Contemporary Guitar Syllabus

Transcription

1 ST CECILIA EXAMINATIONS Contemporary Guitar Syllaus Examination centres throughout Australia, Ne Zealand, Asia and Europe We:.st-cecilia.com.au Australia Freecall: Ne Zealand Freecall: International: d Imprint 201 St. Cecilia School of Music ABN Pulished y Jayday Music Education Pty Ltd ABN Official Pulisher to St. Cecilia School of Music music@jayday.com We:.jayday.com 1

2 CONTENTS Introduction... Syllaus Notes... Guitar Solo Tips... 6 Exam Setting... Beginner Grade... Junior Grade Preliminary Grade... 1 Grade One... 1 Grade To Grade Three... 2 Grade Four... 0 Notes on Syllaus Grades -... Grade Five... 6 Grade Six... 0 Grade Seven... Grade Eight

3 St Cecilia Music Examinations St. Cecilia Music Examinations as estalished in 19 y music teachers and performers ho recognised the need for a ne approach to the examining of music students. Our examinations have een carefully designed to provide developing musicians of all ages and stages ith an assessment hich examines performance and technical skills hilst ensuring an enjoyale and valuale learning experience. Each examination follos naturally to the next stage of development and for this reason e advise that grades not e missed or skipped. We are endeavouring to provide students ith a positive examination experience as ell as an accurate and fair assessment of their skills. Students ho demonstrate that they kno the requirements and ho perform accurately and confidently ill alays e successful. It is essential that teachers ensure that all students ho enter for our examinations are therefore thoroughly prepared. Students ho go eyond a technically accurate performance and ho demonstrate sincere artistry and musicianship ill naturally achieve higher results. All our syllauses dra from the latest repertoire and are designed to suit varying styles and tastes ithout compromising the need to master the fundamental requirements. The technical requirements are developmental and are designed to give students a sound and secure technique. A strong technique allos for more opportunity to approach a roader repertoire. We are confident that you ill enjoy orking ith this syllaus and consequently experience the many enefits and reards associated ith it. Welcome to St. Cecilia! Matthes Tyson Director

4 Syllaus Notes This syllaus has een created to further enhance the learning of the contemporary guitar. Musical genres such as rock, lues, jazz and pop all fall into the contemporary category. The aim of the syllaus is to give the student the opportunity to learn and perform in many, if not all, of these styles, hilst folloing a carefully-graded, progressive and enjoyale system. Students are strongly encouraged to perform their chosen pieces ith the acking tracks here appropriate. NOTE: All repeats in these ooks are expected to e played in the exam. In Beginner, Junior and Preliminary grades, Items 1 and 2 are ritten in standard music notation. The exercises in Item are ritten in oth standard music notation and TAB. In Grade 1, pieces from Items 1, 2 and are notated in oth standard music notation and TAB. This gives the student the opportunity to learn from oth common notation methods. From Grade 1 onards, the ear tests section is no longer required. Separate examinations may e taken in order to fully develop this skill. From Grade 2, Items 1 and 2 are notated in oth standard music notation and TAB. Item ill only e notated in standard music notation and should e played in the specified position. It is important that the student continues to experience and develop music reading skills and ho it relates to the guitar. In order to allo for greater musical expression and technical flexiility, improvisation is encouraged ithin the pieces from grade to levels. Major scales, pentatonic scales and arpeggios are a great place to egin hen performing an improvised solo. As the student s playing develops, other elements could e used such as jazz melodic minors, harmonic minors, modes, and part arpeggios. The student ill e asked questions aout their performances in the exam. Students should e prepared to talk aout the choices they made in the improvisation, e.g. use of scales, arpeggios, phrasing, tone and note choice.

5 The St. Cecilia Contemporary Guitar Syllaus has een designed to ensure the folloing skills are developed: Gain experience in different musical styles Read and execute standard music notation Interpretation and execution of guitar TAB Develop a good sense of rhythm Gain experience ith different keys and time signatures A large mental catalogue of scales, chords and arpeggios Chord playing, melodic playing, improvisation Extended techniques such as: palm muting, ends, virato, natural and artificial harmonics Slides, hammer-ons and pull-offs (legato techniques)

6 Guitar Solo Tips In the Grade St. Cecilia Contemporary Guitar Alum, alloance has een made for improvised guitar solos. The student s knoledge of the scales studied in the previous grades can form the asis of the improvised solo. This should also encourage the student to learn additional scales and positions. A guitar solo is an excellent ay for the student to demonstrate their on developing style and technique and at the same time encourages further exploration of the instrument in a creative and imaginative ay. Most great solos are uilt in phrases or musical sentences. These phrases can e 1-2 ars, - ars or more in length. Techniques such as musical repetition, sequencing and motifs can form a foundation to ork from. Try to avoid just playing scales ut instead ork at actually expressing something ith the scales. It is also helpful to think aout the dynamics. For example, start simply and softly and as the solo progresses try adding more notes and faster phrases as ell as louder volumes. Also experiment ith playing in the higher register. It is important to think of the solo as having an overall shape and direction. The student is also encouraged to use extended techniques such as ends, virato, slides, harmonics and to-hand tapping. This ill help add variety and finesse to the guitar solo. Suggested scales for use in the improvised solo are featured at the end of each piece. These are suggestions only and are certainly not conclusive. To ecome a good soloist it is important to oserve and listen to other musicians and ho they approach soloing. Also learn y listening to ands and artists you admire and appreciate. This ay you ill discover ne techniques and phrases that can e manipulated and incorporated into your on playing. Many ooks have een ritten aout guitar soloing ith particular reference to the suject of chord tone soloing and its relationship to the different styles of music. These are ell orth investigating. Lastly, a guitar solo is a moment of freedo and self-expression, so e creative and make sure you have fun ith it! 6

7 Exam Setting St. Cecilia ill provide an examiner to attend individual teachers schools/studios if a minimum of students have een entered. Teachers may pool their students in order to otain the minimum numers. Setup: To e set up and ready in advance of the examination ut a maximum of minutes ill e alloed if required. Candidates should supply their on amplifier and lead as ell as PA system/stereo. Effects pedals and stomp oxes may e used as long as they are set up in the allotted set up time. Instruments: An acoustic or electric guitar is acceptale for examinations. Care should e taken hoever to ensure that the instrument is consistent ith the style of the chosen pieces. For example, an electric guitar should e used if the chosen piece is a rock song. Students should ring oth an acoustic and an electric guitar if their exam program requires oth. From Grade 1 students ill e required to play up to and eyond the 1th fret, therefore y this point a more suitale guitar ould e either an acoustic guitar ith a cutaay or an electric guitar.

8 BEGINNER GRADE Technical Work Scale: Chords: C Major, one octave E Major, E minor Performance Items Three pieces to e performed. Choose ONE piece from each ITEM listing. All pieces are contained in the St. Cecilia Contemporary Guitar Alums availale directly from Jayday Music Education (.jayday.com) and leading music stores. ITEM 1 So It Begins Poer Up The Pirate Cave Aura Lee ITEM 2 Se Nacho Ignition Cool 6 Walt Zed ITEM Exercise 1 Exercise 2 Exercise Exercise General Knoledge ( Marks) Candidates ill e asked five questions relating to the instrument as ell as the pieces performed. A prompt and correct response is expected in order to achieve full marks. (a) Name each guitar string commencing from the thickest string: E A D G B E () Name the asic components of the guitar: Head or Headstock, Neck, Body, Bridge, Nut, Frets. (c) To recognise and name the trele clef. (d) To name note values using any correct terminology. (e) To name and play any note from one of the performed pieces.

9 Note: Candidates ho have completed the St. Cecilia Beginner Grade Theory (or higher) are exempted from this section. A report or certificate must e shon to the examiner in order to claim exemption. Ear Tests ( Marks) The examiner ill play each test tice on the piano. To reproduce y clapping a simple to-ar phrase y the examiner hich uses quavers, crotchets and minims only. To state hich of the to notes is higher or loer in pitch, the range of hich ill e no loer than a minor rd and no higher than an octave. To sing any one note correctly in tune after it has een played y the examiner. To recognise a chordal passage played y the examiner as major or minor. 9

10 BEGINNER BEGINNER - TECHNICAL TECHNICAL REQUIREMENTS REQUIREMENTS C Major Scale -- One Octave œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ E E #

11 JUNIOR GRADE Technical Work Scales: Chords: G and F Major scales, one octave. C, G, D, Dm, A, Am. Performance Items Three pieces to e performed. Choose ONE piece from each ITEM listing. All pieces are contained in the St. Cecilia Contemporary Guitar Alums availale directly from Jayday Music Education (.jayday.com) and leading music stores. ITEM 1 The Hidden City String Lullay Pedal to the Metal Escape Pod ITEM 2 Celtic Dance Jammer Blue Z Chill Out ITEM Exercise 1 Exercise 2 Exercise Exercise General Knoledge ( Marks) Candidates ill e asked five questions relating to the instrument as ell as the pieces performed. A prompt and correct response is expected in order to achieve full marks. (a) Name each guitar string commencing from the thickest string: E A D G B E () To recognise and name the trele clef. (c) To recognise (ut not explain) the time signature. (d) To name note values using any correct terminology. (e) To name and play any note from one of the performed pieces. (f) To recognise (ut not explain) ties, sharp, flat and natural symols. 11

12 Note: Candidates ho have completed the St. Cecilia Junior Grade Theory (or higher) are exempted from this section. A report or certificate must e shon to the examiner in order to claim exemption. Ear Tests ( Marks) The examiner ill play each test tice on the piano. (a) () (c) (d) To reproduce y clapping a simple three-ar phrase played at a moderate tempo y the examiner using crotchets, quavers and minims. To sing any to notes ithin the range of an octave correctly in tune. To state hich of to notes played y the examiner is higher or loer using any interval ithin the octave including the minor 2nd. To recognise a chordal passage played y the examiner as major or minor. 12

13 JUNIOR - TECHNICAL REQUIREMENTS G Major Scale - One Octave # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F Major Scale - One Octave œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ C G D D A A # #

14 PRELIMINARY GRADE Technical Work Scales: Chords: D and B Major scales, one octave. A Chromatic, one octave. F, Fm, B, Bm. Performance Items Three pieces to e performed. Choose ONE piece from each ITEM listing. All pieces are contained in the St. Cecilia Contemporary Guitar Alums availale directly from Jayday Music Education (.jayday.com) and leading music stores. ITEM 1 Prologue Ashes Closin Shop Doule Stop ITEM 2 Ay Chris Mun High Moon Spring Board Majority ITEM Exercise 1 Exercise 2 Exercise Exercise General Knoledge ( Marks) Candidates ill e asked five questions relating to the instrument as ell as the pieces performed. A prompt and correct response is expected in order to achieve full marks. (a) To recite the chromatic scale commencing on the note A using sharps (ascending). () To recite the chromatic scale commencing on the note A using flats (ascending). (c) To name and explain the time signature. (d) To name any note eteen frets 1-. (e) To recognise and explain dotted notes, ties, sharp, flat and natural symols. (f) To name note values using any correct terminology. 1

15 Note: Candidates ho have completed the St. Cecilia Preliminary Grade Theory (or higher) are exempted from this section. A report or certificate must e shon to the examiner in order to claim exemption. Ear Tests ( Marks) The examiner ill play each test tice on the piano. (a) To reproduce y clapping a simple three-ar phrase in / time played at a moderate tempo y the examiner using crotchets, quavers and minims. () To sing three notes ithin the range of an octave correctly in tune. (c) To state hich of to notes played y the examiner is higher or loer using any interval ithin the octave including the minor 2nd. (d) To recognise a chordal passage played y the examiner as major or minor. 1

16 # # PRELIMINARY - TECHINCAL REQUIREMENTS D Major Scale - One Octave œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B Major Scale - One Octave œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ A Chromatic Scale - One Octave œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # # # # # n œœ œœ œ œœ F F B B ## # # #

17 GRADE ONE Technical Work ( Marks) Scales: Chords: Arpeggios: G Major, patterns, alternate picking. D poer chord, to positions. D Major arre chord, to positions. D minor arre chord, to positions. D Major, one octave, to positions. Performance Items Four pieces to e performed. Choose ONE piece from each ITEM listing. All pieces are contained in the St. Cecilia Contemporary Guitar Alums availale directly from Jayday Music Education (.jayday.com) and leading music stores. ITEM 1: Free Choice The Free Choice piece may e chosen from Item 2 or. Alternatively, the student may sumit a piece of an equivalent standard and length, a copy of hich must e presented to the examiner. ITEM 2 Armed and Ready Red Land Jazzin Dark Horse ITEM I am the Rocker Set Sail Reach the Summit Wishing ITEM Exercise 1 Exercise 2 Exercise Exercise 1

18 Programme Notes ( Marks) This section ill require an accurate and prompt response to questions related to the content of the musical score. The folloing areas must e covered in preparation: (i) Key signatures (ii) Time signatures (iii) Notation, pitch duration iv) All terms and signs on the score Note: Candidates ho have completed the St. Cecilia Grade One Theory (or higher) are exempted from this section. A report or certificate must e shon to the examiner in order to claim exemption. 1

19 # # # GRADE ONE - TECHNICAL REQUIREMENTS G Major Scales, Patterns. Major Pattern 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Major Pattern 2 Major Pattern œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Major Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Major Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

20 D Poer Chord: To Positions D fr D fr D Major Barre Chord: To Positions D minor Barre Chord: To Positions D fr D # # fr D n fr D fr 6 6 D Major Arpeggios: To Positions œ œ œ œ œ œ œ œ œ œ œ # # œ œ œ

21 GRADE TWO Technical Work ( Marks) Scales: Chords: Arpeggios: E natural minor, patterns, alternate picking. C Major th, to positions. C, to positions. D minor, one octave, to positions. Performance Items Four pieces to e performed. Choose ONE piece from each ITEM listing. All pieces are contained in the St. Cecilia Contemporary Guitar Alums availale directly from Jayday Music Education (.jayday.com) and leading music stores. ITEM 1: Free Choice The Free Choice piece may e chosen from Item 2 or. Alternatively, the student may sumit a piece of an equivalent standard and length, a copy of hich must e presented to the examiner. ITEM 2 Up to 11 Missing Keys Better Days No Alfresco Freycinet ITEM Dusty Opening Up Green Mohak Back in the Day ITEM Exercise 1 Exercise 2 Exercise Exercise 21

22 Programme Notes ( Marks) This section ill require an accurate and prompt response to questions related to the content of the musical score. The folloing areas must e covered in preparation: (i) Key signatures (ii) Time signatures (iii) Notation, pitch duration iv) All terms and signs on the score Note: Candidates ho have completed the St. Cecilia Grade To Theory (or higher) are exempted from this section. A report or certificate must e shon to the examiner in order to claim exemption. 22

23 GRADE TWO - TECHNICAL REQUIREMENTS E Natural Minor Scales, Patterns. Natural Minor Pattern 1 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Natural Minor Pattern 2 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Natural Minor Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Natural Minor Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Natural Minor Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

24 C Major th Chord: To Positions C Chord: To Positions CŒ Š 9 9 fr CŒ Š fr C 9 fr C fr D Minor Arpeggios: To Positions œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 2 2

25 GRADE THREE Technical Work ( Marks) Scales: Chords: Arpeggios: G Major pentatonic, patterns, alternate picking. E minor pentatonic, patterns, alternate picking. C minor th, to positions. C minor th ( ), to positions. D augmented, one octave, to positions. Performance Items Four pieces to e performed. Choose ONE piece from each ITEM listing. All pieces are contained in the St. Cecilia Contemporary Guitar Alums availale directly from Jayday Music Education (.jayday.com) and leading music stores. ITEM 1: Free Choice The Free Choice piece may e chosen from Item 2 or. Alternatively, the student may sumit a piece of an equivalent standard and length, a copy of hich must e presented to the examiner. ITEM 2 Survival Heading West Together Alone Here and There ITEM Groove Strike Y-Bot Army Compin Through Dreams ITEM Exercise 1 Exercise 2 Exercise Exercise 2

26 Programme Notes ( Marks) This section ill require an accurate and prompt response to questions related to the content of the musical score. The folloing areas must e covered in preparation: (i) Key signatures (ii) Time signatures (iii) Notation, pitch duration iv) All terms and signs on the score Note: Candidates ho have completed the St. Cecilia Grade Three Theory (or higher) are exempted from this section. A report or certificate must e shon to the examiner in order to claim exemption. 26

27 # # GRADE THREE - TECHNICAL REQUIREMENTS G Major Pentatonic, Patterns Major Pentatonic Pattern 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 2 Major Pentatonic Pattern œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Major Pentatonic Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Major Pentatonic Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Major Pentatonic Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

28 Note: the E minor pentatonic patterns are the exact same fingerings and positions as the G major pentatonic scales. E minor Pentatonic, Patterns Minor Pentatonic Pattern 1 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Minor Pentatonic Pattern 2 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Minor Pentatonic Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Minor Pentatonic Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Minor Pentatonic Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

29 C Minor th Chords: To Positions C Minor th ( ) Chords: To Positions C C fr C () fr C () fr D Augmented Arpeggios: To Positions œ œ œ œ œ œ œ œ œ œ œ # # # # œ œ œ

30 GRADE FOUR Technical Work ( Marks) Scales: Chords: Arpeggios: E lues, patterns, alternate picking. C diminished th, to positions. C minor (Major th), to positions. C Major 6th, to positions. C minor 6th, to positions. D diminished, one octave, to positions. Performance Items Four pieces to e performed. Choose ONE piece from each ITEM listing. All pieces are contained in the St. Cecilia Contemporary Guitar Alums availale directly from Jayday Music Education (.jayday.com) and leading music stores. ITEM 1: Free Choice The Free Choice piece may e chosen from Item 2 or. Alternatively, the student may sumit a piece of an equivalent standard and length, a copy of hich must e presented to the examiner. ITEM 2 Sky Dive Night Light Groove Reflection Samill Blues ITEM Octane Open Fields Time Travel This is not Good-Bye ITEM Exercise 1 Exercise 2 Exercise Exercise 0

31 Programme Notes ( Marks) This section ill require an accurate and prompt response to questions related to the content of the musical score. The folloing areas must e covered in preparation: (i) Key signatures (ii) Time signatures (iii) Notation, pitch duration iv) All terms and signs on the score Note: Candidates ho have completed the St. Cecilia Grade Four Theory (or higher) are exempted from this section. A report or certificate must e shon to the examiner in order to claim exemption. 1

32 GRADE FOUR - TECHNICAL REQUIREMENTS E Blues Scale, Patterns Blues Scale Pattern 1 # œ œ œ œ œ œ œ œ œ œ # œ œ œ œ nœ œ œ œ œœ œ œ œ œ œ œ œ Ó # n Blues Scale Pattern 2 # œ œ œ œ œ œ œ œ œ# œ œ œnœ œ # œ œ œœ œ œ œ œn œ œ œ œ œ œ œ Œ # Blues Scale Pattern # œ œ œ œ œ œ œ œ œ # œ œ œ œ œnœ œ n œ # œ œ œ œ œ œ œ œ œ œ Ó Blues Scale Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œœ nœ œ # œ œ œ œ œ œ œ œ œ Ó Blues Scale Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ # œ œnœœ œ œ Ó œ

33 C Diminished th Chord: To Positions C Minor (Major th) Chord: To Positions Cº Cº fr C (Œ Š) fr C (Œ Š) fr 2 9 C Major 6th Chord: To Positions C Minor 6th Chord: To Positions C6 C6 (omit th) C 6 fr C 6 2fr (This is a commonly used voicing even though there is no th) D Diminished Arpeggios: To Positions œ œ œ œ œ œ œ œ œ œ œ œ œ œ

34 Notes on the Syllaus Grades - In Grades -, candidates may design their exam program using: the set orks listed for each grade in the syllaus their on choices of an equivalent standard (approval y sumission is required) one Jazz Standard piece performed as per the Jazz Standard Guidelines elo an original composition as per the Original Composition Guidelines elo a comination of the aove. The examiner ill principally assess the candidate s performance on the folloing criteria: the choice of pieces presented the technical dexterity and competence of the performer the musical and stylistic aareness performance confidence and flair Note: a ell-rounded program ould include good execution of: chord/rhythm playing melodic/single note playing improvisation variety of guitar tones such as: distortion, clean, overdrive, pickup selection, effects variety of playing techniques such as: ends, virato, slides, harmonics, etc Candidates should aim to include a minimum of to of the folloing styles. Rock Funk Blues Acoustic Jazz Metal Other

35 Jazz Standard Guidelines The aim hen playing through a lead sheet is freedom, creativity and ingenuity. These aspects should e a major part of the performance style. Accompaniment is permitted. When a jazz standard is chosen and a lead sheet is used, the candidate must demonstrate at least to of the folloing skills in the examination: the melody in at least to registers. The melody may e emellished the aility to confidently accompany other instruments or voice the piece as a chord melody (at least once through the lead sheet) an improvised or prepared solo hich may e accompanied or unaccompanied The lead sheet and a ullet point outline of ho the performer intends to present the piece must e sumitted to the examiner at the time of the examination. In addition, a veral explanation may also e presented. For example, details may e given in relation to the: introduction melody solo chord melody ending Given the time restraints of the examination, performance of a jazz standard should e sensitive to the length of the examination, unnecessary repeats or extended improvisation ill lose marks. Candidates should e prepared to riefly explain some of the musical choices they made in executing the piece. Care should e given in the choice of pieces ith the candidate s capailities taken into consideration. If applicale, it may e appropriate for an arranged introduction and ending to the piece. Original Composition Guidelines The piece must e: sumitted in either standard music notation or music notation/tab. 2- minutes in length interesting and ell-structured. Over-repetition ill not e acceptale. accompanied y a detailed ritten explanation as to ho and hy the piece as contructed. A technical as ell as musical response ill e expected.

36 GRADE FIVE Technical Work ( Marks) Scales: Chords: Arpeggios: E harmonic minor, patterns, alternate picking G Major triads, 6 positions, including inversions G minor triads, 6 positions, including inversions C Major, to octaves C minor, to octaves Performance Items (- minutes total duration) Four pieces to e performed. See notes aout grade - for more details. Scoring: ITEM 1 ITEM 2 ITEM ITEM Teacher/group accompaniment permitted. Items of equivalent difficulty may e selected and sumitted for approval, see the St. Cecilia School of Music esite for more details. Suggestions Joe Satriani - Surfing ith the Alien Lynyrd Skynyrd - Seet Home Alaama Steve Vai - The Crying Machine Velvet Revolver - Fall to Pieces Foo Fighters - The Pretender Kings of Leon - Radioactive Metallica - Sad But True AC/DC - Back in Black 6

37 Programme Notes ( Marks) This section ill require an accurate and prompt response to questions related to the content of the musical score. The folloing areas must e covered in preparation: (i) (ii) (iii) iv) v) Key signatures Time signatures Notation, pitch duration All terms and signs on the score The candidate ill e asked to give a rief explanation/description of the style and unique characteristics of any of the chosen pieces. Note: Candidates ho have completed the St. Cecilia Grade Five Theory (or higher) are exempted from this section. A report or certificate must e shon to the examiner in order to claim exemption.

38 # GRADE FIVE - TECHNICAL REQUIREMENTS E Harmonic Minor, Patterns Harmonic Minor Pattern 1 œ œ œ œ œ œ œ œ œ œ œ # œ œ œ# œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ# œ Harmonic Minor Pattern 2 # œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ # œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ# œ 6 6 # # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ Harmonic Minor Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ # œ œ œ# œ œ œ œ œ œ œ# œ œ œ Harmonic Minor Pattern Harmonic Minor Pattern # # œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ# œ œ œ œ # œ œ œ œ œ œ œ œ œ

39 G Major Triads in 6 positions (including inversions) G Minor Triads in 6 positions (including inversions) To Octave C Major Arpeggio To Octave C Minor Arpeggio œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

40 GRADE SIX Technical Work ( Marks) Scales: Chords: Arpeggios: One octave modes in the key of C C Ionian D Dorian E Phrygian F Lydian G Mixolydian A Aeolian B Locrian G diminished triads, 6 positions, including inversions G augmented triads, 6 positions, including inversions D, to positions Performance Items (-12 minutes total duration) Four pieces to e performed. See notes aout grade - for more details. Scoring: ITEM 1 ITEM 2 ITEM ITEM Teacher/group accompaniment permitted. Items of equivalent difficulty may e selected and sumitted for approval, see the St. Cecilia School of Music esite for more details. Suggestions Joe Bennett Kung Fu Drummer - Mohair Mountain Kit Morgan - Striped Shirt James Uings - That Sounds Like Noise Deirdre Cartright - Blue Espresso Charlie Griffiths - Cranial Contraption Noam Lederman - Favela Joe Satriani - Midnight Joe Satriani - Alays With Me, Alays With You Tommy Emmanuel - Since We Met Jim Kelly - Mr Stern from Berklee Guitar Style Studies (Berklee Press) 0

41 Programme Notes ( Marks) This section ill require an accurate and prompt response to questions related to the content of the musical score. The folloing areas must e covered in preparation: (i) (ii) (iii) iv) v) Key signatures Time signatures Notation, pitch duration All terms and signs on the score The candidate ill e asked to give a rief explanation/description of the style and unique characteristics of any of the chosen pieces. Note: Candidates ho have completed the St. Cecilia Grade Six Theory (or higher) are exempted from this section. A report or certificate must e shon to the examiner in order to claim exemption. 1

42 C Ionian GRADE SIX - TECHNICAL REQUIREMENTS Modes in the Key of C Major, One Octave œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ D Dorian œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ E Phrygian œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F Lydian œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

43 G Mixolydian œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ A Aeolian œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B Lorcrian œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ G diminished in 6 positions (including inversions)

44 G Augmented Triads in 6 Positions (including inversions) # # # # # # D Major th Arpeggios in 2 Positions, One Octave œ œ œ œ œ œ # # œ œ œ œ œ# œ œ œ # œ œ D Arpeggios in 2 Positions, One Octave œ œ œ œ œ œ œ œ œ œ œ œ œ œ # # œ œ

45 GRADE SEVEN Technical Work ( Marks) Scales: Chords: Arpeggios: G jazz melodic minor, patterns, alternate picking Gsus triads, 6 positions, including inversions D9, to positions D1, to positions, 9th/11th may e omitted for simplified voicings D minor th, one octave, to positions D minor th, ( ), one octave, to positions Performance Items (12-1 minutes total duration) Four pieces to e performed. See notes aout grade - for more details. Scoring: ITEM 1 ITEM 2 ITEM ITEM Teacher/group accompaniment permitted. Items of equivalent difficulty may e selected and sumitted for approval, see the St. Cecilia School of Music esite for more details. Suggestions Charlie Griffiths - The Pants Era Simon Troup - Soma Stuart Ryan - Broaday and 9th James Uings and Duncan Jordan - Chaos Pad Glen Partridge - Natchez Trace Kit Morgan - Times Square Joe Satriani - Satch Boogie Tommy Emmanuel - Angelina

46 Programme Notes ( Marks) This section ill require an accurate and prompt response to questions related to the content of the musical score. The folloing areas must e covered in preparation: (i) (ii) (iii) iv) v) Key signatures Time signatures Notation, pitch duration All terms and signs on the score The candidate ill e asked to give a rief explanation/description of the style and unique characteristics of any of the chosen pieces. Note: Candidates ho have completed the St. Cecilia Grade Seven Theory (or higher) are exempted from this section. A report or certificate must e shon to the examiner in order to claim exemption. 6

47 # # # GRADE SEVEN - TECHNICAL REQUIREMENTS G Jazz Melodic Minor, Patterns Jazz Melodic Minor Pattern 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ Jazz Melodic Minor Pattern œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œœ œ 6 Jazz Melodic Minor Pattern 6 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ Jazz Melodic Minor Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ Jazz Melodic Minor Pattern # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ

48 Gsus Triads in 6 Positions (including inversions) D9 Chord: To Positions D1 Chord: To Positions D9 fr D9 # # fr D1 (omit 9 11) D1 (omit 11) fr # # fr D Minor Arpeggios: To Positions œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ D Minor Arpeggios: To Positions œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

49 C Major Arpeggios in Positions (including inversions) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ C Minor Arpeggios in Positions (including inversions) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

50 GRADE EIGHT Technical Work ( Marks) Scales: Chords: Arpeggios: G altered, patterns, alternate picking # D( 9), to positions D( 9), to positions # D( ), to positions D( ), to positions C diminished, positions, including inversions C augmented, positions, including inversions Performance Items (1-16 minutes total duration) Four pieces to e performed. See notes aout grade - for more details. Scoring: ITEM 1 ITEM 2 ITEM ITEM Teacher/group accompaniment permitted. Items of equivalent difficulty may e selected and sumitted for approval, see the St. Cecilia School of Music esite for more details. Suggestions Charlie Griffiths and Jason Bold - Meet Darth Ear Kit Morgan - Mind the Gaps James Uings - Lead Sheet Simon Troup - Freightshaker Noam Lederman - Nosso Sama Stuart Ryan, Henry Thomas and Kung Fu Drummer - Dark Matter Guthrie Govan - Fives Tommy Emmanuel - Windy Warm, originally ritten y John D. Loudermilk Steve Vai - For the Love of God Martin Taylor - True 0

51 Programme Notes ( Marks) This section ill require an accurate and prompt response to questions related to the content of the musical score. The folloing areas must e covered in preparation: (i) (ii) (iii) iv) v) Key signatures Time signatures Notation, pitch duration All terms and signs on the score The candidate ill e asked to give a rief explanation/description of the style and unique characteristics of any of the chosen pieces. Note: Candidates ho have completed the St. Cecilia Grade Eight Theory (or higher) are exempted from this section. A report or certificate must e shon to the examiner in order to claim exemption. 1

52 GRADE EIGHT - TECHNICAL REQUIREMENTS G Altered, Patterns Altered Pattern 1 œ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œœ œ œ œœ œ œ 6 Altered Pattern 2 Note: Because the altered scale is uilt on the th degree of an A jazz melodic minor scale, the key signature of G altered has een ritten as A to simplify the notation œ œ œ œ œ œ œœ œ œœ œ œœ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ Altered Pattern œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œœ œ œ œœ œ œ œ œœœ œœœœ Altered Pattern œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œ œœ œ œœ œ œ œœœ Altered Pattern œ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œœ œ œœ œ œ œœ œ œœ œ

53 # D 9 Chord: To Positions D 9 Chord: To Positions D(#9) (omit ) D(#9) (omit ) D(9) (omit ) D(9) (omit ) 11fr fr fr fr # # # # # D Chord: To Positions D Chord: To Positions D(#) ## fr D(#) D() D() fr 9fr fr # # # # C Diminished Arpeggio in Positions (including inversions) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ C Augmented Arpeggios in Positions (including inversions) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ # # # œ œ

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56 ST CECILIA EXAMINATIONS Current syllauses for St Cecilia Examinations KEYBOARD: Pianoforte, Piano Duet, Digital Piano, Modern Piano STRINGS: Violin, Viola, Violoncello, Doule Bass GUITAR: Classical Guitar, Contemporary Guitar, Modern Bass Guitar WOODWIND: Flute, Clarinet, Saxophone SINGING DRUM KIT DIPLOMAS: Performance, Teaching CERTIFICATE OF PERFORMING ARTS MUSICIANSHIP PRECISION-READING THEORY OF MUSIC Also Availale: Theory of Music Workooks (Beginner to Grade ) Sample Papers Workooks (Beginner to Grade ) Piano Grade Alums (Beginner to Grade ) Contemporary Guitar Grade Alums (Beginner to Grade ) Violin Grade Alums (Preliminary to Grade ) Viola Cello Grade Alums (Preliminary Grade 1) Strings Rocks Books (Books 1 - : Violin, Viola, Cello, Doule Bass, Piano Accompaniment For more information visit the St Cecilia Examinations esite:.st-cecilia.com.au 6