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____.

---'

ixes

I
2
3

Duality
Deja Vu
Th ird Degree
Funkie Junkie
George's Best
Giant Homer Head

Tuning Notes

8
9

12
13

Duality
DejaVu
Third Degree
Funkie Junkie
George's Best
Giant Homer Head

Tech Exercises

14

Harmonics Study

Quick Study Piece

15

16

Full Mix
Backing Track

17

Test I & Test 2

4
5

Backing Tracks

10
II

Ear Tests

uitar Wi

Rockschool
Welcome to Guitar Grade 7
Guitar Notation Explained

2
3

Pieces:
Duality
Deja Vu
Third Degree
Funkie Junkie
George's Best
Giant Homer Head

4
7
10
14
16
18

Technical Exercises
Quick Study Piece
Ear Tests
General Musicianship 'Questions
The Guru's Guide
Entering Rockschool Exams

22
25
26
27
28
30

ro

-e

me "L G ar G a e

\ \'elcome to the Rockschool Guitar Grade pack. The book and CD contain everything ~ded to play guitar in this grade.
In the book you will find the exam scores in both standard guitar notation and TAB. The accompanying CD has full stereo
mixes of each tune, backing tracks to play along with for practice, tuning notes and spoken two bar count-ins to each piece.
Handy tips on playing the pieces and the marking schemes can be found in the Guru's Guide on page 28. If you have any
queries about this or any other Rockschool exam, please call us on 020 8332 6303, email us at injo@rockschool.co.uk or visit
our website www.rockschool.co.uk. Good luck!

Level3 Requirements for Grades 6, 7 & 8


-:be nine Rockschool grades are divided into four levels. These levels correspond to the levels of the National Qualifications
:?ramework (NQF). Further details about the NQF can be found at www.qca.org.uk!NQF. Details of all Rockschool's
- edited qualifications can be found at www.qca.org.uk!openquals.
G~i.2.r

Grade 7 is part of Level 3. This Level is for those of you who wish to stretch and refine all aspects of your playing at
-aa ed level of technique and musical expression.

Grade 6: in this grade you are developing the confidence of the advanced player across the range of physical and expressive
- -:.~ _ es. You will start experimenting with a range of techniques across a number of musical styles. There is a greater
on personal expression and you will display your own musical personality through ad lib bing and soloing.
Grade 7: in grade you are now confident in your abilities across the range of physical and expressive techniques. You
~
experimenting with a range of these techniques across a number of styles. You will also be comfortable with a range
and time signatures other than common time. Your solos will be musically expressive and you will have the
ce to apply modal ideas in a number of soloing contexts.

Grade 8: you will play effortlessly with a wide range of physical and expressive techniques at your command. You will be able
o e - ese at will across a range of styles and musical contexts. You will be comfortable playing pieces employing a number
o= ;:=eren time ignatures (including changes from bar to bar) and you will display mastery of a number of musical styles.
Yo r olo ' ill be highly musical and employ techniques across the range. You will also be highly sensitive to all aspects of
m
presentation.

Guitar Exams at Grade 7


There are two typ es of exam that can be taken usirig this pack: a Grade Exam and a Performance Certificate.
Guitar Grade 7 Exam: this is for players who want to develop performance and technical skills
Players "ishing to enter for a Guitar Grade 7 exam need to prepare three pieces of which one may be a free choice piece
chosen from outside the printed repertoire. In addition you must prepare the technical exercises in the book, undertake
quick study piece, take an ear test and answer general musicianship questions. Samples of these tests are printed in the book
along with audio examples on the CD.
Guitar Grade 7 Performance Certificate: this is for players who want to focus on performing in a range of styles
To enter for your Guitar Grade 7 Performance Certificate you play pieces only. You can choose any five of the six tunes
printed in this book, or you can choose to bring in up to two free choice pieces as long as they meet the standards set out by
Rockschool. Free choice piece checklists for all grades can be found on the Rockschool website: www.rockschool.co.uk.

o a on
THL ILSICAL IAYE
s.llm.-s pitches and rhythms
and is dmded by lines into
bars.. Pitches are named after
the first seven letters of the
alphabet.

Xotes:
EF

..

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F~

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Am

2
3
2
0

0
1
2
2
0

Strings:
E

TABLATURE graphically
represents the guitar
fingerboard. Each horizontal
line represents a string, and
each number represents a fret.

G
D

A
E

'

4th string, 2nd fret

Open D chord

Ad lib. and ront sim.. sa.~


are shown in slash notl!I!ou

Rhythm notation with


suggested fingering

Definitions For Special Guitar Notation


HAMMER ON: Pick the lower note,
then sound the higher note by
fretting it without picking.

PULL OFF: Pick the higher note then


sound the lower note by lifting the
finger without picking.

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two bracketed notes by hammering
on and pulling off.
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c
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GLISSANDO: A small slide off of a note VIBRATO: Vibrate the note by bending
toward the end of its rhythmic duration. and releasing the string smoothly
Do not slide 'into' the following noteand continuously.
subsequent notes should be repicked.
I

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..-/I

.-/1\

STRING BENDS: Pick the first n~ ~


bend (or release the bend) to the _- -"indicated in brackets.
-

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SLIDE: Pick the first note, then slide


to the next with the same finger.

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NATURAL HARMONICS: Lightly ax= :u.c


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PINCHED HARMONICS: Bring the


thumb of the picking hand into
contact with the string immediately
after the pick.

PICK HAND TAP: Strike the indicated


note with a finger from the picking
hand. Usually followed by a pull off.

FRET HAND TAP: As pick hand tap,


but use fretting hand. Usually
followed by a pull off or hammer on.

QUARTER TONE BEND: Pic,'- the=


indicated and bend the string up
by a quarter tone.
1/4

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114

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A

....

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PRE-BENDS: Before picking the note,
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between the staves, to the equivalent
pitch indicated in brackets in the TAB

WHAMMY BAR BEND: Use the


whammy bar to bend notes to the
pitches indicated in brackets in the TAB

II

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This music co_

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e
o
e examiner \\ill ask you to play a selection of exercises drawn from each of the three groups shown below.
Gro - _-\. and B contain examples of the kinds of scales/modes and arpeggios you can use when playing the pieces. Group
C ontains a chord study. In Group D you will be asked to prepare the exercise shown and play it to the backing track on the
CD. You do not need to memorise the exercises (and can use the book in the exam) but the examiner will be looking for the
speed of your response. The examiner will also give credit for the level of your musicality.
Group A should be prepared in the following keys: chromatically from G- B, root note 6th string. Group B should be
prepared in the following keys: chromatically from C-E, root note 5th string. The modes should be played as three
consecutive scales: lydian/mixolydian/aeolian. Groups A, Band C should be played at J=70. The examiner will give you
this tempo in the exam.

Group A: Scales & Modes: root note 6th string


1. Lydian mode. G Lydian mode shown.

~~~--------------------------2==4--2==3==5 --:2--3--2--5==3==2 --4~


---2------------------------------~
~~
2- -4- -5

5- -4- -2

2. Mixolydian mode. A Mixolydian mode shown.


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3. Aeolian mode. B Aeolian mode shown.

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4. Chromatic scales. A Chromatic scale shown.

5. Whole tone scale. G Wholetone scale shown.


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2. Minor 7 arpeggios. D minor 7 arpeggio shown.

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3. Dominant 7 arpeggios. E dominant 7 arpeggio shown.

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12
7

7
11

11

4. Diminished 7 triplet arpeggios. C diminished 7 arpeggio shown.


I

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ore equen es hm 11 below.


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Prepare in the keys G- B

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7

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5
5
5
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4
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2. Sequence 2. Prepare in the keys C- E


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fl

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3
4
3
5
3

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5
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Group D: Harmonics study


In the exam you will be asked to play the following harmonics study to the CD backing track. The tempo is J= 70 .
=80

61
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3 - - - - - - - - - - - - - - L -2 - -- - - - - - - - - - - -

II

II

Quic-

ce

At this grade ,au\ i [ be asked to prepare a short Quick Study Piece (Q P) '-hich 'ill be given -'"or ;o o ~ !:"92-fe- ~~ ~.___:
20 minutes before entering the exam room. You should be prepared to play a Q P in any of e folio '- g .
rock, funk or jazz. The QSP is in the form of a lead sheet and it is up to you to create your mm interpretation o-- e- ___::particularly where you have to compose and perform your own part. You will then perform the piece to a ba - g tr2.C.!- the exam.
The QSP will be in standard notation and TAB and you are required to master your version of the piece "i ' given. Printed below is an example of the type of QSP you are likely to receive in the exam. The CD contains an
version and a backing track.

:,~~a

J =100 Pop Rock

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E
There are h -o ear tests in this grade. The examiner will play each test to you twice on CD. You will find one example of each
type of test you "ill be given in the exam printed below.

Test 1: Melodic Recall


You will be asked to play back on your guitar a melody of four bars composed from either the G, A or B aeolian mode. The
test may include hammer-ons, pull-offs, vibrato, slides and bends with vibrato. You will be given the tonic note and you
will hear the test twice with a drum backing. There will be a short break for you to practise the test and then the test will
recommence. You will play the melody with the drum backing. This test is continuous. The tempo is J= 90.

eu-

BU

7 1o-{1

11

11

Test 2: Chord and Rhythm Recall


You will be asked to play back a four bar rhythmic chord progression on your guitar. You will be told the tonic chord and
hear the rhythmic chord progression played twice with a drum backing. There will then be a short break for you to practise
and then the test will recommence. You will be required to play the rhythmic chord progression with the drum backing.
This test is continuous. The tempo is J= 80.
Cmaj 9

1,~ ill=

r c1rr

Dm 9

Am 9

Eff

CJ

Am 9

Gg

0'

[Jff

=II

General . .

estio

You will be asked five General _ I ician hip Questions at the end of the exam. The ex
er
pieces you have played in the exam. Some of the theoretical topics can be found in the Technical Exer es.

Topics:
i)
ii)
iii)

Music theory
Knowledge of your instrument
History and styles

The music theory questions will cover the following topics at this grade:
Any and all music signs as displayed on the staff
Knowledge of the construction of major 9 and minor 9 chords in keys of G-B
Knowledge of the derivation and construction of the following scales:
Lydian, Mixolydian and Aeolian modes
Wholetone scale

The instrument knowledge questions will cover the following topics at this grade:
All aspects of guitar construction
Use of appropriate tone and volume controls for different styles

The history and styles questions will cover the following topics:
Instrument types associated with famous players
Styles associated with famous players
History of style development
Impact of famous players on playing styles

Questions on all these topics will be based on pieces played by you in the exam. Tips on how to approach this ar.: - :.-:::-=
exam can be found in the Rockschool Companion Guide and on the Rockschool website: www.rockschool.co. uk.

eG

sG

e To Guitar Grade -

This section contains some handy hints compiled by Rockschool's Guitar Guru to help you get the most out of the
performance pieces. Do feel free to adapt the tunes to suit your playing style. Remember, these tunes are your chance to
show your musical imagination and personality.
The TAB fingerings are suggestions only. Feel free to use different neck positions as they suit you. Please also note that any
solos featured in the full mixes are not meant to be indicative of the standard required for the grade.

Guitar Grade 7 Tunes


Rockschool tunes help you play the hit tunes you enjoy. The pieces have been written by top pop and rock composers and
players according to style specifications drawn up by Rockschool.
The tunes printed here fall into two categories. The first category can be called the 'contemporary mainstream' and features
current styles in to day's charts. The second category of pieces consists of 'roots styles', those classic grooves and genres which
influence every generation of performers.
CD full mix track I, backing track 8: Duality

This funk track is an exercise in fast sixteenth note picking, both single and double stops and with ghost notes, palm muting
and off-beat rhythms. This piece will undoubtedly gain from experiments in dynamic colouring and the use of additional
effects would also enhance the excitement as well. The bridge section is, by contrast, spacious and melodic and played
entirely in a mixture of natural and artificial harmonics. There is a sixteen bar solo which you should use to develop some of
the rhythmic ideas contained in the piece.
Composers: Simon Troup & Joe Bennett.
CD full mix track 2, backing track 9: Deja Vu

Southern Boogie is a style typified by bands such as Lynyrd Skynyrd and ZZ Top. Ideally it should be played in a no
nonsense fashion with as dirty a sound as possible. This song begins with a driving riff which should be played cleanly and
loud, not forgetting the bends, slides and vibrato. Develop the riff as you see fit. The rhythmic 7I 4 - 4/4 repeated section is
followed by a challenging double stop section played with slides, ghost notes and vibrato on alternate strings. The solo gives
you the opportunity to really let rip. Then it's round once more and home to a very challenging coda section.
Composer: Hussein Boon.
CD full mix track 3, backing tack 10: Third Degree

This song is Rockschool's tribute to Edward (never Eddie) Van Halen, whose eponymous 1978 album changed the face of
guitar playing. In particular, Van Halen made tapping and sweep picking the must have techniques for guitarists. This song
is a veritable tapping, whammy bar effect and sweep picking fest and much more besides. At four pages and 3:38 it's one of
the longest songs in the repertoire we publish. It will take something of a master to bring it off successfully.
Composer: Jimi Savage.
CD full mix track 4, backing track 11: Funkie Junkie

This funk piece is an exercise in moving syncopated double stops around the fretboard. The song requires accuracy
and sensitivity to be convincing The opening is played quietly before moving to a more moderately loud volume for the
odulation. The sixteenth note chord rhythms should be played loudly. The single note run in the first time bar after these
- ords has a challenging sextuplet pattern that will require practice to get right. The solo allows ample opportunity to play a
:cnue of scales and arpeggios.
Co poser: Deirdre Cartwright.

CD

mix

This jazz blu


re o George Ben on who in la er e ac
~e -a .:roo-cr :pla)ing heir to the
.Tes ~fontgommery. This piece hould be played ,,ith hould be clearly art:i ated and fully voiced, particularly the sixteenth note run in bar . -:he r yt:
syncopated and should be played with the right degree of expression, taking care of the accents and the st:ac.czo.
around the changes should demonstrate your command of jazz chops and extended chords.
Composer: Steve Wrigley.
CD full mix track 6, backing track 13: Giant Homer Head

Prog rock was a style of music popular with hippies in the early 1970s. In truth, the world of hobbits, King Art
moon's dark side has never really gone away. This song needs to be played with sensitivity and sostenuto, the
the notes glide effortlessly: some form of echo effects pedal will be very useful here. Certainly the key to success
ability to create a sense of atmosphere. Now where is that King Crimson album ........ ?

Composer: Simon Troup.


CD Musicians:

Guitars: Simon Troup; John Parricelli; Keith Airey; Jimi Savage; Hussein Boon; Deirdre Cartwright
Bass: Henry Thomas
Drums: Noam Lederman
Keyboards and programming: Alastair Gavin

Guitar Grade 7 Marking Schemes


The table below shows the marking scheme for the Guitar Grade 7 exam.
ELEMENT

PASS

MERIT

DISTINCTIOX

Piece 1

13 out of20

15 out of20

l'l+ out oLC

Piece 2

13 out of20

15 out of20

17+ out of _o

Piece 3

13 out of20

15 out of20

17+ outoLO

Technical Exercises

6 out of 10

7- 8 out of 10

9+ out of 0

Quick Study Piece

11 out of 15

12-13 out of 15

14+ out of :

Ear Tests

6 out of 10

7- 8 out of 10

9+ out of 10

General Musicianship Questions

3 out of 5

4 out of 5

5 out of -

Total Marks

Pass:65%+

Merit:75%+

Distinction: 850V:--

The table below shows the markings scheme for the Guitar Grade 7 Performance Certificate.
ELEMENT

PASS

MERIT

Piece 1

14 out of20

16 out of20

18-'- our o: _

Piece 2

14 out of20

16 out of20

1 -'- out of _o

Piece 3

14 out of20

16 out of _Q

"'"

Piece 4

14 out of20

- 6 ou o - _o

Piece 5
Total Marks

Pass: 70

- ou o- _
- o

o:=.

Entering a Rockschool exam is easy. Please read through these instructions care" 1- before ~
e eX2.ID
Information on current exam fees can be obtained from Rockschool by ringing 020 8332 6303 or by ~oo
website www. rockschool. co. uk.

er:~

You should enter for your exam when you feel ready.
You can enter for any one of three examination periods. These are shown below with their closing dates.
PERIOD

DURATION

CLOSING DATE

Period A

1st February to 15th March

1st December

PeriodB

l't May to 31st July

1't April

PeriodC

23rd October to 15th December

1't October

These dates will apply from 1st September 2006 until further notice

Please complete the form giving the information required. Please fill in the type and level of exam, the instrument, alo
with ~he period and year. Finally, fill in the fee box with the appropriate amount. You can obtain up to date information
all Rockschool exam fees from the website: www.rockschool.co.uk. You should send this form with a cheque or postal or
(payable to Rockschool Ltd) to the address shown on the order form. Please also indicate on the form whether or not
would like to receive notification via email.
Applications received after the expiry of the closing date may be accepted subject to the payment of an additional fee.
When you enter an exam you will receive from Rockschool an acknowledgement letter or email containing a copy of o
exam regulations.

Rockschool will allocate your entry to a centre and you will receive notification of the exam, showing a date, location aJJ
time as well as advice of what to bring to the centre. We endeavour to give you four weeks' notice of your exam.

You should inform Rockschool of any cancellations or alterations to the' schedule as soon as you can as it is usually n
possible to transfer entries from one centre, or one period, to another without the payment of an additional fee.

Please bring your music book and CD to the exam. You may not use photocopied music, nor the music used by someon
else in another exam. The examiner will sign each book during each examination. You may be barred from taking an exaJ
if you use someone else's music.
You should aim to arrive for your Grade 7 exam thirty minutes before the time stated on the schedule.

Each Grade 7 exam is scheduled to last for 30 minutes. You can use a small proportion of this time to tune up and g
ready.

Two to three weeks after the exam you will receive a copy of the examiner's mark sheet. Every successful player will receiY
a Rockschool certificate of achievement.

30