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q Classical Guitar Playing

Compiled and edited b

Tony Skinner and Raymond Burley

WONNIIIAAI
* 000228079 *
 AN NS

fomnll Mews Dennett Rd, Croydon, CRO 3JH

a

Cover guitars: Rohan Lowe, John Price, Martin Fleeson

_ ACIP record for this publication is available from the British Library
. ISBN: 1-898466-65-3

Compiled for LCM Exams by

egistry
GI
Registry of Guitar Tutors

PHOTOCOPYING OF ANY PART OF THIS BOOK IS ILLEGAL

No part of this book may be reproduced in any form
without the permission of the publisher.
Breach of copyright, by photocopying or any other means,
may result in both a claim for civil damages and criminal prosecution.

© Copyright 2002 by Registry Of Guitar Tutors. Worldwide rights reserved.

 INTRODUCTION
4 ae publication is part of a progressive series of ten handbooks, primarily
intended for candidates
considering taking the London College Of Music examinations in classical guitar playing.
However,
given each handbook’s wide content of musical repertoire, and associated educational
material, the series
provides a solid foundation of musical education for any classical guitar student — whether intendin
g to take
an examination or not. Whilst the handbooks can be used for independent study, they are ideally intended
as
a supplement to individual or group tuition.

Examination entry
An examination entry form is provided at the rear of each handbook. This is the only valid entry form for
the London College Of Music classical guitar examinations. Please note that if the entry form is detached and
lost, tt will not be replaced under any circumstances and the candidate will be required to obtain a replacement
handbook to obtain another entry form.
SSS
SSS

Editorial information
All performance pieces should be played in full, including all repeats shown. The pieces have been edited
specifically for examination use, with all non-required repeat markings omitted. Examination performances
must be from this handbook edition. Tempos, fingering, and dynamic markings are for general guidance
only and need not be rigidly adhered to. In some pieces such markings are kept to a minimum to allow
candidates to display individual interpretation; the omission of editorial dynamic markings does not in any
way imply that dynamic variation should be absent from a performance.
Right-hand fingering is normally shown on the stem side of the notes:
p = thumb; 2 = index; m = middle; a = third.
Left-hand fingering is shown with the numbers 1 2 3 4, normally to the left side of the note head. 0 indicates an open
string.
String numbers are shown in a circle, normally below the note. For example, © = 6th string.
Finger shifts are indicated by a small horizontal dash before the left hand finger number. For example, 2 followed by -2
indicates that the 2nd finger can stay on the same string but move to another fret as a guide finger. The finger shift sign
should not be confused with a slide or glissando (where a longer dash joins two noteheads).
Slurs are indicated by a curved line between two or more notes of differing pitch. These should not be confused with ties
(where notes of the same pitch are joined by a curved line).
Full barrés (covering 5 or 6 strings with the first finger) are shown by a capital B, followed by a Roman numeral to
indicate the fret position of the barré. For example, BV indicates a full barre at the fifth fret. A dotted line will indicate
the duration for which the barré should be held. Half barres (covering 2 to 4 strings) are shown like this: “2B, followed
by a Roman numeral to indicate the fret position of the half barré.

Harmonics are shown with a diamond-shaped notehead. The fret at which they should be played is shown above each
note, e.g. H12 for the 12 fret, and the string number will be shown. On the stave, harmonics are placed at the pitch of
the fretted note above which they are played — rather than the pitch at which they sound.
. .
; ; ; ;

Arpeggiated chords, aethat are strummed or rolled, are indicated by a vertical wavy line to the left of the chord.
CTT
Seen

| o.
Acknowledgements
The editors acknowledge the help of the many libraries and copyright owners that facilitated access to
original manuscripts, source materials and facsimiles. The editors are grateful for the atk and support of
particularly
all the members of the Registry Of Guitar Tutors ‘Classical Guitar Advisory Panel’, and are
indebted for the expertise and contributions of:
Carlos Bonell Hon.RCM, Chris Ackland GRSM LRAM LTCL,
Chaz Hart LRAM, Frank Bliven BM MA, Alan J. Brown Lie.
 a
a
d nding and descending, i.e. from the lowest note to the highest and
and without repeating the top note. It is recommended that arpeggios and
1tirando (i.e. using free strokes), and that all other scales are played apoyando
‘However, either method can be used providing a good tone is produced. Any
combination of alternating fingers may be used to pick the strings.

sound, the whole chord shape should be placed on the fingerboard before, and kept on
p aying. Chords should always be played tirandb, i.e. using free strokes. The following right-hand

To allow for flexibility in teaching and playing approaches, all the fingering suggestions within this
~ handbook are not compulsory and alternative systematic fingerings, that are musically effective, will be
accepted. Suggested tempos are for general guidance only. Slightly slower or faster performances will be
acceptable, providing that the tempo is maintained evenly throughout. Overall, the examiner will be
listening, and awarding marks, for accuracy, evenness and clarity.

A maximum of 15 marks may be awarded in this section of the examination.

Recommended tempo

Scales: 116 minim beats per minute Double-stopped scales: 58 minim beats per minute

Arpeggios: 88 minim beats per minute Chords: 132 minim beats per minute

Key Study

The Key Study links the introduction of a new key to the performance of a short melodic theme from a piece
by a well-known composer. The purpose is to make the learning of scales relevant to practical music-making
and therefore memorable, as well as providing the opportunity to play music outside the standard guitar
repertoire.

The examiner may request you to play any, or all, of the scales within the key study. The examiner will also
ask for a performance of ONE of the melodic themes of your choice.

Tempo markings and fingering are for guidance only and need not be rigidly adhered to, providing a good
musical performance is produced. The examiner will be listening, and awarding marks, for evidence
of
melodic phrasing and shaping, as well as for accuracy and clarity.

The Key Study must be played entirely from memory.

C Major scale - 2 octaves (Transpositional pattern)

To play this scale in the key of Db Major, begin with the 2nd finger on the 4th fret of the
Sth string. Use this pattern
to play D Major (5th fret), Eb Major (6th fret), E Major (7th fret), F Major (8th fret) and F#
Major (9th fret)

G Major scale - 2 octaves (Transpositional pattern)

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To play this scale in the key of Ab Major, begin with the 2nd finger on the 4th fret of the 6th string.
Use this pattern to play A Major (Sth fret), Bb Major (6th fret) and B Major (7th fret).

E Chromatic scale - 3 octaves

se ‘eo >@ iZlic =

E Melodic Minor scale - 3 octaves

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 Key Study
The examiner will request a selection of the scales below,
plus ONE melodic theme of the candidate's choice.

Ab Major scale - 2 octaves F Harmonic Minor scale - 2 octaves

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© Copyright 2002 by Registry Publications 7

 e for general guidance only and do not need to be adhered to strictly,
should be followed. The performance notes below are intended to provide

PERFORMANCE NOTES

-. My Lord Willoughby’s Welcome Home (Dowland):

This piece was originally written for the lute by John Dowland — perhaps the most renowned lutenist of all
time. Dowland lived in England, but travelled widely in Europe and was even appointed as lutenist to the
King of Denmark. This piece should be played with a light touch to ensure a sense of movement,
particularly during the last eight bars. In bar 3, sustain the semibreve F for its full value. In bars 14 and 15
ensure that all three voices are clearly defined.

Prelude (Visée):

This piece was originally written for the baroque guitar by French guitarist Robert de Visée. Held in high
esteem as a guitarist, Visée was employed as a musician in the French royal court and as guitar teacher to
Louis XIV. This piece formed part of Visée’s Suite in D minor. In French performance style of the period
the piece would have been played with ‘unequal rhythm’, but this is not expected at this grade. The use of
slurs in bars 8 and 9 will help smooth the playing of the fast semiquaver runs.

Preludio, O Capricho Arpeado (Sanz):

This piece is taken from the composer's treatise Instruccion de Musica Sobre la Guitarra Espanola reprinted
finally in 1697. It was written for the five course (baroque) guitar. Dynamics are absent from the tablature
of the original edition, and have been deliberately omitted from this edition. However, the piece will benefit
considerably from some dynamic shaping, and this has been left to the performer’s discretion. Although
there should be a change in rhythmic emphasis with the changes in time signature in bars 8 and 15, there
should be no interruption to the flow of the music and no change of tempo.

Andantino (Carcassi):

Born in Italy, Matteo Carcassi later made France his home. As a virtuoso performer on the guitar, Carcassi
regularly toured Europe. He wrote much music for the guitar, including many studies and a successful
guitar teaching method. This piece forms part of his popular collection 25 Melodic and Progressive Studies
Opus 60. Wherever possible, the notes within each bar should be held on to form chord shapes. The notes
with upward stems, mainly lying on the Ist and 2nd strings, should be sounded clearly — via the use of rest
strokes, if so desired. Use of rubato in places would enhance the performance.

8
Romance (Anon.):

This popular Spanish melody is in two distinct sections; the first in E minor, the second in E major. The
melody, which is almost entirely on the first string, should be played with a full and sonorous tone, which
may be enhanced with the use of vibrato. The triplet accompaniment should not be over emphasised or
allowed to distract attention from the melody. The second section involves some wide stretches that require
careful and gradual preparation.

Lagrima (Tarrega):

Spanish guitarist Francisco Tarrega is often called ‘the father of the modern classical guitar’ due to his great
influence on expanding its technique and repertoire. This piece is in two distinct eight bar sections: the first
in E major, the second in E minor. There is much fingerboard movement and due attention should be given
to left-hand fingering. The title indicates that a tearful mood should be portrayed in the performance style.
The melody, which is mainly on the first string, should be well-defined with a full, but not overpowering,
tone.

Prelude (Benham):

One distinctive feature of this piece, by the British guitarist and educator Patrick Benham, is the use of
overlapping notes to give a harp-like effect. The piece requires the 6" string to be tuned down to D: all
notes on the 6" string will be two frets higher with this tuning. If you are not used to this tuning, practise
de-tuning and re-tuning changing in order to avoid any problems during the examination. The composer
advises that performers should: “avoid a mechanical beat and try to establish a warm, flowing effect assisted
by the occasional use of vibrato”.

Reflections No.2 (Skinner):

This piece, by the British music educator and composer Tony Skinner, is from his suite Reflections < Five
Pieces For Guitar. The tempo for the opening 13 bars should not be strict, and there is much room for the
use of carefully considered rubato in order to capture the mzsterioso mood of this section. Notes should be
held on to form chord shapes wherever possible. This applies throughout the piece, but particularly in bars
14 to 21. From bar 22 onwards, the 1* string melody notes (shown with upward stems) should be sounded
strongly and clearly, but without the use of rest strokes.

Fields Of Green (Smith):

This is the opening piece from British guitarist/composer Jasper Smith’s Five Pictures Of Norfolk. The
composer states that: “Fields Of Green has a gentle pastoral style and an even relaxed feel should be
maintained. The full barrés in measures 5 and 6, whilst not essential, will help facilitate a smooth chord
change. Observing the fingering carefully in bars 31 to 33 will avoid awkward jumps with the left hand.
The use of ligado where marked should aid the flow of the piece.”
 John Dowland a
(156
-162
36) _

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© Copyright 1997 by Registry Publications 10

PHOTOCOPYING THIS

[Group A]
Prélude
4

Robert de Visée
(1660 - 1720)

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18
 Prelude
PHOTOCOPYING THIS

[Group C] Patrick Benham

(1940 -)

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© Copyright 2000 by Jasper Smith. Reproduced by permission of the composer.

Fields Of Green is taken from Five Pictures of Norfolk by Jasper Smith.
The music for the complete suite is available from Registry Publications
(020 8665 7666) or from www.BooksForGuitar.com.

i) us)
SECTION THREE - MUSICAL KNOWLEDGE
A maximum of 7 marks may be awarded in this section of the examination. The examiner will ask questions,
mainly based on the music performed, to test the candidate's understanding of any obvious formal structures
and melodic and harmonic features of the music. The examiner will also test for an understanding of the
rudiments of music to a level appropriate to the grade — including knowledge of any terms and signs that
appear in the music performed. In addition, an outline knowledge of the composers and style of the pieces
performed will be expected. Some useful information in this respect will be found in the Performance Notes
in the previous chapter. Candidates should also refer to the Introduction of this handbook which outlines
the meaning of specialist guitar signs and symbols.

Potential candidates lacking knowledge in this general area are advised to study for the LCM Theory of
Music examinations, using suitable music theory books, worksheets and musical dictionaries. Some reference
to relevant musical history books and composer biographies would also be helpful. Advice and tuition from
an experienced teacher would undoubtedly prove most advantageous. It is also recommended that
candidates attend concerts, and listen to a broad range of recordings of the composer’s works, to gain
insights into performance and style.

The information below (based on a selection of the pieces) provides a general guideline to, and some
examples of, the type of questions that may be asked at this grade. The list is neither exclusive nor exhaustive.

My Lord Willoughby’s Welcome Home (Dowland)

Q: Can you identify the chord in bar 8?
A: It is an E major chord.

Q: What key does the piece modulate to and remain in throughout bars 9 to 12?
A: G major

Q: What is the interval between the last two notes in bar 12?
A: A perfect fourth.

Q: What can you tell me about John Dowland and his music?
A: John Dowland was a renowned lutenist and successful songwriter. One of his most famous works is
Lachrimae Pavan. He lived between 1563 and 1626 and was a contemporary of Monteverdi, Byrd and
Cutting.

Prélude (Visée)
Q: What is a Prelude?
A: An instrumental piece that often precedes a fugue, or that forms the first part of a suite. This Prelude was
the first movement in Robert de Visée’s Suite in D minor.

Q: For which instrument was this piece originally written?

A: Baroque guitar.

Q: What can you tell me about Robert de Visée?

A: Visée lived approximately between 1660 and 1720. He was employed as a musician in the French
royal court and as guitar teacher to Louis XIV. He composed numerous works for baroque guitar, most
notably his well-known Suite in D minor.

Q: Can you identify the chord on the 3" beat of bar 9?

A: The chord is A major.
Andantino (Carcassi)
Q: What is the form of this piece?
A: Binary

Q: Could you explain what that means in relation to this piece in a little more detail?
A: The form is the structure or framework of the lay-out of the music. Binary Form means
that it is in two
sections. In this piece, the A section begins in the key of A major and ends in E major (the dominan
t).
The B section is longer and begins in the dominant, and eventually modulates back to the tonic
key of A
major.

Q: What does the number 3 that appears over groups of notes in bar 1 mean in practical terms?
A: It is a triplet and indicates that 3 notes should be played in the space of 2 notes of the same value.

Q: Can you name some other composers from broadly the same period as Carcassi?
A: Guitar composers from that time include Carulli and Sor; other well-known composers include
Beethoven and Schubert.

Lagrima (Tarrega)
Q: What key is this piece in, and when does the key change?
A: The piece starts in E major and changes to E minor at bar 9 - which is the start of the B section.

Q: Identify any prominent melodic or harmonic feature of the piece.

A: The piece involves repeated use of major and minor 10th harmonised intervals, particularly at the start
and throughout most of theA section, as well as in bar 13 of the B section.

Q: What chord occurs on the first beat of bar 12?

A: B major

Q: What does the marking sotto voce in bar 10 mean?

A: In an undertone, literally ‘under the voice’.

Fields Of Green (Smith)

Q: Explain the meaning of the following terms that appear in the music:
(a) rit. (b) a tempo. a
A: (a) ‘rit. is short for ‘ritenuto’, meaning ‘held back’; (b) resume normal speed after the deviation in tempo.

(Os Describe the structure of the piece.

A: Section A forms the main theme of the piece. This lasts for 10 bars, before being repeated. Section B,
lasting 8 bars then follows, before section A 1s recalled with a variation in the final of its 10 bars. Section
C, lasting 8 bars, then commences. The piece is completed by returning to Section A one final time.

Q: Can you expand a little more regarding the harmonic structure of the first section of this piece? on
A: This is best analysed as five two-bar progressions, all based on arpeggiated chords. The key of the piece is
E major. The first bar revolves around an E major chord, with the second bar comprising A major (the
subdominant chord) and B major (the dominant). The next two bars are just a variation on the first two,
as are bars 7 and 8. Bar 5 begins with the relative minor chord, whilst bar 6 is a variation on bar 2. The
section closes with the tonic chord in bars 9 and 10. In several bars (such as bar 9) the harmony is made
more interesting by the use of suspensions or extended notes, rather than solely chord tones.
eee
Q: Can you supply any background information on this piece and its composer:
of his suite Fieve
A: It was written by British born 20th century guitarist and composer Jasper Smith as part
Pictures OfNorfolk.

i) N
 SECTION FOUR - PLAYING AT SIGHT
The examiner will show you the sight reading test and allow you just a short time to look over it before
_ asking you to perform it. A maximum of 10 marks may be awarded in this section of the examination. The
table below shows the range of the piece:

Fingerboard positon
eee
Minor: D, A, E, B, F#
|.)
PERFORMANCE TIPS

1. Always check the key and time signature BEFORE you start to play.

2. Once you have identified the key it is helpful to remember that the notes will all come from the
key scale.

3. Quickly scan through the piece and check any chords or rhythms that you are unsure of. Where fretted
bass notes occur simultaneously with melody notes, decide which left-hand fingering you will need to
use.

4. Note the tempo or style marking, but be careful not to play at a tempo at which you cannot maintain
accuracy throughout.

5. Once you start to play, try and keep your eyes on the music. Avoid the temptation to keep looking at
the fingerboard — that's a sure way to lose your place in the music.

6. Observe any rests and try to follow the dynamic markings.

7. If you do make an error, try not to let it affect your confidence for the rest of the piece. It is better to
keep going and capture the overall shape of the piece, rather than stopping or going back to correct
errors.

The following examples show the type of pieces that will be presented in the examination.

i) Adagio

26
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 SECTION FIVE - AURAL AWARENESS
A maximum of 8 marks may be awarded in this section of the examination. The tests will be played by the
examiner on either guitar or piano, at the examiner's discretion. The examples below are shown in guitar
notation and give a broad indication of the type of tests that will be given during the examination.
Candidates wishing to view the piano notation for these tests should obtain the London College Of Music
Sample Ear Tests booklet.

Rhythm tests
1. The examiner will play a short piece of music in simple or compound time, similar to the examples
below. The candidate should beat time with a clear beat, in time with the examiner’s playing. (The test
may be played twice if necessary.) The compound test may be in two or six beats.

Example 1.

J = 52
Allegro moderato

Example 1.

1= 76
Slow march
 Example iii.

J= 84
a
Andante

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Example iv.

= 108
Lento molto

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2. The candidate should describe the rhythms in a two bar section of the same music. The section itself
will be played once more, as a single line version. ‘The excerpt below 1s taken from example 111 above.

oe
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20
 ndid cosa identify any major or minor interval within an octave by name and type, including
mented fourth and diminished fifth, after the interval has been played by the examiner. The

minor 2nd major 2nd minor 3rd major 3rd perfect 4th augmented 4th /
diminished 5th

perfect 5th minor 6th major 6th minor 7th major 7th

2. Identification of two cadences. Each cadence will be played as two chords at the end of a short melodic
‘lead-in’. Each may be identified as "finished" (perfect or plagal) or "unfinished" (imperfect or interrupted)
or by its conventional name. The tonic chord will be played at the start of each test.

G major

unfinished

A minor

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E major
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E minor
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D major
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:
F major

unfinished

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A minor

finished
aia
30
 <M
London College of Music & Media
HAMES VALLEY UNIVERSITY

Examination Entry Form

for
Classical Guitar
GRADE FIVE
or Leisure Play Intermediate
PLEASE COMPLETE CLEARLY
IN INK AND IN BLOCK CAPITAL LETTERS

_ SESSION (Spring/Summer/Winter): YEAR:

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If left blank you will examined at the nearest venue to your home address.

Candidate Details:
Candidate Name (as to appear on certificate):

Postcode:

Tel. No. (day): (evening):

Tick this box if you are also entering for LCM Theory of Music
If so, which Grade?

Teacher Details:
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Address:

Postcode: -

Tel. No. (day): _ (evening):

Tick this box if any details above have changed since your last LCM entry LI

Tick this box if the teacher has also entered pupils for
RGT Electric or Bass Guitar examinations for the same session.
 hecandidate’s responsibility to have knowledge of, and comply with, the
rrent syllabus requirements. Where candidates are entered for examinations by a
te | her, the teacher must take responsibility that candidates are entered in
- accordance with the current syllabus requirements. Failure to carry out any of the
examination requirements may lead to disqualification.
. -e For candidates with special needs, a letter giving details, and medical certificate as
i appropriate, should be attached.
-e Any practical appointment requests (e.g. ‘prefer morning,’ or ‘prefer weekdays’) must
be made at the time of entry. LCM and its Representatives will take note of the
information given, however, no guarantees can be made that all wishes will
be met.
e Submission of this entry is an undertaking to abide by the current regulations as
listed in the current syllabus and any subsequent regulations updates published in
the LCM Examinations Newsletter issued each term.
e Entries for public centres should be sent to the LCM local representative.
Contact the LCM office for details of your nearest centre or to enquire about setting
up your own centre.

Examination Fee

Late Entry Fee (if necessary)

Total amount submitted ne

Cheques or postal orders should be made payable to ‘Thames Valley University’.

A current list of fees and entry deadlines is available from LCM Exams.

The standard LCM music entry form is

NOT valid for Classical Guitar entries.
LCM E Entry to the examination is only
XxamMs possible via this original form.
Thames Valley University Photocopies of this form will not be
St Mary’s Road accepted under any circumstances.

London
W5 5RE

Tel: 020 8231 2364

Rax020320 e438

e-mail: [email protected]
A
 compiled by
London College of Music Exams
egistry

assical Guitar iRGT

Setting the standards
P ayving) in guitar education

Grade 5
Get Qualified
This handbook is part of a progressive series of
ten handbooks, primarily intended for candidates
considering taking the London College of Music
examinations in classical guitar playing.
Each handbook covers all the material needed
for each examination, and includes helpful advice
| about preparing for the examination, enabling
you to gain an internationally recognised
qualification.

Improve Your Playing

Even if you do not intend to
take an examination, given each
handbook’s wide content of musical
repertoire and extensive educational material,
the series provides an expertly structured,
comprehensive course for studying the
classical guitar.

Studying the handbooks will help you to:

e develop all aspects of your playing — and
achieve your full potential as a guitarist
¢ extend your musical repertoire — with pieces
from a wide range of styles and periods
¢ improve your sight reading
and aural abilities —
so that you can learn
pieces more easily
* increase your
knowledge of music
theory — and learn
about the historical
context of the pieces
you're playing & —.
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———}
SSS
wo —
7

Summer 2008
wl
66659