Thecnical-Guitar PDF

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Guitar
Technical Handboo
Every Technical Exercise you need for Rockschool examinations printed in full
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Acknowledgements
Published by Rockschool Ltd. © 2012

Catalogue Number RSK111204
ISBN: 978-1-910975-81-7
978-1-910975-81-7
This edition published December 2017 | Errata details can be found at www.rslawards.com
AUDIO
Recorded, mixed and mastered at Langlei Studios by Duncan Jordan

Producer: James Uings
MUSICIANS
Stuart Clayton, Fergus Gerrand, Noam Lederman, Kit Morgan, Stuart Ryan, Ross Stanley
PUBLISHING
Music engraving and book layout by Simon Troup and Jennie Troup of Digital Music Art
Proof and copy editing by Noam Lederman, Stephen Lawson, Simon Pitt and James Uings
Cover design by Philip Millard
Cover photography by Adam Gasson
SYLLABUS
Syllabus director: Jeremy Ward

Instrumental specialists: Stuart Clayton, Noam Lederman and James Uings
SPONSORSHIP
Noam Lederman plays Mapex Drums, PAISTE cymbals and uses Vic Firth Sticks
Rockschool would like to thank the following companies for donating
donating instruments used in the cover artwork
PRINTING
Printed and bound in the United Kingdom by Caligraving Ltd
DISTRIBUTION
Exclusive Distributors: Music Sales Ltd
CONTACTING ROCKSCHOOL
www.rslawards.com
Telephone: +44 (0)845 460 4747
Email: info@rslawards.com
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able o Contents
Introductions & Information
2 Acknowledgements
3 Table of Contents
4 Welcome to the Rockschool Guitar Technical Handbook
5 Frequently Asked Questions
6 Guitar Notation Explained
Technical Exercises
7 Debut
11 Grade 1
15 Grade 2
21 Grade 3
31 Grade 4
49 Grade 5
59 Grade 6
79 Grade 7
101 Grade 8
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Welcome to the Rockschool Guitar Technical Handbook
In this book you will find printed in full all the scales, arpeggios and chords needed to complete the Technica
section of Rockschool’s Guitar grade exams.
This book should be read in conjunction with the relevant grade books (Debut–Grade 8) published by Rocksch
Syllabus Guide for Guitar. The Syllabus Guide can be downloaded for free from our website: www.rslawards.com
In the Rockschool grade exam system, the Technical Exercises form the core of each grade. Mastering them give
valuable insight not only into the types of scales and arpeggios needed for any improvisational work they may be
do, but also into the other types of ‘unseen’ tests they will encounter in the exam, such as the Sight Reading, Impro
Interpretation and Ear Tests, and at Grade 6 or higher, the Quick Study Piece.
This book is divided and ordered by grade, starting with Debut and then progressing from Grade 1 to Grade 8. Its
features include the following:
■ At the start of the book we have included some Frequently Asked Questions which we hope will cover the en
topics most commonly sent in to the Rockschool office by teachers and learners.
■ A grade-by-grade ordering of technical material showing all the keys, starting notes and fingering patterns f
scales and arpeggios needed to complete the exam.
■ Each section is introduced by a page which summarises the content found in each grade. These pages show w
grade-by-grade as well as showing, at a glance, the technical work required for each grade.
■ At Grades 6–8 the Technical Exercises conclude with a Stylistic Study. Candidates may choose one of the thr
to perform in the exam. Please note that the choice of style in the Study will dictate the style of the Quick Stu
We hope you find this book useful and that it will inspire you to approach the Technical Exercises in our exams w
To make best use of it, you will need a guitar in standard tuning and either a physical or a virtual metronome wh
downloaded as a phone app for very little cost.
Audio
In addition to this book, we have also provided audio examples where appropriate. The following symbol
indicated which exercises have accompanying audio:
P
These audio examples can be downloaded from RSL directly at www.rslawards.com/downloads
You will need to input this code when prompted: 98S2DJCHSR

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Frequently Asked Questions
What are the examiners looking for?

The examiners are looking for fluency, accuracy and promptness of response. The assessment requirements for th
Exercises for each grade can be found in the Syllabus Guide for Guitar, available at www.rslawards.com
Will I have to play all the exercises listed in the exam?

At most grades, no. The examiner will usually ask you to perform a selection of the listed exercises at each grade
at Debut and Grade 1 there are fewer questions and, therefore, the examiner may ask you to play all of them.
Will I be asked to perform any exercise from a grade lower than the one I am attempting?
No. You will be asked to play only the exercises printed in the grade book.
What does = 80 mean?

This is the tempo (speed) that the exercise is to be played at. If the exercise does not have a backing track yo
metronome to indicate the tempo at which the exercise is to be played. A metronome is a device that provides a s
to help you ensure that you play at a consistent tempo. Teachers often recommend that students buy a metrono
are also useful in helping to build speed towards the final required tempo.
Do I have to use a metronome in the exam?

No. However, before you start the section you will be asked if you would like to play the exercises along with t
hear a single bar of click before you commence the test.
What should I do if I make a mistake?

Stay calm and do your best to recover and carry on. The examiner is there to award marks for what you can do, n
you for what you can’t.
What does ‘prepared chromatically’ mean?

You should be able to play any individual scale starting from any root note in the note range specified.
Can I take this book into the exam?

No. The only book a candidate is allowed to take into a Rockschool examination is the grade book appropri
examination being taken.
Can I have my grade book open at the relevant page of Technical Exercises in the exam?
Yes.
Why are some of the chord exercises listed as ‘continuous exercises’ while others are not?
‘Continuous exercises’ are to be played as a chord progression at the specified tempo. In all other chord exerci
recognisable by each bar being separated by a double barline – the examiner will ask for a selection of individua
be played. This is shown clearly in the following example:
B5 A5 G5 A5 B5
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Guitar Notation Explained
D Am F
THE MUS ICAL STAVE Notes:
shows pitches and rhythms E
F
D
and is divided by lines into C
B
A
G
bars. Pitches are named aer F
E
the first seven letters of the
alphabet. Strings:
E 2 0
TABLATURE graphically B
T 3
2
1
2
A
G
represents the guitar D 2 0 2
fingerboard. Each horizontal
line represents a string and
A
E
B 0
each number represents a fret. Fourth string, 2nd fret Open D chord Rhythm notation with Solos and Cont. sim.
suggested fingering are shown in slash not
Definitions For Special Guitar Notation

HAMMER-ON: Pick the lower note, PULL-OFF: Pick the higher note then SLIDE: Pick the first note and slide GLISSANDO: Slide off of a not
then sound the higher note by sound the lower note by liing the to the next. If the line connects (as end of its rhythmic value. e n
fretting it without picking. finger without picking. below) the second note is not repicked. that follows is repicked.
T T T T
5 7 7 5 2 4 2
A A A A
B B B B
STRING BENDS: Pick the first note then VIBRATO: Vibrate the note by bending TRILL: Rapidly alternate between the NATURAL HARMONICS:
bend (or release the bend) to the pitch and releasing the string smoothly two bracketed notes by hammering string above the indicated fret t
indicated in brackets. and continuously. on and pulling off. pick to sound a harmonic.
NH
BU BD
T 5 (6) (5) T 8 T T 12
(5 7) 5 12
A A A A
B B B B
PINCHED HARMONICS: Bring the PICK-HAND TAP: Strike the indicated FRET-HAND TAP: As pick-hand tap, QUARTER-TONE BEND:
thumb of the picking hand into note with a finger from the picking but use fretting hand. Usually indicated and bend the string u
contact with the string immediately hand. Usually followed by a pull-off. followed by a pull-off or hammer-on. by a quarter tone.
aer the pick. 1/4
PH
1/4
7 2 9 5
T 5 T T T
7 5 5
A A A A
B B B B
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Debut
D ebut eatures two scale types: major
scales and minor pentatonic scales.
Tere are also six chords. Te chords and
Technical Work
empo q = 70
Scales | Major C
scales are all in open position, which is Scales | Minor Pentatonic E&A
the open strings and first our rets o Chords | Major A, D, C & G
the guitar. At the end o the echnical Chords | Minor Am & Em
Exercises you will play a riff to a backing Riff Four bars @ q =
track. Te first bar o the riff is notated

in ull. You will be required to move the
pattern to the correct starting note in the
remaining, un-notated bars.
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Debut echnical Exercises
Group A: Scales | Major scales
1. C major
T 0 1 0
0 2 2 0
A 0 2 3 3 2 0
B 3
Group A: Scales | Minor pentatonic scales
1. E minor pentatonic
T
A 0 2 0
B 0 3
0 2 2 0
3
2. A minor pentatonic
T
0 2 0
A 0 2 2 0
B 0 3 3
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Debut echnical Ex
Group B: Chords | Major chords
1. Open-position chords. Individual chords will be strummed once as directed by the examiner.
A D C G
0 2 0 3
T 2 3 1 0
2 2 0 0
A 2 0 2 0
B 0
Group B: Chords | Minor chords
Am Em
0 0
T 1 0
2 0
A 2 2
B 0 2
0
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Debut echnical Exercises
Group C | Riff
In the exam you will be asked to play the following riff to a backing track. The riff shown in bar 1 should be pl
same shape in bars 2–4. The root note of the pattern to be played is shown in the music in each of the subsequent
q = 70 Rock
Am Dm Am Dm
T
A 0 0 0
B 0 3 3 3 0
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Grade 1
G rade 1 adds two new scale
types: natural minor and major
pentatonic. wo new open chords are
Technical Work
empo q = 70
Scales | Major C
added to those covered at Debut and the Scales | Natural Minor A
C and G chords are extended to their Scales | Minor Pentatonic E&A
five- and six-string versions. wo-note Scales | Major Pentatonic G
powerchords are introduced at this Chords | Powerchords B 5, A5 & G5
grade. Te ormat o the riff exercise Chords | Major A, D, E, C & G
remains the same as Debut. Chords | Minor Am, Dm & Em
Riff Four bars @ q = 70

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Grade 1 echnical Exercises
1. C major
T 0 1 0
0 2 2 0
A 0 2 3 3 2 0
B 3
Group A: Scales | Natural minor scales
1. A natural minor
T
0 2 0
A 0 2 3 3 2 0
B 0 2 3 3 2
1. E minor pentatonic
T
A 0 2 0
B 0 3
0 2 2 0
3
T
0 2 0
A
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Grade 1 echnical Ex
Group A: Scales | Major pentatonic scales
1. G major pentatonic
T
0
A 0 2 2 0
B 3
0 2 2 0
Group B: Chords | Powerchords
1. Powerchords: two-note chords to be played in a continuous sequence.

5 5 5 5 5
B A G A B
T
A
B 9
7
7
5
5
3
7
5
9
7
A D E C G
0 2 0 0 3
T 2 3 0 1 0
2 2 1 0 0
A 2 0 2 2 0
B 0 2
0
3 2
3
Group B: Chords | Minor chords
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Group C | Riff
In the exam you will be asked to play the following riff to a backing track. The riff shown in bar 1 should be pl
same shape in bars 2–4. The root note of the pattern to be played is shown in the music in each of the subsequent
q =70 Rock
Em Am Em Am
T
A 0 2 0 2
B 0
2 0
0
0
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Grade 2
G rade 2 eatures the same our scale
types as those covered in Grade 1.
Each scale should be prepared in two
Technical Work
empo q = 80
Scales | Major C&G
keys. Te powerchords are extended to Scales | Natural Minor E&A
three-note versions o those ound in Scales | Minor Pentatonic C&G
Grade 1. Tere are two new chord types Scales | Major Pentatonic C&G
(minor 7 and major 7) and the technique Chords | Powerchords B 5, A5 & G5
o barring the first finger across two Chords | Major C, F & G
strings is introduced. Te riff exercise is Chords | Minor 7 Am7, Dm7 & Em
extended to a two-bar notated pattern Chords | Major 7 Amaj 7, Cmaj 7
and the overall length o the test is now Riff Eight bars @ q
eight bars rather than our.

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1. C major
T 0 1 0
0 2 2 0
A 0 2 3 3 2 0
B 3
2. G major
T
0
A 0 2 4 4 2 0
B 3
0 2 3 3 2 0
1. E natural minor
T
A 0 2 0
B 0 2 3
0 2 3 3 2 0
3 2
2. A natural minor
T
0 2 0
A 0 2 3 3 2 0
B 0 2 3 3 2
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1. C minor pentatonic
T
3 5 3
A 3 5 5 3
B 3 6 6
2. G minor pentatonic
T
A 3 5 3
B 3 6
3 5 5 3
6
1. C major pentatonic
T
A 7 10 7
B 8 10
7 10 10 7
10
T
A 2 5 2
B 3 5
2 5 5 2
5
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Group B: Chords | Powerchords
1. Powerchords: three-note chords to be played in a continuous sequence.

5 5 5 5 5
B A G A B
T
A 9 7 5 7 9
B 9
7
7
5
5
3
7
5
9
7
C F G
0 1 3
T 1 1 0
0 2 0
A 2 3 0
B 3 2
3
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Group B: Chords | Minor 7 chords
7 7 7
Am Dm Em
0 1 0
T 1 1 0
0 2 0
A 2 0 0
B 0 2
0
Group B: Chords | Major 7 chords
Amaj 7 Cmaj 7 Dmaj 7
0 0 2
T 2
1
0
0
2
2
A 2 2 0
B 0 3
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Group C: Riff
In the exam you will be asked to play the following riff to a backing track. The riff shown in bars 1 and 2 should
the same shape in bars 3–8. The root note of the pattern to be played is shown in the music in bars 3, 5 and 7.
q = 80 Rock
Gm Cm
T
A
B 3 3 6 3 3 6
3 5
6 3
3
Gm Cm
T
A
B 3
3
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Grade 3
G rade 3 adds a fifh scale type (blues)
to those covered in previous grades.
All the scales in Grade 3 are o two
Technical Work
empo q = 90
Scales | Major G, A & B
octaves. Major and minor arpeggios o Scales | Natural Minor G, A & B
one octave are also added as well as our Scales | Minor Pentatonic G, A & B
barre chord shapes and open-position Scales | Major Pentatonic G, A & B
dominant 7 chords. Te barre chords Scales | Blues G, A & B
should be prepared in a continuous Arpeggios | Major G, A & B
exercise. Te ormat o the riff exercise is Arpeggios | Minor G, A & B
unchanged rom Grade 2. Chords | Barre Major & Minor
Chords | Dominant 7 A7, C 7, D 7 & E
Riff Eight bars @ q

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1. G major
2 3 2
T 3 5 5 3
2 4 5 5 4 2
A 2 4 5 5 4 2
B 3 5
2 3 5 5 3
2. A major
4 5 4
T 5 7 7 5
4 6 7 7 6 4
A 4 6 7 7 6 4
B 5 7
4 5 7 7 5
3. B major
6 7 6
T 7 9 9 7
6 8 9 9 8 6
A 6 8 9 9 8 6
B 7 9
6 7 9 9 7
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1. G natural minor
3
T 3 4 6 6 4 3
2 3 5 5 3 2
A 3 5 5 3
B 3 5 6
3 5 6 6 5 3
2. A natural minor
5
T 5 6 8 8 6 5
4 5 7 7 5 4
A 5 7 7 5
B 5 7 8
5 7 8 8 7 5
3. B natural minor
7
T 7 8 10 10 8 7
6 7 9 9 7 6
A 7 9 9 7
B 7 9 10 10 9 7
7 9 10
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1. G minor pentatonic
3
T 3 6 6 3
3 5 5 3
A 3 5 5 3
B 3 6
3 5 5 3
5
T 5 8 8 5
5 7 7 5
A 5 7 7 5
B 5 8
5 7 7 5
3. B minor pentatonic
7
T 7 10 10 7
7 9 9 7
A 7 9 9 7
B 7 10
7 9 9 7
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3
T 3 5 5 3
2 4 4 2
A 2 5 5 2
B 3 5
2 5 5 2
2. A major pentatonic
5
T 5 7 7 5
4 6 6 4
A 4 7 7 4
B 5 7
4 7 7 4
3. B major pentatonic
7
T 7 9 9 7
6 8 8 6
A 6 9 9 6
B 7 9
6 9 9 6
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Group A: Scales | Blues scales
1. G blues
3
T 3 6 6 3
3 5 6 6 5 3
A 3 5 5 3
B 3 6
3 4 5 5 4
2. A blues
5
T 5 8 8 5
5 7 8 8 7 5
A 5 7 7 5
B 5 8
5 6 7 7 6
3. B blues
7
T 7 10 10 7
7 9 10 10 9 7
A 7 9 9 7
B 7 8 9 9 8
7 10
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Group B: Arpeggios | Major arpeggios
1. G major
G
T
A 5
B 3
2 5 5 2
3
2. A major
A
T
A 7
B 5
4 7 7 4
5
3. B major
B
T
A 9
B 7
6 9 9 6
7
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Group B: Arpeggios | Minor arpeggios
1. G minor
Gm
T
A 5
B 3 6
5 5
6 3
2. A minor
Am
T
A 7
B 5 8
7 7
8 5
3. B minor
Bm
T
A 9
B 7 10
9 9
10 7
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Group C: Chords | Barre chords
1. Major and minor barre chords to be played in a continuous sequence.

G Am Em Bm C D G
3 5 7 7 3
T 3 5 8 7 5 7 3
4 5 9 7 5 7 4
A 5 7 9 9 5 7 5
B 5
3
7
5
7 9
7
3 5 5
3
Group C: Chords | Dominant 7 chords
1. Dominant 7 chords: individual chords will be strummed once and then picked (arpeggiated).
A7 C7 D7 E7
0 0 0 0 2 2 0
T 2 2 1 1 1 1 0
0 0 3 3 2 2 1
A 2 2 2 2 0 0 0 0
B 0 0 3 3 2
0 0
2
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Group D: Riff
q = 90 Rock
Am Dm
T
A 7 5
B 5 5
7 6 5
8
7 5
8 5
5
Am Dm
T
A
B 5
5
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Grade 4
G rade 4 eatures the same five scale
types as those ound in Grade 3,
but a second fingering is added. Tere are
Technical Work
empo q = 80
Scales | Major A, B, C & D
also three new chord and arpeggio types: Scales | Natural Minor A, B, C & D
major 7, minor 7 and dominant 7. You will Scales | Minor Pentatonic A, B, C & D
be required to prepare the chords in two Scales | Major Pentatonic A, B, C & D
fingerings. Te ormat o the riff exercise Scales | Blues A, B, C & D
is unchanged, but the pull-off technique Arpeggios | Major 7 A, B, C & D
is now added. Arpeggios | Minor 7 A, B, C & D
Arpeggios | Dominant 7 A, B, C & D
Chords | Major 7 B, C, D & E
Chords | Minor 7 B, C, D & E
Chords | Dominant 7 B, C, D & E
Riff Eight bars @ q

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5
T 5 8 8 5
5 7 7 5
A 5 7 7 5
B 5 8
5 7 7 5
3 5 3
T 3 5 5 3
2 5 5 2
A 2 5 5 2
B 5
3 5 5
2. B minor pentatonic
7
T 7 10 10 7
7 9 9 7
A 7 9 9 7
B 7 10
7 9 9 7
5 7 5
T 5 7 7 5
4 7 7 4
A 4 7 7 4
B 7
5 7 7
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3. C minor pentatonic
8
T 8 11 11 8
8 10 10 8
A 8 10 10 8
B 8 11
8 10 10 8
6 8 6
T 6 8 8 6
5 8 8 5
A 5 8 8 5
B 8
6 8 8
4. D minor pentatonic
10
T 10 13 13 10
10 12 12 10
A 10 12 12 10
B 10 13
10 12 12 10
1
8 10 8
T 8 10 10 8
7 10 10 7
A 7 10 10 7
B 10
8 10 10
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1. A major pentatonic
5
T 5 7 7 5
4 6 6 4
A 4 7 7 4
B 5 7
4 7 7 4
2 5 2
T 2 5 5 2
2 4 4 2
A 2 4 4 2
B 5
2 4 4
2. B major pentatonic
7
T 7 9 9 7
6 8 8 6
A 6 9 9 6
B 7 9
6 9 9 6
4 7 4
T 4 7 7 4
4 6 6 4
A 4 6 6 4
B 7
4 6 6
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3. C major pentatonic
8
T 8 10 10 8
7 9 9 7
A 7 10 10 7
B 8 10
7 10 10 7
10
5 8 5
T 5 8 8 5
5 7 7 5
A 5 7 7 5
B 8
5 7 7
4. D major pentatonic
10
T 10 12 12 10
9 11 11 9
A 9 12 12 9
B 10 12
9 12 12 9
7 10 7
T 7 10 10 7
7 9 9 7
A 7 9 9 7
B 10
7 9 9
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Group A: Scales | Blues scales
1. A blues
5
T 5 8 8 5
5 7 8 8 7 5
A 5 7 7 5
B 5 8
5 6 7 7 6 5
3 5 3
T 3 4 5 5 4 3
2 5 5 2
A 2 5 5 2
B 5
3 5 6 6 5
2. B blues
7
T 7 10 10 7
7 9 10 10 9 7
A 7 9 9 7
B 7 10
7 8 9 9 8 7
5 7 5
T 5 6 7 7 6 5
4 7 7 4
A 4 7 7 4
B 7
5 7 8 8 7
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3. C blues
8
T 8 11 11 8
8 10 11 11 10 8
A 8 10 10 8
B 8 11
8 9 10 10 9 8
6 8 6
T 6 7 8 8 7 6
5 8 8 5
A 5 8 8 5
B 8
6 8 9 9 8
4. D blues
10
T 10 13 13 10
10 12 13 13 12 10
A 10 12 12 10
B 10 13
10 11 12 12 11 10
8 10 8
T 8 9 10 10 9 8
7 10 10 7
A 7 10 10 7
B 10
8 10 11 11 10
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Group B: Arpeggios | Major 7 arpeggios
1. A major 7
Amaj 7
T
A 6 7 6
B 5
4 7 7 4
5
2. B major 7
Bmaj 7
T
A 8 9 8
B 7
6 9 9 6
7
3. C major 7
Cmaj 7
T
A 9 10 9
B 8
7 10 10 7
8
4. D major 7
Dmaj 7
T
A 11 12 11
B 10
9 12 12 9
10
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Group B: Arpeggios | Minor 7 arpeggios
1. A minor 7
Am 7
T
A 5 7 5
B 5 8
7 7
8 5
2. B minor 7
7
Bm
T
A 7 9 7
B 7 10
9 9
10 7
3. C minor 7
Cm 7
T
A 8 10 8
B 8 11
10 10
11 8
4. D minor 7
Dm 7
T
A 10 12 10
B 10 13
12 12
13 10
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Group B: Arpeggios | Dominant 7 arpeggios
1. A dominant 7
A7
T
12 14 12
A 11 14 14 11
B 12 12
2. B dominant 7
7
B
T
2 4 2
A 1 4 4 1
B 2 2
3. C dominant 7
C7
T
3 5 3
A 2 5 5 2
B 3 3
4. D dominant 7
D7
T
5 7 5
A 4 7 7 4
B 5 5
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Group C: Chords | Major 7 chords
1. B major 7 chords: individual chords will be strummed once and then picked (arpeggiated).
B maj7 B maj7
2
T 7
8 8
7 T 4
3 3
4
A 8 8 A 4 4
B 7 7
B 2 2
2. C major 7 chords: individual chords will be strummed once and then picked (arpeggiated).
C maj7 C maj7
3
T 8
9 9
8 T 5
4 4
5
A 9 9 A 5 5
B 8 8
B 3 3
3. D major 7 chords: individual chords will be strummed once and then picked (arpeggiated).
D maj7 D maj7
5
T 10
11 11
10 T 7
6 6
7
A 11 11 A 7 7
B 10 10
B 5 5
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Group C: Chords | Minor 7 chords
1. B minor 7 chords: individual chords will be strummed once and then picked (arpeggiated).
7 7
Bm Bm
7 7 2 2
T 7 7 T 3 3
7 7 2 2
A 7 7 A 4 4
B 9 9 B 2 2
7 7
2. C minor 7 chords: individual chords will be strummed once and then picked (arpeggiated).
7
Cm 7
Cm
8 8 3 3
T 8 8 T 4 4
8 8 3 3
A 8 8 A 5 5
B 10 10 B 3 3
8 8
3. D minor 7 chords: individual chords will be strummed once and then picked (arpeggiated).
7
Dm 7
Dm
10 10 5 5
T 10 10 T 6 6
10 10 5 5
A 10 10 A 7 7
B 12 12 B 5 5
10 10
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Group C: Chords | Dominant 7 chords
1. B dominant 7 chords: individual chords will be strummed once and then picked (arpeggiated).
7 7
B B
7 7 2 2
T 7 7 T 4 4
8 8 2 2
A 7 7 A 4 4
B 9 9 B 2 2
7 7
2. C dominant 7 chords: individual chords will be strummed once and then picked (arpeggiated).
7
C C
7
8 8 3 3
T 8 8 T 5 5
9 9 3 3
A 8 8 A 5 5
B 10 10 B 3 3
8 8
3. D dominant 7 chords: individual chords will be strummed once and then picked (arpeggiated).
7
D 7
D
10 10 5 5
T 10 10 T 7 7
11 11 5 5
A 10 10 A 7 7
B 12 12 B 5 5
10 10
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Group D: Riff
3
q = 100 Blues
G D
T
A 5 5 3 3 5 3 5 3
B 4 5 5 3 5
3 3 6
C G
T
A
B 3
3
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Grade 5
G rade 5 adds a sixth scale type
(harmonic minor) to those
covered in Grade 4. All scales should be
Technical Work
empo q = 80
F, G & A (on the E

Scales | Major
B, C & D (on the A
prepared in two positions rather than two
F, G & A (on the E
fingerings. Major and minor arpeggios o Scales | Natural Minor
B, C & D (on the A
two octaves are also required. Te chord F, G & A (on the E

Scales | Harmonic Minor
B, C & D (on the A
group is a continuous exercise that uses
F, G & A (on the E
three inversions o major and minor Scales | Minor Pentatonic
B, C & D (on the A
triads. Eighth-note rests are now added F, G & A (on the E

Scales | Major Pentatonic
B, C & D (on the A
to the riff exercise.
F, G & A (on the E
Scales | Blues
B, C & D (on the A
F, G & A (on the E

Arpeggios | Major
B, C & D (on the A
F, G & A (on the E

Arpeggios | Minor
B, C & D (on the A
Major & Minor (th

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Group B: Arpeggios | Major arpeggios
1. F major
F
1
T 1 1
2 2
A 3 3
B 1
0 3 3 0
2. G major
G
3
T 3 3
4 4
A 5 5
B 3
2 5 5 2
3
3. A major
A
5
T 5 5
6 6
A 7 7
B 5
4 7 7 4
4. B major
B
7
T 4 7 7 4
4 4
A 4 4
B 2 6 6
5. C major
C
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Group B: Arpeggios | Minor arpeggios
1. F minor
Fm
1
T 1 1
1 1
A 3 3
B 1 4
3 3
4
2. G minor
Gm
3
T 3 3
3 3
A 5 5
B 3 6
5 5
6
3. A minor
Am
5
T 5 5
5 5
A 7 7
B 5 8
7 7
8
4. B minor
Bm
7
T 7 7
4 7 7 4
A 4 4
B 2 5 5
5. C minor
Cm
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Group C: Chords | Triads
Major and minor triads played in three inversions on the top three strings of the guitar in the key of C. To be
continuous sequence.
1. Major and minor triads in three inversions

C Am Em F Dm G C
3 5 3 5 5 3 3
T 5 5 5 6 6 3 5
5 5 4 5 7 4 5
A
B
Group D: Riff
q = 100 Funk
7 7
E A
T
A
B 7 5 7 5 7 5 0
0 5 7 5
7 7
E A
T
A
B 0
0
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Grade 6
 he minor pentatonic scale should be
prepared in five different shapes in
two keys. wo modes (dorian and lydian)
Technical Work
empo q =100
Scales | Minor Pentatonic G&B
are introduced at Grade 6 and should G–B chromatically

Modes | Dorian Mode
C–E chromatically
be prepared in two positions. Tere are
three two-octave arpeggio types (major 7,
G–B chromatically
Modes | Mixolydian Mode
C–E chromatically
minor 7 and dominant 7 ) and two chord G–B chromatically

Arpeggios | Major 7
C–E chromatically
types (minor 7 5 and diminished). Te
G–B chromatically
riff exercise has been replaced by a choice Arpeggios | Minor 7
C–E chromatically
o three Stylistic Studies which are played G–B chromatically

Arpeggios | Dominant 7
C–E chromatically
to a backing track.
G–B chromatically
Chords | Minor 7 5
C–E chromatically
G–B chromatically
Chords | Diminished
C–E chromatically
Rock/Metal
Stylistic Studies Funk
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Group C: Arpeggios | Major 7 arpeggios | root on E string
1. G major 7
Gmaj 7
2 3 2
T 4
3 3
4
A 4 5 5 4
B 3
2 5 5 2
2. A major 7
A maj 7
3 4 3
T 5
4 4
5
A 5 6 6 5
B 4
3 6 6 3
3. A major 7
Amaj 7
4 5 4
T 6
5 5
6
A 6 7 7 6
B 5
4 7 7 4
4. B major 7
B maj 7
5 6 5
T 7
6 6
7
A 7 8 8 7
B 6
5 8 8 5
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Group C: Arpeggios | Major 7 arpeggios | root on A string
1. C major 7
Cmaj 7
7 8 7
T 4 5
5 8 8 5
5 4
A 2 5 5 2
B 3
2. D major 7
D maj 7
8 9 8
T 5 6
6 9 9 6
6 5
A 3 6 6 3
B 4
3. D major 7
Dmaj 7
9 10 9
T 6 7
7 10 10 7
7 6
A 4 7 7 4
B 5
4. E major 7
E maj 7
10 11 10
T 7 8
8 11 11 8
8 7
A 5 8 8 5
B 6
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Group C: Arpeggios | Minor 7 arpeggios | root on E string
1. G minor 7
Gm 7
3
T 3 6 6 3
3 3
A 3 5 5 3
B 3 6
5 5
6
2. G minor 7
G m7
4
T 4 7 7 4
4 4
A 4 6 6 4
B 4 7
6 6
7
3. A minor 7
7
Am
5
T 5 8 8 5
5 5
A 5 7 7 5
B 5 8
7 7
8
4. B minor 7
7
B m
6
T 6 9 9 6
6 6
A 6 8 8 6
B 6 9
8 8
9
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Group C: Arpeggios | Minor 7 arpeggios | root on A string
1. C minor 7
7
Cm
6 8 6
T 4 8 8 4
3 5 5
A 5 8 5
B 3 6 6
2. C minor 7
7
C m
7 9 7
T 5 9 9 5
4 6 6
A 6 9 6
B 4 7 7
3. D minor 7
Dm 7
8 10 8
T 6 10 10 6
5 7 7
A 7 10 7
B 5 8 8
4. E minor 7
7
E m
9 11 9
T 7 11 11 7
6 8 8
A 8 11 8
B 6 9 9
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Group C: Arpeggios | Dominant 7 arpeggios | root on E string
1. G dominant 7
7
G
3
T 3 6 6 3
4 4
A 3 5 5 3
B 3
2 5 5 2
2. A dominant 7
7
A
4
T 4 7 7 4
5 5
A 4 6 6 4
B 4
3 6 6 3
3. A dominant 7
7
A
5
T 5 8 8 5
6 6
A 5 7 7 5
B 5
4 7 7 4
4. B dominant 7
7
B
6
T 6 9 9 6
7 7
A 6 8 8 6
B 6
5 8 8 5
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Group C: Arpeggios | Dominant 7 arpeggios | root on A string
1. C dominant 7
7
C
6 8 6
T 5 8 8 5
3 5 5 3
A 5 5
B 3 7 7
2. D dominant 7
7
D
7 9 7
T 6 9 9 6
4 6 6 4
A 6 6
B 4 8 8
3. D dominant 7
7
D
8 10 8
T 7 10 10 7
5 7 7 5
A 7 7
B 5 9 9
4. E dominant 7
7
E
9 11 9
T 8 11 11 8
6 8 8 6
A 8 8
B 6 10 10
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Group D: Chords | Minor 7 5 chords | root on E string
Chords will be strummed once and then picked (arpeggiated).
1. G minor 7 5
7 5
Gm
T 2 2
3 3
A 3 3
B 3 3
2. G minor 7 5
7 5
G m
T 3 3
4 4
A 4 4
B 4 4
3. A minor 7 5
7 5
Am
T 4 4
5 5
A 5 5
B
5 5
4. B minor 7 5
7 5
B m
T 5 5
6 6
A 6 6
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Group D: Chords | Minor 7 5 chords | root on A string
1. C minor 7 5
7 5
Cm
T 4 4
3 3
A 4 4
B 3 3
2. C minor 7 5
7 5
C m
T 5 5
4 4
A 5 5
B 4 4
3. D minor 7 5
7 5
Dm
T 6 6
5 5
A 6 6
B 5 5
4. D minor 7 5
7 5
D m
T 7 7
6 6
A 7 7
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Group D: Chords | Diminished 7 chords | root on E string
1. G diminished 7
7
G dim
T 2 2
3 3
A 2 2
B 3 3
2. G diminished 7
G dim7
T 3 3
4 4
A 3 3
B 4 4
3. A diminished 7
A dim7
T 4 4
5 5
A 4 4
B 5 5
4. B diminished 7
7
B dim
T 5 5
6 6
A 5 5
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Group D: Chords | Diminished 7 chords | root on A string
1. C diminished 7
C dim7
T 4 4
2 2
A 4 4
B 3 3
2. C diminished 7
7
C dim
T 5 5
3 3
A 5 5
B 4 4
3. D diminished 7
D dim7
T 6 6
4 4
A 6 6
B 5 5
4. D diminished 7
7
D dim
T 7 7
5 5
A 7 7
B
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Group E: Stylistic Studies
You will prepare a technical study from one group of styles from the list below. Your choice of style will determi
of the Quick Study Piece.
1. Rock/Metal: tapping and legato phrasing
q = 100 Rock
5 5
E C
T 12 8 5 8 12 8 5 8 12 8 5 8 12 8 5 8 13 8 5 8 13 8 5 8 13 8 5 8 1
A
B
5 5
E B
T 12 8 5 8 12 8 5 8 12 8 5 8 12 8 5 8 12 0 4 7 12 0 4 7 12 0 4 0
A
B
5 5 5
E C D
12 15 12 12 15 12 10 12 10 10 12 10 7 8 7
T 15 15 12 12 10 8 7 8 7
7
A
B
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2. Funk: staccato phrasing and 16 th-note strumming
q = 80 Funk
N.C. 1/4
T
A 10 8 10
1/4
B 10 9 9 8 9 8 9 10 9 8
11 11
1/4
1/4
8
T 11 10 11 8 11
8 10 8
A 10 8 10
B
7 7
Cm Fm
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
T 8 8 8 8 8 8 11 11 11 11 11 9 9 9 9 9 9 11
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
A 8 8 8 8 8 8 8 8 8 8 8 10 10 10 10 10 10 10
B 10 10 10 10 10 10 10 10 10 10 10 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8 8 8 8
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3. Jazz/Latin/Blues: string bends and double-stops

3
q = 125 Blues
=
7 7
C F
BU BD BU
BU BD BU
T 11 (13) (11) (13)
8 (10) ( 8) (10)
A
B
1/4 1/4 1/4

7
C
1/4
1/4 1/4 1/4

1/4
11 11 11
T 13 13 13
8
A 10
B
7
F
1/4
1/4
8 8
T 8 8 10 8 10 8 8 10 8 8 8
10 8 10 8 8 10 8 8 8
A 10 10 10
B
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Grade 7
G rade 7 eatures two new modes
(lydian and phrygian) and the jazz
melodic minor scale in two positions.
Technical Work
empo q =100
G–B chromatically
Modes | Lydian mode
C–E chromatically
Tree new chords and arpeggios (major 9,
minor 9 and dominant 9 ) are also
G–B chromatically
Modes | Phrygian mode
C–E chromatically
introduced. Te Stylistic Studies ollow G–B chromatically

Scales | Jazz Melodic Minor
C–E chromatically
the same procedure as Grade 6.
G–B chromatically
Arpeggios | Major 9
C–E chromatically
G–B chromatically
Arpeggios | Minor 9
C–E chromatically
G–B chromatically
Arpeggios | Dominant 9
C–E chromatically
G–B chromatically
Chords | Major 9
C–E chromatically
G–B chromatically
Chords | Minor 9
C–E chromatically
G–B chromatically
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Group B: Arpeggios | Major 9 | root on E string
1. G major 9
Gmaj 9
T 2
A 4 4
B 3
2 5 5 2
3
2. A major 9
A maj 9
T 3
A 5 5
B 4
3 6 6 3
4
3. A major 9
Amaj 9
T 4
A 6 6
B 5
4 7 7 4
5
4. B major 9
B maj 9
T 5
A 7 7
B 6
5 8 8 5
6
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Group B: Arpeggios | Major 9 | root on A string
1. C major 9
Cmaj 9
T 4
3
4
A 2 5 5 2
B 3 3
2. D major 9
D maj 9
T 5
4
5
A 3 6 6 3
B 4 4
3. D major 9
Dmaj 9
T 6
5
6
A 4 7 7 4
B 5 5
4. E major 9
E maj 9
T 7
6
7
A 5 8 8 5
B 6 6
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Group B: Arpeggios | Minor 9 | root on E string
1. G minor 9
9
Gm
T
A 3 7 3
B 3 6
5 5
6 3
2. G minor 9
G m9
T
A 4 8 4
B 4 7
6 6
7 4
3. A minor 9
9
Am
T
A 5 9 5
B 5 8
7 7
8 5
4. B minor 9
9
B m
T
A 6 10 6
B 6 9
8 8
9 6
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Group B: Arpeggios | Minor 9 | root on A string
1. C minor 9
9
Cm
T 3
3 3
A 5 5
B 3 6 6 3
2. C minor 9
9
C m
T 4
4 4
A 6 6
B 4 7 7 4
3. D minor 9
9
Dm
T 5
5 5
A 7 7
B 5 8 8 5
4. E minor 9
9
E m
T 6
6 6
A 8 8
B 6 9 9 6
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Group B: Arpeggios | Dominant 9 | root on E string
1. G dominant 9
9
G
T
2
A 3 3
B 3
2 5 5 2
3
2. A dominant 9
9
A
T
3
A 4 4
B 4
3 6 6 3
4
3. A dominant 9
9
A
T
4
A 5 5
B 5
4 7 7 4
5
4. B dominant 9
9
B
T
5
A 6 6
B 6
5 8 8 5
6
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Group B: Arpeggios | Dominant 9 | root on A string
1. C dominant 9
C9
T 3
3 3
A 2 5 5 2
B 3 3
2. D dominant 9
9
D
T 4
4 4
A 3 6 6 3
B 4 4
3. D dominant 9
9
D
T 5
5 5
A 4 7 7 4
B 5 5
4. E dominant 9
9
E
T 6
6 6
A 5 8 8 5
B 6 6
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Group C: Chords | Major 9 chords | root on E string
1. G major 9
G maj9
T 3
2 2
3
A 4 4
B 3 3
2. A major 9
A maj9
T 4
3 3
4
A 5 5
B 4 4
3. A major 9
A maj9
T 5
4 4
5
A 6 6
B 5 5
4. B major 9
B maj9
T 6
5 5
6
A 7 7
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Group C: Chords | Major 9 chords | root on A string
1. C major 9
C maj9
T 3
4 4
3
A 2 2
B 3 3
2. D major 9
D maj9
T 4
5 5
4
A 3 3
B 4 4
3. D major 9
D maj9
T 5
6 6
5
A 4 4
B 5 5
4. E major 9
E maj9
T 6
7 7
6
A 5 5
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Group C: Chords | Minor 9 chords | root on E string
1. G minor 9
9
Gm
5 5
T 3 3
3 3
A 3 3
B 5 5
3 3
2. G minor 9
9
G m
6 6
T 4 4
4 4
A 4 4
B 6 6
4 4
3. A minor 9
9
Am
7 7
T 5 5
5 5
A 5 5
B 7 7
5 5
4. B minor 9
9
B m
8 8
T 6 6
6 6
A 6 6
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Group C: Chords | Minor 9 chords | root on A string
1. C minor 9
9
Cm
3 3
T 3 3
3 3
A 1 1
B 3 3
2. C minor 9
9
C m
4 4
T 4 4
4 4
A 2 2
B 4 4
3. D minor 9
9
Dm
5 5
T 5 5
5 5
A 3 3
B 5 5
4. E minor 9
9
E m
6 6
T 6 6
6 6
A 4 4
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Group C: Chords | Dominant 9 chords | root on E string
1. G dominant 9
9
G
5 5
T 3 3
4 4
A 3 3
B 5 5
3 3
2. A dominant 9
9
A
6 6
T 4 4
5 5
A 4 4
B 6 6
4 4
3. A dominant 9
9
A
7 7
T 5 5
6 6
A 5 5
B 7 7
5 5
4. B dominant 9
9
B
8 8
T 6 6
7 7
A 6 6
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Group C: Chords | Dominant 9 chords | root on A string
1. C dominant 9
9
C
3 3
T 3 3
3 3
A 2 2
B 3 3
2. D dominant 9
9
D
4 4
T 4 4
4 4
A 3 3
B 4 4
3. D dominant 9
9
D
5 5
T 5 5
5 5
A 4 4
B 5 5
4. E dominant 9
9
E
6 6
T 6 6
6 6
A 5 5
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Group D: Stylistic Studies

1. Rock/Metal: pinch harmonics and natural harmonics
q= 95 Rock
5 5
N.C. A B
PM PH PM PH PM PH
T
A 9 5
B 0 0 0 0 0 0 0 0 0
5 7
5
8
6
N.C.
PH
PM PH PM PH
T
9 7
A 9 8 8 9 9 8 7
B
0 0 0 0 0 0
5 5 5 5 5 5
F E F E F E
NH NH NH
PM PM PM
12
T 5 7 5 12
5 7 5
A
B 3 2 2 3 2 2 3 2 2
1 0 0 1 0 0 1 0 0
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2. Funk: chordal embellishments and double-stops

q= 90 Funk
7 7
Dm Gm
Let ring Let ring Cont. sim.

5 5 5 5 10 10 10 10
T 5 6 6 5 6 6 10 11 11 11 10 10
5 5 5 5 10 10 10 10
A 5 7 5 7 10 12 12 10
B 5 5 10 10
7 7 7
Dm Gm Am
5 10 12 12
T 6 5 6 11 10 11 13 12 13 13
5 10 12 12
A 7 5 7 12 10 12 14 12 14 14
B 5 10 12 12
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3. Jazz/Latin/Blues: crossing strings and octaves
q = 145 Jazz
B m7 G maj 7 A7 F m7
14 10 10 14 12 9
T 12
11 12
12 10
9 11
10
A
B
G maj 7 E m7 A7 D maj7
10 7 7 10 9 5
T 8
7 9
8 5 6 7 7
A
B
D maj7 B m7 E m7 A7
14 13 14 17
T 7 10 11
10
11 10 11 14
A 7
B 5 8 9
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Grade 8
G rade 8 eatures three new scale
sca le
types (whole tone, diminished
and altered) in two positions. Five
Technical Work
empo q =100
G–B chromatically
Scales | Whole one
C–E chromatically
new arpeggio types (dominant 7 5,
t ypes (dominant G–B chromatically
Scales | Diminished
dominant 7 5, dominant 7 9,
C–E chromatically
G–B chromatically
dominant 7 9 and diminished)
Scales | Altered
d iminished) C–E chromatically
G–B chromatically
are required as well as our chord Arpeggios | Dominant 7 5
C–E chromatically
ty pes (dominant 7 5, dominant 7 5,

types Arpeggios | Dominant 7 5
G–B chromatically
C–E chromatically
dominant 7 9 and dominant 7 9). G–B chromatically

Arpeggios | Minor 7 5
C–E chromatically
Te Stylistic Studies ollow the same
G–B chromatically
Arpeggios | Dominant 7 9
procedure as previous grades. C–E chromatically
G–B chromatically
Arpeggios | Dominant 7 9
C–E chromatically
G–B chromatically
Arpeggios | Diminished
C–E chromatically
G–B chromatically
Chords | Dominant 7 5
C–E chromatically
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Group B: Arpeggios | Dominant 7 5 | root on E string
1. G dominant 7 5
7 5
G
T
A 3 5 3
B 3
2 6 6 2
3
2. A dominant 7 5
A 7 5
T
A 4 6 4
B 4
3 7 7 3
4
3. A dominant 7 5
7 5
A
T
A 5 7 5
B 5
4 8 8 4
5
4. B dominant 7 5
7 5
B
T
A 6 8 6
B 6
5 9 9 5
6
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Group B: Arpeggios | Dominant 7 5 | root on A string
1. C dominant 7 5
C7 5
T
3 5 3
A 2 6 6 2
B 3 3
2. D dominant 7 5
7 5
D
T
4 6 4
A 3 7 7 3
B 4 4
3. D dominant 7 5
D7 5
T
5 7 5
A 4 8 8 4
B 5 5
4. E dominant 7 5
7 5
E
T
6 8 6
A 5 9 9 5
B 6 6
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1. G dominant 7 5
G7 5
T
A 3 5 3
B 3
2 4 4 2
3
2. A dominant 7 5
7 5
A
T
A 4 6 4
B 4
3 5 5 3
4
3. A dominant 7 5
7 5
A
T
A 5 7 5
B 5
4 6 6 4
5
4. B dominant 7 5
B 7 5
T
A 6 8 6
B 6
5 7 7 5
6
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1. C dominant 7 5
7 5
C
T
3 5 3
A 2 4 4 2
B 3 3
2. D dominant 7 5
7 5
D
T
4 6 4
A 3 5 5 3
B 4 4
3. D dominant 7 5
D7 5
T
5 7 5
A 4 6 6 4
B 5 5
4. E dominant 7 5
7 5
E
T
6 8 6
A 5 7 7 5
B 6 6
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Group B: Arpeggios | Minor 7 5 | root on E string
1. G minor 7 5
7 5
Gm
T
A 3 5 3
B 3 6
4 4
6 3
2. G minor 7 5
7 5
G m
T
A 4 6 4
B 4 7
5 5
7 4
3. A minor 7 5
7 5
Am
T
A 5 7 5
B 5 8
6 6
8 5
4. B minor 7 5
7 5
B m
T
A 6 8 6
B 6 9
7 7
9 6
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Group B: Arpeggios | Minor 7 5 | root on A string
1. C minor 7 5
Cm 7 5
T
3 5 3
A 4 4
B 3 6 6 3
2. C minor 7 5
7 5
C m
T
4 6 4
A 5 5
B 4 7 7 4
3. D minor 7 5
7 5
Dm
T
5 7 5
A 6 6
B 5 8 8 5
4. E minor 7 5
7 5
E m
T
6 8 6
A 7 7
B 6 9 9 6
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1. G dominant 7 9
7 9
G
T
3
A 3 3
B 3
2 5 5 2
3
2. A dominant 7 9
7 9
A
T
4
A 4 4
B 4
3 6 6 3
4
3. A dominant 7 9
7 9
A
T
5
A 5 5
B 5
4 7 7 4
5
4. B dominant 7 9
7 9
B
T
6
A 6 6
B 6
5 8 8 5
6
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1. C dominant 7 9
7 9
C
T 4
3 3
A 2 5 5 2
B 3 3
2. D dominant 7 9
7 9
D
T 5
4 4
A 3 6 6 3
B 4 4
3. D dominant 7 9
7 9
D
T 6
5 5
A 4 7 7 4
B 5 5
4. E dominant 7 9
7 9
E
T 7
6 6
A 5 8 8 5
B 6 6
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1. G dominant 7 9
7 9
G
T
A 3 6 3
B 3
2 5 5 2
3
2. A dominant 7 9
7 9
A
T
A 4 7 4
B 4
3 6 6 3
4
3. A dominant 7 9
7 9
A
T
A 5 8 5
B 5
4 7 7 4
5
4. B dominant 7 9
7 9
B
T
A 6 9 6
B 6
5 8 8 5
6
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1. C dominant 7 9
C7 9
T 2
3 3
A 2 5 5 2
B 3 3
2. D dominant 7 9
7 9
D
T 3
4 4
A 3 6 6 3
B 4 4
3. D dominant 7 9
7 9
D
T 4
5 5
A 4 7 7 4
B 5 5
4. E dominant 7 9
7 9
E
T 5
6 6
A 5 8 8 5
B 6 6
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Group B: Arpeggios | Diminished | root on E string
1. G diminished
Gdim
T
A 5
B 3 6
4 4
6 3
2. G diminished
G dim
T
A 6
B 4 7
5 5
7 4
3. A diminished
Adim
T
A 7
B 5 8
6 6
8 5
4. B diminished
B dim
T
A 8
B 6 9
7 7
9 6
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Group B: Arpeggios | Diminished | root on A string
1. C diminished
Cdim
T
5
A 4 4
B 3 6 6 3
2. D diminished
C dim
T
6
A 5 5
B 4 7 7 4
3. D diminished
Ddim
T
7
A 6 6
B 5 8 8 5
4. E diminished
E dim
T
8
A 7 7
B 6 9 9 6
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Group C: Chords | Dominant 7 5 chords | root on E string
1. G dominant 7 5
7 5
G
T 4 4
4 4
A 3 3
B 3 3
2. A dominant 7 5
7 5
A
T 5 5
5 5
A 4 4
B
4 4
3. A dominant 7 5
7 5
A
T 6 6
6 6
A 5 5
B
5 5
4. B dominant 7 5
7 5
B
T 7 7
7 7
A 6 6
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Group C: Chords | Dominant 7 5 chords | root on A string
1. C dominant 7 5
7 5
C
4 4
T 5 5
3 3
A
B 3 3
2. D dominant 7 5
7 5
D
5 5
T 6 6
4 4
A
B 4 4
3. D dominant 7 5
7 5
D
6 6
T 7 7
5 5
A
B 5 5
4. E dominant 7 5
7 5
E
7 7
T 8 8
6 6
A
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1. G dominant 7 5
7 5
G
T 2 2
4 4
A 3 3
B 3 3
2. A dominant 7 5
7 5
A
T 3 3
5 5
A 4 4
B
4 4
3. A dominant 7 5
7 5
A
T 4 4
6 6
A 5 5
B
5 5
4. B dominant 7 5
7 5
B
T 5 5
7 7
A 6 6
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1. C dominant 7 5
7 5
C
2 2
T 5 5
3 3
A
B 3 3
2. D dominant 7 5
7 5
D
3 3
T 6 6
4 4
A
B 4 4
3. D dominant 7 5
7 5
D
4 4
T 7 7
5 5
A
B 5 5
4. E dominant 7 5
7 5
E
5 5
T 8 8
6 6
A
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1. G dominant 7 9
7 9
G
T
3 3
A 3 3
B 2 2
3 3
2. A dominant 7 9
7 9
A
T
4 4
A 4 4
B 3
4 4
3
3. A dominant 7 9
7 9
A
T
5 5
A 5 5
B 4 4
5 5
4. B dominant 7 9
7 9
B
T
6 6
A 6 6
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1. C dominant 7 9
7 9
C
T 4 4
3 3
A 2 2
B 3 3
2. D dominant 7 9
7 9
D
T 5 5
4 4
A 3 3
B 4 4
3. D dominant 7 9
7 9
D
T 6 6
5 5
A 4 4
B 5 5
4. E dominant 7 9
7 9
E
T 7 7
6 6
A 5 5
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1. G dominant 7 9
7 9
G
T
1 1
A 3 3
B 2 2
3 3
2. A dominant 7 9
7 9
A
T
2 2
A 4 4
B 3 3
4 4
3. A dominant 7 9
7 9
A
T
3 3
A 5 5
B 4
5 5
4
4. B dominant 7 9
7 9
B
T
4 4
A 6 6
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1. C dominant 7 9
7 9
C
T 2 2
3 3
A 2 2
B 3 3
2. D dominant 7 9
7 9
D
T 3 3
4 4
A 3 3
B 4 4
3. D dominant 7 9
7 9
D
T 4 4
5 5
A 4 4
B 5 5
4. E dominant 7 9
7 9
E
T 5 5
6 6
A 5 5
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Group D: Stylistic Studies

1. Rock/Metal: crossing strings and alternate picking
q = 105 Metal
Em D
12 15 19 14
T 12 15
12 14
A 14 16
B 12 15
14 17
C B Em
T 13 12 12
12 11 12
A 14 13 14
B 15 14 14
12 15
15 12 14 12 8 5 7 5
T 15 13 15 12 8 7 8 5 8 7 5 7 5 5
7 7 5 7 5 4 7
A
B
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2. Funk: chordal embellishments and muted strings
q = 90 Funk
9 9
D G
5 7 5 4 5 9 10 10 12 10
T 5 7 5 4 5 9 10 10 12 10
5 4 5 9 10 10
A 3 4 8 9
B 4 5 4 5 9 10
9 9
D G
4 5 5 7 5 7 7 5 9 10 10 12 10 15
T 4 5 5 7 5 7 7 5 9 10 10 12 10 15
4 5 5 9 10 10
A 3 4 8 9
B 4 5 9 10
7
Dm
PM
T
7 7 5 7 7 5 5
A 7 5 0 3 0 5
B
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3. Jazz/Latin/Blues: legato phrasing and alternate picking
q = 110 Blues
7
Gm
T
A 3 5 3 5 3 5
B 3 5 3 1 1 1 3 1 3 3 5 3 1 3 5
3 1 3 3 3
5 5
C D
3
3
8 9 8 6 3 6 3
T 8 6 8 6 3
7 5 3 6 5 3 3 5 6
A 5 3 5
B 4 5
7
Gm
3 3 3 3
3 3 3
3 6 5 3 3 6 5 3
T 5 6 5 6 3 5 6 6 5
3 6 5 3
A
B
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Documents  Entertainment  Pop Culture  Music

Published by Rockschool Ltd. © 2012

Recorded, mixed and mastered at Langlei Studios by Duncan Jordan

Syllabus director: Jeremy Ward

Printed and bound in the United Kingdom by Caligraving Ltd

Exclusive Distributors: Music Sales Ltd

Introductions & Information

Welcome to the Rockschool Guitar Technical Handbook

You will need to input this code when prompted: 98S2DJCHSR

Frequently Asked Questions

What are the examiners looking for?

Will I have to play all the exercises listed in the exam?

What does = 80 mean?

Do I have to use a metronome in the exam?

What should I do if I make a mistake?

What does ‘prepared chromatically’ mean?

Can I take this book into the exam?

Guitar Notation Explained

Deﬁnitions For Special Guitar Notation

the guitar. At the end o the echnical Chords | Minor Am & Em

Exercises you will play a riﬀ to a backing Riﬀ Four bars @ q =

track. Te ﬁrst bar o the riﬀ is notated

Debut echnical Exercises

Group A: Scales | Major scales

Group A: Scales | Minor pentatonic scales

Group B: Chords | Major chords

Group B: Chords | Minor chords

Debut echnical Exercises

added to those covered at Debut and the Scales | Natural Minor A

C and G chords are extended to their Scales | Minor Pentatonic E&A

ﬁve- and six-string versions. wo-note Scales | Major Pentatonic G

powerchords are introduced at this Chords | Powerchords B 5, A5 & G5

grade. Te ormat o the riﬀ exercise Chords | Major A, D, E, C & G

remains the same as Debut. Chords | Minor Am, Dm & Em

Riﬀ Four bars @ q = 70

Grade 1 echnical Exercises

Group A: Scales | Major scales

Group A: Scales | Natural minor scales

Group A: Scales | Minor pentatonic scales

Group A: Scales | Major pentatonic scales

Group B: Chords | Powerchords

1. Powerchords: two-note chords to be played in a continuous sequence.

Group B: Chords | Major chords

Group B: Chords | Minor chords

Grade 1 echnical Exercises

Scales | Major C&G

keys. Te powerchords are extended to Scales | Natural Minor E&A

three-note versions o those ound in Scales | Minor Pentatonic C&G

(minor 7 and major 7) and the technique Chords | Powerchords B 5, A5 & G5

o barring the ﬁrst ﬁnger across two Chords | Major C, F & G

strings is introduced. Te riﬀ exercise is Chords | Minor 7 Am7, Dm7 & Em

extended to a two-bar notated pattern Chords | Major 7 Amaj 7, Cmaj 7

eight bars rather than our.

Grade 2 echnical Exercises

Group A: Scales | Major scales

Group A: Scales | Natural minor scales

Group A: Scales | Minor pentatonic scales

Group A: Scales | Major pentatonic scales

Grade 2 echnical Exercises

Group B: Chords | Powerchords

1. Powerchords: three-note chords to be played in a continuous sequence.

Group B: Chords | Major chords