LC LONDON COLLEGE OF MUSIC \y Classical Guitar Playing ompiled by inda Cook on behalf of Rot Registry of Guitar TutorsTECHNICAL WORK ‘Amaximum of 15 marks may be awarded in this section of the examination. The examiner may ask the candidate to play from memory any of the scales, arpeggios or chords shown on the following pages. The following two octave scales may be requested in any key: chromatic, major, harmonic minor and melodic minor. These scales may also be requested in the keys of F# to A to a range of three octaves. These scales are shown overleaf with 'transpositional patterns’, i.e. they can be transposed to other keys by using the same finger pattern starting from a different fret. A choice of two transpositional patterns Is provided for the two octave scales in order to ensure fingerboard accessibility in all keys. The following two octave arpeggios may be requested starting from any root note: major, minor, dominant 7th and diminished 7th. The major, minor and dominant 7th arpeggios may also be requested with root notes of Fi to A to a range of three octaves. These arpeggios are shown overleaf with 'transpositional patterns’, including a choice of two patterns for the two octave arpeggios. Scales and arpeggios should be played ascending and descending, i.e. from the lowest note to the highest and back again, without a pause and without repeating the top note. It is recommended that arpeggios and double-stopped scales are played tirando (i.e. using free strokes), and that all other scales are played apoyando (Le. using rest strokes), although tirando can be used providing a good tone is produced. Any effective and systematic combination of alternating fingers may be used to pick the strings. Chords should be played ascending only, and sounded string by string, starting with the lowest root note. To achieve a legato sound, the whole chord shape should be placed on the fingerboard before, and kept on during, playing. Chords should always be played tirando. The following right-hand fingering is recommended for chords: p for all bass strings, ima for the treble strings. To allow for flexibility in teaching and playing approaches, all the fingering suggestions within this handbook arenot compulsory and alternative systematic fingerings, that are musically effective, will be accepted. Scales that are required in more than one fingerboard position should all be played in the same octave. Recommended tempo Scales: 160 minim beats per minute Double-stopped scales: 80 minim beats per minute 7 120 minim beats per minute 132 minim beats per minute Suggested tempos are for general guidance only. Slightly slower or fas providing that the tempo Is maintained evenly throughout. * performances will be acceptable, Key Study ‘The Key Study links the learning of scales to the performance of a melodic theme from a piece by a well known composer. The purpose is to make the leaming of scales relevant to practical musiomaking and therefore memorable, as well as providing the opportunity to play music outside the standard guitar repertoire. ‘The examiner may request you to play any, or all, of the scales wit for a performance of ONE of the melodic themes of your choice. the key study. The examiner will also ask Tempo markings and fingering are for guidance only and need not be rigidly adhered to, providing a good musical performance is produced. The examiner will be listening, and awarding marks, for evidence of melodic phrasing and shaping, as well as for accuracy and clarity. The Key Study must be played entirely from memory.© Chromatic scale - 2 octaves (Transpositional pattern) $5 a il oO giaayadbeigatexpere © @ C Major scale - 2 octaves (Transpositional pattern) : a f SS re ee on 5 @ G Major scale - 2 octaves (Transpositional pattern) $ a € Melodic Minor scale - 2 octaves (Transpositional pattern) oahateF# Chromatic scale - 3 octaves (Transpositional pattern) doteeret apecder F#t Major scale - 3 octaves (Transpositional pattern) eee ie f a wee ° J we Fit Melodic Minor scale - 3 octaves (Transpositional pattern) ae aa le @ @ oO ‘A Major scale - 1 octave in 4 different fingerboard positions 4! parent tet 6 oO ® o “@ oO _ pte = Lg ae eet £ oe ® o @ © o ®G Major scale - 4 octave in 3rds G Major scale - 4 octave in 6ths eS g 1g 4S ® ® G Major scale - 1 octave in 8ths a SS G Major scale - 1 octave in 10ths wii ® ® C E Major scale - 4 octave in 3rds ter E Major scale - 4 octave in 6ths Sapp ae @ E Major scale - 1 octave in 10ths pone ect € Major arpeggio - 2 octaves (Transpositional pattern) 8) G Major arpeggio -2 octaves (ranspositional pattern) C Minor arpeggio - 2 octaves (Transpositional pattern) G Minor arpeggio - 2 octaves (Transpositional pattern) Bill. € Dominant 7th arpeggio - 2 octaves (Transpositional pattern) BV. G Dominant 7th arpeggio - 2 octaves (Transpositional pattern)€ Diminished 7th arpeggio - 2 octaves G Diminished 7th arpeggio - 2 octaves (Transpositional pattern) (Transpositional pattern) ‘A Major chord in 4 different fingerboard positions aulKey Study The examiner will request a selection of the scales below, plus ONE melodic theme of the candidate's choice. F#t Major scale - 3 octaves cate eiet bite siapepepeee rer r t — i | o wise ran oo oO © 9 Eb Harmonic Minor scale - 2 octaves ai tp se te te te the AP Pe = + |] i a —— 8 ® @ © Eb Melodic Minor scale - 2 octaves aot aa 4 erase he Phe ay : b, reer al oer SSE Etteem el ‘OM Onion ae @ o” 6 © Melodic theme - Option One March From The Nutcracker Suite P.LTohalkovsky J=132 (1840 - 1893) = ——— == ta an ¥ o 7 ® 7 © Copyright 2008 by Registry Publications 9Melodic theme - Option Two Pavane Gabriel Fauré J=66 (1845-1924) fa © Copyright 1997 by Registry PublicationsPERFORMANCE lidates should play three pieces. The programme should be balanced, with some contrasting pieces to demonstrate the candidate's range. At least two of the pieces must be chosen from those included in this handbook; the third piece can also be from the handbook or, if preferred, it can be either a ‘free choice" piece of the candidate's own choosing - providing it Is of at least a similar technical level to the pieces in this handbook - or it can be a plece taken from the supplementary list shown in the LCM Exams Repertoire List for this grade (viewable the RGT website www.RegistryOfGuitarTutors.com or obtainable from LCM Exams). ‘A maximum of 60 marks may be awarded in this section of the examination - i.e. up to 20 marks for each performance. Tempo markings and fingering and are for general guidance only and do not need to be adhered to strictly, however all repeat markings should be followed. Expression and dynamic markings have generally been omitted to allow scope for individual interpretation. The use of a range of dynamics would enhance most pleces. The use of appropriate ornamentation would enhance the performance of those pieces from the Baroque periods Performance Tips ‘The performance notes below are intended to provide helpful advice and information, however candidates are free to present alternative technical solutions and musical interpretations - providing that a musically effective and stylistically appropriate result is achieved. Gavotte en Rondeau (Bach): German composer Johann Sebastian Bach was best known during his lifetime as a highly respected organist. Today he is recognised worldwide as one of the foremost composers of all time, particularly for his skilled use of fugue and counterpoint. His compositions include much church organ and choral music, as well as a vast array of instrumental music including concertos, sonatas and suites. The piece is the third movement from Bach's Partita in E Major (BWV 1006) for unaccompanied violin. A version for lute (BWV 1006a) also exists. Some supporting bass notes have been added to the edition. The tr sign that appears in the first bar can be interpreted in several ways: as a full trill, an appoggiatura or acciaccatura. Whichever is chosen bear in mind that it should begin on the upper note. Sonata (Scarlatti): Domenico Scarlatti, a contemporary of Handel and Bach, was a renowned and virtuoso harpsichordist and organist. Born in Naples, he travelled widely throughout Europe and was appointed to many royal courts. He composed over 550 sonatas; this piece being arranged from Sonata K322. The performance should feature vitality and rhythmic impetus. Care needs to be taken to observe the many key changes. The last two quavers in bar 48 (C# and A#) have been transposed down an octave to facilitate the maintenance of fluency and ensure an even timbre by avoiding large changes in position. However if Preferred, candidates can transpose these notes up an octave to preserve the original melodic shape.Overture (Carulll): Born in Naples, Ferdinando Carulli later made Paris his home. He was a respected player and teacher who wrote over 400 pieces for the guitar. His compositions include many studies and a highly successful guitar teaching method, as well as numerous ensemble works featuring the guitar. This Overture is an ‘example of one of his more substantial works for solo guitar. Although it is not of a virtuoso level technically, its sheer length (including all repeats) presents another type of challenge. Dynamic markings have been omitted to allow for individual interpretation and expression. Andantino (Glullan! Mauro Giuliani was born in Italy and later lived in Austria. He was one of the greatest guitar virtuosos of his day, as well as a prolific composer and successful teacher. Over 300 of his works have been published. These include several concertos and a variety of duets featuring guitar, as well as a vast range of solo pieces and studies from beginner to advanced level. This piece is taken from his collection Le Ore @'Apollo Opus 111. Ahigh degree of technical control is required to execute the many demisemiquaver runs fluently. Capricho Arabe (Tarrega): Spanish guitarist Francisco Tarrega is often called 'the father of the modern classical guitar’ due to his great influence on expanding its technique and repertoire. As well as writing numerous pieces for the guitar, he also made many arrangements of pieces written for other instruments by composers such as Albéniz, Chopin and Schumann, Arabic Caprice Is one of Tarrega's more substantial compositions. The opening section can be played quite freely. From bar 13 a stricter tempo should be used, although it must never sound metronomic. Although the ascending scale in bars 34/35 can be facilitated by the use of left-hand slurs, it is more effective if all the notes are played by the right hand. Cavatina (Myers): Stanley Myers was a successful British composer of music for films, including Kaleidoscope, Ulysses and Prick Up Your Ears. This piece was originally used in the 1970 film The Walking Stick but became famous as the theme music for the 1978 film The Deer Hunter. This arrangement for solo guitar is by guitarist John Williams. His fingering has been retained; his original edition states: “Although it won't always be technically possible to hold onto the melody as written [e.g. in bars 42-43], it has been put down like it is to convey the feeling of legato to be aimed at." Bagatelle No. 2 (Walton): Five Bagatelles, written in the 1970s for Julian Bream, were the only works composed for solo guitar by the English composer, Sir William Walton. His other works included two symphonies, concertos for viola, violin and cello, the popular oratorio Belshazzar's Feast and much film music. In this piece there are several places where the tied notes cannot be sustained for their full notated value. The right hand artificial harmonics that occur in bars 57 to 64, and in the closing bars, are indicated by a circle above the relevant note. The closing chord (marked tambora) should be sounded by striking the saddle with the right hand, 12Gavotte en Rondeau J.S.Bach (1685 - 1750) ‘2B, tT) oe pie 2B, wee... ror fy BL. Biv, at oo, = o r g r g r g mo © Copyright 2008 by Registry Publications 6init é 1/28, 4PROTOCORTING aS Sonata K.322 Domenico Scarlatti d= 152 Allegro (1685 - 1757) f at Aiotrae jeep ede] © Copyright 1997 by Registry Publications 16Overture Op.6 No.1 Ferdinando Carulli (1770-1841) pti bth gees 2 OT Td be, o irr) | ha por pe PT © Copyright 1997 by Registry Publications 18= P a e tet ie + mi eiate aan eee =U Soeeetepateseeaieseeaiesecaicaaemaa “i { AS eae a tee a ; Bi 8 a = q ort et alle u ° oT get je.Andantino Op.1411 No.5 Mauro Giuliani (1784 - 1829) t a = 1 ml — E s Varta cameo © Copyright 1997 by Registry Publications 2~ ~ Fy — 7. ail 1 a i" SH[ PHOTOCOPYING THIS. i A Capricho Arabe Francisco Térrega 5 yp PTD ee = 2 oF = ee © Copyright 2002 by Registry Publications paGas SS a a , 2 - Weis), eg Se tHPHOTOCOPYING THE MUSIC IS ILLEGAI ‘Stanley Myers (4930 - 1993) Arranged by John Williams, © 1971 Robbins Music Corp Ltd, EMI United Partnership Ltd, London W8 SSW (Publishing) and Alfred Publishing Co, USA. (Print). Administered in Europe by Faber Music Ltd Reproduced by permission. All rights reserved. 28Bagatelle No.2 William Walton (1902-1983) ® BI == From Five Bagatelles by William Walton © Oxford University Press 1974. Reproduced by permission 30ae a) JJ. d- abePP — molto rit.a piacereVIVA VOCE. 1 this section of the examination, candidates will be engaged in a short discussion about a range of Issues arising from the music performed earlier in the examination, to enable the candidate to demonstrate evidence of a rounded musical awareness, in terms both of the repertoire itself and the candidate's response to it as a performer. A maximum of 7 marks may be awarded. At this grade candidates should be able to: + explain the meaning of all notational elements in the music performed; + Identify any intervals, cadences and chords as occurring in the musi + identify melodic and harmonic features of the music (e.g. modulations, sequence, melodic inversion, circle of Sths, pedal points, etc.); + demonstrate knowledge of formal structures (e.g. binary, ternary, etc.); + provide biographical information about the composers of the music performed and demonstrate some knowledge of other music by the same composers; + demonstrate awareness of the historical and stylistic context of the music performed as well as a widening musical awareness extending beyond the music performed; + demonstrate an understanding of the workings and anatomy of the guitar; + describe the mood and character of pieces using appropriate descriptive terminology and ident contrasts of mood within pieces and describe any pictorial or descriptive element of the music; + discuss their personal responses to the music performed, i.e. the extent to which they like or dislike oF find it challenging or rewarding, and why; * discuss their approaches to learning the pieces including the use of certain techniques, aspects of interpretation and identifying any particular difficulties (musical or technical) that were encountered; + demonstrate a self-critical awareness of their own performance, indicating to the examiner which aspects of their performance they were happy or unhappy with, and why. Potential candidates lacking knowledge in this general area are advised to study for the London College of Music Theory of Music examinations, using suitable music theory books, worksheets and musical dictionaries, Advice and tuition from an experienced teacher would undoubtedly prove most advantageous. Overleaf are some examples of the type of questions that the examiner may ask at this grade - although the overall number of questions will not be as extensive as all the examples given. Note that these are ‘examples only; the list is by no means exhaustive. The wording and phrasing of the questions may vary ‘even when the same topic is involved. The examiner's questions will be limited to one or more of the pieces performed. ‘Specimen answers are provided below based on Walton's Bagatelle in order to give some indication of the depth and detail required in responses; it is stressed that these answers are samples and by no ‘means definitive. Specimen answers are deliberately not supplied for other pieces in order to encourage candidates to undertake broader research and to avoid the temptation to lea answers by rote. 3Bagatelle (Walton) Question: Answer: Question: Answer: Question: Answer: Question: Answer: Question: Answer: What is a Bagatelle? A Bagatelle is literally a ‘little nothing; a trifle’ - an incidental piece that can be for any instrument. What is the closest key signature that may be applied at the start of the piece? ‘The key centre is D minor. What technical challenges did this piece present, and how did you cope with them? The descending, staccato, arpeggiated chords, such as in bar 48, are tricky at first. | got over the difficulty by practicing this technique quite slowly with a few simple chords and making it part of my daily warm-up practice regime. The artificial harmonics are also particularly challenging, as they have to be played as part of a chord. | learnt the chord shapes thoroughly first and only added the harmonics once | was totally sure of them. | also practised the harmonics separately, without the chords. This piece relies quite substantially on an ostinato technique. What is an ostinato? ‘An ostinato is a repeated short rhythmic, melodic or harmonic pattern. In this case, much of the piece is built on the swaying between the D (tonic) and A (dominant) notes in the bass. The effect gives a certain stability to the music and allows a freer sense of invention to take place above. Tell me something about Walton's music in general, mentioning one or two pieces other than this Bagatelle to which you have listened. Walton's music is often written for large orchestral forces. Some of his most successful musics for orchestra and chorus, such as the oratorio Belshazzar's Feast. He is also famous for his Coronation Marches, his two symphonies and suite Facade, as well as his film music. Walton's music is often highly rhythmical and invariably tonal. Other sample questions: Question: Question: Question: Question: Question: ‘Question: Question: Question: Question: Question: What can you tell me about the composer of Capricho Arabe? In Capricho Arabe what is the meaning of ‘rt. in bar 25, and ‘a tempo’ in bar 262 In Andantino what cadence is formed by the movement from the last chord of bar 47 to the first chord in bar 48? Describe the main harmonic features of Carulli's Overture. Describe the form and tonality of Scarlatti's Sonata. Can you name and describe the ornament in the final bar of Scarlatti's Sonata. What was the most difficult thing about learning Cavatina? Can you describe the chords in bars 14 and 12 of Cavatina? How do you feel your performance of Gavotte en Rondeau went today? Can you name some other pieces by J.S. Bach? 34SIGHT READING he examiner will show you the sight reading test and allow you just a short time to look over it before performing it. The piece will be 8 bars long, and may contain 6 note chords, triplets, syncopated rhythms and ties. The key signature range will be 4 flats to § sharps. The fingerboard range will not exceed 9th position. The time signature will be either 7, 3, 4, 3, 3or §. Upto 10 marks may be awarded in this section of the examination. ‘The examples below show the type of pieces that will be presented in the examination. SIGHT READING TIPS 4. Always check the key and time signature BEFORE you start to play. 2. Quickly scan through the piece and check any chords or rhythms that you are unsure of. Decide which left-hand fingering you will need to use. 3. Once you start to play, try and keep your eyes on the music. Avoid the temptation to keep looking at the fingerboard - that's a sure way to lose your place in the music. 4. Observe all rests and try to follow the dynamic markings. 5. Ifyou do make an error, try not to let it affect your confidence for the rest of the piece. It is better to keep going and capture the overall shape of the piece, even if ‘some notes are inaccurate, rather than stopping or going back to correct errors. Largo 2 38Ww Andante , ri ay Macstos0 a 1 éAURAL TESTS maximum of 8 marks may be awarded in this section of the examin: each test. up to 4 marks for Test 1. A harmonised passage of approximately 12 to 16 bars in length, in either simple or compound time, will be played, once by the examiner. Candidates will be asked a selection of the following: + to identify the time signature; + to identify whether the passage is in a major or minor k + to describe the overall form (this may include AB, ABA, AAB, ABAB, AABA, ABCA, ABCBA, AA'BA, ABA'B and similar structures, as well as more organic forms or forms based on imitative or fugal structures); + to suggest an appropriate tempo marking + to describe and identify any particularly noticeable aspects of the dynamics, phrasing, articulation, ‘modulation, omamentation, texture etc. (examiners may play certain extracts from the passage again); + to describe the musical style (e.g. Renaissance, Baroque, Classical, Romantic, Twentieth Century or Modern, Jazz/Popular); * toidentity any interval in the melodic line between two successive notes, up to and including a major 10th (the two pitches will be played again, as occurring in the melody); + toclap back, or identify and describe the note values (rhythmic values) of a short phrase of 1-2 bars in duration, taken from the passage and played again in an unharmonised version; + to identify a cadence, taken from the passage, played again by the examiner. Test 2. The candidate will be given a copy of the score, without phrasing, tempo, articulation or dynamic markings. The passage will be played once again in full; further shorter sections, of up to 4 bars in length may also be played again, sometimes with changes in phrasing, tempo, articulation and/or dynamics. Candidates will be asked a selection of the following: + toname the key; * to identify any modulations that may occur; * toider any ornaments that may occur; * to confirm their description of the for + to identify any simple melodic, rhythmic or harmonic devices, such as sequence, inversion, repetition, pedal points, augmentation/diminution, development of motives etc.; + to identify changes in phrasing, tempo, articulation and/or dynamics, in short passages, of up to 2 bars in length, played in two different styles by the examiner. The examples overleaf provide a broad indication of the type of tests that may be given during the examination. The tests will be played by the examiner on either piano or guitar, at the examiner's, discretion, and the score provided will correspondingly be in either piano or standard guitar notation. it is therefore important that candidates are fully prepared to view the score in piano notation and, with this in mind, the sample tests overleaf have been provided in piano notation, Further examples can be found in the LCM Exams Specimen Aural Tests Booklet. 37Example jaroque ‘lgro con tio Corelli (adapted) [Form: AAB/AABB/AABB'/binary] Example 2: Romantic Grieg (adapted) ‘Tempo avase as Zk J [Form: AB or ABB) 38