Acoustic Guitar Grade 6
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: 22NJQDX3AI For more information, turn to page 5
www.rslawards.com
Acknowledgements Published by Rockschool Ltd. © 2016 Catalogue Number RSK200026 ISBN: 978-1-910975-33-6 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 © Michael Loccisano/FilmMagic/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 6
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 6 6 Acoustic Guitar Notation Explained
Rockschool Grade Pieces
7 17 29 37 43 49
Stevie Ray Vaughan.. ...................................... . . . . . . . . . . . . . . . . . . ‘Pride And Joy’ Michael Jackson.............................................. . . . . . . . . ‘Man In The Mirror’ Norah Jones....................................................... . . . . . . . . . . . . ‘Don’t Know Why’ Simon & Garfunkel. . ...................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . ‘The Boxer’ Brad Paisley................................ ‘What A Friend We Have In Jesus’ The Beatles........................................... ‘Here, There And Everywhere’
Technical Exercises
55 Scales, Arpeggios, Chord Voicings & Stylistic Studies
Supporting Tests
66 Quick Study Piece 70 Ear Tests 71 General Musicianship Questions
Additional Information 72 73 74 75 76
Entering Rockschool Exams Marking Schemes Copyright Information Rockschool Digital Downloads Rockschool Popular Music Theory
Acoustic Guitar Grade 6
3
Welcome to Rockschool Acoustic Guitar Grade 6 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 6
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: 22NJQDX3AI 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 6
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.
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7
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SLIDE: Pick the first note, then slide to the next with the same finger.
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& 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.
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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 6
T A B
6
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( 9)
˙
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(7)
TRILL: Rapidly alternate between the two bracketed notes by hammering on and pulling off.
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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
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#œ 2
& T A B
‚ ‚ ‚
NH
12
12
12
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& T A B
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9
5
STRING BENDS: Pick the first note then bend (or release the bend) to the pitch indicated in brackets.
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5
(6)
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(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
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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.
Stevie Ray Vaughan | Pride And Joy
SONG TITLE: PRIDE AND JOY
ALBUM: TEXAS FLOOD / 1983
LABEL: EPIC RECORDS
GENRE: BLUES
WRITTEN BY: STEVIE RAY VAUGHAN
GUITAR: STEVIE RAY VAUGHAN
PRODUCER: STEVIE RAY VAUGHAN,
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RICHARD MULLEN AND DOUBLE TROUBLE
‘Pride and Joy’ was written by Stevie Ray Vaughan about a new girlfriend. It was Vaughan’s first single release and has become one of his best known songs. It reached number 20 in the Billboard mainstream Rock Chart. It has a signature Texan Shuffle that Vaughan and his band Double Trouble helped bring into the mainstream. ‘Pride and Joy’ was featured in Texas Flood. The record became a best seller and renewed popular interest in blues music in the 1980’s. A cover version of the song is featured on the video game Guitar Hero III: Legends of Rock.
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By the mid 1980’s Vaughan and Double Trouble rose in popularity and combined a busy touring and recording schedule. Vaughan bridged the gap between blues and rock. His unique style was eclectic and fiery and drew from blues, rock and jazz. During this time Vaughan became increasingly dependent on drugs BDled to dates BU This and alcohol0and his health declined. 5 0 ( 2) being cancelled and0Vaughan ( 3 )rehabilitation. 2 seeking In the late summer 0 of 1990 Vaughan and Double 0 Trouble set on a headlining tour of the US. On August 26th the band played in East Troy, Wisconsin, and the [4] gig concluded with an encore featuring guitarists Eric Stevie Ray Vaughan was born in Dallas, Texas, in Clapton, Buddy Guy, Jamie Vaughan and Robert Cray. 1955 and began playing the guitar aged seven, inspired After the concert, Stevie Ray boarded a helicopter by his older brother Jimmy. He dropped out of school bound for Chicago. Minutes after take off the in order to dedicate himself to music. Throughout the helicopter crashed killing all five passengers. Vaughan seventies he played in a number of bands. He moved was 35 years old. He is acknowledged as one of the to Austin and joined The Cobras in 1975. The band greats of blues guitar. eventually became Double Trouble and Vaughan became the lead singer. The band played regularly in the Texas club circuit and in 1982 they appeared at the Montreaux Jazz Festival. Their performance caught the attention of David Bowie and Jackson Browne. Bowie 0 0 0 0 0 asked Vaughan to play in his forthcoming release, 0 0 0 0 0 0 ‘Let’s Dance’, and Jackson Browne offered the band free 0 0 1 0 recording time at his LA studio. A record contract with 2 4 2 Epic followed and the band started touring relentlessly, 4 3 leading to Vaughan being pulled out of Bowie’s 1983 tour to support his own material. [7]
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Acoustic Guitar Grade 6
7
Pride And Joy
Stevie Ray Vaughan Arranged by Andy G Jones
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Acoustic Guitar Grade 6
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Words & Music by Stevie Ray Vaughan © Copyright 1983 Ray Vaughan Music Incorporated. Bug Music. All Rights Reserved. International Copyright Secured.
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Acoustic Guitar Grade 6
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10 12 11 13
12 13 14
12 13 14
& T A B [42]
####
j œœ
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3
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3
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3
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3
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Acoustic Guitar Grade 6
[40]
11
&
# # # # œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ 3
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12 13
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0 12 13
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1/4
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3
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[44]
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Acoustic Guitar Grade 6
12
& T A B [50]
A7 3
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Acoustic Guitar Grade 6
[56]
13
&
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####
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[60]
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Acoustic Guitar Grade 6
7
14
& T A B [66]
####
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my
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˙˙ ˙˙ ˙
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&
####
15
Pride And Joy | Technical Guidance
Acoustic Guitar Grade 6
‘Pride And Joy’ is a tour de force from Stevie Ray Vaughan. This acoustic version features much from his electric guitar studio version with a band for support. Stevie Ray Vaughan’s acoustic version is for solo guitar. Some of the bends in the lower frets may be a little challenging, particularly if your guitar has a stiff action. To save de-tuning the guitar, the recorded version is in E concert. Stevie Ray Vaughan generally tuned down a half step (he used heavy strings so executing this stuff at concert pitch would have been excruciating). The turnarounds are iconic post Hendrix classics. The rhythm part at bar 5 is interesting because the offbeat chords continue while the bass register slurs up a semitone from low G. Practise this slowly until it is engrained.
16
Michael Jackson | Man In The Mirror
ALBUM: BAD
LABEL: EPIC
GENRE: SOUL / POP
q =100
SONG TITLE: MAN IN THE MIRROR
4 &b4
WRITTEN BY: SIEDAH GARRETT AND
GUITAR: DAN HUFF PRODUCER: QUINCY JONES AND MICHAEL JACKSON
UK CHART PEAK: 21 IN 1988 / 2 IN 2009
‘Man in the Mirror’ was the fourth consecutive US number 1 single from Jackson’s 1988 album Bad. The song, although not penned by Jackson, had a highly personal meaning for him. The single’s sleeve contained a dedication to Yoshiaki Ogiwara, a five year old Japanese boy kidnapped and murdered in September of 1987. Jackson was touring Japan at the time. The songs’ lyrics, in favour of convergence and change, highlight the need to change ourselves. The video does not feature Jackson – a noticeable departure from his previous video work. Instead, it is a montage of footage from various significant political and social events. Michael Jackson had a successful career from a young age as part of the Jackson 5. His work spans from motown to disco and pop. In 1971 he started his solo career and by the early 80’s he was a dominant figure in popular music with an unprecedented worldwide success. Thriller, his 1983 release, is the best selling album of all time. Jackson was the recipient of countless awards. He has sold an estimated 400 million records and was, to many, the king of pop.
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GLENN BALLARD
∑
N.C.
T A B
8
8
10
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started to behave rather erratically and this attracted much tabloid press attention and controversy. Michael Jackson died in June 2009. His health had been deteriorating for sometime and he was reported to have financial difficulties.
‰
œ Jackson’s legacyœ as œa vocalist, œ writerŒ and bMichael &dancer is considerable. He never wrote music or
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Man In The Mirror
Michael Jackson Arranged by Andy G Jones
q =100
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Words & Music by Glen Ballard & Siedah Garrett © Copyright 1987 Yellow Brick Road Music/Universal Music Corporation/Arlovol Music. Universal/MCA Music Limited/BMG Rights Management (US) LLC. All Rights Reserved. International Copyright Secured.
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real - ly
22
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23
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Acoustic Guitar Grade 6
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24
[68]
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Acoustic Guitar Grade 6
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25
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Acoustic Guitar Grade 6
26
a
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Acoustic Guitar Grade 6
F#
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27
Man In The Mirror | Technical Guidance Michael Jackson’s version was recorded by session heavyweights such as Dann Huff on guitar and Greg Phillanganes on keys. This is a new arrangement for solo guitar with percussion. Vocals on the recorded version are by Noel McCalla. The arrangement keeps momentum throughout with many added fills. Note the use of Lydian scale harmony on the IV (subdominant) chord B b add 9 chord. This gives rise to such voicing as C/D. This version is best played in a hybrid style using a pick and fingers. It will not work with pick only. There’s plenty of detail in the arrangement. When you first learn it, take time to carefully plan your left and right hand fingerings. It will save a lot of time in the long run. The recording is played fingerstyle as this approach would be more common among acoustic players.
Acoustic Guitar Grade 6
There are some Curtis Mayfield and Jimi Hendrix inspired rhythm fills in the piece.
28
Norah Jones | Don’t Know Why
q = 83
SONG TITLE: DON’T KNOW WHY
B b maj 7
ALBUM: COME AWAY WITH ME / 2002
LABEL: FAVORED NATIONS
GENRE: POP / JAZZ
GUITAR: JASON ROBERTS AND NORAH JONES
PRODUCER: NORAH JONES,
T A B
ARIF MARDIN AND JAY NEWLAND
Norah Jones was born in 1979 in Brooklyn, New York. She is the daughter of Indian sitar virtuoso [3] Ravi Shankar and Sue Jones, an American concert producer. She started singing at junior school and by high school had won Down Beat Student Music award for Best Vocalist and Best Composition. She attended The University of North Texas (UNT) majoring in piano. During this time she met Jesse Harris, with whom she started a band in 1999 after moving to New York City. Jones was signed to Blue Note Records after presenting a three track demo including two standards and a song by Harris. Jones has released five albums to date. She is a versatile and curious artist and has taken part in a variety of other projects. These include singing in Herbie Hancock’s version of ‘Court and Spark’ by Joni Mitchell, co-writing with Ryan Adams, playing
9 7 6
6
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C7
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n œœ
6
5 3
piano and singing in ‘Victoria Moon’ by the Foo Fighters, and being in the alternative country band For the Good Times. For her fifth studio album, Little Broken Hearts, Jones teamed up with DJ and producer Danger Mouse. Jones also recorded a Christmas duet with Cyndi Lauper. She has toured extensively to promote each of her records.
T A B
3
[5]
j œœ ˙
œ 3
3 3
B b maj 7
b ‰ b & ˙ T A B
œœ ˙
b œœ
11
10 7
bb œœ & ˙ The single won Grammy awards for Record of The
‘Don’t Know Why’ was featured in Norah Jones’ 2002 Platinum release, Come Away With Me. It is her biggest single to date. It reached the top 40 of the Billboard 100.
Year, Song of The Year and Best Female Pop Vocal Performance. ‘Don’t Know Why’ was written by Jesse Harris and has been covered by numerous artists as a result of Norah Jones’ recording success.
œ
bb 4 œœ & 4 ˙
WRITTEN BY: JESSE HARRIS
Bb7
œ 5
6
œ
œœ bœ
6
6 7 6
j œœ œ œ. 6
Bb7
œ
Acoustic Guitar Grade 6
29
7
Don’t Know Why
Norah Jones Arranged by Andy G Jones
q = 83
B b maj 7
bb 4 œœ & 4 ˙ T A B
b œ &b œ ˙ T A B
10 7
Bb7
œ
b œœ
11
9 7
3
œ
6
6
œ
œ
œœ ˙
6
E b maj 7
œ 7
6
j œœ ˙
C7
œ
n œœ
6
5 3
E b/F
œ
j b œœ
3
4 3
3
3
D7
œœ œ˙
œ
#œ n œœ
8 7 8 6
8
7 5 7
œœ œ
3
œœ œ ˙
œ 5
œœ œ ‰
n œœ
7
6 8
œ
œ.
3 4 3
3
œ
5
j œœ œ
‰ œ
œ
G m7
6
3
1
[3]
B b maj 7
b &b ‰ ˙ T A B
œ 5
œ
œ b œœ
6
6 7 6
j œœ œ œ.
Bb7
œ
j bœ
7
6
j œ ‰
E b maj 7
D7
œ ˙
6 5
œ
œ
3
3
œ œ œ. nœ ‰ J 3
6
6
3
5
j œ
#œ
0
3
4
[5]
G m7
b &b ‰ ˙ T A B
j œ nœ 3 3
œ
œœœ
3
1 3 3
j œœœ œ
C7
œ nœ 3
2
3
3
j œ 0
E b/F
œ œ. 3
œ
œ
1
3
Bb
œ J
1
3
6
3 5 7
3
1
1
œ œ œj œ œ Œ
œ œ. œœ
Acoustic Guitar Grade 6
[7]
30
B b maj 7
b &b ‰ œ T A B [9]
œ
œ œ œ œ œ bœ 5
8 6
6 8
œ. œ œ
Bb7
œ
6 7
j œ 7
6 6
8
E b maj 7
D7
œ œ œ œ œ. 3
3
3
6
Words & Music by Jesse Harris © Copyright 2002 Beanly Songs/Sony/ATV Songs LLC. Sony/ATV Music Publishing. All Rights Reserved. International Copyright Secured.
3
œ J
œ œ
#œ
nœ œ œ œ Œ 5
3 3
3
5
4
6
5
3
G m7
b &b ‰ ˙ T A B
j œœ
œœ œ
n œœœ
3 7
3 3 5
1 3 3
j œœœ ˙
C7
j œ
œœ nœ 1 3 2
3
3
E b/F
b œœ œ
0
3 1
œ
œ ‰
1
3
Bb
‰ œ J
j œ
œœ ˙
œœ
3
3 3
3 5
1
j œ
œ
œœ
3
3 3 5
6
[11]
G m7
b &b ‰ œ. T A B
j œ 3
C7
œ
œ œ œ œ nœ
3
1 0
1
E b/F
œ œ
œ
œ bœ œ
bœ
3
2
3
3
3 1
3
2
œ
œ ‰
œ œœ J
1
3
3
Bb
j œ œ œ œœ . œ œ œ nœ œ
3
1
6
6
3 3
3
5
6
3
1
[13]
B b maj 7
œ
b &b ‰ œ T A B
5
œ Œ
œ bœ
6
6
Bb7
j œ œ œ
œ
j bœ
Œ
7
6 6
E b maj 7
j œ
œ œ
6 5
œ
œ œ œ Œ
3
5
6
6
D7
œ nœ J
#œ.
3
5
œ
œ
3 4
3
j nœ
4
5
[15]
G m7
b &b ‰ œ T A B
œ 3
œ Œ
œ
3
1
≈ œ œ œ œ œj . œ nœ œ œ œ
C7
3
2
0
3
3
3 0
2
0 3
E b/F
œœ .
œ œœ œ œ
3 3
5
3
3
Bb
≈ œj œ œ œ ‰. R 5 7
3
œ œ b œj œ œ œ œ Œ 6
8
6 5
3
5
3
6
B b maj 7
b &b ‰ œ T A B [19]
œ œ 5 5
6
œ Œ
n œœ
6
6 7
j œœ œ
Bb7
œ bœ 7
6
j œ
E b maj 7
‰œ œ œ œœ
6 6
D7 3
3 6
œ
œ œ
œ œ œ œ #œ œ Œ 6
3 6
3
5
4
3
3
4
5
Acoustic Guitar Grade 6
[17]
31
b j &b œ œ. G m7
T A B
3
j j œ œ œ œ œœ œ nœ nœ. C7
1
0
3
1 0
2
3
œ.
E b/F
œ œ
nœ
3
2
1
3
j œœ œ
0
j œ œœ
œ
1
3 3
3
œ
1
Bb
œ œœ
3 0 1
1
œ
‰. bœ
œ
3
1
0
2
r œ 3
[21]
&
bb
œ.
G m7
œ
œ
œ
j œ
6
T A B
œ. œ
œ
j œ
œ
6
œ. œ
0
3
3
œ
F add 9
‰ œ
œ œ
5
5
3
0
j œ
nœ
5
0
0
C7
j bœ
œ
4
5
œ Œ
œ
4 3
1
j bœ
5
3
[23]
b ˙ b & œ T A B
œ
œ
œ
1 1
0
3
3
œœ # n œœ Œ
nœ
6 7
2
F7
n b œœ ∑
5 6
œœ œ jœ œ œ œ bœ œ
4 5
3
3 3
œ
œ
nœ
1
3
1 2
3
0
3
[25]
& T A B
bb
œ.
G m7
œ
œ
œ
j œ
6
œ. œ
œ
œ
j nœ
6 0
3
œ
j œ
nœ
œ
5
0
0
œ.
C7
0
œ Ó
5
j bœ
œ
4
5
œ
œœ
4 3
1 1
j bœ
3
0
3
3
Acoustic Guitar Grade 6
[27]
32
F add 9
b œœ b & œ T A B [29]
j b œ ‰ nœ œ
F7
œ. œ. œ
œ
4 2 1
1
j œœ
F 13
œœ .. œ
œ
3 2 1
1
j œœ 1 2
1
1
œœ œ J 1
œ œ œ œ œ œ ‰ Œ 4
3
3
3
5
3
B b maj 7
b &b ‰ œ.
œœ œœ 5 6 5 5
T A B
œ
œ bœ ‰
6
6
Bb7
j œ œ œ
œ
œ
7
6
6
j bœ
j œ
E b maj 7
œ ˙
6 5
0
œ
œ œ œ
3
5
œ n˙
nœ œ nœ œ
#œ
6
3
5
6
6
D7
4
3
5
4
5
[31]
b &b ‰ œ.
G m7
T A B
n œœ
œœ œ
n œœœ ‰
3 2
3 3 2
1 3 3
C7
œœ œœ
œ
œ nœ
3
œ b˙ ˙ 3 1
2
3
3
E b/F
œ
œ
1
3
Bb
≈ œ œ œ œ ˙ 3
1
3
œ œ
3
5
0
0
6
[33]
B b maj 7
b &b ‰ œ
œ œ œ œ œ œ. œ Œ œ 5
T A B
Bb7
6
8
5
7
bœ
œ
6
6
6
8
6
j œ 7
E b maj 7
œ œ 3
D7 3
œ
œ
œœ .
3
3
3
6
˙ œ œ
6
3
#œ
œ
4
5
bœ
5
4
[35]
# G m7 5
b &b ‰ ˙
œœ
T A B
3 1
œ
œ n œœ
3
1 3 2
3
C7
œ œ 3
œ
n œœ
0
3 2
E b/F
nœ
b œœ . œ. 3 1
0
œ
œ
1
3
œ J
j œ
Bb
œ œ
œ
1 3
œ œ
œ œ
3
1
1
1
0
& T A B [39]
bb
G m7
œ. œ
œ
œ
6
Bb
œ. œ
œ
œ
6 0
3
j œ
j œ
C7
œ. œ
œ
5
0
0 3
0
3 3
nœ 5
j œ 5
œ œ 1
j bœ
œ
j bœ
4
5
4
œ Œ
œ
3
1
Acoustic Guitar Grade 6
[37]
33
&b
b ˙
T A B
F add 9
œ
œ
œ
1 1
‰ œ
œ 0
j nœ
3
1 3
2
3
œœ # n œœ Œ
F7
n b œœ ‰
0 2
œœ
œ.
4 5
œœ b œj n œœ œ Ó 3 3
3
œ
œ
nœ
1
1 2
3
3
0
3
[41]
&
bb
œ.
j œ
G m7
œ
œ
œ
6
T A B
œ.
œ
œ
œ
6
C7
œ. œ
0
œ
3
œ Ó
j bœ
5
5
3
0
j œ
nœ
5
0
0
j nœ
œ
œ
œ
4 3
1
j bœ
4 5
3
3
[43]
j b œœœ ‰
F add 9
&
. bb œ
T A B
œ
œ n œ œJ 0
3 4 3
1
2
j œœ œœ J
F7
œœ ‰
œ J
3 2
3
3
j œœ ‰ 4 5
F 13
œœ œ 3
œœ
‰ œ
3 3
1
œœ œ œ œ Œ
œœ œ
1 2 1
6 5
3
1
0
1
[45]
b &b T A B
B b maj 7
Bb7
œ œ
œ
˙
b œœ
6
10
œ
œœ ˙
6
9
7
œ
6
6
œ 7
6
E b maj 7
D7
œœ œ ˙
œ
#œ n œœ
8 7 8 6
8
7 5 7
œœ œ˙
œ
œ
7
5
Acoustic Guitar Grade 6
34
b œœ b & ˙ T A B [49]
œ 3
3
œ
n œœ
6
5 3
j œœ ˙ 3
E b/F
œ
j b œœ
3
4 3
j œœ w 1
œ
j œœ œ
3
3 4 3
j œœ œ
n œœ 6 8
5
[47]
C7
G m7
œ. 3
B b maj 7
b œœ b & ˙
œ
T A B
6
10 7
Bb7
b œœ
œ
œœ ˙
œ
6
9 7
6
œ
6
7
6
E b maj 7
D7
œœ œ ˙
œ
#œ n œœ
8 7 8 6
8
7 5 7
œœ œ ˙
G m7
œ
œ
n œœ
7
5
6 8
5
[51]
b œ &b œ ˙
T A B
œ 3
j œœ ˙
C7
œ
n œœ
6
5 3
E b/F
œ
j b œœ
3
4 3
3
3
j œœ w
œ
j œœ œ
3
3 4 3
j œœ œ
œ. 3
1
[53]
b &b ‰ œ œ T A B
j œœ œœ œ œ ≈ œ œ œ
5 6 6
5
6 5 8
Bb7
j œ b œ b œj œ
7
5
7 5
b &b ‰ œ
T A B
[57]
3
3 3
1 3 3
B b maj 7
œ
œ œ Œ 5
6
8
œ bœ
. n œœ .
3 1 2
7
6
5
7
6
8
6
Very freely
b ‰ b & œ. T A B [61]
10
j œœ œ
11 12 13
œœ œ 10 11 10
œœœ œ J
8 10 10 8
5
œ
œ
1
3
3
C7
j œœœ b œœ bœ ˙ 11 11 11
0
3
3
4
5
5
4
Bb
œ J
'21 œ œ b œ œ œj œœ œ œ Œ 6 3
4
3
3
3
3
3 5
E b maj 7
œ œ 3
j n b œœœ bœ 8 9 8 11
E b/F
n œœ nœ
11 10 8
0
3
5
œœ n œ 3
5
6
D7 3
œ
œ
œ Œ
3
3
3
œ œ ˙ Ó 5
5
6
[59]
G m7
5 6
1
œ œ œ œ œ Œ
6
6
bœ
Bb7
œ œ œ
5
œ bœ. œ.
3 2
3
3
b &b ‰ œ T A B
n œœ
j œœœ œ
œœœ
3
E b/F
C7
nœ Œ
3
6
6
D7
œ œ œ œj b œ œ œ œ œ œ ≈ #œ nœ œ œ œ œ nœ œ
6 5
6
[55]
G m7
E b maj 7
3
Bb
Uj
œ œœ œ œ œ œ œ ˙ œ. 8
10
12
11
8
8 8
10
nœ. 10
Acoustic Guitar Grade 6
j œœ
B b maj 7
35
Don’t Know Why | Technical Guidance ‘Don’t Know Why’ by Norah Jones seemed like a natural choice for the solo guitar approach. There are plenty of interesting chord changes but also room for repetition. The melody is simple enough to bear embellishments without losing its essence. The accompaniment and the statement of the melody are quite separate. There is some counterpoint at bar 17. When first learning this piece, take the time to carefully plan your left and right hand fingerings. It will save a lot of time in the long run. In bar 7 it would be best to play the F moving to the E with the second finger, whilst holding down the bass note C with the 3rd finger. This means the chord will sustain rather than having to cut it off to hit the E. In the second beat of bar 9 the easiest way to finger it is to barre at the 6th fret to prepare for the next 2 beats. Space was created for a few solo type fills, for instance at the end of bar 8.
Acoustic Guitar Grade 6
Position shifting is also important here. Bar 13 starts in first position but moves to 3rd position for the second half of the bar. The piece ends with some triads over the bass notes of the underlying harmony. If you are interested in harmony, listen to Pat Metheny’s astounding solo guitar version of this same song where he travels all over the harmonic map. It is featured on his 2003 release One Quiet Night.
36
Simon & Garfunkel | The Boxer
SONG TITLE: THE BOXER ALBUM: BRIDGE OVER TROUBLED
q = 90
œ œ œ œ œ œ œ bœ œ œ œ &C
WATERS
LABEL: COLUMBIA
GENRE: FOLK-ROCK
N.C.
WRITTEN BY: PAUL SIMON GUITAR: PAUL SIMON AND ART GARFUNKEL
PRODUCER: ROY HALEE,
T A B
PAUL SIMON, ART GARFUNKEL
UK CHART PEAK: 6
8
0
0
0
7
7
‰ œ œ œj œ
‘The Boxer’ was featured in the seminal Bridge and Jerry Douglas on dobro. The recording is also Over Troubled Waters, by Simon & Garfunkel, included on the latter’s 2012 release Traveller. released in 1970. The record is one of the world’s bestselling albums. The song’s lyrics are largely autobiographical and deal with themes of isolation and poverty as well as with some indirect biblical 1 references. It was written at a time when Paul Simon 1 0 0 felt he was being unfairly criticised. ‘The Boxer’ 2 0 2 was covered by many artists since its 1970 release. 3 3 These include Bob Dylan, Neil Diamond, Emmylou Harris, Bruce Hornsby and Chet Atkins amongst [5] many others.
T A B
Simon & Garfunkel are natives of New York City and their music became part of the soundtrack to the cultural revolution of the 1960’s, alongside that of The Beatles, Bob Dylan and The Beach Boys. The duo won 10 Grammy Awards. Many of their songs have become classics of the folk-pop repertoire. Simon & Garfunkel split in 1970 but reunited many times since. Paul Simon’s Graceland, released in 1986, was a massive success worldwide. Mumford and Sons covered ‘The Boxer’ in 2012 and featured it as a bonus track on the deluxe edition of their 2012 release Babel. The record topped the UK album chart, the Billboard 200 in the US and received a Grammy award. The song featured Paul Simon on vocals and electric guitar
. .
œ
G
& T A B [9]
œ
j ‰ œ ‰ œj Œœ œ œ
3
0
0
0 3
3
0
8
jŒ œ œ . ‰ œ & . œ œ œ œ œ Œ C
0
3
œ
œ
1 2
3 0
0 3
0
j ‰ œ œ Acoustic Guitar Grade 6
37
0
The Boxer
Simon & Garfunkel Arranged by Carl Orr
q = 90
œ œ œ œ œ œ œ œ j j j j C bœ & œ œ œ œ # œ œ œ ‰œ œ œ œ ‰ œ œ œ ‰œ œ œ œ ‰ œ œ œ œ œ N.C.
T A B
C
0
8
0
0
7
7
[5]
1 3
œ
T A B
0
œ 3
0
0 3
1
0
2
3
œ œ
0
0
1
1 2
0
0 3
3
1
0
2
2
0
3
G/B Am j j ‰ œ œ œ ‰ œ œ ‰ œ œ œj ‰ œ œ œj œ œ œ œ œ 1
0
2
3
0 2
œ œ
0
0 3
2
0
1
2
œ œ
0
0
0
0
3
2
0
2
j ‰ œ ‰ œj Œ œ œ œ
G6
0
0
0
1
0
0
j ‰ œ ‰ œj Œ œ œ œ
G7
3
1
0
2
C
1
0
2
1
0 3
1
0
0
3
3
j ‰ œ ‰ œj Œ œ œ œ
3
0
1
0
‰ œ œ œj Œ œ œ œ œ œ Œ
1
0
2
j ‰ œ ‰ œj Œ œ œ œ
G
&
0
2
3
3
j & .. ‰ œ œ œ Œœ œ œ œ œ Œ . .
0
8
C
T A B
0
3
3
0
3
[9]
C G/B Am j j j j j j œ œ œ œ œ ‰ ‰ ‰ œ œ ‰ œ œj ‰ œ œj ‰ ‰ & ‰œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ C
T A B
1 2
3
1
0
2
1
0
2
3
3
1
0
2
1
0
2
3
3
0
0 2
0
1
0 0
2
1
2
2
0
2
Acoustic Guitar Grade 6
[13]
38
F/C C j j j j j j & ‰ 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 œ
T A B
0 1 0
G
[17]
0 0 3
0
0
0 3
1
0 3
3
1
2 3
3
1
2 3
3
1
2
Words and Music by Paul Simon Copyright © 1968 Paul Simon (BMI). International Copyright Secured. All Rights Reserved. Used by Permission.
3
3
2 3
‰ œ œj œ œ
G/B
0 2
0 0
1.
j j j j j j j j & ‰ 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 G
T A B
C
0 0
0
0
3
0
0
0
0
3
0
0
3
0
0
0
0
3
0
0
0
3
1
0 3
3
1
0
2
2
0
3
[21]
T A B
j ‰ œ œ œ
œ
& ‰œ
1 2
3
œ
j œ œ
1
0
‰ œ
1
0
2
j ‰ œ œ œ
œ
j œ œ
1
0
2
3
3
œ
œ
‰ œ
1
0
2
j ‰ œ œ œ
3
3
1
0
2
j . œ œ .
œ
. .
0
2 3
[25]
2.
F/C C j j j j j j & ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ Œ œ œ œ w œ œ œ
˙˙ .. ˙.
T A B
0 1 0
G
0 0
0
0
3
0
1
0
3
3
3
1
2
3
3
1
2
2
3
1
0
2
0 3
3
[28]
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Acoustic Guitar Grade 6
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Acoustic Guitar Grade 6
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41
The Boxer | Technical Guidance This remarkable song features three guitars in its original recording. It is a completely diatonic song, comprising chords C major (I/tonic), F major (IV/subdominant), G major/G 7 (V/dominant), A minor (VI/submediant) and E minor (III/ mediant). However, interest is created by very odd harmonic rhythms. The verse starts with three bars of C major (with a passing chord of G/B), one bar of A minor, followed by four bars of G major. This creates a sense of unpredictability and the listener is drawn in, unsure of what will happen next, an attractive and highly effective way to write. This arrangement is for a single guitar and comprises the most prominent parts of the original recording. The song begins with an unaccompanied and intricately arpeggiated C 9 chord for two bars. As six of the 16 notes are open strings, allow each note to continue ringing under the following note when possible. The open high E string on the 4th beat of the first bar allows time for an abrupt position change from the 6th to the 1st position. This phrase is very tricky and will take a significant amount of time to execute properly, so it is advisable to start out slowly and allow a few weeks of playing it every day to get it up to tempo. At bar 5, hold down an open C major chord and arpeggiate as written. From here on to bar 44 the down stem notes should be played with the thumb and the up stem notes with one finger per string; index finger (i) on the G string, second finger (m) on the B string and third finger (a) on the high E string. There are a few different fingerpicking patterns so it is important to master each one. Some of the picking patterns recur at different points of the song, most notably the pattern in bar 8 (A minor) which recurs in bars 16–20, 21–23 and 29–39. From bar 44 to 52 there is a country style guitar solo. Special attention is needed for the slides in bars 45 and 48, and for the slurs in bars 45, 46, 49 and 50. In bars 60–63 the dobro phrase from the original recording is featured, emulating its phrasing by sliding from one note to the next where appropriate.
Acoustic Guitar Grade 6
From bar 65–83 there is a brief melodic solo in right hand artificial harmonics, emulating the pedal steel/piccolo trumpet unison soli from the original. This is achieved by holding the right hand index finger on the string 12 frets above the notated pitch, without pushing the string down onto the fingerboard, simultaneously striking the string with the third finger, producing a delicate, bell-like harmonic. From bar 84 onwards, the song finishes with a statement of the chorus melody, in double stops to recreate Simon & Garfunkel’s two-part harmony.
42
Brad Paisley | What A Friend We Have In Jesus
Solo Guitar
SONG TITLE: WHAT A FRIEND WE HAVE IN JESUS
Free time
ALBUM: PLAY: THE GUITAR ALBUM
## 4 . & 4 .
/ 2008
LABEL: FAVORED NATIONS
GENRE: COUNTRY
WRITTEN BY: TRADITIONAL/ARRANGED BY BRAD PAISLEY
GUITAR: PAISLEY
Brad Paisley is a critically acclaimed singer, songwriter and guitarist. He was born in West Virginia in 1972. His first release, Who needs Pictures?, from 1999, sold more than a million copies and catapulted him to fame. Paisley started playing guitar aged eight. By the age of 12 he was singing in church, at civic meetings and playing in a band for which he wrote his own material. He eventually secured a spot on Jamboree USA, a popular Country music radio show. He was very popular with the listeners and was invited to join the program as a full time musician.
## 4 & 4
He studied at Belmont University in Nashville under the American Society of Composers, Authors and Publishers Scholarship. He was signed to EMI a week after his graduation. ‘What A Friend We Have In Jesus’ is a Christian hymn originally written as a poem by Joseph M. Scriven in 1855, in Canada. It was written to comfort his mother who was living in Ireland. It was published anonymously. The hymn was composed in 1868 by Charles Crozat Converse. Play: The Guitar Album, from 2008, features duets with acclaimed musicians such as B.B King, Vince Gill and Keith Urban.
. .
E B G D A D
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PRODUCER: N/A
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In 2011, Paisley published Diary of a Player: How My Musical Heroes made a Guitar Man Out of Me. The book charts his early years and influences as well as the start of his career.
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Paisley has soldNH over 12 million albums and has won three Grammy awards, 14 Country Music 12 Association Awards and two American 7 12Music Awards. He has also earned Country music’s crowning 12of the7Grand Ole 7Opry. achievement, membership 12 0
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Acoustic Guitar Grade 6
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What A Friend We Have In Jesus
Brad Paisley Arranged by Andy G Jones
Solo Guitar Free time
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Acoustic Guitar Grade 6
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Acoustic Guitar Grade 6
46
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Acoustic Guitar Grade 6
&
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47
What A Friend We Have In Jesus | Technical Guidance Brad Paisley’s version is an instrumental solo guitar take on the original. It is played in Drop D tuning which adds resonance to the arrangement. The intro is played loosely and bar 2 is typical of Paisley’s solo style. Like many of the great modern country players, Paisley deftly incorporates open strings to connect positions on the guitar. This lick played in open position has something of a bluegrass feel to it. When the melody is stated the piece has a steady pulsing feel. It is advisable to use the right hand thumb to play the lower notes. The thumb is playing a fairly regular quaver pattern throughout. This approach is common in post Merle Travis style guitar players like the great Albert Lee. Paisley is a great guitarist with a very personal style infused with the elements of many classic players such as Albert Lee and Tony Rice. This arrangement could be played with either hybrid or fingerstyle approaches but you’ll probably find that fingerstyle is better for definition. Stretching the right hand to pick the outer strings at the same time for the length of the piece might be tiring if you’re not used to this approach, so it must be practised with caution.
Acoustic Guitar Grade 6
Brad Paisley has recently collaborated with Santa Cruz Guitars on a signature acoustic guitar. It is a dreadnought model, the guitar type of choice for bluegrass flatpickers. A Santa Cruz Model D was used for the recording.
48
The Beatles | Here, There And Everywhere
SONG TITLE: HERE, THERE AND
q = 80
EVERYWHERE
ALBUM: REVOLVER / 1966
LABEL: PARLOPHONE / EMI
GENRE: ROCK/POP
#4 ‰ œ œ œ œ œœ œ œœ & 4 œ œ œ ˙
WRITTEN BY: LENNON-MCCARTNEY ELECTRIC GUITARS: JOHN LENNON AND GEORGE HARRISON
ACOUSTIC GUITAR: PAUL MCCARTNEY
T A B
PRODUCER: GEORGE MARTIN
‘Here, There and Everywhere’ was written by Paul McCartney whilst staying at John Lennon’s house in Weybridge. McCartney was inspired by the work of Brian Wilson and the Beach Boys after attending a listening party for Pet Sounds at the Waldorf Astoria in London.
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. .
0
0
# . & . œ œ
The song was recorded at Abbey Road during three days. It took about 13 takes to get a satisfactory basic track. Many overdubs followed in what is by now regarded as a classic in the love ballad genre. The tune is one of McCartney’s favourites. George Martin and [4] John Lennon also regarded it as a Beatles favourite. The recording charts a significant moment in the Beatles’ music and in pop music in particular. The song was covered by many artists from different musical backgrounds since its 1966 release. Its complex harmonic structure and movement deftly underscore the lyrics, inspired by McCartney’s girlfriend, Jane Asher.
Bm
G
œ 0
n œœ œ Œ 0 0 0
Am
œœ œ ˙
œœ œ
3 2 4 0
3 2 4
3
[6]
œœ œ Acoustic Guitar Grade 6
1 2 2
49 7
Here, There And Everywhere
The Beatles Arranged by Andy G Jones
q = 80
G
Bb
Bm
# nœ & 44 ‰ œ œ œ œ œ œ œ œœ œ œ œ ‰ n œj b œ œ œ b˙ Ó ˙ T A B
%
G
T A B
3 0
T A B
œ œœ n œ œ 1
0
œœ œ
0 0 0
0
3 2 4
3
3
3
1
1
3
4
œœ œ Œ
œ n œœ
œ œ
0 0 0
1 2 2
0
œœ œ ˙
œœ œ
œœ œ
œœ œ
3 2 4 0
1 2 2
0 0 0
1 2 2
3
3 3 3
6
6
bœ œ œ ˙
5
6
5
4
œ
3 5
2
j œ
6
4 5 4 5
C
Œ
3
0
3 5 5 0
œ
œ
j bœ b œœ # œœ
œœœ n œ b œœœ n œ œ bœ
bœ œ
Bm
2 4
0
Am
4 2 0
j œœ
‰ œ
0
0
n œœ œ Œ
œ
0
2
3
# œ œ
2
3
Am
0
G
&
3 3
3
œ
[4]
0
0
# & .. œ œ . .
0
b b D 7 9 D 7 13
E b maj 7
A m11
œ
œ
5
3
3
Bm
œ ˙
œ
œ
0
1
3
C
œ œ
œ œ˙
œ
œ
œœœ
0
2
0 2 2
œœœ ˙ #œ
œ
œ
2
0
0 0
2
3
b F # m7 5
B7
[6]
& T A B
F # m11
# œ œœ ˙
B7
œ
œ
œœ #œ
0
0
0 2 1
˙˙ ˙œ .
œ J
2
2
0
œœœ ˙
œ
œ
œœœ
0 2 2
1
0
0 2 2
2
Acoustic Guitar Grade 6
[8]
50
j j # œ œ œœ # œ œ œ œ œ œ œ œ & œ œ œ œ Œ œ E m7
T A B
A 13
0 0
2
7 6 7
0
5 4 5
0
2 5
1.
D 7sus 4
œœœ. œœ œœ œ J 3 2 5
0 0
0
To Coda
D7
fi
1
2
2.
D 7sus 4
D7
F7
œœ œ œ œœ œ b œœ b œœœ .. .. œœ œœ œœ œ œ nœ œ œ œ. œ œ nœ J ‰ Œ J 3 2
0
4
0
2
3
[10] Words & Music by John Lennon & Paul McCartney © Copyright 1966 Sony/ATV Music Publishing. All Rights Reserved. International Copyright Secured.
0
. .
3 2 5
0 0
0
3 2
2
3 5 1
1 2 4
. .
&
Bb
# œ bœ.
T A B
nœ
œ
1
3
Gm
œ J
3
1
j nœ
‰ n˙
œ bœ. 1
3
3
0
Cm
œ œ
œ
bœ œ
1
3
4
3
3
D7
œ
œ œ œ bœ œ œ œ bœ œ ≈
1
2
0
0
2
1
3 3
1
0
[13]
Gm
# œ & œ T A B
b œœ
3
bœ nœ ˙.
nœ
œ
0
1
0
3 3
4 0
bœ
œ
4
3
Cm
œ ˙
œ
bœ
1
3
4
D7
œ
œœ # œœ .
1
2 0
3
3
2 4
b œœ 3 5
œœ ‰ 1 2
[15]
# œj n œ & œ. G
T A B
3
Am
j œ bœ ‰
0
Bm
œœ œ œ œ œ œ œ ˙
0 1
0
2
1
0
0
0
3
œ œ. 0
1
œ 3
œ
œœœ ‰
5
3 3 5
C
œœœ œ
nœ Œ
œ
5
3
œ
œ
œ
0
2
œ 5
2
3
[17]
G
&
# œ
T A B
œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Am
7
8
7
7
9
7
0
5
3
5
5
5
3
5
0 7
0
Bm
œ ˙
œ
œ
0
1
3
C
œ
œ ˙
0
2
0
3
& T A B [21]
#
F # m11
œœ œ
3
œœ œ
B7
œœ # œ œœ #œ
0
0
2
4
7
2
5
9
n œœ n œ œ b n œœœ œ œœ œ Œ 10 8 8 7
0 8 7 7
8
7 7 8 10
œ 5
b F # m7 5
B7
n œœœ ˙
œ
œ
œ # œœ
0 2 2
1
0
0 2 1
2
œœœ ˙ 0 2 1 2
‰
j œ 2
Acoustic Guitar Grade 6
[19]
51
& T A B
#
E m7
œ œ 0
j œœœ b # œœœ œ œ œ
A 13
# œœœ œ J
œ ‰
œ
2 4 4
0 7
0 2 3 5
0
0
j œ 2
0
D 7sus 4
‰ œ
j œ nœ J
n œœ 0 3
0
0
D7
œ
bœ Œ
nœ
2
3
5
œ œ
# œœœ
b œœ bœ
œœœ œ
2 0
2 4 3
3 5
1 2 4 0
‰ œ
œ J 0
0
[23]
Bb
# œ & œ bœ T A B
j œ Œ
nœ
3 5
6
Gm
3
3
œœ œ œ b œœ œ nœ œ
œœ œ . œ œ œ .
5 5 5
3 3 3
1 2 2
3
3
6
5
6
Cm
3 0
œ œ
œ bœ œ ‰
1
3
D7
œ b œœ J
4
5 5 6
3
6
[25]
Gm
# œ & œ T A B
3
G alt
bœ
ggg œœœ gg ˙ g
œ Œ
3
ggg 33 gg 7 gg 3
0
3
[27]
G
&
# O
œ
bœ œœœ # n œœ n œ
bœ
6 4 4 3
4
3 3 5
œ
œ
œ
œ œ 1
nœ bœ œ nœ 3
3
Am
œ nœ
D7
Cm
nœ
œ
œ œ
n œœ
1
2 0
0
Bm
nœ
4
œ
œ
œ Œ
œ bœ œ Œ 2
œ 1
3
C
bœ œ œ œ
œ
œ Œ
œ
NH
T A B
5
1
0
0
0
3
3
0
2
0 3
3
5
6
2
5
3
1
0
3
3
Acoustic Guitar Grade 6
[29]
52
G
# œ & œ nœ T A B [31]
0 2
nœ œ œ
Am
œ œ œ
0
1
0
2 0
3
œœ œ 0 2 3
Bm
œ œ
œ
œ Œ
0
1
3
2
œ
C
œ œ
œ
œ Œ
0
2
0 3
œ 0
&
F # m11
# œ ˙
T A B
œ
œ
œ
0
0
0
b F # m7 5
œ œ œ œ # œ œ œ œ ˙
B7
10 2
7
7
8
8
7
4
7
B7
œœœ œ
œ
œœœ œ
œœ # œœ
0 2 2
1
0 0 2 3
0 2 1 2
2
œœ ˙œ
œ
œ
2
0
[33]
&
#
T A B
E m7
œ ˙
œ
œ
œ
j œ ˙
Am
j ‚
œ
Oœ
NH
7
0
0
12
Œ œ
œ
3
0
0
D.%. al Coda
D7
œ
œ
0
7
0
D 7sus 4
0
0
œ Œ
œ
0
0
fi
[35]
fi Coda &
#
G
T A B
œ œj œœ ˙
œœ œ œ
3
0
3 2
2 4
0
j œœ œ
Am
‰ œ.
0
1 2 2
0
3
Bm
œ œ J
œœ œœœ œ œœ œ . 0 0 0
0
0
1 2 2
œ. œ
œ
3 2
0
j bœ
3 0
2
Œ œ œ œ œ œ œ
C
œ œ
0
3
2
0
2
0
0
[37]
& T A B
#
G
œ
œ œ
3 0
Am
œ œ œ n œ œj œ œ œ œ ‰ J 1
0
3
0
2 4
3
j œ
œ œ
0
0
0
0
3
‰ œ œ œœ
Bm
2
œœ
2
3 1
Œ
3
5 0
œ
C
œœ ˙
œœœ ... 0 3 0
2
œ 5
3
[39]
C/D
G/D
# œœ œœœ & œ œ œ ≈ T A B [41]
0 1 0
0
3 3 4
0
C/D G/D D
œœ œ œ 8 8 9
G
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 œ 0
7 8 7
7 0
0
0
7 7
0
3
0
7
0
3
5
0 7
0
4
7
0
3
7
0
œ
√· . ·· .. NH
5 5 5 3
2
3
Acoustic Guitar Grade 6
Freely
53
Here, There And Everywhere | Technical Guidance ‘Here, There And Everywhere’ is a classic Lennon and McCartney song. It features some sophisticated harmony, much of which can be related to jazz and classical music, and gives us plenty of scope for arranging on the guitar. This arrangement is inspired by Laurence Juber’s take on various Beatles tunes. Juber often uses DADGAD tuning. For ease of performance, this arrangement is in standard tuning. The only distinctive part retained from the Beatles’ version is the chromatic rising line in the top part at bar 15.
b In bar 17 the minor 7 5 chord on II (supertonic) was substituted. This type of substitution is often used in gospel music. In bar 19, the stylistic approach is related to country guitar. Bar 41 features various different triads on top of a pedal note on the 5th degree of the scale. This is a device often used by Pat Metheny.
Acoustic Guitar Grade 6
The piece ends with another country influenced inflection – the use of open strings on a descending G major scale.
54
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 =152 bpm. 1. F # 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
1
4
3
1
4
3
2
4
1
4
2
1
4
2
4
3
1
4
3
1
4
2
1
4
2
2. F # blues scale
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 œ nœ œ & # œ nœ
T A B
14
12
14
15
16
14
16
14
16
17
14
17
14
17
14
17
14
17
16
14
16
14
16
15
14
12
14
12
14
3. G b major scale
b & b bbbb
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
1
4
3
1
4
3
2
4
1
4
2
1
4
2
4
3
1
4
3
1
4
2
1
4
2
4. F # minor pentatonic 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
5
7
4
7
9
7
9
11
9
11
10
12
14
12
14
12
14
12
10
11
9
11
9
7
9
7
9
9
Acoustic Guitar Grade 6
&
###
55
Technical Exercises 5. D # 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
6
8
6
9
8
9
6
8
6
7
9
6
7
9
11
9
7
6
9
7
6
8
6
9
8
6
9
8
6
6. E b natural minor scale
œ œ œ œ œ œ œ œ œ œ œ œ œ œ bb b b b œ œ œ œ œ œ & b œ œ œ œ œ œ œ œ œ
T A B
6
8
9
6
8
9
6
8
6
7
9
6
7
9
11
9
7
6
9
7
6
8
6
9
8
6
9
8
6
7. D # 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
6
8
6
9
8
7
9
6
8
7
9
7
11
10
11
10
7
11
9
7
6
8
7
9
8
6
9
8
6
8. E b harmonic minor scale
nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bb b b b n œ œ œ œ œ œ & b œ œ œ œ œ œ œ
T A B
6
8
9
6
8
9
7
8
6
7
9
7
11
10
11
10
7
11
9
7
6
8
7
9
8
6
9
8
6
9. C lydian dominant scale
œ bœ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ & œ œ œ #œ œ œ bœ œ œ œ œ
T A B
3
5
2
4
5
7
3
5
7
5
7
8
5
6
8
6
5
8
7
5
7
5
3
7
5
4
2
5
3
Acoustic Guitar Grade 6
10. C altered scale
56
bœ bœ œ œ œ œ œ œ œ b œ b œ b œ b œ œ œ œ œ œ & œ bœ bœ bœ bœ bœ bœ œ œ œ œ
T A B
3
4
6
7
4
6
8
5
6
8
5
7
4
6
8
6
4
7
5
8
6
5
8
6
4
7
6
4
3
Technical Exercises 11. Chromatic scale on F #
& T A B
œ #œ œ œ #œ nœ œ œ nœ œ nœ œ œ nœ œ nœ œ # œ œ œ # œ œ # œ œ nœ œ œ nœ œ nœ œ œ #œ œ #œ œ œ #œ œ nœ œ nœ œ #œ œ #œ œ #œ œ 2
3
4
1
5
2
3
1
4 5
2
3
4
5
1 2
3
1
4
2
3
4
0
1
2
1
0
4
3 2
1
4
3
2
1
5
4
3
2 1
5 4
3
2
1
5
4
3
2
Group B: Arpeggios
The tempo for this group is q =100 bpm.
## # & # # # 43
T A B
œ
œ
œ
1
2
4
2. G b major arpeggio
b & b b b b b 43
T A B
œ
œ
1
2
3. D # minor arpeggio
#### # 3 # 4 œ &
T A B
œ 9
11
4. E b minor arpeggio
b & b b b b b 43 œ
T A B
11
œ 9
œ 4
œ 8
œ 8
œ 4
œ 8
œ 8
œ 3
œ 11
œ 11
œ 2
œ 11
œ 11
œ
2
2
3
4
œ
œ
œ
œ
œ 2
œ 11
œ 11
2
œ 2
œ 11
œ 11
œ 3
œ 3
œ 11
œ 11
œ 4
œ 4
œ 8
œ 8
œ 4
œ 4
œ 8
œ 8
œ 1
œ 1
œ 9
œ 9
˙. 2
˙. 2
˙. 11
˙. 11
Acoustic Guitar Grade 6
1. F # major arpeggio
57
Technical Exercises # 5. C dominant 13 # 11 (C 13 11) arpeggio
3 & 4
T A B
œ
œ
œ
5
7
8
bœ 8
œ 7
# # 6. C dominant 7 # 5 # 9 (C 7 5 9 ) arpeggio
4 & 4 œ
T A B
œ 2
3
#œ 1
bœ 3
œ
#œ
#œ
5
7
#œ
7
œ
4
œ
3
bœ
7
œ 1
8
œ 2
œ
œ
5
7
˙. 8
w 3
Group C: Chord Voicings
In the exam you will be asked to play, from memory, all the voicings in the following exercises, at a tempo of your choice, without the aid of a backing track or metronome. However, for practice purposes a demonstration of the chords played to a metronome click is available in the downloadable audio. # 1. C dominant 7 # 11 (C 7 11)
w & 44 # b ww w
T A B
2 5 3
5 3 4 3
b n b www 4 & 4 # w
Acoustic Guitar Grade 6
58
6 5 8 6
b ww # ww 6 5 5 4
3
2. C altered (C alt )
T A B
b # www w
b b # www w 4 4 3 2
# w b b www 4 1 3 4
Technical Exercises
Group D: Stylistic Studies
You will need to choose and prepare one stylistic study from the groups of styles listed below. The chosen stylistic study will be performed by you in the exam to the backing track.
Acoustic Guitar Grade 6
Styles: ■■Rock and Pop (pages 60 & 61) ■■Blues and Country (pages 62 & 63) ■■Acoustic Specialist (pages 64 & 65)
59
Technical Exercises
Stylistic Study | Rock and Pop q = 110
Blues-Rock Shuffle s
#### 4 ‰ j œ n œ œ b œj œ nœ œ & nœ #œ œ 4 3
3
T A B
&
####
T A B
0
œœ
nœ #œ 0
1
1
œ
0
0
3
0
3 2
0
œ n œ œ b œj œ nœ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
2 0
2 0
4 0
4 0
2 0
2 0
4 0
4 0
3
3
0
2
E
0
3
0
3 2
0
2 0
2
œœ
œœ
œ œ
œ œ
œœ
œœ
œ œ
œ œ
2 0
2 0
4 0
4 0
2 0
2 0
4 0
4 0
œœ
œœ
œ œ
œ œ
œœ
œœ
œ œ
œ œ
2 0
2 0
4 0
4 0
2 0
2 0
4 0
4 0
E7
j œ #œ
[3]
&
####
T A B
œœ
œ
œ
œ n œ œ œ œj œ n œ œ 1/4
3
3
1/4
0
2
0
3
0
0
2 4
3
A7
0
2 0
Acoustic Guitar Grade 6
[5]
60
& T A B [7]
####
œ
n œœ 3 2
0
‰
œœ J
œ n œ œ œj œ œ œ
3 2
0
3
3
3
0
2 4
3
œ
0
n œœ œœ œœ œœ œœ œœ œœ œœ œœ 3
9 10 11 12
0
10 12
3
10 12
10 12
10 12
3
10 12
10 12
10 12
10 12
Technical Exercises
nœ #### œ &
œœ
10 12
9 10
T A B
n œœ
#œ
7 8
9
œ
œ
B7
œ
nœ
œ
3
0
9
œ œ #œ œ
7
7
7
8
7
10
7
[9]
&
####
T A B
A7
œ
nœ
œ nœ #œ œ
œ
3
5
6
5
5
E7
œ
5
8
5
œ nœ œ #œ nœ nœ œ œ œ œ 3
3
3
0
3
0
3
2
0
2
2
2
0
0
[11]
&
####
T A B
œ 0
n œœ
# n œœ
# œœ
4 5
5 6
6 7
ww w 0
Acoustic Guitar Grade 6
[13]
61
Technical Exercises
Stylistic Study | Blues and Country q = 90
G
œœ œœ œ
#4 & 4
3 3 0 0
T A B
&
#
T A B
Bluegrass
œœ œœ œ
œœ œœ
œœ œœ œ
œœ œœ
œœ œœ œ
œœ œœ
œœ œœ
œœ œœ œ
œœ œœ œj œ
œœ œœ
œœ œœ œ
œœ œœ
œœ œœ bœ œ œ
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0 0 2
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0
0
3
œ
0
3
0
1
3
0
3
œœ œœ
œœ œœ œ
œœ œœ
œœ œœ œ
œœ œœ
œœ œœ œ
œœ œœ
œœ œœ
œœ œœ œ
œœ œœ œj œ
œœ œœ
œœ œœ œ
œœ œœ
œœ œ œœ bœ nœ œ
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0 0 2
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0
0
3
0
3
0
1
3
2
0
0
[3]
&
#
T A B
œ
œœ œœ
œœ œœ œœ œœ œœ œ œ œœ œ œ œ œ œ œ
3 3 0 0
3 3 0 0
0
3 3 0
2
3 3 0
0
3 3
2
3 3
0
œ
2
3
œœ œœ
œœ œœ œœ œœ œ œ œ œ œ
œ
œ
3 3 0 0
3 3 0 0
2
0
0
2
3 3 0
3 3 0
0
œ œ 0
3
2
[5]
&
#
œœ œœ
œ
œœ œœ œ œ
3 3 0 0
T A B
3 3 2 0
3
2
œœ œœ œ
œœ œœ
3 3 2 0
3 3 0 0
3
œœ œœ œ œ
œœ œœ
3 3 2 0
3
2
3 3 2 0
D
œ
œœ œ
œœ œœ œ œ
œœ œ
0
3 2 0
3 2
3 2 0
3
3
œœ œœ œ
œ
3 0
3 2
3
0
Acoustic Guitar Grade 6
[7]
62
& T A B [9]
#
G
œœ œœ œ œ 3 3 0 0
2
3
œœ œœ 3 3 0 0
œœ œœ
œœ œœ
œœ œœ
3 3 0 0
3 3 0 0
œœ œœ œ œ 3 3 0 0
2
3
œœ œœ 3 3 0 0
œœ œœ
œœ œœ
œœ œœ
3 3 0 0
3 3 0 0
C
œ 3
œœ œœ
œœ œœ # œ œ
œœ œœ
œœ œœ œœ
œœ
0 1 0 2
0 1 0 2
0 1 0 2
0 1 0 2
1 0
1
2
1 2
j œ
œ
1 2
œ 3
Technical Exercises
&
#
T A B
D
œ
œœ œœ œœ œœ œœ œœ œj œœ œ œ œ œ
œœ
0
3 2 0
3 2
3 2 0
3 0
3 2
3 2 0
3 3 2 2 4 0
G
œ œ œ œ nœ œ œ bœ œ b œ n œ œ œ œ
œ œ œ 0
0
2
0
3
1
0
2
0
2
3
2
0
1
0
3
[11]
&
#
T A B
œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 0
0
3 3 0
0
0
2
2
3
4
4
2
0
2
0
0
œ œ œ
œ œ œ œ œ œ œ 2
3
0
3
2
0
0
0
œ
0
4
3
[13]
&
#
T A B
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. nœ #œ œ œ œ œ œ œ œ nœ #œ œ D
0
4
5
0
3
1
0
0
2
0
0
4
4
2
0
3
0
2
4
3
1
2
0
3
4
2
[15]
&
#
T A B
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ bœ nœ œ nœ œ œ œ
G
0
4
5
0
3
5
7
0
7
5
3
2
5
C
8
1
3
1
0
2
0
0
1
2
0
3
2
0
3
&
#
T A B [19]
G œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ #œ œ œ œ œ œ œ œœ
D
0
0
3
4
2
0
3
1
0
2
0
4
2
0
0
2
0
3
2
0
0 3
3 3 2 0 3
ww ww w
Acoustic Guitar Grade 6
[17]
63
Technical Exercises
Stylistic Study | Acoustic Specialist Solo Guitar
Bm œ ‚ ‚ ### 4 œ ‚ & 4 œ ‚ œ
œ œ ‚ œ œ ‚ œ œ
Rubato 7
AH19
T A B
AH19
AH19
7
7
7
7
9
AH19
7
9
7
7
7
7
AH19
AH19
AH19
7
7
‚ œ œ ‚ œ œ œ œ
9
7
7
T A B
12
3
9
11
9
10
12
11
7
7
9
œ œ ‚ œ œ ‚ œ œ
3
AH17
9
7 7
7
3
11
7
œ œ œ œ œ œ U A maj ‚ œ ‚ ### œ œ œ œ œ œ ‚ œ & œ ‚ œ 3
AH19
10
9
12
10
9
AH19
AH18
6
5
5
6
7
AH18
5
7
6
6
7
5
AH18
AH18
5
7
6
5
6
[4]
### ‚ œ œ ‚ œ œ œ œ & AH19
T A B
nœ œ œ œ nœ œ œ œ œ œœœœœœœœ œ œ œœœ œ nœ œ
A6
2
0 7
7
3
3
AH17
3
Am
3
6
7
0
5
4
7
7
5
4
3
3
6
6
7
9
7
3
3
0 0
3
7
7
5
0 9
7
0
6
6
0
7
Acoustic Guitar Grade 6
[7]
64
# # # F ‰m j œ & œ œœ œ
j œ ‰ œœœ œœœ œ œ œ
T A B
0 1 2
q =90
#
[10]
2 2
0 2 2
2
0 2 2
‰ œj œœœ œ
0 0 2
2 2
0 2 2
j œ ‰ œœœ œœœ œ œ œ 0 1 2 2
0 2 2
‰ œj œœœ œ
A maj 7
0 0 2
0
2
2 1 2
j # œ œ ‰ œœ œ œ œ 4 4 0
0
4 2
1
Technical Exercises
C j j j j # j n œ œ n œ œ œ # n œ œ œ œ ‰ œœ œœ œ œ œœ ‰ œœ n œ ‰ & # ‰ œj œœœ # œœ œ ‰œ œœœ n ‰œ n œ n œ œ #œ œ œ œœ œ œ œ n œ œ œ œ nœ nœ
T A B
0
2
2 1 2
4
4
4 0
3
2 1 2
2
0
3 4
3
3 3
0
2
3
3
3 1 0
0 0 0
0
3 2 4
3
3 5 3
0 3
3
3 3 4 3
[13]
Freely
&
###
T A B
Rubato to the end
˙
˙
˙
˙
‚ œ œ ‚ œ ‚Accel.œ œ ‚ œ œ œ
B m7
3 AH19
AH19
0
0
9
3
AH19
7
4
7
0
3
3
2
AH19
9
7
7
7
4
2
7
0
[16]
&
###
‚ œ œ ‚ œ ‚ œ œ ‚ œ œ œ 3
AH19
AH19
9
T A B
3
3
7
7
2
AH19
9
7
7
7
3
3
AH19
4
‚ œ œ ‚ œ ‚ œ œ ‚ œ œ œ AH19
4
AH19
2
9
3
AH19
7
7
7
3
3
4
2
AH19
9 7
7
7
4
2
7
[19]
‚ œ œ ‚ œ ‚ œ œ ‚ œ œ œ 3
T A B [21]
AH19
9 7
3
3
AH19
7
4 7
3
AH19
2 7
7
4 7
œ œ U œ nœ œ œ œ œ ˙. let ring
AH19
9
Rubato
2 2
4
0
3
5
3
0
4
2
Acoustic Guitar Grade 6
&
###
Rall.
b B m7 6
65
Quick Study Piece At this grade you will be asked in the exam to prepare and perform a short Quick Study Piece. The examiner will give you the sheet music, then you will hear a full mix version of the track, including the notated parts. The first playthrough will be preceded by a one bar count-in. After the full mix, you will have three minutes to practise. During the practice time you will be given the choice of a metronome click throughout or a one bar count-in at the beginning. At the end of the three minutes, the backing track will be played twice more, this time with the notated parts now absent. The first time is for you to practise and the second time is for you to perform the final version for the exam. Again, you will hear a count-in before both playthroughs. The backing track is continuous so once the first playthrough has finished the count-in of the second playthrough will start immediately. The notated parts need to be performed as written, and the improvisation parts are for you to create your own interpretation of the music.
Acoustic Guitar Grade 6
Please note: ■■You can choose the style grouping you wish to perform from the following options: – Rock & Pop – Blues & Country – Acoustic Specialist ■■One example from each of the style groupings is shown below.
66
Quick Study Piece | Rock and Pop The test shown is an example. The examiner will give you a different version in the exam. q = 85
Pop
D
# 4 . & # 4 œœ . T A B
G
2
D/F #
2 3 2
3
2
3
G
D/F #
T A B
##
D
j œ
œœ ..
0
3
3 2 4
0 2
4 2
0
0 2
3
0
0
2
G
œ œ 4
œ œ
œœ œ œ œ
4
3 2 0
2
0
2
D/F #
œœ œ œ
œœ œ œ œ
5
5
3
3
3 3
2
2
G
œ œ
œœ œ œ œ
0
3 2 0
œ
3
2
A
3
0
0
0
2
0
3
2
j œ
3
œœœ œ
3 3
œœœ œ œ œ œ
0 2 2
2
0
3
œœ œœ œ œ 3 4
3 2
œœ œ œ œ
0 0
2
A
j œœ œœ œj œ œ œ œ œ
0 0 2
0 2
2
0
œœ .. œ.
3 2
0
0
A
G
œœ œœ ‰ j œ ˙
0 2
2
A
3
D/F #
D
œœ œ œ œ œ œ œ œ œ œ œ 0 0 0
œœ œ œ
3 2 0
0 2
D
2
G
œœ œ j œ œ œ
j œ œ
0
œ œ œ œœœ
0 4 2
2 2 0
j œœ œ œ
œœ ..
j œ
A
3
[5]
&
3 2 4
2 2 0
D/F #
D
j œœ œœ œœ œ œ œ œ œ
0 0
# # œœ œ œ œ œ œ œœ œœ œj œ œ & œ T A B
A
œœ .. œ.
j œ ˙
3 2
D
D/F #
2 2 0
3
2 4
0
4
[9]
# # EÛm. &
Û Û J
cont. sim.
T A B
Û.
Û
G
Û Û J
A
Û.
Û
D
Em
Û Û J
Û
Û
A
G
A
’ ’ ’ ’
[13]
T A B [17]
# & # Û. D
T A B [21]
Û Û J
D/F #
Û Û J
Û.
Û
G
G
j œ
4
. œ œ Û 2
0
Û Û J
A
Û
Bm
A
Û Û J
D
. œ œ Û 2
0
Û.
Û Û J
Em
D/F #
Û Û J
Û
G
Û.
A
Û Û J
Û.
Û
Û Û J
Û
U œ ˙ œ œ œ
D
0
2
3
0
2
Acoustic Guitar Grade 6
# # EÛm. &
67
Quick Study Piece
Quick Study Piece | Blues and Country The test shown is an example. The examiner will give you a different version in the exam. q = 150
### 4 4 &
Blues
˙
n˙
A7
œ.
1/4
j œ nœ
˙
œ
n˙
1/4
12
T A B
&
###
8
n˙
12
10
œ.
1/4
j œ nœ
j œ nœ
5
œ
8
10
7
12
5 2
[5]
&
8
###
D7
˙
n œœ
n œœ
7 8
5 6
1/4
Œ
n œœ
1/4
T A B
1/4
1
nœ bœ 8
2
œ nœ
œ nœ
8
˙
7
5
n œœ
n œœ
7 8
5 6
1/4
5 6
œ nœ
1/4
7
j nœ
Œ
5
n œœ
1/4
7
0
5
7
1/4
T A B
œ
1/4
7
˙
œ.
1/4
5
7
œ nœ
7 5
8
œ nœ
1/4
1/4
5 6
7
5
5
[9]
&
###
A7
’
’
Improvise melody
’
’
’
’
’
’
E7
’
’
’
T A B Acoustic Guitar Grade 6
[13]
68
& T A B [16]
###
D7
’
’
’
’
A7
’
’
’
’
Û
Bb7
Û
A7
Û
U
|
’
Quick Study Piece
Quick Study Piece | Acoustic Specialist The test shown is an example. The examiner will give you a different version in the exam. q = 140
Jazz Walking Bass
œœ œœ
Am
Dm
& 44 œœœ œ T A B
œ
1 2 2 0
2
Am
& œœœ œ œ œ œ T A B
1 2 2 0
2
3
0
œ
œ
3
0
2
œœ œœ œ œ œ
Dm
1 3 2 0
2
3
œ
œ
1 3 2 0
0
E7
Am
3
œ
œœ œœ
0
1 2 2 0
Am
œœ œ œ œ œ œ 1 2 2 0
2
3
œ 2
œ
# œœœ œœ # œ # œ
œ
3
0 1 0 2 0
0
2
E7
C
0 1 0 2 0
1 0 2 3
# œœœ œœ # œ # œ œ
0
2
4
2
œ 2
4
œœ œœ œ œ #œ 2
0
4
[5]
G
& œœœ œ nœ œ œ
C
T A B
3
1 0 2 3
5 5 3
0
2
0
œœ œœ œ œ œ 0
2
0
œœ œœ œ œ œ
œœ œ œ œ œ œ
F
B dim7
1 1 2 3
1 3 2
2
0
3
2
0
2
1
E7
œ # œœ œ œ #œ œ 0 0 1 0
1
4
2
[10]
Am
& ’ ’ ’ ’ Improvise melody
Dm
Am
E7
Am
Am
E7
Am
A m9
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
T A B Dm
& ’ ’ ’ ’ T A B [20]
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
Acoustic Guitar Grade 6
[15]
69
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 the 5th. 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 ˙
˙ & 44 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, III, 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.
& 44
˙˙ ˙˙ ˙
C
A m7
˙˙ ˙˙ ˙
F maj 7
˙˙˙ ˙ ˙
˙˙ ˙˙ ˙
G7
ww ww w
C
Acoustic Guitar Grade 6
Please note: The test shown is an example. The examiner will give you a different version in the exam.
70
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 6
5. You will be asked a question relating to the genre of one of your pieces.
71
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 6
■■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]
72
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 6
Performance Certificates | Debut to Grade 8 *
73
Copyright Information Here There And Everywhere (Lennon/McCartney) Sony/ATV Music Publishing (UK) Limited Man In The Mirror (Ballard/Garrett) Universal/MCA Music Limited/BMG Rights Management (UK) Limited What A Friend We Have In Jesus (Scriven/Converse) DP Acount Don’t Know Why (Harris) Sony/ATV Music Publishing (UK) Limited The Boxer (Simon) Universal/MCA Music Limited
Acoustic Guitar Grade 6
Pride and Joy (Vaughan) Wixen Music UK Ltd
74
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