Guitar Grade 4

Performance pieces, technical exercises and in-depth guidance

for Rockschool examinations

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

Input the following code when prompted: JLY72MDNL9

For more information, turn to page 4

www.rslawards.com
 Acknowledgements

Published by Rockschool Ltd. © 2012 & 2018

Catalogue Number: RSK200046
ISBN: 978-1-912352-82-1
Initial Release | Errata details can be found at www.rslawards.com/errata

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

Syllabus Designer Recording & Audio Engineering (Hit Tunes 2018 Repertoire)
Nik Preston Recording engineers: Oli Jacobs, Scott Barnett, Patrick Phillips
Mixing engineer: Samuel Vasanth
Producer Mastering engineer: Samuel Vasanth
Nik Preston Audio production: Nik Preston
Audio management: Ash Preston, Samuel Vasanth
Syllabus Advisor and Project Management Recording studios: Real World Studios, The Premises
Sharon Kelly
Publishing (Rockschool 2012 Repertoire)
Proof reading Fact Files written by Joe Bennett, Charlie Griffiths, Stephen Lawson,
Sharon Kelly, Jono Harrison, Nik Preston (and all arrangers/performers) Simon Pitt, Stuart Ryan and James Uings
Walkthroughs written by James Uings
Syllabus Consultants (Hit Tunes 2018 Repertoire) Music engraving, internal design and layout by
Guitar: James Betteridge, Andy G Jones Simon Troup & Jennie Troup (Digital Music Art)
Bass: Joe Hubbard, Diego Kovadloff, Joel McIver Proof reading and copy editing by Chris Bird, Claire Davies, Stephen
Drums: Paul Elliott, Pete Riley Lawson, Simon Pitt and James Uings
Publishing administration by Caroline Uings

RSL-489873069038 / 1 / Fidel Campos / [email protected]

Arrangers (Hit Tunes 2018 Repertoire) Additional drum proof reading by Miguel Andrews
Guitar: James Betteridge, Andy G Jones, Mike Goodman, Viv Lock
Bass: Diego Kovadloff, Andy Robertson, Joe Hubbard Instrumental Specialists (Rockschool 2012 Repertoire)
Drums: Paul Elliott, Stu Roberts, Pete Riley Guitar: James Uings
Bass: Stuart Clayton
Publishing (Hit Tunes 2018 Repertoire) Drums: Noam Lederman
Fact files by Diego Kovadloff
Covers designed by Phil Millard (Rather Nice design) Musicians (Rockschool 2012 Repertoire)
Music engraving, internal design and layout by Andy Crompton, Camilo Tirado, Carl Sterling, Charlie Griffiths,
Simon Troup & Jennie Troup (Digital Music Art) Chris Webster, Dave Marks, DJ Harry Love, Felipe Karam,
Printed and bound in the United Kingdom by Caligraving Ltd. Fergus Gerrand, Henry Thomas, Jake Painter, James Arben,
James Uings, Jason Bowld, Joe Bennett, Jon Musgrave, Kishon Khan,
Distribution Kit Morgan, Larry Carlton, Neel Dhorajiwala, Nir Z, Noam Lederman,
Exclusive Distributors: Hal Leonard Norton York, Richard Pardy, Ross Stanley, Simon Troup, Steve Walker,
Stuart Clayton, Stuart Ryan
Musicians (Hit Tunes 2018 Repertoire)
Guitar: Andy G Jones, James Betteridge, Mike Goodman, Endorsements (Rockschool 2012 Repertoire)
David Rhodes (Peter Gabriel) Noam Lederman: Mapex drums, Paiste cymbals, Vic Firth Sticks
Bass: Nik Preston, Joe Hubbard, Stuart Clayton,
Andy Robertson, John Illsley (Dire Straits) Recording & Audio Engineering (Rockschool 2012 Repertoire)
Drums: Paul Elliott, Pete Riley, Peter Huntington, Stu Roberts, Recorded at The Farm (Fisher Lane Studios)
Billy Cobham (Miles Davis, Mahavishnu Orchestra) Produced and engineered by Nick Davis
Vocals: Kim Chandler Assistant engineer and Pro Tools operator Mark Binge
Keys: Jono Harrison, Hannah V (on ‘Red Baron’), Andy Robertson Mixed and mastered at Langlei Studios
Horns: Tom Walsh (tpt), Martin Williams (sax), Andy Wood (trmb) Mixing and additional editing by Duncan Jordan
Supporting Tests recorded by Duncan Jordan and Kit Morgan
Endorsements (Hit Tunes 2018 Repertoire) Mastered by Duncan Jordan
Nik Preston: Overwater basses, Positive Grid amps Executive producers: James Uings, Jeremy Ward and Noam Lederman
Paul Elliott:  Liberty drums, Istanbul Mehmet cymbals,
Regal Tip drumsticks, Remo heads, Executive Producers
ACS custom ear plugs, Protection Racket cases John Simpson, Norton York
Guitar Grade 4

Stu Roberts:  Paiste cymbals, Regal Tip drumsticks,

Yamaha drums, Protection Racket cases

2
Table of Contents

Introductions & Information

1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Guitar Grade 4

Hit Tunes

5 Bruno Mars.. ....................................................... . . . . . . . . . . . . . . . . ‘Treasure’

9 Walk The Moon...................................... ‘Shut Up And Dance’
13 James Brown...................................................... . . . . . . . . . . . . . ‘My Thang’
17 Lynyrd Skynyrd................................................ . . . . . . . . . . ‘I Need You’
21 John Legend and The Roots. . ................... . ‘Our Generation’
25 B.B. King......................................................... ‘The Thrill is Gone’

Rockschool Originals

29 ‘Base Jumper’
33 ‘Crop Duster’
37 ‘Circus Experience’
41 ‘Dirt Wizard’

RSL-489873069038 / 1 / Fidel Campos / [email protected]

45 ‘Funkometer’
49 ‘Carbon Footprint’

Technical Exercises

53 Scales, Arpeggios, Chords & Riff

Supporting Tests

58 Sight Reading
59 Improvisation & Interpretation
60 Ear Tests
61 General Musicianship Questions

Additional Information

62 Entering Rockschool Exams

63 Marking Schemes
64 Introduction to Tone
66 Guitar Notation Explained
67 Mechanical Copyright Information
68 Rockschool Popular Music Theory
Guitar Grade 4

3
 Welcome to Rockschool Guitar Grade 4

Welcome to Guitar Grade 4

Welcome to the Rockschool 2018 Guitar syllabus. This book and the accompanying downloadable audio contain everything
you need to play guitar at this grade. In the book you will find the exam scores in both standard guitar notation and TAB,
as well as Fact Files and Walkthroughs for each song.
The downloadable audio includes:
■■full stereo mixes of 6 Rockschool compositions and 6 arrangements of classic and contemporary hits
■■backing tracks (minus the assessed guitar part)
■■all necessary audio for the complete range of supporting tests

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

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

■■Performance Certificate: in a Performance Certificate you play five pieces. Up to three of these can be Free Choice
Pieces. Each song is marked out of 20 and the pass mark is 60%.

Book Contents
The book is divided into a number of sections. These are:

RSL-489873069038 / 1 / Fidel Campos / [email protected]

■■Exam Pieces: in this book you will find six specially commissioned pieces of Grade 4 standard. Each of these is
preceded by a Fact File. Each Fact File contains a summary of the song, including the style, tempo, key and technical
features, along with a list of the musicians who played on it. The song is printed on two pages. Immediately after each
song is a Walkthrough. This covers the song from a performance perspective, focusing on the technical issues you will
encounter along the way. Each song comes with a full mix version and a backing track. Both versions have spoken
count-ins at the beginning. Please note that any solos played on the full mix versions are indicative only.

■■Technical Exercises: you should prepare the exercises set in this grade in the keys indicated. There is also a Riff test
which should be practised and played to the backing track.

■■Supporting Tests and General Musicianship Questions: in Guitar Grade 4 there are three supporting tests – either
a Sight Reading or an Improvisation & Interpretation test and two Ear Tests – and a set of General Musicianship
Questions (GMQs) asked at the end of each exam. Examples of the types of tests likely to appear in the exam are
printed in this book. Additional examples of both types of test and the GMQs can be found in the Rockschool Guitar
Companion Guide.

■■Additional Information: finally, you will find information on exam procedures, marking schemes, guitar tone, guitar
notation, and the full notation and backing track of a piece from the next grade as a taster.

Audio
Audio is provided in the form of backing tracks (minus guitar) and examples (including guitar) for the pieces and the
supporting tests where applicable. Audio files are supplied in MP3 format to enable playback on a wide range of compatible
devices. Digital versions of the book include audio files in the download. Download audio for hardcopy books from RSL
directly at www.rslawards.com/downloads — you will need to input this code when prompted: JLY72MDNL9

Syllabus Guide
Guitar Grade 4

All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded from the
RSL website: www.rslawards.com

Errata
Updates and changes to Rockschool books are documented online. Candidates should check for errata periodically while
4 studying for any examination. Further details can be found on the RSL website: www.rslawards.com/errata
 Bruno Mars

SONG TITLE: TREASURE

c 112 Pop
ALBUM: UNORTHODOX JUKEBOX

A b add 9/B
b
œœ.
LABEL: ATLANTIC

œœ. œœ. œœ. œœ.

GENRE: DISCO/FUNK/POP

b bb 4 œ œ œ œ œ Œ
& 4
WRITTEN BY: BRUNO MARS,
PHREDLEY BROWN,
PHILIP LAWRENCE,
ARI LEVINE,
THIBAUT JEAN-MARIE 6 6 6 6 6
4
MICHEL BERLAND AND T 4
5
4
5
4
5
4
5 5
IRFANE KHAN CHRISTOPHER A
PRODUCED BY: THE SMEEZINGTONS B
UK CHART PEAK: 12

b
œœœ. œœœ ‰ œœœ
C m7

bb b œœœ
B

RSL-489873069038 / 1 / Fidel Campos / [email protected]

BACKGROUND INFO Michael m7
G Jackson and Earth, Wind and Fire, is expertly

ΠJ
delivered and transmits the feeling of band having a

&
Bruno Mars is a highly successful singer, good time.
songwriter and multi-instrumentalist born on the
island of Hawaii. Mars has sold over 130 million The album Unorthodox Jukebox was a worldwide
records worldwide, making him one the best-selling success and Bruno Mars won the Grammy Award
artists of all time. He has won 11 Grammy Awards for Best Pop Vocal Album in 2014. The promotional
since launching his career in 2010. tour that followed the record’s release was Mars’ 3
6 4
Mars is a very dynamic and exciting performer
T second headline
6 6
tour and was a huge commercial
success. In72013 Mars was the headline performer at7
7 5
whose stylistic influences range from pop and rock A Super Bowl
8
8 XLVIII halftime show. In November
8
2014
to reggae and hip hop via soul and R&B. He is a B Mars collaborated with producer Mark Ronson on
gifted singer with a three octave range, as well an the single ‘Uptown Funk’ which has since become
able instrumentalist, known to play a variety of [4] one of the most successful singles of all time. Bruno
instruments on his recordings. Mars’ stage presence Mars followed with the album 24K Magic which was
is often compared with that of James Brown and another huge worldwide commercial success followed
Michael Jackson. Before his phenomenally successful by a headline world tour.

œœœ.
solo career Mars wrote songs for artists including

.œ
9
Adam Levine (Maroon 5), Alexandra Burke, Bruno Mars is one of only three artists, together F m

b b b œœœ Œ œœ ‰ ‰
Sugababes and Flo Rida amongst many others. with Adele and John Legend, to have a song featuring

& J
only piano and vocals in the Hot 100 charts. Mars

J
‘Treasure’ was released as a single in May 2013 and is an eloquent and vocal advocate of people’s right
became Bruno Mars’ seventh Top 10 hit in the US of expression and is very proud of his mixed roots
in three years. The song reached the Top 20 in eight including Hispanic and Jewish ancestry.
countries. ‘Treasure’ has similarities with ‘Baby I’m
Yours’ by Breakbot and writing credits were given to 3
Guitar Grade 4

Jean-Marie Michel Berland (who penned the latter) 4 4

as a result. ‘Treasure’ was well received by critics. T 5 5
The song’s disco style, borrowing elements from A 6
B
[7] 5
 Treasure
Bruno Mars
Words & Music by Ari Levine,
c 112 Pop A
Philip Lawrence & Peter Hernandez
A b add 9/B b A b maj 7
. . . œœ. œœ.
bb b 4 œœœ œœœ œœœ œœœ. .
G m7 F m7 F m9

œ œœœ ‰ œœ œœœ. ‰ œœœ ‰

& 4 œ œ Œ .. œœ Œ œ œœœ Œ
J J J
F
6 6 6 6 6
. 345 3 3

.
T 4
5
4
5
4
5
4
5
4
5
4
5
6
7
4
5
4
5
4
5
A 8 6 6
B

Bb b A b maj 7
b b œœœ œœœ. œœœ œ œœœ œœœ. œœœ ‰ œœœ œœœ. œœœ
‰ œœJ ‰ œœœ
G m7 C m7 B G m7 F m7

& b Œ Œ J ‰ Œ
J J
3 3 3 3
T 6
7
6
7
6
7
4
5
4
5
6
7
4
5
4
5
6
7
4
5
A 8 8 8 8 8 6
B
[4]

RSL-489873069038 / 1 / Fidel Campos / [email protected]

1.

Bb b
. œœœ. œœœ. œœœ. ‰ .
b œ œœœ. ‰ œœœ ‰ œœœ œœœ œœœ œœœ
F m9 G m7 C m7 B

& b b œœ Œ
J J
Œ ‰ J Œ J ‰ J .

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

2.

A b add 9/B b
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb b œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ Œ
&

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

%
A b maj 7 Bb
œ œœ. œœ œœ œœ œœ. œœ. œœ œœ. œœ œœ
G m7 F m7 G m7 C m7

bb œœ œ œ
B

Œ œ œ ‰ Jœ œ Œ œ ‰ œ ‰ Œ œ ‰ Jœ
& b J J
Guitar Grade 4

8 8 6 8 8 8 10 10 6 8
T 8
8
8
8
6
7
9
8
9
8
9
8
11
10
11
10
6
7
8
8
A
B
6
[12]
© Copyright 2012 Mars Force Music/Music Famamanem/Toy Plane Music/Northside Independent Music Publishing LLC/
Thou Art The Hunger/BMG Gold Songs/Roc Nation Music/Because Editions/Headbangers Publishing/Lickshot.
BMG Rights Management (US) LLC/Imagem Music/Downtown Music UK Limited/Warner/Chappell North America Limited.
All Rights Reserved. International Copyright Secured.
 b A b maj 7
œ œœ. œœ. œœ œœ. œœ œ œœ œœ. œœ.
œ ‰ œœ
B G m7 F m7

bb b œœ Œ œ ‰ œ ‰ œ Œ œ œ Œ œ ‰ œ ‰
& J J J J J

8 6 8 8 6 8 8 8
T 8
8
6
7
8
8
8
8
6
7
9
8
9
8
9
8
A
B
[15]

Bb b A b maj 7
œœ œœ. œœ œ œœ œœ. œ. œœ œœ. œœ œ
G m7 C m7 G m7 F m7

œ ‰ œœ
B

bb b œ Œ œ œ ‰ œœ œ Œ œ ‰ œœ ‰ œ Œ œ
& J J J J

10 10 6 8 8 6 8 8 6 8
T 11
10
11
10
6
7
8
8
8
8
6
7
8
8
8
8
6
7
9
8
A
B
[18]

œ œœ. œœ. A b add 9/B b

ww œœ œœ œœ œœ
bb b œœ œ œ
Fine

& Œ J ‰ J ‰ ww œœ œœ œœ œœ Œ

8 8 6
T 9
8
9
8
4
5
11 11 11 11 11 11 11 11
A 6 8 8 8 8 8 8 8 8
B

RSL-489873069038 / 1 / Fidel Campos / [email protected]

[21]

b
bb .. ‰ œ œ œ. œ. œ . .
C

œŒ ‰ œ œ œ œ. œR œŒ ‰ œ œ œ œ. œR œŒ
A maj 7 G m7 F m7 G m7 C m7

& b R R R R
p
.
.
T 8 8 8 8 8 8 8 8 8
A 8 10 10 8 10 10 8 10 10
B
[24]

A b maj 7
b b ‰ œ œ œ. œ. œ œ ‰ œ œ œ . ‰ œ œ œ. œ. œ œŒ . .
‰ œ œ œ œ. œJ ‰ Œ
G m7 G m7 F m7 F m7

& b . R R

.
.
T 8 10 12 10 8 8 8 8 8 8
A 8 10 10 10 8 10 10 8 10 10
B
[27]

A b add 9/B b
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
D.%. al Fine

b bb œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ Œ
&
F
Guitar Grade 4

T 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11
A 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
B
[30]
7
 Walkthrough

Amp Settings B Section (Chorus)

A bright, clean sound is required for this song. The song The B section follows the same chord progression as in
was recorded on a Stratocaster using both the bridge and section A, but the guitar switches to playing the chord
middle pick-up. Try experimenting with the levels of Bass, voicings in a higher register. A good exercise is to analyse
Middle and Treble, and see what settings you prefer. Note the chord progression and work out how each triad works
that these settings are just suggestions, and depending on the against each chord.
guitar and amplifier you play through the suggested amp EQ
settings will change.
C Section (Breakdown)
Clean The C section is a breakdown where the guitar plays a single
Channel Equalisation Reverb note line, based around the C minor pentatonic scale. Watch
5 5 5 5 5
out for the variation in bar 27, before taking the repeat
3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 back to bar 24. Take the D.S. al Fine marking at the end of
2 8 2 8 2 8 2 8 2 8 this section back to the sign at the beginning of section B
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
(chorus), then play to the Fine sign at bar 23.
GAIN BASS MIDDLE TREBLE DRY – WET
If you are struggling with any parts in the song, try isolating
the bars that you want to focus on, and practice them in
A Section (Verse) isolation without the backing track. It may also help to play
This song is in the key of C minor and begins with a quarter along with just a metronome to help focus on the areas that
note rhythm, on an Abadd 9/Bb (V) chord into the A section, you feel may need attention. Try keeping time yourself by
where the guitar plays triads over the changes Abmaj 7 (IV), tapping your foot or nodding your head in time with the
Gm7 (iii), Fm7 (ii) and Cm7 (vi). Notice that the chord music. This will help develop your ‘inner clock’.
voicings omit the root note of each chord. This is common

RSL-489873069038 / 1 / Fidel Campos / [email protected]

practice in a lot of styles of music, especially funk, soul,
and jazz. The bass in the song outlines the root movement,
so it is unnecessary for the guitar to play them too. If we
look closer you will notice that the voicings may seem like
unrelated triads compared to the chords written above. For
instance, over the Abmaj7 chord the guitar is playing a C
minor triad. If we look at the notes in the Abmaj 7 chord
we’ll see why this works.

R 3rd 5th 7th

A maj7 = Ab
b C Eb G
Cm Triad = C E G
b

We can see that a C minor triad is the 3rd, 5th, and 7th of an
Ab major 7 chord. We can also look at this chord as a slash
chord, Cm/Ab ( C minor Triad with an Ab in the bass).

If we rewrite all the chords as slash chords, we get the following.

Abmaj 7 = Cm/Ab
Gm 7 = Bb/G
Fm7 = Ab/F

At the second time ending bar the guitar plays a 16th-note

B b octave figure in unison with the bass. You may want to
practise getting the strumming hand moving in time with
Guitar Grade 4

the 16th note subdivision at a slower tempo, then building

up to tempo once you feel comfortable. Be careful not to let
any other strings ring out here.

8
 Walk The Moon

SONG TITLE: SHUT UP AND DANCE

ALBUM: TALKING IS HARD
c128 Pop/Rock
œ œ œ œ œ
LABEL: RCA

# ## # 4 œ œ
GENRE: POP ROCK / DANCE ROCK A

& 4
WRITTEN BY: BEN BERGER, ELI MAIMAN,

F
RYAN MCMAHON, NICOLAS
PETRICCA, KEVIN RAY AND
SEAN WAUGAMAN
PRODUCED BY: TIM PAGNOTTA 12 12
12
T 13
12
14 14
UK CHART PEAK: 4 A
B

œ œ œ œ
# ## # œ œ œ œ
&

RSL-489873069038 / 1 / Fidel Campos / [email protected]

BACKGROUND INFO
Guitarist Eli Maiman uses many effects in order
‘Shut Up And Dance’ was released as a single in to emulate synth sounds and is an endorsee of Kauer
September 2014. It was the first single from Talking Is guitars. He studied jazz guitar at music school. All
12
12 12
Hard by Cincinnati band Walk The Moon. The band’s band members studied music at college. 12
name is an adaptation of ‘Walking On The Moon’, T 13
12
11 11
the 1979 UK no.1 single by The Police. The band A Walk The Moon’s first hit single was ‘Anna Sun’
draw much of their inspiration from late 1970s and
early 1980s acts including The Cars, The Police, Pat
B and the video featured the band with their faces
painted, this is something that they started doing
Benatar, Tears For Fears, U2 and Talking Heads. [4] on stage thereafter and it is now a ritual for fans at
live shows. During their live shows Walk The Moon

# ## # . ‰ œ œ œ œ œ œ . œ œœœ
‘Shut Up And Dance’ reached the no.4 spot on the B open up their songs and reinvent them. In 2017 the
Billboard Hot 100 chart in the US and reached the band released What If Nothing. The record explores

& . œ œ œ œ œ œ. œ œœœ
Top Ten in many territories. The song’s lyrics, written a different sonic landscape and lyrical content, based
by lead singer Nicolas Petricca, recall the feeling of on the band’s perception of the current political shifts
awkwardness produced by being asked to dance by taking place in the US and Europe.
his girlfriend at a night club and explore the need to
let go of one’s inhibitions. Talking Is Hard reached the

.
no.1 spot on the Billboard Top Alternative Albums
and sold over half a million copies in the US alone.

.
The success of the single cemented the band’s
T 9 9 9 9 9 9 9 9 9 9
reputation as a relevant pop act and they have A 7 7 7 7 7 7 7 7 7
supported their work with extensive touring since, B
having performed at many venues and festivals
across the US, Europe and Asia. ‘Shut Up And Dance’ [7]

œœœ
Guitar Grade 4

# ## # ‰ œ œ œ œ œ œ . œ
is featured in the video games Guitar Hero Live and
Just Dance 2016 and was also featured on Strictly

& œ œ œ œ œ œ. œ œœœ
Come Dancing.

9
 Shut Up And Dance
Walk The Moon
Words & Music by Nicholas Petricca, Benjamin Berger,
Ryan McMahon, Kevin Ray, Eli Maiman & Sean Waugaman
c128 Pop/Rock
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
#### 4 œ œ œ œ œ œ œ œ œ œ
A

& 4 ..
F
12 12 12 12
. 13 12 12

.
T 13
12
14
12
14
12
13
12
11
12
11
12 12
14
12
14
12
A
B

œ œ œ œ œ œ œ œ œ œ œ œ
#
## # œ œ œ œ œ œ œ œ œ œ œ œ .
& .

12 12 12 12 12 12
.
.
T 13
12
11
12
11
12
13
12
14
12
14
12
13
12
11
12
11
12
A
B
[4]

#### . œ œ œ œ œ œ . œ
B

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

RSL-489873069038 / 1 / Fidel Campos / [email protected]

. .
. .
T 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
A
B 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

[7]

# ## 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 œœœ
& # ‰ œ œ œ œ œ œ. œ œœœ œ œ œ œ œ œ. œ œœœ œ œ œ œ œ œ. œ œœœ

T 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
A
B 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

[10]

#### ‰ œ œ œ œ œ œ . œ
ad lib rhythm C

œ œ œ ‰ œ œ œ œ œ œ. œ œ œœ ‰ j Œ
& œ œ œ œ œ œ. œ œ œœ œ œ œ œ œ œ. œ œ œœ œ œ œœ œœ
f œ œ
T 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
A
B 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
4
7
4
7
5
7
5
[13]

# # # # ‰ œj œ œ œ ‰ j Œ ‰ œj œ œ œ œ œ œ œ œ œ
& œ œ œ œ œœ œœ œœ œ œ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ
Guitar Grade 4

PM

T
A 9 9 9 9 9 9 9
B 7 7 6 6 9
7
9
7
7
5
7
4
7
4
7
5
7
5
9
7
9
7
9
7
9
7
9
7
9
7
7 7 7 7
5
7
5
7
5
7
5
7
5

10
[16]
© Copyright 2014 WB Music Corporation/Sony/ATV Allegro/Ryan McMahon Publishing/Benjamin Berger Publishing/
Verb To Be Music/What A Raucous Music/Anna Sun Music/Treat Me Better Tina Music.
Warner/Chappell North America Limited/Sony/ATV Music Publishing.
All Rights Reserved. International Copyright Secured.
 #### œ œ
& œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œ ww ˙˙ ‰ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ˙
(PM)

T 2 9
12 9
A 9 9 9 2
B 11 11 11
9 9 9
9
7
9
7
9
7
9
7
9
7
7 7 7 7
5
7
5
7
5
7
5
7
5
11
9
11
9
9
7
9
7
0

œœœœœœœœœœœœœœœ
C # m7
C # m7 C # m7
œ œ œ œ ˙
[20]

œœœœ œœ œœ ˙
A B E
j
#### w
E A B E
nœ
œ œ
D

& ‰ ‰
BU
BU BD
7 9 7 10 (12) 14 12 14 12 16 12 17 12 16 12
T 12 (14)(12) 10 9
11 9 9
12 9 12 12 12 12 12
A
B

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œj œœ
[25]

œœ œj œœ œœ œj œœ ww
A B
j
####
j nœ j

‰ J
œ œ

&
14 12 14 12 16 12 17 12 16 12 9 9 12 12
T 12 12 12 12 12 12 (14) 12 (14) 15 (17) 15 (17) 12
14 (16 ) 14 (16)
12
A BU BU BU BU
BU BU
B

œ œ œ œ œ œ œ œ
[30]

#### . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .
E

& . .

RSL-489873069038 / 1 / Fidel Campos / [email protected]

. 13 12 12 12 12 12 12 12 12
.
. .
T 12
14
12
14
12
13
12
11
12
11
12
13
12
14
12
14
12
13
12
11
12
11
12
A
B
[33]

#### j
F

& ‰ jœ Œ ‰ œœ œœ œ œ œ œ ‰ jœ Œ ‰ œj œ œ œ œ œ œ
œ œ œ œ
œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ
f œ œ œ œ œ œ
T
A 9 9 9 9
B 7
4
7
4
7
5
7
5
7 7 6 6 9
7
9
7
7
5
7
4
7
4
7
5
7
5
9
7
9
7
9
7
9
7
9
7
9
7
[37]

#### . ..
& . œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
. .
. 97 97 97 7 7 7 7 7 11 11 11 9 9 9 9 9 97 97 97 7 7 7 7 7 11 .
T
A
B 5 5 5 5 5 9 9 9 7 7 7 7 7 5 5 5 5 5 9
11
9
9
7
9
7

œœ œœ
[41]

#### .
j œœ j œœ nœ
j
œ
j
j œœ j œœ ww
J
œ œ
..
œ œ
& . ‰
Guitar Grade 4

. 9 9 12 12
.
. .
T 12 (14) 12 (14) 15 (17) 15 (17) 12
14 (16) 14 (16)
12
A BU BU BU BU
BU BU
B
[45]
11
 Walkthrough

Amp Settings D Section (Bars 25–32)

For this performance a clean, bright tone with some added This section covers the solo – an anthemic melody taken
reverb will be suitable in the initial bars. The main verses from the E major and C # minor pentatonic scales. A
and chorus sections require an overdriven sound, in order distorted sound similar to the power-chord sections will
to compliment the driving rhythms. Some additional chorus assist with the sustain for this part. Bars 31–32 require
and delay effects may be complimentary to the overall string bends at the 12th and 15th fret of the B string and
presentation if used tastefully. 14th fret on the G string. When bending strings, it may be
worth considering using two fingers to push the bend as this
should make it a little easier to assist with pitch accuracy and
A Section (Bars 1–6) tone control.
The opening melodic passage (between bars 1–6) utilises the
top three strings – firstly with a partial barre (played with
the first finger at the 12th fret) and an alternation of notes E Section (Bars 33–36)
between the 13th, 14th and 11th fret of the G string. Eighth- The following bars repeat Section A and again consist of the
note rhythmic phrases keep the melody riff tightly locked to three note patterns on the top three strings. Be careful to
the pulse. Alternate picking is generally suited to the intro change sound precisely at the right point when coming out
section, however, fingerstyle technique can also be applied of the solo.
using thumb and fingers – just be sure to keep the tone clear
and the articulation consistent.
F Section (Bars 37–44)
The F section features power-chord shapes with additional
B Section (Bars 7–14) root variations and a combination of eighth-note rhythms.
The B section has a similar rhythmic pattern throughout Distortion will be suitable for this section.
bars 7–14, with opportunity to vary the rhythmic

RSL-489873069038 / 1 / Fidel Campos / [email protected]

structure (ad lib.) in bars 13–14. The fretboard notation
features two notes, including a root on the 7th fret of the G Section (Bars 45–46)
A string and the octave at the 9th fret on the G string. In the final bars the string bends are identical to those
Rhythmic control is required for these bars due to the tempo applied in bars 31–32. Again, it’s worth considering using
of 128 BPM throughout, and the written notation mostly two fingers to push the bend, to support tonal consistency
containing 16th-notes. The down and upstrokes are shown and pitch accuracy.
in Fig. 1. A clean sound is required here, along with the
ability to mute the other strings whilst applying the rhythm.
Normally the muting is produced from the fretboard hand
by gently resting the palm onto the open strings whilst
holding the two notes to produce the sound.

C Section (Bars 15–24)

The C section mostly features power-chord shapes with
some additional root variations and a combination
of eighth-note rhythms. This section drives the tune
along, and the application of palm-muting techniques ⇥ ≤ ⇥ ≤ ⇥ ⇥ ≤ ≤ ⇥ ≤
#### 4 ‰ œ œ œ œ œ œ . œ ⇤ œ œ œ
along with distortion gives a tightness to the sound.

& 4 œ œ œ œ œ œ. œ œ œ œ
Downstrokes are usually best here, in order to support
this tight, driving approach.

T 9 9 9 9 9 9 9 9 9 9
A
B 7 7 7 7 7 7 7 7 7 7
Guitar Grade 4

Fig. 1: Strumming direction

12
 James Brown

SONG TITLE: MY THANG

ALBUM: HELL
LABEL: POLYDOR c 95 Funk
GENRE: SOUL FUNK
œ œ œ œ œ
b b bb 4 Ó
WRITTEN BY:
PRODUCED BY:
JAMES BROWN
JAMES BROWN & 4
UK CHART PEAK: 29
6
6
T 9
8 6
A
B

b bb Œ b œœ n œ œœ ‰ b œœ n œ Œ

RSL-489873069038 / 1 / Fidel Campos / [email protected]

BACKGROUND INFO The guitarists featured on the recording of ‘My

& b bœ œ œ
Thang’ are Joe Beck and Sam Brown. Joe Beck was an
‘My Thang’ was released as a single in April 1974 extraordinary player, fluent in jazz, rock and bop, who
and topped the US R&B Singles chart. It was Brown’s recorded and played with the likes of Esther Phillips,
second consecutive no.1 single, following ‘The Monty Alexander, David Sanborn, Ali Ryerson,
Payback’. ‘My Thang’ was later released as part of the Jimmy Bruno, John Abercrombie, Louis Armstrong,
album Hell. Miles Davis, Maynard Fergusson, Tom Scott and
Larry Coryell, during a long career that included 20
4
The song has been sampled by DJ Jazzy Jeff and
The Fresh Prince for their song ‘Brand New Funk’,
T 4 credited with6 the development
solo albums. He is also
6
4 5 Sam Brown was a well-
of the alto guitar. Guitarist
4 5
by Lords of the Underground for their song ‘Funky A 6
4 with many notable recorded
respected jazz guitarist
4
Child’, by Guy for ‘Groove Me’, by Heavy D & The B performances. He performed and recorded with Keith
Boyz for ‘We Got Our Own Thang’ and by Bell Biv Jarrett, Ars Nova, Charlie Haden’s Liberation Music
DeVoe for ‘Something In Your Eyes’. [4] Orchestra, Astrud Gilberto, Peter Allen and Barry
Manilow, amongst many others.
James Brown is, arguably, the most sampled

b
musician of all time. The list of vocal and James Brown’s importance as an American cultural
instrumental sections sampled from his tunes is icon cannot be underestimated. His stance during the

œœ b œœ n œ Œ
7
Civil Rights era wasBsignificant and his lyrics to ‘Say It

œœ n œ
enormous and ongoing. His influence on music and

b bb Œ œ ‰ œ
musicians the world over is beyond doubt. He is Loud, I’m Black and I’m Proud’ became an anthem for

& b œ
regarded as the Godfather of Soul. Brown demanded the Civil Rights Movement. His social commentary
extreme discipline from his musicians and drove a was expanded with songs like ‘World’ and ‘Get Up,
hard line. If any musician did not comply fully with Get Into It, Get Involved’, ‘Talking Loud And Saying
his musical and performance requirements they were Nothing’ and ‘I Don’t Want Nobody To Give Me
fired. His live performance schedule was gruelling Nothing’, pleading for equal opportunities and self-
until the end of his life. reliance rather than entitlement.
Guitar Grade 4

8 6
T 6
6 7 8 6 7
A 6 8 6

B
[7]
13
 My Thang
James Brown
Words & Music by James Brown
c 95 Funk

b œ œ œ œ œ
Bb7
j
b7
œœ ‰ b œœ n œ Œ
& b b b 44 Ó œ. ‰ Œ Œ œ nœ œ. ‰ b b œœœ n œ
A

œ œ
J
6
T 9 6
8 6
4
4 5
6
6
4
4 5
A 8 8 7 6 4 6 4
B

bb œ œœ ‰ b œœ n œ Œ Œ b b œœœ n œ œœ ‰ b œœ n œ Œ Œ b b œœœ n œ œœ ‰ b œœ n œ Œ
& b b Œ b b œœ n œ œ œ œ œ œ œ

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

Bb7 Ab Bb

RSL-489873069038 / 1 / Fidel Campos / [email protected]

n œœ œ œœ. œœ. œœ.
C7

œœ b œœ n œ œœ n œ
Fm

bb œœ n œ œ ‰ b œœ n œ Œ œ ‰ œœ ‰ n œœ ‰ Œ
&bb Œ œ œ ‰ œ Œ Œ œ
J J J
4 4 6
T 6
6 7
8
8
6
6 7
8
8 9
10
10
10
8 9
6
5
4
5
6
7
A 6 8 6 8 10 8 6 8
B
[7]

Ab Bb Ab Bb Ab Bb
œœ. œœ. œœ. œœ. œœ. œœ. œœ.
bb b b œœœ œœœ œœ œœ œœ œœ
Fm Fm Fm

œ ‰ œœ n œœ ‰ Œ œ œ œ ‰ œœ n œœ ‰ Œ œ ‰ œœ ‰ n œœ ‰ Œ
& J J J J J J J
4 4 4 4 6 4 4 4 4 6 4 4 6
T 6
5
6
5
6
5
4
5
6
7
6
5
6
5
6
5
4
5
6
7
6
5
4
5
6
7
A 6 8 6 8 6 8
B
[10]

. . . . œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
bb b . ‰ œœ œœ œœ œœ ‰
A F m7

& b . J J J ‰ ‰ J J ‰ J ‰ ‰ J J ‰ J ‰ ‰ J J ‰ J ‰ ..
Guitar Grade 4

. 8 8 8 8
.
. .
T 9 9 9 9
10 10 10 10
9 9 9 9 9
10 10 10 10
9 9 9 9 9
10 10 10 10
9 9 9 9 9
10 10 10 10
9
A
B
14
[13]
© Copyright Dynatone Publishing Company.
Warner/Chappell North America Limited.
All Rights Reserved. International Copyright Secured.
 Bb Bb Bb Bb
œ n œœ ˙˙ œœ n œœ ˙˙ œœ n œœ ˙˙ œœ n œœ ˙˙
F m7 F m7 F m7 F m7

bb b b œœ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙
B

& ‰ J ‰ J ‰ J ‰ J

8 10 8 10 8 10 8 10
T 9
10
11
10
9
10
11
10
9
10
11
10
9
10
11
10
A
B
[17]

b
& b b b .. j ‰ j‰ j
œœ n œœ ‰ Œ
j‰ Œ j‰ j‰ j
œœ n œœ ‰ Œ
.
œœ n œœj ‰ Œ .
F m7

. . œœ. n œœ. . .
œ. œ œ œ œ œ. œ. œ œ œ œ œ. . .
. .
. .
T
A 1 0 1 0 1 0 1 0
B 1
3 1
1 1 1 1 1
3 1
1
3 1
1 1 1
3
1
1
1
[21]

Bb Bb Bb
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~
D Fm Fm Fm

bb b w ˙ œ ‰ Ó
& b œ œ œ ˙

RSL-489873069038 / 1 / Fidel Campos / [email protected]

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~
T 5 3 1
A 3 1 3
B
[25]

Bb b Bb
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~
œ
Fm Fm B Fm

œ w œ œ
j

b
j
œ œ

& b bb ∑ Œ J J

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ BU
~~~~
T BU
15 (17) 15 13
16 (18 )
A
B
[28]

b
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Fm B

w
b œ œ ⇥ œ ⇥ œ
& b bb Ó œ j
œ. ‰ Œ Ó
Guitar Grade 4

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1
T 4 1
3 1
A 3
B
15
[31]
 Walkthrough

Amp Settings C Section

A clean sound with a small amount of drive/gain is required The C section returns to the vamp on the Fm7 chord, with
for this song. The song was recorded on a Stratocaster using the guitar playing a two bar repeated Dorian scale melodic
both the bridge and middle pick-up. Try experimenting figure. The first bar starts with the root note and then moves
with the levels of Bass, Middle and Treble, and see which to the 5th (C) and b7 (Eb) before ending on the perfect 4th
settings you prefer. Note that the amp EQ settings are just (Bb) and major 6th (D). The second bar begins with an F
suggestions – depending on the guitar and amplifier you (root) playing 16th notes on beat 1, before moving to the C
play through, these settings will change. As a rough guide, and Eb and then finishing on the Bb and D.
pick-ups near the neck of the guitar will help produce
a “warmer” sound, and pick-ups nearer the bridge will
produce a ‘bright’ tone. It’s important to become familiar D Section
and experiment with all the controls on your guitar to find In the D section the guitar plays licks based around the
sounds that you like! minor pentatonic scale in first position, then shifting to
the same position an octave above. Work on creating a
Distortion consistent vibrato on the string bend in bars 29 and 31.
Channel Equalisation Reverb The song ends with the unison minor pentatonic lick to
5 5 5 5 5
finish the song.
4 6 4 6 4 6 4 6 4 6
3 7 3 7 3 7 3 7 3 7
2 8 2 8 2 8 2 8 2 8 If you are struggling with any parts in the song, try isolating
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
the bars that you want to focus on, and practice them in
GAIN BASS MIDDLE TREBLE DRY – WET isolation without the backing track. It may also help to play
along with just a metronome to help focus on the areas that
you feel may need attention. Try keeping time yourself,
Intro by tapping your foot or nodding your head in time with

RSL-489873069038 / 1 / Fidel Campos / [email protected]

The song starts with a Bb minor pentatonic figure, played in the music. This will help you develop good time ,and help
unison with the bass guitar. From bars 3 to 6 the guitar plays develop your ‘inner clock’.
a classic blues chordal figure based around the Ab dominant
7th chord, which involves hammering on from the b3rd to
the major 3rd within the chord voicing. The guitar continues
to play the same lick over the Bb7 and the C 7 chords. From
bar 9 the guitar plays a rhythm figure involving eighth and
16th note rhythms moving through the chords, F minor, Ab
major, and Bb major.

A Section (Verse)
The A section is a one chord vamp played over an Fm 7
chord, with the guitar playing an eighth note figure based
around the root, b3rd and 5th of the Fm 7 chord. As this
section is based around one static chord, it can be easy to get
lost in the form, so practice counting along with each bar
to make sure you know where you are! Notice all the notes
have staccato markings above them, so make sure these
note lengths are played short. You may find the use of palm
muting helpful with this.

B Section (Chorus)
In the B section the guitar plays an Ab major (with an F in
the bass, which makes it an Fm7) to Bb major triad. Watch
Guitar Grade 4

out for the tied rhythms on the ‘and’ and beat 2 tied to the
minim on beat 3 of each bar.

16
 Lynyrd Skynyrd

SONG TITLE: I NEED YOU

ALBUM: SECOND HELPING d42 Southern Rock
LABEL: MCA Intro

# ## 6 œ œ œ
GENRE: SOUTHERN ROCK

n œ
Am

WRITTEN BY: ED KING,

GARY ROSSINGTON & 8 œ. œ J
AND ED VAN ZANT
PRODUCED BY: AL KOOPER
BU BD
UK CHART PEAK: 31 T 5 7 (9) (7
A 7 7
B

# ## œ . œœ œ œ
G/B A

œ œ nœ
Am D C

&

RSL-489873069038 / 1 / Fidel Campos / [email protected]

BACKGROUND INFO The band released an eponymous album in
1973 and secured an opening slot on The Who’s
‘I Need You’ is the second track on Second Helping Quadrophenia Tour. They achieved great success and
by Lynyrd Skynyrd. It was written by guitarist Gary the record went gold, selling over a million copies
3
Rossington and lead vocalist Ronnie van Zant. Gary in the US alone. The band followed the success of
Rossington is a founder member of Lynyrd Skynyrd 17 with Second Helping,
their record 5 releasedBUin 1974. BD

the Rossington Collins Band with Lynyrd Skynyrd

T
and its only constant member to date. He also formed 5
By then the band was writing collaboratively and the
( 9)
line up was made of Ronnie Van Zant7(vocals), Ed
[ 9] ( 7) 5
bandmate Allen Collins. Rossington’s instrument of A King, Gary Rossington, and Allen Collins (guitars),
choice was a 1959 Gibson Les Paul he purchased fromB Leon Wilkeson (bass), Bob Burns (drums) and Billy
a woman who sold it after her boyfriend abandoned Powell (piano). The second single from Second
her, leaving the guitar behind. He named the guitar [4] Helping was ‘Sweet Home Alabama’ which reached

# ## œ . nœ œ œ œ œ œ
Bernice in honour of his mother, whom he was the Top Ten propelling the band into greater fame.
extremely close to after the death of his father. D sold millions.
The record

&
Lynyrd Skynyrd is amongst a number of seminal Further personnel changes followed the release
Southern Rock groups including The Allman of Second Helping. Drummer Bob Burns left to
Brothers, The Marshall Tucker Band and ZZ Top. be replaced by Artimus Pyle and the band parted
Lynyrd Skynyrd formed in 1964 in Jacksonville, company with producer Al Kooper in the midst of
Florida and build a solid reputation through live work completing their third album, Nuthin’ Fancy.
and some recordings on the Muscle Shoals label. A
number of line-up changes took place around the In November 2005 Lynyrd Skynyrd were inducted 5
late 1960s and early 1970s. In 1972 the band was T into the Rock
7 and Roll Hall of Fame, 7
5 alongside 5Black 7 5
discovered by songwriter and producer Al Kooper, A Sabbath, Blondie, Miles Davis and the Sex Pistols.
who had worked with Blood, Sweat & Tears. He
signed them to his label, Sounds of the South, that B
Guitar Grade 4

nœ
was distributed by MCA.

œ† œ
[7]

# ## n œ . œ
C
j
œ

& 17

† Repick
 I Need You
Lynyrd Skynyrd
Words & Music by Edward King, Gary Rossington & Ronald Zant
d42 Southern Rock

œ œ
Intro

### 6 nœ
1/4

œ n œ œJ œ œ œ œ. œ œ† œ n œ œ.
nœ
œ
Am C D
J
& 8 œ.
j j
œ nœ

† Repick held bend 1/4

BU BD
8 (10) ( 8)
T BU BD
5 7 (9) (7 ) 5
8 BU
7 (9)
BD
(9) (7) 5 5 7
A 7 7
B

### œ . œœ
œ œ œ œ nœ œ n n œœ œ. œ œ œ œ œ
Am D C G/B Am C

nœ œ nœ œ
j
nœ
nœ
&
3
œ.
17 5 8
T 5
7
BU
( 9)
BD
[ 9] ( 7) 5 5 7 9
8 8 10 8 10 8
9 7 5
A 5 7
B 5
[4]

### œ . n œœ œœ œœ œœ œ
nœ œ œ œ œ œ œ
D Am
j j j

& œ. œ ‰
nœ
J œ œ

RSL-489873069038 / 1 / Fidel Campos / [email protected]

8 8 8 8 8
T 7 5 7 5 7
5
5
8 (10) ( 8 )(10) 8 (10) ( 8) 5
A 7 BU BD BU BU BD
B

œ œ œ n œJ œ œ œ Aœm.
[7]

œ nœ œ† œ œ
### n œ . nœ nœ
C D

œ.
j
J
œ
&
† Repick held bend
BU BD BU BD
8 10 10 10 8 (10) ( 8 ) 5
T 8 8 (10) (10) ( 8 ) 5 8 10 8
A
B

nœ.
[10]

nœ œ nœ œ œ œ œ
## nœ œ
C D

œ. œ œ nœ œ œ
j

& # nœ
œ
J J
j
œ
nœ
BU
8
T 10 (13) 8 10 8 8 10 8
9 7 5 7 7 9 7 5 7 5
A 5
B
[13]

###
Am

& ˙. ∑ ∑ ∑ Œ. Œ ⇥ r
œ
Guitar Grade 4

T
A 7
B 0
[16]
18 © Copyright 1974 Get Loose Music Incorporated.
Universal/MCA Music Limited.
All Rights Reserved. International Copyright Secured.
 Verse

##
1/4

œœ .. œœ œœ
Am C D

& # n œœ œœ
3 3 3

œ œ œ.
j
œ nœ œ œ œ nœ
nœ
œ œ œ œ
j
œ

T 0 0
3
2 0 2
3 3
0 1/4
A 2 0 2 0 0
B 0 0 2 3 3 3 3

[21]

###
Am C

œœ n œœ
3 3

œœ œœ œ œ
3

& ‰ œ œ œj n œœ œœ œ œ
3 3

œ œ œœ œ nœ œœ œ œ œ œ œ nœ œ œ
T 2
3
0
0
0 2 2 0 0
A 2 0 0 2 2 2 0 2 0 0
B 0 0 0 3 2 0 0 0 2 3 3 3 2 0

[24]
D Am D add 2sus4 D sus 4 Am

### œ
3 3

œœ
3 3

œœ œœ œ j œœ œœ œ ‰ œ n œœ
& n œœ œœ ‰ n œœ œœ œœœ n œœ œœ œ œ œ œ
3 3 3

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

[27]

###
1/4

œœ .. j
C D Am D G

œœ œœ œœ
3 3

& œ œ n œœ œœ nn œœœ œœœ œœ

3

œ. œ œ
j

RSL-489873069038 / 1 / Fidel Campos / [email protected]

nœ œ
j
œ nœ
nœ œ œ n œœ
T 0 0
3
2 0 2
3 3
0 1/4
0
3
2 0
A 0 2 0 0 2 0 0
B 3 3 3 3 0 3 0 2
3

D/F #
[30]

##
Am C/G F6

œ œ
& # œœ œ œ nœ œ œ œ nœ
nœ œ œ œ œ
œ nœ œ nœ
T 2 2
1
2 0
1
0 2
3
2
3
A 2 2 2 2 2
B 0
3 2 1
[33]

### j
Am D 3 Am C

œœ œœ œœ œœ
& œ œ œ n œ œj œœ œœ
3 3

œ œ œ œ nœ œ œ
œ œ nœ œ œ œ
T 2 2
3
2 2 0 0 0
A 2 2 0 2 2 0 2 0
B 0 0
3
0 0 2 3 3

[36]
D A C D G Am
3

### œ n œœ œœ
3

œœ œ n œj œœ œœ œœ n œœ œœ œœ œœ
3

& œœ œœ ˙˙ ..
n œœ
œ œœ œœ
œ œ nœ œ œ œ
nœ œ ˙.
Guitar Grade 4

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

[39]
19
 Walkthrough

Amp Settings Verse Section (Bars 21–41)

The sound needs to have just a little grit to it, but full on This is a great piece of gospel and R&B influenced rhythm
overdrive would probably detract from the bluesy/gospel guitar, which sounds almost like something a piano player
influenced southern rock vibe. A classic American 50 would play.
type combo or a late 60s British amp would both work
for this song. Bar 22
This is a classic rhythm guitar idea singular to parts played
Distortion by Jimi Hendrix and Curtis Mayfield.
Channel Equalisation Reverb

5 5 5 5 5
The hammer on from the open D to E with G held above is
3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 worth checking out.
2 8 2 8 2 8 2 8 2 8
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
Bar 23
GAIN BASS MIDDLE TREBLE DRY – WET Bar 23 features a strident G note against the D chord, which
hammers on to an A.

Intro Section (Bars 1–20) Bar 24

The first thing to note is the time signature. This piece is in The second half of this bar has a great walk down from D
6/8 so the bar is split into two groups of three eighth notes. to approach the A minor chord in the next bar. The last two
Try counting “One, and, a…2, and, a”. It’s worth taking time chords of the bar are really Cadd 9 (with no third) and G
to internalise the grid of 16th notes before starting to figure with B in the bass. The wide Cadd 9 voicing seems almost
this piece out. reminiscent of Eric Johnson’s chordal playing.

Bar 1 Bar 28

RSL-489873069038 / 1 / Fidel Campos / [email protected]

This is a really strong bluesy idea. The notes in the lick in the This bar features some bold and quite unexpected chords.
second half of the bar are derived from A minor pentatonic. The Am is followed by a Dsus 4 add 9, then a D voicing with
The bend from D to E and back is featured again and again the third and fourth both in the chord. As a held chord it’s
in this song. The whole tune is peppered with licks that fairly dissonant, but the effect here is really dramatic. The
could be used in many other contexts. idea in the last beat of the bar is impressive – the stock open
position C chord voicing is approached from a tone above
Bar 3 while the open G string rings out. This brings to mind Jimi
This bar shows real control over the changes by hitting Hendrix’ rhythm and chord solo style.
the root of the IV chord D. Practise the bend from C to D
and back by sounding the D that you’re aiming for before Bar 34–35
attempting the bend and keep checking that you’re hitting These widely spaced arpeggios are really powerful. Again
exactly the right pitch. This will train you to judge your pitch this approach could be very useful in a trio setting.
control and perfect yout technique.
A lifetime of experience has gone into this piece, and by
Bar 4 studying it you will uncover facets of gospel, R&B, blues,
Note the use of the double stop at the start of the bar. Double soul and southern rock.
stops are a useful way to fill out the harmony. Note that we’re
still using the A minor pentatonic scale.

Bar 9
The bend here sounds like it’s derived from country music.
Again practise this bend by sounding the destination note
before trying the bend.

Bar 10
This is another great country influenced bend. This lick is
Guitar Grade 4

played by all sorts of blues rock guitarists.

20
 John Legend and The Roots

SONG TITLE: OUR GENERATION

ALBUM: WAKE UP!
LABEL: GOOD/COLUMBIA A c 100 Soul/Blues

b 44 ..
GENRE: R&B/SOUL/FUNK/NEO-SOUL

WRITTEN BY: LEON MOORE & œ œ œ œ œ. œ œ

f
AND COREY PENN
PRODUCED BY: JOHN LEGEND

.
AND THE ROOTS

. 3 5 5 5 5
T
UK CHART PEAK: N/A A 3 5
B

RSL-489873069038 / 1 / Fidel Campos / [email protected]

BACKGROUND INFO seasoned session player whose credits included Jill

&b œ œ œ œ œ œ œ œ œ
Scott, Al Green, Al Jarreau, Will Downing, Grover
‘Our Generation’ was originally recorded by Washington, Smokey Robinson and Patti Labelle

.
Ernie Hines in 1971. It was released as a single on amongst many others.
a subsidiary of Stax, but achieved little commercial
success. The success of Wake Up! by John Legend and John Legend met Lauryn Hill whilst studying
The Roots, featuring a version of ‘Our Generation’, English at the University of Pennsylvania in the
created a whirlwind of interest in Ernie Hines’ work late 1990s and played piano on ‘Everything Is
that led to a re-release of his 1972 album Electrified by Everything’, a track from The Miseducation Of
UK label Ace Records. T
Lauryn Hill, released in 1998 to great critical and
A
commercial acclaim. It was Legend’s first appearance
5 In52004 5he released3his 5 5 5
Wake Up! was released in September 2010 and
features a selection of lesser known soul and funk B
on a commercial
3 5recording.
debut album Get Lifted. The record was produced
covers with themes of social awareness. Critics
[3] by Kanye West, Dave Tozer and Will.i.am. and was a
and fans praised it for the authenticity of its commercial and critical success. Legend’s association
interpretation and production. The record reached with Kanye West began in 2001 when West was an
no. 8 in the Billboard 200 chart and won a Grammy up and coming hip hop artist. After his debut album
Award for Best R&B Album. The idea for the Wake Legend became a sought after collaborator and has
Up! stemmed from the climate surrounding the 2008 released five solo albums to date.

# ##
B

œœ.
presidential campaign, leading Legend and The

œ œ œ œ
Roots to collaborate on something they felt reflected The Roots are a seminal group who pioneered

&
the moment. much of the neo soul revolution of the 1990s. In 2009
they became the house band on Late Night with Jimmy

F œ. œ.
Captain Kirk Douglas from The Roots and Randy Fallon with whom they moved to The Tonight Show
Bowland recorded the guitars. Douglas joined The in 2014.
Roots in 2003 and in 2006 assumed the role as sole
Guitar Grade 4

guitarist and vocalist. He is a Gibson user and can

be seen as house band guitarist on The Tonight
Show Starring Jimmy Fallon. Randy Bowland was a
T 2
2 2
A 2 4 4
B 2 21
2

[5]
 Our Generation
John Legend and The Roots
Words & Music by Leon Moore

A c 100 Soul/Blues

& b 44 .. œ œ œ œ œ œ
œ . œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ. œ
f œ
.
. 3 5 5 5 5
T
A 3 5
B 3 5 5 5 5 3 5 5 5 5 3 5 5 5 5
1 3

#
&b œ .. n # #
œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ. œ œ
.
.
T
A 3 5
B 3 5 5 5 5 3 5 5 5 5 3 5 5 5 5 3 5 5 5 5
1 3
[3]

RSL-489873069038 / 1 / Fidel Campos / [email protected]

###
B

œœ. œœ. œ œ œj œ œ œœ. œœ. œœ .. œœ Œ

†

œ œ œ œ œ œ œ œ œ. œ
j
& œ.
j #œ
œ
œ

F œ. œ. œ. œ.
T 2
2 2
2
2 4 6
5
6 4 2
2
2 2
2
2
4 5
4
4
4
A 2 4 4 4 2 4 4 4 6 4
B 2 2 2 2
[5] † Play all three notes together as a chord
followed by the hammer-ons

### œœ. œœ. œ œ œj œ œ œœ. œœ. œœ .. œœ Œ

œ œ œ œ œ œ œ œ œ. œ
j
& œ.
j #œ
œ
œ
œ. œ. œ. œ.
T 2
2 2
2
2 4 6
5
6 4 2
2
2 2
2
2
4 5
4
4
4
A 2 4 4 4 2 4 4 4 6 4
B 2 2 2 2
[9]

C #7 F #m7

œ œ # œ # œœ œ œ j
A D

# # # ˙˙ œœ œ œ œ œ œ
C
j

œ œ# œ #œ œ b n œœ n # œœ ˙˙
œ
œ œ
j
& œœœ œ
‹œ œ

œ œ n œj œ œ
œ j
nœ

œ
Guitar Grade 4

5 5 7 8 8 9
T 6 6 7 8 10
5 6
6
5 7
6
5
4 2 4
2
2
7
A 9 5 4
2 4 5 7 2
B 4 3 2 0
2

22
[13]
© Copyright 2010 Irving Music.
Rondor International Incorporated.
All Rights Reserved. International Copyright Secured.
 ## œ
D

& # œœ. œœ. œ œ œj œ œ œ œœ. œœ. ‰ œj œJ œ

œ œ œ œ œ œ œ œ
j
œ

œ. œ. œ. œ.
T 2
2 2
2
2 6
5
4 2
2
2 2
2
2 4 6
5 7
A 2 4 4
4 6
4 2 4 4
B 2 2 2 2
[17]

œ œ œ œ œ œ ~~~~~~~~~~~~
### œ . œ ‰ œ œ ˙ ˙ œ œ œ œ w
E
j j3 j
œ œ œ j
&
œ

5
BU
7 (9 ) 7 5 7 5 7 5 7 5
~~~~~~~~~~~~
T 7 5 7 7 5 5 7
A
B
[21]

œ 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 œœ ˙
j
œ

& Œ

BU
9
T 10
11 9 11 9 11
10
11 9
14 17 14 12 10 12 12 (14) 10 12
11
A 11 9 11 11 9 9 11
B

RSL-489873069038 / 1 / Fidel Campos / [email protected]

[25]

C #7
F #m7
œ # œ œj # œœ œ œ j
A

# # # . ˙˙ œ œœ
F

œ œ # œ ‹œ œ œ n n œœ # # œœ ˙˙ œœ œœœ œœœ
j
& . œ
œ

Vary on repeat

. 5 5 7 8 8 9

.
T 6 6 7 8 10
5 6
6
5 7
6
5
4 2 4
2
2
A 9 5 4
2 4
B
[29]

F #m7
### nnnb
1. 2.

œ ˙. .. œ œ
D

& j œ j œ œ
œ œ œ œ
nœ nœ j
nœ

.
.
T 7 7
A 5 7 5 7 2
B 4 3 2 0
2
[32]

G
œœœ
j

& b .. .. Ó Œ ‰ J
Play 4 times

œ
œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ. œ œ
Guitar Grade 4

. . 10

. .
T 13 (15)
A 3 5
BU
B 3 5 5 5 5 3 5 5 5 5 3 5 5 5 5 3 5 5 5 5
1 3
[34]
23
 Walkthrough

Amp Settings D Section (Bars 17–20)

A clean tone is very suitable for this soul-funk tune, with a The rhythmic patterns used throughout bars 17–20 are the
touch of reverb to add warmth to the picking and chordal same patterns used in bars 5–12. The rhythmic structure
textures throughout the verse and chorus sections. The and notation for bars 17 and 19 are identical with rhythmic
bass and treble settings should be set moderately with some and notational changes applied to bar 18 and 20. Expressive
middle to cut through. The solo has a relaxed feel and some slides and pull-offs are applied in bar 18 with quick
gain or soft overdriven settings will help to sustain the notes rhythmic-melodic changes applied. A chordal hammer-on is
in this section. Additional chorus and delay in places may applied again in bar 20.
compliment the overall performance.

E Section (Bars 21–28)

A Section (Bars 1–4) This section contains a relaxed solo played using the A
The opening section (bars 1–4) consists of tight, riff-based minor pentatonic scale, lending a bluesy-soul feel to the
rhythmic picking that drives along with the bass and tune. A slightly overdriven sound with reverb from the amp
drums. The rhythmic structure for each bar is identical, and or external effects with a choice of neck pickup keeps the
alternate picking is generally required to achieve good sound warm, and helps to sustain the notes.
timing and control throughout the initial bars (See Fig. 1).

F Section (Bars 29–33)

B Section (Bars 5–12) This section repeats the earlier ideas in bars 13–14 with
The rhythmic pattern throughout bars 5–12 has a different use of minor and major 6ths intervals and quick expressive
feel from the previous bars 1–4 and has a more relaxed changes. These are generally played with a plectrum and
approach. The rhythmic structure and notation for bars fingers, or fingerstyle technique.
5 and 7 are identical, however, additional rhythmic and

RSL-489873069038 / 1 / Fidel Campos / [email protected]

notational changes are applied to bars 6 and 8 to vary the
feel and direction of the tune. Expressive slides and pull- G Section (Bars 34–35)
offs are applied in bar 6 with quick rhythmic and melodic This outro section returns to the earlier bars in 1–4 and
changes for the fretboard hand, however, bar 8 is a little consists of tight, riff-based rhythmic picking. Again, the
more relaxed in approach with the application of a chordal rhythmic structure for each bar is identical and alternate
hammer-on. picking is generally required to achieve good timing and
plectrum control. In bar 36 a string bend is applied on the
fourth upbeat eighth-note at the end of the bar.
C Section (Bars 13–16)
The C section (bars 13–16) features the application of range
⇥ ⇥ ≤ ⇥ ⇥ ≤ ⇥ ≤ ⇥ ⇥ ≤
& b 44
of techniques throughout the chorus, with additional use

œ
œ œ œ œ œ. œ œ œ œ œ. œ
of 6th intervals in bar 13 and quick expressive changes
in bars 15–16. The intervals applied in bar 13 are a
selection of minor and major 6ths and generally played
with a combination of plectrum and fingers, or fingerstyle
technique. The intervals can also be strummed however, T
A 3 5
the open B string will require muting with the fretboard B 3 5 5 5 5 3 5 5 5 5
hand. Bars 15–16 have a range of expressive changes
including slides, hammer-ons and pull-offs which assist Fig. 1: Section A – Picking direction
with the rhythmic flow and feel of this soul-funk tune. The
slide note is indicated by an acciaccatura and commonly
known as a grace note. It has no notational value and only
placed as an indicator to display the starting place of a slide.
Guitar Grade 4

24
 B.B. King

SONG TITLE: THE THRILL IS GONE

ALBUM: COMPLETELY WELL c 90 Blues

˙. œ
LABEL: BLUESWAY / ABC RECORDS
Intro B m7

## 4 Ó J
GENRE: BLUES/R&B

WRITTEN BY: RICK DARNELL

& 4 Œ ‰ j
¿
PRODUCED BY: AND ROY HAWKINS
BILL SZYMCZYK

7 7

¿
UK CHART PEAK: 1 T
A
B

œ.
E m7
j
~~~œ œ œ œ
## Ó

RSL-489873069038 / 1 / Fidel Campos / [email protected]

BACKGROUND INFO King’s version. B.B. King also released a number of

&
live versions of the song, featured on different live
‘The Thrill Is Gone’ is one of B.B. King’s signature albums, in 1971, 1976 and 1991.
songs. He recorded it for his Completely Well album in

~~~
1969 and the song became a major hit, reaching no.15 B.B. King’s legendary singing and playing styles
in the Billboard Hot 100 chart. In the R&B charts earned him the nickname ‘The King Of Blues’. He BU
the song reached the no. 3 slot. The ‘Thrill Is Gone’ is regarded as one of the most7influential blues 10 (12)
earned B.B. King a Grammy Award for Best Male
R&B Vocal Performance.
T guitarists and together
7 with Albert King and Freddie
King he was labelled one of the ‘Three Kings of The
A Blues Guitar’.
‘The Thrill Is Gone’ is a simple, slow tempo B
Blues in B minor and King’s delivery brings much B.B. King introduced a highly sophisticated yet
poignancy and urgency to it. The instrumentation [5] subtle soloing style that included a fluid use of string
is a departure from King’s previous recordings. bends and vibrato, a distinctive tone and cunning use
On Completely Well he included strings and lusher of space. He collaborated with many artists in his long

~~~~~ nœ œ
instrumentation, all in the context of an altogether and productive career, and his live performance and

œ #œ œ œ
more polished production style. His subtle and B m7 were relentless. He performed an
touring schedules j
average ofj 200 shows a year and in 1956 he reportedly

##
œ
immediately recognisable guitar playing sits on the
tracks just as well. played 342.

‘The Thrill Is Gone’ was written by Rick Darnell

& B.B. King’s legacy is regarded as significant

~~~~~
and Roy Hawkins in 1951. They were both well the world over. His contribution to American
known West Coast Blues musicians and their original culture is beyond dispute and his philanthropy
release reached no. 6 on the Billboard R&B charts in and campaigning on issues of race of equality, the BU
the same year. Many other versions of the song have BU of jailed inmates and tackling poverty 7 10 (12)
rehabilitation
10 (12) King died11 7
been released by various artists, most notably by are well known. aged 89 and was buried at
T
Guitar Grade 4

Aretha Franklin, Stan Webb, Jerry Garcia and David the already existing B.B. King museum.
Grisman, Diamanda Galas, Willie Dixon, Marshall A
Tucker Band and Pappo. M.C. Hammer sampled B
[8]
25
# sus 4 F#7
 The Thrill is Gone
B.B. King
Words & Music by Roy Hawkins & Rick Darnell
c 90 Blues

˙. œ œ œ œj ~~~~
1/4
Intro

## 4 œ œ œ œ œ œ œ œj œ
B m7

& 4 Ó Œ ‰ j J ‰ œ œ œ œ œ
¿
7 7 10
1/4

7
~~~~
T 10 BU BU

¿
9 (11) 7 7 9 7 7 9 (11)
A 9 9 9 9
B

~~~ œ œ. œ œ œ œ œ #œ œ œj n œ œ
E m7
j
1/4 1/4

## œ œ
œ

Ó J Œ Œ
&
~~~ 7
BU
10 (12) 10 7 7 10
1/4

11
1/4
BU
12 12 (13) 12
T 7 12
A
B
[5]

œ . . .
œ~~~~~ œ n œ œ œ œ~~~~~~ œ œ œ œ œ~~~~~ œ.
G

RSL-489873069038 / 1 / Fidel Campos / [email protected]

#œ œ œ œ.
B m7
j j
1/4

#
œ
J J J ‰
& #
BU
10 (12) 11
~~~~~
7
BU
7 10 (12)
1/4

10 10 7
~~~~~~ 10 12 12 10
~~~~~
7 7
T 12
A
B
[8]

F # sus 4 F#7
œœœœ
B m7

œ j œ œ œ œ œ œ œ œ
1/4 1/4 1/4

#
œ
J ‰ J
1/4

& # Œ ‰
œ œ œ œ. œ œ. œ œ
3
PB 12 1/4 1/4 1/4
BD
12 (14)(12)10 10 12 7 10 10 10
T 12 12 12 12
1/4

A 7
B 5
7
5 7 7 9 9

[11]

œœ œœ œœ œœ œœ œœ
Verse

## œœ # œœœ ... œœ
B m7

& œ œ. ˙. Œ œ œ œœœ œ œ ‰
Guitar Grade 4

5 7 7 9
T 7
7
9
9
7
7
3 5 5 7
A 7 9 7 9 7 7 9
B 7 9 9

26
[14]
© Copyright 1951 Universal Music Careers.
Universal Music Publishing MGB Limited.
All Rights Reserved. International Copyright Secured.
 ~~~~~~~~
## Em ∑ Œ j
‰ œ œ Ó ‰ œ œ œ œ Œ ‰
7 Bm 7

& œ œ. œ œ œ œ œ œ
~~~~~~~~
T
A 7 7
B 5 7 7 9
5 7
5
5 7
5

[18]

F # 7sus4 F#7
## ∑ ∑ Œ ‰ Œ Ó
G B m7

& œ œ œj œ œœ œ
œ œ
T
A
B 5 7 7 9 7 5
7 5 7
[22]

œ œ œ œ~~~~ œ. œ œ œ œ œ œ œ œ œ #œ œ œ
Solo

# # Jœ ‰ Œ
j j
1/4 1/4
B m7 œ

& ‰ J J ‰ ‰ J
~~~~
1/4 1/4
PB 12
BD BU BU
7 10 10 12 10 12 (14 ) (12) 12 10 (11) 12 12 (14 )
T 12 10 12 12 12
A
B

RSL-489873069038 / 1 / Fidel Campos / [email protected]

[26]

œ ⇥
œ nœ œ œ œ œ œ œ œ œ œ œ œ >œ >œ
1/4 1/4
j 1/4
œ
##
E m7

J
3

& Œ ‰ ‰
1/4 1/4 1/4
BU
10 12 10 10 10 12 12 (14) 10 12 10 19 19
T 12 12 12 12
A
B
[29]

œ œ œ œ œ œ œ œ œ œ œ œ
J ‰ œ
7
jB m

œ œ œ~~~~ œ œ œ
G

##
œ
1/4 1/4

œ
3

& J
BU
10 (12) 10 7
~~~~ 7
1/4
7
1/4
7
T 10 7
9 7 9 7 9
7 10 7 7 10
A 9 9
B
[32]

F # 7sus4 #7
~~~ œ œ œ ~~~ œ œ œ œ œœ
7

œ œ œ
F Bm

œœœ
j
1/4

# J ‰ ‰ œ œ œœœœœ
& # ‰ œœœ œ Œ Ó
Guitar Grade 4

~~~ ~~~
PB 10 1/4
BD BU
7 10 (12) (10) 7 7 10 (12) 10 7 10 7
T 7 10 7
9 7
7
7 9
7
7
A 9 7 9
B 9

[35]
27
 Walkthrough

Amp Settings Verse Section (Bars 14–25)

I used Peter Gabriel’s original tweed Fender Champ for this The part here is actually based around both B.B.’s fills and
recording – it was turned up nearly to full, and augmented the rhythm guitar part on the record.
with a Free The Tone Red Jasper overdrive pedal for just a
little grit. The drive is managed by adjusting the attack on Bar 16
the strings. For the cleaner rhythm part I merely turned This bar shows the chord movement played in the rhythm
down the volume on my twin humbucker guitar. B.B.’s tone section throughout. The D triad (D, F # and A) moves up to
is never particularly overdriven. an E triad (E, G # and B) then back again. This is a staple of
blues, soul, and R&B music, and a subtle embellishment of
Clean the basic minor 7th chord.
Channel Equalisation Reverb

Solo Section (Bars 26–38)

5 5 5 5 5
4 6 4 6 4 6 4 6 4 6
3 7 3 7 3 7 3 7 3 7
2 8 2 8 2 8 2 8 2 8 This is a great minor blues solo. B.B.’s phrasing is impeccable
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
as always and the vocal quality is evident.
GAIN BASS MIDDLE TREBLE DRY – WET
Bar 26
The solo begins sounding relaxed – like the start of a
Intro Section (Bars 1–13) conversation – almost as if he’s asking a question. The
B.B. displayed his true mastery here. His style sounds simple, second bar has a pause in it and the rest seems to follow as
but this is deceptive – here the little bends and slides add an answer.
finesse. As with anything, it’s all about the details!
Bar 28
Bar 3 is an iconic B.B. lick, over a Bm7 chord. The lick This is classic B.B. – to the point that if you were to quote it

RSL-489873069038 / 1 / Fidel Campos / [email protected]

descends the B minor pentatonic scale from a high D and within an improvisation those in the know would instantly
repeats the D an octave lower. The quarter-note bend on be aware that you had studied his playing. The pre-bend
the first note (a key detail of this style) and the relaxed bend in bar 28 is a cornerstone of blues playing. To practise this,
into the 5th, F #, adds some bluesy colour – but careful not firstly sound the F # that you’re going to be pre-bending in
to overdo it. Another aspect is the phrasing, notably in order to get the destination pitch clear in your mind. Keep
bars 2–3. B.B. was a great singer and this ‘vocal’ quality was practising until you have the pre-bend perfectly in tune.
reflected in his guitar work. Part of this is the use of space,
just as a singer needs to take a breath. Emulating this will Bar 36
add variety to your solos. Bar 36 is key electric blues vocabulary and essential learning.

Bar 6 Bar 37
Here the line looks really simple but note that B.B. has As with the opening lick this is based around a simple B
targeted the root of the IV chord Em7 – showing that he can minor pentatonic. The hammer on from D to E breaks up
follow the changes. the articulation.

Bars 7–9
Here we see another defining part of B.B.’s style – the use
of bends (including quarter tone intervals). In bar 7 the
minor third D is bent up a quarter tone, he then bends the
major third(!) up a quarter tone. The major third is the most
dissonant note one can play against a minor 7th chord but
B.B. gets away with it as it’s a momentary note in a chromatic
movement up from the minor third (D) to the bluesy
flattened 5th. In bar 7 the bend up from D to E is briefly
released to Eb (or rather D #). Again this is a passing detail
but it’s worth being aware that using the major third over
Guitar Grade 4

the tonic minor 7th is a bold move indeed, so if you are an

inexperienced improviser it might be wise to avoid this note
when making up your own solos.

28
 Base Jumper

SONG TITLE: BASE JUMPER

GENRE: POP PUNK

D/F #
TEMPO: 165 BPM q =165 Pop Punk

œ œ œ
G

œ
KEY: G MAJOR

œ
#4 . œ œ œ œ œ
A

& 4 .
TECH FEATURES: HEAVY PALM-MUTING

f
OCTAVES
WIDE STRETCHES

. 15 15
15 17 17 19
15

.
COMPOSER: BOB GRACEFUL 15 15
T 15

A
PERSONNEL: STUART RYAN (GTR)
B
HENRY THOMAS (BASS)
NOAM LEDERMAN (DRUMS)

# .
B

& . œ œ œ œ œ
G

œ
œ œ œ œ

RSL-489873069038 / 1 / Fidel Campos / [email protected]

OVERVIEW American groups, Green Day and The Offspring, were PM

.
PM
influential in their willingness to write catchy songs
PM
‘Base Jumper’ is a high energy, pop punk track in with an eye on the charts, even though this effectively

.
the style of groups like Sum 41, Blink-182 and Green T ostracised them from the underground scenes from
5 4 4
Day. It features heavy palm-muting, octave riffs and A which they emerged. 5
5 Green Day’s powerchord-based 5
melodic soloing among its techniques.
B sound was nothing new. However, 3
3
flaunted3an up-tempo,
3
The Offspring
metal influence that was.
[5]
STYLE FOCUS Later bands like Sum 41 and Blink-182 were

œ œ œ œ
equally
2. adept at turning out hum-along choruses,

#
C G

œœ œœ .. œ œ œ œ
Pop punk songs are based on simple powerchords which when combined withD a radio-friendly, modern

œ œ œ œ œ. œ.
that can be shifted easily around the fretboard. Palm- production sound, led to both bands topping the

&
muting is used to produce a tight rhythm sound, with charts. The metal influence was evident again in
non-muted notes played occasionally to produce a Sum 41 – the Canadian punk rockers went so far
contrast within a riff or rhythm pattern. Solos are as to dress up as 80s metallers and to mimic Iron
rare in pop punk. However, The Offspring and Blink- Maiden’s
PM distinctive ‘gallop’ rhythm on some of their

.
182, for example, often use single-note figures in songs. Their solos were more advanced than those of

.
their songs. Sum 41 are one of the few punk bands to many punk groups, thanks to3the ability3of their lead
display an overt metal influence, and many of their T guitarist Dave Baksh, who incorporated
2 2techniques 12 12 12 1
earlier songs feature guitar solos. A such as
5 two-hand
5 0tapping.
0 4 4
10 10 10 1
B
THE BIGGER PICTURE [9] RECOMMENDED LISTENING

œ œ œ œ
2.
Although bands which combine aspects of punk Green Day’s Dookie and The Offspring’s Smash,

# œ œ œ œ œ œ
in 1994, are a good place to hear their A

.. œ œ œ
(credible, raw, underground) and pop (commercial, bothEreleased
m
Guitar Grade 4

& œ œ œ œ œ
polished, mainstream) have existed since the respective styles: one classic pop punk, one pop punk

œ
1970s, it took until the mid-1990s for a sound that with a metal tinge. Sum 41’s All Killer, No Filler (2001)
was identifiably ‘pop punk’ to be formalised. Two is a mixture of both styles.

.
29

T 14 14 14
 Base Jumper
Bob Graceful
q =165 Pop Punk
D/F #

#4 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
G Em D

œ œ œ œ œ œ œ
A

& 4 . œ œ œ J ‰ Œ ..
f
. 15 15 15 15 17 15 17 15 19 15 19 15 20 19 15 15 17 17 19 17 15
.
. .
T 15 15 15 15 15 15 15 15
A
B

# .
B

œ œ œ œ œ œ œ œ ..
1.

& .
G C

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
. .
PM PM PM
PM PM

. .
T 5 5 4 4 2 2 0 0
A 5 5 5 5 4 4 2 2 0 0 5 5
B 3 3 3 3
3 3 3 3

[5]

œ œ œ œ œ. œ. œ œ œ œ œ œ œ œ
2. 1.

# œ œœ .. œœ œœ œœ œœ œœ œœ œœ
D C G Bm A

& œ œ œ œ œœ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ

RSL-489873069038 / 1 / Fidel Campos / [email protected]

PM

. 12
. 10
T 3
2
3
2 12 12 12 12 12 12 16 16 16 16 17 16 14 14 14 14 14 14 14 14
A 5 5 0 0 4 4
B 10 10 10 10 10 10 14 14 14 14 15 14 12 12 12 12 12 12 12 12

[9]

œ œ œ œ œ œ œ
2.

# œ œ œ œ œ œ .. œ œ œ œ œ œ œ ‰ œœ œœ œœ œœ œ œ
Em A Em G

..
D

& œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
. .
PM PM

. .
T 12 12 12 12 11 9 14 14 14 14 14 14 14 12 12 11 11 9 7
A 5 5
B 10 10 10 10 9 7 12 12 12 12 12 12 12 10 10 9 9 7 5
3 3 3 3
[13]

#
1. 2.

œ œ œ œ œ œ œ œ .. œ œ œœ œœ
C D

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ.
PM

.
PM PM PM

.
T 5 5 4 4 2 2 0 0
3
2
3
2
A 5 5 4 4 2 2 0 0 5 5 5 5 0 0 4 4
B 3 3 3 3

[17]

# œJ œ œ œ. œ œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ.
E G D C D

& ‰ ‰ ‰ J J
‰ J ‰ ‰ J ‰
Guitar Grade 4

T 12
12 13 15 13
14 14 12 14 12 11 12 14
13 12 13 15 15
A
B
30
[21]

© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 œ. œ œ œ ˙
# œJ ‰ œ œ œ œ œ
‰ J ‰ Jœ Jœ ‰
œ œ œ œ
G C D G

& ‰ J ‰ ‰ J J ‰ ‰ J ‰ J

T 12
12 13 15 13
14 14 11 12 14 14 14 16
15 15
A 14
B
[25]

D/F #
#
1.
F

& .. œ ..
G5 G5 B5 C5 C5 D5

ww
G/B

œœ œ œ œ ˙˙ . ¿¿ ¿¿ œœ œœ œ œ œœ
œ œ œ œ . œ œ
. .
. 5 .
T
A
B 5 5 5 9 ¿¿ ¿¿ 10 10 10 10 12
3 3 2 3 7 8 8 7 8 10

œ.
[29]

œ œ œ œ
# œœ. œœ. œœ. œœ. œœ œœ œœ œœ œœ
2.

œ œ œ œ Œ
D

& œœ œœ œœ œœ œ. œ. œ. œ. œ œ œ œ
. . . .
10 10 10 10 10
T 7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
A 12 12 12 12 7 7 7 7
B 12
10
12
10
12
10
12
10
9 9 9 9

[33]

# .G
G Guitar Solo (16 bars)

& . ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ . . ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’’’’ ..
. .
D C D Em C D

RSL-489873069038 / 1 / Fidel Campos / [email protected]

. . . .
. . . .
T
A
B

œ œ œ œ œ. œ.
[37]

# œ œ œ œ œ œ œ
G Bm Am
œ œ œ œ œ œ œ œ Eœm œ œ œ œ œ
H

& 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
T 12 12 12 12 12 12 12 16 16 16 16 17 16 14 14 14 14 14 14 14 14 12 12 12 12 11 9
A
B 10 10 10 10 10 10 10 14 14 14 14 15 14 12 12 12 12 12 12 12 12 10 10 10 10 9 7

œ œ œ œ œ. œ. œ œ œ œ œ œ œ.
[45]

# œ œ œ œ œ œ œ œ œ œ œ œ œ œ
G Bm Am Em

& 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
T 12 12 12 12 12 12 12 12 16 16 16 16 17 16 14 14 14 14 14 14 14 12 12 11 11 9 7
A
B 10 10 10 10 10 10 10 10 14 14 14 14 15 14 12 12 12 12 12 12 12 10 10 9 9 7 5

D/F #
[49]

D/F #
1° G Em D

# . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œJ ‰ Œ
I 2° G D/A Em G

& . œ œ œ œ ..
Guitar Grade 4

. 15 15 17 17 19 19 20 19 15 15 17 17 19 17 15
.
. .
T 15 15 15 15 15 15 15 15 15 15 15 15 15 15
A
B
31
[53]

© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Walkthrough

Amp Settings hand rather than the individual fingers. As you arrive at the
Aim for a modern high-gain distortion with the gain set B 5 chord, strike the strings again.
high. This style of pop punk bridges the gap between punk
and metal, so boost the bass and treble a little to give a nod
to the classic scooped metal tone. G Section (Bars 37–44)
The guitar solo is in two parts. The first part is in G major,
Distortion while the second half switches to the relative minor, E.
Channel Equalisation Reverb

5 5 5 5 5
Bars 37–44 | Guitar solo
3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 The G major pentatonic scale is an ideal choice for the
2 8 2 8 2 8 2 8 2 8 first half of the solo, while the E minor pentatonic scale is
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
the most obvious pick for the second half of the solo. The
GAIN BASS MIDDLE TREBLE DRY – WET two scales contain identical notes, so it’s possible to play
through the whole solo without changing position. However,
you should make sure your phrases resolve to each scale’s
A Section (Bars 1–4) relevant root note otherwise you may not sound as if you are
This riff is played on the E and B strings and spans six frets. playing in the right scale/key (Fig. 2).

Bars 1–4 | Fingerings

Barre your first finger across the E and B strings at the 15th H & I Sections (45–56)
fret and hold it in position through the riff. Use your third The H & I sections are reprises of the C and A sections.
finger to play the notes at the 17th fret and your fourth finger
to play the notes at the 19th and 20th frets (Fig. 1). Bars 46–52 | Accurate phrasing
The final two octaves of bars 46 and 50 are marked staccato

RSL-489873069038 / 1 / Fidel Campos / [email protected]

and should be played shorter than the final two octaves in
B Section (Bars 5–9) bars 48 and 52, which should ring on for their full value.
This single-note riff uses heavy palm muting to achieve a
chunky sound.
D/F #
√
#4 œœœœœœœœ œœœœœœœœ
G

Bars 5–9 | Heavy palm muting

Place the edge of the outside of your palm on the lowest- & 4
sounding strings and press firmly to get the heavy choke
required for this part. Don’t move your hand too far from
the bridge because this may raise the pitch of the note. T
15
15
15
15
17
15
17
15
19
15
19
15
20
15
19
15
A
B
C & D Sections (Bars 10–20) Fingers: 1 1 1 1 3 1 3 1 4 1 4 1 4 1 4 1

The C section melody is based on strummed octaves, some

played staccato. The D section is a repeat of the B section. Fig. 1: Fingerings

Bars 10–15 | Playing octaves

Fret the lowest-sounding note with your first finger and
the highest with your third or fourth. Don’t pick the notes

œ E minor pentatonic œ œ
individually; strum them as if you are playing a chord.
#
G Em

œ œ
œ œ œ œ œ œ œ
G major pentatonic

&
E & F Sections (Bars 21–36)
The E section is a major key melody. The F section features
two note chords played in unison with rhythm section hits. T 12
A
Guitar Grade 4

12 14 12 14
Bars 29–33 | Sliding chords B 15
12 14
12 15
12 14

Think of the G 5 and B 5 chords as a single shape moved

around the fretboard. Lock your hand into the powerchord Fig. 2: Guitar solo
shape when you play the G 5 chord then move your whole

32
 Crop Duster

SONG TITLE: CROP DUSTER

GENRE: SOUL

Bb
TEMPO: 136 BPM
q =136 Soul

œœ œœ. b œœœ b
KEY: C MAJOR A

44 œ
C

TECH FEATURES: TRIADS

& œ œ œ œ œœ
œ
J
œ
F
DOUBLE-STOP FILLS

Let ring
COMPOSER: KIT MORGAN
5 3
T 5
5 6
5 5 3
PERSONNEL: KIT MORGAN (GTR) A 5 5 7 5 3
HENRY THOMAS (BASS) B 5 7
NOAM LEDERMAN (DRUMS)
FULL PHAT HORNS (HORNS)
ROSS STANLEY (KEYS)

Bb
FERGUS GERRAND (PERC)

œ . b œœ œœ
NORTON YORK (TROMBONE)

œ œ
C

œ œœ œœ œœ œ œ b œ

RSL-489873069038 / 1 / Fidel Campos / [email protected]

OVERVIEW

œ
Al Jackson Jr), means that he has appeared on many

& œ œ
of the greatest soul recordings. Cropper has worked
‘Crop Duster’ is a soul track in the style of Steve with some of soul’s finest vocalists, Otis Redding and
Cropper, the guitarist who played with Booker T And Wilson Pickett among them (as well as playing with
The M.G.’s, Otis Redding and Sam & Dave. It features a range of non-soul artists including Bob Dylan and
triads, double-stops and chord embellishments among TomLet ring
Petty).
its techniques. 4 3
5 soul6music5 than one
T Of course, there is more to
5 5 however 5great Stax and 3 3
3
STYLE FOCUS
A record label and one guitarist,
Cropper’s
5
contributions
5
were.
7
James
5
Brown’s
3
guitarist
5
B 5 7
Jimmy Nolen contributed much to the lexicon of soul
Soul guitar requires precise rhythmic skills and a [5]
guitar playing, while Cornell Dupree, like Cropper
good level of dexterity on the fingerboard. As you at Stax, performed as a member of Atlantic Records’
will discover, you must be adept at moving from in-house band, most notably with Aretha Franklin.
full chords to partial chords and licks, and fills in
between. Soul guitar is sparse, with most chords being
played on no more than three or four strings unless RECOMMENDED LISTENING
B G

œœ œœ œœ œœ
a section calls for a bigger voicing. This is because a C

& œœœ œ œ œ. œœ
soul band typically features keys and a horn section, ‘Green Onions’ by Booker T And The M.G.’s

œ œœ
so the guitar needs to remain sparse and in the middle showcases Cropper’s tasteful licks and stinging tone.

. .
to higher registers in order for it to stand out. Also, try ‘Soul Man’ by Sam & Dave for his classic
intro riff and simple but infectious rhythm playing.
Otis Redding’s ‘(Sittin’ On) The Dock Of The Bay’
THE BIGGER PICTURE features Cropper’s more laidback work, while Wilson
Pickett’s ‘In The Midnight Hour’ is a lesson in leaving
Steve Cropper’s role as the guitarist in Booker T T space. Hear Jimmy Nolen’s soul chops on5the James 4 4
Guitar Grade 4

5
And The M.G.’s, the house band for the Stax record A Brown5singles ‘Papa’s
5 Got A Brand New Bag’ 5 and ‘(I 5 5
5 5
7
5 Dupree’s 7 features5
label (featuring Hammond organ player Booker T
Jones, bassist Donald ‘Duck’ Dunn and drummer
B Got You)
3 I Feel Good’
3 . Cornell guitar
on the famous intro of Aretha Franklin’s ‘Respect’.
3 3

[9]

33
G
 Crop Duster
Kit Morgan

q =136 Soul
Bb
j œ œ.
œ œœ. œœ
A

b œ œœ .. œ.
& 44 œ œ œ œ œœ
œ œ œ
C F G
œ
œ
œ œ b œœ œœ ‰ œœ œ. ‰ œ œ œ œ œ
œ œ œ ‰
J
F Let ring Let ring

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

Bb

œœ œœœ œœ. œ œœ œœ ‰ ‰ œœœ œœœ ‰

C F G

œ bœ œ œ. œ œ œ œ
& œ œ œ œ œ œ œ b œ œœ œœ .. ‰ œ œ ‰ œœ œœ œ œ
J J
Let ring
J J
Let ring
5 1 1 3 3
T 5
5
5
6 5
5
4
3
3
3 2
1
2 5
1
2
1
2
3
4
3
4
A 5 5 7 5 3 5 3 3 3 3 5 5
B 5 7

[5]

RSL-489873069038 / 1 / Fidel Campos / [email protected]

j
B
C G F

& œœœ œœ œ
œ œ œœ.
œœ
œœ
œœ
œœ œœ œœ œ œ œ œ œ ‰
. œ
. œ œ œ œ œœ œœ œ œ œ œ
.
T 5 5 5 4 4 2 2 5
A 5 5 5 5 5 3 3 3 5 7 7
B 3 3 5 7 7 5
3
5
3 5 7
5
0
3
1
3
1 3 5
3 5

[9]

C G F G

œœ. ¿¿ œœ œœ ¿ œœ œœ
& œœœ œœ œœ œœ œœ ¿¿ œœ œœ ‰ ¿¿¿ œœ œœ ‰
. œ œ œ œ œ œ œ
œ œ œ œ œœ œœ œœ œœ œœ œœ œœ
œ. œ
¿¿ ¿¿
¿¿ ¿¿
1 1 3 3
T 5 5
5
5 4 4 2
1
2
1
2
3
4
3
4
A 5 5 5 5 5 5 3 3 3 5 5
B 3 3 5 7 5
3
5
3 5 7
5
0
3
1
3
1
3
1
3
1
3
1
3
1
3
1
[13]

%
œ œ~~~~
C C G F

& œœœ œœ œ
œ œ œ
œœ
œ
œœ
œ œ œœ œœ œ œ œ œ
. œ œ. œ œ œ œ œ œ
œ.
œ
œ œ œ œ
œ œ
Guitar Grade 4

~~~~
T 5 5 5 4 4 2 2 5 7 5
A 5 5 5 5 5 5 3 3 3 5 7
B 3 3 5 7 5
3
5
3 5 7
5
0
3
1
3
1 1 3 5
3 5

34
[17]

© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 To Coda fi
œœ œœ. 3œœ. œ. œœ œ
œ
. 3œ. .
œ
œ œœ œ œ œ œ.
& œœœ œ œ œœ œ œ œ œ œ œ.
C G F

‰ J œ ‰ J œ œ ‰
Let ring Let ring

3 1 1 5 5 5
T 5
8
9
8
9
6
7
5
5
3
4
6
7
6
7
5
5
3
4
1
2 2 2 5 5 5
A 5
B 3

[21]

. œ 3œ œ ˙
F7

ggg œœœ .. gg ˙˙˙ gg ˙˙˙

Am F G Am

ggg ˙˙
D

œ œ œ œ ‰ œ œ œ bœ œ œ œ œ œ œ
& gg œœ .. J g gg ˙˙
gg ˙ œ
g œ. gg
ggg 55 ggg 56 ggg 78 ggg 55
PB 7 PB 7 PB 7

ggg 57 ggg 57
8 7 5
T 5 5 5 5 BD BD BD

ggg 75 ggg 75
5 7 5 7 (8) (7) (8) (7) ( 8) ( 7) 5
A 7 5
B
[25]

œ 3œ œ ˙ fi
ggg ˙˙˙
D.%. al Coda

‰ n œœ œ œ gg ˙˙ ggg ˙˙˙
œœ b b œœ ˙˙
Am F G C 3 G9

& œ. g Œ œ bœ ˙ Ó

8 7 5
ggg 56 ggg 87
7
gg 55
3 2 1

gg 5
T 5
5
5 5
5
5
4
4
3
3
2
A 7
B

RSL-489873069038 / 1 / Fidel Campos / [email protected]

fi Coda
[29]

E Half-time feel

& .. ‰ j ‰ j ‰ j‰ jœ œ ‰ j ‰ j ‰ j ‰ œ œ ..
A m7

œ. œ œ œ œ œ œ
. b œ nœ
œ œ œ œ. œ œ œ
. .
PM PM

. 5 7 .
T
A 5
B 5 0 3 5
3 5 5 7 7
5 0
3
3
5
5
6 7

[33]

Guitar Solo (16 bars)

& .. ’ ..
A m7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Play 4 times

. .
. .
T
A
B
[37]

œ œ œ œ œ œ œ œ œ n œœœ
œ.
A m7

œ
N.C.

& ‰ œ ‰ Jœ œ œ œ bœ Ó
œ œ œ œ œ.
Guitar Grade 4

5 5
T 8 5
7
8 5
7 5
5
7 5 5
5
5
A 7 7 5
B 7 6 5 3
5 3 5
[41]
35
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Walkthrough

Amp Settings listen to the recording and practise counting saying ‘ev-en-ly’
Aim for a bright, clean sound. You can boost the treble (and as you play the three notes (Fig. 1).
possibly the middle) a small amount if you feel your tone
needs a little more bite. Keep the gain low, because you don’t
want the chords to distort as you strum. Adding some reverb D Section (Bars 25–32)
will help you to achieve the vintage soul sound. The D section modulates to the relative minor, once again
combining chords with single-note lines.
Clean
Channel Equalisation Reverb Bar 28 | Pre-bend
5 5 5 5 5
A pre-bend is performed when the string is bent up to
3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 a specified pitch without being played then picked and
2 8 2 8 2 8 2 8 2 8 returned to its unbent position. If you have trouble with this,
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
play the lick with fretted notes instead of the pre-bend and
GAIN BASS MIDDLE TREBLE DRY – WET release (Fig. 2).

A Section (Bars 1–8) E Section (Bars 33–44)

The A section consists of fragments of barre chords This section begins with a low riff based on the A blues scale
embellished with hammer-ons and slides. which is followed by a solo. The section ends with a blues
scale run in unison with the brass section.
Bar 1 | Grace notes
Grace notes are quick notes that precede a song’s main Bars 37–40 | Guitar solo
melody or riff notes. They are represented in the tab by The A minor pentatonic and A blues scales are the most
slightly smaller numbers than normal notes. If a grace note obvious to solo with. This solo is played over a single riff

RSL-489873069038 / 1 / Fidel Campos / [email protected]

is held for too long, it can interrupt the flow of the music that doesn’t feature chord changes. This means you need to
and make it impossible to duplicate the original phrase. provide the movement in the solo. Consider using rhythmic
ideas and register changes to build your solo.
Bars 1–2 | Chordal embellishments
Fret the notes at the 5th fret with your first finger and then

œœ œœ. 3œœ. œœ. œœ œœ œœ. 3œœ. œ.

hammer-on to the 6th fret of the B string with your second

& œœœ
C G
finger and onto the 7th fret of the D string with your third
finger. Use the tip of your finger to arch over the G string to
‰ J œ ‰ J œ
allow the note at the 5th fret to ring clearly.
3
T 5
8
9
8
9
6
7
5
5
3
4
6
7
6
7
5
5
3
4
B Section (Bars 9–16) A
B
5
3
This consists of chord hits on the first two beats of each bar
followed by single notes moving up the fretboard with slides. Count: 1 & 2 & ev - en - ly 1 & 2 & ev - en - ly

Fig. 1: Quarter-note triplet

Bars 9–14 | Correct note values
There are several slides here. Make sure the notes before the
slide last for a full eighth note. Playing them as grace notes
rather than eighth notes will mean the second note is played
too soon and the rhythm of the phrase will be incorrect.
bœ œ œ
F7

& œ œ œ œ œ
C Section (Bars 17–24)
The C section starts in a similar manner to the B section.
However, the second half uses, among other things, double- T
stops in a quarter-note triplet rhythm. A 8 7 8 7 8 7 5
Guitar Grade 4

5
B
Bars 21–22 | Quarter-note triplet
A quarter-note triplet places three notes evenly across two Fig. 2: Pre-bend lick in fretted notes
quarter notes. This can be tricky to play correctly at first, so

36
 Circus Experience

SONG TITLE: CIRCUS EXPERIENCE

GENRE: CLASSIC ROCK
TEMPO: 68 BPM q = 68 Classic Rock
C

œœ ggg œœœ œœ
D

#4
KEY: E MINOR A

TECH FEATURES: TRIADS

& 4 œ œ œ œ gg œ œœ
P
HAMMER-ONS
PULL-OFFS

ggg 55
gg 57
COMPOSER: JOE BENNETT
T 7
7
A 7
9
PERSONNEL: STUART RYAN (GTR) B 7 9
HENRY THOMAS (BASS)
NOAM LEDERMAN (DRUMS)

C Em

œ three-note chordsœthat can be played

D

#ofalltriads œ g œœ œthese at various

œ œ ‘Circus g œœ œœ . œ œ

RSL-489873069038 / 1 / Fidel Campos / [email protected]

OVERVIEW

& pointsœthroughout œ gggExperience’

– simple
over the neck. You will encounter

œ œ œ
‘Circus Experience’ is a track written in the style
of the late, great blues and classic rock guitarist Jimi
Hendrix. This individual piece focuses on Hendrix’s
bluesy ballad style of playing heard on songs such as THE BIGGER PICTURE

ggg
the melodic, almost hypnotic, ‘Little Wing’ as opposed

gg
to the driving rock of ‘Purple Haze’. The main feature T 7
Hendrix is regarded as one55of the most important
7
of this style is the embellishment of chords: Hendrix
would often add a lick before running into a chord
A figures in rock7guitar, past and
his reputation in Britain
9 in
5 present. He developed
the 3 2
7 1960s at the height
or play a hammer-on/pull-off phrase to change notes
B 7 9
of the blues boom. With his virtuoso techniques,
3 2 0

within a chord shape. [3] raucous overdriven tone and wild on-stage antics,
he quickly stood out as a unique figure on the music
scene of the time. By fusing blues, rock, psychedelia,
STYLE FOCUS soul and funk, Hendrix developed a unique style.
However, he was also a master of rhythm guitar and
Em
A m7 chordal ideas alwaysCcreated a full
œœ
This track features a simple chord sequence his distinctive

# œœ
heavily embellished with a number of devices that are sound underneath his vocals.

&RECOMMENDEDœœ LISTENING
characteristic of Hendrix’s influential guitar playing.

œ œ œœœœ
You will encounter broken chords, which refers to the

œ œ
point where the notes in a chord are picked one after
the other rather than all at the same time.
Listen to as much Hendrix as you can. Classic
Let ring
Let ring
There is also a great deal of legato playing here, tracks include ‘Purple Haze’, ‘Hey Joe’, ‘Little Wing’
0
with many short hammer-on and pull-off phrases 0
and ‘The Wind Cries Mary’ , but practically 1everything
used to punctuate the changes between chords. In T 1
he recorded left0 its imprint on modern guitar. His
Guitar Grade 4

addition, there are double-stops that are sometimes A three albums with
2 The Jimi Hendrix Experience are
3
2 (1967), 3 2
preceded by a fast grace note hammer-on or pull-off. B 0 Are You Experienced
all excellent: Axis: Bold 3 2 0
Another major feature of Hendrix’s playing is his use As Love (1967) and Electric Ladyland (1968).
[6]

37
 Circus Experience
Joe Bennett

q = 68 Classic Rock
D C D C

# œ œœ
A

& 44 œ œ œœ ggg œœœ œœ

œœ
œœ
œœ œ ggg œœœ œœ
œœ
œœ
œœ
œ gg œ œ œ œ œ œ gg œ œ œ
P
T ggg 55 ggg 55
gg 57 gg 57
7 7
7 7
A 7 7
B 7 9 9 5 7 7 9 9 5 7

D C Em

# œœ ggg œœœ œœ œœ œ œ œ œ
& œ œ œ œœ œ ‰ j
3

œ gg œ œœœœ œ œœœ
r
œœœœ œ œœœ
œ

œ
gg 55
0

ggg 57
T 7
7
5 3 0
2 0 2 4
A 7 0 2 0 2 2 0 2 0
B 7 9 9 3 2
3 2 0
2 0
3
[3]

RSL-489873069038 / 1 / Fidel Campos / [email protected]

A m7 A m7

#
C Em C

œ œœ œ œœ
& œœ œ œœ
3

œ œ œ œœœ œœœœ œ œ œ œ œ œ œ œ œœœ

Let ring
œ œ Let ring Let ring Let ring
œ
0 0 0 0
T 0
1 1
0
1
A 2 0 2 0 2 0 2
B 0 2 3 3 2
3 2 0
2 0
3
0 2 3 3 2
3 2
[6]

# jœ œœ
œ œ
Em C G F Em

œ œ œj œ œ œ œœ œœ œ œœ œœœ ˙˙˙
& œ œœœ œ œ œ œœ n œœ œœ
œ Let ring
œ Let ring
Let ring

T 7 9
8 8
7
1
0 0
0
0
0
0 2
0
0 2
0
0
A 7 5 7 9 7 5 0 2 0 0 3 3 2
B 0
3
3
0 2

[9]

œœ œœ œœ
D C Em

# œœ œœ œœ
œ #œ œ Œ Œ
j j
& œ œœ œœ
œ œ œ œ
œ œ

˙.
Guitar Grade 4

T 7
7
5
5
8
7 9 7 9
8
A 7 5
B 7 9 9 7 3 2
3 2 0
[12]
38
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Bbm
Guitar solo (8 bars)

# . Bm
B

& .’ ..
Am Em

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
F
. .
. .
T
A
B
[14]

#
C C G F Em C G

& ggg œœœ œ œ œ ˙˙ œœ œœœ ˙˙˙ ggg œœœ œ œ

œ gggg œœœœ ˙˙ n œœœ œœ
œ ˙ gg œ gg œœœœ ˙˙
˙˙
P gg Let ring g ˙ Let ring Let ring
ggg œ ˙
gg 10 gg 00 gg 10 ggg 00
ggg 23 ggg 02 ggg 23
T
ggg 02
3 1 0 0 3 1
2 0 2 0
A
gg 3 g3
3 3 2
B 3 2

[18]

F#
ng Cœœ œ œ. œ ˙˙ œ œ.
# gggg œœœ ggg n œœœ ggg œœœœ ˙˙
F G G F Em

œœœ ˙˙˙ ggg n œœ ˙˙

& œ
j
n œœœ œ
j œœœ # # # œœœ g œ g
˙˙

RSL-489873069038 / 1 / Fidel Campos / [email protected]

Let ring

gggg ggg gggg 65 gggg 54

Let ring

gg
8 10 8 7 5 7 5 3
T
g g7 g5
1 1 2 3 8 8
2 0 2 3 4 9 7
A 0
3 3 4 5 10 9
B
[21]

F#
# j œœ œœ. œœ ˙˙˙ nœ œ # # œœ. œœ ˙˙
œ œ œ
C G F G N.C.

& œœ œ œ œ œ j œ
œ œ
jœ
œ œ # œ
œ ˙
nœ œ œ n œ œ

T 5
5
7
5
5
3
4
6
5
6
5
7
6
8
7 4 5
3
A 5
5
5 5 5 5 7 5 7 8 9 2 3 5
B 3 3

[24]

œ œ. g œœ œœ œœ ˙˙
F Em D C Em

# nœ ˙˙ œœ œœ œœ
& gggg n œœœ œ #œ œ œ
Œ
j j
ggg œœ ˙˙ œœ œœ œ œ

g g œ œ œ
œ w
Guitar Grade 4

ggg 11 gggg 00
Let ring
3 1 0

gg 23
T
g2
7 5 8 8
7 5 7 9 7 9
A 7 5
B 7 9 9 7 3 2
3 2 0
[27]
39
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Walkthrough

Amp Settings hammer on to the 9th fret of the G string with your third
Either a clean or lightly overdriven tone will work for ‘Circus finger as you play both strings (Fig. 2). Make sure you use
Experience’, although you will almost certainly want to the tip of your fingers so that you arch over the B string to
change to an overdriven sound for the solo. The Rockschool allow the note on the B string to ring clearly.
recording uses a phaser effect with the rate and width set to
produce a fairly slow sweep. This is optional, but you may
use this effect if you so wish. B Section (Bars 14–17)
This is the guitar solo. The first chord is Bm but it’s firmly
Distortion rooted in the key of E minor.
Channel Equalisation Reverb

5 5 5 5 5
Bars 14–17 | Guitar solo
4 6 4 6 4 6 4 6 4 6
The E natural minor, minor pentatonic and blues scales are
good choices for this solo. The Bbm chord on beat 4 of bar 15
3 7 3 7 3 7 3 7 3 7
2 8 2 8 2 8 2 8 2 8
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
is a stylistic passing chord and provides tension. You don’t
GAIN BASS MIDDLE TREBLE DRY – WET need to adjust your scale to accommodate this chord.

A Section (Bars 1–13) C Section (Bars 18–29)

This section uses a combination of chord fragments linked The C section is based on a repeated rhythmic motif that
with single notes and bluesy phrases using either the E blues moves through different inversions of the same four-bar
or natural minor scales. chord progression.

Bars 1–29 | Playing at slow tempos Bars 18–25 | Fretting accuracy

Slow songs are not necessarily easier to play than fast songs. Make sure each note of these chord inversions rings clearly.

RSL-489873069038 / 1 / Fidel Campos / [email protected]

At slow tempos it’s hard not to rush and play ahead of the You can check by picking each chord’s notes individually.
beat. To avoid this, it may help to tap your foot and/or count
in eighth notes (“1 & 2 & 3 & 4 &”) as you play rather than

j
in quarter notes (“1 2 3 4”). This will leave less gaps between
˙ n œœ ..
C G F Em

# ˙ œœ ˙˙
& ˙˙˙˙
counts, enabling you to better feel the pulse.
˙˙ œœ .. œœ ˙˙
˙˙ œœ ˙˙
Bars 1–13 | Chord fragments
Many of the bars in this piece will become less complex if
˙
you view the notation as parts of full chords rather than 0 3 1 0
individual notes. The best example of this is bars 10 and
T 1
0
0
0
1
2
0
0
A 2 0 3 2
11 where, despite the embellishments, a set of open chord B 3 2
3
2
0
shapes are present (Fig. 1).
Fig. 1: Chord fragments
Bars 1–3 | Spread chords
The wavy line that runs vertically alongside the chords in
bars 1–3 indicates that, even though the chord tones are
notated to be played simultaneously, you should spread them
out slightly. Rather than strumming the chord, brush your
œœ œœ œœ
Em

# Œ
pick across the strings to produce a sound that is midway
Œ
j j
between a strummed chord and one that is arpeggiated.
& œ œ

Bar 4 | 16th-note triplets ˙.

In beat 2, you will need to divide the quarter note into a
16th-note triplet (equal to one eighth note) and an eighth T 8 8
7 9 7 9
note. This lick falls easily under the fingers so listen to the A
full version in order to understand the rhythm aurally.
B 0
Guitar Grade 4

2 2
Fingers: 1 3 1 3
Bar 13 | Double-stops with hammer-ons
Fret the note at the 7th fret with your first finger and the note Fig. 2: Double-stops with hammer-ons
on the 8th fret of the B string with your second finger. Next,

40
 Dirt Wizard

SONG TITLE: DIRT WIZARD

GENRE: BLUES ROCK
TEMPO: 142 BPM

~~
Blues Rock
~~~~
q =142

#4
KEY: E MINOR A
N.C.

& 4 œ œ œ œ œ œ
TECH FEATURES: STRING BENDS

f œ ~~~~ œ ~
SLIDES
HAMMER-ONS

COMPOSER: JAMES UINGS T

A
PERSONNEL: STUART RYAN (GTR) B 12 12 0 12 0 10 12

HENRY THOMAS (BASS)

NOAM LEDERMAN (DRUMS)

# ~~ œ œj œ œ ..
2.

œ œ œ
& œ
j
œ
the~~
œ and in doing so
œrural black America,

RSL-489873069038 / 1 / Fidel Campos / [email protected]

OVERVIEW

.
guitarists of the British blues boom who reinterpreted
sounds of

.
‘Dirt Wizard’ is a blues rock track in the style of created something original. Clapton left Mayall’s
acts like Eric Clapton, Led Zeppelin and The Black T band and went on to form Cream, a power trio
Keys. It features string bends, slides, vibrato and A who absorbed the latest psychedelic influences
12 14
12 and
12
14 10
hammer-ons among its techniques.
B featured extended improvisations
0 10 0
in their music. 12

[4] Led Zeppelin’s Jimmy Page was a contemporary

STYLE FOCUS of Clapton and, while the latter was known for his

# In the same year that Clapton appeared on the

B improvised lead playing, Page was a master of riffs, 5
A G5

‰ œ
5
This style of music is based largely on the minor someEof5 which were inspiredGby original blues records.

& Bluesbreakers album, œ œ œ œ

pentatonic and blues scales, and solos and riffs are

œœ He¿¿ wasJimi¿¿influenced
York toœLondon. œ œ ¿¿ New œ œ œ
¿¿ from
written with these scales as their basis. Blues rock lead

œ
is full of virtuosic interpretation of familiar minor Hendrix moved
pentatonic and blues scale patterns, using techniques by the same
such as string bends, legato and wide vibrato. artists as the leaders of the blues boom. His use of the
wah pedal to mimic the human voice and his abuse of

¿¿ ¿¿ ¿¿ ¿¿
THE BIGGER PICTURE
T his Fender Stratocaster marked him out as a showman
with an unrivalled depth of musical invention.
A 5 5 7 7 5
Blues rock is usually categorised as rock music B 2
0
2
0 3 3 5 5 3
from the late 1960s to the mid 1970s. However, RECOMMENDED LISTENING
[7]
modern day artists such as Joe Bonamassa and The
Black Keys continue to play music in this vein. Eric John Mayall’s Blues Breakers With Eric Clapton is

# ‰
Clapton was influential on the genre. The tone he the definitive blues rockG
record.
5 5
Led ZeppelinA(1969) G5 N.C.

‰
E 5

& œœ œœ œ
achieved using a Gibson Les Paul and a Marshall amp took blues rock in new directions and features two

œ œ
Guitar Grade 4

¿ ¿ ¿
n œœ œœ ¿¿ ¿ œ œ ¿ ¿ œ œ
on John Mayall’s Blues Breakers With Eric Clapton blues covers, ‘You Shook Me’ and ‘I Can’t Quit You
(1966) is a cornerstone of the blues rock sound. Baby’. For an impression of how diverse blues rock has
Clapton was among a number of young English become, try The Black Keys’ Thickfreakness (2003).

41

¿ ¿
T
A ¿ ¿ 7 7 5
 Dirt Wizard
James Uings

q =142 Blues Rock

#4 ~~~~ ~~~~~~ ~~~~ ~~~

A 1.
1/4
N.C.

& 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f œ ~~~~ œ ~~~~~~ œ œ œ ~~~~ œ ~~~
T 1/4
A
B 12 12 0 12 0 10 12 0 10 12
10 10
12 0 12 12 0 12 0 10 12

# ~~ jœ œ . ‰ ‰
2.

œ œ
& œ œ . œ œ œ œ œ œ œ
j
œ œ
œ. œ œ.
~~ œ œ œ œ œ
.
.
T
A 12
B 14
0
12 10
10 0
12 14
12 12 0 12 0 10 12 0 10 12 15 15 15
[4]

Bb5
#
B

‰ ‰ ‰
E5 G5 A5 G5 N.C. E5 G5 A5 A5

& œœ œœ ‰ œ œœ œœ ‰ b n œœ œœ œœ
œœ œœ ¿¿ ¿¿ œœ œœ ¿¿ ¿¿ œ œ œ œ œœ œœ ¿¿ ¿¿ œœ œœ ¿¿ ¿¿

RSL-489873069038 / 1 / Fidel Campos / [email protected]

T
A
B 2 2 ¿¿ ¿¿ 5 5 ¿¿ ¿¿ 7 7 5 2 2 ¿¿ ¿¿ 5 5 ¿¿ ¿¿ 7 7 8 7 7
0 0 3 3 5 5 3 3 5 3 0 0 3 3 5 5 6 5 5
[7]

# ~~~~
1/4 1/4

‰œ‰
E5 G5 A5 G5 E5 G5 A5

œœ œœ œœ ¿¿ ¿¿ œœ
N.C. N.C.

&
n œœ œœ ¿¿ ¿¿ œ œ ¿¿ ¿¿ œ œ œ œ œ œ œœ œœ ‰ œ œ œ ‰ œ
œ œ œ œ j œ œj œ œj œ œ œ œœœœ¿ ¿ œœ
~~~~
œ

T ¿¿ ¿¿
¿¿ ¿¿ ¿¿ ¿¿ ¿ ¿
2 2 2 2
A 2 2
1/4
2
1/4
2
B 2
0
2
0
5
3
5
3
7
5
7
5
5
3 3 5 3
2
0
2
0 0 3
5
0 3 5 3 5 3 5 3
0 0
3
0
3
0

[11]

# j œœ œ œ œ œ œ œ
œœ # œœœ œœœ ‰ œ œ œ œ œ œ
1/4
E5 G5 A5 G5

œœ # œœœ œœ œœ œœœ œœ œœ œœ ¿¿¿

N.C.

& Œ ‰ œ ‰œ‰
œœœœ œ œ œ œ œ
œœ œœ ¿¿ ¿¿ œ œ ¿¿ ¿¿ œ œ œ œ œ œ
¿
2 ¿
2 ¿
T
¿¿ ¿¿ ¿¿ ¿¿
0 2 2 2 0 0 2 2 8 8 8 8 8 8
0 2 2 2 0 2 2 0 2 2 9 9 9 9 9 9
A 0 2 2 2 0 2 2
1/4
0 2 2
B 0 0
3
0 2
0
2
0
5
3
5
3
7
5
7
5
5
3 3 5 3
[16]

# ~~~~~ ~~~
œ Œ Œ œ œ œ. œ ˙ œœœœœœ‰œ
E5 G5

œ œj œ œ œ œ
N.C. B 1/4 A

&
œœ œœ ¿¿ ¿¿ œœ œœ ¿¿ ¿¿ J
j

œ œ
œ
Guitar Grade 4

1/4
~~~~~ PM
~~~
T
¿¿ ¿¿ ¿¿ ¿¿
7
A 5 7 5 7 5 9 9 9 9 7 7 7 9 5
B 2
0
2
0
5
3
5
3
7 5
5 7
10 10

[21]
42
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 b œ œ œ ‰ ~~~~~
# ~~~~ œ œ œ ‰ œ œ
œ œ œ~~~~~
˙ œ w
B N.C.
j

Œ J‰
1/4 1/4 1/4
œ
J
1/4

& w J
~~~~ 1/4
1/4 1/4 ~~~~~ BU
1/4 ~~~~~
T 7 9
8 8
9
10 (11) 10 8
9
A 9 7 9
B
[26]

b5
Guitar Solo (16 bars)

# œ œ œ œ œ œ œ œ œ œ œ Gœ œ N.C.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
C
E5 G5 A5 E 5 G A B A 5 5 5 5

&
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 5 5 8 8 10 10 8 8 5 5 8 8 3 3 3 3
A
B
[31]

Bb5
Play 3 times

#
& .. ’ ..
E5 G5 A5 G5 N.C. E5 G5 A5 A5

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

. .
. .
T
A
B
[35]

# N.C. ~~~ ~~~~~ ~~~ ~~~~~

D

œ œj œ
1/4

œ œ

RSL-489873069038 / 1 / Fidel Campos / [email protected]

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j
œ
œ ~~~ œ ~~~~~ œ œ œ ~~~ œ ~~~~~ œ œ
T 1/4
A 12
B 12 12 0 12 0 10 12 0 10 12
10 10
12 0 12 12 0 12 0 10 12 0 10 0
12 14 14 12 10

œ œ œ œ œœ œœ œœ
[39]

# ~~~~ ~~~~~ œ œ
1/4

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ ~~~~ œ ~~~~~ œ œ
T 1/4
14 12 14 16
15
16
15
16
15
16
A 12 14
B 12 12 0 12 0 10 12 0 10 12
10 10
12 0 12 10 12
12 10 12 14

œ œœ œœ œœ œœ œœ œœ
[43]

# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1/4 1/4
j j
œ œ
&
RP
1/4 1/4 BU
T 12 12 14 12 14 12 12 14 12 14
15 15 15 15 15
(16) (16) (16) (16) (16) 14
15
12
A 14 12 14 14 12 14 14 14 12 14
B
[47]
√ œœ œœ
œ œj œ œ œ œ œ œ œ œ œ œJ b œ œ œ b œ œ œ œ~~~
j E j
5

# œœœœ œœœœ
j œ œ
1/4 1/4
j œ
Œ Œ Ó
œ
&
Guitar Grade 4

15
1/4

15 17 15 17 15
BU
RP
17 (19)(19)(19)(19)
BU BD
17 (18) (17) 15 18 17 15
1/4
~~~ 12 12
T 17 15 17 17 15 17 17 17 15 (17) 15 (17)
A BU BU
B
[51]
43
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Walkthrough

Amp Settings D Section (Bars 39–55)

This driving blues rock track sounds best with a heavily The D section starts with a reprise of the A section before
overdriven tone. Boosting the middle will give your tone an moving into a single-note melody that uses grace notes and
aggressive edge and help the guitar cut through the full band quarter-tone bends. The melody is repeated an octave higher
mix, especially in the solo. If you feel your tone needs a little to bring the song to a dramatic climax.
more bite, you could try boosting the treble as well.
Bars 49–50 | Oblique bends
Distortion An oblique bend is a string bend played simultaneously with
Channel Equalisation Reverb at least one un-bent note. Play the bend in beat 1 with your
5 5 5 5 5
third finger supported by the first and second fingers. Play
3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 the D at the 15th fret with your fourth finger as you re-pick
2 8 2 8 2 8 2 8 2 8 the initial bend.
1 9 1 9 1 9 1 9 1 9
0 10 0 10 0 10 0 10 0 10
GAIN BASS MIDDLE TREBLE DRY – WET Bars 50 & 53 | Repicked notes
The letters ‘RP’ indicate a ‘repick’. You are most likely to find
this instruction following a string bend. In this technique,
A Section (Bars 1–6) the bent notes are held and repicked. They appear in
The A section is a high register single-note riff that makes parentheses because, in keeping with other bend notation,
use of open strings, quarter-tone bends, slides, vibrato and the number shown indicates the pitch that will be heard
staccato notes. rather than the fret that is played.

Bars 1–6 | Phrasing Bar 53 | Target notes

To play this riff effectively, you can’t simply follow the The key to good string bends is making sure they reach the
numbers in the tab. There are numerous articulations and target note (the note in brackets). A good exercise to help

RSL-489873069038 / 1 / Fidel Campos / [email protected]

techniques that give the riff its character. Look closely at the you develop string bends is to play and hold the target note,
notation and include all of the subtle phrasing to help you then play the bend. Having the target note fresh in your
deliver a convincing performance. memory will help you bend to the correct pitch (Fig. 2).

B Section (Bars 7–30)

# N.C. ~~~~~~~
&
This section combines low-string powerchords with

œ œ œ œ œ
muted strings and single-note phrases that use many of the

~~~~~~~
techniques found in the A section.

Bar 14 | Grace notes T

A
Grace notes are quick notes preceding the main melody or B 5 5 5 3
riff notes. They are represented in the tab by slightly smaller
numbers than normal notes. Start by playing the riff without
Fig. 1: Bar 14 with grace notes removed
the grace notes so that you get the correct feel then add the
grace notes (Fig. 1).

√
C Section (Bars 31–38)
# ˙ ˙
The C section is the guitar solo. The first four bars are j
œ

&
written while the next 12 bars are open for you to create
your own solo.
BU
Bars 35–38 | Building solos 19 17 (19)
T
The improvised section of the ‘Dirt Wizard’ solo is 12 bars A
long. Even at 142 bpm, this is quite a long time to improvise B
Guitar Grade 4

for so you will need to have at least a basic idea of the Target note Bend
direction of your solo. Beginning with slower, low register
phrases before moving to more active licks in a higher Fig. 2: Target notes
register is just one way to shape your guitar solo.

44
 Funkometer

SONG TITLE: FUNKOMETER

GENRE: FUNK

Eb
q = 77 Funk
F#7
j
TEMPO: 77 BPM
F7 E7

44 # # œœœ ... b n œœœ ‰ n œœ œœœ n b b œœ

KEY: C MAJOR A

TECH FEATURES: DOMINANT SEVENTH CHORDS

& # œ. n n œ # n œœ œ b œ
F
SLIDING DOUBLE-STOPS
SYNCOPATION

COMPOSER: KIT MORGAN 5

T 7
9
6
8 7
A 8 7
8
6
7
PERSONNEL: KIT MORGAN (GTR) B 9
HENRY THOMAS (BASS)
NOAM LEDERMAN (DRUMS)
ROSS STANLEY (KEYS)
FERGUS GERRAND (PERC)

. . b œœ
F9

b œ. b œ œ œ œ œ œ
7 1/4

& n œ œ.
C

RSL-489873069038 / 1 / Fidel Campos / [email protected]

OVERVIEW Throughout the late 1960s, Brown’s guitarists
Jimmy Nolen and Alphonso Kellum pioneered many

.
‘Funkometer’ is a funk track in the style of James funk techniques including the 16th note strumming
Brown, The Meters and Sly & The Family Stone. pattern (first heard on the proto-funk single ‘Papa’s
It features double-stops, 16th note rhythms and Got A Brand New Bag’, where it was used more for
syncopation among its techniques. effect rather than as an integral part
1/4 of the groove).

T The release of ‘Cold Sweat’ inspired a generation of
8
8
7
STYLE FOCUS
A young musicians. The Meters
10 8 infused funk 10
with the 8
bold musical flavours of their native New Orleans,10
10

There is a great deal of syncopation in funk, which B while Sly

8 & The Family Stone merged the distinctive
means you’re not always playing on the beat and that James
[3]
Brown groove with rock guitar.
some rhythms will have a strong emphasis on the off-

%
beat 16th notes. Chords are usually condensed down Funk in the 1970s was dominated by George

~~~~~~~~~~
to their key components, most often the major third Clinton’s P-Funk (some of whose members came from

œ œ œ œ
and flattened seventh. These can be played as sliding James Brown’s backing band), while the legacy of
double-stops, which are easier to handle than full funk continued throughout the 1980s and 1990s with

j ‰ bœ œ œ œ œ œ ‰
C7
chord shapes. Maintaining a tight rhythm and playing F 9like Tom Tom Club, Fishbone and Red Hot
bands

& J
cleanly are essential to good funk playing. Chili Peppers putting their own spin on ‘the one’.

œ œ.
~~ ~~ ~~R&B~~to~~
THE BIGGER PICTURE RECOMMENDED LISTENING

Funk musicians often talk about playing ‘on the To hear how Brown’s music morphed from
one’. This means the drummer emphasises the first 10 8
funk, listen to the compilation Star Time (1991). The
beat of each bar as opposed to R&B and soul where TMeters’ self-titled debut (1969)[10
is ]full8of funk guitar,
Guitar Grade 4

8 10
the second and fourth beats are stressed. The first
song to feature this emphasis was James Brown’s 1967
Aas is Sly & The Family Stone’s Greatest Hits (1970).
Finally, the RHCP album BloodSugarSexMagik (1991)
single ‘Cold Sweat’. Bshows how funk developed in the 1990s.
[6]

45
 Funkometer
Kit Morgan
q = 77 Funk
F#7 Eb7 Db7
j
F7 E7 D7

# œœ .. b n œœ ‰ n œœ œœ b b œœ .. n œœ .. b b œœ
A

4
& 4 # œœ ..
# n n œœ # n œœ œœ n b œœ .. # n œœ . n œ ˙˙ .. Œ
. . bœ ˙˙ ..
F
T 7
9
6
8
5
7
4
6
3
5
2
4
A 8 7 6 5 4 3
B 9 8 7 6 5 4

. ~~~~~~~~~
b œ. b œ œ œ œ œ. œ. b œœ œ œœ œ œœ n œ œ œœ œœ ‰ b œ. œ. . œ œ n œ. œ ‰ œj œ œ
C7 F9 C7

& n œ œ.
1/4

#œ œ œ
. J œ.
1/4 ~~~~~~~~~
T 8 8 7 8 7 8
8
8
A 10 8 10 8 10 7 6 7 6 7 7 8 10 8 9 10
B 8
10
8
10 8 10 8

[3]

~~~~~~~~~~ %

RSL-489873069038 / 1 / Fidel Campos / [email protected]

œ œ œ œ . ~~~~~~~~~
b œ œ œ œ œ œ ‰ b œ. b œ œ œ œ œ. œ. b œœ œ œœ œ œœ n œ œœ œœ œœ ‰
F9 C7 F9

j œ.
1/4

&œ ‰ J
œ.
#œ œ J
10 8
~~~~~~~~~~ 1/4 ~~~~~~~~~
T 8 10 [10] 8 8 8 7 8 7 8
8
8
A 10 8 10 8 10 7 6 7 6 7 7
B 8
10

[6]

To Coda fi
Bb7 Eb9 Ab7

œ. œ œ j . j j .
nb œœ œ œœ b œœ ‰ œœ ‰ œ n œJ œ œ œ
G7 C7 F7

œ # œ œ œ œ œœ ‰ b œœ .. œ ‰ . r
& bœ œ œ œ œ œ œ œ œ œ. n bœ
> > œ b œ œ n œ >œ
BU
T 7 6 7 6 7
6
6 5 4 5
4
5
3
4
6 (8) 6 4
5 3 2
A 6 5 6 5 6 5 4 3 4 3 2 1
B 3
3
1 1 2 3

[9]

#
j ¿¿ ¿¿ b œœ j
‰ n œœ ..
C7 7 C7 F7 C7 F7 B7 9

& n b œœ .. œœ .. b œœ ‰ . ‰. r bn œœ .. œœ ..
F

¿ ¿ n b œœ . b œœ œ
1/4

œ. b œ # œœ ..
. > > œ b œ œ n œ >œ >
Guitar Grade 4

¿¿ ¿¿
¿ ¿
1/4
3
T 3 3 2
4
3 2 3 3 2
3
2
A 2 2 1 2 1 2 2 1 1
B 3
3
1 1 2 3 2

46
[12]

© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Œ n œœ .. œ jœ œ
E m7 A7 E m7

#œ œ
B

œ œ
& nw
œ. œ œ œ œ œ œ . œ # œœ œ n œ # œ œ ’ ’ ’ ’
j
cont. sim.
œ

nw œ œ.
Let ring
7 7
T 8
7 7 9
8 8
7 7
5
5 6
7
7
5
5 6
A 7 9 7 7 7
B 7
0
0

[15]

A7 E m7 A7

&’ ’ œ œ #œ œ œ œ œ ’ ’ ’ ’ ’ ’ ’ ’

T
A 5 5 4 5 5 4
B 7

[18]

Bb5
j j j
C5 G F G7

œœ œœ œœ œ ˙˙ œ œ œœ œœ œœœ œœœ œœœ œœœ œœœ

& n œœ ‰ œœ œœ œœ ‰ b œœ ‰ œœœ ˙˙ n œœœ œœœ œœ œœ ’ ’ ’
Fill

nœ œ œ œ œœ ˙˙ œ œ œ œ œœ œœ œœ œœ œœ
bœ

RSL-489873069038 / 1 / Fidel Campos / [email protected]

œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ.
P f
3 1 3 3 3 3 3 3 3 3 3
T 5
3
4 3
1
2
3
4
3
4
3
4
3
4
6
4
6
4
6
4
6
4
6
4
A 5 5 3 3 3 3 3 3 3 3 3 3 3
B 3 5
3
1 3
1
5
3
5
3
5
3
5
3
5
3
5
3
5
3
5
3
5
3
[21]

C Guitar Solo (8 bars) D.%. al Coda fi

& .. ’ ..
C7 F7 C7 F7 C7 F7 C7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
F
T . .
A . .
B
[25]

fi Coda
F#7 Eb7 Db7
œœ. b b œœ œœ n œ œ œ
F7 E7 D7 C7

b œ œ œ œ œ n œ b œ # n # œœœ.
N.C.

b n œœ nœ bœ
# n œœœ n b b œœœ n œ b b œœ
# n œœœ n b œœ n b nn ˙˙˙˙
1/4

& #œ n n œœ
. .
Guitar Grade 4

1/4
8
T 8 11 10
11 10
8
8
8
8
7
9
6
8
5
7
4
6
3
5
2
4
1
3
A 10 10 9 8 8 7 6 5 4 3 2
B 9 8 7 6 5 4 3

[29]
47
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Walkthrough

Amp Settings Bars 15–16 | Embellishment fingerings

Aim for a bright, clean tone. This style of funk often featured Fret the E m7 chord as you would normally and play the first
what might be considered relatively ‘thin tones’, so turn the two beats as notated. Remove your third finger from the D
bass down if you feel that the sound is too muddy. Be careful string and use it to perform the grace note hammer-on in
with the gain level, because even clean amp channels will beat 3. You should also use your third finger to perform the
distort if they are pushed too hard. hammer-on on the D string in beat 4. Your first and second
fingers should not move throughout the bar. This will allow
Clean as many notes as possible to continue to ring throughout the
Channel Equalisation Reverb bar, which is a key part of the phrase’s effectiveness here.
5 5 5 5 5
4 6 4 6 4 6 4 6 4 6
3 7 3 7 3 7 3 7 3 7
2 8 2 8 2 8 2 8 2 8 C Section (25–30)
1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9 1
0 10
9
This section is the guitar solo played over a two-chord vamp.
GAIN BASS MIDDLE TREBLE DRY – WET The rest of the section consists of a reprise of part of the A
section before it jumps to the Coda to bring the song to a
satisfying close.
A Section (Bars 1–14)
The A section starts with syncopated dominant 7 chords Bars 25–28 | Guitar solo
followed by a funky riff that combines single notes and The chord progression moves between the I and IV chords,
double-stops. A range of expressive techniques are used both of which are dominant 7 chords. The C blues scale is
including various bends and slides. a very popular choice over this progression, as is the minor
pentatonic. The minor 3rd (E b) of these scales creates a
Bars 1–2 | Ghost strumming pleasing discordance over the C 7 chord’s major 3rd, E.
There are several ways to strum the opening chords, but

RSL-489873069038 / 1 / Fidel Campos / [email protected]

keeping your hand in a constant strumming motion between
chord hits may help to make the part more fluent. When you
don’t want to strike the strings, move your pick away a small
amount – these are called ghost strums. Fig. 1 illustrates how
the constant strumming motion corresponds to the rhythm F#7 Eb7 Db7
≥ ≤ ≥ ≤≥≤≥≤ ≥ ≤ ≥ ≤ ≥≤ ≥≤
F7 E7 D7

# œœ .. b n œœ. n œœj
of the intro where the ghost notes are also identified.

4 œœœnb bœœœ ... n œœ .. bœ

Bar 3 | Quarter-tone bend
A quarter-tone bend is usually quick. Avoid wasting time
& 4 # # œœ .. n n œœ ‰ # n œœ œ bœ. . # n œœ .. nb b œœœ
trying to make your bends precisely a quarter tone. Use
your instincts to guide you because quarter tone bends rely
T 7 6 5 4 3 2
heavily on feel to obtain the right sound. A 9 8 7 6 5 4
8 7 6 5 4 3
B 9 8 7 6 5 4

Bar 4 | Sliding double-stops

The most challenging part of these double-stops is keeping Fig. 1: Ghost strumming
the notes ringing after you have played them. Focus as much
on maintaining pressure into the fretboard as you do moving
from fret to fret.

Bars 3–14 | Staccato phrasing

≈ b œ. b œ œ œ œ œ. œ.
C7

œ.
1/4
Many notes are marked as staccato (short and detached)
&
n œ.
here. Observing these markings is key to playing this section
with correct phrasing (Fig. 2). To achieve this sound, release
the pressure on the strings as you play the note. Don’t take 1/4
your fingers all the way off; just stop pressing down. T 8
A
Guitar Grade 4

10 8 10 8 10
B 8
10

B Section (Bars 15–24)

The B section is based primarily on chords, some of which Fig. 2: Staccato phrasing
are embellished with hammer-ons.

48
 Carbon Footprint

SONG TITLE: CARBON FOOTPRINT

GENRE: DRUM  &  BASS/ELECTRONIC
TEMPO: 160 BPM
A q =160 Drum & Bass/Electronic

b4
KEY: G MINOR F/G

b
Gm

& 4 œ œ ‰ œ œ
œ œ
TECH FEATURES: STRING BENDS
PALM MUTING
ALTERNATE PICKING f œ # œ

COMPOSER: SIMON TROUP
T
A 1 3
PERSONNEL: CHARLIE GRIFFITHS (GTR) B 1 2 3 3
NOAM LEDERMAN (DRUMS)
SIMON TROUP (PROD)

b
F/G

b
Gm

& ‰ œ œ ‰b
# œ œ œ œ œhave achieved œ
œ

RSL-489873069038 / 1 / Fidel Campos / [email protected]

OVERVIEW production techniques. Both bands
popularity with their innovative line-ups consisting
‘Carbon Footprint’ is inspired by the electronic/ of live bands alongside DJs and producers. In its early
metal crossover sound of bands like Pendulum, The incarnation in the 1990s, this scene was known as
Prodigy and Chase And Status. The lead lines pay T industrial and acts like Ministry took the influence
homage to guitarists such as Joe Satriani, who have A of early heavy metal bands such as Black Sabbath 3
experimented with fusing the guitar with electronic B and combined them with1the popular3 synth sound 3
1 2 3
production. This track features a distorted riff that of the 1980s. This created a dark sound that stood
will test how tight your rhythm playing is while the [5] apart from the more traditional thrash and metal
melody figure will test your phrasing skills. bands ofGthe F/G
m time. However, the electronic sounds of

b
trance and drum and bass also found their way into

& b œ œ œb
the instrumental music of guitarists including Joe

œ œ œ
STYLE FOCUS Satriani; in this case, the guitar is the lead instrument

œ #œ œ œ œ
and the production provides an expansive canvas
The fusion of drum and bass with metal and rock upon which the soloist can weave his lines.
creates interesting challenges for the guitarist. Linkin PM
PM
Park, for example, incorporate DJs into their line-up
but Pendulum and The Prodigy bring the electronic RECOMMENDED LISTENING
sound to the fore, meaning the guitar plays more of T
a supportive role. The guitarist must hold down tight A Pendulum’s debut album,1 Hold Your Colour (2005),
3
sounding riffs but play with a strong attack so that he
or she can compete with the drum and bass loops that
Bshowcases their fusion of drum and bass
3
2 enjoyed
guitar. The1Prodigy
3 and
3 metal
great commercial success
3 3

propel the music forwards. [9]with their album The Fat Of The Land (1997), which
offered up some bone crunching guitar work. To

b
hear how a production team have used sampling, F/G

b
Gm

&
THE BIGGER PICTURE try Apollo 440’s ‘Ain’t Talkin’ ’Bout Dub’ and its

œ œ œ œ
Guitar Grade 4

œ œ
prominent use of Van Halen’s ‘Ain’t Talkin’ ’Bout

œ #œ œ œ œ
Pendulum and The Prodigy have successfully fused Love’. Satriani’s Engines Of Creation (2000) fuses his
metal style guitar riffs with drum and bass and techno virtuosity with electronic production.

PM PM

49
T
A
 Carbon Footprint
Simon Troup

Drum & Bass/Electronic

~~~~
A q =160

b
& b 44 Œ
Gm F/G Gm F/G

œ # œ œ œ œ œ‰œ œ œ ‰ bœ œ œ œ œ œ #œ œ œ œ
f
~~~~
T
A
B 1 2 3
1
3
3
3
4 3 1
3 1 2 3 3

~~~~
bb Œ
Gm F/G Gm F/G

& ‰ œ œ ‰ bœ œ œ œ œ
œ #œ œ œ œ œ œ œ nœ œ œ œ
~~~~
T
A
B 1 2 3
1
3
3
3
4 3 1
3
1 2 3
3

Bb5
~~~~~~
[5]

~~~~ j j
Gm F/G Gm C5

& bb ‰ n œœ œœ ‰ œ œœ ..
œ j
œ #œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ #œ œ œ œ nœ
~~~~ ~~~~~~

RSL-489873069038 / 1 / Fidel Campos / [email protected]

PM PM

T 3 5
A 3 5
B 1 2 3
1
3 3
3
3 3
4 3 1
3 1 2 3 3 0
[9]

bb ‰ ‰ ‰ œ œ œ
Gm F/G Gm F/G

& œ œ œ bœ œ œ œ œ œ
œ œ .
œ #œ œ œ œ œ œ œ œ nœ œ œ b œ n œ œ.
PM PM

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

[13]

b œ. œ œ œ œ œ
B G5

œ œ b œJ n œ b œ œ œ œ b œ
& b .. J
œ
œ ’ ’ ’ ’ ’ ’ ’
Fill
J

.
BU

.
T 6 (8) 6
7
6
7
BU BD
6 (7) (6)
A 8 8 7 6 5
B
[17]

œ. œ œ œ
b b œJ J œ œ œ œ b œJ n œ b œ œ œ œJ # œ n œ
1.

œ ’ ’ ’ ’ ..
C5

& ’ ’ ’
Fill
Guitar Grade 4

.
BU

.
T 6 (8) 6
7
6
7
BU BD
6 (7)(6)
BU BD
5 (6)(5)
A 8 7
B
50
[21]

© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 G 5 A 5 B b5
œ.
C5

œ œ œ œ œ
2.

b œ œ b œJ n œ b œ œ œ œ œ œœ
&b J
œ
’ ’ ’ ’ ’ ’ ’
Fill

œ nœ œ
J

BU BD
BU BD
T 6 (8) (6)
7
6
7 6 (7)(6) 0 2 3 5
A 8 0 2 3 5
B
[25]

b œ. œœœ. œœœ.
B b maj 7
œœ .. œœ Œ ¿¿ ¿¿ œœ. œœ. ¿¿ œœ Œ
C

œœœ Œ ¿¿¿ ¿¿¿ ¿¿¿ œœœ Œ

& b .. œœ ..
Gm

œ. œ ¿ ¿ œ œ ¿ œ
J J
. ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
Develop on repeat

. ¿ ¿ ¿ ¿ ¿ ¿
T 3
3
3
3
3
3
3
3
3
3
6
7
6
7
6
7
6
7
6
7
A 5 5 5 5 5 7 7 7 7 7
B

œœ Œ ¿¿ ¿¿ n œœ. œœ. ¿¿ œœ Œ œœ Œ ¿¿ ¿¿ n œœ. œœ. ¿¿ œœ Œ . n œœ. (Start solo)

[29]

b n œœ .. n œœ ..
1. 2.

&b
C/D

œ. œ ¿ ¿ œ œ ¿ œ œ. œ ¿ ¿ œ œ ¿ œ . œ ’ ’ ’
J J
¿¿ ¿¿ 5 ¿¿ ¿¿ ¿¿ 5 ¿¿ .
¿ ¿ 55 ¿ ¿ ¿ 55 ¿ .
T 5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
A 5 5 5 5 5 5 5 5 5
B
[33]

b
D Guitar Solo (16 bars)

& b .. ’ ..
Gm F/G Gm F

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Play 4 times

RSL-489873069038 / 1 / Fidel Campos / [email protected]

. .
. .
T
A
B
[38]

bb
E

‰ j ‰ j j‰ ‰ ‰ œ œ bœ œ œ œ
N.C.

& œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ
œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
T
A 5 5 4 3 3 5 5 4 3 3
B 5 5
6
5 4
6 5 4 3 3 3 3 3 3 3 3 3 3 3
5 5

[42]

b
& b œ œ b œ œ œ œ œ œ ‰ œj œ œ ‰ œj œj ‰ œ œ ‰ œ œ ‰ œ œ b œ œ œ œ œ œ œ œ b œ œ
œ œ œ œ œ bœ
T
A 5 5 4 3 3
B 6
5 4
5
4 3 3 3 3 3 3 3 3 3 3 3 3 5 5
6
5 4
6 5 4

F#5
~~~
[47]

j
G5 C5 D5 F5 G5

b ‰ j Œ ‰ œj Œ ‰ œ ‰ œœ # # œœ œœ Ó
&b ‰ j ‰ j j‰ ‰ ‰ œ œ b œ œ œ œ
œ œ œ œ œ b œ œ n n œœ œ. œ. . . .
œœ œ œœ œ œ œœ œœ
Guitar Grade 4

~~~ .
T 5 6 7
A 5 5 4 3 3 5 7 3 4 5
B 3 3 3 3 3 3 3 3 3 3 3
5 5
6
5 4 5
3
3 5

[52]
51
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Walkthrough

Amp Settings somewhere new. Common ways to develop a part are to vary
The metal guitar tone used in this kind of hybrid style the rhythm or to use different chord voicings.
consists of two key elements: a modern high-gain distortion
and a scooped tone. A scooped tone is achieved by boosting
the treble and bass controls and cutting or ‘scooping out’ the D Section (Bars 38–41)
middle. When combined with extreme distortion this creates The solo is 16 bars long and based in the key of G minor.
a heavy, aggressive tone. Metal rhythm guitar parts rarely use
reverb because this would reduce the clarity of the genre’s Bars 38–41 | Guitar solo
precise riffing style. While some guitarists are comfortable with improvising
for 16 bars without preparation, you may find that having
Distortion at least a basic idea of how you might approach the solo is
Channel Equalisation Reverb beneficial, otherwise you run the risk of simply repeating
5 5 5 5 5
your favourite licks over and over. A simple idea like playing
3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 3
4 6
7 the first half of the solo in one register and the second half in
2 8 2 8 2 8 2 8 2 8 another can give a solo shape and direction.
1 9 1 9 1 9 1 9 1 9
0 10 0 10 0 10 0 10 0 10
GAIN BASS MIDDLE TREBLE DRY – WET
E Section (Bars 42–57)
The E section is a variation of the riff in the A section. It’s in
A Section (Bars 1–16) a higher register but still uses the same chromatic ideas. The
The A section is a single-note riff that uses staccato notes, song finishes with syncopated powerchords.
vibrato and chromatic passing notes.
Bars 55–57 | Moving powerchords
Bar 7 | Finger rolls As you move between the powerchords, lock your fingers in

RSL-489873069038 / 1 / Fidel Campos / [email protected]

When two or more notes follow each other on the same fret position and shift your whole hand rather than individual
but on different strings, you must roll your finger to prevent fingers (Fig. 2). This will make your changes more efficient
the notes bleeding into each other. Play the first note with and, as a result, much faster.
the pad of your finger, and play the second note by rolling
onto your fingertip by bending your finger at the first

bb
knuckle (Fig. 1).
‰
Gm

& œ œ.
B Section (Bars 17–28) œ nœ œ bœ nœ
The B section is based on the blues scale and uses fast,
accurate string bends. The end of each phrase is open for T
you to create your own fills. A
B 1 2 3
3
1 2 3

Fingers: 1 2 3 3 1 2 3
Bars 17–26 | Fast string bends
Fast bends are harder to play in tune because your ear has Fig. 1: Finger rolls
less time to register the changes in pitch and recognise when
the bend is in tune. Muscle memory plays a big part here.
Play the bends in this phrase slowly, paying attention to the
tuning. This will teach your fingers how far the string should
F5 F#5 G5
be pushed up. Gradually increase the speed.
j
C5 D5

b j œ
& b Œ ‰ œ Œ ‰ œœ ‰ œœ. # # œœ. œ. Ó
C Section (Bars 29–37) œ. .
The C section features a change of feel where the guitar plays
syncopated chord stabs. The repeat is an opportunity for you T
to develop the part. A 5 6 7
Guitar Grade 4

5 7 3 4 5
B 3 5

Bars 29–36 | Develop on repeat

When you develop a part, ensure you are faithful to the Fig. 2: Moving powerchords
original part that is notated while still taking the section

52
Technical Exercises

In this section the examiner will ask you to play a selection of exercises drawn from each of the four groups shown below.
Groups A, B and C contain examples of the scales, arpeggios and chords you can use when playing the pieces. In Group D
you will be asked to prepare the riff exercise and play it to the backing track in the exam. You do not need to memorise the
exercises (and can use the book in the exam) but the examiner will be looking for the speed of your response. The examiner
will also give credit for the level of your musicality.

Group A should be prepared in two fingerings from the starting notes of A, B, C and D on the E string.

Before you start the section you will be asked whether you would like to play the exercises along with the click or hear a
single bar of click before you begin the test. The tempo is q = 80.

Group A: Scales
1. Major scale (A major shown)
### œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
4 5 4
T 4 6 7
5 7 7 5
7 6 4
A 4 6 7 7 6 4
B 5 7
4 5 7 7 5 4
7 5

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

RSL-489873069038 / 1 / Fidel Campos / [email protected]

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

2. Natural minor scale (B natural minor shown)

##
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ
œ œ œ œ œ œ
7
T 6 7 9
7 8 10 10 8 7
9 7 6
A 7 9 9 7
B 7 9 10
7 9 10 10 9 7
10 9 7

## œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
5 7 5
T 4 6 7
5 7 8 8 7 5
7 6 4
A 4 5 7 7 5 4
B 7
4 5 7 7 5 4
7
Guitar Grade 4

53
 Technical Exercises

3. Minor pentatonic scale (C minor pentatonic shown)

œ œ œ œ œ
bb œ œ œ œ œ œ œ œ
& b œ œ œ œ œ œ
œ œ
8
T 8 10
8 11 11 8
10 8
A 8 10 10 8
B 8 11
8 10 10 8
11 8

œ œ œ œ œ œ œ
& bbb œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
6 8 6
T 5 8
6 8 8 6
8 5
A 5 8 8 5
B 8
6 8 8 6
8

4. Major pentatonic (D major pentatonic shown)

œ œ œ œ œ
## œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ
10
T 10 12 12 10

RSL-489873069038 / 1 / Fidel Campos / [email protected]

9 11 11 9
A 9 12 12 9
B 10 12
9 12 12 9
12 10

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

5. Blues scale (C blues scale shown)

œ œ œ
œ bœ nœ œ bœ œ
& bbb œ œ bœ nœ œ œ œ œ œ œ œ bœ œ œ
œ œ
8
T 8 10 11
8 11 11 8
11 10 8
A 8 10 10 8
B 8 11
8 9 10 10 9 8
11 8

œ œ œ
bbb œ œ œ œ bœ nœ œ bœ œ œ œ œ
& œ œ bœ nœ œ bœ œ œ
œ œ
6 8 6
T 6 7 8 8 7 6
Guitar Grade 4

5 8 8 5
A 5 8 8 5
B 8
6 8 9 9 8 6
8

54
 Technical Exercises

Group B: Arpeggios
Group B should be prepared from the starting notes of A, B, C and D on the E string.

1. Major 7 arpeggio (A major 7 arpeggio shown)

# # # A maj
7

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

2. Minor 7 arpeggio (C minor 7 arpeggio shown)

bbb œ œ œ
C m7

& œ œ œ œ
œ œ
T
A 8 10 8
B 8 11
10 10
11 8

3. Dominant 7 arpeggio (D 7 arpeggio shown)

RSL-489873069038 / 1 / Fidel Campos / [email protected]

## D7
nœ œ œ
& œ œ œ œ œ œ

T
A 10 12 10
B 10
9 12 12 9
10

Guitar Grade 4

55
 Technical Exercises

Group C: Chords
Group C should be prepared from the starting notes of B, C and D on the E and A strings. Individual chords will be
strummed once and then picked (arpeggiated).

1. Major 7 chord (B major 7 chord shown)

## œ œ
B maj 7

& # # # œœ œ œ
œ œ
T 7
8 8
7
A 8 8
B 7 7

2. Minor 7 chord (C minor 7 chord shown)

b b œœœ œ œ
C m7

& b œœ œ œ
œ
3 3
T 4
3 3
4
A 5 5
B 3 3

RSL-489873069038 / 1 / Fidel Campos / [email protected]

3. Dominant 7 chord (D 7 chord shown)

# # n œœœ œ œ
D 7

& œœ œ nœ
œ
5 5
T 7
5 5
7
A 7 7
B 5 5
Guitar Grade 4

56
 Technical Exercises

Group D: Riff
In the exam you will be asked to play the following riff to a backing track. The riff shown in bars 1 and 2 should be played in
the same shape in bars 3–8. The root note of the pattern to be played is shown in the music in bars 3, 5 and 7. The tempo is
q = 100.

j 3

q q =q q
q = 100 Blues

b4
&b 4
G D

œ œ œ œ bœ nœ œ œ œ œ œ œ œ
œ œ œ œ
T
A 5 5 3 3 5 3 5 3
B 3 3
4 5 5 3
6
5

b
&b
C G

œ œ
T
A
B 3
3

RSL-489873069038 / 1 / Fidel Campos / [email protected]

Guitar Grade 4

57
 Sight Reading

In this section you have a choice between either a Sight Reading test or an Improvisation & Interpretation test (see facing
page). At this level there is an element of improvisation. This is in the form of a two bar ending. The piece will be composed
in the style of rock, funk or blues and will have chord symbols throughout. The test is eight bars long and is in one of the
four following keys: D major or G major, or D minor or A minor.

The improvised ending will use chord patterns that have been used in the sight reading part of the test. The examiner will
allow you 90 seconds to prepare it and will set the tempo for you. The tempo is q = 80–90.
q = 85 Rock

4 œ œ œ
Am G F Am

&4 œ œ Œ œ œ œ œ Œ Œ
œ œ œ œ œ œ œ

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

œ œ œ œ
G F Am

& œ œ œ ˙ œ ’ ’ ’ ’ ’ ’ ’ ’
Develop melody

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

RSL-489873069038 / 1 / Fidel Campos / [email protected]

Guitar Grade 4

58
Improvisation & Interpretation

In Grade 4, the Improvisation & Interpretation test contains a small amount of sight reading. This consists of a two bar
section of rhythm notation at the beginning of the test. You will be asked to play the chords in the rhythms indicated and
complete the test using an improvised line made up of chords and lead lines where indicated. This is played to a backing
track of no more than eight bars. The test will be given in one of the four following keys: D major or G major, or D minor
or A minor. You have 30 seconds to prepare then you will be allowed to practise during the first playing of the backing track
before playing it to the examiner on the second playing of the backing track. This test is continuous with a one bar count-in
at the beginning and after the practice session. The tempo is q = 90–100.
q = 100 Rock
¿ ¿ ¿ ¿
Chords in rhythm shown Improvise rhythmic chords

4
& 4 .. Û Û ‰ Û Û Û ‰ Û Û Û Û Û ‰ Û
A m7 E m7 F G

’ ’ ’ ’ ’ ’ ’ ’
J J J

Improvise melody

..
C G Dm F G Am

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

RSL-489873069038 / 1 / Fidel Campos / [email protected]

Guitar Grade 4

59
 Ear Tests

There are two Ear Tests in this grade. The examiner will play each test to you twice. You will find one example of each type
of test printed below.

Test 1: Melodic Recall

The examiner will play you a two bar melody with a drum backing using either the C major pentatonic or B minor
pentatonic scales. The first note of the melody will be the root note and the first interval will be descending. You will play
the melody back on your instrument. You will hear the test twice.

Each time the test is played the sequence is: count-in, root note, count-in, melody. There will be a short gap for you to
practise after you have heard the test for the second time. You will hear the count-in and root note for the third time
followed by a vocal count-in and you will then play the melody to the drum backing. The tempo is q = 90.

¿ ¿ ¿ ¿ œ
q = 90

4 œ œ œ
& 4 .. w œ œ œ Œ Œ ..

. .
. .
T 5 5 5 7
5 8 5
A 7
B

Test 2: Harmonic Recall

The examiner will play you a tonic chord followed by a two bar chord sequence in the key of C major played to a bass and
drum backing. The sequence will be drawn from the I, IV and V chords and may occur in any combination. You will be

RSL-489873069038 / 1 / Fidel Campos / [email protected]

asked to play the chord sequence to the drum backing in the rhythm shown in the example below. This rhythm will be
used in all examples of this test given in the exam. You will then be asked to identify the sequence you have played to the
examiner. You will hear the test twice.

Each time the test is played the sequence is: count-in, tonic, count-in, chords. There will be a short gap for you to practise
after you have heard the test for the second time. You will hear the count-in and tonic for the third time followed by a vocal
count-in then you will play the chords to the drum backing. You should then identify the chords. The tempo is q = 90.

¿ ¿ ¿ ¿
q = 90

& 44 .. | Û Û Û Û Û Û Û Û Û Û ..
C F G
Guitar Grade 4

60
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. The scale question at the end of the list of subjects
is mandatory.

In Grade 4 you will be asked:

■■The names of pitches

■■The meaning of the time signature and the key signature markings

■■Repeat marks, first and second time bars, D.C., D.S., al Coda and al Fine markings

■■Whole, half, quarter, eighth note, triplet eighth notes and 16th note values

■■Whole, half, quarter, eighth note and 16th-note rests and rest combinations

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

■■One type of scale that can be used appropriately in the solo section of the piece you have played

RSL-489873069038 / 1 / Fidel Campos / [email protected]

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

In Grade 4 you will be asked to identify/explain:

■■Any part or control on your guitar

■■The function of the volume and tone controls on your guitar

■■The tone settings for the piece you have played on the amp and why you have chosen these settings

Further Information
Tips on how to approach this part of this exam can be found in the Syllabus Guide for guitar, the Rockschool Guitar
Companion Guide and on our website: www.rslawards.com. The Introduction to Tone, a comprehensive explanation of guitar
tones, can be found at the back of each grade book and the tone guide to each piece is in the appropriate Walkthrough.
Guitar Grade 4

61
 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-489873069038 / 1 / Fidel Campos / [email protected]

Guitar Grade 4

62
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-489873069038 / 1 / Fidel Campos / [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

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

Guitar Grade 4

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%+

63
* Note that there are no Debut Vocal exams.
 Introduction to Tone

A large part of an effective guitar performance is selecting the right tone. The electric guitar’s sound is subject to a wide
range of variables, and this guide outlines the basic controls present on most amplifiers as well as the common variations
between models. There is also a basic overview of pickups and the effect their location on the guitar has on tone. Finally, it
covers the differences between the types of distortion, which is crucial to getting your basic sound right.

At Grade 4 the tone may change within the course of a piece. You should aim to use a tone that is stylistically appropriate
and you may bring your own equipment to the exam room for this purpose. There is a tone guide at the start of each
Walkthrough to help you.

Basic amplifier controls

Most amplifiers come with a standard set of controls that are the same as, or very similar to, the diagram below. It’s
important to understand what each control is and the effect that it has on your guitar’s tone.
Distortion
Channel Equalisation Reverb

5 5 5 5 5
4 6 4 6 4 6 4 6 4 6
3 7 3 7 3 7 3 7 3 7
2 8 2 8 2 8 2 8 2 8
1 9 1 9 1 9 1 9 1 9
0 10 0 10 0 10 0 10 0 10
GAIN BASS MIDDLE TREBLE DRY – WET

■■Channel (Clean/Distortion)
Most amplifiers have two channels that can be selected either by a switch on the amp or a footswitch. One channel is
usually ‘clean’ while the other can be driven harder to create a distorted (or ‘dirty’) tone. If your amp doesn’t have two

RSL-489873069038 / 1 / Fidel Campos / [email protected]

channels, look at the ‘variation of basic controls’ below to see how to get clean and dirty tones from a one channel amp.

■■Gain
In simple terms, the gain determines how hard you drive the amp. This governs how distorted the dirty (also called
‘drive’, ‘overdrive’, or ‘distortion’) channel is and acts as a second volume control on the clean channel (though a high
gain setting will distort even the clean channel).

■■Bass
This adjusts the lowest frequencies. Boost it to add warmth and reduce or ‘cut’ it if your sound is muddy or woolly.

■■Middle
This is the most important equalisation (often shortened to just ‘EQ’) control. Most of the guitar’s tonal character is
found in the mid-range so adjusting this control has a lot of impact upon your tone. Boosting it with a dirty sound will
create a more classic rock tone while cutting it will produce a more metal one.

■■Treble
This adjusts the high frequencies. Boost it to add brightness and cut it if the sound is too harsh or brittle.

■■Reverb
Short for ‘reverberation’. This artificially recreates the ambience of your guitar in a large room, usually a hall. This dial
controls the balance between the ‘dry’ (the sound without the reverb) and ‘wet’ (the sound with the reverb) sounds.

Variations of basic controls

The diagram above shows the most common amp controls. There are many variations to this basic setup, which can often be
confusing. The following section is a breakdown of some of the other amp controls you may encounter:
Guitar Grade 4

■■Presence control
Sometimes this dial replaces the ‘middle’ control and other times it appears in addition to it. It adjusts the higher mid-
range frequencies (those found between the ‘middle’ and ‘treble’ dials).

64
 ■■No reverb control
Reverb can be a nice addition to your guitar tone but it’s not essential. Don’t be concerned if your amp doesn’t have a
reverb control.

■■Volume, gain, master setup

Single channel amplifiers often have an extra volume control (in addition to the master volume) located next to the
gain control. For clean sounds, keep the gain set low and the volume similarly low and use the master control for
overall volume. If the master control is on 10 and you require more level, turn the volume control up. However, you
may find that this starts to distort as you reach the higher numbers.

To get a distorted tone, turn the volume down low and the gain up until you get the amount of distortion you require.
Regulate the overall level with master volume. If the master control is on 10 and you require more level simply turn the
volume up. In this case, however, you may find you lose clarity before you reach maximum.

Pickups
Entire books have been devoted to the intricacies of pickups. However, three basic pieces of information will help you
understand a lot about your guitar tone:

■■Singlecoils
These narrow pickups are fitted to many guitars. The Fender Stratocaster is the most famous guitar fitted with
singlecoils. They produce a bright, cutting sound that can sound a little thin in some situations, especially heavier
styles of rock music.

RSL-489873069038 / 1 / Fidel Campos / [email protected]

■■Humbuckers
This type of pickup was originally designed to remove or ‘buck’ the hum produced by singlecoil pickups, hence the
name. They produce a warm, mellow sound compared to singlecoil pickups but have a tendency to sound a little
muddy in some situations. They are usually identifiable because they are twice the width of a singlecoil pickup. The
Gibson Les Paul is a well-known guitar fitted with humbucking pickups.

■■Pickup location
Basically, pickups located near the guitar’s neck will have the warmest sound and those located near the bridge will
have the brightest sound.

Different types of ‘dirty’ tones

There are lots of different words to describe the ‘dirty’ guitar sounds. In fact, all the sounds are ‘distortions’ of the clean tone,
which can be confusing when you consider there’s a ‘type’ of distortion called ‘distortion’. Below is a simplified breakdown of
the three main types of dirty sounds, plus some listening material to help you through this tonal minefield:

■■Overdrive
This is the ‘mildest’ form of distortion. It can be quite subtle and only evident when the guitar is played strongly. It can
also be full-on and aggressive.
Hear it on: Cream – ‘Sunshine Of Your Love’, AC/DC – ‘Back In Black’, Oasis – ‘Cigarettes and Alcohol’.

■■Distortion
This is usually associated with heavier styles of music. It’s dense and the most extreme of the dirty tones and is usually
associated with heavy styles of music.
Hear it on: Metallica – ‘Enter Sandman’, Avenged Sevenfold – ‘Bat Country’, Bon Jovi – ‘You Give Love A Bad Name’.
Guitar Grade 4

■■Fuzz
As the name implies, fuzz is a broken, ‘fuzzy’ sound. It was popular in the 1960s but, while still evident in certain
genres, it’s less common now.
Hear it on: Jimi Hendrix Experience – ‘Purple Haze’, The Kinks – ‘You Really Got Me’.

65
 Guitar Notation Explained

4 # ww
D Am F

&4 ˙ Ó ww
Notes:

’ ’ ’ ’
THE MUSICAL STAVE
shows pitches and rhythms
and is divided by lines into
E F
CD
AGB Û Û Û Û
bars. Pitches are named after F E
the first seven letters of the
alphabet. Strings:
E 2 0
TABLATURE graphically B T 3 1
2
represents the guitar
G
D A 2
2
0 2
fingerboard. Each horizontal
line represents a string and
A
E
B 0
each number represents a fret. Fourth string, 2nd fret Open D chord Rhythm notation with Solos and Cont. sim. sections
suggested fingering are shown in slash notation

Definitions For Special Guitar Notation

HAMMER-ON: Pick the lower note, PULL-OFF: Pick the higher note then SLIDE: Pick the first note and slide GLISSANDO: Slide off of a note at the
then sound the higher note by sound the lower note by lifting the to the next. If the line connects (as end of its rhythmic value. The note

œ œ
fretting it without picking. finger without picking. below) the second note is not repicked. that follows is repicked.

& œ & œ & œ œ & œ œ

T 5 7
T 7 5
T 2 4
T 2 4
A A A A
B B B B

STRING BENDS: Pick the first note then VIBRATO: Vibrate the note by bending TRILL: Rapidly alternate between the NATURAL HARMONICS: Lightly touch the

‚
bend (or release the bend) to the pitch and releasing the string smoothly two bracketed notes by hammering string above the indicated fret then

Ÿ ~~~~~

RSL-489873069038 / 1 / Fidel Campos / [email protected]

w~~~~~~~~~~~~ ‚ ‚
indicated in brackets. and continuously. on and pulling off. pick to sound a harmonic.

œ œ œ
& & &œ w &
œ

BU BD ~~~~~~~~~~~~ Ÿ ~~~~~ NH

12
T 5 (6) (5) T 8 T ( 5 7) 5
T 12
12
A A A A
B B B B

PINCHED HARMONICS: Bring the PICK-HAND TAP: Strike the indicated FRET-HAND TAP: As pick-hand tap, QUARTER-TONE BEND: Pick the note

#œ
thumb of the picking hand into note with a finger from the picking but use fretting hand. Usually indicated and bend the string up

œ œ
contact with the string immediately hand. Usually followed by a pull-off. followed by a pull-off or hammer-on. by a quarter tone.

— — — #œ
& œ
after the pick. 1/4

& & & œ

PH
1/4
7 2 9 5
T 5
7 5
T T T 5
A A A A 7
B B B B

fi
■ Go back to the sign (%), then play until
D.%. al Coda
PRE-BENDS: Before picking the note, WHAMMY BAR BEND: Use the
fi
bend the string from the fret indicated whammy bar to bend notes to the the bar marked To Coda then skip to
between the staves, to the equivalent pitches indicated in brackets in the TAB. the section marked Coda.

œ ˙
& œ œ œ
pitch indicated in brackets in the TAB.

&
■ Go back to the beginning of the song and
w/bar D.C. al Fine

.. ..
play until the bar marked Fine (end).
Guitar Grade 4

■ Repeat the bars between the repeat signs.

PB 7
BD w/bar

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

66
Mechanical Copyright Information

Treasure
(Levine/Lawrence/Hernandez)
Universal/MCA Music Limited/BMG Rights Management (UK) LImited/
Imagem Music/Warner/Chappell North America Limited

Shut Up And Dance

(Petricca/Berger/McMahon/Ray/Maiman/Waugaman)
Warner/Chappell North America Limited/Sony/ATV Music Publishing(UK) Limited

My Thang
(Brown)
Warner/Chappell North America Limited

I Need You
(King/Rossington/Zant)
Universal/MCA Music Limited

Our Generation (The Hope Of The World)

(Moore)
Universal Music Publishing Limited

The Thrill Is Gone

(Hawkins/Darnell)
Universal Music Publishing MGB Limited.

RSL-489873069038 / 1 / Fidel Campos / [email protected]

Guitar Grade 4

67
 Introducing…
Rockschoo
new theorl’s
y
exams!

POPULAR
MUSIC THEORY
GRADES DEBUT–8

RSL-489873069038 / 1 / Fidel Campos / [email protected]

OUT NOW!
Discover more at
www.rslawards.com/theory
Enter online at
www.rslawards.com/enter-online
RSL-489873069038 / 1 / Fidel Campos / [email protected]