acoustic

Sample
Pack
 ACOUSTIC
SAMPLE PACK
Welcome to the Rockschool Repertoire
Sample Booklet for Acoustic Guitar
Contents
3 the rockschool books
This interactive booklet is designed to give a flavour of the pieces of music 4 Repertoire and audio
contained within the graded music exam syllabus and information on the
musical skills and understanding that have been benchmarked at each grade. 5 EXAMS AND Assessment Criteria
This sits alongside the Syllabus Guide which provides full details of the graded
7 Debut Musical Skills and Features
examinations run by Rockschool for Acoustic Guitar.
8 Debut Repertoire Sample
11 Grade 1 Musical Skills and Features
12 Grade 1 Repertoire Sample
15 Grade 2 Musical Skills and Features
Purchase your digital copies of the full Rockschool syllabus books including access 16 Grade 2 Repertoire Sample
to Replay, the interactive sheet music tool, on the RSL Awards shop here…
19 Grade 3 Musical Skills and Features
20 Grade 3 Repertoire Sample

save 10%
*
23 Grade 4 Musical Skills and Features
24 Grade 4 Repertoire Sample
27 Grade 5 Musical Skills and Features
You can buy the whole range of hard copy
Rockschool syllabus books on: 28 Grade 5 Repertoire Sample
Musicroom.com
31 Grade 6 Musical Skills and Features
Use the code RSLSAMPLE to save 10%*
on all Rockschool products. 32 Grade 6 Repertoire Sample

*Available while stocks last on Rockschool syllabus books and methods only. This offer may be withdrawn at any time.
35 Grade 7 Musical Skills and Features
36 Grade 7 Repertoire Sample
If you are using Adobe Acrobat to view this document, you will be able to hear the sample audio alongside the 39 Grade 8 Musical Skills and Features
sample repertoire pages. Alternatively, please visit the RSL shop pages linked at each Grade by clicking the
“Buy Now” button to hear the audio previews. 40 Grade 8 Repertoire Sample

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ACOUSTIC
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The rockschool books are divided into three key sections:

Performance Pieces: Technical Exercises: Supporting Tests and
Each graded exam book contains all There are either three or four General Musicianship
the material you need to learn at each groups of technical exercise,
grade and has been benchmarked depending on the grade: Questions:
according to a set of criteria which are
contained in this booklet. Group A – scales The candidate is required to
undertake three kinds of
The songs are also supported by Group B – arpeggios/broken chords unprepared, supporting test:
Technical Guidance. These sections
cover the song from the performers’ Group C – chord voicings 1. Sight Reading or an Improvisation &
perspective, focusing on the technical Interpretation (Debut to Grade 5).
issues the learner will encounter as they Group D – a choice of stylistic studies
navigate each track. Please note: these are replaced
Please note: Group D only exists by mandatory Quick Study Pieces
Each book also contains both a full mix at Grades 6–8. (QSPs) at Grades 6–8 in all graded
and backing track to provide the learner exams except for Piano and Keys.
with the ideal level of performance they Rockschool’s Technical Exercises are
need to aim for. Both versions have designed to introduce a gradual 2. E ar Tests: featuring Melodic Recall
spoken count-ins at the beginning much increase of expressive techniques and Chord Recognition (Debut to
like you would expect in a professional and ideas, that collectively enable Grade 3) and Melodic Recall and
recording environment. each player to attain a true sense of Harmonic Recall (Grades 4–8).
musicality. Whether that’s achieved in
Please note: any solos played on tone modification, ornamentation, or 3. General Musicianship Questions
the full mix versions are indicative only. articulation; each technique can be (GMQs), which will be asked by
freely applied to any specific style a the examiner at the end of each
player chooses to identify with. exam. Each book features examples
of the types of unprepared tests
likely to appear in the exam. The
examiner will give a different
version in the exam.

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Repertoire: Audio:
The pieces of music in the graded exam book have Audio is provided in the form of backing tracks (excluding
been carefully selected to cater for a wide range of the assessed part) and examples (including the assessed
musical tastes so please refer to the syllabus guide part) for the pieces and the supporting tests where
and our website for more details. applicable. Audio files are supplied in MP3 format to enable
playback on a wide range of compatible devices. Digital
Learners also have the opportunity to use Free versions of the book include audio files in the download.
Choice Pieces alongside this specified repertoire Physical versions of the book include a code to download
and the benchmarking criteria in this booklet should the audio at rslawards.com/downloads.
be used to identify whether the piece they want to
use meets the required standard for the grade chosen.
Additional Information:
This is also available on our website.
The books also contain information on exam procedures,
There are six ‘hit tune’ arrangements which fall into including online examination entry, marking schemes,
two categories: information on Free Choice Pieces and any improvisation,
notation and tone requirements for each grade.
1. 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.

2. Acoustic Specialist:
Pieces combine elements of melody and accompaniment
to explore the full capabilities of the acoustic guitar.

All the pupils I teach want to learn everything

about contemporary music, which Rockschool
perfectly caters to. it’s an ideal resource for
what my students want to achieve.

Ed Black, Teacher of rockschool

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ACOUSTIC
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Exams Graded Examinations reference all three learning

outcomes, whereas Performance Certificates only
require the first outcome to be met.
When they are ready, candidates can enter for the
following types of exam:

Graded Music Exam

WHAT ARE ASSESSMENT CRITERIA?
candidates perform Three Pieces; a selection of Assessment Criteria are how we assess the learning
Technical Exercises; and a series of Unseen Tests. outcomes.
Performance Certificate  They are applied to evidence musical outcomes at
candidates perform Five Pieces only. This exam progressing grades.
can also be taken via video submission.
 Each criterion is equally weighted.
Learners can take their exam at one of our Public
Exam Venues or, should your venue meet certain criteria,
we can convene a private exam day at your venue for  Each is considered / marked separately.
your students.
 The combination gives the total mark for each piece/
supporting test.

Assessment Criteria:
Assessment: 1. Command of Instrument
The quality of the sound produced from the instrument,
Candidates are assessed against specific Learning including the consistency of sound/tone, control of
Outcomes and Assessment Criteria which are detailed sound/tone commensurate with grade.
in full in the Syllabus Guide and on our website.
2. Sync or Pulse
We have also included a summary of the Assessment Alignment of the performance to backing track,
Criteria in this booklet. metronome or applied to a solo performance, observing
notation markings. For unaccompanied pieces candidates
should maintain a secure internal pulse and adjust the
LEARNING OUTCOMES: pulse where instructed within the music.

There are three learning outcomes in Rockschool 3. Accuracy and Understanding

graded music exams: Representing the written notation accurately, except by
instruction through performance notes, or interpreting
1. Be able to perform music in popular musical styles. the written part with equivalent skills demonstrated.
Secure understanding of musical structure evidenced
2. Be able to demonstrate technical ability on an through transitions of phrases, bars and sections.
instrument/voice through responding to set technical
demands. 4. Style and Expression
An expressive and commanding performance of the
3. Be able to demonstrate musical understanding notated material dictated by the demands of the
through a range of set tests. performance piece.

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acoustic debut Musical Skills and Features

FREE CHOICE PIECE GUIDELINES | Debut

Duration 40 secs–1 min 20 secs

Harmonic Features &

Chord types generally will not extend beyond triads, and tonality will be predominantly diatonic
Tonality
Tempo 60–130 bpm

Time Signatures Simple time signatures, i.e. 4/4, 3/4

Dependent on tempo: whole, half, quarter, 8th notes and rests, occasional dotted half notes or dotted
Rhythmic Values quarter notes.

Dynamics None, or very simple/sparse

Articulation None, or very simple/sparse

Melodies will be predominantly diatonic

Small intervallic transitions in melody unless adjacent strings

Melodic Features
Passages will remain on single strings, or move at a slow tempo to adjacent strings

String skipping is very minimal

Chords will largely be limited to three-string voicings, or occasional four strings (if predominantly open)

Harmonic rate of change is slow, giving time for preparation

Physical Techniques
Requirement for muting techniques is minimal

Passages only require basic fingerstyle technique or picking technique

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 Ain’t No Sunshine Session Style

Bill Withers
Arranged by Jono Harrison
c 80 Soul/R&B
Am Em G Am
4 œ œ œ. œ œ œ
& 4 Œ œ œ
œ œ ˙ Ó Œ
œ œ œ œ. œ
Ain’t no sun - shine when she’s gone. It’s not warm when she’s a -

4
&4
˙ œ œ w

LE
T
A
B 0
0 3
0

œ. œ œ
Am Em G Am
Ó Œ œ œ œ
& ˙ œ œ
way. Ain’t no sun - shine when she’s gone,
MP &
˙ œ œ w

0 0
0 3
[4]

Em Dm
œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ
3

and she’s al - ways gone too long an - y - time she goes a -

œ œ ˙ ˙.
&œ œ œ
œ
SA

0
0 3
0 2
2 0

[6]

Am Em G Am

& œ Œ Ó Œ œ œ œ œ. œ œ
œ
way. Won - der this time where she’s
Acoustic Guitar Debut

&
˙ œ œ w

0 0
0 3
[8]
12 Words and Music by Bill Withers
Copyright © 1971 INTERIOR MUSIC CORP. Copyright Renewed
All Rights Controlled and Administered by SONGS OF UNIVERSAL, INC.
All Rights Reserved Used by Permission

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 I’m Yours Session Style

Jason Mraz
Arranged by Tristan Seume
c 76 Pop t
Intro

# 4 G5 D Em C/E

& 4 ∑ ∑ ∑ Ó Œ ≈ œ œ
Well,

# 4 ww ww ww ww
& 4 w w ww ww
w

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

Verse
G5
# œ
D

& œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈
œ œ œ
you done done me in; you bet I felt it. I tried to be chill, but you’re so hot that I melt - ed. I

# ww ww
w
MP & w w
3 2
3 3
0 2
0

[5]

#
Em C/E

& œ œ œ œ ‰ œ œ œ. œ œ ‰ ≈ œ œ œ
œ. œ œ œ œ œ œ
fell right through the cracks. Now I’m try - ing to get back. Be - fore the

# w ww
& www ww
SA

0 0
0 1
0 0
2 2

[7]

G5
# œ
D

œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
cool done run out, I’ll be giv - ing it my best - est, and noth - ing’s gon - na stop me but di - vine in - ter - ven - tion. I

# ww ww
Acoustic Guitar Debut

& w ww

3 2
3 3
0 2
0

[9]
16 Words and Music by Jason Mraz
Copyright © 2008 Goo Eyed Music (ASCAP)
International Copyright Secured All Rights Reserved

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ACOUSTIC
SAMPLE PACK

acoustic grade 1 Musical Skills and Features

FREE CHOICE PIECE GUIDELINES | Grade 1

Duration 50 secs – 1 min 30 secs

Tempo 60-140 bpm

Time Signatures Simple, or basic compound time signatures, i.e. 4/4, 3 /4, 6/8

Dependent on tempo: 8th notes and rests, occasional dotted 8th notes and syncopations, occasional 16th
Rhythmic values notes, and very occasional non-complex triplet groupings

Dynamics Simple dynamics [P, F, MP, MF]. Subtle transitions will be very infrequent

Articulation Simple changes in articulation and phrasing, occasional staccato

Harmonic features Chord types generally will not extend beyond triads, and tonality will be predominantly diatonic, but there
& tonality may be occasional closely related non-diatonic chords

Melodies will be predominantly diatonic

Melodic features Small intervallic transitions in melody unless adjacent strings

Passages will largely span adjacent strings

Chords may feature 5 strings, or 6 strings but with very simple fretting. ‘5’ chords can be fretted. Harmonic
rate of change is moderate, giving time for preparation

Physical
Melodic passages will remain on single strings, or move at a moderate tempo to an adjacent string. String
Techniques skipping may occasionally feature. Melodic work might be harmonised with occasional double stops

Basic muting techniques and very occasional simple slides

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 Come As You Are Session Style

Nirvana
Arranged by Nat Martin
c 118 Grunge

### 4 F#m
Intro

.. ..
E

& 4
œ œ œ œ œ œ nœ œ œ
P œ œ #œ œ œ œ œ œ #œ
. .
. .
T

LE
A
B 0 0 1 2
0
2
0
2 2 1 0
2
0 0
2
0 1

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

& œ Œ œ œ œ Œ œ œ œ Œ J J J œ

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

###
& «
œ œ œ œ œ œ nœ œ œ œ œ œ œ œ #œ
MP
0 0 2 2
2 2 2 2 1 0 0 0 0 1
[3]

F#m F#m
### œ œ œ œ œ œ. œ
J œ œ œ
E E

& œ Œ œ œ œ Œ œ œ œ Œ J J

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

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

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

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

###
Acoustic Guitar Grade 1

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

2 2 2 2 2
4 4 4 4 4 0 0 0 0 0
2 2 2 2 2
[11]
8 Words and Music by Kurt Cobain
Copyright © 1991 The End Of Music and Primary Wave Tunes
All Rights Administered by BMG Rights Management (US) LLC
All Rights Reserved Used by Permission

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 Perfect Acoustic Specialist (Duet)

Candidate Part (assessed) Ed Sheeran

Arranged by Giorgio Serci

d60 Acoustic Pop

Verse

# 12
G E m7

& 8 œ. œ. Œ. Œ. œ œ œ œ. Œ. Œ. œ œ œ
F

LE
T 0
0
2 0
0
0 2
0
A 0
B

#
C add 9 D sus 4

& œ. œ. Œ. Œ. Œ.
D

œ. œ œ œ œ.
MP T 1 0
2 0 2
0
2
A
B
[3]

Pre-Chorus

# G Em

& œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ ..
œœ .. œœ .. œœ .. œœ .. œ. œ. œ. œ.
œ. œ. œ. œ.
P
SA

T 0 0 0 0 0 0 0 0
A 0 0 0 0 2 2 2 2
B 2
3
2
3
2
3
2
3
2
0
2
0
2
0
2
0
[5]

#  ..
Acoustic Guitar Grade 1

C D sus 4 D

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

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

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

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SAMPLE PACK

acoustic grade 2 Musical Skills and Features

FREE CHOICE PIECE GUIDELINES | Grade 2

Duration 1 min 10 secs–1 min 45 secs

Tempo 60-140 bpm

Time Signatures 4/4 (straight or swung), 3/4, 2/4, 6/8, 12/8

Dependent on tempo: 16th notes and rests, dotted 8th notes and syncopations, occasional 16th note
Rhythmic values syncopation, non-complex triplet groupings

Dynamics Simple dynamics [P, F, MP, MF], crescendo (<) and diminuendo (>)

Frequent changes in articulation and phrasing, slurs and simple use of staccato/accented articulation.
Articulation Occasional hammer-ons, pull-offs and slides

Melodic features Melodies will be predominantly diatonic but chromatic notes may occur

Harmonic Features Chord types might extend to 7ths, and tonality will be predominantly diatonic, but there may be occasional
& Tonality closely related non-diatonic chords

Chords may feature up to 6 strings, including occasional simple major and minor barre chord shapes.
Harmonic rate of change is moderate

Melodic passages may move at a faster rate between strings. String skipping may feature more frequently
Physical
Techniques
Can be performed with plectrum or fingers, unless stipulated
Melodic work might be harmonised with occasional 6ths or thirds

Basic RH and LH muting, and some legato techniques

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 We Are Never Ever Getting Back Together Session Style

Taylor Swift
Arranged by Tommy Loose
c86 Pop
Intro

# 4
C add 9 G5 D sus 4 Em

& 4

#4 œœ œ  œ œœ
& 4 œœ Œ œ œ œœ Œ œ  œ œ
œ œ œ œ
œ œ

LE
F
3 3
T 3
0 0
3 3
0
3
2 0
0 0
0
A 2 0 0 2
B 3
3 0

MP #
Verse
C add 9 G5 D sus 4 Em

& œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ
I re - mem - ber when we broke up, the first time, say - in’ this is it, I’ve had e - nough. But ’cause like we

# œœ œ  œ œ œœ
& œœ Œ œ œœ Œ œ  œ œ
œ œ œ œ
œ œ
3 3
3 3 3 3 0 0
0 0 0 2 0 0
2 0 0 2
3
3 0
[3]
SA

#
C add 9 G5 D sus 4 Em

& ¿
œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ. œ
had - n’t seen each oth - er in a month when you said you need - ed space. What?

# œœ œ  œ œœ
Œ Œ œ  œ œ
Acoustic Guitar Grade 2

& œœ œœ
œ œ œ œ œ œ
œ œ
3 3
3 3 3 3 0 0
0 0 0 2 0 0
2 0 0 2
3
3 0
[5]
Words and Music by Taylor Swift, Shellback and Max Martin
12 Copyright © 2012 Sony/ATV Music Publishing LLC, Taylor Swift Music and MXM Music AB
All Rights on behalf of Sony/ATV Music Publishing LLC and Taylor Swift Music Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
All Rights on behalf of MXM Music AB Exclusively Administered by Kobalt Songs Music Publishing
International Copyright Secured All Rights Reserved

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 Everybody Hurts Acoustic Specialist (Duet)

Candidate Part (assessed) R.E.M.

Arranged by Jono Harrison
d64 Alternative Rock
Intro

# 6 œ œ œ œ œ œ œ œ œ œ
D G

& #8 œ œ œ œ œ œ œ œ œ œ œ œ
P let ring œ œ
2 2 3 3
T

LE
3 3 3 3 3 3
2 2 2 2 0 0 0 0
A 0 0 0 0
B 3 3

Verse

## œ œ j œ œ œ. œ œ
D G

œ œ œ œ œ
& œ œ œ œ
œ œ. œ
2 3 2 3
T 2
3
2
3
0
3
0
3 3
A 0 0
B 3 3
[5]
MP &
##
D

œœ .
.
œ œ œ
œ œ œ œ œ
J
G

œ.
œ.
œ.
œ
œ œ
œ
œ œ

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

## œ j œ œ œ œ œ œ
D G

& œ œ œ J œ. œ œ œ
œ œ
œ. œ. œ
2 3 2 0 3
T 2
3
2
3 0
0
3 3
A 0 0
B 3 3
SA
[13]

G/F #
##
D
œ œ j
G
œ œ
G

& œœ . œ j ‰ œ œ
. œ. œ œ.
œ. œ. œ.
2 3
T 2
3
2
3
0
A 0 0 4 0
B 3 3 2
[17]
Chorus
Acoustic Guitar Grade 2

## œ œ œ œ ˙.
Em A

& œ J J Œ. ‰
J ˙. œ
F œ. œ œ
2 0 0
T 0 3
A
B 0
0
3 2
[21]
36 Words and Music by William Berry, Peter Buck, Michael Mills and Michael Stipe
Copyright © 1992 NIGHT GARDEN MUSIC
All Rights Administered by SONGS OF UNIVERSAL, INC.
All Rights Reserved Used by Permission

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SAMPLE PACK

acoustic grade 3 Musical Skills and Features

FREE CHOICE PIECE GUIDELINES | Grade 3

Duration 1 min 30 secs –2 mins

Tempo 60-150 bpm

Time Signatures 4/4 (straight or swung), 3/4, 2/4, 6/8, 12/8

16th notes and rests in more complex groupings, 16th note syncopation, more frequent triplet groupings.
Rhythmic values Simpler rhythms appear in conjunction with other elements (e.g. more detailed harmonic work)

Dynamics [P, F, MP, MF], crescendo (<) and diminuendo (>)

Staccato can be more repetitive at this grade. Occasional hammer-ons, pull-offs and slides, which can be
Articulation repeated or extended

Melodic Features Melodies will be predominantly diatonic but chromatic notes may occur

Chord types might extend to 7ths, and tonality will be predominantly diatonic, but there may be occasional
Harmonic Features
closely related non-diatonic chords
& Tonality

Melodic passages can incorporate basic string skipping and position shifts. Melodic work might be
occasionally harmonised with thirds, sixths or octaves

Harmonic rate of change is moderate but can include some more challenging sequences
Physical
Techniques
Rhythmic groupings may differ more frequently

Muting and legato techniques might be more frequent or pose some increasing but moderate challenges

Open, solo or development sections are not obligatory, but if included should not exceed 8 bars’ length as a
Solo/Development guide.

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 The Man Who Sold The World Session Style

David Bowie
c119 Psychedelic Rock Arranged by Nat Martin

≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≥ ≤
A7

j ≤
œ œœ œœ œœ œœ œœ œœ œœ # œœœ œœ œœ œœ œœ œœ ..
& b 44 # œœœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ ..
œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
F
0 0 0 0 0 0 0 0 0 0 0 0
T 2 2 2 2 2 2 2 2 2 2 2 2
A 0 0 0 0 0 0 0 0 0 0 0 0

LE
2 2 2 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0

j
Dm

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
& b 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.
1 1 1 1 1 1 1 1 1 1 1 1
3 3 3 3 3 3 3 3 3 3 3 3
MP [3]
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0

46 Π44
F Dm
& b ∑ ∑ œ œ œ œ œ œ
j
We passed up - on the stairs,

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .. ww ..
&b œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ ..
œ .. 46 w.
w.
44
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 1 1 1 1 3
2 2 2 2 2 2 2 2 2 2 2 2 2
SA
3 3 3 3 3 3 3 3 3 3 3 3 0
3 3 3 3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1 1 1 1
[5]

A
Verse

& b 44
A7
Œ Œ œ œ œ œ œ œ œ
œ œ

j
we spoke in walls and web.

& b 44 # œœœ œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ # œœœ œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ ..
œœ ..
œ œ
Acoustic Guitar Grade 3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0

[8]
Copyright © 1971 EMI Music Publishing Ltd., Tintoretto Music and Chrysalis Music Ltd.
Copyright Renewed
14 All Rights on behalf of EMI Music Publishing Ltd. Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
All Rights on behalf of Tintoretto Music Administered by RZO Music
All Rights on behalf of Chrysalis Music Ltd. Administered by BMG Rights Management (US) LLC
International Copyright Secured All Rights Reserved

LEARN MORE
www.rslawards.com [email protected]
 High Horse Session Style

Kacey Musgraves
Arranged by Tristan Sueme

c 120 Pop

# 4
Intro

& # 4 ∑ ∑ ∑ Ó Œ
œ œ
Oh, I

# 4
& #4 ∑ ∑ ∑ ∑

LE
T
A
B

Verse
# G
& # œ
A Bm A

œ Œ Œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
œ
bet you think you’re John Wayne, show - in’ up and shoot - in’ down ev - ’ry - bod -

#
& # Œ Œ j ‰ Œ Œ Œ
œœœœ œ œ
MP œ œ œ œ œ œ
PM
œ œ
PM
œ
PM

2 3 3 3 2 3 5 5 5 7 7 7 7 5
[5]

#
& # œ
G A
Œ Œ ‰ j œ œ Œ Œ ‰ j
œ œ œ œ œ œ œ
- - y. You’re class - ic in the
œ
wrong way. And

#
& # j ‰ ‰ Œ Œ j ‰ Œ
œ ¿ ¿ œ œ œ œ œ œ œ œ œ œ œ
SA
PM PM PM

¿ ¿ 5 5 2 3 3 3 2 3 5 5
[8]

##
Bm A E m7 Bm

& œ j Œ ‰ j œ œ œ œ œ
œ œ œ œ œ œ œ œ œ. œ œ œ

j j
we all know the end of the sto - ry. ’Cause ev - ’ry - one knows some - one who

## ˙˙ œœ œœœ
& Œ Œ j ‰ ‰ ˙˙ ‰ œœ ‰ œ
Acoustic Guitar Grade 3

œœœœ œ œ œ ¿ ¿ œ œ ˙
˙
œ
œ
œ
PM PM
3 3 2
3 3 3

¿ ¿
0 0 4
2 2 4
2 2 2
5 7 7 7 7 5 5 5 0 0
[11]
Words and Music by Kacey Musgraves, Tommy Schleiter and Trent Dabbs
© 2018 WARNER-TAMERLANE PUBLISHING CORP., 351 MUSIC, POWERTEAM TOM SONGS, THESE ARE PULSE SONGS and READY SET PUBLISHING
42 All Rights for 351 MUSIC Administered by WARNER-TAMERLANE PUBLISHING CORP.
All Rights for POWERTEAM TOM SONGS Administered by THESE ARE PULSE SONGS
All Rights for READY SET PUBLISHING Administered Worldwide by SONGS OF KOBALT MUSIC PUBLISHING
All Rights Reserved Used by Permission

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 BUY
NOW

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ACOUSTIC
SAMPLE PACK

acoustic grade 4 Musical Skills and Features

FREE CHOICE PIECE GUIDELINES | Grade 4

Duration 1 min 45 secs–2 min 15 secs

Tempo 60-150 bpm

Time Signatures 4/4 (straight or swung), 3/4, 2/4, 6/8, 12/8. Time signature changes may occur very infrequently

16th notes and rests in more complex groupings, 16th note syncopation. Simpler rhythms appear in
Rhythmic values conjunction with other elements (e.g. more detailed harmonic work). There may be occasional triplet
rhythm permutations

Dynamics [P, F, MP, MF], crescendo (<) and diminuendo (>)

Articulation & Articulation and phrasing will have more variety. Staccato can be more predominant at this grade.
Phrasing Occasional hammer-ons, pull-offs and slides, which can be repeated or extended points

Melodic Features Intervallic transitions over an octave may occur, and chromatic notes may occur more frequently

Harmonic Features Chords might occasionally extend beyond 7ths, and tonality may be diatonic or based in a modal key
& Tonality centre. Non-diatonic chords might occur more frequently

Melodic passages can skip strings more frequently, and incorporate more frequent position shifts
Melodic work might be harmonised with thirds, sixths or octaves

Rhythmic groupings may differ more frequently

Physical
Techniques Muting and legato techniques might be more frequent or pose some increasing challenges

Melody and accompaniment voicings may appear in one part

Variety in voicings and accompaniment styles within sections

Capo may be used

Open solo or development sections are not obligatory, but if included should not exceed 16 bars’ length as
Solo/Development a guide

LEARN MORE
www.rslawards.com [email protected]
 Use Me Session Style

Bill Withers
c 77 Soul/Funk Arranged by Nat Martin

√
Intro

# 4 œœ œœ œœ ¿¿
E m7
¿¿ ¿¿ œœ œœ ¿¿ œœ ¿¿ œœ œœ ¿¿ ¿¿ ¿¿ œ œ œ ¿
A7
‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
& 4 œ œ œ ¿ # ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
¿ ¿ œ œ ¿ œ ¿ œ œ ¿ ¿ ¿ œ œ œ ¿
œ œ œ ¿
f NH

8 8 8 ¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
7 7 7 ¿ ¿¿
7 7 7 7 7 7 7 7 7 7 7 7
T
7 7 7 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
8 8 8 8 8 7 7 7 7 7 7 7 7 7 7 7 7

LE
¿
7 7 7 7 7 6 6 6 7 7 7 7 7 7 7 7 7 7 7 7
A 5 5 5 7 7 7 7 7 7 7 7 7 7 7 7
B 7 7 7 7 7
5 5 5

# E m7
∑
A7
Ó Œ ≈ r ≈ œr
& œ
√
My friends

# œ œ œ ¿ ¿ ¿ œ œ ¿ œ œ œ œ ¿ ¿ ¿ ‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
& œœ œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œœ œœ œœ œœ ¿¿ ¿¿ ¿¿ # œœ œœ œœ ¿¿ ‚‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
œ œ œ ¿
MP 8 8 8 ¿¿ ¿¿ ¿¿
¿ ¿ ¿
8 8 ¿¿
¿
8 8 8 8 ¿¿ ¿¿ ¿¿
¿ ¿ ¿
¿¿
NH

7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7

¿
7 7 7 7 7 7 7 7 7 6 6 6 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 7 7 7 7 7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7 7
5 5 5
[3]

Verse

#
E m7 A7

& œ œ. œ œ. Ó Œ œ
œ œ œ œ #œ œ œ œ

√
feel it's their app - oin - ted du -

# œœ œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œœ ¿¿ œœ œœ ¿¿ ¿¿ ¿¿ ‚ ‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
& œ œ œ ¿ ¿ # œœ œœ œœ ¿¿ ‚‚‚ ‚‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
¿ œ œ ¿ œ ¿ œ œ ¿ ¿ ¿ œ œ œ ¿
F NH

¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
SA

¿¿
7 7 7 7 7 7 7 7 7 7 7 7

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
8 8 8 8 8 8 8 8 7 7 7 7 7 7 7 7 7 7 7 7

¿
7 7 7 7 7 7 7 7 6 6 6 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 7 7 7 7 7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7
5 5 5
[5]

#
≈ œ #œ ≈ œ œ œ œ
E m7 A7

& œ œ œ œ Ó Ó

√
- ty, They keep try - ing to tell

# œœ œœ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œœ œœ œœ œœ ¿¿ ¿¿ ¿¿ ‚ ‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
# œœ œœ œœ ¿¿ ‚‚‚ ‚‚‚
Acoustic Guitar Grade 4

‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
& œ œ œ ¿ ¿ ¿ œ œ ¿ œ œ œ œ ¿ ¿ ¿
œ œ œ ¿
NH

¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
7 7 7 7 7 7 7 7 7 7 7 7

¿ ¿ ¿ ¿ ¿ ¿ ¿
8 8 8 8 8 8 8 8 8 7 7 7 7 7 7 7 7 7 7 7 7

¿
7 7 7 7 7 7 7 7 7 6 6 6 7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 7 7 7 7 7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7 7
5 5 5
[7]
14 Words and Music by Bill Withers
Copyright © 1972 INTERIOR MUSIC CORP.
Copyright Renewed
All Rights Controlled and Administered by SONGS OF UNIVERSAL, INC.
All Rights Reserved Used by Permission

LEARN MORE
www.rslawards.com [email protected]
 Road Trippin’ Session Style

Red Hot Chili Peppers

c 102 Acoustic Rock Arranged by Tristan Sueme
Intro
j j
#4 œ œ œ. œ.
Em C B aug

œ œ #œ. œ.
& 4 .. ‰œ œ.
œ œ œ œ œ
œ œ
œ œ
‰ œ. œ œ ..
œ œ œ œ œ œ œ œ
Fingerstyle, let ring throughout

. 3 3 3
.
. .
T 0 0 5 4 4

LE
0 0
A 2 2 2 2 2 2 2 2
B 3 3 3 2 2 2

Verse

# E‰m œ œ œ. œ œ œ œ
C
œ œ
B aug
œ Œ
& J
Road trip - pin’ with my two fav - ’rite al - lies.

j j
Fig.1 (2 bars)… …Fig.1 ends

# œ œ œ. œ. œ œ #œ. œ.
‰œ œ.
& œ œ œ œ œ œ œœ œ ‰
œ œ œ
œ.
œ œ œ
œ œ
œ œ
MP 3
0
3
0
3
5
0
4
0
4
2 2 2 2 2 2 2 2
3 3 3 2 2 2

[3]

# E‰m œ œ œ œ œ œ
C
œ œ œ œ
B aug
œ Œ
& J

2
Ful - ly load - ed, we got snacks and sup - plies.

#
& «
SA

[5]

# E‰m j œ
C
œ œ œ
B aug
& œ œ œ œ œ œ œ Œ
œ œ œ
It’s time to leave this town, it’s time to steal a - way.

j œ œ œ. j
# œ œ œ.
Acoustic Guitar Grade 4

‰ œ. ‰ œ œ #œ. œ.
& œ œ œ œ œ œ œ œ œ. œ œ
œ œ œ œ œ œ œ œ
3 3 5 3
0 5 4 4
0 0
2 2 2 2 2 2 2 2
3 3 3 2 2 2

[7]
34 Words and Music by Anthony Kiedis, Flea, John Frusciante and Chad Smith
© 1999 MOEBETOBLAME MUSIC
All Rights Reserved Used by Permission

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 BUY
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ACOUSTIC
SAMPLE PACK

acoustic grade 5 Musical Skills and Features

FREE CHOICE PIECE GUIDELINES | Grade 5

Duration 2 mins–2 mins 45 secs

Tempo 60-160 bpm

Time Signatures 4/4 (straight or swung), 3/4, 2/4, 6/8, 12/8. There may be occasional time signature changes

16th notes and rests in more complex groupings, occasional 32nd notes, 16th note syncopation. Simpler
Rhythmic values rhythms appear in conjunction with other elements (e.g. more detailed harmonic work). Triplet rhythm
permutations may be more frequent.

Dynamics [P, F, MP, MF], crescendo (<) and diminuendo (>)

Articulation &
Articulation and phrasing will have variety and there may be subtle differentiation between voices
Phrasing

Intervallic transitions over an octave may be more regular, and there may be more frequent non-diatonic
Melodic Features notes

Harmonic Features
Chords types might extend to 9ths
& Tonality

Rhythmic Features Rhythmic groupings may differ frequently; faster note values may be more repetitive/continuous

Melodic passages can skip strings more frequently, and incorporate more frequent position shifts
Melodic work might be harmonised with thirds, sixths or octaves
Physical
Techniques Muting and legato techniques will be reaching an upper intermediate level

Variety in voicings and accompaniment styles within sections

Simple alternative tunings

Solo/Development Open solo or development sections are not obligatory, but if included should not exceed 16 bars’ length as
a guide

LEARN MORE
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 Fire And Rain Session Style

James Taylor
Arranged by Tristan Sueme
c 77 Soft Rock / Folk Rock
Capo 3rd fret (†)
Intro
A E m7 D A

### 4 œ nœ œœ
œ œ œ œ œ œ œ œ
j
œœ œœœ œœ œœ œœ .. œœ œœ œ œ
& 4
œ

˙ œ œ œ œ œ œ Œ
œ œ ≈

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

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

MP # # # œ œœ œ œ
E G maj 7

œ œ œ œ œ œ
& œ œ œœ œ
œ. œ œ œ œ œ œ nœ œ œ œ œ
J ˙ nœ œ œ œ œ œ œ
0 2
0 2 2 0 3 3 3
2 1 1 0 0 0
2 2 0 0 0
0 0
0 3 3 3 3 3 3 3
[3]
SA

Verse

##
A E m7 D A

& # .. ‰œ j
œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ ˙
Just yes - ter - day morn - ing they let me know you were gone.
look down up - on me, Je - sus? You got - ta help me ma a stand.

j œ r
## œ nœ œ œ œœ œœœ œœœ œ
& # .. ‰ œ œ ‰ œ œ ‰. œ œ ≈
Acoustic Guitar Grade 5

˙ ˙ ˙
˙
. 5 3 2 0 0

.
5 3 3 3 0 2 0
6 4 2 2 2 2
0
0 0
0
[5]
Words and Music by James Taylor

8 Copyright © 1969 EMI Blackwood Music Inc. and Country Road Music
Copyright Renewed
All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved

LEARN MORE
www.rslawards.com [email protected]
 Put Your Records On Session Style

Corinne Bailey Rae

c 96 R’n’B Arranged by Nat Martin

F # m6
Play fingerstyle

œ œ. œ
A E 13 E9

### 4 ¿¿ ¿¿ œœ œ ¿¿¿ œ œ ¿¿ œ œ œ œœ œœ
& 4 ¿ ¿¿ ¿¿ œ. # œœ œœ Œ
œ. œ ¿¿¿ œ œ ¿¿ # œ. œœ ¿¿ # œœ œœ ¿¿
œ œ
J
¿ J
P .
¿¿ ¿¿ ¿¿ ¿¿ 9
¿¿ ¿¿ ¿¿ 6 ¿¿ 7
9 9
T
¿¿ ¿¿ ¿¿ 46 ¿¿ 7
7 7 7

LE
6 6 7
A 4 4 6
B 5 5 5
6 6 7 7 7

F # m6
A Verse
### A
‰
& j
œ œ œ œ ˙ œ œ œ œ ˙
Three lit - tle birds sat on my win - dow

œ
### ¿¿ ¿¿ œ œœ ¿¿ œ œ ¿¿ œ
& ¿¿ ¿¿ ¿¿ ¿¿ œ.
œ. œ ¿¿ œ œ ¿¿ # œœ. œ ¿¿ # œœ œœ
¿¿
F
MP ¿¿
¿¿
¿¿
¿¿
¿¿
¿¿
6
4
6
4
¿¿
¿¿
¿¿
6
4
¿¿
¿¿
¿¿
9
7
7
6 6 6
5 5 5
[4]

### E 13
‰
E9 A
& Ó Œ ‰ j œ œ œ œ
œ œ œ œ œ œ œ œ œ œ ˙ œ œ

œ. œ
and they told me I don’t need to wor - ry. Sum - mer came like cin - na -

### œ œ œ œœ ¿¿ ¿¿ ¿¿ ¿¿
& œ œ # œœœ œœ Œ ¿ ¿¿ ¿ ¿¿
J J œ. œ ¿¿¿ œ œ ¿¿ œ. œ ¿¿¿ œ œ ¿¿
¿¿ ¿¿ ¿¿ ¿¿
SA

¿¿ ¿¿ ¿¿ ¿¿
9 9

¿¿ ¿¿ ¿¿ ¿¿
7 7 7
7
6
7 7 7
5 5 5 5 5 5
[6]

F # m6
### E 13
‰
E9 A
Ó
& œ. j j
œ œ œ. œ œ œ œ œ œ œ œ œ œ ˙
mon, so sweet. Lit - tle girls dou - ble dutch on the con - crete.

œ œœ. œœ
## ¿¿ œ œ œœ
Acoustic Guitar Grade 5

¿ ¿¿ ¿¿
& # # œœœ œœœ ¿¿¿ # œœœ œœœ ¿ œ. œ œ # œœœ œœ Œ ¿ ¿¿
. ¿¿ ¿¿¿ J J œ. œ ¿¿¿ œ œ ¿¿
¿¿ ¿¿ 9 ¿¿ ¿¿
¿¿ 6 ¿¿ 7 ¿¿ ¿¿
9 9

¿¿ 46 ¿¿ 7 ¿¿ ¿¿
7 7 7
6 6 7
4 4 6
6 6 7 7 7
5 5 5
[9]
32 Corinne Bailey Rae, John Beck, Steven Chrisanthou
Copyright © 2006 KMR II GT Publishing Limited, KMR Music Royalties II SCSp and Good Groove Songs Ltd.
All Rights Administered by Kobalt Music Group Ltd
All Rights Reserved Used by Permission

LEARN MORE
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 BUY
NOW

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ACOUSTIC
SAMPLE PACK
acoustic
FREE CHOICEgrade 6 Musical| Grade
PIECE GUIDELINES Skills6 and Features
Duration 2 min 15 secs–3 mins

Tempo 50-200 bpm

4/4 (straight or swung), 3/4, 2/4, 6/8, 9/8, 12/8. There may be more regular time signature changes, or
Time Signatures
occasional irregular time signatures such as 5/4, 5/8, 7/8 etc.

16th notes and rests in more complex groupings, 16th note triplets, 32nd notes and frequent syncopation
Rhythmic values may occur. Simpler rhythms will appear in conjunction with other elements (e.g. more detailed harmonic
work). Tuplet figures may be more complex.

Dynamics Any, with changes

Articulation &
Articulation and phrasing will have variety, and there may be differentiation between voices
Phrasing

Melodic Features Melodic content may be diatonic or based on modal scales, and there may be more frequent chromaticism

Harmonic Features Chords may occasionally extend beyond 9ths, and include occasional alterations. Modal interchange may
& Tonality occur. Temporary modulations may occur more frequently

Rhythmic Features Rhythmic groupings may differ frequently, and faster note values may be more repetitive/continuous

Chordal cluster voicings may be more advanced, denser and/or more frequent

Variety in voicings and accompaniment styles within sections

Alternate tunings may be used

Physical
Techniques Capo may be used

Percussive effects using the guitar’s body may feature

Special expressive effects such as harmonics may feature

A full range of legato and non-legato techniques may feature

Open solo or development sections are not obligatory, but if included should not exceed 16 bars’ length as
Solo/Development
a guide

LEARN MORE
www.rslawards.com [email protected]
 River Man Session Style

Nick Drake
c 115 Folk s
Arranged by Tristan Sueme
Capo 3rd fret (†)
Intro

œ. œœœ œ œ œœœ
& 4 ‰ œœ ..
5
C add 9

œ œ ‘ ‘ ‘
œ œ ‰ œ œ œ œ œ
J
0
T 2 2 2

LE
4 4 4
A 2 2 2 2 2
B 0
0
0
0
0 0
0

† Capo notation in this syllabus is optimised for each arrangement – the following conventions have been used in this arrangement:
■ Music notation in this arrangement shows concert pitch.
■ The tablature numbers represent the distance from the capo. (e.g. tabbed 3rd fret is 3 frets above the capo).

E b m11
Verse
C m add 9
& ..
œ œ œ œ œ œ . Œ
bœ œ œ œ
1. Bet - ty came by on her way, said she has a

j j
2. Gon - na see the riv - er man, gon-na tell him

b œ œ œœœ œ œ œœ b œœ œœ œœ
& .. ‰ œ Œ œ œ ‘ ‰ œ Œ œ œ œ œ œ
œ œ ‰ œ œ œ œ œ bœ b œ ‰ œ œ œ œ œ
MP J J
.
.
1 1 1 3 3 3
4 4 4 3 3 3
2 2 2 2 2 0 0 0 0 0
0 0 0 3 3 3
0 0 0 0 3 3 3 3
[5]

j Ab
b œ œj œ . Ó Œ ‰ bœ j Œ
& œ. œ œ œ œ bœ. 
word to say ’bout things to - day.

j j
all I can a - bout the ban

b œ
œ œ
œ n œ b œ
‰ b œœ Œ œœœ œœ œœ
& ‰ b œœ Œ œœ œ œ b œœ œ œ œ œœ œ ‘
bœ ‰ Jœ œ œ ‰ œ bœ bœ ‰ œ ‰ œ œ
J
SA

3 3 0 1 1 1 1
3 3 0 2 2 2 2
0 0 0 2 3 3 3 3 3
3 3 3 3 3
3 3 3 0 0 1 1 1 1
[8]

C add 9 C m add 9
& Ó Œ ‰ Ó.
œ œ œ œ
œ œ œ 
and fall - en leaves. Said she had - n’t

j
on feel - ing free. If he tells me

œ. œœœ œœœ œœœ œœœ b œ œœœ œ œ œœœ œ

Acoustic Guitar Grade 6

& ‰ œœ .. œ œ ‘ œ
‰ œ Œ
œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ œ œ
J J
0
2 2 2 2 1 1 1
4 4 4 4 4 4 4
2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0
0 0 0 0 0 0 0 0
[11]
8 Words and Music by Nick Drake
© 1972 BMG Rights Management (UK) Limited, A BMG Company (PRS)
All Rights Administered by BMG Rights Management (US) LLC
Used By Permission. All Rights Reserved.

LEARN MORE
www.rslawards.com [email protected]
 Ain’t Misbehavin’ Acoustic Specialist (Solo)

Fats Waller
c 80 Jazz Standard s Arranged by Giorgio Serci

B b dim7 A m7 D 13

nœ œ
Intro G/B

# 4 3œ # œ œ œœ œœ b œœœ œœ œ œœ n œœ œœ
j
œœ
#œ
& 4 ‰ œ œ œ œ n # œœ
nœ œ
¿
‰ œ. bœ œ œ œ #œ ‰ nœ #œ

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

LE
A 0 0 0 0 0 4 5

B 2 1 1 0 0 4 5 0 1

B b dim7 E b 9sus 4 D 9sus 4

j
G/B A m7 D 13 G E7

# ‰ n œœ œœ b œœ œœ œ b n œœ
œœ b œ n œœ œœ n œœœ œœœ .. ‰ œj n œ œ # n œ œ œ
A

& œ œ œ œ bœ n œœ œ
 œ.
œ œ. bœ œ œ  ‰ œ bœ
J. nœ
.
3
3 3 3 3 7

.
3 2 2 1 6 5 5 3 3
0 0 0 0 6 5 5 0 2 0 1
6 5 0 0
2 2 1 1 0 6 5 2 1
MP [3]

Am A # dim7 G/B

j
#
B7 5
3

C maj 13
0

C m7 F7

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

 œ œ bœ œ
œ œ #œ œ  œ œ  œ b œ ggg n œœ
gg

ggg 21
0 0 3 3 2 5 3 0
0 2 3 3 4 0 0

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

[6]

#
B b7 B b13
1.
G/B A m7 D 9sus 4 C 9sus 4 B m11 E9 5

# j #œ œ # œœœ n œ j œ
3

j
‰ œ œ œ œ b œ.
œ œ œœÓ
n œœ n œ œœ œœ œœ n b œœœ œœ œ œ ¿ b œœ
3

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

œ perc.

3 3 0 5 3 3 3
2 5 6
7
7
¿
0 2 0 1 2 2 5 3 2 2 7
0 0 2 2 5 3 2 4
2 1 1 0 2 3 5 0 3 2
0 6
[9]

2.
#
A 13 E b 9sus 4 D 9sus 4 A b 9 11 A m7 D 9sus 4 G C m11 F 13

j œ j
# # œœ n œ b n œœ n n œœ œœ œœ œœœ œœ
3

j œ b n œœ b œ œœ œ
3

œœ b n œœ .. œ œ œ œœœ
3
Acoustic Guitar Grade 6

& œ b b œœ n œœ œœ b œ œ œ œœ œ œœ . œ œ œ n œœ bœ
nœ nœ bœ œ nœ  nœ
J
5
. 7 5 3

.
7 6 5 3 0 5 5 5 3 3 6 4 3 1
6 6 5 3 2 2 5 5 5 0 0 3 2
5 6 5 4 2 2 5 0 3 1
6 0 5 0 2 3 5 3
5 4 0 3 1
[12]
38
Words by Andy Razaf
Music by Thomas “Fats” Waller and Harry Brooks
© 1929 (Renewed) Redwood Music Ltd. and Razaf Music Co.
All Rights for RAZAF MUSIC CO. Administered by BMG RIGHTS MANAGEMENT (US) LLC
All Rights Reserved Used by Permission

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 BUY
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ACOUSTIC
SAMPLE PACK
acoustic grade 7 Musical Skills and Features
FREE CHOICE PIECE GUIDELINES | Grade 7

Duration 2 mins 30 secs–3 mins 30 secs

Tempo 50-200 bpm

Time Signatures Any, with changes

Any, up to 32nd notes. Complex combinations beyond 16th note triplets will not be frequent, but variations
may occur regularly.
Rhythmic values Simpler rhythms will appear in conjunction with other elements (e.g. more detailed harmonic work, faster
tempos or more complex time signatures). Tuplet figures will show more complexity.

Dynamics Any, with changes, and including strong contrasts

Articulation and phrasing may vary regularly

Articulation &
Subtlety of control between legato and staccato will be required and there may be different articulations
Phrasing occurring simultaneously

Melodic Features Melodic content may be diatonic or based on modal scales, and there may be frequent chromaticism

Harmonic Features Chord voicings may regularly extend beyond 9ths, and include alterations. Modal interchange may occur.
& Tonality Temporary modulations may occur more frequently

Rhythmic groupings may differ frequently; complex and faster note values may be more
Rhythmic Features
repetitive/continuous

Voicings and accompaniment styles within sections will show depth and variety of technique

Variety in voicings and accompaniment styles within sections

Alternate tunings may be used

Physical
Capo may be used
Techniques
Percussive effects using the guitar’s body may feature

Special expressive effects such as harmonics may feature

A full range of legato and non-legato techniques may feature

Open solo or development sections are not obligatory, but if included should not exceed 16 bars’ length as
Solo/Development
a guide

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 Angie Acoustic Specialist (Solo)

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

j j
A

4
3 3

& 4 .. ‰ œ œ œ œ œ. œ œ œ œ ..
Play 3 times

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

. .
T

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

j j
B Am G F E

œ œ œ
3

& ‰ œ œ œ œ œ œ œ œ œ œ œ gg œœœ ...

gg œ .
pœ œ œ œ œ œ œ g œ
gg 00
ggg 22
0 0
0 1 0 0 1 1 0
2 2
MP [3]
0 0
3 3 1 1 0 0

Am G F E

j j
A
3 3

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

j
Am G F E

j
C

œœ œœ œœ œœ œœ œœ œœ
& .. ‰ ggg œœœœ ...
..
SA

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

> j
j
A1
Acoustic Guitar Grade 7

ggg œœœ œœœ ggg œœœ ....

3 3

& ‰ œ œ œ œ œ œ œ œ
Am

œ œ œ œ
œ œ œ ggg œœ œ
œ œ œ gœ œ
P
ggg 01 ggg 01
0 1 0 1
ggg 22 0 1 0 1
gg 22
g0
2 2 2 2
0 0 0 0 0 0 0

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

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 Desafinado Session Style

Antônio Carlos Jobim

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

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

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

LE
3 3 4 4 4 3 3 4
B

nœ œ œ ‰ œ œ # œ œ ‰ Jœ œ #œ
A

œ.
F maj 7 G 7 11

& b ‰ Jœ ‰ J J J ‰ œ 
J

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

b b
œ œ
G m7 C7 A m7 5 D7 9

b ‰ œ ‰ œ œ œ ‰ œ œ. œ #œ œ ‰ J bœ ‰ œ 

& J J J J J

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

b
œ œ œ œ
G m7
œ œ
A7
œ
D maj 7
œ œ
D7 9

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

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

b
G b maj 9
bœ œ œ œ œ œ. œ œ œ œ œ bœ œœ. .
Acoustic Guitar Grade 7

‰ œJ œ b b œœ b  ...
b
G7 9

& b ‰ J ‰ J ‰ J J ‰ J Œ

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

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 BUY
NOW

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ACOUSTIC
SAMPLE PACK
FREE CHOICE PIECE GUIDELINES | Grade 8
acoustic grade 8 Musical Skills and Features
Duration 2 mins 30 secs – 3 mins 45 secs

Key Any, with changes

Tempo 50-200 bpm

Time Signatures Any, with changes

Any. Complex combinations beyond 16th note triplets may be frequent and variations may occur regularly.
Rhythmic values Simpler rhythms will appear in conjunction with other elements (e.g. more detailed harmonic work, faster
tempos or more complex time signatures). Tuplet rhythms may be complex.

Dynamics Any, with changes, and including strong contrasts

Articulation and phrasing may vary regularly

Articulation &
Subtlety of control between legato and staccato will be required and there may be different articulations
Phrasing occurring simultaneously

Melodic content may be diatonic or based on modal scales, and there may be frequent chromaticism or
Melodic Features
challenging intervals

Chord voicings may regularly extend beyond 9ths. Chordal voicings may be more advanced, denser and/or
Harmonic Features
more frequent, and differ regularly, and include alterations. Modal interchange may occur. Temporary
& Tonality modulations may occur frequently

Rhythmic groupings may differ frequently; complex and faster note values may be more
Rhythmic Features
repetitive/continuous

Voicings and accompaniment styles within sections will require depth and variety of technique

Variety in voicings and accompaniment styles within sections

Alternate tunings may be used

Physical Capo may be used

Techniques
Percussive effects using the guitar’s body may feature

Special expressive effects such as harmonics may feature

A full range of legato and non-legato techniques may feature

Voicings and accompaniment styles within sections will show advanced depth and variety of technique

Open solo or development sections are not obligatory, but if included should not exceed 16 bars’ length as
Solo/Development
a guide

LEARN MORE
www.rslawards.com [email protected]
 While My Guitar Gently Weeps Acoustic Specialist (Solo)
The Beatles
(Transcribed by Tristan Seume from
c 113 Solo Acoustic an arrangement by Eric Roche)
%
j j œ j j j
œ. œ œ œ. œ œ œ
D madd 9 D m7/C

& b 44 ‰ œ œ œ
Dm

œ œ  œ œ 
Œ œ
œ
D 0 2 3 0 2 3 0
T A

LE
0
G 0 0
A D 3
B A
D 0
3

G/B
j j j
G m11 D madd 9
j j j
œ . œ œ œ œ œ œœ  .. œœœ œœ œ œ
&b œ œ œ . Œ ‰ œ
œ
nœ œ œ
. œ œ œ œ
J J
2 3 5 7 3 0 2
0 8 8 3
0 5 9 2
MP [4]
2
5
7
8 8 0
0
0
0

‰ j j ‰ j r
# ‚ ‚ ‚ # ‚ ‚ ‚j ‚
G5

œ œ. j
C

œ œ œ
&b œ œ œ œ œ # œj œ œ œ ‰. j
Œ  ‚
œ Œ
AH 16† NH 12†† AH 15

BU BD
2 0
3 3 4 5 4 [4 ] ( 5) (4) 0
0 0 0 0
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)

j j j j j
j ‰ ‰ œj œ œ œ œ œ . œ œ œ œ œ œ
j
œ . œ œ œ œœ œ œ
Dm D m7/C G/B

b
& œ œ œ  œ
SA

œ nœ
œ
0 2 3 0 2 3 0 2 3 5
0 0 0
0 0 0
3
3 2
0
[10]

j
G m7 D m9
j j j
C
‰ j j ‰ j
œ œ. œœ œœœ œœœ œœ œ œ œ œ œ œ œ œ
&b bœ. Œ ‰ œ œ œ
Acoustic Guitar Grade 8

œ œ
 œ œ. œ œ Œ
J œ œ œ
J J
7 3 0 2 2 0 3
8 8 8 3 3 3
7 9 2 0 0
8 8 0
0 3
5 5 0 0
[13]
8 Words and Music by George Harrison
Copyright © 1968 Harrisongs Ltd.
Copyright Renewed 1997
All Rights Reserved

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 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
œ
 œœ
œ
‰ j œ
‰. œ œ
œ œ
p œ 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

LE
0 0 0 0
B 3 3 3 0
0

r j
## œ œœ œ œœ œœ .. œœ œœ œœ œ œœ
œœ œ œ œ 6 Œ 5
3

& œœ  œœ ‰ j ‰. œ œ œ
œ œ œ œœ 4 8
œ œ œ œ œ œ Œ  œ. œ  œ 
Let ring

2 5 0 7 7 5 7 5 2 5
MP [3]
3
0
0
0
3
0
0
0
3
0
0
0
2 3 2

0
5 0
0
0
0
3 0
7 7

0
5 7 5 2 5

c 110
#
& # 85 44 j
G maj 7

Œ ‰. r œ

œ œ.
the word hurts

# œ
& # 85 œ œ œ œ œ œ 44  œ œ œ ‰ j
3

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

2
SA
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

œœœ œœœ œœ œ
& # ‰ j ‰ j ‰ j
3 3 3

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

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 REVOLUTIONISE
YOUR MUSIC PRACTISE

The interactive sheet music tool that works on any device.

Available for Rockschool Guitar, Drums, Acoustic, Piano, Keys & Ukulele.

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