Guitar

Guitar

SYLLABUS / 2011 EDITION

SYLLABUS / 2011 EDITION

Contents
Message from the President . . . . . . . . . . . . . . . . . . . . 5

Register for an Examination

Getting Started
Whats New? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Quick Guide to Online Examination
Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Contact Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Examination Sessions and Registration Deadlines . .

Online Registration . . . . . . . . . . . . . . . . . . . . . . . . .
Examination Fees . . . . . . . . . . . . . . . . . . . . . . . . . . .
Examination Centers . . . . . . . . . . . . . . . . . . . . . . . .
Examination Scheduling . . . . . . . . . . . . . . . . . . . . .

About Us

Examination Regulations

The Royal Conservatory . . . . . . . . . . . . . . . . . . . . . . .

The Royal Conservatory Examinations . . . . . . . . . . . .
The College of Examiners . . . . . . . . . . . . . . . . . . . . . .
Examinations Offered . . . . . . . . . . . . . . . . . . . . . . . .
Notable Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Excellence Since 1886 . . . . . . . . . . . . . . . . . . . . . . . .

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Quick Reference
Certificate Program Overview . . . . . . . . . . . . . . . . . . 9
Theory Examinations . . . . . . . . . . . . . . . . . . . . . . . . . 9
Co-requisites and Prerequisites . . . . . . . . . . . . . . . . 11

Grade-by-Grade Requirements
Technical Requirements . . . . . . . . . . . . . . . . . . . . . .
Preparatory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ARCT in Guitar Performance . . . . . . . . . . . . . . . . . .
Teachers ARCT . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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38
43
49
55
60
65
69

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Examination Procedures . . . . . . . . . . . . . . . . . . . . . .74

Credits and Refunds for Missed Examinations . . . . . 74
Candidates with Special Needs . . . . . . . . . . . . . . . . 75
Examination Results . . . . . . . . . . . . . . . . . . . . . . . . 75
Table of Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Supplemental Examinations . . . . . . . . . . . . . . . . . . . 77
Musicianship Examinations . . . . . . . . . . . . . . . . . . . 77
Practical Examination Certificates . . . . . . . . . . . . . . 77
School Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Medals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
RESPs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Examination Repertoire . . . . . . . . . . . . . . . . . . . . . . 78
Substitutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Thematic Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Resources
General Resources . . . . . . . . . . . . . . . . . . . . . . . . . . 83
General Reference Works . . . . . . . . . . . . . . . . . . . . . 84
Guitar Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Frequently Asked Questions

Practical Examinations . . . . . . . . . . . . . . . . . . . . . . . 86
Theory Co-requisites . . . . . . . . . . . . . . . . . . . . . . . . 86

Practical Examination Day

Checklist for Candidates
Before You Leave Home . . . . . . . . . . . . . . . . . . . . . .
Points to Remember . . . . . . . . . . . . . . . . . . . . . . . . .
What to Expect From a Guitar Examination . . . . . .
After the Examination . . . . . . . . . . . . . . . . . . . . . . .

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Message from the President

The Royal Conservatory was founded in 1886 with the idea that a single institution could
bind the people of a nation together with the common thread of shared musical experience.
More than a century later, we continue to build and expand on this vision.
Today, The Royal Conservatory is recognized in communities throughout North America for
outstanding service to students, teachers, and parents, as well as a strict adherence to high
academic standards through a variety of activitiesteaching, examining, publishing, research,
and community outreach.
Our students and teachers benefit from a curriculum based on more than one hundred years
of commitment to the highest pedagogical objectives. The strength of the curriculum is
reinforced by the distinguished College of Examinersa group of fine musicians and teachers
carefully selected from across Canada, the United States, and abroad for their demonstrated
skill and professionalism. A rigorous examiner apprenticeship program, combined with
regular evaluation procedures, ensures consistency and an examination experience of the
highest quality for candidates.
As you pursue your studies or teach others, you become not only an important partner
with The Royal Conservatory in the development of creativity, discipline, and goal-setting,
but also an active participant, experiencing the transcendent qualities of music itself. In a
society where our day-to-day lives can become rote and routine, the human need to find selffulfillment and to engage in creative activity has never been more necessary. The Conservatory
will continue to be an active partner and supporter in your musical journey of self-expression
and self-discovery.

Dr. Peter C. Simon

President

Getting Started
Whats New?
The Guitar Syllabus, 2011 Edition now features:
Over 150 new pieces
Candidates choice of fingering for technical requirements in Grades 8, 9, and 10
Changes to tempos and arpeggio patterns in technical requirements
Updated Teachers ARCT Viva Voce descriptions
Expansion of the Resources section

Visit examinations.rcmusic.ca to register.

Contact Us
Phone: 416-408-5019
Toll Free: 1-800-461-6058
Fax: 416-408-3151
273 Bloor Street West
Toronto, ON Canada M5S 1W2

Getting Started

About Us
The Royal Conservatory
The Royal Conservatory is a world-class institution recognized for high standards in teaching,
performance, examining, publishing, and research. It comprises seven divisions:
The Glenn Gould School
The Royal Conservatory School
Examinations
Learning Through the Arts
Young Artists Performance Academy
Performing Arts
The Frederick Harris Music Co., Limited

The Royal Conservatory Examinations

The Royal Conservatory Examinations forms the examinations branch of The Royal
Conservatory. It sets the standard for excellence in music education and reaches more than a
quarter of a million candidates annually by providing:
graded examinations that establish clear, progressive learning goals
internationally recognized certificates, diplomas, and medals
teacher development through workshops and communications

The College of Examiners

Examiners are highly trained professional musicians and theorists from across North America.
All examiners complete an Examiner Apprenticeship Program before being admitted to the
College of Examiners. Professional development and training continues throughout each
examiners career to ensure consistent examination standards throughout North America.

Examinations Offered
Practical Examinations
Accordion, Bassoon, Cello, Clarinet, Double Bass, Euphonium, Flute, French Horn, Guitar,
Harp, Harpsichord, Oboe, Organ, Percussion, Piano, Recorder, Saxophone, Speech Arts and
Drama, Trombone, Trumpet, Tuba, Viola, Violin, Voice

Theory Examinations
Rudiments, Harmony, Keyboard Harmony, History, Counterpoint, Analysis

Musicianship Examinations
Junior, Intermediate, Senior

Notable Alumni
Notable alumni include:

Isabel Bayrakdarian
Gryphon Trio
Aline Chrtien
Adrienne Clarkson
Bruce Cockburn
Naida Cole

David Foster
Glenn Gould
Robert Goulet
Norman Jewison
Lois Marshall
Oscar Peterson

Richard Raymond
Paul Shaffer
Mitchell Sharp
St. Lawrence String Quartet
Teresa Stratas
Jon Vickers
About Us

Read about the College

of Examiners, including
examiner biographies,
at
examinations.rcmusic.caa.

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Excellence Since 1886
1886
1887
1896
1898
1904
1906
1907
1916
1928
1935
1946

1947

1950
1959
1963
1979
1991
1995
2002
2003
2008
2009

The Toronto Conservatory of Music is founded.

The Conservatory officially opens with 200 students and 50 teachers, operating from
the two upper floors of a Yonge Street music store.
Affiliation with the University of Toronto enables preparation for university degree
examinations.
The Conservatory establishes its first external examinations centers in Southern
Ontario.
Frederick Harris establishes a music publishing company in London, England.
The Toronto Conservatory Orchestra is founded; two years later, this group becomes the
first Toronto Symphony Orchestra.
Approximately 1,500 students across Canada take Toronto Conservatory
examinationsmore than half from outside of Toronto.
The first piano repertoire book based on the Conservatory curriculum is published by
The Frederick Harris Music Co., Limited and distributed throughout Canada.
Composer Boris Berlin begins teaching at the Conservatory; he remains on the faculty
until his death in 2001.
The Examination System is introduced and subsequently accredited by the Ontario
Department of Education.
Pianist Glenn Gould receives an ARCT. In the same year, the Conservatory Opera
School is established; several years later it leads to the formation of the Canadian Opera
Company.
In recognition of its status as one of the Commonwealths greatest music schools, the
Conservatory receives a Royal Charter from King George VI, allowing it to be called The
Royal Conservatory of Music (RCM).
Jon Vickers enrolls in The RCM Opera School. Lois Marshall receives an Artist Diploma.
Teresa Stratas receives an Artist Diploma.
The RCM moves into its current facility, McMaster Hall, a building originally home to
the Toronto Baptist College and McMaster University.
The RCMs Orchestral Training Program and a program for musically gifted children
(Young Artists Performance Academy) are established.
The RCM re-establishes independence from the University of Toronto. Plans for
restoration and expansion of its Toronto facilities begin.
Learning Through the Arts, launched as a pilot project in 1994, expands into a national
initiative.
The RCM launches its Building National Dreams Campaign to expand its Toronto
facilities and build a state-of-the-art center for performance and learning.
RCM Examinations expands into the United States of America.
The Royal Conservatorys TELUS Centre for Performance and Learning opens.
The Royal Conservatory launches its Performing Arts Division and Koerner Hall opens.

About Us

Quick Reference
Certificate Program Overview
A progressive assessment program for every examination candidate
Internationally recognized certificates and diplomas are awarded for successful completion
of each practical level (study of an instrument or voice) and the required co-requisite theory
examinations. Candidates may enter the Certificate Program at any practical level from
Preparatory to Grade 10. The following table summarizes the examinations required for each
guitar certificate.
Certificates
Preparatory Guitar
Grade 1 Guitar
Grade 2 Guitar
Grade 3 Guitar
Grade 4 Guitar
Grade 5 Guitar
Grade 6 Guitar
Grade 7 Guitar
Grade 8 Guitar
Grade 9 Guitar
Grade 10 Guitar

Examinations Required
Preparatory Guitar
Grade 1 Guitar
Grade 2 Guitar
Grade 3 Guitar
Grade 4 Guitar
Grade 5 Guitar; Basic Rudiments
Grade 6 Guitar; Intermediate Rudiments
Grade 7 Guitar; Advanced Rudiments
Grade 8 Guitar; Advanced Rudiments
Grade 9 Guitar; Advanced Rudiments; Basic Harmony or Basic
Keyboard Harmony; History 1: An Overview
Grade 10 Guitar; Advanced Rudiments; Intermediate Harmony
or Intermediate Keyboard Harmony; History 1: An Overview;
History 2: Middle Ages to Classical

Diplomas

Examinations Required

ARCT in Guitar
Performance

Grade 10 Guitar; ARCT in Guitar Performance; Counterpoint;

Advanced Harmony or Advanced Keyboard Harmony; History 3:
19th Century to Present; Analysis
Grade 10 Guitar; Teachers ARCT; Counterpoint; Advanced
Harmony or Advanced Keyboard Harmony; History 3: 19th
Century to Present; Analysis

Teachers ARCT

Theory Examinations
Essential Tools for Musical Development
Candidates are encouraged to begin theory studies as early as possible.
Beginning in Grade 5, candidates must complete the required theory examinations in order
to receive Practical Examination Certificates.

Quick Reference

See the current edition

of the Theory Syllabus
for detailed theory
examination
requirements.

10
Overview of Theoretical Subjects
The following table lists all of the written theory examinations in the Certificate Program with
brief details including the length of the examination and a summary of the content.
Subject

Rudiments

Harmony and
Counterpoint

Analysis

History

Theory Examination Title

Preparatory Rudiments (1 hour)
Building blocks of music notation
Basic Rudiments (1 hour)
Elements of music for the beginner
Intermediate Rudiments (2 hours)
Continuation of basic rudiments
Advanced Rudiments (2 hours)
Continuation of intermediate rudiments and preparation for harmony
Introductory Harmony (2 hours)
Chord symbols; non-chord tones; elementary four-part and melodic writing
Basic Harmony (3 hours)
Four-part writing; melodic composition; harmonic and structural analysis in major and minor keys
or
Basic Keyboard Harmony (20 minutes)
Melodic improvisation; keyboard-style harmonization; accompaniment; melodic transposition;
harmonic and structural analysis
Intermediate Harmony (3 hours)
Four-part writing and melodic composition in major and minor keys; modulation; harmonic and
structural analysis of musical forms
or
Intermediate Keyboard Harmony (25 minutes)
Melodic improvisation; keyboard-style harmonization; modulation; accompaniment; melodic
transposition; harmonic analysis; C-clef reading
Counterpoint (3 hours)
Composition and analysis of simple counterpoint in Baroque style
Advanced Harmony (3 hours)
Advanced harmonic and contrapuntal techniques
or
Advanced Keyboard Harmony (30 minutes)
Melodic improvisation; keyboard-style harmonization; figured bass; accompaniment; melodic and
orchestral transposition; score reading
Analysis (3 hours)
Advanced harmonic and structural analysis of musical forms
History 1: An Overview (3 hours)
Introduction to styles, composers, and music from 1600 to the present
History 2: Middle Ages to Classical (3 hours)
Styles, composers, and music of the Medieval, Renaissance, Baroque, Rococo, and Classical eras
History 3: 19th Century to Present (3 hours)
Styles, composers, and music of the Romantic era to the present

Preparing for a Theory Examination

Theory examinations test music theory and knowledge of music history in a formal written
setting.
Each examination requires preparation with a qualified teacher.
Official Examination Papers, available at music retailers, are published annually by The
Frederick Harris Music Co., Limited to aid with examination preparation.

Quick Reference

11
Co-requisites and Prerequisites
The following table summarizes all the co-requisite and prerequisite examinations required
to obtain certificates for Grades 5 to 10 and the ARCT in Guitar Performance or the Teachers
ARCT. There are no prerequisite or co-requisite theory examinations for Preparatory to Grade 4.
Subject

Grades
5 6 7 8 9
Required Examinations (C = Co-requisite, P = Prerequisite)
Basic Rudiments
C
Intermediate Rudiments
C
Advanced Rudiments
C C C
Basic Harmony
C
Intermediate Harmony
Counterpoint
Advanced Harmony
Analysis
History 1: An Overview
C
History 2: Middle Ages to Classical
History 3: 19th Century to Present
Grade 10 Practical
Recommended Examinations
Preparatory Rudiments
Introductory Harmony
Alternative Examinations
Basic Keyboard Harmony
(can be substituted for Basic Harmony)
Intermediate Keyboard Harmony
(can be substituted for Intermediate
Harmony)
Advanced Keyboard Harmony
(can be substituted for Advanced
Harmony)
Junior Musicianship (can be substituted
for Grade 8 Ear Tests)
Intermediate Musicianship (can be substituted for Grade 9 Ear Tests)
Senior Musicianship (can be substituted
for Grade 10 and Teachers ARCT Ear
Tests)

10

Perf.
ARCT

Teachers
ARCT

P
C
C
C
P
P
C

P
C
C
C
P
P
C

C
C

C
C

C
C
C

Quick Reference

Candidates must
complete co-requisite
theory examinations
before or within five
years of the original
practical examination
to be eligible for the
practical certificate.

Candidates must
complete prerequisite
examinations at least
one session prior to
attempting the ARCT in
n
Guitar Performance or
the Teachers ARCT.

12

Grade-by-Grade Requirements
Technical Requirements
Studies
Studies need not be memorized, and no extra marks will be awarded for memory. For complete details on examination
requirements for studies, please consult the listings for each grade.
A selection of studies for Preparatory to Grade 8 is published in Bridges: A Comprehensive Guitar Series, Repertoire and Studies
(nine volumes) FHM.

Technical Tests
For complete information regarding technical tests, please refer to the charts for each grade. Complete technical tests are
published in Bridges: A Comprehensive Guitar Series, Guitar Technique FHM.

General Instructions

All scales and arpeggios are to be played from memory, ascending and descending.
Candidates must follow the fingering given in Bridges: A Comprehensive Guitar Series, Guitar Technique FHM.
Candidates should strive for a legato sound, evenness of tempo and volume, and quality of tone.
Candidates should be prepared to play all technical tests at or beyond the minimum metronome markings given in the
charts for each grade.

Please note that in Grades 6 to ARCT, candidates who use a cut-away guitar will have two marks deducted from the Technical Tests
section of the examination.

Scale Pattern Examples

Slur Scales
Single slurs

Compound triplet slurs

Tremolando Scales

Scales in 3rds

In sixteenth notes

In solid form

In triplet eighth notes

Scales in 6ths
In solid form

Technical Requirements

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Preparatory
Preparatory Requirements
Repertoire
first selection from the Syllabus list
second selection from the Syllabus list
Memory (3 marks per repertoire selection)
Technical Requirements
Studies: one study from the Syllabus list
Technical Tests
scales
arpeggios
Ear Tests
Clapback
Playback
Total possible marks (pass = 60)
Theory Co-requisites
none

Marks
62
28
28
6
28
14
14

10
5
5
100

Repertoire
Candidates must prepare two contrasting selections by
different composers from the following list.
Please see Examination Repertoire on p. 78 for important
information regarding this section of the examination.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Preparatory Repertoire and Studies FHM.
Barreiro, Elias
Classical Guitar Method, 1 WIL

Exercise 13
Blanger, Marc
Picettes DOZ
Dialogue (in La guitare dans tous ses tats, 1 DOZ)

Petit blues
Bell, Shawn
Elementary Studies for Guitar DOZ
Contentment

Sciapodus
Brindle, Reginald Smith
Guitarcosmos, 1 OTT

Aeolian Mode
Brown, James
Short Pieces and Studies JMB
A Distant Twang
Carcassi, Matteo
Mthode complte pour la guitare, op. 59

Andantino in C Major

Sicilienne

Carulli, Ferdinando
Mthode complte pour parvenir pincer de la guitare, op. 241

Waltz (no. 1)
Costantino, Frdric
Sept ballades enchantes DOZ

Flocons de neige
La fin de lt (in La guitare dans tous ses tats, 1 DOZ)
Domeniconi, Carlo
Klangbilder: 24 leichte Stcke fr Gitarre MRG
Klangbild 5 (Sound Picture 5)

Klangbild 13 (Sound Picture 13)

Klangbild 16 (Sound Picture 16)
Eikelboom, Niels
New Morning (in La guitare dans tous ses tats,
1 DOZ)
Ferrer, Jos
Coleccin 6a de ejercicios

Ejercicio
Gagnon, Claude

Carrousel
Gingras, Lyse

Valse dautomne (Autumn Waltz)

Kiselev, Oleg
Guitarists First Steps, 1 DOZ

Little Herdboy
Lambert, Florian

Danse des les (Dance of the Islands)

Le Roy, Adrian
Tiers livre de tablature de guiterre

Bransle de Poitou
Mertz, Johann Kaspar

First Exercise on the E String, from Exercises on the

E String
Neusidler, Hans

Dutch Dance
Ogawa, Takashi
Petit album vocateur et facile, 1 DOZ

Oasis Express DOZ

Rak, tepna
Jeux sur 6 cordes LEM
Chansonette
Chanson bohmienne
Chanson slovaque
Furiant
Rak Minute Solos PTN

Moonlight
Shearer, Aaron
Classic Guitar Technique, 3rd ed., 1 ALF

Moorish Dance

Preparatory

14
Summers, Richard
Aeolian Sightings (in Music for Classical Guitar, 1 TGI)

The Carousel Waltz

Dreams

Eight
Viard, Bruno
la cour dAlinor (in La guitare dans tous ses tats,
1 DOZ)
Zenamon, Jaime
pigramme I MRG

Torito
Waltz

Technical Requirements
Please see Technical Requirements on p. 12 and Bridges:
A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the
examination.

Studies
Candidates must prepare one study from the following list.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Preparatory Repertoire and Studies FHM.

Brindle, Reginald Smith

Guitarcosmos, 1 OTT
Three Arpeggio Studies
no. 1
Brown, James
Short Pieces and Studies JMB
Study
Camisassa, Claudio

la manire bulgare (In Bulgarian Style)

Carulli, Ferdinando
Mthode complte pour parvenir pincer de la guitare,
op. 241

Andante in C Major
Iannarelli, Simone
20 tudes faciles DOZ

White Horse
Jackman, Richard Miles
Lyrical Studies

Lyrical Study No. 4

Lyrical Study No. 9

Lyrical Study No. 14

Leclercq, Norbert
Dune (in La guitare dans tous ses tats, 2 DOZ)
Loncar, Miroslav
Pieces for Guitar DOZ
Barcarola (in La guitare dans tous ses tats, 1 DOZ)

Traditional

Ukrainian Melody

McFadden, Jeffrey

The Flask JMF

Barreiro, Elias
Classical Guitar Method, 1 WIL
Exercise 15
Exercise 17

Sagreras, Julio
Las primeras lecciones RIC

Lesson 46

Lesson 48

Lesson 61

Lesson 62

Bell, Shawn
Elementary Studies for Guitar DOZ

Ninou

A Simple Dialogue

Preparatory

Shearer, Aaron
Classic Guitar Technique, 3rd ed., 1 ALF

Etude in A Minor (no. 6)

Prelude (no. 9)

15
Technical Tests
Candidates should consult Technical Tests on p. 12 and Bridges: A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the examination. Take particular note of the Introduction on p. 4 of
Guitar Technique.
Candidates must prepare the scales and arpeggio patterns listed in the following chart. All technical tests are to be fingered
exactly as specified in Guitar Technique. Please note that all technical tests must be memorized.
All scales are to be played ascending and descending, at or beyond the minimum tempos specified in the chart and in
Guitar Technique. Candidates should also note the required note values, right-hand fingering, and final chords listed in the
chart. Diatonic and tremolando scales are to be played with both free stroke and rest stroke.
Scales
Diatonic Scales
Major
Minor
(harmonic and melodic)
Tremolando Scales
Major
Minor
(harmonic and melodic)
Arpeggio Patterns
See Guitar Technique FHM p. 7

Keys

Range

C, G
A, E

1 octave

C, G
A, E

1 octave

Tempo

Note Values RH Fingering Final Chord

im or mi
ma or am

tonic (I)

= 80

im or mi
ma or am

tonic (I)

= 56

Ear Tests
Clapback

Playback

Candidates will choose to clap, tap, or sing the rhythm of

a short melody after the examiner has played it twice. The
second measure will consist of only one note.

Candidates will be asked to play back a melody based

on the first three notes of a major scale on their own
instrument. The melody will move in only one direction
(up or down) and will contain a repeated note and stepwise
motion. The examiner will name the key, play the tonic
triad once, and play the melody twice.

Time
Signatures
,
Example only

Note Values

, ,

, ,

Approximate Length
two measures

Beginning Note
tonic or mediant

Approximate Keys
Length
four notes
C, G major

Example only

Preparatory

16

Grade 1
Grade 1 Requirements
Repertoire
first selection from the Syllabus list
second selection from the Syllabus list
Memory (3 marks per repertoire selection)
Technical Requirements
Studies: one study from the Syllabus list
Technical Tests
scales
arpeggios
Ear Tests
Clapback
Playback
Total possible marks (pass = 60)
Theory Co-requisites
none

Marks
62
28
28
6
28
14
14

10
5
5
100

Repertoire
Candidates must prepare two contrasting selections by
different composers from the following list.
Please see Examination Repertoire on p. 78 for important
information regarding this section of the examination.

Carbajo, Roque
Au coeur des cordes DOZ

Fleur de lotus
Carulli, Ferdinando

Country Dance

Poco Allegretto, op. 246

Mthode complte pour parvenir pincer de la guitare,
op. 241

Andante (no. 5)

Waltz (no. 4)
Recueil facile, progressif et doigt, op. 50

Valse (no. 7)
Vingt-quatre morceaux trs faciles, op. 121

Anglaise (no. 6)

Waltz (no. 1)
Coghlan, Michael

Quasars

Travellin
Demillac, Yvon
Images DOZ

Vacances
Diabelli, Anton
Vorstragsstcke fr Anfnger, op. 39

Andantino (no. 2)

Bullets used to denote selections for examination purposes:

one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 1 FHM.

Domeniconi, Carlo
Klangbilder: 24 leichte Stcke fr Gitarre MRG

Klangbild 11 (Sound Picture 11)

24 Prludien HAA

Minuetto

Ninna-Nanna (Lullaby)

Anonymous

Bohemian Folksong

Calleno costure me

What If a Day, a Month, or a Year

Eikelboom, Niels
Irish Dance (in La guitare dans tous ses tats, 2 DOZ)
Under the Tree (in La guitare dans tous ses tats, 2
DOZ)

Andriaesen, Emanuel

Branle englese (arr. Paul Gerrits MOS)

Gagnon, Claude
Chanson triste (Sad Song) (no. 6 in The Magic Guitar:
Very Easy Pieces, 1 DOM)

Chanson vieillotte (Old-fashioned Song)

Etude (no. 9 in The Magic Guitar: Very Easy Pieces, 1
DOM)

Beauvais, William
Guitar Pastels, 1 CAV
Dance 1
Bell, Shawn
Elementary Studies for Guitar DOZ

Menuet

Brown, James

Big City Blues

Giuliani, Mauro
Douze cossaises pour la guitare, op. 33

cossaise (no. 2)

cossaise (no. 4)
cossaise (no. 10)
Le papillon pour la guitarre, op. 50

Andantino (no. 1)

Calatuyud, Bartolom
Cuatro piezas faciles para guitarra UME

Waltz

Hartog, Cees
Toca Guitarra AED

Cancin del limpiabotas (Song of the Shoe-shiner)

Camisassa, Claudio

Andaluza

Horetzky, Felix

Amusement, op. 18, no. 10

Bouchard, Rmi

Les marionnettes (arr. Claude Gagnon)

McFadden, Jeffrey

Midnight in Sevilla
Grade 1

17
Molino, Francesco
La terpsichore de socit

Anglaise I (no. 11)

Barreiro, Elias
Classical Guitar Method, 1 WIL
Exercise 19 and Exercise 20

Rak, tepna
Jeux sur 6 cordes LEM
Petite chanson

Blanger, Marc
Funambule (in La guitare dans tous ses tats, 2 DOZ)

Savio, Isaias
Ten Brazilian Folk Tunes CLM

Lullaby
Shearer, Aaron
Classic Guitar Technique, 3rd ed., 1 ALF
Prelude (no. 15a)
Prelude (no. 16a)
Prelude (no. 18)
Sor, Fernando
Introduction ltude de la guitare, op. 60
Allegretto (no. 8)
Summers, Richard
Akemi (in Music for Classical Guitar, 2 TGI)
Tansman, Alexandre
Douze pices faciles, 2 ESC
Promenade (no. 1)
Tisserand, Thierry
Rococo (in La guitare dans tous ses tats, 2 DOZ)
Zenamon, Jaime
pigramme I MRG

Soando (Dreaming)

Technical Requirements
Please see Technical Requirements on p. 12 and Bridges:
A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the
examination.

Studies
Candidates must be prepared to play one study from the
following list.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 1 FHM.
Aguado, Dionisio
Nuevo mtodo para guitarra UME, TEC

Andante in E Minor

Lesson 6

Lesson 7

Bell, Shawn
Elementary Studies for Guitar DOZ

High Mountains and Old Trees

Carcassi, Matteo
Etude 1 (in Classic Guitar for Young People, 3 LEE)
Carulli, Ferdinando
18 Petits morceaux, op. 211

Andante grazioso (no. 2)

Diabelli, Anton
Vorstragsstcke fr Anfnger, op. 39

Moderato in D Major (no. 15)

Domeniconi, Carlo
24 Prludien HAA

Dance
Sagra (Festival)
Gagnon, Claude

Study in A Minor
Iannarelli, Simone
20 tudes faciles DOZ

La settima luna

Souvenir dautomne
Jackman, Richard Miles
Lyrical Studies

Lyrical Study No. 13

Kraft, Norbert

Ostinato
McAllister, Peter

Jazzy Blues
Sagreras, Julio
Las primeras lecciones RIC
Lesson 49
Lesson 60
Lesson 63

Lesson 64

Lesson 66
Shearer, Aaron
Classic Guitar Technique, 3rd ed., 1 ALF
Etude (no. 12)
Prelude (no. 12)
Trrega, Francisco

Study in D Major, TI ii-40

Grade 1

18
Technical Tests
Candidates should consult Technical Tests on p. 12 and Bridges: A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the examination. Take particular note of the Introduction on p. 4 of
Guitar Technique.
Candidates should be prepared to play the scales and arpeggio patterns listed in the following chart. All technical tests are
to be fingered exactly as specified in Guitar Technique. Please note that all technical tests must be memorized.
All scales are to be played ascending and descending, at or beyond the minimum tempos specified in the chart and in
Guitar Technique. Candidates should also note the required note values, right-hand fingering, and final cadences listed in the
chart. Diatonic, chromatic, and tremolando scales are to be played with both free stroke and rest stroke.
Scales
Diatonic Scales
Major
Minor
(harmonic and melodic)
Chromatic Scale
Tremolando Scales
Major
Minor
(harmonic and melodic)

Keys

Range

D, F
G

1 octave
2 octaves

B, D
E
on D
D, F
G
B, D

1 octave
2 octaves
1 octave
1 octave
2 octaves
1 octave

2 octaves

Tempo

Note Values RH Fingering Final

Cadence

= 100

im or mi
ma or am

perfect
(VI)

= 88

im or mi
ma or am

perfect
(VI)

Arpeggio Patterns
See Guitar Technique FHM p. 10

Ear Tests
Clapback

Playback

Candidates will choose to clap, tap, or sing the rhythm of a

short melody after the examiner has played it twice.

Candidates will be asked to play back a melody based

on the first three notes of a major scale on their own
instrument. The examiner will name the key, play the tonic
triad once, and play the melody twice.

Time Signatures
,
Example only
1

Approximate Length
three to four measures

Beginning Note

Approximate
Length
tonic, supertonic, four notes
or mediant
Example only

Grade 1

Keys
C, G, F major

19

Grade 2
Grade 2 Requirements
Repertoire
one selection from List A
one selection from List B
Memory (3 marks per repertoire selection)
Technical Requirements
Studies: two studies from the Syllabus list
Technical Tests
scales
arpeggios

Marks
62
28
28
6
28
14
14

Ear Tests
Clapback
Intervals
Playback

10
3
3
4

Total possible marks (pass = 60)

Theory Co-requisites
None

100

Repertoire
Candidates must prepare two contrasting selections: one
from List A and one from List B.
Please see Examination Repertoire on p. 78 for important
information regarding this section of the examination.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 2 FHM.

List A
Traditional, Renaissance, and Baroque
Repertoire
Anonymous

Packingtons Pound (arr. J. Andrew Creaghan)

Traditional
Drunken Sailor (arr. Richard Summers, in Music for
Classical Guitar, 3 TGI)

Early One Morning (arr. Richard Summers, in Music

for Classical Guitar, 3 TGI)

Good King Wenceslas (arr. Jeffrey McFadden)

Lynn Onn (The Ash Grove) (arr. Paul Gerrits)

Scarborough Fair (arr. Norbert Kraft)

Simple Gifts (arr. Richard Summers, in Music for
Classical Guitar, 3 TGI)
Bach, Johann Sebastian
Suite for Solo Cello No. 4, BWV 1010

Bourre II (arr. J. Andrew Creaghan)

Calvi, Carlo, attr.

Intavolatura di chittara e chitarriglia

Canario

Pavaniglia
Ford, Thomas

There Is a Lady Sweet and Kind

Gagnon, Claude
Dj vu DOZ
Chanson Slave (in La guitare dans tous ses tats, 2
DOZ; no. 9 in Le petit livre de guitare, 1 DOZ)
Logy, Johann Anton
Little Suite in C Major

Gigue
Morlaye, Guillaume
Le premier livre de guiterne

Allemande (arr. Jeffrey McFadden)

Gaillarde (arr. Jeffrey McFadden)

Le seconde livre de guiterne

Bransle (arr. Jeffrey McFadden)

Rosseter, Philip

What Is a Day
Sanz, Gaspar
Instruccin de msica sobre la guitarra espaola, 2

Espaoleta
Villano
Tisserand, Thierry

Coutances

List B
Classical, Romantic, 20th-, and 21st-century
Repertoire
Aguado, Dionisio
Nuevo mtodo para guitarra UME, TEC

Waltz
Beethoven, Ludwig van
Ode to Joy (arr. Richard Summers, in Music for
Classical Guitar, 3 TGI)
Bell, Shawn
Moderato (in La guitare dans tous ses tats, 1 DOZ)
Elementary Studies for Guitar DOZ

Rverie
Camisassa, Claudio
Blues en do (in La guitare dans tous ses tats, 2 DOZ)
Pai mis changuitos DOZ
La ligamos (Milonga) DOZ
Carcassi, Matteo
Sauteuse (in Carcassi-Brevier, 1 OTT)

Grade 2

20
Carulli, Ferdinando
18 Petits morceaux, op. 211
Andante (no. 7) (no. 21 in Carulli-Brevier, 1 OTT)
Mthode complte pour parvenir pincer de la guitare,
op. 241

Andante (no. 18)

Andantino (no. 20)

Waltz (no. 24)

Waltz
Costantino, Frdric
Sept ballades enchantes DOZ
La valse des oursons (in La guitare dans tous ses tats,
2 DOZ)
Diabelli, Anton
Vorstragsstcke fr Anfnger, op. 39
Allegretto (no. 6)
Domeniconi, Carlo
Klangbilder: 24 leichte Stcke fr Gitarre MRG

Klangbild 24 (Sound Picture 24)

24 Prludien HAA

Equilibrato (Balance)

Nostalgia

Ruscello (Brook)
Gagnon, Claude
Adagio (no. 5 in The Magic Guitar: Easy Pieces, 1 DOM)
Giuliani, Mauro
Douze cossaises pour la guitare, op. 33
cossaise (no. 9)

cossaise (no. 11)

Le papillon pour la guitarre, op. 50

Allegro (no. 13)

Horetzky, Felix

Amusement, op. 18, no. 9

Kiselev, Oleg
Guitarists First Steps, 1 DOZ
A Dream in a Train (in La guitare dans tous ses tats, 2
DOZ)
Koch, Gareth
Viva Flamenco DOB
Rumba
Kraft, Norbert

Ancient Drums
Kffner, Joseph

Arietta, op. 168, no. 43

Lveille, Claude
Soir dhiver (arr. Claude Gagnon, no. 6 in Chansons et
danses populaires DOM)

Grade 2

Mertz, Johann Kaspar

Studies in Style

Romanze (no. 6)
Molino, Francesco
La terpsichore de socit
La fanfare (no. 1)
La srieuse (no. 4)
Montreuil, Grard
Divertissements pour guitare, 1 DOM
Bahamas
Calypso
Carrousel
Congo
Romance

Tango pour Mario

Ogawa, Takashi
Petit album vocateur et facile, 2 DOZ
Aux temps lointains (in La guitare dans tous ses tats, 1
DOZ)
Sor, Fernando
Introduction ltude de la guitare, op. 60
Andantino (no. 6) (no. 7 in The Magic Guitar: Easy
Pieces, 1 DOM)

Lesson 13
Vingt-quatre exercises trs faciles, op. 35

Andante (no. 1)

Andantino (no. 2)
Vingt-quatre leons progressives, op. 31

Lesson (no. 1)
Vingt-quatre petites pices progressives, op. 44

Allegretto (no. 2)

Andante (no. 1)
Summers, Richard

A Memory
Tansman, Alexandre
Douze morceaux trs faciles, 2 ESC
Le Perroquet
Romance
Douze pices faciles, 1 ESC
Chant lointain (no. 1)
Petite marche militaire (no. 5)
Sarabande (no. 3)
Douze pices faciles, 2 ESC
Air populaire (no. 4)
Bote joujoux (no. 3)
Zenamon, Jaime
pigramme I MRG

Calmo

21
Technical Requirements
Please see Technical Requirements on p. 12 and
Bridges: A Comprehensive Guitar Series, Guitar Technique
FHM for important information regarding this section of
the examination.

Studies
Candidates must be prepared to play two contrasting studies
by different composers from the following list.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 2 FHM.
Aguado, Dionisio

Study in A Minor
Nuevo mtodo para guitarra UME, TEC

Exercise No. 10
Beauvais, William
Guitar Pastels, 1 CAV
Dawn
Benedict, Robert
Twenty Fantasy Etudes, 1 CAV
no. 1
no. 3
Brown, James
Short Pieces and Studies JMB

Very Scary Bass Study

Carcassi, Matteo
Mthode complte pour la guitare, op. 59

Moderato (part 3, no. 11)

Carulli, Ferdinando

Moderato
Mthode complte pour parvenir pincer de la guitare,
op. 241

Andantino (no. 19)

Coghlan, Michael

The Blue Knight

Corts, Juan Manuel
El vals de los tteres (in La guitare dans tous ses tats, 2
DOZ)
Coste, Napolon
Andantino (in Sor, Mthode pour la guitare, Coste
edition)

Demillac, Yvon
Ddicace (in La guitare dans tous ses tats, 2 DOZ)
Diabelli, Anton
Vorstragsstcke fr Anfnger, op. 39
Moderato (no. 23)
Scherzo (no. 17)
Study (no. 10)
Domeniconi, Carlo
24 Prludien HAA

Semplice (Simple)
Gagnon, Claude
Dj vu DOZ
Bonsa (in La guitare dans tous ses tats, 2 DOZ; no. 8
in Le petit livre de guitare, 1 DOZ)
Gallant, Pierre

Study in Imitation
Giuliani, Mauro
Dix-huit leons progressives, op. 51 TEC
Maestoso (no. 1)
Jackman, Richard Miles

Folk Song
Kraft, Norbert

Study in C Major
Loncar, Miroslav
Ten Studies DOZ
Study (in La guitare dans tous ses tats, 2 DOZ)
Sagreras, Julio
Las primeras lecciones RIC
Lesson 53
Lesson 54
Lesson 55

Lesson 65

Lesson 75
Sor, Fernando
Mthode pour la guitare

Andantino

First Exercise in 6ths

Trrega, Francisco
Study, TI iii-32
Vettorazzo, Franco
13 Composizioni per giovani chitarristi SMC
Quartine
Scale
Studietto

Grade 2

22
Technical Tests
Candidates should consult Technical Tests on p. 12 and Bridges: A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the examination. Take particular note of the Introduction on p. 4 of
Guitar Technique.
Candidates should be prepared to play the scales and arpeggio patterns listed in the following chart. All technical tests are
to be fingered exactly as specified in Guitar Technique. Please note that all technical tests must be memorized.
All scales are to be played ascending and descending, at or beyond the minimum tempos specified in the chart and in
Guitar Technique. Candidates should also note the required note values, right-hand fingering, and final cadences listed in the
chart. Diatonic, chromatic, and tremolando scales are to be played with both free stroke and rest stroke.
Scales
Diatonic Scales
Major
Minor
(harmonic and melodic)
Chromatic Scale
Tremolando Scales
Major
Minor
(harmonic and melodic)

Keys

Range

C, G, A

1 octave

E, F

1 octave

A
on A

2 octaves
1 octave

C, G, A
E, F

1 octave
1 octave

2 octaves

Tempo

Note Values RH Fingering Final Cadence

= 120

perfect
(VI)

im or mi
ma or am

= 96

im or mi
ma or am

perfect
(VI)

Arpeggio Patterns
See Guitar Technique FHM p. 13

Ear Tests
Clapback

Playback

Candidates will choose to clap, tap, or sing the rhythm of a

short melody after the examiner has played it twice.

Candidates will be asked to play back a melody based on

the first five notes of a major scale on their own instrument.
The melody may include skips of a 3rd. The examiner will
name the key, play the tonic triad once, and play the melody
twice.

Time Signatures
,

Approximate Length
three to four measures

Example only
1

Beginning Note
tonic or dominant
Example only
1

Intervals
Candidates will be asked to identify the following intervals.
The examiner will play each interval once in broken form.
or
Candidates may choose to sing or hum the following
intervals. The examiner will play the first note once.
Above a Given Note
major 3rd
perfect 5th

Grade 2

Approximate
Length
five notes

Keys
C, G, F major

23

Grade 3
Grade 3 Requirements
Repertoire
one selection from List A
one selection from List B
one selection from List C
Memory (2 marks per repertoire selection)
Technical Requirements
Studies: two studies from the Syllabus list
Technical Tests
scales
arpeggios
Ear Tests
Clapback
Intervals
Playback
Sight Reading
Playing
Clapping
Total possible marks (pass = 60)
Theory Co-requisites
None

Marks
60
18
18
18
6
20
10
10

10
3
3
4
10
7
3
100

Traditional

Danse de village (arr. Claude Gagnon)

Greensleeves (arr. Norbert Kraft)

Irish Jig (arr. Claude Gagnon, no. 2 in Chansons et
danses populaires DOM)

Mary Hamilton (arr. Peter Hudson)

Bach, Johann Sebastian
Suite in G Minor, BWV 822

Minuet (arr. Norbert Kraft)

Byrd, William
Sellingers Round (arr. Philip Rodgers, in Elizabethan
Melodies, 1 OTT)
Calvi, Carlo
Calvi: Fifteen Compositions ZRB
Allemanda
Aria di Fiorenza
Dowland, John

Awake, Sweet Love

Handel, George Frideric

Prelude in C Major (arr. Norbert Kraft, from Sonata

in C Major in Tunes for Mr. Clays Musical Clock, set 2,
HWV 598)

Repertoire

Hove, Joachim van den

Bouffon (no. 6 in Le petit livre de guitare, 2 DOZ)

Candidates must prepare three selections by different

composers: one from List A, one from List B, and one from
List C.

Le Roy, Adrian
Premier livre de tablature de guiterre

Almande La mon amy la

Please see Examination Repertoire on p. 78 for important

information regarding this section of the examination.

Neusidler, Hans
Unser Kchin kan auss der Massen (ed. Bruno
Tonazzi, in Arie e Danze RIC)
Welscher Tanz Wascha Mesa (transc. Paul Gerrits,
no. 2 in Music for Solo Guitar, 1 DOM)

Bullets used to denote selections for examination purposes:

one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 3 FHM.

List A
Traditional, Renaissance, and Baroque
Repertoire
Anonymous
Fortune My Foe (arr. Philip Rodgers, in Elizabethan
Melodies, 1 OTT)
John Come Kiss Me Now (arr. Philip Rodgers, in
Elizabethan Melodies, 1 OTT)
Rogero (arr. Philip Rogers, in Elizabethan Melodies, 1
OTT)
Sarabande (no. 17 in The Magic Guitar: Easy Pieces, 1
DOM)

Sarabande (arr. Paul Gerrits)

Phalse, Pierre
Passameze (no. 7 in Le petit livre de guitare, 2 DOZ )
Sanz, Gaspar
Instruccin de msica sobre la guitarra espaola, 1

Espaoleta
Vise, Robert de
Suite No. 7 in C Major

Minuet
Suite No. 12
Minuet

List B
Classical and Romantic Repertoire
Carcassi, Matteo
Mthode complte pour la guitare, op. 59

La chasse (The Hunt) (part 3, no. 30)

Marsch (no. 24) (in Carcassi-Brevier, 1 OTT)
Two Swiss Folk Songs (nos. 11 and 12)
(in Carcassi-Brevier, 1 OTT)

Grade 3

24
Carulli, Ferdinando
Andante (no. 21 in Carulli: Studi per chitarra ZRB)
Larghetto (no. 11 in Carulli: Studi per chitarra ZRB)
Mthode complte pour parvenir pincer de la guitare,
op. 241

Andante (no. 17)

Andante (no. 12) (no. 35 in Carulli-Brevier, 2 OTT)
Andantino grazioso (no. 39)
Poco allegretto (no. 18) (no. 41 in Carulli-Brevier, 2
OTT)
Le rpertoire des lves, op. 124
Menuett and Trio (no. 20) (no. 48 in Carulli-Brevier, 2
OTT)

Waltz (no. 23)

Diabelli, Anton
Menuett (ed. Luigi Oreste Anzaghi, in Antologia per
Chitarra RIC)
Giuliani, Mauro
The Butterfly (in Classic Guitar for Young People, 3 LEE)
Dodici monferrine per chitarra, op. 12 ZRB

Monferrina (no. 1)
Monferrina (no. 3)
Monferrina (no. 7)
Koch, Gareth
Viva Flamenco DOB
Granadinas
Malaguea
Mertz, Johann Kaspar
Studies in Style

Andante (no. 3)
Paganini, Nicol
Sonata No. 26

1st movement: Minuet

Schumann, Robert
Album fr die Jugend, op. 68

Stckchen (Little Piece) (no. 5) (arr. Norbert Kraft)

Sor, Fernando
Introduction ltude de la guitare, op. 60

Allegrettto (no. 7)

Lesson 5
Vingt-quatre exercises trs faciles, op. 35
Andante (no. 14)
Vingt-quatre petites pices progressives, op. 44

Andantino (no. 3)

Andantino (no. 5)

List C
Late Romantic, 20th-, and 21st-century
Repertoire
Andres, Marc
Cancin EAG
Bouchard, Rmi

Andante

Grade 3

Brown, James

Bells
Carbajo, Roque
Au coeur des cordes DOZ
Papillons (in La guitare dans tous ses tats, 2 DOZ)
Coghlan, Michael

The Blue Calliope

Demillac, Yvon
Marines DOZ
Chanson de sable (in La guitare dans tous ses tats, 3
DOZ)
Domeniconi, Carlo
24 Prludien HAA

Danza del gatto (Dance of the Cat)

Gagnon, Claude

Les blues des grenouilles (The Frog Blues)

Kiselev, Oleg
Guitarists First Steps, 1 DOZ
Forgotten Harpsichord (in La guitare dans tous ses
tats, 2 DOZ)
Kraft, Norbert

Barcarolle
Montreuil, Grard
Divertissements pour guitare, 1 DOM

Miami
Divertissements pour guitare, 2 DOM
Dolors
Emmanuelle
Pascale
So Paolo
Ogawa, Takashi
Trois paysages, huit promenades DOZ
Paysage 1 (in La guitare dans tous ses tats, 3 DOZ)
Savio, Isaias
Ten Brazilian Folk Tunes CLM
Maracatu
Modinha

Samba-Lel
Tansman, Alexandre
Douze morceaux trs faciles, 2 ESC
Petit air polonais
Douze pices faciles, 1 ESC
Intermezzo (no. 10)
Srnade (no. 11)
Douze pices faciles, 2 ESC
Barcarolle (no. 10)
Petit chant (no. 6)
Valsette (no. 9)
Tisserand, Thierry

Rumba Gatelle (in La guitare dans tous ses tats, 2

DOZ)

25
Technical Requirements
Please see Technical Requirements on p. 12 and Bridges:
A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the
examination.

Studies
Candidates should be prepared to play two contrasting
studies by different composers from the following list.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 3 FHM.
Aguado, Dionisio
Nuevo mtodo para guitarra UME, TEC

Lesson 7

Lesson 15: Waltz

Beauvais, William
Primary Colours ECH
Mirror Dance
Benedict, Robert
Twenty Fantasy Etudes, 1 CAV
one of nos. 2, 4, 5
Blum, Carl
Studien fr die Gitarre, op. 44

Andante (no. 1)

Andantino (no. 3)
Bosch, Jacques
Six pices faciles, op. 89

Premire guagirana (no. 2)

Brouwer, Leo
Estudios sencillos (tudes simples) ESC
one of nos. 1, 2, 4
Carulli, Ferdinando
Vingt-quatre prludes, op. 114

Allegretto (no. 9)

Diabelli, Anton
Vorstragsstcke fr Anfnger, op. 39

Study in F Major (no. 27)

Dittrich, Fr.
24 beliebte Stcke fr die Gitarre allein eingericht, op. 1

Joseph und seine Brder

Domeniconi, Carlo
Homage St-Exupry HAA
The Lamplighter
Ferrer, Jos
Coleccin 6a de ejercicios

Ejercicio
Giuliani, Mauro
Studio per la chitarra, op. 1

Andantino mosso (part 4, no. 3)

Jackman, Richard Miles
Through the Keys

Recognition
McFadden, Jeffrey

Volatility JMF
Piris, Bernard
Airs de famille, 1 DOZ

Un parfum qui berce

Sagreras, Julio
Las primeras lecciones RIC

Lesson 80
one of nos. 67, 72, 80, 82, 83, 84, 85
Sor, Fernando
Mthode pour la guitare

Fourth Exercise for 6ths

Vingt-quatre petites pices progressives, op. 44
Andante (no. 11)

Andantino (no. 9)
Summers, Richard
Daybreak (in Music for Classical Guitar, 1 TGI)
Trrega, Francisco

Study in C Major, TI ii-26

Grade 3

26
Technical Tests
Candidates should consult Technical Tests on p. 12 and Bridges: A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the examination. Take particular note of the Introduction on p. 4 of
Guitar Technique.
Candidates should be prepared to play the scales and arpeggio patterns listed in the following chart. All technical tests are
to be fingered exactly as specified in Guitar Technique. Please note that all technical tests must be memorized.
All scales are to be played ascending and descending, at or beyond the minimum tempos specified in the chart and in
Guitar Technique. Candidates should also note the required note values, right-hand fingering, and final cadences listed in the
chart. Diatonic, chromatic, and tremolando scales are to be played with both free stroke and rest stroke.
Scales
Diatonic Scales
Major
Minor
(harmonic and melodic)
Chromatic Scale
Tremolando Scales
Major
Minor
(harmonic and melodic)

Keys

Range
1 octave

D, B
E
B, C
G
on A

2 octaves
1 octave
2 octaves
2 octaves

D, B

1 octave

E
B, C

2 octaves
1 octave

2 octaves

Tempo

Note Values RH Fingering Final Cadence

= 69

perfect
(VI)

im or mi
ma or am

= 108

im or mi
ma or am

perfect
(VI)

Arpeggio Patterns
See Guitar Technique FHM p. 17

Ear Tests

Playback

Clapback
Candidates will choose to clap, tap, or sing the rhythm of a
short melody after the examiner has played it twice.
Time Signatures
,

Candidates will be asked to play back a melody based on

the first five notes of a major scale on their own instrument.
The examiner will name the key, play the tonic triad once,
and play the melody twice.

Approximate Length
four measures

Beginning Note
tonic or mediant

Example only
1

Example only
1

2
2

Intervals
Candidates will be asked to identify the following intervals.
The examiner will play each interval once in broken form.
or
Candidates may choose to sing or hum the following
intervals. The examiner will play the first note once.
Above a Given Note
major 3rd
perfect 5th
perfect octave
Grade 3

Below a Given Note

minor 3rd
perfect 5th

Approximate
Length
five notes

Keys
C, G, D, F major

27
Sight Reading
Playing

Clapping

Candidates will be asked to play a short composition at

sight.

Candidates will be asked to clap or tap a rhythm. A steady

pace and rhythmic accentuation are expected.

Difficulty

Time Signatures

Preparatory
repertoire

Time
Signature

Approximate Keys
Length

Approximate Length
four measures

four measures G or D major

Example only

Grade 3

28

Grade 4
Grade 4 Requirements
Repertoire
one selection from List A
one selection from List B
one selection from List C
Memory (2 marks per repertoire selection)
Technical Requirements
Studies: two studies from the Syllabus list
Technical Tests
scales
arpeggios
Ear Tests
Clapback
Intervals
Playback
Sight Reading
Playing
Clapping
Total possible marks (pass = 60)
Theory Co-requisites
None

Marks
60
18
18
18
6
20
10
10

10
3
3
4
10
7
3
100

Repertoire
Candidates must prepare three selections by different
composers: one from List A, one from List B, and one from
List C.
Please see Examination Repertoire on p. 78 for important
information regarding this section of the examination.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 4 FHM.

List A
Traditional, Renaissance, and Baroque
Repertoire
Anonymous

Ballet (transc. Paul Gerrits, from the Tedesco gallogermanica)

Can Shee (arr. John Duarte, in Thirteen Pieces from the
Fitzwilliam Virginal Book NOV)
Watkins Ale (arr. John Duarte, in Thirteen Pieces from
the Fitzwilliam Virginal Book NOV)

The Woods So Wild (arr. Jeffrey McFadden)

Traditional
Le roi Dagobert (arr. Claude Gagnon, no. 13 in
Chansons et danses populaires DOM)
Brescianello, Giuseppe Antonio
18 Partitas for Colascione
Partita VIII (transc. Sophocles Papas PRE)

3rd movement: Gavotte

Grade 4

Dowland, John

Lady Laitons Almain, Poulton 48

Mrs. Winters Jump, Poulton 55

Edwards, Richard
When Griping Griefs (arr. Philip Rodgers, in
Elizabethan Melodies, 2 OTT)
Ford, Thomas
Since First I Saw Your Face (arr. Philip Rodgers, in
Elizabethan Melodies, 2 OTT)
Jelinek, Ivan
Suite for Lute

2nd movement: Gavotte (transc. Vladimir Mikulka

LEM)
Logy, Johann Anton

Aria

Sarabande
Morlaye, Guillaume
Le seconde livre de guiterne
Conteclare (arr. Jeffrey McFadden JMF)
Neusidler, Melchior (arr.)

Der Fuggerin Tanz (Lady Fuggers Dance)

Phalse, Pierre
Almand loreyne (in Europische Gitarren- und
Lautenmusik, 6 RIC)
Passemese (in Europische Gitarren- und Lautenmusik, 6
RIC)
Sanz, Gaspar
Instruccin de msica sobre la guitarra espaola
Espaoleta (in Europische Gitarren- und Lautenmusik,
5 RIC)
Rujero and Zarabanda al aire Espaol (in Europische
Gitarren- und Lautenmusik, 5 RIC)
Vise, Robert de
Suite No. 9
Gavotte
Suite No. 11

Sarabande

List B
Classical and Romantic Repertoire
Aguado, Dionisio
Collection des oeuvres pour la guitare, op. 7

Waltz (no. 3)
Nuevo mtodo para guitarra UME, TEC

Exercise 90
Rpertoire de lamateur de guitare, ou Receuil de
contredanses, menuets, et valses, op. 11bis

Contredanse (no. 4)
Carcassi, Matteo
Larghetto (no. 41, in Carcassi-Brevier, 3 OTT)
Waltz (no. 49, in Carcassi-Brevier, 3 OTT)

29
Carulli, Ferdinando
Allegretto con poco moto (no. 46, in Carulli-Brevier,
2 OTT)
Allegretto (no. 45, in Carulli-Brevier, 2 OTT)
Menuett (no. 50, in Carulli-Brevier, 2 OTT)
Mthode complte pour parvenir pincer de la guitare, op. 241

Allegretto (no. 14)

Rondo (no. 34)

Costantino, Frdric
La bal des marionnettes DOZ
Pinocchio (in La guitare dans tous ses tats, 3 DOZ)
Domeniconi, Carlo
Homage St-Exupry HAA

The Rose in the Garden

Gagnon, Claude
Cornemuse (no. 18 in The Magic Guitar: Easy Pieces, 1
DOM)

Giuliani, Mauro
Divertimenti per chitarra, op. 40

Divertimento (no. 11)

Dix-huit leons progressives, op. 51 TEC
Maestoso (no. 4)
Le papillon pour la guitarre, op. 50

Larghetto (no. 17)

Katz, Brian
Blues to Help You Through

School Blues

Molino, Francesco
Andante (ed. Luigi Oreste Anzaghi, in Antologia per
chitarra RIC)
La terpsichore de socit

Waltz No. 2 (no. 14)

Kraft, Norbert

Reminiscence

Schumann, Robert
Album fr die Jugend, op. 68

Soldatenmarsch (Soldiers March) (no. 2) (arr. Norbert

Kraft)
Sor, Fernando
Six Divertimentos for the Spanish Guitar, op. 1
Waltz (no. 2)
Six Divertimentos for the Spanish Guitar, op. 8

Waltz (no. 2)
Vingt-quatre leons progressives, op. 31

Lesson (no. 4)

List C
Late Romantic, 20th-, and 21st-century
Repertoire
Traditional

LAria del Ponte (arr. Andrea Casciato)

Andres, Marc
Vals EAG
Barnes, Milton
Seven Easy Pieces for Solo Guitar

Song (no. 3)
Bartoli, Ren
Rminiscences DOZ
Elgie (in La guitare dans tous ses tats, 5 DOZ)
Romance (in La guitare dans tous ses tats, 4 DOZ)
Blanger, Marc
Jardin secret DOZ
Orchide (in La guitare dans tous ses tats, 5 DOZ)
Benedict, Robert
Divertimenti WAT
Romance (no. 5)
Coquery, Jean-Michel
Aquarelles DOZ
Aquarelle dautomne (in La guitare dans tous ses tats,
4 DOZ)

Kleynjans, Francis
Deux valses pour guitare, op. 64 LEM

Valse chro (no. 1)

Lemay, Sylvain
Le petit livre de Marlne DOZ
Marloubedou (in La guitare dans tous ses tats, 3 DOZ)
McGuire, James
Twenty-five Miniatures for Guitar JAM
no. 12
Norholm, Ib
Sonata for Guitar, op. 69 HSN
Interlude
Ogawa, Takashi
Trois paysages, huit promenades DOZ
Promenade des amoureux (in La guitare dans tous ses
tats, 4 DOZ)
Reiher, Alain
Twenty Miniatures DOZ

Miniature No. 3
Riera, Rodrigo
Four Venezuelan Pieces UNI

Monotona
Nostalgia
Semenzato, Domingo

Choros COM
Tansman, Alexandre
Douze morceaux trs faciles, 1 ESC
Pluie
Sicilienne
Douze pices faciles, 1 ESC
Tarantella (no. 7)
Toccata (no. 9)
Douze pices faciles, 2 ESC
lespagnole (no. 11)
Trrega, Francisco

Lgrima (Tear), Prelude, TI i-17

Zenamon, Jaime
pigramme II MRG
Lejania
Estampas I HAA
Bossa

Grade 4

30
Technical Requirements
Please see Technical Requirements on p. 12 and Bridges:
A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the
examination.

Studies
Candidates should be prepared to play two contrasting
studies by different composers from the following list.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 4 FHM.
Aguado, Dionisio
Nuevo mtodo para guitarra UME; TEC

Exercise 8

Lesson 10

Lesson 23
Lesson 24
Lesson 29: Double Appoggiatura

Study
Beauvais, William
Guitar Pastels, 1 CAV
Perpetuum mobile
Brouwer, Leo
Estudios sencillos (tudes simples) ESC
one of nos. 5, 8, 14
Carulli, Ferdinando
Mthode complte pour parvenir pincer de la guitare,
op. 241

Andantino grazioso (no. 39)

Grade 4

Cordero, Ernesto
Modern Times, 1 CHN

Estudio a la Cubana
Diabelli, Anton
Vorstragsstcke fr Anfnger, op. 39
Study No. 30
Gagnon, Claude
Douze prludes en forme dtudes DOB

Prlude No. 2
Giuliani, Mauro
Dix-huit leons progressives, op. 51 TEC

Allegretto grazioso (no. 10)

Studio (no. 6) (ed. Ruggero Chiesa, no. 43 in Studi
per chitarra ZRB)
Le papillon pour la guitarre, op. 50

Allegretto (no. 22)

Green, Edward

Dorian Dance
Kraft, Norbert

Study in Seven
Paganini, Nicol
Sonata No. 27

1st movement: Minuet

Sor, Fernando
Vingt-quatre exercises trs faciles, op. 35

Andante (no. 13)

Zenamon, Jaime
pigramme II MRG

Amanecer

31
Technical Tests
Candidates should consult Technical Tests on p. 12 and Bridges: A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the examination. Take particular note of the Introduction on p. 4 of
Guitar Technique.
Candidates should be prepared to play the scales and arpeggio patterns listed in the following chart. All technical tests are
to be fingered exactly as specified in Guitar Technique. Please note that all technical tests must be memorized.
All scales are to be played ascending and descending, at or beyond the minimum tempos specified in the chart and in
Guitar Technique. Candidates should also note the required note values, right-hand fingering, and final cadences listed in the
chart. Diatonic, chromatic, and tremolando scales are to be played with both free stroke and rest stroke.
Scales
Diatonic Scales
Major
Minor
(harmonic and melodic)
Chromatic Scale
Tremolando Scales
Major
Minor
(harmonic and melodic)
Slur Scale
Single slurs

Keys

Range

E ,A
C, F
D , C, F
A
on B

1 octave
2 octaves
1 octave
2 octaves
2 octaves

E ,A
C, F

1 octave
2 octaves

D , C, F

1 octave

2 octaves

D major

1 octave

Tempo

Note Values

RH Fingering

Final Cadence

im or mi
ma or am
= 69

perfect
(VI)

and

im or mi
ma or am

perfect
(VI)

any

= 60

= 56

Arpeggio Patterns
See Guitar Technique FHM pp. 2223

Ear Tests
Clapback

Intervals

Candidates will choose to clap, tap, or sing the rhythm of a

short melody after the examiner has played it twice.

Candidates will be asked to identify the following intervals.

The examiner will play each interval once in broken form.
or
Candidates may choose to sing or hum the following
intervals. The examiner will play the first note once.

Time Signatures Approximate Length

two to three measures
,
Example only
1

Above a Given Note

major and minor 3rds
perfect 4th
perfect 5th
perfect octave

Below a Given Note

minor 3rd
perfect 5th
perfect octave

Grade 4

32
Playback

Sight Reading

Candidates will be asked to play back a melody based on

the first five notes of a major scale on their own instrument.
The examiner will name the key, play the tonic triad once,
and play the melody twice.

Playing
Candidates will be asked to play a short composition.
Difficulty

Beginning Note
tonic, mediant, or
dominant

Approximate
Length

Keys

six notes

C, G, D, F major

Time
Signature

Grade 1
repertoire

Approximate Keys
Length
six measures

G, D, A, F major

Clapping
Example only

Candidates will be asked to clap or tap the rhythm of

a melody. A steady pace and rhythmic accentuation are
expected.
Time Signatures Approximate Length
,
Example only

Grade 4

four measures

33

Grade 5
Grade 5 Requirements
Repertoire
one selection from List A
one selection from List B
one selection from List C
Memory (2 marks per repertoire selection)
Technical Requirements
Studies: two studies from the Syllabus list
Technical Tests
scales
arpeggios
Ear Tests
Clapback
Intervals
Playback
Sight Reading
Playing
Clapping
Total possible marks (pass = 60)
Theory Co-requisites
Basic Rudiments

Marks
60
18
18
18
6
20
10
10

10
3
3
4
10
7
3
100

Repertoire
Candidates must prepare three selections by different
composers: one from List A, one from List B, and one from
List C.
Please see Examination Repertoire on p. 78 for important
information regarding this section of the examination.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 5 FHM.

List A
Traditional, Renaissance, and Baroque
Repertoire
Anonymous

Dance (transc. Oscar Chilesotti, in Six Lute Pieces of

the Renaissance)
Danza and Corrente (in Europische Gitarren- und
Lautenmusik, 1 RIC)
Galliard (in Europische Gitarren- und Lautenmusik,
3 RIC)

Kemps Jig

Se io maccorgo (If I am Troubled) (transc. Oscar

Chilesotti, in Six Lute Pieces of the Renaissance)
two of Vaghe belleze et bionde treccie doro vedi che
per ti moro; Bianco fiore; Gagliarda (transc. Oscar
Chilesotti, in Six Lute Pieces of the Renaissance CLM)
Why Ask You (arr. John Duarte, in Thirteen Pieces from
the Fitzwilliam Virginal Book NOV)

Brescianello, Giuseppe Antonio

18 Partitas for Colascione
Partita VIII (transc. Sophocles Papas PRE)

4th movement: Gigue

Campion, Thomas
Gigue (arr. John Mills, in Classical Montage WAT)
Cutting, Francis
Greensleeves (arr. Alexander Bellow, in International
Anthology FCO)
Dowland, John

My Lord Willoughbys Welcome Home, Poulton 66

(arr. Jeffrey McFadden)
Ferrabosco, Alfonso II
Lessons for 1, 2, and 3 Viols

Coranto (no. 4) (transc. Robert Callaghan)

Gaultier, Denis
Tombeau (in Europische Gitarren- und Lautenmusik, 4
RIC)
Hove, Joachim van den
Toccata (in Music for Solo Guitar, 1 DOM)
Logy, Johann Anton

Capriccio and Gavotte

Neusidler, Hans
Wayss mir ein ubsche Mulerin and Hupff auff
(ed. Bruno Tonazzi, in Arie e Danze RIC)
Der Zeigler in der Hechken (ed. Bruno Tonazzi, in
Arie e Danze RIC)
Petzold, Christian

Minuet, BWV Anh. 114 (arr. Jeffrey McFadden, from

the Anna Magdalena Bach Notebook)
Purcell, Henry
Hornpipe (ed. Julian Bream, in Purcell: Four Pieces
FAB)
A New Irish Tune (arr. John Mills, in Classical Montage
WAT)
Robinson, Thomas
Toy, Air and Gigue (ed. Karl Scheit UNI)
Toy or Gigue
Sanz, Gaspar
Instruccin de msica sobre la guitarra espaola, 2
Espaoleta (arr. John Mills, in Classical Montage WAT)
Rujero (arr. John Mills, in Classical Montage WAT)
Valderrbano, Enriquez de
Silva de Sirenas, libro VI

Soneto VIII (arr. Jeffrey McFadden JMF)

Vise, Robert de
Prelude and Gavotte (nos. 18 and 19 in Le petit livre de
guitare, 2 DOZ)
Sarabande (in Europische Gitarren- und Lautenmusik, 4
RIC)

Grade 5

34
Weiss, Silvius Leopold
Intavolatura di liuto, 1 (ed. Ruggero Chiesa ZRB)
Suite 15 in F Major RIC
Menuet

List B
Classical and Romantic Repertoire
Aguado, Dionisio
Contradanzas y valses dedicados a los principiantes, op. 8

Contradanza (no. 5)
Barrios, Agustn
Minuet en do (ed. Richard Stover, in Guitar Works, 1
BEL)
Carcassi, Matteo
Andantino grazioso (no. 29 in Carcassi-Brevier, 2
OTT)
Carulli, Ferdinando
Mthode complte pour parvenir pincer de la guitare,
op. 241

Waltz (no. 44)

Coste, Napolon
Rcration du guitariste, op. 51

La chasse (The Hunt) (no. 9)

Ferrer, Jos
Coleccin 8a de ejercicios y preludios

El amable (The Amiable Fellow)

Gerrits, Paul
Prelude (no. 18 in Music for Solo Guitar, 1 DOM)
Giuliani, Mauro
12 Divertimenti, op. 37 OTT
one of nos. 6, 8, 11, 12
Divertimenti per chitarra, op. 40
Andante espressivo (no. 7)

Divertimento No. 6
Dix-huit leons progressives, op. 51 TEC

Agitato (no. 3)

Allegretto (no. 15)

Le papillon pour la guitarre, op. 50

Grazioso (no. 23)

Molino, Francesco
Six Rondos OTT
Rondo No. 4
Rondo No. 5
Paganini, Nicol
Sonatina (arr. Lazlo Vereczkey, no. 7 in Kleine Stcke
OTT)
Sonate No. 12
I: Minuetto
Sor, Fernando
Six Divertimentos for the Spanish Guitar, op. 2
(ed. Hector Quine)
Waltz (no. 5)
Vingt-quatre exercises trs faciles, op. 35

Allegretto (no. 8)
Vingt-quatre petites pices progressives, op. 44

Andante (no. 15)

Grade 5

List C
Late Romantic, 20th-, and 21st-century
Repertoire
Traditional

Spanish Romance (arr. Robert Hamilton)

Ambrosius, Hermann
Impressionen (ed. Angelo Gilardino BEB)
Traum
Bartk, Bla
For Children, 1 B&H; EMB
Jatek (Game) (no. 5, arr. Jeffrey McFadden JMF)
Benedict, Robert
Divertimenti WAT
Fugato (no. 2)
Fughettas for Guitar WAT

Choral Fughetta (no. 6)

Camilleri, Charles
Four African Sketches CRA
Shadow of the Moons
Camisassa, Claudio
Carousel sous la pluie (in La guitare dans tous ses tats,
4 DOZ)
La ligamos

Milonga
Castelnuovo-Tedesco, Mario
Appunti, op. 210, 1 ZRB
Tempo di siciliana (no. 1)
Coghlan, Michael

Tango
Gagnon, Claude
Douze prludes en forme dtudes DOB

Prlude No. 3
Katz, Brian

In the Olive Grove

Kleynjans, Francis
Trois miniatures pour guitare, op. 102 LEM

Petite valse des cinq cordes

McGuire, James
Twenty-five Miniatures for Guitar JAM
one of nos. 4, 6, 7, 11, 16, 19, 20, 21
Ogawa, Takashi
Trois paysages, huit promenades DOZ
Promenade mlancolique (in La guitare dans tous ses
tats, 4 DOZ)
Pujol, Maximo Diego
Suite del plata

1st movement: Preludio

Riera, Rodrigo
Four Venezuelan Pieces UNI
Melancola

35
Theodorakis, Mikis
Where Has My Son Flown To (arr. Gervassimos
Miliaressis, in Easy Pieces for Solo Guitar, 3 NKS)
Yukich, Michael

Rves dt (Summer Dreams)

Technical Requirements
Please see Technical Requirements on p. 12 and Bridges:
A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the
examination.

Studies
Candidates must be prepared to play two contrasting studies
by different composers from the following list.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 5 FHM.
Aguado, Dionisio
Nuevo mtodo para guitarra UME; TEC
Lesson 5: Waltz

Lesson 26

Lesson 35
Beauvais, William
Well Tempered Blues WLM
Twisted Fingers

Carulli, Ferdinando
Mthode complte pour parvenir pincer de la guitare,
op. 241

Andante
Costantino, Frdric
Sept ballades enchantes DOZ

Les acrobates
Coste, Napolon
Vingt-cinq tudes de genre, op. 38 CHN
tude (no. 10)
Davis, Gary

Lullaby
Gallant, Pierre

Chromatic Study
Giuliani, Mauro
24 esercizio per la chitarra, op. 48

Vivace (no. 1)
Primi lezioni progressives, op. 139

Lesson (no. 3)
Joachim, Otto
Six Pieces for Guitar PRS
Energico and Mssig schnell
Katz, Brian

Study
Reiher, Alain
Twenty Miniatures DOZ

Miniature No. 19

Benedict, Robert
Divertimenti WAT

Nocturne 1 (no. 6)
Fughettas for Guitar WAT
Fughetta No. 1
Twenty Fantasy Etudes, 1 CAV
no. 11

Sagreras, Julio
Las terceras lecciones RIC
Lesson 32
Lesson 36
Lesson 38
Las cuartas lecciones RIC
Lesson 10
Lesson 12
Lesson 15
Las quintas lecciones RIC
Lesson 9

Bosch, Jacques
Six pices faciles, op. 89

Lamento (no. 5)

Sor, Fernando
Studio for the Spanish Guitar, op. 6

Andante allegro (no. 2)

Brouwer, Leo
Estudios sencillos (tudes simples) ESC
Estudio No. 3

Tansman, Alexandre
Douze pices faciles, 1 ESC
Triolets (no. 12)
Douze pices faciles, 2 ESC
tude (no. 12)

Bellavance, Ginette
tude I (no. 9, in Music for Solo Guitar, 2 DOM)
tude II (no. 10, in Music for Solo Guitar, 2 DOM)

Carcassi, Matteo
Vingt-cinq tudes mlodiques et progressives, op. 60 TEC

tude (no. 7)

tude (no. 10)

Grade 5

36
Technical Tests
Candidates should consult Technical Tests on p. 12 and Bridges: A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the examination. Take particular note of the Introduction on p. 4 of
Guitar Technique.
Candidates should be prepared to play the scales and arpeggio patterns listed in the following chart. All technical tests are
to be fingered exactly as specified in Guitar Technique. Please note that all technical tests must be memorized.
All scales are to be played ascending and descending, at or beyond the minimum tempos specified in the chart and in
Guitar Technique. Candidates should also note the required note values, right-hand fingering, and final cadences listed in the
chart. Diatonic, chromatic, and tremolando scales are to be played with both free stroke and rest stroke.
Scales
Diatonic Scales
Major
Minor
(harmonic and melodic)
Chromatic Scale
Tremolando Scales
Major
Minor
(harmonic and melodic)
Slur Scales
Single slurs

Keys

Range

D
G, D, A

1 octave
2 octaves

E, B, F, B

2 octaves

on C

2 octaves

D
G, D, A

1 octave
2 octaves

E, B, F, B

2 octaves

C, G major

1 octave

Tempo Note Values

= 69

and

RH Fingering Final Cadence

im or mi
ma or am
ia or ai

perfect
(IIVVI)

= 88

= 60

im or mi
ma or am
ia or ai

perfect
(IIVVI)

any

Arpeggio Patterns
See Guitar Technique FHM pp. 2728

Ear Tests
Clapback

Intervals

Candidates will choose to clap, tap, or sing the rhythm of a

short melody after the examiner has played it twice.

Candidates will be asked to identify the following intervals.

The examiner will play each interval once in broken form.
or
Candidates may choose to sing or hum the following
intervals. The examiner will play the first note once.

Time Signatures
,
Example only
1

Grade 5

Approximate Length
two to four measures

Above a Given Note

major and minor 3rds
major and minor 6ths
perfect 4th
perfect 5th
perfect octave

Below a Given Note

major and minor 3rds

perfect 5th
perfect octave

37
Playback

Sight Reading

Candidates will be asked to play back a melody based on

the first five notes and upper tonic of a major scale on their
own instrument. The examiner will name the key, play the
tonic triad once, and play the melody twice.
Beginning Note Approximate
Length
tonic, mediant, seven notes
or dominant

Playing
Candidates will be asked to play a short composition at
sight.

Keys

Difficulty

C, G, D, F major

Grade 2
repertoire

Time
Approximate
Signatures Length
eight measures
, ,

Example only

Keys
major and
minor keys up
to two sharps
and two flats

Clapping
Candidates will be asked to clap or tap the rhythm of a
melody. Tied notes may be included. A steady pace and
rhythmic accentuation are expected.
Time Signatures
, ,

Approximate Length
four measures

Example only

Grade 5

38

Grade 6
Grade 6 Requirements
Repertoire
one selection from List A
one selection from List B
one selection from List C
Memory (2 marks per repertoire selection)
Technical Requirements
Studies: two studies from the Syllabus list
Technical Tests
scales
arpeggios
Ear Tests
Clapback
Intervals
Chords
Playback
Sight Reading
Playing
Clapping
Total possible marks (pass = 60)
Theory Co-requisites
Intermediate Rudiments

Marks
60
18
18
18
6
20
10
10

10
2
3
2
3
10
7
3
100

Repertoire
Candidates must prepare three selections by different
composers: one from List A, one from List B, and one from
List C.
Please see Examination Repertoire on p. 78 for important
information regarding this section of the examination.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 6 FHM.

List A
Traditional, Renaissance, and Baroque
Repertoire
Anonymous
Lied and Ballet (in Europische Gitarren- und
Lautenmusik, 2 RIC)
Bach, Johann Sebastian
Suite for Lute, BWV 996

Fifth movement: Bourre

Suite for Solo Cello No. 2, BWV 1008 (arr. Jeffrey
McFadden CLE)

Fourth movement: Sarabande

Cabezn, Antonio de
Tre composizioni (ed. Javier Hinojosa ZRB)
Himno a tres

Grade 6

Dowland, John
Air and Galliard (ed. Karl Scheit UNI)
Air
Farnaby, Giles
Tower Hill (in Farnaby: Five Pieces OTT)
Ferrabosco, Alfonso II
Lessons for 1, 2, and 3 Viols

Coranto (no. 34) (transc. Robert Callaghan)

Foscarini, Giovanni Paolo

Pavaniglia con parti variate (arr. Jeffrey McFadden)

Galileo, Vincente, attr.

Saltarello (arr. Oscar Chilesotti, in Six Lute Pieces of the

Renaissance)
Handel, George Frideric
Gavotte (arr. John Mills, in Classical Montage WAT)
Hoffer, J.J.
Gigue (no. 9 in Music for Solo Guitar, 1 DOM)
Johnson, Robert

Allmayne (arr. Michael Bracken)

Miln, Luis
El maestro
Pavane I (ed. Ruggero Chiesa, in Miln: Sei pavane
ZRB)

Pavane III
Pavane V
Pachelbel, Johann
Paysanne (in Europische Gitarren- und Lautenmusik, 2
RIC)
Phalse, Pierre
Galliarde (in Europische Gitarren- und Lautenmusik, 6
RIC)
Polonus, Johannes (Polak, Jan)
Galliarde (in Europische Gitarren- und Lautenmusik, 7
RIC)
Purcell, Henry
Air and Minuet (ed. Julian Bream, in Purcell: Four
Pieces FAB)
Reusner, Esaias
Sonatina (in Europische Gitarren- und Lautenmusik, 2
RIC)
Robinson, Thomas
Walking in a Country Towne (ed. Karl Scheit, in Five
Pieces UNI)
Sanz, Gaspar
Instruccin de msica sobre la guitarra espaola, 2
La cavallera di Npoles (arr. John Mills, in Classical
Montage WAT)
Villano (arr. John Mills, in Classical Montage WAT)
Stlzel, Gottfried Heinrich
Bourre (no. 8 in Music for Solo Guitar, 1 DOM)

39
Vise, Robert de
Suite in D Minor (ed. Paolo Paolini RIC)
Bourre, Minuet I, and Minuet II
Passacaille

Ponce, Manuel
Twenty-Four Preludes OTT; TEC
Prelude No. 5 and Prelude No. 11

Prelude No. 6 and Prelude No. 10

Weiss, Silvius Leopold

Courante
Lute Suite No. 4

1st movement: Prelude

Sor, Fernando
Grand sonata, op. 22 TEC
3rd movement: Minuet and Trio (ed. Isaias Savio, in
Sor: Nineteen Compositions RIC)
Grand sonata, op. 25 TEC

4th movement: Minuet and Trio

List B
Classical and Romantic Repertoire
Aguado, Dionisio
Contradanzas y valses dedicados a los principiantes, op. 8

Contradanza (no. 6)
Barrios, Agustn
Mabelita (ed. Richard Stover, in Guitar Works, 1 BEL)
Madrecta (ed. Richard Stover, in Guitar Works, 1 BEL)

Preludio
Castelnuovo-Tedesco, Mario
Appunti, op. 210, 1 ZRB
no. 2
Coste, Napolon
Pastorale (in Coste: Guitar Works, 9 CHN)
Rcration du guitariste, op. 51

Waltz (no. 8)
Valse (in Coste: Guitar Works, 9 CHN)
Valse (in Coste: Guitar Works, 9 CHN)
Ferrer, Jos
Coleccin de valses

Waltz
Giuliani, Mauro
12 Divertimenti, op. 37 OTT
Divertimento No. 3
Divertimento No. 5
Divertimenti per chitarra, op. 40

Divertimento No. 12
Gluck, Christoph Willibald
Ballet (in Album of Guitar Solos CLM)
Haydn, Franz Joseph
Minuet and Trio (arr. Franois de Fossa, from
Symphony No. 85, La reine EOP)
Mertz, Johann Kaspar
Five Waltzes, WoO

Waltz No. 1
Trois Nocturnes, op. 4

Andantino (from Nocturne no. 2)

Nocturne (no. 1)
Moreno-Torroba, Federico
Pices charactristiques, 1 OTT
Preambulo
Paganini, Nicol
Sonata No. 12

1st movement: Minuetto

Trrega, Francisco

Adelita (Mazurca)
Prelude No. 3 (ed. G. Bianqui Piero, in Trrega: 30
Preludios originales RIC)
Prelude No. 5 (ed. G. Bianqui Piero, in Trrega: 30
Preludios originales RIC)

List C
Late Romantic, 20th-, and 21st-century
Repertoire
Ambrosius, Hermann
Impressionen (ed. Angelo Gilardino BEB)
two of Neckerei, Melancholie, Exotischer, Tanz
Balada, Leonardo
Suite No. 1 (ed. Carlos Barbosa-Lima CLM)

Lento
Beauvais, William
Walking Song WLM
Well Tempered Blues WLM
Chicago Style Blues
Benedict, Robert
Divertimenti WAT
Majorette (no. 8)
Fughettas for Guitar WAT
Fughetta No. 2
Bonf, Luiz

Ilha de coral (Coral Island)

Bosch, Jacques

toiles et fleurs (Stars and Flowers), op. 12 (in Bosch:

Dix pices pour guitare LEM)
Brouwer, Leo

Untitled Piece No. 1

Preludios epigramticos EMT

Preludio No. 1 (Desde que el alba quiso ser alba, todo

eres madre)
Preludio No. 5 (Me cogista el corazon y hoy
precipitas el vuelo) and Preludio No. 6 (Llego con
tres haridas: la del amor, la de la muerte, la de la vita)
Brown, James
Four Original Guitar Works JMB
Sarabande
Camilleri, Charles
Four African Sketches CRA
Folk Prelude

Grade 6

40
Carbajo, Roque
Aquarelles de lAmrique latine DOZ
Cancin cubana (in La guitare dans tous ses tats, 5
DOZ)
Casciato, Andrea

Tramonto (Sunset)
Chiereghin, Sergio
Canzone ZAN
Trois chansons joues ZAN
Pour Brnice
Chopin, Frdric
Mazurka, op. 7, no. 5 (arr. Stephen Aron, in The
Complete Chopin Mazurkas MEL)
Cordero, Ernesto
Modern Times, 3 CHN

Vieta Criolla III

Domeniconi, Carlo
Quaderno brasiliano per chitarra B&B

Bossa triste
Gelosia
Freedman, Harry
Sicilienne (rev. Robert Feuerstein ANE)
Gagnon, Claude
Rverie (no. 20 in Music for Solo Guitar, 1 DOM)
Gallant, Pierre

Lacrymosa (Tearful)
Gerrits, Paul
Reflets (no. 17 in Music for Solo Guitar, 3 DOM)
Katz, Brian
The Amethyst Collection

Gentle Waltz
Kelly, Bryan
Aubade, Toccata and Nocturne NOV
Aubade
Lauro, Antonio
Suite venezolana (rev. Alirio Diaz B&V)
Registro
McGuire, James
Twenty-five Miniatures for Guitar JAM
one of nos. 8, 9, 13, 17
Piorkowski, James
Sentient Preludes CLE
Prelude No. 1
Prelude No. 2
Poulenc, Francis
Sarabande pour guitare RIC

Tansman, Alexandre
Hommage Chopin ESC
Prlude
Suite in modo polonico ESC
one of nos. 1, 2, 3, 5, 6, 8
Villa-Lobos, Heitor
Cinq prludes ESC

Prlude No. 4

Technical Requirements
Please see Technical Requirements on p. 12 and
Bridges: A Comprehensive Guitar Series, Guitar Technique
FHM for important information regarding this section of
the examination.

Studies
Candidates must be prepared to play two contrasting studies
by different composers from the following list.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 6 FHM.
Benedict, Robert
Twenty Fantasy Etudes, 1 CAV
no. 12
no. 17
Blum, Carl
Studien fr die Gitarre, op. 44

Study in Thirds (no. 19)

Brouwer, Leo
Estudios sencillos (tudes simples) ESC

Estudio No. 6
Estudio No. 7
Estudio No. 11
Estudio No. 13
Carcassi, Matteo
Vingt-cinq tudes mlodiques et progressives, op. 60 TEC
tude (no. 5)
Coste, Napolon
Vingt-cinq tudes de genre, op. 38 CHN

tude (no. 1)
Cruz, Mark Anthony
Contrapuntal tudes CLE
no. 2

Repoulis, Michael
Reflections of Dali and View of Toledo NVM

Ferrer, Jos
Coleccin 4a de ejercicios
Estudio (ed. Simon Wynberg, in Ferrer: Charme de la
nuit: Selected Pieces FAB)

Serradell Sevilla, Narciso

La golondrina (The Wanderer) (arr. Gerald
Schwertberger, in La guitarra Mexicana DOB)

Gagnon, Claude
Douze prludes en forme dtudes DOB

Prlude No. 7
Garcia, Gerald
25 Etudes Esquisses for Guitar MEL
Etude 16

Grade 6

41
Giuliani, Mauro
tudes instructives, faciles et agrables, op. 100

Caprice (no. 12)

Caprice (no. 13)

Iannarelli, Simone
Cinq tudes faciles, ou presque ... DOZ
Adagio (no. 2)
Dodici studi EMS
Le rondini (no. 1)

Sagreras, Julio
Las cuartas lecciones RIC
one of Lessons 18, 20, 24, 25, 31, 34
Las quintas lecciones RIC
one of Lessons 1, 4, 6
Schwertberger, Gerald
Latin America DOB
Bossa Nova Etude

Komter, Jan Maarten

Prelude II (no. 16 in Music for Solo Guitar, 1 DOM)
Kraft, Norbert

Study
Ogawa, Takashi
Trois paysages, huit promenades DOZ
Promenade triste (in La guitare dans tous ses tats, 5
DOZ)

Sor, Fernando
Studio for the Spanish Guitar, op. 6

Study (no. 1)
Vingt-quatre exercises trs faciles, op. 35

Allegretto (no. 22)

Moderato (no. 17)

Sytchev, Mikhail
Aquarelles DOZ

After the Rain

Trrega, Francisco
Prelude, TI i-9

Paganini, Nicol
Sonatina No. 5 (M.S. 85)

1st movement: Allegretto

Reiher, Alain
Twenty Miniatures DOZ
Miniature No. 12

Technical Tests
Candidates should consult Technical Tests on p. 12 and Bridges: A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the examination. Take particular note of the Introduction on p. 4 of
Guitar Technique.
Candidates should be prepared to play the scales and arpeggio patterns listed in the following chart. All technical tests are
to be fingered exactly as specified in Guitar Technique. Please note that all technical tests must be memorized.
All scales are to be played ascending and descending, at or beyond the minimum tempos specified in the chart and in
Guitar Technique. Candidates should also note the required note values, right-hand fingering, and final cadences listed in the
chart. Diatonic, chromatic, and tremolando scales are to be played with both free stroke and rest stroke.
Scales

Keys

Diatonic Scales
E, B, F , F, B
Major
Minor
C , G , D , D, G
(harmonic and melodic)
Chromatic Scale
Tremolando Scales
Major
Minor
(harmonic and melodic)
Slur Scale
Compound triplets

Range

Tempo Note Values

2 octaves
= 76

and

RH
Fingering
im or mi
ma or am
ia or ai

on D
E, B, F , F, B

perfect
(IIVVI)

2 octaves

im or mi
ma or am
ia or ai

perfect
(IIVVI)

= 56

any

= 69

any

= 88

C , G , D , D, G

D major

Final Cadence

1 octave

Scales in 3rds and 6ths

C major, A minor 1 octave
Solid
Arpeggio Patterns
See Guitar Technique FHM pp. 3334

and

Grade 6

42
Playback

Ear Tests
Clapback
Candidates will choose to clap, tap, or sing the rhythm of
a short melody after the examiner has played it twice.
Time Signatures
, ,

Approximate Length
two to four measures

Example only
1

Candidates will be asked to play back a melody based

on the complete major scale (tonic to tonic, mediant to
mediant, dominant to dominant) on their own instrument.
The examiner will name the key, play the tonic triad once,
and play the melody twice.
Beginning Note

Approximate
Length
tonic, mediant, or nine notes
dominant

Keys
C, G, D, F major

Example only

Sight Reading
Playing

Intervals
Candidates will be asked to identify the following intervals.
The examiner will play each interval once in broken form.
or
Candidates may choose to sing or hum the following
intervals. The examiner will play the first note once.
Above a Given Note
major 2nd
major and minor 3rds
major and minor 6ths
perfect 4th
perfect 5th
perfect octave

major and minor 3rds

minor 6th
perfect 4th
perfect 5th
perfect octave

Grade 3
repertoire

Position
root position

Time
Approximate Keys
Signatures Length
eight measures major and
, , ,
minor keys up
to three sharps
or three flats

Clapping
Candidates will be asked to clap or tap the rhythm of
a melody. A steady pace and rhythmic accentuation are
expected.
Time Signatures
, ,

Candidates will be asked to identify the following chords

after the examiner has played the chord once in solid
(blocked) form, close position.

Grade 6

Difficulty

Below a Given Note

Chords

Chords
major and minor triads

Candidates will be asked to play a passage of music at sight.

Example only

Approximate Length
four measures

43

Grade 7
Grade 7 Requirements
Repertoire
one selection from List A
one selection from List B
one selection from List C
one selection from List D
Technical Requirements
Studies: two studies from the Syllabus list
Technical Tests
scales
arpeggios
Ear Tests
Clapback
Intervals
Chords
Playback
Sight Reading
Playing
Clapping
Total possible marks (pass = 60)
Theory Co-requisites
Advanced Rudiments

Marks
60
15
15
15
15
20
10
10

10
2
3
2
3
10
7
3
100

Repertoire
Candidates must prepare four selections by different
composers: one from List A, one from List B, one from
List C, and one from List D.
Please see Examination Repertoire on p. 78 for important
information regarding this section of the examination.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 7 FHM.

List A
Renaissance Repertoire
Dalza, Joan Ambrosio
Fantasia (ed. Emilio Pujol ESC)

Francesco (Canova) da Milano

Intabolatura di liuto

Ricercare XIV
Giovanni, Maria da Crema
Intabolatura de lauto, libro primo
Ricercar No. 2 (in Antologia di musica antica, 2 ZRB)
Miln, Luis
El maestro

Pavan I and Pavan VI (arr. Jeffrey McFadden)

Pavan II and Pavan IV (ed. Ruggero Chiesa, in Sei
pavane ZRB)
Narvez, Luys de
Los seys libros del Delphin

Cancin del Emperador (Song of the Emperor)

(arr. Jeffrey McFadden)

Diferencias sobre Gurdame las vacas (arr. Jeffrey

McFadden)

List B
Baroque Repertoire
Abloniz, Miguel
Partita in E Major RIC
Preludio and Gavotta
Bach, Johann Sebastian
Partita for Solo Violin No. 1, BWV 1002

5th movement: Sarabande (arr. Norbert Kraft)

Prelude for Lute, BWV 999

Suite for Solo Cello No. 1, BWV 1007 (arr. Jeffrey
McFadden CLE)

Minuet I and Minuet II

Suite for Solo Cello No. 3, BWV 1009 (arr. Jeffrey
McFadden CLE)

Bourre I and Boure II

Baron, Ernst Gottlieb
Gigue (no. 7 in Music for Solo Guitar, 1 DOM)
Handel, George Frideric
Eight Aylesford Pieces OTT
Fughette and Air

Dowland, John

Can She Excuse, Poulton 42 (arr. Jeffrey McFadden)

My Lady Hundsons Allemande, Poulton 54

Kellner, David
Campanella (transc. Peter Danner, in Lute Music of
David Kellner BEL)
Gigue (in Europische Gitarren- und Lautenmusik, 2
RIC)

Farnaby, Giles
A Toy (in Farnaby: Five Pieces OTT)

Purcell, Henry
Rondo (in Purcell: Three Pieces OTT)

Ferrabosco, Alfonso II
Lessons for 1, 2, and 3 Viols

Coranto (no. 30) and Prelude (no. 65) (transc. Robert

Callaghan)

Roncalli, Ludovico
Suite in D Minor

1st movement: Preludio and 3rd movement: Gigua

Santrsola, Guida
Three Airs of Court CLM
Aria

Grade 7

44
Sanz, Gaspar
Instruccin de msica sobre la guitarra espaola, 1

Canarios (transc. John Mills, in Classical Montage

WAT)

Gluck, Christoph Willibald

Jai perdu mon Eurydice (I Have Lost My Eurydice)

(arr. Napolon Coste, op. 51, no. 21)

Scarlatti, Domenico
Sonata, K 11 (ed. Carlos Barbosa-Lima, in Nine
Sonatas, 2 CLM)
Sonata, K 431 (ed. Carlos Barbosa-Lima, in Nine
Sonatas, 2 CLM)

Grieg, Edvard
Classical Montage WAT
Chant du paysan (arr. John Mills, in Classical Montage
WAT)
Valse, op. 12, no. 2 (arr. John Mills, in Classical
Montage WAT)

Vise, Robert de
Suite in G Minor (ed. Vincenzo Saldarelli ZRB)
two of: Prelude, Sarabande, Menuet

Legnani, Luigi
36 Caprices in All Major and Minor Keys, op. 20 CHN

Caprice No. 28

Weiss, Silvius Leopold

Aria (in Europische Gitarren- und Lautenmusik, 2 RIC)
Courante (ed. Ehrengard Skiera, no. 7 in Weiss: Eleven
Pieces RIC)
Lute Suite No. 4
Anglaise
Rigaudon (ed. Ehrengard Skiera, no. 10 in Weiss:
Eleven Pieces RIC)

Mozart, Wolfgang Amadeus

Menuet, K 117 OTT

List C
Classical and Romantic Repertoire
Traditional
Ten Catalan Folk Songs (arr. Miguel Llobet UNM)
Can del lladre
El nit de natal
El noy de la mare
Plany

El testament dAmelia (Amelias Testament)

Carcassi, Matteo
Tempo di valse (no. 44 in Carcassi-Brevier, 3 OTT)
Chopin, Frdric
Mazurka, op. 7, no. 1 (arr. Stephen Aron, in The
Complete Chopin Mazurkas MEL)
Mazurka, op. 24, no. 3 (arr. Stephen Aron, in The
Complete Chopin Mazurkas MEL)
Coste, Napolon

Berceuse et trio
Diabelli, Anton
Sonata in A Major, op. 29, no. 2 OTT (in Complete
Sonatas of Sor, Giuliani, and Diabelli MEL)
2nd movement: Adagio
Giuliani, Mauro
Le papillon pour la guitarre, op. 50

Allegro (no. 26)

Sonata, op. 96, no. 3
Andantino
Les varits amusantes, op. 43
Allegro (no. 10)

Grade 7

Schumann, Robert
Romanza (in Album of Guitar Solos CLM)
Sor, Fernando
Six petites pices progressives, op. 47
Allegretto (no. 2)

Allegretto (no. 4)
Twenty Selected Minuets OTT
two of op. 11, nos. 1, 5, 7, 8; op. 24, no. 1
Strauss, Johann
Auswahl der beliebsten Tnze von Johann Strauss, 1
(arr. Johann Kaspar Mertz)

Waltz No. 1 and Waltz No. 2

Trrega, Francisco

Pavana
Vals en re
Verdi, Giuseppe
La donna mobile, from Rigoletto (arr. Jeffrey
McFadden JMF)

List D
20th- and 21st-century Repertoire
Barrios, Agustn
Gavota al estilo antiguo (ed. Richard Stover, in Guitar
Works, 1 BEL)
Benedict, Robert
Divertimenti WAT
Scherzo (no. 1)
Bennett, Richard Rodney
Impromptus UNI
Arioso (no. 5)
Blynton, Carey
In Memoriam Django Reinhardt, op. 64a BEB
Django Reinhardts Stomp
Brindle, Reginald Smith
Fuego fatuo OTT
Nocturne OTT
Etruscan Preludes OTT

Prelude no. 2 and Prelude no. 3

45
Brouwer, Leo
Un dia de novembre DOM
Dos aires populares cubanos ESC

Guajira criolla
Dos temas populares Cubanos ESC

Berceuse (Cancin de cuna)

Preludios epigramticos ESC; EMT
Preludio No. 2 (Tristes hombres si no mueren de
amores)

Preludio No. 4 (Ri, que todo ri: que todo es madre

leve)
Brown, James
Four Original Guitar Works JMB
A Short Homage to Leo Brouwer
Three Folk Studies JMB
Folk Psalm
Buczynski, Walter
Four Corners of Gregory CMC
The Solitary Tree (Willow)
Camilleri, Charles
Four African Sketches CRA
African Rondo (no. 4)
Castelnuovo-Tedesco, Mario
Appunti, op. 210, 1 ZRB
Serentella (no. 8)
Falla, Manuel de
Rcit du pcheur (ed. Emilio Pujol, in Falla: Two Pieces
CHS)
Gagnon, Claude
lgie (no. 12 in Music for Solo Guitar, 2 DOM)
Harris, Albert
Sonatina CLM
Aria
Suite of Seven Pieces CLM
two pieces
Haug, Hans
Alba (rev. Angelo Gilardino BEB)
Iannarelli, Simone
Italian Coffee GSO
Moka Serenade (no. 1)
Katz, Brian
You Too ECH
Lauro, Antonio
El marabino CNI
Quatro valses venezolanos (arr. Alirio Diaz CNI)
Vals venezolano No. 1
Martin, Frank
Quatre pices brves (ed. Karl Scheit UNI)
Air

Moreno-Torroba, Federico
Aires de la Mancha OTT
La pastora
Mussorgsky, Modest
The Old Castle (arr. John Mills, in Classical Montage
WAT)
Piorkowski, James
Sentient Preludes CLE
Prelude No. 4
Ponce, Manuel
Tres canciones populares mexicanas OTT
Allegro (La pajarera) (no. 1)
Pujol, Maximo Diego
Cinco preludios UNI

Candombe en mi
Preludio Tristn
Rebay, Ferdinand
Zwei kleine Lieder ohne Worte PHI

no. 1 and no. 2

Satie, Eric
Gymnopdie No. 1 (arr. Christopher Parkening, in
Virtuoso Music for Guitar SBR)
Sealey, Ray
New York WAT
Tansman, Alexandre
Cavatina OTT

2nd movement: Sarabande

Suite in modo polonico ESC
Alla polacca (no. 7)
Tempo de polonaise (no. 4)
Tisserand, Thierry
Prlude (in La guitare dans tous ses tats, 6 DOZ)
Villa-Lobos, Heitor
Cinq prludes ESC
Prlude No. 3
Suite populaire brsilienne ESC

1st movement: Mazurka-chro

Walton, William
Five Bagatelles (ed. Julian Bream OUP)

Bagatelle No. 2
Weinzweig, John
Contrasts CMC
no. 6
Zohn, Andrew
Five Easy Pieces DOZ

Simple Sequence and 13 Notes

Three Contrapuntal Sketches DOZ

Rotation

McGuire, James
Twenty-five Miniatures for Guitar JAM
nos. 1 and 24 OR no. 25

Grade 7

46
Technical Requirements
Please see Technical Requirements on p. 12 and Bridges:
A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the
examination.

Studies
Candidates should be prepared to play two contrasting
studies by different composers from the following list.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 7 FHM.
Barrios, Agustn
Estudio del ligado (ed. Richard Stover, in Guitar
Works, 1 BEL)
Estudio en arpegio (ed. Richard Stover, in Guitar
Works, 1 BEL)

Estudio inconcluso (ed. Richard Stover, in Guitar

Works, 1 BEL)
Benedict, Robert
Fughettas for Guitar WAT
Chromatic Fughetta No. 1
Chromatic Fughetta No. 2
Fughetta No. 3
Blum, Carl
Studien fr die Gitarre, op. 44

Allegro (no. 11)

Brouwer, Leo
Estudios sencillos (tudes simples) ESC

Estudio No. 16
Estudio No. 17
Carcassi, Matteo
Vingt-cinq tudes mlodiques et progressives, op. 60 TEC
Andantino (no. 21)

tude (no. 19)

Castelnuovo-Tedesco, Mario
Appunti, op. 210, 1 ZRB
Canto di mietitori (sulle terze) (no. 4)
Chiereghin, Sergio
Sotto tenero verde (ed. Pino Briasco ZAN)
Preludio (ed. Pino Briasco ZAN)
Coste, Napolon
Vingt-cinq tudes de genre, op. 38 CHN
one of nos. 2, 5, 6
Dodgson, Stephen, and Hector Quine
Studies for Guitar, 1 RIC
Prelude (no. 1)
Gagnon, Claude
Douze prludes en forme dtudes DOB

Prlude No. 8
Garcia, Gerald
25 Etudes Esquisses for Guitar MEL
Etude 21

Grade 7

Gaudreau, David
Un matin dautomne (in La guitare dans tous ses tats, 6
DOZ)
Giuliani, Mauro
24 esercizio per la chitarra, op. 48
Maestoso (no. 13) (ed. Ruggero Chiesa, no. 55 in Studi
per chitarra ZRB)
Allegro (no. 5) (ed. Ruggero Chiesa, no. 50 in Studi per
chitarra ZRB)
Allegretto (no. 6) (ed. Ruggero Chiesa, no. 51 in Studi
per chitarra ZRB)
tudes instructives, faciles et agrables, op. 100

Caprice (no. 11)

24 Prime lezioni progressive, op. 139
Allegretto (no. 6) (ed. Ruggero Chiesa, no. 54 in Studi
per chitarra ZRB)
Andantino (no. 5) (ed. Ruggero Chiesa, no. 48 in Studi
per chitarra ZRB)
Le papillon pour la guitarre, op. 50
Andantino grazioso (no. 25) (ed. Ruggero Chiesa,
no. 56 in Studi per chitarra ZRB)
Allegro (no. 26) (ed. Ruggero Chiesa, no. 57 in Studi
per chitarra ZRB)
Selected Studies, op. 111 OTT
Grazioso (no. 3) (ed. Ruggero Chiesa, no. 60 in Studi
per chitarra ZRB)
Hand, Frederic
Five Studies for Solo Guitar SCH

Study No. 1
Iannarelli, Simone
Cinq tudes faciles, ou presque ... DOZ
Scherzando (no. 3)
Dodici studi EMS
Albertone (no. 5)
Presti, Ida
Six tudes ESC
tude No. 3
Sagreras, Julio
Las quintas lecciones RIC
Lesson 15
one of nos. 19, 26, 30, 39, 40
Sor, Fernando
Studio for the Spanish Guitar, op. 6

Andantino (no. 8)
Vingt-quatre exercises trs faciles, op. 35
one of nos. 6, 21
Vingt-quatre leons progressives, op. 31

Lesson (no. 20)

Trrega, Francisco
Prelude, TI i-12 (ed. G. Bianqui Piero, in Trrega: 30
Preludios originales RIC)
Prelude no. 6, TI i-6 (ed. G. Bianqui Piero, in
Trrega: 30 Preludios originales RIC)
Prelude no. 28 (ed. G. Bianqui Piero, in Trrega: 30
Preludios originales RIC)

47
Technical Tests
Candidates should consult Technical Tests on p. 12 and Bridges: A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the examination. Take particular note of the Introduction on p. 4 of
Guitar Technique.
Candidates should be prepared to play the scales and arpeggio patterns listed in the following chart. All technical tests are
to be fingered exactly as specified in Guitar Technique. Please note that all technical tests must be memorized.
All scales are to be played ascending and descending, at or beyond the minimum tempos specified in the chart and in
Guitar Technique. Candidates should also note the required note values, right-hand fingering, and final cadences listed in the
chart. Diatonic, chromatic, and tremolando scales are to be played with both free stroke and rest stroke.
Scales
Diatonic Scales
Major
Minor
(harmonic and melodic)

Chromatic Scale
Tremolando Scales
Major

Keys

Range

A ,D
G, E, F

2 octaves
3 octaves
2 octaves

C , D, F, B

Scales in 3rds and 6ths

Solid

Note Values

= 84
E

3 octaves

on A

3 octaves
2 octaves

A ,D

Minor
(harmonic and melodic)
Slur Scale
Compound triplets

Tempo

C , D, F, B

2 octaves

and

RH
Fingering

im or mi
ma or am
ia or ai

Final
Cadence

perfect
(IIVVI)

im or mi
ma or am
ia or ai

perfect
(IIVVI)

= 80

any

= 80

any

= 96

and

1 octave
G major

G major,
E minor

1 octave

Arpeggio Patterns
See Guitar Technique FHM pp. 4041

Intervals

Ear Tests
Clapback
Candidates will choose to clap, tap, or sing the rhythm of a
short melody after the examiner has played it twice.
Time Signatures
, ,
Example only
1

Approximate Length
four measures

Candidates will be asked to identify the following intervals.

The examiner will play each interval once in broken form.
or
Candidates may choose to sing or hum the following
intervals. The examiner will play the first note once.
Above a Given Note
major and minor 2nds
major and minor 3rds
major and minor 6ths
perfect 4th
perfect 5th
perfect octave

Below a Given Note

major and minor 3rds
minor 6th
major 7th
perfect 4th
perfect 5th
perfect octave

Grade 7

48
Chords

Sight Reading

Candidates will be asked to identify the following chords

after the examiner has played the chord once in solid
(blocked) form, close position.

Playing

Chords
major and minor triads
dominant 7th

Difficulty

Position
root position
root position

Playback
Candidates will be asked to play back a melody based
on the complete major scale (tonic to tonic, mediant to
mediant, dominant to dominant) on their own instrument.
The examiner will name the key, play the tonic chord once,
and play the melody twice.
Beginning Note
tonic, mediant,
dominant, or
upper tonic

Approximate
Length
nine notes

Keys
C, G, D, F, B major

Candidates will be asked to play a short composition at

sight.

Grade 4
repertoire

Time
Approximate Keys
Signatures Length
twelve
major and minor
, , ,
measures
keys up to three
sharps or three
flats

Clapping
Candidates will be asked to clap or tap the rhythm of
a melody. A steady pace and rhythmic accentuation are
expected.
Time Signatures Approximate Length
four measures
, , ,
Example only

Example only

Grade 7

49

Grade 8
Grade 8 Requirements
Repertoire
one selection from List A
one selection from List B
one selection from List C
one selection from List D
Technical Requirements
Studies: two studies from the Syllabus list
Technical Tests
scales
arpeggios
Ear Tests
Intervals
Chords
Cadences
Playback
Sight Reading
Playing
Clapping
Total possible marks (pass = 60)
Theory Co-requisites
Advanced Rudiments
Introductory Harmony (recommended)

Marks
60
15
15
15
15
20
10
10

Miln, Luis
El maestro
Fantasia del quarto tono (in Europische Gitarren- und
Lautenmusik, 5 RIC)

Fantasia No. 10 (arr. Jeffrey McFadden)

Fantasia No. 26 (ed. Alexander Bellow FCO)
Molinaro, Simone

Fantasia No. 1 (ed. Gilbert Biberian)

10
3
2
2
3
10
7
3
100

Repertoire
Candidates must prepare four selections by different
composers: one from List A, one from List B, one from
List C, and one from List D.
Please see Examination Repertoire on p. 78 for important
information regarding this section of the examination.
Bullets used to denote selections for examination purposes:
one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 8 FHM.

List A
Renaissance Repertoire

Hove, Joachim van den

Praeludium (in Europische Gitarren- und Lautenmusik,
6 RIC)

Mudarra, Alonso
Diferencias sobre Conde Claros (in Hispanae
Citharae Ars Viva OTT)
Romanesca I, Gurdame las vacas OTT
Sweelinck, Jan Pieterszoon
Fantasia (in Europische Gitarren- und Lautenmusik, 6
RIC)

List B
Baroque Repertoire
Bach, Johann Sebastian
Sonata for Solo Violin No. 1, BWV 1001 (arr. John
Duarte NOV)
Siciliana
Sonata for Solo Violin No. 2, BWV 1003 (arr. Carlos
Barbosa-Lima CLM)
Andante
Suite for Lute, BWV 996

Allemande
Sarabande
Suite for Lute, BWV 997
Sarabande
Suite for Lute, BWV 1006a (ed. Frank Koonce KJO)
Minuets I and II
Suite for Solo Cello No. 1, BWV 1007

Prelude (arr. Norbert Kraft)

Suite for Solo Cello No. 3, BWV 1009 (arr. Jeffrey
McFadden CLE)

Gigue

Besard, Jean-Baptiste
Scelta di brani, 2 RIC
Bergamasco

Cimarosa, Domenico
Sonata No. 1 and Sonata No. 3 (arr. Julian Bream, in
Cimarosa: Three Sonatas FAB)

Byrd, William
Fantasia (ed. Alexander Bellow FCO)

Froberger, Johann Jakob

Giga (ed. Ruggero Chiesa, in Ibis del concertista, 2 ZRB)

Dowland, John

The Frog Galliard (ed. Thomas Knigs)

Melancholy Galliard, Poulton 25 (arr. Robert

Hamilton)

Queene Elizabeth, Her Galliard, Poulton 41

(arr. Jeffrey McFadden)

Ponce, Manuel
Suite (ed. Manuel Lopez-Ramos, PER)
Courante
Gavottes I and II

Grade 8

50
Scarlatti, Domenico

Sonata in A Major, K 208 (arr. Jeffrey McFadden)

Sonata in A Major, K 322 (arr. Jeffrey McFadden)

Legnani, Luigi
36 Caprices in All Major and Minor Keys, op. 20 CHN

Caprice No. 2

Vise, Robert de
Le tombeau de Franois Corbetta (ed. Emilio Pujol
ESC)
Suite in D Minor (ed. Paolo Paolini RIC)
three of: Prelude, Allemande, Courante, Gavotte,
Gigue

Mozart, Wolfgang Amadeus

Larghetto and Allegro, K Anh. 229 (arr. Julian Bream
FAB)
Larghetto or Allegro

Weiss, Silvius Leopold

Suite in D Major (in Europische Gitarren- und
Lautenmusik, 6 RIC)
Prelude and Allemande
Suite VIII
Courante (arr. Carlos Barbosa-Lima, in Weiss: Six Lute
Pieces, 2 CLM)

List C
Classical and Romantic Repertoire
Traditional

The Last Rose of Summer (arr. Mauro Giuliani, no. 2

in Sei arie nazionale irlandesi, op. 125)

The Soldiers Return (arr. Mauro Giuliani, no. 1 in Sei

arie nazionale scozzesi, WoO)
Aguado, Dionisio
Andante I (in Aguado-Brevier: Selected Pieces OTT)
Menuett I (in Aguado-Brevier: Selected Pieces OTT)
Menuett II (in Aguado-Brevier: Selected Pieces OTT)
Menuett III (in Aguado-Brevier: Selected Pieces OTT)
Carulli, Ferdinando
Sei andanti, op. 320 (ed. Ruggero Chiesa ZRB)
no. 1 or no. 2
Sonata I (in Drei Sonaten OTT)
Sonata II (in Drei Sonaten OTT)
Sonata III (in Drei Sonaten OTT)
Chopin, Frdric
Mazurka, op. 24, no. 1 (arr. Stephen Aron, in The
Complete Chopin Mazurkas MEL)
Diabelli, Anton
Sonata in A Major (arr. Julian Bream FAB)
Andante sostenuto or Minuetto
Giuliani, Mauro
Giulianate, op. 148 (ed. Ruggero Chiesa ZRB)
one of nos. 2, 3, 4, 5, 6, 7
Rondo, op. 8, no. 2 OTT
Rondo, op. 17, no. 1 OTT
Sonata, op. 15 ZRB; UNI
2nd movement: Adagio
Grieg, Edvard
Melody, op. 38, no. 3 (ed. A. Segovia, in Album of
Guitar Solos CLM)
Haydn, Franz Joseph
Menuett (arr. Andrs Segovia, from Quartet in G Major,
Hob.III:75 OTT)
Horetzky, Felix

Rondeau, op. 11
Grade 8

Paganini, Nicol
Grand Sonata for Guitar and Violin, M.S. no. 3

2nd movement: Romance (arr. Norbert Kraft)

Schubert, Franz

Das Fischermdchen (arr. Johann Kaspar Mertz)

Schumann, Robert
Kindersonaten, op. 118 (arr. Julian Bream FAB)
Sonata No. 1
Sonata No. 2
Sonata No. 3
Sor, Fernando
Fantasia, op. 4 OUP
Deux thmes varis et douze menuets, op. 11
Menuet No. 6 and Minuet No. 10 (in Sor: Twenty
Selected Minuets OTT)
Fantasia, op. 7 (ed. Hector Quine OUP)
1st movement
Fantaisie lgiaque la mort de Madame Beslay, op. 59
Marche funbre
Six petites pices trs faciles, op. 5
Andante largo (no. 5)
Trrega, Francisco
La alborada (Cajita de msica) (ed. Paul Henry, in The
Francisco Trrega Collection HAL)

Marieta! (Mazurca)
Mazurca en sol (in Trrega: Opere per chitarra, 3 BEB)
Prelude No. 4 (ed. G. Bianqui Piero, in Trrega: 30
Preludios originales RIC)

List D
20th- and 21st-century Repertoire
Barrios, Agustn

Julia Florida Barcarola BEL

Oracin por todos (ed. Richard Stover, in Guitar
Works, 1 BEL)
Primera-valse (ed. Richard Stover, in Guitar Works, 1
BEL)

Vals de la primavera ZEN

La catedral ZAN; BEL

Preludio saudade
Benedict, Robert
Fughettas for Guitar WAT
Old Fugue (no. 10)
Brindle, Reginald Smith
Do Not Go Gentle ZRB
Brouwer, Leo
Danza caracterstica OTT
Dos aires populares cubanos ESC
Guajira and Zapateo
Trois pices latino-amricaines ESC

Danza del altiplano

51
Brown, James
Three Folk Studies JMB
The Home Fields

Mompou, Federico
Suite compostellana SAL
Cuna or Cancin

Burle Marx, Walter

Violeiros de Guaratiba (in The complete Works of Burle
Marx CLE)
Festa (no. 1)

Moreno-Torroba, Federico

Sereneta burlesca OTT

Pices charactristiques, 1 OTT
Albada
Los mayos
Sonatina (ed. Andrs Segovia CLM)

2nd movement: Andante

Suite castellana (Castles of Spain), 1 OTT; GSO
Arada

Castelnuovo-Tedesco, Mario
Appunti, op. 210, 1 ZRB
Valse franaise (no. 14)
Platero y yo, op. 190, vol. 4 (ed. Angelo Gilardino BEB)
A Platero en el cielo de Moguer (no. 28)
Chiereghin, Sergio
Sotto tenero verde (ed. Pino Briasco ZAN)
Danza
Debussy, Claude
The Little Shepherd (arr. Christopher Parkening, in
Virtuoso Music for Guitar SBR)
Demillac, Yvon
Pierrot et Margot (in La guitare dans tous ses tats, 6
DOZ)
Dodgson, Stephen
Partita I for Guitar OUP
Adagio
Duarte, John
English Suite, op. 31 NOV
Dance
Folk Song

Prelude
Sonatinette, op. 35 NOV
two movements
Hand, Frederic
Homage for Guitar BEL

Elegy for a King

Myers, Stanley

Cavatina (arr. John Williams ROB)

Ourkouzounov, Antanas
Childrens Diary (DOM)
III: Allegro vivace
Petit, Raymond
Nocturne ESC
Ponce, Manuel
Scherzino mexicano (ed. Manuel Lopes-Ramos PER)
Valse OTT
Sonata clsica OTT
Andante or Menuet and Trio
Sonata III (ed. Andrs Segovia OTT)

Chanson
Tres canciones populares mexicanas OTT
Andante (Por ti mi corazn) and Allegro
(Valentina)
Twenty-Four Preludes OTT; TEC
Prelude No. 1 and Prelude No. 17
Prelude No. 7 and Prelude No. 8
Prelude No. 11 and Prelude No. 12
Roux, Patrick
Dun ciel lautre DOZ

Haug, Hans
Preludio BEB

Sainz de la Maza, Regino

El vito UME

Iannarelli, Simone
Italian Coffee GSO
Tarde de Lluvia con Cafe (no. 7)

Somers, Harry
Sonata for Guitar CAV
Finale

Kovats, Barna
Minutenstcke OTT
three of Andantino, Leggiero, Molto legando,
Moderato, Un poco agitato, Non troppo allegro,
Tranquillamente scorrendo, Vivo, Ritmico

Villa-Lobos, Heitor
Cinq prludes ESC

Prlude No. 1

Lauro, Antonio
Quatro valses venezolanos (arr. Alirio Diaz CNI)
Vals venezolano No. 2
McGuire, James
Suite No. 2 in Popular Style JAM
Intermezzo and Dance

Weinzweig, John
Contrasts CMC
no. 2
Zohn, Andrew
Five Easy Pieces DOZ
Simple Sequence, 13 Notes, and Rumba
Suite of Miniatures DOZ
III: Vals venezolano and V: Ritmico

Merlin, Jos Luis

Dos aires pampeanos TUS
Aire de estilo and Aire de milonga
Suite del recuerdo TUS
Carnavalito

Joropo
Zamba
Grade 8

52
Technical Requirements
Please see Technical Requirements on p. 12 and Bridges:
A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the
examination.

Studies
Candidates should be prepared to play two contrasting
studies by different composers from the following list.

Gnattali, Radams
Ten Studies for Guitar BRZ
Study No. 1 (Presto possibile)
Kleynjans, Francis
Impromptu et berceuse, op. 68 MRG
Berceuse
Presti, Ida
Six tudes ESC
tude No. 1

Bullets used to denote selections for examination purposes:

one selection

selection is found in Bridges: A Comprehensive Guitar

Series, Repertoire and Studies 8 FHM.

Pujol, Emilio

El abejorro RIC

Brouwer, Leo
Estudios sencillos (tudes simples) ESC

Estudio No. 18
Estudio No. 20

Rodrigo, Joaqun

Tiento Antiguo B&B

Carbajo, Roque
Aquarelles de lAmrique latine DOZ
Seresta (in La guitare dans tous ses tats, 6 DOZ)

Regondi, Giulio
Ten Etudes EOP
Etude No. 1

Sagreras, Julio
Las quintas lecciones RIC
Lesson 24

Castelnuovo-Tedesco, Mario
Appunti, op. 210, 1 ZRB
Bolle di sapone (sulle seconde) (no. 3)

Sor, Fernando
Studio for the Spanish Guitar, op. 6

Allegretto moderato (no. 11)

Vingt-quatre exercises trs faciles, op. 35

Moderato (no. 16)

Vingt-quatre leons progressives, op. 31 (ed. Brian Jeffery
TEC)
Lesson (no. 19)

Chiereghin, Sergio
Invenzione leid e studio ZAN
Studio

Trrega, Francisco
Prelude, TI i-4
Prelude, TI ii-4B

Coste, Napolon
Vingt-cinq tudes de genre, op. 38 CHN

Allegretto (no. 13)

Villa-Lobos, Heitor
Douze tudes ESC

tude No. 8

Carcassi, Matteo
Vingt-cinq tudes mlodiques et progressives, op. 60 TEC

Allegro (no. 23)

Cruz, Mark Anthony

Contrapuntal tudes CLE
two of nos. 1, 4, 6

Grade 8

53
Technical Tests
Candidates should consult Technical Tests on p. 12 and Bridges: A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the examination. Take particular note of the Introduction on p. 4 of
Guitar Technique.
Candidates should be prepared to play the scales and arpeggio patterns listed in the following chart. Please note that all
technical tests must be memorized.
All scales are to be played ascending and descending, at or beyond the minimum tempos specified in the chart and in
Guitar Technique. Candidates should also note the required note values, right-hand fingering, and final cadences listed in the
chart. Diatonic, chromatic, and tremolando scales are to be played with both free stroke and rest stroke.
Scales

Keys

Range

Diatonic Scales
Major

E, B

2 octaves

F, B , A
Minor
C,G,D
(harmonic and melodic)
G, F
Chromatic Scale
Tremolando Scales
Major

Tempo Note Values

3 octaves

= 96

3 octaves
3 octaves

E, B

2 octaves

= 88

C, A major

Scales in 3rds and 6ths

F major,
Solid
D minor
Arpeggio Patterns
See Guitar Technique FHM pp. 4749

im or mi
ia or ai

perfect
(IIVVI)

and

ma or am

perfect
(IIVVI)

= 108

Slur Scales
Compound triplets

Final Cadence

and

2 octaves

on A sharp

Minor
C,G,D
(harmonic and melodic)

RH
Fingering

and

2 octaves
= 100

and

im or mi
ia or ai

perfect
(IIVVI)

ma or am

perfect
(IIVVI)

1 octave

= 100

any

2 octaves

= 88

any

Ear Tests
Intervals

Chords

Candidates will be asked to identify the following intervals.

The examiner will play each interval once in broken form.
or
Candidates may choose to sing or hum the following
intervals. The examiner will play the first note once.

Candidates will be asked to identify the following chords

after the examiner has played the chord once in solid
(blocked) form, close position.

Above a Given Note

major and minor 2nds
major and minor 3rds
major and minor 6ths
minor 7th
perfect 4th
perfect 5th
perfect octave

Below a Given Note

major 2nd
major and minor 3rds
minor 6th
major 7th
perfect 4th
perfect 5th
perfect octave

Chords
major and minor triads
dominant 7th
diminished 7th

Position
root position
root position
root position

Grade 8

54
Cadences

Sight Reading

Candidates will be asked to identify the following cadences

by name or symbols. The examiner will play the tonic
chord once, and then play a short phrase ending in a
cadence twice.
Name of Cadence
perfect or authentic
plagal

Symbols
VI
IVI

Playing
Candidates will be asked to play a short composition at
sight.
Difficulty
Grade 5
repertoire

Example only

Time
Keys
Signatures
any time signature major and minor keys
up to four sharps or
three flats

Clapping
Candidates will be asked to clap or tap the rhythm of
a melody. A steady pace and rhythmic accentuation are
expected.
Time Signatures

Playback
Candidates will be asked to play back a melody
approximately one octave in range on their own
instrument. The examiner will name the key, play the tonic
chord once, and play the melody twice.
Approximate Length
nine notes
Example only

Grade 8

Keys
C, G, D, F, B major

, , ,
Example only

Approximate Length
four measures

55

Grade 9
Grade 9 Requirements
Repertoire
one selection from List A
one selection from List B
one selection from List C
one selection from List D
Technical Requirements
Studies: two studies from the Syllabus list
Technical Tests
scales
arpeggios
Ear Tests
Intervals
Chords
Cadences
Playback
Sight Reading
Playing
Clapping
Total possible marks (pass = 60)
Theory Co-requisites
Advanced Rudiments
Basic Harmony or Basic Keyboard Harmony
History 1: An Overview

Marks
60
15
15
15
15
20
10
10

10
3
2
2
3
10
7
3
100

Repertoire

Cimarosa, Domenico
Sonata No. 2 (arr. Julian Bream, in Cimarosa: Three
Sonatas FAB)
Sonata No. 15 (ed. Alice Artzt CLM)
Dowland, John
Fantasia (Poulton 5) (ed. John Duarte and Diana
Poulton, in R. Dowlands Varietie of Lute Lessons, 4
BEB)
Farewell Fantasia (Poulton 3) (ed. John Duarte and
Diana Poulton, in R. Dowlands Varietie of Lute Lessons,
4 BEB)
Lachrimae (Poulton 15) (ed. Dniel Benko, in
Dowland: Dances and Fantasies EMB)
Lady Rich, Her Galliard (ed. John Duarte and Diana
Poulton, in R. Dowlands Varietie of Lute Lessons, 5
BEB)
Frescobaldi, Girolamo
Aria con variazioni (arr. Norbert Kraft WAT)
Handel, George Frideric
Sarabande with Variations, HWV 437/4 (in Ibis del
concertista, 11 ZRB)
Mudarra, Alonso
Fantasia X (ed. Paolo Paolini, in Mudarra: Two
Fantasies, Two Tientos RIC)
Scarlatti, Domenico
Sonata in A Major, K 533 (ed. Carlos Barbosa-Lima,
in Three Sonatas CLM)

A single selection for examination purposes is indicated by

a bullet ().

Weiss, Silvius Leopold

Chaconne (arr. Carlos Barbosa-Lima, in Weiss: Six Lute
Pieces, 2 CLM)
Ciacona (arr. Alice Artzt CLM)
Fantasie (arr. Karl Scheit UNI)
Passacaglia (arr. Karl Scheit UNI)
Tombeau sur la mort de M. Comte de Logy (arr. Karl
Scheit UNI)

List A
Renaissance and Baroque Repertoire

List B
Classical Repertoire

Candidates must prepare four selections by different

composers: one from List A, one from List B, one from
List C, and one from List D.
Please see Examination Repertoire on p. 78 for important
information regarding this section of the examination.

Albniz, Mateo
Sonata (ed. John Cochran CLM)
Bach, Johann Sebastian
Suite for Lute, BWV 995 (ed. Frank Koonce KJO)
Allemande or Gigue
Gavottes I and II
Suite for Lute, BWV 1006a (ed. Frank Koonce KJO)
Loure or Gavotte en rondeau
Suite for Solo Cello No. 3, BWV 1009 (arr. Jeffrey
McFadden CLE)
Prelude
Buxtehude, Dietrich
Suite in E Minor (ed. Julian Bream FAB)
two of Allemande, Courante, Gigue

Aguado, Dionisio
Andante I and Andante II (in Aguado-Brevier: Selected
Pieces OTT)
Carulli, Ferdinando
Le rpertoire des lves, op. 124
Rondo (no. 12) (in Carulli-Brevier, 2 OTT)
Sei andanti, op. 320 (ed. Ruggero Chiesa ZRB)
Andante leggiero e grazioso (no. 5)
Andante molto sostenuto (no. 3)
Andante risoluto (no. 6)
Diabelli, Anton
Sonata in C Major, op. 29, no. 1 OTT; (in Complete
Sonatas of Sor, Giuliani, and Diabelli MEL)
1st movement or 4th movement

Grade 9

56
Giuliani, Mauro
Giulianate, op. 148 (ed. Ruggero Chiesa ZRB)
La risoluzione (no. 1)
Sonata, op. 15 ZRB; UNI
1st or 3rd movement
Sonatina, op. 71, no. 2 (ed. Isaias Savio, in Giuliani:
Compositions for Guitar, 1 RIC)
two movements
Sonatina, op. 71, no. 3 (ed. Ruggero Chiesa ZRB)
Andante and Finale
Variazioni su Il flauto magico di Mozart, WoO G-3
(ed. Germano Cavazzoli, in Tre temi favoriti RIC)
Variazioni sul tema della Follia di Spagna, op. 45
(ed. Germano Cavazzoli, in Tre temi favoriti RIC)
Haydn, Franz Joseph
Menuetto in D Major (ed. Andrs Segovia UME)
Sor, Fernando
Grand sonata, op. 22 TEC
Rondo in C Major

List C
Romantic Repertoire and National Styles
Albniz, Isaac
Espaa, op. 165 OTT
Tango
Suite espaola, op. 47 (ed. Manuel Barrueco BEL)
Granada (no. 1)
Barrios, Agustn
Cancin de cuna (ed. Richard Stover, in Guitar Works,
1 BEL)
Cancin de la hilandera (ed. Richard Stover, in Guitar
Works, 1 BEL)
Chro de saudade (ed. Pier Luigi Cimma BEB)
Danza paraguaya (ed. Miguel Abloniz BEL)
Preludio, op. 5, no. 1 (ed. Richard Stover, in Guitar
Works, 1 BEL)
Waltzes for Guitar, op. 8 (ed. Richard Stover, in Guitar
Works, 1 BEL)
Waltz No. 3
Waltz No. 4
Carlevaro, Abel
Preludios americanos CHN
Campo (no. 3)
Castelnuovo-Tedesco, Mario
Platero y yo, op. 190, vol. 1 (ed. Angelo Gilardino BEB)
Melancola
Debussy, Claude
La fille aux cheveux de lin (arr. Norbert Kraft WAT)
Falla, Manuel de
Homenaje (ed. John Duarte CHS)
Granados, Enrique
Danza espaola, no. 5 (ed. Norbert Kraft WAT)
Two Spanish Dances (ed. Carlos Barbosa-Lima CLM)
Fandango
Lauro, Antonio
Variations on a Venezuelan Childrens Song
(ed. Alirio Diaz B&V)
Grade 9

Moreno-Torroba, Federico
Madroos ASM
Nocturno ASM
Aires de la Mancha OTT
two of Jeringonza, Copilla, Seguidilla
Pices charactristiques, 1 OTT
Oliveras
Castillos de espana, 1 OTT; GSO
Turegano or Manzanares el real AND Montemayor
Suite castellana OTT
Danza and Fandanguillo
Ponce, Manuel
Twenty-Four Preludes TEC
Prelude in E Major
Sainz de la Maza, Eduardo
Campaas del alba UME
Santrsola, Guida
Three Airs of Court CLM
Preludio and Finale
Trrega, Francisco
Caprichio rabe, serenata (ed. Isaias Savio, in Trrega:
The Complete Early Spanish Editions CHN; MEL)
Estudio, Recuerdos de la Alhambra TI ii-9 (ed. Isaias
Savio, in Trrega: The Complete Early Spanish Editions
CHN; MEL)
Turina, Joaqun
Homage Trrega, op. 69 OTT
Garrotin
Soleares

List D
20th- and 21st-century Repertoire
Ascensio, Vicente
Suite mistica BEB
Pentecostes
Balada, Leonardo
Suite No. 1 (ed. Carlos Barbosa-Lima CLM)
Moderato and Andantino
Brindle, Reginald Smith
November Memories ZRB
Sonata No. 3 OTT
two movements
Sonata No. 4 OTT
two movements
Brouwer, Leo
Paisaje cubano con campanas OTT
Tres apuntes OTT
two movements
Brown, James
Four Original Guitar Works JMB
Variations on a Canadian Folksong
Three Folk Studies JMB
Good News

57
Burle Marx, Walter
Violeiros de Guaratiba (in The complete Works of Burle
Marx CLE)
Conversa (no. 3)
Folias de Guaratiba (no. 5)
Bustamante, Fernando
Misionera (arr. Jorge Morel, in Virtuoso South American
Guitar, 1 ASH)
Duarte, John
Idylle pour Ida UNI
Dyens, Roland
Tango en skai LEM
Trois saudades EMH
Chorinho (no. 2)
Harris, Albert
Homage to Unamuno CLM
Lauro, Antonio
Quatro valses venezolanos (arr. Alirio Diaz CNI)
Vals venezolano No. 3
Vals venezolano No. 4
Morel, Jorge
Danza Brasiliera (in Virtuoso South American Guitar, 1
ASH)
Sonatina CHR
1st or 3rd movement
Piorkowski, James
Sentient Preludes CLE
Prelude No. 10
Presti, Ida
tude du matin CLM
Tansman, Alexandre
Danza pomposa OTT
Tremblay, Pierre
Deux pices pour guitare solo CLE
Esquisse torrobienne
van der Staak, Pieter
Bellefleur DOZ
Villa-Lobos, Heitor
Chro-typico (Chro No. 1) CLM
Cinq prludes ESC
Prlude No. 5
Suite populaire brsilienne ESC
Gavota-chro
Schottisch-chro
Wilson, Donald
Three Pieces (ed. Angelo Gilardino BEB)
two pieces

Technical Requirements
Please see Technical Requirements on p. 12 and
Bridges: A Comprehensive Guitar Series, Guitar Technique
FHM for important information regarding this section of
the examination.

Studies
Candidates must be prepared to play two contrasting studies
by different composers from the following list.
A single selection for examination purposes is indicated by
a bullet ().
Barrios, Agustn
Estudio No. 3 (ed. Richard Stover, in Guitar Works, 2
BEL)
Carcassi, Matteo
Vingt-cinq tudes mlodiques et progressives, op. 60 TEC
tude (no. 25)
Castelnuovo-Tedesco, Mario
Appunti, op. 210, 1 ZRB
no. 10 or no. 11
Coste, Napolon
Vingt-cinq tudes de genre, op. 38 CHN
one of nos. 8, 11, 17, 18, 25
Dodgson, Stephen, and Hector Quine
Studies for Guitar, 1 RIC
Poco allegro: Scherzando (no. 4)
Studies for Guitar, 2 RIC
Molto moderato (no. 14)
Tranquillo (no. 15)
Garcia, Gerald
25 Etudes Esquisses for Guitar MEL
Etude 24
Giuliani, Mauro
24 esercizio per la chitarra, op. 48
Allegro con moto (no. 23) (ed. Ruggero Chiesa, no. 65
in Studi per chitarra ZRB)
Andantino (no. 15) (ed. Ruggero Chiesa, no. 79 in
Studi per chitarra ZRB)
Presti, Ida
Six tudes ESC
one of nos. 2, 4, 5
Regondi, Giulio
Ten Etudes EOP
one of nos. 5, 7, 8
Sor, Fernando
Studio for the Spanish Guitar, op. 6
no. 3 or no. 12 (ed. Brian Jeffery, in Sor: Twenty Studies
TEC)
Twelve Studies, op. 29
no. 13 or no. 23 (ed. Brian Jeffery, in Sor: Twenty
Studies TEC)
Villa-Lobos, Heitor
Douze tudes ESC
one of nos. 1, 4, 6, 10, 11

Grade 9

58
Technical Tests
Candidates should consult Technical Tests on p. 12 and Bridges: A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the examination. Take particular note of the Introduction on p. 4 of
Guitar Technique.
Candidates should be prepared to play the scales and arpeggio patterns listed in the following chart. Please note that all
technical tests must be memorized.
All scales are to be played ascending and descending, at or beyond the minimum tempos specified in the chart and in
Guitar Technique. Candidates should also note the required note values, right-hand fingering, and final cadences listed in the
chart. Diatonic, chromatic, and tremolando scales are to be played with both free stroke and rest stroke.
Scales
Diatonic Scales
Major
Minor
(harmonic and melodic)
Chromatic Scale
Tremolando Scales
Major
Minor
(harmonic and melodic)
Slur Scales
Compound triplets
Scales in 3rds and 6ths
Solid

Keys

Range

C, F
A, E, B

2 octaves
3 octaves

C,D
A, F , G
on B
C, F

2 octaves
3 octaves
3 octaves
2 octaves

C,D

Note Values

= 108

and

= 96

and

= 116

and

= 104

and

RH Fingering

2 octaves

= 126

= 96

Final Cadence

im or mi
ia or ai

perfect
(IIVVI)

ma or am

perfect
(IIVVI)

im or mi
ia or ai

perfect
(IIVVI)

ma or am

perfect
(IIVVI)

any

any

2 octaves

G, A major 2 octaves
A major,
F minor

Tempo

Arpeggio Patterns
See Guitar Technique FHM pp. 5557

Ear Tests
Intervals

Chords

Candidates will be asked to identify the following intervals.

The examiner will play each interval once in broken form.
or
Candidates may choose to sing or hum the following
intervals. The examiner will play the first note once.

Candidates will be asked to identify the following chords

and their inversion or position after the examiner has
played the chord once in solid (blocked) form, close
position.

Above a Given Note

any interval within the
octave

Grade 9

Below a Given Note

any interval within the
octave except the diminished
5th/augmented 4th

Chords
major and minor triads
dominant 7th
diminished 7th

Position
root position, 1st inversion
root position
root position

59
Cadences

Sight Reading

Candidates will be asked to identify the following cadences

by name or symbols. The examiner will play the tonic
chord once, and then play a short phrase ending in a
cadence twice.
Name of Cadence
perfect or authentic
plagal
imperfect

Symbols
VI
IVI
IV

Playing
Candidates will be asked to play a short composition at
sight.
Difficulty
Grade 6
repertoire

Time
Signatures
any time
signature

major and minor keys up to

five sharps and three flats

Clapping

Example only

Candidates will be asked to clap or tap the rhythm of

a melody. A steady pace and rhythmic accentuation are
expected.
Time Signatures
, , ,

Playback
Candidates will be asked to play back the upper voice of a
two-voice phrase on their own instrument. The examiner
will name the key, play the tonic chord once, and play the
melody twice.
Approximate Length
two or three measures

Keys

Approximate Length
five measures

Example only

Keys
C, G, D, F, B major

Example only

Grade 9

60

Grade 10
Grade 10 Requirements
Repertoire
one selection from List A
one selection from List B
one selection from List C
one selection from List D
Technical Requirements
Studies: two studies from the Syllabus list
Technical Tests
scales
arpeggios
Ear Tests
Intervals
Chords
Cadences
Playback
Sight Reading
Playing
Clapping
Total possible marks (pass = 60)
Theory Co-requisites
Advanced Rudiments
Intermediate Harmony or Intermediate
Keyboard Harmony
History 1: An Overview
History 2: Middle Ages to Classical

Marks
60 (42)
15
15
15
15
20 (14)
10
10

10 (7)
2
2
3
3
10 (7)
7
3
100

Repertoire
Candidates must prepare four selections by different
composers: one from List A, one from List B, one from
List C, and one from List D.
Please see Examination Repertoire on p. 78 for important
information regarding this section of the examination.
A single selection for examination purposes is indicated by
a bullet ().

List A
Renaissance and Baroque Repertoire
Bach, Johann Sebastian
Prelude, Fugue, and Allegro in E flat Major, BWV 998
(ed. Frank Koonce KJO)
Prelude and Allegro
Suite for Lute, BWV 996
Preludio, Presto, and Courante; OR Sarabande and
Gigue
Suite for Lute, BWV 997
Preludio, Gigue, and Double
Suite for Lute, BWV 1006a (ed. Frank Koonce KJO)
Bourre and Gigue
Suite for Solo Cello No. 1, BWV 1007 (arr. Jeffrey
McFadden CLE)
Allemande and Courante
Grade 10

Bach, Johann Sebastian (continued)

Suite for Solo Cello No. 3, BWV 1009 (arr. Jeffrey
McFadden CLE)
Allemande and Courante
Borrono, Pietro Paulo
Fantasia (in Antologia di musica antica, 2 ZRB)
Byrd, William
The Woods So Wild OUP
Dowland, John
Earl of Essex, His Galliard (ed. John Duarte and
Diana Poulton, in R. Dowlands Varietie of Lute Lessons,
5 BEB)
Fantasia No. 7 (ed. John Duarte and Diana Poulton, in
R. Dowlands Varietie of Lute Lessons, 4 BEB)
Sir Henry Guilford, His Almaine (ed. John Duarte
and Diana Poulton, in R. Dowlands Varietie of Lute
Lessons, 2 BEB)
Sir John Smith, His Almaine (ed. John Duarte and
Diana Poulton, in R. Dowlands Varietie of Lute Lessons,
2 BEB)
Huwet, Gregorio
Fantasia (no. 6 in R. Dowlands Varietie of Lute Lessons,
4 BEB)
Ponce, Manuel
Suite (ed. Manuel Lopez-Ramos PER)
Preambule and Allegro vivo
Scarlatti, Domenico
Sonata, K 380 (ed. Giuseppe Luconi BEB)
Weiss, Silvius Leopold
Intavolatura di liuto, 1 (ed. Ruggero Chiesa ZRB)
Suite 2
two of Allemande, Courante, Gigue
Suite 8
two of Allemande, Courante, Gigue
Suite 12
Allemande and Pastorel
Intavolatura di liuto, 2 (ed. Ruggero Chiesa ZRB)
Suite 20
Overture and Gigue
Suite 25
Entre and Courante

List B
Classical Repertoire
Coste, Napolon
Andante et polonaise, op. 44 (in Complete Works of
Napolon Coste, 3 CHN)
La Cachucha, op. 13 (in Complete Works of Napolon
Coste, 3 CHN)
Divertissements sur Lucia da Lammermoor, op. 9 (in
Complete Works of Napolon Coste, 2 CHN)
Les soires dAuteuil, op. 23 (in Complete Works of
Napolon Coste, 3 CHN)

61
Diabelli, Anton
Sonata in A Major, op. 29, no. 2 OTT (in Complete
Sonatas of Sor, Giuliani, and Diabelli MEL)
1st movement: Allegro risoluto or 4th movement:
Rondo

Moreno-Torroba, Federico
Sonatina (ed. Andrs Segovia CLM)
Allegretto or Allegro
Suite castellana, 1 OTT; GSO
Torija and Alcazar de Segovia

Giuliani, Mauro
Variazioni, op. 112 (ed. Ruggero Chiesa ZRB)
Variazioni su un tema di Handel, op. 107 (ed.
Ruggero Chiesa ZRB)

Ponce, Manuel
Sonata clsica OTT
1st or 4th movement
Sonatina meridional OTT
1st movement

Llobet, Miguel
Scherzo Waltz UME
Sor, Fernando
Introduction et variations sur lair Malbroug,
op. 28 (ed. Brian Jeffrey, in Complete Works of Fernando
Sor TEC)
Sonata, op. 15, no. 2 (ed. Isaias Savio, in Sor: Nineteen
Compositions RIC)
Fantasia, op. 7 (ed. Hector Quine OUP)
Theme and Variations
Fantasia, op. 10 (ed. Hector Quine OUP)
Theme and Variations
Grand sonata, op. 22 TEC
1st movement
Grand sonata, op. 25 TEC
Andantino grazioso
Torok, Alan
Variations on a Classic Theme WAT

List C
National Styles
Albniz, Isaac
Crdoba (ed. Carl Barbosa-Lima CLM)
Mallorca (ed. Andrs Segovia CLM)
Torre Bermeja (ed. Norbert Kraft WAT)
Zambra granadina (ed. Andrs Segovia CLM)
Suite espaola, op. 47 (ed. Manuel Barrueco BEL)
Cadiz (no. 4 BEL) or Asturias (no. 5 RIC)
Barrios, Agustn
Una limosna por el amor de Dios (ed. Richard Stover,
in Guitar Works, 3 BEL)
La catedral ZAN; BEL
Andante religioso and Allegro solemme
Castelnuovo-Tedesco, Mario
Escarraman, op. 77 BEB
El canario
Suite OTT
Preludio or Capriccio
Tarantella RIC
Granados, Enrique
Danza espaola No. 10 (ed. David Russell DOM)
La maja de Goya (ed. Miguel Llobet UME)
Malats, Joaquin
Ibis del concertista, 2 (ed. Bruno Tonazzi ZRB)
Serenata spagnola (p. 15)

Pujol, Emilio
Trois morceaux espagnols ESC
Tango or Guajira
Turina, Joaqun
Fandanguillo, op. 36 OTT
Rfaga, op. 53 OTT
Sonata, op. 61 OTT
1st or 3rd movement

List D
20th- and 21st-century Repertoire
Apivor, Denis
Discanti, op. 48 BEB
three movements
Arteaga, Edward
Nocturne for Solo Guitar CMC
Ascensio, Vicente
Suite mistica BEB
Dipso and Getsemani
Suite valenciana BEB
two movements
Balada, Leonardo
Lento with variation (ed. Carlos Barbosa-Lima CLM)
Suite No. 1 (ed. Carlos Barbosa-Lima CLM)
two of Allegretto, Lento, Animado
Beauvais, William
Bound by Shadows DOZ
Bennett, Richard Rodney
Impromptus UNI
nos. 1, 2, and 4
Berkeley, Lennox
Sonatina (ed. Julian Bream CHS)
two movements
Theme and Variations (ed. Angelo Gilardino CHS)
Brouwer, Leo
Canticum OTT
Elogio de la danza OTT
La espiral eterna OTT
Cooperman, Larry
Walking on the Water (ed. Carlos Barbosa-Lima GSO)
Dodgson, Stephen
Etude-Caprice DOM

Grade 10

62
Dyens, Roland
Songe capricorne LEM
Trois saudades EMH
Saudade No. 3
Eastwood, Thomas Hugh
Ballade-Fantasy (ed. Julian Bream FAB)
Fricker, Peter Racine
Paseo (ed. Julian Bream FAB)
Gerhard, Roberto
Fantasia for Guitar BEL
Koshkin, Nikita
Usher Waltz MAR
Maghini, Ruggero
Umbra BEB
Martin, Frank
Quatre pices brves (ed. Karl Scheit UNI)
Prlude and Gigue
Milhaud, Darius
Segoviana HEU
Mompou, Federico
Suite compostellana SAL
Preludio or Muiera
Obrovska, Jana
Hommage Bla Bartk ESC
Ohana, Maurice
Si le jour parait BIL
20 avril (Planh) (no. 4)
Tiento BIL
Rodrigo, Joaqun
En los trigales (ed. Narciso Yepes EMM)
Junto al Generalife B&B
Tres Piezas Espaolas OTT
Zapateado
Roux, Patrick
Simplement choros DOZ
Santrsola, Guida
Vals romantico (ed. Angelo Gilardino BEB)
Somers, Harry
Sonata for Guitar CAV
Prelude and Scherzo
Villa-Lobos, Heitor
Cinq prludes ESC
Prlude No. 2
Suite populaire brsilienne ESC
Gavota-Choro and Chorinho
Vivier, Claude
Pour guitare DOM
Walton, William
Five Bagatelles (ed. Julian Bream OUP)
no. 3 and no. 4

Grade 10

Technical Requirements
Please see Technical Requirements on p. 12 and
Bridges: A Comprehensive Guitar Series, Guitar Technique
FHM for important information regarding this section of
the examination.

Studies
Candidates must be prepared to play two contrasting studies
by different composers from the following list.
A single selection for examination purposes is indicated by
a bullet ().
Barrios, Agustn
Estudio de concierto (ed. Richard Stover, in Guitar
Works, 3 BEL)
Estudio No. 6 (ed. Richard Stover, in Guitar Works, 2
BEL)
Coste, Napolon
Vingt-cinq tudes de genre, op. 38 CHN
one of nos. 19, 21, 22
Dodgson, Stephen, and Hector Quine
Studies for Guitar, 1 RIC
Vivace (no. 10)
Studies for Guitar, 2 RIC
Allegro (no. 11)
Fugato: Moderato e con forza (no. 13)
Vivace (no. 20)
Garcia, Gerald
25 Etudes Esquisses for Guitar MEL
Etude 25
Giuliani, Mauro
Selected Studies, op. 111 OTT
Andantino (no. 1) (ed. Ruggero Chiesa, no. 78 in Studi
per chitarra ZRB)
Presti, Ida
Six tudes ESC
tude No. 6
Pujol, Emilio
Ondinas RIC
Regondi, Giulio
Ten Etudes EOP
Etude No. 2 or No. 6
Sagreras, Julio
El colibri RIC
Sor, Fernando
Studio for the Spanish Guitar, op. 6
no. 6 (ed. Brian Jeffery, in Sor: Twenty Studies TEC)
Twelve Studies, op. 29
no. 17 or no. 22 (ed. Brian Jeffery, in Sor: Twenty
Studies TEC)
Villa-Lobos, Heitor
Douze tudes ESC
one of nos. 2, 3, 5, 7, 9, 12

63
Technical Tests
Candidates should consult Technical Tests on p. 12 and Bridges: A Comprehensive Guitar Series, Guitar Technique FHM
for important information regarding this section of the examination. Take particular note of the Introduction on p. 4 of
Guitar Technique.
Candidates should be prepared to play the scales and arpeggio patterns listed in the following chart. Please note that all
technical tests must be memorized.
All scales are to be played ascending and descending, at or beyond the minimum tempos specified in the chart and in
Guitar Technique. Candidates should also note the required note values, right-hand fingering, and final cadences listed in the
chart. Diatonic, chromatic, and tremolando scales are to be played with both free stroke and rest stroke.
Scales
Diatonic Scales
Major
Minor
(harmonic and melodic)
Chromatic Scale
Tremolando Scales
Major
Minor
(harmonic and melodic)
Slur Scales
Compound triplets
Scales in 3rds and 6ths
Solid

Keys
D, F
G, B, B
D
E, B, G , G
on B
D, F
D

Range

Tempo

2 octaves
3 octaves
2 octaves
3 octaves
3 octaves
2 octaves
2 octaves

Note Values

= 116

and

= 100

and

= 120

and

= 108

and

C, F major

2 octaves

= 144

D major,
B minor

2 octaves

= 104

RH Fingering Final Cadence

im or mi
ia or ai

perfect
(IIVVI)

ma or am

perfect
(IIVVI)

im or mi
ia or ai

perfect
(IIVVI)

ma or am

perfect
(IIVVI)

any

any

Arpeggio Patterns
See Guitar Technique FHM pp. 6466

Ear Tests
Intervals

Chords

Candidates will be asked to identify the following intervals.

The examiner will play each interval once in broken form.
or
Candidates may choose to sing or hum the following
intervals. The examiner will play the first note once.

Candidates will be asked to identify the following chords

and their inversion or position after the examiner has
played the chord once in solid (blocked) form, close
position.

Above a Given Note

any interval within the
octave

Below a Given Note

any interval within the
octave

Chords
major and minor four-note
chords
dominant 7th
diminished 7th

Position
root position, 1st inversion,
2nd inversion
root position
root position

Grade 10

64
Cadences

Sight Reading

Candidates will be asked to identify by name or symbols

the following cadences played within a single phrase. The
phrase may be in a major or a minor key and may contain
up to three cadences. The examiner will play the tonic
chord once, and then play the phrase twice.

Playing
Candidates will be asked to play a short composition at
sight.
Difficulty

Name of Cadence
perfect or authentic
plagal
imperfect
deceptive

Symbols
VI
IVI
IV
VVI

Example only

Grade 7
repertoire

Time
Signatures
any time
signature

Candidates will be asked to clap or tap the rhythm of

a melody. A steady pace and rhythmic accentuation are
expected.

, , ,
Example only

Candidates will be asked to play back the lower voice of a

two-voice phrase on their own instrument. The examiner
will name the key, play the tonic chord once, and play the
phrase twice.
Approximate Length
two to four measures
Example only

Grade 10

Keys
C, F, D major

major or minor keys up to five

sharps or four flats

Clapping

Time Signatures

Playback

Keys

Approximate Length
six measures

65

ARCT in Guitar
Performance
The ARCT in Performance Diploma is the culmination
of the RCM Examinations examination system and is
evaluated as a concert performance. Excellence in every
aspect of performance is expected. Candidates should
perform with confidence, communicating the essence of
the music and demonstrating a command of the instrument
and a detailed understanding of the stylistic and structural
elements of each repertoire selection. Candidates must
achieve an Honors standing (70 percent) in order to be
awarded an ARCT in Performance Diploma.

The ARCT Examination

Please see Co-requisites and Prerequisites on p. 11,
Classification of Marks on p. 75, and Supplemental
Examinations on p. 77 for important details regarding
the ARCT in Performance examination. Two years of
preparation following Grade 10 is recommended for the
ARCT in Performance examination.
The examination may be attempted when the candidate has
met the following conditions:
The candidate has completed the Grade 10 Guitar
examination with a total mark of 75 or a minimum of 70
percent in each section of the examination, at least one
session prior.
The candidate has completed the theory co-requisite
examinations for Grade 10 with a total mark of at least
60 percent for each examination, at least one session
prior.
ARCT in Guitar Performance Requirements
Repertoire
one selection from List A
one selection from List B
one selection from List C
one selection from List D
one selection from List E
Total possible marks (pass = 70)
Theory Prerequisites
Advanced Rudiments
Intermediate Harmony or
Intermediate Keyboard Harmony
History 1: An Overview
History 2: Middle Ages to Classical
Theory Co-requisites
Counterpoint
Advanced Harmony or
Advanced Keyboard Harmony
Analysis
History 3: 19th Century to Present

Marks
100
20
20
20
20
20
100

Criteria for Pass and Failure

A continuous, convincing performance is a fundamental
requirement for a passing mark in the ARCT in
Performance examination. A failing mark may be awarded
for one or more of the following reasons:
lack of stylistic awareness
repeated interruptions in continuity
substantial omissions
textual inaccuracies
complete breakdown of the performance

Marking Criteria
First Class Honors with Distinction: 90100
Only truly exceptional candidates achieve this category.
Candidates must demonstrate complete technical command
and perform with a confident, masterful style. These
candidates clearly demonstrate an authentic personal
performance spark.
First Class Honors: 8589
Candidates present a truly engaging and intelligent
performance, displaying technical polish and finesse,
definite and apt characterization, and a sense of
spontaneity.
First Class Honors: 8084
Candidates are technically solid and demonstrate
sensitivity, intelligence, and talent. They are well prepared
and able to execute the examination requirements
thoughtfully and confidently.
Honors: 7079
Candidates exhibit thorough and careful preparation
and demonstrate some interpretive skills. Repertoire is
presented with overall command and accuracy. There is
awareness and general security in technical elements.

Repertoire
Candidates must prepare five contrasting selections: one
from each of List A, List B, List C, List D, and List E.
Each bulleted item () represents one selection for
examination purposes. The length of the performance must
be between 40 and 50 minutes. The examiner may stop the
performance if it exceeds the allotted time.
Please see Examination Repertoire on p. 77 for important
information regarding this section of the examination.

ARCT in Guitar Performance

66
List A
Works of J.S. Bach
Bach, Johann Sebastian
Fugue in G Minor for Lute, BWV 1000 KJO
Partita for Solo Violin No. 2, BWV 1004
Chaconne
Prelude, Fugue, and Allegro, BWV 998 (ed. Frank
Koonce KJO)
Fugue
Sonata for Flute, BWV 1034 (arr. David Russell DOM)
1st (Adagio non tanto) and 2nd (Allegro) movements
Sonata for Solo Violin No. 3, BWV 1005 (arr. Manuel
Barrueco OTT)
Fuga; OR Largo and Allegro Assai
Suite for Lute, BWV 997
Fugue
Suite for Lute, BWV 1006a (ed. Frank Koonce KJO)
Prelude and Loure
Suite for Solo Cello No. 2, BWV 1008 (arr. Jeffrey
McFadden CLE)
Prelude, Courante, Sarabande, and Gigue

List B
Classical and Romantic Repertoire
Aguado, Dionisio
Trois rondos brillants, op. 2
Andante and Rondo in A Minor
Coste, Napolon
Deuxime polonaise, op. 14 (in Complete Works of
Napolon Coste, 9 CHN)
La source de Lyson, op. 47 (in Complete Works of
Napolon Coste, 5 CHN)
Rondo de concert, op. 12 (in Complete Works of
Napolon Coste, 3 CHN)
Giuliani, Mauro
Grande ouverture, op. 61
Sonata eroica, op. 150
Mertz, Johann Kaspar
Elegy (ed. David Leisner MRI)
Fantaisie hongroise, op. 65, no. 1 (in Mertz Guitar
Works CHN)
Tarantelle (ed. David Leisner PRE)
Paganini, Nicol
Grand Sonata for Guitar and Violin, M.S. no. 3
(arr. Jeffrey Meyerriecks CLM)
1st and 3rd movements
Regondi, Giulio
Fte villageoise, op. 20 (ed. Simon Wynberg CHN)
Introduction et caprice, op. 23 (ed. Simon Wynberg
CHN)
Rverie (Nocturne), op. 19 (ed. Simon Wynberg
CHN)

Sor, Fernando
Grand solo, op. 14
Grand sonata, op. 25 TEC
Andante largo and Allegro non troppo
Souvenir damiti, op. 46 (ed. Brian Jeffrey, in
Complete Works of Fernando Sor TEC)
Variaciones on O Cara Armonia by Mozart, op. 9
OTT
Variaciones sobre un tema de Paisiello, op. 16

List C
Neo-Romantic Repertoire and National
Styles
Albniz, Isaac
Suite espaola, op. 47 (ed. Manuel Barrueco BEL)
Catalua (no. 2) and Sevilla (no. 3)
Barrios, Agustn
Un sueo en la floresta (ed. Richard Stover BEL)
Castelnuovo-Tedesco, Mario
Capriccio diabolico RIC
Sonata OTT
two contrasting movements
Harris, Albert
Variations and Fugue on a Theme of Handel OTT
Llobet, Miguel
Variaciones sobre un Tema de Sor, op. 15 CHN
Mann, Juan
Fantasia-Sonata OTT
Ponce, Manuel
Sonata III (ed. Andrs Segovia OTT)
1st and 3rd movements
Sonata mexicana (ed. Manuel Lopez-Ramos PER)
1st and 4th movements
Sonata romantica (ed. Andrs Segovia OTT)
3rd and 4th movements
Thme vari et finale OTT
Rodrigo, Joaqun
Invocation et danse (ed. Alirio Diaz EFM)
Elogio de la guitarra (ed. Angelo Gilardino BEB)
two movements
Sonata giocosa CHS
1st or 3rd movement
Sainz de la Maza, Regino
Rondea and Zapateado (in Regino Sainz de la Maza:
Musica para guitarra UNM

List D
20th- and 21st-century Repertoire
Arnold, Malcolm
Fantasy for Guitar, op. 107 (ed. Julian Bream FAB)
two of Prelude, Scherzo, Fughetta, March
Aron, Stephen
Rockport Stomp CLE

ARCT in Guitar Performance

67
Ascensio, Vicente
Collectici intim OTT
any two movements

Htu, Jacques
Suite, op. 41 DOM
Prelude and Ballade

Assad, Sergio
Fantasia Carioca CHN
Aquarelle pour guitare LEM
Valseana and Preludio et toccatina

Jos, Antonio
Sonata BEB
one movement

Beaser, Robert
Shenandoah (ed. Eliot Fisk HEL)
Best, Robert Michael
Suite in G MEW
Courante, Sarabande, and Minuet
Bogdanovic, Dusan
Jazz Sonata GSO
1st and 2nd movements
Brindle, Reginald Smith
El polifemo de oro OTT
Largo and Ritmico e vivo
Britten, Benjamin
Nocturnal, op. 70 (ed. Julian Bream FAB)
Brouwer, Leo
El decameron negro
Sonata OEM
two movements
Brown, James
Sonata JMB
two movements
Carter, Elliott
Changes B&H
Dodgson, Stephen
Fantasy-Divisions BEB
Partita I for Guitar OUP
1st, 2nd, and 4th movements

Kearney, Patrick
Sagittarius A* DOZ
Kleynjans, Francis
laube du dernier jour LEM
Lauro, Antonio
Sonata B&V
1st movement
Suite venezolana (rev. Alirio Diaz B&V)
Cancin and Vals
Maw, Nicholas
Music of Memory FAB
McGuire, James
Suite No. 4 JAM
Festive, Interlude, Lament, and Finale
Suite No. 5 JAM
Processional, Dance, Song, and Gently Flowing
Ohana, Maurice
Si le jour parait BIL
Jeu des quatre vents
Orbn, Julin
Preludio y danza (ed. Jos Rey de la Torre FCO)
Petrassi, Goffredo
Nunc (ed. Mario Gangi ZRB)
Suoni notturni (ed. Miguel Abloniz RIC)
Piazzolla, Astor
Cinco piezas BEB
any two movements

Duarte, John
Variations on a Catalan Folk Song, op. 25 NOV

Rawsthorne, Alan
Elegy (ed. Julian Bream OUP)

Dyens, Roland
Libra sonatina LEM

Roux, Patrick
Le bourdon de lme DOZ
Valse vertigo DOZ

Elias, Roddy
Emptying Sonata DOZ
Calm and Shuffle Boogie
Garcia de Leon, Ernesto
Sonata No. 4, op. 34 Lejanias MEL
two movements
Gilardino, Angelo
Sonata No. 2 BEB
1st and 2nd movements
Ginastera, Alberto
Sonata for Guitar, op. 47 B&H
Escordia and Scherzo
Henze, Hans Werner
Drei Tentos OTT
Royal Winter Music
First Sonata OTT
one movement
Second Sonata OTT
one movement

Santrsola, Guida
Cuatro tientos (ed. Angelo Gilardino BEB)
two movements
Schafer, R. Murray
Le cri de Merlin CMC
Takemitsu, Toru
Equinox OTT
Folios SAL
two movements
In the Woods OTT
two movements
Tippett, Michael
The Blue Guitar
one movement

ARCT in Guitar Performance

68
Walton, William
Five Bagatelles (ed. Julian Bream OUP)
nos. 1 and 3 or 1 and 5

Giuliani, Mauro
Concerto, op. 30 ZRB
1st movement

Zohn, Andrew
Dialogue DOZ
E Sonata DOZ
two movements

Htu, Jacques
Concerto pour guitare, op. 56 DOM
1st movement

List E
Concerto Movements

Ponce, Manuel
Concierto del sur PER
1st movement

Brouwer, Leo
Concierto elegiaco ESC
1st movement

Rodrigo, Joaqun
Concierto de Aranjuez BEL; ASM
1st or 2nd movement
Fantasia para un gentilhombre OTT
Danza de las hachas and Canario

Castelnuovo-Tedesco, Mario
Concerto No. 1 in D Major, op. 99 OTT
1st or 3rd movement

Villa-Lobos, Heitor
Concerto for Guitar ESC
1st or 2nd movement AND Cadenza

Cordero, Ernesto
Concierto Antillano MEL
1st or 3rd movement

ARCT in Guitar Performance

69

Teachers ARCT
The Teachers ARCT is designed to strengthen the
qualifications and teaching techniques of private studio
teachers. Pedagogical ability and accomplishments are
assessed through the Teachers ARCT Diploma.
The Teachers ARCT Diploma will be awarded only to
candidates 18 years of age or older.

The ARCT Examination

Please see Co-requisites and Prerequisites on p. 11,
Classification of Marks on p. 75, and Supplemental
Examinations on p. 77 for important details regarding the
application for the Teachers ARCT examination. Candidates
are strongly recommended to study for at least two years
after passing the Grade 10 examination and to have at least
one year of teaching experience.
The examination may be attempted when the candidate has
met the following conditions:
The candidate has completed the Grade 10 Guitar
examination with a total mark of 75 or a minimum of 70
percent in each section of the examination, at least one
session prior.
The candidate has completed the theory co-requisite
examinations for Grade 10 with a total mark of at least
60 percent for each examination, at least one session
prior.

Teachers ARCT Requirements

Part 1: Practical Examination
Repertoire
Technical Requirements
Technical Tests
Ear Tests
Meter
Intervals
Chords
Playback
Sight Reading
Playing
Clapping
Part 2: Viva Voce Examination
A: Pedagogical Principles
B: Applied Pedagogy
Total possible marks (pass = 75 overall or
70 in each section)
figures in parentheses indicate 70-percent
mark

Marks
60 (42)
30 (21)
10 (7)
10
10 (7)
2
2
3
3
10 (7)
7
3
40 (28)
20
20
100 (70)

Part 3: Written Examination

100 (70)

Theory Prerequisites
Advanced Harmony or
Advanced Keyboard Harmony
Counterpoint
Analysis
History 3: 19th Century to Present
Theory Co-requisites
Advanced Rudiments
Intermediate Harmony or Intermediate
Keyboard Harmony
History 1: An Overview
History 2: Middle Ages to Classical

Teachers ARCT

70

PART 1: PRACTICAL EXAMINATION

Repertoire

Technical Requirements

Please see Examination Repertoire on p. 77 for important

information regarding this section of the examination.

Please see Technical Requirements on p. 12 and

Bridges: A Comprehensive Guitar Series, Guitar Technique
FHM for important information regarding this section of
the examination.

Candidates should be prepared to perform two contrasting

selections from the repertoire listed for the ARCT in
Performance examination: one from List A, and one from
List B, C, or D. Each bulleted item () represents one
selection for examination purposes. The length of the
performance must not exceed 30 minutes. The examiner
may stop the performance if it exceeds the allotted time.
Memorization is encouraged but not compulsory for
the Teachers ARCT examination. A high standard of
performance is required.

Studies
No studies are required for the Teachers ARCT
examination.

Technical Tests
In preparing for the technical tests, candidates should consult Technical Tests on p. 12 of this Syllabus and Bridges: A
Comprehensive Guitar Series, Guitar Technique FHM. Take particular note of the Introduction on p. 4 of Guitar Technique.
Please note that all technical tests must be memorized. Candidates should be prepared to play the following scales and
arpeggio patterns at or beyond the minimum tempo, ascending and descending, with free stroke and rest stroke, as
specified in the following chart and in Bridges: A Comprehensive Guitar Series, Guitar Technique FHM.
Scales
Diatonic Scales
Major
Minor
(harmonic and melodic)
Chromatic Scale
Tremolando Scales
Major
Minor
(harmonic and melodic)

Keys
D, F

Range
Tempo
2 octaves
3 octaves

G, B, B
D
E, B, G , G
on B

2 octaves
3 octaves
3 octaves

D, F

2 octaves

2 octaves

= 112

Note Values
and

RH Fingering Final Cadence

im or mi
ia or ai

perfect
(IIVVI)
perfect
(IIVVI)

= 96

and

ma or am

= 116

and

im or mi
ia or ai

perfect
(IIVVI)

ma or am

perfect
(IIVVI)

= 104

and

Slur Scales
Compound triplets

C, F major 2 octaves

= 138

any

Scales in 3rds and 6ths

Solid

D major,
B minor

= 100

any

Arpeggio Patterns
See Guitar Technique FHM pp. 6466

Teachers ARCT

2 octaves

71
Ear Tests

Sight Reading

Meter

Playing

Candidates will be asked to identify the time signature of a

four-measure passage. The examiner will play each passage
once.

Candidates will be asked to play two passages at sight:

One passage will be approximately equal in difficulty to
Grade 8 repertoire.
One passage will be a piece of simulated Grade 3
teaching repertoire. Candidates are expected to
demonstrate musical features through articulate playing
meant to inspire a Grade 3 student to learn this piece.

Time signatures: , , ,

Intervals
Candidates will be asked to identify the following intervals.
The examiner will play each interval once in broken form.
or
Candidates may choose to sing or hum the following
intervals. The examiner will play the first note once.
Above a Given Note
any interval within a major
9th

Below a Given Note

any interval within the
octave

Clapping
Candidates will be asked to clap or tap the rhythm of
a melody. A steady pace and rhythmic accentuation are
expected.
Example only

Chords
Candidates will be asked to identify the chords used in
a four-measure phrase. The examiner will play the tonic
chord once and the phrase twice at a slow to moderate
tempo. During the second playing, the candidate will name
each chord after it is played.
The phrase will be in a major key and will begin with a
tonic chord.
The phrase may include chords built on the first, second,
fourth, fifth, and sixth degrees of the scale.
The final cadence may contain a cadential six-four chord
and/or a dominant 7th chord.
Example only

Playback
Candidates will be asked to play back both parts of a twopart phrase of approximately three measures in a major key
on their own instrument. The examiner will name the key,
play the tonic chord once, and play the two-part phrase three
times.
Example only

Teachers ARCT

72

PART 2: VIVA VOCE EXAMINATION

A: Pedagogical Principles
This portion of the examination will test the candidates
knowledge of the principles of playing the guitar.
Candidates should be able to express, in a clear and
organized manner, the rationale behind their approaches
to guitar pedagogy and to debate the validity of alternative
approaches presented by the examiner. Specific aspects
include:
playing position:
position of the body, back, shoulders, arms, hands,
and fingers
orientation of the instrument
right-hand principles:
position and movement of the fingers and thumb in
rest stroke and free stroke
shaping and care of right-hand nails
all factors relating to tone production
string crossing
prepared stroke
legato
arpeggios and tremolo
rasgueado
dyads and two-voice textures; three- and four-note
chords
dynamic control, accents, articulation
damping
harmonics and artificial harmonics
touffe (pizzicato), golpe, and tamboro techniques
timbre
left-hand principles:
position and movement of the fingers and thumb
note connection and chord changes
string crossing
finger independence
stretches
pivot and guide fingers
shifting
slurs, ornamentation
barring
vibrato
harmonics
limitation of string squeak
legato
pronation and supination
weight transfer
Candidates should be able to demonstrate a practical
knowledge of junior teaching materials, methodologies,
studies, and technical exercises. Further, they should be
prepared to discuss the assessment of student progress,
and to recommend appropriate steps for addressing specific
technical, musical, and learning challenges. Additionally,
they should be prepared to discuss the teaching of ear
training, sight reading, phrasing, and expression. A
thorough understanding of style appropriate to major
composers and their musical and historical periods is also
expected.

B: Applied Pedagogy
Teaching Repertoire
For this section, candidates should select and be prepared
to perform a teaching repertoire of twenty pieces:
three pieces from each of Grades 3 through 6 (one from
each of Lists A, B, and C)
four pieces from each of Grades 7 and 8 (one from each of
Lists A, B, C, and D).
Following the performance, candidates will provide a
concise synopsis of the pedagogical elements of the given
piece and be prepared to discuss details of the chosen
repertoire, including:
aspects of technique, rhythm, texture, form, phrasing,
articulation, and dynamics and solutions to problems
that students might develop in these areas;
the importance of a given piece in a students overall
development;
most importantly, methods of guiding the student
through stages of development of a given piece from
introduction to performance level for a recital or an
examination.
Candidates should provide a list of their chosen pedagogical
repertoire for the examiner.

Knowledge of Guitar Method Books

Candidates should be prepared to discuss in detail the value
and utility of classical guitar method books by the following
authors: Dionisio Aguado, Matteo Carcassi, Abel Carlevaro,
Ferdinando Carulli, Charles Duncan, Frederick Noad,
Emilio Pujol, Lee Ryan, Aaron Shearer, and Fernando Sor.

PART 3: WRITTEN EXAMINATION

Examination length: 3 hours
Passing mark: 70 percent
Candidates should be prepared to discuss the following
topics:
principles of positioning and the physical movement in
guitar playing, and analysis of all fundamental guitar
techniques
issues likely to arise in teaching, such as outlining a
course of study, practice methods, voice delineation,
correction of technical flaws, expressive playing, sight
reading, ear training, methods of and reasons for
memorization
teaching materials for students at levels from beginners
through Grade 8, including repertoire, studies,
and technical exercises, and recommendations for
appropriate materials to address specific musical and
technical issues
the history and development of the guitar, the stylistic
characteristics of composers of guitar music (including
North American composers), and the realization of
simple ornamentation relevant to guitar literature
elementary psychology of music teaching
For a reading list and reference material, please see
Resources on p. 83.

Teachers ARCT

73

Register for an Examination

Examination Sessions and Registration Deadlines
Exact dates and deadlines can be found online. Register early to avoid disappointment. Late
registrations are subject to an additional fee and may be denied.

Visit
examinations.rcmusic.caa
to register.

Winter Sessionregister by early November

practical examinations take place in January
theory examinations take place in December
Spring Sessionregister by early March
practical examinations take place in June
theory examinations take place in May
Summer Sessionregister by early June
practical examinations take place in August
theory examinations take place in August

Online Registration
All registrations should be submitted using the online registration process.
Visit examinations.rcmusic.ca to register.

Examination Fees
Examination fees must be paid at registration using a valid credit card.
Visit examinations.rcmusic.ca to register.

Examination Centers
Examinations are conducted in more than 300 communities across North America. Each
examination center has a local Examination Center Representative who ensures that students
and teachers have a successful examination experience.
Teachers may verify their students examination schedules by visiting
examinations.rcmusic.ca.

Examination Scheduling
Examination candidates may check for their examination schedules online three to four weeks
after the registration deadline.
Candidates must print out the Examination Program Form using the Examination
Scheduling feature. Candidates should fill out the form and bring it on the examination day.
Candidates who, for any reason, are unable to attend an examination should contact the
Center Representative listed on their Examination Schedule immediately.

Register for an Examination

All candidates must

verify their examination
n
schedules online two
weeks before the first dayy
of the examination
session. Examination
schedules will not be
mailed.

74

Examination Regulations
Examination Procedures
Candidates must be ready to perform at least fifteen minutes before their scheduled time.
Please note that candidate examination times cannot be exchanged.
Page turners and other assistants are not permitted in the examination room. Waiting areas
are provided for parents, teachers, and assistants.
Tune-up rooms are not guaranteed for guitar candidates.
Music stands are not guaranteed for guitar candidates.
Foot stools are not guaranteed for guitar candidates.
Photo ID may be requested before candidates are admitted to the examination room.
Candidates should list all repertoire and studies to be performed on the Examination
Program Form and bring it to the examination.
Candidates should bring all music to be performed to the examination, whether or not the
selections are memorized. Please note that photocopied music is not permitted in the examination
room unless the candidate has a letter of permission from the publisher. (Please see Copyright
and Photocopying on p. 80.)
Recording devices are strictly prohibited in the examination room.
For the ARCT in Guitar Performance List E selections, candidates must provide their own
accompanists. Taped accompaniments are not permitted.
The candidates performance may be interrupted at the examiners discretion when an
assessment has been reached.

Credits and Refunds for Missed Examinations

Credits (formerly called fee extensions) and refunds are only granted under two specific
conditions. Candidates who are unable to attend an examination for medical reasons or because
of a time conflict with a school examination are eligible to request either an examination credit
for the full amount of the examination fee or a fifty percent refund of the examination fee.

All requests must be

submitted by mail or
fax by the submission
deadline indicated on
the Credits and Refundss
Request Form. Requestss
received after this time
will be denied.

Requests for examination credits or refunds must be made to The Royal Conservatory
Examinations in writing and accompanied by the following documentation:
for medical reasonsa physicians letter and the candidates Examination Schedule
for direct time conflicts with school examinationsa letter from a school official on
school letterhead and the candidates Examination Schedule
the Credits and Refunds Request Form, found at examinations.rcmusic.ca under
Online Forms.
Candidates who, for any reason, are unable to attend an examination should contact the
Center Representative listed on their Examination Schedule immediately.

Examination Credit
An examination credit (formerly called a fee extension) may be applied to the fee of a future
examination. Examination credits are valid for one year from the date of the original scheduled
examination.
Examination credits can be redeemed when the candidate registers for their next examination.
The credit will be automatically applied during the online registration process.

Fee Refund
Candidates who cannot redeem an examination credit within a year should apply instead for a
fifty percent refund of the examination fee.
Requests for examination refunds or credits must be made to The Royal Conservatory
Examinations in writing and be accompanied by the necessary documentation (see above). All
requests must be submitted by mail or by fax within two weeks following the examination.
Register for an Examination

75
Candidates with Special Needs
Candidates with special needs should submit a Special Needs Request Formby mail or
by fax to the The Royal Conservatory Examinations officeas soon as possible before the
registration deadline. Each case will be assessed individually.
Candidates may receive help in and out of the examination room if required. Please note that
helpers must remain in the waiting area during the actual examination.

The Special Needs

Request Form
is available online at
examinations.rcmusic.caa.

Examination Results
Candidates and teachers can access examination marks online within four weeks of the
examination date. Access to examination results with comments and marks will be available
within six weeks of the examination date.
Teachers may access their students examination results by visiting examinations.rcmusic.ca.
Official transcripts are available upon written request to the The Royal Conservatory
Examinations office and payment of the requisite fee. (Download the Official Transcript
Request Form from the website.)

Please note that results

will not be mailed or
given by telephone.

Interpreting Examination Results

All candidates may access their official results (including examiners comments) online four to
six weeks after the examination. The examiners report explains in general terms how the final
mark was calculated. It is intended to assist candidates in their future musical development.
Please note that the mark reflects the examiners evaluation of the candidates performance
during the examination. Examination results do not reflect a candidates previously
demonstrated abilities or potential for future development. Appeals on practical examinations
will not be considered.

Classification of Marks
First Class Honors with Distinction
90100
First Class Honors
8089
Honors
7079
Pass (Grades 110)
60
Pass (ARCT in Guitar Performance)
70
Pass (Teachers ARCT)
75 percent overall or 70 percent in each section

Marking Criteria
First Class Honors with Distinction: 90100
Only truly exceptional candidates achieve this standing. Candidates must demonstrate
complete technical command and perform with a confident, masterful style. These candidates
clearly demonstrate an authentic personal performance spark.
First Class Honors: 8589
Candidates present a truly engaging and intelligent performance, displaying technical polish
and finesse, definite and apt characterization, and a sense of spontaneity.
First Class Honors: 8084
Candidates are technically solid and demonstrate sensitivity, intelligence, and talent. They are
well prepared and able to execute the examination requirements thoughtfully and confidently.
Honors: 7079
Candidates exhibit thorough and careful preparation and demonstrate some interpretive skills.
Repertoire is presented with overall command and accuracy. There is awareness and general
security in technical elements.

Examination Regulations

Access examination
results online at
examinations.rcmusic.caa.

76
Table of Marks
Grades
Prep 1

Grade
2

Grades
35

Grade
6

Grade
7

Grades
89

Grade
10

Teachers
ARCT

60 (42)

ARCT in
Guitar
Perf.
100

62
28
28

62

60

60

60

60

18
18
18

6
20

18
18
18

6
20

15
15
15
15

20

15
15
15
15

20

15
15
15
15

20 (14)

20
20
20
20
20

no
mark
breakdown

Repertoire
First selection
Second selection
List A
List B
List C
List D
List E
Memory
Technical Requirements

30 (21)

6
28

28
28

6
28

Studies

14

14

10

10

10

10

10

Technical Tests
Ear Tests
Meter
Clapback
Intervals
Chords
Cadences
Playback
Sight Reading
Playing
Clapping
Viva Voce
A: Pedagogical
Principles
B: Applied Pedagogy
TOTALS

14
10

14
10

3
3

10
10

3
3

4
10
7
3

10
10

2
3
2

3
10
7
3

10
10

2
3
2

3
10
7
3

10
10

3
2
2
3
10
7
3

10
10 (7)

2
2
3
3
10 (7)
7
3

10 (7)
10 (7)
2

2
3

3
10 (7)
7
3
40
20 (14)

100

100

100

100

100

100

100

100

20 (14)
100

10 (7)

To qualify for the ARCT examination, Grade 10 candidates must achieve either an overall
mark of 75 or a minimum of 70 percent in each section of the examination. (In the Table of
Marks, 70-percent figures are given in parentheses.)
ARCT in Performance candidates must achieve an overall mark of 70 in order to pass.
Teachers ARCT candidates must achieve either an overall mark of 75 or a minimum of
70 percent in each section of the examination in order to pass. (In the Table of Marks,
70-percent figures are given in parentheses.)
There is no mark breakdown for the Repertoire section of the Teachers ARCT examination.

Examination Regulations

77
Supplemental Examinations
Improve an Examination Mark
Candidates seeking to improve their overall mark at the Grade 10 or Teachers ARCT levels
may take a Supplemental Examination.
Supplemental Examinations must occur within two years of the original examination.
Supplemental Examinations are given during regular examination sessions.
Candidates in Grade 10 may repeat any two sections (Technical Requirements, Ear Tests,
or Sight Reading) of a practical examination. Supplemental exams in Repertoire are not
allowed.
To be eligible for a Supplemental Examination in Grade 10, candidates must achieve a
minimum mark of 65 overall and 70 percent in the Repertoire section.
Candidates for the Teachers ARCT may repeat one section of Part 1, except Repertoire, and
one section of Part 2.
To be eligible for a Supplemental Examination in Part 1 of the Teachers ARCT, candidates
must achieve at least 70 percent in the Repertoire section.
To be eligible for a Supplemental Examination in Part 2 of the Teachers ARCT, candidates
must achieve at least 70 percent in either Viva Voce A or Viva Voce B.

Candidates in Grade 10
must complete the
Grade 10 theory
co-requisites within five
years of the original
practical examination,
not any subsequent
supplemental
examinations.

Musicianship Examinations
A musicianship examination may replace the Ear Tests section of a Grade 8, 9, 10, or Teachers
ARCT examination. For examination requirements, please consult the current Musicianship
Syllabus at examinations.rcmusic.ca. The musicianship examination must be taken at least one
session before the practical examination.
Musicianship Level
Junior Musicianship
Intermediate Musicianship
Senior Musicianship

Practical Examination Level

Grade 8
Grade 9
Grade 10 and Teachers ARCT

Candidates who have completed a musicianship examination should submit the following
documentation when registering for the corresponding practical examination:
a photocopy of the musicianship examination results
a letter requesting exemption from the Ear Tests section of the upcoming practical
examination

Practical Examination Certificates

Certificates are awarded to candidates who successfully complete the requirements for their
grade.
Beginning in Grade 5, certificates are awarded after the theory co-requisites for that grade
have been successfully completed. Theory co-requisites must be completed within five years of
the original practical examination.

School Credits
The Royal Conservatory Examinations results can sometimes be used as a credit toward
high school graduation or toward university entrance. In Canada, the policies of provincial
education ministries can be found online under Academic Information, High School
Accreditation.

Medals
Each academic year (September to August) medals are awarded to the candidates who achieve
exceptional examination results. No application is required.

Examination Regulations

Please note that ARCT

diplomas are awarded to
o
candidates at the annuall
Convocation ceremony.
Candidates may not usee
the designation ARCT
before Convocation.

78
Silver Medals
Silver medals are awarded by province or region to the guitar candidates in Preparatory and
Grades 110 who receive the highest marks for the respective practical examinations. To be
eligible, a candidate must receive a minimum mark of 80 percent in the practical examination,
and have completed all the theory co-requisites for the respective grade.

Gold Medals
A gold medal is awarded to the graduating ARCT in Guitar Performance candidate who
receives the highest mark for the practical examination. To be eligible, a candidate must
receive:
a minimum of 85 percent in the practical examination
a minimum of 70 percent in each theory co-requisite examination
A gold medal is awarded to the graduating Guitar Teachers ARCT candidate who receives
the highest average for Teachers ARCT, Parts 1, 2, and 3 (Practical, Viva Voce, and Written
Examinations). To be eligible, a candidate must receive:
a minimum overall average of 85 percent for the Teachers ARCT examination, Parts 1, 2,
and 3
a minimum of 70 percent in each theory co-requisite examination
A gold medal for excellence in theory is also awarded to the graduating ARCT candidate who
completes the theory examinations listed below with the highest average mark. To be eligible,
a candidate must receive a minimum overall average of 80 percent for the eight examinations.
Basic Harmony or Basic Keyboard Harmony
Intermediate Harmony or Intermediate Keyboard Harmony
Advanced Harmony or Advanced Keyboard Harmony
Counterpoint
Analysis
History 1: An Overview
History 2: Middle Ages to Classical
History 3: 19th Century to Present

RESPs
Use Education Funds for Music Studies
Candidates who have a Registered Education Savings Plan (RESP) may be eligible to use
these funds to support private studies in music at the Grade 9, Grade 10, ARCT in Guitar
Performance and Teachers ARCT levels. Candidates should consult their RESP providers for
more information.

Examination Repertoire
The Syllabus lists the repertoire eligible for examinations. Information given for each item includes:
the composer
the larger work of which the selection is a part (where applicable)
the title of the selection
collections or anthologies in which the selection can be found (where applicable)
performance directions (where applicable) indicating the section(s) or movement(s) of a
work to be prepared
the publisher of a suggested edition (where applicable)
Names of publishers are indicated by an assigned abbreviation. Please see p. 81 for a list of
publishers and their respective abbreviations.

Da Capo Signs and Repeats

When performing repertoire at an examination, da capo signs should be observed.
Repeat signs should ordinarily be ignored. However, repeats in repertoire should be
observed if indicated in a footnote below the music.
Examination Regulations

79
Memory
In PreparatoryGrade 6, memorization of repertoire is marked separately. Up to three
marks will be awarded for each repertoire selection that is played from memory.
In Grades 710, candidates are expected to perform all repertoire from memory. Marks will
be deducted for any selection that is not memorized.
For the ARCT in Guitar Performance examination, memorization is compulsory. Candidates
not playing from memory will receive comments onlyno marks will be awarded. Such
performances will not qualify for examination awards or diplomas. For the Teachers ARCT
examination, memorization of repertoire is encouraged but not compulsory.
Technical Tests (scales and arpeggio patterns) must be played from memory. The use of
technique books and other scale/arpeggio resources is prohibited in the examination room.

Syllabus Repertoire Lists

The Repertoire for each grade is divided into several lists, according to musical style or stylistic
period.
Grade

Repertoire
List A

Preparatory
Grade 1
Grade 2
Traditional,
Renaissance, and
Baroque
Grades 36 Traditional,
Renaissance, and
Baroque
Grades 78 Renaissance
Grade 9
Grade 10
ARCT

List B

List C

Classical,
Romantic, 20th-,
and 21st-century
Classical and
Late Romantic,
Romantic
20th-, and
21st-century
Baroque
Classical and
Romantic
Renaissance and Classical
Romantic and
Baroque
National Styles
Renaissance and Classical and
National Styles
Baroque
Romantic
Works of J.S. Bach Classical and
Neo-Romantic
Romantic
and National
Styles

List D

List E

20th- and
21st-century
20th- and
21st-century
20th- and
21st-century
20th- and
21st-century

Concerto
Movements

Editions
For many repertoire items, the Syllabus listing includes a suggested edition (indicated by an
assigned publisher abbreviation). These editions have been chosen for their quality or for their
availability in North America. When no publisher is indicated, students are encouraged to use
the best edition availablethe edition that most accurately reflects the composers intentions.
Editorial markings vary from one edition to another. Examination marks will not be deducted
for altering these editorial suggestions as long as the resulting change is musically and
stylistically acceptable.

Availability
The Royal Conservatory Examinations has made every effort to ensure that most of the
materials listed in this Syllabus are in print and easily available at leading music retailers
throughout North America. If you experience difficulty in obtaining guitar music in your
community, then you may visit www.frederickharrismusic.com to find a listing of additional
music retailers near you.

Examination Regulations

80
Anthologies and Collections
If a repertoire selection is published in a collection of a composers music or in an anthology
containing music by a number of composers, the title of the collection or anthology is usually
included in the Syllabus listing. Individual selections may also be found in other sources. In
order to save space, the words volume and book have usually been omitted; a number
following a title indicates the number of the volume, book, or set number in which a selection
can be found (for example, Guitar Works, 2).

Bridges: A Comprehensive Guitar Series

In order to ensure the ready availability of high-quality examination materials, The Frederick
Harris Music Co., Limited has published Bridges: A Comprehensive Guitar Series. This series
includes nine volumes of Guitar Repertoire and Studies (PreparatoryLevel 8); and one volume
of Guitar Technique (PreparatoryARCT).

Copyright and Photocopying

Federal and international copyright laws prohibit the use of photocopies without the
permission of the publisher. The use of unauthorized photocopies for examination purposes
constitutes copyright infringement as outlined in the Copyright Act of Canada. Additional
information about federal copyright law is available online through the Copyright Board of
Canada at www.cb-cda.gc.ca.
Please note that
photocopied music will
not be permitted in the
examination room.

Candidates should bring all music to be performed to the examination. Candidates who wish
to photocopy one page of a selection for the purpose of facilitating a page turn must do so with
permission from the publisher.
With this notice, The Frederick Harris Music Co., Limited grants permission to festival,
recital, and examination participants to photocopy single pages from their publications to
facilitate a page turn.

Substitutions
As outlined in the chart below, candidates may make substitute Repertoire selections for their
examination. If approval is required, candidates must submit an Examination Substitute Piece
Request (available from examinations.rcmusic.ca) by the Examination Registration deadline.
Candidates are advised to prepare an alternate work in case the request is denied.
Kinds of Repertoire
Substitutions
Syllabus Substitutions
Non-Syllabus
Substitutions

Permitted in

Description of Substitute Selection

Grades 110
Any List
Grades 110, ARCT
Any List

Must be chosen from the corresponding List of the

next higher grade in the Syllabus
Must be of equal difficulty and musical quality to
works listed in the Syllabus for that grade

Examination Regulations

Prior Approval
Required
No

Yes

81
Abbreviations
Names of Publishers
The following abbreviations identify publishers listed throughout the Syllabus. When no
publisher or edition is indicated for a specific piece, the work is available in several standard
editions. For more information, please see Examination Repertoire on p. 78.
AED
ALF
ANE
ASH
ASM
B&B
B&H
B&V
BEB
BEL
BER
BIL
BRK
BRZ
CAV
CHN
CHR
CHS
CLE
CLM
CMC
CNI
COM
CRA
DOB
DOM
DOZ
EAG
ECH
EFM
EMB
EMH
EMM
EMS
EMT
EOP
ESC
FAB
FCO
FHM
GSO
HAA
HAL
HEL
HEU
HSN
JAM
JMB
JMF
KJO
LEE

Alsbach Educa
Alfred Publishing Co., Inc.
Anerca Music
Ashley Mark Publishing Company
Associated Music Publishers
Bote & Bock
Boosey & Hawkes
Broekmans & Van Poppel
Brben Edizioni Musicali
Belwin Mills (Alfred Publishing Co.,
Inc.)
Berandol Music
G. Billaudot
Brock
Brazilliance Music Publishing
Caveat (E.C. Kerby)
Chanterelle Verlag
Chorus Publications
J. & W. Chester Music
Clearnote Publications
Columbia Music Company
available from the Canadian Music
Centre
Caroni Music
ditions Combre
Cramer Music
Doblinger
Doberman
Les productions dOZ
ditions aux Guitares
Elliot Chapin
ditions franaise de musique
Editio Musica Budapest
ditions Musicales Hortensia
Ediciones Musicales Madrid
Edizione Musicali Sinfonica
ditions Musicales Transatlantiques
ditions Orphe
Max Eschig
Faber Music
Franco Colombo
The Frederick Harris Music Co.,
Limited
Guitar Solo Publications
Haas (Gitarren-Studio Musikverlag)
Hal Leonard Corporation
Helicon
Heugel et cie
Wilhelm Hansen
James McGuire (self-published)
James Brown (self-published)
Jeffrey McFadden (self-published)
Neil A. Kjos Music
Leeds Music (Canada)

LEM
MAR
MCA
MEL
MOS
MRG
MRI
NKS
NOV
NVM
OTT
OUP
PER
PHI
PRE
PRS
PTN
RIC
ROB
SAL
SBR
SCH
SMC
TEC
TGI
TUS
UME
UNI
UNM
WAT
WIL
WLM
ZAN
ZEN
ZRB

ditions Henry Lemoine

ditions Robert Martin
MCA Canada
Mel Bay Publications
Mseler
Margaux
Merion Music
Ph. Nakas Music Publ.
Novello
Nova Music Ltd.
B. Schotts Shne
Oxford University Press
Peer International Corporation
Philomele
Theodore Presser
Preissler Music
Paton
G. Ricordi
Robbins Music
ditions Salabert
Sheery-Brenner
G. Schirmer
Stamperia Musicali E. Cipriani
Tecla
Toronto Guitar Institute
Tuscany Publications
Unin Musicales Espaa
Universal Edition
Union Musical Ediciones
Waterloo Music
Willis Music
Winter Longing Music
Zanibon
Zen-On Music Company Ltd.
Edizioni Suvini Zerboni

Other Abbreviations and Symbols

arr.
ed.
no., nos.
op.
p., pp.
rev.
transc.
vol.

arrangement/arranged by
edition/edited by
number(s)
opus
page(s)
revised
transcribed by
volume

one selection

selection is found

in Bridges: A
Comprehensive Guitar Series FHM

Examination Regulations

82
Thematic Catalogs
Opus Numbers and Catalog Numbers
Opus (op.) is a term used with a number to designate the position of a given work in the
chronological sequence of works by the composer. However, these numbers are often an
unreliable guide, and may have been assigned by a publisher rather than the composer.
Sometimes a single work will have conflicting opus numbers. Certain genres, such as operas
and other vocal works, were not always assigned opus numbers. For these reasons, individual
works by a number of composers are identified by numbers assigned in scholarly thematic
catalogs. A number of the more important thematic catalogs are listed below.

Johann Sebastian Bach

Works by J.S. Bach are identified by BWV numbers (for example, Allemande in G Minor,
BWV 836). BWV is the abbreviation for Bach-Werke-Verzeichnis, the short title of the
Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach (Leipzig,
1950), a thematic catalog of Bachs complete works originally compiled by the German music
librarian Wolfgang Schmieder.

George Frideric Handel

Works by George Frideric Handel are identified by HWV numbers (for example, Gavotte in
G Major, HWV 491). HWV is an abbreviation for Handel Werke Verzeichnis. The full title for
this thematic catalog, compiled by Margaret and Walter Eisen, is Hndel-Handbuch, gleichzeitig
Suppl. zu Hallische Hndel-Ausgabe (Kassel: Brenreiter, 19781986).

Franz Joseph Haydn

Works by Haydn are identified by Hoboken numbers (for example, Sonata in D Major, Hob.
XVI:37). Anthony van Hoboken was a Dutch musicologist. His thematic catalog, Joseph Haydn:
Thematisch-bibliographisches Werkverzeichnis (Mainz, B. Schott, 19571971) divides Haydns
works into a number of categories that are indicated by Roman numerals.

Wolfgang Amadeus Mozart

Works by Mozart are identified by K numbers (for example, Sonata in C Major, K 545). K
stands for Kchel Verzeichnis, first published in 1862. Ludwig Ritter von Kchel (18001877)
was an Austrian professor of botany who devoted his retirement years to collecting all the
known works by Mozart. He created a chronological catalog in which these works are listed
and numbered.

Domenico Scarlatti
Works by Scarlatti are usually identified by two numbers, one beginning with L and one
beginning with K. The L numbers are from Opere complete per clavicembalo (Milan: Ricordi,
19061908), compiled by Alessandro Longo. LS refers to the Longo Supplement. K stands
for Ralph Kirkpatrick, an American harpsichordist and scholar who provided a revised and
more exact chronology and a new numbering system for the sonatas in his book Domenico
Scarlatti (Princeton: Princeton University Press, 1953, rev. 1968).

Anhang
Some catalog numbers include the prefi x Anh. (for example, BWV Anh. 121). Anh. is an
abbreviation for Anhang, a German word meaning appendix or supplement.

WoO
Some catalog numbers include the prefi x WoO (for example, WoO 63). WoO is an
abbreviation for Werk ohne Opuszahl (work without opus number). These numbers are used to
designate works for which the composer did not assign an opus number.

Examination Regulations

83

Resources
The following texts are useful for reference, teaching, and examination preparation. No single
text is necessarily complete for examination purposes, but these recommended reading and
resource lists are an indispensable source of:
teaching techniques for all ages and abilities
tips for interpretation of repertoire
tools for better sight reading
advice on fostering talent in young people

General Resources
Bridges: A Comprehensive Guitar Series
Bridges: A Comprehensive Guitar Series, Guitar Repertoire and Studies. 9 vols. (PreparatoryLevel
8). Toronto, ON: The Frederick Harris Music Co., Limited, 2011.
Bridges: A Comprehensive Guitar Series, Guitar Technique. 1 vol. (PreparatoryARCT).
Toronto, ON: The Frederick Harris Music Co., Limited, 2011.

Sight Reading and Ear Training

Berlin, Boris, and Andrew Markow. Ear Training for Practical Examinations: Melody Playback/
Singback. 4 vols. (Levels 1ARCT). Toronto, ON: The Frederick Harris Music Co., Limited,
19861988.
. Ear Training for Practical Examinations: Rhythm Clapback/Singback. 3 vols. (Levels 17).
Toronto, ON: The Frederick Harris Music Co., Limited, 19891991.
Braaten, Brenda, and Crystal Wiksyk. Sound Advice: Theory and Ear Training (Levels 18)
(online audio tracks at www.soundadvicedirect.com). Toronto, ON: The Frederick Harris
Music Co., Limited, 20052006.
Finn, Cheryl and Eamonn Morris. Perfection Ear: Ear Training Practice Sets. 11 compact discs
(IntroductoryLevel 10). Toronto, ON: The Frederick Harris Music Co., Limited, 1997.
Harris, Paul. Improve your Sightreading! A Workbook for Examinations. London: Faber, 1994.
Hindemith, Paul. Elementary Training for Musicians. 2nd ed. London: Schott, 1974.
Schlosar, Carol. Comprehensive Ear Training, Professional Series: Exercises Based on the
Examination Requirements of The Royal Conservatory of Music and National Music Certificate
Program. 10 vols. (Levels 1ARCT ) (book with CD or MIDI). Toronto, ON: The Frederick
Harris Music Co., Limited. First published Sicamous, BC: Keystroke Publishing, 1993.
. Comprehensive Ear Training: Student Series. 11 compact discs (Levels 1ARCT).
Toronto, ON: The Frederick Harris Music Co., Limited. First published Sicamous, BC:
Keystroke Publishing, 1998.

Official Examination Papers

RCM Examinations Official Examination Papers. 15 vols. Toronto, ON: The Frederick Harris
Music Co., Limited, published annually.
Basic Rudiments
Intermediate Rudiments
Advanced Rudiments
Introductory Harmony
Basic Harmony
Basic Keyboard Harmony
History 1: An Overview
Intermediate Harmony

Intermediate Keyboard Harmony

History 2: Middle Ages to Classical
Counterpoint
Advanced Harmony
Advanced Keyboard Harmony
History 3: 19th Century to Present
Analysis

Individual ARCT Teachers Written Examination papers are also available upon request.

Examination Regulations

84
General Reference Works
Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca. A History of Western Music. 7th ed.
New York: Norton, 2005.
Cortot, Alfred. Studies in Musical Interpretation. London: Harrap, 1937.
Curwen, Alice Jessie. Psychology Applied to Music Teaching. London: Curwen, 1920.
Dart, Thurston. The Interpretation of Music. London: Hutchinson, 1967.
Dolmetsch, Arnold. The Interpretation of the Music of the 17th and 18th Centuries. London:
Novello, 1946.
Donnington, Robert. A Performers Guide to Baroque Music. London: Faber, 1973.
. The Interpretation of Early Music. Rev. ed. London; Boston, MA: Faber, 1989.
Kallmann, Helmut, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Music in Canada.
2nd ed. Toronto, ON: University of Toronto Press, 1992 (available online at
www.thecanadianencyclopedia.com).
Kamien, Roger. Music: An Appreciation. 9th ed. New York: McGraw-Hill, 2008.
Latham, Alison, ed. The Oxford Companion to Music. Oxford: Oxford University Press, 2002.
Machlis, Joseph, and Kristine Forney. The Enjoyment of Music. 10th ed. New York: Norton,
2007.
Marcuse, Sibyl. Musical Instruments: A Comprehensive Dictionary. New York: Norton, 1975.
Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. Cambridge, MA:
Harvard University Press, 1996.
. The Harvard Dictionary of Music. 4th ed. Cambridge, MA: Belknap Press of Harvard
University Press, 2003.
Sadie, Stanley, ed. The New Grove Dictionary of Musical Instruments. 3 vols. London: Macmillan,
1993.
Sadie, Stanley, and John Tyrell, eds. The New Grove Dictionary of Music and Musicians. 2nd ed.,
29 vols. London: Macmillan, 2001 (also available online).
Slonimsky, Nicolas, ed. emeritus. Bakers Biographical Dictionary of Music and Musicians.
Centennial ed. 6 vols. New York: Schirmer, 2001.
Stolba, K. Marie. The Development of Western Music: A History. 3rd ed. Boston, MA: McGrawHill, 1998.

Guitar Resources
Repertoire Anthologies and Collections
Anzaghi, Luigi Oreste, ed. Antologia per chitarra. Milan: Ricordi. [n.d.]
Barreiro, Elias. Classical Guitar Method, book 1. Cincinnati, OH: Willis Music, 1982.
Bellow, Alexander, ed. International Anthology. Rockville Center, NY: Franco Colombo, 1969.
Bridges: A Comprehensive Guitar Series, Repertoire and Studies. 9 vols. Toronto, ON: The
Frederick Harris Music Co., Limited, 2011.
Chiesa, Ruggero, ed. Antologia di musica antica. 2 vols. Milan: Edizioni Suvini Zerboni, 1977
1989.
Chilesotti, Oscar, ed. Six Lute Pieces of the Renaissance. Washington, DC: Franco Colombo,
1961.
Dery, Francine, and Claude Gagnon, eds. Petit livre de guitare. Saint-Romuald, QC: Les
productions dOZ [n.d.].
Duarte, John, ed. Thirteen Pieces from the Fitzwilliam Virginal Book. London: Novello, 1965.
. and Philip Rogers, eds. Elizabethan Melodies. 2 vols. In Gitarren-Archiv. Mainz: B.
Schotts Shne [n.d.].
La guitare dans tous ses tats: Rpertoire progressif en 6 volumes/The many faces of the guitar:
Progressive Repertoire in 6 volumes. Saint-Romuald, QC: Les Productions dOZ, 2007.
La guitare enchant/The Magic Guitar. 2 vols. St. Nicholas, QC: Doberman, 1982.
Mills, John, ed. Classical Montage. Waterloo, ON: Waterloo Music, 1976.
Sealey, Ray, and William Trotter, eds. Classical Guitar for Young People. 3 vols. Willowdale, ON:
MCA Canada, 1971.
Segovia, Andrs, ed. Album of Guitar Solos. Washington, DC: Franco Colombo, 1968.
Shearer, Aaron and Thomas Kikta. Classic Guitar Technique, 3rd ed., vol. 1. Van Nuys, CA:
Alfred Publishing, 2009.
Resources

85
Summers, Richard, ed. Music for Classical Guitar. 3 vols. Toronto, ON: Toronto Guitar Institute,
1996.
Teuchert, Heinz, ed. European Guitar and Lute Music. Munich: Ricordi, 1976.
Tonazzi, Bruno, ed. Arie e Danze. 2 vols. Milan: Ricordi, 1973.

Guitar Reference Books

Artz, Alice. The Art of Practicing. London: Musical New Services, 1978.
Bellow, Alexander. The Illustrated History of the Guitar. New York: Colombo, 1970.
Bluetens, S. Method for the Renaissance Lute. Menlo Park, CA: Instrumenta Antiqua, 1969.
Buck, Percy C. Psychology for Musicians. London: Oxford University Press, 1949.
Carlevaro, Abel. School of Guitar: Exposition of Instrumental Theory. London: Boosey & Hawkes,
1984.
Duarte, John. The Bases of Classical Guitar Technique. London: Novello, 1975.
. The Guitarists Hands. Vienna: Universal Edition, 1978.
Duncan, Charles. The Art of Classical Guitar Playing. Princeton, NJ: Summy Birchard, 1980.
Glise, Anthony. Classical Guitar Pedagogy. Pacific, MO: Mel Bay Publications, 1997.
Grunfeld, Frederic V. The Art and Times of the Guitar. New York: Macmillan, 1969.
Guitar Master Class: Technical Exercises by Famous Guitarists. Melville, NY: Belwin Mills, 1980.
Izanola, Ricardo. Kitharologus. Monaco: Chanterelle, 1995.
Lilienfeld, R., and B. Cimino. The Guitarists Harmony. New York: Franco Colombo, 1965.
MacKinnon, Lilias. Music by Heart. Westport, Connecticut: Greenwood, 1981.
McFadden, Jeffrey. Fretboard Harmony. Saint-Romuald, QC: Les Productions dOZ, 2010.
Ryan, Lee F. The Natural Classical Guitar. Englewood Cliffs, NJ: Prentice Hall, 1984.
Shearer, Aaron. Learning the Classical Guitar. Parts 13. Pacific, MO: Mel Bay Publications,
1990.
Taylor, J. Tone Production on the Classical Guitar. London: Musical New Services, 1978.
Tennant, Scott. Pumping Nylon. Van Nuys, CA: Alfred Publishing, 1995.
Turnbull, Harvey. The Guitar from the Renaissance to the Present Day. London: Batsford, 1974.

Web Resources
Boije Collection: www.muslib.se/ebibliotek/boije/indexeng.htm
Canadian Music Centre: www.musiccentre.ca
Classical Guitar Alive: www.guitaralive.org
Classical Guitar Composers List: www.musicated.com/CGCL
Classical Guitar Magazine: www.classicalguitarmagazine.com
Database Contemporary Guitar Music: www.sheerpluck.de
European Guitar Teachers Association: www.egta.co.uk
Guitar Foundation of America: www.guitarfoundation.org
Guitar Society of Toronto: www.guitarsocietyoftoronto.com
International Music Score Library Project: www.imslp.org/wiki
Rischel and Birket-Smith Collection: www.kb.dk/en/nb/tema/fokus/rbs.html

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Frequently Asked Questions

Practical Examinations
What is a practical examination?
A practical examination is the test of repertoire, studies, technique, ear training, and sight
reading for instruments, voice, or speech arts and drama.

How can I obtain permission to photocopy an out-of-print selection that

I find in a library or receive from a teacher?
Contact the publisher to request permission to make an authorized photocopy. Contact
information for most publishers can be found online or obtained from a music retailer. Some
music retailers can obtain authorized photocopies through a special online service.

Can I photocopy a page of music to facilitate a page turn?

You may photocopy a single page once you have obtained permission from the publisher.
With this notice, The Frederick Harris Music Co., Limited grants permission to festival,
recital, and examination participants to photocopy single pages from their publications to
facilitate a page turn.

How do I choose the best edition for a piece?

The best editions have minimal editorial markings. These editions, often called Urtext, are
available from most music retailers. If you are unsure about the best edition, ask your music
retailer for suggestions.

Should candidates follow repeat signs? Da capo markings?

Candidates should observe da capo markings at an examination performance. Repeat signs
should be ignored unless they are indicated in a footnote below the music.

Why are teachers and parents not allowed in the room during practical
examinations?
Practical examinations provide a unique opportunity for candidates to perform in a highly
focused, one-on-one environment, without distraction.

What do I do if I have an emergency situation on the day of my

examination and I need to cancel?
Contact your Examination Center Representative listed on your Examination Schedule by
phone as soon as possible.

Theory Co-requisites
What is a theory co-requisite?
A theory co-requisite is an examination that must be completed before or within five years
of the practical examination if the candidate wishes to receive a certificate for the practical
examination. Candidates are encouraged to begin theory studies as early as possible.

Do I have to take theory examinations if I dont need a guitar

examination certificate?
You may take a guitar examination without fulfilling theory requirements. If you later decide
that you would like to receive a certificate, you have five years from the date of the guitar
examination to fulfill the theory requirements.

Where can I find sample theory examination papers?

Official Examination Papers are published annually by The Frederick Harris Music Co., Limited
to aid with examination preparation. Each book includes three examinations from the
previous December, May, and August examination sessions plus an additional examination
created for extra practice. Editions for three academic years are available at any given time and
may be purchased from your local music retailer.
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Practical Examination Day

Checklist for Candidates
Before You Leave Home
Plan to arrive 15 minutes early.
Complete your Examination Program Form.
Bring original copies of all the music being performed in the examination.
Mark the pieces being performed with a paper clip or a sticky note.
Bring a music stand and foot stool, as it is not guaranteed that one will be available.

Points to Remember
Electronic devices, books, notes, bags, and coats must be left in the area designated by the
presiding officer.
Photo ID may be requested before candidates are admitted to the examination room.
Parents, other family members, friends, and teachers must wait in the designated waiting
area.
Standing and listening outside the examination room door is prohibited.
Recording devices are strictly prohibited in the examination room.
Photocopied music is prohibited (unless authorized by the publisher).
The performance of repertoire may be interrupted by the examiner. An interrupted
performance does not indicate a poor performance.

What to Expect From a Guitar Examination

A friendly yet professional atmosphere.
The undivided attention of an examiner.
An objective assessment of your performance of repertoire, studies, technique, ear training,
and sight reading.
The examiners written evaluation online within six weeks of the examination.

After the Examination

Access your examination marks and examiner comments through the Examination Results
link on the The Royal Conservatory Examinations website (examinations.rcmusic.ca)
approximately 46 weeks after the examination.

Frequently Asked Questions