Modern Guitar Syllabus PDF - AGME Australian Guild of Music

Transcription

25/10/2013 version 01A
AUSTRALIAN GUILD OF MUSIC AND 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
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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.
Page 2
Modern Guitar Examination Syllabus | Australian Guild of Music Education
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
Page 3
INDEX
MODERN GUITAR SYLLABUS.
INDEX.
Page 4
EXAMINATION GUIDE.
Page 5
GRADE EXAMINATIONS.
Preliminary
Grade One.
Grade Two.
Grade Three.
Grade Four.
Grade Five.
Grade Six.
Grade Seven.
Proficiency. (Grade Eight)
Page 16
Page 18
Page 20
Page 22
Page 25
Page 28
Page 31
Page 34
Page 37
DIPLOMA EXAMINATIONS.
Associate.
Licentiate. (Performer)
Licentiate. (Teacher)
Fellowship (Performer)
Page 4
Page 40
Page 43
Page 45
Page 47
EXAMINATION GUIDE
1.
EXERCISES. Preliminary. Grades 1. 2. Candidates only need to select ONE for performance.
*************************************************************
2. Guild Grade Examinations.
" 16.
3.
4.
5.
6.
7
8.
9.
10.
11
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
Supplementary Student Book.
Examination Music.
Guild Examinations.
Own Choice Music.
Memorization.
Performance.
Technical Control.
Additional Devices.
Chord Progressions.
Chords.
Contemporary Chords.
Sight Reading.
Assessment.
Gradings. (Assessment)
Theory Requirements for Practical Examinations.
Scales and Arpeggios.
Recommended Minimum Tempi for Scales and Arpeggios.
Scale requirements for all Grades.
Arpeggio requirements for all Grades.
Chord Requirements for all Pianoforte Examinations.
Description of Contemporary Chord Symbols.
Chord Progressions
05.
06.
06.
06.
06.
06.
06.
06.
07.
07.
07.
07.
07.
08.
08.
08.
09.
09.
11.
12.
13.
14.
*************************************************************
2. GUITAR STEPS TO LICENTIATE – CLASSICAL BOOKS
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 Classical
Guitar, technical exercises and scales can be used for modern guitarists also. 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 Pianoforte 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.
Page 5
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 selfaddressed 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.
Page 6
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 examination 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
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.
Page 7
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
Grade Two Theory
Grade Five Practical
Grade Three Theory
Grade Six Practical
Grade Four Theory
Grade Seven Practical
Grade Five Theory
Proficiency
Grade Six Theory
Associate
Grade Seven Theory
Associate TD.
Grade Seven Theory
In addition.
Teaching Principles
Licentiate P.
Grade Eight Theory
Licentiate TD.
Grade Eight Theory
In addition.
Teaching Principles
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.
Page 8
*
*
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
Bass Guitar
ARPEGGIOS
GRADE ONE.
SCALES
Bass Guitar
ARPEGGIOS
GRADE TWO.
SCALES
Bass Guitar
ARPEGGIOS
Page 9
Major.
C. F. G.
Harmonic Minor
A
Dorian Scale
C
(As for scales)
C. F. G. major & A minor
(Applies to bass and electric guitar)
Major.
C. F. G.
Harmonic Minor
A. D. E.
Melodic Minor
A.
Dorian Scale
G.
Blues Scale
F.
(As for scales)
C. F. G. major (2 octaves) & A. D. E. minor
Major.
D. A.
Harmonic Minor
B. F#.
Melodic Minor
E.
Dorian Scale
D. A.
Blues Scale
Bb.
(As for scales)
One octave.
One octave.
One octave.
One octave.
Two octaves.
One octave.
One octave.
One octave.
One octave.
One octave.
Two octaves.
Two octaves.
Two octaves.
One octaves.
One octave.
Two octaves.
GRADE THREE.
SCALES
Bass Guitar
ARPEGGIOS
GRADE FOUR.
SCALES
Bass Guitar
ARPEGGIOS
GRADE FIVE.
SCALES
Bass Guitar
ARPEGGIOS
GRADE SIX.
SCALES
Bass Guitar
ARPEGGIOS
Electric Guitar
Page 10
Major.
Bb. Eb.
Two octaves.
Harmonic Minor
C. G.
Melodic Minor
C. G.
Chromatic on
F
Dorian Scale
Bb.
Mixolydian Scale
G
(As for scales)
Two octaves.
Two octaves.
Two octaves.
One octave.
One octave.
Two octaves.
Major.
Two octaves.
E. Ab.
Harmonic Minor
F. C#.
Melodic Minor
F. C#.
Chromatic on
G.
Dorian Scale
E.
Blues Scale
F#.
Mixolydian Scale
C.
Pentatonic Scale
C. G.
(As for scales)
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Major.
Two octaves.
B. Db.
Harmonic Minor
Bb. G#.
Melodic Minor
Bb. G#.
Chromatic on
E (Low).
Dorian Scale
B.
Blues Scale
G.
Mixolydian Scale
D.
Pentatonic Scale
D.
(As for scales)
Major.
F#. C#.
Harmonic Minor
Eb. Ab.
Melodic Minor
B. F#.
3rds Major
C. G.
3rds Minor
G.
Chromatic on
C. G.
Blues Scale
D.
Mixolydian Scale
Bb.
Pentatonic Scale
A.
(As for scales)
Demonstrates the use of Pull offs, Hammers and Bending.
Two octaves.
Two octaves.
Three octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Three octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
GRADE SEVEN.
SCALES
Bass Guitar
ARPEGGIOS
Electric Guitar
PROFICIENCY.
SCALES
Major.
Gb. Cb.
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.
Blues Scale
A. Bb. Eb.
Two octaves.
(As for scales)
Two octaves.
(As for grade 6) plus demonstrates a favourite riff pattern, demonstrates the blues and
pentatonic scale discussing the use of the pedal board.
Major.
Bass Guitar
ARPEGGIOS
Electric Guitar
ASSOCIATE
Two octaves.
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.
Blues Scale
E. B. Db. Ab.
Two octaves.
(As for scales)
Two octaves.
To demonstrate the connection relationship of the Modes with the Scales. This also
applies to the Associate Diploma at a more advanced level.
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.
Arpeggios.
Bass Guitar
GRADE ONE.
Arpeggios.
Bass Guitar
GRADE TWO.
Arpeggios.
GRADE THREE.
Arpeggios.
GRADE FOUR.
Arpeggios.
Page 11
Major.
Minor.
Plus
C . F. G.
A.
D7.
Ascending and descending.
One octave.
One octave.
One octave.
Major.
Minor.
Plus
C. C7. F. G.
A. D. E.
F7. G7.
Two octaves.
One octave.
One octave.
Major.
Minor.
D. G. A7. A. E7.
Two octaves.
B. E. F#7. F#. C#7.
Two octaves.
Major.
Minor.
Bb. Eb. F7. Ab. Bb7.
Two octaves.
C. F. G7. G. D7
Two octaves.
Major.
Minor.
E. A. B7. Ab. Db. Eb7
Two octaves.
C#. F#. G#7.
Two octaves.
GRADE FIVE.
Arpeggios.
GRADE SIX.
Arpeggios.
GRADE SEVEN.
Arpeggios.
Diminished 7ths.
Major.
Minor.
B. Eb. F#7. Db. Gb. Ab7.
Two octaves.
G#. C#. D#7.
Two octaves.
Major.
Minor.
F#. B. C#7. Cb. Gb7.
Two octaves.
Eb. Ab. Bb7. Ab. Db. Eb7.
Two ocatves.
Major.
Minor.
In the keys of
C#. F#. G#7. Gb. Cb. Db7.
Two octaves.
D#. G#. A#7. Bb. Eb. F7.
Two octaves.
C. E.
Two octaves.
PROFICIENCY CERTIFICATE.
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.
The Examiner MAY also ask for any of the chords from previous grades as follows: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.
The Examiner MAY also ask for any of the chords from previous grades as follows: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.
Page 12
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.
The Examiner MAY also ask for any of the chords from previous grades as follows: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.
Page 13
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)
b)
c)
d)
e)
1
1
1
1
1
V
1c
1V
V
1V
1
V
1
V1
1
(V – 1) See example No 1.
The cadential 6/4. See example No 2.
(1V – 1)
(V – V1)
(1 – V)
Perfect Cadence.
Perfect Cadence.
Plagal Cadence.
Interrupted Cadence.
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
c) 1
e) 1
1V
11b
V1
V
V
11b
1
V1
V
1V
1b
V
1V
1
1
b)
d)
f)
1
1
1
11b
1V
111b
1c
1b
V1
V
11b
1V
1
1c
11b
V7
V7
1
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.
Page 14
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.
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 EBook from www.Guitar-Music-Theory.com
Advancing Guitarist
Mick Goodrick
Plus many more
*********************************************
Page 15
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.
SCALES. Single notes.
SCALES
Major.
C. F. G.
Bass Guitar
ARPEGGIOS
ARPEGGIOS.
Note grouping optional.
Arpeggios.
Bass Guitar
20 Marks.
Minimum scale tempo. One crotchet = MM 60.
One octave.
Harmonic Minor
A
Dorian Scale
C
(As for scales)
C. F. G. major & A minor
Major.
Minor.
Plus
One octave.
One octave.
One octave.
Minimum arpeggio tempo. One crotchet = MM 48.
C . F. G.
A.
D7.
One octave.
One octave.
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.
Classical Guitar Technique.
Prelude
Etude
Hal Leonard Guitar Method. Book One.
50 Studies for Guitar. Edit. Gonzalez.
OWN CHOICE.
PRELIMINARY EXAMINATION Continued.
Schearer.
No.2.
No.1.
Ex.26,27,28,36,37 or 38.
No. 2 or 3.
Aguado.
15 marks.
Belwin Mills.
Schmid.
Ricordi.
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.
Arr. Murray-Estella. Ashley Pub. Inc.
30 Super Gold for Guitar.
Any ONE.
Edit. C.Cuellar.
Columbia Pic.
OWN CHOICE.
Page 16
LIST C.
20 Marks.
Andantino.
Hal Leonard Guitar Method. Book One.
Mel Bay Grade One Book.
Amazing Grace.
Chord Waltz and Chord Etude. (Both).
Kum-Ba-Ya.
The Builder and Chord Etude. (Both.)
Waltz in C Major.
OWN CHOICE.
Schott.
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.
MB-Castle.
Schott.
SIGHT READING.
A short simple phrase of two bars in the open position, consisting of minims and crotchets.
10 Marks.
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.
Page 17
GRADE ONE EXAMINATION.
EXAMINATION TIME.
TECHNICAL WORK.
From memory.
SCALES. Single notes.
SCALES
Major.
C. F. G.
Bass Guitar
ARPEGGIOS
ARPEGGIOS.
Arpeggios.
Bass Guitar
15 Minutes.
20 Marks.
Two octaves.
Harmonic Minor
A. D. E.
Melodic Minor
A.
Dorian Scale
G.
Blues Scale
F.
(As for scales)
C. F. G. major (2 octaves) & A. D. E. minor
Major.
Minor.
Plus
One octave.
One octave.
One octave.
One octave.
One octave.
C. C7. F. G.
A. D. E.
F7. G7.
Two octaves.
One octave.
One octave.
LIST A. Study. One selection required.
Guitar Method. Grade One.
15 Marks.
Etude.P.40.
or Rondo P.48.
Popular Guitar Course.
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.
OWN CHOICE. Any piece of a standard commensurate with above pieces
Mel Bay-Castle.
Palmer-Hughes.
Aguado. Ricordi.
LIST B.
20 Marks.
segue. See notes beginning this Syllabus.
Any ONE.
Arr.L.Braunling.
Hal Leonard Pub.
Graded Guitar Solos. Vol.1.
Any suitable solo.
MB 93217-Castle.
Any ONE.
Arr.D.Fox.
Allans Music.
World's Favourite Selections for Guitar. Series No.42. Any ONE.
Arr.Ingrasin.
Any ONE.
Edit. C.Cuellar.
Columbia Pic.
Page 18
GRADE ONE EXAMINATION Continued.
LIST C.
20 Marks.
Easy to Play Guitar Solos.
Country Girl.
Got to Have Tenderness.
Green Green Grass of Home.
Mary in The Morning.
Pave Your Way into Tomorrow.
Rhinestone Cowboy.
Let us Have Music for Guitar.
Glen Campbell.
Hansen Press.
C.Smith.
R.Redd.
C.Putman.
M.Lendell.
B.Graham.
L.Weiss.
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.
SIGHT READING.
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.
10 Marks.
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 KNOWLEDGE.
7 Marks.
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.
***********************************************
Page 19
GRADE TWO EXAMINATION.
EXAMINATION TIME.
TECHNICAL WORK.
From memory.
SCALES.
Groups of two notes.
SCALES
Bass Guitar
ARPEGGIOS
ARPEGGIOS.
Arpeggios.
Major.
15 Minutes.
20 Marks.
D. A.
Two octaves.
Harmonic Minor
B. F#.
Melodic Minor
E.
Dorian Scale
D. A.
Blues Scale
Bb.
(As for scales)
Major.
Minor.
Two octaves.
Two octaves.
One octaves.
One octave.
Two octaves.
D. G. A7. A. E7.
B. E. F#7. F#. C#7.
Two octaves.
Two octaves.
LIST A.
15 Marks.
Guitar Method. Book 2. Grade 2
2, 3, 6, 7, 8, 10, 11, 12, OR 14. One only.
Guitar Method. Grade 2.
Plectrum Technic.(P 48).
Guitar Method. Vol.1.
Any one of the following.
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.
Nos.10 to 20.
Any one.
Hal Leonard.
Mel Bay-Castle.
William Leavitt.
Aguado. Ricordi.
LIST B.
20 Marks.
segue. See page 3 or notes beginning this Syllabus.
Any ONE.
Arr.L.Braunling.
Hal Leonard Pub.
Any ONE.
MB 93217-Castle.
Any ONE.
Arr.D.Fox.
Allans Music.
Arr.Ingrasin.
Any ONE.
Edit. C.Cuellar.
Columbia Pic.
Page 20
GRADE TWO EXAMINATION Continued.
LIST C.
By The Time I Get to Phoenix.
Did'nt We.
Little Green Apples.
Try a Little Kindness.
20 Marks.
Glen Campbell.
Hansen Press.
Jimmy Webb.
Jimmy Webb.
B.Russell.
C.Sapaugh.
P.Sterrett. C.Fischer.
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.
SIGHT READING.
10 Marks.
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 KNOWLEDGE.
7 Marks.
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
Page 21
GRADE THREE EXAMINATION.
EXAMINATION TIME.
TECHNICAL WORK.
From memory.
SCALES.
Groups of four notes.
SCALES
Bass Guitar
ARPEGGIOS
ARPEGGIOS.
Arpeggios.
Major.
20 Minutes.
20 Marks.
Bb. Eb.
Two octaves.
Harmonic Minor
C. G.
Melodic Minor
C. G.
Chromatic on
F
Dorian Scale
Bb.
Mixolydian Scale
G
(As for scales)
Major.
Minor.
Two octaves.
Two octaves.
Two octaves.
One octave.
One octave.
Two octaves.
Bb. Eb. F7. Ab. Bb7.
C. F. G7. G. D7
Two octaves.
Two octaves.
LIST A.
15 Marks.
Country Guitar Pickin'.
Any ONE.
Tommy Flint.
Caissons.
Tommy Flint.
William Leavitt.
MB 93309-Castle.
Country Guitar Solos.
MB 93318-Castle.
Melodic Study No 3. (27);
Fifth position study (57);
Fifth Position Study 2.(68);
Melodic Rhythm (92);
Seventh Position Study (96). ANY ONE.
Chord Etudes No 7 (17), No 8 (33), No 9 (77), No 11 (109), No 12 (106).
C Major Triad 77
Rhythm Guitar 79.
50 Studies for Guitar.
Nos. 22 to 50.
Edit. Gonzalez.
Aguado. Ricordi.
Any TWO studies to be played.
Beatles
Yellow Submarine,
Can’t buy me Love
Eleanor Rigby,
Hey Jude (Any one)
Of Dreams & Fantasy a collection of fantastical music for guitar
Comp. or Arr. Duncan Gardiner
The Girl with the Peridot Earring
OWN CHOICE. Any piece that is of a commensurate standard
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 at the beginning of this Syllabus.
Folksy Frolic
Serenade for Susie.
Penthouse Polka.
Page 22
Glen Campbell.
H.Dexter.
H.Dexter.
H.Dexter.
Hansen Press.
GRADE THREE EXAMINATION Continued.
P.Sterrett. C.Fischer.
Popular Guitar Method Book 4.
Palmer-Hughes.
Michael(3) & Rock in F (7) Both;
Joshua (21);
Walk, Don't Run.(29)
Music Sales. Aust.
(They Long to Be) Close to You.
Burt Bacharach.
Didn’t We.
Jim Webb.
Fly Me to the Moon.
Bart Howard.
Slightly Out of Tune.
Jon Hendricks.
We've only Just Begun.
R.Nichols.
Who Can I Turn To.
A.Newly.
You're a Lady.
P.Skellern.
Arr.Ingrasin.
Whispering,
Waiting for the sunrise,
Margie
LIST C.
20 Marks.
Tambourin (Rameau-Bay);
Grandfather's Clock;
Greensleeves;
Come Back To Sorrento;
Cuckoo Waltz;
There is Tavern in the Town;
Valse Lente (Delibes-Bay);
Gold & Silver (Lehar-Bay).
Guitar Method. Book 3.
One of the following.
3 & 4;
Happy Guitarist (6);
Venetian Nights (9);
Souvenirs (13);
Sarabande.(Handel)(42);
Air (Mozart) (21);
Country Life (10);
TURNER & WHITE. Progressive Guitar Method Book 2
Arkansas Traveller
Polish Dance (14);
Silver Threads (16);
Serenade (Schubert) (22);
Poet & Peasant (24);
Adventure in B Flat. (31).
Standard Classics For Guitar. T168.
Hansen-Castle.
Minuet from Don Giovanni;
Minuet in G.(Beethoven);
Five French
BAV & CHRISTIANSEN. Mastering the Guitar 1A
Jazz Breakdown, p.133;
Parson s Farewell, p.88;
Room 124, p.127
Beatles Rock Score,
The Daytripper (guitar 1. no 1st ending)
Page 23
MB 93217-Castle.
Mel Bay-Castle.
Mel Bay MB96620
Wise
GRADE THREE EXAMINATION Continued.
BLACK SABBATH.
Guitar Hero
We Sold Our Souls for Rock and Roll (Main sections. no repeats)
Paranoid
Hal Leonard HL00692200
I Love Rock n Roll
(guitar 1 plus guitar 3 in solo section; no repeats)
No 1 or 3;
Valse Noble.
Schubert.
Minuet (Handel).
Arr.A.Lawrence.
Fentone-Castle.
Any two as one piece
Songs,
Time Pieces.
Cold Play
Trouble,
Yellow,
The Scientist Acoustic,
Clock
SIGHT READING.
10 Marks.
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 KNOWLEDGE.
7 Marks.
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.
***************************************************
Page 24
GRADE FOUR EXAMINATION.
EXAMINATION TIME.
TECHNICAL WORK.
From memory.
SCALES.
SCALES
Bass Guitar
ARPEGGIOS
ARPEGGIOS.
Arpeggios.
Major.
20 Minutes.
20 Marks.
E. Ab.
Two octaves.
Harmonic Minor
F. C#.
Melodic Minor
F. C#.
Chromatic on
G.
Dorian Scale
E.
Blues Scale
F#.
Mixolydian Scale
C.
Pentatonic Scale
C. G.
(As for scales)
Major.
Minor.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
E. A. B7. Ab. Db. Eb7
C#. F#. G#7.
Two octaves.
Two octaves.
LIST A.
15 Marks.
Country Blues Guitar.
Tommy Flint.
MB 93346-Castle.
D Natural Blues
Swamp Water Blues.
Country Guitar Pickin'.
Any ONE.
Tommy Flint.
MB 93309-Castle.
Country Guitar Solos.
Tommy Flint.
MB 93318-Castle.
Battle Hymn of the Republic.
Pinata.
Bury Me Beneath the Willow and Birminghmam Girl.(High 3rd tuning.)
Country Ragtime Guitar.
Tommy Flint.
MB 93364-Castle.
Exercises 1,3,5 & 6. All.
The Entertainer.
William Leavitt.
Melodic Study No.9.P.49 & either 33 or 41 as one work.
Melodic Study No.8.P.18 & either 12 & 13 OR Pages 14 & 15.As One.
Music From the Student Repertoire. G101
J.Mills.
Mus.New Serv.
Study in A.
Page 10.
Carcassi.
BAV & CHRISTIANSEN.
Mastering the Guitar 1A
Mel Bay MB96620
Bransle Double, p.110;
Menuet, p.87;
On the Banks of That Lonely River, p.109
Progressive Studies for Beginners.
Op.31.
F.Sor.
Belwyn Mills.
Nos. 7. 8. 9. 10. 11.
Any TWO studies.
(Kalmus Guitar Series.)
Sarabande and C Minor Etude. Both. Book 3 P.42.
Mel Bay-Castle.
Syncopation Etude P.48 & Etude in C Minor. P.41. Both.
Mel Bay-Castle.
CAT STEVENS
Morning has Broken
Moonshadow.
Scarborough Fair
OWN CHOICE. Any Piece of a commensurate standard with the above
Page 25
GRADE FOUR EXAMINATION Continued.
LIST B. (See under 'Performance' above.)
20 Marks.
notes at the beginning of this Syllabus.
Contemporary Standards for Solo Guitar.
The Rose.
Send in the Clowns.
Intermediate Guitar.
Any suitable one.
Jazz and Popular Songs.
Spanish Harlem
Eleanor Rigby.
10 For Guitar.
Morning Has Broken.
Michael Row the Boat Ashore.
BEATLES
ANY ONE
Yesterday,
With a Little Help from my Friends,
While my Guitar softly Weeps
OWN CHOICE. Any Piece of a commensurate standard with the above
Arr. S.Ayeroff
Warner Pub.
From The Rose Motion Picture.
S.Sondheim.
Gershwin.
Warner Bros-Castle.
Arr.Duarte.
Wise Pub.
Arr.M.Criswick.
LIST C.
20 Marks.
Another 10 for Guitar.
To Wild Rose;
Gavotte. (Gossec) P.10;
Beatles for Jazz Guitar,
The Norwegian Wood
Jazz Guitar Standards
(Chord melody or either)
Bye Bye Blackbird;
Moonlight in Vermont
Fur Elise.
Theme.
Concerto No.1.
Solos for Festival and Fun. (Piano Acc.)
Habanera.
Valse
Theme from 'Swan Lake'.
Concerto Theme. (Elvira Madigan.)
Standard Classics for Guitar.
Prelude in C.
The Hunt - Caprice.
Paganini.
March of the Tin Soldiers.
Time Pieces.
Clock Works
Sonata for a Musical Clock.
Allegretto. (P 6.);
Jig. Any one.
OWN CHOICE. Any piece of a commensurate standard with the above.
Arr.M.Criswick.
F109-Castle.
Wise
Mel Bay/Warner Bros. WMB001
MB 93217-Castle.
Beethoven
Tschaikowsky.
MB 94004-Castle.
Bizet.
from 'Copelia' Delibes;
Tschaikowsky.
Mozart.
Arr.W.Urai.
T168 Hansen-Castle.
Bach;
Tschaikowsky;
Handel & Haydn.
F121-Castle.
Handel.
Handel.
SIGHT READING.
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.
Page 26
F108-Castle.
10 Marks.
GRADE FOUR EXAMINATION Continued.
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 KNOWLEDGE.
7 Marks.
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.)
*******************************************
Page 27
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.
TECHNICAL WORK.
From memory.
SCALES.
SCALES
Bass Guitar
ARPEGGIOS
ARPEGGIOS.
Arpeggios.
Major.
20 Marks.
B. Db.
Two octaves.
Harmonic Minor
Bb. G#.
Melodic Minor
Bb. G#.
Chromatic on
E (Low).
Dorian Scale
B.
Blues Scale
G.
Mixolydian Scale
D.
Pentatonic Scale
D.
(As for scales)
Major.
Minor.
Two octaves.
Two octaves.
Three octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
B. Eb. F#7. Db. Gb. Ab7.
G#. C#. D#7.
Two octaves.
Two octaves.
LIST A.
15 Marks.
Country Blues Guitar.
Tommy Flint.
MB 93346-Castle.
Open E Blues.
Worked Out Blues.
William Leavitt.
Pages 60 and 61; or 70 and 71; or 94 and 95. (2 pages as One.)
Modern Guitar Method. Book 5.
Mel Bay-Castle.
Chord Etude (P.12) and Jeanie as One work OR,
Chord Etude (P.10) and Lonesome Guitar as One work OR,
Beethoven (26) and Page 27 as One.
Guitar Hero
Iron Man
(no verse repeats; include 1st solo; end With chord at DS)
Guitar Hero III
Rock and Roll All Nite
(no repeats; include solo)
Guitar Styles! Jazz ed. M. Stimpson. Oxology
Paul Higg
Oxford
Jam with Hank Marvin Apache; Riders in the Sky (IMP)
Jimi Hendrix
Music From the Student Repertorie. G101
J.Mills.Mus.New Serv.
Study in D.
Page 23.
F.Sor.
Study in B Minor.
Page 24.
F.Sor.
Progressive Studies for Beginners.
Op.31.
F.Sor.
Belwyn Mills.
Nos. 20. 21 or 22.
Kalmus Guitar Series. 4255.
20 Guitar Preludes
A.Viola.
MB 94032-Castle.
Moderato No 4. & Allegretto No 5. (Both as One.)
Hush
Irish Melody
OWN CHOICE. Any piece of a commensurate standard with the above
Page 28
GRADE FIVE EXAMINATION Continued.
LIST B.
20 Marks.
page 3 or notes beginning this Syllabus.
Arr. S Ayeroff.
Warner Pub.
Chariots of Fire.
Vangelis.
Stairway to Heaven.
J.Page & R.Plant.
Spanish Eyes.
B.Kaempfert.
The Rose.
A.McBroom.
Guitar Series.
Jerry Snyder.
Folk World.
Maple Leaf Rag.
The Easy Winners.
The Entertainer. Any ONE.
Any suitable one.
Gershwin.
Warner Bros-Castle.
Arr.Duarte.
Wise Pub.
Stardust
Days of Wine and Roses.
Memory. Theme from 'Cats'.
L.Webber.
Chappell.
CHET ATKINS
St Louis Blues,
Struttin,
Whispering,
Yankee Doodle Dixie (any one)
OWN CHOICE. Any piece that is of a commensurate standard with the above
LIST C.
20 Marks.
Graded Guitar Solos.
MB 93217-Castle.
The American Patrol.
Meacham-Bay.
Selected Guitar Solos. Vol.1.
Grieg.
MB 93319-Castle.
Theme from Concerto in A Minor.
Bye Bye Blackbird;
Moonlight in Vermont
Minuet in G.
Bach.
Waltz. Any One.
Brahms.
Play Guitar with Metallica
Nothing Else Matters ( Fingerpicked intro. end at bar 42)
Wise
Solos for Festival and Fun. (With Piano Accomp.)
MB 94004-Castle.
Prelude to Act 1 from Carmen.
Bizet.
Air in G.
Bach.
Where'er You Walk.
Handel.
Standard Classics For Guitar.
T168 Hansen-Castle.
Nina.(Tre Giorni.)
Pergolesi-Ciampi.
2nd Movement from Sonatina
C. Kuhlau.
Minuet from Don Giovani.
Mozart. Arr. W.Urai.
OWN CHOICE. Any song commensurate with the above pieces.
SIGHT READING.
10 Marks.
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.
Page 29
GRADE FIVE EXAMINATION Continued.
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 KNOWLEDGE.
7 Marks.
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.
**********************************************
Page 30
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.
TECHNICAL WORK.
From memory.
SCALES.
SCALES
Bass Guitar
ARPEGGIOS
Electric Guitar
ARPEGGIOS.
Arpeggios.
Major.
16 Marks.
F#. C#.
Two octaves.
Harmonic Minor
Eb. Ab.
Melodic Minor
B. F#.
3rds Major
C. G.
3rds Minor
G.
Chromatic on
C. G.
Blues Scale
D.
Mixolydian Scale
Bb.
Pentatonic Scale A.
Two octaves.
(As for scales)
Demonstrates the use of Pull offs, Hammers and Bending.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Three octaves.
Two octaves.
Two octaves.
Major.
Minor.
Two octaves.
F#. B. C#7. Cb. Gb7.
Eb. Ab. Bb7. Ab. Db. Eb7.
Two octaves.
Two octaves.
PERFORMANCE. Four pieces are required. Lists A. B. C. D.
LIST A.
16 Marks.
12th Street Rag
Standard four section arrangement
Mel Bay-Castle.
Etude in A Flat Page 31 & Waltz in A Flat. Both as One.
Study in A Major. Page 34 Valse. Page 35. Both as One.
Mel Bay-Castle.
Etude in B Major.(8) & Chico (11). Both as One.
24th Caprice. Page 26 & 27. As One.
William Leavitt,
Study No 11 & Pages 114, 115, 116. As One.
Pages 133, 134 & 135. As One work.
Progressive Studies for Beginners. Op.31.
F.Sor.
Belwyn Mills.
Nos. 14. 16 or 19.
Kalmus Guitar Series. 4255.
Complete Joe Pass for Guitar Some of These Days (1st guitar)
Mel Bay MB99311
Django Reinhardt Anthology Blues, pp.57-59;
HCQ Strut
ERQUIAGA,
S. Guitar Duets El Nino (1st guitar)
Advance Music AM10001
Pop Funk Progression in G Major (include repeat);
Rock Funk Progression in E Minor (no repeat);
Blues Funk Progression in D Blues (include repeat);
Hip Hop I Electro-Dance Study in A Minor (no repeat)
(Modern Guitar Tuition Online: www.modernguitartutiononline.com)
Page 31
GRADE SIX EXAMINATION Continued.
Ballad
Hope
OWN CHOICE. Any piece that is of commensurate standard with the above pieces.
LIST B.
16 Marks.
page 3 or notes beginning 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.
Best in Contemporary Standards for Solo Guitar.
S.Ayeroff.
Castle.
Sailing; Chariots of Fire; Spanish Eyes;
Desperado; Can You Read My Mind? Any One.
Kansas City March Basic three part arrangement with all repeats
Great Movie Themes for Classical Guitar.
Arr.Phillips.
Warner-Castle.
Love Theme from Superman 111.
Goodbye Girl.
The Thorn Birds Theme.
Warner Bros.-Castle.
Delishious;
Lorelei;
Clap Yo'Hands;
S'Wonderful. Any One.
Jazz Guitar Solos. Any Suitable One.
J.Pass.
Gwyn-Castle.
Popular Songs for Classical Guitar.
Abril.
Hansen-Castle.
Alley Cat;
Hava Nagila;
Jamaica Farewell;
Somethin' Stupid.
GALBRAITH, B. Play Along with Bach* Guitar 1 or either no. 5, 6 or 8
Aebersold
IHDE, M. Classic Rock Guitar Styles*
Funky Chicken Picken
Idhe: www.mikeidhe.com
*Previously published as Rock Guitar Styles (Berklee).
IHDE, M. Country Guitar Styles Bluegrass High; Country Swinger
W.Leavitt, Idhe: www.mikeidhe.com
Classical Studies for Pick Style
Guitar Invention no. 2, 8 or 13 Bach
Berklee
Modern Guitar Chord Styles, Vol. 3
Choose any two of the pieces on (pp 36 39):
Chet Atkins
(Any one)
Zorba the Greek,
No Particular Place to go,
Johnny B Goode
OWN CHOICE. Any piece that is of a commensurate standard with the above pieces.
LIST C.
16 Marks.
Amaryllis. Page 38.
Selected Guitar Solos. Vol.1.
Liebestraume.
Choral Theme.
Dancers of Taranto.
Meditation.
10 For Guitar.
Dark Eyes;
Santa Lucia;
Amazing Grace. Any One.
Page 32
The Secret.
Gautier-Bay.
MB 93217-Castle.
Mel Bay-Castle.
MB 93319-Castle.
Arr.R.Bell.
Liszt.
Arr.R.Bell.
Beethoven.
Arr.R.Bell.
E.Smith.
Arr.R.Bell.
Masenet,
Arr.M.Criswick.
F108-Castle.
GRADE SIX EXAMINATION Continued.
Barry Galbraith Guitar Solos, Volume 1
Darn That Dream;
My Funny Valentine
Our Love is Here to Stay
Beatles for Jazz Guitar,
The Michelle;
Yesterday
GALBRAITH, B. Guitar
Comping Blues in F;
Minor Blues
Honeysuckle Rose;
Satin Doll
OWN CHOICE.
. Any song commensurate with the above pieces
Mel Bay MB99902BCD
MB20248BCD
Wise
Aebersold
Mel Bay & Warner Bros. WMB001
LIST D.
16 Marks.
Another 10 For Guitar.
Autumn from The Four Seasons.
The Easy Winners. Ragtime Two Step.
Spartacus.
Plaisir D'Amour. Any One.
Ain't Misbehavin.
The Girl Next Door.
(They Long to Be) Close to You.
Don't Get Around Much Anymore.
The Girl from Ipanema.
The Deer Hunter.
OWN CHOICE. Any song commensurate with the above pieces
Arr.M.Criswisk.
Vivaldi.
Arr.Duarte.
Stanley Myers.
F109-Castle.
Wise Pub.
Castle Music.
SIGHT READING.
7 Marks.
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).
GENERAL KNOWLEDGE.
6 Marks.
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.
*******************************************
Page 33
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.
TECHNICAL WORK.
From memory.
SCALES.
SCALES
Bass Guitar
ARPEGGIOS
Electric Guitar
ARPEGGIOS.
Arpeggios.
Diminished 7ths.
Major.
16 Marks.
Minimum scale tempo. One crotchet = MM 96
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.
Blues Scale
A. Bb. Eb.
Two octaves.
(As for scales)
Two octaves.
(As for grade 6) plus demonstrates a favourite riff pattern, demonstrates the blues and
pentatonic scale discussing the use of the pedal board.
Major.
Minor.
In the keys of
Minimum arpeggio tempo. One crotchet = MM 96
C#. F#. G#7. Gb. Cb. Db7.
D#. G#. A#7. Bb. Eb. F7.
C. E.
Two octaves.
Two octaves.
Two octaves.
LIST A.
16 Marks.
Charupakorn: The Best of Django Reinhardt
Minor Swing (With CD backing; pan let or accompaniment Without guitar part)
Complete Joe Pass for Guitar Hot Stuff (1st guitar)
Mel Bay MB99311
Django Reinhardt Anthology Blues Minor, pp.54-55; Stockholm
ERQUIAGA, S. Guitar Duets
Pas de Deux (Guitar 1. including improvised section. to be played to the recording)
Advance Music AM10001
GALBRAITH, B. Play Along with Bach*
Guitar 1 any two of the following: no. 11, 12, 13 or 15
Aebersold
*Note the specified arrangement must be used.
Slightly Out; Steeplechase
LEAVITT, W. Classical
Studies For Pick-Style Guitar Perpetual Motion - Paganini
Berklee
SNIDERO, J. Jazz Conception (Guitar) (With CD backing) Lunar;
Tunisia
Advance Music 80/2692
Grade Guitar Solos. Vol.1. The Secret.(Page 20)
MB93217-Castle.
Mel Bay-Castle.
Badinage (16).
Etude in G Flat (P26) and Triplet Study (27). Both as one.
Page 36 & 37 Both as One.
Twelve Studies. GA 78.
Op.29. No.1, 4, 7, or 9.
F.Sor.
Schott.
20 Guitar Preludes.
Al Viola
MB 94032-Castle.
No V111. A Capriccio and No 1X. Grandioso. Both as One.
No X. Appassionato and No X11 Grave.
Both as One.
OWN CHOICE. AGMED approval required.
Page 34
GRADE SEVEN EXAMINATION Continued.
LIST B.
16 Marks.
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.
Great Movie Themes.
Evergreen Theme from 'A Star is Born'.
Arthur's Theme. from 'Arthur'.
Jazz Guitar Solos.
What a Shame.
Popular Songs For Classical Guitar.
Feelings.
Jamaica Farewell.
Satin Doll.
Music Box Dancer.
Arr.Phillips.
B.Streisand.
Bacharach.
J.Pass.
M.Abril.
Albert.
Burgess.
Ellington.
F.Mills.
LIST C.
Warner-Ladd-Castle.
Gwyn Pub-Castle.
Hansen-Castle.
16 Marks.
Another 10 For Guitar.
Arr.M.Criswick.
F109-Castle.
The Easy Winners.
S.Joplin.
Spartacus.
Khachatutian.
Ta a Wild Rose.
MacDowell.
Strawberry Fair.
Traditional.
Three English Folk Songs. Any TWO.
Arr/Duarte.
Novello.
5 Celtic Pieces.
G.Garcia.amer
No5.-Castle.
Tiarna Mhaigheo and Airde Chuain. Both as One.
Charupakorn: The Best of Django Reinhardt
Minor Swing (With CD backing without guitar part)
Complete Joe Pass for Guitar Hot Stuff (1st guitar)
Mel Bay MB99311
Django Reinhardt Anthology Blues Minor, pp.54-55; Stockholm
ERQUIAGA, S. Guitar Duets
Pas de Deux (Guitar 1. including improvised section. to be played to the recording) Advance Music AM10001
GALBRAITH, B. Play Along with Bach*
Guitar 1 or any two of the following: no. 11, 12, 13 or 15
Aebersold
Slightly Out; Steeplechase
LEAVITT, W. Classical
Studies For Pick-Style Guitar Perpetual Motion - Paganini
Berklee
SNIDERO, J. Jazz Conception (Guitar) (With CD backing) Lunar;
Tunisia
Advance Music 80/2692
OWN CHOICE AGMED approval required.
LIST D.
16 Marks.
Arr.S Ayeroff.
Warner Pub.
The Way We Were.
M.Hamlisch.
We've Got Tonight.
B.Seger.
Up Where We Belong.
Nitzsche.
Arr.Duarte.
Wise Pub.
Taking a Chance on Love.
Lullaby of Birdland.
Far Away Places.
When Sunny Gets Blue.
Fly Me To The Moon,.
Stormy Weather.
Howard Morgan Fingerstyle Jazz Series: The Ellington Collection for Solo Guitar,
The Take the "A" Train
Warner
Jazz Goes Classic Blue Moon; Embraceable You; Summertime
Windham Hill Guitar Sampler
Andecy
OWN CHOICE
AGMED approval required.
Page 35
GRADE SEVEN EXAMINATION Continued.
SIGHT READING.
7 Marks.
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.
GENERAL KNOWLEDGE.
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.
*********************************************
Page 36
6 Marks.
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.
TECHNICAL WORK.
From memory.
SCALES.
SCALES
Bass Guitar
ARPEGGIOS
Electric Guitar
ASSOCIATE
Major.
16 Marks.
Minimum scale tempo. One crotchet = MM 108
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.
Blues Scale
E. B. Db. Ab.
Two octaves.
(As for scales)
Two octaves.
To demonstrate the connection relationship of the Modes with the Scales. This also
applies to the Associate Diploma at a more advanced level.
Practical demonstration of Modes and scales as used by Satriani and others.
ARPEGGIOS. Note grouping optional.
Arpeggios.
Major.
Minor.
Minimum arpeggio tempo. One crotchet = MM 108
Any one. Includes enharmonic keys.
Two octaves.
Any one. Includes enharmonic keys.
Two octaves.
Dominant 7ths.
In the keys of
Any one.
Diminished 7ths.
In the keys of
Any one.
NOTE:- Three octaves for Proficiency if possible Ascending and descending.
Two octaves.
Two octaves.
LIST A.
16 Marks.
SAMBA PA TI (Carlos Santana) with Improvisation and backing track
Kansas City March Complete solo (advanced version available from the Guild)
Five Celtic Pieces. Guitar Series No.5.
Garcia.
Cuan ag Eirigh.
Study. No 17,18 or 20. (P.38-43)
Auguado. 6404.
Study. Op 38. No 21 or 25. GA 34.
Coste.
Twelve Studies. GA 78.
F.Sor.
Op.29. No.2, 3, 5, 6, 10, 11 or 12.
10 Studies for Guitar. Book 2. Nos. 11 to 20.
Dodgson-Quine.
Any study except No.18.
20 Guitar Preludes.
Al Viola
Page 37
Cramer-Castle.
Suv.Zerboni.
Schott.
Schott.
Ricordi.
MB 94032-Castle.
PROFICIENCY CERTIFICATE EXAMINATION Continued.
No XVI. Scherzando and No XIX. Leggiero. Both as One.
No XVII. Giocoso and XVIII. Tranquillo. Both as One.
LIST B.
16 Marks.
CANON ROCK (Music Johanne Pachebel) Improvisation and backing track
Alla Turca Complete solo as per the piano transcription
12 Bars Blkues with Variations.
Theme from 'Mahogany.'
Here You Come Again,.
Two Romantic Pieces. Guitar Series. No.7.
Venetian Boat Song. Op 19.No.6.
Arr.S.Ayeroff.
Jimi Hendricks
M.Masser.
B.Mann.
Warner Pub.
Cramer-Castle.
G.Mizzi.
LIST C.
Take the Coltrane (Duke Ellington) Improvise over chords.
12th Street Rag (four sections) including an original improvisation segment
Melodic Moments. Guitar Series. No.4.
R.Parfrey.
Melodic Moments. No.1.
Modern Guitar Music. Toccata.
Josephs.
Valse No.1. From 3 Lyric Pieces. Vol 3 Guitar Library.
Grieg.
16 Marks.
Cramer-Castle.
Oxford.
Faber.
LIST D.
16 Marks.
IN A SENTIMENTAL MOOD (Duke Ellington & Others) As written with Harmonics
Arr.Duarte.
Wise Pub.
Basin Street Blues.
On The Sunny Side of the Street.
What a Wonderful World.
I Fall in Love Too Easily.
Sophisticated Lady.
Jazz Guitar Solos.
J.Pass.
Gwyn Pub-Castle.
Forward Pass.
PASS, J. Joe Pass Chord Solos
Misty
Alfred 00-3320
PASS, J.
Virtuoso #3; Dissonance #2
Mel Bay
SOKOLOW, F. Great Jazz Standards of Duke Ellington for Guitar
Do Nothin’ Till You Hear From Me;
Satin Doll
Warner
VAUGHAN, Stevie Ray.
Texas Flood Lenny
Note alternative pieces of a similar standard can be used but assessment will be based on Proficency based
Performance demands.
SIGHT READING.
7 Marks.
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
Page 38
PROFICIENCY CERTIFICATE EXAMINATION Continued.
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.
GENERAL KNOWLEDGE.
6 Marks.
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.
*********************************************
Page 39
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.
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.
Candidate can choose a 16 or 32 bar Jazz standard and arrange as follows: create a 4 to 8 bar intro, then play own
chord melody arrangement twice through. Some embellishment is required on the 2nd chorus, but this may be
improvised. Improvise can be either a single note/chordal solo over two choruses before returning to the written
arrangement for one chorus, then a 4 to 8 bar ending. The intro, 1st chorus and ending must be notated, and a copy
given to the examiner. Originality is expected.
(Or one of the following)
The New Real Book Vol. 1 and Vol. 2
All the Things You Are;
Autumn Leaves;
Blame it on My Youth;
Fly Me to the Moon;
Page 40
DIPLOMA EXAMINATIONS Continued.
Misty;
On the Sunny Side of the Street;
Satin Doll;
Tenderly (Sher)
Note it may be necessary to play two of the above lists to meet the time length demands
List B
Round Midnight
Howard Morgan Finger style Jazz Series: The Ellington Collection for Solo Guitar,
The Caravan
In Session with George Benson (With CD backing) The Wind and I
PASS, J. Joe Pass Chord Solos
Wine and Roses
SOKOLOW, F. Great Jazz Standards of Duke Ellington for Guitar
Prelude To A Kiss; Sophisticated Lady
Texas Flood Dirty Pool
20 Marks.
Mel Bay MB99902BCD
Warner
IMP 6603A
Alfred 00-3320
Warner
List C
20 Marks.
Eric Johnson Guitar Transcriptions Cliffs of Dover; Steve s Boogie; Zap
Guitar Hero Texas Flood (With accompaniment preferred)
In Session with George Benson (With CD backing) I Remember Wes
IMP 6603A
In Session with Steve Vai
For the Love of God (Whole piece With CD backing)
IMP
PASS, J. Joe Pass Plays the Blues
Blues for Alice; Blues for Nina; Blues for O.P. MAIRANTS, I.
Jazz Sonatas for Solo Guitar Prelude and Dance (from Rhapsody or Rainey);
Passacaglia (from vocation or Joe Pass) (Finger style)
Mel Bay MB95634BCD
SATRIANI, J.
Flying in a Blue Dream Back to Shala-Bal
Cherry Lane
SATRIANI, J.
Surfing With the Alien Crushing Day
Cherry Lane
Texas Flood Rude Mood; Texas Flood (With accompaniment preferred)
Wes Montgomery: Artist Transcriptions for Guitar Movin Wes Part II
Note* It may be necessary to play two of the above lists to meet the time length demands
List D
20 Marks.
Guitar Styles! Jazzed. M. Stimpson.
Bass Lines Blues
Ike Isaacs
Oxford
HANSON, M. Finger style Wizard
If I Only Had a Brain
Warner
MAIRANTS, I. Jazz
Sonatas for Solo Guitar
Braganza to Brasilia (from Sonata ariata or aurindo Almeida)
Mel Bay MB95634BCD
PASS, J.
Virtuoso #3 Any piece not listed or Grades Seven or eight
Mel Bay
WILLIAMS, M.
Classical Gas - The Music of Mason Williams (2nd edition. 2003)
Classical Gas (include bars 45 54)
Alfred 00-P0961GTA
ZARADIN, J. Latin American Jazz for Finger style Guitar
Mel Bay MB95556
Carumba!
Como No?;
Solidao (Finger style)
Note* It may be necessary to play two of the above lists to meet the time length demands
SIGHT READING.
At a standard commensurate with this Diploma.
7 Marks.
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.
Page 41
DIPLOMA EXAMINATIONS Continued.
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.
GENERAL KNOWLEDGE.
1. Background of the composers and of the works performed. The period from which they come.
6 Marks.
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.
**********************************************
Page 42
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.
EXAMINATION TIME.
60 Minutes.
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.
Page 43
SUB SECTIONS
20 Marks
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.
GENERAL KNOWLEDGE.
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.
***********************************************
Page 44
6 Marks.
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
EXAMINATION TIME.
75 Minutes.
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.
Page 45
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.
LIST B.
LIST C.
LIST D.
SUB SECTIONS
SIGHT READING. See Licentiate (P) Lists in this Syllabus.
EAR TESTS.
" "
" " " " "
GENERAL KNOWLEDGE. "
" " " " "
20 Marks.
20 Marks.
20 Marks.
20 Marks.
20 Marks (See below)
7 Marks.
7 Marks.
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.
Page 46
FELLOWSHIP DIPLOMA F.Mus AGM RECITAL
CONTEMPORARY 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.
****************************************************************
Page 47

Modern Guitar Syllabus PDF - AGME Australian Guild of Music

Transcription

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