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Rock Guitar Playinglnitial Stage

Compiled byTony Skinner and Merv Young

on behalf ofRegisry Of Guitar Tutors

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- The Specialists in Guitar Education -kr- Registry of Guitar Tutors -

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@ Copyright 20 I I by Registry Of Guitar Tutors. Worldwide rights reserved.

PHOTOCOPYING OFANY PART OF THIS BOOK IS IILEGAINo part of this book may be reproducedin any form

without the permission of the publisher.Breach of copyright, by photocopying or any other means,

may result in both a claim for civil damages and criminal prosecution.

Printed and bound in Great Britain

A clP record for this publication is available from the British LibraryISBN: 97 8-l -9 O59O8-29-s

Published by Registry Publications

Registry Mews, Wilton Rd, Bexhill, Sussex, TN4O I HY

Cover photo by Andreas Gradin/Fotolia. Design by JAK lmages.All musical compositions by Tony Skinner.

Compiled by

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Contents

Page

4 ) lntroduction

6 ) Chords and Scales

I ) Prepared Performances

I ) Ouiet As A Bulldog (CD tracks 2-3)

I O ) Firecracker (CD tracks 4-5)

I I ) The Jaguar (CD tracks 6-71

l2 ) Jump The Barrier {CD tracks 8-9)

l3 ) Armour Plated 1CO tracks tO-t t)

l4 ) Missing ln Action (CD tracks t}-t3l

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lntroductionThis book is the first in a progressive series of ten handbooks designed for rockguitarists who wish to develop their playing and obtain a qualification. Althoughthe primary intention of these handbooks is to prepare candidates for the RegisiryOf Guitar Tutors (RGT) rock guitar exams, the series provides a comprefrensiv-estructure that will help develop the abilities of any guitarist interested in rock music,whether or not intending to take an exam.

Those preparing for an exam should use this handbook in conjunction with theSyllabus for Rock Guitar Playing and the Rock Guitar Exam Information Booklet -both freely downloadable from the RGT website: www.RGT.org

Exam Outline

For the lnitial Stage exam, candidates are required to perform T\VO pieces of music.This book provides the notation for six specially-composed rock guitar pieces; thepieces are divided into two groups - Group A and Group B - and candidates shouldchoose one piece from each groap to perform in the exam. The pieces should beperformed along to the backing tracks provided on the accompanying CD. The CDalso includes a demonstration track of each piece for candidates to listen to andpractise with prior to the exam.

A maximum of 5O marks may be achieved for the performance of each piece. To passthe exam candidates need a total of 65 marks. Candidates achieving 75 marks willbe awarded a Merit certificate, or a Distinction certificate for 85 marks or above.

Exam Entry

An exam entry form is provided at the rear of this handbook. This is the only validentry form for the RGT rock guitar playing exams.

Please note that if the entry form is detached and lost, it will not be replaced underany circumstances and the candidate will be required to obtain a replacementhandbook to obtain another entry form.

The entry form includes a unique entry code to enable online entry via the RGTwebs i te vrrurw. RGT. org

Tuning

The CD provided with this handbook includes a tunin g guide on Track I forcandidates to use to practise tuning by ear.

For exam Purposes guitars should be tuned to Standard Concert pitch (A=44OHzl.The use of an electronic tuner or other tuning aid is permitted. The examiner will notassist with tuning.

Notation'-

Within this handbooK three formats of notation are used: traditional notation,tablature and fretboxes - thereby ensuring that there is no doubt as to how to playthe musical requirements. Each of these methods of notation is explained below.

Traditional Notation: Each line, and space between lines, represents a differentnote. Leger lines are used to extend the stave. For scales, string and fret numbersare printed below the notation: fret-hand fingering is shown with the numbers I 2 34, with o indicating an open string; string numbers are shown in a circle.

This example shows aoneoctave A naturalminor scale.

Tablature: Horizontal lines represent the strings (with the top line being the high Estring). The numbers on the string lines refer to the frets. O on a line means play thatstring open (unfretted).EBGDAE

Fretboxes: Vertical lines represent the strings - with the line furthest to the rightrepresenting the high E string. Horizontal lines represent the frets. The numbers onthe lines show the recommended fingering. I represents the index finger, 2 = thelong middle finget, 3 = the ring finger, 4 = the little finger. The example belowmeans play with the second finger at the second fret on the G string.

EADGBElf a 0 aPPears above a string line, this indicates that the open string should beplayed.

lf, in a chord fretbo><, an X appears above a string line, this indicates that thisstring should not be played.

Fingering Options

The fret-hand fingerings that have been provided for chords and scales are thosethat are most likely to be effective for the widest range of players at this level.However, there are a variety of alternative fingerings that could be used, and anysystematic and effective fingerings that produce a good musical result will beacceptable; there is no requirement to use the exact fingerings shown within thishandbook. ln addition, it should be noted that the optimal fingering for playing ascale might not always be the most effective fingering for playing a performancepiece that is based on that scale; when playing the performance pieces some notesmight be more easily fretted with a fingering other than that which would be mosteffective ifjust playing the scale.

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This example means play at the second fret on the third string.

Chords andscalesCandidates will need to be fully familiar with the chords and scales listed below inorder to be properly prepared for performing the set pieces in the exam, as thepieces have been specially composed to incorporate these chords and scales.

Chords

Here is the range of chords that are included in the exam pieces.

o Minor chords: Am Emo Fifth (power) chords: A5 E5. Major chords: G D

Am - A minor Em - E minor

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A5 - A ftfth (power chord) E5 - E fifth (power chord)

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G - G major* D - D major

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Scales

Here are the scales that are utilised in the exam performance pieces.

A natural minor scale - I octaveABCDEFGA

E pentatonic minor scale - I octaveEGABDE

*To enableyoung players, especially those with small handt to copewith the physical challenge of playing a G major chord, thesimplified four-string version of the chord as shown above(technically named G/Dl is utilised within the pieces set for thisexam level. For reference only, notation showing the standard fullversion of the open position G major chord is also provided.

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33

Prepared PerformancesCandidates should choose and perform T\il/O of the pieces from this chapter - onefrom Group Aand one from Group B.

The melody lines and riffs in the Group A pieces are all based on the A natural minorscale, whereas those in the Group B pieces are based on the E pentatonic minorscale. All pieces also incorporate some of the chords listed in the previous chapter.Therefore, regular practice of all the scales and chords listed for the grade willundoubtedly aid the learning and performance of the pieces, and so it is highlyrecommended that candidates acquire a thorough working knowledge of theappropriate scales and chords prior to attempting to play the pieces.

The CD that accompanies this book includes a backing track for each piece for thecandidate to practise playing along to. There is no need to bring the CD to the exam,as the examiner will provide the necessary backing tracks during the exam.The CD also features each track being performed in full for demonstration purposesand as an aid to learning.

Exam format

Candidates'performances should be accurate reproductions of the pieces as notatedin this book. Alternative fingerings and playing positions can be adopted ifpreferred, provided the overall musical result is not altered from the recordedversion.

Performances do not need to be from memory; candidates should remember to bringtheir handbook to the exam should they wish to refer to the notation.

Prior to the performances commencing, candidates will be allowed a brief'soundcheck'so that they can choose their sound and volume level. Candidates donot need to emulate the guitar sound used on the demonstration recording;candidates can use either a clean or a distorted guitar sound for their performance ofthe pieces, and can bring their own distortion or other effects units to the examprouiding that they can set them up prompily and unaided.

ln order to achieve a high mark in the exam, performances should be fully accurateand confidently presented. Timing, clarity and technical control shoutd be securethroughout.

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