Guitar Playin

Acoustic Guitar Playing

Compiled and edited by

Tony Skinner and Laurence Harwood for Registry of Guitar Tutors
 © Copyright 2007 & 2009 by Registry Of Guitar Tutors. Worldwide rights reserved.

A CIP record for this publication is available from the British Library
ISBN: 978-l-905908-02-8

Printed and bound in Great Britain

Published by Registry Publications

REGISTRY PUBLICATIONS LTD

Registry Mews, ll-13 Wilton Rd, Bexhill, Sussex, TN40 lHY

Compiled by

Registry of Guitar Tutors

Acknowledgements
The editors are grateful for the advice and support of all members of the
RGT's 'Acoustic Guitar Advisory Panel' during the compilation of this series.

Cover design and photography by JAK Images; back cover photographs courtesy of Moon Guitars and Freshman Guitars.
Page 22 photograph supplied by John Hornby Skewes Ltd.

PHOTOCOPYING OF ANY PART OF THIS BOOK IS ILLEGAL

No part of this book may be reproduced in any form

without the permission of the publisher.
Breach of copyright, by photocopying or any other means,
may result in both a claim for civil damages and criminal prosecution.
 CONTENTS Page
Introduction 4
Fingerboard Knowledge 6
• Chords 6
• Scales 9
Performance Section 10
• Rhythm Playing Studies 10
• Fingerstyle Studies 13
• Melodies 16
Musical Knowledge 21
Accompaniment 23
Aural Assessment 27
Examination Entry Form 31

CD LISTING Track
Tuning Guide 1
Chords 2
Scales 3
Rhythm Playing Study No.1 4
Rhythm Playing Study No.2 5
Rhythm Playing Study No.3 6
Fingerstyle Study No.1 7
Fingerstyle Study No. 2 8
Scarborough Fair . 9
The Skye Boat Song 10
House Of The Rising Sun 11
Londonderry Air 12
Accompaniment Example 1 13
Accompaniment Example 2 14
Aural Assessment - Rhythm Test Example 1 15
Aural Assessment - Rhythm Test Example 2 16
Aural Assessment - Rhythm Test Example 3 17
Aural Assessment- Pitch Test Examples 1-4 18
Aural Assessment - Harmony Test Example 1 19
·-- Aural Assessment - Harmony Test Example 2 20
Aural Assessment - Harmony Test Example 3 21
Aural Assessment - Harmony Test Example 4 22
Aural Assessment - Harmony Test Example 5 23
 INTRODUCTION « %iibiii&bkiill

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

Ti tended for candidates considering taking a Registry Of Guitar Tutors

(RGT) examination in acoustic; guitar playing. However, given each
handbook's wide content of musical repertoire and associated educational
material, 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.RGT.org

NOTATION
&44 kMk

In order that chords and scales can be made available for all to understand
regardless of experience, they are illustrated in three formats: traditional notation,
tablature and fretboxes- thereby ensuring that there is no doubt as to what is
required. Each of these methods of notation is explained below.
TABLATURE
Horizontal lines represent the strings (with the top line being the high E string).
The numbers on the string lines refer to the frets.
0 on a line means play that string open (unfretted). The example below means
play at the second fret on the third string.

~lh:~----2------~
MUSICAL NOTATION
Each line, and space between lines, represents a Fret-hand fingering is shown with the numbers
different note. Leger lines are used to extend the 12 3 4, with 0 indicating an open string. String
stave for low or high notes. numbers are shown in a circle.
A sharp(~) before a note raises it by a half step The example shows the C major scale.
(semitone), equivalent to one fret higher; a flat(~)
before a note lowers it by a half step, equivalent
to one fret lower.
For scales at this grade, string and fret numbers
are printed below the notation.
,; @
D

oO
®
E

20 3
F

I)
G

oO
@
A
211
B
oO

<2l
c
1()
 FRETBOXES
Vertical lines represent the strings- with the line This example means play with the second finger
furthest to the right representing the high E at the second fret on the G string:
string. EADGBE
Horizontal lines represent the frets. ·
The numbers on the lines show the ;,.
recommended fingering. (1 represents the index
finger, 2 = the long middle finger,
3 =the ring finger, 4 =the little finger.)

f..I~NoGrci i i i niE~
i i i i i Ri
i i.i iN
iilllii!IG
~OmriiiiPilmiiiiiTiimiiiiimO!Hmi
i i i li Ncimm
S
The fingerings (including tablature positions) that have been chosen 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 within 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.

-
CD
A CD is supplied with this handbook as a learning aid and the recorded
performances are designed specifically to provide an indication of the·standard
of playing expected at this grade.

-
TUNING
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
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 websitewww.RGT.org

/
 FINGERBOARD
..
KNOWLEDGE

T
he examiner will choose a selection of the chords and scales shown in this
chapter and ask the candidate to play them from memory. In addition, the
examiner may ask the candidate to play any of the chords or scales from
previous grades.
Chords and scales can be played using either the fingers or a pick (plectrum).
Overall, the examiner will be listening for accurate, clear and even playing. Prompt
presentations, without undue delay or hesitation after being asked to play a chord or
scale, will be taken as an indication of secure knowledge.
A maximum of 10 marks may be awarded in this section of the examination.

CHORDS
Chords should be played using a single slow strum, starting with the lowest (root)
note. The whole chord shape should be carefully placed on the fingerboard before,
and kept on during, playing.
Ensure that no required open strings are muted (these are marked with aO by the
fretbox).
When playing a chord, a string which should not be sounded is marked with an X by
the fretbox.
At this grade, some chords (F, Dm7, Dmaj7) are fretted using a partial (or half) barre,
with the first finger laying flat and fretting more than one string.

CHORD SYMBOLS
This handbook (and examination) use the following standard abbreviations when referring
to chords:
• The symbol for a major chord is the capital letter of the name of the chord. For example,
the symbol for A major is A.
• The symbol for a minor chord is the capital letter of the name of the chord plus lower case
m. For example, the symbol for A minor is Am.
• The symbol for a dominant seventh chord is the capital letter of the name of the chord
followed by the number 7. For example, the symbol for A dominant 7 is A7.
• The symbol for a minor seventh chord is the capital letter of the name of the chord plus
lower case m and the number 7. For example, the symbol for A minor 7 is Am7.
• The symbol for a major seventh chord is the capital letter of the name of the chord plus
maj7. For example, the symbol forA major 7isAmaj7.
The new chords set for Grade Two are:
• F • C7, G7
• Amaj7, Cmaj7, Dmaj7, Fmaj7, Gmaj7 • Am7, Dm7, Em7
These chords are illustrated below.

In addition, candidates will be expected to know the chords from lower grades:
• A, C, D, E, G • Am, Dm, Em • A7, B7, D7, E7
Candidates who are not familiar with any of these chords should study the
previous handbooks in this series, as these chords may be used within the
Performance,Accompaniment andAuralAssessment sections of the examination.

F major F
XX
r"" .. :J
.. :J
' ,..
~

~-----1------~
H~~----1------~
h·~----2------~
~A~----3------~
"
....
_J"'ll

C dominant 7 G dominant 7
C7 G7
X 0 000
,..
"
~ ~
~
~

f-1"'-----~
..; ,{.

H~F----1-----1
h .---3-----1

'-----~
14 -'=L----2-----i
Ho-"-t------3-----i
~
A major 7 Amaj7 C major 7 Cmaj7
-
fl fl
JT
... -
Lt.~
Lt.~ xo 0 ,
IT'_ ><
-
X 000
... ><
't) -
&
' ll ><

";, ,) "
~
';
.... 2 ....
I
v
v

A l
...
u
2 1-"'A"-------2--------1
H-"ot------
u 3------1

D major 7 Dmaj7 F major 7 Fmaj7

fl ~-- fl
xxo XX 0
f) 'lJ
...,

....
_
2
2 f-'I"~"F---l------1
., ;.-

A 2 hA.--------2------1
...
u
1-"'""-----3------1

G major 7 Aminor7
fl ~-
Gmaj7 fl
Am7
xooo xo 0 0
-:-
f) ~ __:::___
f)
u &

... I
~
~
.... I
0
A
...
1;;1
~

3
The 5th string is muted by
allowing the 2nd finger to
A
....... *
~
lightly rest upon it.

Dminor7 E minor 7
Dmin7 Em7
xxo 0 0000
u
"
f------1-------.,
f--=J"~"F----l------1
h~.---2------1
.......
f-"A"----0------1
SCALES
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 120 beats per minute. (This suggested tempo is for
general guidance only and slightly slower or faster performances will be acceptable,
providing that the tempo is maintained evenly throughout.)
The new requirements for Grade Two are:
• A major scale- 2 octaves
• A Dorian modal scale - 2 octaves
These are illustrated below.
In addition, candidates should be familiar with the one octave scales from lower grades:
• C, G and D major • A natural minor

A major scale - 2 octaves

A B C# D E F# G# A
00 00
"", ..,~- fto
fl :e-
I
IT'

'"'
'f) - ....
.., .,.,.
.
lfll~ -1
'llJ -'"'"" ....
1\-
• -
.,.,.
_,.. v~
.,
:-"

-
u~~
,IILJ
0@ 1 1
3 @
\61

~ 1 3
@ "
.t.J

... Q-2-4-5- ,'A, ,A, ~

I 0-2-3
A l-2 \ A
...
u Q-2-4
0-2-4

A Dorian modal scale - 2 octaves

ABCDEF#GA
00000
.- -
fl ~- 0 -!3-
lfll~
~
I 2
.,.,. n__, ,.,.._
"".

-
IT'
.,.,. u 1

::.:""
u
1
'"''-.;I/
2_,..
. 'llJ
"'""
f) -
p -a ,U
0@
Tl4
(3) \61 "t ,., -·
~~~
3
0-e-
@ ~ .., '~

...
I O-l-3
0-2-3-5- "I-
" 0-2
A
...
0 0-2-3
Q-2-4 "
 PERFORMANCE
- --
C
andidates should select and play a total of TWO pieces comprised of ONE
Rhythm Playing Study plus either ONE Fingerstyle Study or ONE
melody.
Performances do not need to be from memory; the handbook may be used during
this section of the exam. Candidates should remember to bring the handbook to the
exam if not intending to play from memory; photocopies will not be permitted.

RHYTHM-pLAYING STUDIES
The candidate must select and perform, using the prescribed strum pattern, ONE
of the Rhythm Playing Studies in this chapter.
• Each study consists of an 8-bar chord
progression that is played twice before ending
on the key chord.
• After the repeat section, the final closing bar
should be played with just a single strum.
• Tempo indications are for general guidance
only.
• A pick (plectrum) is recommended butfingers,
or fingers and a pick, can be used if preferred.
Any combination of upstrokes and
downstrokes is acceptable providing a good
musical result is achieved.
• Providing the overall shape of the prescribed
strum pattern is clearly portrayed, occasional
use of stylistically appropriate additional' ghost'
notes, staccato or rests is permitted for
interpretive purposes.

RHYTHM PLAYING ADVICE

A maximum of 25 marks may be awarded for the Rhythm Playing Study.
In order to achieve the most musical performance and obtain a high mark in
the exam you should aim for the following when performing the Rhythm
Playing Study:
• A secure knowledge of the chord shapes and the facility to change from one
chord shape to another smoothly and without hesitation or delay.
• Clear sounding chords that are free of fretbuzz and any unintended muting
of notes.
• A fluent rhythm style, maintaining an even tempo throughout.
• Accurate reproduction of the notated strum pattern.
• Accurate following of the dynamic marks.
 Dynamic rna~!&§

These are symbols that indicate how loudly or softly you should play:

f =loudly

--======== = gradually get louder

The set of two repeat dots II= =II indicates the section that should be repeated.

Strum pattern:

).)))J)
With movement

ill= c lcmaj7IDm7IFmaj7IEm IAm7 IF IG7 =II c II

f p --===== f

The notated strum pattern ). ) m) indicates that you should play on the following
underlined beats: 1 er & a 2 er - 3-
& a- er & 4 er &
-a- a
 Rhythm Playing Study No. 2
Strum pattern:

f)JJj
Fairly slow

~II=Am IAm7 I Dm 1Dm7 IF IG IEm IE7 =II Am II

p f

This study is in~ time- meaning that tere are three main beats per bar.

The notated strum pattern J) )J) indicates that you should play on the following
underlined beats: 1 er & a 2 er & a 3 er & a

Rhythm Playing Study No. 3

Strum pattern:

jj)J)j
Moderate

ill= F 1Dm7 lAm lc7 lnm IAm7 lc lc7 =IIF II

f p

This study is in~ time- meaning that there are four main beats per bar.

The notated strum pattern j j )Jj j indicates that you should play on the following
underlined beats: 1 er & a 2 er & a 3 er &~ 4 er & a
 I

Candidates can choose to play either: one of the following Fingerstyle Studies,
OR a melody from the~next section in this chapter.

FINGERSTYLE STUDIES
• Each fingerstyle study consists of an 8-bar notated chord progression that
incorporates a common fingerstyle pattern.

• The study should be played twice before ending on the key chord.

• Tempo indications are for general guidance only.

• Chord symbols are provided as an aid to study and performance. It is

recommended that you finger the entire chord shape even if certain strings are
not intended to be used: this has the benefit that if you accidentally strike an
unrequired string it may still fit with the other notes being played.

• Pick-hand fingering is indicated as follows: p =thumb, i =index finger,

m =middle finger, a= third finger. The pick-hand fingering shown on the
notation is recommended as it is likely to be the most 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.

FINGERSTYLE ADVICE
A maximum of 25 marks may be awarded for the Fingerstyle Study.
In order to achieve the most musical performance and obtain a high mark in the exam,
you should aim for the following when performing the Fingerstyle Study:
• Accurate reproduction of the notated fingerstyle pattern.
• Secure knowledge of the chord shapes used and the ability to keep all the required
notes sounding clearly.
• A fluent picking style, maintaining an even tempo throughout.
•
• The ability to change smoothly from one chord shape to another without cutting off
notes from the previous bar early.
Fingerstrle Study No. l

Cmaj7 Am7 Dm7 Fmaj7

_, fl
.. I I I I I I I J I

f) .
p i m a m i •p i m a m i
•
R.H . sim.
I I J

.a
. 0
v
v
v
v v
I
v
I
0 2
I
I
I
2 2
I
v
I
2-
3
ts 3 v

'

Cmaj7 Am7 F G7 c
5fl I I I I I I I J I I I
..
f) ..
• I I I -
""I
. I

T
o--u- I ___::__I
I
I--I 0
I
- lT . I~I-

hr-3
A
v
0
3
2 2 v
. 3
v

3
"'

This study uses the fingering pattern pimami throughout. This means that you
should start with the thumb playing the bass note, the treble strings are then
picked with the fingers from the third string to the first string and back again.
Fingersttle Study No. 2

A Amaj7 D E
~ = 84
fl lo! H I I I
..
f)
~
I I I
4 I I I • I I I -
- I I I
p i m i a i m i p i m i a i m i R. H. sirn. lll

.... v v 2
.
v
2 2 2 2 3 3
2- - 2 - - 2 - - 2 -1 - - 1 - - 1 - - 1 - - 1 -1 - - 2 - - 2 - - 2 - - 2 - -1--1--1~1-
A
...
!;;>
. v v
v

'

Dmaj7 A D E A
5
fl lo! H I I I
.. 1_. I I

f) • I I I
~
I I I • I I I
= 1 I I ~
lll

.... 2 2 0
.
v v
2 2 2 2 3 3 2
2 - 2 - 2 - 2 - - 2 - 2 - 2 - 2 -f-----2-2-2-2- t - - - 1 - 1 - 1 - 1 2-2
A
...
!;;>
v
v
v . v
v
'

This study uses the fingering pattern pimiaimi throughout. This means that you
should start with the thumb playing the bass note, the index finger then picks
the third string, the middle finger then picks the second string, followed by the
index finger again picking the third string. The second half of each bar is
identical except that the bass note is replaced by the third finger picking the first
string.
MELODIES

If not performing a fingerstyle study, candidates can instead select and perform
ONE of the four traditional melodies that follow in this chapter or, if preferred, the
melody can be a 'free choice' by the candidate of any other well-known melody
from 1960 onwards- providing it is of at least similar technical standard and
duration to the melodies below. (Whenever possible, candidates should bring the
notation of the free choice melody to the exam for the examiner to view.) Melodies
can be played with a pick or using fingers, as preferred by the candidate.
Chord symbols are provided for each melody in this handbook purely to enable a
teacher or fellow player to provide accompaniment during practice. Candidates
are NOT required to play the chords in the exam- only the melody,
unaccompanied. (On the CD an accompaniment is played with the melody to
enhance the musical effect and reinforce the timing for learning purposes.)
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.

MELODY PLAYING ADVICE

A maximum of 25 marks may be awarded in the melody playing section of the exam.
As the melodies are based on the scales set for the Fingerboard Knowledge section of
the exam (including the D major andAnatural minor scales from Grade one),
practising these scales will make learning the melodies much easier.
In order to achieve the most musical performance and obtain a high mark in the exam
you should aim for the following when performing the melodies:
• An accurate reproduction of the pitch and rhythm of the melody.
~

• A fluent rendition, maintaining an even tempo throughout.

• Capturingthephrasingwithin the melody.
• Clear sounding notes that are free of fretbuzz.
The Slsye Boat Song
J =48 A E F#m D A

t)
fl J.l !!

.
-. . .
. .
~

... -v- 2 -v-

0
2-D-2
2- 2- 2 2- -2-
A 2-4-2 4- - 4 - -2 2-4-2
....
...
.....

6
E F#m D A .
F me
F#m Bm
fJ ., H
. . . I

. . . . .
f) ~ I I

... D-2 -v-

v
2- o - -2 2- -2- 2 v -v- -v-
A 2 2
.... 4- -4 4
..
..... "'

D F#m Bm D F#m
11

f)
-,., ., H
-. I ~

.
.
I......=...J
. r""""":"'
.
I
. -. I ~

.
DC al Fine

.... 2- -2-2 v v v
2 - - 2 - 2- 2 2 2- -2-2- 2
A
... 4 4 4 4 4

This arrangement © copyright 2007 by Registry Publi ca ti ons.

This melody ising time, also called' compound duple' time, which means that each bar
has two main beats, each divided into three.Another characteristic of this melody, which is
notated in the key of A major, is the use of dotted rhythms, which give it a distinctive lilt.
The marking 'D:C. al Fine' means repeat from the beginning up until the end of bar 8,
marked 'Fine' (i.e. 'the end').
 j ,= 60 Am c D F
,.,. fJ
.. I I
. . ~
. •
~ - r I

3-

A
~

. 2
l
v
3
2
l
• 2
....
~

Am c E Am c
,..- ,. -
5 ,...

~
---
.--;-----.
---------- . •
,_. .. ~ ~ .--:----.

----:;--5 5-r-3 (}---3- -5 5-r-3 v

v 3
A
_ ........
"'

11 D F Am E A1n E
,.., fJ I

-
I ~

I
-. I
I

-.
I

r
.
I

. . ..
~- I I ~

----T----3-l l l l .
A
~
2 2 v 2 2
.
"'
This arrangement © copyright 2007 by Registry Publications.

This melody is in ~time, an d this arrangement uses notes from theA natural minor scale.
A change in fret-hand position is required to reach the highAnotes in bars 5 and 9.
Londonderry Air
j =63 D GID D A DIAA7
~ f'l ~
.. _l_

1-r
t..

.
··- . -

0
-·-,; • r • ••
2 " 2 2
In
A . 4
o--2-- 4 - - 2 - 4 4- f-2
2
o-4
v
4-o--4- f-2
4
fr--2-
I ...
'

n !C#

-
D ErniE GIB D IA G IA A D GIDA D GID D
5
f'l ~
.
f)
.
·~,.__..,Ji* .. .. Q
I,..J...J r I I I I • I,..J...J

.... Q-2- r-3-2-2-Q--" o-2-

v 2 v 2 2 -r-2 2-
A 4 - 2 - 4- -4- - 2 4-2-o-2 -u- 4 -u-
........ o-2-f-4
2- -4
'

II
-f'l ~
Bm
.
G
- D7
.
G D IA

-.. Bm D IA
~
G IA A D

..

....
f)

3-
r

2- 2 2
2- o -
~

3-o-3
··- 2
-"
-·-,;• ~

.
.
v v
A
2- 2-2 2
4-f-2 4-(}--(}-2- f-4--4-2
....
.... 4 v 2-4
v

'
This arrangement © copyright 2007 by Registry Publications.

This melody, used in the popular song Danny Boy, is inl time and is notated here
in the key of D major. Notice how each phrase starts with a 'pick-up' of three
eighth notes; this gives structure to what is quite a long melody.
 MUSICAL KNOWLEDGE
] &f ' ' · - -
§f§tM

T he examiner will ask a range of questions, from the topics listed below, to
test the candidate's knowledge of the anatomy of the guitar.

NOTES ON THE FINGERBOARD

Candidates may be asked to name any note taken from the scales set for this
and previous grades.A summary of these is given below.
Fret

(F)

B c C#(n) D (Di/ B) (E)

String G G#(Ah) A (AI/ B~) (B) (C)

D (Di/ B) E F F#(a) (G)

A (AI/ B ~) B c C#(D~) (D)

(E) (F) (HI G~) (G) (Gi/ M) (A)

The notes shown in brackets do not occur in any of the set scales for this and
previous grades, and are provided here only for completeness; knowledge of these
will not be tested in the exam.

PARTS OF THE GUITAR

Candidates should be able to demonstrate knowledge of the anatomy of the
acoustic guitar by being able to identify the location of the parts of the guitar
shown on the illustration overleaf.
machine heads
(tuning heads)
----=="marker dots
fretboard
(fret markers)
(fingerboard)

the soundhole

saddle
- - the bridge

MUSICAL I<NOWLEDGE ADVICE

A maximum of 10 marks may be awarded in this section of the exam.

Knowing the names of the notes on the fingerboard helps to provide a
secure musical foundation. Knowledge of the names of the main parts of the
guitar will also prove useful when communicating with other guitarists.
Being able to demonstrate secure knowledge in all of these areas will help
you gain a high mark in this section of the exam.
In order to gain the highest marks, responses to the examiner's questions
should be prompt and confident- demonstrating that the answers are
known, rather than guessed or worked out.
 ACCOMPANIMENT

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

It is recommended that during the first (unassessed) accompaniment verse a

chord is strummed on the first beat of each bar so that the timing can be
established. Alternatively, the candidate may prefer just to read through the
chord chart and listen as the examiner plays the first verse of melody.
\

At this grade, there will be five different chords in the accompaniment chord
chart, three of which will last for two bars. The range of chords will be restricted
to the chords required for this and previous grades. The final chord (after the
repeat) should be played with a single strum. The time signature will be j.

The style of the accompaniment is left to the candidate's discretion, and the
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 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 on the first beat of each bar 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.

• Keep listening to the melody while playing your accompaniment and make sure
to keep in time with it. Use your knowledge of the chord shapes to change
smoothly from one chord to another, whilst making S\'-Ire your chords ring clear.

• Try to include some variation in your performance.

Two 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.
Accompaniment Example .,!

Chord chart

lill= Am I Am I Dm7 I Dm7

IG IG IF IE =II Am II

Melody
j = 120

.,# fl
.. I I I """- I

.
.
u I I

.... ' 0
l 3 - 3- 3 3 -- 3 l-
. 2- 2- 2- 2- Q - - 2
A
1 ...
.
I"'

--
fl I
.
I I I
..
u I

....
~o-o-o-~
0
2- 2- 2
l -o- . 2
... 2
~

.
"'
"'
Accomnaniment Exam le 2

Chord chart

lill= Dmaj7 Dmaj7 IBm IBm

IG IG lA I A7 =II Dmaj7 II

Melody
j =92
"' fl j,!o
.. - _,.. ts-•
..
u

...
I .
2 - 2 - Q - 2 - 2 - 0 - -2-5 Q-D
\
3
- 0 - 2 -u- v

11"1
A .
1 ...

'

fl j,!o _..--..._
. n
..
u - - I ...... I

..._
A
0-2-3 2
I 3- 3 - 2 - 3 - 3 -2- -3 2-2-D-2-3 .
A
~

&;II
·•
.
'""'
 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 -
included on the accompanying CD.
A maximum of 10 marks may be awarded in total during this section of the
examination.

RHYTHM TESTS
- - Ailllllllllil
The examiner will twice play a four bar melody in eithed or time. The rhythm l
may include dotted notes, but will not include any notes shorter than eighth notes
(quavers).
Test a) During the second playing the candidate should clap or tap the main
pulse, accenting the first beat of each bar.
Test b) The candidate should then identify the time signature as either~ or 4time.
Test c) The examiner will play any ONE bar of the melody twice. The candidate
should reproduce the exact rhythm by clapping or tapping.
Three examples demonstrating the type of rhythm tests that will occur at this
grade are shown below.
Example 1 (CD track 15)
TestA&B fl

-
-~

@. I I -, I
> > > >
Candidate claps:
t( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (
1-
lA y f'
3 -f
ID

,..,
-
TestC .
t)
- r

Candidate claps:
t ( U(" ~
y -~· y 1-
14
ID
Example 2 (CD track 16)
TestA&B ""
t) ... ... 4"

> > > >

~(
Candidate claps:
( ( ( ( ( ( ( ( ( ( (
f ,v
y
,....
I I r' I I L......J I I

~
TestC
e.

~u ("
Candidate claps:
~
A
...
L.........J I r'

Example 3 (CD track 17)

~ I ~"""'-.
'
TestA&B
e.
>
- > > >
Candidate claps:
t( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (
lA -f-

-
f'
II::>
- -
I r--.
TestC ""
t)
.
Candidate claps: f( L__( LLL(

-
PITCH AND HARMONY TESTS

Test d) The candidate should look away while the examiner plays a four-note
phrase consisting of notes taken from the C major scale. The phrase will start on
the keynote. The examiner will play the phrase twice before the candidate makes a
first attempt to reproduce the phrase on the guitar.lf required, the candidate can
request the examiner to play the phrase one further time, prior to the candidate's
second attempt. However, the candidate will then be expected to reproduce the
phrase promptly and will not be permitted any further attempts at 'working it
out'. Some examples of the type of phrase are shown below. These can be heard on
CD track 18.

Example 1 Example2
fl _h

u • • u • -

.,.
I
.,. I

A A 0 0
2 3 0 .... 2
....... 3 ~ 3

Example3 Example4

fl I fl

• -
_{_

u • u

... ...
A 2 0 A
........
3 2 2
3 .... 3
Teste) The candidate should look away while the examiner plays a short chord
progression containing exclusively either major, minor, dominant seventh, major
seventh or minor seventh chords. The candidate will then be asked to identify the
type of chord that was played. Below are some examples of the style of test:

Example 1 (CD track 19)

iII A ID IE lA I =maJor

Example 2 (CD track 20)

iII Am I Dm I Em I Am I = mmor

Example 3 (CDtrack21)

iII A7 I D7 I E7 I A7 ~~~ = dominant seventh

Example 4 (CD track 22)

i 11Amaj71Dmaj71Dmaj71Amaj711 =major seventh

Example 5 (CD track 23)

i 11Am7 1Dm7 1Em7 IAm7 I =minor seventh

Easy To Use
• Written in easy-to-read TAB, as well as traditional notation.
• CD examples are provided so you can 'Usten 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 interniltionally
recognised qualification.

Improve Your Playing

Even if you do not intend to take an exam, this ll)ook will llelp
you achieve your full potential as a guitarist by developing all
aspects of your playing.