Acoustic Guitar Playing

Compiled and edited by

Tony Skinner and Laurence Harwood for
CONTENTS Page
Introduction 4
Fingerboard I<nowledge 5
• Chords 5
• Scales 8
• Arpeggios 10
Performance Section 11
• Song For Eric 13
• Auburn 16
• Invocation 20
• OffTo California &
Harvest Home 24
Musical I<nowledge 26
Accompaniment 27
Aural Assessment 31
Examination Entry Form 35
\
Track
Tuning Guide 1
Song For Eric 2
Auburn 3
Invocation 4
Off To California & Harvest Home 5
Accompaniment Example 1 6
Accompaniment Example 2 7
Accompaniment Example 3 8
Aural Assessment - Rhythm Test Example 1 9
Aural Asse sment - Rhythm Test Example 2 10
Aural Assessment - Rhythm Test Example 3 11
Aural Assessment - Rhythm Test Example 4 l2
Aural Assessment - Rhythm Test Example 5 13
Aural Assessment- Pitch Test Example 1 14
Aural Assessment - Pitch Test Example 2 15
Aural Assessment - Harmony Tests in A minor 16
Aural Assessment - Harmony Tests in E minor 17
Aural Assessment - Harmony Tests in B minor 18
 INTRODUCTION

is publication is part of a progressive series of ten handbooks, primarily

Ti mtended for candidates considering taking a Registry Of Guitar Tutors

(RGT) examination in acoustic guitar playing. However, the series provides a
solid foundation of musical education for any acoustic guitar student- whether
intending to take an examination or not.
Those preparing for an examination should use this handbook in conjunction with
the Acoustic Guitar Exam Information Booklet and Acoustic Guitar Syllabus- both
freely downloadable from the RGT website: www.RegistryOfGuitarTutors.com

-
CD
A CD is supplied with this handbook as a learning aid and the recorded
performance~ are designed specifically to provide an indication of the standard of
playing expected at this grade.
FINGERING OPTIONS
The fingerings (including tablature positions) that have been used in this handbook
are those that are most likely to be effective for the widest range of players at this
level. However, there is a variety of alternative fingerings that could be used, and
any systematic and effective fingerings that produce a good musical result will be
acceptable; there is no requirement to use the exact fingerings shown \Y"ithin this
handbook. Throughout the examination, it is entirely the candidate's ·choice as to
\

whether a pick (plectrum) or fingers are used to pick the strings. A thumbpick can
be used if desired.
TUNING·
IT w'J'iil i U~

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
~ t#ZW'11m- # &¥NM1il -o'*trl*IW'"mrmrw:n""- &:;,. M~

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.RegistryOfGuitarTutors.com
 FINGERBOARD
KNOWLEDGE
e examiner will choose a selection of the chords, scales and arpeggios Hsted

Ti 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 expected at this level.
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 three different fingerboard positions.
• diminished seventh chords with any root.
• the following major chords in 1st and 2nd inversion: C, D, E, G and A.
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 with an X by the fretbox.
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.

First finger on fret number 1 2 3 4 5 6 7 8 9 10 11 12

Chords with root onE string F H/Gb G G~ /Ab A A~ /B b B c c : ; D') D D #/ Eb E
Chords with root on A string A~/B b B c C ~/ Db D D ~/ Eb E F F· / Gb G G~ / Ab A
Chords with root on D string D#/Eb E F F#/ G b G G~ /Ab A A: j B? B c C~ /D b D
Major chords in 3 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. If preferred, an
open position chord can be used in place of one of the transpositional shapes when
appropriate. The chord shapes you will need to use will depend upon the pitch
requested by the examiner.
These chord shapes can be used to play chords with root notes from F to A:
F F F
XX X
lfr. l l 3fr. Sfr.
,...
"
..:;.. ;,

~~ ~~ ~
"
I
" "
F (root onE string) F (root on D string) F (root on A string)
The chord shapes below can be used to play chords with root notes from Bb toE*:

B~
X rs . . . . ._ (X)~
lfr. 3fr. l 6fr.
"
'
... ~ '-;~ ~L- c~) "~
~

Bb (root on A string) B~
"
(root onE string)
For ease of playing and clarity, it is
Bb (root onE string)
common practice to mute the 5th
string in this chord shape. Either
version will be acceptable in the
examination.

* If E major is requested, candidates may prefer to use an open position E major

chord shape rather than the transpositional shape at the twelth fret which may be
uncomfortable to play on some instruments.

,,
,...
z This is a transpositional shape and can be moved up
~
or down the fingerboard to any pitch requested.

F diminished 7
Major chords in lst and 2nd inversions
An inversion occurs when a chord is re-fingered so that one of the notes other than
the root note becomes the lowest note. 1st inversion is when the major third of the
chord becomes the bass note, 2nd inversion is when the fifth becomes the bass note.
Inversions are also commonly referred to as 'slash' chords because of the way the
chord symbols are written (although not all slash chords are inversions!).
cJE cJc 0 1A
0 0 0 0 0 xoo
,...
...f; ~
,..,
~
,,
'! "i. "~

C major C major D major Dmajor

(1st Inversion) (2nd Inversion) (1st Inversion) (2nd Inversion)

EIG# EIB GIB

00 X 00 X 000
l
"'
~ .... ~

~
~

E major E major G major G major

(1st Inversion) (2nd Inversion) (1st Inversion) (2nd Inversion)

AlE
00 0
~ .......
11 .
.. ;,

J
Candidates are free to use alternative fingerings
A major A major and different fingerboard positions to the
(1st Inversion) (2nd Inversion) examples illustrated in this handbook.

\fill&
The requirements for Grade Seven are:
• Two octave Mixolydian modal scale in any key
• Two octave Dorian modal scale in any key
• Two octave harmonic minor scale in any key
• One octave natural minor scale in three fingerboard positions in any key
All of the scales for this grade are notated with transpositional finger patterns, so
each shape can be moved up or down the fingerboard to a new pitch without the
need for a change of fingering. Candidates will not be asked to play in fingerboard
positions that are inaccessible for their particular instrument.
The one octave natural minor scale shapes are shown in three fingerboard positions
with starting notes of both E and A, to enable candidates to choose the shapes best
suited to the key they are asked to play in. Any combination of these shapes can be
used, providing they are played at the same octave.
Scales should be played ascending and descending, i.e. from the lowest note to the
highest and back again without repeating, or pausing at, the top note. Scales should
be played at an approximate tempo of 144 beats per minute, with two notes being
played for each beat.

A Mixolydian modal scale - 2 octaves

fl lof.r.o. 0 -e-
:---"
_r .,..... ~

-t
f) -
u~-e- ~ t 3 @ = 2fr. --!
-e- t 3 ®
"® ® 11

""~" " "

~
.... 2-3-5 2-3-5~
2-4 '- L ~
A
...
~ 2-.- 4 - 5
2-4-5
5

A Dorian modal scale - 2 octaves

... -e-
fl j.f"" 0
IT
)#
~
,r,.
~
~·
4
._
jll':;:'-"'

r'" ""'
~
~·
4
""'
~
"f) - -e- p ""' T ·~·
~- 3 @
-e- u
t 2
®
"® ®
....
I 3-5 2-3-5~
A
2-4-5
...
L.l 2-3-5
2-4-5
5
A harmonic minor scale - 2 octaves

~---------------------------------5-
. -6---4==-59~
~------------------------~4--5--7--------------~
~-------------------6--7--------------------~
~----------5--7--8--------------------------~
~--5--7--8----------------------------------~

l octave A natural minor scale - 3 fingerboard positions

...
(These scale shapes can be used for the key range of A to Eb major)

l
:,
: - - --5--------------------------------l "l ~ ~
t

l
')

'
.-:.

i. "t-
..:

,.
~;..

.) ,)

"l . : ..:
l octave E natural minor scale - 3 fingerboard positions
(These scale shapes can be used for the key range ofE to Ab major)
f)

"
'u - ,r,o
1~
@
l L"'
3
-
.'-'
-·
"~

®
1"'0.

,~
~~
4
::-
~-
·.;·
4
2fr.

~
,..,
...:;..

"T"
->'!
3 5
~ ~I i.
I

A
2 4 5
..... 2 4 5
....
fl
Jl "~
".
1"'0.
i
IT
r"' ""'
;'-~ ?
4fr.
.".
,r,o ~ ~
'v """'
~ .i
·- \b)
,.. ,...
u4
@
1"'0.
II 1
@
~
\J) ,...,

;..-"' ;..

..... 5
I

A 4 5 7
4 5 7 "' " "'
....
u 7

f)

"
rr!"\ ""'
u
". .
1"'0.
~

:1:
:"l"~
7fr.
T ·~
1"'0. :--" 1
u 1
@
3 ~

@
! -P
.....
A
I

7 9 l
7 A
7
""''"'
" i.

-B--7 9 lO

At this grade candidates should be able to play a two octave minor 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 in
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 112 beats per minute, with two notes being played for
each beat.
A minor arpeggio ,., 2 octaves
fl 1'0
Jl
_IT
". '".
"""'
\..!./

r"'
'-.V
u - -0-
,r,o

3
~
41A'.
=
Sfr. l
-0- 4 @
\Q)
..... 5
5 ;"
"' I
I
5
A 7 "'
....
.... 7
5 8
 PERFORMANCE

C
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
13-25). 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 RGT website- www.RegistryOfGuitarTutors.com) 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 notation 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
25 marks.
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 u sed and any systematic and effective
fingerings that produce a good musical result will be acceptable.
• The CD recordings are provided as aural guides to the notes and rhythms of the pieces
and therefore are performed with minimal interpretation; candidates are encouraged to
develop their own interpretation of the pieces.
PERFORMANCE NOTES

Song For Eric

This piece, included on British guitarist Max Milligan's Homage album, was written in
2005 as a tribute to the acoustic guitar virtuoso Eric Roche who died in September of
that year. The piece is in a contemporary style but with strong ragtime influences in
places. It is in the key of A major, but changes key to C major in bar 25. It uses some
arpeggiated chords at the start and finish, while in bar 14 some chords are quickly
strummed with the first finger. The 'D.S. al Coda' sign at the end of bar 40 indicates
that you should repeat from the sign at the start of bar 4 and then at the end of bar 19
go straight to the coda at bar 41.
Aubum
This 2004 piece is by the British acoustic guitarist Stuart Ryan and features on his The
Coast Road album. It uses DADGAD tuning (the 6th, 2nd and 1st strings are tuned
down a wholetone) which enhances its folk and Celtic influences. It is in the key of D
major, but modulates to D minor from bar 45 for an 8-bar section. Hammer-ons and
pull-offs are u sed in many places to aid fluency. The L.V. (laisser vibrer) sign in bar 66
indicates that you should allow the chord tones to ring on. Before the final chord,
harmonics occur on the 4th, 5th and 7th frets; you'll need to place your fingers directly
over the fretwires for these to sound clearly.
Invocation
This 2007 piece by guitar educator Tony Skinner has been composed to encourage
students to explore G minor tuning; the strings are tuned to D G D G Bb D- forming a
G minor chord with Din the bass. The piece starts with an arpeggia\ted chord followed
by a slurred triplet run. From bar 5 the distinctive rhythmic groove'of the piece is
established, with quarter-tone downward bass string bends occurring fiom bar 8. After
the G minor chord occurs at the end of bar 14, accented by being played in harmonics,
the main melody line starts- this is almost entirely on the first string and care should
be taken that it isn't overpowered by the accompaniment. The final section of the piece
comprises strummed harmonics and tambur percussive sounds- where you strike the
front of the guitar with a bouncing slap with the strum hand.
Off To California and Harvest Home
Both of these tunes are traditional Irish hornpipes, arranged here as flatpicking pieces
designed to be played with a plectrum. In line with common practice for this genre, the
melodies have been notated in' straight eights' for ease of reading, but it is expected
that the reader will adaptcand interpret the rhythm in the style of a traditional Irish
hornpipe- i.e. with a jaunty rhythm somewhere between n=.I Jl and n Jl
~3·

The CD recording provides an example of how this can be played but any appropriate
rhythmic interpretation will be acceptable in the exam.Although the music is notated
i
in time, there should be a strong feel of two-per-bar to capture the natural pulse of
this style. Off to California has been notated in the key of G major, and H arvest Home
in the ke of D major. The should be pla ed 'segue' - i.e. 1vith no aap beh\-een the
~ ·ec ; i · common practice in · aenre to · h To es '"oaet er ~ ·~ -a'.- as a se-
T
Son ~ For Eric (&lax Millig~),

j = \52

r
- -

r I r
 ~o c oda -$-
;or. ~ * bj) ...t_
I kh I .-1·
~ I r1 I ~h I b.. II I I I

"-
t)
~r I
r I
~r r
-

r r II I I I
~r r r Ell, L- 3::.J
,., fi fi
.., ,., ,., '
..,,.,
"- v ~ v ':
"T"
.., _fi fi .., ~
·"' '
~
! ':
v v ~ ~ ~

A '::
......
fi v fi
"
..,,., ,., v v v v ~

v v ...--._
v v v v ., -r
'

;o,.. ~ *} I I I ~ I b. I } I I I ~ I b._ I
• -• .-1
~ I b._ I ~ b

t)
r I r I r rrn r r r r r rrn r -
-
I
-
-
r ---- -
-
r =r
r
L-3__j L- 3 __j
.... ... ., v
v
v "- v
v v
I v ,.,
"- -r ., "- "- "-
A ., ., ., 1-l 1-l
....... v v
"
~
,.,
~
fi~
v ~ ~
v
., n
v
"-

,.,
~
"-

~ v
...--._
~ •
....
~
"-

~
"-

'

;s I
I(
} II r1~J j J rl l I I. 1""'1 I I I.. 1""'1 I

rr r -
r
rr
- -

r r r -
r
-
-
r
-

r r
-

r r
r
t)

.... v
~
v v v ~ v
.., ~ ~ ~ ~

"- "-
A
...... ..,,.,
., ., v v
n
"- "- "- "-

..,,., ,., ..,,.,

_..,_ v
v v v v
'

29 " } I ~ I I. Tl I ~ I ,......, I I I I I
.-1
"
= r rrr r
-
- -
I -
I - -
t)

r r I -
I

BU
r r
-
I - I
r
.,.. " _,
~ v ~
"
v ~ "
v ~ ~ v v ~ v
~ ~ v v
A
....
.....
v v v v
v
~ ~

v ~

1 ~ 1 .., .., ..,

 D. S. a! Coda
i 31 i r l i 3 i i 31

-$- Coda

© Copyright 2005 by Max Milligan.

A-uburn (Stuart Ry,ltll)

(x3)
-- " If .. ..
•• o-r t1~ r· o-r t1~
t) ~· - - - - -
- -
-
-- -
-
-
-
-
-

D .... "'~
A ~
G A v
Y. z
D 1.-. ; "'
A 1'-' ~
"' "
v
"'
v
v

D v v v v

; " If
..

D ....
A
t) ~·
-

••
v
-
-
-

o--r
-
-
-
-
-

(_ r: -
-

r·
-
-
-

r
o--r -
L~
-
-
-
-
-

~
I
G v
z
A
D
A
... ~
~
v v
D -..., "" v v v v v "'
v

8 " If JJ ~j).J ~ J ~ I jJ
"::':

t) -
-
-
-
--
- -
-
~I
- - =.Efl
r J~(_l_C Cf1 r· p~c ...Ju
I

r·o-or· c H H
~
~ ~
D .... ~ v
' ~ v v • v
A v v 7 v v
G A v v v v v v
D
A ......., v v
~
v v v v

D "' "'
v v "
v "'
v v • v
"

H
~

D ~----r--r%-~~~~--------~~~~~--~------~~--~--~~-,
A ~------~----~--+-~------+---~~~---+--------+-~----~~~
G ~------~--------+-~~--~+---------&--+--------+-~~------~
D ~-----*----*-----+-----~~+----------*-+--------+-~---*----~
A ~----------------+---~~--~----~-----+--~----+-------~--~
DL~----~--------~~--~~--~----------~~----~~fr-------~~
 r r· r r· r r·

To Coda -{j)-

33

r· p-p r· r· r·

tp
 3 3
,...-::;,; ,...-::;,;
...:711 Jt c:r:r- ~FTJ J 1:lJ Jl I ~I I ~ ri11 u
·u
·u

r r· P'--'r· -P'-'P- r·
Ll
•
o-rtr
@.) - - ---:: ~·
u f-
~-
v

D
A T
v -----"' -r v v ----- ._ -r v -r v v v
~
G
0 A
v_n
v v
v v
. _..r:_
v
"
~
~
v
-A
v
"'" v
= _n. v •
A .... ~ v -;: v
D v
"' v v v v

42 I\ j.l G)
_IL'r"l._
.. _ "'\

@.) -
-
-

r·
-
-
-

P'-'r
-
-
-
-
- L. -
-

r·
-
-

p~p_
-
-
-
-

r·
4<. ~
0
A ....
•
- v

G A
0 _fi
v
h
__11
A v

0 "" v v v v v
"""

.J511
I(
IJ
,u. J _~, ~h I ~ J ~J:J n I
~"T']

I L
@.) -

r:
!-' I
r lS~( JCf l u~ r· p~r.JJ r
H
0
A T
I
v .., ~

v
v
v _fi
v .., v

v "
._ --- ..,
G _fi
v v
_fi
v "v "v
A v

.......
v _fi
D v v
"
v v v
A
D
""'
v .., ----
._ v v

.J9f\ ,u. J ~1 h l ~
---- r1 ;;;;
. rFi 0 rn n_a
IJ
I(
J1J "
'\;IL

r s- c.uJCfl · ·~ ~CW-or r
.I
~r
@.) -

r r· p~
c ·; .;;.\
H HP
-;.."":D. HP
D ~ -". _fi ~
A .... v v
"' v
v
v ~ v v ~ v v ~ v _v
v
~~

~--
L

G v v v v ~ v v
D A v v v v
-=
"T

A __,_ ,...---_2 "

v
-".
v
_fi
v
""
v ~
~
D "
v v ~ v
_fi
v
"
v
_fi
v v
 D. S. al Coda
54 I ~ ®
@
~ nii1r:= ®
@
~ nii1r:= I ...,...,.., ri11
~
'-'u- • .. r -

r·
-
p~u
-• .. r r·
-
- - ··= - r
p~r· p~p
· - -c

HP
~~
HP HP
~~
HP
D
A ... ~ v
. v ~~

~
~ v
.
. v ~~

~
A
v
v
A
v
.
G v v v v ~
A "'
D
A ...
u v
v

"" v
r
<
v

"" v
r
v
~ v

v
D v v
"" v
"

---
-$-Coda

_;o fl
tr:"'.
~ I
.
.....-!

..~ II'! .I • "'.I -

-rT1 I

.
--- -n1 1
.
~ - -- .J/L - - - - - - - -

r-u·-r
- -- - - - - -
--

r r
- - - -

D
A ... A
v
v v
"v
." v
v v
v
~
v

G A v ~ "T
"' ~ "T
"'
D
A ...
u
A A
v

....
"'
~
v
v
v

....
""
~
..,
v
v

D v v ~ v "v "' v "v

"
L.V. (to end)
_:s,..

~
~

-
-
-
-
-
- -
--::
1""""1 n n
-
-r-

~· --·
- -, I

•
- · I .,....,

D ... v v
I v v
A
G
A . "v
~
v
....
"'
"T "v
"v I
I
"v
"v
v
"v
v
v
v
v
D
A
....... ....
"'
~
v
v v- 1
.v- r
v
~

D .., ~
"'
---

_39 I

~
~

•
___. r-rl - • •
®@@3

-
...,...--, I 1~J
Ml " HO •
!"":\

·u
~ H5
H4

A
D
A ... v

A
A
V/A
v ~
~
G A
v "
v
v "
v
v "
v
A v .k-. ~
v
D ~ ~ ~
--~ ~ V /.:'\. "0"' -;
A .... v v v
-""' '\/' v
D 'V
© Copyright 2004 by Stuart Ryan.
Invocation (Tony Skinner ,

3
j = 11 2 ;;.:::_--....._ 3
3
1\ I .JJI N ~ --- 3
') ')

f)
~.. ----
,_. i •
·~:J~ ~~~ ?; ~
_.!...1_

u
f p p
p p
'r::.- -......,- -
D ,.._ ~ ~ v -~-£\
Bb ~
• ~ v ,..-...,.--..,
G A X "' v ~..--. ~ v
D ~ ~ "' v ~~ ~
G .... v ~ v
----~v
v

D -.. ~

BU BU

BU
 ]6 fl I J--JJ. j l
H12
1--
- -
-
-
1--
- - -
1---
- -
-
-
j
-

- - - - -
@) - -
L - - -

D ....
(.e::
v
~ ....
..,
r fr- ==
.., ~ L.<.
~-- L== ~-- L== ~--
Lv LV ,,
L..e:::: rJ
B~ v
'"'' v '"' v
' "' v
·~

v
I
~: ;; '
G A v v ·~;; v
A
v v
A
v v v v v
D . ~:: .
G 0 v v v
~7
v v v v v
D
"""

1~ r- 1~ 1-- -
j J--fl. J--JJ.
-
-
--
- - -
-
- -
--
29'
I - - r- - - - - - - - - - - - --

@) - - - - - - - - - - -

D I•
L== t:~ (.=:: ~ ....
...,
l== ~. . l::: r:. (.::: (._ (.=::
.
rJ
B~ .... '"' L .<.
A
LV L.<. Lv L.<. L7 .<.V
v
L7

A V . fl v A V £>.. v A V
G v
-"-
v v v
A
v v
A
v v
A
v v v
D
G ...A
u v v v v
A
v
A
v
A
v
A
v
A
v v v v
D
'""

J--JJ. J 1--- = 1--' 1--

fl - - - - r-
j
32
I - -- - - - - - f- - - r- -

@) - - - - - - - - - - - -

D
L== c..- L== C-. L== ~-- (.::: ~~
_/ l
(.=:: ~~ (.::: (J
·" ~

B~
.... v
.v L

v
·~
v
LV
·~
v
v -~ • v ·~ _fi
v
G A v v v v v v v v v v v v
D
G ...
0 v v v v v v v v v v v
D
--

35 fl I J--~JJ. j j __ JJ. 1 J J_ JJ. 1- lj.

l in.-"
@) - -
b:. . t- C-. L==
-

b:-- C..== t-
-

C...::: C...== ~~ t:~

L==
D .., .., .., ~

B~ .... 0 v v

G A
I ~
v
..,
v
~
~
v
.., ~
v
~
v
.., ~
v_
,.
v
~
v
A
v
V
v v .
D
G ...
LJ .., .., .., .., .., '
.., .., v v v v
D
--
~w r~fir,
. - E
'
J 'o., tff* ti; ; z - t ##£ -,,~ ~ 1#]5 --w;; A§f' Mt w iW
...-- .
- - -- - - - - - - --

42 I
I J--11 J 1
H12
H7

.I
J 2
H7
I
H12
I
H7
I
H12
H1 2-------~

t t
- ~
~,....

=~ ~ ~ ~
H7

-i

.;
- - - •

D
(..::: t:. .
"
r H12
/.~
H7
/~ 1.0::
ff Strummed
H12
b
P"'
h-b
f'"'· ~~~
~~/.'). ·
>'"' >'"' ' "'
~
H7
•;..
m ~

. '\(7/ "-._' / /.~ 7 _'-. IL I'"' ""'' ''"' I'"'

{ ~":!
' "'
G
D
G
A
~

c
.. ~
v
v
A
v
v
~

v
~ "'l' "-./ /.~
'\(7/
/)-.._
"-._1/ ~
IZ

"-.'"'/
( ~ ":!

~'?
'":!
('"' '"'
~ "'/
~'"'
( '"'
~7
( ~!; ( ~!;
\ o":! \' ":!
'~ ~7 ~7
~;:
' "'
D
"""
H12 ------------~------~ H12
jiiiiiiiO 1-- !iiiiiiiii ~
H7 ~
~,....

) 6 fl ~ ~ ~ =~ ~ ~ ~ ~ ~ ~f=t ~ ~ ~ -i ~ ~ ~ Fi ~- ~ ~
I
-
.;
- - •
- ~ r
(Tambur)
l \,H7 H12
~2 /.'::,~ A 6 /' h- /.'::,A ~/.';;, ~ ~ A AA /.';,A ~
D =
B~
)' "'· f'"' ~ ~~ ''"' ' "' '" '"' '":!' } ~~
,,.., ' "' '"' = I' "' '"' '"''
G
~

~~ ~-
r•;;:
ITE ~~;; : ·~ ~ = L .O •
,.,. lfZ = '"'' I '~ ' "' '"' [ <-'< 1~-"
I'"' ' "' '"''
D A ~~- '7;' ''"' ~~ I' "' '"' '"' '"' I'"'
( ' ":! ' "' ( ~":! ' ":! ' "'
('"' ''"' \~ ":! •' "' '"' ' ":! . ' "' '"' '":!. \ ~":!
' "' ~":! '":! '"' ~~~-
\ ~::. ~ ;:,
G
D
u l.t -7 ~ '(/ ~7 0 'I(
'"'' 'P: '« ~ 7 't~ ''"'' ' -'1 ' 4~ '0 ~:'> ~7

""' (H it guitar table)

49 I
I ~ ~
~

t -
:~ ~ ~ ~
H7

-i
0
0
0
0
--
H12-- -- -- - -.

~ ~ ~Fl ~ ~ ~
~
~-
fl
fl

.;
- i D; D - .. r- -
!~
..l..L_

-uo-
11

~A 6 AA £::,. 1 ~ ~ 2/.';, /' /.';;,£::,_/'..

D
B~
... ) '"'
~ ~~
f'"'
~ : ~;;:
· ~ :: ' "' I' "'
:~~ ~ ~~
'"'
~c
>'"' r=
I'"' /1-"
'"' L.O.

ll~
rrz.
l l~
v

G ""' '!
A !'"' '~ "' '":! '"' [l;;
'*: "/_ z '"' !' "' ' ":! ' "' ' "' '!
D ('":! '"' .~ ::,
'"' \ '":! . L-«
(
~~ r= v
G
D
c '-' 4 = ~7 '0 '{.7 rz; '~7 't4 '{ \!:-'> '"'' '{.7 ~
v

""' © Copyright 2007 by Registry Publications.

JM .WW¥4\ r Q., :
Off To California & Harvest Home
(Traditional)

Play with a jaunty hornpipe rhythm - somewhere between n .J )land n n =

~3·

j = 126
,. I ~
-• .
- ,...._ • -
t) • - • - I I j_

,.. v
v v ~

v v "T
'"'
A <l
"' "' v
L...._
v ~ ~ X
"' "T
'"'
I .,.
'

;,.,~ . .,.. _]"' • ..I ..I

- """'-'

• •
t) L__ 3 _ j ~ l I
-I
"-
"
')_ _ ')_
v v v ~ v v
-T " v v

A -r
"' "' "v v "v "' v

.... " "' v "' -r -r v

"' -r

-- "'
6
r. ~ • ..,.. • ~ ~'
-_._I"'"
~
t)
-
J-'
I L .J- L3__j 1....1. l
- I .- L-- 3__j

~ -" ,., -" -" -'"'-

"'"
')

,..
') ')
v v v v "' v v
') " v "'

A ~
~
v v
. "' • ~ v ' "' • ·"' v v
v

....
....
v v ~ v "' •• ~

'
10
,/ fl ~
• • • •
u.
J-'
- • - • ..I

•
~

., ,.,_ J). _' ) ,.,_ _fi ..,_

I
-
I I

.... v
"' v v
"' v
v
"' v
v
v ~ v v "' v v
v
I '"' v '"' '"' v
v
A "' "' v
....
....
"' "T "' v

-" I
14
~
131
1"""'1""" 1"'-oo..
- • ..,.. • ~
--
-.
..I --~"'"

••
~
-
I I .l- L 3 __j 1.....!.
-
I I L-- 3 __j

"
.... v v
"' '"' '"' '"' ,<, '"'
v
v
v "'

-r
'"' " n
v
v- v -rv-v "T
A "' -r "' v
.......... - v
'"' '"' -r

-...
 L_3 _j L_ 3- J

* Marks the start of Harvest Home ©Copyright 2007 by Registry Publications.

11
is section of the exam consists of a discussion between the examiner and the
andidate, allowing the candidate an opportunity to display their knowledge
f acoustic guitar playing.

The main focus of the discussion will be the pieces played in the 'Performance'
section of the exam, but may extend to wider related topics where questions arise as
a result of the discussion. The examiner may ask about matters such as:
• the candidate's reasons for choosing the pieces that were performed in the exam
• the contrasting styles of the pieces and how this affected the candidate's approach
to interpreting them
• basic background information about the pieces (period, composer)
• the content of the pieces, including any harmonic, rhythmic or melodic features,
the key and time signature, any repeat signs, dynamic markings or other signs
that appear on 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
• where appropriate to the pieces performed, altered tunings, use of the capo and
transposition ~'

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.
A maximum of ten marks may be awarded in this section of the exam.
In order to gain the highest marks, responses should be confident, informative,
accurate and well-communicated, employing appropriate musical and technical
terminology when necessary.
 ACCOMPANIMENT

n this section of the exam, the candidate should play a chordal ~

· I 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 Qf 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.
. . signature
The hme . w1.11 b e e1t
. h er 4,
3 4 6
4, or 8.

The style of the accompaniment is left to the candidate's discretion, and~he

candidate can chose to either strum or fingerpick. The CD recording that comes
with this book provides an indication of the technical level that would be
expected for a high mark at this grade- only the two assessed verses are
provided 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 .

..
 ACCOMPANIMENT ADVICE
A maximum of 20 marks may be awarded in this section of the exam.
In order to achieve the most musical performance and obtain a high mark in
the exam you should aim for the following when performing your
accompaniment:
• Remember that the very first time the examiner plays the melody, you have
the chance to listen to it without needing to play along. Use this opportunity
to listen carefully and try to absorb the 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 mak~.
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~orne appropriate

variations. Be creative in your approach and demonstrate expressiveness and
a clear 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.
AccoJ1!naniment Examule 1 ccD track _§2
Chord chart
Iill= c / F / I G /Am / IC IE / F / I GIB / c /I
1Dm7 1Am7 II
Melody
j = 88
f'l ------ • • ., • P"""'1
.. ------ ------
f.-

1 ...
--
o- J- 1
~ ......
o--
-- Q-J- I- l- l- c-3-3- 3
-
1- 1- 1-1 o--o----o--o--3 1- 1- 1- 1 0-1- 1-
v
lA
I"'
to.

___..._
f'l • . ~ ~ ~
..
------ . ..._
f.- l.......:j

..
~ l- l-3- l-1-1 o-o-1 -v
1 o-o-1-0-3 1
A 2 1-1- 2 -l - 1 - 1
...

Accomnaniment Examnle 2 ccD track 'Q \

Chord chart
1g11= Gm I B~ IC//C7// I

IGm//B~ //I D7 IGm / / F / / I D/F~ =IIGm II

Melody
J= 60
I\ I
. . . ..
u ,.. ,.. r I I I • O •

... . 3 2 3-1 1 .
3- - 3 3-o-- r--3 G----3 - v-
A
~
. 4-Q-4
v
3 v . v
Accomuaniment Examule 3 (CD track s2

Chord chart

1!11= Em I CIG lAm/ B7

IEm / G 1Dsus4 / D ICIE / DIF~ I Em =II Em ll

Melody
j= 104
fl ,. I I I I

.
~ ~ I . ..
....
A
2 v 2
v
3
2 v
.
....... • 2 4- 0- ~2-4 2- o--- r--2 2
 AURAL ASSESSMENT '

T
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.
RHYTHM TESTS
Test A - l(eeping time
The examiner will twice play a 4-bar melody in ~, ~, l, l
g or 1 time. During
the second playing the candidate should clap or tap the main pulse (this means 2
l ),
beats a bar for ~; 4 beats for 1 accenting the first beat of each bar. The note
values wil not be shorter than sixteenth notes (semiquavers) and the rhythm
may include dotted notes, triplets or ties with some syncopation. The melody
may start with one or more pick-up notes.
Below is an example of the style of test in each of the time signatures, with the
correct pulse that the candidate should clap shown between the treble clef and
the tablature notation.

Test B - Recognising the time signature

The candidate should identify, without a further hearing, the time ~ignature of
the melody from TestA by naming it as ~, l, l,
~ or 1 l. \
Test C - Repeating a rhythm
The examiner will play a short extract from TestA twice, as marked in the
examples. The candidate should reproduce the exact rhythm (not just the pulse)
by clapping or tapping.

Example 1 (CD track 9)

,---------Test C ------"""'
."J 3

f~ 1*+¥¥¥*¥ = ' w fA§ b •

Example 2 (CD track 10)

Example 3 (CD track 11)

,--------------Test C------------...,

3
>

Example 4 (CD track 12)

. - - - - - - Test C --------.
Example 5 (CD track 13)
l'J .lo!. . ~.

t) I r I r I

II 12 >. >
II
8 I I I r I r r I
....
t'>
A ~
.., n n
.., .., .
....
D 0 T t t
Ll

.-------------Test C---------------.
=
('}l), I ~
- ..
t) '-"' • • ~

II
> > II
II II

I I r r r I I r
....
A ... .... .... .., .
----
n n " n

....
D
l/
I~

PITCH AND HARMONY TESTS

Test D - Reproducing a phrase
The candidate will be asked to look away while the examiner twice plays a two-bar phrase
4
in ~ , or~ time. The examiner will name the scale and play the tonic (key) note. The
phrase may begin on a keynote or on the third or fifth degree ofthe scale. The candidate
should replicate the phrase on the guitar. If required, the candidate may request to hear
the phrase once more but will then be expected to reproduce the phrase promptly with no
further attempts. The phrase will consist of notes from one of the scal~s s~t for the grade:
Mixolydian modal scale, Dorian modal scale, harmonic minor scale or natural minor scale.
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:

Example 1, from ADorian modal scale (CD track 14)

~ () · ~ I I

t)
- r
......
I ,.
;:: ,.... "' ,.... A ...
A. 'I' T t
LJ: T "'
'I'
....
D
Ll Ll Ll

' 6

Example 2, from A harmonic minor scale (CD track 15)

~()
*· ~-

t) I r
........
A.
aX 'I'"' .. .,
....
0 0
Ll Ll

'
Test E - Recognising chord movements
The candidate should look away while the examiner plays two chords. The
examiner will then name the key, and the candidate should identify the second
chord by its chord name. The first chord will be the key (Im) chord of either A
minor, E minor orB minor, the second chord will be one of the major chords (bill,
bVI orbVII) from that key.
Below are all of the chord movements that may occur in this test. (Roman
numerals are printed for reference only; answers should be given as chord names.)
Examiner plays: Examiner plays:

lAm IC II = Im- ~III IBm I D II = Im -~III

Key: A minor, Second chord played: C Key: B minor, Second chord played: D

Examiner plays: Examiner plays:

lAm IF IBm IG
Key: A minor, Second chord played: F Key: B minor Second chord played: G

Examiner plays: Examiner plays:

lAm IG II = Im -~VII IBm I A I =Im-~VII

\
Key: A minor, Second chord played: G Key: B minor, Se,cond chord played: A
(A minor examples can be heard on CD track 16.) (B minor examples can be heard on CD track 18.)

Examiner plays:

IBm IG I = Im -~III
Key: E minor, Second chord played: G

Examiner plays:

I Bm IC
Key: E minor, Second chord played: C

Examiner plays:

IBm ID II = Im -~VII
Key: E minor, Second chord played: D
(E minor examples can be heard on CD track 17.)
¥ 2- %' ~

'*
;== {1\,

' #v=
-:0 @jjjN ; t¢ d >#tif-t nr
*''
L iH j
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.