Guitar Companion Guide Multiple examples of the ‘unseen tests’ in Rockschool exams for practice and improved exam performance
All accompanying and supporting audio can be downloaded from: www.rslawards.com/downloads Input the following code when prompted: 4L9H7EFV3Y For more information, turn to page 4
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Acknowledgements Published by Rockschool Ltd. © 2012 Catalogue Number RSK111201 ISBN: 978-1-908920-28-7 AUDIO
Recorded, mixed and mastered at Langlei Studios by Duncan Jordan Producer: James Uings MUSICIANS
Stuart Clayton, Fergus Gerrand, Noam Lederman, Stuart Ryan, Ross Stanley PUBLISHING
Music engraving and book layout by Simon Troup and Jennie Troup of Digital Music Art Proof and copy editing by Stephen Lawson, Simon Pitt, James Uings and Chris Bird Cover design by Philip Millard Cover photography by Adam Gasson SYLLABUS
Syllabus director: Jeremy Ward Instrumental specialists: Stuart Clayton, Noam Lederman and James Uings Noam Lederman plays Mapex Drums, PAISTE cymbals and uses Vic Firth Sticks Rockschool would like to thank the following companies for donating instruments used in the cover artwork
PRINTING
Printed and bound in the United Kingdom by Caligraving Ltd DISTRIBUTION
Exclusive Distributors: Music Sales Ltd CONTACTING ROCKSCHOOL
Guitar Companion Guide
www.rslawards.com Telephone: +44 (0)845 460 4747 Email:
[email protected]
2
RSL-876691015613 / 1 / Samuel Brooks /
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SPONSORSHIP
Table of Contents Introductions & Information Acknowledgements............................................. 2 Table of Contents................................................. 3 Welcome................................................................... 4 Guitar Notation Explained.............................. 5
Sight Reading Debut.......................................................................... 6 Grade 1...................................................................... 8 Grade 2.................................................................... 10 Grade 3.................................................................... 12 Grade 4.................................................................... 14 Grade 5.................................................................... 17
Ear Tests Debut........................................................................ 30 Grade 1.................................................................... 36 Grade 2.................................................................... 42 Grade 3.................................................................... 48 Grade 4.................................................................... 54 Grade 5.................................................................... 58 Grade 6.................................................................... 62 Grade 7.................................................................... 66 Grade 8.................................................................... 70
Quick Study Pieces Grade 6.................................................................... 74 Grade 7.................................................................... 80 Grade 8.................................................................... 86
General Musicianship Questions Debut & Grade 1................................................ 92 Grades 1 & 2......................................................... 93 Grades 4 & 5......................................................... 94 Grades 6 & 7......................................................... 95 Grade 8.................................................................... 96
Guitar Companion Guide
Grade 1.................................................................... 20 Grade 2.................................................................... 22 Grade 3.................................................................... 24 Grade 4.................................................................... 26 Grade 5.................................................................... 28
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Improvisation & Interpretation
3
Welcome to the Rockschool Guitar Companion Guide This book is designed to give teachers, learners and candidates multiple examples of the ‘unseen’ tests that are to be found within each Rockschool grade exam at Debut and Grades 1–8. The Companion Guide contains between three and six examples of each of the following tests: ■■Sight Reading (Debut–Grade 5) ■■Improvisation & Interpretation (Grades 1–5)* ■■Ear Tests (Debut–Grade 8)* ■■Quick Study Pieces (Grades 6–8)* ■■General Musicianship Questions (Debut–Grade 8) All of the test examples marked (*) have accompanying audio which can be downloaded from the Rockschool website (see below). The Quick Study Pieces (QSPs) come in two audio versions: one with a full mix of the QSP and one with the examined instrumental part removed. Please refer to the track listings given in the text. Teachers, learners and candidates should also refer to the Rockschool Syllabus Guide for Guitar where you will find the technical specifications for each section of the exam syllabus, including those parts of the exam (the performance pieces and the Technical Exercises) not covered by this Companion Guide. The Guitar Syllabus Guide can be found on our website: www.rslawards.com. References to the relevant sections of the Syllabus Guide can be found in each section of this book.
If you have any queries about the syllabus for Guitar (or any other exam syllabus offered by Rockschool), please do not hesitate to call us on 0845 460 4747 or email us at
[email protected] The Rockschool website, www.rslawards.com, has detailed information on all aspects of our examinations, including examination regulations, detailed marking schemes and marking criteria.
Audio
In addition to this book, we have also provided audio examples where appropriate. The following symbol is used to indicated which exercises have accompanying audio:
P
These audio examples can be downloaded from RSL directly at www.rslawards.com/downloads You will need to input this code when prompted: 4L9H7EFV3Y
Guitar Companion Guide
The audio files are supplied in MP3 format. Once downloaded you will be able to play them on any compatible device.
4
RSL-876691015613 / 1 / Samuel Brooks /
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The purpose of the Companion Guide is to give candidates practice examples of the kinds of ‘unseen’ tests encountered in the grade exam.
Guitar Notation Explained E F CD B AG F E
Strings:
TABLATURE graphically represents the guitar fingerboard. Each horizontal line represents a string and each number represents a fret.
E B G D A E
4 &4 ˙ T A B
# ww ww D
Ó
Am
Fourth string, 2nd fret
’ ’ ’ ’
0 1 2 2 0
2 3 2 0
2
F
Û Û Û Û
Notes:
THE MUSICAL STAVE shows pitches and rhythms and is divided by lines into bars. Pitches are named after the first seven letters of the alphabet.
Open D chord
Rhythm notation with suggested fingering
Solos and Cont. sim. sections are shown in slash notation
Definitions For Special Guitar Notation
œ
& œ T A B
5
7
PULL-OFF: Pick the higher note then sound the lower note by lifting the finger without picking.
& T A B
œ
œ
7
5
STRING BENDS: Pick the first note then VIBRATO: Vibrate the note by bending bend (or release the bend) to the pitch and releasing the string smoothly indicated in brackets. and continuously.
œ œ œ
&
BU
T A B
BD
(6)
5
(5)
PINCHED HARMONICS: Bring the thumb of the picking hand into contact with the string immediately after the pick.
&
Guitar Companion Guide
T A B
5
— — —
PH
5
T A B
7
œ
5
˙
PB 7
8
PICK-HAND TAP: Strike the indicated note with a finger from the picking hand. Usually followed by a pull-off.
œ
&
#œ
7
T A B
2
WHAMMY BAR BEND: Use the whammy bar to bend notes to the pitches indicated in brackets in the TAB.
& œ œ œ w/bar
w/bar
BD
( 9)
T A B
~~~~~~~~~~~~
& œ
œ
T A B
4
2
TRILL: Rapidly alternate between the two bracketed notes by hammering on and pulling off.
Ÿ ~~~~~ œ &œ w Ÿ ~~~~~ T A B
& œ
œ
T A B
4
T A B
( 5 7) 5
#œ
œ
2
NATURAL HARMONICS: Lightly touch the string above the indicated fret then pick to sound a harmonic.
&
FRET-HAND TAP: As pick-hand tap, but use fretting hand. Usually followed by a pull-off or hammer-on.
&
GLISSANDO: Slide off of a note at the end of its rhythmic value. The note that follows is repicked.
‚ ‚ ‚
NH
12
12
12
QUARTER-TONE BEND: Pick the note indicated and bend the string up by a quarter tone.
& œ
1/4
œ
1/4
PRE-BENDS: Before picking the note, bend the string from the fret indicated between the staves, to the equivalent pitch indicated in brackets in the TAB.
&
&
w~~~~~~~~~~~~
SLIDE: Pick the first note and slide to the next. If the line connects (as below) the second note is not repicked.
(7)
T A B
4
(5)
(4)
T A B
9
5
T A B
5
7
fi
D.%. al Coda
■ Go back to the sign (%), then play until the bar marked To Coda then skip to the section marked Coda.
D.C. al Fine
■ Go back to the beginning of the song and play until the bar marked Fine (end).
.. ..
1.
..
2.
fi
..
■ Repeat the bars between the repeat signs. ■ When a repeated section has different endings, play the first ending only the first time and the second ending only the second time.
RSL-876691015613 / 1 / Samuel Brooks /
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HAMMER-ON: Pick the lower note, then sound the higher note by fretting it without picking.
Sight Reading Debut Candidates attempting a Debut grade exam are required to take a Sight Reading test. Candidates attempting Grades 1–5 inclusive have a choice of taking either the Sight Reading or the Improvisation & Interpretation test in the exam. Six examples of the types of Sight Reading tests required in the exam are shown below in grade order. A summary of the technical specifications of each test offered to candidates in the exam can be found in the Guitar Syllabus Guide in the summary table on page 32. The Syllabus Guide can be found on the Rockschool website: www.rslawards.com. Please note that in Grades 4 and 5 each Sight Reading test also includes two bars of improvisation. You will be asked to prepare a Sight Reading test which is given to you by the examiner. The examiner will allow you 90 seconds to prepare the test and will set the tempo for you on a metronome. You can choose to play with or without the metronome. TAB fingerings are given along with standard notation in all Sight Reading tests at all grades. The examiner will offer you the metronome, which can be used during your practice time or as a four-beat indication of the tempo. Choose which works best for you. It is best to stick with the method you have used while preparing at home for the exam. The examiner will also offer you the metronome for your performance. Debut The following examples are indicative of the types of test you will be given in the Debut exam.
q = 70
& 44 T A B
˙
˙
˙
œ
œ
œ
œ
˙
˙
˙
0
0
0
0
0
0
0
0
0
0
Example 2 q = 70
& 44
Guitar Companion Guide
T A B
6
œ
œ
˙
˙
˙
œ
œ
˙
˙
œ
œ
0
0
0
0
0
0
0
0
0
0
0
Example 3 q = 70
& 44 T A B
œ
œ
œ
œ
œ
œ
˙
˙
˙
˙
œ
œ
0
0
0
0
0
0
0
0
0
0
0
0
RSL-876691015613 / 1 / Samuel Brooks /
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Example 1
Sight Reading Debut Example 4 q = 70
4 &4 T A B
œ
œ
˙
˙
˙
˙
œ
œ
˙
œ
œ
0
0
0
0
0
0
0
0
0
0
0
Example 5
T A B
˙
˙
œ
œ
œ
œ
œ
œ
œ
œ
˙
œ
œ
0
0
0
0
0
0
0
0
0
0
0
0
0
Example 6 q = 70
& 44 T A B
œ
œ
œ
œ
˙
œ
œ
œ
œ
œ
œ
˙
˙
0
0
0
0
0
0
0
0
0
0
0
0
0
Guitar Companion Guide
& 44
RSL-876691015613 / 1 / Samuel Brooks /
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q = 70
7
Sight Reading Grade 1 Grade 1 The following examples are indicative of the types of test you will be given in the Grade 1 exam. Example 1 q = 70
4 &4 T A B
˙
˙
œ
œ
˙
0
0
2
2
3
˙ 0
œ
œ
˙
˙
3
2
0
0
q = 70
& 44 T A B
˙
œ
œ
˙
œ
œ
œ
œ
˙
˙
˙
0
2
0
2
0
2
3
3
3
2
0
Example 3 q = 70
& 44
Guitar Companion Guide
T A B
8
œ
œ
˙
œ
œ
˙
0
2
0
0
2
3
˙ 0
˙
˙
œ
œ
3
3
2
0
RSL-876691015613 / 1 / Samuel Brooks /
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Example 2
Sight Reading Grade 1 Example 4 q = 70
4 &4 T A B
œ
œ
œ
0
2
3
œ 0
˙ 3
˙
œ
œ
0
2
0
œ
˙
˙
˙
3
2
0
& 44 T A B
œ
œ
˙
0
2
3
œ
œ
œ
œ
œ
0
2
0
2
0
œ
œ
0
2
3
œ
œ
0
0
˙
˙
3
0
œ
˙
˙
3
2
0
Example 6 q = 70
4 &4 T A B
œ
œ
œ
œ
œ
œ
0
2
0
2
3
3
˙ 3
œ 0
Guitar Companion Guide
q = 70
RSL-876691015613 / 1 / Samuel Brooks /
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Example 5
9
Sight Reading Grade 2 Grade 2 The following examples are indicative of the types of test you will be given in the Grade 2 exam. Example 1 q = 70
#4 & 4
œ
œ
T A B
Œ
0
3
œ
œ
2
2
Œ
œ œ œ
˙
0
0
3
3
œ
œ
˙
3
2
0
˙ 3
q = 70
& 44 œ T A B
Œ
3
œ œ œ
˙
0
3
0
2
œ
œ
œ œ Œ
0
2
0
0
˙
œ
œ
3
2
0
˙ 3
Example 3 q = 70
#4 & 4
Guitar Companion Guide
T A B
10
œ 3
Œ
œ 0
Œ
œ 2
Œ
œ 0
œ œ
œ
3
3
2
œ 0
Œ
œ œ 0
3
˙
œ
2
0
œ 3
RSL-876691015613 / 1 / Samuel Brooks /
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Example 2
Sight Reading Grade 2 Example 4 q = 70
4 &4
˙
T A B
3
œ
œ
œ œ Œ
0
2
3
3
œ œ Œ
œ
œ œ ˙
0
0
0
2
3
˙
3
˙
2
3
#4 & 4
œ
T A B
3
œ
˙
œ
œ œ
0
2
2
3
Œ
0
œ
œ
2
3
Œ
˙
œ
0
0
œ œ ˙ 3
2
3
Example 6 q = 70
4 &4 œ T A B
3
œ
œ
œ
œ œ œ
0
2
0
2
0
3
Œ
œ œ ˙
œ
œ œ
œ œ
2
0
0
0
3
2
3
3
Œ
˙ 3
Guitar Companion Guide
q = 70
RSL-876691015613 / 1 / Samuel Brooks /
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Example 5
11
Sight Reading Grade 3 Grade 3 The following examples are indicative of the types of test you will be given in the Grade 3 exam. Example 1 q = 80
#4 & 4
Œ
˙
T A B
3
œ œ
œ
œ œ
2
2
3
3
Œ
œ
0
3
˙
œ
2
0
œ
˙
3
2
˙ 3
q = 80
& 44 T A B
œ
œ œ œ
œ
0
2
3
0
2
˙ 3
Œ
œ
œ
2
3
Œ
œ œ œ
œ
2
0
3
2
œ
˙
3
0
Example 3 q = 80
#4 & 4
Guitar Companion Guide
T A B
12
œ 3
œ œ 3
0
Œ
œ
œ œ œ
œ
0
2
0
2
3
Œ
œ œ œ 2
0
4
Œ
œ œ œ 4
2
0
œ
œ
3
2
œ 3
RSL-876691015613 / 1 / Samuel Brooks /
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Example 2
Sight Reading Grade 3 Example 4 q = 80
4 &4
Œ
œ
T A B
œ œ œ
œ œ œ
0
0
2
0
3
3
0
Œ
œ œ œ 2
3
Œ
œ
œ
2
2
0
œ œ œ 3
2
˙
3
0
#4 & 4
œ œ œ
œ œ œ
T A B
3
0
2
0
2
Œ
œ 0
3
œ œ œ œ 4
2
0
Œ
œ
3
œ 0
3
œ
œ
œ œ œ
3
2
3
2
0
Example 6 q = 80
& 44 T A B
œ
œ œ œ œ œ
0
2
3
0
2
2
œ œ œ 2
3
2
Œ
œ œ œ œ œ œ œ 2
3
2
0
3
2
0
Œ
œ œ œ 2
0
3
˙ 0
œ 3
Guitar Companion Guide
q = 80
RSL-876691015613 / 1 / Samuel Brooks /
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Example 5
13
Sight Reading Grade 4 Grade 4 The following examples are indicative of the types of test you will be given in the Grade 4 exam. Please note that in Grade 4 the Sight Reading tests contain a small amount of improvisation and interpretation. This consists of a two-bar section to be found at the end of each test. Example 1
## 4 & 4 œ
Rock
Œ
D
T A B
&
A
œ
0
##
4
D
T A B
œ œ œ
0
4
2
Œ
&b œ œ œ
Guitar Companion Guide
14
0
2
3
œ œ 3
0
D
˙ 4
A
2
0
F#m
œ
‰ j œ œ
4
4
2
œ
œ œ ˙
0
0
D
2
Bm
’ ’ ’ ’
œ œ œ œ ˙ 0
Bm
Develop melody
D
Œ
0
F#m
D
’ ’ ’ ’
4
j
0
3
A
G
G7
2
Œ
0
œ
œ œ œ œ œ
0
3
2
3
2
0
3
Œ
A7
D7
œ
œ œ ˙
0
2
0
’ ’ ’ ’
A7
œ œ œ
0
3
G7
D7
Œ
œ
œ
œ œ œ
0
D7
T A B
2
Blues q q = q q
D7
T A B
0
3
3
4 &b4 œ
œ
0
Example 2 q = 85
œ
Œ
A
œ
Œ
G
0
D7
Develop melody
œ 3
œ
2
D7
2
’ ’ ’ ’
RSL-876691015613 / 1 / Samuel Brooks /
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q = 85
Sight Reading Grade 4 Example 3
4 &4 œ œ œ œ Œ T A B
C
2
2
0
2
Am
2
2
0
1
0
œ œ œ
F
œ œ œ
Am
Œ
0
2
œ œ œ
œ
C
&œ œ œ œ Œ T A B
œ
G
Dm
0
2
G
Œ
œ
1
œ œ 0
2
2
œ œ ’ ’ ’ ’
G
Am
Œ
G
1
3
1
3
3
œ
Œ
Am
Œ
œ
0
2
Em
Am
’ ’ ’ ’
Develop melody
2
Em
0
Example 4 q = 85
Rock
#4 & 4 œ œ œ G
T A B
& T A B
0
#
4
G
œ œ œ 0
4
0
Em
C
Œ
œ œ œ
œ
0
2
Œ
D
2
4
C
œ œ œ œ œ 2
4
D
2
4
0
G
œ œ œ œ œ
˙
0
0
4
D
Em
œ
œ
4
2
4
0
2
G
C
0
œ 0
’ ’ ’ ’ Develop melody
D
œ
Œ
G
œ œ œ 0
4
D
G
2
0
’ ’ ’ ’
RSL-876691015613 / 1 / Samuel Brooks /
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Rock
Am
Guitar Companion Guide
q = 85
15
Sight Reading Grade 4 3
q = 85
œ & b 44
œ œ œ
‰ œ œ œ Œ J
Dm
T A B
j
Blues q q = q q
3
1
3
1
3
3
œ œ œ œ œ Œ & b œ ‰ Jœ œ 3
1
1
3
0
3
1
œ
3
2
œ
Dm
T A B
Œ
3
Gm
œ
3
œ œ œ œ œ
œ
3
3
0
3
0
2
Gm
’ ’ ’ ’ Develop melody
Am
œ œ Œ 1
œ œ œ
Dm
3
2
Am
Dm
D
G
1
3
’ ’ ’ ’
2
Example 6 q = 85
Rock
#4 & 4 œ œ œ œ œ œ Œ G
Guitar Companion Guide
T A B
16
œ œ œ
C
œ œ œ
Œ
Am
œ
œ
œ œ œ
œ œ œ 0
T A B
&
Œ
D
0
#
4
2
0
2
0
0
œ œ œ ‰ œ œ œ
D
0
0
G
4
2
2
0
0
4
œ œ œ 4
4
0
4
Œ
2
0
C
2
Am
4
œ œ ’ ’ ’ ’ Develop melody
4
2
2
D
4
2
G
3
3
’ ’ ’ ’
RSL-876691015613 / 1 / Samuel Brooks /
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Example 5
Sight Reading Grade 5 Grade 5 The following examples are indicative of the types of test you will be given in the Grade 5 exam. Please note that in Grade 5 the Sight Reading tests contain a small amount of improvisation and interpretation. This consists of a two-bar section to be found at the end of each test. Example 1
T A B
&
2
5
#
T A B
4
2
5
2
5
4
2
5
Example 2 3
q = 90
4
Gm
& T A B
0
3
œ œ Œ
Gm
0
4
3
0
3
œ. 0
2
2
4
œ
œ
C
4
5
5
B m7
œ
œ œ œ
2
B m7
œ.
0
3
Develop melody
œ. 3
œ.
0
0
3
œ œ œ œ Œ 0
œ œ Œ
œ œ œ œ œ. 3
3
0
3
4
5
Œ
œ
4
5
G
’ ’ ’ ’
2
5
0
˙
C
Cm
3
œ œ œ
G
’ ’ ’ ’
j
Blues q q = q q
b4 & b 4 œ œ œ œ œ.
bb
2
7
œ
T A B
4
Am j ‰ œ œ œ œ œ œ
G
‰ œj ˙
7
0
œ. 0
1
Cm
œ œ œ 4
1
1
’ ’ ’ ’
Develop melody
œ
œ œ ˙
3
2
Gm
Gm
0
0
’ ’ ’ ’
RSL-876691015613 / 1 / Samuel Brooks /
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Am j #4 & 4 œ ‰ œ œ œ œ œ œ G
Guitar Companion Guide
Rock
q = 90
17
Sight Reading Grade 5 Example 3
# & 44 œ
Funk
Em
T A B
& T A B
#
0
0
2
0
4
2
2
0
2
œ œ Œ
2
œ œ œ œ œ 0
Œ
0
A m7
Œ
œ
œ œ œ œ œ
œ
2
E m7
A m7
2
0
0
2
œ œ Œ
Œ
œ œ œ œ ‰ œ œ œ œ œ œ œ ‰ Œ J
E m7
B m7
2
0
0
E m7
E m7
2
0
B m7
3
1
0
0
2
E m7
’ ’ ’ ’
’ ’ ’ ’
Develop melody
2
Example 4 q = 90
4 &b4 œ
Rock
F
T A B
Guitar Companion Guide
œ œ œ 2
3
F
18
Œ
0
3
&b œ œ Œ
œ œ œ
T A B
2
2
3
Bb
0
2
˙ œ œ œ œ
F
1
1
0
3
2
3
Bb
œ œ œ œ ˙ 3
œ œ œ œ œ œ œ œ
C
C
2
3
2
1
F
Dm
3
1
3
Dm
C
1
0
’ ’ ’ ’
Develop melody
3
1
C
Œ
F
œ œ œ 3
F
2
2
’ ’ ’ ’
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 90
Sight Reading Grade 5 Example 5
T A B
3
1
3
1
3
0
3
1
3
F bb Gœm œ œ œ œ œ œ & œ œ œ œ 7
T A B
7
3
3
1
3
3
1
Example 6 3
q = 90
3
j
Blues q q = q q
#4 œ œ œ œ Œ & 4 Em
0
T A B
3
1
3
# Eœm œ œ œ Œ & T A B
0
3
1
3
0
3
1
3
œ œ œ
œ
0
0
3
1
3
3
1
0
3
1
2
0
0
0
3
D m7
’ ’ ’ ’ Develop melody
œ œ Œ œ œ œ œ
G m7
3
3
3
0
3
1
G m7
’ ’ ’ ’
3
œ
1
1
œ œ œ œ
˙
3
œ
œ œ Aœm œ œ œ 0
1
œ œ œ
3
A m7
œ œ œ
D m7
0
œ 0
Em
Am
œ œ œ œ Œ 2
Em
2
0
0
Am
œ 2
’ ’ ’ ’ Develop melody
Em
œ œ œ 0
Em
2
0
œ œ œ 0
3
0
’ ’ ’ ’
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
b4 œ œ ‰ œ œ œ &b 4 œ œ œ œ J F7
Gm
Guitar Companion Guide
Funk
q = 90
19
Improvisation & Interpretation Grade 1 Candidates attempting Grades 1–5 inclusive have a choice of taking either the Sight Reading or the Improvisation & Interpretation test in the exam. Six examples of the types of Improvisation & Interpretation tests required in the exam are shown below in grade order. A summary of the technical specifications of each test offered to candidates in the exam can be found in the Guitar Syllabus Guide in the summary table on page 32. The Syllabus Guide can be found on the Rockschool website: www.rslawards.com. Please note that in Grades 4 and 5 each Improvisation & Interpretation test also includes two bars of sight reading at the beginning of each eight-bar test. You will be asked to prepare an Improvisation & Interpretation test which is given to you by the examiner. Grade 1 You will be asked to play an improvised line to a backing track of four bars in the key of C major or A minor. You may choose to play either rhythmic chords (first audio track) or a melodic lead line (second audio track). You have 30 seconds to prepare then you will be allowed to practise during the first playing of the backing track before playing it to the examiner on the second playing of the backing track. This test is continuous with a one-bar count-in at the beginning and after the practice session.
P
Example 1 Rock
¿ ¿ ¿ ¿ 4 . &4 .
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. C
Em
G
C
P
Example 2 q = 70
Rock
¿ ¿ ¿ ¿ 4 . &4 .
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
Am
Em
Dm
Am
P
Example 3
Guitar Companion Guide
q = 75
20
Rock
¿ ¿ ¿ ¿ 4 . &4 .
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. C
Am
Em
C
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 80
Improvisation & Interpretation Grade 1
P
Example 4 Rock
¿ ¿ ¿ ¿
4 & 4 ..
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
Am
Dm
Em
Am
P
Example 5 Rock
¿ ¿ ¿ ¿ 4 . &4 .
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. C
Dm
Am
C
P
Example 6 q = 80
Rock
¿ ¿ ¿ ¿ 4 . &4 .
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
Am
G
Em
Am
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 80
Guitar Companion Guide
q = 80
21
Improvisation & Interpretation Grade 2 Grade 2 You will be asked to play an improvised line to a backing track of four bars in the key of G major or E minor. You may choose to play either rhythmic chords (first audio track) or a melodic lead line (second audio track). You have 30 seconds to prepare then you will be allowed to practise during the first playing of the backing track before playing it to the examiner on the second playing of the backing track. This test is continuous with a one-bar count-in at the beginning and after the practice session.
P
Example 1 Rock
#4 . ¿ ¿ ¿ ¿ & 4 .
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. G
Em
D
G
P
Example 2 q = 80
Rock
#4 . ¿ ¿ ¿ ¿ & 4 .
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
Em
D
G
Em
P
Example 3 q = 85
Rock
Guitar Companion Guide
#4 . ¿ ¿ ¿ ¿ & 4 .
22
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. G
A m7
D
G
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 80
Improvisation & Interpretation Grade 2
P
Example 4 Rock
#4 . ¿ ¿ ¿ ¿ & 4 .
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
E m7
G
C maj 7
Em
P
Example 5 Rock
#4 . ¿ ¿ ¿ ¿ & 4 .
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. G
Em
C
G
P
Example 6 q = 90
Rock
#4 . ¿ ¿ ¿ ¿ & 4 .
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
E m7
A m7
D
E m7
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 80
Guitar Companion Guide
q = 90
23
Improvisation & Interpretation Grade 3 Grade 3 You will be asked to play an improvised line to a backing track of four bars in the key of G major or A minor. You may choose to play either rhythmic chords (first audio track) or a melodic lead line (second audio track). You have 30 seconds to prepare then you will be allowed to practise during the first playing of the backing track before playing it to the examiner on the second playing of the backing track. This test is continuous with a one-bar count-in at the beginning and after the practice session.
3
q = 80
& 44 ..
P
j
Blues q q = q q
¿ ¿ ¿ ¿
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
Am
Dm
G
Em
Am
P
Example 2 q = 80
Rock
#4 . ¿ ¿ ¿ ¿ & 4 .
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. G
Bm
D
C
G
P
Example 3 q = 85
Rock
Guitar Companion Guide
¿ ¿ ¿ ¿ 4 . &4 .
24
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
Am
F
G
Am
Em
Am
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Example 1
Improvisation & Interpretation Grade 3 Example 4 3
q = 80
P
j
Blues q q = q q
#4 . ¿ ¿ ¿ ¿ & 4 .
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. G
C
G
D
C
G
P
Example 5 Rock
Example 6 3
q = 90
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
Am
C
Dm
F
G
Am
P
j
Blues q q = q q
#4 . ¿ ¿ ¿ ¿ & 4 .
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. G
C7
G
D
D7
G
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
¿ ¿ ¿ ¿ 4 . &4 .
Guitar Companion Guide
q = 85
25
Improvisation & Interpretation Grade 4 Grade 4 In Grade 4, the Improvisation & Interpretation test contains a small amount of sight reading. This consists of a two-bar section of rhythm notation at the beginning of the test. You will be asked to play the chords in the rhythms indicated and complete the test using an improvised line made up of chords and lead lines where indicated. This is played to a backing track of no more than eight bars. The test will be given in one of the four following keys: D major or G major, or D minor or A minor. You have 30 seconds to prepare then you will be allowed to practise during the first playing of the backing track before playing it to the examiner on the second playing of the backing track. This test is continuous with a one-bar count-in at the beginning and after the practice session.
3
P
j
Blues q q = q q
q = 90
¿ ¿ ¿ ¿
& 44 ..
Chords in rhythm shown
Û Û Û
A m7
Û
Û
Û
Û
Dm
Û Û Û
Improvise rhythmic chords
A m7
’’’’ ’’’’
Improvise melody
A m7
Dm
&’ ’ ’ ’
Em
’ ’ ’ ’
Em
’ ’ ’ ’
’ ’ ’ ’ ..
A m7
P
Example 2 q = 90
# & # 44 .. &
##
Rock
¿ ¿ ¿ ¿
Bm
Guitar Companion Guide
q = 95
26
Û Û Û Û Û Û ’’’’ ’’’’
G
Em
’ ’ ’ ’
3
Bm
’ ’ ’ ’
A7
’ ’ ’ ’
’ ’ ’ ’
A
’ ’ ’ ’ ..
D
P Chords in rhythm shown
Û Û Û Œ
G7
Û
Û Û Û Û Û Û
C7
Improvise rhythmic chords
D7
’’’’ ’’’’
Improvise melody
C7
G
j
Blues q q = q q
#4 . ¿ ¿ ¿ ¿ & 4 . &
Û Û Û Û Û Û
D
Improvise melody
Example 3
#
Improvise rhythmic chords
Chords in rhythm shown
G7
’ ’ ’ ’
D7
’ ’ ’ ’
’ ’ ’ ’ ..
G7
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Example 1
Improvisation & Interpretation Grade 4
P
Example 4 q = 95
4 & b 4 ..
Funk
¿ ¿ ¿ ¿
Chords in rhythm shown
Û Û Û Œ
D m7
Û
Û Œ
C7
Improvise melody
&b ’ ’ ’ ’ D m7
G m7
’ ’ ’ ’
Û Û Û
G m7
Bb
Improvise rhythmic chords
D m7
G7
A7
’’’’ ’’’’
C
’ ’ ’ ’
’ ’ ’ ’ ..
D m7
P
Example 5
## 4 . ¿ ¿ ¿ ¿ & 4 . &
##
Chords in rhythm shown
Û Û Û Û ‰ Û Û Û ‰ Û Û J J
D
Improvise melody
D
G
Em
A7
Bm
’ ’ ’ ’
’ ’ ’ ’
F#m
Improvise rhythmic chords
’’’’ ’’’’
A7
G
A7
’ ’ ’ ’
’ ’ ’ ’ .. D
P
Example 6 q = 100
4 & 4 ..
Funk
¿ ¿ ¿ ¿
Improvise melody
D m7
&’ ’ ’ ’
Chords in rhythm shown
Û ‰ Û ‰ ‰ Û Œ J
A m7
C
G7
Û Û Œ
D m7
’ ’ ’ ’
E m7
Û
E m7
ΠD m7
Improvise rhythmic chords
A m7
F
G
’’’’ ’’’’
’ ’ ’ ’
’ ’ ’ ’ ..
A m7
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Rock
Guitar Companion Guide
q = 100
27
Improvisation & Interpretation Grade 5 Grade 5 In Grade 5, the Improvisation & Interpretation test contains a small amount of sight reading. This consists of a two-bar section of rhythm notation at the beginning of the test. You will be asked to play the chords in the rhythms indicated and complete the test using an improvised line made up of chords and lead lines where indicated. This is played to a backing track of no more than eight bars. The test will be given in one of the four following keys: A major or G major, or E minor or G minor. You have 30 seconds to prepare then you will be allowed to practise during the first playing of the backing track before playing it to the examiner on the second playing of the backing track. This test is continuous with a one-bar count-in at the beginning and after the practice session.
P
Example 1 Rock
### 4 . ¿ ¿ ¿ ¿ & 4 . &
###
A
’ ’ ’ ’
3
q = 90
### 4 . & 4 . &
F # m7
’ ’ ’ ’
Improvise rhythmic chords
B m7
’’’’ ’’’’
E7
D
E7
’ ’ ’ ’
’ ’ ’ ’ .. A
P
j
Blues q q = q q
¿ ¿ ¿ ¿
F # m7
ÛÛÛÛÛ ÛÛ Û Û Û Û Û Û
A
Improvise melody
Example 2
###
Chords in rhythm shown
Chords in rhythm shown
ÛÛÛÛÛÛÛ
ÛÛÛÛÛ
A7
D7
Improvise rhythmic chords
ÛÛ ’’’’ ’’’’ A7
Improvise melody
A7
D7
’ ’ ’ ’
’ ’ ’ ’
E7
D7
’ ’ ’ ’
E7
’ ’ ’ ’ ..
A7
P
Example 3
Guitar Companion Guide
q = 95
28
Funk
b 4 .. ¿ ¿ ¿ ¿ b & 4
Chords in rhythm shown
ÛÛŒ
G m7
ÛÛ‰Û ÛÛŒ C m7
Improvise melody
b &b ’ ’ ’ ’ G m7
C m7
D m7
’ ’ ’ ’
Bb
ÛÛÛ
D m7
F7
Bb
Improvise rhythmic chords
G m7
F7
’’’’ ’’’’
’ ’ ’ ’
’ ’ ’ ’ ..
G m7
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 90
Improvisation & Interpretation Grade 5
P
Example 4 Rock
#4 . ¿ ¿ ¿ ¿ & 4 .
ÛÛÛÛ‰ÛÛÛ ÛÛÛÛÛ‰Û‰ ’’’’ ’’’’
Em
D
C
D
Em
Improvise melody
Em
D
’ ’ ’ ’
Example 5 3
q = 100
G
’ ’ ’ ’
A
’ ’ ’ ’
’ ’ ’ ’ ..
P Chords in rhythm shown
Œ
Û
A m7
Improvise melody
A m7
&’ ’ ’ ’
Œ
Û‰ ÛÛ‰ ÛÛ J D m7
D m7
’ ’ ’ ’
A m7
Improvise rhythmic chords
Œ
A m7
E7
’’’’ ’’’’
E7
’ ’ ’ ’
’ ’ ’ ’ ..
A m7
P
Example 6 q = 100
#4 & 4 .. &
#
Funk
¿ ¿ ¿ ¿
Chords in rhythm shown
Û‰‰ÛÛÛŒ
E m7
Improvise rhythmic chords
ÛÛ‰ÛÛÛÛ‰ ’’’’ ’’’’ A m7
Improvise melody
E m7
A
Em
j
Blues q q = q q
¿ ¿ ¿ ¿ 4 . &4 .
B7
C
G
’ ’ ’ ’
A m7
B m7
’ ’ ’ ’
D7
A m7
’ ’ ’ ’
B m7
’ ’ ’ ’ ..
E m7
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
&
#
Improvise rhythmic chords
Chords in rhythm shown
Guitar Companion Guide
q = 100
29
Ear Tests Debut You will be given two ear tests in the grade exam. The tests are played back from audio files and use real instrument sounds. Each test is played to you by the examiner twice and you will play back to each test (as required) either to a drum backing (Debut–Grade 5) or to a bass and drum backing (Grades 6–8). A summary of the technical specifications of each test offered to candidates in the exam can be found in the Guitar Syllabus Guide in the summary tables on pages 36–37. Debut Test 1: Melodic Recall The examiner will play you two half notes one after the other. You will tell the examiner whether the second note played is higher or lower in pitch than the first note. You will hear the test twice. Each time the test is played it is preceded by a one-bar vocal count-in.
q = 85
& 44 .. ˙
˙
..
T A B
2
. .
. .
2
P
Example 2
# 4 . & 4 .˙ q = 85
. .
T A B
˙
0 2
## 4 . & 4 .˙
Guitar Companion Guide
q = 85
30
. .
P
Example 3
T A B
..
. .
˙ 2
0
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
P
Example 1
Ear Tests Debut
P
Example 4 q = 85
4 & 4 .. ˙
˙
T A B
0
. .
3
P
b & b 44 .. ˙ q = 85
. .
T A B
0
˙ 0
. .
P
Example 6
## 4 . & 4 .˙ q = 85
T A B
..
. .
˙
0 2
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Example 5
Guitar Companion Guide
. .
..
31
Ear Tests Debut Debut Test 2: Rhythmic Recall The examiner will play you a two-bar rhythm played to a drum backing on the lowest-sounding E string. You will hear the test twice. You will be asked to play the rhythm back. You will then be asked to identify the rhythm from two printed examples shown to you. Each time the test is played it is preceded by a one-bar count-in. There will be a short gap for you to practise. Next you will hear a vocal count-in and you will then play the rhythm to the drum backing.
P
Example 1
T A B
. .
T A B
œ
œ
œ
œ
œ
0
0
0
0
0
0
q = 80
& 44 ..
B
œ
. .
œ
œ
œ
0
0
0
Œ
Œ
..
Œ
œ
. .
0
œ
œ
œ
0
0
0
Œ
..
œ
. .
0
P
Example 2 q = 80
& 44 ..
A
T A B
Guitar Companion Guide
T A B
œ
œ
œ
0
0
0
0
q = 80
& 44 ..
B
32
. .
œ
. .
œ 0
Œ
Œ
Œ
œ 0
œ
œ
0
0
.. . .
œ
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
0
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 80
4 & 4 ..
A
Ear Tests Debut
P
T A B
. .
T A B
œ
0
0
. .
Œ
œ 0
q = 80
& 44 ..
B
œ
Œ
œ
œ
0
0
Œ
œ
œ
œ
œ
œ
0
0
0
0
0
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
q = 80
& 44 ..
T A B
. .
T A B
Œ
œ 0
q = 80
& 44 ..
B
. .
. . .. . .
P
Example 4 A
..
œ
œ
œ
0
0
0
œ
œ
œ
œ
0
0
0
0
Œ
Œ
œ
œ
œ
0
0
0
œ
Œ
..
0
. .
Œ
..
œ 0
. .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 80
4 & 4 ..
A
Guitar Companion Guide
Example 3
33
Ear Tests Debut
P
Example 5
T A B
. .
T A B
œ
œ
0
0
0
q = 80
& 44 ..
B
œ
Œ
. .
œ
œ
œ
œ
œ
0
0
0
0
0
œ
œ
œ
0
0
0
Œ
Œ
Œ
œ 0
œ
œ
œ
0
0
0
œ
œ
0
0
Œ
T A B
. .
Guitar Companion Guide
34
T A B
œ
œ
0
0
Œ
œ
œ
0
0
Œ
Œ
œ 0
q = 80
& 44 ..
B
. .
..
P
q = 80
& 44 ..
. .
. .
Example 6 A
..
œ
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
0
Œ
œ
œ
œ
0
0
0
œ
œ
0
0
.. . . .. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 80
4 & 4 ..
A
Guitar Companion Guide
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Ear Tests Debut
35
Ear Tests Grade 1 Grade 1 Test 1: Melodic Recall The examiner will play you three notes in sequence. You will identify whether the notes are higher or lower (up or down) in sequence. You will hear the test twice. Each time the test is played it is preceded by a one-bar vocal count-in. Candidate may answer either: “higher/lower” or “up/down”. Example 1
4 & 4 .. w
˙
T A B
3
. .
2
˙
. .
3
P
Example 2 q = 85
& b 44 .. w . .
T A B
0
˙ 0
˙ 3
# 4 . & 4 . w Guitar Companion Guide
q = 85
36
.. . .
P
Example 3
T A B
..
. .
0
˙ 0
˙ 3
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 85
P
Ear Tests Grade 1
P
Example 4 q = 85
4 & 4 .. w 2
0 3
P
Example 5
# 4 . & 4 .w q = 85
. .
T A B
2
˙ 4
˙
..
2
. .
P
Example 6
## 4 . & 4 .w q = 85
T A B
. .
. .
0
˙ 0
˙ 0
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
. .
˙
..
Guitar Companion Guide
T A B
˙
37
Ear Tests Grade 1 Grade 1 Test 2: Rhythmic Recall The examiner will play you a two-bar rhythm played to a drum backing on the lowest-sounding E string. You will hear the test twice. You will be asked to play the rhythm back. You will then be asked to identify the rhythm from two printed examples shown to you. Each time the test is played it is preceded by a one-bar count-in. There will be a short gap for you to practise. Next you will hear a vocal count-in and you will then play the rhythm to the drum backing.
P
Example 1
T A B
. .
T A B
œ
œ
œ
œ
œ
0
0
0
0
0
0
q = 90
& 44 ..
B
œ
. .
Œ
œ 0
Œ
..
œ
œ
œ
0
0
0
. .
Œ
..
œ
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
0
. .
P
Example 2 q = 90
& 44 ..
A
T A B
Guitar Companion Guide
T A B
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
q = 90
& 44 ..
B
38
. .
œ
Œ
. .
œ
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
0
œ
œ
0
0
Œ
..
Œ
. .
œ
œ
0
0
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 90
4 & 4 ..
A
Ear Tests Grade 1
P
T A B
. .
T A B
œ
œ
œ
œ
0
0
0
0
0
q = 90
& 44 ..
B
œ
. .
Œ
œ 0
Œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
œ
œ
œ
œ
0
0
0
0
Œ
œ
œ
œ
œ
0
0
0
0
q = 90
& 44 ..
T A B
. .
T A B
œ
œ
œ
œ
0
0
0
0
q = 90
& 44 ..
B
. .
. . .. . .
P
Example 4 A
..
œ
œ
œ
œ
0
0
0
0
Œ
Œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
œ
œ
0
0
Œ
œ
œ
œ
œ
0
0
0
0
.. . . .. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 90
4 & 4 ..
A
Guitar Companion Guide
Example 3
39
Ear Tests Grade 1
P
Example 5
T A B
. .
T A B
œ 0
œ
œ
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
0
0
q = 90
& 44 ..
B
Œ
. .
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
Œ
œ
œ
0
0
. .
Œ
œ
œ
0
0
q = 90
& 44 ..
T A B
. .
Guitar Companion Guide
40
T A B
œ
œ
0
0
q = 90
& 44 ..
B
. .
.. . .
P
Example 6 A
..
Œ
œ 0
Œ
Œ
œ
œ
œ
œ
0
0
0
0
Œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
Œ
œ
œ
œ
0
0
0
œ
œ
0
0
.. . . .. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 90
4 & 4 ..
A
Guitar Companion Guide
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Ear Tests Grade 1
41
Ear Tests Grade 2 Grade 2 Test 1: Melodic Recall The examiner will play you a two-bar melody with a drum backing using the C minor pentatonic scale. The first note of the melody will be the root note and the first interval will be ascending. You will play the melody back on your instrument. You will hear the test twice. Each time the test is played it is preceded by a one-bar count-in. There will be a short gap for you to practise. Next you will hear a vocal count-in and you will then play the melody to the drum backing.
P
Example 1
. .
T A B
œ
œ
3
˙
3
6
..
˙
6
. .
3
P
Example 2
b & b b 44 .. ˙ q = 85
. .
T A B
œ
3
œ
œ
6
3
3
œ
..
˙
6
. .
3
P
Example 3
b & b b 44 .. œ Guitar Companion Guide
q = 85
42
T A B
. .
3
œ 6
œ 3
œ 6
˙ 3
œ 6
œ 3
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
b & b b 44 .. ˙ q = 85
Ear Tests Grade 2
P
Example 4
b 4 & b b 4 .. œ q = 85
. .
3
œ
3
6
6
œ
œ
3
5
˙ 3
. .
3
œ
œ
œ
6
3
6
œ
œ
˙
3
5
3
.. . .
P
Example 6
b & b b 44 .. ˙ q = 85
. .
3
œ 6
œ
œ
œ
˙
3
5
3
5
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
b & b b 44 .. œ q = 85
T A B
. .
P
Example 5
T A B
..
Guitar Companion Guide
T A B
œ
œ
43
Ear Tests Grade 2 Grade 2 Test 2: Rhythmic Recall The examiner will play you a two-bar rhythm played to a drum backing on the lowest-sounding E string. You will hear the test twice. You will be asked to play the rhythm back. You will then be asked to identify the rhythm from two printed examples shown to you. Each time the test is played it is preceded by a one-bar count-in. There will be a short gap for you to practise. Next you will hear a vocal count-in and you will then play the rhythm to the drum backing.
P
q = 90
4 & 4 ..
A
T A B
. .
T A B
œ
œ
œ
0
0
0
0
q = 90
& 44 ..
B
œ
. .
Œ
œ 0
Œ
œ
œ
œ
œ
0
0
0
0
Œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
0
0
œ
œ
0
0
Œ
T A B
Guitar Companion Guide
T A B
œ
œ
0
0
Œ
œ
. .
Œ
0
q = 90
& 44 ..
B
44
. .
..
P
q = 90
4 & 4 ..
. .
. .
Example 2 A
..
œ
œ
œ
œ
0
0
0
0
Œ
œ
œ
œ
œ
0
0
0
0
Œ
œ 0
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
.. . . .. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Example 1
Ear Tests Grade 2
P
T A B
. .
T A B
œ
0
0
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
0
0
0
q = 90
& 44 ..
B
œ
Œ
. .
œ
œ
œ
œ
0
0
0
0
Œ
œ
œ
œ
œ
œ
0
0
0
0
0
Œ
œ
œ
0
0
q = 90
& 44 ..
T A B
. .
T A B
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
0
0
0
0
q = 90
& 44 ..
B
. .
. . .. . .
P
Example 4 A
..
œ
œ
œ
0
0
0
Œ
Œ
.. . .
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 90
4 & 4 ..
A
Guitar Companion Guide
Example 3
45
Ear Tests Grade 2
P
Example 5
T A B
. .
T A B
œ
œ
œ
œ
œ
0
0
0
0
0
0
q = 90
& 44 ..
B
œ
. .
œ
œ
œ
0
0
0
Œ
Œ
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
œ
œ
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
0
0
. .
P
q = 90
& 44 ..
T A B
. .
Guitar Companion Guide
46
T A B
œ
œ
œ
œ
0
0
0
0
q = 90
& 44 ..
B
. .
. . ..
Example 6 A
..
œ
œ
0
0
Œ
Œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
0
0
œ
œ
œ
œ
0
0
0
0
Œ
œ
œ
œ
œ
0
0
0
0
Œ
.. . . .. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 90
4 & 4 ..
A
Guitar Companion Guide
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Ear Tests Grade 2
47
Ear Tests Grade 3 Grade 3 Test 1: Melodic Recall The examiner will play you a two-bar melody with a drum backing using the G minor pentatonic scale. The first note of the melody will be the root note and the first interval will be ascending. You will play the melody back on your instrument. You will hear the test twice. Each time the test is played it is preceded by a one-bar count-in. There will be a short gap for you to practise after you have heard the test for the second time. Next you will hear a vocal count-in and you will then play the melody to the drum backing.
P
b 4 & b 4 ..
q = 85
. .
T A B
œ
˙ 3
6
œ
œ
œ
3
5
3
Œ
˙ 3
b & b 44 ..
q = 85
. .
œ 3
Œ
œ 6
œ
œ
œ
5
3
5
œ 6
˙ 3
b & b 44 .. Guitar Companion Guide
q = 85
48
.. . .
P
Example 3
T A B
. .
P
Example 2
T A B
..
. .
œ 3
œ
œ
œ
œ
œ
5
3
5
3
5
Œ
˙ 6
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Example 1
Ear Tests Grade 3
P
Example 4
b 4 & b 4 ..
q = 85
. .
œ
œ 3
6
œ
œ
3
5
œ 3
œ
œ
5
3
˙ 3
. .
Œ
œ
œ
œ
3
3
6
œ
œ
3
5
œ
œ
˙
3
5
5
.. . .
P
Example 6
b & b 44 ..
q = 85
. .
œ 3
œ 6
œ
œ
œ
œ
3
5
3
5
œ
œ
3
5
Œ
˙ 5
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
b & b 44 ..
q = 85
T A B
. .
P
Example 5
T A B
..
Guitar Companion Guide
T A B
Œ
49
Ear Tests Grade 3 Grade 3 Test 2: Rhythmic Recall The examiner will play you a two-bar rhythm played to a drum backing on the lowest-sounding E string. You will hear the test twice. You will be asked to play the rhythm back. You will then be asked to identify the rhythm from two printed examples shown to you. Each time the test is played it is preceded by a one-bar count-in. There will be a short gap for you to practise. Next you will hear a vocal count-in and you will then play the rhythm to the drum backing.
P
Example 1
T A B
. .
T A B
œ
œ
œ
0
0
0
0
q = 90
& 44 ..
B
œ
Œ
. .
œ
œ
œ
0
0
0
‰
œ
œ
œ
œ
0
0
0
0
‰
j œ
œ
0
0
..
Œ
. .
œ
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
0
.. . .
P
Example 2 q = 90
& 44 ..
A
T A B
Guitar Companion Guide
T A B
œ 0
q = 90
& 44 ..
B
50
. .
Œ
. .
œ
œ
œ
0
0
0
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
‰
œ
œ
œ
0
0
0
Œ
‰
j œ
œ
0
0
.. . .
œ
œ
œ
œ
œ
0
0
0
0
0
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 90
4 & 4 ..
A
Ear Tests Grade 3
P
Example 3
. .
T A B
œ
0
0
0
q = 90
& 44 ..
B
œ
. .
œ
œ
0
0
‰
j œ
œ
0
0
j œ
œ
œ
œ
œ
0
0
0
0
0
Œ
‰
. .
0
œ
œ
œ
œ
0
0
0
0
Œ
‰
j œ 0
q = 90
& 44 ..
T A B
. .
T A B
Œ
œ 0
q = 90
& 44 ..
B
. .
.. . .
P
Example 4 A
..
Œ
j œ
œ
œ
œ
œ
0
0
0
0
œ
œ
0
0
‰
‰
j œ 0
Œ
j œ
œ
œ
œ
œ
0
0
0
0
0
Œ
œ 0
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
.. . . .. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
T A B
œ
‰
Guitar Companion Guide
q = 90
4 & 4 ..
A
51
Ear Tests Grade 3
P
q = 90
4 & 4 ..
A
T A B
. .
T A B
œ 0
j œ
œ
0
0
q = 90
& 44 ..
B
‰
. .
œ
œ
œ
0
0
0
‰
‰
j œ
‰
0
j œ
œ
œ
œ
0
0
0
0
Œ
œ
œ
0
0
j œ
œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
0
q = 90
& 44 .. ‰
T A B
. .
Guitar Companion Guide
52
T A B
. .
‰
j œ 0
q = 90
& 44 ..
B
. . .. . .
P
Example 6 A
..
œ 0
‰
j œ 0
j œ
œ
0
0
‰
Œ
œ
œ
0
0
‰
j œ
œ
œ
0
0
0
j œ
œ
œ
œ
œ
œ
œ
0
0
0
0
0
0
0
‰
.. . . j œ 0
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Example 5
Guitar Companion Guide
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Ear Tests Grade 3
53
Ear Tests Grade 4 Grade 4 Test 1: Melodic Recall The examiner will play you a two-bar melody with a drum backing using either the C major pentatonic or B minor pentatonic scales. The first note of the melody will be the root note and the first interval will be descending. You will play the melody back on your instrument. You will hear the test twice. Each time the test is played the sequence is: count-in, root note, count-in, melody. There will be a short gap for you to practise after you have heard the test for the second time. You will hear the count-in and root note for the third time followed by a vocal count-in and you will then play the melody to the drum backing.
¿ ¿ ¿ ¿
q = 90
& 44 .. w T A B
. .
5
œ
œ œ œ
5
7
5
7
œ œ œ
œ 5
5
7
7
˙
..
5
. .
P
Example 2
## 4 . w & 4 . q = 90
. .
T A B
¿ ¿ ¿ ¿
œ
9
9
œ œ Œ
œ œ
7
7
9
9
..
œ œ ˙
œ
9
10
10
. .
7
P
Example 3
Guitar Companion Guide
q = 90
54
& 44 .. w T A B
. .
5
¿ ¿ ¿ ¿
œ œ œ œ Œ 5
5
7
5
œ 7
œ œ œ 5
7
5
Œ
œ
..
5
. .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
P
Example 1
Ear Tests Grade 4
P
Example 4
œ
9
œ œ ‰ j œ œ
9
7
9
10
7
7
10
..
˙
œ œ œ
. .
9
9
P
Example 5
## 4 . w & 4 . q = 90
. .
T A B
¿ ¿ ¿ ¿
œ
9
œ œ œ
9
7
9
9
œ
œ œ
7
10
Œ
7
œ œ œ 7
10
& 44 .. w T A B
. .
5
¿ ¿ ¿ ¿
. .
P
Example 6 q = 90
7
..
œ
œ œ œ œ
5 7
5
7
5
‰ j Œ œ œ œ 8
5
7
˙ 8
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
. .
T A B
¿ ¿ ¿ ¿
Guitar Companion Guide
## 4 . w & 4 . q = 90
55
Ear Tests Grade 4 Grade 4 Test 2: Harmonic Recall The examiner will play you a tonic chord followed by a two-bar chord sequence in the key of C major played to a bass and drum backing. The sequence will be drawn from the I, IV and V chords and may occur in any combination. You will be asked to play the chord sequence to the drum backing in the rhythm shown in the examples below. This rhythm will be used in all examples of this test given in the exam. You will then be asked to identify the sequence you have played to the examiner. You will hear the test twice. Each time the test is played the sequence is: count-in, tonic, count-in, chords. There will be a short gap for you to practise after you have heard the test for the second time. You will hear the count-in and tonic for the third time followed by a vocal count-in then you will play the chords to the drum backing. You should then identify the chords.
P
q = 80
& 44 .. | C
¿ ¿ ¿ ¿
Û
F
Û Û Û
Û
Û
G
Û Û Û
Û
P
Example 2 q = 80
4 & 4 .. | C
¿ ¿ ¿ ¿
Û
G
Û Û Û
Û
Û
C
Û Û Û
Û
Guitar Companion Guide
56
& 44 .. | C
¿ ¿ ¿ ¿
..
P
Example 3 q = 80
..
Û
C
Û Û Û
Û
Û
G
Û Û Û
Û
..
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Example 1
Ear Tests Grade 4
P
Example 4 C
¿ ¿ ¿ ¿
Û
F
Û Û Û
Û
Û
C
Û Û Û
Û
P
Example 5 q = 80
& 44 .. | C
¿ ¿ ¿ ¿
Û
G
Û Û Û
Û
Û
F
Û Û Û
Û
& 44 .. | C
¿ ¿ ¿ ¿
..
P
Example 6 q = 80
..
Û
C
Û Û Û
Û
Û
F
Û Û Û
Û
..
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
4 & 4 .. |
Guitar Companion Guide
q = 80
57
Ear Tests Grade 5 Grade 5 Test 1: Melodic Recall The examiner will play you a two-bar melody with a drum backing using either the D major pentatonic or A minor pentatonic scale. The first note of the melody will be the root note and the first interval will be descending. You will play the melody back on your instrument. You will hear the test twice. Each time the test is played the sequence is: count-in, root note, count-in, melody. There will be a short gap for you to practise after you have heard the test for the second time. You will hear the count-in and root note for the third time followed by a vocal count-in and you will then play the melody to the drum backing.
P
Example 1
. .
T A B
¿ ¿ ¿ ¿
j ‰ œ œ
œ œ œ
7
7
9
7
9
..
œ œ ‰ œj ˙
7
7
9
7
. .
10
P
Example 2
¿ ¿ ¿ ¿
q = 90
& 44 .. w T A B
. .
7
œ œ œ 7
5
Œ
‰ j œ œ
7
5
8
Œ œ œ 5
7
œ 5
## 4 . w & 4 .
Guitar Companion Guide
58
T A B
. .
7
¿ ¿ ¿ ¿
. .
P
Example 3 q = 90
..
œ œ Œ 7
9
œ œ œ œ 7
9
7
9
œ 9
œ œ Œ
œ
7
7
9
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
## 4 . w & 4 . q = 90
Ear Tests Grade 5
P
Example 4
T A B
. .
7
‰ œj œ œ œ œ œ
Œ
œ 7
7
5
5
7
5
Œ
..
œ
. .
7
7
P
Example 5
## 4 . w & 4 . q = 90
. .
T A B
¿ ¿ ¿ ¿
œ œ ‰ œ ‰ œ Œ J J
7
7
7
7
Œ
œ œ œ
7
9
7
..
œ
9
. .
10
P
Example 6 q = 90
4 & 4 .. w T A B
. .
7
¿ ¿ ¿ ¿
œ œ œ œ œ 7
5
5
5
7
œ œ 5
7
œ œ œ 5
8
5
Œ
œ œ 8
5
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
4 & 4 .. w
Guitar Companion Guide
¿ ¿ ¿ ¿
q = 90
59
Ear Tests Grade 5 Grade 5 Test 2: Harmonic Recall The examiner will play you a tonic chord followed by a four-bar chord sequence in the key of G major played to a drum backing. The sequence will be drawn from the I, IV, V and vi chords and may occur in any combination. You will be asked to play the chord sequence to the drum backing in the rhythm shown in the examples below. This rhythm will be used in all examples of this test given in the exam. You will then be asked to identify the sequence you have played to the examiner. You will hear the test twice. Each time the test is played the sequence is: count-in, tonic, count-in, chords. There will be a short gap for you to practise after you have heard the test for the second time. You will hear the count-in and tonic for the third time followed by a vocal count-in then you will play the chords to the drum backing. You should then name the chord sequence, including chord types (i.e. major or minor).
P
Example 1
¿ ¿¿ ¿
Û ÛÛÛ Û
G
Û ÛÛÛ Û
D
Û ÛÛÛ Û
C
Û Û Û Û Û ..
G
P
Example 2
# 4 .G & 4 .| q = 80
¿ ¿¿ ¿
Û ÛÛÛ Û
D
Û ÛÛÛ Û
Em
Û ÛÛÛ Û
D
Û Û Û Û Û ..
G
P
Guitar Companion Guide
Example 3
60
# 4 .G & 4 .| q = 80
¿ ¿¿ ¿
Û ÛÛÛ Û
G
Û ÛÛÛ Û
D
Û ÛÛÛ Û
Em
Û Û Û Û Û ..
G
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
# 4 .G & 4 .| q = 80
Ear Tests Grade 5
P
Example 4
Û ÛÛÛ Û
C
Û ÛÛÛ Û
D
Û ÛÛÛ Û
Em
Û Û Û Û Û ..
G
P
Example 5
# 4 .G & 4 .| q = 80
¿ ¿¿ ¿
Û ÛÛÛ Û
Em
Û ÛÛÛ Û
D
Û ÛÛÛ Û
C
Û Û Û Û Û ..
G
P
Example 6
# 4 .G & 4 .| q = 80
¿ ¿¿ ¿
Û ÛÛÛ Û
D
Û ÛÛÛ Û
C
Û ÛÛÛ Û
D
Û Û Û Û Û ..
Em
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
¿ ¿¿ ¿
Guitar Companion Guide
# 4 .G & 4 .| q = 80
61
Ear Tests Grade 6 Grade 6 Test 1: Melodic Recall The examiner will play you a two-bar melody with a bass and drum backing using either the D major pentatonic, D minor pentatonic or G natural minor scale. The first note of the melody will be either the root note or fifth and the first interval will be either ascending or descending. You will play the melody back on your instrument. You will hear the test twice. Each time the test is played the sequence is: count-in, root note, count-in, melody. There will be a short gap for you to practise after you have heard the test for the second time. You will hear the count-in and root note for the third time followed by a vocal count-in and you will then play the melody to the bass and drum backing.
P
Example 1
. .
T A B
¿ ¿ ¿ ¿
7
œ œ œ œ J ‰
œ
10
7
7
9
7
œ œ œ 7
9
˙
.. . .
7
9
P
Example 2 q = 90
& b 44 .. w . .
T A B
¿ ¿ ¿ ¿
œ œ œ œ œ 7
5
5
8
5
Œ
7
œœ‰ Œ
œ œ œ œ ..
7 5
7
5
8
5
P
Example 3
b & b 44 ..
Guitar Companion Guide
q = 90
62
T A B
. .
w 3
¿ ¿ ¿ ¿
. .
œ 3
‰
j‰ œ œ œœ 5 5 6
3
œ œ œ œ œ œ œ 5
3
6
5
5
3
5
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
## 4 . w & 4 . q = 90
Ear Tests Grade 6
P
Example 4
. .
T A B
¿ ¿ ¿ ¿
œ œ œ 7
5
5
7
œ œ ‰ œj œ œ œ œ ‰ Œ J
œ œ ..
7
5
5
5
7 7
5
7
7
P
Example 5
## 4 . & 4 .w q = 90
. .
T A B
¿ ¿ ¿ ¿
5
œ œœœ 5
7
‰ Jœ ‰ œ œ œ œ œJ ‰ œ œ œJ ‰ .. J 7
4 7
4
7
4 7
7
4
. .
7
P
Example 6
b 4 & b 4 .. w q = 90
T A B
. .
¿ ¿ ¿ ¿
œ œ ‰ œ œ ‰ œ œ œ œ œ œ ‰ œ œ ‰ ‰ œj œ 3 3
5
. .
3 3
5
2
3
2
5 5
3 3
2
5
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
4 & b 4 .. w
Guitar Companion Guide
q = 90
63
Ear Tests Grade 6 Grade 6 Test 2: Harmonic Recall The examiner will play you a tonic chord followed by a four-bar chord sequence in the key of D major played to a bass and drum backing. The sequence will use the I, ii, iii, IV, V and vi chords and will incorporate a dominant 7 (V7) chord. You will be asked to play the chord sequence to the bass and drum backing in the rhythm shown in the examples below. This rhythm will be used in all examples of this test given in the exam. You will then be asked to identify the sequence you have played to the examiner, including any chord extensions. You will hear the test twice. Each time the test is played the sequence is: count-in, tonic, count-in, chords. There will be a short gap for you to practise after you have heard the test for the second time. You will hear the count-in and tonic for the third time followed by a vocal count-in and you will then play the chords to the bass and drum backing. You should then name the chord sequence, including the chord type and any extensions.
P
Example 1
¿¿¿¿
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
D
A
A7
G
P
Example 2
## 4 . D & 4 .| q = 90
¿¿¿¿
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
D
G
A
A7
P
Guitar Companion Guide
Example 3
64
## 4 . D & 4 .| q = 90
¿¿¿¿
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
A
G
A7
D
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
## 4 . D & 4 .| q = 90
Ear Tests Grade 6
P
Example 4
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
A7
Em
A
G
P
Example 5
## 4 . D & 4 .| q = 90
¿¿¿¿
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
Bm
A
D
A7
P
Example 6
## 4 . D & 4 .| q = 90
¿¿¿¿
F#m
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
Em
A
A7
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
¿¿¿¿
Guitar Companion Guide
## 4 . D & 4 .| q = 90
65
Ear Tests Grade 7 Grade 7 Test 1: Melodic Recall The examiner will play you a two-bar melody with a bass and drum backing using either the A major pentatonic, C minor pentatonic or A natural minor scale. The first note of the melody will be either the root note or fifth and the first interval will be either ascending or descending. You will play the melody back on your instrument. You will hear the test twice. Each time the test is played the sequence is: count-in, root note, count-in, melody. There will be a short gap for you to practise after you have heard the test for the second time. You will hear the count-in and root note for the third time followed by a vocal count-in and you will then play the melody to the bass and drum backing.
P
### 4 . & 4 .w q = 90
. .
T A B
¿ ¿ ¿ ¿
œ œ œ
œ œ œ œ ‰ œ œ œ œ œ œ
7
9
7
6
9
7
6
9
9
6
7
9
9
b & b b 44 .. w . .
T A B
P
¿ ¿ ¿ ¿
3
œ œ œ œ ‰ œœœ
œœ‰ Œ
œ œ œ œ ..
5
5 3
5
3
6
3
3 6
3
3
6
3
Guitar Companion Guide
66
& 44 .. T A B
. .
w
¿ ¿ ¿ ¿
œ œ
‰ œj ‰ œj œ œ 5
5
. .
P
Example 3 q = 90
. .
9
Example 2 q = 90
..
5
7 8
5
7
‰ œj œ œ œœœ œ 7
5
8 7
5 8
7
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Example 1
Ear Tests Grade 7
P
Example 4
. .
T A B
j œ œ œ ‰ œ œ ‰ œ œ œ ‰ œœ œ Œ œ
3
3
5
5
3
3
5
6
4
5
5 3
q = 90
. .
T A B
P
¿ ¿ ¿ ¿
œ œ ‰ œ ‰ œ ‰ œ œj ‰ œ œ œ œ œ ‰ œ .. J J œ J 9
7
7
9
6
9
7
9
7 9
6
9
7
6
4 & 4 .. w T A B
. .
¿ ¿ ¿ ¿
œœœ œœœ œ 5
7
. .
P
Example 6 q = 90
. .
5
Example 5
### 4 . & 4 .w
..
7 5
7 5 4
7
œ œ œ œ œ ‰ œj ‰ œ œ œ .. 4
5
7
5 4
7
8
5
7
. .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
w
¿ ¿ ¿ ¿
Guitar Companion Guide
b 4 & b 4 ..
q = 90
67
Ear Tests Grade 7 Grade 7 Test 2: Harmonic Recall The examiner will play you a tonic chord followed by a four-bar chord sequence in the key of A major played to a bass and drum backing. The sequence will use the I, ii, iii, IV, V and vi chords. The ii, iii and vi chords can be either minor or minor 7 chords. You will be asked to play the chord sequence to the bass and drum backing in the rhythm shown in the examples below. This rhythm will be used in all examples of this test given in the exam. You will then be asked to identify the sequence you have played to the examiner, including any chord extensions. You will hear the test twice. Each time the test is played the sequence is: count-in, tonic, count-in, chords. There will be a short gap for you to practise after you have heard the test for the second time. You will hear the count-in and tonic for the third time followed by a vocal count-in and you will then play the chords to the bass and drum backing. You should then name the chord sequence, including the chord type and any extensions.
P
Example 1
¿¿¿¿
F#m
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
A
B m7
E
P
Example 2
### 4 . A & 4 .| q = 90
¿¿¿¿
C # m7
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
D
Bm
A
P
Guitar Companion Guide
Example 3
68
### 4 . A & 4 .| q = 90
¿¿¿¿
F # m7
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
A
Bm
D
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
### 4 . A & 4 .| q = 90
Ear Tests Grade 7
P
Example 4
¿¿¿¿
C#m
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. D
B m7
E
P
Example 5
### 4 . A & 4 .| q = 90
¿¿¿¿
F # m7
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. Bm
E
A
P
Example 6
### 4 . A & 4 .| q = 90
¿¿¿¿
C#m
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
E
D
B m7
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 90
Guitar Companion Guide
### 4 . A & 4 .|
69
Ear Tests Grade 8 Grade 8 Test 1: Melodic Recall The examiner will play you a two-bar melody with a bass and drum backing using either the E major pentatonic, F minor pentatonic or B natural minor scale. The first note of the melody will be either the root note, third or fifth and the first interval will be either ascending or descending. You will play the melody back on your instrument. You will hear the test twice. Each time the test is played the sequence is: count-in, root note, count-in, melody. There will be a short gap for you to practise after you have heard the test for the second time. You will hear the count-in and root note for the third time followed by a vocal count-in and you will then play the melody to the bass and drum backing.
#### 4 . 4 .w & q = 90
. .
T A B
¿ ¿ ¿ ¿
œ œ œ œ œœœ œ œ œ œœ‰ œ œ œ ‰ J 9
11
9
11 9
11
9
11
9
11
9
11 11 11
b & b b b 44 .. w
P
¿ ¿ ¿ ¿
j œœœ ‰ ‰ œ œ œ 1
3
3
1
1
‰ œœœ
4 1
4 1
œ œ œ œ .. 1
1
3
1
Guitar Companion Guide
q = 90
70
T A B
. .
w 7
¿ ¿ ¿ ¿
3
. .
P
Example 3
# & # 44 ..
. .
12
q = 90
. .
..
9
Example 2
T A B
P
j‰ œ œ œ œ ‰ j‰ œœœ œ œ œ œœœ œœ 7 9 10 9 10
7
9
9
7
9
7
9
10
7 9
.. . .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Example 1
Ear Tests Grade 8
P
Example 4
1
œ œ 4
‰
1
.. œ œ œ œ
‰ œ Œ œ œ œ œœœ œ 1 4
1
1 3
3
3
3
1
3
3
3
P
Example 5
#### 4 . & 4 .w q = 90
. .
T A B
¿ ¿ ¿ ¿
œ œ œœœœŒ
œ
11
11
12
9
12
9 11
œœœœœ œ œ œ œ
9
9 11
9
9
11 9
9
11
## 4 . w & 4 . T A B
. .
9
¿ ¿ ¿ ¿
.. . .
9
P
Example 6 q = 90
. .
œ œ œ ≈ œ œ œ ≈ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ .. J J 7 6
9
7 6
9
7
9
6
7
9 7
6
9
7
6
9
. .
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
. .
T A B
w
¿ ¿ ¿ ¿
Guitar Companion Guide
bb 4 & b b 4 ..
q = 90
71
Ear Tests Grade 8 Grade 8 Test 2: Harmonic Recall The examiner will play you a tonic chord followed by a four-bar chord sequence in the key of E major played to a bass and drum backing. The sequence will use the I, ii, iii, IV, V and vi chords. The I and IV chords can be either major or major 7 chords. You will be asked to play the chord sequence to the bass and drum backing in the rhythm shown in the examples below. This rhythm will be used in all examples of this test given in the exam. You will then be asked to identify the sequence you have played to the examiner, including any chord extensions. You will hear the test twice. Each time the test is played the sequence is: count-in, tonic, count-in, chords. There will be a short gap for you to practise after you have heard the test for the second time. You will hear the count-in and tonic for the third time followed by a vocal count-in and you will then play the chords to the bass and drum backing. You should then name the chords, including any extensions.
P
Example 1
¿¿¿¿
C#m
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
E
E maj 7
B
P
Example 2
#### 4 . E & 4 .| q = 90
¿¿¿¿
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
E
A
A maj 7
E
P
Guitar Companion Guide
Example 3
72
#### 4 . E & 4 .| q = 90
¿¿¿¿
C#m
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. A
B
E maj 7
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
#### 4 . E & 4 .| q = 90
Ear Tests Grade 8
P
Example 4
¿¿¿¿
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
A
B
A maj 7
B
P
Example 5
#### 4 . E & 4 .| q = 90
¿¿¿¿
F#m
G#m
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û .. A maj 7
E
P
Example 6
#### 4 . E & 4 .| q = 90
¿¿¿¿
C#m
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ..
E maj 7
A
B
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 90
Guitar Companion Guide
#### 4 . E & 4 .|
73
Quick Study Pieces Grade 6 At Grades 6, 7 and 8 you will be asked to prepare and play a short Quick Study Piece (QSP). The QSP is given to candidates during the examination. While preparing for the Technical Exercise section of the exam you will have to select a Stylistic Study from the following three groups: rock/metal, funk or blues/jazz/latin. The choice you make in this section will determine the style of the QSP you are given in the exam. You will be shown the music and played the track with the notated parts played. Any bars that require improvisation will not be demonstrated. You will then have three minutes to study the test. The backing track will be played twice more. You are allowed to practise during the first run through of the backing track, with the notated parts now absent, before playing it to the examiner on the second playing of the backing track. The QSP is in the form of a lead sheet and it is up to you to create your own interpretation of the music in the parts marked for improvisation. The full technical specifications of the QSPs offered to candidates in the exam can be found in the Guitar Syllabus Guide in the summary table on page 35.
P
Grade 6 Example 1
Rock
#4 & 4 œ œ œ œ œ œ œ N.C.
T A B
&
#
T A B
&
E5
œ 0
#
E5
’
2
œ
‰
2
’
0
2
0
2
j œ œ.
œ.
0
2
2
’
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ 2
E5
’
0
’
’
’
N.C.
’
2
’
Improvise melody
G5
0
3
’
D5
’
’
’
2
0
G5
’
’
E5
’
’
0
2
0
2
D5
’
’
’
’
Guitar Companion Guide
T A B
74
& T A B
#
D5
’
’
’
œ œ œ œ œ œ œ 2
0
2
0
2
œ œ œ œ œ œ œ. 2
0
2
0
0
2
2
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 110
Quick Study Pieces Grade 6
P
Grade 6 Example 2
Metal
N.C.
‰ œ œ ‰ œ œ œ œ
PM
T A B
&
###
0
2
0
2
2
œ œ œ œ ‰ œ œ œ
PM
5
0
F#5
’
‰ œ œ œ œ œ œ
PM
4
2
’
2
’
Improvise melody
2
0
0
E5
’
’
’
A5
2
0
2
2
5
’
’
’
’
B5
’
PM
T A B
&
4 0
###
D5
’
2
0
’
’
2
4
2
E5
’
’
’
N.C.
’
’
’
’
T A B
&
###
C#5
’
’
’
œ œ ‰ œ œ œ œ
PM
T A B
œ œ œ œ œ œ œ 4
0
2
0
2
2
5
2
4
2
5
0
2
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
‰ œ œ œ œ œ œ
Guitar Companion Guide
## & # 44
q = 95
75
Quick Study Pieces Grade 6
P
Grade 6 Example 3
b4 &b 4
G m7
3
b j ‰ Œ œ
T A B
3
bb G m & ’
7
‰ ‰
œ œ œ
T A B
&b
Funk
’
1
3
œ
œœ œœ œ
œœ œœ ‰ œ
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
’
œ
œ œ œ
1
3
1
# œœœ œ œ
D7
‰
G m7
’
1
’
’
G m7
’
3
’
’
’
G m7
Improvise melody
F7
‰
‰
C m7
œ œ œ
œ œ œ œ
1
3
1
3
C m7
’
’
’
3
1
œ œ œ
3
1
3
’
’
’
’
C m7
’
’
’
’
Guitar Companion Guide
T A B
76
& T A B
bb
D7
’
’
’
œ œ œ 3
1
3
‰ ‰
œ 1
‰
œ
œ œ œ œ œ œ œ.
1
3
1
3
3
1
1
3
1
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 110
Quick Study Pieces Grade 6
P
Grade 6 Example 4 B m7
œœ œœ œ. 2 3 2 4 2
T A B
&
##
T A B
&
N.C.
œ 3
##
E m7
’
œœ œœ œ. 2 3 2 4 2
œ
œ œ
0
2
’
0
œœ œœ œ. 2 3 2 4 2
œ
œœ œœ œ. 2 3 2 4 2
F # m7
j œœ œœ ‰ Œ œ œ.
G7
œœ n œœœ œ.
2 2 2 2 4 2
Œ
3 3 4 3 5 3
B m7
’
œœ œœ œ œ. 3 3 4 3 5 3
’
œœ œœ œ œ. 3 3 4 3 5 3
’
Improvise melody
œœ œœ œ œ. 3 3 4 3 5 3
A7
B m7
˙˙ ˙˙ ˙ ˙
# œœ # œœœ .
5 5 6 5 7 5
2 3 2 4 2
œœ œœ œ. 2 3 2 4 2
œœ œœ œ.
œœ œœ œ.
2 3 2 4 2
F # m7
j œœ œœ ‰ Œ œ œ.
2 3 2 4 2
2 2 2 2 4 2
’
A7
’
’
’
’
’
G
’
’
’
2
’
’
F # m7
’
’
’
’
T A B
A7
# & # ’ T A B
B m7
’
’
’
œœ œœ œ. 2 3 2 4 2
œœ œœ œ. 2 3 2 4 2
œœ œ œœ. 2 3 2 4 2
œœ œœ œ. 2 3 2 4 2
F # m7
j œœ ‰ Œ œœ œœ . 2 2 2 2 4 2
N.C.
œ œ œ œ œ 3
2
2
0
2
Œ
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
# & # 44
Funk
Guitar Companion Guide
q = 95
77
Quick Study Pieces Grade 6
P
Grade 6 Example 5 j q q =q q 3
## & # 44
A maj 7
œ
T A B
&
###
Jazz
F # m7
œ ‰ œ œ œ œ œ 2
2
0
B m7
1
E7
œ œ œ œ œ œ œ
T A B
3
# # # A maj & ’
7
2
’
4
B m7
2
F # m7
’
2
4
œ
2
œ
4
2
’
œ 0
F # m7
œ ‰ œ œ œ œ œ 2
2
B m7
’
Improvise melody
A maj 7
˙
F # m7
A maj 7
’
œ
E7
’
1
2
4
E7
’
’
’
’
’
’
’
4
’
B m7
’
E7
’
’
F # m7
’
’
Guitar Companion Guide
T A B
78
& T A B
###
b G # m7 5
’
A maj 7
’
’
’
B m7
‰ œ œ œ œ œ œ œ 0
2
2
1
E7
œ
A maj 7
œ œ œ œ œ œ 3
2
4
2
2
2
4
2
2
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 115
Quick Study Pieces Grade 6
P
Grade 6 Example 6
T A B
&
####
T A B
&
####
E7
œ
œ
2
2
A7
’
B7
œ œ œ œ œ œ œ œ 0
B7
A7
‰
0
2
4
0
0
2
E7
œ
’
˙
E7
œ œ ‰ œ œ œ œ œ
2
4
A7
2
2
’
0
’
Improvise melody
0
4
A7
œ œ œ œ œ œ œ œ
2
0
0
4
2
0
0
’
’
’
’
’
’
B7
’
’
’
2
’
’
’
’
’
E7
’
’
’
T A B
& T A B
####
A7
’
4
’
’
A7
œ œ œ œ œ œ œ œ 0
0
4
2
0
0
4
2
E7
B
œ
œ
2
2
œ 4
œ 0
˙
2
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
# ## 4 & # 4
j
Blues q q = q q
Guitar Companion Guide
3
q = 115
79
Quick Study Pieces Grade 7
P
Grade 7 Example 1
# & # 44
‰ œ œ œ œ œ œ œ
T A B
&
##
œœ œœ œœ 3 3 4 5 5 3
T A B
&
4 2
G
Œ
##
Bm
’
Rock
Œ
N.C.
’
2
œœ œœ œ œ
5
2
A
Œ
3 3 4 5 5 3
œœ œœ œœ 5 5 6 7 7 5
’
œœ œœ œœ
4
‰ œ œ œ œ œ œ œ
œœœ œœœ œœœ
5
2 0 2
2 0 2
4
4 2 4
2
2
5
F#5
E5
Bm
’
’
’
’
A
Improvise melody
4
4
2
’
’
’
’
’
’
G
’
’
’
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 105
5 5 6 7 7 5
G
’
’
’
N.C.
’
’
Guitar Companion Guide
T A B
80
& T A B
##
A
’
’
’
‰ œ œ œ œ œ œ œ 4 2
2
5
2
4
5
Œ
œœœ œœœ œœœ 2
0
2
2
0
2
2
0
2
Quick Study Pieces Grade 7
P
Grade 7 Example 2
B5
C 5 N.C.
T A B
& T A B
&
0 0
4 2
5 3
5 0 0 3
0
’
0
2
’
3
3
C5
’
2
0 0
4 2
5 3
’
C5
’
’
G5
’
A5
’
N.C.
B5
œ œ œ œ nœ œ œ
E5
4 2
E5
3
C5
F5
’
Improvise melody
4 2
B5
N.C.
G5 F#5
C 5 N.C.
œœ œœ œ #œ œ œœ œ œœœ œ
PM
PM
N.C.
0
#
0
F#5
œœ œœ ‰ # œ ‰ n œ œ nœ œ œœ B5
N.C.
œœ œœ œ #œ œ œœ œ œœœ œ
PM
#
G5 F#5
PM
3 1
0
’
B5
’
B5
G5
PM
0 0
4 2
5 3
0
5 0 0 3
’
G5
’
’
’
’
’
4 2
RSL-876691015613 / 1 / Samuel Brooks /
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# & 44
Metal
N.C.
1
’
’
’
’
T A B
&
#
A5
’
’
’
C 5 N.C.
F#5
œœ œœ œ #œ œ œœ œ œœœ œ
PM
T A B
G5
0
PM
0
0
4 2
5 3
0
0
0
5 3
4 2
N.C. F # 5
N.C.
G5
E5
5 3
2 0
œœ ‰ œ #œ ‰ œ œ œ œ
PM
0
PM
4 2
0
‰
Guitar Companion Guide
q = 90
81
Quick Study Pieces Grade 7
P
Grade 7 Example 3
# & # 44
Funk
B m7
T A B
œœ œœ œ œ
œœ œœ œ œ
œœ œœ œ œ
7 7 7 7 9 7
7 7 7 7 9 7
7 7 7 7 9 7
œœ œœ œœ ‰ œœ œ œ œ œ J 7 7 7 7 9 7
j œœ œœ ‰ Œ œ œ
A7
7 7 7 7 9 7
7
œœ œœ œ
œœ œœ œ
9 10 9 11 9
9 10 9 11 9
9 10 9 11 9
7
T A B
&
7
##
7
5
B m7
’
7
5
’
7
’
’
B m7
’
5
5
7
’
’
’
D maj 7
Improvise melody
A7
’
7
’
B m7
œœ œœ œ œ
œœ œœ œ œ
œœ œœ œ œ
7 7 7 7 9 7
7 7 7 7 9 7
7 7 7 7 9 7
Œ
œ œ œ œ œ œ.
5 5 6 5 7 5
œœ F#m ## Em ‰ œœœ & œœ œ œ œ
F # m7
E m7
4
’
E m7
’
E m7
’
’
A7
œœ œœ œ œ œœ ‰ œœ œœ œœ ‰ œœœ œœ œ œ œœ œœ œ œ œ œ œ J 7 7 7 7 9 7
7 7 7 7 9 7
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
’
A7
’
’
’
B m7
’
’
Guitar Companion Guide
T A B
82
& T A B
##
F # m7
’
E m7
’
’
B m7
’
œœ œœ œœ
œœ œœ œœ
œœ œœ œœ
7 7 7 7 9 7
7 7 7 7 9 7
7 7 7 7 9 7
œœ œœ œœj œœ ‰ œœ œœ ‰ Œ œœ œœ œ J œ A7
7 7 7 7 9 7
7 7 7 7 9 7
5 5 6 5 7 5
B b 7 B m7
œœ œœ œ œ
bœ œœ œœ ‰ n b œœœ n b œœ œ œ
5 5 6 5 7 5
5 5 6 5 7 5
6 6 7 6 8 6
# n œœœ ‰ Œ # nn œœœ J 7 7 7 7 9 7
RSL-876691015613 / 1 / Samuel Brooks /
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q = 95
Quick Study Pieces Grade 7
P
Grade 7 Example 4
T A B
&
#
T A B
&
5 5
3 3
3 3
nœ œ ‰ œ bœ bœ ‰ Œ 3
#
œœ
‰ œ œ ‰ nœ œ ‰ ‰ œœ
G7
’
5
3
’
1
’
5 5
œ œ ‰ œ œœ 3
G7
’
3
3
’
’
’
D9
Improvise melody
5
‰ Œ
œœ
‰ œ œ ‰ bœ œ ‰ œ œ ‰ 3 3
5 5
5
5 5
3 3
C9
’
’
’
G7
’
’
’
’
C9
’
1
C9
’
’
’
N.C.
’
’
’
T A B
& T A B
#
D9
’
’
’
œœ
‰ œ œ ‰ bœ œ ‰ œ œ ‰ 5
3
3
5
3
3
5
5
nœ œ œ œ bœ j ‰ Œ œ 3
5
3
3
1
3
RSL-876691015613 / 1 / Samuel Brooks /
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# & 44
Funk
N.C.
Guitar Companion Guide
q = 100
83
Quick Study Pieces Grade 7
P
Grade 7 Example 5 Latin
A m7
E7
œœ œœ œ œ
& 44
œœ œ œ œœ ‰ # œœœ œœœ ‰ n œœœ œœœ œ œ œ œ œ. œ. œ œ.
5 5 5 5 7 5
T A B
A m7
5 5 5 5 7 5
5 7 6 7
5 5 5 5 7 5
5 7 6 7
& ‰ œ #œ œ œ œ œ œ N.C.
T A B
7
D m7
& ’
6
’
7
8
’
7
5
’
5 5 5 5 7 5
N.C.
A m7
‰
‰
œœœ œ œ œ œ œ 5
A m7
’
7
’
8
’
Improvise melody
5
8
7
5
E7
œœ œ œ œœ ‰ # œœœ œœœ ‰ n œœœ œœœ œ œ œ œ œ. œ. œ œ. 5 5 5 5 7 5
8
A m7
5 7 6 7
5 5 5 5 7 5
5 7 6 7
’
E7
’
’
’
’
’
D m7
’
’
’
5 5 5 5 7 5
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 105
8
b B m7 5
’
’
’
’
Guitar Companion Guide
T A B
84
E7
& ’ T A B
A m7
’
’
’
œœ œœ œ œ 5 5 5 5 7 5
E7
A m7
œœ œ œ œœ ‰ # œœœ œœœ ‰ n œœœ œœœ œ œ œ œ œ. œ. œ œ. 5 5 5 5 7 5
5 7 6 7
5 7 6 7
5 5 5 5 7 5
5 5 5 5 7 5
N.C.
‰ œ #œ œ œ œ 7
6
7
8
7
#œ œ 4
5
Quick Study Pieces Grade 7
P
Grade 7 Example 6 j
#4 œ œ œ œ bœ nœ œ œ œ bœ œ & 4 œ œ œ nœ œ œ œ œ œ œ œ œ D7
T A B
&
#
T A B
&
G7
G7
’
7
5
5
D7
œ bœ 3
#
7 5
6
’
4
5
6
7
5 3
’
G7
3
5
G7
œ bœ n˙ 3
C7
3
5
3
3
4
3
5
3
5 3
’
’
Improvise melody
3
œ bœ œ
3
5
3
’
C7
’
’
’
’
’
G7
’
’
’
4
3
RSL-876691015613 / 1 / Samuel Brooks /
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Blues q q = q q
5
C7
’
’
D7
’
’
’
’
T A B
& T A B
#
C7
’
D7
’
’
’
œ œ œ œ bœ nœ œ 3
œ œ
7 5
5
7
5
5
6
7
G7 3
œ œ nœ œ œ bœ œ #œ œ
5 3
6
3
4
5
4
3
6
3
Guitar Companion Guide
3
q = 110
85
Quick Study Pieces Grade 8
P
Grade 8 Example 1
& 44
Metal
T A B
0
0
3
& œ.
œ œ
œ
T A B
2
2
2
A5
&’
œ œ œ œ ‰ œj œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
N.C.
0
’
0
3
œ
’
2
Œ
0
2
2
A5
’
0
2
0
2
’
’
Improvise melody
’
G5
’
N.C.
’
0
D5
’
’
3
œ œ œ œ œ œ œ œ œ œ
0
0
3
0
0
3
0
2
’
D5
’
’
’
’
A5
’
’
’
’
’
Guitar Companion Guide
T A B
86
E5
&’ T A B
’
D5
’
œ œ œ œ œ œ œ œ œ œ 0
3
0
3
0
2
0
œ.
œ œ
œ
0
0
0
2 3
œ
Œ
2
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 85
Quick Study Pieces Grade 8
P
Grade 8 Example 2
≈‰ j‰ r≈ ‰ œœœ œ #œ œ nœ
œœœ
1
1 1 0
PM
T A B
& T A B
F#5
G5
1
F#5
0
0
F5
E5
œ œ œ œ # # œ œ œ n n œ œœ. 4 2
E5
&’
5 3
4 2
’
2
3 1
2 0
’
2
1
E5
œ œ.
’
≈‰
‰ j ‰ œ œ œ œ 0
’
’
’
B5
Improvise melody
≈‰ j‰ r≈ ‰ œœœ œ #œ œ nœ
G5
0
N.C.
PM
5 3
1
1
0
0
2
2
1
’
F5
’
’
’
’
’
F5
’
’
’
2 0
C5
’
’
’
N.C.
’
’
T A B
B5
&’
’
’
≈‰ j ‰ r≈ ‰ œœœ œ #œ œ nœ
PM
T A B
1
1
0
0
2
2
1
F#5
G5
4 2
5 3
F#5
F5
4 2
3 1
E5
œ # # œœ œ œœ n n œœ œœ. 2 0
œœ . 2 0
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
& 44
Metal
N.C.
Guitar Companion Guide
q = 115
87
Quick Study Pieces Grade 8
P
Grade 8 Example 3
Funk
##4 & # 4 j ‰ ‰ œj # œ œ Œ œ
j j œœœœ‰ œ œ ‰ Œ
N.C.
T A B
&
###
T A B
&
2
1
###
F#m
###
F # m7
’
4
4 4
4
2
4
2
2
2
4
1
2
2
j œj ‰ Œ ‰ œ œ œ œ 2
2
j ‰ ‰ œj # œ œ Œ œ
2
F # m7
’
B9
’
’
’
B9
Improvise melody
’
F # m7
’
’
B9
’
’
’
B9
’
4
B9
’
’
’
B9
C7
’
’
’
N.C.
’
’
F # m7
’
’
Guitar Companion Guide
T A B
88
& T A B
’
’
j ‰ ‰ œj # œ œ Œ œ 2 2
1
2
œ œ n œ ‰ œj j ‰ Œ œ 2
4
3
2
2
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
q = 100
Quick Study Pieces Grade 8
P
Grade 8 Example 4
& 44 œ ‰ œ. ‰ ‰ œ œ Œ .
‰
T A B
&‰ T A B
&’
5
‰ ‰ œ œ œ. œ œ b œ œ 3
D m9
3
5
5
’
3
2
2
’
1
‰ ‰ œ œ œ. œ œ œ œ
5
3
D m9
’
5
3
’
’
’
G7
Improvise melody
2
2
2
‰
2
‰ ‰ œœŒ œ œ. 3
5
5
5
’
G7
’
’
’
’
’
A m7
’
’
’
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Funk
N.C.
1
’
A m7
’
N.C.
’
’
’
T A B
G7
&’ T A B
’
’
‰ ‰ œ œ Œ œ. ‰ œ. 5
3
5
5
‰
‰ œ œ œ. œ œ œ. œ œ 3
5
3
3
3
5
5
5
Guitar Companion Guide
q = 100
89
Quick Study Pieces Grade 8
P
Grade 8 Example 5
## & # # 44 T A B
# # # # œœ œ & œœ 2 0 2 1 2
&
####
A7
’
A7
3
E7
œ œ œ nœ nœ œ œ œ #œ œ œ nœ #œ œ œ œ œ 0
B7
T A B
E7
j
Blues q q = q q
3
4
œœ œ ‰ œœ
œ œœ œœ
2 0 2 1 2
2 0 2 1 2
’
’
2
4
2
4
3
0
0
0
3
E7
˙˙ ˙ ˙˙
’
Improvise melody
’
’
E7
0
0
4
A7
’
E7
0
’
’
nœ œ œ œ nœ #œ œ œ
0
0
0
3
4
0
0
Guitar Companion Guide
90
& T A B
A7
’
’
’
’
’
’
’
’
’
’
’
B7
’
’
’
’
œœ œœ n œ œ œ œ n œ œ œœ œ nœ #œ 0
3
3
4
2
4
0
E7
T A B
####
3
2
4
3
0
0 0 1 0 2 0
œœ œœ œ œ 0 0 1 0 2 0
‰
œœ œ œœ œ 0 0 1 0 2 0
˙˙ ˙˙ ˙ ˙
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
3
q = 120
Quick Study Pieces Grade 8
P
Grade 8 Example 6
b 4 Cm b & 4 œ œ œ œ œ œ œ œ T A B
3
5
F9
3
4
C m7
’
5
3
T A B
bb
2
3
6
œ œ œ œ œ œ
b &b ˙
&
7
’
3
5
’
3
2
’
œ œ œ œ œ
F9
˙
5
’
œ œ œ œ œ
3
3
C m7
C m7
’
3
’
Improvise melody
2
5
3
3
F9
’
5
5
3
6
œ œ œ 3
’
’
’
’
G9
’
’
’
2
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
j
Jazz q q = q q
5
F9
’
’
’
’
’
T A B
& T A B
bb
F9
’
’
’
’
œ œ œ œ œ œ œ œ
C m7
3
5
6
3
5
3
2
F9
˙
œ œ œ œ
C m7
œ
3
5
3
4
3
5
Guitar Companion Guide
3
q = 120
91
General Musicianship Questions Debut & Grade 1 Each Rockschool grade exam ends with five questions asked by the examiner. The examiner will ask you these questions using a piece played by you as a starting point. Four of the questions will be about general music knowledge and the fifth will be about your instrument. Here are some sample questions that are typically asked by Rockschool’s examiners grade by grade, along with sample answers typically given by candidates. Debut The theory questions here refer to the performance piece ‘Another Dime’ on page 5 of the Guitar Debut candidate book. Q. What are the five lines the notes are written on called? A. The stave. Q. Point to the treble clef for me. A. The student identifies the treble clef at the start of the line.
Q. What is this note called? [Pointing to the half note in bar 8.] A. A half note (minim). Q. Where is the nut on your guitar? A. The student identifies the nut. Grade 1 The theory questions here refer to the performance piece ‘Just Don’t Know’, which can be found on page 13 of the Guitar Grade 1 candidate book. Q. Point to the time signature for me. A. The student identifies the 4/4 at the start of the piece. Q. What type of notes are the first two notes in bar 2? A. Eighth notes (quavers). Q. Point to a whole note in line two. A. The student identifies the notes in bar 4.
Guitar Companion Guide
Q. What is the difference between a major and minor chord? A. Major is happy and minor is sad.
92
Q. Name the open strings of your guitar. A. E, A, D, G, B and E.
RSL-876691015613 / 1 / Samuel Brooks /
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Q. Point to a note that is a quarter note (crotchet). A. The student points to the first note in bar 2.
General Musicianship Questions Grades 2 & 3 Grade 2 The theory questions here refer to the performance piece ‘Ska’d For Life’ on page 9 of the Guitar Grade 2 candidate book. Q. What does 4/4 mean? A. There are four quarter notes (crotchets) in a bar Q. What is the pitch name of the first note in bar 3? A. D. Q. How long is the rest at the end of bar 4? A. An eighth note (quaver). Q. How is a minor chord constructed? A. Root, minor third, perfect fifth. Q. Where are the volume and tone controls on your guitar? A. The student identifies the controls.
Q. What is the value of the last rest in bar 8? A. A half note (minim). Q. What is the pitch name of the first two notes in bar 10? A. G. Q. What type of notes are these? A. Eighth notes. Q. How do you construct a major chord? A. Root, major third, perfect fifth. Q. Show me the volume and gain controls on the amp. A. The student identifies the controls on the amp.
Guitar Companion Guide
The theory questions here refer to the performance piece ‘Indecisive’ on page 13 of the Guitar Grade 3 candidate book.
RSL-876691015613 / 1 / Samuel Brooks /
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Grade 3
93
General Musicianship Questions Grades 4 & 5 Grade 4 The theory questions here refer to the performance piece ‘Base Jumper’ on page 5 of the Guitar Grade 4 candidate book. Q. Show me the key signature and tell me what it is. A. The student identifies the sharp and names it as F #. Q. What are the thick lines and dots at either end of the first line? A: Repeat marks, which mean you play the line twice. Q. How do you construct a dominant 7? A. Root, major third, perfect fifth and flattened seventh. Q. What scale could you use in the solo on page two? A. The G major pentatonic scale for the first half and E minor pentatonic for the second half. The scales have the same notes. Q. Describe to me the settings you chose for this piece. A. I went for a high-gain distortion and boosted the bass and treble.
The theory questions here refer to the performance piece ‘Geek’ on page 5 of the Guitar Grade 5 candidate book. Q. What does the direction next to the bpm mean? A. That the eighth notes should be swung. Q. What type of notes are used in bar 3? A. Triplet eighth notes. Q. What does the sign before the note in bar 12 mean? A. It should be played as C #. Q. How is a minor 7 chord constructed? A. Root, minor third, perfect fifth and minor seventh.
Guitar Companion Guide
Q. What sort of sound did you use for this piece? A. I used a modern high-gain distortion with the gain set relatively high.
94
RSL-876691015613 / 1 / Samuel Brooks /
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Grade 5
General Musicianship Questions Grades 6 & 7 Grade 6 The theory questions here refer to the performance piece ‘That Sounds Like Noise’ on page 15 of the Guitar Grade 6 candidate book. Q. What does D.S. al Coda mean? A. You go back to the sign and play until the coda sign then play the coda. Q. What does PH mean in bar 1? A. Pinched harmonic. Q. What is the pitch name of the first note? # . A. F Q. What scale could you use for the solo? A. The F # blues scale works well but you can also use the F # natural minor scale. Q. What could you do to vary the sound during the piece? A. You could add delay for the melody and lead sections.
Q. What do NH and the diamond shapes round the TAB mean? A. Natural harmonics. You should place your finger slightly in front of the fret. Q. What does 11/16 mean? A. There are 11 16th notes in a bar. Q. What is the pitch name of the first note of bar 25? A. E natural. Q. What scale would you use for the solo other than the minor pentatonic or blues scales? A. You could use the natural minor with a flattened fifth. Q. What two key elements make up a typical metal rhythm guitar tone? A. A modern high-gain distortion and a scooped sound.
Guitar Companion Guide
The theory questions here refer to the performance piece ‘The Pants Era’ on page 5 of the Guitar Grade 7 candidate book.
RSL-876691015613 / 1 / Samuel Brooks /
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Grade 7
95
General Musicianship Questions Grade 8 Grade 8 The theory questions here refer to the performance piece ‘Mind The Gaps’ on page 11 of the Guitar Grade 8 candidate book. Q. What are the crossed note chords? A. Muted chords to achieve a stylistic rhythm.
F
Q. What does mean at the start of the piece? A. Moderately loud. Q. What does the sign above the note in bar 14 mean? A. To be played with vibrato. Q. What two scale choices did you make for the solo? A. G natural minor for the first half and E b lydian for the second half.
Guitar Companion Guide
RSL-876691015613 / 1 / Samuel Brooks /
[email protected]
Q. What variations of tone can you use for this piece? A. It can be played clean (or with slight distortion) and then with distortion for the solo.
96
