TRINITY COLLEGE LONDON Scales, Arpeggios & Studies * for Trinity College London exams * from 2016 Grades 6-8Contents Plectrum. Guitar 36 40 46 Introduction ‘Accuracy, fluency, evenness of touch and a flexible tone should be regarded as equally important aspects of technical competence. The use of a footstool or similar support is @ requirement for the classical guitar syllabus to encourage good posture and promote the highest level of performance. Metronome markings should be noted as these reflect the minimum expected tempo, and have been carefully selected to reflect the gradual development of technique across the grades. Scales are indicated with alternate im and ma fingers, but mi and am fingerings are also acceptable. Development of the ‘a’ finger is encouraged by preparation of all Grade 6 to & scales in both im and ‘ma alternation. Apoyando (rest stroke) and tirando (free stroke) should be prepared for all single line scales. Arpeggios and interval scales require tirando only. Left hand positions for arpeggios should be observed, and have been intentionally varied to offer a range of fretboard geography opportunities, as well as replicating a variety of practical situations ‘occurring within the guitar repertoire. pimaima fingering is introduced for major and minor arpeggios from Grade 6 to promote flexibility and balance of the right hand when crossing strings. Unless specified, arpeggios may be presented laissez vibrer or with no over-ringing, at the musical ‘and technical discretion of the performer. All Plectrum Guitar scales should be played with alternate plectrum strokes. Any systematic picking ‘combination may be selected for the performance of arpeggios. Cadences and chord progressions should use downstrums only. To retain neatness of presentation, where there is a brief position shift or rapid fluctuation the Roman Numerals reflect the principal location of the left hand. Studies composed by Lee Sollory. Technical exercises composed by Nicholas Powlesland, Photo: Zute Lightfoot, guitar courtesy of Yamaha Music LondonTRINITY COLLEGE LONDON Guitar Scales, Arpeggios & Studies for Trinity College London Guitar & Plectrum Guitar exams from 2016 Grades 6-8 Publishes by Tenlty College London vwvarinitycollaga.com Registered in England ‘Company no. 02683033 Charity no. to147a2 Copyright © 2015 Trinity College London First impression, September 205, Unauthorised photocopying i illegal No part of this publication may be copied or reproduced in any form or by any means without the prior permission ofthe publisher.Guitar Grade 6 Candidates to prepare i) Technical exercise z Ze “Technical exercise in Ab malor (music may be used 1= 726) Candidates to prepare in full either section fi) or sect either I) Seales & arpeggios (rom memory. ag) \Wihen the examiner requests a major tonal centre, the candidate should playin succession: the major scale | the major arpeoaio \When the examiner requests a minor tonal centre, the candidate should playin succession the harmonic minor sale the minor arpeosio 7 major minor ae Dbmajx minor as eae § E major, E minor three octaves | _S Twoodaves | Pani. oo ‘Chromatic scale starting on GF three octaves caper) ‘melo minor cae in tenths ene oteve im ‘A major scale in thirds im Eb major scale in siths Cromateseenedesstaingonra | MOCeaves | Albm a Diminished 7h strtng on Ab oan aes Diminished Te starting on FE ores octaves ‘or li) Concerto extracts (music may be usec) ‘Candidates to prepare the folowing three concerto extracts. “The candidate will choose one extract to play fist; the examiner willthen select one ofthe remaining two extracts tobe perforned, 1 Vivald: Concerto in D, RVSS (ist movement, bars 24-5) 2, Castelnuowo-Tedesco: Concerto no.1in D, op. 99 (3rd movement, first section of cadenza) 3. Villa-Lobos: Concerto for Gultar and Small Orchestra 2nd movement, fist section of cadenza)Guitar Grade 8 continued i) Technical exercise ii) Scales & arpeggios ‘A major scale (two octaves), im and ma, apoyando and tirando A major arpeggio (two octaves), pimaima, tirando Dominant 7th arpeggio starting on A (two octaves), ppimim.. tirando‘A harmonic minor scale (two octaves), im and ma, apoyando and tirando v val 3 v V 3 z = SSS pees eo ‘OL ‘A minor arpeggio (two octaves), pimaima, tirando Eb major scale (two octaves), im and ma, apoyando and tirando M Me # te 3 =— , 2 £ fe Sa 2ete2 Ebmajor arpeggio (two octaves), pimaima, tirando Me i ; : aaGuitar Grade 8 continued Dominant 7th arpeggio starting on Eb (two octaves), ppimim.., tirando vu 2 sos Lette i, a Ebminor arpeggio (two octaves), pimaima, tirando F# major scale (three octaves), im and ma, epoyando and tirando x I VI a4 4 U tte th teFé major arpeggio (three octaves), pimaima, tirando vl x44 Tae ee Bt 0 1 gq. 3 YF : F# melodic minor scale (three octaves), im and ma, apoyando and tirando xr x 1 vi val pict 134 1 ey 1 See 25Guitar Grade 8 continued F# minor arpeggio (three octaves), pimaima, tirando cee 2 ‘As major scale (three octaves), im and ma, apoyando and tirando xa 1 Ww vu 2oeete pea a ea 1 eee te tttEtt & SSS Pe sees ae ‘Abmajor arpeggio (three octaves), pimaima, tirando xm Vv vm 2} 1. 42 zing sy vm zi 3, Dominant 7th arpeggio starting on Ab (three octaves), ppimim..tirando fosG# harmonic minor scale (three octaves), im and ma, apoyando and tirando tH oe iti te 119 24 Vv vail xI 1 te iy v Chromatic scale starting on Eb (two octaves), im and ma, apoyando and tirando ; : Ww as Ves ge eae ale —— ert SS v 4 the ohGuitar Grade 8 continued Chromatic scale starting on Gé (three octaves), im and ma, apoyando and tirando x v i ste csts pes Y payee ot tered, 2, ‘A melodic minor scale in tenths (one octave), tirando I 1m v Wem (et n 2 1 Med Seb stead ae ate er ahh G oF ‘A major scale in thirds (two octaves), tirando T Ue toe i ~ val = or < 4 Eb major scale in sixths (two octaves), tirando civ Wim wm, YE g eer fe) Pe reae iett eee a peter hte a et 2 (See ee 2S z oe oe 3 PChromatic scale in octaves starting on Fé (two octaves), tirando 1 eet te ae reat ae | fe = Jp Se e—te—_e a rae oats ta? - r te | b b oa ee eee a Diminished 7th starting on Ab (two octaves), tirando 20Guitar Grade 8 continued Concerto extracts 1. Vivaldi: Concerto in D, RV93 - ist movement, bars 24-51 Allegro giusto [J 104) _ Goon, Cae Ge ee oo yew pe We NE NE Performing edition by Eduardo Fernandez. (© 1955 by G. Ricordi & Co. Ld ~ London. All rights reserved.f saraye = = aw TA “ eee din pee ee aGuitar Grade 8 continued 2. Castelnuovo-Tedesco: Concerto no. 1 in D, op. 99 - 3rd movement, first section of cadenza ‘(Cadenza (piii mosso) —=_ if | SS prcptonty “Tempo I (Moss0) d.=66) = jcttds London, © 1954 senott Mus #60. KG, Maing © renewed 1982 assigned to Schott Music GOH Ste racerGuitar Grade 8 continued 3. Villa-Lobos: Concerto for Guitar and Small Orchestra - 2nd movement, first section of cadenza Cadence Andante ze 3 fF ig et 4 od t Vis aais iF GigE a = Accidentals apply to each line of music (© 1955 by Esltions Max Eschig ~ Paris. Al rights reserved.Plectrum Guitar Grade 6 Allsections i) to iii) to be performed from memory: D Seales: and major Anarmonig melodie andjezmelosicminor win Gand E> mar Charani and melo minor Cooran ID Arpegies and mejor ne F minor pxfof senor a rin ‘as requested by te examiner ee Jeo minor Dominant thin Em Dmajor 7th Ti Cadenees & chord progressions: ‘Dm?-G-Cmaj’ (Version 1) Dav-G-Cmaf(ersion2) Bimaf-Gn-c-F9 three octaves two octaves three octaves two octaves tarting and finishing on B toreth i) Scales ‘A major scale (three octaves) Vv aa x pit aa = oA ——— The 1 E major scale (three octaves) ~ see Grade 6 Guitar page 5 ‘A harmonic minor scale (three octaves)‘A melodic minor scale (three octaves) A jazz melodic minor scale (three octaves) vo. vm 4 Vig we G major scale (two octaves) ~ see Grade 6 Guitar page 4 Eb major scale (two octaves) vl wu MSs eee fog ov C harmonic minor scale (two octaves) ~ see Grade 7 Guitar page 13 C melodic minor scale (two octaves) ~ see Grade 7 Guitar page 13, Dorian scale on C (two octaves)Plectrum Guitar Grade 6 continued i) Arpeggios E major arpeggio (three octaves) 1 1 5 ai oa F major arpeggio (three octaves) ~ see Grade 7 Guitar page 15 E minor arpeggio (three octaves) Vv me 2 Vv I F minor arpeggio (three octaves) ~ see Grade 7 Guitar page 16 Eb major arpeggio (two octaves) te er. v 3 A C minor arpeggio (two octaves) ~ see Grade 7 Guitar page 13 Dominant 7th arpeggio in E major (two octaves), starting and finishing on B ee lise ei ‘ ee ere, 4 ee os te ? - D major 7th arpeggio (to 12th) 1 sta Slee,Cadences & chord progressions Dm?-G?-Cmaj? (version 1) Dm? @ . cv Gn Cmnaj7 Dm?-G7-Cmaj (version 2) Dm7 G7 Cmaj7 cx vo VIL P Bbmaj?-Gm7-Cm’-F? Bomaj7_— Gm7 Cm7 fo cvur baa \. 32Plectrum Guitar Grade 7 Both sections i) and ii) to be performed from memory: 1 Seales & arpegglos (from memory) ~ candidate to choose either group tor group 2 ] The major scale ster rm anee ccs, | Taree mina sae fonalimodal centres E three octaves, | | Tonalin nee |» Themelodi minor scale octave) » The mixolyian scale (two octaves ont) > Te blues sale (wo octaves ony) » The major arpaggia or group 2: “Tonalimadal centres G (hee octaves, |» The minor arpegaio | «| ‘except where specifies) andC (two | y she dominant 7th start rin. tert pot dominant 7th starting and finishing on the octaves) ected tonal antes [eg starting on toformthe | S@#S/5T8 | as tequested by the examiner dominant 7th of A major] arene For both groups candidates should also prepare: torath ‘Amalor 7th arpeggio Tp Cadences: Frmin’susBi°-46° ‘Am9-D2-Gmai? Dincic? Fraj-Om’-om'-C?-Fmal? i) Scales & arpeggios either Group 1: Tonal/modal centres E and Eb E major scale (three octaves) ~ see Guitar Grade 6 page 5 E harmonic minor scale (three octaves) 0 v vn 4 TW > ee ie. weg * . me anE melodic minor scale (three octaves) Vv Ld ates 174 pos acd 3 aa Blues scale on E (two octaves) E major arpeggio (three octaves) ~ see Guitar Grade 6 page 5 E minor arpeggio (three octaves) ~ see Guitar Grade 6 page 6 Dominant 7th arpeggio on E (three octaves) hee Serene ae oo 2 Pak tes ee Eb major scale (two octaves) ~ see Guitar Grade 8 page 23, Eb harmonic minor scale (two octaves) ~ see Guitar Grade 8 page 24 Eb melodic minor scale (two octaves) ~ see Guitar Grade 8 page 24 aPlectrum Guitar Grade 7 continued Mixolydian scale on Eb (two octaves) Blues scale on Eb (two octaves) vl aybaberebeys 2,2,4,, 7 22s Eb major arpeggio (two octaves) ~ see Guitar Grade 8 page 23 Eb minor arpeggio (two octaves) vill vi 4 Vi Bal 1 a apa Dominant 7th arpeagio on Eb (two octaves) va 24 aes @2ahr ‘ OF Rie lies 3 oe 2 fe . = = or Group 2: Tonal/modal centres G and C G major scale (three octaves) Tte> Thee teG harmonic minor scale (three octaves) xi G melodic minor scale (three octaves) m 1 thik 4 54 Mixolydian scale on G (two octaves) Blues scale on G (two octaves) w3 G major arpeggio (three octaves) 1 va tear an aPlectrum Guitar Grade 7 continued G minor arpeggio (three octaves) m vi 4 1 eee x 4 ae i. avi 0 = soca Dominant 7th arpeggio on G (three octaves) m va a (2 a oad ES C major scale (two octaves) ~ see Guitar Grade 7 page 13 ‘C harmonic minor scale (two octaves) ~ see Guitar Grade 7 page 13, C melodic minor scale (two octaves) ~ see Guitar Grade 7 page 13 Mixolydian scale on C (two octaves) C major arpeggio (two octaves) ~ see Guitar Grade 7 page 13 C minor arpeggio (two octaves) ~ see Guitar Grade 7 page 13, Dominant 7th arpeggio on C (two octaves) v fe ane ge mien‘A major 7th arpeggio (to a 12th) Vv Bio td devas 23a Sa ii) Cadences Fmin?sus*-Bb9-Eb6/° Fmin7sus4 B69 ni Bio cv ee Am?-D®-Gmaj? Am9 D13 Gmaj7 wv Vv v 12 ta 2——— Dmin7*5-G?-Cm? Dmint5 a Cm7 v. m1 cil Fmaj?-Dm7-Gm?-C?-Fmaj? Fmaj7 Dm7 Gm7 oo Fmaj7 cv Ene 0 wmPlectrum Guitar Grade 8 Both sections i) and Ii) to be performed from memory: 1) Scales & arpeggios (from memory) ~ candidate to choose either group 1 or group 2 either group ‘Tonal/modal centres F (three octaves except where spectfiec) and Fs two octaves) or group 2 Tonal/modal centres Bs (three octaves, except winere specified) and D (two octaves) le 9 The major scale The harmonic minor scale » The melodic minor scale » The jazz melodic scale The pentatonic major scale «wo octaves only) » The major arpeggio » The minor arpeggio » The dominant 7th starting and finishing on the selected tonal centres [eg starting on F te form the dominant 7th of Bs major) For both groups candidates should also prepare: Diminished 7th starting and finishing on E two octaves minor 7th arpeggio torath 1) Cadences: Bin"-e7-Amal? Ebm-as?-Dhemal? Demin™§-Gal-cemin? ‘cEamn?-OmsG?-Cmal? Gea-Eni-A-Oof rnin. erp: scales. 2132 arpeggios: 1=100 ppp asrequested by | the evaminer | i) Scales & arpeggios either Group 1: Tonal/modal centres F and Fé F major scale (three octaves) ~ see Guitar grade 7 page F harmonic minor scale (three octaves) 18 a vuF melodic minor scale (three octaves) v F pentatonic major scale (two octaves) 130 3 bs lg 2 F major arpeggio (three octaves) ~ see Guitar Grade 7 page F minor arpeggio (three octaves) ~ see Guitar Grade page Dominant 7th arpeggio on F (three octaves) xI Vv ee v ‘ . Did Gass De eee 1 a ¥ = 2 Fé major scale (two octaves) w m see ™ 1 Pree reir Osta 38g eae 2 oe 1a = aPlectrum Guitar Grade 8 continued F# harmonic minor scale (two octaves) 1 Tee 1 yoge scan 2 gaara asad ou ahaite Ada sr F# melodic minor scale (two octaves) 0 m Te, «VG 5 17a 5 twee 15 2 2 oe Fé jazz melodic minor scale (two octaves) 0 ml eal, u argu: 4 1g Aga tate ts Bite at ead F# pentatonic major scale (two octaves) aie 1g ea aah 3 sa ae « F2 major arpeggio (two octaves) F# minor arpeggio (two octaves) Dominant 7th arpeggio on Fé (two octaves) Ix pag 13 aaor Group 2: ‘Tonal/modal centres Bb and D Bb major scale (three octaves) eee Ky v “3>lectrum Guitar Grade 8 continued 35 pentatonic major scale (two octaves) 3b major arpeqgio (three octaves) Bb minor arpeggio (three octaves) Ix Dominant 7th arpeggio on Bb (three octaves) D major scale (two octaves) ~ see Guitar Grade 7 page 14 D harmonic minor scale* (two octaves) * Both left hand positions involved 50.D melodic minor scale (two octaves) vmx) rea aeaiaiges euro jazz melodic minor scale (two octaves) (VIII) 1 25 aia a 1 sah D pentatonic major scale (two octaves) D major arpeggio (two octaves) ~ see Guitar Grade 7 page 14 D minor arpeggio (two octaves) ~ see Guitar Grade 7 page 14 Dominant 7th arpeggio on D (two octaves) cu—_—____ ; Me tect ae ie Pe ose es eZ Diminished 7th arpeggio on E (two octaves) Ki 4a K pike Heyer s , @ i D minor 7th arpeggio (to 12th) fee 1 seePlectrum Guitar Grade 8 continued ii) Cadences Bm’-€7-amaj” Bm? E7 Amaj7 s se Ebm?-Ab?-Domaj” Eom7 A Domaj7 Démin’*5-G4?-Cémin? Démin?s5 Gi Ctmin7 c&-Am?-Dm?-G7-Cmaj” C6 Am7 Dm7 G7 Cmaj7 . cy 1 i 42 eros ‘Gmaj?-Em7-Am?-D'29-GS Gmaj7 Em7 Am7 D139 G6 cvIr cv cv cw to kPre oeone nee asec ae eeu cure ic Munley fen ia URI el ale te ae As an alternative to scales, the studies offer carefully graded bite-sized pieces i attractive styles, which develop players’ technical skills. They can be used to support teaching and learning more broadly as well as for exam preparation. Salar tae oe aera a rol coat} of your local music shop: (emma oe) acca ees ert Guitar Exam Pieces c aro feds nia re Eon) itar CD Gra os 5 All syllabuses and further information about Trinity College London can be obtained from ccna teol TRINITY COLLEGE LONDON Coe uas Haus der Musik Trekel 10,006} Tel s40/405205307 - wnwsrekel se ve (RILOO A WL ToL o1s09 5 Gutar Scaies, Arseacios & Susie Teh ISeN aveo-esrae4eo4 | }) 9!'780857! 364821