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Acoustic Guitar Playing

Compiled and edited by

Tony Skinner and Laurence Harwood for

© Copyright 2007 by Registry Of Guitar Tutors. Worldwide rights reserved.

A CIP record for this publication is available from the British Library

ISBN: 978-l-905908-09-7

Printed and bound in Great Britain

Published by Registry Publications

REGISTRY PUBLICAT!ONS LTD

Registry Mews, ll-13 Wilton Rd, Bexhill, Su~sex, TN40 lHY

Compiled by

Registry of Guztar Tutors

Acknowledgements The editors are grateful for the advice and support of all members of the RGT's

'Acoustic Guitar Advisory Panel' during the compilation of this series.

Cover design and photography by JAK Images; back cover photographs courtesy of Moon Guitars and Freshman Guitars.

PHOTOCOPYING OF ANY PART OF THIS BOOK IS ILLEGAL

No part of this book may be reproduced in any form

without the permission of the publisher.

Breach of copyright, by photocopying or any other means,

may result in both a claim for civil damages and criminal prosecution.

CONTENTS

Introduction

Fingerboard I<nowledge

•Chords

•Scales

Performance Section

• Rhythm Playing Studies

•Melodies

Examination Entry Form

CD LISTING

Tuning Guide Chords Scales Rhythm Playing Study No.1 Rhythm Playing Study No.2 Rhythm Playing Study No.3 When The Saints Go Marching In On Top Of Old Smokey Michael Row The Boat Ashore Kumbaya

Track

1 2 3 4 5 6 7 8 9 10

6

6

9

10

10

14

19

INTRODUCTIO

This 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.RegistryOfGuitarTutors.com

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.

Each line, and space between lines, represents a different note. Leger lines are used to extend the stave for low or high notes.

0 on a line means play that string open (unfretted). The example below means play at the second fret on the third string.

2-------1

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 1 2 3 4, with 0 indicating an open string. String numbers are shown in a circle.

E F G A B c D E F G

30 on 10 30

00 2 .. oo l ..

20 •• 3 @- Q) CD

FRETBOXES ~"" =~

Vertical lines 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.)

FINGERING OPTIONS

This example means play with the second finger at the second fret on the G string:

EADGBE

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 adjustments, if required during the examination, unaided. The examiner will, upon request, offer an E or A note to tune to.

For examination purposes guitars should be tuned to Standard Concert Pitch (A=440Hz). A tuning guide is provided on the accompanying CD on Track 1.

EXAMINATION ENTRY An examination entry form is provided at the back of this handbook. This is the only valid entry form for the RGT acoustic guitar examinations.

Please note that if the entry form is detached and lost, it will not be replaced under any circumstances and the candidate will be required to obtain a replacement handbook to obtain another entry form.

The entry form includes a unique entry code to enable you to enter online 1 via the RGT website www.RegistryOfGuitarTutors.com

I -

FINGERBOARD KNOWLEDGE

The examiner will choose a selection of the chords and scales shown in this section and ask the candidate to play them from 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 should be played using a single slow strum, starting with the lowest (root) note. The whole chord shape should be carefully placed on the fingerboard before 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.

This handbook (and examination) use the following standard abbreviations when referring to chords:

•The symbol for a major chord is the capital letter of the name of the chord. For example, the symbol for 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 for A 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 0 0

~ ;.-

.,

c xxxo 0

rT~-----1--------~

~A~-----2--------~ ~~~-----3--------~ g (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 lowE string, the third finger presses at the third fret on the high E string. Strum all six strings.

~~

fL=L---~ L.._---~

G 000

-~

G xxxoo

" (three-string version)

\S@j

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.

.. ~ .

r--------01--------, rTr-------1--------~ I

rA.-------2--------~

.... ~ ~~~------1~------~

E minor

Am xo 0

~ 1 ;, .

Am XXX 0

l .... 4t

(three-string version)

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

.... 1 ,.;, .

Em xxxooo

(three-string version) Rather than this 3-string version using only open strings, som e candidates may prefer to play a 4-string version by adding the note E on the 2nd fret of the D string.

SCALES In the Initial Stage examination, 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 major -1 octave, G major -1 octave These scales are illustrated below.

C major scale - l octave

c D E F G A B c ~ 'tl' , r.o. lU 000

' ""' - ~-. u-

' - ... ~

u ~ -o'-" 2"-"' 3 @ CZl @ @

...... 0 l I

A 0 2 0 2 3

n 3 &;;ll

G major scale - l octave

.t'J G A c B D E G .0

IT '(.., .

~------------------------------o~--2----3--~ ~r~------------o~--l----3------------------~ A o~--2----~------------------------------~

4- ~"./

d3

000 1

~,

..,;, ~J .... . , ,,

PERFORMANCE

The 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 pattern, ONE of the Rhythm Playing Studies in this chapter.

• Each study consists of an 8-bar chord progression that is played twice before ending on the key chord.

• After the repeat section, the final closing bar should be played with just a single strum.

• Tempo indications are for general guidance only.

A maximum of 25 marks may be awarded for the Rhythm Playing Study.

RHYTHM PLAYING ADVICE In order to achieve the most musical performance and obtain a high mark in the exam, you should aim for the following when performing the Rhythm Playing Study:

• A secure knowledge of the chord shapes and the facility to change from one chord shape to another smoothly and without hesitation or delay.

• Clear sounding chords that are free of fretbuzz and any unintended muting of notes. 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.

• Accurate reproduction of the notated strum pattern.

Rh .. thm Playing Study No. 1

Strum Pattern: J J d Moderate tempo

~II= G IEmiG IEm IAmiAmiC IC

RHYTHM NOTATION GUIDE FOR STUDY NO. 1

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

-The notated strum pattern JJJ indicates that you should play on beats 1 and 2, followed by a longer lasting strum on beat 3: 12 3 (4)

It is recommended that you use downstrokes for these strums.

The set of two repeat dots II: :II indicates the section that should be repeated - i.e. the first eight bars.

=II G I I

Rhythm Playin2 Study No. 2

/ Strum Pattern: ~ ~ ~ ~ PP12__ lc...-

Slow tempo

ill= Am !Am !Em !Em !Am !C !G !G =!lAm II


This study is in 4 time- meaning that there are four main beats per bar.

The notated strum pattern jjjj indicates that you should play on all4 beats: 12 3 4


Rh thm Piaxing Stud No. 3

Strum Pattern: d j j Moderate tempo

ill= c IEmiAmiG IC IC IG IG =IIC


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

The notated strum pattern jjj indicates that you should play on beats 1, 3 and 4, with the strum on beat 1 being a longer lasting strum : 1 (2) 3 4


*iliH i 3

II

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 melody from 1960 onwards- providing it is of at least similar technical standard and duration to the melodies below. (Whenever possible, candidates should bring the notation of the free choice melody to the exam for the examiner to view.) Melodies can be played with a pick or using fingers, as preferred by the candidate.

Chord symbols are provided for each melody in this handbook purely to enable a teacher or fellow player to provide accompaniment during practice. Candidates are NOT required to play the chords in the exam- only the melody, unaccompanied. (On the CD an accompaniment is played with the melody to enhance the musical effect and reinforce the timing for learning purposes.)

Tempo markings have been chosen that reflect the capabilities expected at this level, but are for general guidance only: tempos that are either faster or slightly slower than those marked can be used, providing they produce an effective musical result.

A maximum of 25 marks may be awarded for each of the two melodies performed.

MELODY PLAYING 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.

• A fluent rendition, 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 ~rJ&

J = c96 c

J-"'---t+..--------2-3--+--------+---2-3--t--------+---2-3 ~-~--------+------~-------+------~--3----~

6 G c

rR--------+3-------+-------+--------r3-----3

II F c G c

This arrangement© copyright 2007 by Registry Publicat ions.

This melody is in 4 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 player to provide accompaniment during practice. Candidates are NOT expected to play these chords in this section of the exam.

On To Of Old Smol<:e~ '--1 F

I

h----H~---+--------~--~----------~2--- -v- 2-3 3

6 c G

. c.;_·

----

v v

2

12 G7 c . .

__.-e-.:_ ~4

. ~----------2 3----2----~---+-------- . HR--------------~----------------r3------

This arrangement© copyright 2007 by 'Registry Publications.

n beat 3 (i.e. after a count of two). This melody is in~ time and the tune begins o The melody consists of four four-bar phrases, beat of the bar. Each phrase concludes with a fretting finger is held on to sustain this note fo

each of which begins on the third long tied note; make sure the r its full duration.

The melody is notated in the key of C major a nd all the notes come from the C major scale.

Michael Row The Boat Ashore

J = c80 G c

4 G Bm Am D G

----~1--~--+-----------~Hr----------~----~~------H ~----------------~------------+2~2·--~------2·------~~----------~~

This arrangement © copyright 2007 by Registry Publications.

This melody is in 4 time. 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.

/

l(umbaYJ! j = c80 G c G

I I

rT----~~----_, ____________ +------~v~-r----------~------------~--------~ I-'F------t+---~o-~3----3-3-----+-------------+-3·-----------+----------o---r-3----J-3-------i

A v

6 _/l lol

t)

A .... ....

12 f'l lol

t)

T

A ~

"'

Am D G c G I

I

-u- -IJ

I -v -v 3-- J- 3 3 2

Am G D G I I I

.

I 2- - 2 .

.

This arrangement© copyright 2007 by Registry Publications.

This melody is in 4 time. The melody consists of four phrases, each of which begins halfway through a bar, 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.

Easy To Use • 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.

Get Qualified Covers all the material needed for the RGT acoustic guitar examination, enabling you to study for an internationally recognised qualification.

Improve Your Playing 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.

rgt acoustic guitar grade initial

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