AG6

Acoustic Guitar
Grade 6
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: 22NJQDX3AI
For more information, turn to page 5
www.rslawards.com
Acknowledgements
Published by Rockschool Ltd. © 2016

Catalogue Number RSK200026
ISBN: 978-1-910975-33-6
Initial release | Errata details can be found at www.rslawards.com
SYLLABUS
Syllabus written and devised by Nik Preston and Andy G Jones
Syllabus consultants: Andy G Jones, Carl Orr and James Betteridge
Arrangements by Andy G Jones, Carl Orr and James Betteridge
Supporting Tests written by Nik Preston and Andy G Jones
Syllabus advisors: Simon Troup and Jamie Humphries
PUBLISHING
Fact Files written by Diego Kovadloff
Music engraving and book layout by Simon Troup and Jennie Troup of Digital Music Art
Proof reading and copy editing by Diego Kovadloff, Carl Orr and Mary Keene
Cover design by Philip Millard
Cover photograph © Michael Loccisano/FilmMagic/Getty Images
AUDIO
Produced by Nik Preston, Andy G Jones, Carl Orr and James Betteridge
Engineered by Andy G Jones, Carl Orr, James Betteridge, Jonas Persson and Music Sales
Mixed by Andy G Jones, Carl Orr, James Betteridge
Mastered by Ash Preston and Paul Richardson
Supporting Tests recorded by Andy G Jones
Executive producers: John Simpson and Norton York
MUSICIANS
Andy G Jones, Carl Orr, James Betteridge, Nik Preston, Ian Thomas, Mike Finnigan, Noel McCalla,
Patti Revell and Hannah Vasanth
SPONSORSHIP
Andy G Jones endorses Thomastik Infeld strings, Providence cables and pedal switching systems, Free The Tone effects,
JJ Guitars, Ergoplay guitar supports and Wampler Pedals. All nylon strings parts recorded direct with the Yamaha NTX2000.
Carl Orr endorses MI Audio Revelation amps & effects, and Picato strings.
James Betteridge plays Martin guitars and D’addario strings.
DISTRIBUTION
Exclusive Distributors: Music Sales Ltd
CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)345 460 4747
Email: info@rslawards.com
Acoustic Guitar Grade 6
2
Table of Contents
Introductions & Information
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Acoustic Guitar Grade 6
6 Acoustic Guitar Notation Explained
Rockschool Grade Pieces
7 Stevie Ray Vaughan.. ...................................... . . . . . . . . . . . . . . . . . . ‘Pride And Joy’

17 Michael Jackson.............................................. . . . . . . . . ‘Man In The Mirror’
29 Norah Jones....................................................... . . . . . . . . . . . . ‘Don’t Know Why’
37 Simon & Garfunkel. . ...................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . ‘The Boxer’
43 Brad Paisley................................ ‘What A Friend We Have In Jesus’
49 The Beatles........................................... ‘Here, There And Everywhere’
Technical Exercises
55 Scales, Arpeggios, Chord Voicings & Stylistic Studies
Supporting Tests
66 Quick Study Piece

70 Ear Tests
71 General Musicianship Questions
Additional Information
72 Entering Rockschool Exams

73 Marking Schemes
74 Copyright Information
75 Rockschool Digital Downloads
76 Rockschool Popular Music Theory
3
Welcome to Rockschool Acoustic Guitar Grade 6
Welcome to Rockschool’s 2016 Acoustic Guitar syllabus. This syllabus has been designed to equip all aspiring guitarists
with a range of stylistically appropriate, industry relevant skills and a thoroughly engaging learning experience.
Utilising an array of well known repertoire and a truly crucial range of supporting tests, the continued progression of any
student is assured from Debut through to Grade 8.
The syllabus has been authored to ensure that each student can develop as accompanists, soloists, sight readers and
improvisers, whilst enabling both teacher and student to choose the areas that they wish to specialise in.
Rockschool’s long standing commitment to raising academic standards, assessing industry-relevant skills and ensuring
student engagement is world renowned. The 2016 Acoustic Guitar syllabus has been conceived in order to build upon this
success and continue the evolution of the contemporary music world’s first awarding body.
When combined with Rockschool’s 2015 Popular Music Theory syllabus, this syllabus is guaranteed to furnish every
candidate with both the practical skills and theoretical understanding necessary to perform at the highest level, across a
whole range of contemporary repertoire.
Nik Preston – Head of Product Development and Publishing
Acoustic Guitar Exams

At each grade you have the option of taking one of two different types of examination:
■■Grade Exam
(Debut to Grade 5)
A Grade Exam is a mixture of music performances, technical work and tests. You are required to prepare three pieces
(two of which may be Free Choice Pieces) and the contents of the Technical Exercise section. This accounts for 75% of
the exam marks. The other 25% consists of: either a Sight Reading or an Improvisation & Interpretation test (10%), two
Ear Tests (10%), and finally you will be asked five General Musicianship Questions (5%). The pass mark is 60%.
(Grades 6–8)
A Grade Exam is a mixture of music performances, technical work and tests. You are required to prepare three pieces
(two of which may be Free Choice Pieces) and the contents of the Technical Exercise section. This accounts for 75%
of the exam marks. The other 25% consists of: a Quick Study Piece (10%), two Ear Tests (10%), and finally you will be
asked five General Musicianship Questions (5%). The pass mark is 60%.
■■Performance Certificate
A Performance Certificate is equivalent to a Grade Exam, but in a Performance Certificate you are required to perform
five pieces. A maximum of three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark
is 60%.
Book Contents
The book is divided into a number of sections:
■■Exam Pieces
Each exam piece is preceded by a Fact File detailing information about the original recording, the composer and the
artist/s who performed it. There is also a Technical Guidance section at the end of each piece which provides insight
from the arrangers as to the harmonic, melodic, rhythmic and technical nuance of each piece.
very exam piece is notated for acoustic guitar, but certain pieces feature two ‘assessed’ parts, meaning the candidate
E
has the choice of which part they wish to perform in the exam. Certain pieces contain ‘non-assessed’ guitar parts,
which are intended for duet/ensemble practice and performance. Likewise, certain pieces include notated vocal
melodies in addition to the assessed guitar part. These have been included as reference material and to provide
4
opportunity for duet and ensemble practice and performance. In your exam you must perform your pieces to the
backing tracks provided.
■■Technical Exercises
There are either three or four types of technical exercise, depending on the grade:
Group A – scales
Group B – arpeggios/broken chords
Group C – chord voicings
Group D – a choice of stylistic studies. Please note, Group D only exists at Grades 6–8.
■■Supporting Tests
You are required to undertake three kinds of unprepared, supporting test:
1. Sight Reading or an Improvisation & Interpretation test at Debut to Grade 5.

Please note, these are replaced by mandatory Quick Study Pieces (QSPs) at Grades 6–8.
2. Ear Tests: Debut to Grade 3 feature Melodic Recall and Chord Recognition.
Grades 4–8 feature Melodic Recall and Harmonic Recall.
3. General Musicianship Questions (GMQs), which you will be asked by the examiner at the end of each exam.
Each book features examples of the types of unprepared tests likely to appear in the exam.
The examiner will give you a different version in the exam.
■■General Information
You will find information on exam procedures, including online examination entry, marking schemes, information on
Free Choice Pieces and improvisation requirements for each grade.
Audio
In addition to the Grade book, we have also provided audio in the form of backing tracks (minus assessed guitar part)
and examples (including assessed guitar part) for both the pieces and the supporting tests where applicable. This can be
downloaded from RSL directly at www.rslawards.com/downloads
You will need to input this code when prompted: 22NJQDX3AI
The audio files are supplied in MP3 format. Once downloaded you will be able to play them on any compatible device.
You can find further details about Rockschool’s Acoustic Guitar syllabus by downloading the syllabus guide from
our website: www.rslawards.com
All candidates should download and read the accompanying syllabus guide when using this grade book. Acoustic Guitar Grade 6
5
Acoustic Guitar Notation Explained
Finger picking
# ww œ œ
p i m a
D Am F
b œ
thumb index middle annular
w ’ ’ ’ ’
THE MUSICAL STAVE Notes:
& ˙ œ Û Û Û Û
shows pitches and rhythms
w
E F 3
4
and is divided by lines into CDB
AG 2
bars. Pitches are named after F E 1
the first seven letters of the
alphabet. Fretting hand fingers
Strings:
2 0
T
E
TABLATURE graphically B 3 10 1
represents the guitar G
A 2
2
0 9
10 2
2
B
fingerboard. Each horizontal D
line represents a string, and A 10 0
E
each number represents a fret.
4th string, Open Rhythm notation with Ad lib. and cont. sim. sections
2nd fret D chord suggested fingering are shown in slash notation
Definitions For Special Guitar Notation

HAMMER ON: Pick the lower note, PULL OFF: Pick the higher note then SLIDE: Pick the first note, then slide STRING BENDS: Pick the first note then
then sound the higher note by sound the lower note by lifting the to the next with the same finger. bend (or release the bend) to the pitch
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fretting it without picking. finger without picking. indicated in brackets.
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& œ & & œ œ &
BU BD
T T T T 5 (6) (5)
A 5 7
A 7 5
A 2 4
A
B B B B
GLISSANDO: A small slide off of a note VIBRATO: Vibrate the note by bending NATURAL HARMONICS: Lightly ARTIFICIAL HARMONICS: Fret the note
‚
toward the end of its rhythmic duration. and releasing the string smoothly touch the string above the indicated indicated in the TAB, then (with picking hand)
w~~~~~~~~~~ ‚ ‚
Do not slide ‘into’ the following note – and continuously. fret then pick to sound a harmonic. lightly touch the string above fret indicated
subsequent notes should be repicked. between staves, and pick to sound the harmonic.
& œ œ & & & ‚ ‚

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

PB 7
1/4
BD
7 2 9 5
T ( 9) (7) T T T
A A A A 5
7
B B B B
fi
TRILL: Rapidly alternate between the • Go back to the sign (%), then play until
D.%. al Coda
fi
two bracketed notes by hammering the bar marked To Coda then skip to
the section marked Coda.
Ÿ~~~~~
on and pulling off.
&œ w
D.C. al Fine
• Go back to the beginning of the song and
œ play until the bar marked Fine (end).
.. ..
Ÿ~~~~~
• Repeat bars between signs.
T
.. ..
(5 7) 5 1. 2. • When a repeated section has different
A endings, play the first ending only the first
6 B time and the second ending only the
second time.
Stevie Ray Vaughan | Pride And Joy
s
SONG TITLE:
PRIDE AND JOY
ALBUM:
TEXAS FLOOD / 1983
q =122
# ## # 4 ‰ n œj œœ œœ œœ œœ œœ
LABEL:
EPIC RECORDS E
& 4 J
GENRE:
BLUES
WRITTEN BY:
STEVIE RAY VAUGHAN
GUITAR:
STEVIE RAY VAUGHAN
PRODUCER:
STEVIE RAY VAUGHAN,
RICHARD MULLEN AND
0 0 0 0 0
DOUBLE TROUBLE 5 5 5
T 3 5 5
A
B
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nn œœ œ b œ œ œ œ n œœœ
&
‘Pride and Joy’ was written by Stevie Ray Vaughan By the mid 1980’s Vaughan and Double Trouble
œ
about a new girlfriend. It was Vaughan’s first single rose in popularity and combined a busy touring and
release and has become one of his best known songs. recording schedule. Vaughan bridged the gap between
It reached number 20 in the Billboard mainstream blues and rock. His unique style was eclectic and fiery
Rock Chart. It has a signature Texan Shuffle that and drew from blues, rock and jazz. During this time
Vaughan and his band Double Trouble helped bring Vaughan became increasingly dependent on drugs 0
into the mainstream. ‘Pride and Joy’ was featured and alcohol0and his health declined.
BU This BDled to dates 0
in Texas Flood. The record became a best seller and T 5
being cancelled and0Vaughan 2 seeking ( 2) 0
( 3 )rehabilitation. 0
renewed popular interest in blues music in the 1980’s. A In the late summer0 of 1990 Vaughan and Double
0
2
A cover version of the song is featured on the video
game Guitar Hero III: Legends of Rock.
B Trouble set on a headlining tour of the US. On August
26th the band played in East Troy, Wisconsin, and the
[4] gig concluded with an encore featuring guitarists Eric
Stevie Ray Vaughan was born in Dallas, Texas, in Clapton, Buddy Guy, Jamie Vaughan and Robert Cray.
1955 and began playing the guitar aged seven, inspired After the concert, Stevie Ray boarded a helicopter
by his older brother Jimmy. He dropped out of school bound for Chicago. Minutes after take off the
# ## # œœ œœ œœ œœ œœ n œœœ
in order to dedicate himself to music. Throughout the helicopter crashed killing all five passengers. Vaughan
# œœ n œ nœ nœ œ œ œ
seventies he played in a number of bands. He moved was 35 years old. He is acknowledged as one of the
&
to Austin and joined The Cobras in 1975. The band greats of blues guitar.
nœ #œ œ n
eventually became Double Trouble and Vaughan
became the lead singer. The band played regularly in
the Texas club circuit and in 1982 they appeared at the
Montreaux Jazz Festival. Their performance caught the
attention of David Bowie and Jackson Browne. Bowie 0 0
0 0 0 0
asked Vaughan to play in his forthcoming release, 0 0 0
‘Let’s Dance’, and Jackson Browne offered the band free T 0 0
1 0
0
0 0 0 0
recording time at his LA studio. A record contract with A 2
2 4
2
Epic followed and the band started touring relentlessly,
leading to Vaughan being pulled out of Bowie’s 1983
B 3 4
tour to support his own material. [7]
7
E
Pride And Joy Stevie Ray Vaughan
Arranged by Andy G Jones
q =122 s
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A
B
* Hold quarter tone bend for duration of bar
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[4]
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A 2 2 2 2 4 2 0 2 2
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[7]
# # # # œœ œœ
E B7
œ œ œœ œœ œ œ
n œœ n œœ n œœ n œœ œ œ n œ œ œ n œ œ œ œ œj œ . n œ œ
3
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[11]
#### ‰ œ œ
A7 E
& ∑ ∑ Ó J
Well, you’ve
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[14]
8 Words & Music by Stevie Ray Vaughan
© Copyright 1983 Ray Vaughan Music Incorporated.
Bug Music.
All Rights Reserved. International Copyright Secured.
# # # # . Eœ nœ œ œ œ œ œ œ œ œ nœ œ œ Œ
& .
3
heard a - bout lov - in’ giv - in’ sight to the blind.
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[17]
A7
#### nœ
‰ J œ nœ œ œ œ œ œ œ j Œ
3 3 3
& œ nœ œ œ œ œ nœ œ œ œ œ œ
My ba - by’s lov - in’ cause’ the sun to shine, an’ she’s my sweet lit - tle thang,
#### œ œ œ œ œ j j nœ œ
& # n œœ n œœ ‰ œœ ‰ œœ ‰ œœ ‰ n œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœ ‰ œœ ‰ œœ œœ œœ
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[19]
# ## nœ œ œ nœ ‰ œj œ œ
& # Ó
3
E7
Œ Œ Ó
œ œ
she’s my pride and joy. She’s my
# # # # œœ n œœ œœ œœ œ
& œ œ œ œ œ n œœ ‰ œœœ ‰ n œœœ ‰ œœœ ‰ œœœ ‰ œœœ œœ œœ ‰ œœ ‰ œœ ‰ œœ
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[22]
#### œ n œ œ œ œ œ ‰ n Jœ œ œ nœ œ œ
B7 A7 E7
œ nœ œ #œ œ Œ Ó
3 3
&
sweet lit - tle ba - by, I’m her lit - tle lov - er boy.
####
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T 4 4
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A 4 4 4 4 6 2 2 2 2 4 2 2
B 2 2 5 6 2 2 2 0 0 3 4 0 0 0 0
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[25]
9
##
1. 2.
œ œ œ œ
& ## Ó ‰ J .. Ó ‰ J
Yeah, I Yeah, I
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2
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[28]
%
# # # # Eœ œ œ œ ‰ œ œ nœ œ œ œ œ
& Œ
love my la - dy to be long and lean.
#### œ œ œ œ
& œœœ Œ ‰ n œœ œ
j œ œ œ œ # œœœ Œ ‰ n œœ œ
j œ œ œ œ
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[30]
# ## nœ œ œ œ nœ œ œ
& # ‰ J J œ œ œ nœ œ œ œ
3
j
You mess with her, you’ll see a man get - tin’ mean. She’s my
#### œ œœ n œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œjn œ
# œœœ Œ Œ ‰
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& n œœ nœ œ
j
# œœ
3 3 3
0 0 0 0 0 0 0 0 0 0
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4
3
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3
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3
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3
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[32]
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A A7
j œ
3
nœ œ œ œ œ œ Œ Ó Œ
3 3
&
sweet lit - tle thang, 1/4 she’s my
#### n œœ œ œœ # œœœ
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2
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B 0 0 3 4 0 0 0 0 3 4 2
[34]
10
#### œ
E
& œ nœ Œ Ó ‰ œ œ
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Ÿ~~~~
pride and joy. She’s my
# # # # œœ œ
3
b œ n œ œ n œ œ œj b œ œ œ œ n œœ # œœ n œ œ œ
3
n œœ œ # œ n œ n œœœ
3 1/4
& œ n n œœ
3
j
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n œœ J nœ œ #œ
Ÿ~~~~
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1/4
0 0 0 0 0
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BU
2 ( 3)
0 3 0 BU
2( 3) 2 0
0 0
1
3 0
0 0 1 0
0
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0 3
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[36]
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B7 A7
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& ## œ œ
nœ œ œ œ ‰ J nœ œ
3
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nœ
#### nœ. œ nœ
3
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1/4
n œœ œœ œ n œœ
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& œ œ œ œ
3
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1/4
2 2 2 2 0 3 0 0
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2
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2
0
2
0
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3
2 4
3
4 2 0
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2
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[38]
#### fi
Ó ∑
E To Coda
& ˙
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# œœ œœœ œœœ
n œœ # œ œ nn œœœ
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ggg 03
g4
0 0 0
T 0
0 3 4
3 3 3
2 0
0
0
10 12
11 13
12
13
12
13
A 2 0 14 14
B 0 0 3
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[40]
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
####
E7 j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j
œœ # œœ
&
3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 10 12
11 13
12
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14 15
16
15
16
15
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15
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15
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15
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15
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16
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B
[42]
11
œœ œœ n œ œœ œœ œ œœ œœ œ œœ œœ
# # # # œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ #œ
1/4 1/4 1/4
&
3 3 3 3 3 3 3
3
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0 0 0 0 0 0 0 0 0 0 0 12 12 10 12 12 10 12 12 10 12 12
T 12
13
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14 (15)
12 12 12 12 12 12 12 12
A
B
[44]
A7
nœ œ
œ œ n œj b œ n œœ œœ n œ œj b œ n œ
1/4
#### œ nœ œ nœ œ œ œ œ œ œ œ œ œ œ œ
1/4
œ
J
&
3 3 3 3 3 3 3 3
PB 14
1/4
15 12 7 BU 1/4
T 12 10 (11) 17
16
17
16
15 BU BD BD
14 (15) (16) (16)(14) 12 12 14
BU
(16) 14
BU
(16) 14
BU
(16) 14
BU
(16) 14 12
A 14 14
B
[46]
œ œ œ œœ œœ nœ
E7
#### n œ
œ œ 3
œ n œ œœ œ œ œ n œ œ œœ # œ œœ
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&
3
n ¿¿ 3
nœ #œ œ
3
3
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12 12 12 0
T 12 14
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(16)
12 12 12 15 15
2
BU BD
(4) ( 2) 0
0
0 1
0
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14
2
B 14
3 4
0
[48]
œ
B7 A7
3
#### ¿ œœ n n œœ œœ b œœ
3
œ œœ
J
3 1/4
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3
# œœ
& œ œ œj œ œ . n œ œ
œ œ
3
¿
3
1/4 PB 2
2 2 17 0 3 0
T 2
0
2
0
2 2 0
0
0
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3
BD
2 ( 3 )( 2 ) [ 2] 0
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[50]
12
## n b n œœœ œœ œœ n œœ
E7 C9 B9
œ n œ n œœ œœ œœœ ... œ œ œ œ œ œœ œœ
& ## œ # œœœ
3
. nœ œ œ œ nœ
j
j j œ
œ nœ
œ 3 3
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3
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3
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3
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1
3
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0
0
3 5 5 5
A 2
2
0
2
B 0
0
0
[52]
# # # # œEœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ .. œœ œj
1/4
3
j
7 1/4 1/4 3
& œ nœ œ
3 3 3 3
n œœ
1/4 1/4 1/4
0 0 0 0 0 0 0 0 0 0 0 0 7 7 7 [7] 7
T 5 5 5 5 5 5 5 5 5 5 5 5 8 8 8 [8] 8
9 2 0
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[54]
n œœ œœ œœ œœ œœ œœ
3 3
##
3
j œœ œœ œœ œœ œœ œœ œ
1/4 1/4 1/4 1/4 1/4 1/4
& # # n œj n œ n œœ
3
œ œœ œœ
œ œ
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0 0 0 0 0 0 7 7 7 7 7 7 0
T 3 5 5 5 5 5 5 8 8 8 8 8 8 0
0
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0
0
0
[56]
# # # # œœ n œœ œœœ œœœ œœœ œœœ œœœ n œœœ œœœ œœœ œœœ œœœ
A 7
j
3 3
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3
&
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[58]
13
E7
Ÿ~~~
####
3 3
œ œ œœ œœ n œ # œ œœ œœ
n œœ # œ œ # œ œ n œ œj œ œ œ œ œ œ n œ œ
3
j
& nœ #œ nœ
n œœ
3
nœ j
œ
œ nœ œ #œ
Ÿ~~~
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BU BU
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2 4 4
3
4 4 2 0
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0
0
0
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[60]
B7 A7
#### nœ œ nœ
3
œ œœ œ œ œ œ œœ œœ œj œ n œ œ n œ # œ œ
1/4
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3
& nœ
3
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1/4
2 2 2 0 3 0 0
T 2
0 0
2
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3
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[62]
D.%. al Coda fi
#### E7
∑ Ó
B7
‰ œ œ
& J
well, I
#### œ œ œ œ œ
n œœ œ œ n œ œœ ... œ œ œ n œœœ œœ # œœœ
3
&
3
œ œ #œ œ œ
œ
œ 3 3 œ nœ
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T 0
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4
3
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2
2
2
2
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1
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[64]
fi Coda
#### Ó ‰ œ œ œ œ œ œ ‰ œ nœ œ œ œ œ
E 7 E7
& J Œ
J
Yeah, I love my ba - by, my heart and soul.
####
œ œ ‰ n œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ n œœœ ‰ œœœ ‰ œœœ ‰ œœœ

& n œœ ‰ œœ
3
œ
œ nœ nœ #œ œ œ J J J J J J J J J
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[66]
14
## nœ œ nœ œ œ œ œ
A7
œ nœ œ j
& ## ‰ J nœ œ œ œ œ œ nœ œ œ œ œ œ Œ
3 3
j j
Love like mine, ah, won’t nev - er grow old. She’s my sweet lit - tle thang,
#### nœ œ
& ‰ n œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ n œœœ ‰ œœœ ‰ œœ ‰ œœ
œ œ ‰ œ ‰ œ ‰ œœ œœ œœ
œ œ
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[69]
## nœ
‰ œj œ œ
E7
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& ## Ó
3
Œ œ #œ Œ Ó
œ
she’s my pride and joy. She’s my
# # # # œœ n œœ œœ œœ œ œœ
& œ œ
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[72]
#### nœ œ œ œ
B7 A7
œ nœ œ œ œ œ ‰ J nœ œ œ œ œ
3 3
& nœ
####
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œ œ nœ #œ œ œ #œ œ œ
T 4
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B 2 2 5 6 2 2 0 0 3 4 0 0 0 0
[75]
#
####
E7 E7 9
& ˙ Ó ∑ ∑
Uj
#### n n œœ ˙˙
n œ n œ œœœ œ œ œ œ n œ œ
n œœ œ n œœ œœ
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& # œœ ˙˙
3
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j j
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3
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3
4
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8
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2 6
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7
0
[77]
15
Pride And Joy | Technical Guidance
‘Pride And Joy’ is a tour de force from Stevie Ray Vaughan. This acoustic version features much from his electric guitar
studio version with a band for support. Stevie Ray Vaughan’s acoustic version is for solo guitar. Some of the bends in the
lower frets may be a little challenging, particularly if your guitar has a stiff action. To save de-tuning the guitar, the recorded
version is in E concert. Stevie Ray Vaughan generally tuned down a half step (he used heavy strings so executing this stuff at
concert pitch would have been excruciating). The turnarounds are iconic post Hendrix classics. The rhythm part at bar 5 is
interesting because the offbeat chords continue while the bass register slurs up a semitone from low G. Practise this slowly
until it is engrained.
16
Michael Jackson | Man In The Mirror
SONG TITLE:
MAN IN THE MIRROR q =100
4 ∑
&b4
ALBUM:
BAD N.C.
LABEL:
EPIC
GENRE:
SOUL / POP
œ œ œ
œ œ
WRITTEN BY:
SIEDAH GARRETT AND
4 J
&b4
GLENN BALLARD
GUITAR:
DAN HUFF
PRODUCER:
QUINCY JONES AND
MICHAEL JACKSON
UK CHART PEAK:
21 IN 1988 / 2 IN 2009 8 8
8
T 10
A
B
‘Man in the Mirror’ was the fourth consecutive started to behave rather erratically and this attracted
US number 1 single from Jackson’s 1988 album Bad. much tabloid press attention and controversy. Michael
The song, although not penned by Jackson, had a Jackson died in June 2009. His health had been
highly personal meaning for him. The single’s sleeve deteriorating for sometime and he was reported to
œ Jackson’s legacyœ as œa vocalist, ‰

contained a dedication to Yoshiaki Ogiwara, a five have financial difficulties.
bMichael œ writerŒ and

year old Japanese boy kidnapped and murdered in
September of 1987. Jackson was touring Japan at
the time. The songs’ lyrics, in favour of convergence &dancer is considerable. He never wrote music or
and change, highlight the need to change ourselves. lyrics down and he is said to have used his vocals
mmm.
The video does not feature Jackson – a noticeable to reproduce all the sounds he was interested in
departure from his previous video work. Instead,
œ œ œ
capturing for recording. He was influenced by many
œ œ
&b œ
it is a montage of footage from various significant artists, Diana Ross counting as a major influence.
political and social events.
Michael Jackson had a successful career from a

young age as part of the Jackson 5. His work spans
from motown to disco and pop. In 1971 he started his
solo career and by the early 80’s he was a dominant T 5 7 5
figure in popular music with an unprecedented A 8

worldwide success. Thriller, his 1983 release, is B
the best selling album of all time. Jackson was [3]
the recipient of countless awards. He has sold an
estimated 400 million records and was, to many, the
king of pop.
His most critically acclaimed and commercially

successful work is that featuring Quincy Jones as
producer and it includes, Off the Wall, Thriller and
Bad. Towards the end of the mid 1990’s Jackson
D m7
œ 17 Œ
C/E
œ
F
&b ‰ œ
j œ œ œ œ
a change
Man In The Mirror Michael Jackson
q =100
& b 44 ∑ Ó Œ ‰ œ œ
N.C.
œ œ œ œ
Mmm,
4 œ œ œ œ œ œ œ œ
b
& 4 J J J J J J
8 8 8 8
T 10 8 6 5
7
A
B
œ œ œ œ œ œ
&b œ Œ ‰ œ
J
œ ‰ Œ
mmm. Aah, ooh.
œœ
&b œ œ œ œ œ œ œ œ œ œ œ œ œ
J
œ
T 5 7 5 5 5 7
6
5
A 5 8
B 8 8
[3]
B b add 9
j j
F C/E D m7 C
&b ‰ œ
j œ œ œ œ œ œ Œ ‰ œ œ œ œ œ œ. Ó
I’m gon - na make a change for once in my life.
œ j j j
œ œ œ œ œ œ j j œ j
œ œ œ œ œ œ œ œ œ
& b œ. œ œ Œ œ œ œ œ
J J J J Œ œ ˙
J ˙ Ó
8 8 8 8
T 10 8 6 5
7 5 7 5
A
B 8 7 5
8 6
8 8
[5]
18 Words & Music by Glen Ballard & Siedah Garrett
© Copyright 1987 Yellow Brick Road Music/Universal Music Corporation/Arlovol Music.
Universal/MCA Music Limited/BMG Rights Management (US) LLC.
B b add 9
‰ . œr œ œ œ œ œœ
D m7
œ
F C/E C
&b Ó œ œ œ œœŒ œ œ œ œ œ œ‰ ‰ œ œ
It’s gon - na feel re - al good, gon - na make a diff - ’rence, gon - na make it right.
œ œ œ œ œœ œ œ œ œ j œ j
&b œ œ œ œ œ œ œœ œ œ œ œœœ
œ œ. œ œ Œ œ œ ‰ ‰ œJ ˙
J J J J
8 8 8 8
T 5 7 5
10 6 8
5 0
6
7
5
5
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B 8 8 7 5
8
8
[8]
&b œ œ œ œ œ œ œ œ œ Œ Œ œ œ
As I
œ œ œ œ œ œ œ œ
m a
& b œœœ œœ œœ
p
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i
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œ ‰ Ó œ œ œ
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T 5
6 5
5 5 7 5
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B 6
8 8 7
6 6
8 7
6
5
[11]
j ‰ œj œ œ œ œ œ œ
j
&b ‰ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ
turn up the col - lar on my fav - ’rite win - ter coat, this wind is blow - in’ my mind.
œ œ œ œ œ œ œ œ œ œ
œœ œœ œœ œœ œ œ œ œœ
& œœ
b œ œ
œ œ ¿ œ œ ¿ œœ œœ ¿ œœ
œ œœœ œ
œ. ‰ ‰ ‰
†
8 8 8 8 8 10 8
T
¿† ¿ ¿
10 8 6 5 6 6
5 5 5 5 9 10 9
A 10 5 8 8
B 8 7 5
8
8
6
[13] † ‘x’ noteheads throughout the piece denote the side of
the right hand striking the strings for percussive effect.
B b add 9
œ . ≈ œ œ œ œ œj ‰ ≈ œ œ œ œ œ œJ ‰ ‰ œ œ œ
D m7
‰ ‰.
F C/E C
& b œ. r
œ œ œ œ J
I see the kids in the street with - out e - nough to eat, who am I
j j j
œœ œ œ œœ œœ œœ ‰ œœ œœ œœ œ j
& b œ œ œ œ œ œ œ œ œ
‰
œ
œ
¿ œ ¿ ‰ œœ œœœ
œ ‰ œœœ
Œ œ œ Œ œ œ œ ¿ œ œ ‰ ¿
J J ‰
T
¿ ¿ ¿ ¿
10 8 8 6 6 5 6
7 5 7 5 5 5 5 5 5 5
A 8 7 5 5 10 5 8
B 6
8 7 8 7 5 5
8
8
[16]
19
&b œ œ œ œ. œ œ œ œ œ œ œ œ œ œ. ‰
to be blind, pre - tend - ing not to see their need?
œ œ œ œ œ
& b œœœ œ œ œ œ œ œ œ œ
a i m
œ œ œ œ œ œœ œ œ œ
a i m
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Œ 1 3 Ó
8 6 5
T 6 6
5 5 3
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B 6
8 7 5 3
6
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6
0
[19]
B b add 9
j
‰ œj œ œ œ œ œ
j
œ œ œ œ œ œ œ œ œJ œ
G m11 F add 9/A
& b ‰ œ Œ œ
A sum - mer’s dis - re - gard, a bro - ken bot - tle top, and a one man’s soul.
j j j j
œ œ œ œ œ œ œ
˙ ˙
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˙ ˙
T 3 0
1
0 0 0 0
1
0 0
1
3
A 0 3 3 0 3 3
B 3 3
0 0 1 1
[21]
‰ œj œ
j
œ œ œ
F add 9/A G m11 F add 9/A
&b œ œ œ œ œ œ œ œ œ œ œ œ œ. Œ
They fol - low each - oth - er on the wind ya know, ’cos they got
j j œ j j
&b œ œ œ œ ˙ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
w ˙ œ œ ˙. œ
3
T 0 0
1
3 0
1
0 0 0
1
2 0 0
A 3 0 3 3
B 3
3 3
1 0 0
[24]
B b add 9
œ œ œ œ
&b œ œ œ œ œ œ œ œ œ
G m7/C
‰
J
no - where to go. That’s why I want you to know.
œœ œœ
œ
3
&b œ œ œ œ œœ œœ œ œ œ œ œ b œj
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j
˙ œ œ ˙ œ œ œ
nœ
J ‰ Ó
3
T 1
3
3
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6
7 5 5
A 3 0 3 3 3 7 6 5 3 0
B 1 1 3
[27]
20
Bb Bb
œ œ œ œ œ. œ œ œ œ F add /A œ
œ œ œ œ œ œ
F F add 9/A C sus 4 F 9
&b Œ ‰ Œ Œ
I’m start - ing with the man in the mir - ror. I’m ask - ing him to
œœ j œ j
& b nœ œœ ¿ œœœ œœ œœ œ œœ ‰ n œœ ‰ œj œj œœ œœ ‰ œj
3
œ œ œ # œ œ œ nœ œ œ
œ œ nœ œ œ œ œ
1
T
¿
1 6 1 1 1
2 0 3 3 0 2 0 2 0
A 3 3 3 8 7 3 3
B 3
1 3 5
1 3 4 5 5
8 1 3
0 0 1
[29]
b b
œ œ œ œ œ. œ œ F addœ /A œ œ œ Bœ œ œ. œ œ œ
‰ ‰ bœ œ
C sus 4 9 B m7 5 C sus 4
œ
F
&b Œ ‰ œ
change his ways. And no - mes - sage could - a’ been an - y clear - er. If you
&b œ œœœœ œ œ œ Œ
3
œ œ œ œ œ ¿ œ œ œœ ¿¿ œœ
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. J J
T ¿¿
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1
0 2 3 3 0 2 0 2 2 0
A 3 0 3 3 3 3 3 3
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1
0 1 2 2 3
[32]
&b
bœ œ œ œ œ. œ œ œ œ ‰ œ œ bœ œ œ œ ‰ œ œ œ œ œ œ œ œ
wan - na make the world a bet - ter place, take a look at your - self then make a change.
j j j
j j b œœ œœ œœ œœ b œ œœ œœ œœ
& b œœ œœ œœ ‰ bœ ‰ œ œ œ ‰ œœ œœ œœ
1 3 1
T 0 0
4
3
4
3
3
3
4
3
3 3
3 5
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B 3 3 3 3 3
[35]
B b add 9
œ
F C/E D m7 C
&b Œ Ó ‰ œ œ œ œ œ œ œ. œ
Na, na, na. Na, na, na. Na,
& b ‰œ œ œ œœ n œœ œœ œ œ œ œ œ œ œ œ œ œœœ œœ
œ œœœ œœ œœœ
.
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J J ‰
1 0
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1
0
1
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0
1
0
1
2
1
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B 3 8
[37]
21
&b œ Œ ∑
C Dm C 7/E
œ œ œ œ
na, na, na, na.
j j j j j
œœ œœ œœ œœ œœ œœ œ œ œœ ‰
& b œœœ œœœ ¿¿¿ ¿¿ œ ¿¿ œœ œœ œ ¿¿ œ
˙ œ ‰ œ
J
T ¿¿ ¿¿ ¿¿ ¿¿
¿
5 6 8 5 6 8
5 5 7 9 5 9 0
A 8 5 7
B 6
8
6 8
5 7
[39]
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[44]
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[47]
22
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[49]
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[65]
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[68]
24
#
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n œœ œœ n œœ n œœ n œœ œœ n œœ œœ n œœ .. n œœ n œœ n œœ
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[79]
25
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26
F# C #/E # D # m7 C#
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change. Na, na, na. Na, na, na. Na,
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27
Man In The Mirror | Technical Guidance
Michael Jackson’s version was recorded by session heavyweights such as Dann Huff on guitar and Greg Phillanganes on
keys. This is a new arrangement for solo guitar with percussion. Vocals on the recorded version are by Noel McCalla.
The arrangement keeps momentum throughout with many added fills. Note the use of Lydian scale harmony on the IV
(subdominant) chord B b add 9 chord. This gives rise to such voicing as C/D. This version is best played in a hybrid style
using a pick and fingers. It will not work with pick only.
There’s plenty of detail in the arrangement. When you first learn it, take time to carefully plan your left and right hand
fingerings. It will save a lot of time in the long run.
The recording is played fingerstyle as this approach would be more common among acoustic players.
There are some Curtis Mayfield and Jimi Hendrix inspired rhythm fills in the piece.
28
Norah Jones | Don’t Know Why
SONG TITLE:
DON’T KNOW WHY q = 83
ALBUM:
COME AWAY WITH ME /
B b maj 7 Bb7
œ b œœ œœ
2002
bb 4 œœ
LABEL:
FAVORED NATIONS
& 4
GENRE:
POP / JAZZ

WRITTEN BY:
JESSE HARRIS
GUITAR:
JASON ROBERTS AND ˙ ˙
NORAH JONES
PRODUCER:
NORAH JONES,
9
ARIF MARDIN AND
T 10
7
11
7
JAY NEWLAND
A
B 6
6
j
C7
bb œœ œ n œœ œœ œ
œ
‘Don’t Know Why’ was featured in Norah Jones’ piano and singing in ‘Victoria Moon’ by the Foo
&
2002 Platinum release, Come Away With Me. It is Fighters, and being in the alternative country band
˙
her biggest single to date. It reached the top 40 of the For the Good Times. For her fifth studio album, Little
˙
Billboard 100. Broken Hearts, Jones teamed up with DJ and producer
Danger Mouse. Jones also recorded a Christmas duet
The single won Grammy awards for Record of The with Cyndi Lauper. She has toured extensively to
Year, Song of The Year and Best Female Pop Vocal promote each of her records.
Performance. ‘Don’t Know Why’ was written by Jesse
5
Harris and has been covered by numerous artists as a
result of Norah Jones’ recording success.
T 3
6
3 3
A 3
Norah Jones was born in 1979 in Brooklyn, New B 3
York. She is the daughter of Indian sitar virtuoso
[3]
Ravi Shankar and Sue Jones, an American concert
producer. She started singing at junior school and by
Bb7
j
high school had won Down Beat Student Music award
B b maj 7
for Best Vocalist and Best Composition. She attended
b ‰ œ œ œœ œœ œ
The University of North Texas (UNT) majoring in
b bœ œ
piano. During this time she met Jesse Harris, with
& œ.
whom she started a band in 1999 after moving to New
˙
York City. Jones was signed to Blue Note Records
after presenting a three track demo including two
standards and a song by Harris.
Jones has released five albums to date. She is a

versatile and curious artist and has taken part in a 5
6
variety of other projects. These include singing in T 6
7 7
Herbie Hancock’s version of ‘Court and Spark’ by A 6
Joni Mitchell, co-writing with Ryan Adams, playing
B 6
6
[5]
29
Don’t Know Why Norah Jones
q = 83
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1
[3]
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[9]
30 Words & Music by Jesse Harris
© Copyright 2002 Beanly Songs/Sony/ATV Songs LLC.
Sony/ATV Music Publishing.
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[13]

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3
3
1
1 2
A 3 3 3 3 0
B 1
3 3
[25]
j j j
œ. œ œ. œ.
G m7 C7
nœ œ œ œ œ œœ
bb nœ
j j
bœ bœ
& œ œ œ
œ œ œ Ó
œ œ
6 6 5 0 5 4 5 4 3 1
T 0 0 3
1
A 0 0
B 3 3
3
[27]
F add 9
j F7
j
F 13
j
b b œœ b
‰ nœœ œ.
œ. œœ œœ .. œœ œœ œ œ œ
& œ œ œ
œ œ œ œ œ œ œ ‰ Œ
J
T 4
2
3
2
1
2
4 3
3
A 3
B 1 1 1 1 1 1 1
5 3
[29]
32
œœ j j
D7
b œœ œ œ œ œ œ œ œ œ œ nœ œ nœ œ
&b ‰ bœ œ œ œ
j
#œ
bœ
œ. œ œ ˙ n˙
‰
5
T 6
5
6 6
7 6 5 3 5 3
6 4 3
5
A 5 6 0 5 4
B 6 6
6 5
[31]
E b/F Bb
b
G m7 C7
œœ œ ≈ œ œ œ œ
&b ‰ n œœ œ n œœœ œœ
œœ
œ œ
nœ
œ
b˙
œ
˙ œ œ
œ. ‰ ˙
T 3
3
3
1
3 3 3
1 3
3 5
3
A 2 2 3 2 1 3 0
B 3
3
1 6
0
[33]
B b maj 7 Bb7 E b maj 7 D7
œ œ j
b œ œ œ œ. œ œ
3
&b ‰ œ œ bœ œ œ œ œœ
.
˙
œ œ #œ œ
œ Œ œ bœ
5
T 6
5 7
6
7
3
3 3 3
A 8 6 4
B 6 6
8 6 6 3 5 5
4
[35]
#
G m7 5 C7 E b/F Bb
b œ œ œ œ œ œ
&b ‰ œœ n œœ n œœ b œœ . œ œ
j
œ
˙ œ œ œ œ œ œ œ
nœ œ. J
T 3
3 1
3 3 3
1 3 1 3
3
A 1 2 0 2 1
B 3
3
0 1
1 1 0
[37]
Bb
G m7
j j C7
j
œ. œ œ. œ œ. œ œ œ œ
bb nœ œ
j j
œ
bœ bœ
& œ œ œ
œ œ œ Œ
œ œ
6 6 5 5 4 5 4 3 1
T 0 0 3
5 1
A 0 0
B 3 3
3
[39]
33
b ˙ ‰ j œœ # n œœ
F add 9 F7
&b œ œ nœ n b œœ œœ œœ b œj n œœ
œ œ Œ œ. œ œ œ nœ
œ ‰ Ó
1 0
T 1
0 2
3 2 4
5
3
3 1 2
1
A 3 3 3 3 0
B 1
3 3
[41]
j j j
œ. œ œ.
G m7 C7
nœ œ. œ œ œ œ œ
bb nœ
j j
bœ bœ
& œ œ œ
œ œ œ œ œ Ó
6 6 5 5 4 5 4 3 1
T 0 0 3
5
A 0 0
B 3 3
3
[43]
j j j
F add 9 F7 F 13
bb œ
. b œœœ œœ œœ œœ œœ œœ œœ œ œ œœ
& œ n œ œJ œœ œ œ ‰ œ
œ ‰ J ‰ J ‰ œ Œ œ
3
T 0 2
1 4
3
3
2
4
5
3
3
1
2
3 1 6
5
A 3 3 3 1
B 1 1
0
[45]
œ œ b œœ œœ œ œ œœ œ #œ œœ œ n œœ
b œ œ
&b œ
˙ n œœ œ˙ œ
˙ ˙
6 6
T 10
7
9 6
7
8
7
8 7
5 5
7 6
A 8 7 8
B 6 6
6 5
[47]
E b/F
C7
j j j j j
œœ œœ
b b œœ œ œ n œœ œœ œ b œœ œœ œ œ œ œ.
& ˙
˙ w
3
T 3
6 5
3 3
4
3 3
4
3 3
A
B 3
3
1
[49]
34
œ œ
b œœ b œœ œœ œ œ œœ œ #œ œœ œ n œœ
& b œ
˙ n œœ œ œ
˙ ˙ ˙
6 6
T 10
7
9
7
6
7
8
7
8 7
5 5
7 6
A 8 7 8
B 6 6
6 5
[51]
E b/F
C7
j j j j j
b œ œ n œœ œœ b œœ œœ œœ œœ
&b œ œ œ œ œ œ œ.
˙ ˙ w
3
T 3
6 5
3 3
4
3 3
4
3 3
A
B 3
3
1
[53]
B b maj 7 j j Bb7 E b maj 7

œœ œœ œœ œ j
D7
b œ b œ b œj œ œ œ œ œj b œ œ œ œ œ
&b ‰ œ
3
œ ≈ œ œ œ œ œ ≈ #œ nœ œ œ œ
œ nœ œ
5
T 6 6
5 7 7 6 5 3 5 6 5 3 0 3
A 5 6 5 3 4 5 4 0
B 6
5 8 5
6
6 5 3
5
[55]
G m7 C7 E b/F Bb
b j œ
nœ œœœ œœœ . œ œ œ b œ œ œj œœ œœ n œ
'21
&b ‰ n œœ n œœ . œ
bœ. œ œ œ
œ Œ œ bœ J Œ
œ.
6
T 3
3 1
3 3 3
1 3 3 4 3
3 5
3
3
A 3 3 2 1 3 3 5
B 3
3
2 1 6
[57]
B b maj 7 Bb7 E b maj 7 D7
b œ œ œ œ œ œ œ œ œ œ
3
&b ‰ œ bœ œ œ œ œ œ œ œ ˙
œ Œ œ Œ Œ Ó
5
T 6 6
7 5 7
6 8 3
3 3 3 5 3
A 8 6 5
B 6 6
6
[59]
E b/F Bb
Uj
G m7 C7
j j j
œœ œœœ œœœ b œœ œ œœ nœ.
Very freely
œœ n œœ œ œ œ œ
b b ‰ œ œ bœ b œœœ
n
œ ˙
& œ. bœ nœ œ.
œ ˙
J
10 8 8 8 10
T 11
12
11
10
10
10
11
11
8
9
11
10 8 10 12
11
10
A 13 11 8 8
B 10
8
11 8
[61]
35
Don’t Know Why | Technical Guidance
‘Don’t Know Why’ by Norah Jones seemed like a natural choice for the solo guitar approach. There are plenty of interesting
chord changes but also room for repetition. The melody is simple enough to bear embellishments without losing its essence.
The accompaniment and the statement of the melody are quite separate. There is some counterpoint at bar 17.
When first learning this piece, take the time to carefully plan your left and right hand fingerings. It will save a lot of time in
the long run.
In bar 7 it would be best to play the F moving to the E with the second finger, whilst holding down the bass note C with
the 3rd finger. This means the chord will sustain rather than having to cut it off to hit the E.
In the second beat of bar 9 the easiest way to finger it is to barre at the 6th fret to prepare for the next 2 beats.
Space was created for a few solo type fills, for instance at the end of bar 8.
Position shifting is also important here. Bar 13 starts in first position but moves to 3rd position for the second half of the bar.
The piece ends with some triads over the bass notes of the underlying harmony. If you are interested in harmony, listen to
Pat Metheny’s astounding solo guitar version of this same song where he travels all over the harmonic map. It is featured on
his 2003 release One Quiet Night.
36
Simon & Garfunkel | The Boxer
SONG TITLE: THE BOXER

ALBUM:
BRIDGE OVER TROUBLED
q = 90
œ œ œ œ œ bœ œ œ œ œ
WATERS
N.C.
&C œ
LABEL:
COLUMBIA
GENRE:
FOLK-ROCK
WRITTEN BY:
PAUL SIMON
GUITAR:
PAUL SIMON AND
ART GARFUNKEL
PRODUCER:
ROY HALEE, 0 0 0
0 3
PAUL SIMON, T 8
7 7 0
ART GARFUNKEL A 8
UK CHART PEAK:
6 B
. ‰ œ jŒ
œ œ ‰ œ œ œj
C
& . œ œ œ œ œ œ
Œ
‘The Boxer’ was featured in the seminal Bridge and Jerry Douglas on dobro. The recording is also
Over Troubled Waters, by Simon & Garfunkel, included on the latter’s 2012 release Traveller.
released in 1970. The record is one of the world’s
bestselling albums. The song’s lyrics are largely
autobiographical and deal with themes of isolation
.
and poverty as well as with some indirect biblical
1
.
1
references. It was written at a time when Paul Simon
felt he was being unfairly criticised. ‘The Boxer’
T 1
0 0
2
0
was covered by many artists since its 1970 release. A 2 0 2
3
These include Bob Dylan, Neil Diamond, Emmylou B 3
Harris, Bruce Hornsby and Chet Atkins amongst
many others. [5]
Simon & Garfunkel are natives of New York City
j
and their music became part of the soundtrack to
œ j œ
‰ œ ‰ œj Œœ
the cultural revolution of the 1960’s, alongside that G
‰ œ
of The Beatles, Bob Dylan and The Beach Boys. The
& œ
duo won 10 Grammy Awards. Many of their songs
œ œ œ
have become classics of the folk-pop repertoire.
œ
Simon & Garfunkel split in 1970 but reunited many
times since. Paul Simon’s Graceland, released in
1986, was a massive success worldwide.
Mumford and Sons covered ‘The Boxer’ in 2012 3

3 0
and featured it as a bonus track on the deluxe T 0
0
0
edition of their 2012 release Babel. The record
topped the UK album chart, the Billboard 200 in
A 0 0
the US and received a Grammy award. The song B 3 3 3

featured Paul Simon on vocals and electric guitar [9]
37
The Boxer Simon & Garfunkel
Arranged by Carl Orr
q = 90
œ œ œ œ œ œ œ œ j j j j
œ œ œ œ # œ œ œ ‰œ œ œ œ ‰ œ œ œ ‰œ œ œ œ ‰ œ œ œ
N.C. C
& C bœ
œ œ
0 0 0 0
T 8
7 7
3
0
3
0
1
3 0
1 1
0
1
0
1
0
1
0
A 8 2 2 2 2
B 3
3
3
3
j
& .. ‰ œ œ œ Œœ œ œ œ ‰ œ œ œj Œ œ œ œ ‰ œ œ œ ‰ œ œ ‰ œ œ œj ‰ œ œ œj
j j
C C G/B Am
œ Œ œ œ Œ œ œ œ œ œ
.
.
T 1
0 0
1 1
0 0
1 1
0 0 0
1
2
1
2
A 2 0 2 2 0 2 2 0 2 2
B 3 3 3 2 0 0
[5]
œ j œ j j j
G7 G6
œ
G
& ‰ œ ‰ œj Œ ‰ œ ‰ œj Œ ‰ œ ‰ œj Œ œ ‰ œ ‰ œj Œ
3 3 1 0
T 0
0
0
0
0
0
0
0
A 0 0 0 0 0 0 0 0
B 3 3 3 3 3 3 3 3
[9]
& ‰œ œ j ‰ œ j ‰ œ j ‰ œ j ‰ œ j ‰ œ œ ‰ œ œj ‰ œ œj
j
C C G/B Am
œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ
T 1
0
1
0
1
0
1
0
1
0 0 0
1
2
1
2
A 2 2 2 2 2 0 2 2
B 3
3
3
3
3 2 0 0
[13]
j j j j j j œœ ‰ œ œj
& ‰ œ œ œ ‰ œ œ œ ‰œ œ œ œ ‰œ œ œ œ ‰œ œ œ œ ‰œ œ œ œ Œ˙
G F/C C G/B
œ
œ œ œ œ
0
T 0
0
0
0
1
2
1
2
1
2
1
2
1
0 0 0
A 0 0 3 3 3 3
B 3 3
3 3 3 3 3 2 0
[17]
38 Words and Music by Paul Simon
Copyright © 1968 Paul Simon (BMI).
International Copyright Secured. All Rights Reserved.
Used by Permission.
1.
j j j j j j j j
& ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ
G C
T 0
0
0
0
0
0
0
0
0
0
0
0
1
0
1
0
A 0 0 0 0 0 0 2 2
B 3 3 3 3 3 3
3
3
[21]
œ j ‰ œ j œ j ‰ œ j œ j ‰ œ j .
& ‰œ œ œ œ œ
‰
œ œ œ œ œ
‰
œ œ œ œ œ .
œ œ œ
.
.
T 1
0
1
0
1
0
1
0
1
0
1
0
A 2 2 2 2 2 2
B 3
3
3
3
3
3
[25]
2.
j j j j j j ˙˙ ..
& ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ Œ
G F/C C
˙.
œ œ œ œ œ œ w
0
T 0
0
0
0
1
2
1
2
1
0
1
0
1
0
A 0 0 3 3 2 2
B 3 3
3 3 3
3
3
[28]
œ j‰ œ j œ j‰ œ j Em j j j j
& ‰ œ œ ‰ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ
Am
œ œ œ œ
T 1
2
1
2
1
2
1
2 0 0 0 0
A 2 2 2 2 2 2 2 2
B 0 0 0 0
0
2
0
2
0
2
0
2
[32]
œ j‰ œ j œ j‰ œ j G j‰ œ j ‰ œ j‰ œ j
& ‰ ‰ ‰ œ
Am
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T 1
2
1
2
1
2
1
2
0
0
0
0
0
0
0
0
A 2 2 2 2 0 0 0 0
B 0 0 0 0
3 3 3 3
[36]
j j j j j j j j
& ‰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
C
œ œ œ œ
T 1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
A 2 2 2 2 2 2 2 2
B 3
3
3
3
3
3
3
3
[40]
39
œ œ œ œ œ œ œ œ œ œ œ œ œ j
& œJ
C C G/B Am
J J J œ. œ œ œ œ j
œ œ. œ œ œ œ œ
0 0 0 3 0 5 0 3 0
T 3 5 3 1
0 0
A 2 0 0 2 0
B 3 0 2 3
[44]
j j j œ œ œ œ œ. œ œ œ œ œ œ œ œ
G G 7 G6
& œ. œ œ. œ œ œ œ œ œ. œ J
3 3 5 3
T 0 2 0 0 2 4
3 5 3 6 6 5 6
A 5 2 0
B
[48]
œ. œ ˙ w œ œ œ.
J œ œ œ œ
C Em Am
& Ó œ. J œ œ ww
3 8 8 7 3 0
T 9 7 4
3 0
0 2
A 2
B
[52]
œ œ œœ w
G7
& Ó œ œ w ∑ Ó œ œ œ œ
5 0 3
T 5 0 4
A
B 7 5 3 7
[57]
&‰ j Ó ‰ œ. ∑
C
œ ˙. œ œ œ œ ˙
T
A
B 7 7 5 3 7 7
[61]
O ‚ O
O O O O O.
C Am G G7
& O
AH 17 AH 20 AH 17 AH 19 AH 17 AH 19 AH 19 AH 20
T 5 8
5 7
5
7 7
8
A
B
[65]
40
O. O O. ‚ O O O
‚ O O O
G6 C C G/B Am G
&
AH 20 AH 18 AH 17 AH 20 AH 20 AH 20 AH 17 AH 20 AH 17 AH 17 AH 20
8 5
T 8 6 5 8 8 5 8 5 8
A
B
[72]
O O O O O O œœ œœ œœ
F/C C G F/C C
& Ó
AH 18 AH 17 AH 19 AH 17
T 6 5
7 5
5
5
3
4
5
5
A
B
[78]
w œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
&w œœ œœ
Am Em
Ó ˙˙
T 5
5
5
5
5
5
3
4
3
4
1
2
0
0
5
5
3
4
5
5
A
B
[85]
œ œœ œœ œœ œ. œœ œœ œœ œœ œœ œœ œœ œœ ..
&œ Œ Ó Ó ‰ œ.
Am G
1 3 5 3 1 0 1 1 1 1
T 3 5 6 5 3 1 3 1 1 1 3
4
A
B
[89]
w œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
&w Ó œœ œœ ˙˙
Am Em
T 5
5
5
5
5
5
5
5
3
4
3
4
1
2
0
0
5
5
3
4
5
5
A
B
[93]
œœ œœ œ. U
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
‰ œ. w
Am G C
&œ Œ Ó Ó gg ww
J ggg ww
g
gg 01
ggg 02
1 3 5 3 1 0 1 1 1 1
T
gg 3
5 3 5 6 5 3 1 3 1 1 1 3
5 4
A
B
[97]
41
The Boxer | Technical Guidance
This remarkable song features three guitars in its original recording. It is a completely diatonic song, comprising chords
C major (I/tonic), F major (IV/subdominant), G major/G 7 (V/dominant), A minor (VI/submediant) and E minor (III/
mediant). However, interest is created by very odd harmonic rhythms. The verse starts with three bars of C major (with a
passing chord of G/B), one bar of A minor, followed by four bars of G major. This creates a sense of unpredictability and the
listener is drawn in, unsure of what will happen next, an attractive and highly effective way to write.
This arrangement is for a single guitar and comprises the most prominent parts of the original recording.
The song begins with an unaccompanied and intricately arpeggiated C 9 chord for two bars. As six of the 16 notes are open
strings, allow each note to continue ringing under the following note when possible. The open high E string on the 4th beat
of the first bar allows time for an abrupt position change from the 6th to the 1st position. This phrase is very tricky and will
take a significant amount of time to execute properly, so it is advisable to start out slowly and allow a few weeks of playing it
every day to get it up to tempo.
At bar 5, hold down an open C major chord and arpeggiate as written. From here on to bar 44 the down stem notes
should be played with the thumb and the up stem notes with one finger per string; index finger (i) on the G string, second
finger (m) on the B string and third finger (a) on the high E string. There are a few different fingerpicking patterns so it is
important to master each one. Some of the picking patterns recur at different points of the song, most notably the pattern in
bar 8 (A minor) which recurs in bars 16–20, 21–23 and 29–39.
From bar 44 to 52 there is a country style guitar solo. Special attention is needed for the slides in bars 45 and 48, and for the
slurs in bars 45, 46, 49 and 50.
In bars 60–63 the dobro phrase from the original recording is featured, emulating its phrasing by sliding from one note to
the next where appropriate.
From bar 65–83 there is a brief melodic solo in right hand artificial harmonics, emulating the pedal steel/piccolo trumpet
unison soli from the original. This is achieved by holding the right hand index finger on the string 12 frets above the notated
pitch, without pushing the string down onto the fingerboard, simultaneously striking the string with the third finger,
producing a delicate, bell-like harmonic. From bar 84 onwards, the song finishes with a statement of the chorus melody, in
double stops to recreate Simon & Garfunkel’s two-part harmony.
42
Brad Paisley | What A Friend We Have In Jesus
SONG TITLE:
WHAT A FRIEND WE HAVE Solo Guitar
IN JESUS Free time
A/D G/D
œ œœ œœ œ œ œ œ
ALBUM:
PLAY: THE GUITAR ALBUM D
## 4 .
/ 2008
& 4 .
œœ
LABEL:
FAVORED NATIONS
GENRE:
COUNTRY
WRITTEN BY:
TRADITIONAL/ARRANGED
BY BRAD PAISLEY œ
.
GUITAR:
PAISLEY
E
.
7 5 3
PRODUCER:
N/A T B
G 7 [ 7] 6 6
A D
0
0 7 5
B A
D 0
‚ ‚ ‚ ‚
## 4 ‚ ‚ ‚ J
& 4 ‚ ‚
Brad Paisley is a critically acclaimed singer, In 2011, Paisley published Diary of a Player: How
songwriter and guitarist. He was born in West My Musical Heroes made a Guitar Man Out of Me.
Virginia in 1972. His first release, Who needs The book charts his early years and influences as well
œ
Pictures?, from 1999, sold more than a million copies as the start of his career.
and catapulted him to fame. Paisley started playing
guitar aged eight. By the age of 12 he was singing Paisley has soldNH
over 12 million albums and has
in church, at civic meetings and playing in a band won three Grammy awards, 14 Country Music 12
for which he wrote his own material. He eventually Association Awards and two American 12Music Awards.
7
secured a spot on Jamboree USA, a popular Country T He has also earned Country music’s crowning
music radio show. He was very popular with the A achievement, membership
12
12of the7Grand Ole 7Opry.
listeners and was invited to join the program as a full
time musician.
B 0
[4]
He studied at Belmont University in Nashville q =78
under the American Society of Composers, Authors
œ œ œ
D
œ
and Publishers Scholarship. He was signed to EMI a
## œ œ œ
week after his graduation.
œ
& œ œ
‘What A Friend We Have In Jesus’ is a Christian
hymn originally written as a poem by Joseph
œ œ
M. Scriven in 1855, in Canada. It was written to
comfort his mother who was living in Ireland. It was
published anonymously. The hymn was composed in
1868 by Charles Crozat Converse.

5 5 7 5
0 5 3
Play: The Guitar Album, from 2008, features duets T 3
with acclaimed musicians such as B.B King, Vince Gill
and Keith Urban.
A 0 0
B 0 0
[7]
43
D
What A Friend We Have In Jesus Brad Paisley
Solo Guitar
Free time
A7
# œ œœ œœ œ œ œ œ œ œ
D A/D G/D D
& # 44 .. j œ œ œ œ œ œ œ œ œ œ œ œ œœ œ 42 44
3 3
3
œœ œ œ
œ ˙
E
.
.
T B
G
7 5
7 [ 7] 6 6
3
0 0
0 3 2 3 2 0
2 4 0 0
A D 0 7 5 2 4 0
B A
D 0
0 0 4 0
0
‚ ‚ ‚ ‚
‚ ‚ ‚ ‚‚ ¥
G/D D A/D G/D A/D
# œ œœ œœ œ œ œ œ œ œ
& # 44 ‚ ‚ J
J œ
œ œ œ.
œ NH œ œ œ
12
T 12 7
7 12
12 7
7 [ 7]
5
6 6
3
0
0 2 [ 2] 7
A 12 7 7 12 7 5 2
B 0
12
0
0 0
[4]
q =78
D G
## œ œ œ œ œ œ œ œ
& œ œ œ œ œ
œ œ œ œ œ œ
0 5 5 5 7 5
T 3 3 7 5 3 0 3
A 0 0 0 0 0 0 0
B 0 0 5 5 5 5
[7]
œ œ œ œ œ œ œ œ œ.
A7
## œ œ
D
œ œ œ œ.
& œ œ œ œ œ œ œ œ œ œ
0 2 0 5 5 7 9
T 0 2
3
2
3 5 7
6
7
6
8
6 7 9
A 0 0 5 5
B 0 0
0 0 0 0 0 0
[9]
œ œ
# œ œ œ œ œ
D D9 G
& # n œœ œ œ œ œ
j
œ œ
œœ
œ œ œ œ œ œ
œ œ œ œ œ œ
5 7 5
T 7
7
10
7
7 5
5
5 3 3
0 4
3 0
A 0
7
0 0 0 0
B 0 0 5 5 5
0
[11]
44 Words by Joseph Scriven
Music by Charles Converse
© Copyright 2016 Dorsey Brothers Music Limited.
D B m7 Em A 7sus 4 A D
## ggg œœ .. œ œ œ œ. œ œœœœ
3
j
& œ œ
œ œ œ œ
ggg œ . œ
œ œ
œ. œ œ œ œ œœœ œ
œ œ œ œ œ
3
ggg 32 0 2 0 0 2 0
ggg 2
T 3 2 3 3
2 0 2 0 0 2
A 0 2 0 2 0 2 4 0
B 0 2
0
0 2 4
2 4
[13]
œ œ œ œ œ
œ œ
A D
## œ œ n œœ
œ œ œ #œ ggg œœœ œ œ.
œ
& gg œ œ J
œ
nœ œ œ œ œ
ggg 02
PB 2
BD
ggg 22
0 2 ( 3 )( 2 ) 0 2 5 5 7 5
T 2
2 4
2
3
7
7
7
A
B 0
0 0 0 0 0
[15]
G A A6 A7 A9
## œ œ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œœœ œ œ
œ œ
œ
& œ œ
J
œ œ
œ œ œ œ œ œ œ œ œ
6
7 7 5 5 5 7 5
T 0
7 7
7
7 8
7
7
7
5
6
5 7
6
8
6
5 5
0
A 0 7 7 5
B 5 5 0 0 0
0
7
0 0
[17]
# œ œ œ œœ
œ œ
D G
& # n œœ œ ggg œœ œ œ
j
œ œ bœ
j œœ
œ œ
œ
œ œ œ ggg œœ œ œ
œ g œ œ œ
ggg 30
5 7 5 0
T
gg 0
7 5 7 7 7 5 5 3 0 0
gg 5
7 5 0 3
A 0 0 0
7
0 0 0
B 0 5 5 5
[19]
B m7 A 7sus 4 A
‚ ‚ ‚.
‚
D Em D
# gg œ œ ‚ ‚
& # gg œœ ggg œœ n œœ œ œ. ‚ ‚
j
ggg
œ
ggg n œœ œ œ œ
ggg œ ggg œ œ œœœ œ
gg œ g œ NH
ggg ggg
ggg ggg
0 2 0
gg
T 3 0 3 2 12 7
gg g ggg
2 2 0 12 7
A
g
0 0 0 12 7 0 2 0
B 0
0
2
2
0
0
12 7 0 2 4
[21]
45
## œœ œ œj œœ œœ
œœ
D G
& œ œ œ œœ œ œ œœ œ œ
j
nœ œ œ œ
œ
œ œ œ
T 2
3
2 2 2 4
3 3
2 0 0
A 2 4 4 4 4 2 0 0 0 0 0 0 0 0
B 0 0
2
3 5 5
0 2
0 5
2
[23]
D A 7sus 4 A6 A9
# œ œ œ
& # œ
œ œ œ #œ œ œ œ œ œ œ œ
œ œœ ..
œ œ œ œ
j
œ œ
œ
œ
T 2 0 2 0
3 7 5
6 [6]
A 0 0 0 4 4 2 2 2 4 7 0 5
B 0
0 0 0 0
[25]
œ œ
## œ #œ œ œ œ œ œ œ œ ‚
D j G
œ œ
œ œ œ œ
& nœ œ œ # œ œ
œ œ œ œ œ
œ NH
5 7 5
T 7
5 7 7 5 3 0 3 5 3
0 4
3
0
A 3 7 0 0 4
B 0 2 5
5 0 4
[27]
‚ ‚ œ œ
D B m7 Em A 7sus 4 D
## œ ggg œœ ..
j œ œ œ œ œ œ œ œ
& œ œ
œ j
ggg œœ .. œ
œ
œ œ
œ œ œ œ œ
gg
NH
ggg
0 2 0
T 3 3 3 2 7 5 7 10
g
2 2 2 7 11
A 0
2
5 0
B 0
2
2
0
0
5
0 0 0
[29]
œœ œœ
A7
œ gg œœ
D
## œ œ. œœ œ œ œœœ œ œ œ œ œ œ ¿
& œ œ œœ ggg œœ œœ œ
œ œ gg œ œ œœ
œ œ œ
ggg 32 ¿
Let ring
ggg 02
0 0 2 0 0 0 2 2 10
T 2 2 3 3 3 10 10
g0
0 2 2 7 7 11
A 2 2 2 0 0 0
B 0 0 0
0 0
0
0
[31]
G A7
# # œœ œ
ggg œœœ œ œ œj œœ
œ œœ œ œ œ œ
& œœ œ œ
œ œ ggg œ
œ œ
œ œ
œ œ œ œ
œ ¿ ggg œœ œ œ œ œ œ œ
ggg 57
ggg 70
7 7 5
T 0 0 7 7 8 7 2 7 5
¿ gg 00
0 0 7 7 0 0 0 6
A 0 0 2 2 [2] 7 7 5
B 5
0
2 [2] 7 7
0
[33]
46
j œ ~~~~
## œ œ œ œ œ œ œœ œ œœ œœ
D G
ggg œœ œ œ œ œ
j
&
œ
œ
œ œ
œ
ggg œœ œ œ œ œ
œ
~~~~
ggg
5 5 5 7 5 0
T
ggg
7 7 7 5 5 3 3 3
7 7 7 7 6 0 0 4 4 4
A
g5
0 0 0 0
B 0 5 5
[35]
D B m7 Em A 7sus 4 A B m7
## œ œ œ œ
ggg œœœ .. œ œ œ œ œ œ
j
& gg œœ œ
œ œ
œ
œ
ggg œœ gg œ .. œ œ œ œ œ œ œ œ œ œ
g
ggg ggg 32
02 0 0
T
gg 02
3 2 3 3 3
gg
2 2 0 2 2 2
A 0 0 0 0 0 0 0
B 0
0 2
0 2 2 2
[37]
Freely
C9 D B m7 E m11 A 7sus 4 A
## œ ggg œœœ œ œ #œ œ
b œ œ œ ggg œœœ œ
j
& gg œœ œ
œ
nœ œ œ œ gg œ ggg œ gg n œ œ
gœ œ
ggg ggg 32
gg ggg
0 0 2 0
T
gg 02
3 3 3 2 5
gg
3 3 3 3 2 2
A 2 2 2 0
B 3 3 0
0 2
0
[39]
Uœ
G G/B A9
œ œ œ ggg œœ
## œ œ œ œ
& œ œ œ œ œ œ œ œ ggg
œ œ œ œ ggg œ
œ œ g
ggg 121212
ggg 0
7 7 7 7 10 10 10
T 0
0 0
0
0
0 0 0
0 0
0
0
0
A 0 0 0 0 0
B 5 5 9
[41]
U
D
œ œ œ œ ‚ ‚ ‚
œ œ ‚ ‚
3
## œ œ œ
& œ
œ œ
œ œ
3
NH
10 14 15 14
T 10 15
14 11 7 2 7
7
A 0 7
B 0
0
0
[43]
47
What A Friend We Have In Jesus | Technical Guidance
Brad Paisley’s version is an instrumental solo guitar take on the original. It is played in Drop D tuning which adds
resonance to the arrangement. The intro is played loosely and bar 2 is typical of Paisley’s solo style. Like many of the great
modern country players, Paisley deftly incorporates open strings to connect positions on the guitar. This lick played in open
position has something of a bluegrass feel to it.
When the melody is stated the piece has a steady pulsing feel. It is advisable to use the right hand thumb to play the lower
notes. The thumb is playing a fairly regular quaver pattern throughout. This approach is common in post Merle Travis style
guitar players like the great Albert Lee.
Paisley is a great guitarist with a very personal style infused with the elements of many classic players such as Albert Lee and
Tony Rice.
This arrangement could be played with either hybrid or fingerstyle approaches but you’ll probably find that fingerstyle is
better for definition. Stretching the right hand to pick the outer strings at the same time for the length of the piece might be
tiring if you’re not used to this approach, so it must be practised with caution.
Brad Paisley has recently collaborated with Santa Cruz Guitars on a signature acoustic guitar. It is a dreadnought model, the
guitar type of choice for bluegrass flatpickers. A Santa Cruz Model D was used for the recording.
48
The Beatles | Here, There And Everywhere
SONG TITLE:
HERE, THERE AND
q = 80
EVERYWHERE
G Bm
#4 ‰ œ œ œ œ œœ
ALBUM:
REVOLVER / 1966
œ œœ
œ œ
LABEL:
PARLOPHONE / EMI
GENRE:
ROCK/POP
& 4 œ
˙
WRITTEN BY:
LENNON-MCCARTNEY
ELECTRIC GUITARS:
JOHN LENNON AND
GEORGE HARRISON
ACOUSTIC GUITAR: PAUL MCCARTNEY
3 3 3
PRODUCER:
GEORGE MARTIN T 0
0
2 0
4 2
A 0
2
B 3
% Am
j
G
# . œ ‰
& . œ œ œœ n œ œ œœ
‘Here, There and Everywhere’ was written by Paul
œ
McCartney whilst staying at John Lennon’s house in
œ
Weybridge. McCartney was inspired by the work of
Brian Wilson and the Beach Boys after attending a
listening party for Pet Sounds at the Waldorf Astoria
in London.
. 3
.
The song was recorded at Abbey Road during three 0
days. It took about 13 takes to get a satisfactory basicT 0 0
1
0 2
4
track. Many overdubs followed in what is by now A 0
0
regarded as a classic in the love ballad genre. The tuneB 3
is one of McCartney’s favourites. George Martin and
John Lennon also regarded it as a Beatles favourite. [4]
The recording charts a significant moment in the

Beatles’ music and in pop music in particular. The
Am
œœ
G
# œ
song was covered by many artists from different
n œœ œœ œœ
musical backgrounds since its 1966 release. Its
& œ œ œ œ
complex harmonic structure and movement deftly
œ ˙
underscore the lyrics, inspired by McCartney’s
œ Œ
girlfriend, Jane Asher.
3 3 1
T 0
0 2 2 2
2
A 0 0 4 4
0
B 3
[6]
49
7
Here, There And Everywhere The Beatles
q = 80
b b
Bb E b maj 7
j bœ
A m11 D 7 9 D 7 13
œœœ n œ b œœœ n œ
G Bm
# nœ bœ œ b œœ
& 44 ‰ œ œ œ œ œ œ œ œœ œ œ œ ‰ n œj b œ œ
j
# œœ œ
˙ œ b˙ Ó œ bœ
1 0 3 6
T 0
0 3 3
2
3
0 3
3 4 3 3
5
3
3
6 4
5
A 0 4 2 0 3 5 4 4
B 3
2 1 0 6 5
%
bœ œ œ
G Am Bm C
# œ j œ œ
& .. œ œ œœ n œ œ ‰ œœ œœ œ œ œ œ œ
œ n œœ œ ˙
œ œ Œ Œ
. 3 5 6 5 3
.
T 0 0
1 0
0 2
0
0
1
2
0 3
5
5 3
A 0 4 0 2
B 3
0 2 3
[4]
# œ
G Am Bm C
n œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œœœ
& œ œ œ œ œ œ œ œ œ˙ œ
œ ˙ ˙
Œ
0
T 0
0
3
2
3
2
1
2
0
0
1
2
0 1 3
0 0 2
0
2
A 0 0 4 4 2 0 2 2
B 3
0 2 3
[6]
b
F # m11 B7 F # m7 5 B7
# œ œ œ œ
& œœ œœ ˙˙ œœœ œ œœœ œœœ œ œ
#œ ˙œ . ˙ #œ
˙ œ ˙
J
T 0 0 0
2
0
2
1 0 0
2 2 0
A 1 2 2 1
B 2
2
0 2
2
[8]
1.
To Coda fi 2.
E m7
j A 13 D 7sus 4 D7 D 7sus 4 D7 F7
# œ œ œœ j
& œ œ œ # œ
œ œ
œ œ œœ œœœ. œœ œœ œ œœ œ œ
œ œ œ nœ œ
.. œœ œœ œœ
œ.
œœ œ b œœ b œœœ ..
œ œ
œ Œ œ œ J J ‰ Œ J nœ
. .
. .
T 0 2
7
6
5
4 2
3
2
0
0
3
2 0 0
3
2
0
0
3
2 2 3
1
2
A 7 5 5 0 4 2 0 0 5 4
B 0
0 0 5 3 5
1
[10]
50 Words & Music by John Lennon & Paul McCartney
© Copyright 1966 Sony/ATV Music Publishing.
Bb Gm Cm D7
# œ nœ œ ‰ j œ bœ. œ œ bœ œ œ
& nœ œ œ bœ
bœ. œ œ œ ≈ œ œ œ bœ œ
n˙
J
1
T 3 3 1
3
1 3 4 1
2 2 3
1
A 3 0
B 1 0
3
3 0 3 1 0
[13]
Gm Cm D7
# œ b œœ bœ nœ nœ œ bœ œ œ œ bœ œ b œœ œœ
& ˙. œœ # œœ
œ ˙ . ‰
0 1 0
T 3 3
3
4
0
4 3 1 3 4 1
2 2 3
1
2
A 0 4 5
B 3
3
[15]
# œj n œ
G Am Bm C
j œ œœœ œœœ nœ
& œ œœ œ œ œ œ œ œ œ œ œ œ
bœ œ. œ
œ. ‰ ˙ ‰ Œ
5 3
T 3 0
0 2
0 1 0
0
0 3 3
5 5
5 3
A 1 1
B 3
0 2 3
[17]
œ œœ œ œ œ œ
G Am Bm C
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ
˙ ˙
7 8 7 5 3 0
T 7 9 7
0
5
5
5
3
5
0
0
0 1 3
0 2
0
A 7
B 2 3
[19]
3
b
F # m11 F # m7 5
n œœ n œ œ œ
B7 B7
# n œœœ j
œœ œœ œœ # œ œœ œ œœ
b
n œœœ
œ œ œ œœœ ‰
# œœ
& œ
œ œ #œ œ Œ ˙ ˙
10 8 7 5
T 0 0 0
8
8
8
7
8
0
2
1 0 0
2
0
2 2
A 2 4 7 7 7 10 2 1 1
B 2 5 9 7 2
2
[21]
51
j
E m7 A 13 D 7sus 4 D7
# # œœœ œœœ b # œœœ j j ‰ n œœ nœ

& œ œ œ œ œ œ œ œ ‰ œ bœ
‰ œ œ œ nœ J œ Œ
œ J J
2 0 0
T 0
0 4
4
2
3 2 0
3
0 2 3 5
A 7 5 0 0
B 0
0 0
[23]
Bb
j
3 Gm Cm D7
# œ nœ œ œœ œ œ b œœ œ bœ œ
& œ œ nœ
œœ œ .
œ œ
œ œ
b œœ œ
œ # œœœ b œœ œœœ
bœ Œ œ œ . œ ‰ J bœ œ
T 3
5
6 3 5
5
6 5 3
3
1
2 3
1 3 4
5 2 2 3
1
2
A 5 3 2 0 5 0 4 5 4
B 6 3 3
3 6 3
6
0
[25]
Gm G alt Cm D7
# œ bœ bœ
bœ ggg œœœ œœœ # n œœ œ nœ bœ œ œ n œœ œ bœ œ œ
& œ n œ œ
œ Œ gg ˙ nœ Œ
g
ggg 33
6 4
T
gg 7
3 3 4 1 3 4 1 1
gg 3
3 0 3 4 2 2 3
A 5 3 0
B 3
3 0
[27]
G Am Bm C
# O œ bœ œ œ
œ nœ nœ œ œ œ œ œ
& œ nœ
œ œ œ œ œ Œ œ Œ
NH
0 5 6 5 3 0
T 5
1 0 0 3 1 3
A 0 2
B 3 3
0 3 2 3
[29]
G Am Bm C
# œ nœ œ œœ œ œ œ œ œ œ
& œ œ œ œ
nœ œ œ œ œ œ
œ Œ Œ
0 0
T 0
0 1
2
0 1 3
0 2
0
A 0 2
B 2
3
0 3 2 3
[31]
52
b
F # m11 F # m7 5
œ œ œ
B7 B7
# œ œ œ œ œ œ # œ œ œ œ
& œœœ œœœ œœ œœ œ œ
˙ œ # œœ ˙œ
˙ œ
7 8 7
T 0 0 0
8
7 4 0
2
1 0
0
0
2 2 0
A 10 2 2 1
B 2 7 2
3 2
[33]
E m7 Am
j
D 7sus 4 D7 D.%. al Coda fi
# œ œ œ j œ Œ
& œ œ œ ‚ Oœ œ œ œ œ œ
˙ ˙ NH
Œ
0
T 0
7
0
3
0 0 0
A 7 0 0
B 0
0 12
[35]
fi Coda
j Œ
#
G Am Bm C
& œ œj œœ œœ œ ‰ œœ œœ œœœ œ
œ. œ œ œ œ œ œ œ œ œ
j
œ œ
œ œœ œ .
bœ
˙ œ. œ œ
J
T 0 2 4
3 3
2 0
1
2
0
0
1
2
3
3 2 0 0
A 0 2 0 2 0 0 2 2 0
B 3
0 0 0 2 3 0
[37]
G Am Bm C
# œ ‰ j œ œœ œœ œ
œ œ œœœ ...
& œ œ œ n œ œj œ œ œ œ œœ
œ
˙
œ œ ‰ œ œ Œ
J
3 2 3 0 5
T 0 0
1 0
2 4
3
0
0 3 1 3
0
A 0 2 5
B 3 3
0 0 2 3
[39]
Freely
√· .
C/D G/D C/D G/D D G
# œœ œœœ 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 NH
0 3 8 7 0 0 3 0
T 1
0
3
4
8
9
8
7
7
0
7 7 3
5
0
0
5
5
A 0 0 0 0 7 0 7 4 0 5
B 7 3
7
0
3 2 3
[41]
53
Here, There And Everywhere | Technical Guidance
‘Here, There And Everywhere’ is a classic Lennon and McCartney song. It features some sophisticated harmony, much
of which can be related to jazz and classical music, and gives us plenty of scope for arranging on the guitar.
This arrangement is inspired by Laurence Juber’s take on various Beatles tunes. Juber often uses DADGAD tuning. For ease
of performance, this arrangement is in standard tuning.
The only distinctive part retained from the Beatles’ version is the chromatic rising line in the top part at bar 15.
b
In bar 17 the minor 7 5 chord on II (supertonic) was substituted. This type of substitution is often used in gospel music. In
bar 19, the stylistic approach is related to country guitar.
Bar 41 features various different triads on top of a pedal note on the 5th degree of the scale. This is a device often used by
Pat Metheny.
The piece ends with another country influenced inflection – the use of open strings on a descending G major scale.
54
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:

■■From memory.
■■In the keys and tempos shown.
■■In either swung or straight feel, as directed by the examiner.
Note that Groups A and B need to be played to a click and any fingerings shown are suggestions only.
Group A: Scales
The tempo for this group is q =152 bpm.
1. F # major scale
# ## # œ œ œ œ œ œ œ œ œ œ œ œ
& # # œ œ œ œ œ œ œ œ œ œ
1 2 1
T 1 3 4
2 4 4 2
4 3 1
A 1 3 4 4 3 1
B 2 4
1 2 4 4 2 1
4 2
2. F # blues scale nœ œ œ
# n œ œ nœ #œ nœ œ œ nœ œ œ
## # # œ n œ # œ n œ œ œ œ œ nœ œ
& # œ nœ œ œ nœ œ
14 17 14
T 14 16 17
14 17 17 14
17 16 14
A 14 16 16 14
B 14
12 14 15 16 16 15 14 12
14 12 14
3. G b major scale
b
& b bbbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1 2 1
T 1 3 4
2 4 4 2
4 3 1
A 1 3 4 4 3 1
B 2 4
1 2 4 4 2 1
4 2
4. F # minor pentatonic scale

### œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ
12 14 12
T 9 11
10 12 14 14 12 10
11 9
A 7 9 11 11 9 7
B
4 7 9 9 7 9
2 5 7 9
55
Technical Exercises
5. D # natural minor scale

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
6 7 9 11 9 7 6
T 6 8
6 7 9 9 7 6
8 6
A 6 8 9 9 8 6
B 6 8 9 9 8 6
6. E b natural minor scale
bb b b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
6 7 9 11 9 7 6
T 6 8
6 7 9 9 7 6
8 6
A 6 8 9 9 8 6
B 6 8 9 9 8 6
7. D # harmonic minor scale

#### # 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
7 10 11 10 7
T 7 8
6 7 9 11 11 9 7 6
8 7
A 6 8 9 9 8 6
B 6 8 9 9 8 6
8. E b harmonic minor scale

nœ œ œ œ œ œ
bb b b b n œ œ œ œ œ œ œ œ œ œ œ
& b œ œ œ œ œ œ œ œ œ œ œ
œ
7 10 11 10 7
T 7 8
6 7 9 11 11 9 7 6
8 7
A 6 8 9 9 8 6
B 6 8 9 9 8 6
9. C lydian dominant scale
œ œ # œ œ œ bœ œ œ œ œ œ œ œ
& œ œ œ #œ œ œ bœ œ œ œ œ œ œ
œ œ œ
5 6 8 6 5
T 3 5 7
5 7 8 8 7 5
7 5 3
A 2 4 5 7 7 5 4 2
B 3 5 5 3
10. C altered scale
b œ b œ b œ b œ bœ bœ œ œ œ œ œ œ œ
& œ bœ bœ bœ bœ bœ bœ œ œ œ œ œ œ
œ œ œ
4 6 8 6 4
T 5 6 8
5 7 7 5
8 6 5
A 4 6 8 8 6 4
B 3 4 6 7 7 6 4 3
56
Technical Exercises
11. Chromatic scale on F #
& œ # œ œ # œ œ œ # œ œ #œ œ œ #œ nœ œ œ nœ œ nœ œ œ nœ œ nœ
œ #œ œ #œ œ œ #œ œ nœ œ œ nœ œ nœ œ
#œ œ #œ œ #œ œ œ nœ œ nœ œ
0 1 2 1 0
T 1 2 3 4
1 2 3 4 4 3 2 1
4 3 2 1
A 1 2 3 4 5 5 4 3 2 1
B 2 3 4 5
1 2 3 4 5 5 4 3 2 1
5 4 3 2
Group B: Arpeggios
The tempo for this group is q =100 bpm.
1. F # major arpeggio
## # œ
& # # # 43 œ œ œ œ œ œ
œ œ œ œ
œ ˙.
2
T 3
2 2
3
A 4 4
B 2
1 4 4 1
2
2. G b major arpeggio
b œ
& b b b b b 43 œ œ œ œ œ œ œ œ
œ œ œ ˙.
2
T 3
2 2
3
A 4 4
B 2
1 4 4 1
2
3. D # minor arpeggio
œ œ œ
#### # 3 œ œ œ œ
& # 4 œ œ œ œ œ ˙.
11
T 8 11
11 11
11 8
A 8 8
B 11
9 9
11
4. E b minor arpeggio
œ œ œ
b œ œ œ œ
& b b b b b 43 œ œ œ œ œ ˙.
11
T 11 11
8 11 11 8
A 8 8
B 11
9 9
11
57
Technical Exercises
#
5. C dominant 13 # 11 (C 13 11) arpeggio
3 œ #œ œ #œ œ
& 4 œ bœ bœ œ
œ œ œ ˙.
5
T 7
7 7
7
A 5 8 8 5
B 8
7 7
8
# #
6. C dominant 7 # 5 # 9 (C 7 5 9 ) arpeggio
4 bœ #œ œ
& 4 œ œ #œ œ œ w
T 1 3
4
3 1
A 2 2
B 3 3
Group C: Chord Voicings

In the exam you will be asked to play, from memory, all the voicings in the following exercises, at a tempo of your choice,
without the aid of a backing track or metronome. However, for practice purposes a demonstration of the chords played to a
metronome click is available in the downloadable audio.
#
1. C dominant 7 # 11 (C 7 11)
b ww
w
& 44 # b ww b # www # ww
w w
2 6
T 5
3
5
3
5
5
A 4 4
B 3 3
2. C altered (C alt )
4 b n b www b b # www # w
b b www
& 4 # w w
6 4 4
T 5
8
4
3
1
3
A 6 2 4
B
58
Technical Exercises
Group D: Stylistic Studies

You will need to choose and prepare one stylistic study from the groups of styles listed below. The chosen stylistic study will
be performed by you in the exam to the backing track.
Styles:
■■Rock and Pop (pages 60 & 61)
■■Blues and Country (pages 62 & 63)
■■Acoustic Specialist (pages 64 & 65)
59
Technical Exercises
Stylistic Study | Rock and Pop
q = 110 Blues-Rock Shuﬄe s
#### 4 ‰ j œ n œ œ b œj
nœ #œ œ
E
œ nœ œ
3
& 4
3 œ œ œ œ œ œ œ œ
0
T 0 1
0 3 0
3 2 0
A 2
B 2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
#### œ n œ œ b œj œ
œ
3
& nœ #œ nœ œ
œœ œœ œœ œ œ œœ œœ œ œ
3 œ œ œ œ
0
T 0 1
0 3 0
3 2 0
A 2
B 2
0
2
0
2
0
4
0
4
0
2
0
2
0
4
0
4
0
[3]
#### œ n œ œ œ œj œ n œ œ
1/4
œ
A7
& œ œ œ œ œ
œœ œœ œœ œœ œœ
3 3
œ œ œ œ
1/4
0 3 0 0
T 0 2 0
2 4
3
A 2 2 4 4 2 2 4 4
B 2
0
0 0 0 0 0 0 0 0
[5]
n œœ œœ œœ œœ œœ œœ œœ œœ œœ
#### n œœ œœ
E7 j
œ n œ œ œj œ œ œ
œ
#œ
& ‰
J
œ 3 3 œ 3 3 3
3 3 0 0 9 10 10 10 10 10 10 10 10 10
T 2 2 3 0
2 4
3 11 12 12 12 12 12 12 12 12 12
A
B 0
0
[7]
60
Technical Exercises
nœ œœ
#### œ n œœ #œ #œ œ
œ œ œ
B7
œ œ nœ
&
œ 3
10 9 7 7 7
T 12 10 8 9
9
0
7 8
7 10
A
B 7
[9]
#### œ nœ œ
A7 E7
nœ #œ œ œ nœ œ #œ nœ
3 3
& nœ œ œ œ œ
œ 3 œ 3
5 5 0
T 5 6
5 8 3 0
3 2 0 2 0
A 2 2
B 5 0
[11]
####
& n œœ # n œœ # œœ ww
œ w
T
A 4 5 6
B 0
5 6 7
0
[13]
61
Technical Exercises
Stylistic Study | Blues and Country
q = 90 Bluegrass
G
#4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& 4 œœ œœ œ œœ œœ œœ œœ œ œœ œœ œœ œœ œj œ œœ œœ œ œœ œœ
œ œ œ bœ œ œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3
T 3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
A 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 0 0 0 0
B 3 3 3
1 0
3
# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& œœ œœ œ œœ œœ œœ œœ œ œœ œœ œœ œœ œj œ œœ œœ œ œœ œœ œ
œ œ œ bœ nœ œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3
T 3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0 0
A 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 0 0 0 0 0
B 3 3 3
1 2
[3]
# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& œœ œœ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ
œ œ œ œ
3 3 3 3 3 3 3 3 3 3
T 3
0
3
0
3
0
3
0 0 2
3 3
0
3
0
3
0
3
0
3
0 0
A 0 0 0 2 2 0 0 0 2 2 0
B 3 3
0
2
[5]
# œœ œœ œœ œœ œœ œœ
D
& 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
3 3 3 3 3 3
T 3
0
3
2
3
2
3
0
3
2
3
2
3
2
3
2
3
2
3
0
3
2
A 0 0 0 0 0 0 0 0 0 0
B 3 2 3 3 2 3
3 3
[7]
G C
# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ œœ œœ œœ œœ
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œ œ œœ œœ œ
œ j
œ
œ œ œ œ
œ
3 3 3 3 3 3 3 3 0 0 0 0
T 3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
1
0
1
0
1
0
1
0
1
2
1
0
A 0 0 0 0 0 0 0 0 2 2 1 2 2 2 1 2
B 2 3 2 3
3 3
62 [9]
Technical Exercises
#
D G
œœ œœ œœ œœ œœ œœ œj œœ œœ
& œ œ œ œ œ œ œ œ œ nœ œ œ bœ œ
œ œ œ œ œ b œ n œ œ
T 3
2
3
2
3
0
3
2
3
2
3 3
2 2 4
3
2 0
A 0 0 0 0 0 0 0 2 3 2 0
B 0 2
3
0 1 2 1 0
3
[11]
# 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 œ œ
3 3
T 0
3
0
3
0 0 2 4
3
4 2 0 0 0
A 0 2 2 0 2 0 0 0 4
B 3 3 2 0
3
[13]
#
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. nœ #œ œ œ œ œ œ œ œ nœ #œ œ
D
&
T 0 0
3
0
1 0
2 0 0 2
0 3 1
2 0 2
A 4 5 4 4 2 0 3 4 3 4
B
[15]
# œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
G C
& œ œ œ œ œ bœ nœ œ nœ œ œ œ
7 5 3 2 5
T 0 0
3
5 7
0 8 1 3 1
0 2 0 0
A 4 5 0 1 2 3 2 0
B 3
[17]
# œœ ww
œ œ œ œ œ
D G
œ œ nœ #œ œ
& œ œ œ œ œ œ œ œ œ ww
œ œ œ œ œ œœ w
3
T 2
0 3 1 0
2 0 2 0
3
2
A 0 0 3 4 4 0 2 0 0 0
B 3 2 0
3 3
[19] 63
Technical Exercises
Stylistic Study | Acoustic Specialist
Solo Guitar
œ ‚ œ œ ‚ œ œ ‚ œ œ
Rubato
### 4 ‚ œ ‚ ‚ œ œ ‚ œ œ œ œ
& 4 œ ‚ œ
Bm 7
AH19 AH19 AH19 AH19 AH19 AH19 AH19 AH19
7 9 7 9 7
T 7
7
7 7 7
9 7
11 7 7
A 7 7 7 11 7 9
B 7
7
7
œ œ œ œ œ œ U A maj ‚ œ ‚ œ œ ‚ œ œ ‚ œ œ
### œ œ œ œ œ œ ‚ œ
7
& œ ‚ œ
3 3 3
3
AH17 AH19 AH18 AH18 AH18 AH18
9 12 10 9 5 7 5 7 5
T 9
10 12 10
9 6
5
6 6
7 5
A 12 9 11 6 6 6
B 5
7
[4]
### ‚ œ œ œœœœœœœœ nœ œ œ œ nœ œ œ œ œ
A6 Am
& ‚ œ œ œ œ œ œ
3 3
œœœ œ nœ œ 3 3
3 3 3
AH19 AH17
0
T 3 2 0
4
5 7
6 6
0
5
0
7
6 6
7
0
A 7 6 7 7 9 7 7 9
B 7
5
0 4 7 0 3 7
[7]
j j j
q =90
#
# # # F ‰m j œ ‰ œ ‰ œ # œ œ ‰ œœ
‰ œj œœœ ‰ œj œœœ
A maj 7
œœœ œœœ œ œ œœœ œœœ œ œ

& œ œœ œ œ
œ œ œ œ œ œ
0 0 0
T 0
2
0
1
0
2
0 0
2
0
1
0
2
0 2
1
4 4
1
A 2 2 2 2 2 2 2 2 2 2 2 2 4 2
B 2 2 2 2
0 0
64 [10]
Technical Exercises
j j j j
# # n œ œ
n œ œ œ œ ‰ œœ j n œ œ œ
œœ œ œ œœ ‰ œœ
C
& # ‰ œj œœœ # œœ œ ‰œ œœœ n ‰œ #œ n œ œ œ œ

‰ n n œ
œ œ œ œœ
œ œ nœ œ n œ nœ œ
3 0 3 3 0 3 3
T 2
1
4 4 2
1
3
0
3 0
0
1
0
3
2 0
5
3
3
4
A 2 2 4 2 2 4 2 0 4
B 0 0 3
3
3 3
3
3 3
[13]
Freely
‚ œ œ ‚ œ
B m7
‚Accel.œ œ ‚ œ
### ˙ œ œ
Rubato to the end
& ˙
˙
˙ AH19
3
AH19
3
AH19
3
AH19
3
0 9 7 4 2 9 7 4 2
T 0
7 7
A 0 7 7
B 0
[16]
‚ œ œ ‚ œ ‚ œ œ ‚ œ ‚ œ œ ‚ œ ‚ œ œ ‚ œ
### œ œ œ œ
&
3 3 3 3 3 3 3 3
AH19 AH19 AH19 AH19 AH19 AH19 AH19 AH19
9 7 4 2 9 7 4 2 9 7 4 2 9 7 4 2
T 7 7 7 7
A 7 7 7 7
B
[19]
b
B m7 6
‚ œ œ ‚ œ ‚ œ œ ‚ œ
Rubato
œ œ
Rall.
### œ œ œ U
& nœ œ œ
3 3 3 3
œ œ ˙.
AH19 AH19 AH19 AH19 let ring
9 7 4 2 9 7 4 2 5
T 7 7 0
3 3
0
A 7 7 4 4
B 2 2
[21] 65
Quick Study Piece
At this grade you will be asked in the exam to prepare and perform a short Quick Study Piece. The examiner will give you
the sheet music, then you will hear a full mix version of the track, including the notated parts. The first playthrough will be
preceded by a one bar count-in. After the full mix, you will have three minutes to practise. During the practice time you will
be given the choice of a metronome click throughout or a one bar count-in at the beginning.
At the end of the three minutes, the backing track will be played twice more, this time with the notated parts now absent.
The first time is for you to practise and the second time is for you to perform the final version for the exam. Again, you will
hear a count-in before both playthroughs. The backing track is continuous so once the first playthrough has finished the
count-in of the second playthrough will start immediately.
The notated parts need to be performed as written, and the improvisation parts are for you to create your own interpretation
of the music.
Please note:
■■You can choose the style grouping you wish to perform from the following options:
– Rock & Pop
– Blues & Country
– Acoustic Specialist
■■One example from each of the style groupings is shown below.
66
Quick Study Piece | Rock and Pop
The test shown is an example. The examiner will give you a different version in the exam.
q = 85 Pop
D/F # D/F #
j
D G A D G A
# 4 . j œœ .. œœ œœ œœœ œœœ œ œ
& # 4 œœ . j œœ .. œœ œœ œœ œ
j œœ
œ
œœ
œ œ œ œ œ
œ ˙ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 0
T 3
2 0 2 2 0 2
3 3
2 2
3 3 2
2
2 0
A 0 2 2 0 4 5 5
B 2 3
0 0 0 0
2 3 3 3
0 0
D D/F # G A D D/F # G A
# # œœ œ œ œ œ œ œœ œ œ œœ œ œ œœ œœ œ
& œ œœ œœ œj œ œ œ œ œ œ œ œœ œ
œ œ œœœ
œ œ
œ œ
œ œ
2 3 2 0 2 0
T 3
2
3
2
0 3
2
3
2
3 3
4
3
2
0
0
0
2
2
A 4 4 2 0 0 2 4 2 0 0 2
B 3
0 2
2 3
0
D/F # D/F #
[5]
D G A D G A
## j
& œœ .. j œœ œ j
œ œ
œœ œ œ œ œ œ œ œ œœ œœ ‰ j œœ .. œœ œœ œj œ œ
œ œ
j j
œ œ
œ œ œ œ œ ˙ œ. œ œ œ
0
T 0 2
3 3
2 4
0
0
3 0 0 2
2 0 2
3 3
2 0 2 2 4
A 4 2 0 0 2 0 2 4
B 2 3
0
2 3
0 0
[9]
# # EÛm. Û Û Û Û. Û Û Û Û. Û Û Û
G A D Em G A
& ’ ’ ’ ’
cont. sim.
J J J
T
A
B
[13]
# # EÛm. G
Û Û Û Û.
A Bm
Û Û Û
Em
Û. Û Û Û Û.
A
Û Û Û
&
J J J J
T
A
B
[17]
D/F # D/F #
# U̇
œ œ
D G A D G A D
& # Û. Û Û j
œ œ Û
. Û Û œ œ Û
. Û Û Û Û. Û Û Û
œ œ
J J J J
œ
0 2
T 2
3
A 4 2 0 2 0 0
B
[21] 67
Quick Study Piece
Quick Study Piece | Blues and Country

q = 150 Blues
˙ n˙ ˙ n˙
A7
œ. œ.
1/4 1/4
### 4 j j
& 4 œ nœ œ œ nœ œ
1/4 1/4
12 8 12 8
T 10
5
10
5
A 7 7 7 7
B
˙ n˙ œ.
1/4
### j nœ bœ œ nœ
& œ nœ œ œ nœ nœ
j
œ nœ
1/4
12 8 5
T 2
1
2
8
8 7 5
A 7 5
B 7 5
8
[5]
### D7
n œœ n œœ n œœ œ nœ n œœ n œœ n œœ œ nœ
Œ Œ
1/4 1/4 1/4 1/4
& ˙ ˙
1/4 1/4 1/4 1/4
7 5 5 7 5 5
T 8 6 6
7 5
8 6 6
7 5
A 0
B 5
[9]
### A7 E7
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Improvise melody
T
A
B
[13]
Bb7
### U
D7 A7 A7
& ’ ’ ’ ’ ’ ’ ’ ’ Û Û Û |
T
A
B
68 [16]
Quick Study Piece
Quick Study Piece | Acoustic Specialist

q = 140 Jazz Walking Bass
œœ
Am Dm Am E7
& 44 œœœ œ
œœ œ œ œ
œœ
œœ œ # œœœ
œ œ œ œ œ œœ # œ # œ œ
1
T 1
2
3
2
1
2
0
1
A 2 0 2 3 0 2 0
B 0 2 3 0 0 2 3 0 2
0 2 4
2
œœ
Am Dm Am E7 C
& œœœ œœ œ œ œ œœ
œ œ œ # œœœ œœ
œœ œ
œ œ œ œ œ œ œœ # œ # œ œ œ #œ
1
T 1
2
3
2
1
2
0
1
1
0
A 2 0 2 3 0 2 0 2
B 0 2 3 0 0 2 3 0 2
0 2 4
2 3 2 0
4
[5]
œœ œœ
B dim7 E7
œ
G C F
& œœœ œ
œœ
œœ œ œ œ œœ œ œ œ # œœ
nœ œ œ œ œ œ œ œ œ œ #œ œ
1 1 0
T 3 1
0 0
1
2
3
2
0
1
A 5 0 2 0 2 3 2 0
B 5
3
0 2 3 3 2 0 2
1 0 1 4
2
[10]
Am Dm Am E7 Am
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Improvise melody
T
A
B
[15]
Dm Am E7 Am A m9
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
T
A
B
[20] 69
Ear Tests
In this section, there are two ear tests:

■■Melodic Recall
■■Harmonic Recall
You will find one example of each type of test printed below and you will need to perform both of them in the exam.
Test 1: Melodic Recall

The examiner will play you a 2 bar diatonic melody in the key of C major with a range up to an octave. The first note will be
the root note or the 5th. You will hear the test twice, each time with a one bar count-in, then you will hear a further one bar
count-in after which you will need to play the melody to the click. The tempo is q = 95 bpm.
It is acceptable to play over the track as it is being played as well as practising after the second playthough. The length of
time available after the second playthrough is pre-recorded on the audio track so the count-in may begin while you are
still practising.
˙ œ œ œ
& 44 œ œ œ œ œ ˙
Please note: The test shown is an example. The examiner will give you a different version in the exam.
Test 2: Harmonic Recall

The examiner will play you a chord progression containing chords I, II, III, IV, V, VI in any order or combination in the key
of C major. You will hear the chord progression twice, each time with a one bar count-in. You will then hear a further one
bar count in before playing back to a click. At this grade, seventh chords are introduced. Please note, there is no requirement
for the chords to be voicing-specific. The tempo is q = 95 bpm.
˙˙
A m7 F maj 7 G7
˙˙ ˙˙ ˙˙˙ ww
C C
& 44 ˙˙ ˙˙ ˙ ˙˙ ww
˙ ˙ ˙ w
˙
Please note: The test shown is an example. The examiner will give you a different version in the exam.
70
General Musicianship Questions
The final part of your exam is the General Musicianship Questions section, which features 5 questions relating to one of
your choice of the performance pieces.
1. You will be asked a question relating to the harmony from a section of one of your pieces.
2. You will be asked a question relating to the melody in a section of one of your pieces.
3. You will be asked a question relating to the rhythms used in a section of one of your pieces.
4. You will be asked a question relating to the technical requirements of one of your pieces.
5. You will be asked a question relating to the genre of one of your pieces.
71
Entering Rockschool Exams
Entering a Rockschool exam is easy, just go online and follow our simple six step process. All details for entering online,
dates, fees, regulations and Free Choice pieces can be found at www.rslawards.com
■■All candidates should ensure they bring their own Grade syllabus book to the exam or have their KR app ready and the
full book downloaded.
■■All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam.
■■Candidates will receive their exam results (and certificates if applicable) a maximum of 3 weeks after their exam.
If nothing has been received after this time then please call +44 (0)345 460 4747 or email to info@rslawards.com
72
Marking Schemes
Grade Exams | Debut to Grade 5 *
ELEMENT PASS MERIT DISTINCTION
Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20
Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15
Sight Reading
or 6 out of 10 7–8 out of 10 9 + out of 10
Improvisation & Interpretation
Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10
General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5
TOTAL MARKS 60%+ 74%+ 90%+
Grade Exams | Grades 6–8
Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15
Quick Study Piece 6 out of 10 7–8 out of 10 9 + out of 10
Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10
General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5
TOTAL MARKS 60%+ 74%+ 90%+
Performance Certificates | Debut to Grade 8 *

TOTAL MARKS 60%+ 75%+ 90%+

73
* Note that there are no Debut Vocal exams.
Copyright Information
Here There And Everywhere

(Lennon/McCartney)
Sony/ATV Music Publishing (UK) Limited
Man In The Mirror

(Ballard/Garrett)
Universal/MCA Music Limited/BMG Rights Management (UK) Limited
What A Friend We Have In Jesus

(Scriven/Converse)
DP Acount
Don’t Know Why

(Harris)
Sony/ATV Music Publishing (UK) Limited
The Boxer
(Simon)
Universal/MCA Music Limited
Pride and Joy

(Vaughan)
Wixen Music UK Ltd
74
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
Introducing…
Rockschoo
new theorl’s
y
exams!
POPULAR
MUSIC THEORY
GRADES DEBUT–8
OUT NOW!
Discover more at
www.rslawards.com/theory
Enter online at
www.rslawards.com/enter-online

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Acoustic Guitar

All accompanying and supporting audio can be downloaded from: www.rslawards.com/downloads

Input the following code when prompted: 22NJQDX3AI

For more information, turn to page 5

Published by Rockschool Ltd. © 2016

Introductions & Information

Rockschool Grade Pieces

7 Stevie Ray Vaughan.. ...................................... . . . . . . . . . . . . . . . . . . ‘Pride And Joy’

55 Scales, Arpeggios, Chord Voicings & Stylistic Studies

66 Quick Study Piece

72 Entering Rockschool Exams

Acoustic Guitar Grade 6

Nik Preston – Head of Product Development and Publishing

Acoustic Guitar Exams

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

You will need to input this code when prompted: 22NJQDX3AI

Definitions For Special Guitar Notation

& œ œ & & & ‚ ‚

& & & & œ œ

heard a - bout lov - in’ giv - in’ sight to the blind.

œ œ ‰ n œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ n œœœ ‰ œœœ ‰ œœœ ‰ œœœ

œ Jackson’s legacyœ as œa vocalist, ‰

bMichael œ writerŒ and

Michael Jackson had a successful career from a

figure in popular music with an unprecedented A 8

His most critically acclaimed and commercially

F# F # add 9/A # C # sus 4 F# F # add 9/A #

Jones has released five albums to date. She is a

B b maj 7 Bb7 E b maj 7 D7 G m7

B b maj 7 Bb7 E b maj 7

B b maj 7 Bb7 E b maj 7 D7 3

B b maj 7 Bb7 E b maj 7

B b maj 7 Bb7 E b maj 7

B b maj 7 Bb7 E b maj 7 D7

B b maj 7 Bb7 E b maj 7 D7 G m7

B b maj 7 j j Bb7 E b maj 7

B b maj 7 Bb7 E b maj 7 D7

SONG TITLE: THE BOXER

Simon & Garfunkel are natives of New York City

Mumford and Sons covered ‘The Boxer’ in 2012 3

the US and received a Grammy award. The song B 3 3 3

1868 by Charles Crozat Converse.

The recording charts a significant moment in the

# # œœœ œœœ b # œœœ j j ‰ n œœ nœ

All exercises need to be played:

4. F # minor pentatonic scale

5. D # natural minor scale

6. E b natural minor scale

7. D # harmonic minor scale

8. E b harmonic minor scale

9. C lydian dominant scale

10. C altered scale

11. Chromatic scale on F #

Group C: Chord Voicings

Group D: Stylistic Studies

Acoustic Guitar Grade 6

Stylistic Study | Rock and Pop

q = 110 Blues-Rock Shuﬄe s

Stylistic Study | Blues and Country

Stylistic Study | Acoustic Specialist

AH19 AH19 AH19 AH19 AH19 AH19 AH19 AH19

œœœ œœœ œ œ œœœ œœœ œ œ

& # ‰ œj œœœ # œœ œ ‰œ œœœ n ‰œ #œ n œ œ œ œ

Quick Study Piece | Blues and Country

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