RSK200114 Acoustic 2019 G4

Acoustic Guitar
Grade 4
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: T2K5ELPE8U
For more information, turn to page 5
www.rslawards.com
Acknowledgements
Published by Rockschool Ltd. © 2019

Catalogue Number: RSK200114
ISBN: 978-1-78936-098-1
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: Alanis Morissette performing on stage
at an Amnesty International concert
© Diana Scrimgeour (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 4
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 4
6 Performance & Technical Guidance
Rockschool Grade Pieces
7 ‘Nothing Else Matters’................................. . . . . . . . . . . . . . . . . . . Metallica

13 ‘Use Me’.. .............................................................. . . . . . . . . . . . . Bill Withers
19 ‘Ironic’.. ................................................................. Alanis Morissette
27 ‘Layla’.. . ................................................................... . . . . . . . . . Eric Clapton
33 ‘Road Trippin΄’..................................... Red Hot Chili Peppers
39 ‘Sweet Home Chicago’.................................. . . Robert Johnson
Technical Exercises
46 Scales, Arpeggios, Chords & Acoustic Riff
Supporting Tests
50 Sight Reading
51 Improvisation & Interpretation
52 Ear Tests
53 General Musicianship Questions
Additional Information
54 Acoustic Guitar Notation Explained

55 Entering Rockschool Exams
56 Marking Schemes
57 Copyright Information
58 Rockschool Popular Music Theory
60 Rockschool Digital Downloads
3
Welcome to Rockschool Acoustic Guitar Grade 4
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 4, ‘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

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: T2K5ELPE8U
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
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.
6
‘Nothing Else Matters’ | Metallica
‘Nothing Else Matters’ is the third single from Metallica’s hugely successful Metallica, otherwise known as The Black
Album. The song is a staple in the band’s legendary live shows, usually leading onto ‘Enter Sandman’. The lyrics talk
about the closeness Hetfield felt for his girlfriend, even when away for long periods of time. ‘Nothing Else Matters’ is
featured as a playable track on Guitar Hero: Metallica. Although the single didn’t quite make it to the top position on
the UK singles chart it was well received, peaking at number 6 and selling 400,000 copies, certifying it a Gold release.
Metallica’s brand of thrash metal and heavy rock is highly acclaimed and hugely popular all over the world. The
band formed in 1981 and have released nine albums to date. Metallica were inducted into the Rock and Roll Hall of
Fame in 2009.
Their early releases contained many fast tempos and long instrumental passages underpinned by a precise delivery
of complex rhythms and syncopation. This approach, as well as their lyrical approach, was changed when producer
Bob Rock started working with the band in 1990. Their songs and lyrics became more streamlined and accessible
to a wider audience as a result. Metallica also started to explore influences other than metal in their compositions.
Their sound remained powerful and direct and their live shows became hugely popular. Metallica are a stadium
phenomenon worldwide.
To date, Metallica have been nominated for a staggering 18 Grammy awards – eight of which they have won. With
their first nomination being in 1989 and their latest in 2018, it’s clear that their contribution to Metal music has
continued throughout the decades. With worldwide sales of over 125 million albums, their success at bringing Metal
music to the mass market has been phenomenal.
Song Info
Song Title: Nothing Else Matters
Album: The Black Album (1991)
Label: Elektra
Genre: Metal
Written By: James Hetfield and Lars Ulrich
Guitar: Kirk Hammett and James Hetfield
Producer: Bob Rock, James Hetfield and Lars Ulrich
Uk Chart Peak: 6
7
Nothing Else Matters Acoustic Specialist (Solo)
Metallica
Arranged by Tristan Sueme
b143 Metal
# 6 Em œ œ œ
& 8 ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ
˙. ˙. ˙.
0 0 0
T 0
0 0
0 0
0 0
0 0
0 0
0
A
B 0 0 0
# œ œ œ œ œ œ œ œ œ œ
‰ œ œ œ œ œ œ ‰ œ œ 38
& œ œ œ
˙. ˙. ˙.
0 7 7 7 0 7 8 7 8 7 5
0 0 0 0 0 0
0 0 0 0
0 0 0
[4]
. .
# 3 œœ œ œ œ œ
Am
68 œ œ œ œ œ œ œ œ œ œ œ œœ
& 8 ‰
˙. ˙ œ œ
. .
3
7 5 3 2 0 2 0 0
0 5 5 5 5 5 5
5 5 5 5
0 0 2
5
[7]
D add 9
‚ ‚
œ œœœ œ œ œ
C Em
# œ œ œ œ œ œ œ œœœ œ œ œ ‚
& œœ œ œ
œ ‰ œ œ
œ œ œ
˙. NH
3 0 0 0 0 5 0 12
5 5 5 7 7 7 0 0 5 12 0
5 5 5 7 7 7 12 0
5 5 0 0
3 0
0
[10]
8 Words and Music by James Hetfield and Lars Ulrich
Copyright © 1991 Creeping Death Music (GMR)
International Copyright Secured All Rights Reserved
# E‰m 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
[13]
# œ œœ .. œœ œœ œ œœ ..
& ‰. œ ‰ ‰ ‰. œ
D C Em
œ œ œ œ
œ. œ.
˙. ˙.
7 7
8 7 5 8
9 7 5 9
9 7 5 9
7 5 3 7
0 0
[16]
# D‰ œœ œœ œœ .. œœ
‰ ‰. œ œ ‰ ‰ œœ
C Em D C
& œ. œ œ œ œ. œ œ
œ. œ.
˙.
7
7 5 8 7 5
7 5 9 7 5
7 5 9 7 5
5 3 7 5 3
0
[19]
# B7
œ œ
‰ œ ‰ ‰ œ œ ‰ œ œ
G Em
& œ œ œ œ œ œ œ
œ. œ.
˙. ˙.
0 0
0 0 0 0 0
0 2 0 0 0 0
4
2
3 0 0
[22]
9
j j j j
Em D C Em
# œ œœ œ œ œ œ œ œœ œ
& .. Œ œ œ œ œ œ œ
œ œ ‰ Œ
œ œ œ œ
œ
œ œ œ
œ œ
. 0 0 0 2 0 0 0 0
.
0 0 0
0 0 2 0 0 0
2 2 0 0 2 2
3
0 3 2 0
[25]
j
# œ œ œ œ
D C Em D C
œœ œ œ ‰ Œ œ œœ œ œ
& œ œ œ œ œ œ œ œ
œ œ œ œ ‰
œ œ œ œ œ œ
œ
0 0 0 3 3 3 0 0
3 0 0 3
2 0 0 0 2 0
0 0 2 2 0 0
3 3
3 2 0 3 2
[28]
G
j B7 Em
Œ.
# œœ œ. œ œ œ œ. œœ œ
& Œ œ œ œ œ œ
œ œ œ œ
œ
3 2 3 2 2 0 0
3 0 0
0 2 0 0
0
2 2
3 0
[31]
1. 2.
# ‰ œœ œœ œœ œœ œœ
D sus 4 D sus 2
œ œœ .. # œœœ ... œœœ œœ

C A D D
& œ œ œ œ .. œœ ... œ œ œ œœ œ œœ
œ œ .. œ œ œ œ œ
˙. œ
0
. 0 0 2 2 2 3 2 0 0
.
0 0 1 2 3 3 3 3 3 3 0
0 0 0 2 2 2 2 2 2 2 0
2 2 0 0 0 0 0 0 0
3 0
0
[33]
C A D D sus 4 D D sus 2 C A
# œœ .. œœ œœ œœ œœ œœ œ œ
# œœœ ... œœœ œœ œœ œœ œœ # œœœ ...
& œœ ... œ .. œœ œœ œœ œ
œ œœ œ œœ œœ œœ œœ œ ..
œ œ œ œ
0 0 2 2 2 3 2 0 0 3 3 0 0
1 2 3 3 3 3 3 3 0 1 1 1 2
0 2 2 2 2 2 2 2 0 0 0 0 2
2 2 0 0 0 0 0 0 0 2 2 2 2
3 0 3 3 3 0
[36]
10
# œ. œœ .. œœ œœ ˙˙ .. ˙˙ ..
D Em
& œœœ ... œ.

œ. œœ œœ ˙˙ .. ˙˙ ..
˙˙ . ˙˙ .
. .
2 2 2 2 0
3 3 3 3 0
2 2 2 2 0
0 0 0 0 2
2
0
[39]
# E‰m œ œ œ œ œ œ
& œ œ œ œ ‰ œ œ œ œ œ œ œ
˙. ˙. ˙.
0 0 7 7 7 0
0 0 0 0 0 0
0 0 0 0 0
0 0 0
[42]
j
œ œ œ œ œ œ œ œ œj
3
œ œ
3
Am
# 38 œ 68 œ œ œ œ œ œ œ
& ‰ œ œ œ
˙. Œ. ˙.
7 8 7 8 7 5 7 5 3 2 0 2 0
0 0 0 5 5 5
0 5 5
0
0
[45]
. . D add 9
œ œ œ œ œœœ œ œ œ
C
# œ œ œ œœ œœ œ œ œ œ œ œœœ
& ‰ œ œ œ œ œ œ œ
œ. œ œ œ œ
. .
0 3 0 0 0 5 0
5 5 5 5 5 5 7 7 7 0 0 5
5 5 5 5 5 7 7 7
5 5 5 0 0
0 2 3
5
[48]
U
‚ ·· ..
NH
# ‰ ‚ ‚ ·.
œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ
Em
&
˙. NH
˙. ˙. ˙.
12 0 0 12
12 0 0 0 0 0 12
12 0 0 0 0 0 12
0 0 0 0
[51]
11
Nothing Else Matters | Technical Guidance
The time signature changes in this arrangement can initially look daunting on the score but make musical sense when you
play them. It is always good practice to understand how to count the different changes ( and here) as opposed to just
y e
playing them by ear, but when you perform them they should feel natural.
Try to keep the higher register slurs (bar 7 for example) balanced with the volume and attack of the lower strings, and make
sure they are rhythmically crisp, otherwise the feel of the piece can be lost. As with the time changes, the sight of 16th notes
(bar 11 for example) can be intimidating, but the phrases should flow naturally with the fretting and slurs suggested here.
To execute the 12th fret natural harmonics (bar 12) make sure to use a light fretting hand pressure and try barring before
releasing after the high E note and then playing the open B and G strings. As an alternative option you could use one finger
and ascend the strings with the harmonics. Both approaches can work well, so play both ways and decide which suits you
best, however the final bar will definitely require a barring technique to work.
There are repeated sections as well as 1st/2nd time bars here, so try to follow the full performance track through with the
score to develop your confidence with where you are at any point. This will allow you to feel a sense of control during
your performance.
12
‘Use Me’ | Bill Withers
‘Use Me’ was a US hit for American soul singer, Bill Withers. Featuring on his second studio album, Still Bill, the
track wasn’t officially released in the UK as a single but performed well in the United States, peaking at number 2 on the
Billboard Hot 100 chart. In their list of the best songs of 1972, Billboard ranked ‘Use Me’ as number 78.
Withers wrote the song about an unhappy and unhealthy relationship that his friends thought he should walk away
from. Although the character in the song understands he’s not being treated fairly, he has no desire to end the relationship
and continues to let the partner in question treat him badly. ‘Use Me’ became one of the first songs to tackle this subject,
so some criticised the topic while others congratulated Withers on his straight-talking lyrics.
‘Use Me’ was Withers’ second biggest US hit and topped the Soul Chart for two weeks on its release. The singer and
songwriter performed the song live on Soul Train (one of the first television programmes to be dedicated to R&B and
Soul music) in the November of 1972. In 1981, Grace Jones covered the hit and included it on her fifth studio album
Nightclubbing, but sadly her version failed to make the charts.
Bill Withers was born William Harrison Withers Jr. in 1938 in a small coal-mining town in West Virginia. Withers
had a stutter and found it hard to fit in until he joined the United States Navy when he was 18. In the Navy he learned to
overcome his speech impediment and soon became interested in songwriting. He wrote his first song ‘Ain’t No Sunshine’
whilst working for the Douglas Aircraft Corporation factory line and on its success he refused to resign as he didn’t trust
the music industry.
In 1970 the songwriter’s demo was picked up by Sussex Records who signed him to a record deal. Soon, Withers had
been assigned the talented Booker T. Jones to be his producer for his first album Just as I Am. Withers was only allowed
twelve hours to record the entire album, which was reduced to only nine hours following funding issues. The album was
a huge success in the US, with Withers receiving a Grammy for Best R&B Song with his single ‘Ain’t No Sunshine’.
During a short break from touring, Withers wrote his second album Still Bill, which included the smash hit ‘Lean on
Me’. The song saw Withers get his first UK chart hit as it peaked at number 18 in 1972. With sales of more than three
million copies, ‘Lean on Me’ became Withers’ second Gold Record (after ‘Ain’t No Sunshine’) and ‘Use Me’ became his
third Gold Record later that same year.
Between 1977 and 1985 Withers found it increasingly difficult to agree on song content with his record label and
focussed on joint projects instead. After an 8 year break from touring and releasing solo music, Withers finally made the
decision in 1985 not to re-sign to a record label as he had become disenchanted with the music industry.
Song Info
Song Title: ‘Use Me’
Album: Still Bill
Released: 1972
Label: Sussex Records
Genre: Soul/Funk
Written By: Bill Withers
Produced by: Benorce Blackmon / Bill Withers / James Gadson / Melvin Dunlap / Ray Jackson
13
Use Me Session Style
Bill Withers
c 77 Soul/Funk Arranged by Nat Martin
⇥
Intro
# 4 œœ œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œœ ¿¿ œœ œœ ¿¿ ¿¿ ¿¿ # œ œ œ ¿
E m7 A7
‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
& 4 œ œ œ ¿ ¿ ¿ œ œ ¿ œ ¿ œ œ ¿ ¿ ¿ œ œ œ ¿ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
œ œ œ ¿
f NH
8 8 8 ¿ ¿ ¿ 8 8 ¿ 8 ¿ 8 8 ¿ ¿ ¿
7 7 7 ¿ ¿ ¿ 7 7 ¿ 7 ¿ 7 7 ¿ ¿ ¿ 6 6 6 ¿
5 5 5 ¿
7 7 7 7 7 7 7 7 7 7 7 7
T
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 ¿
7 7 7 7 7 7 7 7 7 7 7 7
A 7 7 7 7 7 7 7 7 7 7 7 7
B 7 7 7 7 7 7 7 7
# E m7 A7
r ⇤ œr
& ∑ Ó Œ ⇤
œ
⇥
My friends
# œ œ œ ¿ ¿ ¿ œ œ ¿ œ œ œ œ ¿ ¿ ¿ ‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
& œœ œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œœ œœ œœ œœ ¿¿ ¿¿ ¿¿ # œœ œœ œœ ¿¿ ‚‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
œ œ œ ¿
NH
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
7 7 7 7 7 7 7 7 7 7 7 7
¿ ¿ ¿ ¿ ¿ ¿ ¿
8 8 8 8 8 8 8 8 8 7 7 7 7 7 7 7 7 7 7 7 7
¿
7 7 7 7 7 7 7 7 7 6 6 6 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 7 7 7 7 7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7 7
5 5 5
[3]
Verse
#
E m7 A7
Ó Œ
& œ œ. œ œ. œ œ œ œ #œ œ œ œ œ
⇥
feel it's their app - oin - ted du -
# œœ œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œœ ¿¿ œœ œœ ¿¿ ¿¿ ¿¿ ‚ ‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
& œ œ œ ¿ # œœ œœ œœ ¿¿ ‚‚‚ ‚‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
¿ ¿ œ œ ¿ œ ¿ œ œ ¿ ¿ ¿ œ œ œ ¿
F NH
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
7 7 7 7 7 7 7 7 7 7 7 7
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
8 8 8 8 8 8 8 8 7 7 7 7 7 7 7 7 7 7 7 7
¿
7 7 7 7 7 7 7 7 6 6 6 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 7 7 7 7 7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7
5 5 5
[5]
#
⇤ œ #œ ⇤ œ œ œ œ
E m7 A7
& œ œ œ œ Ó Ó
⇥
- ty, They keep try - ing to tell
# œœ œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œœ œœ œœ œœ ¿¿ ¿¿ ¿¿ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
& œ œ œ ¿ ¿ ¿ œ œ ¿ œ œ œ œ ¿ ¿ ¿ # œœ œœ œœ ¿¿ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
œ œ œ ¿
NH
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
7 7 7 7 7 7 7 7 7 7 7 7
¿ ¿ ¿ ¿ ¿ ¿ ¿
8 8 8 8 8 8 8 8 8 7 7 7 7 7 7 7 7 7 7 7 7
¿
7 7 7 7 7 7 7 7 7 6 6 6 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 7 7 7 7 7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7 7
5 5 5
[7]
14 Words and Music by Bill Withers
Copyright © 1972 INTERIOR MUSIC CORP.
Copyright Renewed
All Rights Controlled and Administered by SONGS OF UNIVERSAL, INC.
All Rights Reserved Used by Permission
# œ #œ œ œ œ œ ⇥ # œ ⇥ œ ⇥ œ ⇥ œR
E m7 A7 E m7
& œ œ Ó Œ œ ⇥ Rœ ‰ Œ Ó
R R R
me all you want to do is use me.
#
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
cont. sim.
[9]
# Ó œ r
A7 E m7 A7
&
œ
J ⇥ œR ⇥ œ œ œ ‰. œ œ œ ‰ Œ Œ œ œ œ œ #œ œ œ œ œ œ
But my an - swer, ah yeah to all that use me stuff
#
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[12]
Chorus
# E m7
∑
A7
Œ ‰. r j
& œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ ‰ œ œ œ
bœ
I want to spread the news, that if it feels
#
& ’ ’ ’ ’ ’ ’ ’ ’ ∑
Guitar tacet
[15]
# r r œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ ⇥ ⇥ nœ œ œ œ œ œ Œ Ó ⇥ œ
œ œ œ œ œ
this good get - ting used, Oh, you just keep on us - ing me un - til you use me up.
#
& ∑ ∑ ∑
[18]
15
# r ⇤ ‰
E m7
Œ Ó
A7
& œ ∑
⇥
# œœ œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œœ ¿¿ œœ œœ ¿¿ ¿¿ ¿¿ ‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
& œ œ œ ¿ ¿ ¿ œ œ ¿ œ ¿ œ œ ¿ ¿ ¿ # œœ œœ œœ ¿¿ ‚‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
œ œ œ ¿
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
NH
¿¿
7 7 7 7 7 7 7 7 7 7 7 7
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
8 8 8 8 8 8 8 8 7 7 7 7 7 7 7 7 7 7 7 7
¿
7 7 7 7 7 7 7 7 6 6 6 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 7 7 7 7 7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7
5 5 5
[21]
# œœ œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œœ œœ œœ œœ ¿¿ ¿¿ ¿¿
E m7 A7
& œ œ œ ¿ ¿ ¿ œ œ ¿ œ œ œ œ ¿ ¿ ¿ # œœ œœ œœ ¿¿ Œ Œ ⇤ œ œ œ
œ œ œ ¿
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
¿ ¿ ¿ ¿ ¿ ¿ ¿
8 8 8 8 8 8 8 8 8 3 5
¿
7 7 7 7 7 7 7 7 7 6 6 6 4
5 5 5
7 7 7 7 7 7 7 7 7
5 5 5
[23]
Guitar Solo
# œ. œ œ œ ⇤œ ⇤ œ j œ œœœœœœœ œ œ
E m7 A7 E m7
& œ œ œ œ œ œ œ œ œ œ œ. œ ‰ ⇤œ œ œ
#œ
f
3 3 5 7 3 5 3
3 5 3 3 5 5 5 3
4 2 4 2 2 2 4 4
5 5 5 2
5 4
[25]
# #œ œ œ œ ‰ ‰ œ œ œ œ œ œœ. œœ. # œœj œœ. œœ œœ œœ œœ œœ.

A7 E m7 A7
n # œœ. œ œœ œ œ œ œ
œ
j j
& J œ
# # œœ
⇤ ‰. # œœ
R œ œ
#œ œ œ œ
5 6 7 3 6 7 3 6 7 7 3
5 5 5 8 7 8 5 7 8 5 7 8 8 5 5
6 7 6 6 6 4 4
7 7 5 7 5 5 7
4 7
[28]
# E m7 A7
r
& ∑ Œ ‰. œ œ œ œ œ œ œ œ
œœ œœ œœ œœ œœ œœ
I
# œœ œœ
œ œ
j j j
œ ⇤ œ œ ‰. œ œ œ œ n # œœ.
# # œœ # œœ # œœ
& œ R œ œ ‰ ⇤ œj œ œ œ
J œ nœ œ œ
6 7 3 6 7 3 6 7 7 3
7 8 5 7 8 5 7 8 8 5 5
7 4 7 4 7 7 4 6 4 2
7 5 5 2 2
2 0
3
[31]
16
Chorus
# j r r
& œ œ œ œ œ œ œ ‰ bœ œ œ œ œ œ œ œ œ ⇤ ⇤ nœ œ œ œ
œ œ œ
#
want to spread the news, that if it feels this good get - ting used, Oh, you just
& ˙ Ó ’ ’ ’ ’
Ad lib. E minor pentatonic fills and/or muted strum patterns
[33]
# œ œ œ
& œ œ œ œ œ Œ Ó ⇤ œ
œ œ œ œ œ
#
keep on us - ing me un - til you use me up.
& ’ ’ ’ ’ ’ ’ ’ ’
[35]
# E mr ⇤ ‰ Œ Ó
7 A7
& œ
⇥ ‚ ‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
# œœ œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œœ ¿¿ œœ œœ ¿¿ ¿¿ ¿¿ # œœ œœ œœ ¿¿ ‚‚‚ ‚‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
& œ œ œ ¿ ¿ ¿ œ œ ¿ œ ¿ œ œ ¿ ¿ ¿
œ œ œ ¿
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
NH
¿¿
7 7 7 7 7 7 7 7 7 7 7 7
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
8 8 8 8 8 8 8 8 7 7 7 7 7 7 7 7 7 7 7 7
¿
7 7 7 7 7 7 7 7 6 6 6 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 7 7 7 7 7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7
5 5 5
⇥
[37]
# œœ œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œœ œœ œœ œœ ¿¿ ¿¿ ¿¿ ‚ ‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
# œœ œœ œœ ¿¿ ‚‚‚ ‚‚‚
E m7 A7
‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
& œ œ œ ¿ ¿ ¿ œ œ ¿ œ œ œ œ ¿ ¿ ¿
œ œ œ ¿
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
NH
¿¿
7 7 7 7 7 7 7 7 7 7 7 7
¿ ¿ ¿ ¿ ¿ ¿ ¿
8 8 8 8 8 8 8 8 8 7 7 7 7 7 7 7 7 7 7 7 7
¿
7 7 7 7 7 7 7 7 7 6 6 6 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 7 7 7 7 7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7 7
5 5 5
⇥
[39]
# œœ œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œœ ¿¿ œœ œœ ¿¿ ¿¿ ¿¿
E m7 A7
‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
& œ œ œ ¿ ¿ ¿ œ œ ¿ œ ¿ œ œ ¿ ¿ ¿ # œœ œœ œœ ¿¿ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
œ œ œ ¿
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
NH
¿¿
7 7 7 7 7 7 7 7 7 7 7 7
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
8 8 8 8 8 8 8 8 7 7 7 7 7 7 7 7 7 7 7 7
¿
7 7 7 7 7 7 7 7 6 6 6 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 7 7 7 7 7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7
5 5 5
[41]
# œœ œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œœ œœ œœ œœ ¿¿ ¿¿ ¿¿
E m7 A7
& œ œ œ ¿ ¿ ¿ œ œ ¿ œ œ œ œ ¿ ¿ ¿ # œœ œœ œœ Œ Ó
œ œ œ.
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
¿ ¿ ¿ ¿ ¿ ¿ ¿
8 8 8 8 8 8 8 8 8
7 7 7 7 7 7 7 7 7 6 6 6
5 5 5
7 7 7 7 7 7 7 7 7
5 5 5
[43]
17
Use Me | Technical Guidance
The 16th note rhythm used throughout much of this arrangement requires precision and control for both hands. Without
accurate counting it is likely to lose focus and clarity, which will not gain the highest marks available in an exam for
rhythmic control.
The fretting hand has a lot of subtle movements to execute, with fragment chord shapes that need to be fretted differently
to more common shapes in order to mute certain strings (the missing 5th in Emin 7 bar 1 for example). These shapes then
need to be held and lifted very quickly in order to facilitate the muting present throughout. This could prove difficult if you
have not done it before, so start slowly with simple rhythms and build up to the notated pattern.
The picking hand needs to coordinate with the fretting hand to make the fretted and muted notes work. As a constant
picking hand will also be responsible for changing dynamics ( f to F for example) which influence the overall sound
16th note pattern is maintained, try to relax your strumming approach and maintain fluency for a musical feel. Your
during the performance.
Technically the natural harmonics (NH) are more difficult than they may appear, as all of the notes need to be clear and
balanced in order to attain the highest possible marks. Maintain a light touch with good fretting hand positioning and the
part should feel fairly natural after a little practice.
The solo makes a good study in target notes, with chord tones generally targeted on strong beats, which allows the solo to
sound musically linked to the track and not just randomly phrased within a scale. There are also grace notes (bar 29 & 32)
that must be clearly executed.
If you choose to play the minor pentatonic fills (starting bar 34) then try to keep stylistic considerations in mind, as leaning
towards more rock/blues phrasing may not sound stylistically convincing here and may not achieve maximum marks despite
using the correct scale.
18
‘Ironic’ | Alanis Morissette
‘Ironic’ features on Alanis Morrisette’s third studio album Jagged Little Pill and was the third single to be released from
the record. Despite mixed reviews, the song was well received in the charts and made it to number 4 on the US Billboard
Hot 100, giving Morissette her highest charting single to date. ‘Ironic’ also made it to a top ten position in Australia,
Belgium, Germany, Iceland, New Zealand and Norway, making it a hit across the globe. Although the hit didn’t make it
to the top spot in the US it did succeed in reaching number 1 in Morissette’s home country of Canada, as well as topping
the Spanish Top 40.
‘Ironic’ was written by Morissette and Glen Ballard shortly after the pair met, Ballard alleges that after having known
each other for only 15 minutes they had written three songs. Ballard went on to produce the single, along with the
entirety of Morissette’s third album Jagged Little Pill. The lyrics to this song have frequently caused debate about whether
the situations described in the song are actually examples of irony, but Morissette and Ballard certainly made a lasting
impression with this song as the debate continues today.
Jagged Little Pill topped the UK album chart, making it Morissette’s only UK number 1 album to date. The album
received nine Grammy award nominations and won five of them including Album of the Year. The track and video for
‘Ironic’ were also nominated for Grammys and although did not win, shows how well received the track was.
Alanis Morissette is a Canadian-American singer-songwriter, born in Ottawa, Ontario in 1974. She started playing the
piano when she was six years old, shortly followed by an interest in dance at the age of seven. By the age of just 13 she
had recorded her first demo, Fate Stay with Me. Her self-titled debut studio album was released in Canada only in 1991
where it reached number 25 on the Canadian Album Chart. Her second album Now is the Time was released only one
year later and again was only released in Canada. It wasn’t until the release of the third album that Morissette’s true talent
was recognised globally.
Jagged Little Pill spent a total of 221 weeks in the UK album chart, and was number 1 for eleven weeks. With sales of
over 33 million copies worldwide, the album is hailed as one of the best selling albums of the 1990s.
Song Info
Song Title: ‘Ironic’
Album: Jagged Little Pill
Released: 1996
Label: Maverick, Warner Bros
Genre: Alternative Rock
Written By: Alanis Morissette/ Glen Ballard
Produced by: Glen Ballard
UK Chart Peak: 11
19
Ironic Session Style
Alanis Morissette
Arranged by Nat Martin
c 80 Alternative Rock
Capo 4th fret (†), play using hybrid picking Verse
D/F # D/F #
# j
N.C. G Em
œ.
& 44 Ó Œ ‰. œ
r œ
J
œ Œ œ œ œ œ œ ‰
œ œ œ
# 4 œ . œ œ œ œj j
An old man turned nine - ty - eight. He won the
œ ‰ œœ œœ œ. œ j
& 4 œ. œ. œ ‰ œ œœ œ œ
œ
œ. œ œ œ œ
p J Pœ ‰ Jœ ˙ œ ‰ œ ˙
J
3 2
T 3 3 3 3 0
0 2 0 0 2 0 0
A 2
B 3 3 3
2 3 2 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 two tones higher than written.
■ The tablature numbers represent the distance from the capo. (e.g. tabbed 3rd fret is 3 frets above the capo).
D/F # D/F #
# œ j
G Em
& œ œ œ Œ ‰ œ œ œ œ œ Œ ‰ œ
œ œ
j
lot - ter - y, and died the next day. It’s a
# œ ‰ œœ œœ œ. j
& œ. œ œ ‰ œœ œœ œ
‰ œ ˙ œ ‰
œ J œ œ œ œ.
J J
3 3 3 0
2 0 0 2 0 0
0
2 3 2 0 0
[4]
D/F # D/F #
#
G Em
& ‰ œ œ œ ‰ œ œ œ œ œ œ Œ ‰ œ œ
J
j
black fly in your Char - don - nay. It’s a
# œ ‰ œœ œœ œ. j
œ ‰ œœ œœ
& œ. œ œ œ
œ ‰ œ ˙ œ ‰ œ ˙
J J
3 3 3 0 0
2 0 0 0 0
2
2 3 2 0
[6] Lyrics by Alanis Morissette
Music by Alanis Morissette and Glen Ballard
20 Copyright © 1995 SONGS OF UNIVERSAL, INC., VANHURST PLACE and ARLOVOL MUSIC
All Rights for VANHURST PLACE Controlled and Administered by SONGS OF UNIVERSAL, INC.
All Rights for ARLOVOL MUSIC Administered by PENNY FARTHING MUSIC c/o THE BICYCLE MUSIC COMPANY
D/F # D/F #
# œ œ j
G Em
œ œ œ ‰ œ œ Œ œ œ œ
& œ œ œ œ œ œ
death row par - don two min - utes too late. Is - n’t it i -
# j j
œ. œ ‰ œœ œœ œ. œ ‰ œœ ˙˙
& œ œ œœ ˙˙
œ ‰ œ ˙ œ ‰ J
J
0
3 3 3 0
2 0 0 2 0
0 2
2 3 2
[8]
D/F # D/F #
# j œ œ œ œ œ
G Em
& œ œ œ œ ‰ Œ ‰ œ œ œ Œ
- - ron - ic… don’t you think? It’s like rain
# j j
œ ‰ œœ œœ œœ ‰ œœ ˙˙
& œ. œ œ. œœ ˙˙
F œ ‰ œ ˙ œ ‰ J
J
0
3 3 1 0
2 0 0 2 2 0
2
2 3 2
[10]
Chorus
D G D Em
# ˙ œ œ œ œ œ. œ œ œ œ œ œ œ
& œ ‰
on your wed - ding day. It’s a free ride
# 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 œœ œœ œœ œœ œœ œœ œœ . œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
. .
f
Strum with plectrum
2 2 2 3 3 3 3 3 3 3 2 2 2 2 0 0 0 0 0 0 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 3
2 2 2 0 0 0 0 0 0 0 2 2 2 2 0 0 0 0 0 0 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 0
[12]
21
œ œ
D G D Em
# œ. œ œ œ œ œ œ œ œ œ œ
& J œ œ ‰
when you’ve al - read - y paid. It’s the good ad - vice
# 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 œœ .
.
œœ œœ œœ œœ œœ œ œ œ œ œ ¿¿ ¿¿
¿¿ ¿¿
¿¿ ¿¿
¿¿ ¿¿
2 2 2 3 3 3 3 3 3 3 2 2 2 2 0
¿ ¿
3 3 3 3 3 3 3 3 3 3 3 3 3 3 0 0
2 2 2 0 0 0 0 0 0 0 2 2 2 2 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 4
[14]
D G D Em
# ˙ œ œ œ œ œ œ œ
& œ œ Œ
that you just did - n’t take.
# 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 œœ œœ œœ œœ œœ œœ œœ .
.
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
2 2 2 3 3 3 3 3 3 3 2 2 2 2 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0
2 2 2 0 0 0 0 0 0 0 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 2 2 2 2 2 2 2
[16]
# nœ œ œ œ œ
F C D
& œ J ‰ œ œ ˙ œ œ œ
Who would - ’ve thought, it fig - ures. Well,
# j #œ œœ œœ œœ œœ œœ œœ œœ.
œœ .. œœ ¿¿ ¿¿
& nœ œ œ
j ‰
œ œ
œ.
œ
œ
œ
¿¿ ¿¿ œœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
J J ¿¿ ¿¿
¿¿ ¿¿
¿¿ ¿¿
0 0 2 2 2 2 2 2 2
¿¿ ¿¿
1 1 3 3 3 3 3 3 3
0 0 0 2 2 2 2 0 2 2 2 2 2
3 2 0 0 4 4 4 0 0 0 0 0
3 3
[18]
Bridge
# œ œ œ œ
C add 2 D 6add 4
œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
life has a fun - ny way of help - ing you out when you think ev - ’ry - thing’s gone wrong and
# œœ .. œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ œ.
& œœœ ... œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ... œœœ œœœ œœœ œœœ œœœ œœœ ... œœœ œœœ ...
œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ œ.
F Strum with plectrum
3 3 3 3 3 3 3 3 3 3 3 5 5 5 5 5 7 5
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 4 4 4 4 4 0 4
3 3 3 3 3 3 3 3 3 3 3 5 5 5 5 5 9 5
[20]
22
# r
C add 2 N.C.
& œ œ œ œ œ œ œ œ œ œ j Œ ‰. œ
œ ˙
ev - ’ry - thing blows up in your face. A
# œœ .. œ œ œ œ œ œ œ œ œ œ œ œ. œ œ j
& œœ ... œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ. œ œ œœ œœ œ.
œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3 2
0 0 0 0 0 0 0 0 0 0 0 0 3
0 0 0 0 0 0 0 0 0 0 0 2 0 0
2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3
[22]
Verse
D/F # D/F #
# œ œ
G Em
& ‰ ‰ œ œ ‰ œ œ œ œ œ œ Œ ‰. r
J œ œ
traf - fic jam when you’re al - read - y late. A no
#
& Û Û Û Û Û Û Û Û Û Û Û ‰ ’ ’ ’ ’
P cont. sim.
[24]
D/F # D/F #
# œ œ œ œ œ
G Em
œ œ œ œ œ œ œ Œ
& œ œ œ œ
smok - - - ing sign on your cig - a - rette break. It’s like
#
& ’ ’ ’ ’ ’ ’ ’ ’
[26]
# D/F #
# D/F
œ œ œ œ œ œ
G Em
& œ œ. œ œ. œ œ Œ ¿ ¿
ten thous - and spoons when all you need is a knife It’s like
#
& ’ ’ ’ ’ ’ ’ ’ ’
[28]
23
# 6 4
¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ ‰ œ œ œ œ œ
3 3 3 3
& 4 4
meet - ing the man of my dreams and then meet - ing his beaut - if - ul wife. And is - n’t it i -
#
& ’ ’ ’ ’ 46 | . |.
44
[30]
D/F # D/F #
# œ. œ
G Em
& 44 œ ‰ Œ Œ ‰ Œ œ œ œ
œ œ œ œ
ron - ic... don’t you think? A lit - tle too i -
#4 j j
œ ‰ œœ ˙˙ œ ‰ œœ ˙˙
& 4 œ. œ.
œ ˙
F œ ‰ J œ ‰
J
œ ˙
Play using hybrid picking
3 3 1 0
2 0 2 0
2 3 2 0
[32]
D/F # D/F #
# œ œ œ
G Em
& œ ‰ Œ Œ œ œ œ œ œ œ œ
œ œ œ
ron - ic... and yeah, I real - ly do think... it’s like rain
j j
# œ ‰ œœ œœ .. œ œ œ œœ ‰ œœ œœ œœ .. œœ œœ ‰
& œ. œ. œœ œœ œœ .. œœ œœ
œ ˙ œ
œ ‰ J œ
0 0 0 0
3 0 1 0 1 0 0 0 0
2 0 0 2 2 0 0 0 0
0 2 2 2 2
2 3 2
[34]
Chorus
D G D Em
# ˙ œ œ œ œ œ. œ œ œ œ œ œ œ
& œ ‰
on your wed - ding day. It’s a free ride
# 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 œœ œœ œœ œœ .. œœ œœ . œ œ œ œœ œœ œœ œœ œœ œœ œ
. œ œ . œ œ œ œ
f Strum with plectrum
2 2 2 3 3 3 3 3 3 2 2 2 2 0 0 0 0 0 2
3 3 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 3
2 2 2 0 0 0 0 0 0 2 2 2 2 0 0 0 0 0 2
0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 0
[36]
24
œ œ
D G D Em
# œ. œ œ œ œ œ œ œ œ œ œ
& J œ œ ‰
when you’ve al - read - y paid. It’s the good ad - vice
# 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 œœ œœ œœ . œœ œœ œœ œœ œœ
. œ œ œ œ œ œ
2 2 2 3 3 3 3 3 3 3 3 2 2 2 2 0
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 0
2 2 2 0 0 0 0 0 0 0 0 2 2 2 2 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 2 2 0
2 2
[38]
# ˙
D G D Em
œ œ œ œ œ œ œ œ œ ‰ œ
& J
that you just did - n’t take. And
# 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 œœ œœ œœ .
.
œœ œ
œ œœ œœ œœ œœ œœ
2 2 2 3 3 3 3 3 3 3 2 2 2 0 0 0 0
3 3 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0
2 2 2 0 0 0 0 0 0 0 2 2 2 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2
[40]
# nœ œ œ œ œ
F C D
& œ J ‰ œ œ w
who would have thought, it fig - ures.
# j #œ œœ œœ œœ œœ œœ œœ œœ
œœ .. œœ ¿¿ ¿¿
& j ‰ . œœ œœ œœœ œœ œœ œœ œœ œ œœ œœ œœ œœ
nœ œ œ œ œ œ œ œœ ¿¿
¿¿
¿¿
¿¿ œ
J J
¿¿
¿¿
0 0 2 2 2 2 2 2 2
¿¿3
1 1 3 3 3 3 3 3 3
0 0 0 2 2 2 2 0 2 2 2 2 2
2 0 0 0 0 0 0 0 0 0 0
3 3
[42]
# w
&
# œœ .. œ œ j U
& œ œ œœ œœ œ.
F Play using hybrid picking
3 2
0 3
2 0 0
[44]
25
Ironic | Technical Guidance
This technical guidance follows the capo convention as indicated on the score, i.e. chords and pitches are described by their
relation to the capo position, and will sound two tones higher.
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.
This arrangement is designed to work closely with the vocal line and needs special attention to the feel and rhythms/delivery
of the sung parts. This can be seen clearly in bars 2 and 12, where in the former the syncopated chord exactly works with the
word ‘man’ being sung, and in the latter where the last two 16th notes link to the words ‘on your’. Letting these parts get even
a little out of sync will change the feel produced throughout the song.
The dynamic jump up to f in the chorus should prove relatively easy, as chords will generally produce a louder dynamic
than moving melody parts when struck with the same level of attack. However, the change from P to F in bar 10
(recurring later on as well) is more subtle and will require more musical judgment and skill. Try playing this change with a
simple part and gain confidence before tackling it in the full performance.
The hybrid picking asked for at the start of the score (where a pick and fingers combination is used for the picking hand)
can be difficult if you are not used to it. Balancing the attack of the pick with the attack of your fingers can prove especially
challenging, but an even approach must be maintained. Equally, once the pick is used on its own for chord strumming in the
chorus, you must still control the volume of chords for smoothness within phrases/bars and keep all voices equal.
¿
The ’s (muted/dead notes) that occur during bars 18 and 42 require your fretting hand to dampen the strings. This is a
distinct sound and is very different from pick hand muting. Missing these parts will have a significant impact on the overall
sound produced.
The bar of (bar 31) needs to be properly counted for a performance to feel fully confident. Playing it ‘by ear’ is a viable
h
solution, however it relies on hearing the lead-in vocal phrase (‘and isn’t it I’), which could easily be missed if concentration
lags at all. Counting the bar will provide a steady and reliable method of accurately staying in time with the track.
26
‘Layla’ | Eric Clapton
‘Layla’ was the 13th track from Derek and the Dominos’ Layla and Other Assorted Love Stories. The original version
contains contrasting movements written separately by Clapton and Gordon. The song did not have much success upon
its release in 1970 but in later years it became a rock classic and its main riff a seminal rock motif. ‘Layla’ was successful
in its 1972 release and in 1992 as part of Clapton’s MTV Unplugged album.
‘Layla’ is based on a Persian love story that Clapton read and was profoundly moved by, but its added qualities are
perhaps related to Clapton’s unrequited love for model Patti Boyd, who was married to George Harrison at the time.
They eventually married in 1977.
Eric Clapton is regarded as a true rock and blues icon. He was born in 1945 in Ripley, Surrey. 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 18 Grammy awards and the only three times
inductee to the Rock and Roll Hall of Fame.
Clapton started playing in his early teens and by age 16 his playing was advanced. He is acknowledged as influential by
a plethora of guitarists worldwide. 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. At the time, it was one of two artist models available. He has appeared on many records as
guest, and in movies such as Tommy as well as adverts by Mercedes Benz and T-Mobile.
Song Info
Song title: Layla
Album: Layla and Other Assorted Love Songs (1970)
Label: ATCO / Polydor
Genre: Rock
Written by: Eric Clapton and Jim Gordon
Guitar: Eric Clapton and Duane Allman
Producer: Tom Dowd, Derek and The Dominos
UK Chart Peak: 4
27
Layla Session Style
Eric Clapton
Arranged by Andy G Jones & Jono Harrison
d92 Rock
Intro
Bb Bb
j j j j j j
D5 C D5 Dm
12 j œ œ j œœ œœ ‰ œœ œœ œœ ‰ œœ . Œ œœ œœ œœ œœœ œj œj œœ
œ œœ Œ
b
& 8 ‰ Œ œ œ œ œ œ œœ
œ œœ œ œœ œ œœ œ œ . œ œ œ . œ œ œ œ œ œ
œ œJ œ . œ Jœ œ .
œ œ J . J œJ J œ œ.
J
œ‰
J
1
T 2
3
2 3
3
3
3
3
5
5
5
5
5
5
3
2
3
2
3
2 3
3
3
3
3
A 0 3 3 3 5 5 5 0 0 3 3 3
B 0 3 3 1 3 3 0 3 3 1 3
Bb
[Band in]
j j j
D5
j
j œœ œœ œœ Œ œœ Œ œj œ œ œ
C N.C. Dm C
œ œœ œœ œœ ¿¿ ‰ œœ œœ œœ
& b œœ ‰ œ ‰ Œ. Œ œœ œ œ œ œ œ ¿ œ ‰ œ
œ œ œ œ œ œ œ
J J
œ. œ ‰ œ œ. ¿ ‰ œœ œ œ œ œ Ó.
J
J J J
¿¿
¿¿
1 1 1
T 5
5
5
5 2
3
2
3
2
3
2
3
3
3
3
3
3
5
5
5
5
3
2 7
5 6
A 5 5 0 0 3 3 3 5 5 0 7
B 0 3 0 3 1 1 3 0 3
[4]
Bb
œ œ œ œ œ Bœb œ œ
œ œ œ œ œ œ œ œ~~~~~~~~~
œ . œ œ œ ‰ œ œ œJ Œ œœ œ œ œ œ œ œ œ ‰ œœœ
Dm C Dm C
j j
j œ
b ‰
œ œ
&
3 3
~~~~~~~~~
3
10 12 10 12 10 10
T 5 6 5
7
5 6 5
7
6 6 8 6 8 8 10 8 10 10 13 10 13 13 13 10
12
10
12 101210
A
B
[7]
Bb
œ œJ œ œ ‰ œ œ œ œ œ ~~~C #
n## #
j
œ œ œj œ œ
Dm N.C.
&b J œ J œ œ œ œ. œ œ j
œ œ
‰ jŒ
œ
jŒ
œ >
>
~~~
T 9 10 9 7 7
5 6 5
7 5 7
A 7 7 5 3 3 5 3
B 5 5 3 5
5
3
[10]
28 Words and Music by Eric Clapton and Jim Gordon
Copyright © 1970 by Eric Patrick Clapton
Copyright Renewed
International Copyright Secured All Rights Reserved
Verse
C # m7 G#7 C # m7
####
C D
œ œ œ œ œ œ œ œj œ œ j
& Œ œ œ œ œ œ œ #œ œ. Ó. Œ œ j
J œ nœ œ
j j j
œ
J J
œ
J J œ
j j j j
What will you do when you get lone - ly? No - one wait - ing by your
# # # Œ œœ œœœ ...
# œ œœ œœ œœ œœ j
# œœœ œœ œœ œœ œœœ ...
œ œœ .. œœ .. œ. n œœœ ...
& œ.
œ œ.
œ.
œœ œœ œœ
œ. œ.
œœ Œ .
œ œœ œœ œ œœ .. œ œœ . œœ . n œ n n œœœ .. nœ.
˙. œ. œ J . J .
4 4 4 4 4 4 4 4
T 5
4
5
4
5
4
5
4
5
4
5
4
4
5
4
5
4
5
4
5
4
5
5
4
5
4
5
5
7
7
A 6 6 6 6 6 6 4 4 4 4 4 6 6 5 7
B 4 4 4 4
4
6 6 6
4
6
4
4 4 3 5
[13]
F#m
#### E7
œ œ œ j
œ œ œ œ œj œ
E
Ó.
B E A
& œ œ œ œ. Œ
J J
œ œ œ Œ nœ Œ.
J J
j j
side. You’ve been run - nin’, hid - in’ much too long,
#### j œœ .. œœ j
j œœ n œ œ œœ œœ ‰ œœ .. œœ ‰ œœœ ... œœ Œ œœ .. œœ Œ œœœ .. œœœ ‰
& œœ œ œœ œœ œœ œœ œ œœ .. œœ œ .. œ
œ œœ œœ . œœ œ œ. œ ‰ œ œœ . œœ ‰ œ œ. œ
˙. . Œ œ . J . œ
J J
0 0 0 2 2 0 0 0 0
T 1
0 3
1
3
1
3
1
2
2
2
2
4
4
4
4
0
1
0
1
2
2
2
2
A 2 2 2 2 4 4 4 4 2 2 2 2
B 2
0
2
0 2
4 4
2
2 2
0
2 2
0
0 0
2
[16]
F#m
#### j nnnnb
B E A
& Œ j œ j œ œ œ œ œ œ nœ #œ Œ. œ. œ œ œ
J J J J
œ œ j
nœ
j j j
you know it’s just your fool - ish pride. Lay - - - la,
# # # # œœ .. œœ ‰ œœœ œœ œœ œœ œœ œœ œœ ˙˙˙ .. nnnnb

& œœ .. œœ œ œ œœ œœ œœ ‰ ˙ ..
œ. œ œ œ. œ ‰ œœ œœ œ ˙.
œ. œ J . J
2 2 0 0 0 0 0
T 2
2
2
2
4
4
4
4
4
4
0 0
1
0
1
0
1
2
2
A 4 4 4 4 4 2 2 2 2
B 4 4
2
2 2 2
0
2
0
0
[19]
Chorus
D m D m/C B b Bb
j
D5 C D5 N.C. Dm
& b œ ‰ Œ. Ó. œ œ œ j j ‰ Œ. Ó.
œ œ. œ œ œ
j j j j j j j j
got me on my knees. Lay - la,
œ
œ œœ j œœ œœ Œ
œœ œœ œœ œœ œœ .. œœ œœ œœ ..
& b œœœ . œ œœ œœ œœ œœ œœœ Œ
œ œ œ œ
œ. œ œ œ.
Œ.
œ œ
œ œ
œ. œ ‰
œœ
œœ œœ œ œœ . œ
œ œ. œ ‰ œ J J .
J J
1 1 1
T 3
2
3
2 3
3
3
3
3
5
5
5
5
5
5
3
2
3
2
3
2
3
3
3
3
3
3
A 0 3 3 3 5 5 5 0 0 3 3 3
B 3 1 1 0 3 3 3 3 1 1 3
[21]
29
D5 Bb D5 D5
j j j j
C N.C. Dm C N.C.
& b œ œ œ j j j ‰ Œ. Ó. œ œ œ œ œ œ œ j
j j j j j j j j j j
beg - gin’ dar - lin’, please. Lay - la, darl - in’ won’t you ease my wor - ried
œ œœ œœ .. ‰ . œœ œ
œœ œœ œœ Œ œœ œœ œœ œœ Œ œœ œœ œœ Œ œ. œœ
& b œœœ œ œœ . ‰ Œ œ œ œ œ œ œœ œ œœ œ œœ . Œ
. œ œ œ œ œ œ.
J œ œ
J
œ. œ ‰ . ‰ œ œ œ
J
J J J
1
T 5
5
5
5
5
5
3
2
3
2
3
2
3
3
3
3
3
3
5
5
5
5
5
5
3
2
3
2
A 5 5 5 0 0 3 3 3 5 5 5 0 0
B 3 0 0 3 3 1 1 3 3 0 3
[24]
Bb D5
Œ. Ó.
Dm N.C.
& b œ œ œ
j j j j j j
mind.
œœ Œ œœ œœ œœ œœ œœ
& b œœœ . œœ œœ œœ œœ Œ œœ œœ .. œ
1/4
œ œ œ œ œ œ œ œ
œ ‰ œ œ. œ ‰ œ œ. œ œ œ. Œ.
J
1/4
1 5 5
T 3
2
3
3
3
3
3
3
5
5
5
5
5
5
3
2
6 6 3
A 3 3 3 5 5 5 0
B 3 1 1 3 3
[27]
Solo
Bb
œœ œœ œœ œœ œœ œ œœ œœ œ ~~~~~
Dm C Dm
j
1/4 1/4 1/4
œ œ
& b J bœ œ œ œ œ œ œ œ Œ.
5 [5]
1/4
5 5 [5]
1/4
5 [5]
1/4
~~~~~
T 6 [6] 6 6 [6]
7
6 [6]
7 5
A 7 6 5 3 5 3 3
B 5
[29]
Bb Bb
& b ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’.
C C Dm C C
Continue solo using D minor pentatonic / blues / natural minor
T
A
B
[31]
Bb
j
Dm C C Dm N.C.
& b Ó. Œ. œ œ
Lay -
& b ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’. ’.
T
A
B
[34]
30
Bb
Chorus
j
Dm C Dm N.C. D5
& b œ j Œ Ó. œ œ j j
œ œ œ œ œ œ. œ œ
j j j j j j
la, got me on my knees. Lay - la,
œœ œœ Œ j œœ œœ Œ œœ œœ œœ œœ œœ œœ
& b œœ . œ œœ œœ
œ ‰ œ œ. œ œ œœ œ œœ œ
œ
œ
œ
‰ Œ
œ œ
œ ‰ œ . J œ J
J
1 1 1
T 3
2
3
2 3
3
3
3
3
5
5
5
5
5
5
3
2
3
2
A 0 3 3 3 5 5 5 0 0
B 3 1 1 0 3 3 0 3
[37]
Bb D5
j j
Dm C N.C.
& b œj Œ Œ. Ó. œ œ œ œ bœ œ œ œ j
œ
j j j j
beg - gin’ dar - lin’, please. Lay - la,
œœ Œ œœ œœ œœ .. œœ ..
& b œœœ . œ œœ
œ
œœ
œ
œœ œœ
œ œ ‰ œ œ œ. œ œ
Œ.
œ
œ ‰ œ œ. œ œ œ. œ J œ œ J
J J
1
T 3
2
3
3
3
3
3
3
5
5
5
5
5
5
3
2
A 3 3 3 5 5 5 0 0
B 3 1 1 0 3 3 0 3
[39]
Bb
Rit. poco a poco
D5 Dm C
U
Œ. Ó. 44
& b œ œ œ œ œ œ œ œ œ
œ œ
œœj Œ j
dar - lin’ won’t you ease mu wor - ried
U
w
& b œœœ . œ œœ œœ .. œœ ‰ 44 ww
œ œœ œœ . œœ w
‰ .
1 0
T 3
2
3
2
3
3
3
3
1
0
A 0 3 3
B 3 1 1 3
[41]
Rubato
Dm
& b w
~~~~~
mind.
œ œ œ . œ œ œ œ œj œ œ œ œ œœœœ œ œ œ U
b œ œ œ œ œ
œ bœ œ œ œ œ œ œ œ œ w
5
&
~~~~~
3 3
T 5 7
5 6 5 6 5 6
7
5 6 6 8 6 5 6 5 6 5
7
5
7 5
A 7 6 5 3 3 5 3
B 5 5 5 5
[43]
31
Layla | Technical Guidance
This arrangement uses standard chord shapes combined with the W feel and moving bass parts to create a feeling of forward
momentum that should be present in your performance.
The opening solo/melody line starting at bar 6 contains some phrasing motifs with the 16th note triplets, that add coherence
and could be used as template ideas for the main improvised solo later on at bar 31. The grace notes add a slight extra element
to the sound of certain notes, and the slurs should be executed cleanly and retain even volume with no notes inaudible.
Throughout bars 7 to 12 there are a mix of targeted chord-tones and more open ‘bluesy’ phrasing. It is worth studying for
stylistic understanding.
Once the verse begins at bar 13 it is important to keep the single bass notes audible before striking the main chords as this
allows the rhythmic feel to come through. Chord changes need to be smooth and not break the flow of the track, whilst your
picking hand maintains an even attack across all of the written voices. If some of the higher parts do not sound then the
chords can risk sounding like power chords instead of the type they are.
The main solo at bar 29 ideally uses a fluent mix of the three suggested scales, with the blues and minor pentatonic
encouraging looser more stylistic phrasing, and the additional notes present in the natural minor enabling a sharper focus
on chord tones to outline the changes and create more complex sounding lines.
The rit. poco a poco in bar 42 combines with the fermata and subsequent rubato indications to create a very specific slowing,
pause and then return to higher tempo without a specific pulse/beat that should be used to create a very distinctive and
stylistic ending here.
32
‘Road Trippin΄’ | Red Hot Chili Peppers
‘Road Trippin΄’ was the fifth and final single to be released from American rock band Red Hot Chili Pepper’s seventh
studio album, Californication. Unusually, the single was only released in Europe and so was not as well known as past
releases. Nevertheless, it performed relatively well in the UK and peaked at number 30 in the singles chart. ‘Road
Trippin΄’ has always been somewhat of an anomaly, without a US release it achieved popularity only with the bands
existing fan based and failed to gain a lot of airplay. To this day it has only been performed live a handful of times and
not at all since 2004.
Californication was met with critical acclaim on its release in 1999, with reviewers favouring it heavily to the previous
album release One Hot Minute. Many reviewers were astounded by the improvement in lead singer Anthony Kiedis’
vocals, stating that his “range, body, pitch, soulfulness and melodic sensibility” was like nothing they’d heard before. The
album saw the band develop a more authentic funk sound which was also viewed positively by critics, with songs such as
‘Otherside’ and ‘Porcelain’ being described as “moving toward funk’s real Holy Grail”.
Not only received well by critics but also by the public, Californication gave Red Hot Chili Peppers their second top
10 UK album peaking at number 5. With sales of over 1.2 million the album was certified 4 x Platinum in the UK.
Meanwhile in the States, peaking at number 3 on the US Billboard 200 album chart and with sales of over 7 million units
the album was certified at an impressive 7 x Platinum. In 2003 Rolling Stone magazine ranked the album at 399 in their
list of ‘The 500 Greatest Albums of all Time’.
Red Hot Chili Peppers have released an impressive eleven studio albums since forming in 1983. Despite several line-up
changes and a short hiatus, the band have successfully remained current throughout the decades.
The band now have somewhat of a legacy behind them. After four number 1 UK albums, a further four top 10 UK
albums and a staggering twenty one top 40 UK singles they were inducted into the Rock and Roll Hall of Fame in
2012. They have also been nominated for an impressive twelve Grammy Awards throughout their career, including a
nomination for Best Rock Album with Californication in 1999, of which they won three. Having performed live at the
2019 Grammy Awards Ceremony, fans now eagerly await the arrival of their twelfth studio album.
Song Info
Song Title: ‘Road Trippin΄’
Album: Californication
Released: 2000
Label: Warner Bros.
Genre: Acoustic Rock
Written By: Frusciante/Flea/Kiedis
Produced by: Rick Rubin
UK Chart Peak: 30
33
Road Trippin’ Session Style
Red Hot Chili Peppers

c 102 Acoustic Rock Arranged by Tristan Sueme
Intro
j j
#4 . œ œ œ. œ.
Em C B aug
œ œ . œ.
& 4 . ‰œ œ.
œ œ œ œ œ œ œœ œ ‰ œ. #œ œ œ ..
Fingerstyle, let ring throughout
. 3 3 3
.
. .
T 0 0 5 4 4
0 0
A 2 2 2 2 2 2 2 2
B 3 3 3 2 2 2
Verse
# E‰m œ œ œ. œ œ œ œ
C
œ œ
B aug
œ Œ
& J
Road trip - pin’ with my two fav - ’rite al - lies.
j j
Fig.1 (2 bars)… …Fig.1 ends
# œ œ œ. œ. œ œ #œ. œ.
& ‰œ œ. œ œ ‰ œ. œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3
0 0 5 4 4
0 0
2 2 2 2 2 2 2 2
3 3 3 2 2 2
[3]
# Em C
œ œ œ
B aug
& ‰ œ œ œ œ œ œ œ œ Œ
J
2
Ful - ly load - ed, we got snacks and sup - plies.
#
& «
[5]
# Em
j œ
C
œ œ œ
B aug
& ‰ œ œ œ œ œ œ œ œ œ œ Œ
It’s time to leave this town, it’s time to steal a - way.
j œ œ œ. j
# œ œ œ.
‰ œ. ‰ œ œ #œ. œ.
& œ œ œ œ œ œ œ œ œ. œ œ
3 3 5 3
0 5 4 4
0 0
2 2 2 2 2 2 2 2
3 3 3 2 2 2
[7]
34 Words and Music by Anthony Kiedis, Flea, John Frusciante and Chad Smith
© 1999 MOEBETOBLAME MUSIC
# œ œ œ œ œ
œ.
Em C B aug
J
j
Let’s go get lost an - y - where in the U. S. A.
# œ œ œ. œ. 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
3 3 3
0 0 5 4 4
0 0
2 2 2 2 2 2 2 2
3 3 3 2 2 2
[9]
# Em
j
C B aug
& ‰ œ œ œ œ œ œ œ œ ˙ Ó
j
Let’s go get lost, let’s go get lost.
# ‰ œ œ œ. œ. j
œ. œ œ ‰ œ œ #œ. œ.
& œ œ œ œ œ œ œ œ œ. œ œ
3 3 3
0 0 5 4 4
0 0
2 2 2 2 2 2 2 2
3 3 3 2 2 2
[11]
%
Chorus
Play Fig. 1 (x4)
# Em
œ
C
œ œ
B aug
J
[13] Blue, you sit so pret - ty, West of the One.
# E‰m œ œ œ œ œ œ
C
œ œ œ œ
B aug
œ œ œ œ
& J
[15] Spar - kle light with yel - low ic - ing, just a mir - ror for the
# Em C
j
B aug
& ˙ Ó ‰
œ œ #œ œ œ œ œ
[17] sun. Just a mir - ror for the
# Em C
œ œ
B aug
& ˙ Ó ‰
J
œ œ œ œ
[19] sun. Just a mir - ror for the
35
# ˙˙
Am G/B C G/D
˙˙ ˙˙ œ Œ
&
sun.
# œ. œ œ œ œ œ
œ. œ œ œ. œ œ œ œ
& œ. œ œ œ.
œ œ
œ.
œ œ ˙
7 7
1 1 3 3 5 5 8 8
2 0 0 7 7
0
0 0 0 2 2 2 3 3 3
[21]
# ‰
Am G/B C G/D To Coda fi
& j œ œ œ œ œ Ó
These smil - ing eyes are just a mir - ror for.
# œ. œ œ œ œ œ œ œ
œ. œ œ œ. œ œ
& œ. œ œ œ. œ. ˙
7 7
1 1 3 3 5 5 8 8
2 0 0 7 7
0
0 0 0 2 2 2 3 3 3
[23]
Instrumental
E m7 A7 C D7
# œ. œ œ œœ
œ.
#œ. œ. œ. œ. œ. œ.
& œ œ œ œ œœ nœ œ n œ œœ œ œ
œ œ œœ
œ
œ œ
8 8 5 5 7 7
7 6 6 5 5
9 5 5 7
7 7 7 3 3 5 5
5 5
[25]
E m7 A7 C D # dim7
# œ. œ œ œ. œ. œ.
#œ. œ. œ. œ. œ#œ œ
& œ œ œ
œ œ œ œœ nœ œ n œ œœ œ œ œ
œ œ J J
5 5
8 10 8 5 5 4
6 6 5 5
9 5 5 4 4
7 7 7 3 3
5 5
[27]
36
E m7 A7 C D7
# œ. œ n œ œœ
œ. #œ. œ. œ. œ. œ. œ.
& œ œ œ œ œœ œ n œ œœ œ
œ œ œœ
œ
œ œ nœ œ
8 8 5 5 7 7
7 6 6 5 5
9 5 5 7
7 7 7 3 3 5 5
5 5
[29]
E m7 A7 C D # dim7
œ œ œ. .
# œ. #œ. œ. œ. œ. # œœœ .. œœ œœ
œœ
& œ œ œ œ œ œ œœ nœ œ n œ œœ œ œ œ œ
œ
œ
œ œ
5 5
8 10 8 5 5 4 4 4
6 6 5 5 5 5
9 5 5 4 4 4 4
7 7 7 3 3
5 5
[31]
≈ # œœ ≈ j D.%. al Coda fi
œœ œœ œœ ≈ ≈ œ
# œœœ # œœ .. œœ
œ œœ œ œ œ œ 24
œ
# œœ œœ 44
& œ œ œ œ œ ≈ ≈ #œ ‰
J J ≈ ≈ R ‰ œ
J
5 5 8 11 8 5 2
4 4 4 7 10 7 4 1
5 5 5 8 11 8 5 2
4 4 4 7 10 7 4 1 1
[33]
fi Coda
Outro
#4 œ œ œ œ œ œ œ. œ w
& 4 œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3 3
0 0 0 0
2 2 2 2 2 2 2 2 2
[35]
37
Road Trippin’ | Technical Guidance
To establish the right feel for this arrangement it is advisable to use fingerpicking, for although it is possible to execute
the parts with a pick, it can be much harder to ensure a balance between the bass and treble parts as well as maintaining
note accuracy.
The majority of the patterns are based around familiar open string chord shapes, but there are some significant deviations
into barre chords and inversions further up the neck (bar 25–31 for example). These will need to be practiced to ensure
notes are clear and balanced with the easier shapes, and that changes from one position on the neck to another flow as
smoothly as possible.
The diminished 7th chords introduced in bar 32 use the same chord shape to move around the neck in intervals of minor 3rds.
This is a very common way to apply a diminished sound on the guitar. Technically you need to look at the slide in bar 33
and control the overall volume of the two notes as well as having the upper part of the Adim7 enter in good balance.
There is a D.S. al Coda at the end of bar 34, which means heading from the D.S. indication back to bar 13 and then playing
through to the To Coda indication at the end of bar 24. Once there, you will go to the Coda at bar 35. Moving around the
score like this can be challenging without practice. A tip to help with this is to read through the score before playing it, so to
familiarize yourself with the structure and repeats before performing.
38
‘Sweet Home Chicago’ | Robert Johnson
‘Sweet Home Chicago’ is a Blues Standard first recorded and released by Robert Johnson in 1936. As with most
Blues Standards, ‘Sweet Home Chicago’ has been interpreted by many musicians, all with their own take on the classic.
Although Johnson is credited with the songwriting rights there has been some uncertainty over ‘Sweet Home Chicago’s’
origin, with some songs having been identified as immediate models for the melody, including ‘Honey Dripper Blues’,
and ‘Red Cross Blues’.
Despite Johnson’s lyrics being open to more than one interpretation, the blues standard has become somewhat of an
anthem for Chicago. With all five of the city’s sport’s teams having played the song at their games in one form or another,
‘Sweet Home Chicago’ remains relevant more than 80 years after its original release.
Johnson’s song was modelled on Jabo Williams song ‘Kokomo Blues’ which was recorded in 1932. With copyright
laws being very different to how we now know them, there was no reason that Johnson couldn’t use Williams’ melody
and simply amend the focus from Kokomo to Chicago. Of course, if this were to happen today it is likely a lawsuit
would result.
Robert Johnson was an American Blues singer, songwriter and musician, born in 1911 in Mississippi. Sadly, Johnson
failed to receive the recognition he deserved during his lifetime and it was only after his death at the very young age of 27
that his talents were acknowledged. Having only taken part in two recording sessions in his lifetime, Johnson left behind
an astounding 29 recorded songs. Many of these songs weren’t released until after he passed away and many of those that
he did see released were only known in the small musical circuit of the Mississippi Delta where he spent much of his life.
Eighty-one years after his death, Johnson is now considered a pioneer in the creation of Delta Blues.
In 1986, Johnson was inducted into the Rock & Roll Hall of Fame in its first induction ceremony. His single ‘Cross
Road Blues’ was inducted into the Grammy Hall of Fame in 1998 and in 2006 he was bestowed a Grammy Lifetime
Achievement Award. He continues to be hailed as one of the greatest blues guitarists of all time, with Rolling Stone
magazine ranking him 5th in their 2003 list of ‘The Greatest Guitarists of all Time’.
Song Info
Song Title: ‘Sweet Home Chicago’
Released: 1936
Label: Vocalion
Genre: Blues
Written By: Robert Johnson
Produced by: Don Law
39
Sweet Home Chicago Acoustic Specialist (Solo)
c 96 Blues s
Robert Johnson
Arranged by Nat Martin
Capo 2nd fret (†), play fingerstyle
A/C #
j
E E/D A m/C E/B B7
#### 4 œ œ œ œ œ œ œ œ œ
3
& 4 ‰ nœ œ
œ œ nœ œ œ œ œ œ œ œ œ
P Œ J
3
0 0 0 0 0 0 0 0 0
T 0 0 0 0 0 0
2
A 0 0
B 4 4 3 3 2 2 2 2 2 2 2
† 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 a tone higher than written.
■ The tablature numbers represent the distance from the capo. (e.g. tabbed 3rd fret is 3 frets above the capo).
E7 A7 E7
#### w nœ œ œ œ œ
A
nœ ‰ œ.
& nœ
œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œn œ œ œ œ n ˙œ œ œ œ
F œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 2 0
3
0
0 2
2 2 4 4 5 5 4 4 0 0 0 0 0 0 0 2 4 4 5 5 4 4
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
[3]
#### j nœ œ œ œ œ
œ w nœ nœ
A7
& Ó Œ ‰
n œ œ
œœ œœ œ œ œ œ œœ
œ œ œœ œœ œœ œœ n œœ œœ œœ œœ œ œ œ œ œ œ œn œ
0 3 3 3 2 0
3
0
2 2 4 4 5 5 4 4 0
2 2 4 4 5 5 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0
[6]
####
E7 B7
Œ
3 3
& ‰ œ. Ó ‰ nœ #œ œ œ œ œ œ œ œ œ œ
œ œ œ n ˙œ œ œ œ œ œ œ œ n 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 J
J 3
3
0 0
0 1 2 2 2 1 2 2
2 1
2 4 4 5 5 4 4 2 2 4 4 5 5 4 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
[9]
40 Words and Music by Robert Johnson
Copyright © 1936 MPCA King Of Spaces
All Rights Administered by Handle Bar Music c/o Concord Music Publishing
A7 E E 7/B B bdim7 A7 E B7
## ‰ ‰ œj œ œ œ œ œ œ œ
3
œ œj j ‰ œ n œ œ b œœœ n œœ n œ # n œœœ
& ## Œ
3
œ œ œ nœ œ œ œ œ œ œ #œ œ œ œ œ œ
J
J
P F
3
0 0 0 0
3 2 1 0 0 0 0 0 0 0
4 2 2 0 4 3 2 0 1 2 2
2 2 2 1 1
0 0 0 0 0 0 0 2 2 2 2 2 2
0
[12]
.
E7
. E7
‰ j
# #
B 3 3
nœ œ œ œ œ œ œ œœ œ œ œ œ œ œ ¿¿ œ
& # # n œj # n œœ j nœ
œ œ n œ œ œ
nœ # œ nœ #œ n ¿¿
nœ n œ n
j
œ ‰ Œ ‰ œ œœ œ œ ‰ Œ ‰ œ œœ œ œ ‰ Œ Œ ¿¿
p J J J J J
. . ¿¿
¿¿ 3
0 0 0 0 0 0 0 0 0 0
¿¿
3 3 3 3 3 2 3
0 1 2 0 1 2 0 1
0 0 0
4 4
0 0 0 0 0 0 0 0 0
[15]
#### œ œ œ n œ œ œ nœ œ œ œ œ
3
w nœ nœ
A7
& œ
œ œ œ œ nœ œ œ œ
œ œ œ œ nœ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ
J
3
F
0 0 0 0 0 3 3 3 2 0
3 0 3
0
2 2 4 4 5 5 4 4 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 2 2 3 3 4 4
[18]
#### ‰
E7 B7
Œ
3 3
& œœ . œ œ n ˙œ œ œ œ Ó ‰ nœ #œ œ œ œ œ œ œ œ # œœ œ
n œ œ
œœ œœ œœ œœ œ œ œœ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ J
J 3
3
0 0
0 1 2 2 2 1 2 2
2 1
2 4 4 5 5 4 4 2 2 4 4 5 5 4 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
[21]
41
A7 E E 7/B B bdim7 A7 E B7
## œ œj ‰
j ‰ œ n œ œ b œœœ n œœ n œ # n œœœ j
3
& ## Œ ‰ œ œ œ œ œ œ œ
3
œ œ œ nœ œ œ œ œ œ œ #œ œ œ œ œ
J
J
P 3
0 0 0 0
3 2 1 0 0 0 0 0 0 0
4 2 2 0 4 3 2 0 1 2
2 2 2 1
0 0 0 0 0 0 0 2 2 2 2 2 2
0
[24]
Guitar Solo
C E7 A7 E7
# # # # n œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ n # œœœ œœœ œœœ œœœ œœ œœ œœ œœ

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
p
P
4 4 4 4 4 4 4 4 3 3 3 3 3 3 3 3 4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3
4 4 4 4 4 4 4 4 2 2 2 2 2 2 2 2 4 4 4 4 4 4 4 4
0 0 0 0
0 0 0 0 0 0 0 0
[27]
A7 1/4
.
# # # # n œœœ œœœ œœœ œœ œœœ œœœ œœœ œœ n œœ œ j œ . œœœ œœœ n œœ œœ
3
œ œ Œ œ œ œ œ nœ 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
. J
f
3
1/4
4 4 4 4 7 7 7 7 7 0 0 0 0 3
3 3 3 3 5 5 5 5 8 0 2 2 2 2 3 0
4 4 4 4 7 7 7 7 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 0 0
[30]
Ÿ~~ j j
E7 B7
#### j ‰ Œ j
1/4
Œ œ
‰ œ ‰ œ œ œ n œ œ.
& nœ n œ œ œ
œ œ œ
œ œ œ œ œ œ œ œœ œœ œœ œœ n œœ œœ œœ œ # œ œ
œ œ œ œ œ œ œ bœ
3 1/4
0
0 0 0 3 0
0 2
1
2 4 4 5 5 4 2 2 4 4 5 5 4 0 1 2 2 2 2 2 2 2 1
0 0 0 0 0 0 0 0 0 0 0 0 0 0
[33]
A7 E E 7/B B b dim7 A7 E B7
# ## n œœ œœœ œ œ ‰
j ‰ œ n œ œ b œœœ n œœ n œ # n œœœ j
3
& # Œ ‰ œ œ œ œ œ œ œ
3
œ œ œ œ œ œ #œ œ œ œ œ œ
J
J
J J
P
3
3 3
3 0 0 0 0 0
2 2 2 0 3 2 1 0 0 0 0 0 0 0
2 2 3 2 0 1 2
2 2 2 1 2
0 0 0 0 0 0 0 2 2 2 2 2 2
0
[36]
42
E7 A7 E7
## w nœ œ œ œ œ j
D
& ## w
nœ
3
n œœ ‰ . ‰ œœ ‰
œœ œœ œœ œœ n œœ œœ œœ œœ œ œ œ œ œ œ œ n œœ œ œ n œœ œ œ
œ œ œ œ œ œ œ ‰ œ
J J
F 3
0 3 3 3 2 0
3
0
0 2
2 2 4 4 5 5 4 4 0 0 0 0 0 0 0 2 4 4 5 5 4 4
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
[39]
# . j
œ n œœ ‰ œœ n œœ # œœ
7
## # j j ‰ Œ
A
œ ˙.
3
Œ ‰ œ œ nœ
& nœ #œ
n œœ. œ œ œ œ œ œ œœ œœ œœ œœ n œœ œœ œ œ œ œ œ œ œ œ œœ n n œœ
œ œ œ œ œ œ œ J
. 3
0 0 3 3 3 2 0
0 2 2 2 2 1 2 3
0 1 2 0
0 2 2 4 4 5 5 0
2 2 4 4 5 5 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0
[42]
#### ‰ j
E7 3 B7
œ œ œ œ œ n œœ œœ œœœ
3
& œœ # œœ œ n œ œ œ n œ # œ œ œ œ œ œ œ œ # œœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J
J 3
3
0 0 0
0 2 0 2 3 3 0 0
1 1 0 1 2 2 2 1 2 2
2 1
2 4 4 5 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
[45]
A/C #
U
A7 E E/D A m/C E/B A7 E7
## œ œj œ œ œ œ œ œ œ œ œ œ œ
& ## Œ nœ œ œ œ nœ œ œ œ nœ œ n # œœ œj # n œœ ˙˙
œ œ œ œ œ œ œ œ œ œ œ œ ˙
p F
0 0 0 0 0 0 0 0 0
2 3
4 2 2 0 0 0 1
2 2 0 0
0 0 0 0 0 0 0 4 4 3 3 2 0
0 0 0
[48]
43
Sweet Home Chicago | Technical Guidance
This technical guidance follows the capo convention as indicated on the score, i.e. chords and pitches are described by their
relation to the capo position, and will sound a tone higher.
This arrangement features several approaches that are common within blues playing, which must be mastered in order to
make your performance sound natural and confident. Fingerpicking the bass and treble strings at the same time and grace
notes into double stops can both be found in various places of the score.
The lick (bar 4 for example) is a classic lick in this style and needs to be played with balance in your picking hand so that the
bass notes do not overshadow the moving melody parts. It has a real sense of momentum towards the E 7chord, so keep the
swung eighths feel solid. The same is true of the B 7 lick in bar 11.
The grace note hammer-ons that start in section B are a classic use of the minor 3rd / major 3rd dissonance that give the
blues its characteristic sound. They should be played quickly enough to only give an impression of the G natural note before
the C # sounds, but not so quickly that it has no impact at all.
The changing dynamics span a reasonable range through p / P / F / f and you should try to make sure each is clearly
defined. This is especially important to have under control during the crescendos, as starting either too quietly or too loudly
will result in problems at the end of the phrase where the part will either be too loud or too quiet. This is one area where
musicality and consistent technique can elevate a performance to the highest levels.
The polyrhythmic aspect (two different rhythms at the same time) of this arrangement is best represented in bar 30 where
there are two groups of triplets in the melody with swung eighth notes in the bassline. Practicing both parts separately and
then combining them is one way to approach this style of playing, which can seem difficult at first, but will eventually sound
like a natural and integrated part of the song.
44
45
Technical Exercises
In this section, you will be asked to play a selection of exercises, chosen by the examiner, from each of the groups below.
All exercises need to be played in straight feel, in the keys, octaves and tempos shown. You may use your book during the
exam for all groups.
Groups A, B & C need to be prepared as shown below. The examiner will play the click at the given tempo, and you should
begin to play after four clicks.
Group D is played to a backing track.
Group A:Acoustic
ScalesGuitar 2019 | Technical Exercises | Grade 4
Eighth notes. To be prepared in the keys of A, B b, B and C, played with starting notes on the low E (6th) string
Group A: Scales To be prepared in the keys of A, Bb, B and C, played from the low E (6th) stringCandidates must prepare both fingerings for each key and scale type
Candidates must prepare both fingerings for each scale type and key
The tempo for this group is q = 80 bpm.
1. Major scale (A major shown)

## 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 6 7
5 7 7 5
7 6 4
A 4 6 7 7 6 4
B 5 7
4 5 7 7 5 4
7 5
###
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2 4 5 4 2
T 1 2 4
2 3 5 5 3 2
4 2 1
A 2 4 4 2
B 5
2 4 5 5 4 2
5
2. Natural minor scale (B natural minor shown)

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ
7
T 6 7 9
7 8 10 10 8 7
9 7 6
A 7 9 9 7
B 7 9 10
7 9 10 10 9 7
10 9 7
## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
5 7 5
T 4 6 7
5 7 8 8 7 5
7 6 4
A 4 5 7 7 5 4
B 7
4 5 7 7 5 4
7
46
3. Minor pentatonic scale (C minor pentatonic shown)
& bbb œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
8
T 8 10
8 11 11 8
10 8
A 8 10 10 8
B 8 11
8 10 10 8
11 8
œ œ œ œ œ
œ œ
& bbb œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
6 8 6
T 5 8
6 8 8 6
8 5
A 5 8 8 5
B 8
6 8 8 6
8
4. Major pentatonic scale (B b major pentatonic shown)

œ œ œ œ œ
b œ œ œ œ
&b œ œ œ œ œ œ œ œ œ œ
œ œ
6
T 5 7
6 8 8 6
7 5
A 5 8 8 5
B 6 8
5 8 8 5
8 6
œ œ œ œ œ
& bb œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
3 6 3
T 3 5
3 6 6 3
5 3
A 3 5 5 3
B 6
3 5 5 3
6
5. Blues scale (A blues scale shown)
œ bœ nœ œ œ œ œ bœ œ
& œ œ œ œ œ œ
œ œ œ bœ nœ œ bœ œ œ œ
5
T 5 7 8
5 8 8 5
8 7 5
A 5 7 7 5
B 5 8
5 6 7 7 6 5
8 5
œ œ œ
& œ œ œ œ bœ nœ œ bœ œ œ œ œ
œ œ œ bœ nœ œ bœ œ œ œ
3 5 3
T 2 5
3 4 5 5 4 3
5 2
A 2 5 5 2
B 5
3 5 6 6 5 3
5
47
Technical Exercises
Group B: Arpeggios
Eighth notes. To be prepared in the keys of A, B b, B and C, played with starting notes on the low E (6th) string.
The tempo for this group is q = 80 bpm.
1. Major 7 arpeggio (A major 7 shown)

##
& # œ œ œ œ œ
œ œ œ œ
T
A 6 7 6
B 5
4 7 7 4
5
2. Minor 7 arpeggio (B minor 7 shown)

#
& # œ œ œ œ œ œ œ
œ œ
T
A 7 9 7
B 7 10
9 9
10 9
3. Dominant 7 arpeggio (C dominant 7 arpeggio shown)
& œ œ bœ œ œ œ
œ œ œ
T
A 8 10 8
B 8
7 10 10 7
8
48
Technical Exercises
Group C: Chords
1. Major & minor chords (full barre shapes) to be prepared as below:
œœ A
œ œ œœ Am
œ œ
& œœœ
#
œ œ œ & œœœ œ œ œ
œ œ œ œ
5 5 5 5
T 5
6 6
5 T 5
5 5
5
A 7 7 A 7 7
B 7
5 5
7 B 7
5 5
7
# œœœ œ œ œ œœ œ œ
& œœœ œ
D Dm
& œœ œ
œ
œ
œ
5 5 5 5
T 7
7 7
7 T 6
7 7
6
A 7 7 A 7 7
B 5 5 B 5 5
2. 7th chords – to be played in a continuous sequence:
## œ
A maj 7 A7 D maj 7 D7 D m7 G7 A m7
œ œœ n œœœ n n œœœ w
& # œœ Œ n œœ Œ œœ Œ
œ
Œ
œ
Œ n œœœ Œ n n ww
œ œ nœ w
T 5
6
5
6
7
6
7
5
6
5 4
5
5
A 6 5 7 7 7 3 5
B 5 5
5 5 5 5
3 5
Group D: Acoustic Riff

In the exam you will be asked to play the following acoustic riff to a backing track. The riff shown in bar 1 & 2 should be
transposed and played from the given root note in the following bars. Each time it changes, the root note is shown at the
beginning of the bar. The tempo is q = 80.
q = 80 Soul/Blues
& 44 œœ œœ œœ œœ œœ œœ œœ œœ
A m7
œ œ œ œ bœ nœ œ.
œ. œ œ. œ
T 5 7 5 5 7 5
A 5 7 5 5 7 5 5
B 5 5
7 5
8 5 5
5 6 7
D m7 A m7 D m7
& œ œ
œ
T
A
B 5
5
5
49
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 takes place during the final two bars. 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: D major, G Major, D minor or A 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 = 80–90.
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 = 80–90
Duration: 8 Bars
Rhythms: Half notes, quarter notes, eighth notes, ties and rests.
Key: D or G major; D or A 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 = 85 Country
& 44 ‰ œj œ œ œ œ ˙
œ œ Œ œ œ œ œ Œ Œ
G C
œ œ œ œ œ
œ
T 0 2
0
2 0
0 1 0
2
3
A 2 0 0 2 2
B 3
2
œ œ œ
E m7 A7 C G
& œ œ œ œ œ ‰ œ œ œ ’ ’ ’ ’ ’ ’ ’ ’
Improvise melody
0
T 0 3 3 0
2
0
2 0 2
0
A
B
50
Improvisation & Interpretation
In Grade 4, the Improvisation & 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: D major or G major, or D minor
or A minor. You have 30 seconds to prepare 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 Rock
¿ ¿ ¿ ¿
Chords in rhythm shown Improvise rhythmic chords
4
& 4 .. Û Û ‰ Û Û Û ‰ Û Û Û Û Û ‰ Û
A m7 E m7 F G
’ ’ ’ ’ ’ ’ ’ ’
J J J
Improvise melody
..
C G Dm F G Am
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
51
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 C major pentatonic or B 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
¿ ¿ ¿ ¿ œ œ œ
4 œ
& 4 .. w œ œ œ Œ Œ ..
. .
. .
T 5 5 5 7
5 8 5
A 7
B
Test 2: Harmonic Recall

The examiner will play you a tonic chord followed by a two bar chord sequence in the key of C major played to a bass and
drum backing. The sequence will be drawn from the I, IV and V 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 identify the chords. The tempo is q = 90.
q = 90
¿ ¿ ¿ ¿
& 44 .. | Û Û Û Û Û Û Û Û Û Û ..
C F G
52
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 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 4 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
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.
53
Acoustic Guitar Notation Explained
Finger picking
# ww œ œ
p i m a
D Am F
b
thumb index middle annular
œ
Notes:
w ’ ’ ’ ’
THE MUSICAL STAVE
& ˙ œ Û Û Û Û
shows pitches and rhythms E F
w
4
3
and is divided by lines into CDB
AG 2
bars. Pitches are named after F E 1
the first seven letters of the
alphabet. Fretting hand fingers
Strings:
2 0
T
E
TABLATURE graphically B 3 10 1
represents the guitar G
D A 2
2
0 9
10 2
2
B
fingerboard. Each horizontal
line represents a string, and
A 10 0
E
each number represents a fret.
4th string, Open Rhythm notation with Ad lib. and cont. sim. sections
2nd fret D chord suggested fingering are shown in slash notation
Definitions For Special Guitar Notation

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

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

PB 7
1/4
BD
7 2 9 5
T ( 9) (7) T T T
A A A A 5
7
B B B B
fi
TRILL: Rapidly alternate between the PICKING/STRUMMING: • Go back to the sign (%), then play until
D.%. al Coda
fi
two bracketed notes by hammering Upstrokes, downstrokes and strumming the bar marked To Coda then skip to
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
54 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.
55
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%+

56
* Note that there are no Debut Vocal exams.
Copyright Information
Nothing Else Matters

(Hetfield/Ulrich)
Universal Music Publishing Limited
Use Me
(Withers)
Universal/MCA Music Limited
Ironic
(Morissette/Ballard)
Universal/MCA Music Limited/Concord Bicycle Assets LLC
Layla
(Clapton/Gordon)
Throat Music Limited
Road Trippin’
(Kiedis/Flea/Frusciante/Smith)
Universal/MCA Music Limited
Sweet Home Chicago

(Johnson)
Concord Bicycle Assets LLC
57
Introducing…
Rockschoo
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GRADES DEBUT–8
OUT NOW!
Discover more at
www.rslawards.com/theory
Enter online at
www.rslawards.com/enter-online
Become a more
confident, expressive
& articulate musician
Rockschool Popular Music Theory is the essential guide for contemporary
musicians, composers and educators. Whatever your instrument or musical
background, our theory syllabus will equip you with the practical knowledge
to become a more confident, expressive and articulate musician.
The syllabus consists of 11 finely-tuned books:
Workbooks Debut to Grade 8. Each grade includes a sample paper

Guidebooks Split into two levels; Debut to Grade 5 and Grades 6 to 8
Truly understand
musical theory
then apply your
knowledge using
a corresponding
Workbook
GUIDEBOOKS WORKBOOKS
Discover everything you need to know The ideal preparation for students
about popular musical theory taking Rockschool theory exams
Regardless of your current level of technical The range of Workbooks, from Debut to
ability, or stylistic preferences, our Popular Grade 8, serve as grade-specific, practice
Music Theory Guidebooks will provide texts, which enable each student to practice
you with all of the information necessary and apply the knowledge gained through
to progress seamlessly through the the study of the Guidebooks, within the
Rockschool graded theory exams. same structure and format of the actual
Rockschool theory exams.
Acquire a hugely impressive knowledge of:
6 Popular music composition Each book includes sample questions
6 Arranging and performance techniques for the following sections:
6 How to read and analyse a musical score 6 Music notation
6 Specialist notation and techniques for all 6 Popular music harmony
band instruments 6 Band knowledge Model answer
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6 Harmony, theory and key chord 6 Band analysis available!
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RSK200114 Acoustic 2019 G4

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Acoustic Guitar

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Input the following code when prompted: T2K5ELPE8U

For more information, turn to page 5

Published by Rockschool Ltd. © 2019

Mastered by Francis Gorini

Introductions & Information

Rockschool Grade Pieces

7 ‘Nothing Else Matters’................................. . . . . . . . . . . . . . . . . . . Metallica

46 Scales, Arpeggios, Chords & Acoustic Riff

54 Acoustic Guitar Notation Explained

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

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

1. Sight Reading or Improvisation & Interpretation tests

You will need to input this code when prompted: T2K5ELPE8U

Articulation & Dynamics

Acoustic Instruments & Tuning

Acoustic Guitar Grade 4

œ œœ .. # œœœ ... œœœ œœ

& œœœ ... œ.

# #œ œ œ œ ‰ ‰ œ œ œ œ œ œœ. œœ. # œœj œœ. œœ œœ œœ œœ œœ.

during the performance.

Acoustic Guitar Grade 4

# # # # œœ .. œœ ‰ œœœ œœ œœ œœ œœ œœ œœ ˙˙˙ .. nnnnb

Continue solo using D minor pentatonic / blues / natural minor

Red Hot Chili Peppers

Acoustic Guitar Grade 4

# # # # n œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ n # œœœ œœœ œœœ œœœ œœ œœ œœ œœ

Group D is played to a backing track.

1. Major scale (A major shown)

2. Natural minor scale (B natural minor shown)

4. Major pentatonic scale (B b major pentatonic shown)

5. Blues scale (A blues scale shown)

1. Major 7 arpeggio (A major 7 shown)

2. Minor 7 arpeggio (B minor 7 shown)

3. Dominant 7 arpeggio (C dominant 7 arpeggio shown)

2. 7th chords – to be played in a continuous sequence:

Group D: Acoustic Riff

Acoustic Guitar Grade 4

Test 1: Melodic Recall

Test 2: Harmonic Recall

In Grade 4 you will be asked:

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

Acoustic Guitar Grade 4

Definitions For Special Guitar Notation

& œ œ & & & ‚ ‚

& & & & œ œ

Acoustic Guitar Grade 4

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

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

1. Sight Reading or Improvisation & Interpretation tests