CK s GS

Full Mixes I Big Big Big

2 PMA
3 Mud Pie
4 Musement Park
5 One By One
6 September Chill

7 Tuning Notes

Backing Tracks 8 Big Big Big

9 PMA
10 Mud Pie
II Musement Park
12 One By One
13 September Chill

Tech Exercises 14 Tapping Study

Quick Study Piece 15 Full Mix

16 Backing Track

Ear Tests 17 Test I & Test 2

 e e uitar Wit •••

Rockschool
Welcome to Guitar Grade 6 2
Guitar Notation Explained 3

Pieces:
Big Big Big 4
PMA 6
Mud Pie 10
Musement Park 12
One By One 14
September Chill 17

Technical Exercises 20
Quick Study Piece 23
Ear Tests 24
General Musicianship Questions 25
The Gurus Guide 26
Entering Rockschool Exams 28

rock - oo
 elcome To

' ·- come to the Rockschool Guitar Grade 6 pack. The book and CD contain everything needed to play guitar in this grade.
:=:: ::.::e ok you will find the exam scores in both standard guitar notation and TAB. The accompanying CD full stereo
e, backing tracks to play along with for practice, tuning notes and spoken two bar coun--· o each piece.
::. _?r
~g the pieces and the marking schemes can be found in the Guru's Guide o ~ " _ . ~you have any
~ ~- - er Rocr chool exam, please call us on 0845 460 4747 co. uk or visit

::~ ·othe le cls of the National Qualifications

.qca.org.uk!NQF. Details of all Rockschool's

G · i:a.f Grade 6 is part ot LeYel 3. · Level is for those of you who wish to stretch and refine all aspects of your playing at
;::: ' ·anced level of technique and musical expression.

Grade 6: in this grade you are developing the confidence of the advanced player across the range of physical and expressive
·ques. You will start experimenting with a range of techniques across a number of musical styles. There is a greater
is on personal expression and you will display your own musical personality through ad lib bing and soloing.

e 7: in this grade you are now confident in your abilities across the range of physical and expressive techniques. You
::_ ~ experimenting with a range of these techniques across a number of styles. You will also be comfortable with a range
and time signatures other than common time. Your solos will be musically expressive and you will have the
-~- '.:: ence to apply modal ideas in a number of soloing contexts.

8: you will play effortlessly with a wide range of physical and expressive techniques at your command. You will be able
- --=~ -· ese at will across a range of styles and musical contexts.
You will be comfortable playing pieces employing a number
: ~erent time signatures (including changes from bar to bar) and you will display mastery of a number of musical styles .
.o....r ·olos will be highly musical and employ techniques across the range. You will also be highly sensitive to all aspects of
=~cal presentation.

Gui:ta:r Exams at Grade 6

~..::.::'? are two types of exam that can be taken using this pack: a Grade Exam and a Performance Certificate.

Guitar Grade 6 Exam: this is for players who want to develop performance and technical skills

?' ,ycrs " ishing to enter for a Guitar Grade 6 exam need to prepare three pieces of which one may be a free choice piece
~osen from outside the printed repertoire. In addition you must prepare the technical exercises in the book, undertake
~ '-study piece, take an ear test and answer general musicianship questions. Samples of these tests are printed in the book
..:.:.ono· 1 j th audio examples on the CD.

Guitar Grade 6 Performance Certificate: this is for players who want to focus on performing in a range of styles
-=- ~ ::er for your Guitar Grade 6 Performance Certificate you play pieces only. You can choose any five of the six tunes
in this book, or you can choose to bring in up to two free choice pieces as long as they meet the standards set out by
? - -- ool. Free choice piece checklists for all grades can be found on the Rockschool website: www. rockschool. co. uk.
G ·tar . .otatio e
D Am F
THE ~51 CAl S'IAYI Kotes:
~
_ es and rhythms EF "'
=Cis dirided by lines into x~ I

::2..-s.. Pitd:tes are named after F~

= se..-en letters of the
~hWeL
HIIL--ITURE graphically
:epresents the guitar
~erboard. Each horizontal
line represents a string, and
each number represents a fre t.
u
~ I I I I
Strings:
E 2 0 II
B 3 1 II
G 2 2 II
D 2 0 2 II
A 0
E
' 4th string, 2nd fret OpenD chord Rhythm notation with Ad lib. and cont. sim. sections
suggested fingering are shown in slash notation

Definitions For Special Guitar Notation

HAMMER ON: Pick the lower note, PULL OFF: Pick the higher note then SLIDE: Pick the first note, then slide STRING BENDS: Pick the first note then
then sound the higher note by sound the lower note by lifting the to the next with the same finger. bend (or release the bend) to the pitch
fretting it without picking. finger without picking. · indicated in brackets.

- ~" I

r~
~" I

II @.) I @.)

BU 80
_,..-.._
T
! 1 - - - 5-
T
!
n - -tT!_ _ 5--{ 6 )---{ 5 >---il
2--=---===-4
L1
.... .....
L1

""'
J
-.. c
GI.JSS_\_'fl)O: A small slide off of a note VIBRATO: Vibrate the note by bending TRILL: Rapidly alternate between the NATURAL HARMONICS: Lightly touch the
<a.-d the end of its rhythmic duration. and releasing the string smoothly two bracketed notes by hammering string above the indicated fret then
Do no;: slide 'into' the following note - and continuously. on and pulling off. pick to sound a harmonk.
~~ent notes should be repicked.

.....
~ ~ II
~~
~,
J" ?

@.)
.._..
t.J
tr.....................
~8 --------+i T
-----
i- 2"'
' 47 "
II
A
....
----ir--is-7~5

""'
....
u
·'

P THill HARMONICS: Bring the PICK HAND TAP: Strike the indicated FRET HAND TAP: As pick hand tap, QUARTER TONE BEND: Pick the note
::2::=D of the picking hand into note with a finger from the picking but use fretting hand. Usually indicated and bend the string up
\\ith the string immediately hand. Usually followed by a pull off. followed by a pull off or hammer on. by a quarter tone .
..:"= the ?ick.
# ~
1/4

t
~, ~I I

Fr r.. II @.) I

"' PH - - - - - - - 1
1~4
T ..
II
5
....
L1
- 7
II
II

-.. c II

P£::-B~ ·Before picking the note, WHAMMY BAR BEND: Use the • Go back to the sign ():!), then play until
~ ~' --a from the fret indicated whammy bar to bend notes to the D.KalCoda the bar marked To Coda ~ then s...lctp to
.:er-~ :'::e s:::rres, to the equivalent pitches indicated in brackets in the TAB the section marked ~ Coda .
:~~in brackets in the TAB
---...... D.C. al Fine • Go back to the beginning of the so 2.0C
~£ .-~ ·~~
"
I!

r II
II: :!I
play until the bar marked Fme end .

• Repeat bars between signs.

BD
~s-7
II
II
~
~
I I
l.l

-. B
-
 Simon Troup

•= 0 Larin
N.C. Am
I I I
. "'
r " r
7TI![J PM t_ ----------------- ·I PM----- - - I PM------- I

~i l l:,----------s7_6-4 -5-
.7.~5 5 tt-------
11---1'-_ 5 '_
-=-4
--+--7'--==:::t--' 1 -7~-===-5'-===-_7'-5 --+-4--+--1'-==-----===----===1

t All palm muting 1s very light

.c. o9
r Am

F4 ~3
• ..
J
t Ef r p "f ~J JJ r p "f J J ~J
t
r 1
~
"' I I I
L
-------------------- --1 PM - - - - - - - - · I PM---------1

6
4-5- -5
7
5

I
7 5
4- 7
5

I
7 5
7
7-ft
.c. Gm 9
I'
...
- ~

-
Dm

L
---------------------·1
p
mf
5 5 5 5 BU
5.---""'------,------ ------"B'-"'D--5- - - - ,

;i 5------i; 8 c s-f8) . ~6+-'-

c
5 3 - ,.
6 7
7
I I

2.
-C. Bm7~5 E7 ~ N.C.
, - 3--J Ho
.- I' ~

• 'f'-
..
I,! L ~
PM------ - ----------1
l:i _.

=F 6----ii-6--6 - 6- 8 5-6-----6~
/:;

'"'
_!.;1_
. 7
u 7

G Dm N.C.
~€ ~
~~

EriE ; F CvJ!L r r E rlr bl i

~~ L
· ·~~~~ ---tr-s-----s--~~--6--- ------6-~suL--,-----~s~ o--!5---.---------~
~ k-t~--"'-----8-----ss·--+----5-------,s-+8+-)-+-- -------tf(6>+'-- 6- + - - - - -- 16-6--&-1

I1 , D~r r Ff I
toneckp/u

l--+-~------------jr--------1 2-13-1;:::::n
 -=--:

: .. ... • # -
p ----------- ---- ---- 1

~~~-~BU-----------13--~~~~-------------------,~~~~~~~----~~~~--------------~
B U~-.
lf--f--1.,~r---s
- l ---_17~~~~~~~~~~~~~~~-1-5-=_-=_t-=_-=_-=_-=_-=_-1-2~~1-4_____15~i_::-=1=3=-_1_3--15-1-+-1-2=============1-4_::-=~-=--1-6~-~=~-=J~~~=~~=~~=--~=~~=--~=~~=~~=-:_'-s=-1=7==~1
· Observe contrast between vibrato and non-vibrato bends

_.,
.--
' pr r !
- - - -

J
~
....
I
...._..._
' I I
...._..._
I I
PM--------- - -I
13 15 BU 12 14 BU 13 15
...._..._
14-{15 12-15{17
~
...
ll 14 13 14 13 12-13-4
..... 15 I
-..

Am

... t. a · ~~.~~. !'- ~ -~-~ !'- ~ P- ~~~ ~- - ---e-

....
to bridge p/u
...._..._ ...._..._ ...._..._
l"- BU BD BU BDBU BD
+-1, 12{137 -{12J(13'K12J(13J(12 12
~
14 16 14 15 14
~
0

Guitar Solo

-:61=
,.
/
Fmaj 7

7
7
7
7
7
7
7
7
7
7
/ 7
7
z 7
/ 2
7
2
7
7
7
z 7
2
7
/
Play 3 t.i7Jes

:JI
p Grad. cresc. through solo

:II

Fmaj 7 N.C.

~6.... -,
7 7
7
7
7
z7
I z7 z7 z
7
7
7
I - I
' J;J3 • II i
Et Ef
;
~ PM--- - -- -- -- - ------1
'T'
! 5 7
... 4- 5-7-5 l
7/
- 0

E7 Am

~~ • • : 3 : r E f I ~ ~ j 3uJ d J 3 3 I .[
----------- ---------- ---- 1
c. .=
-
~
-- ------- -------------- ·1 p
-::

·[~-j~=
~=..~-=-:=-=-=-=-=- =-=-=-=-~- =-=-=-=-=-~-=-=-=-=·2 =- =-=-=-=-5;3=~=~=~2=~=- =~5=- ~- =~ -=-~-=-:-=-~ -=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-~-=-_;t~=t=====-=-3~-=-=~=-2=~= = ~= = =-J=:=-_=+=--==-v--==--==--==--==-2=--==--==--==--==--==--:7=--==--==--==--==--==--==--:-J:
3 =
I
 Jimi Savage

.=151 Rock
Es F~s
.... .... '

"T"
!

8
'~
2----4
2----4
4
4
2- -- -2
~ ~

4-
!
~2-4
4 - ~2-4
2-~Q-2
~ ~
~

4
4
~
~
:lll
II

4 - r----2-
4- r--2 - 4
2- ~o-2
4
~ ~
~

4
4
~
~

4 - r----2
4 - r--2
2- ~o
:lll
lll
:lll
lll

2
2
:lll
lll

2
2
2 2 0 v

r- ~ ~;d
I
7T
l
F:S

~
""I
3: "t
i a; I
Es F#s
r=
"t

>
"T"
_!_

ta ~ ~
4
4
~
4 - r----2-
4- 1---2-
2 -~o-2
4
4
4
4
2
4- r----2 - 4
4 -r--2-4
2 v 2
4
4
2
4-
4-
2- ~2
r----4
r--4

Es F#s Es Es F#s Es F#s

wlbar
-.........._...

Fr £ 1/F F f I t· r 1-;--r·
?-~ ~-

t
J
wlbar--- -,

t Bend note and hold, dip bar a sem itone and return

..,. ,. ,
~
.
- • v?· _,. ..,.. . I r--.
L r L_ 3 ___j

"T"
• v
7 - 9 - ~-t-1 ----
9- 1Q-9- 7
' v
v
2-

-
1-i
0..1

E
(900---- -- --- --- ------- ----- ---- ---- -- -

·~r-----~~~r-------------~·~,4~:2~1------------4--------------4H
II ~~18~-----------+-------;
 == =-:= == == =-:= =-= --- =- =: -
- ... . -----
... ........ •
f._ I
'
t
=-..I

w!bar- -- ,
- ""
r

.
.,..
~
17
18- 16-
BU
16{1 8}{17}{18
17 BU
16{18 18
19- 21-

....
....l J

Dmaj 7 Bm 7 Amaj 7
(~) ------------------------ --- - - --------- ---------------- --- ------------------ - - -- --- - ------ ----- ------------------- --

..... ('; .l I! •t- .?·

- - - - - - - -~
•
w/bar
. -------------....--.......
I
'--'
t
w/bar-----,
BU BU
~ 21{2,, 21--1~ 1s-f17H16H17 15- - 14-
18
r-1

- 1..1

E Bm D

:rti
(~) ------------------------------------------------ -- --------------------------------------- ------ --------------- - ----

:~~~
i--.] (77tr ~~~ ~~ I
1:

f.,
cff''r ~ tr· I
w/fingers
I . 7
,g~- -.._... I ~---~
..._....
-
"--'

Ill
I ~ 127""-17....,12 17 12 14 15 14- --12
.0.
..... 117-12 / 14 / 16 14- --12
.... J..l

-;G....-=- tz~~~
L
(' ~ '
ft t t
A ______ ________________ ___ ______ __________
~)
E ______ __________________________ _________________

~ ,._---~~,.
I L!'-'f#
Bm ___ ______ : __ ______ ___ ___ _

PC ' CI I F7
~
-------r /u I
------~
d I

I"
16

!i
....
14
14
12--1~1Q--12
12--1 ~12~14
14715 7'17
''j
D A E

r::
~) ------------------------------- ---- ---------- -- -------------- - ----------------- - --- - ------- - -------------------,

-----------....
; '
I ~~
J r r I C1 r t:f=F~:
~
'C I r F:, I
17 16->,;;14 17 16..._.14"? ~16 X~
I ~ ',17 15 14
r:t 167-18 16..._.14"? ~16 X~
,..,.
- 0

Es F:5 E5 F ~ 5 E5 F ~5 E5 E5 F~5 E5F~5

~ --------- -------------------------------------------------------- -- ----------------- -- ---------------- -- ------
~ >>>>
4 --·
>- ---
~r
-...
IC r
~

C IF I - I£ tr· D I if UU
RP----------
I

!I
 ::::= =:= -=:-

. :::::;

~
·~

BD
!..t-1-t--12---1v
•·

11
!

7~
~;.....7~--5~7"""5
- : I
------
:
2- -2-
: I :
------
5-
4-
47'45"""4-2 2
....1l
' 2- 4-
..._
t-2--2- -2 -f---2-4- 2
2-4- 2 ..._
- J:J
'"--"'

;:
D------------f r r
I! L·
1 er r p C!Tf' 1

~10
6 7
9

'j
Bm F#m
fr! ~ .... .
i 6 "-/ f J rt]f r lf?r· ?

JttJ.
I Ff I I
TH 12 ttt
II
II L TH 13

.... I
Bl BD BU BD / .'-..
4 2 4f6H5t-f6 4" ) -2"""- i'=':'1 >'f/
; 0
.....0. 0

ttt Tapped harmonics , tap frets

where indicatied to sound harmonic

G itar Solo
F:m E F#m

r7 r7 ,7 r7 r7 2
7
r7 r7 z
7
2
7
7
7
2
7
2
7
/ 2
7
r7 r7 2
7
r7 r7 z
7
r7 r7 z
7

,. .. . D F#m

II . _
....
....
1:.

..
-

...... .... .. .. .
......- ...... ~ ~ ~ ;>
'
~
~ ! ~ ~
L ]I[
!> ~
-
T 111
II >
::
IIB 2-----
S-----2--
-- ~?

-
~~
2---~
I

:!
.
oi
~

L
. I
4--~
~L
2 4 4
L
4±
~
~ ~ 2
'-'
I
I
I
I
 ::=
::f
:• ..
_.
...
; ai f J s ; .,
. .. .. ; : •

~
: '
I a- a-
I
T
J• ~
• ' I
•
~
•
I•
7T

1
4-~~
!
A 2-4 4 4 -- 2 -4 4 4 -f-2- 4 4 4
""'
0 2-4
o-2
4
2
4 -- 2 - 4
2--o-2
4
2
4 -f---2 - 4
2 v 2
4
2
4
2
~

Dmaf Bm 7 Amaj 7

-
((900)---------------------------------------------------------------------------------------------------- ----- ------ ----
)r
"l lol H ?~
· ~ •
wlbar
~
,........_

@_ I ==-.!
tt
BU w/bar--- -, slow
16-{17 16--14 BU BD
T
I 14 12 to--- 12{1 47(1 27(14 12--1 Q-----;
D.
1-i
IJ

""

E Dmaj 7 Bm 7
((900)- -- ------------- -- --------------------------------------------------------------------------------------- ----------
,...., ~ j,l H ~
• ~ n.

T
u
. - 14 16 17 16
9 147"'15 157'-17---177'-1 1 ~17
.Q
-...;;
IJ

""

Amaf E Dmaj 7
((900)--------------------------------------------------------------------------- --------------------------------- -------
~ ~~
..,flj,jjol ?---------19 1'5.
•• • )r .?·
•
@_ ~ "'"'"'-l r

17
- 16 14-16--16-{17
BU
1~14-----t!
T
14
167"'18 18-"<;;-16
....
.tl

u
-.

Bm7 E5 F#5 E5 F#5 E5 F ~ 5

({900 )----------------------------------- ------------wlbar--------------------------------------------------- ---- ---------

r~-## r· u I
~ ~
L~J -----
li@tf-rT I uuu 1qu
RP w/slow release of bend ------------------- --------
at=:?
tt wlbar--- -,
BU
~
I 14 12 1 12{147(127(14 14r-{14r-{14r-{14r-{14r-{14T- f-<14H 14]--{14t--{1 ~14S --;.~ ~-
~
....
....

E5 E5 F ~ 5 E5 F#5 E5 F #5
~) ----- ---- -- ---------------------------------------------------------- - ---------- -- ------------- ,

.., ~ .. :l ~
td . { F F ·T I J. I J. IJ IJ
BU
.-ii+---4~·~1 ~o-11--~~--------~:~--------:~--------~7-
1
. -,-,-------~
 Pie
Hussein Boon

J=166 Texas Blues

u
~ .1.1 !!
E

f [_ 3 ---l [_ 3 ___J
-
r-3-,
r- 3---, r- 3---, r- 3---, r- 3---,

~~
[_ 3___J [_ 3___J 1.-1.-1 ~·
(_3___j
o-o-o-o- o------o-o-o-o-v
T 75- 3- Q-3-il 3-il
75 75

......,
4
2--374- -3- 2 v
2- 2- 2-2-2-2-072- 2- 2- 2- 2- 2-

A
"" f'l 1o1 It r-- 3 --, r- 3---, r- 3 ---, r-- 3 --,

t.. 9"
.. -.' .. -.' ~ ~:J1>-.' .. -.' ~ q~ q~ ~ ~ ... ... > ... :lll~

~---
T
I
.0.
172 2
v72--{)-v v 2-2-4 4-4-2-2
_i-i
..., 2--2-Q--17'"2- -2-1
3
0 - 4- 4 4 - 2-
v
""
,.., lol tl
E
-- F~

T
t..

!
=' ~ ~ ~ -.' -.' . >---- • • -J -J ~ ~ ~ ~ ~ ~ ~ ~ ~~ .t___

...
.0.
u
4- 4
2- 2-4
2 2
4- 4- 2-2
4- 4-'--2- 2 - 4- 4
Q---1-2-

B E
,.., lol tl .

u '-"-.' -.' ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ -.' -J

... ~· ~ ~~ fl~--.:::::.__~
T
I ,\ 3
.0.
2
2 v 1
i-i ..., 2-o-o
4- 4- 2--2 v v 4- 4
2-2-4 Q---1 - 2
"'
"" I'} lol tl
E
. >...-.... b ~tl- >..-

u r r
cont. sim.
..... 5- 5- 2- Q - 2- 5---5 "'-- 5- 2- Q---2
3"7"'-4
5

....
.0.
g
"' '·
A
"" fl .1.1 !! - h. ~
• h. ~ Jrtt.

u .
..... 5
3- -
2- 3-2---o---2---3- 2 2-3-2-3-2~4- ---- 1
'
.......,
4

"'
E B To Coda-$- A E 8 1~9

-#~I

r~... ~ ~
\0
<1)
'"0
ell
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
I --"7
7 7
7 -,
7 7
z
contsim.
:••
......
a'-

-= c.
:• •
'
•
'
•
•
I
_I

-I
-- &;;J
I
I
I
I
I
I
I
I
I
 ~ - 1'
· , , I J;:--~ L
=·:'- 1;:-gf 1

~---7--7----7·------.------------.-----·7 BU 7 BU 7 BU ~~
I-!T+---aj?1~~)~-~a~~~
)---a~9·~)-~~-----------~--~a~(9~)-~~-~~-~:
8 ' 9J 8 9
~ _ W 80 Bl[ 9- 7 - 9- 9
1~~-------------+--------X~',---~----------~
~-------------~---------3~~~----------~

"' "'l uH - ,
A
, bs-
• t t • • =··
.
_,. - ........._
tJ
........._
.,._
-
'T {o---P(}----~==~==~ ~==~-~==r::=§-==~-1~2 - 3
I
l.l
9 - 7 - 9- 9 I

1-i I
IJ I
-.. ¥

E s9 c9

J J ~J r ~r r ~r r gD F ~ ~ .--
f'Nb j
..._,
7
F
q;r#r

f!!.! 5-6-7
~R ~mf
" 5

,J i
.....
5 5 5 8~ \ 8 - 5- -7
7
I ~
E

7 7 7 7 7 7 7 7
2 2 7 7 7 7 7 I

Fill ad lib.
>----

':. .!:============~==============:======================:======================:
~~
IJ~~~~~~~~~~~~~~~~~~~~-
X""-'_,-=--,o;:::::=::i======================:j~=====================~

,., 12 12
~ I I I II I
tJ
Ad lib. on 12 bar form Ad lib. on 12 bar form

'T
!
-.... ·-.------.__
~

qHq' b~b· qHq,-:::::--~

E D.%. al Coda
b~b· qHq' b~b·
-fl.1H
tJ
~
' -
qi = 'ill
10

cont. sim. ·--- - -

;!-
12- -11 - 12- -11 12- 1 1- 12
1 2 -- 11 - 12 11 12- 1 1- 12
13- -12- 13- -12 13- 12- 13
X'
I ' 3---{) I
0

B- Coda A E E :9
-":'
..- "~
=~~~~ ~ )8 Q D
I~ it!
L3--..J
u·jFJ FF IF ............... J d I J J :-.-I -+ -
.,.
-r
*I=ii I
PB 2
Iii
'T ----- BU u
BD ,...---..._ !

' n.;;,n 2-4--2--0---

2--'-3
I
I

"
2---;}---

' ~
I
I

' 2.------C
-
-
=
-
 sement Park
Deirdre Cartwright

J 136 Brit Rock

c
~
Am
- r - r - r

--~
7(

~ ~
• ...
let ring

--;r
I
w/clean tone

- 2-
-()-
-----
1
-----
Q-1
-----
0 1
7r: 2 2 2
~ 2 2 2 2 2 2 2 2 2-
-a- 0 3

"'

fl r 1 - ,...... - I
E
r

~ ... ... J
~
--;p v
I - 3 -1 --" 3-o--lH -u-
"11" v 0 1 2 1 2 1
2 2 2 2 3 2-
lf---e-3 - 3-

""
v

- - - - - - - 2.
1.
Am

& EXpressively
c E
~on repeat

~ r - - 3-------,

mf
s - s- tt=-" s- 7 s-s I s-s=/m
 ••
#
• • 5 '\.

r [

~
'
.....
~
t.,.

1 3 - -13 15--13
=II

:II"
20'<;;
i!
li
II

..'"!
f

~ ~ ~ ~
" II
.. ~ ~ ~ • ~ ~
lit lit lit lit lit lit ~ ~ ~ ~
~ ~ ~ • ~ • lit lit lit lit lit lit

t)

5-5-5-5-5-5-7-7-7-7-7-7-8-8-8-8- -5-5-5-5-5- 5-7-7-7-7-7-7-8-8- 8-8~

T
2- 2 - 2 - 2 - 2- 2- 4- 4- 4 - 4 - 4 - 4- 5- 5-5- 5- - 2- 2-2-2- 2- 2- 4- 4 - 4 - 4 - 4 - 4- 5----5----5--5---i
IJ.
...,
~

'

~H. • • • • • fl': fl': ,__

• ,. ,. lit lit ,._ lit e: e: e: e: e: e: ~ ~ ~ ~ ~ ~ lit lit ,._ ,._

t)

... 4-
1-
4-
1-
4-4-4-
1 - 1 - 1 - 1-
4- 5-
2-
5-
2-
5 - 5 - 5 - 5 - 7 - 7 - 7 - 7-
2- 2 - 2 - 2 - 4- 4- 4 - 4 - - 7-
- 1o-1o-1o-1o-1o-1o--8-8-8-8-
7- 7 - 7 - 7 - 7- 5- 5- 5 - 5 - 5-
8 - 8 - 7-
5-4-
7-
4-
7- 7
4-4
.....
4
...,
.....

Am
w
J J

~§I J J J 3 hl J 3 J J 1 3~~
II= I J J J J J d J J J J 1 J =i
f Guitar Solo 3° and 4° '--'

~ ~~~------------:2-1 -----------------6--~------------2-1 ------------------~-r--~'

7

Q--0---3:---(}-v------3-Q---Q---3-0r-------+-Q-Q-3:---Q-------3-Q---Q---3~
.....

1.2. 3. 4. 5.

~ Am

J J Jd J JJ =It

~E-------:===-~-=-~----------------2--2---2---2--3---3--3---3-tt--o-o-------3-=.-=.-=:-o-=--=--2==--1 -o
v v
___r:::_-=---3--o----------------,::-l,,lf--
1 - - - 3 - -- 4- 4- 4- 4.- - - -- - - -- - - - - - - - ' - - - - - - - - - - -u- - - - - - - - - - - - - - - - - - - - , 4 - - - - - - - - ' . _ _

6.

J •I J Jd J l 41
J :i
--+
• •

~ 3
,_ZJJ ;;
 e
Noam Lederman & James Creed

• =145 American Rock

.• •
D G G

.
A A D

q~ ,_ q~ ,_
f'J lol
.. ------. • • ------

u
ff
~ ~ ~ ~ ~ ~ ~ .'-' I""
r- ~ ~ ~ ~ ~ ~ ~
. '-' I""
r-
_T'
I . 13- 12 13- 12-
12- - 12- 14- -o----:o:-----
~2-1t-~4
........
4
. 5o--o--o-
-7-7--11 9
o--o--o--
O o--v 5- 7- 7- -11
o--o--o- o--o-
9
o--
o-----o- o- o

""

1. 2.

."• ..
A D G A D A Asus 2

q~ ~ _......._
""f'J lol .
I
"'
t.. ~ ~ ~ ~ 4 ~ ~ •v I""
r -- 4 ~ ~ ~ ~ ~ ~ • ...__._"-'' ~ ~ ~ ~ ~ ~ ~ ~ l...J::= t:::W I

T
2
I 13- 12 5-o-o- o- o-
12- 12- 14- -o--o 7 0
....4... g=b=~o--~~g-O 0 -- 0-o--v 5-7-7~9-7-5-0
o--o--o--o- o--o--
. 5-7-7~9-7-5--1
o- o--o--o- o- o-o-o
""

Gmaf

L _I I I I I I J I I L ~ I I LJIIIIII L_J..._~I
let ring throughout
• ~~-------- o------.-7---- 5-------~----.---------- (r--------,-----:2--o----~
1 ~--1....
!1 ---- - - -- ---- --5 u 5- -5--+--5,--- -- -- 5 u 0>---1--- 5 " u 5--5- ~o~--------------------1
1 ~~----->0--0 O--~--O-------O------~--~vr----~o~~~------ v~--~---0-- 0>---------~
4
t r~~---7 ------------------_, ____________________-+-7----- ------------ -_,____________________ ~

A D

f'J lol
,_
• ..
t.. L 1 I I I I I --~--"' I I L 1 I I l 1 I I I I I I 4 ~ ~ ~ 4 ~
• •
I
7 5 0 0
"''"
I 5
o- -o
5---f-::-----5
0
5
v
5
0
0 5
o----o
5- -5
v 12- 14-
.......
4 7 7 5- -7- -7- - 11- 9--o- -o:----
o--o--o- -o

1
2~F cf f ff F
:I = r-----
o-
5
7
5
5 ---{)------+--------;
0 0 I 5
0
0
0 II =
0
5
0
5 I 0
~ -
I
I

_p . I
I
•
:i 0 7 ~
0 0

~
5- 5
~
5 5 5 0
~
5
0 0 0 0
7
I I
7 5- 7- 7- 1 1 - 9 -
I o--o- o--o-o--o

A G

!@ Mftll=j:= =fl±j gj j y~ j j±j:= =firjj j gj ! j Ja

T

Ll
....
f ------------
2 -'-7
--
7- S-S- 4-4- 7- 5
-------------- --
11 - -11-9--9--7-7--9-~
'---'

&;;I 0 u o- o- o- o- o--o--o 0 o-o--o~o--o--

.....

To Coda.
1.

:~ M#~j~ =firj Jj j j j Bi:

_,..!~-----14£14-12-12-11-11-'.l='o'
u-r-------o±=o--o-o--o--o
11--io
l
1
.

-~

2.
D A G A G

: ~v ~~
HHo ~t tEr
-'

I'
0
=IIlii=
i ggJl ~t tEr I I
~
I 13-12 13-1A2-
14 12- 12-14-Q--u 12- 12- 14
1-i
JJ
v . g-~-~Q--~()-()-()-u
5- 7-7-
o- o--o--o--
11-9 u u u v
v v

......

1. 2.
A D G A D A

nt z, 1~ ~ , JJ 1
hL; .E e d33 Jfij 101: 1 =II d34]',! d3]:c
 G5 s5
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
7 7 / 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

ii II:

1. 2. 3. 4. D.Kal Coda-$-
As Gs As as As Gs As
..
w I I I J I I J J
pp mf
"''"'
lhiJ.o----- - - -- - - - + -- - -- - -- --+- -- - - - -- --+l-- -9- 9--7- 7- 9-9-f-11-1 1-9- 9-7-7-9-9-
I~.~
~---------4---------+--------~--7-7-S-S-7-7-~9-9~7-7-S-S-7-7-
....

-$- Coda
D

l r

@.. • • • • • • • • • • • • • • • · - -· • • • .. .. • •

"''"'
lh},_r--~7-7-S-S-4-4-2--Q---7-7-S-S-4-4-S-7-+---7-S--S-4-4-2--Q-­
II-#~--Q--Q--Q--O-Q--O-o--0- -0-Q--Q--Q--Q--Q--O
... u O- Q - - Q - -Q--0- Q--Q--
g

~ fl lol _.--._ ,-.,

" "-.__ 4!. • • • • • • • ·-----· • • • • • • • • • • • • • • ·-----· • • • • • ."--'

T
I
7 -7- S- S- 4- 4- S-7 7- S- S-4-4- 2- 0- f--7- 7-S- S- 4- 4- S--T" 9 - 7 - 7- S- S- 7---;7'9-
.n
....
-~
o--o--o--o--o--o-o--o o-o--o--o--o--o-o- f-o--o--o--o--o--o--o-o o--o--o--o-o-o-0--
""'

II
Septe
John Parrice ·

_,fl
J =185 Jazz
• .... ~ .. .... ,. .. .. . ,. • •• ... ---
'-
I I I
1...1
- (

... I
8- -- 8 - 1
7---7--9
8- -8-8- 1_u
7- - 7 - 7 - - 9
8- - -8-
7- - -7
1_u 8--8-~1_o------:-
7- - 7- 7
........
A 7- - - 7 - 9 7 -- 7- 7 7 - -- 7
"
7- - 7 - 7 ~

"'

~
• ~ l .. ~

.
,.; ~ I ~-------

'- """-l -.o...l I

...
I

........
A 7
8 --
7--9-1D-9-7
9-7
~

7-7-9
7
7
8 --
9 1o-9-7
9-7
7
7 , ~
I
I
I
I

"
'

.; fl ~
• ~ ~ • ~ .fLT.fL .,. ..

'- """-l
/
--
...----._

...
! 8
7 - 9- 1Q-9-7
7-1Q-7- 8-7
1v 1Q-8
7- f-7 ~
_A
...
~
7 9-7
7 9

"'

__,_ fl
/ J.l . fll-•'-, I
""
.
u nl
··-
... ~ 11 12
12
L
A
:-B--7 1u 7 "- 7
"
--
_,f)
• •· #
• •• .. #
• •· #
• •• .. #

~ r w r I I
f" I
u f"

...
I 8
7
8 -- 1
7- -9
8 - - - 8- 8- 1
7- - - 7- 7- -9
8
7
5--10
7- -9
8- -8-8- 1_o----
7- - -7- 7- -9- - - -
A 7 -- 9 7 - - - 7- 7- -9 7- -9 7 -- -7- 7- -9- - - -
-....
....
7 7

"'
1°Guitar Solo
2° 8ass Solo
E7sus 4

"' ..
~
camp bass solo

...I

-...
11
1.1

~ll

u
'T
. -
Ll
;..;;
1.1
"

~ /} --
~
\
'T

Ll
_ft
1.1
"

I Fmaj7#11
~ fl
..
~

~
.
....
0
"

4
_n_
8

-;
-
~~T~------------i~~--~1j"~7-----~~1~~~--------------~-----------~~~~~r-t
- •
8
~7-----~~7--------------~
-; - • I •• -
- ,. • -
-
•
fJ

-----
li
~ ~~------------------~-------- . .----------------.---------7--- 1fr-7--&-7~------------------------~
~ ~~-------------;r-~--~------~----------------+-----------1
8 1 fr-8------r---------------~.
7 !r1Q-S-7 --~-----------+--------------------------~9~'7--~7~/~
7~ vO ------------~·
7 0
v 7

"'

Cmaf
.; ~ ~ . 0 II.• "
. I t\

u 'I
~

• fi•

_y
12 ' 7- - -8
4 11 12 v v
"
H:j-7 ~.
1 7 5----6- - '-7
"'

Fmaf ~11

.; fJ

@._
~

"I
. 0
II.•
--
--
II.•
-
-
..... 1 1
I 12 hr
4 v 1 1 -H2 7
~
" 7
H:j-7 9 1u
"'

fJ
.. • ... ~
• • • .. • •· •
~

,.
I
2° Develop part

8 8--- -1 8
-
8- -8----1 8
(

5----10
.
I

~
I!.
..... . 7
7
7----9
7
"
7
7
7--7
7--7
"
7
7
7
7 "
I
I

1 e 1 e e ., ~ 1 I
> E 7sus 4

Ur-.J J ! f
. J'EJ b·...----....=II I ~
-·
<)•

* *
 Technical Exercises

In this section, the examiner will ask you to play a selection of exercises drawn from each of the three groups shown below.
Groups A and B contain examples of the kinds of scales/modes and arpeggios you can use when playing the pieces. Group
C contains a chord study. In Group D you will be asked to prepare the exercise shown and play it to the CD backing track.
You do not need to m emorise the exercises (and can use the book in the exam) but the examiner will be looking for the
speed of your response. The examiner will also give credit for the level of your musicality.

Groups A and B should be prepared in the following keys: chromatically from G-B and all have their root note on the 6th
string. The modes should be played as two consecutive scales: Ionian/Dorian or Dorian/Phrygian. Groups A, B and C should
be played at J= 60. The examiner will give you this tempo in the exam.

Group A: Scales & Modes

1. Ionian mode. G Ionian mode shown.

5- 7- 8- 7- 5
4- 5- 7 7- 5- 4
4 -5- 7 7-5-4
7- 5-3

2. Dorian mode. A dorian mode shown.

-" I'J. jj .. ~ ..
T
7 8 1Q-8 7
! 5 7 7 5 II

lr~"==~~~~~5==~7==~==5===
1.!;;:1.!.--~LI-5
7 8 7========================================7===5==~~7~~5==8- 7- 5- - II
11
---'-"

l Phrygian mode. B phrygian mode shown.

4. Diminished scales. A diminished scale shown.

8---9 11 12 12-11 9---8

7 8 1(}--11 11 1()--8 7
7 9 1 1()--9 7----6
~-----------------------------------------------------------------9---8----6--5'------u

5. Harmonic minor scale. Bbharmonic minor scale shown

 Group B:

1. _ Iajor; :.G - . - c"""J ·a shown.

2. Minor 7~ 5 arpeggios. A minor 7 ~5 arpeggio shown.

5
8 8
5 8 8 5
5 7 7 5
------------------------------------------------------------------------:8~

3. Diminished 7 arpeggios. B diminished 7 arpeggio shown.

~

1(}------13 13
12
11 11 8
1G-7

4. Dominant 7 triplet arpeggios. A dominant 7 triplet arpeggio shown.

.--3--, r--3-

~~~=============================;===;=;~~5--5------------------------------------------__,
II-·~ 5--- 5- 7-5- 7---7=~~5~~~5~8~5~8~====~8~~5~8~5~~5~~
·~~==============~~~;=~~~~~~ ~~ · 7---7-5-7--5
4-7- 4-7----7 7---7--4-7
5

\
 · e exam -ou ' j}} be as -ed to play one of the chord sequences shown below.

1. Sequence 1. Prepare in the keys G- B

1\ II I

u :; p...
..
~ :;:
_or_
3 5 1 3
.0. 4 4 II
~
4 5 2 4 _l]
3 2 3

2. Sequence 2. Prepare in the keys C- E

Cmaj 7 E~dlm Bm7>5 Cmaj 7
1\ I II I I

u #
r ... -9

5 7 3 II
4 5 2 4
5 7 3 5
~
3 2 3 _l]

Group D: Tapping Study

In the exam you will be asked to play the following tapping study to the CD backing track. The tempo is ~ = 100.

Em Am

1\ II -t Ll J~ 1.\~ !.\--....,_ @ ,. ~~•

1- ~\ (Ji:)"""'-._
-
u :::
"ll
~

r--®='1
~

.,.. ~
5----@----5
....--._
_...--...._
GE-5
~
~
8 12}-8 12 5
1 12 5 @ ;5
.... 7
14 7
7 I
v 5

14- - -- - tl

v
 At this grade you "ill be -- to prepare a short Quick Study Piece (QSP) which "ill be giYen for you to prepare· ·
20 minutes before entering the exam room. You should be prepared to play a QSP in any of the followin 1i es: " -
rock, funk or jazz. The QSP is in the form of a lead sheet and it is up to you to create your own interpretation of e
particularly where you have to compose and perform your own part. You will then perform the piece to a backina ua
the exam.

The QSP will be in standard notation and TAB and you are required to master your version of the piece ;\ithin e
given. Printed below is an example of the type of QSP you are likely to receive in the exam. The CD contains an i ~
version and a backing track.

J-=60 Rock Ballad

"" , j,l

.. -
E .,.___fL __.,.
..
G .,.___fL __.,. c
- .,.___fL__.,. Cm
j_
.. L

~
'"!/' Improvise chord rhythms on repeat (8 bars)

.... . 11b>-"-1 ~1 o-- -

-
a 11b>-"-12......,_1u
- 11b>-"-12......._1
- 7--~
I

...
.0.
&;,1
. 9 ~ 8 I
•
I

""

Fine

.... .
•
RP

BU BD pp-~=============.ff
Jl-=:::---1o-{12'f---f12H10)--7-r-1vD--------------r-:8-8-8-1(}--1(}--1~7--7--7--7
....
~~-!r------------;-----------~r-~-~-11-11 8-8-8-1(}--1(}--1
-11 ~ ~ ~ ~
7--7--7--7'---~--
1 !4'!l'l--------------+-----------t-{(}--{(}--{(}--12-12-12-+--11~1--9~-~~-~~r-----:-::--­
H·-R-"--------------+----------~1(}--1(}--1(}--12-12-12 7 -- 7- -7- - 7 ' - - ---:-:----
~-~~-----------~-----------L-:8-8-8-1(}--1(}--1-----I-~---------~~-

Solo
A E C~m D
7. 7. 7. 7. 7. 7. 7•
2 2 7 2 7 7 7

Ia
E F~ m D.C. al e
7
7.
7
7 .
7
7.
7
7.
7
7·
/. -I

:! :I
\
Ear Tests

There are two ear tests in this grade. The examiner will play each test to you twice on CD. You will fmd one example of each
type of test you will be given in the exam printed below.

Test 1: Melodic Recall

You will be asked to play back on your guitar a melody of not more than four bars composed from either the G, A or B
ionian mode. The test may include hammer-ons, pull-offs, vibrato, slides and bends with vibrato. You will be given the
tonic note and you will hear the test twice with a drum and bass backing. There will be a short break for you to practise
the test and then the test will recommence. You will play the melody with the drum backing. This test is continuous. The
tempo is ~ = 80.

1\ J,j I! ....--- .-----&

u - I
:::::-3----'

I
BU
3i5 2 3 5 2 3 5
2
5-+-3
2 4~!5
4
2 4 II
g II II

Test 2: Chord and Rhythm Recall

You will be asked to play back a four bar rhythmic chord progression on your guitar. You will be told the tonic chord and
_____.--:
hear tlie rhythmic chord progression played twice with a drum backing. There will then be a short break for you to practise
and then the test will recommence. You will play the rhythmic chord progression with the drum backing. This test is
continuous. The tempo is~ = 80.

Gmaj 7 F~dim

~ ,~~~~= r u tJ=( [jf [jf =II

•
 Ge uestio s

You will be asked fu-e General ~lusicianship Questions at the end of the exam. The examiner will ask questio o::: c.
pieces or pieces you have played in the exam. Some of the theoretical topics can be found in the Technical Exer ·

Topics:

i) Music theory
ii) Knowledge of your instrument

The music theory questions will cover the following topics at this grade:

Knowledge of all music signs as displayed on the staff

Knowledge of the construction of the following scales and arpeggios:

Modes of the major scale: dorian & phrygian

Harmonic minor scale
Diminished scale
Major 7 arpeggios
Diminished arpeggios
Minor 7 ~ 5 arpeggios

The instfument knowledge questions will cover the following topics at this grade:

All aspects of guitar construction

Recognition of main guitar makes
Recognition of main guitar amplifiers
Use of appropriate tone and volume controls for different styles

Questions on all these topics will be based on pieces played by you in the exam. Tips on how to approach this part o= --::
exams can be found in the.Rockschool Companion Guide and on the Rockschool website: www.rockschool.co.uk.

\
TheG Guide To G · ar Gra e 6

This section contains some handy hints compiled by Rockschool's Guitar Guru to help you get the mo ou- o: -
performance pieces. Do feel free to adapt the tunes to suit your playing style. Remember, these tunes are your chance
show your musical imagination and personality.

The TAB fingerings are suggestions only. Feel free to use different neck positions as they suit you. Please also note that
solos featured in the full mixes are not meant to be indicative of the standard required for the grade.

Guitar Grade 6 Tunes

Rockschool tunes help you play the hit tunes you enjoy. The pieces have been written by top pop and rock composers a::J
players according to style specifications drawn up by Rockschool.

The tunes printed here fall into two categories. The first category can be called the 'contemporary mainstream' and feature
current styles in today's charts. The second category of pieces consists of'roots styles', those classic grooves and genres whi
influence every generation of performers.

CD full mix track I, backing track 8: Big Big Big

A Latin track in the style of Carlos Santana. This piece requires considerable control to pull off on account of the sparSI
nature of the backing track which leaves no room for error. The initial guitar figure is played with a palm mute and
bends need to be crisp and accurate. You will need a degree of overdrive but not too dirty, enough to allow notes to sustain
a Santana trademark. The solo gives you the opportunity to show off the harmonic minor scale.

Composer: ~mon Troup.

CD full mix track 2, backing track 9: PMA

In the early 1990s, guitar heroes were all the rage and players such as Joe Satriani, Steve Vai and ..Eric Johnson held swa;
This track takes many elements from their playing. The song itself mixes a driving hard rock opening with the more lyrical
melodic playing that players such as Vai and Johnson are famous for. You need to play this with a degree of sensitivit;~
particularly in the middle sections, where the main theme is restated but more tenderly. Nevertheless, the rock sections
need power and great deal of control, as well as technical ability, to pull off. ~

Composer: Jimi Savage

CD full mix track 3, backing track 10: Mud Pie

Back by popular demand, we have put Mud Pie, a staple from the RS2K syllabus in Grade 5, into this syllabus at the Gra ~
that, with hindsight, it ought to have been in. This barnstorming southern boogie track, typical of players such as Stevie Ra~
Vaughan, is played more or less as it was before, the only exception being the extended solo section to bring it in line v.i
the other tracks in this grade. The performance will need the chops and plenty of confidence to bring off.

Composer: Hussein Boon.

CD full mix track 4, backing track 11: Musement Park

•
A rock piece that showcases the modern way of writing songs: a quiet opening section picked with or without a plectrurr:
that is in a more understated mood than the bravura, overdriven guitar part that follows. This is repeated before mming
into an irregular time signature section that really drives the piece forward and where the emphasis is on picking hanc
accuracy and technique. You should be looking really to rip in the closing sections.

Composer: Deirdre Cartwright

 eByOne

_-in-ana reYol a~ · - :: : music in the early 1990s "ith their fusion of heaY;- me an ~ ge ·as
is a fast-paced, guitar . -oL- out played loud. The opening section is played in double stops in// -! time. Them ·
arpeggio based. The tructure is quite repetitive, so feel free to develop the part in the repeated ections and in
Let rip in the guitar solo section.

Composers: Noam Lederman & James Creed.

CD full mix track 6, backing track 13: September Chill

This funk fusion piece is evocative of players such as Pat Metheney or John Scofield. You should aim for a limpid tone an~
be comfortable with the stabbed chords and the melody line which needs control and accuracy. Much of the perform
will be taken up with trying to create the right sort of mood, a matter of feel as much as of technique.

Composer: John Parricelli.

CD Musicians:

Guitars: Deirdre Cartwright; John Parricelli; Jimi Savage; Keith Airey; Hussein Boon
Bass: Henry Thomas
Drums: Noam Lederman
Keyboards and programming: Alastair Gavin

Guitar Grade 6 Marking Schemes

The table below shows the marking scheme for the Guitar Grade 6 exam.

ELEMENT PASS MERIT DISTINCTIOK

'-,
Piece 1 13 out of20 15 out of20 17+outof 0
Piece 2 13 out of20 15 out of20 17+ out of20
Piece 3 13 out of20 15 out of20 17+ out of20
Technical Exercises 6 out of 10 7-8 out of 10 9+ out of 10
Quick Study Piece 11 out of 15 12- 13 out of 15 14+ out ofl5
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 Pass:65%+ Merit:75%+ Distinction: 85%-

The table below shows the markings scheme for the Guitar Grade 6 Performance Certificate.

ELEMENT PASS MERIT DISTINCTIOX

Piece 1 14 out of20 16 out of20 18+ out of 0
Piece 2 14 out of20 16 out of20 18+ out of _o
Piece 3 14 out of20 16 out of20 18+ out of _o
Piece 4 14 out of20 16 out of20 18+ out of _o
Piece 5 14 out of20 16 out of20 1 outoc _o

l Total Marks Pass:70%+ Merit: 80%+ Distinction: 90Gn-

 En e · g oc .,. choo Exams

Entering a Rockschool exam is easy. Please read through these instructions carefully before filling in the exam entry form.
Information on current exam fees can be obtained from Rockschool by ringing 0845 460 4747 or by logging on to our
website www.rockschool.co. uk.

• You should enter for your exam when you feel ready.

• You can enter for any one of three examination periods. These are shown below with their closing dates.

PERIOD DURATION CLOSING DATE

Period A 1' 1 February to 15th March 1st December

PeriodB 1'1 May to 31'1 July 1'1 April

PeriodC 23rd October to 151h December 1'1 October

These dates will apply from 1st September 2006 until further notice

lete the form giving the information required. Please fill in the type and level of exam, the instrument, along
,=....::. --" :~ ·od and year. Finally, fill in the fee box with the appropriate amount. You can obtain up to date information on
L 3.J - ool exam fees from the website: www.rockschool.co.uk. You should send this form with a cheque or postal order
(p2; ~ - _ ockschool Ltd) to the address shown on the order form. Please also indicate on the form whether or not you
would - to receive notification via email.

• Ap_ · · ~- received after the expiry of the closing date may be accepted subject to the payment of an additional fee.

• vVben :-o enter an exam you will receive from Rockschool an acknowledgement letter or email containing a copy of our
ons.

• Roc - ool ''ill allocate your entry to a centre and you will receive notification of the exam, showing a date, location and
time as ' - as advice of what to bring to the centre. We endeavour to give you four weeks' notice of your exam.
~
• You sho inform Rockschool of any cancellations or alterations to the schedule as soon as you can as it is usually not
possible to transfer entries from one centre, or one period, to another without the payment of an additional fee.

• Please bring our music book and CD to the exam. You may not use photocopied music, nor the music used by someone
else in another exam. The examiner will sign each book during each examination. You may be barred from taking an exam
if you use someone else's music.

• You should aim to arrive for your Grade 6 exam thirty minutes before the time stated on the schedule.

• Each Grade 6 exam is scheduled to last for 30 minutes. You can use a small proportion of this time to tune up and get
ready.

• Two to three weeks after the exam you will receive a copy of the examiner's mark sheet. Every successful player will receive
a Rockschool certificate of achievement.

.:;

=
I