Acoustic Guitar

Grade 5
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: 52UAK7N6VV

For more information, turn to page 5

www.rslawards.com
 Acknowledgements

Published by Rockschool Ltd. © 2019

Catalogue Number: RSK200115
ISBN: 978-1-78936-099-8
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: James Taylor performs on stage at
BBC TV Studio in London in 1970
© Gijsbert Hanekroot (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
Acoustic Guitar Grade 5

Mastered by Francis Gorini

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 Grade 5
6 Performance & Technical Guidance

Rockschool Grade Pieces

7 ‘Fire And Rain’. . ................................................ . . . . . . . . . James Taylor

13 ‘Blackbird’. . ......................................................... . . . . . . . . . . . . . The Beatles
19 ‘Tears In Heaven’............................................ . . . . . . . . . . Eric Clapton
25 ‘Songbird’............................................................ . . . . . . . . . . . . Eva Cassidy
31 ‘Put Your Records On’............................ Corinne Bailey Rae
39 ‘Wanted Dead Or Alive’............................. . . . . . . . . . . . . . . . . . . . Bon Jovi

Technical Exercises

43 Scales, Arpeggios, Chords & Acoustic Riff

Supporting Tests

46 Sight Reading
47 Improvisation & Interpretation
48 Ear Tests
49 General Musicianship Questions

Additional Information

50 Acoustic Guitar Notation Explained

51 Entering Rockschool Exams
52 Marking Schemes
53 Copyright Information
54 Rockschool Popular Music Theory
56 Rockschool Digital Downloads
Acoustic Guitar Grade 5

3
 Welcome to Rockschool Acoustic Guitar Grade 5

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 mainstream commercial recordings

 coustic Specialist
A
At Grade 5, ‘Acoustic Specialist’ pieces are in the form of a solo arrangement. These arrangements cover the skills
required of contemporary acoustic guitarists in a solo environment. They are to be performed without accompaniment
or backing track.

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 Grade 5

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: 52UAK7N6VV

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 Grade 5

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 Grade 5

6
 ‘Fire And Rain’ | James Taylor
‘Fire and Rain’ was one of American singer-songwriter James Taylor’s earliest chart successes. Taken from his second
studio album, Sweet Baby James, the song performed incredibly well in his native country peaking at number 3 on the
Billboard Hot 100. It was also Taylor’s first entry onto the UK Singles chart where it peaked at number 42 and in Canada
it almost equalled its US performance by peaking at number 2.

Taylor wrote the song about his childhood friend Suzanne Schnerr, who sadly took her own life. The song also talks
of Taylor’s struggle with fame, his drug addictions and depression. The recording featured Carole King on piano and
it is said that Taylor felt her hit ‘You’ve Got a Friend’ (which he recorded) featured a direct response to his song which
refrained “I’ve seen lonely times when I could not find a friend”.

Fire and Rain received positive reviews and made it onto several publications’ lists of great songs, including number
82 on Broadcast Music Inc. ‘Top 100 Songs of the Century’ and number 227 on Rolling Stone’s ‘500 Greatest Songs
of all Time’. Not only highly regarded by reviewers, the song was also recognised by three Grammy nominations in
1970 for Record of the Year, Song of the Year and Best Contemporary Song. Although he didn’t win any of these three
nominations, he did go on to win 5 Grammys during his career out of an impressive 18 nominations.

Following Taylor’s breakthrough with Fire and Rain, he went on to achieve huge chart success with his recording of
Carole King’s ‘You’ve Got a Friend’. His version of the hit topped the US Chart and peaked at number 4 on the UK Singles
Chart. These two hits launched a successful career for Taylor, which so far has spanned five decades and has included 17
studio albums. In 2000 Taylor was not only inducted into the Rock and Roll Hall of Fame but also the Songwriter’s Hall of
Fame, and in 2004 Rolling Stone ranked him 84th in their list of ‘100 Greatest Artists of All Time’. The singer-songwriter
finally received the chart success he deserved 45 years after launching his career when his seventeenth studio album
Before This Time topped the US album chart.

Taylor continues to perform live. Having performed over the years with artists such as Carole King, John Legend and
Taylor Swift (who was actually named after the star) he is highly respected and regarded in the music industry. Having
sold over 100 million records worldwide he is one of the biggest selling artists in history.

Song Info
Song Title: ‘Fire and Rain’
Album: Sweet Baby James
Released: 1970
Label: Warner Bros.
Genre: Soft Rock/Folk Rock
Written By: James Taylor
Produced by: Peter Asher
UK Chart Peak: 42
Acoustic Guitar Grade 5

7
 Fire And Rain Session Style

James Taylor
Arranged by Tristan Sueme
c 77 Soft Rock / Folk Rock
Capo 3rd fret (†)
Intro
A E m7 D A

### 4 œ œ nœ œ œœ œœ œœœ œœ œœ œ œ
œ œ œ œ œ œ œœ œœ œœ ..
j
& 4
œ

˙ œ œ œ œ œ œ Œ
œ œ
5 3 0 2 0 2
T 4 6
5
6 6 4
3
4
3 3
2
2
2
2
2
3
2
2
2
0
2
A 0
B 0
0
0 0 0

† Capo notation in this syllabus is optimised for each arrangement – the following conventions have been used in this arrangement:
■ Music notation and chord symbols are transposed for legibility in relation to the capo position. Notation will sound three semitones higher than written.
■ The tablature numbers represent the distance from the capo. (e.g. tabbed 3rd fret is 3 frets above the capo).

G maj 7

# # # œœ œœ œ
E

œ œœ œ œ œ œ œ œ
& œ œ œ œ œ nœ œ œ œ
œ. œ œ
nœ œ œ
œ œ œ œ œ œ
J ˙
0 2
0 2 2 0 3 3 3
2 1 1 0 0 0
2 2 0 0 0
0 0
0 3 3 3 3 3 3 3
[3]

Verse

##
A E m7 D A

& # .. ‰œ j
œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ ˙
Just yes - ter - day morn - ing they let me know you were gone.
look down up - on me, Je - sus? You got - ta help me ma a stand.

j œ r
### . ‰ œ œ nœ œ œ œ ‰ œœ ‰. œœœ œœœ œ œœ
& . œ œ
Acoustic Guitar Grade 5

˙ ˙ ˙
˙
. 5 3 2 0 0

.
5 3 3 3 0 2 0
6 4 2 2 2 2
0
0 0
0
[5]
Words and Music by James Taylor

8 Copyright © 1969 EMI Blackwood Music Inc. and Country Road Music
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 G maj 7

& Œ œ œ œ œ œ Œ
œ œ œ œ œ ˙
Su - san, the plans they made put an end to you.
You’ve just got to see me through an - oth - er day.

# # # œ œœ œ œ œ. œ œ
& œ œ œ œœ œ œ œ ‰
œ
j nœ œ œ œ œ
˙ ˙ nœ. œ œ œ œ œ
J
0 0 2
0 2 0 3 3 3
2 2 1 1 0 0 0
2 2 0
0
0 3 3 3 3 3
[7]

###
A E m7 D A

& ‰. r ‰ œ œ
œ œ œ œ œ œ œ œ œ œ ˙
I walked out this morn - ing and I wrote down this song.
My bo - dy’s ach - ing and my time is at hand

j œ r
### œ œ
nœ œ œœ œœœ œœœ œ œœ
& ‰ œ œ ‰ œ œ ‰.
˙ ˙ ˙
˙
5 3 3 2 0 0
3 0 2 0
6 6 4 4 2 2 2 2
0
0 0
0
[9]

###
E G maj 7

& ‰. r œ Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
I just can’t re - mem - ber who to send it to.
and I won’t make it an - y oth - er way.

## œ œ œ œ j n œœ .. œ œ œ
Acoustic Guitar Grade 5

& # œ œ œ œ œœ œ œ œ ‰
œ œ œ œ œ
˙ ˙ nœ. œ œ œ œ œ
J
0 0 2
0 2 0 3 3 3
2 2 1 1 0 0 0 0
2 2 0
0
0 3 3 3 3 3
[11]
9
 Chorus

###
D B m7 E sus 2 A

& Œ œ œ œ. œ œ ˙
Œ
œ œ œ
I’ve seen fire and I’ve seen rain. I’ve seen

r
### ‰ j œœ œ œœœ œœœ œ œœ œœ œ œœ
& œ œ œ œ ‰ œœ œœ œœ œœ œœ ‰. œ œ œ œ
Œ œ ˙ ˙
œ
2 2 0 0 0 0
3 3 3 3 3 3 0 2 2 0 2 2
2 2 2 2 2 2 2 2 2 2
0
2 0 0
0
[13]

###
D B m7 E sus 2 A

& œ œ œ œ œ œ œ œ Œ
œ œ œ œ ˙ œ œ
sun - ny days that I thought would nev - er end. I’ve seen

r
### ‰ j œœ œ œœœ œœœ œ œœ œœ œœ œ œœ
& œ œ œ ‰ œœ œœ œœ œœ œœ ‰. œ œ
œ Œ œ ˙ ˙
œ
2 2 0 0 0 0
3 3 3 3 3 3 0 2 2 0 2 2
2 2 2 2 2 2 2 2 2 2
0
2 0 0
0
[15]

###
D B m7 E sus 2 A

& œ œ œ œ œ œ œ œ Œ
œ œ œ ˙ œ œ
lone - ly times when I could not find a friend, but I

r
## j œœ œ œœ œœ œ œœ œœ œœ œ œœ
œ œ ‰ œœ œœ œœ œœ œœ
Acoustic Guitar Grade 5

& # ‰œ œ ‰. œ œ œ œ
Œ œ œ ˙ ˙
2 2 0 0 0 0
3 3 3 3 3 3 0 2 2 0 2 2
2 2 2 2 2 2 2 2 2 2
0
2 0 0
0
[17]
10
 D/F #
### G A/E Em A 7sus 2
& œ œ œ œ œ œ œ œ œ w

⇥ ≤ ⇥ ≤ ⇥ ≤ ≤ ⇥ ≤ ≤ ⇥ ≤
al - ways thought that I’d see you a - gain.

⇥ ≤
### œ ‰ œœ ‰ œ œ. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& ‰
œ nœ œ œ œ ‰ œœœ œœ
œ n œœœ ... œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
nœ 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
3 3 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0
3 2 0 0
[19]

##
& # Ó Œ ‰ ..
œ œ
Won’t you

⇥ ≤ ⇥ ≤ ⇥ ≤ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤
# # œ. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& # n œœœ ... œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
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 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0

[21]

Outro

⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ⇥ ≤
A 7sus 2

# # œ. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& # n œœœ ... œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œœœ ... œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ. œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

[22]

⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ U
#
# œ. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ. œœ œœ œœ œœ ˙˙
Acoustic Guitar Grade 5

& # n œœœ ... œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œœœ ... œœ œœ œœ œœ ˙˙

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
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

[24]
11
 Fire And Rain | Technical Guidance

A very important aspect of performing this song is to ensure that a secure and well fitted capo is used. If the capo
unbalances the strings and causes tuning issues then it will have an impact on the overall sound produced.

There are lots of slurs written into the score during the intro, verse and chorus. It is important to play these accurately in
order to make the style sound smooth and relaxed. Many of these are played from within chord shapes (bar 2 with the D and
A chords for example) where the objective is to keep the other chord voices ringing (if written) whilst balancing the attack
of the slurs. Too heavy an approach will change the sound as much as would a too light attack. Take it slowly and develop
confidence before playing these as a part of the performance.

Some of the chord shapes can be difficult to fret cleanly, but it is important to control notes that are supposed to ring,
especially where high melody rhythms contrast with bass note rhythms (bar 12 for example). A good fretting hand position
with help here, but listen out for muted notes during your practice time.

The interaction of rhythms between bass and treble notes should feel relatively natural for alternation of the thumb and
fingers (or pick and fingers should you so choose).

There is only one structural repeat throughout the score (bar 5 to bar 21), but it is important to ensure a smooth rhythmic
transition between these repeated sections, maintaining sync to the backing track.
Acoustic Guitar Grade 5

12
 ‘Blackbird’ | The Beatles
‘Blackbird’ is featured on the Beatles’ 1968 release, The White Album.

The song was written by Paul McCartney, with final songwriting credits listed as Lennon-McCartney. Over the years
McCartney has told sometimes contradictory stories as to the origins of the song. He often tells that he was inspired by
the call of a blackbird while visiting India, but more well known is his recollection that the song was written about race
relations in the US at the time.

The guitar part is based on Bach’s ‘Bouree in E minor’, a piece that Paul McCartney and John Lennon tried to learn
in their teens, subsequently adapted for the song. McCartney played Blackbird for fans outside his home the first night
his future wife, Linda Eastman, stayed there.

‘Blackbird’ was recorded during the later part of their career when the band was only working in the studio. The
track features a solo performance by McCartney, with none of the other band members participating in the recording.
Impressively, this hugely well renowned recording featured only three recorded sounds – McCartney’s vocal, his guitar
and his foot tapping. A drastic change to many of their previous hits. ‘Blackbird’ is one of the most recorded covers of
all time. Their songwriting and their experimental studio antics are a source of inspiration to this day.

The Beatles received ten Grammy awards, an Oscar and fifteen Ivor Novello awards. The group was inducted into
the Hall of Fame in 1988. They have sold an approximate six hundred million records.

The Beatles received 23 Grammy award nominations throughout their career, seven of which they won – including
the lifetime achievement award in 2014. In addition to this their score for ‘Let it Be’ won the Oscar for Best Score in
1971 and their songwriting has been honored with a staggering 15 Ivor Novello awards over the decades.

Song Info
Song title: Blackbird
Album: The White Album (1968)
Label: Parlophone/EMI
Genre: Folk Rock
Written by: John Lennon and Paul McCartney
Guitar: Paul McCartney
Producer: George Martin

Acoustic Guitar Grade 5

13
 Blackbird Session Style

The Beatles
c 95 Folk Rock Arranged by Giorgio Serci & Jono Harrison
Intro

#3
G A m7 G/B
œ G
œ œ œ œ œ œ œ
œ œ 44 43
†

& 4 œ œ œ œ œ œ œœ¿ œ œ œ œœ¿

œ œ œ
let ring RP †

¿ ¿
T 0 1 3 12 12 12 12 12 12 12 12
0 0 0 0 0 0
A
B 3
0 2 10 10 10 10 10 10
† = Repick note † Strum with back of nail

%
Verse

#
A m7

& 43 .. œ
œ œ 44 w
G G/B G

œ œ œ œ œ œ
1.3. Black - bird sing - ing in the dead of night,

œ œ œ œ œ œ œ œ
2. Black - bird sing - ing in the dead of night,

#
& 43 .. œ œ œ œ œ 44 œ œ œ œœ¿ œ œ œ œœ¿
œ œ œ
RP

.
. ¿ ¿
0 1 3 12 12 12 12 12 12 12 12
0 0 0 0 0 0
0 2 10 10 10 10 10 10
3
[3]

A 7/C # B 7/D # E b aug

# œ
C D Em

& œ œ œ œ œ œ œ œ œ ˙. Œ 42
take these bro - ken wings and learn to fly;
take these sunk - en eyes and learn to see;

# œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ #œ œ œ œ œ n œ¿œ b œ œ œ b œ¿œ 42
œ #œ

¿0 ¿0
3 5
5 7 8 8 8 8 8 8 8 8
0 0 0 0 0 0
3 4 5 6 7 7 7 6 6 6

[5]

A 7/C #
#
D C Cm

& 42 œ œ 44 Œ
œ ˙ œ
all your life
all your life

# œ œ
Acoustic Guitar Grade 5

& 42 œ œ œ 44 œ œ
œ œ œ
œ¿
bœ
œ
œ œ œ
œ¿
#œ nœ œ œ œ œ œ

¿0 ¿0
3
7 5 5 5 5 4 4 4 4
0 0 0 0
5 4 3 3 3 3 3 3

[7]
14 Words and Music by John Lennon and Paul McCartney
Copyright © 1968, 1969 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
 A7 D 7sus 4 fi
#
G/B G To Coda
& œ œ. œ œ œ œ œ œ œ œ œ œ ˙
you were on - ly wait - ing for this mo - ment to a - rise.
you were on - ly wait - ing for this mo - ment to be free.

# œ
& œ œ œ n œœ #œ œ œ œ # œœ nœ œ œ œ œ n œœœ œ œ œ œ n œœ
œ n œ
œ œ œ¿ ¿ œ œ¿
œ œ œ œ

¿0 ¿0 ¿
3 3 3 3 2 2 2 2 1 1 1 1 0 0 0 0
0 0 0 0 0 0
0 0 0 0
2 2 2 0 0 0
3 3 3
[9]

1.

#
C G/B A7 D 7sus 4 G

& ˙ Ó ..

# œ œ
& œ œ #œ œ œ œ # œœ nœ œ œ œ œ n œœœ œ œ œ œ n œœ ..
œ œ œ œ œ¿ œ
œ œ
œ¿
œ
.
¿0 ¿ .
5 3 2 2 2 2 1 1 1 1 0 0 0 0
0 0 0 0 0 0 0
0 0 0 0
3 2 0 0 0
3 3 3
[11]

Chorus

G m/B b
2.

# j j
F Em Dm C C

& œ. œ œ. œ w
Black - - - bird, fly,

# œ œ nœ œ œ œ œ n œœ œ œ œ œ
& nœ œ œ œ œ œ œ œ œ œ¿
œ bœ œ œ¿ œ œ œ

¿0 ¿0
10 8 6 5 3 3 3 3 5 5 5 5
0 0 0 0 0 0
8 7 5 3 1 1 1 3 3 3

[13]

G m/B b
# j j
A7
œ nœ œ 42
F Em Dm C

& œ. œ œ. œ ˙.
black - - - bird, fly in - to the

# œ œ nœ
Acoustic Guitar Grade 5

œ œ
& nœ œ œ œ œ œ œ œ œ œ n œœ #œ œ œ œ # œœ
¿ 42
œ bœ œ œ¿ œ œ œ

¿0 ¿0
10 8 6 5 3 3 3 3 2 2 2 2
0 0 0 0 0 0
8 7 5 3 1 1 1 0 0 0

[15]
15
 D 7sus 4 A m7
# 2 nœ
G G/B
œ œ œ bœ 3 4
& 4 nœ 4 4
light of a dark black night.

#
& 42 n œœ 43 œ
œ œ n œœ œ œ 44
œ œ œ œ œ
œ œ œ

1 1 1 1 0 1 3
0 0 0 0
0 0 0
0 2
3
[17]

G C A 7/C # D B 7/D # Em

#4 œ œ œ œ œ œ œ œ
24 œ œ œ œ 44 œ œ
œ œ œ œ œ
& 4 œ œ œ œœ¿ œ œ œ œœ¿ œ #œ œ # œ œ œ œ œ n œ¿œ
RP

¿ ¿ ¿0
3 5
12 12 12 12 12 12 12 12 5 7 8 8 8 8
0 0 0 0 0 0 0 0 0
10 10 10 10 10 10 3 4 5 6 7 7 7

[19]

E b aug D A 7/C # C Cm G/B A7

# œ œ œ œ œ œ nœ œ œ œ bœ œ œbœ œ œ œ nœ #œ œ œ #œ
& b œ œ œ b œ¿œ œ œ œ œ œ œ œ œ œ œ œ¿
#œ nœ œ œ¿ œ œ œ¿ œ œ œ¿ œ œ n œ

¿ ¿0 ¿0 ¿0 ¿0
3
8 8 8 8 7 5 5 5 5 4 4 4 4 3 3 3 3 2 2 2 2
0 0 0 0 0 0 0 0
6 6 6 5 4 3 3 3 3 3 3 2 2 2 0 0 0

[22]

# j j
D 7sus 4 G F Em Dm C

& œ. œ œ. œ
Black - - - bird, fly,

# œ œ nœ
Acoustic Guitar Grade 5

œ
& n œœ œ œ œ œ n œœœ œ œ œ œ n œœ
œœ¿ nœ œ œ œ œ œ œ œ
œ œ

¿
1 1 1 1 0 0 0 0 10 8 6 5
0 0 0 0 0 0 0 0
0 0 0 0
8 7 5 3
3 3 3
[25]
16
 G m/B b G m/B b
#
C F
œ.
Em
j
Dm C
j
A7
œ nœ œ 2
& w œ œ. œ ˙. 4
black - bird, fly in - to the

# œ œ œ nœ œ œ œ œ œ œ nœ œ œ œ œ œ n œœ # œ œ œ œ # œœ
& œ œ¿ œ œ œ œœ¿ n œ œ œ œ œ œ œ œ ¿ 42
bœ œ œ bœ œ œ¿ œ œ œ

¿0 ¿0 ¿0 ¿0
3 3 3 3 5 5 5 5 10 8 6 5 3 3 3 3 2 2 2 2
0 0 0 0 0 0 0 0
1 1 1 3 3 3 8 7 5 3 1 1 1 0 0 0

[27]

# nœ
& 42
œ œ œ b œ n œ 43 ˙ . 44 43
D 7sus 4 G A m7 G/B G

light of a dark black night.

# œ œ œ œ œ œ œ œ
& 42 n œœ 43 œ œ œ œ
œ 44 œ
œ œ œ œ n œœœ œ œ œœ¿ œ œ œ œœ¿ 43
œ œ œ
RP

¿ ¿
1 1 1 1 0 1 3 12 12 12 12 12 12 12 12
0 0 0 0 0 0 0 0
0 0 0
0 2 10 10 10 10 10 10
3
[30]

G A m7 G/B G
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ fi
# w ˙. D.%. al Coda

& 43 œ œ œ 44 w ˙.
œ œ œ
œ œ œ
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
RP

0 1 3 12
0 0
0 2 10
3 10
[33]

fi Coda Ral.

#
42 œ
C G/B A7 D 7sus 4 G

& œ œ. œ œ œ œ œ œ œ œ œ ˙

U̇
you were on - ly wait - ing for this mo - ment to a - rise.

U œ
# œ
Acoustic Guitar Grade 5

& œ œ œ #œ œ œ œ # œœ 42 n œœ œ œ œ œ n œœœ œ˙ ˙˙
œ œ œ œ œ¿ ˙
˙ ˙

¿
3
5 3 2 2 2 2 1 1 1 1 0
0 0 0 0 0 0 0
0 0 0 0
3 2 0 0 0
3
[36]
17
 Blackbird | Technical Guidance

This arrangement brings some challenges to navigating through the various repeat sections. There are 1st and 2nd time
bars leading into the chorus at bar 13 as well as a D.S. al Coda at bar 35, where you are expected to go back to bar 3. You will
then play until you see the To Coda, where you will then jump to bar 36. With such a long and fairly similar looking score
these kinds of jumps can be hard to remember, so give yourself extra time to learn the format and you will play with more
confidence overall.

Technically this song uses fairly standard chord shapes but with the addition of open strings (the open G is particularly
prevalent) to add both larger intervals and colourful tones. The G major chord in bar 2 for example only uses two notes,
however because of the timbre of the guitars strings the G to G repetition sounds much more interesting than it looks on
paper. Then in bar 5 the open G adds an 4th (11th) to the D major chord and a b 6th ( b 13th) to the B 7/D # , both without
technically challenging shapes being introduced.

Moving around the neck whilst keeping these open strings ringing is challenging and will require very good fretting
position, as well as thumb control to allow the long slides (bar 1 to 2 for example) to move fluently whilst keeping both notes
sounding. Your picking hand needs to work on a balanced attack across your fingers so that some notes are not accidentally
louder or quieter than others, as well as to play the written dynamics.

Although the time changes are fairly regular they are all simple time and do not affect the flow of the rhythms very much.
Make sure you are able to count them fluently, but when performing this piece, they should pass in a natural way without
causing you too much trouble.

Adding vibrato to two notes at the same time (bar 34 for example) can be tricky, but you are after a more subtle effect than
traditional single note vibrato in rock or pop tends to be. This is more of a gentle oscillation and allows a seemingly non-
eventful section to remain interesting.
Acoustic Guitar Grade 5

18
 ‘Tears In Heaven’ | Eric Clapton
‘Tears in Heaven’ is a song written by Eric Clapton in collaboration with Will Jennings after the death of Clapton’s
four year old son, Conor. Conor fell from the 53rd floor of an apartment in New York in March 1991, which caused
Clapton to isolate himself for some time before returning to writing music for the movie Rush (1991). He released
‘Tears in Heaven’ as a single to the soundtrack but it is the version featured on MTV Unplugged that had massive
success. The record was nominated for nine Grammy Awards.

The song had a healing effect for Clapton and proved very hard for Jennings to complete the lyrics given the
sensitivity of the subject. He did so at Clapton’s insistence. Clapton stopped playing the song in 1994, but he started
playing it again for his 50th anniversary tour in 2013.

Eric Clapton is regarded as a true rock and blues Icon. He was a member of many seminal English groups such as
the Yardbirds, John Mayall and Bluesbreakers, Cream and Blind Faith. Since the 1970’s he has been hugely successful
as a solo artist. He is the recipient of 17 Grammy awards and the only three time inductee to the Rock and Roll
Hall of Fame. Eric Clapton was born in Surrey in 1945. He started playing in his early teens and by the age of 16 his
playing was advanced. His playing has been acknowledged as influential by a plethora of guitarists worldwide and he
has released 24 solo albums and has toured extensively.

Clapton assembled his famous ‘Blackie’ Fender Stratocaster out of three guitars in 1970. In 1988, Fender introduced
the Eric Clapton Stratocaster, which at the time was one of two artist models available. He has appeared on many
records as a guest, in movies such as Tommy, as well as adverts by Mercedes Benz and T-Mobile.

Song Info
Song title: Tears in Heaven
Album: MTV Unplugged (1992)
Label: Warner Brothers
Genre: Acoustic Rock Ballad
Written by: Eric Clapton and Will Jennings
Guitar: Eric Clapton
Producer: Russ Titelman
UK Chart Peak: 5

Acoustic Guitar Grade 5

19
 Tears In Heaven Acoustic Specialist (Solo)

Eric Clapton
Arranged by Tristan Sueme
c 80 Acoustic Rock Ballad
E/G # F # m7

### 4
A A/E

j j
œ œ œ œ œ œœ œœ
3

& 4 ‰ ‰ œœ œœ œœ œœ œœ
œ œ œ œ œ
œ œ ˙ œ œ ‰ œ œ œ œ œ œ œ
J J J J J
T 2 3 2 5 5 2 2 2 2
2 2 4 4 2 2 2 2
A 2 2 2 2
B 0 2
0
4 4 2 2 2 0 0 0

D/F #
### œ
E 7sus 4 E7
j
œœ œœ œœ
A

& œ œœ œœ œœ œœ ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
J J J J J J
3 3 3 3 2 2 2 2
2 2 2 1 2 2 2 2
0 0 0 0
2 2 2 0 0 0 0 2
[3]

E/G # F # m7

### ‰
A/E

j œ œœ œœ œœ œœ œœ œœ œœ
& œ œ œ œ œ œ œ
˙ œ œ œ œ œ œ œ œ œ
J J J J J J
2 5 5 2 2 2 2
2 2 4 4 2 2 2 2
2 2 2 2
0
4 4 2 2 2 0 0 0
[5]

D/F #

### j j
A E A/E E7

& Œ œœ œœ œœ œ œœ œœ ‰ œœœ œœ œœ œœ ‰
œ
œ œ œ ˙ œ œ œ œ œ œ œ œ
J J J J
3 3 2 2 0 0 2 3
2 2 2 4 2 2 1 1 2 4
2 2 2
2 2 2 0 0 0 0 0 0 2
[7]

E/G # F # m7

### ‰ j
A/E

œ œœ œœ œœ œœ œœ œœ œœ
Acoustic Guitar Grade 5

& œ œ œ œ œ œ œ
˙ œ œ œ œ œ œ œ œ œ
J J J J J J
2 5 5 2 2 2 2
2 2 4 4 2 2 2 2
2 2 2 2
0
4 4 2 2 2 0 0 0
[9]
20 Words and Music by Eric Clapton and Will Jennings
Copyright © 1992 by E.C. Music Ltd. and Blue Sky Rider Songs
All Rights for Blue Sky Rider Songs Administered by Irving Music, Inc.
International Copyright Secured All Rights Reserved
 D/F #
##
A E
j
A/E E7
j
œœ œœ œœ
& # Œ œœ œ œœ œœ
œ
‰ œœœ œœ œœ ‰
œ œ œ ˙ œ œ œ œ œ œ
J J J J J J
3 3 2 2 0 0 2 3
2 2 2 4 2 2 1 1 2 4
2 2 2
2 2 2 0 0 0 0 0 0
[11]

% F#m C #/F

# # # œœ œœ # œœ œœ œœ œœ
& œ œ œ œ œ œ œ
œ œ œ œ œ ‰ #œ œ œ œ œ œ
J J J J J J J
2 2 1 1
2 2 2 2 2 2
2 2 4 1 1 1 1 1

2 2 2 2 1 1 1 1 1
[13]

F#7 E/G # F #/A #

# # # n œœ
A 7/E

œœ
& nœ
nœ œ œ
J J
0 0
2 2
0 0
[15]
œ # œœ œ œ
œ œ œ œ
œ œ. œ œ #œ #œ
J J J
0 2
0 0 2 3
4 2
4 1
0 0 2 2 4

> >j >

### œ
B m7 D/E

& œ n œœ œ œœ
œœ œ œ œ œ
œœ
œ
œœ
œ ‰ œœ
œ œ
j œ œ œ
œ ‰ œ ‰
J J œ œ œ œ œ œ œ
J J
3 3 3 3 3 3 0
2 4 4 2 2 2 2 4 6 4
4 4 6 4 2 4 4 4
2 2 2
0 0 0 0 2
[17]

E/G # F # m7

### œ œ œ œj
A A/E

œœ œœ
3

œœ œœ œœ œœ œœ
Acoustic Guitar Grade 5

& œ œ œ œ œ œ œ
˙ œ œ ‰ œ ‰ œ œ œ œ œ
J J J J
2 3 2 5 5 2 2 2 2
2 2 4 4 2 2 2 2
2 2 2 2 2
0
4 4 2 2 2 0 0 0
[19]
21
 D.%. al Coda fi
D/F #
##
E 7sus 4 E7
j
& # œœ œœ œœ œœ
A

œœ œœ œœ œœ ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
J J J J
3 3 3 3 2 2 2 2
2 2 2 1 2 2 2 2
0 0 0 0
2 2 2 0 0 0 0 0 2
[21]

E/G # F # m7

œ œ
A

œ œ œ œ œœ œœ œœ
### .. Œ œ. ‰ œ œ œ œ
& œ. œ w J ‰ J
œ J
J
. 9 12 12 9

.
10 10 10 10
9 9 9
7 9 11 11 11 11
0 11 9

[23]

fi
1. 2.
D.%. al Coda
Óœ œœÓ
D A E E

j œ œ œ œ œ œj œ œ . œœ œœ œ . œœ œœ
### œ œ œ œ œ œœœ œ .. ‰
& ‰ ‰
˙ ˙ œ œ œ œ
10 10 9 7 5 7 9 7
. 7

.
9 10 12 9 10 12
11 9 7 6 7 9 9 11 13 9 11 13
0
0
0 0 2 0
[25]

fi Coda
### œ j nnn œ œ œ œ. œ
A C G/B

& œ œœ œœ œœ ‰ Œ œ. œ
œ œ œ œ œ œ œ œ œ œ
J J J J
0 0
2 2 2 2 3 3 1
2 2 2 2 0 0
0 0 0 0 0 2 3 2

[28]

D/F # ΠD/F #

œ œœ
Am G

& œ œ œ œ œœ Ó
Acoustic Guitar Grade 5

œ. œ œ
œ œ. œ œ œ œ œ
J #œ #œ
J
1 3 0 0 3
2 2 0 2
2 0 0 0 0 0
0
2 3 2
[30]
22
 D/F #

œœ œ œ œ œ. œ
Em C G/B

& Ó œœ Ó Œ œ. œ
œ œ œ œ œ œ
œ #œ J J
0 0
0 3 3 3 1
0 2 0 0
2 2 0 0
3 2
0 2
[32]

D/F # ΠD/F #
j ###
œ œ œ œ
Am G

& œ œ.
œ œ
œ.
œ œ
œ
œœ
œ
‰ œ
œ #œ œ #˙
J J
0
1 3 3 0 0 0 3
2 0
2 0 0 0
0
2 3 2
[34]

E/G # F # m7

### œ j
E7

j œ œ œ œj
E A/E A

œœ œœ
3

œœ œœ œœ ‰ ‰ œ œœ
& œ
œ œ œ œ œ œ œ œ ˙ œ œ ‰ œ
J J J
0 2 3 2 3 2 5 5 2
1 2 4 2 2 4 4 2
2
0
0 0 0 0 0 2 4 4 2
[36]

D/F #
### œ œœ œœ œœ œœ
A/E E 7sus 4 E7

& œœ œœ œœ œœ
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
J J J J J J J J
2 2 2 3 3 3 3
2 2 2 2 2 2 1
2 2 2
2 2 0 0 0 2 2 2 0 0 0
[38]

D/F #
Rit.

### œ œœ œœ œœ œ
A E 7sus 4 E7 A

œœ œœ œœ ww
Acoustic Guitar Grade 5

& œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ w
J J J J J J
2 2 2 2 3 3 3 3 2
2 2 2 2 2 2 2 1 2
0 0 0 0 0 0
2 2 2 0 0 0 0
[40]
23
 Tears In Heaven | Technical Guidance

The opening bars give a strong insight into the way this arrangement works. The 16th-note triplet figure requires strong
fretting hand control for the slurs as well as even timing to keep the phrase accurate and clear. The E/G # to F # m 7 pattern uses
the upper notes of the E/G # chord combined with a quaver rest in the bass line to add a syncopated anticipatory sound to
the F # m 7 that is important to the overall feel of the song. If the bass note rest is not played then the sound created is very
different and not accurate or stylistic.

There are various instances of chord shapes in quick combination with single note lines and legato (bar 17 for example)
where it is important to avoid significant drops in volume. There are also some multiple-note slurs (bar 25 for example)
where you need to keep both notes ringing. This requires strong fretting technique as well as good hand positioning and
smooth position shifting.

The chord melody section starting at bar 29 can be viewed as two separate parts for practice purposes; the bass notes and
the melody notes. Although a simplification, this kind of approach will allow you to feel more comfortable and confident
when playing both the bass notes and melody together.

There are 1st/2nd time bars as well as a D.S. al Coda to follow here, so ensure that you are familiar with where in the
score these take you. Doing so will help towards a confident approach in your performance.
Acoustic Guitar Grade 5

24
 ‘Songbird’ | Eva Cassidy
Eva Cassidy was an American singer and musician, known for her interpretation of existing Jazz & Blues pieces
in the 1980s and 90s. Sadly, she died at the young age of 33 in 1996 shortly after releasing her live solo album Live
at Blues Alley. Cassidy struggled to enjoy commercial success during her lifetime but the posthumous Songbird
compilation was a worldwide success.

The song was written by Christine McVie from Fleetwood Mac and appeared on their 1977 release Rumours,
considered by many as a classic album.

According to her guitarist, Keith Grimes, Eva Cassidy’s acoustic guitar parts were carefully crafted, always
with the vocal melody in mind. She started playing and singing aged 11 and was also interested in other forms of
expression such as painting, sculpting and jewellery design.

Eva Cassidy was very committed to her stylistic approach and unwilling to make many compromises. This,
arguably, hindered her chances of securing a deal in a fickle recording industry. Together with bassist and producer
Chris Biondo, she decided to release Live at Blues Alley. She was initially unhappy with the vocal sound, due to a
cold, but eventually agreed to release the record provided it included the studio track ‘Oh, I had a Golden Thread’.
Her subsequent releases were posthumous.

Cassidy is now acknowledged as a huge and inspiring talent and her records have been certified platinum a
number of times. Artists such as Katie Melua site Cassidy as an influence on their music, along with many others
Melua feels that her posthumous success wasn’t merely a result of an untimely death but was absolutely deserved
and a success she would have achieved regardless.

Song Info
Song title: Songbird
Album: Songbird (1998)
Label: Blix Street Records
Genre: Pop Ballad
Written by: Christine McVie
Guitar: Eva Cassidy and Keith Grimes
Producer: Eva Cassidy and Chris Biondo
UK Chart Peak: 1

Acoustic Guitar Grade 5

25
 Songbird Acoustic Specialist (Solo)

Eva Cassidy
c 76 Pop Ballad Arranged by Jono Harrison & Giorgio Serci

j
C add 9

#4 œ œ œ œœ œ . œ œ. j
A

œ œ œ œ. œ
& 4 œ œ œ
w w
P let ring
5 3 0 3 0 0 3 0
T 3 3
0 0
A 2
B 3 3

G A m7 G/B

# œ œ œ œ œ œ œ
& œ˙ œ œ œ œ œ œ œ œ œœ
œ œ œ œ
˙ ˙ ˙
5
0 0 3 0 0 1 0 0 8 8
0 2 5 9
0 0 0 5
0
3 3 3 7
[3]

œ. œ j
œ œ wwœ . œ
C add 9

# œ. œ ˙
& ‰ ‰ w
œ. œ œ Œ
J
8 7 5 7 5
5 8
9 5
5
8 8 8
[5]

G A m7 G/B

# j œ œ œ œ œ œ œ œ œ œ œ œ ..
œœ œœ œœ œ œ
Acoustic Guitar Grade 5

& ‰ ˙˙ œ
œ. œ ˙ ˙
J Ó
3 5 7 7 5 3 3 5 7
3 3 0
0 0 0 5 7
0 0
2
3
[7]
26 Words and Music by Christine McVie
Copyright © 1977 by Universal Music - Careers
Copyright Renewed
International Copyright Secured All Rights Reserved
 . j
# œœ . j
Am Em

œ œ œ œ œ. œ œ
œ œ œ œ œ. œ œ
& œ
w œ. œ ˙
J
8 7 5 3 5 3 7
5
9 7 5 5 4 7
5
0
0 0 0
[9]

j
C maj 7 C

# œ œ
œ
œœ
˙
˙˙ ˙˙ j œ œœ
& œ ˙œ . œ
œ. œ ˙ œ ˙
J J
3 3
0 0 1 3 3
0 0 0 0 0
2
3 3 3 3

[11]

# j
G G/B

& œœ œœ œ œœ œ .
œ œ
‰
œ
j œ œ œ
œ œ œ ‰ œœ œœ œœ
˙ ˙ ˙ ˙

1 0 1 0 0 0 3 3 3
0 0 0 2 0 0 2
0 0 0 0
2
3 3 3
[13]

% j
D C

œœ ˙˙
3

# œ œ œ œ ggg œœ .. œ œ
B

œ œ ˙
Acoustic Guitar Grade 5

& wœ œ ggg œœ . œ œœ .. ‰ œœ
‰ œœ œ.
F J œ
J
gg 33
ggg 0
2 3 5 2 2 0 3

gg 3
3 3 3 0
2 0 0
0 0
3
0
[15]
27
 > U
·· ··
Em

# œ œ œ. œ ˙ · · œ œ œ
œ œ œ œ
& œœ œœ ˙˙
œ œ œ œ
œ. œ ˙ œ ˙ Ó
J NH

5 7 7 0 12 7 7 7
0 0 12
0 0 12 7 7 7
2 4
2
0 0
[17]

j j
C 6/9

j
G add 2/B D add 4

# œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œ œ
& ‰ ‰ J œ œ œ˙ œ œ
˙ ˙

3 3 3 2 0 0 3
3 3 3 3
0 0 0
4 4 4
3 5 5

[19]

# œ œ œ œ œ œ
œ œœ ..
‰
& ˙˙ .. œ
œ
œ œ œ œ
j
œœ œ œ œ
˙ J J œ
P
5 7 5 3
0 0 1 0
0 0 0 2 0
0 2 0 0 0 2
0 2
3
[21]

#
C

˙ œ œ œ
C

& ˙˙ œ˙ œ œ œ œ œ
w œ

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

[23]

# j
Acoustic Guitar Grade 5

œœ œ .
3

& œ œ œ œ ˙ œ. j œ œ œ œ
œ œ œ
w ˙

2 4 2 4 2 0 0 2 0
0 0 2
0 2
3 3
[25]
28
 # j j
& ˙. œ ˙ œ œ œ
w œ ˙œ . œ œ˙
J
1 0 3
0 0
2
3 3

[27]

D.%. al Coda fi
# œ j j
3

œœ œœ œœ
G/B

& œ ‰ œœ œœ .. œœ œ œ œ œ œ ‰
œ œ œ. œ ˙
‰ J œ. J ˙

3 1 0 0 3 3 3
0 0 0 2 4 2 0 0 0 0 2
0 0 0
2 0 2
3 3
[29]

fi Coda
j
G/D C maj 9

# œ œ œ œ œ. ˙ œœ œœ œ j
D

œ œ
& ˙˙˙ œœ ..
œ. œ
‰ œ œ ‰
J ˙ ˙
P
5 7 5 3 7
0 8 8 3
0 0 9
0 0
8 8
[31]

j
G A m7 G/B C maj 9

# œœ œœ œ œ
j
& œœœ .. œ œ œ ˙ ‰ œ œ ‰ œ
œ. œ ˙ ˙ ˙
J
7
3 1 0 8 8 3
0 0 9
0
3 3 3 8 8
[33]

rit.
A m7 D add 4 G add 9

# œ œ œ
G

œ œœ œœ œ
& œœ œœœ ggg www
Acoustic Guitar Grade 5

œ œœ gg w
œ ‰ œ
J p
ggg 02
ggg 0
3 1 0 0 1 3
0 0 0 0

g3
0 0 0 4
0 5
3 3
[35]
29
 Songbird | Technical Guidance

This arrangement requires a fingerstyle approach in order to achieve the delicate balance between the interwoven chord
tones and melodic lines. Physical techniques present some challenges, such as the 1st string pull-off over the fretted chord
in bar 1. Generally, this arrangement exemplifies how the performer can overcome wide intervals by utilising the guitar’s
open strings and repeated notes at various positions, such as the climb in bar 4 through Am7 – G/B. This is a vital element
of solo acoustic playing and enables the performer to execute a composite melody and accompaniment part, but requires
careful preparation. Furthermore, candidates need to be certain of the fretting hand position required for each phrase and to
practise the transitions, always looking ahead to be sure of a secure and convincing delivery.

Bar 22 leads us into the guitar solo melody (letter C, bar 23) which re-states the previous melodic ideas with
embellishment. As this is now in the lower octave, the melody notes are closer to the bass notes and precision in both
picking and fretting technique will be crucial to fully exploit the sonority of the instrument’s lower register.

A tempo marking of q = 76 is given as a guide, but as this is a solo Rockschool piece there is some scope to apply a little
rubato for effect. It is important with this idiomatic and expressive approach to remember that the pulse must return; for
instance, a slight slowing down should then be recovered in order to maintain momentum.

It is also important to observe the written dynamics throughout, and candidates may wish to explore additional
expression and articulation in order to bring the performance to life.
Acoustic Guitar Grade 5

30
 ‘Put Your Records On’ | Corinne Bailey Rae
‘Put Your Records On’ was the second single to be released from Corinne Bailey Rae’s debut self-titled album. The track
performed incredibly well and achieved chart success globally. Not only did Rae peak at number 1 on the UK R&B Chart
and number 2 on the UK Singles chart, she also reached a top ten position in Belgium, Hungary and New Zealand. As
well as a successful chart performance, Rae’s hit received Grammy Award nominations for Song of the Year and Record
of the Year in 2007.

Rae released four singles from the same album, and although they didn’t top the UK charts the album itself did. Met
with generous reviews, the singer’s debut was likened to the works of Billy Holiday, Norah Jones and Stevie Wonder.
David Jeffries of AllMusic hailed the album as “pleasingly homegrown, warm, and poignant in parts”. As well as positive
reviews, the release saw Rae’s album receive several award nominations including Best UK & Ireland Act at the 2006
MTV Awards, and won two MOBO Awards the same year for Best Newcomer and Best UK Female.

In 2010, after an almost three year hiatus, Corinne Bailey Rae released her second studio album called The Sea. After
the passing of her husband in 2008, Rae’s second album release and career were put on hold as she dealt with her grief. It
wasn’t until she felt able to write again that the album materialised, featuring songs written before and after her loss. Her
second album saw a change in direction, with the writer looking for a slightly more aggressive sound. Unlike her debut
album, which featured almost only the singer herself, The Sea saw a live band enter the studio. The second album was
described as “saturated in feeling and graced by superior musicianship” and peaked at number 2 on the UK Album chart.

Following The Sea, Rae took a second and longer break from the music industry and didn’t return with her third studio
album until 2016 called The Heart Speaks in Whispers, which was her third consecutive top 20 UK album. Throughout her
career, Rae’s talents were recognised with numerous award nominations and wins including an Ivor Novello nomination
for PRS Most Performed Work and Grammy wins for Album of the Year and Best R&B Performance.

Song Info
Song Title: ‘Put Your Records On’
Album: Corinne Bailey Rae
Released: 2005
Label: EMI
Genre: R&B/Pop
Written By: Corinne Bailey Rae / John Beck / Steve Chrisanthou
Produced by: Steve Chrisanthou / Jimmy Hogarth
UK Chart Peak: 2

Acoustic Guitar Grade 5

31
 Put Your Records On Session Style

Corinne Bailey Rae

c 96 R’n’B Arranged by Nat Martin

F # m6
Play fingerstyle

œœ œœ. œœ
A E 13 E9

### 4 ¿¿ ¿¿ œœ œ ¿¿¿ œ œ ¿¿ œœ œœ Œ
& 4 ¿ ¿¿ # œ. œœ ¿¿ # œœ œœ ¿ œ. œ œ # œœ œœ
œ. œ ¿¿¿ œ œ ¿¿ ¿ ¿¿¿ J J
P .
¿¿ ¿¿ ¿¿ ¿¿
¿¿ ¿¿ ¿¿ 6 ¿¿
9 9 9
T
¿¿ ¿¿ ¿¿ 46 ¿¿
7 7 7 7
6 6 7
A 4 4 7 6
B 5 5 5
6 6 7 7 7

F # m6
A Verse
### A
‰
& j
œ œ œ œ ˙ œ œ œ œ ˙
Three lit - tle birds sat on my win - dow

### œœ
¿¿ ¿¿ œœ œœ ¿¿ œœ œœ ¿¿ œ.
& ¿¿ ¿¿ # œ. œ ¿¿ #œ œ ¿¿
œ. œ ¿¿ œ œ ¿¿ ¿¿ ¿¿
F ¿¿ ¿¿ ¿¿ ¿¿
¿¿ ¿¿ ¿¿ ¿¿
9

¿¿ ¿¿ ¿¿ ¿¿
7
6 6 6
4 4 4 7
6 6 6
5 5 5
[4]

### E 13
‰
E9 A
& Ó Œ ‰ j œ œ œ œ
œ œ œ œ œ œ œ œ œ œ ˙ œ œ

œ. œ
and they told me I don’t need to wor - ry. Sum - mer came like cin - na -

### œ œ œœ œœ Œ ¿¿ ¿¿ ¿¿ ¿¿
& œ œ # œœ œœ ¿ ¿¿ ¿ ¿¿
J J œ. œ ¿¿¿ œ œ ¿¿ œ. œ ¿¿¿ œ œ ¿¿
¿¿ ¿¿ ¿¿ ¿¿
¿¿ ¿¿ ¿¿ ¿¿
9 9

¿¿ ¿¿ ¿¿ ¿¿
7 7 7
7
6
7 7 7
5 5 5 5 5 5
[6]

F # m6
### E 13
‰
E9 A
Ó
& œ. j j
œ œ œ. œ œ œ œ œ œ œ œ œ œ ˙
mon, so sweet. Lit - tle girls dou - ble dutch on the con - crete.

## œœ œœ. œœ œ œœ
Acoustic Guitar Grade 5

¿ ¿¿ ¿¿ ¿¿
& # # œœœ œœœ ¿¿¿ # œœœ œœœ ¿¿ œ. œ œ # œœœ œœ Œ ¿¿ ¿¿
. ¿¿ ¿¿ J J œ. œ ¿¿ œ œ ¿¿
¿¿ ¿¿ ¿¿ ¿¿
¿¿ 6 ¿¿ ¿¿ ¿¿
9 9 9

¿¿ 46 ¿¿ ¿¿ ¿¿
7 7 7 7
6 6 7
4 4 7 6
6 6 7 7 7
5 5 5
[9]
32 Corinne Bailey Rae, John Beck, Steven Chrisanthou
Copyright © 2006 KMR II GT Publishing Limited, KMR Music Royalties II SCSp and Good Groove Songs Ltd.
All Rights Administered by Kobalt Music Group Ltd
All Rights Reserved Used by Permission
 Pre Chorus

F#m C# F # m7
B Play with plectrum

### j B7
& Œ ˙ œ ‰ j j œ œ œ œœ œ
œ œ œ ˙ œ œ œ œ ˙ œ œ

# # # g ww
May - be some - times we got it wrong, but it’s al - right. The more

& ggg www ggg # www gg # www

ggg w ggg # www ggg ww ggg w
g gg # w
ggg 22 ggg 22 ggg
ggg 24 ggg ggg 22 ggg
0

ggg 42 g ggg 42
1 2
3 1
4 2

[12]

### D maj 7 D m(maj 7)

& j j
œ œ œ œ œ œ ˙. œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
things seem to change, the more they stay the same. Oo, don’t you hes - i - tate.

# # # gg ww ww
& ggg n ww ww gg n ww ˙˙ Ó
g gg w ˙
P p
ggg 76 ggg
ggg 45 g
6
3
5

[16]

Chorus

F # m6
C Play fingerstyle

### A
& œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
Girl, put your rec - ords on. Tell me your fav - ’rite song.

j
###
Acoustic Guitar Grade 5

¿¿ ¿¿ œ œœ ¿¿ œ œœ ¿¿ ‰
& ¿¿ ¿¿ # œœ. œ ¿¿ # œœ œ ¿¿
œ œ ¿¿ œ œ ¿¿ ¿¿ ¿¿
f .
¿¿ ¿¿ ¿¿ ¿¿
¿¿ ¿¿ ¿¿ ¿¿
¿¿ ¿¿ ¿¿ ¿¿
6 6 6
4 4 4
6 6 6
5 5 5
[20]
33
 ###
E 13sus 4 D/E E9 A A

& ‰ œ œ œ Œ
J œ œ œ œ œ œ œ œ œ
œ œ œ ˙ œ
You go a - head, let your hair down. Sap - phire and fad - ed jeans,

# # # œœ œœ ¿¿ œ œœ œœ œœ ¿¿ œœ œœ ¿¿
& œ. œœ ¿¿ # œœœ œœ Œ œ œ ¿¿ œ œ ¿¿ ’ ’ ’ ’
¿¿ œ. œ ¿¿ œ œ ¿¿
¿¿ ¿¿ ¿¿
cont. sim.

¿¿ ¿¿ ¿¿
9 5 5 5

¿¿ ¿¿ ¿¿
7 7 7 5 5 5
7 7 2 2 2
7 6
7 7 7 0 0 0

[22]

F # m6
###
E 13sus 4 D/E E9 E 13sus 4 D/E E9

& ‰ œ œ œ œ œ œ ˙ Œ
œ œ œ œ œ œ J œ œ œ
œ œ

##
I hope you get your dreams. Just go a - head, let your hair down.

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

[25]

### D maj 7
j
D m(maj 7)

& ‰ œ œ œ ‰ j
nœ œ œ œ œ œ œ œ œ

# # # gg ww
You’re gon - na find your - self some - - - where, some - how.
Acoustic Guitar Grade 5

& ggg ww ggg n www

g g
F P
ggg 76 ggg
ggg 45 g
6
3
5

[28]
34
 Bridge

F # m7
D Play fingerstyle

### B m7
& ‰ j œ œ ‰ j
œ œ œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ
’Twas more than I could take, pit - y for pit - y’s sake. Some nights kept me a - wake,

### œ œ ¿ œœ œœ ¿¿ œœ œœ ¿¿ ⇥ œœ œœ ¿¿ œ œ œ ¿¿ ¿¿
& œ œ ¿¿ ¿¿ œ # œ ¿ œ ¿¿ œ œ ¿¿ œ œ œœ œœ
œ ¿¿ œ œ
œ. œ ¿¿¿ œ. œ ¿¿ œ. œ ¿¿¿ œ. œ ¿¿ œ. œ ¿¿ œ. œ ¿¿
F
¿¿ ¿¿ ¿¿ ¿¿ ¿ ¿¿
¿¿ ¿¿ ¿¿ ¿¿ 2 4 2 2 ¿¿¿ ¿¿
¿¿ ¿¿ 2 4 ¿¿ ¿¿ ¿¿ 2 4 2 2 ¿¿ 2 4
3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2
4 2 2
2 2 2 2 2 2 2 2
2 2 2 2
[30]

### ‰ j
B m7
‰ œ
& œ œ œ œ j œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
I thought that I was strong - er. When you gon - na re - al - ize that you don’t e - ven have to

### œœ œœ ¿¿¿ œœ œœ ¿¿ ¿ œœ œœ ¿¿¿

& ∑ ¿¿ œ œ œœ œœ ¿¿¿
œ. œ ¿¿ œ. œ ¿¿ œ. œ ¿ œ. œ ¿¿
¿ ¿ ¿
¿¿ ¿¿ ¿¿ ¿¿
¿¿ ¿¿ ¿¿ ¿¿
¿¿ ¿¿ ¿¿ ¿¿
3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2
2 4
2 2 2 2 2 2 2 2

[33]

###
D maj 7 Bm D6

& œ œ œ œ ‰ œ œ œ œ
œ œ J œ œ œ

# # # ˙˙˙ ˙˙ ggg www

try an - y long - er? Do what you want to.
Acoustic Guitar Grade 5

˙ gg w
&
F P
gg 77
ggg 7
9 7

g7
7 7
7 7

[36]
35
 F # m6
E Chorus
### œ œ œ
& œ œ œ œ œ
œ œ œ œ œ œ œ

j
Girl, put your rec - ords on. Tell me your fav - ’rite song.

### œ œœ ¿¿ œ œœ ¿¿
& ¿¿ ¿¿ ‰
# œœ. œ ¿¿ # œœ œ ¿¿
f
¿¿ ¿¿
¿¿ ¿¿
¿¿ ¿¿
6 6 6
4 4 4
6 6 6

[38]

###
E 13sus 4 D/E E9 A

& ‰ œ œ œ Œ
J œ œ œ œ œ œ œ œ œ œ œ œ
œ ˙
You go a - head, let your hair down. Sap - phire and fad - ed jeans,

# # # œœ œœ ¿¿ œœ œœ Œ
œœ
œ
œœ
œ ¿¿
œœ
œ
œœ
œ ¿¿ ¿¿ ¿¿
& œ. œœ n ¿¿ # œœ œœ ¿¿ ¿¿ ¿¿ ¿¿
¿¿ œ. œ ¿¿ œ œ ¿¿ œ. œ ¿¿ œ œ ¿¿
¿¿ ¿¿ ¿¿ ¿¿ ¿¿
¿¿ ¿¿ ¿¿ ¿¿ ¿¿
9 9 9 9

¿¿ ¿¿ ¿¿ ¿¿ ¿¿
7 7 7 10 10 10
7 7 9 9 9
7 7 6
7 7 0 0 0
5 5 5
[40]

F # m6
###
E 13sus 4 D/E E9 A

& ‰ œ œ œ œ œ œ ˙ Œ
œ œ J œ œ œ
œ œ œ œ œ œ
I hope you get your dreams. Just go a - head, let your hair down.

## j œ
œ œœ œœ œœ
œœ œœ œœ œœ
Acoustic Guitar Grade 5

¿ ¿¿ ‰ ¿¿ œ œ ¿¿ œ œ ¿¿
& # # œœœ œœœ ¿¿¿ # œœœ œœœ ¿¿ œ. œœ ¿¿ # œœ œœ Œ ¿¿ ¿¿
. ¿¿ ¿¿ ¿¿ œ. œ ¿¿ œ œ ¿¿
¿¿ ¿¿ ¿¿ ¿¿ ¿¿
¿¿ 6 ¿¿ ¿¿ ¿¿ ¿¿
9 9 9 9

¿¿ 46 ¿¿ ¿¿ ¿¿ ¿¿
7 7 7 10 10 10
6 6 7 7 9 9 9
4 4 7 7 6
6 6 7 7 0 0 0

[43]
36
 F # m6
###
A E 13sus 4 D/E E9

& ‰ œ œ œ
œ œ œ œ œ œ œ œ J œ œ œ
œ œ œ œ œ œ œ œ

###
Girl, put your rec - ords on. Tell me your fav - ’rite song. You go a - head, let your hair

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
cont. sim.

[46]

F # m6
###
A E 13sus 4 D/E E9

& Œ œ œ œ œ œ œ œ ‰ œJ œ œ œ œ œ œ
œ œ ˙ œ œ œ œ œ œ œ œ

###
down. Sap - phire and fad - ed jeans, I hope you get your dreams. Just go a - head, let your hair

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

[49]

Rall.
#
### U
A D maj 7 G 7 11 A maj 9

& œ œ ˙ ‰ j Ó
œ œ œ œ œ nœ
œ œ œ œ nœ œ œ œ œ œ œ ˙

### ggg ww U
down. Oo, you’re gon - na find your - self some - - - where, some - how.
Acoustic Guitar Grade 5

& œ œ œœœ ˙ ggg ww ggg n www

œ. œ œ ˙ g
F p
gg 76 ggg 63
ggg 4
g5 g5
2 2 2
2 4
0 0 0

[53]
37
 Put Your Records On | Technical Guidance

The main theme of this performance is based around the muted/dead notes (for example, the second beat of bar 1) which
combine with the sounding chords to give a sense of rhythm here. The part should be subtle but audible, and not overpower
the surrounding chords. It is not accented and requires an evenness of attack with the picking hand as well as control and
coordination of the muting fretting hand.

From the minor 6 to the dominant 13 there are many interesting harmonic sounds and approaches here that are worth
exploring. Larger chord sounds do not have to use big fretting shapes (E 13 for example in bar 6) and instead work with the
surrounding parts to imply the extensions the composer is looking for. Keep voices clear and fretting changes as smooth
as possible.

The spread chords require a fluent strumming motion to create the right aural effect, and the dynamics (bars 16–19 for
example) can be achieved by a lightening of pick/fingers attack, to create a flowing sound.

The cont. sim indications (bar 24 and 46) should be observed and not developed too far from what has proceeded, for
although this may show musical/technical ability, excessive variation would show a misunderstanding of the initial phrase.
Acoustic Guitar Grade 5

38
 ‘Wanted Dead Or Alive’ | Bon Jovi
‘Wanted Dead or Alive’ was inspired by Bob Seger’s ‘Turn The Page’. American rock band Bon Jovi were listening
to the song whilst on tour in the Midwest in 1985 and decided to write a similar piece, so ‘Wanted Dead or Alive’ was
composed the following year. The lyrics are Jon Bon Jovi’s homage to the old West heroes. He is said to identify with
them as being hated (wanted dead or alive) and relates the lifestyle of a rock ‘n’ roll band with that of outlaws.

Bon Jovi have been phenomenally successful since the release of their 1986 album Slippery When Wet. They have
released 14 studio albums so far and Jon Bon Jovi and Richie Sambora were inducted into the Songwriters Hall of Fame
in 2009. The band’s sound is an effective blend of hard rock with pop. Their hit tunes have an anthemic quality, which
transformed them into a stadium phenomenon worldwide. As well as rock, country music is a significant influence on
their style. This is most evident in the record Lost Highway, from 2007.

The band’s relentless live and studio schedule produced much publicised friction over the years, leading to
periods of inactivity and almost no contact amongst band members. The original bass player, Alec John Such, was
replaced by Hugh McDonald in 1994. Solo work was released by Bon Jovi and Sambora in different periods, before
Ritchie Sambora left the band in 2013.

Bon Jovi continue to record and tour, with their hit ‘Wanted Dead or Alive’ still featuring regularly in their encore.
Their most recent tour, This House is Not For Sale, continues to sell in huge quantities globally and so far has hit over
$43million in box office sales.

Song Info
Song title: Wanted Dead or Alive
Album: Slippery When Wet (1986)
Label: Mercury
Genre: Rock
Written by: Jon Bon Jovi and Richie Sambora
Guitar: Richie Sambora and Jon Bon Jovi
Producer: Bruce Fairbairn
UK Chart Peak: 13

Acoustic Guitar Grade 5

39
 Wanted Dead Or Alive Session Style

Bon Jovi
Arranged by Carl Orr
c 75 Rock
œ œ œ
4 œ œ œ œ œ
œ
œ œ
œ
œ œ œ œ nœ œ œ œ œ œ œ œ œ œœœ œœœ œœœ
b
& 4 œ œ œ œ œ œ œ œ œ œ
P
13 12 10 8 5 3 1 13 12 10 8
T 14 14 12 12 10 10 9 9 5 5 4 4 4 2 14 14 12 12 10 10 9 9
A 0 0 0 0 0 0 0 0 0 0
B
⇥ ≤ ⇥ ≤
œ
&b œ œ nœ œ œ œ œ œ ‰ œœ œ
œ œ
œœ œ
œ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ œ œ
5 3 1 0 0
T 5 5 4 4 4 2
3
2
3
2
3
2
3
2
A 0 0 0 3 0 0 0 3 0 0
B 0 0 3 0 3 0

[4]

œ œ œ œ œ .. # œœœ œœ .. œ œœ œ œ œœ
D

&b œ œ œ œ œ œ œ œ œ œœ œœ ˙˙ ˙ Œ
œœ
F
0
. 232 2 2 3 2 0 2

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

[7]

j j
C add 9 G5 C add 9 G5 G F D

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ # œœ œœ .. œ œ
b
& œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ . œ œ œ ..
œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ nœ œ œ
œ œœ .
3 3 3 3 3 3 3 3 3 3 3 1 2 0
.
.
T 3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
0
0
1
2
3
2 2
3
2 2
A 2 2 2 2 0 0 2 2 2 2 0 0 0 3 0
B 3 3 3 3
3
0 2 3 3 3 3
3
0 2
3
3
1
[10]

j
C add 9 G5 F D C add 9 G5

œœ œœ œœ œœ œœ œœ œœ œœ .. œœ ‰ # œœ ‰ . œ œ œ œœ œœ œœ œœ œœ œœ œœ
b
& œœ œœœ œœœ œœœ œœœ œœ œœ œœ .. œœ œœ R œ œœœ œœœ œœœ œœœ œœœ œœ œœ
P
œ œ œ œ nœ œ œ ..
œ
œ
œ œ œ œ nœ œ
3 3 3 3 3 1 1 2 3 2 3 3 3 3 3
T 3
0
3
0
3
0
3
0
3
0
1
2
1
2
3
2
3
2
3
0
3
0
3
0
3
0
3
0
A 2 2 2 2 0 0 3 3 0 2 2 2 2 0 0
B 3 3 3 3
3
0 2 3
1
3
1
3 3 3 3
3
0 2

[13]

D C add 9 G5 D

œ #œ œ œ œ œœ œœ œœ œœ œœ œœ œœ # œœ œœ
Acoustic Guitar Grade 5

&b œ œ œ œ
⇤ œ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ
œ œ
œ œ œ œ œ œ œ œ nœ œ
3 2 0 3 3 3 3 3 2
T 3 3
2
3
0
3
0
3
0
3
0
3
0
3
2
A 0 3 0 2 2 2 2 0 0 0 3 0
B 3 3 3 3 3
3
0 2 3

[16]
Words and Music by Jon Bon Jovi and Richie Sambora

40 Copyright © 1986 UNIVERSAL MUSIC PUBLISHING INTERNATIONAL LTD., BON JOVI PUBLISHING, SONY/ATV MUSIC PUBLISHING LLC and AGGRESSIVE MUSIC
All Rights for UNIVERSAL MUSIC PUBLISHING INTERNATIONAL LTD. and BON JOVI PUBLISHING Administered by UNIVERSAL MUSIC WORKS
All Rights for SONY/ATV MUSIC PUBLISHING LLC and AGGRESSIVE MUSIC Administered by SONY/ATV MUSIC PUBLISHING LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
All Rights Reserved Used by Permission
 œ œ œ œ
œ œ œ œ œœœ œœœ œ œ œ œ œ œ œœœ œœœ
b
& œ œ œ nœ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
13 12 10 8 5 3 1 13 12 10 8
T 14 14 12 12 10 10 9 9 5 5 4 4 4 2 14 14 12 12 10 10 9 9
A 0 0 0 0 0 0 0 0 0 0
B
[19]

œ œ œ
D C G

œ œ nœ œ œ œœ
&b œœœ œœœ
3

œ œ œ œœœ œ
œ œ œœœ œ œœœ œœœ
ƒ 6

5 3 1
T 5 5 4 4 4 2 5 7
6 8
A 0 0 7 7 7 7 5 5 7
B 5 3 5 5 3 5 3
5
5 8

[22]

œ œ œ œ ˙ œœ. œœ œ œ œ ˙ œ œ œ
œ
œ œ œ œ œ œ œ œ
C G G F D D

&b œ œ œ ˙

5 5 5
T 8 6 8
7
6
5 7 5 7 5 7
6
7 5 7
6 8 8 6
A 7 5 7 7
B
[25]

œ œœœ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ. œœ œ œ œ ˙
&b œ œ œ œ
C G C G G F D

œœœ ˙

8 8 8
T 7
6
7 5 7
6 6 5 6 8 10 8 10 8 10 10 8
10
8
7
6
5 7 5 7
A 7 5 7
B
[28]

œ œ œ œ
œ œ œ œ œ œ œ œ
&b œ
œ œ œ œ nœ œ œ œ œ œ
œ œ œ œ œ
P
13 12 10 8 5 3 1
T 14 14 12 12 10 10 9 9 5 5 4 4 4 2
A 0 0 0 0 0 0
B
[31]

œ œ œ œ U
œ œ œ œ œ œ
Acoustic Guitar Grade 5

œ œ œ œ œ œ œ # ˙˙˙
&b œ œ œ œ œ œ
nœ
˙
13 12 10 8 5 3 2
T 14 14 12 12 10 10 9 9 5 5 4 4
3
2
A 0 0 0 0 0 0 0
B
[33]
41
 Wanted Dead Or Alive | Technical Guidance

The arpeggios which open and close this classic 80s rock hit outline D dorian mode, giving a more open and mysterious
sound which reflects the mood of the track. These descending shapes pose some technical challenges, both in terms of
picking motion and fretting position and the resulting clarity which may be affected. Each fretting hand position and
transition should be prepared carefully to ensure co-ordination between hands and sync with the backing track.

The verse sequence contains partial chord work (bar 9 for example) and full chordal strumming (bar 10), which requires
careful control of the picking hand/wrist to be able to move smoothly between these different approaches. This is further
exemplified in bar 15 to 16, where single note melodic lines give way to full strums.

Rhythmically, 16th-note figures appear frequently in various sections throughout the arrangement and, due to the steady
q = 75 pulse, may be at risk of being rushed or uneven if not practised carefully. For example, in bar 10 the C add 9 chordal
strums require a definite ‘up/down’ strumming pattern, but are then left tied across beat ‘2’ before playing the G 5 chord on
beat ‘2&’. To keep this steady and strong, it can be helpful to count the beats and subdivisions, working on each section in
isolation and aiming for a constant and steady strumming motion (and ‘ghosting’ strums where notes are not sounded so
that the strumming hand returns to strike the strings in the right direction). In the solo at bar 24, candidates are presented
with two types of triplet rhythm which will require some careful preparation. A mix of practise approaches will help here
– both analysing and counting the subdivisions of the beats through this bar and listening to the recorded part will help to
train the ear and lead to a successful delivery.

Once the technical and rhythmic areas have been mastered, candidates may wish to explore articulation and expression,
such as ‘light and shade’ in the dynamics of the strummed sections and shaping of the notes in the solo through vibrato
and phrasing. This should be applied judiciously, keeping true to the style of the track and not detracting from any written
indications on the score – however, there is certainly scope for the candidates to add their own subtle personal touches to
bring the performance to life.
Acoustic Guitar Grade 5

42
Technical Exercises

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

Before you start the section you will be asked whether you would like to play the exercises along with the click or hear a
single bar of click before you commence the test. The tempo is q = 80.

Groups A and B should be prepared in two octaves in two positions. The first position is to be prepared on the E string from
the starting notes of F, G and A. The second position is to be prepared on the A string from the starting notes of B, C and D.
You may have to make adjustments for open strings in your fingerings of some scales. For each position, the examiner will
choose from a starting note of either F, G, A (E string) or B, C, D (A string).

Below is a full list of everything you need to prepare for the Technical Exercises section of the exam. The examples on the
following pages are a sample of what you need to need to prepare. The fingerings shown are suggestions and you may use
any alternative you like provided the scale or arpeggio starts from the string specified.

Technical Summary
Tempo q = 80

F, G & A (on the E string)

Scales | Major
B, C & D (on the A string)

F, G & A (on the E string)

Scales | Natural Minor
B, C & D (on the A string)

F, G & A (on the E string)

Scales | Harmonic Minor
B, C & D (on the A string)

F, G & A (on the E string)

Scales | Minor Pentatonic
B, C & D (on the A string)

F, G & A (on the E string)

Scales | Major Pentatonic
B, C & D (on the A string)

F, G & A (on the E string)

Scales | Blues
B, C & D (on the A string)

F, G & A (on the E string)

Arpeggios | Major
B, C & D (on the A string)

F, G & A (on the E string)

Arpeggios | Minor
Acoustic Guitar Grade 5

B, C & D (on the A string)

Major & Minor (three inversions)

Chords | Triads
Sequence in C

Riff Eight bars at q = 85

43
 Technical Exercises

Group A: Scales
The tempo for this group is q = 80.

1. Major scale (F major shown, root on E string)

&b œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
0 1 0
T 0 2 3
1 3 3 1
3 2 0
A 0 2 3 3 2 0
B 1 3
0 1 3 3 1 0
3 1

2. Natural minor scale (B natural minor shown, root on A string)

##
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
3 5 7 5 3
T 2 4 6
3 5 7 7 5 3
6 4 2
A 2 4 5 5 4 2
B 2 4 5 5 4 2

3. Harmonic minor scale (A harmonic minor shown, root on E string)

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
4 5 4
T 4 5 7
5 6 6 5
7 5 4
A 6 7 7 6
B 5 7 8
5 7 8 8 7 5
8 7 5

4. Minor pentatonic scale (G minor pentatonic shown, root on E string)

b œ œ œ œ œ œ œ
&b œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
3
T 3 5
3 6 6 3
5 3
A 3 5 5 3
B 3 6
3 5 5 3
6 3

œ
5. Major pentatonic (D major pentatonic shown, root on A string)
## œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ
œ œ œ œ œ œ
5 7 10 7 5
T 4 7
5 7 7 5
7 4
A 4 7 7 4
B 5 7 7 5
Acoustic Guitar Grade 5

6. Blues scale (C blues scale shown, root on A string)

œ œ œ
bbb œ œ œ œ bœ nœ œ bœ œ œ œ œ
& œ œ bœ nœ œ bœ œ œ
œ œ
6 8 6
T 3 5
4 6 7 8 8 7 6 4
5 3
A 3 4 5 5 4 3
B 3 6 6 3

44
 Technical Exercises

Group B: Arpeggios
The tempo for this group is q = 80.

1. Major arpeggio (G major arpeggio shown, root on E string)

# œ œ œ
œ œ
G

& œ œ œ œ
œ œ œ œ
3
T 4
3 3
4
A 5 5
B 3
2 5 5 2
3

2. Minor arpeggio (C minor arpeggio shown, root on A string)

œ œ œ
& b bb œ œ œ œ
Cm

œ œ œ œ
œ œ
8
T 5 8
8 8
8 5
A 5 5
B 3 6 6 3

Group C: Chords
Major and minor triads played in three inversions on the top three strings in the key of C. To be played in a continuous sequence.

1. Major and minor triads in three inversions

œœœ
C
œœ
Am Em
œœ œœ
F
œœœ
Dm
œœ
G
˙˙˙
C

& Œ œ Œ œ Œ œ Œ Œ œ Œ Ó

3 5 3 5 5 3 3
T 5
5
5
5
5
4
6
5
6
7
3
4
5
5
A
B

Group D: Acoustic Riff

In the exam you will be asked to play the following riff to a backing track. The riff shown in bars 1 and 2 should be
played in the same shape in bars 3–8. The root note of the pattern to be played is shown in the music in bars 3, 5 and 7.
The tempo is q = 85.

q = 85

# 4 G add r r
œ œ œ œ œœ œœ œœ
& 4 ‰. œ. ‰. œ.
9

œ œ
œ œ œ
œ. œ ˙ œ. œ ˙
J J
let ring where possible

T 3
2
0 3
2
0 3
2
5
4
3
2
A 2 0
B 3 3 3
2
3 3 3
Acoustic Guitar Grade 5

#
C add 9 G add 9 C add 9

& œ œ
œ

T
A
B 3
3
3

45
 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.

At this level there is an element of improvisation in the sight reading test. This is in the form of a two bar ending. The piece
will be composed in the style of rock, country/folk or blues and will have chord symbols throughout. The test is eight bars
long and is in one of the four following keys: F major, G major, E minor or G minor.

The improvised ending will use chord patterns that have been used in the sight reading part of the test. The examiner will
allow you 90 seconds to prepare it and will set the tempo for you. The tempo is q = 90.

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 = 90
Duration: 8 Bars
Rhythms: Quarter notes, eighth notes, ties and rests
Key: F major or G major; E minor or G minor

Please note: exercises may be performed either fingerstyle or with a plectrum. TAB indications are given at open position,
but notation can be interpreted in any appropriate fretting position.

q = 90 Rock
#
& 44
E m7 B m7

‰ œj œ œ œ œ
C

œ œ œ œ Œ ‰ œ œ œ œ Œ œ Œ ‰ œ œ
œ
œ
T 0 2 2 0
1 1 0
2 2 0
A 2 0 2 2 2 0
B 0

#
œ œ Œ Œ Œ Œ
E m7 C B m7

& œ œ œ œ œ œ ’ ’ ’ ’ ’ ’ ’ ’
Improvise melody

T
A 2 2 0 2 0 0
B 2 2
Acoustic Guitar Grade 5

46
Improvisation & Interpretation

In Grade 5, the improvisation and interpretation test contains a small amount of sight reading. This consists of a two bar
section of rhythm notation at the beginning of the test. You will be asked to play the chords in the rhythms indicated and
complete the test using an improvised line made up of chords and lead lines where indicated. This is played to a backing
track of no more than eight bars. The test will be given in one of the four following keys: A major, G major, E minor or G
minor. You have 90 seconds to prepare and then you will be allowed to practise during the first playing of the backing track
before playing it to the examiner on the second playing of the backing track. This test is continuous with a one bar count-in
at the beginning and after the practice session. The tempo is q = 90–100.

q = 100 Funk
¿ ¿ ¿ ¿
Chords in rhythm shown Improvise rhythmic chords

# 4
& 4 .. Û Û Û ‰ Û ‰ Û Û Û Û Û Û Œ
E m7 A m7 E m7 D

’ ’ ’ ’ ’ ’ ’ ’
J J

Improvise melody

# E m7 C Am D G
..
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Acoustic Guitar Grade 5

47
 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 a two-bar melody with a drum backing using either the D major pentatonic or A minor
pentatonic scales. The first note of the melody will be the root note and the first interval will be descending. You will play
the melody back on your instrument. You will hear the test twice.

Each time the test is played the sequence is: count-in, root note, count-in, melody. There will be a short gap for you to
practise after you have heard the test for the second time. You will hear the count-in and root note for the third time
followed by a vocal count-in and you will then play the melody to the drum backing. The tempo is q = 90.

q = 90
# 4 w ¿ ¿ ¿ ¿
œ œ ‰ œ œ œ Œ
& # 4 .. J œ œ œ œ œ
..

. .
. .
T 7 7 7 7
A 9 9 9 7
B 9 7
10

Test 2: Harmonic Recall

The examiner will play you a tonic chord followed by a four bar chord sequence in the key of G major played to a drum
backing. The sequence will be drawn from the I, IV, V and vi chords and may occur in any combination. You will be asked
to play the chord sequence to the drum backing in the rhythm shown in the example below. This rhythm will be used in all
examples of this test given in the exam. You will then be asked to identify the sequence you have played to the examiner. You
will hear the test twice.

Each time the test is played the sequence is: count-in, tonic, count-in, chords. There will be a short gap for you to practise
after you have heard the test for the second time. You will hear the count-in and tonic for the third time followed by a vocal
count-in then you will play the chords to the drum backing. You should then name the chord sequence, including chord
types (i.e. major or minor). The tempo is q = 80.

q = 80
#4 .G ¿ ¿ ¿ ¿
& 4 . | Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
G Em C G
Acoustic Guitar Grade 5

48
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 instrumental & technical knowledge.

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 Grade 5 you will be asked:

■■Names of pitches

■■The meaning of the time signature and the key signature markings

■■Repeat marks, first and second time bars, D.C., D.S., al Coda and al Fine markings

■■Whole, half, quarter, eighth note, triplet eighth-notes and 16th-note values

■■Whole, half, quarter, eighth note and 16th-note rests and rest combinations

■■The construction of major 7, minor 7 or dominant 7 chords

■■To explain the meaning of a sus 2 or sus 4 chord

Technical Knowledge
The examiner will also ask you one question regarding a technical consideration of your piece, in relation to:

■■Picking hand: Strumming or picking technique for a short phrase (up to one bar) – demonstration is acceptable

■■Fretting hand: Fretting position and fingering used to play a short phrase (up to one bar) – demonstration is acceptable

The examiner will choose the section of music and will ask you to give a brief explanation as to why the technique was
appropriate for the chosen section.

Acoustic Guitar Grade 5

49
 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
Acoustic Guitar Grade 5

fi
two bracketed notes by hammering Upstrokes, downstrokes and strumming the bar marked To Coda then skip to
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
50 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 Grade 5

51
 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 Grade 5

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%+

52
* Note that there are no Debut Vocal exams.
Copyright Information

Fire And Rain

(Taylor)
EMI Music Publishing Ltd

Blackbird
(Lennon/McCartney)
Sony/ATV Music Publishing (UK) Limited

Tears In Heaven
(Clapton/Jennings)
Universal Music Publishing Limited/Warner Chappell Music International Limited

Songbird
(McVie)
Universal Music Publishing MGB Limited

Put Your Records On

(Rae/Beck/Chrisanthou) 
Kobalt Music Group Ltd

Wanted Dead Or Alive

(Jovi/Sambora)
Universal Music Publishing Limited/Sony/ATV Music Publishing (UK) Limited

Acoustic Guitar Grade 5

53
 Introducing…
Rockschoo
new theorl’s
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GRADES DEBUT–8

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The syllabus consists of 11 finely-tuned books:

Workbooks Debut to Grade 8. Each grade includes a sample paper

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Truly understand
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Acquire a hugely impressive knowledge of:
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Digital downloads
now available!
All your favourite Rockschool titles are now available to download
instantly from the RSL shop. Download entire grade books, individual
tracks or supporting tests to all your devices.

Start downloading now

www.rslawards.com/shop