rgt acoustic guitar grade 5

7/21/2019 Rgt Acoustic Guitar Grade 5

1/31

uitar

Playing


2/31

Grade Five

Em __.

coustic Guitar Playing

utors

ompiled

and

edited

by

Tony Skinner and Laurence Harwood for


3/31

CONTENTS

Introduction

Fingerboard I


4/31

is publication is part of a progressive series of ten handbooks, primarily

mtended for candidates considering taking a Registry Of Guitar Tutors

RGT)

examination in acoustic guitar playing. However, the series provides a solid

foundation of musical education for

any

acoustic guitar

student- whether

intending to take

an examination or not.

Those preparing for an examination should use this handbook

in

conjunction with the

Acoustic Guitar Exam Information Booklet

and

Acoustic Guitar

Syllabus-both

freely

downloadable from the RGT website: www.RGT.org

D

CD is

su

r plied with this handbook as a learning aid and the recorded performances are

designed specifically to provide an indication of the standard of playing expected

at

this

grade.

FINGERING OPTIONS

The fingerings (including tablature positions)

that

have been used in this handbook 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 canbe

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, i required during the

examination, unaided. The examiner will, upon request, offer an E orA 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.

EX MIN TION ENTRY

r:

rid ftW?WMWm* mw

An

examination entry form is provided at the back of this handbook. This is the only valid

entry

form for the RGT acoustic gui tar examinations.

f he

ntry 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 via the RGT

website

www RGT org


5/31

FINGERBO RD

KNOWLEDGE

T

he examiner will choose a selection of the chords, scales

and

arpeggios

shown

in

this chapter and ask

the

candidate to play them

rom

memory

Candidates can

use

fingers or a pick (plectrum). The examiner will

be

listening for accurate, clear, fluent and even playing. Prompt presentations,

without

undue

delay or hesitation, will be taken as an indication of secure

knowledge.

A maximum of10 marks maybe awarded in this section of the examination.

CHORDS

fM .&M.

t

this grade, candidates should be able to play major

and

minor chords atANY

pitch using barre chord shapes.

The major

and

minor barre chords overleaf are illustrated

with

a root note of C

however, because they utilise transpositional shapes they can be

moved

up or

down the fingerboard to any pitch

without

the

need

to change fingering.

Although

in

the exam

you

are

only

required to play each chord

in

one fingerboard

position, two shapes have been provided for each chord type to enable

you

to

avoid having to play some chords in very high fingerboard positions).and to avoid

large fingerboard leaps when moving from one chord to another (when playing a

chord progression

or

song) - so

that

you have a choice of which one to use.

The table below lists the fret position needed to produce chords at different pitches.

Chords

with

root

on

string

c

F

F ~ G ~

G

~

Chords should be played using a single slow strum, startingwith the lowest (root)

note. The whole chord shape should be carefully placed on the fingerboard before,

and kept

on

during, playing.A string which should not

be

sounded

when

playing

a

chord

is marked

with an

X

by

the fretbox.


6/31

Barre Chords

In

a

barre

chord the first finger effectively replaces the

nut and

acts as a

bar

across all

the strings.

n

chords with the root note

on

the fifth string, whilst you can still place the

first finger barre

over

all six strings, you are advised to omit the sixth string in your

strum.

To

ensure that

your

barre

chords

ring

clearly you

should

observe the following advice:

1. The first finger should

be

straight

and in

line

with

the fret,

rather than

at an angle to it.

2.

The

first finger need

not be completely

flat; it can

be

tilted very slightly away from the

fret toward its outer side.

3. Position the first finger so that the creases between its joints do

not

coincidewith the

strings. f necessary adjust the barre until you find the optimum position.

4. All fingers

should be

positioned as close to

the

frets as possible.

5

Do

not

exert excessive pressure with either the first finger or the thumb.

6 Ensure

that

fretting fingers,

other

than the first finger, remain upright and press against

the strings with their tips.

~ .. .........._

...

3fr

~

.. .........._...

3fr

Sfr

fr

..

...

;..

z

...

;.. ...

' "'

:; I

C

major

(root onAstring)

C major

(root onE string)

Cminor

(root

on

A string

Cminor

(root

onE

string)

SC LES

At this grade, candidates

should

be able to

play

the following two octave scales in

ny key: major natural minor blues

These scale

types

are illustrated overleaf

with

a

starting note

of

G

All

are notated

with

transpositional finger patterns, so

each shape can be moved up or down the

fingerboard to a new pitch without

the

need for a

change

of fingering. The table

below

lists

the

frets on

the

sixth string that could be used to start each scale

depending upon the pitch required.

Candidates will not be

sked

to play in fingerboard positions that

re

in ccessible

for their p rticul r

instrument


7/31

Scales should be played ascending and descending, i.e. from the lowest note to

the highest

and

back again

without

repeating,

or pausing

at, the

top

note. Scales

should be played at an approximate tempo of 116 beats

per

minute, with two

notes being played for each beat. 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.)

G major scale 2 octaves

G A B C D E F G

U _o

~ ~ ~ ~ ~ B ~ ~ ~ ~ 2 f r .

u - - a - u P ~

1

3

' ~ , . .

' ~ , . .

p 4 @

~ ~ ~ r . 3 5 2 ~ ~ 3 ~ ~

h A . - - - - - - - - - - - - - - - - - - - - - - - - 2 - - 4 - - 5 - - - - - - - - - - - = = ~

~ - I

- - - - - - - - - - - 2 = - = - - 3 = = - - 5 . ~ ~ - 2 = = - 4 = - - = 5 _ - _ - _ - _ - _ - _

-_

_ _

_ _ _ _

_

-_ _

_ _ ___ - _ - - I ~

~ 3 5 ~

G natural minor scale 2 octaves

G A B ~ C

D

E ~ F

G

f J

~

~ : u

u 4 ~

I@

u 3 a

4

I@

3

I@

A

1

3 5

E____3--5--6

3 5 6

G blues scale 2 octaves

G C D ~ D F G

@

2 3 5

I

3 4 6

3 ~

';

'

2

fr.f ff f l

mm

0

i ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

3fr llllll

f ~ p ~

V2 -J

~ @

:

4 @

I@

~ ~ r - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 3 - - - 6 - - - - ~

h A . - - - - - - - - - - - - - - - - - - - - - - - - 3 - - - 5 - - - 6 - - - - - - - - - - ~

~ - '..

- - - - - - - - - - - - - - - - - - - 3 - - - 5 - - - - - - - - - - - - - - - - - - - - ~

~ - - - - - - - - 3 - - - 4 - - - 5 - - - - - - - - - - - - - - - - - - - - - - - - - - ~

~ 3 6 ~


8/31

ARPEGGIOS

At

this grade the following 2 octave

open

-position arpeggios should

be

known:

A, G and E major A and E minor

Arpeggios should

be

played ascending

and

descending, i.e. from the lowest note to the highest

and

back again without repeating, or pausing at, the top note.Arpeggios

should be

played at

an

approximate tempo of 88 beats

per

minute,

with

two notes being played for each beat.

A major arpeggio

2

octaves

C ~ E

G

major arpeggio

2 octaves

GBDG

E

major arpeggio

2

octaves

E G ~ B E

A minor arpeggio

2 octaves

ACEA

E minor arpeggio

2

octaves

EGBE

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9/31

PERFORM NCE

C

andidates should select and play a total of TWO pieces comprised of

ONE Rhythm Playing Study plus

ith r

ONE piece chosen from the

four notated

in

this handbook (seepages

14-21)orONE

piece of a

similar standard.

Performances do not need to be from memory; the handbook may be used

during

this section of the exam. Candidates should remember to bring the

handbook to the exam ifnot intending to play from memory; photocopies will

not be permitted.

RHYTHM PL YING STUDIES

The candidate must select

and

perform, using the prescribed strum patterns,

ONE of

the

Rhythm Playing Studies in this chapter.

Each study consists of a 12-bar chord progression that is played twice before

ending

on

the key chord.

At this grade, the prescribed strum pattern is

two

bars long. Where the pattern

is repeated in the following two bars the i n ~ is used.

Some bars contain two chords. Where these split bars occur a different

rhythm should be played just

on

those bars (as notated).

The notated strum patterns should be used throughout the first playing of the

12-bar chord progression, then a musically appropriate variation of this

pattern should be played during the repeat playing of these 2 bars. The

content and style of the variation is left to the candidate s discretion, but it may

includeboth rhythmic and dynamic variations from the notation. The CD

recording that accompanies this book provides an indication of the technical

level

that

is required for a

high mark at

this grade

but it

is NOT

intended

that

candidates copy the variations provided on the CD recording- these are

provided

purely as examples of the standard

required- and

candidates are

strongly advised to devise their own variations; these should relate to the style

of the prescribed strum pattern.

After the repeat section, the final closingbar should

be

played with just a single

strum.

Tempo indications are for general guidance only.

A pick (plectrum) is recommended

but

fingers, or fingers and a pick, can be

used

i preferred.


10/31

RHYTHM PLAYING ADVICE

A

maximum

of 5 marks

may be awarded

for the

Rhythm

Playing Study.

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 hesitationor delay.

Clear sounding chords that are free of fretbuzz and any unintended

muting

of notes.

A fluent rhythm style maintaining an even tempo.

Accurate reproduction of the notated

strum pattern

and dynamic marks during the first

playing and the use of effectiveand musically appropriate variations of these

during

the

repeat playing.

D ~ n a m i c

marks

These are symbols that indicate how loudly or softly you should play:

= oud m =moderately loud

mp =moderately soft p =soft

~

=gradually get louder

~

gradually get quieter

R h ~ t h m

PlaWg S t u d ~

No

l

Moderate tempo

:J

n

m j

~

E

F m

G m

mp

j j j

j j j

J nJ

mj

A

E

A

B

C m

G m

F m

p

E

IB

I

=I

J

E

I


11/31

Fairly slow

mm m J

g Gm Cm

mp

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t

m

=======

f

Dm

R h ~ t h m

P l a y . i l g ~

t u d y No 3

Lively

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Gm

mf

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12/31

PIE ES

m p

Candidates can choose to

play ith r

ONE piece chosen from the four

that

follow

or

ONE piece of a similar standard to these chosen from the List of suggested

pieces for the grade (listed on the RGTwebsite-www.RGT.org) or

ONE free choice piece (self-composed or otherwise) providing it is of at least

similar standard.

Candidates are allowed to interpret all solo pieces in their

own

style, rather

than

sticking rigidly to the notation, providing that the technical level isnot simplified.

Wherever possible, candidates should bring the notation of any free choice pieces,

in standard notation or tablature, to the exam for the examiner to view.

A maximum of

5

marks

may

be

awarded.

In order to obtain a high

mark

in the

exam, the performance should display a secure level of technical accomplishment

demonstrating accuracy of pitch and rhythm, fluency, clarity, articulation and

dynamic range. There should

be

a sense of individual interpretative skill

and

stylistic

awareness so

that

the music is performed in a manner reflecting a degree of

sensitivity

and

empathy. The performance should demonstrate the ability to engage

the listener

and

to communicate a sense of personality and style.

Tempo markings have been chosen that reflect the capabilities expected at this

level, but are for general guidance only: faster or slightly slower tempos canbe

used providing they produce an effective musical result.

There is a variety of finger positions that could

be

used and

any

systematic and

effective fingerings that produce a good musical result will be acceptable.

Where chord symbols are present, these are

provided

only as an aid to study and

performance.

There are two versions of each piece on the CD: full-tempo

and

practice-speed. The

recordings are provided purely as aural guides to the notes

and

rhythms of the

pieces and therefore are performed straight

with

minimal interpretation;

candidates are encouraged to develop their

own

interpretation of the pieces. The

slower, practice-speed versions are provided for candidates to play along

with

as

study aids whilst learning the pieces.


13/31

PERFORM NCE NOTES

n n m a W W B ~ am

toomnw

Mourning ir

This dirge in is written in a traditional Irish style, using

theE

Mixolydian mode

(this is similar toE major scalebut

with

D replacing D ).

The first 16bars have a melancholic mood.

In

contrast, bars 17 to 20

have

a

more

joyous, almost dance-like feel. These four bars should be played three times,

getting slightly faster each time, until the 'Rail' marking

in bar

21

instructs you to

slow down.Afterthis the 'D.C. alPine ' indicates that you should play again from

the beginning until the

point marked

'Fine' (i.e. finish)

at

the

end

of

bar

16.

The piece includes various ornamentation i.e. incidental decorative notes that

help embellish the melody) executed via the use of slurs

and slides.

Country

ood

This is an arrangement of a typical traditional country, bluegrass-influenced,

guitar piece. t s chordal-based and is designed to be played using a pick

(plectrum). The key is G major.

The time signature is -as it

has

a strong two-to-the-bar feel. Performance at

quite a fast tempo

is

necessary to capture the spirit of this piece.

The 4-bar lick

that

starts the piece, and which is repeated in several places, uses

hammer-ons

and

cross-string picking to

add

to the sense of movement.

~ Y [ g l d ~

This piece is in a contemporary mid-tempo ballad style,

but with

the rhythm and

repetitive bass line

adding

a strong blues influence.

The piece is in the key of A major,

with

the melody harmonised mostly in thirds.

However, various ccident ls (i.e. notes outside of the key scale) occur and lend

the piece a bluesy flavour.

The time signature is but it should

be

played

with

a swung feel as marked

above the notation. This willbe evidentwhen listening to the CD, as you'll hear

that

the bassline is not played with an even rhythm as notated.

The Ten Penny Bit

This is a traditional Celtic tune. t has been arranged here as a flatpicking piece,

designed to

be

played with a plectrum. t needs to be played

at

quite a fast tempo

in

order

to capture the style.

This arrangement uses a&G major key signature,

with

the

tune

being

based

on the

A Dorian modal scale (i.e. a mode of G major).

The time signature is

-i.e.

six eighth note beats per bar, with a main pulse of

two beats per bar. This means that the first and, to a lesser extent, the fourth note

of each six in a bar should be accented slightly.

The tune consists of two 8-bar

sections-

each of which is repeated.


14/31

Mournit g Air .

Tony Skinner)

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15/31

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16/31

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17/31

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22/31

eferring to the candidate s handbook (or sheet music), the examiner will

ask a range of questions

based

on the

Rhythm

Study

and or

the piece

performed. The questions may cover topics such as:

Identifying the time signature

and

the key/scale used.

Explaining

any

dynamic marks

and

repeat signs

that appear in

the

music.

Naming some of the techniques employed to perform the pieces.

Candidates are advised to study the notation of the pieces so that they can prepare

their answers. Some useful information about the pieces is included in the

Performance Notes on page 13

A maximum of 10 marks may

be

awarded in this section of the exam.

n order to gain the highest marks, responses to the examiner s questions should

be prompt and confident, employing appropriate musical and technical

terminology,

and

demonstrating a thorough understanding of the topics.

S MPLE QUESTIONS

Identify all the dynamic marks that appear in this piece and explain their

meaning.

Identify all the repeat marks that appear in this piece and explain their meaning.

Identify the key and time signature of this piece.

Describe some of the techniques you employed

when

playing this piece

F


23/31

CCOMP NIMENT

MrMmSkt

> e j = rn Wlfii i i tidd

P

d _ ~ W f H did

I

n this section of the exam, the candidate should play a chordal

accompaniment while the examiner plays

an

eight-bar melody (either live on

guitar or keyboard, or via a recording).

The candidate will be

shown

a chord chart for the melody. The examiner will

then give a one bar count-in and play the melody once for the candidate to listen

to

without

playing along.

The examiner will then give another one

bar

count-in and the melody will be

played a further three times

without

stopping. The candidate can accompany

the first of these three verses if they

wish

to, but only the accompaniment of the

second

and

third verses will be assessed.

t s recommended that during the first (unassessed) accompanimentverse a

chord is strummed on the first beat of each bar so that the timing can be

established. Alternatively, the candidate may prefer just to read through the

chord chart and listen as the examiner plays the first verse of melody.

The range of chords will be restricted to the chords required for this

and

previous

grades. Some use of barre chords may be required, although barre chords need

notbe used exclusively.

The final chord (after the repeat) should be played with a single strum.

The time signature willbe either i or i

The style of the accompaniment is left to the candidate s discretion, and the

candidate can chose to either strum or fingerpick. The CD recording that comes

with this book provides an indication of the technical level that

would

be

expected for a high mark at this grade only the two assessed verses are

provided on

the recording for each example. t is NOT intended that candidates

copy the style of accompaniments performed on the CD recording these are

provided purely as examples of the standard required - and candidates are

strongly encouraged to devise their own rhythmic/picking styles; these should

always relate to the style and timing of the melody played by the examiner.

The melody notation played by the examiner will not be seen by the candidate.


24/31

CCOMP NIMENT DVICE

A maximum of 2 marks may be awarded in this section of the exam.

n

order to achieve the

most

musical performance and obtain a high

mark

in

the examyou should

im

for the following when performing your

accompaniment:

Remember that the very first time the examiner plays the melody you have

the chance to listen to it without needing to play along. Use this oppor tunity

to listen carefully and try to absorb the melodic shape and structure of the

melody.

n

the first verse of the three continuous playings your playing will notbe

assessed so you canbest use this time

by

reading through the chord chart

and just

strumming

once on the first

beat

of eachbar so

that

the timing

becomes clearly fixed

in

your mind.

n

the remaining two verses use

an

appropriate rhythm or picking style that

suits the mood style and timing of the melody.

Keep listening to the melody while playing your accompanimentand make

sure to keep

in

time

with

it.

Change

smoothly from one chord to another

avoiding excessive fingerboard movement

and

making sure the chords ring

clear.

Demonstrate evidence ofyour musicality

by

including some appropriate

variations.

Three

examples of the

typ

of

test that

will

occur are given on the

following pages.

Note that each of the ccompaniment Examples is provided only as a sample of

the typ

of

melody

and

chord

symbols

that may

occur

in

the

exam


25/31

c c o m n ~ ~ p t x a m y l ~

1

(

CD

tr

ac

k 13)

Chord chart

lill= F

I ~

I m

I Gm

I ~

Melody

j = 1 8

l

u

1 ...

I

1 1 1

'' ''

I

3 3

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c

I C

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3

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l

2

2

3

3

2-

1

2 2 Q 2 1-3 3 23

3

1

...

Accompaniment Example 2

CD track .12

Chord chart

I

ll=

A

7

F m

m

I

C m

I

F m

I D

E

Melody

j = 120

I") lo

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,

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2

.

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=I F

II

.

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1- 1

v

1 3

3- 1

.

3

2

.

E

=I A

II

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'

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3

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26/31

Accompaniment Example 3

ccn

track IS

Chord

chart

111= Gm

I ~

F

Cm

IGm

Dm

~

F

=I

Gm

II

Melody

f I

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r

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I

3-

] f- ]

I

3

4 3- f 4- 3-

f 1

l A

3

v

3

I

t

I

I


27/31

T

he candidate will be given a selection of rhythm, pitch and

harmony

tests.

The examiner will play these either

on

guitar

or

keyboard live or via a

recording). Examples of these are provided below; these are also included on the

accompanying CD.

A maximum of 10 marks may be

awarded in

total

during

this section of the examination.

RHYTHM TESTS

Test A - l eeping time

The examiner will twice play a 4-

bar

melody in 4 or

l

time. During the second

playing

the

candidate should clap or

tap

the main pulse this

means

2 beats for 4 beats for

1

l ,

accenting beat of each bar. The rhythm will include dotted notes, but will not include

any

note

values than 16th notes semi quavers).

Below is an example of the

styl

of test in each of the time signatures, with the correct pulse that the

candidate should clap

shown

between the treble clef and the tablature notation.

Test B - Recognising the time signature

The candidate should identify, without a further hearing, the time signature of the melody from

rr A b . .

2 3 4 6 12

1est y

nammg

It as

4 ,

4

4 , 8

or

8 .

Test C - Repeating a rhythm

The examiner will play a short extract from TestA twice, as marked i:h the examples below. The

candidate should reproduce the exact

rhythm

not just the pulse) by clapping

or

tapping.

Example 1 CD

track

16)

- Test

C-------

fl

u r I

2 1

>

I >

M

r

r

r

r

r

r

r

r

o

....

n

...

...

..

Q

- '

T

D

.....

I /

I /

fl

t

_

>

I > .

r r r

r

r

r r

r

I I

I T

I

.. .

D

-

1 1


28/31

Example 2 (CD track 17)

. - - - - - - -T e s t

C

- - - - - -

tJ J J

1 .

I

-

2

I>

I : :

>

>

II

4

r r

r

r r r r

r

I I

-

.

.

0 I

A

7 . I

g

.

....

--..::

--=

-....,

Example 3

(CD track 18)

. - - - - - -T e s t

C .

tJ

..

@.

-

6

:f.

> >

- -

I r

r r r r

.....

I

D

A X

D

::

....

v


. - - - - - T e s t C

- - - - - -

tJ

;;;;;.....J ;;;;;.....J

....=

4

>

I> I >

I I 4 r

r

r

r

I r

r r

r

I r

......

. "

,.

0

r r

r

.

I>

II

r

r

r

, r

r

r

r

I I

=+

... ... ...

.

v


. TestC -- -- -

fJJ J

I

"""-=

i"'""""'

--1

I

..

II

3

>

> >

>

-

-

-

I

4

r

r

r r

r r

r r

r

r r

r

......

. .

Q

A

y

D


29/31

PITCH AND HARMONY TESTS

Test D Reproducing a phrase

The candidate willbe asked to look away while the examiner twice plays a one-bar

phr se in r ~ time. The examiner will

n me

the scale nd

pl y

the tonic key)

note. The phrase m y begin on a keynote

or

on the fifth degree of the scale. The

candidate should replicate the phrase on

the guitar. f required, the candidate m y

request to

he r

the phrase once more

but

will then be expected to reproduce the

phrase promptly with no further attempts. The phrase will consist of notes from any

two octave fretted major, natural minor

or

blues scale. Time values will be limited to

quarter notes crotchets), dotted quarter notes dotted crotchets)

nd

eighth notes

quavers).

Examples of the style of test are shown below; these can be he rd on CD track 21

xample

1 from G major scale)

xample

2 fromAnaturalminorscale)


30/31

Test E Recognising chord movements

The candidate should look away while the examiner plays a 4-bar chord progression

in the key of C or G major or A orE minor. The examiner will name the key. The

candidate will then be asked to identify the two final chords by

chord

name.

The first two bars will be the key chord followed by either a V-I perfect) or IV-I

plagal) cadence. Candidates will not be asked to identify

the

cadence,

which

is

written below only to demonstrate the

range

of chords that may occur

in

this test.)

Note

tha

t

the

V

chord in

the minor key progression may be either major or minor.

Below are some examples of the test.

Example

CD track 22)

i l

l

Em

I

Em

l m

I

Em

II

IV-I plagal) cadence

Example 2

CD track 23)

ill

Em

I

Em

m

I

Em

V-I perfect) cadence

Example 3 CD track 24)

with minor V chord)

i

G

I

I IG

II

Example 4

CDtrack25)


i l

l

c

I C

IF

I C


Example 5

CDtrack26)

ill

m

l m

Dm

l m

II


Example 6 CD track 27)

i ll m

l m

I E

l

m


with major V chord)


31/31

Easy

To

Use

Written in

easy-to-read

TAB

as

well

as

traditional notation.

CD examples are provided so

you

can

l isten and

learn .

Designed for both

f ingerstyle

and

plectrum

players.

Get

Qualified

Covers all

the

material

needed

for the

RGT acoustic guitar

examination, enabling

you

to study for an international ly

recognised qualif ication.

mprove

Your

Playing

Even

i

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.

ckerman l fusJc

1

Rgt : Acoustic Gut 293 5379

rgt acoustic guitar grade 5

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