RSK200047 Guitar 2018 G5 DIGITAL 22mar2019

Guitar Grade 5
Performance pieces, technical exercises 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: VDD8TGUKP2
For more information, turn to page 4
www.rslawards.com
Acknowledgements
Published by Rockschool Ltd. © 2012 & 2018

Catalogue Number: RSK200047
ISBN: 978-1-912352-83-8
Initial Release | Errata details can be found at www.rslawards.com/errata
CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)345 460 4747
Email: info@rslawards.com
Syllabus Designer Recording & Audio Engineering (Hit Tunes 2018 Repertoire)
Nik Preston Recording engineers: Oli Jacobs, Scott Barnett, Patrick Phillips
Mixing engineer: Samuel Vasanth
Producer Mastering engineer: Samuel Vasanth
Nik Preston Audio production: Nik Preston
Audio management: Ash Preston, Samuel Vasanth
Syllabus Advisor and Project Management Recording studios: Real World Studios, The Premises
Sharon Kelly
Publishing (Rockschool 2012 Repertoire)
Proof reading Fact Files written by Joe Bennett, Charlie Griffiths, Stephen Lawson,
Sharon Kelly, Jono Harrison, Nik Preston (and all arrangers/performers) Simon Pitt, Stuart Ryan and James Uings
Walkthroughs written by James Uings
Syllabus Consultants (Hit Tunes 2018 Repertoire) Music engraving, internal design and layout by
Guitar: James Betteridge, Andy G Jones Simon Troup & Jennie Troup (Digital Music Art)
Bass: Joe Hubbard, Diego Kovadloff, Joel McIver Proof reading and copy editing by Chris Bird, Claire Davies, Stephen
Drums: Paul Elliott, Pete Riley Lawson, Simon Pitt and James Uings
Publishing administration by Caroline Uings
Arrangers (Hit Tunes 2018 Repertoire) Additional drum proof reading by Miguel Andrews
Guitar: James Betteridge, Andy G Jones, Mike Goodman, Viv Lock
Bass: Diego Kovadloff, Andy Robertson, Joe Hubbard Instrumental Specialists (Rockschool 2012 Repertoire)
RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

Drums: Paul Elliott, Stu Roberts, Pete Riley Guitar: James Uings
Bass: Stuart Clayton
Publishing (Hit Tunes 2018 Repertoire) Drums: Noam Lederman
Fact files by Diego Kovadloff
Covers designed by Phil Millard (Rather Nice design) Musicians (Rockschool 2012 Repertoire)
Music engraving, internal design and layout by Andy Crompton, Camilo Tirado, Carl Sterling, Charlie Griffiths,
Simon Troup & Jennie Troup (Digital Music Art) Chris Webster, Dave Marks, DJ Harry Love, Felipe Karam,
Printed and bound in the United Kingdom by Caligraving Ltd. Fergus Gerrand, Henry Thomas, Jake Painter, James Arben,
James Uings, Jason Bowld, Joe Bennett, Jon Musgrave, Kishon Khan,
Distribution Kit Morgan, Larry Carlton, Neel Dhorajiwala, Nir Z, Noam Lederman,
Exclusive Distributors: Hal Leonard Norton York, Richard Pardy, Ross Stanley, Simon Troup, Steve Walker,
Stuart Clayton, Stuart Ryan
Musicians (Hit Tunes 2018 Repertoire)
Guitar: Andy G Jones, James Betteridge, Mike Goodman, Endorsements (Rockschool 2012 Repertoire)
David Rhodes (Peter Gabriel) Noam Lederman: Mapex drums, Paiste cymbals, Vic Firth Sticks
Bass: Nik Preston, Joe Hubbard, Stuart Clayton,
Andy Robertson, John Illsley (Dire Straits) Recording & Audio Engineering (Rockschool 2012 Repertoire)
Drums: Paul Elliott, Pete Riley, Peter Huntington, Stu Roberts, Recorded at The Farm (Fisher Lane Studios)
Billy Cobham (Miles Davis, Mahavishnu Orchestra) Produced and engineered by Nick Davis
Vocals: Kim Chandler Assistant engineer and Pro Tools operator Mark Binge
Keys: Jono Harrison, Hannah V (on ‘Red Baron’), Andy Robertson Mixed and mastered at Langlei Studios
Horns: Tom Walsh (tpt), Martin Williams (sax), Andy Wood (trmb) Mixing and additional editing by Duncan Jordan
Supporting Tests recorded by Duncan Jordan and Kit Morgan
Endorsements (Hit Tunes 2018 Repertoire) Mastered by Duncan Jordan
Nik Preston: Overwater basses, Positive Grid amps Executive producers: James Uings, Jeremy Ward and Noam Lederman
Paul Elliott: Liberty drums, Istanbul Mehmet cymbals,
Regal Tip drumsticks, Remo heads, Executive Producers
ACS custom ear plugs, Protection Racket cases John Simpson, Norton York
Guitar Grade 5
Stu Roberts: Paiste cymbals, Regal Tip drumsticks,

Yamaha drums, Protection Racket cases
2
Table of Contents
Introductions & Information
1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Guitar Grade 5
Hit Tunes
5 Eminem....................................................... ‘Lose Yourself (Live)’

9 Beyoncé.. ............................................................... . . . . . . ‘Love On Top’
13 The Meters.......................................................... . . . . . . . . . . . ‘People Say’
17 Average White Band.. .............................. ‘Pick Up the Pieces’
21 Eric Clapton....................................................... ‘Lay Down Sally’
27 AC/DC...................................... ‘Hell Ain’t A Bad Place To Be’
Rockschool Originals
33 ‘Geek’
39 ‘Rollin’’
45 ‘Do Balanço’
51 ‘Tiberius’
57 ‘Smack Talk’
63 ‘Slam Dunk Funk’

Technical Exercises
69 Scales, Arpeggios, Chords & Riff
Supporting Tests
72 Sight Reading
73 Improvisation & Interpretation
74 Ear Tests
75 General Musicianship Questions
Additional Information
76 Marking Schemes
77 Entering Rockschool Exams
77 Mechanical Copyright Information
78 Introduction to Tone
80 Guitar Notation Explained
Guitar Grade 5
3
Welcome to Rockschool Guitar Grade 5
Welcome to Guitar Grade 5

Welcome to the Rockschool 2018 Guitar syllabus. This book and the accompanying downloadable audio contain everything
you need to play guitar at this grade. In the book you will find the exam scores in both standard guitar notation and TAB,
as well as Fact Files and Walkthroughs for each song.
The downloadable audio includes:
■■full stereo mixes of 6 Rockschool compositions and 6 arrangements of classic and contemporary hits
■■backing tracks (minus the assessed guitar part)
■■all necessary audio for the complete range of supporting tests
Guitar 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 tests. You 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%),
a pair of instrument specific Ear Tests (10%), and finally you will be asked five General Musicianship Questions (5%).
The pass mark is 60%.
■■Performance Certificate: in a Performance Certificate you play five pieces. Up to 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. These are:
■■Exam Pieces: in this book you will find six specially commissioned pieces of Grade 5 standard. Each of these is
preceded by a Fact File. Each Fact File contains a summary of the song, including the style, tempo, key and technical
features, along with a list of the musicians who played on it. The song is printed on up to four pages. Immediately after

each song is a Walkthrough. This covers the song from a performance perspective, focusing on the technical issues you
will encounter along the way. Each song comes with a full mix version and a backing track. Both versions have spoken
count-ins at the beginning. Please note that any solos played on the full mix versions are indicative only.
■■Technical Exercises: you should prepare the exercises set in this grade in the keys indicated. There is also a Riff test
which should be practised and played to the backing track.
■■Supporting Tests and General Musicianship Questions: in Guitar Grade 5 there are three supporting tests – either
a Sight Reading or an Improvisation & Interpretation test and two Ear Tests – and a set of General Musicianship
Questions (GMQs) asked at the end of each exam. Examples of the types of tests likely to appear in the exam are
printed in this book. Additional examples of both types of test and the GMQs can be found in the Rockschool Guitar
Companion Guide.
■■Additional Information: finally, you will find information on exam procedures, marking schemes, guitar tone, guitar
notation, and the full notation and backing track of a piece from the next grade as a taster.
Audio
Audio is provided in the form of backing tracks (minus guitar) and examples (including guitar) for the pieces and the
supporting tests where applicable. Audio files are supplied in MP3 format to enable playback on a wide range of compatible
devices. Digital versions of the book include audio files in the download. Download audio for hardcopy books from RSL
directly at www.rslawards.com/downloads — you will need to input this code when prompted: VDD8TGUKP2
Syllabus Guide
Guitar Grade 5
All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded from the
RSL website: www.rslawards.com
Errata
Updates and changes to Rockschool books are documented online. Candidates should check for errata periodically while
4 studying for any examination. Further details can be found on the RSL website: www.rslawards.com/errata
Eminem
SONG TITLE: LOSE YOURSELF

ALBUM: 8 MILE: MUSIC FROM
AND INSPIRED BY THE c 86 Hip Hop t
Bb
~~~~~~~~ ~~~~~~~~
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MOTION PICTURE C
4 j ˙ ˙ j
LABEL: AFTERMATH /
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INTERSCOPE / WEB œ
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GENRE: HIP HOP
WRITTEN BY:
PRODUCED BY:
MARSHALL MATHERS
EMINEM, JEFF BASS
~~~~~~~~ ~~~~~~~~ BU
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AND LUIS RESTO T 5 7
5
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UK CHART PEAK: 1 B
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BACKGROUND INFO B Yourself ’ was produced by Eminen in
‘Lose
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partnership with Jeff Bass, one half of the Bass
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Brothers production duo, who played guitars on the
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soundtrack to the film 8 Mile for which Eminem recording. Jeff Bass signed a contract with Quincy
~~~~~~~~ ~~~~~~
wrote the music and in which he played the character Jones aged 19 and has since become one of the most
~~~~~~
B-Rabbit. The song won an Academy Award for Best successful producers in the music industry. The Bass
Original Song, making it the first rap song to receive Brothers have worked with George Clinton P Funk
the accolade. ‘Lose Yourself ’ has received widespread and were very significant in the development of
critical acclaim for its lyrical content, rapping and Eminem’s career. 8
production styles. The lyrics are a departure for T 5 7
5 6
5
Eminem, delivering a hard-hitting tale of self- A Eminem’s lyrics sparked much controversy due to
B
reflection and insight, exploring themes such as being
in the moment, losing one’s self in the power of music
their alleged misogynistic and nihilistic views and
Eminem himself has acknowledged his views are
and seizing opportunity and achieving what is wished [5] controversial. There is also a directness and honesty
by setting one’s mind to it. in much of what he talks about, including financial
hardship and feeling out of place from a young age,
The song sold over 10 million copies in the US that makes his music connect with many people.
b
alone. Eminem wrote it whilst on set and recorded it Despite the serious subjects his lyrics touch upon,
on a portable studio in one take. The sheet on which they have also been acknowledged as humorous B by /D
œ œ œ œ
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he wrote the lyrics for ‘Lose Yourself ’ appear in the many and that creates inevitable appeal.
b œ œ œ œ œ œ œ
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movie during a scene in which B-Rabbit is writing
. . . . .
whilst riding on a bus. ‘Lose Yourself ’ topped the Eminem has released nine records to date and has
Billboard Hot 100 charts spending 12 weeks at no. 1 also acted in the film The Interview. He published his
and a total of 16 in the Top Ten. biography, The Way I Am, in 2008. His Revival Tour
of 2018 saw him perform in arenas and stadiums.
PM has sold over 100 million records worldwide.
Eminem
Guitar Grade 5
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Words & Music by Marshall Mathers,
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[18]
© Copyright 2002 Eight Mile Style Music/Resto World Music.
Kobalt Music Publishing Limited.
All Rights Reserved. International Copyright Secured.
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Walkthrough
Amp Settings B Section (Chorus)

There are two main sounds required to play this song – a The B section returns to the main riff for the chorus, with a
mixture of a slightly overdriven sound for the Verse and descending melodic figure embellishment in bars 19 and 21.
Chorus riffs, and a heavily overdriven sound for the intro,
Verse 2 (C section) and outro single note melodies. The song
was recorded on a Stratocaster style guitar using both the C Section (Verse)
bridge and middle pick-up. In the C section the guitar plays the same verse figure from
section A, but from bar 26 the guitar plays a melodic single
Note that the amp EQ settings are just suggestions and its note figure over the second half of the verse based around
worth experimenting with the levels of Bass, Middle and the D minor pentatonic scale, leading back into the chorus
Treble and see what you prefer. (D section).
Depending on the guitar and amplifier you play through

these settings will change, so it’s important to become D Section (Outro)
familiar and experiment with all the controls on your The guitar in the D section plays in unison with bass and
guitar,and find tonal ‘colours’ that you like and feel are drums, with a melodic line based around the D minor
suitable for different styles and genres of music that you pentatonic scale, with a semitone bend from the b7 to a
want to play. major 7th interval in bar 37, hinting a harmonic minor
‘flavour’. The song ends with a pentatonic lick ending on the
Distortion penultimate bar where the guitar hangs on the minor 3rd (F)
Channel Equalisation Reverb before resolving to the tonic (D) on beat 1 of the last bar.
5 5 5 5 5
3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 If you are struggling with any parts in the song try
2 8 2 8 2 8 2 8 2 8 isolating the bars that you want to focus on and practice
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
them in isolation without the backing track. It may also
GAIN BASS MIDDLE TREBLE DRY – WET help to play along with just a metronome to help focus on
the areas that may need attention. Playing along with just a

metronome will help develop good time and help develop
Intro your ‘inner clock’.
The song starts with a subtle atmospheric melodic line to
set up the main groove of the song. The song is in the key
b
of D minor with the chords moving from Bb( 6) to C 7 then
to D minor (i). Notice the variations in the harmony in bar
4, where the chords move from G minor (iv) to F (III), then
in bar 6, with the C/E (1st inversion C major chord) The
challenge with the intro is to concentrate on note lengths,
accurate semitone bends, and consistent vibrato. The chord
sequence ends on an A7 (V) chord, setting up the entrance
of the main riff. The main riff is based around the chords
D minor to Bb/D (1st inversion Bb), with the guitar playing
D 5 (D and A), then raising the A on the D string to a Bb,
creating a #5/ b 6 interval from the D, giving the riff an
unsettled, dramatic feel.
A Section (Verse)
In the A section the guitar plays a variation on the main riff,
playing F (b3rd) and A (5th) on the G and B string over the
D minor chord, then G (11th) and E (9th) over the Dm11
chord. Focus on the swung feel of the riff, accenting the first
Guitar Grade 5
eighth note on each down beat.
8
Beyoncé
SONG TITLE: LOVE ON TOP

ALBUM: 4
LABEL: COLUMBIA
c 94 Pop
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GENRE: R&B
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WRITTEN BY: BEYONCÉ KNOWLES,
TERIUS NASH AND
SHEA TAYLOR
PRODUCED BY: BEYONCÉ KNOWLES AND
.
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SHEA TAYLOR T 5 7 9
A 7 7
UK CHART PEAK: 6
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BACKGROUND INFO The guitarists that recorded on the album session

were Pat Thrall and Robert R.T. Taylor. Thrall is
T
‘Love On Top’ was released as a single in September a seasoned session player from the 1970s, 7 who
9

5 7
2011 and was featured on Beyoncé’s fourth studio
album 4. The single reached the top of the R&B/
A established an7 association with many
7 R&B producers
in the 1990s, and has worked with Rihanna, Justin
Hip-Hop Songs chart and remained in that position B Bieber, and Jessie J amongst many others. Taylor
for seven weeks. ‘Love On Top’ signified a stylistic [3] is also an experienced player, with much live
departure for Beyoncé. She was inspired by her experience on the R&B scene, whose credits include
Ne-Yo and Janet Jackson. #
feelings whilst playing Etta James in the film Cadillac
b
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direct than in previous recordings and her lyrics Beyoncé Knowles was born in Houston, Texas, in
reflect a new kind of introspection in her writing. The 1981. She performed and sang from a young age and
main theme of the song is reliance. The portrayal of in the late 1990s rose to fame as the lead singer of
Etta James gave Beyoncé a new-found confidence to R&B girl group Destiny’s Child with whom she sold
be bolder and stronger in her music. In ‘Love On Top’ 60 million records. Beyoncé’s voice and singing style
Beyoncé displays phenomenal vocal versatility. The are distinctive and powerful. 0
3 0
song has four key changes in the end section and this 1
garnered much attention particularly when critics saw T 5
During
4 a break with the
1
band
3 in 2003 she released2
she could perform it live at ease. Beyoncé has a four A Dangerously
5 2
in Love. The record was an immediate
3
octave range. B 3
success, selling 12 million copies and earning five
Grammy Awards. Her solo career continued to
‘Love On Top’ was written by Beyoncé, Terius [5] grow and she has now sold approximately 120
% œœ. œœ
Nash and Shea Taylor, and produced by Beyoncé in million records.
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surprised critics and commentators because it has
a 1980s retro feel, paying dues to the style of Stevie
J
Guitar Grade 5
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Wonder, Anita Baker, and Whitney Houston. The
single sold over 5 million copies worldwide.
5 5 5
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Love On Top
Beyoncé
Words & Music by Terius Nash,
Beyoncé Knowles & Robert Taylor
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5 5 5 5 5 5 7 7 7 10
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7 5 7 7 9
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B 7 7 7 3 5 5 7 10 10
[17]
#
G b 7 11
œœ. œœ. bœ œ. œ. œœ œœ. œœ. œ. œ.

C maj 7 F maj 7 F add 9/G
œœ œ
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Guitar Grade 5
3 3 3 6 6 6 5 5 5 3 3 3
T 5
4
5
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1
2
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2
1
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A 5 5 5 4 3 3
B 3
[21]
10 © Copyright 2011 Music Publishing/B Day Publishing/DLJ Songs/EMI April Music Incorporated.
EMI Music Publishing Limited/Warner/Chappell North America Limited/Downtown Music UK Limited.
#
G b 7 11 A b maj 7 G m7
œœ œœ. œœ. b œœ œœ. œœ. œœ œœ. œœ. œœ. b œœœ b œœœ

C maj 7 F maj 7 F maj 9/G
& œœ œœ ‰ Œ œœ ‰ b œœ œ
J ‰ Œ
œ
J ‰
œœ œ
J ‰ Œ
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J œœ ‰ Œ œ œ
œ J J J
3 3 3 6 6 6 5 5 5 3 3 3
T 5
4
5
4
5
4
5
5
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5
5
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1
2
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5
3
3
A 5 5 5 4 3 3 5 3
B 3
[25]
#
G b 7 11
j j j j
& ‰ œ. œ nœ ‰ œ. œ œ ‰ œ. œ œ ‰ œ. œ œ
C maj 7
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j
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A 7 7
7
7 7 7 7 7 7
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fi
[29]
A b maj 7
j j j œ
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F maj 7 To Coda G m7
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F/G
& ‰ œ. œ. ‰ œ. ‰
j
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5
T 5 9 5 5 5 5
5
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7
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[31]
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8 5 6 8 5 5
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5 5 6
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[33]
#
D.%. al Coda fi
G b 7 11 A b maj 7
œ
œ œ œ ‰ œ. œ. œ œ œ œ œ œ . œ œ ˙ œ œ œ œ œ œ œ œ œj œ œ œ
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T 4 5 7
5
5 5 7 5 5
6 8 5
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[37]
#
A b maj 7 G b 7 11
j . j . ‰ œ.j œ. œ œ n œ ‰ œ.j œ. œ œ ‰ œ.j œ. œ œ ‰ œ.j œ. œ œ
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5 5 5 5 9 5 5 5 5 5 5
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7
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[41]
A b maj 7
j j j j
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œ. œ. œ œ œ ‰ œ. œ. œ œ ‰ œ. œ. œ œ ‰ œ. Jœ. ‰ œ.
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Guitar Grade 5
T 5 7 9 5 5 5 5 5 5
A 7 7 7 7 7 7 7
B
[44]
11
Walkthrough
#
Amp Settings So what about the Ab major and the Gb7( 11)?
There are two main sounds required for this song – the
intro riff and solo section are played through an overdriven/ The Abmaj 7 chord has been ‘borrowed’ from the parallel key
distorted sound, with the verse and chorus sections played of C minor (VI).
through a clean sound. Practise changing between sounds,
making sure that the volume levels on both the clean and Harmonised C Natural minor:
dirty channels are set accordingly. i ii III iv v VI VII
7 7 b5 b
Cm Dm E maj Fm 7
7 Gm A maj 7
7 b B b7
Note that these settings are just suggestions and, depending
#
on the guitar and amplifier you play through, these settings The Gb7( 11) can be seen as a tri-tone substitution of C 7
will change. Experiment with pick-up selection and tone (secondary dominant of F major in the key of C). A tri-tone
settings on your guitar to see what different tonal colours substitution is when a dominant chord is substituted for
you like and feel suit the sound of the song the best. another 7th chord that is a tri-tone (3 whole tones) away
from the original chord.
Distortion
Channel Equalisation Reverb
B Section (Bridge)
The guitar in the B section plays Dm9 (ii of C major) to G 13
5 5 5 5 5
4 6 4 6 4 6 4 6 4 6
3 7 3 7 3 7 3 7 3 7
# b
2 8 2 8 2 8 2 8 2 8 (V of C major), before moving to Em7 (iii) then A7( 5 9)
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
which provides a really strong resolution (perfect cadence)
GAIN BASS MIDDLE TREBLE DRY – WET back to the Dm 9 chord. In the last bar the guitar plays an
F/G (V of C major), which again provides a perfect cadence
into the chorus (section C).
Intro
The intro starts with a single note riff based around the C
major pentatonic scale, moving between an A (major 6th) C Section Chorus
and a C (tonic) with an E (major 3rd) in the 1st, and 3rd bars. The guitar in the C section plays the same chord progression

as the A section, but with a more involved rhythm figure.
The main accents are on the back beat, (beats 2 and 4) with
A Section (Verse) a quarter note on beat 1. Work on getting the change from
The guitar in the A section plays long chords, moving playing the long notes (beat 1) to playing the short staccato
through the changes Cmaj 7 (I), Gb7(#11) (bV), Fmaj 7 (IV), notes on beats 2 and 4 consistently.
before moving from an Abmaj 7 (b3), then Fadd 9/G. Some of
these chords may look a little daunting to begin with, as well
as the chord progression itself. Analysing chord progressions D Section solo
will give you a better understanding of harmony in general, The D section is a solo based on the top line melody
which in turn will provide you with a better understanding Beyoncé sings on the original track. The solo is based
of how different scales work over different chord types and predominantly around the C major pentatonic scale, with
different chord progressions. A good tip when beginning to other intervals from the major scale included for extra
analyse chord progressions is to simplify any ‘complicated’ ‘flavour’ in areas. A good example of this is in bar 37 where
chords by ignoring any extensions to begin with. If we the guitar lands on the note B (major 7th of the C major 7
do this we are left with the chords Cmajor, C 7, F major, chord). Can you identify any others? At the end of the solo
Abmajor, F major. take the D.S., back to the beginning of the B section, until
the To Coda sign at bar 31.
Harmonised C major scale:
I ii iii IV V vi vii
b
7
Cmaj Dm 7 Em 7 Fmaj 7 G7 Am Bm7 5
7 Coda.
The guitar returns to the single note figure played in the intro
So, we can see that the C major, F major and G major are the to finish the song, ending on a C on beat 1 of the last bar.
I, IV and V of the scale.
Guitar Grade 5
12
The Meters
SONG TITLE: PEOPLE SAY

ALBUM: REJUVENATION
LABEL: REPRISE
c 100 Funk t
GENRE: FUNK
44 .. ‰
Dm
& b œœ œœ œ œ
œ.
WRITTEN BY: ART NEVILLE,
ZIGABOO MODELISTE,
LEO NOCENTELLI #œ œ
.
AND GEORGE PORTER JR.
.
PRODUCED BY: ALLEN TOUSSAINT
T
AND THE METERS
A 5 5 5 5
B 5
3 3 2 2
UK CHART PEAK: N/A
‰ ¿¿
&b ‰ ¿
œ. œœ œœ œ œ R
#œ œ
¿¿
BACKGROUND INFO King Biscuit Boy, Labelle and Robert Palmer amongst
others. They also kept a busy live schedule. In 1975
¿
‘People Say’ is featured on The Meters’ Rejuvenation Paul McCartney invited them to play aboard the

album, their first recording for the Reprise label, Queen Mary at the release party for his album Venus
released in July 1974. The album signals a change in T and Mars. Mick Jagger was in attendance and was
The Meters’ approach to their songs, including more A
lead vocals featuring lyrics with a social connotation,
so impressed with the band that he invited them to
open5 for The Rolling 5Stones5on their American 5 tour5
B
as is the case in ‘People Say’. Rejuvenation showcases 3
in 1975 and their European 3 2 2
tour in 1976. In 1977 Art
The Meters at the peak of their powers, driving forth [3] and Cyril Neville left the band, prompting Porter to
a unique blend of New Orleans funk and swamp do so later in that year. Although they were replaced
‰
œ œ ‰
rock that sets the band apart and makes them by other musicians by 1980 The Meters had officially
&b ‰
immediately identifiable. By 1974 the funk genre was broken up.
œ œ œ œ
well established in the mainstream but there were
few artists that could claim to be original creators
of a sound and style. The Meters are regarded as the Leo Nocentelli is regarded as significant guitarist
originators of funk together with James Brown. in the history of funk and other associated styles. He
has performed in various quartets under his musical
The Meters formed in 1965 in New Orleans. The leadership and continues to this day. His list of
group featured Zigaboo Modeliste on drums, George
Porter Jr. on bass, Art Neville on keyboards and Leo
T collaborations include Al Di Meola, Oteil Burbridge,
Patti LaBelle, Peter Gabriel, Etta James, Robbie
Nocentelli on guitar, who were later joined by Cyril A 3 3
Robertson, Maceo Parker and Trombone Shorty 5 5
Neville on percussion and vocals. The Meters worked B 5 5
amongst many others.
as house band for the Sansu Enterprises record label,
owned by Allen Toussaint who would produce seven [5]
of their eight albums between 1969 and 1977. The
‰
&b ‰ œ œ ‰
Meters recorded successful and highly influential
Guitar Grade 5
œ œ
songs, such as ‘Sophisticated Cissy’, ‘Look-Ka Py Py’
œ œ
and ‘Chicken Strut’ and later collaborated with many
other musicians such as Dr. John, Paul McCartney,
13
T
People Say
The Meters
Words & Music by Arthur Neville,
Leo Nocentelli, George Porter & Joseph Modeliste
c 100 Funk t
¿¿ œœ. ¿¿ œœ. ‰ n œœ ¿¿ ¿¿
& b 44 .. œ r
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[11]
14 © Copyright 1974 Cabbage Alley Music.
BMG Rights Management (US) LLC.
j j j j
B G7 D7
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[13]
j j
G7
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& b # œœ .. œœ œœ ‰ œ ¿ œ. n n œœ .. œ œ. Ó œ œ. ‰ œ #œ
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[16]
A7
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Fine
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[23]
¿¿ r j # œœ. ¿¿ œœ ‰
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7 1/4
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7
7
7
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n œœ ¿¿ ¿¿
D.%. al Fine
[25]
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Guitar Grade 5
¿¿ ¿¿ ¿¿ ¿¿
¿
7
T 7
7
7
7
8
A 5 5
B 7 7 7 7 7 7
[27]
15
Walkthrough
Amp Settings C Section

A clean sound with a small amount of drive/gain is required The song returns to the beginning riff, before modulating up
for this song. The track was recorded on a Stratocaster a whole step to E minor for four bars, before returning back
style guitar played on the neck pick-up (pick-up nearest to D minor Take the D.S. al Fine back to the beginning of
the neck of the guitar). Note the amp settings are just section A and play through to the fine sign at the end of the
suggestions. Depending on the guitar and amplifier you play unison line at bar 20.
through these settings will change. Experiment with pick-
up selection and tone settings on your guitar to see what If you are struggling with any parts in the song try isolating
different tonal ‘colours’ you like and feel suit the sound of the bars that you want to focus on and practice them in
the song the best. isolation without the backing track. It may also help to play
along with just a metronome to help focus on the areas that
Clean may need attention. Playing along with just a metronome
Channel Equalisation Reverb will help you develop good time and help develop your
5 5 5 5 5
‘inner clock’.
4 6 4 6 4 6 4 6 4 6
3 7 3 7 3 7 3 7 3 7
2 8 2 8 2 8 2 8 2 8
1 9 1 9 1 9 1 9 1 9
0 10 0 10 0 10 0 10 0 10
GAIN BASS MIDDLE TREBLE DRY – WET
Intro
The Intro begins with a guitar riff based around a D 9 chord.
In bar 1 the riff moves between the 4th (G) and major 3rd
(F#), and in bar 2 plays the b7 (C), and the 9th (E) with a
quarter note bend on the minor 3rd (F). From bar 5 the
guitar plays a variation on the opening riff with the overall
tonality shifting to a minor feel. The riff moves between the

root (D) and the minor 3rd (F) on the 5th and 4th strings
in bar 1, with bar 2 playing the same figure as the opening
riff. Spend time becoming comfortable with the 16th-note
rhythm, and articulation with moving between the fretted
and muted notes.
A Section (Verse)
The A section continues with the same riff for eight bars
(take note of the repeat at bar 12).
B Section (Chorus)
The B section moves between a G 7 (V) to a D 7 (I7) chord.
Notice the small chord clusters, (root, major 3rd, and b7th).
Work on left and right hand muting to avoid catching
any unwanted strings. Focus on practising moving your
strumming hand in time with the underlying 16th-note
subdivision. The B section ends with a unison (played
together) line played by both bass and guitar, outlining the
A7 and D 7 chords. Watch out for the ¾ bar at bar 20, leading
back into the main riff at section C.
Guitar Grade 5
16
Average White Band
SONG TITLE: PICK UP THE PIECES

ALBUM: AWB c 110 Funk
7# 9
b œœ .. œœ œœ œœ œœ
LABEL: ATLANTIC C
GENRE: FUNK / JAZZ FUNK
b bb 4 n œœ .. œœ ‰ œœ ‰ œœ œœ ‰
A
WRITTEN BY: ROGER BALL, MALCOLM

DUNCAN, ALAN GORRIE,
b
& 4 J J R
ONNIE MCINTYRE,
HAMISH STUART
11 11 11 11 11
AND ROBBIE MCINTOSH 11 11
PRODUCED BY: ARIF MARDIN
T 11
9
11
9
11
9 9 9
A 10 10 10 10 10
UK CHART PEAK: 6
B
% Fm
A
b bb ..
7
BACKGROUND INFO & b œ œœ‰ œœ œ œ

them. He borrowed money and took them to the US œ œ nœ
to promote their music. McCaskill had a vast network
‘Pick Up The Pieces’ was written collaboratively there and managed to sign them to Atlantic. The band

by the Average White Band and produced by Arif relocated to Los Angeles where they recorded AWB
.
single. Saxophonist Malcolm Duncan claims Mardin
T
Mardin who initially disagreed with releasing it as a with renowned producer Arif Mardin. Shortly after
0 1
the record was completed 3 1 Robbie McIntosh
drummer 1 2
thought that “a funk instrumental played by ScotsmenA 3 3
died of a heroin overdose whilst at Cher’s house and was 3
with no lyrics other than a shout” was going to get B replaced by Steve Ferrone, who remained with band.
nowhere. He was proved wrong – ‘Pick Up The Pieces’
reached the top of the Singles Chart in the US and [5] In 1975 the Average White Band released Cut The
AWB, the band’s debut album featuring the song, Cake, dedicated to Robbie McIntosh. It was followed
b bb œ
topped the US Album charts. After its success in the by Soul Searching in 1976. Both records where
‰ œ œ
& b œ œ œ œ bœ nœ œ
US, ‘Pick Up The Pieces’ charted in the UK having commercially successful and yielded Top 40 hits.
initially failed to do so. According to Duncan the A string of records followed until the band decided to
“pick up the pieces” shouts were a relevant call to pick go their separate ways in 1983.
oneself up when things were not going well.
Hamish Stuart, who played guitar, bass and sung in
The Average White Band formed in London in the band, joined Paul McCartney’s band in 1989 and
early 1972. All members hailed from Scotland and worked with him until 1993.
had occasionally played together there but upon T 0 1 3 1
1 2
meeting by chance at a Traffic concert, they decided A 3 3
to start jamming together. A friend heard them and
allegedly remarked “this is too much for the average
B
white man”. They liked the phrase and used it as a [8]
name. In 1973 the band released their debut album
bœ œ œ
Show Your Hand but it sold poorly. They did, however,
bb bb
Guitar Grade 5
œ œœ ‰
manage to secure a support slot for Eric Clapton’s
& œ œ œ nœ
comeback concert. Bruce McCaskill, who managed
Clapton at the time, liked them and agreed to manage
17
4
Pick Up the Pieces
Average White Band
c 110 Funk Music by Roger Ball, Alan Gorrie, Malcolm Duncan,
7#9 Robert McIntosh, Owen McIntyre & James Stuart
b œœ .. œœ œœ œœ œœ
C
A
b nœ. œœ ‰ œœ ‰ œœ œœ ‰
& b b b 44 œ . J J R ‘ ‘ ‘
11 11 11 11 11
T 11
9
11
9
11
9
11
9
11
9
A 10 10 10 10 10
B
% Fm
A
bb b b . bœ
7
& .œ œœ‰ œœ œ œ œ‰ œœ œ œ‰ œ œ œ
œ œ nœ œ œ œ b œ n œ œ œ œ œ nœ
.
.
T 0 1 3 1 0 1 3 1 0 1
4
1
A 3 3 1 2 3 1 2 3 3 1 2
B 3 3 3
[5]
bb ‰ bœ œ œ œ
&bb œ œ œ ‰ œ œ œ œ bœ nœ œ œ œ
œ œ nœ œ œ
œ‰ œœ œ
œ bœ nœ
T 0 1 3 1 0 1
4
1 0 1 3 1
A 3 1 2 3 3 1 2 3 1 2

B 3 3 3
[8]
Bb7
bb bœ
&bb œ œ œ ‰ œ œ œ œ œ nœ œ œ
œ‰ œœ œ
œ bœ nœ œ œ
œ‰ œœ œ œ
œ bœ nœ
T 0 1
4
1 0 1 3 1 0 1 3 1
A 3 3 1 2 3 1 2 3 3 1 2
B 3 3 3
[11]
fi
bbbb œ œœ‰ œœ œ œ ‰ bœ œ œ œ œ‰ œœ œ
F m7 To Coda
& œ b œ n œ œ œ œ œ nœ œ œ œ bœ nœ
T 0 1 3 1 0 1
4
1 0 1 3 1
A 3 1 2 3 3 1 2 3 1 2
B 3 3 3
[14]
b bœ
& b bb œ œ œ ‰ œ œ œ œ œ œ ‰ œ œ œ ..
œ œ nœ œ b œ n œ
Guitar Grade 5
.
1° only
.
T 0 1
4
1 0 1 3 1
A 3 3 1 2 3 1 2
B 3 3
[17]
18 © Copyright 1972 Average Music/Joe’s Songs.
Fairwood Music Limited/BMG Rights Management (US) LLC/Wixen Music UK Limited.
#
Bb9
n œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ b œœ
C7 9
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9
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11
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[19]
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[23]
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fi Coda n œ œ œœ œœ œœ n œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ b œœ
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Guitar Solo
Bb9
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Solo [Accompanimental rhythm shown in cue notes]
.
.
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[34]
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1. 2.
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Guitar Grade 5
.
.
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[37]
19
Walkthrough
Amp Settings Bar 5

To capture this classic funk guitar sound, a completely clean This bar clearly states the underlying Fm7 harmony. The
tone would be best. If you have the choice, a suitable amp or line is mostly based around the F minor pentatonic scale,
amp model would be ‘American clean’ (or equivalent), and a however, the chromatic move from Eb–E natural moving
little compression would be help the overall presentation. If onto F in the next bar is a common idea in funk music.
you use a three pickup guitar, position four (the middle and Without going into huge detail bebop jazz players would
bridge pickups mixed) might be best. claim this as their own.
Clean Bar 9
Channel Equalisation Reverb This is a variation on the theme of bar 5. The new
5 5 5 5 5
development is the addition of the ear-catching skip up to Eb.
4 6 4 6 4 6 4 6 4 6
3 7 3 7 3 7 3 7 3 7
2 8 2 8 2 8 2 8 2 8 Bar 13
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
Here the idea from bar 5 is repeated over the Bb7 chord. This
GAIN BASS MIDDLE TREBLE DRY – WET is a core feature of chordal voicings in funk music – notice
that we only change the notes that need to be changed in
order to avoid clashing with the harmony.
Intro Section (Bars 1–4)
This is one of the most iconic intro guitar parts in all of funk
music – quite impressive for a group of guys from Scotland! B Section (Bars 19–23)
This is a contrasting section, the rhythm recalls the
Bar 1 opening riff but over the Bb7 harmony. Again this is a
#
This is a classic C 7 9 voicing which is sometimes referred characteristically syncopated funk part. Keep your right
to as ‘The Jimi Hendrix chord’ after his guitar part on the wrist loose but be careful to really feel the pulse. Try
classic ‘Purple Haze’. The other defining factor of this intro to tap your foot along with the beat in order to anchor
part is the rhythm. If you’re unfamiliar with this kind of your rhythmic placement. Always have the grid of 16th
rhythm it would be worth taking the time to carefully figure sudivisions visualised in your head.

out where the notes fall on a ‘grid’ of 16ths.
The chords fall on beat 1, the ‘a’ of beat 1, the ‘and’ of beat 2, Guitar Solo Section (Bars 34–37 repeated)
the ‘and’ of beat 3 and the ‘e’ of beat 4. Remember the beats Here the harmony is Bb9 – try using Bb Mixolydian on this
are counted “1, e, &, a, 2, e, &, a, 3, e, &, a, 4, e, &, a”. Please chord (See Fig. 1). Experiment with the backing track. You
bear in mind the importance of learning and absorbing the could try adding a touch of Bb blues in there. If you’re a
sound and feel of these subdivisions – you are essentially fairly experienced improviser the Bb bebop scale is definitely
training your mind to recognise these patterns. The more an option. The bebop scale is created when you add the
carefully you study them, the quicker you will have them at major 7th degree as a passing note to the Mixolydian mode.
your disposal.
A Section (Bars 5–18)

This is a hugely influential rhythm part. It’s a syncopated
& 44 œ bœ œ œ bœ bœ
16th-note extravaganza! Again, the key to mastering this is bœ œ
to patiently decipher the rhythms.
T
A 5 6 8
B 6 8
5 6 8
Fig. 1: Mixolydian mode

Guitar Grade 5
20
Eric Clapton
SONG TITLE: LAY DOWN SALLY

ALBUM: SLOWHAND
LABEL: RSO c 189 Country Rock
# ## 4 j‰ j ‰
GENRE: ROOTS ROCK /
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COUNTRY ROCK
WRITTEN BY: MARCELLA DETROIT

AND GEORGE TERRY
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PRODUCED BY: GLYN JOHNS
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T 2 2 2
UK CHART PEAK: 39 A 2 2 2
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BACKGROUND INFO œ ¿ œ
with The Yardbirds, John Mayall’s Bluesbreakers,
Cream, Blind Faith and Derek and The Dominos
‘Lay Down Sally’ was released in November 1977 before embarking on a highly successful solo career

and was a crossover country hit, influenced by the that yielded hit singles such as ‘Layla’, ‘I Shot The
¿
style of J.J. Cale, whom Eric Clapton greatly admires. T Sheriff ’, ‘Cocaine’ and
2 ‘Tears In Heaven’
2 . 2 0
5
The recording featured the song’s co-writer Marcella A 2 2
0
2
Detroit and very well-respected musicians such as
Carl Radle on bass, Jamie Oldaker on drums, Dick
B 0
Eric Clapton was an advanced player by the age of
16 and his fluid and lyrical blues based delivery has
Sims on electric piano and George Terry on guitar. [5] been admired and imitated all over the world. In a
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Slowhand, the album featuring ‘Lay Down Sally’, was career spanning over 50 years he has played with a
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produced by Glyn Johns who by 1977 had produced ‘who’s who’ of the popular music world and toured all
& œœ nœ œ
and engineered seminal records in rock’s history for over the planet. Clapton has played the Royal Albert
artists including The Beatles, The Rolling Stones, Hall over 200 times. His career has been marred by
œ ¿
The Who, The Faces and The Eagles. Johns is famed personal tragedy and addiction. After many struggles
for his unique approach to the recording of drums. with drink and drugs he managed to sober up and in
Slowhand yielded the hit ‘Wonderful Tonight’. 1998 he established the Crossroads Centre in Antigua,
Clapton and Johns joined forces again in 2016 for the specialising in helping drug and alcohol addicts.
recording of Clapton’s twenty-third album I Still Do.
¿
Eric Clapton is regarded as one of rock and roll’s
T Eric Clapton is the recipient of 18 Grammy Awards
and has sold nearly 2
2
130 million records
2 0
5
A 2 2 worldwide.
2
most important guitarists and is amongst a small
group of instrumentalists who became the blueprint B 0
for aspiring lead guitarists. He favoured many guitars
during his time but he eventually settled for ‘Blackie’, a [9]
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Fender Stratocaster made from three different guitars.
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With Cream he used a Gibson Les Paul Standard. The
Guitar Grade 5
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guitar was stolen and he bought a replacement from
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Andy Summers (later of The Police) who had a nearly
identical one. Eric Clapton performed and recorded
21
T 2 2 2 0
Lay Down Sally
Eric Clapton
Words & Music by Eric Clapton,
George Terry & Marcy Levy
c 189 Country Rock
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Verse
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Guitar Grade 5
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© Copyright 1977 & 1999 Throat Music Limited.
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[28]
Chorus
### ‰ œj œ
A7 D
Œ œœ œœ œ ¿ nœ œ œ œ œœ œœ œ œœ œœ œœ œ œ
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Guitar Grade 5
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23
1.
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Guitar Solo
### œ nœ œ n œj # œ . œ.
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nœ œ œ œ nœ
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8 5 7 5
~~~~ 1/4 1/4
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7 7 5 7 5 5 7 5
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BD
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nœ nœ œ œ œ œ b œj œ n œ œ nœ œ
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Guitar Grade 5
T BD
( 7) 5 5 9
8 8
9
8 8
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A 7 7 7 7 5
B 7
[66]
24
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nœ
& nœ œ bœ œ
nœ œ œ #œ œ
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###
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BU BD BU
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slow
T 7
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7 (9)
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7 (8) (7) 5
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B
[81]
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Œ Ó
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Guitar Grade 5
T 5 4
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BU
B 7 7 5 3 5 3 (4 )
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[84]
25
Walkthrough
Amp Settings Guitar Solo Section (Bars 55–86)

The sound should be full with a little rough ‘edge’, but not This solo is deceptively well constructed. Eric Clapton’s
fully overdriven. It’s a good idea to aim for a classic modern casual delivery masks some tasteful ideas over the chords.
country sound rather than a heavy blues rock tone. If you
had the choice of an amp model, ‘American clean’ would be Bar 55
a suitable choice – preferably a 50s type amp with a touch Firstly, we have a run descending through the A mixolydian
of compression, if available. On a three pickup single coil mode from the root.
pickup type guitar, a suitable choice would be position 2.
Bar 56
Distortion Here Eric takes a bluesy but country-influenced approach by
Channel Equalisation Reverb using the minor 3rd. It’s worth noting that for most of this
5 5 5 5 5
solo he uses the minor 3rd in preference to the major 3rd.
3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 Eric’s bending in this solo is a by-product of his mastery of
2 8 2 8 2 8 2 8 2 8 blues guitar forged during the 1960s.
1 9 1 9 1 9 1 9 1 9
0 10 0 10 0 10 0 10 0 10
GAIN BASS MIDDLE TREBLE DRY – WET Bar 59
This almost sounds like a jazz influenced line, due to slightly
less common tensions – after the minor 3rd we have the 9th
Intro Section (Bars 1–8) degree then the root and major 6th degree.
The guitar part in the intro is classic country rock. You could
be forgiven for thinking that Albert Lee had played on this Bar 61–68
session – and even though he didn’t it’s worth noting that This section is more traditional, being based on the A minor
Albert did play with Eric for a while. The first bar is a funky pentatonic.
hybrid-picked groove.
Bar 69
Bar 2 This is a more sophisticated idea. It appears as if it’s going to
This is classic country rock. The open strings and the use of run down the blues scale, however, in the second half of the
the unison G (the 7th) and the F # (the 6th degree) are firmly bar the major 3rd of A (C #) is approached from a semitone

within the country style. above then a semitone below. This approach is very popular
in jazz.
Bar 3
The bend from low G up a whole tone is demanding if you’re Bars 73–76
not use to this approach. Practise the bend slowly until you Here Eric steps up a gear with some tasteful bends, more
develop the required strength in your left hand. As always, in keeping with his heritage as a leading blues rock player
sound a fretted destination note before trying to bend to the with John Mayall’s Bluesbreakers and Cream. Eric’s phrasing
same pitch. always has a certain class to it, and this is a perfect example
of how deceptive his playing can be. The relaxed sound of
this record obscures these incredible bends – the G to A and
Verse and Chorus (Bars 17–54) the D to E bends both have an incredible sound to them.
The groove is developed here. Note how the same idea is Practise them slowly, and when you feel they are in tune
followed through the chord changes. start experimenting by adding vibrato to the bend. When
you apply vibrato it’s good to have a steady rhythmic pulse to
Bars 17–20 the change in pitch.
This is the template for the rest of the groove. Essentially the
notes F # and G are used to spice up the basic A voicing.
Bar 27
The 6th degree is added over the D in this bar, to embellish
the part.
Guitar Grade 5
Bar 29
Here the same technique is used on the low E voicing.
26
AC/DC
SONG TITLE: HELL AIN’T A BAD
c 130 Rock
PLACE TO BE
D/F #
ALBUM: LET THERE BE ROCK
j
G5 G5
œœ
LABEL: ALBERT/ATLANTIC
GENRE: HARD ROCK / BLUES ROCK
# ## 4 . n œœ .. œœ œœ
& 4 . n œœ .. œœ œœ œœ
f nœ. œ
WRITTEN BY: ANGUS YOUNG,
MALCOLM YOUNG
AND BON SCOTT
. 330
2 3
PRODUCED BY: HARRY VANDA
. 0
3
AND GEORGE YOUNG T 3
2 0
A 0 0
UK CHART PEAK: N/A

B 3 3
BACKGROUND INFO death they considered disbanding but, encouraged

by support from Scott’s parents, they decided to the
‘Hell Ain’t A Bad Place To Be’ is featured on AC/ contrary and five months after recruiting Johnson

DC’s fourth studio album Let There Be Rock released 2.
they recorded Back In Black, dedicated to Scott’s
# ##
in July 1977. By then AC/DC had become a highly memory. The record is the second best-selling album
ww
in history.AAC/DC became one of the biggest band’s
ww
successful act in their native Australia and their
&
popularity was increasing in the UK and Europe, on earth and kept on touring relentlessly and releasing
In 2014w
w
primarily on the strength of their live shows. The successful records.
band toured relentlessly and all previous records had
been made in several studio sessions. Records were Malcolm Young retired, due to the early
altered for international release and their fortunes in onset of dementia, and in 2016 Brian Johnson was
the US were mixed, with Atlantic Records refusing advised to stop performing due to worsening hearing
to release their third album Dirty Deeds Done Dirt
Cheap, alleging the production was below par. With
T loss – he was replaced by Axl Rose from Guns N’
Roses, who2 completed the remainder of their last tour.
this in mind the band recorded Let There Be Rock A 2
in one go and the result captured their sound in a B 0
AC/DC have sold over 200 million records and
way their prior albums didn’t. Many critics state that are hailed by many fans, critics and musicians as
[5]
Let There Be Rock is the first true AC/DC album. the greatest rock and roll band of all time. Malcolm
During the recording of the solo for ‘Whole Lotta Young passed away in November 2017, aged 64. He is
Rosie’ Angus Young’s amp was smoking, it blew up, acknowledged as one of the best rock and roll rhythm
and in true rock and roll fashion they carried on and guitarists of all time.
captured what became a legendary performance.
Bassist Cliff Williams joined the group after

Let There Be Rock was released, replacing original
bassist Mark Evans. In 1980 Brian Johnson replaced
Guitar Grade 5
# ## .
lead singer Bon Scott after the latter’s sudden death. D sus 4/A D/A
The band had released Highway To Hell and were on D sus 4/A D/A
& . nœ œ œ œ
the verge of a commercial breakthrough. Upon Scott’s
œ œ œ œ œ œ œ œ œ 27œ œ
Lightly palm mute
Hell Ain’t A Bad Place To Be
AC/DC
Words & Music by Angus Young,
Malcolm Young & Bon Scott
c 130 Rock 1.
D/F # D/F # D/F #

j j
G5 G5 G5 A
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3
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2
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0 0
2.
###
A
& ww ww ww ww
w w w w
T 2
A 2
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[5]
### .
D sus 4/A D/A D sus 4/A D/A D sus 4/A D/A G 5/A A5 G 5/A A5
& . nœ œ nœ œ n œœ œœ œœ œœ n œœ œœ œœ œœ ..
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. .
Lightly palm mute
. .
T 0 2 2 2 0 2 2 2
A 5 4 5 4 5 4 0 2 2 2 0 2 2 2
B 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
[9]
### .
A
D sus 4/A D/A D sus 4/A D/A D sus 4/A D/A G 5/A A5
& . nœ œ œ œ nœ œ n œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Guitar Grade 5
.
.
T 0 2 2 2
A 5 4 5 4 5 4 0 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
[13]
28 © Copyright 1977 J. Albert & Son Pty. Limited.
###
G 5/A A5 D sus 4/A D/A D sus 4/A D/A D sus 4/A D/A
& n œœ œœ œœ œœ nœ œ œ œ nœ œ
T 0 2 2 2
A 0 2 2 2 5 4 5 4 5 4
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
[16]
1. 2.
###
G 5/A A5 G 5/A A5 G 5/A A5 G 5/A A5
& n œœ œœ œœ œœ n œœ œœ œœ œœ .. n œ œ œ œ ˙ n œœ œœ œœ œœ ˙˙
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œœ ˙˙ œ œ œ ˙
.
.
T 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2
A 0 2 2 2 0 2 2 2 0 2 2 2 0 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
[19]
%
D G 5/D D
### ˙˙ .. œœ n œœ ww ww
B
& ˙˙ . œœ n œœ ww w
. nœ w w

2 3 2
T 3
2
3
0
3
2
A 0 0 0
B 3
[23]
j
G 5/D D E A
# # # n œœ œœ œœ œœ œœ .. ˙˙ .. œœ œœ ww
& n œœ œœ œœ œœ œœ . ˙˙ .. œ
nœ œ J J
. ˙˙ . œœœ œœ ww
.
3 3 3 2 0
T 3
0
3
0
3
0
3
2
0
1
2
2
A 0 0 0 0 2 2
B 3 3
2
0
0
[26]
fi
E G5
# # # ˙ .. n œœ ww ww To Coda
& ˙˙˙ .. n œœ ww ww
˙˙ . œ nœ w w
.
Guitar Grade 5
0 3
T 0
1
3
0
A 2 0
B 2
0 2 3
29
[29]
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~
D sus 4/A D sus 4/A D sus 4/A G 5/A A5
### j
C D/A D/A D/A
& œ w ˙ ‰ n Jœ œ œ nœ ˙. ‰ nœ
J
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~
T 5 5
A 6 7 7 5 7
B
[32]
## ~~~~
G 5/A A5 D sus 4/A D/A D sus 4/A D sus 4/A D/A D sus 4/A
œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ
& # ˙ Œ
j j j j
nœ
œ œ œ œ
~~~~
T BU
7 (9) 7
BU
7 (9) 7
BU
7 (9) 7
BU
7 (9) 7 [7] 5
A 7 5 7
B
[35]

# # # ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ œ œ œ
G 5/A A5 G 5/A A5 D sus 4/A D/A D sus 4/A D/A
‰ œ œ
& w ˙. J
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
T 7 10 10
11
10 10
A
B
[38]
~~~~
˙~~~~~~~~~~~~ œ. œ œ œ œ œ~~~~~~~~~ œ
D sus 4/A G 5/A A5 G 5/A A5
œ œ œ œ œ
D/A
### œ œ œ œ
j j
j j nœ œ
‰ J
œ œ œ
‰
J
&
Guitar Grade 5
BU BD BU ~~~~~~~~~~~~ BU BU BD
~~~~~~~~~ BU
~~~~
T 11
10 10
11
12 (14 ) [14] (12) 10 12 (14 ) 13 (15) 12 (14) (12) 10 12 10 15 (17)
A
B
[41]
30
~~~~~~~~~~
D sus 4/A
~~~~~~
D/A D sus 4/A D/A
~~~~~~~~~~~~~~~~ ~~~~~~~~~~~
D sus 4/A D/A G 5/A A5
~~~~~~~~~~~~~~~
œ. œ œ œ œ. œ œ œ œ œ œ ˙
j
###
œ
J J J
j
‰ Œ
nœ
&
~~~~~~~~~~ ~~~~~~ BU
~~~~~~~~~~~~~~~~ ~~~~~~~~~~~ BU
Repick Bend
~~~~~~~~~~~~~~~
15 (17) (17) (17) (17)
T 15 15 (17) 15
A
B
[44]
~~~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

G 5/A A5 G 5/A A5 G 5/A A5
( )
D.%. al Coda fi
# # # n œj œ œ œ œ ˙ nœ œ œ œ œ ˙
j
nœ œ œ œ œj œ ˙ w
&
J
~~~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Repick Bend Repick Bend
BU BU BU BD BU
15 (17) (17) (17) (17) 15 (17) (17) (17) (17) 15 (17) (15) 12 15 (17)
T
A
B
[47]

fi Coda
### .
D sus /A D/A D sus /A4 4 D/A D sus 4/A D/A G 5/A A5
& . nœ œ œ œ nœ œ n œœ œœ œœ œœ
.
Lightly palm mute
.
T 0 2 2 2
A 5 4 5 4 5 4 0 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
[51]
1. 2.
###
G 5/A A5 G 5/A A5 G 5/A A5
& n œœ œœ œœ œœ .. n œ œœ œœ œœ ˙˙ n œœ œœ œœ œœ Ó
œ œ œ œ œ œ œ œœ œ œ ˙ œ œ œ
Guitar Grade 5
.
.
T 0 2 2 2 0 2 2 2 0 2 2 2
A 0 2 2 2 0 2 2 2 0 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0 0
[54]
31
Walkthrough
Amp Settings Coda section

Malcolm and Angus Young used a very simple set up, The song returns to the main riff to end the song.
with Angus playing a Gibson SG guitar and Malcolm a
Gretsch, both into Marshall amplifiers. To achieve a similar If you are struggling with any parts in the song try isolating
sound a guitar fitted with hum-buckers will work well. Try the bars that you want to focus on and practice them in
experimenting with the levels of Bass, Middle and Treble isolation without the backing track. It may also help to play
and see what your ears like the sound of. Experiment with along with just a metronome to help focus on the areas that
pick up selection and tone controls on the guitar and see you feel may need attention. Try keeping time yourself by
what different tonal colours you like and feel suit the sound tapping your foot or nodding your head in time with the
of the song the best. music. This will help develop your ‘inner clock’.
Distortion
5 5 5 5 5
4 6 4 6 4 6 4 6 4 6
3 7 3 7 3 7 3 7 3 7
2 8 2 8 2 8 2 8 2 8
1 9 1 9 1 9 1 9 1 9
0 10 0 10 0 10 0 10 0 10
Intro
The intro begins with the guitar playing a G 5 (b7) to D/F#
(IV), before resolving to A5 (I). Be careful not to play the B
(major 3rd) on the A string on the G 5 chord.
A Section (Verse)

The main riff is a combination of Angus and Malcolm
Young’s guitar parts from the original version. The riff is
based around the notes G to F# with a driving eighth rhythm
played on the open A string, before hammering on to an A5
from the open A, D, and G strings (G/A).
B Section (Pre – chorus)

In the B section the guitar plays a rhythmic figure moving
between a D (IV) to G 5 (bVII) in bars 23–26, whilst the bass
guitar plays eighth notes on a static D. At bar 27 the guitar
plays E (V) to A 5 (I) before landing on the G 5 (bvii) for the
last two bars, leading into section C.
C Section (solo)
The solo is based around major and minor pentatonic licks
in the key of A. The solo starts with phrases played in the
first position of the A minor pentatonic from bars 32 to 37.
From bar shifts to the third position of the major pentatonic
until bar 44 where the guitar plays long held notes from the
4th to the 5th of the scale, then from bar 46 until the end,
b7 to the root. Work on getting a consistent vibrato on these
Guitar Grade 5
long bends. At the end of the solo take the D.S. back to pre-
chorus and continue until bar 31 (To Coda sign) then jump
to bar 51.
32
Geek
SONG TITLE: GEEK

GENRE: POP PUNK j
q
3
=q
TEMPO: 137 BPM q =137 Pop Punk q q
#4 j j
A B5
j
KEY: E MAJOR
j
3
œœ œœ œœ
3 3
& 4 œ œœ œœ œœ œœ
3
œ
TECH FEATURES: PALM MUTING
TRIPLET RHYTHMS
STRING SKIPPING
p PM
COMPOSER: JAMES UINGS

T
PERSONNEL: STUART RYAN (GTR) A 9 9 9 9 9 9 9
DAVE MARKS (BASS) B 9
7 7 7 7 7 7 7 7
NOAM LEDERMAN (DRUMS)
OVERVIEW
Green Day, another band that set out in a narrow
‘Geek’ is a pop punk piece in the style of Green punk field, signed to a major record label and

Day, The Offspring and Billy Talent that features, absorbed techniques and songwriting tricks alien
B
among other techniques, palm-muting, powerchords, to their genre. This may have seemed strange from
j
hammer-ons and pull-offs. frontman Billie Joe Armstrong, whose influences were E5
# œ œ œ œ œ œ œ œ .. œ
3 and the groups3Hüsker
œœ
ostensibly 3his local punk scene
& œ œ œ œœ œœ œœ œœ œœ œ
Dü and The Replacements. However, he grew up
œ œ œ œ.
STYLE FOCUS singing jazz at home with his drummer father and has
. .
professed a love of The Who and Cheap Trick.
f more
From a guitarist’s perspective, punk rock in its
purest form is a simple style of music. In terms of Green Day’s contemporaries The Offspring always
.
rhythm playing and harmony, most punk guitar is had a metal edge to their sound and became
.
limited to powerchords. Solos are rare. However, open to outside influences as their career progressed.
bands like Green Day, The Offspring, Billy Talent T Americana, their 1998 album, jumped from new wave
9
and The Clash before them have been known to
incorporate techniques, time signatures and chord
A to hip hop to
9 9 rocksteady
Billy Talent’s
9 9 to 9mariachi.
9
9 In
9
9 the 2000s,
9
9
9
9
9 7
9 Ian 9D’Sa 9introduced a pick and fingers
patterns from outside the usual punk boundaries. B 9
technique 7
7 inspired 7 of
7 by 7Mark7Knopfler 7
7 Dire Straits 7
[4] and chord work similar to that of his hero Andy

Summers of The Police.
THE BIGGER PICTURE
The Clash were one of the first punk groups to RECOMMENDED LISTENING
absorb influences from other genres; their later
albums owed as much to rockabilly and reggae as they Green Day’s operatic American Idiot (2004) is a
did the Ramones. Although they were criticised by rarity among punk rock albums, yet similar to The
Guitar Grade 5
some, The Clash set an example that was to result in Who’s Tommy (1969). The Offspring’s Americana is
later punk groups adopting a more diverse approach their most diverse album to date, while Billy Talent II 1.
to the development of their sounds. (2006) is a showcase for D’Sa’s inventive
5 playing. G5
# œj ‰ œj ‰ j ‰ œj ‰
E5 C
œœ j
& œ œ œ œœ
33
Geek
James Uings
3
j
q =137 Pop Punk q q = q q
#
A B5
& 44 œ
j j j j j j j j
3 3 3 3
œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
3 3 3 3 3 3 3 3
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
p PM
T
A 9 9 9 9 9 9 9 9 9 9 9 9
B 9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
# .. œj ‰ œj ‰ œj ‰ œj ‰
3 3 3 E5 C5 G5 A5
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ j ‰ j ‰ œ œ œ œ
œ œ œ œ œ œ œ. œ. œ. œ œ œœ œœ œ œ œ œ
f
.
.
T
A 9 9 9 9 9 9 9 9 9 9 9 5 5
B 9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
7 7 3 3 5
3
5
3
7
5
7
0
7
5
7
0
[4]

1. 2.
# œj ‰ œj ‰ j ‰ j ‰
E5 C5 G5 B5 G5 A5
& œ œœ œœ j ‰ j ‰ œ œ œ œ œ ..
3 3 3
œ œœ œœ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
.
PM PM PM
.
T
A 9 9 5 5
B 7 7 3 3 5
3
5
3
9
7
9
7
9
7
9
7
9
7
5
3
5
3
5
3
5
3
5
3
7
5
7
5
7
5
7
5
7
5
[7]
# œ j ‰
B5
œ
N.C.
j ‰
3
& œœ œœ œœ œœ œœ œœœ œœ œœ ‰
3
œ. œ. œ œ œ œ #œ œ œ œ œ œ œ
.
Guitar Grade 5
PM PM
T 9 7
A 9 9 9
B 9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
7 7 5 5 4 5 4 2 0 2 0
34
[10]
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
# j œ j ‰ j ‰ œ j ‰ œ
& œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ
(PM) PM
T 9 9 7
A 5 5 5 7 9 7 5 4 5 4
B 7 7 7 7 5 5
[13]
~~~~~ ~~~~~
# j ‰
& ‰ œ œ œ ‰ jœ
#œ œ œ œ œ œ œ
œ
(PM) PM
~~~~~ ~~~~~
T 4
A 2 0 2 2 4 4 5 7 7 5 4
B 4 5 4 2 0 2 0 7
[16]

G/F #
# j
‰ ‰ œj œj ‰
D
G5 D5 A5 E5 B5 G5
& .. œ ‰ œœ ‰ œj œj ‰ ‰ ‰
œ œ œ œœ œœ œ œ œ œ œ œ
œ œ œ
.
PM PM
.
T
A 5 7 7 9 5 5
B 3
5 5 5 7
5
7
5
7 9
7
9
7 3
5
2
5
[19]
1. 2.
# Em
‰ œœ ˙˙ .. j
B5
j
& œœ J œ œ œ ˙
œ œ œ œ ˙
Guitar Grade 5
0
.
.
T 0
A 2 4 4 4
B 0
2 2 2 2
35
[22]
# j j j j
E
j j œœ ‰ œœ ‰ œj ‰ œj ‰
E5 C5 G5 A5 E5 C5
& .. œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ
j ‰ j ‰
œœ œœ œ œœ œ œ œ
œ œ
.
.
T
A 9 9 5 5 9 9 5 5
B 7 7 3 3 5
3
5
3
7
5
7
0
7
5
7
0
7 7 3 3
[24]
1. 2.
#
G5 B5 G5 A5 B5
j ‰ j ‰ œ œ œ œ œ ..
3
& œ œ œ œ œ œœ œœ œœ
3 3 3 3
œœ œœ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ
.
PM PM PM
.
T
A 9 9 9
B 5
3
5
3
9
7
9
7
9
7
9
7
9
7
5
3
5
3
5
3
5
3
5
3
7
5
7
5
7
5
7
5
7
5
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
[27]
Drum Solo (8 bars)

E5 C5 G5
# . j
F
3
& .œ œ œ œ ‰
œ œ œ œ Ó œœ œœ Œ Ó
œœ œœ
Œ Ó

.
T
A 9 9 9 9 5 5
B 7 7 7 7 3 3 5
3
5
3
[30]
#
1. 2.
‰ Ó .. œ
A5 B5
&
3
œ
.
.
T
A
B 7
5
7
0
7
5
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
[33]
Guitar Solo (12 bars) Play 3 times
#
G
& .. ’ ..
E5 B5 A5 G5 E5 B5 C5 D5
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Guitar Grade 5
. .
. .
T
A
B
36
[35]
Bass Solo (8 bars)
# ˙ ˙
Em C D Em C D Am
w ˙
H
˙ ˙
& .. ˙ ˙ w ˙ ˙ ˙
˙ ..
F Develop on repeat ˙
. 8 .
. .
T 5 7 8 5 7
5
A
B 7 3 5 7 3 5
5
[39]
#
I
E5 3 G5 3 A5 3 N.C. E5 3 G5 3
& ¿¿ ¿¿ ¿¿ ¿ ¿ ¿ œ œ ¿¿¿ ¿¿¿ ¿¿ œ ¿ ¿ ¿ ¿ ¿ ¿

¿¿ œœ œœ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿ œ œ œ œ œ œ œ ¿¿¿ ¿¿¿ ¿¿¿ œœ œœ ¿¿¿ ¿¿¿ ¿¿¿
3
œœ œœ ¿¿¿ ¿¿¿
3
f ¿ ¿ ¿ ¿ œ œ ¿¿ ¿¿ ¿ œ œ ¿ ¿ ¿ ¿ ¿ ¿
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ 2 0 ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
T
¿ ¿ ¿ 3 3 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 3 3 ¿ ¿ ¿
A 2 2
B 2
0
2
0
5 5 0 0 2 2 0
3
2
0
2
0
5 5
[43]
#
A5 B5 C5 G5 E5 3 G5 3 A5 3 N.C.
& œœ ¿¿ ¿¿ ¿¿ ¿ ¿ ¿ œ œ ¿¿¿ ¿¿ ¿¿
¿¿ œœ œœ ¿¿¿ ¿¿¿ ¿¿¿
3 3
œ œ œœ
œ œ œœ œœ ¿¿¿ ¿¿
¿ ¿ ¿ ¿ ¿ œ œ ¿¿ ¿¿
¿
¿¿ œ
¿ œ œ œ œ œ
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿

¿¿ ¿¿ ¿¿ ¿ ¿ ¿ ¿¿ ¿¿ ¿¿
T
¿ ¿ ¿ 53 53 ¿¿ ¿¿ ¿¿ ¿ ¿ ¿ 3 0 0 3 0 0
A 2 4 5 2 2
B 0 2 3 5
3
2
0
2
0
0 0
[46]
#
E5 G5 A5 E5
œ
N.C.
œ
3 3 3 3
& ¿¿ ¿¿ ¿¿ ¿ ¿ ¿ œ œ ¿¿¿ ¿¿ ¿¿ œ œ ¿¿ ¿¿ ¿¿ œ
œ œ ¿¿ ¿¿ ¿¿ œ œ ¿¿¿ ¿¿¿ ¿¿¿ œ œ ¿¿ ¿¿ ¿¿ œ œ ¿¿ ¿¿ ¿¿ œ œ œ œœ
œ œ ¿ ¿ ¿ œ œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ œ
>
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿ ¿ ¿
¿¿ ¿¿ ¿¿ ¿ ¿ ¿ ¿¿ ¿¿ ¿¿ 2 2 ¿¿¿ ¿¿¿ ¿¿¿
T
¿ ¿ ¿ 53 53 ¿¿ ¿¿ ¿¿ ¿ ¿ ¿ 0 0 ¿ ¿ ¿
4 5 7
A 2 2 2
B 2
0
2
0
0 0 2 3 5 2
0
[49]
# œ œ œ œ œ œ
E5
œ
N.C.
& œ œ œ œ œ œ œ œ Œ
3 3
œ œ œ œ œ œ œ œ œ œ œœ
œ œ
Guitar Grade 5
> 3
T 4 5 7 11 11 11 11 12 9
A 2
B 12 0 12 12 10 12 12 12
2 3 5 2
0
9 9 9 9 10 7
37
[52]
Walkthrough
Amp Settings Bar 21 | Wide stretches

A modern high-gain distortion with the gain set relatively The movement of the G to the F # in this bar features a
high will give you the saturated distortion you are looking challenging stretch. Practise the same shape higher up the
for. Rock, punk and metal guitar tones use a lot less reverb fretboard and move down a fret at a time until you are
than other styles so be careful with the amount you add or it comfortable with the written part (Fig. 2).
will reduce the effectiveness of the tight, snappy parts.
Distortion F, G & H Sections (Bars 30–42)

Channel Equalisation Reverb These three sections are the drum, guitar and bass solos. The
5 5 5 5 5
guitar plays chords at the beginning of each bar in the drum
3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 solo. The guitar solo enables you to create your own solo;
2 8 2 8 2 8 2 8 2 8 vary the written part on the repeat in the bass solo.
1 9 1 9 1 9 1 9 1 9
0 10 0 10 0 10 0 10 0 10
GAIN BASS MIDDLE TREBLE DRY – WET Bars 35–38 | Melodic solos
Punk solos rarely use blues based pentatonic ideas. A
more melodic approach (which could still use the minor
A Section (Bars 1–4) pentatonic) may make your solo stylistically appropriate.
This section is a three-and-a-half bar crescendo on a single
chord that builds from a swung rhythm to triplets before
ending on a quarter-note triplet. I Section (Bars 43–54)
These powerchords alternate with aggressively strummed
Bars 1–54 | Triplet picking muted strings, octaves and single note runs.
The triplet rhythm is used throughout ‘Geek’, and the odd
number of notes can make picking triplets a challenge. At Bars 43–50 | Muting strings
this high tempo they will have to be played using alternate To get the aggressive sound, place your picking hand lightly
picking/strumming, so some beats will start with an across the string and strum hard in the specified rhythm.
upstroke that may feel unusual to you at first (Fig. 1).

B Section (Bars 5–10) ≥ ≥ ≤ ≤ ≥ ≥ ≤ ≤ ≥≤≥≤≥≤≥≤≥≤≥≤
# 3j 3j 3j 3j
3 3 3 3
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
This powerchord riff moves quickly around the fretboard.
& œ œ œ œ œ œ œ œ
Bars 5–10 | Moving powerchords œ œ œ œ œ œ œ œ œœœœœœœœœœœœ
As you move between the powerchords, lock your fingers in (PM)
position and shift your whole hand rather than individual T
fingers to make your changes faster and more efficient. A 9 9 9 9 9 9 9 9 9 9 9 9
B 9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9 9 9 9 9 9 9 9 9 9 9 9
7 7 7 7 7 7 7 7 7 7 7 7
C Section (Bars 11–18) Fig. 1: Triplet picking

This is a single-note melody that uses palm-mutes, octaves
and slides. It contains a lot of fretboard movement, so
maintain a structured approach to your fingerings.
Bars 11–15 | Picking accuracy C5 C /B
œ ‰ œ ‰
These quick string skips must be executed accurately. Slow
& œ œ
œ
the phrase down to ensure you strike each note cleanly
without making contact with the other strings. œ
PM
T
D & E Sections (Bars 19–29) A
Guitar Grade 5
10 10
The D section is another riff based on powerchords. Aside B 8
10
7
10
from chordal stabs, some chords are arpeggiated while being

palm-muted. The E section is a reprise of the B section. Fig. 2: Wide stretches
38
Rollin’
SONG TITLE: ROLLIN’

GENRE: BLUES ROCK
TEMPO: 107 BPM q = 107 Blues Rock
D
## 4 ¿¿ œœ œœ
KEY: B MINOR/D MAJOR A Bm
œœ œœ
TECH FEATURES: DOUBLE-STOP RIFFS
& 4 œœ
F
STRING BENDS
SYNCOPATED RIFFS
COMPOSERS: STUART RYAN, HENRY THOMAS

T 7
¿¿ 9
& NOAM LEDERMAN A 7 9
9
7 9
B 7
PERSONNEL: STUART RYAN (GTR)
HENRY THOMAS (BASS)
ROSS STANLEY (KEYS)
OVERVIEW THE BIGGER PICTURE
‘Rollin’’ is a composition created in the style of Mayer draws influence from many guitarists,

American pop and blues rock singer-songwriter especially Hendrix and Vaughan. Blues remains at the
œœ ¿¿ # œœ œœ œ œ
and guitarist John Mayer. This piece features heart of what he plays, especially when
D he solos. His
##
Bm
œœ œœ œ ¿ œ œ œ œ ¿¿ œœ
rhythmic ideas built around double-stops, triads and guitar parts are always creative and laden with hooks,
arpeggiated chords, plus a melodic lead guitar part displaying his Hendrix and SRV influences. He is a
&
that is composed rather than improvised. guitarist of many colours. He’s at home with complex
fingerpicked acoustic guitar parts, roaring electric
Mayer often works within the trio format of guitar, blues solos, and funk inspired rhythm playing. His
bass and drums, so when you learn ‘Rollin’’ be careful success has enabled him to display several different
¿¿
to listen out for the interplay between each of the musical guises from stripped back acoustic performer
¿ ¿¿
instruments on the track. to leader of a blues power7trio.
T 7
7
9
9 7
7
STYLE FOCUS
A
RECOMMENDED
7 9
LISTENING
9 7
4
B 7 9
Blues rock guitar typically features a power trio [3]Since the early 2000s, Mayer has released several
of guitar, bass and drums, possibly augmented by a albums in a variety of musical settings. His major
Hammond organ or keys player. This style of music label debut, Room For Squares (2001), showcases his
originated in the 1960s, when bands such as Cream more pop oriented songwriting. You may also wish
and The Jimi Hendrix Experience fused traditional to check out its precursor, the all acoustic EP Inside
blues styles with the volume and tones of the rock Wants Out (1999). On Continuum (2006) he shines
guitar styles emerging at the time. Prodigious guitar in the guitar, bass and drums format with session
talent Stevie Ray Vaughan developed this style of supremos Steve Jordan (drums) and Pino Palladino
playing in the 1980s with a strong lean towards the (bass). The same trio recorded the live blues oriented
Guitar Grade 5
blues, and Mayer fuses these particular influences album Try! (2005), while Where The Light Is: John
with commercial sensibilities that have lead to a Mayer Live In Los Angeles (2008) features him in solo,
# # œ œ œ ¿ œ œ œ ¿r 39‰ .
clutch of hit albums. trio and full band formats.
A E
& œ œ œ ¿ œ œ œ ¿
Rollin’
Stuart Ryan, Henry Thomas & Noam Lederman
q = 107 Blues Rock
#
A Bm D A E
& # 44 œœ œœ œœ ¿¿ œœ œœ œœ œœ ¿ œ œ œœ ¿¿ ¿¿ œœ œœ œœ œœ
¿ œ œ
F
T
A 7 ¿¿ 9 7
¿¿ ¿¿ ¿¿ 7 [7] 4
7 9 7 9 7 7 7 4 [4] 2
B 7 9 4 5
To Coda fi
## œœ ¿ # œ œ œœ. ¿ œ œ
Bm D A E Bm D
œ ¿¿ œœ œœ œœ œœ ¿ œ œ œ
œ œœ ¿¿ ¿¿ œœ œœ œ œ œœ œœ œ ¿¿ œœ œœ œœ œœ ¿¿ œœ
& œœ œœ ¿ œ œ
¿¿ ¿¿
¿ ¿¿ ¿¿ ¿¿ ¿ ¿¿
7 7
T 7
7
9
9 7 7 [7] 9
7
7
7
7 7
A 7 9 9 7 7 7 4 [4] 7 9 7 7 7 9
B 7 9 4 5 9 7 7
[3]

# # œ œ œ ¿ œ œ œ ¿r ‰ . œ œ œœ œœ
œœ œœ œœ ¿¿ œ œ œœ Œ œœ
A E Bm D N.C.
& œ œ œ ¿ œ œ œ ¿ œ
j
œ
T
A ¿¿ ¿¿ 7 ¿¿ 9 7 9 9 7
9 9 9 7 9 7 9 7 9 11 9 7
B 7 7 7 7 9 9
[6]
#
B
j
D maj 7 A add 9
& # .. œ. œ œ
Bm G
œ œ œ r œ
j œ œ œ œ œ
œ œ œ
œ
œ œ œ œ
Guitar Grade 5
.
PM PM PM PM
.
T
A 9 11 [11] 5 7 9 7
B 7
9
10
12
3 3
5
5
7 9 7
40
[9]
## j‰
1. 2.
œ œ œ œ œ ..
œ œR ‰ .
Bm D maj 7 G A add 9 G A add 9
& œ œ œ œ œ œ
œ œœ
j
œ œ
œ
œ œ œ œ œ
.
PM PM PM PM PM PM
.
T 9 [9]
A 9 7 5 7 9 7 5 7
B 7
9
3
5
5
7
3
5
5
7
[11]
~~~~~~
œ œ ˙.
œ œ
G D A
œ nœ œ œ œ œ œ œ œJ n œ œ œ œ
j
## ˙ œ œ œ
œ
C
j
J ‰
œ œ
œ
J
& œ
j
BU
10
BU
12 (14) 12
~~~~~~ BU BD BU BD
T 8 10 (12 ) 10 8 7 12 (13)(12) 10 10 12 10 12 (13) (12) 10
A 7 9
B
[14]

œ œ nœ ~~~~~~
˙ œœœ ˙ œœœ œ
1/4
# œ œ œ œ œ œ œ. œ œ œ
j
& # œ
G D A
j j œ
œ
J
œ œ J
1/4 ~~~~~~
T 7 7 7 9 11 7 7 7 9
7
9
10 12 10 13 10
11
10 BU BD
11 (12)(11) 9
A 9 9
B
[18]
Bass Solo (8 bars)

Develop on repeat
# œ œ œ œ œ œ œ œ œ œ
D
œ œ œ œ œ œ œPlay 4 times..
D sus 2 A5 D add 9
œ
G/B
& # .. œ œ œ œ œ œ
P
Guitar Grade 5
. 0 0 0 0
.
. 12 .
T 10 10 8 8 5 5 3 3
A 9 9 7 4 4
B
41
[22]
B m7/F # B m/F #
## œ
‰ Rœœ
E G A
‰ œ Œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ œ ‰ œ ‰ r Œ
& œœœ R œ œ œ œœ œœœœœ œœœ R œ
F
7
T 7
7
3
2
3
2
3
2
3
2
3
2
2
2
2
2
2
2
2
2
2
2 7
A 7 9 4 4 4 4 4 2 2 2 2 2 7 9
B 9 9 9 9 5
[24]
B m7/F #
# # œœ
G
œœ œœ œœ œœ œœ œœ
A
œœ œœ œœ œœ
& œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ œ œ œ ‰ œ ‰ r Œ
œ œ œ œ œ œ œ œ œ œ R œ
3 3 3 3 3 5 5 5 5 5
T 3
4
3
4
3
4
3
4
3
4
5
6
5
6
5
6
5
6
5
6
A 5 5 5 5 5 7 7 7 7 7 7 9
B 5 5 5 5 5 7 7 7 7 7 9 9
7
[27]

B m7/F #
# œœ œœ œœ œœ œœ œœ œœ œœ œœ
D A G A
& # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ‰ œœœ ‰ œ ‰ œr Œ œœ œœ œœ œœ œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ ‰
œ
R œ œ œ œ
3 3 3 3 5 5 5 5 5
T 3
2
3
2
3
2
3 3
2 2
2 2 2 2 2
2 2 2 2 2
3
4
3
4
3
4
3
4
5
6
5
6
5
6
5
6
5
6
A 4 4 4 4 4 2 2 2 2 2 7 9 5 5 5 5 7 7 7 7 7
B 9 9 9 5 5 5 5 7 7 7 7 7
[29]
fi
Guitar Solo (8 bars)
## . G
F
..
D.C. al Coda
& .’
D A
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Guitar Grade 5
. .
. .
T
A
B
42
[32]
fi Coda
#
Bm D A E
& # œœ œœ œœ ¿¿ œœ œœ œœ œœ ¿ œ œ œœ ¿¿ ¿¿ œœ œœ œœ œœ
¿ œ œ
T
A 7 ¿¿ 9 7
¿¿ ¿¿ ¿¿ 7 [7] 4
7 9 7 9 7 7 7 4 [4] 2
B 7 9 4 5
[36]
## œœ ¿¿ # œœ œœ ¿¿ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œœ ¿¿
Bm G A
& œœ œœ ¿ œ œ ¿¿ n œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰
¿ œ œ œ œ œ œ œ œ œ œ œ
¿¿ ¿¿
¿ ¿¿ ¿¿
7 3 3 3 3 3 3 5 5 5 5 5
T
¿
7 9 3 3 3 3 3 3 5 5 5 5 5
7 9 7 4 4 4 4 4 4 6 6 6 6 6
A 7 9 9 7 5 5 5 5 5 5 7 7 7 7 7
B 7 9 5 5 5 5 5 5 7 7 7 7 7
[38]

D/F # D/F #
#
G
G5 A5 B5 G5
& # .. œ ¿¿¿ ¿¿¿ ¿¿¿ œ

Œ œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ œœ Œ œ ¿¿¿ ¿¿¿ ¿¿¿ œ
Œ
f œ œ œ œ œ ¿ ¿ ¿ œ œ œ œ œ œ
.
. ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
T
¿ ¿ ¿ 3 ¿ ¿ ¿ ¿ ¿ ¿
A 7 7 9 9
B 2
5 5 7
5
7
5
9
7
9
7 2
5
3
5
[40]
1. 2.
#
A5 B5 A5 B5
& # œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ œœ Œ ..
œœ œœ œ œœ œ œ œœ œœ œ œœ œ w
œ œ ¿ ¿ ¿ œ œ œ œ w
j
œ
œ œ œ œ
Guitar Grade 5
.
¿¿ ¿¿ ¿¿ . 7 7 7
T
¿ ¿ ¿
A 7 7 9 9
B 7
5
7
5
9
7
9
7 5 5 0
7
5
7
0
7
0
7
5
7
5
7
0
7
5
7
5
9
7
43
[43]
Walkthrough
Amp settings E Section (Bars 24–31)

Although an overdriven sound is suggested below, a clean This section alternates between a bar of syncopated riffing
tone will work just as well. If you opt for a distorted tone, set and chords played using 16th-note rhythms.
the gain to medium because the sound should only break up
when you are playing your hardest. Bars 25–31 | Ghost strums
Keeping your hand in a constant strumming motion
Distortion between chord hits will make the rhythm parts more fluent.
Channel Equalisation Reverb When you don’t want to strike the strings, move your pick a
5 5 5 5 5
small amount away. These are called ghost strums (Fig. 2).
4 6 4 6 4 6 4 6 4 6
3 7 3 7 3 7 3 7 3 7
2 8 2 8 2 8 2 8 2 8
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
F & G Sections (Bars 32–45)
GAIN BASS MIDDLE TREBLE DRY – WET The F section is an improvised guitar solo while the G
section is a low-string riff that combines single notes,
powerchords and muted strings.
The A section comprises a syncopated riff that plays double- Bars 32–35 | Guitar solo
stops and three-note chords. Although these could be Although the first chord of the solo progression is a G, the
interpreted as complex chord extensions (B m11, etc.), the key is firmly rooted in D major. Both the D major pentatonic
chord symbols reflect the overall harmony of the piece. and D major scales are ideal for soloing. It’s a good idea to
be aware of the notes in each of the progression’s chords and
Bars 1–45 | Sixteenth-note syncopations their location within your chosen scale. This knowledge will
There are many 16th-note syncopated rhythms throughout enable you to resolve your licks and phrases on chord tones,
‘Rollin’’, many of which will be easier to learn by ear than the giving them a sense of resolution.
notation might suggest. If you find that any rhythms are a
particular problem, break down the bar into beats first and
then 16th notes . Work slowly through the bar (Fig. 1).

# œ œ
& # 44 œœ œœ œœ ¿¿ œ œ œœ œœ
Bm D
B & C Sections (Bars 9–21) ¿ œ
The B section consists of low chord voicings played in a ¿ œ
syncopated rhythm. The C section is a notated guitar solo
¿¿
that contains many key techniques found in blues rock.
¿¿
T
7 9 7
A 7 9 7 9 7 7
Bars 16–21 | Semitone bends B 7 9 4
Semitone bends are often overbent by inexperienced players Count: 1 (e) & (a) 2 (e) & a (3) (e) & (a) (4) (e) & a
who are used to the whole tone bends found in pentatonic
solos. Playing the target note (the note in brackets) before Fig. 1: Sixteenth-note syncopations
you attempt the bend will help with the accuracy, as the
target note is fresh in your memory.
D Section (Bars 22–23)

≥≤ ≥ ≤≥≤≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
G A
# # œœ œœœ œœ œœœ œœœ œœ œœœ œœœ œœ œœ œœ

This section is the bass solo. The two bars are played four
& œœœ œœ œœœ œœ œœ œœœ œœ œœ œœ œœ œœ ‰

times. After the first time through you should develop the
part using your own variations.
œ œ œ
Bars 22–23 | Developing a part
When you develop a part, you should make sure you are T
3
3
3
3
3
3
3
3
3
3
5
5
5
5
5
5
5
5
5
5
faithful to the original that is notated while still taking the A 4 4 4 4 4 6 6 6 6 6
Guitar Grade 5
5 5 5 5 5 7 7 7 7 7
section somewhere new. Common ways to develop a part are B 5 5 5 5 5 7 7 7 7 7
to vary the rhythm, picking patterns or use different chord

voicings. These are, of course, only suggestions and you Fig. 2: Ghost strums
should play the part as you feel works best.
44
Do Balanço
SONG TITLE: DO BALANÇO

GENRE: SAMBA ROCK q =160 Samba Rock
TEMPO: 160 BPM # C
D7 9
n œœ n œœ n œœ n œœ n n
KEY: G MINOR A
b b4 # œœ # #
TECH FEATURES: OCTAVE MELODIES
& 4 # œœ # œœ # œœ
DOUBLE-STOPS
.
PLAYING OVER CHANGES
F
COMPOSER: NOAM LEDERMAN 6 6
T 6
5
6
5 5 5
A 4 4
5
4
5
4
5
PERSONNEL: NOAM LEDERMAN (DRUMS) B 5
HENRY THOMAS (BASS)
STUART RYAN (GTR)
KISHON KHAN (KEYS)
FERGUS GERRAND (PERC)
OVERVIEW
Another noteworthy act was Banda Black Rio, who
‘Do Balanço’ is in the style of Brazilian artists like formed in 1976. On their 1977 debut album, Maria

Jorge Ben Jor, Trio Mocotó and Clube Do Balanço. It Fumaça, they mixed samba with jazz funk and soul,
‰ # œj œj
includes techniques such as octave melodies, double- inspired by Kool And The Gang7 and many others. G m7
7 C
b ˙
TheyGhave since worked with a variety of singers
Œ
stops and playing over chord changes. m
b Ó
including Caetano Veloso and Gilberto Gil.
STYLE FOCUS & Today samba rock is still alive and kicking. Its
greatest exponents are arguably the São Paulo group,
Samba rock takes its lead from jazz, funk and, of Clube do Balanço. The band, formed in 1999, have
course, samba. Rhythm guitar is generally either funk continually propelled the sound created by the
oriented with tight 16th-note strumming patterns, masters of samba rock in the 1960s and 1970s into
or played in a syncopated Brazilian style with its T a new fusion that includes dancers, singers, DJs,
3 and producers. 4 5
roots in bossa nova and samba. Samba lead guitar is
influenced mostly by jazz.
A musicians
B
[3] RECOMMENDED LISTENING
THE BIGGER PICTURE
As the creator of samba rock, Jorge Ben Jor is worth
A fusion of samba, rock, soul and jazz, this genre investigating over several albums: África Brasil (1976),
was created in Brazil in the 1960s. The musician Ben Alô Alô, Como Vai? (1980) and A Tábua De Esmeralda
Jor pioneered many of these stylistic mixtures in his (1974). Bebeto’s album Bebeto (2005) shows the
early albums and is therefore considered to be the influence of Ben Jor as Bebeto continued to develop
father of samba rock and one of the most important samba rock. Mocotó’s Trio Mocotó (1973) and Banda
figures in the history of Brazilian music. His Black Rio’s Maria Fumaça (1977) are examples of
Guitar Grade 5
composition ‘Mas Que Nada’ became an international samba rock in the 1970s, while Clube Do Balanço’s
hit for Sérgio Mendes and the Black Eyed Peas, and Swing & Samba-Rock (2001) illustrates how the genre
was used as the anthem of the 2006 FIFA World Cup. has evolved even further.
G m7
b ˙ ‰
C7
Œ
G m7
& b Ó 45 # œj
Do Balanço
Noam Lederman
q =160 Samba Rock
7#9 #
C#7 9
#
j
D D7 9
nœ nœ nœ nœ nœ n œ
A
b4 œ œ œ œ
&b 4 # œœœ # œœœ # œœœ # œœœ #n # œœœ ‰ n # œœ ‰ nœ bœ œ
j
J
#œ
. œ
F
T 6
5
6
5
6
5
6
5
5
4
6
5
2 3 3 3 3
5 3 5
A 4 4 4 4 3 4
B 5 5 5 5 4 5
G m7 C7 G m7 C7 G m7 C7 G m7 C7
b ‰ # œj œj œ œ n œ œ ‰ # œj œJ ‰ Jœ œ n œ œ œ
&b ˙ Ó Œ œ œ ˙ Œ
T 3 3
2 3 3 3
5 3 5
A 4 5 5 5 3 5
B
[3]

b œ
‰ # œj œ œ œ œ n œ œ. ‰ œj ˙ ‰ # œj œJ œ œ œ n œ œ b œ
G m7 C7 G m7 C7 G m7 C7 G m7 C7
&b ˙ Ó Œ Œ
T 3 3
2 3 3 3 3
5 3
6
6
A 4 5 5 5 5 3 5
B
[7]
B b m7 Eb7 B b m7 Eb9 B b m7 Eb9 B b m7 Eb9

.
b b œœ . b œœ œœ Œ Œ ‰ œ œ œ b œ b œœ b ˙˙ Ó b
Œ œ œ œ
œ œ
œ œœ œœ
3
&
3
J J
Guitar Grade 5
T 2
3 3 3 3
6
6 6
2
3
4
5
6
6
4
5
2
3
A 6 8
B
46
[11]
b œ nœ ˙ ‰ Jœ œ œ œ. ‰ œ œ œ ¿ œ œ
D m7 G7 D m7 G7 D m7 G 7 D m7 G7
&b Œ Ó J
T 6 3 3 3 6 6 6 3 ¿ 3 3
5
A
B
[15]
œ œ œ œ œ œ. œ œ œ œ œ œ. nœ ˙
C m7 F7 D m7 G7
œ œ
B
bb œ œ œ ‰ œ ‰ œ œ. Œ œ œ œ ‰ œ ‰ Jœ œ. nœ ˙
& J œ œ J J
J J
T 11 11 11 11 10
10
13 13 13 13 15 12
A 8 8 8 8 7 10 10 10 10 12 9
B 8
[19]
#
B b maj 7 D b m7
j
œœ ‰ n œj b œj
C m7 F7 G7 5 D m7 C m7
b œ œ œ œ œ œ œ œj œ w
&b Œ ‰ œj b œ œ œ œ Œ ‰ œ b n œœ ‰ b œœ
œ bœ œ

3
T 3 5
4 6 4 3
5 2
3 4 4 6 6
5
5
4
4
3
A 5 7 6 5
B 5 4 3
[23]
B b m7 Eb9
bœ œ œ œ œj œ œ. œ œ bœ œ
F7 Am
b œ œ œ ‰ œ ‰ # œj n œ œ. nœ œ bœ œ œ ‰ œJ ‰ œ œJ œ. œ ‰ œ bœ œ
& b œœ J J J Œ J J
œ
9 9 9 11 11 13 11 11 9 8
T 4 4 4 2 3
5 6 6 6 8 8 10 8 8 6 5
A
B
[27]
# #
C#7 9
œ. œ œ œ œ œ. nœ œ œ ˙ j n œj
A m7 D7 9
bb œ . œ œ œ œ œ. ‰ nœ œ œ ˙ n œ
‰ n # œœ ‰ n # œœ
& J J J # œ n >œ
>
Guitar Grade 5
8 8 8 7 8 10
T 5 5 5 4 5 7
5
4
6
5
A 3 4
B 4 5
47
[31]
Bass Solo (16 bars)
C G m7 C7 G m7 C7 G m7 C7 G m7 C7
b nœ œœ ¿¿ œœ œœ n œœœ œœ ¿¿ œœ œœ n œœœ œœ ¿¿ œœ œœ n œœœ œœ ¿¿ œœ

& b .. œœœœ œœœœ ¿¿¿¿ œœœœ œœœ œœ ¿¿ œœ ¿¿
¿¿
œœ
œœ
¿¿
¿¿ œœ œ œœ ¿¿ œœ œœ
œœ
œœ
œœ
¿¿
¿¿ œœ œ œœ ¿¿ œœ ¿¿
¿
œœ
œœ
¿¿
¿¿ œœ œ œœ ¿¿ œœ
œ œ ¿ œ ¿ œ ¿ œ œ œ ¿ œ ¿¿ œ ¿ œ
. 33 33 ¿¿ 33 53 ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
Develop on repeat
. 35 35 ¿¿ 35 53 ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
T 5 5 3 3 5 5 5 3 3 3 5 5 5 3 3 5 5 5
¿ ¿ ¿ ¿ ¿ ¿
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
A 5 5 3 3 5 5 5 3 3 3 5 5 5 3 3 5 5 5
B 3 3 3
3 3 5
3
5
3
3 3 3 5
3
5
3
5
3
3 3 3 5
3
5
3
3 3 3
[35]
B b m7 Eb7 B b m7 Eb7 B b m7 Eb7 B b m7 Eb7
b œ œ ¿¿ œœ œœ œœ ¿¿ œœ n ¿¿ b œœ ¿¿ œœ œœ œœ ¿¿ œœ b œœ œœ ¿¿ œœ œœ œœ ¿¿ œœ n ¿¿ b œœ ¿¿ œœ œœ œœ ¿¿ œœ
& b b b œœœ œœœ ¿¿ œœ b œœ œœ ¿¿ œœ n ¿¿ b œœ ¿ œœ œœ œœ ¿¿ œœ b œœ œœ ¿¿ œœ b œœ œœ ¿¿ œœ n ¿¿ b œœ ¿ œœ œœ œœ ¿¿ œœ ..
œ œ ¿ œ ¿ œ ¿ œ œ œ ¿ œ ¿ œ ¿ œ
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ .
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ .
T 6 6 6 8 8 8 6 6 8 8 8 6 6 6 8 8 8 6 6 8 8 8
¿ ¿ ¿ ¿ ¿ ¿
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
A 6 6 6 8 8 8 6 6 8 8 8 6 6 6 8 8 8 6 6 8 8 8
B 8
6
8
6
8
6
6 6 6 8
6
8
6
6 6 6 8
6
8
6
8
6
6 6 6 8
6
8
6
6 6 6
[39]
Drum Solo (8 bars)

# # # #
C#7 9 Eb7 9
j
b >œœ ..
D7 9 D7 9
b nœ n œœ n œœ n œœ n œ n œ
D
b
& b n # œœœ # œœ # œœ # œœ #n # œœœ ‰ n # œœ
n œ
Ó ‰ n œ ..
œ
. > >

T 6
5
6
5
6
5
6
5
5
4
6
5
7
6
A 4 4 4 4 3 4 5
B 5 5 5 5 4 5 6
[43]
# # #
C#7 9
j
D7 9 D7 9
b b n œœ n œœ n œœ n œœ n œ n n œœ
& n # œœ # œœ # œœ # œœ #n # œœœ ‰ n # œœ
. > >
T 6
5
6
5
6
5
6
5
5
4
6
5
A 4 4 4 4 3 4
B 5 5 5 5 4 5
[47]
E Guitar Solo (16 bars)
bb . G m
7 C7 G m7 C7 G m7 C7 G m7 C7
& .’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Guitar Grade 5
.
.
T
A
B
48
[51]
b Eb7 B b m7 Eb7 B b m7 Eb7 B b m7 Eb7
b bBm ..
7
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
.
.
T
A
B
[55]
œ
C m7
œ œ œ œ œ.
F7
œ
D m7
œ œ œ œ œ.
G7
nœ ˙
œ œ
F
bb œ œ œ ‰ œ ‰ œ œ. Œ œ œ œ ‰ œ ‰ Jœ œ. nœ ˙
& J œ œ J J
J J
T 11 11 11 11 10
10
13 13 13 13 15 12
A 8 8 8 8 7 10 10 10 10 12 9
B 8
[59]
#
B b maj 7 D b m7
j j
œœ ‰ b b œœ ‰ b œj
C m7 F7 G7 5 D m7 C m7
b œ œ œ œ œ œ œ œj œ w
&b Œ ‰ œj b œ œ œ œ Œ ‰ œ b œ b œœ
œ bœ nœ

3
T 3 5
4 6 4 3
5 2
3 4 4 6 6
5
5
4
4
3
A 5 7 6 5
B 5 4 3
[63]
B b m7 Eb9
bœ œ œ œ œj œ œ. œ œ bœ œ
F7 Am
b œ œ œ ‰ œ ‰ # œj n œ œ. nœ œ bœ œ œ ‰ œJ ‰ œ œJ œ. œ ‰ œ bœ œ
& b œœ J J J Œ J J
œ
9 9 9 11 11 13 11 11 9 8
T 4 4 4 2 3
7 5 6 6 6 8 8 10 8 8 6 5
A
B
[67]
# # #
C#7 9
œ. œ œ œ œ œ. nœ œ œ ˙ j j
A m7 D7 9 D7 9
bb œ . œ œ œ œ œ. ‰ nœ œ œ ˙ n œ n œ
& J J ‰ n # œœ ‰ n # œœ
J # œ n œ
>
Guitar Grade 5
8 8 8 7 8 10
T 5 5 5 4 5 7
5
4
6
5
A 3 4
B 4 5
49
[71]
Walkthrough
Amp Settings vary the rhythm and picking patterns or use different chord
Aim for a clean tone that’s full and warm. Using your guitar’s voicings. These are, of course, only suggestions and you
neck pickup will help with this. Boost the bass (but don’t let should play the part as you feel works best.
the sound become muddy) and roll off the middle and treble
if you feel the sound is too harsh. Adding reverb, if available,
will enhance the mood of the piece. D Section (Bars 43–50)
The guitar plays rhythmic stabs in the drum solo. Counting
Clean the rests and playing in time is essential in this section.
5 5 5 5 5
Bars 43–50 | Maintaining a pulse
3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 It’s important to tap your foot and/or count the beats
2 8 2 8 2 8 2 8 2 8 through solos. This is especially true of drum solos where
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
drummers may play complex rhythms where the pulse is less
GAIN BASS MIDDLE TREBLE DRY – WET obvious.
E & F Sections (Bars 51–73)

A Section (Bars 1–18) The guitar solo starts in G minor then moves to B b minor.
The song opens with the band playing stabs in unison. The The F section is a reprise of the A section.
guitar plays a relaxed single-note melody that uses slides,
pull-offs and occasional double-stops. Bars 51–58 | Scale choices
The G minor pentatonic scale and G blues scales are good
Bars 1–18 | Starting phrases on the upbeat choices for the first four bars of the guitar solo, while the
Many of the phrases here start on an upbeat (when you B b minor pentatonic and blues scales will work for the
count ‘&’). At this tempo it can be tricky to play these notes second four bars. The G and B b dorian modes are more
on the right beat or without rushing them. This is especially advanced scale choices.
true of the phrases that start with a grace note. Practise each
phrase slowly, counting as you go, and start exactly on the

correct beat. Increase the speed when you’re ready (Fig. 1).
b œ œ œ nœ
G m7 C7
&b ‰ #œ
j
J ‰ J œ œ
B Section (Bars 19–34)
The bulk of the B section is based on flowing octave
melodies, but there are also several offbeat chord stabs.
T 2 3 3 3
5 3 5
Bars 29–32 | Sliding octaves A
B
Approach sliding octaves in the same way you play power Count: (1) & (2) & 3 & 4 &
and barre chords: lock your fingers in position and move the
fretting hand as a unit rather than dealing with individual Fig. 1: Starting phrases on the upbeat
finger placement. The added difficultly of sliding octaves is
that you must maintain pressure on the strings to keep the
notes ringing. You should feel as if you’re pushing into the
fretboard as well as sliding up or down to a new fret. This
Eb9
may take some practice to get right, especially if you use the
œ. œ œ bœ œ
Am
weaker fourth finger to fret the higher octave (Fig. 2).
b œ. œ œ bœ œ
&b J ‰ J
C Section (Bars 35–42)
This is the bass solo. You should play the written notation
first time through then develop the part on the repeat. T
11 11 9 8
8 8 6 5
A
Guitar Grade 5
Bars 35–42 | Developing a part B

When you develop a part, make sure you are faithful to
the original notated part while still taking the section Fig. 2: Sliding octaves
somewhere new. Common ways to develop a part are to
50
Tiberius
SONG TITLE: TIBERIUS

GENRE: METAL
A
TEMPO: 90 BPM q = 90 Metal
#4 . j
KEY: E MINOR C
Em
& 4 . œ œ œ
œ
TECH FEATURES: ARPEGGIATED CHORDS
pœ
NATURAL HARMONICS
SCALE SEQUENCES
w/clean tone
.
Let ring
COMPOSERS: CHARLIE GRIFFITHS
.
& JASON BOWLD T 0
A 2
0 2
PERSONNEL: CHARLIE GRIFFITHS (GTR) B 0
DAVE MARKS (BASS)
JASON BOWLD (DRUMS)
OVERVIEW Anthrax and Slayer (although other lesser known

bands such as Kreator, Exodus and Annihilator
‘Tiberius’ is in the style of Metallica, Exodus and have each contributed important albums that have

Anthrax, and starts with some mellow arpeggiated furthered and added individual dynamics to thrash
j
G
#
chords using open strings and natural harmonics. The metal).
Em Almost every metal sub genre, including
œ œ.
next section, based on the E minor pentatonic scale, is death metal, metalcore, power metal, mathcore and
& œ œ
played with distortion. Make sure you’re comfortable progressive metal, owes its existence to the original
œ œ
with counting the 2/4 bar because this section also thrash style. The genre lives on today with newer
œ
doubles as the solo section backing. After the solo, bands like Trivium and Avenged Sevenfold harking
the feel changes into a more upbeat thrash groove and back to the classic Metallica style while still managing
moves between the keys of E minor and F # minor. to sound fresh and relevant.
(let ring)
STYLE FOCUS RECOMMENDED LISTENING
Thrash is built mainly on the ‘root 5th’ powerchord, T Between the mid 1980s and early 1990s, 0 Metallica
played with a thick distorted sound and an emphasis A released a trio of classic thrash albums. Master 2
0 2
on percussive, palm-muted low chugging riffs. The Puppets (1986)2 was the first sign of the group’s
B ofmaturing, 3
rhythmic structures are usually based on constant 0 a process that helped thrash to develop
eighth or 16th notes using the open E or A strings as [3] into a genre that could encompass a broad sweep
pedal notes. Soloing is usually based in pentatonic of emotions and musical motifs. …And Justice For
and blues scales. However, the natural minor scale All (1988) offered more of the same, while their
and phrygian modes are also popular. eponymous 1991 LP unleased thrash into more
mainstream territory. Slayer’s Reign In Blood (1986),
Exodus’ Bonded By Blood (1985) and Megadeth’s
THE BIGGER PICTURE Rust In Peace (1990) are all great examples from the
Guitar Grade 5
same period. More currently, Avenged Sevenfold’s

Thrash was created and popularised in America Nightmare (2010) has some classic Metallica-esque
#
in the 1980s by The Big Four: Metallica, Megadeth, moments, as does Trivium’s 2011 InC 5Waves.
D sus 4
& œ œ œ œ
œ œ œ œ
51
j
œ
Tiberius
Charlie Griffiths & Jason Bowld
A
q = 90 Metal
#
C
j
& 44 ..
Em D sus 4 C5
œ œ œ. œ œ œ œ
œ œ j œ œ œ
pœ
œ
œ
w/clean tone
.
Let ring
.
T 0 0 0
A 0 2 2 7 5
B 0
2 3 5 3
3 2
‚ ‚
# j j
Em G Am Em
& œ œ œ œ. œ œ œ œ œ.
œ œ œ œ œ œ œ œ
NH Let ring
(let ring)
12
T 0
12
0
A 0 2 2 0 0 2 2
B 0
2
3
2 0
0
2

[3]
B b dim7
# j j ‰
D sus 4 C5 Em A m7
& œ œ
œ œ
j
œ œ œ œ œ œ œ œ œ œ. bœ œ
œ
œ œ
œ œ
œ
(let ring)
T 0 0 0 0 0
A 7 5 0 2 2 2 2
B 3 5 3
3 2 0
2 1 0
[6]
1.
#
B N.C. 1/4 1/4
& œ œ œ œ œ œ œ œ
F œ œ œ œ œ œ œ œ œ œ
Guitar Grade 5
w/dist.
PM PM PM PM PM
T 1/4 1/4
A 5 5
B 0
7
0
5 7
0 0 0 0
7
0
5 7
0 0 0
52
[9]
#
42 œœ 44
1/4 D
& œ œ œ œ œœ œœ
œ œ œ œ œ
(PM) PM PM
T 1/4
A 5 7 5 4
B 0
7
0
5 7
0 0 0
5 5 5
[11]
#
& 44
1/4 1/4
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
PM PM PM PM PM
T 1/4 1/4
A 5 5
B 0
7
0
5 7
0 0 0 0
7
0
5 7
0 0 0
[13]
# ..
1/4 D C
& œ œ œ œœ œœ œœ œœ œœ œœ
œ
œ œ œ œ œ

.
(PM) PM PM
.
T 1/4
A 5 7 5 4 5 4 2
B 0
7
0
5 7
0 0 0
5 5 5 3 3 3
[15]
2.
#
D
42 ’ 44
E m7 D
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
T
A
B
[17]
# 4 Em
7 C D
& 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Guitar Grade 5
T
A
B
[21]
53
# .E
E
5
& . œ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f
.
PM
.
T
A 0 2 2
B 0 2
0
2
0 0 0 0 0 0 0 0 0 0 0 0
[25]
# Bb5 Bb5
#
.. # #
E5 A5 N.C. A5 N.C.
& œœ œœ œœ b n œœ n n œœ œœ n œ
nœ
.
PM PM PM
.
T
A 0 2 2
B 0 2
0
2
0 0 0 0 0
8
6
7
5 0 0
8
6
7
5 0
[26]
## Bb
& # ..
E5
œœ n œœ œœ b n œœ
.

PM
.
T
A 0 2 2
B 0 2
0
2
0 0 0 0 0 0 0 0 0 0
5
6
[27]
### E5 Bb5 A5 N.C. A5 G5

..
& n œœ n œœ œ
œœ
œ œ œ œ œ b n œœ n n œœ œ œ
œœ
n œœ œ
.
PM PM PM
.
T
A 0 2 2
B 0 2
0
2
0 0 0 0 0
8
6
7
5 0 0
7
5
5
3 0
[28]
### F#5
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Guitar Grade 5
PM PM
T
A
B 4
0 2 2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
54
[29]
##
& # œ œ œ œ œ œ œ œ œ nœ
œ œ œ œ œ œ œ œ œ œ œ œ
œ
PM PM PM PM PM
T
A
B 4
0 2 2
4
2
4
2
4
2
4
2
4
2
5
2
4
2
3
2
2 0
[30]
##
& # 42
#œ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ
PM PM
T
A
B 4
0 2 2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
[31]
##2 n n # 44 œ œ œ œ œ œ œ
N.C.
& # 4
3 3
œ œœ œœ œœ œœ œœ œœ > > œ œ œ œ œ
œ œ œ œ
PM

PM PM
T 4 2 2
A 5 4 5 4 2
B 4
0 2 2
4
2
4
2
4
2
4
2
4
2
5 3 2
5 3 2
[32]
#
F
E5 E5
& .. œ
C
œ
œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ
œ œ
.
PM PM PM
.
T
A 9 10
B 2
0
2
0 0
7 2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0 0
7 2
0
2
0
2
0
2
0
2
0
2
0
[34]
B b dim Bb5
1. 2.
#
42 œœ œœ œœ .. 44
E5 D A5 G5 A5
& bœ
b œœ
œ n œœ œœ œœ
œ œ n œœ œœ œœ œœ œœ œœ
œ œ œ œ œ > œ œ > œ œ > œ œ >
Guitar Grade 5
.
(PM) PM PM PM PM PM
.
T
A 8 7 5 4
B 2
0
2
0 0
7 2
0
2
0
2
0
2
0
2
0
2
0
5 5 5
0 0
8
6 0 0
7
5 0 0
5
3 0 0
7
5
55
[36]
Walkthrough
Amp Settings minor scales are ideal for this solo. The natural minor scale
This song requires both clean and distorted tones. A metal will give a darker sound than the other two scales.
guitar tone consists of two elements: modern high-gain
distortion and a scooped tone. A scooped tone is achieved
by boosting the treble and bass controls and cutting or E Section (Bars 25–33)
‘scooping out’ the middle. If you are using an effects pedal This classic metal riff comprises of two-note chordal riffs
for both sounds, make sure the balance is correct between mixed with chugging, heavily palm-muted single strings.
the two tones. Generally speaking, the clean tone will be
slightly quieter than distortion. Bars 25–33 | Fast picking
16th-note picking on the low strings can be quite challenging
Distortion so start off slowly. Concentrate on a relaxed picking action
Channel Equalisation Reverb and look to minimise the distance the pick travels past the
5 5 5 5 5
string on each pick stroke.
4 6 4 6 4 6 4 6 4 6
3 7 3 7 3 7 3 7 3 7
2 8 2 8 2 8 2 8 2 8
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
F Section (Bars 34–38)
GAIN BASS MIDDLE TREBLE DRY – WET The F section is a stomping aggressive riff that contrasts low
palm-muted notes with higher, un-muted chords.
A & C Section (Bars 1–8) Bars 34–38 | Heavy palm-muting

The A section consists of arpeggiated chords where all the Place the outside edge of your palm on the lowest sounding
notes ring for as long as possible. The C section is a repeat of strings and press firmly to get the heavy choke required for
the A section, but this time the bass takes a solo. this part. Be careful not to move your hand too far from the
bridge because this may raise the pitch of the note.
Bar 4 | Natural harmonics
Natural harmonics are sounded by lightly placing your
‚
finger directly over the frets. Don’t make contact with the
‚

#
any part of the fretboard here, otherwise this will choke the G Am
&
notes (Fig. 1).
œ œ œ œ
Bar 8 | Changing tones œ
You must change from a clean tone in the A section to a NH
distorted tone in the B section. There is a one-and-a-half (let ring)
beat gap from striking the last note of the A section to the T
12
12
first note of the B section. Use this time to prepare to change A 0
tone just before you play the first note of the B section. B 3
2 0
Fig. 1: Natural harmonics

Here you will encounter a classic metal riff that uses the
open E string as a pedal tone. Quarter-tone bends and heavy
palm-muting contribute to the riff ’s character.
#
& 42 œœ œœ œœ 44
D 1/4
œ œ
Bar 12 | 2/4 bar
You may be thrown by the 2/4 bar at first. Many treat the œ œ
2/4 bar and the first half of the next bar as a bar of 4/4. This œ œ œ œœ
places the strong beats of the bar (usually beat 1) in the PM PM PM
wrong place and can be confusing. Count through the bars T 1/4
to help you feel where each new bar starts (Fig. 2). A 7 5 4 5
B 5 5 5 7 5 7
Guitar Grade 5
0 0 0 0 0
Count: 1 & 2 (&) 1 & 2 & 3 & 4 & a
D Section (Bars 17–24)
The D section is the guitar solo, which is played over the Fig. 2: 2/4 bar
B section riff. The E minor pentatonic, blues and natural
56
Smack Talk
SONG TITLE: SMACK TALK

GENRE: BLUES ROCK j
q
3
=q
TEMPO: 115 BPM q =115 Blues Rock q q
n œœ
KEY: G MINOR A 1/4 C
b4 ‰
N.C.
b œ
3
& 4
3
œ œ œ œ
TECH FEATURES: TRIPLET RHYTHMS
ALTERNATE PICKING
AGGRESSIVE SOLOING Fœ œ
COMPOSER: SIMON TROUP 5
T 1/4 5
A 1 3
0
1
5
PERSONNEL: STUART RYAN (GTR) B 3 3
HENRY THOMAS (BASS) [1]
ROSS STANLEY (KEYS)
Bb
n œœ œœ.
N.C.
bb
C
‰
3
œ
OVERVIEW
œ
guitar tone possible. Moore came to prominence
& œ œ
as a guitarist for Thin Lizzy in the 1970s, and later
œ œ
‘Smack Talk’ is a modern blues rock composition become a successful solo artist who based his playing

inspired by Joe Bonamassa and Gary Moore. This and songwriting on the blues. His melding of the
mid tempo track features the swagger and attack two genres resulted in a heavily distorted sound
typical of this style, along with a thickly distorted and pyrotechnical displays of fretboard virtuosity
tone commonly found in blues rock. In this style it that are common with the majority of rock players.
is normal for the solo to take more of a heavy rock T 5
Bonamassa is a popular modern
5
3 rock guitarist
blues
3
character with faster lines and a hard attack.
A renowned for his tone, riff 5 writing and
3 technical
ability. He is first and foremost a blues guitarist with 1
B an innate
3 knowledge of the style: in his early teens he
3
STYLE FOCUS [3]
played with many blues legends including B.B. King.
Blues rock developed from the late 1960s onwards

as the influence of bands like Cream and The Jimi RECOMMENDED LISTENING
Hendrix Experience started to trickle down to the
b
œœ. ‰
next generation of bands. Groups like Deep Purple Classic Gary Moore tracks are ‘Walking By Myself 1/4’,
n œœ
B
bb
took the I–IV–V format of the blues and developed ‘Parisienne Walkways’ B N.C .
C and his emotive ‘Still Got The
3 in his 3
& œ œ
minor pentatonic based riffs around it. This was Blues’, although there are many other gems
œ œ œ œ œ
interspersed with chordal ideas (often dominant back catalogue. To begin, try the live album Blues
œ œ
sevenths) and a heavier, more distorted guitar sound Alive (1993) where you can hear him play classic
in keeping with the amplifiers that now allowed blues alongside Albert Collins, a wonderful sustained
guitarists a greater range of tones. version of ‘Still Got The Blues’ and fiery licks on
‘Walking By Myself.’ Joe Bonamassa’s own output
is prolific, with a heavy touring schedule to match.
THE BIGGER PICTURE T Bonamassa’s modern5 take on 3 the blues rock sound 1/4
3
Guitar Grade 5
5
Bonamassa, like Moore before him, uses a Gibson
A can be heard on You5And Me 3 (2006), while Live At
1
The Royal Albert Hall (2010) demonstrates his superb 3
0
1
Les Paul to produce the most saturated, sustain-heavy B command 3 of the guitar. 3 3
[5]
57
Smack Talk
Simon Troup
3
j
q =115 Blues Rock q q = q q
Bb Bb
n œœ œœ. ‰ œœ. ‰
A
b n œœ
1/4 1/4 1/4
N.C. C N.C. C N.C.
& b 44 ‰ œ œ œ
3 3 3 3 3 3 3
œ œ œ œ œ
F œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T 1/4 5
5
3
3
1/4 5
5
3
3
1/4
A 0 5 3 0 5 3 0
B 3
1 3 1
3 3
1 3 1 3 1
3 3
1 3 1
[1]
Bb
b n œœ œœ.
1/4
C N.C.
&b œ ‰
3 3 3 3 3 3
œ œ œ œ œ bœ œ œ œ œ
œ œ œ œ œ œ nœ œ #œ
T 5
5
3
3
1/4
A 5 3 0
B 3 3
1 3 1 4 3 1 3 1
3
1
3 1 0 1 2
[3]
Bb Bb Bb
œœ. ‰ œœ. ‰ œœ. ‰

B
b n œœ n œœ n œœ
1/4 1/4 1/4
C N.C. C N.C. C N.C.
&b œ œ œ
3 3 3 3 3 3
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ
T 5
5
3
3
1/4 5
5
3
3
1/4 5
5
3
3
1/4
A 5 3 0 5 3 0 5 3 0
B 3 3
1 3 1
3 3
1 3 1
3 3
1 3 1
[5]
œœ. œœ. œœ.

Bb
b n œœ œœ. ‰ œœ ¿ œœ ¿ œ
1/4 1/4
œœ ‰ ¿¿ ‰ ¿¿¿ œœ
C N.C. C9 N.C.
&b œ n œœ
œœ œœ œœ ‰
3 3 3 3
œ œ ¿ nœ œ
œ œ œ œ œ œ œ œ œ œ
¿¿ ¿¿
¿¿ ¿¿
3 3 3 3 3 3
T 5
5
3
3
1/4 3
3
3
3
3
3
3
3
3
3
3
3
1/4
A 5 3 0 2 2 2 2 2 2 0
B 3 3
1 3 1 3
3
1 3 1
[8]
Bb Bb Bb
b n œœ œœ. ‰ n œœ œœ. ‰ 3
1/4 3
œ œ œœ
C N.C. C N.C.
&b œ œ œ œ œ œ œ
3 3 3
œ
œ œ œ œ œ œ œ #œ œ #œ œ œ œ nœ
Guitar Grade 5
Let ring
T 5
5
3
3
1/4 5
5
3
3
3
3
A 5 3 0 5 3 3
B 3 3
1 3 1
3 1 2 3 4
0 1 1 2
58
[11]
#
j
3
b n œœ œœ œœ œœ œœ
C 3 D7 9
&b œ œ œœ
nœ œ œ ’ ’ ’ ’
Begin solo…
œ œ #œ œ # œœ œœ œœ œœ œœ
. .
Let ring
T 1
0
6
5
6
5
6
5
6
5
6
5
A 2 4 4 4 4 4
B 3 3 4 5 5 5 5 5 5
[14]
C Guitar Solo (8 bars)
bb G m
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
T
A
B
[17]
bb
C9
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

T
A
B
[20]
Bb
b ¿¿ n œœ b œœ œœ
Gm
&b ’ ‰ j œ
3
’ ’ ’ ’ ’ œ œ
œ œ œ œ J
T ¿¿ BU
5 (6)
BD
(5)
3 5 (6) (5)
A 3 5 5 3
B 3 5
[23]
# j Bb5
3
b œ œœ nœ œœ œœ œœ œœ œœ
D7 9 D5 C5
&b œ # œœœ
C
œ œ œœ
œ œ œ .
œœ œœ
.
œœ œœ œœ œœ n œœ œœ
œ
Guitar Grade 5
T 3
3
6
5
6
5
6
5
6
5
6
5
A 5 3 4 4 4 4 4 7 5 3
B 5 5 5 5 5 5 5 3 1
3
59
[26]
~~~~~~ ~~~~
Bass Solo (12 bars)
D G m7
b ¿¿ œœ n œœ œœ ¿¿ œœ n œœ œœ
&b ¿ œ œ œ œ œ Œ Œ ‰ j ¿ œ œ œ œ
œ œ œ
~~~~~~ ~~~~
¿¿ ¿¿
¿ ¿
T 3
3
5
5
3
3
3
3
5
5
3
3
A 3 5 3 5 3 5 3 5
B 3
[29]
~~~ ¿¿ n œœ œœ. ¿¿ œœ œ œœ œœ œœ œ.
œœ œœ.
bb Œ Ó Œ œ œ ‰ ¿ œ œ ‰ J¿ œ n œœ œ œ œ œœ
C9
& œ
~~ ¿¿ ¿¿
3
¿ ¿
3 3 5 5 6 5 6 6 5
T 3
3
3
3
5
5
5
5
6
7
5
5
6
7
6
7
5
5
A
B
[32]
Bb
~~~~~~
b
Gm
&b œ œ œ ’ ’ ’ ’
Develop bars 13 –15
œ œ œ
~~~~~~

T 3
A 5
B 3 3
5
[35]
bb ‰
C7 D7 9
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ j
3
œ œ œ œ
T
A 0
B 1 3 1
[38]
b
G m(maj 7) G m7 D 7sus 4
& b ..
Gm C Cm
œ #œ œ œ œ œ nœ œ œ œ œ nœ œ œ œ œ b œ œ œ œ œ œ œ œ œ
œ œ
Guitar Grade 5
.
.
T
A 5 4 4 3 3 3 2 2 1 1 5 5 7
B 3 3
5 5 5 3 3 6
60
[41]
D/F #
Drum Solo (10 bars)
œ # œœœ œœœ
F
b
D Gm
&b œ œ .. .. Œ ‰ j œ œ Œ ‰ j
3 3 3
œ œ œ œ œ œ. œ œ #œ œ œ œ œ œ
.
. .
. .
T 8
7
7
A 7 7 0 0 0
B 1 3 1
3 3
1 3 1
2 2
1 3 1
[44]
B b/F
1. 2.
bb Œ ‰ Œ ‰ .. Œ Ó
C/E C/E
& j j
3 3
n œ œ. œ œ œ œ nœ œ œ œ œ œ nœ œ.
.
.
.
T
A 0 0
B 1 1
1 3 1
0 0
1 3 1
0 0
[47]
#
D7 9 3 3 3 3 N.C.
b nœ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ ¿¿ ¿¿ n œœ œœ œœ œœ œœ œœ
1/4
& b # œœœ œœ ‰
3 3
œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ ¿¿ ¿¿ # œœ œœ œœ œœ œœ
œ œ œ œ œ
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿

¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
T 6
5
6
5
6
5
6
5
6
5
6
5
6
5
6
5
6
5
6
5
1/4
A 4 4 4 4 4 4 4 4 4 4 0
B 5 5 5 5 5 5 5 5 5 5
3
1 3 1
[50]
Bb B b N.C. Bb
n œœ œœ. ‰ 3 n œœ œœ. ‰ n œœ œœ. ‰ 3
G
b
1/4 1/4 1/4
C N.C. C C N.C.
&b œ œ œ œ œ œ
3 3 3 3 3
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T 5
5
3
3
1/4 5
5
3
3
1/4 5
5
3
3
1/4
A 5 3 0 5 3 0 5 3 0
B 3 3
1 3 1 3 1
3 3
1 3 1
3 3
1 3 1
[52]
b
&b Œ Ó
3 3 3 3
bœ œ œ œ œ
œ œ œ œ nœ œ #œ œ œ.
Guitar Grade 5
T
A
B 4 3 1 3 1
3
1
3 1 0 1 2 3 3
61
[55]
Walkthrough
Amp Settings in bar 24. Try to avoid large jumps in register that may
Aim for an aggressive overdriven tone with plenty of bite. interrupt the flow of your performance.
Set the gain quite high and boost the middle to help the
guitar’s sound cut through the mix, particularly in the solo – Bars 37–40 | Developing a part
remember though, this is blues rock, not metal. Your bridge Develop the part played in bars 13–15. You could vary the
pickup will help provide some bite to your tone. rhythm, picking patterns, or use different chord voicings.
Distortion
Channel Equalisation Reverb E Section (Bars 41–44)
5 5 5 5 5
The E section is a single-note riff where the top note of the
3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 line descends chromatically for the first three bars.
2 8 2 8 2 8 2 8 2 8
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
Bars 41–44 | Structured fingerings
GAIN BASS MIDDLE TREBLE DRY – WET There are several fingering options for this section, so
work through the riff to find which one works for you. Pay
attention to bars 43 and 44 and the transition from the end
A Section (Bars 1–4) of the riff at bar 44 to the start of the repeat in bar 41.
This is a single-note riff interspersed with chordal stabs.
Pick-up bar | Starting on an upbeat F & G Sections (Bars 45–56)

The first note is played on the second note of a triplet, In the drum solo the guitar part draws from the main riff.
which is hard to play correctly. Count triplets along with the The G section is a reprise of the A section.
spoken count-in to prepare you for the triplet rhythm so that
you can play the first note at the right time (Fig. 1). Bars 45–49 | Maintaining a pulse
Always tap your foot and/or count the beats through drum
Bar 4 | Alternate picking solos, especially complex solos with a less obvious pulse.
This phrase is difficult to play using any technique other

than alternate picking. The trickiest part is crossing between
the E and A strings. Focus on this movement and turn it into
b
N.C. 1/4
& b 44 ∑ Ó ‰
an exercise (Fig. 2). 3 3
œ
œœœ œ
This is a variation of the A section, this time played over a
T
groove. The riff follows a popular blues rock progression. A
1/4
0
B 3
1 3 1
Bar 9 | Dominant 9 chord Count: 1 & a 2 & a 3 & a 4 & a 1 & a 2 & a 3 & a 4 & a
The dominant 9 chord is played by placing your second
finger on the 3rd fret of the A string, your first on the 2nd fret Fig. 1: Starting on an upbeat
of the D string, and the barring the 3rd fret on the remaining
strings with your third finger. Check all the notes are fretted
correctly by picking the individual notes.
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
b
&b
C & D Sections (Bars 17–40) 3 3 3 3
œ œ œ œ œ œ œ œ œ œ œ œ
The guitar solo starts in the last bar of the B section. It is
based in G minor. Its final four and a half bars are notated.
The D section is the bass solo and portions of it are open for
you to develop parts found earlier in the piece. T
A
Guitar Grade 5
Bars 17–24 | Guitar solo B 1 3 1

3
1
3
1 3 1
3
1
3
The G minor pentatonic or G blues scale are ideal choices
for this solo. Regardless of the direction you decide to take Fig. 2: Alternate picking
your solo in, make sure you are in position to play the notes
62
Slam Dunk Funk
SONG TITLE: SLAM DUNK FUNK

GENRE: FUNK
q = 88 Funk
TEMPO: 88 BPM #
œœ œœ œœ
B 13 9
n œœ
KEY: E MINOR
#
# 4 #œ œœ œœ Œ
A
œœ ‰ ‰
& 4 œ
TECH FEATURES: HAMMER-ONS
SLIDES
F
NATURAL HARMONICS
COMPOSER: KIT MORGAN 10 10

10 10 9
9
T 9
8
9
8 8 8
PERSONNEL: KIT MORGAN (GTR) A 7 7 7 7
HENRY THOMAS (BASS) B
OVERVIEW and R&B into his music which he had absorbed while
touring as a session guitarist with The Isley Brothers.
‘Slam Dunk Funk’ apes the style of Red Hot Chili

Peppers (RHCP), Funkadelic and Sly & The Family However inventive and influential Hendrix and
Stone were,# the funk rock sound was truly defined
œœ œœ
Stone, and features hammer-ons, syncopated 16th-note
n œœ œœ
9
strumming and slides among its techniques. B 13 Clinton,
by George who began his recording career
#
# #œ œœ ‰ œœ œœ Œ
as the frontman of a doo-wop vocal group called The
œ ‰
Parliaments. In the late 1960s, Clinton discovered
&
STYLE FOCUS the music of Hendrix and Led Zeppelin. He changed
course musically and renamed his newly guitar heavy
As its name suggests, funk rock is a mixture of two group Funkadelic.
styles. From funk we get a strong emphasis on ‘the
one’ (the first beat of each bar) and those distinctive In the 1980s, Clinton produced the RHCP album
syncopated 16th-note rhythms. The rock influence can Freakey Styley
10 (1985) 10 10
10 and helped steer the band
9 unique funk rock sound.9 9
be heard in the genre’s distorted guitar riffs and solos. T towards their
9 own
8 8 8 8
A 7 7 7 7
THE BIGGER PICTURE B RECOMMENDED LISTENING

[3]
If James Brown invented funk with his musically In 1969, Sly & The Family Stone’s Stand! fused
radical single ‘Cold Sweat’ in 1967, Sly Stone is elements of funk, rock, pop and soul, and guitarist
arguably the inventor of funk rock. Stone was leader Freddy Stone’s distorted guitar tone influenced
of the group Sly & The Family Stone who broke down the sound of many funk and funk rock bands.
musical barriers with their 1969 album Stand!, which Funkadelic’s Standing On The Verge Of Getting It
combined the dancefloor friendly rhythms of funk On (1974) is full of tight funk rock riffs and the
with the distorted guitar licks of rock. excellent lead guitar of Eddie Hazel. In the 1990s,
Guitar Grade 5
RHCP released their most consistently funky album

At the same time, Jimi Hendrix was becoming a BloodSugarSexMagik (1991), a high point in the career
œœ. œ63œ.
rock guitar hero who incorporated elements of soul of guitarist John Frusciante.
#
B
Em 1/4
& œ œ œ œ
Slam Dunk Funk
Kit Morgan
q = 88 Funk
# #
nœ œœ œœ œœ œœ œœ . œœ. . œœ. œœ. b >œœ ..

# #n œœœ
B 13 9 C 13 9
# 4 # # œœ .
A
& 4 œ œœ ‰ ‰ œœ œœ Œ œœ œœ ‰ ‰ œ ⇥ œœ .. œœ œœ ⇥ b n œœ ..
J J J
F
10 10 10 10 10 10 10 10 10 10 11
T 9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
10
9
A 7 7 7 7 7 7 7 7 7 7 8
B
#
nœ œœ œœ œœ œœ œœ
B 13 9 N.C.
# # # œœ œœ ‰ ‰ œœ œœ Œ œœ œœ ‰ œ œ bœ œ œ œ œ œ nœ Œ
& œ
œ œ bœ œ œ œ œ œ nœ
fl
10 10 10 10 10 10
T 9
8
9
8
9
8
9
8
9
8
9
8
A 7 7 7 7 7 7 9 9 8 8 7 7 8 8 9
B 7 7 6 6 5 5 6 6 7
[3]

# œœ. œœ. œœ œœ œœ. œœ.
B
#œ œ œ œ
Em A G
œœ œœ ..
1/4
& œ œ ‰ ¿¿ . >
œ œ. œ.
œ.
T 1/4
7 7 7 8 ¿¿ BU BD
7 7 7 9 6 (7) (6) 4 6 6 6 4
A 5 7 7 7 5
B 5 7 7
0
[5]
Em A G Em
# œœ. œœ. œœ œœ .. œœ œ œœ
œ #œ œ œ œœ
1/4
& œ œ ‰ œ. ¿¿
œ œ. œ. œ
>
Guitar Grade 5
¿¿
5 3 3
T 1/4
7 7 7 9 2 6
5
2 4
3
4
3
4
A 5 7 7 7 9
B 5 7 7 5
64
[7]
# œœ. œœ. œœ œœ ‰ #œ œ œ œ œœ. œœ.
A G
œœ œœ ..
1/4
& œ ¿¿ . >
œ œ. œ
œ.
T 1/4
7 7 7 8 ¿¿ BU BD
7 7 7 9 6 (7) (6) 4 6 6 6 4
A 5 7 7 7 5
B 7 7
0
[9]
# œœ. œœ. œœ œœ .. œœ œ œœ. ¿¿

œ #œ œ œ œœ
Em 1/4 A G
& œ œ ‰ œ ¿ œœ ..
œ œ. œ.
¿¿
¿ 0
5 3 3
T 1/4
7 7 7 9 2 6
5
2 4
3
4
3
4
A 5 7 7 7 9 0
B 5 7 7
[11]

G m7
b œœ ~~~~~~~~~~~~~~~~
D7
# œœ b n œœ œœ b n œœ ⇥
C
b œœ œœ ¿¿ ¿¿ ¿¿ ¿¿
& .. n œ . œ # œœ œœ œœ
1/4
œ ‰
1/4
J ¿ ¿ œ
nœ. œ
~~~~~~~~~~~~~~~~
. ¿¿ ¿¿ ¿¿ ¿¿
1/4 1/4
BU BD
¿ ¿ ¿ ¿
6
. 3
T 3
3
5 5
5
(6)
(6)
(5)
(5)
3
3 0 5
A 5 4
B 1 3 8
[13]
E b9
1.
> >œ .
n b b œœœ ...
G m7 D9
# b œœ œœ ¿¿ # n œœœ ... ..
œ ‰ ¿¿ œ .
1/4
& nœ. J œ. œ œ ¿¿ ¿¿ œ #œ œ
nœ. œ
Guitar Grade 5
¿¿ ¿¿ ¿¿ ¿¿ .
1/4
6 5
.
T 3
3
6
6
5
5
A 3 5 3 3 5 5 4
B 1 3
3 4 5
65
[15]
#
2.
œ œœ œœ œœ
n bn œœœ
G m7 G 13 9
# . nœ œœ œœ œœ
& nœ. œ ⇥ n ¿¿ b œ œ œ ¿¿ œœ . œ Œ Ó
nœ. œ bœ œ œ.
¿¿ ¿¿
12 12 12 12
T 3 5 7 10
11
10
11
10
11
10
11
10
A 3 5 9 9 9 9
B 1 3
1 3 5 8
[17]
Bass Solo (8 bars)

Vary on repeat
ggg n OOO √
E m7 B m7
# OO
D
gg O gg OO
& .. O ggg
O
gg ggg
NH
. gg
12
ggg
7
. gg
T 12
12
7
7
A 12 7
B 12 7
[19]

1. 2.
OO √
E m7 B m7
OO
N.C.
# ggg OO ggg
gg OO .. ⇥ j Œ
& O gg œ. œ
O œ œ. fl
(NH)
gg ggg .
gg ggg
12 7
gg .
T 12
12
7
7
A 12 7
B 12 7 5 7
5 7
[21]
~~~~~
2° Drum Solo (8 bars)
# .
E
⇥
G7
& . n œ. œ. œ. . œ. . j
œ bœ nœ
f œ. œ œ n œ. #œ .
Guitar Grade 5
~~~~~
.
w/dist.
.
T
A 3 2
B 3
3 0 1 2 3
0 1 2
[24]
66
# ~~~~~~
& œ #œ œ œ œ Œ ..
Play 3 times
œ. n œ. œ. . œ. œ nœ œ
œ.
~~~~~~
.
.
T 0 3 4 3 4
A 2 3 0 0 2 3
B 3
[26]
1. 2. 3.
#
# .
F
..
C7 G7 9
& .’ ’ ’ ’ ’ ’ ’ ’
. .
. .
T
A
B
[28]
œœ. œœ.
4. G
œœ œœ ‰
#
#
1/4
Ó
G7 9 Em
& ’ ’ œ œ. œ œ œ.
F

T 1/4
7
7
7
7
7
7
8
9
A 5
B 5 7 7
[30]
# #œ œ œ œ œœ. œœ. œœ. œœ. œœ œœ ..

A G Em
œœ œœ ..
1/4
& ¿¿ . > œ œ. œ œ œ.
œ
T ¿¿ BU BU 1/4
6 ( 7) (6) 4 6 6 6 4 7 7 7 9
A 7 7 7 5 5 7 7 7 9
B 0
5 7 7
[32]
# œœ œœ œ œœ. n >œœ
A G B7 E7 9
œ #œ œ œ œœ
1/4
& œ ¿¿ ¿¿ ¿¿ ¿¿ œ œ bœ œ œ ‰ # œœ Œ
œ œ bœ œ œ œ œ œ J
Guitar Grade 5
5 3 3 ¿¿ ¿¿ ¿¿ ¿¿ >
T 2 6
5
2 4
3
4
3
4
8
7
A 9 9 8 8 7
1/4
6
B 7 7 6 6 5 0 3 0
7
67
[34]
Walkthrough
Amp Settings Bars 19–22 | Natural harmonics

Aim for a well rounded clean tone with some reverb and Your finger placement for the 7th fret harmonics must be
a distorted tone with a heavy overdrive (with the gain set precise so don’t be discouraged if it takes a while to sound
to around 7 or 8). If you are using an effects pedal for both them correctly.
sounds, check that the balance is correct between the two
individual tones.
E Section (Bars 24–27)
Clean The E section takes full advantage of the slow tempo to
Channel Equalisation Reverb create a heavy groove.
5 5 5 5 5
3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 Bars 24–27 | Tight rhythm playing
2 8 2 8 2 8 2 8 2 8 At slow tempos it is easy to rush long notes like those found
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
in bars 24–27. Practise with a metronome, concentrating on
GAIN BASS MIDDLE TREBLE DRY – WET playing the first note of each beat exactly at the same time as
the metronome click.

The A section is a syncopated chordal part that ends with a F & G Sections (Bars 28–35)
low-string octave run. The F section is the guitar solo; the G section a reprise of B.
Bars 1–3 | Complex chord names Bar 28–30 | Guitar solo

#
While the opening B 13 9 chord may look somewhat Although the first chord of the guitar solo is C 7, the solo is
intimidating, closer inspection reveals that this complex in the key of G. The G minor pentatonic or blues scales are
name is the literal spelling of a simple fretboard shape that is the most obvious choices.
easier to play than the notation suggests.

B Section (Bars 5–12) #
≥œ œœ≤ ≥ ≤ ≥ ≤ ≥œœ œœ≤ ≥ ≤ ≥ ≤ ≥œœ œœ≤ ≥ ≤
B 13 9
The section is a funky riff that utilises a range of
n
# 4 # # œœ œœ ‰ ‰ œœ œœ Œ œœ œœ ‰
& 4 œ
articulations and techniques to vary the basic pattern.
Bar 5 | Double-stop hammer-on

Here you will need to play the 7th fret notes with your first
finger and hammer-on with your second and third fingers, T
10
9
10
9
10
9
10
9
10
9
10
9
applying equal force with both fingers so that the two notes A 8
7
8
7
8
7
8
7
8
7
8
7
are balanced (Fig. 2). B
Fig. 1: Ghost strums

C Section (Bars 13–18)
The C section combines low octaves with high double-stops
and single notes.
# œœ. œœ. œœ œœ ‰
Bar 14 | Double-stop bend Em 1/4
& œ œ
This double-stop bend should be played with your third
finger on both frets supported by your first and second
fingers to add strength and control. As you push or pull the
œ œ. œ.
string, maintain pressure into the fretboard to keep the note
ringing for the duration of the bend. T 1/4
7
7
7
7
7
7
8
9
A 5
B 5 7 7
Guitar Grade 5
D Section (Bars 19–23) Fingers: 1 3 1 3 1

1
1
1
1
1
2
3
The D section is the bass solo where the guitar plays a part
built entirely on natural harmonics. The repeat gives you an Fig. 2: Double-stop hammer-on
opportunity to vary the part.
68
Technical Exercises
In this section the examiner will ask you to play a selection of exercises drawn from each of the four groups shown below.
Groups A, B and C contain examples of the scales, arpeggios and chords you can use when playing the pieces. In Group D
you will be asked to prepare the riff exercise and play it to the backing track in the exam. You do not need to memorise the
exercises (and can use the book in the exam) but the examiner will be looking for the speed of your response. The examiner
will also give credit for the level of your musicality.
Before you start the section you will be asked whether you would like to play the exercises along with the click or hear a
single bar of click before you commence the test. The tempo is q = 80.
Groups A and B should be prepared in two octaves in two positions. The first position is to be prepared on the E string from
the starting notes of F, G and A. The second position is to be prepared on the A string from the starting notes of B, C and D.
You may have to make adjustments for open strings in your fingerings of some scales. For each position, the examiner will
choose from a starting note of either F, G, A (E string) or B, C, D (A string).
Below is a full list of everything you need to prepare for the Technical Exercises section of the exam. The examples on the
following pages are a sample of what you need to need to prepare. The fingerings shown are suggestions and you may use
any alternative you like provided the scale or arpeggio starts from the string specified. A full set of fingering suggestions in
all the keys listed below is available in the Rockschool Guitar Technical Handbook.
Technical Summary
Tempo q = 80
F, G & A (on the E string)

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

Scales | Natural Minor

Scales | Harmonic Minor

Scales | Minor Pentatonic

Scales | Major Pentatonic

Scales | Blues

Arpeggios | Major

Arpeggios | Minor
Guitar Grade 5
Major & Minor (three inversions)

Chords | Triads
Sequence in C
Riff Eight bars @ q = 100
69
Technical Exercises
Group A: Scales
1. Major scale (F major shown, root on E string)
&b œ œ œ œ œ œ œ œ œ œ œ œ œ
0 1 0
T 0 2 3
1 3 3 1
3 2 0
A 0 2 3 3 2 0
B 1 3
0 1 3 3 1 0
3 1
2. Natural minor scale (B natural minor shown, root on A string)

## œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ
3 5 7 5 3
T 2 4 6
3 5 7 7 5 3
6 4 2
A 2 4 5 5 4 2
B 2 4 5 5 4 2
3. Harmonic minor scale (A harmonic minor shown, root on E string)
œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ
& œ # œ œ œ œ œ œ
4 5 4
T 4 5 7
5 6 6 5
7 5 4
A 6 7 7 6
B 5 7 8
5 7 8 8 7 5
8 7 5

4. Minor pentatonic scale (G minor pentatonic shown, root on E string)
b œ œ œ œ œ œ œ
&b œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
3
T 3 5
3 6 6 3
5 3
A 3 5 5 3
B 3 6
3 5 5 3
6 3
5. Major pentatonic (D major pentatonic shown, root on A string)

œ œ œ œ œ
## œ œ œ œ œ œ
& œ œ œ œ œ œ
œ œ œ œ
5 7 10 7 5
T 4 7
5 7 7 5
7 4
A 4 7 7 4
B 5 7 7 5
6. Blues scale (C blues scale shown, root on A string)

œ œ œ
b œ œ œ bœ nœ œ bœ œ œ œ
&bb œ œ bœ nœ œ œ œ bœ œ œ
œ œ
Guitar Grade 5
6 8 6
T 3 5
4 6 7 8 8 7 6 4
5 3
A 3 4 5 5 4 3
B 3 6 6 3
70
Technical Exercises
Group B: Arpeggios
1. Major arpeggio (G major arpeggio shown, root on E string)
# œ œ œ
œ œ
G
& œ œ œ œ
œ œ œ œ
3
T 4
3 3
4
A 5 5
B 3
2 5 5 2
3
2. Minor arpeggio (C minor arpeggio shown, root on A string)

œ œ œ
& b bb œ œ œ œ
Cm
œ œ œ œ
œ œ
8
T 5 8
8 8
8 5
A 5 5
B 3 6 6 3
Group C: Chords
Major and minor triads played in three inversions on the top three strings in the key of C. To be played in a
continuous sequence.
1. Major and minor triads in three inversions
œœ œœ œœ œœ œœœ œœ ˙˙˙

C Am Em F Dm G C
& œ Œ œ Œ œ Œ œ Œ Œ œ Œ Ó
3 5 3 5 5 3 3
T 5
5
5
5
5
4
6
5
6
7
3
4
5
5
A
B
Group D: Riff
In the exam you will be asked to play the following riff to a backing track. The riff shown in bars 1 and 2 should be
played in the same shape in bars 3–8. The root note of the pattern to be played is shown in the music in bars 3, 5 and 7.
The tempo is q = 100.
q = 100 Funk
#
& 44 j ‰ ‰ œj œ œ Œ j‰ j‰
E7 A7
œ
T
A
B 0
7 5 7
5 7
5 7 5
5
0
# E7 A7
&
Guitar Grade 5
œ œ
T
A
B 0
0
71
Sight Reading
In this section you have a choice between either a Sight Reading test or an Improvisation & Interpretation test (see facing
page). At this level there is an element of improvisation. This is in the form of a two bar ending. The piece will be composed
in the style of rock, funk or blues and will have chord symbols throughout. The test is eight bars long and is in one of the
four following keys: F major or G major, or E minor or G minor.
The improvised ending will use chord patterns that have been used in the sight reading part of the test. The examiner will
allow you 90 seconds to prepare it and will set the tempo for you. The tempo is q = 90.
q = 90 Funk
b4
G m7 G m7 F7 G m7
œ œ
F
& b 4 œ œ ‰ œj œ œ œ œ œ œ Œ œ œ œ
Œ œ œ œ ˙
T 0 0 0 0 0 0 3 0
1 1
3 0
A 0 3 3 3 0 3
B
bb
F Gm G m7 F7 G m7
& œ œ ‰ œj œ œ œ œ œ Œ œ œ ’ ’ ’ ’ ’ ’ ’ ’
Develop melody
T 0 0 0 3 2 3 0
A 0 3 3
B

Guitar Grade 5
72
Improvisation & Interpretation
In Grade 5, 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: A major or G major, or E minor
or G minor. You have 30 seconds to prepare and then you will be allowed to practise during the first playing of the backing
track before playing it to the examiner on the second playing of the backing track. This test is continuous with a one bar
count-in at the beginning and after the practice session. The tempo is q = 90–100.
q = 100 Funk
¿ ¿ ¿ ¿
Chords in rhythm shown Improvise rhythmic chords
#
& 44 .. Û Û Û ‰ Û ‰ Û Û Û Û Û Û Œ
E m7 A m7 E m7 D
’ ’ ’ ’ ’ ’ ’ ’
J J
Improvise melody
# E m7 C Am D G
..
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Guitar Grade 5
73
Ear Tests
There are two Ear Tests in this grade. The examiner will play each test to you twice. You will find one example of each type
of test printed below.
Test 1: Melodic Recall

The examiner will play you a two-bar melody with a drum backing using either the D major pentatonic or A minor
pentatonic scales. The first note of the melody will be the root note and the first interval will be descending. You will play
the melody back on your instrument. You will hear the test twice.
Each time the test is played the sequence is: count-in, root note, count-in, melody. There will be a short gap for you to
practise after you have heard the test for the second time. You will hear the count-in and root note for the third time
followed by a vocal count-in and you will then play the melody to the drum backing. The tempo is q = 90.
# ¿ ¿ ¿ ¿
q = 90
& # 44 .. w œ œ ‰ œ œ œ Œ
J œ œ œ œ œ
..
. .
. .
T 7 7 7 7
A 9 9 9 7
B 9 7
10
Test 2: Harmonic Recall

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

Each time the test is played the sequence is: count-in, tonic, count-in, chords. There will be a short gap for you to practise
after you have heard the test for the second time. You will hear the count-in and tonic for the third time followed by a vocal
count-in then you will play the chords to the drum backing. You should then name the chord sequence, including chord
types (i.e. major or minor). The tempo is q = 80.
#4 .G ¿ ¿ ¿ ¿
q = 80
& 4 . | Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
G Em C G
Guitar Grade 5
74
General Musicianship Questions
In this part of the exam you will be asked five questions. Four of these questions will be about general music knowledge and
the fifth question asked will be about your instrument.
Music Knowledge
The examiner will ask you the 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. The scale question at the end of the list of
subjects is mandatory.
In Grade 5 you will be asked to identify/explain:
■■The names of pitches
■■The meaning of accidentals: # (sharp) , b (flat) and n (natural) signs
■■The meaning of the time signature, key signature and swing time markings
■■Repeat marks, first and second time bars, D.C., D.S., al Coda and al Fine markings
■■Hammer-ons, pull-offs, accents and vibrato markings
■■The construction of minor 7, major 7 or dominant 7 chords
■■One type of scale that can be used appropriately in the solo section of the piece you have played
Instrument Knowledge

The examiner will also ask you one question regarding your instrument.
In Grade 5 you will be asked to identify/explain:
■■Any part or control on your guitar
■■The function of the volume and tone controls on your guitar
■■The tone settings for the piece you have played on the amp and why you have chosen these settings
Further Information
Tips on how to approach this part of this exam can be found in the Syllabus Guide for guitar, the Rockschool Guitar
Companion Guide and on the Rockschool website: www.rslawards.com. The Introduction to Tone, a comprehensive
explanation of guitar tones, can be found at the back of each grade book and the tone guide to each piece is in the
appropriate Walkthrough.
Guitar Grade 5
75
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 *

Guitar Grade 5
TOTAL MARKS 60%+ 75%+ 90%+

76
* Note that there are no Debut Vocal exams.
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.
Mechanical Copyright Information
Lose Yourself
(Mathers/Bass/Resto)
Kobalt Music Publishing Limited
Love On Top
(Nash/Knowles/Taylor)
EMI Music Publishing Limited/Warner/Chappell North America Limited/Downtown Music UK Limited
People Say
(Neville/Nocentelli/Porter/Modeliste)

BMG Rights Management (UK) Limited
Pick Up The Pieces

(Ball/Gorrie/Duncan/McIntosh/McIntyre/Stuart)
Fairwood Music Limited/BMG Rights Management (UK) Limited/Wixen Music UK Limited
Lay Down Sally

(Clapton/Terry/Levy)
Throat Music Limited
Hell Ain’t A Bad Place To Be

(Young/Young/Scott)
BMG Rights Management (UK) Limited
Guitar Grade 5
77
Introduction to Tone
A large part of an effective guitar performance is selecting the right tone. The electric guitar’s sound is subject to a wide
range of variables, and this guide outlines the basic controls present on most amplifiers as well as the common variations
between models. There is also a basic overview of pickups and the effect their location on the guitar has on tone. Finally, it
covers the differences between the types of distortion, which is crucial to getting your basic sound right.
At Grade 5 the tone may change within the course of a piece. You should aim to use a tone that is stylistically appropriate
and you may bring your own equipment to the exam room for this purpose. There is a tone guide at the start of each
Walkthrough to help you.
Basic amplifier controls

Most amplifiers come with a standard set of controls that are the same as, or very similar to, the diagram below. It’s
important to understand what each control is and the effect that it has on your guitar’s tone.
Distortion
5 5 5 5 5
4 6 4 6 4 6 4 6 4 6
3 7 3 7 3 7 3 7 3 7
2 8 2 8 2 8 2 8 2 8
1 9 1 9 1 9 1 9 1 9
0 10 0 10 0 10 0 10 0 10
■■Channel (Clean/Distortion)
Most amplifiers have two channels that can be selected either by a switch on the amp or a footswitch. One channel is
usually ‘clean’ while the other can be driven harder to create a distorted (or ‘dirty’) tone. If your amp doesn’t have two
channels, look at the ‘variation of basic controls’ below to see how to get clean and dirty tones from a one channel amp.
■■Gain

In simple terms, the gain determines how hard you drive the amp. This governs how distorted the dirty (also called
‘drive’, ‘overdrive’, or ‘distortion’) channel is and acts as a second volume control on the clean channel (though a high
gain setting will distort even the clean channel).
■■Bass
This adjusts the lowest frequencies. Boost it to add warmth and reduce or ‘cut’ it if your sound is muddy or woolly.
■■Middle
This is the most important equalisation (often shortened to just ‘EQ’) control. Most of the guitar’s tonal character is
found in the mid-range so adjusting this control has a lot of impact upon your tone. Boosting it with a dirty sound will
create a more classic rock tone while cutting it will produce a more metal one.
■■Treble
This adjusts the high frequencies. Boost it to add brightness and cut it if the sound is too harsh or brittle.
■■Reverb
Short for ‘reverberation’. This artificially recreates the ambience of your guitar in a large room, usually a hall. This dial
controls the balance between the ‘dry’ (the sound without the reverb) and ‘wet’ (the sound with the reverb) sounds.
Variations of basic controls

The diagram above shows the most common amp controls. There are many variations to this basic setup, which can often be
confusing. The following section is a breakdown of some of the other amp controls you may encounter:
Guitar Grade 5
■■Presence control
Sometimes this dial replaces the ‘middle’ control and other times it appears in addition to it. It adjusts the higher mid-
range frequencies (those found between the ‘middle’ and ‘treble’ dials).
78
■■No reverb control
Reverb can be a nice addition to your guitar tone but it’s not essential. Don’t be concerned if your amp doesn’t have a
reverb control.
■■Volume, gain, master setup

Single channel amplifiers often have an extra volume control (in addition to the master volume) located next to the
gain control. For clean sounds, keep the gain set low and the volume similarly low and use the master control for
overall volume. If the master control is on 10 and you require more level, turn the volume control up. However, you
may find that this starts to distort as you reach the higher numbers.
To get a distorted tone, turn the volume down low and the gain up until you get the amount of distortion you require.
Regulate the overall level with master volume. If the master control is on 10 and you require more level simply turn the
volume up. In this case, however, you may find you lose clarity before you reach maximum.
Pickups
Entire books have been devoted to the intricacies of pickups. However, three basic pieces of information will help you
understand a lot about your guitar tone:
■■Singlecoils
These narrow pickups are fitted to many guitars. The Fender Stratocaster is the most famous guitar fitted with
singlecoils. They produce a bright, cutting sound that can sound a little thin in some situations, especially heavier
styles of rock music.
■■Humbuckers
This type of pickup was originally designed to remove or ‘buck’ the hum produced by singlecoil pickups, hence the
name. They produce a warm, mellow sound compared to singlecoil pickups but have a tendency to sound a little

muddy in some situations. They are usually identifiable because they are twice the width of a singlecoil pickup. The
Gibson Les Paul is a well-known guitar fitted with humbucking pickups.
■■Pickup location
Basically, pickups located near the guitar’s neck will have the warmest sound and those located near the bridge will
have the brightest sound.
Different types of ‘dirty’ tones

There are lots of different words to describe the ‘dirty’ guitar sounds. In fact, all the sounds are ‘distortions’ of the clean tone,
which can be confusing when you consider there’s a ‘type’ of distortion called ‘distortion’. Below is a simplified breakdown of
the three main types of dirty sounds, plus some listening material to help you through this tonal minefield:
■■Overdrive
This is the ‘mildest’ form of distortion. It can be quite subtle and only evident when the guitar is played strongly. It can
also be full-on and aggressive.
Hear it on: Cream – ‘Sunshine Of Your Love’, AC/DC – ‘Back In Black’, Oasis – ‘Cigarettes and Alcohol’.
■■Distortion
This is usually associated with heavier styles of music. It’s dense and the most extreme of the dirty tones and is usually
associated with heavy styles of music.
Hear it on: Metallica – ‘Enter Sandman’, Avenged Sevenfold – ‘Bat Country’, Bon Jovi – ‘You Give Love A Bad Name’.
Guitar Grade 5
■■Fuzz
As the name implies, fuzz is a broken, ‘fuzzy’ sound. It was popular in the 1960s but, while still evident in certain
genres, it’s less common now.
Hear it on: Jimi Hendrix Experience – ‘Purple Haze’, The Kinks – ‘You Really Got Me’.
79
Guitar Notation Explained
4 # ww
D Am F
&4 ˙ Ó ww
Notes:
’ ’ ’ ’
THE MUSICAL STAVE
shows pitches and rhythms
and is divided by lines into
E F
CD
AGB Û Û Û Û
bars. Pitches are named after F E
the first seven letters of the
alphabet. Strings:
E 2 0
TABLATURE graphically B T 3 1
2
represents the guitar
G
D A 2
2
0 2
fingerboard. Each horizontal
line represents a string and
A
E
B 0
each number represents a fret. Fourth string, 2nd fret Open D chord Rhythm notation with Solos and Cont. sim. sections
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 and slide GLISSANDO: Slide off of a note at the
then sound the higher note by sound the lower note by lifting the to the next. If the line connects (as end of its rhythmic value. The note
œ œ
fretting it without picking. finger without picking. below) the second note is not repicked. that follows is repicked.
& œ & œ & œ œ & œ œ
T 5 7
T 7 5
T 2 4
T 2 4
A A A A
B B B B
STRING BENDS: Pick the first note then VIBRATO: Vibrate the note by bending TRILL: Rapidly alternate between the NATURAL HARMONICS: Lightly touch the
‚
bend (or release the bend) to the pitch and releasing the string smoothly two bracketed notes by hammering string above the indicated fret then
w~~~~~~~~~~~~ Ÿ ~~~~~ ‚ ‚
indicated in brackets. and continuously. on and pulling off. pick to sound a harmonic.
œ œ œ
& & &œ w &
œ

BU BD ~~~~~~~~~~~~ Ÿ ~~~~~ NH
12
T 5 (6) (5) T 8 T ( 5 7) 5
T 12
12
A A A A
B B B B
PINCHED HARMONICS: Bring the PICK-HAND TAP: Strike the indicated FRET-HAND TAP: As pick-hand tap, QUARTER-TONE BEND: Pick the note
#œ
thumb of the picking hand into note with a finger from the picking but use fretting hand. Usually indicated and bend the string up
œ œ
contact with the string immediately hand. Usually followed by a pull-off. followed by a pull-off or hammer-on. by a quarter tone.
— — — #œ
& œ
after the pick. 1/4
& & & œ

PH
1/4
7 2 9 5
T 5
7 5
T T T 5
A A A A 7
B B B B
fi
■ Go back to the sign (%), then play until
D.%. al Coda
PRE-BENDS: Before picking the note, WHAMMY BAR BEND: Use the
fi
bend the string from the fret indicated whammy bar to bend notes to the the bar marked To Coda then skip to
between the staves, to the equivalent pitches indicated in brackets in the TAB. the section marked Coda.
œ ˙
& œ œ œ
pitch indicated in brackets in the TAB.
&
■ Go back to the beginning of the song and
w/bar D.C. al Fine
.. ..
play until the bar marked Fine (end).
Guitar Grade 5
■ Repeat the bars between the repeat signs.

PB 7
BD w/bar
.. ..
■ When a repeated section has different
T ( 9) (7) T 4 (5) (4)
1. 2.
endings, play the first ending only the first
A A time and the second ending only the
B B second time.
80

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Guitar Grade 5

Performance pieces, technical exercises and in-depth guidance

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

Input the following code when prompted: VDD8TGUKP2

For more information, turn to page 4

Published by Rockschool Ltd. © 2012 & 2018

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

Stu Roberts:  Paiste cymbals, Regal Tip drumsticks,

Introductions & Information

5 Eminem....................................................... ‘Lose Yourself (Live)’

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

69 Scales, Arpeggios, Chords & Riff

Welcome to Guitar Grade 5

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

SONG TITLE: LOSE YOURSELF

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

~~~~~~ ~~~~~~~~ ~~~~~~~~ ~~~~~~~ ~~~~~~~ ~~~~~~~~~~~~~~~~~

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

f ~~~~~ ~~~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~~~

Amp Settings B Section (Chorus)

Depending on the guitar and amplifier you play through

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

eighth note on each down beat.

SONG TITLE: LOVE ON TOP

BACKGROUND INFO The guitarists that recorded on the album session

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

& œœ ‰ œœœ œœ œœ ‰ œœ ‰ œœœ œœ œœ ‰ œœ ‰ œœ œœ œœ ‰

œœ. œœ. œœ œœ œœ œœ. œ. œœ œœ

œœ. œœ. bœ œ. œ. œœ œœ. œœ. œ. œ.

œœ œœ. œœ. b œœ œœ. œœ. œœ œœ. œœ. œœ. b œœœ b œœœ

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

SONG TITLE: PEOPLE SAY

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

œ. œœ œœ ‰ n œœœ ... œœœ œœœ ‰ œœ ¿¿ œœ ‰

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

Amp Settings C Section

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

SONG TITLE: PICK UP THE PIECES

WRITTEN BY: ROGER BALL, MALCOLM

BACKGROUND INFO & b œ œœ‰ œœ œ œ

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

Amp Settings Bar 5

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

A Section (Bars 5–18)

Fig. 1: Mixolydian mode

SONG TITLE: LAY DOWN SALLY

WRITTEN BY: MARCELLA DETROIT

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

Amp Settings Guitar Solo Section (Bars 55–86)

RSL-393715066806 / 1 / Rachel Pope / rp@rachelpope.co.uk

SONG TITLE: HELL AIN’T A BAD

UK CHART PEAK: N/A

BACKGROUND INFO death they considered disbanding but, encouraged

Stu Roberts: Paiste cymbals, Regal Tip drumsticks,

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f ~ ~~~~~~

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