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Initial

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Stage

Acoustic

_Guitar

Pl"fng

Compiled

and

edited by

Tory

Skinner

and Laurence

I{arwood for

The Specialists in Guitar Education

CONTENTS

,ta.-.1:r|:r:..r: t,:!li,f.!;,:tii:!;::j,ii.':.::irtill:t::ii:.:r:::;::U,:r..iil

Introduction

Fingerboard Knowledge

.

_Chords

.

_Scales

Performance

Section

.Rhythm Plrying

Studies

.Melodies

Examination

Entry

Form

Page

4

6

6

9

IO

IO

L4

r9

CD

LISTING

Tuning Guide Chords Scales

Rhyhm

Plrying Study

No.

I

Rhyth*

Plrying Study No. 2

Rhyth*

Playing Study No. 3

When The Saints Go Marching

In

On Top Of Old Smokey

Michael Row The Boat Ashore I(umbaya Track

I

2 3 4 5 6 7 8 9 IO

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

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.

INTRODUCTION

MUSICAL NOTATION

Each line, and space between lines, represents

a different note. Leger lines are used to extend the stave for low or high notes.

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. E B G D A E 't-I a

A

./r FT I

FRETBOXES

Vertical iines represent the strings

_-

with the

line furthest to the right representing the high

E string.

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.)

This example means play with the second

finger at the second fret on the G string:

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

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.

/

I

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.

C

x 00

G

000

C

XXXO

(three-string version )

G

xxxO

0

(three-string version) I

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

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.

Em

0

000

Am

XXX

O (three-string version) )a

2

Em

XXXO

O O (three-string version)

Rather than this 3-string version using only open strings, some candidates may prefer to play a

4-string version by adding the note

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

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

_-

it is the

candidate's choice.

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 a}

single strum.

.

Tempo indications 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.}

Rhythm Playing

Study

No.

I

strumPattern:

)))

Moderate tempo

ftllc

E-lc

lnm

l.t-lAmlc

c

|lc

ll

RHYTHM NOTATION GUIDE

FOR

STUDY

NO.

1

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

7

and2,

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.

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:

I

z g 4

It is recommended that you use downstrokes for these strums.

:Track

Strum Pattern:

| )

Moderate tempo

ftll,c

Emlnrn

G

clc

c

lc

llc

Tl

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,

3

and,4,

with the strum on beat 1 being a longer lasting strum :1, (2l Z 4

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:

.

An accurate reproduction of the pitch and rhythm of the melody.

o [

fluent renditiory maintaining an even tempo throughout.

.

Capturing the phrasing within the melody.

C

When The

Saints

Go

Marching

In

)-csa

C

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.

a) J

1

+

3 C G F a)

e

€> A

Q-n-Tw-af"Qld-Smsky

J : cro+

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 G

o

-J I A C aJ --

-

4'

e

e

A a

Michael

Row

The Boat Ashore

: c80 C c,) Y l :=---0-3 A

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.

G

Kumbaya

J:cao Am G C G G G C

-T---Z-

T-Tr-_]__-a) 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

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.

RGr - ACOt-lsTlc GUIT,lR PLAYING It',iIT,\L STAGE ,.f 1905908097 $11.50

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1809 BN 978-1-905

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908-O9-7 IS