Guitar Playing
Acoustic Guitar Playing \
Compiled and edited by Tony Skinner and Laurence Harwood for
CONTENTS Introduction Fingerboard I
Page 4 5 5 8 10 11 13 17 20 24
27 28 31 35
CD LISTING Thning Guide The Coast Road Acoustic Fuel ID~eThu
The Derry Hornpipe Accompaniment Example 1 Accompaniment Example 2 Accompaniment Example 3 Aural Assessment - Rhythm Test Example 1 Aural Assessment - Rhythm Test Example 2 Aural Assessment - Rhythm Test Example 3 Aural Assessment - Rhythm Test Example 4 Aural Assessment - Rhythm Test Example 5 Aural Assessment- Pitch Test Example 1 Aural Assessment - Pitch Test Example 2 Aural Assessment - H~ony Test Examples
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Track 1 \ 2 3 4 5 6 7 8 9 10 11 l2 13 14 15 16
INTRODUCTION
Ti
s publication is part of a progressive series of ten handbooks, primarily tended for candidates considering taking a Registry Of Guitar Tutors (RGT) examination in acoustic guitar playing. However, given each handbook's wide content of musical repertoire and associated educational material, 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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CD
A CD is supp lied 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 shoWiil 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.
iTU li i i ;m~ Nii~ iiii 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.
EXAMINATION ENTRY 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. Please note that 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
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FINGERBOARD KNOWLEDGE &;+ ; saw z *W* 2
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e examiner will choose a selection of the chords, scales and arpeggios listed n 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 At this grade, candidates should be able to play:
• major chords, with any root note, in four different fingerboard positions. • minor chords, with any root note, in three different fingerboard positions. • the following minor chords in 1st and 2nd inversion: Am, Dm and Em. Chords should be played using a single slow strum, starting with the lowest 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 withanXbythefretbox. · \
In this handbook, transpositional chord shapes that can be moved up or down the fingerboard are used for the multi-position chords. The table below lists the fret position needed to produce chords at different pitches.
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Major chords in 4 different fingerboard positions All the chord shapes below are transpositional and can be moved along the fingerboard to another pitch without the need to change fingering. The chord shapes candidates will need to use will depend upon the pitch requested by the examiner. Below are five transpositional chord shapes illustrated in F major. Candidates should be able to decide which four of these shapes are in accessible fingerboard -positions for the pitch requested; an open position chord (or other alternative chord shape) can be used in place of one of the transpositional shapes when appropriate.
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Minor chords in 3 different fretboard positions All the chord shapes illustra ted are transpositional and can be moved along the fingerboard to another pitch without the need to change fingering.lf preferred, an open position chord can be used in place of one of the transpositional shapes to facilitate playing all three chords in accessible fingerboard positions. The chord shapes you will need to use will depend upon the pitch requested by the examiner. Examples are illustrated overleaf in F minor and minor, all using transpositional shapes.
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Candidates are free to use alternative fingerings and different fingerboard positions to the examples illustrated in this handbook.
The requirements for Grade Eight are: • One octave major scale in five fingerboard positions in any accessible key • One octave C major scale harmonised in 3rds • One octave C major scale harmonised in 6ths • One octave G major scale harmonised in 10ths One octave major scale shapes are shown with starting notes of both A and E in five fingerboard positions. Candidates should be able to select the shapes best suited to the key they are asked to play in; these may be any combination of the illustrated scale shapes (or other suitable shapes, including open position), providing they are all played at the same octave. Candidates will not be asked to play in keys that would necessitate fingerboard positions that are inaccessible for their particular instrument. 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. Non-harmonised scales should be played at an approximate tempo of 160 beats per minute, with two notes being played for each beat. Harmonised scales should be played at an approximate tempo of 66 beats per minute, with two notes being played for each beat.
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At this grade candidates should be able to play a two octave dominant seventh arpeggio at any pitch. The arpeggio is illustrated below with a root note of A and is notated with a transpositional finger pattern, so the shape can be moved up or down the fingerboard to a new pitch without the need for a change of fingering. Candidates will not be asked to play at pitches that would necessitate fingerboard positions that are inaccessible for their particular instrument. 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 120 beats per minute, with two notes being played for each beat.
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PERFORMANCE
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andidates should perform a total of TWO pieces, demonstrating some variety in musical style and a range of technical ability. At least ONE of the pieces should be chosen from the four notated in this handbook (see pages 13-26). However, instead of playing a second piece from this handbook, candidates can, if they prefer, select either: • ONE piece chosen from the 'List of suggested alternative pieces' for the grade (listed on the RGTwebsite- www.RGT.org) or • ONE 'free choice' piece (self-composed or otherwise) providing it is of at least similar standard. Wherever possible, candidates should bring the notation of any free choice pieces, in standard ;,_otation or tablature, to the exam for the examiner to view. Although not mandatory, the free choice may be a piece using altered tuning or specialist styles of guitar playing such as slide guitar. Candidates are allowed to interpret all solo pieces in their own style, rather than sticking rigidly to the arrangement shown in the notation, providing that the technical level is not simplified.
A maximum of 50 marks may be awarded in this section- each piece has a maximum of ~marb. \ In order to obtain a high mark in the exam, the performances should demonstrate a high level of technical accomplishment, with an appropriate level of accuracy, fluency, clarity, articulation and dynamic range. The degree of musicality will be equally important and the playing should demonstrate a mature sense of musical style with an ability to take charge of expressive elements in the music. The performances should be confident and assured, and should communicate a sense of individual interpretative skill, with a clear ability to engage the listener fully in the performance. • 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. • The CD recordings are provided purely as aural guides to the pieces and are therefore performed with only minimal interpretation; candidates are encouraged to develop their own interpretation of the pieces.
PERFORMANCE NOTES
The Coast Road This 2004 piece is by the British acoustic guitarist Stuart Ryan and is an arrangement of the title track of his album The Coast Road. It is notated here in the key of E major. The piece is in three distinct sections: the opening reflective section in up to bar 15, followed by a slightly faster section in ~up to bar 40, which is followed by a much faster reel-like second section in Hammer-ons and pull-offs are used in many places to aid fluency. The first two sections can be performed with plenty of rubato to capture the feel of the music (the CD recording is deliberately performed' straight' to encourage individual interpretation).
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Acoustic Fuel This rock-influenced piece is from British guitarist Chaz Hart's 2001 Hartbeat album. It uses a dropped D tuning (i.e. the 6th string is tuned a wholetone down to D). The low bass string is then played repeatedly to create a pedal-tone effect against which the highe~ notes or chords move to create harmonic variety. The piece relies on the use of dynamic variety to help generate a sense of excitement.
I Dare You This 2007 piece by guitar educator Tony Skinner has been composed to encourage students to develop fluency in' rolling' fingerpicking- i.e. picking across the strings in a fast arppegiated style (e.g. in bars 8 and 12, and particularly in bars 28-32) . The piece uses DADGAD tuning (the 6th, 2nd and 1st strings are tuned down a wholetone) which allows chords with many open strings to be used and thereby facilitates the use of the fast rolling technique. The piece has been recorded on the accompanying CD at the minimum tempo expected for the grade, but candidates should feel free to attempt it as fast as they dare!
The Derry Hornmve This is a traditional Irish hornpipe, arranged here as a flatpicking piece designed to be played with a plectrum. In line with common practice for this genre, the melody has been notated in' straight eights' for ease of reading, but it is expected that the reader will adapt and interpret the rhythm in the style of a traditionalirishhompipe-i.e. with
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MUSICAL KNOWLEDGE MH#i--
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his section of the exam consists of a discussion between the examiner and the candidate, allowing the candidate an opportunity to display their broad knowledge of acoustic guitar playing.
The primary focus of the discussion will be on the pieces played in the 'Performance' section of the exam, but may extend to wider related topics. The examiner may ask about matters such as: • the candidate's reasons for choosing the pieces that were performed in the exam • basic background information about the pieces (period, composer) and the wider acoustic guitar repertoire • the styles of the pieces performed and how they contrast with other styles and pieces • the candidate's approach to interpreting the pieces performed • the content of the pieces performed, including any harmonic, rhythmic or melodic features, the key and time signature, any repeat signs, dynamic markings or other signs that appear in the music • the technical and musical challenges involved in performing the pieces, including any problems that were encountered when preparing the pieces and how these were overcome } • a critical self-evaluation of the candidate's performance, including aspec~ which went well and an awareness of aspects which could have been improved • knowledge of use of the capo and transposition • knowledge of common altered tunings The candidate is expected to undertake sufficient research in order to be fully prepared to discuss any of the topics listed above. The examiner will be looking for evidence of careful preparation and a thorough understanding of the repertoire performed, as well as a widening musical and stylistic awareness. A maximum of ten marks may be awarded in this section of the examination. In order to gain the highest marks, responses in the discussion should be authoritative, knowledgeable, and well-communicated, employing appropriate musical and technical terminology when necessary.
15
I
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. The range of chords will be restricted to the chords required for this and previous grades. Candidates who are unsure of the chords set for previous grades should refer to the earlier handbooks in this series. Some bars will be' split bars' containing two chords. Diagonal lines are used to indicate the division of the bar: the chord symbol representing one beat and each diagonal line representing another beat. The final chord (after the repeat) should be played with a single strum. The time signature will be either~,
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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 at this grade- only the two assessed verses are provided 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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ACCOMPANUMENTADVICE 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 itwithoutneeding to play along. Use this opportunity to listen carefully and try to absorb the style, 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 each chord 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. • The performance should be confident and assured, and should demonstrate a high level of technical ability. • 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, whilst making sure your chords ring clear and avoiding excessive fingerboard movement. • Demonstrate evidence of your musicality by including some appropriate variations. Be creative in your approach and demonstrate expressiveness, and a mature sense of musical style.
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.
Accompaniment Example 1 ccn track 62 Chord chart
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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 the tests are provided below; these are also provided on the accompanying CD .A maximum of 10 marks may be awarded in total during this section of the examination.
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. Test A - l(eeping time
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Test B - Recognising the time signature The candidate should identify, without a further hearing, the time signatur~ of the melody . . 2 3 4 6 12 '· f rom Test A b y nammg It as 4 , 4, 4, 8 or 8.
Test C - Repeating a rhythm The examiner will play an extract from TestA twice, as marked in the examples. The candidate should reproduce the exact rhythm (not just the pulse) by clapping or tapping.
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Test D - Reproducing a phrase The candidate will be asked to look away while the examiner twice plays a four-bar phrase in ~, or~ time taken from a major scale in any key. Bars 1 and 3 will be identical. The examiner will name the scale and play the tonic (key) note. The phrase may begin on a keynote or on the third or 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.
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Time values will be limited to quarter notes (crotchets), dotted quarter notes (dotted crotchets) and eighth notes (quavers). Below are two examples of the style of test:
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Chord Sequence: I IV V lim
Chord Sequence: I V IV lim
IZey: C major
IZey: C major
Chords Played: C F G Dm
Chords Played: C G F Dm
IZey: G major
l(ey: G major
Chords Played: G C D Am
Chords Played: G D CAm
l(ey: D major
IZey: D major
Chords Played: D G A Em
Chords Played: D A G Em
Chord Sequence: I IV V 111m
Chord Sequence: I V IV 111m
l(ey: C major
l(ey: C major
Chords Played: C F G Em
Chords Piayed: C G F Em
l(ey: G major
Key: Gmajor
Chords Played: G C D Bm
Chords Played: G D C Bm
IZey: D major
IZey: D major
Chords Played: D G A F#m
Chords Played: D A G F#m
Chord Sequence: I IV V VIm
Chord Sequence: I V IV VIm
IZey: C major
l(ey: C major
Chords Played:
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Chords Played: C G F Am
IZey: G major
IZey: G major
Chords Played: G C D Em
Chords Played: G D C Em
l(ey: D major
IZey: D major
Chords Played: D G A Bm
Chords Played: D A G Bm
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.
ISBN 978-1
Ackerman Music 01293 537900 Rgt: Acoustic Guitar Playing: Grad
111111111111111111111111111111 0000007598296
081fHITR-EXAM
£15.99
