Grape 5 ROCK UU ORNS ACR ne Eee Perak irc tsry in rock guitar from London College of Music ExamsContents Page 4 >» Introduction 7 > Prepared Performances 11 > ‘Improvisation 22 > Aural Assessment 27 +» Exam Entry FormIntroduction This book is part of a progressive series of ten handbooks designed for rock guitarists who wish to develop their playing and obtain a qualification. Although the primary intention of these handbooks is to prepare candidates for the Registry Of Guitar Tutors (RGT) rock guitar exams, the series also provides a comprehensive structure that will help develop the abilities of any guitarist interested in rock music, whether or not intending to take an exam. Those preparing for an exam should use this handbook in conjunction with the Syllabus for Rock Guitar Playing and the Rock Guitar Exam Information Booklet ~ both freely downloadable from the RGT website: www.RGT.org Exam Outline There are three components to this exam, each of which is briefly outlined below: © Prepared Performances. The performance, along to backing tracks, of special arrangements of two classic rock pieces. Alternatively, one piece may be replaced by a ‘free choice’ piece. © Improvisation. This is in two parts: firstly, improvisation of a lead guitar solo over a previously unseen chord progression, followed by improvisation of a rhythm guitar part over the same chord progression. Playing will be to a backing track provided by the examiner. © Aural Assessment. This will consist of a ‘Rhythm Test’ (repeating the rhythm of a riff), a ‘Pitch Test’ (reproducing a riff on the guitar) and a ‘Chord Recognition Test’ (reproducing a short chord progression). Mark Scheme The maximum marks available for each component are: + Prepared Performances: 60 marks (30 marks per piece). + Improvisation: 30 marks. * Aural Assessment: 10 marks. To pass the exam candidates need a total of 65 marks. Candidates achieving 75 marks will be awarded a Merit certificate, or a Distinction certificate for 85 marks or above.Prepared Performances Candidates should choose and perform TWO of the following classic rock pieces: © The Boys Are Back In Town Thin Lizzy © Sweet Child O' Mine- Guns N' Roses © Under The Bridge - Red Hot Chili Peppers © Always With Me, Always With You - Joe Satriani If preferred, candidates can substitute a ‘free choice’ piece for one of the listed pieces, provided it is of at least a similar standard and does not exceed five minutes duration. (See more information about the requirements for a free choice piece at the end of this chapter.) Obtaining the notation and audio The pieces listed above have been specifically arranged for the RGT Grade Guitar Playing exam and are notated in TAB and standard notation in the Publication Graded Rock Guitar Songs ~ 8 Rock Classics for Intermediate Guitarists". This also includes a CD that features each track being performed in full, as well as a backing track for each piece for the candidate to perform with. On the recordings, the vocal melody line has been played fairly low in the mix on guitar; the purpose of including the melody line is simply to provide a guide during the performance as to where in the song you are. * For copyright ownership reasons, the notation and audio tracks for the listed classic rock pieces cannot be included in this RGT grade handbook. However, they are all included in the book Graded Rock Guitar Songs — 8 Rock Classics for Intermediate Guitarists which is available from www,BooksForGuitar.com or can be ordered from most music stores. The book also contains all the performance pieces that are required for the RGT rock guitar playing Grade Four exam. Exam format Candidates’ performances should be accurate reproductions of the specially arranged versions of the pieces as notated and recorded in the book Graded Rock Guitar Songs ~ 8 Rock Classics for Intermediate Guitarists. Alternative fingerings and playing positions can be adopted if preferred, provided the overall musical result is not altered from the recorded version.The performances should be played along to the specially recorded backing tracks supplied on the CD that is included with the book Graded Rock Guitar Songs ~ 8 Rock Classics for intermediate Guitarists. Alternative recordings of the pieces will not be accepted as backing tracks. There is no need to bring the CD from this book to the exam, as the examiner will have these backing tracks. ior to the performance commencing, candidates will be allowed a brief “soundcheck’ so that they can choose their sound and volume level. Candidates can use either a clean or a distorted guitar sound for their performance of these tracks, and can bring their own distortion or other effects units to the exam providing that they can set them up promptly and unaided. In order to achieve the maximum mark in this section of the exam, performances should be fully accurate and very confidently presented. Timing, clarity and technical control should be totally secure throughout and some expressive qualities should be displayed. Candidates are encouraged to perform the pieces from memory, although this is nota requirement. Performance Tips The Boys Are Back in Town The RGT arrangement of this track is in the key of A major, instead of the key of Ab major used in the original Thin Lizzy recording. The riff that occurs in the introduction includes palm-muting on some of the single notes; ensure that this technique is applied only to the appropriate notes and not to all of the single notes. In the verse, the chord changes occur fairly quickly and care needs to be taken to ensure that all the chords ring out clearly for their full rhythmic value. Also, notice how the chord changes, in both the verse and chorus, occur slightly ahead of the beat, The chord change from Bm7 to Bm7/E is quite subtle, so make sure the low ‘open E string is only sounded on the second of these chords. In the chorus, make sure the power chords are allowed to ring out for their full value. The chorus ends with some repeated lead riffs featuring a distinctive triplet rhythm. The backing track includes the harmony guitar part for the lead riffs, so make sure your timing is accurate here to match the rhythm of the harmony guitar. The bridge section starts with a triplet pattern played across the Dsus4 and D chords. This triplet rhythm adds a sense of excitement and movement, but can be tricky to play at speed, so be prepared to practise these two bars separately. The coda moves through the chorus power chords to a short instrumental section, before finishing with the main harmony riff section repeated four times.Sweet Child O' Mine The RGT arrangement of this track is in the key of D major, instead of the key of Db major used in the original Guns N’ Roses recording. The introduction is played with continuous eighth notes, so take care to ensure that the rhythm is even throughout. Try to prevent the notes overlapping into each other, as otherwise the clarity of each individual note can become muddy, especially if using distortion. The move to open position for the start of the verse is fairly quick, so make sure you're ready for this at the end of the introduction. In the verses, allow the notes of each arpeggiated chord to ring on, as indicated in the notation and on the recorded track. The chorus features some damped power chords in several places. These are performed by resting the fingers of the fretting hand gently against the strings whilst strumming. For the two solos, listen to the recorded track carefully whilst following the notation to ensure that you are familiar with how these should sound; in particular the second solo is an abridged version of the guitar solo featured in the origi recording of the song. The pre-bend notes may take some practice to execute effectively: the note should be bent up to the desired pitch first and then picked, Prior to allowing the note to descend to its normal fretted pitch. The double notes at the end of the second solo feature a challenging string bend that rings out for almost two bars. Under The Bridge When playing the introduction, listen very carefully to the ‘click’ on the backing track to ensure that your playing keeps reliably in time. You can play the introduction either fingerstyle (with thumb and fingers) or using a plectrum for the bass notes and fingers for the treble strings. The remainder of the piece can be played either using the fingers or a plectrum; choose whichever technique works best for you. As the introduction is played at 4 slower tempo than the remainder of the song, the click that comes in for the start of the verse is slightly faster. Follow this click carefully on the backing track so you are ready to come in on time with the E chord that starts the verse. To reflect the style of the original recording, on some of the verse chords, the note on the top E string may be omitted, if preferred, to facilitate the chord changes. For instance, on the demonstration track the note on fret 7 of the top E string is deliberately not sounded when playing the E chords that occur. The verse that comes in after the E major 7" chord features some variations, including short fills around the B chord and a chord hammer-on. To execute the chord hammer-on effectively. ensure that your first finger is securely holding down all the strings at fret 4 and then hammer the tips of fingers 2, 3 and 4 onto the strings firmly and simultaneously to produce the complete C#m chord. This may take some practice to produce the chord clearly. In the chorus, care is needed to ensure that only the E, 8 and G strings sound when Playing the three-note B chord. The damped F#m chord that is played in places during the chorus section includes an important percussive element. Make sure thatthe transition between the damped and normal chords is fluent, with the distinction between the two clear. The bridge and outro sections both feature a number of chords played in open position; make sure that these chords are not cut short as you change between them. Always With Me, Always With You The chords in the introduction are all played using ‘palm muting’: place the side of your picking hand lightly against the strings to produce a slightly damped sound. For the main theme, follow the notation and listen to the recorded track carefully so that the slides and rhythm are all accurately reproduced. The rhythm is quite complex in places, so take your time to ensure you are familiar with how this should sound. Make sure that the longer notes are allowed to ring out for their full value, and fee! free to add some vibrato to enhance these notes. In the middle section, the chordal guitar part has been notated in this arrangement, rather than the lead guitar line from the original Joc Satriani recording. As with the introduction, palm muting is used throughout this section and some practice may be required to maintain this. Theme 2, commencing after the middle section, is a repeat of the main theme of the piece but played one octave higher. After this, make sure you're ready to move quickly down the fretboard to replay the main theme in its original octave to end the piece. Free Choice Piece If the candidate opts to perform a piece of their own choosing in place of one of the listed pieces, then this free choice piece should be performed over a backing track that is supplied (but not necessarily recorded) by the candidate. The backing track must be in CD format, as exam venues will normally only be equipped for CD playback. The free choice piece should be rock-orientated in both performance style and arrangement. Where the piece originally contains an improvised guitar solo, candidates can either reproduce this or alternatively can perform their own solo - providing this includes an appropriate level of technical content for the grade. The free choice piece can be the candidate's own composition, but this is not a requirement and the compositional clement of any piece will not be assessed. The use of altered tuning for the free choice piece is allowable, providing that the candidate is able to re-tune their guitar promptly and unaided or, if preferred, the candidate may bring to the exam an additional pre-tuned guitar. If the technical standard of the free choice piece is significantly below that of those listed for the grade, this may be reflected in the mark awarded, 10Improvisation The candidate will be shown a previously unseen chord chart in *, time. This will consist of an 8-bar chord progression, which will be played five times non-stop [via a prerecorded backing track}. + During the first verse, the candidate should just listen to the track while reading the chord chart. + A 4beat count.in will be given and then during the next two verses, the candidate should improvise a lead guitar solo. + A 4beat countin will be given and then during the last two verses, the candidate should improvise a rhythm guitar part. + The backing track will end with the first chord of the progression played once. Candidates will be given a short time to study the chord chart and will then be allowed a brief ‘soundcheck’ with the track prior to the performance commencing, so that they can choose their sound and volume level. Candidates can bring their own distortion or other effects units to the exam providing that they can set them up promptly and unaided. The backing track will include drums, bass and rhythm guitar for the first three verses, but in the last two verses the recorded rhythm guitar part will be omitted so that the candidate can perform their own rhythm guitar part. The rhythm guitar part that is recorded on the backing track gives an indication of the standard of rhythm playing that is expected for this section of the exam. Candidates do not need to reproduce the rhythm part that is recorded on the backing track. They should, however, strive to perform a rhythm part that is stylistically appropriate and with a “feel” that is in keeping with the backing track. Part of the assessment here will be centred on the candidate's ability to listen and then perform an appropriate rhythm part, The range of chords that may appear in the backing tracks for this grade is detailed overleaf. As the chord progression will be previously unseen by the candidate, the candidate will need to be fully familiar with all the chords listed in order to be properly prepared for the chord progressions that will occur in the exam. Several examples of the type of chord progression that will occur at this grade are provided at the end of this chapter. Each chord progression will consist of chords grouped together into appropriate keys; details of the chords required for this grade are provided overteat. "Chords Here is the range of chords that may occur in the chord progressions for this grade. Dominant 7 chords Sus4 chords Flat fifth (power) chords Sharp fifth (power) chords These chords may occur at ANY pitch. In addition, candidates will need to know alll the chords (at any pitch) required for the previous grade - i.e. major chords, minor chords and fifth (power) chords - as these chords may also occur in the chord progressions for this grade. Candidates who are not already fully familiar with these chords should study the Grade Four exam handbook. The new chords that occur at this grade are illustrated below and overleaf. They are notated with a root note of C, however, these chord shapes are all ‘transpositional’ ~ ie, the shapes can be moved up or down the fretboard to any pitch without the need to change fingering. In order to avoid large fretboard shifts, two shapes are provided for each chord type: one with its root note on the E string and one with its root note on the A string. When playing the chord progressions, candidates should carefully select which position to play each chord in - so as to avoid large cumbersome shifts up or down the fretboard. This table lists the first finger fret position needed to produce chords at different pitches. are on tron eg] ae ee a ea ST OOS RootonEsting:| F FéGb G GWAB A AWB 8 Cc CH/DbD DW/ED E RootonAstrng |Ag/eb BC CH/DD iD DakD OE OF Fw/GDGGH/AD_ A C7 - C dominant 7 (root on E string} €7 - C dominant 7 (root on A string) eo — a = = oe 3. 8h. TTT eee nee nella ae 3 314 2Csus4 - C sus 4 (root on E string) Csus4 - C sus 4 (root on A string) XXXX XXX 2 TT CSaug - C5 augmented (root on E string) CSaug — C5 augmented (root on A string) — XXXX oS a XXX 14 HW A (Screens lee Altered 5” Power Chords The C5dim and C5aug chords above are altered power chords that contain the root note of the chord and either a flat fifth or a sharp fifth: im’ is an abbreviation for diminished to indicate the fifth being flattened; ‘aug’ is an abbreviation for augmented - to indicate the fifth being sharpened. In the above examples C5dim contains the notes C and Gb, whereas ‘C5aug contains the notes C and G#. (If preferred, a note an octave higher than the root can be included as well in all types of 5 chords.) 3Scales In order to improvise a lead guitar solo accurately and effectively, candidates will Need to learn a range of appropriate scales upon which to base their improvisation. For exam purposes, the first chord in the progression will be the key chord and will, therefore, indicate the scale that would generally be best to use for improvising a lead solo; a recommended scale that could be used to improvise over each Progression type is listed below. Although other scale options and improvisation approaches exist, it is highly recommended that candidates acquire a thorough knowledge of the scales listed for the grade, as these will provide a core foundation for improvisation at the appropriate level of technical development. However, providing they produce an effective musical result, other appropriate scale choices or improvisation approaches will also be acceptable. The examiner will not provide any advice regarding identifying the key or guidance on which scale to use. However, for the purposes of this exam grade, candidates can bear in mind the following: * If the starting chord is minor, then a natural minor or pentatonic minor scale (with the same starting pitch) could be used. + Ifthe starting chord is major, then a major or pentatonic major scale (with the same starting pitch) could be used. + If the progression starts with a dominant 7 chord, then a blues scale (with the same starting pitch) could be used. * If the progression starts with a fifth chord, then a blues scale or pentatonic minor scale (with the same starting pitch) could be used. Here is the range of scales recommended for use during the lead guitar improvisation section of the exam at this grade. Natural minor scale: in any key Pentatonic minor scale: in any key Blues scale: in any key Major scate: in any key Pentatonic major scale: _ in any key The two-octave scales overleaf are all illustrated with a key note of C, however, these scale shapes are all ‘transpositional’ - i.e. they can be moved up or down the fretboard to any key without the need to change fingering. Two fretboard positions are provided for each scale. This table lists the fret on the E (6) string that can be used to start each scale, depending upon the key required. [Seartingre| W7is_ aie 315 476 +S 6 ~«~~S~C~aS~sSSCS Keynote: FU Fe/Gb_ GGi/Ab A A#/Bb OB c Gyob D~«OOWD “4C natural minor scale - 2 octaves CDEbFGAbBbC i bo © & eer es = ie ea C pentatonic minor scale - 2 octaves CEbFGBbC oto , o be 42 —— pe pe PS ot vp e & r : 333(] [5 a 4 4 A f — —— ey‘C blues scale - 2 octaves CEbFGbGBbC ‘C major scale - 2 octaves CDEFGABCditit 333 C pentatonic major scale - 2 octaves CDEGAC & a "7Performance Advice In order to attain high marks in this section of the exam, the performance needs to be fully accurate and confident in execution, with a high level of clarity and fluency appropriate to the grade. There should be clear evidence of stylistic interpretation, inventiveness and creativity. At this level, candidates are expected to incorporate effective and creative rhythmic variations into their performance. Candidates are encouraged to use rhythm guitar techniques such as palm-muting, ‘ghoststrums’, staccato, accents etc., where this would appropriately enhance the musical performance. Dynamic markings are not included on the chord charts, to enable candidates to display their own dynamic interpretation. Candidates are at liberty to use alternative fingerings or chord voicings to those presented in this chapter if preferred, provided they are musically correct. The improvised lead solo should be accurate in terms of note selection and timing in relation to the accompaniment, and by this level there should also be well-defined melodic phrasing and shaping. The use of specialist techniques such as vibrato, string-bending, slides and slurs (i.e. hammer-ons and pull-offs) should be used to enhance the musical performance, and use of these techniques is expected to be demonstrated at this grade, when musically appropriate. At this grade, candidates are expected to be able to improvise effectively using more than just one fretboard position. The two scale shapes provided represent one possible option for a second scale position. However, there are several other options for a second scale position, and any alternative scale position that is musically correct may be used if preferred. When moving from one scale position to another, candidates should ensure that the movement across the fretboard is fluent, rhythmically secure and musically effective. 18Performance Tips Try to use the short period of study time, when you're first shown the chord chart, as effectively as possible by looking through the chart to ensure you are confident with the chords that occur and with your choice of scale. During the first verse of the backing track, follow the chord chart carefully and get ready to start your lead guitar improvisation after the 4 beat count-in. Listen carefully to the backing track throughout the performance to ensure that your lead and rhythm playing is rhythmically secure; try to make your playing relate to what the bass and drums are playing. Keep an awareness of where you are in the chord chart, so that the 4 beat count-in to commence your rhythm playing doesn’t take you by surprise — as the examiner will not re-start the backing track once it is underway. When switching to rhythm playing, you will almost certainly need to quickly adjust your guitar volume (and possibly effects), as the settings you have used for lead playing may not be appropriate for rhythm playing and might overpower the accompaniment. When preparing for this section of the exam you are advised to download all the example backing’ tracks to ensure that you are familiar with improvising both lead and rhythm parts over the range of tempos and styles indicated by these examples. Recordings of all the chord charts from this handbook can be downloaded from www.DownloadsForGuitar.com Example Chord Progressions Overleaf are examples of the type of chord progression candidates may be presented with in this section of the exam. At this grade, each chord progression includes one ‘split bar’ - i.e. a bar that contains more than one chord. All of these split bars will contain two chords lasting for two beats each. Note that the scale suggestions shown above each progression will NOT appear in the charts presented during the exam. 19Improvisation Chart Example 1 D blues or D pentatonic minor scale could be used to improvise over this progression. \4Ds |D5dim |Ds \F5 | |C5 |B, |\C5 / G5 / |A5 l Improvisation Chart Example 2 B natural minor or B pentatonic minor scale could be used to improvise over this, progression. ‘4 Bm iD | Asus4 iA / Asus4 / | Bm {Em | Fim Improvisation Chart Example 3 A major scale could be used to improvise over this progression. \4A | Asus4 \A | Asus4 | | Fem | Cam D |Esus4 / E /Improvisation Chart Example 4 B pentatonic major scale could be used to improvise over this progression. 4B | Gam \B [Ga Dim / E / |Fe ] Improvisation Chart Example 5 Bb blues scale could be used to improvise over this progression. |4 Bb7 |Ds7 | Av7 |F7 |B:7 / Av7 / |Ds7 | Eb7 |F7 It is important to note that the sample chord progressions provided in this handbook are supplied purely to provide examples of the type of chord progression that may occur in the exam. These examples are NOT the actual chord progressions that candidates will be given in the exam. Listen and Practise Audio recordings of all the sample chord progressions in this handbook, with backing tracks in the style of those that will be used in the exam, can be downloaded from www.DownloadsForGuitar.com 2Aural Assessment Candidates’ aural abilities will be assessed via a series of three aural tests: + Rhythm test *Pitch test *Chord recognition test. Rhythm Test A tiff is played three times via a recording. During the third playing the candidate is required to clap along with the exact rhytfm of the riff. At this grade, the riff will be two bars in length. The time signature will be *s, Note durations will not be shorter than 16th notes (semiquavers). Examples of the type of riffs that will occur at this grade are shown overleaf, with the rhythm to be clapped notated below the tab. Pitch Test ‘The riff from the rhythm test is played two further times with a click track. A gap is left after each playing, so that the candidate can practise the riff. Then, after a one- bar count-in, the candidate is required to play along with a click track, accurately reproducing the riff on the guitar. At this grade, the range of scales from which the riff will be derived is I major, pentatonic major, natural minor, pentatonic minor or blues scale. ited to: The riff may be in any key and will start on either the keynote or the 5" of the scale. The examiner will state which scale the riff is taken from. Overieaf are some examples of the type of riffs that will occur at this grade in the rhythm and pitch tests. 22.Example 1 (from Bb major scale) Example 2 (from D pentatonic major scale} 5 5 : 5 Example 3 (from C natural minor scale) SSS = = Ee eee ene —— ee edeer se ee jeeeot a 23Example 4 (from F pentatonic minor scale) pot te a w (7 = = = is 3 — ¥ at era cLu ero! Example 5 (from C blues scale) Chord Recognition Test An unseen four-bar chord progression will be played four times, using a simple strumming rhythm. During the fourth playing, the candidate should play along accurately reproducing the chords. The candidate can practise playing along during previous playings, but will only be assessed during the fourth playing. 24The chord progression will be in the key of either G major or A major, and the chord range will be limited to the |, IV, V, lim and Vim chords of these keys: * Gmajor: G C D AmEm © Amajor: A D E Bm F#m The examiner will state the key. The progression will start on the key chord. The other chords may follow in any order, although only one minor chord will occur in each progression. The candidate does not need to play the chords in the same positions as on the recording, nor do they need to copy the exact rhythm of the strumming provided the overall timing is secure; the assessment will focus on the accurate reproduction of the chord pitches. The examiner may ask the candidate to name any or all of the chords that they played. Below and overleaf are some examples of the type of chord progressions that will occur at this grade in the chord recognition tests. Example 1 |46 |Em c i) | Example 2 4G Ie Example 3 4G | Am ie in) | 25Example 4 [4A |E |D | Example 5 4A |D [Bm \E I Example 6 4A |E |Bm |D | Listen and Practise Audio recordings of all the aural tests in this handbook can be downloaded from www.DewnloadsForGuitar.comGUITAR PLAYING Use this book to develop your playing and gain a recognised qualification in rock guitar playing Sa med ee eee ‘world’s foremost organisation for guitar education Peo Rt Bertin termes cre Exams, one of the world’s longest established and most respected music examination boards. Registry of Guitar Tutors z | ill www.RGT.org oli7a1905"'9082