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Acoustic Guitar
Pl"fng
The Specialists in Guitar Education
Compiled and edited by Tory Skinner and Laurence I{arwood for
RGT Registry of Guitar Tutors
CONTENTS ,ta.-.1:r|:r:..r:
t,:!li,f.!;,:tii:!;::j,ii.':.::irtill:t::ii:.:r:::;::U,:r..iil
Page
Introduction
4
Fingerboard Knowledge . Chords
6
. Scales
9
Performance Section
IO
.Rhythm Plrying Studies
IO
.Melodies
L4
Examination Entry Form
r9
6
CD LISTING Tuning Guide
Track
I
Chords
2
Scales
3
Rhyhm Plrying Study No. I Rhyth* Plrying Study No. 2 Rhyth* Playing Study No. 3
4
When The Saints Go Marching On Top Of Old Smokey Michael Row The Boat Ashore I(umbaya
5
In
6 7 8 9
IO
INTRODUCTION his publication is part of a progressive series of ten handbooks, primarily intended 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 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
MUSICAL NOTATION
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.
Each line, and space between lines, represents a different note. Leger lines are used to extend the stave for low or high notes.
E
B 't-I G A D
A E
FT
I
a
./r
The range of notes that occurs in scales at this level is shown below, together with their string and fret numbers. Fret-hand fingering is shown with the numbers 123 4, with 0 indicating an open string. String numbers are shown in a circle.
FRETBOXES Vertical iines represent the strings - with the line furthest to the right representing the high E string.
Horizontal lines represent the frets.
This example means play with the second finger at the second fret on the G string:
EADGBE
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.)
FINGERING OPTIONS 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.
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 adl'ustments, 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:440F{2). A tuning guide is provided on the accompanying CD on Track 1.
E,XAMINATION 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 willbe 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 website www.RGT.org
FINGERBOARI) KNOWLE,DGE he examiner will choose a selection of the chords and scales shown in this section and ask the candidate to play themfrom memory. They 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. Pressing with the tips of the fingers, as close to the fretwire as possible, will aid clarity. This technique will help eliminate fretbuzz and minimise the amount of fretting pressure required - enabling you to play with a lighter, clearer and therefore more fluent touch.
A maximum of 25 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 whoie chord shape should be carefully piaced on the fingerboard before any sound is produced and kept on whilst the chord is played. Ensure that no required open strings are muted (these are marked with a 0 by the fretbox).
A string which should be omitted when playing a chord is marked with an X by the fretbox, so be very careful not to strike this string when playing the chord.
CHORD SYMBOLS This handbook (and examination) use the following standard abbreviations when referring to chords: oThe symbol for a major chord is the capital letter of the name of the chord. For example, the symbol for G major is G and the symbol for C major is C.
.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 E minor is Em and the symbol forA minor is Am.
As the Initial Stage examination is designed for novice players, which may include young children with relatively small hands, optional three-string chord shapes are provided as alternatives to the standard chord shapes. Both versions will be equally acceptable in the examination and candidates can use whichever they prefer - providing there is consistency. If using the three-string chord shapes great care needs to be taken to ensure that the lower bass strings are not accidentally strummed.
CHORD SUMMARY At this level, candidates are expected to know the following chords: C, G, Am, Em. These chords are illustrated below.
C major The first finger presses at the first fret on the B string, the second finger presses at the second fret on the D string, the third finger presses at the third fret on the A string. Strum the top five strings; exclude the low E string.
C
x 00 /
C XXXO
I
(three-string version
)
G major The first finger presses at the second fret on the A string, the second finger presses at the third fret on the low E string, the third finger presses at the third fret on the high E string. Strum all six strings.
G
000
G
xxxO
0
I
(three-string version)
A minor The first finger presses at the first fret on the B string, the second finger presses at the second fret on the D string, the third finger presses at the second fret on the G string. Strum the top five strings; exclude the low E string.
Am
x00
Am
XXX
O
)a
(three-string version)
E minor The second finger presses at the second fret on the A string, the third finger presses at the second fret on the D string. Strum all six strings.
0
Em
000
Em XXXO
OO
2
(three-string version) Rather than this 3-string version using only open strings, some candidates may prefer to play a 4string version by adding the note E on the 2nd fret of the D string.
SCALES In the Initial Stage examinatiory scales need to be played ascending only, i.e. from the lowest note to the highest, at an approximate tempo of 84 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.
SCALE SUMMARY At this level, candidates are expected to know the following
scales:
C maior - L octave, G major - 1 octave These scales are illustrated below.
C major scale -
I octave 000 22 33
G major scale -
I octave 000
PE,RFORMANCE he candidate should select and play ONE of the three Rhythm Playing Studies that follow, plus TWO melodies.
For each performance, either fingers and/or a pick can be used candidate's choice.
- it is the
Performances do not need to be from memory: the handbook may be used during this section of the examination. Remember to bring your handbook to the exam if you do not intend to play from memory. Photocopies will not be
permitted.
RHYTHM PLAYING STUDIES The candidate should select and perform, using the prescribed strum patterry ONE of the Rhythm Playing Studies in this chapter. o Each study consists of an S-bar chord progression that is played twice
before ending on the key chord. o
After the repeat section, the final closing bar should be played with just single strum.
. Tempo indications
a
are for general guidance only.
Amaximum of 25 marks may be awarded for the Rhythm Playing Study.
RHYTHM PLAYING ADfIICE 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: o A secure knowledge of the chord shapes and the facility to change from one chord shape to another smoothly and without hesitation or delay. o Clear sounding chords that are free of fretbuzz and any unintended muting of notes. Pressing with the tips of the fretting fingers, as close as possible to the fretwire, will help achieve this. Three-string versions of the chords can be used if preferred to the standard chord shapes.
. A flowing rhythm style, maintaining an even tempo throughout. o
Accurate reproduction of the notated strum pattem.
Rhythm Playing Study No. I strumPattern:
)))
Moderate tempo
ftllc
E-lc lnm l.t-lAmlc c |lc
RHYTHM NOTATION GUIDE FOR STUDY NO. This study is in
f time - meaning that there are four main
1
beats per bar.
The notated strum pattern JJJ tr",at.utes that you should play on beats followed by a longer lasting strum on beat 3:1,2 3 (4)
It is recommended that you use downstrokes for these strums. The set of two repeat dots l' 'l indicates the section that should be repeated - i.e. the first eight bars.
Track
7 and2,
ll
Rhythm Playing Study No. 2 strumPattern:
IJJJ
Slow tempo
fll'^t- AmlE- EmlAmlC lc
lc 'llAmll
RHYTHM NOTATION GUIDE FOR STUDY NO. 2 This study is in
f time - meaning that there are four main
beats per bar.
The notated strum pattern JJJJ t"at.ates that you should play on all 4 beats:
It is recommended that you use downstrokes for these strums.
:Track
;u*5*
I zg4
Strum Pattern:
| )
Moderate tempo
ftll,c
Emlnrn G
clc c
lc llc
RI{YTHM NOTATION GUIDE FOR STUDY NO. 3 This study is in
f time - meaning that there are four main beats per bar.
The notated strum pattern JJJ tr,at"utes that you should play on beats 1, with the strum on beat 1 being a longer lasting strum :1, (2l Z 4
It is recommended that you use downstrokes for these strums.
3
and,4,
Tl
MELODIES The candidate should select and perform TWO melodies. At least ONE must be chosen from the four traditional melodies in this handbook. If preferred, ONE melody can be a'free choice'by the candidate of any other well-known meiody 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: tempos that are either faster or slightly slower than those marked can be used, providing they produce an effective musical result. A maximurn of 25 marks may be awarded for each of the two melodies performed.
MELODY PLANNG ADVICE As the melodies are based entirely on the scales set for the Fingerboard Knowledge section of the exam, practising these scales will make learning the melodies much easier. The two dots at the end of each melody indicate that the music should be repeated from the beginning - i.e. each melody should be played twice.
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:
. o . o
An accurate reproduction of the pitch and rhythm of the melody.
[
fluent renditiory maintaining an even tempo throughout.
Capturing the phrasing within the melody. Clear sounding notes that are free of fretbuzz.
When The Saints Go Marching In )-csa a)
C
1
J
+
3
F
C
G
e
a)
C
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A
This arrangement Cr cop)'right 2007 b)' Registry Publications
This melody is in
f time. The tune begins on the second beat of the bar.
The melody is notated in the key of C major and all the notes come from the first five degrees of the C major scale.
Chord symbols are provided purely to enable a teacher or fellow piayer to provide accompaniment during practice. Candidates are NOT expected to play these chords in this section of the exam.
Q-n-Tw-af"Qld-Smsky J
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G
o
J
I
-
A
C
aJ
--
-
4'
e
e
A a
This arrangement O copylight 2007 by Registry Publications.
This melody is in fr ti*" and the tune begins on beat 3 (i.e. after a count of two). The melody consists of four four-bar phrases, each of which begins on the third beat of the bar. Each phrase concludes with a long tied note; make sure the fretting finger is held on to sustain this note for its full duration. The melody is notated in the key of C major and all the notes come from the C major scale.
t
d
Michael Row The Boat Ashore : c80
G
c,)
C Y
:=---0-3 A
l
This arrangement O copyrighi 2007 by Registry publications.
This melody is in f ti*". The tune begins on beat 3 (i.e. after a count of two). The melody consists of two rhythmically similar phrases - the second phrase starting on beat 3 of bar 4. Look out for the dotted note at the start of the first full bar and bar 5, as this provides an important rhythmic feature of the melody. The melody is notated in the key of G major and all the notes come from the first six degrees of the G major scale.
Track':].'....]
Kumbaya J:cao
G
C
G
-T-------Z- T-Tr-_]__a)
Am
C
G
G
a)
A
G
D
G
a)
A
This arrangement O copyright 2007 by Registry Publications
This melody is in f tm". The melody consists of four phrases, each of which begins halfway through abar, on beat 3 (i.e. after a count of two). The third phrase is simply a repeat of the first. The melody is notated in the key of G major and all the notes come from the first six degrees of the G major scale.
o Written in easy-to-read TAB, as well as traditional notation. . CD examples are provided so you can 'listen and learn'. . Designed for both fingerstyle and plectrum players.
Covers all the material needed for the RGT acoustic auitar examination, enabling you to study for an internationally recog nised qua lification.
Even if you do not intend to take an exam, this book will help you achieve your full potential as a guitarist by developing all aspects of your playing.
IS BN 978-1-905 908-O9-7 RGr - ACOt-lsTlc GUIT,lR PLAYING It',iIT,\L STAGE ,.f
1905908097 $11.50
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