Acoustic Guitar Grade 8
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: TL82688YGA For more information, turn to page 5
www.rslawards.com
Acknowledgements Published by Rockschool Ltd. © 2016 Catalogue Number RSK200028 ISBN: 978-1-910975-35-0 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 © Dave Hogan/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 8
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 8 6 Acoustic Guitar Notation Explained
Rockschool Grade Pieces
7 Robert Johnson.................................. ‘Kind Hearted Woman’ 17 Jerry Reed....................................................... ‘Jerry’s Breakdown’ 23 Tommy Emmanuel.. .............................. ‘Tears For Jerusalem’ 33 Brent Mason.. .......................................... ‘First Rule Of Thumb’ 41 Extreme.. ........................................................... ‘Midnight Express’ 55 Newton Faulkner.. ...................................... ‘I Need Something’
Technical Exercises
65 Scales, Arpeggios, Chord Voicings & Stylistic Studies
Supporting Tests
74 Quick Study Piece 78 Ear Tests 79 General Musicianship Questions
Additional Information 80 81 82 83 84
Entering Rockschool Exams Marking Schemes Copyright Information Rockschool Digital Downloads Rockschool Popular Music Theory
Acoustic Guitar Grade 8
3
Welcome to Rockschool Acoustic Guitar Grade 8 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 8
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: TL82688YGA 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 8
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
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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 8
T A B
6
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( 9)
˙
BD
(7)
TRILL: Rapidly alternate between the two bracketed notes by hammering on and pulling off.
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(5 7) 5
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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.
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& 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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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.
Robert Johnson | Kind Hearted Woman
SONG TITLE: KIND HEARTED WOMAN
q = 73
# ## 6 & 4
ALBUM: RELEASED AS SINGLE / 1937
LABEL: VOCALION / ARC
GENRE: BLUES
VOCALS: ROBERT JOHNSON
GUITAR: ROBERT JOHNSON
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This was Robert Johnson’s first recording. More than 75 years later it is still featured in the repertoire of many blues artists. The song is pivotal in the blues repertoire. It contains many urban blues trends from the era, amalgamated into a highly individual and innovative style. Two takes were recorded and the first contains Johnson’s only recorded guitar solo. He also wrote the lyrics for it and it is alleged they were written in response to another blues of the time entitled ‘Cruel Hearted Woman’.
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Kind Hearted Woman
Robert Johnson Arranged by Andy G Jones
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[6] Words & Music by Robert Johnson © Copyright 2016 Dorsey Brothers Music Limited. All Rights Reserved. International Copyright Secured.
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5 4 5 4
5
E7
A/E
œ
œœ n n n œœ
œ
œ œ
5
5 3 4 3
5
5
3
5
T A B
D/F #
A 7/G
∑
œ nœ
œ
j œ
0
0
0
3
j nœ
#œ
0
1
2
œ
3
0
œ
œœ ... œ nœ n œœ
0
0 2 0
0 3 1
œ 0
[26]
&
###
A7
œ
nœ
3
œ
œ
j # # # n œ # œ n œ # œ œ n œœ œœ nœ & œ œ ‰ œ J J There
ain’t
but
the
œ
œ
one
3
# œœ œ œ
œœ œ
4 6 4 0
5 6 5
j # # œœ
3
T A B
5 5
6
5
8 9
6
8 9
0
0
nœ #œ œ œ
œ
thing
3
A dim7
œœ ‰
5 6 6 7
makes 3
3
œ
j nn œœ
j œ
‰
œ œ œ nœ
mis - ter John - son drink. 3
I’s
3
3
œœ œœ œœ n œœ œœ œ œœ n b œœ œ œ œ œ œ œ œ œ œ œ ‰ œ ‰ œ ‰ J J J
0 0
4 5 4 0
0
3 4 0
4 5
4
0
3 4
4 5
4 5 4 0
4
0
4 5 4
4 5 4
[28]
A dim7
A7
j œ œ œ œ œ œ œ ‰ 3
nœ œ #œ
wor - ried ’bout
3
how you treat
me
œ
ba - by,
T A B [30]
6 5 0
7
3
3
5
2 5
6
7
0
5 4 0
3
4
4 5
2
œ
I
# # # # œ œ n œ n œj # œ œ bœ j œ n œ nœ œ œ œ & n œ œbœ œ œ Œ Œ 3
A dim7
4
be
œ
-
nœ
A7
œ
gin
œ
to
think,
oh
œ nœ œ ≈ n œ œ œ œ œ ≈ œ n œ # œ œ œ ‰ # œœ n œœ ‰ œœ œœœ œ œ œ œ 6
6
0
5
6
3
5
0
6 0
4
5
4
0
5 0
10 9 11
3
8 7 9
0
7 6 7
5 4 5
Acoustic Guitar Grade 8
&
###
A7
11
&
D 7/F #
### ˙
Œ
‰
babe.
My
# # # n œœ œ œ œ œ # œœ œ & œ œ 3
0 1 2
T A B
nœ
nœ J
0
3
3 2
2
0 1
2
œ œ #œ nœ œ œ œ
2
1 2
5
5
4
3
5
nœ
don’t
j œ n œœ
‰ œ
œ
feel
the
œœ ‰
œ œ
nœ J
3 2
œ nœ 5
1
&
˙
A7
3
‰ n œœœ œœœ œ
0
A7
Ó
3 0 4
5
2
A dim7
same.
3
[32]
###
nœ
3
0 1 2
2
0
2
œ
life
6
œ
œœ œ
#œ
Ó
nœ
Œ
#œ
You
### &
j nœ
T A B
œœœ ‰ œj nœ œ œ œ
#œ œ
5 6
0 5 6
0
0
‰ n œœ b œ n œ œ œ J 3
3
6 5 0
0
5 4 0
œ # œœœ œ œ J ‰
0
4
0 5 6
4 0
0
3
œœœ œ
œ œ
œ nœ œ œ œ nœ #œ œ œ
0 5 6
0
5
0
0
7
breaks,
j œ n œœ n œ # œ œ 3
3
8 5
5
0
5
5
6
0
0 7 0
0
5 6
[34]
### n œ &
œ
E7
nœ
breaks,
œ
my
œ œ
œ
when
### n œ œ œ œ œ œ œ œ œœ œœ œ œ n œj # œ & œ œ œ œ œ 3
3
1/4
1/4
T A B
8
5
8
5
7
0
0
8 0
Acoustic Guitar Grade 8
&
12
& T A B [38]
###
A7
A 7/G
œ. œ œ
œ 5
2 0
‰
0
5
5 2 4
œ nœ
0
you
call
2
Œ œ œ
œ
1 0
0
4 0
œ n œœ
œ
œ œ
5
5
5
5 2
œ
so
and
œ
3 0 4
3 5 4
2
œ 0
0 1
0
name.
‰ œ œ œ œ J 3
3
0
œ
œ œ
so’s
j ‰ n œœœ n œœœ œœœ ‰ œ œ
E7
j nœ
œ œ
3
A/E
œ
œ œ
3
0
D m/F
2 3
œ nœ mis - ter
0
Ó
œ œ œ œ œœ nœ 5
0 3
D/F #
3
5
0 5 0
[36]
###
0
œ
3
heart
3
œ J
D 7/A
3
œ 3
5
0
2 0 2
∑ œ 0
j œ œ
œœœ ... œœœ
0
0 2 0
0 3 1
œ 0
&
###
A7
∑
. # # # n ˙˙˙ .. & Œ
j nœ œ œ ‰ œœ œ œœ œœ œœ ‰ J
9 8 9
T A B
∑
0
0 0
0
0 0
0 0
œ n œœœ
œ
œ œ
3
œ œ œ œ b œ œ n œ œ œr # œ n œ 6
3
0
8 9
œ
œ
œ
7 6 7
8
5
6
9
6
7
9
5
8
9
0
9
8
7
5
7
0 0
6
5
[40]
&
###
A 7/E
∑ 3
3
3
#œ œ œ œ œ œ œ œ œ # # # ‰ n œœ œœ œœ œœ œœ œ œ œ œœ œ œ nœ & œ 9 8 9
T A B
9 8 9
9 8 9 7
0
9 8 9
9 8 9
9 8 0
9 8
9 8
n œœ œ nœ œ 3
œ
9 8 9 7
∑
0
8 9
n œ # œ œ œ b œ œ n œ œ œr # œ œ œ œ œ Œ Œ 3
6
3
j nœ
0 0
2 4
0
5
7
5
6
8
8
7
5
7
0
5
6
7
[42]
&
###
&
###
T A B
D 7/F #
∑
∑
j ‰ nœ œ œ œ œœ œ œ œ œ n œ ‰# œ œœ œ œ œ œ J 2
1
1
0
0
2
2
2 0
2
3
2
4 0
2 4
4
3
nœ œ œ ‰ œ œ œ œ œ œ œ nœ œ œ œ n œ œ œ œ œ œ ‰œ n œ # œ ‰ ‰ ‰ J œ J J J 3
3
3
2
5 0
4
2
4
3
2
0
0
2
4
5 0
4
6
2
4
4
2
2 0
5
2
0
3
4
[44]
A7
# # ˙˙ & # #˙ Œ T A B [46]
0 5 6
∑
‰ n œœ b œ n œ # œœ œ nœ œ œ œ œ œ ‰ J J 3
∑ œ œ œ
œ nœ
2
0
2
0
3
œœ b œœ œ n œ œ #œ œ œ nœ œ œ œ œ œ œ œ œ œ œ nœ 3
3
3
3
5 0
0
5 4 0
4
0 0
5 6 0
0
0
2 0
5
5 5
5 4
3
5 0
6
3
4
5 4 2
4 0
2
2
4
5
Acoustic Guitar Grade 8
&
###
13
&
###
∑
E7
1/4
1/4
### n œ œ œ n œ œ œ œ n œ ‰ # œœœ Œ & œ bœ œ œ J nœ œ œ
j œ
3
T A B
8
3
1/4
7
3
0
0
0
7
0 3 1
0
7
0
j nœ nœ œ œ œ œ œ œ #œ nœnœ œ œ œ œ œ #œnœ nœ œ Œ 3
3 5
2
0 2
0
3
3
3
1/4
∑
D7
1
5
0
3
5
3
3
5
5
0
4
3
3
3
5 2
0
0
1
3
0
3
2
[48]
&
###
∑
j j œ œ œ n ‰œ œ ‰œ b ‰œ œ ‰œ #œ œ œ nœ œ œ J ‰ J J ‰ J 3
### Œ & œ
3
5
5
2
0
4
3
4
4
3
5
4
5 2
3
2
œ œ œ
Œ
She’s
j nœ
nœ
œ
œ
nœ
3
5
3
œ œ nœ
3
3
5 2
T A B
Ó
A 7/E
0
œ
0
0
kind
œ œ Œ œ œ
œ
3
0 1
a
3
3
1
0
0
[50]
&
### œ
bœ œ #œ ˙
A7
3
heart - ed
A dim7
‰
j nœ
wom - an,
### ˙ & n˙ ˙
œœ œ
œœ œ
6 5 0
6 5 0
j œ she
˙.
œ
œ nœ 3
stud - ies
œ
ev
j œ -
3
œ nœ
œ il
all
the
j œ
œ
time.
bœ œ
œ œ
œ œ œ
4 0
4 0
4 0
n œœ
5
T A B
6 5 0
0
5 4
[52]
Acoustic Guitar Grade 8
&
14
###
∑
A7
# # # # ˙˙˙ & nœ œ T A B [54]
0 5 6 0
Ó
A dim7
5
œ 0
œ
5
œœ œœ œ 0
3
3
j œ œ #œ bœ œ œ J 3
5
0
0
4 0
4
œ
œ‰ œ
nœ œ œ
Œ j œ
She’s
œ
œ œœ
#œ œ
nœ œœ
œ
5
5
4
3
3
0
2 0
0
2 0
1/4
0 2 0
a
kind
1/4
Œ œ nœ œ 3
0
3
0
# # œ #œ nœ nœ œ œ. & # heart
### œœ & œ T A B
3
-
wom - an,
j œœ œ œ œ 3 2
2 0
ed
j œœ œ œ œ
3
3 2
2 0
2
‰ j œœ œœ œ
3
3 2
2 0
2
3 2
2
j j œ œ
‰ j œ n œœ œ œ
3
2
nœ
she
3
œ nœ
stud - ies
3
ev
j œ n œ œœ #œ nœ
3
-
œ
3
3
1 2 0
2
D 7/F #
œ œj n œ il
all
œ œ
3
œ
the
0
0
3
j œ
3
3
2
œ
time.
j n œ Œ œ œ . œ
1
2 1
j œ
0
3
2
0
0
2
2
[56]
&
###
&
###
∑
A7
‰ n n œœ œ
T A B
œœ .. # œ œ œ 0 5
0 5 0
A dim7
œ
œœœ œ
œ
3
œ bœ nœ œ œ œ œ J
6 5 0
0
6
0
4
4 0
0
j œ
‰ nœ œ
3
5
∑
A7
5
4 0
2 0
œ œœ
nœ
5
3
3
œœ œ
œ Ó
2 0
n œœ # # œœ œœ œ 3
2 2 2
3 0
0
0
1
2
1
2
[58] 7
œ J
œ
You
well’s
œ
j œ
to
œ J
j œ
kill
œ.
‰
D 7/A
me
as
3
# # # œ # œ n œ n œ . œ œ œœ n œœ n œ n œ n œj # œ œ & nœ œ ‰ œ ‰ œ œ J J 3
5
T A B
6
8
0
0
A
A 7/G
7
8
0 5
& & T A B [62]
###
œ Œ œ
Œ
0
0
2 0
D/F #
D m/F
3
œ
œ
j œ œœ J
œ. n œœ
5
5
5
5
5
2 4
2 3
j œ
have
n œ œj n œ . it
5
3
1 0
3
5
0 0
3
5
3
5
E7
œ J 0
‰ # œœ œ 1 0 2
3 2
0 2
mind.
3
œ nœ œ œ ‰ œ #œ nœ nœ 3
5
3
∑ œ œ J
œ œ
your
1
2
0 0
0
j œ œ
œ
on
j œ nœ nœ œ œ œ œ œ œœ n œœ œ J
0
Ó
œ nœ 0
0
0
[60]
###
0 3
to
3
3
7
nœ
œ
œ
#œ ‰ 2
2 0
1
0
3
A7
U n ˙˙ ˙˙ æ 3 2 2 2
Acoustic Guitar Grade 8
# # # E‰ &
15
Kind Hearted Woman | Technical Guidance This arrangement’s approach is informed by contemporary blues music. I persuaded the great Mike Finnigan to sing on the recording. Mike is steeped in the blues and brings real authenticity to everything he creates. I asked him to sprinkle some of his magic and he certainly did. The vocal line is a guide only. Mike adds lots of subtle detail to the melody. Robert Johnson’s classic turnarounds, such as the use of the I (tonic) diminished 7th chord and rarely playing the root of the IV (subdominant) chord, preferring to put the 3rd or 5th in the bass, are featured in the last two bars of the form. Note the use of a 6/4 bar in bar one. Johnson’s original is peppered with odd bars. Aside from the very first bar, the arrangement is kept in 4/4. If you want to know how to play this tune in a more traditional modern blues style, listen to Eric Clapton’s 4/4 version.
Acoustic Guitar Grade 8
Mike Finnigan told me of the controversy regarding the playback speed of Johnson’s recordings in their original representation. There is a school of thought that says Johnson’s recordings were played too fast. Original issues of Johnson’s ‘Kind Hearted Woman’ seemed to come closer to B b than A. As A is a natural key for guitar, there is some support for the argument for slowing down the track, making it breathe and seem less urgent.
16
Jerry Reed | Jerry’s Breakdown
SONG TITLE: JERRY’S BREAKDOWN
ALBUM: ME & JERRY
LABEL: RCA RECORDS / 1970
GENRE: COUNTRY
q = 223
PRODUCER: BOB FERGUSON / CHET ATKINS
GUITAR: JERRY REED AND
# ## # 4 œ 4 œ &
œœ
œœ #
0
0
0
1
2
3
CHET ATKINS
T A B
‘Jerry’s Breakdown’ is featured in the album Me and Jerry, released in 1970 by Chet Atkins and Jerry Reed. The album won a Grammy Award for Best Country Instrumental Performance that year.
E
#œ œ 3
4
[1]
Jerry Reed had successful singles in the 80’s and 90’s whilst combining music with an active and successful acting career.
# ## # œ œ # œ œ œ œ n œ œ œ &
Reed was a singer, guitarist and songwriter, as well as an actor. He was born in 1937 in Atlanta, Georgia. By high school he was already writing music. He was signed to Capitol Records aged 18. Between 1959 and 1967 he had a highly productive period with a number of chart entries in the lower ranks and a record produced by Chet Atkins in 1965. Guitar Man was released in 1967 and was soon covered by Elvis Presley, who also hired him for the session and some subsequent work. Johnny Cash also covered one of his songs, ‘A Thing Called Love’, that reached number 2 on the Billboard charts.
T A B
Despite his technical ability, Reed considered himself more of a songwriter than a player. Chet Atkins, who produced much of his work, encouraged him to record instrumental numbers and ‘Jerry’s Breakdown’ is an example of that. His fingerstyle technique remains an inspiration to contemporary players in the same way that Atkins’ does. Eric Johnson released a track called ‘A Tribute to Jerry Reed’ in 2005.
4
0
0 3
4
œ
0
0 5
4
[3]
Acoustic Guitar Grade 8
# ## # œ œ b œ œ œ n œ # n œœ œ & 17 B7
Jerry’s Breakdown
Jerry Reed Arranged by Andy G Jones
q = 223
#### 4 œ & 4 œ
œœ
# œœ
0
0
0
1
2
3
T A B
#œ œ œ œ œ œ œ œ œ œ
#œ œ œ œ œ œ œ œ œ œ
E
3
0
4
0 3
0
0
4
0
4
3
4
0
0
3
4
0
0 4
0
[1]
#### œ œ œ œ #œ œ & nœ œ œ T A B
0
0
4
3
0
4
œ # œœ
œ
5
4
œ
0 0 1
0 2
œœ œ
œ œ œ œ nœ œ œ œ
0 0 1
2
0
0
4
0
3
6
6
0
[3]
& T A B
####
œ œ b œ œ œ n œ # n œœ œ
B7
0
0
4
3
2
œ
nœ
2
˙ # ˙˙˙
3
nœ #œ nœ nœ
˙
0
0 1
0
E
0
2
1
0
3
0 0 1 2
0
Acoustic Guitar Grade 8
[6]
18
% E # ## # . œ œ n œ œ # œ œ œ œ . & 7
T A B [9]
. .
7
5
8
0
9
0
7
œ œ nœ œ œ #œ œ nœ 0
8
0
7
0
6
0 8
0
Words & Music by Jerry Reed Hubbard © Copyright 1972 Vector Music Corporation, USA/Sixteen Stars Music, USA. Hornall Brothers Music Limited. All Rights Reserved. International Copyright Secured
œ nœ œ œ n œ œ œ nœ A7
0 7
0 6
7
7
8
0
œ œ nœ œ #œ œ œ œ
## œ œ œ nœ #œ œ & # # #œ
E7
0
7
T A B
7
8
0
0
5
5
0
8
6
0
9
7
œ œ nœ œ œ #œ œ nœ 0
0
8
0
7
0
6
0
8
[12]
&
####
F#7
œ œ œ œ œ œ œ #œ
T A B
7
5
6
8
0
7
6
œ œ nœ œ #œ œ œ œ
nœ œ œ nœ œ #œ œ œ
B7
0
5
0
7
9
0
0
8
E7
7
0
5
0
8
9
0
7
8
[15]
# ## œ œ nœ œ œ #œ œ nœ & # T A B
0
0
7
0
0
6
0
0
0
8
To Coda fi œ #œ œ œ nœ #œ œ
œ nœ œ nœ œ œ nœ œ A7
6
7
7
7
8
0
0
7
0
0
8
5
6
[18]
# ## œ & # 1.
T A B
œ
nœ œ œ
0
0
9
7
œ
œ
nœ
œ
0
0
9
œ
0
9
8
œ 0
#œ
œ
œ 0
9
œ
œ
œ 0
7
9
9
#### n œ # œ œ œ œ œ & n œ # œœ B7
T A B [23]
12
9
0 11
0 0
0 1
E
œ
0 2
œœ œ 0 0 1
œ 2
œœ œ 0 0 1
2.
.. œ œ n œ œ œ œ œ œ œ . .
0 9
0 7
9
0
0 9
0
Acoustic Guitar Grade 8
[21]
19
# # nœ œ #œ œ œ œ œ œ & ## T A B
0
8
9
0
7
0
œ œ #œ œ œ œ nœ œ œ
B7
0
9
0
0
0
3
4
œ # œœ
E
œ
0
0 5
4
œ
0 0 1
2
œœ œ 0 0 1
2
[26]
#
# # # # . C œm . & T A B [29]
œ
. . 11
œ
œ
œ 0
9
œ
11
#
0
9
11
9
9
0 11
nœ
9
11
#### C m œ œ œ œ œ œ œ œ & T A B
œ 0
9
# G#7 5
œ
5
œ
œ
9
7
F#7
œ œ œ œ œ œ nœ #œ
9
9 8
0 11
9
0 11
œ
œ 0
œ
œ
œ 0
9
9
11
nœ nœ œ œ œ œ œ #œ C7
8
8 10
0 11
8
0 11
9
[31]
B #### n œ # œ # œ œ œ œ & n œ # œœ 7
T A B
9
12
0
0 0
11
0 1
œœ œ
E
œ
0
0 0 1
2
œœ œ
œ
0 0 1
2
œœ œ
œ
0 0 1
2
œœ œ
œ
0 0 1
2
Acoustic Guitar Grade 8
[34]
20
& T A B [37]
#
# # # # C œm œ œ œ œ œ œ œ 9 11
0 11
9
0 11
# G#7 5
nœ œ œ œ œ œ œ œ
9
9 10
0 11
9
0 11
C#m
œ
9
œ œ œ œ œ œ œ 9
9
0 11
9
0 11
9
&
F#7
œ œ œ œ œ œ nœ #œ
####
T A B
0
9
11
8
0
9
11
nœ nœ nœ œ œ œ œ œ
œ œ œœœ œ œ œ œ
C7
8
0
8
8
0
10
0
0
0
0
0
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0
0
9
0
9
[40]
&
####
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3
6
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6
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[43]
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8
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0
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[47]
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0
0
7
0
6
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0
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2
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5
0
8
0
9
3
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1
0
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8
Acoustic Guitar Grade 8
# ## œ #œ nœ œ œ & # œ n œ # œœ
E7
21
Jerry’s Breakdown | Technical Guidance ‘Jerry’s Breakdown’ is something of a modern, country guitar standard. Jerry Reed was one of the architects of the modern, country guitar style. According to Brent Mason, Reed called himself a ‘guitar thinker’ rather than a guitar player. It seems an accurate assessment of his style and talent. He was a masterful acoustic player. He favoured a nylon string guitar but was also a leading exponent of the Telecaster. His use of double stops, open strings and colourful harmony have influenced many players. The cornerstone of this piece is the banjo roll, this refers to the right hand technique used in this piece. This involves using the thumb, index and ring fingers to play notes over three strings. Bar 1 is a classic banjo roll. Albert Lee uses this technique in his iconic tune ‘Country Boy’. Note that Reed used the # 4th/ b 5th (A # /B b) to hammer on to the 5th (B n ). Another essential element of the banjo roll is the use of unison notes, in this case the open B next to the fretted B on the 4th fret of the 3rd string. Note the lick in bar 6. It uses the b 5th of the key (B b) which moves down to A. However, the harmony at this point is B7 making the B b the major 7th, the most dissonant note of the scale. Reed makes it sound wonderful as it’s only a passing detail, played for a very short time as the tempo is so fast.
Acoustic Guitar Grade 8
The notes in bar 9 are typical of this piece and of Reed’s approach in general. He mixes the minor 3rd, the 4th and the major 3rd in the one bar. Much of the harmony does have a country sound but there are many unexpected chords, such as the F # 7 in bar 15. This is a secondary dominant chord to B 7 (V/dominant chord). The section at bar 29 moves to C # minor, an obvious choice, as this is the relative minor of the home key of E major. This arrangement could be played with either hybrid or fingerstyle.
22
Tommy Emmanuel | Tears For Jerusalem
SONG TITLE: TEARS FOR JERUSALEM
ALBUM: LITTLE BY LITTLE / 2010
LABEL: SONY BMG / MUSIC
GENRE: COUNTRY / JAZZ
WRITTEN BY: TOMMY EMMANUEL
GUITAR: TOMMY EMMANUEL
Solo Guitar
44 œ b & F
œ
PRODUCER: KIM PERSON
E B G D A D
T A B
0
6
7
œ #œ
œ
Free time
5
6
nœ #œ œ œ œ œ œ œ œ bœ œ œ # œ &b
‘Tears For Jerusalem’ appears on the 2010 release Little by Little by Australian guitar virtuoso Tommy Emmanuel. He 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 [2] playing in hugely successful albums by the likes of Air Supply and Men At Work.
‘Tears for Jerusalem’ is inspired by the sad and recurrent news from the Middle East. Tommy wrote this song on the road 6 and during that period he 6 decided to stop watching television. The song reflects his feelings in light of these events.
T A B
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 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.
6
8
5
9
6
5
8
6
5
6
6
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12
[4]
2
1 0
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T A B
U
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8
8
2
Acoustic Guitar Grade 8
23
D m6
D m(ma
Tears For Jerusalem
Tommy Emmanuel Arranged by Andy G Jones
Solo Guitar
& b 44 œ F
œ
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T A B
E B G D A D
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6
6
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6
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5
6
5
6
7
8
6
5
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5
6
6
8
9
6
5
6
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5
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6
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8
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4
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Acoustic Guitar Grade 8
q = 108
24
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Dm
T A B [8]
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Music by William Emmanuel © Copyright Universal Music Publishing Pty Limited. Universal Music Publishing Limited. All Rights Reserved. International Copyright Secured
5
3 0
3
1
6
43
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3
2
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6
Acoustic Guitar Grade 8
Gm
25
Ebm
Œ bœ & b gggg # œœ T A B [24]
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4 3 4
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3
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3
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1 2
2
3
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[28]
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Acoustic Guitar Grade 8
26
[32]
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2
3
[38]
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6
3
0
5
j œ & b œ œ‰ n œœ œ œ J J G
T A B
0
3 4
5
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[43]
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& b gggg gg ggg
T A B
[46]
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8
6 6
Dm
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5
6
5
0
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5
6
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0
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0
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8
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5
6
0 6
5
0
n œœ
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6 7 7
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0
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Dm
b A7 9
6
0
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G m/D
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3 4
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NH Let ring
0 5
‚
12
Acoustic Guitar Grade 8
œ œ
Gm
27
Free time D m6
Œ ‚ &b
D m(maj 7)
D m11
œ œ œ n œœ œ # œœ
œ
NH (let ring)
T A B
nœ
Œ
œ
b D m add 6
œœ
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3
5
D m6
2
12
œ
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1 2
2
œ œ œ n œœ œ # œœ
Œ œ
Let ring
1 0
D m(maj 7)
5 0
4
3
1 0
2
0
1 2
2
0
0
[48]
D m11
&b Œ œ
b D m add 6
œ œ bœ œ
œ œ
nœ
24 ‚ ‚ ‚ ‚ N.C.
œ
3
œ œ œ nœ
98
œ
3
NH Let ring
(let ring)
T A B
34 œ œ œ œ
3
0
5 4
1
3
12
7
0
3
1
0
3
12
7
1
3
1
0
2
[51]
A b/E b
& b 98 b b œœœ‰ œ bœ T A B
3
3
3
3
3
≈ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3
1 1 1 3 1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
≈ ‰ œ bœ
1
1
3
6
[54]
B b/A b
≈ & b œ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ ≈ bœ œ œ œ œ #œ T A B
3
3
3
3
3
3
3
3 3
3
3
3
3
3
3
6
3
3
3
3
3
3
3
6
3
3
3
3
6
3
3
6
6
3
3
4
Acoustic Guitar Grade 8
[55]
28
D/F #
3
3
3
3
3
3
& b ≈ n œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ 118 #œ œ œ œ œ T A B [56]
3
2 4
3 0
2
3
2 4
3 0
2
3
2 4
3 0
2
3
2 4
3 0
2
3
2 4
3
G m6
3
3
3
3
3
3
3
3
3
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 & b 118 ≈œ œ œ œ œ œ œ œ œ œ œ 3
T A B
5
3
0
3
5 0
5
3
5
3
5
0
3
5
5
3
5
0
5
3
5
3
5
5
3
0
œ œ œ 4 4 œ
5
5
3
0 5
[57]
Bb7
3
3
3
J
3 4
6 7
5
8
7
6
7
6 6
7
6 6
6
7
6 6
0 7
6
8
6
7
b A ( 9)
Bb7
œ bœ œ 34 ≈ b œ œ œ œ œ‰ œ œ œ . œ œ
3
j œ nœ
T A B
b Bb7 9
Bb9
œ. œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. bœ œ œ œœ bœ œ œ
& b 44
3
6
7
6
7
6
6
7
6
6
45
nœ
7 0
8
[58]
ggg 52 gg 32
T A B [60]
≈
‚ ‚ œ # œ œœ œ n œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ 42 ‚ ‚ 43 œ 3
3
3
2
2
3
3
3
3
2
3
3
3
(let ring)
1 3 1 0
3
1 3 1
0
2 2
&b ≈ bœ T A B [64]
3
œ 3
6
œ
œ œ
3 3
3
œ 3
œ
2
3
44 g b œœ‰ ggg b œœ ggg b œ ggg ggg g
2
œ œ
3
3
œ 3
6
3
A b/E b
[62]
B b/A b
3
3
3
3
N.C.
3
NH Let ring
œ œ œ œ œ œ œ œ nœ 3 b œ & 4 T A B
3
2
2
3
2
3
3
2
3
3
2
2
2
2
7
12
≈ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3
1 1 1 3 1
œ
3
1
1
3
1
1
3
1 1
1
3
1
1
1
œ œ
3 3
3
œ 3
œ
3
1 1
1
œ œ
1
1
œ œ
3
3
œ 3
6
œ 3
œ
12
7
1
Œ œ >
œ >
6
5
3
45
Acoustic Guitar Grade 8
‰ ggg # œœœ 5 b & 4 gg œ g
29
D/F #
3
3
3
3
3
3
3
3
3
& b 45 ≈ n œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ #œ œ œ œ œ >
T A B
3
3
2
3
2
0
2
4
3
0
3
2
3
2
4
2
0
3
4
3
2
3
2
0
2
4
3
2
0
3
4
[65]
G m6
3
3
3
3
3
3
3
3
3
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 11 &b ≈ œ 8 œ œ œ œ œ œ œ œ œ œ 3
T A B
5
3
5
3
0
5
3
5
3
0
5
5
5
3
5
3
0
5
5
3
5
3
0
5
3
5
0
5
3
5
[66]
Bb7
3
3
3
3
3
3
3
3
3
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 & b 118 ≈ œ b œ œ œ œ œ œ T A B
3
6
7
6
7
6
8
6
7
7
6
6
6
7
8
6
7
6
7
8
6 6
6
7
8
7
6
7
6
6
œ
12 8
8
8
[67]
Bb9
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 & b 12 8 bœ T A B
3
3
3
8
6
7
6
6
8
6
3
8 7
6
6
3
8
6
3
8
6
7
6
8
~~~~~~~~~~~~~j œ œ ‰ Œ. 8
N.C.
#œ
~~~~~~~~~~~~~
44
9
6
[68]
Acoustic Guitar Grade 8
A7
30
& b 44 Ó nœ T A B [69]
0
œ
œ
Œ ˙
3
#˙ 3
‚
AH
3
7
√
9
8
‚ 43
‚
‚
‚
Œ ‚
Œ # ‚ ‚
‚
‰ ‚
j œ‚
†
9 7
‚ #‚
9
8
9
8
9
7
9
8
9
† All the following artificial harmonics played at nodal points 12 frets higher than fretted
8
9
8 7
44
(√) ‚ & b 44 # œ
A 7sus 4
œ‚
œ‚
œ‚
œ‚
œ‚
œ‚
œ‚
9
10 8
A7
A 7sus 4
A7
œ‚
‚ 43 # œ
A 7sus 4
œ‚
œ‚
9
10 8
A7
b A7 5
œ‚
œ‚
9
10 8
(AH)
9
T A B
9
8
9
7
9
8
9
8
9
7
9
7
9
10 8
9
9
9
[72]
(√) Œ #‚ ‚ n œ ‚ œj œ b ‚ n‚ bœ ‰ œ &b 3
3
3
T A B
8
8
@9
9
8
8
8
7
b
7
19
8 8 7 0
0
# ˙˙@.. ˙˙ . . ˙.
b
@9
Tremolo w/index finger
NH
(AH)
9
# œ ˙˙@ b ˙˙ œ œ ˙
3
# ˙˙@.. ˙˙ . . ˙. @9
Rit.
8 8 7 0
8 8 7 0
[74]
# œœ@ #œ &b œ œ Œ @9
T A B
œœ œœ œ Œ
Œ ‰
‚ J
NH
D m(maj 7)
œ œ œ n œœ œ # œœ
NH
œ
œ nœ bœ œ
œœ
nœ
Œ
b D m add 6
44
Let ring
1 0
2
12
12
D m11
œ
Let ring
9 8 8 7 0
8 8 7 0
Œ n‚
D m6
1 2
2
3
5
5 0
4
3
0
[78]
œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ bœ #œ œ œ 44 b œ œ œ œ & A7
Dm
6
6
12
T A B
13
12
6
6
10
10
10
9
10
9
12
8
7
9
0
8
0
7
8
6
7
6
7
8
0
&b T A B [82]
Dm
œ 0
œ 0
œ 3
œ 0
œ 3
œ 2
œ 3
œ 3
A7
œ #œ 2
2
œ
œ
5
6
œ 2
œ 2
Dm
œ #œ
w
3
0
4
Acoustic Guitar Grade 8
[81]
31
Tears For Jerusalem | Technical Guidance Tommy Emmanuel’s ‘Tears For Jerusalem’ has something of a classical feel to it. This is in contrast to many of Tommy’s other arrangements and compositions, on which he makes solo guitar sound like a whole band playing. This arrangement features a short intro and ending to add more of a soloistic touch. Although somewhat different to Tommy’s style, these sections are influenced by him nonetheless. In the intro, the open E string is exploited to add a country influenced, ringing effect for the first beat. This section is quite legato in delivery and the harmony suggests an A7 altered, which leads nicely into the D minor section in bar 4. Given the number of arpeggios, fingerstyle would be advisable on this tune.
# In terms of harmony, this piece is in D minor and uses quite a variety of colours within that harmonic palette, such as B b 11, b Bm 7 5, Gm6 and G major. These chords imply different harmonic choices derived from various D minor based scales, such as D harmonic minor and D melodic minor. Taking chords from more than one parent minor scale gives many more options than a major key might offer. The ending lick exploits the 9th degree of a D minor arpeggio that winds its way down to a B b note, heralding the V (dominant) chord A7. The flattened 9th of the A7 is the flattened 6th of the D minor which would be found in the harmonic or aeolian minor scales. The arpeggio section is fast. I’d recommend using mostly the right hand thumb (p), index (i) and middle (m) fingers to execute this.
Acoustic Guitar Grade 8
Start by practising slowly, making sure that as you play the first note and the next finger is moving to pick, you are retracting the first finger to pick again.
32
E
T GB Of Thumb Brent Mason | First Rule A D B AD
SONG TITLE: FIRST RULE OF THUMB
ALBUM: HOT WIRED / 2012
LABEL: MERCURY
GENRE: COUNTRY
GUITAR: BRENT MASON
PRODUCER: BRENT MASON
##
&
B m11
œ œ œ #œ nœ œ œ œ #œ 3
œ
T A B
4
4
2
3
0 3
4
0
2
2
[3]
Brent Mason is predominantly known for his work as a session guitarist. Based in Nashville, he has recorded with countless artists over the last 30 years. He is one of the most recorded guitarists in history. He has received many awards, including Grammys, Country Music Association musician of the year and Academy of Country Music guitarist of the year, a number of times. ‘The First Rule Of Thumb’ is featured on his 1997 solo debut Hot Wired.
œ nœ œ œ ## œ œ n œ œ # œ & 3
T A B
5
4
7
5
7
4
[5]
Brent was born in 1959, into a musical family and picked up the guitar aged five. He is self taught and cannot read music. Although he plays many guitars, his Telecaster work is regarded as an industry benchmark. His stylistic and technical approach is vast and it is studied in many institutions, including the Berklee College of Music.
& T A B
b C # m7 5
##
œ 4
[7]
E
ggg œœœ # œ # œœ ggg 35 g4 3
2
B m/F #
4 4
F # 7a
œ gg # œj # œœ ggg n œ g 0
G maj 7
ggg ggg g
1
2
3
Acoustic Guitar Grade 8
He is a virtuoso musician, predominantly known in the country field but equally adept in many styles, including, jazz, rock, funk and pop. He was invited by Chet Atkins to record on Stay Tuned. He has performed on countless records as well as many commercials and soundtracks. He maintains an active presence in the Nashville live scene. He is a member of The Players, a group that includes other hugely successful session musicians from Nashville. He is also the author of acclaimed tuition methods available on DVD and digitally.
8
10
5
3
E 7/G
#œ œ œ ## ≈ œ n œ 33 œ #œ œ & #œ nœ #œ
First Rule Of Thumb
Brent Mason Arranged by Andy G Jones
q = 87
# & # 44 Ó
& T A B
B m11
œ nœ œ œ œ œ œ œ nœ 6
Freely
‰
5
0
6
3
œ
2
0
œ J
3
0
0
6
œ œ. nœ œ œ œ 3
3
3
0
3
2
2
0
0
5
œ œ œ #œ nœ œ œ œ #œ œ 4
2
4
0
3
4
3
2
2
0
# D 7 11
A m9
œ
3
œ
# G 7 11
D m7
E B G D A D
T A B
##
Rubato
œ œ #œ n œ œ œ nœ ˙ 3
œ
2
3
0
4
5
0
5
5
3
œ
œ #œ œ œ
4
5
4 6
4
7
0
[3]
œ n œ b œj n œ ## œ œ n œ œ # œ œ œ nœ œ &
œœ
4
5 5
F#7
œ nœ œ œ nœ
# œœ
3
T A B
7
4
5
5
7
5
10
8
6 6
7 7
5
6
5
3
G7
#œ nœ
j œ
n œœ
3
4 3
5 3
4
4
˙ 3
5
[5]
&
b C # m7 5
##
œ
F # 7alt
ggg œœœ # œ # œœ ggg 35 g4
œ gg # œj œ gg n # œœ gg
3
T A B
4
2
Acoustic Guitar Grade 8
[7]
34
& T A B [9]
##
B m/F #
E
gg ggg gg
0
4 4
G maj 7
nœ
2
1
0
3
4
#œ œ œ œ ≈ œ #œ œ nœ œ nœ #œ #œ œ 0 2
1
0
3 4
0
7 5
5
#œ
3
E 7/G #
0
A
œ
w 5
7 6
B m11
œ
3
ggg nn œœœ # œ ggg 13 g2
B m(maj 9 )
# œœœ œ
gg n n œœœ gg
2 3 4
ggg 32 g4
0
2
2
A dim7
G/A
A
œ b œ œ n œœ œ œœ nœ #œ 2
3 4
5
4 5
0 Words & Music by Brent Mason © Copyright 1998 Universal Music Z-Songs. Imagem Music. All Rights Reserved. International Copyright Secured.
7
B m7
5 5 6
˙˙ ˙ Ó
"
nœ #œ œ 3
4
#œ
5 1
Ó ‰ nœ nœ œ J 3
2
0
q = 120
D 7/F #
D
&
##
T A B
j #œ œ
6 6
# œœ œ œ œ.
5
7 7
7
[12]
&
##
G # dim7
G7
nn œœ œ ¿¿ œj œ 3 œ #œ œ ¿ œ1 J ¿¿ 6 5 6 5 0 ¿ 5 4
œ œ œ.
j nœ
5
5
C # dim
3
¿¿ ¿
4
6
B 7/D #
B7
œ j #œ œ œ œ # œ œ ‰ nœ # œ œ #œ œ œ œ
œ œ ¿¿ n œ #œ 4 œ ¿ œ J
œ3
5
# D 7 5/F #
D/A
6
3
5
7
7 7
0
7 7
8
8
7 6
9
# B b 7 11
œ j œ nœ ¿ nœ nœ œ nœ œ nœ #œ œ ¿ n œ œ œ œ n œ ¿ # œ # œœ nœ œ #œ œ œ b œ nœ ‰ œ #œ #œ œ. œ bœ œ ¿ œ œ. bœ œ ¿ nœ œ nœ œ nœ œ œ J œ. J ¿ ¿ 0 1 0 1 0 7 5 3 0 0 3 3 3 0 3 ¿ 76 0 1 4 1 0 0 0 1 3 4 ¿ 50 0 4 0 3 1 ¿ 2 4 0 A7
E
3
D
C6
j nœ
3
G 7/B
A 13
5
T A B [15]
2
# & # ‰
nœ J
œ
nœ
5
5
7
T A B
œœ n œ œ œ nœ 5 5
6
5
3
6 5 4
G # dim7
G7
œ n œœ œ
œ
0 0
œœ œ #œ
3 4 3
3 4 3
5
6
‰ ‰
j œœ #œ œ J D
j œœ ‰ œ œ nœ
Œ œ
œ
3
2
0
3 2 4 0
[18]
&
##
T A B
j # œœ
6 6
# œœ œ œ
j 3 n n œœ œ ¿¿ œ n œœ #œ œ ¿ nœ 1 J ¿¿ 6 5 6 5 0 ¿ 5 4
5
7 7
7
5
[20]
& T A B [23]
##
C # dim
nœ œ b œ nœ ‰ œ #œ œ # œ œ n œœ œ œ nœ œ œ 3
1
0
3 4 4
0
5
1
0
1
0
3
0 4
#œ œ. 4 0
j
œ
5
7
œ nœ 3
3
3
4
6
D
D/A
œ 3 œ œ ¿¿ n œ #œ 4 œ ¿ œ J
5
A7
E
0
œ œ œ.
j nœ
œ.
G # dim7
G7
¿¿ ¿
# D 7 5/F #
B7
7
7 7
B 7/D #
3
œ j #œ œ œ œ # œ œ ‰ nœ # œ œ #œ œ œ œ
6
7
0
5
7
8
8
9
# B b 7 11
7 6
2
œ nœ ¿ nœ nœ œ œ œœ œ ¿¿ n n œœ œ b œ œ n #œ ¿ œ œ .. bœ œ ¿ ‰ œ nœ J J J ¿ 0 1 0 ¿ 5 3 0 3 0 3 ¿ 65 0 1 ¿ 2 ¿ 4 0 3 1 C6
G 7/B
A 13
Acoustic Guitar Grade 8
D 7/F #
D
35
œ
# # # # œœ n œ n œ & œ A 13
j nœ
œœ
œ
j nœ
5
7 6 5
œ œ n œœ œœ œ #œ
3
3
T A B
œ
œ nœ
7
10
5 7
6
6 5
3
5
4
G # dim7
G7
3 4 3
3 4 3
5
6
j . ‰ # œœœ ‰ n n œœœœ ... ‰ ‰ Jœ Œ D/A
œ J
1 1 2 4
3 2 4 0
0
[26]
b F # 7 13
G 7 G # dim7
# œ & # ‰ n œœœ nœ.
‰ # œœ .. œ œ # œ .. J
0 0 2 3
T A B
0 3 0
5
5
j œ
j #œ j n œ œ œ n œ ‰ œ n œœ # œœœ # œœœ . nœ Ó J J B m7
3 3 2
4
2
4 4
A m7
D7
5 5 5
7 5 7
3 0
œ
G7
[7]
7
œ n œœ 3 4 3
œ
œ
5
3
b B7 9
œ
j n œœ ## œœ # œœ n œ bœ
1 2 1
1
2
1
2
0
[28]
F # m7
E7
G dim7 E/G #
j j n œ j n œ œ. Œ # œœ œœ n n œœ # œœ œ nœ œ œ #œ œ œ n œ # œ n œJ J
# œ œ œ & # #œ œ #œ nœ T A B
0
0
1 2
b B 7 13
A7
œ nœ n œ b œ œœ œ nœ ‰ #œ J
3
0
0
2
3
4
4
5
6
5
5 5 0
3
2
6 0
1
2
2
A 7/C #
C dim7
2
1
0
2
1
0
3
3
A 13/E b
E9
5 7 6 5
7 7 7 6
j j œ n œ # œ ‰ # œœ ‰ # œœœ Ó
4
[31]
F # m7
E7
# . & # ‰ # œœ . ‰ œ. T A B
n œœ #œ
G maj 7
œ n œœ nœ
0
3 1
2 0 0
2
2
j #œ #œ
4
œ bœ œ n œ n n œœ ˙˙ œ œ œ œ œ œ J .
A7
œ nœ ˙
nœ nœ bœ nœ
4
5
4
3
1
2
1
0
5
6
5
4
1
2
1
0
0
5
j #œ #œ
0
0
0
0
˙ ˙ œ nœ nœ
œ
3
0
0
2
[34]
D 7/F #
Acoustic Guitar Grade 8
D
36
& T A B [37]
##
j # œœ
6 6
# œœ n œ œ œ. 7 7 0
5
7
j n n œœ œ ¿¿ œ œœ 3 #œ œ ¿ nœ 1 J ¿¿ 6 5 6 j nœ
5
4
5
G # dim7
G7
¿
5
0 5
œ œ œ. ¿¿
D/A
œ œ ¿¿ n œ #œ 4 œ ¿ œ J
œ3 5
3 6
4
¿
6 0
# D 7 5/F #
B7
7
7 7
B 7/D #
3
œ j #œ œ œ œ # œ œ ‰ nœ # œ œ #œ œ œ œ 7
5
7
8
9
8
7 6
2
&
##
T A B
C # dim
A7
E
nœ œ b œ n œ ‰ n œj œ # œ œ n œœ œ œ nœ œ œ 3
0
0
1
3 4
1
0
1
0
4
#œ œ.
3
4
œ
5
7
œ nœ 3
0
j
D
C6
œ nœ ¿ œ nœ œ œ œ b œœ œ ¿¿ n #n œœœ œ œ. n ¿ œ œ. bœ œ ¿ œ nœ J J ‰ J ¿ 0 1 0 ¿ 5 3 0 3 0 3 ¿ 65 0 1 ¿ 2 ¿ 4 0 3 1
4 0
[40]
G 7 G # dim7
œ œ j œ nœ œ œ # # # # œœ n œ n œ nœ œ & œ A 13
3
3
T A B
7 6 5
5
7
10
5 7
6 5
3
5
4
j œœ ‰ œœ ‰ œ #œ # œ ‰ Jœ ‰
œ n œœ œ 3 4 3
3 4 3
5
6
# B b 7 11
G 7/B
# D7 9
j nn œœ œœ J
D/A G/A
n œœœ œ
3 2 4 0
3 4 5 0
D 6/F #
œœ œœ
G 7 G # dim7
œ œ n œœ #œ nœ œ
6 5 4 5
0
j œœ ‰ n œœ œ # œœ #œ Œ
3 4 3
3 4 3
5
5
6
œœ J
¿ ¿ n œœ n œj œœ ¿
8
¿¿ ¿
4
5 5 4 5
[43]
# D7 9
G 7 G # dim
j œ œœ œœ # # n œœ n œ œ œ ‰ œj œ œ œj # œ œ œ ‰ & œ œœ J ‰ ‰ nœ œ #œ ‰ œ J J
T A B
3
6
5
6 7
5
D
3 4
3
6
0
2
4
3
4
5
7
5
j #œ
7
n œœ
j œ
8
j œ
8
9 10
7
œœ
9 10
3
9 10
7 8
5 7
6
[46]
# & # ‰
œ J
T A B
7
nœ œ œ œ œ œ œ œ œ 3
6
8
6
7
5
8
6
7
3
3
3
3
5
œ œ œ # œj œ œ œ œj œ œ œ œj œ œ œ
D7
5
8
5
5
9 10
3
5
5
9 10
3
5
9 10
5
5
& T A B [51]
##
j nœ
œ
D7
8 10
3
œ nœ œ 8
6
7
D 7/F #
œ
œ
j œ
œ
œ
œ bœ œ nœ œ œ
G
3
6
8
8 10
10
8
9
8
6
7
8
œ
7
G # dim7
œ
œ
6
8
‰
œ J 6
Acoustic Guitar Grade 8
[49]
37
D aug/A #
B m7/F #
B7
## # œ n œ # œ œ ‰ j œ œ nœ & D/A
T A B
5
7
6
10 10 11
7
9
nDœ œ
A7
n n œœ # œ ¿ ¿ ¿ ¿ œ œ œ œ œ
7 7
B m7
¿¿
¿¿
3
D/C
‰ nœ œ ‰ nœ ‰ j #œ œ œ œ 3
3
13 10 9
7
7
10
9
7 8
5
7
9
7
[53]
# B b 11
D/B
œ #œ
D/A
# œ nœ œ œ œ œ œ ‰ œ & # œ œ J
j nœ
œœ # œœ
œœ
œœ n œœ œ
10 8
10 10
10 9
3
3
G # dim7
G maj 7
j nœ
# D7 9
D 7/A
œ œ œ n œ œ n œj œ œ œ
3
T A B
7
9
9 10 9 7
9
9
7
6
7
10 7
10 9
10 8
7
5
6 7
7
6
6 7
5
7
9
[56]
F#7
G
& T A B
## w
B m7
œ
3 2
D7
œœ œ
Œ
n œœœ
œ
3 2 4
œœ .. j n œœ .. œ
Œ
œ. j #n œœœ ... œ
5 3 4 3
7 5 7
5
b b B 7 9 13
G9
3 1 2 1
2
5
[59]
F # m7
G dim7
b œœ nœ
n œœ #œ
0
0
0
0
1
2
3
4
2
4
5
6
E
# œ & # #œ œ T A B
œœ #œ
E/G #
A
œœ œ
œœ œ
2 2
2 2
0
0
B m7
œœ n œœ 3 2 4 2
C dim7
œœ b œœ œœ n œ 3 2 4 2
Œ
A 7/C #
b œ n œœ œ nœ #œ
4 2
4 2
5 2
3
3
4
œœ ‰ # œœ J
œœ ‰ # œœ J
5 7 6 5
7 7 7 6
[62]
# # www & w
Acoustic Guitar Grade 8
E9
38
T A B [65]
ww n ww w
A 13
5 7 6 5 0
˙˙ ˙˙ ˙
‰
nœ
œ
œ
3
2
0
D 7/F #
D
&
##
T A B
j #œ œ
œœ œ œ
n n œœ œ ¿¿ œ œ ¿ J ¿¿ 6 5 5 ¿ 4 j nœ
œ.
5
6 7 6 7
7
[68]
&
##
j œ
C # dim
œ œ œ
œ œ œ.
5 6
5
0
G # dim7
G7
œ
0 5
3
¿¿ ¿
4
6
B 7/D #
B7 3
œ #œ œ œ œ # œ œ nœ # œ œ œ œ #œ œ
œ œ ¿¿ n œ #œ œ ¿ œ J
5
# D 7 5/F #
D/A
6
7
5
7 7
0
7 7
8
8
7 6
9
2
# B b 7 11
j nœ œ œ nœ ¿ nœ nœ œ n œ œ n œ œ œ œ b œœ œ ¿¿ n n œœ œ œ ‰ b œ n nœ œ #œ œ œ œ # œ #œ .. #œ œ n œ ¿ œ œ b œ œ ¿ n œ œ œ œ œ J œ. J ¿ ¿ 0 1 0 1 0 7 5 3 0 0 3 3 3 0 3 ¿ 65 0 1 4 1 0 0 0 1 3 4 ¿ 2 ¿ 4 0 4 0 3 1 A7
E
3
C6
D
G 7/B
3
5
T A B
4
[71]
0
œ
# # # # œœ n œ n œ & œ A 13
j nœ
œœ
j nœ
œ
œ nœ
5
7 6 5
7
10
6
5 7
6 5
3
4
G # dim7
3 4 3
3 4 3
5
6
œ œ n œœ œœ œ #œ
3
3
T A B
œ
G7
5
D
# B7 9
3 2 4
3 2 1
j j nœ ‰ # œœœ ‰ œœ n œ œ #œ ‰ œ Ó J 3
1
3
3
0
[74]
& T A B
##
F # m11
E7
j nœ
#œ œ œ n œj œ n œ # œœ œœ œ œ 3
3
1
2
3
2
3 2
0
G7
E/G #
œœ #œ
œœ #œ
œœ nœ
0 2
3 4
4
5
6
G 7 G # dim7
D
1 0 2
A 13sus 4
n œ #œ j n n œœœ # œ œ
‰
œ nœ #œ
œ
3
3
0 0
1 1 4 5
0
2 2
2
3
4
5
3
D
# nœ #œ œ œ œ n œ # œœ & # Œ ‰ œ J
T A B
[78]
1
2
3
3
0
2
0
3
œ œ œ
D/F #
œ #œ nœ 0
4 0
4
5
œ n œœ œ
j œœ ‰ œœ Ó œ #œ # œ ‰ Jœ ‰ n œ œ œ J
3 4 3
3 4 3
5
6
3 2 4 5
œ.
√ # ‚‚ OO .. ‚ O. NH
7 7 7 5
7
0
Acoustic Guitar Grade 8
[76]
39
First Rule Of Thumb | Technical Guidance Mason uses a thumb pick which enables him to pick as a fingerstyle player or a flatpicker. You don’t need to adopt his technique to play his style. An Albert Lee hybrid approach, without thumb pick, would work just fine. This piece is not out and out country. It is a jazz/gospel blend with a swing feel. Note that the bottom E string is dropped to D to give us a low root to the I (tonic) chord, D major. Note the use of open strings from the start. The very first lick is a great example. Mason has made the use of open strings a cornerstone of his style. To execute these licks, you’ll definitely need to use hybrid or fingerstyle picking. The triplet arpeggio in bar 5 is jazz based and this demonstrates another facet of Mason’s style. He is very influenced by # George Benson and this lick outlines a D7 11 chord. There are many details in this piece that come from a jazz background rather than the country style for which Mason is most famous. Many of the chords anticipate the beat. Note the harmony in beat 3 of bar 15 the E and G of the A7 chord are approached on the beat from a semitone above – bold indeed. These notes taken on their own are extremely dissonant but they work as a passing tension. The last beat of the same bar uses C # diminished 7th to target the next chord D major. The diminished 7th b could be seen as A7 9 starting on the 3rd degree.
Acoustic Guitar Grade 8
The intro is played in free time.
40
F .
J
ExtremeT| Midnight Express14 14 A B
14
12 0
12 0
12 0
[5]
SONG TITLE: MIDNIGHT EXPRESS ALBUM: WAITING FOR THE PUNCHLINE / 1995
LABEL: A&M
GENRE: HARD ROCK
WRITTEN BY: NUNO BETTENCOURT AND GARY CHERONE
GUITAR: NUNO BETTENCOURT
VOCALS: GARY CHERONE
BASS: PAT BADGER
DRUMS: PAUL GEARY PRODUCER: NUNO BETTENCOURT AND BOB ST. JOHN
Midnight Express is featured on Extreme’s fourth album Waiting for the Punchline, released in 1995. The album is a raw sounding record, borrowing many cues from grunge and alternative rock of the era. The group disbanded in 1996 following the record’s promotional tour. Bettencourt pursued a solo career thereafter. Nuno Bettencourt was born in Terçeira, in the Portuguese Island of Azores, in 1966. His family emigrated to Hudson, in Massachusetts, when he was four years old. He started as a drummer and was later taught guitar by his older brother. Whilst his initial interest was in sports, by his second year of high school he was fully dedicated to the guitar, eventually dropping out of school altogether to focus solely on playing the instrument. His influences are primarily in the field of hard rock. He cites Eddie Van Halen as an early influence but he has also drawn much from the likes of Paco de Lucía and Al Di Meola. This is evident in his guitar work on Midnight Express. Bettencourt is also a keen arranger and a versatile pop guitarist. He has played on many hard rock records and has featured as lead guitarist on Rihanna’s tours since 2009. He is also a producer and amongst his credits is Dweezil Zappa’s 1991 release Confessions. As a co-writer he works for Maverick Records.
# # œ # œ œœ & œ #œ œ œ T A B
œ œ œ
j œ ‰ œ ‰ œ œ 11
11
13
14
13
9 0
11
12 0
11 0
9
0
0
[7]
œ œ œ œ œ œ ## œ œ œ œ œ œ & Nuno Bettencourt has his own guitar signature model, made by Washburn and he is an in-demand œ œ ˙ ˙ session musician. T A B
14
14
14
14
12 0
12
12 0
12 0
[9]
# # œ # œ œœ & œ #œ œ œ T A B [11]
œ œ œ
11
13
14
13
9 0
11
12 0
11 0
œ œ œ œ œ 11
0
Acoustic Guitar Grade 8
9
41
Midnight Express
Extreme Arranged by James Betteridge
q =164
# & # 46 T A B
∑
∑
∑
∑
E B G D A D
## ˙ . & ˙. F ˙.
œ. œ. œ.
œ œ œ
œ œ
T A B
j œ œ œ J
14
14
14
14
12 0
12 0
12 0
12 0
N.C.
œ œ
œ #˙ œ #˙ œ ˙
œ. œ. œ.
œ œ œ
16
16
13
13
14
14
14 0
11
11 0
12 0
œ
‰
œ œ 0
0
[5]
## œ # œ œ & œ #œ œ œ œ
œ œ œ
T A B
j j j œ œ œ ‰ œ ‰ œ ‰ œ œ œ œ
‰
˙.
j œ ˙ œ ˙
j œ œ. œ œ. œ.
œ œ œ.
11
13
14
13
11
9
7
6
6
6
9 0
11
12 0
11 0
9
7
5
4
4 0
4 0
0
0
0
0
[7]
## œ & œ ˙ 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 œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ J
œ œ œ.
14
14
14
14
16
16
18
18
[18]
13
13
14
12 0
12
12 0
12 0
14
14 0
16
16 0
[16]
11 0
11 0
12 0
j œ œ œ œ œ ‰ œ Œ œ œ œ œ
j œ œ œ œ œ œ J
œ œ œ
j j œ œ œ œ œ œ œ Ó. J
9
11
11
11
11
7 0
9 0
9 0
9 0
9
0
Acoustic Guitar Grade 8
[9]
42
## œ # œ œ & œ #œ œ œ œ
œ œ œ
T A B [11]
11
13
14
13
9 0
11
12 0
11 0
11 0
9
9 0
7
0
0
Words & Music by Nuno Bettencourt & Gary Cherone © Copyright 2003 Color Me Blind Music, USA. Rondor International Inc. All Rights Reserved. International Copyright Secured.
œ œ
j œ œ
11
11
11
9
9
9
0
# # ˙˙˙ ... & ˙. f ˙. T A B
œœ œœ ˙
œœ œœ
œœ œœ
œœ œœ œ
0 0 14
0 0 14
0 0 14
0 0 14
12 0
12 0
12
12 0
j # œœ ‰ # œœ œ
œ œ
œœ œœ œ
œœ œœ œ
16
0 0 13
0 0 13
14
11
11 0
0
œœ œœ ‰ œ J 0
œœ œœ œ
œœ œœ œ
œœ œœ œ
0 0 13
0 0 13
0 0 14
11 0
11 0
12 0
œœ œœ œ J
¿¿ ¿¿ ¿ ¿ ‰ ¿¿ ¿¿ ¿ ¿
0
[13]
T A B
œ
j j œ #œ j j j œœ œ œ œ œ œ œ œ œ œ œ œ œ œœ ‰ ‰ œ œ œ œ ‰ œ œ œ œ ‰ ‰ ‰ ‰ œ œ #œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ
œœ œœ
# # œœœ # œœœ & œ #œ œ 0 0 11
0 0 13
0 0 14
0 0 13
13 14 13
11
11 13
11
9
7
6
7
9
11
13
9 0
11
12 0
11 0
11 12 11 0 0
9
9 11
9
7
5
4
5
7
9 0
11
0
0
0
0
0
0
0
[15]
j œœ œœ œ J
# # œœœ ... & œ. œ. T A B
œœ œœ œ
œœ œœ œ
œœ œœ
œœ œ œœ œ
œ
j # œœ ‰ # œœ œ œ
œ
0 0 14
0 0 14
0 0 14
0 0 16
0 0 16
12 0
12
12 0
14 0
14 0
œœ œœ œ J
0 0 13
18 16
0
œœ œœ œ
11 0
œœ œœ
œœ œœ œ J
œœ œœ œ
œœ œœ œ
œœ œœ œ
0 0 13
0 0 13
0 0 13
0 0 14
11 0
11
11 0
12 0
œœ ¿ ¿ œœ ¿¿ ¿¿ ‰ ¿¿ ¿¿ ¿ ¿
[17]
## œ . & œ. œ T A B
œ. œ.
œ J
œ
œ. œ. œ
œ J
œ. œ.
œ J
œ
œ. œ. œ
œ J
˙ ˙
œ
œ
œ
œ
j nœ œ nœ œ œ ‰ Œ J
œ œ Œ
11
18
9
18
7
18
5
5
5
9 0
16 0
7 0
16 0
5 0
16 0
3
3
3
0
0
0
0
0
0
0
0
# & # nœ œ œ ≈ œ œ nœ œ œ œ œ œ œ œ œ œ nœ œ T A B [21]
3
5
0
0
3
5
3
0
0
3
5
0
5
3
0
3
0
nœ œ œ 3
5
0
≈
nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ 0
3
5
3
0
0
3
5
0
5
3
0
3
0
Acoustic Guitar Grade 8
[19]
43
# & # T A B
nœ œ œ 3 5
≈
0
œœœ 0
3 0
œ œœ œœ œ œ œ œ nœ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œœ œ 5
0 0
3
5
0
5 3
0
3
0
0
0
3 5
0
0
3
5
3
0 5
3
0 5
0
3
5
3
0 5
3
0 5
3
5
[23]
# & # T A B
nœ œ œ 3
5
≈
0
nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ 0
3
5
3
0
0
3
5
0
5
3
0
3
≈
nœ œ œ 3
0
5
0
nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ 0
3
5
3
0
0
3
0
5
5
3
0
3
0
[25]
# & # T A B
nœ œ œ
≈
nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œœœ nœ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 0
3
5
0
0
3
0
5
0 0 2
3
3 2 0
3
0
3
0 2
3
0 2
0 3
2
0 3
2
0
0
2
3
3
0
2
3
2
0 3
2
3
[27]
# & # T A B
nœ œ œ 3
5
0
≈
nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ 0
3
5
3
0
0
3
5
0
5
3
0
3
≈
nœ œ œ 3
0
5
0
nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ 0
3
5
3
0
0
3
0
5
5
3
0
3
0
Acoustic Guitar Grade 8
[29]
44
# & # nœ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ T A B [31]
3 5
0
0
3 0
5
0 0
3
5
0
5 3
0
3
0
0
0
3 5
0
3
0 5
3
0 5
3
0 5
3
0 5
3
0 5
3
0 5
3
5
# & #
nœ œ œ
T A B
3
5
≈
0
nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ 0
3
5
3
0
0
3
0
5
5
3
0
3
≈
nœ œ œ 3
0
nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ
0
5
0
3
5
3
0
0
3
5
0
5
3
0
3
0
[33]
# & #
nœ œ œ
T A B
44
‰ n œj ‰ œ b b œœ œ nœ œ œ œ nœ œ œ œ œ œœ œœ œ œ bœ œ œ œ n œ œœ œ n n œœ œœœ œ œ œ œ œ œ œ œ œ
≈
0 3
5
0
0
3
0
5
0 0 2
3
3 2 0
3
0
0 0 0
3
2 2 2
3 3 3
5 5 5
6 6 6
5 5 5
0
3 3 3
5 5 5
0
0
[35]
# & # 44 T A B
nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ nœ œ œ œ œ œ n œ œ œ nœ œ. 0
3
5
0
3
0
5
0
3
0
3
0
5
3
0
5
3
0
5
0
3
0
3
5
0
œ
œ
0
0
œ
œ
0
0
0
[37]
# & # T A B
œ nœ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ 0
3
5
0
3
5
0
3
0
0
3
5
0
3
5
nœ œ œ nœ œ œ œ œ œ . œ
0
3
0
5
0
3
0
3
0
5
0
# & # T A B [41]
nœ œ bœ œ œ œ œ œ œ œ bœ œ nœ œ bœ nœ nœ œ n œ œ œ bœ œ œ n œ œ n œ nœ nœ œ 0
3
5
0
3
0
3
5
6 6 5
3
5
5
5
3
4
5
3
5
4
3
5
5
5
3
5
4
3
0
œ œ 0
0
Acoustic Guitar Grade 8
[39]
45
# & # T A B
nœ nœ bœ œ œ œ œ œ œ œ bœ œ nœ œ bœ nœ nœ œ n œ œ nœ œ œ œ bœ nœ nœ œ nœ nœ 0
3
5
0
3
0
3
5
6 6 5
3
5
5
3
5
4
3
5
5
4
3
5
5
3
5
5
4
3
œ œ
0
0
0
[43]
# & # T A B
nœ œ œ nœ œ œ œ œ œ . œ
œ nœ œ œ œ œ œ œ œ œ œ œ œ œ nœ nœ 0
3
5
0
3
5
0
3
0
0
3
0
5
3
0
5
3
0
5
0
3
0
3
0
5
0
œ
œ
0
0
œ
œ
0
0
[45]
# & # T A B
nœ œ œ nœ œ œ œ œ œ œ.
nœ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ 0
3
5
0
3
5
0
3
0
0
3
0
5
3
0
5
3
0
5
0
3
0
3
0
5
0
[47]
# & # T A B
nœ œ bœ œ œ œ œ œ œ œ bœ œ nœ œ bœ nœ nœ œ n œ œ nœ œ œ œ bœ nœ nœ œ nœ œ 0
3
5
0
3
0
3
5
6 6 5
3
5
5
3
5
4
3
5
5
4
3
5
5
5
3
5
4
3
œ œ
0
0
0
Acoustic Guitar Grade 8
[49]
46
# & # T A B [51]
6 bœ nœ n œ # œ n œ 4 n œ n œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ nœ œ nœ œ œ œ nœ œ 3
0
0
3
0
0
3
0
5
0
0
6
0
0
7
0
0
6
0
0
5
0
0
3
0
0
0
0
3
0
3
0
D
j œ œ œ œ ≈ œr œ œ œ œ œ œ œ bœ œ œ œ œ ≈ œ ‰ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ≈ ≈ œ
G
D
## 6 # œ œ œ œ n œ œ œ œ & 4 œ œ œ œ œ œ n œœ œ T A B
11 0 0
11 11 11 0 0
12 0
11 0
12 0 0
14 0
12 0 0
12 0 0
12 0 14 12 0 0
Gm
11 0 0
11 11 11 0 0
12 0
11 0
14 0
11 0 0
0
11 0 0
11 0 14 12 0 0
[53]
œ ## œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ D
T A B
11 0 0
11 11 11 0 0
12 0
A7
œœ œœ œœ œ œ œ
14 12 0
14 12 0
14 0
0
œœ œœ œœ œœ œœ ˙˙ . .
œœ œœ œœ œœ œœ ˙˙ . .
14 12 0 0
14 12 0 0
14 12
14 12
14 12
14 12
14 12
14 12
[55]
## # œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œœ
j œ œ œ œ ≈ œr œ œ œ œ œ œ œ bœ œ œ œ œ ≈ œ ‰ œœ œœ œœ œ œœ œ œ œ œ œ œ œœ œœ œœ œœ œ ≈ ≈
T A B
12 0 0
D
11 0
G
11 11 11 0 0
12 0
11 0
14 0
D
12 0 0
12 0 0
12 0 14 12 0 0
11 0 0
Gm
11 11 11 0 0
12 0
11 0
14 0
0
11 0 0
11 0 0
11 0 14 12 0 0
[57]
## œ . & œ. œ. T A B
11 0 0
11 11 0 0
12 0
11 0
14 0
14 12 0
0
œœ œ
œœ œ
œœ œœ œœ œ œ œ
14 12 0
14 12 0
14 12 0
j œœ œœ œœ œœ œœ ‰ œ œ œ œ œ ¿¿ ¿¿ 14 12 0
14 12 0
¿¿ ¿¿
14 12 0
[59]
N.C.
# œ & # œ
œœ œ
œ œ
PM
T A B [61]
œ
œ œ
œ œ
œ œ
PM
PM
œ
œ œ
PM
œ œ
œ œ
œœ œ
œ œ
PM
PM
œ
œ œ
5
3
5
3
7
5
3
7
5
4
5
4
7
5
4
0
0
0
0
0
0
0
0
0
0
0
0
A 7sus 4
œœœ œœœ œœœ œ œ œ œ œ œ œ
PM
PM
7 0
A7
0
PM
0
2 0 5 0
2 0 5 0
3 0 5 0
0
0
Acoustic Guitar Grade 8
j œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ A7
D
47
N.C.
# œ & # œ
œœ œ
œ œ
PM
T A B
œ
œ œ
PM
œ œ
œ œ
PM
œ
œ œ
PM
5
3
5
3
7
5
4
5
4
0
0
0
0
0
œœœ œ
j j œœœ œœœ œœœ œ œ œ
œœœ œ
j œœœ œ
œ œ
2 0 5 0
2 0 5 0
2 0 5 0
3 0 5 0
3 0 5 0
A 7sus 4
PM
7 0
j œœœ œœœ œ œ
A7
0
0
0
2 0 5 0
2 0 5 0
3 0 5 0
[63]
N.C.
# œ & # œ
œœ œ
œ œ
PM
T A B
7
œ
PM
5
7 0
0
œ œ
œ œ
PM
3
5 0
œ œ
PM
5
4 0
œ
0
œ œ
œ œ
PM
3
5 0
œ œ
œ œ
œœ œ
PM
5
7
5
0
0
0
œœœ œœœ œœœ œ œ œ
œ œ
2 0 5 0
4
0
0
0
œ
j œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ œ
0
œ œ
PM
3
0
A 7sus 4
PM
PM
7
4
œ
œ œ
A7
0
2 0 5 0
3 0 5 0
0
0
[65]
N.C.
# œ & # œ
œœ œ
œ œ
PM
T A B
œ
œ œ
PM
œ œ
œ œ
PM
œ œ
PM
5
3
5
3
7
5
4
5
4
0
0
0
0
0
j œœœ œ
j œœœ œœœ œ œ
œœœ œ
j œœœ œ
2 0 5 0
2 0 5 0
3 0 5 0
3 0 5 0
A 7sus 4
PM
7 0
A7
0
0
0
2 0 5 0
2 0 5 0
2 0 5 0
2 0 5 0
2 0 5 0
3 0 5 0
[67]
# & #
# B b 6 11
bœ
œ œ œ œ œ œ œ œ nœ œ œ
C
nœ
œ œ
œ
œ œ
œ œ
œ
œ
œ œ
Let ring
T A B
1
3
0
3
0 0
3
3
0
3
0
3
3
5
0
5
0 0
5
5
5
0
0
5
[69]
Acoustic Guitar Grade 8
D
48
G
## # œ œ œ œ œ œ œ œ & œœ œ œ œ œ œ œœ T A B [71]
11 0 0
11 11 11 0 0
12 0
11 0
14 0
12 0 0
j œ œ œœ≈œ œ œœœ œ œ œ bœ œ œ œ œ ≈ œ ‰ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ≈ ≈ œ D
12 0 0
12 0 0
12 0 14 12 0 0
11 0 0
Gm
11 11 11 0 0
12 0
11 0
14 0
0
11 0 0
11 0 0
11 0 14 12 0 0
j œ ## œ œ œ œ œ œ œ ‰ œ & œ œ œ œ œ œ œ œ œ T A B
11 0 0
j œœ
œœ ‰ ‰ Jœ œœ
A7
D
11 11 11 0 0
12 0
11 0
14 0
14 12 0
0
14 12
14 12 0 0
0
> > œœ œœ œœ œœ œœ œœ . œœ œœ . J
> œœ œœ
> > œœ œœ œœ œœ œœ œœ œœ œœ
14 12 0 0
14 12 0 0
14 12 0 0
14 12
14 12
14 12 0 0
14 12
14 12
14 12 0 0
14 12
14 12 0 0
[73]
D
j œ œ œœ≈œ œ œœœ œ œ œ bœ œ œ œ œ ≈ œ ‰ œœ œœ œœ œ œœ œ œ œ œ œ œ œœ œœ œœ œœ œ ≈ ≈
G
D
## # œ œ œ œ œ œ œ œ & œœ œ œ œ œ œ œœ T A B
11 0 0
11 11 11 0 0
12 0
11 0
14 0
12 0 0
12 0 0
12 0 0
12 0 14 12 0 0
11 0 0
Gm
11 11 11 0 0
12 0
11 0
14 0
0
11 0 0
11 0 0
11 0 14 12 0 0
œœ œœ
> œœ œœ
> œœ œœ
14 12 0 0
14 12 0 0
14 12 0 0
[75]
j œ ## œ œ œ œ œ œ œ ‰ œ & œ œ œ œ œ œ œ œ œ œ œ T A B
11 0 0
11 11 11 0 0
12 0
11 0
14 0
j œœ ‰ œœ œœ
œœ œœ
A7
D
14 12 0 0
0 0
0 0
14 12 0 0
œœ œœ
œœ œœ
> œœ œœ
14 12 0 0
14 12 0 0
14 12 0 0
œœ œœ
œœ œœ
œœ œœ
> œœ œœ
14 12 0 0
14 12 0 0
14 12 0 0
14 12 0 0
[77]
N.C.
# œ & # œ
œœ œ
œ œ
PM
T A B
7
œ
PM
5
7 0
0
œ œ
œ œ
PM
3
5 0
œ œ
PM
5
4 0
œ
0
œ œ
œ œ
PM
3
5 0
œ œ
œœ œ
0
PM
5 0
2 0 5 0
4
0
0
0
¿¿ ¿¿
œ œ
PM
3
5 0
¿¿ ¿¿
¿¿ ¿¿
A 7sus 4
œœœ œœœ œœœ œ œ œ
œ œ
PM
7 0
œ œ
œ
PM
7
4 0
œ œ
A7
¿¿ ¿¿
0
2 0 5 0
3 0 5 0
0
0
N.C.
# œ & # œ
œœ œ
œ œ
PM
T A B [81]
œ
œ œ
PM
œ œ
œ œ
PM
œ
œ œ
PM
5
3
5
3
7
5
4
5
4
0
0
0
0
0
0
œœœ .. .. œ œ œ
j œœœ œœœ ¿¿¿ ¿¿¿ œ œ ¿ ¿
PM
7 0
A7
0
0
2 0 5 0
2 0 5 0
2 0 5 0
¿¿ ¿¿
¿¿ ¿¿
b A7 9
j œ b œœ œ
œ œœ œ
œ œœ œ
j œ œœ œ
8 0 8 0
8 0 8 0
8 0 8 0
8 0 8 0
Acoustic Guitar Grade 8
[79]
49
N.C.
# œ & # œ
œ œ œ
œ œ
œ
PM
T A B
œ œ
œ œ
PM
œ nœ
PM
œ
œ œ
PM
œ
œ œ
PM
œ œ
œœ œ
œ œ
œ
PM
œ œ œ œ œ œ
œ œ
PM
PM
7
5
3
8
7
8
7
5
10
10
8
7
5
4
9
7
9
7
5
11
11
9
0
0
0
0
0
0
0
0
0
0
0
œ œ
PM
0
0
0
0
0
[83]
# # œœ &
œ œ
œ œ œ
œ œ
PM
T A B
8
11
9 0
œ œ œ œ œ œ œ
12 10
12 10
14
11
11
12
œœ . . œ.
œœ J
12
10 8
10 8
11
9
œœ
œœ œ
œœ œ
œœ œ
œœ œ
10 8
10 8
10 8
9
9
9
Œ
PM
10 0
œ œ œ
0
0
0
[85]
# & #
# B b 6 11
bœ
nœ œ
œ
œ œ
œ œ
œ
œ
C
œ œ
Let ring
T A B
0
3
1
0
3
0
3
3
0
3
0
nœ
3
3
œ œ
5
0
œ
œ œ
œ œ
0
5
0
œ
œ
5
5
0
5
œ œ 0
5
[87]
D add 9/11
&
##
œ œ
œ
œ œ œ
œ
œ œ
œ œ œ
# B b 6 11
j C œ œ œ œœ œœ œ œ œœœ n œœœ œ
j œœ œœ œœ œ œ b n œœ
(let ring)
T A B
0
7
5
7
0
7 5
7
0
7
0
7
0
7
5
0
7
0 7 0 7 5
7
0 5 0 5 3
0 5 0 5 3
0 3 0 3 1
Acoustic Guitar Grade 8
[89]
50
# B b 6 11
# # œœj œœ .. & n œœ œœ . b œ œ .. T A B [91]
0 3 0 3 1
0 3 0 3 1
œœœ œœœ œœœ œ œ œ œ œ œ
œœœ œœœ œœœ œ œ œ œ œ œ
0 3 0 3 1
0 3 0 3 1
0 3 0 3 1
0 3 0 3 1
j œœ œœ .. œœ œœ . n œ œ .. C
0 5 0 5 3
0 5 0 5 3
œœ œœ œœ œœ œœ œœœ œ œ
œœ œœ œœ œœ œœ œœœ œ œ
0 5 0 5 3
0 5 0 5 3
0 5 0 5 3
0 5 0 5 3
0 5 0 5 3
0 5 0 5 3
œ œ 0
0
# & #
nœ œ œ
T A B
3
5
≈
0
nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ 0
3
5
3
0
0
3
0
5
5
3
0
3
≈
nœ œ œ 3
0
0
5
nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ 0
3
5
3
0
0
3
0
5
5
3
0
3
0
[93]
# & # nœ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œœ œ
T A B
3 5
0
0
3 0
5
0 0
3
5
0
5 3
0
3
0
0
0
3 5
0
0
3
3
5
0 5
0
3
0
3
5
5
0
3
3
5
0 5
3
5
[95]
# & # nœ œ œ ≈ œ œ nœ œ œ œ œ œ œ œ œ œ nœ œ
T A B
3
5
0
0
3
5
3
0
0
3
0
5
5
3
0
3
≈
nœ œ œ 3
0
0
5
nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ 0
3
5
3
0
0
3
5
0
5
3
0
3
0
[97]
# & #
≈
nœ œ œ
T A B
44
œœ n b œœ nœ œ œ œ nœ œ œ œ œ œœ # # œœ n œœ œ œ œ n bœ œ œ œ nœ œ nœ œ œ œ œ œ #œ œ œ œ œ 0
3
5
0
0
3
0
5
0 0 2
3
3 2 0
3
0
0 0 0
3
3 3 3
5 5 5
0
6 6 6
0
7 7 7
0
8 8 8
0
0
0
[99]
# 4 & #4 T A B
nœ œ œ œ œ œ œ œ nœ œ œ nœ œ œ œ œ œ n œ œ œ œ n œ œ œ nœ œ. 0
3
5
0
3
0
5
0
3
0
3
0
5
3
0
5
3
0
0
0
3
0
3
5
0
0
œ
œ
0
0
œ
œ
0
0
# & # T A B [103]
nœ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ 0
3
5
0
3
5
0
3
0
0
3
5
0
3
5
0
nœ œ œ nœ œ œ œ œ œ œ. 3
0
5
3
0
0
3
5
0
0
Acoustic Guitar Grade 8
[101]
51
# & # T A B
nœ œ bœ œ œ œ œ œ œ œ bœ œ nœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ nœ œ œ 0
3
5
0
3
0
3
5
6 6 5
3
5
5
3
5
4
3
5
4
3
5
4
3
5
4
3
5
4
3
5
4
0
[105]
# & # T A B
œ nœ œ bœ œ œ œ œ œ œ œ bœ œ nœ œ bœ nœ nœ n œ œ œ bœ nœ œ œ n œ œ n œ œ nœ 0
3
5
0
3
0
3
5
6 6 5
3
5
5
3
5
4
3
5
5
4
3
5
5
3
5
5
4
3
œ œ
0
0
0
[107]
# & # T A B
nœ œ œ nœ œ œ œ œ œ . œ
œ nœ œ œ œ œ œ œ œ œ œ œ œ œ nœ nœ 0
3
5
0
3
0
5
0
3
0
3
0
5
3
0
5
3
0
5
3
0
0
3
0
5
0
œ
œ
0
0
œ
œ
0
0
[109]
# & # T A B
nœ œ œ nœ œ œ œ œ œ . œ
œ nœ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ 0
3
5
0
3
0
5
0
3
0
3
0
5
3
0
5
3
0
5
3
0
0
3
0
5
0
[111]
# & # T A B
nœ œ bœ œ œ œ œ œ œ œ bœ œ nœ œ bœ nœ nœ œ n œ œ nœ œ œ œ bœ nœ nœ œ nœ œ 0
3
5
0
3
0
3
5
6 6 5
3
5
5
5
3
4
3
5
5
4
3
5
5
5
3
5
4
3
Acoustic Guitar Grade 8
[113]
52
# & # 74 # œ n œ œ n œ œ n œ œ œ # œ œ œ œ # œ n œ œ œ n œ œ œ œ œ nœ œ œ œ œ
T A B
[115]
6
7
6
0
4
5
4
0
6
7
6
0
4
5
4
0
3
5
3
0
5
7
5
0
5 5
42
D sus 2
˙˙˙ ˙˙ ˙ 0 3 2 0 0 0
0
œ œ 0
0
74
Midnight Express | Technical Guidance The Guitar is tuned to drop D and then down a whole tone. From the bottom E string, the tuning is C, G, C, F, A, D. This challenging piece starts with a Lydian melody played in octaves, with the open D string providing a drone like effect. Focus on left and right hand muting, trying not to catch any unwanted open strings. The Lydian theme continues in the next section, which is more aggressive in its attack and uses the open strings to great effect, helping accentuate the dynamic shift and supporting the melody. The open strings also provide some interesting and colourful extensions to the harmony. The piece then modulates to D minor, with a riff based around the minor pentatonic scale. Focus on cleanly articulating the riff at a much slower tempo first. It’s definitely a work out for both fretting and picking hand coordination and stamina. The figure in bar 24 is the most awkward bar of this section. In the repeated groups of three descending 16th notes, play the open D string with a down stroke, followed by an up stroke on the C note directly afterwards with the first finger. To finish off the phrase, hammer on the G with the third finger. After this 16th note, pentatonic frenzy, the tune modulates again to D major. The main harmony suggested in the section moves between the I (tonic), IV (subdominant), V (dominant) and IVm chord (modal interchange). To help make the score clearer, the muted strings in this section have not been indicated, instead only the strings that are to be played and heard are marked.
Acoustic Guitar Grade 8
The piece has been slightly edited in length and does not return to the opening theme after bar 100.
53
54
Acoustic Guitar Grade 8
Newton Faulkner | I Need Something
q = 98
SONG TITLE: I NEED SOMETHING ALBUM: HAND BUILT BY ROBOTS /
E Gtr. 1 (Assessed)
2007
œ œ # ## # 4 ‰ œ œ œ œ œ œ œ œ œ 4 & ‰ ˙.
LABEL: PEER – SOUTHERN GENRE: ALTERNATIVE/ ACOUSTIC POP
WRITTEN BY: NEWTON FAULKNER
Let ring throughout…
PRODUCER: MIKE SPENCER
UK CHART POSITION: 70
‘I Need Something’ was Newton Faulkner’s first single, taken from his debut album, Hand Built By Robots, released in 2007. The album was certified double platinum in the UK.
†
5
E B A E A E
T A B
4
2
0
4
0
0
5
4
0
0
† Tune down a further semitone to match backing
0
track an
œ œ œ A # ## # ‰ œ œ œ œ œ œ œ œ œ œ & w
Faulkner’s guitar playing involves the use of the guitar’s body to create different percussive effects and T it is a significant element of his songwriting style. A Faulkner was taught by guitarist Eric Roche, who’s B percussive style had a substantial effect on his playing. He uses a C # F # C # G # F # C # (DGDGAD a semitone [3] 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.
-off, no picking)
Left hand legato (hammer-on/pull
PRODUCTIONS
ut assessed and non-assessed g
See note on welcome page abo
5
4
0
4
2
0
5
0
4
2
0
4
0
# ## # Ó & E
&
0
# ## #
T A B
w 0
[5]
#
œ œ I
need
œ œ some
-
Acoustic Guitar Grade 8
55 A
œ
t
I Need Something
Newton Faulkner Arranged by Andy G Jones
q = 98
See note on welcome page about assessed and non-assessed guitar parts
E Gtr. 1 (Assessed)
≈ œ œ R œ œ œ œ œœœ ‰. Œ
Left hand legato (hammer-on/pull-off, no picking)
‰ ‰ ‰ #### 4 ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ & 4 J ‰ ˙.
3
Let ring throughout…
E† B A E A E
T A B
5
0
4
0
2
4
0
5
0
4
0
4
5 7
9
0
4
0
5 [ 7]
7
0
4
0
2
4 2 0
14
0 † Tune down a further semitone to match backing track and original recording
#### ‰ & w A
‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‚. 3
TH
5
T A B
j œ 3 ‚ œ‚ œ 2 œ
0
4
0
2
4
0
5
0
4
0
2
4
2
œ Œ
TH
0
2 12
2
‚‚ NH
12 12
0
12
0
‡ Tapped harmonic; to sound harmonic tap sharply directly above numbered fret and immediately release
[3]
# # # # EÓ & #### & T A B
œ œ I
need
œ œ some
œ
-
œ
thing
w
j œ œ œ
‰
œ
œ œ œ
œ
to
be - lieve
in,
w
0
Acoustic Guitar Grade 8
[5]
56
&
####
&
####
T A B [7]
A
œ
‰ œ œ œ
’cause I don’t
w
œ œ œ œ œ
be - lieve
in
my
-
œ. -
˙.
-
j œ œ self.
Œ ‚‚
NH
12 12 0
E
Œ
And I’m sick and
w 0
Words & Music by Newton Faulkner © Copyright 2007 NBF Music Publishing Limited. Peermusic (UK) Limited. All Rights Reserved. International Copyright Secured.
‰ œ œ œ œ œ œ œ tired
& &
#### ####
T A B
‰ j œ œ œ œ œ œ
œ œ
of
get - ting
no
-
j ‰ œ œ œ œ œ œ
A
œ
3
œ
where,
guess
it - ’ll
all
work
out.
w
w
˙.
œ
w
0
[10]
C # sus 2
#### Π& &
####
T A B
r . œ œ œ œ œ
‰.
And
I
don’t
A sus 2
œœœ ≈ œœœ ˙˙˙ . œ œ 4
4 6 4
4
an -
œœœ ≈
œ.
4 6 4
œ.
œ œ
˙.
mind
E
0 0 0
0
y
more.
œœ ˙˙ œ ˙
œ
œ ˙.
œ.
œœœ ≈
0 4 0
0
œ
0 2 4
œœœ ˙˙˙ 0 2 4
0
0
[13]
&
####
&
####
T A B
Ó
˙ œ.
r . œ œ œ œ œ
‰.
Œ
And
œœœ ≈
œ
0 2 4 0
C # sus 2
œœœ œœœ
œ œ œ 3
0
0 2 4
0
don’t
œ.
mind
œœœ ≈ œœœ ˙˙˙ œ. œ
0 4
0
I
4 6 4
4
j œ œ
A sus 2
œ.
4 6 4
0
œ œ
an - y
œœœ ≈ œœœ ˙˙˙ œ 0 0 0
0 4 0
0
[16]
& T A B [19]
####
E
œ.
œ œ œ.
˙
Ó
˙
more.
œ.
œœœ ≈
œ
0 2 4 0
œœœ
˙˙˙
œ.
0 2 4 0
œœœ ≈
œ
0 2 4 0
œœœ
œœœ
œ
0 2 4 0
œ œ œ œ 3
0 0
0
0
0
Acoustic Guitar Grade 8
&
####
57
# # # # EΠ& &
####
‰ ˙.
And
I
œ œ
need
some
œ -
œ œ œ
one
œ œ œ œ œ œ œ œ œ œ œ œ œ‰ œ ‰ 5
T A B
œ œ œ R
‰.
0
4
0
2
4
0
5
0
4
0
‰ œ.
4 9
œ
to
œ œ œ œ ‰œ J 5
7
œ.
0
4
œ œ put my
œ
trust
in,
≈ œ œ R œ œ œ œ œœœ Œ ‰. 3
0
5
7
œ œ
[ 7]
0
4
0
2
4
2
0
14
0
[21]
#### œ &
œ
A
&
####
‰ w
’cause I
œ.
œ œ œ œ
ain’t
trust
-
in
my
-
-
‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‚. 3
-
0
4
0
2
4
0
5
0
4
0
2
4
2
0
-
-
œ J
œ œ Ó
TH
2 12
2
œ œ œ
self.
j œ 3 ‚ œ‚ œ 2 œ
TH
5
T A B
≈ œ œ œ
‚‚ ..
œ
NH
12 12
0
12
0
[23]
&
####
% E
œ
j œ
‰
And I’m
Acoustic Guitar Grade 8
And
58
œ œ œ
œ I’m sick
scared of fail and tired
œ œ œ
œ -
ure,
‰ #### ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ‰ ˙. T A B [25]
5
0
4
0
2
4
0
5
0
4
0
4 9
7
so of
œ œ œ œ ‰œ J 5
7 0
‰ œ.
œ
œ
0
4
œ scared get -
of suc ting no - where,
cess,
≈ œ œ œ œ œ œ œœœ R Œ ‰. 3
0
5 [ 7]
œ
œ œ œ
14
0
4
0
2
4
2
0
## œ & ## A
≈ œ œ I guess I guess
A [2° F # m7 ]
œ œ
œ œ
œ
it - ’ll it - ’ll
all all
work work
œ J
## & ## ‰
œ œ œ œ œ œ œ œ œ œ œ œ œœœ ‰
T A B
5
[27]
0
4
0
2
4
0
5
0
4
0
2
4
2
0
0
C # sus 2 [2° C # sus 2
####
T A B
œ. 4
C#m ]
≈ œ R
œœœ ≈ 4 6 4
œ 4
œœœ
And And
œ.
œ œ
œ
I I
don’t don’t
mind mind
œœœ
4 6 4
œœœ
3
œ œ œ 2 2
œ
œ
‚‚ ..
out. out.
12 12
0
12
œ.
0
œ J
NH
A sus 2
œ.
4 6 4
œ J
œ.
2 12
# # œ. & ## &
3
œ.
œ J
œ
œœ œœœ ≈ œ œ
œœ œ
0 0 0
0
œ
œ
œ
an an
-
œœ œ
0 4 0
y y
0 4 0
[29]
&
#### œ
&
####
E
T A B
œ œ
˙.
∑
more. more.
œœœ ≈
œ.
œœœ
œ
0 2 4
˙˙˙
œ.
0 2 4
0
œœœ ≈
œ
0 2 4
0
0
œœœ
œ
œœœ
œ
œ
3
0
0 2 4
0
0
0
[31]
‰.
Œ
## & # # œ.
œœœ ≈
T A B
4 6 4
[33]
4
œ R
œ 4
œœœ 4 6 4
And And
œ.
œ œ
œ
I I
don’t don’t
mind mind
œœœ
œœœ 4 6 4
œ.
A sus 2
œ. 0
œœœ ≈ 0 0 0
œ 0
œ J
œ
œœ œ
œœ œ
0 4 0
œ
œ an an
œœ œ 0 4 0
To Coda
œ
-
y y
fi Acoustic Guitar Grade 8
&
####
C # sus 2
59
E add 9/11
E
## w & ## ## & ## f
T A B
≥
≥ ≤ ≥ ≤ ≥ ≤
œœœ œ œœ > 0 0 2 4 2 0
≤ ≥ ≤ ≥
Û Û etc.
0 0 2 2 0
† In bars 35 & 36 (and where repeated) inclusion of top two strings varies
Gtr. 2 (Non-assessed)
T A B
œ œœ Û Û Û Û Û œœœ Û Û Û Û Û Û Û Û Û œœ œœ 0 0 0 2 2 0
0 4 2 0
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & F
E add 9/11
w
≥ ≤
Û Û Û Û Û Û Û Û Û Û œœœ œœ
†
E add 11
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Fig. 1…
12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
12
9
[35]
#### œ J &
A sus 2
Acoustic Guitar Grade 8
60
A#4
˙
> Û Û Û œœœ œœœ Û Û Û Û Û Û œœœ œ œ œ
Û
[37]
˙.
2 0 0
4 0 0
5 0 0
5
5
5
5
12
Œ
œœ Û Û Û Û Û Û œœ œœ Û Û Û Û Û Û Û œ œ œœ œ œ
0 0 0 0
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & T A B
A5
more.
# ## œ & # œœœ œ T A B
œ.
A
12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
12
E
E add 9/11
## œ & ## J
œ.
˙
## œ & # # œœœ œœ >
Û Û Û Û Û Û Û Û Û Û œœœ œœ
E add 11
E add 9/11
w
Oh.
T A B
0 0 2 4 2 0
Û Û
0 0 2 2 0
9
12
12
9
12
12
9
12
12
9
12
12
9
0 0 0 2 2 0
0 4 2 0
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & T A B
œ œœ Û Û Û Û Û œœœ Û Û Û Û Û Û Û Û Û œœ œœ
12
12
9
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 12
12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
[39]
A sus 2
# # # # œJ &
A
œ.
A#4
˙
A5
w
Oh.
T A B
> Û Û Û œœœ œœœ Û Û Û Û Û Û œœœ œ œ œ
Û
œœ Û Û Û Û Û Û œœ œœ Û Û Û Û Û Û Û œ œ œ œ œ œ
0 0 0 0
2 0 0
4 0 0
5 0 0
5
5
5
5
#### 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 …Fig. 1 ends
T A B [41]
12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
12
9
12
12
9
Acoustic Guitar Grade 8
# ## œ & # œœœ œ
61
## œ œ œ œœ & # # Œ ‰ . œR
A
And I need some - one
&
####
D.%. al Coda
. œ œ œ œ . œ œ œ . œ œ œ œ ≈ œ œ œ œ œ œ œ œ œJ œ œ œ œ
E
to be - lieve
w
in,
’cause I don’t be - lieve in my
self.
˙.
w
w
-
œ
fi
‚‚ .. NH
12 12
T A B
0
5
[43]
fi Coda
E add 9/11
E
# ## w & #
E add 11
w
E add 9/11
¯
#### œ œœœ Û Û Û Û Û Û Û Û Û Û œœœ & œ œ œ f >œ
œ œœ Û Û Û Û Û œœœ Û Û Û Û Û Û Û Û Û œ œ œ œ
Û Û
Gtr. 2 w/ Fig. 1
0 0 2 4 2 0
T A B
0 0 2 2 0
0 4 2 0
0 0 0 2 2 0
[47]
#### œ J & Acoustic Guitar Grade 8
A sus 2
62
œ.
[49]
˙
A#4
˙.
A5
Œ
more.
> Û Û Û œœœ œ
œœ Û Û Û Û Û Û œœ œ œœ œ
0 0 0 0
2 0 0
4 0 0
5 0 0
5
5
5
5
#### œ œœœ Û & œ T A B
A
œœ Û Û Û Û Û Û œœ œœ Û Û Û Û Û Û Û œ œ œ œ œ œ
E
## œ & ## J
œ.
E add 9/11
˙
E add 11
E add 9/11
w
Ah.
# # # # œœœ Û Û Û Û Û Û Û Û Û Û œ œœ œ & œœ œœ >
T A B
0 0 2 4 2 0
œ œœ Û Û Û Û Û œœœ Û Û Û Û Û Û Û Û Û œœ œœ
Û Û
0 0 2 2 0
0 0 0 2 2 0
0 4 2 0
[51]
A sus 2
#### œ J &
œ.
˙
> Û Û Û œœ œœ Û Û Û Û Û Û œœ œœ œœ œœ
#### œ Û œœœ & œ T A B
A#4
A
A5
˙
œ
œ œ œ œ œ (I’m cry
-
in’.)
œœ Û Û Û Û Û Û œœ œœ Û Û Û Û Û Û Û œ œ œœ œ œ
0 0 0 0
2 0 0
4 0 0
5 0 0
5
5
5
5
[53]
œ œ œ œ œ œ œ œ œ œ œ œ œ‰ œ #### ‰ & ‰ F ˙. E
Gtr. 2 tacet
T A B
5
0
4
0
2
4
0
5
0
4
0
4
7
9
≈ œ œ œ œ œ œ œœœ R ‰. Œ
‰ œ ‰ œ. œ œ œ œ J 5
0
7
4
3
0
5 [ 7]
0
4
0
2
4
2
0
14
0
# ## & # ‰ w A
T A B [57]
‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‚. 3
TH
5
0
4
0
2
4
0
5
0
4
0
2
4
2
0
TH
2 12
0
j œ 3 ‚ œ‚ œ 2 œ 2 12
0
U
˙ Ó
Acoustic Guitar Grade 8
[55]
63
I Need Something | Technical Guidance In order to match the key of the backing track and original recording, examination candidates need to tune their guitars down a semitone from standard tuning. Newton Faulkner is not only a fantastic singer and songwriter, but also an impressive guitar player. I was lucky enough to teach him, and his enthusiasm and inventiveness were evident even when he was a teenager. His biggest influence was Eric Roche who sadly passed away far too young. His use of guitar percussion, alternate tunings and unusual voicings distinguish him from most other modern singer/songwriters. The tuning here EAEABE is a kind of E sus 4. This adds to the resonance of this piece. His independence of voice and guitar approaches is impressive. The use of the tapping element gives it a whole other dimension. You’ll need to toughen up the tapping fingertip to take this kind of punishment. However, the effect is worth the effort. The most obvious choices for the right hand tapping finger would be the index or middle. Another notable technique here is the use of hammered harmonics (see bar 4). Here the harmonic is hit directly above the 12 fret of an open string. This must be done with speed, just a quick impact and then lift the finger. This technique is derived from rock guitarists such as Eddie Van Halen. The voicings for C # sus and Asus 2 are interesting. They are reminiscent of Andy Summers’ playing with the Police. They are a product of the tuning but add an original colour to the sound.
Acoustic Guitar Grade 8
The use of space is bold here after the busy intro – this shows real maturity from such a young artist.
64
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 =176 bpm. 1. C half/whole diminished scale
bœ œ œ œ œ œ bœ nœ #œ œ œ œ bœ œ nœ œ œ # œ b œ œ œ œ œ bœ & œ œ # œ b œ n œ œ #œ œ nœ
T A B
3
4
6
4
7
5
3
7
5
4
6
5
3
7
5
6
8
6
5
3
7
5
4
6
5
3
7
5
4
7
6
4
3
2. C whole/half diminished scale
œ œ œ œ œ nœ œ œ œ œ bœ nœ #œ #œ œ œ œ œ œ œ œ œ œ nœ œ œ & # œ œ # œ b œ œ œ œ
T A B
3
5
6
3
4
6
4
7
5
7
8
6
7
9
5
7
8
7
5
9
7
6
8
7
5
4
7
6
4
3
6
5
3
Group B: Arpeggios
The tempo for this group is q =132 bpm.
### 4 & 4
T A B
œ 5
œ 4
œ 7
nœ 5
2. E b dominant 7 (E b 7) arpeggio
b & b b 44 œ
T A B
6
œ 5
œ 8
œ 7
bœ
œ
6
8
œ 6
œ 8
œ 5
œ 11
nœ 8
œ 5
nœ 8
bœ
œ
bœ
9
11
9
œ 5
œ 11
œ 6
œ 8
œ
nœ
7
5
œ
bœ
8
6
œ 7
œ 8
œ 4
œ 5
w 5
w 6
Acoustic Guitar Grade 8
1. A dominant 7 (A7) arpeggio
65
Technical Exercises
3. E dominant 7 (E 7) arpeggio
## & # # 44 œ
T A B
œ
œ
7
9
11
nœ
œ
7
9
4. A b dominant 7 (A b 7) arpeggio
bb4 & bb 4
T A B
œ
œ
œ
3
4
bœ 4
6
9
œ
T A B
œ
œ
4
6
7
6. D b dominant 7 (D b 7) arpeggio
b & b b b b 44 œ
T A B
œ
œ
6
8
9
bœ 9
11
Acoustic Guitar Grade 8
T A B
66
œ 2
œ 1
œ 4
nœ 2
œ 4
8. G b dominant 7 (G b 7) arpeggio
b & b b b b b 44
T A B
œ 2
œ 1
œ 4
bœ 2
9
œ 4
œ 3
œ 3
nœ
10
12
10
œ
œ
nœ
5
7
5
2
œ 2
bœ 5
5
5
10
2
œ 2
nœ
9
7
œ
bœ
6
4
4
œ
œ
œ
œ
4
9
œ bœ 2
œ
œ
œ nœ
5
5
7
12
2
œ
œ
bœ
9
9
4
œ
nœ
12
7
œ
œ
œ
nœ
12
œ
bœ
4
bœ
œ
10
7. F # dominant 7 (F # 7) arpeggio
## # & # # # 44
7
œ
œ
œ
7
œ
4
4
7
4
œ
œ
nœ
bœ
œ
5
6
nœ
œ
12
œ
5. B dominant 7 (B 7) arpeggio
# ## 4 & # #4
œ
œ
œ 3
œ 3
6
nœ
œ
bœ
11
9
œ nœ 2
œ bœ 4
9
œ
7
4
œ
2
œ 6
œ 3
œ 4
œ 6
œ 4
œ 4
œ 6
œ 8
œ 1
œ 1
w 7
w 4
w 7
w 9
w 2
w 2
Technical Exercises b # 9. C dominant 13 b 9 # 11 (C 13 9 11) arpeggio
3 & 4
T A B
œ
œ
2
3
œ 5
bœ 3
bœ 2
œ
#œ 2
5
#œ 2
bœ 2
bœ 3
œ
œ
5
2
˙. 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. b 1. C dominant 13 b 9 (C 13 9 )
4 b # www & 4 n ww 5 2 3 2 3
T A B
# ww b ww nw 9 10 9 8
5 5 6 8
8
8
2. C diminished major 7 (Cdim maj 7 or CÁmaj 7 )
bw & 44 b www
T A B
4 4 4 3
w b # www n w
w b b www w 7 7 8 9
b ww b ww 2 1 4 1
8
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 8
Styles: ■■Rock and Pop (pages 68 & 69) ■■Blues and Country (pages 70 & 71) ■■Acoustic Specialist (pages 72 & 73)
67
Technical Exercises
Stylistic Study | Rock and Pop q = 87
Rock/Pop
#4 & 4 œœœ T A B
G/F #
Em
œœ œ
œ œ œ œœ
3 0 4
3 0 2
0
œœ œ
3 0 5
G/F #
# œ & œœ T A B
G
Em
D
3
D
œ œ
G/B
œœ œ
0
3 2 0
C
C
2
Am
œœ œ
1 0
0 0
3
2
œœ œ
4
0
3 2
0
3
0
3 2 0
2
G/B A m D
1 0
0 0
3
2
3
œœ œ
œ œ œ œ œ
0 0
0
2
0
4
4
3
G
G/B
œœ œ œœ œœœ œœ œ œ œ œ œ œ œ
3 2 0
2 2 0
œœ œ
2 2 0
œ œ œ œ œ œ ˙ œ œ œ œ œœ œ œœ œœœ œœ œœ ˙˙ œ
3 0 5
G
0 0 0
0
1
0
2
0
3
0
2
0
2
3
0
[3]
C
G/B A m
G
G/B
C G/B A m G
œœ œ œ œ œ œ # œ œœ œœ œ œ ˙ œ œ œ œ & œ œ œ œœ œœ œœ œœ œ œ œ œ œj œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ ˙˙ œ T A B
1 0
0 0
3
2
2 2 0
3 3 5 3 3 3 4 2 0
0 0
3 0 0
2
3
0
0
2
3
0
2 4
2
0
2
0
3
2
0
1 0
0 0
3
2
2 2 0
0 0 3
[6]
&
#
T A B
œœ œ œ j œœ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œ œœ œ œœ œ œ œ œ œ œ œ œ G/B
œ
7 8 7 3 8 3 5 7
0
C
3 3
4 2
G/B A m
1 0
0
3 4
Acoustic Guitar Grade 8
68
1 2
3
[9]
C
G/B A m
G
G
0 0 0
0
0 2
0
2
G/F #
Em
œœ œœ
œ
3 3 0 0
1 0
G/B
0
3 3 3 3 4 5 2
3
D
œœ œœœ œ œœœ
C
D
# œ œ & œœ œ 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 œœ œœœ ˙˙˙
T A B
0
[12]
1 0
0 0
3
2
2 2 0
0 0 3
0
3
0
4
0
3
0
2
0
3
0
3 0
2
1
0 3
0
2
1 0
3 2 0
4 0
œ
2 0
Technical Exercises
G
G/F #
Em
3 0 5
3 0 4
3 0 2
# & œœœ T A B
œ œœ œ œ œ œ œ œ œ œ œ œ œ œ
œœ œ œ œœ œ œ œ œœ œ œ ˙ œœ œ œ œ œœ œœ ˙˙
œœ œ
D
3 0
C
0
3 2 0
2
G/B A m G
1 0
0 0
3
2
2 2 0
G/B
0 0
0 7
3
0
7
9
10
8
7
9
12 9
10
12
8 10
[15]
œ # œ œ œ œ œ œœ œ œœ œ œ œœ œœ œ œ œ œœ œ œ œ œœœ & œ œ œ œ œ œœ œ œ œ œ œj œœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ C G/B A m G
T A B
1 0
3 0
3
2
0
3 0 3 3 3 3 4 2 0
3 0
2 3
3 0 0
2
0 2
0
0
G/B
C G/B A m G
3 2 4
1 0
0 0
3
2
2 0
2 0
3
2
0
0 2 2 0
0 0
0
3 1
1
3 2
2
3
3
[18]
&
#
T A B
G/B
œ œ œ œ œj œ œ œ œ œ œœ 0 2
0 2
0 1 0 0
2 4
3
œ œj œ 3
œ
A G G/B jœ œ œ œ œ œ œ œ œœj œœœœœ j œ œ œœ œ œ œ œ œ œœœœœ œœœœœœ C G/B
7
8
5 7
7
5
7
7 5
7
10 12 10 8
0
3
7
0
3
9 7 5
5
0
0
7
3
[21]
&
7
9
# œ œ œ œ ˙ œœ œœ œœ œœ ˙˙
T A B
C
G/B
Am
G
œœœ
1 0 2
0 0 0
1 0 2
0 0 0
3 0 5
G/F #
œœ œ 3 0 4
4
7
0
0 3
7
0
3
œœ œ œ œœ œ œ œ œ œ œ œ œ ˙˙ œ œ œ ˙ œ
Em
D
3
3 0 2
0
C
D
0
3 2 0
2
0
1
0
3
1
2
3
0
3 2 0
# œ & œœ G
T A B [27]
3 0 5
œœ œ
B m7
5 3 4
œ œœ
Em
7 7 5
œœœ œ . D
5 5 7
7
C
œœ œ
G/B
1 0
0 0
3
2
œœ œ
Am
œœ œ 2 2 0
G
œœ œ
œœ œ
œ
0 0 3
3
œ œ œ œ
œ
œ w œ w
1
0
1
0
2
0
2
0
3
Acoustic Guitar Grade 8
[24]
69
Technical Exercises
Stylistic Study | Blues and Country q = 102
# & 44
Bluegrass
œ œ œ œ œ œ œ œ œ œ œ œ #œ bœ nœ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
G
T A B
0
3
7
0
3
0
4
7
3
0
4
0
5
3 5
5
# bœ nœ & œ œ bœ œ œ œ œ œ œ œ œ bœ nœ œ
T A B
0
3
0
3
2
0
2
3
0
2
0
3
0
1
3
3
0
3
0
2
1
3
5
0
2
0
2
0
œ œ bœ nœ œ œ œ œ œ œ œ œ bœ nœ œ
0
2
0
0
1
3
0
2
3
0
2
2
3
3
4
5
3
[3]
C # œ bœ nœ œ nœ œ œ œ œ bœ œ nœ bœ nœ œ œ bœ œ œ bœ œ œ œ œ & œ œ n œ œ œ œ œ œ 3
T A B [5]
&
G #œ
Acoustic Guitar Grade 8
[7]
70
0
#
3
1
0
3
1
3
3
0
1
3
0
& œ œ nœ #œ œ œ œ
œ
T A B
1
[9]
&
D7
2
#
T A B [11]
2
1
0
3
0
1
0
2
1
0
3
4
2
0
3
1
3
4
0
0
2
3
2
0
0
3
1
2
0
1
2
3
2
0
0
2
0
0
5
3
0
5
3
3
0
1
2
0
0
2
0
3
3
0
œ bœ œ œ œ œ n œ #œ œ œ œ œ œ b œ n œ b œ n œ œ œ œ œ œ C
2
0
3
4
0
2
3
0
1
2
œ œ nœ œ œ nœ bœ # œ b œ n œ œ œ œ œ œ nœ 3
0
œ nœ œ œ œ bœ nœ œ œ œ nœ œ bœ nœ bœ nœ œ œ œ œ œ œ bœ nœ œ œ œ
3
T A B
0
4
0
6
3
0
6
3
6
5
3
0
1
2
œ nœ 5
3
0
2
0
1
3
œ #œ nœ bœ œ 0
4
3
2
0
2
‚‚ ‚
NH
5 5 5 6
3
0
Technical Exercises
T A B
#
T A B
#
T A B
3
0
œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ
œ 0
5
4
3
0
5
0
5
0
5
4
3
0
5
0
4 5
3
0
0
5
5
0
4 5
3
0
5
0
1
3
3
0
5
3
3
5
5
&
#
T A B
6 7
3
&
#
T A B [24]
0
5
3
5
0
5
3
3
0
3 3
5
3 4
0
3
0
3
0
1
2
5
3
0
5
3
0
1
2
0
2
0
6
3
3
nœ
œ œ b œ œ œ œ œ nœ œ bœ nœ œ œ œ
7 j G bœ
3
1
1
2
3
1
4
5
3
4
3
2
0
3
0
1
2
0
2
0
4
5
3
2
1
3
3
3
2
1
4
3
2
3
4
0
6
7
6
3
5
2
3
5
2
1
0
3
2
0
0
0
4
3
3
0
3
4
œ nœ œ œ œ œ #œ œ nœ b œ nœ œ œ œ 3
6
3
3
6
3
6
3
5
3
4
œ nœ œ œ œ ww œ b œ n œ b œ n œ œ nœ œ œ œ œ œ #œ œ œœœ œ œœ w bœ nœ œ œ 0
5 1
7
0 4
3 0
1
0
D n œ œ œ œ œ œ œ bœ œ n œ œ œ œ œ # œ œ œ
C
0
[22]
0
5
œ nœ œ œ #œ bœ nœ œ # œ b œ nœ œ œ œ
# œ & œ œ b œœ n œœ œ n œ œ # œ n œ œ bœ nœ œ 5 5
3 0
j G bœ
3
5
0
nœ
œœ œœœ œ œ œ b œ œ œ œ 1
0
[18]
[20]
5
bœ nœ œ bœ nœ œ œ œ œ œ œ b œ b œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ bœ nœ
0
T A B
3
0
C
5
[15]
&
œ 5
[13]
&
œ œ œ
G
6 5 3
5
3
4
5
0
5
0
5
0
3 3 2
5
2
0
Acoustic Guitar Grade 8
&
#
71
Technical Exercises
Stylistic Study | Acoustic Specialist Solo Guitar q = 80
Guitar Drum kit LT
B
& 44
— œœ . # œœ ...
T A B
‚
œœ ‡ œœ œ œ ≈ S
8 7 6 7
— B
Œ
œ œ
‰
œ
†
LT
B
—
† thumb slap
œœœ I
≈ œ
‚
‡ œ ‡ œ œ — œœœ œœœ œ ≈ ‰ J S
5
7
5
7
9 7
0
œœ œ
I
0 3 4
8 7 6 7
S
B
7
0 0 4
0
2
0
5
I † thumb slap
I
Percussive notation: Pitched notation: B = bass drum: hit strings at bridge with side of outstretched right hand I = downward strum (flick) with the index finger S = snare drum: hit scratchplate with flick of first joint of index finger M = downward strum (flick) with the middle 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) LT
B
—œœ . & # œœ ...
‚
8 7 6 7
œœ ‡ œœ ≈ œ œ S
— B
‰
†
œ œ
Œ œ
œœœ I
5
Œ œ œœ & ## œœJ œ
7
5
7
B
œœ œ
0 5 4
9
7
0 0 4
0
3
4
0
7
0 0 4
0
2
M
0 3 4
I
Œ
‰
œ œ œ œ
I LT
— œœ . # œœ ... 8 7 6 7
‚
œœ ‡ œœ ≈ œ œ S
8 7 6 7
I
œœœ ... M
0 3 4 7
‰ # œœ . .
†
0 3 4 5
M
— B
5
7
2 0
M
0
5
5
—
Œ
B
‰
7
œ œ œ œ
4 3
j ‚
œœœ œœœ M
I
0 3 4
0 3 4
M
I
†
7
5
I
‰ ‚j œœ .. œœœ ‡ œ & . ≈ œ œ
œœ œ
I
9
B
I
S
Acoustic Guitar Grade 8
— œ ‡œ œ œ œœ œœ œ œ ≈ ‰ J S
B
I
S
LT
[7]
≈ œ
‡ S
7
0
‡ œ ‡ n œ œ — œœœ œœœ œœœ ≈ ‰ S
[5]
72
—
‚
0 3 4
8 7 6 7
[3]
0 4 3
LT
B
2 0
LT
œœ ‡ Œ S
—
S
‡
B
‰
# œœ # œœ Œ
0 0 5 4
6 5
S
‡
Technical Exercises
‡ S
— & œ B
B
— œ œ R
‰.
7
5
‡ S
B
—
‡ S
— œ B
≈ œ œ
7
7
B
— œ œ R
‰.
7
10
5
‡ S
B
—
≈ œ œ
7
7
10
[9]
Œ
& œ œœ †
‡ œ œ œ œ œ œ — ‰ S
I
0 5 2 2 0 [11]
— & œ œ
3
0
3
0
Œ
‡ œ œ œ œ œ S
†
7
7
5
7
‡ œ œ
œ 0
12 10
—
œ 0
œ œ
12 10
œ 0
‡ œ œ S
B
œ œ
12 10
œ 0
12 10
0
3
0
‡ œ œ œ œ. S
2 5
7
7
5
‡ ‡ — — œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ S
B
†
3
B
2 2 0
I
S
œœ œ
‡ œ œ œ œ œ œ — ‰ S
0 5
2 5
B
12 10
B
0
12
12 10
0
12 10
S
B
0
12 10
0
12 10
0
12 10
0
†
12
— & œ œ
‡ œ œ
rall.
S
B
œ
—
œ
œ œ
œ
‡ œ œ S
B
œ œ
œ
†
œ
œ
U·
··
NH
5 5 5 12 10 [15]
0
12 10
0
12 10
0
12 10
0
12 10
0
12
Acoustic Guitar Grade 8
[13]
73
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 8
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.
74
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
#4 œ œ œ 4 œœ œœ œœ œ œ œ
& T A B
&
#
T A B
Rock/Pop
D/F #
D/F #
3 2 0
3 2 0
3 2 0
2
2
2
œœ ¿¿ œœ œœ œœ œ ¿ œ œ œ œ œ œ œ 3 ¿ 3 3 3 2 ¿ 2 2 2 0 ¿ 0 0 0 2
2
œ œ œ œ œ œ
œ
0
3
0
0
3
# bœ œ œ ≈ bœ & œ œn œ œ 3
œœ œ œ
œœ œ œ
3 2 0
3 2 0
3 2 0
3
3
3
œœ ¿¿ œœ œœ œœ œœ œ ¿ œ œ œ œ œ œ œ œ œ 3 ¿ 3 3 3 3 2 ¿ 2 2 2 2 0 ¿ 0 0 0 0 3
3
3
0
0
2
3
5
5
3 3 3
3
j œœ .. œ. 4 5 5
2
D/F #
œ œ œ
œ
œ
D/F #
œ
œœ œ œ
œœ œ œ
3 2 0
3 2 0
2
2
0
3
2
0
0
3
2
2
3
4 5 5
0
D
1
0
2 3 0 2
E m/D
0
œœ œ œ
œœ œ œ
œœ ¿¿ œœ œœ œœ œ ¿ œ œ œ œ œ œ œ
3 2 0
3 2 0
3 2 0
3 2 0
3
3
3
3
G
0
3 2 0
3 2 0
3 2 0
3
3
3
œ œ œ
œ
œ
¿¿ ¿
0
0
2
0
j r j. . œ # œ œ . œ œ œ ≈ œ . ‰ œ ≈ œœ . œ œ œ œ. œ œ œ œ
C/D D
3 5 4
œœ œ œ
3
j r j. r j œ . œ œ ‰ . œœœ ≈ œœœ ... n œ œ œ œœ ≈ œœ .. ‰ . œœœ ≈ œœ .. œ œ œ œ œ œ 3
2
2
C/D
3 3 3
G9
œœ ¿¿ œœ œœ œœ œ ¿ œ œ œ œ œ œ œ 3 ¿ 3 3 3 2 ¿ 2 2 2 0 ¿ 0 0 0
œ œ œ œ œ œ
0
3
C m7
4
2
œœ œ œ
G
0
2
[3]
T A B
2
G9
0 1 0
0
0
C/D
2 3 2
0
A/G G
0
0
2 2 2
3
A/G
3 0 0
G
2 2 2
3
3 5
3
3
’
’
[5]
&
#
D/F #
’
G
’
’
’
D/F #
’
’
G
’
G/B
’
’
C
’
T A B
& T A B [11]
#
A/C #
C/D
’ ’ ’ ’
C/D
D7
’ ’ ’ ’
œ œ œ œ œ œ œ œ œ
G
3
3
0
2
0
0
2
0
3
Œ
Ó
Acoustic Guitar Grade 8
[8]
75
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 = 120
Country/Bluegrass Flatpick
& 44 ‰ Jœ œ œ œ œ œ œ œ œ œ œ œ œ b œ n œ œ œ œ b œ œ œ œ œ bœ nœ œ nœ œ œ C
G
T A B
1
1 0
2
3
2
3
1
2
0
3
0
0
1
2
0
3
2
1
0
3
1
0
2
0
2
0
3
0
Use your choice of picking approach
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
C
& œ T A B
1
0
3
3
2
0
0
0
2
2
1
2
0
3
2
0 2
0
3
2
0
2
3
2
0
3
0
2
3
4
[5]
G
& œ T A B
œ nœ œ œ œ œ
0
œ
C
œ
œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ E
œ
œ
1
0
3
2
0
2
0
0
3
3
3
2
3
0
2
0
2
0
3
0
2
0
1
2
1
[9]
Am
F
C
& œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ ’ ’ ’ ’
T A B
2
1
2
1 2
0
2
0
1
2
’ ’ ’ ’
Improvise melody
0
3
0
2
1
Acoustic Guitar Grade 8
[13]
76
G
& ’ ’ ’ ’ T A B [17]
’ ’ ’ ’
U w C
’ ’ ’ ’
gg ww ggg ww g gg ggg gg
0 1 0 2 3
Fill
0
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 q = 90 Guitar Drum kit
œ
‡
LT
— 4 & 4 B
S
‚
— B
‚
LT
≈
— B
‡ S
‚
HT
‚
— B
‚
‡
LT
LT
S
— B
‚
≈
‚
HT
‡
—
S
B
T A 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 + HT = low tom and high tom: hit different points above soundhole with RH thumb (Substituting other surfaces is also acceptable providing they approximate the sound of a drum kit)
& T A B
S
LT
B
—
≈ œJ .
‚
‡ Œ
LT
‚
LT
B
S
‚ — ≈ — B
‡
HT
‚
œ
Œ
7
LT
B
—
≈ œJ .
5
‚
S
LT
‚
‡ Œ
LT
B
HT
‚
S
‚ — ≈ — B
‡
œ
Œ
7
5
[3] LT
‚
B
& T A B
—
œ œ ‰ 5
S
‡ Œ
LT
‚
LT
B
S
‚ — ≈ — B
‡
Ó
HT
‚
7
LT
‚
B
— œ œ ‰ 10
S
LT
‚
‡
Œ
LT
B
HT
‚
S
‚ — ≈ — B
‡
Ó
7
[5]
& ’
cont. sim.
’
’
’
’
’
’
’
’
’
’
’
[7]
& ’ T A B [10]
Em
’
’
’
’
’
’
’
œ œ #œ œ œ œ œ œ œ œ œ 3
0
0
2 0
0
2 0
2
2
0
Acoustic Guitar Grade 8
T A B
77
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, C natural minor or C harmonic minor with a range up to an octave. The first note will be the root note, 3rd or 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 b 4 œ œ œ œ œ . & 4
œ J
œ œ œ 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 or C minor 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 voicingspecific. The tempo is q = 95 bpm. C m7
˙ b & b b 44 ˙˙˙
b D m7 5
˙˙ ˙˙
E b maj 7
˙˙ ˙˙
˙˙ ˙˙
F m7
C m7
ww w w
Acoustic Guitar Grade 8
Please note: The test shown is an example. The examiner will give you a different version in the exam.
78
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 8
5. You will be asked a question relating to the genre of one of your pieces.
79
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 8
■■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]
80
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 8
Performance Certificates | Debut to Grade 8 *
81
Copyright Information I Need Something (Faulkner) Peermusic (UK) Limited Midnight Express (Cherone/Bettencourt) Universal Music Publishing Limited First Rule of Thumb (Mason) Imagem Music Jerry’s Breakdown (Hubbard) Hornall Brothers Music Ltd Kindhearted Woman Blues (Johnson) DP Account
Acoustic Guitar Grade 8
Tears for Jerusalem (Emmanuel) Universal Music Publishing Limited
82
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POPULAR MUSIC THEORY GRADES DEBUT–8
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