RSLAcousticDebut2016OnlineEdition30Sep2016 PDF

Acoustic Guitar
Debut
RSL-728663013500 / 1 / Sergio Martínez / sergiomartinezpuga@gmail.com

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: 8ZYPUPF5NK
For more information, turn to page 5
www.rslawards.com
Acknowledgements
Published by Rockschool Ltd. © 2016

Catalogue Number RSK200020
ISBN: 978-1-910975-27-5
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: 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, Mary Keene and Emily Nash
Cover design by Philip Millard
Cover photograph © REX Shutterstock
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 Ash Preston, Andy G Jones, Carl Orr and 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, Hannah Vasanth and Jon Tatum
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
www.rslawards.com
Telephone: +44 (0)345 460 4747
Email: info@rslawards.com
Acoustic Guitar Debut
2
Table of Contents
Introductions & Information
1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Acoustic Guitar Debut
6 Acoustic Guitar Notation Explained
Rockschool Grade Pieces
7 Foo Fighters....................................................... . . . . . . . ‘Learn To Fly’

11 Snow Patrol.. ....................................................... . . . . . . ‘Chasing Cars’
15 Coldplay............................................................... . . . . . . . . . . . . . . . . . . . . ‘Yellow’
19 Van Morrison.................................................. ‘Brown Eyed Girl’
23 Beyoncé.. ............................................................... . ‘If I Were A Boy’
27 Bob Marley............................................... ‘No Woman, No Cry’
Technical Exercises
31 Scales, Arpeggios & Chord Voicings

Supporting Tests
34 Sight Reading
35 Improvisation & Interpretation
36 Ear Tests
37 General Musicianship Questions
Additional Information
38 Entering Rockschool Exams

39 Marking Schemes
40 Copyright Information
42 Rockschool Popular Music Theory
44 Rockschool Digital Downloads
3
Welcome to Rockschool Acoustic Guitar Debut
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
The book is divided into a number of sections:
■■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
4
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: 8ZYPUPF5NK
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
All candidates should download and read the accompanying syllabus guide when using this grade book. Acoustic Guitar Debut
5
Acoustic Guitar Notation Explained
Finger picking
# ww œ œ
p i m a
D Am F
b œ
thumb index middle annular
w ’ ’ ’ ’
THE MUSICAL STAVE Notes:
& ˙ œ Û Û Û Û
shows pitches and rhythms
w
E F 3
4
and is divided by lines into CDB
AG 2
bars. Pitches are named after F E 1
the first seven letters of the
alphabet. Fretting hand fingers
Strings:
2 0
T
E
TABLATURE graphically B 3 10 1
represents the guitar G
A 2
2
0 9
10 2
2
B
fingerboard. Each horizontal D
line represents a string, and A 10 0
E
each number represents a fret.
4th string, Open Rhythm notation with Ad lib. and cont. sim. sections
2nd fret D chord 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
œ œ œ
fretting it without picking. finger without picking. indicated in brackets.
œ œ œ
& œ & & œ œ &
BU BD
T T T T 5 (6) (5)
A 5 7
A 7 5
A 2 4
A
B B B B

GLISSANDO: A small slide off of a note VIBRATO: Vibrate the note by bending NATURAL HARMONICS: Lightly ARTIFICIAL HARMONICS: Fret the note
‚
toward the end of its rhythmic duration. and releasing the string smoothly touch the string above the indicated indicated in the TAB, then (with picking hand)
w~~~~~~~~~~ ‚ ‚
Do not slide ‘into’ the following note – and continuously. fret then pick to sound a harmonic. lightly touch the string above fret indicated
subsequent notes should be repicked. between staves, and pick to sound the harmonic.
& œ œ & & & ‚ ‚

~~~~~~~~~~ NH
12
AH 14 AH 15
T T 8 T 12 T
A 2 4
A A 12
A 2
3
B B B B
PRE-BENDS: Before picking the note, PICK HAND TAP: Strike the indicated FRET HAND TAP: As pick hand tap, QUARTER TONE BEND: Pick the note
bend the string from the fret indicated note with a finger from the picking but use fretting hand. Usually indicated and bend the string up
œ #œ œ
between the staves, to the equivalent hand. Usually followed by a pull off. followed by a pull off or hammer on. by a quarter tone.
œ ˙ #œ
pitch indicated in brackets in the TAB 1/4
& & & & œ œ

PB 7
1/4
BD
7 2 9 5
T ( 9) (7) T T T
A A A A 5
7
B B B B
fi
TRILL: Rapidly alternate between the • Go back to the sign (%), then play until
D.%. al Coda
fi
two bracketed notes by hammering the bar marked To Coda then skip to
the section marked Coda.

Ÿ~~~~~
on and pulling off.
&œ w
D.C. al Fine
• Go back to the beginning of the song and
œ play until the bar marked Fine (end).
.. ..
Ÿ~~~~~
• Repeat bars between signs.
T
.. ..
(5 7) 5 1. 2. • When a repeated section has different
A endings, play the first ending only the first
6 B time and the second ending only the
second time.
Foo Fighters | Learn To Fly
SONG TITLE:
LEARN TO FLY
q =135
#
ALBUM:
THERE IS NOTHING
## # 4 . œ œ œ œ œ œ
& #4 .
LEFT TO LOSE / 1999 B
LABEL:
RCA
GENRE:
HARD ROCK
WRITTEN BY:
DAVE GROHL,
NATE MENDEL,
.
TAYLOR HAWKINS
.
0 0
GUITAR:
DAVE GROHL T 0 0 0
PRODUCER:
FOO FIGHTERS AND A
ADAM KASPER B
UK CHART PEAK:
21

F# m
# ## # . œ œ œ œ œ œ œ ‰
‘Learn to Fly’ was released in 1999 and received a from Nirvana’s approach, such as the shift between
& # .
B
Grammy Award nomination for Best Performance quiet verses and loud choruses and the stripped
by a Duo or Group with Vocal. It was awarded a down qualities of their songs. Grohl’s riffs contain
Grammy Award for Best Music Video. The song had a substantial rhythmic element that relates to his
considerable international success and in July 2015, drumming background. The band has developed a
1000 musicians gathered in the Italian town of Cesena more sophisticated and melodic sound over the years.
.
to play and sing the song. A video of the event was Grohl directed the series Sonic Highways, described as
released followed by a plea for the Foo Fighters to a ‘love letter to the history of American music’ where
.
2 is 0 0
play in their town. It had nearly 28,000,000 views. The
Foo Fighters played a concert in Cesena in November
T much of what influences4 him 4
4 and4the Foo Fighters
documented. Grohl also played drums with Queens
2015 for approximately 3000 people. They opened A of the Stone Age and in Them Crooked Vultures,
with ‘Learn to Fly’. B featuring Led Zeppelin’s John Paul Jones and Josh
Homme, frontman of Queens of the Stone Age.
The album featuring ‘Learn to Fly’, There is Nothing [5]
Left to Lose, was awarded a Grammy Award for Best
Rock Album in 2001. It was produced, without record
company involvement, in Dave Grohl’s basement in
Alexandria, Virginia.
F # m7
# ## # œ œ œ œ œ œ œ ‰
Dave Grohl is a founder member of Nirvana and
B
& #
Foo Fighters is the name he chose for a one man
project following the death of Kurt Cobain in 1994.
Grohl eventually recruited other members and Foo
Fighters became a band in 1995. The Band has won

four Grammy awards.
Grohl was already writing tunes during his Nirvana

days but felt intimidated by Cobain’s prowess. When 0 0
2
the Foo Fighters started he borrowed elements T 4 4 4 4
A
B 7
[9]
Learn To Fly Foo Fighters
Arranged by Carl Orr
#### 4 . B
q =135
#
& #4 . 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 ..
F m E 7
. .
. .
T 0 0 0 0 0 0 0 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0
A
B
# # # # . Bœ œ œ œ œ œ œ ‰ n œj ˙
F # m7
& # . Œ œ œ œ œ ‰ œj ˙ .
E
J J œ œ
.
.
T 4 4 4 4 2 0 0
2
0 0 0
1
A 4 2
B
[5]

F # m7
#### œ œ œ œ œ œ œ ‰ n œj œ
1.
œ œ Œ ..
B E
& # œ œ ˙. ∑
.
.
T 4 4 4 4 2 0 0
2
0 2 0
1
A
B
[9]
#### œ œ œ œ œ F # m7
œ œ œ œ œ
2.
œ œ ‰ œ ˙. œ œ
& # Ó ‰ œ œ
B E
J J
2 2 2 2 0 2 2 2 2 0
T 0 0 4 2 0 4 2
A
B
[13]
F # m7
#### w œ œ œ œ œ
œ œ ‰ œ œ œ œ œ
B E
& # J w
2 2 2 2 0
T 0 4 2 0 2 4 0
1
A
B
[17]
8 Words & Music by Dave Grohl, Taylor Hawkins & Nate Mendel
© Copyright 1999 Flying Earform Music/Living Under A Rock Music, USA/MJ Twelve Music
Universal Music Publishing Limited/Bug Music Limited/Kobalt Music Publishing Limited.
All Rights Reserved. International Copyright Secured.
#### ∑ œ œ œ œ œ œ œ
F # m7
‰ œ ˙. œ œ œ œ œ œ œ
#
B E
& J
2 2 2 2 0 2 2 2 2 0
T 4 2 0 4 2
A
B
[21]
#### nœ œ œ œ œ œ œ œ œ œ œ œ
G5 A sus 4
# w w
A B
& J J J J J J
T 0 3 2 2 0 3 2 0 0 2 0
A
B
[25]

9
Learn To Fly | Technical Guidance
This classic tune encapsulates the furious style of the Foo Fighters.
While it retains the grunge from the Nirvana days, a more meticulous approach to the craft of the three minute rock song
has been added. The flawless performance is clean, letting the flair, musicality and attitude of the song shine through.
‘Learn to Fly’ is in the key of B, which despite its close proximity to the more usual key of E, is still a relative rarity. This,
however, facilitates the use of open strings and allows the full sound of the guitar to ring out. The song pulses steadily at
135 beats per minute and features a chord sequence on the B major (I/tonic), F # minor (V/dominant) and E major (IV/sub-
dominant) chords, repeated until bar 26, which features a cadence from the G 5 ( b VI/submediant) power chord to an Asus 4
( b VII/subtonic) power chord, resolving back to the B major (I/tonic) with a great deal of drama and an element of surprise.
The intro features a very simple two note melody (B and C) which propels the song along in quavers. The verse starting at
bar 5 is very simple and memorable. It’s all in the low end of the neck and quite easy to play. The only tricky bit is the synco-
pation, such as the A note in bar 6, the phrase in bars 6 and 7 and the phrase ending in bars 10 and 11.
In bar 13, there is a slightly oddly placed pickup into the chorus starting on the and (upbeat) of 3. Also watch out for the
placement of the notes in bars 18 and 19, which recurs at bars 22 and 23. The final phrase in bars 26 to 28 is also rhythmi-
cally subtle. It is best to practise each phrase individually; for example, bars 5 and 6 constitute a phrase, the musical equiva-
lent of a small sentence. It is advisable to start by clapping the rhythm repeatedly and to play the pitches without any rhythm.
Once the rhythm and pitch are secure they can slowly be combined, eventually building up to full speed.

10
Snow Patrol | Chasing Cars
SONG TITLE: CHASING CARS q = 104

r parts
t assessed and non-assessed guita
See note on welcome page abou
ALBUM: EYES OPEN / 2006
#
# œ œ œ œ œ œ
Gtr. 1 (Assessed)
œ œ
## 4 œ œ œ œ
E/G
œ œ œ œ
LABEL: INTERSCOPE
& 4 œ œ
A
GENRE: ALTERNATIVE ROCK

WRITTEN BY:
GARY LIGHTBODY,
let ring throughout
NATHAN CONNOLLY, 0 0 0 0 0 0 0 0 0
TOM SIMPSON, T 2 2 2 2 2 2 2 2 1
A
PAUL WILSON, B
# ## 4 Gtr. www ww
JONNY QUINN
w ww
& 4 www
2 (Assessed)
ww ww
GUITAR:
GARY LIGHTBODY AND
NATHAN CONNOLLY. w
PRODUCER: JACKNIFE LEE 0
0 0
0
UK CHART PEAK: 6 T 2
2
2
1
2 2
A 2
≥
2 2
≥
0 0
≥
B 0
# ## œ œ œ œ œ œ œ œ œ
D
œ œ

‘Chasing Cars’ is featured in Snow Patrol’s 2006 & œ œ œ œ œ œ œ œ
release Eyes Open. The song gained popularity in
0
the US, after being featured in the TV series Grey’s 0 0 0 0 0 0 0 0
2
Anatomy. ‘Chasing Cars’ sold consistently in the T 0 0 0
2
digital download market on both sides of the Atlantic A 0 0 0 0 0
and received a Grammy Award nomination for Best B

Rock Song in 2007.
# ## ww ww www
& ww ww ww
The lyrics were written by singer Gary Lightbody
and talk about infatuation.
0
2 2
2
In 2009, PPL announced ‘Chasing Cars’ was the T 3
3
2
2
2 2
most widely played song of the decade in the UK. The A 0
0 0
song sold nearly five million copies in the US and UK. B
E/G #
Ed Sheeran covered it in live performances.
œ
[5]
# ## œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
A
&
Snow Patrol hail from Northern Ireland and
formed in 1993 at the University of Dundee.
Their first three records were released 0 0 0 0 0 0

0 0 0
independently and did not have much commercial T 2 2 2 2 2 1
2 2 2
success. The group rose to fame with their 2005 major A
label release Final Straw. The record sold 3 million B
# ## Ó j
copies worldwide.
Œ ‰ œj œ . œ œ œ w
Eyes Open was released in 2006 and ‘Chasing &
Cars’ propelled the band to international fame. Snow
Patrol have sold 13 million records to date. They have
supported U2 and Coldplay in stadium tours. 2
T 1 2
A 2
B
[9] 11
Chasing Cars Snow Patrol
Arranged by James Betteridge
q = 104
See note on welcome page about assessed and non-assessed guitar parts
### 4 œ œ œ œ
#
Gtr. 1 (Assessed)
œ œ œ œ œ œ œ œ œ œ œ œ
& 4 œ œ œ œ œ œ œ œ
A E/G
œ œ œ œ œ œ œ œ
let ring throughout
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1
A
B
### 4 www
Gtr. 2 (Assessed)
www ww ww
& 4 w w ww ww
w w ww ww
0 0 0 0
T 2 2 0 0
A 2
2
2
2
1
2
1
2
B
≥ ≥ ≥ ≥
0 0 2 2
0 0
## œ œ œ œ
D A
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
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 2 2 2 2 2 2 2 2
A 0 0 0 0 0 0 0 0
B
# # # ww ww www www
& ww ww w w
w w
2 2 0 0
T 3
2
3
2
2
2
2
2
A 0 0 2 2
B 0 0
[5]
### E/G #
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
A
&
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T
A 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1
### j j
‰ œj œ . œ.
& Ó Œ œ œ œ w œ œ œ œ
T 2
1 2
2
1 1
A 2 4
B
[9]
12 Words & Music by Paul Wilson, Gary Lightbody, Jonathan Quinn, Nathan Connolly & Tom Simpson
© Copyright 2006 Universal Music Publishing BL Limited.
Universal Music Publishing Limited/Universal Music Publishing BL Limited.
## œ œ œ œ
D A
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
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 2 2 2 2 2 2 2 2
A 0 0 0 0 0 0 0 0
B
### œ. j œ œ œ
& w œ œ œ w Ó
T 2 2 2 2
1 2
A
B
[13]
E/G #
# # # ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
A D
& ˙˙ ˙ ˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙
˙
˙
˙
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙

0 0 0 0 0 0 0 0 2 2
T 2
2
2
2
2
2
2
2
0
1
0
1
0
1
0
1
3
2
3
2
A 2 2 2 2 2 2 2 2 0 0
B 0 0 0 0 2
0
2
0
2
0
2
0
### w œ œ œ œ. œ œ œ œ.
& Ó œ ˙ Ó œ œ œ
J J
T 2 2 2 2 2 0 2 2 2 2 0
2
A
B
[17]
# # # ˙˙ ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ wwww

A
& ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ w
2 2 0 0 0 0 0 0 0 0 0 0 0 0 0
T 3 3 2 2 2 2 2
A 2
0
2
0
2
2
2
2
2
2
2
2
2 2 2 2 2 2 2 2 2
2
B 0 0 0 0 0
### œ œ j
& J œ œœœ w ∑ ∑ ∑ ∑
T 3 2 0
2 2
A
B
[22]
13
Chasing Cars | Technical Guidance
‘Chasing Cars’ is in the key of A major and uses the I (tonic), IV (subdominant) and V (dominant) chords. These chords are
referred to as primary chords. Harmonising the major scale will yield chords on each degree of the scale. The diagram below
illustrates the diatonic chords of the A major scale.
The A major scale:
I II III IV V VI VII
A maj Bm C # m D maj E maj F # m G # dim
A maj D maj E maj
This version of the song has been arranged as a duet, with the first guitar playing the 8th note riff, which cycles through the
chord sequence. It is important to avoid any unwanted open strings and keep the riff consistent.
In bars 17 to 24 the part switches to playing the underlying open chords. It is important to make sure all the notes in each
chord can be heard clearly. The chords are notated as minims (half notes) on beats 1 and 3. Ensure the chords last for the
correct duration.
The second guitar starts off playing the open chords during the intro, supporting the main riff played by guitar one. It then

switches to playing the melody at the start of the bar 9. The rhythm of the melody is quite syncopated (accenting weaker
parts of the beat).
For example, the melody in bar 9 starts on the ‘and’ (upbeat) of beat 4. This can take a little while to get used to. It is useful
to practice clapping and singing the rhythm first. It is a great way to help train one’s ears. Singing a line will make playing it
much easier.
If the original tempo is hard to manage, it is advisable to slow it down to a comfortable speed until each section is playable.
The tempo can then be gradually increased.
14
Coldplay | Yellow
q = 87
r parts
t assessed and non-assessed guita
See note on welcome page abou
œ
‰ œ œ œ œ
SONG TITLE:
YELLOW
# ## # 4 ‰ œ œ œ ˙
B
Gtr. 1 (Assessed)
& #4
ALBUM:
PARACHUTES
LABEL:
PARLOPHONE
GENRE:
POP / ALTERNATIVE ROCK
2
4 2 4
WRITTEN BY:
CHRIS MARTIN, T 2 4 2 4 2
JONNY BUCKLAND, A
B
WILL CHAMPION AND
GUY BERRYMAN
# ## # 4 œœœ œœœ œœœ ˙˙˙
Gtr. 2 (Assessed)
œœœ œœœ œœœ ˙˙˙
GUITAR:
CHRIS MARTIN AND & #4
JONNY BUCKLAND
PRODUCER:
KEN NELSON AND 2 2 2 2 2 2
4
2
4
2
4
4 4
COLDPLAY
T 4
4
4
4
4
4 4 4 4 4 4
A
UK CHART PEAK:
4 B
œ œ ˙
# ## # Ew ‰ œ œ œ œ œ œ ‰ œ
B

‘Yellow’ is featured in Coldplay’s debut album
& #
Parachutes. It was written whilst taking a break during
the recording of the album. The band went outside 0 0 2 4 2
of the studio to look at the stars and that inspired T 0 1 1 1

4
Chris Martin to write the lyrics. He showed them to
A
B
the band and they added further lyrical and musical
ideas. The song was recorded there and then.
# ## # œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœœ œœœ œœœ
& # œœ œœœ œœœ ˙˙ œœ œœ œœ ˙˙
‘Yellow’ received massive airplay and quickly
became a popular song. By now, it is one of the band’s œœ œ œ ˙˙ œœ œœ œœ ˙˙
anthems. It has been adopted by Watford FC and is 0 2 2 2
0 0 0 0 0 4 4 4
played during home games. 0 0 0 0 0 0
T 0
1
0
1
0
1
0
1 1 1 1 1
2
4 4 4
A 2 2
2
2
2
2
2
2
2
2
2
2
2 2
‘Yellow’ was covered by Bill Frisell and Petra B 2
0 0 0 0 0 0 0 0
Haden, Sara Bareilles and Alex Parks amongst others. [5]
# ## # ‰ œ œ œ œ œ
Coldplay formed in 1996 whilst studying at
w ‰ œ œ œ œ
E
& #
University College London. Their quick rise to fame
was accompanied by constant touring and recording.
They have released seven albums to date and are a
stadium filling band worldwide. Their style is rooted
in melodic pop but Coldplay retain an experimental 2
0
0 0
edge. As a result their sound partially changes T 0 2 0 2 1 1
A
according to the production values they apply in every B

new studio recording.
# ## # œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ
˙ œœ œœ œœ ˙˙ œœ œœ œœ
& # œ œ œ
Coldplay have won numerous music awards,
amongst them seven Grammy Awards. They have sold
œœ œœ œœ ˙˙ œœ œœ œœ
over 60 million records to date.
0 0 0 0 0
2 2 0 0 0 0
2 2 0 0 0 0 0
T 2 2 2 2
3 1 1 1 1 1 1 1
2
A
3 3 3
2
2
2
2
2
2
2
2
2
2
2
2 15 2
0 0 0
B 0 0 0 0
[10]
Yellow Coldplay
Arranged by Carl Orr
q = 87
F#
See note on welcome page about assessed and non-assessed guitar parts
# # # # 4 Gtr. 1œ(Assessed) œ œ
B
& #4 ‰ œ œ ˙ ‰ œ œ œ œ w ‰ œ œ œ œ
2 2
T 2 4 2 4 2 4 2 4 2 0 2 0 2
A
B
# # # # 4 Gtr.
œœœ 2œœœ(Assessed)
œœœ ˙˙˙ œœœ œœœ œœœ ˙˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙
& #4 œ œ œ ˙ œ œ œ ˙
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
T 4 4 4 4 4 4 4 4 2 2 2 2 2 2 2 2
4 4 4 4 4 4 4 4 3 3 3 3 3 3 3 3
A
B
#### œ F#
# w ‰ œ œ œ œ œ œ ‰ œ œ œ ˙ ‰ œ œ œ œ w
E B
&

2
T 0
1
0
1
0
1
2 4 2 4 2 4 2 4 2
A 4
B
# # # # œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœœ œœœ œœœ ˙˙˙ œœœ œœœ œœœ ˙˙˙ œœ œœ œœ ˙˙

& # œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œ œ œ ˙
œœ œœ œœ ˙˙ œœ œœ œœ ˙˙
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
T 0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
2
3
2
3
2
3
2
3
A 2 2 2 2 2 2 2 2
B 2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
[5]
#### ‰ œ œ œ œ œ w ‰ œ œ œ œ œ œ ∑ ‰ œ œ œ œ œ
& #
E B
2 2
T 0 2 0 2 0 0 0 2 4 2 4
A 1 1 1
4
B
# # # # œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙
& # œ œ œ ˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œ œ œ ˙ œ œ œ ˙
œ œ œ ˙ œ œ œ ˙
œ œ œ ˙ œ œ œ ˙
2 2 2 2 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2
T 2
3
2
3
2
3
2
3
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
A 2 2 2 2 2 2 2 2
B 2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
[10]
16 Words & Music by Guy Berryman, Chris Martin, Jon Buckland & Will Champion
© Copyright 2000 Universal Music Publishing MGB Limited.
# # # # Fw
#
& # ‰ œ œ œ œ œ w ‰ œ œ œ œ œ œ ∑
E B
2
T 2 0 2 0 2 0
1
0
1
0
1
A 4
B
# # # # œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœœ œœœ œœœ ˙˙˙

& # œ œ œ ˙ œ œ œ ˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙
œœ œœ œœ ˙˙ œœ œœ œœ ˙˙
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 2 2 2 2
T 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 4 4 4 4
3 3 3 3 3 3 3 3 1 1 1 1 1 1 1 1 4 4 4 4
A 2 2 2 2 2 2 2 2
B 2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
[15]
#### œ. œ.
# # # #
œ Gm œ Fœ œ œ œ Gm œ Fœ œ œ
# ∑ Œ œ J ‰ œ œ Œ œ J ‰ œ œ
E E
&

4 2 2 2 4 2 2 2
T 0 0 0 4 4 0 0 0 4 4
A
B
j j
# # # # œœœ œœœ œœœ ˙˙˙ œœ œœ œœ œœ œœ .. œœ œœ œœ
œ œ œ œœ œœ .. œœ œœ œœ œœ œœ .. œœ œœ œœ
œ œ œ œœ œœ ..
& # œœ œœ œœ œœ œœ .. J
œ œ. œœ œœ œœ œœ œœ .. J
œ œ.
œ œ œ œ œ. œ œ œ œ œ.
œ œ œ œ œ. œ œ œ œ œ.
2 2 2 2 0 0 0 0 0 4 4 4 2 2 0 0 0 0 0 4 4 4 2 2
T 4 4 4 4 0 0 0 0 0 4 4 4 2 2 0 0 0 0 0 4 4 4 2 2
4 4 4 4 1 1 1 1 1 4 4 4 3 3 1 1 1 1 1 4 4 4 3 3
A 2 2 2 2 2 2 2 2 2 2
B 2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
[20]
# # # # EŒ œ. # #
œ œ G‰m œ œ œ Fœ œ œ ∑ ‰ œ œ œ œ œ œ ∑
& # J
E B
4 2 2 2 2 2
T 0 0 0 4 4 0 0 4 4
A
B
j
# # # # œœ œœ œœ œœ œœ .. œœ œœ œœ œœ œœ .. w w ggg www
& # œœ œœ œœ œœ œœ .. œ œ œ œ œ. ggg www ggg www

œ œ œ œ œ. J ggg w ggg w
œ œ œ œ œ. gw gw
ggg 00 ggg 00 ggg 24
ggg 12 ggg 12 g4
0 0 0 0 0 4 4 4 2 2
T 0 0 0 0 0 4 4 4 2 2
ggg 20 ggg 20
1 1 1 1 1 4 4 4 3 3
A 2 2 2 2 2
B 2
0
2
0
2
0
2
0
2
0
[25]
17
Yellow | Technical Guidance
This great Coldplay song is arranged featuring chords and melody as both are playable at Debut level.
The verse consists of B major (I/tonic), F # major (V/dominant) and E major (IV/subdominant) played repeatedly, creating
a meditative mood, with two bars on each chord, forming a 6-bar phrase. This is a slightly unusual length as most popular
music is written in multiples of four bars. In the chorus, from bar 21, the mood changes by starting on the IV chord
(subdominant) for one bar, followed by half a bar on the VI minor (submediant) and half a bar on the V (dominant) chord.
The chords in this section are moving much faster than in the previous one, creating a feeling of urgency. The section
finishes with an unresolved IV chord, creating tension resolved by the tonic in the following bar (29).
In the verse, all of the chords can be strummed with a downstroke. Alternatively, the second chord in each bar can be played
with an upstroke. The chorus can be strummed with downstrokes throughout or with an upstroke on the second and last
chord in each bar. It is very important to keep time steadily. It is advisable to use a metronome or tap your foot, as the
constant, unwavering beat is the foundation of this song.
Most of the chord voicings are small at just three notes, to facilitate easier chord changes, except for the E major chords,
which are written out in their full six-string voicing. Alternatively, only the top three strings of the E major chord can be
played, to give them a similar texture to the rest of the voicings.
The melody is quite easy and can be played within the first four frets. It is a fundamental aspect of the song, so it is
important to execute it clearly and confidently.
There are some subtle rhythms in the melody, such as the offbeat at the start of the line. It is advisable to clap the rhythm

of each bar, then play the pitches without any rhythm, and finally combine rhythm and pitches. Playing evenly, with all the
notes at approximately the same volume, will give the melody a good flow.
18
Van Morrison | Brown Eyed Girl
SONG TITLE:
BROWN EYED GIRL
ALBUM:
BLOWIN’ YOUR MIND q = 153
LABEL:
BANG C
G
GENRE:
RHYTHM AND BLUES
#4 . j œ œœ ‰ œœ œ
Elec. Gtr. – Cue only
œœ n œœ
& 4 . œœ œ
J œ J
WRITTEN BY:
VAN MORRISON
GUITAR:
ERIC GALE, J
HUGH MCKRAKEN AND
.
AL GORGONI.
8 7 12 1
7 8 10
PRODUCER:
BERT BERNS
.
13 1
UK CHART PEAK:
60
T 8 10 12 10 8
A
B

# . Ó œ œ œ œ ‰ œ.
C
‘Brown Eyed Girl’ was released as a single in 1967 and R&BGwith folk and Celtic influences in a highly
& .
and it has become a staple of the classic rock genre. personal fashion. Van Morrison was knighted and
It is still played on radios worldwide and is covered inducted into the Songwriter’s Hall of Fame in 2015.
by many acts all over the world. ‘Brown Eyed Girl’
has been played in excess of 11 million times on US go,
Hey, where did we
radio alone. The song was recorded as part of an
.
eight track session with the intention of releasing four
3
.
0 1
singles. Van Morrison, apparently, has not received
any royalties for the song. This is addressed in the
T 3 1
lyrics to ‘The Big Royalty Check’. Van Morrison does A

not regard ‘Brown Eyed Girl’ as one of his best songs. B
Despite this, the single served as a catalyst to relaunch
his career after leaving the Belfast band Them and [5]
relocating to the United States, where he subsequently
signed to Warner Bros and recorded his career-
defining Astral Weeks.
# Œ ‰ œJ œ œ œ œ ‰ œ
The original title of the song was ‘Brown Skinned C
Girl’ and had a Jamaican Calypso feel. The title was G
&
subsequently changed to ‘Brown Eyed Girl’.
George Ivan Morrison was born in Belfast in 1945. He

played a variety of instruments from a young age. He in the hol - lo
Down
rose to prominence as the lead singer of Them, with

whom he recorded the garage band classic ‘Gloria’.
3 3 3
Astral Weeks and Moondance, recorded in 1968 and
1970 respectively, cemented his career in the early
T 3
1970s. His legendary live performances continue A

captivating audiences to this day. He blends soul B
[9]
19
Brown Eyed Girl Van Morrison
Arranged by Andy G Jones
q = 153
#
G C G D
œœ
& 44 .. œœ œœ
j œœ ‰ œœ œ œœ n œœ œ œ j ..
J ‰ œJ œ œœ ‰ œœ œ
Elec. Gtr. – Cue only
œœ œœ œœ ‰ œj œ œ œ
J J œ J J J œ
. 7 8 10 8 7 12 13 15 13 12 7 8 10 8 7 5 5
.
. .
T 8 10 12 10 8 13 15 17 15 13 8 10 12 10 8 7 7 8
A
B
# j
& .. Ó
œ œ œ œ ‰ œ.
G C G D
Ó Œ ‰ œ œ œ œ œ œ œ œ œ Ó
Hey, where did we go, days when the rains came?
.
.
T 3 1 0 1 3 0
2 0 2 2 4 2
A
B
[5]

# GŒ ‰ Jœ œ œ œ œ ‰ œ.
C
Ó Ó
G
œ œ œ œ ‰ œ.
D
Ó
&
Down in the hol - low, play - in’ a new game.
T 3 3 3 3 1 0 0
0 2
0
A
B
[9]
# œ œ œ œ œ œ ‰ œ ‰ œ Œ
Ó Ó œ œ œ œ œ œ Œ Ó
G C G D
& J J
Laugh - in’ and a run - nin’, hey, hey! Skip - pin’ and a jump - in’
T 3 3 3 3 3 1 3 3 0 0
2 0 2 2
A
B
[13]
# GŒ
œ œ œ œ œ ‰ œJ ‰ œJ ‰ ¿j Œ Œ œ Œ ‰ œj œ œ œ ‰ œ œ œ
C G D
&
in the mis - ty mor - nin’ fog with ah, our hearts that felt better than new.
T
A
3 3 3 3 3 1 3 ¿ 0
0 2 2
0 0
2 0
B
[17]
20 Words & Music by Van Morrison
© Copyright 1967 Web IV Music Inc.
Universal Music Publishing Limited.
# Œ Ó Œ œ œ œ œ œ œ Œ Ó ∑
C D G Em
& œ œ
My brown eyed girl.
T 2
0 0
2 0
A
B
[21]
œ œ
1.
# J œ œ œ j ..
& Œ ‰ œ œ œ œ œ Œ Ó ∑
C D G D
J J J
You, my brown eyed girl.
3 0
.
.
T 3 0 0
2 0
A
B
[25]

2.
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Œ œ œ Ó Ó Œ
D G
& J J
Do you re - mem - ber when we used to sing: ”Sha, la, la, la,
0
T 2 2
0 1 0 3 1 0
2 0
3 3 3
A
B
[29]
# Cœ œ œ œ œ œ œ œ j œ œ œ œ œ
œ œ œ œ Œ Ó Œ
G D G
& J J J J J œ J J
la, la, la, la, la, la, la te, da. Sha, la la, la,
0
T 1 3 1 1 0
2
0 0
2
3 3 3
A
B
[33]
# Cœ œ j j G
œ œ
J J œ œ œ œ œ œ œ œ Œ œ œ Œ Ó
G D
& J J J œ J œ œ
la, la, la, la, la, la, la, te, da. La, te, da.”
T 1 3 1 1 0
2
0 0
2
0 0
2 0
A
B
[37]
21
Brown Eyed Girl | Technical Guidance
This arrangement of Brown Eyed Girl is presented as a melody. Use your right hand fingers, pure fingerstyle or hybrid
picking, which is where you hold the pick normally but also use the other available fingers to pick the strings as well. This is
an approach prevalent amongst country guitar players.
The Belfast Telegraph stated that according to Morrison, the single, released in mid-June 1967, was originally entitled Brown
Skinned Girl. Remarking on the original title, he said: “That was just a mistake. It was a kind of Jamaican song… Calypso”.
This is quite enlightening as it sheds some light on the inspiration for the rhythm guitar part. It really does have something
of the calypso feel (it also sounds a little like a South African Township groove).
The guitar intro is written as a cue only and is not required for the exam. As you get more proficient this part might be
worth learning, it sets the pace for the whole song. This tune is a covers/party band classic.
Note that the rhythm of the melody’s first phrase (bars 5 and 6) is repeated three times. The next section does the same
thing – a motif in bars 13 and 14 is repeated with some variations in the next six bars. Repetition is typical of Van Morrison’s
compositions and may, in part, explain his huge popularity. It is a device common in the structure of the classic 12 bar blues
where a simple melodic phrase (typically a four bar phrase) is repeated two or three times to complete the structure.
There is plenty of syncopation in the song. Many notes landing off the beat add variety to the rhythm of a melody. Whilst
these rhythms may seem difficult at first, you should be aware that you’re learning a vital part of the musical puzzle that
will enfold as you continue your studies. Rhythms can often be seen as a combination of set pieces that make up a whole.
When students start to study funk rhythm guitar it is best to break rhythms down to basic units comprised of the obvious
subdivisions of the bar. This piece can be regarded as an early glimpse into the process of rhythmic studies.

The ‘Sha-La-La’ section at the end is also heavily syncopated with many notes falling on the off beat. It is also distinguished
by the use of tied notes that give the music a sort of bounce. This is another element that may have contributed to the
popularity of the song.
The harmony, as with most of Van Morrison’s output is very diatonic - it stays firmly within the home key of G major.
22
Beyoncé | If I Were A Boy
SONG TITLE:
IF I WERE A BOY
ALBUM:
I AM...SASHA FIERCE q = 75
LABEL:
COLUMBIA C
#4 œ œ
Em
œ œ œ œ
GENRE:
POP
& 4 œ œ
WRITTEN BY:
BC JEAN AND TOBY GAD
GUITAR:
REGGIE SYIENCE PERRY
PRODUCER:
BEYONCE AND TOBY GAD
UK CHART PEAK:
1
0
1
T 0
0
0 0
A 2
2

Em
œ womanœin the Grammy ˙˙

D
#Beyoncé œ œ
G
œ nominatedœ
œ ˙˙
‘If I Were A Boy’ was written by BC Jean and Toby is one of the best selling artists of all time
œ history. She has won 20 Grammys.

& Awards ˙˙
Gad. The lyrics were written by BC Jean and are and is the most
based on the break up of a romantic relationship.
The idea behind the title is to try and see things
from the perspective of the male in the relationship Her lyrics are mainly related to themes of love,
whilst pondering what would be different if he had a relationships and female empowerment. She is
woman’s sense of empathy. regarded as a modern 0
3 day feminist 2icon. Her shows 3 0
3 audiences
‘If I Were A Boy’ is the only song in the album I Am...
T are highly choreographed
worldwide.
0
3 and
3 draw massive
2
She is also an actress, with credits such as
0
2
Sasha Fierce that Beyoncé did not co-write. The song A The Pink Panther and Dreamgirls. Beyoncé is married 2
B
≥
was also recorded in Spanish and released as a single to rap superstar Jay Z. 0
in Mexico and Spain.
[4]
Beyoncé Knowles was born in Houston, Texas, in
1981. She performed and sang from a young age and
in the late 1990’s rose to fame as the lead singer of
œœ
R&B girl group Destiny’s Child, with whom she sold C G
# ˙˙ ˙˙
60 million records. Beyoncé has a four octave vocal Em
˙˙˙ œœ
range and her voice and singing style are distinctive
& ˙˙ œœ
and powerful.
During a break with the band in 2003 she released

Dangerously in Love. The record was an immediate
˙˙
success, selling 12 million copies and earning five

Grammy Awards. Her solo career continued to grow 0 3
0 3
and she has now sold an approximate 120 million T 0
0
1
0 0
0
records.
A 2 2
3 2
B
≥
2 3
≥ ≥
0
[7]
23
If I Were A Boy Beyoncé
Arranged by James Betteridge
q = 75
# œ œ œ œ
Em C G D Em C
œ œ œ œ
& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
0 3 2 0
T 0
0 1
0 0 0
3 3 3
2
3
0
0 1
0 0
A 2 2 2 2
B
# œ œ œ œ œ œ œ ˙˙ ˙˙
G D Em C G D
˙˙ ˙˙ ˙˙
& œ ˙˙ ˙˙ ˙˙
˙˙ ˙ ˙˙
3 2 0 0 3 2
T 0
3 3 3
2
3 0
0
1
0
3
0
3
2
A 2 2 0 0
B 2 3 2
≥ ≥ ≥ ≥
0 3
[4]

A
# ˙ œœ ..
Em C G D Em C
˙˙ j œ ˙˙ ˙˙
& ˙˙˙ ˙˙ œœ .. œ œ œ œ ˙˙ ˙˙
˙ ˙ œœ .. ˙ ˙
˙ ˙
0 0 3 0 0
T 0
0
1
0
3
0 0 0 2
0 3 0
0
1
0
A 2 2 0 2 2
B 2 3 2 2 3
≥ ≥ ≥
0 3 0
[7]
# œœ .. ˙˙ ˙˙
G D Em C G D
œ œ œ œ œ ˙˙ ˙˙
˙
& œœ .. J ˙˙ ˙˙
˙
˙˙ ˙
œœ .. ˙ ˙˙
˙
3 0 0 0 3 2
T 3
0
3 3 0 0 0
0
1
0
3
0
3
2
A 0 2 2 0 0
B 2
3
2
0
3 2
3
[10]
# œ œ œ œ œ
˙˙ ˙˙
Em C G D Em C
& œ œ œ œ œ œ œ œ œ œ ˙˙ ˙˙˙
˙˙
0 0
T 0 0 0 1 0
2 0
0 0 0 1 0
2 0 0
0
0
1
0
A 2 2
B 2
0
3
[13]
24 Words & Music by Toby Gad & Brittany Carlson
© Copyright 2008 BMG Ruby Songs/Liedela Music/Gad Songs LLC/Songs Of Universal, Inc./BC Jean Publishing.
Universal/MCA Music Limited/BMG Rights Management (US) LLC.
# œœ .. œœ ..
G D Em C G D
j œ œ œ ˙˙ ˙˙ œ œ œ œ œ
& œœ .. œ œ ˙˙ ˙˙ œœ .. J
œœ .. ˙˙ ˙ œœ ..
3 0 0 3 0
T 3
0 0 0 2
0 3 0
0
1
0
3
0
3 3 0 0
A 0 2 2 0
B 2
3
2
0
3 2
3
[16]
# ˙ ˙˙ ˙˙
Em C G D Em C
˙˙ œ œ œ œ œ œ œ
& ˙˙˙ ˙˙ ˙˙ ˙˙
˙˙ ˙ ˙˙
0 0 3 2
T 0
0
1
0
3
0
3
2
0 0 0 1 0
2 0
A 2 2 0 0
B 2
0
3 2
3
[19]

# œ œ œ œ
G D Em C G D
œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
0 3 2
T 0 0 0 1 0
2 0 0 0
0 1
0 0 0
3 3 3
2
3
A 2 2
B
[22]
# œ œ œ œ œ œ œ
Em C G D Em
œ œ ww
& œ œ œ œ œ œ œ ww
ww
0 3 2 0
T 0
0 1
0 0 0
3 3 3
2
3 0
0
A 2 2 2
B 2
0
[25]
25
If I Were A Boy | Technical Guidance
‘If I Were A boy’ is in the key of E minor, and cycles around E minor (I/tonic), C major ( b VI/submediant), G major ( b III/
mediant) and D major ( b VII/subtonic).
The diagram below illustrates where each chord belongs within the key. Notice each degree of the scale is numbered with a
roman numeral. Roman numerals allow musicians to quickly identify the chord progression in a piece of music.
The E natural minor scale:
I II b III IV V b VI b VII
Em F # dim G maj A min B min C maj D maj
Em G maj C maj D maj
This abridged arrangement contains the intro and chorus from the original song. It starts with an 8th note arpeggiated
pattern that outlines the chords in the progression. It is advisable to slow the tempo down to begin with and once the
arpeggios are comfortable the tempo can be raised up to speed.
The chorus (Bars 9–21) combines chords and the melody together. Take note of the suggested strumming pattern notated
above the tablature. It is important to make sure that all of the notes in the chords are heard clearly and last for the correct

duration. The melody is made up of notes from the E minor scale and is a good exercise for playing melodies in open
position. It is advisable to practise the chords and melody separately before piecing them together.
The chord to melody transitions ought to be as smooth as possible and without hesitation. Playing along with a metronome
is a good test.
The song ends with a recap of the arpeggiated intro figure. Aim for a legato (smooth) sound, letting each note ring into
the next.
26
Bob Marley | No Woman, No Cry

SONG TITLE:
NO WOMAN, NO CRY
ALBUM:
NATTY DREAD / 1974
q = 157
œ
LABEL:
ISLAND
4 œ ..
C
&4 œ œ œ
GENRE:
REGGAE
œ
WRITTEN BY:
VINCENT FORD
GUITAR:
BOB MARLEY,
JUNIOR MARVIN AND
.
AL ANDERSON
T
.
PRODUCER:
BOB MARLEY AND 0 1 3 0
CHRIS BLACKWELL A 3
2
UK CHART PEAK:
22 B
˙˙
F Em D
œ œ
C
& œ œ

‘No Woman, No Cry’ is credited to Vincent Ford, playing music at a young age. In 1963 he formed The
who ran a soup kitchen in Kingston, Jamaica. Marley Wailers with Neville Livingston (Bunny Wailer) and
sent him the royalty payments accrued from the song Pete Tosh.
and that ensured the survival and continual running
of the soup kitchen.
T 1
0
Marley was a committed Rastafarian whose gentle 2
A 2
personality, politically and socially conscious lyrics
3
It was originally recorded for Island Records B 3

and gift for songwriting made an explosive mix when
by Pete Tosh in 1973 but that recording remains coupled with the reggae flavour of his native Jamaica.
[6]
unreleased. The song’s lyrics are about life in the His music gained worldwide appeal in the 70’s,
Ghetto and about persuading a woman that things particularly after the release of Exodus in 1977.
Œ œ œ œ œ œ w
G/B Am
& Ó
will get better, asking her not to cry. C
Marley was the subject of an assassination attempt
The Wailers recorded it in 1974 and featured it in in 1976. He was diagnosed with cancer in 1977 and
Natty Dread. It was recorded again, live at London’s died from the disease in May 1980 whilst promoting
Lyceum Theatre in 1975, during the promotional tour Uprising. His music’s popularity has continued to no cry.
No, wo - man,
of Natty Dread. These versions brought the tune to grow since.
mass audiences and remain very popular worldwide.
The live version is included in the Rolling Stone His life has been the subject of many
0 books
1 and 0
magazine 500 Greatest Songs of All Time. T documentaries. 1
Marley fathered eleven children. 2
A
The song has been covered numerous times, by The B
Fugees, Nina Simone, Joan Baez, Pearl Jam, Whoopi
Goldberg and Graham Parker amongst many others. [10]
∑ Ó
C
& w
Bob Marley and The Wailers are a highly influential
band. Bob Marley has risen to become a cult figure
since his death in 1981, at the young age of 36.
Jamaican culture and identity are, to many, intimately
linked to him. He was born in 1945 and started
27
T
A
No Woman, No Cry Bob Marley
Arranged by Andy G Jones
q = 157
& 44 œ œ œ œ .. ˙˙ ˙˙ œœ œœœ www

C G/B Am F
œ œ œ œ œ œ œ w
œ w
.
.
T 0 1 3 0 1
0
3
0
1
2
1
2
A 2 0 2 3
B 3 2 0 3
1
˙˙ œ œ œ œ ..
C F Em Dm C G
& œ œ œ œ œ œ w
.
.
T 1
0
0 1 3 0
A 2 3 2 0
B 3 3
[6]
Œ œ œ œ œ œ ˙ œ Eœm Dœm Cœ
& Ó w ∑ Ó
C G/B Am F C F

No, wo - man, no cry. No, wo - man, no cry.
0 1 0
T 1 0 1 0
2
3 1
A
B
[10]
& w ∑ Ó Œ œ œ œ œ œ w ∑
C G/B Am F
No, wo - man, no cry.
T 1 0 1 0
2
A
B
[16]
˙ œ Eœm Dœm Cœ w Œ œ Œ œ œ œ œ œ œ Ó
& Ó Ó
C F C G/B
No, wo - man, no cry. Say, say, say I re - mem - ber
0 1 0 0 0 3 3 0
T 3 1 1 1
A
B
[22]
œ œ œ ‰ œ ‰ œj œ œ œ œ œ ‰ œ œ
∑ Ó œ œ Ó ∑
Am F C G/B Am F
& J J
when we used to sit in the gov - ern - ment yard in Trench - town.
0 0 0 0 0 0 0
T 1
2
3 3 0 3 1
A
B
[28]
28 Words & Music by Vincent Ford
© Copyright 1974 Fifty-Six Hope Road Music Limited/Blackwell Fuller Music Publishing LLC.
Blue Mountain Music Limited.
œœœœ ˙ œ . Jœ œ œ ˙ ‰œ œ œ œ œ œ œ œ œ œ œ
& Ó Ó Ó
C G/B Am F C G/B
O - ba, o - ba - ser - ving the hy - po - crites as they would min - gle with the good peo - ple we
0 0 0 0 3 0 1 3 0 0 0 0 0 0 1 0
T 1
0
1 3 3
A
B
[34]
& ˙ Ó ∑ Ó Œ œ œ œ œ œ w ∑
Am F C G/B Am F
meet. No, wo - man, no cry.
T 1 1 0 1 0
2
A
B
[40]
˙ œ œ œ œ œ œ œ œ œ œ
w
C F Em Dm C C G/B
& Ó ∑ Ó Œ
No, wo - man, no cry. Here lit - tle dar - lin’,

0 1 0 3 1 1 0
T 3 1 3
A
B
[46]
œ ˙ œ Eœm Dœm Cœ
& Œ œ œ ˙ Ó Ó w ∑
Am F C F
don’t shed no tears. No, wo - man, no cry.
1 0 1 0
T 2
1 1 3 1
A
B
[52]
& .. 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 G/B Am F C
Ev - ’ry - thing’s gon - na be al - right. Ev - ’ry - thing’s gon - na be al - right. Ev - ’ry - thing’s gon - na
.
.
T 1 1 1
2 0
1 1 1 1 1 1
2 0
1 1 1 1 1 1
2 0
A
B
[58]
œ U
œ œ œ Œ .. œ œ œ ‰ œ œ œ
1. 2.
œ Œ
& œ œ Œ œ œ œ œ œ œ w
G/B Am F F C
J
be al - right. Ev - ’ry - thing’s gon - na be al - right. be al - right. No, wo - man no cry.
0
. 0 1 3
.
T 1 1 1 1 1
2 0
1 1 1 1 1 1 1 1
A
B
[63]
29
No Woman, No Cry | Technical Guidance
The Wailers’ style fuses authentic reggae with a sophisticated American influenced soul/R&B sensibility. This melody seems
pretty simple, but upon listening to the way that Bob Marley sings it, it will become apparent how much good phrasing can
bring to the music.
Listen to the backing track and ensure the delivery is in time with the groove. There is room to be quite lyrical with the way
the melody is stated. It can be played either fingerstyle or with a pick.
The arrangement starts with an intro that outlines the harmony above the classic descending bassline.
If holding these chords down is painful for your left hand, be careful not to strain your hand by practising this section for
too long. As soon as you feel tension, get up walk around, shake your arms out, even take a little break. If you keep working
on it, your strength will quickly improve.
Be careful when first preparing this piece to adhere to the rhythm on the page. If you learn the melody by playing along with
Bob Marley’s beautiful version, you’ll be pulled into some complicated rhythms that would not have been appropriate to
include in this book at this level.

30
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 in straight feel, in the keys, octaves and tempos shown. You may use your book for Group A
and Group B. All Group C exercises must be played from memory.
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 =52 bpm.
1. C major scale | Ascending first
& œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
T 0 2
0 1 0
2 0
A 0 2 3 3 2 0
B 3 3
2. C major scale | Descending first

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
T 1 0
2 0 0 2
0 1
A 3 2 0 0 2 3
B 3
3. A natural minor scale | Ascending first
& œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
T 0 2 0
A 0 2 3 3 2 0
B 0 2 3 3 2 0
4. A natural minor scale | Descending first
& œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
T
2 0 0 2
A 3 2 0 0 2 3
B 3 2 0 2 3
31
Technical Exercises
Group B: Arpeggios
The tempo for this group is q =92 bpm.
1. C major arpeggio
4 œ œ ˙
& 4 œ œ œ œ œ œ œ œ
œ ˙ œ
T 0
1
0
1
0 0
1
A 2 2 2 2
B 3 3 3
2. C major arpeggio
4 œ œ œ œ œ œ w
& 4 œ œ œ œ œ w œ œ œ œ œ
0 0 0
T 0
1 1
0
1
0 0
1
A 2 2 2 2
B 3 3 3

3. A minor arpeggio
& 44 œ œ œ œ œ
œ œ œ œ œ ˙
œ ˙ œ
T 2 2 2
A 2 2 2 2
B 0 3 3 0 3 0 3
4. A minor arpeggio
& 44 œ œ œ œ œ œ œ
œ œ œ œ œ œ œ w
œ w œ
T 2
1
2
1
2 2
1
A 2 2 2 2
B 0 3 3 0 3 0 3
32
Technical Exercises
Group C: Chord Voicings

In the exam you will be asked to play, from memory, your choice of one chord voicing from each of the following exercises,
without the aid of a backing track or metronome. However, for practice purposes a demonstration of the chords played to a
metronome click is available in the downloadable audio.
1. C major
4 ww ww
& 4 www ww ww
w
0 3
T 1
0
1
0
5
5
A 2 2 5
B 3
2. A minor
4 ww ww
& 4 www w w
w w w
0 5
T 1
2
1
2
5
5
A 2
B

0 0
5
33
Sight Reading
In this section you have a choice between either a sight reading test or an improvisation and interpretation test (see facing page).
The examiner will ask you which one you wish to choose before commencing. Once you have decided you cannot change
your mind.
In the sight reading test, the examiner will give you a 4–6 bar melody in the key of C major. You will first be given 90
seconds to practise, after which the examiner will play the backing track twice. The first time is for you to practise and the
second time is for you to perform the final version for the exam. For each playthrough, the backing track will begin with a
one bar count-in. The tempo is q = 60.
During the practice time, you will be given the choice of a metronome click throughout or a one bar count in at
the beginning.
The backing track is continuous, so once the first playthrough has finished, the count in of the second playing will
start immediately.
& 44 ˙ ˙ œ œ ˙ œ œ œ œ w

Please note: The test shown is an example. The examiner will give you a different version in the exam.
34
Improvisation & Interpretation
In the improvisation and interpretation test, the examiner will give you a 4–6 bar chord progression in the key of C major.
You will first be given 90 seconds to practise, after which the examiner will play the backing track twice. The first time is for
you to practise and the second time is for you to perform the final version for the exam. For each playthrough, the backing
track will begin with a one bar count-in. The tempo is q = 60.
During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at
the beginning.
The backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will
start immediately.
You are only required to improvise single note melodies.
& 44 ’ ’ ’ ’
D m7 G C
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

35
Ear Tests
In this section, there are two ear tests:

■■Melodic Recall
■■Chord Recognition
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 two consecutive notes. You will need to identify whether the last note is higher or lower than the
first. You will hear the test twice, each time with a one bar count-in. The tempo is q = 95 bpm.
For this exercise, please use the word ‘higher’ or ‘lower’ in your answer.
˙
& 44 ˙

Test 2 | Chord Recognition
The examiner will play you a sequence of chords, each with a C root note. You will hear the chord sequence twice, each time
with a one bar count-in. You will then be asked to identify which chord played was major and which chord was minor. The
tempo is q = 95 bpm.
www b www
& 44 w w
36
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.
5. You will be asked a question relating to the genre of one of your pieces.

37
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.
■■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 info@rslawards.com

38
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
Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15
Sight Reading
or 6 out of 10 7–8 out of 10 9 + out of 10
Improvisation & Interpretation
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
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%+
Performance Certificates | Debut to Grade 8 *

TOTAL MARKS 60%+ 75%+ 90%+

39
* Note that there are no Debut Vocal exams.
Copyright Information
Chasing Cars
(Quinn/Simpson/Lightbody/Connolly/Wilson)
Universal Music Publishing BL Limited/Universal Music Publishing Limited
Learn to Fly
(Grohl/Hawkins/Mendel)
Kobalt Music Publishing Limited/Universal Music Publishing Limited/Bug Music Ltd
Brown Eyed Girl

(Morrison)
Universal Music Publishing Limited
No Woman, No Cry
(Ford)
Blue Mountain Music Ltd
If I Were A Boy
(Gad/Carlson)
BMG Rights Management US LLC/Universal/MCA Music Limited
Yellow
(Champion/Martin/Buckland/Berryman)

Universal Music Publishing MGB Limited
40
41
Acoustic Guitar Debut RSL-728663013500 / 1 / Sergio Martínez / sergiomartinezpuga@gmail.com
Introducing…
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background, our theory syllabus will equip you with the practical knowledge
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The syllabus consists of 11 finely-tuned books:
Workbooks Debut to Grade 8. Each grade includes a sample paper

Guidebooks Split into two levels; Debut to Grade 5 and Grades 6 to 8

Truly understand
musical theory
then apply your
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Discover everything you need to know The ideal preparation for students
about popular musical theory taking Rockschool theory exams
Regardless of your current level of technical The range of Workbooks, from Debut to
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you with all of the information necessary and apply the knowledge gained through
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Rockschool graded theory exams. same structure and format of the actual
Rockschool theory exams.
Acquire a hugely impressive knowledge of:
6 Popular music composition Each book includes sample questions
6 Arranging and performance techniques for the following sections:
6 How to read and analyse a musical score 6 Music notation
6 Specialist notation and techniques for all 6 Popular music harmony
band instruments 6 Band knowledge Model answer
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6 Harmony, theory and key chord 6 Band analysis available!
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Published by Rockschool Ltd. © 2016

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Introductions & Information

Rockschool Grade Pieces

7 Foo Fighters....................................................... . . . . . . . ‘Learn To Fly’

31 Scales, Arpeggios & Chord Voicings

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38 Entering Rockschool Exams

Nik Preston – Head of Product Development and Publishing

Acoustic Guitar Exams

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1. Sight Reading or an Improvisation & Interpretation test at Debut to Grade 5.

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You will need to input this code when prompted: 8ZYPUPF5NK

Definitions For Special Guitar Notation

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& œ œ & & & ‚ ‚

& & & & œ œ

the section marked Coda.

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Fighters became a band in 1995. The Band has won

Grohl was already writing tunes during his Nirvana

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SONG TITLE: CHASING CARS q = 104

GENRE: ALTERNATIVE ROCK

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digital download market on both sides of the Atlantic A 0 0 0 0 0

and received a Grammy Award nomination for Best B

Their first three records were released 0 0 0 0 0 0

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# # # ˙˙ ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ wwww

The A major scale:

A maj Bm C # m D maj E maj F # m G # dim

A maj D maj E maj

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of the studio to look at the stars and that inspired T 0 1 1 1

Haden, Sara Bareilles and Alex Parks amongst others. [5]

edge. As a result their sound partially changes T 0 2 0 2 1 1

according to the production values they apply in every B

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# # # # œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœœ œœœ œœœ ˙˙˙ œœœ œœœ œœœ ˙˙˙ œœ œœ œœ ˙˙

# # # # œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœœ œœœ œœœ ˙˙˙

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& # œœ œœ œœ œœ œœ .. œ œ œ œ œ. ggg www ggg www

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lyrics to ‘The Big Royalty Check’. Van Morrison does A

George Ivan Morrison was born in Belfast in 1945. He

rose to prominence as the lead singer of Them, with

1970s. His legendary live performances continue A

RSL-728663013500 / 1 / Sergio Martínez / sergiomartinezpuga@gmail.com

RSL-728663013500 / 1 / Sergio Martínez / sergiomartinezpuga@gmail.com

RSL-728663013500 / 1 / Sergio Martínez / sergiomartinezpuga@gmail.com

RSL-728663013500 / 1 / Sergio Martínez / sergiomartinezpuga@gmail.com

1. Sight Reading or an Improvisation & Interpretation test at Debut to Grade 5.