London College of Music Examinations Electric Guitar Handbook Grade 8 From 2019 UNIVERSITY OF NY WEST LONDON London Colege oF Msc ornctonsGraded music exams go digital London College of Music Examinations (LCME) enables aspiring Case ORCC Re CRS Cm UC MLC Chale) Lalit aa SAU CU eU ue ear stay Pal ue Ue eee aCe Le OCTETS Ty Online Exams Candidates record a performance at Candidates studying up to Grade 4 can atime and place that suits them and now undertake live assessments with upload the video to a newly developed, experienced LCME examiners, exactly SS aUlcce elo NORCO as they would in a traditional face-to- face setting but conducted from their Available up to Grade 8, these exams Nn nee incorporate discussion and technical See rue PT eae | Candidates can select performance beh etal yecceioumurars ena ke acca [oa 6 Coli eM ene tem 4 or equivalent from another accredited body. LCME's an examinations body which offers graded and diploma qualifications in music. Itis pat ofthe London College of Music, a School within the University of West London, uwlac.ukThis paf file is a registered digital copy of Electric Guitar Handbook: Grade 8 Book Registration Details Book Owner Pablo Leal Order Reference L.CME-DD-1623372757 Purchase Date 11/06/2021 ‘The above information is stored by LCMEbooks.org for the purposes of copyright protection and digital rights. ‘management. The information on this page can be used as proof of purchase. This paf is licenced to the person stated above and cannot be sold or transferred. ‘The ful tracking reference for this pis: SFASYjeWRFI1aFFXUUZOKy{VZTB]MTBWVORGR2ZBeDITY TdENWV4VDBOMDO=Eleotrie Guitar: Grade 8 ‘This handbook is part of a progressive series of handbooks, primary intended for candidates considering taking London College of Music examinations in electric guitar. The series provides a sold foundation of ‘musical educstion for any electric guitar student, whether intending to take an exam or not. ‘Syllabus validity This handbook is valid for examinations from Spring 2049 untl further notice. Candidates must always refer to the current sylabus, available to download from leme.uwi.2c.uk Entering for an exam Exam entries can be made online at leme.uwi.2c.uklenter Tuning For exam purposes instruments should be tuned to standard concert pitch (A=440H). The use of an electronic tuner or other tuning aid is permitted. The examiner will offer an E or A note to tune to on request. Fingering ‘Throughout the exam, itis entirely your choice whether to use a pick (plectrum), fingers or @ combination of both a thumbpick can be used if desired. The fret-hand fingerings that are show inthis handbook are likely 10 be effective fora wide range of players at this level, however any alternative fingerings that produce an effective musical result will be acceptable, Each copy of LCME's Guitar Handbooks has a unique cover. Working with the names of the six instruments Covered by the books, and using interlocking fonts from their TwoPoint, TwoPus and TwoBit type systems, ‘MuirMeNel generated a series of mult-layered typographic ‘seed! compositions as the bass fr the cover designs. Using custom software on an HP Indigo digital pres, the compositions were zoomed, cropped ‘and modified by a colour palette specific to each instrument, generating one-off cover designs for each handbook. For each instrument in the series, the seed compositions are scaled in calibrated increments by ‘grade, trom Step, at the largest scale, to Grade 8 atthe smallest scale. As a result, bold, abstract, geometric Cover designs develop progressively in their detail and complexity through each seri Electric Guitar: Grade 8 Catalogue no: LL 340 (© 2019 University of West London, LCM Publications. LOM Examinations lemeauwlac.ule sosContents Electric Guitar: Grade 8 Scales Chords Rhythm Playing Lead Playing Spoken Tests Aural Assessment Specialism 10 4 2 22 27 aComponent 1: 10 marks Scales and Arpeggios Requirements Information Guidance Scales, in any key unless otherwise indicated + Dorian and mixolydian modal, in three different fingerboard pos “octave * Phrygian and lydian modal, in two different fingerboard positions, 4 octave ‘+ Major: in the keys of Fe, G, Gt, A, Bi, B and C, 3 octaves ‘+ Natural minor: in the keys of F, F2, G, G#, A, B>, B and C, 3 octaves, + Chromatic: starting on F, Ft, G, G#, A, Bs, B and C, 3 octaves + Locrian modal, 2 octaves ions, Arpeggios, starting from any note, 1 octave © Dominant “1th * Dominant 13th In the exam The examiner will ask you to perform a selection of the scales and arpeggios listed in this chapter, from memory. They may also ask for any of the scales and arpeggios set for previous grades. They are to be played ascending and descending, from the lowest note to the highest and back again without a break and without repeating the top note. \gerboard positions ‘The fingerboard positions given in this handbook do not have to be followed. When the examiner requests scales in more than one fingerboard position, other shapes may be acceptable, providing the scale is played within the same octave. You will not be asked to play in fingerboard positions that are inaccessible for your particular instrument. Finger patterns All of the fingerboard patterns can be transposed up or down the fretboard to a new pitch without the need for a change of fingering.Dorian modal scales 1 octave In three different fingerboard positions In any key Ascending and descending ‘Tempo: 160bpm (two notes per beat) (A dorian, this can also be referred to as the dorian (or 2nd) mode of the key of G major) se Mixolydian modal ‘+ Inthree different fingerboard positions scales ng nye * Ascending and descending 1 octave ‘+ Tempo: 160bpm (two notes per beat) (A mixolydian, this can also be referred to as the mixolydian (or Sth) mode of the key of D major) 10 sosIn two different fingerboard positions © Inany key ‘* Ascending and descending ‘Tempo: 160bpm (two notes per beat) Phrygian modal scales 4 octave (A phrygian, this can also be referred to as the phrygian (or 3rd) mode of the key of F major) e sosLydian modal ‘+ In two different fingerboard positions scales ca ey, + Ascending and descending 1 octave '* Tempo: 160bpm (two notes per beat) (A lydian, this can also be referred to as the lydian (or 4th) mode of the key of E major) so Major scales ‘© Starting on F#, G, Gt, A, Bb, B and C 3 octaves '* Ascending and descending ‘* Tempo: 160bpm (two notes per beat) (A major) 2 te re to tte to | Natural minor * Starting on F, Ft, G, G#, A, Bs, Band C scales * Ascending and descending + Tempo: 160bpm (two notes per beat) 3 octaves (A natural minor) G joe re rote te SS te ee [x Sa see sos 7Chromatic scales © Inany key 3 octaves * Ascending and descending * Tempo: 160bpm (two notes per beat) (Starting on A) Sees SoS Se ie 1 foto fo te eee [A a is + 6 7 8 2s. = Locrian modal © Inany key scales * Ascending and descending 2 octaves * Tempo: 160bpm (two notes per beat) (A locrian, this can also be referred to as the locrian (or 7th) mode of the key of B> major) sosDominant 1th ‘= Starting from any note arpeggios ‘+ Ascending and descending 4 octave ‘* Tempo: 126bpm (two notes per beat) (Starting on C) Dominant 13th «© Starting from any note arpeggios ‘+ Ascending and descending 4 octave ‘+ Tempo: 126bpm (two notes per beat) (Starting on C) sosComponent 2: 8 marks Chords Requirements Information 10 Chords, at any pitch ‘+ Major, in five different fingerboard po: * Dominant 7th, in five different fingerboard positions * Dominant “1th, in two different fingerboard positions ‘+ Dominant 43th, in two different fingerboard positions Inthe The examiner will ask you to perform a selection of the chords listed in this chapter, from memory. They may also ask for any of the chords set for the previous grades. Chords are to be played once using a single slow strum, starting with the lowest note, with the whole chord shape carefully placed on the fingerboard before playing and kept on while the chord sounds. The chords have been illustrated with a root note of C. As they utilise transpositional shapes, they can be moved up or down the fingerboard to any pitch without the need to change fingering. The use of alternative chord shapes to those illustrated is perfectly acceptable, provided these shapes are musically accurate.Major chords + In five different fingerboard positions + Atany pitch (C major) (Root on E string) et A 35 8 (Root on D string) (Root on A string) ———— = — at (1 1 se [Jill st L I Ti 234 2 34 3 4 (Root on A string) (Root on E string) (Root on E string) XX X_ oa 1ofr{_| 1 12ft ifi 2 2/3 3 4 4 (Root on D string) (Root on A string)Dominant 7th chords + In five different fingerboard positions + Atany pitch (C dominant 7th) (Root on A string) (Root on E string) B. (Root on A string) s (Root on D string) xXx_— oe ¢ ; § A$ BF (Root on E string) 3fr LIL} 1 _ Sf dil 3 | | 3/4 I 4 (Root on A string) (Root on A string) xXx 1ofr[_] (Root on E string) (Root on D string) (Root on E string)Dominant 11th + Intwo different fingerboard positions * Atany pitch chords C dominant 11th (root on E string) xX xX 6fr i (Root on E string) C dominant 11th (root on A string) x — 11 2 HHH 3/4 (Root on A string) Dominant 13th '* Intwo different fingerboard positions chords * Atany pitch 2 C dominant 13th = (root on E string) x sir 1] 3 3 3 44 2 (Root on E string) C dominant 13th (root on A string) 2fr 1 (Root on A string)Component 3: 25 marks Rhythm Playing Requirements Performance of a previously unseen chord chart Information In the exam You will be shown a chord chart and given 45 seconds to study it before playing. Chords The chord chart may contain any of the chords listed in Component 2 and any chords set for previous grades. Split bars ‘Some bars will be ‘split bars’, containing two or more chords. Diagonal lines (or dots) will be used to indicate the division of the bar: the chord symbol represents ‘one beat and each diagonal line represents another beat. If no diagonal lines are present it can be assumed that the bar is divided evenly between the chords. Time signatures The time signature will be either 3/4, 4/4, 5/4, 6/8 or 12/8 time. Notation In practice, musicians may write out chord charts in a variety of ways; with the chord symbols on or above the staves, or commonly just with barlines. In the ‘exam, to achieve maximum visual clarity, all chord charts will be presented with just the barlines, as in the example below. 4 C |Em|Am|Dm| G |Em]:Dm| C : Sample tests, The following pages contain examples of the standard of the tests that will be given at this grade. “ sosGuidance Example 4 ‘Swing Ballad The examiner will award marks for accuracy (including attention to time signature, repeat and interpretation marks), clarity, fluency, inventiveness and the overall musicality of the performance. Chords should ring clear, 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 chord shape to Use so that large fingerboard jumps between chords are avoided whenever possible. The musical style that is used is left to your discretion. When musically appropriate, techniques such as string damping should be used (both fretting-hand and strumming-hand) to vary the dynamic range and achieve staccato and accent effects. Fingerpicking can be used, rather than strumming. During the time given to look over the chord chart, try to discover the overall structure of the progression, paying attention to time signature, repeat signs and interpretation marks. 6Example 2 Gentle and relaxed BEDae=Dave= Dime Bima -Gmo--—C7#s- C13 Fas mp To Coda mf —————— pp Example 3 Light with movement 13-+{ Bomaj7——_ Boe Eps — Eo To Coda 0 ——— D.C. al CodaExample 4 Lively nf To Coda hh D.C. al Coda (Gna Go| —7— Fin Bm Batten AntComponent 4: 25 marks Lead Pl Requirements Information 8 aying Improvisation over a previously unseen chord progression In the exam You will be shown a chord progression. This will then be played four times by the examiner without stopping (either live or recorded). During the first time you should not play, but rather listen and digest the progression, before improvising over the remaining cycles. During the remaining playthroughs you will improvise ‘over the chord progression using appropriate scales and arpeggios selected from Component. After the final playing, the progression will end on the first chord. Chords The chord progression may contain any of the chords listed in Component 2 and any chords introduced at previous grades. The chord progression will include a change of key. Time signatures The time signature will be either 3/4, 4/4, 5/4, 6/8 or 12/8 time. Sample tests ‘The following pages contain examples of the style and standard of the tests, that will be given at this grade. Below each chart is an example of some of the jon, although for each scales and arpeggios that could be used for improviss progression many alternative improvising possibilities and variations exist. These are given for guidance in this book; they will not appear in the examination.Guidance Specialist techniques 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, when musically appropriate ‘+ aconfident and assured performance Style The style of lead playing should enhance the chordal accompaniment, which may be from a wide range of popular music styles. Endeavour to make your improvisation melodically and rhythmically inventive and imaginative, fluentiy moving between different fingerboard positions within a key. Avoid the inappropriate use of continuous scalic playing by leaving gaps between and within phrases. Playing should be fluent but without the need for speed for its own sake. Choice of scales You will need to determine which scales and arpeggios are best suited for use ‘over the chord chart, which will include a change of key. You should have the ability to analyse the chord structure and anticipate the key change — selecting and fluently moving to the new scale. The lead playing might be enhanced by the application of arpeggios, chromaticism and double-stopping, when musically appropriate. You should be able to demonstrate skill in the use of some of the following during your improvisation, where musically appropriate. String bending Executing both half-tone and whole-tone bends adeptly. Vibrato Full control over a range of vibrato techniques, including wrist and finger- generated vibrato. Slurs High degree of skill in the use of hammer-ons, pull-otfs and trills. Pick control Awide range of attack in striking the strings, and the ability to vary volume and tone whilst playing. Other techniques Techniques such as sweep-picking, finger-tapping, harmonics and whammy bar are welcome, when musically appropriate. sos *Example 1 -_—Amaj7—$ | — Cm Bmz Ci Fine ---| C#13 arpeggio —| F# dorian mode A major scale | F# major scale ——— | |F# dorian ————— = | E mixolydian -—-| E13 arpeggio Example 2 B natural minor —-—-—- | B major scale —— Example 3 Diz Dé phrygian —~ Cinz Ci Fima -{C#11 arpeggio| F# major -| A#7#5 arpeggio 20Example 4 ——~-|G whole tone--| C major scale — C major scale - C natural minor scale-—--—— Example 5 Ddorian —-— ———-| C mixolydian | Example 6 E natural minor scale --—-—-—- G dorian JA dorian ---B pentatonic minor—| B729 arpeggio — sos aComponent 5: 12 marks Spoken Tests Requirements You may be asked questions on any of the topics listed below, as well as those covered in previous grades: * Intervals * Chord construction '* Chord relationships ‘+ Application of scales and arpeggios + Transposition + Knowledge of the instrument * Types of effects pedal Responses should be prompt and confident; use of the guitar to work out answers is not permitted. Intervals You should be able to name from memory, in any key, any interval from the range of intervals shown below. A typical question might be: ‘Which note forms an interval of a perfect “1th above F?” Be careful to use the correct enharmonic spelling in your answer. For example, an augmented 4th above B is E¢ not F (the diminished Sth). Below are the required intervals, shown in the key of C. Minor 2nd Major 2nd Minor 3nd Major rd Perfect 4th Augmented 4th Diminished Sth Cod “Cod Com “Cok Cor Colt Coe 6 o 5° of 5 o°f 0° off 6 et eo? a 2 & s Perit Sih Augmented Sh Minor th Major 6h Minor 7th Msjor%h Octave CoG cuGt CWA, CoA CkR CwB Cee } = to bo o be = o vo. of 6 oe © © © ip Se cB 3 eo a 8 e e 8 ee sosMinor Sth Major 9th Augmented th Major 10th Perfect 11th Major 13th CoD, = CoD CDA CWE CF CoA bo o | fo ° = = wo ° ° ° ° ° ; é 7 os 10 fs Chord You should have a good knowledge of the notes in, and interval spelling of, construction all the chords required up to and including this grade. The table below gives, chord spellings with a root of C. Chord Notes Interval speling c cee 135 om coe 185 causa cre 145 Ce cect 135 om cBGA nase cs CEGA 1356 mr cece 18597 om CoGe “9167 comres cect 1087 o cece 13597 76 cEom 135657 crs cect 13697 ema cees 1357 o CBG rd ‘mo ceGEmD aa579 mre CEGB:Ds 195950 omnia CEG BOs 19369750 m0 ESE» D> 195990 on CEG BD 18168 coor ce oie omaaea | aC srs ca cece aasv9 cra CEG DDS 13570 om CEG DDE 13570 70 CEG Bs 1360 cra CEG+BsDs 13698 788 CEG#B:Ds 131508 crs cect: 138789 cos CEG 1305070 cos cee 135079 cmaio ceeap 13579 cn CEGmDF aasvon or CEGBDFA rasan sosChord relationships Application of scales and arpeggios 24 You should have a good understanding of basic diatonic harmony, knowing which chords occur ‘naturally’ within each key, so that the correct analysis of chord progression can be made. ‘Major keys The following table illustrates the chords which occur within a major scale; showing the chords built from the C major scale. tame [| 1 |e | ww | Ww) vf ww jr | Minor | Minar | ‘Major ‘Major —~—Minor imino ast 4 : Mejor7th | Minor 70h | Minor 7th | Major7h Dominant 7th, Minor 7th Minor 7s om? | om tor | roa o Amt Bm Relative minor keys ‘Minor keys contain the same chords as major keys, but starting on what in the ‘major key was the VI chord. The following table illustrates the chords which ‘occur within a minor scale; showing the chords built from the A natural minor scale. degree v v wi ‘Minor | Diminished | Mor | Minor» Minor | Major ‘Major Basie triad on © e om fn ‘ e Minor 7h | Minor 72hi5 | Msjor7h | Minor7Eh Minor 7eh* | Major 7h Dominant 72 Extended chord the V chord is often changed to a dominant 7th (taken from the harmonic minor rather than the natural minor scale) The examiner may ask questions about the scales and arpeggios listed in Component 4, in particular to explain their function and identify groups of chords with which each scale could be used. For example, the locrian mode works well over the half-diminished chord (m7+5 — built from the 7th degree of the major scale) whilst the dorian mode is more suited for use over the key centres based on the minor 7th chord (built from the 2nd degree of the major scale). You should also be able to explain, and give examples of, the appropriate use of extended chords (such as dominant ‘1th and 43th chords). For example, both chords can be used to replace and extend any dominant 7th chord: | C6 | Fmaj7 | G7 | C || canbecome || C6 | Fmal7 | G13 | C || Often the dominant "th chord is used to precede the dominant 7th rather than replace it: || C6 | Fmaj7 |G11.67. | C || Note that dominant 1th and dominant 13th chords cannot be used to extend sosTransposition Knowledge of the instrument Knowledge of guitar effects major 6th or major 7th chords without changing the function of these chords, as the latter do not include the i7th and do not act as dominant chords. You may be asked to transpose a chord sequence from one key to any other. This can be facilitated if the chords are analysed in terms of their position in the key scale. For example, to transpose from the key of C major into the key of F major: IC | Am | F | G7 || = I Vim IV V inthe key of C major; 1 Vim IV V_ in the key of F major I F | Om | B | C7 Il Remember to use the correct enharmonic spelling when transposing chords. For example, F major Bb is used rather than At. You should have a thorough knowledge of the mechanism and anatomy of the guitar, including an understanding of all the factors affecting tone production. At this level you will need to demonstrate a practical understanding of the use of different guitar effects. You should be able to explain how you would group pedals into categories such as filter (wah/eq), gain (overdrive, distortion, fuzz), ‘modulation (chorus, phaser, flanger), time (reverb, delay). You will also be expected to explain and justify your preferences for how best to ‘chain’ these effects. You should be aware of the following typical format for an effects chain: 4. Guitar 2. Tuner (this needs to go first so that a clean signal is sent through it for accurate tuning) Wah Compressor Overdrive FQ Pitch (ideally through the effects loop if the amp has one) Modulation (ideally through the effects loop if the amp has one) Volume, tremolo, noise gate (ideally through the effects loop if the amp has one) 10. Delay (ideally through the effects loop if the amp has one) ‘1M. Reverb (ideally through the effects loop if the amp has one Typical questions might include: * What order would you chain the following effects, and why? Compressor Pitch shifter Overdrive Delay ‘+ Name two effects that could go through an amp's effects loop? (For example: pitch, modulation, volume, delay, reverb) sos =26 Where would a tuner sit in the effects chain? (First) Name one or two effects that would sit at the end of the effects chain? (Delay and reverb) What are the pros and cons of using a guitar effects processor compared to individual pedals? Pros of effects processors: Effects processors can store hundreds of different sounds and some are relatively cheap. Some processors are very small and fit into a typical gig bag. They have a number of inputs/outputs, they can be used as recording interfaces and can be powered by a single adaptor or plug. Cons of effects processors: Cheaper effects processors will lack the sonic quality of more expensive Units or individual pedals. Some can be tricky to understand at first with multiple menus and small screens, top end effects processors can be very expensive. Pros of individual pedal Individual pedals can be tweaked easily without the large menus found ‘on multi effect units. Some modern pedals are very small and can be bought relatively cheaply. Pedals can be replaced easily and upgraded, individual pedels will generally sound more authentic than their digital copycat versions. Cons of individual pedals: Large pedal boards can be quite heavy. Individual pedals require their ‘own power source (this can get expensive). Individual pedals have to be connected together with patch cables and if one of them is faulty ‘each one has to be checked. Top end pedals can be very expensive and multiple pedals will end up costing more than a multi effects processor. sosComponent 6: 10 marks Aural Assessment Requirements Information Repetition of rhythms The examiner will conduct a selection of tests to assess your listening ability and musicianship In the exam ‘The tests will be played by the examiner on either the guitar or keyboard or via a recording. You will be given a selection of the following tests, which will include a rhythm test and at least two other tests. The examiner will play, on a single note, a 4-bar rhythm in either 3/4, 4/4, 5/4 or 6/8 time, twice. This will contain no note value shorter than a semiquaver (sixteenth note), but may include dotted notes, triplets and tied notes. At least ‘one bar will be a repeat of one of the other bars. You will be asked to reproduce the rhythm by clapping, tapping or playing. Some examples of the type of rhythm are given below. fora ie Gr wlerr err ler Ereeere Ir perreleceeerr erie perr el SCerreerin PLP ICeereericercee | sos "Repetition of melodic phrases Keeping time 28 ‘The examiner will play a 4-bar phrase in either 4/4 or 6/8 time, twice. You will then be asked to reproduce the phrase on the guitar. If required, the examiner will play the phrase one further time, after which you can have a second attempt to reproduce the phrase. The melody will consist of notes from a scale or arpeggio listed in Component 4, within the range of one octave. You will be told which scale or arpeggio to use, and the keynote will be played. The melody may start from any degree of the scale. The third bar will be a repeat of the first b ‘Some examples of the type of phrase are given below. Example 4 (A dorian) Example 2 (C mixolydian) — fhe abe Example 3 (G major) s oS ae 6b oe MIT Example 4 (A natural minor) The examiner will play a 4-bar melody in either 3/4, 4/4, 5/4, 6/8 or 12/8 time, twice. The melody may begin on any beat of the bar, and may include dotted notes, triplets and ties. After the first playing you will be asked to identify the time signature. You will then be asked to clap the main pulse, accenting the first beat of each bar, as the examiner plays the melody again. Two examples are given below. Example 1 sosPitch test You may be asked to identify any interval from the range shown below, key. The examiner will state and play the keynote, followed by another note. You will be asked to identify the second note either by letter name or interval number. Examples in the key of C are shown below. any Minor 2nd Major 2nd Minor 3nd Major 3rd Perfect Ath. Augmented 4thDiminished Sth Cud, CwD CwR CoE Cor Cor CuG j 1 6 —_—- o fo _ bo | Er Perf Sh Augmented Sk Miner 6b Major 6h Minor Nh Mgr 7H Octave CoG CuGr CWA CoA CoB CoB. Coe o- —$o-—_ boo bo = oe eo 8 8 | 7 ° ° 0 8 Miao th Major th Augmened 9h Major 0h —Perfet 1)—- Major 13h Cod, = wD CwF CoE CF COA f ° ° bo ° fo =e ° ° ° oO ° ° sos EyHarmony test 30 The examiner will play two 4-bar chord progressions in a major key. The first two bars of each progression will contain only the key chord, which will be named. You will be asked to identify the chords in the remaining two bars of ‘each progression and the cadences that are created. There are four main types of cadence: ‘+ Perfect — movement from the V (dominant) chord to the I (tonic) chord Plagal — movement from the IV (subdominant) chord to the | (tonic) chord ‘+ Imperfect — movement from the I (tonic) chord to the V (dominant) chord ‘+ Interrupted — movement from the V (dominant) chord to a chord other than the | (tonic) chord. Normally to the Vim chord Examples in the key of G major are shown below. Example 1 | plagal cadence le cl Ss | c | es | -— interrupted cadence — | Gea se | DI Em Il Example 2 f perfect cadence I ce | Ss | dD | es | — imperfect cadence | e | se | j Dl sosComponent 7: 10 marks Specialism Requirements Information Option 1: Slide/bottleneck playing or Finger-tapping or Fingerstyle (or flatpicking) ‘+ Option 4: Slide/bottleneck playing or Finger-tapping or Fingerstyle (or flatpicking) * Option 2: Sight reading from standard treble clef not tablature ‘+ Option 3: Rhythm guitar playing or Improvisation n or from Choice of spe One of the specialist areas of guitar playing listed above should be chosen, each of which is explained below. Inthe You will perform a single unaccompanied piece or series of excerpts (lasting between three and five minutes). This may be an existing guitar piece, a self- composition or an arrangement. Techniques The main feature of the performance should be one of the following techniques: + Slide/bottleneck playing + Finger-tapping ‘+ Fingerstyle (or flatpicking) The performance does not need to consist entirely of the chosen technique, providing it is the main feature. Performance standard There are no recommended set pieces as the aim is to encourage you to use this section of the exam to make your own musical choices and display your own musical interests and ideas. The technical level of the chosen piece (providing it is not unduly simple) is not the paramount assessment criteria, instead the examiner will be awarding marks based on the level of musicality displayed during the performance. sos aOption 2: Sight reading from standard treble clef notation or from tablature 2 Alternate tunings If you wish to use an alternative tuning you should be able to change to this tuning promptly and accurately, or preferably have another instrument already tuned for this purpose. Guidance The examiner will be looking for you to demonstrate excellent control over the instrument, in a fluent performance containing clear expression, well-defined phrasing, and a range of tonal and dynamic contrasts. The performance should be assured, with a clear sense of musical character and style, demonstrating ‘musical maturity. At this grade a confident, imaginative and musical performance is expected — demonstrating versatility, accuracy, fluency and articulation. In the exam You will be presented with a short melody to play at sight after 1 minute of preparation time. You can request this in either standard notation or tablature. The examiner will award marks for accuracy, fluency and overall musical interpretation, Standard notation + The time signature will be either 3/4, 4/4, 5/4, 6/8 or 12/8. ‘+ The key signature will be up to 5 sharps or flats. + Accidentals may appear. + The pitch range will be within 3 octaves from low E. + The rhythm may include semiquavers (sixteenth notes), dotted notes, tied notes and triplets. ‘+ Up to three notes, which can be played on adjacent strings, may occur simultaneously. ‘An example is given below. Atego eigen OE eee sosOption 3: Rhythm guitar playing or Improvisation Tablature * The time signature will be either 3/4, 4/4, 5/4, 6/8 or 12/8. + The pitch range will be within 3 octaves of the open 6th string (up to the 42th fret 4st string). * The rhythm will be illustrated and may include semiquavers (sixteenth notes), dotted notes, tied notes and triplets. * Up to three notes, which can be played on adjacent strings, may occur simultaneously. ‘An example is given below. bf if of if ff f Rhythm guitar pk You will be shown a chord chart and then allowed a short time to. study it before being asked to play it. The chord chart will contain, only chords listed in Component 2, together with those required for previous grades. The chord chart will be of a similar style and level to that used in the Rhythm Playing section of the exam. Improvisation You will be shown a chord progression containing chords listed in Component 2 and any chords introduced at previous grades. This, will then be played four times by the examiner without stopping (cither live or recorded). During the first time you should not play, but rather listen and digest the progression. During the remaining cycles you will improvise over the chord progression, using appropriate scales and arpeggios selected from Component 1. After the final playing, the progression will end on the key chord. The chord chart will be of a similar style, and complexity, to that used in the Lead Playing section of the exam. sos EJsossosLCM Examinations University of West London St Mary's Road London WS SRE 020 8231 2364 lemeuwlac.uk Jem.exams@uwlac.uk sos