modern electric guitar syllabus pdf

25/10/2013 version 01A

AUSTRALIAN GUILD OF MUSIC AND EDUCATION

Modern Guitar Examination Syllabus | Australian Guild of Music Education

The GUILD Music & Speech Education System

Australian Guild of Music Education Inc – A0010797V

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

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

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

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

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

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

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

www.guildmusic.edu.au

VERSION CONTROL Reference: 15-0-2 (20131025)

Change Book Volume Edition Date

15 0 2 20131025 New edition

PHOTOCOPYING PROHIBITED All rights reserved. No part of this publication may be reproduced, arranged, stored in a retrieval system or transmitted in any form or by any

means, manual, mechanical, photographic, chemical, electronic or otherwise, without the prior permission of the Australian Guild of Music

Education Inc (A0010797V).

Copyright 2013 by Australian Guild of Music Education Inc The moral rights of the authors are asserted.

mailto:[email protected]

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



AUSTRALIAN GUILD OF MUSIC EDUCATION (Incorporating the AGMS)

GUILD

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

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

which caters for public examinations in music.

The GUILD encompasses both bodies.

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

HISTORICAL INFORMATION

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

be found to be comprehensive, catering for the academically minded, the performing artist and for those who seek

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

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

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

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

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

to commence examinations in mainland China is already under way.

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

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

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

TERTIARY PROFESSIONAL COURSES

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

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

VET Level courses include Certificate I - IV, Diploma and Advanced Diploma. Diploma and Advanced Diploma

courses eligible students can apply for VET FEE HELP.

Higher Education Bachelor of Music program is available eligible students can apply for FEE HELP.

AUSTUDY is available for all courses.

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

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

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



INDEX

MODERN ELECTRIC GUITAR SYLLABUS.

INDEX. Page 4

EXAMINATION GUIDE. Page 5

GRADE EXAMINATIONS. Preliminary Page 17

Grade One. Page 19

Grade Two. Page 21

Grade Three. Page 23

Grade Four. Page 25

Grade Five. Page 28

Grade Six. Page 30

Grade Seven. Page 33

Proficiency. (Grade Eight) Page 36

DIPLOMA EXAMINATIONS. Associate. Page 40

Licentiate. (Performer) Page 43

Licentiate. (Teacher) Page 46

Fellowship (Performer) Page 48

This is the new Guild Electric Guitar syllabus which is valid from October 25th 2013, until further notice. All

technical work requirements are as listed in the Guild Modern Guitar syllabus, and have been copied into this new

electric guitar syllabus this includes pieces up to and including grade two. Also any student who have passed a grade

in the Modern Guitar syllabus can enter for their next grade using this syllabi. Whilst the syllabus is mainly for electric

guitar there are many pieces suitable for acoustic guitar.

Please note that this syllabus also covers the requirements for the guild accredited courses at certificate i-iv diploma

and advanced diploma and degree. Contact the Guild office for further details.

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

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

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

It is desirable that applicant’s select one song from different lists BUT this not mandatory.



EXAMINATION GUIDE

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

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

2. Guild Grade Examinations. " 16.

3. Supplementary Student Book. " 05.

4. Examination Music. " 06.

5. Guild Examinations. " 06.

6. Own Choice Music. " 06.

7 Memorization. " 06.

8. Performance. " 06.

9. Technical Control. " 06.

10. Additional Devices. " 06.

11 Chord Progressions. " 07.

12. Chords. " 07.

13. Contemporary Chords. " 07.

14. Sight Reading. " 07.

15. Assessment. " 07.

16. Gradings. (Assessment) " 08.

17. Theory Requirements for Practical Examinations. " 08.

18. Scales and Arpeggios. " 08.

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

20. Scale requirements for all Grades. " 09.

21. Arpeggio requirements for all Grades. " 11.

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

23. Description of Contemporary Chord Symbols. " 13.

24. Chord Progressions " 14.

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

2. GUITAR STEPS TO LICENTIATE

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

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

Electric Guitar. Robert Styles has created and compiled the most popular pieces preferred by teachers and students

and are available through the Guild Office and also at selected retail outlets. It is important to note that any student

using one of these Guild Step or Grade Books will not require the Supplementary Student Book. (See Item 3).

3. SUPPLEMENTARY STUDENT BOOK.

This outstanding and essential Modern Electronic Guitar Supplementary Student Book includes all necessary

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

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

examinations. In addition, informative notes about Chords, Chord Symbols, Chord Progressions, Technical

Exercises, Rhythms and a new and extensive article on Improvisation are also included.

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

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

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



EXAMINATION GUIDE. Continued.

4. EXAMINATION MUSIC.

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

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

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

5. GUILD EXAMINATIONS.

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

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

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

student's overall musical development.

6. OWN CHOICE REPERTOIRE FOR YOUR CONSIDERATION.

No Guild approval required for music from the given lists.

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

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

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

throughout the entire Syllabus.

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

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

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

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

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

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

C/O Dr Knoop.

7. MEMORY.

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

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

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

required in the Associate and Licentiate Diploma practical examinations.

8. PERFORMANCE.

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

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

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

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

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

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

adequately met.

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

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

is neglected.

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

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

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

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

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




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

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

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

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

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

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

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

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

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

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

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

examiner.

11. CHORD PROGRESSIONS.

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

if the student wishes to do so.)

These are examination requirements in the higher grades Usually from Grade Six, Seven and Proficiency Certificate

level. The chords generally used in these progressions are basic triads and should be ideally played based on the

circle of fourths/fifths and played in various positions covering the full range of the guitar fingerboard

However, until skill is developed, the chords can be played in any position. . The purpose of these progressions is to

develop a basic knowledge of the importance of correct chord use in both practical and theoretical music. All basic

chord progressions for grades Five, Six, Seven and the Proficiency Certificate should be studied as part of the basic

chordal work for accompanying other instrumentalists.

12. CHORDS.

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

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

which candidates choose and which are not shown in the arpeggio list in the Technical Work section of the ex-

amination requirement.

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

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

development be not unduly retarded.

13. CONTEMPORARY CHORDS.

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

Contemporary chords and slash chords are frequently used in modern music.

14. SIGHT READING.

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

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

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

Always train the student to look well ahead and to be ready for what is coming along. As a guide the sight reading

tests in two grades below the grade being attempted.

NOTE: In Guild examinations it is essential that you can read a music score. The sight reading test will not be in TAB

format.

Symbols: What Do the Symbols on Tab Mean?

Listed below are types of symbols that you would encounter in tabalature and the different ways they appear. These are by no

means exhaustive

Vibratos v , ~ = means vibrato. Vibratos are consistent bends of the note to produce a sort of vibrating sound. How many usually

depends on the amount the symbol is written.

Ex.



e|-------13vvvvvv--------- or e|-------13~~~~~-----

Hammer-ons

h = means hammer-on. They are pressing down (hammering) on a note without picking the string.

Ex.

e|-------13h15----------- While pressing down on the 13th fret, hammer on the 15th

Pull-offs

p = means pull-off. It is the opposite of what you would do with a hammer-on.

Ex.

e|---------15p13--------- While holding down both the 15th and 13th frets, release the hold on the 15th.

Hammer-ons/Pull-offs

h p = means hammer-on the note then pull-off.

Ex.

e|---------13h15p13------ While having picked the 13th fret, hammer down on the 15th fret and release it to go back to the 13th

frets sound.

Slides

\ , / , s = means to slide either up or down on a string holding down the frets. The \ symbol means to slide up and the / symbol

means to slide down. The s symbol can mean both up and down.

Ex.

e|------5/16------------- While holding down the 5th fret, slide up on the string and stop at the 16th fret.

e|---------16\5---------- While holding the 16th fret, slide down the string and stop at the 5th fret.

e|------------5s--------- While holding down the 5th fret, slide either up or down

Bends

b , ^ , ( ) = Bends are shown in many different symbols. The b and ^ are common symbols used for bends. The ( ) usually contain a

number in between and tell the player to bend to that note. Notes without ( ) usually have the note to be bent to next to the original

note.

Ex.

e|--------5b7---------- or e|-------5^7------------ or e|------5(7)--------

Bend the 5th fret higher until it sounds like the 7th fret

Guitar Tab Symbols

There are a lot of techniques in guitar playing such as hammer-ons, pull-offs, slides, bending, vibrato, etc. All of these

techniques have their own individual way of been represented in a guitar tab. A good guitar tab should include a

reference list of those symbols used in that particular guitar tab and also identify what those symbols mean. Of course

not every guitar tab is a good guitar tab. A guitar tab might include some of these techniques in a reference list that

may look like this.

FUNDAMENTAL FLAWS IN GUITAR TABS

The lack of rhythmic notation is the biggest flaw you'll find in guitar tab around the web. And it's a doozy of a flaw.

Most guitar tab doesn't notate rhythm in any way, so if you haven't heard how the guitar part to the song you're playing

goes, you have no way of knowing how long to hold each note. Some guitar tab does attempt to include rhythms, by

putting stems on each number (to indicate quarter notes, eighth notes, etc.), but most guitarists find this cumbersome to



read. And besides, if you're going to include traditional rhythmic notation in guitar tab, why not just go the extra step

and write the whole thing in standard notation?

Another major problem with guitar tablature: only guitarists can read it. While "standard notation" is readable by those

who play any instrument, tab is native to guitarists, so those who don't play guitar won't be able to comprehend it. This

makes any sort of musical communication with a piano player, or other musician, very difficult.

We've covered the basics of the pros and cons of guitar tablature. Now, we'll take a moment to talk about a few of the

intricacies of tab - like how to read/write string bends, slides, and more.

Again, if you're serious about music, it is highly advisable that you learn standard notation as well as tablature.

15. ASSESSMENT.

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

* Poise, musical control and co-ordination.

* Style, tone and interpretation.

* Effective use of the effects pedal if used.

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

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

fingerboard. No excessive or wasteful movement.

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

96-100. = High Distinction.

90-95. = Distinction.

85-89. = Honours.

80-84. = B+ Credit.

75-79. = B Credit.

70-74. = C+ Pass

65-69. = C Pass.

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

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

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

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

DIPLOMA EXAMINATIONS . (ASSESSMENTS)

96-100. = High Distinction.

90-95. = Distinction.

70-89. = Pass.

17. THEORY REQUIREMENTS FOR PRACTICAL EXAMINATIONS.

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

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

practical examination certificate can be issued.

Grade Three Practical Additional requirement Grade One Theory

Grade Four Practical Additional requirement Grade Two Theory

Grade Five Practical Additional requirement Grade Three Theory

Grade Six Practical Additional requirement Grade Four Theory

Grade Seven Practical Additional requirement Grade Five Theory

Proficiency Additional requirement Grade Six Theory

Associate Additional requirement Grade Seven Theory

Associate TD. Additional requirement Grade Seven Theory

In addition. Teaching Principles

Licentiate P. Additional requirement Grade Eight Theory

Licentiate TD. Additional requirement Grade Eight Theory

In addition. Teaching Principles

http://guitar.about.com/od/specificlessons/ss/String-Bending-101.htm




18. SCALES and ARPEGGIOS.

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

the metronome marking.

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

in groups of FOURS at a similar and comfortable tempo.

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

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

scale from those listed to arrive at an appropriate decision.

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

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

considerably.

* Reasonable tempo modifications are allowable, if necessary, in Grade Two and above, for the playing of scales

in contrary motion, 3rds, 6ths, 10ths, double octaves and staccato touch. But in every case, the technical level

of each grade should be duly regarded.

* Finger staccato touch (not a detached touch) is required in addition to the normal legato touch for scales in Grade

Two and above at the Examiner's discretion.

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

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

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

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

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

tempos should be guarded against.

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

arpeggios is ESSENTIAL.

19. RECOMMENDED MINIMUM TEMPI.

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

Preliminary One crotchet = MM 60

Grade 1. " " = MM 88.

Grade 2. " " = MM 92.

Grade 3. " " = MM 96.

Grade 4. " " = MM 120.

Grade 5. " " = MM 144.

Grade 6. " " = MM 168.

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

Proficiency. " " = MM 108. (Minimum)

20. GRADES. Scale listing.

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

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

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

Grade and Syllabus for exact requirements.

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

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

Harmonic Minor A One octave.

Bass Guitar Dorian Scale C One octave.

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

(Applies to bass and electric guitar)




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

Harmonic Minor A. D. E. One octave.

Melodic Minor A. One octave.

Bass Guitar Dorian Scale G. One octave.

Blues Scale F. One octave.

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


GRADE TWO. SCALES Major. D. A. Two octaves.

Harmonic Minor B. F#. Two octaves.

Melodic Minor E. Two octaves.

Bass Guitar Dorian Scale D. A. One octaves.

Blues Scale Bb. One octave.

ARPEGGIOS (As for scales) Two octaves.


GRADE THREE. SCALES Major. Bb. Eb. Two octaves.

Harmonic Minor C. G. Two octaves.

Melodic Minor C. G. Two octaves.

Chromatic on F Two octaves.

Bass Guitar Dorian Scale Bb. One octave.

Mixolydian Scale G One octave.



GRADE FOUR. SCALES Major. E. Ab. Two octaves.

Harmonic Minor F. C#. Two octaves.

Melodic Minor F. C#. Two octaves.

Chromatic on G. Two octaves.

Bass Guitar Dorian Scale E. Two octaves.

Blues Scale F#. Two octaves.

Mixolydian Scale C. Two octaves.

Pentatonic Scale C. G. Two octaves.



GRADE FIVE. SCALES Major. B. Db. Two octaves.

Harmonic Minor Bb. G#. Two octaves.

Melodic Minor Bb. G#. Two octaves.

Chromatic on E (Low). Three octaves.

Bass Guitar Dorian Scale B. Two octaves.

Blues Scale G. Two octaves.

Mixolydian Scale D. Two octaves.

Pentatonic Scale D. Two octaves.






GRADE SIX.

SCALES Major. F#. C#. Two octaves.

Harmonic Minor Eb. Ab. Two octaves.

Melodic Minor B. F#. Two octaves.

3rds Major C. G. Two octaves.

3rds Minor G. Two octaves.

Chromatic on C. G. Three octaves.

Bass Guitar Blues Scale D. Two octaves.

Mixolydian Scale Bb. Two octaves.

Pentatonic Scale A. Two octaves.



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

GRADE SEVEN. SCALES Major. Gb. Cb. Two octaves.

Harmonic Minor D#. A#. Two octaves.

Melodic Minor D#. A#. Two octaves.

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

Chromatic on F. Three octaves.

Whole Tone on F. Three octaves.

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



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

pentatonic scale discussing the use of the pedal board.

PROFICIENCY. SCALES Major. Any scale. Two octaves.

Harmonic Minor Any scale. Two octaves.

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

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

Chromatic on Any one. Two octaves.

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

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



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

applies to the Associate Diploma at a more advanced level.

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

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

21. GRADES. ARPEGGIO LISTING.

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

ARPEGGIO tempo located in each grade section of the syllabi.

PRELIMINARY. Ascending and descending.

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

Minor. A. One octave.

Bass Guitar Plus D7. One octave.




GRADE ONE. Ascending and descending.

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

Minor. A. D. E. One octave.

Bass Guitar Plus F7. G7. One octave.

GRADE TWO. Ascending and descending.

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

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

GRADE THREE. Ascending and descending.

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

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

GRADE FOUR. Ascending and descending.

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

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

GRADE FIVE. Ascending and descending.

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

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

GRADE SIX. Ascending and descending.

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

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

GRADE SEVEN. Ascending and descending.

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

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

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

PROFICIENCY CERTIFICATE. Ascending and descending.

Arpeggios. Major. Any one. Two octaves.

Minor. Any one. Two octaves.

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

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

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

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

22. CHORD REQUIREMENTS. GRADES.

PRELIMINARY.

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

GRADE ONE.

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

GRADE TWO.

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

GRADE THREE.

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

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

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




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


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

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

GRADE FIVE.

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

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

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


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

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

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

GRADE SIX.

ALL Major and Minor chords in all keys.

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

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


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

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

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

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

GRADE SEVEN.

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

all keys. Any position.

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

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

Any position.

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

23. DESCRIPTION OF CONTEMPORARY CHORD SYMBOLS.

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

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

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

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

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

e.g. C7 = C E G Bb.

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

e.g. Cm7 = C Eb G Bb.

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

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




23.5. DIMINISHED CHORD is always every 3rd semitone.

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

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

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

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

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

e.g. C6 = C E G A.

Cm6 = C Eb G A.

Bb6 = Bb D F G.

Bbm6 = Bb Db F G.

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

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

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

Remember the examiner can ask for a lower graded chord than the examination being attempted

C9 = C E G Bb D.

24. CHORD PROGRESSIONS.

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

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

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

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

SIMPLE PROGRESSIONS

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

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

c) 1 1V 1 Plagal Cadence. (1V – 1)

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

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

COMMONLY USED CHORD PROGRESSIONS.

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

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

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

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

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

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



NOTE: IT IS ESSENTIAL THAT 'IMPORTANT NOTES FOR TEACHERS AND CANDIDATES', AT THE

BEGINNING OF THIS SYLLABI BE READ.

It is important to note that LIST B throughout the Grades and Levels requires the candidate to perform with an audio

tape accompaniment. The candidate must provide a small cassette player and prepare, with the teacher's assistance,

the audio tape for the examination. The Melody and the Rhythm is to be performed, with the tape playing the opposite

part. TWO choruses Segue. It is also recommended that Modern Guitar and Electric Guitar students use backing tracks

BUT this is not mandatory. It is the responsibility of the candidate to have all the necessary equipment; or to have

arranged with the studio for this to be available.

REFERENCE BOOKS AND SITES.

Step to Licentiate books AGMED Robert Styles

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

Guitar Tuning. Centrestream.

YOUTUBE on the WEB

Guitar Licks.

ADD SOME ELECTRIC GUITAR BOOKS

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

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

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

Playing" (Paperback) Charles Duncan

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

Guitar Chords for Dummies (Spiral-bound) Antoine Polin

Blues Guitar Songs for Dummies (Paperback) Greg Herriges

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

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

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

Guitar For Dummies (Paperback) Jon Chappell

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

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

The Guitar Grimoire Scales & Modes Encyclopedia Reference Book Adam Kadmon

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

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

Play Guitar In 10 Easy Lessons (paperback) John Buck

Fast Track Guitar: (Paperback) Hal Leonard Corporation

Improvising Lead Guitar Book and CD Hal Leonard

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

Jazz Improvisation for Guitar Book/CD Berklee Press

The Big Book of Jazz Guitar Improvisation

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

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

Book from www.Guitar-Music-Theory.com

Advancing Guitarist Mick Goodrick

Plus many more

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

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

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

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

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

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

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

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

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

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


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


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

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

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

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



PRELIMINARY EXAMINATION. EXAMINATION TIME. 15 Minutes.

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

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

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

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

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

practise habits. Poise, expression and style as applicable to the standard of the examination will also be observed by

the Examiner.

TECHNICAL WORK. From memory. 20 Marks.

SCALES. Single notes. Ascending and descending. Minimum scale tempo. One crotchet = MM 60.

SCALES Major. C. F. G. One octave.

Harmonic Minor A One octave.

Bass Guitar Dorian Scale C One octave.

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


ARPEGGIOS. Ascending and descending. Minimum arpeggio tempo. One crotchet = MM 48.

Note grouping optional.

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

Minor. A. One octave.

Bass Guitar Plus D7. One octave.

DEMONSTRATION.

The candidate will be asked to demonstrate the correct method of holding the Guitar and position of right and left

hands.

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

See Page 6 for possible alternative list choice.

Candidates are advised to select contrasting works.

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

Classical Guitar Technique. Schearer. Belwin Mills.

Prelude No.2.

Etude No.1.

Hal Leonard Guitar Method. Book One. Ex.26,27,28,36,37 or 38. Schmid.

50 Studies for Guitar. Edit. Gonzalez. No. 2 or 3. Aguado. Ricordi.

OWN CHOICE.

PRELIMINARY EXAMINATION Continued.

LIST B. 20 Marks.

LIST B PIECES are to be performed with melody and rhythm. The tape plays the opposite part. 2 Choruses

segue. See notes beginning this Syllabus.

Easy Guitar. Super Stars. Any ONE. Arr.L.Braunling. Hal Leonard Pub.

Commensurate with Grade standard.

Great Themes for Guitar. Any ONE. Arr.D.Fox. Allans Music.


World's Favourite Songs for Guitar. Series No.42. Any ONE. Arr.Ingrasin.


World's Favourite Songs for Guitar. Series No.6. Any ONE. Arr. Murray-Estella. Ashley Pub. Inc.


30 Super Gold for Guitar. Any ONE. Edit. C.Cuellar. Columbia Pic.


OWN CHOICE.



LIST C. 20 Marks.

Andantino. Schott.

Hal Leonard Guitar Method. Book One. Any one listed below. W.Schmid.

29,30,39,40,52 & 53,54,56,57,60,62,68,69,70,76,82,85,88,94,95.

Mel Bay Grade One Book. MB-Castle.

Amazing Grace.

Chord Waltz and Chord Etude. (Both).

Kum-Ba-Ya.

The Builder and Chord Etude. (Both.)

Waltz in C Major. Schott.

OWN CHOICE.

SIGHT READING. 10 Marks.

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

EAR TESTS. 8 Marks.

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

crotchet.

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

hum or sing either note.

GENERAL KNOWLEDGE. 7 Marks.

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

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

used in the pieces performed.

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

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

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

Guild office for approval.



GRADE ONE EXAMINATION. EXAMINATION TIME. 15 Minutes.


SCALES. Single notes. Ascending and descending. Minimum scale tempo. One crotchet = MM 88.

SCALES Major. C. F. G. Two octaves.

Harmonic Minor A. D. E. One octave.

Melodic Minor A. One octave.

Bass Guitar Dorian Scale G. One octave.

Blues Scale F. One octave.

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




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

Minor. A. D. E. One octave.

Bass Guitar Plus F7. G7. One octave.




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

Guitar Method. Grade One. Etude.P.40. Mel Bay-Castle.

or Rondo P.48.

Popular Guitar Course. Palmer-Hughes.

Walking Blues (31) Book 1.

Bass n Blues.(3) Book 2.

Chords & Melody.(5) Book 2.

William Leavitt Method. Vol.1.

Study with technical work. (P35);

Pretty Pickin.(40);

Take Your

Pick (44);

50 Studies for Guitar. Edit. Gonzalez. No. 4.5.6.7.8.9. Any one. Aguado. Ricordi.

OWN CHOICE. Any piece of a standard commensurate with above pieces

LIST B. 20 Marks.


segue. See notes beginning this Syllabus.



Graded Guitar Solos. Vol.1. Any suitable solo. MB 93217-Castle.



World's Favourite Selections for Guitar. Series No.42. Any ONE. Arr.Ingrasin.









GRADE ONE EXAMINATION Continued.

LIST C. 20 Marks.

Easy to Play Guitar Solos. Glen Campbell. Hansen Press.

Country Girl. C.Smith.

Got to Have Tenderness. R.Redd.

Green Green Grass of Home. C.Putman.

Mary in The Morning. M.Lendell.

Pave Your Way into Tomorrow. B.Graham.

Rhinestone Cowboy. L.Weiss.

Let us Have Music for Guitar. Any ONE. (79 melodies.) P.Sterrett. C.Fischer.


Something Special for Easy Guitar. Music Sales.Aust.

From Both Sides Now. Joni Mitchell.

If I Had a Hammer. Pete Seeger.

Morning Has Broken. Eleanor Farjeon.



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

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

EAR TESTS. 8 Marks.

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

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

Examiner.

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

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

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


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

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

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



GRADE TWO EXAMINATION. EXAMINATION TIME. 15 Minutes.


SCALES. Ascending and descending. Minimum scale tempo. One crotchet = MM 92.

Groups of two notes.

SCALES Major. D. A. Two octaves.

Harmonic Minor B. F#. Two octaves.

Melodic Minor E. Two octaves.

Bass Guitar Dorian Scale D. A. One octaves.

Blues Scale Bb. One octave.





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

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




LIST A. 15 Marks.

Guitar Method. Book 2. Grade 2 2, 3, 6, 7, 8, 10, 11, 12, OR 14. One only. Hal Leonard.

Guitar Method. Grade 2. Plectrum Technic.(P 48). Mel Bay-Castle.

Guitar Method. Vol.1. Any one of the following. William Leavitt.

Endurance Etude.(48);

Dynamic Etude.(54);

Chord Etude No.3.(87);


Study - either 108,109,118,122,123.

Picking Etude No.5.(88);


Chord Etude

No.2.(72).

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

Nos.10 to 20. Any one.


LIST B. 20 Marks.


segue. See page 3 or notes beginning this Syllabus.



Graded Guitar Solos. Vol.1. Any ONE. MB 93217-Castle.




World's Favourite Selections for Guitar. Series No.42. Any ONE. Arr.Ingrasin.









GRADE TWO EXAMINATION Continued.

LIST C. 20 Marks.

Easy to Play Guitar Solos. Glen Campbell. Hansen Press.

By The Time I Get to Phoenix. Jimmy Webb.

Did'nt We. Jimmy Webb.

Little Green Apples. B.Russell.

Try a Little Kindness. C.Sapaugh.

Let us Have Music for Guitar. Any ONE. (79 melodies.) P.Sterrett. C.Fischer.


Something Special for Easy Guitar. Music Sales Aust.

Blowin'In The Wind. Bob Dylan.

Amazing Grace. Traditional.

Fire and Rain. James Taylor.

Guantanamera. Pete Seeger.

Hava Nagila. Traditional.

Leaving on a Jet Plane. John Denver.

Spanish Flea. Julius Wechter.

Spinning Wheel. David Thomas.

Until its Time for You to Go. B.Sainte-Marie.

Where Have all the Flowers Gone. Pete Seeger.

What Kind of Fool am I. A.Newley.



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

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

EAR TESTS. 8 Marks.

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

crotchets and quavers only.

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

and then the note.

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

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

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


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

key signatures.

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

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

NOTE: After passing grade two in Modern Guitar candidates can transfer over to the new Guild Electric Guitar

Examination system which has been designed specifically for electric guitarists This new syllabi commences at grade

three and proceeds right through to Licentiate Diploma It can also be used for the Guild accredited Certificate

courses 1-1V, Diploma, Advanced Diploma and Degree solo performance studies. Apply to the office for a copy of the

syllabus and further details



GRADE THREE EXAMINATION. EXAMINATION TIME. 20 Minutes.



Groups of four notes.

SCALES Major. Bb. Eb. Two octaves.

Harmonic Minor C. G. Two octaves.

Melodic Minor C. G. Two octaves.

Chromatic on F Two octaves.

Bass Guitar Dorian Scale Bb. One octave.

Mixolydian Scale G One octave.





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

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




LIST A. One piece from Deep Purple 15 Marks.

Deep Purple

Woman from Tokyo

Lazy

Black night

Smoke on the water

Strange kind of woman

Burn

Highway star

OWN CHOICE. Any piece that is of a commensurate standard

LIST B. One piece from Green Day 20 Marks.

Green Day

Boulevard of broken dreams

Basket case: brain stew

American idiot:

Welcome to paradise


LIST C. One song from any of the following 20 Marks.

Beatles

Any songs at an appropriate standard

Johnny Cash

Ring of fire

Folsom prison

General Lee

I walk the line

A boy named Sue

Van Morrison

Brown eyed girl

Have I told you lately?

Moondance

Gloria




GRADE THREE EXAMINATION Continued.


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

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

EAR TESTS. 8 Marks.

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

dotted minims will be used.

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

before requesting the note.

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

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

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

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


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

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

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



GRADE FOUR EXAMINATION. EXAMINATION TIME. 20 Minutes.




SCALES Major. E. Ab. Two octaves.

Harmonic Minor F. C#. Two octaves.

Melodic Minor F. C#. Two octaves.

Chromatic on G. Two octaves.

Bass Guitar Dorian Scale E. Two octaves.

Blues Scale F#. Two octaves.

Mixolydian Scale C. Two octaves.

Pentatonic Scale C. G. Two octaves.





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

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




One piece from each of the following Lists

LIST A. 15 Marks.

ACDC

Thunderstruck

Highway to hell

You shook me all night long

Back in black

For those about to rock

Sin city

Whole lot of rock

The Eagles

Hotel California

Life in the fast lane

Tequila sunrise

Lying eyes

I can’t tell you why

One of these nights

New kid in town

Tom Petty

American girl

Refugee

Here comes my girl

Free falling

Run-in down a dream

Learning to fly

Mary Janes last dance

OWN CHOICE. Any Piece of a commensurate standard with the above

LIST B. 20 Marks.

Kiss

Love gun

Detroit rock city



Deuce

I was made for loving you

Rock and roll all night

Foo Fighters

Everlong

The pretender

The best of you

All my life

Times like these

Monkey wrench

Doa

Gary Moore

Still got the blues

Out in the fields

Shapes of things

Empty rooms

Military man

Rolling Stones

Brown sugar

Satisfaction

Honky tonk woman

Angie

Jumping jack flash

OWN CHOICE. Any Piece of a commensurate standard with the above

LIST C. 20 Marks.

Slash

Nothing to say

By the sword

Ghost

Beautiful dangerous

Watch this

Fleetwood Mac

Go your own way

Never going back again

The chain

Oh well

The Kinks

You really got me

Van Halen

I’m the one

Drop dead legs

Mean streets

Beautiful girls

Hot for teacher

Panama

Unchained

Eruption

I ain’t talkin’ about love

OWN CHOICE. Any piece of a commensurate standard with the above.


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

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



EAR TESTS. 8 Marks.

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

crotchets may be used.

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

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

be used in the phrase.

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

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


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

pieces, time signatures, accent and syncopation.

The musical terms and signs found in the examination pieces.

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

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



GRADE FIVE EXAMINATION. EXAMINATION TIME. 20 Minutes.

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

this Grade Five Examination Certificate. For requirements, see the AGMED HANDBOOK.




SCALES Major. B. Db. Two octaves.

Harmonic Minor Bb. G#. Two octaves.

Melodic Minor Bb. G#. Two octaves.

Chromatic on E (Low). Three octaves.

Bass Guitar Dorian Scale B. Two octaves.

Blues Scale G. Two octaves.

Mixolydian Scale D. Two octaves.

Pentatonic Scale D. Two octaves.





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

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




One piece from each of the following Lists

LIST A. 15 Marks.

Def Leppard

Animal

Hysteria

Photograph

Pour some sugar on me

Bringing on the heartbreak

Rock of ages

Love bites

Armageddon

Jimi Hendrix

Purple haze

Little wing

Voodoo child

Hey Joe

The wind cries Mary

OWN CHOICE. Any piece of a commensurate standard with the below lists

LIST B. 20 Marks.

Tommy Emmanuel

Stay close to me

Those who wait

Blue moon

Cardinal sin

Spiteful intents

Bob Marley

No woman no cry

OWN CHOICE. Any piece that is of a commensurate standard with the below lists



LIST C. 20 Marks.

BB King & Eric Clapton

Blues

How blue can you get?

The thrill is gone

The Eagles

Sunday bloody Sunday

One

Vertigo

Pride in the name of love

With or without love

Doc Watson

Beaumont rag

Black mountain rag

Sitting on top of the world

House of the rising sun

OWN CHOICE. Any song commensurate with the below lists


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

crotchets, quaver rhythmic patterns, tied notes, chords and simple modulations.

EAR TESTS. 8 Marks.

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

shorter than a quaver.

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

Examiner.

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

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

Examiner.

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

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


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

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

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

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

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



GRADE SIX EXAMINATION. EXAMINATION TIME. 30 Minutes.

ADDITIONAL REQUIREMENT. A minimum PASS of C+ 70 marks in FOURTH

GRADE Theory of Music is necessary for this Grade Six Examination

Certificate. For requirements, see the AGMED HANDBOOK.




SCALES Major. F#. C#. Two octaves.

Harmonic Minor Eb. Ab. Two octaves.

Melodic Minor B. F#. Two octaves.

3rds Major C. G. Two octaves.

3rds Minor G. Two octaves.

Chromatic on C. G. Three octaves.

Bass Guitar Blues Scale D. Two octaves.

Mixolydian Scale Bb. Two octaves.

Pentatonic Scale A. Two octaves.



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



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

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

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



One piece from each of the following Lists A B C D

LIST A. 16 Marks.

Van Halen

Jump

Panama

Somebody get me a doctor

Guns and Roses

Sweet child o’ mine

Welcome to the jungle

November rain

Paradise city

Don’t cry

OWN CHOICE. Any piece that is of commensurate standard with the above pieces.

LIST B. 16 Marks.

Cream

Sunshine of your love

Badge

White room

Spoonful

Crossroads

Politician

I feel free

Dire Straits

Brothers in arms

Sultans of swing



Romeo and Juliet

Money for nothing

Private investigations

Walk of life

Calling Elvis

Red Hot Chili Peppers

Scar tissue

Otherside

Slow cheetah

Desecration smile

Snow hey oh

Under the bridge

By the way

Californication

Can’t stop

Dani Californea

OWN CHOICE. Any piece that is of a commensurate standard with the above pieces.

LIST C. 16 Marks.

The Police

Message in a bottle

Roxanne

Every breath you take

Walking on the moon

So lonely

Queen

We will rock you

One vision

Killer queen

I want it all

Fat bottomed girls

Tie your mother down

Hammer to fall

Bohemian rhapsody

Now I’m here

OWN CHOICE. . Any song commensurate with the above pieces

LIST D. 16 Marks.

Ferdinando Carulli

Romanza

Bon Jovi

Living on a prayer

Wanted dead or alive

Bad medicine

You give love a bad name

Django Reinhardt

After you’ve gone

Georgia on my mind

All of me

Honey suckle rose

I got rhythm

I’ll see you in my dreams

OWN CHOICE. Any song commensurate with the above pieces


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

or compound time. Using semiquavers and syncopation.



EAR TESTS. 7 Marks.

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

Five test.

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

less than an octave.

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

Examiner.

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

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

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


Questions covering the form and structure of the selected pieces.

Advanced questions on intervals, including Compound, Diatonic and Chromatic. Ornaments and abbreviations,

musical terms, Key Signatures and modulations found in the examination pieces. Also Plagal, Perfect and Interrupted

cadence recognition as written in the music.

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



GRADE SEVEN EXAMINATION. EXAMINATION TIME. 40 Minutes.

ADDITIONAL REQUIREMENT. A minimum pass of C+ 70 marks in FIFTH

GRADE Theory of Music is necessary for this Grade Seven

Examination Certificate. See the AGMED HANDBOOK for requirements.


SCALES. Ascending and descending. Minimum scale tempo. One crotchet = MM 96


SCALES Major. Gb. Cb. Two octaves.

Harmonic Minor D#. A#. Two octaves.

Melodic Minor D#. A#. Two octaves.

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

Chromatic on F. Three octaves.

Whole Tone on F. Three octaves.

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



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

pentatonic scale discussing the use of the pedal board.

ARPEGGIOS. Ascending and descending. Minimum arpeggio tempo. One crotchet = MM 96


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

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

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





LIST A. 16 Marks.

Jimi Hendrix

12 Bar Blues Arr Jimi Hendrix style 4 Variations

Bleeding Heart

Valleys of Neptune

Spanish castle magic

Lullaby for the summer

Mr bad luck

Red house


Stevie Ray Vaughn

Couldn’t stand the weather

The house is rocking

Lenny

Change it

Rude mood

OWN CHOICE. AGMED approval required.

LIST B. 16 Marks.

Pink Floyd

Shine on you crazy diamond

Money

Wish you were here

Comfortably numb

Another brick in the wall



Time

Learning to fly

Have a cigar

On the turning away

Mother:

Breathe in the air

Eclipse

Us and them

Any colour you like

Brain damage


LIST C. 16 Marks.

Dio

Holy diver

The last in line

Don’t talk to strangers

Rainbow in the dark

We rock

Ozzy Osbourne

Over the mountain

Miracle man

Flying high again

Crazy train

Mr Crowley

Bark at the moon

No more tears

Led Zeppelin

Ten years gone

Communication breakdown

Custard pie

In my time of dying

Wanton song

Ramble on

What is and what should never be

Ten years gone

In my time of dying

Whole lot of lovin

Kashmir

Since I’ve been loving you

Babe

I’m gonna leave you

Stairway to heaven

Black dog

I rock and roll

Immigrant song

Heartbreaker

OWN CHOICE AGMED approval required.

LIST D. 16 Marks.

Thin Lizzy

Still in love with you

Don’t believe a word

Waiting for an alibi

Whiskey in the jar

Dancing in the moonlight

Eric Clapton

Alberta

All of your love



Can’t find my way home


OWN CHOICE AGMED approval required.


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

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

EAR TESTS. 7 Marks.

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

will be used. Semiquavers may be included.

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

Examiner.

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

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

octave, after the sounding of the key chord.

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

Examiner.


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

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

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

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

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



PROFICIENCY CERTIFICATE EXAMINATION.

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

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

Proficiency examinations. See General Regulations AGMED HANDBOOK.

PART ONE. THEORETICAL.

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

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

examination. See the AGMED HANDOOK for all requirements.

PART TWO. PRACTICAL. EXAMINATION TIME. 45 Minutes.

Maximum marks. 100.

Minimum PASS. 70.


SCALES. Ascending and descending. Minimum scale tempo. One crotchet = MM 108


SCALES Major. Any scale. Includes enharmonic keys. Two octaves.

Harmonic MinorAny scale. Includes enharmonic keys. Two octaves.

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

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

Chromatic on Any one. Two octaves.

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

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



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

applies to the Associate Diploma at a more advanced level.

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

ARPEGGIOS. Note grouping optional. Minimum arpeggio tempo. One crotchet = MM 108

Arpeggios. Major. Any one. Includes enharmonic keys. Two octaves.

Minor. Any one. Includes enharmonic keys. Two octaves.

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

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

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





LIST A. 16 Marks.

Eric Clapton

Cocaine

Crossroads

Layla

Tears in heaven

White room

Stevie Ray Vaughn

Texas flood

Pride and joy”

Scuttle buttin

Cold shot



The sky is crying

Die to live

The boy from Seattle

Juice

The animal

Boston rain

Melody

American girl

Big trouble


LIST B. 16 Marks.

Steve Vai

Big trouble

Metallica

The day that never comes

Until it sleeps

One

Nothing else matters

Satriani

The devil went to Georgia (solos)

Tears in the rain

Megadeth

Symphony of destruction

Holy wars

The punishment due

99 ways to die

Hangar 18

Joe Pass

Blue moon

How high the moon

Misty

Night and day


LIST C. 16 Marks.

Santana

Oye Como Va

Flor da luna

Moonflower

Maria Maria

Pachebel

Canon Rock

J. Coltrane & D. Ellington. Solo: John McLaughlin.

Take the Coltrane

Duke Ellington

In a Sentimental Mood


LIST D. 16 Marks.

Beatles

While My Guitar Softly Weeps (Hard arrangement)

John Mayer

Bigger than my body

Neon

Slow dancing in a burning room

Gravity

Stop this train

Niccolò Paganini



The Carnival of Venice/II Carnevale di Venezia, Op. 10

Django Reinhardt

Django’s Tiger

Rush

YYZ


Note alternative pieces of a similar standard can be used but assessment will be based on Proficiency based

Performance demands.

NOTE* In Proficiency, Associate and Licentiate there is a minimum time requirements. Students need to play for

between 30 and 45 minutes depending on the grade. In such cases you can use any pieces listed to add to the

performance pieces so as to meet the nominated time requirements.


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

or compound time. Fluency expected.

EAR TESTS. 7 Marks.

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

semiquavers will be used.

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

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

or two quaver groups.

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

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

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

harmonised.


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

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

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



DIPLOMA EXAMINATIONS.

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

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

Certificate.

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

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

AGMED Licentiate Diploma.

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

All candidates must obtain a minimum pass of C+ 70 marks in the

AGMED Grade V11 (or higher) Theory of Music Examination. NO EXEMPTION CAN BE GRANTED FROM THIS

CONDITION. The examination must be passed within a three year period of the first entry for the PART TWO

practical examination. (See the AGMED HANDBOOK for requirements.)

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

Maximum marks 100. Minimum Pass 70 marks. Honours. 90.

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

PERFORMANCE. Minimum of four pieces is required. Lists A. B. C. D.


LIST B PIECES are to be performed with melody and rhythm. The tape plays the opposite part. 2 Choruses segue. See

notes at the beginning of this Syllabus. However, because of the musical demands of some chosen list pieces, the need

for a rhythm accompaniment in LIST B is at the teacher's discretion in this level of examination.

It is the responsibility of the teacher/candidate to present music at the appropriate grade standard. Most pieces have a

simple and difficult arrangement. If in doubt about a piece please contact the Guild officve

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

find it necessary to play more than four works to provide a program of sufficient length.

The full program should represent the styles of four different composers and a concert standard of performance will be

expected.

Complete works must be performed.

It is necessary to submit the planned ASSOCIATE program to the AGMED for approval at least THREE MONTHS

before the anticipated examination date.

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

Select from Satriani, Santana, Duke Ellington and any other pieces of an Associate standard

List A 20 Marks.

List B 20 Marks.

List C 20 Marks.

List D 20 Marks.

ONE PIECE FROM EACH LIST A B C D

LIST A

Santana

Europa

Black magic woman

Smooth

Samba pa ti



She’s Not There

Metallica

Fade to black

Enter sandman

Battery

Sad but true

The unforgiven 2

For whom the bell tolls

Harvester of sorrow

Wherever I may roam

Seek and destroy

Creeping death

LIST B

Joe Satriani

Circles

Always with you always with me

Satch boogie

Crushing Day

Echo

Hill of the Skull

Ice 9

Lords of Karma

Midnight

Surfing with the Aliens

LIST C

Mozarts

Rondo alla turca (Turkish march)

Robert Johnson

Crossroad blues

Iron Maiden

2 minutes to midnight

Moonchild

Fear of the dark

Aces high

Seventh son of a seventh son

LIST D

Al Laurence Dimeola (Al di meola)

Fugato

Guardian Angels

Manha De Carnival

Mediterranean Sundance

Orient blue

Saffire Soleil

Andy McKee version which is tapping and percussive style on guitar

Drifting (Novel)





At a standard commensurate with this Diploma.

EAR TESTS. 7 Marks.

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

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

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



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

octave.

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

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

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

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

passage is played.


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

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

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

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



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

NOTE:- Candidates cannot enter for this Licentiate Diploma within 12 months of receiving the Associate Diploma. No

piece performed in the Associate Examination can be re-submitted for this examination.

PRE-REQUISITE.

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

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

Music and AGMED Council approval.

Documentary evidence in this case must then be submitted with the entry form. This will qualify as RPL and a FEE

APPLIES Candidates for this Licentiate examination must have attained the age of 18 years by the date of the

examination. See the AGMED HANDBOOK for further details.

This LICENTIATE PERFORMERS Diploma examination is in TWO PARTS.

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

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

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

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

three year period of the first entry for the PART TWO Practical examination. See the AGMED HANDBOOK for

requirements.


Maximum marks. 100 Marks.

Minimum pass. 70 Marks.

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


See Modern Guitar lists for possible alternative list choice.

LIST B C AND D PIECES are to be performed with a backing track and include an improvised segment. .

No Lists have been provided for this Diploma examination as the Modern Guitar Syllabus is based upon the essential

development of individual style, and therefore the choice of music has been left to the individual performer. However

the Guild has published the new Electric Guitar syllabus and students can use any of the pieces listed in that for

Associate and Licentiate levels for performance in the Modern Guitar examinations. Contact the Guild office for a

copy of the Syllabus.

A recital program of at least 40 minutes of playing is mandatory.

It is therefore possible that the candidate will find it necessary to play more than four works to provide a program of

sufficient length.


expected.


It is necessary to submit the planned ASSOCIATE and LICENTIATE program to the AGMED for approval at least

THREE MONTHS before the anticipated examination date. A copy of the music to be played must be gven to the

Examiners

At least TWO LISTS are to be performed from memory, but any additional memory work by the candidate is optional.

'Performance' Marks

LIST A. 20 Marks.

LIST B. 20 Marks.

LIST C. 20 Marks.

LIST D. 20 Marks.



SUB SECTIONS 20 Marks

One piece from each List A B C D

LIST A

Dream Theatre

Pull me under

Fatal tragedy

Under a glass moon

As I am

Erotomania

Constant motion

Wither Dance of Eternity

Metallica

Master of puppets one

Until it sleeps

LIST B

Van Halen

Eruption - Spanish fly

Al Laurence Dimeola (Al Di Meola)

Fantasia Suite

Bianca’s Midnight Lullaby

Egyption Danza

LIST C

Guthrie

Wonderful Slippery Thing

Steve Vai

For The Love of God

LIST D

Coltrane

Giant Steps with Improvisation

Steve Morse

Tumeni




SIGHT READING.

At a standard commensurate with this Diploma.

As a guide students can select any piece from the Guild Modern Electric Guitar syllabus as well as select appropriate

pieces as performed by Chet Atkins, Django Reinhardt, Tommy Emmanuel, Stariani, Santana and others

EAR TESTS. 7 Marks.

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

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

more than three times.

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

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

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

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

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



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

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

will be used.

MODULATION.

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

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

stated and the key chord sounded.

The test will not be played more than three times.


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

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

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

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



LICENTIATE DIPLOMA. TEACHERS. LAGM(TD).

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

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

PRE-REQUISITE.

The Associate Diploma in the same subject or approved equivalent.

Refer to Licentiate Performers requirements in the AGMED HANDBOOK.

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

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

years.

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

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

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

instrument is absolutely essential.

The examination consists of THEE PARTS.

PART ONE. THEORETICAL.

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

Paper TWO. Teaching Principles.

Pass mark in both papers. 70 marks.

Honours. 90 marks minimum in both papers.

PART THREE Performance as per the Performance syllabus


An executant examination on the candidate's chosen instrument.

Also a practical demonstration of teaching principles.

Pass mark. 70 marks.

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

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


See performance requirements for Licentiate

LIST B C and D PIECES are to be performed with Backing tracks and improvisation. It may be necessary to play at

least two pieces at the appropriate standard to meet the time requirements.

No Lists have been provided for this Diploma examination as the Modern Guitar Syllabus is based upon the essential

development of individual style, and therefore the choice of music has been left to the individual performer. However

students can use the pieces published in the Guild Electric Guitar syllabi which covers Diploma level pieces at both

Associate and Licentiate levels.

A recital program of at least 40 minutes of playing is mandatory.

It is therefore possible that the candidate will find it necessary to play more than four works to provide a program of

sufficient length.


expected.




It is necessary to submit the planned ASSOCIATE and licentiate program to the AGMED for approval at least THREE

MONTHS before the anticipated examination date.

At least TWO LISTS are to be performed from memory, but any additional memory work by the candidate is optional.

Performance marks

LIST A. 20 Marks.

LIST B. 20 Marks.

LIST C. 20 Marks.

LIST D. 20 Marks.

SUB SECTIONS 20 Marks (See below)

SIGHT READING. See Licentiate (P) Lists in this Syllabus. 7 Marks.

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

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

PRACTICAL DEMONSTRATION OF TEACHING PRINCIPLES. 100 Marks.

This section of the LAGM(TD) examination requires that a candidate

has a wide, active and general musical background, and has the

ability to demonstrate the various skills required in relation to

the teaching of the Guitar.

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

demonstrate the various techniques and control used by the Guitar player. 10 Marks

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

Syllabus 2012, from and inclusive of Preliminary standard through to Proficiency level. 10 Marks

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

To further discuss these aspects in relation to the development of the Guitar. 20 Marks

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

in the AGMED 2012 Syllabus. Also to discuss common student errors and to suggest means for their correction.

10 Marks

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

philosophy inherent in this concept. 10 Marks

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

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

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

must include practise methods to overcome both the observed and potential faults. 20 Marks

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

performance of these styles. 10 Marks

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

Guitar. 10 Marks

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

EXTRA LISTS

GUITAR SYLLABUS ASSOCIATE AND LICENTIATE LEVELS

Apply to the Guild Office.



FELLOWSHIP DIPLOMA F.Mus AGM RECITAL

MODERN ELECTRIC GUITAR

A Full Concert Performance. Recital in Public

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

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

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

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

details.

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

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

a) Research Thesis. 50,000 words.

b) Composition. A major work.

c) A full Concert Performance.

d) A long, outstanding teaching Career.

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

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

will benefit.

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

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