Rock School Grade Debut

2

a

'

s

Y

o

ur

G

am

e?

3

Pa

i

s

l

ey On

My Mind

4

Buddy

5

D

e

troit Spinn

a

6

Ruby

7

Tuning Notes

Backing Tracks

8

Bean Scen

t

9

What's Your Game?

1

0

Paisley On My Mind

I

I

Buddy

1

2

Detroit Spinna

13

Ruby

Tech Exercises

14

Riff

Ear Tests

15

Test I

•

e e

tar

Rockschool

Welcome to Debut Guitar

Guitar Notation Explained

Pieces:

Bean Scent

What~

Your Game?

Paisley On My Mind

Buddy

Detroit Spinna

Ruby

Technical Exercises

Sight Reading

Ear Tests

General Musicianship Questions

The Guru's Guide

Entering Rockschool Exams

rock

school

www. rockschool. co. uk

• • •

2

3

4

5

6

7

8

9

10

11

12

13

14

16

ay ·rar in this grade.

e accompan)ing CD has full stereo -,.;-::: rrac- to play alonu' jth "or pra - e, · g notes and o.r;:en n-o bar count-ins to each piece. ~::: ~., ie es and the marking chemes can be found in the Guru' Guide on page 14. If you have any

- - o:::- an:-other Rockschool exam, please call us on 0845 460 4747, email us at injo@rockschool.co. uk or visit

. -'- woLco.uk. Good luck!

the exams offered at Debut are newly accredited entry level exams. This book now supersedes all containing performance pieces only. These books remain valid however, and users may download

auc.rt1m1al tests from www.rockschool.co.uk. Please also note that these newly accredited exams have a different

erne to other exams in this series. Please refer to the tables on page 15.

•

Lelel

Techniques In Debut

-- hool 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

--e.::_..=c. ~ · ,.~cations can be found at www.qca.org.uk/openquals.

G-.:-..ar · part of the Entry Level. This Level is for players who are just starting out and who are looking to acquire the

- ·:. ~ o- erforming and musicianship.

2. _ .ayer of Debut standard should be able to play up to 20 bars of music in 4/4 time, using simple first position .::,.- -ompo ed of whole, half and quarter notes and associated rests, as well as a range of basic first position chords.

2= ?:eces ,-ery often use open strings and melodies move mainly between adjacent strings.

e Debut

Guitar

Exam

2;::--" <!fe two types of exam that can be taken using this pack: a Grade Exam and a Performance Certificate.

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

-zc:-s ''ishing to enter for a Debut Guitar grade exam need to prepare three pieces. In addition you must prepare the

-;.----cal exercises in the book, undertake a sight reading test, take an ear test and answer general musicianship questions. ----=-?:es of these tests are printed in the book along with audio examples on the CD.

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

e ter for your Debut Guitar Performance Certificate you play pieces only. You can choose any five of the six tunes

G

THE :\{{;SIGAL SIAYE shm,-s pitches and rhythms and is di"ided by lines into bars. Pitches are named after

the first seven letters of the

alphabet.

TABLATURE graphically

represents the guitar

fingerboard. Each horizontal

line represents a string, and

each number represents a fret. Strings: E B G D A E

..,

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4th string, 2nd fret D If

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u 2 3 2 0 Open D chord Am I I I I 0 1 2 2 0

Rhythm notation with

suggested fingering

Ad lib. and cont. sim_ sea': are shown in slash no

-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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GLISSANDO: A small slide off of a note toward the end of its rhythmic duration. Do not slide 'into' the following note

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PINCHED HARMONICS: Bring the thumb of the picking hand into contact with the string immediately after the pick.

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

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VIBRATO: Vibrate the note by bending and releasing the string smoothly

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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

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SLIDE: Pick the first note, then slide

to the next with the same finger.

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• Go back to the sign (%),then play until

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• Go back to the beginning of the song and

play until the bar marked Fine (end).

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• When a repeated section has different

endings, play the first ending only the first

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the examiner '\ill ask you to play a selection of exercises drawn from each of the three groups shown below.

B ontain examples of the kinds of scales and chords you can use when playing the pieces. In Group C you

-:...__ · e asked to prepare the exercise and play it to the CD backing track. You do not need to memorise the exercises (and

e the book in the exam) but the examiner will be looking for the speed of your response. The examiner will also

~ credit for the level of your musicality.

Gro p A and B should be prepared in the keys directed.

G!O ps A and B should be played at

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= 80. The examiner will give you this tempo in the exam. Group A: Scales

-· E minor & A minor pentatonic. E minor pentatonic example shown

~:

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0 2 2 0 0 3 3 0 Group B: Chords

1. Open position chords. The chords shown below should be played as a continuous exercise

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Group C: Riff

In the exam you will be asked to play the following riff to the backing track on the CD. The riff shown in bar 1 should

be played in the same shape in bars 2-4. The root note of the pattern to be played is shown in the music in each of the

subsequent three bars. The tempo is

.J

= 70.

Printed below is the type of sight reading test you are likely to encounter in the exam. The ieee-.~· e -o'""""?

=-style of either rock or blues. The examiner will allow you 90 seconds to prepare it and "ill set the em~ o

w:-metronome. The tempo is

J

=60.

1\ Blues u _~ # ~

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....

_{0 3} u

...

2- o - -2 2 2 _f I

· grade. The examiner will play each test to you on CD. One example of each type of test you

~ -~ ~:;}·~the exam is printed below.

Test 1: Rhythmic Recall

:o

_

ill be asked to play back the given two bar rhythm on the open bottom E string of your guitar. You will hear the

:-::::~- played twice with a drum backing. There will then be a short break for you to practise the test and then the test will

:c ... ommence and you will play the rhythm to the drum backing. This test is continuous. The tempo is

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= 90.

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Test 2: Melodic Recall

You will be asked to play back on your guitar a simple melody of not more than two bars composed from the first three

notes of the E minor pentatonic scale (E, G and A). This will be in the same rhythm as Test 1 above. You will be given the

wnic 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

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= 90.

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pie es ou haT"e played in opi can e ~o

Topics:

i) Music theory

ii) Knowledge of your instrument

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

Note Pitches Note Values Time Signatures

Knowledge of parts of the guitar:

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

Questions on all these topics will be based on pieces played by you in the exam. Tips on how to approach this part

o:

--

;:-exam can be found on the Rockschool website: www.rockschool.co.uk.

. - Ro - hoo 's Guitar G o help you aet the most out of the

es o ui your pla}ing style. Remember, these tunes are your chance to

-. --5e:tg- ares aae tions onl -. Feel free to use different neck positions as they suit you. Please also note that any

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

Guitar

I

unes

- __ .._oo es help you play the hit tunes you enjoy. The pieces have been written by top pop and rock composers and

=--

---or · = a to style specifications drawn up by Rockschool.

-:: -~::5 ?:inted here fall into two categories. The first category can be called the 'contemporary mainstream' and features

__ -:-::::: • ~es in today's charts. The second category of pieces consists of 'roots styles', those classic grooves and genres

;:... _.._ -==:.::e e eyery generation of performers.

mix: track 1, backing track 8: Bean Scent

__ -~-.:.._- e tyle of Acid Jazz, a form offunk music that had its heyday in the early 1990s with bands such as Freak Power

-=:: .,...,___

amiroquai. The main theme is played in quarter notes for the most part with some half and whole notes. Watch

-: :-_.._e rests at the start of bars 3, 9, 11 and 15 and make sure that you give the quarter and whole notes their full value.

- r: Hussein Boon.

mix: track 2, backing track 9: What's Your Game?

_ _ s r -piece after the manner of Black Sabbath. The part consists of half and quarter notes and again watch for the

..._.z-=er aote rests at the beginning of bars 3, 11 and 15. The tempo is quite brisk so make sure that you don'~ rush the half

- -;os md to give them their full value.

CD full mix track 3, backing track 10: Paisley On My Mind

-==-:s

ountry tune has a three note lead in to the main theme and is deceptively simple in appearance. The use of whole

i"ollowed by rests in the following bars make this song an exercise in counting, particularly as the rests in bars 5, 7 and

::.: ere half note rests and not quarter notes as in bars 3, 9, 11 and 17, so make sure you giye the whole notes their correct

'

_ _ce_

C ~-oser: Joe Bennett.

CD full mix track 4, backing track 11: Buddy

--- risk rock 'n' roll song evoking the style of Buddy Holly. The part consists of quarter and half notes and mixes up whole

- -es and rests which again make this piece a valuable exercise in counting. Watch out for the ending as this is quite tricky

.:..:::;.c "ill require plenty of practice.

Composer: Adrian York.

CD full mix track 6, backing track 13: Ruby

This laid back guitar pop piece consists wholly of chords played for the first eight bars in an even, four-to-the-bar!"

The second half of the song sees this rhythm mixed up with a rest on the third beat of the next three bars. The c_::: : ::.::::

to watch out for are those bars which have two chords in them, particularly in the first half of the piece, so make su.:::: :..::_:

the movement between chords is fluent and that each note is clearly picked where indicated. You will notice a-~::: G

chord is notated for the top four strings only.

Composer: Deirdre Cartwright.

CD Musicians:

Guitars: Deirdre Cartwright Bass: Henry Thomas Drums: George Gavin

Keyboards and programming: Alastair Gavin

Debut Guitar Marking Scheme

The table below shows the marking scheme for the Debut Guitar grade exam. Please note that all successful candidates' iL

be certificated as achieving a pass only.

ELEMENT PASS

Piece 1 13 out of20

Piece 2 13 out of20

Piece 3 13 out of20

Technical Exercises 11 out of 15

Sight Reading 6 out of 10

Ear Tests .6 out of 10

General Musicianship Questions 3 out of5

Total Marks Pass:65%+

The table below shows the marking scheme for the Debut Guitar Performance Certificate. Please note that all successfu:

candidates will be certificated as achieving a pass only.

ELEMENT PASS

Piece 1 14 out of20

Piece 2 14 out of20

Piece 3 14 out of20

Piece 4 14 out of20

Piece 5 14 out of20

'?:e2.-~

rec.i -·

~o~~ -,..,ese t.rll ons care before · gin the exam entry form. ; ed. from Ro · hool by ringing 0845 460 4747 or by logging on to our

·er ·or your exam when you feel ready.

~ en-er ~or any one of three examination periods. These are shown below with their closing dates.

PERIOD DURATION CLOSING DATE

Period A l't February to 15th March 1st December

PeriodB l't May to 3l't July 1st April

PeriodC 23rd October to 151_{h December 1st October}

These dates will apply from 1st September 2006 until further notice

_ -~eSc complete the form giving the information required. Please fill in the type and level of exam, the instrument, along

--- ±e _ eriod and year. Finally, fill in the fee box with the appropriate amount. You can obtain up to date information on

.:___? .:._---hool exam fees from the website: www.rockschool.co.uk. You should send this form with a cheque or postal order

·

:e

·o Rockschool) to the address shown on the order form. Please also indicate on the form whether or not you

d like to receive notification via email .

. -₇ :'...:.cations received after the expiry of the closing date may be accepted subject to the payment of an additional fee. •- --en you enter an exam you will receive from Rockschool an acknowledgement letter or email containing a copy of our "T --:--r regulations.

: -~--chool will allocate your entry to a centre and you will receive notification of the exam, showing a date, location and well as advice of what to bring to the centre. We endeavour to give you four weeks' notice of your exam.

• ·o should inform Rockschool of any cancellations or alterations to the schedule as soon as you can as it is usually not -; --ible to transfer entries from one centre, or one period, to another without the payment of an additional fee.

• ?lease bring your music book and CD to the exam. You may not use photocopied music, nor the music used by someone

~e

:n

another exam. The examiner will sign each book during each examination. You may be barred from taking an exam

---. o use someone else's music.

•

o

hould aim to arrive for your Debut exam fifteen minutes before the time stated on the schedule. You should use this -2=e to tune your guitar and get everything ready to take your exam.

-h Debut grade exam is scheduled to last for 12 minutes. Each Debut performance certificate is scheduled to last 10 tes.

• T •. ·o to three weeks after the exam you will receive a copy of the examiner's mark sheet. Every successful player will receive

Published by:

Printed by: COs manufactured by: Compiled & edited by: Syllabus consultants: Audio executive producers: Audio producer: Audio engineer: Additional mixing: Recorded at: Guitars: Bass: Drums:

Keyboards & programming:

Mastered by: =- --- ---

-

-

__,_ Kocksc oo _:::: © ::.:::J::: ~ ::::-:.:::- -& ::_- - --: -¥ 0 a~s ~60!-~-::. c=:::~a!"OC<G::~x :::.:. _ www.rockschool.co.uk

Caligraving Ltd, United Kingdom

brandedmedia Ltd, United Kingdom

Jeremy Ward, Simon Pitt & Simon Troup

Deirdre Cartwright, Darryl Golding, Noam Lederman,

Andrew Moore, Henry Thomas & Jason Woolley

Jeremy Ward & Alastair Gavin Alastair Gavin

Matt Gendreau

Kevin Paul & Dave Greenep

University of Westminster & Mute Studios London

Keith Airey, Deirdre Cartwright, Kit Morgan, John Parricelli, Jimi Savage, & Simon Troup

Henry Thomas & Jason Woolley

George Gavin, Peter Huntington & Noam Lederman Alastair Gavin

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 Hamilton & 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