=) (seh a@ ol iF=lp playing 26008 0060 at london college of music examsRegistry of Guitar Tutors ‘Setting the standards in guitar education’ ‘he Registry of Guitar Tutors (RT) was established in 1992. RGT produces a Directory of registered Qultar tutors and operates guitar examinations around the world. RGT has branches in the UK, North ‘America, New Zealand and many parts of Europe. RGT is now widely recognised as ‘the world's foremost organisation for guitar education’ CT Registry LG rT Registry Mews, 11 10 13 Wilon Road, Bexhil, Sussex, TN4O THY Tel: 01424 22 22 22 Fax: 01424 213.221 E mal: mail@RegistyOrGuttar¥lutors.com. Web site: wn RegishyOIGuitariutors.com_ Board of Honorary Pattons: Sit Paul McCartney, Hank Marvin, David Gilmour, Ronnie Wood, Carlos Bonell, Gordon Giltrap, John Etheridge, Suzi Quatro, Mick Green, Dave Kelly, John llsiey, Neil Murray, Glenn Tilbrook Director: Tony Skinner London College of Music Examinations Thames Valley University it has over 100 years experience in running graded music examinations. In 1991 it became based in Thames Valley University in London WS. LCM Exams Is now established as one of the world's most respected music examination boards. Te London College of Music was founded in 1887. Operating as London College of Music Examinations i ‘The accompanying electric guitar examinations have been devised by The Registry of Guitar Tutors and are administered in partnership with London College of Music Examinations ‘The qualifications are awarded and certificated by Thames Valley University “RGT offers quality exams you can have confidence in” RGT electric guitar grade exams are accredited by the Qualifications and Curriculum Authority and have been placed on the National Qualifications Framework iCed Rewarding Leamingcompiled by Tony Skinner on behalf of egistry Registry of Guitar TutorsA CIP record for this publication is available from the British Library ISBN 1-898466-55-6 © 2001 & 2005 The Registry of Guitar Tutors ‘The Guitarograph is a trade mark of The Registry of Guitar Tutors ALL RIGHTS RESERVED, including the right of reproduction in whole or in part in any form or by any means without the prior \ttten permission of the copyright holders WARNING Photocopying of any part of this book js illegal and may result in both a civil claim for damages and criminal prosecution. Published in Great Britain by Registry Mews, 11 to 13 Wilton Road, Bexhill, Sussex, N40 THY Music and text typesetting by 54 Lincoins Mead, Lingfield, Surrey RH7 6TA Printed and bound in Great BritainContents Introduction Scales and arpeggios Chords Rhythm playing Lead playing Spoken tests Aural assessments Examination entry form 15 18 23 27 31 35This handbook is primarily intended to give advice and information to candidates considering taking the Grade Five examination in electric guitar playing, although undoubtedly it will be found that the information contained within will be helpful to all guitarists whether intending to take the examination or not. In order that scales, arpeggios and chords can be illustrated as clearly as possible, and made available for all to understand regardless of experience, notation and fingering ate displayed via the use of the guitarograph. ap 7 2 ° 2 By The guitarograph uses a combination of tablature, traditional notation and fingerboard diagram ~ thereby ensuring clarity and leaving no doubt as to what is requited, In the example shown above, all three notations refer to the same note, i.e, Aon the 2nd fret of the 3rd () string, fretted with the 2nd finger. Each of the notation methods used in the guitarograph is explained below: mooo>m Tablature The tablature is shown on the left of the guitarograph, with horizontal lines representing the strings (with the high E string being string 1), and the numbers on the string lines referring to the frets. A ‘0’ on a line would mean play that string open (unfretted). This means play at the second fret on the third string, oe¢ e ¢ vo me —— oeRecoet é 6 oe EF Notation on the treble clef is shown in the centre of the guitarograph, Asharp (#) before a note would raise its pitch by a semitone i.e. one fret higher, whilst @ flat) before a note would lower the pitch by a semitone, i.e. one fret lower, A natural sign (#) before a note cancels a sharp or flat sign The fingerboard diagram is shown on the right of the guitarograph with horizontal lines representing the strings. Vertical lines represent the frets, with fret numbers shown in Roman numerals. The numbers on the horizontal lines show the recommended fingering. Fingerings have been chosen which are likely to be the most effective for the widest range of players at this level, however there are a variety of alternative fingerings and fingerboard positions that could be used and you can use any other systematic fingerings that produce a good musical result. This means play with the second finger at the second fret on the G string, mago>m This means play the G string open, i.e. without fretting it neaoemAbove each guitarograph is an interval spelling. This lists the letter names of the notes within the scale, arpeggio or chord, together with their interval numbers. The interval numbers shown are based on their comparison to the major scale with the same starting pitch. The scale, arpeggio and chord spellings will help you identify the differences in construction between the various scales and chords, and will help you learn the names of the notes that you are playing. For example: Amajor scale Aharmonic minor scale eG) Cle De cee Ch Cha A A B C DE F GA 1 2 3 4 5 6 7 8 1 2 8 4 5 6 7 8 ALTERNATIVE FINGERING Whilst the notes indicated in the guitarographs are precise and definitive, the fingering given in all cases is only one possible recommended suggestion: any alternative systematic and effective fingerings will be acceptable. There is no requitement to use the exact fingerings shown within this book, The use of an electronic tuner or other tuning aid, prior to, or at the stort of the examination, is permitted; candidates should be able to make any further adjustments, if requited during the examination, unaided. The examiner will, upon request, offer an E or Anote to tune to. For examination purposes guitars should be tuned to Standard Concert Pitch (A=440H2), Candidates who normally tune to non-standard pitch (e.g. A=442Hz) should revert to Standard Concert Pitch for examination purposes. Candidates who normally tune a full tone or semitone higher/lower should either revert to Standard Pitch for the examination or should be prepared to transpose immediately upon request all requirements to Standard Pitch.SECTIONT At this grade candidates should be able to play the following scales in any key: = 1 octave pentatonic minor and blues scales, in 5 different fingerboard positions = 1 octave major scale in 3 different fingerboard positions = 2octave pentatonic major scale in 3 different fingerboard positions = 20ctave harmonic minor scale * 1 octave pentatonic minor scale in 5ths In addition, candidates should be able to play, in 2 different fingerboard positions, the following 1 octave arpeggios starting from any note: = minor 7th = major 7th * dominant 7th = suspended 4th == major 6th = minor 6th Candidates should also have a practical knowledge of the requirements from the previous grade. This chapter contains examples of the Grade Five scales and arpeggios. All these use transpositional finger pattems, 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 can be used to lean the starting fret for different pitches, For example, to play the harmonic minor scale in the key of B (rather than A as shown on page 11): notice that the guitarograph is illustrated with its keynote on the éth string: find the note 8 on the 6th string (at the 7th fret); start the same pattem from the 7th fret, rather than from the Sth, Fret Number s] 6 ‘Sasing cc | am. ‘ansting en Sihsting ro ohsting or Toes or opeager vith keynote on heScales A PENTATONIC MINOR SCALE ~ 1 OCTAVE (five different fingerboard positions) lop 2 3 3 25 off Fal Paly a 57 sip 7 8 29 aK 7 any 710 Fal 8 iE aA ‘ft 4210-12 6 1 2 i 5 1215 8 1214 A Cc 143 810 b= eo 1 912" 6 6° o 1214 D 4 E 5 G 7 A 8 xu xv vow vu ow 1 vi MX XIV. XI 3 xt mooo>m mooo>m maoo>m mooo>m maoo>mA BLUES SCALE — 1 OCTAVE (five different fingerboard positions) 1 35 4 5 25 e e 3 3 LAP 5 i. a. it? 518 24E 8 10 7 9 ifs et 5 8 3 10 i ro1213° 5 12 8 1 3 12:14 4 1213 14 5 12:15 A 1 “Gro ic $3 ° D 4 BS 6S ° ° E 5 be bo G $7 ho A 8 ° ° vin vm ow x IX vill vn a aight XM XH XIX 1X XV XIV XIN Xt “Feet mago>m mago>m mooo>m maoo>m maao>mA MAJOR SCALE ~ 1 OCTAVE (three different fingerboard positions) A B CG D E F G A 12 3 4 5 6 7 8 [== be of ook say XIN vu vv Ba A PENTATONIC MAJOR SCALE - 2 OCTAVES (three different fingerboard positions) 8 CE las A 1 2 3 5 6 8 25 25 part R24 5 Epes sonens XIX IXVIN VIVE Vv 4 a1 +te{ ty 34 2 maoo>m mago>m maqo>m mago>m mago>m mago>mAHARMONIC MINOR SCALE ~ 2 OCTAVES A B C D E F @ A 12 5 4 5 6 7 8 7 45 i wr | 57872 0°? A PENTATONIC MINOR SCALE - 1 OCTAVE (IN STHS) 1 3 4 5 $7 8 A C DEGaA EeGe Aeeeo Deer vm vi wv foo “d ©° ‘ 2 3 ©° x x vw uw = == rr Testes Arneggios C MINOR 7TH ARPEGGIO ~ 1 OCTAVE (two different fingerboard positions) (Cet G: Bc 1 $3 5 $7 8 MOX Xx 2 “4 3 ik — ir o f° 3 en Spo ° - vi maao>m meoomm mapo>m meoo>mC MAJOR 7TH ARPEGGIO - 1 OCTAVE (two different fingerboard positions) c E—E G BC 1 3 5 7 8 Xo vm ov ton 2 E Hi dos "3 4 9-10 ° os G 5 7 10 ° B 6 8 ° E ars © r o “Ge ° 9 ° ° ° ae e n maoo>m C DOMINANT 7TH ARPEGGIO ~ 1 OCTAVE (two different fingerboard positions) c FE GBC 1 3 5 $7 8 xo vl vt 1 3 aaah a& 8-10 a G 5B 7 10 ° 8 a 8 °° E vowm o te E 2f ata 5 A235 * bo © toes 5 |B 3 ° 5 3 eo ° E ° C SUSPENDED 4TH ARPEGGIO — 1 OCTAVE (two different fingerboard positions) c F Gc aes cees) XX vino vn iT ° 413 318 8 1° é o. o° maoo»m 1 t Qo ° ° ° u AaC MAJOR 6THARPEGGIO —~ 1 OCTAVE (two different fingerboard positions) c B GAC 1- 3, 5, 36. 8 aS aS © ° w 4 * 3 » 4 o 3 > ot ° 9 ° c ° °C ° eg a » mago>m maoo>m C MINOR 6TH ARPEGGIO — 1 OCTAVE (two different fingerboard positions) cB GAC 1 $3 5 6 8 MEX 1X VIN VIE 4 te A z 10 q 8 E wevow mu E 4 4 % 18 B E INFORMATION AND ADVICE A maximum of 10 marks may be awarded in this section of the examination. The examiner may request you to play, from memory, any of the required scales and arpeggios. Each should be played once only, ascending and descending (i.e. from the lowest note to the highest and back again) without a pause and without repeating the top note. You should be able to demonstrate any scale or arpeggio promptly, without hesitation. You will not be asked to play in keys that result in fingerboard posttions that are inaccessible for your particular instrument. 3When the examiner requests scales or arpeggios in more than one fingerboard position, these do not have to be the positions illustrated in this book: other systematic and effective fingerings may be acceptable, providing the scales or arpeggios are played accurately. Different fingerboard positions of the same scale or arpeggio should be Played in the same octave, wherever possible. As a guideline, scales should be played at a tempo of approximately 120 beats per minute (two notes per beat), with arpeggios a little slower at approximately 92 bpm, and the harmonised scale at approximately 46 bpm. Choose a tempo at which you feel confident and comfortable and try to maintain this evenly throughout: evenness and Clarity are more important than speed for its own sake. Press the tips of the fretting-hand fingers as close to the fretwire as possible. This minimises buzzes and the amount of pressure required - enabling you to play with a lighter, clearer and hence more fluent touch. Try to keep alll the fretting-hand fingers close to the fingerboard, and have them ready to press in a ‘hovering position’, as this minimises the amount of movement required. Always have the fretting hand spread, with the fingers correctly spaced and ready in Position hovering, before you start to play, Picking-hand technique If using a plectrum altemate between downstrokes and upstrokes. Grip the plectrum between the index finger and thumb. Position the plectrum so that its tip is just beyond the fingertip. If an excessive amount of plectrum tip extends beyond the finger a lack of pick control will result as the plectrum will flap around when striking the strings - this would consequently reduce fluency and accuracy. Be careful not to grip the plectrum too tightly as excessive gripping pressure can lead to muscular tension in the hand with subsequent loss of flexibility and movement.SECTION 2 At this grade candidates should be able to play the following chords at any pitch, in two different fingerboard positions: = major 6th * minor 6th = sus 4th In addition, candidates should be familiar with the chords set for the previous grade: = minor 7th = dominant 7th = major 7th = major "minor (Note: these chords have been fully covered in the preceding books in this series.) The chords below 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. This table lists the fret position needed to produce chords at different pitches. Fistfingerontretnumber | 1] 275] 4]5)]6]7]8]99]1]N]12 Chords with root on E string: | F ]FHG| G |ovA! A [age] B | C [CHD] D |Dwe) E Chords with root on A string: [ave] 8 | c |cwo.} 0 [owe] © FIGs] G [eva] A C major 6th (root on E string) cE GA % 6 ¢ oe 1 3 5 6 C major 6th (root on A string) Cc EGA 1 3 5 6 Era ose 60 660 e es concn ¢ 69006 coerce mooo>mC minor 6th (root on E string) cB GA 7 eeeseeu ieeeG) XIX IX VI 8 ‘ 6 = : : o 4 1 ° mago>m essed C minor 6th (root on A string) cB GA 1 3 5 6 bo + = Ss “Ge C sus 4th (root on E string) c oF G 1 si XIX IX VII : f ° sts ¥ 6 : “4 C sus 4th (root on A string) c oF G 14°55 Sepes maad>m vovowum ees coos “Ge 000% * exo mooorhINFORMATION AND ADVICE A maximum of 8 marks may be awarded in this section of the examination. The exarniner may request you to play, from memory, any of the required chords in two different fingerboard positions. Each chord shape should be played once only, using a single downstroke. You should be able to demonstrate any chord reasonably promptly, without too much hesitation. In the fingerboard diagrams, strings that should be omitted are marked by an X. Ensure that you either avoid striking these strings or, where appropriate, mute the string with another finger. Make sure that your fingers are carefully and correctly positioned before playing the chord, At this grade, ‘barres' can be used with all chords - where the first finger effectively replaces the nut and acts as a 'bar' across alll the strings. In chords with the root note on the fifth string, although 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 ting clearly you should observe the following advice : (i) The first finger should be straight and in line with the fret, rather than at an angle to it. (i) _ The first finger need not be completely flat: it can be tilted very slightly away from the fret toward its outer side. (ii) Position the first finger so that the creases at its joints do not coincide with the strings. if necessary, adjust the barre until you find the optimum position. (iv) All fingers should be positioned as close to the frets as possible. (v) Do not exert excessive pressure with either the first finger or the thumb. (vi) Ensure that fretting fingers, other than the first finger, remain upright and press against the strings with their tips. 1SECTION 3 In this section of the examination, the candidate will be shown a chord chart and will be allowed a short time (of about 30 seconds) to study it before being asked to play it. The range of chords presented in the chord chart will be limited to the following = major = minor = minor 7th * dominant 7th = = — major 7th = major 6th * minor 6th = sus 4th After playing the first chord chart candidates may, at the examiners discretion, be given an additional chart to play; this will be of similar difficulty to the first. Some examples of the type of chart that may be presented at this grade are given below. The tempo markings are intended only as broad guidelines. (i) Bright and rhythmically mf St to Coda DS. al Coda Codal 18(i) Moderate swing ‘PF CeBeCs - FeEsFe - Ce BeCeBe = nf to Coda @ D.C. al Coda (i) Slow ballad toCoda EE An——Dme-—Ez Firaiz mp cos Dm Am Fe. Gi Am P PPIn practice, musicians may write out chord charts not only on staves (as shown previousty) but sometimes chords are written above staves instead, or quite commonly just with bar lines (as in the example below). In the examination, to achieve maximum visual clarity, all chord charts will be presented in the style shown below. (iv) Fairly slow Pe pee } Fe | F naiz | Bie | Bhmai7| Amz | Gmne | Csusa! Cc mp cu =~©C |) 6 C7 | Dm | Dm | Gme | mf | Gm7 | Cause. ©. | Csuss. C7.| F | ee Split bars When two (or more) chords appear in a single bar this is known as a split bar. Dots (or diagonal lines) after chords can be used to indicate the division of the bar: the chord symbol representing one beat and each dot representing another beat. If no dots are present it can be assumed that the bar is divided evenly between the chords. Amaximum of 30 marks may be awarded in this section of the examination. The examiner will award marks for accuracy (including attention to time signature, repeats and dynamics), clarity, fluency and inventiveness At this grade the time signature is limited to either , 4 or § time. Whilst the time signature should be evident by generally maintaining a regular pulse and even tempo, candidates are expected to be imaginative in their rhythm playing. The musical style that is used is left to the discretion of the candidate, and fingerpicking can be used, rather than strumming, if preferred by the candidate. Chords should ting clear, i.e. free of fret-buzz or the unintended muting of notes with the fretting-hand fingers. Chord changes should be as smooth and fluid as possible and lack any sense of hesitation. Care should be taken when choosing which barre shape to use (|.e. one based on the E string or one based on the A string) so that large fingerboard jumps between chords are avoided whenever possible. During the time given to look over the chord chart, candidates should try to discover the overall structure of the progression, paying attention to time signature, repeat signs and dynamic marks. In particular, candidates should be able to interpret the following Indications which may be marked on the chord chart.peat marks Passages to be repeated are indicated by two vertical dots at the start and end of the section to be repeated. For example: D G should be played as: 4 G c G c D G There are other signs that indicate which sections are to be repeated: (D.C. (Da Capo - from the head) means play again from the beginning. (i) _D.S. (Dal Segno - from the sign} means play from the sign (8) (ii) Al Coda {to the tail) means play the end section. This is marked with a coda sign (0). Example (i) to Coda @ D.C. al Coda 0 cota B= should be played as 10 Coda DS. al Coda oF Coda should be played as‘1st and 2nd time endings Bars marked I7_ are included in the first playing but omitted on the repeat Playing and replaced with the bars marked [2. For example: 1 2. should be played These are indications to show the range of, and changes in, volume. PPP Pp P mp mf a ff tif g z g g Play as softiy play moderately play as strongly as possible softly loud as possible —<_—s = become louder ——_ - become softer DAMPING TECHNIQUES When musically appropriate, candidates should display some level of skill in string damping during the performance. This is achieved by slightly relaxing the pressure on the strings you are fretting: the fingers {ae still touching the strings, but are not pressing them alll the way down to the fretboard. This technique can be used after a chord has been stummed to achieve a staccato effect or chord ‘chop’. The technique can also be used to bring out accents, by damping the fretting hand continuously whilst the strumming hand plays a rhythm - the fretting hand only pressing the chord intermittently, so that it sounds only on the beats to be accented. By testing the side of the strumming hand lightly on the strings, close to the bridge, a choked or muted sound can be achieved by deadening the sustain of the chords. This technique can be used after a chord has been strummed to achieve a staccato effect. The technique can also be used to bring out accents in a rhythm, by maintaining the muting effect throughout and releasing only intermittently on the beats to be accentedSECTION 4 Lead playing In this section of the examination, the candidate will be shown a chord progression containing chords chosen from those listed in Section 2 of this book. The examiner will then play this progression (either live or recorded) and the candidate should improvise ‘over this using an appropriate scale selected from Section 1 of this book. Sore examples of the type of chord chart that will be presented at this grade are shown below. The scale and arpeggio suggestions are given for guidance in this book, but will NOT appear in the examination. @ mal G major scale could be used throughout. Arpeggios could also be used to bring out specific chords, such as Dsus4 and Amé (ii) B blues scale could be used as the basis for improvisation, alongside arpeggios at desired points such as over the G7 chord. (i) F pentatonic minor scale could be used as the basis for improvisation. F harmonic minor could also be used over the C7 chords. (iv) S66 Ar Dine-Dine--Dinr C pentatonic major scale could be used as the basis for improvisation, alongside arpeggios at desired points such as over the Drné chord.The progression will be played a total of four times; during the first playing the candidate should not play, but rather listen and digest the progression, before improvising over the next three cycles. After the final playing the progression will end on the key chord. To ensure accuracy it is essential that the candidate selects the most appropriate scale with which to improvise. The examiner will NOT advise on this. At this grade the start of each progression will always be based on the key chord. At the examiner's discretion an additional progression may be selected for the candidate to improvise over. Although this will again contain chords only from Section 2 of this book, the candidate may need to select a different scale from Section 1 to improvise with. Amaximum of 30 marks may be awarded in this section of the examination. The examiner will award marks for: "accuracy = fluency = phrasing and melodic shaping * stylistic interpretation * inventiveness and creativity * clarity and tone production * the application of specialist techniques, wnen musically appropriate Although you will need to select a scale to improvise with, be aware that the purpose of the scale is only to set the series of notes that will be in tune in a particular key. Endeavour to make your improvisation melodically and rhythmically inventive and imaginative rather than sounding scale-like. The judicious use of movement and interplay between different fingerboard positions for each scale will help in this objective. The style of lead playing should enhance and empathise with the chordal accompaniment, which may be from a range of musical styles such as rock, jazz, pop, soul, blues, etc. Try to create interesting melodic and rhythmic phrases within your improvisation and avoid inappropriate use of continuous scalic playing. Playing should be fluent, but without the need for speed for its own sake; more important is the overall musical effect that is achieved. At this grade, the expressive range of the performance may be enhanced by the occasional application of arpeggios, when musically appropriate. Candidates should also consider demonstrating some range of attack in striking the strings as a method of varying the volume and tone.SPECIALIST TECHNIQUES At this grade, when musically appropriate, candidates ideally should be able to demonstrate skill in the use of some of the following techniques during their improvisation: Candidates will find it useful to be adept in executing both half-tone and whole-tone bends. Its important to bend the string to exactly the right pitch. The pressure that is needed to bend a string will vary according to the sting gauge and the fret position, so candidates will need to rely upon their aural abilities to pitch the note accurately. When bending a string with the third or fourth finger, keep the lower fingers on the string to give support and control. Using the power of the whole arm, pivoting from the elbow, will make string bending easier. Candidates should have good control over a range of vibrato techniques. The most essential being: (a) Wrist vibrato: whilst the first finger frets the note, the pitch of the note is altered with the rotation of the wrist. (6) Vertical vibrato: achieved by moving the fretting finger vertically up and down to tepeatedly shift the note slightly above pitch and back again, A slur is the sounding of two or more notes from the single pick of a string. Slurs can be used to facilitate fluency and speed, but equally importantly to add smoothness and subtlety. At this grade, candidates should have ability with two types of slurs, and should be able to combine them to make trils and other effects, when musically ‘appropriate. (a) Hammer-on: a note is played, then a higher note on the same string Is sounded without being picked again but by a hammering action with a fretting-hand finger. For the hammered note to be clear, itis important to use a certain amount of force and attack when bringing down the hammering finger. Hammer with the tip of the finger as close to the fretwire as possible.(6) (c) Pull-off: fret a note and pick the string, then pull the fretting finger lightly downwards until it plucks the string and the lower note is sounded — i.e. without the string being picked again. If the lower note that is required is not an open string, then you need to have another finger in position fretting the lower note before executing the pull- off. For the pull-off to be clear, it is important that the pressure is concentrated on the lower finger anchoring the string (otherwise the note may be pulled out of tune when the higher finger plucks the string). The plucking action should come from the tip of the finger with a downward pulling action and not simply by lifting the finger off the string. Trill: the repeated altemation between two notes, using hammer-ons and pull-offs.SECTION § A maximum of 12 marks may be awarded in this section of the examination, FINGERBOARD KNOWLEDGE In order to establish a solid musical foundation it is important that candidates are aware of the notes that they are playing rather than merely duplicating finger patterns, At this grade, candidates will be expected to promptly name any note on any string: Candidates may also be asked to name the notes that relate to the diatonic intervals ‘of any major scale. For example, candidates may be asked to identify the note that forms a major 7th interval above C (i.e. the 7th note of the C major scale - 8). The diagram below, shows the notes and diatonic intervals in the C major scale, the fingerings are transpositional to other keys. During this section of the examination candidates will not be allowed to play the guitar fo ‘work-out! answers to this test. Major 2nd Major 3rd Perfect 4th Perfect 5th Major éth Major 7th Octave (CtoD) (CtoE) (CtoF) (CtoG) (CtoA) (CtoB) (CtoC) 6 a ° = = 2 o° e°® © o o ° ° 7 ° 10 sw 8 * ° ° ° * 4 2 2 2 2 2 2 2 2When identifying intervals in major keys other than C, candidates will need to be aware of which #s and bs occur in which keys in order to give the correct ‘enharmonic spelling’ For example, the major 7th interval in G major is Ff, not G». (Although these two notes will sound the same, G major is a ‘sharp key and so the sharp equivalent is used when describing this note.) The tables below will prove helpful ‘sharp’ major keys ts occuring Fe Fe ct Fe Ct Fe Ct Fe ct FA Ct Notice that: 1. F€.occurs in all sharp keys. Each ‘new’ sharp is an interval of a perfect Sth higher than the previous sharp. 3. The order of sharp keys can easily be remembered as each ‘new’ key is a perfect 5th higher than the previous sharp key, 4, No flats occur in ‘sharp! major keys. “flat’ major keys bs occuring FE Bb Notice that: 1. B occurs in alll flat keys. Each ‘new’ flat is an interval of a perfect 4th higher than the previous flat. The order of flat keys can easily be remembered as each ‘new key is a perfect 4th higher than the previous flat key. 4, No sharps occur in ‘flat’ major keys.APPLICATION OF SCALES AND ARPEGGIOS Candidates may be asked questions about the scales and arpeggios listed in Section 1 of this Handbook, in particular, being asked to explain their function and identifying groups of chords with which each scale could be used. For example, A blues scale would fit over a progression in A using dominant 7th chords (A7, D7, E7) whereas it would not fit over a standard progression in A major (e.g. A, F#m, Bm, Dmaj7). It is important that candidates are aware of which chords occur in each key, so that they can construct their own chord progressions. The table below shows the patter of diatonic triads that are built from the major and natural minor scales, together with an example of the chords that are formed from these scales when using a keynote of A. 1 u VV v vl vl MAJOR SCALE moor | minor | minor | mai | major | minor |diminshea AMaior A am_|_ca#m D E Fam _| Gicim NATURAL MINOR SCALE | minor aiminihea| moor [minor [minor [mojo | major AMinor am Baim c om Em f 6 It is HIGHLY RECOMMENDED that all candidates study the London College of Music Examinations ‘Popular Music Theory’ handbooks as an essential supplement to this section of the examination TONE PRODUCTION Candidates should have knowledge of the ways in which the tone can be varied on their own insttument. This should include: (i) Apractical understanding of the use of tone controls and pick-up selectors (where appropriate) (i) An understanding of the effect of changing the right-hand position: playing at the bridge end generates the brightest tone, whilst movement towards the fingerboard tends to mellow the tone. {il Knowledge of the effect of plectrum gauge and string gauge on tone production: a thicker plectrum and/or heavier strings can produce a fuller and more rounded tone than their lighter equivalents. (iv) Knowledge of the effect on tone production caused by the angle, pace and strength with which the plectrum strikes the strings.KNOWLEDGE OF THE INSTRUMENT Candidates should have a good understanding of the mechanism and anatomy of their guitar, including such terms as Action — the distance between the strings and the frets, which determines the ease of fretting notes. Candidates should be aware how to adjust the action on their own instrument. Marker dots (fret markers) - the dots or blocks inlaid into front and/or side of the fingerboard to act as a reminder as to the position of certain frets. These normally include at least frets 3, 5, 7, 9 and 12. The nut — a slotted piece of material (normally plastic or brass), situated at the headstock end of the fingerboard, in the grooves of which the strings lie. The saddle - the seat upon which the strings rest at the bridge end of the guitar. It is from this point that the vibrating section of the string starts. Electric guitars tend to have an individual saddle for each string, which form part of the bridge. Candidates should be aware of how to adjust the position and height of the saddle(s) on their own instrument (if appropriate). Machine heads - the turing keys, normally positioned on the guitar headstock, which when rotated increase or reduce string tension and so raise or lower the pitch of the string, Changing a string - candidates know how to replace a string on their own instrument. Tuning the guitar — candidates should be able to explain and demonstrate at least ‘one method of achieving standard relative tuning, excluding using an electronic tuning aid. Here are some common methods, although there are several other variations ‘and possibilities. (i) The fifth fret method: play at the 5th fret of the 6th string and tune the open 5th string fo this. Then, play at the 5th fret of the 5th string to tune the open 4th string, This method can be used to tune all the strings except the 2nd - where the 4th fret of the 3rd string is used. (il) Tuning with harmonics: play the Sth fret harmonic on the 6th string, then play the 7th fret harmonic on the Sth string and tune it to the first harmonic, Next, play the 5th fret harmonic on the Sth string and tune the 7th fret harmonic on the 4th string to it. This method can be used to tune all the strings except the 2nd - where the 12th fret harmonic can be tuned to the 7th fret harmonic on the 6th string, (ii) Tuning to a chord: play a chord, sounding each string individually and listen Carefully to the intervals between the strings. Whilst the notes are still ringing reach across and adjust the relevant tuning heads until the intervals harmonise correctly.SECTIONS Rurai assessments A maximum of 10 marks may be awarded in total during this section of the examination. The candidate will be given a selection of the following tests, which will include a rhythm test and at least two other tests. The examiner may play the tests either on a guitar or keyboard, or via a recording. REPETITION OF RHYTHMS The examiner will twice play (on a single note), a four bar rhythm in either 3, 4 or § time. This will contain no note value shorter than a sixteenth note (semiquaver). The third bar will be a variation of the first bar. The fourth bar will contain one long note. The candidate should reproduce the rhythm by clapping, tapping or playing. Some examples of the type of rhythm are given below. "RL AT 1 2 i im. | "1 FAL d2 ll A ld | "Md I SL NIT. | “ASIII bd |S. "WS ITV GTI) Dd STI ITT! 4 "W8 DITUNITI 1 ld SET. |REPETITION OF MELODIC PHRASES The candidate will be asked to look away while the examiner plays a one bar phrase inj time. This will consist of notes, within a range of one octave, ftom a scale listed in Section 1 of this book. The candidate will be told which scale is to be used, and the keynote will be played. The phrase will start either on the keynote or on the fifth degree of the scale, and will consist of two quarter notes (crotchets) and four eighth notes (quavers) The examiner will play the phrase twice before the candidate makes a first attempt to reproduce the phrase on the guitar. If required, the candidate can request the examiner to play the phrase one further time, prior to the candidate's second attempt. However, the candidate will then be expected to reproduce the phrase promptly, and will not be permitted any further attempts at ‘working it out’. Some examples of the fype of Phrase are shown below. D} i 1 OO 24 (iv — Gb ts Ss tora The above examples are taken from the following scales () Aharmonic minor, (ii) G blues, (li) B Major, (iv) A pentatonic major.KEEPING TIME The examiner will twice play a four bar melody in either 2, 4 or ¢ time, The melody will not begin on the first beat of the bar, After the first playing the candidate should identify the time signature. During the second playing the candidate should clap the main pulse, accenting the first beat of each bar. An example is given below, with the thythmic pulse to be clapped by the candidate shown below both the notation and tablature, Cree ier erie ee eee cour Cf ff if os 6) COL CLL} f 5 i iN — | II = | A A —_ —_ — —_ —~ _o AS PITCH TEST Whilst the candidate looks away the examiner will twice play, in any key, one octave {ascending only) of any of the scales listed in Section One of this book. The candidate will then be asked to identify the type of scale that was played The range of scales is limited to: * pentatonic major * pentatonic minor + blues + major = harmonic minorHARMONY TEST Whilst the candidate looks away the examiner will twice play two chords of the same nature. The candidate will then be asked to identify the type of chord that was played. The chord types will be selected from the following list: = sus 4th = minor 6th = minor 7th = major 6th = dominant 7th = major 7thExamination Entry Form for RGT istry : LCM Examinations T Electric Guitar examination. ‘Thames Volley University. fet oneen GRADE FIVE ONLY PLEASE COMPLETE CLEARLY USING BLOCK CAPITAL LETTERS SESSION (Spring/Summer/Winter): ___ YEAR Dates/times NOT availabi Note: Only name specific dates (and times on those dates) when it would be impossible for you to attend due to important prior commitments (such as pre-booked overseas travel) which cannot be cancelled, We will henendeavour to avoid scheduling an exam session in your area on those dates. in fainess to all other candidates in your area, please only list dates on which it would be impossible for you to attend. Candidate Details: please write as clearly os possible using BLOCK CAPITALS Candidate Name (as to appear on certificate) Age: Address: _ = } Postcode: 7 Tel.No. (doy) - (evening): (mobile) emai Teacher Details (if applicable): Teacher Name (as to appear on certiicate} RGT Tutor Code (it applicable}: = - | LOM Exams Teacher Code (if applicable): _ | Address - ___ Postcode: _ Tel.No, (day): (evening) 7 (mobile) Email:egistr T Registry of Guitar Tutors BU OP ee ECL OO ee OCR a one COO UO en Ces CRUE as ee RS ee Ce ae ee IMPORTANT NOTES : © It's tne candidate's responsibilty to have knowledge of, and comply with, the current syllabus Fequirements. Where candidates ate entered for examinations by a teacher, the teacher must take responsibiliy that candidates are entered in accordance with the current syllabus requirements, © If you are being taught guitar at a schoo'/college or by an RGT registered tutor, please ask your tutor if he/she wishes to adminster this exam entry on your beh ei © For candidates with special needs, a letter giving details should be attached, © Details of entry deadlines and examination fees are obtainable from the Registty of Guitar Tutors : © Uk entries should be sent to Registry of Guitar Tutors, Registry Mews, 11 to 13 Wilton Road, Bexhill East Sussex, IN4O THY, © Overseas entrants should contact the RGT for details of their international representatives. Examination Fee Late Entry Fee (it applicable) Total amount submittes: Cheques or postal orders should be made payable to The Registry of Guitar Tutors. Payment cannot be made by credit card, A current ist of fees is available from the Registry of Guitar Tutors (waw.Registr yOIGultartutors.com) Registry of Guitar Tutors Registry Mews 11 to 13 Wilton Road > ||Bexhitl-on-sea EO E. Sussex Kgs TN4O THY % UK. AP \Tel: 01424 22 22 22 |Fax: 01424 21 3221 Email: Exams@RegistryOfGuitarlutors.com Website: www.RegistryOfGuitarlutors.comSupplementary Study Aids IMPROVISING LEAD GUITAR RHYTHM GUITAR PLAYING The most comprehensive and effective guide to lead guitar | An innovative and helpful series of books for those who want improvisation ever produced! to improve their rhythm guitar playing. 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