Rgt Acoustic Guitar Grade 5

Guitar Playing

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Acoustic Guitar Playing \

Compiled and edited by Tony Skinner and Laurence Harwood for

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CONTENTS Introduction Fingerboard I
Page 4 5 5 6

8 9 9 12 22 23

27 31 Track 1 2 3 4

5 6 \

7 8

9 10 11

12 13 14

15 16 17 18 19 20

21 22 23 24

25 26

27

is publication is part of a progressive series of ten handbooks, primarily mtended for candidates considering taking a Registry Of Guitar Tutors (RGT) examination in acoustic guitar playing. However, the series provides a solid foundation of musical education for any acoustic guitar student- whether intending to take an examination or not. Those preparing for an examination should use this handbook in conjunction with the Acoustic Guitar Exam Information Booklet and Acoustic Guitar Syllabus- both freely downloadable from the RGT website: www.RGT.org

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A CD is sur plied with this handbook as a learning aid and the recorded performances are designed specifically to provide an indication of the standard of playing expected at this grade.

FINGERING OPTIONS The fingerings (including tablature positions) that have been used in this handbook are those that are most likely to be effective for the widest range of players at this level. However, there is a variety of alternative fingerings that could be used, and any systematic and effective fingerings that produce a good musical result will be acceptable; there is no requirement to use the exact fingerings shown within this handbook. Throughout the examination, it is entirely the candidate's choice as to whether a pick (plectrum) or fingers are used to pick the strings.A thumbpick can be used if desired.

TUNING The use of an electronic tuner or other tuning aid, prior to or at the start of the examination, is permitted; candidates should be able to make any further adjustments, if required during the examination, unaided. The examiner will, upon request, offer an E or A note to tune to. For examination purposes guitars should be tuned to Standard Concert Pitch (A=440Hz).A tuning guide is provided on the accompanying CD on Track 1.

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An examination entry form is provided at the back of this handbook. This is the only valid entry form for the RGT acoustic guitar examinations. If the entry form is detached and lost, it will not be replaced under any circumstances and the candidate will be required to obtain a replacement handbook to obtain another entry form. The entry form includes a unique entry code to enable you to enter online via the RGT website www.RGT.org

FINGERBOARD KNOWLEDGE

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he examiner will choose a selection of the chords, scales and arpeggios shown in this chapter and ask the candidate to play them from memory. Candidates can use fingers or a pick (plectrum). The examiner will be listening for accurate, clear, fluent and even playing. Prompt presentations, without undue delay or hesitation, will be taken as an indication of secure knowledge. A maximum of 10 marks may be awarded in this section of the examination.

CHORDS

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At this grade, candidates should be able to play major and minor chords atANY pitch using 'barre chord' shapes. The major and minor barre chords overleaf are illustrated with a root note of C, however, because they utilise transpositional shapes they can be moved up or down the fingerboard to any pitch without the need to change fingering. Although in the exam you are only required to play each chord in one fingerboard position, two shapes have been provided for each chord type to enable you to avoid having to play some chords in very high fingerboard positions).and to avoid large fingerboard leaps when moving from one chord to another (when playing a chord progression or song) - so that you have a choice of which one to use. The table below lists the fret position needed to produce chords at different pitches.

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Chords should be played using a single slow strum, starting with the lowest (root) note. The whole chord shape should be carefully placed on the fingerboard before, and kept on during, playing.A string which should not be sounded when playing a chord is marked with an X by the fretbox.

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Barre Chords In a 'barre chord' the first finger effectively replaces the nut and acts as a 'bar' across all the strings. In chords with the root note on the fifth string, whilst you can still place the first finger barre over all six strings, you are advised to omit the sixth string in your strum. To ensure that your barre chords ring clearly you should observe the following advice: 1. The first finger should be straight and in line with the fret, rather than at an angle to it. 2. The first finger need not be completely flat; it can be tilted very slightly away from the fret toward its outer side. 3. Position the first finger so that the creases between its joints do not coincide with the strings. If necessary adjust the barre until you find the optimum position. 4. All fingers should be positioned as close to the frets as possible. 5. Do not exert excessive pressure with either the first finger or the thumb. 6. Ensure that fretting fingers, other than the first finger, remain upright and press against the strings with their tips.

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SCALES At this grade, candidates should be able to play the following two octave scales in any key: • major • natural minor • blues These scale types are illustrated overleaf with a starting note of G. All are notated with transpositional finger patterns, so each shape can be moved up or down the fingerboard to a new pitch without the need for a change of fingering. The table below lists the frets on the sixth string that could be used to start each scale depending upon the pitch required.

Candidates will not be asked to play in fingerboard positions that are inaccessible for their particular instrument.

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Scales should be played ascending and descending, i.e. from the lowest note to the highest and back again without repeating, or pausing at, the top note. Scales should be played at an approximate tempo of 116 beats per minute, with two notes being played for each beat. (This suggested tempo is for general guidance only and slightly slower or faster performances will be acceptable, providing that the tempo is maintained evenly throughout.)

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ARPEGGIOS At this grade the following 2 octave open-position arpeggios should be known: • A, G and E major • A and E minor Arpeggios should be played ascending and descending, i.e. from the lowest note to the highest and back again without repeating, or pausing at, the top note.Arpeggios should be played at an approximate tempo of 88 beats per minute, with two notes being played for each beat.

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PERFORMANCE

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andidates should select and play a total of TWO pieces comprised of ONE Rhythm Playing Study plus either ONE piece chosen from the four notated in this handbook (seepages 14-21)orONE piece of a similar standard. Performances do not need to be from memory; the handbook may be used during this section of the exam. Candidates should remember to bring the handbook to the exam if not intending to play from memory; photocopies will not be permitted.

RHYTHM PLAYING STUDIES The candidate must select and perform, using the prescribed strum patterns, ONE of the Rhythm Playing Studies in this chapter. • Each study consists of a 12-bar chord progression that is played twice before ending on the key chord. • At this grade, the prescribed strum pattern is two bars long. Where the pattern is repeated in the following two bars the sign~ is used. • Some bars contain two chords. Where these' split bars' occur a different rhythm should be played just on those bars (as notated). • The notated strum patterns should be used throughout the first playing of the 12-bar chord progression, then a musically appropriate 'variation' of this pattern should be played during the repeat playing of these 12 bars. The content and style of the variation is left to the candidate's discretion, but it may include both rhythmic and dynamic variations from the notation. The CD recording that accompanies this book provides an indication of the technical level that is required for a high mark at this grade but it is NOT intended that candidates copy the variations provided on the CD recording- these are provided purely as examples of the standard required- and candidates are strongly advised to devise their own variations; these should relate to the style of the prescribed strum pattern. • After the repeat section, the final closing bar should be played with just a single strum. • Tempo indications are for general guidance only. • A pick (plectrum) is recommended but fingers, or fingers and a pick, can be used if preferred.

RHYTHM PLAYING ADVICE A maximum of 25 marks may be awarded for the Rhythm Playing Study. In order to achieve the most musical performance and obtain a high mark in the exam you should aim for the following when performing the Rhythm Playing Study: • A secure knowledge of the chord shapes and the facility to change from one chord shape to another smoothly and without hesitation or delay. • Clear sounding chords that are free of fretbuzz and any unintended muting of notes. • A fluent rhythm style, maintaining an even tempo. • Accurate reproduction of the notated strum pattern and dynamic marks during the first playing, and the use of effective and musically appropriate variations of these during the repeat playing.

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Candidates can choose to play either • ONE piece chosen from the four that follow or • ONE piece of a similar standard to these chosen from the 'List of suggested pieces' for the grade (listed on the RGT website- www.RGT.org) or • ONE 'free choice' piece (self-composed or otherwise) providing it is of at least similar standard. Candidates are allowed to interpret all solo pieces in their own style, rather than sticking rigidly to the notation, providing that the technical level is not simplified. Wherever possible, candidates should bring the notation of any free choice pieces, in standard notation or tablature, to the exam for the examiner to view.

A maximum of 25 marks may be awarded. In order to obtain a high mark in the exam, the performance should display a secure level of technical accomplishment demonstrating accuracy of pitch and rhythm, fluency, clarity, articulation and dynamic range. There should be a sense of individual interpretative skill and stylistic awareness so that the music is performed in a manner reflecting a degree of sensitivity and empathy. The performance should demonstrate the ability to engage the listener and to communicate a sense of personality and style. • Tempo markings have been chosen that reflect the capabilities expected at this level, but are for general guidance only: faster or slightly slower tempos can be used providing they produce an effective musical result. • There is a variety of finger positions that could be used and any systematic and effective fingerings that produce a good musical result will be acceptable. • Where chord symbols are present, these are provided only as an aid to study and performance. • There are two versions of each piece on the CD: full-tempo and practice-speed. The recordings are provided purely as aural guides to the notes and rhythms of the pieces and therefore are performed' straight' with minimal interpretation; candidates are encouraged to develop their own interpretation of the pieces. The slower, practice-speed versions are provided for candidates to play along with as study aids whilst learning the pieces.

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• This dirge in is written in a traditional Irish style, using theE Mixolydian mode (this is similar toE major scale but with D replacing D#). • The first 16 bars have a melancholic mood. In contrast, bars 17 to 20 have a more joyous, almost dance-like feel. These four bars should be played three times, getting slightly faster each time, until the 'Rail' marking in bar 21 instructs you to slow down.Afterthis the 'D.C. alPine' indicates that you should play again from the beginning until the point marked 'Fine' (i.e. finish) at the end of bar 16. • The piece includes various ornamentation (i.e. incidental decorative notes that help embellish the melody) executed via the use of slurs and slides.

Country Mood • This is an arrangement of a typical traditional country, bluegrass-influenced, guitar piece. It is chordal-based and is designed to be played using a pick (plectrum). The key is G major. • The time signature is ~ -as it has a strong two-to-the-bar feel. Performance at quite a fast tempo is necessary to capture the spirit of this piece. • The 4-bar lick that starts the piece, and which is repeated in several places, uses hammer-ons and cross-string picking to add to the sense of movement.

~Y£[gl!!d~ • This piece is in a contemporary mid-tempo ballad style, but with the rhythm and repetitive bass line adding a strong blues influence. • The piece is in the key of A major, with the melody harmonised mostly in thirds. However, various accidentals (i.e. notes outside of the key scale) occur and lend the piece a bluesy flavour. • The time signature is but it should be played with a' swung' feel as marked above the notation. This will be evident when listening to the CD, as you'll hear that the bassline is not played with an even rhythm as notated.

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The Ten Penny Bit • This is a traditional Celtic tune. It has been arranged here as a flatpicking piece, designed to be played with a plectrum. It needs to be played at quite a fast tempo in order to capture the style. • This arrangement uses a& G major key signature, with the tune being based on the A Dorian modal scale (i.e. a mode of G major). • The time signature is ~ -i.e. six eighth note beats per bar, with a main pulse of two beats per bar. This means that the first and, to a lesser extent, the fourth note of each six in a bar should be accented slightly. • The tune consists of two 8-bar sections- each of which is repeated.

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eferring to the candidate's handbook (or sheet music), the examiner will ask a range of questions based on the Rhythm Study and/or the piece performed. The questions may cover topics such as:

• Identifying the time signature and the key/scale used. • Explaining any dynamic marks and repeat signs that appear in the music. • Naming some of the techniques employed to perform the pieces. Candidates are advised to study the notation of the pieces so that they can prepare their answers. Some useful information about the pieces is included in the 'Performance Notes' on page 13. A maximum of 10 marks may be awarded in this section of the exam. In order to gain the highest marks, responses to the examiner's questions should

be prompt and confident, employing appropriate musical and technical terminology, and demonstrating a thorough understanding of the topics.

SAMPLE QUESTIONS • Identify all the dynamic marks that appear in this piece and explain their meaning. • Identify all the repeat marks that appear in this piece and explain their meaning. • Identify the key and time signature of this piece. • Describe some of the techniques you employed when playing this piece.

...

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ACCOMPANIMENT

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n this section of the exam, the candidate should play a chordal accompaniment while the examiner plays an eight-bar melody (either live on guitar or keyboard, or via a recording).

• The candidate will be shown a chord chart for the melody. The examiner will then give a one bar count-in and play the melody once for the candidate to listen to without playing along. • The examiner will then give another one bar count-in and the melody will be played a further three times without stopping. The candidate can accompany the first of these three verses if they wish to, but only the accompaniment of the second and third verses will be assessed. It is recommended that during the first (unassessed) accompaniment verse a

chord is strummed on the first beat of each bar so that the timing can be established. Alternatively, the candidate may prefer just to read through the chord chart and listen as the examiner plays the first verse of melody. The range of chords will be restricted to the chords required for this and previous grades. Some use of barre chords may be required, although barre chords need not be used exclusively. The final chord (after the repeat) should be played with a single strum. The time signature will be either i or i. The style of the accompaniment is left to the candidate's discretion, and the candidate can chose to either strum or fingerpick. The CD recording that comes with this book provides an indication of the technical level that would be expected for a high mark at this grade- only the two assessed verses are provided on the recording for each example. It is NOT intended that candidates copy the style of accompaniments performed on the CD recording- these are provided purely as examples of the standard required - and candidates are strongly encouraged to devise their own rhythmic/picking styles; these should always relate to the style and timing of the melody played by the examiner. The melody notation played by the examiner will not be seen by the candidate.

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ACCOMPANIMENT ADVICE A maximum of 20 marks may be awarded in this section of the exam. In order to achieve the most musical performance and obtain a high mark in the exam you should aim for the following when performing your accompaniment:

• Remember that the very first time the examiner plays the melody, you have the chance to listen to it without needing to play along. Use this opportunity to listen carefully and try to absorb the melodic shape and structure of the melody.

•

• In the first verse of the three continuous playings your playing will not be assessed, so you can best use this time by reading through the chord chart and just strumming once on the first beat of each bar so that the timing becomes clearly fixed in your mind. • In the remaining two verses use an appropriate rhythm or picking style that suits the mood, style and timing of the melody.

• Keep listening to the melody while playing your accompaniment and make sure to keep in time with it. Change smoothly from one chord to another, avoiding excessive fingerboard movement and making sure the chords ring clear. • Demonstrate evidence of your musicality by including some appropriate variations.

Three examples of the type of test that will occur are given on the following pages. Note that each of the Accompaniment Examples is provided only as a sample of the type of melody and chord symbols that may occur in the exam .

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he candidate will be given a selection of rhythm, pitch and harmony tests. The examiner will play these either on guitar or keyboard (live or via a recording). Examples of these are provided below; these are also included on the accompanying CD. A maximum of 10 marks may be awarded in total during this section of the examination.

RHYTHM TESTS Test A - l(eeping time

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The examiner will twice play a 4-bar melody in ~, ~, ~ or 1 time. During the second playing the candidate should clap or tap the main pulse (this means 2 beats for ~; 4 beats for 1 accenting beat 1 of each bar. The rhythm will include dotted notes, but will not include any note values short~:tr than 16th notes (semi quavers). Below is an example of the style of test in each of the time signatures, with the correct pulse that the candidate should clap shown between the treble clef and the tablature notation.

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Test B - Recognising the time signature The candidate should identify, without a further hearing, the time signature of the melody from rr . It . as 24 , 4, 3 4 6 12 1est A b y nammg 4 , 8 or 8 .

Test C - Repeating a rhythm The examiner will play a short extract from TestA twice, as marked i:h the examples below. The candidate should reproduce the exact rhythm (not just the pulse) by clapping or tapping.

Example 1 (CD track 16)

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PITCH AND HARMONY TESTS Test D - Reproducing a phrase The candidate will be asked to look away while the examiner twice plays a one-bar phrase in ~or~ time. The examiner will name the scale and play the tonic (key) note. The phrase may begin on a keynote or on the fifth degree of the scale. The candidate should replicate the phrase on the guitar. If required, the candidate may request to hear the phrase once more but will then be expected to reproduce the phrase promptly with no further attempts. The phrase will consist of notes from any two octave fretted major, natural minor or blues scale. Time values will be limited to quarter notes (crotchets), dotted quarter notes (dotted crotchets) and eighth notes (quavers). Examples of the style of test are shown below; these can be heard on CD track 21.

Example 1 (from G major scale)

Example 2

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Test E - Recognising chord movements The candidate should look away while the examiner plays a 4-bar chord progression in the key of C or G major or A orE minor. The examiner will name the key. The candidate will then be asked to identify the two final chords by chord name. The first two bars will be the key chord followed by either a V-I (perfect) or IV-I (plagal) cadence. (Candidates will not be asked to identify the cadence, which is written below only to demonstrate the range of chords that may occur in this test.) Note that the V chord in the minor key progression may be either major or minor. Below are some examples of the test.


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Easy To Use • • •

Written in easy-to-read TAB, as well as traditional notation. CD examples are provided so you can 'listen and learn'. Designed for both fingerstyle and plectrum players.

Get Qualified Covers all the material needed for the RGT acoustic guitar examination, enabling you to study for an internationally recognised qualification.

Improve Your Playing Even if you do not intend to take an exam, this book will help you achieve your full potential as a guitarist by developing all aspects of your playing. Ackerman l.fusJc Rgt : Acoustic. Gu·t· 01 293 537900

11

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1010-GTR-EXAM

8326

Rgt Acoustic Guitar Grade 5

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