
I I I
œœ n œœœ œ œ œ œ J J
2
2
3 2 4
2
n œ œœ œ œ
2
4 2 2
œ
3 2 4 2
2 2
1.
j ‰ œ n œj œ
B m7
3 2
4
D/E
don’t just don’t
be - long can’t stay be - long
œœ œ œ œ
œœ œ œ œ
3 2 4 2
3 2 4 2
2
4
3 2
here in here in here in
œœ œœ œœ œ œ œ œ. œ J 3 2 4
3 2 4
0
œœ œ œ œ 2
‰ œœœ œœ
Œ
œ nœ œ œ
œœ œ œ
œ
3 2 4
4 0
œ
3 2 4
0
˙˙ ˙ 3 2 4
0
j œœ ‰ œ œ œœ
3 2 4
0
œœ œœ œ œ
hea hea hea -
2
## & # œ.
F # m7
‰ Ó
- ven. - ven. - ven.
F # m7/E
∑
## j œ œœ œ œœ & # ‰ œ œœœœ œ ˙ œ œ ‰ œ J 3
T A B
&
2 3 2
2
5 4
2
0
###
T A B
5 4
4
¿¿ ¿
œ œ œ œ œœ œ 2 3 2
0
4
[19]
&
###
2
¿
2 2 2 2
T A B
2 2 2
2 2 2 0
### œ œ & œ 2 2 0
.. œ
D/E
5 5
7 7
0
2 2 2
0
2 2 2
0
0
2
. .
3 2 4
5 4
2
4
2
4
3
2
4
2
œ J 0
4
. .
5 4
2 2
> œœ œ
2
0
2
2
œœ .. œ. œ
-
3 2
0
0
3 2
0
3 2
0
3 1
E/G #
0
0
F # m7
‰ Ó
ven.
2 0 2
œœ œ
2 3 2
0
5 4 4
œ œ œ œ œœ œ 3
2 3 2 0 2
2
0
Œ œœ ˙
3 2 4 0
0
j œœ œœ ‰ ‰ œ œ œ œ œ œœ œ ˙ ‰ œ œ œ œ œ œ J
3 2 4
3 2 4
0
3 1
œœ œœ œœ œœ œ ‰ œ œJ Jœ œ J
5
hea
3 2
3
0
3 2 4
3 2
fi A ‰ œ œ œ œ œ œ. here in
3 2 4
∑
3 2
0
E7
œœ œœ œœ œœ œ œ œ œ œ œ œ J J
2 2 2
7 6
E 7sus 4
To Coda
œœ œœ œœ œœ œ œ œ œ œ .. œ œ œ œœœ œ œ œ œ œ 2
œ
0
5
Œ
j œœ ‰ .. œœœ œœœ œ œ œœ ˙
œ
œœ œ
œœ œœ œ œ œ œ œœ œ œ œ œœ œ œ ¿ œ
∑ œœ œ œ
[22]
2 2 2
2.
A
### œ œœ œœ & œ œ œ œ J J
T A B
2 2 2 2
œœ œ œ
¿¿ ¿
0 0
2
œœ œ œ œ J J
2
3
Œ ˙
œœ œœ œ‰ œ œ
2 2 2
4
D/F #
2
0 0 4
5 4 4
2 2 2 2
¿¿ ¿
¿¿ ¿
œœ œ œ 2 2 2 2
Acoustic Guitar Grade 5
E/G #
A
33
F # m7/E
## œœ & # œœœ œ œ œ J
T A B
œœ œ œ œ J J
2 2 2
œ
2 2 2
2
2
D/F #
œœ œ 2 2 2
0
0
T A B
¿
2 2 2 2
[25]
# & ΠC
j œ
7 7
5
5 4
7 6
5 4
2 2
3 2
3 1
2 2 2
2 2 2
0
0
2 2 2 0
2
3 2
2
2
œœ œœ œœ œœ ‰ œ œJ œJ œ œJ 3 2
you down,
0 0
3
j œœ ‰ nn# œ œ œ œ
3 2
0
3 2
0
D/F #
3
3 1
1
2
3
3 2
2 2 2
0
0
œ œ œ
œ
2
2
0
œ
0
0
œ œ
œ
œ œ
0
Œ
0
2
D/F #
Em
Ó
nn#
2
2
D/F #
2
cont. w/Gtr. 1
2
0
G
G
∑
your knees.
œœœ œ œ œ œ œ œ œ œ ˙ œ. œ J
0 1 2 2 0
2
0
œ œj œ
time can bend
Gtrs. 1+2
0
œœ œ œ œ
0
3 2
Am
Time can bring
0
œœ œœ œ œ œ œ œ J J
œ œ œ œj ‰ œ œ œj œ
œ œ œ
G/B
1
œœ œ
A
œ J
5
œ œ # ‰ œ œœ œ œ œ œ & n˙ nœ œ œ. œ J
T A B
E7
œœ œœ œœ œ œ œ œ J J
œœ œœ œ œ œ œ ### œ œ œ œ œœ œ œœ & œ ¿ 5 5
E 7sus 4
3
2
2
2
œ œ œ œœ œ œ œ œ œ œ œ œ œ J J J J
œ œ œ œœ œ œ œ œ œ œ œ œ œ J J
0 0
0 2
3
3 0
3 2
3
3
2
3 2
2
2
0
3 0
0
3 2
0
3 0
2
2
3
[28]
C
G
Acoustic Guitar Grade 5
# & Œ
34
j œ
Am
œ œ œ
œ œ
Time can break
your heart,
# œ œ œ œ. & œ œ œ J œJ œ J T A B [32]
1 3
1 3
0 3
3 2
j œ œ J
D/F #
œ ‰ œ œ œj œ J
œ œ œ œ œœœ œ. ‰ œ. œ J
0
1 0
2
0
2 2
3
###
A/E E 7
w
beg - gin’ please.
œœ œœ œœ œ œ œœ œœœ œ J JJ J 3 0
3
E
‰ ‰ œ œ œ œ J
œ.
have you beg - gin’ please,
1 2
œ œj œ
D/F #
G
3
3 0
3
3
3 2
2
2
2
3
0
œ # œœœ œœ œ. œ J 0 0 1 2
0 1
0
# œœ œœ # # # œœ œ J J 2 2
3 4
0
0
E/G #
## ˙ & # &
###
T A B
F # m7
œ J œ
A
j œ
F # m7/E
œ J
œ Œ Ó
>j >j j œ ‰ œ # œ œ œ œ ‰ œ ‰ œœ ˙ ‰ # œ ‰ œœ J J 2
2 3 2
2
0
œœœœ
2 # # # Gtr. Π&
‰
3
9 10 9 5
T A B
5 4
2 2 2
4
2
E
∑ 3
2 2 2
2 2 2
2
œœœ œ 9 12 12
A
œœ œœ œœ œœ œœ œœ œ œœ œ œ œ œ œ œ œ œ œœ œ œ. œ œ œ œ œ œ. J . JJ J J
3
Gtr. 1
D/F #
2 2 2
0
˙
0
3 2
0
2
Ó
0
3 2
2
9
2 3 2
œœ œœ ‰ œ œ J 0 1
2
0
0 1
0
œœ œœ
10
7
9
7
7
7
9
7
7
9
9 11
9
12 10 9
œœ œœ œ œ œ J J 2 2
0
œ œ œ œ œ œ
œœ
Œ
2 2 2 0
E7
A/E
3 4
0
0
œ œ ˙. œ œ ˙.
[36]
T A B
& T A B [40]
E/G #
2
2 3 2
2
0
###
F # m7/E
œœ œœ ‰ œj œ œ œ œ œœ œ ˙ œ œ ‰ œ J 3
Œ
5 4 4
5 4 4
œœœœ œ œ œ 3
9 10 9
10
9 12 12
œœ œ œ J
F # m7/E
œœ œœ œœ œ œ œ œ œœœ œ JJ J
2 2 2
2 2 2
2
œ ‰ J
2
˙
2 2 2 2
0
Ó
2 2 2 0
D/F #
A
œœ œœ œ œœ œ œ œ œ œ œ œ. œ œ. J J 3 2
0
E
2
Œ
3 2 2
œœ
9 9 11
0
2 2 2 0
3
2 3 2
œœ œœ œœ œœ œ œ œ œ œ œ J J J J 0 1
2
0
0
0 1 0
œ œœ œ
10
7
9
7
7
7
9
7
7
9
12 10 9
2 2 0
œ œ œ œ œ œ 9
E7
A/E
œ œ ˙. œ œ ˙.
3 4 0
0
Acoustic Guitar Grade 5
&
###
A
35
F # m7
## & # Œ
‰ œj œ
### œ œœ & œ œ J
œœ œœ
T A B
&
2 2 2 2
###
T A B
œ œj œ
Be - yond
2 2 2 2
2
the
œœ œœ œ œ œ J J 2 2 2 2
2
œœ œœ 2 2 2 2
2
door
C #/E #
Œ
œ
A 7/E
Ó
Œ
1 2 1 1
1 2 1
1
1 2 1
1
1 2 1
0 2 0 2
1
1
0
œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ 2
2
2
2
4
2
2
2
4
œ œœ
œœ œœ
œœ œœ
there’s peace I’m sure,
# œœ œœ œœ œœ nœ œ œ œ œ n n œœœ œ #œ œ œ œ œ œ nœ œ J J J J J J 0
‰ n œj œ
1
2
2
3
1
nœ
2
0
0 2 0 2
0
œ nœ œ 0
3
0 2 0 2
œœ œœ œ œ œ J J
0
0
2
3 2
0
œ
0
0
F #/A #
and
I
j #œ
3 2
2
œœœ 0
Œ
œ
F # 7sus 4
œ
œ œœ know
# œœ œœ œœ œ œ œ œ œ œ #œ J J
œ J
0 2 0 2
F#7
2
2
4 2 2
2
1
œ # œœ œ œ œ œ
œ œ
2 3
4
6
4
7
0
2
4
4
2
[44]
## œ & #
B m7
D/E
‰ œ œ J
nœ œ œ œ
there’ll be
no
more
### œ œœ œœ œœ n œœ & œ œ œ œ œ œ œ œ œ J J J J
Acoustic Guitar Grade 5
T A B
36
& T A B [48]
3 2 4 2
###
2
3 2 4
2
3 2 4
2
3 2 4
2
4
4
2
4
3 2 4
tears in
> œœ œ
œœ .. œ. œ
3 2 4
3 2
œ
3 2 4 0
hea
-
‰ Ó
ven.
j œœ œ ‰ ‰ œ œ œ œ œ œœ œœ œ œ ‰ œ œ œœ ˙ J 2
œ
3 2 4
œœ œ
œœ œ
2
2 3 2
2
0
5 4 4
œ œ œ œ œœ œ 3
2 3 2 0
2
0
Œ œœ ˙
3 2 4 0
F # m7
3
0
œœ œœ œ œ
E/G #
A
‰ œ œ œ œ œ œ.
Œ
0
œœ n œœ œ œ œ œ œ œ 3 2
> œœ œœ œ œ ˙
N.C.
2
0 0 4
5 4
4
2 2 2 2
¿¿ ¿ ¿¿ ¿
œœ œ œ 2 2 2 2
F # m7/E
## œœ & # œœœ œ œ œ J
T A B
2 2 2
### œ œœ & œ ¿ 2
T A B
[51]
œœ œ œ œ J J
¿
œœ œ
œ
2 2 2
2 2 2
D/F #
5 5
7 7
0
5
5 4
0
7 6
0
5 4
2 2
E/G #
F#m
Ó
̵ ven,
2 3 2
2
0
5 4
5 4
2
2 3 2
2
2 2
0
5 4
4
3 1
0
0
2 2 2 0
2
3 2
3 2
0
3 2
0
#œ œ œ œ œ
’cause I
I
2 2
2 2
2
0
0
3 1
0
F # m7/E
2
0
2 2
2
2
2 2
2
0
2
2
0
4
3 2
œ
2 2 2
2 2 2
0
œœ œ œ œ
be - long
2
3 2 4 2
3 2 4 2
2
œœ œ œ œ
2
4
Œ
œœ œœ œœ œœœ œ. œ J 3 2 4
0
œœ œ œ
œ
œ
3 2
3 2 4
œœ œœ œœ 3 2 4
0
2
4
œ nœ œ œ
don’t
4
2
4
D/E
I
œœ œ œ œ
2 2
0
2
j œœ ‰ œ œ œ œ
fi
(no repeats)
œœ œ œ
0
0
3 2 4
D.%. al Coda
0
2
œ œœ œ œ œ œ œ œ œ œ œ œ
2 2
n œœœ œœœ œ œ œ J J 3 2 4 2
0
j ‰ œ n œj œ
œ
know
2 2 2
œœ œ
0
B m7
œœ œœ œœ œœ œœ œœœ œ J JJ J
2 2
œœ œœ œ œ œ œ œ J J
œœ œœ œœ œœ œ œ œ œ œ ‰ J J J
2 2
2
5 4
3 2
E7
œœ œœ œœ œœ œœ œœœ œ J JJ J
## j œ œ œ & # ‰ œ œ œ œ œ œ œœ ˙ œ ‰ œ J 4
3
2
Ó
3
2
3 2
2
5
### ‰ œj œ œ œ œ œœ œœ œœ & ˙ œ ‰ œ J
T A B
3 2
œœ œœ œ œ œ œ œ œ œ œœ œ 2
fi Coda A ### ˙ &
T A B
œœ œœ œœ œ œ œ œ J J
œ J
œœ œ
A
E 7sus 4
0
œ
3 2 4
0
3
2
4
2
4
‰ œœœ œ œ j œœ ‰ œ œ œœ
here in hea -
œœ œ œ 3 2 4
œœ œ
œœ œ
0 2
œœ
3 2 4 0
0 2
[54]
& T A B
###
- ven.
‰ œj œ œ œ œ œœ ˙ œ 3
2
[58]
2 3 2
2
0
5 4 4
œ œ œ œ œœ œ 3
2 3 2 0
F # m7
‰ Ó
œ.
### Œ & ˙
T A B
E/G #
A
2
0 0 4
œœ œœ ‰ œ J 5 4
¿¿ ¿ ¿¿ ¿
2 2
F # m7/E
D/F #
∑
E 7sus 4 E
∑
Rit.
œœ œœ œœ œ œœ œœ œœ œœ œ œ œ œ œ œ œ œœ œœ œ J J J J J J 2 2
2 2
2 2
3 2
3 2
3 2
œœ œœ œ œ œ œœ œœ œœ œœ œ œœ œœ œœ œœ œ œ œœ œ œ ¿
2 2 2
2 2 2
2
2
2
¿
2
5 7 5 7 5
0
0
5 7 5 4 6 4
0
2 2
5
2
3 2
2
0
2
3 2
0
0
3 2 0
0
3 1 0
U œ œ . œ œ œ œ œ œ œ œ œJ œ
Rubato
œ
œ
let ring
3 1
œœ œ œ
2
∑
A
0
‰
2
2
œ. 0
3
2 3 2 3 2
4 2 4 6
U ˙
5 5
Acoustic Guitar Grade 5
&
###
37
Tears In Heaven | Technical Guidance The harmony features many chords found outside the blues genre for which Clapton is so well known. The descending chord pattern at the start of the verse/intro features inversions of the V (dominant) and IV (subdominant) chords. The chorus moves to F # minor – the relative minor of the home key A.
The 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 A7/E. This chord is striking but moves smoothly into F # 7 which is a secondary dominant of Bm7, 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. The 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. The guitar part is actually quite self contained. This song can be sung with only this part as accompaniment. Note how the guitar part is based on arpeggios in the bridge section. This 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.
Acoustic Guitar Grade 5
‘Tears In Heaven’ could just as easily be played on nylon string as steel – the choice is yours.
38
The Beatles | Blackbird
ALBUM: THE WHITE ALBUM /1968
LABEL: PARLOPHONE / EMI
GENRE: ROCK/POP
œ #6 œ œ œ 44 w œ œ œ & 4 p ˙ ˙ p F p˙ p
SONG TITLE: BLACKBIRD
q = 93 m
WRITTEN BY: PAUL MCCARTNEY GUITAR: JOHN LENNON AND PAUL MCCARTNEY
PRODUCER: GEORGE MARTIN
T A B
0
m
m
i
0
1
m
i
3
0
‘Blackbird’ is featured on the Beatles’ 1968 release, The White Album.
T A The guitar part is based on Bach’s ‘Bouree in E minor’, a piece that Paul McCartney and John LennonB
12
0
0
0
‘Blackbird’ was recorded during the later part of their career when the band was only working in the studio. The song is one of the most recorded covers of all time. The Beatles work remains highly influential. Their songwriting and their experimental studio antics are a source of inspiration to this day.
œ # œ & ˙ œ #˙ œ T A B
The Beatles received ten Grammy awards, an Oscar and fifteen Ivor Novello awards. The group was [11] inducted into the Hall of Fame in 1988. They have sold an approximate six hundred million records.
7 5
0
8
3
0
0 4
3
tried to learn in their teens, subsequently adapted [6] for the song. McCartney played Blackbird for fans outside his home the first night his future wife, Linda Eastman, stayed there. The Beatles are arguably the most successful poprock band of all time.
10
5
10
10
0
œ œ œ #˙ ˙
# œ & w œ œ œ œ œ
The song was written by Paul McCartney while in Scotland and its lyrics are inspired by the simmering racial tensions in the United States during that time.
12
2
0
3
i
œ œ œ œ˙ œ n˙
0
4
# nœ & ˙ œ œ œ˙ œ œ
5 3
0
0
0 3
Acoustic Guitar Grade 5
œ œ œ ˙ 39
T
Blackbird
The Beatles Arranged by Carl Orr
% œ œ 6 œ 4 . œ w œœœœœ 4 . œ œ œ œ 4 w œœœœœ ˙ ˙ ˙
œ m m #6 œ 4 œ & 4 œ œ œ œ 4 w œœœœœ ˙ p p p p F p˙ p˙ p q = 93 m
T A B
m
m
i
0
1
0
m
i
12
0
0
10
0
12
0
2
# œ & w œ œ œ œ œ T A B
3
0
0
3
i
0 0
10
10
3
5
10
0 4
10
œ ˙ p
0
1
0
3
0
0
3
8
0 6
0
m
0
0
7
7
0 0 10
œ œ œ˙ œ œ
8
0
0 0
10
œ b˙
œ œ œ˙ œ œ p p p m
12
0
2
m
5 0
5
. .
0 0
10
7
0
3
0 0
œ œ ˙ œ #˙ œ
œ œ œ œ ˙ #˙
0
12
0 0
0
0
0
6
0
6
[6]
œ # œ & ˙ œ œ #˙ T A B
7
8
0
5
œ œ œ œ œ œ n˙ ˙ 5
0
4
0
0
0
3
bœ œ œ œ œ œ ˙ ˙ 4
0
3
T A B
1 0
0
0
0
0
To Coda
œ œ œ œ œ œ ˙ ˙ 0
0
0
0
3
0
0
3
[11]
# & n œ˙ œ œ œ˙ œ œ
0
0
fi
œ œ œ œ ˙ ˙ 3
0
0
0
0
2
1.
3
3
3
0
3
5
0
nœ œ œ œ œ œ ˙ ˙ 2
2
2
2
0
0
0
0
0
0
0
0
0
#œ œ œ œ œ œ ˙ ˙
0
#œ œ œ œ œ œ ˙ ˙ 0
0
nœ œ œ œ œ œ ˙ ˙ 1
0
0
0
0
0
0
0
0
[16]
œ œ # œ . . & œ œ œ œ œ n˙ œ ˙ œ ˙ ˙
nœ œ œ œ ˙ ˙
2.
T A B
0
0
0
0
3
3
Acoustic Guitar Grade 5
[21]
40
œ # œ & n˙ œ ˙ œ f
T A B
10 8
0
8 7
0
0
. .
10
0
8
8 7
nœ œ œ ˙ ˙ œ 6 5
0
6
0
5 3
0
5
0
5
3 1
0
3
0
3
0
0 1
0
0
0
1
œ œ œ œ œ œ b˙ ˙ 0
œ œ œ œ œ œ ˙ ˙
œ œ œ œ œ œ b˙ ˙ 1
0
[26] Words & Music by John Lennon & Paul McCartney © Copyright 1968 Sony/ATV Music Publishing. All Rights Reserved. International Copyright Secured.
0
0
0 0
0
0
0
3
#œ œ œ œ œ œ ˙ ˙ 2
5
0
0
0
3
n œ œ œ œ œ œ .. ˙ ˙ 1 0
0
0
0
0
0
. .
œ # œ & n˙ œ ˙ œ f
nœ œ œ œ ˙ ˙
3.
T A B
10
8
0
8
6
0
7
5
0
5
œ b˙
œ œ œ œ œ ˙
3
0
3
œ ˙
0
0
1
0
œ œ œ œ œ ˙
5
0
1
œ œ œ n˙ ˙ œ
0
0
0
3
10
0
3
8
0
8
0
7
[31]
# nœ œ & ˙ œ œ ˙ T A B
6
5
0
5
œ œœ œœœ b˙ ˙ 3
0
3
0
0
0
1
#œ œ œ œ œ œ ˙ ˙ 2
0
1
0
0
0
0
46 œ œ œ œ œ œ 44 ˙ ˙ P˙
nœ œ œ œ œ œ ˙ ˙ 1
0
0
0
0
0
0
0
0
0
1
0
3
0
0
3
0
2
[36]
#4 œ & 4 w œ œ œ œ œ T A B
12
0
10
# œ & ˙ 12
0
0
10
[41]
T A B
0
œ
10
œ w œ œ œ œ œ
œ w œ œ œ œ œ
12
12
12
0
0
0
10
U
˙ ˙
10
0
10
a tempo
œ ˙
0
1
œ ƒ˙
12
0
œ w œ œ œ œ œ
œ 0
10
œ ˙
œ
0
0
0
10
œ ˙
œ
3
0
0
3
0
5
0
2
0
0
0
10
œ ˙
œ
3
12
0
10
œ #œ ˙
3
0
œ œ ˙ œ ˙ œ f Rall.
2
0
2
12
0
10
œ œ œ˙ œ œ
1
0
0
0
0
10
D.%. al Coda
nœ ˙
œ
0
0
0
0
fi
0
[46]
œ ˙
œ
3
0
#œ ˙
œ
œ œ œ œ œ ˙
2
0
2
0
0
0
0
0
0
nœ ˙ 1 0
œ ˙
œ œ œ˙ œ œ 0
0
0
0
0
0
œ œ œ œ œ ˙ 0
3
0
0 3
[51]
# œ & ˙
œ
T A B
0
[55]
5 3
œ ˙ 3 2
œ 0
#œ ˙ 2 0
Rall.
œ œ œ œ œ ˙ 0
0
0 0
0
nœ ˙ 1 0
œ œ œ˙ œ œ 0
0
0
0
0
œ w 0 3
U
˙˙ .. 0 0
0
.. . . Acoustic Guitar Grade 5
fi Coda # œ & .. ˙ F . 5 T A . 3 B
41
Blackbird | Technical Guidance This Beatles classic features an interesting fingerpicking technique from Paul McCartney. The 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. These are struck by alternating the thumb and second finger. This slightly odd “homemade” technique resulted in a truly unique guitar part. The 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. The effect creates a mesmerising and hypnotic feel. This 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.
Acoustic Guitar Grade 5
This 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.
42
Technical 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
The tempo for this group is q =126 bpm. 1. B major scale
&
####
T A B
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2
1
4
2
4
6
3
4
4
6
5
4
7
6
7
6
4
7
5
4
6
4
3
6
4
2
1
4
2
2. B blues scale
&
####
T A B
nœ œ œ nœ #œ nœ œ œ nœ œ œ œ n œ œ œ œ œ nœ œ # n œ n œ # œ œ œ nœ œ œ nœ œ 7
7
10
8
7
9
9
7
9
7
10
10
7
10
7
10
7
10
9
7
9
7
9
8
7
10
7
5
7
3. D b major scale
& T A B
bbbb
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ 9
11
8
9
8
11
10
11
8
10
9
11
8
11
9
8
11
9
11
10
8
11
10
8
11
9
8
11
9
œ bœ œ nœ bœ œ bœ œ œ œ œ bœ œ œ œ n œ bœ œ bœ œ œ œ b œ nœ bœ bœ œ œ œ nœ œ œ œ & b bbb
T A B
9
12
9
12
11
9
11
9
11
10
9
12
9
12
9
10
11
9
11
9
11
12
9
12
9
12
9
12
9
12
11
9
11
Acoustic Guitar Grade 5
4. D b blues scale
43
Technical Exercises 5. G # natural minor scale
## & # ##
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T A B
1
4
2
4
1
2
4
1
3
4
2
4
2
5
4
2
5
4
2
4
3
1
4
2
1
4
2
1
4
6. B b natural minor scale
b & b bbb
T A B
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6
3
4
6
3
4
6
3
5
4
6
6
4
7
6
4
7
6
4
6
5
3
6
4
3
6
4
3
6
7. G # harmonic minor scale
# ## & # #
œ œ œ ‹œ œ œ œ œ œ œ œ œ œ œ œ œ ‹ œ œ œ œ œ œ œ œ œ œ œ œ œ
T A B
4
6
7
4
6
7
5
6
8
9
6
8
8
9
9
8
9
8
6
9
8
6
5
7
6
4
7
6
4
8. B b harmonic minor scale
b & b bbb
T A B
œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ 1
3
4
1
3
4
2
3
5
4
6
6
5
7
6
5
7
6
4
6
5
3
2
4
3
1
4
3
1
9. C locrian scale
Acoustic Guitar Grade 5
œ bœ bœ bœ œ œ œ œ œ œ œ œ œ b œ b œ œ b œ œ œ œ œ œ & œ bœ bœ œ bœ bœ œ
44
T A B
3
4
6
3
4
6
3
5
6
4
6
7
4
6
8
6
4
7
6
4
6
5
3
6
4
3
6
4
3
Technical Exercises
10. Chromatic scale on B
œ œ #œ œ #œ œ #œ œ bœ nœ bœ nœ bœ nœ œ bœ nœ bœ nœ œ bœ œ # œ œ # œ œ nœ bœ nœ bœ nœ œ bœ & œ #œ œ #œ nœ bœ nœ œ œ œ #œ œ #œ œ œ #œ
T A B
7
8
9 10
6 7 8
9
5
6 7
8
4 5
6 7
8
5 6
4 5
7 8
6
7
6
5
4
8
7
6 5
8
7
6
5
9
8
7
6
10 9
8 7
11 10
9
8
7
11. Chromatic scale on D b
bœ nœ œ bœ œ œ bœ œ bœ œ bœ œ b œ n œ b œ n œ œ b œ n œ œ bœ œ bœ œ œ bœ bœ nœ œ bœ œ bœ œ œ bœ œ bœ & bœ nœ bœ nœ œ bœ nœ bœ nœ bœ nœ œ 9 10 11 12
8
9 10 11
7
8
9 10
6
7
8
9
6
7
8
9
10
6
7
8
9
8
7
6
10
9 8
7 6
9
8 7
6
10 9
8 7
11 10 9 8
12 11 10 9
Acoustic Guitar Grade 5
T A B
45
Technical Exercises
Group B: Arpeggios
The tempo for this group is q =88 bpm. 1. B major arpeggio
## & # # # 43
œ
T A B
œ
œ
4
6
7
2. D b major arpeggio
b & b b b b 43 œ
T A B
6
8
9
3. G # minor arpeggio
# ## 3 & # #4
œ
œ
T A B
œ
4
6
7
4. B b minor arpeggio
b & b b b b 43
T A B
3
4
6
3
b 5. C minor 7 b 5 (Cm 7 5 ) arpeggio
b & b b 44 œ
Acoustic Guitar Grade 5
T A B
46
3
œ 6
bœ 4
œ
œ
3
5
œ
bœ 7
8
œ
œ
6
8
6
b & b b 44 œ
T A B
3
œ 6
bœ ∫œ 4
7
œ 5
œ 4
bœ ∫œ 7
5
bœ
5
8
bœ 7
œ 4
œ
5
3
˙.
4
6
bœ
œ
4
œ ∫œ 5
4
œ
3
œ
˙.
7
œ
3
œ
7
œ ∫œ 8
6
9
œ
6
œ
˙.
8
œ
6
œ
6
œ
6. C diminished 7 (C dim 7 or CÁ7) arpeggio
4
œ
6
6
6
4
œ
œ
œ
œ
œ
œ
œ
6
4
4
4
7
œ
6
œ
˙.
6
œ
6
œ
œ
4
œ
6
œ
œ
4
œ
9
œ
œ
œ
œ
œ
4
œ
9
9
œ
7
œ
œ
6
6
œ
7
7
œ
œ
œ
œ
4
4
œ
œ
œ
œ
7
w
6
bœ 4
3
œ 6
w 3
Technical 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.
4 bw & 4 ∫ b ww w
T A B
2 1 2 1
4 2 4 3
b 2. C minor 7 b 5 (Cm 7 5 )
4 b b ww & 4 bw w
T A B
b w ∫ ww b w
2 4 3 3
b b b www w 4 3 4 3
b ∫ www bw 5 4 5 4
b w b b www 2 1 3 1
Acoustic Guitar Grade 5
1. C diminished 7 (C dim 7 or CÁ7)
47
Sight Reading In this section you have a choice between either a sight reading test or an improvisation and interpretation test (see facing page). The examiner will ask you which one you wish to choose before commencing. Once you have decided you cannot change your mind. In the sight reading test, the examiner will give you a 8–16 bar melody in the key of D b major or B major. You will first be given 90 seconds to practise, after which the examiner will play the backing track twice. The first time is for you to practise and the second time is for you to perform the final version for the exam. For each playthrough, the backing track will begin with a one bar count-in. The tempo is q = 60–130. During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at the beginning. The 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. ■■Time signatures will be either 4/4 or 3/4. Sight Reading | Example 1 q = 80
Acoustic Guitar Grade 5
#### 4 . #4 . &
48
&
####
&
####
&
####
&
####
# œ # œ
œ œ
œ œ œ
œ
œ
œ
œ œ
œ
œ
œ œ œ
œ
œ œ œ œ œ
œ
œ œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ œ œ
œ.
œ
œ
œ
œ.
j œ
œ
œ
œ
˙
œ
œ
œ
œ.
j œ
œ
œ
œ
œ
œ
˙
2.
# œ
œ
œ
1.
# œ
œ
Please note: The test shown is an example. The examiner will give you a different version in the exam.
j œ ..
Sight Reading | Example 2 q = 80
b & b b b b 44 .. œ b & b bbb œ b & b bbb œ
œ œ
œ œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ œ
œ
œ
œ
œ œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ œ œ
œ.
œ
œ
œ
œ.
j œ
œ
œ
œ
˙
œ
œ
œ
œ.
j œ
œ
œ
œ
œ
œ
˙
2.
b & b bbb œ
œ
œ
1.
b & b bbb œ
œ
œ J ..
Acoustic Guitar Grade 5
Please note: The test shown is an example. The examiner will give you a different version in the exam.
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 b major or B major. You will first be given 90 seconds to practise, after which the examiner will play the backing track twice. The first time is for you to practise and the second time is for you to perform the final version for the exam. For each playthrough, the backing track will begin with a one bar count-in. The tempo is q = 60–130. During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at the beginning. The 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. ■■Time signatures will be either 4/4 or 3/4. Improvisation & Interpretation | Example 1 q = 110
& 44 ’ ’ ’ ’ F m7
B b m7
& ’ ’ ’ ’ Db
& ’ ’ ’ ’ Fm
& ’ ’ ’ ’
E b m6
’ ’ ’ ’ E b m7
’ ’ ’ ’ Fm
’ ’ ’ ’ E b m6
’ ’ ’ ’
B b m7
’ ’ ’ ’
’ ’ ’ ’
B b m7
’ ’ ’ ’
Fm
E b m6
F m7
’ ’ ’ ’
’ ’ ’ ’ E b m7
’ ’ ’ ’
G b maj 7
’ ’ ’ ’
’ ’ ’ ’
Acoustic Guitar Grade 5
Please note: The test shown is an example. The examiner will give you a different version in the exam.
50
Ab9
Improvisation & Interpretation | Example 2 q = 110
D # m7
& 44 ’ ’ ’ ’
G # m7
& ’ ’ ’ ’ B
& ’ ’ ’ ’ D # m7
& ’ ’ ’ ’
C # m6
’ ’ ’ ’ C # m7
’ ’ ’ ’
D # m7
’ ’ ’ ’ C # m6
’ ’ ’ ’
G # m7
D # m7
’ ’ ’ ’
’ ’ ’ ’
G # m7
’ ’ ’ ’
D # m7
C # m6
’ ’ ’ ’
’ ’ ’ ’ C # m7
’ ’ ’ ’ E maj 7
’ ’ ’ ’ F#9
’ ’ ’ ’
Acoustic Guitar Grade 5
Please note: The test shown is an example. The examiner will give you a different version in the exam.
51
Ear Tests 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
The examiner will play you a 2 bar diatonic melody in the key of C major with a range up to an octave. The 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. The 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. The length of time available after the second playthrough is pre-recorded on the audio track so the count-in may begin while you are still practising.
œ œ œ œ œ œ œ 4 &4
œ œ œ œ ˙
Please note: The test shown is an example. The examiner will give you a different version in the exam.
Test 2: Harmonic Recall
The 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. The tempo is q = 95 bpm.
ww 4 & 4 www
D m7
ww ww w
G7
ww w w
C maj 7
ww ww w
A m7
Acoustic Guitar Grade 5
Please note: The test shown is an example. The examiner will give you a different version in the exam.
52
General Musicianship Questions The 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.
Acoustic Guitar Grade 5
5. You will be asked a question relating to the genre of one of your pieces.
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.
Acoustic Guitar Grade 5
■■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]
54
Marking Schemes Grade Exams | Debut to Grade 5 * ELEMENT
PASS
MERIT
DISTINCTION
Performance Piece 1
12–14 out of 20
15–17 out of 20
18+ out of 20
Performance Piece 2
12–14 out of 20
15–17 out of 20
18+ out of 20
Performance Piece 3
12–14 out of 20
15–17 out of 20
18+ out of 20
Technical Exercises
9–10 out of 15
11–12 out of 15
13 + out of 15
Sight Reading or Improvisation & Interpretation
6 out of 10
7–8 out of 10
9 + out of 10
Ear Tests
6 out of 10
7–8 out of 10
9 + out of 10
General Musicianship Questions
3 out of 5
4 out of 5
5 out of 5
TOTAL MARKS
60%+
74%+
90%+
ELEMENT
PASS
MERIT
DISTINCTION
Performance Piece 1
12–14 out of 20
15–17 out of 20
18+ out of 20
Performance Piece 2
12–14 out of 20
15–17 out of 20
18+ out of 20
Performance Piece 3
12–14 out of 20
15–17 out of 20
18+ out of 20
Technical Exercises
9–10 out of 15
11–12 out of 15
13 + out of 15
Quick Study Piece
6 out of 10
7–8 out of 10
9 + out of 10
Ear Tests
6 out of 10
7–8 out of 10
9 + out of 10
General Musicianship Questions
3 out of 5
4 out of 5
5 out of 5
TOTAL MARKS
60%+
74%+
90%+
Grade Exams | Grades 6–8
ELEMENT
PASS
MERIT
DISTINCTION
Performance Piece 1
12–14 out of 20
15–17 out of 20
18+ out of 20
Performance Piece 2
12–14 out of 20
15–17 out of 20
18+ out of 20
Performance Piece 3
12–14 out of 20
15–17 out of 20
18+ out of 20
Performance Piece 4
12–14 out of 20
15–17 out of 20
18+ out of 20
Performance Piece 5
12–14 out of 20
15–17 out of 20
18+ out of 20
TOTAL MARKS
60%+
75%+
90%+
* Note that there are no Debut Vocal exams.
Acoustic Guitar Grade 5
Performance Certificates | Debut to Grade 8 *
55
Copyright Information Wanted Dead Or Alive (Bon/Sambora) Kobalt Music Publishing Limited/SonyATV 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/ATV Music Publishing (UK) Limited
Acoustic Guitar Grade 5
Brothers in Arms (Knopfler) Universal Music Publishing Limited
56
57
Acoustic Guitar Grade 5
Introducing… Rockschoo new theorl’s y exams!
POPULAR MUSIC THEORY GRADES DEBUT–8
OUT NOW! Discover more at www.rslawards.com/theory Enter online at www.rslawards.com/enter-online
Become a more confident, expressive & articulate musician Rockschool Popular Music Theory is the essential guide for contemporary musicians, composers and educators. Whatever your instrument or musical background, our theory syllabus will equip you with the practical knowledge to become a more confident, expressive and articulate musician. The syllabus consists of 11 finely-tuned books: Workbooks Debut to Grade 8. Each grade includes a sample paper Guidebooks Split into two levels; Debut to Grade 5 and Grades 6 to 8
GUIDEBOOKS
Truly understand musical theory then apply your knowledge using a corresponding Workbook
WORKBOOKS
Discover everything you need to know about popular musical theory
The ideal preparation for students taking Rockschool theory exams
Regardless of your current level of technical ability, or stylistic preferences, our Popular Music Theory Guidebooks will provide you with all of the information necessary to progress seamlessly through the Rockschool graded theory exams.
The range of Workbooks, from Debut to Grade 8, serve as grade-specific, practice texts, which enable each student to practice and apply the knowledge gained through the study of the Guidebooks, within the same structure and format of the actual Rockschool theory exams.
Acquire a hugely impressive knowledge of: Popular music composition Arranging and performance techniques How to read and analyse a musical score Specialist notation and techniques for all band instruments 6 Harmony, theory and key chord progressions 6 6 6 6
Each book includes sample questions for the following sections: 6 6 6 6
Music notation Popular music harmony Band knowledge Band analysis
Download model answers www.rslawards.com/shop
Model answer s available!
Prep for ea ch exam using the sa mple answers to the questio ns provided in your Workbook sample pap er.
Digital downloads now available! All your favourite Rockschool titles are now available to download instantly from the RSL shop. Download entire grade books, individual tracks or supporting tests to all your devices.
Start downloading now www.rslawards.com/shop
