Classical 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
VERSION CONTROL
Reference: 15-0-3 (20131025)
Book Volume Edition
Date
15
0
2
20120906
15
0
3
20131025
Change
New edition
Updated layout
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 2012 by Australian Guild of Music Education Inc
The moral rights of the authors are asserted.
Page 2
Classical Guitar Examination Syllabus | Australian Guild of Music Education
AUSTRALIAN GUILD OF MUSIC EDUCATION
(Incorporating the AGMED)
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 1-1V, Diploma and Advanced Diploma. Diploma and Advanced Diploma
courses offers immediate access to Government VET FEE HELP. This is not Means Tested.
Higher Education Bachelor of Music program is available and offers immediate access to Government FEE HELP.
This is not Means Tested.
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
CLASSICAL GUITAR SYLLABUS.
INDEX.
Page 4
EXAMINATION GUIDE.
Page 5
GRADE EXAMINATIONS.
Steps 1
Steps 2
Steps 3
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 24
Page 26
Page 28
Page 30
Page 32
Page 34
Page 37
Page 40
DIPLOMA EXAMINATIONS.
Associate.
Licentiate. (Performer)
Licentiate. (Teacher)
Fellowship (Performer)
Page 4
Page 43
Page 46
Page 49
Page 51
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 Guitar 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 Guitar Supplementary Student Book includes all necessary technical requirements
for every examination from Step One through to the Proficiency Certificate. The book is valid for all Guitar
examinations (See Item 2) and contains all Scales, Arpeggios and chords required in Guild examinations. In
addition, informative notes about Chords, Chord Symbols, Chord Progressions, Technical Exercises, Rhythms and
a new and extensive article on Improvisation are also included.
NOTE:- This book is a Guild publication and is only available from the Guild Office. It is essential that every
student has a personal copy of this Supplementary Student book for practice and for his or her own examination
use. The book is copyrighted and photo copies of individual pages are not to be used.
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 Guitar Technical work if asked by the examiner They follow the circle
of fifths and fourths which is readily available in any theory manual
12. CHORDS.
Candidates should know all of the chords which are listed for 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 chord 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.
See any theory an explanation of some of Contemporary chords generally in use by musicians.
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.
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.
* 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 with the
guitar. 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, for the playing of scales such as, 3rds, 6ths, 10ths,
double octaves. But in every case, the technical level of each grade should be duly regarded.
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 and
students should note the special ADDITIONAL details for Bass & Electric Guitar.
PRELIMINARY.
SCALES
Major.
C. F. G.
One
octave.
Harmonic Minor
A
One octave.
Bass Guitar
Dorian Scale
C
One octave.
ARPEGGIOS (As for scales) appropriate Grade and Syllabus for exact requirements.
Teachers
C. F. G. major & A minor
One octave.
(Applies to bass and electric guitar)
GRADE ONE.
SCALES
Major.
C. F. G.
Two
octaves.
Bass Guitar
ARPEGGIOS
GRADE TWO.
SCALES
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.
One octave.
One octave.
One octave.
One octave.
One octave.
Two
octaves.
Bass Guitar
ARPEGGIOS
Page 9
Harmonic Minor
B. F#.
Melodic Minor
E.
Dorian Scale
D. A.
Blues Scale
Bb.
(As for scales)
Two octaves.
Two octaves.
One octaves.
One octave.
Two octaves.
GRADE THREE.
SCALES
octaves.
Bass Guitar
ARPEGGIOS
GRADE FOUR.
SCALES
Major.
Bb. Eb.
Harmonic Minor
C. G.
Melodic Minor
C. G.
Chromatic on
F
Dorian Scale
Bb.
Mixolydian Scale
G
(As for scales)
Major.
E. Ab.
Two
Two octaves.
Two octaves.
Two octaves.
One octave.
One octave.
Two octaves.
Two
octaves.
Bass Guitar
ARPEGGIOS
GRADE FIVE.
SCALES
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.
B. Db.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two
octaves.
Bass Guitar
ARPEGGIOS
GRADE SIX.
SCALES
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#.
Two octaves.
Two octaves.
Three octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two
octaves.
Bass Guitar
ARPEGGIOS
Electric Guitar
Page 10
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.
Two octaves.
Two octaves.
Three octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
GRADE SEVEN.
SCALES
Major.
Gb. Cb.
Two
octaves.
Bass Guitar
ARPEGGIOS
Electric Guitar
PROFICIENCY.
SCALES
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.
Bass Guitar
ARPEGGIOS
Electric Guitar
ASSOCIATE
Any scale.
Two
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.
C9
= C E G Bb D.
Page 13
24. CHORD PROGRESSIONS.
These are examinable from Grade Five onwards in the Modern 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 USE 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
Page 14
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
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
INTRODUCTORY EXAMINATIONS.
STEP 1.
STEP 11.
STEP 111.
Preparatory.
Elementary.
Preliminary.
These rudimentary examinations are intended to ensure that sound technical foundations are laid, and also to
accustom very young students to examination conditions and demands in addition to thoughtful practise habits. The
work in these examinations should not be played excessively quickly, nor yet be unduly retarded. A good legato
tonal control should be cultivated early. Examiners will watch for correct hand positions, finger technique,
appropriate stance, general control with attention to phrasing, tone, poise, expression and style applicable to the
examination standard. It is recommended that students use the AGMED Step books for all early examinations as they
are complete in themselves and ensure a sound basic technical development.
RECOMMENDED CONTEMPORARY TEXT.
Learn Guitar Fingerboard.
M.J.Boothroyd. Modern Music Craft.
*************************************************************
STEP ONE.
PREPARATORY. CLASSICAL GUITAR.
Examination time. 10 Minutes.
Minimum pass mark. C 65.
NOTE:- A self-contained AGMED Step One Examination Book, available from the AGMED, has been published by
AGM:ED Publishing and is recommended for either the Classical, Modern or Folk, Country and Western Guitar
Syllabi.
TECHNICAL WORK. From memory.
20 Marks.
Fingering im. MM 60. One note per beat. Single notes. Plectrum. Down Stroke.
SCALES.
Major. C. G.
One octave.
Scale speed. One crotchet = MM 100.
ARPEGGIOS.
Major. C. G.
EXERCISES.
As set for Step One in the AGMED Guitar Exercise Book.
The Examiner will select one or two for performance. See Item 3. Page 6.
One octave.
DEMONSTRATION. The candidate will be asked to demonstrate the correct method of holding
the guitar and the position of right and left hands.
PERFORMANCE.
Three Lists required. A. B. C.
Memory work is encouraged, but is not essential.
SUPPLEMENTARY LIST.
OWN CHOICE. Refer Item 3. Page 6.
LIST A.
One selection required.
15 Marks.
Classic Free Stroke and Rest Stroke Exercises.
Any simple exercise. Minimum of eight bars.
Own Choice.
No AGMED approval required.
LIST B.
One Selection required.
20 Marks.
The pieces given under List C can be used for this List.
Own Choice.
LIST C.
Page 16
20 Marks.
CLASSICAL GUITAR. STEP ONE EXAMINATION. Continued.
Any of the following pieces and arrangements are suitable for this Step examination.
Greensleeves.
Twinkle Twinkle Little Star.
Frere Jacques.
London is Burning.
Old Time Dance.
Good King Wenceslas.
Jingle Bells.
Love Me Tender.
Yankee Doodle.
Clair de Lune.
Lavender Blue.
Scarborough Fair.
Own Choice.
SIGHT READING.
10 Marks.
A short simple phrase in the open position consisting of minims and crotchets.
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
crotchet.
PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner in the immediate
range above Middle C. Not less than an OCTAVE apart.
First time: f forte. Second time: p piano.
GENERAL KNOWLEDGE.
7 Marks.
The candidate will be asked to identify and name the Brace, Bar lines, Double Bar-line, Stave or Staff, Clefs,
Semibreves, Minims and Crotchets. As found in the repertoire.
************************************************************
Page 17
STEP TWO.
ELEMENTARY. CLASSICAL GUITAR.
NOTE:- A self-contained AGMED Step Two Examination Book, available from the AGMED, has been published by
Syllabi.
20 Marks.
SCALES.
Major. x. x.
One octave.
ARPEGGIOS.
Major C. F. G or G7
EXERCISES.
As set for Step Two in the AGMED Guitar Exercise Book.
One octave.
PERFORMANCE.
SUPPLEMENTARY LIST.
LIST A.
15 Marks.
Any simple tune applicable to this examination level.
Own Choice.
LIST B.
20 Marks.
The pieces given under List C can be used for this List.
Own Choice.
LIST C.
20 Marks.
Any of the following pieces and arrangements are suitable for this Step examination.
Blowin' in the Wind.
Peter Cottontail.
Botany Bay.
Sang the World's Last Whale.
When the Saints go Marching In.
Auld Lang Syne.
Coming Round the Mountain.
Joy to the World.
Waltzing Matilda.
Silent Night.
Advance Australia Fair.
Little Donkey.
Whistling Gypsy.
This Old Man.
Camptown Races.
Poor Ned.
The Boogie Ode.
Own Choice.
SIGHT READING.
A short simple phrase of two bars in the open position consisting of minims and crotchets.
Page 18
10 Marks.
EAR TESTS.
8 Marks.
crotchet.
PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner in the immediate
range above Middle C. Not less than a FIFTH apart.
First time: f forte. Second time: p piano.
GENERAL KNOWLEDGE.
7 Marks.
Questions on rudiments as set for Step One as follows. The Brace, Bar-lines, Double Bar-line, Stave or Staff, Clefs,
Semibreves, minims and Crotchets.
In addition, simple time, the function of a dot after a note, a sharp, a flat and the natural sign. Simple dynamic signs:
crescendo, diminuendo, p, mp, f, mf, as found in the examination music.
************************************************************
Page 19
STEP THREE.
PRELIMINARY. CLASSICAL GUITAR.
NOTE:- A self-contained AGMED Step Three Examination Book, available from the AGMED, has been published by
Syllabi.
This book completes the basic foundation for technical development of the beginning student.
20 Marks.
SCALES.
Major. C.F.A minor
One octave.
ARPEGGIOS.
Major. C.F.G7 A minor.
One octave.
EXERCISES.
As set for Step Three in the AGMED Guitar Exercise Book.
PERFORMANCE.
SUPPLEMENTARY LIST.
LIST A.
Aguado. D.
50 Studies for Guitar.
No 2. 3.
The Art of Classical Guitar. Vol 1.
Study No 3. Page 41.
Guitarcosmos 1.
Simple Arpeggios. Page 3.
Guitar Method. Book 1.
No 26. 27. 28. 36. 37. 38.
Classical Guitar Technique. Vol 1.
Altmeier-Mort. P.
Brindle Smith. R.
Schmid.
Shearer.
York.
Own Choice.
Etude. No 1.
Prelude. No 2. 4. 6. to be played apoyando.
An Hour with the Guitar.
Study. Page 8.
LIST B.
Sor. Fernando.
An Hour with the Guitar.
Kuffner.
Walzer. Page 5.
Allegretto. Page 8.
Aguado. D.
Walzer (1). Page 5.
Sor. Fernando.
Melodie (2). Page 7.
Adrien Le Roy.
Airs and Dances of the Renaissance.
Branle de Poictou 1.
Shearer.
Andantino. Waltz in C Major.
Own Choice.
LIST C.
Bonell. C.
First Pieces for Guitar.
Page 20
15 Marks.
Edit.Gonzalez.
Either one.
Classical Publications.
Ricordi.
Schott. 11387.
Hal Leonard Publishing.
Any one.
Colombo. New
Any one.
Arr.Gotze
F.Sor.
Schott.
20 Marks.
Arr.Gotze
Schott.
Ricordi. 131989.
Either one
Colombo. New York.
Schott.
20 Marks.
Ricordi. LD 691.
CLASSICAL GUITAR. STEP THREE EXAMINATION. Continued.
Bonell. C.
A Sad Tune.
A Happy Tune.
Either one.
Brindle Smith. R.
Guitarcosmos 1.
Country Dance. Page 26.
Enjoying Playing the Guitar.
Edit.Cracknell.
Coventry Carol.
The First Nowell.
Any one.
A Sad Song.
Summer Waltz.
Pony Trek.
Lester. B.
Explorations in Guitar Playing.
Jazz Walk.
Schmid.
Guitar Method. Book 1.
No 29. 30. 39. 40. 52 & 53. 54. 56. 57.
Any one.
No 60. 62. 68. 69. 70. 76. 82. 85. 88. 94. 95.
Own Choice.
Schott. 11387.
OUP.
Ricordi. LD 581.
Hal Leonard Publishing.
SIGHT READING.
10 Marks.
A short simple phrase of two bars in open position, consisting of minims and crotchets.
EAR TESTS.
8 Marks.
crotchet.
PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner. Not less than an
THIRD apart. Within the octave below Middle C.
First time: f forte.
Second time: p piano.
NOTE: Ear tests in the three Step examinations are basically the same and are designed to cumulatively train and
reinforce the student's listening skills. This concept is further strengthened in the Grade One Ear Tests.
GENERAL KNOWLEDGE.
7 Marks.
All rudiments as set for Steps One and Two as follows.
The Brace, Bar-lines, Double Bar-line, Stave or Staff, Clefs, Semibreves, Minims and Crotchets. Simple time, the
function of a dot after a note, a sharp, a flat and the natural sign. Simple dynamic signs:- crescendo. diminuendo. mp.
f. mf. as found in the examination music.
In addition, signs and terms found in the examination pieces. Key and time signatures. Triplets, tones and semitones.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question relative to
the grade in order to reach an assessment.
*************************************************************
Page 21
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.
NOTE: A candidate can submit for one list a Contemporary Composers piece at an appropriate grade level or
standard as an alternative piece for a selected list.
IMPORTANT NOTE: It is the responsibility of the candidate /teacher to ensure that the arrangement being
presented is appropriate for the grade standard being attempted. Most solos have easy and difficult arrangement.
Please select the arrangement that is appropriate for the grade standard. If in doubt send a copy of the music to the
office for approval.
20 Marks.
SCALES.
Finger patterns must reflect adequate technical development. Refer to Page 3.
Single notes.
Apoyando.
Major.
C. G.
ONE octave.
Harmonic Minor.
A.
ONE octave.
Minimum scale tempo.
Crotchet = MM 60.
ARPEGGIOS.
Note grouping optional.
Major.
C. G.
Minor.
A.
Dominant 7th
on G.
ONE octave ascending and descending.
Minimum arpeggio tempo. Crotchet = MM 48.
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.
Candidates are advised to select contrasting works.
Choose from the following lists or substitute works
which fit the required criteria. See Page 5.
LIST A. Study.
An Hour With The Guitar. Arr.
Studie. Page 8.
Prelude No.2.
Etude No.2.
50 Studies for Guitar. Edit. Gonzalez.
No. 2 or 3.
OWN CHOICE.
Page 22
15 marks.
Gotze.
F.Sor.
Shearer.
Colombo.
Aguado.
Ricordi.
Schott.
LIST B.
20 Marks.
Walzer. Page 5.
Walzer (1). Page 5.
Melodie (2). Page 7.
Allegretto. Page 8.
Thema mit Variation. " 9.
Gotze.
Kuffner.
Aguado.
F.Sor.
Kuffner.
Classic Guitar Collection. Vol.3. Edit.
Nine Country Dances. No.1 or 2. Page 4.
Classical Guitar Technique. Vol.1.
Andantino.
Waltz in C Major.
OWN CHOICE.
L. Bolotine.
Anon.
Shearer.
LIST C.
Schott.
Ariel Pub.
Colombo.
Schott.
Schott.
20 Marks.
Mel Bay Grade One Book.
Amazing Grace.
Chord Waltz and Chord Etude. (Both).
Kum-Ba-Ya.
The Builder and Chord Etude. (Both.)
OWN CHOICE.
SIGHT READING.
Allans. Mel Bay Pub.
10 Marks.
A short simple phrase of two bars in the open position, consisting of minims and crotchets.
EAR TESTS.
8 Marks.
a) RHYTHM. To clap or tap a short TWO bar phrase played twice by the Examiner. No value smaller than a
crotchet.
b) PITCH. To state which is the higher or lower of two notes played separately, not less than a fifth apart, and to
hum or sing either note.
GENERAL KNOWLEDGE.
7 Marks.
The candidate will be asked FIVE questions on musical rudiments and terms found in the examination music. The
function of the dot after a note, and of a sharp, flat and natural sign. Questions on note values and time signatures
used in the pieces performed.
*************************************************
Page 23
GRADE ONE EXAMINATION.
EXAMINATION TIME.
15 Minutes.
20 Marks.
SCALES.
Any scale from a previous Grade may be requested by
the Examiner. Finger patterns must reflect adequate
technical development. Refer to Page 3.
Single notes.
Apoyando.
Major.
C. G. F.
TWO octaves.
Harmonic Minor.
A. E.
TWO octaves.
Melodic Minor.
A.
TWO octaves.
Minimum scale tempo. Crotchet = MM 88.
ARPEGGIOS.
Note grouping optional. Any arpeggio from a previous
Grade may be requested by the Examiner.
Major.
C. F.
Minor.
E.
Dominant 7th
on C.
TWO octaves ascending and descending.
Minimum arpeggio tempo.
Crotchet = MM 60.
PERFORMANCE.
Three lists required. A.B.C.
See Page 5 for possible alternative list choice.
LIST A. Study. One selection required.
15 Marks.
Classical Guitar Technique. Vol.1.
Andante. No.1 or 2.
Page 72 & 73.
Etude 2.
G.A.30.Studies for Right Hand.
No. 1.2.3.4.5.6.7.8.9.10.
G.A.79. No 1 or 2.
G.A.81. No 1. 2. 3. or 4.
Prelude 4 or 6.
Music From the Student Repertorie. G101
Lesson 2.
Studies in Apoyando.
No. 6 or 7.
50 Studies for Guitar.
Edit. Gonzalez.
No. 4.5.6.7.8.9.
Any one.
OWN CHOICE.
Shearer.
Guiliani.
F.Sor.
Guiliani.
F.Sor.
F Sor.
J.Mills.
D.Aguado.
Duarte.
Aguado.
LIST B.
Schott.
Schott.
Schott.
Mus.New Serv.
Ricordi.
Ricordi.
20 Marks.
Folk Song.
Walzer (2).
Andantino.
Allegretto.
Andantino. (1).
Classic Guitar Collection. Vol.3.
Edit.
Nine Country Dances. No.4.
OWN CHOICE.
Page 10.
" 13.
" 14.
" 18.
" 19.
Gotze.
Giuliani.
Giuliani.
Giuliani.
F.Sor.
F.Sor.
L. Bolotine.
Page 5.
LIST C.
Schott.
Ariel Pub.
Anon.
20 Marks.
Carols for Guitar.
Adeste Fidelis or Coventry Carol. Trad.
Elizabethan Melodies. Greensleeves. G.A.217.
Let us Have Music For Guitar. Edit.
Page 24
Colombo.
Novello.
P.Sterrett.
Schott.
Allans. C.Fischer.
Any suitable ONE (79 melodies.) Must reflect Grade standard.
OWN CHOICE.
SIGHT READING.
10 Marks.
A short simple phrase with no note shorter than a crotchet.
Either 8 bars in common time, or 8 bars or more in 2/4 or 3/4 time. In the keys of C and G Major only.
EAR TESTS.
8 Marks.
RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than a quaver.
PITCH. To state which is the higher or lower of any TWO notes within an octave, played consecutively by the
Examiner.
To identify any note of the major common chord of C.
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 25
GRADE TWO
EXAMINATION TIME.
15 Minutes.
20 Marks.
SCALES.
Groups of Two notes.
Apoyando.
Major.
D. A.
TWO octaves.
Harmonic Minor.
F#. B.
TWO octaves.
Melodic Minor.
E.
TWO octaves.
Crotchet = MM 92.
ARPEGGIOS.
Major.
D. A.
Minor.
D. A.
Dominant 7th
on E.
Crotchet = MM 92.
PERFORMANCE.
Three pieces required. List. A. B. C.
LIST A.
15 Marks.
An Hour With The Guitar.Arr.Gotze. Etude.
Lesson 1.
Allegro.
Nos.10 to 20.
OWN CHOICE.
AGMED approval required.
Page 19.
J.Mills.
Page 6
Page 17.
F.Sor.
D.Aguado.
Aguado.
Ricordi.
Any one.
LIST B.
20 Marks.
Allegretto.
Page 18.
Walzer. (3).
" 18.
9 Country Dances. No.3. 5 or 6. Pages 5 & 6.
Incomparable.
Page 35.
Thirty Two Pieces. No.3 or 31. Pages 43 & 58.
A Toy. From Jane Pickering's Lute Book.
Allegro.
Page 17.
Minuet in G.
Page 26.
OWN CHOICE.
Gotze.
F.Sor.
Aguado.
L. Bolotine.
Schott.
Ariel Pub.
Anon.
J.Mills.
Mus.New Serv.
Anon.
Giuliani.
F.Sor.
LIST C.
20 Marks.
Andantino.
Best of Carulli.
Mel Bay. 93454.
English Lute Composers. Classic Guitar.
Wilson's Wilde.
J.Dowland.
Sellinger's Round.
16th C. Dance Tune.
Let us Have Music For Guitar. Edit.
P.Sterrett.
Any suitable ONE (79 melodies.) Must reflect Grade standard.
Page 26
Schott.
Mus.New Serv.
Castle. Chappell.
Castle. Chappell.
Allans. C.Fischer.
Pastorale.
OWN CHOICE.
Best of Carulli.
10 Brazilian Folk Tunes. No 1 or 3.
Mel Bay. 93454.
Castle. Chappell.
Columbia Music.
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.
*********************************************
Page 27
GRADE THREE.
EXAMINATION TIME.
20 Minutes.
20 Marks.
SCALES.
Groups of four notes.
Apoyando and Tirando.
Major.
B Flat. E Flat TWO octaves.
Harmonic Minor.
C G.
TWO octaves.
Melodic Minor.
C. G.
TWO octaves.
Chromatic Scale
on F.
TWO octaves.
Crotchet = MM 96.
ARPEGGIOS.
Major.
E B Flat.
Minor.
F. G.
Dominant 7th
on B.
Crotchet = MM 116.
PERFORMANCE.
Three pieces required. LISTS A. B. C.
LIST A.
15 Marks.
Guitarcosmos 2.
Arpeggio Study.
Progressive Studies for Beginners. Op.31.
Nos. 2. 3. 5. or 6.
Lesson 3 or 4.
Study in E.
Study in E Minor.
Studi Per Chitarra. Edit.
Nos. 1 to 7.
Nos. 22 to 50.
OWN CHOICE.
Brindle.
F.Sor.
Schott.11388.
Belwyn Mills.
(Kalmus Guitar Series. 4255.)
Mus.New Serv.
J.Mills.
D.Aguado.
Page 25.
F.Sor.
Page 28.
Tarrega.
R.Chiesa.
Giulinani.
Any TWO studies to be played.
Aguado.
LIST B.
Ricordi.
20 Marks.
Andantino.
Page 21.
Five Easy Pieces. No.1.
Page 9.
Three Easy Sonatinas.
Larghetto.
Page 13.
Petite Piece.
Page 41.
Sarabande
Minuet.
Page 13.
32 Various Pieces from the 16th to 20th Century.Vol.2.
Kalmus Guitar Series. No.4213.
No.1. Fantasia.
No.2. Fantasia.
No.5. Fantasia. (No.1.)
OWN CHOICE.
Page 28
Zerboni.
Gotze.
F.Carulli.
L. Bolotine.
Carulli.
Carulli.
Mozart.
J.Mills.
R.de Visee.
Belwin Mills.
L.Milan.
de Fuenllana.
S.Molinaro.
Schott.
Ariel Pub.
Mus.New Serv.
LIST C.
20 Marks.
Flamenco Variations.
No 1 & 2. OR No 1 & 3.
S.Papas.
La Cumparsita.
Rodriguez.
Let us Have Music For Guitar.
P.Sterrett.
Any Suitable ONE. (79 melodies.) Must reflect Grade standard.
Six Traditional Songs. Polly OR Nuts in May.
Hollier.
OWN CHOICE.
Columbia.
RB 0112.
Allans. C.Fischer.
SIGHT READING.
Ricordi.
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 29
GRADE FOUR.
EXAMINATION TIME.
SCALES.
Major.
E Ab.
TWO octaves.
Harmonic Minor.
F. C Sharp.
TWO octaves.
Melodic Minor.
F. C Sharp.
TWO octaves.
Chromatic Scale
on G.
TWO octaves.
Crotchet = MM 120.
ARPEGGIOS.
Major.
B Flat. E Flat.
Minor.
B. C Sharp.
Dominant 7th
on D.
Crotchet = MM 120.
PERFORMANCE.
LIST A.
20 Minutes.
20 Marks.
15 Marks.
J.Mills.
Study in A.
Page 10.
Carcassi.
F.Sor.
Nos. 7. 8. 9. 10. 11.
Any TWO studies.
Studi Per Chitarra. Edit. R.Chiesa.
Giulinani. Zerboni.
Nos. 8 to 14.
OWN CHOICE.
Mus.New Serv.
Belwyn Mills.
(Kalmus Guitar Series.)
LIST B.
20 Marks.
L. Bolotine.
10 Easy Pieces. No.1.2.3.5 or 9 Page 16. Any One.
Lute Prelude.
Page 38.
Bach.
Classic Guitar Music. Arr.
J.Castle.
Gigue. From Suite No.2.
Page 7.
Reusner.
Sarabande.
Page 8.
De Visee.
Fughetto.
Page 33.
F.Carulli.
J.Mills.
Minuet.
Page 11.
Carcassi.
Minuet. From Sonata No.1.in C.Page 14.
Diabelli.
Orlando Sleepeth.
Page 15.
Dowland.
Andante in C.
Page 16.
Giuliani.
Belwin Mills.
No.10.Sarabande & Gavotte 1.From Suite 3.
J.S.Bach.
No.11.Fugue in D.
F.Campion.
No.12.Courante.
J.Weichenberger.
No.14.Bourree.
W.Lauffensteiner,
No.15.Polonaise.
J.Kropfgans.
OWN CHOICE.
Ariel Pub.
Page 30
Mel Bay Pub.
Mus.New Serv.
LIST C.
20 Marks.
Guitarcosmos 2. Duo.-(in Fourths and Fifths.)
Jazz and Popular Songs. Arr.
Spanish Harlem
Eleanor Rigby.
Romantic Period Music. Classic Guitar.
March of the Tin Soldiers.
Melodie.
To a Wild Rose.
Six Pieces.
Russian Song.
Six Traditional Songs. Rock-a-bye Baby.
OWN CHOICE.
Brindle.
Duarte.
Mel Bay Pub.
Tschaikowsky.
F.Thome.
E.MacDowell.
Tschaikowsky.
Hollier.
SIGHT READING.
Schott.11388.
Wise Pub.
Castle.Chappell.
Novello.
Ricordi. SD 9.
10 Marks.
A twenty four bar passage in either the key of G. D. F
Major or in A Minor in 3/4, 4/4 or 6/8 time. Quavers and occasional accidentals will be used.
EAR TESTS.
8 Marks.
RHYTHM. To clap or tap a four bar passage played by the Examiner in 3/4 or 4/4 time. Dotted minims and dotted
crotchets may be used.
PITCH. To hum or sing any of the first FIVE notes of the Major scale, as in the corresponding Grade Three test.
To hum or sing a short phrase of FIVE notes in a Major key, played twice by the Examiner. An accidental will be
used in the phrase.
To state whether a phrase played by the Examiner is in a Major or a Minor key.
INTERVALS. To identify any of the first FIVE notes of the Major scale, as in the corresponding Grade Three test.
GENERAL 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 31
GRADE FIVE.
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 AGMED HANDBOOK.
20 Marks.
SCALES.
Major.
Bb and Db
Two octaves.
Harmonic Minor.
Bb and G#.
Two octaves.
Melodic Minor.
Bb and G#.
Two octaves.
Chromatic Scale
from Low E. THREE octaves.
Crotchet = MM 144.
ARPEGGIOS.
Major.
A Flat. F. F Sharp.
Minor.
B Flat. F. C.
Tonic Sub dominant and dominant 7 for Db major
Crotchet = MM 126.
PERFORMANCE.
Any TWO.
Any TWO.
LIST A.
15 Marks.
Guitarcosmos 2.
Sixths.
Melodic Studies for Classical Guitar.
Lesson 38.
and Study
Study in D.
Study in B Minor.
Nos. 20. 21 or 22.
Studi Per Chitarra.
Edit. R.Chiesa.
Nos. 15, 16 & 17, 22, 23, 27.
Page 2.
Page 50
Page 54
Page 23.
Page 24.
R.Brindle.
W.Lawry.
Both as one.
J.Mills.
F.Sor.
F.Sor.
F.Sor.
Giulinani.
Any ONE or Group.
Schott.11388.
Mel Bay.Castle.
Mus.New Serv.
Belwyn Mills.
(Kalmus Guitar Series. 4255.)
Zerboni.
LIST B.
20 Marks.
Baroque Music for Classical Guitar.
Gavotte.
Gavotte in Rondo Form.
Thirty Two Pieces. No.21 & 22, or 29, or 32.
Prelude in D Minor.
Page 20.
Prelude No.6.
Page 22.
No.20. Fughetta. Op.113.
No.27. Zwei Satze.
No.28. Sicilliano. Op.111 No.8.
Page 32
Two octaves.
Two octaves.
Two octaves.
J.Castle.
Handel.
Dandrieu.
L. Bolotine.
Pages 52, 57, 59.
J.Mills.
F.Molino.
M.Pomce.
Belwin Mills.
M.Giuliani.
H.Ambrosius.
B.Henze.
Mel Bay. Castle.
Ariel Pub.
Mus.New Serv.
LIST C.
20 Marks.
Classic Guitar Music.
Arr.J.Castle.
Barcarole.
Page 76.
Offenbach.
Waltz in A Major.
Page 79.
Brahms.
El Noi De La Mare. Catalan Lullaby.
Arr.M.Criswick.
Guitar Series.
J.Snyder.
Maple Leaf Rag,
The Easy Winners,
The Entertainer.
Jazz and Popular Songs. Arr.Duarte.
Stardust or Days of Wine and Roses.
Memory. Theme from 'Cats'.
A,Webber.
The Romantic Guitar.
C.Bonell.
Waltz.
Tschaikowski.
OWN CHOICE.
SIGHT READING.
Mel Bay Pub.
Fentone-Castle.
Folk World.
Wise Pub.
Chappell.
IMP-Castle.
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, chords and simple modulations.
EAR TESTS.
8 Marks.
RHYTHM. To clap or tap a four bar passage played twice by the Examiner in simple or 6/8 time, containing no note
shorter than a quaver.
PITCH. To hum or sing any degree of the Major scale after the key chord has been sounded and named by the
Examiner.
To hum or sing the higher of two notes played simultaneously , the interval being less than an octave
INTERVALS. To identify any degree of the Major scale after the key chord has been sounded and named by the
Examiner.
CADENCES. To state whether a phrase played by the Examiner is in a Major or Minor key and whether the end
cadence is Plagal (1V - 1) or Perfect. (V - 1).
GENERAL 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 33
GRADE SIX.
EXAMINATION TIME.
30 Minutes.
A minimum PASS of C+ 70 marks in FOURTH GRADE Theory of Music is necessary for this Grade Six
Examination Certificate. For requirements, see AGMED HANDBOOK.
SCALES.
16 Marks.
Major.
B Flat. A Flat. D Flat.
Major
C# and F#
Harmonic Minor.
Eb and Ab
Melodic Minor.
B and F#
3rds. Major.
C. G.
3rds. Harmonic Minor.
G.
Chromatic Scale
From C.
Chromatic Scale
From G.
Crotchet = MM 168.
ARPEGGIOS.
PERFORMANCE.
Major.
B. A Flat. D Flat.
Minor.
F. G. B Flat.
Dominant 7th
on F.
Crotchet = MM 132.
Any TWO
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
THREE octaves.
THREE octaves.
Any TWO.
Any TWO.
Two octaves.
Two octaves.
Two octaves.
Four pieces are required. LISTS A.B.C.D.
LIST A.
16 Marks.
L. Bolotine.
Ariel Pub.
Etude in E or A. Any One.
Page 72.
M.Carcassi.
Guitarcosmos 2.
R.Brindle.
Schott.11388.
Left-Hand Slurs
Pages 10
OR Tremolo.
Pages 12.
Guitarcosmos 3
R.Brindle.
Schott.11388.
Threes and Fives
Pages 14
OR Tone & Semitone Arpeggios.
Pages 15.
Op.60. No. 18. GA 2.
Carcassi.
Schott.
F.Sor.
Belwyn Mills.
Nos. 14. 16 or 19.
Kalmus Guitar Series. 4255
Studi Per Chitarra.
Edit. R.Chiesa.
Giulinani.
Zerboni.
Nos. 32 to 43.
Study No 6. GA 34.
Coste.
Schott.
Belwin Mills.
No 32 Etude.
S.Behrend. Kalmus Guitar Series No.4213
OWN CHOICE.
LIST B.
16 Marks.
Bach for Classical Guitar.
Bouree.
OR Sarabande.
Page 34
Page 11
Page 14
Barreiro.
J.S.Bach
J.S.Bach.
Hansen-Castle.
Two-Part Invention.
Page 12.
Suite for Lute.
Overture and Sarabande
Pages 19
OR
Minuet and Rondo.
Pages 21.
Dance of the Blessed Spirits. Page 23.
Six Caprices. No.1.2 or 3. Op.26. Page 60.
6 Lute Pieces.
Fantasia.
No.31.
OWN CHOICE.
Arr.J.Castle.
Bach.
Mel Bay Pub.
De Richee.
De Richee.
Gluck.
Edit. L.Bolotine.
M.Carcassi.
Holborne.
Ariel Pub.
Berben 1725.
Belwin Mills.
Elegie.
T.Hlouschek.
LIST C.
16 Marks.
Air. From Four Pieces
Waltz in A Major. Op.39. No.15.
Elegie.
Gymnopedie No 1.
Homage to Ravel. Easy Modern Guitar Music.
Prelude 4.
Etude No 5 in C major.
Rondo in A Major. Classic Guitar.
Spanish Romance. Anon.
The Watermill.
OWN CHOICE.
Breves.
Arr.J.Castle.
Brahms.
Massenet.
Arr. Criswick.
Wills.
Villa-Lobos.
Villa-Lobos.
Carcassi.
Arr.Criswick.
Arr.Quine.
LIST D.
Martin.
UE 12711.
Mel Bay Pub.
Satie.Fentone-Castle.
OUP.
Eschig.
Eschig.
Mel Bay-Castle.
F191-Castle.
Binge. OUP.
16 Marks.
Guitarcosmos 2.
Brindle.
Bitonal Canon.
Schott.11388.
Page 14.
Jazz and Popular Songs.
Ain't Misbehavin'.
The Girl Next Door.
(They Long to Be) Close to You,
Don't Get Around Much Anymore.
The Girl from Ipanema.
Shepherd Boy.
Impressionist Period Music.
Tapestry. Jazz Selection for Classical Guitar.
The Deer Hunter.
OWN CHOICE.
Arr.Duarte.
Grieg.
Solow.
S.Myers.
SIGHT READING.
Wise Pub.
Mel Bay-Castle.
Mel Bay-Castle.
Castle Music.
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.
Page 35
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 36
GRADE SEVEN.
EXAMINATION TIME.
40 Minutes.
A minimum pass of C+ 70 marks in FIFTH GRADE Theory of Music is necessary for this Grade Seven
Examination Certificate. For requirements, see the AGMED HANDBOOK.
SCALES.
16 Marks.
Major.
Gb and Cb
Harmonic Minor.
D# and A#.
Melodic Minor.
D# and A#.
3rds 6ths + Octaves.
Major C.D. F.Bb Major
3rds 6ths + Octaves.
Minor E.
Whole Tone scale
on F.
Chromatic Scale
on F.
Crotchet = MM 96.
ARPEGGIOS.
PERFORMANCE.
Major.
G Flat. C Flat.
Minor.
F Sharp. G Sharp. A Sharp.
Dominant 7th
on B Flat. C Sharp.
Diminished 7th.
In key of C. E.
Crotchet = MM 96.
Two octaves.
Two octaves.
Two octaves.
One octave.
One octave.
Three octaves.
Three octaves.
Both.
Any TWO.
Both.
Both.
Two octaves.
Two octaves.
Two octaves.
Two octaves.
Four pieces required. LISTS A.B.C.D.
LIST A.
16 Marks.
Edit. L.Bolotine.
Etude on a Theme by Mozart. Page 78.
F.Carulli.
Douz Etudes for Guitar. No.1.5.6.or 8.
Villa-Lobos.
Guitarcosmos 2
R.Brindle.
Arpeggiato.
Page 22.
Studi Per Chitarra.
Edit. R.Chiesa.
Nos. 54, 57, 58, 59, 60.
Any ONE study to be played.
Study No 10, 13, 14 or 19.
F.Sor.
Twelve Studies. GA 78. G7
F.Sor.
Op.29. No.1, 4, 7, or 9.
No.21. Zwei Etuden. No.1. or No.2.
D.Garcia.
OWN CHOICE.
Ariel Pub.
LIST B.
Giulinani. Zerboni.
Albert-Segovia Edit.
Schott.
Belwin Mills.
16 Marks.
Allegro. From Time Pieces.
Sonata in A.
Fughetta. GA 148.
1st Lute Suite. Allemande or Sarabande.
Page 37
Eschig.
Schott.11388.
Page 22.
Page 88.
Haydn.
Edit. L. Bolotine.
F.Carulli.
Handel.
Bach.
Fentone-Castle.
Ariel Pub.
Schott.
Faber.
Belwin Mills.
No.24. Bolero.
J.Arcas.
No.25. Danza Mora.
F.Tarrega.
700 Years of Music for Classical Guitar.
Arr.Blain.
Six Lute Pieces of the Renaissance. No 1 and 4. Both.
Scherzo.
Giuliani.
OWN CHOICE.
Hansen-Castle.
LIST C.
16 Marks.
Kujawiak. Second Mazurka.
Humoresque. Op.10.No.2.
Anitra's Dance. From Peer Gynt Suite.
March.
Scharwenka.
Classic Guitar Solos. MB 93213
The Little Windmill.
Romanza.
On The Patio.
Preludes. Any two. BA 9549.
OWN CHOICE.
Arr.J.Castle.
Wieniawski.
Tschaikowsky.
Grieg.
Mel Bay Pub.
Mel Bay-Castle.
Saint Saens.
Spanish Origin.
J.Castle.
Tarrega.
Ricordi.
LIST D.
16 Marks.
Fur Elise.
Arr. Bonell.
Homenaje.
Taking a Chance on Love.
Lullaby of Birdland.
Far Away Places.
When Sunny Gets Blue.
Fly Me To The Moon.
Stormy Weather.
Marionette Dance.
Arr. Bonell.
Prelude No.1, 5, or 6.
Twentieth Century Guitar Music.
The Last Django in Paris.
Serenading the Beauty.
OWN CHOICE.
Page 40
Beethoven
De Falla.
Arr.Duarte.
IMP-Castle.
Chester.
Wise Pub.
Legnani.
Villa-Lobos.
IMP-Castle.
Eschig.
Schirmer.
J.Puma.
Rautavarra.
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.
Page 38
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 39
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 in the 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 HANDBOOK for requirements.
PART TWO. PRACTICAL.
EXAMINATION TIME.
Maximum marks. 100.
Minimum PASS. 70.
45 Minutes.
PROFICIENCY.
SCALES.
16 Marks.
Major.
ANY SCALE Two octaves.
Harmonic Minor.
ANY SCALE Two octaves.
Melodic Minor.
Any scale
Two octaves.
3rds, 6ths, 10ths & 8ves.Major E B Eb Ab
One octave.
3rds, 6ths, 10ths & 8ves.Minor E B Eb Ab
One octave.
Whole Tone scales
of E. F. G.
Two octaves.
Chromatic.
Any one.
Two octaves.
Chromatic. 3rds & 6ths.
Any one.
Two octaves.
Crotchet = MM 108/Semiquavers.
HARMONICS.
1. Demonstration of TWO scales selected by the candidate, in open position.
2. Octave harmonics followed by THREE note chords to the following progression; - 1 11 V V1. The top
note to be played as an octave harmonic.
ARPEGGIOS.
Major. Any set of Tonic Sub Dominant and Dominant 7.
Two octaves,
Minor. Any set of Tonic Sub Dominant and Dominant 7.
Two octaves
Dominant 7th
on E Flat. F Sharp. A Flat. Two octaves
Diminished 7th
n key of C Sharp. D.
Two octaves
Crotchet = MM 108/Semiquavers.
NOTE:- Three octaves for Proficiency if possible.
PERFORMANCE.
Four pieces required. LISTS A.B.C.D.
LIST A.
16 Marks.
Douz Etudes for Guitar. No.2. 4 or 7.
Guitarcosmos 2.
Repeated Semiquavers
Four Part Chords.
Page 40
Villa-Lobos.
R.Brindle.
Pages 7
Pages 9
Eschig.
Schott.11388.
Studi Per Chitarra.
Study.
Study. Op 38.
Twelve Studies. GA 78.
Edit. R.Chiesa.
Nos. 61, 62, 66, 69, 70, 76, 77, 78, 79, 80.
No 17,18 or 20.
P.38-43
No 21 or 25. GA 34.
Op.29. No.2, 3, 5, 6, 10, 11 or 12.
10 Studies for Guitar. Book 2. Nos. 11 to 20.
Any study except No.18.
No.22. Etude. Op.38. Nr.19.
No.23. Etude.
OWN CHOICE.
Giulinani.
Any ONE.
Auguado. 6404.
Coste.
F.Sor.
Zerboni.
Suv.Zerboni.
Schott.
Schott.
Dodgson-Quine.
Ricordi.
Belwin Mills.
N.Coste.
J.Mertz.
LIST B.
16 Marks.
Allemande. Suite in E Minor.
From the Julian Bream Guitar Library.
Largo. Xerxes.
Allegretto. From 7th Symphony.
Rondo.
Page 33.
Sonatine in G.
Page 74.
Theme and Variation. Beethoven. Page 80.
Favourite Classic Guitar Solos.
Fugue 1 OR 2 OR 3.
Any one.
Melancholy Galliard.
Prelude.
From Prelude, Fugue & Allegro.
OWN CHOICE.
Buxtehude.
Arr.J.Castle.
Handel.
Beethoven.
F.Carulli.
Edit. L. Bolotine.
F.Gragnani.
Carulli.
Faber.
Mel Bay Pub.
Ariel Pub.
Mel Bay 93613 -Castle.
F.Campion.
Dowland.
Bach.
LIST C.
Universal. UE 12472.
OUP.
16 Marks.
Andante Largo.
Ave Maria
Op 5. No. 5.
Sonata Quasi Una Fantasia.
Page 29.
Adagio. From the Grand Sonata. Op.22.
Prelude No.4.
Page 74.
Theme from 6th Symphony.
Any 3 Movements as ONE.
Six Part Suite.
Three Lyric Pieces. No 1.
Valse Poeticos. No 3.
OWN CHOICE.
F.Sor
Arr.J.Castle.
Beethoven.
F.Sor.
Chopin.
Tschaikowsky.
Mairants.
Grieg.
Arr. Mairants.
UE 11960.
Mel Bay Pub.
Fenette-B & H.
Faber.
Granados. B & C.
LIST D.
16 Marks.
Bagatelle No. 2.
Walton.
Gavotte - Choro.
From Suite Populaire.
Villa Lobos.
Arr.Duarte.
Basin Street Blues.
On the Sunny Side of the Street.
What a Wonderful World.
I Fall in Love Too Easily OR Sophisticated Lady..
Prelude No.2. or 5.
Villa-Lobos.
Toccata. Modern Guitar Music.
Josephs.
Gnossienne No.2.
Arr. Kraus.
Lento. 2nd Movement. Sonata for Guitar.
J.Feld.
OUP.
Eschig.
Wise Pub.
Page 41
Eschig.
Oxford.
Schirmer.
Satie.
OWN CHOICE.
Madronos.
The Weeping Willow.
kjAGMED approval required.
Torroba.
S.Joplin.
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
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.
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 42
6 Marks.
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. Refer to 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. Refer to the AGMED
HANDBOOK for requirements.
PART TWO:- PRACTICAL.
EXAMINATION TIME.
Maximum marks 100.
Minimum Pass 70 marks.
Honours. 90.
NO EXEMPTION can be granted from any part of this examination.
PERFORMANCE.
50 MINUTES.
FOUR LISTS REQUIRED. A.B.C. and D.
The full program must represent the styles of four different composers and periods.
A concert standard of performance will be expected.
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 select more works from the lists to provide a program of the required length.
The listed pieces can be used or replaced with works of a similar standard and style. It is necessary to submit the
planned ASSOCIATE program to the AGMED for approval.
Complete works must be performed.
At least ONE LIST is to be performed from memory, but any additional memory work by the candidate is optional.
LIST A.
20 Marks.
Recuerdos de la Alhambra.
Grand Etude.
Page 82.
Tempest. Allegro.
Page 93.
Lady Clifton's Spirit.
From Varietie of Lute Lessons. Vol. 5.
Minuet and Rondo.
Pieces de Clavecin.
Seven Pieces.
La Bourbonnoise OR Volte.
Studies. No 1, 3 or 5.
OWN CHOICE.
Arr.J.Castle.
Tarrega.
Edit. L. Bolotine.
F.Carulli.
F.Carulli.
Dowland.
Rameau.
Couperin.
Villa Lobos.
LIST B.
Ariel Pub.
Berben 1935.
Berben 1694.
erben 1844.
Segovia M.Eschig.
20 Marks.
Bone Chaos In The Castle (Contemporary)
Page 43
Mel Bay Pub.
Arr.J.Castle.
Mel Bay Pub.
Prelude and Fugue.
Concerto in E. GA 223. Two Movements.
Concerto No 3 in F.
Op.70. " "
Concerto in A.
" "
Master Collection of Classical Guitar Music.
Fugue in G.
Sonata. L83.
Sonata in C Major.
Op.15. OR Op.25.
Tombeau Sur La Mort. P.125. Baroque Guitar.
OWN CHOICE.
Page 14.
Page 15.
Any Edit.
Any Edit.
J.S.Bach.
Boccherini.
Giuliani.
Vivaldi.
H.Volpe.
F.Campion-Volpe.
Scarlatti.
F.Sor.
LIST C.
Col.CO 184B.
20 Marks.
Adelita and Music Box. Both.
Allemande and Gigue as one work.
Allemande and Gigue as one work.
Bach Suite No1
Clair De Lune.
Sonata. 3 Movements.
Romanza.
Bagatelle.
Mozarts Alla Turca
Pasacaglia.
Sonatina. GA 132.
Two Preludes as one work.
OWN CHOICE.
Arr. L.Boyd.
Buxtehude.
Froberger.
Page 53.
Page 57.
Page 67.
Arr.J.Castle.
Arr.J.Castle.
Paganini.
Paganini.
Marschner.
F.Tarrega. Hal Leonard.
Faber. F0227.
Faber.
BWV 1007
Debussy.MB93637-Castle.
Mel Bay Pub.
Burkhart.
Turina.
Debussy.
LIST D.
Univ.11959.
Schott.
Faber F0310.
20 Marks.
Andante.
Tres Cancionis Populaire Mexicanas.
Ponce.
Choro No.1.
Villa-Lobos.
Czardas.
Monti.
George Gershwin. Classical Guitar.
Arr. J.Duarte.
Any TWO to count as ONE.
Guitarcosmos 3
R.Brindle.
The Harp of David.
Passacaille.
Weiss
Recuerdas de la Alhambra.
Tarrega.
Sarabande Lointaine.
Rodrigo.
Scherzino Mexicano.
Ponce.
Toccata. Four Pieces.
Bettinelli.
Dancing Game: Rialto Bridge.
P.Fetler.
Serenade.
J.Stepleton.
A Nervous Promenade. From 'Serenades of the Unicorn' Page 35.
700 Hundred Years of Music for Classic Guitar.
Blain.
Danza Espanola No.5. Trans.
Blain.
Variations on French Theme.
F.Sor.
OWN CHOICE.
SIGHT READING.
At a standard commensurate with this Diploma.
Page 44
Schott.
Zerboni 7427.
Eischig 1113.
Mel Bay Pub.
Southern Music.
Colombia.
Ricordi.BA 1016.
MNS-Chappell
Schott.11388.
Schott.
Ricordi.
Eschig 1226.
Southern Music.
Berben 1811.
Schirmer.
E.Rautavaara.
Hansen-Castle.
Granados.
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.
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.
6 Marks.
1. Background of the composers and of the works performed. The period from which they come.
2. Questions on the Form, Key and Modulations and the general characteristics of the solos performed.
3. A knowledge of the construction and development of the Guitar. Its place in musical historical development.
***************************************************
Page 45
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 played 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. Candidates for this Licentiate
examination must have attained the age of 17 years by the date of the examination.
Refer to 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. Refer to 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.
PERFORMANCE.
FOUR LISTS REQUIRED. A.B.C and D.
The full program must represent the work of four different composers, styles and periods.
A recital program of about 40 minutes duration is mandatory. It is therefore possible that the candidate will find it
necessary to select more works from the Lists to provide a program of the required length.
The works shown in the Lists may be replaced with pieces of similar difficulty and style. The chosen Licentiate
program must be submitted to the AGMED for approval.
Complete works must be performed.
At least TWO LISTS must be performed from memory.
Any additional memory performance by the candidate is optional.
LIST A.
20 Marks.
Air and Variations.
Caprices. Op.1. Vol.1.
'La Frescobalda'
Nos. 1 to 12.
Chaconne. D Minor.
BWV 1004. Edit.
Douze Etudes for Guitar. No. 5,9,10,11 OR 12.
Fantasie No.7.
Varietie of Lute Lessons.
Grand Solo Op.14.
Grand Sonata.
Loure. Lute Suite No 4 in E.
Sonata in A Major. First Movement only.
Page 46
Frescobaldi.
Arr. T.Norman.
Any one.
Segovia.
Bach.
Villa-Lobos.
Dowland.
F.Sor.
Paganini.
Ed. Bruger. Bach.
Torroba.
Schott 158.
Paganini.Peters.66772a.
Schott.
Eschig.
Berben 1820.
UME 19670.
ZM1937.
Moseler.
Ricordi.
Sonata Romantica. GA 123.
Study on a Sonatina by Alard.
Tambourin. Pieces de Clavecin
OWN CHOICE.
Ponce.
Tarrega.
Rameau.
LIST B.
Schott.
Ricordi 11925.
Berben 1694.
20 Marks.
Fugue. Violin Sonata No 1.
Gavotte. 'Cello Suite No 6. GA 172.
Prelude. Arr. Segovia.
GA 173.
Suite in E Minor. Complete.
Suite No 1 OR No 5. From 6 'Cello Suites.
Sonata in G. L23. OR Sonata in D. L454.
Sonata for Lute in A Minor.
Sonata Op.15.
Variations 'O cara armonia'. GA 130.
OWN CHOICE.
Bach.
Bach.
Bach.
Bach.
Bach.
Scarlatti.
Weiss.
Guiliani.
F.Sor.
LIST C.
Novello 12.0098.04.
Schott.
Schott.
Faber F0126.
Schott.
Col.CO 184b.
MB93920 -Castle.
Univ.11320.
Schott.
20 Marks.
BACH Toccata and Fugue
Elegy.
Fantasy. Op.107.
La Campanelli.
La Maja de Goya
Nocturnal. Op.70.
Pavane pour une Infante defunte
Sonatina Op.51.
OWN CHOICE.
Rawsthorne.
Arnold.
Paganini.
Granados.
Britten.
Ravel.
Berkeley.
LIST D.
Oxford.
Faber.
Ricordi.
UME 19435.
Faber.
Schott.10968.
Chester.
20 Marks.
Fandanquillo.
From Suite Castellana.(GA 102)
Fandanquillo. GA 102.
Guitarcosmos 3.
Suite in 3 Movements.
Homenaje pour le tombeau Debussy.
Prelude No 2 in E.
Sevilla.
Toccata and Fugue
Bolero de los Picaros.
Valses Poeticos.
The entire work.
OWN CHOICE.
Torroba.
Turina.
R.Brindle.
de Falla.
Villa-Lobos.
Albeniz.
Schott 104.
Schott.
Schott.11388.
Chester.
Eschig 6732.
UME 21655.
Schirmer.
C.Surinach.
Granados.
SIGHT READING.
Fentone F289.
7 Marks.
At a standard commensurate with this Diploma.
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.
Page 47
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 Guitar 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 48
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 consist of TWO PARTS.
PART ONE. THEORETICAL.
Paper ONE. Grade V111 Theory of Music. Refer to the AGMED HANDBOOK for requirements.
Paper TWO. Teaching Principles.
Pass mark in both papers. 70 marks.
Honours. 90 marks minimum in both papers.
LICENTIATE DIPLOMA. TEACHERS.
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.
PERFORMANCE.
FOUR LISTS REQUIRED. A.B.C. and D.
The full program must represent the styles of four different composers and periods.
A recital program of at least 30 minutes duration is mandatory.
It is therefore possible that the candidate will find it necessary to select additional works from the Lists to provide a
program of the required length.
The works shown in the Lists may be replaced with pieces of similar difficulty and style.
The chosen Licentiate program must be submitted to the AGMED for approval.
The complete work must be presented.
MEMORY. At least ONE WORK must be presented from memory.
Page 49
Any additional memory performance by the candidate is optional.
LIST A.
See Licentiate (P) Lists in this Syllabus.
LIST B.
" "
" " " " " " " "
LIST C.
" "
" " " " " " " "
LIST D.
" "
" " " " " " " "
SIGHT READING. "
"
" " " " " "
EAR TESTS. " "
" " " " " " "
GENERAL KNOWLEDGE. " " " " " "
15 Marks.
15 Marks.
15 marks.
15 Marks.
7 Marks.
7 Marks.
6 Marks.
PRACTICAL DEMONSTRATION OF TEACHING PRINCIPLES.
20 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.
2. The candidate will be required to give a demonstration lesson to the Examiners using material from the Guitar
Syllabus 1985, from Preliminary standard through to Proficiency level.
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 Guitar development.
4. Candidates will be expected to demonstrate any technical work and exercises prescribed for the Guitar
examinations in the AGMED 1985 Syllabus. Also to discuss common student errors and to suggest means for their
correction.
5. Candidates will be asked to outline the reasons for Music Education and to discuss with the Examiners the
philosophy inherent in this concept.
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.
7. General questions on the History of Music, musical styles and different techniques used on the Guitar in the
performance of these styles.
8. To demonstrate to the Examiner's satisfaction a comprehensive knowledge of the history and construction of the
Guitar.
NOTE:- The Teaching Principles paper is a written extension of the above Viva Voce examination.
***************************************************
Page 50
FELLOWSHIP DIPLOMA F.Mus AGM RECITAL
CLASSICAL and 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 51

Classical Guitar Syllabus PDF - AGME Australian Guild of Music

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