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Initial

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i.ijli-ii

ii.ti':ri.:i+*ii:i+

Stage

Acoustic

Guitar

Pl"fng

Compiled

and

edited

by

Tory

Skinner and

Laurence

I{arwood

for

The

Specialists

in Guitar Education

RGT

egistry

of

Guitar

Tutors



CONTENTS

,ta.-.1:r|:r:..r:

t,: li,f. ;,:tii: ;::j,ii.':.::irtill:t::ii:.:r:::;::U,:r..iil

Introduction

Fingerboard

Knowledge

.

Chords

.

Scales

Performance

Section

.Rhythm Plrying Studies

.Melodies

Examination

Entry Form

Page

4

6

6

9

IO

IO

L4

r9

CD

LISTING

Tuning

Guide

Chords

Scales

Rhyhm Plrying

Study No.

I

Rhyth* Plrying

Study

No.

2

Rhyth* Playing

Study No.

3

When

The

Saints

Go

Marching In

On

Top

Of Old

Smokey

Michael

Row The Boat Ashore

I(umbaya

Track

I

2

3

4

5

6

7

8

9

IO



his

publication is

part of a

progressive

series

of ten

handbooks,

primarily

intended

for

candidates

considering taking

a

Registry

Of

Guitar Tutors (RGT)

examination in

acoustic

guitar playing.

However,

given each

handbook's

wide

content

of

musical

repertoire

and

associated

educational

material,

the

series

provides a solid

foundation

of

musical

education

for

any acoustic

guitar

student

-

whether intending

to take

an

examination

or not.

Those

preparing for

an

examination

should

use this

handbook

in

conjunction

with

the

Acoustic

Guitar

Exam

Information

Booklet

and

Acoustic

Guitar

Syllabus

-

both freely

downloadable

from

the

RGT website:

www.RGT.org

NOTATION

In

order that

chords and scales

can

be made available for

all

to

understand

regardless

of experience,

they

are illustrated in

three formats:

traditional

notation,

tablature

and fretboxes

-

thereby ensuring

that there

is no

doubt

as

to

what

is

required.

Each

of these

methods

of

notation

is

explained

below.

TABLATURE

Horizontal

lines

represent

the

strings

(with

the top

line

being

the

high E

string).

The

numbers

on the

string

lines

refer

to the frets.

0

on

a

line

means

play that

string

open

(unfretted).

The

example

below

means

play

at

the

second

fret

on the

third

string.

INTRODUCTION

MUSICAL

NOTATION

Each line,

and

space

between

lines, represents

a different

note.

Leger

lines are

used

to extend

the

stave

for low

or

high

notes.

The range

of notes

that

occurs in

scales

at

this

level

is shown

below,

together

with

their

string

and

fret

numbers. Fret-hand

fingering

is

shown with

the

numbers

123 4,

with

0

indicating

an

open

string.

String

numbers

are

shown

in

a

circle.

B

G

D

A

E

't-

I

a

A

./r

FT

I



FRETBOXES

Vertical

iines represent

the

strings

-

with

the

line furthest

to the

right

representing

the

high

E string.

Horizontal

lines

represent

the

frets.

The

numbers

on

the

lines

show

the

recommended

fingering.

(1

represents

the

index

finger,

2:

the long middle

finger,

3:

the

ring finger,

4

= the

little

finger.)

This

example means

play with

the

second

finger

at the

second

fret

on the

G

string:

FINGERING

OPTIONS

The

fingerings (including

tablature

positions) that

have

been chosen

are

those that

are most likely

to

be

effective

for

the

widest

range

of players at

this level. However,

there

is

a

variety

of

alternative

fingerings

that could

be

used,

and any systematic

and

effective

fingerings

that

produce a

good

musical

result will

be

acceptable;

there

is no

requirement

to

use the

exact

fingerings

shown

within this

handbook.

Throughout

the

examination,

it

is

entirely

the candidate's

choice

as

to

whether

a pick

(plectrum)

or

fingers

are

used to

pick

the

strings. A

thumbpick

can

be used

if

desired.

TUNING

The

use

of

an electronic

tuner

or

other tuning

aid,

prior

to, or

at

the

start

of

the

examination,

is

permitted;

candidates

should

be able to make any further

adl'ustments,

if required

during

the

examination,

unaided. The

examiner

will, upon

request,

offer

an

E

or A note

to tune to.

For

examination

purposes

guitars

should be

tuned

to

Standard

Concert Pitch

(A:440F{2).

A tuning

guide

is

provided

on the accompanying CD on Track

1.

E,XAMINATION

ENTRY

An

examination entry form

is

provided

at the back

of

this handbook.

This is

the

only valid entry form

for

the RGT

acoustic

guitar

examinations.

Please

note

that

if the

entry

form

is

detached

and

lost, it

will

not be

replaced

under

any

circumstances

and

the candidate

willbe

required

to

obtain a

replacement

handbook

to

obtain

another

entry form.

The

entry form

includes

a

unique

entry

code to enable

you

to

enter

online

via

the

RGT

website

www.RGT.org

EADGBE



FINGERBOARI)

KNOWLE,DGE

he

examiner

will

choose

a

selection of the

chords

and

scales

shown in

this

section and

ask

the

candidate

to

play themfrom

memory.

They

can

be played using

either

the

fingers or a

pick

(plectrum).

Overall,

the examiner

will

be

listening

for

accurate, clear

and

even

playing.

Prompt

presentations,

without

undue

delay or

hesitation

after

being

asked to

play

a

chord

or

scale,

will be taken

as

an

indication

of

secure

knowledge.

Pressing

with the

tips

of the

fingers,

as close

to the

fretwire

as possible,

will

aid

clarity. This

technique

will help eliminate fretbuzz

and minimise

the

amount

of fretting

pressure

required

-

enabling

you

to

play

with

a

lighter,

clearer

and therefore

more fluent

touch.

A

maximum

of

25

marks may

be awarded

in this

section of the examination.

CHORDS

Chords

should

be

played using

a

single

slow strum,

starting with

the

lowest

(root)

note.

The

whoie chord

shape

should

be

carefully

piaced

on the

fingerboard

before any

sound is

produced

and

kept

on

whilst

the

chord is

played.

Ensure

that

no

required

open

strings

are

muted

(these

are

marked

with

a

0

by

the fretbox).

A

string

which

should

be

omitted when

playing

a

chord

is

marked

with

an

X

by

the fretbox,

so

be

very

careful

not

to strike this

string when

playing

the

chord.

CHORD

SYMBOLS

This handbook

(and

examination)

use the

following

standard

abbreviations

when

referring

to

chords:

oThe

symbol for

a

major

chord

is

the capital

letter

of

the

name

of the

chord. For

example,

the

symbol for

G

major

is

G

and

the symbol for

C

major

is

C.

.The

symbol for

a

minor

chord

is the capital

letter

of

the

name

of

the

chord

plus

lower

case

m.

For example,

the

symbol for E

minor

is Em and the

symbol

forA

minor

is

Am.



As the

Initial

Stage examination

is

designed

for

novice

players,

which may

include young children

with

relatively

small hands,

optional three-string

chord

shapes are

provided

as

alternatives

to the

standard chord

shapes.

Both

versions

will

be equally

acceptable

in

the

examination

and candidates

can

use

whichever

they

prefer

-

providing

there is

consistency.

If

using

the

three-string

chord

shapes

great

care

needs

to be taken

to ensure that

the

lower

bass

strings

are not

accidentally

strummed.

CHORD

SUMMARY

At

this

level, candidates

are

expected

to

know

the

following

chords:

C, G,

Am,

Em.

These

chords

are

illustrated

below.

C

major

The first

finger

presses

at the

first

fret

on the B

string,

the

second

finger

presses

at the second

fret

on

the

D

string,

the

third finger

presses

at the

third

fret

on

the A

string.

Strum

the

top

five

strings; exclude

the low

E

string.

/

I

G

major

The

first finger

presses

at the

second

fret

on

the

A

string,

the

second finger

presses

at the

third fret

on the

low

E

string,

the

third finger

presses

at the

third

fret

on

the

high

E

string. Strum all

six strings.

C

x

00

G

000

C

XXXO

(three-string

version

)

G

xxxO

0

(three-string version)

I



A

minor

The

first

finger

presses

at

the

first fret

on

the

B

string,

the

second

finger

presses

at

the

second

fret

on

the

D string,

the

third

finger

presses

at the second

fret

on

the G

string.

Strum the

top

five

strings;

exclude

the low

E string.

Am

x00

E

minor

The

second

finger

presses

at the

second

fret

on

the

A

string,

the

third

finger

presses

at the

second

fret

on

the

D string. Strum

all

six

strings.

Em

0

000

Am

XXX

O

(three-string

version)

)a

2

Em

XXXO

O O

(three-string

version)

Rather

than this

3-string version

using only

open strings, some

candidates

may prefer to

play a 4-

string

version by adding

the note

E on the 2nd fret

of the D string.



SCALES

In

the

Initial

Stage examinatiory

scales

need to

be

played

ascending

only,

i.e.

from

the lowest

note

to

the highest,

at

an approximate

tempo

of

84

beats

per

minute.

This

suggested

tempo

is

for

general

guidance

only

and

slightly

slower

or

faster

performances

will

be acceptable,

providing

that

the

tempo is

maintained

evenly

throughout.

SCALE

SUMMARY

At

this level,

candidates

are

expected

to know

the

following

scales:

C

maior

-

L

octave,

G

major

-

1

octave

These

scales

are

illustrated

below.

C

major

scale

-

I

octave

000

22

33

G

major

scale

-

I

octave

000



PE,RFORMANCE

he

candidate

should

select

and

play ONE

of the three

Rhythm

Playing

Studies

that follow,

plus TWO

melodies.

For

each

performance,

either fingers

and/or a pick can

be used

-

it is

the

candidate's

choice.

Performances

do

not

need to be

from memory:

the

handbook

may

be

used

during

this

section of the

examination. Remember to

bring your handbook

to

the exam

if

you

do

not

intend

to

play

from

memory.

Photocopies

will

not

be

permitted.

RHYTHM

PLAYING

STUDIES

The

candidate

should

select and

perform,

using

the

prescribed

strum

patterry

ONE

of the

Rhythm Playing

Studies

in this

chapter.

o

Each

study

consists

of an S-bar

chord progression that is

played

twice

before

ending

on the key chord.

o

After

the

repeat

section,

the final

closing bar

should

be

played

with

just

a

single

strum.

.

Tempo

indications

are

for

general

guidance only.

Amaximum

of

25

marks

may

be awarded

for

the Rhythm

Playing

Study.

RHYTHM PLAYING

ADfIICE

In

order

to

achieve

the most musical

performance and

obtain

a

high mark

in

the exam,

you should

aim

for

the

following

when

performing

the

Rhythm

Playing

Study:

o

A secure

knowledge

of

the

chord

shapes

and

the

facility

to

change

from

one

chord

shape

to

another

smoothly

and

without

hesitation

or delay.

o

Clear sounding

chords

that are

free

of

fretbuzz

and

any

unintended

muting

of

notes.

Pressing

with

the

tips

of

the

fretting

fingers,

as

close

as

possible to the

fretwire,

will

help

achieve this.

Three-string

versions

of

the

chords can be

used if

preferred

to the standard

chord

shapes.

.

A

flowing

rhythm

style,

maintaining

an even

tempo

throughout.

o

Accurate

reproduction

of

the

notated strum pattem.



Rhythm Playing

Study

No.

I

strumPattern: )))

Moderate

tempo

ftllc

E-lc

lnm

l.t-lAmlc

c

|lc

ll

RHYTHM

NOTATION

GUIDE

FOR

STUDY

NO.

1

This

study

is

in

f

time

-

meaning

that

there

are

four

main

beats

per

bar.

The notated

strum

pattern

JJJ

tr",at.utes

that

you should

play

on beats

7

and2,

followed

by

a

longer

lasting

strum

on beat 3:1,2

3

(4)

It

is recommended

that

you

use

downstrokes

for

these

strums.

The set

of two repeat

dots

l'

'l

indicates

the

section

that should

be

repeated

-

i.e.

the

first

eight bars.

Track



Rhythm

Playing

Study

No.

2

strumPattern:

IJJJ

Slow

tempo

fll'^t-

AmlE-

EmlAmlC

lc

lc

'llAmll

RHYTHM

NOTATION

GUIDE

FOR

STUDY

NO. 2

This

study

is in

f

time

-

meaning

that there

are

four

main

beats

per bar.

The

notated

strum

pattern

JJJJ t"at.ates

that

you should

play

on

all 4

beats:

I z

g

4

It

is recommended

that

you

use

downstrokes

for

these strums.

:Track

;u*5*



Strum Pattern:

| )

Moderate

tempo

ftll,c

Emlnrn

G

clc

c

lc

llc

Tl

RI{YTHM

NOTATION

GUIDE

FOR

STUDY

NO. 3

This

study is in

f

time

-

meaning

that

there

are

four main

beats

per bar.

The

notated

strum

pattern JJJ

tr,at"utes

that

you should

play

on beats 1,

3

and,4,

with

the

strum on

beat 1

being

a longer

lasting

strum

:1,

(2l

Z

4

It

is

recommended

that

you

use

downstrokes

for these

strums.



MELODIES

The candidate

should select and perform

TWO

melodies.

At

least

ONE

must

be chosen

from

the

four traditional

melodies

in this handbook. If

preferred,

ONE

melody can

be

a'free choice'by

the

candidate of any other

well-known

meiody from 1960

onwards

-

providing

it

is

of

at

least

similar

technical

standard and

duration

to the melodies below.

(Whenever

possible,

candidates

should

bring

the

notation

of

the free choice

melody

to the exam

for

the

examiner to view.)

Melodies

can

be played

with

a pick

or using fingers,

as

preferred by

the candidate.

Chord

symbols are

provided

for

each

melody

in this handbook

purely

to

enable

a

teacher

or

fellow

player

to

provide

accompaniment

during

practice.

Candidates

are

NOT

required

to

play

the chords

in

the

exam

-

only

the

melody,

unaccompanied.

(On

the CD an

accompaniment

is

played with

the

melody

to enhance the musical

effect

and

reinforce

the

timing for learning

purposes.)

Tempo

markings

have been

chosen

that

reflect

the capabilities expected at

this

level,

but

are

for

general guidance

only:

tempos

that are either

faster

or

slightly

slower than those

marked can be

used,

providing

they

produce

an

effective musical result.

A

maximurn

of

25

marks may

be awarded

for

each

of

the

two

melodies

performed.

MELODY

PLANNG ADVICE

As the melodies

are

based

entirely

on the

scales set

for

the

Fingerboard

Knowledge

section

of the exam,

practising

these

scales

will make

learning

the

melodies much

easier.

The

two

dots at the end

of

each

melody indicate that

the

music should

be

repeated

from

the

beginning

-

i.e.

each

melody

should be

played

twice.

In

order

to

achieve

the most musical

performance

and

obtain a high mark in

the

exam,

you should

aim

for

the

following when performing

the

melodies:

.

An

accurate reproduction of the pitch and

rhythm

of

the melody.

o

[ fluent

renditiory

maintaining

an

even

tempo throughout.

.

Capturing

the

phrasing

within

the melody.

o

Clear

sounding

notes

that

are

free

of

fretbuzz.



C

When The

Saints

Go

Marching

In

)-csa

C

This

arrangement

Cr cop)'right

2007

b)' Registry

Publications

This

melody

is

in

f

time.

The tune

begins

on the second

beat

of

the

bar.

The

melody

is notated

in

the

key of C

major

and

all

the notes

come

from

the

first five

degrees

of the

C

major

scale.

Chord

symbols

are

provided

purely

to

enable

a

teacher

or fellow

piayer to

provide

accompaniment

during

practice.

Candidates are

NOT

expected

to

play these

chords

in

this

section

of the

exam.

a)

J

1

+

3

C

a)

e

€>

A



Q-n-Tw-af"Qld-Smsky

J

:

cro+

This arrangement

O

copylight

2007

by

Registry

Publications.

This

melody

is

in

fr

ti*"

and the tune begins

on beat

3

(i.e.

after

a

count of

two).

The

melody

consists

of

four

four-bar

phrases, each

of which

begins

on the

third

beat

of the

bar.

Each

phrase

concludes

with

a

long

tied

note;

make

sure the

fretting

finger

is held

on to

sustain

this

note

for

its

full

duration.

The melody

is

notated in

the

key

of C

major

and

all

the

notes

come

from

the

C

major

scale.

t

d

G

o

-

J

I

A

C

aJ

--

-

4'

e

e

A

a



Michael

Row

The Boat

Ashore

:

c80

C

c,)

Y

l

=---0-3

A

This

arrangement

O

copyrighi

2007

by

Registry

publications.

This

melody

is

in

f

ti*".

The

tune

begins

on beat

3

(i.e.

after

a

count

of

two).

The

melody

consists

of

two

rhythmically

similar

phrases

-

the second

phrase

starting

on beat

3

of bar

4.

Look

out

for

the

dotted

note

at

the

start

of the

first

full

bar

and

bar

5,

as

this provides

an

important rhythmic

feature of the

melody.

The

melody

is

notated

in

the

key

of

G

major

and

all

the

notes

come

from

the

first

six degrees

of the

G major

scale.

G

Track':].'....]



Kumbaya

J:cao

Am

G

G

G

C

-T-------Z-

T-Tr-_]__-

a)

a)

A

G

a)

A

This

arrangement O

copyright

2007

by

Registry

Publications

This

melody

is

in

f

tm".

The

melody

consists of

four

phrases, each

of

which

begins halfway

through

abar, on beat

3

(i.e.

after

a count

of

two).

The

third

phrase is simply

a

repeat

of

the

first.

The

melody

is

notated

in

the

key of

G

major

and

all

the

notes

come from

the

first

six degrees

of

the

G

major

scale.



o

Written

in

easy-to-read

TAB, as

well

as

traditional

notation.

.

CD

examples are

provided

so

you

can

'listen

and learn'.

.

Designed

for

both

fingerstyle

and

plectrum

players.

Covers all

the material

needed

for

the

RGT

acoustic

auitar

examination,

enabling

you

to study for

an internationally

recog

nised

qua

lification.

Even

if

you

do not intend to take

an exam, this

book will help

you

achieve

your

full

potential

as a

guitarist

by

developing

all

aspects of

your playing.

RGr

- ACOt-lsTlc

GUIT,lR

PLAYING

It',iIT,\L

STAGE

,.f

BN

978-1-905

908-O9-7

S

rgt acoustic initial

Documents