Acoustic Guitar

Grade 1
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: JF47CKSHA3

For more information, turn to page 5

www.rslawards.com
 Acknowledgements

Published by Rockschool Ltd. © 2019

Catalogue Number: RSK200111
ISBN: 978-1-78936-095-0
Initial Release | 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

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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: Bob Marley Performs at Crystal Palace
Bowl in London © Pete Still (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 1

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 1
6 Performance & Technical Guidance

Rockschool Grade Pieces

7 ‘Come As You Are’......................................... . . . . . . . . . . . . . . . . . . . Nirvana

11 ‘Seven Nation Army’................................... The White Stripes
15 ‘Titanium’............................................. David Guetta (feat. Sia)
19 ‘Redemption Song’................. Bob Marley and the Wailers
23 ‘Hallelujah’.......................................................... . . . . . . . . . . . Jeff Buckley
29 ‘Perfect’.. ............................................................... . . . . . . . . . . . . . Ed Sheeran

Technical Exercises

36 Scales, Chords & Acoustic Riff

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Supporting Tests

38 Sight Reading
39 Improvisation & Interpretation
40 Ear Tests
41 General Musicianship Questions

Additional Information

42 Acoustic Guitar Notation Explained

43 Entering Rockschool Exams
44 Marking Schemes
45 Copyright Information
46 Rockschool Popular Music Theory
48 Rockschool Digital Downloads
Acoustic Guitar Grade 1

3
 Welcome to Rockschool Acoustic Guitar Grade 1

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-422543088927 / 1 / Dave Wooltorton / [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 1, ‘acoustic specialist’ pieces combine elements of melody and accompaniment. These arrangements are
complimented by a ‘duet’ part for ensemble playing, which is also supplied in the audio downloads for performance
in the exam. Please note, candidates will only be assessed on the ‘candidate’ part.

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 1

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

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

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

 1. Sight Reading or Improvisation & Interpretation tests

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

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

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

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

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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: JF47CKSHA3

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 1

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

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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 1

6
 ‘Come As You Are’ | Nirvana
‘Come as You Are’ was the second single to be released from Nirvana’s second studio album, Nevermind. Following the
success of the album’s debut single, ‘Smells Like Teen Spirit’, there was some uncertainty as to which song should follow
it, but with ‘Come as You Are’ making it to the UK’s top 10 it would seem the right decision was made.

On its release songwriter and frontman Cobain had concerns over similarities between his composition and that
of Killing Joke’s earlier release ‘Eighties’. On hearing both songs Nirvana’s producer, Butch Vig, felt confident that they
should go ahead with the release of ‘Come as You Are’ as it was the most commercially appealing and so Cobain was
convinced. Killing Joke guitarist Geordie Walker was reportedly angry about the release and felt a lawsuit should be taken
against Cobain. However, no lawsuit ever materialised and so many now dispute the likeness between the two songs.

‘Come as You Are’ talks about how society expects people to act, with the lyrics often being contradictory and mimicking
that of common opinions on how we should behave. Cobain was known for his struggle with acceptance, often feeling
judged for his opinions and appearance, so this song tells the story of a world big enough for everyone. Looking back after
Cobain’s passing, many of the lyrics seem much more sinister than they may have originally appeared and many believe
his true mental state was evident in some of his writing.

Nirvana were an American grunge band who formed in 1987, originally consisting of frontman Kurt Cobain and
bassist Krist Novoselic. Having gone through several drummers and never quite settling, the duo finally became a solid
trio when drummer Dave Grohl joined them in 1990. After making themselves known in the popular Seattle Grunge
scene of the late 1980s the band finally found themselves being signed to a major label in 1991 and released their album
Nevermind. The album achieved huge global success and sold over 30 million copies worldwide, seeing Nirvana described
as the “flagship band” of Generation X and Cobain being branded the “spokesman of a generation”. Nobody could have

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foreseen the success that Nirvana would achieve, but their use of a strong dynamic shift between verse and chorus drew
the listeners in. Many believe them responsible for bringing Grunge to the mass market. Sadly, the band disbanded in
1994 following Cobain’s untimely death. Their music continues to influence musicians to this day and remains popular
with many generations.

With over 75 million record sales worldwide, Nirvana are hailed as one of the best-selling rock bands of all time. Prior
to their mainstream recognition, alternative music was often confined to speciality sections within record stores and
many believe the success of Nevermind changed this forever.

Nirvana’s success has resulted in an impressive number of award nominations and wins, and with six Grammy
nominations and a win for ‘Best Alternative Music Performance’, they really did bring Grunge to the masses. The band
were inducted into the Rock and Roll Hall of Fame at their earliest eligibility in 2014.

Song Info
Song Title: Come as You Are
Album: Nevermind
Released: 1992
Label: Geffen Records
Genre: Grunge
By: Kurt Cobain
Produced by: Butch Vig
UK Chart Peak: 9
Acoustic Guitar Grade 1

7
 Come As You Are Session Style

Nirvana
Arranged by Nat Martin
c 118 Grunge

### 4 F#m
Intro

.. ..
E

& 4
œ œ œ œ œ œ nœ œ œ
P œ œ #œ œ œ œ œ œ #œ
. .
. .
T
A
B 0 0 1 2
0
2
0
2 2 1 0
2
0 0
2
0 1

Verse
F#m F#m
### œ œ œ œ œ œ. œ œ œ
E E

& œ Œ œ œ œ Œ œ œ œ Œ J J J œ

2
Come as you are, as you were, as I want you to be,

###
& «
œ œ œ œ œ œ nœ œ œ œ œ œ œ œ #œ

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

0 0 2 2
2 2 2 2 1 0 0 0 0 1
[3]

F#m F#m
### œ œ œ œ œ œ. œ œ œ œ
E E

& œ Œ œ œ œ Œ œ œ œ Œ J J J

2 j
as a friend, as a friend, as an old mem - o - ry.

### œœ œœ œœ
& « œœ œœ œœ ‰
œ œ œ œ œ œ nœ œ œ œœ
œ œœ œœ
0 0
0 0
1 1
2 2
0 0 2 2 2
2 2 2 2 1 0 0 0 0
[7]

Chorus
F#5 F#5
###
A5 A5
˙ œ œ œ œ Œ œ œ œ ˙ œ œ œ œ Œ œ œ œ
&

2
Mem - o - ry. Mem - o - ry.

###
Acoustic Guitar Grade 1

& œ œœ œœ œœ œœ œœ «
œ œ œ œ œ œ œ
œ œ œ œ œ œ

2 2 2 2 2
4 4 4 4 4 0 0 0 0 0
2 2 2 2 2
[11]
8 Words and Music by Kurt Cobain
Copyright © 1991 The End Of Music and Primary Wave Tunes
All Rights Administered by BMG Rights Management (US) LLC
All Rights Reserved Used by Permission
 F#5 F#5
###
A5 A5
˙ œ œ Œ œ œ œ ˙ œ œ Œ Ó
& œ œ œ œ

2 2
Mem - o - ry.

###
& « «

[15]

Bridge

### œ. œ œ œ. j
B5 D5 B5 D5

& Ó œ œ. œ œ œ œ œ œ Ó œ œ œ
J J J J J J

2
Well, I swear that I don’t have a gun. No, I don’t

###
& œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ «
œ
f
2 2 2 2 2

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

4 4 4 4 4 0 0 0 0 0
2 2 2 2 2

[19]

### j j
B5 D5 B5 D5

& œ. œ œ œ œ Ó œ œ œ œ. œ œ œ œ ∑
J J

2
have a gun. No, I don’t have a gun.

##
& # « œœ œœ œœ œœ ‰ j
œœ œœ œœ œœ œœ œ œ #œ

2 2 2
4 4 4 4 4 0 0 0
2 2 2 2 2
0 0 1
[23]

1. 2. 3. 4.

F#m F # sus 4
##
E E

& # .. ∑ ∑ .. ∑ ∑

##
Acoustic Guitar Grade 1

& # .. ..
œ œ œ œ œ nœ œ œ œ œ
Pœ œ œ œ œ œ #œ œ œ œ œ œ #œ w
. .
Rall.

. 0 0 2 2
. 2 2
2 2 2 2 1 0 0 0 0 1 0 0 0 0 1 2
[27]
9
 Come As You Are | Technical Guidance

This arrangement has a predominantly mezzo piano (P) approach with the bridge becoming briefly louder forte ( f ).
Control over dynamics is a skill that is well worth practicing for later grades with pieces containing more challenging, subtle
and frequent dynamic changes. This will be a priority in the choruses, where evenness of pick attack will be paramount.

Rhythmic control and synchronisation are two vital elements to master when performing this song. This is not to understate
the importance of technical execution, but the following hints should help to significantly elevate your performance:

Rhythmic control is demonstrated through both the anacrusis (pickup) in bar 1 (meaning that the song starts on beat ‘3 &’,
as opposed to the standard ‘1’), and through the regular use of ties, which break up the constant eighth note-based rhythm
(bar 4 for example). Really getting to grips with both of these will help the performance sound more confident and natural.

Synchronisation to the backing track is critical in bringing through one of the primary features of this song, in that it has a
much stronger groove than may be anticipated from just looking at the score. When the guitar really locks in with the drums
and bass, the entire song develops a very solid rhythmic feel.

During bar 10, try to keep all notes found in the larger open E chord clear. Make sure also to move smoothly through the
chromatic parts of the main riff. You should then be well on your way to a strong performance in the exam.

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

Acoustic Guitar Grade 1

10
 ‘Seven Nation Army’ | The White Stripes
‘Seven Nation Army’ was the lead single release from American rock duo The White Stripes’ fourth studio album,
Elephant. The song achieved commercial success, topping the US Alternative Singles Chart and making it to number 7
on the UK Singles Chart. Often described as one of the best rock songs of the 00s, ‘Seven Nation Army’ became the duo’s
signature hit and achieved Platinum certification in the UK and Italy.

Written by lead guitarist and vocalist Jack White, the song was built around a riff idea he had written when on tour. He
originally wanted to save the idea in the hope that one day he may be asked to write a James Bond theme tune, but feeling
this was unlikely he decided it best not to waste such a catchy riff. The song was named before White wrote the lyrics,
using ‘Seven Nation Army’ only as a temporary and nostalgic name as it was actually based on his mispronunciation of
Salvation Army as a child. However, on setting out to accompany his riff with lyrics the story of a Seven Nation Army
emerged and so the name remained. Since its release the song has often been used at political rallies.

The famous guitar riff in ‘Seven Nation Army’ is often mistaken as a bass part on the recording, but it was in fact
recorded by Jack White himself using an electric guitar through a pedal and bringing the pitch down by an octave.
Although the song has become somewhat of a political soundtrack, White’s lyrics were originally intended to tell the
story of how growing fame affected his sense of privacy. Within the lyrics he talks of constant gossip surrounding both
his and fellow bandmate Meg White’s lives.

Originally born Jack Gillis, the frontman met Meg White at the restaurant where she worked and where he would often
read his poetry at their open mic nights. From a young age they began to perform at local music venues, coffee shops
and open mic nights, playing music wherever possible. In 1994 Jack got his first professional job as a musician and began
playing drums for Goober & The Peas. In 1996 the pair married and contrary to common practise Jack took his wife’s

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last name, becoming Jack White as he is now known. When Goober & The Peas disbanded Jack White tried playing with
many other bands, but not until he enlisted the help of his wife did music become “liberating and refreshing”.

Since the release of Elephant The White Stripes have received eleven Grammy Nominations, four of which they won
including Best Alternative Music Album for Elephant itself. The lead single ‘Seven Nation Army’ received critical acclaim
and is still hailed as one of the best rock songs ever, with Rolling Stone magazine ranking it at number 21 in their list of
the 100 Greatest Guitar Songs of All Time in 2008.

Song Info
Song Title: Seven Nation Army
Album: Elephant
Released: 2003
Label: XL, V2, Third Man
Genre: Alternative Rock/Garage Rock
Written By: Jack White
Produced by: Jack White
UK Chart Peak: 7
Acoustic Guitar Grade 1

11
 Seven Nation Army Session Style

The White Stripes

Arranged by Tommy Loose
c 110 Alternative Rock / Garage Rock
Intro

#
& 44 ‰ Jœ œ œ
N.C.
∑ ∑ ∑ Ó
I’m gon - na

#
& 44 œ ‰ œj œ . œ œ œ Œ j
œ ‰ œ œ. œ œ œ ˙
Œ
˙ œ œ

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

# œ œ œ ‰ Ó
Verse

& J Œ ‰ œJ œ œ œ œ œ œ œ œ œ. œ œ œ œ Œ ‰ œ œ œ
J

2
fight them all, a sev - en na - tion ar - my could - n’t hold me back. They’re gon - na

#
& œ ‰ œj œ . œ œ Œ «
œ ˙ œ

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

0
2 2 2 0
3 2

[5]

# œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ
& Ó Ó Œ Œ

2 2
rip it off, tak - ing their time right be - hind my back. And I’m

#
& « «

[9]

# œ œ œ œ œ. œ œ œ œ œ œ œ #œ. œ œ œ œ
& Œ Ó ∑

2 2
talk - ing to my - self at night be - cause I can’t for - get.

#
Acoustic Guitar Grade 1

& « «

[13]
12 Words and Music by Jack White
Copyright © 2003 PEPPERMINT STRIPE MUSIC
All Rights Administered by SONGS OF UNIVERSAL, INC.
All Rights Reserved Used by Permission
 # œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ Œ Ó œ œ
& Ó Œ

2 2
Back and forth through my mind, be - hind a cig - ar - ette. And the

#
& « «

[17]

Chorus
# œ G
œ œ œ œ œ œ
A5
œ œ œ œ œ œ ..
E G
∑
E D
& J J
mes - sage com - ing from my eyes says leave it a - lone.

# œ.
& .. œ ‰ œJ œ œ œ
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
. 0 0 3 0

.
3

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2 2 2 2 2 2 2
0 0 0 0 0 0 0
3 3 3 3 3 3 3 3
[21]

# C
∑
B G
∑
E D C D C
∑
B
..
&

# œ œ.
& œ Œ œ Œ ‰ œJ œ œ œ œ. œ œ œ œ Œ ..

0 0 3 0
.
.
1 0 3 1 3 1 0

[24]

# G A5 E5
& ∑ ∑ ∑

#
Acoustic Guitar Grade 1

& œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww

2 2 2 2 2 2 2
0 0 0 0 0 0 0 2
3 3 3 3 3 3 3 3 0
[27]
13
 Seven Nation Army | Technical Guidance

This arrangement features a repeated riff, shown by repeat bars. These indicate that the riff in bars 5 & 6 must be repeated
until the point where the music changes (in this case, bar 21). The difficulty with repeating sections can be counting the
same riff multiple times and moving to the next section at the right time. Notice that these repeat bar symbols enable you
to follow the vocal line as you play, which is a useful skill in reading contemporary music scores. We also see repeat barlines
(bar 23 & 26), showing us that this section must be played twice.

Try to keep the eighth note rests really clean, as this will not only gain marks for accuracy, but also make the riff sound much
more precise and rhythmic. The same is true of dotted and tied notes. Try practicing small sections of these more difficult
phrases until you feel comfortable linking them together. Combined with dotted eighth notes and tied 16th notes, the rests
can be intimidating to sight read, but should make sense when listening to the audio performance.

From a technical perspective it is the power chords that will require the most pick control. You should ensure that you
only sound the written notes, as adding unwanted open strings – or even extra notes from the larger chord – can change
the sound, and therefore the effect that the part has. Working on both the A5 and E 5 chords (shown in bars 28 and 29) in
isolation, and changing back and forth between them cleanly, will really help you get a feel for this frequently used stylistic
type of chord.

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

Acoustic Guitar Grade 1

14
 ‘Titanium’ | David Guetta (feat. Sia)
‘Titanium’ was a number one hit for French DJ and music producer David Guetta, featuring vocals from Australian
singer Sia. Initially released digitally as one of four promotional singles for the album Nothing but the Beat in August
2011, the hit was officially released as the fourth single from the album in December of that same year. ‘Titanium’ was
well received in many of the top music markets worldwide, achieving number 1s in four countries and top 10s in an
incredible twenty five countries across the globe.

The single was met with positive reviews, with many claiming it to be the show stopper of the album thanks to Sia’s
collaboration on lyrics and phenomenal vocal performance. Described as “epic and energising”, ‘Titanium’ was musically
likened to the works of Coldplay and Sia’s vocal was compared to that of Fergie. Many reviewers raved about Sia’s delivery
of the song’s hook, stating that ‘Titanium’ was by far the “most intriguing hook-up” of Guetta’s fifth studio album. The
single was certified 3 x Platinum in the UK with sales just short of two million copies, and 2 x Platinum in the US with
four million records sold.

Guetta’s album Nothing But The Beat topped the album charts in the DJ’s home nation of France, as well as Australia,
Belgium, Germany, Spain and Switzerland. While some reviewers felt it was lacking somewhat in comparison to his
earlier works, the album was well-received by many with tracks ‘Night of Your Life’ and ‘Titanium’ being highlighted as
the strongest on the release. Selling just under one million copies in the UK, Guetta achieved 3 x Platinum status and with
500,000 copies sold he was awarded Diamond status in his home country of France.

Sia is an Australian singer-songwriter who launched her career with acid-jazz band Crisp in the mid-1990s. 1997 saw
Crisp disband and so Sia moved to London in hope of furthering her music career, getting her first big break performing as
a backing vocalist for global superstars Jamiroquai. In 2000 the singer signed a solo contract with Sony Music’s sub-label,

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

Dance Pool, and released her debut solo single ‘Taken for Granted’. Over the next decade Sia found fame increasingly
difficult, and longing for a private life she decided to focus on songwriting for a time. Having originally intended her song
‘Titanium’ to feature vocals by Alicia Keys, on hearing her demo Guetta decided the track should be released featuring
Sia’s original demo vocals on Nothing But The Beat, which Sia was not happy about.

The success of ‘Titanium’ saw Sia’s career relaunched in many ways. Finding her way with being famous, she also
worked on film collaborations and the singer-songwriter felt much more comfortable in the public eye. With nine
album releases including several collaborations, Sia has made her place in the music industry as a well-respected
vocalist and songwriter.

Song Info
Song Title: Titanium
Album: Nothing but the Beat
Released: 2011
Label: Virgin/Capitol US
Genre: House/Urban-Dance
Written By: Sia/David Guetta/Giorgio Tuinfort/Nick van de Wall
Produced by: David Guetta/Giorgio Tuinfort/Afrojack
UK Chart Peak: 1
Acoustic Guitar Grade 1

15
 Titanium Session Style

David Guetta (feat. Sia)

Arranged by Ashley Hards

c 126 House/Urban-Dance

j j
C G Am

& 44 Œ ‰ œj œ œ œ œ ˙ Œ œ
œ œ œ
J œ œ œ œ œ œ œ
J
˙
J J
You shout it out, but I can’t hear a word you say.

œ œ ˙ œ ˙ œ œ ˙ œ œ ˙
& 44 œ œ œ œ œ
p let ring

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

C G Am

& Œ ‰ œj œ œ œ œ œ. j
œ œ œ œ ˙
Ó ∑
I’m talk - ing loud, not say - ing much.

œ œ ˙ œ ˙ œ œ ˙ œ œ œ œ
& œ œ œ œ

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

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

[5]

j j
C G Am F

& Œ ‰ œj œ œ œ œ ˙. œ
œ œ
J
œ œ œ œ œ œ œ œ
J
˙
J J
I’m crit - i - cized, but all your bul - lets ri - co - chet.

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ

0 0 0 0 2 2 2 2
2 2 0 0 2 2 3 3

[9]

C G Am

& Œ ‰ œj œ œ œ œ œ. j
œ œ œ œ ˙
Ó ∑
You shoot me down, but I get up.

˙ ˙ ˙ ˙
& œ œ œ œ œ
Acoustic Guitar Grade 1

œ œ œ

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

[13]
Words and Music by David Guetta, Sia Furler, Giorgio Tuinfort and Nick Van De Wall
Copyright © 2011 What A Publishing Ltd., KMR Music Royalties II SCSp, EMI Music Publishing Ltd., Sony/ATV Music Publishing LLC and Afrojack Publishing
16 All Rights for What A Publishing Ltd. and KMR Music Royalties II SCSp Administered Worldwide by Kobalt Songs Music Publishing
All Rights for EMI Music Publishing Ltd. and Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
All Rights for Afrojack Publishing Administered by BMG Rights Management (US) LLC
All Rights Reserved Used by Permission
 j œ œ œ œ. œ œ œ œ ˙ œ œ œ œ œ.
F maj 7 G Em Am

& Œ ‰ œ œ œ œ œ
J J
I’m bul - let - proof, noth - ing to lose; fi - re a - way, fire a - way.

≥ ≥ ≥œ ≥œ ˙ œ ˙
& œ œ œ œ œ ˙ œ œ œ ˙
œ œ œ œ œ
P
0 3 0 0
1 0 0 1
2 0 0 2
3 0 2 2

[17]

œ œ œ œ. œ œ œ œ ˙ œ œ œ œ œ.
F maj 7 G Em Am

& œ Œ œ œ œ œ
J J
Ri - co - chet; you take your aim; fi - re a - way, fire a - way.

œ ˙ œ ˙ œ ˙ œ œ ˙
& œ œ œ œ œ
œ œ œ œ œ œ

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

[21]
F maj 7
j œ œ œ œ.
G
œ œ œ
Em
œ œ.
Am
œ œ. œ
œ. œ œ œ Œ œ œ œ J J
& J

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

You shoot me down, but I won’t fall; I am ti - ta - - - ni - - - um.

≥œœ . œœœ≤ ˙˙˙ œ. œ ˙ œœ .. œœ ˙˙ œœœ .. œœœ ˙˙˙

& œœ ... J
œœ ..
œ.
œœ ˙˙ œœ .. œ ˙ œ .. J
J J
F
0 0 3 3 0 0 0 0
1 1 0 0 0 0 1 1
2 2 0 0 0 0 2 2
3 0 2 2

[25]

œ
F maj 7
j œ œ œ œ.
G
œ œ œ
Em
œ œ.
Am
œ œ. œ
‰ œ œ œ Œ œ œ œ J J
& J

j
You shoot me down, but I won’t fall; I am ti - ta - - - ni - - - um.

œ. œœ ˙˙ œ. œ ˙ œœ .. œœ ˙˙ œœ .. œœ ˙˙
& œœœ ... œ ˙ œœ ..
œ.
œœ ˙˙ œœ .. œ ˙ œœ .. œ ˙
J J J
0 0 3 3 0 0 0 0
1 1 0 0 0 0 1 1
2 2 0 0 0 0 2 2
3 0 2 2

[29]

w
F G Em Am F

& .. ∑ ∑ ∑ .. ∑
Acoustic Guitar Grade 1

≥ ≥ ≥ ≥
& . œœœ
. œœ
œ
œœ
œ
œœ
œ œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ œœœ œœœ .. www
f
. 12 .
. 3 .
1 1 1 0 0 0 0 0 0 0 0 1 1 0 0 1
2 2 2 0 0 0 0 0 0 0 0 2 2 2 2 2
3 3 3 0 0 0 0 2 2 2 2 2 2 2 2 3

[33]
17
 Titanium | Technical Guidance

to achieve if you want top marks for an exam performance. Try taking a short repeating pattern and going from p to P to f
This arrangement features an ascending dynamic throughout which can be challenging at first, but is nevertheless important

to F and you will start to develop an intuitive sense of how much pressure and attack is needed for your particular instrument
and hands.

The open position chords/arpeggios (bar 1 to bar 7 for example) need to ring clearly, so a good fretting position is needed
to prevent strings from accidentally being muted. Many of the shapes are very close to each other so not too much position
shifting is required. This should allow you to keep your fingers close to the fretboard and develop fast and efficient changes.

The eighth notes throughout the piece should be rhythmically even and the dotted quarter notes in bar 25 to bar 29 bars
given their full value. Allowing extra time for chord changes by moving too early will affect the overall sound produced and
begin to influence marks given for rhythmic accuracy here. Some time to move is reasonable, but you should aim to be as
close to the end of the written rhythm as is realistic and natural for your performance.

When the full strumming section begins at bar 33 try to make sure that your attack is even and that no notes are
significantly louder or quieter than the others. Doing this can change the sound produced in unintended ways.

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

Acoustic Guitar Grade 1

18
 ‘Redemption Song’ | Bob Marley and the Wailers
‘Redemption Song’ features on Bob Marley & the Wailers’ ninth album, Uprising, released in 1980. The song’s original
recording consists of a solo performance by Marley, accompanying himself on the guitar, and is said to have been like
nothing he had released before. In October 1980 a single version of the song was released and featured a full band version
on its B-Side. The single was released in the UK and France and although it failed to chart it became known as one of
Marley’s greatest works.

Marley was known for his beliefs in African unity and was a passionate Pan-Africanist, so it is little wonder that
‘Redemption Song’ featured lyrics based on, and sometimes directly taken from, a speech by political activist Marcus
Garvey entitled ‘The Work That Has Been Done’. In fact, many of Marley’s songs were heavily influenced by his political
views, including ‘Zimbabwe’, ‘Exodus’, ‘Survival’ and ‘Black Redemption’. Marcus Garvey was a huge influence on Marley,
both in his writing and in his personal life as they shared many of the same beliefs and hopes for the people of Africa.

‘Redemption Song’ was written while Marley battled with the cancer that eventually took his life. Having been
diagnosed in 1977 with a rare form of malignant melanoma, Marley was already in pain at the time of writing the song,
and according to his wife Rita Marley “he was already secretly in a lot of pain and dealt with his own mortality, a feature
that is clearly apparent in the album, particularly in this song.” Sadly, in 1981 the singer lost his battle with cancer and
passed away on May 11th. Marley was honoured with a state funeral at which the Jamaican Prime Minister gave the final
eulogy before he was buried with his beloved guitar.

Both throughout his career and posthumously, Marley was awarded and honoured for both his music and humanitarian
work. In 1976 Rolling Stone magazine named Bob Marley & the Wailers their ‘Band of the Year’ and in 1981 Marley was
posthumously awarded the Jamaican Order of Merit for his renowned international distinction in the arts. His accolades

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

and achievements are endless, with only a few including an induction into the Rock and Roll Hall of Fame in 1994, a star
on the Hollywood Walk of Fame in 2001 and a Grammy Lifetime Achievement Award the same year.

Hailed as one of the most influential figures in bringing reggae to the mass market, Marley’s music remains hugely
important to the music industry today. With countless musicians having covered his work, including Stone Roses,
Stevie Wonder, Chris Cornell and Joe Strummer (to name but a few) it is evident that he continues to inspire musicians
to this day.

Song Info
Song Title: Redemption Song
Album: Uprising
Released: 1980
Label: Island/Tuff Gong
Genre: Folk/Reggae
Written By: Bob Marley
Produced by: Bob Marley/Chris Blackwell Acoustic Guitar Grade 1

19
 Redemption Song Session Style

Bob Marley and the Wailers

Arranged by Tommy Loose
c 112 Folk/Reggae
Intro

# œ
& 44
N.C.
∑ ∑ ∑ Ó Œ
Old

#
& 44 j œ œ j
œ. œ œ œ œ œ œ. œ œ œ œ œ œ œ ˙
T
A 2 0 0
B 3
0 2
3
3 2
3
0 2 3 2 0
3

# Gœ œ œ œ œ ‰ œJ œ œ œ œœœ œ œ œ œ
Em C G/B Am

& œ Œ Œ Œ Ó
3

≥ ≤j ≤ ≥ ≤ ≤ ≥ ≥ ≥ ≥ ≥ ≤ ≤
pi - rates, yes, they rob I. Sold I to the mer - chant ships

≥ j ≥ j ≥
# œ. œ œ œ œ œœ .. œœ œœ œœ œœ œœ œœ œ œ œœœ .. œœœ œœœ œœœ œœœ
& œœœ ... œœ
œ
œœ
œ
œœ
œ
œœ
œ œœ .. œœ œœ œœ œœ œœ œœ œœ
œ
œœ
œ œ .. œ œ œ œ

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

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

[5]

# ‰ œj j j j
‰ œJ œ
G Em C G/B Am

& œ œ œ œœ œ œ œ Œ Ó ‰ œ œ œ œ œ œ œ Œ

j j j
min - utes af - ter they took I from the bot - tom - less pit. But my

# œœ .. œ
œœ
œ
œœ
œ
œœ
œ
œœ œœ .. œœ œœ œœ œœ œœ œœ œ
œœ
œ
œœ œœœ .. œœœ œœœ œœœ œœœ
& œœ .. œ œ œ œ œœ .. œœ œœ œœ œœ œœ œœ œ œ œ .. œ œ œ œ

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

[9]

# Gœ œ œ
3
œ œ
Em
œ œ Œ Ó
C
‰ œ œ œ œ œ
G/B
œ œ œ
& J

j j
hand was made strong by the hand of the Al - might -

# œœ .. œ œ œ œ œ œ
Acoustic Guitar Grade 1

œœ œœ œœ œœ œœ .. œœ œœ œœ œœ œœ œœ œœ œœ
& œœ .. œ œ œ œ œœ .. œœ œœ œœ œœ œœ œœ œ œ
≥3 ≤
3 3
≤ ≥3 ≥0 ≤
0 0
≤ ≥0 0 0 3 3
0 0 0 0 0 0 0 0 1 1 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

[13]
20 Words and Music by Bob Marley
Copyright © 1980 Fifty-Six Hope Road Music Ltd. and Odnil Music Ltd.
All Rights in North America Administered by Blue Mountain Music Ltd./Irish Town Songs (ASCAP) and throughout the rest of the world by Blue Mountain Music Ltd. (PRS)
All Rights Reserved
 # Aœm œ œ œ œ.
G Em
& Œ ‰ œ œ œ œ œ œ œ œ Œ
J J

j j j
- - y. We for - ward in this gen - er - a - tion

# œ. œœœ œœœ œœœ œœœ œ. œ œ œ œ œœ .. œœ œœ œœ œœ

& œœœ ... œ œ œ œ
œœ ..
œ.
œœ
œ
œœ
œ
œœ
œ
œœ
œ œœ .. œœ œœ œœ œœ
0 0 0 0 3 3 3 3 0 0 0 0
1 1 1 1 0 0 0 0 0 0 0 0
2 2 2 2 0 0 0 0 0 0 0 0
2 2 2 2 0 0 0 0 2 2 2 2

[16]

# C
j j D
j œ
& Œ ‰ œ œ. œ œ œ. Ó œ œ œ œ

j ≥œ . œœ≤ œœ≤ ≥œ ≥œ ≥œ ≥œ ≥œ
tri - umph - ant - ly. Won’t you help to sing

# œ. œœ œœ œœ œœ œœ .. œœ œœ œœ œœ œœ œœ
& œœœ ... œœ œœ œœ œœ œ. œœ œœ œœ œ œ œ œ œ
J
0 0 0 0 2 2 2 2 2 2 2 2
1 1 1 1 3 3 3 3 3 3 3 3
0 0 0 0 2 2 2 2 2 2 2 2
2 2 2 2 0 0 0 0 0 0 0 0

[19]
Chorus
# j j j œ
‰ œj œ œ œ
G C D G C D
& œ Œ Ó Œ ‰ œ œ œ œ œ œ Œ œ

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

j j
these songs of free - dom? ’Cause all I ev - er had,

# œœ œ
‰ œœ
œ
œœ
œ
œœ
œ
œœ œœ œœ œœ œœ œ
œœ
œ
‰ œœ
œ
œœ
œ
œœ
œ
œœ œœ œœ œœ œœ
& œœ œ œ œ œ œœ œœ œ œ œœ œœ œ œ
œ œ œ œ œ œ œ œ œ
3 3 3 3 0 0 2 2 3 3 3 3 0 0 2 2
0 0 0 0 1 1 3 3 0 0 0 0 1 1 3 3
0 0 0 0 0 0 2 2 0 0 0 0 0 0 2 2
0 0 0 0 2 2 0 0 0 0 0 0 2 2 0 0

[22]

# Eœm C
‰ œj œ .
D
j G
j C
j
D
j
& Œ Ó Œ œ œ œ. Ó Œ ‰ œ œ. œ

# œ œj œ œ œ
re - demp -

œœ
tion songs. re - demp

œœ
-

œœ
tion

˙ œœ œœ œœ
& j ˙˙˙ œ œ œ œ œœ
œ
‰ œœ
œ
œœ
œ
œœ
œ
œœ
œ œœ œœ œœ œœ
œ. œ
0 0 2 3 3 3 3 0 0 2 2
0 1 3 0 0 0 0 1 1 3 3
0 0 2 0 0 0 0 0 0 2 2
2 2 0 0 0 0 0 2 2 0 0
2
0
[26]

# Gj j j j
Ó Œ ‰ œ œ. Ó
C D G

& œ œ. œ œ œ.
j
Acoustic Guitar Grade 1

songs. re - demp - tion songs.

# œ œ œ œ œ œœ œœ œœ œœ w
& œœœ ‰ œœ
œ
œœ
œ
œœ
œ
œœ
œ œœ œœ œ
œ
œ
œ
ww
www
3 3 3 3 0 0 2 2 3
0 0 0 0 1 1 3 3 0
0 0 0 0 0 0 2 2 0
0 0 0 0 2 2 0 0 0
2
3
[30]
21
 Redemption Song | Technical Guidance

This piece features a distinctive acoustic guitar melody in bars 1 to 4, based around the notes of G major and played in the
lower register. Picking hand accuracy is important through this section, and it is a good idea to practise this line slowly to
become familiar with which notes land on which strings. Dotted rhythms feature here, so taking care not to rush the rhythms
through these bars will ensure a stable and strong opening to the performance.

Once the chordal strumming patterns begin in bar 5, the feel of the arrangement asserts itself. Try to keep all chord
voicings clear and accurate, avoiding unwanted ringing A and Low E strings. At bars 26 & 27, there is a brief departure
from strummed chords to broken chord phrases, and careful practise will be needed to handle the transition between these
different approaches.

An even strumming hand attack is important to establish and maintain continuity in your performance, and the strumming
indications are a great help in developing a fluid arm motion through this piece. They are written in a way whereby they
outline a constant eighth-note pulse. That is to say, if you were to mime constant alternate strummed eighth-notes, and only
strike the chords in the notation, the strumming directions would remain the same as they are currently written.

There are no repeat marks in this arrangement to contend with, so you can focus on maintaining control and flow without
having to move around the score.

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

Acoustic Guitar Grade 1

22
 ‘Hallelujah’ | Jeff Buckley
This song was written and originally released by Canadian singer songwriter Leonard Cohen. Featuring on his 1984
album Various Positions, the track initially found little success and peaked at number 59 on the US Billboard singles
chart. It is with Jeff Buckley’s 1994 version that the song received the critical acclaim it deserved. Certainly a songwriter’s
masterpiece, Cohen delivered a powerful lyric and melody. However, it was Buckley’s haunting vocal and arrangement
that saw the song peak at number 2 in the UK Singles Chart.

Jeff Buckley featured his version of the track on his album Grace (1994). Hallelujah was never officially released as a
single at the time and featured only as an album track. It wasn’t until ten years after Buckley’s untimely passing that the
song was released as a single in 2007. Since it’s release, Buckley’s version has been held as one of the greatest interpretations
of all time and is regarded highly by artists to this day. John Legend famously reports that Buckley’s posthumous release
is ‘…one of the most beautiful pieces of recorded music I’ve ever heard.’

In 2004 ‘Rolling Stone Magazine’ ranked Buckley’s rendition at number 259 in their ‘The 500 Greatest Songs of All
Time’ list, long before its single release. In 2007, Buckley’s ‘Hallelujah’ was named ‘The Greatest Song of All Time’ by The
International Observer. It seemed that at last the mastery of the song was receiving the acclaim it deserved.

Jeff Buckley’s album Grace was released in 1994 and initially achieved poor sales, peaking at number 149 in the US
Billboard Album Chart. However, by 2007 the album as a worldwide success and had sales of over two million copies
globally. Grace has been cited by critics and listeners as one of the greatest albums of all time. Sadly, Jeff Buckley never
lived to see the success of his work and will never know the impression his adaption of Hallelujah had on its listeners. At
six and a half minutes long his version takes the listener on a whirlwind of emotions. With constant highs and lows, his
vocal is mesmerising and the lyrics can be heard far clearer than on Cohen’s original. Of course, the credit for writing

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

such a beautiful piece remains Cohen’s but had it not been for Buckley’s interpretation we may never have known the
genius of the lyric.

Song Info
Song Title: Hallelujah
Album: Grace
Released: 2007
Label: Columbia
Genre: Folk/Alternative Rock
Written By: Leonard Cohen
Produced by: Jeff Buckley/Andy Wallace
UK Chart Peak: 2

Acoustic Guitar Grade 1

23
 Hallelujah Acoustic Specialist (Duet)

Candidate Part (assessed) Jeff Buckley

Arranged by Jono Harrison & Giorgio Serci
d60 Folk / Alternative Rock
Intro

œ. œœœ .. œœ ..
C Am C

& 68 œœœ ... œ œ œ œ ..

œ œ œ œœ .. œ œ œ
P
0 0 0
T 1
0
1
0
1
2
1
2
1
0
1
0
A 2 2 2 2 2 2
B

Verse

œœœ .. j j
Am C Am

œ œ œ œ œ œ j
& œ .. œ œ œ œ œ œ

0
T 1
2
1
2 0 0 0 0 2 2 2
A 2 2 2
B
[4]

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

j j j j
C Am F

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ

T 0 0 0 2 2 2 0 2 2 2 2
A 2
B
[7]

j Œ. Œ j
G/B C G

& œ. œ œ ˙. œ
F
T 2 0 0
A 3 2
B
[10]

j
Acoustic Guitar Grade 1

j j œ œ œ œ œ œ œ œ œ
C F G Am F

& œ œ œ œ œ œ œ œ J J J
J

T 0 0 0 0 2 2
0 0 1 1 1 1 1 1 3 1
A
B
[13]
24 Words and Music by Leonard Cohen
Copyright © 1985 Sony/ATV Music Publishing LLC
All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved
 E/G #
œ œ œ œ œ œ. j
& œ œ œ œ œ œ. Œ.
G Am

J J œ œ

0 0 0
T 3 3 3 3 3 3 1
0
A 2
B
[17]

Chorus

Œ. j Œ. j
F Am

& œ. œ. œ œ œ. œ. œ œ
P
T 2 2 2 0 0
A 2 2 2
B
[21]

Œ. j
F C G/B

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

& œ. œ. œ œ œ. œ œ œ œ. œ œ œ

T 2 2 2 0
A 2 3 2 0 2 0
B
[25]

∑
C Am C

& .
˙ ˙.

T
A
B 3

[29]
Acoustic Guitar Grade 1

∑ ggg ˙˙˙ ... ˙˙ ..

Am C

& g ˙.

ggg 01
T
A g0
B
[32]
25
 Hallelujah Acoustic Specialist (Duet)

Duet Part (non-assessed) Jeff Buckley

Arranged by Jono Harrison & Giorgio Serci

d60 Folk/Rock
Intro

& 68
C Am C

œ. œ j j
œ. œ j
œ œ. œ œ œ

T
A
B 3 2 0 2 3 2

Verse

œ œ
Am C Am

œ œ œ œ œ œ œ œ
& j œ
œ. œ œ œ
3 5
T 5
5 5
5 5
5 5
5
A
B 0 2 3
5
[4]

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

œ œ œ
C Am F

œ œ œ œ œ œ œ œ œ œ
& œ œ
œ œ œ
3 5 1
T 5
5 5
5 5
5 5
5 2
1 1
2
A
B 3
5 1
[7]

œ œ
G/B C G

œ œ œ œ œ œ œ œ œ œ œ
& œ œ
œ œ œ
3 3
T 2
1
0
3
5
5 5
5 4
3 3
4
A 3
B 2 3
3
[10]

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
C F G Am F

œ œ
Acoustic Guitar Grade 1

& œ œ œ
œ œ œ œ
P
3 1 3 5 5 5 5
T 5
5 5
5
1 3 5 5 6 6
A 3 3
B 3
1 3 5 5
[13]
26 Words and Music by Leonard Cohen
Copyright © 1985 Sony/ATV Music Publishing LLC
All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved
 G E/G # Am

œ œ #œ œ œ œ œ
& œ œ œ œ œ œ
œ œ #œ œ œ œ. œ.
3 3 4 4 5 5
T 4 4 4 4 5
5
5
A
B 3 3 4 4 5 5 3
[17]

Chorus

œ œ œ œ œ œ œ œ
œ œ œ œ
F Am

& œ œ œ œ œ œ
œ œ œ œ œ œ
F
1 1 0 0
T 2
1
2 2
1
2 2
1 1
2 2
1 1
2
A
B 1
3
1
3 0 0

[21]

œ œ œ œ œ.
œ œ
F C G/B

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

& œ œ œ œ œ œ œ œ
œ œ œ œ
œ œ
1 1 0 3
T 2
1
2 2
1
2 0
1
0
3
A 0
B 1
3
1
3 3 3 2

[25]

œ œ œ
C Am C

œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ
œ
3 5 3
T 5
5 5
5 5
5 5
5 5
5 5
5
A
B 3
5
3

[29]

Am
œ ˙˙ ..
C
˙˙ ..
Acoustic Guitar Grade 1

œ œ œ œ ˙. ˙.
& ˙. ˙.
œ
5 8
T 5
5 5
5
8
9
A
B 5 8
[32]
27
 Hallelujah | Technical Guidance

The feel of this arrangement is a critical component in achieving the desired effect and syncing with the track. Be sure that
y
parts have a ‘swaying’ feel to them as this will produce a polished performance. This can be done by placing a small emphasis
on beats 1 and 4 of each bar.

It is important to balance the dynamics between the chords/arpeggios in bars 1 to 4 and the melody lines from bar 5 to bar 30.
Projection over the accompaniment part will help achieve the desired effect, but over-emphasis may create an unpleasant
and uneven sound. Technical control is particularly important when moving between sections that have textural or dynamic
changes and this will lead to a more confident and authoritative performance.

There are no repeats or 1st/2nd time bars to contend with in this arrangement, allowing you to concentrate on blending with
the 2nd guitar part and creating a seamless performance. Care is nonetheless required when counting the six eighth-note
(quaver) beats in each bar, particularly where ties or rests occur. It is important not to rush the eighth-note subdivisions, and
practising the piece to a metronome click (or similar) at slower tempos may help to achieve this.

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

Acoustic Guitar Grade 1

28
 ‘Perfect’ | Ed Sheeran
‘Perfect’ was the fourth single to be released from Ed Sheeran’s chart-topping album ÷ (Divide). The track was well-
received globally, topping the charts in both the UK and the US as well as an impressive sixteen other countries worldwide.
‘Perfect’ gave Sheeran his second UK number one single from the album, with ‘Shape of You’ already having topped the
charts on its release. The first and third single releases, ‘Castle on the Hill’ and ‘Galway Girl’, followed closely behind
and peaked at number two. ‘Perfect’ achieved incredible sales globally and was certified 4 x Platinum in the UK and 8 x
Platinum in the US.

Despite it’s later release, ‘Perfect’ was actually the first song to be written and destined for Sheeran’s third studio album
÷ (Divide). Inspired by and written for his girlfriend Cherry Seaborn, Sheeran was determined to create the greatest long
song he’d ever write and to show his listeners his true sincerity. Feeling that his previous release, ‘Thinking Out Loud’, had
come to define him, he wanted to create something even more heartfelt and emotional. Having successfully written the
song, Sheeran set out to produce it with the help of Will Hicks (Grammy-nominated British producer) and instrumental
assistance from his brother Matthew Sheeran. Until now the brothers had never collaborated together, but with their
Grandmother being elderly they decided to fulfil her final wish which was to see them work together. In light of this,
Matthew provided the strings orchestration for the recording of ‘Perfect’.

The release of ÷ (Divide) saw Sheeran break Frankie Laine’s 1953 record as he occupied all of the top five positions
in the UK Singles chart and placed nine songs in the top ten. With an unbelievable reception worldwide, the singer-
songwriter’s album achieved certified status in a staggering nineteen countries across the globe. With over three million
sales in the UK he saw his album certified 11 x Platinum in his home country and with four million US sales he received
4 x Platinum status in America.

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

Since his entry into the mass market, Sheeran has been nominated for thirteen Grammy Awards and has won four. In
2018 he won both Best Pop Solo Performance for ‘Shape of You’ and Best Pop Vocal Album for ÷ (Divide). The global
star has an impressive list of awards and accolades under his belt including receiving an MBE in 2017 for his services
to music and charity. To date, Sheeran has sold more than 130 million records worldwide, making him one of the best-
selling artists of all time. His albums Multiply and Divide both feature on the list of the 100 best-selling UK albums in
chart history, with Multiply at number 20 and Divide at number 34.

Song Info
Song Title: ‘Perfect’
Album: ÷
Released: 2017
Label: Asylum/Atlantic
Genre: Acoustic Pop
Written By: Ed Sheeran
Produced by: Ed Sheeran/Will Hicks
UK Chart Peak: 1 Acoustic Guitar Grade 1

29
 Perfect Acoustic Specialist (Duet)

Candidate Part (assessed) Ed Sheeran

Arranged by Giorgio Serci

d60 Acoustic Pop

Verse

# 12
G E m7

& 8 œ. œ. Œ. Œ. œ œ œ œ. Œ. Œ. œ œ œ
F
T 0
0
2 0
0
0 2
0
A 0
B

#
C add 9 D sus 4

& œ. œ. Œ. Œ. Œ.
D

œ. œ œ œ œ.

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

T 1 0
2 0 2
0
2
A
B
[3]

Pre-Chorus

# G Em

& œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ ..
œœ .. œœ .. œœ .. œœ .. œœ . œœ . œœ . œœ .
. . . .
P
T 0 0 0 0 0 0 0 0
A 0 0 0 0 2 2 2 2
B 2
3
2
3
2
3
2
3
2
0
2
0
2
0
2
0
[5]

# ˙˙ ..
Acoustic Guitar Grade 1

C D sus 4 D

& œœœ ... œœœ ... œœœ ... œœœ ... œœ .. œœ .. ˙˙ .

.
2
T 0 0 0 0 0 0
3
2
A 2 2 2 2 0 0 0
B 3 3 3 3

[7]
30 Words and Music by Ed Sheeran
Copyright © 2017 Sony/ATV Music Publishing (UK) Limited
All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved
 Chorus

# Em C G
œœ ..
D
œœ ..
& œœ .. œœ .. œœ ... œœ ... œœ .. œœ .. œœ . œœ .
œœ . œœ . œ œ œœ .. œœ .. . .
. .
2 2
T 0 0 0 0 0 0
3
2
3
2
A 2 2 2 2 0 0 0 0
B 2
0
2
0
3 3 2
3
2
3
[9]

2
# Em C G D

& «

T
A
B
[11]

2
# Em C G D

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

& «

T
A
B
[13]

# Em C G D

& œœ .. œœ .. œœœ ... œœœ ... œœ .. œœ .. ˙.

œ. œ. œœ .. œœ ..
œ. œ.
T 0 0 0 0 0 0
A 2 2 2 2 0 0 0
B 2
0
2
0
3 3 2
3
2
3
[15]

Outro

# . w.
Acoustic Guitar Grade 1

& œ œ. œ. ww ..
G F dim Em C D G

œ. ˙. ˙.

3
T 3 1 0
2 0 2
0
0
A
B
[17]
31
 Perfect Acoustic Specialist (Duet)

Duet Part (non-assessed) Ed Sheeran

Arranged by Giorgio Serci
d60 Acoustic Pop
Intro
G E m7

# 12 . œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& 8 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
p . œ. œ. œ. œ. œ. œ. œ.
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
T 3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
A
B 3 3 3 3 0 0 0 0

C add 9 D sus 4
. D
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 œ œ œ œ œ œ œ œ œ.
œ. œ. œ. œ. œ. œ.
. F

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 10 10 10 12
T 3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
2
3
2
3
2
3
2
12 10
A 0 0
B 3 3 3 3

[3]

Pre-Chorus

# œ œ œ œ œ œ œ œ œ œ œ œ
G Em

& œ œ œ œ œ œ œ œ œ œ œ œ

7 7 7 7 7 7 7 7
T 0
0
0
0
0
0
10 8 0
0
0
0
0
0
10 8
A
B
[5]

œ œ œ œ. œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
C D sus 4 D

#
Acoustic Guitar Grade 1

œ œ
j
œ œ J
œ

&

8 7 3 3 5 7 5 5 10
T 5
5
5
5
5
5
3
2
10 12 12 10 12 10
12
A
B
[7]
32 Words and Music by Ed Sheeran
Copyright © 2017 Sony/ATV Music Publishing (UK) Limited
All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved
 Chorus

‚.
# ‚‚ ..
Em C G D

œ œ œ œ j j
& Œ. J J œ. Œ œ œ œ
J
œ œ
NH

12 3 2 0 2
T 12
12
0
0
3 1 0
2
A
B
[9]

# œ œ œ j j œ
œ œ
Œ. œ. œ œ œ
Em C G D

& œ. J œ Œ J

3 2 0 0
T 0 0
0
0
3 3 3 3
A
B
[11]

# œ œ œ œ œ œ. œ.
Em C G D

jœ
œ œ œ œ J J œ. œ œ

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

& œ œ

3 2 0 2 2
T 2 4 2 0
0 3 0
0 2
0 3
A
B
[13]

# œœ ..
Em
œœ ..
C
œœ .. œœ œ œ œœ ..
G
œœ .. œœ ..
D
œ.
&

7 3 8 7 7 3 5 3
T 8 5 10 8 8 10 8 3 7
A
B
[15]

Outro

œ œ œ œ œ ˙˙ ..
G F dim Em D C D G

# œ
Acoustic Guitar Grade 1

& œ œ œ œ œ œ œ
œ
œ œ œ
œ ˙˙ .
. ww ..
ww ..
P
7 5 3 2 0 3 2
T 7 5 4 2 0
1 3
2 0
A 5 4 2 0 2 0 0
B 3 2
3
[17]
33
 Perfect | Technical Guidance

Feeling comfortable within the time signature throughout this arrangement can prove a little tricky, so try to ensure you
W
have practiced counting the compound beats to achieve the ‘swaying’ feel that makes different from , and you will have
W f
less trouble keeping the dotted quarter notes in sync with the track. A way to achieve this is to count the following out loud
(or silently):

‘1 & a | 2 & a | 3 & a | 4 & a’

Rhythmically, this piece features a ‘pickup’ (or ‘anacrusis’), meaning that your first note is actually on the last strong beat of
an ‘imaginary’ extra bar before the main arrangement begins. This is shown in notation as simply a short bar for the length
of the anacrusis, as in this arrangement. As this is a slow tempo, a suitable way to count in to this would be a one-bar
W
count using the approach mentioned above.

Bars 1, 2 & 4 have rests that need to be observed to ensure continuity in the performance of the piece.

When you shift to chords at bar 5, try to make sure that you only strum or pick the written notes and don’t have extra open
strings ringing. As well as fretting hand fluidity between chords, you will need to coordinate your picking hand to achieve a
polished performance.

Controlling the dynamic between F and P could be practiced with a short phrase or sequence before being applied to
the actual song. There can be a tendency to strum chords with more force than picked single notes, however, this must be
avoided in order to play along at the correct dynamic. Controlling your picking hand attack is crucial in order to gain top
marks in the exam.

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

Acoustic Guitar Grade 1

34
35
Acoustic Guitar Grade 1 RSL-422543088927 / 1 / Dave Wooltorton / [email protected]
 Technical Exercises

In this section, you will be asked to play a selection of exercises, chosen by the examiner, from each of the groups below.

All exercises need to be played in straight feel, in the keys, octaves and tempos shown. You may use your book during the
exam for all groups.

Groups A and B (power chords only during Group B) need to be played to a click. The examiner will play the click at the
given tempo, and you should begin to play after four clicks. The remaining chords in group B are played without a click, as
directed by the examiner.

Group C is played to a backing track.

Group A: Scales
The tempo for this group is q = 70 bpm.

1. C major

& œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
T 0 2
0 1 0
2 0
A 0 2 3 3 2 0
B 3 3

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2. A natural minor

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

3. E minor pentatonic

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

4. A minor pentatonic
Acoustic Guitar Grade 1

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

36
5. G major pentatonic

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

Group B: Chords
1. Powerchords: Two-note chords to be played in a continuous sequence. The tempo is q = 70 bpm.
B5 A5 D5 A5 B5

& #œ Œ œ Œ œ Œ œ Œ #œ Œ Ó
œ œ œ œ œ

T 2
A 4 2 0 2 4
B 2 0 0 2

2. Major chords. Individual chords will be strummed once as directed by the examiner.

w # ww w w w

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

& # www n wwww
A D E C G

ww # www ww
www
w ww
0 2 0 0 3
T 2
2
3
2
0
1
1
0
0
0
A 2 0 2 2 0
B 0 2
0
3 2
3

3. Minor chords. Individual chords will be strummed once as directed by the examiner

w ww ww
& www
Am Dm Em

ww ww
w ww
0 1 0
T 1
2
3
2
0
0
A 2 0 2
B 0 2
0

Group C: Acoustic Riff

In the exam you will be asked to play the following acoustic riff to a backing track. The riff shown in bar 1 should be played
in the same shape in bars 2–4. The root note of the pattern to be played is shown in the music in each of the subsequent
three bars. The tempo is q = 70.
Acoustic Guitar Grade 1

q = 70 Acoustic Rock

& 44 œ œ
Em Am Em Am

œ œ œ
œ œ œ œ
T 2 2
A 2 0 2
B 2
3 0

37
 Sight Reading

In the exam, you have a choice between either a Sight Reading test or an Improvisation & Interpretation test. The examiner will
ask you which one you wish to choose before commencing. Once you have decided you cannot change your mind.

In the sight reading test, the examiner will give you a 4 bar melody. You will first be given 90 seconds to practise, after which
the examiner will play the backing track twice. The first time is for you to practise and the second time is for you to perform
the final version for the exam. For each playthrough, the backing track will begin with a one bar count-in. The tempo is
q = 70.

During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at the beginning.

The backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will
start immediately.

Tempo: q = 70
Duration: 4 Bars
Rhythms: Half notes, quarter notes
Key: A minor
Pitches: A–E: 1st, 2nd and 3rd strings;
Instrumental Compass: Open position to 3rd fret

All exercises are performed to a backing track.

You will hear four clicks before each exercise to be played.

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

Please note: exercises may be performed either fingerstyle or with a plectrum.

Example 1
q = 70

œ
& 44 ˙ œ œ ˙ œ ˙ œ œ w

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

Example 2
q = 70

˙ œ
& 44 ˙ œ œ œ œ œ ˙ ˙ ˙

0 0
Acoustic Guitar Grade 1

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

38
Improvisation & Interpretation

In the improvisation & interpretation test, the examiner will give you a 4–6 bar chord progression in the key of C major or A
minor. You may choose to play either rhythmic chords or a melodic lead line – the audio includes a version for each choice.

You will first be given 90 seconds to practise, after which the examiner will play the backing track twice. The first time is for
you to practise and the second time is for you to perform the final version for the exam. For each playthrough, the backing
track will begin with a one bar count-in. The tempo is q = 70–80.

During the practice time, you will be given the choice of a metronome click throughout or a one bar count-in at the beginning.

The backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will
start immediately.

Example 1

q = 80 Rock
¿ ¿ ¿ ¿
4 . ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
Am G Dm Am

& 4 .

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

Acoustic Guitar Grade 1

39
 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 three notes in sequence. You will identify whether the notes are higher or lower (up or down) in
sequence. You will hear the test twice.

Each time the test is played it is preceded by a one bar vocal count-in. The tempo is q = 85.

q = 85

4
& 4 .. w ˙ ˙ ..

. .
. .
T 0
0
A 2
B

Candidate may answer either: “higher/lower” or “up/down”.

Test 2: Rhythmic Recall

The examiner will play you a two bar rhythm played to a drum backing on the lowest-sounding E string. You will hear

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

the test twice. You will be asked to play the rhythm back. You will then be asked to identify the rhythm from two printed
examples shown to you.

Each time the test is played it is preceded by a one bar count-in. There will be a short gap for you to practise. Next you will
hear a vocal count-in and you will then play the rhythm to the drum backing. The tempo is q = 90.

q = 90

& 44 .. ΠΠ..
œ œ œ œ œ œ œ œ
. .
. .
T
A
B 0 0 0 0 0 0 0 0

q = 90

& 44 .. ΠΠ..
œ œ œ œ œ œ œ
. .
. .
T
A
B 0 0 0 0 0 0 0
Acoustic Guitar Grade 1

40
General Musicianship Questions

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

Music Knowledge
The examiner will ask you 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 1 you will be asked to identify:

■■The treble clef

■■The time signature

■■Whole, half, quarter and eighth-note values

■■The difference between a major and minor chord

Instrument Knowledge
The examiner will also ask you one question regarding your instrument.

In Grade 1 you will be asked to identify:

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■■Two of the following parts of your guitar: neck, fretboard, body, tuning-pegs, nut or bridge, sound hole

■■Names of the open strings

Acoustic Guitar Grade 1

41
 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

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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 1

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
42 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-422543088927 / 1 / Dave Wooltorton / [email protected]

Acoustic Guitar Grade 1

43
 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-422543088927 / 1 / Dave Wooltorton / [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 1

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%+

44
* Note that there are no Debut Vocal exams.
Copyright Information

Come As You Are

(Cobain)
BMG VM Music Limited

Seven Nation Army

(White)
Universal/MCA Music Limited

Titanium
(Guetta/Furler/Tuinfort/Van De Wall)
All Rights for EMI Music Publishing Ltd/Kobalt Music Publishing Limited/BMG Rights Management (UK) Limited

Redemption Song
(Marley)
Blue Mountain Music Limited

Hallelujah
(Cohen)
Sony/ATV Music Publishing (UK) Limited

Perfect
(Sheeran)
Sony/ATV Music Publishing (UK) Limited

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

Acoustic Guitar Grade 1

45
 Introducing…
Rockschoo
new theorl’s
y
exams!

POPULAR
MUSIC THEORY
GRADES DEBUT–8

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

OUT NOW!
Discover more at
www.rslawards.com/theory
Enter online at
www.rslawards.com/enter-online
 Become a more
confident, expressive
& articulate musician
Rockschool Popular Music Theory is the essential guide for contemporary
musicians, composers and educators. Whatever your instrument or musical
background, our theory syllabus will equip you with the practical knowledge
to become a more confident, expressive and articulate musician.

The syllabus consists of 11 finely-tuned books:

Workbooks Debut to Grade 8. Each grade includes a sample paper

Guidebooks Split into two levels; Debut to Grade 5 and Grades 6 to 8

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

Truly understand
musical theory
then apply your
knowledge using
a corresponding
Workbook
GUIDEBOOKS WORKBOOKS
Discover everything you need to know The ideal preparation for students
about popular musical theory taking Rockschool theory exams
Regardless of your current level of technical The range of Workbooks, from Debut to
ability, or stylistic preferences, our Popular Grade 8, serve as grade-specific, practice
Music Theory Guidebooks will provide texts, which enable each student to practice
you with all of the information necessary and apply the knowledge gained through
to progress seamlessly through the the study of the Guidebooks, within the
Rockschool graded theory exams. same structure and format of the actual
Rockschool theory exams.
Acquire a hugely impressive knowledge of:
6 Popular music composition Each book includes sample questions
6 Arranging and performance techniques for the following sections:
6 How to read and analyse a musical score 6 Music notation
6 Specialist notation and techniques for all 6 Popular music harmony
band instruments 6 Band knowledge Model answer
s
6 Harmony, theory and key chord 6 Band analysis available!
Prep for ea
progressions ch exam
using the sa
answers to mple
the questio
provided in ns
your
Download model answers Workbook
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www.rslawards.com/shop
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.

RSL-422543088927 / 1 / Dave Wooltorton / [email protected]

Start downloading now

www.rslawards.com/shop
RSL-422543088927 / 1 / Dave Wooltorton / [email protected]