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Backing Tracks

Tech Exercises

I
2
3
4
5
6

Fake To rto ise


Jet Blac k Camel
Martha's Park
Night Bus
Blue Phones
Glitter Ballz

Tuning Notes

8
9
10
II
12
13

Fake Tortoise
Jet Black Camel
Martha's Park
Night Bus
Blue Phones
Glitter Ballz

14

Riff

Improvisation &
Interpretation
15
16

With Chords
With Lead

Ear Tests

Test I & Test 2

17

e e

Welcome to Guitar Grade 2


Guitar Notation Explained
Pieces:
Fake Tortoise
Jet Black Camel
Martha's Park
Night Bus
Blue Phones
Glitter Ballz

2
3

5
6

8
9

Technical Exercises
Sight Reading
Improvisation & Interpretation
Ear Tests
General Musicianship Questions
The Gurus Guide
Entering Rockschool Exams

rockschool
www.rockschool.co. uk

10
12
13
14

15
16
18

\ -el orne -o

e Rocks ool Guitar Grade 2 pack. The boo'- <LJ.- CD

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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 16. 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!
QUitar

In the book you "ill find the exam scores in both standard guitar o- on an L\B. The accompanying CD has fu.;_;_

Levell Requirements for Grades 1, 2 & 3


The nine Rockschool grades are divided into four levels. These levels correspond to the levels of the National Qualifications
Framework (NQF). Further details about the NQF can be found at www.qca.org.uk!NQF. Details of all Rockschool's
accredited qualifications can be found at www.qca.org.uk/openquals.
Guitar Grade 2 is part of Level 1. This Level is for players who are just starting out and who are looking to build a solid
technical and stylistic foundation for their playing.
Grade 1: a player of Grade 1 standard should be able to play up to 32 bars of music using first position chords and melodies
composed of whole, half, quarter and eighth notes and associated rests, tied notes, and dotted half and quarter notes.
Performances should include basic legato and staccato playing where marked.
Grade 2: in this grade you are beginning to acquire a range of physical and expressive techniques, including palm muting
and the use of double stops on adjacent strings, simple legato and staccato and slides, as well as simple dynamics. In this
grade you will also begin to work on your stylistic appreciation.
Grade 3: this grade continues the foundation work started in Grade 2. As a player you will be encountering syncopated
eighth and sixteenth note strumming as well as developing the palette of expressive techniques to include fretting hand and
whammy bar vibrato, hammer ons and pull offs, slides and simple bends. The pieces of music are now ~anger, covering two
pages and you should be developing your stylistic awareness, taking into account amp settings for each song.

Guitar Exams at Grade 2


There are two types of exam that can be taken using this pack: a Grade Exam and a Performance Certificate.
Guitar Grade 2 Exam: this is for players who want to develop performance and technical skills

Players wishing to enter for a Guitar Grade 2 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
either a sight reading test or an improvisation & interpretation test, 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 2 Performance Certificate: this is for players who want to focus on performing in a range of styles

To enter for your Guitar Grade 2 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.

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Ad lib. and cont. sim. sections

Rhythm notation with


suggested fingering

are shown in slash notation

Definitions For Special Guitar Notation


IER ON: Pick the lower note,
soo.nd the higher note by
"it without picking.

PULL OFF: Pick the higher note then


sound the lower note by lifting the
finger without picking.

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SLIDE: Pick the first note, then slide


to the next with the same finger.

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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: Pick the note


indicated and bend the string up
by a quarter tone.
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two bracketed notes by hammering
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Go back to the sign (%), then play until


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In this section, the examiner \\ill ask you to play a selection of exercises drawn from each of the ti:rree groups o :n
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Groups A and B contain examples of the kinds of scales and chords you can use when playing the pieces. In Group C you

will be asked to prepare the exercise and play it to the CD backing track. You do not need to memorise the exercises (and
can use the book in the exam) but the examiner will be looking for the speed of your response. The examiner will also give
credit for the level of your musicality.
Groups A and B should be prepared in the keys directed.
Groups A and B should be played at J= 100. The examiner will give you this tempo in the exam.

Group A: Scales
1. Major scales to be prepared in the keys of C and G. G major scale shown

2. Natural minor scales to be prepared in the keys of A and E. A natural minor scale shown.
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3. Minor pentatonic scale to be prepared inC and G. C minor pentatonic shown

Group B: Chords
1. Power chords. The power chords shown below should be played as a continuous exercise

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Group C: Riff
In the exam you will be asked to play the following riff to the backing track on the CD. The riff shown in bars 1 & : ~
be played in the same shape in bars 3- 8. The root note of the pattern to be played is shown in the music in bars 5 -- -_
The tempo is~ = 80.
Cm

Gm

f
5

Cm

3--6

Gm

~e a
oice oen,een either a sigh reading test or an improvisation & interpretation test see fa u
elm- is the type of sight reading test you are likely to encounter in the exam. The piece will be composed
e of either rock or blues. The examiner will allow you 90 seconds to prepare it and will set the tempo for you on a
::;::etronome. The tempo is. = 60.

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an
ro ed e o a aa:ing tra\:K = - _ .:
:y e er rhythmic chords or a melodi lead line. Yo
e
;::rra e through one playing of the test on the CD before pla mg it a econd time for
_ o e bar count in at the beginning and after the practice session. The tempo is . = 60.
~

Blues

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61::

c
2

F
2

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_ne:'e are o ear tes in grade. The examiner' pla each test o ou on CD. You\ i : ~ C. one example of each
of est -ou "ill be gi\ en in the exam printed below.

Test 1: Melodic Recall


You will be asked to play back on your guitar a simple melody of not more than two bars composed from either the C or G
minor pentatonic scales. You will be given the tonic note and told the starting note and you will hear the test twice with a
drum backing. There will then 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.
fl

.. .

II

..

Test 2: Rhythmic Recall


You will be asked to play back the given two bar rhythm on an open E minor 7 chord. You will hear the rhythm played twice
with a drum backing. There will then be a short break for you to practise the test and then the test will recommence and you
will play the rhythm to the drum backing. This test is continuous. The tempo is J= 90.

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1\

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2
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14

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II

II

Topics:
i)
ii)

Music theory
Knowledge of your instrument

The music theory questions will cover the recognition of the following at this grade:
Note pitches
Note values
Rests
Time Signatures
Key Signatures

Dynamic markings (p, mp, mf and f)


Repeat markings
Accents, staccato and vibrato
Hammer on and pull off

Knowledge of the construction of the following chord types:


Major
Minor

The instrument knowledge questions will cover the following topics at this grade:
Plugging into the amplifier and the guitar
Volume and tone adjustments on the guitar
Knowledge of open string names

Knowledge of parts of the guitar:


Fretboard, neck, body, tuning pegs, nut, pickups, bridge, pickup selectors, scratchplate and jack socket

Knowledge of main guitar makes.

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

some andy
om. ed ' .- Ro _-- ' oo s Guiar Gun: o ' e
crorman e _ eces. Do feel free to adapt the tunes to suit your plaJing style. Remember, these
- m -;our musical imagination and personality.

.o

The TAB fingerings are suggestions only. Feel free to use different neck positions as they suit you. Please also note that any
solo featured in the full mixes are not meant to be indicative of the standard required for the grade.

Guitar Grade 2 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 1, backing track 8: Fake Tortoise

This a modern guitar pop track played in a brisk manner and with a bright tone. The opening melody line is played on two
strings simultaneously: one is open and the other fretted. Accurate fingering and picking will be important so that both
notes sound together. Watch also for the tied notes and the syncopations.
Composer: Jason Woolley.
CD full mix track 2, backing track 9: Jet Black Camel

A classic piece of early 90's grunge played mainly in chords. This is a proper picking hand workout, so make sure that you
keep the tempo of the chords even. The demands on the fretting hand are also considerable: watch out for the 'dead' notes,
chords which are fretted over the notes but which aren't sounded. The changes from chord to chord Efor example from the
Asus 2 to the C in bars 5-8) should also be practised until they become second nature and fluent.
Composer: Hussein Boon.
CD full mix track 3, backing track 10: Martha's Park

This is a classic, riff-based blues-rock song. The opening four bar riff is repeated over the A7 chord for the following four
bars and should be played with attack and control. Watch out for the dynamics in bars 9-12 which should build up so that
the last twelve bars are really driven home.
Composer: Joe Bennett.
CD full mix track 4, backing track 11: Night Bus

Ska had a revival in the UK in the wake of punk rock in the late 1970s and The Specials were its most famous exponents.
This song echoes that band's greatest hit, 'Ghost Town', in its use of atmospherics and sparse staccato chord work. The light
and shade effects are produced by the dynamics and the palm muting. This song would benefit from the use of an echo
pedal or similar effects unit.
Composer: John Murphy

16

Co

o er: Jaso ' oolley.

CD full mix track 6, back ing track 13: Glitter Ballz

The last song in the set of six is a homage to 70s Glam Rock and Marc Bolan in particular. This song begins "ith ~ far--trademark stabbed double stop chords, reminiscent of 'Get it On: The opening riff relies on picking hand accurac; onl.- cs
for the most part the theme is played on open strings (although watch out for the end of riff descents in bars 2 and -1). T..:1
remainder of the song continues in similar vein: watch for the dynamics and the palm muting. The final chord shoul e
played loudly and boldly.
Composer: Deirdre Cartwright.
CD Musicians:

Guitars: Deirdre Cartwright; Hussein Boon


Bass: Henry Thomas
Drums: Noam Lederman; Peter Huntington
Keyboards and programming: Alastair Gavin

Guitar Grade 2 Marking Schemes


The table below shows the marking scheme for the Guitar Grade 2 exam.
ELEMENT

PASS

MERIT

DISTINCTION

Piece 1

13 out of20

15 out of20

17+ out of20

Piece 2

13 out of20

15 out of20

17-t- out of20

Piece 3

' 13 out of20

15 out of20

17+ out of20

Technical Exercises

11 out of 15

12-13 out of 15

14+ out of 15

Either Sight Reading


or Improvisation & Interpretation

6 out of 10

7-8 out of 10

9+ out oflO

Ear Tests

6 out of10

7- 8 out of 10

9+ out of 10

General Musicianship Questions

3 out of5

4 out of 5

5 out of 5

Total Marks

Pass:65%+

Merit:75%+

Distinction: 85%+

The table below shows the marking scheme for the Guitar Grade 2 Performance Certificate
PASS

MERIT

DISTINCTION

14 out of20

16 out of20

18+ out of20

Piece 2

14 out of20

16 out of20

18+ out of20

Piece 3

14 out of20

16 out of20

18+ out of20

Piece 4

14 out of20

16 out of20

18+ out of20

Piece 5

14 out of20

16 out of20

18+ out of20

Total Marks

Pass: 70%+

Merit: SO%+

Distinction: 90%+

ELEMENT

Piece 1

>

Entering a Rockschool exam is easy. Please read through these instructions care . be=ore ~
Information on current exam fees can be obtained from Rockschool by ringing 020 8332 6303 or by logging on -o .
website www. rockschool. co.uk.
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

1'1 February to 15th March

1' 1 December

PeriodB

1'1 May to 31'1 July

1'1 April

PeriodC

23rd October to 151h December

1'1 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, along
with the period and year. Finally, fill in the fee box with the appropriate amount. You can obtain up to date information oc:
all Rockschool exam fees from the website: www.rockschool.co.uk. You should send this form with a cheque or postal order
(payable to Rockschool Ltd) to the address shown on the order form. Please also indicate on the form whether or not yon
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 our
exam regulations.
Rockschool will allocate your entry to a centre and you will receive notification of the exam, showing a date, location and
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 not
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 rriay not use photocopied music, nor the music used by someone
else in another exam. The examiner will sign each book during each examination. You may be barred from taking an exam
if you use someone else's music.
You should aim to arrive for your Grade 2 exam fifteen minutes before the time stated on the schedule.
Each Grade 2 exam is scheduled to last for 15 minutes. You can use a small proportion of this time to tune up and geready.
Two to three weeks after the exam you will receive a copy of the examiner's mark sheet. Every successful player will recei...-e
a Rockschool certificate of achievement.

:;_=-

shed by:

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www.rockschool.co.uK
Printed by:

Caligrav1ng Ltd, Unrted Kingdom

CDs manufactured by:

brandedmedia Ltd, United Kingdom

Compiled & edited by:

j eremy Ward, Simon Pitt & Simon Troup

Syllabus consultants:

Deirdre Cartwright, Darryl Golding, Noam Lederman,


And rew Moore, H enry T homas & jason Woolley

Audio executive producers:

Jeremy Ward & Alastair Gavin

Audio producer:

Alastair Gavin

Audio engineer:

Matt Gendreau

Additional mixing:

Kevin Paul & Dave Greenep

Recorded at:

University ofWestminster & Mute Studios London

Guitars:

Keith Airey, Deirdre Cartwright, Kit Morgan, john Parricelli,


Jimi Savage, & Simon Troup

Bass:

Henry T homas & Jason Woolley

Drums:

George Gavin, Peter Hunt ington & Noam Lederman

Keyboards & programming:

Alastair Gavin

Mastered by:

Phil Scragg

Music processing & book layout:

Simon Troup & jennie Troup of www.digitalmusicart.com

Cover design:

Gillian Harding of www.fuelcreativity.com

Cover photography:

Max H amilton & Gillian Harding

l " :ur Guarantee of Quality


As publishers we strive to produce every book to the highest commercial
standards. The music has been freshly engraved and the book has been carefully

I designed to minimise awkward page turns and to make playing from it a real
pleasure. Particular care has been given to specifying acid free, neutral -sized paper
made from pulps which have not been elemental chlorine bleached. T he pulp is
from farmed sustainable fo rests and produced with special regard for the
environment. Throughout t he printing and binding have been planned to ensure a
sturdy, attractive publication which should give you years of enjoyment. If your
copy fails to meet our high standards, please inform us and we wi ll gladly replace it.

Warning
Unauthorised reproduction of any part of this publication by any means, including
photocopying, is an infringement of copyright.

RSK020603
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