47,06 Grade 5 es? GUITARTHE EXAM AT A GLANCE For your Rock & Pop exam you will need to perform a set of three songs and one of the Session skills assessments, either Playback or Improvising. You can choose the order in which you play your setist Song 1 Choose a song from this book (OR from wwvwuttinityrock.com, Song 2 Choose « different song from this book OR from wwwatrinityrock.com OR perform a song you have chosen yourself: this could be your own cover version or a song you have written. It should be at the same level as the songs in this book. See the website for detailed requirements, Song 3: Technical focus Choose one of the Technical focus songs from this book, which cover three specttic technical elements Session skills Choose either Playback o: improvising. When you are preparing for your exam please check on www.trinityrock.com for the most up-to-date information and requirements as these can change from time to time.Songs Technical focus songs About the songs Session skills | Help pages nat embankment on 7206100 {Gao 72066) ‘iwortrayeatoge cok Reghtered in ne UK. Company no. c2585083 Shorty no fovarve CCoprignt ©2012 Ht Cotege London Fst petchedin 2012 by tty CalegeLerdon CONTENTS Molly’s Chambers 4 Money 7 The One | Love 10 The Raggle Taggle Gypsies 14 Boulevard Of Broken Dreams 18 Parisienne Walkways 24 Molly's Chambers 28 Money 29 The One I Love 30 The Raggle Taggle Gypsies 31 Boulevard Of Broken Dreams 32 Parisienne Walkways 33 Playback 34 Improvising 38 Choosing a song for your exam 39 Writing your own song 41 Playing in a band 42 Playing with backing tracks 43 Copyright in a song 43 Tuning track: E,A,D,G, 8, E with a pause between each note. Tinity College London’s Rock & Pop syllabus and supporting publications have been devised and produced in association with Faber Music and Peters Eaition London Cover ond book detion by Chloe Aotonde Btona Sovelooment by Any Aemoumar @ Catnant (wer cent corn) Photographs coutosy Rox Features nee Pretegin fngancby Colgoung Ud ‘Alo precices mised ond mastered by Tom Raming iste arongoa oy tom eaming Bocung taste orange by ten ming Mesieone \osois Bo Woton.frendon Rely 8 Alzon Symone yooarc Over oaks er Tom emg Bon hvors Dra: Googe Double Sado Enghaer el Bovis www elmahosee.com Abighseserved Ison 974088762230ES ( am oa \2/ NS S/ MOLLY’S demo backing CHAMBERS 9135) eee i Fr j ‘i el : 33 Aids 3 ietii:[Guitar sol 7 Mn 8 ¢ pe ett LENATAL ORRIN EA LTAETEL aii = = : G i mah all A | (So hoeeed BS on 7 ‘ i i F ig?i:: Poet se ee alll rf Wintel HeMONEY 2 = 119 Slightly swung 2 bor of til nse” count in (ier ty 4 Ly I (Boss and 2nd guitar cue) :_ | : | —— Hi = A a : 8 (aeaseeeee faa geta good job with more pay end you're 7 ae it | A we. trinityrock.com (verse br ttt Bf fo p Bert x setaeB? =—— : Se = he rin th Ff, SSH HS j a Pea th tte 25 Bm? = =| r rife Pryrthiti ha Se Pree eerereer es ff, Fa Fs rity Fa rere terete |«ken Ae rita on, ew @ (Qu itt jf RESP Pp tp pe ot == = Pn ao en ___# 7 = — = ears sh 210 . 7 k- a 52 6 Oo C C Bm? rit, 4 = = — A. eee of gies nf SSS ee 8 \wwwttinityrock.com© ® THE ONE I LOVE © °°" REM. WoIds ond Musc by Michael Mas, Whtam Beny; Peter Buck ond Michoe! Stine 1 = 128 Rock 1.5 bars count in intra] Em? be ab Sa Ef 8 (WenesTaz the one 1 love, ¢ directrices Teen meal:| | 58 Dsust cae =. f 2 § ee . ee eee - = | _— pop et SF Le —— SS a www .trinityrock.com GUITAR GRADE 5oh Em? E <== lettptper Poteet woos tt - [= SEES tet oP prop.[Chorus 23 ee En? 5) Sa fiete ——— Dsus? EmiD? Slower beret St a 7HaS ao a ‘wwwattinityrock.com, eer ayBAND OPTION BS N84 THERAGGLE TAGGLE GYPSIES | 4 = 90 Fast folk feel 2 bars countin [introrTheme| eS SaaS aa {1 opcon medien cinch sound) (B Joo —— = - Papi: 4 1 1 | = | (Wesea 123]bold - Wy - 0, ea 3. Now . le ieof EEfor my house and land? What care 1 for mon - ey = oP a ygiia == Bm areTECHNICAL | FOCUS BOULEVARD OF BROKEN DREAMS In your exam. you will be assessed on the following technical elements: 1 Playing octaves The octaves in the solo passage, from bar 31, will require practice. The \ rhythms dictate that this passage must be played using a plectrum - with sufficient right-hand energy to ensure accurate timing, All non-fretted strings must be muted to prevent ex1ra notes sounding, particularly on the bass strings. When playing octaves, these strings are usually muted using the second finger. 2 Vibrato The outo of Boulevard Of Broken Dreams uses Vibrato ( wwe ). VibvaIos 2 apd fluctuation In pitch that glves more depth and sustain fo a not produced by benaing the pitch up sighty, and then lating the note back down to the original pitch. Youneed to keep relaxed while playing vibrato, an to aim fo on even, | Conttoled sound, 3 Balance This song uses both clean and ovetcive sounds which need to be balanced Involume:i too much overdtve s used. he octave d notes may lack thymic | defnitionECHNICAL ocus ONGS BOULEVARD OF °°:he or Pa os eee eft 7 ‘OP Bare Ths Lea eS Pee ree Seep EES te o> eeemE ue a nae —ener - = its pe Api re Popitiipipiiiiiiiiy yyOoLP Eitri PE4t titi o> f Beara es ob: abs 5 7 SAS fini’PARISIENNE WALKWAYS In your exam, you will be assessed on the following technical elements: 1 Balance the gultarpattoternates belween fd, ustcined lead work wth heawy distortion oe —— You will need to use a distortion pedal of footswitch-equipped amp, to enable hands-free switching between the two sounds. Take care to prepare the sounds so that the volume balance is even 2 Bends Bends are indicated by slashed cue notes ({f).Some of the bends are a whole tone (to £m bor’, for example) and others are semiione bends (®f0 Cn Bor b tor example). Mate sute that your bends reach thei target note, to avold ony Uninjonded dlsionances. 3 improvising There is cn opportunity to improvise in the outro section. Try to use ideas trom eatlier In the song and cim to make the solo continue from the notated section with the music developing in « logical and interesting way ~ as well as showing off your soloing ability fee eeeECHNICAL ocus j ONGS / PARISIENNE | WALKWAYS 4. =62 Blues Rock foal Boe. ge a Sth Soren ‘oP od ame = a = == | =% =| x weet fpr Re oe =e eeeBra rs en eee) ze E to detorton Bay e Am Amis) Ame & Nc. : ih 2 hee 9 a . ee Pimper eng rsh — pf SEE pawo —f $3, 7 £f |r pap ith Pcie cere Bo = 2 SF ee ete 10-1240 Dm Am Foo Em Am Dm Am Foo Em Am OL ELIELE PELE PELL OPAL | ——MOLLY’S CHAMBERS Kings OF Leon Kings Of Leon are a rock band from Nashville. Tennessee. The band is made up of four members of the Followill family ~ three brothers and a cousin - and is named otter their grandfather, Leon. The Followills spent their early years living out of a car with their father, a preacher, as he toured the Souther states spreading the gospel. Eventually they rebelled against their strict upbringing and formed kings Of Leon. Since then, the band has achieved worldwide fame with their energetic brand of hard rock. with its driving rhythms and gravelly, emotional vocals from singer Caleb Followill “Molly's Chambers’ comes from Kings Of Leon’s fist album, Youth And Young Manhood (2003). The intro and verse pattern in ‘Molly's Chambers’ consists mainly of a simple Ff power chord rit Aim for a consistent accent pattem. with each beat accented slightly more heavily than the off-beats in between, f A crunch sound will probably work best for this song as the full barre chords in the chorus may sound muddy if you use heavy distortion. The solo will probably require a heavier sound, or at least some volume boost. ATS Bp There is an improvised solo from bar 61. Try using the minor pentatonic or blues scale for this. Consider using ideas from eariier in the song and aim to make the solo continue trom the notated section in a logical and interesting way as well as showing off your soloing ability GUITAR GRADESMONEY Pink Foy Pink Floyd was founded in 1966 by bassist Roger Waters and singer-guitarlst Syd Barrett. The band combined lush production with extensive sound effects and an eclectic musical style embracing blues, jaz rock and psychedelia, all helping to create a dark atmospheric world, “Money’ comes from Pink Floyd's concept album Dark Side Of The Moon. this is their most successful album and after its release in 1973 It remained in the charts until 1988. It is renowned for its brilliant sound quality, innovative use of sound effects and contemporary recording techniques including tape manipulation and multi-track recording. ‘Money ’is a satire on greed and avarice. Apart from the guitar solo section, ‘Money’ has the unusual tme signature off. The fist two bars are the sounds of @ cash register on a tape loop. The loop is one bar long (repeated) and there are a clear seven beats, so this should help you to count in, Fee! the seven beats in each bor ~ count carefuly and Isten to the other instruments. You might find it helpful fo count out loud and to break the seven beats down to four beats followed by three beats (1,2,3.4 1,2,3) a fist. Be ready for the time signature change to 4 in bor 31 The song is marked ‘slightly swung’. This means that you should think of all’ notes in Pairs with a little more emphasis on the fist of each pair, making It slightly longer. Itis important that you articulate the «) triplets cleanly and clearly at bars 31-32 - this important transition section propels the song forward from the sax solo to the guitar solo. There ate also several sets of both.) and « triplets In the guitar solo. Make sure that the triplet notes are of equal length. Be ready for the slides in the guitar solo. There are also several bends, which are indicated by slashed cue notes. Make sure that the bends reach their target notes, to avoid any unintended dissonances ‘wtrinityrock.comTHE ONE I LOVE REM. REM. is widely regarded as one of the world’s most successful rock bands of recent years. Michael Stipe (vocals), Peter Buck (guitar), Michael Mllls (bass) and Bill Berry (drums) formed R.E.M. in Georgia, US in 1980, determined not to conform to traditional rock music rules, “The One | Love’ is taken from R.E.M.s fifth album Document (1987) - an album which helped to move the band towards mainstream success. In an interview in 1988, Peter Buck's description of a typical R.E.M. song included the description, ‘minor key, mid- tempo and enigmatic’. This describes perfectly ‘The One | Love’, which is in E minor.is. Moderately fast and uses words which display apparently contradictory sentiments The guitar part in ‘The One | Love’ consists of lead work - in both foreground and background roles. The verses have an arpeggio-based accompaniment followed by some rhythmic chordal work. The song uses several bends, which are indicated by slashed cue notes. Make sure that the bends reach thelr target notes, to avoid any unintended dissonances. The song has @ wide dynamic range. The fst four bars are marked f'and are followed immediately by a passage marked mp - make sure that the difference between ‘these dynamics is clear. Be ready for the final three bars, where there is a change of time signature. change of tempo, and a pause on the final chord, A simple prop ~~ fo occupy my timeTHE RAGGLE TAGGLE GYPSIES “The Raggle Taggle Gypsies’ probably comes from Scotland - the first printed version dates trom the early 18th century. The song came to be associated with the legendary love story of the gypsy Johnny Fac and Lady Jean Hamilton. In 1609, Qypsies were expelled from Scotland and their love affair ended, Lady Jean married {an earl but, years later, Johnny Fag retuned and persuaded her to elope. The couple were caught; Johnny Fao and seven other gypsies were hanged and Lady Jean was imprisoned in a tower for the rest of her life. There ate many covers of this song, notably by The Waterboys. The Chieftains and Alison Moyet, The guitar plays a supporting role for most of this song (while the vocals and the electtic piano take the theme), but comes to the fore in bar 33 and the outro, when it plays the theme. Try to find sound that works well in both supporting and solo roles, although a degree of volume/gain boost may help to bring the guitar to the fore in i. the solo sections Aim for fluid. lyrical phrasing in the melodic sections. Be sure to reach a true unison in the unison bends In bars 35 and 75, otherwise they will sound dissonant. Use light palm. muting to keep the rhythm precise and prevent open strings from ringing on. This song is also in the vocals, keyboards, bass and drums books, so you can get together and play it in a band. 1 sutrinityrock.com Praca!BOULEVARD OF Soi vic) BROKEN DREAMS Green Day is a three-piece Californian pop punk band - Bille Joe Armstrong (vocals ‘and guitar), Mike Dimt (bass and backing vocals) and Tre Cool (drums). They came ‘from the underground Californian punk scene but have gone on to enjoy mainstream success with catchy three-chord pop-rock songs. ‘oreen Day ‘Boulevard Of Broken Dreams’ is from the 2004 concept album American Idiot, which tells the story of a character named Jesus of Suburbia, Boulevard Of Broken Dreams’ combines rhythmic playing (using both power chords and full chords). melodic phrases in octaves (in verse 1) and single-note melodic playing (in the outro), The song has a wide dynamic range, opening mp and closing fit also uses both clean and overdrive sounds - take care to balance these. Be ready for the slides in the fist verse. Th WAR ,O lonely roadPARISIENNE WALKWAYS Gary Moore (1952-2011) was bom in Belfast, Northern Ireland. He formed his frst major band, Skid Row, with Phil Lynott in Dublin in the late 1960s. Moore was influenced by the blues and both sang and played the guitar (he was well-known for his ‘exceptional gultar skils) Gary Moore, “Parisienne Walkways’ is an atmospheric bluesy ballad featuring vocals from Skid Row co-founder Phil Lynott. Itis taken from Gary Moore's solo album Back On The Streets 978). Parisienne Walkways’ uses both sustained lead work with heavy distortion and on arpeggio-based accompaniment using a clean sound. You need to be able to i, switch easily between the two sounds, The lead work uses bends, hammer.ons and ia \, FE) pull-otts to achieve a fluid melodic line. It is important that all bends should reach 72 ff their target notes, otherwise they will sound dissonant. is 8! \ AY be ready toimproviein holst ve bor of he song arses’ Seen m warinityrock.com Reo taPLAYBACK For your exam, you can choose either Playback or Improvising (see page 38). If you choose Playback, you will be asked to play some music you have not seen or heard before. In the exam, you will be given the song chart and the examiner wil play a recording of the music on CD. You will hear several two-bar or four-bar phrases on the CD: you should play each of them straight back in turn. There's a rhythm track going throughout, which helps you keep in time. There should not be any gaps in the music. In the exam you will have two chances to play with the CD: ‘+ Fist time - for practice + Second time - for assessment. You should listen to the audio, copying what you hear: you can also read the music. Here are some practice song charts which are also on the CD in this book really ke th WH a c looks ory aper. It Looks like art * TO Me? — omGm cm Gm PMan-------4 Practice playback 1 cm (= mye Sete al Gm if mo am lee wtrinityroct k.com 6. @) (Q) ete otptpel dS rl PM.----=-nnna4 Hoe =Practice playback 2 pierre FQ STE Sf poe ee FE AE tm 8 E DP PM pnnnnnnnnnnnnnnnn nnd oe P f A — == a rs =| eeeeeeeeeeeeeg PM ened | bitty ses z tse WM aS ss = ~ f pS 5 Ctm B HS SP Se a aS od ar ere ; 4YOUR {Xejiss PAGEIMPROVISING For your exam, you can choose either Playback (see page 34), or Improvising. If you choose to improvise, you will be asked to improvise over a backing track that you haven't heard before In a specified style. In the exam, you will be given a song chart and the examiner will play a recording of the backing track on CD. The backing track consists of a passage of music played ‘on a loop. You can choose whether to play a lead melodic line, rhythmic chords, or a combination of the two, In the exam you will have two chances to play with the CD: ‘= Fist time for practice ‘+ Second time - for assessment. Here are some improvising charts for practice which are also on the CD In this book. A Practice improvisation 1 4=90 Funk Fm & B w 8 we t 1 7 | a » 7 Fm? aw oe i om fm . > Cm? eB D Bosust Bb Fm? tt + + + Practice improvisation 2 B Emaj” B Gh FF 4 7 pt —4 yen 1 aE Bmaj? Dim Fe uw + : + 1 ’ tmwitinityrock.com CHOOSING A SONG FOR YOUR EXAM There are lots of options to help you choose your three songs for the exam, For Songs 1 and 2, you can choose a song which is: * from this book # from wwwitrinityrock.com Or for Song 2 you can choose a song which Is * sheet music from a printed or online source = your own arrangement of a song or a song you have written yourself (see page 41), You can play the song unaccompanied or with a backing track (minus the solo Instrument). If you like, you can create « backing track yourself (or with friends). or you could add your own vocals - or both. For Grade 5, the song should last between two and three-and-a-half minutes, and the level of difficulty should be similar to your other songs. When choosing a song, think about: + Does it work on my instrument? + Are there any technical elements that ore too difficult for me? {If so, perhaps save it for when you do the next grade.) + Dol enjoy playing it? * Does it work with my other pieces to create a good setlist? See wwwtinityrock.com for further information and advice on choosing your ‘own song. SHEET MUSIC ‘You must always bring an original copy of the book of a download sheet with ‘email certificate for each song you perform in the exam. if you choose to write your own song you must provide the examiner with a copy of the sheet music. Your music can be: : '* lead sheet with lyrics, chords and melody ine ‘* a chord chart with lyrics ‘+ a full score using conventional staff notation + se6 page 41 for details on presenting a song you have wiitten yourself. ‘The title of the song and your name should be on the sheet music,your [Neu fcWRITING YOUR OWN SONG You can play a song that you have written yourself for one of the choices in your ‘exam. For Grade 5. your song should last between two and three-and-a-half minutes, It is sometimes difficult to know where to begin. however. Here are some suggestions for starting points: + Amelody: Many songs are made up around a hook (a short catchy melodic idea, usually only a few notes long). Try writing a couple of hooks: * lyties: You could start by writing lyrics, or choosing someone else's lyrics (be ‘aware of the copyright issues if you do this - see page 43 for further details). Your lyrics will help you decide whether your song will be upbeat or reflective, and may help you decide on a style and structure, * Structure: Choose a structure for your song and write down a plan. For example. if you choose verse/chorus structure, your plan might be: verse: 12 bars, mainly € min and A min chords / chorus: 8 bars, G and D chords over two-bar bass riff / 2x -verses: 2x 12 bars / final chorus: 8 bars + 4-bar coda (G and D chords) pics 0 tHere 68 699, Yoy might conse Including blige sections, solo passages, oro pre-chonus rds and a melody ling. © 6; you right ike to use an entirely different structure: 12-bar blues. AABA (where the ee A first idea is repeated, then followed by a different section before repeating again at | the end) There are plenty of other ways of starting: perhaps with a riff or a chord sequence, for example. ou will clso need to consider what instruments It is for (voice/guitar/ drums...) There are many choices to be made - which is why writing a song is such @ rewarding thing to do. Rey eta 3 fer. trinityrock.comPLAYING IN A BAND Playing in a band is exciting: it can be a lot of fun and, as with everything, the More you do it. the easier it gets. Its very different from playing on your own. Everyone contributes to the overall sound: the most important skill you need to develop is listening, For a band to sound good, the players need to be “together’ - that mainly means keeping in time with each other, but also playing at the same volume. and with the same kind of feeling. Your relationship with the other band members is also important. Talk with them about the music you play. the music you like, and what you'd like the band to achieve short-term and long-term, Band rehearsals are important - you should not be late. ited of distracted by your mobile phone! Being positive makes a huge difference. Tty to create a friendly imesphere in rehearsals so that everybody feels comfortable trying out new things. Don’t worry cbout making mistakes: that is what rehearsals are for. “The Raggle Taggle Gypsies’ on page 14 is arranged for band. You will ind parts for vocals, keyboards, boss and drums in the other Trinity Rock & Pop Grade 5 books or available online, Trinity offers exams for groups of musicians at various levels. The songs arranged for bands are ideal to include as part of a setuist for these exams. Have a look at the website for more detail HINTS AND TIPS : ee Spend tme planning your songs with the other band members. Think about who will play what. making the most of he instruments you have. and playing ‘fo ine strengths of each band member. Be imaginative - the most exciting a era) ee ‘and unexpected ways. : Record a demo. This can be c good way of giving the band a target to focus ‘on, Make your demo the best you possibly con ~ ~fecord each song several - times and discuss with the other band members which version works best. ‘You can either record a. demo in astudio, which ‘enables you to edit your. performances (combining the best bits of all your versions), or you ean record your demo in ‘live conditions. which can give a more exciting demo but does _ Rot alve you the opportunity to eal out ony mistakes. ‘Nothing beats the thrl.of perfoiming ve in front of an audlence. Organise 9 gig for a few friends. it can be a small gig in someone's house - the important thing 's to get used to playing in fiont of other people, Gigs can be nerve-wracking at ‘ist, but try to relax and enjoy them.aed a PLAYING WITH BACKING TRACKS The CD contains demos and backing tracks of all the songs in the book The additional songs at wwwttrinityrock.com also come with demos and backing tracks. * Inyour exam, you should perform with the backing track, or you can create your ‘own (see below). = The backing tracks begin with a click track, which sets the tempo and helps you start accurately, ‘+ Be careful to set the balance between the volume of the backing track and your instrument, + Usten carefully to the backing track to ensure you are playing in time, It you are creating your own backing track here are some further tips: + Make sure the sound quality is of a good standard, * Think carefully about the instruments/sounds you are putting on the backing track. It should support * Avoid copying what you are playing on the backing track not duplicate. * Do youneed to include a click track at the beginning? COPYRIGHT IN A SONG If you are a singer of songwriter It is important to know about copyright. When someone writes a song of cfeates an arrangement they own the ‘copyright (sometimes called ‘the rights’) to that ‘version. The copyright means that other people cannot copy It,sellt, perform it in a concert, make it avaliable online or record it without the ‘owner's permission of the appropriate licence. When you write a song you automatically own the copyright to ft, which means that other people cannot copy your work, But, just ds importantly. you cannot copy ather people's ‘work, or perform it in public without their permission or the appropriate licence, wAtrinityrock.com, Points to remember You can create a cover version of a song ‘and play it in an exam or other non-public performance. You cannot record your cover version and make your recording available to others (by copying It oF uploading it to a website) without the appropriate licence. You do own the copyright of your own original song, which means that no one is allowed to copy I. You cannot copy someone else’s song without their permission of the appropriate licence.Boss Initial ISON: 978-085736-297.8 Bass Grade 1 ISBN, 978-05736.208.5 Bass Grade 2 ISON: 978-0.85726-200-2 Bass Grade 3 SBN 978-0-85735-200-8 Bass Grade 4 SBN: 978-0-85736-281-5 Bass Grade 5 'SON 976.0.09736-202-2 Bass Grade 6 ISBN 9760-85736.253.9 Bass Grade 7 ISBN: 9780:99736-204-6 Bass Grade 8 ISBN: 978-0.95736.296-3 Ta] Drums initia ISBN: 978-095736.266:2 F Drums Grade 1 Ian, 978-085736-2669 Drums Grade 2 N: 978.085796247-6 Drums Grade 3 SBN: 9780-85736208-9, Drums Grade 4 Isat 976.0.86736.2400 Drums Grade 5 Isat 9786-95736-2506 Drums Grade 6 Ise: 9780-85736.251-3 Drums Grade 7 Iso 976.0-96736-252.0 Drums Grade 8 IsBhv:9789-95736-255-7 Guitar initia Is8h:978.0-99730.2160 Guitar Grade 1 Ise 978.0-85736-219-3 Guitar Grade 2 ISBN: 978.0-85736.2009 Guitar Grade 3 ISBN. 978-0:95786.221- Guitar Grade 4 SEN: 978-085726:202:3 Gultar Grade 5 SBN: 978-085756.2200 Guitar Grade 6 SBN: 978.0857962247 Guitar Grade 7 ISBN 976.0.86720-225-4 Guitar Grade 8 Isa 978.0-85796-226- ALSO AVAILABLE Trinity College London Rock & Pop examinations 2012-2017 are also available for: Keyboards initial SBN, 978-085796-2960 Keyboards Grade 1 'SBN 976.005736-257-7 Keyboards Grade 2 ISBN: 976.0-85736-258-¢ Keyboards Grade 3 IsQN: 976.085796-290-1 Keyboards Grade 4 ISBN: 976.0-86796-240-7 Keyboards Grade 5 ISBN: 976.0-85796-241-4 Keyboards Grade 6 IseN9780:86736-282-1 Keyboards Grade 7 ISBN. 9780-85756-268-8 Keyboards Grade 8 \saN: o78.0.85730-2805 Vocals initial \SEN,972-085736.254-4 Vocals Grade 1 ISBN: 978-085736-255, Vocals Grade 2 SBN 9780857362868, Vocals Grade 3 SON 978.085736257-5, Vocals Grade 4 \saN 978.0-85736-2502 Vocals Grade 5 Ise 978.0-26736.250.9 Vocals Grade 6 (female voice) ISBN: 976-0-95736-260 Vocals Grade 6 (male voice) IsaN;978.0-96736-260 Voeals Grade 7 (female voice) ISBN 978.0:99736-260:3 Vocals Grade 7 (male voice) ISBN 978.0-85730-261-2 Vocals Grade 8 (female voice) ISON, 978-0.85730-2660 Vocals Grade 8 (male voles) ISBN: 978-0-85750.2629el Guitar Grade 5: > Trinity College London P@@ Rock & Pop Examinations 2012-17 & POP * a} www.trinityrock.com This book contains all you need for your exam - songs, performance tips, technical support, session skills and @ group song for those in a band - together with a CD of demo and backing tracks. (il COLLEGE LONDON