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Rock G uitar Playing
lnitial Stage

Compiled by
Tony Skinner and Merv Young
on behalf of
Regisry Of Guitar Tutors
vrnMvy.RGT.org
 Printed and bound in Great Britain

A clP record for this publication is available from the British Library
ISBN: 97 8-l -9 O59O8-29-s

Published by Registry Publications

Registry Mews, Wilton Rd, Bexhill, Sussex, TN4O I HY

Cover photo by Andreas Gradin/Fotolia. Design by JAK lmages.

All musical compositions by Tony Skinner.

Compiled by

-
kr
The Specialists in Guitar Education

Registry of Guitar Tutors

vr/vr/w.RGT.org
-
-

@ Copyright 20 I I by Registry Of Guitar Tutors. Worldwide rights reserved.

PHOTOCOPYING OFANY PART OF THIS BOOK IS IILEGAI

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

v.2O11OA23
Contents

Page

4 ) lntroduction

6 ) Chords and Scales

I ) Prepared Performances

I ) Ouiet As A Bulldog (CD tracks 2-3)

I O ) Firecracker (CD tracks 4-5)

II ) The Jaguar (CD tracks 6-71

l2 ) Jump The Barrier {CD tracks 8-9)

l3 ) Armour Plated 1CO tracks tO-t t)

l4 ) Missing ln Action (CD tracks t}-t3l

t5
lntroduction
This book is the first in a progressive series of ten handbooks designed for rock
guitarists who wish to develop their playing and obtain a qualification. Although
the primary intention of these handbooks is to prepare candidates for the Regisiry
Of Guitar Tutors (RGT) rock guitar exams, the series provides a comprefrensiv-e
structure that will help develop the abilities of any guitarist interested in rock music,
whether or not intending to take an exam.

Those preparing for an exam should use this handbook in conjunction with the
Syllabus for Rock Guitar Playing and the Rock Guitar Exam Information Booklet -
both freely downloadable from the RGT website: www.RGT.org

Exam Outline

For the lnitial Stage exam, candidates are required to perform T\VO pieces of music.
This book provides the notation for six specially-composed rock guitar pieces; the
pieces are divided into two groups - Group A and Group B - and candidates should
choose one piece from each groap to perform in the exam. The pieces should be
performed along to the backing tracks provided on the accompanying CD. The CD
also includes a demonstration track of each piece for candidates to listen to and
practise with prior to the exam.

A maximum of 5O marks may be achieved for the performance of each piece. To pass
the exam candidates need a total of 65 marks. Candidates achieving 75 marks will
be awarded a Merit certificate, or a Distinction certificate for 85 marks or above.

Exam Entry

An exam entry form is provided at the rear of this handbook. This is the only valid
entry form for the RGT rock guitar playing exams.

Please note that if the entry form is detached and lost, it will not be replaced under
any circumstances and the candidate will be required to obtain a replacement
handbook to obtain another entry form.

The entry form includes a unique entry code to enable online entry via the RGT
webs i te vrrurw. RGT. org

Tuning

The CD provided with this handbook includes a tunin g guide on Track I for
candidates to use to practise tuning by ear.

For exam Purposes guitars should be tuned to Standard Concert pitch (A=44OHzl.
The use of an electronic tuner or other tuning aid is permitted. The examiner will not
assist with tuning.
Notation '-

Within this handbooK three formats of notation are used: traditional notation,
tablature and fretboxes - thereby ensuring that there is no doubt as to how to play
the musical requirements. Each of these methods of notation is explained below.

Traditional Notation: Each line, and space between lines, represents a different
note. Leger lines are used to extend the stave. For scales, string and fret numbers
are printed below the notation: fret-hand fingering is shown with the numbers I 2 3
4, with o indicating an open string; string numbers are shown in a circle.

This example shows a

oneoctave A natural
minor scale.
,P
(U

Tablature: Horizontal lines represent the strings (with the top line being the high E
string). The numbers on the string lines refer to the frets. O on a line means play that
string open (unfretted).
E
B
G This example means play at the second fret on the third string.
D
A
E

Fretboxes: Vertical lines represent the strings - with the line furthest to the right
representing the high E string. Horizontal lines represent the frets. The numbers on
the lines show the recommended fingering. I represents the index finger, 2 = the
long middle finget, 3 = the ring finger, 4 = the little finger. The example below
means play with the second finger at the second fret on the G string.
EADGBE
lf a 0 aPPears above a string line, this indicates that the open string should be
played.

lf, in a chord fretbo><, an X appears above a string line, this indicates that this
string should not be played.

Fingering Options

The fret-hand fingerings that have been provided for chords and scales are those
that are most likely to be effective for the widest range of players at this level.
However, there are a variety of alternative fingerings that could be used, and any
systematic and effective fingerings that produce a good musical result will be
acceptable; there is no requirement to use the exact fingerings shown within this
handbook. ln addition, it should be noted that the optimal fingering for playing a
scale might not always be the most effective fingering for playing a performance
piece that is based on that scale; when playing the performance pieces some notes
might be more easily fretted with a fingering other than that which would be most
effective ifjust playing the scale.
 Chords andscales
Candidates will need to be fully familiar with the chords and scales listed below in
order to be properly prepared for performing the set pieces in the exam, as the
pieces have been specially composed to incorporate these chords and scales.

Chords

Here is the range of chords that are included in the exam pieces.

o Minor chords: Am Em
o Fifth (power) chords: A5 E5
. Major chords: G D

Am - A minor Em - E minor

XO 0 0 0

2:

A5 - A ftfth (power chord) E5 - E fifth (power chord)

XO XXX 0 xxxx
G - G major* D - D major

XXO OO xx0

*To enableyoung players, especially those with small handt to cope

with the physical challenge of playing a G major chord, the
simplified four-string version of the chord as shown above
(technically named G/Dl is utilised within the pieces set for this
exam level. For reference only, notation showing the standard full
version of the open position G major chord is also provided.

Scales

Here are the scales that are utilised in the exam performance pieces.

A natural minor scale - I octave

ABCDEFGA

00

2'. )'
33

E pentatonic minor scale - I octave

EGABDE
Prepared Performances
Candidates should choose and perform T\il/O of the pieces from this chapter - one
from Group Aand one from Group B.

The melody lines and riffs in the Group A pieces are all based on the A natural minor
scale, whereas those in the Group B pieces are based on the E pentatonic minor
scale. All pieces also incorporate some of the chords listed in the previous chapter.
Therefore, regular practice of all the scales and chords listed for the grade will
undoubtedly aid the learning and performance of the pieces, and so it is highly
recommended that candidates acquire a thorough working knowledge of the
appropriate scales and chords prior to attempting to play the pieces.

The CD that accompanies this book includes a backing track for each piece for the
candidate to practise playing along to. There is no need to bring the CD to the exam,
as the examiner will provide the necessary backing tracks during the exam.
The CD also features each track being performed in full for demonstration purposes
and as an aid to learning.

Exam format

Candidates'performances should be accurate reproductions of the pieces as notated

in this book. Alternative fingerings and playing positions can be adopted if
preferred, provided the overall musical result is not altered from the recorded
version.

Performances do not need to be from memory; candidates should remember to bring

their handbook to the exam should they wish to refer to the notation.

Prior to the performances commencing, candidates will be allowed a brief

'soundcheck'so that they can choose their sound and volume level. Candidates do
not need to emulate the guitar sound used on the demonstration recording;
candidates can use either a clean or a distorted guitar sound for their performance of
the pieces, and can bring their own distortion or other effects units to the exam
prouiding that they can set them up prompily and unaided.

ln order to achieve a high mark in the exam, performances should be fully accurate
and confidently presented. Timing, clarity and technical control shoutd be secure
throughout.
Quiet As A Bulldog fGroup A]
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9
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The Jaguar lGroup Al
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@ Copyright 2011 by Registry Publications.

11
Jump The Barrier fGroup B]
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Armour Plated fGroup B]
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Missing In Action fGroup B]
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@ Copyright 2017 by Registry Publications.

GIIIT&&&' &pK;&WXN{;
Use this book to develop your playing and gain
a recognised qualilication in rock guitar playing

Im]
vyvyvy.RGT.org