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An invaluable aid in preparing for the Registry
of Cuitar Tutors electric guitar exams.
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An innovative and helpful book for all modern guitar players who want to improve their rhythm guitar playing.
Rrury Registry of Guitar Tutors
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A CIP record for this publication is available from the British Library
ISBN: 1-898466-{4-9 Published in Great Britain by Registry Publications Ltd. Registry House, Churchill Mews, Dennett Rd, Croydon, Surrey CRO3JH
Printed and bound in Great Britain by Gemini press.
WARNING PHOTOCOPYING OF ANY PART OF THIS BOOK IS ILLEGAL Breach of copyright, by photocopying or any other means, rnay esult in botr a claim for civil damages and criminal prosecution.
@opyright 2002 by Registry Publications Ltd. ALL WORLDWIDE RIGHTS RESERVED
f,ORflWO8D
Ttre negistry Of Guitar Tutors, in association with the London College Of Music, first began to offer grade examinations in electric guitar playing in 1993. Since that time the examinations have proved to be highly popular with students and teachers alike. However, the RGT has repeatedly had requests for additional course materiat to accompany the Rhythm Guitar Playing section of the examinations. This series of three books by Chaz Hart, one of the RGT's senior electric guitar examiners, has been especially designed to fulfil that need. Each book provides a wide range of musical examples that clearly demonstrate the type of chord progressions that will appear in each grade of the examinations. In addition, Chaz has thoughtfully provided Playing Tips with each piece. These give advice on the most common problematic areas and offer suggestions on how to gain those extra elusive marks. Because of Chaz's wide experience as a teacher and examiner, these comments are always insightful and poignant.
0\erall the series provides a structured rhythm guitar playing and
and progressive way
of approaching the study of
will undoubtedly provide a valuable
study method for atl students of guitar whether intending to take the examination or not. In addition, the series serves as an excellent teaching resource which guitar teachers can use to compliment their teaching progranrme.
-
4^\{t"*u Tony Skinner Director - Registry Of Guitar Tutors
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my experience as a teacher and electric guitar examiner, I've found that one of the main difticulties that guitar players have is not having enough chord charts to practise in a full range of keys. This book aims to alleviate that difficulty. All of the chord charts have been officially approved by The Registry of Guinr Tutors for use in their electric guitar examinations, which are organised in association with the London College of Music.
Wi,rr each piece I have tried to include a few tips that may help head off potential difficulties. Please look back over these as you progress further through the grades, because the tips will help with more than one piece.
You can never have too much material to read, so I suggest that
to further supplement this book you obtain any of the 'busker-style' books n.hich have a song on one or two pages maximum. This enables you to plal'" the chords without having to flick pages. Don't worry if some of the chords are outside your brief for the grade. If you don't know the chord, play one that is as near as you can to it: if it reads GmajT - play G, until you learn the full chord and carry on. The important thing is: DON'T STOP!
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Introduction Note values To play any rhythm, it's useful to know the different musical signs and symbols that are universally used. This will help you to play through any time signature, and more importantly, to eventually make up your own rhythms. The following notes and their rhythmic equivalent are shown together with the direction of the strum that you need:
CROTCHET (QUARTER NOTE) In a X time bar you would normally find four of these, with one beat on each. All the stums would be down. These are shown: D, D, D, D.
Crotchet
Count
)
1
MINIM (HALF NOTE) In a X time bar you would play two of these. The strums would both be down, but with a gap of one beat between each strum.
QUAVER (EIGHTH NOTE) In a X bar you could play eight of these. The strums would be down
I
and up strokes, and are usually
shown as: Down/up,down/up down/up down/ up or:D/U, DN ,DN,DN
SEMTBREVE (WHOLE NOTE) In a X bar you would only find one of these lasting the whole bar. Try to let the chord ring on for the whole four beats.
Quaver
and
StrumDlU D/U DIU
D/U
Strum Patterns The following strum patterns are probably the most commonly used rhythms. Start by practicing chords that you know over these pattems. Try to keep a strong beat, and accent (play louder) the first beat in every bar.
Pattern (a)
i/
't
v
v
1" 2 3 (4) sim....... Strum D, D, D, (let ring) sim.... Count
Pattern (b)
Count 1 2and
3 4 Strum D, D lU D, D.
Pa,ttern (c)
L Z 3and 4 Strum D, D, D lU D. Count
Pattem (d)
Count
I
Strum
D,Dru
Zand 3and 4
DN
D.
Note: In the Registry of Guitar Tutors examinations the rhythm pattern that you play will not be notated.It is up to you to have practised a repertoire of useful rhythmic pattems from whir you can select an appropriate one for the style of the piece.
Preliminary Grade As outlined in the Registry of Guitar Tutors examination handbook, all the pieces for this grade are in X time, so to begin with play four beats to the bar (four down strums) whilst you pr*ti.. slowly through this first piece. Try to keep going at the chord changes. As soon as you can, look at the tempo and style markings at the beginning of each piece.
1.
Tin r' rl" .
Note that the double dots at the end of the 6th bar mean: "Repeat from the beginning", if there are no previous double dots.
Moderate tempo
a
a
***x***********x********'**{<**{.*t<{.*{.*******d<*******************'F{€{<***
2. The double
dot signs are shown at the
beginning of 5th bar Tip: the end of the 6th bar, so this two bar section is the bit that you repeat!
With
a swing
the
and,
3.
Tip:
If you find that you just cant keep the four strums going whilst you change the chords in time, practise strumming on the ftrst three beats of the bar and then change the chord during the 4th beat.
Not too slow I
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t * * r( d. 'F ,k * * * {< * * * * + * * * * * * * * * * * * {<
4.
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With movement
If you feel more confident, as you start the chords for the second time on the repeat, ftt in an extra strum so that the rhythm starts to build. Make sure that you keep a good strong accent on the ftrst beat of each bar.
5. Use a 'medium'or 'light'gauge pick initially, as this will Ti ,t. travel easier than a heavy' gauge pick across the strings. lt'
Moderate
a
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6.
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Try moving only your third finger when changing from Am to C chord. Watch out for the repeat signs!
Tenderly tll
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t
7.
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Think of your favourite rhythm and blues piece whilst strum this, and try to reproduce that rhythm here.
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In a blues style
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****d<******,k{<*********'k*'k'k**************<*'kd.*****{.*tc****************
8.
.
play, keep the pick tip as straight as you can a right angle to the strings) so that up strokes are lp'.(at as easy as down strokes. When you
Not too fast
I a
10
9. playing the Dm chord, try using your finger, ,r. Ti p. instead your 3rd, to hold the note on the second string. When
4th
of
Mournfully /-lltl
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a
********>k*********x************x*****************'k***********************
10.
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If you are tending to hit too many bass notes, making the chords sound muddy, try aiming for one string LESS than you need to play the chord.
In a blues style tt.,
a
a
t
1t
Grade One Timing O.K., now we are starting on Grade One and the time signature (the numbers at the beginning of each chord chart) is still X. fnis means that you can count four beats in each bar of music and that each beat would be worth a % (crotchet). With your strumming, you could play four down beats across the strings - but this doesnt stop you strumming the strings on the way back up as well! So, some basic X timings could be:
D.D. DIU D
D ow n - Down- Down- Down I Up
Practise this on one string of a chord, using down and up strokes, then gradually strum
more strings.
D-DIU D- D
DIU D-D -D
'*******************************t<*****d.****d
Dynamics fhis involves a simple, yet effective, technique, and is one of the most OVERLOOKED sections of the examination - which means that it is a good place for you to pick up extra marks! There are 3 main symbols that you need to know for this grade, and these are shown below with their meanings. Try and play along following the dynamic markings.
l-
P blay
softty) (Gradually play louder) (Gradually softer)
"f
eny
budty)
Play the repeat, with a variation in your Ti n. p strumming, but keep the same tempo of course! o
1.
Uptempo blues style
ar
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*)k'l'**************x**{<**********:k***x***!k!k*******{€********4<**d<****:k*****jtc
play the dynamics. Look back to the introductory page Ti n.Tr! P'on Grade One if you need a refresher. to
2. Slowly a
a
p
I
p
1,3
Tip: :;::;!f;':,::;",r"::; righ'l number of
3. Moderate tempo
ara II
p ********************************d({<'F****{<{<**{<****t<+********;k'&*'k***************
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4.
Z
Make sure that your fingers are as close to the frets as possible, as ihis oroia" unwanted fretbuzz.
Slow blues style a
p
ll-T 'III
1.4
t_
Tip: i
You can use either a pick (plectrum) or your flngers to strum. If you use a pick, don't hold it too tightly, as this will lead to muscular tension in your hand.
5. Up tempo
a
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X****{<*{<*{
Tip:::ir,i:,T,,:,::::;:l::"1;:":#'!;i":i:!'lhegui'lar
6. Slowly p
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7. With movement I
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Tip:ffrn::;*,iX:',:;{:!;y,/::r":;,',!:;i:;#,,needed B. Fast t.
p
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Strive to play the FIRST chord of each bar in time even if, at first, this results in ctipping the previous chord. on the 4th beat.
9. Up tempo
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t'
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Tip:
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ALWAYS look through the sequence before playing. This way you'll r", ihirh chords are ciming up, oia you can take note of any dynamics and repeat marl
10. In a ballad style p
a
17
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***
Grade Two Timing At this grade, there is introduced an additional time signature of l. tftis means count three beats to each bar- instead of the normal four. Try counting 1,23ll23letc., saying the first beat louder. The counting of i time may seem less familiar as there are fewer contemporary pieces written in this time signature, but one that springs to mind is Mull of Kintyre by Paul McCartney. The count for this would be: 1 Zand 3 | L 2 and 3 l, (Down, down/up Down), and is shown on the second line of music below.
* * * * * * x* * ** * * t * * *
rF
'F
* *
:*
* * * * x* * *
{< {< t< r<
*
t<
* * * ** * *
>F
'k
* ** * * * * * * ** ** * * * * * * * * * * * * *
t<
** * * t
{c
:*
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Repeat Markings At Grade Two, as well as understanding the standard 'repeat dots'(described in Grade One), you have to be able to follow '1st and 2nd time ending'markings. Try and follow the chord sequence below, which should be played as follows: Play the three bars of C, then the bar of G. Then iepeat from the leginning but dont play the G under no '1'(this should be played the first time only), instead go on to the 2nd time ending'which starts with the Am bar, and carry on until the end of thl sequence.
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18
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New Chords,& Tips on practising them 1-
tn this grade we have many new chords including the 'small barre'shapes. This is where you place and hold your first finger across more than one string. This causes the problem of holding the finger straight and bending all the others, because the brain has been conditioned to use itt ttt" fingers in the same way. So...dont use too much force to hold down the barre, but practise changing from a non-barre chord many times to re-educate the brain messages. Even if the sound of the barre chord has fret-buzz -keep practising!
- Place the fretting finger across two strings and slide from the 1st to the 9th fret, holding the finger down, so that you create a glissando effect. (Slide quickly at first) When you can do this and hear all the notes on each fret, try this exercise holding down three stringi.
- If you experience any cramp or tightness in your left hand - STOP PLAYING
and relax your hand
loosely by your side, and shake lightly for thirty seconds.
-
Now we're ready to practise chords with a small barre holding two strings. Start with the Am7 chord and practise changing to Dm7, repeat up to ten times:
5-
No* try this next
sequence
with the F chord, which is an extension of the Dm7 chord:
a
a
I
6 - No* practice the Dmaj7 chord with a small barre across three strings on the 2nd fret,instead 123 fingers that you would have used for Grade One:
- Now try the F#m chord, which
is an extension of the new version Drnaj? chord:
Repeat all of these sequences up to ten times.
a
I
19
Two chords in a bar In this next sequence you will notice that some bars contain two chords. These are known as 'split' bars. Each split bar chord has a dot after it which indicates another beat. To begin with, just use downstrokes in the bars with two chords and try varying the strum in the single chord bars. Below is an introductory piece to get you into the two in a bar'changing routine.
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t
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* * * *
d<
* * * * ** * ** ** * * * * * *
:k
*
d<
* * * * *
{.
{<
** ** * * * *
d<
>t< d<
* * * *
d<
*
'1.
* * x* *
:k
* *
:e
* ** *
:&
r.
* *
{.
t ** *
d<
* ** * * * * *
Variations in strumming In this next example experiment by varying the strum that you use during your playing of the repeated section. For example, the first time you could play:1,2&3y', (Down, down/up down, down), for each of the first four bars, and then: 1,2&3&4,(Down, down/up down/up down), during the repeat of these four bars.
20
Dynamics The dynamics for this grade are shown below, with their meanings in brackets. The sequence has been written with straightforward chord changes to allow you to practise one technique, without getting bogged down with any other! The letters p and f, stand for piano - forte respectively, and this is how the piano got its name. The soft - loud instument!
?
(play softly) (get louder gradually)
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tt
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f---f t
H^^^,
f
@rav loudly)
?
(get softer gradually)
(softly)
***************************'F****{<****************x*****X***************:1.{<*:k:t't:*:k*
More strum patterns On page 6 there are some strum patterns, but here are some new ones. These could be used on the repeat bars, or all the way through, for a completely different feel. Again, easy chords have been selected to give you a chance to practise this new technique.
I have written the count undemeath the strikes. Note that the beats in brackets are NOT played, but just counted. T.y to keep all the main beats as DOWN strums, and all the 'and'beats as UP strums. Em7
3 and (4) and
2 and (3) and 4
21
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Don't forget that, any chords from the previous two grodu ,i, olro be i-ncluded in these ,iqunrrur.
1. Moderate tempo p
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Tip I nizf:;:;'"YW
2.
With
a bounce feel /
p
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22
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touder) thefirst
n
a
Tip:
Try to keep the wrist loose and relaxed.
3. Uptempo I
p
;r
!F ,F
* *** * * * * * **
,F
* * * * * * * * *
{. *.
* ** *
{c
't * * *
Ti Di I
:F
* * ** * *
*<
r< *c
* * *
'F
* *
>R
* * * * * * *
d<
** * *
{.
* * * * * **
d.
* * * * ** *
Note how for sll of these chords the first finger stays on the ftrst fret. Always lookout for relationships like this to make chord changes easier.
4. With animation
rr---
-
-: r I
23
a
Tip:
Try to keep the first finger completely flat against the fingerboard when playing the F#m chord. Dont worry if all the notes don't come out clearly at first.
Slowly
*
i< d.
* * * **
{<
{.
* * t *
{€
* * *
{.
{<
*
t< rc
*
t< {< {<
{. {.
*
{c
* *
*<
>1.
* * * * * * * * *
{<
* * * * * * * * *t * * *
{<
* * {. * * * * * * * t * * *
Only strike the strings that you need
each
{<
* * * * *
for Tip: particular chord, e.g. with C7, omit the 6th string.
6. In a blues style I
a r-,
l?t
I
p
24
Ti
Try not to 'overgrip'with the left hand thumb at the back of pr';:;X': - this witt ontv take strength awav from the fretting
7. With movement
{<***********************,k********************{<****{.***€***'k***d<************;***{c**
Tip:
Never 'rush'your practice; if need be, play the split bar sequence at a slower speed than a sequence with one chord in a bar.
B. Moderate tempo
n 25
in. rP'
AM interest
to
your rhythm playing by varying
the slrum in the repeat section.
9. Not too fast ! M^L^'
,F
*****
'F
**
:*
****
d.
*
'1.
***********t*
{.
d<
t<
Ti p'.
* * * * * * *+k * *
r(
****
{. 4.
'k
{. 'r
{<
***********
||c
{.
********
".
Don't forget to practise the dynamics; if necessar!, So back to page 20 for a refresher before starting this sequence.
10. With a beat t t
n a , t
at-, tt
-
I
t
p
26
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Glossary of musical terms
Accent
Play louder on a particular beat.
Crotchet
A note that lasts for one beat in a bar of X time. AIso known as a 'quarter note'.
Dynamics
Changes in volume.
Frets
Metal strips which divide up the fingerboard.
Fretbuzz
The buzzing sound that occurs if you don't press the strings firmly and close to the frets with the tips of your fingers.
Minim
A note that lasts for two beats in a bar of X tim". Also known as a half note.
Plectrum/Pick
A triangular object (usually) made of plastic, that is used to strike the strings.
Quaver
A note that lasts for Vza beat in Also known a s an eighth note.
Semibreve
A note that lasts for four beats in a bar of time.
Sim.
Keep playing in a similar fashion.
Split-bar
Where two or more chords occur in a single bar.
Syncopation
Featuring the off beat as a main accented part.
Tempo
Overall speed.
Time signature beginning of all
a bar
of
t
time.
The numbers which occur at the
written music that inform you of the number of beats per bar.
27
Chord Summary xx
ooo
o
xxo
oo
xx
xx
o
A
CmajT
xx
o
ooo
FmajT
F#m
oo
o
DmajT
o oooo
ooo
GmajT
C/4HaA is an experienced
and versatile
guitarist. He has enjoyed a 20 year career as
a
successful session musician; recording
many popular television themes, and has
also released three instrumental guitar albums under his own name. e
Chaz has worked with a wide variety of rock
and pop bands and has had record contracts
with major labels. Since gaining his teaching diploma from the Royal Academy of Music,
Chaz has developed
a highly successful
teaching practice in Surrey.
Chaz has been actively involved with the London College of Music and Registry of
Cuitar Tutors' guitar examinations for many years and is a senior examiner in electric guitar playing.
ISBN I-898,46
tililruffi[.6 lilill 614
