Scales, Arpeggios & Studies for Trinity College London exams | from 2016 Initial-Grade 5Contents Acoustic (and Plectrum) Guitar 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 a 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 requirement, and have been carefully selected to reflect the gradual development of technique across the grades. Scales are indicated with alternate im fingers, but mi fingering is also acceptable, Development of the ‘a’ finger is encouraged by preparation of all scales from Grade 3 in both im and ma alternation. Apoyando (rest stroke) or tirando (free stroke) may be used for all exercises up to Grade 5 unless specified as tirando only. Thumb strokes should always be tirando. Where right hand fingering remains the same throughout an exercise, only the fingering for the first two notes is indicated, 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. Repeated thumb strokes are suggested on the lower strings up to Grade 5 to retain good shaping of the hand across the strings. Some arpeggios are marked laissez vibrer or Lv. (allow the notes to over-ring) and this effect should be clearly conveyed. It is recognised that this approach may not be possible to apply to every note, but instead refers to the overall effect. in contrast, all other arpeggios should be played smoothly without the over-ringing of notes across the strings. 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. Photo: Zute Lightfoot, quitar courtesy of Yamaha Music LondonTRINITY COLLEGE LONDON PRESS Guitar Scales, Arpeggios & Studies Trinity College London Guita & Plectrur itar exams from 2 and Acoustic Guitar exams from 2020 Initial-Grade 5 Published by Trinity College London Press Ltd trinitycollege.com Registered in England Company no. 09726123, Copyright © 2015 Trinity College London Fourth impression, July 2019 Unauthorised photocopying is illegal No part of this publication may be copied or reproduced in any form or by any means without the prior permission of the publisher. Printed in England by Caligraving LtaGuitar Initial Candidates to prepare i) Technical exercise Technical exercise in C major (music may be used, J = 80) Candidates to prepare in full either section ii) or section iii) either i) Scales & arpeggios (from memory, mf) Candidates should prepare scales and arpeggios as listed below. When the examiner requests a key, the candidate should play the scale and then the arpegglo. tha wice) 5 min. tempi: oma tos | imtngering | Se Parco or ranean crc soled" 80 pean arpeggios: J = 100 rill) Studies (music may be used) Candidates to prepare a or 1b; 2a or 2b; and 3a or 3b (three studies in totad. ‘The candidate will choose one study to play first; the examiner will then select one of the remaining two prepared studies to be performed, 1a, Star Gazer or 1b Playground Games {or tone and phrasing 2a, Submarine on 2. Stop It for articulation 3a, Ice Breaker or 3b. Cross String Thing for idiomatic elements i i) Technical exercise In C major ii) Scales & arpeggios G major scale (to Sth), apoyando or tirando G major arpeggio (to Sth), tirandoInitial continued A minor scale (to Sth), apoyando or tirando A minor arpeggio (to Sth), tirando iii) Studies Ya. Star Gazer - tone and phrasing (legato) Amazed J= 112 1b. Playground Games - tone and phrasing (legato) Cheerfully J= 1202a. Submarine - articulation (tirando thumb articulation) Steadily, down periscope J=96 ef it 2b. Stop It! - articulation (right finger string damping) With purpose += 108 3a. Ice Breaker — idiomatic elements (strummed open chords and tirando) Determined J= 82 mio. kok im im p iomim p ote of 3b. Cross String Thing ~ idiomatic elements (tirando) Not too fast J= 102 nf (let mi ring) rt rtGuitar Grade 1 Candidates to prepare i) Technical exercise Technical exercise in G major (music may be used, J = 56) Candidates to prepare in full either section ii) or section iii) either id Seales & arpeggios (rom memory. mf) Candidates should prepare scales and arpeggios as listed below. When the examiner requests a key, the candidate should play the scale and then the arpeggio. C major im fngeri F major scales: one octave ra scales: apoyando or tirando (candidate's choice) ‘arpeggios: trando rpeggios: to Sth ee scale: p fingering natural minor E natural minor ‘arpeggio: pim fingering tirando min, tempi: scales: J= 56 arpeggios: = 112 Cor fil) Studies (music may be used) Candidates to prepare 1a or 1b; 2a or 2b; and 3a or 3b (three studies in totab. ‘The candidate will choose one study to play first; the exarniner will then select one of the remaining two prepared studies to be performed. 1a Paper Tiger or 1b Highland Memories for tone and phrasing 2a. Scary Monsters or 2b. Rock Bottom for articulation 3a. Poisson Rouge or 3b, Firefly Sky for idiomatic elements i) Technical exercise In G major ii) Scales & arpeggios C major scale (one octave), apoyando or tirando C major arpeggio (to Sth), tirando F major scale (one octave), apoyando or tirandoF major arpeggio (to Sth), tirando E natural minor scale (one octave), tirando 2 PoP E minor arpeggio (to 5th), tirando pi mM Ly, (let ring) iii) Studies Ja. Paper Tiger - tone and phrasing (crescendo and diminuendo) Playfully = 100 ——— —= ——-_ ¥ —— 1b. Highland Memories — tone and phrasing (even tone and bass over-ringing) Expressively J= 98 imi mGrade 1 continued 2a. Scary Monsters ~ articulation (staccato) ‘With a shiver down your spine J= 100 Pp beac t mp s *° eee SS Sf 2b. Rock Bottom - articulation (right hand staccato and tirando thumb strokes) With attitude! Po PoPP mp 3a. Poisson Rouge - idiomatic elements (tirando) Gracefully J= 112 By Latah “fyi Sim i aby tte mf 3b. Firefly Sky - idiomatic elements (natural harmonics) i =80 harm any "3 8 “ P Ly. sempre ® sharm. 2Guitar Grade 2 Candidates to prepare i) Technical exercise Technical exercise in D major (music may be used, J = 86) Candidates to prepare in full either section ii) or section iii) either il) Seales & arpeggios (from memory, mf) Candidates should prepare scales and arpeggios as listed below. When the examiner requests a key, the candidate should play the scale and then the arpegaio. F major fingering scale and arpeggio: trando mae D melodic minor beperen ey ida scales: J= 62 harmonic minor | one octave Im fingering (candidate's choice) arpeggios: 4= 94 arpeggios: trando ‘Chromatic scale ary ‘apoyande or tirando starting on G Jim fingering (Candidate's choice) Eas ori) Studies (music may be used) Candidates to prepare Ta or Ib; 2a or 2b; and 3a or 3b (three studies in total. ‘The candidate will choose one study to pla firs: the examiner will then select one of the remaining two prepared studies to be performed. 1a, Skater’s Waltz or 1, Linecraft {or tone and phrasing 2a. Tin Drum, o 2b. Porcupine Stomp {or articulation 3a, Lost and Found: or 30. Mystic Drummer {or idiomatic elements i) Technical exercise In D major 1 ii) Scales & arpeggios F major scale (one octave), tirando I pp F major arpeggio (one octave), tirando 1 34Grade 2 continued D melodic minor scale (one octave), apoyando or tirando I D minor arpeggio (one octave), tirando A harmonic minor scale (one octave), apoyando or tirando A minor arpeggio (one octave), tirando 1 I I 4i) Studies a. Skater’s Waltz - tone and phrasing (crescendo and diminuendo) Gently J= 100 i m i i 3 P of = 1b. Linecraft - tone and phrasing (dynamics and two-part balance) ‘Sustained J=92 2a. Tin Drum - articulation (accents) Bang and clash J~ 120 mim i ppp pimi Va Vs mfGrade 2 continued 2b. Porcupine Stomp - articulation (left hand staccato) Priekly J= 70 ? 1 4 | PP PPP sim at 0 | eee sy cee ae su a ( & 3a, Lost and Found - idiomatic elements (two-note chords) Relieved J~ 128-132 mf 3b. Mystic Drummer - idiomatic elements (tambora) Spiritually 196 i Tam. —_, jinb eee eee of molto rit. TaniGuitar Grade 3 Candidates to prepare i) Technical exercise Techical exercise in G major (music may be used, = 56) Candidates to prepare in full either section ii) or section ii) either i) Seales & arpeggios (from memory. mf) Candidates should prepare scales and arpeggios as listed below. When the examiner requests a key, the candidate should play the scale and then the arpeggio. C major ] i ery : | : scale: apoyando or trando Amo Iwo octmes | Satin andima (Candcate’s choice) tin temo | B natural minor arpeggios: pooimim arpeaaios:trando scales: 1= 70 |Eharmonic minor arpeggios: J. = 38 [[Emaiorscatein thirds | one octave im tirando [or iy Studles (music may be used) Candidates to prepare Ta or Ib; 28 or 2b; and 3a or 3b three studies in totab. The candidate will choose one stucy to play first; the examiner will then select one of the remaining two prepared studies to be performed. 1a. It Could be Sweet or 1b. The Tone Zone for tone and phrasing 2a, Sunflower or 2b. Finger Pickin’ Good _| for articulation 3a, On Brookiyn Bridge or 3b, Half Way There for idiomatic elements i) Technical exercise In G major 1 Lv, sempre ii) Scales & arpeggios € major scale (two octaves), im and ma, apoyando or tirando 1 Ne 1 36 eee 3 a ee =. peed fee Sites | C major arpeggio (two octaves), tirando MIsGrade 3 continued ‘A major scale (two octaves), im and ma, apoyando or tirando ni tae 6 ees f ‘A major arpeggio (two octaves), tirando 1 0 B natural minor scale (two octaves), im and ma, apoyando or tirando iy 0 a 2 a ee aad oo ou. 2 B minor arpeggio (two octaves), tirando u VIo3 0 Whi a aa E harmonic minor scale (two octaves), im and ma, apoyando or tirando 1 ° 40 jor arpeggio (two octaves), tirando 1 +C major scale in thirds (one octave), tirando rom ult rit 1 ck 0 Bb Seal. Qrtata of 4 NL 5 pee iii) Studies 1a. It Could be Sweet - tone and phrasing (tone colour) Animated J~118 mim a fa ‘1b. The Tone Zone - tone and phrasing (tone colour) Andante J =70 ae fan pes [et 8 abl, / si rit. A tasto je E : —F 2a. Sunflower ~ articulation (ascending slurs) Feel the warmth J=112 ® ® ® = "Sf Ly, sempre 3 15Grade 3 continued 2b. Finger Pickin’ Good - articulation (ascending slurs) Country style J= 102 1 1 of ™ of oe f Fi = p _____—- ¥ = 3a, On Brooklyn Bridge - idiomatic elements (half barré) Relaxed but cool 4= 100 “cll cul Cl “CI “cll rat * er Ry ‘s wey CII cl “cll yeu cl 7 oe v 2 “all ~ “al i f ‘3b. Half Way There - idiomatic elements (half barré) Flowing /= 110 eee YCVIL vcv 2 0 ‘mp lo: sempre “ev CVI 16Guitar Grade 4 Candidates to prepare i) Technical exercise Technical exercise in & major (music may be used, J = 130) Candidates to prepare in full either section ii) or section iii) either i) Seales & arpeggios (from memory, mf) Candidates should prepare scales and arpeggios as listed below. When the examiner requests a key, the candidate should play the scale and then the arpeggio. Emaler Bomaor ni. em scales: im anime G meoseminor ee scales: poyandootrando seats. |= 82 Dharmonic minor two octaves | * Peon Pree (candidate's choice) arpeggios: += 44 Chromatic scale starting on arpeddis tengo Dominant 7th apegsoin the , 5 eon ppimim.. mn 166 ori) Studies (music may be used) ‘Candidates to prepare ta or 1b; 2a or 2b; and 3a or 3b three studies in total. The candidate will choose one study to play firs; the examiner will then select one of the remaining two prepared studies to be performed. 1a Half Moon or 1b. Flamenco Fantasy for tone and phrasing 2a, River or 2b. And Relax. {or articulation 3a, Dark Maze or 3. Sorrow {or idiomatic elements i) Technical exercise In A major ii) Scales & arpeggios E major scale (two octaves), im and ma, apoyando or tirando v7Grade 4 continued E major arpeggio (two octaves), tirando Bb major scale (two octaves), im and ma, apoyando or tirando BS major arpeggio (two octaves), tirando v VI 2 v G minor arpeggio (two octaves), tirandoD harmonic minor scale (two octaves), im and ma, apoyando or tirando vill Vv 23 v i te 2 1 D minor arpeggio (two octaves), tirando v K 3 Vv 22 Chromatic scale starting on F (two octaves), im and ma, apoyando or tirando Dominant 7th arpeggio in the key of D major (two octaves), tirandoGrade 4 continued iii) Studies ta. Half Moon - tone and phrasing (tone colour and dynamics) Very calm J=100 | ——. tasto = ———_ » 41 cl 1b, Flamenco Fantasy - tone and phrasing (tone colour and dynamics) With intensity J= 116 pont. tasio rs P mf crese. oe SHE Te ae, f —= fin... a molto rit. atempo2a. River - articulation (ascending and descending slurs) Exhilarating J ~96 Vv v 2 poco rit. I > 2b. And Relax... ~ articulation (glissando) Chilled 4. = 76 m1 Mee oe eee Tes acahaah a 2Grade 4 continued 3a. Dark Maze - idiomatic elements (chords in 6ths) With quiet determination J = 92 9 iF i] + I oa cs I I I I x I . ad I a I I s I ~ 3b. Sorrow ~ idiomatic elements (three string chords) Dolente J~82Guitar Grade 5 Candidates to prepare i) Technical exercise Technical exercise in F# minor (music may be used, «= 126) Candidates to prepare in full either section ii) or section iii) either I) Seales & arpeggios (irom memory, mf) Candidates should prepare scales and arpeggios as listed below. When the examiner requests a key, the candidate should play the scale and then the arpeggio. Eemajor rae scales anda | scales: apoyndoortrando | mi. temp ‘natural minor twocctaves | arpeggios: (candidate's choice) : : ary jos: tirando melodic minor Poppima peadi ‘major scale in broken thirds im Cimajor scale in sixths ome ‘ome " tirando: ‘Dominant 7th arpeagioin the Key of A major Diminished 7th arpeggi starting on € two octaves | ppimim.. or i) Studies (music may be used) Candidates to prepare Ta or Ib; 2a or 2b; and 3a or 3b (three studies in tota. ‘The candidate will choose one study to play firs; the examiner will then select one of the remaining two prepared studies to be performed. Ja. Incognito or 1b, Over the Moon | for tone and phrasing 2a, Mistral or 2b. And So it Ends _| for articulation 3a, Mare Nectaris| or 3b.AllBarre One __| for idiomatic elements | i) Technical exercise In F# minor 23Grade 5 continued ji) Scales & arpeggios Eb major scale (two octaves), im and ma, apoyando or tirando v Vill v a ian tes Eb major arpeggio (two octaves), tirando F major arpeggio (two octaves), tirando A natural minor scale (two octaves), im and ma, apoyando or tirando v vil v ae see ‘A minor arpeggio (two octaves), tirando 24‘C melodic minor scale (two octaves), im and ma, apoyando or tirando m vu m1 uit babe C minor arpeggio (two octaves), tirando v IV VIL « vv al C major scale in sixths (one octave), tirando 1 3 a ° t Dominant 7th arpeggio in the key of A major (two octaves), tirando 25Grade 5 continued Diminished 7th arpeggio starting on E (two octaves), tirando iii) Studies Ja. Incognito - tone and phrasing (octaves) Slick and smart 4 = 120 pont, 7: nat. et af — 1b, Over the Moon ~ tone and phrasing (syncopation) Optimistically J= 120 cu 7% tite a ; ee Tz orese2a. Mistral ~ articulation (arpeggios) Powerful and precise J.= 120 pimp 2b. And So It Ends ~ articulation (slurring) Moderately «= 44 i o_o mS 0 Sv poco rit. aGrade 5 continued 3a. Mare Nectaris - idiomatic elements (full barré) Slow and sustained J = 80 cu al || = Ca Ly, sempre 3b. All Barré One - idiomatic elements (full barré) Relaxed J=88 cm cl cl 1 cv clr ¥ nf ———_ p 1. sempre rit CVIL I cl cll cu 28Acoustic (and Plectrum) Guitar Initial Both sections i) and ii) to be performed from memory: 1) Seales: Cand G major D minor iy Arpegaios: Cand G major D minor min. J= 60 to Sth, ascending and descending i) Scales C major scale (to 5th) n i V v ; @ 2 G major scale (to 5th) 0 a v eee meee, 2 D minor scale (to Sth) 0 a v 2 4 3 ArpeggioS - maybe piayed with atternate picking own/up) or as printed C major arpeggio (to 5th) n i Vv y n 2 3 a G major arpeggio (to 5th) n a ol Vv 0 3 oa D minor arpeggio (to Sth)Acoustic (and Plectrum) Guitar Grade 1 All sections i) to ili) to be performed from memory: Scales: Cand G major A natura minor min ome iy Arpeggios: Jer is, Cand G major A minor lid Chord sequence: EV in C major i) Scales C major scale (one octave) v n v os 25 a3 n 3 G major scale (one octave) n Vv a Vv 0 2 0 ee a ee ‘A natural minor scale (one octave) avon y = 1 3a. 1p 1 11) Arp Gio - may be played with alternate picking (down/up) or as printed C major arpeggio (one octave)oo on Ba eae ° ) Chord sequence FV7+L in C major © a nn V n ot 6 oa 230 “a o< 3Acoustic (and Plectrum) Guitar Grade 2 All sections i) to iv) to be performed from memory: i) Scales: major ~ open major - closed Bb major E harmonic minor ‘jazz melodic minor i 88 ii) Arpegaio: ee noe one octave 2s requested by the examiner one octave ii two octaves, lid Broken chords: Eminor A minor torzth |v Chord sequences: I-V7-Lin € major H-V-4in D major two octaves i) Scales D major scale - open (one octave) , 3 yh) D major scale - closed (one octave) 1 no v n 3 3 v 1 4 Bb major scale (one octave) Tt ‘i fl E harmonic minor scale (two octaves) pet Sie a —-— ess se ae jeA jazz melodic minor scale (two octaves) n Vo» V a 4 Oe 2 9 Pot. ee = az = vst vy” 11) Arp gio - may ve piayes witn aternate picking (down/up) or as printed D major arpeggio (one octave) u nog Ap WV AScaNe. ont ° iii) Broken chords E minor broken chord (two octaves) h AE ne mn ¥. OVC ON Ay go 2 bs Mere loa ‘A minor broken chord (to 12th) iv) Chord sequences MI-V7-1 in C major Dm G7 nay o 44 ea wa c= a HI-V-1 in D major Em mmVvon 2.0 0 nap eaAcoustic (and Plectrum) Guitar Grade 3 All sections i) to iv) to be performed from memory: Dea Coad ae chasse 1 Arpeggle: po wD Are09 See two octaves ii) Exercises: Bb major ~ ascending slurs G minor ~ half barré study iv) Chord sequence: IV in G major i) Scales C major scale (two octaves) W goa y paoas Sha Sa Rises m1 ‘A major scale (two octaves) Iv 5 2 fn i v v aang Chis wea 1 B harmonic minor scale (two octaves) u MY n nVonv 5s a2 2 hed NP EME eS: minor scale (two octaves) nVaAVv Or 13 a ghsiea Sats GoesG pentatonic major scale (two octaves) 3 seote py oY. os — Fi) ArpeQgio - may ve played with aternate picking (down/up or as printed C major arpeggio (two octaves) VI pono nly 8 9 ° Vv 4 ny Voy Bele 0 lea Exercises Bb major - ascending slurs oon in Seen. inn ee ear r3ao13 ° G minor ~ half barré study “Cu CVI y ¥Cur v v Cae! Yore 1 -< v= er iv) Chord sequence UI-V7-1 in G major Am D7 G n 3 36Acoustic (and Plectrum) Guitar Grade 4 All sections i) to iv) to be performed from memory: 0 Scale: E major ~ open E major ~ closed ‘natural minor Fé harmonic minor i Arpeggio: anos. Dominant 7th in the key of A as requested by il Exercises: the examiner F major ~IV-V-I D major - slurred F¢ minor ~ half barré study Iv) Chord sequence: D major-B7-Em’-A" two octaves: i) Scales E major scale ~ open (two octaves) nVaAVv 62 8 0) 2 atti Pa at 2 are ud E major scale ~ closed (two octaves) 1 Va Vv ; $088 136 0 OF aha. soe A natural minor scale (two octaves) Vav is gys Eee eee —— : —— sae as: F# harmonic minor scale (two octaves) u Vnv Iv ua Moa 4 is 4 23 3 tesii) Arpeggio Dominant 7th arpeggio in the key of A (two octaves) nVvny o 4 2 0 2d 9-30 sm 0) sal 3 iii) Exercises F major ~ IV-V-1 non to wa a< a wa loa -< ox he a wa oe] D major - slurred 0 non O13 -a 0 1 ca oa eo a “3 -a ea 4 F# minor - half barré study % ‘’CVIL CIT Vv v Vv YC ¥Cl “cr Y 4 ya v 1 val peu os iv) Chord sequence D major-B?-Em’-A? D BT nV 7 n Em, y ATcu yn 1 wa ee)Acoustic (and Plectrum) Guitar Grade 5 All sections i) to iv) to be performed from memory: 0 Scales: Bmajor G natural minor F harmonic and melodic minor E dorian i) Arpeggio: Diminished 7th starting and finishing on C J=80 two octaves iv) Chord sequence: Fam?-Bml-Em?-A” pasos as tequestea by the examiner i) Scales B major scale (two octaves) VI n 2 nV 2 G natural minor scale (two octaves) inE dorian scale (two octaves) Ix i 242 Vn Hu fe lis way Arpeggio Diminished 7th arpeggio on C (two octaves) my W Vv ‘ Iv mY TY atety 2 3 Saget iii) Exercises I-VII-V?+1 in G major G Em a< loam iv) Chord sequence F4m!-Bm/-Em9-A7 Fem7 Em9 AT cil Bm7 1 “cv non non na non a! 3 oBee ee ee ee et ete Ray Mem aac ca ur eae tec rect cies ne creel ea eoc oes As an alternative to scales, the studies offer carefully graded bite-sized pieces in a range of attractive styles, which develop players’ technical skills. They can be used to support teaching and learning more broadly as well as for exam preparation. ME Cee een ro a ee eee rer Cae ae ener ere ee Cea ee sre ene o a Ne eee eater ey eer oe eed Cac Ene ene ML ee ee eee ere ay Bee ea Ne eee eee ree em eee eed regen ee Cer) eo em ee eer roar] *)-Bro Pe LAP tel ier] LaF omicdeciey |e] el-Le 8 hy aaect-) sel ae 1-819) Se Ces ey Sas rere ea Ree Ce orci ra Tr Uae at er uurtee UCR Mam Nr artic cieg Seca ta aerate ements Ea ease cet ae eee tear cae ee eevee) Sree tee ace ee ea eee Se eee eae aC NE eed Seed Sound at Sight Gultarditial-Grage 3) See ae Na ee gcc oko am Ce rce ‘Aural Tests book 1 (initial-Grade 5) from 2017 eee ee ey eae BcoM lr i Nn ee a eee nee ee a eet cd Cee ToL 015082. TRINITY Ml COLLEGE LONDON PRESS 9" 780857" 364814"