classical guitar syllabus pdf

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AUSTRALIAN GUILD OF MUSIC AND EDUCATION

Classical Guitar Examination Syllabus | Australian Guild of Music Education

The GUILD Music & Speech Education System

Australian Guild of Music Education Inc – A0010797V

The Australian Guild, Music and Speech Education System can be broadly divided into two sections:

Public Examinations for music and speech/drama students from beginner to advanced (Licentiate and Fellowship diplomas)

Tertiary Courses with Certificate, Diploma and Advanced Diploma courses for the music industry and Bachelor of Music degree for advanced music training

The public examinations are administered by The Australian Guild of Music Education, Public Examinations Division. These examinations cover practical music, music performance, music theory, practical speech and drama, speech and drama theory, oral communication, spoken language development and choric speaking. The printed syllabi for each type of examination, together with a wide-ranging series of publications forms a comprehensive instructional system to aid teachers in developing the skills of their students. The examinations provide recognition for the student’s work and teacher recognition is achieved through the Australian Guild Teachers Register.

The Creative Skills and Higher Educations programs covering courses in music to Certificate IV (CUS40101), Diploma (CUS50101) and Advanced Diploma (CUS60101) and Bachelor of Music degree (V13940) are provided by the Australian Guild of Music Education, Tertiary Course Division. The AGMED is a Registered Training Organisation approved to deliver these courses in all States of Australia. All the courses are on the National Qualifications Register and may be completed by distance education. Video-tapes and DVDs ensure that students everywhere receive “live” instruction. Tapes and DVDs of tutorial centre sessions are dispatched directly to remote students together with written material.

In the Higher Education Program Bachelor of Music degree, articulation agreements may be arranged with other Universities for students who wish to continue their studies beyond a first degree. The Bachelor course, like the others, may be completed by distance education, the Kooyong campus and video material providing the appropriate contact between tutors and students.

All enquiries to: AUSTRALIAN GUILD OF MUSIC EDUCATION INC Public Examination Division Australian Guild Conservatorium, 451 Glenferrie Road KOOYONG VIC 3144 AUSTRALIA ph/fax +613 98223111 [email protected]

www.guildmusic.edu.au

VERSION CONTROL Reference: 15-0-3 (20131025)

Change Book Volume Edition Date

15 0 2 20120906 New edition

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Education Inc (A0010797V).

Copyright 2012 by Australian Guild of Music Education Inc The moral rights of the authors are asserted.

mailto:[email protected]

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AUSTRALIAN GUILD OF MUSIC EDUCATION (Incorporating the AGMED)

GUILD

The Australian Guild of music Education is a music education body dedicated entirely to Distant Education and

Tertiary Courses AGMED (Conservatorium and Faculty of Music) and the AGMED (Public Examination sector)

which caters for public examinations in music.

The GUILD encompasses both bodies.

The Australian Guild of Music and Speech was/is primarily an examining body in the fields of music and speech.

HISTORICAL INFORMATION

The AGMED was formed in 1969 and has Syllabi in all traditional areas. The Guild was the first body to evolve an

Electronic Organ Syllabus, a Digital Keyboard Syllabus, a Modern Piano Syllabus and modern Woodwind, Brass and

Guitar Syllabi. These modern syllabi have all been very successful. The Guild still unequivocally leads in these areas.

The AGMED (Public examination sector) through an Australia wide system of graded examinations aims to develop

music and speech education and skills by promoting uncompromising standards of education in both performing and

teaching. To that end, all AGMED Syllabi whether traditional or contemporary have been formulated to promote those

ideals. AGMED Syllabi have been innovatively enhanced to allow candidates and teachers full access to a large

selection of works in order to progress to their full potential. AGMED Syllabi offer the concept of OWN CHOICE in

any List and in any practical subject area on the basis that no one person is the same as another.

Many different physical, mental and emotional factors sometimes cause the withdrawal of a candidate’s musical

interest when confronted with an uncompromising selection of works, as so often happens in many syllabi.

The official Syllabi of the AGMED are designed to meet the needs of private Teachers, Professional Musicians and

Educational Institutions, as well as to cater for those whose desire is to pursue the study and practice of their art chiefly

for its aesthetic and spiritual values, if not for professional reasons. Because of the character of the AGMED

constitution as revealed in the ‘Articles of Association’ the body is particularly suited for such a purpose. Therefore

their Lists will be found to be comprehensive, catering for the academically minded, the performing artist and for those

who seek recreation, cultured self expression and the development of a rewarding and satisfying professional life.

The AGMED conducts many thousands of practical and theory examinations every year throughout Australia,

Singapore, and Malaysia and in Sabah and Sarawak in Borneo. Malaysia has centres in Kuala Lumpa, Ipoh (North),

Penang (Nth West) as well as in the Eastern areas of the country. Additionally, Sabah across the China Sea in North

Borneo at Copa, Kinabalu is also a very strong base of Guild activity. Brunei is another successful Centre. An initiative

to commence examinations in mainland China is already under way.

PUBLICATIONS OUT OF PRINT It is inevitable in any Contemporary Syllabus that publications change and some

will go out of print within a space of time. This is unfortunate but a circumstance over which we have no control.

However some pieces will still be in the syllabus because some teachers have the music and like to teach these pieces.

TERTIARY PROFESSIONAL COURSES

In addition the Guild offers a complete music program to the dedicated student and can offer either by Distance or

attendance a range of professional courses in music all fully accredited.

VET Level courses include Certificate 1-1V, Diploma and Advanced Diploma. Diploma and Advanced Diploma

courses offers immediate access to Government VET FEE HELP. This is not Means Tested.

Higher Education Bachelor of Music program is available and offers immediate access to Government FEE HELP.

This is not Means Tested.

AUSTUDY is available for all courses.

Contact the Guild office 03 9822 3111 or the Dean Mobile 0412 327 665, or write to Guild

451 Glenferrie Road, Kooyong Victoria 3122 AUSTRALIA, or visit our WEB SITE www.guildmusic.edu.au

http://www.guildmusic.edu.au/



INDEX

CLASSICAL GUITAR SYLLABUS.

INDEX. Page 4

EXAMINATION GUIDE. Page 5

GRADE EXAMINATIONS. Steps 1 Page 16

Steps 2 Page 18

Steps 3 Page 20

Preliminary Page 22

Grade One. Page 24

Grade Two. Page 26

Grade Three. Page 28

Grade Four. Page 30

Grade Five. Page 32

Grade Six. Page 34

Grade Seven. Page 37

Proficiency. (Grade Eight) Page 40

DIPLOMA EXAMINATIONS. Associate. Page 43

Licentiate. (Performer) Page 46

Licentiate. (Teacher) Page 49

Fellowship (Performer) Page 51



EXAMINATION GUIDE

1. EXERCISES. Preliminary. Grades 1. 2. Candidates only need to select ONE for performance.

*************************************************************

2. Guild Grade Examinations. ) " 16.

3. Supplementary Student Book. " 05.

4. Examination Music. " 06.

5. Guild Examinations. " 06.

6. Own Choice Music. " 06.

7 Memorization. " 06.

8. Performance. " 06.

9. Technical Control. " 06.

10. Additional Devices. " 06.

11 Chord Progressions. " 07.

12. Chords. " 07.

13. Contemporary Chords. " 07.

14. Sight Reading. " 07.

15. Assessment. " 07.

16. Gradings. (Assessment) " 08.

17. Theory Requirements for Practical Examinations. " 08.

18. Scales and Arpeggios. " 08.

19. Recommended Minimum Tempi for Scales and Arpeggios. " 09.

20. Scale requirements for all Grades. " 09.

21. Arpeggio requirements for all Grades. " 11.

22. Chord Requirements for all Guitar Examinations. " 12.

23. Description of Contemporary Chord Symbols. " 13.

24. Chord Progressions " 14.

*************************************************************

2. GUITAR STEPS TO LICENTIATE – CLASSICAL BOOKS

Examination books for Steps 1. 2 and 3 and for Grades 1 – Licentiate levels have been published by Guild

Publishing Inc. Each is a self-contained book which can be used for entry to the appropriate public Step examination

in Classical Guitar, technical exercises and scales can be used for modern guitarists also. Robert Styles has created

and compiled the most popular pieces preferred by teachers and students and are available through the Guild Office

and also at selected retail outlets. It is important to note that any student using one of these Guild Step or Grade

Books will not require the Supplementary Student Book. (See Item 3).

3. SUPPLEMENTARY STUDENT BOOK.

This outstanding and essential Guitar Supplementary Student Book includes all necessary technical requirements

for every examination from Step One through to the Proficiency Certificate. The book is valid for all Guitar

examinations (See Item 2) and contains all Scales, Arpeggios and chords required in Guild examinations. In

addition, informative notes about Chords, Chord Symbols, Chord Progressions, Technical Exercises, Rhythms and

a new and extensive article on Improvisation are also included.

NOTE:- This book is a Guild publication and is only available from the Guild Office. It is essential that every

student has a personal copy of this Supplementary Student book for practice and for his or her own examination

use. The book is copyrighted and photo copies of individual pages are not to be used.



EXAMINATION GUIDE. Continued.

4. EXAMINATION MUSIC.

All of the chosen music provides a basis for a sound foundation and a pleasing repertoire. A few items in the

Examination Lists are published in a number of alternative versions. Care should be taken to ensure that the correct

standard for the specific grade level is used, as editions of the same work often differ markedly.

5. GUILD EXAMINATIONS.

AGMED examinations provide an excellent goal for students in their music studies. They give a sense of purpose

and direction and can be undertaken in addition to other music activities. They are not meant to be the only event

in a student's musical year. The report provides a reliable assessment of a candidate's progress and contributes to

the student's overall musical development.

6. OWN CHOICE REPERTOIRE FOR YOUR CONSIDERATION.

No Guild approval required for music from the given lists.

NOTE:- Also, you are free to choose any other work not listed which is suited to your student at that

particular examination level (this applies to Steps - Grade 2 only).

As an aid to individual student development, the above section is included in every Grade and Diploma List

throughout the entire Syllabus.

Teachers need not refer to the Guild for approval of a substituted work in these levels unless there is doubt as to the

standard of the chosen work. (applies to Steps to Grade 2 level only)

Teachers and candidates should be most careful to maintain adequate contrast in style and comparable difficulty

when selecting an "Own Choice" work under this provision.

For ‘Own Choice’ Grade 3 level and above - teachers should send a copy of the complete work with a self-

addressed stamped envelope, stating the grade and which list (A, B, C or D) approval is requested, to the

Guild C/O Dr Knoop.

7. MEMORY.

Although not a Step or Grade requirement, the playing of all music from memory is to be encouraged as many

benefits can be derived from playing from memory. Style, skill and confidence often develop considerably in this

way as the student's attention is not diverted by the need to continually look at the printed page. Memory work is

required in the Associate and Licentiate Diploma practical examinations.

8. PERFORMANCE.

The importance of personal style development should not be overlooked by teachers and students. This is in

accordance with the Guild's philosophy of developing self-esteem and personal skill. But, attention to different

styles and accuracy of music in general must not be neglected. It should always be borne in mind that the music

which has been chosen for the examination must be played with absolute precision and accuracy in respect of the

demands of the period and of the composer's intentions. It is expected that teachers and candidates will give careful

consideration to the development of technical skill and musical ability so that the necessary styling demands of the

music be adequately met.

9. TECHNICAL CONTROL. Technical control of the guitar is very important. Posture is very important. The correct hand, wrist, arm and finger

action is a basic technical requirement, and will always be commented upon in an Examiner's Report if this

technique is neglected.

10. ADDITIONAL DEVICES. Amplifiers and foot pedal effect devices are very important and should not be lightly dismissed by teachers or

students if they are used in the examination. The correct seating posture and position while playing the guitar is

essential as with the incorrect or ineffective use of the foot with the effect pedal. Amplifier and device setup is a

frequent cause of an unsatisfying performance at examinations. The importance of having a sound knowledge of

the mechanism, function and technique of these essential aids, cannot be over-emphasized.




Students should be trained to 'listen' to their own playing, and if this is done, over or under-use of the effects pedals

would soon cease. The idea that the pedal(s) should be avoided until the higher grades are reached is both musically

and technically naive and unsound. Too much pedal is an evil which can never be tolerated, but too little pedal is

a greater evil, because it is too often tolerated. The latter fault makes the guitar a somewhat expressionless

instrument, often countering the style, mood and content of the piece. Not until a guitarist has reached an acceptable

standard of pedal technique, can a claim of satisfactory mastery over the instrument be made.

Therefore, for the purpose of these examinations, the musical use of the pedal will be expected - especially in Sight

Reading exercises. Often, music does not have any pedal markings, but this editing is not to be interpreted as an

indication that the pedal is not to be used. The Examiner will expect a reasonable degree of musical pedal control

from the candidate commensurate with the Step, Grade or Diploma level being attempted. The above applies only

to guitarists using Effect Pedals. They are not mandatory. Also adjust volume to the environment don’t deafen the

examiner.

11. CHORD PROGRESSIONS.

(These Progressions are not required from memory, but it is advisable to play the progression from memory

if the student wishes to do so.)

These are examination requirements in the Guitar Technical work if asked by the examiner They follow the circle

of fifths and fourths which is readily available in any theory manual

12. CHORDS.

Candidates should know all of the chords which are listed for each grade, as the Examiner will always ask for

some of these. However, it is realized that there are many other chords used in the examination music which

candidates choose and which are not shown in the chord list in the Technical Work section of the examination

requirement.

These additional chords are not examinable, but teachers should always make certain that their students are

thoroughly familiar with them. It is important to give the student this knowledge and skill so that adequate

individual development be not unduly retarded.

13. CONTEMPORARY CHORDS.

The student during the course of his/her development will often be confronted by Contemporary Chords.

See any theory an explanation of some of Contemporary chords generally in use by musicians.

14. SIGHT READING.

This essential skill will always be tested in an examination. The tests given will generally reflect the key

signature and technical requirements of the step or grade level being examined. Therefore it is necessary

for every teacher to insist that their students give a few minutes each day to the development of this skill.

Always train the student to look well ahead and to be ready for what is coming along.

15. ASSESSMENT.

In the examination assessment of candidates, examiners will carefully consider the following points:-

* Poise, musical control and co-ordination.

* Style, tone and interpretation.

* Technical control of the fingers, hands, wrists and arms.

* The ability of the candidate to employ the concept of economy of movement in muscular control with the

guitar. No excessive or wasteful movement.




16. EXAMINATION GRADINGS. (ASSESSMENTS) The following gradings apply to all Guild Step, Grade and Proficiency examinations.

96-100. = High Distinction.

90-95. = Distinction.

85-89. = Honours.

80-84. = B+ Credit.

75-79. = B Credit.

70-74. = C+ Pass

65-69. = C Pass.

55-64. = D Marginal Pass. (No certificate issued.)

0-54. = NGS. (Not Grade Standard. No certificate issued.)

In addition, NGS is sometimes used by Examiners when marking any particular section in any examination.

This is always an indication that much more work remains to be accomplished in this particular area.

DIPLOMA EXAMINATIONS . (ASSESSMENTS)

96-100. = High Distinction.

90-95. = Distinction.

70-89. = Pass.

17. THEORY REQUIREMENTS FOR PRACTICAL EXAMINATIONS.

All practical examinations from Grade Three and above have an additional theory requirement. The

appropriate theory examination must be passed within three years of the practical examination or vice versa

before the practical examination certificate can be issued.

Grade Three Practical Additional requirement Grade One Theory

Grade Four Practical Additional requirement Grade Two Theory

Grade Five Practical Additional requirement Grade Three Theory

Grade Six Practical Additional requirement Grade Four Theory

Grade Seven Practical Additional requirement Grade Five Theory

Proficiency Additional requirement Grade Six Theory

Associate Additional requirement Grade Seven Theory

Associate TD. Additional requirement Grade Seven Theory

In addition. Teaching Principles

Licentiate P. Additional requirement Grade Eight Theory

Licentiate TD. Additional requirement Grade Eight Theory

In addition. Teaching Principles

18. SCALES and ARPEGGIOS.

The minimum suggested tempo is always given with each Step or Grade. Scales are based on FOUR notes to

the metronome marking.

Arpeggios are based on THREE notes to the given metronome indication but it is also advisable to practice

them in groups of FOURS at a similar and comfortable tempo.

Although not listed as examinable in grade requirements, students, in their own interests, should nevertheless

be familiar with all scales and arpeggios from previous grades. Examiners MAY sometimes request a different

scale from those listed to arrive at an appropriate decision.

* Fluency, accuracy and clarity of all scale and arpeggio requirements is essential. Students are advised not to

be satisfied with uneven and careless playing as poor control effects the playing and examination result

considerably.

* Reasonable tempo modifications are allowable, if necessary, for the playing of scales such as, 3rds, 6ths, 10ths,

double octaves. But in every case, the technical level of each grade should be duly regarded.

* Tonal gradation:- ppp - fff. Crescendo (ascending) and decrescendo (descending) is required for scales from

Grade Five and above:- again at the Examiner's discretion.




* Suggested scale and arpeggio speeds are listed in the technical section of each Step or Grade examination.

Rhythmic and notational accuracy in all scales and arpeggios must never be sacrificed for uncontrolled speed

in playing. Reasonable fluency in technical work is insisted upon in all Steps and Grade examinations and

plodding tempos should be guarded against.

* Any recognised standard edition of scales and arpeggios may be used. Correct fingering in all scales and

arpeggios is ESSENTIAL.

19. RECOMMENDED MINIMUM TEMPI.

SCALE tempo is FOUR crotchets to the given MM number. Faster tempi can be used if desired.

Preliminary One crotchet = MM 60

Grade 1. " " = MM 88.

Grade 2. " " = MM 92.

Grade 3. " " = MM 96.

Grade 4. " " = MM 120.

Grade 5. " " = MM 144.

Grade 6. " " = MM 168.

Grade 7. " " = MM 96. (Minimum)

Proficiency. " " = MM 108. (Minimum)

20. GRADES. Scale listing.

The Grade requirements for scales and arpeggios are methodically planned for proper development, so that

all keys, (including enharmonic keys) will have been effectively examined by the time Proficiency level has

been reached. This list has been compiled for the convenience of teachers and students. Refer to the and

students should note the special ADDITIONAL details for Bass & Electric Guitar.

PRELIMINARY. SCALES Major. C. F. G. One

octave.

Harmonic Minor A One octave.

Bass Guitar Dorian Scale C One octave.

ARPEGGIOS (As for scales) appropriate Grade and Syllabus for exact requirements.

Teachers

C. F. G. major & A minor One octave.

(Applies to bass and electric guitar)

GRADE ONE. SCALES Major. C. F. G. Two

octaves.

Harmonic Minor A. D. E. One octave.

Melodic Minor A. One octave.

Bass Guitar Dorian Scale G. One octave.

Blues Scale F. One octave.

ARPEGGIOS (As for scales) C. F. G. major (2 octaves) & A. D. E. minor One octave.


GRADE TWO. SCALES Major. D. A. Two

octaves.

Harmonic Minor B. F#. Two octaves.

Melodic Minor E. Two octaves.

Bass Guitar Dorian Scale D. A. One octaves.

Blues Scale Bb. One octave.

ARPEGGIOS (As for scales) Two octaves.




GRADE THREE. SCALES Major. Bb. Eb. Two

octaves.

Harmonic Minor C. G. Two octaves.

Melodic Minor C. G. Two octaves.

Chromatic on F Two octaves.

Bass Guitar Dorian Scale Bb. One octave.

Mixolydian Scale G One octave.



GRADE FOUR. SCALES Major. E. Ab. Two

octaves.

Harmonic Minor F. C#. Two octaves.

Melodic Minor F. C#. Two octaves.

Chromatic on G. Two octaves.

Bass Guitar Dorian Scale E. Two octaves.

Blues Scale F#. Two octaves.

Mixolydian Scale C. Two octaves.

Pentatonic Scale C. G. Two octaves.



GRADE FIVE. SCALES Major. B. Db. Two

octaves.

Harmonic Minor Bb. G#. Two octaves.

Melodic Minor Bb. G#. Two octaves.

Chromatic on E (Low). Three octaves.

Bass Guitar Dorian Scale B. Two octaves.

Blues Scale G. Two octaves.

Mixolydian Scale D. Two octaves.

Pentatonic Scale D. Two octaves.



GRADE SIX.

SCALES Major. F#. C#. Two

octaves.

Harmonic Minor Eb. Ab. Two octaves.

Melodic Minor B. F#. Two octaves.

3rds Major C. G. Two octaves.

3rds Minor G. Two octaves.

Chromatic on C. G. Three octaves.

Bass Guitar Blues Scale D. Two octaves.

Mixolydian Scale Bb. Two octaves.

Pentatonic Scale A. Two octaves.



Electric Guitar Demonstrates the use of Pull offs, Hammers and Bending.




GRADE SEVEN. SCALES Major. Gb. Cb. Two

octaves.

Harmonic Minor D#. A#. Two octaves.

Melodic Minor D#. A#. Two octaves.

3rds, 6ths & Octaves C. F. G. D. Bb (As requested by Examiner) One octave.

Chromatic on F. Three octaves.

Whole Tone on F. Three octaves.

Bass Guitar Blues Scale A. Bb. Eb. Two octaves.



Electric Guitar (As for grade 6) plus demonstrates a favourite riff pattern, demonstrates the blues

and pentatonic scale discussing the use of the pedal board.

PROFICIENCY. SCALES Major. Any scale. Two

octaves.

Harmonic Minor Any scale. Two octaves.

Melodic Minor Eb. Ab. Bb. C#. Two octaves.

3rds, 6ths, 10ths & Oct. Major & Minor E. B. Eb. Ab Two octaves.

Chromatic on Any one. Two octaves.

Whole Tone on E. F. G. Two octaves.

Bass Guitar Blues Scale E. B. Db. Ab. Two octaves.



Electric Guitar To demonstrate the connection relationship of the Modes with the Scales. This also

applies to the Associate Diploma at a more advanced level.

ASSOCIATE Practical demonstration of Modes and scales as used by Satriani and others.

***********************************************************

21. GRADES. ARPEGGIO LISTING.

The following list has been compiled for the convenience of teachers.

ARPEGGIO tempo located in each grade section of the syllabi.

PRELIMINARY. Ascending and descending.

Arpeggios. Major. C . F. G. One octave.

Minor. A. One octave.

Bass Guitar Plus D7. One octave.

GRADE ONE. Ascending and descending.

Arpeggios. Major. C. C7. F. G. Two octaves.

Minor. A. D. E. One octave.

Bass Guitar Plus F7. G7. One octave.

GRADE TWO. Ascending and descending.

Arpeggios. Major. D. G. A7. A. E7. Two octaves.

Minor. B. E. F#7. F#. C#7. Two octaves.

GRADE THREE. Ascending and descending.

Arpeggios. Major. Bb. Eb. F7. Ab. Bb7. Two octaves.

Minor. C. F. G7. G. D7 Two octaves.

GRADE FOUR. Ascending and descending.

Arpeggios. Major. E. A. B7. Ab. Db. Eb7 Two octaves.

Minor. C#. F#. G#7. Two octaves.




GRADE FIVE. Ascending and descending.

Arpeggios. Major. B. Eb. F#7. Db. Gb. Ab7. Two octaves.

Minor. G#. C#. D#7. Two octaves.

GRADE SIX. Ascending and descending.

Arpeggios. Major. F#. B. C#7. Cb. Gb7. Two octaves.

Minor. Eb. Ab. Bb7. Ab. Db. Eb7. Two ocatves.

GRADE SEVEN. Ascending and descending.

Arpeggios. Major. C#. F#. G#7. Gb. Cb. Db7. Two octaves.

Minor. D#. G#. A#7. Bb. Eb. F7. Two octaves.

Diminished 7ths. In the keys of C. E. Two octaves.

PROFICIENCY CERTIFICATE. Ascending and descending.

Arpeggios. Major. Any one. Two octaves.

Minor. Any one. Two octaves.

Dominant 7ths. In the keys of Any one. Two octaves.

Diminished 7ths. In the keys of Any one. Two octaves.

NOTE:- Three octaves for Proficiency if possible Ascending and descending.

***************************************************************

22. CHORD REQUIREMENTS. GRADES.

PRELIMINARY.

C. G. G7. F. Am. Any position.

GRADE ONE.

` C. G. G7. F. Am. Dm. Any position.

GRADE TWO.

C. G. D. F. Bb. C7. G7. F7. Am. Dm. Em. Any position.

GRADE THREE.

A. E. B. Cm. Fm. Gm. D7. Dm7. A7. Am7. Any position.

The Examiner MAY also ask for any of the chords from previous grades as follows:-

C. G. D. F. Bb. C7. G7. F7. Am. Dm. Em.

GRADE FOUR. Eb. Bb7. Cm7. Gm7. C6. G6. F6. Bb6. Any position.


C. G. D. A. E. B. F. Bb.

Cm. Dm. Em. Fm. Gm. Am. C7. G7. D7. A7. F7. Am7. Dm7.

GRADE FIVE.

C Dim. G Dim. D Dim. A Dim. F Dim. Also written as Co.

C Aug. G Aug. D Aug. A Aug. F Aug. " " " C+.

Ab. D6. E6. A6. B6. Eb6. Ab6. Any position.


C. G. D. A. E. B. F. Bb. Eb.

Cm. Dm. Em. Fm. Gm. Am. Am7. Cm7. Gm7. Dm7.

C7. G7. D7. A7. F7. Bb7. C6. G6. F6. Bb6.




GRADE SIX.

ALL Major and Minor chords in all keys.

CMaj7. GMaj7. DMaj7. AMaj7. FMaj7. BbMaj7. EbMaj7.

E7. Eb7. Ab7. Em7. Bm7. Fm7. Bbm7. Any position.


C7. G7. D7. A7. F7. Bb7. Am7. Cm7. Gm7. Dm7.

C6. D6. G6. A6. E6. B6 F6. Bb6. Eb6. Ab6.

C Dim. G Dim. D Dim. A Dim. F Dim. Also written as Co.

C Aug. G Aug. D Aug. A Aug. F Aug. " " " C+.

GRADE SEVEN.

Major, minor, sixth, seventh, major seventh, minor seventh, diminished and augmented chords in

all keys. Any position.

PROFICIENCY. Major, minor, sixth, seventh, major seventh and ninth, minor seventh and ninth, diminished and

augmented chord. Familiarity with chords in all keys is essential.

Any position.

*************************************************************

23. DESCRIPTION OF CONTEMPORARY CHORD SYMBOLS.

Although this listing is given in the key of C, the same construction and symbol applies to all keys.

23.1 SINGLE LETTER is always a Major or a Minor chord. (Triad)

e.g. C or CMaj = C E G. Cm = C Eb G.

23.2. SEVENTH CHORD is always the major triad and a minor 7th. This chord is traditionally known as

the Dominant 7th of the key to which it belongs. In this case, the key of F.

e.g. C7 = C E G Bb.

23.3. MINOR SEVENTH CHORD is always the minor triad and minor 7th.

e.g. Cm7 = C Eb G Bb.

23.4. MAJOR SEVENTH CHORD is always the major triad and major 7th.

e.g. CMaj7 = C E G B. GMaj7 = G B D F#.

23.5. DIMINISHED CHORD is always every 3rd semitone.

e.g. Cdim or Co = C Eb Gb. Co7 = C Eb Gb Bbb.

23.6. AUGMENTED CHORD is always a major 3rd and Augmented 5th.

e.g. Caug or C+ = C E G#.

Caug7 or C+7 = C E G# B or Bb.

23.7. A SIXTH CHORD is an added major 6th to a major or a minor triad.

e.g. C6 = C E G A.

Cm6 = C Eb G A.

Bb6 = Bb D F G.

Bbm6 = Bb Db F G.

23.8. NINTH CHORD. Contemporary ninth chords always use a Major 9th interval from the root note.

There are several types of ninth chords. Refer to one of the many chord books commercially

available. e.g. CMaj7(9) or CMaj9 = C E G B D.

C9 = C E G Bb D.



24. CHORD PROGRESSIONS.

These are examinable from Grade Five onwards in the Modern Guitar and Classical Guitar Syllabi. It is

recommended that teachers extend their student’s skills and use these progressions (or similar ones) at earlier

examination levels if possible. The aim is to develop a sound knowledge of the use of chords which will be of vital

assistance in both the practical and theoretical areas of music education. Refer to grade examination requirements.

SIMPLE PROGRESSIONS

a) 1 V 1 Perfect Cadence. (V – 1) See example No 1.

b) 1 1c V 1 Perfect Cadence. The cadential 6/4. See example No 2.

c) 1 1V 1 Plagal Cadence. (1V – 1)

d) 1 V V1 Interrupted Cadence. (V – V1)

e) 1 1V 1 V Imperfect Cadence. (1 – V)

COMMONLY USE CHORD PROGRESSIONS.

The below listed chord progressions are all in the key of C Major. It is recommended that as students develop familiarity, they transpose the progressions into other keys. E.g.

G. D. F. Bb Major and also the relative Minor keys. It is also important that they try to use the progressions in either four part vocal harmony (for theory examination development) or in Guitar style. NOTE:- ‘b’ = 1st inversion. ‘c’ = 2nd inversion of the chord.

In the early stages, chords can be used in any inversion, but always aim for a smooth change. Where ‘b’ is indicated, always place the 1st inversion note (3rd of the chord) in the Bass. E.g. Chord 11 (Two) in the key of C = D F A. The 1st inversion = F A D. Place the ‘F’ in the Bass. (Try not to double the bass note of a 1st inversion chord when using 1b, 1Vb and Vb.)

a) 1 1V V 1 b) 1 11b 1c V 1

c) 1 11b V V1 1V V 1 d) 1 1V 1b 11b 1c V7 1

e) 1 V1 11b V 1b 1V 1 f) 1 111b V1 1V 11b V7 1



REFERENCE BOOKS AND SITES.

Step to Licentiate books AGMED Robert Styles

Jazz Scales for Guitar and where to use them. Columbia Pic.

Guitar Tuning. Centrestream.

YOUTUBE on the WEB

Guitar Licks.

A Modern Approach to Classical Guitar, Book 1, 2 & 3 Charles Duncan

A Modern Approach to Classical Guitar: Part 1 & 2: Repertoire (Paperback) Charles Duncan

Classical Guitar 2000 - Technique for the Contemporary Serious Player: A Companion to "The Art of Classical

Guitar Playing" (Paperback) Charles Duncan

Classical Guitar Method Book 1 Bk/CD : For Beginners to Intermediate Students Jason Waldron

Guitar Chords for Dummies (Spiral-bound) Antoine Polin

Blues Guitar Songs for Dummies (Paperback) Greg Herriges

Rock Guitar Songs for Dummies (Paperback) Greg P. Herriges

Blues Guitar for Dummies [With CDROM] (Paperback) Jon Chappell

Rock Guitar for Dummies [With CD-ROM] (Paperback) Jon Chappell

Guitar For Dummies (Paperback) Jon Chappell

Acoustic Guitar Songs for Dummies (Paperback) Greg P. Herriges

The Smart Guitar Book: Guitar Chords & Scales Reference (Paperback or Softback) Book Ian Visser

The Guitar Grimoire Scales & Modes Encyclopedia Reference Book Adam Kadmon

Composer's Desk Reference For The Classic Guitar Book Chris Kachian

Guitar Chord Dictionary Fact-Filled Reference Book That Allows You Morton Manus

Play Guitar In 10 Easy Lessons (paperback) John Buck

Fast Track Guitar: (Paperback) Hal Leonard Corporation

Improvising Lead Guitar Book and CD Hal Leonard

Complete Book of Guitar Improvisation (Mb93278) Mel Bay's

Jazz Improvisation for Guitar Book/CD Berklee Press

The Big Book of Jazz Guitar Improvisation

http://www.fretmeup.com/guitar-improvisation-part1/

Guitar Music Theory and the CAGED System - Scales, Chords, Progressions & More Download a Free 25 Page E-

Book from www.Guitar-Music-Theory.com

Advancing Guitarist Mick Goodrick

Plus many more

http://www.goodreads.com/book/show/10271309-guitar-chords-for-dummies

http://www.goodreads.com/author/show/4594194.Antoine_Polin

http://www.goodreads.com/book/show/1308754.Blues_Guitar_Songs_for_Dummies

http://www.goodreads.com/author/show/254637.Greg_Herriges

http://www.goodreads.com/book/show/919305.Rock_Guitar_Songs_for_Dummies

http://www.goodreads.com/author/show/469764.Greg_P_Herriges

http://www.goodreads.com/book/show/1308748.Blues_Guitar_for_Dummies_With_CDROM_

http://www.goodreads.com/author/show/172690.Jon_Chappell

http://www.goodreads.com/book/show/919304.Rock_Guitar_for_Dummies_With_CD_ROM_


http://www.goodreads.com/book/show/299491.Guitar_For_Dummies


http://www.goodreads.com/book/show/241465.Acoustic_Guitar_Songs_for_Dummies

http://www.goodreads.com/author/show/469764.Greg_P_Herriges

http://compare.ebay.com.au/like/230910119639?ltyp=AllFixedPriceItemTypes&cbt=y&_lwgsi=y&lpid=45&item_id=230910119639

http://www.fretmeup.com/guitar-improvisation-part1/



INTRODUCTORY EXAMINATIONS.

STEP 1. Preparatory.

STEP 11. Elementary.

STEP 111. Preliminary.

These rudimentary examinations are intended to ensure that sound technical foundations are laid, and also to

accustom very young students to examination conditions and demands in addition to thoughtful practise habits. The

work in these examinations should not be played excessively quickly, nor yet be unduly retarded. A good legato

tonal control should be cultivated early. Examiners will watch for correct hand positions, finger technique,

appropriate stance, general control with attention to phrasing, tone, poise, expression and style applicable to the

examination standard. It is recommended that students use the AGMED Step books for all early examinations as they

are complete in themselves and ensure a sound basic technical development.

RECOMMENDED CONTEMPORARY TEXT.

Learn Guitar Fingerboard. M.J.Boothroyd. Modern Music Craft.

*************************************************************

STEP ONE. PREPARATORY. CLASSICAL GUITAR. Examination time. 10 Minutes.

Minimum pass mark. C 65.

NOTE:- A self-contained AGMED Step One Examination Book, available from the AGMED, has been published by

AGM:ED Publishing and is recommended for either the Classical, Modern or Folk, Country and Western Guitar

Syllabi.

TECHNICAL WORK. From memory. 20 Marks.

Fingering im. MM 60. One note per beat. Single notes. Plectrum. Down Stroke.

SCALES. Major. C. G. One octave.

Ascending and descending. Scale speed. One crotchet = MM 100.

ARPEGGIOS. Major. C. G. One octave.

EXERCISES. As set for Step One in the AGMED Guitar Exercise Book.

The Examiner will select one or two for performance. See Item 3. Page 6.

DEMONSTRATION. The candidate will be asked to demonstrate the correct method of holding

the guitar and the position of right and left hands.

PERFORMANCE. Three Lists required. A. B. C.

Memory work is encouraged, but is not essential.

SUPPLEMENTARY LIST.

OWN CHOICE. Refer Item 3. Page 6.

LIST A. One selection required. 15 Marks.

Classic Free Stroke and Rest Stroke Exercises.

Any simple exercise. Minimum of eight bars.

Own Choice. No AGMED approval required.

LIST B. One Selection required. 20 Marks.

The pieces given under List C can be used for this List.


LIST C. One Selection required. 20 Marks.



CLASSICAL GUITAR. STEP ONE EXAMINATION. Continued.

Any of the following pieces and arrangements are suitable for this Step examination.

Greensleeves.

Twinkle Twinkle Little Star.

Frere Jacques.

London is Burning.

Old Time Dance.

Good King Wenceslas.

Jingle Bells.

Love Me Tender.

Yankee Doodle.

Clair de Lune.

Lavender Blue.

Scarborough Fair.


SIGHT READING. 10 Marks.

A short simple phrase in the open position consisting of minims and crotchets.

EAR TESTS. 8 Marks.

RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than a

crotchet.

PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner in the immediate

range above Middle C. Not less than an OCTAVE apart.

First time: f forte. Second time: p piano.

GENERAL KNOWLEDGE. 7 Marks.

The candidate will be asked to identify and name the Brace, Bar lines, Double Bar-line, Stave or Staff, Clefs,

Semibreves, Minims and Crotchets. As found in the repertoire.

************************************************************



STEP TWO. ELEMENTARY. CLASSICAL GUITAR. Examination time. 10 Minutes.


NOTE:- A self-contained AGMED Step Two Examination Book, available from the AGMED, has been published by


Syllabi.



SCALES. Major. x. x. One octave.


ARPEGGIOS. Major C. F. G or G7 One octave.

EXERCISES. As set for Step Two in the AGMED Guitar Exercise Book.






SUPPLEMENTARY LIST.



Any simple tune applicable to this examination level.



The pieces given under List C can be used for this List.



Any of the following pieces and arrangements are suitable for this Step examination.

Blowin' in the Wind.

Peter Cottontail.

Botany Bay.

Sang the World's Last Whale.

When the Saints go Marching In.

Auld Lang Syne.

Coming Round the Mountain.

Joy to the World.

Waltzing Matilda.

Silent Night.

Advance Australia Fair.

Little Donkey.

Whistling Gypsy.

This Old Man.

Camptown Races.

Poor Ned.

The Boogie Ode.



A short simple phrase of two bars in the open position consisting of minims and crotchets.



EAR TESTS. 8 Marks.


crotchet.

PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner in the immediate

range above Middle C. Not less than a FIFTH apart.



Questions on rudiments as set for Step One as follows. The Brace, Bar-lines, Double Bar-line, Stave or Staff, Clefs,

Semibreves, minims and Crotchets.

In addition, simple time, the function of a dot after a note, a sharp, a flat and the natural sign. Simple dynamic signs:

crescendo, diminuendo, p, mp, f, mf, as found in the examination music.

************************************************************



STEP THREE. PRELIMINARY. CLASSICAL GUITAR. Examination time. 15 Minutes.


NOTE:- A self-contained AGMED Step Three Examination Book, available from the AGMED, has been published by


Syllabi.

This book completes the basic foundation for technical development of the beginning student.



SCALES. Major. C.F.A minor One octave.


ARPEGGIOS. Major. C.F.G7 A minor. One octave.

EXERCISES. As set for Step Three in the AGMED Guitar Exercise Book.






SUPPLEMENTARY LIST.



Aguado. D. 50 Studies for Guitar. Edit.Gonzalez. Ricordi.

No 2. 3. Either one.

Altmeier-Mort. P. The Art of Classical Guitar. Vol 1. Classical Publications.

Study No 3. Page 41.

Brindle Smith. R. Guitarcosmos 1. Schott. 11387.

Simple Arpeggios. Page 3.

Schmid. Guitar Method. Book 1. Hal Leonard Publishing.

No 26. 27. 28. 36. 37. 38. Any one.

Shearer. Classical Guitar Technique. Vol 1. Colombo. New

York.

Etude. No 1.

Prelude. No 2. 4. 6. to be played apoyando. Any one.

Sor. Fernando. An Hour with the Guitar. Arr.Gotze Schott.

Study. Page 8. F.Sor.



An Hour with the Guitar. Arr.Gotze Schott.

Kuffner. Walzer. Page 5.

Allegretto. Page 8.

Aguado. D. Walzer (1). Page 5.

Sor. Fernando. Melodie (2). Page 7.

Adrien Le Roy. Airs and Dances of the Renaissance. Ricordi. 131989.

Branle de Poictou 1.

Shearer. Classical Guitar Technique. Vol 1. Colombo. New York.

Andantino. Waltz in C Major. Either one Schott.



Bonell. C. First Pieces for Guitar. Ricordi. LD 691.



CLASSICAL GUITAR. STEP THREE EXAMINATION. Continued.

Bonell. C. A Sad Tune.

A Happy Tune. Either one.

Brindle Smith. R. Guitarcosmos 1. Schott. 11387.

Country Dance. Page 26.

Enjoying Playing the Guitar. Edit.Cracknell. OUP.

Coventry Carol.

The First Nowell. Any one.

A Sad Song.

Summer Waltz.

Pony Trek.

Lester. B. Explorations in Guitar Playing. Ricordi. LD 581.

Jazz Walk.

Schmid. Guitar Method. Book 1. Hal Leonard Publishing.

No 29. 30. 39. 40. 52 & 53. 54. 56. 57. Any one.

No 60. 62. 68. 69. 70. 76. 82. 85. 88. 94. 95.



A short simple phrase of two bars in open position, consisting of minims and crotchets.

EAR TESTS. 8 Marks.


crotchet.

PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner. Not less than an

THIRD apart. Within the octave below Middle C.


NOTE: Ear tests in the three Step examinations are basically the same and are designed to cumulatively train and

reinforce the student's listening skills. This concept is further strengthened in the Grade One Ear Tests.


All rudiments as set for Steps One and Two as follows.

The Brace, Bar-lines, Double Bar-line, Stave or Staff, Clefs, Semibreves, Minims and Crotchets. Simple time, the

function of a dot after a note, a sharp, a flat and the natural sign. Simple dynamic signs:- crescendo. diminuendo. mp.

f. mf. as found in the examination music.

In addition, signs and terms found in the examination pieces. Key and time signatures. Triplets, tones and semitones.

The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question relative to

the grade in order to reach an assessment.

*************************************************************



PRELIMINARY EXAMINATION. EXAMINATION TIME. 15 Minutes.

This early examination is intended to ensure that sound technical foundations are laid, and also to accustom very

young candidates to examination conditions. No so-called 'system' is insisted upon and any recognised fingering

patterns are acceptable. The work in this Preliminary examination should not be played fast nor yet be unduly

retarded. Accuracy and clarity of tone is important and Examiners will watch for clean finger action, appropriate

stance, general control of phrasing and tone. A good legato tone and technical control should be cultivated early, as

well as thoughtful practise habits. Poise, expression and style as applicable to the standard of the examination will

also be observed by the Examiner.

NOTE: A candidate can submit for one list a Contemporary Composers piece at an appropriate grade level or

standard as an alternative piece for a selected list.

IMPORTANT NOTE: It is the responsibility of the candidate /teacher to ensure that the arrangement being

presented is appropriate for the grade standard being attempted. Most solos have easy and difficult arrangement.

Please select the arrangement that is appropriate for the grade standard. If in doubt send a copy of the music to the

office for approval.


SCALES. Finger patterns must reflect adequate technical development. Refer to Page 3.

Single notes. Apoyando.

Major. C. G. ONE octave.

Harmonic Minor. A. ONE octave.

Ascending and descending.

Minimum scale tempo. Crotchet = MM 60.

ARPEGGIOS. Note grouping optional.

Major. C. G.

Minor. A.

Dominant 7th on G.

ONE octave ascending and descending.

Minimum arpeggio tempo. Crotchet = MM 48.

DEMONSTRATION.

The candidate will be asked to demonstrate the correct method of holding

the Guitar and position of right and left hands.

PERFORMANCE. Three lists required. A. B. C.

Candidates are advised to select contrasting works.

Choose from the following lists or substitute works

which fit the required criteria. See Page 5.

LIST A. Study. One selection required. 15 marks.

An Hour With The Guitar. Arr. Gotze. Schott.

Studie. Page 8. F.Sor.

Classical Guitar Technique. Vol 1. Shearer. Colombo.

Prelude No.2.

Etude No.2.

50 Studies for Guitar. Edit. Gonzalez. Aguado. Ricordi.

No. 2 or 3.

OWN CHOICE.



LIST B. 20 Marks.


Walzer. Page 5. Kuffner.

Walzer (1). Page 5. Aguado.

Melodie (2). Page 7. F.Sor.

Allegretto. Page 8. Kuffner.

Thema mit Variation. " 9.

Classic Guitar Collection. Vol.3. Edit. L. Bolotine. Ariel Pub.

Nine Country Dances. No.1 or 2. Page 4. Anon.

Classical Guitar Technique. Vol.1. Shearer. Colombo.

Andantino. Schott.

Waltz in C Major. Schott.

OWN CHOICE.

LIST C. 20 Marks.

Mel Bay Grade One Book. Allans. Mel Bay Pub.

Amazing Grace.

Chord Waltz and Chord Etude. (Both).

Kum-Ba-Ya.

The Builder and Chord Etude. (Both.)

OWN CHOICE.


A short simple phrase of two bars in the open position, consisting of minims and crotchets.

EAR TESTS. 8 Marks.

a) RHYTHM. To clap or tap a short TWO bar phrase played twice by the Examiner. No value smaller than a

crotchet.

b) PITCH. To state which is the higher or lower of two notes played separately, not less than a fifth apart, and to

hum or sing either note.


The candidate will be asked FIVE questions on musical rudiments and terms found in the examination music. The

function of the dot after a note, and of a sharp, flat and natural sign. Questions on note values and time signatures

used in the pieces performed.

*************************************************



GRADE ONE EXAMINATION. EXAMINATION TIME. 15 Minutes.


SCALES. Any scale from a previous Grade may be requested by

the Examiner. Finger patterns must reflect adequate

technical development. Refer to Page 3.

Single notes. Apoyando.

Major. C. G. F. TWO octaves.

Harmonic Minor. A. E. TWO octaves.

Melodic Minor. A. TWO octaves.



ARPEGGIOS. Note grouping optional. Any arpeggio from a previous

Grade may be requested by the Examiner.

Major. C. F.

Minor. E.

Dominant 7th on C.

TWO octaves ascending and descending.


PERFORMANCE. Three lists required. A.B.C.

See Page 5 for possible alternative list choice.

LIST A. Study. One selection required. 15 Marks.

Classical Guitar Technique. Vol.1. Shearer. Colombo.

Andante. No.1 or 2. Page 72 & 73. Guiliani.

Etude 2. F.Sor.

G.A.30.Studies for Right Hand. Guiliani.

No. 1.2.3.4.5.6.7.8.9.10. Schott.

G.A.79. No 1 or 2. F.Sor. Schott.

G.A.81. No 1. 2. 3. or 4. F Sor. Schott.

Prelude 4 or 6.

Music From the Student Repertorie. G101 J.Mills. Mus.New Serv.

Lesson 2. D.Aguado.

Studies in Apoyando. No. 6 or 7. Duarte. Ricordi.


No. 4.5.6.7.8.9. Any one.

OWN CHOICE.

LIST B. 20 Marks.


Folk Song. Page 10. Giuliani.

Walzer (2). " 13. Giuliani.

Andantino. " 14. Giuliani.

Allegretto. " 18. F.Sor.

Andantino. (1). " 19. F.Sor.


Nine Country Dances. No.4. Page 5. Anon.

OWN CHOICE.

LIST C. 20 Marks.

Carols for Guitar. Adeste Fidelis or Coventry Carol. Trad. Novello.

Elizabethan Melodies. Greensleeves. G.A.217. Schott.

Let us Have Music For Guitar. Edit. P.Sterrett. Allans. C.Fischer.



Any suitable ONE (79 melodies.) Must reflect Grade standard.

OWN CHOICE.


A short simple phrase with no note shorter than a crotchet.

Either 8 bars in common time, or 8 bars or more in 2/4 or 3/4 time. In the keys of C and G Major only.

EAR TESTS. 8 Marks.

RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than a quaver.

PITCH. To state which is the higher or lower of any TWO notes within an octave, played consecutively by the

Examiner.

To identify any note of the major common chord of C.

By its letter name, solfa or interval. (1,3,5,8.)

To hum or sing the TONIC at the end of a short unfinished descending melody played by the Examiner.


General questions based upon the music performed. Including note and rest values, staff, clefs, accidentals, time and

key signatures. Simple musical signs and terms found in the examination pieces.

*************************************************



GRADE TWO EXAMINATION TIME. 15 Minutes.





Groups of Two notes. Apoyando.

Major. D. A. TWO octaves.

Harmonic Minor. F#. B. TWO octaves.

Melodic Minor. E. TWO octaves.





Major. D. A.

Minor. D. A.

Dominant 7th on E.



PERFORMANCE. Three pieces required. List. A. B. C.


LIST A. 15 Marks.

An Hour With The Guitar.Arr.Gotze. Etude. Page 19. F.Sor. Schott.


Lesson 1. Page 6

Allegro. Page 17. D.Aguado.


Nos.10 to 20. Any one.

OWN CHOICE. AGMED approval required.

LIST B. 20 Marks.


Allegretto. Page 18. F.Sor.

Walzer. (3). " 18. Aguado.


9 Country Dances. No.3. 5 or 6. Pages 5 & 6.

Incomparable. Page 35. Anon.

Thirty Two Pieces. No.3 or 31. Pages 43 & 58.


A Toy. From Jane Pickering's Lute Book. Anon.

Allegro. Page 17. Giuliani.

Minuet in G. Page 26. F.Sor.


LIST C. 20 Marks.

Andantino. Best of Carulli. Mel Bay. 93454. Castle. Chappell.

English Lute Composers. Classic Guitar. Castle. Chappell.

Wilson's Wilde. J.Dowland.

Sellinger's Round.

16th C. Dance Tune.

Let us Have Music For Guitar. Edit. P.Sterrett. Allans. C.Fischer.

Any suitable ONE (79 melodies.) Must reflect Grade standard.



Pastorale. Best of Carulli. Mel Bay. 93454. Castle. Chappell.

10 Brazilian Folk Tunes. No 1 or 3. Columbia Music.



A short passage with no note shorter than a crotchet and with no accidentals. In the keys of C, G, F Major only. In

either 4/4, 3/4 or 2/4 time.

EAR TESTS. 8 Marks.

RHYTHM. To clap or tap a simple four bar passage played twice by the Examiner in 2/4 time. Undotted minims,

crotchets and quavers only.

PITCH. To hum or sing single notes within the compass Middle C - C. The Examiner will first play the TONIC

chord and then the note.

To hum or sing the tonic of a short descending or ascending phrase played by the Examiner.

To identify any TWO notes of the major common chord of C. The Examiner will play the chord as a slow

arpeggio. The candidate can either use letter names, solfa or intervals. (1.3.5.8.)


General questions based upon the music performed. Musical Terms, words and signs found in the music. Time and

key signatures.

Tones and semitones. Staccato and accent. All dynamic signs used in the examination pieces presented.

*********************************************



GRADE THREE. EXAMINATION TIME. 20 Minutes.





Groups of four notes. Apoyando and Tirando.

Major. B Flat. E Flat TWO octaves.

Harmonic Minor. C G. TWO octaves.

Melodic Minor. C. G. TWO octaves.

Chromatic Scale on F. TWO octaves.





Major. E B Flat.

Minor. F. G.

Dominant 7th on B.



PERFORMANCE. Three pieces required. LISTS A. B. C.

LIST A. 15 Marks.

Guitarcosmos 2. Arpeggio Study. Brindle. Schott.11388.

Progressive Studies for Beginners. Op.31. F.Sor. Belwyn Mills.

Nos. 2. 3. 5. or 6. (Kalmus Guitar Series. 4255.)


Lesson 3 or 4. D.Aguado.

Study in E. Page 25. F.Sor.

Study in E Minor. Page 28. Tarrega.

Studi Per Chitarra. Edit. R.Chiesa. Giulinani. Zerboni.

Nos. 1 to 7. Any TWO studies to be played.




LIST B. 20 Marks.


Andantino. Page 21. F.Carulli.


Five Easy Pieces. No.1. Page 9. Carulli.

Three Easy Sonatinas.

Larghetto. Page 13. Carulli.

Petite Piece. Page 41. Mozart.


Sarabande

Minuet. Page 13. R.de Visee.

32 Various Pieces from the 16th to 20th Century.Vol.2. Belwin Mills.

Kalmus Guitar Series. No.4213.

No.1. Fantasia. L.Milan.

No.2. Fantasia. de Fuenllana.

No.5. Fantasia. (No.1.) S.Molinaro.




LIST C. 20 Marks.

Flamenco Variations. No 1 & 2. OR No 1 & 3. S.Papas. Columbia.

La Cumparsita. Rodriguez. RB 0112.

Let us Have Music For Guitar. P.Sterrett. Allans. C.Fischer.

Any Suitable ONE. (79 melodies.) Must reflect Grade standard.

Six Traditional Songs. Polly OR Nuts in May. Hollier. Ricordi.



A passage of 8 bars in 4/4, 3/4 or 2/4 time, in the keys of C, G or F Major. To be played at the moderate speed of

ONE CROTCHET = MM 100. No accidentals. But phrasing must be observed.

EAR TESTS. 8 Marks.

RHYTHM. To clap or tap a simple four bar passage played twice by the Examiner in 3/4 time. Crotchets, quavers

and dotted minims will be used.

PITCH. To hum or sing any of the first five notes of the Major scale. The Examiner will first play the tonic

chord before requesting the note.

To hum or sing a short phrase of five notes played twice by the Examiner. No dotted rhythms used.

To state whether a phrase played by the Examiner is in a Major or a Minor key.

INTERVALS. To identify any of the first FIVE notes of the Major scale when played by the Examiner, who will

first sound the Tonic chord. The candidate may use either Solfa, letter names or intervals. (1,2,3,4,5.).


General questions based on the examination music performed. All Musical Terms, Signs, Key and Time Signatures.

In addition, questions on scale formation, tetrachords, tones and semitones.

***************************************************



GRADE FOUR. EXAMINATION TIME. 20 Minutes.






Major. E Ab. TWO octaves.

Harmonic Minor. F. C Sharp. TWO octaves.

Melodic Minor. F. C Sharp. TWO octaves.

Chromatic Scale on G. TWO octaves.





Major. B Flat. E Flat.

Minor. B. C Sharp.

Dominant 7th on D.





LIST A. 15 Marks.


Study in A. Page 10. Carcassi.


Nos. 7. 8. 9. 10. 11. Any TWO studies. (Kalmus Guitar Series.)




LIST B. 20 Marks.


10 Easy Pieces. No.1.2.3.5 or 9 Page 16. Any One.

Lute Prelude. Page 38. Bach.

Classic Guitar Music. Arr. J.Castle. Mel Bay Pub.

Gigue. From Suite No.2. Page 7. Reusner.

Sarabande. Page 8. De Visee.

Fughetto. Page 33. F.Carulli.


Minuet. Page 11. Carcassi.

Minuet. From Sonata No.1.in C.Page 14. Diabelli.

Orlando Sleepeth. Page 15. Dowland.

Andante in C. Page 16. Giuliani.



No.10.Sarabande & Gavotte 1.From Suite 3. J.S.Bach.

No.11.Fugue in D. F.Campion.

No.12.Courante. J.Weichenberger.

No.14.Bourree. W.Lauffensteiner,

No.15.Polonaise. J.Kropfgans.




LIST C. 20 Marks.

Guitarcosmos 2. Duo.-(in Fourths and Fifths.) Brindle. Schott.11388.

Jazz and Popular Songs. Arr. Duarte. Wise Pub.

Spanish Harlem

Eleanor Rigby.

Romantic Period Music. Classic Guitar. Mel Bay Pub. Castle.Chappell.

March of the Tin Soldiers. Tschaikowsky.

Melodie. F.Thome.

To a Wild Rose. E.MacDowell.

Six Pieces. Russian Song. Tschaikowsky. Novello.

Six Traditional Songs. Rock-a-bye Baby. Hollier. Ricordi. SD 9.



A twenty four bar passage in either the key of G. D. F

Major or in A Minor in 3/4, 4/4 or 6/8 time. Quavers and occasional accidentals will be used.

EAR TESTS. 8 Marks.

RHYTHM. To clap or tap a four bar passage played by the Examiner in 3/4 or 4/4 time. Dotted minims and dotted

crotchets may be used.

PITCH. To hum or sing any of the first FIVE notes of the Major scale, as in the corresponding Grade Three test.

To hum or sing a short phrase of FIVE notes in a Major key, played twice by the Examiner. An accidental will be

used in the phrase.

To state whether a phrase played by the Examiner is in a Major or a Minor key.

INTERVALS. To identify any of the first FIVE notes of the Major scale, as in the corresponding Grade Three test.


General questions covering scale formation, tetrachords, tones and semitones, notation, rests, main keys of the

chosen pieces, time signatures, accent and syncopation.

The musical terms and signs found in the examination pieces.

Binary form. Easy intervals above C, G and F. (Major or Minor 3rds and Perfect.)

***************************************************



GRADE FIVE. EXAMINATION TIME. 20 Minutes.

ADDITIONAL REQUIREMENT. A minimum PASS of C 65 marks in THIRD GRADE Theory of Music is necessary for this Grade Five Examination

Certificate. For requirements, see AGMED HANDBOOK.






Major. Bb and Db Two octaves.

Harmonic Minor. Bb and G#. Two octaves.

Melodic Minor. Bb and G#. Two octaves.

Chromatic Scale from Low E. THREE octaves.





Major. A Flat. F. F Sharp. Any TWO. Two octaves.

Minor. B Flat. F. C. Any TWO. Two octaves.

Tonic Sub dominant and dominant 7 for Db major Two octaves.




LIST A. 15 Marks.

Guitarcosmos 2. Sixths. Page 2. R.Brindle. Schott.11388.

Melodic Studies for Classical Guitar. W.Lawry. Mel Bay.Castle.

Lesson 38. Page 50

and Study Page 54 Both as one.


Study in D. Page 23. F.Sor.

Study in B Minor. Page 24. F.Sor.


Nos. 20. 21 or 22. (Kalmus Guitar Series. 4255.)


Nos. 15, 16 & 17, 22, 23, 27. Any ONE or Group.

LIST B. 20 Marks.

Baroque Music for Classical Guitar. J.Castle. Mel Bay. Castle.

Gavotte. Handel.

Gavotte in Rondo Form. Dandrieu.


Thirty Two Pieces. No.21 & 22, or 29, or 32. Pages 52, 57, 59.


Prelude in D Minor. Page 20. F.Molino.

Prelude No.6. Page 22. M.Pomce.



No.20. Fughetta. Op.113. M.Giuliani.

No.27. Zwei Satze. H.Ambrosius.

No.28. Sicilliano. Op.111 No.8. B.Henze.



LIST C. 20 Marks.

Classic Guitar Music. Arr.J.Castle. Mel Bay Pub.

Barcarole. Page 76. Offenbach.

Waltz in A Major. Page 79. Brahms.

El Noi De La Mare. Catalan Lullaby. Arr.M.Criswick. Fentone-Castle.

Guitar Series. J.Snyder. Folk World.

Maple Leaf Rag,

The Easy Winners,

The Entertainer.

Jazz and Popular Songs. Arr.Duarte. Wise Pub.

Stardust or Days of Wine and Roses.

Memory. Theme from 'Cats'. A,Webber. Chappell.

The Romantic Guitar. C.Bonell. IMP-Castle.

Waltz. Tschaikowski.



A passage in a Major key up to two sharps and two flats, or in a minor key up to one sharp or flat. Introducing

dotted, chords and simple modulations.

EAR TESTS. 8 Marks.

RHYTHM. To clap or tap a four bar passage played twice by the Examiner in simple or 6/8 time, containing no note

shorter than a quaver.

PITCH. To hum or sing any degree of the Major scale after the key chord has been sounded and named by the

Examiner.

To hum or sing the higher of two notes played simultaneously , the interval being less than an octave

INTERVALS. To identify any degree of the Major scale after the key chord has been sounded and named by the

Examiner.

CADENCES. To state whether a phrase played by the Examiner is in a Major or Minor key and whether the end

cadence is Plagal (1V - 1) or Perfect. (V - 1).


General questions covering musical terms and signs found in the examination pieces, the keys and modulations,

intervals including diminished and augmented above the notes D, A and B Flat. Time and accent. Binary and Ternary

form. To be able to demonstrate these forms in the examination pieces. To discuss scale formation and tetrachords.

To recognise Perfect and Plagal Cadence examples in the examination music presented.

*******************************************************



GRADE SIX. EXAMINATION TIME. 30 Minutes.

ADDITIONAL REQUIREMENT. A minimum PASS of C+ 70 marks in FOURTH GRADE Theory of Music is necessary for this Grade Six

Examination Certificate. For requirements, see AGMED HANDBOOK.






Major. B Flat. A Flat. D Flat. Any TWO Two octaves.

Major C# and F# Two octaves.

Harmonic Minor. Eb and Ab Two octaves.

Melodic Minor. B and F# Two octaves.

3rds. Major. C. G. Two octaves.

3rds. Harmonic Minor. G. Two octaves.

Chromatic Scale From C. THREE octaves.

Chromatic Scale From G. THREE octaves.





Major. B. A Flat. D Flat. Any TWO. Two octaves.

Minor. F. G. B Flat. Any TWO. Two octaves.

Dominant 7th on F. Two octaves.



PERFORMANCE. Four pieces are required. LISTS A.B.C.D.


LIST A. 16 Marks.


Etude in E or A. Any One. Page 72. M.Carcassi.

Guitarcosmos 2. R.Brindle. Schott.11388.

Left-Hand Slurs Pages 10

OR Tremolo. Pages 12.

Guitarcosmos 3 R.Brindle. Schott.11388.

Threes and Fives Pages 14

OR Tone & Semitone Arpeggios. Pages 15.

Op.60. No. 18. GA 2. Carcassi. Schott.


Nos. 14. 16 or 19. Kalmus Guitar Series. 4255



Study No 6. GA 34. Coste. Schott.


No 32 Etude. S.Behrend. Kalmus Guitar Series No.4213


LIST B. 16 Marks.

Bach for Classical Guitar. Barreiro. Hansen-Castle.

Bouree. Page 11 J.S.Bach

OR Sarabande. Page 14 J.S.Bach.




Two-Part Invention. Page 12. Bach.

Suite for Lute.

Overture and Sarabande Pages 19 De Richee.

OR

Minuet and Rondo. Pages 21. De Richee.

Dance of the Blessed Spirits. Page 23. Gluck.

Classic Guitar Collection. Vol.3. Edit. L.Bolotine. Ariel Pub.

Six Caprices. No.1.2 or 3. Op.26. Page 60. M.Carcassi.

6 Lute Pieces. Fantasia. Holborne. Berben 1725.



No.31. Elegie. T.Hlouschek.


LIST C. 16 Marks.

Air. From Four Pieces Breves. Martin. UE 12711.


Waltz in A Major. Op.39. No.15. Brahms.

Elegie. Massenet.

Gymnopedie No 1. Arr. Criswick. Satie.Fentone-Castle.

Homage to Ravel. Easy Modern Guitar Music. Wills. OUP.

Prelude 4. Villa-Lobos. Eschig.

Etude No 5 in C major. Villa-Lobos. Eschig.

Rondo in A Major. Classic Guitar. Carcassi. Mel Bay-Castle.

Spanish Romance. Anon. Arr.Criswick. F191-Castle.

The Watermill. Arr.Quine. Binge. OUP.


LIST D. 16 Marks.

Guitarcosmos 2. Brindle. Schott.11388.

Bitonal Canon. Page 14.


Ain't Misbehavin'.

The Girl Next Door.

(They Long to Be) Close to You,

Don't Get Around Much Anymore.

The Girl from Ipanema.

Shepherd Boy. Impressionist Period Music. Grieg. Mel Bay-Castle.

Tapestry. Jazz Selection for Classical Guitar. Solow. Mel Bay-Castle.

The Deer Hunter. S.Myers. Castle Music.



A passage in a Major key up to three sharps or three flats, or in a Minor key up to two sharps or flats. In either

simple or compound time. Using semiquavers and syncopation.

EAR TESTS. 7 Marks.

RHYTHM. To clap or tap a four bar passage played twice by the Examiner. Similar to that of the corresponding

Grade Five test.

PITCH. To hum or sing the higher or lower of two notes played simultaneously by the Examiner. The interval being

less than an octave.



INTERVALS. To identify any two notes of the Major scale after the key chord has been named and sounded by the

Examiner.

TRIADS. To identify as Major or Minor, Triads played in ROOT position by the Examiner.

CADENCES. To state whether a phrase played by the Examiner is in a Major or a Minor key, and whether the end

cadence is Plagal, (1V-1) Perfect, (V-1) or Interrupted. (V-V1).


Questions covering the form and structure of the selected pieces. Advanced questions on intervals, including

Compound, Diatonic and Chromatic. Ornaments and abbreviations, musical terms, Key Signatures and modulations

found in the examination pieces. Also Plagal, Perfect and Interrupted cadence recognition as written in the music.

*******************************************************



GRADE SEVEN. EXAMINATION TIME. 40 Minutes.

ADDITIONAL REQUIREMENT.

A minimum pass of C+ 70 marks in FIFTH GRADE Theory of Music is necessary for this Grade Seven

Examination Certificate. For requirements, see the AGMED HANDBOOK.






Major. Gb and Cb Two octaves.

Harmonic Minor. D# and A#. Two octaves.

Melodic Minor. D# and A#. Two octaves.

3rds 6ths + Octaves. Major C.D. F.Bb Major One octave.

3rds 6ths + Octaves. Minor E. One octave.

Whole Tone scale on F. Three octaves.

Chromatic Scale on F. Three octaves.





Major. G Flat. C Flat. Both. Two octaves.

Minor. F Sharp. G Sharp. A Sharp. Any TWO. Two octaves.

Dominant 7th on B Flat. C Sharp. Both. Two octaves.

Diminished 7th. In key of C. E. Both. Two octaves.



PERFORMANCE. Four pieces required. LISTS A.B.C.D.


LIST A. 16 Marks.

Classic Guitar Collection. Vol.3. Edit. L.Bolotine. Ariel Pub.

Etude on a Theme by Mozart. Page 78. F.Carulli.

Douz Etudes for Guitar. No.1.5.6.or 8. Villa-Lobos. Eschig.


Arpeggiato. Page 22.


Nos. 54, 57, 58, 59, 60. Any ONE study to be played.

Study No 10, 13, 14 or 19. F.Sor. Albert-Segovia Edit.

Twelve Studies. GA 78. G7 F.Sor. Schott.

Op.29. No.1, 4, 7, or 9.



No.21. Zwei Etuden. No.1. or No.2. D.Garcia.


LIST B. 16 Marks.

Allegro. From Time Pieces. Page 22. Haydn. Fentone-Castle.


Sonata in A. Page 88. F.Carulli.

Fughetta. GA 148. Handel. Schott.

1st Lute Suite. Allemande or Sarabande. Bach. Faber.





No.24. Bolero. J.Arcas.

No.25. Danza Mora. F.Tarrega.

700 Years of Music for Classical Guitar. Arr.Blain. Hansen-Castle.

Six Lute Pieces of the Renaissance. No 1 and 4. Both.

Scherzo. Giuliani.


LIST C. 16 Marks.


Kujawiak. Second Mazurka. Wieniawski.

Humoresque. Op.10.No.2. Tschaikowsky.

Anitra's Dance. From Peer Gynt Suite. Grieg.

March. Scharwenka.

Classic Guitar Solos. MB 93213 Mel Bay-Castle.

The Little Windmill. Saint Saens.

Romanza. Spanish Origin.

On The Patio. J.Castle.

Preludes. Any two. BA 9549. Tarrega. Ricordi.


LIST D. 16 Marks.

Fur Elise. Arr. Bonell. Beethoven IMP-Castle.

Homenaje. De Falla. Chester.


Taking a Chance on Love.

Lullaby of Birdland.

Far Away Places.

When Sunny Gets Blue.

Fly Me To The Moon.

Stormy Weather.

Marionette Dance. Arr. Bonell. Legnani. IMP-Castle.

Prelude No.1, 5, or 6. Villa-Lobos. Eschig.

Twentieth Century Guitar Music. Schirmer.

The Last Django in Paris. J.Puma.

Serenading the Beauty. Page 40 Rautavarra.



A passage in a Major key up to four sharps or four flats, or in a Minor key up to three sharps or three flats. In any

simple or compound time. Modulations and accidentals must be expected.

EAR TESTS. 7 Marks.

RHYTHM. To clap or tap a substantial four bar passage played twice by the Examiner. Dotted crotchets and quavers

will be used. Semiquavers may be included.

PITCH. To hum or sing the higher or lower notes of a Major or Minor Triad played in ROOT position by the

Examiner.

To hum or sing a phrase of seven notes (Diatonic or Chromatic) after it has been played by the Examiner.

INTERVALS. To identify any THREE notes of the Major scale, played consecutively within the compass of an

octave, after the sounding of the key chord.



TRIADS. To identify as MAJOR, MINOR, AUGMENTED or DIMINISHED, Triads played in ROOT position by

the Examiner.


1. Background of the composers and of the works performed.

2. Questions covering the form and structure of the pieces played. Keys and modulations.

3. Advanced questions on intervals, including Compound, Diatonic and Chromatic.

4. Knowledge of Cadences. Perfect, Plagal and Interrupted.

***************************************************



PROFICIENCY CERTIFICATE EXAMINATION.

This examination, which consists of TWO parts, (Practical and Theoretical), is a pre-requisite examination for entry

into the ASSOCIATE DIPLOMA. General conditions are as for other AGMED Proficiency examinations. See

General Regulations in the AGMED HANDBOOK.

PART ONE. THEORETICAL.

All candidates must obtain a minimum pass of C+ 70 marks in the AGMED Grade V1 (or higher) Theory of Music

examination, or an approved equivalent within a three year period of the first entry for the Part 11 Practical

examination. See the AGMED HANDBOOK for requirements.

PART TWO. PRACTICAL. EXAMINATION TIME. 45 Minutes.

Maximum marks. 100.

Minimum PASS. 70.

PROFICIENCY.






Major. ANY SCALE Two octaves.

Harmonic Minor. ANY SCALE Two octaves.

Melodic Minor. Any scale Two octaves.

3rds, 6ths, 10ths & 8ves.Major E B Eb Ab One octave.

3rds, 6ths, 10ths & 8ves.Minor E B Eb Ab One octave.

Whole Tone scales of E. F. G. Two octaves.

Chromatic. Any one. Two octaves.

Chromatic. 3rds & 6ths. Any one. Two octaves.


Minimum scale tempo. Crotchet = MM 108/Semiquavers.

HARMONICS.

1. Demonstration of TWO scales selected by the candidate, in open position.

2. Octave harmonics followed by THREE note chords to the following progression; - 1 11 V V1. The top

note to be played as an octave harmonic.



Major. Any set of Tonic Sub Dominant and Dominant 7. Two octaves,

Minor. Any set of Tonic Sub Dominant and Dominant 7. Two octaves

Dominant 7th on E Flat. F Sharp. A Flat. Two octaves

Diminished 7th n key of C Sharp. D. Two octaves

Minimum arpeggio tempo. Crotchet = MM 108/Semiquavers.

NOTE:- Three octaves for Proficiency if possible.


PERFORMANCE. Four pieces required. LISTS A.B.C.D.


LIST A. 16 Marks.

Douz Etudes for Guitar. No.2. 4 or 7. Villa-Lobos. Eschig.

Guitarcosmos 2. R.Brindle. Schott.11388.

Repeated Semiquavers Pages 7

Four Part Chords. Pages 9




Nos. 61, 62, 66, 69, 70, 76, 77, 78, 79, 80. Any ONE.

Study. No 17,18 or 20. P.38-43 Auguado. 6404. Suv.Zerboni.

Study. Op 38. No 21 or 25. GA 34. Coste. Schott.

Twelve Studies. GA 78. F.Sor. Schott.

Op.29. No.2, 3, 5, 6, 10, 11 or 12.

10 Studies for Guitar. Book 2. Nos. 11 to 20. Dodgson-Quine. Ricordi.

Any study except No.18.



No.22. Etude. Op.38. Nr.19. N.Coste.

No.23. Etude. J.Mertz.


LIST B. 16 Marks.

Allemande. Suite in E Minor. Buxtehude. Faber.

From the Julian Bream Guitar Library.


Largo. Xerxes. Handel.

Allegretto. From 7th Symphony. Beethoven.

Rondo. Page 33. F.Carulli.


Sonatine in G. Page 74. F.Gragnani.

Theme and Variation. Beethoven. Page 80. Carulli.

Favourite Classic Guitar Solos. Mel Bay 93613 -Castle.

Fugue 1 OR 2 OR 3. Any one. F.Campion.

Melancholy Galliard. Dowland. Universal. UE 12472.

Prelude. From Prelude, Fugue & Allegro. Bach. OUP.


LIST C. 16 Marks.

Andante Largo. Op 5. No. 5. F.Sor UE 11960.

Ave Maria


Sonata Quasi Una Fantasia. Page 29. Beethoven.

Adagio. From the Grand Sonata. Op.22. F.Sor.

Prelude No.4. Page 74. Chopin.

Theme from 6th Symphony. Tschaikowsky.

Six Part Suite. Any 3 Movements as ONE. Mairants. Fenette-B & H.

Three Lyric Pieces. No 1. Grieg. Faber.

Valse Poeticos. No 3. Arr. Mairants. Granados. B & C.


LIST D. 16 Marks.

Bagatelle No. 2. Walton. OUP.

Gavotte - Choro. From Suite Populaire. Villa Lobos. Eschig.


Basin Street Blues.

On the Sunny Side of the Street.

What a Wonderful World.

I Fall in Love Too Easily OR Sophisticated Lady..

Prelude No.2. or 5. Villa-Lobos. Eschig.

Toccata. Modern Guitar Music. Josephs. Oxford.


Gnossienne No.2. Arr. Kraus. Satie.

Lento. 2nd Movement. Sonata for Guitar. J.Feld.



Madronos. Torroba.

The Weeping Willow. S.Joplin.

OWN CHOICE. kjAGMED approval required.


A substantial modulatory passage of up to four sharps or four flats, either in a Major or a Minor key. In any simple

or compound time. Fluency expected.

EAR TESTS. 7 Marks.

RHYTHM. To clap or tap a substantial four bar passage played twice by the Examiner. Dotted rhythms and

semiquavers will be used.

PITCH. To hum or sing the middle or lowest note of a major or minor triad played in ROOT position by the

Examiner.

To hum or sing a two bar phrase played twice by the Examiner. Either chromatic or diatonic, including one

or two quaver groups.

TRIADS. To identify a triad as Major or Minor when played in ROOT position or 1st Inversion by the Examiner.

CADENCES. To name the cadences in a passage in a Major key, played by the Examiner, with slight pauses at the

cadence points. The passage will consist of a four phrase melody of which only the FOUR cadences will be

harmonised.


1. Background of the composers and of the works performed. Period from which the music comes.

2. Questions on Form, Keys, Modulation and Musical characteristics of the pieces played.

***************************************************



DIPLOMA EXAMINATIONS.

ASSOCIATE DIPLOMA. (Pre-requisite. AGMED Proficiency Certificate.)

NOTE:- Candidates cannot enter for this ASSOCIATE DIPLOMA within 12 months of receiving the

Proficiency Certificate.

General conditions are as for all other AGMED Diploma Examinations. Refer to the AGMED HANDBOOK.

This examination, which consists of TWO parts, Practical and Theoretical, is a pre-requisite examination for the

AGMED Licentiate Diploma.

PART ONE:- THEORETICAL. (Honours. 90 Marks and above.)

All candidates must obtain a minimum pass of C+ 70 marks in the AGMED Grade V11 (or higher) Theory of Music

Examination. NO EXEMPTION CAN BE GRANTED FROM THIS CONDITION. The examination must be passed

within a three year period of the first entry for the PART TWO practical examination. Refer to the AGMED

HANDBOOK for requirements.

PART TWO:- PRACTICAL. EXAMINATION TIME. 50 MINUTES.

Maximum marks 100.

Minimum Pass 70 marks.

Honours. 90.

NO EXEMPTION can be granted from any part of this examination.

PERFORMANCE. FOUR LISTS REQUIRED. A.B.C. and D.


The full program must represent the styles of four different composers and periods.

A concert standard of performance will be expected.

A recital program of at least 30 to 35 minutes of playing is mandatory. It is therefore possible that the candidate will

find it necessary to select more works from the lists to provide a program of the required length.

The listed pieces can be used or replaced with works of a similar standard and style. It is necessary to submit the

planned ASSOCIATE program to the AGMED for approval.

Complete works must be performed.

At least ONE LIST is to be performed from memory, but any additional memory work by the candidate is optional.

LIST A. 20 Marks.


Recuerdos de la Alhambra. Tarrega.


Grand Etude. Page 82. F.Carulli.

Tempest. Allegro. Page 93. F.Carulli.

Lady Clifton's Spirit. Dowland. Berben 1935.

From Varietie of Lute Lessons. Vol. 5.

Minuet and Rondo. Pieces de Clavecin. Rameau. Berben 1694.

Seven Pieces. La Bourbonnoise OR Volte. Couperin. erben 1844.

Studies. No 1, 3 or 5. Villa Lobos. Segovia M.Eschig.


LIST B. 20 Marks.

Bone Chaos In The Castle (Contemporary)




Prelude and Fugue. Page 14. J.S.Bach.

Concerto in E. GA 223. Two Movements. Boccherini. Schott.

Concerto No 3 in F. Op.70. " " Giuliani. Zerboni 7427.

Concerto in A. " " Vivaldi. Eischig 1113.

Master Collection of Classical Guitar Music. H.Volpe. Mel Bay Pub.

Fugue in G. Page 15. F.Campion-Volpe.

Sonata. L83. Scarlatti. Col.CO 184B.

Sonata in C Major. Op.15. OR Op.25. Any Edit. F.Sor.

Tombeau Sur La Mort. P.125. Baroque Guitar. Any Edit.


LIST C. 20 Marks.

Adelita and Music Box. Both. Arr. L.Boyd. F.Tarrega. Hal Leonard.

Allemande and Gigue as one work. Buxtehude. Faber. F0227.

Allemande and Gigue as one work. Froberger. Faber.

Bach Suite No1 BWV 1007

Clair De Lune. Arr.J.Castle. Debussy.MB93637-Castle.


Sonata. 3 Movements. Page 53. Paganini.

Romanza. Page 57. Paganini.

Bagatelle. Page 67. Marschner.

Mozarts Alla Turca

Pasacaglia. Burkhart. Univ.11959.

Sonatina. GA 132. Turina. Schott.

Two Preludes as one work. Debussy. Faber F0310.


LIST D. 20 Marks.

Andante. Tres Cancionis Populaire Mexicanas. Ponce. Southern Music.

Choro No.1. Villa-Lobos. Colombia.

Czardas. Monti. Ricordi.BA 1016.

George Gershwin. Classical Guitar. Arr. J.Duarte. MNS-Chappell

Any TWO to count as ONE.


The Harp of David.

Passacaille. Weiss Schott.

Recuerdas de la Alhambra. Tarrega. Ricordi.

Sarabande Lointaine. Rodrigo. Eschig 1226.

Scherzino Mexicano. Ponce. Southern Music.

Toccata. Four Pieces. Bettinelli. Berben 1811.


Dancing Game: Rialto Bridge. P.Fetler.

Serenade. J.Stepleton.

A Nervous Promenade. From 'Serenades of the Unicorn' Page 35. E.Rautavaara.

700 Hundred Years of Music for Classic Guitar. Blain. Hansen-Castle.

Danza Espanola No.5. Trans. Blain. Granados.

Variations on French Theme. F.Sor.



At a standard commensurate with this Diploma.



EAR TESTS. 7 Marks.

RHYTHM. To clap or tap a substantial four bar phrase played twice by the Examiner. Dotted rhythms, semiquavers

and triplets will be used. Simple time signatures or in 6/8 time. The candidate will be asked to state the time

signature, and to name the note values in any portion of the passage played separately.

INTERVALS. To recognise and name intervals formed by TWO notes played together within the compass of an

octave.

HARMONY. To recognise and name Major, Minor, Diminished and Augmented Triads played in close ROOT

position or in 1st Inversion. (e.g. Minor. 1st Inv.)

CADENCES. To recognise and name the four cadences in a passage in simple chordal form, played twice by the

Examiner with short pauses at the cadence points. The key will be stated and the tonic chord sounded before the

passage is played.


1. Background of the composers and of the works performed. The period from which they come.

2. Questions on the Form, Key and Modulations and the general characteristics of the solos performed.

3. A knowledge of the construction and development of the Guitar. Its place in musical historical development.

***************************************************



LICENTIATE DIPLOMA. (PERFORMERS). LAGM(P).

NOTE:- Candidates cannot enter for this Licentiate Diploma within 12 months of receiving the Associate

Diploma. No piece performed in the Associate Examination can be played for this examination.

PRE-REQUISITE.

All candidates for this Diploma must at the date of entry hold the Associate Diploma of the AGMED in the same

subject. However, other Diplomas of equal status MAY be accepted at the discretion of the AGMED Director of

Music and AGMED Council approval.

Documentary evidence in this case must then be submitted with the entry form. Candidates for this Licentiate

examination must have attained the age of 17 years by the date of the examination.

Refer to the AGMED HANDBOOK for further details.

This LICENTIATE PERFORMERS Diploma examination is in TWO PARTS.

Both parts must be passed with a minimum of 70 marks.

PART ONE. THEORETICAL. Honours. 90 marks and above.

All candidates must obtain a minimum pass of C+ 70 marks in the AGMED GRADE V111 Theory of Music

examination. NO EXEMPTION can be granted from this Diploma condition. The examination must be passed within

a three year period of the first entry for the PART TWO Practical examination. Refer to the AGMED HANDBOOK

for requirements.


Maximum marks. 100 Marks.

Minimum pass. 70 Marks.

NO EXEMPTION can be granted from any part of this examination.

PERFORMANCE. FOUR LISTS REQUIRED. A.B.C and D.


The full program must represent the work of four different composers, styles and periods.

A recital program of about 40 minutes duration is mandatory. It is therefore possible that the candidate will find it

necessary to select more works from the Lists to provide a program of the required length.

The works shown in the Lists may be replaced with pieces of similar difficulty and style. The chosen Licentiate

program must be submitted to the AGMED for approval.

Complete works must be performed.

At least TWO LISTS must be performed from memory.

Any additional memory performance by the candidate is optional.

LIST A. 20 Marks.

Air and Variations. 'La Frescobalda' Frescobaldi. Schott 158.

Caprices. Op.1. Vol.1. Arr. T.Norman. Paganini.Peters.66772a.

Nos. 1 to 12. Any one.

Chaconne. D Minor. BWV 1004. Edit. Segovia. Bach. Schott.

Douze Etudes for Guitar. No. 5,9,10,11 OR 12. Villa-Lobos. Eschig.

Fantasie No.7. Varietie of Lute Lessons. Dowland. Berben 1820.

Grand Solo Op.14. F.Sor. UME 19670.

Grand Sonata. Paganini. ZM1937.

Loure. Lute Suite No 4 in E. Ed. Bruger. Bach. Moseler.

Sonata in A Major. First Movement only. Torroba. Ricordi.



Sonata Romantica. GA 123. Ponce. Schott.

Study on a Sonatina by Alard. Tarrega. Ricordi 11925.

Tambourin. Pieces de Clavecin Rameau. Berben 1694.


LIST B. 20 Marks.

Fugue. Violin Sonata No 1. Bach. Novello 12.0098.04.

Gavotte. 'Cello Suite No 6. GA 172. Bach. Schott.

Prelude. Arr. Segovia. GA 173. Bach. Schott.

Suite in E Minor. Complete. Bach. Faber F0126.

Suite No 1 OR No 5. From 6 'Cello Suites. Bach. Schott.

Sonata in G. L23. OR Sonata in D. L454. Scarlatti. Col.CO 184b.

Sonata for Lute in A Minor. Weiss. MB93920 -Castle.

Sonata Op.15. Guiliani. Univ.11320.

Variations 'O cara armonia'. GA 130. F.Sor. Schott.


LIST C. 20 Marks.

BACH Toccata and Fugue

Elegy. Rawsthorne. Oxford.

Fantasy. Op.107. Arnold. Faber.

La Campanelli. Paganini. Ricordi.

La Maja de Goya Granados. UME 19435.

Nocturnal. Op.70. Britten. Faber.

Pavane pour une Infante defunte Ravel. Schott.10968.

Sonatina Op.51. Berkeley. Chester.


LIST D. 20 Marks.

Fandanquillo. From Suite Castellana.(GA 102) Torroba. Schott 104.

Fandanquillo. GA 102. Turina. Schott.

Guitarcosmos 3. Suite in 3 Movements. R.Brindle. Schott.11388.

Homenaje pour le tombeau Debussy. de Falla. Chester.

Prelude No 2 in E. Villa-Lobos. Eschig 6732.

Sevilla. Albeniz. UME 21655.

Toccata and Fugue


Bolero de los Picaros. C.Surinach.

Valses Poeticos. The entire work. Granados. Fentone F289.



At a standard commensurate with this Diploma.

EAR TESTS. 7 Marks.

PITCH. To sing or play from memory the lower part of a passage in TWO PART harmony, consisting of four bars

in simple time, played by the Examiner. The key will be stated and the key chord sounded before being played not

more than three times.

RHYTHM. To clap or tap a substantial four bar phrase, with or without an anacrusis, played twice by the Examiner.

Dotted rhythms, triplets and any simple or compound time signature will be used. The candidate will be asked to

state the time signature and to name the note values in any portion of the passage played separately by the Examiner.



HARMONY. To recognise and name Major, Minor, Diminished and Augmented Triads played in ROOT position.

1st and 2nd Inversions. (e.g. Augmented. 2nd Inv.)

CADENCES. To recognise and name the four cadences in a passage played by the Examiner in Guitar style. The

key will be stated and the Tonic chord sounded before the passage is played. An occasional inversion of cadence

will be used.

MODULATION. To recognise and name the modulations to nearly related keys in a passage in four part harmony

played by the Examiner with a slight pause at the end of each phrase. The passage will consist of 6 - 8 phrases, the

tonic key will be stated and the key chord sounded.

The test will not be played more than three times.


1. Background of the composers and of the works performed. The period from which they come.

2. Questions on the Form, Keys and Modulations and general characteristics of the solos performed.

3. Knowledge of the history and construction of the Guitar. Styles of playing, and the technique required.

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LICENTIATE DIPLOMA. TEACHERS. LAGM(TD).

NOTE:- Candidates cannot enter for this Licentiate Teacher's Diploma within 12 months of receiving the Associate

Diploma. No piece performed for the Associate Diploma examination can be re-submitted for this examination.

PRE-REQUISITE.

The Associate Diploma in the same subject or approved equivalent.

Refer to Licentiate Performers requirements in the AGMED HANDBOOK.

It is recommended that considerable personal development occurs before entering for this Diploma. Candidates must

have maturity and extensive teaching experience. In addition, candidates must have attained a minimum age of 19

years.

The examination is designed to demonstrate a teacher's ability over a wide musical background in reference to

teaching from Preliminary standard through to Grade V11 and Proficiency level.

Therefore a very deep understanding and knowledge of the teaching technique and repertoire in relation to the

chosen instrument is absolutely essential.

The examination consist of TWO PARTS.

PART ONE. THEORETICAL.

Paper ONE. Grade V111 Theory of Music. Refer to the AGMED HANDBOOK for requirements.

Paper TWO. Teaching Principles.

Pass mark in both papers. 70 marks.

Honours. 90 marks minimum in both papers.

LICENTIATE DIPLOMA. TEACHERS.


An executant examination on the candidate's chosen instrument.

Also a practical demonstration of teaching principles.

Pass mark. 70 marks.

Honours. 90 marks minimum in both Practical and Theoretical sections of the examination.

NOTE:- NO EXEMPTION is granted from any part of the Practical or Theoretical examinations.

PERFORMANCE. FOUR LISTS REQUIRED. A.B.C. and D.


The full program must represent the styles of four different composers and periods.

A recital program of at least 30 minutes duration is mandatory.

It is therefore possible that the candidate will find it necessary to select additional works from the Lists to provide a

program of the required length.

The works shown in the Lists may be replaced with pieces of similar difficulty and style.

The chosen Licentiate program must be submitted to the AGMED for approval.

The complete work must be presented.

MEMORY. At least ONE WORK must be presented from memory.



Any additional memory performance by the candidate is optional.

LIST A. See Licentiate (P) Lists in this Syllabus. 15 Marks.

LIST B. " " " " " " " " " " 15 Marks.

LIST C. " " " " " " " " " " 15 marks.

LIST D. " " " " " " " " " " 15 Marks.

SIGHT READING. " " " " " " " " 7 Marks.

EAR TESTS. " " " " " " " " " 7 Marks.

GENERAL KNOWLEDGE. " " " " " " 6 Marks.

PRACTICAL DEMONSTRATION OF TEACHING PRINCIPLES. 20 Marks.

This section of the LAGM(TD) examination requires that a candidate has a wide, active and general musical

background, and has the ability to demonstrate the various skills required in relation to the teaching of the Guitar.

1. The candidate will be aurally examined in the basic principles of performance and will be expected to discuss and

demonstrate the various techniques and control used by the Guitar player.

2. The candidate will be required to give a demonstration lesson to the Examiners using material from the Guitar

Syllabus 1985, from Preliminary standard through to Proficiency level.

3. Candidates will be asked to explain and demonstrate methods for the teaching of phrasing, interpretation and style.

To further discuss these aspects in relation to Guitar development.

4. Candidates will be expected to demonstrate any technical work and exercises prescribed for the Guitar

examinations in the AGMED 1985 Syllabus. Also to discuss common student errors and to suggest means for their

correction.

5. Candidates will be asked to outline the reasons for Music Education and to discuss with the Examiners the

philosophy inherent in this concept.

6. Candidates must submit to the Examiners a comprehensive teaching folio listing their teaching repertoire from

Preliminary Grade to Proficiency level. Written comments attached to each work must clearly give an indication that

the candidate is aware of the musical requirements and technical difficulties in the listed works. Written comments

must include practise methods to overcome both the observed and potential faults.

7. General questions on the History of Music, musical styles and different techniques used on the Guitar in the

performance of these styles.

8. To demonstrate to the Examiner's satisfaction a comprehensive knowledge of the history and construction of the

Guitar.

NOTE:- The Teaching Principles paper is a written extension of the above Viva Voce examination.

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FELLOWSHIP DIPLOMA F.Mus AGM RECITAL

CLASSICAL and CONTEMPORARY GUITAR

A Full Concert Performance. Recital in Public

A Concert Program with extensive program Notes on the Works performed.

PRE-REQUISITE. AGMED Licentiate Diploma of Four years standing.

GUILD Council approval is necessary for entry to the Fellowship Diploma. The applicant must be able to

demonstrate a long association with the GUILD and an empathy with its philosophy. Apply in writing to the GUILD

Director for details.

This advanced qualification will be awarded in the following areas for proven excellence OR as an Honour for

outstanding services to the AGMED, and Music and Speech in particular.

a) Research Thesis. 50,000 words.

b) Composition. A major work.

c) A full Concert Performance.

d) A long, outstanding teaching Career.

e) An original and unique innovation of outstanding importance within the framework of the AGMED.

f) Any sustained area of excellence in Music and Speech by which teachers and students throughout Australia

will benefit.

NOTE: It is mandatory in sections b.c.d.e.f above for a supporting Thesis to be written.

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