Acoustic Guitar

Grade 7
Performance pieces, technical exercises, supporting tests and in-depth
guidance for Rockschool examinations

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

Input the following code when prompted: DQXYBJKN7W

For more information, turn to page 5

www.rslawards.com
 Acknowledgements

Published by Rockschool Ltd. © 2019

Catalogue Number: RSK200117
ISBN: 978-1-78936-101-8
8 Dec 2021 | Errata details can be found at www.rslawards.com/errata

CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)345 460 4747
Email: [email protected]

SYLLABUS MUSICIANS
Syllabus designed and written by Jono Harrison Acoustic Guitar: Giorgio Serci, Nat Martin, Tommy Loose,
Syllabus Director: Tim Bennett-Hart Max Helyer (You Me At Six), Jono Harrison
Syllabus Consultants: Tristan Seume and Tommy Loose and Calum Harrison.
Syllabus Advisors: Tim Bennett-Hart, Ashley Hards, 2016 content performed by Andy G Jones, Carl Orr
Eva Brandt, Brian Ashworth, Stuart Slater, Peter Huntington, and James Betteridge.
Bruce Darlington and Simon Troup Piano and Keyboards: Jono Harrison and Rory Harvey
2019 Hit Tune arrangements by Giorgio Serci, Drums & Percussion: Pete Riley
Tristan Seume, Nat Martin, Tommy Loose, Ashley Hards, Bass: Andy Robertson
Jono Harrison and Calum Harrison Guitars: Rory Harvey
2016 Hit Tune arrangements by Andy G Jones, Lead and Backing Vocals: Glen Harvey & Katie Hector
James Betteridge and Carl Orr. Additional Programming: Jono Harrison & Rory Harvey
Supporting Tests written by Jono Harrison, Nat Martin

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

and Giorgio Serci. DISTRIBUTION
Exclusive Distributors: Hal Leonard
PUBLISHING
Proof reading of arrangements by Calum Harrison, EXECUTIVE PRODUCERS
Simon Troup and Jono Harrison, plus all arrangers. John Simpson, Norton York
Music engraving and book layout by Simon and Jennie Troup
of Digital Music Art
Fact files written and edited by Abbie Thomas
Technical Guidance written by Bruce Darlington
Proof reading and copy editing by Calum Harrison,
Laura Hall and Jono Harrison
Cover design by Philip Millard of Rather Nice Design
Cover photograph: Kaki King at the Scala in London in 2010
© Future Light (Redferns / Getty Images)

AUDIO
Produced by Jono Harrison
Engineered by Jono Harrison, Sam Harper, Pete Riley,
Rory Harvey and Andy Robertson
Additional production and mixing by Ash Preston
Assisted by Chloe Kraemer @ Livingston Studios
Recorded at Livingston Studios, London
Mixed by Patrick Phillips
Mastered by Francis Gorini
Acoustic Guitar Grade 7

Supporting Tests recorded by Jono Harrison, Nat Martin,

Giorgio Serci and Andy G Jones.

2
Table of Contents

Introductions & Information

1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Acoustic Guitar Grade 7
6 Performance & Technical Guidance

Rockschool Grade Pieces

7 ‘Woke Up Dreaming’................................... . . . . . Joe Bonamassa

13 ‘Teardrop’............................................................ Newton Faulkner
21 ‘Our Spanish Love Song’............................. . . . . . . . . . Pat Metheny
29 ‘Angie’. . .................................................................. . . . . . . . . . . . . . Bert Jansch
37 ‘Night After Sidewalk’................................. . . . . . . . . . . . . . . . . Kaki King
43 ‘Desafinado’............................................ Antônio Carlos Jobim

Technical Exercises

53 Scales and Modes, Arpeggios, Chords & Stylistic Studies

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

Supporting Tests

62 Quick Study Piece

66 Ear Tests
67 General Musicianship Questions

Additional Information

68 Acoustic Guitar Notation Explained

69 Entering Rockschool Exams
70 Marking Schemes
71 Copyright Information
72 Rockschool Digital Downloads

Acoustic Guitar Grade 7

3
 Welcome to Rockschool Acoustic Guitar Grade 7

Welcome to Rockschool’s Acoustic Guitar syllabus 2019. This syllabus is designed to support acoustic guitarists in their
progression from Debut to Grade 8, through an engaging and rigorous pathway covering all the genres, stylistic elements,
techniques and musical skills required for success as a contemporary acoustic guitarist.

Acoustic Exams
At each grade you have the option of taking one of two different types of examination:

■ Grade Exam
A Grade Exam is a mixture of music performances, technical work and supporting tests. You are required to
prepare three pieces (two of which may be Free Choice Pieces) and the contents of the Technical Exercise section.
This accounts for 75% of the exam marks. The other 25% consists of: either a Sight Reading or an Improvisation &
Interpretation test (10%), two Ear Tests (10%), and finally you will be asked five General Musicianship Questions (5%).
The pass mark is 60%.

■ Performance Certificate
A Performance Certificate is equivalent to a Grade Exam, but in a Performance Certificate you are required to perform
five pieces. A maximum of three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark
is 60%.

All elements required to participate in a Rockschool exam can be found in the grade book. These are as follows:

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

■ Exam Pieces
The 2019 syllabus comprises six ‘hit tune’ arrangements, benchmarked and devised so as to equip contemporary
acoustic guitarists with industry-relevant skills in any performance environment. These fall into two categories:

Session Style
These arrangements cover the skills required of contemporary acoustic guitarists in ensemble environments, be they
on the stage or in the studio. The backing tracks feature vocalists, and the assessed guitar parts are reflective of what
session guitarists would perform live or on mainstream commercial recordings

 coustic Specialist
A
At Grade 7, ‘Acoustic Specialist’ pieces are in the form of a solo arrangement. These arrangements cover the skills
required of contemporary acoustic guitarists in a solo environment. They are to be performed without accompaniment
or backing track.

Each ‘hit tune’ arrangement is preceded by a Fact File, giving surrounding context to the piece and the original
performers/recording artists.

Furthermore, at the end of each arrangement you will find performance notes giving additional supportive context to
get the most out of the pieces.

■ Technical Exercises
There are either three or four groups of technical exercise, depending on the grade:

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

Acoustic Guitar Grade 7

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

Group B: Chords Group B: Arpeggios Group B: Arpeggios
Group C: Acoustic Riff Group C: Chords Group C: Chords
Group D: Acoustic Riff Group D: Stylistic Study

4
 ■ Supporting Tests
There are three types of previously unseen supporting tests in the exam:

 1. Sight Reading or Improvisation & Interpretation tests

At Grades 6–8 candidates must perform a previously unseen ‘Quick Study Piece’, which combines elements of
both improvisation and sight reading.

At Debut – Grade 5, the first type can be one of two options (this is the candidate’s choice):
Either:
Sight Reading tests, developing the musician’s ability to read and perform previously unseen material;
or:
Improvisation & Interpretation tests, developing the musician’s ability to develop previously unseen material
in a stylistic way and perform improvised passages of melody. The book contains examples of both types of test
– equivalent ‘unseen’ examples will be provided for the examination

2. Ear Tests
Debut – Grade 3: Melodic and Rhythmic Recall
Grade 4 – Grade 8: Melodic and Harmonic Recall

3. General Musicianship Questions (GMQs), which you will be asked by the examiner at the end of each exam

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

General Information
You will find information on exam procedures, including online examination entry, marking schemes, information on Free
Choice Pieces and improvisation requirements for each grade.

Audio
In addition to the grade book, we have also provided audio in the form of backing tracks (minus assessed guitar part) and
full tracks (including assessed guitar part) for all ‘hit tune’ arrangements, technical exercises and supporting tests (where
applicable). We have provided professional performance recordings of all solo/duet guitar pieces in the syllabus. This audio
can be downloaded from RSL directly at www.rslawards.com/downloads

You will need to input this code when prompted: DQXYBJKN7W

The audio files are supplied in MP3 format. Once downloaded you will be able to play them on any compatible device.

Further Information
You can find further details about Rockschool’s Acoustic syllabus by downloading the syllabus guide from our website:
www.rslawards.com
Acoustic Guitar Grade 7

5
 Performance & Technical Guidance

Repertoire
Notation should be performed as written, except where there are performance indications to ad lib., improvise, develop,
etc. In these instances, the candidate will be marked on their ability to interpret the music in a stylistically appropriate way,
commensurate with the grade level. Similarly, a degree of personal articulation and expression (i.e. ‘shaping’ of the notes) is
encouraged and will be awarded marks from Grade 1 upwards

Adaptation
A small degree of adaptation is allowed where, for example, hand stretches do not facilitate the required notated parts.
Marks may be deducted if adaptation results in over-simplification of the notation. If in doubt you can submit any
adaptation enquiries to [email protected]

Articulation & Dynamics

Where articulation and dynamics are marked on the notation, they should be followed. Otherwise the candidate is free to
take their own approach, remaining cognisant of technical and stylistic considerations.

Techniques
Pieces and technical exercises may be performed fingerstyle, with plectrum or hybrid techniques as desired. The repertoire
pieces have been arranged specifically to accommodate this. Any stipulations on the score are intended for guidance only.
Candidates will be awarded marks for physical techniques, and as such they should aim for a clear, balanced tonal projection
with their chosen technique. At higher grades, the assessment embraces stylistic elements and these should be brought into

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

consideration with general technical approaches.

Rockschool use the terms ‘picking hand’ and ‘fretting hand’ in preference to ‘right hand’ and ‘left hand’ in order to avoid
confusion in relation handedness.

Acoustic Instruments & Tuning

Candidates may perform on steel or nylon-strung guitars in the exam. Care should be taken if performing pieces with
alternative tunings that the instrument is suitable for this adjustment. An additional guitar is permitted if required.
Acoustic Guitar Grade 7

6
 ‘Woke Up Dreaming’ | Joe Bonamassa
Joe Bonamassa was born in Hartford, New York State in 1997. Aged 12 he was opening for B.B. King. He has released
15 albums through his independent record label and is considered one of the greatest guitar players of his generation.

As well as a relentless touring schedule of about 200 shows a year, Bonamassa has a number of diverse projects, these
include the neo-funk/jazz combo Rock Candy Funk Party, the supergroup Black Country Communion and a duet with
Beth Hart, with whom he received a grammy nomination for their album Seesaw.

Joe Bonamassa is an accomplished singer and songwriter. Whilst the electric guitar is his main instrument he is
equally comfortable on the acoustic guitar. In May 2015 he won a Blues Music Award in the instrumentalist, guitar
category. The song ‘Woke Up Dreaming’ comes from Bonamassa’s third studio album Blues Deluxe. The album was made
predominantly of blues covers with ‘Woke Up Dreaming’ being one of only three originals.

He is also involved in the advancement of music education and is the founder of Keeping the Blues Alive, a foundation
that supports music education programs via scholarships and partnerships with a number of corporate sponsors as well
as his own label, J&R Adventures. The foundation donates money on a weekly basis to those who do not have resources
to achieve their potential in the industry.

Joe Bonamassa also produces a radio show with guitar aficionado Matt Abramovitz.

Song Info

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

Song title: ‘Woke Up Dreaming’
Album: Blues Deluxe (2003)
Label: J&R Adventures
Genre: Blues
Written by: Joe Bonamassa and Will Jennings
Guitar: Joe Bonamassa
Producer: Bob Held

Acoustic Guitar Grade 7

7
 Woke Up Dreaming Session Style

Joe Bonamassa
Arranged by Carl Orr

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[3]

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

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7

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[5]

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[7]

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& nœ œ œ œ nœ œ œ œ nœ œ œ œ
Acoustic Guitar Grade 7

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0 0 0
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[9]
Words and Music by Joseph L. Bonamassa and Will Jennings

8
Copyright © 2003 Reservoir Media Music, Smokin’ Joe Analog Music Co., Irving Music, Inc. and Blue Sky Rider Songs
All Rights for Reservoir Media Music and Smokin’ Joe Analog Music Co. Administered Worldwide by Reservoir Media Management, Inc.
All Rights for Blue Sky Rider Songs Controlled and Administered by Irving Music, Inc.
All Rights Reserved Used by Permission
 ## œœ œœ
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[12]

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[15]

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RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

#œ œ œ œ nœ œ nœ nœ œ œ œ œœ nœ œ œ œ
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[18]

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[21]

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Acoustic Guitar Grade 7

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[24]
9
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[27]

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[30]

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RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

nœ œ œœ nœ œ œœ nœ œ œœ
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[33]

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[36]

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Acoustic Guitar Grade 7

E7 B7 9

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[39]
10
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[42]

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[45]

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RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

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[47]

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[49]

U
####
Acoustic Guitar Grade 7

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[51]
11
 Woke Up Dreaming | Technical Guidance

There is a great amount of variation between the studio and live versions of this song.

In the original Blues Deluxe version Joe Bonamassa plays it in the key of E b major (standard tuning but down a semitone),
but in many live versions he plays it on a standard E tuned guitar with a capo on the first fret, playing it in the key of F major.

There is also a wide variation in tempos, some versions lope along at mid-tempo and some versions are at a high tempo.
His playing technique varies too, some versions are played fingerstyle, some with a plectrum and some use both techniques.
It is advisable to experiment with different techniques to find out what works most comfortably and naturally in order to
capture Bonamassa’s feel. This is absolutely crucial to the song. Regardless of the technique, the feel and the groove should
be irresistible and relentless. The important thing is to be a great bass player, as the bass line drives the song along, so make
sure to play steady time with a strong, propulsive groove, and big, bold and even notes from beginning to end.

This version is played fingerstyle with the thumb snapping out the percussive bass notes, creating a foundation for the song
with the fingers doing the rest, with one finger per string for the chords. For the E 7 chord on the second half of beat three in
bar 5, the first finger (i) plays the G string, second finger (m) the B string and third finger (a) plays the high E string.
#
For the bigger, bolder chords, specifically the B7 9 in bars 17,18, 28, 30 and 41, and the A7 and G major chords in bars 41
and 42, the second finger (m) brushes across the strings with a downstroke.

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

Acoustic Guitar Grade 7

12
 ‘Teardrop’ | Newton Faulkner
‘Teardrop’ is a song originally by Massive Attack which featured on their third studio album, Mezzanine, released
in 1998.

Newton Faulkner featured his version of ‘Teardrop’ in his 2007 debut album Hand Built by Robots. The album
reached the number one spot in the UK album chart after four weeks and was certified double platinum in the UK.
Although his version of ‘Teardrop’ failed to reach the UK top ten, his third single, ‘Dream Catch Me’, featuring on the
same album succeeded and peaked at number 7.

Faulkner’s guitar playing involves the use of the guitar’s body to create different percussive effects and it is a
significant element of his songwriting style. In 2002 he spent two years at the Academy of Contemporary Music, where
he studied under the tutelage of fingerstyle guitarist Eric Roche, whose percussive style had a substantial effect on his
playing. He uses a C # F # C # G # F # C # (DGDGAD a semitone down) open tuning in most of his compositions.

In 2009 Faulkner went on to release his second studio album, Rebuilt by Humans, which he named after an accident
left him with a badly damaged wrist that needed to be “rebuilt”. The album peaked at number 3 in the UK album charts
and was certified Gold in both the UK and Australia. His third studio album, Write It on Your Skin, came in 2012 and
saw him back on the top spot with another UK number 1 album.

In 2016 Faulkner was cast as the character Johnny in the rock musical American Idiot, based on Green Day’s album
of the same name, and a fitting role for Faulkner who’s musical endeavors began in a Green Day covers band. He toured
the show throughout the UK, before returning to London’s West End with the cast in July of that year and continuing
the role.

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

Song Info
Song Title: ‘Teardrop’
Album: Hand Built by Robots (2007)
Genre: Folk / Rock
Guitar: Newton Faulkner
Label: Ugly Truth Records
Producer: Mike Spencer / Andy McKim
Written by: Robert Del Naja, Grantley Marshall, Andrew Vowles, Elizabeth Fraser
UK Chart Peak: 57

Acoustic Guitar Grade 7

13
 Teardrop Session Style

Newton Faulkner
Arranged by Andy G Jones

c 150 Folk/Rock
## 2 ˙ ˙ œ œ j
& 2 J œ œ. ‰ œ. œ œ œ œ œ œ œ œ œ. ‰
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#
1. Love, love is a verb. Love is a do - ing word.

& # 22 w w n ww ww
P w w
D
T A
G
A D 0 0
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5

Tune guitar down a further semitone to match audio.

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#
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& # w ww w w
w w w

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

T
A 0 0
B 0
0
[5]

# j
& # ˙ ˙ œ œ
J
nœ œ.
J
‰ œ. j
nœ œ. œ œ œ n œ œ œj œ .

#
Gen - tle im - pul - sion, shakes me, makes me light - er.

& # w w n ww ww
w w
T
A 0 0
B 0
5

[9]

# j j j j
& # œj n œ œ œ œ œ œ œ. œ Œ œ œ œ œœ ˙ ˙. Œ

##
Fear - - - less on my breath.
Acoustic Guitar Grade 7

& ww ww w w
w w
T
A 0 0
B 0
0
[13]
Words and Music by Elizabeth Fraser, Robert Del Naja, Grantley Marshall and Andrew Vowles
14 Copyright © 1998 SM Publishing Limited, Cocteau Twins Ltd. and Universal/Island Music Ltd.
All Rights on behalf of SM Publishing Limited and Cocteau Twins Ltd. Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
All Rights on behalf of Universal/Island Music Ltd. in the U.S. and Canada Controlled and Administered by Universal – Songs Of PolyGram International, Inc.
International Copyright Secured All Rights Reserved
 # j j j j
& # œ œ œ. œ œ nœ œ œ œ.
‰
œ
j nœ œ œ œ œ

##
Tear - drop on the fire. Fear - - - - less on

&
n ww ww w
w

T
A 0 0
B 5 0

[17]

# j
& # œ œ. œ Œ œ œ œ œ œ ˙ w

##
my breath.

& w w w
w w w
T
A 0

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

B 0
[20]

#
& # .. ˙ Ó ∑ ∑ ∑ ..

.. — — — ‡ Œ — — — ‡ Œ — — — ‡ Œ — — — ‡ Œ ..
Fig. 1

ã J J J J J J J J
H H H F H H H F H H H F H H H F
[23] Percussive notation:
H = strike body of guitar above sound hole with heel of the hand
F = percussive hit with right hand fingers below sound hole

# j j
& # ˙ ˙ œ œ
J œ ˙ œ. œ œ œ œ œ œ œ œ œ. ‰
2. Wat - er is my eye. Most faith - ful mir - ror.

L.H hammer-ons;

## Œ œ œ œ œ œ œ œ œ œ
no picking…

& œ œ œ œ œ œ
nw w
Acoustic Guitar Grade 7

*w w
sim.
Continue Fig. 1

0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7
T
A
B 0
5

[27] *R.H. strikes bass note on 1st beat of Fig. 1

15
 # j j j j ˙ w
& # œj n œ œ œ œ œ œ œ. œ Œ œ œ œ nœ
Fear - - - less on my breath.

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&
w w w w
[7] 0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7
T
A
B 0
0
[31]

# j
& # ˙ ˙ œ œ
J
nœ œ.
J ‰ œ. œ œ œ œ œ œ œ œ œ. ‰
Tear - drop on the fire of a con - fess - ion.

## œ œ
œ
œ œ œ œ œ œ
œ
œ
œ œ œ œ œ
&
nw w
w w

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

[7] 0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7
T
A
B 0
5

[35]

# j j j j
& # œj n œ œ œ œ œ œ œ. œ Œ œ œ œ œ ˙ ˙. Œ
Fear - - - less on my breath.

## œ œ
œ
œ œ œ œ œ œ
œ
œ
œ œ œ œ œ
&
w w w w
[7] 0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7
T
A
B 0
0
[39]

## j j j ‰ j nœ j j j j ‰
& œ. œ œ œ œ œ œ œ œ.
œ
œ œ œ œ œ œ. œ.
Most faith - ful mir - ror. Fear - - - less on my

# # OOO OOO OOO OOO

Acoustic Guitar Grade 7

& nw w w w
NH
NH

T 12
12
12
12
A 12 12
B 10
0

[43]
16
 ## j Rit.j j nw œ n œ œ œj œ
& œ œ œ œœ ˙ w œ œ œ. œ œ œ œ ˙ .

## g w
breath. Tear - drop on the fire. Fear - - - less on my

& ggg ww ww
gg w n ww ww n ww ww
gg w w tacet Fig.1

T
gg
gg
7

gg
A 7 0 0
B 7
0
5 5

[47]

Ó
a tempo

## nœ ˙ w ˙ n ˙w ˙ w
w
& nœ œ œ
breath.

œ œ œ œ œ œ œ œ œ
L.H hammer-ons;

# œ œ œ œ œ œ
no picking…

& # Œw
w ∑ ∑ ∑
let ring, hold hand position…
w/ Fig. 1

0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7
T

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

A
B
[53]

w w j
## w w
œ œ.
w ˙ w
&
Oh.

## œ œ
œ
œ œ œ œ œ œ
œ
œ
œ œ œ œ œ
& nw w
f >w w
[7] 0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7
T
A
B 0
5

[57]

# nœ œ. ˙ ˙. #˙.
& #
nœ
J Œ ∑
Oh. Oh.

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Acoustic Guitar Grade 7

&
w w w w
[7] 0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7
T
A
B 0
0
[61]
17
 Œ ‰ j j j ∑
## w œ œ œ œ n ˙w . œ œ ww
& w w
Mm, mm, yeah yeah oh.
Ooh. Ooh. Ooh.

## œ œ
œ
œ œ œ œ œ œ
œ
œ
œ œ œ œ œ œ
œ
œ
œ
&
nw w w w w
[7] 0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7 [7] 0 7 0
T
A
B 5 0
0
[65]

# Œ œ œ œ œ œ œ nœ œ œ. œ œ
& # ∑ ∑ Ó J J J
You’re stum - bling in the dark.

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&
nw w
w w w
5 0 5 7 [7] 0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7
T

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A
B 0
5

[70]

# w œ n˙ œ œ œ œ œ nœ œ œ. ˙ w
& # ΠJ J J
Stum - bling in the dark.

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& w w nw w w

[7] 0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7 [7] 0 7 0

T
A
B 5

[75]

# w w w
& # nw ˙. Œ

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
Acoustic Guitar Grade 7

& w nw w
>w w
5 0 5 7 [7] 0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7
T
A
B 0
5

[80]
18
 #
& # œ ˙. œ ˙. œ Œ Ó ∑ ∑
Oh.

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&
w w w w w
[7] 0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7 [7] 0 7 0
T
A
B 0
0
[85]

## ∑ .. n www
&
ww ww ww
w w w
Ooh. Ooh.

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ .. œ œ œ œ œ
& nw w
w w w
P

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

5 0 5 7
. [7] 0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7

. 5
T
A
B 0

[90]

#
& # w
w
w
w
w
w
∑ ∑ ..
Ooh.

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
..
&
w w w w
[7] 0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7
.
.
T
A
B 0
[95]

## œ œ œ œ œ œ œ œ œ œ
To fade

& œ œ œ œ œ œ
Acoustic Guitar Grade 7

w w w w
[7] 0 7 0 5 0 5 7 [7] 0 7 0 5 0 5 7
T
A
B 0
[99]
19
 Teardrop | Technical Guidance

Teardrop is centred around a percussive pattern, similar to some of the techniques found in the ‘Acoustic Specialist’ Stylistic
Studies and Quick Study Pieces in this syllabus. Note that there are only two percussive surfaces indicated in the score:
hitting the body above the sound hole with the heel of the right hand and hitting the body of the guitar below the sound
hole with the right hand fingers. Using a separate stave for the percussive effects diminishes the risk of confusing notes with
hits. Most of the fretted notes are not picked but hammered on with the left hand, and one danger for guitarists is that these
types of legato passages can be influenced rhythmically by the physical effort involved in the execution. Practise carefully
to ensure the rhythm is steady and not pulled around by the strain of playing. This is a very important consideration when
preparing legato passages.

In terms of chord voicings, it is interesting to note that many are extremely sparse and sometimes dissonant, such as in bar 3
where we see two notes a tone apart. This dissonance adds to the atmosphere, as does the tonal ambiguity of the piece which
shifts between D major, D 7 and D minor.

Newton Faulkner was taught by the sadly departed Eric Roche, a masterful acoustic guitarist and composer/arranger/
performer. Eric Roche’s stunning arrangement of The Beatles’ ‘While My Guitar Gently Weeps’ features in Rockschool’s
Acoustic Grade 8 repertoire for 2019.

The notation for this piece has remained in DGDGAD tuning for the ease of it being interpreted. However, as noted in the
text below bar 1, your guitar must be tuned a semi tone down. This notating approach is often used when a common guitar
tuning is used, but all the notes are pitched up/down by the same interval. A similar and common example would be when
songs are in standard tuning, but with all notes pitched down a semi tone.

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

Acoustic Guitar Grade 7

20
 ‘Our Spanish Love Song’ | Pat Metheny
‘Our Spanish Love Song’ is one of thirteen tracks written by Charlie Haden for his album Beyond the Missouri Sky
(short stories). The record was released in 1997, and is a collaboration between Pat Metheny and Charlie Haden, who
hail from Missouri. The record won a grammy for Best Jazz Instrumental Performance in 1998.

Pat Metheny was born in Kansas City in 1954. He was born into a musical family and his brother Mike taught him
to play trumpet from the age of eight. He switched to guitar aged 12 and by age 15 he was working professionally
with the city’s best jazz musicians. Metheny burst onto the international jazz scene in 1974 working with vibraphonist
Gary Burton.

Since the release of his first solo recording, Bright Size Life, in 1975, Metheny has reinvented the traditional jazz
guitar and has pushed the boundaries of the genre by incorporating new technology and expanding the improvisational
and sonic capabilities of the instrument.

In 1977, Pat founded an American jazz fusion group called the Pat Metheny Group. He has released many records
as band leader and in collaboration with many musicians such as Herbie Hancock, Milton Nascimento, Steve Reich
and David Bowie. His recorded work includes compositions for solo guitar, small and large ensembles and electric and
acoustic instruments.

Metheny is also a committed educator and has taught music workshops all over the world. Aged 18, he was the
youngest teacher ever at the University of Miami, where he taught alongside Jaco Pastorius.

The Pat Metheny Group has won an unprecedented seven consecutive grammys for seven consecutive albums, and

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

with Methneny himself having 20 wins he is the only person to win Grammys in 10 different categories. Since 1974
Metheny has spent most of his life on tour.

Song Info
Song title: ‘Our Spanish Love Song’
Album: Beyond the Missouri Sky (short stories) (1997)
Label: Verve
Genre: Jazz
Written by: Charlie Haden
Guitar: Pat Metheny
Bass: Charlie Haden
Producer: Pat Metheny and Charlie Haden

Acoustic Guitar Grade 7

21
 Our Spanish Love Song Session Style

Pat Metheny
Arranged by Andy G Jones

c 115 Jazz
b
b
& b b b 44 ‰
F m7 G m7 5 C7

j œ. œ œ œ œ j œ œ. œ œ œ œ œ
J J
œ
œ
T 5 5 5 3 3 5 3 3 3 3
A 6 6 5
B 3

[1]

b
B b m7
bb j œ. œ œ œ
F7 9

œ
Fm

&bb ˙ œ Œ ‰ œ
3

œ œ b˙ œ J

T 3 6 6 6 5 3 6
A 6 6 5 4 3
B
[3]

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

b
B b m7 B b m7/A b
bb j j
G m7 5 C7

& b b œ. œ œ œ
F/A

œ nœ œ. bœ œ. œ ˙ j
J nœ. œ
T 5 5 5 3 2 5 3
A 6 5 3 3 2
B 3

[6]

#
F/E b D b maj 9 5
bb œ œ œ œ œ œ œ. j j
F m7 C 7/E

&bb ‰ œ J œ œ œ œ œ nœ. œ bœ œ œ œ

T 5 3 3 5 6 3 3 5 2 2 3
A 6 6 5 6 3 4
B
[9]

b
B b m7 Eb7 Ab7 D b maj 7
Acoustic Guitar Grade 7

b œ.
& b bb ˙ j œ œ œ
C m7 5 F7

Œ ‰ œ J œ œ œ. œ œ œ. œ j œ
J
œ œ
J

T 5 6 6 6 5 3 5 6 5 5 5 3 1 5
A 3
3

B
22
[12]
Words and Music by Charlie Haden
Copyright © 1996 Liberation Music, LLC
All Rights Administered Worldwide by Kobalt Music Group Ltd
All Rights Reserved Used by Permission
 b b
G b maj 7 B b m7 Eb7
bb j j œ. œ œ œ
G m7 5 C m7 5 F7

& b b œ. œ œ œ œ œ ˙ Œ ‰ œ J œ œ

T 3 3 5 6 6 6 5 3 6
A 6 5 6 3
B
[15]

b
A b maj 7 D b maj 7
b
& b bb œ .
G m7 5 C7 F m7 C7

œ œ œ œ œj œ œ œ œ œ nœ œ œ œ Œ ‰ œ
J ˙ J

T 5 5 5 3 5 3 1 5
A 6
3
5 3 2 3 5 3
B
[18]

b
b b œ œ œ œ œj œ œ j j
F m7 G m7 5 C7

œ œ œ œ œ œ
Fm 3

œ œ œ œ nœ œ œ
3

&bb œ œ œ
3

T 6 6 4 6
3 5 3 5 6 5 3 5 6
4
5 3 4 5 4
A

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

6 6 6
B
[21]

œ œ nœ œ œ œ.
B b m7
bœ bœ œ œ œ œ bœ œ œ nœ
b ‰ Jœ
F7 F/A

& b bb œ
J J
3

‰ Jœ J Œ ≈
3

5 8 6 9
T 5 5
6 8 6 7 9 7 6
8
6 7 7 6
9
A
B
[24]

b
B b m7 B b m7/A b G m7 5 C7 F m7

œ œ œ œ œ œ n œj b œ œ bœ œ œ œ œ œ
j

b œ œ œ
bœ

& b bb Œ œ œ ≈ nœ ‰
3

6 8 9 8 6 10 11 9 10 9 8 6
T 6
5
5 8 6 8 6 9
A
B
[27]

# 7 b5
F/E b D b maj 9 5
œ œ bœ œ œ ˙
œ œ œj œ œ œ œ n œ œ œ œ . œ
C 7/E Cm F7
Acoustic Guitar Grade 7

b œ œ œ œ
& b bb Œ J œ œ
3

3 4 6 4 3 5 6 8 11 13 14 13 11 13
T 8 8
12 10 10 8 6 5
A
B
[30]
23
 b
B b m7 Eb7 Ab7 D b maj 7 G b maj 7
œ œ œ œ nœ œ r œ œ
‰. œ œ œ œ œ œ
G m7 5

bb
&bb œ œ œ J œ œ œ Œ œœ
3
j
œ œ
œ

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

[33]

b
B b m7 Eb7 A b maj 7 D b maj 7
œ
b b b œ b œ œJ œ
C m7 5 F7

‰ œj n œ œ œ œ œ œ œ r nœ œ œ œ œ nœ œ œ
3

‰.
3

& b œ œ Œ
3
3
3

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

[36]

b
œ œ œ œ œ œ œ œ
G m7 5 C7 F m7 C7

b œ nœ œ œ œ
& b bb ‰
œ
3

œ œ J
J 3 3

8 9 6 8
T 5 6 10 9
9 11 8 9
10
A 10

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

B
[39]

œ œ
b
œ œ œ œ œ œ œ œ œ
bb ‰ œ œ œ œ œ œ œ œ
F m7 G m7 5 C7 Fm
j

‰ J
œ
b
& b œ
J
11
T 5
6 8 9 8 6 9 8 11 13 11 9 9 11 9 13 13 13
A 10
B
[41]
b
B b m7
œ bœ œ œ œ œ
F7 9 F/A

œ œ œ œ œ œ œ œ œ œ œ
œ nœ œ
3

b nœ nœ œ bœ œ œ
& b bb ‰ ‰. R Œ
3 3

13 14 13 11 13 8 11 9 8 9 9 8 11 9 8
T 10
10 11 8 10 11 10 7 6
8
A
B
[44]

b
B b m7 B b m7/A b

œ œ œ œ œ œ œ nœ œ œ œ bœ œ œ œ. œ œ œ œ
G m7 5 C7 F m7

bb b œ œ œ œ œ œ œ œ
Acoustic Guitar Grade 7

Œ J œ
‰ J
& b
3 3

6 8 9 8 6 9 8 8 7 8 8 9 6 8 8 9 6 8
T 6 5 6 8
6 9 9 6
A 8 8
B
[47]
24
 # b
F/E b D b maj 9 5
œ œ œ bœ bœ œ œ œ
C 7/E C m7 5 F7

œ œ œ œ nœ œ.
b b œ œ. ‰ œ œ J œ bœ œ nœ œ
&bb J J Œ
3

3 3 3

8 9 6 8 5 5 13 13 13 14 11 13 8 11
T 8 8
5 5 10 11 10 9 10
A
B
[50]

b
B b m7 Eb7 Ab7 D b maj 7 G b maj 7

œ œ œ œ œ œ
G m7 5

œ œ œ bœ nœ œ œ œ œ œ œ
J œ œ œ œ œ n Jœ œ œ
3 3 3

bb
3

J J J
3

&bb
3

13 11 11 8 9 8 9 11
T 14 14 14 13 14 14 13 12 13
10
8 9 11 10 11
A
B
[53]
b
B b m7 Eb7 A b maj 7 D b maj 7
œ œ œ bœ bœ œ œ œ œ bœ œ œ
C m7 5 F7

œ œ œ nœ nœ bœ œ œ bœ œ
b
& b bb ≈ ‰ ‰. R
3

13 11 13 14 16 14 13 14 13 13 11 9 8 12 11 11 8
T 16 12 11 9

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

A
B
[56]

b
œ œ œ œ œ œ œ nœ
bb œ œ œ œ œ œ
G m7 5 C7 F m7 C7

b œ nœ
& b

9 8 8 9 12
T 8 9 11
9
8
10 10
9 11 11
A 10
B
[59]
b
œ œ œ nœ œ
F m7 G m7 5 C7

œ œ œ œ œ œ œ œ œ œ œ
Fm
3 3

bb b b J ‰ J ‰ J ‰ J ‰ J Œ
3

J J J ‰
&

13 8 8 8 8 8 8 8 8 8 8 8 9 10 11
T
A
B
[61]
b
Bbm B b m(maj 7) B b m7

œ œ œ bœ œ œ œ œ œ œ
F7 9 F/A

œ œ œ ¿ œ œ œ œ œ
3 3
Acoustic Guitar Grade 7

b
& b bb Œ Œ ≈ R J ‰ J ‰ J ‰ J ‰ J J
3 3

8 8 ¿ 13 13 13 13 13 13 13 14 11 11 11 13
T
A
B
[64]
25
 b
B b m7 B b m7/A b
œ œ œ. œ œ œ
G m7 5 C7 F m7

œ œ œ œ œ œ œ œ œ
3

bbbb ‰ J J Œ ‰ œ œ
3

&

16 15 8 9 8 6 8 8
T 14 14 13 14 14 9 11
10 10
A
B
[67]

#
F/E b D b maj 9 5
œ œ œ bœ bœ œ
nœ œ œ œ
C 7/E

œ œ œ œ œ bœ œ nœ œ
bb nœ œ
&bb
3 3 3 3

8 9 8 13 14 11 13
T 11 9 11
10 11 10 9 10
10 11
9 10
A
B
[70]

b
B b m7 Eb7 Ab7 D b maj 7
œ œ œ œœœœœ œ
œ bœ bœ . œ œ nœ œœœ
C m7 5 F7 3

≈ œ bœ œ œ
bb œ J œ
&bb Œ
3

8 11 9 8 11 8 8 11
T 11 9
11 10 8 8 10
9 8
8
9
10 10
9
A

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

11
B
[72]

b b
G b maj 7 B b m7 b7
œ
G m7 5
œ bœ œ œ œ
C m7 5 F7
œ œ œ œ E

œ œ œ œ œ œ œœ œ œ œ œ œ
3

b
& b bb
J ‰ J

9 13 9 8 9 13 14 16 14 13 13 18 13
T 11 11 11 11 16 14 13 11 13 14
A
B
[75]

b
A b maj 7 D b maj 7
œ œ œ œ œ
G m7 5 C7 F m7 C7
3
œ œ œ œ œ œ œ nœ œ
& bbbb J œ ‰ œ
J œ. œ
J
3

11 11 11 13 8
T 13 11 9 8
10 10 9 10
A 10 10 8 10
B
[78]

œ.
b
œ œ œ œ œ œ. œ œ œ œ œ œ
Acoustic Guitar Grade 7

˙ œ œ
F m7 G m7 5 C7

b
Fm

& b bb J J
3

8 8 8 6 4 8 6 6 6 4 3 6 4 6 4
T 8
A
B
[81]
26
 b
B b m7
b˙
F7 9
œ. œ œ œ œ œ œ. œ œ œ nœ œ
œ
F/A

& bbbb Œ ‰ J J J

9 9 9 8 6 9 8 8 8 6 5 8
T 7
10
A
B
[84]

œ œ œ œ
b
B b m7
œ. bœ
B b m7/A b
œ. œ
œ. œ œ œ œ œ nœ. J œ
G m7 5 C7 F m7

& bbbb J J œ
J
6 8 6 6 8 9
T 9 8 6 6 [6] 8 6 5
5
9
A
B
[87]

# b
F/E b D b maj 9 5
œ. œ œ œ œ œ nœ. œ bœ œ œ œ ˙
C 7/E C m7 5 F7

b œ
& b bb J J Œ ‰ J

6 6 8 5 5 6 8
T 9 8 9 6 7 6
A

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B
[90]

b
B b m7 Eb7 Ab7 D b maj 7 G b maj 7
œ. œ œ œ œ œ œ. œ œ œ œ œ œ. œ œ
G m7 5
œ œ œ
b
œ

& b bb
J J J
J

9 9 9 8 6 9 8 8 8 6 8 8 6 6 8
T 9 9 8 9
A
B
[93]

b b
B b m7 b7 A b maj 7 D b maj 7
˙
C m7 5 F7
œ. œ Eœ œ œ œ œ. œ œ œ œ œ œ
G m7 5
œ œ œ nœ œ œ œ
C7

bb œ J J
&bb Œ ‰ J

8 9 9 9 8 6 9 8 8 8 6 4 8 6
T 6 8 6 5 6 8 9
A
B
[96]

œ œ œ U̇.
b
Db7 B b m7 B b m7/A b

œ œ œ œ œ œ
G m7 5 C7 F m7
Acoustic Guitar Grade 7

F m/C

b œ. œ ˙ œ œ nœ œ œ
& b bb J Ó
3

6 8 9 8
T 6 6 6 8 9 6 8 5
5
13 14
A
B
[100]
27
 Our Spanish Love Song | Technical Guidance

‘Our Spanish Love Song’ is a contemporary jazz piece by Pat Metheny and Charlie Haden. The melody uses a motif that is
developed throughout, and Metheny’s lyricism makes it hard to discern where the melody ends and where the improvisation
starts (bar 22).

Rhythmically, Metheny often implies a swung subdivision of the beat, and some of the solo rhythms are ‘pulled back’
for lyrical effect. In order to achieve a similar manner of expression and articulation, the performer should consider
internalising the melody via repeated listening to both the Rockschool recording and the original composition.
Furthermore, a rigorous analysis of the phrasing and note choices in Metheny’s delivery will help generate more ideas for
how to personalise the performance. One way to internalise the melody is to analyse the function of note choices against the
harmonic progression of the piece, for example, as in the use of non-chord tones (tensions) which ultimately resolve – in
bars 37 (E b resolving to D b over the B b m7 chord) and a motivic repetition of this idea at bar 39 (D b resolving to C over the
A b maj 7 chord). A consideration in this instance would be how to exploit this tension and resolution, as it is such a profound
feature of the melody.

Technical challenges arise in ensuring a strong, clear tone whilst maintaining a smooth delivery. If using a plectrum,
experimentation with picking direction will be advisable as the nuances of down and upstrokes will have an important
impact on the tonal projection of each melodic line. Subtle variations in legato and non-legato techniques are crucial to the
shaping of each phrase, and should be prepared carefully. This can help to generate further ideas for individual expression
within the performance.

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

Acoustic Guitar Grade 7

28
 ‘Angie’ | Bert Jansch
‘Angi’ (sic) was written by folk guitarist Davy Graham in 1961 and was first recorded and released by the songwriter
himself, featuring on his debut EP 3/4 AD in 1962. In 1965 Scottish folk musician Bert Jansch recorded and released
his version of Graham’s composition, calling it ‘Angie’. Jansch’s version featured as the final track on his self-titled debut
album, which he recorded on a reel-to-reel tape recorder at producer Bill Leader’s house and sold to Transatlantic records
for £100. The album also includes Jansch’s most well-known song ‘Needle of Death’ which he wrote himself, after the
death of his friend Buck Polly. The album sold approximately 150,000 copies and was included in Robert Dimery’s
publication of 1001 Albums You Must Hear Before You Die.

Bert Jansch was a Scottish singer-songwriter and acoustic guitar aficionado born in Glasgow in 1943. He moved to
London to chase a career in music and began touring the local folk clubs throughout the 1960s. In 1968 he co-founded
eclectic jazz-folk band Pentangle and went on to tour and record with them until 1972. In those years, Pentangle released
six records and achieved UK album chart positions with three of them – their debut The Pentangle in 1968, Basket of Light
1969 and Cruel Sister 1970.

In 1973 Jansch announced that he would be taking a short break from music and he removed himself from the folk scene
until the late 1970s. On his return he took on many collaborations with several music groups, including a reincarnation
of Pentangle in 1980. Through the years of 1965 to 2011, the singer-songwriter released a staggering 21 studio albums, 6
live albums and 28 compilation albums.

Having been listed as a major influence by artists such as Jimmy Young, Paul Simon, and Neil Young, the affect Jansch
had on the British Folk scene of the 1960s and onwards is immeasurable. Simon was inspired to record his own version
of Davy Graham’s composition ‘Anji’ after hearing Jansch’s 1965 version, and it later featured on Simon & Garfunkel’s

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1966 album release Sounds of Silence.

Bert Jansch’s received several awards and accolades throughout the years. In 2001 he received a Lifetime Achievement
Award at the BBC Radio 2 Folk Awards and in 2006 he received the MOJO Merit Award in honour of “an expanded career
that still continues to be inspirational”. In 2007 he took BBC Radio 2’s Folk Awards’ Lifetime Achievement Award once
again, but this time alongside his ex-fellow Pentangle members. He goes down in history as one of the most influential
folk artists of the 20th century.

Song Info
Song Title: ‘Angie’
Album: Bert Jansch
Released: 1965
Label: Transatlantic
Genre: Folk
Written By: Davy Graham
Produced by: Bill Leader Acoustic Guitar Grade 7

29
 Angie Acoustic Specialist (Solo)

Bert Jansch
c 130 Folk s
Arranged by Giorgio Serci
Capo 4th fret (†)
Am G F E

j j
A

& 44 .. ‰
3 3

œ œ œ œ œ. œ œ œ œ ..
Play 3 times

œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
F
. .
let ring

. .
T 2
0 1 0
2
0
2
0 1
2
0
2
A 2
B 0 0
3 3 1 1 0 0
† Capo notation in this syllabus is optimised for each arrangement – the following conventions have been used in this arrangement:
■ Music notation and chord symbols are transposed for legibility in relation to the capo position. Notation will sound 2 tones higher than written.
■ The tablature numbers represent the distance from the capo. (e.g. tabbed 3rd fret is 3 frets above the capo).

j j
B Am G F E

œ œ œ
3

& ‰ œ œ œ œ œ œ œ œ œ œ œ gg œœœ ...

ggg œ .
pœ œ œ œ œ œ œ œ
ggg 00
0 0

gg 22
0 1 0 0 1 1 0
2 2
0 0
3 3 1 1 0 0
[3]

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

Am G F E

j j
A
3 3

& .. ‰ œ œ œ œ œ œ. œ œ œ œ œ œ
œ œ œ ..
F œ œ œ œ œ œ œ œ
. .
. 0 .
0 1 0 0 0 1 0
2 2 2 2 2
2
0
3 3 1 1 0 0
[5]

j
Am G F E

j
C

œœ œœ œœ œœ œœ œœ œœ
& .. ‰ œ œ œ œ œ gg œœœ ... ..
œ œ œ œ œ œ œ gg œ . œ

. 0 0 0 0 0
ggg 00 .
. gg 22 .
1 1 1 1 0
2 2 2 2
0 0
3 3 1 1 0 0
[7]

j j
A1
Acoustic Guitar Grade 7

ggg œœœ œœœ gg œœœ ....

3 3

& .. ‰ œ œ œ œ œ œ œ œ
Am

œ œ œ œ gg œ
œ œ œ ggg œœ œ
œ œ œ œ
P >
. gg 01 ggg 01
ggg 2 gg 22
. 0 gg 20
0 1 0 1 0 1 0 1
2 2 2 2
0 0 0 0 0 0

[9]
30 Words and Music by Davey Graham
© 1962 (Renewed 1990) ROBBINS MUSIC CORPORATION
All Rights Controlled and Administered by EMI UNITED PARTNERSHIP LTD.
All Rights Reserved International Copyright Secured Used by Permission
 j
3
j œœœ
œ œ œ œ. œœ j ggg ..
E Am

& ‰ œ œ œ œ œ #œ œœ
ggg œœ
œ œ œ œ œ œ œ
ß
. ggg .
ggg
0

.
0 1 0 1 1 1

g
2 2 2 1 2 2
2 2 2 2
0 0 0 0 2 0 0
0
[11]

j
E

œ bœ œ œ bœ œ œ œ
& .. ‰ œ œ œ œœ
Am

œ œ n œœ
œœ
p œ œ œ œ œ œ œ
.
BU BU BU

.
3 (4) 3 1 3 (4) 3 (4) 3 1
2 2 0 2
0 2
0 0 0 0 0 0 0 0

[13]

>
j œ bœ œ œ n œœœ ..
E G Am

& ‰ œ œ nœ œ œ œœ œœ. œœ

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œ œ œ œ nœ œ œ
ß
. .
BU
0

.
3 (4) 3 1 1
2 2 0 2 2
2 2 0 2 2
0 0 0 0 0 0
0 3
[15]

j j
Solo

œœ ˙˙
& .. ‰ œ œ œ œ
E7

œ œ œ #œ. œ ˙
œ œ œ œ.
F ˙ ‰ œ. Œ œ œ œ
. 0

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

w j
& ww .. ‰ œ œ œ œ œ
Acoustic Guitar Grade 7

#œ œ œ œ
œ œ œ
œ œ œ œ œ Œ Ó

.
.
3 3 1 1 0 0
2
4 4 2 2 0 0
3
0 0 0 0
[19]
31
 j j
œœ ˙˙ ˙˙ .. ‰ œ
& #œ. œ ˙ ˙. nœ
œ. œ œ œ œ œ œ œ
Œ
p F
0 0 0
0 0
1 1 1 0
2
0 0 0 0 0 0
[21]

œ œ > > > >

œ œ œ œ œ œ œ œ œ ggg # ˙˙˙ ...
& œ œ œ œ œ œ œ œ œ œ œ œ #œ gg ˙˙ ..
Œ œ œœ ggg ˙ .
˙ œ œ ˙ œ
ggg 00
ggg 10
1 1 0 0
3 1 3 3 0 1 1

gg 20
2 2 0 0 2 1
3 2 3 3 0 2 2
3 2
0 0 0 0
[23]

Solo 2
Π.
& Œ ggg ˙˙˙ .... ∑ ˙˙˙ Œ

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Am

g˙ œ œ œ œ œ œ œ œ œ œ œ œ. ˙ œ œ œ œ
œ. œ œ œ. œ
J J
ggg 01
gg 22
0
1
0 2 2
0 2 2 0 2 2 0 2
0 0 3 0 0 3
0
[26]

.
∑ Œ œœœ Ó ∑ œœœ
& œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ ‰ Jœ œ œ
œ œ
0 0
1 1
2 0 2
2 0 2 2 0 2
0 0 0 3 0
0 3 0 3 0
[29]
Acoustic Guitar Grade 7

j
& Œ
E7 Am

œ œ
j
#œ œ #œnœ
j
œ œ œ œ œ œ œ j œ nœ œ œ œ œ œ
œ

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

[32]
32
 .
œœœ ..
& œj œ j ‰ œ .. Ó
œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ #œ
J
0
1
2
0 0 0 2 2 2 0 2 1
3 0 0 3 0 0 0
3 3 0
[35]

E7

& œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ
1/4

#œ œ œ œ
œ œ œ œ
1/4
2 [1] 1 2 3 2 3 2 2 3 2 0 1 0
3
0 0 0 0
[38]

Am G F E

j j
3 3

& .. ‰ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ ..

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œ œ œ œ œ œ œ œ
F
. .
. 0 .
0 1 0 0 0 1 0
2 2 2 2 2
2
0
3 3 1 1 0 0
[41]

j
E

œ bœ œ œ bœ œ œ œ
& .. ‰ œ œ œ œœ
Am

œ œ œœ n œœ
p œ œ œ œ œ œ œ
.
BU BU BU

.
3 (4 ) 3 1 3 (4) 3 (4) 3 1
2 2 0 2
0 2
0 0 0 0 0 0 0 0

[43]

. >
j œ bœ œ n œœœ
E G Am

œ ..
Acoustic Guitar Grade 7

& ‰ œ œ nœ œ œ œœ œœ œœ
œ œ œ œ nœ œ œ
ß
.
BU
0

.
3 (4) 3 1 1
2 2 0 2 2
2 2 0 2 2
0 0 0 0 0 0
0 3
[45]
33
 Am G F Em

j j
A
3 3

& .. ‰ œ œ œ œ œ œ. œ œ œ œ œ œ
œ œ œ ..
œ œ œ œ œ œ œ œ
P
. .
. 0 .
0 1 0 0 0 1 0
2 2 2 2 2
2
0
3 3 1 1 0 0
[47]

Am G F Em

j
A
3 3

& œ œ œ œ œ œ œ. œ œ œ œ œ œ œ
œ œ œ œ
œ œ œ œ œ œ
0 1 0 0 0 1 0
2 2 2 2 4
2
0 0
3 3 1 1 0 0
[49]

œ œ j j
Solo 3

œ
1.

œ œ œ œ œ j
& .. œ œ œ œ #œ œ #œ œ œ œ
œ œ #œ ˙. ‰ œ ..
œ ˙.

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

Mute E string Œ œ œ œ
. 5 3 1 0
.
. .
3 3 1 0
5 4 2 0 2 1 4
4 4 2 0
3 2
0 0 0 0
[51]

>
2. Am G F E

.. ‰ œj œ œ œ œ œ . j
3

œœ œœ œœ œœ
3 3

¿ œ œ œ œ œ .
A

& #œ œœ œœ œœ œœ œ œ œ œ .
œ œ œ œ œ Œ œ œ nœ œ œ œ
Œ œ œ œ œ œ œ
3
perc. F
0 0 0 0
¿ . .
. 0 2 0 .
0 0 0 0 0 1 0 0 0 1 0
1 1 1 1 1 2 2 2 2
0 0 0 0 2
2 2 2 2 2
0 0 0 0 3 3 1 1 0 0
[54]

j
B Am G F E

œ œ œ
Acoustic Guitar Grade 7

& œ œ œ œ œ œ œ œ œ œ œ œ ggg œœœœ ...

œ œ œ œ œ œ œ g . œ

gg 00
ggg 22
0 0
0 1 0 0 1 1 0
2 2
0 0
3 3 1 1 0 0
[57]
34
 j
E

œ bœ œ œ bœ œ œ œ
& .. ‰ œ œ œ œœ
Am

œ œ n œœ
œœ
p œ œ œ œ œ œ œ
.
BU BU

.
3 (4 ) 3 1 3 (4 ) 3 4 3 1
2 2 0 2
0 2
0 0 0 0 0 0 0 0

[59]

. >
j œ bœ œ n œœœ
E G Am

& ‰ œ œ œ œœ œœ ..
nœ œ œ œ
œ œ œ œ nœ œ œ œ
ß
.
BU
0

.
3 (4 ) 3 1 1
2 2 0 2 2
2 2 0 2 2
0 0 0 0 0 0
0 3
[61]

Am G F E

j j
A
3 3

& ‰ œ œ œ œ œ œ. œ œ œ œ œ œ œ

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

œ œ
œ œ œ œ œ œ œ œ
F
0 1 0 0 0 1 0
2 2 2 2 2
2
0 0
3 3 1 1 0 0
[63]

Am G F E

j j
3 3

& ‰ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
0 1 0 0 0 1 0
2 2 2 2
2
0 0
3 3 1 1 0 0
[65]

.
A m6

nœ œ œ œ bœ n œœœ ww
Outro
Acoustic Guitar Grade 7

œœ œ œ œ Œ ww
& # œœ. nœ œ #œ
œœ Œ Ó œ œ œ w
> >
0 3 5 3 0 5
0 4 3 1 5
1 2 5
0 2 4
2 3 2 0 0
0
[67]
35
 Angie | Technical Guidance

This Rockschool arrangement requires a capo to be placed at the fourth fret. It is important not to rush the placement of the
capo, ensuring that all strings ring clearly and intonation is stable after applying it.

Rhythmically the piece needs to drive forwards with the persistent quarter notes in the bass register, which will need to
be placed evenly and strongly against the upper register phrases. Further challenges exist in the triplets within the main
theme, and the placement of various off beats and syncopations which arise in the solo sections (bars 17–25). These sections
should be practised slowly, as the physical techniques need to be secure in order to deliver these rhythms with conviction
and precision.

A met with a sudden piano in section B. Note also the ß which suddenly appears within an otherwise piano section at
Dynamics are used to create tension and drama between each section of the arrangement such as the mezzo forte in section

bar 16. Further drama is added with the variety of articulations which should be observed throughout, including spread
chords (bar 4), staccato notes (bar 11), slurs (bar 17) and bends (bars 13 & 14). It is important to experiment with the force
of the picking hand to master control over these dynamic changes, as consistency of tone is vital even at quieter dynamic
points.

At this level, candidates should look to add further expression and articulation to the performance, along with demonstrating
an understanding of the requisite stylistic approaches. Instrumental folk guitar playing requires a strong picking hand with
highly developed finger independence, and an understanding of how to balance each ‘voice’ in the guitar part to project clearly.

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

Acoustic Guitar Grade 7

36
 ‘Night After Sidewalk’ | Kaki King
‘Night After Sidewalk’ features on American guitarist Kaki King’s debut album, Everybody Loves You. All of the tracks
on this album, apart from some light vocals on bonus track ‘The Government’, the song features only the sound of King’s
guitar and requires no further enhancement from other instruments. King’s mastery of variation incorporates techniques
such as double open tuning, viola tuning and traditional Russian 7 string tuning within the album.

Everybody Loves you was released by Velour Records in 2003 and was met with critical acclaim. The level of respect and
awe that King summoned in her listeners and reviewers was like nothing that had been seen for over a decade. The skill
and talent shown by the young musician was hailed as “deeply emotional” and AllMusic critic Thom Jurek described her
sound as “the most original voice on the acoustic guitar in a generation”.

After the release of Everybody Loves you, King appeared on Late Night with Conan O’Brien and was soon approached
by Sony Records who offered her a deal with their subsidiary label Epic Records. On accepting the offer the guitarist
found herself back in the studio and working on her soon to be second album release, Legs to Make Us Longer which was
released in 2004. Legs to Make Us Longer differs from its predecessor and features other instrumentation, including light
drum work and sound effects such as looping.

At the end of her second album tour, King parted ways with her musical director and Sony Records. In a bid to avoid
being pigeon-holed as a solo guitarist she found herself back with her original label, Velour, and introduced a full band to
the recording of her third studio album …Until We Felt Red. It was this third release that widened King’s fan base and saw
her being recognised by the likes of Foo Fighters’ lead singer Dave Grohl. Having heard the record Grohl invited King to
perform a track on the band’s upcoming sixth studio album Echoes, Silence, Patience & Grace, for which she appears on
the album credits. In 2007 she joined the Foo Fighters on stage at the O2 arena and performed the song before touring

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

with them in Australia.

King has released eight studio albums during her career and in 2006 she appeared as the only woman and the youngest
artist on Rolling Stone’s list of “The New Guitar Gods”.

Song Info
Song Title: ‘Night After Sidewalk’
Album: Everybody Loves You
Released: 2003
Label: Velour
Genre: Instrumental Rock
Written By: Kaki King
Produced by: Kaki King

Acoustic Guitar Grade 7

37
 Night After Sidewalk Acoustic Specialist (Solo)

Kaki King
Arranged by Tristan Sueme
c 118 Instrumental Rock

### 3 .
Capo 2nd fret (†)

& 4 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
œ œ œ œ œ œ œ œ ˙˙
œ œ œ
C#
. 0 0
.
F#
. .
T A 0 0 0 0
A B 0
0
0
0
0
0
0
0 2
0
2 0

B A
D 0
0
0
0
0
0
2
† Capo notation in this syllabus is optimised for each arrangement – the following conventions have been used in this arrangement:
■ Music notation and chord symbols are transposed for legibility in relation to the capo position. Notation will sound 1 tone higher than written.
■ The tablature numbers represent the distance from the capo. (e.g. tabbed 3rd fret is 3 frets above the capo).

### .
& . œ œ œ œ œ œ œ œ œ œ œ œ ..
œ œ œ œ œ œ œ œ œ œ ˙˙
œ œ œ
. .
. .
0 0 0 0
0 0 0 0 2 2 0
0 0 0 0 0 0 0
0 0 0
0 0 0 2
[5]

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

### Œ œ œ
&
œ
œ œ œ
œ
œ
œ œ œ œ œ œ
œ œ œ
œ
œ œ ˙ ˙. œ ˙. ˙.
J

0
0 0 0
2 2 5 5 5 0
2 2 2 5 5 5 0
2 4 4 4 7
[9]

## j
& # ‰ œ œ œ œ œœ œœ œ œ œ œ œ œ
œ
œ œ œ œ
˙. œ œ œ œ ˙. œ œ œ
J
˙. ˙. œ
0 0
0 0 0 0 0
2 2 2 2 2 5 5 5 0
2 2 2 2 2 2 5 5 5 0
4 4 7
[13]

###
1.
Acoustic Guitar Grade 7

& ‰ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
˙. ˙. ˙. ˙ œ œ
0 0
.
.
0 0 0
8 8 8 8 8 8 8
7 7 7 7 7 7 7 7
9 9 9 9 9
[17]
38 Words and Music by Kaki King
Copyright © 2003 Domino Publishing Company Limited
All Rights Reserved International Copyright Secured
 % 2.
## œœ ˙˙˙ ...
& # ‰ œ œ œ œ œ
j œ œ œ œ œ œ œ œ œ œ
œ œ œ ˙.
˙. ˙. ˙.
0 7
0 7 7
8 8 8 8 8 8 8
7 7 7 7 7 7 7
9 9 9
[21]

### œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ
j
& œ œ œ œ œ
˙. ˙. ˙. œ. ‰ Œ
8 7 5 5 3 5 3 1 0
0 0 7 7 5 7 4 0
0 5 3 5 2 2

0 0 2
[25]

##
& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

œ œ œ œ œ œ œ œ ˙˙
œ œ œ
0 0
0 0 0 0
0 0 0 0 2 2 0
0 0 0 0 0
0 0 0
0 0 0 2
[29]

fi
### j
To Coda

œœ œ œ œ œ œ œ œ œ œ œ œ œ
& Œ ‰ œ œ œ
œ œ œ œ œ œ œ
œ ˙ ˙. ˙. ˙.
0 1 3 1 0 0 1
0 2 4 2 0 0 2
0 2 3 3 2 0 0 2
2 3
0 0 0 0 2
[33]

### œ œ œ œ œ
œ œ œ œ œ œ
Acoustic Guitar Grade 7

& œ œ œ œ œ œ œ œ œ œ œ œ œ
˙. ˙. ˙. ˙.
3 3 3 5 5 5
0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0

0 0 0 0
[37]
39
 ### œ œ œ œ œ
& œ œ œ œ œ œ œ œ 42 œ œ œ 43
˙. ˙. Ó 3

8 8 8 10
0 0 0 0 0
0 0 0 0 0 0

0 0
[41]

## j œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
& # 43 .. ‰
œ œ œ
˙. ˙. ˙.
. 10 10 10

.
9 9 9 9 9 9
8 8 8 8 10 10
0 0 0

[44]

### œ œ œ œ œ œ œ nœ œ œ œ œ œ nœ œ œ œ
œ
&
˙. ˙. ˙.
10 10 12 12
9 8 10 10 10 10
10 10 12 12 12 12

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

0 0 0

[47]

œ œ œ j œ œ œ
1. 2.

## # œ n œ œ œ œ nœ œ œ nœ œ œ œ nœ œ œ œ
.
&
˙. ˙. œ . ‰˙ ˙.
.
15 15
. 15 15

.
12 12 12 12 12 12 12
13 13 13 13 0 13 13 13 13
0 0 0 0

j
[50]

œ œ œ œ œ œ. œ ggg n œœœ
### nœ œ œ œ nœ œ œ n œœ œ œ
& ‰ ‰ ggg
˙. ˙. Œ ‰ œ œ ggg ˙ .
J J ‰
ggg
gg
15 15 17 15 15 15
12 12 12 12 12 12
13 13 13 13 13 13 13
0 0 0 0

[54]

œ œ j
Acoustic Guitar Grade 7

### œ œœœœ œ
˙ œ œ
& œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
8 8 7 5 7 5 5 0
0 0 0 7 7
0 0 0 5
7 7 7 0 5
5 5 5

[58]
40
 ## œ œ œ œ œ œ œ
& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ ˙.
4
0 0 0
9 9 9 9 9 0 2 2 2 0
0
7 7 7 7 7 7 0
5 5 0 2

[62]

##
& # .. œ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ ..
œ œ œ œ œ œ œ ˙
œ œ œ
. 0 0
.
. .
0 0 0 0
0 0 0 0 2 2 0
0 0 0 0 0
0 0 0
0 0 0 2
[66]

##
& # œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ
0 0 0
0 2 0 2 0
0 0 0 0 2 0

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

0
0 2 4
[70]

fi
##
D.%. al Coda
œ œ
& # .. œ œ œ œ œ œ œ œ œ œ œ ..
œ œ
œ œ
œ
œ
œ œ œ œ œ
. 0
.
. .
7 0 0 0
5 0 2 0 2 0
5 0 0 0 0 0 2 0
0 0
0 2 4
[73]

fi Coda
### œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ
˙. ˙. ˙.
3 3 3 5 5
0 0 0 0 0 0 0
0 0 0 0 0

0 0 0

U̇
[77]

.
Rit.

### œ œ œ œ œ œ
Acoustic Guitar Grade 7

& œ œ œ œ œ œ œ œ œ œ œ œ
˙. ˙. ˙. ˙.
5 8 8 8 12
0 0 0 0 0 0
0 0 0 0 0 0

0 0 0
[80]
41
 Night After Sidewalk | Technical Guidance

‘Night After Sidewalk’ features an unusual altered tuning (D A B F # A C #), which will need to be accounted for in an
examination via a guitar with a stable set up and good strings, or a second instrument if preferred. It is an important skill for
acoustic guitarists to be able to prepare the instrument properly if using such tunings, especially if applying a capo as is also
required here (at second fret). Where strings are tuned down by larger intervals, the player must allow for the difference in
tension on the string, as the fretting hand will need to compensate in order to avoid intonation problems in performance.

The hypnotic arpeggios in ‘Night After Sidewalk’ require extremely careful balance and control from the picking hand, to
achieve both the correct tonal projection and evenness of rhythm. In comparing bars 1, 5 and 17 for example, we see a subtle
change in direction of the arpeggios which requires an alternate picking pattern. It is worth practising each pattern presented
in the piece just with the picking hand at slow tempos, before introducing the fretting hand. In the latter, it is important to
ensure that positions are prepared so as not to obscure projection of open strings where fretting occurs simultaneously. This
is especially apparent in bar 8, with the repeated hammer-ons and pull-offs, and in the various positions of bars 9, 11 and 13,
for example.

As a solo, it is still important to maintain a steady internalised pulse in order to achieve the desired effect of this piece.
The ritardando at bar 81 should be even and smooth. For personalisation of the performance, players might benefit from
listening to live recordings and the original album version to gather inspiration, particularly in view of adding subtle
dynamic light and shade (note that dynamics are left open to interpretation on the score).

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

Acoustic Guitar Grade 7

42
 ‘Desafinado’ | Antônio Carlos Jobim
‘Desafinado’ is a bossa nova written by Brazilian composer Antônio Carlos Jobim, with original lyrics by Newton
Mendonça. The title of the song translates to ‘out of tune’ or ‘off key’, and Jobim composed the piece in response to critics
claims that Bossa Nova had been created for singers who can’t sing and planned to prove them wrong. Mendonça’s
original lyrics were of course in his native Portuguese language and featured on João Gilberto’s original recording. Jon
Hendricks and Jessie Cavanaugh later wrote English lyrics for the piece, as did Gene Lees as few years later, whose version
is said to be closer to the true translation.

In 1959 João Gilberto released his debut studio album, Chega de Saudade, featuring the first recording of Jobim’s bossa
nova ‘Desafinado’. Jobim’s title was of course meant to be ironic and was in no way a scorn on the vocalist who would take
on the track. Although Gilberto’s track didn’t achieve a chart position on its release, the album on which it features was
inducted into the Grammy Hall of Fame in 2001.

Jobim’s original composition has been recorded and released several times every decade since the 1950s.The first
artists to achieve success with the bossa nova were Stan Getz and Charlie Byrd. This was closely followed closely by Ella
Fitzgerald’s version which was released just 2 weeks later.

Antônio Carlos Jobim was a Brazilian composer, pianist, songwriter, arranger and singer. Born in 1927, the musician
started his musical journey at a young age and soon began playing in pubs and clubs to earn money. Performing live
soon led to composing which is where his career began to take off. In 1965, Jobim appeared on the album Getz/Gilberto.
Many of the tracks on the release were composed by Jobim and he also featured as a pianist on several of the recordings.
At the 1965 Grammy Awards ceremony, Getz/Gilberto became the first jazz album to win a Grammy for Album of the
Year. Jobim is believed by many to have popularised the bossa nova genre, making him a key player in the jazz movement

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

of the 1950s and 60s.

Song Info
Song Title: ‘Desafinado’
Album: Chega de Saudade
Released: 1959
Label: Odeon
Genre: Bossa Nova
Written By: Antônio Carlos Jobim / Newton Mendonça
Produced by: Antônio Carlos Jobim / Aloísio de Oliveira

Acoustic Guitar Grade 7

43
 Desafinado Session Style

Antônio Carlos Jobim

e 80 Bossa Nova Arranged by Giorgio Serci
Intro
G b maj 9 G b maj 9
œ œ œ œ b œœ œœ b œ œ b œœ. œœ. œœ n œ œ œ b œœ ww
F maj 9 F maj 9

& b 44 .. œœ œœ ‰ b œ œ bœ œ œ œœ ‰ b œ w ..
J J
let ring

. 3 4 3
.
. .
T 5
5
5
5
6
6
6
6
6
6
5
5
5
5
6
6
A 3 3 4 4 4 3 3 4
B

#
œ œ ‰ œ œ # œ œ ‰ Jœ œ #œ ‰ œ ˙
A

œ.
& b ‰ Jœ ‰ n Jœ
F maj 7 G 7 11

J J J ∑

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

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

b b
œ œ
G m7 C7 A m7 5 D7 9

b ‰ œ ‰ œ œ œ ‰ Jœ œ. œ #œ œ ‰ J bœ ‰ œ ˙ ∑
& J J J J

3 8
T 3 5 6 6 5
8
5 4 4
A
B
[9]

b
œ œ œ œ
G m7
œ œ
A7
œ
D maj 7

#œ œ œ
D7 9

b ‰ J ‰ J ‰ J ‰ J #œ œ ‰ n œJ ‰ b œJ w
&

8 6 5 6 5 5
T 8 4 5 7 7
7 8
A
B
[13]

b
G b maj 9
bœ œ œ œ œ œ. œ œ œ œ. ˙.
‰ œJ œ bœ ‰ œ œ
Acoustic Guitar Grade 7

b b b œœœ b ˙˙˙ ...

G7 9

& b ‰ J ‰ J ‰ J J J Œ

4 3 4 3 1 1 1
T 6 3 6 3 2 2 2
1
2
1
A 4 4
B
[17]
44 Words and Music by Antonio Jobim and Newton Mendonca
Copyright © 1959 Fermata Do Brasil
All Rights Administered by IMG Songs UK
All Rights Reserved International Copyright Secured
 #
œ œ ‰ œ œ # œ n œ ‰ Jœ œ #œ ‰ #œ ˙
B

œ.
& b ‰ Jœ ‰ n Jœ
F maj 7 G 7 11

J J J ∑

T 5 7
5 6 5
7 6 7
6
6 6
A
B
[21]
b b
œ œ
G m7 C7 A m7 5 D7 9

b ‰ œ ‰ Jœ œ œ ‰ Jœ œ. œ #œ œ ‰ J bœ ‰ œ ˙ ∑
& J J J

3 8
T 3 5 6 6 5 4 5
8 8
A
B
[25]

#
B b m6
œ œ œ œ œ œ. œ œ œ. œ œ ˙ #
G m7 F maj 7 E7 9

J J J J œ ˙ n##
&b ‰ ‰ ‰ Ó

8 6 5 6 5
T 8 8 6 8 6 8 6

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

A
B
[29]

### œ . œ œ ‰ œ
C

J œ œ ‰ Jœ œ œ œ œ œ ˙
A maj 7 C7 B m7 E7

& J œ ∑
3

T 5 7 5 7 5
7 6 7
5
4
5
A
B
[33]

### œ . œ œ œ
‰ œJ œ. œ œ œ œ œ œ ‰ œ œ w
A maj 7 A dim7 B m7 E7

& J œ J
3

T 5 7 5 7 5
7 6 7
5
4
5
4
5
A
B
[37]

F # m7

### ‰ œ œ œ œ ‰ œJ œ œ œ œ nnn
A maj 7 B m7 E7

œ œ
‰ Jœ ‰ Jœ
Acoustic Guitar Grade 7

J J J œ œ w
&

4 5 7 5 4
T 5 7
6
5 7 5 7 5
A
B
[41]
45
 C # dim7
œ. œ œ œ œ
J œ œ œ œ
‰ Jœ œ œ ‰ J
œ œ œ ˙
D
C maj 7 D m7 G7

& ‰ J J J Ó Œ b

T 8 10 8 10 8 6 5 6 8
7
8 8 10
A
B
[45]
b #
Db7 9
œ œ œ œ œ œ œ. œ œ œ # œœ.
G m7 G m7 C7 5

J J œ ˙ ˙˙
&b ‰ ‰ J Ó œ ˙ Œ

8
T 11 10 11 10 11 10 11 8 9
9
9
9
A 8 8
B
[49]

œ œ ‰ œ œ #3œ
E

œ.
F maj 7 G 7 11

& b ‰ œJ ‰ œJ J
œ œ #œ œ œ ˙ ∑
3

T 5 6 5 6

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

5 7 7 6 7 6 6
A
B
[53]
b b
nœ œ. bœ œ nœ bœ œ nœ
G m7 C7 A m7 5 D7 9

œ œ œ ‰ œ œ. œ #œ œ ‰ J œ œ
&b ‰ œ J J ‰ J J J Œ
J J
RP †

3 10 9 8 7 6 10 5
T 3 5 6 6 5 4 5
A
B
[57] † Repick note

B b m6 G 7/A b
œ œ œ œ œ œ. œ œ œ ˙ ˙
G m7 F maj 7/A

œ
& b ‰ J ‰ J ‰ J J ‰ J ‰ œ. Œ œ œ
RP

8 6 5 6 5 5
T 8 8 6 5 8
7
5
A
B
[61]

B b m7 E b13

œ œ œ œ œ œ ‰ œJ œ œ œ œ
G7

œ œ œ œ œ œ ‰ œ ˙
Acoustic Guitar Grade 7

&b J Œ œ œ ‰ J œ œ

8 6 6
T 6 6 6 6 6 6 6
7
5 6 6 6 6 6 6
7
5
A
B
[65]
46
 œ œ œ œ œ œ ‰ œ œ. œ # œ œ ‰ Jœ œ bœ œœ. ˙˙ ..
‰ œJ œ
G7 C9 F maj 7 C 13sus 4

&b J J Œ œœ ˙˙ ..

5 5
T 6 6 6 6 6 6 6 5 4 5 8 7 6 3
3
3
3
A 3 3
B
[69]

Solo Candidate can play own solo idiomatically

#
œ b œ œ. œ œ œ œ #œ œ œ œ œ œ
G 7 11

œ œ œ j
F

œ
F
j
J ‰ J ‰ J ‰ # œ œJ œ œ #œ œ œ ‰ J
œ

&b ‰
f RP
Cantabile

6 8 7 6 10 5 5 5 9 9 12 12
T 8 6 8 4 5
6
5
6
6
10
10
A 7
B
[73]

b b
œ. œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ
G m7 C9 A m7 5 D7 9

˙ œ bœ œ nœ
J ‰ J J ‰ J
j

&b ‰ ‰ J
œ

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

13 12 10 13 12 10 8 8 10 11 10 8
T 11 10 11 8 10 11 13 9 10
A
B
[77]

b
œ bœ œ œ œ œ nœ #˙ nœ œ ˙
G m7 A7 D maj 7 D7 9

‰ œ #œ œ œ Œ œ bœ œ #œ œ
3

&b J J Œ
j
J J J

7 6 5 6 8 9 8 6 5
T 5 7 7
7 8 7 6 7
A
B
[81]

b
G b maj 9
œ nœ œ œ nœ
G7 9

œ œ bœ . œ
‰ œj b œ b œ b œ œ b œ ‰ œ ‰ b œ j
Acoustic Guitar Grade 7

& b bœ œ. œ n œ œ b œ ˙ œ
J
3

10 8 10 6 7 1
T 8
7 6 5 3 4 3
2 2
3 2
A 8 7 5 4 3 3 4 4
B
[85]
47
 G Counter-Melody – Candidate can play own CM with stylistic and harmonic awareness
#
œ œ œ #œ
F maj 7 G 7 11
œ œ œ œ œ. œ #œ œ œ ˙
& b ‰ J ‰ J J ‰ J ‰
J
∑

j j j j j j
& b ‰ œ ‰ œ nœ œ ‰ œ œ. œ œ œ ‰ œ œ œ ‰ œ ˙ ∑
p
T 2 2 0 2 0 2
A 3 2 3 3 3
B
[89]

b b
œ œ
G m7 C7 A m7 5 D7 9

œ œ œ œ ‰ Jœ œ. œ #œ œ ‰ J bœ ‰ œ ˙
& b ‰ J ‰ J J J ∑

j j j j j œ œ œ
& b ‰ œ ‰ œ œ œ ‰ œ œ. œ œ œ ‰ œ œ ‰ œ Jœ n œ b œ œ #œ J J œ
J J J J

T 3 2 2 2 5 4 3
3
5 3
A 5 3 5 5 5 4

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

B
[93]

#
B b m6
œ œ œ œ œ.
G m7 F maj 7 E7 9
œ œ œ œ œ œ œ œ ˙ ˙
J J J
& b ‰ ‰ Ó

&b œ ‰ œJ œ œ ‰ b œJ œ. œ œ œ nœ œ Œ œ œ nœ Œ
3

J œ. #˙

T 3 1 3 1
5 3 6 5 3 2 3 2 1 4
A
B
[97]

H b
œ. #œ œ œ œ œ. œ nœ œ ˙
A maj 7 C7 B m9 E9 E7 9

& b J J J œ œ #œ œ ∑
3

n œœ. œœ œœ œœ œ œœ .. œœ œœ #œ œ œ œ nœ œœ .. # n œœ n œœ ..
# œ œœ œœ œœ ‰ b b œœœ # œœ œœ œœ œœ ‰ œœ
Acoustic Guitar Grade 7

œœ .. n œœ ‰ n œœ Œ œœ .. # œœ ‰ œœ ..
& b #œ J J J œ œ œ œ #œ
p J J
12 12 12 10 10 10 9 9 9 7 7 7
T 12
11
12
11
12
11
10
8
10
9
10
9
7
7
7
7
7
7
7
7
7
7
6
7
A 11 11 11 8 8 8 7 7 7 6 6 6
B
[101]
48
 B b dim7
#œ œ œ
A maj 7 B m7 E7
œ. œ œ. œ œ #œ œ œ œ œ œ œ w
& b J J nœ
3

J J J J

n œœ. œœ œœ œœ # œ œœ .. # œœ œœ œœ œ œ œœ # œ œœ œ # n œœ œœ œ .
œœ ‰ n œœœ b œœ œœ œœ # œœœ
n œœœ œœ # œœ œ ‰ œJ œ
& b # # œœ œœ œœ œœ ..
J
ΠJ J J
J
Let ring Let ring

7 7 7 6 9 9 12 10 9 12 8 12
T 5
6
5
6
5
6
5
6
8
9
8
9
10
11
10
11
9
7
9
7
A 6 6 6 5 8 8 12 12
B
[105]

F # m7
nœ œ œ
A maj 7 B m7 E7
œ # œ # Jœ œ #œ œ œ #œ œ œ œ œ w
& b ‰ J J J J #œ J J

œœ. œœ œœ œœ œœ œœ # œœ # œœ œ œ œ œ .
n
# œ œœ œœ œœ œ œœ Œ # œœ œœ œœœ œœœ ‰ œœœ n # œœœ ˙˙˙˙ ...
& b #œ ‰ œJ Œ J Œ

12 12 12 12 9 9 9 9 9 9
T 12
11
12
11
12
11
12
11
10
9
10
9
10
9
10
9
10
9
9
10
A 11 11 11 11 11 12 12 12 12 12

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

B
[109]

C # dim7
œ. œ œ œ œ œ. œ œ œ œ ˙ œ œ
C maj 7 D m7 G7
J œ œ œ
& b J J J J J J J Ó Œ

œ n œ œ ‰ b œœj œœ .
&b ggg n n œœœ ... J ‰ œJ # œ œ ‰ n œœœ œœ œ
œ
œœ œœ
œ œ Œ n œœœ œœ
œ Œ œ bœ
g J J J

gg 54
gg 5
T 3 3 2 3 5 5 5 5 3 2
5 4 3 5 5 5 4 4
A 5 3 3 3 3
B
[113]

b b
œ œ.
G m7 D7 9 G m7 C7 9
œ œ œ œ œ œ œ œ œ w
& b J J J J J ∑

j
Acoustic Guitar Grade 7

bœ œ. œ #œ œ Œ nœ œ bw
&b œ bœ œ œ œ œ ˙
3

J J J J

T 1
3 2 0
4 3 2 3
3
5 3 2
A
B
[117]
49
 Candidate to add melodic embellishments
#
œ œ ‰ œ œ # œ œ ‰ Jœ œ #œ ‰ œ ˙
I

œ.
& b ‰ Jœ ‰ n Jœ
F maj 7 G 7 11

J J J ∑
f
T 5 7
5 6 5
7 6 7
6
6 6
A
B
[121]

b
nœ œ. bœ œ nœ bœ
G m7 C7 A m7 5

b ‰ œ ‰ œ œ œ ‰ œ œ. œ #œ œ ‰ J J ‰ J
& J J J J

3 10 9 8 7 6
T 3 5 6 6 5 4 5
A
B
[125]

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

b
B b m6
œ nœ œ œ œ œ #œ œ œ œ œ nœ œ œ. œ œ œ
D7 9 G m7

œ
&b J J ‰ J ‰ J J J J

10 5 6 5 4 5 8 6 5 6 5 3
T 8 6
A
B
[128]

G 7/A b
˙ ˙. œ œ œ œ œ œ ‰ œ ˙
Acoustic Guitar Grade 7

‰ œ. œ œ œ œ
F maj 7/A G7

&b J Œ
RP

5
T 5 8
7
5 6 6 6 6 6 6 6
7
5
A
B
[131]
50
 B b m6 Eb9
œ œ œ œ œ
G7

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

8 6 6
T 6 6 6 6 6 6
7
5 6 6 6 6 6 6 6
A
B
[135]

œœ.
B b maj 7/C
œ œ œ œ œ bœ œ œ ˙˙ ..
C7 F maj 7

&b ‰ J #œ ‰ J ‰ J Œ œœ ˙˙ ..
p
5 5
T 5 4 5 8 7 6 3
3
3
3
A 3 3
B
[138]

Outro
G b maj 9
œ œ bœ œ . œœ.
œ œœ b œœ œœ b œœ
F maj 7

& b œœ ‰ bœ œ bœ œ

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

œ J
let ring

3 4
T 5
5
5
5
6
6
6
6
6
6
A 3 3 4 4 4
B
[141]

Rall.
G b maj 9 D b maj 7

gg ˙˙
F maj 9 F maj 7

nœ œ gg n # ˙˙˙
œ
& b œœ
œœ
œ ‰ b b œœœ ˙˙
˙ Ó ggg ˙˙
˙ ggg # ˙
J gg gg # ˙
ggg 108 gg
ggg 109 ggg
3 4
T
gg
5 5 6 6

g8
5 5 6 5
A 3 3 4 6
B 4

[143]

G b maj 9 B b m6
Acoustic Guitar Grade 7

U
F maj 7/A

ggg b n ˙˙ ggg n n ˙˙˙ gg www w

www
&b gg # # ˙˙˙ gg ˙ ggg w
gg g gg w w
ggg 12 ggg 20 gg 01
T
ggg 14 ggg 0
A
B g1 ggg 31 gg 30
[146]
51
 Desafinado | Technical Guidance

This bossa nova standard features advanced melodic and chordal techniques and requires a thorough understanding
of the style in order to carry off an authentic performance. It is vital preparation to listen to as much of Jobim’s work as
possible, which has been performed on countless recordings and is re-visited time and again in concert by jazz soloists
and ensembles.

The introduction features a chordal vamp which should be rhythmically precise but not forced or ‘rigid’. A key part of
the style which will need to be shown at this level is the relaxed sound and again, this can be achieved through rigorous
background listening and solid preparation of the picking and fretting hand techniques. The A section melody at bar 5
features a motif based on diatonic lines which end on non-diatonic chord tones. These masterful compositional devices
speak for themselves and should not be over emphasised or forcibly delivered. Performers should also be sure to prepare the
overall shape and phrasing of each line, giving due consideration to the weighting of notes and the dynamics which have
been left open to interpretation in this score.

In order to navigate the form, it is crucial to break each section into shorter melodic phrases, analysing them in their
harmonic context. Furthermore, taking the harmonic progressions in isolation and play them through as a chordal study
will help immeasurably with visualisation of the structure.

The solo gives an excellent example of the opportunities to exploit the harmonic, melodic and rhythmic ideas found in
other areas of the composition. If preferred, candidates may prepare their own solo at section F if at a comparable technical
standard. At section G, a counter-melody idea adds variety and interest, and is an excellent approach to extended solo
sections. Chordal soloing at section H shows how the basic harmony can be added to and extended, as is a standard
approach with interpretation of standards such as ‘Desafinado’. An excellent example appears at bar 101, where the written
Amaj 7 appears with the added 9th and 13th (giving an Amaj 13 voicing but omitting the root, 5th and 7th in the guitar

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part). Technically, these chord voicings may be challenging at first – so slow practise coupled with analysis of the chord
tones will be invaluable preparation.
Acoustic Guitar Grade 7

52
Technical Exercises

In this section, you will be asked to play a selection of exercises, chosen by the examiner, from groups A, B, & C. In Group D
you will be asked to prepare one stylistic study from the three printed. The choice of stylistic study will determine the style
of the Quick Study Piece.

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.

Groups A, B, & C need to be prepared as shown below. The examiner will play the click at the given tempo, and you should
begin to play after four clicks.

Group D is played to a backing track.

Group A: Scales and Modes

Two octaves, two positions. The first position is to be prepared on the E string from the starting notes of G–B chromatically.
The second position is to be prepared on the A string from the starting notes of C–E chromatically.
The tempo for this group is q = 100.

1. Lydian (G lydian shown, root on E string)

##
œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ

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2 3 2
T 2 4
2 3 5 5 3 2
4 2
A 2 4 5 5 4 2
B 3 5
2 4 5 5 4 2
5 3

2. Phrygian (B phrygian shown, root on E string)

# œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
7
T 7 9
7 8 10 10 8 7
9 7
A 7 9 10 10 9 7
B 7 8 10
7 9 10 10 9 7
10 8 7

3. Jazz melodic minor (C jazz melodic minor shown, root on A string)

œ œ nœ nœ œ œ œ œ œ œ œ
& bbb œ nœ nœ œ
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
5 7 8 7 5
T 4 5 7
4 6 8 8 6 4
7 5 4
A
Acoustic Guitar Grade 7

3 5 7 7 5 3
B 3 5 6 6 5 3

53
 Technical Exercises

Group B: Arpeggios
One octave, two positions. The first position is to be prepared on the E string from the starting notes of G–B chromatically.
The second position is to be prepared on the A string from the starting notes of C–E chromatically.
The tempo for this group is q = 100.

1. Major 9 arpeggios (A major 9 arpeggio shown, root on E string)

# # # A maj œ
9

& œ œ œ œ
œ œ œ œ
T 4
A 6 6
B 5
4 7 7 4
5

2. Minor 9 arpeggios (C minor 9 arpeggio shown, root on A string)

bbb œ œ œ
C m9

& œ œ œ œ œ œ
T 3
3
3
A 5 5
B

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3 6 6 3

3. Dominant 9 arpeggios (D 9 arpeggio shown, root on A string)

## D9
nœ œ œ
& œ œ œ œ œ œ

T 5
5
5
A 4 7 7 4
B 5 5
Acoustic Guitar Grade 7

54
 Technical Exercises

Group C: Chords
Two positions. The first position is to be prepared on the E string from the starting notes of G–B chromatically. The second
position is to be prepared on the A string from the starting notes of C–E chromatically. Chords should be strummed and
then picked (arpeggiated).

1. Major 9 chords (A major 9 chord shown, root on E string)

### œœ œ
A maj 9

& œ œ œ
œ œ
T 5
4 4
5
A 6 6
B 5 5

2. Minor 9 chords (C minor 9 chord shown, root on A string)

œœ œ
bbb œ
C m9

& œœ œ œ
œ œ
3 3
T 3
3 3
3
A 1 1
B

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3 3

3. Dominant 9 chords (D 9 chord shown, root on A string)

## œ œ
n œœœ œ
D9

& œ œ
œ œ
5 5
T 5
5 5
5
A 4 4
B 5 5

Group D: Stylistic Studies

You will need to choose and prepare one stylistic study from the groups of styles listed below. The chosen stylistic study will
be performed by you in the exam to the backing track.

Styles:
■ Rock and Pop (pages 56 & 57)
■ Blues and Country (pages 58 & 59)
■ Acoustic Specialist (pages 60 & 61)
Acoustic Guitar Grade 7

55
 Technical Exercises

Stylistic Study | Rock and Pop

c 105 Blues Rock s

# # # # 4 ‰ n œœj Œ
j j
œœœ Œ
E 7 A7

& 4 œ ‰ n œœœ œœ
œ Œ ‰
œ
œœ Œ
œ œ
œ œ œ œ œ
œ
0 0
T 3
1
3
1
2
0
2
0
2
0
A 2 2 2 1
B 0 2 4
2 0 2 4

# # # # n œœ j j j
œ ‰ œœ œœœ
œ
E7 A7

œ
& œœ ‰
nœ œ œ
Ó bœ nœ n œœœ œ
‰ œœ Œ
œ
Œ
nœ
œ œ nœ #œ œ œ
œ
0 0 0 0
T 3
1
3
1
0
1
0
2 3
0 2
0
2
0
A 2 0 2 2 0
B 2
4 0 2 3 4
0 2 4

[3]

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

Eb7 C#7
j j œj
# # # # œœ
E7 D7

‰ œ Ó ‰ # n œœœ ... n b b œœœ œœœ œ

n n œœœ ‰ n # œœœ ‰ œœ Œ
& œ œ œ nœ œ bœ nœ #œ œ
œ œ bœ œ œ
2 0 0 0
T 2 2
0
5
7
4
6
4
6
3
5
2
4
2
4
A 2 4 6 5 5 4 3 3
B 0 7
7 6
6 5 0
4
4

[6]

F # m7 C#7
j j j
#### œ
B7 E7

‰ œœœ Œ œœ œœ œ
‰ œ Ó œ
‰œ n œœ Œ œœ œœ Œ
& œœ # œœ œœ
œ œ œ œ nœ #œ nœ
œ œ nœ
0 0 0
T 2
2
2
2
2
2
4
2
4
2
3
1
0 0
A 2 2 0 1 2 0 3 3
B 2 4
0 4 2 4 4 4
3
[9]

F # m7
j
B7 E7 A7
j j
#### n œœ n œœœ n œ œ œ œ nœ
3

œœ œœ n œœ œ ‰ œ
‰ #œ ‰ nœ Œ n œœ ‰ Œ
Acoustic Guitar Grade 7

& œ œ œ
nœ œ œ œ œ œ œ
œ œ œ
2 3 0 3 0 0 3 0
T 2
2
5
3
4
2
3
4
3
1
3 2
0
A 2 1 1
B 2
3 2
0 2 4
2 0 2 4

56 [12]
 Technical Exercises

#
B b 7 11 j
# # # # ‰ œj n œ œ. œ nœ œ œ œ
E7 A7

œ Œ œœœ
& œ #œ ‰ n œœ .. b œœœ ‰ #œ œ
nœ n œ
j
œ œ bœ œ œ
nœ
œ œ œ œ
0 0 4 0 0 5 3 2 0 2
T 3
1
3
4
3
1
3
1
1 2
A 2 0
0
0
B 2
4 0 4
2 1 0 2 4

[15]

#
C#7 5 j j
j ‰ ‹ œœ n œ ‰ # œœœ œ
E7

# # # # n œœ œ
‰ œ n Óœ nœ #œ œ œ œ # œœ n œ Œ
& œ œ œ nœ #œ œ œ œ
œ œ œ ‰ ‰ nœ
œ œ J J

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3 3 0 12 10 9
T 2 2
0
3
3
2 0
0 1
10
10
9
10
12
A 2 4 4 9 12
B 0
0 4
2
0 9 9 1
[18]

F # m7 Bb7 C#7
j j j
#### œ
B7 E7

œ n œœ œœ Œ
& œœ ‰ œœœ Œ b n œœ œœ œ
‰ œ Ó
nœ #œ
‰œ n œœ Œ
nœ # œœ œœ
œ œ bœ nœ œ nœ
œ
0 0 0
T 2
2
2
2
3
1
4
2
4
2
3
1
0 0
A 2 2 0 1 2 0 3 3
B 2 4
0 1 2 4 4 4
3
[21]

# #
F # m7
j ‰ ‹ œj
C 7 11 B7 E7 E7 9

j Œ
#### œ œ nœ ˙˙
3

& œœ ‰ b œœ ‰ œœ n n œœœœ
œ
‰œ n œ œ œ œ n œ # œ n œœ ˙˙
œ œ
Acoustic Guitar Grade 7

nœ ‰ œ œ Œ Ó
œ J J œ
3

2 3 0 3
T 2
2 3
5
3
4
2
4
4
3 2 0 2
0 1
3
1
A 2 5 2 2 2
B 2
3 3 2 6
0
[24]
57
 Technical Exercises

Stylistic Study | Blues and Country

c 142 Country j
#4 Œ œ œ œ.
Œ
G

& 4 œ œ œ œ œ œ
œ
3
T 3
A 0 2 4 5 5
B 3
5

# œ. j j œ. œ. j œ. j j
œ œ œ œ œœ œ œ œ.
& œ œ œ œ œ œ œ œ
œ œ œ

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3 3 3
T 4
3 3
4
3 5
A 5 5 5 5 5 5
B 3
5
3
5
3
5

[3]

j j
# œ œ œ. œ. j
& Œ b œ n œ œ œœ Œ œ œ œ.
D7

œ œ œ œ œ œ œ œ
œ œ œ
3 3
T 5
3 4
3 5 3
5
A 5 5 5 5 4 4
B 3
5
3
5 5 0

[6]

j j œ. j j j
# . œ. œ œ œ.
& œœ œ œ Œ œ œ œ.
Acoustic Guitar Grade 7

œ œ œ œ œ œ œ œ
œ œ œ

T 3
5
3 3
5
3 5 3
A 4 4 4 4 4 4
B 5 0 5 0 5 0

58 [9]
 Technical Exercises

j j j j
# Œ œ œ œ. œ. œ œ œ. œ œ œ.
Œ
G

& œ œ œ œ œ œ œ œ œ
œ œ œ
3
T 3
5
3 5 3 5
A 4 4 4 4 5 5
B 5 0 5 0
3
5

[12]

# œ. j j j
b œ n œ œ œœ Œ œ œ bœ. œ. b œ œ œ Œ
C

& œ œ œ œ œ œ
œ œ œ œ œ
3
T 3 4
3 5 1
3
1
3 3
A 5 5 2 2 2 2
B 3
5 3
3
3
3

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

[15]

# Œ j j œ œ œ œ œ
A7

& œ œ œ bœ. œ. bœ œ œ Œ Œ œ œ
œ œ œ œ œ
œ œ œ œ
5 5
T 1
3
1
3
1
2
5 7
A 2 2 2 2 7
B 3
3
3
3 5 0

j j
[18]

# Œ j œ œ œ. œ. j b œœ
œ œ œ. nœ œ ‰
D7 G

& œ œ œ Œ œ œ œ b œ
œ œ œ Œ
œ œ
3 3 6
T 3 1 5
3 4
3 7
A 4 4 5 5 5
B 5
5 3
5
3
5

[21]

# n œœ œœ œœ œ œœ œ
˙˙
˙
& œ œ œ œ b # œœ
Acoustic Guitar Grade 7

œ œ œ bœ nœ œ œ
œ
7 5 3 7
T 8
0
5
0
3
0
5
5
2
3
3
4
8
7
A 5 2 0 0 0
B 3 1 2
3
[24]
59
 Technical Exercises

Stylistic Study | Acoustic Specialist

Solo Guitar
c 87 Guitar Drum Kit
S

‡ ‡ ‡. ‡
S B B S B B B S

— — — — — — —
B B

4
& 4 œ œ œ œ
Œ Œ ≈ œ Œ Œ ≈ œ

T
A
B 12 7 10 12 7 10

Percussive notation:
B = bass drum: hit strings at bridge with side of outstretched right hand
S = snare drum: hit scratchplate with flick of first joint of index finger
LT + HT = low tom and high tom: hit different points above soundhole with RH thumb
BH = below heel: hit underside of guitar body with left hand
(Substituting other surfaces is also acceptable providing they approximate the sound of a drum kit)

Pitched notation:
All fretted notes are hammered on, no picking

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

LT LT

‚ ‚
B B
S

‡ ‡ œœ ‡ . ‡
S B B S B B B S

— — — — — — —
& œ œ œ
Œ Œ ≈ #œ œ œ . Œ Œ ≈ œ œ

8
7
7
12 9 10 7 12 7 10
[3]

LT LT

‚ ‚
B B
S

‡ ‡ ‡. ‡
S B B S B B B S

— — — — œ — — —
& œ œ. œ
Acoustic Guitar Grade 7

œ. œ
Œ Œ ≈ #œ œ œ Œ ≈ R ≈ R ≈ œ
œ
œ

7
7
12 9 10 7 12 12 10 7 10 0

60 [5]
 Technical Exercises

S LT

‚ ‚ ‚
B B B B
S

‡ ‡ ‡. ‡
S B B B S

— — œ —œ — œ — — —
& œ œ. œ œ. œ
Œ ≈ ≈ #œ œ œ Œ ≈ R ≈ R ≈ œ œ œ

9 7 7
7
12 9 10 7 12 12 10 7 10 0
[7]

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

¿ ‚
BH
¿ ‚
BH
¿ ‚ BH
‚ ¿ ‚
BH
¿ ‚ ‚ ¿BH
¿ BH BH
‚
‡ ‡ ‡ ‡‡‡
HT HT

— — — — —
LT LT LT LT LT LT
S S S S S S
B B B B B

&
3

[9]

HT HT

‚ ‚
LT S LT B LT S LT S LT B LT S

‚ ‚ ‚ ‚ ‚ ‚
B B B B

— ‡ — — ‡ — ‡ — — ‡
& ≈ ≈
Acoustic Guitar Grade 7

œ œ œ œ œ œ œ œ
Œ œ Œ œ

5 5
5 8 5 3 5 8 5 3
[11]
61
 Quick Study Piece

At this grade you will be asked to prepare and play a short Quick Study Piece (QSP). Printed on the following pages
are three examples of the type of QSP you are likely to receive in the exam. You will be shown the test and played the
track with the notated parts played. Any bars that require improvisation will not be demonstrated. You will then have
three minutes to study the test with the option of a click track. The backing track will be played twice more. You will be
allowed to practise during the first playing of the backing track, with the notated parts now absent, before playing it to the
examiner on the second playing of the backing track.

The style of your QSP is determined by the stylistic study you selected in the technical exercise section. The QSP is in the
form of a lead sheet and it is up to you to create your own interpretation of the music in the parts where instructed to do so.

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

Acoustic Guitar Grade 7

62
Quick Study Piece | Rock and Pop
The test shown is an example. The examiner will give you a different version in the exam.

c 90 Rock/Pop

### 4 Œ œ Ó j œ
n œ # œœ n œ Œ œœ Ó œ œ Œ n œ œ œ œ œ
7

Œ ‰
A

& 4 œœ œ œ œ œ n œ œ œ
œ . n œJ # œ ‰ Jœ Œ Œ ‰ œ œ . n œJ # œ ‰ œJ Œ Ó
J
0
T 2
2 2 5 6
1 2
2 2 5 4 2 2
A 2 2 4 4 5 2 2 4 2 4
B 0 3 4 0
0
0 3 4 0

F#7 D#7 Bb7

# # # Œ œj n œ n œœœ n # # œœœ # n œœœ Œ
D7 G7 D7 E7

‰ œ Œ ¿¿¿ # œœ Œ œœ œ ¿¿ œœ Œ ¿¿
& œ. œ ˙ œ œ n œœ ¿ œ ¿ œ #œ œ bœ
J œ. ‰ ‰ œ œ œ Œ Ó
J
¿¿ 2 ¿¿ ¿¿

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

¿ 3 ¿ ¿
T 3
5
3 2
3
3
4
3
4
3
5
4
6
5
7
A 2 2 3 3 4 5 6
B 5 5
2 2 3
5 6 7 1

[5]

### A7 D7

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

T
A
B
[9]

### œ œ ˙
Rall.

Œ Œ œ œ ˙
A7

œ nœ ˙
Acoustic Guitar Grade 7

& ’ ’ ’ ’ œ œ ˙
œ œ œ ˙ œ œ œ ˙
J J J J
2 0
T 2 0
3 2
A 4 2
B 0 0 0 0 0 0

[12]
63
 Quick Study Piece

Quick Study Piece | Blues and Country

The test shown is an example. The examiner will give you a different version in the exam.

c 75 Blues Swing Feel

#
G7 3 3 3

& 44 œ œ œ œ œ œ œ
n œœœ œœœ œœœ œœ b œœ œœ œœ
3

œ œ œ œ bœ œ œ œ
œ œ
j

T 0
0
0
3 0
0
0
0
3 0
0
0
0
3 0
0 0
A 3 3 2 2 1 1 0 0 0 0
B 3
0 2 1 3 1

#
& nœ œ œ nœ œœ bœ
œ nœ œœ œ nœ
œ œ œ œ
j j
bœ bœ

T 0 0 3
A

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

[3]

#
C7

& œ œ bœ œ œ j œ œ œ bœ œ œ œ
nœ œ œ b œj n œ œ bœ nœ œ
œ œ bœ nœ
j

T 0
1
3 0 0 0
1
3 0 0
A 3 2 0 1 2
B 3 3
1 2 3 3 1 2

[5]

# G7 D7

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

T
A
B
[8]
Acoustic Guitar Grade 7

# U
Û Û Û
C7 G7

& ’ ’ ’ ’ ’ ’ ’ ’ |

T
A
B
64
[11]
 Quick Study Piece

Quick Study Piece | Acoustic Specialist

The test shown is an example. The examiner will give you a different version in the exam.
Solo Guitar
c 90 Guitar Drum Kit
S

‡ ‡ ‡. ‡
S B B S B B B S

— — — — — — —
B B

4 Œ Œ ‰ Œ Œ ‰
& 4 œ œ œ œ
J J
Pitched notation: Percussive notation:
E played at 7th fret on the 5th string B = bass drum: hit strings at bridge with side of outstretched right hand
D played at 5th fret on the 5th string S = snare drum: hit scratchplate with flick of first joint of index finger
LT = low tom: hit above soundhole with RH thumb
(Substituting other surfaces is also acceptable providing they approximate the sound of a drum kit)

‡ ‡ ‡. ‡
S B B S B B B S

— — — — — — —
B B

& œ Œ Œ ‰ Œ Œ ‰
œ œ œ
J J
[3]

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

& ’ ’ ’ ’ ’ ’ ’ ’
Develop

[5]

& ’ ’ ’ ’ ’ ’ ’ ’
[7]
Acoustic Guitar Grade 7

‡ ‡
S B B S

— — —
B

& œ Œ Œ ‰ Œ Ó
œ œ
J
[9] 65
 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 bass and drum backing using either the A major pentatonic, C minor
pentatonic or A natural minor scales. The first note of the melody will be either the root note or fifth and the first interval
will be either ascending or 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 bass and drum backing. The tempo is q = 90.

q = 90
¿ ¿ ¿ ¿ œ œ
b
& b b 44 .. w œ œ œ ‰ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ .
J .

. .
. .
T 8 8 8
10 8 10 8 8
A 10 10 8 10 10 10 8 10 10 8 10
B

Test 2: Harmonic Recall

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

The examiner will play you a tonic chord followed by a four bar chord sequence in the key of A major played to a bass and
drum backing. The sequence will use the I, ii, iii, IV, V and vi chords. The ii, iii and vi chords can be either minor or minor
7th chords. You will be asked to play the chord sequence to the bass and 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, including any chord extensions. 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 and you will then play the chords to the bass and drum backing. You should then name the chord sequence,
including the chord type and any extensions. The tempo is q = 90.

q = 90
### 4 . A ¿ ¿ ¿ ¿ C # m7

& 4 . | Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
E D Bm
Acoustic Guitar Grade 7

66
General Musicianship Questions

In this part of the exam you will be asked five questions. Four of these questions will be about general music knowledge and
the fifth question asked will be about instrumental & technical knowledge.

Music Knowledge
The examiner will ask you four music knowledge questions based on a piece of music that you have played in the exam. You
will nominate the piece of music about which the questions will be asked.

In Grade 7 you will be asked:

■ The names of pitches

■ Any expressive musical marking found in the piece such as palm muting, accents, staccato, legato, vibrato, natural and
artificial harmonics

■ Any dynamic marking found in the piece

■ One type of scale that can be used appropriately in the solo section of the piece you have played and its relation to the
underlying harmony of the piece (if relevant) or:

■ How you developed a section of the piece (if relevant) or:

■ A stylistic feature of the piece characteristic of its genre

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

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

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

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

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

Acoustic Guitar Grade 7

67
 Acoustic Guitar Notation Explained
Finger picking

# ww œ œ
p i m a
D Am F

b
thumb index middle annular

œ
Notes:

w ’ ’ ’ ’
THE MUSICAL STAVE

& ˙ œ Û Û Û Û
shows pitches and rhythms E F

w
4
3
and is divided by lines into CDB
AG 2
bars. Pitches are named after F E 1
the first seven letters of the
alphabet. Fretting hand fingers
Strings:
2 0
T
E
TABLATURE graphically B 3 10 1
represents the guitar G
D A 2
2
0 9
10 2
2
B
fingerboard. Each horizontal
line represents a string, and
A 10 0
E
each number represents a fret.
4th string, Open Rhythm notation with Ad lib. and cont. sim. sections
2nd fret D chord suggested fingering are shown in slash notation

Definitions For Special Guitar Notation

HAMMER ON: Pick the lower note, PULL OFF: Pick the higher note then SLIDE: Pick the first note, then slide STRING BENDS: Pick the first note then
then sound the higher note by sound the lower note by lifting the to the next with the same finger. bend (or release the bend) to the pitch

œ œ
fretting it without picking. finger without picking. indicated in brackets.

œ œ œ œ
& œ & & œ œ &
BU BD
T T T T 5 (6) (5)
A 5 7
A 7 5
A 2 4
A
B B B B

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

GLISSANDO: A small slide off of a note VIBRATO: Vibrate the note by bending NATURAL HARMONICS: Lightly ARTIFICIAL HARMONICS: Fret the note
toward the end of its rhythmic duration. and releasing the string smoothly touch the string above the indicated indicated in the TAB, then (with picking hand)

‚
w~~~~~~~~~~ ‚ ‚
Do not slide ‘into’ the following note – and continuously. fret then pick to sound a harmonic. lightly touch the string above fret indicated
subsequent notes should be repicked. between staves, and pick to sound the harmonic.

& œ œ & & & ‚ ‚

~~~~~~~~~~ NH

12
AH 14 AH 15

T T 8 T 12 T
A 2 4
A A 12
A 2
3
B B B B

PRE-BENDS: Before picking the note, PICK HAND TAP: Strike the indicated FRET HAND TAP: As pick hand tap, QUARTER TONE BEND: Pick the note
bend the string from the fret indicated note with a finger from the picking but use fretting hand. Usually indicated and bend the string up

œ #œ œ
between the staves, to the equivalent hand. Usually followed by a pull off. followed by a pull off or hammer on. by a quarter tone.

œ #œ
pitch indicated in brackets in the TAB

˙
1/4

& & & & œ œ

PB 7
1/4
BD
7 2 9 5
T ( 9) (7) T T T
A A A A 5
7
B B B B

fi
TRILL: Rapidly alternate between the PICKING/STRUMMING: • Go back to the sign (%), then play until
D.%. al Coda
Acoustic Guitar Grade 7

fi
two bracketed notes by hammering Upstrokes, downstrokes and strumming the bar marked To Coda then skip to
the section marked Coda.
Ÿ~~~~~
on and pulling off. direction are indicated by the following
symbols in the score:

&œ w
D.C. al Fine
• Go back to the beginning of the song and

≥
œ play until the bar marked Fine (end).

.. ..
Downstroke or
Downward strum

Ÿ~~~~~
(low notes to high) • Repeat bars between signs.

T
≤
Upstroke or

.. ..
(5 7) 5 1. 2. • When a repeated section has different
A Upward strum endings, play the first ending only the first
68 B (high notes to low) time and the second ending only the
second time.
Entering Rockschool Exams

Entering a Rockschool exam is easy, just go online and follow our simple six step process. All details for entering online,
dates, fees, regulations and Free Choice Pieces can be found at www.rslawards.com

■ All candidates should ensure they bring their own Grade syllabus book to the exam or have proof of digital purchase
ready to show the examiner.

■ All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam.

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

Acoustic Guitar Grade 7

69
 Marking Schemes

Grade Exams | Debut to Grade 5 *

ELEMENT PASS MERIT DISTINCTION

Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 2 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 3 12–14 out of 20 15–17 out of 20 18+ out of 20

Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15

Sight Reading
or 6 out of 10 7–8 out of 10 9 + out of 10
Improvisation & Interpretation

Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10

General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5

TOTAL MARKS 60%+ 74%+ 90%+

Grade Exams | Grades 6–8

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

ELEMENT PASS MERIT DISTINCTION

Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 2 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 3 12–14 out of 20 15–17 out of 20 18+ out of 20

Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15

Quick Study Piece 6 out of 10 7–8 out of 10 9 + out of 10

Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10

General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5

TOTAL MARKS 60%+ 74%+ 90%+

Performance Certificates | Debut to Grade 8 *

ELEMENT PASS MERIT DISTINCTION

Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20

Acoustic Guitar Grade 7

Performance Piece 2 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 3 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 4 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 5 12–14 out of 20 15–17 out of 20 18+ out of 20

TOTAL MARKS 60%+ 75%+ 90%+

70
* Note that there are no Debut Vocal exams.
Copyright Information

Woke Up Dreaming
(Bonamassa/Jennings)
Reservoir Media Management, Inc./Universal Music Publishing Limited

Teardrop
(Fraser/Naja/Marshall/Vowles)
SM Publishing (UK) Limited/Universal/Island Music Limited

Our Spanish Love Song

(Haden)
Kobalt Music Group Limited

Angie
(Graham)
EMI United Partnership Limited

Night After Sidewalk

(King)
Domino Publishing Company Limited

Desafinado
(Jobim/Mendonca)
IMG Songs UK

RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]

Acoustic Guitar Grade 7

71
Digital downloads
now available!
All your favourite Rockschool titles are now available to download
instantly from the RSL shop. Download entire grade books, individual
tracks or supporting tests to all your devices.

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Start downloading now

www.rslawards.com/shop
RSL-177912769700 / 1 / Duy Anh Nguyen / [email protected]