Stal =) 2/014 playing ) grade4 london college of music examsRegistry of Guitar Tutors ‘The specialists in guitar education’ guitar tutors and organises guitar examinations around the world. RGT has branches in the UK, North America, New Zealand and many parts of Europe. RGT is now widely recognised as: ‘the world’s foremost organisation for guitar education’ Te Registry of Guitar Tutors (RGT) was established in 1992, RGT produces a Directory of registered Registry of Guitar Tutors Registy Mews, 11 10 13 Wilon Road, Bexhil, Sussex, TN4O THY Tel: 01424 22 22 22 Fax 01424 213.221 Emali offce@RGTowg Webste: www RGToWg Board of Honorary Patrons Sir Paul McCartney, Hank Marvin, David Gilmour, Ronnie Wood, Mick Green, Gordon Giltrap, John Etheridge, Suzi Quatro, Carlos Bonell, Dave Kelly, John lllsiey, Neil Murray, Glenn Tilbrook Director: Tony Skinner ondon College of Music Examinations Bare lta Loy URL he London College of Music was founded in 1887. Operating as London College of Music Examinations it has over 100 years experience in running graded music examinations. In 1991 it became based in Thames Valley University in London W5. LCM Exams is now established as one of the world's most respected music examination boards, The accompanying electric guitar examinations have been devised by The Registry of Guitar Tutors and are administered in partnership with London College of Music Examinations The qualifications are awarded and certificated by Thames Valley University TWE “RGT offers quality exams you can have confidence in” RGT electric guitar grade exams from Grade One onwards are accredited by Ofqual (Office of the Qualifications and Examinations Regulator) ‘and have been placed on the National Qualifications Framework From Grade Six onwards RGT exams attract UCAS points towards university entrance. www.RGT.orgElectric Guitar Playing compiled by Tony Skinner on behalf of ® GT Registry of Guitar TutorsA CIP record for this publication is available from the Bittish Library ISBN 1-898466-54-8 © 2001 & 2009 The Registry of Guitar Tutors The Guitarograph is a trade mark of The Registry of Gultar Tutors ALL RIGHTS RESERVED, including the right of reproduction In whole or in par in any form or by any means without the prior written permission of the copyright holders. WARNING Photocopying of any part of this book is illegal ‘and may result in both a civil claim for damages and criminal prosecution. Published in Great Bitain by Registry Mews, 11 to 13 Wilton Road, Bexhill, Sussex, TN40 1HY Music and text typesetting by Ne 54 Lincolns Mead, Lingfield, Suey RH7 6TA Printed and bound in Great BritainContents Introduction Scales and arpeggios Chords Rhythm playing Lead playing Spoken tests Aural assessments Examination entry form n 14 18 22 24 27This handbook is primarily intended to give advice and information to candidates considering taking the Grade Four examination in electric guitar playing, although undoubtedly it will be found that the information contained within will be helpful to all guitarists whether intending to take the examination or not. In order that scales, arpeggios and chords can be illustrated as clearly as possible, and made available for all to understand regardless of experience, notation and fingering are displayed via the use of the guitarograph. The guitarograph uses a combination of tablature, traditional notation and fingerboard diagram - thereby ensuring clarity and leaving no doubt as to what is required. In the example shown above, all three notations refer to the same note, i.e. Aon the 2nd fret of the 31d (G) string, fretted with the 2nd finger. Each of the notation methods used in the guitarograph is explained below: Tablature The tablature is shown on the left of the guitarograph, with horizontal lines representing the strings (with the high E string being string 1), and the numbers on the string lines eferting to the frets. A ‘0’ on a line would mean play that string open (unfretted).mg 2 2 Sse eer eeoet : mall Notation on the treble clef is shown in the centre of the guitarograph. Asharp (#) before a note would raise its pitch by a semitone i.e. one fret higher, whilst flat (}) before a note would lower the pitch by a semitone, i.e. one fret lower. A natural sign (4) before a note cancels a sharp or flat sign. ingerboard diagram The fingerboard diagram is shown on the right of the guitarograph with horizontal lines Tepresenting the strings. Vertical lines represent the frets, with fret numbers shown in Roman numerals. The numbers on the horizontal lines show the recommended fingering. Fingerings have been chosen which are likely to be the most effective for the widest range of players at this level, however there are a variety of alternative fingerings and fingerboard posttions that could be used and you can use any other systematic fingerings that produce a good musical result. This means play with the second finger at the second fret on the G string. meoo>m This means play the G stting open, i.e. without fretting it, mago>mAbove each guitarograph is an interval spelling. This lists the letter names of the notes within the scale, arpeggio or chord, together with their interval numbers. The interval numbers shown ate based on thelr comparison to the major scale with the same starting pitch. The scale, arpeggio and chord spellings will help you identity the differences in construction between the various scales and chords, and will help you learn the names of the notes that you are playing. For example: A major scale Anatural minor scale A 8 CG D E FR GOA A BC DEF GA 10.2 8245:6.6°.7. 8 W208 4 Se eri 8 ALTERNATIVE FINGERING Whilst the notes indicated in the guitarographs are precise and definitive, the fingering given in all cases is only one possible recommended suggestion: any alternative systematic and effective fingerings will be acceptable. There is no requirement to use the exact fingerings shown within this book TUNING The use of an electronic tuner or other tuning aid, prior fo, or at the start of the examination, is permitted; candidates should be able to make any further adjustments, If requited during the examination, unaided. The examiner will, upon request, offer an E of Anote to tune to. For examination purposes guitars should be tuned to Standard Concert Pitch (A= 440H2). Candidates who normally tune to non-standard pitch (e.g. A=442Hz) should revert to Standard Concert Pitch for examination purposes. Candidates who normally tune a full tone or semitone higher/lower should either revert to Standard Pitch for the ‘examination or should be prepared to transpose immediately upon request all requirements to Standard Pitch,SECTION T At this grade candidates should be able to play, in two different fingerboard positions, the following two octave scales in any key: = major = pentatonic major = blues = natural minor In addition, candidates should be able to play, in one fingerboard position, the following two octave arpeggios starting from any note: = minor 7th = dominant 7th = major 7th Below are examples of the scales and arpeggios required for the Grade Four examination, ll illustrated with a starting note of A. All these utilise transpositional finger patterns, so each shape can be moved up or down the fingerboard to a new pitch without the need for a change of fingering. The table below lists the frets on the sixth string that could be used to start each scale and arpeggio, depending upon the pitch required. F LFV) | SG | GHA] A | AWB | OB Cc [co | D | bye | E Tori3|2ori4[3aris[aorlef 5 | 6 [7 [ 8 | 9 [io | n | 12 AMAJOR SCALE — 2 OCTAVES (two different fingerboard positions) A BG D E FE Gt A 12 3 4 5 67 8 wow v maoo>m maoo>mAPENTATONIC MAJOR SCALE - 2 OCTAVES (two different fingerboard positions) A B GE RA 1h 2 23). 6 8, mago>m wiowovow maoo>m oo ABLUES SCALE - 2 OCTAVES (two different fingerboard po: A.C. D“B EGA 1 3 4 6 5 47 8 mogo>m wovowm ao mogo>m ANATURAL MINOR SCALE - 2 OCTAVES (two different fingerboard positions) A B C D E F GA 1 2 3 4 5 6 7 8 van vm vi vow os of mago>m 578Arneggios A MINOR 7TH ARPEGGIO - 2 OCTAVES A C E GA 1 53 5 67 8 vm ovnow A DOMINANT 7TH ARPEGGIO - 2 OCTAVES A Ch E GA 0 eb, 8 A MAJOR 7TH ARPEGGIO - 2 OCTAVES A Ch E Gt A oe oe Gl vii vn wiv ow mago>m maoo>m mago>m mago>mA maximum of 12 marks may be awarded in the ‘scales’ section of the examination. The examiner may request you to play, from memory, any of the required scales and alpeggios. Each should be played once only, ascending and descending [|.. from the lowest note to the highest and back again) without a pause and without repeating the top note. Candidates, particularly those using acoustic guitars, will not be asked to play in fingerboard positions that are inaccessible for their particular instrument. The examiner will request the scales to be demonstrated in two different fingerboard positions. These do not necessarily have to be the positions illustrated in this book: other systematic and effective fingerings may be acceptable, providing the scales are played accurately over the correct range — with both positions played in the same octave. As a guideline, scales should be played at a tempo of approximately 100 beats per minute (two notes per beat), with arpeggios a little slower at approximately 76 bpm. Choose a tempo at which you feel confident and comfortable and try to maintain this evenly throughout; evenness and clarity are more important than speed for its own sake. Press the tips of the fretting-hand fingers as close to the fretwire as possible. This minimises buzzes and the amount of pressure required - enabling you to play with a lighter, clearer and hence more fluent touch. Try to keep all the fretting-hand fingers close to the fingerboard, and have them ready to press in a ‘hovering position’, as this minimises the amount of movement required. Always have the fretting hand spread, with the fingers correctly spaced and ready in position hovering, before you start to play. Although it is not essential to use a plectrum (or pick) for this examination, you may find that not using one has a detrimental effect on speed, attack, volume and tone - or at least more effort will be required to achieve the same effect. However, the use of the fingers, rather than the plectrum, does offer greater flexibility. Ultimately the choice is personal. Both methods are acceptable, providing a strong clear tone is achieved. If using a plectrum alternate between downstrokes and upstrokes. Grip the plectrum between the index finger and thumb. Position the plectrum so that its tip Is just beyond the fingertip. If an excessive amount of plectrum tip extends beyond the finger a lack of pick control will result as the plectrum will flap around when striking the strings — this would consequently reduce fluency and accuracy, Be careful not to grip the plectrum 100 tightly as excessive gripping pressure can lead to muscular tension in the hand with subsequent loss of flexibility and movement. 10yee 6/0000 SECTION 2 At this grade, candidates should be able to play the following chords at any pitch, using barre chord shapes, in two different fingerboard positions: = minor 7th = dominant 7th "maior 7th = major = minor (Note: major and minor chords have been fully covered in the Grade Three book) The bare chords below are illustrated with a root note of C, however, because they utilise transpositional shapes they can be moved up or down the fingerboard to any pitch without the need to change fingering This table lists the fret position needed to produce chords at different pitches. First finger on fretnumber: | 17 273] 4 75] 6 ]7] 8 ]9 Jio]y ]i2 Chords with root on € sting:| F | FG] G | GHA] A | aye} 8 | Cc |cvo] D owe | & Chords with root on A string:| Ave] 8 | C [cos] d | owes} e | F [rc] G ova] a C minor 7th (root on E string) cB GB 1033050 7 xX IX VII C minor 7th (root on A string) cB G B ebsee oi, veyvowm maoo>m maoo>mC dominant 7th (root on E string) c E G B 103 5 7 xEOX IX. Vi mooorm C dominant 7th (root on A string) cE G B 1305 07 voyvow om maoo>m C major 7th (root on E string) Cc E GB 13°95 7 xEOX IX VII C major 7th (root on A string) Cc E G B 13 °5 7 veovow m mapo>m 2A maximum of 8 marks may be awarded in this section of the examination. The examiner may request you to play, from memory, any of the required chords in two different fingerboard positions. Each chord shape should be played once only, using a single downstroke. Make sure that your fingers are carefully and correctly positioned before playing the chord. In the fingerboard diagrams, sttings that should be omitted ‘are marked by an X - so be careful not to strike these strings when playing the chord. At this grade, ‘barre’ chords are used - where the first finger effectively replaces the nut ‘and acts as a ‘bar’ across all strings. In chords with the root note on the fifth string, although you can still place the first finger barre over all six strings, you are advised to omit the sixth sting in your strum. To ensure that your barre chords ting clearly you should observe the following advice : (i) The first finger should be straight and in-line with the fret, rather than at an angle to it. (i) The first finger need not be completely fiat: it can be tilted very slightly away from the fret toward its outer side. (lil) Position the first finger so that the creases at its joints do not coincide with the stings. If necessary, adjust the barre until you find the optimum position. (iv) All fingers should be positioned as close to the frets as possible. (v) Do not exert excessive pressure with either the first finger or the thumb. (vi) Ensure that fretting fingers, other than the first finger, remain upright and press against the strings with their tips. Major 7th shape The barre chord shape for the major 7th chord with the root on the E string (illustrated previously), although being the most consistent with the other chord shapes, can be rather awkward to play clearly, The shape shown below may be preferred by some Players and, whilst not strictly a barre chord, its use will be acceptable in the examination. Note that itis necessary to use the fretting-hand fingers to mute both the first and fith strings in this shape. ox) oK vI—T aoo>m 8SECTION 3 Rhythm playing In this section of the examination, the candidate will be shown a chord chart and will be allowed a short time (of about 30 seconds) to study it before being asked to play it. The range of chords presented in the chord chart will be limited to the following: = minor = major = minor 7th * dominant 7th = major 7th Atter playing the first chord chart candidates may, at the examiner's discretion, be given ‘an additional chart to play; this will be of similar difficulty to the first. Some examples of the type of chart that may be presented at this grade are given below. The tempo markings are intended only as broad guidelines. () Up tempo (ii) Bright and lively mf mp —— sf,(il) Moderately slow nf —_—— fF =O SE In practice, musicians may write out chord charts not only on staves (as shown previously} but sometimes chords are written above staves instead, or quite commonly just with bar lines (as in the example below). In the examination, to achieve maximum visual clarity, all chord charts will be presented in the style shown below. (iv) Slowly [4k Gmz | mz | Ebmj7| Fr {[ Dm | Dr | mp ——— -— | Cmnz | Bhmaj7 | Cz | F |Gm. Cm | Gn I f ———_— p When two (or more) chords appear in a single bar this is known as a split bar. Dots (or diagonal lines) after chords can be used to indicate the division of the bar: the chord symbol representing one beat and each dot representing another beat. If no dots are present it can be assumed that the bar is divided evenly between the chords. INFORMATION AND ADVICE At this grade the time signature is limited to either 3 , i or § time. Whilst the time signature should be evident by generally maintaining a regular pulse and even tempo, candidates are expected to be imaginative in their rhythm playing. The musical style that is used is left to the discretion of the candidate. Fingerpicking can be used, rather than strumming, if preferred by the candidate. cy‘maximum of 30 marks may be awarded in this section of the examination. The examiner will award marks for accuracy (including attention to time signature, repeats and dynamics}, clatity, fluency and inventiveness. Chords should ting clear, i.e. free of fret-buzz or the unintended muting of notes with the fretting-hand fingers. Chord changes should be as smooth and fluid as possible and lack any sense of hesitation. Care should be taken when choosing which barre shape to use (I.e. one based on the E string or one based on the A string) so that large fingerboard jumps between chords are avoided whenever possible. During the time given to look over the chord chart, candidates should try to discover the overall structure of the progression. At this grade, the only indications on the chart, other than the time signature and tempo, are repeat and dynamic marks. Repeat marks Passages to be repeated are indicated by two vertical dots at the start and end of the section to be repeated. For example: 4-—G—— 6 DG shouta be played as: 4—-G— CG cD i 4st and 2nd time endings. Bars marked [T. are included in the fist playing, but omitted on the repeat Playing and replaced with the bars marked [2. For example: 1 2. should be played as: 16Dynamic markings These indicate the graduations of volume. Ppp PP P mp mf i ff tf g gt g t play as softly play moderately Play as strongly as possible softly loud 8 possible ——_~s = become louder 7 ___ -become softer RHYTHM PLAYING TIPS It will aid fluency of rhythm playing if the strumming hand pivots from the wrist: a fluid and easy strumming action is best achieved this way, with the wrist loose and relaxed, If the wrist is stiff and not allowed to move freely then excessive arm movement will occur as the strumming action will be forced to come from the elbow instead, As this can never move as fluently as the wrist action there will be a loss of smoothness and rhythmic potential, Be careful not to overgrip with the fretting-hand thumb on the back of the guitar eck as this will cause muscle fatigue and tend to limit the free movement of the thumb, Itis essential that the fretting-hand thumb is allowed to move freely when changing chords. If the thumb remains static this restricts the optimum posttioning of the fingers for the next chord, which may result in unnecessary stretching and the involuntary dampening of certain strings (as the fingers are not positioned upright ‘on their tips). For the fingers to move freely, the wrist, elbow and shoulder must be flexible and relaxed: try to ensure that this is not inhibited by your standing or sitting posttion. aSECTION 4 Lead playing In this section of the examination, the candidate will be shown a chord progression containing chords chosen from those listed in Section 2 of this book, The examiner will then play this progression (elther live or recorded) and the candidate should improvise cover this using an appropriate scale selected from Section 1 of this book. Some examples of the type of chord chart that will be presented at this grade are shown below. The scale suggestions are given for guidance in this book, but will NOT appear in the examination. (i) The 8 major scale could be used as the basis for improvising over the following progression... (i) The B pentatonic major scale could be used as the basis for improvising over the following progression... (ii) The AL blues scale could be used as the basis for improvising over the following progression.. (iv) The 8 natural minor scale could be used as the basis for improvising over the following progression... 18INFORMATION AND ADVICE The progression will be played a total of four times; during the first playing the candidate should not play, but rather listen and digest the progression, before improvising over the next three cycles. After the final playing the progression will end on the key chord. To ensure accuracy it is essential that the candidate selects the most appropriate scale with which to improvise. The examiner will NOT advise on this. At this grade each progression will always start on the key chord. At the examiner's discretion an additional progression may be selected for the candidate to improvise over. Although this will again contain chords only from Section 2 of this book, the candidate may need to select a different scale from Section 1 to improvise with. Amaximum of 30 marks may be awarded in this section of the examination. The examiner will award marks for: * accuracy + fluency * phrasing and melodic shaping * stylistic interpretation * inventiveness and creativity * clarity and tone production + the application of specialist techniques Although you will need to select a scale to improvise with, be aware that the purpose of ‘the scale is only to set the series of notes that will be in tune in a particular key. Endeavour ‘to make your improvisation melodically and rhythmically inventive and imaginative rather than sounding scale-like. The judicious use of movement and interplay between two different fingerboard positions for each scale will help in this objective. The style of lead playing should enhance and empathise with the chordal ‘accompaniment, which may be from a range of musical styles such as rock, pop, soul ‘and blues etc. Try to create interesting melodic and rhythmic phrases within your improvisation and avoid inappropriate use of continuous scalic playing. Playing should be fluent, but without the need for speed for Its own sake; more important is the overall musical effect that is achieved, At this grade candidates are not expected to have a high level of fluency in the practical application of arpeggios, but the demonstration of some appropriate and accurate use of arpeggios duting a performance will be reflected in the marks awarded,SPECIALIST TECHNIQUES At this grade, when musically appropriate, candidates should use of some of the following techniques during their improvisation: String Bending Candidates should be reasonably adept in executing ascending whole-tone bends, i.e. bending a note upwards by the equivalent of two frets. This is particularly useful for bending up to the octave from the }7th, or up to the Sth from the 4th. Example taken from A Blues Scale: BU Bend D on the 7th fret, 3rd string, until it reaches the pitch of E - i.e, equivalent to playing on the 9th fret, 3rd string, Itis important to bend the string to exactly the right pitch. The pressure that is needed to bend a string will vary according to the string gauge and the fret position, so candidates will need to rely upon thelr aural abilities to pitch the note accurately. When bending a string with the third or fourth finger, keep the lower fingers on the stfing to give support and control. Using the power of the whole atm, pivoting from the ellbow, will make string bending easier. Vibrato is the wavering of the pitch of a note. It is differentiated from string bending in that the variation in pitch with vibrato is of a much smaller range. There are various methods by which vibrato can be executed whilst fretting a note: (2) Horizontal vibrato: achieved by moving the fretting finger and hand from side to side whilst fretting a note. (0) Vertical vibrato: achieved by moving the fretting finger vertically up and down to repeatedly shift the note slightly above pitch and back again. (c) Wrist vibrato: whilst the first finger frets the note, the pitch of the note is altered with the rotation of the wrist.Aslur is the sounding of two or more notes from the single pick of a string. Slurs can be used to facilitate fluency and speed, but equally importantly to add smoothness and subtlety. Candidates should be able to demonstrate ability with two types of slurs: (a) Hammer-on: a note is played, then a higher note on the same string is sounded without being picked again but by a hammering action with a fretting-hand finger. Forthe hammered note to be clear, itis important to use a certain amount of force and attack when bringing down the hammering finger. Hammer with the tip of the finger as close to the fretwire as possible. (b)Pull-off: fret a note and pick the string, then pull the fretting finger lightly downwards until it plucks the sting and the lower note is sounded - ie. without the stting being picked again. If the lower note that is required is not an open string, then you need to have another finger in position fretting the lower note before executing the pull-oft. For the pull-off to be clear, itis important that the pressure Is concentrated on the lower finger anchoring the string (otherwise the note may be pulled out of tune when the higher finger plucks the string). The plucking action should come from the tip of the finger with a downward pulling action and not simply by ling the finger off the string. LEAD PLAYING TIPS + Try to create interesting melodic and rhythmic phrases within your improvisation. = Avoid the inappropriate use of continuous scalic playing by not being afraid to leave gaps between, and within, phrases. = When improvising frorn a scale you will find that some notes sound bettet, and more ‘fesolvedt, against certain chords than others. However, as long as you stay within the scale, no notes will be ‘out of tune’. If you play a note that sounds ‘unresolved against ‘a particular chord simply move up or down one note within the scale, Rest assured that none of the notes from the correct scale will totally clash with the backing chords; let your ears guide you as to which scale notes sound best over particular chords. Listen carefully to the chord progression and try to make your solo relate to the rhythm and style of the backing,SECTION 5 Spoken tests A maximum of 10 marks may be awarded in this section of the examination. In order to establish a solid musical foundation it is important that candidates should be aware of the notes that they are playing rather than merely duplicating finger patterns. At this grade, candidates will be expected to promptly name any note on any string, up to the 15th fret, as selected by the examiner. Candidates may also be asked to name the notes contained within any of the required scales or arpeggios selected by the examiner. During this section of the examination candidates will not be allowed to play the guitar to ‘work-out! answers to this test. CLARITY AND FLUENCY Candidates may be asked questions about the optimum positioning of the fretting-hand fingers, in regard to achieving clarity and avoiding fret buzz. The most important factor being to press very close to the fretwire, and (except when holding a barre with the first finger) fo use the tips rather than the pads of the fingers. Candidates may also be asked questions about the optimum methods of achieving fluency when picking the strings. The most important factor being that plectrum strokes should generally alternate between down and up strokes in order to facilitate fluency and speed. Care should be taken to have an appropriate amount of plectrum tip protruding from the grip between the index finger and the thumb. Whilst this will vary with the size of fingers and the plectrum used, in general, foo much plectrum showing will drag or even snag on the strings thus hampering fiuency and articulation, whilst too little increases the chances of missing the correct string altogether. 2KNOWLEDGE OF THE INSTRUMENT Candidates should have knowledge of the ways in which the tone can be varied on their own insttument. This should include: (i) practical understanding of the use of tone controls and pick-up selectors (where appropriate) (li) An understanding of the effect of changing the right-hand position: playing at the bridge end generates the brightest tone, whilst movement towards the fingerboard tends to mellow the tone. (ii) Knowledge of the effect of plectrum gauge and string gauge on tone production: a thicker plectrum and/or heavier strings can produce a fuller and more rounded tone than their lighter equivalents. Candidates should have an understanding of the mechanism and anatomy of their guitar, including such terms as: (i) Action -the distance between the strings and the frets, which determines the ease Of fretting notes. (ii) Marker dots (fret markers) - the dots, or blocks, inlaid into front and/or side of the fingerboard to act as a reminder as to the position of certain frets. These normally include at least frets 3, 5, 7, 9. and 12 (ii) The nut - a slotted piece of material (normally plastic or brass), situated at the headstock end of the fingerboard, in the grooves of which the strings lie. (iv) The sada - the seat upon which the strings rest at the bridge end of the guitar. It is from this point that the vibrating section of the string starts. Electric guitars tend to have an individual saddle for each string, which form part of the bridge. (v)_ Machine Heads - the tuming keys, normally positioned on the guitar headstock, which when rotated increase or reduce sting tension and so raise or lower the pitch of the string. In addition, candidates should be able to explain the method they use to tune a guitar, and how to replace a string on their own instrument.SECTION 6 Rurai assessments Amaximum of 10 marks may be awarded in total during this section of the examination. The candidate will be given a selection of the following tests, which will include a rhythm test and at least two other tests. REPETITION OF RHYTHMS The examiner will twice tap, or play (on a single note), a four bar rhythm in either}, 4 or $time. This may contain dotted quarter notes (doted crotchets), quarter notes (crotchets), eighth notes (quavers) and sixteenth notes (semiquavers) - except for the last bar, which will contain only one long note. The candidate should reproduce the thythm by clapping, tapping or playing. Some examples of the type of rhythm are given below. Note that the first and third bars will be identical. "Qi DL ITM i dl ld LT ddd dN Al dl. | ITI STITT. WIT | «iy REPETITION OF MELODIC PHRASES The candidate will be asked to look away while the examiner plays a one bar phrase in { time. This will consist of notes, within a range of one octave, from a scale listed in Section 1 of this book, The candidate will be told which scale is to be used, and the keynote will be played. The phrase will start on the keynote and will consist of two quarter notes (crotchets) and four eighth notes (quavers) The examiner will play the phrase twice before the candidate makes a first attempt to reproduce the phrase on the guitar. if required, the candidate can request the examinerto play the phrase one further time, prior to the candidate's second attempt, with no reduction in marks. 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. 0 i) 0) (wy) rou rr colores These phrases are taken from the following scales (). G major, (li) C pentatonic major, (iil) A blues, (iv) G natural minor. KEEPING TIME The examiner will twice play a four bar melody in either 3, 4 or § time. After the first playing the candidate should identity the time signature. During the second playing the candidate should clap the main pulse, accenting the first beat of each bar. An example is given below, with the thythmic pulse to be clapped by the candidate shown below both the notation and tablature. SS SS © PEt f 1 ace a ( f eel waco) mre —_.oF Las vPITCH TEST Whilst the candidate looks away the examiner will play an interval of a 3rd or a 7th in any key, sounding the notes separately, The candidate should identify whether the interval was major or minor. For example: C10 Bs (minor 3rd) C10 E (major 3rd) C to BS (minor 7th) C10 B (major 7th) HARMONY TEST Whilst the candidate looks away the examiner will twice strum either a minor 7th, dominant 7th or major 7th chord. The candidate will then be asked to identify the type of chord that was played.EXAMINATION ENTRY FORM ELECTRIC GUITAR ONLINE ENTRY — AVAILABLE FOR UK CANDIDATES ONLY For UK candidates, entries and payments can be made online at www.RGTorg, using the entry code below. You will be able to pay the entry fee by credit or debit card at a secure payment page on the website. Your unique and confidential examination entry code is: Keep this unique code confidential, as it can only be used once. Once you have entered online, you should sign this form overleaf. You must bring this signed form to your exam and hand it to the examiner in order to be admitted to the exam room. IfNOT entering online, please complete BOTH sides of this form and return to the address overleaf. SESSION (Spring/Summer/Winter) YEAR: Dates/times NOT available: Note: Only name specific dates (and times on those dates) when it would be absolutely impossible for you to attend due to important prior commitments (such as pre-booked overseas travel) which cannot be cancelled. We will then endeavour to avoid scheduling an exam session in your area on those dates. In fairness to all other candidates in your area, only list dates on which it would be Impossible for you to attend. An entry form that blocks out unreasonable periods may be returned. (Exams may be held on any day of the week including, but not exclusively, weekends. Exams may be held within or outside of the school term.) Candidate Details: Please write as clearly as possible using BLOCK CAPITALS Candidate Name (as to appear on certificate): Address: Postcode: Tel. No. (day): (mobile): IMPORTANT: Please take care to write your email address below as clearly as possible as your exam entry ‘acknowledgement and your exam appointment details will be sent to this email address. Email: Where an email address is provided your exam correspondence will be sent by email only, and not by post. This will ensure your exam correspondence will reach you sooner. Teacher Details (if applicable) Teacher Name (as to appear on certificate): RGT Tutor Code (if applicable): Address: Postcode: Tel. No. (day): (mobile): Email:RGT Electric Guitar Official Entry Form bir he eh ue ee ee ee eae SOC Le CUCU Coo CM Cue C LS a Photocopies of this form will not be accepted under any circumstances. © Completion of this entry form isan agreement to comply with the current syllabus requirements and conditions of entry published at www.RGTorg. Where candidates are entered for examinations by a teacher, parent ot guardian that person hereby takes responsibility that the candidate is entered in accordance with the current syllabus requirements and conditions of entry. © If you are being taught by an RGT registered tutor, please hand this completed form to your tutor and request hinvher to administer the entry on your behalf. © For candidates with special needs, a leter giving details should be attached, Examination Fee: £, Late Entry Fee (if applicable): © ‘Total amount submitted: £ Cheques or postal orders should be made payable to Registry of Guitar Tutors, Details of conditions of entry, entry deadlines and examination fees are obtainable from the RGT website: www. RGTorg ‘Once an entry has been accepted, entry fees cannot be refunded. CANDIDATE INFORMATION (UK Candidates only) In order to meet our obigations in monitoring he implementation of equal opportunites polices, UK candidates are required to supply the information requested below. The information provided wil in no way whatsoever influence the marks awarded during the examination. Date of birth: Age Gender — please circle: male / female Ethnicity (please enter 2 digit code from chart below): Signed: ETHNIC ORIGIN CLASSIFICATIONS (If you prefer not to say, write “17” in the space above.) White: O1 British 02 Irish 03 Other white background Mixed: 04 White & black Caribbean 05 White & black African 06 White & Asian 07 Other mixed background ‘Asian or Asian British: 08 Indian 09 Pakistani 10 Bangladeshi 11 Other Asian background Black oF Black British: 12 Caribbean 13 African 14 Other black background Chinese or Other Ethnie Group: 15 Chinese 16 Other 17 Prefer not to say Tunderstand and accept the current syllabus regulations and conditions of entry for this examination as specified on the RGT website. Signed by candidate (if aged 18 or over) Date If candidate is under 18, this form should be signed by a parent/guardian/teacher (circle which applies): Signed Name. Date. aN Sy SS ge cea nline OR return this form to: Dee en a ec on Com Rc cn eC mL NON-UK ENTRIES ac the eensSupplemen Study Aids IMPROVISING LEAD GUITAR | RHYTHM GUITAR PLAYING The most comprehensive and effective guide to lead guitar | An innovative and helpful series of books for those who want fo improvisation ever produced! improve their rhythm guitar playing. These books are designed especially to accompany the The books are ideal forexam | Rhythm Gultor roving section of the GT electiic guitar preparation os ey reflect the exact requirements of the | xaminations ‘Lead Guitar’ sections of the | The books seve as an invaluable RGT grades. study aid in helping you prepare for ‘y wotng trough the sates of books, youitleamhowtoimprowse | PPSOTS Cond create excting guitar sos in a wide range of musical styles, | The sees sin 3 volumes: ‘On each CD there is. 2fullband line-up, but without the lead guitar | * 8098 ! ~ Peimnary to Grade 2 YOU Get the chance fo be the lead guitats: creating your own | + Book2-Grade 310 Grade 5 + Book 3 - Grade 6 0 Grade 8 oul shoe. ond Hes a Each book includes 30 examples of exacty he type of chord chants In the early grades, all the scales needed for each exam are | that wil appearin he examinations, The books ako provide insghitl performed on the CD at practice and performance speeds, | dice ond tips on how to gain those elusive eta mats PRACTICE PAL A unique software package fo accompany all grades of the RGT exams, Practice Palisa superb music software package that has been especially developed to prepare you for your RGT electric guitar examination. Practice Pal has been meticulously programmed to contain ALL the scales, chords, modes and arpeggios, ‘that are contained in the RGT electric guitar exom syllabus. it covers al keys and al fngerboard postions for ‘ll grades. Is ideal for testing youssef prior to your exam, or fox geting extra, practice on particular requirements. ‘Compatible with ail PC versions of Windows. Simple to install and use. RGT GUITAR LESSONS Designed fo help you “learn guitar the right way’. och bookin this series includes fen easy10Yolow guitlestors ftom the Registry (Of Guta Tutors the wor leacing authorty on guitar education, Books in the RGT Guta Lessons sores include: ‘© Playing Techniques © Rock and Metal © BluesandRock © Chord Playing © Lead Playing ‘ACD, demonstating allthe musical examples, lsincluded wih every bok. Many lessons also include backing tracks to play along to. “Wel structured. informative and exceedingly good value for money. Some of the mast successful guitar tutor publications have ever come ‘across “ Music Teacher Magazine RGT also offers exams in. ACOUSTIC GUITAR PLAYING BASS GUITAR PLAYING POPULAR MUSIC THEORY cer reg playing,electric guitar playing grade 4 Ret Registry of Guitar Tutors The Specialists in Guitar Education This book is part of a series that is widely recognised as the most Ra EI ice Ney Ceeurtc ee Se Re RC EI eRe ccs Mea EN) get qualified Each book covers all the material PCC nC SSC Ee an COE Sor ES re ae) rey improve your playing SUA acu Rone) Saar racy a LE a ee Ce LE + increase your knowledge of specialist electric guitar eed OTe Rea ag Cae eae ce ona Cea a a a guitarist