CK s GS

Full Mixes I Big Big Big

2 PMA
3 Mud Pie
4 Musement Park
5 One By One
6 September Chill
7 Tuning Notes
Backing Tracks 8 Big Big Big
9 PMA
10 Mud Pie
II Musement Park
12 One By One
13 September Chill
Tech Exercises 14 Tapping Study
Quick Study Piece 15 Full Mix
16 Backing Track
Ear Tests 17 Test I & Test 2
e e
uitar Wit
Rockschool
Welcome to Guitar Grade 6
Guitar Notation Explained
Pieces:
Big Big Big
PMA
Mud Pie
Musement Park
One By One
September Chill
Technical Exercises
Quick Study Piece
Ear Tests
General Musicianship Questions
The Gurus Guide
Entering Rockschool Exams
rock - oo

2
3
4
6
10
12
14
17
20
23
24
25
26
28
elcome To
' - come to the Rockschool Guitar Grade 6 pack. The book and CD contain everything needed to play guitar in this grade.
:=:: ::.::e ok you will find the exam scores in both standard guitar notation and TAB. The accompanying CD full stereo
e, backing tracks to play along with for practice, tuning notes and spoken two bar coun-- o each piece.
::. _?r the pieces and the marking schemes can be found in the Guru's Guide o " _ . have any
- er Rocr chool exam, please call us on 0845 460 47 47 co. uk or visit
o the le cls of the National Qualifications
.qca.org.uk!NQF. Details of all Rockschool's
G i:a.f Grade 6 is part ot LeYel 3. Level is for those of you who wish to stretch and refine all aspects of your playing at
;::: ' anced 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
ques. You will start experimenting with a range of techniques across a number of musical styles. There is a greater
is on personal expression and you will display your own musical personality through ad lib bing and soloing.
e 7: in this 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
'.:: ence to apply modal ideas in a number of soloing contexts.
8: you will play effortlessly with a wide range of physical and expressive techniques at your command. You will be able
- - ese at will across a range of styles and musical contexts. You will be comfortable playing pieces employing a number
: time signatures (including changes from bar to bar) and you will display mastery of a number of musical styles .
. o....r olos will be highly musical and employ techniques across the range. You will also be highly sensitive to all aspects of
presentation.
Gui:ta:r Exams at Grade 6
are two types of exam that can be taken using this pack: a Grade Exam and a Performance Certificate.
Guitar Grade 6 Exam: this is for players who want to develop performance and technical skills
?' ,ycrs " ishing to enter for a Guitar Grade 6 exam need to prepare three pieces of which one may be a free choice piece
from outside the printed repertoire. In addition you must prepare the technical exercises in the book, undertake
' -study piece, take an ear test and answer general musicianship questions. Samples of these tests are printed in the book
..:.:.ono 1 j th audio examples on the CD.
Guitar Grade 6 Performance Certificate: this is for players who want to focus on performing in a range of styles
-=- ::er for your Guitar Grade 6 Performance Certificate you play pieces only. You can choose any five of the six tunes
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
? - -- ool. Free choice piece checklists for all grades can be found on the Rockschool website: www. rockschool. co. uk.
G tar ... otatio
THE CAl S'IAYI
_ es and rhythms
=Cis dirided by lines into
::2..-s.. Pitd:tes are named after
= se..-en letters of the

HIIL--ITURE graphically
:epresents the guitar
Each horizontal
line represents a string, and
each number represents a fret.
Kotes:
EF


Strings:
E
B
G
D
A
E
e
"'

2
'
4th string, 2nd fret
D

u
2
3
2
0
OpenD chord
Am
I I I I
0
1
2
2
0
Rhythm notation with
suggested fingering
I
F
II
II
II
II
Ad lib. and cont. sim. sections
are shown in slash notation
Definitions For Special Guitar Notation
HAMMER ON: Pick the lower note,
then sound the higher note by
fretting it without picking.

II
GI.JSS_\_'fl)O: A small slide off of a note
<a.-d the end of its rhythmic duration.
Do no;: slide 'into' the following note -
notes should be repicked.

J
?
"
t.J
i
2"'
'
4 " 7
-
P THill HARMONICS: Bring the
::2::=D of the picking hand into
\\ith the string immediately
..:"= the ?ick.

F
r
r ..
"'
PH------- 1
II
II
II
Before picking the note,
--a from the fret indicated
:'::e s:::rres, to the equivalent
brackets in the TAB

---......
I!
r
II
"
BD

II
II

l.l
B
-.
PULL OFF: Pick the higher note then
sound the lower note by lifting the
finger without picking.

-
@.)
I
T
_,..-.._
!
1---5-
L1
....
J
""'
VIBRATO: Vibrate the note by bending
and releasing the string smoothly
and continuously.

A
....
PICK HAND TAP: Strike the indicated
note with a finger from the picking
hand. Usually followed by a pull off.
WHAMMY BAR BEND: Use the
whammy bar to bend notes to the
pitches indicated in brackets in the TAB

-
SLIDE: Pick the first note, then slide
to the next with the same finger.

I I
@.)
T
!
2--=---===-4
L1
.....
c
-..
TRILL: Rapidly alternate between the
two bracketed notes by hammering
on and pulling off.
.....
.._..
@.)
tr. ....................
T
-----

'
....
u
""'
FRET HAND TAP: As pick hand tap,
but use fretting hand. Usually
followed by a pull off or hammer on.
#
D.KalCoda
D.C. al Fine
II: :! I

I I
STRING BENDS: Pick the first note then
bend (or release the bend) to the pitch
indicated in brackets.
BU 80
n - -tT! __ 5--{ 6 )---{ 5 >---il
NATURAL HARMONICS: Lightly touch the
string above the indicated fret then
pick to sound a harmonk.
QUARTER TONE BEND: Pick the note
indicated and bend the string up
by a quarter tone .
1/4
t I
@.)
I

T ..
5
II
L1 II
-.... 7
II
c II
-..
Go back to the sign ():!), then play until
the bar marked To Coda then s...lctp to
the section marked Coda .
Go back to the beginning of the so 2.0C
play until the bar marked Fme end .
Repeat bars between signs.
F4
L
I'
L
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N.C.
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7
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t All palm muting 1s very light
o9
r
t
Am
J
J


J
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E
f
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p

I
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5
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4-5--5 7
6 7
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8
6 7

6----ii-6--6
EriE
5
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5
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5
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7 5
4- 7
7
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toneckp/u

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_____
Observe contrast between vibrato and non-vibrato bends
_., - - - -
I I
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BU
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BU
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13
15
ll
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a

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Guitar Solo
Fmaj
7
14
16
-,.
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7 7
7 7
p Grad. cresc. through solo
12
14-{15
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BU BD BU BDBU BD
12{137 -{12J(13'K12J(13J(12
7
7
7
7
7
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13
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13
14
Am

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12
14 14
15
7
7
7
z /
7
2
7
2
7
7
Fmaj
7
N.C.

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7 7 7
I
7 7 7 7
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p ----------- ---------- ---- 1
7
z
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12-13-4
13
14
15
I
to bridge p/u
Play 3 t.i7Jes
7
2 / :JI
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Bm
7
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7
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ttt Tapped harmonics, tap frets
where indicatied to sound harmonic
r r 2
7 7 7
r r z
7
2
7
7
7
2
7
2 /
7
2
7 7 7
r r 2
7 7 7
r r z
7 7 7
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16-{17 16--14
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10
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In this section, the examiner will ask you to play a selection of exercises drawn from each of the three groups shown below.
Groups A and B contain examples of the kinds of scales/modes and arpeggios you can use when playing the pieces. Group
C contains a chord study. In Group D you will be asked to prepare the exercise shown 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 following keys: chromatically from G-B and all have their root note on the 6th
string. The modes should be played as two consecutive scales: Ionian/Dorian or Dorian/Phrygian. Groups A, B and C should
be played at J = 60. The examiner will give you this tempo in the exam.
Group A: Scales & Modes
1. Ionian mode. G Ionian mode shown.
4-5-7
2. Dorian mode. A dorian mode shown.
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4. Diminished scales. A diminished scale shown.
8---9 11 12 12-11 9---8
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5. Harmonic minor scale. Bb harmonic minor scale shown
Group B:
1. _ Iajor; :.G- . - c"""J a shown.
2. Minor

arpeggios. A minor arpeggio shown.
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Group D: Tapping Study
In the exam you will be asked to play the following tapping study to the CD backing track. The tempo 100.
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At this grade you "ill be -- to prepare a short Quick Study Piece (QSP) which "ill be giYen for you to prepare
20 minutes before entering the exam room. You should be prepared to play a QSP in any of the followin
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rock, funk or jazz. The QSP is in the form of a lead sheet and it is up to you to create your own interpretation of e
particularly where you have to compose and perform your own part. You will then perform the piece to a backina ua
the exam.
The QSP will be in standard notation and TAB and you are required to master your version of the piece ;\ithin e
given. Printed below is an example of the type of QSP you are likely to receive in the exam. The CD contains an i
version and a backing track.
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Ear Tests
There are two ear tests in this grade. The examiner will play each test to you twice on CD. You will fmd one example of each
type of test you will be given in the exam printed below.
Test 1: Melodic Recall
You will be asked to play back on your guitar a melody of not more than four bars composed from either the G, A or B
ionian 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 and bass 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 = 80.
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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 tlie 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 play the rhythmic chord progression with the drum backing. This test is
continuous. The tempo = 80.
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Ge uestio s
You will be asked fu-e General Questions at the end of the exam. The examiner will ask questio o::: c.
pieces or pieces you have played in the exam. Some of the theoretical topics can be found in the Technical Exer
Topics:
i) Music theory
ii) Knowledge of your instrument
The music theory questions will cover the following topics at this grade:
Knowledge of all music signs as displayed on the staff
Knowledge of the construction of the following scales and arpeggios:
Modes of the major scale: dorian & phrygian
Harmonic minor scale
Diminished scale
Major
7
arpeggios
Diminished arpeggios
Minor
5
arpeggios
The instfument knowledge questions will cover the following topics at this grade:
All aspects of guitar construction
Recognition of main guitar makes
Recognition of main guitar amplifiers
Use of appropriate tone and volume controls for different styles
Questions on all these topics will be based on pieces played by you in the exam. Tips on how to approach this part o= --::
exams can be found in the. Rockschool Companion Guide and on the Rockschool website: www.rockschool.co.uk.
TheG Guide To G ar Gra e 6
This section contains some handy hints compiled by Rockschool's Guitar Guru to help you get the mo ou- o: -
performance pieces. Do feel free to adapt the tunes to suit your playing style. Remember, these tunes are your chance
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
solos featured in the full mixes are not meant to be indicative of the standard required for the grade.
Guitar Grade 6 Tunes
Rockschool tunes help you play the hit tunes you enjoy. The pieces have been written by top pop and rock composers a::J
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 feature
current styles in today's charts. The second category of pieces consists of'roots styles', those classic grooves and genres whi
influence every generation of performers.
CD full mix track I, backing track 8: Big Big Big
A Latin track in the style of Carlos Santana. This piece requires considerable control to pull off on account of the sparSI
nature of the backing track which leaves no room for error. The initial guitar figure is played with a palm mute and
bends need to be crisp and accurate. You will need a degree of overdrive but not too dirty, enough to allow notes to sustain
a Santana trademark. The solo gives you the opportunity to show off the harmonic minor scale.
Composer: Troup.
CD full mix track 2, backing track 9: PMA
In the early 1990s, guitar heroes were all the rage and players such as Joe Satriani, Steve Vai and .. Eric Johnson held swa;
This track takes many elements from their playing. The song itself mixes a driving hard rock opening with the more lyrical
melodic playing that players such as Vai and Johnson are famous for. You need to play this with a degree of
particularly in the middle sections, where the main theme is restated but more tenderly. Nevertheless, the rock sections
need power and great deal of control, as well as technical ability, to pull off.
Composer: Jimi Savage
CD full mix track 3, backing track 10: Mud Pie
Back by popular demand, we have put Mud Pie, a staple from the RS2K syllabus in Grade 5, into this syllabus at the Gra
that, with hindsight, it ought to have been in. This barnstorming southern boogie track, typical of players such as Stevie
Vaughan, is played more or less as it was before, the only exception being the extended solo section to bring it in line v.i
the other tracks in this grade. The performance will need the chops and plenty of confidence to bring off.
Composer: Hussein Boon.
CD full mix track 4, backing track 11: Musement Park

A rock piece that showcases the modern way of writing songs: a quiet opening section picked with or without a plectrurr:
that is in a more understated mood than the bravura, overdriven guitar part that follows. This is repeated before mming
into an irregular time signature section that really drives the piece forward and where the emphasis is on picking hanc
accuracy and technique. You should be looking really to rip in the closing sections.
Composer: Deirdre Cartwright
eByOne
_-in-ana reYol a ~ :: : music in the early 1990s "ith their fusion of heaY;- me an ~ ge as
is a fast -paced, guitar ..-oL- out played loud. The opening section is played in double stops in// -! time. Them
arpeggio based. The tructure is quite repetitive, so feel free to develop the part in the repeated ections and in
Let rip in the guitar solo section.
Composers: Noam Lederman & James Creed.
CD full mix track 6, backing track 13: September Chill
This funk fusion piece is evocative of players such as Pat Metheney or John Scofield. You should aim for a limpid tone a n ~
be comfortable with the stabbed chords and the melody line which needs control and accuracy. Much of the perform
will be taken up with trying to create the right sort of mood, a matter of feel as much as of technique.
Composer: John Parricelli.
CD Musicians:
Guitars: Deirdre Cartwright; John Parricelli; Jimi Savage; Keith Airey; Hussein Boon
Bass: Henry Thomas
Drums: Noam Lederman
Keyboards and programming: Alastair Gavin
Guitar Grade 6 Marking Schemes
The table below shows the marking scheme for the Guitar Grade 6 exam.
ELEMENT PASS MERIT
'-,
Piece 1 13 out of20 15 out of20
Piece 2 13 out of20 15 out of20
Piece 3 13 out of20 15 out of20
Technical Exercises 6 out of 10 7-8 out of 10
Quick Study Piece 11 out of 15 12- 13 out of 15
Ear Tests 6 out of 10 7-8 out of 10
General Musicianship Questions 3 out of 5 4 out of 5
Total Marks Pass:65%+ Merit:75%+
The table below shows the markings scheme for the Guitar Grade 6 Performance Certificate.
ELEMENT PASS MERIT
Piece 1 14 out of20 16 out of20
Piece 2 14 out of20 16 out of20
Piece 3 14 out of20 16 out of20
Piece 4 14 out of20 16 out of20
Piece 5 14 out of20 16 out of20
l
Total Marks Pass:70%+ Merit: 80%+
DISTINCTIOK
17+outof 0
17+ out of20
17+ out of20
9+ out of 10
14+ out ofl5
9+ out of 10
5 out of 5
Distinction: 85%-
DISTINCTIOX
18+ out of 0
18+ out of _o
18+ out of _o
18+ out of _o
1 outoc _o
Distinction: 90Gn-
.:;
=
En e g oc .,. choo Exams
Entering a Rockschool exam is easy. Please read through these instructions carefully before filling in the exam entry form.
Information on current exam fees can be obtained from Rockschool by ringing 0845 460 4747 or by logging on to our
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 1st December
PeriodB 1'
1
May to 31'
1
July 1'
1
April
PeriodC 23rd October to 15
1
h December 1'
1
October
These dates will apply from 1st September 2006 until further notice
lete the form giving the information required. Please fill in the type and level of exam, the instrument, along
,=....::. --" ~ od and year. Finally, fill in the fee box with the appropriate amount. You can obtain up to date information on
L 3.J - ool exam fees from the website: www.rockschool.co.uk. You should send this form with a cheque or postal order
(p2; ~ - _ ockschool Ltd) to the address shown on the order form. Please also indicate on the form whether or not you
would - to receive notification via email.
Ap _ ~ received after the expiry of the closing date may be accepted subject to the payment of an additional fee.
vVben :-o enter an exam you will receive from Rockschool an acknowledgement letter or email containing a copy of our
ons.
Roc - ool ''ill allocate your entry to a centre and you will receive notification of the exam, showing a date, location and
time as ' - as advice of what to bring to the centre. We endeavour to give you four weeks' notice of your exam.
~
You sho 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 our music book and CD to the exam. You may 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 6 exam thirty minutes before the time stated on the schedule.
Each Grade 6 exam is scheduled to last for 30 minutes. You can use a small proportion of this time to tune up and get
ready.
Two to three weeks after the exam you will receive a copy of the examiner's mark sheet. Every successful player will receive
a Rockschool certificate of achievement.
I