Guitar Playing

Acoustic Guitar Playing

Compiled and edited by

Tony Skinner and Laurence Harwood for
CONTENTS Page
Introduction 4
Fingerboard I<nowledge 5
• Chords 5
• Scales 8
• Arpeggios 10
Performance Section 11
• The Coast Road 13
• Acoustic Fuel 17
• I Dare You 20
• The Derry Hornpipe 24
Musical I<nowledge 27
Accompaniment 28
Aural Assessment 31
Examination Entry Form 35

CD LISTING Track
Thning Guide ~ 1
The Coast Road \ 2
Acoustic Fuel 3
ID~eThu 4
The Derry Hornpipe 5
Accompaniment Example 1 6
Accompaniment Example 2 7
Accompaniment Example 3 8
Aural Assessment - Rhythm Test Example 1 9
Aural Assessment - Rhythm Test Example 2 10
Aural Assessment - Rhythm Test Example 3 11
Aural Assessment - Rhythm Test Example 4 l2
Aural Assessment - Rhythm Test Example 5 13
Aural Assessment- Pitch Test Example 1 14
Aural Assessment - Pitch Test Example 2 15
Aural Assessment - H~ony Test Examples 16
 INTRODUCTION

Ti
s publication is part of a progressive series of ten handbooks, primarily
tended for candidates considering taking a Registry Of Guitar Tutors
(RGT) examination in acoustic guitar playing. However, given each
handbook's wide content of musical repertoire and associated educational material,
the series provides a solid foundation of musical education for any acoustic guitar
student- whether intending to take an examination or not.
Those preparing for an examination should use this handbook in conjunction with
the Acoustic Guitar Exam Information Booklet and Acoustic Guitar Syllabus- both
freely downloadable from the RGT website: www.RGT.org

-
CD
A CD is supp lied with this handbook as a learning aid and the recorded
performances are designed specifically to provide an indication of the standard of
playing expected at this grade.
FINGERING OPTIONS
The fingerings (including tablature positions) that have been used in this handbook
are those that are most likely to be effective for the widest range of players at this
level. However, there is a variety of alternative fingerings that could be used, and
any systematic and effective fingerings that produce a good musical result will be
acceptable; there is no requirement to use the exact fingerings shoWiil within this
handbook. Throughout the examination, it is entirely the candidate's choice as to
whether a pick (plectrum) or fingers are used to pick the strings. A thumbpick can
be used if desired.

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The use of an electronic tuner or other tuning aid, prior to or at the start of the
examination, is permitted; candidates should be able to make any further
adjustments, if required during the examination, unaided. The examiner will, upon
request, offer an E or A note to tune to.
For examination purposes guitars should be tuned to Standard Concert Pitch
(A=440Hz) . A tuning guide is provided on the accompanying CD on Track 1.
EXAMINATION ENTRY
An examination entry form is provided at the back of this handbook. This is the only
valid entry form for the RGT acoustic guitar examinations.
Please note that if the entry form is detached and lost, it will not be replaced under any
circumstances and the candidate will be required to obtain a replacement handbook
to obtain another entry form.
The entry form includes a unique entry code to enable you to enter online via the
RGT website www.RGT.org

.
 FINGERBOARD
KNOWLEDGE
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Ti
e examiner will choose a selection of the chords, scales and arpeggios listed
n this chapter and ask the candidate to play them from memory.
Candidates can use fingers or a pick (plectrum). The examiner will be
listening for accurate, clear, fluent and even playing. Prompt presentations,
without undue delay or hesitation, will be taken as an indication of secure
knowledge.
A maximum of 10 marks may be awarded in this section of the examination.

CHORDS
At this grade, candidates should be able to play:
• major chords, with any root note, in four different fingerboard positions.
• minor chords, with any root note, in three different fingerboard positions.
• the following minor chords in 1st and 2nd inversion: Am, Dm and Em.
Chords should be played using a single slow strum, starting with the lowest note. The
whole chord shape should be carefully placed on the fingerboard before, and kept on
during, playing. A string which should not be sounded when playing a chord is
marked withanXbythefretbox. · \

In this handbook, transpositional chord shapes that can be moved up or down the
fingerboard are used for the multi-position chords. The table below lists the fret position
needed to produce chords at different pitches.

l ~}¥st finger on fret number 1 2 3 4 5 6 7 8 9 10 ~

Chords with root onE string F F ~/ G b G G#!Ab A A#/Bb B c C#/Db D D# / Eb E
Chords with root on A string A~/Bb B c CV D b D D '-! Eb E F F#/ Gb G G# / Ab A
Chords with root on D string D V Eb E F FVGb G GVAb A A~/Bb B c C# / Db D
Major chords in 4 different fingerboard positions

All the chord shapes below are transpositional and can be moved along the
fingerboard to another pitch without the need to change fingering. The chord shapes
candidates will need to use will depend upon the pitch requested by the examiner.

Below are five transpositional chord shapes illustrated in F major. Candidates should
be able to decide which four of these shapes are in accessible fingerboard -positions
for the pitch requested; an open position chord (or other alternative chord shape) can
be used in place of one of the transpositional shapes when appropriate.

F F F
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F (root onE string)
For ease of playing and clarity, it is common
practice to mute the 5th string when
playing this chord shape. Either version will
be acceptable in the examination.

Minor chords in 3 different fretboard positions

All the chord shapes illustra ted are transpositional and can be moved along the
fingerboard to another pitch without the need to change fingering.lf preferred,
an open position chord can be used in place of one of the transpositional shapes
to facilitate playing all three chords in accessible fingerboard positions. The chord
shapes you will need to use will depend upon the pitch requested by the
examiner. Examples are illustrated overleaf in F minor and minor, all using m
transpositional shapes.
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Minor chords in lst and 2nd inversions

An inversion occurs when a chord is re-fingered so that one of the notes other than
the root note becomes the lowest note. 1st inversion is when the major third of the
chord becomes the bass note, 2nd inversion is when the fifth becomes the bass
note. Inversions are also commonly referred to as' slash' chords because of the way
the chord symbols are written.
~
AmiC Am IE Dm/F . \ DmiA
X 0 00 0 XX xoo
1 1
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000 X 000
Candidates are free to use alternative
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positions to the examples illustrated in
this handbook.

E minor (1st Inversion) E minor (2nd Inversion)

The requirements for Grade Eight are:
• One octave major scale in five fingerboard positions in any accessible key
• One octave C major scale harmonised in 3rds
• One octave C major scale harmonised in 6ths
• One octave G major scale harmonised in 10ths
One octave major scale shapes are shown with starting notes of both A and E in five fingerboard
positions. Candidates should be able to select the shapes best suited to the key they are asked to play
in; these may be any combination of the illustrated scale shapes (or other suitable shapes, including
open position), providing they are all played at the same octave. Candidates will not be asked to
play in keys that would necessitate fingerboard positions that are inaccessible for their particular
instrument.
Scales should be played ascending and descending, i.e. from the lowest note to the highest and back
again without repeating, or pausing at, the top note. Non-harmonised scales should be played at an
approximate tempo of 160 beats per minute, with two notes being played for each beat. Harmonised
scales should be played at an approximate tempo of 66 beats per minute, with two notes being
played for each beat.
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ARPEGGIOS
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At this grade candidates should be able to play a two octave dominant seventh
arpeggio at any pitch.
The arpeggio is illustrated below with a root note of A and is notated with a
transpositional finger pattern, so the shape can be moved up or down the
fingerboard to a new pitch without the need for a change of fingering. Candidates
will not be asked to play at pitches that would necessitate fingerboard positions that
are inaccessible for their particular instrument.
Arpeggios should be played ascending and descending, i.e. from the lowest note to
the highest and back again without repeating, or pausing at, the top note. Arpeggios
should be played at an approximate tempo of 120 beats per minute, with two notes
being played for each beat.

A dominant seventh arpeggio - 2 octaves

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 PERFORMANCE

C
andidates should perform a total of TWO pieces, demonstrating some
variety in musical style and a range of technical ability. At least ONE of the
pieces should be chosen from the four notated in this handbook (see pages
13-26). However, instead of playing a second piece from this handbook, candidates
can, if they prefer, select either:
• ONE piece chosen from the 'List of suggested alternative pieces' for the grade
(listed on the RGTwebsite- www.RGT.org) or
• ONE 'free choice' piece (self-composed or otherwise) providing it is of at least
similar standard.
Wherever possible, candidates should bring the notation of any free choice pieces,
in standard ;,_otation or tablature, to the exam for the examiner to view. Although
not mandatory, the free choice may be a piece using altered tuning or specialist
styles of guitar playing such as slide guitar.
Candidates are allowed to interpret all solo pieces in their own style, rather than
sticking rigidly to the arrangement shown in the notation, providing that the
technical level is not simplified.

A maximum of 50 marks may be awarded in this section- each piece has a maximum of
~marb. \
In order to obtain a high mark in the exam, the performances should demonstrate a high
level of technical accomplishment, with an appropriate level of accuracy, fluency, clarity,
articulation and dynamic range. The degree of musicality will be equally important and
the playing should demonstrate a mature sense of musical style with an ability to take
charge of expressive elements in the music. The performances should be confident and
assured, and should communicate a sense of individual interpretative skill, with a clear
ability to engage the listener fully in the performance.
• Tempo markings have been chosen that reflect the capabilities expected at this level, but
are for general guidance only: faster, or slightly slower, tempos can be used providing
they produce an effective musical result.
• There is a variety of finger positions that could be used and any systematic and effective
fingerings that produce a good musical result will be acceptable.
• The CD recordings are provided purely as aural guides to the pieces and are therefore
performed with only minimal interpretation; candidates are encouraged to develop their
own interpretation of the pieces.
PERFORMANCE NOTES

The Coast Road

This 2004 piece is by the British acoustic guitarist Stuart Ryan and is an arrangement
of the title track of his album The Coast Road. It is notated here in the key of E major.
l
The piece is in three distinct sections: the opening reflective section in up to bar 15,
followed by a slightly faster section in ~up to bar 40, which is followed by a much
4.
faster reel-like second section in Hammer-ons and pull-offs are used in many
places to aid fluency. The first two sections can be performed with plenty of rubato to
capture the feel of the music (the CD recording is deliberately performed' straight' to
encourage individual interpretation).

Acoustic Fuel
This rock-influenced piece is from British guitarist Chaz Hart's 2001 Hartbeat album.
It uses a dropped D tuning (i.e. the 6th string is tuned a wholetone down to D). The
low bass string is then played repeatedly to create a pedal-tone effect against which
the highe~ notes or chords move to create harmonic variety. The piece relies on the use
of dynamic variety to help generate a sense of excitement.

I Dare You
This 2007 piece by guitar educator Tony Skinner has been composed to encourage
students to develop fluency in' rolling' fingerpicking- i.e. picking across the strings in
a fast arppegiated style (e.g. in bars 8 and 12, and particularly in bars 28-32) . The
piece uses DADGAD tuning (the 6th, 2nd and 1st strings are tuned down a
wholetone) which allows chords with many open strings to be used and thereby
facilitates the use of the fast rolling technique. The piece has been recorded on the
accompanying CD at the minimum tempo expected for the grade, but candidates
should feel free to attempt it as fast as they dare!

The Derry Hornmve

This is a traditional Irish hornpipe, arranged here as a flatpicking piece designed to be
played with a plectrum. In line with common practice for this genre, the melody has
been notated in' straight eights' for ease of reading, but it is expected that the reader
will adapt and interpret the rhythm in the style of a traditionalirishhompipe-i.e. with
a jaunty rhythm somewhere between
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The CD recording provides an example of how this can be played, but any
appropriate rhythmic interpretation will be acceptable in the exam. Although the
4
music is notated in time, there should be a strong feel of two-per-bar to capture the
natural pulse of this style.
The Coast Road (Stuart Ryanl

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Acoustic Fuel (Chaz Hart)
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The Dero:: Horn11ipe (Traditional)

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This arrangement by Laurence Harwood© Copyrigh t 2007 by Registry Publications.
 MUSICAL KNOWLEDGE
-- MH#i-
JMlli& 42- § ~... -f 15

T
his section of the exam consists of a discussion between the examiner and
the candidate, allowing the candidate an opportunity to display their broad
knowledge of acoustic guitar playing.
The primary focus of the discussion will be on the pieces played in the
'Performance' section of the exam, but may extend to wider related topics. The
examiner may ask about matters such as:
• the candidate's reasons for choosing the pieces that were performed in the exam
• basic background information about the pieces (period, composer) and the
wider acoustic guitar repertoire
• the styles of the pieces performed and how they contrast with other styles and
pieces
• the candidate's approach to interpreting the pieces performed
• the content of the pieces performed, including any harmonic, rhythmic or
melodic features, the key and time signature, any repeat signs, dynamic
markings or other signs that appear in the music
• the technical and musical challenges involved in performing the pieces,
including any problems that were encountered when preparing the pieces and
how these were overcome }
• a critical self-evaluation of the candidate's performance, including aspec~ which
went well and an awareness of aspects which could have been improved
• knowledge of use of the capo and transposition
• knowledge of common altered tunings
The candidate is expected to undertake sufficient research in order to be fully
prepared to discuss any of the topics listed above. The examiner will be looking for
evidence of careful preparation and a thorough understanding of the repertoire
performed, as well as a widening musical and stylistic awareness.
A maximum of ten marks may be awarded in this section of the examination.
In order to gain the highest marks, responses in the discussion should be
authoritative, knowledgeable, and well-communicated, employing appropriate
musical and technical terminology when necessary.
I
n this section of the exam, the candidate should play a chordal
accompaniment while the examiner plays an eight-bar melody (either live on
guitar or keyboard, or via a recording).
• The candidate will be shown a chord chart for the melody. The examiner will
then give a one bar count-in and play the melody once for the candidate to
listen to without playing along.
• The examiner will then give another one bar count-in and the melody will be
played a further three times without stopping. The candidate can accompany
the first of these three verses if they wish to, but only the accompaniment of the
second and third verses will be assessed.
The range of chords will be restricted to the chords required for this and previous
grades. Candidates who are unsure of the chords set for previous grades should
refer to the earlier handbooks in this series.
Some bars will be' split bars' containing two chords. Diagonal lines are used to
indicate the division of the bar: the chord symbol representing one beat and each
diagonal line representing another beat.
The final chord (after the repeat) should be played with a single strum.
The time signature will be either~, 1, or~.
The style of the accompaniment is left to the candidate's discretion, and the
candidate can chose to either strum or fingerpick. The CD recording that comes
with this book provides an indication of the technical level that would be
expected at this grade- only the two assessed verses are provided for each
example. It is NOT intended that candidates copy the style of accompaniments
performed on the CD recording- these are provided purely as examples of the
standard required- and candidates are strongly encouraged to devise their own
rhythmic/picking styles; these should always relate to the style and timing of the
melody played by the examiner.
The melody notation played by the examiner will not be seen by the candidate .

.•
 ACCOMPANUMENTADVICE
A maximum of 20 marks may be awarded in this section of the exam.
In order to achieve the most musical performance and obtain a high mark in the exam you should
aim for the following when performing your accompaniment:
• Remember that the very first time the examiner plays the melody, you have the chance to listen to
itwithoutneeding to play along. Use this opportunity to listen carefully and try to absorb the style,
melodic shape and structure of the melody.
• In the first verse of the three continuous playings your playing will not be assessed, so you can best
use this time by reading through the chord chart and just strumming once each chord so that the
timing becomes clearly fixed in your mind.
• In the remaining two verses use an appropriate rhythm or picking style that suits the mood, style
and timing of the melody.
• The performance should be confident and assured, and should demonstrate a high level of
technical ability.
• Keep listening to the melody while playing your accompaniment and make sure to keep in time
with it. Change smoothly from one chord to another, whilst making sure your chords ring clear
and avoiding excessive fingerboard movement.
• Demonstrate evidence of your musicality by including some appropriate variations. Be creative in
your approach and demonstrate expressiveness, and a mature sense of musical style.

Three examples of the type of test that will occur are given on the following pages.
Note that each of the Accompaniment Examples is provided only as a sample of
the type of melody and chord symbols that may occur in the exam.

Accompaniment Example 1 ccn track 62

Chord chart

liii=B~ / Gm/ I Cm I E~/ F / I B~

I Dm/E~F ICm I E~/FCml B~ =liB~ II

Melody
j = 126
......._
-' fl I
- .~ ......._ 1"""'1 I

'- - I r I u
... . 3-3-3-l- 3 r-1- 1 4-4-
l
4- l- r-3-4
l l - l - 3-5
4- 4 4-4-3-l
3- 3
A
~
. 3
l
"'"'
Accompaniment Example 2 (CD track 72
Chord chart

lgii=G / / G 1B / / 1Am1c/ /Am//l D/ / D 1A //I

I Em 1B//Em //IC / / C 1G //lAm// Am 1E//I
ID / / DIF~ / /I G / / D7 / / =II G II
Melody
J= 60
fl f+
.. l I
. . I
. ~

. .
f) .. - •
n

1 1 1-1-l
2-2-2
1-l r--3-l .
lA
I ...
. D--2 2 - D-4
2 v
4- 4
v
4-2 v •
I'""

Accompaniment Example 3 ccD track 82

Chord chart

1211= A IF#m7 1Bm7 E

ID E D IC#m IBm C#m D E7 I =II A II

Melody
j = 104
fl f+ !I I ~ I I . ~ 0• ?.

~ I

... • 2
2
v
2 3- 2 n
3
G---2- r D - D - 2- 4 -5-r-4 5

A 2 2
....
....
 AURAL ASSESSMENT
rm ··r 1 m ·~ rEI~~~

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

T The examiner will play these either on guitar or keyboard (live or via a
recording). Examples of the tests are provided below; these are also provided on the
accompanying CD .A maximum of 10 marks may be awarded in total during this section
of the examination.

--
RHYTHM TESTS
.
Test A - l(eeping time
-
The examiner will twice play a 4-bar melody in ~, l, 4,
~ or 1 time. During the g
second playing the candidate should clap or tap the main pulse (this means 2 beats for ~;
g),
4 beats for 1 accenting the first beat of each bar. The note values will not be shorter
than sixteenili notes (semi quavers) and may include dotted notes, triplets, ties and
syncopation. The melody may start with one or more pick-up notes. The final bar will be
a full bar.
Below is an example of the style of test in each of the time signatures, with the correct
pulse that the candidate should clap shown between the treble clef and the tablature
notation.

Test B - Recognising the time signature

The candidate should identify, without a further hearing, the time signatur~ of the melody
. . 2 3 4 6 12 '·
f rom Test A b y nammg It as 4 , 4, 4, 8 or 8.

Test C - Repeating a rhythm

The examiner will play an extract from TestA twice, as marked in the examples. The
candidate should reproduce the exact rhythm (not just the pulse) by clapping or tapping.

Example 1 (CD track 9)

ll~-r.

t)
• • • _I

'--=
Teste
- I

3 3
2> ,> ,> ,>
II
II
4I I 'I I ,r I ,r I
II
II

...
w
T

~~
't
I

c....
""""-= 3 3
-.......::
Example 2 (CD track 10)
r'),j.t ~ !""'"'-,
- - - - - - - Test C - - - - - - - - - - ,
1:': .
@.) ~ - - .,. I,.....J • ... 7
II
II
3 ! > > > >
,.
II
4 [ r r r [ r [ [ r f [ f
....
=--:::
A
....
ti
2
)<
~

-
.,.
1./
-
.,

~.......=
~

- -
A

I
_iE
-"- ~

3
Example 3 (CD track 11)
j r .. Teste 3 I

u - I

II 4 "1 > >

4
r r
II
r r r r r r
-I
J,l
T,
;;: T ~
__...
1-ti ....
.... t
Ll L/
• == 3
f) J

tJ
==-- r ~ ~
> >
_II
II ,.
II

r r f f f r r f
I "'"

A
~· _ . r.__ .,

-D

====
L/
-
I
I
I
I

Example 4 (CD track 12)

f)
-----Test C------.
1,.
• • ... ,..-_ ~!!!!!!!"!

tJ - -
II 12 ~ I> . I>. _j
~
II
I r
f [ f f r r f
...
J,l "R t 'I'
-
....
ti 0

f)
Ll

l
Ll

.• - =
@.)

II
> >
,.
II

r
II

r r r r r r r
I

....
D
1.1 Ll Ll 1.1
Example 5 (CD track 13)

f'JJ,J,

@.)
-
loo...::lo..o.l ~
.-------Test
I

-
C - - - - - - - - - .I

.__.. ... ..
_II_
••
R
M
>.
r r
>

r
-·
r
_I : : .

r
-·
r
I ::.

r r
II
II

.,..
l!
"
,.
~ ft

A X' ., - 1" T "

...
D 0 TT-1-"T T 1"
~

--=- --=- - loo...::lo..o.l

PITCH AND HARMONY TESTS

MAm>?'WM"J 5
W?7? NWW% ¥¥# ¥ 1MW®4 4

Test D - Reproducing a phrase

The candidate will be asked to look away while the examiner twice plays a four-bar
i
phrase in ~, or~ time taken from a major scale in any key. Bars 1 and 3 will be
identical. The examiner will name the scale and play the tonic (key) note. The phrase
may begin on a keynote or on the third or fifth degree of the scale. The candidate
should replicate the phrase on the guitar. If required, the candidate may request to
hear the phrase once more but will then be expected to reproduce the phrase
promptly with no further attempts.
Time values will be limited to quarter notes (crotchets), dotted quarter notes (dotted
crotchets) and eighth notes (quavers).
Below are two examples of the style of test:

\
Example 1 from C major scale (CD track 14)
,;fl • • • !'- ~

~ I I

...
....
":l -"'I' "'
A
.... '*
t:)
'lt
1/ ./ ./ ./
'I'

=±
Example 2 fromAmajor scale (CD track 15)
~f'J.~-~+t • . ~·
- I

~ r I

,..
~

....,
D
l!
.,.,;
0
,.
T T ...
./ ./ ./ 1/ ./ I
Test E - Recognising chord movements
The candidate should look away while the examiner plays a four bar chord sequence in
the key of either C, G or D major. The first three chords will be either I IV V or I V IV.
The final chord will be one of the minor chords in that key (lim, IIIm or VIm). The
examiner will then name the key, and the candidate should identify all of the chords in
the sequence by naming them in the correct order.
Below are all of the chord sequences that may be played in this test. (Roman numerals
are printed for reference only; answers should be given as chord names.) Some examples,
in the key of C major, are provided on CD track 16.

Chord Sequence: I IV V lim Chord Sequence: I V IV lim

IZey: C major IZey: C major
Chords Played: C F G Dm Chords Played: C G F Dm
IZey: G major l(ey: G major
Chords Played: G C D Am Chords Played: G D CAm
l(ey: D major IZey: D major
Chords Played: D G A Em Chords Played: D A G Em

Chord Sequence: I IV V 111m Chord Sequence: I V IV 111m

l(ey: C major l(ey: C major
Chords Played: C F G Em Chords Piayed: C G F Em
l(ey: G major Key: Gmajor
Chords Played: G C D Bm Chords Played: G D C Bm
IZey: D major IZey: D major
Chords Played: D G A F#m Chords Played: D A G F#m

Chord Sequence: I IV V VIm Chord Sequence: I V IV VIm

IZey: C major l(ey: C major
Chords Played: C~ F GAm Chords Played: C G F Am
IZey: G major IZey: G major
Chords Played: G C D Em Chords Played: G D C Em
l(ey: D major IZey: D major
Chords Played: D G A Bm Chords Played: D A G Bm
 Easy To Use
• Written in easy-to-read TAB, as well as traditional notation.
• CD examples are provided so you can 'listen and learn'.
• Designed for both fingerstyle and plectrum players.

Get Qualified
Covers all the material needed for the RGT acoustic guitar
examination, enabling you to study for an internationally
recognised qualification.

Improve Your Playing

Even if you do not
,.., intend to take an exam, this book will help
you achieve your full potential as a guitarist by developing all
aspects of your playing.

ISBN 978-1

Ackerman Music 01293 537900

Rgt: Acoustic Guitar Playing: Grad

111111111111111111111111111111
0000007598296
081fHITR-EXAM £15.99