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We sell:
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Handbooks written by the London College Of Music to accompany their piano exams. Working through these books will prepare you fully for the relevant exam. Graded 1 - 8.
THESE HANDBOOKS ARE VALID FOR USE FROM JANUARY 2006 ONWARDS IN ACCORDANCE WITH THE NEW SYLLABUS.
The London College of Music Examinations Piano Handbooks for 2006 are a progressive series of handbooks primarily intended for candidates who will be taking LCM Examinations in Piano. Each handbook contains a wide content of musical repertoire and associated educational material, the series provides a solid foundation of musical education for any Piano student, of any age, whether they are intending to take an exam or not.
This is the Grade 4 Handbook and contains nine sample pieces in three lists, exercises and scales, sight-reading and aural tests, as well as questions based upon understanding of music fundamentals.
We have listed many thousands of Publications and Accessories displayed in various categories.
Associated Board jazz piano pieces grade 1
Associated Board jazz piano pieces grade 2
Associated Board jazz piano pieces grade 3
Associated Board jazz piano pieces grade 4
Associated Board jazz piano pieces grade 5
Associated Board prep test
London College of Music Away we go kindergarten/pre-preparatory
London College of Music piano handbook ed. Wild grade 1 (2001-2005)
London College of Music piano handbook ed. Wild grade 2 (2001-2005)
London College of Music piano handbook ed. Wild grade 3 (2001-2005)
London College of Music piano handbook ed. Wild grade 4 (2001-2005)
London College of Music piano handbook ed. Wild grade 5 (2001-2005)
London College of Music piano handbook ed. Wild grade 6 (2001-2005)
London College of Music Stepping forward (steps 1 & 2)
Trinity College exam pieces 2003-2008 initial (additional material for exams)
Trinity College exam pieces 2003-2008 grade 1 (additional material for exams)
Trinity College exam pieces 2003-2008 grade 2 (additional material for exams)
Trinity College exam pieces 2003-2008 grade 3 (additional material for exams)
Trinity College exam pieces 2003-2008 grade 4 (additional material for exams)
Trinity College exam pieces 2003-2008 grade 5 (additional material for exams)
Trinity College exam pieces 2003-2008 grade 6 (additional material for exams)
Trinity College exam pieces 2003-2008 grade 7 (additional material for exams)
Trinity College exam pieces 2003-2008 grade 8 (additional material for exams)
Trinity College Notes on piano pieces 2003-2008 initial-grade 8
Beale, C Jazz piano from scratch (book & CD - AB examinations)
Taylor, C /Williams, A Teaching notes on AB piano exam pieces 2003-2004, grades 1-7
London College of Music piano handbook ed. Wild grade 7 (2001-2005)
London College of Music piano handbook ed. Wild grade 8 (2001-2005)
Trinity College exam pieces 2001-2005 initial (book & CD)
Trinity College exam pieces 2001-2005 initial (book only)
Trinity College exam pieces 2001-2005 grade 1 (book & CD)
Trinity College exam pieces 2001-2005 grade 1 (book only)
Trinity College exam pieces 2001-2005 grade 2 (book & CD)
Trinity College exam pieces 2001-2005 grade 2 (book only)
Trinity College exam pieces 2001-2005 grade 3 (book & CD)
Trinity College exam pieces 2001-2005 grade 3 (book only)
Trinity College exam pieces 2001-2005 grade 4 (book & CD)
Trinity College exam pieces 2001-2005 grade 4 (book only)
Trinity College exam pieces 2001-2005 grade 5 (book & CD)
Trinity College exam pieces 2001-2005 grade 5 (book only)
Trinity College exam pieces 2001-2005 grade 6 (book & CD)
Trinity College exam pieces 2001-2005 grade 6 (book only)
Trinity College exam pieces 2001-2005 grade 7 (book & CD)
Trinity College exam pieces 2001-2005 grade 7 (book only)
Trinity College exam pieces 2001-2005 grade 8 (book & CD)
Trinity College exam pieces 2001-2005 grade 8 (book only)
Associated Board selected piano pieces 2005-2006 grade 1
Contents
Arnold, S Giga op.12 no.2 from 'Lesson in C'
Attwood, T Andante from 'Sonatina no.3 in F'
Chapple, B In the pink from 'In the pink'
Grechaninov, A March from 'Children's book op.98'
Haydn, F J Tedesca Hob.IX/22 no.3
Hovhaness, A Sleeping cat from 'Sketchbook of Mr Purple Poverty op.309'
Jackson, Timothy Eeyore's march
Le Couppey, F Arabian air from 'ABC du piano'
Oesten, T Das Echo from 'Maiblumchen op.61'
Associated Board selected piano pieces 2005-2006 grade 2
Contents
Absil, J Musette from 'Du rythme a l'expression book 1 op.108'
Anon Musette BWV Anh.II 126 from 'The Anna Magdalena notebook'
Gedike, A Barcarolle
Maikapar, S The moth
Matthews, C Rosamund's march
Norton, C Get in step from 'Microjazz collection 2'
Purcell, H Rigadoon Z.653
Schubert, F P Deutscher no.2 from '12 Deutsche D 420'
Telemann, G P Minuetto from 'Fantasia in a minor TWV 33:32'
Associated Board selected piano pieces 2005-2006 grade 3
Contents
Bach, C P E Passepied from 'Suite no.2 in D'
Bartok, B Dance from 'For children vol.2'
Gurlitt, C Song from 'Miniatures op.172'
Merath, S Cha-cha from 'Tanz-Typen vol.1'
Rathgeber, J Aria from 'Musikalischer Zeit-Vertreib'
Tarp, Svend Sunshine from 'Six easy pieces op.55a'
Tchaikovsky, P I Marche des soldats de bois from 'Album for the young op.39'
Weber, Raymond Equivoque no.8
Wesley, S Sonatina in B flat from '12 sonatinas op.4'
Associated Board selected piano pieces 2005-2006 grade 4
Contents
Bach, J C F Polonaise
Bartok, B Melody in the mist from 'Mikrokosmos vol.4'
Haughton, A Freeway from 'Rhythm and rag'
Heller, S Prelude no.28 from '32 preludes op.119'
Karganov, G Arabesque op.6 no.2
Lutoslawski, W An apple hangs on the apple-tree from 'Folk melodies'
Myslivecek, J Divertimento in F from 'Six easy divertimentos'
Rebikov, V Danse orientale from 'Six morceaux pour piano op.2'
Scarlatti, D Minuetto from 'Sonata in A Kp 83'
Associated Board selected piano pieces 2005-2006 grade 5
Contents
Bennett, Richard Rodney Diversion no.5 from 'Diversions'
Bloch, E Dream from 'Enfantines'
Burgmuller, J La tarantelle from '25 easy & progressive studies op.100'
Gillock, W New Orleans nightfall from 'New Orleans jazz styles'
Handel, G F Gigue from 'Suite no.7 in g minor HWV 432'
Hook, J Rondo from 'Sonatina in E op.12 no.12'
Kirnberger, J Les carillons from 'Recueil d'airs de danse caracteristiques'
Lyadov, A Bagatelle no.1 from 'Trois bagatelles op.53'
Villa-Lobos, H Adeus, bella morena! from 'Cirandinhas'
Associated Board selected piano pieces 2005-2006 grade 6
Contents
Arne, T A Andante from 'Sonata no.2 in e minor'
Bonsor, B Feelin' good from 'Jazzy piano book 2'
Bridge, F Impromptu from 'Miniature suite'
Dussek, J Allegro from 'Sonatina in E flat op.19 no.6'
Granados, E Vals poetico no.5
Grieg, E Einsamer Wanderer from 'Lyric pieces op.43'
Joio, Norman dello Prayer of the matador from 'Lyric pieces for the young'
Loeillet, John Corant from 'Lesson in e minor'
Tcherepnin, A Bagatelle from 'Bagatelles op.5'
Associated Board selected piano pieces 2005-2006 grade 7
Contents
Bernstein, L For Johnny Mehegan from 'Four anniversaries'
Gliere, R Esquisse no.10 from '12 sketches op.47'
Grovlez, G Chanson de l'escarpolette from 'L'almanach aux images'
Hassler, J Presto from 'Sonata no.6 in C'
Handel, G F Allegro from 'Suite no.2 in F HWV 427'
Kadosa, P Andante and sostenuto, rubato from 'Suite for piano op.1 no.3'
Mozart, W A Allemande from 'Suite in C K 399/385i'
Ravel, M Valse noble et sentimentale no.5
Schumann, R Des Abends from 'Phantasiestucke op.12'
Associated Board selected piano pieces 2005-2006 grade 8
Contents
Arensky, A Impromptu from 'Quatre morceaux pour piano op.25'
Bach, C P E Allegro assai from 'Sonata in f minor H 173, Wq 57/6'
Bach, J S Allemande from 'Partita no.4 in D BWV 828'
Beethoven, L van First movement from 'Sonata in e minor op.90'
Liszt, F Dem Andenken Petofis
Mayerl, B Autumn crocus
Mozart, W A Allegro moderato from 'Sonata in C K 330'
Rawsthorne, A Bagatelle no.3
Scarlatti, D Sonata in D Kp 535
Schumann, R Intermezzo from 'Faschingsswank aus Wien op.26'
Shostakovich, D Prelude and fugue in E flat no.19 from '24 Preludes and fugues op.87'
Takemitsu, T Romance
Associated Board teaching notes on piano exam pieces 2005-2006, grades 1-7 ed. Taylor/Williams
Guildhall piano plus repertoire book 1 - introductory & preliminary
Guildhall piano plus repertoire book 2 - grades 1-2
Guildhall piano plus repertoire book 3 - grades 3-4
Guildhall piano plus repertoire book 4 - grade 5
Guildhall piano plus repertoire book 5 - grade 6
Guildhall piano plus repertoire book 6 - grade 7
Guildhall piano repertoire book 1 - introductory & preliminary
Guildhall piano repertoire book 2 - grades 1-2
Guildhall piano repertoire book 3 - grades 3-4
Guildhall piano repertoire book 4 - grade 5
Trinity piano syllabus 2003 onwards
The music teacher's handbook (Trinity Guildhall - for all instrumental and singing teachers)
London College of Music piano handbook ed. Wild pre preparatory (2006-2008)
London College of Music piano handbook ed. Wild step 1 (2006-2008)
London College of Music piano handbook ed. Wild step 2 (2006-2008)
London College of Music piano handbook ed. Wild grade 1 (2006-2008)
London College of Music piano handbook ed. Wild grade 2 (2006-2008)
London College of Music piano handbook ed. Wild grade 3 (2006-2008)
London College of Music piano handbook ed. Wild grade 4 (2006-2008)
London College of Music piano handbook ed. Wild grade 5 (2006-2008)
London College of Music piano handbook ed. Wild grade 6 (2006-2008)
London College of Music piano handbook ed. Wild grade 7 (2006-2008)
London College of Music piano handbook ed. Wild grade 8 (2006-2008)
Educational books and great sources of reference and information for any singer or musicians bookshelf. If your only looking for one off info the following books should be available at your local library. They include lists of institutions of all kinds that offer music education and music making opportunities, revision aids, details of regional and national organisations, funding, grants, study guides, directories, festivals and competitions for young musicians, and suppliers of music materials in the UK. For sheet music suppliers Click Here.
100 Careers in the Music Business
by Tanja L. Crouch takes the mystery out of job titles like song plugger, product manager and engineer and presents easy to understand explainations of duties and necessary qualifications. A must read for anyone considering a career in music.
ABRSM Singing Prep Test
specially designed to be taken by singers who have been learning for a few terms. Built into it are all the sorts of skills they will be developing at this stage, such as a sense of pitch and rhythm, clear diction, accuracy and quality of tone.
ABRSM - Singing Time Grade 1
Packed with information on theory, breath control, dictation, warming up, singing steps and jumps, recognising intervals, stance and presentation and much, much more, this book covers everything you need to know to progress to Grade 1 level singing. A great range of songs is included throughout, providing you with a collection of music which can be used in a Grade 1 exam. There is also a chapter on sight singing with plenty of examples for practice.
ABRSM - Singing Time Grade 2
Step by step instructions for ABRSM and other singing exams. This book contains everything you need to progress to Grade 2 singing level. Including over 30 songs which can be used in your Grade 2 exam, with plenty of help and theory information throughout. There are also sections on warming-up, sight singing and an introduction to singing with other people.
ABRSM - Singing Time Grade 3
Step by step instructions for ABRSM and other singing exams. This book contains everything you need to progress to Grade 3 and includes over 30 songs which can be used in your exam. Includes sections on warming-up, sight singing and an introduction to singing with other people.
ABRSM - Singing Time Grade 4
This book contains everything you need to progress to Grade 4 singing level, including over 20 songs which can be used in your Grade 4 exam, with plenty of help and theory information throughout. There are also sections on warming-up and sight singing.
The Music Teachers Companion
The essential handbook for instrumental and singing teachers. All teachers will find it relevant whether they are working at home or in schools, full-time or part-time, teaching individuals or groups. It contains advice, information and pragmatic soloutions to teaching problems, forms for lesson plans, pupil profiles, termly overviews as well as discussing concepts and strategies that may well have remained unquestioned during years of teaching.
Associated Board Specimen Aural Tests Grades 1-5
This book provides clear, structured guidance for candidates preparing for the aural tests in the Associated Board's practical examinations. In addition to the many practice tests included, the book offers preliminary exercises and instruction which will help build up pupils' confidence.
ABRSM - Specimen Sight Singing Tests Grades 1-5
This book provides practice material for candidates preparing for Associated Board examinations. At each grade a number of tests are provided, each representative of the technical level expected in the examination and exploring a variety of keys, styles and moods. Candidates who have worked through these tests will develop their skills in this crucial area and will approach the test in the examination with increased confidence.
ABRSM - Specimen Sight Singing Tests Grades 6-8
This volume provides much useful practice material for candidates for ABRSM examinations.
Successful Sight Singing - Book 1 - Vocal Edition
This well organized method can be used with church or school groups, private students or voice classes. Book1 is written for grade four while Book 2 reviews skills, progressing into more difficult sight-singing for advanced high school to University level. This creative step by step approach gives singers the skills needed to sight-sing by themselves, away from a piano or other singers. Book 1 is designed for unison or two-part singing, while Book 2 contains two-part or three-part. This method introduces rhythms and intervals sequentially, and systematically incorporates elements of music such as key signatures and changing time signatures with regular reviews.
Successful Sight Singing - Book 2 - Vocal Edition
This well organized method can be used with church or school groups, private students or voice classes. Book1 is written for grade four while Book 2 reviews skills, progressing into more difficult sight-singing for advanced high school to University level. This creative step by step approach gives singers the skills needed to sight-sing by themselves, away from a piano or other singers. Book 1 is designed for unison or two-part singing, while Book 2 contains two-part or three-part. This method introduces rhythms and intervals sequentially, and systematically incorporates elements of music such as key signatures and changing time signatures with regular reviews.
Successful Sight Singing - Book 1 - Conductors Edition
This well organized method can be used with church or school groups, private students or voice classes. Book1 is written for grade four while Book 2 reviews skills, progressing into more difficult sight-singing for advanced high school to University level. This creative step by step approach gives singers the skills needed to sight-sing by themselves, away from a piano or other singers. Book 1 is designed for unison or two-part singing, while Book 2 contains two-part or three-part. This method introduces rhythms and intervals sequentially, and systematically incorporates elements of music such as key signatures and changing time signatures with regular reviews. The Teachers Edition contains all material found in the Vocal Edition, plus detailed instructions for each lesson
Successful Sight Singing - Book 2 - Conductors Edition
This well organized method can be used with church or school groups, private students or voice classes. Book1 is written for grade four while Book 2 reviews skills, progressing into more difficult sight-singing for advanced high school to University level. This creative step by step approach gives singers the skills needed to sight-sing by themselves, away from a piano or other singers. Book 1 is designed for unison or two-part singing, while Book 2 contains two-part or three-part. This method introduces rhythms and intervals sequentially, and systematically incorporates elements of music such as key signatures and changing time signatures with regular reviews. The Teachers Edition contains all material found in the Vocal Edition, plus detailed instructions for each lesson.
Phillips: Sight-Sing Any Melody Instantly For Voice
Wouldn't you like to look at any melody and instantly know how it sounds? If so, then this book is for you. This book teaches you a sight-singing technique or trick that truly works, how to memorise the sound of each scale degree. Once you've memorised these sounds, you'll be able to sight-sing any melody instantly. This book is suitable for anyone who wants to be able to look at written music and hear the sound of the notes in their head.
Singing In Tune
Strategies and solutions for conductors, conductors-in-training, and voice teachers. This book from Nancy Telfer will give you and your choir a firm and extensive grounding in real-life choral experiences and lots of fun in learning. A useful text that can be useful with beginners or experienced sight-singers who need a review.
Successful Warm-Ups Book 1 - Vocal Edition
Perfect for choirs and choral classes, this series provides a detailed plan for implementing a comprehensive programme of vocal production through warm-ups. The purpose of each practical warm-up piece is clearly identified, with tips to help singers make the most of each warm-up. Further information is given in the Conductor's Edition, together with weekly plans and a diagnostic chart.
Successful Warm-Ups Book 2 - Vocal Edition
Perfect for choirs and choral classes, this series provides a detailed plan for implementing a comprehensive programme of vocal production through warm-ups. The purpose of each practical warm-up piece is clearly identified, with tips to help singers make the most of each warm-up. Further information is given in the Conductor's Edition, together with weekly plans and a diagnostic chart.
Successful Warm-Ups Book 1 - Conductors Edition
Perfect for choirs and choral classes, this series provides a detailed plan for implementing a comprehensive programme of vocal production through warm-ups. The purpose of each practical warm-up piece is clearly identified, with tips to help singers make the most of each warm-up. Further information is given in the Conductor's Edition, together with weekly plans and a diagnostic chart.
Successful Warm-Ups Book 2 - Conductors Edition
Perfect for choirs and choral classes, this series provides a detailed plan for implementing a comprehensive programme of vocal production through warm-ups. The purpose of each practical warm-up piece is clearly identified, with tips to help singers make the most of each warm-up. Further information is given in the Conductor's Edition, together with weekly plans and a diagnostic chart.
ABRSM Exam Music Theory Grade 6
Music Theory examination titles as listed on the ABRSM syllabus 2001.
ABRSM Exam Music Theory Grade 7
Music Theory examination titles as listed on the ABRSM syllabus 1999.
ABRSM Exam Music Theory Grade 8
Music Theory examination titles as listed on the ABRSM syllabus 2002.
Analysis Matters
A student's revision guide to London Examinations A-level Musical History and Analysis Papers.
AS Level Study Guides - EDEXCEL, OCR, AQA
Three workbooks for students that will help them achieve higher grades in AS level music
A2 Study Guides - EDEXCEL, OCR, AQA
Three new workbooks aimed at students taking the second year course
A Student's Guide to GCSE Music - for the EDEXCEL, AQA and OCR specifications
Aimed at GCSE Music Students which will become invaluable learning aids throughout two-year course
AS/A2 Music Technology Study Guide for EDEXCEL
Encompassing the coursework for both year's courses
WE sell Rockschool examination books as detailed here. More information is available at the Rockschool website - www.rockschool.co.uk
Welcome to the Rockschool Guitar, Bass and Drums Syllabus
Welcome to the Rockschool 2000 (RS2K) syllabus for electric guitar, bass and drums. This Syllabus Guide is designed to give teachers and pupils practical information on the examinations run by Rockschool.
If you have any queries about the syllabus for electric guitar, bass, drums, popular piano or vocals, then please do not hesitate to call us on 020 8332 6303 or email us at info@rockschool.co.uk. The Rockschool website, http://www.rockschool.co.uk, has detailed information on all aspects of our examinations, including examination regulations, detailed marking schemes and marking criteria, as well as notated and audio example versions of all of the types of tests used in the exams and handy tips on how to get the most out of the performance pieces.
This Syllabus Guide covers the following examinations:
• Grade Examinations offered by Rockschool at Grades 1-6 and 8; and
• Performance Certificates offered by Rockschool at Player, Performer and Pro Zones and equivalent to Grades 3, 5 and 8.
In the Guide, the examination requirements for each grade are shown in italics.
Grade Examinations
Rockschool's grade exams are made up of the following elements:
• Performance pieces (Debut; Grades 1-6 and 8)
• Technical exercises (Grades 1-6 and 8)
• Sight reading or Improvisation & Interpretation (Grades 1-5 only)
• Quick Study Piece (Grades 6 and 8 only)
• Ear Tests (Grades 1-6 and 8)
• General Musicianship (Grades 1-6 and 8)
Stop Press
From September 2004 Rockschool will be piloting some changes to the Improvisation & Interpretation tests. Candidates will have the options of playing this test to a backing track. Please see: Guitar, Bass, Drums below.
Syllabus Guide for Electric Guitar
Performance Pieces
Rockschool's electric guitar grades are designed to showcase instrumental performances across a range of popular styles. The performances are the benchmark by which the grades are measured and the printed performance repertoire reflects the general standards which players should be able to attain if they are successfully to complete the exam requirements. All the repertoire pieces performed in the exam should be played to the CD backing track provided.
The performance characteristics of each grade are printed in the relevant grade books and are reproduced below. The grade descriptions assume competence in the areas described in grades lower down the sequence:
• Debut: at Debut level, players concentrate on playing tunes. A player of Debut standard should be able to play up to 16 bars of music, using simple first position melodies composed of whole, half and quarter notes and associated rests, as well as a range of basic first position chords. The pieces very often use open strings and melodies move between adjacent stings only. Common time signatures throughout.
• Grade 1: a player of Grade 1 standard should be able to play up to 20 bars of music using first position chords and melodies composed of whole, half, quarter and eighth notes, dotted quarter notes and associated rests. Performances should include basic legato and vibrato playing (either with the fretting hand or through use of the whammy bar).
• Grade 2: a player at this grade should be beginning to acquire a range of physical and expressive techniques, including palm damping and the use of double stops on adjacent strings, simple legato and staccato, slides, vibrato, hammer ons and pull offs. Chords are mostly first position or half-barres. Players at this grade should be beginning to develop a sense of style in their performances. Players should be able to play up to 36 bars of music (including repeated sections) at tempi between 80 to 120 beats per minute.
• Grade 3: players will be encountering syncopated eighth and sixteenth notes, slides, bends and vibrato as well as a sense of volume contrasts (dynamics). The performance pieces at this grade are up to 48 bars long at tempi in the range of 90-160 beats per minute, including repeated sections, del segno and da capo markings, and some simple changes of time signature. Full barre chords are used in some pieces. Up to 8 bars will be marked for improvisation and players should be sensitive in their performances to the demands of style and dynamics.
• Grade 4: players will use a range of physical and expressive techniques with confidence, including damping, double stops on adjacent strings, legato and staccato, slides, fretting hand and whammy vibrato, hammer ons and pull offs, and accents while extending the dynamic range from very quiet to very loud where appropriate. The emphasis is on stylistic sensitivity.
• Grade 5: players should feel confident across a range of physical and expressive techniques as well as feel confident in performing in a number of popular styles. Players should feel comfortable playing syncopated 16th notes, in tempi ranging from 100 to 170 beats per minute and soloing for sustained passages with confidence.
• Grade 6: players should demonstrate their abilities across the full range of physical and expressive techniques and should be experimenting with a mixture of them in each performance. Players should be able to perform with extended solo sections across a number of time signature and harmonic changes, and within a range of styles.
• Grade 8: players should be able to demonstrate confidence and mastery of the full range of physical and expressive techniques. Solo passages should incorporate technical ability and harmonic awareness as well as mastery of single note and chord combinations. Players should be able to demonstrate comfort in a wide range of harmonic and stylistic contexts.
Exam Requirements
Debut: candidates are asked to perform five out of the six pieces printed in the Debut examination pack. No free choice option allowed.
Grades 1-6 and 8: candidates are asked to perform either three out of the six pieces printed in the grade packs, or two pieces from the grade pack and one brought into the exam by the candidate. This may be either a self-composed piece or a piece of established popular repertoire.
Candidates taking Grade 2 and above can adapt the performance pieces to suit their playing style. This is permitted so long as these adaptations keep within the style of the piece. Candidates are required, in any case, to include improvisation passages in addition to those indicated by the score.
Guidelines are also published in each grade book for those candidates who wish either write a piece of their own for performance in the exams or to use as a guide when choosing a piece of established repertoire.
Technical Exercises
The range of technical exercises to be played by candidates is published in each book. These are played to a tempo set for the candidate by the examiner. Candidates can choose to play along with the click or without it. TAB fingerings are offered in the examples as a guide, but candidates may use their own fingering when playing the exercises.
Exam Requirements
Grade 1
These should be played at 70 beats per minute in a straight feel: quarter notes.
Group A - Scales: 1 octave
• C major scale
• A minor scale
• G major pentatonic; E minor pentatonic
Group B - Arpeggios: 1 octave
• E major; E minor (lower octave)
Grade 2
These should be played at 80 beats per minute in a straight feel: quarter notes.
Group A - Scales: 2 octaves
• G major; F major scale
• E minor; D minor scale
• C major pentatonic; A minor pentatonic
Group B - Arpeggios: 1 octave
• E major; E minor (lower octave)
• E major; E minor (upper octave)
Grade 3
These should be played at 90 beats per minute in a straight feel: eighth notes.
Group A - Scales: 2 octaves
• G major; C major scale
• G major pentatonic; C major pentatonic
• G minor pentatonic; C minor pentatonic
• G minor blues scale; C minor blues scale
• Scale intervals, 1 string, G major (root 6th string); C major (root 5th string). This test is played all on one string from the position indicated (third fret, 6th string in the case of G and third fret, 5th string in the case of C.
Group B - Arpeggios: 2 octaves
• G major; C major
• G minor; C minor
Grade 4
These should be played at 90 beats per minute in a straight feel: eighth notes.
Scales and arpeggios should be prepared in the following keys: C, F, G, D, A
Group A - Scales:
• major scales: roots 6th and 5th strings
• minor pentatonic scales, 3 positions, root 6th string
• major pentatonic scales, 2 positions, root 6th string
• blues scales: roots 6th and 5th strings
• Aeolian mode: roots 6th and 5th strings
• Scale intervals, 1 string, roots 6th and 5th strings. This test is played all on one string from the position indicated.
Group B - Arpeggios:
• Minor seventh (root 6th string)
• Dominant 7th (root 6th string)
Grade 5
These should be played at 100 beats per minute in a straight feel: eighth notes.
Scales and arpeggios should be prepared in the following keys: C, F, G, D, A, Bb
Group A - Scales:
• major scales: roots 6th and 5th strings
• minor pentatonic scales, 5 positions, root 6th string
• blues scales: roots 6th and 5th strings
• Dorian mode: root 6th string
• Mixolydian mode, root 6th stirng o Scale intervals, 1 string, roots 6th and 5th strings. This test is played all on one string from the position indicated.
Group B - Arpeggios:
• Minor seventh (root 6th string)
• Major 7th (root 6th string)
• Dominant 7th (root 6th string)
Grade 6
These should be played at 120 beats per minute in a straight feel: eighth notes.
Scales and arpeggios should be prepared in the following keys: C, F, G, D, A, Bb, Eb
Group A - Scales:
• major scales: 7 positions root 6th string
• Lydian mode: root 6th string
• Melodic minor scale, root 6th string
• Harmonic minor scale, root 6th string
• Diminished scale, root 6th string
Group B - Arpeggios:
• Minor seventh: roots 6th and 5th strings
• Major 7th: roots 6th and 5th strings
• Dominant 7th: roots 6th and 5th strings
• Minor 7thb5: roots 6th and 5th strings
Grade 8
These should be played at 140 beats per minute in a straight feel: eighth notes.
Scales and arpeggios should be prepared in any keys
Group A - Scales:
• major scales, root 6th string
• modes of major scale, root 6th string
• Phrygian major scale, root 6th string
• Lydian b7, root 6th string
• Diminished scale, root 6th string
• o Whole tone scale, root 6th string
Group B - Arpeggios:
• Minor 7th: roots 6th and 5th strings
• Major 7th: roots 6th and 5th strings
• Dominant 7th: roots 6th and 5th strings
• Minor 7thb5: roots 6th and 5th strings
• Diminished 7th: roots 6th and 5th strings
Sight Reading or Improvisation & Interpretation (Grades 1-5 only)
Candidates attempting Grades 1-5 inclusive have a choice of taking either the sight reading or the improvisation and interpretation test. Examples of the type of tests required in the exam are printed in the grade packs.
Exam Requirements: Sight Reading
Candidates will be asked to prepare a sight reading test which is given to them by the examiner. The test may be in one of the following styles: rock, funk, blues or jazz. Candidates are asked not to write on the version of the test given to them. The examiner will allow 90 seconds for preparation and will then set a tempo for the candidate who must attempt a performance promptly. The candidate may choose to perform with or without the metronome. TAB fingerings are given as a guide in all sight-reading tests.
Candidates can expect the following bar lengths, tempi and time signatures in each grade:
• Grade 1: 4 bars, 60 beats per minute (bpm), common time. (C major, A minor)
• Grade 2: 4 bars, 60 bpm, common time. (G and F major; E and D minor)
• Grade 3: 8 bars, 60-90 bpm, 2/4, 3/4, 4/4. (G and C major; G and C minor)
• Grade 4: 12 bars, 60-90 bpm, as for Grade 3, plus repeat signs and 1st and 2nd time bars. (C, F, G, D, A both major and minor keys)
• Grade 5: 16 bars, 60-90 bpm, as for Grades 3 and 4, plus a range of notation signs, including repeats, DC and DS al coda and 1st and 2nd time bars. (C, F, G, D, A, Bb both major and minor keys)
Exam Requirements: Improvisation & Interpretation
Candidates will be asked to prepare an improvisation & interpretation test which is given to them by the examiner. The test may be in one of the following styles: rock, funk, blues or jazz. Candidates are asked not to write on the version of the test given to them. The examiner will allow 90 seconds for preparation and will then set a tempo for the candidate who must attempt a performance promptly. This may be performed without CD accompaniment (to December 2005) or with chordal band backing (from October 2004). The candidate will hear the complete test once and will be required to improvise on the repeat. In Grades 1 and 2 candidates may opt for either melodic or chordal backings. At Grade 3 the examiner will choose either. At Grades 4 and 5 the test will contain both elements.This test is continuous.
Candidates can expect the following chord requirements, bar lengths, tempi and time signatures in each grade:
• Grade 1: 4 bars, 1 chord per bar, 60 beats per minute (bpm), common time. (Chords: A, E, D, G major, A minor, E minor, D minor)
• Grade 2: 4 bars, up to 2 chords per bar, 60 bpm, common time. (Chords: A, E, D, G, F major, A minor, E minor, D minor, Power chords)
• Grade 3: 8 bars, up to 2 chords per bar, 60-90 bpm, 2/4, 3/4, 4/4. (Chords: A, E, D, G, F, B major, B minor)
• Grade 4: 12 bars, up to 2 chords per bar, 60-90 bpm, as for Grade 3, plus repeat signs and 1st and 2nd time bars. Chords as for Grade 3 plus all the minors, extended to 7ths
• Grade 5: 16 bars, 60-90 bpm, as for Grades 3 and 4, plus a range of notation signs, including repeats, DC and DS al coda and 1st and 2nd time bars. Chords as for Grade 3 plus all the minors, extended to 9ths.
Accompaniment from Grade 3 will be either chordal or melodic.
Quick Study Pieces (Grade 6 and 8 only)
Candidates attempting either of these grades will be asked to perform a Quick Study Piece (QSP). This is given to the candidate 20 minutes before they enter an exam room and candidates attempting these grades are asked to arrive at the exam centre sufficiently early to allow them time to practice their QSP.
Candidates will be asked to perform from an outline given to them by the examiner. The outline is in the form of a 'lead sheet' or 'session chart' and will contain information on style, tempo and length, along with other musical information, such as dynamics, marked solo sections and expression marks. TAB fingerings are also included along with standard musical notation. Each QSP will be in one of the following styles: rock, blues, jazz and funk. The performance should reflect the style of the piece and candidates should use the spaces in the music to develop their musical ideas. This test is unaccompanied.
Exam Requirements: Quick Study Piece
Grade 6: the QSP will consist of between 16-20 bars. The rhythms and chords will be indicated along with some written notation, dynamics and other musical notation information. The note lengths and rhythms will reflect the standard of a Grade 4 performance piece. Tempo: 80-100 bpm.
Grade 8: the QSP will be up to 32 bars in. The rhythms and chords will be indicated along with some written notation, dynamics and other musical notation information. The note lengths and rhythms will reflect the standard of a Grade 6 performance piece. Tempo: 80-130 bpm.
Ear Tests (Grades 1-6 and 8)
Candidates will be asked to take two ear tests in their exam. The tests are played on CD and use a sampled guitar sound. Each test is played to the candidate by the examiner twice. Candidates may use their instruments as a guide while the CD is playing.
The first test, regardless of the grade, is a playback test where the candidate hears a melody and is asked to play it back on the guitar. In Grades 1-5, candidates will be told the key of the piece and the first note in the sequence. In Grades 6 and 8, candidates will be told the key only.
Exam Requirements: Test 1 - Playback
Grade 1: candidates will be asked to play back a melody consisting of the first three notes of the G major scale (root open G, A & B), quarter notes only, 2 bars, common time;
Grade 2: candidates will be asked to play back a melody consisting of the first five notes of either the C major or G major scales, quarter and eighth notes only, 2 bars, common time;
Grade 3: candidates will be asked to play back a melody consisting of notes from C major, G major or E minor pentatonic scales, quarter and eighth notes only, 4 bars, common time;
Grade 4: candidates will be asked to play back a melody consisting of notes from C major or E minor pentatonic scales, half, quarter, eighth notes and rests along with some syncopation, 4 bars, common time;
Grade 5: candidates will be asked to play back a melody consisting of the diatonic notes from either the C major or G major scales (melody may start on root, 3rd or 5th), quarter, eighth and sixteenth notes, 4 bars, common time;
Grade 6: candidates will be asked to play back a melody consisting of the diatonic notes from any key between F and C (melody may start on any diatonic note up to a 5th), whole, half, quarter, eighth and sixteenth notes, 8 bars, common time, there will be a repetition of bars as an aid to recognition;
Grade 8: candidates will be asked to play back a melody consisting of the diatonic notes from any key (melody may not start on root note), any note value, 8 bars, there will be a repetition of bars.
Exam Requirements: Test 2 - Clapping
Grade 1: candidates will be asked to clap back the rhythm of a simple, two bar melody, quarter and eighth notes, 2 bars, common time;
Exam Requirements: Test 2 - Single Chord Recognition
Grade 2: candidates will be asked to recognize a single chord as major or minor;
Exam Requirements: Test 2 - Chord Sequence Recognition
Grade 3: candidates will asked to recognize a four chord sequence using chords from the following: I, IV and V, in the keys of either C major, G major or E minor, 1 chord per bar, 4 bars;
Grade 4: candidates will be asked to recognize a four chord sequence using chords from the following: I, II minor, IV, V7 and VI minor in the keys of either E major, G major or F major, 1 chord per bar, 4 bars;
Grade 5: candidates will be asked to recognize a sequence of chords from the following: I, II minor, IV, V and VI minor in the keys of either D major, C major or F major, up to 2 chords per bar, 4 bars;
Grade 6: candidates will be asked to recognize the root movement of a diatonic chord progression in any major key between C and F, up to two chords per bar, 4 bars;
Grade 8: candidates will be asked to recognize the root movement of a diatonic chord progression in any key, major or minor, up to two chords per bar, 4 bars.
The chord sequences on the CD employ sampled guitar, bass and drum sounds. Candidates in Test 2 may give their answers either as a numerical sequence (eg V, IV, I) or as the chord names. Candidates may also use their guitar as a guide when giving their answers.
General Musicianship
Each Rockschool grade exam finishes with five General Musicianship questions. These are asked of the candidate orally by the examiner, who uses a performance piece played by the candidate as a starting point.
Exam Requirements
Grades 1-6: candidates be asked questions in two main areas (i) music notation and (ii) knowledge of the instrument.
Grade 8: candidates will be asked questions in the same two categories as above but will be asked questions in a third category: history and styles.
A complete list of the topics covered in the music notation and theory category is printed in each book. Sample questions may be found on the Rockschool website. All questions concerning instrument knowledge will deal with the instrument played by the candidate.