TCL017093e Rock & Pop Guitar Grade 2

02
G R A D E
GUITAR
BRYAN ADAMS
ELLE KING
Contemporary & classic songs
for Trinity College London
Rock & Pop exams from 2018
OASIS
Audio access
EDDIE FLOYD
THE VELVET UNDERGROUND
THE PRETENDERS
DAVID BOWIE
THE BEATLES
Prepared exclusively for astrid anggraeni (astrid.anggraeni@gmail.com) Order: 40771

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02
G R A D E
GUITAR
ISBN 978-1-80051-105-7
Published by
Parental and Teacher Guidance:
Trinity College London Press Ltd
trinitycollege.com The songs in Trinity’s Rock & Pop syllabus have been arranged
to represent the artists’ original recordings as closely and
Registered in England authentically as possible. Popular music frequently deals with
Company no. 09726123 subject matter that some may find offensive or challenging.
Copyright © 2022 Trinity College London Press Ltd It is possible that the songs may include material that some
This impression September 2022 might find unsuitable for use with younger learners.
Photography by Zute Lightfoot, lightfootphoto.com We recommend that parents and teachers exercise their own
judgement to satisfy themselves that the lyrics of selected
Unauthorised file sharing is illegal songs are appropriate for the students concerned. As you
No part of this digital publication may be copied, printed or will be aware, there is no requirement that all songs in this
reproduced in any form or by any means except as specifically syllabus must be learned. Trinity does not associate itself with,
permitted in writing by the publisher or as allowed under the adopt or endorse any of the opinions or views expressed in
terms and conditions under which it was purchased. the selected songs.

THE EXAM AT A GLANCE
In your exam you will perform a set of three songs and one of the session skills assessments. You can choose the order of your set list.
SONG 1
Choose a song from this book.
SONG 2
Choose either a different song from this book
or a song from the list of additional Trinity Rock & Pop arrangements, available at trinityrock.com/extra-songs
or a song you have chosen yourself: this could be your own cover version or a song that you have written. It should be at the same level as the
songs in this book and match the parameters at trinityrock.com/syllabus
SONG 3:
Song 3 is designed to help you develop specific and relevant techniques in performance. Choose one of the technical focus songs from this
book, which cover two specific technical elements.
SESSION SKILLS
Choose either playback or improvising.
Session skills are an essential part of every Rock & Pop exam. They are designed to help you develop the techniques music industry performers need.
Sample tests are available in our Session Skills books and free examples can be downloaded from trinityrock.com/instruments/guitar
ACCESS ALL AREAS

GET THE FULL ROCK & POP EXPERIENCE ONLINE AT TRINITYROCK.COM
We have created a range of digital resources to support your learning and give you insider information from the music industry, available online.
You will find support, advice and digital content on:
• Songs, performance and technique
• Session skills
• The music industry
You can access tips and tricks from industry professionals featuring:
• Bite-sized videos that include tips from professional musicians on techniques used in the songs
• ‘Producer’s notes’ on the tracks, to increase your knowledge of rock and pop
• Blog posts on performance tips, musical styles, developing technique and advice from the music industry
Facebook “f ” Logo
JOIN US ONLINE AT:
CMYK / .eps Facebook “f ” Logo CMYK / .eps
/trinityrockandpop @trinity_rock /trinityrockandpop and at trinityrock.com

CONTENTS
BRASS IN POCKET 5
KNOCK ON WOOD 9
EX’S & OH’S 13
MORNING GLORY 17
SUMMER OF ’69 21
SWEET JANE 25
TWIST AND SHOUT 29
ZIGGY STARDUST 33
HELP PAGES 36
 other
publications
video and online
resources
audio help
THE AUDIO
Music preparation and book layout by Andrew Skirrow for Camden Music Services
Music consultants: Nick Crispin, Chris Walters, Christopher Hussey, Anders Rye
Audio arranged, recorded & produced by Tom Fleming
Guitar arrangements by Tom Fleming
Professional demo & backing
tracks can be downloaded free, Musicians
see audio help for details. Bass: Tom Fleming, Sam Burgess
Double Bass: Sam Burgess
Drums: George Double
Guitar: Tom Fleming
Vocals: Bo Walton, Alison Symons, Brendan Reilly, Emily Barden
The repertoire in this publication can also be used for Trinity’s Digital Grades and Diplomas.
Please check trinitycollege.com/dgd for more details.
YOUR
PAGE
NOTES
4
02
G R A D E
Contents
G U ITA R
TECHNICAL FOCUS
BRASS IN
S I NG LE BY
Pretenders
A LB U M
Pretenders
POCKET
B -S I D E
Swinging London
Nervous but Shy
R E LE AS E D
November 1979
PRETENDERS
R ECO R D E D
1979
Wessex Studios
London, England
AIR Studios, London
England (album)
WORDS AND MUSIC: CHRISSIE HYNDE, JAMES HONEYMAN-SCOTT LA B E L

Real Records
WRITERS
Chrissie Hynde
James Honeyman-Scott
Pretenders were formed in 1978 by American musician Chrissie Hynde (vocals,
PRO D U C E R
guitar) with English musicians James Honeyman-Scott (guitar, keyboards), Pete
Chris Thomas
Farndon (bass) and Martin Chambers (drums), a line-up that would last until 1982.
Thirteen of the band’s albums have made the UK top 40, from their 1980 self-
titled debut to 2016’s Alone.
Pretenders’ third single ‘Brass in Pocket’ was released at the beginning of

November 1979. By the middle of January 1980 it had replaced Pink Floyd’s
‘Another Brick in the Wall (Part II)’ at the top of the UK singles chart to become
the first new No. 1 of the 1980s. In 2004, Hynde said:
When we recorded the song I wasn’t very happy with it and told my producer that
he could release it over my dead body, but they eventually persuaded me. So I
remember feeling a bit sheepish when it went to No. 1.
The song also made it to No. 14 on the Billboard Hot 100, making it the band’s first
US hit.
Two technical focus elements are featured in this song:
• Palm muting
• Playing open strings and fretted notes together
Palm muting is an important feature of this song. Observe the written music
carefully to ensure that you only use palm muting on the notes that are marked.
Playing open strings and fretted notes together is required in the first and last
bars. This means letting the open B and E strings ring as you play the fretted notes
on the third string. It is very easy to accidentally mute the open strings, so keep your
fretting finger bent and arched. 5
5
Brass In Pocket
Contents
TECHNICAL FOCUS Guitar Grade 2
WORDS AND MUSIC:
BRASS IN POCKET CHRISSIE HYNDE,

JAMES HONEYMAN-SCOTT
Rock q = 100 (2 bars count-in) Verse
° ### 4 œœœ
A„ˆˆ9 A[“Ê] A„ˆˆ9
.œ œ. œ. œA“2˙
A„ˆˆ9
. . .
A[“Ê] A„ˆˆ9 2
& 4 œœœœ œœœ œœœ ˙˙˙ ™™œœœœœœœœ ˙˙ œœœœœœœœœ œœœ ˙˙˙
•
¿ ¿
f mf cont. sim.
2
let ring P.M.
™
™ •
0 0 0 0 0 0 0 0 0 0 0
¢⁄
0 0 0 0 0 0 0 0 0 0 0
6 7 7 6 6 6 6 4 7 7 7 6
° ###
[F©m] 2 D“2 D“2/E
œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ™™
6
& •
2
™
• ™
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
¢⁄
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
Pre-chorus
° ## œœœœœœ œœœœœœ œœœ œ œ œ œœ œœ œœ œœ œœ œ œ

#
10
. . .
A„ˆˆ9/E E5
.
E“4
. . E 2 2 2
& œœœ œ œ œ • • •
P.M. ¿ let ring ¿ P.M. ¿ let ring ¿
2 2 2
Gonna use my arms…
• • •
0 0 0 0 0 0 0 0 0 0
¢⁄
0 0 0 0 0 0 0 0 0 0
6 6 6 4 4 2 2 2 1 1
Copyright © 1979 BMG Rights Management (UK) Limited and EMI Music Publishing Ltd.
All Rights for BMG Rights Management (UK) Limited Administered by BMG Rights Management (US) LLC
All Rights for EMI Music Publishing Ltd. Administered by Sony Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
All Rights Reserved. Used by Permission
6
Chorus
° ### œœ œœœ œœœ œœœ œœœ œœœ œœœ ˙˙˙™™™ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ˙˙˙ ™™™
18 A A“4 A G^7
& œ
I gonna make you see…
0 0 0 0 0 0 0 2 2 2 2 2 2 2
¢⁄
2 2 3 3 3 2 2 3 3 3 3 3 3 3
2 2 2 2 2 2 2 4 4 4 4 4 4 4
° ### œœ œœ œœ œœ œœ œœ œœ ˙˙ ™™ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
22 D D“2/E
& œ œ œ œ œ œ œ ˙™
2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
¢⁄
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
Outro
° ### œœ. œ. .œ A“2 . . . 2

œœ œœœ ˙˙˙ œœœ œœœ œœœ œœœ ˙˙˙
26 A„ˆˆ9 A[“Ê] A„ˆˆ9
& œ œœ •
¿
f cont. sim.
P.M.
2
•
0 0 0 0 0 0 0 0
¢⁄
0 0 0 0 0 0 0 0
6 6 6 4 7 7 7 6
° ### 2 . . .œ A“2 >A„ˆˆ9 > U

œœœ œœœ œœ œœœ ˙˙˙ œœœ œ œœœ œœœ œœœ ˙˙˙
30 A„ˆˆ9 A[“Ê] A„ˆˆ9
& •
¿ ¿
2
P.M. let ring
•
0 0 0 0 0 0 0
¢⁄
0 0 0 0 0 0 0
6 6 6 4 6 7 7 6
7
YOUR
PAGE
NOTES
8
02
G R A D E
Contents
G U ITA R
KNOCK ON
SIN GL E BY
Eddie Floyd
AL BUM
Knock on Wood
WOOD
B-SIDE
Got to Make a Comeback
R E L E ASE D
September 1966
R ECOR DE D
EDDIE FLOYD
July–December 1966
Stax Recording Studios
Memphis, Tennessee, USA
L ABE L
Stax Records
WORDS AND MUSIC: EDDIE FLOYD, STEVE CROPPER WR ITE R S

Eddie Floyd
Steve Cropper
P RODUCE R
Steve Cropper
A founder member of Detroit vocal group The Falcons, Eddie Floyd moved to
Memphis, Tennessee in 1965 as a staff songwriter for the legendary Stax Records.
Early success came in collaboration with Booker T & The MGs’ guitarist Steve
Cropper, the pair responsible for the Wilson Pickett hit ‘634-5789’.
Floyd and Cropper wrote ‘Knock on Wood’ with Otis Redding in mind, though it
would become the launching point for Floyd’s enduring solo career. The weather
in Memphis proved a source of inspiration: ‘It’s like thunder, lightning, the way you
love me is frightening’ (composed in the Lorraine Motel, where Martin Luther King
was assassinated two years later). ‘Knock on Wood’ has been described as the
archetypal Stax record and the peak of 60s soul, hitting No. 1 on the US R&B chart
in 1966. Redding did record a hit version of the song with Carla Thomas for their
1967 duets album King & Queen. A disco version by Amii Stewart was the most
successful, reaching No. 1 in the US and No. 6 in the UK in 1979.
PERFORMANCE TIPS
The opening power chords require accuracy — try not to allow the sound to spill
into the rests. The verse features staccato articulation and syncopated rhythms,
both of which will require careful attention. Towards the end, play the long 9
crescendo evenly over its three-bar duration.

9
Knock On Wood - Eddie Floyd
Guitar Grade 2
Contents
KNOCK ON WOOD WORDS AND MUSIC:

EDDIE FLOYD, STEVE CROPPER
Intro
Soul q = 105 (2 bars count-in)
° ### 4 j
E5 G5 A5 B5 D5 B5
& 4 ‰ j ‰ œ™ ˙˙ ˙˙ ™™ ‰ œ ‰ œ™ Ó
˙˙ ™™ œ
nœ œ™ œ œ™
f
¢⁄
2
2 4 0 4
2 5 0 2 2
0 3
Verse
° ### ™
5 A
& ™œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ. œ. œ. œ œ œ œ œ. œ. œ. . . . . . .
mf
™
™
¢⁄
2 4 2 4 2 2 4 2 4 2 4 2 4 2 2 4 2 4
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
° ###
9 E
&
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
. . . . . . . . . . . .
¢⁄ 2
0
4
0
5
0
4
0
2
0
2
0
4
0
2
0
4
0
2
0
4
0
5
0
4
0
2
0
2
0
4
0
2
0
4
0
° ###
13 A
& œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ. œ. œ. œ œ œ œ œ. œ. œ. . . . . . .
¢⁄
2 4 2 4 2 2 4 2 4 2 4 2 4 2 2 4 2 4
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Copyright © 1966 Irving Music Inc. and Cotillion Music Inc

Copyright Renewed
Warner Chappell North America Ltd reproduced by permission of Faber Music Ltd
All Rights Reserved. Used by Permission of Hal Leonard Europe Ltd
10
° ###
17 E A E A E5
& œ œ œ œ œ ‰ j œ œ œ œ œ œ Œ Ó
œœ œœ œœ œœ œœ œ œ œ œ. œ. œœ œœ œœ œœ œœ œœ œ œ œ œ. œ. œ œœ
. . >.
Thunder… Knock…
¢⁄
2 2 4 2 2 2 4 2 2
2 2 4 2 4 0 0 0 0 2 2 4 2 4 0 0 0 0 0 2
0 0 0 0 0 0 0 0 0 0 0
Chorus
° ###
‰ œj ‰ œj ‰ j ‰
22 G5 A5 B5 D5 B5 A5 G5
& ‰ j ‰ œ™ ˙˙ ˙˙ ™™ œœ ‰
˙˙ ™™ œ
nœ œ™ œ œ n œœ
f
¢⁄
2
2 4 0 4 2
2 5 0 2 2 0 5
0 3 3
1.
Instrumental
° ###
F©5 G©5 A7 C7 B7
œœ œœ œœ œœ œœ œœ œœ bnœœœ Œ nœœœ Œ ™™
26a
&
œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœœ
n œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ n œœ # œ
œ >. n œ.
mp
>
f
™
™
0 0 0 0 0 0 0 0 2
¢⁄
2 2 2 2 2 2 2 1 0
0 0 0 0 0 0 0 3 2
2 2 2 2 2 2 2 2 1
4 4 4 4 4 4 4 4 6 6 6 6 6 6 6 6 0 0 0 0 0 0 0 3 2
2 2 2 2 2 2 2 2 4 4 4 4 4 4 4 4
2.
Outro
° ###
‰ œj ‰ œj ‰ j ‰
26b E5 G5 A5 B5 D5 B5 A5 G5 E5
& ‰ j ‰ œ™ ˙ ˙™ Œ Œ
˙˙ ™™ nn œœ œ™ ˙ ˙™ œ œ œœ n œœ ™™ œœ œœ
> >
¢⁄
2
2 4 0 4 2
2 5 0 2 2 0 5 2 2
0 3 3 0 0
11
YOUR
PAGE
NOTES
12
02
G R A D E
Contents
G U ITA R
TECHNICAL FOCUS
EX’S &
S I NG LE BY
Elle King
A LB U M
Love Stuff
OH’S
R E LE AS E D
13 February 2015 (album)
23 October 2015 (single)
R ECO R D E D
May 2015
Sun Studio, Memphis
ELLE KING
Tennessee, USA
LA B E L
RCA
WRITERS
Elle King
WORDS AND MUSIC: ELLE KING, DAVE BASSETT Dave Bassett
PRO D U C E R
Dave Bassett
Born in Los Angeles, California, in 1989, Elle King (daughter of comedian and
actor Rob Schneider) taught herself guitar and banjo inspired by a mix of country,
bluegrass, rock’n’roll, soul, blues and heavy rock. Signed to RCA, her debut release
was 2012’s The Elle King EP followed by 2015’s Love Stuff album.
Released in September 2014 five months ahead of Love Stuff, this sassy song
marked Elle King’s debut single following her introductory EP of 2012. King
wrote ‘Ex’s & Oh’s’ with its producer Dave Bassett, a veteran songwriter who
also co-wrote and produced the album’s second single ‘Under the Influence’. The
song came to life when Bassett asked King about her love life, and she started
talking about various ex-boyfriends. They started writing the song as a joke, but
when King’s label heard it they immediately pegged it as a hit single. Showcasing
her powerhouse vocals (described as a ‘raspy, Adele-esque wail’ by Billboard
magazine), the label was proved right as ‘Ex’s & Oh’s’ became a worldwide hit,
earning King her first Grammy Award nominations for Best Rock Song and Best
Rock Performance.
• Switching between single notes and chords

• Left hand damping
The pre-chorus of this song includes a passage of percussive strumming with

left-hand damping. Ensure that all six strings are muted to achieve this effect fully.
Accuracy in switching between single notes and chords is important in bars 9 and
10 — this includes ensuring that the rests are observed. 13
13
Contents
TECHNICAL FOCUS Ex’s and Oh’s
EX’S & OH’S Guitar Grade 2 WORDS AND MUSIC:
ELLE KING, DAVE BASSETT
Intro
Soul, swung q = 140 (2 bars count-in)
° #4
E‹ 2
& 4œ ‰ j œ œ ‰ j œ •
œ œ œ œ
mf
2
•
¢⁄
2 0 2 0
2 2
Verse
° # ™
5 E‹ 2
& ™œ ‰ j œ œ
‰ j œ •
œ œ œ œ
mp
2
™
™ •
¢⁄
2 0 2 0
2 2
° # œj œ œj œ
™™
9 B7 E‹
& ‰ œœ œœ Œ ‰ œœ œœ Œ œ ‰ œj œ nœ œ ‰ œj œ œ
œ #œ œ œ #œ œ
™
™
2 2
¢⁄
0 0
2 2
1 1 2 0 2 0
2 2 2 2
Pre-chorus
° #
µ
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
13
& œ ¿¿ Œ ¿¿ Œ ¿¿ Œ ¿¿ ¿¿ Œ ¿¿ Œ ¿¿ Œ ¿¿ Œ ¿¿ ¿¿
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
mf
LH damp
One, two, three…
X X X X X X X X X X
¢⁄
X X X X X X X X X X
X X X X X X X X X X
2 X X X X X X X X X X
X X X X X X X X X X
X X X X X X X X X X
Words and Music by Tanner Schneider and Dave Bassett

Copyright © 2015 EMI Blackwood Music Inc., Elle King Music Inc., EMI April Music Inc. and Bassett Songs
All Rights Administered by Sony Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured. All Rights Reserved
14
° #Œ ¿¿ ¿¿ ¿¿ ¿¿
17
& ¿¿ Œ ¿¿ Œ ¿¿ Œ ¿¿ Œ Ó ∑
¿¿ ¿¿ ¿¿ ¿¿
>œ
X X X X
¢⁄
X X X X
X X X X
X X X X
X X X X
X X X X 0
$ GChorus
° # œœ œœ œœ œ œ œ
D E‹ B7
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ
21
œœ œœ œœ œ œ œ œ œ œ œ œœœ œœœ œœœ œœœ œœœ

& œœ œœ œœ
œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ # œœœ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
f
3 3 3 3 3 3 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
¢⁄
0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 2 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 1 1 1 1 1 1
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 0 0 0 0 0 0
To Coda Ø
° # œ œ œ œ œ œ
G D A‹ C
œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ
25
& n œœœ œœ
œœœ
œœ
œœœ
œœ
œœœ
œœ
œœœ
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œ
œ
œ
œ
œ
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œœ
3 3 3 3 3 3 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0
¢⁄
0 0 0 0 0 0 3 3 3 3 3 3 1 1 1 1 1 1 1 1 1 1 1 1
0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 0 0 0 0 0 0 3 3 3 3 3 3
3 3 3 3 3 3
° #
D.S. al Coda
w w w w ww ww w w
29 E‹ B7 E‹
w w w w w w
& w
w
w
w
w
w
w
w
w
w
w
w #w
w
w
w
w
w
w
w
w
w
w
w
w w w w w w
mp
0 0 2 0
¢⁄
0 0 0 0
0 0 2 0
2 2 1 2
2 2 2 2
0 0 0
Ø Coda
° # œœ Œ
37 E‹
& œ ‰ j œ ‰ œj œ œ œ ‰ œj œ œ œœ Ó
œ œ œ œœ
mf
>.
0
¢⁄
0
0
2 0 2 0 2 0 2
2 2 2 2
0
15
YOUR
PAGE
NOTES
16
02
G R A D E
Contents
G U ITA R
MORNING
S I N G LE BY
Oasis
A LB U M
(What’s the Story)
Morning Glory?
GLORY
R E LE AS E D
2 October 1995
R ECO R D E D
March, May–June 1995
Rockfield Studios
OASIS
Monmouthshire, Wales
LA B E L
Creation
WRITER
Noel Gallagher
WORDS AND MUSIC: NOEL GALLAGHER
PRO D U C E R S
Oasis
Noel Gallagher
Formed in Manchester in 1991, Oasis would come to dominate the British music
scene by the middle of the decade. By 1995 the band comprised Liam Gallagher
(vocals), Noel Gallagher (guitar, vocals, songwriter), Paul ‘Bonehead’ Arthurs
(guitar), Paul McGuigan (bass) and Alan White (drums).
Oasis’s second album, 1995’s (What’s the Story) Morning Glory, spent ten weeks at
No. 1 in the UK and went on to outsell both Thriller and The Dark Side of the Moon
to become the UK’s fifth biggest-selling album ever. It featured the hits ‘Some
Might Say’, ‘Roll With It’, ‘Wonderwall’ and ‘Don’t Look Back in Anger’. The song
‘Morning Glory’ was released as a single in Australia only and was included on
the band’s first ever ‘best of’ collection, 2006’s Stop the Clocks. A snippet of Noel
Gallagher performing the song’s chorus was first heard at the start of the song
‘Acquiesce’, a fan favourite and a B-side to the band’s first No. 1 single ‘Some Might
Say’, released six months before the album and the first of their eight UK No. 1
hits. In 2010 Morning Glory was named Best British Album of the Last 30 Years in
a special category created to celebrate the 30th anniversary of the Brit Awards.
PERFORMANCE TIPS
Aim to make a strong first impression when you play the opening riff, which will
need to lock tightly into the groove right from the first notes. Thereafter, aim for
consistency each time the riff appears. You’ll need to employ some clean picking
in the pre-chorus as you alternate between four- and five-note chords.
17
17
Contents Morning Glory
Guitar Grade 2
MORNING GLORY WORDS AND MUSIC: NOEL GALLAGHER
Intro
Indie Rock q = 135 (2 bars count-in)
° #4
E‹ D“2
2
& 4 j
œœœ œœœ œœœ œœœ œœœ • ™™
œ œ œ œ œ œ œ œ œ œ
œ™ œ
mf
2
™
• ™
0 0 0 0 0
¢⁄
3 3 3 3 3
2 2 2 2 2
0 0 0 0 0 0
0 2
0 0 3
Verse
° # ™
E‹ D“2
2
œœœ œœœ œœœ œœœ œœœ
5
& ™ j •
œ™ œ
2
™
™ •
0 0 0 0 0
¢⁄
3 3 3 3 3
2 2 2 2 2
0 0 0 0 0 0
0 2
0 0 3
° #
E‹ D“2 A7“4 C„ˆˆ9
œœœ œœœ œœœ œœœ ‰ œJ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™
9
& j œ œ œ œ œ œ
œ™ œ œ œ œ
let ring ¿
™
™
0 0 0 0 0 0 0 0 0
¢⁄
3 3 3 3 3 3 3 3
2 2 2 2 0 0 0 0
0 0 0 0 0
0 2
0 0 3
Copyright © 1995 Sony Music Publishing (UK) Limited and Oasis Music
18
Pre-chorus
° # œœ œœ œœ œœ œœ œœ œœ
D“2 C„ˆˆ9
2 2
œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
13
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ • •
œ
Need a little time to wake up…
2 2
• •
0 0 0 0 0 0 0 0 0 0 0 0 0 0
¢⁄
3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 0 0 0 0 0 0 0 0
0 0 0 0 0 0 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3
° # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
D“2 B7
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
19
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2
¢⁄
3 3 3 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 1 1 1 1 1 1
2 2 2 2 2 2 2 2 2 2 2 2 2 2
Chorus
° # ™
E‹ D“2 A7“4 C„ˆˆ9
œœœ œœœ œœœ œœœ ‰ œJ œ œ œ œ œ œ œ œ œ œ œ œ œ
23
& ™ j nœ œ œ œ œ œ
œ™ œ œ œ œ let ring ¿
What’s the story, morning glory…
™
™
0 0 0 0 0 0 0 0 0
¢⁄
3 3 3 3 3 3 3 3
2 2 2 2 0 0 0 0
0 0 0 0 0
0 2
0 0 3
° #
E‹ D“2 A7“4 C„ˆˆ9
œœœ œœœ œœœ œœœ ‰ œJ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™
27
& j œ œ œ œ œ œ
œ œ œ
œ™ œ let ring ¿
™
™
0 0 0 0 0 0 0 0 0
¢⁄
3 3 3 3 3 3 3 3
2 2 2 2 0 0 0 0
0 0 0 0 0
0 2
0 0 3
Outro
° # U
E‹
w w w w w
31
& w
w
w w
w
w w
w
w w
w
w w
w
w
w
w w
w w
w w
w w
w
0 0 0
¢⁄
0 0 0
0 0 0
2 2 2
2 2 2
0 0 0
19
YOUR
PAGE
NOTES
20
02
G R A D E
Contents
G U ITA R
SUMMER OF
SIN GL E BY
Bryan Adams
AL BUM
Reckless
B-SIDE
’69 BRYAN
Kids Wanna Rock (live)The
Best Was Yet to Come
R E L E ASE D
5 November 1984 (album)
17 June 1985 (single)
ADAMS
L ABE L
A&M
WR ITE R S
Bryan Adams
Jim Vallance
WORDS AND MUSIC: BRYAN ADAMS, JIM VALLANCE
P RODUCE R S
Bob Clearmountain
Bryan Adams
Once labelled ‘the Groover from Vancouver’, Canada’s Bryan Adams was actually
born in Kingston, Ontario. He has sold over 100 million albums and singles
worldwide and still holds the record for the most consecutive weeks (16 weeks) at
No. 1 on the UK singles chart with 1991’s ‘(Everything I Do) I Do It for You’.
‘Summer of ‘69’ was the fourth single from Bryan Adams’ 1984 album Reckless.
His fourth and sole US No. 1 album, it proved to be his international breakthrough
thanks to the success of lead single ‘Run to You’, a No. 6 hit in the US and his first
top 40 hit in the UK (reaching No. 11). Follow-up singles ‘Somebody’ and ‘Heaven’
bolstered its success, the latter becoming his first US No. 1. The nostalgic ‘Summer
Of ‘69’ followed in June 1985, peaking at No. 5 in the US, and although not his
biggest hit it is considered one of Adams’s signature songs and a classic of 80s
rock. Adams wrote it with regular co-writer Jim Vallance, who said:
Looking back, I think ‘Summer Of ‘69’ was us at our best. We hadn’t had
any real ‘success’ yet ... In January 1984 Bryan and I were still writing
songs for all the right reasons, for the pure love and joy of it.
PERFORMANCE TIPS
The opening power chords are a memorable feature of this song. Aim to make the
accents sound much stronger than the other notes — the accents should be sharp
jerks among the softer repeated quavers. The chords at the pre-chorus echo the
rhythm of the accents, but here you should aim for a fuller, more sustained sound.
Throughout this rhythmically driving song, you’ll need an accurate sense of the 21
pulse.
21
Contents Summer of ’69
Guitar Grade 2
SUMMER OF ’69 WORDS AND MUSIC:
BRYAN ADAMS, JIM VALLANCE
Intro
Rock q = 138 (2 bars count-in) $ D5Verse
° ## 4
& 4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ™™ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
D5
> ¿ > ¿ > >

mf P.M. P.M. cont. sim.
™
™
¢⁄
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
° ##
5 A5 D5
& œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
>œ œ œ >œ œ œ œ œ > >
¢⁄
2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
° ##
& œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™
8 A5
>œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ
™
™
¢⁄
2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Pre-chorus
° ## œœ ™™™ œœœ ™™™ œœœj œœ ™™ œ™ œj ˙

B‹ A D G
œœ ˙˙ œœ ˙˙
˙˙˙ œœ ™™
11
& œœ™ œœ ˙˙ œ ™™ œ™ œ ˙ œœ ˙˙
J œ
œ
œ
˙
˙ œ™ œJ ˙ œœœ ™™™ œœœ ˙˙˙
f
Oh, when I look back now…
2 2 0 0 2 2 3 3
¢⁄
3 3 2 2 3 3 0 0
4 4 2 2 2 2 0 0
4 4 2 2 0 0 0 0
0 0 2 2
3 3
Copyright © 1984 IRVING MUSIC, INC., ADAMS COMMUNICATIONS, INC., ALMO MUSIC CORP. and TESTATYME MUSIC
All Rights for ADAMS COMMUNICATIONS, INC. Controlled and Administered by IRVING MUSIC, INC.
All Rights for TESTATYME MUSIC Controlled and Administered by ALMO MUSIC CORP.
All Rights Reserved. Used by Permission
22
° ## œœ ™™™ œœj œœ ™™ œ™ œj
B‹ B‹ A
œœ ™™ ˙
A D G
œœ ˙˙ ˙˙ œœ ˙˙ œœ ™™ w
w w
15
& œœ™ œœ ˙˙ œœ ™™ œœ ˙˙ œ™ œ ˙ œœ ™™
œœ ˙˙ w
w
w
w
w
J œ™ œ ˙ œ™ œJ ˙ œ™
œœ
œ
˙˙
˙ w w
2 2 0 0 2 2 3 3 2 0
¢⁄
3 3 2 2 3 3 0 0 3 2
4 4 2 2 2 2 0 0 4 2
4 4 2 2 0 0 0 0 4 2
0 0 2 2 2 0
3 3
Chorus
Ø
° ##
To Coda
21 D5 A5
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b
>
mf P.M.
¿ > P.M. ¿ >œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ.
cont. sim.
¢⁄
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Bridge 1. 2.
° ##
& b ™™ ˙ ™ ™™ œ œ œ œ œ œ œ
25 F5 B¨5 C5 B¨5
œœ ˙˙ ™™ œœ ˙˙ ™™ œœ w œ œ œ œ œ œ œ.
˙™ w
f
™ ™
™ ™
¢⁄
3 3 5 5 3 5 5 5 5 5 5 5
3 3 1 1 3 3 1 3 3 3 3 3 3 3
1 1
Keyboard riff 1. 2. D.S. al Coda
° ## ™ w w ™™ –
D A
& ™w
29
w
(no repeat)
w w w
w w
w –w
w
w w w
w w
w —w
—w
™ ™
™ ™
2
¢⁄
3 2
2 2
0 2
0
Ø Coda
° ## U
w
D5 A5 D
w
33
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w
w
> P.M. ¿ > P.M. ¿ >œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ
cont. sim.
2
¢⁄
3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
23
YOUR
PAGE
NOTES
24
02
G R A D E
Contents
G U ITA R
SWEET JANE
SIN GL E BY
The Velvet Underground
AL BUM
Loaded
B-SIDE
THE VELVET
Rock & Roll
R E L E ASE D
15 November 1970
(album)
August 1973 (single)
UNDERGROUND
R ECOR DE D
April–August 1970
Atlantic Studios, New
York City, New York, USA
L ABE L
WORDS AND MUSIC: LOU REED Cotillion

Atlantic
WR ITE R
Lou Reed
P RODUCE R S
Geoff Haslam
Shel Kagan
The Velvet Underground
One of the most influential bands in rock, The Velvet Underground started out as
house band at legendary pop artist Andy Warhol’s New York studio The Factory.
The line-up for their first two albums comprised singer, guitarist and main
songwriter Lou Reed, multi-instrumentalist John Cale, guitarist Sterling Morrison
and drummer Mo Tucker. Cale was replaced by Doug Yule for their second two
albums.
Recorded in 1970 in New York, ‘Sweet Jane’ originally appeared on The Velvet
Underground’s fourth album (and first for Atlantic Records), Loaded. Over the
previous three years the band had put out three of rock’s most seminal albums
but to little commercial success, and by the time of Loaded they were on the verge
of splitting up. Reed would actually quit the band three months before its release
in November 1970, and was subsequently irked to discover that the released
version had edited out the song’s bridge (the full-length version was eventually
released on 1995’s Peel Slowly and See box set). Nevertheless, both song and
album would come to be regarded as rock classics.
PERFORMANCE TIPS
This song features a lot of syncopation right from the start, so count carefully
and be sure to observe the rests between notes. Later on there are some dynamic
contrasts to look out for, including gradual crescendos which should be spread 25
evenly across their duration.

25
Contents
Sweet Jane
SWEET JANE Guitar Grade 2 WORDS AND MUSIC: LOU REED
Verse
Art Rock q = 104 (2 bars count-in)
° ## 4 œœ j 2
‰ œœœ ‰ œœ ‰ œœ œœ œ
D A G B‹ A D
& 4œ ‰ œœ ‰ œœ ‰ œœ •
J J J J J
mf
2
•
2 2 2
¢⁄
3 3 2 0 0 3 2 3
2 2 2 0 0 4 2 2
° ##
5
2 2
& • •
2 2
• •
¢⁄
Chorus
° ## œœ≥
D
œœ≥ œœ≥ œœ≥ œœ≥ œœ≥ œœ≥ œœ≥ œ
G
œ œ œ œ œ œ œ 2 2
™™
9
& œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœœ
œœ
œœœ
œœ
œœœ
œœ
œœœ
œœ
œœœ
œœ
œœœ
œœ
œœœ
œœ
œœœ • •
2 2
f cont. sim.
™
• • ™
2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3
¢⁄
3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3
Copyright © 1970 Oakfield Avenue Music Ltd. Copyright Renewed

26
Bridge
° ## œœ ‰ œœ œœ œœ ‰ #œœœ #œœœ ‰ œœœ œœœ œœœ ‰ ###œœœ ###œœœ ‰ œœœ œœœ œœœ ‰ œœœ œœœ ‰ œœœ œœœ œœœ Œ
15 D C©‹ G© A
& œ œœœ J
J J J J J J
mp
2 2 2 2 4 4 4 4 4 4 4 4 4 4 5 5 5 5 5
¢⁄
3 3 3 3 5 5 5 5 5 4 4 4 4 4 5 5 5 5 5
2 2 2 2 6 6 6 6 6 5 5 5 5 5 6 6 6 6 6
° ## #œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ #œœœ œœœ œœœ œœœ œœœ œœœ œœœ nœœ ‰ œœ œœ œœ ‰ #œœœ #œœœ ‰ œœœ œœœ œœœ ‰ ###œœœ
19 B D C©‹ G©
& œ œœœ J J J
J
f mp
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 4 4 4 4 4 4
¢⁄
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 3 3 3 3 5 5 5 5 5 4
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 2 2 2 2 6 6 6 6 6 5
° ## ###œœœ ‰ œœœ œœœ œœœ ‰ œœœ œœœ œœœ œœœ œœœ œ œœœœœœœ œœœœœœœ
A B
Œ #œœ œœ œœ œœ œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ œœ
23
& ‰
J J J
f
4 4 4 4 5 5 5 5 5 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
¢⁄
4 4 4 4 5 5 5 5 5 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
5 5 5 5 6 6 6 6 6 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
Chorus
° ##
D G
œœœœœœœœ 2 2 U
D
nœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ w

w
27
& nœ œ œ œ œ œ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ
œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ • • w
w
2 2
• •
2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3 2
¢⁄
3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 3
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3
27
YOUR
PAGE
NOTES
28
02
G R A D E
Contents
G U ITA R
TECHNICAL FOCUS
TWIST AND
S I NG LE BY
The Beatles
A LB U M
Please Please Me
SHOUT
B -S I D E
A Taste of Honey
Do You Want to Know
a Secret?
There’s a Place
R E LE AS E D
THE BEATLES
22 March 1963 (album)
12 July 1963 (EP)
R ECO R D E D
11 February 1963
EMI Studios, London
England
WORDS AND MUSIC: PHIL MEDLEY, BERT RUSSELL
LA B E L
Parlophone
WRITERS
Phil Medley
Bert Russell
PRO D U C E R
Undoubtedly the most successful and influential group in the history of popular George Martin
music, English rock band The Beatles incited ‘Beatlemania’ across the globe
during their live touring years.
At 10am on 11 February 1963, The Beatles began work on their debut album Please
Please Me at London’s Abbey Road, and by 10.45pm they had recorded 10 songs.
The amazingly productive session culminated with their blistering take on ‘Twist
and Shout’, with just one shot at capturing it due to the demands of the song
on Lennon’s voice, combined with the fact that he had a cold. This performance
prompted their producer George Martin to say: ‘I don’t know how they do it. We’ve
been recording all day but the longer we go on the better they get.’ The title
track of an EP in the UK, ‘Twist and Shout’ was released as a single in the US and
reached No. 2 in April 1964 during a week in which the band held all top five chart
positions.
• Opening riff
• Crescendo
The well-known opening riff of this song combines single notes and chords, requiring
accuracy and balance to make sure the single notes sound as strongly as the chords.
Another challenge is the crescendo in bars 17–20 which needs to be evenly gradated
over its four-bar duration. 29
29
Contents
TECHNICAL FOCUS
Twist And Shout
TWIST AND SHOUT Guitar Grade 2 WORDS AND MUSIC:
PHIL MEDLEY, BERT RUSSELL
Intro
’60s Pop q = 120 (1½ bars count-in)
° ## 4 ‰ œœ. œ œœj 2
D G A
œ œœœ
& 4 j œ. œœ
œœ
œœœ
œœ ‰ œœ
œœœ œ œœ œœ œœ œœ œœ œ œ œ •
œ œ œ
2
mf
•
2 3 3 0
¢⁄
3 0 0 2
2 0 0 2
0 0 0 0 2 2 2 2 2
0 2 4 2 2 0 0 0 0 0 0 2 4
3 3
$ Verse
° ## ™ œœ. j 2
D G A
œ œ œ œœœ
5
& ™œ œœ œœ
œœœ œœœ
œ
œœ ‰ œ
œœ œœ œœ œœ œœ œœ œ œ œ •
.
2
™
™ •
2 3 3 0
¢⁄
3 0 0 2
2 0 0 2
0 0 0 0 2 2 2 2 2
2 2 0 0 0 0 0 0 2 4
3 3
1. 2.
2 2 Ø
° ## œœ. œ œ œj
D G A To Coda
™™ œœ
9
& • • œ œœ œœ ‰ œœ œœ œ œ œ œ œ œ œ
œ. œ œœœ œœœ œœ œœœœœœœœ
2 2
™
• • ™
2 3 3 0
¢⁄
3 0 0 2
2 0 0 2
0 0 0 0 2 2 2 2 2 2 2 2
2 2 0 0 0 0 0 0 0 0
3 3
Copyright © 1964 Sony Music Publishing LLC and Sloopy II Music. Copyright Renewed
All Rights on behalf of Sony Music Publishing LLC Administered by Sony Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
All Rights on behalf of Sloopy II Music Administered by Wren Music Co., A Division of MPL Music Publishing, Inc.
30
Instrumental
° ## ™ 2
‰ j œ œ ‰ œj Œ ™™
13 D G A
& ™œ œ
‰ œj œ
. œ. •
.
2
™ ™
™ • ™
¢⁄
0
0 2 0
0 0 2 4
Vocal build
° ## œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

17 A
& œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ
mp
Ah…
0 0 0 0 0 0 0 0
¢⁄
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
D.S. al Coda
° ## œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
20 A7 (with repeat)
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
¢⁄
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
Ø Coda
U
œœ. 3
A D9 A7 D
° ## œ œ œ œ œ œ œ œ Œ Œ nn˙˙˙
23
& œœœœœœœœ œœœœœœœœ œœœœœœœœ œ œ œ œ œ œ œ
3 3
œ #œ œ nœ #œ œ ˙
mp f
0 0 0 0 0 0 0 0 3 0
¢⁄
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 1
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0
0 1 2 3 4
31
YOUR
PAGE
NOTES
32
02
G R A D E
Contents
G U ITA R
ZIGGY
S I N G LE BY
David Bowie
A LB U M
The Rise and Fall of
Ziggy Stardust and the
STARDUST
Spiders from Mars
R E LE AS E D
16 June 1972 (album)
R ECO R D E D
November 1971
DAVID BOWIE
Trident Studios
London, England
LA B E L
RCA
WRITER
WORDS AND MUSIC: DAVID BOWIE David Bowie
PRO D U C E R S
David Bowie
Ken Scott
An English singer, songwriter, musician and producer whose career spanned more
than 50 years of restless reinvention, David Bowie was one of the world’s most
influential and commercially successful solo artists. In the UK alone he scored 24
top-ten singles, five of them No. 1s, and 32 top-ten albums, 11 of them No. 1s.
Prior to 1972, Bowie’s only commercial success had been the 1969 No. 5 hit
single ‘Space Oddity’. This changed with the release of The Rise and Fall of Ziggy
Stardust and the Spiders from Mars album and an unforgettable performance
of its first single ‘Starman’ on BBC TV’s weekly music show Top of the Pops. The
album introduced Bowie’s alter ego Ziggy Stardust, of whom Bowie said in 1977:
I wanted to define the archetype messiah rock star, and I used the
trappings of kabuki theatre, mime technique, fringe New York music —
like, my references were Velvet Underground.
It was his first hit album, its impact launching him to stardom.
I wasn’t at all surprised that Ziggy Stardust made my career, Bowie later
said. I packaged a totally credible plastic rock star.
PERFORMANCE TIPS
The iconic opening riff of this song is a spotlight moment for the guitar. Play the
semiquavers rhythmically and clearly so that none of them are lost, and give them
enough sound to match the full chords that make up the rest of the riff. Later in
the song there are some semiquaver power chords that will need precise picking.
33
33
Ziggy Stardust
Contents
Guitar Grade 2
ZIGGY STARDUST WORDS AND MUSIC: DAVID BOWIE
Intro
Glam Rock q = 80 (2 bars count-in)
œœ ™™ œœj 2
G5 D C“2 G/B D“4/A
° #4 œœ œœ œ œ œ œ œ œœ œœ
& 4 œœ Œ œœ œœ ™™ œ œ œœ •
œ œ œ œ
mf let ring ¿
2
•
3 2 3 2 3 2 3 3 3
¢⁄
3 3 3 3 3 3
0 2 0 0 2
0 0 0
3 2 0
3
œœ ™™ œœj 2
G5 D C“2 G/B D“4/A
° # ™ œœ œœ œ œ œ œ œ œœ œœ
5
& ™ œœ Œ œœ œœ ™™ œ œ œœ •
œ œ œ œ
let ring ¿
2
™
™ •
3 2 3 2 3 2 3 3 3
¢⁄
3 3 3 3 3 3
0 2 0 0 2
0 0 0
3 2 0
3
Verse
° # w w ˙˙
G5 B‹ C D
w w
9
& w w
w ˙˙˙
w œ œ œ #œ œ œ œ œ œ œ
w mp
3 2 0
¢⁄
3 3 1
0 4 0
0 4 2 0 2 0
3 3 2 3 4 2 0
3
Copyright © 1971 EMI Music Publishing Ltd., Tintoretto Music and Chrysalis Music Ltd. Copyright Renewed.
All Rights on behalf of EMI Music Publishing Ltd. administered by Sony Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
All Rights on behalf of Tintoretto Music administered by Warner Chappell Music Ltd, London, W8 5DA. Reproduced by permission of Faber Music Ltd
All Rights on behalf of Chrysalis Music Ltd. administered by BMG Rights Management (US) LLC
34
° # w w #w nw
G5 E‹ A C
w
13
& w w
w w
w w
w
w
w
w w
w nw
w
w
w
3 0 0 0
¢⁄
3 0 2 1
0 0 2 0
0 2 2 2
2 0 3
3 0
° #
17 A5 G5 F5 G5 2
& œ œ œ œ œj ‰ œ œ œ œ œj ‰ œ œ •
œœœœœ œœœœœ n œ œœ œœ œœ œœ œœ œœ œ
2
mf So where were The Spiders…
Making love with his ego…
•
¢⁄ 7
5
7
5
7
5
7
5
7
5
5
3
5
3
5
3
5
3
5
3
3
1
3
0
3
1
3
0
3
1
3
0
3
1
5
3
° # œœ œœ œœ œœ œœ œœ œœ œœj ‰ ™
A5 G5 F5 D E
#œœ œœ œœ œœ
21
& œ œ œ œ œj ‰ œ œ œ œ œj ‰ j‰ œœ œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ œœ ™
œ œ œ œ œ œ œ œ œ œ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
>>>>>>>
f
™
™
2 2 2 2 2 0 0 0 0 0 0 0
¢⁄
3 3 3 3 3 0 0 0 0 0 0 0
2 2 2 2 2 1 1 1 1 1 1 1
0 0 0 0 0 2 2 2 2 2 2 2
7 7 7 7 7 5 5 5 5 5 3 3 3 3 3 3 3 2 2 2 2 2 2 2
5 5 5 5 5 3 3 3 3 3 1 0 1 0 1 0 1 0 0 0 0 0 0 0
U
G5 D C“2 G5
° # nœœ œœ œ œ œ œ œ w
w 2 ˙˙ 4w
4w
25
& nœœ Œ œœ w 4 ˙˙ w
nœ w w
w
mf let ring ¿
3 2 3 2 3 2 3 3
¢⁄
3 3 3 3 3
0 2 0 0
0 0 0
3
3 3
35
HELP Contents
PAGES
CHOOSING SONGS FOR YOUR EXAM

SONG 1
Choose a song from this book.
SONG 2
Choose a song which is:
Either a different song from this book
or from the list of additional Trinity Rock & Pop arrangements, available at trinityrock.com/extra-songs
or from a printed or online source
or your own arrangement
or a song that you have written yourself
You can play Song 2 unaccompanied or with a backing track (minus the guitar part). If you like, you can create a backing track yourself (or with
friends), add your own vocals, or be accompanied live by another musician.
The level of difficulty and length of the song should be similar to the songs in this book and match the parameters available at
trinityrock.com/syllabus
When choosing a song, think about:
• Does it work on my instrument?
• Are there any technical elements that are too difficult for me? (If so, perhaps save it for when you do the next grade)
• Do I enjoy playing it?
• Does it work with my other songs to create a good set list?
SONG 3:
Song 3 is designed to help you develop specific and relevant techniques in performance. Choose one of the technical focus songs from this
book, which cover two specific technical elements.
SHEET MUSIC
If your choice for Song 2 is not from this book, you must provide the examiner with a photocopy. The title, writers of the song and your name
should be on the sheet music. You must also bring an original copy of the book, or a download version with proof of purchase, for each song
that you perform in the exam.
Your music can be:
• A lead sheet with lyrics, chords and melody line
• A chord chart with lyrics
• A full score using conventional staff notation
36
HELP Contents
PAGES
PLAYING WITH BACKING TRACKS

All your backing tracks can be downloaded from trinitycollege.com/audio-download
• The backing tracks begin with a click track, which sets the tempo and helps you start accurately
• Be careful to balance the volume of the backing track against your instrument
• Listen carefully to the backing track to ensure that you are playing in time
If you are creating your own backing track, here are some further tips:
• Make sure that the sound quality is of a good standard
• Think carefully about the instruments/sounds you are using on the backing track
• Avoid copying what you are playing in the exam on the backing track — it should support, not duplicate
• Do you need to include a click track at the beginning?
COPYRIGHT IN A SONG
If you are a singer, instrumentalist or songwriter it is important to know about copyright. When someone writes a song they automatically
own the copyright (sometimes called ‘the rights’). Copyright begins once a piece of music has been documented or recorded (eg by video, CD
or score notation) and protects the interests of the creators. This means that others cannot copy it, sell it, make it available online or record it
without the owner’s permission or the appropriate licence.
COVER VERSIONS
• When an artist creates a new version of a song it is called a ‘cover version’
• The majority of songwriters subscribe to licensing agencies, also known as ‘collecting societies’. When a songwriter is a member of
such an agency, the performing rights to their material are transferred to the agency (this includes cover versions of their songs)
• The agency works on the writer’s behalf by issuing licences to performance venues, who report what songs have been played, which
in turn means that the songwriter will receive a payment for any songs used
• You can create a cover version of a song and use it in an exam without needing a licence
There are different rules for broadcasting (eg TV, radio, internet), selling or copying (pressing CDs, DVDs etc), and for printed material, and the
appropriate licences should be sought out.
37
YOUR
PAGE
NOTES
38
YOUR
PAGE
NOTES
39
YOUR
PAGE
NOTES
40
Contents
Publications available from trinitycollege.com/shop or your local music retailer
Session Skills
This valuable supporting series helps candidates prepare for the session skills tests, which are an important part of
each Rock & Pop exam. Each book contains practice tests for three grades, with an audio CD or download included.
Bass Keyboards
Initial–Grade 2 TCL 014245 ISBN 978-0-85736-397-8 Initial–Grade 2 TCL 014337 ISBN 978-0-85736-406-7
Grades 3–5 TCL 014252 ISBN 978-0-85736-398-5 Grades 3–5 TCL 014344 ISBN 978-0-85736-407-4
Drums Vocals
Initial–Grade 2 TCL 014276 ISBN 978-0-85736-400-5 Initial–Grade 2 TCL 014368 ISBN 978-0-85736-409-8
Guitar
Initial–Grade 2 TCL 014306 ISBN 978-0-85736-403-6
Grades 3–5 TCL 014313 ISBN 978-0-85736-404-3
Grades 6–8 TCL 014320 ISBN 978-0-85736-405-0
Whether self-taught or taking lessons, learning for fun or heading for a career in the music industry,
Trinity College London Rock & Pop exams help students develop valuable playing skills and achieve their
musical ambitions. Available for bass, drums, guitar, keyboards and vocals, from Initial to Grade 8, the
songbooks each contain 8 songs from a wide range of genres and artists, with professional demo and
backing tracks included as a free download.
Bass from 2018

Initial TCL 016898 ISBN 978-0-85736-629-0
Grade 1 TCL 016904 ISBN 978-0-85736-630-6
Grade 2 TCL 016911 ISBN 978-0-85736-631-3
Grade 3 TCL 016928 ISBN 978-0-85736-632-0
Grade 4 TCL 016935 ISBN 978-0-85736-633-7
Grade 5 TCL 016942 ISBN 978-0-85736-634-4
Grade 6 TCL 016959 ISBN 978-0-85736-635-1
Grade 7 TCL 016966 ISBN 978-0-85736-636-8
Grade 8 TCL 016973 ISBN 978-0-85736-637-5
Drums from 2018

Initial TCL 016980 ISBN 978-0-85736-638-2
Grade 1 TCL 016997 ISBN 978-0-85736-639-9
Grade 2 TCL 017000 ISBN 978-0-85736-640-5
Grade 3 TCL 017017 ISBN 978-0-85736-641-2
Grade 4 TCL 017024 ISBN 978-0-85736-642-9
Grade 5 TCL 017031 ISBN 978-0-85736-643-6
Grade 6 TCL 017048 ISBN 978-0-85736-644-3
Grade 7 TCL 017055 ISBN 978-0-85736-645-0
Grade 8 TCL 017062 ISBN 978-0-85736-646-7
41
Contents
Guitar from 2018

Initial TCL 017079 ISBN 978-0-85736-647-4
Grade 1 TCL 017086 ISBN 978-0-85736-648-1
Grade 2 TCL 017093 ISBN 978-0-85736-649-8
Grade 3 TCL 017109 ISBN 978-0-85736-650-4
Grade 4 TCL 017116 ISBN 978-0-85736-651-1
Grade 5 TCL 017123 ISBN 978-0-85736-652-8
Grade 6 TCL 017130 ISBN 978-0-85736-653-5
Grade 7 TCL 017147 ISBN 978-0-85736-654-2
Grade 8 TCL 017154 ISBN 978-0-85736-655-9
Keyboards from 2018

Initial TCL 017161 ISBN 978-0-85736-656-6
Grade 1 TCL 017178 ISBN 978-0-85736-657-3
Grade 2 TCL 017185 ISBN 978-0-85736-658-0
Grade 3 TCL 017192 ISBN 978-0-85736-659-7
Grade 4 TCL 017208 ISBN 978-0-85736-660-3
Grade 5 TCL 017215 ISBN 978-0-85736-661-0
Grade 6 TCL 017222 ISBN 978-0-85736-662-7
Grade 7 TCL 017239 ISBN 978-0-85736-663-4
Grade 8 TCL 017246 ISBN 978-0-85736-664-1
Vocals from 2018

Initial TCL 017253 ISBN 978-0-85736-665-8
Grade 1 TCL 017260 ISBN 978-0-85736-666-5
Grade 2 TCL 017277 ISBN 978-0-85736-667-2
Grade 3 TCL 017284 ISBN 978-0-85736-668-9
Grade 4 TCL 017291 ISBN 978-0-85736-669-6
Grade 5 TCL 017307 ISBN 978-0-85736-670-2
MALE VOCALS
Grade 6 TCL 017314 ISBN 978-0-85736-671-9
Grade 7 TCL 017321 ISBN 978-0-85736-672-6
Grade 8 TCL 017338 ISBN 978-0-85736-673-3
FEMALE VOCALS
Grade 6 TCL 017345 ISBN 978-0-85736-674-0
Grade 7 TCL 017352 ISBN 978-0-85736-675-7
Grade 8 TCL 017369 ISBN 978-0-85736-676-4
42
Contents
NEW Introducing Theory

This book has been designed to help the beginner student to read and write commonly
used musical symbols, providing a firm grounding in notation from which to progress
onto Trinity’s Theory of Music Workbook Grade 1.
There is ample opportunity to practise each element throughout this workbook, with
symbols often explored in more than one way to build deeper understanding and to
consolidate the learning.
‘Did you know?’, ‘Handy tip’ and ‘Remember’ boxes give advice along the way,
TCL 024107
encouraging the development of good musical handwriting habits. After completing the
ISBN 978-1-80051-473-7 exercises in this book, any student is sure to feel confident when they begin studying for
their first Theory of Music exam.
By Naomi Yandell, author of Trinity’s popular Theory of Music Workbook series.
Theory of Music Workbooks

Grades 1–8
Grade 1 TG 006509 ISBN 978-0-85736-000-7
Grade 2 TG 006516 ISBN 978-0-85736-001-4
Grade 3 TG 006523 ISBN 978-0-85736-002-1
Grade 4 TG 006530 ISBN 978-0-85736-003-8
Grade 5 TG 006547 ISBN 978-0-85736-004-5
Grade 6 TG 007476 ISBN 978-0-85736-005-2
Grade 7 TG 007483 ISBN 978-0-85736-006-9
Grade 8 TG 007490 ISBN 978-0-85736-007-6
Aural Tests from 2017

Aural Test books for Trinity exams Grades 1–8 — includes CD
Book 1 (Initial–Grade 5) TCL 015808 ISBN 978-0-85736-535-4
Book 2 (Grades 6–8) TCL 015815 ISBN 978-0-85736-536-1
Student Practice Notebook

A diary (in A5 format) for instrumental and singing teachers to record student progress and
set goals. Also useful for parents guiding their child’s practice. Includes termly evaluation sheets,
useful hints and advice on practising, top tips on preparing for exams, and essential theory.
TCL 015310 ISBN 978-0-85736-487-6
Musicianship
A Handbook of Musical Knowledge TCL 001191 ISBN 978-0-85736-015-1
The Music Teacher's Handbook TCL 011602 ISBN 0 571 52330 7
Keyboard Musicianship Book 1 TCL 617002 ISBN 978-0-85736-010-6
Keyboard Musicianship Book 2 TCL 618009 ISBN 978-0-85736-011-3
43

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Prepared exclusively for astrid anggraeni (astrid.anggraeni@gmail.com) Order: 40771

Prepared exclusively for astrid anggraeni (astrid.anggraeni@gmail.com) Order: 40771

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/trinityrockandpop @trinity_rock /trinityrockandpop and at trinityrock.com

Prepared exclusively for astrid anggraeni (astrid.anggraeni@gmail.com) Order: 40771

EX’S & OH’S 13

TWIST AND SHOUT 29

WORDS AND MUSIC: CHRISSIE HYNDE, JAMES HONEYMAN-SCOTT LA B E L

Pretenders’ third single ‘Brass in Pocket’ was released at the beginning of

Two technical focus elements are featured in this song:

BRASS IN POCKET CHRISSIE HYNDE,

Rock q = 100 (2 bars count-in) Verse

° ## œœœœœœ œœœœœœ œœœ œ œ œ œœ œœ œœ œœ œœ œ œ

° ### œœ. œ. .œ A“2 . . . 2

° ### 2 . . .œ A“2 >A„ˆˆ9 > U

WORDS AND MUSIC: EDDIE FLOYD, STEVE CROPPER WR ITE R S

crescendo evenly over its three-bar duration.

KNOCK ON WOOD WORDS AND MUSIC:

Copyright © 1966 Irving Music Inc. and Cotillion Music Inc

Two technical focus elements are featured in this song:

• Switching between single notes and chords

The pre-chorus of this song includes a passage of percussive strumming with

Words and Music by Tanner Schneider and Dave Bassett

œœ œœ œœ œ œ œ œ œ œ œ œœœ œœœ œœœ œœœ œœœ

> ¿ > ¿ > >

° ## œœ ™™™ œœœ ™™™ œœœj œœ ™™ œ™ œj ˙

Keyboard riff 1. 2. D.S. al Coda

WORDS AND MUSIC: LOU REED Cotillion

evenly across their duration.

Copyright © 1970 Oakfield Avenue Music Ltd. Copyright Renewed

nœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ w

Two technical focus elements are featured in this song:

° ## œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

WORDS AND MUSIC: DAVID BOWIE David Bowie

CHOOSING SONGS FOR YOUR EXAM

• Do I enjoy playing it?

• Does it work with my other songs to create a good set list?

• A chord chart with lyrics

• A full score using conventional staff notation

PLAYING WITH BACKING TRACKS

• Do you need to include a click track at the beginning?

Bass from 2018

Drums from 2018

Guitar from 2018

Keyboards from 2018

Vocals from 2018

NEW Introducing Theory

By Naomi Yandell, author of Trinity’s popular Theory of Music Workbook series.

Theory of Music Workbooks

Aural Tests from 2017

Student Practice Notebook

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TCL017093e Rock & Pop Guitar Grade 2

TCL017093e Rock & Pop Guitar Grade 2