Acoustic Guitar

Grade 8
Performance pieces, technical exercises, supporting tests and in-depth
guidance for Rockschool examinations

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

Input the following code when prompted: 8BTP7XLDHA

For more information, turn to page 5

www.rslawards.com
 Acknowledgements

Published by Rockschool Ltd. © 2019

Catalogue Number: RSK200118
ISBN: 978-1-78936-102-5
Initial Release | Errata details can be found at www.rslawards.com/errata

CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)345 460 4747
Email: info@rslawards.com

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

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and Giorgio Serci. DISTRIBUTION
Exclusive Distributors: Hal Leonard
PUBLISHING
Proof reading of arrangements by Calum Harrison, EXECUTIVE PRODUCERS
Simon Troup and Jono Harrison, plus all arrangers. John Simpson, Norton York
Music engraving and book layout by Simon and Jennie Troup
of Digital Music Art
Fact files written and edited by Abbie Thomas
Technical Guidance written by Bruce Darlington
Proof reading and copy editing by Calum Harrison,
Laura Hall and Jono Harrison
Cover design by Philip Millard of Rather Nice Design
Cover photograph: Django Reinhardt in 1948
© Corbis Premium Historical / Getty Images

AUDIO
Produced by Jono Harrison
Engineered by Jono Harrison, Sam Harper, Pete Riley,
Rory Harvey and Andy Robertson
Additional production and mixing by Ash Preston
Assisted by Chloe Kraemer @ Livingston Studios
Recorded at Livingston Studios, London
Mixed by Patrick Phillips
Mastered by Francis Gorini
Acoustic Guitar Grade 8

Supporting Tests recorded by Jono Harrison, Nat Martin,

Giorgio Serci and Andy G Jones.

2
Table of Contents

Introductions & Information

1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Acoustic Guitar Grade 8
6 Performance & Technical Guidance

Rockschool Grade Pieces

7 ‘While My Guitar Gently Weeps’........... . . . . . . . . . . . . The Beatles

13 ‘Kind Hearted Woman Blues’................. . . . Robert Johnson
23 ‘Tears For Jerusalem’................................ Tommy Emmanuel
33 ‘First Rule Of Thumb’................................... . . . . . . . . . Brent Mason
41 ‘Minor Swing’................................................. Django Reinhardt
47 ‘Breathing Underwater’.............................. . . . . . . Hiatus Kaiyote

Technical Exercises

55 Scales, Arpeggios, Chords & Stylistic Studies

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Supporting Tests

66 Quick Study Piece

70 Ear Tests
71 General Musicianship Questions

Additional Information

72 Acoustic Guitar Notation Explained

73 Entering Rockschool Exams
74 Marking Schemes
75 Copyright Information
76 Rockschool Popular Music Theory

Acoustic Guitar Grade 8

3
 Welcome to Rockschool Acoustic Guitar Grade 8

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

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

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

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

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

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

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

 coustic Specialist
A
At Grade 8, ‘Acoustic Specialist’ pieces are in the form of a solo arrangement. These arrangements cover the skills
required of contemporary acoustic guitarists in a solo environment. They are to be performed without accompaniment
or backing track.

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

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

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

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

Acoustic Guitar Grade 8

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

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

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

 1. Sight Reading or Improvisation & Interpretation tests

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

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

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

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

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

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

You will need to input this code when prompted: 8BTP7XLDHA

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

Further Information
You can find further details about Rockschool’s Acoustic syllabus by downloading the syllabus guide from our website:
www.rslawards.com
Acoustic Guitar Grade 8

5
 Performance & Technical Guidance

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

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

Articulation & Dynamics

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

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

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consideration with general technical approaches.

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

Acoustic Instruments & Tuning

Candidates may perform on steel or nylon-strung guitars in the exam. Care should be taken if performing pieces with
alternative tunings that the instrument is suitable for this adjustment. An additional guitar is permitted if required.
Acoustic Guitar Grade 8

6
 ‘While My Guitar Gently Weeps’ | The Beatles
‘While My Guitar Gently Weeps’ features as the penultimate track on side one of The Beatles, also known as The White
Album, the ninth studio release from The Beatles. The song was written by lead guitarist George Harrison and is notably
his most well-known songwriting contribution to the band’s back catalogue. Although it wasn’t released as a single, the
track was hugely well received and has gone down in history as one of The Beatles greatest songs. Ranked 7th on Rolling
Stone magazine’s list of the ‘100 Greatest Guitar Songs of All Time’ and 10th on their list of ‘The Beatles Greatest Songs’,
Harrison’s folk-influenced classic is highly respected among fans and critics alike.

Harrison is said to have written the song on the band’s return from India, where they had been studying Transcendental
Meditation in an effort to overcome disharmony. With the lyrics talking of “the love there that’s sleeping”, Harrison
wanted to help the world realise its potential for universal love but his composition was met with a lack of solidarity from
fellow bandmates. In light of this and in order to deliver his vision for the song he enlisted the help of friend Eric Clapton.
The fellow musician was asked to overdub a lead guitar part on top of Harrison’s demo, which he did without much in
the way of recognition and in 2008 his solo for ‘While My Guitar Gently Weeps’ was ranked 42nd in Guitar World’s list
of ‘The 100 Greatest Guitar Solos’.

On its release, ‘While My Guitar Gently Weeps’ was met with positive reviews and Harrison was praised for his
ongoing maturity as a songwriter. Jann Wenner of Rolling Stone described the song as “one of George Harrison’s very
best songs” and Alan Smith of NME praised the musician for his “warm voice” and “very strong melody”. In the 1970s the
song became a regular on radio airplay, alongside the likes of Clapton’s ‘Layla’ and Led Zeppelin’s ‘Stairway to Heaven’. In
1973 ‘While My Guitar Gently Weeps’ was one of three tracks from The White Album to be included on the 1967 – 1970
compilation album release.

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Harrison performed his rock classic at every one of his rare concerts as a solo artist, often accompanied by friend and
fellow musician Eric Clapton. In 2002, original Beatles members Paul McCartney and Ringo Star performed the song
alongside Clapton in honour of Harrison at the Concert for George which was held at The Royal Albert Hall a year after
his death.

The White Album was of course a chart success worldwide, topping no less than 9 album charts across the globe. The
record has been re-released three times over the decades, successfully charting on each occasion. With over 12 million
sales in the States the album has been certified 24 x Platinum in the U.S. With estimated sales of over 600 million albums,
The Beatles remain the world’s greatest selling band of all time.

Song Info
Song Title: ‘While My Guitar Gently Weeps’
Album: The Beatles
Released: 1968
Label: Apple
Genre: Solo Acoustic
Written By: George Harrison
Produced by: George Martin
Acoustic Guitar Grade 8

7
 While My Guitar Gently Weeps Acoustic Specialist (Solo)
The Beatles
(Transcribed by Tristan Seume from
c 113 Solo Acoustic an arrangement by Eric Roche)
%
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[4]

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

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j

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AH 16† NH 12†† AH 15

BU BD
2 0
3 3 4 5 4 [4 ] ( 5) (4) 0
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0 3
3
5
[7] † Artifical harmonics: Hold down fret in tablature with finger from the fretting hand. With picking hand, touch and pick harmonic directly above fret specified between staves.
†† Natural harmonics: Play the natural harmonics in the same manner as the artifical harmonics (touch and pick with picking hand)

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Acoustic Guitar Grade 8

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J J J
7 3 0 2 2 0 3
8 8 8 3 3 3
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0 3
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[13]
8 Words and Music by George Harrison
Copyright © 1968 Harrisongs Ltd.
Copyright Renewed 1997
All Rights Reserved
 ˙ Ó ‰
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F A

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[16]

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RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

œ Ó Œ Œ
J
7
7 9 7 9 12 9 7 9 7 9
7 9 7 7
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9
[20]

j
1.

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# # œ œ œ œj œ œ œ ∑
A 7sus 4

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.
.
7 9 7 7
7 0 0 0 0 4
9 7 7 7 7 7
7 0 0

[23]

D.%. al Coda fi
∑œ ∑
2.

## œ œ œ œ nnb
w/repeats
A 7sus 4
Acoustic Guitar Grade 8

& œ œ œ œ œ œ œ œ
œ œ œ

0 0 0
7
0 0 0 2
7 7 7 0
0 0 0

[26]
9
 G # dim/D
>j >j >j >j >j
C/D

œœ œœœ ˙˙˙ œœœ

& b œœ ‰ ‰ œ ˙ Ó Œ œ ‰ # n œœœœ ‰ ‰ œœœœ ˙˙˙˙
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Optional: Strum with side of thumb
5 5 5 0 0
7 7 7 5 5
5 5 5 4 4
5 5 5 6 6
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
[28]

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G m11
>j >j
&b Ó Œ # n œœœœ ‰ bn œœœœ ‰ ‰ œœœ
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4 3 3 3
6 5 5 5
0 0 0 0 0 0 0 0 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
[31]

>j >j >j >j >j >j

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b œ ˙ Ó # œœœœ ‰ œœœœ ‰ n œœœ
‰ ‰ œœ ˙˙

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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5 5 5 5 7 7
7 7 7 7 8 8
6 6 6 6 9 9
5 5 5 5 10 10
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
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[34]

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7 12 12 12 12 7 7
8 11 11 11 11 3 3
9 10 10 10 10 3 3
10 9 9 9 9
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5 5 5 5 5 5
[37]

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A 7

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Acoustic Guitar Grade 8

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ
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f
7 7 5 5 5 5 5 5 ¿ 5
3 3 7 7 7 7 7 7 7
3 3 6 6 6 6 6 6 6
5 5 5 5 5 5 5
0 0 0 0 0 0 0 0 0 0 0
5 5 5 5 5 5 5 5
[41]
10
 F # m7

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D

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‚
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P AH 16

4 4 4 9
4 7 12
4 4 9 7
4 11
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0

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[45]

j
B m7 E m7

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&
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7 9 7 9 12 9 7 9 7 9
7 9 7 7
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9 7
9

j j Œ Ó
[47]

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A 7sus 4

œ œ œ œ œ œ œ œ œ œ nnb
& w œ œ œ œ œ œ
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0 0 0 0
7 9 7 0 7 0 0
7 0 0 0
9 7 0

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

7 0 0

j j j j j j
[50]

œ œ j œ
œ . œ œ œ œ˙ œ œ . œ œ œ œ˙ œ
Dm D m7/C G/B

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&b œ œ ˙
œ nœ
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0 2 3 0 2 3 0 2 3 5
0 0
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3
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[53]

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7 3 0 2 2 0
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[56]

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n¥
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Acoustic Guitar Grade 8

œ œ ‚
AH 16 NH 12 AH 15
‚ AH 15 NH 12 AH 15 AH 14
NH 12
NH 12
BU BU
2 2
4 (5) (4) 0 3
0 0 0
0 3 3
0
5 0
[59]

11
 While My Guitar Gently Weeps | Technical Guidance

When attempting an alternate tuning performance the guitars strings need to be used to the new tension to avoid tuning
issue during the exam. If this is not possible then a spare guitar could always be brought just for this song.

The indication ‘moderato with a little rubato’ is asking you to avoid too metronomic a version of this song. Adding some
expression and feeling is a higher level of musical skill that is expected at this grade, and creating rhythmic ‘ebb and flow’
can generate some excellent results if not over done.

Harp harmonics form an important part of this arrangement and must come through clearly and with volume, as evenly
as possible. Old strings could increase the difficulty of this technique, as will inconsistencies in fretting. String bending
whilst performing harp harmonics (bar 59–61) adds another layer of technical execution, and requires a very delicate and
nuanced touch.

Strumming with the side of the thumb (optional, starting bar 27) is a very distinct sound and will need picking hand control
to maintain a balanced and fluent approach. It is easy to accidentally add unwanted accents when using this method,
so follow any score indications accurately and listen out for variations in your playing. The same is true for dynamic
changes, which can become a little unclear. If using a more traditional fingerstyle technique, there will need to be precise
coordination and balance between the bass notes and the chord voicings.

Although this arrangement relies on the interaction of fretted notes and open strings, it is still important to observe written
rhythms/rests and to use your ear and judgment to avoid ringing open strings (particularly bass notes). In particular where
they might obscure the melody or adversely affect the harmony. Either of these situations could negatively impact your
performance and should be avoided.

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Acoustic Guitar Grade 8

12
 ‘Kind Hearted Woman Blues’ | Robert Johnson
This was Robert Johnson’s first recording and more than 75 years later it is still featured in the repertoire of
many blues artists. The song is pivotal in the blues repertoire and contains many urban blues trends from the era,
amalgamated into a highly individual and innovative style. Two takes were recorded and the first contains Johnson’s
only recorded guitar solo. He also wrote the lyrics and it is alleged they were written in response to another blues song
of the time entitled ‘Cruel Hearted Woman’.

Johnson died a year after the recording, aged 27. He spent his time as an itinerant performer, playing mainly on street
corners, in juke joints and at Saturday night dances. He had little commercial success and public recognition during his
lifetime, but in 1961 his recordings were re-issued and as a result his work reached a wider audience.

As Johnson's life was not well-documented, there are many myths and legends about him, including that he sold
his soul to the devil in exchange for success. This myth spread, and even made it to Hollywood. The film Crossroads is
based on his story.

Johnson was inducted into the Rock ‘n’ Roll Hall of Fame in 1986, and is acknowledged as a fundamental influence
by blues and rock musicians alike. In 2003 Rolling Stone magazine ranked Johnson fifth in their list of '100 Greatest
Guitarists of all Time' and in 2006 he was awarded the Grammy Lifetime Achievement Award.

Song Info

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Song Title: Kind Hearted Woman
Album: Released as single (1937)
Label: Vocalion/ARC
Genre: Blues
Vocals: Robert Johnson
Guitar: Robert Johnson

Acoustic Guitar Grade 8

13
 Kind Hearted Woman Blues Session Style

Robert Johnson
Arranged by Andy G Jones

c 73 Blues s
### 6 D/F #
∑ 44 ∑ Ó ‰ œj œJ œ œ œ œ
A7 A dim7 D m6/A A/E E 5 E7
j
A A/G D m/F

& 4

j
I got a kind

# # # 6 n œœœ œœœ œœœ œœœ b b n œœœ œœ œœ n œœ j

3

œœ œ œ œœ ‰
3 3

& 4 ˙ œ
œ œ
œ œœ œ œ 44 œœ œ œ œ œ œ œ œœ # œ n œ œ œ . œœ œœ Œ
‰ J nœ œ #œ œ nœ nœ #œ œ
œ J œœ # œœ œœ ‰ œœ œ œœœ ‰
J J 3

9 9 9 9 8 8 8 7 7 7 7 5 5 5 5 5 5 5 5 2 3 2 0 0
T 8 8 8 8
9 9 9 9
7 7 7
8 8 8
6 6 6
7
6
7 2
3
1
A 7 7 7 7 7 5 5 4 4 3 2 0
B 0 0
0
1
0
2
0
2
0 0
2
0

### œ bœ œ œ œ j
A7 A dim7 3

& . œ nœ ‰ ≈ nœ nœ œ œ #œ œ j ‰ j

œ nœ bœ œ œ
nœ

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

heart - ed wom - an, do an - y - thing’n the world for me.

j ˙
###
3 3

œ # œœ # nn œœœ n b œœ œ œ œ œ œ œœ n œœ œœ
3 3
6

œ n œ n œ
3

& #œ
j
œ œ #œ œ n œ œ œ n œn œj n œ œ œ n œ # œ œ #œ œ œ
n œ
‰ J ‰ n œ œ œ œ
J ‰
#œ
3

3 3
0 5
T 1 2
2 5 4 2
4
2
5
6
4
5 5
4 0
5
4
5
3
5
4
5
A 1 2 2 3 4 4 2 4 5 3 4 4 7 4 4 4
B 0 0 3 2 0 0 0 0

[4]

### A7

∑
A dim7 A7

Ó ‰ œ nœ #œ œ
& œ
j
J
I got a kind

# # n n œœ œ
3

œ bœ nœ ‰ œ # œ œ œ b œœ n œœœ œ œœœ
3

& # n œœ œœ n œœ
Acoustic Guitar Grade 8

nœ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
J 3

0 5 0 0 0 0
T 5
6 0
2
0
4
2
4 5
6
5
6
A 5 5 4 4 2 3 4 4 5 5
B 0 0 0 0 0 0 0 0 0 0
0
[6]
14 Words and Music by Robert Johnson
Copyright © (1978), 1990, 1991 Standing Ovation and Encore Music (SESAC)
Under license from The Bicycle Music Company
All Rights Reserved
 D 7/F #
# # œ bœ œ nœ
3

& # œ. œ œ ≈ nœ #œ œ nœ œ
nœ
j
œ œ œ œ œ œ
heart - ed wom - an, do an - y - thing’n this world for me.

j j
3

n œ œ
3 3

### œ ‰ œ ‰
3

œ œ œ n œ
3

œ
3 3

œ œ ‰ nœ #œ œ nœ œ œ œ œ
3

n œ ‰ œ œ
1/4

& œ œ
œ n œ œ n œœ # œ
j
3
œ
œ ‰ œJ ‰ œ ‰ œ œ
œ œ œ œ 3

3 3
1/4
5 8 8 5
T 0 1 2
1
2
5 7 7
7
7
7
6
0 1 2
1 3 1
2
1 3 1
2
A 0 0 0 0 0 0 0
B 2
3
2
0
2 2
[8]

### nœ #œ
∑ Ó Œ
A7 A dim7 A7

& œ

j j
But these ev -

œ
3

# # # ‰ # œœœ nœ j
3 3

œœ œ bœ nœ # œ œ ‰ œ # # œœ œœ
n œœ œœ œ œ
3

&
j
#œ œ nœ
nœ
#œ œ
J œ œ œ œ œ œ œ ‰ œ ‰ œ #œ œ nœ
J J 3 3
3 3 3
0 5 0 0

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

T 5
6 6
4
5 6
8
9
4
5
5
6
1 2
A 5 5 4 4 7 1 2
B 4 0 0 0 0 0 0 0 0 0 0 0
3
[10]

### œ œ œ #œ œ œ
D 7/F #

n œ œ n œJ œ
3

Œ Œ ‰
3 3

&
3

J nœ nœ œ
j
il heart - ed wom - en,

j
man, they will not let me be.

### Œ œ j
3

nn œœœ œ # œœœ œœœ œœ ...

3

‰ nœ nœ nœ ‰ œ
3

& #œ œ œ œ
œ nœ nœ œ n œœœ œœ
œ œ œ œ
œ œ œ œ œ J
3 3
0 0 0 0 2
T 3
4
0 2
3
3
4
3
1 0 2
1 1
2 2
A 0 0 0 0
B 0
0 2
0 0
2
0 0
0
2
0
2 2 2
0

[12]

### A

Œ
A/G D/F #

Ó
D m/F A E7

∑
&
œ
3

## œ œ œ œ œ œ œ œ œ
Acoustic Guitar Grade 8

3 6

œ œ œ œ œ ≈ nœ œ œ œ œ
& # œ nœ œœ n œœ œ
j
# œœ
œœ œœ œ
nœ
œ J ‰
5 5 5 5 5 5 5 5 5 0 0 0 0 0
T 0 2 2
3
1 0 2 4
3
A 4 3 2
0
0
B 0 2
0
2
0
2

[14]
15
 ### ‰ n Jœ
nœ œ œJ n œ ‰
nœ
J
œ nœ œ
J nœ
3 3

J œ œ œ nœ
A7

&
nœ #œ œ
I love my ba - by. my ba - by don’t love me.

n œœœ nœ #œ œ
3

###
j
œ œ bœ nœ œ bœ nœ nœ œ œ n œ œj œ œ œ
3

nœ # œ
#œ
nœ œ œ nœ
3

&
œ
#œ j
œ nœ nœ nœ
1/4

‰ œ œ œ œ ‰ nœ œ œ ‰ œ ‰ œ ‰
J J J J J
1/4
8 9 7 8 9 5 4 3 0 0
T 7 8
9 7 8 9 4 6 [6] 5 4
4 3
5 2 5
3
4 5 4 2
A 8
5 2
B 0 0 0
0
0 0 0 0 0

[16]

### n œ œ œj œ
∑ Ó Œ
A dim7 A7 A dim7 A7 3

& œ
j

I love my
3 3 3 3 3 3

### n # œœœ œœœ œœœ œœœ œœœ œœ œœ œœ b n œœ

œ œ œ bœ
œœ
œ n n # œœœ œ œ b b n œœœ œ œ n n # œœœ œ œ œ
& ‰ œ œ nœ nœ œ
œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
J J J J J J
J

3
9 9 9 9 9 9 9 9 8 8 9 8 9 0
T 8 8 8 8 8 8 8 8 7 7 8 8 7 7 8 8

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

9 9 9 9 9 9 9 9 8 8 9 9 8 8 9
A 7 7 2
B 0 0 0 0 0 0 3 2 0

[18]

D 7/F #
### j œ ˙ œ j
œ nœ œ œ
A7

J ‰ ‰
3

œ œ œ œ œ
j
&
j
J
nœ #œ

ba - by ooh. My ba - by don’t love me,

3 3

### nœ œ œ œ œœ
Œ n œœ œ œ nœ œ œ n # n œœœ
& œœ œ œ œ
œ œ œ œ œ œ #œ œ œ œ œ œ
œœ

3
8 7 5 8 7 5 0
T 5
7 7 1 5
6
A 0 4 0 0 4 4 4 0
B 0 0 0 0
0 1 2
0
2
0
2
0

[20]

# # # nAœ Œ Ó Ó Œ #œ œ œ
7 A dim7 A7

&
j
œ

I real - ly
3

#œ
3

# # œœ Œ œ œ n n œœ œ nœ œ
j
3

œ œ œ nœ #œ œ
3 3

j œ
n œœ b œ œœœ œ
nœ
Acoustic Guitar Grade 8

& # n œœ œ œ œ œ œ nœ #œ #œ nœ
œ œ œ œ ‰ œ ‰ œ œ œ œ œ
J J J
3
0 5 5 0 8 9 0 5
T 5
6
5 7
5 6
5
6 5
4 5
6 0
8
A 5 5 7 7 5 4 7
5
4 7
B 0 0 0 0 7 0 0 0 0 0 0

[22]
16
 ### œ
E7
œ b œJ n œ
3
œ Œ
D 7/F #
‰ nœ j bœ œ œ œ.
& J
œ
nœ nœ
J œ
love that wom - an,
can’t stand to leave her be -

j
3

### œ b n œœ n# œœ œœ # œ œ œ œ j j
3

œ n œœ n œ œ
# œœ # œ œ Œ
3

& œ œ œ
bœ œ
œ
nœ œ œ nœ œ
j
nœ

nœ œ œ œ œ œ œ J

J 3
3 3
0 2 3 4 0 0
T 0
1 2 3 4
0 2
3
3
4
3
2
1 1
2 2
A 0
0 0 1 0 0
B 0 0 0 0 0 2 2
3 3 0
2
[24]

D/F #
### A7 A 7/G

Œ Ó
E7

∑
D m/F A/E

&
œ
j j
hind. 3

## œ œ n œ œ # œœ œ œ œ œ
3

n n n œœœ œ nœ œ œ œœ ...
& # ‰ nœ œ # œœ œ
j
#œ œ nœ
J n œœ
nœ
œ œ œ œ
3

5 5 5 5 5 5 5 5 0 0 0 0
T

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

5 4 3 3 3
5 4 1 1
A 5 5 4 3 2
0
0
B 0
0 0
2
0
0

[26]

### A7 A dim7
‰ j
3

& nœ œ œ œ œ œ œ nœ #œ œ œ œ œ œ nœ œ

j
There ain’t but the one thing makes mis - ter John - son drink. I’s
3

# # n œ # œ n œ # œ œ œ œœ
# n œ j
3 3 3

# œœ œœ n b œœ n œœ œœ œ œœ œœ œœ œœ
3 3

œœ nn œœ
& nœ œ œ œ œ œ œ œ œ œ
j
# # œœ
œ œ ‰ œ œ ‰ œ œ œ œ ‰ œ ‰ œ ‰
J J J J J
3 3

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

[28]

###
A7

j
A dim7 A7 A dim7 A7
nœ
œ œ œ œ œ œ œ ‰
3 3

& nœ œ #œ œ œ œ œ œ
wor - ried ’bout how you treat me ba - by, I be - gin to think, oh

œ nœ
3

##
3 3 3

œ n œ n œj # œ œ ≈ n œ œ œ œ œ ≈ œ n œ # œ œ œ ‰ # œœ n œœ ‰ œœœ œœœ
Acoustic Guitar Grade 8

6 6

œ œ b n œœ b œ n œj œ œ œ
3 3

& # n # œœ
œ Œ œ Œ œ œ œ œ
2
T 6
7 5
6 0 5
4
4 5 2 6
5 0
6 5
4 0
5
10
9
8
7
7
6
5
4
A 5
5
7 4 4 5 4 11 9 7 5
B 0 0 0 0 0 0

[30]
17
 D 7/F # nœ #œ
### ˙ Œ ‰
nœ
J
œ nœ œ
nœ
&
babe. My life don’t feel the same.

j
6 3

## œ œ œ œ #œ nœ œ nœ
3

œ œœ œ œ
3

& # n œœ œ #œ œœ œ œ ‰ n œœ œœ
nœ
œ
œ
‰ n œœœ œœœ
œ
œ œ œ œ œ ‰ J
0 0 2 5 0 5 3
T 1
2
3 3
2
0
1
1
2
5 4 3
5 2
1
2
3
2
1 3
0 5
A 0 4
B 2 2 2
0
2
5

[32]

nœ #œ
### A7
˙
A dim7 A7

& Ó Ó Œ
You breaks,
3

### œœœ ‰ œj n ‰œ b œ n œ
œ nœ œ œ œ
3

œ # œœœ œœœ œ œ
3

&
j
#œ nœ œ nœ #œ n œœ n œ # œ
j
œ
nœ

œ œ œ œ œ œ œ œ œ œ œ œ
J J ‰
3

3
0 0 0 0 0 5 0
T 5 4 5 5 8 5 5

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

5 6 6 6 5 6 6 7 5 6 0 5 6
A 5 4 4 7
B 0 0 0 0 0 0 0 0 0 0 0 0

[34]

nœ œ œ œ œ œ nœ
### nœ
E7 D 7/A

œ œ œ œ nœ œ œ œ œ œ œ
3

&
J

3
breaks, my heart when you call mis - ter so and so’s name.

### n œ œ œ œ œ œ œ j
3

Œ
3

œ œœ œœ œ œ n œj # œ œ
3

‰ n œœœ n œœœ œœœ ‰ ‰ œ

1/4 3

& œ œ œ œ
œ œ œ œ œ œ œ œ œ
J 3
1/4
5 5 7 0 0 0 0
T 8 8 8 0 5 3 0
2 1
3
0
3
5 2
A 0
0 4 0 4 4 0
B 0 0 0 0
0
2
5 0
2
[36]

D/F #
###
A7 A 7/G E7

‰ Ó ∑
D m/F A/E

& œ.

j
3

### œ œ œ œ œ œ œ œ œ
3

œ œ œ œœœ ...
Acoustic Guitar Grade 8

œœ œ
& œ nœ n œœ œ nœ
j
œ
œœœ
œ œ œ œ
5 5 5 5 5 5 5 5 5 0 0 0
T 0 2 2 0 1
3 3
1
A 2 4 3 2 0
B 0
0 0
2
0
0

[38]
18
 ### A7

∑ ∑
&

.
# # # n ˙˙˙ .. œ
j nœ
œ œ œ n œœœ œ
œ œ œ
œ
œ œ œ œ b œ œ n œ œ œr # œ n œ
& ‰
Œ œœ œ œœ œœ œœ ‰
J
3 3 6
6

9 0 0 7 5 9 5 0
T 8
9
8
9
8 6
7 6 7 9 9
8
9 8 7 5 6
A 7
5

B 0
0
0 0
0
0
0
0
0
[40]

### ∑
A 7/E

∑
&
3 3 3

#œ œ œ œ œ œ œ œ œ
3

# # # ‰ n œœ œœ œœ œœ œœ œ œ œ œœ n œœ œ n œ # œ œ œ b œ œ n œ œ œr # œ œ
3
6

œ
3

& œ nœ œ nœ j œ œ
œ œ Œ œ Œ
nœ

9 9 9 9 9 9 9 9 9 0 0
T 8 8 8 8 8 8 8 8 8 8 5 8

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

9 9 9 9 9 0 9 9 0 5 6 8 7 5 6
A 7 7 2 4 7 7
5
7
B 0 0 0

[42]

D 7/F #
### ∑ ∑
&

### j 3

‰ nœ œ œ œ nœ œ œ œ
3 3 3

œœ œ œ nœ ‰ œ œ œ œ œ œ œ œ œ œ nœ œ œ nœ #œ
3 6

& œ œ œ n œ ‰# œ œœ œ œ
œ œ œ J ‰ œ ‰ J ‰ œ ‰
J J J
T 1 1
2 2 2 4 2 5 4 2 2
0
5 4 2 4 2
A 0 0 0 2 3 4 4 0 4 2 0 4 0 4 5 2 0
B 2 2 2
0
2
0 3 4

[44]

### A7

∑ ∑
&

‰
3

œœ b œœ œ
3

# # # # ˙˙˙ œ
3

n œœ b œ n œ # œœ œ œ n œ œ #œ œ œ nœ œ œ œ
3
Acoustic Guitar Grade 8

& nœ œ nœ œ œ nœ œ œ
Œ œ œ œ œ œ ‰ œ œ œ œ
J J
3

3
0 0 0 2 0 5 5
T 5
6 5
4 5
6 2 0 2 5
5 4 3
5 6
3
4 5 4 2 2 5
A 5 4 4 2 4
B 0 0 0 0 0 0 0 0 0

[46]
19
 ### E7
∑
D7
∑
&
1/4 1/4

### n œ œ œ n œ œ
3

nœ nœ œ œ œ œ œ œ #œ nœnœ œ
3 3

œ œ n œ ‰ # œœœ Œ œ b œ
3
j
3
3
j
&
3
œ

œ œ
œ œ œ œ #œnœ nœ
nœ œ œ J
3
Œ œ
1/4 3
1/4
7 3 0 0 3 5 3 5 3
T 8 0
7 0
3
1
3 5 5 5 4 3
5 2
A 7 2 1 0 0 0 0 1 0
B 0 0 0
0 2 3
2
[48]

### ∑ Ó
A 7/E

Œ œ œ œ
&

j j
She’s a kind

œ œ œ n ‰œ œ ‰œ b ‰œ œ ‰œ
3

œ
3 3

### Œ
3

#œ œ nœ œ œ œ œ Œ
& œ œ œ nœ œ nœ nœ
j
œ œ
œ J ‰ J J ‰ J nœ œ œ
3 3

5 5 5 5 5 5 0 0
T 2 3 3 4 4 2 3 3

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

0 1 1
A 2 4 4 3 3 2
B 0
0 0 0
[50]

### œ bœ œ #œ j
3

œ nœ
A7 A dim7

‰
3

& ˙ œ œ
j
3

œ nœ
nœ
œ
j
œ
œ
j
œ

heart - ed wom - an, she stud - ies ev - il all the time.

### ˙ ˙. œ
& n˙ œœ œœ bœ œ œ n œœ
˙ œ œ œ œ œ œ
5
T 6 6 6 5
A 5 5 5 4 4 4 4
B 0 0 0 0 0 0 0

[52]

### nœ œ œ
∑ Ó Œ
A7 A dim7

&
She’s a kind

j j
1/4

œ œ œ œ
3

# # # # ˙˙˙ #œ nœ œ
3

œœ #œ œ
& nœ œ œœ bœ ‰ Œ
Acoustic Guitar Grade 8

œ œœ œœ
œ œ œ œ œ œ œ œ œ nœ œ
J
3 1/4
3
0 5 0 0 5 5 4 3 3
T 5
6
4
A 5 5 4 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0
3 0
[54]
20
 D 7/F #

# # œ #œ nœ nœ j
3

& # œ œ. ‰ ‰ œ œ nœ œ nœ
3
j
œ œj n œ œ œ
j
œ

heart - ed wom - an, she stud - ies ev - il all the time.

### j j j j j j
3 3 3 3 3

œœ œ œœ œ œœ œœ n œ
3

œ n œœ œ
3

œ œ œ œ Œ j
& œ œ œ œ #œ nœ œ nœ œ œ . œ
œ œ œ œ œ œ œ
3 3
3

T 2
3
2 2
3
2 2
3
2
3
2
2 1
2 2
1
2
3
A 0 0 0 0 1 0 0 0 0
B 2 2 2 2 2
3 0
2 2
[56]

###
∑ ∑
A7 A dim7 A7

&
j
### ‰ œ œ œ nœ
3

œœ
3

œœ .. # œ œœœ œ bœ nœ
3

& n n œœ œ œ
œ œ ‰
n œœ œ œ n œœ # # œœ œœ
œ œ œ œ œ œ œ œ
J Ó
3
0 5 0 0 5 5 3 2
T 5 4 2 3 1 2

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

0 6 6 2 0
A 5 5 4 4 2 2 1 2
B 0 0 0 0 0 0 0 0 0

[58]

# # # E‰ œ œ œ œ œ. ‰ nœ
7 D 7/A

œ
j j
& J
œ
J œ
œ œ
j
n œ œj n œ . œ œ œ
You well’s to kill me as to have it on your mind.
3 3

# # # œ # œ n œ n œ . œ œ œœ n œœ
3

œ nœ nœ œ œ œ œ œ
3
3 3

n œ n œ n œj # œ œ œ nœ œ œ
j

& nœ
œ ‰ œ ‰ œ œ n œœ œ œœ
‰
œ #œ nœ nœ
J J J
3
5 6 7 7 0 0 0 3 5 3 5 3
T 8 8 5 3 0
2 0 1
5 5 5 3 1
2 2
A 0 0 0 0 1 0
B 0 0 0 0
0 0 0 3

[60]

D/F #
### A A 7/G

Œ Ó
D m/F E7

∑
A7

&
œ
j U
œ. j
3

## œ œ œ œ ‰ n ˙˙
Acoustic Guitar Grade 8

œ œ #œ
& # Œ nœ œœ n œœ # œœ ˙˙
œ J œ œ œ œ ‰
J J æ
5 5 5 5 5 0 2 3
T 0 2 2 1
3 2
2
A 4 3 0 2
B 0 0 2 2 2

[62]
21
 Kind Hearted Woman Blues | Technical Guidance

This arrangement outlines a classic blues progression throughout, using the I, IV and V chords in the key of A. There are
however many interesting and challenging features hidden within this simple progression.

The opening three bars are acting as an intro to the first verse. They resemble the sound of a blues turnaround. A turnaround
is often 2 to 4 bars and is to signal the end of a section and lead us back to the I chord of a new section. In this case, the
chord changes (written above bars 1 to 3) are performed with a pedal tone. This is a common feature in blues playing where
one ‘common note’ between multiple chords is repeated, whilst other notes signal the chord changes.

The main technical challenges of this arrangement present themselves in two forms:

■■The first is the relation between the fretting and picking hand
The bass notes that the picking hand plays are often on strong beats of the bar, and are technically intuitive. However,
they are in different places throughout the arrangement. For a confident performance, it will be important to feel
comfortable with all of the picking hand rhythms.

■■The second is being able to comfortably switch between different sub divisions in the left hand
For example, bar 17 includes changes between 16th note triplets and a regular eighth-note. Doing this can initially seem
solely like a technical challenge, however being able to recognise the sound of these different rhythms (even whilst not
playing) is equally important. Vocalising (singing what you’re playing) can be a good way to internalise new rhythms into
your muscle memory. This practise technique is often employed by jazz and blues musicians.

With regards to dynamic, this arrangement can be performed consistently without too much dynamic shift. However,
when performed to the backing track (or with a vocalist in any scenario), it can create a nice effect when the dynamic of the

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guitar is increased in between the vocal lines, and then lowered when the vocalist is singing. This doesn’t have to be a large
dynamic change, but just enough to suggest to the listener what part to focus on (guitar or vocals).
Acoustic Guitar Grade 8

22
 ‘Tears For Jerusalem’ | Tommy Emmanuel
‘Tears For Jerusalem’ appears on the 2010 release Little By Little by Australian guitar virtuoso Tommy
Emmanuel. The song was inspired by the sad and recurrent news of conflict in the Middle East. Tommy wrote this
song on the road and during that period he decided to stop watching television. The song reflects his feelings in
light on these events.

Tommy Emmanuel was born in Muswellbrook, Australia in 1955. He was given his first guitar at the age of four
and two years later he was working professionally in the family band, the Emmanuel Quartet. He developed his
skills and showmanship very quickly and by the time he graduated from school he was one of the most in demand
rock musicians in Australia, playing guitar in a succession of groups, including Dragon, one of Australia’s best
known acts. He also combined that with a successful career as a session musician playing in hugely successful
albums by the likes of Air Supply and Men At Work.

Despite this success in the late 1970s and 1980s, Emmanuel left Dragon to pursue a solo career and released a string
of hit albums, collecting multiple award wins and nominations.

Tommy continues to tour the world and has received many accolades, amongst them that of Certified Guitar
Player, bestowed upon him by his hero Chet Atkins. He is one of only five people to have received this award.

Tommy Emmanuel has received much recognition throughout his career including winning two out of nine ARIA
(Australian Recording Industry Association) Music Awards, and receiving nominations for two Grammy Awards. In
2010 he was appointed as a Member of the Order of Australia (AM) and in 2011 he was inducted into the Australian
Roll of Renown.

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Song Info
Song title: ‘Tears for Jerusalem’
Album: Little By Little (2010)
Label: Sony BMG Music
Genre: Country/Jazz
Written by: Tommy Emmanuel
Guitar: Tommy Emmanuel
Producer: Kim Person

Acoustic Guitar Grade 8

23
 Tears For Jerusalem Acoustic Specialist (Solo)

Tommy Emmanuel
Arranged by Andy G Jones
Country/Jazz

œ œ œ #œ œ œ nœ œ œ œ œ œ
& b 44 œ œ #œ œ nœ œ œ #œ
Free time

F
6
6

E 0 5 8 6 5 5
T B
G 7
6 5
6 7
6 8 6
6 5 6
A D 8 7 8
B A
D

œ œ nœ #œ œ œ œ œ œ œ #œ bœ œ
&b œ œ œ nœ œ œ œ
#œ œ nœ
nœ
œœœœ œ œ #œ œ ‚ 43
6
6
œ œ
6
NH
5 8 9 6 5 6 5
T 6 8 6
6 8 6 5 0 5 6
A 8 8 7 8 7 7 8 5
B 8 4 0 7 0 8 10 0 12

[2]

b
U
D m6 D m(maj 7) D m11 D m add 6

ΠU
œœ œ

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&b4 ‚
3 œ n œœœ œ # œœœ Œ nœ nœ bœ œ
œ œ
NH
Let ring Let ring
1 1 3 5
T 2
0
2
2
5 4 3
A 12 0
B 0

[4]

b
U
D m6 D m(maj 7) D m11 D m add 6
U
œœ œ
& b Œœ œ n œœœ œ # œœœ Œ nœ nœ bœ œ
œ
œ
Let ring Let ring
1 1 3 5
T 2
0
2
2
5 4 3
A 0
B 0
0
[6]

q = 108 3 3

œœ œœ œœ œ œ œœ œ œ œ œœ œ œ œ
gg œœ
Dm
Acoustic Guitar Grade 8

&b ggg œ œ œ œ œ œ œ. œ œ. œ œ

ggg 13
gg 0
3 5 5 6 5 3 5 3 1 3 1
T 5 6 6 5 3
A 0 0 0 0 0
B
[8]
24 Words and Music by Tommy Emmanuel
Copyright © 2010 UNIVERSAL MUSIC PUBLISHING PTY. LTD.
All Rights in the United States and Canada Controlled and Administered by UNIVERSAL – POLYGRAM INTERNATIONAL PUBLISHING, INC.
All Rights Reserved Used by Permission
 Bb6
b #
B b 11
Œ
A7 B m11 5

œ œ œ œ œ.
& b gggg # œœœ œ œœ œ œ
œ
œ œ œœ œ
œ
œ
œ œ
œ
gg œ œ nœ bœ œ

ggg
ggg
0 0 0
T 2 3 3 3 3 3 3

g
0 0 2
A 2 3 3 3 3 3
B 0 1 2 1 1

[10]

A tempo
A7 Dm

œœ œœ œœ œœ j ‰
A7

ggg œœ œœ
j
œ œ
& b œ #œ
œ
œ œœ œ ggg # œœ
œ gg œ œ œ œ œ œ œ œ œ œ ggg œœ
œ œ ggg œ

ggg 1 ggg
Rit.

ggg 2 ggg
0 3 5 6 5 3 1 0
T 3 2 2 2 5 6 6 5 3 2

gg 0
0 0
A 2 0 0 0 0 0 2
B 0 0

[13]

Bb6
b
ΠB m11 5

œ œ œ œ œ œ
& b œœœ œ œ œœ œ. œ œ œ.

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œ œ nœ
J
0 0
T 3
0
3 3
2 2
A 0 3 3
B 1 2

[16]

b
Gm A7 9 G m/D Dm G m6

œ nœ
g œœ œ œ œ ggg # œœ œ œ
#œ œ ggg œœœ œ œœ œ œœ
b
& gg œ
g b
œ J ggg œ ggg J
œ œ
J
gg œ gg œ . J ggg œ . ‰
g J

T ggg 33 ggg gg 33
A gg ggg ggg 3
3 5 6 6 8 5 0 0 0

B ggg 5
3 6 5

g ggg 0
6 6 7 3
0 5 7
0

[18]

b
G Gm A7 9

j œœ œ œ ggg # œœ n œ œ œ
œ œ œœ #œ œ
& b œ ‰œ n œ bœ œ œ
Acoustic Guitar Grade 8

œ œ J ggg œ
œ œ œ gg œ . J
J J J
ggg
ggg
3 5 6 6 8 5 0
T 3 3

g
4 0 3 6 6
A 0 0 5
B 5 5 5
0

[21]
25
 Ebm
Œ ‰ j
G m6

j
Gm Dm G

bœ œœ . œœ n œœ nœ œœ 44 Œ œ œ
& b gggg # œœ œ .. œ œ œ
œ.
nœ œ. ‚ 43
œ œ. J
J NH
Let ring

ggg
Rit.
0
T
g
4 8 6 5 3
3 7 7 3 4 4
A 4 8 7 0
B 5 5
12

[24]

b
Free time

Œ
D m6 D m(maj 7) D m11 D m add 6

œ œ
3 ‚
&b4 œ n œœœ œ # œœœ œ Œ nœ œ nœ bœ œ
œ
NH
(let ring) Let ring
1 1 3 5
T 2
0
2
2
2 5 4 3
A 12 0
B
[26]

b
œ
D m6 D m(maj 7) D m11 D m add 6

œ
& b Œœ œ n œœ œ # œœœ Œ nœ œ nœ bœ œ
J

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J œ œ
Let ring Let ring
1 1 3 5
T 2
0
2
2
5 4 3
A 0
B 0
0
[28]

A tempo

œœ œœ œœ œœ
ggg œœ œœ
Dm

&b gg œ œ œ œ œ œ œ œ œ œ œ

ggg 13
ggg 0
3 5 5 3 1
T 5 6 6 5 3
A 0 0 0 0 0
B
[30]

Bb6
b #
B b 11
Πj
A7 B m11 5

œ œ œ œ œ œ œ œ. œ
& b gggg # œœœ
Acoustic Guitar Grade 8

ggg œ œ œœ œ œ œ œœ œ œ œ
œ nœ bœ œ

ggg
ggg
0 0 0
T 2 3 3 3 3 3 3

g
0 0 2
A 2 3 3 3 3 3
B 0 1 2 1 1

[32]
26
 A tempo

œœ œœ œœ œœ
ggg œœ œœ
j
Dm

œ
& b œ #œ
œ
œ œœ œ
œ œ œ ggg œ œ œ œ œ œ œ œ œ œ
ggg œ
ggg 1
Rit.

ggg 2
0 3 5 6 5 3 1
T 3 2 2 2 5 6 6 5 3

gg 0
0
A 2 2 0 0 0 0 0
B 0

[35]

Bb6
b
j
A7 B m11 5

œ œ œ œ œ
& b #œ œ œ œœ œ œ œ œœ ‰
œ œ nœ J ‰
0 0
T 2 3
0
3 3
2
A 0 3 3 3
B 0 1 2

[38]

b
œ j
ggg # ˙œ
A7 9 G m6

œ œœ
Gm G m/D Dm

œ œ œ ggg œœœ .. œœ œ œœ
& b gggg b œœ
œ œ gg œ œ œ
œ œ œ J

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gg œ ggg œ J J ‰
g œ
ggg ggg ggg 878
ggg ggg
3 5 6 6 5 0 0
T 3 3 5 6 5

gg g
3 6 6 7 3
A 0 5 7
B 5
0
0
[40]

b
A7 9

j gg # œœ n œ
G Gm

œ œ œ œ
œ œ œœ ggg b œœ ggg #œ œ
& b œ œ‰ n œ œ
œ ggg œ œ œ ggg œ . œ
œ œ gg œ J J
J J J
ggg 3 ggg
ggg 3 ggg
5 6 6 8 5 0
T 3 0

gg 5 g
4 6 6
A 0 0 0 0 5
B 5 5
0

[43]

j
G m/D Dm G m6

œœ œ œœ œœ œœ œœ
& b gggg œ œ ‰ n œœ œœ
Acoustic Guitar Grade 8

œ œ œ ‚
ggg J J ‰ œ œ
gg œ. J J NH
Let ring

ggg
0 0
T
ggg
8 6 5 3
7 7 3 4
A
g
8 8 7 0 0
B 0 5 5
12

[46]
27
 b
Free time

Œ
D m6 D m(maj 7) D m11 D m add 6 D m6 D m(maj 7)

œ œ œ œ œ œ
&b ‚ œ n œœ œ # œœ Œ nœ œ nœ bœ œ Œ
œ œ n œœ œ # œœ
œ œ
œ
NH

(let ring) Let ring Let ring

1 1 3 5 1 1
T 2
0
2
2
5 4 3 2
0
2
2
A 12 0
B 0
0
0

[48]

b
œ 24 ‚ ‚ ‚ ‚
D m11 D m add 6 N.C.

œ 34 œ œ œ œ œ
&b Œ nœ œ œ bœ œ œ œ œ nœ œ 98
œ
3
3
NH

Let ring
(let ring)
3 5 1 3 1 0
T 0
4 3 12
3 1 3 1 0
2
A 12 7
B 0
7

[51]

A b/E b

& b 98 b b œœœ‰
3 3 3 3 3

≈ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

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3

≈ ‰
œ œ œ œ
bœ œ œ œ œ œ bœ

T 1
1 1
1
1
1
1
1
1
1
1
1
1
1
A 1 1 1 1
B 3
1 1 1 1 1 3 6
[54]

B b/A b

≈
3 3 3 3 3 3 3 3

& b œ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ ≈
bœ œ œ œ œ #œ

T 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
A 3 3 3 3
B 6 6 6 6 6 4
[55]

D/F #
3 3 3 3 3 3 3 3 3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 11
& b ≈ nœ
Acoustic Guitar Grade 8

œ œ œ œ 8
#œ œ œ œ œ

T 2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
A 0 0 0 0
B 4 4 4 4 4
[56]
28
 G m6
3 3 3 3 3 3 3 3 3 3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4
& b 8 ≈œ œ
11
œ œ œ œ œ 4
œ œ œ œ œ

T 3
5
3
5
3
5
3
5
3
5
3
5
3
5
3
5
3
5
3
5
A 0 0 0 0 0 0
B 5 5 5 5 5
[57]

Bb7 Bb9
b
Bb7 9 Bb7
b
A ( 9)

œ b œœ œ œ œ
4 œœ œ œ œ œ œ b œœ œ œ œœ œ œ œœ . œ œ œ œ œœ œ .
3 3 3 3 3

34 ≈ b œ œ œ ‰ œ œ. œ
œ
b 45
j
& 4 œ
nœ

œ
bœ œ nœ
J

0 8 7 6
T 3 6
7 7
6
7
6
7
6
7
6 6
7 7
6
7
6 6
7
6
7
A 4
6 6 6 6 6 6
B 5 8 8
0

[58]

‰ ≈
ggg # œœœ ‚ ‚
3 N.C.

5 œ # œ œœ œ n œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œœ œ œ œ œ 42 ‚ ‚ 43
3 3 3 3 3 3 3 3

b
& 4 gg œ œ œ œ œ œ

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g
NH
Let ring

ggg 52
gg 32
T 3
2
3 3
2
3 3
2
3
2
3 3
2
3
2
3 3
2
3 3
2
2 12
A 2 2 2 2 2 12 7
B 7

[60]

A b/E b

3 œ œ œ œ œ œ œ œ nœ œ 44 g b œœ‰ ≈ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3 3

b
& 4 ggg b œœ œ œ œ œ
3
3 ggg b œ œ œ œ œ
(let ring)

ggg
1 3 1 0
T
ggg
3 1 3 1 0 1 1 1 1 1 1
2 1 1 1 1 1 1
A
g
1 1 1 1
B 3
1 1 1 1 3
[62]

B b/A b
3 3 3 3 3

œ œ œ œ œ œ œ œ œ œ 5
&b ≈ œ œ œ œ œ Œ
Acoustic Guitar Grade 8

œ œ 4
bœ œ œ œ œ
> >
T 3
3
3
3
3
3
3
3
3
3
A 3 3
B 6 6 6 6 5
[64]
29
 D/F #
3 3 3 3 3 3 3 3 3 3

& b 4 ≈ n œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ
5
#œ œ œ œ œ
>
T 2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
A 0 0 0 0 0
B 4 4 4 4 4
[65]

G m6
3 3 3 3 3 3 3 3 3 3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 11
&b ≈ œ œ œ œ œ œ 8
œ œ œ œ œ

T 3
5
3
5
3
5
3
5
3
5
3
5
3
5
3
5
3
5
3
5
A 0 0 0 0 0
B 5 5 5 5 5
[66]

Bb7

œ
3
3 3 3 3 3 3 3 3 3

11 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 12
&b 8 ≈ bœ œ œ œ œ 8

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œ œ œ œ œ

8
T 7
6
7
6
7
6
7
6
7
6
7
6
7
6
7
6
7
6
7
6
A 6 6 6 6 6
B 8 8 8 8 8
[67]

Bb9

j ~~~~~~~~~~~~~j
N.C.

≈
3 3 3 3 3 3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ
12 œ œ œ œ œ œ œ œ Œ. 44
& b 8 bœ œ œ œ ‰

8 8 8 8 8 8 8
~~~~~~~~~~~~~ 9
T 6
7
6 6
7
6 6
7
6
A 6 6 6 6
B
[68]

√ Œ Œ ‰
Œ
A7

#˙ ‚ #‚ ‚ ‚
#
3

4 œ ˙ 3 ‚ ‚ ‚ ‚ ‚ ‚ j 4
&b4 Ó
Acoustic Guitar Grade 8

œ ‚ 4 ‚ œ‚ 4
nœ 3
†
AH
3

9 9 9
T 9
8
9
8 8
9 9
8 8
9
8
A 7 7 7 7
B 0

[69] † All the following artificial harmonics played at nodal points 12 frets higher than fretted
30
 b
(√)
A 7sus 4 A7 A 7sus 4 A7 A 7sus 4 A7 A7 5

4 ‚
& b 4 #œ œ‚ œ‚ œ‚ œ‚ œ‚ œ‚ œ‚ 43 # œ
‚ œ‚ œ‚ œ‚ œ‚ œ‚

(AH)

9 9 9 9 10 9 10 9 10 9 10
T 9
8
9
8
9
8
9
8
9
8
9
8
9
8
A 7 7 7
B
[72]

(√)
Œ
#‚ ‚ n œ ‚ œj œ # œ ˙˙@ # ˙˙@.. # ˙˙@..
3 3

b ‚ n‚ bœ b ˙˙ b ˙˙ . b ˙˙ .
&b ‰ œ œ . .
3 3 œ ˙ ˙. ˙.
@9 @9 @9
(AH) NH Tremolo w/index finger
Rit.

9 8 9
T 8
8
8
8
8
8
8
8
8
8
A 7 7 7 7 7
B 19 0 0 0 0

[74]

b
# œœ@ œœ Œ
D m6 D m(maj 7) D m11 D m add 6

œ œ œœ œ
& b # œœ œœ Œ ‚ n‚ œ n œœ œ # œœ Œ nœ nœ bœ œ 44

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œ œ ‰ J œ
ΠΠNH NH
œ
@9 9
Let ring
1 1
Let ring
3 5
T 8
8
8
8 2
0
2
2
5 4 3
A 7 7 12
B 0 0 12 0
0
[78]

œ œ œ œ
Dm A7

œ œ œ œ œ œ œ œ nœ œ bœ #œ œ œ œ
6

b
& 44 œ œ œ œ œ
6
6 6

12 13 12 10 0
T 10
10 9 10 9 9
8 0
7 6 7 6
A 12 8 7 8 7 0
B 8

[81]

œ
A7

œ
Acoustic Guitar Grade 8

Dm Dm

&b œ œ œ œ #œ œ œ
œ œ œ œ œ #œ w
œ

T 2
3
3 2
2 5 6 2
2
A 0 3 0 3 3 0
B 0 4

[82]
31
 Tears For Jerusalem | Technical Guidance

Tommy Emmanuel’s ‘Tears For Jerusalem’ has something of a classical feel to it. This is in contrast to many of Tommy’s other
arrangements and compositions, on which he makes solo guitar sound like a whole band playing.

This arrangement features a short intro and ending to add more of a soloistic touch. Although somewhat different to
Tommy’s style, these sections are influenced by him nonetheless.

In the intro, the open E string is exploited to add a country influenced, ringing effect for the first beat. This section is quite
legato in delivery and the harmony suggests an A7 altered, which leads nicely into the D minor section in bar 4.
Given the number of arpeggios, fingerstyle would be advisable on this tune.
#
In terms of harmony, this piece is in D minor and uses quite a variety of colours within that harmonic palette, such as B b 11,
b
Bm 7 5, Gm6 and G major. These chords imply different harmonic choices derived from various D minor based scales,
such as D harmonic minor and D melodic minor. Taking chords from more than one parent minor scale gives many more
options than a major key might offer.

The ending lick exploits the 9th degree of a D minor arpeggio that winds its way down to a B b note, heralding the
V (dominant) chord A7. The flattened 9th of the A7 is the flattened 6th of the D minor which would be found in the
harmonic or aeolian minor scales.

The arpeggio section is fast. I’d recommend using mostly the right hand thumb (p), index (i) and middle (m) fingers to
execute this.

Start by practising slowly, making sure that as you play the first note and the next finger is moving to pick, you are retracting

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the first finger to pick again.
Acoustic Guitar Grade 8

32
 ‘First Rule Of Thumb’ | Brent Mason
‘First Rule of Thumb’ is the fourth track on Brent Mason’s instrumental album Hot Wired, released in 1997. Hot Wired
is Mason’s first and only major-label album.

Brent was born in 1959 into a musical family. At the age of five he started learning to play guitar by ear and to this day
he still cannot read music. After leaving High School, he moved to Nashville where he recorded with countless artists for
decades before being discovered by Chet Atkins who invited him to play on his album Stay Tuned. After working with
Atkins, Mason went on to play on a huge number of albums by other artists including George Strait, Shania Twain and
Neil Diamond as well as recording for several commercials and soundtracks.

Although he plays many guitars, his Telecaster work is regarded as an industry benchmark. Mason clearly influenced
guitarists around the world, with several global manufacturers releasing speciality guitars and pedals using his name and
expertise. Gibson Guitars, PRS Guitars and Wampler Pedals all sell Brent Mason signature products.

Mason remains an active presence in the Nashville live scene. He is a member of The Players, a group that includes
other hugely successful session musicians from Nashville. He is also the author of acclaimed tuition methods available
on DVD and digitally.

Brent Mason is predominantly known for his work as a session guitarist and is one of the most recorded guitarists in
history. He has received many awards including Guitarist of the Year at the Academy of Country Music Awards (he has
won this multiple times), and is named as one of Guitar World Magazine’s Top Ten Session Guitarists of All Time. He was
inducted into the National Thumbpickers Hall of Fame in 2011.

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

Song Info
Song Title: ‘First Rule of Thumb’
Album: Hot Wired (2012)
Label: Mercury
Genre: Country
Guitar: Brent Mason
Producer: Brent Mason

Acoustic Guitar Grade 8

33
 First Rule Of Thumb Session Style

Brent Mason
Important Note: Examiner will start backing track in bar 11 Arranged by Andy G Jones
c 78 Country D m7 G 7 # 11

## 4 œ nœ œ œ œ œ.
6

œ œ œ œ nœ
Rubato (Freely)

& 4 Ó ‰ nœ œ œ œ œ
3

3 œ J
3

E 5 0 0
T B
G
6 3
6
0
2 0 0 2 0
2 0
A D 3 3
B A
D 5

#
B m11 A m9 D 7 11

## œ œ œ #œ nœ œ œ œ œ n œ œ œ #œ œ #œ œ œ
3 3

&
œ #œ œ œ œ œ œ
nœ ˙ 3

0 3 4
T 4
3
4 3 2
2 0 2 0
4 5
5
4 5 4
A 4 5 6 7
B 2 0
0
[3]

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

F#7
œ n œ b œj n œ
## œ œ n œ œ # œ œ œ œœ
G7

nœ œ œ nœ œ œ nœ
& # œœ œ
j
n œœ
˙
3 #œ nœ
4 7 5 10 8 6 7 5
T 7 4 5
5 6 7 5 5 6 5 3
4
5
3 4
3
A 3
3
B 4 5
[5]

b
C # m7 5 F # 7alt

ggg œœœ # œ # œœ "

B m11 B m(maj 9 ) B m7

## œ gg # œj œ nœ œ gg n n œœœ
3

& ggg n # œœ ggg nn œœœ # œ # œœœ gg nœ #œ œ

œ g œ
#œ #œ
gg 35 ggg
3

gg 4 ggg gg 13 gg 32
gg 2 gg 4
2 0 1 2 0 0
T 4 2 2

g
4 3 3
A 4 3 4 5
B 4 3
4
2
1
[7]

E B m/F # G maj 7 E 7/G # A G/A A dim7 A †

# nœ œ #œ œ œ œ œ œ œ b œ œ n œœ ˙˙
& # ≈ œ #œ œ œ œ nœ #œ ˙ Ó
Acoustic Guitar Grade 8

œ #œ nœ #œ w Ó ‰ nœ nœ œ
J
0 5 5 7 5
T 0 1
0 3 0 7 5
7
2 3
4
4
5
5
6
A
B 2 4 5 6
0
3 2 0
[9] † Examiner starts backing track
34 By Brent Mason
Copyright © 1997 by Universal Music – Z Songs and Zo Meister Music
All Rights Administered by Universal Music – Z Songs
 c 120
#
D D 7/F # G7 G # dim7 D/A D 7 5/F # B7 B 7/D #
3

## # œœ œ œ nn œœ œ ¿¿ œj œ 3 œ œ3 œ œ ¿¿ n œ #œ œ œ œ # œ
œ j
œ ‰
j j
& œ œ nœ
#œ nœ
œ

¿ œ œ #œ œ œ # œ
œ. #œ œ ¿ œ1 œ. #œ 4 œ œ
J J
5 7 ¿¿ ¿¿ 5 7
T 6 7 6 55 6 5 5 3 6 7

¿ 5 ¿
7 5 0 4 7 7 8
A 6
7 7
B 4 6
0
8 9
6
2
[12]

#
C # dim B b 7 11

nœ œ
A7 C6 G 7/B A 13

œ nœ ¿ nœ nœ œ
E D

## n œ œ œ ¿ nœ #œ
j
n œ œ œ œ ¿ # œ # œœ
j
3

œ #œ œ œ b œ nœ ‰ œ #œ #œ œ. œ bœ
3

& n œ n œ

œ nœ œ œ œ nœ ¿ œ œ. bœ œ ¿ nœ
œ œ. J J
¿ 0 1 0 ¿
¿ 76
1 0 7 5 3 0 5
T
¿ 50
0 3 3 3 0 3 6

¿
0 1 4 1 0 0 0 1
A 3 4
5
4
B 4
0 4
0
0 3 2 1

[15]

G # dim7
nœ œ nœ œœ n œ œ œ j j
G7

#
D

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

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

œ œ #œ ‰ œ œ nœ œ œ
J
5 5 7 5
T 5 6 5 3 0 3
4
3
4
3
2
A 3 3 4
B 0 5 6 0 3 2 0
[18]

#
D D 7/F # G7 G # dim7 D/A D 7 5/F # B7 B 7/D #
3

## # œœ œ œ n n œœ œ ¿¿ œ n œœ œ œ 3 œ œ ¿¿ n œ #œ œ œ œ # œ
œ j
œœ ‰
j j j
3

&
# œœ nœ
œ nœ
¿ œ œ #œ œ œ #
œ. #œ œ ¿ nœ 1 œ. #œ 4 œ
J œ
J
5 7 ¿¿ ¿¿ 5 7
T 6 7 5 6 5 6 5 5 3 6 7

¿ 5 ¿
7 5 0 4 7 7 8
A 6
7 7
B 4 6
0
8 9
6
2
[20]

#
C # dim B b 7 11
œ œ nœ ¿ nœ nœ œ œ
E A7 D C6 G 7/B A 13

## nœ œ œœ œ ¿¿ n n œœ
j
nœ œ nœ
3

œ #œ œ œ b œ nœ ‰ œ #œ œ
Acoustic Guitar Grade 8

& #œ n œ œ b #œ
œ nœ œ œ œ nœ ¿ œ œ .. bœ œ ¿ ‰
œ œ. J J J
¿ 0 1 0 ¿
¿ 65
1 0 5 7 5 3 0
T
¿ 2 ¿ 4
0 3 3 3 0 3
0 1 4 1 0 0 0 1
A 3 4
B 4
0 4
0
0 3 1

[23]
35
 G # dim7
œ
# # # # œœ n œ n œ œœ j
A 13 G7 D/A

.
œ œ nœ œ œ œ ‰ # œœœ ‰ n n œœœœ ...
j j

n œœ œœ
nœ nœ
& œ
œ #œ ‰ Jœ Œ ‰ œ
J
3
3

5 7 10 5 1
T 7 6 7 6 5 3 5 3 3 3 1
6 4 4 4 2 2
A 5 3 3 4 4
B 5 6
0
0
[26]

G 7 G # dim7
b
F # 7 13
j #œ j b
œ œ œ
B m7 A m7 D7 G7 B7 9

# j œ œ
œ
& # ‰ n œœœ ‰ # œœ .. n œ
œ œ ‰ n œœ n œœ œ n œœ ## œœ # œœ n œ
# œœœ # œœœ . n œœ
j

œ bœ
nœ. œ # œ .. J
nœ Ó
J
J
0 0 7 [7] 5 3 1 2 0
T 0
2 3 3 4
2 3 5
5
7
5
3
4
1
2 2
A 3 0 3 4 5 7 3 1
1

B 5 5 4
2 0

[28]

b
F # m7 G dim7 E/G # A 7/C # A 13/E b
j j j
E7 A7 B 7 13 C dim7 E9

# œ œ œ j j n œ n œ œ. œ nœ n
# œ œ œ
œ
& # #œ œ # œœ œœ n n œœ # œœ Œ n œ b œ œœ ‰ # œœ ‰ # œœ

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

nœ #œ n œ # œ n œJ œ œ #œ œ œ œ nœ œ nœ ‰ #œ Ó
J J
3
0 0 0 0 5 3 2 2 1 0 5 7
T 1 2 3 4 5 6 2 1 0
7
6
7
7
A 5 5 6
B 2 4 5 6
0 0 1 2 2 3 3 4

[31]

F # m7

œ bœ
E7 G maj 7 A7

# œ. œ œ œ n œ n n œœ ˙˙ œ nœ
b œ n n œœ ˙
j

& # ‰ #œ. n œœ
#œ j
nœ nœ ˙
#œ
#œ
#œ
‰ œ. nœ œ œ œ œ œ œ ˙ œ nœ nœ
#œ J . œ
0 2 4 5 4 3 1 2 1 0
T 3
1 2
0
0 6 5 4 2 1 0
A 5 1

B 2 4 5
0 0 0 0 0 0
3 2 0
[34]

#
D D 7/F # G7 G # dim7 D/A D 7 5/F # B7 B 7/D #
3

## # œœ n œ œ n n œœ œ ¿¿ œ œœ 3 œ œ3 œ œ ¿¿ n œ #œ œ œ œ # œ
œ j
œ ‰
Acoustic Guitar Grade 8

j j j
& œ nœ
# œœ nœ

¿ œ œ #œ œ œ # œ
œ. #œ œ ¿ nœ 1 œ. #œ 4 œ œ
J ¿¿ J
¿¿ 5 7 5 7
T 6 7 5 6 5 5 6 5 3 6 7

¿
7 5 0 4 7 7 8
A 6
7 7
B 0 4 5 6
0
8 9
6
2
[37]
36
 #
A7 C # dim C6 G 7/B B b 7 11

œ
E D

## nœ œ œ nœ ¿ œ nœ œ œ
œ b œœ œ ¿¿ n #n œœœ
j

œ # œ œ n œœ b œ n œ ‰ n œj œ nœ
3

& #œ n œ œ.
œ nœ œ œ œ nœ ¿ œ œ. bœ œ ¿
œ œ. J J J ‰
¿
¿
¿ 65
1 0 5 7 5 3 0 1 0 0
T
¿ 2 ¿ 4
0 3 3 3 0 3
0 1 4 1 0 0 1
A 3 4
B 4
0 4
0
0 3 1

[40]

#
G 7 G # dim7 D 6/F # G 7 G # dim7
œ œ j j j
# # # # œœ n œ n œ j
A 13 D/A G/A D7 9

œ nœ œ œ nœ œ œœ œœ ‰ œœ ‰ n œœœ nn œœ œœ œ œ œœ œ
‰ # n œœ
& œ nœ œ #œ œœ œœ n œœ œ œ
3
3
œ # œ ‰ Jœ ‰ œ J #œ nœ œ #œ Œ
5 7 10 5
T 7
6
7 6 5 3
4
5 3
4
3
4
3
2
3
4
6
5
0 3
4
3
4
5
5
A 5 3 3 4 5 4 3 3 4
B 5 6
0 0 5
4 5 5 6
5

[43]

#
G 7 G # dim
j œ n œœ œœ œœ ¿ ¿ n œœ n œj œœ
# # n œœ n œ œ œ ‰ œj œ œ œj # œ œ
D7 9 D

œœ œœ œ
j j j
J ¿
‰
#œ œ œ
& œœ œ

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

J ‰ ‰ nœ œ #œ ‰ œ
J J
3

¿¿
¿
3 5 5 7 8 8 8 7 5
T 6 6
7
3
4
3
2 4
3 5 7
7
9 10 9 10 9 10 8 6 7
A 4
B 5 6 0
[46]

# nœ œ œ œ œ œ œ œ œ œ œ œ # œj œ œ œ œj œ œ œ œj œ œ œ
D7

œ
& # ‰ J
3 3 3 3 3 3 3

5 5 5 5 5 5 5 5 5 5
T 7
6 8
7
6 8
7
6 8 9 10 9 10 9 10
A
B
[49]

D 7/F # G # dim7
œ œ œ
œ bœ œ nœ œ œ
D7

œ nœ œ œ œ
G

## j
œ j
œ œ œ
3

‰
Acoustic Guitar Grade 8

nœ œ
& J
3

10
T 8 10 8 6
7
6 8 8 10 8 9 8 6
7
8
7
6 8 6
A
B
[51]
37
 D aug/A # B m7/F #
B7 B m7 A7
nDœ œ
## # œ n œ # œ œ ‰ j œ n n œœ # œ ¿ ¿ ¿ ¿ œ
D/A D/C

& nœ œ œ œ œ œ ‰ nœ œ ‰ nœ ‰ j #œ œ
3

3
œ œ3

¿¿
¿¿
5 6 7 13 10
T 7 10
7 10 11 10 7
A 7 9 9 7 7 9 7
B 8 5 7 9

[53]

# #
B b 11 G maj 7 G # dim7 D 7/A D7 9

œ œœ # œœ œœ œœ n œœ
D/B D/A

œ œ œ n œ œ n œj œ œ œ
3 3

# œ nœ œ œ œ œ œ ‰ œ #œ
& # œ œ œ
j j
nœ nœ
J
3

10 10 10 10 10 10 5
T 7 9 10 9 7 9 7 7
6 7 8 9 10 9 8
7
6 7
7 6 5
6 7
7
A 9 9 9
B
[56]

b b
F#7

œœ ..
G B m7 D7 G9 B 7 9 13

## w œœ n œœœ œ.
& œ Œ
œ
Œ j n œœ .. j #n œœœ ...

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

œ œ œ

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

[59]

F # m7 E/G # A 7/C #

œ œœ
E G dim7 A B m7 C dim7

# œ œ ‰ # œœœ
& # #œ œ b œœ n œœ œœ œœ œœ
œ
œœ b œœ
œ Œ b œœ n œœ ‰ # œœ
œ #œ nœ #œ œ œ nœ œ nœ nœ #œ J J

0 0 0 0 5 7
T 1 2 3 4
2
2
2
2
3
2
3
2
4
2
4
2
5
2
7
6
7
7
A 4 4 5 6
B 2 4 5 6
0 0 2 2 3 3 4

[62]

# # www ww ˙˙
E9 A 13

n ww ˙˙ ‰
Acoustic Guitar Grade 8

& w
w ˙ nœ œ œ
5
T 7
6
A 5
B 0
3 2 0
[65]
38
 #
D D 7/F # G7 G # dim7 D/A D 7 5/F # B7 B 7/D #
3

## j œœ œ œ n n œœ œ ¿¿
j j œ œ œ œ œ ¿¿ n œ #œ œ œ œ # œ
œ
& œ œ nœ œ
#œ nœ œ
œ

œ œ. #œ œ ¿ œ œ #œ œ œ # œ
œ. œ œ ¿ œ
J J
5 7 ¿¿ ¿¿ 5 7
T 6 7 5 6 5 5 6 5 3 6 7

¿ ¿
6 7 5 0 4 7 7 8
A 7 7
B 0 4 5 6
0
8 9
6
2
[68]

#
C # dim B b 7 11

nœ œ œ nœ ¿ nœ nœ œ
E A7 D C6 G 7/B

## n œ œ œ œ ¿¿ n n œœ
j
n œ œ œ. œ œ bœ
3

œ œ b œ ‰
3

& œ #œ nœ œ #œ #œ n œ #œ
œ n œ œ œ œ n œ ¿ œ œ . b œ œ ¿
œ œ. J J
¿ 0 1 0 ¿
¿ 65
1 0 7 5 3 0 5
T
¿ 2 ¿ 4
0 3 3 3 0 3
0 1 4 1 0 0 0 1
A 3 4
B 0 4
4
0 3 1
0
[71]

#
G # dim7
œ
# # # # œœ n œ n œ œœ j j
A 13 G7 D B7 9

nœ
3

œ œ nœ œ œ œ ‰ # œœœ ‰ œœ n œ œ
j j

n œœ œœ
nœ nœ
& œ #œ

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

œ #œ ‰ œ Ó
J
3
3

5 7 10 5 1 3
T 7
6
6 7 6 5 3
4
5 3
4
3
4
3
2
3
2
3
A 5 3 3 4 1
B 5 6 0
[74]

F # m11 E/G #

œ
E7 G7 A 13sus 4

## #œ œ œœ œœ n œ #œ œ nœ #œ
j n n œœœ # œ
j
œ n œj œ œœ ‰
nœ
& n œ # œœ œœ
3

3 œ œ #œ nœ #œ œ 3
3

1 2 0 1 2 2 3 4 5
T 3
2 1
0
2
3
4
0 1
4
2
A 3 2 0 0 5
B 2 4 5 6
0

[76]

D/F # G 7 G # dim7 √
j
3
D D

# nœ #œ œ # ‚‚ OO ..
3

& # œ n œ œ # œœ œ œ œ
n œœ
œœ ‰ œœ Ó
Acoustic Guitar Grade 8

œ œ # œœ ‚ O.
Œ ‰ œ œ #œ nœ œ #œ ‰ J ‰ nœ œ œ œ.
J J NH

1 2 0
T 3
2 0
3 0 3
4
3
4
3
2
7
7
A 4 3 3 4 7
B 0 4 5 5 6
5
5 7 0
[78]
39
 First Rule Of Thumb | Technical Guidance

Please note: Candidates will need to perform the ‘rubato’ section (bars 1–11) without backing track. Once the last chord of this
section is played (bar 11), candidates must indicate to the examiner to start the backing track, which will give four clicks into bar 12.

For this arrangement, candidates will need to lower the tuning of the 6th string to a D, which gives a low root to the
I (tonic) chord of the piece (D major). Mason uses a thumb pick, enabling him to employ either fingerstyle or flat-picking
techniques which help to achieve a certain projection and character in the sound. Candidates could, however, adopt
alternative hybrid approaches (without a thumb pick) in order to achieve the same effect. Hybrid techniques allow for the
player to add nuance to passages containing open strings and fretted notes, and this can be seen in the very first ‘lick’ in
bars 1–2. Mason has made the use of open strings a cornerstone of his style, and to execute these licks it is advisable to use
fingerstyle or hybrid picking.
#
The triplet arpeggio in bar 5 outlines a D 7 11 chord (with an added 9th extension), giving a ‘jazzier’ sound and demonstrating
another facet of Mason’s style, drawing influence from jazz guitarists such as George Benson. Other harmonic and melodic
inflections appear in passing dissonances, such as the harmony in beat 3 of bar 15, where the E and G of the A7 chord are
approached on the beat from a semitone above. The last beat of the same bar uses C # dim7 to target the next chord D major,
b
and this diminished 7th could be seen as A7 9 starting on the 3rd degree. These notes taken on their own are extremely
dissonant but they work as a passing tension.

In order to capture the stylistic approach needed for this performance, it is advisable for candidates to experiment with
the degree of swing applied to the eighth notes, particularly as many of the chords in this piece anticipate the downbeat.
Candidates should also investigate playing very slightly behind the beat through certain passages, as this can help create
a great contrast against the backing track groove. Background listening to any similar jazz records – particularly vocal
performances – will give a great idea of how to add articulation and personalisation to these melodic lines.

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

Acoustic Guitar Grade 8

40
 ‘Minor Swing’ | Django Reinhardt
‘Minor Swing’ is a Jazz Standard piece composed by guitarist Django Reinhardt and violinist Stéphane Grappelli.
The piece was first recorded and released in 1937 by French label Swing and featured the Quintette du Hot Club
de France. It was recorded an additional five times during Reinhardt’s career and is regarded as one of his most
impressive compositions.

Written in the key of A minor, Minor Swing features no obvious melody apart from that which appears in the short
introduction and final coda. Instead, musicians improvise continuously over a repeated sequence of chord changes until
an end point is decided. This open structure allows soloists to creatively show their virtuoso skills over these repeated
chord changes.

Djanjo Reinhardt was born Jean Reinhardt in Belgium in 1953 and was of Romani-French descent. In 1934, Reinhardt
formed the Paris-based Quintette du Hot Club de France with fellow jazz musician Grappelli. The quintet were some of
the first musicians to use guitar as a lead instrument in jazz and are hailed as hugely influential on European jazz in the
decades to come. The group became known as QDHCDF and continued to play in some capacity until 1948.

Reinhardt is often referred to as the creator of the sub-genre gypsy jazz. Musicians such as Reinhardt would often use
Maccaferri guitars (an unusual type of acoustic guitar) to perform this type of music and so they became known as “gypsy
jazz guitars”.

Reinhardt died suddenly at the age of 43 from a stroke. For two years after his death the Quintette du Hot Club de
France continued to play together. The composer goes down in history as one of the first jazz musicians to materialise
out of Europe.

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

Song Info
Song Title: ‘Minor Swing’
Album: Minor Swing
Released: 1937
Label: Gypsy Jazz
Genre: Jazz Standard
Written By: Django Reinhardt and Stéphane Grappelli

Acoustic Guitar Grade 8

41
 Minor Swing Session Style

Django Reinhardt
Arranged by Giorgio Serci
c 180 Gypsy Jazz
Intro

& 44 œ œ Ó œ œ Ó
Am 3 D m6 Am 3 D m6

œ œ œœœ œ œ œ œœœ œ
œ œ
F
T
A 7 7
B 5 8
7 7 8 7 5 8
5 8
7 7 8 7 5 8

Am D m6 E7
^
œœ
& œ œ Ó # œœ Œ Ó ∑
3

œ œ œ œ œ œ œ

5
7
7 6
7 7 8 7 5 8 7
5 8
[5]

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

œ œ œ œ œ œ œ Ó œ œ œ œ œ œ œ Ó
Am D m6 Am D m6

& œ œ œ œ
P 3 3

5 5 7 5 4 7 10 5 5 7 5 4 7 10
7 7
7 7

[9]

% E^ œœ œœ œœ œ .
œ ‰ œœ # œœœ
D m6 7 F9 E9

œ œ Ó
Am

œ œ œ œ œ œ œœ Œ Ó ‰ œœ
b œ
œ œ œ
& œ # œœ #œ
J J
3
ß F
8 8 8 8 7
5 8 8 8 8 7
5 5 7 5 4 7 10 7 8 8 8 8 7
7 6 7 7 7 7 6
7 7

[13]

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

œ œ œ.
A 3
Acoustic Guitar Grade 8

n
A m6 D m6

& ‰. # œœ œœ œœ Œ ‰ Œ Œ ‰ œJ
J
5 5 5 7 5 4 5 7 5 4 7 5 10 8 7
5 5 5 6 10
5 5 5 7 4 7
4 4 4

[17]
42 By Django Reinhardt and Stephane Grappelli
Copyright © 1937 EMI Music Publishing France SA
All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved
 #œ œ œ œ œ
E7
œ œ. œ œ. œ œ
#œ œ œ
Am

& œ Œ Œ œ œ œ œ. Œ Œ ‰ J
.
3
3

7 8 10
9 10 9 6 5 10
10 7 7 5 4
9 6 9 7 7

[21]

D m6
œ. œ œ œ œ #œ œ œ œ œ
Am
œ œ œ œ
‰ J œ œ œ œJ œ œ j œ œ
& ‰ ‰ J œ ‰ œ œ
3

BU BD
10 8 7 5 7 4 7 5 5 8 7 5
6 5 5 (6)(5) 5
7 5 4 4 5
7 7

[25]

œ. # œ œ # œ.
E7 B b7
œ œ œ œ #œ œ œ œ œ. œ nœ
‰ œ œ #œ œ
Am

œ bœ œ œ Œ
3

& œ.

7 8 7 5 4 7 5 12 7 10
7 10 9 5

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9 8 7 5 10 9 8 9
7

[29]

œ #œ œ œ
A m6
˙.
D m6

œ Œ ‰ œ œ #œ œ œ œ nœ œ Œ Œ
3

œ œ œ
#œ
& J

8 7
9 10
9 10 9 8 9 10 9 11 12 10
7 9
12 12

œ # >˙
[33]
E7 A m6

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

13 14 7 10 8 5 8 5 5 8
12 15 5 5
13 5
12 12 12 15
11 14 11 14

[37]

>œ œ œ œ œ œ #œ œ œ œ
D m6 Am

œ œ œ œJ œ
Acoustic Guitar Grade 8

‰ J ˙ œ. œ. œ Œ Œ
& œ. œ
. >
BU BD
10 7 7 8 5 7 4 7 5
6 5 (6) (5)
7 5 4
7 7
7 7 7

[41]
43
 Bb7
œœ œœ œœ œ # œœœ
œœ ‰ œœœ
E7 F9 E9

‰ œœ
b œœ
Am

& Œ. œ Ó
# œ œ œ œ œ œ œ.
œ Œ Ó
J J
#œ
> fl
8 8 8 8 7
8 8 8 8 7
8 8 8 8 7
7 7 7 7 7 6
7 6 7 8 7 6 7 7

[45]

. . œœ. # # œœ . n œœ œœ œœ
œ œœ. n œœœ œœ. œœ. nn œœœ
A m6 D m6

nœ œœ # œœ œœœ œ bœ œ œ bœ œ
& n œœ # œœ œ Œ # œœ œœ œ Œ Œ Ó
3 3 3

7 5 8 5 7 8 9 10 15 15 15 3 2 1 0
5 5 8 5 5 8 9 10 15 15 15 4 3
5 5 7 5 5 7 9 10 14 14 14
5 4 7 4 5 7 8 9

[49]

# œ n œ n œj >œ œ œ
E7 A m6

bœ œ œ bœ œ bœ nœ nœ n œ œ œ
3

œ Œ
3

& nœ bœ œ nœ #œ œ #œ #œ

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3
3
BU
4 7 5 (7) 5
2 1 0 6 5
3 2 1 0 4 7 5
4 3 2 1 2 4 6 7

[53]

œ œ œ #œ œ œ œ n˙ nœ
& ‰ J œ œ œ #œ ˙
j
œ œ œ
D m6
#œ
3
#œ
J

BU
8 7 7
10 9 10 6 7 ( 8) 6
7 4 5 4 3 4 6 7
9

[56]

œ œ œ
Acoustic Guitar Grade 8

#œ œ œ
& nœ nœ Œ Ó œ œ
A m6 E7

œ. œ. #œ œ œ œ

7 8
5 8 9 10 9 4 5
7
7 7 6 7 8 7

[59]
44
 Bb7
œ #œ œ
#œ œ œ
A m6 E7

œ #œ œ ˙˙ .
& Œ #œ œ ‰ œ Œ Ó Œ # ˙˙˙ ....
J >
10 11 12 0
9 10 10 0
7 8 9 7
6 7 7 6
7

[62]

≥ ≥ ≥ ≥
B A m6 D m6

œ œœ œœ œœ œœ œœ œœ œœ
& # œœ œ œ œ #œ œ œ œ ’ ’ ’ ’ ’ ’ ’ ’
p œ. œ
fl
œ. œ
fl
œ.
cont. sim.
œ. œ. œ.
Develop idiomatic chordal comping

5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5
4 4 4 4 4 4 4 4
5 5 5 5 5 5 5 5
[65]

#
E7 F9 E9 A m6 A7 5 D m6

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

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[69]

D.C. al Coda fi
Bb7
A m6 E7 A m6
>
E7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ |.

[75]

fi Coda
≥ ≤
n ≥œœ # # œœ≤ n n ≥œœ # # œœ≤ n ≥œœ. ggg # www
A m9 A m add 9

œœ≤ # # œœ
Acoustic Guitar Grade 8

n œœ ggg w
& ‰ #œ #œ œ œ #œ nœ #œ œ Œ Ó
J ggg w
p f ß
ggg 79
ggg 109
5 4 5 6 7 8 9 10

g 0
4 3 4 5 6 7 8 9
4 3 4 5 6 7 8 9

[81]
45
 Minor Swing | Technical Guidance

A notable challenge when learning this arrangement can be the tempo. Playing at a high tempo risks losing rhythmic and
technical accuracy. It can also prove more difficult to recover from performance errors mid-way through a piece. These are
just things to be mindful of, that may otherwise not be an issue at lower tempos.

For the quarter notes that are tied to triplets throughout the intro, it is critical to ensure that the two notes of the triplet
convey the swung feel of the track. Losing this will change the impression that the melody creates in conjunction with the
backing. Similarly, the triplet runs (bar 53 for example) should be clear whilst not over accenting the first note of each group
unless specifically written. The very precise coordination needed between both hands needs to be combined with the ability
to control picking hand attack.

For the picking hand, you will need to decide how to fluently execute some phrases that have several options. Bar 55
for example could be played using a sweep, alternate picking, a combination of the two or hybrid picking. You should
experiment with which technique works best for you.

Longer runs could also be executed more easily through the inclusion of more slurs, however this changes the frantic feel of
the performance and begins to add distance from the accuracy of the score, so be wary of straying too far here. That is not to
say that altering TAB fingerings to suit your playing style is inadvisable, just that you should check that adjustments do not
change the sound you are trying to achieve.

Controlling dynamic changes will make this performance sound professional and musical. ß for example (suddenly with
force) is distinct from a normal accent and should be treated as such.

From bar 67 to bar 79 you are asked to ‘develop idiomatic chordal comping’ which means not just the rhythmic approach

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but also the inversions and chord types you use. Sticking with already established shapes and just changing the rhythms
will not reach the highest levels available to you in the exam. Try to make the part musical and interesting and use it as an
opportunity to demonstrate some knowledge of chord usage around the neck in the context of a fast swing piece.
Acoustic Guitar Grade 8

46
 ‘Breathing Underwater’ | Hiatus Kaiyote
‘Breathing Underwater’ is a song by neo-soul quartet Hiatus Kaiyote which features on their second studio album,
Choose Your Weapon, released in 2015. The song has been met with critical acclaim by the likes of Rolling Stone magazine,
and although the album didn’t chart in the UK it was successful in the band’s home nation of Australia where it peaked
at number 22 on the Australian Albums Chart. In 2016 ‘Breathing Underwater’ received a nomination for Best R&B
Performance at the 58th Grammy Awards Ceremony.

The Melbourne-based band are influenced by a number of genres including jazz, soul, R&B, progressive rock, West
African funk and samba, resulting in a future-like neo soul sound. Having seen Palm perform, bass player Paul Bender
knew that her creation was something special and approached her to form a band. Bender then brought in multi-
instrumentalist Perrin Moss and keyboardist Simon Mavin, which soon led to the quartet’s first gig at the Bohemian
Masquerade Ball in 2011.

By 2012 Hiatus Kaiyote (also known as HK) had independently released their debut Album Tawk Tomahawk, getting
them noticed by the likes of Animal Collective, Dirty Projectors and Salaam Remi. Remi was an A&R scout for Sony
Records, and had been given the opportunity to start his own sub-label called Flying Buddha Records. Remi signed HK
to his label in 2013 and distributed their debut album worldwide. With their release now backed by label Flying Buddha,
HK’s fan based was widened and they found themselves being endorsed by the likes of Prince and Questlove. In 2013 they
received a Grammy nomination for their single ‘Nakamarra’, taken from Tawk Tomahawk, for Best R&B Performance but
lost out to Snarky Puppy.

In 2015 HK released their second album, Choose Your Weapon, a record described by songwriter Palm as an extension
on their debut. While the original ideas were Palm’s, she certainly doesn’t take all of the credit for the neo-soul masterpiece

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and states that much of the later flavour came from her fellow bandmates. The record saw the band achieve their first
US chart position, making it to number 127 on the US Billboard 200 and also peaking at number 22 on the Australian
Albums Chart. Choose Your Weapon was highly regarded by fans and critics alike, described as “vibrant and uninhibited”
the record left many astounded by its ability to “hover between delirium and frustration”.

Hiatus Kaiyote began recording their third studio album in 2018.

Song Info
Song Title: ‘Breathing Underwater’
Album: Choose Your Weapon
Released: 2015
Label: Flying Buddha / Sony Masterworks
Genre: Neo Soul
Written By: Nai Palm
Produced by: Salaam Remi / Hiatus Kaiyote
Acoustic Guitar Grade 8

47
 Breathing Underwater Session Style

Hiatus Kaiyote
Arranged by Calum Harrison

c 80 Neo Soul r
## 4 œ œœ œ
A

œœ œ œ œ
3

& 4 œœ ≈ œœ ‰ j ‰. œ œ
œœ œ œ œ œ
p œ œ œ œ œ Œ ˙ Let ring
2 5 0
T 0 0 0 2 3 2 5 0
A 0
0
0
0
0
0
0
0
B 3 3 3 0
0

r j
## œœ œ œœ œœ .. œœ œœ œœ œ œœ
œœ œ œ œœ 64 Œ 85
3

& œœ ≈ œœ ‰ j ‰. œ œ œ
œ œœ œ œ
œ œ
œ
œ Œ
œœ
œ. œ ˙
˙ œ ˙
Let ring

2 5 0 7 7 5 7 5 2 5
0 0 0 2 3 2 5 0 7 7 5 7 5 2 5
0 0 0 0
0 0 0 0
0
3 3 3 0 3 0 0

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[3]

c 110
#
& # 85
44 j
G maj 7
∑ Œ ‰. r œ ∑
œ œ.
the word hurts

# 5 œ œ œ œ œ œ 4 ˙˙ œ œ œ
& #8 œ 4 ‰ j
3

œ œ ˙ œ œ œ
œ œ. œ œ œ œ. œ œ œ
J Let ring

2
2 2 3 2 0 3 3
0 4 4
0 4 4 4 4
0
0 3 3 3 0 3 0
[6]

#
& # ∑ ∑ Œ ‰. r
œ œ. j
œ
in wa - ter

##
Acoustic Guitar Grade 8

&
3
œœœ ‰ j
3
œœœ ‰ j
3
œœ œ ‰ j
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
Let ring Let ring Let ring

3 0 3 0 3 0
4 4 4 4 4 4 4 4 4
3 0 3 0 3 0
[9]
48 Words and Music by Paul Bender, Simon Mavin, Perrin Moss and Naomi Saalfield
Copyright © 2015 Downtown DMP Songs
All Rights Reserved Used by Permission
 ## j
&
3
œœœ ‰ j
3
œœœ ‰ j
3
œ œ œ ‰ œœœ
œ œ œ œ œ œ œ œ œ .
œ œ œ œ œ F
Let ring Let ring Let ring

3 0 3 0 3 3
4 4
4 4 4 4 4 4 4 4 4 4
3 0 3 0 3
[12]

# # G maj
7

& Œ œ œ Œ ∑ ∑
ma - terial

# ˙˙ ww œœ ‰ œœ
& # ˙ w ‰. r œ œ ‰. r
˙ w œ œ. œ œ œ
>
3 3 3
4 4 4
4 4 4
3 3 3 3

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[15]

#
& # ∑ Œ œ œ Œ ∑
warm hands

# ˙˙ ww
& # ≈ ≈ ‰ Œ ˙ w
œ œ œ œ œ. œ œ œ ˙ w
3
4
4
2 0 2 3 2 2 3 3
[18]

#
Acoustic Guitar Grade 8

œœ ‰ œœ
& # ‰. r œ œ ‰. r ≈
≈
‰ Œ
œ œ. œ œ œ œ œ œ œ œ. œ
3 3
4 4
4 4
3 3 3 2 0 2 3 2 2
[21]
49
 #
& # .. ≈ œ
≈ œ œ
œ œ œ œ œ œ œ œ ‘
œ œ œ
.
. 2 5
2
2 4 2 0
4 2
2
4 2
0 3
[23]

#
& # ≈ œ
≈ œ œ
œ œ œ œ œ ‰ œ ≈ œ ≈
œ
‰ œ œ œ. œ
≈
≈
..
œ œ œ
œ œ
.
2 5
2
2 4 2 0
4 2
4 2 0 2 4 2 2
4 2
.
0 3
[25]

# # G maj
7

& Œ œ œ Œ ∑ ∑
wild rose

# ˙˙ ww œœ ‰ œœ
& # Ó ˙ w ‰. r œ œ ‰. r

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˙ w œ œ. œ œ œ
>
3 3 3
4 4 4
4 4 4
3 3 3 3
[27]

## G maj 7
& ∑ Œ œ œ. œ Œ ∑

¥¥
A - or - ta

## œœ .. œœ Œ ¥ ¥¥
& ≈ ≈ ‰ Œ œ. œ ¥
œ œ œ œ œ. œ œ œ œ. œ NH NH

12
3 3 12
4 4 12 7
4 4 7
7
2 0 2 3 2 2 3 3
[30]

# # ¥¥¥ ‚‚‚
Acoustic Guitar Grade 8

& ‰. r ≈ ≈ ‰ Œ
NH NH
œ œ œ œ œ œ. œ
12 7
12 7
12 7
3 2 0 2 3 2 2
[33]
50
 C

## D maj 7 A/B G maj 11

& œ œ œ ∑ Ó Œ ‰
œ. œ œ œ
find breath -

# œœ
& # œ œ
œœ œœ
œ
˙˙˙ œœœ œœœ œœœ ‰
. œ. œ ˙ œ œ œ œ œ œ
7 2 2 2 2 2
6 2 4 4 4 4
7 2 4 4 4 4
5 5 5
3 3 3 3 3 3 3 2
[35]

## D maj 7 G maj 11
r ‰. r ‰.
A/B
& ‰ ‰ j ∑
œ œ œ œ œ ˙ ˙
ing u - n - der - wa - - - ter

## œœ œ
3

‰ Œ œ œ œ œ
3

& œ œ
œ œ œ
œ. œ œ œ œ w
Let ring
0

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

7 2 2
6 4 4
7 4
5 5 2
0 2 3 2 3
[38]

## œ œ œœœœ
œœ
œ œ ‰ ‰ Œ
D maj 7

& œœ
œ œ œ œ œ œ
. œ œ œ
(let ring)
0 0
2 2 7
4 4 6
4 4 7
5 5 4
3 2 0 2 3 2 5
[41]

## B 11
& ∑ ∑ Œ œ œ. œ Œ

œœ. œœ
bre – breathe you

##
Acoustic Guitar Grade 8

œ ˙˙˙ ˙˙˙ gg œœœ ... œœœ ‰ Œ

& œ œ ggg œ .
œ ˙ ˙ g œ œ œ œ.
ggg 56
Let ring
7 7

gg 7
5 5 7 7

gg 7
6 6 6
7 7 7 7
7 7 7 3 2 0
[44]
51
 ## 2 4
œ
3 3

& œ œ œ œ œ 4 œ. œ œ 4

œœ
brea - th you u - - - - nder wa - - - ter

# # œœ œœ œœ œœ œœ
42 œ
œ œ 44
3

œ
3

& œ œ
œ
Let ring

5 7 5 2 5 2
5 7 5 2 5 2 2 3 2 0
0
0
0

[47]

F # m7
D

#
E m7 C maj 7

& # 44 œ œ œ œ œ œ œ œ w

œœ . œœ œœ .. œœ
#
& # 44 œ j œœ ... œœ Œ j œœ .. œœ Œ œœ œ
3

‰ ‰ œ œ
3

œ œ. œ œ œ œ. œ œ œ œ
nœ
Let ring

7 7 9 9
8 8 10 10 5 5
7 7 9 9 4 4 4
9 9 11 11 5 5 5

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7 7 7 7 9 9 9 9 3

[49]

F # m7
## B maj 7 G maj 7 E m7
nnbb
& ∑ ∑ b
˙ ˙

œœ .. œœ œœ .. œœ
# # n œœ .. ‰ œj œœœ ... œœ Œ nnbb
& # # ˙˙˙ œ.
œœ Œ
œ œ ‰ œj œœœ ... œœ Œ
œ œ œ b
˙ œ. œ
7 7 9 9
4 3 3 8 8 10 10
3 4 4 7 7 9 9
4 4 4 9 9 11 11
2 7 7 7 7 9 9 9 9
3 3
[52]

Ab5
bbb r
C 11
& ∑ Ó Œ ‰. œ

j
for

˙˙˙ œœœ œœœ œœœ œœœ œœœ

Acoustic Guitar Grade 8

b ‰. œœ
&bb œ œ œ ˙ œ œ œ œ œ
‰
R

6 6 6 6 6 6 6
7 7 7 7 7 7 7
8 8 8 8 8 8 8 13
11
8 8 8 8 8 8 8
[55]
52
 Ab5
Play 4 times
E

bb r
G5 F5 G m7 F m7

& b .. ≈ œ ≈ œ ‰ œ œ œ. œ ≈ œ ≈ œ Ó Œ ‰ ≈ œ ..

œœ
your love for your lo - ver to find for

bb b . ≈ œ ≈ œ œj ‰ œœ œœ .. œœ j œœ œœ ..
& . œ œ œ Œ œœ . œœ ‰ œœ ‰.
. œ R

. .
. .
11 9 9 9
10 8 8 8
12 10 12 10 10 10 13
10 8 10 8 8 8 8 11

[57]

Guitar Solo (8 bars)

A b maj 7
b
G m7 F m7
j Gœœm...
G5 F5
œœ
7

& b b .. | | Û. Û ‰ Û Û Œ .. ≈ œœ ≈ œ œœ ‰ œœ . œœ Œ
Play 4 times

J œ

. .
. .
11 11
10 10
12 10 12 12
10 8 10 10

[59]

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F

b ‰. r ≈ ‰. r ≈
& bb Ó Œ
œ
‰
œ ≈ œ œ œ œ. œ
Œ Ó Œ
œ
‰
œ ≈ œ œ œ œ. œ
Œ
for your love for your lo - ver, for your love for your lo - ver,

b ˙˙ ˙˙ ˙˙ ˙˙
&bb ˙ Ó ˙ Ó
F madd 9

˙ ˙ ˙ ˙
p
8 8
5 5 5 5
6 6

[62]

b ‰. r ≈
& bb Ó Œ
œ
‰
œ ≈ œ œ œ œ. œ
Œ ∑ ∑
for your love for your lo - ver.

˙˙ ˙˙ ˙˙ U
w
Acoustic Guitar Grade 8

b
&bb ˙ ˙ ˙ Ó ˙ ˙ ww

8 8
5 5 5 5
6 6

[66]
53
 Breathing Underwater | Technical Guidance

Please note: the vocal score in this arrangement contains ‘cue points’ for reference only.

Counting the time changes that occur during the A section of this arrangement will be critical in staying synced with the
track. This is particularly important when learning the piece. However, as you practice and become more familiar with the
sound of the time signature and tempo changes, there can be less reliance on counting the specific bar numbers and more
reliance your aural familiarity with them. A tip on getting to this stage is simply to listen to the full track audio as much as
possible. Vocalizing the rhythms of what you are playing can also help.

To properly develop the feel needed for this song you need to be completely comfortable and accurate with the rhythms and
rests. For example the G in bar 1 beat ‘2a’ needs to have the rest before it and drop into the following open string part with
crisp delivery. Moving its placement just a little will completely change the groove. Similarly bars 23–27 introduce 16th-note
rests into a riff that is already technically challenging, and must be played accurately. Focusing on strong hammer ons/pull
offs during this section will allow for a smooth performance.

The guitar solo uses chords IV, IIIm and IIm from the parent key of E b major, but at this level you will be expected to move
beyond ‘one scale’ thinking. Outlining the changes with strong chord tones helps to link the solo to the track, whilst using
the interesting sounding diatonic extensions (the # 11 over the A b maj 7 for example) will develop your sound further. The key
with this later approach is to resolve to strong chord tones at the end of phrases or on the strong beats within a phrase. This
demonstrates control of the solo and mastery of the style.

Bar 57 asks for development on the repeat, which at this grade will be expected to be both rhythmic and harmonic. Playing
the same chord voices in different rhythms is part of the solution, but for the best marks chord extensions and inversions
should also be used to add variety. For example, the Fm7 could easily become Fm 9 or use suspensions to add interest. This

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section is allowing you to demonstrate your musical judgment and understanding of the genre.
Acoustic Guitar Grade 8

54
Technical Exercises

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

You do not need to memorise the exercises (and can use the book in the exam) but the examiner will be looking for the
speed of your response. The examiner will also give credit for the level of your musicality.

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

Group D is played to a backing track.

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

1. Whole tone (G whole tone shown, root on E string)

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

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

2. Diminished (D diminished shown, root on A string)

b œ œ b œ bœ nœ œ œ œ œ œ œ bœ bœ œ bœ œ
œ
& œ bœ œ bœ bœ nœ œ œ œ œ nœ bœ bœ œ
bœ œ
10
T 7 8 10 11
9 10 12 13 13 12 10 9
11 10 8 7
A 6 7 9 10 10 9 7 6
B 5 6 8 9 9 8 6 5

3. Altered (C altered shown, root on A string)

b œ b œ b œ b œ bœ bœ œ bœ bœ bœ bœ bœ bœ
& œ bœ bœ bœ bœ bœ bœ œ œ bœ bœ bœ bœ
bœ bœ œ
4 6 8 6 4
T 3 5 6
4 5 7 7 5 4
6 5 3
A
Acoustic Guitar Grade 8

2 4 6 6 4 2
B 3 4 6 6 4 3

55
 Technical Exercises

Group B: Arpeggios
One octave, two positions. The first position is to be prepared on the E string from the starting notes of G–B chromatically.
The second position is to be prepared on the A string from the starting notes of C–E chromatically.
The tempo for this group is q = 100.
# #
1. Dominant 7 5 arpeggios (G 7 5 arpeggio shown, root on E string)
#
# G7 5

& #œ nœ œ œ œ
œ œ œ œ
T
A 3 5 3
B 3
2 6 6 2
3

b b
2. Dominant 7 5 arpeggios (A7 5 arpeggio shown, root on E string)

###
b
A7 5

& bœ nœ œ œ œ
œ œ œ œ
T
A 5 7 5
B

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

4 6 6 4
5 5

b b
3. Minor 7 5 arpeggios (C m 7 5 arpeggio shown, root on A string)
7 b5

b bb Cm œ œ œ
& œ œ bœ œ œ œ
T 3 5 3
A 4 4
B 3 6 6 3

# #
4. Dominant 7 9 arpeggios (D 7 9 arpeggio shown, root on A string)
7#9
## D nœ #œ œ
& œ œ œ œ
œ œ

T 5
6
5
A 4 7 7 4
B 5 5
Acoustic Guitar Grade 8

56
 Technical Exercises

b b
5. Dominant 7 9 arpeggios (E 7 9 arpeggio shown, root on A string)

####
b
nœ nœ œ
œ œ
E7 9

& œ œ œ œ

T 7
6
7
A 6 9 9 6
B 7 7

6. Diminished arpeggios (A diminished arpeggio shown, root on E string)

A dim

& bœ œ œ
œ œ œ œ
T
A 7
B 5 8
6 6
8 5

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Acoustic Guitar Grade 8

57
 Technical Exercises

Group C: Chords
To be prepared in two positions. The first position is to be prepared on the E string from the starting notes of G–B
chromatically. The second position is to be prepared on the A string from the starting notes of C–E chromatically. Chords
should be strummed and then picked (arpeggiated).
# #
1. Dominant 7 5 (G 7 5 chord shown, root on E string)
#
#
G7 5

#œ œ
& n œœ œ œ
œ œ
T 4
4 4
4
A 3 3
B 3 3

b b
2. Dominant 7 5 (A7 5 chord shown, root on E string)
b
### bœ œ
A7 5

& n œœ œ œ
œ œ
T 4
6 6
4
A 5 5
B

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5 5

# #
3. Dominant 7 9 (D 7 9 arpeggio shown, root on A string)
#
# n # œœœ œ
D7 9

& # œ œ œ œ

T 6
5 5
6
A 4 4
B 5 5

b b
4. Dominant 7 9 (E 7 9 arpeggio shown, root on A string)
b
#### n n œœœ œ
E7 9

& œ œ
œ œ

T 6
7 7
6
A 6 6
B 7 7
Acoustic Guitar Grade 8

58
 Technical Exercises

Group D: Stylistic Studies

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

Styles:
■■Rock and Pop (pages 60 & 61)
■■Blues and Country (pages 62 & 63)
■■Acoustic Specialist (pages 64 & 65)

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

Acoustic Guitar Grade 8

59
 Technical Exercises

Stylistic Study | Rock and Pop

c 87 Rock/Pop
G/F #

# œ œ
G Em D C G/B Am G

& 44 œœœ œœ œœ œ œœ œ œ œœ œœ œœ
3

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

G/F #

# œ
Em D C G/B A m D G G/B

œ œ œ œ œ œ ˙ œœ œœœ œœ œœ œ
& œœ œ œ œ œ œœ œ œœ œœœ œœ œœ ˙˙ œ œ œ œ œ œ
œ œ
0
T 3
0 0
3
0
3 3
2 2
1
0
0
0 2
3
2
0
0
1 0
0
3
2 0
A 5 4 2 0 2 0 0 0 2 0 0
B 3 2 0 2

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

3
[3]
C G/B A m G G/B C G/B A m G

# œ œ œœ œ œ œ œ œ jœ
œ
& œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ
œœ œœ œ œ ˙
œ œ œ œ œ œ œ œ œœ œœ ˙˙
œ œ œ
œ œ œ œ œ œ
3 3
T 1
0
0
0 2 0
3 5 3 3 3
4 2 0 0 0 2 4
3
2 0
1
0
0
0 2 0
A 2 0 2 0 0 2 0 2 0 2 0
B 3 2 0
3 3
2 0 3 2 0
3
[6]

œœ œ œ j œœ œ œ
G/B C G/B A m G G/B

# œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœœ
& œ œ
œœ œ œ œœ œ œœœ
œ
œœ œ œ œ
œ œ
œ œ œ
7 8 7 3 3 3 3 3
T 0
8
7
3 5 3
4 2 0
1
0
3
4
1
2
0
0 0
1 3
0
3 3
4 5 4 0
A 0 0 2 0 0 0 2 0
B 3 0
2 3
2

[9]

G/F #
Acoustic Guitar Grade 8

C G/B A m G Em D C D

# œ œ
& œœ œ œœ œœ ˙˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœ ˙˙˙
œ œ œ ˙

T 1
0
0
0 2 0 0 0
3
0 0
3
0 0
3
0
3
2 0
1 1
0
3
2
A 2 0 4 2 0 0 2 0
B 3 2 0 3
60 3
[12]
 Technical Exercises

G/F #
# œœ œ œ œœ œ œ œ œ œ œ ˙ œ œœ œ œ œ
G Em D C G/B A m G G/B

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

3 0
T 3
0
3
0
3
0 0
3
2 2
1
0
0
0 2 0 0 0 7
8 12 10 8
A 5 4 2 0 2 0 7 9 9 12 10
B 3 2 0
3
7 9 10

[15]

# œ œ œ œ œ œœ œ œœ œ œ œ
C G/B A m G G/B C G/B A m G

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

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

3 3 3
[18]

œ œj œ œ œ œ œ œ œ jœ
œ œœj œœœœœ
#
G/B C G/B
A G G/B

œ œ œj œ œ œ œ œœ œ œ
œ
œ œ œ œ œœœœœ
j
& œ
œœ œ œ œœœœœœ
œ
3 7 8 7 5 7 0 3 0
T 0 2
0 1 0
2 4
3
5 7 9 7 5 7
10 12 10 8 7 3
5
0
0 0
A 0 2 0
7
9 7 5 7 4 0
B 3
7 3
7
0
3
[21]

G/F #
# œœ œ œ œœ œ œ
C G/B Am G Em D C D

& œœœ œœœ œœœ œœœ ˙˙˙ œœœ œœ

œ œ œ œ œ œ œ œ ˙˙
œ œ œ ˙
3 0 0
T 1
0
0
0
1
0
0
0
3
0
3
0
3
0 0
3
2 2 0
1 3 1
2 0
3
2
A 2 0 2 0 5 4 2 0 0
B 3

[24]

œœ œ
œœœ œ .
Acoustic Guitar Grade 8

# œ
G B m7 Em D C G/B Am G

& œœ œœ œœ œœ œœ œœ œœ œ œ œ w
œ œ œ œ œ w
œ œ œ œ œ œ
5 7 5
T 3
0
3
7
5
7
7 1
0
0
0 2 0
1 0 1 0
A 5 4 5 2 0 2 0 2 0
B 3 2 0
3 3 3 61
[27]
 Technical Exercises

Stylistic Study | Blues and Country

c 102 Bluegrass
#4 G
œ œ œ œ œ œ œ œ œ œ œ œ #œ bœ nœ œ nœ œ
& 4 œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
T 0 0
3
0
3
0
3
0
3
0
3 2
3
1
2
0
0
A 0 4 4 5 5 5 5 2 0
B 3
0
7
3 7

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

[3]

# œ bœ nœ œ nœ œ œ œ
œ œ bœ œ œ œ œ
C

& œ bœ œ nœ bœ nœ œ œ bœ
œ œ œ œ œ nœ œ œ

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

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

[5]

#œ œ œ nœ œ œ
G

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

[7]

#
& œ œ nœ #œ œ œ œ œ œ bœ œ œ
D7 C

œ œ n œ #œ œ b œ n œ œ b œ n œ œ œ œ œ œ
œ œ œ
T 2 0 2
0 3 1
2 0 0 0 2 0
1
3 2 0
A 3 4 3 4 0 0 1 2 1 2 2 0
B 2 3
Acoustic Guitar Grade 8

[9]

# # œ œ œ nœ œ œ nœ bœ
& œ œ b œ n œ œ nœ ‚‚
œ œ œ nœ œ #œ nœ bœ œ ‚
NH
0
T 0 3
0
6
3 6 3
6 5 3
5
5
A 0 3 5 5 3 0 5
B 3 5 4 3
62 6 3
[11]
 Technical Exercises

#
œ œ œ œ œ œ œ œ œ bœ œ œ
nœ œ œ
G

& œ œ œ œ œ œ œ œ œ œ œ œ œ

T 0
3
0 0
3
0 0 0
3
0 0 3 0 3
A 5 5 4 5 5 5 4 5 5 5 5 5 3 0
B
[13]

# œ œ œ œ œ bœ nœ œ bœ nœ œ
C

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

nœ
[15]

# œœ œœœ œ nœ œ œ #œ bœ nœ œ #œ
j G
œ
bœ

& œ œ œ b œ œ œ b œ nœ œ œ
œ

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

3 3 6 7 3 3 2 1
T 0
1
0 3
1
0
3 5 3 5 6 3 4 3 2
3 4 0
A 2 0
B
[18]

# œœ b œœ n œœ œ n œ œ œ œ œ
D 7

& œ œ nœ œ #œ nœ œ œ œ bœ œ n œ œ œ œ œ # œ
œ bœ nœ œ
T 5
5
3
3
3
4 0 0
3 6 3
5 2
3
5 2 1 0 0
A 5 3 0 3 0 0 3 4
B 4 3 0 1 2
3

nœ
[20]

# œ œ nœ œ œ œ œ #œ œ nœ
j G
C 7
bœ

& b œ œ
œ œ œ œ nœ œ bœ nœ œ œ œ b œ nœ œ œ
œ
3 6 7 3 3
T 0 3 0 0 2 0
1 6 3 6 3
6
3
5 3 4
A 5 5 3 0 1 2 5 2 0
B
Acoustic Guitar Grade 8

[22]

# œ œ nœ œ œ œ ww
& œ nœ œ œ œ œ œ œ b œ n œ b œ n œ œœœ œ œœ w
bœ nœ œ œ #œ
3 3
T 0 0 3 4
3 6 5 3
5 3 4 0 0 0
3
2
A 3 2 0 0 0 2 4 5 5 5 5
B 3 1 2
63
[24]
 Technical Exercises

Stylistic Study | Acoustic Specialist

Solo Guitar
c 80 Guitar Drum Kit
LT LT

‚ ‚
B

Œ
B

œœ ‡ ‡ ‡
S S S

— œœ . — — œ œ — œœœ œœœ
B † thumb slap B

4
& 4 # œœ ... œœœ œœ
œœ œ œ œ œ
I I

‰ œ œ œ œ ‰ J
†
œ
0 0
T 8
7
8
7
3
4 9 7 0
0
4 2 0
A 6 6
B 7 7 5 7 5 7
0
7 5
I I
† thumb slap
Percussive notation: Pitched notation:
B = bass drum: hit strings at bridge with side of outstretched right hand I = downward strum (flick) with the index finger
S = snare drum: hit scratchplate with flick of first joint of index finger M = downward strum (flick) with the middle finger
LT = low tom: hit above soundhole with RH thumb
(Substituting other surfaces is also acceptable providing they approximate the sound of a drum kit)

LT LT

‚ ‚
B B

Œ
œœ ‡ ‡ ‡œ
S S S

—œœ . — — —
B B

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

œ œ œ œ œ œ ‰ J

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

‰ † œ
0 0
8 8 3 0
7 7 4 9 7 0 4 2 0
6 6
7 7 5 7 5 7 7 5
0
I I
[3]

LT

‚
B

Œ ‡ œ ‡ Œ
œœ ‡
S S S

n œ œ — œœœ œœœ œœœ — œœ . —

B B

œ œœ œœ œœœ œœœ
& ## œœJ œ œ # œœ ... œœ
I M I

‰ œ œ ‰ œ œ œ
†
œ
0 0 0 0 0
4 5 0 8 8 3 3
3 4 9 7 0 4 3 4 0 7 7 4 4
6 6
7 7 5 7 7 5 2
0
I M I
[5]

‰ ‚j ‰ j
LT LT

Œ ‚
S S

œœ .. œœœ ‡ œœ ‡ ‡ ‡
S S

— # œœ . —
B B

œ œœœ ...
Acoustic Guitar Grade 8

& . .
# œœ # œœ Œ
M I M

œ œ ‰ œ œ œ ‰
œ Œ
†

0 0 0 4 0
3 3 3 3 0
4 4 4
5 6
5 7 5 7 2 4 5
64 M I
0
M
[7]
 Technical Exercises

‡ ‡ ‡ ‡
S B B S S B B S

— — — — — —
B B

& œ œ œ œ œ œ
‰. R œ œ ‰. R œ œ

7 5 7 7 5 7
7 10 7 10
[9]

Œ Œ
œ œ ‡œ œ œ œ — ‡ œ œ ‡œ œ œ œ — ‡
S S S S
B B

& œ œ œ œ œ œ œ œ œ œ.
I

œœ œœ
‰ œ ‰

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

† †

0 0
5 3 0 3 0 5 3 0 3 0
2 2
2 7 5 2 7 5
2 5 7 7 2 5 7
0 0
I
[11]

‡ ‡ ‡ ‡
S S S S

— — — —
B B B 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
œ œ œ œ †
œ †

12 10 0 12 10 0 12 10 0 12 10 0 12 10 0 12
12 10 0 12 10 0 12 10 0 12 10 0 12 10 0 12
[13]

U·
rall.

‡ ‡
S S

— — ··
B B
Acoustic Guitar Grade 8

& œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ †
œ NH

5
5
5
12 10 0 12 10 0 12 10 0 12 10 0 12 10 0 12 65
[15]
 Quick Study Piece

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

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

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

Acoustic Guitar Grade 8

66
Quick Study Piece | Rock and Pop
The test shown is an example. The examiner will give you a different version in the exam.

c 90 Rock/Pop
D/F # G9 D/F # G9

#4 œ œ œ œœ ¿¿ œœ œœ œœ œœ œœ œœ œœ ¿¿ œœ œœ œœ œœ œœ œœ œœ ¿¿ œœ œœ œœ œœ œœ œœ œœ ¿¿ œœ œœ œœ
& 4 œœ œœ œœ œ ¿ œ œ œ œ œ œ œ ¿ œ œ œ œ œ œ œ ¿ œ œ œ œ œ œ œ ¿ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 ¿ 3 3 3 3 ¿ 3 3 3 3 ¿ 3 3 3 ¿¿
2 ¿ 2 2 2 2 ¿ 2 2 2 2 ¿ 2 2 2
0 ¿ 0 0 0 0 ¿ 0 0 0 0 ¿ 0 0 0 ¿
T 3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 2 2 2 2 2 2 2 3 3 3 3 3 3 3 2 2 2 2 2 2 2 3 3 3 3 3 3 3

D/F # G D/F # G

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

RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com

2 3 2 3
[3]

j r j
# b œ œ b œœ œœj .. ‰ . œœr œœj .. n œ œ œœ œœœ ... ‰ . œœ
C m7

j r j
C/D D E m/D C/D D C/D A/G G A/G G

œœ .. œœ .. ‰ . œœ œœ ..
& œ. œ œ. œ œœœ œ. œ œ # œœœ
œ œn œ œ œ œ œ œœ œ œ œ œ. œ œ œ
0 2 3 0 2
T 4
5
3
3
4
5
3
3
4
5
1 3
0 2
5
4
1
0
3
2
0
0
2
2
3
0
2
2
3
A 5 3 5 3 5 0 0 0 0 0 2 0 2 5
B 3 3 3 3
3 3 3 3
[5]

D/F # D/F #
# G G G/B C

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

T
A
B
[8]

A/C #
# œ œ
Acoustic Guitar Grade 8

C/D C/D D7 G

& ’ ’ ’ ’ ’ ’ ’ ’ œ œ œ Œ Ó
œ œ œ œ
3
T 3 0
2 0
A 0
B 2 0
3
[11] 67
 Quick Study Piece

Quick Study Piece | Blues and Country

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

c 120 Country/Bluegrass Flatpick

& 44 ‰ Jœ œ œ œ œ œ œ œ œ œ œ œ œ b œ n œ œ œ œ b œ œ œ
C G

œ œ œ
bœ nœ œ nœ œ
T 1 1
2
3 1
2 0 0 0 0 0
A 0 2 3 3 0 1 2 3 2 1 0 0 2 0 3
B 3 1 2
Use your choice of picking approach

œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ
C

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

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3 2 3 2 3 3

[5]

œ œ
G C E

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

[9]

Am F C

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

T 1
2
1 0
2
0 1
2 0 0 2
1
A 2 2 3
B
[13]
Acoustic Guitar Grade 8

U
gg www
G C

& ’ ’ ’ ’ ’ ’ ’ ’ ggg ww
g Fill

ggg
ggg
0
T 1

g
0
A 2
B 3
68 [17]
 Quick Study Piece

Quick Study Piece | Acoustic Specialist

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

— — — — — —
LT LT LT LT
S S S S

4
B B B B B B

& 4

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

HT HT

‚ ‚
LT S LT B LT S LT S LT B LT S

‚ ‚ ‚ ‚ ‚ ‚
B B B B

— ‡ — — ‡ — ‡ — — ‡
&
œ. Œ Œ œ œ. Œ Œ œ
J J

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T
A
B 7 5 7 5
[3]
HT HT

‚ ‚
LT S LT B LT S LT S LT B LT S

‚ ‚ ‚ ‚ ‚ ‚
B B B B

— ‡ — — ‡ — ‡ — — ‡
& œ œ ‰
œ œ ‰ Œ Ó Œ Ó
T
A
B 5 7 10 7
[5]

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
cont. sim.

T
A
B
Acoustic Guitar Grade 8

[7]
Em

œ œ #œ œ œ œ œ
& ’ ’ ’ ’ ’ ’ ’ ’ œ œ
œ œ
0 0
T 3 2 0
2 0
A 2
B 2

[10]
0 0
69
 Ear Tests

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

Test 1: Melodic Recall

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

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

q = 90
# ¿ ¿ ¿ ¿ j
& # 44 .. w œ œ œ œ ‰ œ œ œ œJ ‰ ‰ Jœ ‰ œ œ œ œ œ ≈ œ œ œ ≈ ..

. .
. .
T 7 6 7
7 7 7
9 7
A 9 9 7 9 9 9 7 9 9
B 9

Test 2: Harmonic Recall

The examiner will play you a tonic chord followed by a four bar chord sequence in the key of E major played to a bass and
drum backing. The sequence will use the I, ii, iii, IV, V and vi chords. The I and IV chords can be either major or major 7

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chords. You will be asked to play the chord sequence to the bass and drum backing in the rhythm show in the example
below. This rhythm will be used in all examples of this test given in the exam. You will then be asked to identify the sequence
you have played to the examiner, including any chord extensions. You will hear the test twice.

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

q = 90
#### 4 . E ¿ ¿ ¿ ¿ F#m G#m
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
A maj 7

4 . |
B

&
Acoustic Guitar Grade 8

70
General Musicianship Questions

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

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

In Grade 8 you will be asked:

■■The names of pitches

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

■■Any dynamic marking found in the piece

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

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

■■A stylistic feature of the piece characteristic of its genre

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

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

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

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

Acoustic Guitar Grade 8

71
 Acoustic Guitar Notation Explained
Finger picking

# ww œ œ
p i m a
D Am F

b
thumb index middle annular

œ
Notes:

w ’ ’ ’ ’
THE MUSICAL STAVE

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

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

Definitions For Special Guitar Notation

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

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

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

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

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

& œ œ & & & ‚ ‚

~~~~~~~~~~ NH

12
AH 14 AH 15

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

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

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

œ #œ
pitch indicated in brackets in the TAB

˙
1/4

& & & & œ œ

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

fi
TRILL: Rapidly alternate between the PICKING/STRUMMING: • Go back to the sign (%), then play until
D.%. al Coda
Acoustic Guitar Grade 8

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

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

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

.. ..
Downstroke or
Downward strum

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

T
≤
Upstroke or

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

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

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

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

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Acoustic Guitar Grade 8

73
 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

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ELEMENT PASS MERIT DISTINCTION

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

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

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

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

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

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

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

TOTAL MARKS 60%+ 74%+ 90%+

Performance Certificates | Debut to Grade 8 *

ELEMENT PASS MERIT DISTINCTION

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

Acoustic Guitar Grade 8

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

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

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

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

TOTAL MARKS 60%+ 75%+ 90%+

74
* Note that there are no Debut Vocal exams.
Copyright Information

While My Guitar Gently Weeps

(Harrison)
Harrisongs Limited

Kind Hearted Woman Blues

(Johnson)
Concord Bicycle Assets LLC

Tears For Jerusalem

(Emmanuel)
Universal Music Publishing Limited

First Rule Of Thumb

(Mason)
Concord Music Publishing LLC

Minor Swing
(Reinhardt/Grappelli)
EMI Music Publishing Limited

Breathing Underwater
(Bender/Mavin/Moss/Saalfield)
Downtown Music UK Limited

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Acoustic Guitar Grade 8

75
 Introducing…
Rockschoo
new theorl’s
y
exams!

POPULAR
MUSIC THEORY
GRADES DEBUT–8

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OUT NOW!
Discover more at
www.rslawards.com/theory
Enter online at
www.rslawards.com/enter-online
RSL-177912769700 / 1 / Duy Anh Nguyen / duyanh220297@gmail.com