Acoustic Guitar

Debut
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: SKA74M7YU8

For more information, turn to page 5

www.rslawards.com
 Acknowledgements

Published by Rockschool Ltd. © 2019

Catalogue Number: RSK200110
ISBN: 978-1-78936-094-3
Initial Release | Errata details can be found at www.rslawards.com/errata

CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)345 460 4747
Email: info@rslawards.com

SYLLABUS MUSICIANS
Syllabus designed and written by Jono Harrison Acoustic Guitar: Giorgio Serci, Nat Martin, Tommy Loose,
Syllabus Director: Tim Bennett-Hart Max Helyer (You Me At Six), Jono Harrison
Syllabus Consultants: Tristan Seume and Tommy Loose and Calum Harrison.
Syllabus Advisors: Tim Bennett-Hart, Ashley Hards, 2016 content performed by Andy G Jones, Carl Orr
Eva Brandt, Brian Ashworth, Stuart Slater, Peter Huntington, and James Betteridge.
Bruce Darlington and Simon Troup Piano and Keyboards: Jono Harrison and Rory Harvey
2019 Hit Tune arrangements by Giorgio Serci, Drums & Percussion: Pete Riley
Tristan Seume, Nat Martin, Tommy Loose, Ashley Hards, Bass: Andy Robertson
Jono Harrison and Calum Harrison Guitars: Rory Harvey
2016 Hit Tune arrangements by Andy G Jones, Lead and Backing Vocals: Glen Harvey & Katie Hector
James Betteridge and Carl Orr. Additional Programming: Jono Harrison & Rory Harvey
Supporting Tests written by Jono Harrison, Nat Martin
and Giorgio Serci. DISTRIBUTION
Exclusive Distributors: Hal Leonard
PUBLISHING
Proof reading of arrangements by Calum Harrison, EXECUTIVE PRODUCERS
Simon Troup and Jono Harrison, plus all arrangers. John Simpson, Norton York
Music engraving and book layout by Simon and Jennie Troup
of Digital Music Art
Fact files written and edited by Abbie Thomas
Technical Guidance written by Bruce Darlington
Proof reading and copy editing by Calum Harrison,
Laura Hall and Jono Harrison
Cover design by Philip Millard of Rather Nice Design
Cover photograph: The Lumineers perform in Berlin
© Frank Hoensch (Redferns / Getty Images)

AUDIO
Produced by Jono Harrison
Engineered by Jono Harrison, Sam Harper, Pete Riley,
Rory Harvey and Andy Robertson
Additional production and mixing by Ash Preston
Assisted by Chloe Kraemer @ Livingston Studios
Recorded at Livingston Studios, London
Mixed by Patrick Phillips
Mastered by Francis Gorini
Acoustic Guitar Debut

Supporting Tests recorded by Jono Harrison, Nat Martin,

Giorgio Serci and Andy G Jones.

2
Table of Contents

Introductions & Information

1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Acoustic Guitar Debut
6 Performance & Technical Guidance

Rockschool Grade Pieces

7 ‘Knockin’ On Heaven’s Door’.................. . . . . . . . . . . . . . . . Bob Dylan

11 ‘Ain’t No Sunshine’.. ........................................ . . . . . . . . . . . Bill Withers
15 ‘I’m Yours’........................................................... . . . . . . . . . . . . . Jason Mraz
19 ‘Ho Hey’.. ............................................................. . . . . . The Lumineers
23 ‘Eleanor Rigby’.. ................................................ . . . . . . . . . . . . The Beatles
29 ‘Stand By Me’.................................................... . . . . . . . . . . . . Ben E. King

Technical Exercises

34 Scales, Chords & Acoustic Riff

Supporting Tests

36 Sight Reading
37 Improvisation & Interpretation
38 Ear Tests
39 General Musicianship Questions

Additional Information

40 Acoustic Guitar Notation Explained

41 Entering Rockschool Exams
42 Marking Schemes
43 Copyright Information
44 Rockschool Digital Downloads
Acoustic Guitar Debut

3
 Welcome to Rockschool Acoustic Guitar Debut

Welcome to Rockschool’s Acoustic Guitar syllabus 2019. This syllabus is designed to support acoustic guitarists in their
progression from Debut to Grade 8, through an engaging and rigorous pathway covering all the genres, stylistic elements,
techniques and musical skills required for success as a contemporary acoustic guitarist.

Acoustic Exams
At each grade you have the option of taking one of two different types of examination:

■■Grade Exam
A Grade Exam is a mixture of music performances, technical work and supporting 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%.

■■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%.

All elements required to participate in a Rockschool exam can be found in the grade book. These are as follows:

■■Exam Pieces
The 2019 syllabus comprises six ‘hit tune’ arrangements, benchmarked and devised so as to equip contemporary
acoustic guitarists with industry-relevant skills in any performance environment. These fall into two categories:

Session Style
These arrangements cover the skills required of contemporary acoustic guitarists in ensemble environments, be they
on the stage or in the studio. The backing tracks feature vocalists, and the assessed guitar parts are reflective of what
session guitarists would perform live or on commercial recordings

 coustic Specialist
A
At Debut, ‘acoustic specialist’ pieces combine elements of melody and accompaniment. These arrangements are
complimented by a ‘duet’ part for ensemble playing, which is also supplied in the audio downloads for performance
in the exam. Please note, candidates will only be assessed on the ‘candidate’ part.

Each ‘hit tune’ arrangement is preceded by a Fact File, giving surrounding context to the piece and the original
performers/recording artists.

Furthermore, at the end of each arrangement you will find performance notes giving additional supportive context to
get the most out of the pieces.

■■Technical Exercises
There are either three or four groups of technical exercise, depending on the grade:

Debut – Grade 2 Grade 3 – Grade 5 Grade 6 – Grade 8

Acoustic Guitar Debut

Group A: Scales Group A: Scales Group A: Scales

Group B: Chords Group B: Arpeggios Group B: Arpeggios
Group C: Acoustic Riff Group C: Chords Group C: Chords
Group D: Acoustic Riff Group D: Stylistic Study

4
 ■■Supporting Tests
There are three types of previously unseen supporting tests in the exam:

 1. Sight Reading or Improvisation & Interpretation tests

At Debut – Grade 5, the first type can be one of two options (this is the candidate’s choice):
Either:
Sight Reading tests, developing the musician’s ability to read and perform previously unseen material;
or:
Improvisation & Interpretation tests, developing the musician’s ability to develop previously unseen material
in a stylistic way and perform improvised passages of melody. The book contains examples of both types of test
– equivalent ‘unseen’ examples will be provided for the examination

At Grades 6–8 candidates must perform a previously unseen ‘Quick Study Piece’, which combines elements of
both improvisation and sight reading.

2. Ear Tests
Debut – Grade 3: Melodic and Rhythmic Recall
Grade 4 – Grade 8: Melodic and Harmonic Recall

3. General Musicianship Questions (GMQs), which you will be asked by the examiner at the end of each 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
full tracks (including assessed guitar part) for all ‘hit tune’ arrangements, technical exercises and supporting tests (where
applicable). We have provided professional performance recordings of all solo/duet guitar pieces in the syllabus. This audio
can be downloaded from RSL directly at www.rslawards.com/downloads

You will need to input this code when prompted: SKA74M7YU8

The audio files are supplied in MP3 format. Once downloaded you will be able to play them on any compatible device.

Further Information
You can find further details about Rockschool’s Acoustic syllabus by downloading the syllabus guide from our website:
www.rslawards.com
Acoustic Guitar Debut

5
 Performance & Technical Guidance

Repertoire
Notation should be performed as written, except where there are performance indications to ad lib., improvise, develop,
etc. In these instances, the candidate will be marked on their ability to interpret the music in a stylistically appropriate way,
commensurate with the grade level. Similarly, a degree of personal articulation and expression (i.e. ‘shaping’ of the notes) is
encouraged and will be awarded marks from Grade 1 upwards.

Adaptation
A small degree of adaptation is allowed where, for example, hand stretches do not facilitate the required notated parts.
Marks may be deducted if adaptation results in over-simplification of the notation. If in doubt you can submit any
adaptation enquiries to info@rslawards.com

Articulation & Dynamics

Where articulation and dynamics are marked on the notation, they should be followed. Otherwise the candidate is free to
take their own approach, remaining cognisant of technical and stylistic considerations.

Techniques
Pieces and technical exercises may be performed fingerstyle, with plectrum or hybrid techniques as desired. The repertoire
pieces have been arranged specifically to accommodate this. Any stipulations on the score are intended for guidance only.
Candidates will be awarded marks for physical techniques, and as such they should aim for a clear, balanced tonal projection
with their chosen technique. At higher grades, the assessment embraces stylistic elements and these should be brought into
consideration with general technical approaches.

Rockschool use the terms ‘picking hand’ and ‘fretting hand’ in preference to ‘right hand’ and ‘left hand’ in order to avoid
confusion in relation handedness.

Acoustic Instruments & Tuning

Candidates may perform on steel or nylon-strung guitars in the exam. Care should be taken if performing pieces with
alternative tunings that the instrument is suitable for this adjustment. An additional guitar is permitted if required.
Acoustic Guitar Debut

6
 ‘Knockin’ On Heaven’s Door’ | Bob Dylan
‘Knockin’ on Heaven’s Door’, written and performed by Bob Dylan, is taken from the soundtrack of the 1973 film
Pat Garrett and Billy the Kid, Dylan’s twelfth studio album. The song describes the final moments of a deputy sheriff; dying
from a bullet wound as he assesses the world before his passing. Dylan also appeared in the film as the character ‘Alias’.
The soundtrack consists primarily of instrumental music inspired by the story depicted in Sam Peckinpah’s western.

Released as a single, it reached number 12 on the US Billboard Hot 100 singles chart. The song’s influence can be
measured by the range of other artists who have covered it (Eric Clapton, Guns N’ Roses, Warren Zevon and Avril
Lavigne to name a few) and is one of Dylan’s most popular compositions.

Bob Dylan is an American singer-songwriter, artist and writer. He has been influential in popular music and culture
for more than five decades. Much of his most celebrated work dates from the 1960s, with songs such as ‘Blowin’ in the
Wind’ and ‘The Times They are a Changin’ that became anthems for the American Civil Rights Movement. Leaving
behind his initial base in the American folk music revival, his six-minute single ‘Like a Rolling Stone’, recorded in 1965,
enlarged the range of popular music and is seen as one of the most influential songs ever written.

Dylan’s songs defied existing pop music conventions and appealed to the burgeoning counterculture that rose to
prominence during the 1960s. Initially inspired by the performances of Little Richard and the song writing of Woody
Guthrie, Robert Johnson, and Hank Williams, he has explored the traditions of American songwriting. From folk, blues,
and country to gospel and rock and roll, rockabilly to English, Scottish, and Irish folk music, even embracing jazz and
the Great American Songbook.

Song Info
Song Title: Knockin’ On Heaven’s Door
Album: Patt Garrett and Billy The Kid
Label: Columbia
Genre: Folk/Gospel
Written By: Bob Dylan
Producer: Gordon Carroll
UK Chart Peak: 14

Acoustic Guitar Debut

7
 Knockin’ On Heaven’s Door Session Style

Bob Dylan
Arranged by Tommy Loose
c 70 Rock/Gospel
Intro

#
& 44
G D Am G D C
∑ ∑ ∑ ∑

# ˙ ˙˙ ˙˙˙ ˙˙˙ ˙ ˙˙ ˙˙ ..
& 44 ˙˙
˙
˙˙ ˙ ˙
˙˙
˙
˙˙ ˙˙ .. Œ

3 2 0 0 3 2 0
T 0 3 1 1 0 3 1
0 2 2 2 0 2 0
A 0 0 2 2 0 0 2
B

Verse

# Œ
G D Am

& œ ⇥ œ œ œ œ œ œ Œ Ó
Ma, take this badge off of me.

# ˙˙ ˙˙ ˙˙˙ ˙˙˙
& ˙˙ ˙˙ ˙ ˙
3 2 0 0
0 3 1 1
0 2 2 2
0 0 2 2

[5]

# Œ
G D C
œ œ œ œ ⇥ œ œ œ œ Œ Ó
&
I can’t use it an - y - more.

# ˙˙ ˙˙ ˙˙ ˙˙
& ˙˙ ˙˙ ˙˙ ˙˙

3 2 0 0
0 3 1 1
0 2 0 0
0 0 2 2

[7]

# r j
G D Am

& Œ ‰ ⇥ œ œ œ œ œ ‰ œ œ œ œ Ó
It’s get - tin’ dark, too dark to see.

# ˙ ˙˙ ˙˙ ˙˙
Acoustic Guitar Debut

& ˙˙˙ ˙
˙ ˙˙ ˙˙

3 2 0 0
0 3 1 1
0 2 2 2
0 0 2 2

[9]
8 Words and Music by Bob Dylan
Copyright © 1973, 1976 Ram’s Horn Music
International Copyright Secured All Rights Reserved
Used by Permission
 G D C
# œ œ œ
Œ œ œ œ œ œ œ œ Œ Ó
3 3

&
Feels like I’m knock - in’ on heav - en’s door.

# ˙˙ ˙˙ ˙˙ ˙˙
& ˙˙ ˙˙ ˙˙ ˙˙

3 2 0 0
0 3 1 1
0 2 0 0
0 0 2 2

[11]

Chorus

#
G D Am G D

& Œ œ œ œ œ œ œ œ œ œ Œ Ó Œ œ œ œ œ œ œ œ œ
Knock, knock knock - in’ on heav - en’s door. Knock knock knock - in’ on heav - en’s door.

# œ œ œœ œ ˙˙˙ ˙˙˙ œ œ œœ œ
& œœœ œœ
œ
œœ ˙ ˙
œœ
œ
œœ
œ
œœ
Let ring Let ring

3 3 2 0 0 3 3 2
0 0 3 3 1 1 0 0 3 3
0 0 2 2 2 0 0 2
0 0 0 2 2 0 0 0

[13]

#
C G D Am

& Œ Ó Œ œ œ œ œ œ œ œ œ œ Œ Ó
œ
Knock, knock knock - in’ on heav - en’s door.

# ˙˙ ˙˙ œ œ œœ œ ˙˙ ˙˙
& ˙˙ ˙˙ œœ œœ œœ ˙˙ ˙˙
œ œ
Let ring

0 0 3 3 2 0 0
1 1 0 0 3 3 1 1
0 0 0 0 2 2 2
2 2 0 0 0 2 2

[16]

#
G D C G

& Œ œ œ œ œ œ œ œ œ œ
Œ Ó
Knock knock knock - in’ on heav - en’s door.

# œ œ ˙˙ ww w
Acoustic Guitar Debut

& œœœ œœ
œ
˙˙ ww ww
w
3 3 2 0 3
0 0 3 1 0
0 0 2 0 0
0 0 0 2 0

9
[19]
 Knockin’ On Heaven’s Door | Technical Guidance

This song requires cleanly played chords to make the performance work, with changes needing to be smooth and kept in
time. Alternating between full chords and single notes (bar 13 for example) will require some control over ringing strings to
sound fluent, but is well worth the practice.

Keeping the rhythms accurate is another aspect of this song that can generate higher marks in the exam. Chords should
always ring out for their full rhythmic value where possible, with realistic time allowed for you to move between them
without breaking the flow of the song. It is important to place down strums on the beat firmly and securely without ‘forcing’
the sound, and it can be helpful to practise tapping your foot along or counting the beats out loud as you play.

Try to keep your hand movements as efficient as possible to allow for smooth transitions between chords, and make sure
that any rests are able to be heard clearly and are of the correct length. Maintaining an even strumming hand attack will also
help achieve a polished performance.
Acoustic Guitar Debut

10
 ‘Ain’t No Sunshine’ | Bill Withers
‘Ain’t No Sunshine’ is regarded by many as a songwriting masterpiece. It was released in 1971 and quickly became
a classic all over the world. It reached the number 3 spot on the Billboard Hot 100 and has been covered by many
artists since.

Withers wrote the song after watching the movie The Days of Wine and Roses. He was 31 years old when the song was
released and at the time he was working in the assembly line of a factory, making toilet seats for Boeing 747s. It is said
that with this in mind the record company presented Withers with a golden toilet seat when the record went gold. It was
the first of his three gold records in the US.

‘Ain’t No Sunshine’ was actually a B side to Withers’ single ‘Harlem’, but DJs hugely favoured the hit and played it
instead. The record was produced by Booker T. Jones and his band, the MG’s, were used to accompany Withers. The band
was by then a seasoned outfit that had played on countless records on the Stax label – amongst them was the well-known
‘(Sittin’ On) The Dock The Bay’ by Otis Redding.

‘Ain’t No Sunshine’ won a Grammy Award at the 14th annual ceremony in 1972. Withers followed its success with the
massive hits ‘Lean On Me’ and ‘Use Me’.

In 1975, after signing with Columbia Records and returning to recording after a hiatus produced by contractual
complications, he recorded three successful albums, one of which was his 1977 album, Menagerie, which contained
the now classic song ‘A Lovely Day’. Further contractual complications followed but Withers managed to continue
collaborating with other musicians and recorded the classic ‘Just The Two Of Us’ with saxophonist Grover Washington Jr.
(included on the best-selling Winelight) and ‘In The Name Of Love’ with percussionist Ralph MacDonald. He also wrote
and recorded the successful ‘Grandma’s Hands’.

Numerous legal complications connected with his record contracts led Withers to decide he was going to retire form
the music industry, including live performance, in the mid 1980s. Although his music continues to gain attention in
various forms, he has expressed comfort with his decision and says his relatively late arrival in the business equipped him
to deal with it with no regrets.

Song Info
Song Title: Ain’t No Sunshine
Album: Just As I Am
Label: Sussex
Genre: Soul/R&B
Written By: Bill Withers
Produced by: Booker T. Jones
UK Chart peak: 40
Acoustic Guitar Debut

11
 Ain’t No Sunshine Session Style

Bill Withers
Arranged by Jono Harrison
c 80 Soul/R&B
Am Em G Am

& 44 Œ œ œ œ œ œ. œ œ ˙ Ó Œ
œ œ œ œ. œ œ œ œ
Ain’t no sun - shine when she’s gone. It’s not warm when she’s a -

& 44
˙ œ œ w
T
A
B 0
0 3
0

œ. œ œ
Am Em G Am
Ó Œ œ œ œ
& ˙ œ œ
way. Ain’t no sun - shine when she’s gone,

&
˙ œ œ w

0 0
0 3
[4]

Em Dm
œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ
3

and she’s al - ways gone too long an - y - time she goes a -

œ œ ˙ ˙.
&œ œ œ œ

0
0 3
0 2
2 0

[6]

Am Em G Am

& œ Œ Ó Œ œ œ œ œ. œ œ
œ
way. Won - der this time where she’s
Acoustic Guitar Debut

&
˙ œ œ w

0 0
0 3
[8]
12 Words and Music by Bill Withers
Copyright © 1971 INTERIOR MUSIC CORP. Copyright Renewed
All Rights Controlled and Administered by SONGS OF UNIVERSAL, INC.
All Rights Reserved Used by Permission
 Am Em G Am

& ˙ Ó Œ œ œ œ. œ œ œ œ
œ
gone, won - der if she’s gone to

˙ www
& ˙˙ œ œ

0 0
1 1
2 0 2
2

[10]

œ œ œ
Am Em G Am
Ó Œ œ œ œ
& ˙ œ œ
stay. Ain’t no sun - shine when she’s gone,

˙ www
& ˙˙ œ œ

0 0
1 1
2 0 2
2

[12]

Em Dm
œ œ œ œ œ œ œ œ œ œ œ
3
œ œ œ œ
& œ œ
and this house just ain’t no home an - y - time she goes a -

œ œ ˙ œ ˙.
&œ œ œ
0
0 3
0 2
2 0

[14]

Am Em G Am

& œ Œ Ó
way.

˙ ww
& ˙˙
Acoustic Guitar Debut

œ œ w

0 0
1 1
2 0 2
2

[16]
13
 Ain’t No Sunshine | Technical Guidance

Rhythmically this riff needs to sync really closely with the backing track to provide a confident sounding performance.
Try to make certain that longer held notes last as written and that the arpeggiated figures have clear and controlled
rhythms to them.

The open chords require careful fretting hand positioning to allow open strings to ring clearly. Also required is good
picking hand control as you cross the strings (bar 14 for example).

The changes between chords and single notes (bar 12 and 13 for example) should not prove too difficult, but practice
both sections individually before trying to combine them with the backing track. This will allow a more relaxed approach
to your performance.
Acoustic Guitar Debut

14
 ‘I’m Yours’ | Jason Mraz
‘I’m Yours’ was the first single to be released by Jason Mraz from his third studio album We Sing. We Dance. We Steal Things.
Mraz took the name of the album from a work by the artist David Shrigley.

The song was originally released on a limited edition EP called Extra Credit as a demo in 2005, to promote his second
studio album Mr. A–Z. ‘I’m Yours’ was immensely successful and spent 76 weeks on the Hot 100 chart in the US. It held
the record for most weeks spent in the US Hot 100 chart, breaking the previous record of 69 weeks set by LeAnn Rimes’
song ‘How Do I Live’ in 1998. This record has since been broken by Imagine Dragons’ ‘Radioactive’, which spent 87 weeks
in the chart.

It is Mraz’s most successful global single to date, reaching number one in Sweden and Norway, and the Top 10 in
Canada, United States, Austria, Australia, Germany, Switzerland, Spain and Italy. It also achieved number one on the Top
40 Digital Track Chart in Australia. The track has now earned more than 12 million download sales worldwide.

Jason Mraz is an American singer-songwriter who first came to prominence in the San Diego coffee shop scene in
2000. In 2002, he released his debut studio album, Waiting for My Rocket to Come, which contained the hit single ‘The
Remedy (I Won’t Worry)’. His musical style, from rhythmic feeling to his use of nylon string guitars, has been heavily
influenced by Brazilian music.

Song Info
Song Title: I’m Yours
Album: We Sing. We Dance. We Steal Things
Label: Atlantic
Genre: Pop
Written By: Jason Mraz
Producer: Martin Terefe
UK Chart Peak: 11

Acoustic Guitar Debut

15
 I’m Yours Session Style

Jason Mraz
Arranged by Tristan Seume
c 76 Pop t
Intro

#
& 44
G5 D Em C/E
∑ ∑ ∑ Ó Œ ⇥ œ œ
Well,

# 4 ww ww ww ww
& 4 w ww ww ww

3 2 0 0
T 3 3 0 1
0 2 0 0
A 0 2 2
B

Verse
G5
#
D

& 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
you done done me in; you bet I felt it. I tried to be chill, but you’re so hot that I melt - ed. I

# ww ww
& w ww

3 2
3 3
0 2
0

[5]

#
Em C/E

& œ œ œ œ ‰ œ œ œ. œ œ ‰ ⇥ œ œ œ
œ. œ œ œ œ œ œ
fell right through the cracks. Now I’m try - ing to get back. Be - fore the

# w ww
& www ww

0 0
0 1
0 0
2 2

[7]

G5
#
D

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
cool done run out, I’ll be giv - ing it my best - est, and noth - ing’s gon - na stop me but di - vine in - ter - ven - tion. I

# ww ww
Acoustic Guitar Debut

& w ww

3 2
3 3
0 2
0

[9]
16 Words and Music by Jason Mraz
Copyright © 2008 Goo Eyed Music (ASCAP)
International Copyright Secured All Rights Reserved
 #
Em C/E

& œ œ œ œ ‰ j bœ œ. nœ. œ
œ œ œ œ œ œ. œ œ œ.
reck - on it’s a - gain my turn to win some or learn some. But

# w ww
& www ww

0 0
0 1
0 0
2 2

[11]

Chorus

# œ j
G D

‰ j ‰ j ‰ œ. ‰ j ‰ ‰ œ
& œ œ œ œ œ œ œ
œ œ œ
I won’t hes - - - i - - - tate no more, no

# œ œ
& œ œ œ œ œ œ

0 0
0 2 2
0 4 0

[13]

# j
Em C

& œ ‰ œ ‰ œ j ‰ œ œ œ œ œ œ
œ œ œ œ
more. It can - not wait. I’m yours.

# œ œ
& œ œ œ œ œ œ œ
œ
1 0
0 0 0 2 0
2 0
3

[15]

#
G D Em C/E

& ˙ Ó

# ww ww ww
& ˙ Ó ww ww ww

2 0 0
3 0 1
0 2 0 0
0 2 2

[17]
Outro

# ww ww ww # www ww
Acoustic Guitar Debut

G5 D Em A/E G5

& w ww ww w w

3 2 0 0 3
3 3 0 2 3
0 2 0 2 0
0 2 2

17
[21]
 I’m Yours | Technical Guidance

The opening whole note chordal pattern will test your fluency with many of the chord shapes required at this level.
Learning to change quickly and smoothly between them is a skill needed in several Debut arrangements, but is particularly
relevant here where there are extended sections with no rests and no single note melodies.

Try to keep all notes sounding and hold parts for their full length, even if the sound feels like it is fading away a little.
Higher marks are available for those who can most accurately follow the scores, including rhythm parts.

The chorus changes to a melody line that is made up of open strings and fretted notes. Technically it can be difficult to
control this sort of situation, and prevent open strings from ringing, so practice slowly and gain confidence before trying to
play up to speed with the backing track.

There is only the one rest to watch for (bar 17), but you must make certain that the G note immediately before it stops in
good time, and that you do not start bar 18 early. Showing good synchronisation to the backing is very important here.
Acoustic Guitar Debut

18
 ‘Ho Hey’ | The Lumineers
‘Ho Hey’ was the first single to be released from The Lumineers’ self-titled debut album in 2012. The song gave them
their first hit, achieving chart success globally. On its release it charted at number 90 on the US Billboard Hot 100, which
may have seemed disappointing at first – but with patience the band saw an excellent result for their first single. ‘Ho Hey’
became known as a ‘sleeper hit’ and slowly climbed the charts, starting at position 90 in June 2012 and finally breaking
the top ten in November 2012 at number 8. Not stopping there, the song achieved top ten status in the UK, Canada,
France, Australia and Switzerland to name but a few.

The Lumineers are an American folk-rock band, founded by frontman Wesley Schultz and drummer/percussionist
Jeremiah Fraites. Starting out as a covers band in New York in 2005, the pair soon discovered their ability to write catchy
hooks together and so began gigging their original material. Soon enough, other musicians were drawn in by their talent
and the band began to grow. As Schultz and Fraites began to share their original music at gigs around the Brooklyn area
they became increasingly frustrated with disinterested crowds. In response to this, ‘Ho Hey’ was originally written to
taunt those gig-goers who refused to listen to the live music. By adding in the shouts of ‘Ho’ and ‘Hey’ the songwriting
duo felt sure they could demand the attention of their audience. Needless to say, it worked and the single brought them
global recognition.

‘Ho Hey’ received critical acclaim, with many reviewers feeling delighted to hear such refreshingly straightforward
yet memorable music. ‘Rolling Stone’ magazine went on to name the track the 26th best song of 2012, which was quite
an accomplishment for the newly popular band. The band’s debut album The Lumineers also achieved positive reviews.
Reaching top ten status in the UK and US album charts, the work of Schultz and Fraites did not go unrecognised. Praised
for their “entertaining”, “enjoyable” and “inventive” songwriting, the band were liked throughout, with many particularly
impressed by their ability to recreate their sound on stage and their determination to avoid an “overcooked” studio
sound. The album saw them receive two Grammy nominations in 2012, for Best Americana Album and Best New Artist.

Since their launch into stardom The Lumineers have continued to grace us with chart topping music. Their second
studio album, Cleopatra, topped both the UK and US album charts on its release in 2016 and achieved Platinum
certification in their home country.

Song Info
Song Title: Ho Hey
Album: The Lumineers
Released: 2012
Label: Dualtone Records
Genre: Indie Folk
Written By: Wesley Schultz/Jeremy Fraites
Produced by: Ryan Hadlock
UK Chart Peak: 8
Acoustic Guitar Debut

19
 Ho Hey Session Style

The Lumineers
Arranged by Calum Harrison

c 79 Indie Folk

& 44
C
¿ ‰ Œ Ó ¿ ‰ Œ Ó ¿ ‰ Œ Ó ¿ ‰ Œ Ó
J J J J
(Ho!) (Hey!) (Ho!) (Hey!)

& 44 ˙˙ ... ‰ œj w ˙˙ ... ‰ œj w

˙ ˙

T
0 0
A 2 3 2 2 3 2
B 3 3

& ¿ œ œ œ œ œ œ œ œ œ
¿
œ œ œ œ œ œ œ
œ œ œ œ œ
(Ho!) I’ve been try’n’ to do it right; (Hey!) I’ve been liv - in’ a lone ly life,

& œ ˙ ‰ j ˙˙ Œ
œ œ œ

0 0
2 2
3 2 3

[5]

& ¿ œ œ œ œ œ œ œ œ œ
¿
œ œ œ œ œ œ œ œ œ œ œ
(Ho!) I've been sleep in' here in - stead; (Hey!) I've been sleep - in' in my bed.
Acoustic Guitar Debut

& œ ˙ ‰ j ˙˙ Œ
œ œ œ

0 0
2 2
3 2 3

[7]
20 Words and Music by Jeremy Fraites and Wesley Schultz
Copyright © 2011 The Lumineers
All Rights Exclusively Administered by Songs Of Kobalt Music Publishing
All Rights Reserved Used by Permission
 Am G C

& ¿ Ó Œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
(Ho!) I’ve been sleep - in’ in my bed. I be - long with

& ˙˙˙ ˙˙
˙
ww
w œ œ œ œ

1 0 1
2 0 0
2 0 2 2
3 3 2

[9]

j œ
Am G C

‰ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ
& œ œ
you, you be - long with me; you’re my sweet - - - heart. I be - long with

& œœ œœ ww
œ œ w
œ
1
2 0 0
2 0 2
0 2 3

[12]

j
Am G C
j ‰ œ œ œ œ œ œ œ œ œ¿ ‰ Œ Ó
& œ œ J
you, you be - long with me; you're my sweet - heart.
(Ho!)

& œœ œœ ˙˙ ... ‰ j
œ œ ˙ œ
œ
1
2 0 0
2 0 2 3
0 2 3

[14]

U
& J¿ ‰ Œ Ó ¿
J
‰ Œ Ó ·
(Hey!) (Ho!) (Hey!)

U
www
Acoustic Guitar Debut

& ww ww

0
1
0
2 2
3 3

[16]
21
 Ho Hey | Technical Guidance

This arrangement uses the partial/smaller chord shapes taught at this level, and so links well with the technical exercises,
meaning you have twice the opportunity to practice these fingerings. Where the C chord is based around the A, D and G
strings, we see how these chords can be expanded in the lower register – using notes from our C major scale.

Confident changes between chords always stands out in an exam performance, so ensure that any difficult areas get
extra attention.

The single note melody in bar 11 stays very close to the fretboard positions of the chords, allowing hand movements to be
kept to a minimum. This should help keep these changes fluent and easy master.

For the picking hand, it is important to control which strings are sounded for accuracy. As an example, the open
G major chord in bar 9 would sound like a very different type of chord if the high E string was accidentally plucked.

Interest is added in the rhythms through the use of dotted notes, eighth note rests and upbeat eighth notes. This is very
common in modern songwriting and helps phrases to flow more naturally, so really mastering these will certainly transfer to
other songs you are learning at this level.
Acoustic Guitar Debut

22
 ‘Eleanor Rigby’ | The Beatles
‘Eleanor Rigby’ features on The Beatles’ seventh studio album Revolver and was released simultaneously on both the
album and A-side single, along with ‘Yellow Submarine’, on the 5th August 1966. The A-side gave The Beatles their 11th
UK number 1, also topping the charts in New Zealand and Canada and peaking at number 11 in the US Singles Chart.

Paul McCartney was experimenting with his piano at home when he came up with the idea of a piece revolving around
a character who he had originally named ‘Daisy Hawkins’. On introducing the song to the rest of the band the original
idea began to expand and the character of ‘Eleanor Rigby’ was born. Each member of the band played an important role
in the creation of this fantastic song, but the songwriting was eventually credited to Lennon-McCartney.

‘Eleanor Rigby’ continued the band’s journey into experimental studio music, moving away from their previous rock
‘n’ roll and pop-oriented singles of earlier years. When they presented the single to their producer George Martin, often
referred to as the fifth Beatle, he completely understood in which direction McCartney wanted to take the piece and went
on to compose a string accompaniment. This became the iconic backing for a classic Beatles record on which – unusually
– none of the band members feature as performing instrumentalists.

Differing from many of their biggest hits, and those of other musicians of the time, ‘Eleanor Rigby’ moved away from
the classic love song and told a much more sombre story. Focussing on the difficult topics of loneliness, depression
and old age, The Beatles told a beautiful story backed by an almost “funeral like” accompaniment. Few artists had the
courage to release a single focussing on what can be a very solemn topic, and so many of the listeners may have been
shocked initially. However, the number 1 status proved that this was a universal topic, and Lennon-McCartney’s stunning
approach was not lost on their audience. The song has been said to have launched a popular theme in future releases,
including ‘See Emily Play’ by Pink Floyd and ‘Pictures of Lily’ by The Who, where a fictitious female character becomes
the sole focus of an entire piece of music.

It is undeniable that ‘Eleanor Rigby’ has influenced artists throughout the years, with notable cover versions including
releases by global superstars Ray Charles, Joan Baez and Aretha Franklin. It would be difficult to put into words how
important The Beatles were to British music as we know it. Throughout their career they released 17 UK number 1
singles, as well as 15 UK number 1 albums – a staggering success for the band that became known as ‘The Fab Four’. To
this day, global superstars continue to cite them as a huge influence on their work, including Coldplay, Lady Gaga, Noel
Gallagher and countless more.

Song Info
Song Title: Eleanor Rigby
Album: Revolver
Released: 1966
Label: Parlophone, Capitol
Genre: Baroque Pop
Written By: Lennon-McCartney
Produced by: George Martin
UK Chart Peak: 1
Acoustic Guitar Debut

23
 Eleanor Rigby Acoustic Specialist (Duet)

Candidate Part (assessed) The Beatles

Arranged by Ashley Hards

c 120 Baroque Pop

# 4 Cœœ œœ œœ œœ œœ œœ œœ œœ
& 4 œ œ œ œ œ œ œ œ
f
0 0 0 0 0 0 0 0
T 1 1 1 1 1 1 1 1
0 0 0 0 0 0 0 0
A
B

# Eœœm œœ œœ œœ œ œœ œœ œœ ..
& œ œ œ œ œœ œ œ œ

0 0 0 0 3 2 0 0
.
.
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0

[3]

# . œ œœ œ œœ œ œœ œ œœ
Em

& . œœ œ œœ œ œœ œ œœ œ
p
. 3 0 3 0 3 0 3 0

.
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0

[5]

# œ œœ œ œœ œœ œœ œœ œœ œœ œœ œ œœ ..
C Em

& œœ œœ œœ
Acoustic Guitar Debut

œ œ œ œ œ œ œ œ œ

3 0 3 0 3 0 3 0 3 0 3 0
.
.
0 0 0 0 1 1 1 1 1 1 0 0
0 0 0 0 0 0 0 0 0 0 0 0

[7]
24 Words and Music by John Lennon and Paul McCartney
Copyright © 1966 Sony/ATV Music Publishing LLC Copyright Renewed
All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved
 #
& ˙˙ ˙˙
E m7 E m6

# ˙˙ ˙˙

3 3 2 2
0 0 0 0

[10]

#
& n ˙˙ ˙˙
C Em

ww

1 1 0
0 0 0

[12]

# ˙ œœ œœ
E m7 E m6

& ˙ # ˙˙ œœ œœ

3 3 3 2 2 2
0 0 0 0 0 0

[14]

# n˙
C Em

& ˙ œœ œœ œœ œœ œœ œœ

1 1 1 0 0 0 0
0 0 0 0 0 0 0

[16]

# . Cœœ œœ œœ œœ œœ œœ œœ œœ
& .œ œ œ œ œ œ œ œ
f
. 010 0 0 0 0 0 0 0

.
1 1 1 1 1 1 1
0 0 0 0 0 0 0

[18]

# Eœœm œœ œœ œœ œ œœ œœ œœ .. www
œœ
Acoustic Guitar Debut

Em

& œ œ œ œ œ œ œ
p
0 0 0 0 3 2 0 0
. 0

.
0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0

[20]
25
 Eleanor Rigby Acoustic Specialist (Duet)

Duet Part (non-assessed) The Beatles

Arranged by Ashley Hards
c 120 Baroque Pop

#4 . ˙ œ œ œ œ œ œ œ œ œ œ œ
C

& 4 .
œ œ œ œ œ œ œ œ
F
. 0 2 3 5 3 2 0

. 3
T
A
B 3 3 3 3 3 3 3

#
Em

& œ œ ˙ œ œ œ œ œ œ œ œ ..
œ œ
œ œ œ œ œ œ œ œ
.
4 2 0
7
4
5
4
4
4
5
4
2
4
.
0 0 0 0 0 0 0 0
[3]

# . Em œ œ œ œ #œ œ œ
& . œ œ œ œ œ œ œ œ
P œ œ œ œ œ œ œ œ
.
.
0 0 3 2 0 2
0 2 0 0 2
2
0 0 0 0 0 0 0 0
[5]

# œ œ
C Em

œ œ œ œ œ œ œœ œ œœœ œœ œœ œœ œœ ..
Acoustic Guitar Debut

& w
nœ œ œ œ
œ œ œ œ . . œ œ
. .
.
.
0 0 0 1 0
2 2 0 2 0 2 0 0 0
3 3 3 3
0 0 0 0 3 3 0 0
[7]
26 Words and Music by John Lennon and Paul McCartney
Copyright © 1966 Sony/ATV Music Publishing LLC Copyright Renewed
All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved
 # œ
E m7 E m6

& œ œ œ œ œ œ œ œ œ œ œ
F œ œ œ œ œ œ œ œ
0
0
2 0 2 0
2 2
0 0 0 0 0 0 0 0
[10]

# œ
C Em

& œ
œ œ
0
3 3
[12]
œ œ œ
œ œ œ w
œ œ œ œ
2 0
2
3 3
0 0 0 0

#
E m7 E m6
œ
& œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
3
0 0
2 0 2 0
2
0 0 0 0 0 0 0 0
[14]

# œ
C Em

œ œ œ
& œ œ w
œ œ œ œ
œ œ œ œ
0
0
2 0
3 3 3 3
0 0 0 0
[16]

# ˙ œ œ œ œ œ œ œ œ œ œ œ
C

& ..
œ œ œ œ œ œ œ œ
f
. 0 2 3 5 3 2 0

. 3 3 3 3 3 3 3 3

[18]

# ggg www
Em Em

& œ œ œ œ œ œ ..
Acoustic Guitar Debut

œ œ œ œ œ œ œ œ ggg ww
œ œ œ œ œ œ œ œ P gg w
. ggg 000
. ggg 22
gg 0
4 2 0 4 4 4 4 4
7 5 4 5 2
0 0 0 0 0 0 0 0
[20]
27
 Eleanor Rigby | Technical Guidance

Quite a strong attack is needed for the first section to hit the f dynamic, which then settles down to p at bar 5. When
changing the intensity of your strumming or fingerstyle work, it is important to be careful which strings are being sounded,
and to ensure that as you play harder there are no extra unwanted notes ringing out.

The open chords will be considerably easier to change smoothly if you practice using more than one finger for them. For
example, going from the C major to the E minor with the G note on the 3rd fret of the high E string can either involve a
three-fret jump for the fretting hand, or a change from your 1st to your 3rd finger. Neither approach is ‘correct’ and as long
as the chords sound clearly and are rhythmically accurate, no marks will be removed for the one finger method. However,
there is a much greater chance of stumbling between chords if the fretting hand has to make relatively large jumps.

Pay particular attention to the length of notes here, especially bars 10–13 as cutting longer rhythms too short will result
in a loss of marks for rhythmic accuracy and technical control. Equally, quarter note strumming should aim to be even and
well-synced to the track in order to gain the best possible mark in the exam.
Acoustic Guitar Debut

28
 ‘Stand By Me’ | Ben E. King
‘Stand By Me’ was written by Ben E. King and producers Jerry Leiber and Mike Stoller. The title was inspired by a
spiritual song written by Sam Cooke and J.W. Alexander called ‘Stand By Me Father’ which contains lines derived from
Psalm 46:2. Ben E. King had written the song with The Drifters in mind but they declined recording it. After the success
of ‘Spanish Harlem’ King had some studio time available and played the song to Leiber and Stoller. There are varied
accounts of who did exactly what, with both Leiber and Stoller claiming they worked out harmonies and a bass line, but
in the end the song was credited to all three with a 50% split in favour of King.

‘Stand By Me’ was released in April 1960. Since then, the estimated royalties generated by the song are over twenty
million US dollars. The original recording session included Romeo Penque on sax, Ernie Hayes on piano, Al Caiola and
Charles McCracken on guitars, Lloyd Trotman on bass, Phil Krauss on percussion and Gary Chester on drums, with a
chorus and strings arranged by Stanley Applebaum.

‘Stand By Me’ hit the top of the US Billboard charts twice – upon its release in 1961 and then again in 1986 when it was
re-released as part of the soundtrack to the movie of the same name. In the UK charts it reached no. 27 on its original
release and no. 1 when re-released in 1987, partly due to its utilisation on a Levi’s jeans advert. The song also appeared
on the album Don’t Play That Song.

Ben E. King had an illustrious career and died at the age of 76 in 2015. He is now regarded as one of the greatest voices
of soul, rock and rhythm & blues. Jerry Leiber and Mike Stoller are amongst the most successful and influential record
producers of the twentieth century. They produced and wrote for artists including Elvis Presley, Barry Mann, Elkie
Brooks, Peggy Lee, and Stealers Wheel. Their work influenced artists including Donald Fagen and Phil Spector, who
started out as their session guitarist.

‘Stand By Me’ was recorded over four hundred times. Notable versions include those of Muhammad Ali in 1963, John
Lennon in 1975, Maurice White in 1985, Prince Royce in 2010 and Florence + The Machine in 2016.

Song Info
Song Title: Stand By Me
Album: Don’t Play That Song
Label: Atco
Genre: Rhythm and Blues / Soul
Written By: Ben E. King, Jerry Leiber and Mike Stoller
Produced by: Jerry Leiber and Mike Stoller
UK Chart peak: 1

Acoustic Guitar Debut

29
 Stand By Me Acoustic Specialist (Duet)

Candidate Part (assessed) Ben E. King

Arranged by Jono Harrison
c 119 Rhythm and Blues / Soul
Intro

### 4 ≤ ≤ ≤ ≤
A upstroke

& 4 Œ ¿¿ Œ ¿¿ Œ ¿¿ Œ ¿¿
¿ ¿ ¿ ¿
¿¿ ¿¿ ¿¿ ¿¿
¿ ¿ ¿ ¿
T
A
B

F#m

### ≤ ≤ ≤ ≤
& Œ ¿¿¿ Œ ¿¿¿ Œ ¿¿¿ Œ ¿¿¿

¿¿ ¿¿ ¿¿ ¿¿
¿ ¿ ¿ ¿
T
A
B
[3]

≤ ≤ ≤ ≤
### Œ
D E

¿¿ Œ ¿¿ Œ ¿¿ Œ ¿¿
& ¿ ¿ ¿¿ ¿¿
¿¿ ¿¿ ¿¿ ¿¿
T
A ¿ ¿ ¿¿ ¿¿
B
[5]

### ≤ ≤ ≤
A

¿¿ ¿¿ ¿¿ œ œ œ
& Œ ¿ Œ ¿ Œ ¿ ‰ J
¿¿ ¿¿ ¿¿
¿ ¿ ¿
0 2
T 2
A
B
[7]

Verse

### œ
A

œ œ
A

& Œ Œ œ Œ Ó
0
T 2
A
B
[9]

F#m
###
Acoustic Guitar Debut

Œ œ œ œ j Œ ‰
j
œ œ
& œ J œ œ œ

T 2
0 2 0
2 2
0 2
A
B
[11]
30 Words and Music by Jerry Leiber, Mike Stoller and Ben E. King
Copyright © 1961 Sony/ATV Music Publishing LLC Copyright Renewed
All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved
 # # # Dœ œ j œ
‰ œ ˙ œ œ
E

& œ œ

T 0
2 2
2 0 0 0
A
B
[13]

### A

Ó ‰ œ œ œ
& w J
0 2
T 2
2
A
B
[15]

### œ œ œ
A

& Œ ‰ œ Œ ‰ œ œ œ œ œ
J J
0 2
T 2 2 2 0
2
0
A
B
[17]

F#m
### œ j œ
& Œ Œ œ œ Œ ‰ œ œ

T 2 0
2 2
0 2
A
B
[19]

# # # Dœ j œ œ
Œ ‰ œ ˙ ‰ œ
E

& œ J

T 2
2 0 2 0
A
B
[21]

###
Acoustic Guitar Debut

Œ ‰ j
A

& ˙ œ œ œ œ œ
w
T 2 2 1
A 4 4 2
B 0

[23]
31
 Stand By Me Acoustic Specialist (Duet)

Duet Part (non-assessed) Ben E. King

Arranged by Jono Harrison

c 119 Rhythm and Blues / Soul

### 4 . A
& 4 . j ‰ ‰ j j ‰ ‰ j
œ œ œ œ œ œ œ œ œ œ
.
PM (light)

.
T
A
B 0 0
0 4
0 0 0
4

### F#m

& j ‰ ‰ j j ‰ ‰ j œ œ
œ œ œ œ œ œ œ
(PM)

T
A 4 2
B 2 2 0 2 2
[3]

# # # Dj ‰ ‰ j
E
j ‰ ‰ j
& œ œ œ œ œ œ œ œ
œ œ
(PM)

T
A 0 0 0 4 2 2
B 0 4
[5]

### ..
‰ ‰ ‰ ‰
A Play 3 times

& j j j j
œ œ œ œ œ œ œ œ œ œ
.
(PM)

.
T
A
B 0 0
0 4
0 0
0 4
[7]

### w
Acoustic Guitar Debut

& ww
w

T 2
2
A 2
B 0

[9]
32 Words and Music by Jerry Leiber, Mike Stoller and Ben E. King
Copyright © 1961 Sony/ATV Music Publishing LLC Copyright Renewed
All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved
Stand By Me | Technical Guidance

For the opening muted upstrokes in this arrangement you need to ensure that your fretting hand mutes the strings fully
and your pick attack is consistent in order to give a ‘choppy’ percussive sound.

The verse melody entering in bar 9 needs careful attention towards fretting, to prevent the open strings from being cut
short or accidentally muted. Try to keep finger movements crisp and decisive, as well as coordinated with your picking.

Longer notes (bar 13 for example) need to last for their full value, just as rests should be counted carefully. With many of
the phrases entering on upbeats, saying synced to the track can prove tricky, but is well worth practicing for the eventual
rhythmic sound produced.

For the final phrase in bar 24 try to keep the quarter notes from becoming staccato, which will affect the feel of the phrase,
and be sure to move fluently between notes with as little rhythmic space as possible.

Acoustic Guitar Debut

33
 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 during the
exam for all groups.

Group A needs to be played to a click. The examiner will play the click at the given tempo and you should begin to play after
four clicks.

Group B is played as a continuous sequence, with each chord announced by the examiner

Group C is played to a backing track.

Group A: Scales
The tempo for this group is q = 65 bpm.

1. C major

& 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. E minor pentatonic

œ œ œ œ œ œ œ
& œ œ œ œ
0
T 0 2
0 3 3 0
2 0
A 2 2
B

3. A minor pentatonic

& œ œ œ œ œ
œ œ œ œ œ œ
T 0 2 0
A 0 2 2 0
B 0 3 3 0
Acoustic Guitar Debut

34
Group B: Chords
Open position chords. Individual chords will be strummed once as directed by the examiner.

w # ww ww w ww ww
& # www
A D C G Am Em

w ww ww ww ww
w w w w
w
0 2 0 3 0 0
T 2
2
3
2
1
0
0
0
1
2
0
0
A 2 0 2 0 2 2
B 0 2
0

Group C: Acoustic Riff

In the exam you will be asked to play the following acoustic riff to a backing track. The riff shown in bar 1 should be played
in the same shape in bars 2–4. The root note of the pattern to be played is shown in the music in each of the subsequent
three bars. The tempo is q = 65.

q = 65 Indie/Folk

& 44 ‰
Am Dm Am Dm

j
œ œ œ œ œ œ œ

T
A 2 0 0
B 0 3 3 0

Acoustic Guitar Debut

35
 Sight Reading

In the exam, you have a choice between either a Sight Reading test or an Improvisation & Interpretation test. 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 bar melody. 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 = 65.

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.

Tempo: q = 65
Duration: 4 Bars
Rhythms: Whole notes, half notes and quarter notes
Key: C Major
Pitches and Instrumental Compass: C and D on the 2nd string

All exercises are performed to a backing track.

You will hear four clicks before each exercise to be played.

Please note: exercises may be performed either fingerstyle or with a plectrum.

Example 1

q = 65

& 44 œ œ ˙ ˙ ˙ œ œ ˙ w

T 1 1 3 3 1 3 3 1 3
A
B

Example 2

q = 65

& 44 ˙ ˙ œ œ ˙ w ˙ ˙

T 1 3 3 3 1 3 1 1
A
Acoustic Guitar Debut

36
Improvisation & Interpretation

In the improvisation & 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 = 65.

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.

At Debut, you only need to improvise single note melodies in the key of C major. The chord symbols show the chord
progression of the backing track only.

Example 1

q = 65

& 44 ’ ’ ’ ’
C Dm G C

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Acoustic Guitar Debut

37
 Ear Tests

There are two Ear Tests in this grade. The examiner will play each test to you twice. You will find one example of each type
of test printed below.

Test 1: Melodic Recall

The examiner will play you two half notes one after the other. You will tell the examiner whether the second note is higher
or lower in pitch than the first note. You will hear the test twice.

Each time the test is played it is preceded by a one bar vocal count-in. The tempo is q = 85.

q = 85

4
& 4 .. ˙ ..
˙
. .
. .
T
A 2
B 0

Test 2: Rhythmic Recall

The examiner will play you a two bar rhythm played to a drum backing on the lowest-sounding E string. You will hear
the test twice. You will be asked to play the rhythm back. You will then be asked to identify the rhythm from two printed
examples shown to you.

Each time the test is played it is preceded by a one bar count-in. There will be a short gap for you to practise. Next you will
hear a vocal count-in and you will then play the rhythm to the drum backing. The tempo is q = 85.

q = 85

& 44 .. ΠΠΠ..
œ œ œ œ œ œ œ
. .
. .
T
A
B 0 0 0 0 0 0 0

q = 85

& 44 .. ΠΠΠ..
œ œ œ œ œ œ œ
. .
. .
T
A
B 0 0 0 0 0 0 0
Acoustic Guitar Debut

38
General Musicianship Questions

In this part of the exam you will be asked five questions. Four of these questions will be about general music knowledge and
the fifth question asked will be about your instrument.

Music Knowledge
The examiner will ask you four music knowledge questions based on a piece of music that you have played in the exam. You
will nominate the piece of music about which the questions will be asked.

In Debut you will be asked to identify:

■■The music stave and the TAB

■■The treble clef

■■Half and quarter note values

Instrument Knowledge
The examiner will also ask you one question regarding your instrument.

In Debut you will be asked to identify:

■■One of the following parts of your guitar: neck, body, tuning-pegs or bridge

Acoustic Guitar Debut

39
 Acoustic Guitar Notation Explained
Finger picking

# ww œ œ
p i m a
D Am F

b
thumb index middle annular

œ
Notes:

w ’ ’ ’ ’
THE MUSICAL STAVE

& ˙ œ Û Û Û Û
shows pitches and rhythms E F

w
4
3
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
D A 2
2
0 9
10 2
2
B
fingerboard. Each horizontal
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
fretting it without picking. finger without picking. indicated in brackets.

œ 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 PICKING/STRUMMING: • Go back to the sign (%), then play until
D.%. al Coda
fi
two bracketed notes by hammering Upstrokes, downstrokes and strumming the bar marked To Coda then skip to
Acoustic Guitar Debut

the section marked Coda.

Ÿ~~~~~
on and pulling off. direction are indicated by the following
symbols in the score:

&œ w
D.C. al Fine
• Go back to the beginning of the song and

≥
œ play until the bar marked Fine (end).

.. ..
Downstroke or
Downward strum

Ÿ~~~~~
(low notes to high) • Repeat bars between signs.

T
≤
Upstroke or

.. ..
(5 7) 5 1. 2. • When a repeated section has different
A Upward strum endings, play the first ending only the first
40 B (high notes to low) time and the second ending only the
second time.
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 proof of digital purchase
ready to show the examiner.

■■All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam.

Acoustic Guitar Debut

41
 Marking Schemes

Grade Exams | Debut to Grade 5 *

ELEMENT PASS MERIT DISTINCTION

Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 2 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 3 12–14 out of 20 15–17 out of 20 18+ out of 20

Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15

Sight Reading
or 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

ELEMENT PASS MERIT DISTINCTION

Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 2 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 3 12–14 out of 20 15–17 out of 20 18+ out of 20

Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15

Quick Study Piece 6 out of 10 7–8 out of 10 9 + out of 10

Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10

General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5

TOTAL MARKS 60%+ 74%+ 90%+

Performance Certificates | Debut to Grade 8 *

ELEMENT PASS MERIT DISTINCTION

Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20

Acoustic Guitar Debut

Performance Piece 2 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 3 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 4 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 5 12–14 out of 20 15–17 out of 20 18+ out of 20

TOTAL MARKS 60%+ 75%+ 90%+

42
* Note that there are no Debut Vocal exams.
Copyright Information

Knockin’ On Heaven’s Door

(Dylan)
Sony/ATV Music Publishing (UK) Limited

Ain’t No Sunshine
(Withers)
Universal/MCA Music Limited

I’m Yours
(Mraz)
Kobalt Music Publishing Limited

Ho Hey
(Fraites/Schultz)
Kobalt Music Publishing Limited

Eleanor Rigby
(Lennon/McCartney)
Sony/ATV Music Publishing (UK) Limited

Stand By Me
(Leiber/Stoller/King)
Sony/ATV Music Publishing (UK) Limited

Acoustic Guitar Debut

43
Digital downloads
now available!
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tracks or supporting tests to all your devices.

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