RSL Lets Rock Guitar-2013 OnlineEdition 01sep2017

www.rslawards.
com
Guitar
RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]
LET’S ROCK
ACKNOWLEDGEMENTS
Published by Rockschool Ltd. © 2013

Catalogue Number RSK121301
ISBN: 978-1-910975-97-8
24 July 2017

AUDIO
Recorded, mixed and mastered at Langlei Studios by Duncan Jordan
Producer: James Uings
MUSICIANS
Stuart Clayton, Neel Dhorajiwala, Noam Lederman, Jon Musgrave, Charlie Griffiths
PUBLISHING
Publishing Manager: James Uings
Editorial Manager: Stephen Lawson
Written by James Uings and Stephen Lawson
Music engraving by Simon Troup and Jennie Troup of Digital Music Art
Logo design by Bryn Reynolds
Proofing: Chris Bird, George Wood and Simon Bradley
SYLLABUS
Syllabus Director: Jeremy Ward
Instrumental specialists: Stuart Clayton, Noam Lederman, James Uings
PRINTING
Printed and bound in the United Kingdom by Caligraving Ltd
PHOTOGRAPHY
Photographer: Adam Gasson
Guitarist: George Wood
DISTRIBUTION
Exclusive Distributors: Music Sales Ltd
CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)845 460 4747
Email: [email protected]
2 LET’S ROCK
Let’s Rock
CONTENTS
GETTING STARTED
2 Acknowledgements
3 Table of Contents
4 Welcome
6 Getting Started

LESSONS

16 Rock Part 1
18 Rock Part 2
20 Pop Part 1
22 Pop Part 2
24 Country Part 1
26 Country Part 2
28 Metal Part 1
30 Metal Part 2
32 Indie Part 1
34 Indie Part 2
36 Hip Hop Part 1
38 Hip Hop Part 2

PIECES
42 ‘Rock City’
43 ‘Party People’
44 ‘Road To Nashville’
45 ‘Lead Boots’
46 ‘Parka Life’
47 ‘Represent’
48 ‘Overload’ (Band)
49 ‘Slam’ (Band)
50 ‘Under The Radar’ (Band)
EXAMS
51 Exam Info
WOW!
! LET’S ROCK 3
let’s Rock
WELCOME
Welcome to Let’s Rock Guitar!

T
his book will guide you PIECES the guitar taken off so you can
through the basics of rock Once you have worked your way play along with the band.
and pop guitar playing. through the lessons you will be
It has been designed to build your ready to practise and perform DOWNLOAD
skills and knowledge as you work your first full pieces of music. The downloadable content for this
through the lessons. The book is You will find these towards the book can be downloaded from
split into three main parts: Getting back of the book – one for each RSL directly at the following URL:
Started, Lessons and Pieces. style of music that you will learn
in the lessons. www.rslawards.com/downloads
GETTING STARTED
The first section of the book There are also three extra pieces When downloading files you will
contains all the information you which can be played on your own need to input this code when
will need before you begin your or as part of a band. The other prompted: FC24K4ATD8
first lesson. This includes a guide band parts can be found in Let’s
to how your instrument works, an Rock Bass and Let’s Rock Drums and The audio files are supplied in MP3
introduction to reading music and the full band score is part of your format, the most widely compatible
all the techniques used in the book. downloadable package. audio format in common usage
– MP3s will likely be familiar to
LESSONS AUDIO anyone with a computer, iPod,
The lessons are split into styles of Every musical example and piece smartphone or similar device.
music with two parts for each style. in Let’s Rock Guitar has two audio Once downloaded you will be able
You will practise musical examples tracks that can be downloaded to play them on any compatible
which build up to a final example from the Rockschool website. The device; we hope that you find this
taken from a piece later in the book. first is a full track that includes the extra versatility useful.
There is also space for teacher guitar part along with a full band.
feedback at the end of every lesson. The other is a backing track with
4 LET’S ROCK
GETTING STARTED
GETTING
STARTED
INTRODUCTION

T his section of Let’s Rock Guitar contains all
the information you will need before you begin
your first lesson. Over the next few pages you will
find a guide to how your instrument works, all the
techniques used throughout the book and an
introduction to reading music.
LET’S ROCK 5
GETTING STARTED
THE GUITAR
A QUICK GUIDE
All you need to know about this amazing instrument
ELECTRIC GUITAR & AMPLIFIER

If you want to play electric guitar you should first plug it into an
amplifier (amp). You could play the guitar ‘unplugged’, but it would
be too quiet to hear properly. Here are all the parts of the guitar
and amp that you need to know about…
PICKUPS
The pickups have
magnets inside that sense
the strings’ vibrations. These
smart devices then turn the
vibrations into a signal that FRET
can be amplified (made
loud) by an amplifier.
BOARD
This is the area on
the front of the neck
where you place
your fingertips.
BRIDGE
The strings are fixed at
the body end of the guitar by
the bridge. There are two main
types: hard-tail and tremolo. A
hard-tail bridge keeps the strings
fixed against the body, whereas a
tremolo bridge lets you raise and
lower the pitch of the strings
with a tremolo bar.
VOLUME
CONTROL
Turn this clockwise
(from 0 to 10) to
increase the volume
JACK TONE of your guitar.
PLUG CONTROLS
Plug a cable in here Turn these clockwise
then plug the other (from 0 to 10) to increase
end into your the brightness of your
amp. guitar’s sound.
6 LET’S ROCK
TUNING
STRINGS PEGS
The guitar’s sound starts Turn these to get your strings in
here. When you pluck a tune. The best way to tune your
string it vibrates, making a guitar is with an electronic tuner,
note. How high or low the or if you don’t have one of
note sounds (its pitch) these you could ask your
depends on where you teacher for some help.
press down on the
string.
FRETS
Frets divide
FRET each string into
MARKERS separate notes.
You can use these to quickly
work out which fret is which.
The following frets are usually
marked: 3rd, 5th, 7th, 9th,
12th, 15th, 17th, 19th
and 21st.

ACOUSTIC
GUITAR
NECK
The strings are stretched Unlike the electric guitar,
across the length of the the acoustic guitar sounds
neck, which is shaped so you loud enough on its own, so
can place your fingers and you shouldn’t need an amp. 2
thumb around it and These are the bits you
then play notes. should know about…
STRAP 1 LARGE BODY

PINS Acoustic guitars have bigger
bodies than electric guitars.
Attach a strap to these
and you will be able to The body is hollow rather 1
stand up while playing than made of one solid piece
your guitar. of wood. This makes the works a bit like a loudspeaker.
sound much louder. It sends the sound –
amplified by the acoustic
itar’s picku
r gu ps guitar’s large hollow body –
you 2 SOUNDHOLE out of the body and into the
om
to
a l fr This hole on the top of the body air where it can be heard.
your amp.
sign
a
r ies TONE
ar
CONTROLS
C
e
These are usually ‘bass’, ‘middle’

bl
and ‘treble’. Adding more bass

Ca
makes your guitar sound warmer and

VOLUME fatter. Treble is the opposite: it makes
& GAIN your guitar sound bright and sparkly.
Use the volume knob Middle is between bass and treble. It’s
(sometimes labelled ‘master’) to hard to describe tone in words, so
increase the overall volume. Some make sure you play with all of these
amps will have a second control controls and hear for yourself
marked ‘gain’. Turning this up once you’re plugged into
will add a crunchy sound to your amp!
your guitar’s tone.
LET’S ROCK 7
GETTING STARTED
PLAYING
THE GUITAR
You will need to master these basic techniques
to play the songs and examples in this book…

SITTING
WITH 2
YOUR Place your left
hand around the neck
GUITAR of your guitar and use your

right hand to pull the body
of the guitar towards your
body until your body and
the guitar touch.
1
Start by sitting in 3
your chair with your feet The guitar should sit
a shoulder’s width apart and against your ribcage with
pointing straight forward. the underside of your forearm
Your shoulders should be pressed gently against the guitar.
relaxed and you should The back of the guitar should be
keep your back straight. diagonal to your belly. Face
forward and keep your head
up and shoulders back.
8 LET’S ROCK
GETTING STARTED
USING A PICK
1 2A 3
2b

1 Take your right hand and turn
it so your thumb is pointing
upwards – a bit like if you were
2 Curl your fingers back (2a) then
place the pick on top of your
fingers and put your thumb on top
3 When you pluck a string, only
the very end (the tip) should
strike the string. To strum more
going to shake someone’s hand. of the pick (2b). Don’t squeeze your than one string at a time, brush the
Stretch your fingers so they are fingers too much; your hand should tip of the pick gently across the
pointing forward. stay relaxed. surface of the strings.
1
HOW TO PICK
1 With your right forearm resting
lightly on the guitar’s body, hold
the pick over the bottom (fattest)
string. The tip of the pick should be
just above the string. Hold the pick
firmly between your thumb and
index finger but keep your hand
relaxed throughout.
2
2 Move your wrist in a

downward motion so that the
tip of the pick strikes the string.
Try to keep the movement as small
as possible so that the pick goes
only a few millimetres past the
string. This means you won’t have
to move your pick so far to play
the next note.
LET’S ROCK 9
GETTING STARTED
PLAYING NOTES 1
1 Place your left hand around the

far end of the fretboard and
position your thumb in the middle
of the back of the neck. Everyone’s HANDY
hands are different, so don’t worry HINT
In this book we will often
if your thumb doesn’t line up refer to the left hand as the
exactly as shown here. Just make fretting hand, because it ‘frets’
sure you press using the top, not the notes of the guitar. The right
hand is known as the picking
the base, of your thumb. hand. Left-handed players
should reverse this.
2 Press your first (pointing)

finger on the 1st fret of the B

(2nd) string. It should be close to
ONE FINGER
2
but not on top of the fret.
PER FRET
3 Bring your elbow forward so
that your wrist moves closer
towards the neck. This will raise
your fingers so that they point
straight at the fretboard and only
the fingertips will come into
contact with the strings. 3
4 Strike the string following

the advice in ‘How to pick’.
Congratulations, you’ve just played
your first note, a C!
As you play through the lessons
and pieces in this book you
4
should use what’s called the
one-finger-per-fret method. This
means using your first finger to
play the 1st fret, your second to
play the 2nd and so on, as shown
in the photo above. Notice how
each finger is placed close to but
not on top of each fret. This
method means you can keep
your hand more or less in one
position and not have to move it
around every time you need to
play a different note.
10 LET’S ROCK
GETTING STARTED
HOW TO
READ MUSIC
You’ll be reading music in no time with this guide!
TAB shows you what notes to play by string. But TAB doesn’t show you
TAB is the most popular type of placing numbers on top of six lines when to play the notes nor how

notation for guitarists because you that represent the strings of the long each note should last. All of
don’t have to learn to read music guitar. The numbers tell you where this information can be found on
before you start using it. TAB to place your fingers on each the musical stave…
q =110 Electronic THE STAVE

# www w
& 44 ˙
Am G
The stave appears above the TAB
œ ww
w œ w and contains information on what
w notes to play, when to play them
0 3 and how long to play them for. The
T 1 1 0
A 2
2 2
2 0
0
stave consists of five lines. Notes
B 0
can be placed on any of these lines
or any space between the lines.
TEMPO, BARLINES symbol with one number on top of below shows there are four quarter
& TIME SIGNATURES another is the time signature. The notes in each bar, or 4/4 for short.
Music is divided into groups of beats top number tells you how many You will learn about quarter notes
called bars. Vertical lines on the beats there are in each bar, while in your first lesson. The tempo tells
stave called barlines show where the bottom tells you what kind of you how fast the song is, measured
each bar begins and ends. The beats they are. The time signature in beats-per-minute.
TEMPO BARLINES
& 44
q = 90
TIME SIGNATURE
T
A
B
BAR BAR BAR
LET’S ROCK 11
GETTING STARTED
&
THE CLEF
This is the treble clef. It tells you
which note each line and space of
the stave represents. There are lots
of different kinds of clefs which place
the notes on different lines and
spaces, but the treble clef is the only
one you need to know for guitar.
THE NOTES make up your own. The spaces

The notes that fall on the lines of between the lines can be
the stave can be remembered by remembered easily because they
the phrase ‘Every Good Boy spell the word ‘FACE’. If you get

Deserves Football’ – or you could stuck, try ‘Space spells FACE’!
œ œ œ œ
& œ œ œ œ œ
E G B D F F A C E
Every Good Boy Deserves Football "Face"
RHYTHM
NOTE HEAD STEM
The rhythms in musical notation are
#
& 44 œ
G D
described on the stave by different
note heads and stems. These tell œ œ œ
you where in the music each note
should be played and how long it
T
should be played for. The lessons A 2 0
2
0
that follow later in this book will B

cover different notes and rhythms.
Music notation was first used in

the Middle East over 3,000 years
ago!Instructionsforthewordsand
melody of an ancient hymn were
© SCHUTZE/RODEMANN / ARCAID
discovered in Syria on a clay tablet

from around 1400 BC. People in
those days used a stylus to carve
symbols in wet clay. Once the clay
was dry you couldn’t make any
changes – this was 3,000 years
before electronic tablets!
12 LET’S ROCK
GETTING STARTED
NOTE VALUES
To help you remember the the value of each note and rest
value of each note and rest you relative to the others. So, for
will come across in your example, you can see that one
lessons, we have included the whole note is the same length (or
diagrams below. These show value) as four quarter notes…
NOTE VALUES REST VALUES

Whole note 4 beats each Whole note rest 4 beats each
∑
4 4

Half-note 2 beats each Half-note rest 2 beats each
Ó Ó
2 2 2 2
Quarter-note 1 beat each Quarter-note rest 1 beat each
Œ Œ Œ Œ
1 1 1 1 1 1 1 1
Eighth-note ½ beat each Eighth-note rest ½ beat each
‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
½ ½ ½ ½ ½ ½ ½ ½ ½ ½ ½ ½ ½ ½ ½ ½
LET’S ROCK 13
14
LET’S ROCK
My Notes
GETTING
PIECES STARTED

LESSONS
LESSONS
INTRODUCTION
N ow you understand how your instrument works

and know how to read music, it’s time for your

first music lessons! These are split into different styles
of music, with two parts for each style. You will
practise short musical examples which build up to a
final example at the end of each lesson, which is taken
from a piece later in the book.
LET’S ROCK 15
LESSONS
AB/CD
ROCK
Your first lesson shows you how to rock out while
PART 1
playing riffs using simple rhythms

© PETER TARNOFF / RETNA LTD. / CORBIS
Jimi Hendrix is
considered the
greatest guitar
player ever. He
played his guitar
upside down,
but reversed the
strings so that
it played in the
same way as your
guitar does.
the rock band its loud, powerful memorable riffs. Melodies are
WHAT YOU WILL LEARN sound. Led Zeppelin, AC/DC and musical phrases that are longer
n Two notes: E & G
Foo Fighters are three famous than riffs and are usually sung by
n What riffs and melodies are
rock groups. Although distorted a vocalist or played by a lead
n Half & quarter notes
guitars are a feature of rock music, instrument like the guitar. This
R
all the examples found in this lesson introduces riffs.
ock is one of the most lesson can be played on any type
popular styles of guitar of guitar using any sound.
music. A rock band
usually has a singer, one RIFFS & MELODIES P
or two guitarists, a bass player and A riff is a short, repeated phrase. Don’t forget that audio is
a drummer. The guitarist will often Riffs are used in lots of guitar available for all the musical
examples and pieces in this
change the sound of their guitar by music, especially rock, pop, blues book. Full details on how to
using the controls on their amp to and metal. Songs in these styles access the full band mixes
and backing tracks can be
produce distortion. This helps give are often built on one or two found on page 4.
16 LET’S ROCK
LESSONS
Example 1 RIFF USING THE E & G NOTES

Example 1 is a riff based on the notes E and G that uses four quarter notes. Place your finger close to but not on top of the
fret when you play the G. This will help the note ring clearly without the unwanted noise known as fretbuzz.
q = 90
& 44
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T
A
B 0 3 0 0 0 3 0 0 0 3 0 0 0 3 0 0
E G E E E G E E E G E E E G E E
Example 2 RIFF ACCENTING THE STRONG BEAT OF THE BAR

The first beat of every bar is the strongest, so try to play it slightly harder than the others. Play this example accenting the
notes marked ‘strong’. You will probably find this happens naturally, but be careful not to play the note too hard.
q = 90
& 44
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T
A
B 3 0 0 0 3 0 0 0 3 0 0 0 3 0 0 0
Strong Strong Strong Strong
Example 3 RIFF USING HALF NOTES

Half notes last for two beats each. Two half notes fill one bar. Try counting or tapping your foot to the pulse. This will help you
play the notes on the correct beats. The numbers you should count along to the pulse are shown under the music.
q = 100
4
&4
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
T
A
B 0 0 3 0 0 0 3 0
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
LET’S ROCK 17
LESSONS
ROCK
This lesson introduces two new notes and combines
PART 2
the two note values you learned in part 1
WHAT YOU WILL LEARN

n Two new notes: A & B

n How to combine note values
n Playing melodies
S
o far you have played riffs
Try tapping your foot on the pulse to help keep
your guitar playing in time using two notes and two
different note values. In
Rock Part 2 you will
continue to develop your playing
and knowledge with three more The Gibson Les Paul guitar is
musical examples (with backing played by rock guitarists like Slash,
Eric Clapton and Jimmy Page. It is
tracks) until you are ready to play designedtoimprovesustain,which
two bars of the full piece ‘Rock means that notes last longer than
other guitars. This makes it great
City’, which can be found on page for guitar solos.
You can avoid fretbuzz by making sure you place
your fingers close to but not on top of the frets
42 of this book.
Example 1 RIFF COMBINING HALF NOTES & QUARTER NOTES

Example 1 is a two-bar riff based on the E and G notes you learned in the previous lesson. It combines half notes and quarter
notes. This riff is played twice. Tap your foot or count to the pulse to help you play the notes on the correct beat.
q = 90
4
&4
˙ ˙ œ œ ˙ ˙ ˙ œ œ ˙
T
A
B 0 3 0 0 3 0 3 0 0 3
E G E E G E G E E G
18 LET’S ROCK
LESSONS
Example 2 MELODY USING FOUR NOTES

Example 2 is a melody that uses a combination of half and quarter notes. It also adds two new notes: A and B. Aim to place
your fingers close to but not on top of the frets to help the notes ring clearly without fretbuzz.
q = 90
& 44
œ ˙ œ œ ˙ œ œ ˙ œ œ
œ ˙
T
A
B 0 3
0 2 0 2 0 0 0 0
3 0
E G A B A B A A A A G E
Example 3 MELODY USING FOUR NOTES

This melody uses all the notes and note values you have learned so far. Make sure you play along with the backing track. Once
you have played this example, try the extra Do More! examples too.
q = 90
& 44
œ œ ˙ ˙ œ œ œ œ
œ œ ˙ ˙
T
A
B 0 0 3
0 2 2 2 2 0
3 0 0
E E G A B B B B A G E E
Example 4 ‘ROCK CITY’ BARS 3–4

Example 4 is two bars of the piece ‘Rock City’, found on page 42. It uses half-note and quarter-note values and four different
note names: E, A, G and B. The two bars are played twice to give you more time to practise the example.
q = 90
& 44
œ œ œ œ œ œ
œ ˙ ˙ œ ˙ ˙
T
A
B 0 3
0 2
0 0 0 3
0 2
0 0
E G A B E E E G A B E E
LET’S ROCK 19
LESSONS
POP PART 1
This introduction to pop guitar covers rests and there

are also two new notes for you to learn

John Lennon and
George Harrison
weren’t the only
guitarists in The
© RAUCHWETTER / DPA / CORBIS

Beatles – bassist
Paul McCartney
could also play
guitar. You can
hear Paul Mc-
Cartney’s guitar
playing on the
popular Beatles
song ‘Yesterday’.
rhythms and melodies that music notation these silences are

WHAT YOU WILL LEARN
n Quarter-note rests
complement the music. One called rests. All the examples in
n Two notes: C & F
Direction, Michael Jackson and Katy this lesson use rests that last the
Perry are three famous pop acts. same amount of time as a quarter
P
note. These are quarter-note rests.
op focuses on the singer RESTS
and the rest of the Silence is a big part of music. What
instruments support the
catchy vocal melodies.
you don’t play is as important as
what you do. However brilliant a P
Pop bands use keyboards and musician is, a constant stream of Don’t forget that audio is
electronic sounds as well as live notes can become boring. Breaks available for all the musical
instruments like guitar, bass and in the music allow riffs and book. Full details on how to
drums. Guitar isn’t usually the main melodies to breathe and help access the full band mixes
instrument, but plays interesting create interesting rhythms. In found on page 4.
20 LET’S ROCK
LESSONS
Example 1 RIFF WITH RESTS ON BEAT THREE

There is a rest on beat three of every bar of this riff. Your guitar must be silent for the whole of beat three. Make sure the
note played on beat two is silenced (or muted) before beat three starts. Stop the note by releasing pressure on the string.
q = 95
& 44 Œ Œ Œ Œ
œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙
T
A
B 3 3
0 2 2 0
3 3
0 2 2 0
3 3
G G A B B A G G A B B A G G
Example 2 RIFF USING F NOTE WITH RESTS

This example introduces the F note and features rests on beats 2 and 4. If you still hear noise after releasing pressure on the
strings, place your pick on the string for extra muting.
q = 95
& 44 Œ Œ Œ Œ Œ Œ Œ Œ
œ œ œ œ œ œ œ œ ˙ ˙
T
A
B 3 3 1 1 3 3 1 1 3 3
G G F F G G F F G G
Example 3 MELODY USING C NOTE & RESTS

Example 3 introduces the C note. It also uses rests on beat two of bar 1 and on beat three of bar 3. Remember to use the muting
techniques you learned in Examples 1 and 2 to make sure all the notes last for the correct amount of time.
q = 95
& 44 Œ Œ
œ œ œ ˙ ˙ œ œ œ œ œ ˙
T
A
B 3
0 2 3 0
3
2 2 3 0
3
G A B C A G B B C A G
LET’S ROCK 21
LESSONS
POP
Pop Part 2 builds on what you learned in Part 1 and
PART 2
introduces a new note name and a new note value
WHAT YOU WILL LEARN

n The D note

n Whole notes
n A section of a full piece
T
he last lesson showed
You can mute the open D string by gently resting
your fretting hand on the string you how to play riffs and
melodies that included
four different notes and
quarter-note rests. In Pop Part 2
The Fender Stratocaster is used in
you will learn a new note and a both rock and pop music because
new note value. When you have it offers a wide range of tones in
one guitar. It has three pickups,
played through the first three each with its own unique sound.
examples in this lesson you’ll be A switch lets you select either of
these as well as two other sounds.
ready to try four bars of the full Five in one!
Make sure you download the backing tracks so you
can practise playing along with a band!
piece ‘Party People’ on page 43.
Example 1 MELODY WITH a D NOTE

This melody uses the rests you learned in Part 1 and includes the new note D. Remember to play to the backing track as this
will help keep you in time with the pulse and get you ready to play in a band.
q = 90
4 Œ
&4 œ ˙ œ œ
œ œ œ œ œ œ ˙ ˙
T
A 0 0 0 0
B 3
0 2 2 2 0
3 3
G A B B D D D D B A G G
22 LET’S ROCK
LESSONS
Example 2 MELODY USING WHOLE NOTES

Whole notes last for four beats and fill up a whole bar. This melody uses whole notes. Make sure you count or tap your foot to
the pulse. This will make sure that the notes last for the correct amount of time and stop you playing the next note too soon.
q = 105
& 44 w
w w w w
T
A 0
B 3
3 3
3
G C D C G
Example 3 RIFF COMBINING NOTE VALUES

Example 3 is a pop riff that combines all of the note values you have learned so far in this book. Look closely at the value of
each note and rest and make sure they last (or that your guitar is silent) for the correct amount of time.
q = 95
& 44 Œ Œ Œ
˙
œ œ œ œ œ œ ˙
œ œ œ w
T
A 0
B 0
3 2
0
3 2
0
3 2 3
0
E C B E C B E C B D C E
Example 4 ‘PARTY PEOPLE’ BARS 13–16

Now it’s time to combine all that you’ve learned in these pop lessons by playing four bars of the piece ‘Party People’. It uses
quarter notes, half notes and whole notes. It also uses five of the notes you have learned so far.
q = 95
& 44 œ œ
œ œ œ ˙ ˙ œ œ œ w
T
A 0 0
B 3
0 2 3 2 3 2 0
3
G A B D C B D C B A G
LET’S ROCK 23
LESSONS
COUNTRY
This country lesson shows you how to play melodies
PART 1
that use higher pitched notes and two-beat rests

@ CHRIS SCHWEGLER / RETNA LTD./CORBIS
Brad Paisley is
a huge country
music star and an
excellent guitar
player. He plays a
Fender
Telecaster
guitar with a
paisley pattern
on its body. Pais-
ley, get it?!
chords (a chord is two or more E note. This has the same sound
WHAT YOU WILL LEARN notes played at the same time) and as the E note you learned in the
n Two notes: new E & F
melodies that complement the first rock lesson, but this E sounds
n Half-note rests
vocals. However, country higher. The second E is said to be
n Octaves
guitarists are skilful musicians and an octave (Latin for eighth) higher
C
are capable of playing fast and than the first because they are
ountry began in America impressive lead guitar too. Johnny separated by eight notes of a scale.
but is now popular all Cash, Taylor Swift and Dolly
over the world. A
country band is usually
Parton are three of the most
famous country stars. P
made up of a singer, bass player, Don’t forget that audio is
drummer, keyboardist and one or OCTAVES available for all the musical
two guitarists. Country guitarists So far you have learned seven book. Full details on how to
play either electric or acoustic notes: E, F, G, A, B, C and D. The access the full band mixes
guitar. They often play simple next note you will learn is another found on page 4.
24 LET’S ROCK
LESSONS
Example 1 MELODY USING E NOTE

This melody adds an E note that’s an octave (eight notes of a scale) higher than the one you have already learned. Remember
to place your fingers close to but not on top of the fret to avoid fretbuzz.
q = 95
& 44 Œ
œ œ œ ˙ œ
Œ œ œ
œ œ w
T
A 0 2 2 2 0 2 0
B 3 3 3
C C D E E E D E D C
Example 2 MELODY USING HALF-NOTE RESTS

This melody introduces the half-note rest, which lasts for two beats. Make sure you count the pulse (“1 2 3 4”) along with the
music to make sure you play the notes on the correct beats.
q = 105
& 44 Ó ˙ Ó Ó
œ œ
Ó
œ œ ˙
T
A 2 2 0
B 3 3 3
C C E E D C
Example 3 MELODY WITH F NOTE & TWO-BEAT REST

This example introduces the F note. It also uses half-note rests. Note that the two-beat rest in bar 2 is written as two
quarter-note rests. This makes it easier to see where the middle of the bar is.
q = 105
& 44 ˙ Ó œ Œ Œ
œ œ
Ó Ó
œ ˙
T
A 2 3 2 0
B 2 3
E F E D B C
LET’S ROCK 25
LESSONS
COUNTRY
Your second country lesson introduces dotted
PART 2
notes, three-beat rests, and two new notes
WHAT YOU WILL LEARN

n Two new notes: G & A

n Dotted notes
n Three-beat rests
W
hen a dot is placed
You can mute the open G string either by gently
resting your fretting hand on the string or… after a note the
length of the note is
changed so that it
lasts for its original length plus half
The Fender Telecaster was the
of this value again. A dotted half first electric guitar with a solid
note would last for three beats body that sold in large numbers. It
was invented by a man called Leo
(two beats + one beat). This lesson Fender and went on sale in 1950,
features the dotted half note and known then as the Broadcaster. Its
name was changed to Telecaster
the three-beat rest as well as two in 1952.
…by bringing your pick (plectrum) to rest on the
string. You can combine both methods
new notes.
Example 1 MELODY USING G NOTE

This example uses the half-note rests you learned in Part 1 and adds the G note. It’s a good opportunity to practise everything
you learned in the first country lesson while learning a new note.
q = 90
4 Ó Œ Œ
&4 œ œ ˙ ˙ œ œ œ
˙ œ
T 0 0
A 0 2 3 3 2
B 3 3
C D E F G G F E C
26 LET’S ROCK
LESSONS
Example 2 MELODY USING DOTTED HALF NOTE

The dotted half note lasts for three beats (“1 2 3”). Count or tap your foot to the pulse so that you play the quarter note on
beat four at the correct time.
q = 95
& 44 ˙. œ
˙. œ ˙. œ ˙. œ
T
A 3 3
B 3 3 3 3 3 3
C C C C F F C C
Example 3 MELODY USING THE A NOTE

This melody introduces the A note and has rests that last for three beats. These are written using half-note and quarter-note
rests so you can see where the middle of the bar is.
q = 95
& 44 œ œ Œ œ œ ˙. œ Œ Ó
˙. œ
T 0 2 0
A 2 3 3
B 3 3
C E F F G A G C
Example 4 ‘ROAD TO NASHVILLE’ BARS 5–8

This is four bars of the piece ‘Road To Nashville’ on page 44. There are lots of different rhythms and rests in these bars, so
work through the example slowly and make sure all the notes last for the correct amount of time.
q = 90
& 44 œ Œ Œ Œ
C G Dm G C
œ œ œ œ œ œ ˙ œ ˙.
T 0 2 0 0
A 2 2 2 0 0
B 3
E E G A G G E D D C
LET’S ROCK 27
LESSONS
METAL
This metal lesson will teach you how to make
PART 1
heavy sounds using powerchords

Dimebag
Darrell was the
guitarist for the
metal band Pan-
tera. By the time
© JOE GIRON / CORBIS

he was 18 he had
won all the guitar
competitions in
Texas and was
banned from
entering again!
of flashy techniques. Black Sabbath, six-note chord can sound messy,

WHAT YOU WILL LEARN Metallica and Iron Maiden are which is good for some styles but
n What powerchords are
three famous metal bands. not for others. Powerchords work
n Two powerchords: E5 & A5
well because they provide a
POWERCHORDS
M
powerful yet clear sound that’s
etal is a dark and A chord is two or more notes perfect for rock, metal and punk.
intense style of music played at the same time. Some
that usually features chords will have six notes and use
two guitarists, a
singer, a drummer and a bass
every string on the guitar. A
powerchord is a two- or three- P
player. The guitarists use lots of note chord (in this book they are Don’t forget that audio is
distortion for a heavy sound and two-note chords). Powerchords available for all the musical
play riffs that can be slow and get their name because they have book. Full details on how to
powerful or fast and complex. a big, powerful sound. When the access the full band mixes
Metal lead guitar is skilful with lots guitar has a distorted tone a found on page 4.
28 LET’S ROCK
LESSONS
Example 1 HOW TO MAKE A POWERCHORD

A powerchord is written as a chord name (e.g. A or E) followed by the number 5. The note that the chord gets its name from
is known as the root note. The ‘5’ is five notes above the root note, so you get ‘A5’, ‘E5’ etc.
q = 60
& 44
A5
˙ ˙ ww
T
A 2 2
B 0 0
A E E
1 5 A
Example 2 RIFF USING A5 POWERCHORD

Use your first finger to hold down the E note then strike the A and D strings with a single downstroke. Make sure you play
only the strings that are notated.
q = 95
& 44 ˙
A5
˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ww
T
A 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 0
Example 3 RIFF USING E5 & A5 POWERCHORDS

The E5 chord features the E and B notes. Although the rhythms are half notes, you will have to take your fingers off the chord
slightly earlier than shown in the music to change the chord.
q = 95
& 44 ˙
A5 E5 A5 E5 A5
˙ ˙˙ ˙ ˙ ˙˙ ˙˙ ˙ ˙ ww
˙ ˙ ˙ ˙
T
A 2 2 2 2 2
B 0 0 2
0
2
0
0 0 2
0
2
0
0
LET’S ROCK 29
LESSONS
METAL
In your second metal lesson you will learn a new
PART 2
note which uses an important musical symbol
WHAT YOU WILL LEARN

n Sharps

n The F# note
n What key signatures are
W
hen a sharp sign ( # )
You should play the F note on the E string with
your first finger… is placed in front of
a note, the note is
played one fret
higher than usual (and sounds
higher in pitch). An F note is
played on the 1st fret of the E The‘superstrat’wasthefirstguitar
string and an F # is played on the
designedspeciallyforthedemands
of metal players. Jackson’s Soloist
2nd fret of the same string. This went on sale in 1981 and offered
some of the features of Fender and
sharp sign is one of a group of Gibson guitars in one instrument.
…and the F# is the next note on the string, so it
should be played with your second finger
musical signs known as accidentals.
Example 1 RIFF USING F# NOTE

This example introduces the F # note. Notice how the sharp sign is placed before the note on the stave. There are three F #
notes in bar 3 of this example. The sharp sign is written only before the first sharp note in each bar.
q = 105
4 Œ
&4
˙ #˙ ˙ #˙ œ #œ œ œ ˙.
T
A
B 0 2 0 2 0 2 2 2 0
E F# E F# E F# F# F# E
30 LET’S ROCK
LESSONS
Example 2 RIFF USING A KEY SIGNATURE

If a piece uses F # notes all the way through without any F notes (like here), the composer will save writing lots of F # notes in
the music by writing an F # on the top line of the stave at the start of every line of music. This is an example of a key signature.
q = 100
#4
& 4 Ó
œ œ œ œ œ œ œ œ œ œ œ œ ˙
T
A
B 2 0 0 0 2 0 0 0 2 0 0 0 0
F# E E E F# E E E F# E E E E
Example 3 RIFF COMBINING POWERCHORDS & SINGLE NOTES

Metal songs often combine powerchords and single notes. This example gives you a chance to practise switching between the
two. The N.C. symbol lets you know that no chord is being played.
q = 100
#4
Ó Ó Ó Ó
E5 N.C. E5 N.C.
& 4
˙ œ œ ˙ œ
˙ ˙ œ
T
A
B 2
0 3 2
2
0 2 0
G F# F# E
Example 4 ‘LEAD BOOTS’ BARS 13–16

These four bars are taken from the piece on page 45. The example combines powerchords and single notes. Once you have
played it several times try hitting the strings harder. This will help you get the heavy sound that metal is famous for.
q = 90
#4
Ó Ó Œ
E5 A5 N.C.
& 4 ˙˙ ..
œ œ œ œ œ œ
œ œ œ œ ˙
T
A 2
B 2
0
2
0
2
0
2
0
0
3 2 0
G F# E
LET’S ROCK 31
LESSONS
INDIE PART 1
In this introduction to indie you will learn three new

notes and play them with a new picking technique

Oasis’s guitar
© BRITTA PEDERSEN / EPA / CORBIS

player Noel
Gallagher was a
guitar hero in the
1990s. Epiphone
named a guitar
after one of his
songs. But Noel
describeshisplay-
ingas“averageat
best”. Really?!
chords. They sometimes play the pick back past the string to
WHAT YOU WILL LEARN solos, but usually play parts that fit re-pick it. This wastes time and
n Three new notes: B, C & D
the song. The Smiths, Oasis and can make it hard to play lots of
n Alternate picking
Arctic Monkeys are all famous notes one after the other.
t
indie bands. Alternating between downstrokes
he name ‘indie’ is short and upstrokes will help you to play
for independent because PICKING DIRECTIONS more quickly and fluently.
indie records were Until now you have probably
originally released on
small, independent record labels
played every note and chord using
only downstrokes. These have a P
rather than bigger major labels. strong sound and the notes in a Don’t forget that audio is
An indie band usually has a singer, phrase will sound at a similar available for all the musical
one or two guitarists, a drummer volume because you are using the book. Full details on how to
and a bass player. The guitarists same technique to play them. The access the full band mixes
play clever guitar parts based on problem is that you have to bring found on page 4.
32 LET’S ROCK
LESSONS
Example 1 MELODY USING B & C NOTES

This example introduces two new notes: B and C. As well as the location of the new notes, pay attention to the rests in bars 3
and 4 and make sure the notes and rests last the correct amount of time.
q = 90
& 44 ˙ ˙ œ œ œ œ œ Œ œ Œ ˙. Œ
T 1 0 1 0
2 0 2
0 1
A
B
C B C B A G A B C
Example 2 MELODY USING ALTERNATE PICKING

You should play this melody using alternate picking. Play the first note with a downstroke then alternate between downstrokes
( ≥ ) and upstrokes ( ≤ ). The musical symbols for these pick directions are above the notation to help you.
≥ ≤ ≥ ≤
q = 90
≥ œ≤ ≥œ ≤ ≥ ≤ ≥ ≤ ≥
& 44 œ œ œ œ œ œ œ œ œ œ w
T 1 1 1 0
2 2 0 0
A 2 2 0 0 2
B
C C C B A A G G E E D D E
Example 3 MELODY USING ALTERNATE PICKING & D NOTE

The first note of each new bar should be played with a downstroke even if the note before it was also a downstroke (this will
happen if there is an odd number of notes in a bar). This will make the first beat of the bar sound stronger.
q = 105
# 4 ≥œ œ≤
≥œ œ≤ ≥œ œ≤ ≥˙ ≥œ
œ≤
≥œ œ≤ w≥
& 4
T 3 1 3 3 1 1 1 3 1 3 3 3
A
B
D C D D C C C D C D D D
LET’S ROCK 33
LESSONS
INDIE
In your second indie lesson you will learn your first
PART 2
three-note chord and play a rhythm guitar part
WHAT YOU WILL LEARN

n A new note: E on the high E string

n A new chord: C
Y
ou already know two-
note powerchords. In
When this D note is followed by the open E string,
stop playing it by releasing pressure on it this lesson you will play
your first three-note
chord: C major. Major chords have
a bright, happy sound and are
Effects pedals are used by
usually shortened to letter names, guitarists to change the sound
so instead of C major you will see of their guitars. Distortion is one
of the most popular effects. Blur
only the letter C above the music. guitarist Graham Coxon used a
So far you have played melodies ProCo Rat distortion on Blur’s
‘Song 2’. You can hear the effect in
and riffs. A part that uses mostly the song’s chorus.
Your first three-note chord is played by pressing
down only on the B string
chords is a rhythm guitar part.
Example 1 MELODY USING B, C & D NOTES

This melody is a good chance to go back over everything you learned in the last lesson. Remember to tap your foot or count
to the pulse to help play the notes in the right place in the bar. Mute the strings in the rests using both your hands.
q = 85
#4 œ Œ œ œ œ œ
& 4 Œ œ ˙ œ œ w
T 0 1 3 3 1 0
2
0
2 0
A
B
B C D D C B A B A G
34 LET’S ROCK
LESSONS
Example 2 MELODY USING E NOTE

You could leave your finger on the D note in bar 2 to make the part easier to play, but this would mean the D and E notes
sounding together instead of one at a time. To avoid this, make sure you stop pressing on the D note as you play the E.
q = 105
# 4 C˙ ˙ œ œ œ œ ˙ ˙ w
& 4
0 0 0 0 0
T 3 3 1 3
A
B
E E E D E D C D E
Example 3 RHYTHM PART USING C CHORD

To play this chord you need only your first finger to fret the C because the other notes are open strings. Arch your finger to
avoid touching the E string and stopping it ringing. Brush your pick lightly across the strings so all three notes sound at once.
q = 105
w ww ˙˙ ˙˙ ww
& 44 ww
C
w ˙ ˙ w
0 0 0 0 0
T 1
0
1
0
1
0
1
0
1
0
A
B
Example 4 ‘PARKA LIFE’ BARS 5–8

These fours bars are from the piece ‘Parka Life’ on page 46. After playing the C note at the start of bar 4 keep your finger
pressed down and strum the two extra open strings to make the C chord.
q = 100
#4 G œ œ
D G
œ œ œ ˙
C
˙˙
& 4 œ œ ˙ ˙ œ ˙
0
T 0 0
1 0
2 2 0
3 3 0 1 1
0
A
B
G G C B A A G D D B C
LET’S ROCK 35
LESSONS
HIP HOP
In your first hip hop lesson you will learn how
PART 1
to change chords quickly and smoothly

© TOM TOMKINSON / RETNA LTD. / CORBIS
RageAgainstThe
Machine’sguitar-
ist Tom Morello
used his guitar to
copy the sounds
of a hip hop DJ.
One of the best
places to hear
these effects is
the song ‘Bulls
On Parade’.
were popular with dancers. Since one chord to another is to think

WHAT YOU WILL LEARN then hip hop musicians have used about changing chord a beat or
n Two new notes: G & F#
a mixture of live instruments and two before the actual change.
n A new chord: G
machines called samplers to Picture the shape of the next
n How to change chords
produce songs that use short, chord and where on the fretboard
M
catchy ideas that are repeated, your finger must go to play the
ost hip hop music is usually throughout the whole of a chord.
based on sampling. song. Eminem, Will Smith and Jay Z
Sampling is taking a
part of a recording
are some famous hip hop artists.
P
and making a new piece of music CHANGING CHORDS Don’t forget that audio is
with it. This was first done in the So far you have played only one available for all the musical
1970s by DJs in New York who three-note chord, C. In this lesson book. Full details on how to
wanted to extend certain parts of you will learn a new one, G. The access the full band mixes
the records they played which secret to changing smoothly from found on page 4.
36 LET’S ROCK
LESSONS
Example 1 Riff using G & F# notes

Play the F # with your second finger and the G with your third finger. This puts your fingers in the correct position if you have
to play the 1st fret (using your first finger) or the 4th fret (using your fourth). This is called one-finger-per-fret.
q = 100
#4 œ œ œ Œ
œ œ œ Œ
œ œ œ œ œ Œ Ó
N.C.
& 4
3 2 0 3 2 0 3 2 0 3 0
T
A
B
G F# E G F# E G F# E G E
Example 2 Rhythm part with G chord

Make sure you are holding the pick so only the tip is showing. When strumming, move your wrist smoothly across the strings
so the tip brushes the strings without digging in between them. The three notes should sound together, not one at a time.
q = 80
# 4 ww w w w
G
& 4 w ww ww ww
3 3 3 3
T 0
0
0
0
0
0
0
0
A
B
Example 3 Rhythm part with two chords

This example is an opportunity to practise changing chords, which can be tricky at first. Try practising without the backing
track until your chord changes are smooth, then try again with the backing track.
q = 80
# 4 ww ww w ww w
G C G C G
& 4 w w ww w ww
3 0 3 0 3
T 0
0
1
0
0
0
1
0
0
0
A
B
LET’S ROCK 37
LESSONS
HIP HOP
In your final lesson you will learn about a new type
PART 2
of chord and change between three chords
WHAT YOU WILL LEARN

n Your first minor chord

n Four-note chords
n A three-chord progression
Y
our final lesson
This easy version of the E minor chord is played
with only one finger pressing on a string introduces your first
minor chord: E minor,
marked ‘Em’ in the
notation (‘m’ stands for minor).
Minor chords have very different Many hip hop songs sample funk
qualities from major chords music. This is a dancey style of mu-
sic that was popular in the 1970s.
because unlike major chords, which Lots of funk songs use an effect
are bright and happy sounding, called wah wah, which copies the
effect of opening and closing your
minor chords have a sad sound. mouth to talk.
This G chord is also a simplified version which you
shouldn’t find too difficult to play
Example 2 demonstrates this.
Example 1 RHYTHM PART WITH E MINOR CHORD

This E minor chord has four notes instead of three. The chord is still made up of only three notes (E, G and B); however, the E
note is repeated. It is an octave higher than the root note (i.e. the note that gives the chord its name).
q = 100
#4 Em
ww ww ww ww
& 4 ww ww ww ww
0 0 0 0
T 0
0
0
0
0
0
0
0
A 2 2 2 2
B
38 LET’S ROCK
LESSONS
Example 2 RHYTHM PART WITH E MINOR & G MAJOR

In this example you will practise changing between E minor and G. The E note in the E minor chord should be played with your
second finger. Use your third finger to play the G note of the G chord.
q = 80
#4 ww
Em G
w ww
Em
w
G
ww
Em
& 4 ww ww ww ww ww
0 3 0 3 0
T 0
0
0
0
0
0
0
0
0
0
A 2 2 2
B
Example 3 ‘REPRESENT’ BARS 9–16

This example is taken from the piece ‘Represent’, which you will find on page 47. It features three chords. Remember to play
the top four strings of your guitar for the E minor but only the highest sounding three strings for the C and G.
q = 90
#4 ww ˙˙ ˙˙ ˙
Ó Ó ˙˙ Ó
Em C G
& 4 ww ˙˙ ˙
0 0 0 3
T 0
0
0
0
1
0
0
0
A 2 2
B
# N.C.
œ œ œ œ œ œ œ œ œ œ
& Œ Œ Œ Œ Ó
0 3 2 0 0 0 3 2 0
T 3
A
B
[5] E G F# E D E E G F# E
LET’S ROCK 39
40
LET’S ROCK
My Notes
PIECES
LESSONS

PIECES
PiEcEs
INTRODUCTION
N ow that you have worked your way through the

lessons and learned how to play your instrument,

you are ready to perform your first full pieces of music.
You will find them all in this section – one for each
style of music you learned in your lessons.
T here are also three extra pieces which can be

played on your own or as part of a band. The
other band parts can be found in Let’s Rock Bass and
Let’s Rock Drums and the full band score is part of your
downloadable package.
LET’S ROCK 41
PIECES
ROCK
‘ROCK CITY’
q = 90 Rock
#4 N.C.
& 4 œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙

T
A 2 0
B 2 0
3 0 0 3
0 2
0 0
# Œ Ó
& œ œ œ œ ˙ ˙ œ œ œ ˙
T 0 2 0 2 0
A 2 0 2 0 2
B
[5]
# A5 D5 A5 E5
Ó
& ww ww ˙˙ ˙˙ ˙˙
T 2
A 2 0 2 2
B 0 0 0 2
0
[9]
# N.C.
& œ œ œ œ ˙ ˙ œ œ œ œ w
T
A 2 0
B 2 0
3 0 0 3
0 2
0
[13]
42 LET’S ROCK
PIECES
POP
‘PARTY PEOPLE’
q = 95 Pop
#4
Œ
G C G D C D
& 4 œ œ
œ œ œ ˙ ˙ œ œ w

T
A 0 0
B 3
0 2 3 2 3 2 0
# ww ww ww w
G Em C G
& w ww w ww
3 0 0 3
T 0
0
0
0
1
0
0
0
A 2
B
[5]
# Em
Ó
D
Ó
C D
Ó
& œ œ œ œ œ œ œ œ œ
œ
T 0
A 2 2 0 0 4 2 0 0
B 3
[9]
# G C G D G
& œ ˙ œ œ
œ œ œ ˙ œ œ w
T
A 0 0
B 3
0 2 3 2 3 2 0
3
[13]
LET’S ROCK 43
PIECES
COUNTRY
‘ROAD TO NASHVILLE’
q = 90 Country
& 44 Ó
C G C F C G C
˙. œ ˙ ˙ ˙ œ œ ˙

T
A 0 2 3 2 3 0
B 3 3
Œ Œ Œ
G Dm G C
&œ œ œ œ œ œ œ ˙ œ ˙.
T 0 2 0 0
A 2 2 2 0 0
B 3
[5]
œ
&˙ œ
F Am G C
˙ ˙ œ œ œ œ ˙ Ó
T 1 3 1
2 0 0 0 2 0
A 2
B
[9]
Ó ˙˙ Ó
G C F C G C
& . œ ˙ ˙ ˙ ˙
˙
0
T 0
1
0
A 0 2 3
B 3
[13]
44 LET’S ROCK
PIECES
METAL
‘LEAD BOOTS’
q = 90 Metal
#4
Ó Ó Œ Ó
E5 A5 E5
& 4 ˙ ..
œœ œœ œœ œœ ˙ œœ œœ

T
A 2
B 2
0
2
0
2
0
2
0
0 2
0
2
0
# N.C.
Œ Œ
&
œ œ œ œ œ ˙ œ œ œ œ œ œ œ
T
A
B 0 3 0 0 3
0 2 0
3 2 0 3 0
[5]
# Œ Œ Œ Œ
&
œ œ œ œ œ œ œ œ œ
œ œ œ
T
A
B 2 3 2 2 3 2
3 3 2 0 3 0
[9]
#
Ó Ó Œ
E5 A5 N.C.
& ˙ ..
œœ œœ œœ œœ ˙ œ œ ˙
T
A 2
B 2
0
2
0
2
0
2
0
0
3 2 0
[13]
LET’S ROCK 45
PIECES
INDIE
‘PARKA LIFE’
q = 100 Indie
#4 ˙ œ œ ˙. ˙˙ œœ œœ ˙˙ ..
˙˙ ..
G C
& 4 ˙˙ œœ œœ Œ ˙ œ œ ˙. Œ
3 3 3 3 0 0 0 0

T 0
0
0
0
0
0
0
0
1
0
1
0
1
0
1
0
A
B
# œ œ œ ˙ ˙˙
G D G C
& œ œ œ ˙ ˙ œ œ ˙
0
T 0 0
1 0
2 2 0
3 3 0 1 1
0
A
B
[5]
# œ œ œ œ œ
G D C G
& œ ˙ Ó œ œ ˙ Ó
T 3 3 1 0
2
1 1 0
2 0
A
B
[9]
# ˙˙ œ œ ˙.
˙˙ .. ˙˙ œœ œœ ˙.
˙˙ ..
C G
& ˙ œœ œœ Œ ˙ œ œ Œ
3 3 3 3 0 0 0 3
T 0
0
0
0
0
0
0
0
1
0
1
0
1
0
0
0
A
B
[13]
46 LET’S ROCK
PIECES
HIP HOP
‘REPRESENT’
q = 90 Hip Hop
#4 œ œ œ œ œ œ œ œ œ œ œ
Œ Œ Œ Œ œ
N.C.
& 4
0 3 2 0 0 0 3 2 0

T 3 0 3
A
B
# œ œ œ œ œ œ œ œ œ œ œ œ
& Œ Œ Ó
0 0 3 3 2 3 2 0 0 0 0
T 3
A
B
[5]
# w ˙˙ ˙˙ ˙
Em C G
& www ˙˙ Ó ˙ Ó ˙˙ Ó
0 0 0 3
T 0
0
0
0
1
0
0
0
A 2 2
B
[9]
# N.C.
œ œ œ œ œ œ œ œ œ œ
& Œ Œ Œ Œ Ó
0 3 2 0 0 0 3 2 0
T 3
A
B
[13]
LET’S ROCK 47
BAND PIECES
ROCK
‘OVERLOAD’
q = 90 Rock
& 44 œ
A5 D5 E5 A5
Ó œœ œœ Ó Ó
œ œœ œ œ ˙˙ ˙˙
œ œ

T 2 2
A 2 2 0 0 2 2
B 0 0 2
0
2
0
0 0
N.C.
& œ œ ˙ œ œ œ
œ œ œ œ ˙ œ ˙
T
A 0 2 2 0 0 2
B 0 0 3 3 0 3 0
[5]
& Œ ˙ œ
œ œ œ œ œ œ œ œ œ œ ˙
T
A 2 0 0 2
B 0 0
3
0 0 3 0 3 0
[9]
A5 D5 E5 A5
& œ œœ Ó œœ œœ Ó Ó œœ Œ Ó
œ œ œ
œ œ
T 2 2
A 2 2 0 0 2
B 0 0 2
0
2
0
0
[13]
48 LET’S ROCK
BAND PIECES
METAL
‘SLAM’
q = 90 Metal
#
& 44
N.C.
œ œ ˙ œ œ œ œ œ œ
˙ ˙ ˙

T
A
B 0
3 2 0
3
0
0
3 2 0
3 0
# E5
Œ Ó
A5
Œ Ó
& œœ œœ œœ œœ œœ
œœ œœ œœ œœ œœ
T
A 2 2 2 2 2
B 2
0
2
0
2
0
2
0
2
0
0 0 0 0 0
[5]
#
E5 A5
& œ œ œ œ œ œ ˙
œœ œœ œœ œœ œœ œœ ˙˙ œ œ œ œ œ œ ˙
T
A 2 2 2 2 2 2 2
B 2
0
2
0
2
0
2
0
2
0
2
0
2
0
0 0 0 0 0 0 0
[9]
# N.C.
& œ œ
˙ œ ˙ œ œ ˙ œ œ œ ˙
T
A
B 0
3 2 0
3
0
0
3 2 0
3 0
[13]
LET’S ROCK 49
BAND PIECES
INDIE
‘UNDER THE RADAR’
q = 90 Indie
#
& 44 œ
Em G C Em
œ œ œ ˙ ˙ œ œ ˙ ˙. Œ

T 0
2 0 2
0
0 0 2 0
A 2
B
# ww ˙˙ œœ œœ ww w
G C G
& w ˙ œ œ w ww
3 0 0 0 0 3
T 0
0
1
0
1
0
1
0
1
0
0
0
A
B
[5]
# œ œœ œœ œœ œœ œœ w
Em C Em G
& œœœ œœ Ó œ œ Ó œœ œœ Ó ww
0 0 0 0 0 0 3
T 0
0
0
0
1
0
1
0
0
0
0
0
0
0
A 2 2 2 2
B
[9]
#
Em G C Em
& œ œ œ œ ˙ ˙ œ œ œ ˙. Œ
œ
T 0
2 0 2
0
0 0 2 0
A 0 2
B
[13]
50 LET’S ROCK
Exams
Exam time!
The Rockschool Premiere Exam
T he pieces in this book can now be performed in an examination

which is fully accredited just like every other Rockschool grade

exam. There are no tests or technicals, just five performance pieces,
making it the ideal introduction to Rockschool examinations. Entering a
Rockschool exam is easy. You can enter online at www.rslawards.com or
by downloading and filling in an exam entry form. The full Rockschool
examination terms and conditions as well as exam periods and current
fees are available from our website or by calling +44 (0)845 460 4747.
THE ROCKSCHOOL PREMIERE EXAM
ELeMeNT PaSS
Performance Piece 1 12+ out of 20
TOTAL MARKS 60%+
LET’S ROCK 51
Rockschool is the leading accredited provider of rock exams worldwide. Our

Graded Music Exams, Diplomas and Vocational Qualifications are taught the
world over and are renowned for their practicality, flexibility and creativity.
Rockschool qualifications are inspired by the legends of rock and created with
the musician in mind. Our philosophy is to let the student learn by playing the
music they love – and gaining a recognised qualification in the process.
For more information on Rockschool, our qualifications and

products, visit www.rslawards.com
BAND PIECEs
SUPPLEMENT
S hortly after the release of the Let’s Rock series we

received feedback from teachers requesting band

pieces – guitar, bass and drum parts that can be played
together as a band, as already happens in the
Rockschool Guitar, Bass and Drum syllabuses at
Grades 3, 5 and 8. We think it’s a great idea and have
produced three new band pieces as a result. If you have
the original release of the Let’s Rock books we’re not
expecting you to buy it again, so we’re making the band
pieces available to you now in this supplement. The
corresponding band parts for Bass and Drums are
available in their respective books.
LET’S ROCK 1
BAND PIECES
ROCK
‘OVERLOAD’
q = 90 Rock
& 44 œ
A5 D5 E5 A5
Ó œœ œœ Ó Ó
œ œœ œ œ ˙˙ ˙˙
œ œ

T 2 2
A 2 2 0 0 2 2
B 0 0 2
0
2
0
0 0
N.C.
& œ œ ˙ œ œ œ
œ œ œ œ ˙ œ ˙
T
A 0 2 2 0 0 2
B 0 0 3 3 0 3 0
[5]
& Œ ˙ œ
œ œ œ œ œ œ œ œ œ œ ˙
T
A 2 0 0 2
B 0 0
3
0 0 3 0 3 0
[9]
A5 D5 E5 A5
& œ œœ Ó œœ œœ Ó Ó œœ Œ Ó
œ œ œ
œ œ
T 2 2
A 2 2 0 0 2
B 0 0 2
0
2
0
0
[13]
2 LET’S ROCK
BAND PIECES
METAL
‘SLAM’
q = 90 Metal
#
& 44
N.C.
œ œ ˙ œ œ œ œ œ œ
˙ ˙ ˙

T
A
B 0
3 2 0
3
0
0
3 2 0
3 0
# E5
Œ Ó
A5
Œ Ó
& œœ œœ œœ œœ œœ
œœ œœ œœ œœ œœ
T
A 2 2 2 2 2
B 2
0
2
0
2
0
2
0
2
0
0 0 0 0 0
[5]
#
E5 A5
& œ œ œ œ œ œ ˙
œœ œœ œœ œœ œœ œœ ˙˙ œ œ œ œ œ œ ˙
T
A 2 2 2 2 2 2 2
B 2
0
2
0
2
0
2
0
2
0
2
0
2
0
0 0 0 0 0 0 0
[9]
# N.C.
& œ œ
˙ œ ˙ œ œ ˙ œ œ œ ˙
T
A
B 0
3 2 0
3
0
0
3 2 0
3 0
[13]
LET’S ROCK 3
BAND PIECES
INDIE
‘UNDER THE RADAR’
q = 90 Indie
#
& 44 œ
Em G C Em
œ œ œ ˙ ˙ œ œ ˙ ˙. Œ

T 0
2 0 2
0
0 0 2 0
A 2
B
# ww ˙˙ œœ œœ ww w
G C G
& w ˙ œ œ w ww
3 0 0 0 0 3
T 0
0
1
0
1
0
1
0
1
0
0
0
A
B
[5]
# œ œœ œœ œœ œœ œœ w
Em C Em G
& œœœ œœ Ó œ œ Ó œœ œœ Ó ww
0 0 0 0 0 0 3
T 0
0
0
0
1
0
1
0
0
0
0
0
0
0
A 2 2 2 2
B
[9]
#
Em G C Em
& œ œ œ œ ˙ ˙ œ œ œ œ ˙.
Œ
T 0
2 0 2
0
0 0 2 0
A 0 2
B
[13]
4 LET’S ROCK

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What are the main sections covered in the book?

What are the main sections covered in the book?

What are some of the styles of music covered in the lessons?

What are some of the styles of music covered in the lessons?

www.rslawards.

Published by Rockschool Ltd. © 2013

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

ELECTRIC GUITAR & AMPLIFIER

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

STRAP 1 LARGE BODY

These are usually ‘bass’, ‘middle’

and ‘treble’. Adding more bass

makes your guitar sound warmer and

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

GUITAR of your guitar and use your

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

2 Move your wrist in a

1 Place your left hand around the

2 Press your first (pointing)

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

4 Strike the string following

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

q =110 Electronic THE STAVE

THE NOTES make up your own. The spaces

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

that follow later in this book will B

Music notation was first used in

discovered in Syria on a clay tablet

NOTE VALUES REST VALUES

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

Quarter-note 1 beat each Quarter-note rest 1 beat each

Eighth-note ½ beat each Eighth-note rest ½ beat each

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

N ow you understand how your instrument works

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

playing riffs using simple rhythms

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

Example 1 RIFF USING THE E & G NOTES

Example 2 RIFF ACCENTING THE STRONG BEAT OF THE BAR

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

Example 3 RIFF USING HALF NOTES

the two note values you learned in part 1

WHAT YOU WILL LEARN

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

Example 1 RIFF COMBINING HALF NOTES & QUARTER NOTES

Example 2 MELODY USING FOUR NOTES

Example 3 MELODY USING FOUR NOTES

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

Example 4 ‘ROCK CITY’ BARS 3–4

This introduction to pop guitar covers rests and there

RSL-532748037650 / 1 / Hum & Strum Music School / [email protected]

© RAUCHWETTER / DPA / CORBIS

rhythms and melodies that music notation these silences are

Example 1 RIFF WITH RESTS ON BEAT THREE

Example 1 RIFF USING THE E & G NOTES

Example 2 RIFF ACCENTING THE STRONG BEAT OF THE BAR

Example 3 RIFF USING HALF NOTES

Example 1 RIFF COMBINING HALF NOTES & QUARTER NOTES

Example 2 MELODY USING FOUR NOTES

Example 3 MELODY USING FOUR NOTES

Example 4 ‘ROCK CITY’ BARS 3–4

Example 1 RIFF WITH RESTS ON BEAT THREE

Example 2 RIFF USING F NOTE WITH RESTS

Example 3 MELODY USING C NOTE & RESTS

Example 1 MELODY WITH a D NOTE

Example 2 MELODY USING WHOLE NOTES

Example 3 RIFF COMBINING NOTE VALUES

Example 4 ‘PARTY PEOPLE’ BARS 13–16

Example 1 MELODY USING E NOTE

Example 2 MELODY USING HALF-NOTE RESTS

Example 3 MELODY WITH F NOTE & TWO-BEAT REST

Example 1 MELODY USING G NOTE

Example 2 MELODY USING DOTTED HALF NOTE

Example 3 MELODY USING THE A NOTE

Example 4 ‘ROAD TO NASHVILLE’ BARS 5–8

Example 1 HOW TO MAKE A POWERCHORD

Example 2 RIFF USING A5 POWERCHORD

Example 3 RIFF USING E5 & A5 POWERCHORDS

Example 1 RIFF USING F# NOTE

Example 2 RIFF USING A KEY SIGNATURE

Example 3 RIFF COMBINING POWERCHORDS & SINGLE NOTES

Example 4 ‘LEAD BOOTS’ BARS 13–16

Example 1 MELODY USING B & C NOTES

Example 2 MELODY USING ALTERNATE PICKING

Example 3 MELODY USING ALTERNATE PICKING & D NOTE

Example 1 MELODY USING B, C & D NOTES

Example 2 MELODY USING E NOTE

Example 3 RHYTHM PART USING C CHORD

Example 4 ‘PARKA LIFE’ BARS 5–8

Example 1 Riff using G & F# notes

Example 2 Rhythm part with G chord

Example 3 Rhythm part with two chords

Example 1 RHYTHM PART WITH E MINOR CHORD

Example 2 RHYTHM PART WITH E MINOR & G MAJOR

Example 3 ‘REPRESENT’ BARS 9–16