PrrrrmrNArry
GBADIT
1rcfi] Rock G uitar Pl aytng
Preliminary Grade
Compiled by Tony Skinner and Merv Young on behalf of Registry Of Guitar Tutors wvr/vr/.RGT.org
Printed and bound in Great Britain
A CIP record for this publication is available from the British Library ISBN: 97 8- l -9 O59O&3O- t Published by Registry Publications
Registry Mews, Wilton Rd, Bexhill, Sussex, TN4O I Hy
cover photo byAndreas Gradin/Fotolia. Design byJAK lmages. All musical compositions by Tony Skinner.
Compiled by
-
-
@
kr
The Specialists in Guitar Education
-
Registry of Guitar Tutors
-
vl/tn/t y.RGT.org
CopyrightzOl I by Registry Of Guitar Tutors. Vorldwide rights reserued. PHOTOCOPYING OF ANY PART OF THIS BOOK IS ILLEGAL No part of this book may be reproduced in any form without the permission of the publisher. Breach of copyright, by photocopying or any other means, may result in both a claim for civil damages and criminal prosecution. v.2ol IOAZ3
Contents Page
+
)
lntroduction
>
Prepared Performances
6
I
I
O )
Boom At Noon
(CD tracks 2-3)
II
)
Taken By Surprise
l2
)
Look Out!
l3
>
Fight To The End
l4
)
Living Legend
l5
>
Let Me Tell You This
ICD tracks a-5f
(CD tracks 6-71
16 )
Aural Assessment
l9 )
Exam Entry Form
(CD tracks 8-e)
(CD tracks
t0-t l)
{CD tracks
l2-l3f
lntroduction This book is the second in a progressive series of ten handbooks designed for rock guitarists ufio wish to develop their playing and obtain a qualification. Although the prinrary intention of these handbooks is to prepare candidates for the Registry Of Guitar Tutors (RGTI rock guitar exams, the series provides a comprehensive strucnrre that will help develop the abilities of any guitarist interested in rock music, whether or not intending to take an exam.
Those preparing for an exam should use this handbook in conjunction with the Syllabus for Rock Guitar Playing and the Rock Guitar Exam lnformation Booklet both freely downloadable from the RGT website: wvrnv.RGT.org Exam Outline For the Preliminary Grade exam, candidates are required to perform THREE pieces of music. This book provides the notation for six specially-composed rock guitar pieces; the pieces are divided into three groups - Group A, Group B and Group C - and candidates should choose one piece from each groap to perform in the exam. The
pieces should be performed along to the backing tracks provided on the accompanying CD. The CD also includes a demonstration track of each piece for candidates to listen to and practise with prior to the exam. Candidates will also be given a short series of aural tests to assess their ability to distinguish pitches and to reproduce rhythms.
A maximum of tO0 marks may be awarded: up to 3O marks for the performance of each of the three pieces, and up to l0 marks in the aural assessment. To pass the exam candidates need a total of 65 marks. Candidates achieving 75 marks will be awarded a Merit certificate, or a Distinction certificate for 85 marks or above. Exam Entry
An exam entry form is provided at the rear of this handbook. This is the only valid entry form for the RGT rock guitar playing exams. Please note that if the entry form is detached and losL 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 online entry via the RGT website www.RGT.org Tuning
The CD provided with this handbook includes a tuning guide on Track candidates to use to practise tuning by ear.
I
for
For exam Purposes guitars should be tuned to Standard Concert Pitch lA=44OHzl. The use of an electronic tuner or other tuning aid is permitted. The examiner will not assist with tuning.
Notation
:,,
Within this handbook, three formats of notation are used: traditional notation, tablature and fretboxes - thereby ensuring that there is no doubt as to how to play the musical requirements. Each of these methods of notation is explained below.
Traditional Notation: Each line, and space between lines, represents a different note. Leger lines are used to extend the stave. For scales, string and fret numbers are printed below the notation: fret-hand fingering is shown with the numbers I Z 3 4, with O indicating an open string; string numbers are shown in a circle. This example shows a one-octave G major scale.
Tablature: Horizontal lines represent the strings (with the top line being the high E string). The numbers on the string lines refer to the frets. 0 on a line means play that string open {unfretted). E B G D
This example means play at the second fret on the third string.
A E
Fretboxes: Vertical lines represent the strings - with the line furthest to the right representing the high E string. Horizontal lines represent the frets. The numbers on the lines show the recommended fingering. I represents the index finger, 2 = the long middle finger, 3 = the ring finger, 4 = the little finger.
EADGBE
This example means play with the second finger at the second fret on the G string. lf a O appears above a string line, this indicates that the open string should be played. lf , in a chord fretbox, an X appears above a string line, this indicates that this string should not be played.
Fingering Options The fret-hand fingerings that have been provided for chords and scales are those that are most likely to be effective for the widest range of players at this level. However, there are 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. ln addition, it should be noted that the optimal fingering for playing a scale might not always be the most effective fingering for playing a performance piece that is based on that scale; when playing the performance pieces some notes might be more easily fretted with a fingering other than that which would be most effective ifjust playing the scale.
Chords and Scales Candidates will need to be fully familiar with the chords and scales listed below in order to be properly prepared for performing the set pieces in the exam; as the pieces have been specially composed to incorporate these chords and scales.
Chords Here is the range of chords that are included in the exam pieces. o a
a
Minor chords: Fifth {powerf chords: Major chords:
Am A5
Em D5
G
c
Am - A minor
Em
XO
-
E
minor
0
0
)'
lA5
E5 D
t'
I
- A fifth (power chord)
D5
XO XXX
00
-
D
fifth {power chord)
XXO XX
E5
- E fifth (power
chordf
G
- G major
000
O XXXX
C
D
- C major
-
D major
XXO
X 2
Scales Here are the scales that are utilised in the exam performance pieces.
A pentatonic minor scale
ACDEGA
- I octave
00 )) Ja
E
blues scale
- I octave
EGABbBDE
- I octave GABCDEF#G
G major scale
)
3:
Prepared Performances Candidates should choose and perform THREE of the pieces from this chapter from Group A, one from Group B and one from Group C.
- one
The melody lines and riffs in the Group A pieces are all based on the A pentatonic minor scale, those in the Group B pieces are based on the E blues scale, and those in the Group C pieces are based on the G major scale . All pieces also incorporate some of the chords listed in the previous chapter. Therefore, regular practice of all the scales and chords listed for the grade will undoubtedly aid the learning and performance of the pieces, and so it is highly recommended that candidates acquire a thorough working knowledge of the appropriate scales and chords prior to attempting to play the pieces. The CD that accompanies this book includes a backing track for each piece for the candidate to practise playing along to. There is no need to bring the CD to the exam, as the examiner will provide the necessary backing tracks during the exam. The CD also features each track being performed in full for demonstration purposes and as an aid to learning.
Exam format Candidates' performances should be accurate reproductions of the pieces as notated
in this book. Alternative fingerings and playing
positions can be adopted if preferred, provided the overall musical result is not altered from the recorded version. Performances do not need to be from memory; candidates should remember to bring their handbook to the exam should they wish to refer to the notation.
Prior to the performances commencing, candidates will be allowed a brief 'soundcheck'so that they can choose their sound and volume level. Candidates do not need to emulate the guitar sound used on the demonstration recording; candidates can use either a clean or a distorted guitar sound for their performance of the pieces, and can bring their own distortion or other effects units to the exam prouiding that they can set them up promptly and unaided. ln order to achieve a high mark in the exam, performances should be fully accurate and confidently presented. Timing, clarity and technical control should be secure throughout.
9
Boom At Noon [Group A] .=126
A5
D5
-=r -:L _:l _:r 1111C
UU
As
-ru+J +J
a)
.JJ
o
-=J-
11114 =l-:t-:L:L:L
UZ
T
A I
A5
Ds
E5
t(
o aaaae
ttttd IJJJd
t' I
-4r
.1.
e
A
A-^a<1t I
25
{ li--z# tlt
a)
-+t
e
-+-+J-++11 eee+
u 32
d -+#+-F
JEJfi
a+t
-+- e
.r A F I
@ Copyright 2011 by Registry Publications.
jJtJ+Jr
-+-+1-+J-+1 ae++
Taken By Surprise fGroup A] .=I20
Am
-F
-
a)
I
-:I
Am
:I
:I :I :IV:L 1111_1
#
Em
1 1111_1
-tv-l
I
c o
1 1111_1
I
A I
uvwv
uvvu
11
-+ a -+-++-+ ee e-J -+
|\'
tJ-J_4
<>
T
A F
I
@ Copyright 2011 by Registry Publications,
**
rO on GD traek 4 $.Sgivided on GD track 5
Look Out! fGroup B]
J=96
D5
Es ---FF--J---I-
JJJ }J JJJ
a.)
JJ
JJJ J}
A5
fff
111
---
I
A I
E5
't
a)
JJJ JJ JJJ
I
JJ
I
A g
A5
D5 }UU
u jjj
7=
wt))n .
'
I I l.l:
J
:L:I:L
#
111
'l
I
A A
L'
a-^-^
D5
A5
E5
c
a-
16
O
IJ.J-J
__l
I
d
-+
d
__l
ll
__l
++
.:I
O-
-c -o
II I @ Copyright 2011 by Registry Publications.
Fight To The End fGroup B] ;=96
a)
Es
As
tJ tttt }JJJ
tJ tttt J+IJ
:r
1
:t :L =t 1111
_=
(rg
T
A UV
TJ
a)
I
A g
aJ
\t
G
D
#
t
T
,l I
Es 15
ttt ))+
a)
ttt
++t
tii -JTT
A I
: :.. : This piece can be heard on GD track I rcking track is provided on GD Faclr g ;
:.
..
1 T
Living Legend fGroup
C]
J=104 G
D
C
D
G
o
--
AJ
J'
++
t,
E'
d
C
D
rljJ
v
lt
-YY r*A I
14
T
r I
-
@ Copyright 201i by Registry Publications.
t-
Let Me Tell You This fGroup )=84
a)
C]
Am
, +TU
-
J'QI
f
1 ttl114
IJ JJ
I
A I
a)
l-l+J
I
Tvv T
A
VVLL
I
19 tt
a)
t+l-J
T I
A I
heard sn GD tracft tii$ravided on GD
la
trac* l$
Aural Assessment At Preliminary Grade, candidates'aural abilities are assessed via two tyPes of aural test:
examiner to assess the candidate's ability to remember and reproduce a short rhythm accurately and in time. .
Rh)fthm
test this enables the
this enables the examiner to assess the candidate's ability to distinguish between notes of different pitch, by identitying the lower or higher of two notes played consecutively. . Pitch test:
Rhythm Test A riff is played three times via a recording. During the third playing the candidate is required to clap along with the exact rhythm of the riff.
half of the bar At this grade, the riff will be one bar in length, with the second a+.
Note durations containing just one half note {minimf . The time signature will be quarter notes eighth notes and in the first half of the bar will be limited to {crotchetsf (quaversf
.
Two rhythm tests will be conducted. Examples of the type of riffs that will occur at this grade are shown below with the rhythm to be clapped notated below the tab.
Example I
I6
Example 2
Example 3
aJ
T
r
Pitch Test Two notes will be played consecutively. Both notes will be taken from the G major scale and will be no more than a perfect fifth apart. The candidate will be asked to identify whether the second note was higher or lower than the first note. The candidate should not use the guitar when answering.
The pitch tests may be played either on a recording or live by the examiner. lf the examiner plays the test live, the candidate should look away while the examiner plays so as not to observe which notes are played. Two pitch tests will be conducted. Some examples are provided overleaf. t1
Example I
Example 2
Example 3
Example 4
Example 5
Example 6
It is important to note that the sample tests provided are supplied purely to provide examples of the type of test that may occur in the exam.
this book to develop lrour playing and gain a recognised qualilication in roch guitar playing Use
xgffiffie* w w 'we
ffi ffi ffiffi#sffi-re ffi*-*# #@##:
ffi 1ffi. ffi
sss
ffi%tus ffi '-
i
: ;
; I
Rr-'gi:ll"i' rj' {*itae- 'ir.it*rs -J q
vlr}|ltY.RGT.org
