es

Backing Tracks

Tech Exercises

I
2
3
4
5
6

Enough Said
Glide O n Down
Hold On I'm Going
Rage Against Everything
Sec ret Place
There And Beck

Tuning Notes

8
9
10
It
12
13

Enough Said
Glide On Down
Hold On I'm Going
Rage Against Everything
Secret Place
There And Beck

14

Riff

Improvisation &
Interpretation
IS

Backing Track

Ear Tests

Test I & Test 2

16

Rockschool
Welcome to Guitar Grade 4
Guitar Notation Explained
Pieces:
Enough Said
Glide On Down
Hold On I'm Going
Rage Against Everything
Secret Place
There And Beck

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

rockschool
www. rockschool. co. uk

2
3

6
8
10
12
14

16
18

19
20
21

22
24

~=

:' ---- oo: G

r.ar Gra e pa-,z. -:-" e oo: add CD contain e\-erything needed o play guitar in this grade.
"T

e exam s ores in both standard guitar notation and TAB. The accompanying CD has full stereo
"' acking tracks to play along with for practice, tuning notes and spoken two bar count-ins to each piece.
ying the pieces and the marking schemes can be found in the Guru's Guide on page 22. If you have any
or any other Rockschool exam, please call us on 020 8332 6303, email us at injo@rockschool. co. uk or visit
uockschool. co.uk. Good luck!

.J..u.

- Requiremen ts for Grades 4 & 5

~ e ~ oc'- chool grades are divided into four levels. These levels correspond to the levels of the National Qualifications
_-QF). Further details about the NQF can be found at www.qca.org.uk!NQF. Details of all Rockschool's
cations can be found at www.qca.org.uk/openquals .

.....=..2: G:n;, e 4 is part of Level 2. This Level is for those of you who are confident in all the key skills on guitar and who are

::-=-: :..ll~

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to more advanced skills and stylistic expression.

4: in this grade you use a range of physical and expressive techniques with confidence, damping and the use of double

adjacent strings, legato and staccato, slides, fretting hand and whammy bar vibrato, hammer ons and pull offs, and
and you are experimenting with a range of dynamics from very quiet (pp) to very loud (ff). In this grade you are
- g to develop your ability to play with stylistic authority.

Grade 5: you will be confident in a range of physical and expressive techniques. You will be able to demonstrate your
==

i.:i es across a number of styles and have control over tone and sound adjustments to suit the playing style of your choice.

Gu:itar Exams at Grade 4

_.:.c:-e are two types of exam that can be taken using this pack: a Grade Exam and a Performance Certificate.
Go:itJn' Grade 4 Exam: this is for players who want to develop performance and technical skills

_ :;ers wishing to enter for a Guitar Grade 4 exam need to prepare three pieces of which one may be a free choice piece
;:;:o en from outside the printed repertoire. In addition you must prepare the technical exercises in the book, undertake
-~ ' er 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 4 Performance Certificate: this is for players who want to focus on performing in a range of styles

-:=-o enter for your Guitar Grade 4 Performance Certificate you play pieces only. You can choose any five of the six tunes
?Tinted 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
?oc chool. Free choice piece checklists for all grades can be found on the Rockschool website: www.rockschool.co.uk.

THE ~fCSICAL SIAVE

shows pitches and rhythms
and is dmded by lines into
bars. Pitches are named after
the first seven letters of the
alphabet.

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Strings:

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

E
B
G
A
E

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4th string, 2nd fret

Rhythm notation with

suggested fingering

Open D chord

are shown in slash -

Definitions For Special Guitar Notation

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

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PULL OFF: Pick the higher note then

sound the lower note by lifting the
finger without picking.

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STRfNG BENDS: Pick the bend (or release the bend to the _
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toward the end of its rhythmic duration. and releasing the string smoothly
and continuously.
Do not slide 'into' the following note subsequent notes should be repicked.

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TRILL: Rapidly alternate between the

two bracketed notes by hammering
on and pulling off.

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NATURAL HARMONICS: Lightlystring above the indicated fret then

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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

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Go back to the beginning of the song anc

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When a repeated sec lion has different
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Solos
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Simon Troup
.=70 Rock Ballad
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Chordal Accompaniment
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i...... as- .-ou to play a selection of exercises drawn from each of the three groups shown below.

G.:
:

-:= _.,__ --c. B contain examples of the kinds of scales and arpeggios you can use when playing the pieces.

Group C
-e ection of hords commonly used in the pieces. In Group D you will be asked to prepare the riff exercise and
: :o- e CD backing track. You do not need to memorise the exercises (and can use the book in the exam) but the
'iu be looking for the speed of your response. The examiner will also give credit for the level of your musicality.

-- --- 2.

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G_ --- _-\and B should be prepared in the following keys: chromatically from G- B (root note: 6th string) or chromatically
- - C- E root note: 5th string) . The root note for each exercise is indicated in the example. Groups A, Band C should be
at . = 80. The examiner will give you this tempo in the exam.

Group A: Scales
.:.. _ 'ajor scales. G major scale shown: root 6th string

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3-5

EE

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- _atural minor scales. C~ natural minor scale shown: root note 5th string

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4-------v

4-------v

F F F

4-------v

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1ajor pentatonic scales. G major pentatonic scale shown: root note 6th string

JJ

J J E E

f [

3- -5
2 -- 5

2:---5

F F F
5- -3

4- -2

2:---4

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5-

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-=- ~ linor pentatonic scales. D minor pentatonic shown: root note 5th string

1()---8
7

5. Blues scales. E blues scale shown: root note 5th string

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2. Dominant 7 arpeggios. A dominant 7 arpeggio shown: root note 6th string

5- -a

a- -5
6

5- -1

7 --

7-

Group C: Chords
1. Extended barre chords: to be given as a continuous exercise

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Group D: Riff
In the exam you will be asked to play the following pentatonic riff to the backing track on the CD. The riff shown in bars _
& 2 should 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 eaci::
bar where the chord changes. The tempo is ~ = 100.
Am

Dm
A

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5

Em

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Am

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~ rre a
oi e et\ een either a sight reading test or an improvisation & interpretation test (see facing
e type of sight reading test you are likely to encounter in the exam. At this level there is an element
eo
: 2 ro~on. This is in the form of a two bar ending. The piece will be composed in the style of blues, rock, funk 01
u:z
.ill have chord symbols throughout. The test is eight bars long. The improvised ending will use chord patterns
~ a e been used in the sight reading part of the test. The examiner will allow you 90 seconds to prepare it and will set
-~e empo for you on a metronome. The tempo is = 80.

fa::::.

Cmaj 7

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Improvise melodic ending

10

- CX2.I:I e of the type o..- >-:'?'"

o
interpreratio
.
ere - also a small element of sight reading. This takes the form of 2. -o 2.r
the test. You "ill be asked to play the chords in the given rhythm and continue an imprmised e
where indicated. This test is given to a backing track lasting eight bars in the style of blues, roc -, funk or iazz ~ la;cC ~ -- =
examiner on CD. You will be allowed 30 seconds to prepare. You will then be allowed to practise through o e 2.yin=: : ~- =::
test on CD before playing it a second time for the exam. This test is continuous with a one bar count in at the b,<7T.LL...L.:..Lu
after the practice session. The tempo is = 90.

Funk

Chords in rhythm shown

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Improvise rhythmic chords

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ear esr in this grade. The examiner \'~ill play each test to you twice on CD. You will ftnd one example of each

oi est you will be giYen 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 C major or
C minor scales. The test may include hammer ons, pull offs, vibrato and slides. 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. =80.

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11

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Test 2: Chord and Rhythm Recall

You will be asked to play back the four bar rhythmic chord progression on your guitar. You will be told the tonic chord and
' ear the rhythmic chord progression played twice with a drum backing. There will then be a short break for you to practise
ilie test and then the test will recommence and you will play the rhythmic chord progression to the drum backing. This test
:S continuous. The tempo is ~ = 80.
,.
Am

t..i

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II
II

1 --1~~--1

2-------2-2-2---2
2
2
2
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1- -1112- -2223- -3333- -3 - 3 - 31- -111-

11
22
33
3-3
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1- -1112- - 2 - -2--22
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122

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G-eheral _ Iusi~
the exam. Some o:-

Topics:
i)
ii)

Music theory
Knowledge of your instrument

The music theory questions will cover the recognition of the following at this grade:
Dynamic markings (p, mp, mf,
Repeat markings
Accents, staccato and vibrato
Hammer on and pull off
Cresc. and dim.

Note pitches
Note values
- Rests
Time Signatures
Key Signatures
D.S. and D.C. al Coda

and.tf)

Knowledge of the construction of the following chord types:

Major
Minor

Dominant 7
Minor 7

The instrument knowledge questions will cover the following topics at this grade:
Plugging into the amplifi~and the guitar
Volume and tone adjustments on the guitar
Volume and tone adjustments on the amplifier
Knowledge of one open string tuning method not involving a tuning device

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 pickup 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 be found in the Rocksch~ol Companion Guide and on the Rockschool website: www.rockschool.co.uk.

e
This se ...: :=. _- -:-:s some handy hints compiled by Rockschool's Guitar Guru to help you get the most out of the
perfoiiD2.::.:t: : =---- Do feel free to adapt the tunes to suit your playing style. Remember, these tunes are your chance to
show yo ' :;:::::_:2.1 imagination and personality.
The TAB
solos fea

~ ~ _,erings

are suggestions only. Feel free to use different neck positions as they suit you. Please also note that any

ee in the full mixes are not meant to be indicative of the standard required for the grade.

Guitar Grade 4 1\mes

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 today'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: Enough Said

This driving funk track lays down a bold opening chordal theme that calls for a supple picking hand approach and accurate
fretting. The solo section gives you the chance to use some of the ideas found in the Technical Exercises. The chord work
needs to be picked with control and should contrast dynamically with the palm muted sections.
Composer: Hussein Boon.
CD full mix track 2, backing track 9: Glide On Down

This song is a hip-hop groove that consists mainly of sparse, repeated chords and a repeated riff pattern doubled with the
~-eyboard part. The opening chords are played staccato as indeed is much of the opening melody that follows. These notes
should be given clearly and accurately and you should think about shaping the part with variations to makeit sound musical.
_. ake the most of the harmonics in the second half and allow them their full values.
Composer: Joe Bennett.
CD full mix track 3, backing track I 0: Hold On I'm Going

___ lassie Motown soul piece echoing the classics of writers such as Holland-Dozier-Holland, while the guitar part is
~eminiscent of Steve Cropper, the Stax house guitarist. The staples of this style are a sharp, bright tone and quite intricate
- ord-melody patterns that in the original songs served to act as a counterpoint to the singers. The solo section allows you
:o demonstrate some of Cropper's closely picked stabbed riff ideas.
Composer: Steve Wrigley.
CD full mix track 4, backing track II: Rage Against Everything

-:::- _ u Metal piece is a song of contrasts. It starts with a relatively quiet, descending riff played in a clear tone. This is
:::allowed by an overdriven chord section played very loud indeed. The solo section also allows you to let rip but remember
- this is followed immediately by a return to the main theme which is played at the quieter volume and with the clear
::one. The section slows to a grand finish.
Composer: Deirdre Cartwright

Composer: Ian 'A oolway.

CD full mix track 6, backing track 13: There And Beck

Jeff Beck is perhaps the forgotten British guitar hero of the 60s, more commonly remembered for the kitsch 'Hi Ho _ ~
Lining' than for his sparse, earthy guitar work. Yet his performances merit a second listen as he plays with so m :.. :=
and musicality. This track is a tribute to him and features the slides, quarter bends, vibrato, dirty guitar sound and d"f1'2~ :
range that mark out his playing. Have a listen to his version of the Stevie Wonder track, 'Cause We Ended as Lovers~
Composer: Simon Troup.
CD Musicians:

Guitars: Deirdre Cartwright; John Parricelli; Hussein Boon; Keith Airey

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

Guitar Grade 4 Marking Schemes

The table below shows the marking scheme for the Guitar Grade 4 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+ 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

Eith~TSight Reading
or Improvisation & Interpretation

6 out of10

7-8 out of 10

9+ out of 10

Ear Tests

6 out of10

7-8 out of 10

9+ out oflO

General Musicianship Questions

3 out of5

4 out of5

5 out of5

Total Marks

Pass: 65%+

Merit: 75%+

Distinction: 85%+

The table below shows the marking scheme for the Guitar Grade 4 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: 80%+

Distinction: 90%+

ELEMENT

Piece 1

~-tcring ~

Rockschool exam is easr Please read through these instructions carefully before filling in the exam entry form.
=ormation on current exam fees can be obtained from Rockschool by ringing 020 8332 6303 or by logging on to our
' ~ebsi:te 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

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, 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.
'Vhen 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
ossible 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
you use someone else's music.
You should aim to arrive for your Grade 4 exam fifteen minutes before the time stated on the schedule.
Each Grade 4 exam is scheduled to last for 20 minutes. You cari. 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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-

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, ~,., -

-...............................
_ :.J :; j _ _

---

:; _ :;

www.rockschool.co.uk

Printed by:

Caligra ng Ltd. l.Jnrrea Kingaom

COs manufactured by:

orandedmed1a Ltd, United Kingdom

Compiled & edited by:

Jeremy W ard, Simon Pitt & Simon Trou p

Syllabus consultants:

Deirdre Cartwright , Darryl Go lding, N oam Lederman,

Andrew Moore, Henry T homas & Jason W oolley

Audio executive producers:

Jeremy Ward & Alastair Gavin

Audio producer:

Alastair Gavin

Audio engineer:

Matt Gendreau

Additional mixing:

Kevin Paul & D ave 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 Hunti ngton & N oam Lederman

Keyboards & programming:

Alastair Gavin

Mastered by:

Phil Scragg

Music processing & book layout:

Simon Tro up & Jennie Troup of www.digitalmusicart.com

Cover design:

G illian H arding of www.fuelcreativity.com

Cover photography:

Max Hamilton & Gillian Harding

Your Guarant ee of Quality

As publishers we strive t o 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, includ ing
photocopying, is an infringement of copyright.

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