Classical Guitar

SYLLABUS / 2018 EDITION SHIN SUGINO SHIN

Message from the President The mission of The Royal Conservatory—to develop human potential through leadership in music and the arts—is based on the conviction that music and the arts are humanity’s greatest means to achieve personal growth and social cohesion. Since 1886 The Royal Conservatory has realized this mission by developing a structured system consisting of curriculum and assessment that fosters participation in music making and creative expression by millions of people. We believe that the curriculum at the core of our system is the finest in the world today. In order to ensure the quality, relevance, and effectiveness of our curriculum, we engage in an ongoing process of revitalization, which elicits the input of hundreds of leading teachers. The award-winning publications that support the use of the curriculum offer the widest selection of carefully selected and graded materials at all levels. Certificates and Diplomas from The Royal Conservatory of Music attained through examinations represent the gold standard in music education. The strength of the curriculum and assessment structure is reinforced by the distinguished College of Examiners—a group of outstanding musicians and teachers from Canada, the United States, and abroad who have been chosen for their experience, skill, and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become an important partner with The Royal Conservatory in helping all people to open critical windows for reflection, to unleash their creativity, and to make deeper connections with others.

Dr. Peter C. Simon Michael and Sonja Koerner President & CEO The Royal Conservatory Contents 1: Introduction

About Us 4 Program Overview 7 The Royal Conservatory 4 Practical Certificates and Diplomas 7 The Royal Conservatory Certificate Program 4 Theory Examinations 8 RCM Publishing 4 Digital Learning 4 Additional Programs 4 Practical Examination Requirements 8 Repertoire 8 Repertoire Lists 8 Getting Started 5 Da Capo Signs and Repeats 9 Why Choose The Royal Conservatory Memorization 9 Certificate Program? 5 Substitutions 9 Examinations Offered 5 Syllabus Substitutions 9 Contact Us 5 Teacher’s Choice Substitutions 9 Register for an Examination 6 Substitutions Summary 10 Examination Sessions and Registration Deadlines 6 Technical Requirements 10 Etudes 10 Technical Tests 10 What’s New? 6 Musicianship 10 Ear Tests 10 Sight Reading 10

2: Level-by-Level Requirements

Elementary Certificates 11 Advanced Certificates 58 Preparatory 11 Level 9 58 Level 1 14 Level 10 64 Level 2 18 Level 3 23 Diplomas 70 Level 4 28 Associate Diploma (ARCT) in Guitar, Performer 70 Associate Diploma (ARCT) in Guitar, Teacher 73 Intermediate Certificates 33 Level 5 33 Level 6 38 Level 7 44 Level 8 51

3: Policies and Reference

Examination Regulations 74 Reference 77 Examination Procedures 74 Editions 77 Credits and Refunds for Missed Examinations 74 Abbreviations 77 Students with Special Needs 74 Resources for Examination Preparation 79 Certificates 75 Table of Marks 75 Appendices 80 Examination Results 75 Appendix A: Technical Tests Examples 80 Classification of Marks 76 Appendix B: Musicianship Examples 81 Split Level 10 Practical Examinations 76 Supplemental Examinations 76 Practical Examination Day Checklist for Students 87

3 CONTENTS 1: Introduction

About Us The Royal Conservatory RCM Publishing The Royal Conservatory is one of the largest and most respected As The Royal Conservatory’s publisher, RCM Publishing produces music education institutions in the world. Providing the definitive The Royal Conservatory’s renowned syllabi and related teaching standard of excellence in curriculum design, assessment, performance and examining materials for individual instruments, voice, and training, teacher certification, and arts-based education and social theoretical subjects. programs, The Royal Conservatory makes a significant impact on the lives of millions of people globally. Digital Learning Notable alumni include: The Digital Learning Program serves to broaden the reach of music education through offering students and teachers online courses • Randy Bachman • Gordon Lightfoot and resources, ensuring ease of access, and maximizing engagement • Isabel Bayrakdarian • Jan Lisiecki and interactivity to expand and deepen our relationship with music • Russell Braun • Lois Marshall makers of all ages. Using the power of technology, and leveraging some of the best musical minds available, learning with The Royal • Martin Beaver • Sarah McLachlan Conservatory is now available to all. • Measha Brueggergosman • Oscar Peterson • Adrienne Clarkson • Adrianne Pieczonka Additional Programs • Bruce Cockburn • Gordon Pinsent Additional programs of The Royal Conservatory are delivered • David Foster • Paul Shaffer through the following divisions: • Glenn Gould • St. Lawrence String Quartet • The Glenn Gould School provides professional training in music for gifted young artists at the undergraduate and • Angela Hewitt • Teresa Stratas graduate levels. • Norman Jewison • Shania Twain • The Phil and Eli Taylor Performance Academy for Young • Diana Krall • Jon Vickers Artists provides supportive, comprehensive training for promising young musicians aged nine to eighteen. Visit rcmusic.com to learn more about the history of The Royal • The Marilyn Thomson Early Childhood Education Centre *Conservatory. develops innovative early childhood education programs, teacher certification, and digital early childhood education The Royal Conservatory Certificate Program products for use by parents and their children. • The Royal Conservatory School provides music classes and The Royal Conservatory Certificate Program provides a recognized private lessons for people of all ages and stages of musical standard of musical assessment through an effectively sequenced literacy. system of study and individual student assessments, from preparatory to advanced levels. More than 100,000 examinations • Learning Through the Arts® supports excellence in public are conducted annually in over 300 communities across North education programs by utilizing the arts to enhance learning. America. • The Performing Arts Division programs superb performances and events in The Royal Conservatory’s three The College of Examiners venues in Toronto: Koerner Hall, Mazzoleni Concert Hall in Examiners are highly trained professional musicians and historic Ihnatowycz Hall, and Temerty Theatre. pedagogues from across North America. All examiners complete an Adjudicator Certification Program before being admitted to the College of Examiners. Professional development and performance evaluation continues throughout each examiner’s career to ensure consistent examination standards across North America.

Read about the College of Examiners, including examiner biographies, * at rcmusic.com.

4 CONTENTS

Getting Started Why Choose The Royal Conservatory Contact Us Certificate Program? Canada The Certificate Program provides a comprehensive path for • Phone: 416-408-5019 or toll-free 1-800-461-6058 musical development, with progressively sequenced requirements • Fax: 416-408-3151 encompassing four main areas: • Email: [email protected] Repertoire 273 Bloor Street West • Each level includes a broad selection of pieces representing a Toronto ON M5S 1W2 variety of styles and historical periods. • Regular reviews of the repertoire ensure a balance between the United States familiar canon of teaching repertoire and new and innovative • Phone: toll-free 1-866-716-2223 selections. • Fax: 1-866-716-2224 • Teachers and students can add favorite pieces through Teacher’s Choice selections. • Email: [email protected] 60 Industrial Parkway, Suite 882 Technical Requirements Cheektowaga NY 14227-2713 • Technical requirements are designed to support the demands of the repertoire for each level. rcmusic.com • Technical tests include patterns based on scales, chords, and arpeggios. • Etudes develop technical skills within a musical context. Musicianship Skills • A thoughtful and consistent approach to the development of ear training and sight reading provides students with a solid foundation for independent creative musical explorations. • Musicianship skills are developed to support the goals and requirements of both performance of repertoire and theoretical concepts. Musical Literacy • The theory concepts recommended for concurrent study at Elementary levels, and corequisite examinations at Intermediate and Advanced levels support students in acquiring the theoretical and historical knowledge necessary for music literacy. • Theory examinations are tied to the practical levels, reinforcing concepts encountered in repertoire, technical requirements, and musicianship skills.

Examinations Offered Practical Examinations Accordion, Bassoon, Cello, Clarinet, Double Bass, Flute, Guitar, Harp, Harpsichord, Horn, Keyboard Harmony, Oboe, Organ, Percussion, Piano, Recorder, Saxophone, Speech Arts and Drama, Trombone, Trumpet, Tuba, Viola, Violin, Voice Written Examinations Theory; Harmony & Counterpoint; History; Analysis; ARCT, Teacher; ARCT in Piano Pedagogy; ARCT in Composition and/ or Theory 5 CONTENTS

Register for an Examination What’s New? All examination registrations should be submitted using the online registration system. • Repertoire lists have been expanded to include new works written in the last ten years. Examination Sessions and Registration Deadlines • The levels of the Certificate Program have been organized into Practical and written examination sessions take place several four progressive stages of musical development: Elementary, times a year at examination centers across North America, in both Intermediate, Advanced, and Diploma. Canada and the US. • Substitution policies have been clarified, allowing students and Exact dates and deadlines can be found online. Register early teachers more flexibility in choosing repertoire not included in to avoid disappointment. Late registrations are subject to an the Classical Guitar Syllabus, 2018 Edition. additional fee and may not always be accommodated. • Technical tests have been streamlined and the number of keys Examination Fees required reduced, allowing students to focus on developing fluency and ease of execution. Examination fees must be paid at registration using a valid credit card. Current examination fees may be found online. • Musicianship requirements (ear tests and sight reading) have been revised to support a smooth progression of these skills Examination Centers from elementary to advanced levels. Examinations are conducted in more than 300 communities • Sight-reading requirements have been introduced starting at across North America. Each examination center has a local Center the Preparatory level. Representative who ensures that students and teachers have a successful examination experience. Examination Scheduling All students must verify their examination schedules online two weeks prior to the beginning of the examination session. Examination schedules will not be mailed. Teachers may verify their students’ examination schedules online through their teacher account. Students are asked to print the “Examination Program Form” from their account. The program form must be filled out by the student and/or teacher, and brought to the examination center for presentation to the examiner. Students who, for any reason, are unable to attend an examination should contact the Center Representative listed on their Examination Schedule. The Center Representative may be able to provide an alternate appointment time.

6 CONTENTS

Program Overview

Internationally recognized certificates are awarded for successful Advanced Certificates completion of each practical and theory examination from A comprehensive certificate may be earned by successful completion Preparatory to Level 10. of each practical examination and its corequisite examinations for Comprehensive certificates are awarded to students in Levels Levels 9 and 10. 5 through 10 for successful completion of both the practical Comprehensive Practical Theory Examination and corequisite theory examinations. Diplomas are awarded to Certificate Examination Corequisite Associate Diploma (ARCT) candidates for successful completion Requirement of both the practical and corequisite theory examinations. Level 9 Guitar Level 9 Guitar • Level 8 Theory See the current Theory Syllabus (available online) for further • Level 9 Harmony *information regarding prerequisites and corequisites. (or Keyboard Harmony) • Level 9 History Level 10 Guitar Level 10 Guitar • Level 8 Theory Practical Certificates and Diplomas • Level 9 Harmony (or Keyboard Harmony) Elementary Certificates • Level 9 History While completion of theory examinations is not required to • Level 10 Harmony obtain practical certificates for Preparatory to Level 4, it is highly & Counterpoint recommended that theory study be concurrent with practical study (or Keyboard Harmony) at all levels. This table illustrates the correlation of practical levels • Level 10 History with theory levels. Diplomas Certificate Practical Corresponding Examination Theory Level The following table summarizes all prerequisite and corequisite Requirement (no examination examinations required to obtain the Associate Diploma (ARCT) required) in Guitar, Performer or the Associate diploma (ARCT) in Guitar, Teacher. Prerequisites are indicated with P and corequisites are Preparatory Guitar Preparatory Guitar Preparatory Theory indicated with C. Level 1 Guitar Level 1 Guitar Level 1 Theory Candidates must complete prerequisite examinations at least one Level 2 Guitar Level 2 Guitar Level 2 Theory session prior to registration. Level 3 Guitar Level 3 Guitar Level 3 Theory ARCT ARCT Level 4 Guitar Level 4 Guitar Level 4 Theory Performer Teacher Comprehensive Certificates Intermediate Certificates Level 10 P P A comprehensive certificate may be earned by successful completion Theory Examinations of each practical examination and its corequisite examination for Levels 5 to 8. Level 8 Theory P P Level 9 Harmony (or Keyboard P* P* Comprehensive Practical Theory Harmony) Certificate Examination Examination Requirement Corequisite Level 9 History P P Level 5 Guitar Level 5 Guitar Level 5 Theory Level 10 Harmony & Counterpoint (or P P Keyboard Harmony) Level 6 Guitar Level 6 Guitar Level 6 Theory Level 10 History P P Level 7 Guitar Level 7 Guitar Level 7 Theory ARCT Harmony & Counterpoint C C Level 8 Guitar Level 8 Guitar Level 8 Theory (or Keyboard Harmony) ARCT Analysis C C ARCT History C C

* For more information, please see celebratetheory.com.

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Theory Examinations Practical Examination See the current Theory Syllabus (available online) for detailed theory Requirements *examination requirements.

Practical studies are supported by theory examinations that promote Repertoire the development of musical literacy and encourage an enriched understanding of style and structure. Theory examinations test The Classical Guitar Syllabus, 2018 Edition lists the repertoire knowledge of music theory and history, either through an in- required for guitar examinations. Information given for each item person written examination or online. includes: Official Examination Papers, available at music retailers, are • the composer published annually by RCM Publishing to aid with examination • the title of the selection preparation. • the larger work of which the selection is a part (where applicable) • an anthology or collection in which the selection can be found (where applicable) • performance directions (where applicable) indicating the section(s) of a work to be prepared • the publisher of a suggested edition (where applicable) Names of publishers are indicated by an assigned abbreviation. Please see p. 77 for a list of publishers with their abbreviations.

Repertoire Lists At each level, students are encouraged to choose a balanced examination program that includes a variety of musical styles, genres, and tonalities. Repertoire selections for Preparatory to Level 8 are published in Classical Guitar Series, 2018 Edition: Repertoire and Etudes. The repertoire for Levels 2 to 10 and the Associate Diploma (ARCT) in Guitar, Performer is divided into lists, according to genre or stylistic period. Level 2 List A: Traditional, Renaissance, and Baroque Repertoire List B: Classical, Romantic, 20th-, and 21st-century Repertoire Levels 3 to 6 List A: Traditional, Renaissance, and Baroque Repertoire List B: Classical and Romantic Repertoire List C: Late Romantic, 20th-, and 21st-century Repertoire Levels 7 and 8 List A: Renaissance Repertoire List B: Baroque and Baroque-style Repertoire List C: Classical and Romantic Repertoire List D: 20th- and 21st-century Repertoire Level 9 List A: Renaissance, Baroque, and Baroque-style Repertoire List B: Classical Repertoire List C: Romantic Repertoire and National Styles List D: 20th- and 21st-century Repertoire

8 CONTENTS

Level 10 Substitutions List A: Renaissance, Baroque, and Baroque-style Repertoire List B: Classical and Classical-style Repertoire Students have the option of expanding upon the given lists for List C: National Styles their level with substitute selections. Official approval of most List D: 20th- and 21st-century Repertoire substitute selections is not required. Substitute selections fall into two categories: Syllabus substitutions and Teacher’s Choice Associate Diploma (ARCT) in Guitar, Performer substitutions. Students must comply with the following regulations List A: Works by J.S. Bach regarding repertoire substitutions. A substantial mark deduction List B: Classical and Romantic Repertoire may be applied for substitute selections that do not comply with List C: Neo-Romantic Repertoire and National Styles the following regulations. (See Substitutions Summary table on List D: 20th- and 21st-century Repertoire the next page.) List E: Concerto Movements For the examination repertoire requirements for Preparatory, Syllabus Substitutions please see p. 11; for Level 1, please see p. 14. Students in Levels 1 to 10 may choose substitute selections from the corresponding list of the level immediately above their Da Capo Signs and Repeats examination level. For example, a Level 5 List A selection may be • When performing repertoire in an examination, students performed in place of a Level 4 List A selection, or a Level 7 etude should observe da capo and dal segno signs, unless stated in place of a Level 6 etude. otherwise in the Classical Guitar Syllabus, 2018 Edition. • Official approval is not required prior to the examination. • Repeat signs should ordinarily be ignored. However, repeat • Students must ensure that the substitute piece complies with signs should be observed if indicated in the Classical Guitar the genre or stylistic period intended for the list in the level to Syllabus, 2018 Edition or in the Classical Guitar Series, 2018 be examined (see “Repertoire Lists” on p. 8). For example, a Edition. Level 8 List C selection may be replaced with a selection from • At the Associate Diploma (ARCT) level, repeats may be Level 9 List B or List C. observed at the candidate’s discretion, within the allotted time. • Syllabus substitutions must be performed according to the syllabus requirements of the higher level and will be evaluated Memorization at the standard of the higher level. • In Preparatory to Level 2, three memory marks are awarded • Syllabus substitutions are not permitted for Level 10 Etudes. for each repertoire selection performed by memory, for a total of 6 marks. Teacher’s Choice Substitutions • In Levels 3 to 6, two memory marks are awarded for each Students in Levels 3 to 9 may substitute either one repertoire repertoire selection performed by memory, for a total of 6 selection or one etude with a work not listed in the Classical Guitar marks. Syllabus, 2018 Edition that is of comparable length, difficulty, and • In Levels 7 to 10, one mark will be deducted for each musical quality to selections in the specified list. repertoire selection performed with the music. • Teacher’s Choice substitutions for repertoire must be of • For the Associate Diploma (ARCT) in Guitar, Performer, comparable stylistic idiom to the corresponding list for which memorization is compulsory. Candidates not performing from they are performed. memory will receive comments only. Any selection played with • Teacher’s Choice substitutions for etudes may be chosen from music will receive a mark of zero. any stylistic period. • The mark for the performance of a Teacher’s Choice substitute selection will include an assessment of the appropriateness of the choice. • Students performing a Teacher’s Choice selection that exceeds the expected length of a repertoire selection or etude for the student’s level may be stopped by the examiner once an assessment has been reached. • It is the responsibility of the teacher to provide guidance regarding Teacher’s Choice substitutions.

9 CONTENTS

Substitutions Summary Please note that in Levels 7 to ARCT, two marks will be deducted from Level Repertoire Etude Substitution * the Technical Tests section of the examination for students who use a Substitution cut-away guitar. Levels 1–2 • one Syllabus • one Syllabus substitution from the substitution from the next higher level next higher level Musicianship Levels 3–9 • one Syllabus • one Syllabus substitution from the substitution from the Ear Tests next higher level next higher level Ear tests include melody clapback, melody playback, and or or identification of intervals, chords, and chord progressions. Sample • one Teacher’s Choice • one Teacher’s Choice ear tests for Preparatory to Level 9 are presented in Four Star® substitution for List C substitution Online Ear Training. Level 10 • one Syllabus • no substitutions • The examiner may play the ear tests on either the guitar or the substitution from ARCT piano. ARCT • one substitution for • not applicable • For further details on examination requirements for ear tests, List B, C, or D (prior please consult the requirements for each level. approval required) Sight Reading For any substitute selections falling outside these categories, and any substitutions at the Associate Diploma (ARCT) level, Sight-reading tests consist of tapping the rhythm of short excerpts students may complete an Examination Substitute Piece Request and sight playing of short passages. Form (available online) by the examination registration deadline. • Students are required to tap one measure of the beat before Students are advised to prepare an alternate work in case the performing the sight-rhythm excerpt to establish a sense of request is denied. pulse and to set the tempo for their performance. Students may choose to tap the beat with one hand or foot. Technical Requirements • To perform the sight-rhythm excerpt, students may speak the rhythm using the syllable of their choice (“la,” “ta,” Kodály syllables, etc.), count the rhythm (1& 2&, etc.), clap the Etudes rhythm, or tap the rhythm with their other hand. Etude selections for Preparatory to Level 8 are published in Classical • For further details on examination requirements for sight- Guitar Series, 2018 Edition: Repertoire and Etudes. reading tests, please consult the requirements for each level. • Etudes need not be memorized, and no extra marks are awarded for memorization. • For further details on examination requirements for etudes, please consult the listings for each level.

Technical Tests Complete technical tests for Preparatory to ARCT are published in Classical Guitar Series, 2018 Edition: Technique. • The examiner will choose a representative sampling of items on the technical tests list. • Technical tests (scales and arpeggio patterns) must be played from memory, ascending and descending. • Students must follow the fingering given in Classical Guitar Series, 2018 Edition: Technique. • Metronome speeds are intended as a guideline for the minimum tempo of each requirement. • Students should strive for a legato sound, evenness of tempo and volume, and quality of tone. • For further details on examination requirements for technical tests, please consult the listings for each level.

10 CONTENTS 2: Level-by-Level Requirements

Preparatory

Preparatory Requirements Marks Carcassi, Matteo Méthode complète pour la guitare, op. 59, part 3 Repertoire 56 u Sicilienne (no. 22) two selections from the Syllabus List 25 Carulli, Ferdinando 25 Méthode complète pour parvenir à pincer de la guitare, op. 241 Memory (3 marks per repertoire selection) 6 u Waltz (no. 1) Technical Requirements 24 u Andante in C Major (no. 2) Etudes: one etude from the Syllabus List 12 Costantino, Frédéric Technical Tests 12 Sept ballades enchantées DOZ u Musicianship La fin de l’été (The End of Summer) Demillac, Yvon Ear Tests 10 Images DOZ Clapback 4 u Petit poney (Little Pony) Chords 2 Playback 4 Domeniconi, Carlo Sight Reading 10 Klangbilder, 1 MRG l Rhythm 5 Klangbild 5 (Sound Picture 5) Playing 5 Klangbilder, 2 MRG l Klangbild 13 (Sound Picture 13) Total possible marks (pass = 60) 100 l Klangbild 16 (Sound Picture 16) Eikelboom, Niels Repertoire Hit the Strings DOZ u New Morning Please see “Repertoire” on p. 8 for important information regarding (in La guitare dans tous ses états, 1 this section of the examination. DOZ) Students must prepare two contrasting selections by different Ferrer, José composers from the following list. Three memory marks are u Ejercicio (in First Repertoire for Solo Guitar, 1 FAB) awarded for each repertoire selection that is performed by memory. Gagnon, Claude Bullets used to denote selections for examination purposes: u Carrousel GAG l one selection Hamilton, Robert u selection is found in Classical Guitar Series, 2018 Edition: u Promenade HLT Preparatory Repertoire and Etudes Lambert, Florian u Danse des îles (Dance of the Islands) (in La guitarre Barreiro, Elías enchantée: Pièces très faciles, 1 DOM) Classical Guitar Method, 1 WIL l Exercise 13 Le Roy, Adrian Tiers livre de tabulature de guiterre Bélanger, Marc u Bransle de Poitou Piècettes DOZ l Dialogue (in La guitare dans tous ses états, 1 DOZ) McFadden, Jeffrey u u Petit blues Tea in Picardy JMF u Venus Beam JMF Bell, Shawn Elementary Studies, 2 DOZ Mertz, Johann Kaspar l Contentment Schüle für die Gitarre u u Sciapodus First Exercise on the E String Brown, James Neusidler, Hans Short Pieces and Studies, 1 JMB Das ander Buch: Ein new künstlich Lautten Buch u Dutch Dance l A Distant Twang (no. 8) → with repeats 11 CONTENTS LEVEL Preparatory Ogawa, Takashi Bell, Shawn Petit album évocateur et facile DOZ Elementary Studies, 2 DOZ u Oasis-Express u A Simple Dialogue Elementary Studies Rak, Štěpán , 3 DOZ u Ninou Jeux sur six cordes LEM l Chansonette Brown, James l Chanson bohémienne Short Pieces and Studies, 1 JMB l Chanson slovaque l Study l Furiant Camisassa, Claudio Shearer, Aaron u À la manière bulgare (In Bulgarian Style) (in La Classic Guitar Technique, 3rd ed., 1 ALF guitare dans tous ses états, 2 DOZ) u Moorish Dance Cavazzoli, Germano Smith Brindle, Reginald Amica chitarra RIC Guitarcosmos, 1 OTT l Buongiorno (Good Morning) u Aeolian Mode Eikelboom, Niels Summers, Richard Hit the Strings DOZ 12 Pieces for Guitar SMR u Cabdriver l Aeolian Sightings Iannarelli, Simone A Contemporary Method for Classical Guitar, 2 SMR 20 études faciles DOZ u “Eight” l White Horse A Contemporary Method for Classical Guitar, 3 SMR u The Carousel Waltz Jackman, Richard Miles u Dreams Lyrical Studies JKN u Lyrical Study No. 4 Viard, Bruno u Lyrical Study No. 9 l À la cour d’Aliénor (in La guitare dans tous ses états, 1 u Lyrical Study No. 14 DOZ) Leclercq, Norbert Zenamon, Jaime l Dune (in La guitare dans tous ses états, 2 DOZ) Epigramme, 1 MRG l Torito (no. 7) McFadden, Jeffrey l Waltz (no. 2) u The Flask JMF Sagreras, Julio Technical Requirements Primeras lecciones de guitarra RIC u Lesson 46 Please see “Technical Requirements” on p. 10 and “Appendix A” u Lesson 48 on p. 80 for important information regarding this section of the u Lesson 61 examination. u Lesson 62 Shearer, Aaron Etudes Classic Guitar Technique, 3rd ed., 1 ALF u Students must prepare one etude from the following list. Etude in A Minor (no. 6) u Prelude in E Minor (no. 10) Bullets used to denote selections for examination purposes: Smith Brindle, Reginald l one selection u Guitarcosmos, 1 OTT selection is found in Classical Guitar Series, 2018 Edition: l Arpeggio Study No. 1 Preparatory Repertoire and Etudes Sor, Fernando Traditional Introduction à l’étude de la guitare, op. 60 u Ukrainian Melody u Pour trouver les notes 1 (no. 1) Barreiro, Elías Classical Guitar Method, 1 WIL l Exercise 15 l Exercise 17

12 CONTENTS LEVEL Preparatory Technical Tests The examiner will choose a representative sampling of items on the technical tests list. The examiner may request scales in either free stroke or rest stroke, using im/mi or ma/am right-hand finger combinations. Scales and arpeggio patterns must be played from memory, ascending and descending. Each scale is to be followed by the tonic (I) chord. Students must follow the fingering given in Classical Guitar Series, 2018 Edition: Technique. Keys Range Note Values Tempo Scales C major

Diatonic A minor (harmonic) 1 octave = 80 E minor (melodic) A minor (melodic)

Tremolando G major 1 octave = 56 E minor (harmonic) Arpeggio Patterns 1. p–m–i triplet pattern 2. p–i–m triplet pattern = 69 3. p–a–i triplet pattern 4. p–i–a triplet pattern

Musicianship Beginning Note Keys Approximate Length C, G major Please see “Musicianship” on p. 10 and “Appendix B” on p. 81 for tonic, mediant four notes important information regarding this section of the examination. A minor

Ear Tests Sight Reading Rhythm Clapback For a given rhythm, students will be asked to: Students will choose to clap, tap, or sing the rhythm of a short melody after the examiner has played it twice. The examiner • Tap a steady beat with their hand or foot for one measure. will identify the time signature and count one measure before • Continue tapping while speaking, tapping, or clapping the beginning. given rhythm. A steady pulse and metric accentuation are Time Signatures Note Values Approximate Length expected. Time Signature Note Values Approximate Length two measures two measures Chords Students will be asked to identify the quality (major or minor) of a triad after the examiner has played the first five notes of a major or Playing minor scale followed by the tonic triad in solid/blocked form once. Students will be asked to play a two-measure, single-line melody Chords Position that moves by step. major and minor triads root position Keys Time Signature Note Values C major Playback A minor (natural) Students will be asked to play back on the guitar a melody based on the first three notes of a major or minor scale. The examiner will identify the key, play the tonic triad once, and play the melody twice. 13 CONTENTS Level 1

Level 1 Requirements Marks Bouchard, Rémi u Les marionnettes (arr. Claude Gagnon in La guitare Repertoire 56 enchantée: Pièces très faciles, 1 DOM) two selections from the Syllabus List 25 Brown, James 25 Short Pieces and Studies, 1 JMB Memory (3 marks per repertoire selection) 6 u Big City Blues Technical Requirements 24 Calatuyud, Bartolomé Etudes: one etude from the Syllabus List 12 Cuatro piezas fáciles para guitarra UNM Technical Tests 12 u Waltz Musicianship Camisassa, Claudio Ear Tests 10 Méthode progressive, 1 DOZ u Clapback 2 Andaluza Intervals 2 Carcassi, Matteo Chords 2 Méthode complète pour le guitare, op. 59, part 1 Playback 4 u Andantino in C Major Sight Reading 10 Carulli, Ferdinando Rhythm 3 Dolce et utile: Grand recueil progressif, op. 246 Playing 7 u Poco allegretto Total possible marks (pass = 60) 100 Méthode complète pour parvenir à pincer de la guitare, op. 241 u Andantino (no. 5) u Waltz (no. 4) Repertoire Recueil de différents morceaux faciles et progressifs, op. 120 Please see “Repertoire” on p. 8 for important information regarding u Contredanse (Country Dance) (no. 2) this section of the examination. Recueil facile, progressif et doigté, op. 50 l Valse (no. 7) Students must prepare two contrasting selections by different 24 morceaux très faciles, op. 121 composers from the following list. Three memory marks are u Anglaise (no. 6) awarded for each repertoire selection that is performed by memory. u Waltz (no. 1) Bullets used to denote selections for examination purposes: Coghlan, Michael l one selection u Quasars COG u selection is found in Classical Guitar Series, 2018 Edition: u Travellin’ COG Repertoire and Etudes 1 Demillac, Yvon Images DOZ Anonymous u Vacances u Bohemian Folk Song u Callino casturame Diabelli, Anton u What If a Day, a Month, or a Year 30 sehr leichte Übungsstücke für Guitare, op. 39 u Andantino (no. 2) Adriaenssen, Emanuel Pratum musicum (1584 ed.) Domeniconi, Carlo u Canson englesa (English Song) Klangbilder, 1 MRG l Klangbild 11 (Sound Picture 11) Beauvais, William 24 Präludien, 1 EET Guitar Pastels, 1 CAV u Minuetto (no. 3) l Dance 1 u Ninna-Nanna (Lullaby) (no. 1) Bell, Shawn Eikelboom, Niels Elementary Studies, 3 DOZ l Irish Dance (in La guitare dans tous ses états, 2 DOZ) u Menuet l Under the Tree (in La guitare dans tous ses états, 2 DOZ)

14 CONTENTS LEVEL Level 1 Gagnon, Claude Tansman, Alexandre l Chanson triste (Sad Song) (in La guitare enchantée: 12 pièces faciles, 2 ESC Pièces très faciles, 1 DOM) l Promenade (no. 1) u Chanson vieillotte La (Old-fashioned Song) (in Tisserand, Thierry guitare enchantée: Pièces très faciles, 1 DOM) l Rococo (in La guitare dans tous ses états, 2 DOZ) l Étude (in La guitare enchantée: Pièces très faciles, 1 DOM) York, Andrew Eight Discernments Giuliani, Mauro YRK u Walking 12 écossaises pour la guitarre, op. 33 u Écossaise (no. 2) Zenamon, Jaime u Écossaise (no. 4) Épigramme, 1 MRG l Écossaise (no. 10) l Soñando (Dreaming) (no. 3) Le papillon, op. 50 u Andantino (no. 1) Technical Requirements Hartog, Cees Please see “Technical Requirements” on p. 10 and “Appendix A” ¡Toca Guitarra! EMC on p. 80 for important information regarding this section of the l Canción del limpiabotas (Song of the Shoe-shiner) examination. Horecki, Feliks Amusements, op. 18 u Amusement (no. 10) Etudes Kiselev, Oleg Students must prepare one etude from the following list. Guitarist’s First Steps, 1 DOZ Bullets used to denote selections for examination purposes: u Little Herdboy l one selection Lončar, Miroslav u selection is found in Classical Guitar Series, 2018 Edition: Pieces for Guitar DOZ Repertoire and Etudes 1 u Barcarola Aguado, Dionisio McFadden, Jeffrey Escuela de guitarra u Lemon Ice, 10 Cents JMF u Lesson 64 u Midnight in Sevilla JMF Nuevo método para guitarra UME, TEC u Lesson 6 Molino, Francesco u Lesson 7 La terpsichore de société u Anglaise I (no. 11) Barreiro, Elías Classical Guitar Method Rak, Štěpán , 1 WIL l Exercise 19 and Exercise 20 Jeux sur six cordes LEM l Petite chanson Bélanger, Marc l Funambule La guitare dans tous ses états Sávio, Isaías (in , 2 DOZ) Ten Brazilian Folk Tunes CLM Bell, Shawn u Lullaby No. 1 (no. 2) Elementary Studies, 4 DOZ l High Mountains and Old Trees Shearer, Aaron Classic Guitar Technique, 3rd ed., 1 ALF Carcassi, Matteo l Prelude in E Minor (no. 17a) l Etude 1 (in Classic Guitar for Young People, 3 LEE) l Prelude in A Minor (no. 18a) Carulli, Ferdinando l Prelude in A Minor (no. 20) 18 petits morceaux, op. 211 Sor, Fernando u Andante grazioso (no. 2) Introduction à l’étude de la guitare , op. 60 Costantino, Frédéric l Allegretto (no. 8) Sept ballades enchantées DOZ Summers, Richard u Flocons de neige (Snowflakes) (no. 5) 12 Pieces for Guitar SMR Diabelli, Anton l Akemi 30 sehr leichte Übungsstücke für Guitare, op. 39 u Moderato in D Major (no. 15)

15 CONTENTS LEVEL Level 1 Domeniconi, Carlo Rak, Štěpán 24 Präludien, 1 EET Minute Solos BAR u Ironia (Irony) (no. 8) u Moonlight l Sagra (Festival) (no. 10) Sagreras, Julio 24 Präludien, 2 EET Primeras lecciones de guitarra RIC u Danza (Dance) (no. 14) l Lesson 49 Gagnon, Claude l Lesson 60 u Study in A Minor GAG l Lesson 63 u Lesson 64 Iannarelli, Simone u Lesson 66 20 études faciles DOZ u Lesson 75 l La settima luna u Souvenir d’automne Shearer, Aaron Classic Guitar Technique Jackman, Richard Miles , 3rd ed., 1 ALF l Etude in C Major (no. 12) Lyrical Studies JKN l Prelude in C Major (no. 14) u Lyrical Study No. 13 Tárrega, Francisco Kraft, Norbert u Study in D Major u Ostinato KFT McAllister, Peter u Jazzy Blues MCL

Technical Tests The examiner will choose a representative sampling of items on the technical tests list. The examiner may request scales in either free stroke or rest stroke, using im/mi or ma/am right-hand finger combinations. Scales and arpeggio patterns must be played from memory, ascending and descending. Each diatonic and tremolando scale is to be followed by a V–I (authentic) cadence. Students must follow the fingering given in Classical Guitar Series, 2018 Edition: Technique. Keys Range Note Values Tempo Scales E minor (harmonic) 2 octaves D major Diatonic B minor (melodic) 1 octave = 100 F major D minor (melodic) Chromatic Starting on D 1 octave G major 2 octaves E minor (melodic) Tremolando = 88 B minor (harmonic) 1 octave D minor (harmonic) Arpeggio Patterns 1. p–m–i triplet pattern 2. p–i–m triplet pattern = 72 3. p–a–i triplet pattern 4. p–i–a triplet pattern

5. p–i–m–i pattern = 60

16 CONTENTS LEVEL Level 1 Musicianship Sight Reading Please see “Musicianship” on p. 10 and “Appendix B” on p. 81 for Rhythm important information regarding this section of the examination. For a given rhythm, students will be asked to: • Tap a steady beat with their hand or foot for one measure. Ear Tests • Continue tapping while speaking, tapping, or clapping the Clapback given rhythm. Students will choose to clap, tap, or sing the rhythm of a short A steady pulse and metric accentuation are expected. melody after the examiner has played it twice. The examiner Time Signature Note Values Approximate Length will identify the time signature and count one measure before beginning. two measures Time Signatures Note Values Approximate Length Playing two to three measures Students will be asked to play a two-measure, single-line melody. The melody will move by step and by thirds. Intervals Keys Time Signature Note Values Students will be asked to identify any of the following intervals. C major The examiner will play each interval in melodic form (ascending and descending) once. A minor (natural) OR Students may choose to sing or hum any of the following intervals (ascending and descending). The examiner will play the first note once. Intervals (ascending and descending) minor 3rd major 3rd

Chords Students will be asked to identify the quality (major or minor) of a triad after the examiner has played it in broken and then solid/ blocked form once. Chords Position major and minor triads root position

Playback Students will be asked to play back on the guitar a melody based on the first five notes of a major or minor scale. The examiner will identify the key, play the tonic triad once, and play the melody twice. Beginning Note Keys Approximate Length tonic, dominant C, G major five notes A minor

17 CONTENTS Level 2

Level 2 Requirements Marks Bach, Johann Sebastian u Bourrée II, from Suite for Solo Cello No. 4, BWV Repertoire 56 1010 (arr. Jeffrey McFadden JMF) one selection from List A 25 Calvi, Carlo, attr. one selection from List B 25 u Pavaniglia and Canario (in Intavolatura di chitarra e Memory (3 marks per repertoire selection) 6 chitarriglia) Technical Requirements 24 Dowland, John Etudes: two etudes from the Syllabus List 12 u Orlando Sleepeth, Poulton 61 Technical Tests 12 Ford, Thomas Musicianship Musicke of Sundrie Kindes, part 1 u Ear Tests 10 There Is a Lady Sweet and Kind Clapback 2 Gagnon, Claude Intervals 2 Déjà vu DOZ Chords 2 l Chanson slave (no. 24 in La guitare dans tous ses états, Playback 4 2 DOZ; no. 9 in Le petit livre de guitare, 1 DOZ) Sight Reading 10 Losy, Jan Antonín Rhythm 3 Little Suite in C Major Playing 7 u Gigue Total possible marks (pass = 60) 100 Morlaye, Guillaume Le premier livre de guiterne Repertoire u Allemande (arr. Jeffrey McFadden JMF) u Gaillarde (arr. Jeffrey McFadden JMF) Please see “Repertoire” on p. 8 for important information regarding Le quatrième livre de guiterne this section of the examination. u Bransle (arr. Jeffrey McFadden JMF) Students must prepare two contrasting selections: one from List A Rosseter, Philip and one from List B. Three memory marks are awarded for each A Book of Ayres repertoire selection that is performed by memory. u What Is a Day Bullets used to denote selections for examination purposes: Sanz, Gaspar l one selection Instrucción de música sobre la guitarra española, 2 u selection is found in Classical Guitar Series, 2018 Edition: u Españoleta Repertoire and Etudes 2 List B List A Classical, Romantic, 20th-, and 21st-century Traditional, Renaissance, and Baroque Repertoire Repertoire Aguado, Dionisio Anonymous Nuevo método para guitarra UME, TEC u Packington’s Pound (arr. J. Andrew Creaghan CRE) u Waltz Traditional Beethoven, Ludwig van l Drunken Sailor (arr. Richard Summers, in 12 Pieces l Ode to Joy (arr. Richard Summers, in 12 Pieces for for Guitar SMR) Guitar SMR) u Early One Morning (arr. Richard Summers, in 12 Pieces for Guitar SMR) Bell, Shawn u Llwyn Onn (The Ash Grove) (arr. Jeffrey McFadden Elementary Studies, 3 DOZ JMF) l Moderato (in La guitare dans tous ses états, 1 DOZ) u Scarborough Fair (arr. Norbert Kraft KFT) Brown, James l Simple Gifts (arr. Richard Summers, in 12 Pieces for Short Pieces and Studies, 2 JMB Guitar SMR) u Berceuse

18 CONTENTS LEVEL Level 2 Camisassa, Claudio Lemay, Sylvain l Blues en do (in La guitare dans tous ses états, 2 DOZ) Le petit livre de Marlène DOZ Pa’ mis changuitos DOZ u Mimi l La ligamos (Milonga) Léveillée, Claude Carbajo, Roque l Soir d’hiver (arr. Claude Gagnon, no. 6 in Chansons et Au coeur des cordes DOZ danses populaires DOM) u Fleur de lotus Mertz, Johann Kaspar Carcassi, Matteo Schüle für die Gitarre: Übungsstücke l Sauteuse (no. 3 in Carcassi-Brevier, 1 OTT) u Romanze (no. 9) Carulli, Ferdinando Molino, Francesco 18 Petits morceaux, op. 211 La terpsichore de société l Andante (no. 7) (no. 21 in Carulli-Brevier, 1 OTT) l La fanfare (no. 1) Méthode complète pour parvenir à pincer de la guitare, op. 241 l La sérieuse (no. 4) u Andante (no. 18) u Andantino (no. 20) Montreuil, Gérard u Waltz (no. 21) Divertissements pour guitare, 1 DOM Receuil facile, progressif et doigté, op. 50 l Bahamas (no. 2) u Valse (no. 7) l Calypso (no. 7) l Carrousel (no. 10) Costantino, Frédéric l Congo (no. 11) Sept ballades enchantées DOZ l Romance (no. 8) l La valse des oursons (in La guitare dans tous ses états, 2 u Tango pour Mario (no. 4) DOZ) Ogawa, Takashi Diabelli, Anton Trois paysages, huit promenades DOZ 30 sehr leichte Übungsstücke für die Guitare, op. 39 u Paysage (no. 1) l Allegretto (no. 6) Sor, Fernando Domeniconi, Carlo Introduction à l’étude de la guitare, op. 60 Klangbilder, 2 MRG l Andantino (no. 6) (no. 7 in La guitare enchantée: l Klangbild 24 (Sound Picture 24) Pièces faciles, 1 DOM) 24 Präludien, 1 EET l Lesson 13 u Equilibrato (Balance) (no. 9) 24 exercises très faciles, op. 35 u Nostalgia (no. 11) u Andante (no. 1) u Ruscello (A Brook) (no. 6) u Andantino (no. 2) Gagnon, Claude 24 leçons progressives, op. 31 l Adagio (no. 5 in La guitare enchantée: Pièces faciles, 1 u Andante (no. 1) DOM) 24 petites pièces progressives, op. 44 Giuliani, Mauro u Allegretto (no. 2) 12 écossaises pour la guitare, op. 33 u Andante (no. 1) l Écossaise (no. 9) Summers, Richard u Écossaise (no. 11) A Contemporary Method for Classical Guitar, 3 SMR Le papillon, op. 50 u A Memory u Allegro (no. 13) Tansman, Alexandre Horecki, Feliks Douze morceaux très faciles, 2 ESC Amusements, op. 18 l Le perroquet (no. 3) u Amusement (no. 9) l Romance (no. 2) Kiselev, Oleg Douze pièces faciles, 1 ESC Guitarist’s First Steps, 1 DOZ l Chant lointain (no. 1) l A Dream in a Train (in La guitare dans tous ses états, 2 l Petite marche militaire (no. 5) DOZ) l Sarabande (no. 3) Douze pièces faciles, 2 ESC Koch, Gareth l Air populaire (no. 4) Viva Flamenco DOB l Boîte à joujoux (no. 3) l Rumba Tisserand, Thierry Küffner, Joseph Medley DOZ 60 leçons à l’usage des commencants, op. 168 u Coutances u Andantino (no. 43) 19 CONTENTS LEVEL Level 2 York, Andrew Demillac, Yvon Eight Discernments YRK l Dédicace (in La guitare dans tous ses états, 2 DOZ) u Chant Diabelli, Anton Zenamon, Jaime 30 sehr leichte Übungsstücke für die Guitare, op. 39 Épigramme, 1 MRG l Moderato (no. 23) l Calmo (no. 5) l Scherzo (no. 17) l Study (no. 10) Technical Requirements Domeniconi, Carlo Please see “Technical Requirements” on p. 10 and “Appendix A” 24 Präludien, 1 EET on p. 80 for important information regarding this section of the u Semplice (Simple) (no. 2) examination. Gagnon, Claude Déjà vu DOZ Etudes l Bonsaï (in La guitare dans tous ses états, 2 DOZ; no. 8 in Le petit livre de guitare, 1 DOZ) Students must prepare two technically contrasting etudes by different composers from the following list. Gallant, Pierre u Bullets used to denote selections for examination purposes: Study in Imitation GNT l one selection Giuliani, Mauro u selection is found in Classical Guitar Series, 2018 Edition: Dix-huit leçons progressives, op. 51 TEC Repertoire and Etudes 2 l Maestoso (no. 1) Aguado, Dionisio Jackman, Richard Miles Escuela de guitarra u Folk Song (in La guitare enchantée: Pièces très faciles, 1 u Lesson 59 DOM) Nuevo método para guitarra UME, TEC Koshkin, Nikita u Exercise No. 10 Da Capo EOP Beauvais, William u Snowflakes Guitar Pastels, 1 CAV Kraft, Norbert l Dawn l Study in C Major KFT Benedict, Robert Lončar, Miroslav 20 Fantasy Etudes for Guitar, 1 KER Ten Studies DOZ l Etude No. 1 l Study (no. 5) (in La guitare dans tous ses états, 2 DOZ) l Etude No. 3 Ogawa, Takashi Brown, James Petit album évocateur et facile, 2 DOZ Short Pieces and Studies, 1 JMB u Aux temps lointains (in La guitare dans tous ses états, 1 u Very Scary Bass Study DOZ) Carcassi, Matteo Sagreras, Julio Méthode complète pour la guitare, op. 59, part 3 Primeras lecciones de guitarra RIC u Moderato (no. 11) l Lesson 53 Carulli, Ferdinando l Lesson 54 Méthode complète, op. 27, part 1 l Lesson 55 u Moderato l Lesson 75 Méthode complète pour parvenir à pincer de la guitare, op. 241 Sor, Fernando u Andantino (no. 19) Méthode pour la guitare Coghlan, Michael u Exercice pour les sixtes u The Blue Knight COG Tárrega, Francisco Cortés, Juan Manuel l Study in A Major (no. 12 in Opere per chitarra, 2 BEB) l El vals de los títeres (in La guitare dans tous ses états, 2 Vettorazzo, Franco DOZ) 13 Composizioni per giovani chitarristi SMC Coste, Napoléon l Quartine 31 leçons et exercices l Scale u Exercice 14 (in Sor: Méthode pour la guitare, Coste l Studietto edition) 20 CONTENTS LEVEL Level 2 Technical Tests The examiner will choose a representative sampling of items on the technical tests list. The examiner may request scales in either free stroke or rest stroke, using im/mi or ma/am right-hand finger combinations. Scales and arpeggio patterns must be played from memory, ascending and descending. Each diatonic and tremolando scale is to be followed by a V–I (authentic) cadence. Students must follow the fingering given in Classical Guitar Series, 2018 Edition: Technique.

Keys Range Note Values Tempo Scales A minor (harmonic) 2 octaves C major Diatonic G major 1 octave = 120 E minor (melodic) F minor (harmonic and melodic) Chromatic Starting on A 1 octave A minor (melodic) 2 octaves Tremolando E minor (harmonic) = 96 1 octave A major Arpeggio Patterns 1. p–m–i triplet pattern 2. p–i–m triplet pattern 3. p–a–i triplet pattern = 76 4. p–i–a triplet pattern 5. p–i–a–p–i–m triplet pattern 6. p–a–i–p–m–i triplet 7. p–i–m–a ascending pattern = 66 8. p–a–m–i descending pattern

9. p–i–m–i pattern = 63

Musicianship Intervals Students will be asked to identify any of the following intervals. Please see “Musicianship” on p. 10 and “Appendix B” on p. 81 for The examiner will play each interval in melodic form (ascending important information regarding this section of the examination. and descending) once. OR Ear Tests Students may choose to sing or hum any of the following intervals Clapback (ascending and descending). The examiner will play the first note Students will choose to clap, tap, or sing the rhythm of a short once. melody after the examiner has played it twice. The examiner Intervals (ascending and descending) will identify the time signature and count one measure before minor 3rd beginning. major 3rd Time Signatures Note Values Approximate Length perfect 5th two to three measures

21 CONTENTS LEVEL Level 2 Chords Sight Reading Students will be asked to identify the quality (major or minor) of a triad after the examiner has played it in solid/blocked form once. Rhythm For a given rhythm, students will be asked to: Chords Position • Tap a steady beat with their hand or foot for one measure. major and minor triads root position • Continue tapping while speaking, tapping, or clapping the Playback given rhythm. Students will be asked to play back on the guitar a melody based A steady pulse and metric accentuation are expected. on the first five notes of a major or minor scale. The examiner will Time Signatures Note and Rest Values Approximate Length identify the key, play the tonic triad once, and play the melody twice. two to four measures Beginning Note Keys Approximate Length Playing G, F major tonic, dominant five notes Students will be asked to play a four-measure, single-line melody. D minor Keys Time Signature Note Values C major A minor (natural)

22 CONTENTS Level 3

Level 3 Requirements Marks Traditional u Danse de village (Village Dance) (arr. Claude Repertoire 60 Gagnon, no. 1 in Chansons et danses populaires DOM) one selection from List A 18 u Good King Wenceslas (arr. Jeffrey McFadden JMF) one selection from List B 18 u Greensleeves (arr. Brad Mahon MAH) one selection from List C 18 l Irish Jig (arr. Claude Gagnon, no. 2 in Chansons et Memory (2 marks per repertoire selection) 6 danses populaires DOM) u Mary Hamilton (arr. Peter Hudson HUD) Technical Requirements 20 Bach, Johann Sebastian Etudes: two etudes from the Syllabus List 10 u Menuet III, from Suite for Keyboard in G Minor, Technical Tests 10 BWV 822 (arr. Norbert Kraft KFT) Musicianship Byrd, William Ear Tests 10 l Sellinger’s Round (arr. Philip Rodgers, in Elizabethan Clapback 2 Melodies, 1 OTT) Intervals 2 Chords 2 Calvi, Carlo Playback 4 Calvi: Fifteen Compositions ZRB l Allemanda Sight Reading 10 l Aria di Fiorenza Rhythm 3 Playing 7 Handel, George Frideric u Prelude in C Major, from Sonata in C Major (“For a Total possible marks (pass = 60) 100 Musical Clock”), HWV 598 (arr. Norbert Kraft KFT) Hove, Joachim van den Repertoire l Bouffon (no. 6 in Le petit livre de guitare, 2 DOZ) Please see “Repertoire” on p. 8 for important information regarding Le Roy, Adrian this section of the examination. Premier livre de tabulature de guiterre Students must prepare three contrasting selections: one from each u Almande (La mon amy la) of List A, List B, and List C. Two memory marks are awarded for Neusidler, Hans each repertoire selection that is performed by memory. l Unser Köchin kan auss der Massen (ed. Bruno Bullets used to denote selections for examination purposes: Tonazzi, in Arie e Danze RIC) l l one selection Welscher Tanz “Wascha Mesa” (transc. Paul Gerrits, u selection is found in Classical Guitar Series, 2018 Edition: no. 2 in Music for Solo Guitar, 1 DOM) Repertoire and Etudes 3 Phalèse, Pierre l Passameze (no. 7 in Le petit livre de guitare, 2 DOZ ) List A Sanz, Gaspar Traditional, Renaissance, and Baroque Instrucción de música sobre la guitarra española, 1 Repertoire u Españoleta Visée, Robert de Anonymous Livre de guittarre dédié au roy l Fortune My Foe (arr. Philip Rodgers, in Elizabethan u Menuet, from Suite No. 7 in C Major Melodies, 1 OTT) l Menuet, from Suite No. 12 in D Minor l John Come Kiss Me Now (arr. Philip Rodgers, in Elizabethan Melodies, 1 OTT) l Rogero (arr. Philip Rogers, in Elizabethan Melodies, 1 OTT) u Sarabande (arr. Claude Gagnon, no. 17 in La guitare enchantée: Pièces faciles, 1 DOM)

23 CONTENTS LEVEL Level 3 List B Sor, Fernando Classical and Romantic Repertoire Introduction à l’étude de la guitare, op. 60 u Moderato (no. 7) u Pour trouver les notes 5 (no. 5) Beethoven, Ludwig van 24 exercises très faciles, op. 35 u Für Elise, WoO 59 (arr. Jeffrey McFadden JMF) l Andante (no. 14) Carcassi, Matteo 24 petites pièces progressives, op. 44 Méthode complète pour la guitare, op. 59, part 3 u Andantino (no. 3) u La chasse (The Hunt) (no. 30) u Andantino (no. 5) l Marsch (no. 32) Carulli, Ferdinando List C l Andante (no. 21 in Carulli: Studi per chitarra ZRB) Late Romantic, 20th-, and 21st-century l Larghetto (no. 11 in Carulli: Studi per chitarra ZRB) Repertoire Méthode complète pour parvenir à pincer de la guitare, op. 241 l Andante (no. 12) (no. 35 in Carulli-Brevier, 2 OTT) u Andante (no. 17) Andres, Marc l l Poco allegretto (no. 18) (no. 41 in Carulli-Brevier, 2 Canción EAG OTT) Ayala, Héctor u Waltz (no. 24) u El coyuyo (The Cicada), Bailecito STO Le répertoire des élèves, op. 124 l Menuett and Trio (no. 20) (no. 48 in Carulli-Brevier, Bell, Shawn 2 OTT) Elementary Studies, 4 DOZ u Waltz (no. 17) u Rêverie Diabelli, Anton Brown, James l Menuett (ed. Luigi Oreste Anzaghi, in Antologia per Short Pieces and Studies, 1 JMB Chitarra RIC) u Bells Giuliani, Mauro Carbajo, Roque l The Butterfly (in Classic Guitar for Young People, 3 Au coeur des cordes DOZ l LEE) Papillons (in La guitare dans tous ses états, 2 DOZ) 12 monferrine per chitarra, op. 12 ZRB Coghlan, Michael l Monferrina (no. 1) l The Blue Calliope COG l Monferrina (no. 3) l Monferrina (no. 7) Demillac, Yvon Marines DOZ Koch, Gareth l Chanson de sable (in La guitare dans tous ses états, 3 Viva Flamenco DOB DOZ) l Granadinas l Malagueña Domeniconi, Carlo 24 Präludien, 1 EET Mertz, Johann Kaspar u Danza del gatto (Dance of the Cat) (no. 12) Schüle für die Guitarre: Übungsstücke u Andante (no. 6) Gagnon, Claude u Les blues des grenouilles (The Frog Blues) (in La Paganini, Nicolò guitare enchantée: Pièces faciles, 1 DOM) 37 Sonate u Menuet, from Sonata No. 26 Kiselev, Oleg Guitarist’s First Steps, 1 DOZ Schumann, Robert l Forgotten Harpsichord (in La guitare dans tous ses Album für die Jugend, op. 68 états, 2 DOZ) u Stückchen (Little Piece) (no. 5) (arr. Norbert Kraft KFT) Montreuil, Gérard Divertissements pour guitare, 1 DOM u Miami (no. 12) Divertissements pour guitare, 2 DOM l Dolores (no. 4) l Emmanuelle (no. 5) u Pascale (no. 3) l São Paolo (no. 1)

24 CONTENTS LEVEL Level 3 Sávio, Isaías Bosch, Jacques Ten Brazilian Folk Tunes CLM Six pièces faciles, op. 89 l Maracatu (no. 1) u Première guagirana (no. 2) l Modinha (no. 4) Brouwer, Leo u Peixe vivo (Toada) (no. 9) Estudios sencillos (Études simples) ESC u Samba-Lelê (no. 8) l one of nos. 1, 2, 4 Tansman, Alexandre Carulli, Ferdinando 12 morceaux très faciles, 2 ESC L’utile et l’agréable, op. 114 l Petit air polonais u Allegretto (no. 26) 12 pièces faciles, 1 ESC l Intermezzo (no. 10) Diabelli, Anton l Sérénade (no. 11) 30 sehr leichte Übungsstücke für die Guitare, op. 39 12 pièces faciles, 2 ESC u Study in F Major (no. 27) l Barcarolle (no. 10) Domeniconi, Carlo l Petit chant (no. 6) Homage à St-Exupéry EET l Valsette (no. 9) l Der Laternenanzünder (The Lamplighter) (no. 2) Tisserand, Thierry Ferrer, José Medley DOZ Colección 12a de ejercicios u Rumba à Gatelle (in La guitare dans tous ses états, 2 u Ejercicio (no. 9) DOZ) Giuliani, Mauro York, Andrew Studio per la chitarra, op. 1, part 4 Eight Discernments YRK u Andantino mosso (no. 3) u Sherry’s Waltz Jackman, Richard Miles Through the Keys JKN Technical Requirements u Recognition Please see “Technical Requirements” on p. 10 and “Appendix A” Kraft, Norbert on p. 80 for important information regarding this section of the u Ancient Drums KFT examination. McFadden, Jeffrey u Volatility JMF Etudes Piris, Bernard Students must prepare two technically contrasting etudes by Airs de famille, 1 DOZ different composers from the following list. u Un parfum qui berce (A Soothing Perfume) Bullets used to denote selections for examination purposes: Sagreras, Julio l one selection Primeras lecciones de guitarra RIC u selection is found in Classical Guitar Series, 2018 Edition: u Lesson 65 Repertoire and Etudes 3 u Lesson 80 l one of nos. 67, 72, 82, 83, 84, 85 Aguado, Dionisio Nuevo método para guitarra UME, TEC Sor, Fernando u Lesson 15 (Waltz) Méthode pour la guitare u Exercice pour les sixtes Beauvais, William 24 petites pièces progressives, op. 44 Primary Colours ECH l Andante l Mirror Dance (no. 11) l Andantino (no. 9) Benedict, Robert Summers, Richard 20 Fantasy Etudes for Guitar, 1 KER l Etude No. 2 A Contemporary Method for Classical Guitar, 3 SMR u Daybreak l Etude No. 4 l Etude No. 5 Tárrega, Francisco u Study in C Major Blum, Carl Studien für die Guitarre, op. 44 u Andante (no. 1) u Andantino (no. 3)

25 CONTENTS LEVEL Level 3 Technical Tests The examiner will choose a representative sampling of items on the technical tests list. The examiner may request scales in either free stroke or rest stroke, using im/mi or ma/am right-hand finger combinations. Scales and arpeggio patterns must be played from memory, ascending and descending. Each diatonic and tremolando scale is to be followed by a V–I (authentic) cadence. Students must follow the fingering given in Classical Guitar Series, 2018 Edition: Technique. Keys Range Note Values Tempo Scales D major B minor (melodic) 1 octave Diatonic C minor (harmonic and melodic) = 69 B major G minor (harmonic) 2 octaves Chromatic Starting on A 2 octaves B minor (harmonic) 1 octave

Tremolando E major = 108 2 octaves G minor (melodic) Arpeggio Patterns 1. p–a–i triplet pattern 2. p–i–a triplet pattern = 80 3. p–i–a–p–i–m triplet pattern 4. p–a–i–p–m–i triplet pattern 5. p–i–m–a ascending pattern 6. p–a–m–i descending pattern

7. p–i–m–i pattern = 69 8. p–m–i–m pattern 9. p–a dyad–m–i triplet pattern

Musicianship Intervals Students will be asked to identify any of the following intervals. Please see “Musicianship” on p. 10 and “Appendix B” on p. 81 for The examiner will play each interval in melodic form (ascending important information regarding this section of the examination. and descending) once. OR Ear Tests Students may choose to sing or hum any of the following intervals Clapback (ascending and descending). The examiner will play the first note Students will choose to clap, tap, or sing the rhythm of a short once. melody after the examiner has played it twice. The examiner Intervals (ascending and descending) will identify the time signature and count one measure before minor 3rd beginning. major 3rd Time Signatures Note Values Approximate Length perfect 4th three to four measures perfect 5th

26 CONTENTS LEVEL Level 3 Chords Sight Reading Students will be asked to identify the quality (major or minor) of a triad after the examiner has played it in solid/blocked form once. Rhythm AND For a given rhythm, students will be asked to: • Students will be asked to identify a single note as the root, third, Tap a steady beat with their hand or foot for one measure. or fifth of a major or minor triad after the examiner has played the • Continue tapping while speaking, tapping, or clapping the triad in broken form once. given rhythm. Chords Position A steady pulse and metric accentuation are expected. major and minor triads root position Time Signatures Note and Rest Values Approximate Length four measures Playback Students will be asked to play back on the guitar a melody based Playing on the first five notes of a major or minor scale. The examiner will identify the key, play the tonic triad once, and play the melody Students will be asked to play a short passage comparable to twice. Preparatory repertoire. Beginning Note Keys Approximate Length Keys Time Signature Note Values D, F major G major tonic, mediant, dominant five to six notes D, G minor A minor (harmonic)

27 CONTENTS Level 4

Level 4 Requirements Marks Brescianello, Giuseppe Antonio 18 partite per colascione Repertoire 60 Partita VIII (transc. Sophocles Papas PRE) one selection from List A 18 u 3rd movement: Gavotte one selection from List B 18 Dowland, John one selection from List C 18 u Lady Laiton’s Almain, Poulton 48 Memory (2 marks per repertoire selection) 6 u Mrs. Winter’s Jump, Poulton 55 Technical Requirements 20 The Firste Booke of Songes or Ayres of Fowre Partes u Awake, Sweet Love (no. 19) Etudes: two etudes from the Syllabus List 10 Technical Tests 10 Edwards, Richard l Musicianship When Griping Griefs (arr. Philip Rodgers, in Elizabethan Melodies, 2 OTT) Ear Tests 10 Clapback 2 Ford, Thomas l Intervals 2 Since First I Saw Your Face (arr. Philip Rodgers, in Chords 2 Elizabethan Melodies, 2 OTT) Playback 4 Jelínek, Ivan Sight Reading 10 Suite for Lute (transc. Vladimir Mikulka LEM) Rhythm 3 u 2nd movement: Gavotte Playing 7 Losy, Jan Antonín Total possible marks (pass = 60) 100 u Aria u Sarabande Repertoire Morlaye, Guillaume Le seconde livre de guiterne Please see “Repertoire” on p. 8 for important information regarding l Conteclare (arr. Jeffrey McFadden JMF) this section of the examination. Neusidler, Melchior, attr. Students must prepare three contrasting selections: one from each u Der Fuggerin Tanz (Lady Fugger’s Dance) of List A, List B, and List C. Two memory marks are awarded for each repertoire selection that is performed by memory. Phalèse, Pierre l Almand loreyne (in Europäische Gitarren- und Bullets used to denote selections for examination purposes: Lautenmusik, 6 RIC) l one selection l Passemese (in Repertoire du guitariste, 1 LEM; u selection is found in Classical Guitar Series, 2018 Edition: Europäische Gitarren- und Lautenmusik, 6 RIC) Repertoire and Etudes 4 Sanz, Gaspar l Españoleta (in Europäische Gitarren- und Lautenmusik, List A 5 RIC) Traditional, Renaissance, and Baroque Visée, Robert de Repertoire Livre de pièces pour la guitarre Suite No. 9 Anonymous l Gavotte u Ballet (arr. Jeffrey McFadden JMF) Suite No. 11 l Can Shee (arr. John Duarte, in Thirteen Pieces from u Sarabande the Fitzwilliam Virginal Book NOV) l Watkins Ale (arr. John Duarte, in Thirteen Pieces from List B the Fitzwilliam Virginal Book NOV) u The Woods So Wild (arr. Jeffrey McFadden JMF) Classical and Romantic Repertoire Traditional Aguado, Dionisio l L’aria del ponte (arr. Andrea Casciato CAS) Collection des oeuvres pour la guitare, op. 7 l Le roi Dagobert (arr. Claude Gagnon, no. 13 in l Waltz (no. 3) Chansons et danses populaires DOM) Nuevo método para guitarra UME, TEC u Exercise 90 28 CONTENTS LEVEL Level 4 Carcassi, Matteo Bartoli, René l Larghetto (no. 41 in Carcassi-Brevier, 3 OTT) Réminiscences DOZ 12 Waltzes, op. 23 l Elégie (in La guitare dans tous ses états, 5 DOZ) l Waltz (no. 6) (no. 49 in Carcassi-Brevier, 3 OTT) l Romance (in La guitare dans tous ses états, 4 DOZ) Carulli, Ferdinando Bélanger, Marc Grand recueil pour la guitare Jardin secret DOZ l Menuett (no. 50 in Carulli-Brevier, 2 OTT) l Orchidée (in La guitare dans tous ses états, 5 DOZ) Méthode complète pour parvenir à pincer de la guitare , op. 241 Benedict, Robert u Allegretto (no. 14) Divertimenti WAT u Rondo (no. 34) l Romance (no. 5) Le répertoire des élèves, op. 124 l Allegretto con poco moto (no. 10) (no. 46 in Carulli- Coquery, Jean-Michel Brevier, 2 OTT) Aquarelles DOZ l Allegretto (no. 13) (no. 45 in Carulli-Brevier, 2 OTT) l Aquarelle d’automne (in La guitare dans tous ses états, Donizetti, Gaetano 4 DOZ) u Polonaise, from Linda di Chamounix (arr. Eduard Cordero, Ernesto Bayer, no. 8 in 100 recreations, 1) l Estudio a la Cubana (no. 7) (in Modern Times, 1 Giuliani, Mauro CHN) Divertimenti per chitarra, op. 40 Costantino, Frédéric u Divertimento (no. 11) La bal des marionnettes DOZ 18 leçons progressives, op. 51 TEC u Pinocchio (in La guitare dans tous ses états, 3 DOZ) l Maestoso (no. 4) Domeniconi, Carlo Le papillon, op. 50 Homage à A. de St-Exupéry EET u Larghetto (no. 17) u Die Rose im Garten (The Rose in the Garden) (no. 9) Molino, Francesco Dyens, Roland l Andante (ed. Luigi Oreste Anzaghi, in Antologia per Les 100 de Roland Dyens, 1 DOZ chitarra RIC) u Impressions soleil couchant (Sunset Impressions) La terpsichore de société u Waltz No. 2 (no. 14) Gagnon, Claude l Cornemuse La guitare enchantée: Pièces Schumann, Robert (no. 18 in faciles, 1 DOM) Album für die Jugend, op. 68 u Soldatenmarsch (Soldier’s March) (no. 2) (arr. Norbert Katz, Brian Kraft KFT) Blues to Help You Through KAT u School Blues Sor, Fernando Six Divertimentos for the Spanish Guitar, op. 1 Kleynjans, Francis l Waltz (no. 2) Deux valses pour guitare, op. 64 LEM Six Divertimentos for the Spanish Guitar, op. 8 u Valse chÔro (no. 1) u Waltz (no. 2) Koshkin, Nikita 24 leçons progressives, op. 31 Da Capo EOP u Andante (no. 4) u Ceremony u Elephant List C Lemay, Sylvain Late Romantic, 20th-, and 21st-century Le petit livre de Marlène DOZ Repertoire l Marloubedou (in La guitare dans tous ses états, 3 DOZ) Andres, Marc McGuire, James l Vals EAG 25 Miniatures for Guitar JAM l Barnes, Milton no. 12 Seven Easy Pieces for Solo Guitar Nørholm, Ib u Song (no. 3) Sonata for Guitar, op. 69 HSN l Interlude

29 CONTENTS LEVEL Level 4 Ogawa, Takashi Aguado, Dionisio Trois paysages, huit promenades DOZ Nuevo método para guitarra UME; TEC l Promenade des amoureux (in La guitare dans tous ses u Exercise 8 états, 4 DOZ) u Lesson 10 l Lesson 23 Reiher, Alain l Lesson 24 20 Miniatures DOZ u Lesson 29 u Miniature No. 3 u Lesson 67 Riera, Rodrigo Beauvais, William Four Venezuelan Pieces UNI Guitar Pastels, 1 CAV u Monotonia (no. 2) l Perpetuum mobile l Nostalgia (no. 3) Bosch, Jacques Semenzato, Domingo Six pièces faciles, op. 89 u Divagando (Choro) (in La guitare classique, B COM) u Lamento (no. 5) Summers, Richard Brouwer, Leo 12 Pieces for Guitar SMR Estudios sencillos (Études simples) ESC u Pomp and Ceremony l one of nos. 5, 8, 14 Tansman, Alexandre Carulli, Ferdinando 12 morceaux très faciles, 1 ESC Méthode complète pour parvenir à pincer de la guitare, op. 241 l Pluie (no. 9) u Andantino grazioso (no. 39) l Sicilienne (no. 7) 12 pièces faciles, 1 ESC Diabelli, Anton l Tarantella (no. 7) 30 sehr leichte Übungsstücke für die Guitare, op. 39 l Toccata (no. 9) l Marcia (no. 30) 12 pièces faciles , 2 ESC Gagnon, Claude l À l’espagnole (no. 11) 12 préludes en forme d’études DOB Tárrega, Francisco u Prélude No. 2 u Lágrima (Tear), Prelude García de León, Ernesto Zenamon, Jaime 20 Estudios, op. 50 LOR Épigramme, 2 MRG u Madre e hijo (Mother and Son) l Lejania Giuliani, Mauro Estampas, 1 ZON l Bossa 18 leçons progressives, op. 51 TEC l Studio (no. 6) (ed. Ruggero Chiesa, no. 43 in Studi per chitarra ZRB) Technical Requirements Le papillon, op. 50 u Allegretto (no. 22) Please see “Technical Requirements” on p. 10 and “Appendix A” on p. 80 for important information regarding this section of the Kraft, Norbert examination. u Reminiscence KFT Paganini, Nicolò Etudes 37 Sonate Sonata No. 27 Students must prepare two technically contrasting etudes by u 1st movement: Menuet different composers from the following list. Pujol, Emilio Bullets used to denote selections for examination purposes: Escuela razonada de la guitarra, 2 MED l one selection l Study No. 1 u selection is found in Classical Guitar Series, 2018 Edition: Sor, Fernando Repertoire and Etudes 4 24 exercises très faciles, op. 35 u Exercice 13 Zenamon, Jaime Épigramme, 2 MRG l Amanecer (Daybreak)

30 CONTENTS LEVEL Level 4 Technical Tests The examiner will choose a representative sampling of items on the technical tests list. The examiner may request diatonic, chromatic, and tremolando scales in either free stroke or rest stroke, using im/mi or ma/am right-hand finger combinations. Scales and arpeggio patterns must be played from memory, ascending and descending. Each diatonic and tremolando scale is to be followed by a V–I (authentic) cadence. Students must follow the fingering given in Classical Guitar Series, 2018 Edition: Technique. Keys Note Values Range Tempo Scales

A minor (harmonic) 2 octaves A minor (melodic)

E major Diatonic C minor (melodic) = 69 1 octave A major

F minor (harmonic)

Chromatic Starting on B 2 octaves

C major 2 octaves

Tremolando C minor (harmonic) = 60 1 octave F minor (melodic)

Slur D major 1 octave = 56 Arpeggio Patterns 1. p–i–a–p–i–m triplet pattern = 84 2. p–a–i–p–m–i triplet pattern 3. p–i–m–a ascending pattern 4. p–a–m–i descending pattern = 72 5. p–i–m–i pattern 6. p–m–i–m pattern 7. ascending and descending sextuplet pattern = 46 8. descending and ascending sextuplet pattern 9. p–a dyad–m–i triplet pattern = 72 10. p–i dyad–m–a triplet pattern

31 CONTENTS LEVEL Level 4 Musicianship Sight Reading Please see “Musicianship” on p. 10 and “Appendix B” on p. 81 for Rhythm important information regarding this section of the examination. For a given melody, students will be asked to: • Tap a steady beat with their hand or foot for one measure. Ear Tests • Continue tapping while speaking, tapping, or clapping the Clapback rhythm of the given melody. Students will choose to clap, tap, or sing the rhythm of a short A steady pulse and metric accentuation are expected. melody after the examiner has played it twice. The examiner Time Signatures Note and Rest Values Approximate Length will identify the time signature and count one measure before beginning. four measures Time Signatures Note Values Approximate Length Playing two to four measures Students will be asked to play a short passage comparable to Level 1 repertoire. Intervals Students will be asked to identify any of the following intervals. Keys Time Signatures Note Values The examiner will play each interval in melodic form (ascending G, D major and descending) once. E minor (harmonic) OR Students may choose to sing or hum any of the following intervals (ascending and descending). The examiner will play the first note once. Intervals (ascending and descending) minor 3rd major 3rd perfect 4th perfect 5th perfect octave

Chords Students will be asked to identify the quality (major or minor) of a triad after the examiner has played it in solid/blocked form once. AND Students will be asked to identify a single note as the root, third, or fifth of a major or minor triad after the examiner has played the triad in broken form once. Chords Position major and minor triads root position

Playback Students will be asked to play back on the guitar a melody based on the first five notes of a major or minor scale. The examiner will identify the key, play the tonic triad once, and play the melody twice. Beginning Note Keys Approximate Length D, A major tonic, mediant, dominant six to eight notes G, C minor

32 CONTENTS Level 5

Level 5 Requirements Marks Anonymous (continued) l two of Vaghe belleze et bionde treccie d’oro vedi Repertoire 60 che per ti moro; Bianco fiore; Gagliarda (transc. one selection from List A 18 Oscar Chilesotti, in Six Lute Pieces of the Renaissance) one selection from List B 18 l Why Ask You (arr. John Duarte, in Thirteen Pieces one selection from List C 18 from the Fitzwilliam Virginal Book NOV) Memory (2 marks per repertoire selection) 6 Traditional Technical Requirements 20 l Greensleeves (arr. Francis Cutting) Etudes: two etudes from the Syllabus List 10 Brescianello, Giuseppe Antonio Technical Tests 10 18 partite per colascione Musicianship Partita VIII (transc. Sophocles Papas PRE) u 4th movement: Gigue Ear Tests 10 Intervals 2 Campion, Thomas Chords 2 l Gigue (arr. John Mills, in Classical Montage WAT) Chord Progressions 2 Dowland, John Playback 4 u My Lord Willoughby’s Welcome Home, Poulton 66 Sight Reading 10 (arr. Jeffrey McFadden JMF) Rhythm 3 Ferrabosco, Alfonso II Playing 7 Lessons for 1, 2, and 3 Viols Total possible marks (pass = 60) 100 l Coranto (no. 4) (transc. Robert Callaghan DOZ) Theory Examination Corequisite Gaultier, Denis Level 5 Theory l Tombeau (in Europäische Gitarren- und Lautenmusik, 4 RIC) Repertoire Holborne, Anthony Please see “Repertoire” on p. 8 for important information regarding u Almain (The Night Watch) (arr. Jeffrey McFadden this section of the examination. JMF) Students must prepare three contrasting selections: one from each Hove, Joachim van den of List A, List B, and List C. Two memory marks are awarded for l Toccata (in Music for Solo Guitar, 1 DOM) each repertoire selection that is performed by memory. Losy, Jan Antonín Bullets used to denote selections for examination purposes: u Capriccio and Gavotte l one selection Neusidler, Hans u selection is found in Classical Guitar Series, 2018 Edition: l Wayss mir ein ubsche Mulerin and Hupff auff (ed. Repertoire and Etudes 5 Bruno Tonazzi, in Arie e Danze RIC) l Der Zeigler in der Hechken (ed. Bruno Tonazzi, in List A Arie e Danze RIC) Traditional, Renaissance, and Baroque Petzold, Christian Repertoire u Menuet, BWV Anh. 114 (arr. Jeffrey McFadden JMF, from the Anna Magdalena Bach Notebook) Anonymous Purcell, Henry u Dance (arr. Oscar Chilesotti, in Six Lute Pieces of the l Hornpipe (ed. Julian Bream, in The Classical Guitar Renaissance) Collection FAB) l Danza Corrente and (in Europäische Gitarren- und l A New Irish Tune (arr. John Mills, in Classical Lautenmusik, 1 RIC) Montage WAT) l Galliard (in Europäische Gitarren- und Lautenmusik, 3 RIC) Robinson, Thomas u Kemp’s Jig Toy, Air and Gigue (ed. Karl Scheit UNI) u Se io m’accorgo (If I am Troubled) (arr. Oscar l Toy Chilesotti, in Six Lute Pieces of the Renaissance) l Gigue

33 CONTENTS LEVEL Level 5 Sanz, Gaspar Molino, Francesco Instrucción de música sobre la guitarra española, 2 Six Rondos OTT l Rujero (arr. John Mills, in Spanish Suite WAT) l Rondo No. 4 l Rondo No. 5 Valderrábano, Enriquez de Silva de sirenas, 6 Paganini, Nicolò u Soneto VIII (arr. Jeffrey McFadden JMF) l Sonatina (arr. Lazlo Vereczkey, no. 7 in Kleine Stücke Visée, Robert de OTT) 37 Sonate l Prelude and Gavotte (nos. 18 and 19 in Le petit livre de Sonate No. 12 guitare, 2 DOZ) l 1st movement: Minuetto l Sarabande (in Europäische Gitarren- und Lautenmusik, 4 RIC) Sor, Fernando Six Divertimentos for the Spanish Guitar Weiss, Silvius Leopold , op. 2 l Waltz (no. 5) Sonata No. 19 in F Major (no. 15 in Intavolatura di liuto, 1 24 exercises très faciles, op. 35 ZRB) u Allegretto l Menuet (no. 8) 24 petites pièces progressives, op. 44 u Andante (no. 15) List B Classical and Romantic Repertoire List C Late Romantic, 20th-, and 21st-century Aguado, Dionisio Contredanses et valses faciles, op. 8 Repertoire u Contradanse (no. 5) Les favorites huit contredanses, op. 11 Anonymous u Contredanse (no. 4) u Spanish Romance (arr. Robert Hamilton HLT) Barrios, Agustín Ambrosius, Hermann l Minueto en do (ed. Richard Stover, in Barrios: Impressionen (ed. Angelo Gilardino BEB) Complete Works, 2 MEL) l Traum Carulli, Ferdinando Bartók, Béla Méthode complète pour parvenir à pincer de la guitare, op. 241 For Children, 1 (arr. Ferenc Brodszky) EMB l Waltz (no. 44) l Jatek (Game) (no. 5, arr. Jeffrey McFadden JMF) Coste, Napoléon Benedict, Robert Récréation du guitariste, op. 51 Divertimenti WAT u La chasse (The Hunt) (no. 9) l Fugato (no. 2) Fughettas for Classical Guitar WAT Ferrer, José u Choral Fughetta (no. 6) u Souvenir du quinze août (Memory of August 15th), op. 25 Camilleri, Charles Colección 8a de ejercicios y preludios Four African Sketches CRA u El amable (The Amiable Fellow) (no. 14) l Shadow of the Moons Giuliani, Mauro Camisassa, Claudio Divertimenti per chitarra, op. 40 l Carrousel sous la pluie (in La guitare dans tous ses u Divertimento (no. 6, Allegro) états, 4 DOZ) l Divertimento (no. 7, Andante espressivo) Castelnuovo-Tedesco, Mario 18 leçons progressives, op. 51 TEC Appunti, op. 210, 1 ZRB u Agitato (no. 3) l Tempo di siciliana (no. 1) u Allegretto (no. 15) 12 Divertimenti, op. 37 OTT Coghlan, Michael l one of nos. 6, 8, 11, 12 u Tango COG Le papillon, op. 50 Dyens, Roland u Grazioso (no. 23) Les 100 de Roland Dyens, 1 DOZ u Babybaião

34 CONTENTS LEVEL Level 5 Gagnon, Claude Beauvais, William 12 préludes en forme d’études DOB Well-Tempered Blues WLM l Prélude No. 3 l Twisted Fingers Gerrits, Paul Bellavance, Ginette l Prelude (no. 18 in Music for Solo Guitar, 1 DOM) l Étude I (no. 9, in Music for Solo Guitar, 2 DOM) l Étude II Music for Solo Guitar Katz, Brian (no. 10, in , 2 DOM) u In the Olive Grove KAT Benedict, Robert Divertimenti Kleynjans, Francis WAT u Nocturne 1 (no. 6) Trois miniatures pour guitare, op. 102 LEM Fughettas for Classical Guitar WAT u Petite valse des cinq cordes (Little Five-string Waltz) l Fughetta No. 1 McGuire, James 20 Fantasy Etudes, 1 KER 25 Miniatures for Guitar JAM l no. 11 l one of nos. 4, 6, 7, 11, 16, 19, 20, 21 Brouwer, Leo Ogawa, Takashi Estudios sencillos (Études simples) ESC Trois paysages, huit promenades DOZ l Estudio No. 3 l Promenade mélancolique La guitare dans tous ses (in Carcassi, Matteo états, 4 DOZ) 25 études mélodiques et progressives, op. 60 TEC Pujol, Máximo Diego u Étude (no. 7) Suites del plata EOP u Étude (no. 10) Suite del Plata No. 1 Carulli, Ferdinando u 1st movement: Preludio Méthode complète, op. 27 Riera, Rodrigo u Andante Four Venezuelan Pieces UNI Costantino, Frédéric l Melancolía (no. 1) Le bal des marionnettes DOZ Theodorakis, Mikis u Les acrobates (no. 3) l Where Has My Son Flown To (arr. Gervassimos Coste, Napoléon Miliaressis, in Easy Pieces for Solo Guitar, 3 NKS) 25 études de genre, op. 38 CHN Yukich, Michael l Étude (no. 10) u Rêves d’été (Summer Dreams) YUK Davis, Gary u Lullaby DAV Technical Requirements Gallant, Pierre Please see “Technical Requirements” on p. 10 and “Appendix A” u Chromatic Study GNT on p. 80 for important information regarding this section of the Giuliani, Mauro examination. 18 leçons progressives, op. 51 TEC u Allegretto grazioso (no. 10) Etudes 24 esercizi per la chitarra, op. 48 u Vivace (no. 1) Students must prepare two technically contrasting etudes by Prime lezioni progressive, op. 139 different composers from the following list. u Lesson (no. 3) Bullets used to denote selections for examination purposes: Joachim, Otto l one selection Six Pieces for Guitar PRS u selection is found in Classical Guitar Series, 2018 Edition: l Energico and Mässig schnell Repertoire and Etudes 5 Katz, Brian Aguado, Dionisio u Study KAT Nuevo método para guitarra UME; TEC Reiher, Alain l Lesson 5: Waltz 20 Miniatures DOZ l Lesson 26 u Miniature No. 19 u Lesson 35

35 CONTENTS LEVEL Level 5 Sagreras, Julio Sor, Fernando Terceras lecciones de guitarra RIC 12 études, op. 6 u Lesson 6 u 2e étude (no. 2) l Lesson 32 Tansman, Alexandre l Lesson 36 l Lesson 38 12 pièces faciles, 1 ESC l Triolets (no. 12) Cuartas lecciones de guitarra RIC l Lesson 10 12 pièces faciles, 2 ESC l Étude l Lesson 12 (no. 12) l Lesson 15 Quintas lecciones de guitarra RIC l Lesson 9

Technical Tests The examiner will choose a representative sampling of items on the technical tests list. The examiner may request diatonic, chromatic, and tremolando scales in either free stroke or rest stroke, using im/mi, ma/am, or ia/ai right-hand finger combinations. Scales and arpeggio patterns must be played from memory, ascending and descending. Each diatonic and tremolando scale is to be followed by a I–IV–V–I chord progression. Students must follow the fingering given in Classical Guitar Series, 2018 Edition: Technique. Keys Note Values Range Tempo Scales

G major

E minor (melodic)

D major

B minor (harmonic) Diatonic 2 octaves F minor (harmonic) = 69

F minor (melodic)

B minor (harmonic)

B minor (melodic)

Chromatic Starting on C 2 octaves

E minor (harmonic)

B minor (melodic) 2 octaves Tremolando = 88 A major

D major 1 octaves

Slur C, G major 1 octave = 60 Arpeggio Patterns 1. p–i–m–a ascending pattern 2. p–a–m–i descending pattern = 76 3. p–i–m–i pattern 4. p–m–i–m pattern

36 (Continued on next page.) CONTENTS LEVEL Level 5

Tempo Arpeggio Patterns (continued) 5. ascending and descending sextuplet pattern = 52 6. descending and ascending sextuplet pattern 7. p–a dyad–m–i triplet pattern 8. p–i dyad–m–a triplet pattern = 76 9. p–m dyad–i–a triplet pattern 10. p–i dyad–a–m triplet pattern

Musicianship Playback Students will be asked to play back on the guitar a melody based on Please see “Musicianship” on p. 10 and “Appendix B” on p. 81 for the first five notes and upper tonic of a major or minor scale. The important information regarding this section of the examination. examiner will identify the key, play the tonic triad once, and play the melody three times. Ear Tests • Before the first playing, the examiner will count one measure. Intervals • After the second playing, the student will clap the rhythm or Students will be asked to identify any of the following intervals. sing the melody. The examiner will play each interval in melodic form (ascending • After the third playing, the student will play the melody. or descending) followed by harmonic form once. Beginning Note Keys Time Approximate OR Signatures Length Students may choose to sing or hum any of the following intervals tonic, mediant, A, E major up to eight (ascending or descending). The examiner will play the first note dominant, upper tonic A, E minor notes once. Intervals (ascending or descending) Sight Reading minor 3rd, major 3rd Rhythm perfect 4th For a given melody, students will be asked to: perfect 5th • Tap a steady beat with their hand or foot for one measure. minor 6th, major 6th • Continue tapping while speaking, tapping, or clapping the perfect octave rhythm of the given melody. Tied notes may be included. A steady pulse and metric accentuation are expected. Chords Students will be asked to identify the quality of the following Time Signatures Approximate Length chords after the examiner has played the chord in solid/blocked four measures form, close position once. Chords Position Playing major and minor triads root position Students will be asked to play a passage of music comparable to Level 2 repertoire. dominant 7th (major–minor 7th) root position Keys Time Approximate Length Chord Progressions Signatures Students will be asked to identify chord progressions in major keys major and minor keys, up eight measures as I–IV–I or I–V–I after the examiner has played the progression to two sharps or flats twice. The bass line will ascend from the tonic. Chord Progressions I–IV–I I–V–I

37 CONTENTS Level 6

Level 6 Requirements Marks Cabezón, Antonio de Tre composizioni (ed. Javier Hinojosa ZRB) Repertoire 60 l Himno a tres one selection from List A 18 Dowland, John one selection from List B 18 Air and Galliard (ed. Karl Scheit UNI) one selection from List C 18 l Air Memory (2 marks per repertoire selection) 6 Farnaby, Giles Technical Requirements 20 l Tower Hill (in Farnaby: Five Pieces OTT) Etudes: two etudes from the Syllabus List 10 Ferrabosco, Alfonso II Technical Tests 10 Lessons for 1, 2, and 3 Viols Musicianship l Coranto (no. 34) (transc. Robert Callaghan DOZ) Ear Tests 10 Foscarini, Giovanni Paolo Intervals 2 Cinque libri della chitarra alla spagnola, 5 Chords 2 u Pavaniglia con parti variate (arr. Jeffrey McFadden JMF) Chord Progressions 2 Playback 4 Galilei, Vincenzo, attr. u Saltarello (arr. Oscar Chilesotti in Six Lute Pieces of Sight Reading 10 the Renaissance) Rhythm 3 Playing 7 Handel, George Frideric l Gavotte (arr. John Mills, in Classical Montage WAT) Total possible marks (pass = 60) 100 Hoffer, J.J. Theory Examination Corequisite l Gigue (no. 9 in Music for Solo Guitar, 1 DOM) Level 6 Theory Johnson, Robert Repertoire u Allmayne (arr. Michael Bracken BRA) Milán, Luis Please see “Repertoire” on p. 8 for important information regarding El maestro this section of the examination. l Pavane I (ed. Ruggero Chiesa, in Milán: Sei pavane Students must prepare three contrasting selections: one from each ZRB) of List A, List B, and List C. Two memory marks are awarded for u Pavane III each repertoire selection that is performed by memory. l Pavane V Bullets used to denote selections for examination purposes: Narváez, Luys de l one selection Los seys libros del delphin, 2 u selection is found in Classical Guitar Series, 2018 Edition: u Fantasía XIV (arr. Frank Koonce in The Renaissance Repertoire and Etudes 6 Vihuela and Guitar in Sixteenth-Century Spain MEL) Pachelbel, Johann List A l Paysanne (in Europäische Gitarren- und Lautenmusik, Traditional, Renaissance, and Baroque 2 RIC) Repertoire Phalèse, Pierre l Galliarde (in Europäische Gitarren- und Lautenmusik, 6 RIC) Anonymous l Lied and Ballet (in Europäische Gitarren- und Polonus, Johannes (Polak, Jan) Lautenmusik, 2 RIC) l Galliarde (in Europäische Gitarren- und Lautenmusik, 7 RIC) Bach, Johann Sebastian Suite for Lute, BWV 996 Purcell, Henry u Bourrée l Air and Minuet (ed. Julian Bream, in The Classical Suite for Solo Cello No. 2, BWV 1008 (arr. Jeffrey Guitar Collection FAB) McFadden JMF) Reusner, Esaias u Sarabande l Sonatina (in Europäische Gitarren- und Lautenmusik, 2 RIC) 38 CONTENTS LEVEL Level 6 Robinson, Thomas Mertz, Johann Kaspar l Walking in a Country Towne (ed. Karl Scheit, in Five Five Waltzes, WoO Pieces UNI) u Waltz No. 1 Trois Nocturnes Sanz, Gaspar , op. 4 u Nocturne No. 1 Instrucción de música sobre la guitarra española, 2 u Nocturne No. 2 (excerpt) l La cavallería di Nápoles (arr. John Mills, in Spanish Suite WAT) Moreno Torroba, Federico l Villano (arr. John Mills, in Spanish Suite WAT) Pièces charactéristiques, 1 OTT l Preambulo Stölzel, Gottfried Heinrich l Bourrée (no. 8 in Music for Solo Guitar, 1 DOM) Sor, Fernando Visée, Robert de Grand Sonata, op. 22 u 3rd movement: Menuet and Trio Suite in D Minor l Bourrée, Minuet I, Minuet II Grand Sonata, op. 25 TEC and l 4th movement: Menuet and Trio l Passacaille Tárrega, Francisco Weiss, Silvius Leopold u Adelita (Mazurka) u Courante l Prelude in G Major (no. 3 in 30 Preludios originales Sonata No. 5 RIC; no. 29 in Opere per chitarra, 1 BEB; no. 47 in u 1st movement: Prelude Tárrega: Complete Guitar Works DOZ) l Prelude in E Major (no. 5 in 30 Preludios originales List B RIC; no. 31 in Opere per chitarra, 1 BEB; no. 59 in Classical and Romantic Repertoire Tárrega: Complete Guitar Works DOZ)

Aguado, Dionisio List C Contredanses et valses dediées aux commençants, op. 8 Late Romantic, 20th-, and 21st-century u Contredanse (no. 6) Repertoire Carcassi, Matteo Le nouveau papillon, op. 5 Almeida, Laurindo u Rondo (no. 14) u Choro para Olga BRZ Coste, Napoléon Ambrosius, Hermann l Pastorale (in Coste: Guitar Works, 9 CHN) Impressionen (ed. Angelo Gilardino BEB) l Valse (in Coste: Guitar Works, 9 CHN) l two of Neckerei, Melancholie, Exotischer, Tanz l Valse (in Coste: Guitar Works, 9 CHN) Récréation du guitariste, op. 51 Balada, Leonardo u Waltz (no. 8) Suite No. 1 (ed. Carlos Barbosa-Lima CLM) u Lento Ferrer, José Colección de valses Barrios, Agustín u Waltz l Mabelita (ed. Richard Stover, in Barrios: Complete Works, 1 MEL) Giuliani, Mauro l Madrecíta (ed. Richard Stover, in Barrios: Complete Divertimenti per chitarra, op. 40 Works, 1 MEL) u Divertimento (no. 12) u Preludio 12 Divertimenti, op. 37 OTT l Divertimento No. 3 Beauvais, William l Divertimento No. 5 l Walking Song WLM Well-Tempered Blues WLM Gluck, Christoph Willibald l Chicago Style Blues l Ballet (in Album of Guitar Solos CLM) Benedict, Robert Haydn, Franz Joseph Divertimenti WAT l Minuet and Trio, from Symphony No. 85 (“La reine”) l Majorette (no. 8) (arr. François de Fossa, EOP) Fughettas for Guitar WAT Legnani, Luigi l Fughetta No. 2 36 Caprices, op. 20 u Caprice (no. 4) 39 CONTENTS LEVEL Level 6 Bogdanović, Dušan Domeniconi, Carlo Seven Little Secrets DOM Quaderno brasiliano per chitarra B&B u Secret No. 3 and Secret No. 7 l Bossa triste l Gelosia Bonfá, Luiz l Ilha de coral (Coral Island) (in The Brazilian Masters Duarte, John W. HAL) Homage to Antonio Lauro, op. 83 u Waltz No. 2 Bosch, Jacques l Étoiles et fleurs (Stars and Flowers), op. 12 (in Bosch: Dyens, Roland Dix pièces pour guitare LEM) Les 100 de Roland Dyens, 1 DOZ u Les balancelles Brouwer, Leo (The Swing Chairs) l Pièce sans titre No. 1 ESC Freedman, Harry Preludios epigramáticos EMT l Sicilienne (rev. Robert Feuerstein ANE) l Preludio No. 1 (Desde que el alba quiso ser alba, todo Gagnon, Claude eres madre) l Rêverie (no. 20 in Music for Solo Guitar, 1 DOM) l Preludio No. 5 (Me cogista el corazon y hoy precipitas el vuelo) and Preludio No. 6 (Llego con tres haridas: Gallant, Pierre la del amor, la de la muerte, la de la vita) l Lacrymosa (Tearful) GNT Brown, James Gerrits, Paul Four Original Guitar Works JMB l Reflets (no. 17 in Music for Solo Guitar, 3 DOM) l Sarabande Katz, Brian Brunn, Rainer The Amethyst Collection KAT Elemente MRG u Gentle Waltz l Luft (no. 2) Kelly, Bryan Camilleri, Charles Aubade, Toccata and Nocturne NOV Four African Sketches CRA l Aubade l Folk Prelude Lauro, Antonio Camisassa, Claudio Suite venezolana (rev. Alirio Diaz B&V) Pa’ mis changuitos DOZ l Registro (Preludio) u La ligamos (Milonga) McGuire, James Carbajo, Roque 25 Miniatures for Guitar JAM Aquarelles de l’Amérique latine DOZ l one of nos. 8, 9, 13, 17 l Canción cubana La guitare dans tous ses états (in , 5 Merlin, José Luis DOZ) Dos aires pampeanos PRE Casciato, Andrea u Aire de estilo (no. 1) l Tramonto (Sunset) CAS u Aire de milonga (no. 2) Castelnuovo-Tedesco, Mario Piorkowski, James Appunti, op. 210, 1 ZRB Sentient Preludes CLE l no. 2 l Prelude No. 1 l Prelude No. 2 Chiereghin, Sergio l Canzone ZAN Ponce, Manuel Trois chansons jouées ZAN Preludes OTT l Pour Bérénice l Prelude No. 5 and Prelude No. 11 u Prelude No. 6 and Prelude No. 10 Chopin, Frédéric (nos. 24 and 15 in TEC) l Mazurka, op. 7, no. 5 (arr. Stephen Aron, in The Complete Chopin Mazurkas MEL) Poulenc, Francis l Sarabande pour guitare Cordero, Ernesto RIC l Viñeta Criolla III (no. 9 in Modern Times, 3 CHN) Repoulis, Michael l Reflections of Dali and View of Toledo Demillac, Yvon NVM Marines DOZ Serradell Sevilla, Narciso u Bord de mer (no. 1) l La golondrina (The Wanderer) (arr. Gerald Schwertberger, in La guitarra Mexicana DOB) 40 CONTENTS LEVEL Level 6 Tansman, Alexandre Garcia, Gerald Hommage à Chopin ESC 25 Etudes Esquisses for Guitar GAR l Prélude l Etude 16 Suite in modo polonico ESC Giuliani, Mauro l one of nos. 1, 2, 3, 5, 6, 8 Études instructives, faciles et agréables, op. 100 Villa-Lobos, Heitor u Caprice (no. 12) Cinq préludes ESC u Caprice (no. 13) l Prélude No. 4 Iannarelli, Simone Cinq études faciles, ou presque... DOZ Technical Requirements l Adagio (no. 2) 12 studi EMS Please see “Technical Requirements” on p. 10 and “Appendix A” l Le rondini (no. 1) on p. 80 for important information regarding this section of the examination. Komter, Jan Maarten l Prelude II (no. 16 in Music for Solo Guitar, 1 DOM) Etudes Kraft, Norbert Students must prepare two technically contrasting etudes by l Study KFT different composers from the following list. Neto, Jônatas Batista Bullets used to denote selections for examination purposes: Eight Latin-American Pieces DOM u Estudo l one selection (no. 5) u selection is found in Classical Guitar Series, 2018 Edition: Ogawa, Takashi Repertoire and Etudes 6 Trois paysages, huit promenades DOZ Benedict, Robert u Promenade triste 20 Fantasy Etudes, 1 KER Paganini, Nicolò l no. 12 Sonatina No. 5 (MS 85) l no. 17 l 1st movement: Allegretto Blum, Carl Reiher, Alain Studien für die Gitarre, op. 44 20 Miniatures DOZ u Study in Thirds (no. 19) l Miniature No. 12 Brouwer, Leo Sagreras, Julio Estudios sencillos (Études simples) ESC Cuartas lecciones de guitarra RIC l Estudio No. 6 l one of nos. 18, 20, 24, 25, 31, 34 l Estudio No. 7 Quintas lecciones de guitarra RIC l Estudio No. 11 l one of nos. 1, 4, 6 l Estudio No. 13 Schwertberger, Gerald Carcassi, Matteo Latin America DOB 25 études mélodiques et progressives, op. 60 TEC l Bossa Nova Etude l Étude (no. 5) Sor, Fernando Coste, Napoléon 12 études, op. 6 25 études de genre, op. 38 CHN u 1re étude u Étude (no. 1) 24 exercises très faciles, op. 35 Cruz, Mark Anthony u Exercice 17 u Exercice 22 Contrapuntal Études CLE l no. 2 Sytchev, Mikhail Ferrer, José Aquarelles DOZ u After the Rain Colección 4a de ejercicios (no. 3) l Estudio (ed. Simon Wynberg, in Charme de la nuit Tárrega, Francisco FAB) l Prelude in A Major (no. 9 in 30 Preludios originales Gagnon, Claude RIC; no. 35 in Opere per chitarra, 1 BEB; no. 54 in 12 préludes en forme d’études DOM Tárrega: Complete Guitar Works DOZ) u u Prélude No. 7 Etude in E Major

41 CONTENTS LEVEL Level 6 Technical Tests The examiner will choose a representative sampling of items on the technical tests list. The examiner may request diatonic, chromatic, and tremolando scales in either free stroke or rest stroke, using im/mi, ma/am, or ia/ai right-hand finger combinations. Scales and arpeggio patterns must be played from memory, ascending and descending. Each diatonic and tremolando scale is to be followed by a I–IV–V–I chord progression. Students must follow the fingering given in Classical Guitar Series, 2018 Edition: Technique. Keys Note Values Range Tempo Scales C minor (harmonic)

B major

G minor (melodic) F major

Diatonic D minor (melodic) 2 octaves = 76 F major

D minor (harmonic)

G minor (harmonic)

G minor (melodic)

Chromatic Starting on D 2 octaves

E major

C minor (melodic)

G minor (harmonic) Tremolando 2 octaves = 88 D minor (harmonic)

D minor (melodic)

B major

Slur D major 1 octave = 56 C major In 3rds and 6ths A minor (harmonic) 1 octave = 69 Arpeggio Patterns 1. p–i–m–i pattern or p–i–a–m pattern = 88 2. p–m–i–m pattern or p–a–i–m pattern 3. ascending and descending sextuplet pattern = 56 4. descending and ascending sextuplet pattern 5. p–a–m–i tremolo pattern = 88 6. p–i–m–i–p–i pattern = 56 7. p–m–i–m–p–i pattern 8. p–a dyad–m–i triplet pattern 9. p–i dyad–m–a triplet pattern = 84 10. p–m dyad–i–a triplet pattern 11. p–i dyad–a–m triplet pattern 42 CONTENTS LEVEL Level 6 Musicianship Playback Students will be asked to play back on the guitar a melody based on Please see “Musicianship” on p. 10 and “Appendix B” on p. 81 for the complete scale (from tonic to tonic or dominant to dominant). important information regarding this section of the examination. The examiner will identify the key and time signature, play the tonic chord once, and play the melody three times. Ear Tests • Before the first playing, the examiner will count one measure. Intervals • After the second playing, the student will clap the rhythm or Students will be asked to identify any of the following intervals. sing the melody. The examiner will play each interval in melodic form (ascending • After the third playing, the student will play the melody. or descending) followed by harmonic form once. Beginning Note Keys Time Approximate OR Signatures Length Students may choose to sing or hum any of the following intervals tonic, mediant, G, E major (ascending or descending). The examiner will play the first note dominant, upper up to nine notes G, E minor once. tonic Intervals (ascending or descending) minor 2nd, major 2nd Sight Reading minor 3rd, major 3rd Rhythm perfect 4th For a given melody, students will be asked to: perfect 5th • Tap a steady beat with their hand or foot for one measure. minor 6th, major 6th • Continue tapping while speaking, tapping, or clapping the perfect octave given rhythm. A steady pulse and metric accentuation are expected. Chords Time Signatures Approximate Length Students will be asked to identify the quality of the following chords after the examiner has played the chord in solid/blocked four measures form, close position once. Playing Chords Position Students will be asked to play a passage of music comparable to major and minor triads root position Level 3 repertoire. dominant 7th (major–minor 7th) root position Keys Time Signatures Approximate diminished 7th root position Length major and minor keys, up Chord Progressions eight measures to three sharps or flats Students will be asked to identify chord progressions in major or minor keys as listed below, after the examiner has played the progression twice. The bass line will ascend from the tonic. Major Minor I–IV–I i–iv–i I–V–I i–V–i

43 CONTENTS Level 7

Level 7 Requirements Marks Farnaby, Giles l A Toy (in Farnaby: Five Pieces OTT) Repertoire 60 Ferrabosco, Alfonso II one selection from List A 15 (1) Lessons for 1, 2, and 3 Viols one selection from List B 15 (1) l Coranto (no. 30) and Prelude (no. 65) (transc. Robert one selection from List C 15 (1) Callaghan DOZ) one selection from List D 15 (1) Francesco (Canova) da Milano Technical Requirements 20 Intabolatura di liuto Etudes: two etudes from the Syllabus List 10 u Ricercare XVI Technical Tests 10 Giovanni Maria da Crema Musicianship Intabolatura de lauto, libro primo l Ear Tests 10 Ricercar No. 2 (in Antologia di musica antica, 2 ZRB) Intervals 2 Milán, Luis Chords 2 El maestro Chord Progressions 2 u Pavan I and Pavan VI (arr. Jeffrey McFadden JMF) Playback 4 l Pavan II and Pavan IV (ed. Ruggero Chiesa, in Sei Sight Reading 10 pavane ZRB) Rhythm 3 Mudarra, Alonso Playing 7 Tres libros de música en cifras para vihuela, 1 Total possible marks (pass = 60) 100 u Fantasía 1 (transc. Frank Koonce in The Renaissance Vihuela and Guitar in Sixteenth-Century Spain MEL) Theory Examination Corequisite Level 7 Theory Narváez, Luys de Los seys libros del delphín, 3 The figures in parentheses in the repertoire section indicate u Canción del Emperador (arr. Jeffrey McFadden JMF) the marks that will be deducted for any selections that are not Los seys libros del delphín, 6 memorized. u Diferencias sobre “Guárdame las vacas” (arr. Jeffrey McFadden JMF) Sermisy, Claudin de Repertoire Chansons nouvelles Please see “Repertoire” on p. 8 for important information regarding u Tant que vivray (arr. Jeffrey McFadden, after Pierre this section of the examination. Attaingnant, JMF) Students must prepare four contrasting selections: one from each of List A, List B, List C, and List D. Repertoire selections must be List B memorized. Marks will be deducted for any repertoire selections Baroque and Baroque-style Repertoire not performed by memory. Bullets used to denote selections for examination purposes: Ablóniz, Miguel l one selection Partita in E Major RIC u selection is found in Classical Guitar Series, 2018 Edition: l Preludio and Gavotta Repertoire and Etudes 7 Bach, Johann Sebastian u Prelude, BWV 999 List A Partita for Solo Violin No. 1, BWV 1002 Renaissance Repertoire u Sarabande (arr. Norbert Kraft KFT) Suite for Solo Cello No. 1, BWV 1007 (arr. Jeffrey Dalza, Joan Ambrosio McFadden JMF) u Menuet I and Menuet II l Fantasia (ed. Emilio Pujol ESC) Suite for Solo Cello No. 3, BWV 1009 (arr. Jeffrey Dowland, John McFadden JMF) u My Lady Hunsdon’s Allemande, Poulton 54 u Bourrée I and Bourrée II

44 CONTENTS LEVEL Level 7 Baron, Ernst Gottlieb List C l Gigue (no. 7 in Music for Solo Guitar, 1 DOM) Classical and Romantic Repertoire Handel, George Frideric Eight Aylesford Pieces OTT Carcassi, Matteo l Fughette and Air Etrennes aux amateurs, op. 8 Kellner, David l Tempo di valse (no. 44 in Carcassi-Brevier, 3 OTT) l Campanella (transc. Peter Danner, in Lute Music of Chopin, Frédéric David Kellner BEL) l Mazurka, op. 7, no. 1 (arr. Stephen Aron, in The l Gigue (in Europäische Gitarren- und Lautenmusik, 2 Complete Chopin Mazurkas MEL) RIC) l Mazurka, op. 24, no. 3 (arr. Stephen Aron, in The Murcia, Santiago de Complete Chopin Mazurkas MEL) Passacalles y obras de guitarra Coste, Napoléon Suite in D Minor u Berceuse u 1st movement: Preludio y allegro (transc. Frank Koonce in The Baroque Guitar in Spain and The New Coste, Napoléon, arr. World MEL) Le livre d’or du guitariste, op. 52 l J’ai perdu mon Eurydice, from Orphée et Eurydice by Purcell, Henry Christoph Willibald Gluck l Rondo (in Purcell: Three Pieces OTT) Diabelli, Anton Roncalli, Ludovico Sonata in A Major, op. 29, no. 2 OTT Suite in D Minor l 2nd movement: Adagio l 1st movement: Preludio and 3rd movement: Gigua Giuliani, Mauro Santórsola, Guido Le papillon, op. 50 Three Airs of Court CLM u Allegro (no. 26) l Aria Sonata, op. 96, no. 3 Sanz, Gaspar l Andantino Instrucción de música sobre la guitarra española, 1 Les variétés amusantes, op. 43 u Canarios (arr. Jeffrey McFadden JMF) l Allegro (no. 10) Scarlatti, Domenico Grieg, Edvard l Sonata, K 11 (ed. Carlos Barbosa-Lima, in Nine l Chant du paysan (arr. John Mills, in Classical Montage Sonatas, 2 CLM) WAT) l Sonata, K 431 (ed. Carlos Barbosa-Lima, in Nine l Valse, op. 12, no. 2 (arr. John Mills, in Classical Sonatas, 2 CLM) Montage WAT) Visée, Robert de Legnani, Luigi Suite in G Minor UNI 36 Caprices, op. 20 l two of: Prelude, Sarabande, Menuet u Caprice (no. 28) Weiss, Silvius Leopold Llobet, Miguel, arr. l Aria (in Europäische Gitarren- und Lautenmusik, 2 Ten Catalan Folk Songs UNM RIC) l Cançó del lladre Sonata No. 13 in D Minor (no. 9 in Intavolatura di liuto, 1 l El nit de natal ZRB) l El noy de la mare l Courante (ed. Ehrengard Skiera, no. 7 in Weiss: Eleven l Plany Pieces RIC) u El testament d’Amelia Sonata No. 27 in C Minor (no. 23 in Intavolatura di liuto, Mozzani, Luigi 1 ZRB) u Mazurka (in Gitarristische Vereinigung 9, no. 4) l Rigaudon (ed. Ehrengard Skiera, no. 10 in Weiss: Eleven Pieces RIC) Mussorgsky, Modest l The Old Castle (arr. John Mills, in Classical Montage WAT) Schumann, Robert l Romanza (arr. Andrés Segovia in Album of Guitar Solos CLM)

45 CONTENTS LEVEL Level 7 Sor, Fernando Brown, James 2 thèmes variés et 12 menuets, op. 11 Four Original Guitar Works JMB l two of nos. 1, 5, 7, 8 (in 20 Selected Minuets OTT) l A Short Homage to Leo Brouwer Huit petites pièces, op. 24 Three Folk Studies JMB l Minuet (no. 1) (in 20 Selected Minuets OTT) l Folk Psalm Six petites pièces progressives , op. 47 Buczynski, Walter l Allegretto (no. 2) Four Corners of Gregory CMC u Allegretto (no. 4) l The Solitary Tree (Willow) Strauss I, Johann Camilleri, Charles Auswahl der beliebsten Tänze von Johann Strauss, 1 (arr. Four African Sketches CRA Johann Kaspar Mertz) l African Rondo (no. 4) u Waltz No. 1 and Waltz No. 2 Cardoso, Jorge Tárrega, Francisco 24 piezas sudamericanas UNM u Pavana u Vals venezolano (no. 4) u Vals en re Castelnuovo-Tedesco, Mario Verdi, Giuseppe Appunti, op. 210, 1 ZRB l La donna è mobile, from Rigoletto (arr. Jeffrey l Serentella (no. 8) McFadden JMF) Dyens, Roland List D Les 100 de Roland Dyens, 1 DOZ u Rue La Quintinie 20th- and 21st-century Repertoire Falla, Manuel de l Récit du pêcheur (ed. Emilio Pujol, in Falla: Two Assad, Sérgio Pieces CHS) u Potrero Hill SER Gagnon, Claude Ayala, Héctor l Élégie (no. 12 in Music for Solo Guitar, 2 DOM) Serie americana STO u Guarania (no. 3) Harris, Albert Sonatina CLM Barrios, Agustín l Aria l Gavota al estilo antiguo (ed. Richard Stover, in Suite of Seven Pieces CLM Barrios: Complete Works, 1 MEL) l two pieces Benedict, Robert Haug, Hans Divertimenti WAT l Alba (rev. Angelo Gilardino BEB) l Scherzo (no. 1) Iannarelli, Simone Bennett, Richard Rodney Italian Coffee GSP Impromptus UNI l Moka Serenade (no. 1) l Arioso (no. 5) Katz, Brian Blynton, Carey l You Too ECH In Memoriam Django Reinhardt, op. 64a BEB l Django Reinhardt’s Stomp Lauro, Antonio l El marabino B&V Brouwer, Leo Quatro valses venezolanos l (arr. Alirio Diaz B&V) Un dia de novembre DOM l Vals venezolano No. 1 Dos aires populares cubanos ESC l Guajira criolla Martin, Frank Dos temas populares cubanos ESC Quatre pièces brèves (ed. Karl Scheit UNI) l Berceuse (Canción de cuna) l Air Preludios epigramáticos ESC; EMT McGuire, James l Preludio No. 2 (Tristes hombres si no mueren Six Suites in Popular Style DOZ de amores) l Suite No. 3 in Popular Style Preludio No. 4 (Rié, que todo rié: que todo es u 2nd movement: Alla burlesca madre leve) 25 Miniatures for Guitar JAM l no. 1 and no. 24 l no. 25 46 CONTENTS LEVEL Level 7 Moreno Torroba, Federico Technical Requirements Aires de la Mancha OTT l La pastora Please see “Technical Requirements” on p. 10 and “Appendix A” on p. 80 for important information regarding this section of the Piorkowski, James examination. Sentient Preludes CLE l Prelude No. 4 Ponce, Manuel Etudes Tres canciones populares mexicanas OTT Students must prepare two technically contrasting etudes by l Allegro different composers from the following list. Pujol, Máximo Diego Bullets used to denote selections for examination purposes: Cinco preludios UNI l one selection u Candombe en mi u selection is found in Classical Guitar Series, 2018 Edition: l Preludio Tristón Repertoire and Etudes 7 Rebay, Ferdinand Barrios, Agustín Zwei kleine Lieder ohne Worte (rev. J. Gaitzsch PHI) l Estudio del ligado (ed. Richard Stover, in Barrios: u Song without Words No. 1 and Song without Words Complete Works, 1 MEL) No. 2 l Estudio en arpegio (ed. Richard Stover, in Barrios: Satie, Eric Complete Works, 1 MEL) l Gymnopédie No. 1 (arr. Christopher Parkening, in u Estudio inconcluso Virtuoso Music for Guitar SBR) Benedict, Robert Sealey, Ray Fughettas for Guitar WAT l New York WAT l Chromatic Fughetta No. 1 l Chromatic Fughetta No. 2 Smith Brindle, Reginald l Fughetta No. 3 l Fuego fatuo OTT l Nocturne OTT Blum, Carl Etruscan Preludes OTT Studien für die Gitarre, op. 44 u Prelude No. 2 and Prelude No. 3 u Allegro (no. 11) Tansman, Alexandre Brouwer, Leo Cavatina OTT Estudios sencillos (Études simples) ESC u 2nd movement: Sarabande l Estudio No. 16 Suite in modo polonico ESC l Estudio No. 17 l Alla polacca (no. 7) Carcassi, Matteo l Tempo de polonaise (no. 4) 25 études mélodiques et progressives, op. 60 TEC Tisserand, Thierry l Andantino (no. 21) l Prélude (in La guitare dans tous ses états, 6 DOZ) u Étude (no. 19) Villa-Lobos, Heitor Castelnuovo-Tedesco, Mario Cinq préludes ESC Appunti, op. 210, 1 ZRB l Prélude No. 3 l Canto di mietitori (sulle terze) (no. 4) Suite populaire brésilienne ESC Chiereghin, Sergio l 1st movement: Mazurka-choro Sotto tenero verde (ed. Pino Briasco ZAN) Walton, William l Preludio Five Bagatelles (ed. Julian Bream OUP) Coste, Napoléon u Bagatelle No. 2 25 études de genre, op. 38 CHN Weinzweig, John l one of nos. 2, 5, 6 Contrasts CMC Dodgson, Stephen, and Hector Quine l no. 6 Studies for Guitar, 1 RIC Zohn, Andrew l Prelude (no. 1) Three Contrapuntal Sketches DOZ Gagnon, Claude l Rotation 12 préludes en forme d’études DOB l Prélude No. 8

47 CONTENTS LEVEL Level 7 Garcia, Gerald Hand, Frederic 25 Etudes Esquisses for Guitar GAR Five Studies for Solo Guitar SCH l Etude 21 u Study No. 1 u Etude 22 Iannarelli, Simone Gaudreau, David Cinq études faciles, ou presque... DOZ l Un matin d’automne (in La guitare dans tous ses états, l Scherzando (no. 3) 6 DOZ) 12 studi EMS l Albertone Giuliani, Mauro (no. 5) Études instructives, faciles et agréables, op. 100 Presti, Ida u Caprice (no. 11) Six études ESC Le papillon, op. 50 l Étude No. 3 l Andantino grazioso (no. 25) (ed. Ruggero Chiesa, Sagreras, Julio no. 56 in Studi per chitarra ZRB) Quintas lecciones de guitarra RIC Selected Studies, op. 111 OTT l one of nos. 15, 19, 26, 30, 39, 40 l Grazioso (no. 3) (ed. Ruggero Chiesa, no. 60 in Studi per chitarra ZRB) Sor, Fernando 24 esercizio per la chitarra, op. 48 12 études, op. 6 l Maestoso (no. 13) (ed. Ruggero Chiesa, no. 55 in u 8e étude Studi per chitarra ZRB) 24 exercises très faciles, op. 35 l Allegro (no. 5) (ed. Ruggero Chiesa, no. 50 in l no. 6 or no. 21 Studi per chitarra ZRB) 24 leçons progressives, op. 31 l Allegretto (no. 6) (ed. Ruggero Chiesa, no. 51 in u Leçon 20 Studi per chitarra ZRB) Tárrega, Francisco 24 prime lezioni progressive, op. 139 l Prelude in A Minor (arr. of op. 99, no. 5 by Robert l Allegretto (no. 6) (ed. Ruggero Chiesa, no. 54 in Schumann) (no. 28 in 30 Preludios originales RIC; no. Studi per chitarra ZRB) 16 in Opere per chitarra, 2 BEB) l Andantino (no. 5) (ed. Ruggero Chiesa, no. 48 in l Prelude in B Minor (no. 6 in 30 Preludios originales Studi per chitarra ZRB) RIC; no. 32 in Opere per chitarra, 1 BEB; no. 48 in Tárrega: Complete Guitar Works DOZ)

48 CONTENTS LEVEL Level 7 Technical Tests The examiner will choose a representative sampling of items on the technical tests list. The examiner may request diatonic, chromatic, and tremolando scales in either free stroke or rest stroke, using im/mi, ma/am, or ia/ai right-hand finger combinations. Scales and arpeggio patterns must be played from memory, ascending and descending. Each diatonic and tremolando scale is to be followed by a I–IV–V–I chord progression. Students must follow the fingering given in Classical Guitar Series, 2018 Edition: Technique. Keys Note Values Range Tempo Scales G major

E minor (harmonic and melodic) 3 octaves E major

C minor (harmonic)

C minor (melodic) Diatonic F major = 84 D minor (melodic) 2 octaves

A major

F minor (harmonic)

D major

Chromatic Starting on A 3 octaves

D minor (harmonic)

F minor (melodic) Tremolando 2 octaves = 96 B minor (harmonic)

B minor (melodic)

Slur G major 1 octave = 80 G major In 3rds and 6ths 1 octave E minor (harmonic) = 80 Arpeggio Patterns 1. ascending and descending sextuplet pattern 2. descending and ascending sextuplet pattern = 60 3. p–i–m–i–p–i pattern 4. p–m–i–m–p–i pattern 5. p–a–m–i tremolo pattern = 96 6. p–i–m–i–a–i alternation = 60 7. p–i–a–i–m–i alternation 8. p–i–m crossing pattern 9. m–i–p crossing pattern = 120 10. p–m–i crossing pattern 11. p–a dyad–i–m–i pattern = 84 12. p–a dyad–m–i–m pattern 49 CONTENTS LEVEL Level 7 Musicianship Playback Students will be asked to play back on the guitar a melody based on Please see “Musicianship” on p. 10 and “Appendix B” on p. 81 for the complete scale (from tonic to tonic or dominant to dominant). important information regarding this section of the examination. The examiner will identify the key and time signature, play the tonic chord once, and play the melody three times. Ear Tests • Before the first playing, the examiner will count one measure. Intervals • After the second playing, the student will clap the rhythm or Students will be asked to identify any of the following intervals. sing the melody. The examiner will play each interval in melodic form (ascending • After the third playing, the student will play the melody. or descending) followed by harmonic form once. Beginning Note Keys Time Approximate OR Signatures Length Students may choose to sing or hum any of the following intervals tonic, mediant, D, F major up to ten (ascending or descending). The examiner will play the first note once. dominant, upper tonic D, F minor notes Intervals (ascending or descending) minor 2nd, major 2nd Sight Reading minor 3rd, major 3rd Rhythm perfect 4th For a given melody, students will be asked to: perfect 5th • Tap a steady beat with their hand or foot for one measure. minor 6th, major 6th • Continue tapping while speaking, tapping, or clapping the minor 7th, major 7th given rhythm. perfect octave A steady pulse and metric accentuation are expected. Time Signatures Approximate Length Chords four measures Students will be asked to identify the quality of the following chords after the examiner has played the chord in solid/blocked form, close position once. Playing Students will be asked to play a short composition comparable to Chords Position Level 4 repertoire. major, minor, and augmented triads root position Keys Time Signatures Approximate dominant 7th (major–minor 7th) root position Length diminished 7th root position major and minor keys, up eight to twelve to three sharps or flats measures Chord Progressions Students will be asked to identify chord progressions in major or minor keys as listed below, after the examiner has played the progression twice. The bass line will ascend from the tonic. Major Minor I–IV–I i–iv–i I–V–I i–V–i I–IV–V i–iv–V

50 CONTENTS Level 8

Level 8 Requirements Marks Dowland, John u Can She Excuse, Poulton 42 (arr. Jeffrey McFadden Repertoire 60 JMF) one selection from List A 15 (1) u The Frog Galliard, Poulton 23 (ed. Thomas Königs) one selection from List B 15 (1) u Melancholy Galliard, Poulton 25 (arr. Robert one selection from List C 15 (1) Hamilton HLT) one selection from List D 15 (1) u Queene Elizabeth, Her Galliard, Poulton 41 (arr. Jeffrey McFadden JMF) Technical Requirements 20 Hove, Joachim van den Etudes: two etudes from the Syllabus List 10 l Praeludium (in Europäische Gitarren- und Technical Tests 10 Lautenmusik, 6 RIC) Musicianship Milán, Luis Ear Tests 10 El maestro Intervals 2 l Fantasia del quarto tono (in Europäische Gitarren- Chords 2 und Lautenmusik, 5 RIC) Chord Progressions 2 l Fantasia No. 10 (arr. Jeffrey McFadden JMF) Playback 4 l Fantasia No. 26 (ed. Alexander Bellow FCO) Sight Reading 10 Molinaro, Simone Rhythm 3 Intavolatura di liuto, 1 Playing 7 u Fantasia No. 1 (ed. Gilbert Biberian PET) Total possible marks (pass = 60) 100 Mudarra, Alonso Theory Examination Corequisite l Diferencias sobre “Conde Claros” (in Hispanae Level 8 Theory Citharae Ars Viva OTT) l Romanesca I, “Guárdame las vacas” OTT The figures in parentheses in the repertoire section indicate Sweelinck, Jan Pieterszoon the marks that will be deducted for any selections that are not l Fantasia (in Europäische Gitarren- und Lautenmusik, 6 memorized. RIC)

Repertoire List B Please see “Repertoire” on p. 8 for important information regarding Baroque and Baroque-style Repertoire this section of the examination. Students must prepare four contrasting selections: one from each Bach, Johann Sebastian of List A, List B, List C, and List D. Repertoire selections must be Sonata for Solo Violin No. 1, BWV 1001 (arr. John Duarte memorized. Marks will be deducted for any repertoire selections NOV) not performed by memory. l Siciliana Bullets used to denote selections for examination purposes: Sonata for Solo Violin No. 2, BWV 1003 (arr. Carlos l one selection Barbosa-Lima CLM) l Andante u selection is found in Classical Guitar Series, 2018 Edition: Repertoire and Etudes 8 Suite for Lute, BWV 996 u Allemande l Sarabande List A Suite for Lute, BWV 997 Renaissance Repertoire l Sarabande Suite for Lute, BWV 1006a (ed. Frank Koonce KJO) l Minuet I and Minuet II Besard, Jean-Baptiste Suite for Solo Cello No. 1, BWV 1007 (arr. Jeffrey Scelta di brani, 2 RIC l Bergamasco McFadden JMF) u Prelude Byrd, William Suite for Solo Cello No. 3, BWV 1009 (arr. Jeffrey l Fantasia (ed. Alexander Bellow FCO) McFadden JMF) u Gigue 51 CONTENTS LEVEL Level 8 Cimarosa, Domenico Diabelli, Anton l Sonata No. 1 and Sonata No. 3 (arr. Julian Bream, in Sonata in F Major Cimarosa: Three Sonatas FAB) l Andante sostenuto (arr. Julian Bream in The Classical Guitar Collection Froberger, Johann Jakob FAB) l Giga (ed. Ruggero Chiesa, in I bis del concertista, 2 Giuliani, Mauro ZRB) l Rondo, op. 8, no. 2 OTT l Rondo Pachelbel, Johann , op. 17, no. 1 OTT Giulianate, op. 148 (ed. Ruggero Chiesa ZRB) l Canon in D Major (arr. Jeffrey McFadden DOZ) l one of nos. 2, 3, 4, 5, 6, 7 Ponce, Manuel Sonata, op. 15 ZRB; UNI Suite (ed. Manuel Lopez-Ramos PER) l 2nd movement: Adagio l Courante Giuliani, Mauro, arr. l Gavotte I and Gavotte II Sei arie nazionale irlandesi, op. 125 Scarlatti, Domenico l The Last Rose of Summer (no. 2) u Sonata in A Major, K 208 (arr. Jeffrey McFadden Sei arie nazionale scozzesi, WoO JMF) l The Soldier’s Return (no. 1) u Sonata in A Major, K 322 (arr. Jeffrey McFadden Grieg, Edvard JMF) l Melody, op. 38, no. 3 (ed. Andrés Segovia, in Album Visée, Robert de of Guitar Solos CLM) l Le tombeau de François Corbetta (ed. Emilio Pujol Haydn, Franz Joseph ESC) l Menuett, from Quartet in G Major, Hob. III:75 (arr. Suite in D Minor (ed. Paolo Paolini RIC) Andrés Segovia OTT) l three of: Prelude, Allemande, Courante, Gavotte, Gigue Horecki, Feliks u Rondeau Weiss, Silvius Leopold , op. 11 Suite in D Major (in Europäische Gitarren- und Legnani, Luigi Lautenmusik, 6 RIC) 36 Caprices, op. 20 l Prelude and Allemande u Caprice (no. 2) Intavolatura di liuto Sonata No. 12 in A Major (no. 8 in , 1 Mozart, Wolfgang Amadeus ZRB) Larghetto and Allegro (arr. Julian Bream in The Classical l Courante (arr. Carlos Barbosa-Lima, in Weiss: Six Lute Guitar Collection FAB) Pieces, 2 CLM) l Larghetto l Allegro List C Paganini, Nicolò Classical and Romantic Repertoire Grand Sonata for Guitar and Violin, MS 3 u 2nd movement: Romance (arr. Norbert Kraft KFT) Aguado, Dionisio Schubert, Franz l Andante I (in Aguado-Brevier OTT) Schwanengesang, D 957 l Menuett I (in Aguado-Brevier OTT) u Das Fischermädchen (arr. Johann Kaspar Mertz in l Menuett II (in Aguado-Brevier OTT) Schubert’sche Lieder für die Guitare) l Menuett III (in Aguado-Brevier OTT) Schumann, Robert Albert, Heinrich Kindersonaten, op. 118 (arr. Julian Bream FAB) u Sonatine No. 1 (in Gitarristische Vereinigung 17, l Sonata No. 1 no. 1) l Sonata No. 2 Carulli, Ferdinando l Sonata No. 3 l Sonata I (in Drei Sonaten OTT) Sor, Fernando l Sonata II (in Drei Sonaten OTT) l Fantasia, op. 4 OUP l Sonata III (in Drei Sonaten OTT) 2 thèmes variés et 12 menuets, op. 11 Sei andanti, op. 320 (ed. Ruggero Chiesa ZRB) l Minuet No. 6 and Minuet No. 10 (in Sor: 20 Selected l no. 1 no. 2 or Minuets OTT) Chopin, Frédéric Fantasia, op. 7 (ed. Hector Quine OUP) l Mazurka, op. 24, no. 1 (arr. Stephen Aron, in The l 1st movement Complete Chopin Mazurkas MEL) 52 CONTENTS LEVEL Level 8 Sor, Fernando (continued) Chiereghin, Sergio Fantaisie élégiaque à la mort de Madame Beslay, op. 59 Sotto tenero verde (ed. Pino Briasco ZAN) l Marche funèbre l Danza Six petites pièces très faciles , op. 5 Debussy, Claude l Andante largo (no. 5) l The Little Shepherd (arr. Christopher Parkening, in Tárrega, Francisco Virtuoso Music for Guitar SBR) l La alborada The (Cajita de música) (ed. Paul Henry, in Demillac, Yvon Francisco Tárrega Collection HAL) l Pierrot et Margot (in La guitare dans tous ses états, 6 u Marieta (Mazurka) DOZ) l Mazurca en sol (in Tárrega: Opere per chitarra, 3 BEB) l Prelude in E Major (no. 4 in 30 Preludios originales Dodgson, Stephen RIC; no. 30 in Opere per chitarra, 1 BEB; no. 57 in Partita I for Guitar OUP Tárrega: Complete Guitar Works DOZ) l Adagio Duarte, John W. List D English Suite, op. 31 NOV u 1st movement: Prelude 20th- and 21st-century Repertoire l 2nd movement: Folk Song l 3rd movement: Round Dance Barrios, Agustín Sonatinette, op. 35 NOV u Julia Florida (Barcarola) l two movements l Oración por todos (ed. Richard Stover, in Barrios: Hand, Frederic Complete Works, 2 MEL) Homage for Guitar BEL u Vals de la primavera u Elegy for a King u Villancico de Navidad La catedral (ed. Richard Stover, in Barrios: Complete Works, Haug, Hans 1 MEL) l Preludio BEB u 1st movement: Preludio saudade Iannarelli, Simone Benedict, Robert Italian Coffee GSP Fughettas for Guitar WAT l Tarde de Lluvia con Cafe (no. 7) l Old Fugue (no. 10) Kováts, Barna Bogdanović, Dušan Minutenstücke OTT Six Balkan Miniatures DOM l three of Andantino, Leggiero, Molto legando, u Žalopojka (Lament) (no. 2) and Jutarnje kolo Moderato, Un poco agitato, Non troppo allegro, (Morning Dance) (no. 1) Tranquillamente scorrendo, Vivo, Ritmico Brouwer, Leo Lauro, Antonio l Danza característica OTT Quatro valses venezolanos (arr. Alirio Diaz B&V) Dos aires populares cubanos ESC l Vals venezolano No. 2 l Guajira and Zapateo McGuire, James Trois pièces latino-américaines ESC Six Suites in Popular Style DOZ l Danza del altiplano Suite No. 2 in Popular Style Brown, James l Intermezzo and Dance Three Folk Studies JMB Merlin, José Luis l The Home Fields Suite del recuerdo TUS Burle Marx, Walter l 2nd movement: Zamba Violeiros de Guaratiba (in The complete Works of Burle l 4th movement: Carnavalito Marx CLE) u 5th movement: Joropo l Festa (no. 1) Mompou, Federico Castelnuovo-Tedesco, Mario Suite compostellana SAL Appunti, op. 210, 1 ZRB l Cuna l Valse française (no. 14) l Canción Platero y yo, op. 190, 4 (ed. Angelo Gilardino BEB) l A Platero en el cielo de Moguer (no. 28)

53 CONTENTS LEVEL Level 8 Moreno Torroba, Federico Villa-Lobos, Heitor l Rumor de copla and Aire vasco (nos. 3 and 4 in Cinq préludes ESC Album Moreno-Torroba, 2) l Prélude No. 1 l Sereneta burlesca OTT Weinzweig, John Pièces charactéristiques, 1 OTT l Albada Contrasts CMC l no. 2 l Los mayos Sonatina (ed. Andrés Segovia CLM) Zohn, Andrew u 2nd movement: Andante Five Easy Pieces DOZ Suite castellana OTT l Simple Sequence, 13 Notes, and Rumba l Arada Suite of Miniatures DOZ l Vals venezolano and Ritmico Myers, Stanley (no. 3) (no. 5) l Cavatina, from The Deer Hunter (arr. John Williams ROB) Technical Requirements Ourkouzounov, Antanas Please see “Technical Requirements” on p. 10 and “Appendix A” Children’s Diary DOM on p. 80 for important information regarding this section of the l III: Allegro vivace examination. Pernambuco, João (Teixeira Guimarães) l Sons de carrilhões Etudes Petit, Raymond Students must prepare two technically contrasting etudes by l Nocturne ESC different composers from the following list. Ponce, Manuel Bullets used to denote selections for examination purposes: l Scherzino mexicano (ed. Manuel Lopes-Ramos PER) l one selection l Valse OTT u selection is found in Classical Guitar Series, 2018 Edition: Sonata clásica OTT Repertoire and Etudes 8 l Andante l Menuet and Trio Barrios, Agustín Sonata III (rev. Andrés Segovia OTT) u Arabescos (Estudio No. 4) u Chanson Brouwer, Leo Tres canciones populares mexicanas OTT Estudios sencillos (Études simples) ESC l Andante (“Por ti mi corazón”) and Allegro l Estudio No. 18 (“Valentina”) l Estudio No. 20 Preludes OTT l Prelude No. 1 and Prelude No. 17 Carbajo, Roque l Prelude No. 7 and Prelude No. 8 Aquarelles de l’Amérique latine DOZ l Prelude No. 11 and Prelude No. 12 u Seresta (in La guitare dans tous ses états, 6 DOZ) Roux, Patrick Carcassi, Matteo l D’un ciel à l’autre DOZ 25 études mélodiques et progressives, op. 60 TEC u Allegro (no. 23) Sainz de la Maza, Regino l El vito UME Castelnuovo-Tedesco, Mario Appunti, op. 210, 1 ZRB Sardinha, Aníbal Augusto (“Garoto”) l Bolle di sapone (sulle seconde) (no. 3) u Voltarei (arr. Paulo Bellinati, in The Guitar Works of Garoto, 1 GSP) Chiereghin, Sergio Invenzione leid e studio ZAN Smith Brindle, Reginald l Studio l Do Not Go Gentle ZRB Coste, Napoléon Somers, Harry 25 études de genre, op. 38 CHN Sonata for Guitar CAV u Allegretto (no. 13) l Finale Cruz, Mark Anthony Summers, Richard Contrapuntal Études CLE Three Pieces for Guitar SMR l two of nos. 1, 4, 6 u Melancholy Tango

54 CONTENTS LEVEL Level 8 Gnattali, Radamés Rodrigo, Joaquín Ten Studies for Guitar BRZ l Tiento Antiguo B&B l Study No. 1 (Presto possibile) Sagreras, Julio Three Concert Studies for Guitar CHN l Toccata em ritmo de samba Quintas lecciones de guitarra RIC (no. 2) l Lesson 24 Hand, Frederic Sor, Fernando Five Studies for Solo Guitar SCH 12 études, op. 6 u Study No. 5 u 11e étude Kleynjans, Francis 24 exercises très faciles, op. 35 Impromptu et berceuse, op. 68 MRG u Exercice 16 l Berceuse 24 leçons progressives, op. 31 (ed. Brian Jeffery TEC) Aubade DOZ l Lesson (no. 19) u Air de milonga Summers, Richard Presti, Ida Five Pieces for Guitar SMR Six études ESC u Water Wheel l Étude No. 1 Tárrega, Francisco Pujol, Emilio l Prelude in A Major (no. 29 in 30 Preludios originales l El abejorro RIC RIC) Regondi, Giulio Villa-Lobos, Heitor Ten Etudes EOP 11 études ESC l Etude No. 1 l Étude No. 8

Technical Tests The examiner will choose a representative sampling of items on the technical tests list. The examiner may request diatonic, chromatic, and tremolando scales in either free stroke or rest stroke, using im/mi, ma/am, or ia/ai right-hand finger combinations. Scales and arpeggio patterns must be played from memory, ascending and descending. Each diatonic and tremolando scale is to be followed by a I–IV–V–I chord progression. Students must follow the fingering given in Classical Guitar Series, 2018 Edition: Technique.

Keys Note Values Range Tempo Scales C minor (harmonic)

C minor (melodic) 2 octaves G minor (harmonic)

G minor (melodic)

F major im/mi, ia/ai Diatonic B major = 96

G minor (harmonic) ma/am = 88 G minor (melodic) 3 octaves

A major

F minor (harmonic)

F minor (melodic)

Chromatic Starting on A 3 octaves (Continued on next page.) 55 CONTENTS LEVEL Level 8

Keys Note Values Range Tempo Scales (continued) E major im/mi, ia/ai B major = 108 Tremolando 2 octaves D minor (harmonic) ma/am = 100 D minor (melodic)

Slur C, A major 1 octave = 100 F major In 3rds and 6ths 2 octaves D minor (harmonic) = 88 Arpeggio Patterns 1. p–a–m–i tremolo pattern = 108 2. p–i–m–i–p–i pattern = 66 3. p–m–i–m–p–i pattern 4. p–i–m crossing pattern 5. m–i–p crossing pattern = 132 6. p–m–i crossing pattern 7. p–i–m–i–a–i alternation pattern 8. p–i–a–i–m–i alternation pattern = 66 9. p–a–m–a–m–i sextuplet pattern 10. low–high pattern 11. descending and ascending pattern = 92 12. two-phase pattern

Musicianship Please see “Musicianship” on p. 10 and “Appendix B” on p. 81 for Intervals (ascending or descending) important information regarding this section of the examination. minor 2nd, major 2nd Ear Tests minor 3rd, major 3rd perfect 4th Intervals augmented 4th/diminished 5th Students will be asked to identify any of the following intervals. perfect 5th The examiner will play each interval in melodic form (ascending or descending) followed by harmonic form once. minor 6th, major 6th OR minor 7th, major 7th Students may choose to sing or hum any of the following intervals perfect octave (ascending or descending). The examiner will play the first note once.

56 CONTENTS LEVEL Level 8 Chords Sight Reading Students will be asked to identify the quality of the following chords after the examiner has played the chord in solid/blocked Rhythm form, close position once on either the guitar or the piano. For a given melody, students will be asked to: Chords Position • Tap a steady beat with their hand or foot for one measure. major, minor, and augmented triads root position • Continue tapping while speaking, tapping, or clapping the given rhythm. dominant 7th (major–minor 7th) root position A steady pulse and metric accentuation are expected. diminished 7th root position Time Signatures Approximate Length Chord Progressions four measures Students will be asked to identify each chord in a four-chord progression in a major or minor key as listed below, after the Playing examiner has played the progression twice. In the second playing, the examiner will pause on each chord for the student to identify it. Students will be asked to play a short composition comparable to Level 5 repertoire. Major Minor Keys Time Signatures Approximate Length I–IV–V–I i–iv–V–i major and minor keys, I–IV–V–vi i–iv–V–VI up to four sharps or up to sixteen measures I–vi–IV–V i–VI–iv–V three flats I–vi–IV–I i–VI–iv–i

Playback Students will be asked to play back on the guitar a melody based on the complete scale (from tonic to tonic or dominant to dominant). The examiner will identify the key and time signature, play the tonic chord once, and play the melody three times. • Before the first playing, the examiner will count one measure. • After the second playing, the student will clap the rhythm or sing the melody. • After the third playing, the student will play the melody. Beginning Note Keys Time Approximate Signatures Length tonic, mediant, B , E major up to eleven dominant, upper C, E minor (may include notes tonic an upbeat)

57 CONTENTS Level 9

Level 9 Requirements Marks List A Repertoire 60 Renaissance, Baroque, and Baroque-style one selection from List A 15 (1) Repertoire one selection from List B 15 (1) one selection from List C 15 (1) Albéniz, Mateo one selection from List D 15 (1) l Sonata (ed. John Cochran CLM) Technical Requirements 20 Bach, Johann Sebastian Etudes: two etudes from the Syllabus List 10 Suite for Lute, BWV 995 (ed. Frank Koonce KJO) l Allemande Gigue Technical Tests 10 or l Gavotte I and Gavotte II Musicianship Suite for Lute, BWV 1006a (ed. Frank Koonce KJO) l Ear Tests 10 Loure or Gavotte en rondeau Intervals 2 Suite for Solo Cello No. 3, BWV 1009 (arr. Jeffrey Chords 2 McFadden JMF) l Chord Progressions 2 Prelude Playback 4 Buxtehude, Dietrich Sight Reading 10 Suite in E Minor (arr. Julian Bream in The Classical Guitar Rhythm 3 Collection FAB) Playing 7 l two of Allemande, Courante, Gigue Total possible marks (pass = 60) 100 Cimarosa, Domenico l Theory Examination Corequisites Sonata No. 2 (arr. Julian Bream, in Cimarosa: Three Level 8 Theory Sonatas FAB) l Level 9 Harmony (or Keyboard Harmony) Sonata No. 15 (ed. Alice Artzt CLM) Level 9 History Dowland, John l Fantasia, Poulton 5 The figures in parentheses in the repertoire section indicate l Farewell Fantasia, Poulton 3 the marks that will be deducted for any selections that are not l Lachrimae, Poulton 15 (ed. Dániel Benko, in memorized. Dowland: Dances and Fantasies EMB) l The Right Honourable Lady Rich, Her Galliard, Poulton 43a (ed. John Duarte and Diana Poulton, no. 5 Repertoire in Robert Dowland’s Varietie of Lute Lessons, 5 BEB) Please see “Repertoire” on p. 8 for important information regarding Handel, George Frideric this section of the examination. l Sarabande with Variations, HWV 437/4 (in I bis del Students must prepare four contrasting selections: one from each concertista, 2 ZRB) of List A, List B, List C, and List D. Repertoire selections must be Mudarra, Alonso memorized. Marks will be deducted for any repertoire selections l Fantasia X (ed. Paolo Paolini, in Mudarra: Two not performed by memory. Fantasies, Two Tientos RIC) l Each bulleted item ( ) represents one selection for examination Scarlatti, Domenico purposes. l Sonata in A Major, K 533 (ed. Carlos Barbosa-Lima, in Three Sonatas CLM) Weiss, Silvius Leopold l Ciacona (in A minor, arr. Alice Artzt CLM) l Fantasie (arr. Karl Scheit UNI) l Passacaglia (arr. Karl Scheit UNI) l Tombeau sur la mort de M. Comte de Logy (arr. Karl Scheit UNI) Sonata No. 12 in A Major (no. 8 in Intavolatura di liuto, 1 ZRB) l Chaconne (arr. Carlos Barbosa-Lima, in Weiss: Six Lute Pieces, 2 CLM) 58 CONTENTS LEVEL Level 9 List B Barrios, Agustín (continued) Classical Repertoire Waltzes, op. 8 l Waltz No. 3 (ed. Richard Stover, in Barrios: Complete Works, 2 MEL) Aguado, Dionisio l Waltz No. 4 (ed. Richard Stover, in Barrios: Complete l Andante I and Andante II (in Aguado-Brevier: Selected Works, 2 MEL) Pieces OTT) Carlevaro, Abel Carulli, Ferdinando Preludios americanos CHN Le répertoire des élèves, op. 124 l Campo (no. 3) l Rondo (no. 12) (no. 49 in Carulli-Brevier, 2 OTT) Sei andanti, op. 320 (ed. Ruggero Chiesa ZRB) Castelnuovo-Tedesco, Mario l Andante leggiero e grazioso (no. 5) Platero y yo, op. 190, 1 (ed. Angelo Gilardino BEB) l Andante molto sostenuto (no. 3) l Melancolía (no. 7) l Andante risoluto (no. 6) Debussy, Claude Diabelli, Anton l La fille aux cheveux de lin (arr. Norbert Kraft WAT) Sonata in C Major, op. 29, no. 1 OTT Falla, Manuel de l 1st movement or 4th movement l Homenaje (ed. John Duarte CHS) Giuliani, Mauro Granados, Enrique l Variazioni su Il flauto magico di Mozart, WoO l Danza española, no. 5 (ed. Norbert Kraft WAT) G-3 (ed. Germano Cavazzoli, in Tre temi favoriti RIC) Two Spanish Dances (ed. Carlos Barbosa-Lima CLM) l Variazioni sul tema della Follia di Spagna, op. 45 (ed. l Fandango Germano Cavazzoli, in Tre temi favoriti RIC) Giulianate, op. 148 (ed. Ruggero Chiesa ZRB) Lauro, Antonio l La risoluzione (no. 1) l Variations on a Venezuelan Children’s Song (ed. Sonata, op. 15 ZRB; UNI Alirio Diaz B&V) l 1st movement or 3rd movement Malats, Joaquín Sonatina, op. 71, no. 2 (ed. Isaias Savio, in Giuliani: l Serenata española Compositions for Guitar, 1 RIC) l two movements Moreno Torroba, Federico Sonatina, op. 71, no. 3 (ed. Ruggero Chiesa ZRB) l Madroños UNM l Andantino sostenuto and Finale l Nocturno OTT Aires de la Mancha OTT Haydn, Franz Joseph l two of Jeringonza, Copilla, Seguidilla l Menuetto in D Major (ed. Andrés Segovia UME) Castillos de espana, 1 GSP Sor, Fernando l Turegano and Montemayor Grand sonata, op. 22 TEC l Manzanares el real and Montemayor l Rondo in C Major Pièces charactéristiques, 1 OTT l Oliveras Suite castellana OTT List C l Danza and Fandanguillo Romantic Repertoire and National Styles Ponce, Manuel Preludes TEC Albéniz, Isaac l Prelude in E Major España, op. 165 OTT l Tango Sainz de la Maza, Eduardo l Suite española, op. 47 (ed. Manuel Barrueco BEL) Campañas del alba UNM l Granada (no. 1) Santórsola, Guido Barrios, Agustín Three Airs of Court CLM l Canción de cuna l Preludio and Finale l Canción de la hilandera (ed. Richard Stover, in Tárrega, Francisco Barrios: Complete Works, 1 MEL) l Caprichio árabe, serenata (ed. Isaias Savio, in Tárrega: l Choro de saudade (ed. Pier Luigi Cimma BEB) The Complete Early Spanish Editions CHN; MEL) l Danza paraguaya (ed. Miguel Abloniz BEL) l Estudio, Recuerdos de la Alhambra (ed. Isaias Savio, l Preludio, op. 5, no. 1 (ed. Richard Stover, in Barrios: in Tárrega: The Complete Early Spanish Editions CHN; Complete Works, 2 MEL) MEL)

59 CONTENTS LEVEL Level 9 Turina, Joaquín Presti, Ida Homage à Tárrega, op. 69 OTT l Étude du matin CLM l Garrotin Smith Brindle, Reginald l Soleares l November Memories ZRB Sonata No. 3 OTT List D l two movements 20th- and 21st-century Repertoire Sonata No. 4 OTT l two movements Ascensio, Vicente Staak, Pieter van der Suite mistica BEB l Bellefleur DOZ l Pentecostes Tansman, Alexandre Balada, Leonardo l Danza pomposa OTT Suite No. 1 (ed. Carlos Barbosa-Lima CLM) Tremblay, Pierre l Moderato Andantino and Deux pièces pour guitare solo CLE Brouwer, Leo l Esquisse torrobienne l Paisaje cubano con campanas OTT Villa-Lobos, Heitor Tres apuntes OTT l Choro-typico (Choro No. 1) CLM l movements two Cinq préludes ESC Brown, James l Prélude No. 5 Four Original Guitar Works JMB Suite populaire brésilienne ESC l Variations on a Canadian Folksong l Gavota-choro Three Folk Studies JMB l Schottisch-choro l Good News Wilson, Donald Burle Marx, Walter Three Pieces (ed. Angelo Gilardino BEB) Violeiros de Guaratiba (in The complete Works of Burle l two pieces Marx CLE) l Conversa (no. 3) Technical Requirements l Folias de Guaratiba (no. 5) Please see “Technical Requirements” on p. 10 and “Appendix A” Bustamante, Fernando on p. 80 for important information regarding this section of the l Misionera (arr. Jorge Morel, in The Very Best of examination. Jorge Morel, 1 HAL) Duarte, John W. l Idylle pour Ida UNI Etudes Dyens, Roland Students must prepare two technically contrasting etudes by l Tango en skai LEM different composers from the following list. Trois saudades LED Each bulleted item (l) represents one selection for examination l Chorinho (no. 2) purposes. Harris, Albert Barrios, Agustín l Homage to Unamuno CLM l Estudio No. 3 (ed. Richard Stover, in Barrios: Lauro, Antonio Complete Works, 1 MEL) Quatro valses venezolanos (arr. Alirio Diaz B&V) Carcassi, Matteo l Vals venezolano No. 3 25 études mélodiques et progressives, op. 60 TEC l Vals venezolano No. 4 l Étude (no. 25) Morel, Jorge Castelnuovo-Tedesco, Mario l Danza Brasiliera (in The Very Best of Jorge Morel, 1 Appunti, op. 210, 1 ZRB HAL) l no. 10 or no. 11 Sonatina CHR l 1st movement or 3rd movement Coste, Napoléon 25 études de genre, op. 38 CHN Piorkowski, James l one of nos. 8, 11, 17, 18, 25 Sentient Preludes CLE l Prelude No. 10

60 CONTENTS LEVEL Level 9 Dodgson, Stephen, and Hector Quine Presti, Ida Studies for Guitar, 1 RIC Six études ESC l Poco allegro: Scherzando (no. 4) l one of nos. 2, 4, 5 Studies for Guitar , 2 RIC Regondi, Giulio l Molto moderato (no. 14) Ten Etudes EOP Studies for Guitar, 2 RIC l one of nos. 5, 7, 8 l Tranquillo (no. 15) Sor, Fernando Garcia, Gerald Studio for the Spanish Guitar, op. 6 25 Etudes Esquisses for Guitar GAR l no. 3 no. 12 l Etude 24 or (ed. Brian Jeffery, in Sor: Twenty Studies TEC) Giuliani, Mauro 12 Studies, op. 29 24 esercizio per la chitarra, op. 48 l no. 13 or no. 23 (ed. Brian Jeffery, in Sor: Twenty l Allegro con moto (no. 23) (ed. Ruggero Chiesa, Studies TEC) Studi per chitarra no. 65 in ZRB) Villa-Lobos, Heitor l Andantino (no. 15) (ed. Ruggero Chiesa, no. 79 in 12 études ESC Studi per chitarra ZRB) l one of nos. 1, 4, 6, 10, 11

Technical Tests The examiner will choose a representative sampling of items on the technical tests list. The examiner may request diatonic, chromatic, and tremolando scales in either free stroke or rest stroke, using im/mi, ma/am, or ia/ai right-hand finger combinations. Scales and arpeggio patterns must be played from memory, ascending and descending. Each diatonic and tremolando scale is to be followed by a I–IV–V –I chord progression. Students must follow the fingering given in Classical Guitar Series, 2018 Edition: Technique. Keys Note Values Range Tempo Scales A minor (harmonic)

A minor (melodic)

A major

F minor (harmonic)

F minor (melodic) 3 octaves im/mi, ia/ai Diatonic E major = 108 B major ma/am = 96 G minor (harmonic)

G minor (melodic)

D minor (harmonic) 2 octaves

D minor (melodic)

Chromatic Starting on B 3 octaves (Continued on next page.)

61 CONTENTS LEVEL Level 9

Keys Note Values Range Tempo Scales (continued) C major im/mi, ia/ai F major = 116 Tremolando 2 octaves C minor (harmonic) ma/am = 104 C minor (melodic)

Slur G, A major 2 octaves = 126 A major In 3rds and 6ths 2 octaves F minor (harmonic) = 96 Arpeggio Patterns 1. p–i–m–i–a–i alternation pattern = 72 2. p–i–a–i–m–i alternation pattern 3. p–i–m crossing pattern

4. m–i–p crossing pattern = 144 5. p–m–i crossing pattern 6. low–high pattern

7. descending and ascending pattern = 100 8. two-phase pattern 9. shifting p–i–m–a pattern = 108 10. shifting a–m–i–p pattern

11. shifting p–m–i–p pattern = 92 12. ascending triple-p pattern = 54

Musicianship Please see “Musicianship” on p. 10 and “Appendix B” on p. 81 for Intervals (ascending or descending) important information regarding this section of the examination. minor 2nd, major 2nd Ear Tests minor 3rd, major 3rd perfect 4th Intervals augmented 4th/diminished 5th Students will be asked to identify any of the following intervals. perfect 5th The examiner will play each interval in melodic form (ascending or descending) followed by harmonic form once. minor 6th, major 6th OR minor 7th, major 7th Students may choose to sing or hum any of the following intervals perfect octave (ascending or descending). The examiner will play the first note once.

62 CONTENTS LEVEL Level 9 Chords Sight Reading Students will be asked to identify the quality of the following chords after the examiner has played the chord in solid/blocked Rhythm form, close position once. For a given melody, students will be asked to: Chords Position • Tap a steady beat with their hand or foot for one measure. major and minor four-note chords root position, 1st inversion • Continue tapping while speaking, tapping, or clapping the given rhythm. augmented triad root position A steady pulse and metric accentuation are expected. dominant 7th (major–minor 7th) root position diminished 7th root position Time Signatures Approximate Length four to five measures Chord Progressions Students will be asked to identify each chord in a four-chord Playing progression in a major or minor key after the examiner has played Students will be asked to play a short composition comparable to the progression twice. In the second playing, the examiner will Level 6 repertoire. pause on each chord for the student to identify it. The progression will begin on the tonic chord, and may include any of the following Keys Time Signatures Approximate Length chords. major and minor keys, up to sixteen up to five sharps or any Major Minor measures three flats i, IV, V, vi (root position only) i, iv, V, VI (root position only)

Playback Students will be asked to play back on the guitar the upper part of a two-part phrase. The examiner will identify the key and time signature, play the tonic chord once, and play the phrase three times. • Before the first playing, the examiner will count one measure. • After the second playing, the student will clap the rhythm or sing the melody. • After the third playing, the student will play the melody. Beginning Note Keys Time Approximate Signatures Length tonic, mediant, any major or up to nine dominant, upper minor key, up to notes tonic four sharps or flats

63 CONTENTS Level 10

Level 10 Requirements Marks Repertoire Repertoire 60 (42) Please see “Repertoire” on p. 8 for important information regarding one selection from List A 15 (1) this section of the examination. one selection from List B 15 (1) Students must prepare four contrasting selections: one from each one selection from List C 15 (1) of List A, List B, List C, and List D. Repertoire selections must be one selection from List D 15 (1) memorized. Marks will be deducted for any repertoire selections Technical Requirements 20 (14) not performed by memory. Each bulleted item (l) represents one selection for examination Etudes: two etudes from the Syllabus List 10 purposes. Technical Tests 10 Musicianship Ear Tests 10 (7) List A Intervals 2 Renaissance, Baroque, and Baroque-style Chords 2 Repertoire Chord Progressions 2 Playback 4 Bach, Johann Sebastian Sight Reading 10 (7) Prelude, Fugue, and Allegro in E flat Major, BWV 998 Rhythm 3 (ed. Frank Koonce KJO) Playing 7 l Prelude and Allegro Total possible marks (pass = 60) 100 Suite for Lute, BWV 996 l Preludio, Presto, Courante Theory Examination Corequisites and l Sarabande Gigue Level 8 Theory and Level 9 Harmony (or Keyboard Harmony) Suite for Lute, BWV 997 l Preludio, Gigue, Double Level 9 History and Level 10 Harmony & Counterpoint (or Keyboard Suite for Lute, BWV 1006a (ed. Frank Koonce KJO) l Bourrée Gigue Harmony) and Level 10 History Suite for Solo Cello No. 1, BWV 1007 (arr. Jeffrey McFadden JMF) l Allemande and Courante Suite for Solo Cello No. 3, BWV 1009 (arr. Jeffrey The figures in parentheses in the repertoire section indicate McFadden JMF) the marks that will be deducted for any selections that are not l Allemande and Courante memorized. Borrono, Pietro Paulo Level 10 students who wish to pursue an Associate Diploma l Fantasia (in Antologia di musica antica, 2 ZRB) (ARCT) must achieve either an overall mark of 75 or a minimum of 70 percent in each section of the Level 10 examination. Figures Byrd, William in bold parentheses indicate the minimum number of marks l The Woods So Wild OUP required to receive 70 percent. Dowland, John Please see “Classification of Marks” on p. 76 and “Supplemental l Earl of Essex, His Galliard, Poulton 42a (ed. John Examinations” on p. 76 for important details regarding Level Duarte and Diana Poulton, no. 3 in Robert Dowland’s 10 standing for an Associate Diploma (ARCT) examination Varietie of Lute Lessons, 5 BEB) application. l Fantasia, Poulton 1a (ed. John Duarte and Diana For information on taking the Level 10 Guitar examination in two Poulton, no. 7 in Robert Dowland’s Varietie of Lute separate segments, see “Split Level 10 Practical Examinations” on Lessons, 4 BEB) p. 76. l Sir Henry Guilford, His Almaine (ed. John Duarte and Diana Poulton, no. 2 in Robert Dowland’s Varietie of Lute Lessons, 2 BEB) l Sir John Smith, His Almaine, Poulton 47 (ed. John Duarte and Diana Poulton, no. 7 in Robert Dowland’s Varietie of Lute Lessons, 2 BEB)

64 CONTENTS LEVEL Level 10 Huwet, Gregorio Sor, Fernando (continued) l Fantasia (ed. John Duarte and Diana Poulton, no. 6 Fantasia, op. 7 (ed. Hector Quine OUP) in Robert Dowland’s Varietie of Lute Lessons, 4 BEB) l Theme and Variations Ponce, Manuel Fantasia, op. 10 (ed. Hector Quine OUP) l Theme and Variations Suite (ed. Manuel Lopez-Ramos PER) Grand sonata, op. 22 TEC l Preambule and Allegro vivo l 1st movement Scarlatti, Domenico Grand sonata, op. 25 TEC l Sonata, K 380 (ed. Giuseppe Luconi BEB) l Andantino grazioso Weiss, Silvius Leopold Torok, Alan Sonata No. 2 in D Major (no. 2 in Intavolatura di liuto, 1 l Variations & Fugue on a Classic Theme WAT ZRB) l two of Allemande, Courante, Gigue List C Sonata No. 12 in A Major (no. 8 in Intavolatura di liuto, 1 ZRB) National Styles l two of Allemande, Courante, Gigue Sonata No. 16 in A Major (no. 12 in Intavolatura di liuto, 1 Albéniz, Isaac ZRB) l Córdoba (ed. Carl Barbosa-Lima CLM) l Allemande and Pastorale l Mallorca, op. 202 Sonata No. 24 in C Major (no. 20 in Intavolatura di liuto, 2 l Torre Bermeja (ed. Norbert Kraft WAT) ZRB) l Zambra granadina l Overture and Gigue España, op. 165 Sonata No. 29 in A Minor (no. 25 in Intavolatura di liuto, 2 l Capricho Catalan (no. 5) (arr. Jeffrey McFadden ZRB) DOZ) l Entrée and Courante Suite española, op. 47 (ed. Manuel Barrueco BEL) l Cadiz (no. 4) BEL List B l Asturias (no. 5) RIC Classical and Classical-style Repertoire Barrios, Agustín l Una limosna por el amor de Dios (ed. Richard Stover, Barrios: Complete Works Coste, Napoléon in , 2 MEL) La catedral ZAN; BEL l Andante et polonaise, op. 44 (in Complete Works of l Andante religioso and Allegro solemme Napoléon Coste, 3 CHN) l La Cachucha, op. 13 (in Complete Works of Napoléon Bellinati, Paulo Coste, 3 CHN) l Jongo GSP l Divertissements sur Lucia da Lammermoor , op. 9 Castelnuovo-Tedesco, Mario (in Complete Works of Napoléon Coste, 2 CHN) l Les soirées d’Auteuil Escarraman, op. 77 BEB , op. 23 (in Complete Works of l El canario Napoléon Coste, 3 CHN) Suite OTT Diabelli, Anton l Preludio or Capriccio Sonata in A Major, op. 29, no. 2 OTT l Tarantella RIC l 1st movement: Allegro risoluto or 4th movement: Granados, Enrique Rondo l Danza española No. 10 (ed. David Russell DOM) Giuliani, Mauro l La maja de Goya (ed. Miguel Llobet UME) l Variazioni , op. 112 (ed. Ruggero Chiesa ZRB) Malats, Joaquín l Variazioni su un tema di Handel, op. 107 (ed. l Serenata spagnola (in I bis del concertista, 2 ZRB) Ruggero Chiesa ZRB) Moreno Torroba, Federico Llobet, Miguel Sonatina l Scherzo Waltz UME l Allegretto or Allegro Sor, Fernando Castillos de espana, 1 GSP l Introduction et variations sur l’air “Malbroug,” l Torija and Alcazar de Segovia op. 28 (ed. Brian Jeffrey, in Complete Works of Fernando Sor TEC) l Sonata, op. 15, no. 2 (ed. Isaias Savio, in Sor: 19 Compositions RIC) 65 CONTENTS LEVEL Level 10 Ponce, Manuel Dyens, Roland Sonata clásica OTT l Songe capricorne LEM l 1st movement or 4th movement Trois saudades EMH Sonatina meridional OTT l Saudade No. 3 l 1st movement Eastwood, Thomas Hugh Pujol, Emilio l Ballade-Phantasy (ed. Julian Bream FAB) Trois morceaux espagnols ESC Fricker, Peter Racine l Tango or Guajira l Paseo (ed. Julian Bream FAB) Turina, Joaquín Gerhard, Roberto l Fandanguillo, op. 36 OTT l Fantasia for Guitar BEL l Ráfaga, op. 53 OTT Sonata, op. 61 OTT Koshkin, Nikita l 1st or 3rd movement l Usher Waltz MRG Maghini, Ruggero List D l Umbra BEB 20th- and 21st-century Repertoire Martin, Frank Quatre pièces brèves (ed. Karl Scheit UNI) Apivor, Denis l Prélude and Gigue Discanti, op. 48 BEB Milhaud, Darius l movements three l Segoviana HEU Arteaga, Edward Mompou, Federico l Nocturne for Solo Guitar CMC Suite compostellana SAL Ascensio, Vicente l Preludio or Muñiera Suite mistica BEB Obravská, Jana l Dipso Getsemani and l Hommage à Béla Bartók ESC Suite valenciana BEB l two movements Ohana, Maurice Si le jour parait BIL Balada, Leonardo l 20 avril (Planh) (no. 4) l Lento with variation (ed. Carlos Barbosa-Lima CLM) l Tiento BIL Suite No. 1 (ed. Carlos Barbosa-Lima CLM) l two of Allegretto, Lento, Animado Rodrigo, Joaquín l En los trigales (ed. Narciso Yepes EMM) Beauvais, William l Junto al Generalife B&B l Bound by Shadows DOZ Tres Piezas Españolas OTT Bennett, Richard Rodney l Zapateado Impromptus UNI Roux, Patrick l nos. 1, 2, 4 and l Simplement choros DOZ Berkeley, Lennox Santórsola, Guido l Theme and Variations, op. 77 (ed. Angelo Gilardino l Vals romantico (ed. Angelo Gilardino BEB) CHS) Sonatina, op. 52, no. 1 (ed. Julian Bream CHS) Somers, Harry l two movements Sonata for Guitar CAV l Prelude and Scherzo Brouwer, Leo l Canticum OTT Tansman, Alexandre l Elogio de la danza OTT l Passacaille (in Tansman: Posthumous Works for Guitar l La espiral eterna OTT BEB) Cooperman, Larry Villa-Lobos, Heitor l Walking on the Water (ed. Carlos Barbosa-Lima Cinq préludes ESC GSP) l Prélude No. 2 Suite populaire brésilienne ESC Dodgson, Stephen l Gavota-Choro and Chorinho l Etude-Caprice DOM

66 CONTENTS LEVEL Level 10 Vivier, Claude Studies for Guitar, 2 RIC l Pour guitare DOM l Allegro (no. 11) l Fugato: Moderato e con forza Walton, William (no. 13) l Vivace (no. 20) Five Bagatelles (ed. Julian Bream OUP) l no. 3 and no. 4 Garcia, Gerald 25 Etudes Esquisses for Guitar GAR Technical Requirements l Etude 25 Giuliani, Mauro Please see “Technical Requirements” on p. 10 and “Appendix A” Selected Studies, op. 111 OTT on p. 80 for important information regarding this section of the l Andantino (no. 1) (ed. Ruggero Chiesa, no. 78 in examination. Studi per chitarra ZRB) Presti, Ida Etudes Six études ESC Students must prepare two technically contrasting etudes by l Étude No. 6 different composers from the following list. Pujol, Emilio Each bulleted item (l) represents one selection for examination l Ondinas RIC purposes. Regondi, Giulio Barrios, Agustín Ten Etudes EOP l Estudio de concierto (ed. Richard Stover, in Barrios: l no. 2 or no. 6 Complete Works, 1 MEL) Sagreras, Julio l Estudio No. 6 (ed. Richard Stover, in Barrios: l El colibri RIC Complete Works, 1 MEL) Sor, Fernando Coste, Napoléon Studio for the Spanish Guitar, op. 6 25 études de genre, op. 38 CHN l no. 6 (ed. Brian Jeffery, in Sor: 20 Studies TEC) l one of nos. 19, 21, 22 12 Studies, op. 29 Dodgson, Stephen, and Hector Quine l no. 17 or no. 22 (ed. Brian Jeffery, in Sor: 20 Studies Studies for Guitar, 1 RIC TEC) l Vivace (no. 10) Villa-Lobos, Heitor 12 études ESC l one of nos. 2, 3, 5, 7, 9, 12

67 CONTENTS LEVEL Level 10 Technical Tests The examiner will choose a representative sampling of items on the technical tests list. The examiner may request diatonic, chromatic, and tremolando scales in either free stroke or rest stroke, using im/mi, ma/am, or ia/ai right-hand finger combinations. Scales and arpeggio patterns must be played from memory, ascending and descending. Each diatonic and tremolando scale is to be followed by a I–vi–IV–V –V8–7–I chord progression. Students must follow the fingering given in Classical Guitar Series, 2018 Edition: Technique. Keys Note Values Range Tempo Scales G major E minor (harmonic) E minor (melodic) B minor (harmonic) B minor (melodic) im/mi, ia/ai Diatonic B major 3 octaves = 116 G minor (harmonic) ma/am G minor (melodic) = 100

B major G minor (harmonic) G minor (melodic) Chromatic Starting on B 3 octaves D major im/mi, ia/ai F major = 120 Tremolando 2 octaves D minor (harmonic) ma/am = 108 D minor (melodic)

Slur C, F major 2 octaves = 144 D major In 3rds and 6ths 2 octaves B minor (harmonic) =104 Arpeggio Patterns 1. low–high pattern

2. descending and ascending pattern = 108 3. two-phase pattern 4. shifting p–i–m–a pattern = 116 5. shifting a–m–i–p pattern

6. shifting p–m–i–p pattern = 100 7. ascending triple-p pattern = 56 8. string-crossing alternation pattern = 104 9. p–i–m–i crossing pattern

10. two-against-one alternation pattern = 108 (Continued on next page.) 68 CONTENTS LEVEL Level 10

Tempo Arpeggio Patterns (continued) 11. chord-plus-ascending-arpeggio pattern = 58 12. chord-plus-descending-arpeggio pattern

Musicianship Chord Progressions Students will be asked to identify each chord in a five-chord Please see “Musicianship” on p. 10 and “Appendix B” on p. 81 for progression in a major or minor key as I, IV, V, VI, or cadential important information regarding this section of the examination. after the examiner has played the progression twice. In the second playing, the examiner will pause on each chord for the student to Ear Tests identify it. The progression will begin on the tonic chord. Intervals Major Minor Students will be asked to identify any of the following intervals. I, IV, V, vi (root position only) i, iv, V, VI (root position only) The examiner will play each interval in melodic form (ascending cadential cadential or descending) or harmonic form once. OR Playback Students may choose to sing or hum any of the following intervals Students will be asked to harmonize on the guitar a diatonic (ascending or descending). The examiner will play the first note melody while the examiner plays it, and then to play it back on the once. guitar. The examiner will identify the key and time signature, play the tonic chord once, and play the melody three times. Intervals (ascending or descending) • Before the first playing, the examiner will count one measure. minor 2nd, major 2nd • During the third playing, the student will harmonize the minor 3rd, major 3rd melody using chords I, IV, and V. perfect 4th • After the third playing, the student will play back the melody. augmented 4th/diminished 5th perfect 5th Beginning Note Keys Approximate Length minor 6th, major 6th tonic, mediant, any major or minor four measures dominant, upper key, up to four minor 7th, major 7th tonic sharps or flats perfect octave minor 9th, major 9th Sight Reading Rhythm Chords For a given melody, students will be asked to: Students will be asked to identify the quality of the following • Tap a steady beat with their hand or foot for one measure. chords after the examiner has played the chord in solid/blocked form, close position once. • Continue tapping while speaking, tapping, or clapping the given rhythm. Chords Position A steady pulse and metric accentuation are expected. major and minor four-note chords root position, 1st inversion Time Signatures Approximate Length augmented triad root position dominant 7th (major–minor 7th) root position four to six measures diminished 7th root position Playing major–major 7th root position Students will be asked to play a short composition comparable to minor–minor 7th root position Level 7 repertoire. Keys Time Signatures Approximate Length major and minor keys, up up to sixteen any to five sharps or four flats measures

69 CONTENTS Associate Diploma (ARCT) in Guitar, Performer

The Associate Diploma (ARCT) is the culmination of The Royal Each bulleted item (l) represents one selection for examination Conservatory Certificate Program. The practical examination purposes. Unless otherwise indicated, candidates should prepare is evaluated as a concert performance. Candidates are expected the complete work. to perform with confidence, communicating the essence of the The examiner will stop the performance if it exceeds the allotted music while demonstrating a command of the instrument. A deep time of 60 minutes. understanding of the stylistic and structural elements of each repertoire selection is expected. List A Works of J.S. Bach Associate Diploma (ARCT) in Guitar, Marks Performer Requirements Bach, Johann Sebastian Repertoire 100 l Fugue in G Minor for Lute, BWV 1000 KJO Partita for Solo Violin No. 2, BWV 1004 (arr. Jeffrey one selection from List A 20 McFadden DOZ) one selection from List B 20 l Chaconne one selection from List C 20 Prelude, Fugue, and Allegro, BWV 998 (ed. Frank Koonce one selection from List D 20 KJO) one selection from List E 20 l Fugue Total possible marks (pass = 70) 100 Sonata for Flute, BWV 1034 (arr. David Russell DOM) l 1st movement: Adagio non tanto and 2nd movement: Prerequisite Allegro Level 10 Guitar comprehensive certificate Sonata for Solo Violin No. 3, BWV 1005 (arr. Manuel Theory Examination Prerequisites Barrueco OTT) Level 8 Theory l Fuga Level 9 Harmony (or Keyboard Harmony) l Largo and Allegro Assai Level 9 History Suite for Lute, BWV 997 Level 10 Harmony & Counterpoint (or Keyboard l Fugue Harmony) Suite for Lute, BWV 1006a (ed. Frank Koonce KJO) Level 10 History l Prelude and Loure Theory Examination Corequisites Suite for Solo Cello No. 2, BWV 1008 (arr. Jeffrey ARCT Harmony & Counterpoint (or Keyboard McFadden JMF) Harmony) l Prelude, Courante, Sarabande, and Gigue ARCT Analysis ARCT History List B Classical and Romantic Repertoire Please see “Program Overview” on p. 7, “Classification of Marks” on p. 76, and “Supplemental Examinations” on p. 76 for important details regarding the Associate Diploma (ARCT) examination. Aguado, Dionisio Candidates are strongly recommended to study for at least two Trois rondos brillants, op. 2 l years after passing the Level 10 examination. Andante and Rondo (A Minor) Candidates must achieve an Honors standing (70 percent) in order Coste, Napoléon to be awarded an Associate Diploma (ARCT). For descriptions of l Le départ, op. 31 (in Complete Works of Napoléon performance marks, please see “Marking Criteria for Performance Coste, 1 CHN) Repertoire” on p. 76. l Deuxième polonaise, op. 14 (in Complete Works of Napoléon Coste, 9 CHN) l Rondo de concert, op. 12 (in Complete Works of Repertoire Napoléon Coste, 3 CHN) l La source de Lyson, op. 47 (in Complete Works of Please see “Repertoire” on p. 8 for important information regarding Napoléon Coste, 5 CHN) this section of the examination. Candidates must prepare five contrasting selections by memory: Giuliani, Mauro l one from each of List A, List B, List C, List D, and List E. Any Grande ouverture, op. 61 l selections not performed by memory and not performed in their Sonata eroica, op. 150 entirety will receive a mark of zero.

70 CONTENTS LEVEL Associate Diploma (ARCT) in Guitar, Performer Mertz, Johann Kaspar Piazzolla, Astor l Elegy (ed. David Leisner MRI) Cinco piezas BEB l Fantaisie hongroise, op. 65, no. 1 (in Mertz Guitar l two movements Works CHN) Las estaciones portenas (arr. Sérgio Assad GND) l Tarantelle (ed. David Leisner PRE) l Invierno porteno l Primavera portena Paganini, Nicolò Grand Sonata for Guitar and Violin, MS 3 (arr. Jeffrey Ponce, Manuel Meyerriecks CLM) Sonata III (ed. Andrés Sagovia OTT) l 1st movement and 3rd movement l 1st movement and 3rd movement Regondi, Giulio Ponce, Manuel (continued) l Fête villageoise, op. 20 (ed. Simon Wynberg CHN) Sonata mexicana (ed. Manuel Lopez-Ramos PER) l Introduction et caprice, op. 23 (ed. Simon l 1st movement and 4th movement Wynberg CHN) Sonata romantica l Rêverie (Nocturne), op. 19 (ed. Simon l 3rd movement and 4th movement Wynberg CHN) Sonata romantica l Thème varié et finale Sor, Fernando OTT l Grand solo, op. 14 Rodrigo, Joaquín l Souvenir d’amitié, op. 46 (ed. Brian Jeffrey, in l Invocation et danse (ed. Alirio Diaz EFM) Complete Works of Fernando Sor TEC) l Un tiempo fue Italálica famosa OTT l Variaciones on “O Cara Armonia” by Mozart, op. 9 Elogio de la guitarra (ed. Angelo Gilardino BEB) OTT l two movements l Variaciones sobre un tema de Paisiello, op. 16 Sonata giocosa CHS Grand sonata, op. 25 TEC l 1st movement or 3rd movement l Andante largo and Allegro non troppo Sainz de la Maza, Regino Werthmüller, Franz l Rondeña and Zapateado (in Regino Sainz de la Maza: Sonata in A Major, op. 17 (ed. Tilman Hoppstock BEB) Musica para guitarra UNM) l 2nd movement and 3rd movement Platero y yo UNM l three movements List C Neo-Romantic Repertoire and National Styles List D 20th- and 21st-century Repertoire Albéniz, Isaac Suite española, op. 47 (ed. Manuel Barrueco BEL) Arnold, Malcolm l Cataluña (no. 2) and Sevilla (no. 3) Fantasy for Guitar, op. 107 (ed. Julian Bream FAB) l Prelude, Scherzo, and Arietta Barrios, Agustín l Un sueño en la floresta (ed. Richard Stover BEL) Aron, Stephen l Rockport Stomp Castelnuovo-Tedesco, Mario CLE l Capriccio diabolico RIC Ascensio, Vicente Sonata OTT Collectici intim OTT l two contrasting movements l two movements Granados, Enrique Assad, Sérgio l Valses poéticos (arr. Jeffrey McFadden DOZ) l Eli’s Portrait DOM l Fantasia Carioca Harris, Albert CHN Aquarelle pour guitare LEM l Variations and Fugue on a Theme of Handel OTT l Valseana and Preludio et toccatina Llobet, Miguel Sandy’s Portrait DOM l Variaciones sobre un Tema de Sor, op. 15 CHN l Passacaglia and Toccata Manén, Juan Beaser, Robert l Fantasia-Sonata OTT l Shenandoah (ed. Eliot Fisk HEL) Best, Robert Michael Suite in G MEW l Courante, Sarabande, and Minuet 71 CONTENTS LEVEL Associate Diploma (ARCT) in Guitar, Performer Bogdanović, Dušan Henze, Hans Werner Jazz Sonata GSP l Drei Tentos OTT l 1st movement and 2nd movement Royal Winter Music Jazz Sonatina GSP First Sonata OTT l 2nd movement and 3rd movement l one movement Little Café Suite GSP Second Sonata OTT l three movements l one movement Britten, Benjamin Hétu, Jacques l Nocturnal, op. 70 (ed. Julian Bream FAB) Suite, op. 41 DOM l Prelude and Ballade Brouwer, Leo l El decameron negro José, Antonio Sonata OEM Sonata BEB l two movements l one movement Brown, James Kearney, Patrick Sonata JMB l Sagittarius A* DOZ l two movements Kleynjans, Francis Carter, Elliott l À l’aube du dernier jour LEM l Changes B&H Lauro, Antonio Dodgson, Stephen Sonata B&V l Fantasy-Divisions BEB l 1st movement Partita I for Guitar OUP Suite venezolana (rev. Alirio Diaz B&V) l 1st, 2nd, and 4th movements l Canción and Vals Domeniconi, Carlo Maw, Nicholas l Variations on an Anatolian Folk Song B&H l Music of Memory FAB Koyunbaba MRG McGuire, James l 3rd movement and 4th movement Six Suites in Popular Style DOZ Duarte, John W. l one complete suite l Variations on a Catalan Folk Song, op. 25 NOV Suite No. 4 JAM l Festive, Interlude, Lament, and Finale Dyens, Roland Suite No. 5 JAM l Libra sonatina LEM l Processional, Dance, Song, and Gently Flowing Elias, Roddy Ohana, Maurice Emptying – Sonata DOZ l Calm Shuffle Boogie Si le jour parait BIL and l Jeu des quatre vents García de León, Ernesto Orbón, Julián Sonata No. 4, op. 34 “Lejanias” MEL l Preludio y danza l two movements Petrassi, Goffredo Gilardino, Angelo l Nunc (ed. Mario Gangi ZRB) Sonata No. 2 BEB l Suoni notturni (ed. Miguel Abloniz RIC) l 1st movement and 2nd movement Rawsthorne, Alan Ginastera, Alberto l Elegy (ed. Julian Bream OUP) Sonata for Guitar, op. 47 B&H l Escordia and Scherzo Roux, Patrick l Le bourdon de l’âme Guastavino, Carlos DOZ l Valse vertigo DOZ Sonata No. 1 MED l 2nd movement and 3rd movement Santórsola, Guido Cuatro tientos (ed. Angelo Gilardino BEB) l two movements Schafer, R. Murray l Le cri de Merlin CMC

72 CONTENTS LEVEL Associate Diploma (ARCT) in Guitar, Performer Scott, Cyril Ponce, Manuel Sonatina BEB Concierto del sur PER l two movements l 1st movement Sierra, Roberto Rodrigo, Joaquín Sonata para guitarra SUB Concierto de Aranjuez BEL; ASM l two movements l 1st movement or 2nd movement Fantasia para un gentilhombre Smith Brindle, Reginald OTT l Danza de las hachas and Canario El polifemo de oro OTT l Largo and Ritmico e vivo Villa-Lobos, Heitor Takemitsu, Toru Concerto for Guitar ESC l 1st movement and Cadenza l Equinox OTT l 2nd movement and Cadenza Folios SAL l two movements In the Woods OTT l two movements Associate Diploma (ARCT) Tansman, Alexandre l Variations on a theme of Scriabin DUR in Guitar, Teacher Tippett, Michael For current information on the requirements for the The Blue Guitar Associate Diploma (ARCT) in Guitar, Teacher, please visit l one movement www.rcmusic.com. Walton, William Five Bagatelles (ed. Julian Bream OUP) l no. 1 and no. 3 l no. 1 and no. 5 Zohn, Andrew l Dialogue DOZ E Sonata DOZ l two movements

List E Concerto Movements

Brouwer, Leo Concerto de Toronto DOM l 1st movement Concierto elegiaco ESC l 1st movement Castelnuovo-Tedesco, Mario Concerto No. 1 in D Major, op. 99 OTT l 1st movement or 3rd movement Cordero, Ernesto Concierto Antillano MEL l 1st movement or 3rd movement Giuliani, Mauro Concerto, op. 30 ZRB l 1st movement Hétu, Jacques Concerto pour guitare, op. 56 DOM l 1st movement

73 CONTENTS 3: Policies and Reference

Examination Regulations

Examination Procedures Examination credits and fee refunds are granted only to students who are unable to attend an examination because of: Students must be ready to perform at least fifteen minutes before their scheduled time. Please contact the Center Representative if • medical reasons or you are unable to attend the examination at the assigned time. Note • scheduling conflicts with a school examination. that examination times cannot be exchanged among students. Only in these two specific situations are students eligible to request • Students are required to list all repertoire and etudes to be either an examination credit for the full amount of the examination performed on the Examination Program Form and bring it to fee or a 50 percent refund of the examination fee. the examination for presentation to the examiner. Requests for examination credits and refunds must be made to • Tune-up rooms are not provided for guitar students. The Royal Conservatory Certificate Program in writing and • Music stands are not guaranteed for guitar students. be accompanied by the necessary documentation. Additional information is available online. • Footstools are not provided for guitar examinations. Students who are accustomed to using a footstool are expected to bring All requests must be submitted by email, mail, or fax within two their own to the examination. * weeks following the examination. Requests received after this time • Photo ID may be requested before students are admitted to the will be denied. examination room. • Students must provide the examiner with an original, Examination Credit published copy of each piece of music to be performed at An examination credit may be applied to the fee of a future the examination. examination. Examination credits are valid for one year from the • Photocopied music is not permitted in the examination room date of the original scheduled examination. Examination credits unless the student has a letter of permission from the publisher can be redeemed when the student registers for his or her next or website. (Please see “Copyright and Photocopying” on p. 77.) examination. The credit will be automatically applied during the online registration process. Please note that credits are not • All electronic devices, books, notes, bags, and coats must be transferable and may not be extended beyond one year. left in the area designated by the Center Representative. • Recording devices, cell phones, and other electronic devices Fee Refund are strictly prohibited in the examination room. An exception Students who know at the time they are applying for an examination will be made for tablets used to read or perform scores. credit that they will not be able to make use of it within the one- • Page turners and other assistants are not permitted in the year time period may instead apply for a refund of 50 percent of examination room. Waiting areas are provided for parents, the examination fee. teachers, and assistants. Standing or listening outside the examination room door is prohibited. Students with Special Needs • The student’s performance of a repertoire selection or an Students with special needs should submit a Special Needs Request etude may be interrupted at the examiner’s discretion once an Form by email, mail, or fax to The Royal Conservatory Certificate assessment has been made. Program. All Special Needs Requests must be submitted before the • At each level, the examiner will choose a representative registration deadline. Students may be required to submit current sampling of technical tests. medical documentation and/or an Individual Education Plan in order to evaluate the accommodation request. Each case will be • For the Associate Diploma (ARCT) in Guitar, Performer List assessed individually. E selections, candidates must provide their own collaborative pianist in order for an examination to proceed. Recorded Students with special needs may receive help in and out of the accompaniments are not permitted. examination room if required. Please note that helpers must normally remain in the waiting area during the actual examination.

Credits and Refunds for Missed Examinations The Special Needs Request Form is available online. Students who, for any reason, are unable to attend an examination * should contact the Center Representative listed on their Examination Schedule immediately.

74 CONTENTS Examination Regulations Certificates Certificates are awarded to students who successfully complete the examinations must be completed before or within five years requirements for each practical and theory examination. Please see after the original practical examination in order to receive the “Program Overview” on p. 7. comprehensive certificate. Beginning in Level 5, comprehensive certificates are awarded For further information regarding the recognition of achievement in after both the practical and corequisite theory examinations for * the Certificate Program, please visit rcmusic.com. that level have been successfully completed. Corequisite theory Table of Marks Prep Level 1 Level 2 Levels 3–4 Levels 5–6 Levels 7–9 Level 10 ARCT Performer Repertoire 56 56 56 60 60 60 60 (42) 100 two selections 50 (25 + 25) 50 (25 + 25) — — — — — — List A — — 25 18 18 15 (1) 15 (1) 20 List B — — 25 18 18 15 (1) 15 (1) 20 List C — — — 18 18 15 (1) 15 (1) 20 List D — — — — — 15 (1) 15 (1) 20 List E — — — — — — — 20 Memory 6 (3+3) 6 (3+3) 6 (3+3) 6 (2+2+2) 6 (2+2+2) — — — Technical Requirements 24 24 24 20 20 20 20 (14) — Etudes 12 12 12 10 10 10 10 — Technical Tests 12 12 12 10 10 10 10 — Ear Tests 10 10 10 10 10 10 10 (7) — Clapback 4 2 2 2 — — — — Intervals — 2 2 2 2 2 2 — Chords 2 2 2 2 2 2 2 — Chord Progressions — — — — 2 2 2 — Playback 4 4 4 4 4 4 4 — Sight Reading 10 10 10 10 10 10 10 (7) — Rhythm 5 3 3 3 3 3 3 — Playing 5 7 7 7 7 7 7 — TOTALS 100 100 (pass = 60) (pass = 70)

• In Levels 7 to 10, the figures in parentheses in the repertoire section indicate the marks that will be deducted for any selections that are not memorized. • To qualify for the Associate Diploma (ARCT) examination, Level 10 students must achieve either an overall mark of 75 or a minimum of 70 percent in each section of the examination. (In the Table of Marks, 70-percent figures are given in bold parentheses.) • Candidates for the Associate Diploma (ARCT) in Guitar, Performer must achieve an overall mark of 70 in order to pass.

Examination Results Students and teachers can access examination marks online Teachers may access their students’ examination results by logging following the examination period. Access to complete examination *into their online account at rcmusic.com. results, with comments and marks, will follow. Official transcripts are available upon written request to The Royal Please note that results will neither be mailed nor provided by Conservatory Certificate Program and payment of the requisite telephone. fee. (The Official Transcript Request Form is available online.)

75 CONTENTS Examination Regulations Interpreting Examination Results Split Level 10 Practical Examinations All students may access their complete, official results (including examiner’s comments) online after the examination has taken Students may choose to take the Level 10 Guitar examination in place. The examiner’s report explains in general terms how the two separate segments: one consisting entirely of repertoire; the official mark was calculated, and it provides information to support other consisting of technical requirements (including etudes), ear students in their future musical development. The official mark tests, and sight reading. reflects the examiner’s evaluation of the student’s performance • The division of material in the split Level 10 examination during the examination. As the candidate’s performance cannot be cannot be altered. reconstructed, requests to review marks will be considered only in • The two segments may be completed in any order within the the event of a serious procedural irregularity. same session or in different sessions. • Both segments of the split Level 10 examination must Classification of Marks be completed before registering for any supplemental First Class Honors with Distinction 90–100 examinations. First Class Honors 80–89 • Both segments of the split Level 10 examination and any supplemental examinations must be completed within two Honors 70–79 years of the initial examination segment. Pass (Preparatory and Levels 1–10) 60–69 Students must complete the corequisite theory examinations Insufficient to Pass 50–59 within five years of the initial practical examination segment. Students who have taken a complete Level 10 examination and Please note: in cases where the total mark would be under 50, the have achieved 70 percent in the repertoire section are permitted student receives the examiner’s comments only: further preparation to register for a split Level 10 examination in order to improve is deemed necessary for assessment. their mark in the technical requirements, ear tests, and sight- Marking Criteria for Performance of Repertoire reading sections. The repertoire mark from the complete Level 10 examination will count towards the student’s official mark. First Class Honors with Distinction: 90–100 This standing is awarded for exceptional performances that are Only students who take the complete Level 10 examination confident and communicative, while demonstrating technical (without the split) will be eligible to receive a regional gold medal command, insightful awareness of style, and convincing musical (Canada) or a Certificate of Excellence (US). interpretation. First Class Honors: 80–89 Supplemental Examinations This standing is awarded for performances that are musically engaging, show thoughtful preparation, and demonstrate technical Students seeking to improve their official mark for Level 10 may security, stylistic understanding, and musical awareness. There is take up to three supplemental examinations. quick recovery from any minor slips or brief lapses. • Supplemental examinations must be taken within two years of Honors: 70–79 the original examination. This standing is awarded for performances that are generally secure • Supplemental examinations are given during regular and fluent, indicate careful preparation, and reflect some awareness examination sessions. of style and musical understanding. There may be occasional slips • Students in Level 10 may repeat any three sections of a or lapses, with room for further development of technical control practical examination: repertoire, technical requirements and attention to musical details. (including etudes), ear tests, or sight reading. Pass: 60–69 • To be eligible for a supplemental examination in Level 10, This standing is awarded for performances that exhibit a basic level students must have achieved a minimum mark of 65 overall. of preparation. There may be slips or lapses, loss of continuity, unresolved technical issues, and a lack of attention to musical Students must complete the corequisite theory examinations details. The examiner’s report will identify areas that require within five years of the original practical examination. further study and exploration. Insufficient to Pass: 50–59 The performance is a work in progress. There are many errors, slips, and stumbles disturbing the continuity. Although some aspects of the performance may show basic preparation, a satisfactory performance requires more consistent fluency and attention to both musical elements and markings in the score. Marks Below 50 The performance is not yet ready for assessment due to insufficient preparation. 76 CONTENTS

Reference Editions For many repertoire items, the Syllabus listing includes a suggested With this notice, RCM Publishing grants permission to festival, recital, edition (indicated by an assigned publisher abbreviation). * and examination participants to photocopy single pages from their publications to facilitate a page turn. These editions have been chosen for their quality and for their availability in North America. Please note that unauthorized photocopied music will not The Royal Conservatory strongly encourages the use of modern be permitted in the examination room. Students who bring editions. These editions benefit from current scholarship and unauthorized photocopies to the examination will not be provide a reliable basis for study and performance. If a student examined. has purchased an online edition, they must provide proof of payment. If a student has downloaded a free online edition in the public domain, they must provide proof of legal download. Abbreviations Editorial markings vary from edition to edition. Examination Names of Publishers marks will not be deducted for altering these editorial suggestions The following abbreviations identify publishers listed throughout as long as the resulting change is musically and stylistically the Classical Guitar Syllabus, 2018 Edition. When no publisher or acceptable. edition is indicated for a specific piece, the work is available in Availability several standard editions. The Royal Conservatory has made every effort to ensure that the ALF Alfred Publishing Co., Inc. materials listed in the Classical Guitar Syllabus, 2018 Edition are ANE Anerca Music in print and available at leading music retailers throughout North ASM Associated Music Publishers America. B&B Bote & Bock (Boosey & Hawkes) Anthologies and Collections B&V Broekmans & Van Poppel If a repertoire selection is published in a collection of a composer’s BAR Bärenreiter music or in an anthology containing music by a number of composers, the title of the collection or anthology is usually BEB Bèrben Edizioni Musicali included in the Syllabus listing. Individual selections may also be BEL Belwin-Mills (Alfred Publishing Co., Inc.) found in other sources. In order to save space, the words “volume” BIL G. Billaudot and “book” have been omitted; a number following a title indicates the number of the volume, book, or set number in which a selection BRA Michael Bracken can be found (for example, La guitare dans tous ses états, 2) BRZ Brazilliance Music Publishing Classical Guitar Series, 2018 Edition CAS Andrea Casciato In order to ensure the ready availability of high-quality examination CAV Caveat (E.C. Kerby) materials, RCM Publishing has published the Classical Guitar CHN Chanterelle Verlag Series, 2018 Edition. This series includes nine volumes of Repertoire CHS Chester Music Ltd. and Etudes (Preparatory through Level 8) and one volume of Technique (Preparatory through ARCT). CLE Clearnote Publications CLM Columbia Music Company Copyright and Photocopying CMC available from the Canadian Music Centre Federal and international copyright laws prohibit the use of photocopies without the permission of the publisher. The use of COG Michael Coghlan unauthorized photocopies for examination purposes constitutes COM Éditions Combre copyright infringement as outlined in the Copyright Act of CRA Cramer Music Canada and in Title 17 of the United States Code. Additional information about federal copyright law is available online CRE J. Andrew Creaghan through the Copyright Board of Canada at cb-cda.gc.ca and the DOB Doblinger US Copyright Office at copyright.gov. DOM Les Éditions Doberman-Yppan Students should bring all music to be performed to the DOZ Les productions d’OZ examination. Students who wish to photocopy one page of a selection to facilitate a page turn may do so only with permission DUR Éditions Durand from the publisher. EAG Éditions aux Guitares

77 CONTENTS Reference ECH Elliot Chapin NVM Nova Music Ltd. EET Edition Ex Tempore OTT Schott Music GmbH EFM Éditions française de musique OUP Oxford University Press EMB Editio Musica Budapest PER Peermusic Classical EMC European Music Centre–Alsbach PHI Philomele EMM Ediciones Musicales Madrid PRE Theodore Presser EMT Éditions Musicales Transatlantiques PRS Preissler Music EOP Éditions Orphée RIC G. Ricordi ESC Éditions Eschig ROB Robbins Music FAB Faber Music SAL Éditions Salabert FCO Franco Colombo SBR Sheery-Brenner GAG Claude Gagnon SCH G. Schirmer GAR Gerald Garcia SER Sérgio Assad GND Gendai Guitars SMR Richard Summers GNT Pierre Gallant STO Richard D. Stover GSP Guitar Solo Publications SUB Subito Music Corporation HAL Hal Leonard Corporation TEC Tecla HEL Helicon UME Unión Musicales España HEU Heugel et Cie UNI Universal Edition HLT Robert Hamilton UNM Union Musical Ediciones (Music Sales) HSN Edition Wilhelm Hansen WAT Waterloo Music Co. (Mayfair Music) HUD Peter Hudson WIL The Willis Music Company JAM James McGuire WLM Winter Longing Music JKN Richard Miles Jackman YRK Andrew York JMB James Brown YUK Michael Yukich JMF Jeffrey McFadden ZAN Zanibon KAT Brian Katz ZON Jaime Zenamon KER E.C. Kerby ZRB Zerboni KFT Norbert Kraft Other Abbreviations and Symbols KJO Neil A. Kjos Music Company arr. arranged by LEE Leeds Music (Canada) attr. attributed to LEM Editions Henry Lemoine ed. edition/edited by no. number LOR Michael Lorimer op. opus MAH Brad Mahon p. page MCL Peter McAllister rev. revised transc. transcribed by MED Melos Ediciones Musicales vol. volume MEL Mel Bay Publications l represents one selection for examination purposes MRG Margaux u selection is published in Classical Guitar Series, 2018 NKS Ph. Nakas Music Publ. Edition → additional performance instructions NOV Novello

78 CONTENTS Reference Resources for Examination Preparation

Repertoire and Etudes Classical Guitar Series, 2018 Edition: Repertoire and Etudes. 9 vols. Preparatory–Level 8. Technical Tests Classical Guitar Series, 2018 Edition: Technique. 1 vol. Preparatory– ARCT. Ear Tests Four Star® Online Ear Training. Preparatory–Level 9. Theory Theory Syllabus (available online) Celebrate Theory. 18 vols. Theory: Preparatory–Level 8; History: Levels 9–ARCT; Harmony & Counterpoint: Levels 9–ARCT; Analysis: ARCT. Music History Level 9 Online. Music Theory 5–8 Online. Levels 5–8. RCM Music Theory Apps. Preparatory–Level 4. Official Examination Papers The Royal Conservatory Examinations Official Examination Papers. 15 vols. Published annually. Individual ARCT, Teacher Written Examination papers are also available upon request. For a list of current titles, please visit bookstore.rcmusic.com.

79 CONTENTS

Appendices

Appendix A: Technical Tests Examples

Slur Scales Single slurs (Levels 4–5)

Compound triplet slurs (Levels 6–ARCT)

Tremolando Scales In eighth notes (Preparatory–Level 3)

In sixteenth notes (Levels 4–ARCT)

In triplet eighth notes (Levels 5–ARCT)

Scales in 3rds (Levels 6–ARCT)

Scales in 6ths (Levels 6–ARCT)

80 CONTENTS Appendices Appendix B: Musicianship Examples

Ear Tests: Clapback (examples only) Preparatory

Level 1

Level 2

Level 3

Level 4

Ear Tests: Intervals (examples only) Levels 1–4 Intervals played ascending and descending. Refer to each level for specific intervals.

81 CONTENTS Appendices Levels 5–9 Intervals played in melodic form (ascending or descending) followed by harmonic form. Refer to each level for specific intervals.

Level 10 Intervals played in melodic form (ascending or descending) or harmonic form.

Ear Tests: Chords (example only) Preparatory

Ear Tests: Playback (examples only) Preparatory

Level 1

Level 2

Level 3

Level 4

Level 5

82 CONTENTS Appendices Level 6

Level 7

Level 8

Level 9

Level 10

Ear Tests: Chord Progressions (examples only) Level 5

Level 6

Level 7

83 CONTENTS Appendices Level 8

Level 9

Level 10

84 CONTENTS Appendices Sight Reading: Rhythm (examples only) Preparatory

Level 1

Level 2

Level 3

Level 4

Level 5

Level 6

Level 7

Level 8

Level 9

Level 10

85 CONTENTS Appendices Sight Reading: Playing (examples only) Preparatory

Level 1

Level 2

Level 3

86 CONTENTS

Practical Examination Day Checklist for Students

Before You Leave Home

Plan to arrive 15 minutes early.

Complete your Examination Program Form.

Bring original copies of all the music being performed in the examination.

Mark the pieces being performed with a paper clip or a “sticky note.”

Bring a music stand and footstool, as it is not guaranteed that they will be available.

Points to Remember • Tune-up rooms are not provided for guitar students. • Photo ID may be requested before a student is admitted to the examination room. • Photocopied music is prohibited unless authorized by the publisher. • Recording devices are strictly prohibited in the examination room. • Electronic devices, phones, books, notes, bags, and coats must be left in the area designated by the Center Representative. • Parents, other family members, friends, and teachers must wait in the designated waiting area. • Standing or listening outside the examination room door is prohibited. • The performance of repertoire may be interrupted by the examiner when an assessment has been made.

What to Expect from a Guitar Examination • A friendly, professional atmosphere. • The undivided attention of the examiner. • An objective assessment of your performance of repertoire, etudes, technical tests, ear tests, and sight reading. • The examiner’s written evaluation online within four weeks.

After the Examination Access your examination marks and examiner comments through the “My Exams and Results” section in your online account at rcmusic.com.

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