RSL Acoustic G7

(1)

(2)

www.rslawards.com

Performance pieces, technical exercises, supporting tests and in-depth

guidance for Rockschool examinations

Acoustic Guitar

Grade 7

All accompanying and supporting audio can be downloaded from: www.rslawards.com/downloads Input the following code when prompted: PATMDTM9CK

(3)

Introductions & Information Acknowledgements A co us tic G ui ta r G ra de 7

Acknowledgements

Initial release | Errata details can be found at www.rslawards.com

SYLLABUS

Syllabus written and devised by Nik Preston and Andy G Jones Syllabus consultants: Andy G Jones, Carl Orr and James Betteridge Arrangements by Andy G Jones, Carl Orr and James Betteridge Supporting Tests written by Nik Preston and Andy G Jones Syllabus advisors: Simon Troup and Jamie Humphries

PUBLISHING

Fact Files written by Diego Kovadloff

Music engraving and book layout by Simon Troup and Jennie Troup of Digital Music Art Proof reading and copy editing by Diego Kovadloff, Carl Orr and Mary Keene

Cover design by Philip Millard

Cover photograph © Christie Goodwin/Redferns/Getty Images

AUDIO

Produced by Nik Preston, Andy G Jones, Carl Orr and James Betteridge

Engineered by Andy G Jones, Carl Orr, James Betteridge, Jonas Persson and Music Sales Mixed by Andy G Jones, Carl Orr, James Betteridge

Mastered by Ash Preston and Paul Richardson Supporting Tests recorded by Andy G Jones

Executive producers: John Simpson and Norton York

MUSICIANS

Andy G Jones, Carl Orr, James Betteridge, Nik Preston, Ian Thomas, Mike Finnigan, Noel McCalla, Patti Revell and Hannah Vasanth

SPONSORSHIP

Andy G Jones endorses Thomastik Infeld strings, Providence cables and pedal switching systems, Free The Tone effects, JJ Guitars, Ergoplay guitar supports and Wampler Pedals. All nylon strings parts recorded direct with the Yamaha NTX2000. Carl Orr endorses MI Audio Revelation amps & effects, and Picato strings.

James Betteridge plays Martin guitars and D’addario strings.

DISTRIBUTION

Exclusive Distributors: Music Sales Ltd

CONTACTING ROCKSCHOOL

www.rslawards.com

Telephone: +44 (0)345 460 4747 Email: [email protected]

(4)

Table of Contents A co us tic G ui ta r G ra de 7

Introductions & Information

2 Acknowledgements 3 Table of Contents

4 Welcome to Rockschool Acoustic Guitar Grade 7 6 Acoustic Guitar Notation Explained

Rockschool Grade Pieces

7 Joe Bonamassa ...‘Woke Up Dreaming’

13 John Mayer ...‘Neon’

27 Newton Faulkner ...‘Teardrop’

35 Pat Metheny ...‘Our Spanish Love Song’

43 Tommy Emmanuel ...‘And So It Goes’

49 Hoagy Carmichael ...‘Georgia On My Mind’

Technical Exercises

55 Scales, Arpeggios, Chord Voicings & Stylistic Studies

Supporting Tests

66 Quick Study Piece 70 Ear Tests

71 General Musicianship Questions

Additional Information

72 Entering Rockschool Exams 73 Marking Schemes

74 Copyright Information

75 Rockschool Digital Downloads 76 Rockschool Popular Music Theory

(5)

Welcome to Rockschool Acoustic Guitar Grade 7 A co us tic G ui ta r G ra de 7

Welcome to Rockschool Acoustic Guitar Grade 7

Welcome to Rockschool’s 2016 Acoustic Guitar syllabus. This syllabus has been designed to equip all aspiring guitarists with a range of stylistically appropriate, industry relevant skills and a thoroughly engaging learning experience.

Utilising an array of well known repertoire and a truly crucial range of supporting tests, the continued progression of any student is assured from Debut through to Grade 8.

The syllabus has been authored to ensure that each student can develop as accompanists, soloists, sight readers and improvisers, whilst enabling both teacher and student to choose the areas that they wish to specialise in.

Rockschool’s long standing commitment to raising academic standards, assessing industry-relevant skills and ensuring student engagement is world renowned. The 2016 Acoustic Guitar syllabus has been conceived in order to build upon this success and continue the evolution of the contemporary music world’s first awarding body.

When combined with Rockschool’s 2015 Popular Music Theory syllabus, this syllabus is guaranteed to furnish every candidate with both the practical skills and theoretical understanding necessary to perform at the highest level, across a whole range of contemporary repertoire.

Nik Preston – Head of Product Development and Publishing

Acoustic Guitar Exams

At each grade you have the option of taking one of two different types of examination: ■ Grade Exam

(Debut to Grade 5)

A Grade Exam is a mixture of music performances, technical work and tests. You are required to prepare three pieces (two of which may be Free Choice Pieces) and the contents of the Technical Exercise section. This accounts for 75% of the exam marks. The other 25% consists of: either a Sight Reading or an Improvisation & Interpretation test (10%), two Ear Tests (10%), and finally you will be asked five General Musicianship Questions (5%). The pass mark is 60%.

(Grades 6–8)

A Grade Exam is a mixture of music performances, technical work and tests. You are required to prepare three pieces (two of which may be Free Choice Pieces) and the contents of the Technical Exercise section. This accounts for 75% of the exam marks. The other 25% consists of: a Quick Study Piece (10%), two Ear Tests (10%), and finally you will be asked five General Musicianship Questions (5%). The pass mark is 60%.

■ Performance Certificate

A Performance Certificate is equivalent to a Grade Exam, but in a Performance Certificate you are required to perform five pieces. A maximum of three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark is 60%.

Book Contents

The book is divided into a number of sections: ■ Exam Pieces

Each exam piece is preceded by a Fact File detailing information about the original recording, the composer and the artist/s who performed it. There is also a Technical Guidance section at the end of each piece which provides insight from the arrangers as to the harmonic, melodic, rhythmic and technical nuance of each piece.

Every exam piece is notated for acoustic guitar, but certain pieces feature two ‘assessed’ parts, meaning the candidate has the choice of which part they wish to perform in the exam. Certain pieces contain ‘non-assessed’ guitar parts, which are intended for duet/ensemble practice and performance. Likewise, certain pieces include notated vocal melodies in addition to the assessed guitar part. These have been included as reference material and to provide

(6)

A co us tic G ui ta r G ra de 7

opportunity for duet and ensemble practice and performance. In your exam you must perform your pieces to the backing tracks provided.

■ Technical Exercises

There are either three or four types of technical exercise, depending on the grade: Group A – scales

Group B – arpeggios/broken chords Group C – chord voicings

Group D – a choice of stylistic studies. Please note, Group D only exists at Grades 6–8. ■ Supporting Tests

You are required to undertake three kinds of unprepared, supporting test:

1. Sight Reading or an Improvisation & Interpretation test at Debut to Grade 5.

Please note, these are replaced by mandatory Quick Study Pieces (QSPs) at Grades 6–8. 2. Ear Tests: Debut to Grade 3 feature Melodic Recall and Chord Recognition.

Grades 4–8 feature Melodic Recall and Harmonic Recall.

3. General Musicianship Questions (GMQs), which you will be asked by the examiner at the end of each exam. Each book features examples of the types of unprepared tests likely to appear in the exam.

The examiner will give you a different version in the exam. ■ General Information

You will find information on exam procedures, including online examination entry, marking schemes, information on Free Choice Pieces and improvisation requirements for each grade.

Audio

In addition to the Grade book, we have also provided audio in the form of backing tracks (minus assessed guitar part) and examples (including assessed guitar part) for both the pieces and the supporting tests where applicable. This can be downloaded from RSL directly at www.rslawards.com/downloads

You will need to input this code when prompted: PATMDTM9CK

The audio files are supplied in MP3 format. Once downloaded you will be able to play them on any compatible device. You can find further details about Rockschool’s Acoustic Guitar syllabus by downloading the syllabus guide from our website: www.rslawards.com

(7)

Acoustic Guitar Notation Explained

6 Definitions For Special Guitar Notation

TABLATURE graphically

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

& ˙

œ œ

T

A

B

2

Û

_{’ ’ ’ ’}

2 2 1 0 0 9 10 10 10 Am F Notes: Strings: F D B G E E B G D A E E C A F 4th string, 2nd fret

w

www#

3 2 2 0 D Open

D chord Rhythm notation withsuggested fingering Ad lib. and cont. sim. sectionsare shown in slash notation

THE MUSICAL STAVE

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

D.C. al Fine

• Go back to the beginning of the song and play until the bar marked Fine (end).

• Repeat bars between signs.

..

• When a repeated section has different endings, play the first ending only the first time and the second ending only the

1. 2.

..

D. %. al Coda

• Go back to the sign ( ), then play untilthe bar marked To Coda

fi

then skip to the section marked

fi

Coda.

%

HAMMER ON: Pick the lower note,

then sound the higher note by fretting it without picking.

T

A

B

& œ

œ

5 7

SLIDE: Pick the first note, then slide

to the next with the same finger.

T

A

B

& œ

œ

2 4

STRING BENDS: Pick the first note then

bend (or release the bend) to the pitch indicated in brackets.

T

A

B

& œ

œ œ

BU 5 ( )6 BD( )5 PULL OFF: Pick the higher note then

sound the lower note by lifting the finger without picking.

T

A

B

& œ

œ

7 5

VIBRATO: Vibrate the note by bending

and releasing the string smoothly and continuously.

T

A

B

&

~~~~~~~~~~

w

8

NATURAL HARMONICS: Lightly

touch the string above the indicated fret then pick to sound a harmonic.

T

A

B

&

NH

‚ ‚ ‚

12 12 12

ARTIFICIAL HARMONICS: Fret the note

indicated in the TAB, then (with picking hand) lightly touch the string above fret indicated between staves, and pick to sound the harmonic.

T

A

B

&

AH 14

‚

2 AH 15

‚

3

TRILL: Rapidly alternate between the

two bracketed notes by hammering on and pulling off.

T

A

B

&

Ÿ~~~~~

œ œ

w

( )5 7 5

QUARTER TONE BEND: Pick the note

indicated and bend the string up by a quarter tone.

T

A

B

&

1/4 1/4

œ

_œ

5 7 PICK HAND TAP: Strike the indicated

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

T

A

B

&

œ

œ#

7 2

FRET HAND TAP: As pick hand tap,

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

T

A

B

&

œ#

œ

9 5 PRE-BENDS: Before picking the note,

bend the string from the fret indicated between the staves, to the equivalent pitch indicated in brackets in the TAB

PB 7

T

A

B

& œ ˙

9 ( )BD( )7

GLISSANDO: A small slide off of a note

toward the end of its rhythmic duration. Do not slide ‘into’ the following note – subsequent notes should be repicked.

T

A

B

& œ

œ

2 4

b

p thumb 1 2 3 4 a annular m middle i index Finger picking

(8)

Joe Bonamassa ‘Woke Up Dreaming’ Rockschool Grade Pieces

7 &

T

A

B

#### 44 ..

.

œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

2

0

2

0

3

0

2

0

2

0

3

0 E

7

q

=

150 œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

2

0

2

0

3

0

2

0

2

0

3

0 &

T

A

B

####

..

.

_.

œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

[3]

2

0

2

0

3

0

2

0

2

0

3

0 œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

2

0

2

0

3

0

2

0

2

0

3

0 &

T

A

B

#### ‰

œn œ ≈ œ œ œ

œœœ# œ œ

œn œ

[5]

0

2

0

2

0

1

2

0

3

0 E

7

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0

2

0

2

0

1

2

0

3

0 &

T

A

B

#### ‰

œn œ ≈ œ œ œ

œœœ# œ œ

œn œ

[7]

0

2

0

2

0

1

2

0

3

0 ‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0

2

0

2

0

1

2

0

3

0 &

T

A

B

#### ‰

œn œ ≈ œ œ œ

œœœ# œ œ

œn œ

0 2

0

1 2 0

3 0

E

7

%

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0 2

0

1 2 0

3 0

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0 2

0

1 2 0

3 0

Joe Bonamassa was born in Hartford, New York State in 1997. Aged 12 he was opening for B.B. King. He has released 15 albums through his independent record label and is considered one of the greatest guitar players of his generation.

As well as a relentless touring schedule of about 200 shows a year, Bonamassa has a number of diverse projects, these include the neo-funk/jazz combo Rock Candy Funk Party, the supergroup Black Country Communion and a duet with Beth Hart, with whom he received a grammy nomination for their album Seesaw.

Joe Bonamassa is an accomplished singer and songwriter. Whilst the electric guitar is his main instrument he is equally comfortable on the acoustic guitar. In May 2015 he won a Blues Music Award in the instrumentalist, guitar category.

He is also involved in the advancement of music education and is the founder of Keeping the Blues

Alive, a foundation that supports music education

programs via scholarships and partnerships with a number of corporate sponsors as well as his own label, J&R Adventures. The foundation donates money on a weekly basis to those who do not have resources to achieve their potential in the industry.

Joe Bonamassa also produces a radio show with guitar aficionado Matt Abramovitz.

SONG TITLE: WOKE UP DREAMING ALBUM: BLUES DELUXE LABEL: J&R ADVENTURES GENRE: BLUES WRITTEN BY: JOE BONAMASSA AND WILL JENNINGS GUITAR: JOE BONAMASSA PRODUCER: BOB HELD

(9)

8 &

T A B

#### 44 ..

.

œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

2 0 2 0 3 0 2 0 2 0 3 0 E7 q=150

œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

2 0 2 0 3 0 2 0 2 0 3 0

&

T A B

####

_..

.

œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

[3] 2 0 2 0 3 0 2 0 2 0 3 0

œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

2 0 2 0 3 0 2 0 2 0 3 0

&

T A B

#### ‰

_{œn œ ≈ œ œ}

œ

œœœ# œ œ

œn œ

[5] 0 2 0 2 0 0 0 1 2 0 3 0 E7

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0 2 0 2 0 0 0 1 2 0 3 0

&

T A B

#### ‰

_{œn œ ≈ œ œ}

œ

œœœ# œ œ

œn œ

[7] 0 2 0 2 0 0 0 1 2 0 3 0

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0 2 0 2 0 0 0 1 2 0 3 0

&

T A B

#### ‰

_{œn œ ≈ œ œ}

œ

œœœ# œ œ

œn œ

[9] 0 2 0 2 0 0 0 1 2 0 3 0 E7

%

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0 2 0 2 0 0 0 1 2 0 3 0

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0 2 0 2 0 0 0 1 2 0 3 0

Arranged by Carl Orr

(10)

&

T A B

#### ‰

_{œn œ ≈ œ œ}

œ

œœœ# œ œ

œn œ

[12] 0 2 0 2 0 0 0 1 2 0 3 0

‰ œn œ ≈ œ œ

_œ

œœœn œ œ

_{œn œ}

0 2 0 2 0 0 0 0 2 0 3 0 Em7

‰ œn œ ≈ œ œ

_œ#

œœœn œ œ

_{œn œ}

0 2 0 2 3 0 0 0 2 0 3 0 G

&

T A B

#### ‰

_{œn œ ≈ œ œ}

œ

œœœ# œ œ

œn œ

[15] 0 2 0 2 0 0 0 1 2 0 3 0 E7

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0 2 0 2 0 0 0 1 2 0 3 0

œœœœ#n œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ

3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 B7#9

&

T A B

#### œœ

_{n œœœœ œ œ}

_œœ#

œn

œœœn œ œn

_{œ œ}

[18] 3 2 1 2 3 2 1 2 2 0 3 0 0 0 2 0 3 0 Em/G

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0 2 0 2 0 0 0 1 2 0 3 0 E7

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0 2 0 2 0 0 0 1 2 0 3 0 To Coda

fi

&

T A B

#### ‰

_{œn œ ≈ œ œ}

œ

œœœ# œ œ

œn œ

[21] 0 2 0 2 0 0 0 1 2 0 3 0 E7

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0 2 0 2 0 0 0 1 2 0 3 0

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0 2 0 2 0 0 0 1 2 0 3 0

&

T A B

#### ‰

_{œn œ ≈ œ œ}

œ

œœœ# œ œ

œn œ

[24] 0 2 0 2 0 0 0 1 2 0 3 0

œ

n ≈ ....

œœœ

œ

_J

œœœ

œ

œœœ

œ

œœœ

œ

0 3 2 2 2 3 2 2 2 3 2 2 2 3 2 2 2 A7

œ

n ≈ ....

œœœ

œ

_J

œœœ

œ

œœœ

œ

œœœ

œœnnn

0 3 2 2 2 3 2 2 2 3 2 2 2 3 0 0 0 3 G

(11)

&

T A B

#### ‰

_{œn œ ≈ œ œ}

œ

œœœ# œ œ

œn œ

[27] 0 2 0 2 0 0 0 1 2 0 3 0 E7

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0 2 0 2 0 0 0 1 2 0 3 0

œœœœ#n œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ

3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 B7#9

&

T A B

#### œœ

_{n œœœœ œ œ}

_œœ#

œn

œœœn œ œn

_{œ œ}

[30] 3 2 1 2 3 2 1 2 2 0 3 0 0 0 2 0 3 0 Em/G

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0 2 0 2 0 0 0 1 2 0 3 0 E7

‰ œn œ ≈ œ œ

_œ

œœœ# œ œ

_{œn œ}

0 2 0 2 0 0 0 1 2 0 3 0

&

T A B

####

œ œn œœ ≈ œœn œn œ œ œ

œœ ≈ œœ

œ œ

[33] 2 0 22 00 3 0 2 0 22 00 3 0 E7

œ œn œœ ≈ œœn œn œ œ œ

œœ ≈ œœ

œ œ

2 0 22 00 3 0 2 0 22 00 3 0

œ œn œœ ≈ œœn œn œ œ œ

œœ ≈ œœ

œ œ

2 0 22 00 3 0 2 0 22 00 3 0

&

T A B

####

œ œn œœ ≈ œœn œn œ œ œ

œœ ≈ œœ

œ œ

[36] 2 0 22 00 3 0 2 0 22 00 3 0

œ

n ≈ ....

œœœ

œ

_J

œœœ

œ

œœœ

œ

œœœ

œ

0 3 2 2 2 3 2 2 2 3 2 2 2 3 2 2 2 A7

œ

n ≈ ....

œœœ

œ

_J

œœœ

œ

œœœ

œ

œœœ

œœnnn

0 3 2 2 2 3 2 2 2 3 2 2 2 3 0 0 0 3 G

&

T A B

####

œ

œn œ

œ

œ œ

œ

œœœ# œ œ

œn œ

[39] 0 0 2 0 0 2 0 0 0 1 2 0 3 0 E7

œ

œn œ

œ

œ œ

œ

œœœ# œ œ

œn œ

0 0 2 0 0 2 0 0 0 1 2 0 3 0

œœœœ#n œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ

3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 3 2 1 2 B7#9

(12)

&

T A B

####

œ

œœ ≈ œœ œœ j

_œ

œœœœnn

...

.

[42] 4 0 2 0 2 0 2 0 0 0 0 0 A7

œ

œn œ

œ

œ œ

œ

œœœ# œ œ

œn œ

0 0 2 0 0 2 0 0 0 1 2 0 3 0 E7

œ

œn œ

œ

œ œ

œ

œœœ# œ œ

œn œ

0 0 2 0 0 2 0 0 0 1 2 0 3 0

&

T A B

####

œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

[45] 2 0 2 0 3 0 2 0 2 0 3 0 E7

œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

2 0 2 0 3 0 2 0 2 0 3 0

&

T A B

####

œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

[47] 2 0 2 0 3 0 2 0 2 0 3 0

œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

2 0 2 0 3 0 2 0 2 0 3 0 D.%. al Coda

fi

&

T A B

####

œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

[49] 2 0 2 0 3 0 2 0 2 0 3 0 E7

fi

Coda

œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

2 0 2 0 3 0 2 0 2 0 3 0

&

T A B

####

œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

[51] 2 0 2 0 3 0 2 0 2 0 3 0

œ œn œ ≈ œ œn œ œ œ œ

≈ œ

œ œ

2 0 2 0 3 0 2 0 2 0 3 0

œ

jœn

˙˙˙˙#n

...

.

U

0 0 0 0 1 0

(13)

Woke Up Dreaming | Technical Guidance

There is a great amount of variation between the studio and live versions of this song.

In the original Blues Deluxe version Joe Bonamassa plays it in the key of E

b

major (in E on a guitar tuned down a semitone), but in many live versions he plays it on a standard E tuned guitar with a capo on the first fret, playing it in the key of F major. There is also a wide variation in tempos, some versions lope along at mid-tempo and some versions are at high tempi. His playing technique varies too, some versions are played fingerstyle, some with a plectrum and some use both techniques. It is advisable to experiment with different techniques to find out what works most comfortably and naturally in order to capture Bonamassa’s feel. This is absolutely crucial to the song. Regardless of the technique, the feel and the groove should be irresistible and relentless. The important thing is to be a great bass player, as the bass line drives the song along, so make sure to play steady time with a strong, propulsive groove, and big, bold and even notes from beginning to end.

This version is played fingerstyle with the thumb snapping out the percussive bass notes, creating a foundation for the song with the fingers doing the rest, with one finger per string for the chords. For the E7 chord on the second half of beat three in bar 5, the first finger (i) plays the G string, second finger (m) the B string and third finger (a) plays the high E string. For the bigger, bolder chords, specifically the B7#9 in bars 17,18, 28, 30 and 41, and the A7 and G major chords in bars 41 and 42, the second finger (m) brushes across the strings with a downstroke.

(14)

John Mayer ‘Neon’

13 &

T

A

B

bbb 44 ..

.

œ

œ œ

œ

¿

œ

œ œ œ

œ œ

¿

œ

0 5 5 8 6 0 0 3 3 3 4 5 0 6

C

sus4

E

b

add9 E B G D A C

¿

q=

104 œ

œ œ œ

_¿

œ

_œ

œ œ

œ

_{œ œ}

œ œ œ

5 6 3 4 3 0 0 8 8 8 9 0 10 10 7 8

F

m11

A

b

add9

B

b

6

_/

₉

¿

&

T

A

B

bbb

œ

œ œ

œ

¿

œ

œ œ œ

œ œ

¿

œ

_œ

œ

[3] 0 5 5 8 6 0 0 3 3 3 4 5 0 6

C

sus4

E

b

add9

¿

œ

œ œ œ

_¿

œ

_œ

œ œ

œ œ œ

œ

œ œ œ

5 6 3 4 3 0 0 8 8 9 0 10 10 7 8

F

m11

A

b

add9

B

b

6

_/

₉

¿

&

T

A

B

bbb

‰

jœ .œ

œ jœ œ

jœ

When sky blue gets dark

œ

œ œ

œ

¿

œ

œ œ œ

œ œ

¿

œ

[5] 0 5 5 8 6 0 0 3 3 3 4 5 0 6

C

sus4

E

b

add9

¿

œ œ œ œ .œ

Ó

e nough

œ

œ œ œ

_¿

œ

_œ

œ œ

œ

_{œ œ}

œ œ œ

5 6 3 4 3 0 0 8 8 8 9 0 10 10 7 8

F

m11

A

b

add9

B

b

6

_/

₉

¿

-&

&

T

A

B

bbb

‰

_{jœ œ œ œ œ .œ}

_œ

to see the co lours of

œ

œ œ

œ

¿

œ

œ œ œ

œ œ

¿

œ

_œ

œ

0 5 5 8 6 0 0 3 3 3 4 5 0 6

C

sus4

E

b

add9

¿

‰

_{œ œ œ œ}

_{œ œ}

_œ

_{œ .œ}

the ci ty lights.

œ

œ œ œ

_¿

œ

_œ

œ œ

œ œ œ

œ

œ œ œ

5 6 3 4 3 0 0 8 8 9 0 10 10 10 8

F

m11

A

b

add9

B

b

6

_/

₉

¿

-

-‘Neon’ is featured in the 2001 release Room for

Squares. The record was certified platinum after

intense promotion and touring. The song is based on Mayer’s personal experience and features a sound and compositional style much different from his later blues infused releases.

John Mayer was born in 1977, in Bridgeport, Connecticut. He started playing guitar aged 13 and soon was dedicated to the instrument. The blues was his main focus. Aged 17 he experienced health difficulties which he regards as a catalyst for his songwriting. Aged 19 he enrolled at Berklee in Boston, but left after two semesters, together with Clay Cook with whom he moved to Atlanta and formed a band. They eventually parted ways and Mayer embarked on a solo career. In 2003 he won a Grammy for Best Male Pop Vocal Performance and in 2005 with his composition ‘Daughters’ he won a Grammy for Song of the Year and Best Male Pop Vocal Performance. He won seven Grammys out of 19 nominations.

Mayer released a stream of recordings and

embarked on successful tours. His trio work with Pino Palladino and Steve Jordan won him much critical acclaim. By 2007 his guitar work was acknowledged by Rolling Stone. His early records were largely acoustic, but overtime his shows started to include

a blend of electric and acoustic sections which he keeps to date. In 2006 he released The Village Sessions

EP with guitarist Robbie McIntosh. The EP features

acoustic versions of his songs.

Mayer allows recording and non-commercial trading of his shows and has occasionally performed surprise concerts waiving fees.

Mayer has experienced significant problems with his vocal chords for which he was operated on twice. As a result he took time off his busy touring and recording schedule and travelled across the US. He visited Bozeman in Montana, fell in love with the place, bought a house and settled there in 2012.

Mayer is also a writer. He has written a column for Esquire magazine and is very active on digital media. He also a keen photographer and an avid collector of watches and guitars.

SONG TITLE: NEON ALBUM: ROOM FOR SQUARES / 2001 LABEL: AWARE / COLUMBIA GENRE: POP ROCK WRITTEN BY: JOHN MAYER AND CLAY COOK GUITAR: JOHN MAYER PRODUCER: JOHN ALAGIA

(15)

14 &

T A B

bbb 44 ..

.

œ

œ œ

œ

¿

œ

œ œ

œ

¿

œ

0 5 5 8 6 0 0 3 3 3 4 5 0 6 Csus4 Ebadd9 E B G D A C

¿

q=104

œ

œ œ œ

_¿

œ

_œ

œ œ

œ

œ œ œ

œ œ

5 6 3 4 3 0 0 8 8 8 9 0 10 10 7 8 Fm11 Abadd9 Bb6/9

¿

&

T A B

bbb

œ

œ œ

œ

¿

œ

œ œ

œ

¿

œ

_œ

œ

[3] 0 5 5 8 6 0 0 3 3 3 4 5 0 6 Csus4 Ebadd9

¿

œ

œ œ œ

_¿

œ

_œ

œ œ

œ œ œ

œ

œ œ œ

5 6 3 4 3 0 0 8 8 9 0 10 10 7 8 Fm11 Abadd9 Bb6/9

¿

&

T A B

bbb

‰

jœ .œ

_{œ jœ œ}

jœ

When sky blue gets dark

œ

œ œ

œ

¿

œ

œ œ

œ

¿

œ

[5] 0 5 5 8 6 0 0 3 3 3 4 5 0 6 Csus4 Ebadd9

¿

œ œ œ œ .œ

Ó

e nough

œ

œ œ œ

_¿

œ

_œ

œ œ

œ

œ œ œ

œ œ

5 6 3 4 3 0 0 8 8 8 9 0 10 10 7 8 Fm11 Abadd9 Bb6/9

¿

-&

&

T A B

bbb

‰

_{jœ œ œ œ œ .œ}

_œ

to see the co lours of

œ

œ œ

œ

¿

œ

œ œ

œ

¿

œ

_œ

œ

[7] 0 5 5 8 6 0 0 3 3 3 4 5 0 6 Csus4 Ebadd9

¿

‰

_{œ œ œ œ}

_{œ œ}

_œ

_{œ .œ}

the ci ty lights.

œ

œ œ œ

_¿

œ

_œ

œ œ

œ œ œ

œ

œ œ œ

5 6 3 4 3 0 0 8 8 9 0 10 10 10 8 Fm11 Abadd9 Bb6_/₉

¿

-

-Arranged by Andy G Jones

(16)

&

T A B

bbb

‰.

_{rœ .œ}

œ .œ

_{œ .œ}

œ

A trail of ru by red and

œ

œ œ

œ

¿

œ

œ œ

œ

¿

œ

_œ

œ

[9] 0 5 5 8 6 0 0 3 3 3 4 5 0 6 Csus4 Ebadd9

¿

œ

_{œ œ œ œ}

Œ

dia mond white

œ

œ œ œ

_¿

œ

_œ

œ œ

œ œ œ

œ

œ œ œ

5 6 3 4 3 0 0 8 8 9 0 10 10 10 8 Fm11 Abadd9 Bb6/9

¿

- - -

-&

&

T A B

bbb

.œ

_{œ .œ}

œ œ

_{œ .œ}

hits her like a sun rise.

œ

œ œ

œ

¿

œ

œ œ

œ

¿

œ

_œ

œ

[11] 0 5 5 8 6 0 0 3 3 3 4 5 0 6 Csus4 Ebadd9

¿

œ

Œ

œ

She comes

œ

œ œ œ

_¿

œ

_œ

œ

œ œ œ

œ œ

œ ‰

5 6 3 4 3 0 0 9 8 9 0 10 7 Fm11 Abadd9 Bb6/9

¿

-&

&

T A B

bbb

œ

_œ

œ

‰

jœ

and goes, and comes

œ

œ œ œ œ œ

œ

œ œ œ œ œ œ œ

_œ

œ

[13] 8 8 5 6 8 5 8 8 5 6 8 5 8 5 7 8 Ab6_/₉

jœ œ

_{jœ jœ œ}

_jœ

and goes like no

œ œ œ œ œ

œ œ

œ œ œ œ œ œ

œb

6 8 5 7 7 7 8 5 8 5 7 6 Gm11

-&

&

T A B

bbb

jœ œ

3

œb œ œ œ

one can.

œ

œ œ œ œ œ

œb

œ œ œ œ œ œ œ œ œ

[15] 4 6 3 6 3 6 3 6 4 6 3 4 3 6 3 Gb6_/₉

∑

œb

œ œ œ œ œ

œ

œ œ œ œ œ œ

œ

œ œ œ

6 6 3 4 6 3 6 6 3 4 6 3 6 6 3 6 4 -

(17)

-A co us tic G ui ta r G ra de 7

&

T A B

bbb

∑

œ

œn œ

œn

¿

œ

œ œ

œ

¿

œ

_œ

œ

[17] 0 5 5 8 6 0 0 3 3 3 4 5 0 6 Csus4 Ebadd9

¿

∑

œ

œ œ œ

_¿

œ

_œ

œ

œ œ œ

œ œ

5 6 3 4 3 0 0 9 8 9 0 10 10 7 8 Fm11 Fm11 Abadd9 Bb6/9

¿

&

T A B

bbb

∑

œ

œ œ

œ

¿

œ

œ œ

œ

¿

œ

_œ

œ

[19] 0 5 5 8 6 0 0 3 3 3 4 5 0 6 Csus4 Ebadd9

¿

Ó

Œ

‰

jœ

To

œ

œ œ œ

_¿

œ

_œ

œ œ

œ

œ œ œ œ

œ

5 6 3 4 3 0 0 8 8 8 9 0 10 10 10 8 Fm11 Fm11 Abadd9 Bb6_/₉

¿

-&

&

T A B

bbb

œ

_{œ œ œ œ œ œ œ œ}

night she’s out to lose her self

œ

œ œ

œ

¿

œ

œ œ

œ

¿

œ

_œ

œ

[21] 0 5 5 8 6 0 0 3 3 3 4 5 0 6 Csus4 Ebadd9

¿

%

œ

Œ

‰

jœ

and

œ

œ œ œ

_¿

œ

_œ

œ œ

œ

œ œ œ œ

œ

5 6 3 4 3 0 0 8 8 8 9 0 10 10 10 8 Fm11 Fm11 Abadd9 Bb6/9

¿

-&

&

T A B

bbb

œ

_{œ œ œ œ œ jœ œ}

jœ

find a high on Peach Tree Street.

œ

œ œ

œ

¿

œ

œ œ

œ

¿

œ

_œ

œ

[23] 0 5 5 8 6 0 0 3 3 3 4 5 0 6 Csus4 Ebadd9

¿

œ

Œ

Ó

œ

œ œ œ

_¿

œ

_œ

œ œ

œ

œ œ

œ œ œ

5 6 3 4 3 0 0 8 8 8 9 0 10 7 10 8 Fm11 Fm11 Abadd9 Bb6/9

¿

(18)

&

T A B

bbb

≈ œ œ œ œ œ œ œ œ œ œ œ

From mixed drinks to tech no beats, it’s al

œ

œ œ

œ

¿

œ

œ œ

œ

¿

œ

_œ

œ

[25] 0 5 5 8 6 0 0 3 3 3 4 5 0 6 Csus4 Ebadd9

¿

œ

jœb

_{œ œ œ}

Œ

‰.

_Rœ

ways hea

œ

œ œ œ

_¿

œ

_œ

œ œ

œ

œ œ

œ œ œ

5 6 3 4 3 0 0 8 8 8 9 0 10 7 10 8 Fm11 Fm11 Abadd9 Bb6_/₉

¿

- -

-&

&

T A B

bbb

.œ

_{œ .œn}

œ œ

_œ

vy in to eve ry thing.

œ

œ œ

œ

¿

œ

œ œ

œ

¿

œ

_œ

œ

[27] 0 5 5 8 6 0 0 3 3 3 4 5 0 6 Csus4 Ebadd9

¿

œ

Œ

œ

She comes

œ

œ œ œ ≈ œ

_œ

œ œ

œ

œ ≈ r

¿

5 6 3 4 3 0 0 8 8 8 9 10 7 Fm11 Abadd9 Bb6_/₉

¿

- - - -

-&

&

T A B

bbb

jœ œ

_{jœ jœ œ}

jœ

and goes and comes

œ

œ œ œ œ œ

œ

œ œ œ œ œ œ œ

_œ

œ

[29] 8 8 5 6 8 5 8 5 8 6 8 6 8 5 7 5 Ab6/9

jœ œ

_{jœ jœ œ}

_jœ

and goes like no

œ œ œ œ œ œ

œ

œ œ œ œ œ œ

œb

8 6 8 5 8 5 7 5 8 5 8 6 8 6 Gm11

-&

&

T A B

bbb

jœ œ

3

œb œ œ œ

one can.

œ

œ œ œ œ œ

œb

œ œ œ œ œ œ œ œ œ

[31] 3 4 6 3 6 3 6 3 6 4 6 4 6 4 6 3 Gb6/9

Ó

Œ

_œn

_œ

She comes

œb

œ œ œ œ œ

œ

œ œ œ œ œ œ

œ

œ œ œn

6 3 6 4 6 3 6 6 6 4 6 3 6 6 3 11 0 -

(19)

&

T A B

bbb

jœ œ

_{jœ jœ œ}

jœ

and goes and no

œ

œ œ œ œ œ

œ

œ œ œ œ œ œ œ

_œn

œ

[33] 8 8 5 6 8 5 8 5 8 6 8 5 8 5 7 8 Ab6/9

jœ œ

_{jœ jœ œ}

_jœ

one knows. She’s slip

œ œ œ œ œ œ œ

œ

œ œ œ œ œ œ œ ≈ r

_¿

6 8 5 8 5 8 7 5 8 6 8 6 8 5 Gm11

¿

- - -

-&

&

T A B

bbb

jœ œ

jœ jœ œ

jœ

ping through my hands.

œ

œ œ œ ≈ œ

œ

œ œ œ œ œ œ œ œ œ

[35] 5 6 3 4 0 7 5 8 6 8 6 8 5 6 4 Fm11 Gm11 To Coda

fi

œ œ œb œ œ

Œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

6 4 6 4 6 4 6 4 6 4 6 5 6 5 6 5

‰ œ œ œ œn œ œ œ œ œ

She’s al ways buz zing just like

œ

Œ

¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿

6 Ab6/9

¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿

- -

-&

&

T A B

bbb

Œ

œ

_Jœ

‰

œ œ

ne on, ne on.

œ

œ œ œ œ œ œ

¿

œ

œ œ œ ¿ œœœœ

[38] 5 6 3 4 6 3 8 0 7 5 8 6 4 3 5 3 Fm11 Gm11 Cm7

¿

œ

_Œ

_Ó

œœœ

œ

œœœ

œ

œœœ

œ

œœœ

œ œ œ

œ œ ¿ œ œ œ œ œ œ œ

4 3 5 3 4 3 5 3 4 3 5 3 3 5 3 4 4 3 5 3 4 5 0 Bb/C Cm7 Bb/C Cm7

¿

-

-&

&

T A B

bbb

Œ

œ

_Jœ

‰

œ œ

Ne on, ne on.

œ

œ œ œ œ œ

œ

œ œ œ œ œ ¿ œœœœ

[40] 5 3 6 4 6 3 7 5 8 5 8 6 4 3 5 3 Fm11 Gm11 Cm7

¿

œ œ œ Œ

Ó

œœœ

œ

œœœ

œ

œœœ

œ

œœœ

œ œ œ œ

œ œ œ œ œ œ œ

jœ

œ œ

4 3 5 3 4 3 5 3 4 3 5 3 3 5 5 4 5 3 3 5 5 4 5 6 6 Bb/C Cm7 Bb/C Cm7 -

(20)

&

T A B

bbb

Œ

œ

_Jœ

‰

œ œ

Who knows how long,

œ

œ œ œ œ œ

œ

œ œ œ œ œ ¿ œœœœ

[42] 5 3 6 4 6 3 7 5 8 6 8 6 4 3 5 3 Fm11 Fm11 Gm11 Cm7

¿

jœ ‰ œ œ Jœ ‰ œ œ œ

how long, how long,

œœœ

œ

œ œ œ œ œ œ œ

_œ

œ œ

œ

¿ œ

œ

4 3 4 5 5 3 0 10 10 10 11 0 8 8 Bbadd9 Abadd9

¿

&

T A B

bbb

˙

Œ

≈ œ œ

she can

œ

œ œ

œ

¿ œ œ œ œ œ œ œ ¿ œ

[44] 9 11 8 8 9 8 8 11 8 8 9 8 Abadd9

¿

.œ

_{œ .œ}

_œ

_jœ

_œ

go be fore she burns a way.

¿ ¿

œœœœ ¿ ¿ œœœœ ¿ œ œ œ œ œ œ

9 8 10 11 9 8 10 11 11 8 11 8 11 8 Ab Abadd9 Ab

¿ ¿

¿

-

-&

&

T A B

bbb

œ

Œ

Ó

œ

œ œ

œ

¿

œ

œ œ

œ

¿

œ

_œ

œ

[46] 0 5 5 8 6 0 0 3 3 3 4 5 0 6 Csus4 Ebadd9

¿

∑

œ

œ œ œ

_¿

œ

_œ

œ œ

œ

œ œ œ œ

œ

5 6 3 4 3 0 0 8 8 8 9 0 10 10 10 8 Fm11 Fm11 Abadd9 Bb6/9

¿

&

T A B

bbb

œ

_œ

Ó

Yeah.

œ

œ œ

œ

¿

œ

œ œ

œ

¿

œ

_œ

œ

[48] 0 5 5 8 6 0 0 3 3 3 4 5 0 6 Csus4 Ebadd9

¿

∑

œ

œ œ œ

_¿

œ

_œ

œ œ

œ

œ œ

œ œ œ

5 6 3 4 3 0 0 8 8 8 9 0 10 7 10 8 Fm11 Abadd9 Bb6_/₉

¿

D.%. al Coda

fi

(21)

&

T A B

bbb

∑

œ

œ œ

œ

_{≈ œ}

œ

œ œ œ œ œ œ œ œ œ

[50] 8 8 8 9 8 10 10 8 10 8 11 8 11 8 0 Ab6/9 Bb

fi

Coda

&

T A B

bbb

Œ

œ

_Jœ

‰

œ œ

Ne on, ne on.

œ

œ œ œ œ œ

œ

œ œ œ œ œ ¿ œœœœ

[51] 5 3 6 4 6 3 7 5 8 6 8 6 4 3 5 3 Fm11 Gm11 Cm7

¿

œ

_Œ

_Ó

œœœ

œ

œœœ

œ

œœœ

œ

œœœ

œ œ œ

œ œ ¿ œ œ œ œ œ œ œ

4 3 5 3 4 3 5 3 4 3 5 3 3 5 3 4 4 3 5 3 4 5 0 Bb/C Cm7 Bb/C Cm7

¿

-

-&

&

T A B

bbb

Œ

œ

_Jœ

‰

œ œ œ

Ne on, ne on.

œ

œ œ œ œ œ

œ

œ œ œ œ œ ¿ œœœœ

[53] 5 3 6 4 6 3 7 5 8 6 8 6 4 3 5 3 Fm11 Gm11 Cm7

¿

œ

Œ

Ó

œœœ

œ

œœœ

œ

œœœ

œ

œœœ

œ œ œ

œ œ œ œ œ œ œ œ

jœ

œ œ

4 3 5 3 4 3 5 3 4 3 5 3 3 5 3 4 5 3 3 5 5 4 5 6 6 Bb/C Cm7 Bb/C Cm7 -

-&

&

T A B

bbb

Œ

œ

_Jœ

‰

œ œ

Who knows how long,

œ

œ œ œ œ œ

œ

œ œ œ œ œ ¿ œœœœ

[55] 5 3 6 4 6 3 7 5 8 5 8 6 4 3 5 3 Fm11 Fm11 Gm11 Cm7

¿

jœ ‰ œ œ Jœ ‰ œ œ œ

how long, how long

œœœ

œ

œ œ œ œ œ

œ

œ œ

œ œ œ ¿ ¿

œ

4 5 4 5 4 0 0 10 10 10 11 8 8 Bbadd9 Abadd9

¿ ¿

(22)

&

T A B

bbb

œ

Œ

≈ œ œ

she can

œ

œ œ

œ

œ œ œ œ œ

œ

œ œ œ ¿ œ

[57] 11 9 11 8 8 8 8 9 8 8 8 8 8 9 9 Abadd9

¿

.œ

_{œ .œ}

_{œ œ}

_œ

go be fore she burns a way.

¿

œœœœ

J

œœœœ ≈

_R

œœœœ

œ

œœœœ œœœœ œœ œ œ ¿

9 8 10 11 9 8 10 11 9 8 10 11 8 9 8 10 11 9 8 10 11 1011 8 11 Ab

¿

-

-&

&

T A B

bbb

œ

Œ

Ó

œ

œ œ

¿

œn

œ

œ œb œ œ œ

¿

œ œ œb

[59] 5 5 4 0 7 7 8 6 8 6 6 8 9 Fm7 Gm7

¿

∑

œ

œ œb œb œ œ

œb

œb œ œ ¿ œ

œ

œ œ

¿n

8 8 9 7 8 6 10 11 11 9 10 10 9 11 Abm7 Bbm7

¿

&

T A B

bbb

∑

œ

œn œ œ

¿

œn

œn œb œ œ œ

¿

œ œ œb

[61] 5 5 5 4 0 7 7 8 6 8 6 6 8 9 Fm7 Gm7

¿

∑

œ

œ œb œb œ œ

œb

œ œb œ ¿ œ œ œ ¿n ¿

8 8 9 7 8 6 10 6 6 9 9 11 10 Abm7 Bbm7

¿

¿ ¿

&

T A B

bbb

∑

œ

œn œ œ

¿

œn

œb œn œ œ œ

¿

œb œ œb

[63] 5 5 5 4 0 7 8 7 6 8 7 9 8 7 Fm7 Gm7 Abm7

¿

∑

œ

œb

œb œ œ

œ

œ œœœ

œ

b

_œœœ

œ

œœœ

œ

œœœ

œ

...

.

¿

8 8 10 11 10 9 10 10 11 11 13 10 11 11 13 10 11 11 13 10 11 11 13 10 Abm7 Bbm7

¿

(23)

&

T A B

bbb

∑

œ

¿ œ

œ ¿ œ œn

œ œ ¿ ¿

œ

œ œn

[65] 0 8 0 0 7 8 8 0 10 10 7 C7#9

¿

¿ ¿

¿

∑

œ

¿ œ

œ ¿ œ œ

œ œ

œn œ œ

œ œ

0 8 0 0 7 8 8 0 12 10 10 7

¿

_¿

&

T A B

bbb

∑

œ

¿ œ

œ ¿ œ œ

œ œ

œn

œ œ œ œ

œ

[67] 0 8 0 0 7 8 8 0 0 12 10 10 7

¿

_¿

Ó

Œ

œ

She comes

œ

œn œ œ

œ

œ œ

œ

œ œ œ

œ

0 7 8 8 0 8 0 7 8 8 0 0 10 7 0 0

&

T A B

bbb

œ

‰

_Jœ

œ

œ œ

and she goes

œb

œ œ œ œ œ

œ

œ œ œ œ œ œ œ

_œ

œ

[69] 8 8 5 6 8 5 8 5 8 6 8 6 8 5 7 5 Ab6/9

œ

Œ

‰

_Jœ

œ

œb

like no

œ

œ œ œ œ œ

œ

œ œ œ œ œ œ œ œ ¿

7 5 8 6 8 5 7 5 8 6 8 6 8 6 8

¿

-&

&

T A B

bbb

Jœ

œ

jœ œ œb œ œ

one can.

œb

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

[71] 6 6 3 4 6 4 6 6 6 4 6 3 6 3 6 4

Ó

Œ

œ

She comes

œ œ œ œ œ œ

œb

œ œ œ œ œ œ œ œ œ

6 3 3 4 6 4 6 3 6 4 6 3 6 4 6 3 -