Acoustic Guitar Grade 7
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: PATMDTM9CK For more information, turn to page 5
www.rslawards.com
Acknowledgements Published by Rockschool Ltd. © 2016 Catalogue Number RSK200027 ISBN: 978-1-910975-34-3 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 © Christie Goodwin/Redferns/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 7
www.rslawards.com Telephone: +44 (0)345 460 4747 Email:
[email protected]
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Table of Contents Introductions & Information
2 Acknowledgements 3 Table of Contents 4 Welcome to Rockschool Acoustic Guitar Grade 7 6 Acoustic Guitar Notation Explained
Rockschool Grade Pieces
7 13 27 35 43 49
Joe Bonamassa........................................ ‘Woke Up Dreaming’ John Mayer........................................................ . . . . . . . . . . . . . . . . . . . . . . . . ‘Neon’ Newton Faulkner.. ........................................... . . . . . . . . . . . . . . . ‘Teardrop’ Pat Metheny...................................... ‘Our Spanish Love Song’ Tommy Emmanuel.. ....................................... . . ‘And So It Goes’ Hoagy Carmichael.. ........................... ‘Georgia On My Mind’
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 7
3
Welcome to Rockschool Acoustic Guitar Grade 7 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 7
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: PATMDTM9CK 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 7
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 7
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.
Joe Bonamassa | Woke Up Dreaming
SONG TITLE: WOKE UP DREAMING
ALBUM: BLUES DELUXE
LABEL: J&R ADVENTURES
GENRE: BLUES
q =150
# ## # 4 . 4 . œ nœ &
WRITTEN BY: JOE BONAMASSA AND WILL JENNINGS
GUITAR: JOE BONAMASSA
. .
PRODUCER: BOB HELD
T A B
Joe Bonamassa was born in Hartford, New York State in 1997. Aged 12 he was opening for B.B. King. He has released 15 albums through his independent record label and is considered one of the greatest guitar players of his generation.
&
As well as a relentless touring schedule of about 200 shows a year, Bonamassa has a number of diverse projects, these include the neo-funk/jazz combo Rock Candy Funk Party, the supergroup Black Country Communion and a duet with Beth Hart, with whom he received a grammy nomination for their album Seesaw.
T A B
# ## #
E7
2
≈
Joe Bonamassa also produces a radio show with guitar aficionado Matt Abramovitz.
œ nœ
œ
0
2
2
œ œ œ nœ œ
# ## # ‰ &
nœ œ 0
2
≈
0
2
0 0
3
E7
T A B
0
2
0
œ nœ 3
[3] Joe Bonamassa is an accomplished singer and songwriter. Whilst the electric guitar is his main instrument he is equally comfortable on the acoustic guitar. In May 2015 he won a Blues Music Award in the instrumentalist, guitar category. He is also involved in the advancement of music education and is the founder of Keeping the Blues Alive, a foundation that supports music education programs via scholarships and partnerships with a number of corporate sponsors as well as his own label, J&R Adventures. The foundation donates money on a weekly basis to those who do not have resources to achieve their potential in the industry.
œ
≈
œ œ 0
2
œ
Acoustic Guitar Grade 7
70
Woke Up Dreaming
Joe Bonamassa Arranged by Carl Orr
#### 4 . E & 4 . œ nœ q =150
. .
T A B
## & # # œ nœ T A B
2
œ
0
œ ≈ œ
7
2
0
2
nœ œ
0 3
≈
2
œ
nœ œ
0 3
œ œ
œ ≈ œ
2
2
0
0
0
3
œ œ
œ
2
2
0
œ œ
≈
œ
œ œ
0
0
3
œ nœ
œ ≈ œ
2
2
0
nœ œ
0
0
3
œ nœ
œ
2
2
0
≈
œ
nœ œ
0
0
3
œ œ
œ ≈ œ
2
2
0
œ œ
0
0
3
œ œ
œ
2
2
0
≈
œ
0
..
œ œ
. .
0
0
3
0
[3]
&
####
‰
E7
T A B
≈ nœ œ œ œ 0
2
0
œ # œœ
œ
œ œ
0 0 1
2
2
‰
nœ œ
≈ nœ œ œ œ
0
0
0 3
2
0
œ
œ # œœ 0 0 1
2
0
œ œ 2
nœ œ
0
0
3
0
[5]
#### ‰ & T A B
≈ nœ œ œ œ 0
2
0
œ # œœ
œ
œ œ nœ œ
0 0 1
2
2
‰
≈ nœ œ œ œ
0
0
0 3
2
0
œ
2
0
œ # œœ
œ œ nœ œ
0 0 1
2
0
0
3
0
Acoustic Guitar Grade 7
[7]
8
& T A B [9]
####
% ‰
E7
≈ nœ œ œ œ 0 2
œ
œ # œœ œ œ 0 0 1
0 2 0
nœ œ
2 0
‰
≈ nœ œ œ œ 0 2
3
0
œ
œ # œœ œ œ 0 0 1
0 2
nœ œ
2 0
0
Words & Music by Will Jennings & Joe Bonamassa © Copyright 2003 Irving Music/Smokin Joe Analog Music Co Reservoir Media Management, Inc./Rondor International Inc. All Rights Reserved. International Copyright Secured.
‰
≈ nœ œ œ œ 0 2
3
0
œ
œ # œœ œ œ 0 0 1
0 2 0
nœ œ
2 0 3
0
## & ## ‰
œœ œœ ≈ ‰ ≈ ‰ ≈ œ # œ n œ œœ œœ nœ œ œ œ nœ œ œ œ n œ œ œ œ n œœ œ œ nœ œ nœ œ #œ nœ œ œ œ E m7
T A B
0 2
0
0 0 1
2
G
2 0
0
0 2 3
0 0 0
0 2
0
2 0
0
0 2 3
0 0 0
0 2
0
2 0
3
3
0
[12]
#### ‰ &
E7
≈
nœ œ œ œ
T A B
0 2
œ
0 2
œ # œœ œ œ 0 0 1
nœ œ
‰
≈
nœ œ œ œ
2 0
0
0 2 3
œ
0 2
0
œ # œœ œ œ 0 0 1
# B7 9
nœ œ
2 0
0
3
0
n œœ # œœ
œœ œœ
œœ œœ
œœ œœ
œœ œœ
œœ œœ
œœ œœ
œœ œœ
3 2 1 2
3 2 1 2
3 2 1 2
3 2 1 2
3 2 1 2
3 2 1 2
3 2 1 2
3 2 1 2
[15]
To Coda fi #### n œ œ œœ œœ œœ ‰ ≈ ‰ ≈ œœ œœ & n œ # œ # œ œœ œ nœ œœ nœ œ œ œ nœ œ œ œ #œ œ œ œ nœ œœ n œ nœ œ œ œ œ E7
E m/G
T A B
3 2 1 2
0 0 0
3 2 1 2
2
0
2
0
3
0 2 3
0 0 1
0 2
0
2 0
0
0 2 3
0 0 1
0 2
0
2 0
0
3
0
[18]
&
####
‰
E7
T A B
≈ nœ œ œ œ 0 2
œ
0 2
œ # œœ œ œ 0 0 1
‰
nœ œ
≈ nœ œ œ œ
2 0
0
0 2 3
œ
0 2
0
œ # œœ œ œ 0 0 1
nœ œ
2 0
0
‰
≈ nœ œ œ œ 0 2
3
œ
0 2
0
œ # œœ œ œ 0 0 1
nœ œ
2 0
0
3
0
& T A B [24]
####
‰
≈ nœ œ œ œ 0
2
0
œ
2 0
œ # œœ 0 0 1
A7
œ œ nœ œ 2
0 3
0
n œœ œœ . œœ œœ ≈ œœ ... œœ œ J 0
3 2 2 2
3 2 2 2
3 2 2 2
œœ œœ 3 2 2 2
n œœ œ. œ œ œœ ≈ œœœ ... œœœ n œœœ nnœ œ J G
0
3 2 2 2
3 2 2 2
3 2 2 2
3 0 0 0 3
Acoustic Guitar Grade 7
[21]
9
# B7 9
## & # # ‰ nœ œ ≈ œ œ E7
T A B
0 2
œ œœ n œœ œœ œœ ‰ ≈ # œœ œ œ # œ œœ œ œ œ nœ œ œ œ nœ œ nœ œ #œ œ œ œ œ 0 0 1
0 2
2 0
0
0 2 3
0 0 1
0 2
0
3 2 1 2
2 0
0
3
0
3 2 1 2
3 2 1 2
œœ œœ
œœ œœ
œœ œœ
œœ œœ
œœ œœ
3 2 1 2
3 2 1 2
3 2 1 2
3 2 1 2
3 2 1 2
[27]
E7
#### n œ œ œœ œœ œœ ‰ ≈ ‰ ≈ œ œ n œ # œ # œ œœ & œ nœ œœ # œœ œœ œ œ nœ œ œ œ nœ œ œ œ nœ œœ n œ nœ œ œ œ œ E m/G
T A B
3 2 1 2
3 2 1 2
0 0 0
2
0
2
0
3
0 2 3
0 0 1
0 2
0
2 0
0
0 2 3
0 0 1
0 2
0
2 0
0
3
0
[30]
&
####
T A B
E7
œ n œ œœ ≈ n œœ 2
2 2
0
nœ œ
0 0
œ œ œœ ≈ œœ 2 2
2 0 3
œœ
0 0
0
œ n œ œœ ≈ n œœ 2
3
0
2 2
nœ œ
0 0
0
œ œ œœ ≈ œœ 2 2
2 0 3
œ n œ œœ ≈ n œœ
œœ
0 0
2
0
3
0
2 2
œ œ œœ ≈ œœ
nœ œ
0 0
0
2 2
2 0 3
œœ
0 0
0
3
[33]
&
####
T A B
A7
œ nœ 2
0
œœ ≈ n œ œ nœ œ œ œ
œœ ≈ œ œ œ œ
2 2
2 2
0 0
2 3
0
0 0
0
3
0
n œœ œœ . œœ œœ ≈ œœ ... œœ œ J 0
3 2 2 2
3 2 2 2
œœ œœ
3 2 2 2
n œœ œœ . œœ œ œœ ≈ œœ ... œœ n n œœœ œ nœ J G
3 2 2 2
0
3 2 2 2
3 2 2 2
3 2 2 2
3 0 0 0 3
Acoustic Guitar Grade 7
[36]
10
& T A B [39]
####
# B7 9
E7
œœ œœ n œœ œœ œœ # œ # œ œœ œ œ œœ œ œ œ nœ œ œ œ nœ œ œ nœ œ œ œ nœ œ #œ œ œ œ œ œ 0 2 0
0 0 1
0 2 0
0
2 0
0 2 3
0
0
0 0 1
0 2 0
0
2 0 3
0
3 2 1 2
3 2 1 2
3 2 1 2
œœ œœ
œœ œœ
œœ œœ
œœ œœ
œœ œœ
3 2 1 2
3 2 1 2
3 2 1 2
3 2 1 2
3 2 1 2
0
## & ##
A7
E7
œœ ≈ œ œœ œ. œ j n n œœœ ... œ œ
T A B
0
0 0
2
2 2
4
œœ œœ # œ # œ œœ œœ œ œ nœ œ œœ n œ œ nœ œ œ nœ œ œ œ œ œ œ
0 0 0 0
0
0
2
0
0
0 0 1
2
0
2
0
0
0
3
0
2
0
0
0 0 1
2
0
2
0
0
3
0
[42]
&
####
E7
T A B
œ nœ
œ
2
2
0
≈
œ
nœ œ
0 3
œ œ
œ
2
2
0
≈
œ
œ œ
œ nœ
œ
2
2
0
0
3
0
≈
œ
nœ œ
0
0
3
œ œ
œ
2
2
0
≈
œ
œ œ
0
0
3
0
[45]
&
####
T A B
œ nœ
œ ≈ œ
2
2
0
nœ œ
0 3
œ œ
œ ≈ œ
2
2
0
œ œ
0
0
3
œ nœ
œ ≈ œ
2
2
0
nœ œ
0
0
3
D.%. al Coda
œ œ
œ ≈ œ
2
2
0
œ œ
fi
0
0
3
0
[47]
fi Coda #### & T A B
œ nœ
œ ≈ œ œ œ nœ œ
œ ≈ œ œ nœ œ œ
œ ≈ œ œ œ nœ œ
œ ≈ œ œ œ
2
2
2
2
2
E7
0
0
2 3
0
0
0
2 3
0
0
0
2 3
0
0
0
3
0
& T A B [51]
####
U
˙˙ .. j ≈ ≈ ≈ ≈ # n œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ n ˙˙ .. nœ œ œ œ nœ œ œ œ œ 0 0
2
0
2
0
2 3
0
0
2
0
2 3
0
0
2
0
2 3
0
0
2
0 1
0
0
3
0
0
Acoustic Guitar Grade 7
[49]
11
Woke Up Dreaming | Technical Guidance There is a great amount of variation between the studio and live versions of this song. In the original Blues Deluxe version Joe Bonamassa plays it in the key of E b major (in E on a guitar tuned down a semitone), but in many live versions he plays it on a standard E tuned guitar with a capo on the first fret, playing it in the key of F major. There is also a wide variation in tempos, some versions lope along at mid-tempo and some versions are at high tempi. His playing technique varies too, some versions are played fingerstyle, some with a plectrum and some use both techniques. It is advisable to experiment with different techniques to find out what works most comfortably and naturally in order to capture Bonamassa’s feel. This is absolutely crucial to the song. Regardless of the technique, the feel and the groove should be irresistible and relentless. The important thing is to be a great bass player, as the bass line drives the song along, so make sure to play steady time with a strong, propulsive groove, and big, bold and even notes from beginning to end. This version is played fingerstyle with the thumb snapping out the percussive bass notes, creating a foundation for the song with the fingers doing the rest, with one finger per string for the chords. For the E 7 chord on the second half of beat three in bar 5, the first finger (i) plays the G string, second finger (m) the B string and third finger (a) plays the high E string.
Acoustic Guitar Grade 7
# For the bigger, bolder chords, specifically the B7 9 in bars 17,18, 28, 30 and 41, and the A7 and G major chords in bars 41 and 42, the second finger (m) brushes across the strings with a downstroke.
12
John Mayer | Neon
ALBUM: ROOM FOR SQUARES / 2001
LABEL: AWARE / COLUMBIA
GENRE: POP ROCK
C sus 4
b b 4 .. b & 4
WRITTEN BY: JOHN MAYER AND CLAY COOK
GUITAR: JOHN MAYER PRODUCER: JOHN ALAGIA
. .
E B G D A C
T A B
C sus 4 ‘Neon’ is featured in the 2001 release Room for Squares. The record was certified platinum after intense promotion and touring. The song is based on Mayer’s personal experience and features a sound and compositional style much different from his later blues infused releases. John Mayer was born in 1977, in Bridgeport, Connecticut. He started playing guitar aged 13 and soon was dedicated to the instrument. The blues was his main focus. Aged 17 he experienced health difficulties which he regards as a catalyst for his songwriting. Aged 19 he enrolled at Berklee in Boston, but left after two semesters, together with Clay Cook with whom he moved to Atlanta and formed a band. They eventually parted ways and Mayer embarked on a solo career. In 2003 he won a Grammy for Best Male Pop Vocal Performance and in 2005 with his composition ‘Daughters’ he won a Grammy for Song of the Year and Best Male Pop Vocal Performance. He won seven Grammys out of 19 nominations. Mayer released a stream of recordings and embarked on successful tours. His trio work with Pino Palladino and Steve Jordan won him much critical acclaim. By 2007 his guitar work was acknowledged by Rolling Stone. His early records were largely acoustic, but overtime his shows started to include
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Mayer allows recording and non-commercial trading of his shows and has occasionally performed surprise concerts waiving fees. 6 8 Mayer has experienced 5 significant problems with 0 5 which he was operated on twice. his vocal chords for As a result he took time off his busy touring and 0 0 recording schedule and travelled across the US. He [3]visited Bozeman in Montana, fell in love with the place, bought a house and settled there in 2012.
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œ.
≈ œ œ
œ œ œ œ œ 8
8
Ab
she can
œ
8
8
œ œ œ ¿ œ 8
9 8
8
¿
9
[57]
b &bb œ
F m7
b &bb T A B
œ œ
œ
4
5
¿
5
[59]
b &bb b &bb T A B
& T A B [63]
0
7
œ
7
nœ œ œ 5
4
¿ ¿
nœ
nœ
0
6
7
8
6 8
7
∑
5
5
4
¿ ¿
nœ
nœ
bœ nœ œ œ œ
0 8 7
7
¿
œ
6
¿
8
9 8 10 11
¿
œ bœ
6
¿
6 8
7
¿ ¿
œ
8
œœ œœ œœ œ œ ¿
9 8 10 11
9 8 10 11
9 8 10 11
9 8 10 11
7 9
8
8
9
8
7
8 11
¿
6
9 11
11
¿ œ ¿
œ
œ
œ
9
10
11 10
n¿ ¿
B b m7
∑
œ bœ bœ œ œ 7 9
8
œ bœ œ ¿ œ œ œ
bœ
6
6
9
6
10
B b m7
œ
bœ
8 8
œ
bœ œ
bœ
10 11
∑
10
A b m7
œ
way.
œœ œœ
8
bœ œ bœ
-
œ ≈ œœœ R œ
œ bœ bœ œ œ
8
9
a
œœ œœ J
8
œ
œ
œ
she burns
B b m7
8
9
A b m7
G m7
nœ œ œ
œœ œœ
¿
be - fore
A b m7
nœ bœ œ œ œ
F m7
5
6 8
¿
∑
5
œ
6 8
œ œ bœ
G m7
[61]
bbb
œ
œ bœ œ œ œ
F m7
5
b &bb
¿
Ó
nœ
go
œ œ
A b m7
G m7
Œ
œ œ.
10
9 11
10
¿ ¿
∑
bœ œ œ
11
¿
n¿ ¿
10
œ b œœ œ œ œ
œœ œ œ
œœ œ œ
œœ .. œ. œ.
10
11 11 13 10
11 11 13 10
11 11 13 10
9 10
11 11 13 10
¿ ¿
Acoustic Guitar Grade 7
A badd 9
21
b &bb
# C7 9
b &bb
∑ ¿ œ
œ
T A B
¿
0
œ œ ¿ ¿
œ ¿ œ nœ ¿
8 0
[65]
∑
0
¿ ¿
8
8 7
b &bb
œ
œ
œ nœ 10
0
¿ œ
œ
¿
7
10
0
∑
œ ¿ œ œ
8 0
¿
œ œ 8
0
œ œ
nœ
8
10
0
7
12
Œ
Ó
¿ œ
œ
T A B
¿
0
¿
0
[67]
A b 6/9
bb
& b œ b &bb
0
0 0
7
œ J
‰ œ œ œ œ œ 8
5
6 8
œ
5
8
œ œ œ œ œ nœ
8
8
œ
10 12
œ
7
10
nœ œ œ 7
8
œ
8
0
œ œ
and
bœ
T A B
œ
œ ¿ œ
8
œ œ
œ
œ
œ
œ
8 0
œ
œ
œ œ 8
0
8
7
Œ
œ
6
6 8
œ œ œ 0
10
‰
8
œ
5
8
œ
œ
5 7
œ œ œ œ œ 5
6 8
8
œ
5
7
œ
7
œ 0
0
œ J
bœ
œ
like
œ œ œ œ œ œ œ 8
comes
0
she goes
5
œ
7
10
She
b &bb
œ œ
no
-
œ œ œ œ œ œ œ œ ¿ 5
6 8
6 8
6 8
8
œ
œ
7
¿
[69]
b & b b œJ Acoustic Guitar Grade 7
-
22
b &bb T A B [71]
bœ
-
j œ
one
can.
œ
Ó
bœ œ œ
3
4
4 6
4 6
6
6
6
3
6
Œ
She
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6
6
œ
3
œ œ œ œ œ œ
4 6
6
3
3
4
bœ
4
œ œ œ œ œ œ œ œ œ 3
6 6
comes
4 6
6
3
4 6
6
3
A b 6/9
b &bb œ b &bb
≈ œ œ
œ J
‰
and
œ œ œ œ œ
œ
T A B
Œ
5
6 8
8
goes,
œ œ œ œ œ œ œ œ œ
œ
5
6
5
8
she
G m11
6
8
6
8
œ J œ
6
8
Œ
‰
œ
œ J
she’s
œ œ œ œ œ 5
8
8
‰
6 8
6
5
6
6
6
¿
8
8
8
œ
œ
œ
œ
zin’
just
like
7
[73]
b & b b œJ
F m11
-
&
bbb
T A B
œ
-
œ
G m11
œ J
ping
through
œ œ œ œ œ 6
3
œ
4 6
5
œ J
œ my
œ
œ œ
œ
œ
œ
œ
6
8
œ
hands.
6
5
8
œ J
œ œ
6
8
8
œ
0
8
7
œ œ œ œ. She’s al
-
ways
œ œ œ œ œ 8
8
9 8
buz
œ
8
8
-
œ œ œ œ œ œ œ ≈ r œ ¿
8
7
slip
œ
œ œ œ œœ œ œœ œ
10 12
-
10
11 10
10 10
11
0 0
10
[75]
b &bb Œ
œ
F m11
b &bb T A B
œ
œ
G m11
ne
-
œ œ œ œ œ 3
on,
œ
4 6
6
œ
‰
ne
œ
-
8
5
7
¿
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¿
6
B b/C C m7
œ
Œ
B b/C C m7
Ó
on.
œ ¿ œ œ œ ¿ 0
8
5
œ J
C m7
œœ œ œ
4 3 5 3
œœ œ œ
œœ œ œ
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4 3 5 3
4 3 5 3
4 3 5 3
3
5
3
4
¿
4 3
5
3
4
¿
6
[77]
œ
b &bb T A B [79]
œ
Who
knows
œ œ œ œ œ 3
5
œ
G m11
œ
4 6
œ J
8
8 7
how
œ œ œ œ œ ¿ 6
6
œ
‰
5
6
6
¿
C m7
œ œ long.
œœ œ œ 4 3 5 3
B b/C C m7
Œ
œ œœ œ œ
B b/C C m7
Ó
œœ œ œ
œœ œ œ
œœ œ œ œ œ œ œ ¿ œ œ œ œ œj œ œ œ
4 3 5 3
4 3 5 3
4 3 5 3
3
5
3
4
¿
3
3
5
3
4 5 6
6
Acoustic Guitar Grade 7
b &bb Œ
F m11
23
b &bb Œ
œ
F m11
b &bb T A B
œ
Who
knows
œ œ œ œ œ
œ
4 6
6
œ J
G m11
œ
how
6
5
5
œ
long,
œ œ œ œ œ ¿
3
6
œ
‰
C m7
¿
6
8
¿
8
7
j œ
œ
how
œ J
long,
œ œ œ œ œ œ ¿
œ
¿
œ
‰
B b add 9
3
4 5
3
3
5
0
œ
long
¿ ¿
10
10
œ
œ
¿ ¿
11 10
œ œ
how
œ
œ œ
œ
¿
‰
8 8
[81]
A b add 9
b &bb œ b &bb T A B
œ
Œ œ
œ œ
9 8
œ 8
¿
œ.
≈ œ œ
œ ¿ œ œ œ 9
8
8
Œ
9
œ
œ
9
8
8
œ
she can
œ
œ
9 8
œ 9
8
8
Ab
go
œ œ.
œœ œœ
¿ ¿
œ œ
be - fore
she burns
œœ œœ
9 8 10 11
9 8 10 11
¿
¿
¿
¿
œ
œ a
-
way.
œœ œœ
œœ œ œœ œ
9 8 10 11
10 11
13
10 11
13
[83]
b &bb œ
C sus 4
b &bb T A B
œ
Œ œ œ 5
5
œ 8
0
[85]
Acoustic Guitar Grade 7
b &bb
24
& T A B [87]
bbb
E b add 9
¿ ¿
Ó
œ 6
œ
œ 0
3
4
3
¿ ¿
œ
œ
5
œ
0
5
8
¿ ¿
œ 6
œ
œ
œ
0 0
3 3
œ œ œ 6
3
4
¿ ¿
œ
œ
3
3
4
¿ ¿
œ
œ
5
œ
œ
6 0
œ œ
8
0
8
œ
œ
9
0
10
8
3
4
¿ ¿
œ
œ
3
œ œ
0
8
8
B b 6/9
œ œ 8
0
7
10
∑
œ œ œ
œ œ œ
œ
A b add 9
6 5
œœ
0
F m11
œ œ œ
B b 6/9
∑
5
∑
œ œ œ
œ
6
E b add 9
5 0
œ œ œ 3
0
C sus 4
œ
œ
A b add 9
F m11
9
œœœ œ œ œ œ œ 0
7 10
8 7 10 10 10
Neon | Technical Guidance ‘Neon’ by John Mayer (co-written with Clay Cook) is played in drop C tuning (the bottom string is dropped to a C). This adds resonance to the sound of this piece. John Mayer’s independence of voice and guitar playing is a masterpiece of mental and physical coordination. John often uses his left hand thumb to reach over the guitar for the bass notes. In many places the chord changes are anticipated, making it harder to grasp when first learning the piece. Plan your fingerings very carefully for this piece. The original is at a fast tempo, so forward planning is needed to achieve a smooth sound. Fingerstyle will be the best right hand approach for this song. John Mayer’s live version from Where The Light Is expands the approach taken on the original recording, showing astounding independence of guitar playing and voice. Mayer has real mastery of playing and singing rhythmically different parts. ‘Belief ’ from his album Continuum is also a great example of his astounding technique. Mayer craftily uses open strings to mask position changes. It is important to bare this in mind. He also hits the strings on beats 2 and 4 wherever he can. In many instances he manages to do this on beats 1 and 3. As with Ed Sheeran, this must be a result of having played many shows on his own. He is fond of add 9 chords. A b chord is often embellished with that extension.
Acoustic Guitar Grade 7
The B b 6/9 chord in the second bar of the intro appears in a number of different guises. The order of the notes and whether the 3rd is included vary widely. His style gives the impression that each performance is just a snapshot of one moment in time, with added variety.
25
26
Acoustic Guitar Grade 7
Newton Faulkner | Teardrop
## 2 ˙ & 2
ALBUM: HAND BUILT BY ROBOTS / 2007
LABEL: UGLY TRUTH RECORDS
GENRE: FOLK / ROCK
WRITTEN BY: ROBERT DEL NAJA,
## 2 & 2 w P w
GRANTLEY MARSHALL, ANDREW VOWLES, ELISABETH FRASER
GUITAR: NEWTON FAULKNER
PRODUCER: MIKE SPENCER / ANDY MCKIM
‘Teardrop’ was originally featured in Mezzanine, Massive Attack’s 1998 release. It is their most successful album to date.
## j n œ & œ
Newton Faulkner featured his version of ‘Teardrop’ in his debut album Hand Built by Robots. The album reached the number one spot in the UK album chart after four weeks. Faulkner’s guitar playing involves the use of the guitar’s body to create different percussive effects and it is a significant element of his songwriting style. Faulkner was taught by guitarist Eric Roche, who’s percussive style had a substantial effect on his playing. He uses a C # F # C # G # F # C # (DGDGAD a semitone down) open tuning in most of his compositions Faulkner is a keen user of digital applications and created his own app. His unorthodox playing style caught pop listener’s imagination.
D A G D G D
T A B
&
##
T A B
Fear
verb.
a
is
love
1. Love,
œ œ. J
œ œ J
˙
q =150
SONG TITLE: TEARDROP
w w
0 0
itone to match audio.
Tune guitar down a further sem
j j œ œ œ -
-
less
-
j j . œ œ œ
Œ
œ
my
on
ww
ww 0 0
[5]
& & T A B [9]
## ˙ ##
Gen
˙ -
tle
œ œ J
im - pul
w w
w w 0 0
## j n œ & œ
j j œ œ œ
j j . œ œ œ
-
nœ œ. J sion,
Acoustic Guitar Grade 7
œ
27
Teardrop
Newton Faulkner Arranged by Andy G Jones
# & # 22 ˙ q =150
˙
# 2 & #2 w P w
1. Love,
T A B
D A G D G D
# & # œj n œ # & # w w
Fear
T A B
œ œ J
love
is
œ œ. J
a
‰
verb.
j œ œ œ œ
œ.
Love
w w
is
a
do - ing word.
n ww
0
‰
œ œ œ œ œ. ww
0 5
0 Tune guitar down a further semitone to match audio.
j j œ œ œ
-
-
-
less
j j œ œ œ.
on
œ
my
Œ
œ œ œ œ. ˙
˙
w w
w w
Ó
breath.
w w
0 0
0 0
[5]
# ˙ & #
˙
# & # w w
Gen
T A B
-
Acoustic Guitar Grade 7
28
[13]
im - pul
-
‰
sion,
##
w w 0 0
j nœ œ.
me, makes
n ww
j œ œ œ n œ œ œj œ . me
light
-
er.
ww
0 5
0
Fear
œ.
shakes
0
# & # œj n œ
T A B
tle
nœ œ. J
w w
[9]
&
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-
j j œ œ œ
-
-
less
j j œ œ œ.
on
my
w w
œ
Œ
œ œ œ œœ ˙
˙.
w w
w w
breath.
0 0 Words & Music by Robert Del Naja, Grant Marshall, Andrew Vowles & Elizabeth Fraser © Copyright 1998 Universal/Island Music Limited/Cocteau Twins Limited/Ajs Music Limited. Universal/Island Music Limited/Sony Music Publishing. All Rights Reserved. International Copyright Secured.
Œ
# & # œ # & # T A B
Tear
-
j œ
œ.
œ
drop
on
œ nœ
the
fire.
n ww
œ
œ
j nœ œ
‰
œ.
Fear
ww
-
-
j j œ œ œ -
-
j œ
less
on
w w
0 5
0 0
[17]
# j & # œ œ. # & # w w
Œ
œ
my
œ
œ
breath.
œ
œ œ ˙
w w w
w w
T A B
0 0
[20]
# & # .. ˙ .. — — J
— ‡ J
Fig. 1
H
[23]
H
H
F
— — J H
— ‡ J H
H
Œ
F
— — J
— ‡ J
œ.
j œ œ œ œ
H
H
H
..
∑ Œ
F
— — J H
— ‡ J H
H
..
Œ
F
Percussive notation: H = strike body of guitar above sound hole with heel of the hand F = percussive hit with right hand fingers below sound hole
# & # ˙
2. Wat
˙ -
L.H hammer-ons; no picking…
&
Œ
∑
## Œ
*w
œ
er
œ
is
œ
Continue Fig. 1
0
7
j œ ˙
œ œ J
0
T A B
0
[27]
*R.H. strikes bass note on 1st beat of Fig. 1
œ
w 5
my
eye.
œ
Most
œ
œ
œ
nw
faith
œ
-
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ful
œ
‰
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-
ror.
œ
œ
œ
5
7
sim.
0
5
7
[7] 5
0
7
0
5
0
Acoustic Guitar Grade 7
ã
∑
Ó
29
# & # œj n œ Fear
&
j j œ œ œ
-
-
## œ
œ
[7]
0
w
T A B
-
j j œ œ œ.
less
œ
on
œ
œ
7
my
œ
w
0
5
0
nœ ˙ œ œ œ
œ
Œ
œ
œ
œ
5
7
[7]
w
breath.
w
0
œ
œ 0
œ
œ
7
œ
w
0
5
0
œ
œ
5
7
0
[31]
# & # ˙
˙
Tear
&
-
## œ
œ
[7]
0
w
T A B
œ œ J
drop
on
œ
7
the
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fire
œ
w
0
nœ œ. J
5
0
‰
j œ œ œ œ
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of
œ
œ
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5
7
[7]
a
œ 0
con
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-
7
fess
-
œ w
œ 0
‰
œ œ œ œ œ. ion.
œ
5
0
œ
œ
5
7
5
0
[35]
# & # œj n œ Fear
&
j j œ œ œ
-
-
## œ
œ
[7]
0
T A B
w
-
j j œ œ œ.
less
œ
on
œ
7
0
my
œ
w 5
œ 0
œ
Œ
œ
œ
œ
5
7
[7]
œ œ œ œ ˙
Œ
˙.
breath.
w
0
œ
œ 0
œ
œ
7
œ
w
0
5
0
œ
œ
5
7
0
[39]
Acoustic Guitar Grade 7
# & #
30
œ.
Most
# # OOO & nw
NH
T A B [43]
12 12 12 10
j œ œ œ œ
faith
-
ful
j œ œ mir
OOO w
j œ œ. -
ror.
‰
j nœ œ Fear
OOO w
NH
12 12 12 0
-
j j œ œ œ -
-
less
j j œ œ œ.
on
OOO w
my
œ.
‰
& &
##
w
## g w gg w gg w gg w g
breath.
T A B [47]
&
œ œ œ œœ ˙
##
gg gg gg
j Rit.j j œ œ œ. œ œ œ œ ˙
nw
fire.
Fear
n ww
ww
n ww
Tear - drop
ww w w
on
the
tacet Fig.1
7 7 7 0
0 5
˙ nœ œ œ nœ
-
-
less on
my
ww
0 5
Ó w
a tempo
-
j œ nœ œ œ œ.
˙
w
˙
n ˙w
w
breath.
œ
L.H hammer-ons; no picking…
# & # wŒw
œ
œ
œ
œ
let ring, hold hand position… w/ Fig. 1
0
T A B
7
0
5
0
∑
œ
œ
œ
5
7
[7]
[53]
w
& &
## œ
œ
[7]
0
0
j œ œ. w
w
## w
œ
w
∑
œ 7
œ 0
˙
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∑
œ
œ
5
7
œ
œ
5
7
œ
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5
7
w
Oh.
f >w
T A B
œ
7
œ 0
œ
w 5
œ 0
œ
œ
œ nw
5
7
[7]
œ 0
œ
7
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œ w 5
œ 0
5
0
[57]
& T A B [61]
nœ J
œ.
˙
˙.
nœ
Oh.
œ
[7]
0
0
Œ
∑
Oh.
## œ
w
#˙.
œ
7
œ 0
œ
w 5
œ 0
œ
œ
œ
5
7
[7]
w 0
œ 0
œ
7
œ 0
œ
w 5
œ 0
Acoustic Guitar Grade 7
# & #
31
&
##
Œ
‰ j j œ œ œ
w
Mm, mm, yeah
j œ n ˙w .
œ œ ww
yeah
oh.
Ooh.
w
Ooh.
## œ & nw
œ
œ
[7]
T A B
∑
w
0
œ œ œ œ w
œ
7
0
5
0
5
Ooh.
œ œ œ œ w [7]
7
5
0
7
œ œ œ œ w
0
5
0
5
œ œ œ œ w
[7]
7
0
0
7
0
0
[65]
# & #
∑
∑
## œ œ œ œ &
œ œ œ œ
w
T A B
5
0
5
[7]
0
7
œ
You’re
œ œ œ œ
w
7
Œ œ
Ó
0
5
0
5
stum - bling
œ
[7]
7
in
œ
nw
w
nœ J
œ œ œ œ J
0
the
œ
œ œ. J
dark.
œ œ œ œ w
œ
7
œ œ
0
5
0
5
7
5
0
[70]
# w & #
œ n˙
## œ œ œ œ & w
œ œ œ œ w
nw
5
[7]
T A B
[7]
œ
Œ
Stum - bling
0
7
0
0
5
œ
7
nœ J
œ œ œ œ J in
the
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33
Teardrop | Technical Guidance Teardrop is centred around a percussive pattern, presenting a different feel to Faulkner’s other song included in the syllabus. To see how it is executed, it is advisable to view Newton Faulkner’s slick video on youtube. Note that there are only two percussive surfaces indicated in the score. Hitting the body above the sound hole with the heel of the right hand and hitting the body of the guitar below the sound hole with the right hand fingers. Notation for this modern approach to guitar percussion is in its infancy. Using a separate stave for the percussive effects diminishes the risk of confusing notes with hits. As is often the case most of the fretted notes are not picked but hammered on with the left hand. One danger for guitarists is that these types of legato passages can be influenced rhythmically by the physical effort involved in the execution. Practise carefully to ensure the rhythm is steady and not pulled around by the strain of playing. This is a very important consideration when preparing legato passages. In terms of chord voicings, it is interesting to note that many are extremely sparse and sometimes dissonant. See bar 3 where we get only two notes a tone apart. This dissonance adds to the atmosphere. Throughout the piece the tonality is rather ambiguous. It shifts between D major, D 7 and D minor. This adds to the mood. Newton Faulkner’s teacher, Eric Roche, would have been very proud of him. I worked alongside Eric for years and can only imagine his excitement had he heard this music in person.
Acoustic Guitar Grade 7
This style of playing requires an appropriate instrument. When Newton Faulkner was a student I showed him my new Santa Cruz dreadnought and he thought it unsuitable for his style. On reflection he was probably right. I wouldn’t dream of belting this guitar for too long.
34
Pat Metheny | Our Spanish Love Song
q = 115
SONG TITLE: OUR SPANISH LOVE SONG
b bb 4 ‰ b & 4
ALBUM: BEYOND THE MISSOURI SKY (SHORT STORIES) / 1997
LABEL: VERVE
GENRE: JAZZ
WRITTEN BY: CHARLIE HADEN
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PRODUCER: PAT METHENY AND CHARLIE HADEN
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‘Our Spanish Love Song’ was written by Charlie Haden and featured on Beyond the Missouri Sky (short stories). The record is a collaboration between Pat Metheny and Charlie Haden, who hail from Missouri. The record won a grammy for Best Jazz Instrumental Performance.
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David Bowie, to name but a few. His recorded work3 Fm includes compositions for solo guitar, small and large ensembles and electric and acoustic instruments.
Pat Metheny was born in Kansas City in 1954, into a musical family. He started playing the trumpet aged eight. He switched to guitar aged 12 and by age 15 he was working professionally with the city’s best jazz musicians. Metheny burst onto the international jazz scene in 1974 working with vibraphonist Gary Burton. Metheny’s style blends the loose articulation and fast pace of horn players with a highly developed [3] rhythmic and harmonic sensibility that mixes a modern and innovative style with deep roots in jazz and blues.
T A B
Since the release of his first solo recording, Bright Size Life, in 1975, Metheny has reinvented the traditional jazz guitar and has pushed the boundaries of the genre by incorporating new technology and expanding the improvisational and sonic capabilities of the instrument. He has released many records as band leader and in collaboration with many musicians such as Herbie Hancock, Milton Nascimento, Steve Reich and
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The Pat Metheny group has won an unprecedented 3 seven consecutive grammys for seven consecutive 6 6 1974 Metheny has spent most of his life albums. Since on tour.
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Metheny is also a committed educator. He taught music workshops all over the world. Aged 18, he was the youngest teacher ever at the University of Miami, where he taught alongside Jaco Pastorius.
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Acoustic Guitar Grade 7
35
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Words & Music by Charlie Haden © Copyright Liberation Music Company. Kobalt Music Publishing Limited. All Rights Reserved. International Copyright Secured.
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41
Our Spanish Love Song | Technical Guidance ‘Our Spanish Love Song’ is a beautiful contemporary jazz waltz by Pat Metheny and Charlie Haden. Metheny’s lyricism makes it hard to discern where the melody ends and where the improvisation starts (bar 22). The melody uses a motif that is developed throughout. Note the use of F/A in bar 7 as a secondary dominant to the IV (subdominant) chord B b minor. When this chord comes up later in the piece, for instance in bar 27, Metheny uses altered extensions such as the flattened 9th to spice up the harmony and lead forward into the B b m7 chord. For the player who is new to this kind of music the rhythms and the melodic patterns used might be unfamiliar. Metheny often implies a swing subdivision of the beat. His sense of rhythm is unparalleled among jazz guitarists. Some of the solo rhythms are pulled back for lyrical effect. The whole performance is quite ‘rhapsodic’ and this adds to the beauty of this wonderful recording. Bar 47 is one of the few be-bop influenced jazz lines in the piece. Note the use of another melodic motif in bar 49, which is adapted in bars 50 and 51. He develops a motif again in bars 54–56. This is another example of the fine line between improvisation and melody in some of Metheny’s tunes. Note the syncopated repeated notes in bars 62–66. This is an almost percussive, somewhat hypnotic effect which Metheny is fond of. His mastery of the harmony is evident throughout.
Acoustic Guitar Grade 7
Pat Metheny is one of the most original voices to emerge in jazz in the last 40 years. The song was played on a nylon string guitar. Metheny used a pick but you could easily play this fingerstyle.
42
Tommy Emmanuel | And So It Goes
SONG TITLE: AND SO IT GOES
ALBUM: THE MYSTERY / 2006
LABEL: FAVORED NATIONS
GENRE: ACOUSTIC / JAZZ
q = 62
Freely
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#3 j & 4 gg œœ ggg œ g
WRITTEN BY: BILLY JOEL (ARRANGED GUITAR: TOMMY EMMANUEL PRODUCER: KIM PERSON
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# ˙ & ggg ˙˙ ggg ˙˙ g
Em
Tommy Emmanuel was given his first guitar at the age of four and two years later he was working professionally in the family band, the Emmanuel Quartet. He developed his skills and showmanship very quickly and by the time he graduated from school he was one of the most in demand rock musicians in Australia, playing guitar in a succession of groups, including Dragon, one of Australia’s best known acts. He also combined that with a successful career as a session musician playing in hugely successful albums by the likes of Air Supply and Men At Work. Despite the success of this period Tommy Emmanuel’s extraordinary technical and expressive talents still needed another vehicle to develop further. He started venturing out on his own and letting the music dictate the course, improvising through many of his songs to capture the essence and mood present
D/F #
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G
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there, in the room. This he describes as a sense of community and connection and it is echoed by the many that listen to his unique brand of instrumental music. Tommy travels the world and has received many accolades, amongst them that of Certified Guitar Player, bestowed upon him by Chet Atkins. He is one of only five people to have received this award. 0 2 0 0 As someone whose work is primarily instrumental, 2 2 is always looking for ways of adapting his Emmanuel 2 0 chosen tunes to make them fit comfortably with his [2] unique playing style.
T A B
ggg ggg g
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# œ & œœ 0
T A B
3
C
j œ œœ œ œ œ
G/B
C
0
3 0
3
2
G
Em
0
0 0 3
G/B
Em
œœ œ
ggg ˙˙˙ ggg ˙˙ g ggg 00 ggg 22 g0
0
3 0
3
2
[5]
#
3
ggg œœ ggg œ
ggg 30 ggg 2
ggg 00 ggg 0 g3
ggg 02 ggg 0
T A B
‘And So it Goes’ was written by Billy Joel and featured on his 1990 release Storm Front. Like much of Billy Joel’s music it is directly or indirectly inspired by The Beatles. Tommy Emmanuel added a bridge section based on ‘She Loves You’ by the Beatles. He gave a copy of his recording to Billy Joel and eventually heard from Joel’s bass player, who told him that the song was played many times on their tour bus and that Billy liked it.
rded
Capo at 4th Fret to sound as reco
BY TOMMY EMMANUEL)
Solo Guitar
G
G/B
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Acoustic Guitar Grade 7
43
C
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And So It Goes
Tommy Emmanuel Arranged by Andy G Jones
q = 62
Solo Guitar
Freely
Em
G
# j & 43 gg œœ ggg œ g
C
Capo at 4th Fret to sound as recorded
ggg œœœ ggg œ
# & ggg ˙˙˙ gg ˙˙ gg T g0 A ggg 02 B ggg 20
Em
D/F #
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ggg 02 ggg 0
T A B
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2 0
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0
j œœ œ
0
3 0
3
2
# œ & œ œ
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3
0
T A B
j œœ œ œ œ œ
G/B
C
2
3
G/B
Em
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0
0
3 0
3
2
G
Em
0
3 0
3
2
D/F # G G/B
C sus 2
0 0
3 0
3 0
2
2
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3
C maj 7
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ggg ˙˙˙ ggg ˙˙ g ggg 00 ggg 22 g0
[5]
& T A B
#
3
œœœ œ 0 3
œ œ gggg œœ gg ggg 02 ggg 0
0 2
Acoustic Guitar Grade 7
[8]
44
G
# œ. & œœ .. œ. T A B [11]
D/F # G G/B
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0 0 0
2 0
0 0 0
3
2
3
G
ggg œœœ ggg œ ggg 00 ggg 0 g3
G/B
gg œœ ggg œ g ggg 30 gg 2 g
0 0
3
3
3
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3 0
3 0
2
2 3
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0
D/F #
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G/B 3
D/F #
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0
3 0
3
2
Em
2
0
j ggg œœ ggg œ
gg gg gg 0 0 2
3
0
2
Em
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3
G
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2
G/B
gg œœ ggg œ g ggg 30 gg 2 g
Words & Music by Billy Joel © Copyright 1989 Joelsongs, USA. Rondor International Inc. All Rights Reserved. International Copyright Secured.
j œœ œ œ œœ
0 0
3 0
3 0
3 0
2
2 3
3
Em
3
j œ
0
ggg ˙˙˙ ggg ˙˙ g ggg 00 ggg 22 g0 C
œ œ œ 0
ggg 30 ggg 2
C maj 7 C sus 2
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G/B
ggg œœ ggg œ
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j œœ œ œ œ œ
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G/B
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2 0
G
G
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2
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3
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D/F #
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G/B
0
[2]
C
C
[1]
G
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G/B 3
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0
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3
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G/B
0
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2
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0
3
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0
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3
2
D/F #
Em
# & ˙˙˙ ˙˙
T A B
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G
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2
3
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3
3 0 2
3
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3
0
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3
2
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3
G
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3
3
2
[14]
Œ # œ œ œ œ & œ œœœ n œ œ nœ Œ F 6/9
C maj 7
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3
3
T A B
3
1
0
3
0
3
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1
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F # dim7
3 5 5 6
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3
Em
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0
[17]
& T A B
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3
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T A B
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2
0
G
j œœ
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3
3
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3 0 0 3
3
Œ # œ œ œ œœ & œ n œ œœ œ nœ Œ F 6/9
C maj 7
C m add9
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3
T A B [26]
1
3
3
0
3
0
3 0 2 3
1
3
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3 6
5
5
3
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C
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C sus 2
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[23]
3
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[20]
# œœ .. & œ. ‰
ggg œœœ ggg œ
0 2
2
Em
G
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3
3
2
0
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Em
0
ggg g
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3
2
U
G
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0
0
Em
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0
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3
0
j œ œ
D
2
0
0
3
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3
3
2
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0
0
0 0 2 2
C
j œœ œœ œ œ
0
0
F # dim7
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0
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3
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A 7/C #
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Acoustic Guitar Grade 7
D
45
&
#
T A B
D 3
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2 4 2
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2
0
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2
2
3
2
0
0
Em
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œ
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3
T A B
j œœ œœ œ œ J
4 2
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2
0
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0
0
3
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3
3
2
3
3
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C
D
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3
3
0
3 0
2
0
2
0
3
G
U œ œ œ œ œ
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44
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3
0
0
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j œ
3
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G
C
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[29]
G/B
ggg œœœ ggg œ
ggg œœ ggg œ
2
Em
G
0 0
0
0
0
3
0 2
0
[32]
q = 128
œ œ œ œ œ œ œ œ œœ . # œ œ œ œ œ œœ œœ œœ œœ œœ œœ œ œ œ œ œ & 44 œœ œ œœ œ œ œ œ œ œ≈ œ ≈œ ≈ œ≈ œ ≈ ≈ œ≈ ≈ œ ≈ œ≈ œ ≈ œ≈ D 11
D
C add 9
6
2
T A B
3
2 2
3
4
3
2 2
3
2
3
2
4
3
0 0
3
0
1
0
3
1
0
0 0
1
0 0
3
1
0
3
3
0
3 0
3
3
0
3 0
3 0
3
0
3
0
3
0 3
[35]
œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ 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 D7
D
2
T A B
2
3
2
D 11
3
4
2 2
3
2 2
C add 9
3
4
3
0 2
1
0 0
3
1
0
0 0
1
0 0
3
1
0
3 0
3
3
0
3
0
3
3
3
0
3 0
3
3
0
2 3
[38] Freely
q = 62
# œœ œœ œœ œœ œœ œœ œœ œœ ggg œœœ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ ggg œ ≈ ≈ œ≈ ≈ œ ≈ ≈ œ≈ ≈ œ gg œ 2 2 2 2 0 0 0 0 3 3 3 3 1 1 1 1 T ggg 30 2 2 2 2 0 0 0 0 A 4 4 0 0 0 gg 42 3 3 3 3 B 3 2 gg 0 D7
D
C add 9
Solo Guitar E m9
3
3
œ œ
3
œ
3
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0
2
0
2
Acoustic Guitar Grade 7
[41]
46
& T A B [44]
#
3
œ
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2
3
0
3 4
3
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0 2
3
0
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3
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3
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3
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0
3 4
D
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3
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3
3
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4 2
2
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2
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43
# & 43
j ggg œœ ggg œ
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T A B
ggg 02 ggg 0
[47]
& T A B [50]
#
G
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3
j œœ œœ œ œ
G/B
0 0 3
3 0
2
3
3
0
ggg 30 ggg 2
ggg 00 ggg 0 g3
0
3 5 5 6
1 2 1
Em
# œ & œœ T A B
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0
0
0
3 0
3
2
3
2
nœ 0
2
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j œ œ
3 0
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3
D # dim7
j œœ # œœ
0
2 1 2 1
0 3
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0
3 0
3
2
0
D/A
j œ œ
D
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0 2
2 0
0 2
2 0
Œ œ œ œ
0
2
2
0
0
3
0
0
2
2
2
3
3
0
G
# & œœ œ T A B
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3 0
0
3
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0 0 3
0
0 0 0 3
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[59]
# œœ .. & œ. ‰ Em
T A B [62]
3 0
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2 0
j œ ggg œ œ gg œ J ‰ ggg 02 ggg 0
G
gg n œœœ ggg œ Œ ggg 00 ggg 0 g 3
G/B
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3
Em
G
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G/B
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0 0 3
3
j œ œœ œœ 0
0 0 0 3
ggg œœ gg œ g ggg 30 ggg 2 œ 2
C add 9
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0
G
j gg œœ ggg œ g ggg 02 ggg 0
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Em
G
j gg œœ ggg œ g
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C
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3
3
2
˙.
G/B
ggg œœ ggg œ gg 30 ggg g2
j œœ œœ œ œ 3 0
3
ggg œœ ggg œ ggg 30 ggg 2
ggg 00 ggg 0 g3
0
1
G/B
ggg œœœ ggg œ
G/B
œ œ
3 0 2 3
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0
G/B
3
œ
Em
[56]
C add 9
œœ œ 2 0
4
5
5
5
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3
œ ˙ œ œœœ œ œœœœ œ œœ œ ‰ œœ 3 0 0 2
ggg ˙˙˙ ggg ˙˙ g ggg 00 ggg 22 g0
3 3 0 3 3 1
3
D/F #
Em
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œ
œ
0
C
G/B
F add 9
0
E m/B
C
0
j œ
2
j œœ œ œ œ œ
G/B
0
3 0
0 0 2 3
D/A
[53]
3
j œœ œ œ œ œ
G/B
3
0
œ œ œ œœ .. œœ ..
0 0 2 2 0
2
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G
0 2
j œœ œ n œœœœ #œ nœ
C
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3
F # dim7
T A B
C
ggg œœ ggg œ
ggg œœœ ggg œ
œ J œœ
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# . & b œœœœ ...
G/B
G/B C add 9
C
3 0
G
C
0 0 3
3
D # dim7
œj #œ 2 1
Acoustic Guitar Grade 7
Em
47
And So It Goes | Technical Guidance This arrangement starts with simple diatonic chords using open voicings. In open voicings some of the tones are raised an octave spreading the sound across the instrument’s range.
& www w
E moves up an octave
ww w w
G moves up an octave
www w
There are many points in the arrangement where chords extensions added to the basic triad. In Bar 4 we have some open C sus 2 and Cmaj 7 voicings. These expand the basic triadic harmony and add colour. There are a few country inflections like the D lick in bar 29. Note the F 6/9 chord in bar 17. This is the flattened 7th degree of G major. This F chord could be found in G dorian. If this chord was extended and made into a 7th chord derived from G dorian, it would be an Fmaj 7. If we borrowed the F triad from G aeolian, it would become F 7 as the aeolian mode has a flattened 6th degree (E b). One technique that schooled composers often use is to borrow chords from parallel minor keys when working in major keys. These are minor scales built on the same root as the major scale being used. By taking chords form various different parallel minor keys, a wide range of sounds can be added to the existing harmonic palette. Be careful to learn the exact notes of the arpeggio section. You need to train the hands to jump to the chord positions automatically. There are quite a few subtle changes in voicings where a chord tone is replaced by a 4th or similar. When practising this kind of arpeggio section, make sure you take time to move your arms and hands around. Don’t work until your hand tightens up, let them rest. In no time you’ll be able to hold these voicings down effortlessly. Forcing the issue won’t help.
Acoustic Guitar Grade 7
For the arpeggio in bar 57 you’ll need to brush the right hand thumb over three strings to play all the notes from the bottom to top string.
48
Hoagy Carmichael | Georgia On My Mind
SONG TITLE: GEORGIA ON MY MIND
q = 66
THE ROAD
LABEL: ABC RECORDS
GENRE: SOUL, JAZZ
WRITTEN BY: HOAGY CARMICHAEL AND STUART GORRELL (LYRICS)
Solo Guitar
# ## # 4 ≈ œ œ œ œ n œ 4 &
ALBUM: THE GENIUS HITS
PRODUCER: RAY CHARLES
T A B
9
11
G#7
b D # m7 5
‘Georgia On My Mind’ was written by Hoagy Carmichael, who is regarded as a true innovator. His work is central to the development of the American Songbook. ‘Georgia On My Mind’ is amongst the most recorded American songs of all time. Hoagy Carmichael’s work was recorded by Louis Armstrong, Glenn Miller, Jimmy Dorsey, Duke Ellington, Johnny Mercer, Bing Crosby, Ray Charles, Willie Nelson, Van Morrison, Annie Lennox and Coldplay amongst many others. Ray Charles’ version, featured in the 1960 record The Genius Hits the Road, is considered a classic. The song was adopted by the state of Georgia as the official state song in 1979. Ray Charles Robinson (Ray Charles) was born in Albany, Georgia, in 1930. He died in 2004 in Beverly Hills, California. Ray Charles was blind from the age of seven. He cites Nat King Cole as a significant influence but his music was also influenced by jazz, blues, rhythm and blues and country music. Ray Charles pioneered the soul music genre and was the first African-American musician granted artistic control by a mainstream record company.
8
7
9
œ œfriendship with He # had a strong Quincy Jones, # œ œj # œ œ œ œ œ # who#showed him the ropes of the music business. Ray œœ &Charles was regarded as a genius by many, including Frank Sinatra, but he downplayed this notion. He was œ a consummate pianist and arranger and was one of 3
the most recognisable voices in American music. He is acknowledged as3an influence by Van Morrison, Stevie Wonder, 4 Elvis Presley and Aretha Franklin. 4 4 7 4 5 6 6 By the mid 60’s he was an established star, blending 6 4 genres and pushing boundaries. ‘What’d I Say’ and ‘Georgia On My Mind’ were 4 massively successful and are now regarded as classics. Although Ray Charles’ [2] commercial success diminished with the advent of rock, his music # 11 popularity in the mid 80’s. A dim7 13regained A He was awarded twelve Grammys.
T A B
#
œœ ≈ œ # ## # œ œ œ œ œ nœ & #œ œ œ 3
T A B [4]
7 0
F # m7
6
5 0
5
4 6
7
Acoustic Guitar Grade 7
5
6
49B 7
Georgia On My Mind
Hoagy Carmichael Arranged by Andy G Jones
q = 66
Solo Guitar
E maj 7
#### 4 œ œ nœ œ œ œ œ œ ≈ œ & 4 6
T A B
9
7
9
11
8
7
9
6
9
œ
#œ œ Œ
j œ œ
7
9
7
9
Ó œ œ œ œ œ œ œ œ
œ œ
7
2
4
5
4
6
4
4
7
0 [1]
&
b D # m7 5
G#7
#### œ œ
C#m
C # m/B
œ n œj # œ œ œ œœ œ œ œ œ œ nœ œ
œ œ œ œ œj # œ œ œ nœ œ œ nœ #œ œ œ 3
3
nœ J
œœœœœœ 6
3
T A B [2]
4
7
6
4
4
6
4
5
6
4
4
# A 13 11
2 6
4
2
4
13
3
9
9 9
E maj 7
# ## œ œ œ œ œ œ œ œ œ # œœœ œœ ≈ œ œ œ œ & # nœ œ œ œ #œ ‰ Œ 3
T A B [4]
7
5
6
0
4 6
5
0
3
7
5 6
5
4
6
5
7
4 5 4
5
6
œ.
6
F # m7
11
9
A # dim7
9
7
9
œœ œ
œ
7 7 8
9
8 7
5
6
7
6
7
œ
œ œ #œ nœ œ œ œ #œ œ œ.
11
9
7
9
10 9
9
10
11
9
C # m7
D7
œ œ n œj œ œ œ œœœ œœ œ œ œ # œ # # # # œ œ œœ œ n œœ œ œ œ œ œ œ ‰ œœ n œ œ # # œœ œœ œ œ œœ œ œ & œ œ ˙ œ Œ Œ Ó T A B
10 9
6
3
11
10 13
11
10 9
11
9
11
5 6 7
4
5
6
3
7
9
7
9
8 7
5
4 4
6
5 5
4
7
11 9 9 9
6
7
5
C#7
0
B7
8 9
9
11
7 7 6 6
4 4 4 2
42
0
Acoustic Guitar Grade 7
[6]
50
G7
#### 2 & 4 # œœœ n˙ T A B [8]
0 1 2 3
n n œœœ 1 2 3
C maj 7
œ # œœ
b œœ œœ
44 n nn œœœ œœ
0 0 1
4 5 4 3
3 3 2 2 2
œ n œœœ
nœ
7 8 9 10
8
F # m7
œ n œœ #œ 7
10 9 9
œ nœ 8
10
# F 7 11
b œœœ nœ 7 10 8
#œ nœ 6
5
8
Words by Stuart Gorrell Music by Hoagy Carmichael © Copyright 1930, Renewed 1957 Southern Music Publishing Company Incorporated. Administered by Chester Music Limited trading as Campbell Connelly & Co. for UK, Eire, Belgium, France, Holland, Switzerland, Fiji, Gibraltar, Hong Kong, Malaysia, Saint Helena, Sierra Leone, Singapore and Sri Lanka. All Rights Reserved. International Copyright Secured.
&
####
T A B
E maj 7
j nœ
œ
#œ
8
‰.
œ #œ œ R
7
9
œ œ œ #œ œ œ œ œ ˙
nœ.
0
8
G#7
0
9
7
8
4
0
8
œ œ œ œ œ ‰ œ œj # œ #œ Œ ‰ 3
6
7
4
4
0
7
5
4
5
œ.
7
4
n œœ œ
œ
3 5 4
5
4
[10]
&
####
T A B
C#m
nœ œ œ œœj n œœ # œ œ œ Œ
‰ œ 4
5
5 7 9
6
6 7 9
C # m/B
œ ‰
7
j œ j
3
nœ
œ
3
9
12
0
8
A # dim7
A7
œ œ nœ œ œ œ nœ œ œ nœ œ œ œ œ œ œ œ œ œ #œ Œ Œ 8
7
3
3
7
5
5
6
6
5 6
4
8
7 5
5
0
6
7
0
8
5
œ œ œ œ Œ
6
6
5
5
7
6
[12]
E maj 7
&
œ
#### # œ
‰.
T A B
œ
œœ œ # œœ œ œ R
7
9
C#7
˙
7 7 8 9 11
0
œ
œœœ n œœ œ
11
9 11 9
œ 5
2 2 6
2
9
6
n œ œ œ n œ œj # œ œ # œ n œj œ œ # œ Ó
œœœ
œ
˙
9
10 9 9
b B7 9
F # m7
8
7
7
8
7
9
9
8 7
5
6
10
2
[14]
# E maj 7 11
&
#### œ
b D # m7 5
G#7
œ œ # œ œ œ #œ œ œ ≈ ≈ œ œ œ œ nœ #œ œ œ œ nœ œ œ œ # œ œ # œ œ œ œ œ œ œ œ n œœ #œ Œ œ Ó 6
3
3
T A B
5
4
6
3
6
4
3
4
7
6
4
4 4
7
4
6
6
6
7
6
6 6 7
7
9 4
6
4
7
5
6
5
8
6
7
5
& T A B [18]
####
C#m
#œ 6
œ
œ 6
4
œ 5
A 13
œ n œœ 7 6 5
#œ
b G#7 9
#œ
œ nœ #œ 3
œ
#œ
4
5
3
6
7
œ
œ
6
4 6
œ
œ #œ 7
5
4
4
7
Acoustic Guitar Grade 7
[16]
51
C # m7
## œ & ## œ T A B
3
œ
Œ
5
œ
œ
A7
œ œ œ œ n œœ nœ œ œ œ 3
0
5
4
6
4
6
5
0
œœ œ
4 4 4
0
C#m
2 2 2
4
6
6
7
4
F # m6
# G#7 5
2 2 2 1
4 5 5 4
2
4
5
6
œ # œœœ œ
œœ œœ œ
œ
#œ œ œ œ œ œ 3
[19]
# C7 9
C # m7
# # # # n œœ n œœ & œ
n œœœ n # œœœ œ #œ
7 5 4 4 4
T A B
F#7
4 5 4 3
C#m
œœ œœ œ œ œ # œ n œ n œ # œ œ œ J 7
6
6
5
4
7
8
4
G#7
œ
‰ œœ œœœ # œœœ n œœœ œ n œœ œ œ
3
6 5 6 4
b D # m7 5
6
4
3
2 2 3
5 4 6
6 4
2 5 4
œ
œ #œ œ
4
7
6 7
6
4
5
7 4
[21]
C # m7
# # # # n œœ n œœ & œ
œ œœœ œ
7 5 4 6 4
9 0 8 6 7
T A B
A # dim7
D#7
œ œœ #œ
œ ‹ œœ œ
11 9 9 8
œ œ 9
8 9 8
# D 7 11
G # m7
œ œ
11
œ nœ
œ # œœ
n œœ œ
C#7
œ
œ n ‹ œœ # œ œ
# œœ œ
#œ
3
7
4
4 4 4
5 5 4
5
4
7
4
4 4 4
4
7 7
6
4
[23]
&
F # m7
#### œ .
œ
≈
T A B
nœ
#œ
œ
œ
0
7
‰ œ
0 8
nœ œ
œ
7
œœ
8
8
9
9
# B7 5
nœ
œ
8
7
Œ
#œ
8 7
nœ
8
10
7
Acoustic Guitar Grade 7
[25]
52
& T A B [26]
####
j nœ #œ
#œ œ
E maj 7
8
9
8
9
œ 7
œ
œ 9
0
#œ 11
œ
œ
œ
œ œ
œ œ
œ
œ œ 6
3
8
11
8
9
9
œ œ
12
11
12
12
9
11
9
G#7
C#m
j #### œ œ œ œ nœ œ œ œ œ nœ #œ nœ œ # œ œ nœ & Œ #œ œ Ó J 3
C # m/B
œœ œ œœ nœ
œ œœ
Œ œ.
j
≈œ Œ
œ œœœ 3
j nœ
3
4
T A B
7
4
5
7
4
7
5
4
7
5
5
45
4
2
9 9
13
4
9 9 9 9
11
9
7 9
8 7
5
6
7
[27]
# A 13 11
A # dim7
C#7
E maj 7
Let Ring…
n œ n œœ œœ # # œœ n œ # œœ n œ # œ # # # # œ œ œ œ n œ n œj # œ . œ n œ œ œ # n œœ b œ n œ b œ # œ # œœ œœ b œ n # œœ œ n œ. œ œ #œ nœ œ & #œ œ ˙ Ó n˙ 3
T A B
5 7
6
6
6
5
7 7
0
5 6
7
5
5
6
7
8
5 7
5 0
4
4 2 4
7 8
7
7
5 8
11 11 9 9
6
0
9 9 10 12
10
9
12
9
[29]
F # m7
# # # # n œœ .. œœ & T A B
‰ nœ
œ
#œ
b B7 9
#œ
n # œœ # œ
n˙ 4
10 9 9 9
10
9
11
4
5 7
œ
b G#7 9
œ
˙ 4
7
7
nœ
5
4
5
7
œ ˙ #œ
œ
#œ
œ
# C#7 5
4
4
4
3
nœ 5
[31]
&
####
T A B
F # m7
E/G #
A # dim7
A7
3
œ ‰ n œ œœ ‰ œ œœ ‰ n œ œœ ‰ œ œ œ #œ œ œ 3
2
2 2
3
2
2
4
3
5 4
5 5
5 6
5 6
B 7sus 4
œ
n œœ
# œœ
œ 3
9 10
7 6
j nœ
8
7 9
0
œ nœ nœ #œ 3
0 7
5
œ
œ
5
7
6
7
& T A B [35]
####
j œ
7
#œ J
E maj 7
9
œ.
j œ
j œ
œ.
j j œ œ
œ.
7 4 6
œ
4 2 4
2
0
Œ
Acoustic Guitar Grade 7
[33]
53
Georgia On My Mind | Technical Guidance This new arrangement of ‘Georgia On My Mind’ takes a slightly gospel influenced approach and in parts makes reference to John Scofield’s style. Scofield’s approach is quite bluesy and some blues influenced ideas are exploited throughout. This bluesy approach is used on the tonic chord E major and on the G # 7 chord where in bar 2, we slur from the minor 3rd to the major 3rd. The delivery is quite free, with the tempo occasionally pulled behind and ahead. At bar 7, the C and E double stop at the end of beat 1 is approached from a semitone below before using the sharpened 11th degree of the D 7 chord. This is a sound reminiscent of jazz pianist Bill Evans. There is an extra bar added after bar 9 to accommodate a melodic/harmonic idea followed through from the previous bar. Note the use of E and F major triads over the G 7 chord to create harmonic interest. There are quite a few lines which exploit open strings to add resonance for instance bar 10. Many of the dominant 7th chords have altered extensions such as 9ths, 11ths and 13ths. Generally a dominant 7th approaching a minor 7th is likely to have a flattened 13th, this note being the minor third of the minor chord it is moving to. This helps to lead the ear towards the minor sound. Use of the natural 13th on a dominant 7th leading to a minor chord can, in some circumstances, sound wrong. In a few places, triads are used over the existing dominant 7th chords to expand the sound beyond the chord tones. For instance in the last beat of bar 19 a B and A major triads are used over the A root to create the sound of the Lydian dominant # scale, making the chord implied A7 11.
Acoustic Guitar Grade 7
The whole tone/half tone diminished scale gets an outing over the A # diminished 7 chord in bar 29. This scale would also have worked over the previous chord A7 if it had been resolving down to a D chord. In that instance the scale would have been called A half tone/whole tone diminished. Note the use of sextuplet semiquaver rhythms, such as the anacrusis before the melody starts at bar 1. This rhythm next occurs at the end of bar 3. I was inspired to start really exploiting this rhythm after touring in Van Morrison’s band with the great Irish tenor saxophone player Ritchie Buckley who has a beautiful lyrical, yet extremely harmonically advanced, modern jazz style.
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 =160 bpm. 1. C # 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 4
6
4
8
6
5
8
6
6
8
7
6
9
8
9
8
6
9
7
6
8
6
5
8
6
4
8
6
4
2. D # dorian 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
6
10
6
8
7
6
9
8
9
11
9
8
6
9
7
6
8
6
10
8
6
9
8
6
3. C b major scale
œ œ œ œ œ œ œ œ œ œ œ œ œ bbb b œ œ b œ œ œ œ œ œ & bb œ œ œ œ œ œ œ œ
T A B
4
7
6
4
7
6
4
8
6
5
8
4
7
6
7
6
4
7
5
8
6
4
8
6
4
7
6
4
7
4. D b dorian scale
T A B
œ œ bœ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ b œ œ bœ œ œ œ bœ œ œ 9
6
7
9
6
8
9
6
8
9
7
9
6
7
9
7
6
9
7
9
8
6
9
8
6
9
7
6
9
Acoustic Guitar Grade 7
&
bbbb
55
Technical Exercises 5. A # natural minor 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 6
8
9
6
8
6
9
8
10
6
6
8
7
9
6
9
7
6
8
6
10
8
6
9
8
6
9
8
6
6. A b 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
bb & b b bbb
T A B
4
6
7
4
6
4
7
6
8
4
4
6
5
7
4
7
5
4
6
4
8
6
4
7
6
4
7
6
4
7. A # harmonic minor 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 6
8
9
6
8
7
9
8
10
11
8
10
11
10
11
10
11
10
8
11
10
8
7
9
8
6
9
8
6
8. A b harmonic minor scale
œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ
b & b bbbbb
T A B
4
6
7
4
6
5
7
9. C whole tone scale
& œ
Acoustic Guitar Grade 7
T A B
56
3
œ 5
œ #œ #œ bœ 7
4
6
8
6
œ
œ
5
7
8
4
6
5
8
8
9
8
œ #œ #œ bœ
œ
œ
6
8
6
5
7
9
5
8
6
œ
œ
œ
9
7
5
4
8
6
œ
œ
7
5
5
œ 8
7
6
œ
œ
6
4
4
7
6
4
œ
œ
œ
7
5
3
Technical Exercises
Group B: Arpeggios
The tempo for this group is q =112 bpm.
## # & # # # # 43 œ
T A B
œ
œ
9
11
13
2. C b major arpeggio
b & b b b b b b 43
œ
œ
T A B
œ 4
6
7
3. A # minor arpeggio
# ## # 3 & # ##4
œ
T A B
6
8
8
9
4. A b minor arpeggio
b & b b b b b b 43
œ
œ
T A B
4
6
6
7
5. D diminished 7 (Ddim 7 or DÁ7) arpeggio
& 44 œ
T A B
5
œ
bœ
œ
6
8
6
7
9
bœ
œ
œ
œ
œ 7
9
T A B
bœ 1
bœ 4
bœ ∫œ 2
5
bœ 3
bœ 2
bœ ∫œ 5
3
7
3
5
6
œ
6
bœ
œ
6
œ
9
bœ ∫œ 6
4
bœ
8
œ
7
bœ 2
œ
bœ
9
6
bœ ∫œ 3
œ
˙.
13
9
œ
˙.
6
œ
8
œ
4
œ
10
6. B b diminished 7 (B b dim 7 or B b Á7) arpeggio
& 44
4
4
4
4
œ
6
œ
œ
4
œ
6
œ
œ
œ
œ
œ
6
6
6
11
œ
4
œ
œ
11
œ
7
œ
œ
œ
10
œ
7
7
œ
œ
œ
œ
4
4
œ
9
œ
œ
œ
œ
œ
9
9
10
11
œ
œ
œ
œ
5
7
œ
˙.
9
6
œ
˙.
7
4
œ
w
8
bœ 2
5
bœ 4
bw 1
Acoustic Guitar Grade 7
1. C # major arpeggio
57
Technical Exercises
7. G dominant 7 (G 7) arpeggio
#4 & 4
œ
T A B
3
œ
œ 2
5
nœ 3
œ
œ
4
5
nœ
œ 3
6
8. F dominant 7 (F 7) arpeggio
4 & b4
œ
T A B
œ
œ 0
1
3
bœ 1
9. B b dominant 7 (B b 7) arpeggio
b4 & b 4
T A B
œ 6
œ
œ 5
8
bœ 6
œ
œ
2
3
œ
œ
7
8
# 10. C dominant 9 # 5 (C 9 5 ) arpeggio
& 44 œ
Acoustic Guitar Grade 7
T A B
58
3
œ 2
#œ 1
bœ 3
bœ
œ 1
4
bœ
œ 6
9
œ 3
œ 3
œ 1
œ 6
œ 3
nœ
œ
6
3
bœ
œ
4
1
bœ
œ
9
6
œ 1
œ 4
œ 2
œ 7
œ 2
œ
nœ
5
3
œ
bœ
3
1
œ
bœ
8
6
œ 5
œ 3
œ 8
w 3
œ 2
œ 0
œ 5
w 3
w 1
w 6
Technical Exercises
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. b 1. C dominant 7 b 9 (C 7 9)
4 & 4 b b www w
T A B
2 3 2 3
# 2. C dominant 7 # 5 (C 7 5 )
4 # ww & 4b w w
T A B
b w b www
9 8 9 8
6 5 6 5
8
#w b # www w
b ww # ww
4 5 3 6 3
2 3 2 3
# 3. C dominant 9 # 5 (C 9 5 )
w # ww 4 & 4 b ww
T A B
bw w b ww w
10 9 9 8 8
#w b # wwww 4 3 3 6 7
6 5 5 6
#w b www w 4 3 3 2 3
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 7
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 =105
Blues Rock s
# # # # 4 ‰ n œœj Œ œ & 4 œ œ E7
0
# # # # n œœ & œœ E7
0 3 1 2
T A B [3]
# # # # œœ & œ
[6]
2
F # m7
Acoustic Guitar Grade 7
[9]
60
F # m7
#### œ œœ & œ T A B [12]
0
2 2 2 2
œ
j œ ‰ œ Ó nœ œ 4
4
œ
n œœ nœ œ
2 5 3
3 4 2
3
2
3
Eb7
‰ # n œœœ ... n b b œœœ œ œ bœ 5 7 6
7
4 6 5 7
6
4 2
4
2
n œœ œ 3 4 1
0
4
n œœœ œ
œœ œ
2 0 2 0
2 0 2
2 0 2 0
0
3
3 2
#7
0 0
0 3 1
2
4
C#7
œœ # œœ
0
œ ‰ n œœ œ œ 0
0 2 4 3
2 4 3
j œ n œ ‰œ œ Œ nœ
2 0 2
0
C j j œ œ n n œœœ ‰ n # œœœ ‰ œœ Œ #œ œ nœ œ œ D7
A7
Œ œ
Œ nœ
4
E7
0
4
2 0 2
2
3 5 4 5
#œ
1
j œ ‰ œœ Œ œ œ
A7
0
1
n œœœ n œ œ œ œ œ œ œ
2 0 2
4
nœ #œ
œœœ bœ
j œœ Œ œ œ
‰ œ
2
n œœœ œ
E7
0 3 1
Œ œ
4 6 5 6
4 2
B7
A7
4
2 2
2 2 2
B7
2
j œ ‰ œ Ó nœ œ
œœ œ
j œ ‰ # œœ ‰ nœ
3
œœ œ
j ‰ œœœ Œ œ œ
3
0 0 2
0
0
0
bœ nœ
E7
0
4
j œ ‰ œœ œœœ œ œ 0 0 1
2
0 2
2
4
0 3 1
2 2 2 2
0 3 1
2
j œ ‰ œœ Ó nœ œ
2 2
#### œ œœ & œ T A B
‰ œ
0 3 1
T A B
T A B
j œœœ Œ œ
0
j nœ
œœ Œ œœ nœ
0 0
0 0
3 4
3 4
3
j œ ‰ Œ œ œ
3 2
4
0 4
1
Technical Exercises
# # # # ‰ œj n œ & œ nœ E7
T A B
0
j nœ
0
3
2
œ Œ #œ œ œ 2
œœœ œ
4 3 4
1
0
0
œ. ‰ n œœ .. œ œ
4
0
4
j œ nœ œ œ œ ‰ #œ œ n œ œ œ œ
# B b 7 11
A7
b œœœ bœ
0 3 1
0 3 1
2
1
5 0
3
2
0
2
2
1
2
0
4
[15]
j œ ‰ œ Ó nœ œ
# # # # n œœ & œ T A B
3 2
3 2
2
E7
œ
nœ #œ œ œ œœ n œ # œ œ œ œ 3
0
4
0
2
3
0
0 4 2
4
0
œ
j j œ ‰ ‹œ nœ # œœ œ ‰
# C#7 5
0
12 10 10 9
1 0
10
9
‰ # œœœ œ n œ Œ œ œ ‰ nœ J J 9 9 10 12
12
9
1
[18]
F # m7
#### œ œœ & œ T A B
j ‰ œœœ Œ œ œ
2 2 2
2 2 2
2
4
F # m7
# C 7 11
0
Bb7
b n œœ bœ
œœ nœ
j œ ‰ œ Ó nœ œ
3 1
4 2
4 2
1
2
B7
#œ
0
4
C#7
j œ n œ ‰œ œ Œ nœ
E7
1
2
0 3 1
n œœ # œœ
0
œœ Œ œœ nœ
0 0
0 0
3 4
3 4
3
#### œ œœ & œ T A B [24]
2 2 2 2
j nœ œ ‰ b œœ ‰ œœ nœ ‰ œ œ J J
B7
3
E7
n n œœœœ
3
3 3
2 5 3
3 4 2 3
2
4 4 5 6
j œ ‰œ n œ œ œ œ n œ # œ Œ Ó 0 2
3
2
0
2
0
1
Œ œ
# E7 9
‰ ‹ œj n œœ œ œ 3 3 1 2
2 0
˙˙ ˙˙
Acoustic Guitar Grade 7
[21]
61
Technical Exercises
Stylistic Study | Blues and Country
#4 Π& 4
q = 142
Country
3
T A B
& T A B
# œ. œ
œ
œ
Œ œ
œ
j œ œ
œ œ
G
0
2
4
3
5
3 5
5
5
3
œ
j œ œ œ œ
3
3
4
œ.
œœ
œ. œ
j j œ œ œ .œ œ œ
3
3 5
4 5
5
3
5
5
3
j j œ. œ œ œ œ œ
œ. œ
3 5
5 5
5
3
[3]
# & Œ œ
œ œ
T A B
3
j œ œ. œ œ 5
5
3
œ
j b œ n œ œ œœ œ œ
3
5
5
œ.
5 3
3
4
3
5 5
5
Œ œ
D7
j œ œ. œ œ
œ œ 3
5
5
4
0
4
Acoustic Guitar Grade 7
[6]
62
# . & œœ
j j œ. œ œ œ œ œ
T A B
4
[9]
3 5
Œ œ
3
5 0
œ œ
j œ œ. œ œ
3 4
5
4
5 0
œ. œ
j j œ œ œ. œ œ œ
3 4
5
5 4
3 0
4
Technical Exercises
T A B
j œ œ. œ œ
œ œ 3
œ. œ 3
5
4
5
j j œ œ œ. œ œ œ
4
0
5 4
5
[12]
&
# œ.
j b œ n œ œ œœ œ œ
œ 3
T A B
5
3
4 5
3
[15]
# Œ & œ T A B
œ œ 1
# & Œœ
œ œ
3
# n œœ 7 8
œ 0
œœ 5 5
2
Œ œ
0
3 3
5 5
5
2 3
3
A7
Œ œ
2
œ. œ
5
2
0
3
œ œ
œ œ œ œ œ œ 5 0
j b œ nœ œ ‰ œ œ Œ 3
5
1
2
0
œ 0
3
5
3
4
j b œœ 6 7
5
3
œ
7 7
3 5
2
3
5
5
3
2
œœ œ œ œ œ bœ nœ œ 3 4
3
2
5
5
3
0
2
5
5
j Œ b œ œ œ œ œ œ
1
1
3 4
œ
œ. œ
j œ œ. œ œ
œ œ
G
œ œ œ b # œœ
5
3
1
œœ
3
3
5
3
j œ Œ b œ œ œ œ œ
3
5
[21]
4
3
œ. œ
2
4
5
[24]
2
j œ œ. œ œ
3
T A B
5
3
D7
T A B
1
1
3
2
3
5
j œ bœ. œ œ
[18]
&
3
Œ œ
3
j œ bœ. œ œ
œ œ
C
Œ œ
3 0
j œ œ. œ œ
œ œ
G
˙˙ ˙ 7 8 7
Acoustic Guitar Grade 7
# Œ & œ
63
Technical Exercises
Stylistic Study | Acoustic Specialist Solo Guitar q = 87
Guitar Drum Kit
‡ S
— 4 & 4 œ B
T A B
B
—
Œ
‡ S
B
—
Œ
‡.
— œ
œ ≈ œ
12
S
B
7
10
B
B
— —
Œ
‡ S
B
—
Œ
œ ≈ œ
12
7
10
Percussive notation: B = bass drum: hit strings at bridge with side of outstretched right hand S = snare drum: hit scratchplate with flick of first joint of index finger LT + HT = low tom and high tom: hit different points above soundhole with RH thumb BH = below heel: hit underside of guitar body with left hand (Substituting other surfaces is also acceptable providing they approximate the sound of a drum kit) Pitched notation: All fretted notes are hammered on, no picking
B
— & œ
LT
‚
‡ S
B
—
Œ
Œ
B
‡ S
B
—
— œ ≈ #œ œ œ .
LT
‚
S
œœ ‡ . œ Œ
B
B
‡ S
B
— —
—
Œ
œ ≈ œ
2 3 12
9
10
7
5
12
7
10
[3]
Acoustic Guitar Grade 7
B
64
— & œ
LT
‚
‡ S
Œ
B
—
Œ
B
—
B
‡ S
œ œ ≈ #œ
— œ.
LT
‚
S
œœ ‡ . œ Œ
B
B
‡ S
B
— —
—
œ. œ ≈ R ≈ R ≈ œ œ œ
2 3 12 [5]
9
10
7
12
5
12
10
7
10
0
Technical Exercises
‚
B
— & œ
‡
S
B
B
S
‡
— œ —œ ≈
Œ
9
‚
LT
‚
B
≈ #œ œ œ
— œ.
S
œœ ‡ . œ Œ
B
B
‡ S
B
— —
—
œ. œ ≈ R ≈ R ≈ œ œ œ
2 3
7
12
9
10
7
5
12
12
10
7
10
0
[7]
¿ ‚
BH
&
— B
LT
¿ ‚ ¿ ‚ ‡ — — BH
BH
LT
S
‡
LT
B
S
B
‚
HT
¿ ‚
BH
— B
LT
¿ ‚ ‚ ¿ ¿ ‡ ‡‡‡ — BH
BH
LT
S
‚
BH
S
LT
S
HT
S
B
3
[9]
&
— œ
5 [11]
LT
‚
S
‡
œ
8
LT
‚
œ
5
LT
B
—
≈ Œ
‚
B
—
S
‡ œ
5
HT
‚
œ 3
B
— œ
5
LT
‚
S
‡
œ
8
LT
‚
œ
5
LT
B
—
≈ Œ
‚
B
—
S
‡ œ
5
HT
‚
œ 3
Acoustic Guitar Grade 7
B
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 7
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 = 90
Rock Pop
j œ ### 4 Œ œ n œ # œœ n œ Œ œœ Ó œ œ Œ n œ œ œ œ œ Œ ‰ Ó œ œœ 4 & n œ œ œ œ œ œ œ . n œJ # œ Œ ‰ œ œ . n œJ # œ ‰ Jœ Œ ‰ œJ Œ Ó J A7
T A B
2 2 2
0
# # # Œ œj ‰ n œ & œ. œ ˙ J D7
T A B
3 5
5
0
3
4
œ 3
2
4
2
5 4
0
6 5
0
F#7
Œ ¿¿¿ # œœ Œ œ ‰ ‰ œ œ. J ¿¿ 2 ¿ 3 2
5
1
2
G7
œœ œ œ
œ n œœ œ
2 3 2
3 4 3
2
3
2 2 2
0
3
2
4
¿¿ œœ Œ ¿ œ Œ Ó
¿¿ ¿
4
5
4
2
0
D7
D#7
E7
3 5 4 5
4 6 5 6
5 7 6 7
2
4
2
Bb7
n œœœ n # # œœœ # n œœœ Œ œ #œ œ bœ
¿¿ ¿ ¿¿ ¿
3 4 3
2
1
[5]
&
###
A7
’
’
Improvise melody
’
’
’
’
’
’
œ œ ˙ Œ œ nœ ˙ œ œ œ ˙ J J
’
D7
’
’
’
’
T A B
& T A B [12]
###
Rall.
A7
’
’
’
0
0
2
0
2
0 0
œ œ ˙ Œ œ œ ˙ œ œ œ ˙ J J 0
0
3
2
4
2 0
Acoustic Guitar Grade 7
[9]
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 = 75
Blues Swing feel
# & 44 œ œ
G7
T A B
&
#
T A B
œ
3
3
œ œ œœ œœ œ œœ n œœœ œœœ œœœ œ bœ œ 0 0 3
0
3
0 0 3
0 0 2
3
0 0 2
0 0 1
3
œœ
0 0 1
0 0
3
œ
nœ
œ
0
3 3
3
œ
œ
2
0
3
j bœ
nœ
1
2
j œ
œ
0
2
nœ
œ œ 0
œ
œ
0
0
œ bœ
3
3
0
3
bœ
0 2
3
œ œ œ
1
œœ œ
œ
3
œ
3
1
j bœ
nœ
1
2
0
3
[3]
&
#
T A B
œ
nœ
C7
œ
3 3
œ
œ b œj n œ
2
0
3
œ bœ œ œ j œ œ bœ nœ œ 0
1
2
1
3
0
3
1
2
œ bœ œ œ œ œ j œ bœ nœ
0
0
1
3
0
3
0 1
2
[5]
&
#
G7
’
’
Improvise melody
’
’
’
’
G7
’
’
’
D7
’
’
’
Û
Û
’
T A B Acoustic Guitar Grade 7
[8]
68
& T A B [11]
#
C7
’
’
’
’
’
’
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. Solo Guitar Guitar Drum kit
q = 90
‡ Œ S
— 4 & 4 œ B
B
— Œ
—
‡ Œ S
— & œ
B
&
—
LT
‡ ‰
—
œ J
‚
B
‡
—
B
∑
‡ S
B
—
B
‡ ‰ S
B
— — Œ
‡. Œ
— œ
B S
B
S
B
[3]
B
‡. Œ
— œ
œ J
S
B
— Œ
S
B
—
Percussive notation: B = bass drum: hit strings at bridge with side of outstretched right hand S = snare drum: hit scratchplate with flick of first joint of index finger LT = low tom: hit above soundhole with RH thumb (Substituting other surfaces is also acceptable providing they approximate the sound of a drum kit)
Pitched notation: E played at 7th fret on the 5th string D played at 5th fret on the 5th string
B
‡ ‰ S
B
—
LT
B
‡ ‰ S
B
— — Œ
—
œ J
B
‚
—
B
œ J
‡ S
—
B
∑
‡ S
B
—
—
[5]
‡. Œ
— & œ
B
B
— — Œ
‡ ‰ S
B
—
& ’
’
’
‡. Œ
— œ
œ J
[7]
cont. sim.
S
B
’
’
’
’
— œ
‡ Œ
’
’
B
B
‡ ‰ S
B
— — Œ
—
’
’
’
œ
Œ
Ó
[9]
B
& ’ [12]
’
’
S
— — ‡ Œ ‰ B
B
S
œ J
œ J
’
Acoustic Guitar Grade 7
S
B
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 or C minor 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.
bb 4 œ œ œ œ ˙ b & 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 any combination of chords from the C major scale including 7th chords. 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. Please note, there is no requirement for the chords to be voicing-specific. The tempo is q = 95 bpm.
˙ & 44 ˙˙˙
D m7
˙˙ ˙˙ ˙
G7
˙˙ ˙˙ ˙
C
F maj 7
˙˙˙ ˙ ˙
G/B
˙˙ ˙˙
G
˙˙ ˙˙
ww ww w
C
Acoustic Guitar Grade 7
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 7
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 7
■■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 7
Performance Certificates | Debut to Grade 8 *
73
Copyright Information Teardrop (Frase/Vowles/Del Naja/Marshall) SM Publishing (UK) Limited/Universal/Island Music Limited. Neon (Mayer/Cook) Reach Global Inc/Universal/MCA Music Limited Woke Up Dreaming (Jennings/Bonamassa) Universal Music Publishing Limited/Reservoir Media Management Inc Our Spanish Lovesong (Haden) Kobalt Music Publishing Limited Georgia On My Mind (Gorrell/Carmichael) Campbell Connelly and Co Ltd
Acoustic Guitar Grade 7
And So It Goes (Joel) Universal Music Publishing Limited
74
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