es I HaziTaxi

2 Been There
3 Download
4 Pipel ine
5 Little Shady
6 Trenchtown

7 Tuning Notes

Backing Tracks 8 Hazi Taxi

9 Been There
10 Download
II Pipeline
12 Little Shady
13 Trenchtown

Tech Exercises 14 Riff

Improvisation &
Interpretation 15 With Chords
16 With Lead

Ear Tests 17 Test I & Test 2

 e e

Rockschoo
Welcome to Guitar Grade 3 2
Guitar Notation Explained 3

Pieces:
Hazi Taxi 4
Been There 6
Download 8
Pipeline 10
Little Shady 12
Trench town 14

Technical Exercises 16
Sight Reading 18
Improvisation & Interpretation 19
Ear Tests 20
General Musicianship Questions 21
The Guru's Guide 22
Entering Rockschool Exams 24

rockschool
www. rockschool. co. uk
 L G
oo G Lar Gra e 3 pack. 7' e boo- an CD ontain eYerytlllilu nee ed to play !lliitar in grn "e.
i:l ~ d the exam cores in both standard guitar notation and T_-\B_ The accompan)ing CD has full stereo
e, backing tracks to play along \\ith for practice, tuning notes and spoken two bar count-ins to each piece.
la;ing the pieces and the marking schemes can be found in the Guru's Guide on page 22. If you have any
-:. -.e-=-:=-- :i:>out or any other Rockschool exam, please call us on 0845 460 4747, email us at injo@rockschool. co.uk or visit
_:----site 1 vw.rockschool.co.uk. Good luck!

Le!ell Requirements for Grades 1, 2 & 3

~-;; ~ e Rockschool grades are divided into four levels. These levels correspond to the levels of the National Qualifications
:?:- -C" or- (:-.lQF). Further details about the NQF can be found a www.qca.org.uk!NQF. Details of all Rockschool's
~--.-- - e qualifications can be found at www.qca.org.uk/openquals.

Gl!liar Grade 3 is part of Level 1. This Level is for players who are just starting out and who are looking to build a solid
-,.,--~-- and tylistic foundation for their playing.

G-rade 1: a player of Grade 1 standard should be able to play up to 32 bars of music using first position chords and melodies
:: - _ o ed of whole, half, quarter and eighth notes and associated rests, tied notes, and dotted half and quarter notes.
:~ormances 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
2..::..:. - e use of double stops on adjacent strings, simple legato and staccato and slides, as well as simple dynamics. In this
5--"- 'e 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
==._ th and sixteenth note strumming as well as developing the palette of expressive techniques to include fretting hand and
-~y bar vibrato, hammer ons and pull offs, slides and simple bends. The pieces of music are now longer, covering two
? _es and you should be developing your stylistic awareness, taking into account amp settings for each song.

Guitar Exams at Grade 3

-=:-'-ere are three types of exam that can be taken using this pack: a Grade Exam, a Performance Certificate and a Band Exam.

Guitar Grade 3 Exam: this is for players who want to develop performance and technical skills

P ayers wishing to enter for a Guitar Grade 3 exam need to prepare three pieces of which one may be a free choice piece
- osen from outside the printed repertoire. In addition you must prepare the technical exercises in the book, undertake
~ither a sight reading test or an improvisation & interpretation test, take an ear test and answer general musicianship
~ estions. Samples of these tests are printed in the book along with audio examples on the CD.

Guitar Grade 3 Performance Certificate: this is for players who want to focus on performing in a range of styles

-:-a enter for your Guitar Grade 3 Performance Certificate you play pieces only. You can choose any five of the six tunes
rinted 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
~ockschool. Free choice piece checklists for all grades can be found on the Rockschool website: www.rockschool.co.uk.

Levell Band Exam in Guitar, Bass and Drums: this is for players who want to play in a band

-=-ne Level 1 band exam is for all of you who would like to play the repertoire at Grade 3 as a three piece band, consisting of
::>"tar, bass and drums. You play together in the exam, using the parts printed in the Grade 3 Guitar, Bass and Drum books.
=.ike the Guitar Grade 3 Performance Certificate, you play any five of the six printed tunes, or you can include up to two free
a ice pieces as long as they meet the standards set out by Rockschool. If you take this exam you will be marked as a unit
'ith each player expected to contribute equally to the overall performance of each piece played.
 D

~:s.
bar Pi::z' es are named af-..er
rl;e irs! SC\"ffi letters of me
alphabet.
TABLATURE graphically
represents the guitar
fingerboard. Each horizontal
line represents a string, and
each number represents a fret.
in~
2--------------.- o----------------.~-----------------
3 1---------------7-
, -----------------
2 2---------------7------------------
2--------+--0 2--------------~------------------
Q-----------------------------------
41h string, znd fret Open D chord Rhythm notation with Ad lib. and ronL sim. so-<o==-
suggested fingering are shown in slash no

Definitions For Special Guitar Notation

HAMMER ON: Pick the lower note, PULL OFF: Pick the higher note then SLIDE: Pick the first note, then slide STRING BENDS: Pick the first note-'-~
then sound the higher note by sound the lower note by lifting the to the next with the same finger. bend (or release the bend) to the , -'-
fretting it without picking. finger without picking. indicated in brackets.
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GLISSANDO: A small slide off of a note VIBRATO: Vibrate the note by bending TRILL: Rapidly alternate between the NATURAL HARMONICS: Lightly tou
toward the end of its rhythmic duration. and releasing the string smoothly two bracketed notes by hammering string above the indicated fret then
Do not slide 'into' the following note - and continuously. on and pulling off. pick to sound a harmonic.
subsequent notes should be repicked.
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PINCHED HARMONICS: Bring the PICK HAND TAP: Strike the indicated FRET HAND TAP: As pick hand tap, QUARTER TONE BEND: Pick the note
thumb of the picking hand into note with a finger from the picking but use fretting hand. Usually indicated and bend the string up
contact with the string immediately hand. Usually followed by a pull off. followed by a pull off or hammer on. by a quarter tone.
after the pick.
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PRE-BENDS: Before picking the note, WHAMMY BAR BEND: Use the Go back to the sign (%), then play until
bend the string from the fret indicated whammy bar to bend notes to the D.KalCoda the bar marked To Coda ~ then skip to
between the staves, to the equivalent pitches indicated in brackets in the TAB the section marked ~Coda.
pitch indicated in brackets in the TAB
war
/b _
_.If _.If D.C. al Fine Go back to the beginning of the song and
--------- play until the bar marked Fine (end).

@) @.)
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PB7
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T
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4---( 5 }---{ 4 }----
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Te
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2006 Rock School Ltd. This music is copyright. Photocopying is illegal

 In this section, the examiner will ask you to play a selection of exercises drawn from each of the three group o
Groups A and B contain examples of the kinds of scales and arpeggios you can use when pla)ing the pieces. Gro-~
contains a selection of chords commonly used in the pieces. In Group D you will be asked to prepare the riff exer
play it to the CD backing track. You do not need to memorise the exercises (and can use the book in the exam) b
examiner will be looking for the speed of your response. The examiner will also give credit for the level of your musicaj: _

Groups A and B should be prepared in the following keys: G, A and B with the root note on the 6th string.
Groups A, B and C should be played at J= 60. The examiner will give you this tempo in the exam.

Group A: Scales

1. Major scales. G major scale shown.

S- 3
5- 4- 2
5- 4-2
5- 3- 2
5- 3

2. Natural minor scales. A natural minor scale shown

- 8- 10"-8--6
S- 7- 9 9--7- 5
5- 7 - 7- 5
8- 7- 5

3. Minor pentatonic scales. B minor pentatonic shown

7
7- -1 7'----1-0~~=-
7 --------7----n~---_--
7 ----9----7----1-~----
7 ----~~~
7------9
7

4. Blues scales. G blues scale shown

3- - -5
3- - -5---6
3- - -6
3
- -- 3
- s - 3 :- 5--==--
3 ------HI!

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2. Minor arpeggios. B minor arpeggio shown

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7 7
7 7

Group C: Chords

1. Barre chords to be given as a continuous exercise

G Am Bm Am G

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2. Dominant 7 chords. The following dominant 7 chords can be presented in open position or in barre chord form

fl Ill.

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j 2 1
2 1 1
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2 2
3 2 2
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Group D: 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 & 2 shoul
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 each bar where
the chord changes. Where only one bar is shown, play only the first bar of the riff. The tempo is ~ = 100.

A D

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~~~~--------~--5------------+--:=~~~~5==~6~~7~======~~5~===================1====================~
~'------5---------,s-------'~5

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In e on you have a choice beh een either a ight reading test or an imprmisation interpreta o test ee fa g
page). Printed below is the type of sight reading test you are likely to encounter in the exam. The piece "ill b e compo ed
in the style of either rock or blues. The examiner will allow you 90 seconds to prepare it and will set the tempo for you on a
metronome. The tempo is J = 80.

Rock

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

3 3 3
4 2 4 5 4 5 4
 e clli-
m ~lay either rhythmi or or a melodi lea line. You \ ill be ~o .- - ~ e-o
_ra e throua one playing of the test on the CD before pla)ing it a e ond time or
a one bar count in at the beginning and after the practice session. The tempo is == 90.

Rock
Gs 85 Am D Gs
J J J J

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7 7 7 7 7 7 7 7 7 7 7 7 7 7
/ z z z I z 7 z 7 7 z z 2 7 7 7

Em D Am D Gs

7
7
7
7
7
7
2
7
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7
2
7
2
7
2
z 2
z 2
7
2
7
7
z z7 7
z 7
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I
 .-o e2..r esr: in grade. The examiner will play each test to you twice on CD. You will find one example of each
be given in the exam printed below.

Ielo die Recall

asked to play back on your guitar a simple melody of not more than four bars composed from either the G major
- G - :JOT pentatonic scales. You will be given the tonic note and told the starting note and you will hear the test twice with
' a g. There will then be a short break for you to practise the test and then the test will recommence. You will
::.:...~ elody with the drum backing. This test is continuous. The tempo is j = 80.

3~~~~~~:3:---.~~------------,-3~~~~~~3:---.~~------------~
- 3- 6 - -3 - 3-6 - -3
5~~5 5
5

Test 2: Chord and Rhythm Recall

- .ill be asked to play back the four bar rhythmic chord progression on your guitar. You will be told the tonic chord and
- ill hear the rhythmic chord progression played twice with a drum backing. There will then be a short break for you to
=- e the test and then the test will recommence and you will play the rhythmic chord progression to the drum backing.
-:::-- est is continuous. The tempo is j = 80.
c

2 2 2
3 3 3 3
Ge

Topics:

i) Music theory
ii) Knowledge of your instrument

The music theory questions will cover the recognition of the following at this grade:

Note pitches Dynamic markings (p, mp, mf, f andff )

Note values Repeat markings
Rests Accents, staccato and vibrato
Time Signatures Hammer on and pull off
Key Signatures Cresc. and dim.
D.S. and D.C. al Coda

Knowledge of the construction of the following chord types:

Major Dominant 7
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
Volume and tone adjustments on the amplifier
Creation and manipulation of distorted sounds

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.

Knowledge of main pick up types.

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 ~e found in the Rockschool Companion Guide and on the Rockschool website: www.rockschool.co.uk.
 TI -e o on ain orne handy hints compiled by Rockschool's Guitar Guru to help you get the mo t 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 3 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: Hazi Taxi

A modern guitar rock track in the style of The Kaiser Chiefs. The opening chord riff looks quite tricky but is made up of
abbreviated, or 5, chords and should be played with an even up -and-down strumming action, while remembering not to
sound the unwanted strings. The piece should be played with wit and invention using some of the suggested tricks in the
score. Watch out for the sustained bends towards the end of the piece.

Composer: Jason Woolley.

CD full mix track 2, backing track 9: Been There

This is a piece that incorporates both rock and punk elements and is a good work out for both chords (stabbed on the
offbeat) and a single note pattern played in different positions. Other techniques include the use of siides, accented notes
and dynamics, particularly at the end which builds to a rousing climax. There is an eight bar solo where you can use some
of the scale ideas found in the Technical Exercises.

Composer: Deirdre Cartwright.

CD full mix track 3, backing track 10: Download

This hard rock track features many techniques common to the style, including use of pedal open strings with a moving,
accented single note theme played in two different positions. Watch out for the fretting hand vibrato which occurs regularly
throughout the first half of the piece. The single note section is made up of short arpeggios which are palm muted followed
by double stops building in volume as a lead into the eight bar solo. The section following is in swing time but sections are
played in triplets. This is altogether a complex piece which needs to be played with confidence and assurance.

Composer: Hussein Boon.

CD full mix track 4, backing track 11: Pipeline

This is an old style 60s instrumental guitar blues track in the manner of Link Wray or Band X. The part features a mix of
techniques, including staccato anl quarter bends which will need practice to sound convincing. The eighth note chords
should be played evenly (watch out for the staccato markings at the end of this section). The eight bar solo is played around
a I, IV, V sequence in dominant 7 chords.

Composer: Steve Wrigley

=
Com. o er: _-oam Lederman.

CD full mix track 6, backing track 13: Tren ch town

_\ laid back piece of classic reggae that begins with trademark stabbed offbeat eighth note chords, palm muted. _-\s in e
_ re,ious piece, the role of the guitar is to provide colour and to make understated statements combining single not -
ords and three-note arpeggios. There is a short four bar solo section where you can develop some of these ideas.

Composer: Adrian York.

CD Musicians:

Guitars: Deirdre Cartwright; Keith Airey; Hussein Boon

:3ass: Henry Thomas; Jason Woolley
::Jrums: Peter Huntington; Noam Lederman
l(eyboards and programming: Alastair Gavin

Guitar Grade 3 Marking Schemes

The table below shows the marking scheme for the Guitar Grade 3 exam.

ELEMENT PASS MERIT DISTINCTION 4

Piece 1 13 out of20 15 out of20 17+ out of20

Piece 2 13 out of20 15 out of20 17+ 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

6 out of 10 7- 8 out of 10 9+ out of 10
or Improvisation & Interpretation

Ear Tests 6 out of 10 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 3 Performance Certificate and the Level 1 Band Exam.

ELEMENT PASS MERIT DISTINCTION

Piece 1
.. 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%+

2
 :Z:mering a Ro - chool exam is easy. Please read thro these instructions care r before ~ g in the exam entry +orm.
Information on current exam fees can be obtained from Rockschool by ringing 0845 460 4 47 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 pt February to 15th March 1st December
PeriodB pt 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, along
with the period and year. Finally, fill in the fee box with the appropriate amount. You can obtain up to date information on
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 you
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 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 3 exam fifteen minutes before the time stated on the schedule.

Each Grade 3 exam is scheduled to last for 20 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.

'-
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www.rockschool.co.uk

Printed by: Caligraving Ltd, United Kingdom

COs manufactured by: brandedmedia Ltd, United Kingdom

Compiled & edited by: Jeremy Ward, Simon Pitt & Simon Troup
Syllabus consultants: Deirdre Cartwright, Darryl Golding, Noam Lederman,
Andrew Moore, Henry T homas & Jason Wooll ey

Audio executive producers: Jeremy Ward & A lastair Gavin

Audio producer: Alastair Gavin
Audio engineer: Matt Gendreau
Additional mixing: Kevin Pau l & Dave Greenep
Recorded at: University of Westminster & Mute Studios London
Guitars: Keith Airey, Deirdre Cartwright, Kit Morgan, John Parricelli,
Jimi Savage, & Simon Troup
Bass: Henry Thomas & Jason Woolley
Drums: George Gavin, Peter Huntington & 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 Hami lton & Gillian Harding

Your 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
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. The pulp is
from farmed sustainable forests and produced with special regard for the
environment Throughout the 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 will gladly replace it

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