LEVEL ONE Length of the examination:
20 minutes
Examination Fee:
Please consult our website for the schedule of fees. www.conservatorycanada.ca
Co-requisite:
None. There is no written examination co-requisite for the awarding of the Level 1 Practical Certificate.
REQUIREMENTS & MARKING Requirement
Total Marks
THREE PIECES (one from each of the following) JAZZ/BLUES ROCK OTHER GENRES
12 12 12
ONE STUDY
12
ONE SUPPLEMENTARY PIECE
10
BACKGROUND INFORMATION
8
TECHNICAL TESTS Scales & Triads Chords SIGHT READING Rhythm Pattern Chord Chart AURAL TESTS
16
3 7 8
TOTAL MARKS
100
BONUS MARKS*
2
* Two bonus marks will be awarded to a candidate who performs at least one of the required pieces with CD accompaniment, either commercially prepared or an original creation by the student.
1 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level ONE
LIST PIECES Candidates must be prepared to play four pieces from the following three categories: Jazz/Blues, Rock and Other Genres. Choices should contrast in style, key, and tempo. Your choices must include two different composers or arrangers.
ROCK ESSENTIAL ELEMENTS FOR GUITAR BOOK 1 (HAL LEONARD) Every Breath You Take p.74 Dust in the Wind p.75 EASY POP MELODIES Walk Don't Run pg. 30 MEL BAY'S GUITAR JOURNALS – ROCK Bending The Blues pg. 47
(HAL LEONARD)
(MEL BAY)
OTHER BLUEGRASS GUITAR CLASSICS (HAL LEONARD) Man of Constant Sorrow Pg.22 Under the Double Eagle Pg.36
(MEL BAY)
STUDIES ESSENTIAL ELEMENTS FOR GUITAR BOOK 1 (HAL LEONARD) 123. Power Chord Shuffle Pg 77
JAZZ/BLUES SOLO BLUES GUITAR Solos 1,8.
MEL BAY'S GUITAR JOURNALS-BLUES The Pull-Off pg.30
(HAL LEONARD)
MEL BAY'S GUITAR JOURNALS JAZZ (MEL BAY) Blues in G pg.30 (First 12 Bars)
21ST CENTURY GUITAR METHOD Singing Strings Pg 22 Spy to Spy Pg 22
(ALFRED)
SUPPLEMENTARY PIECE Candidates must be prepared to play one supplementary piece. This piece need not be from the Syllabus lists, and may be chosen entirely at the discretion of the teacher and student. It may represent a period or style of piece not already included in the examination program, but which holds special interest for the candidate. The choice must be within the following guidelines: (a) The equivalent level of difficulty of the piece may be at a higher level, providing it is within the technical and musical grasp of the candidate. (b) Candidates with exceptional talent for improvisation may wish to improvise upon a theme of their choice. In this case, items (a) and (b) (above) will apply. Marks will be given for originality, musical inventiveness, and compositional/structural unity. Special approval is not required for the supplementary piece. However, poor suitability of the choice may be reflected in the mark.
2 © Conservatory Canada 2006
Contemporary Idioms Guitar Syllabus - Level ONE
TECHNICAL TESTS All technical tests must be played from memory, evenly, with good tone, and logical left hand fingering including right hand finger alternation or down and up picking. Metronome markings should be regarded as minimum speeds.
Keys Required in Level One.
New Keys
Review Keys
Major
C
None
Minor
Am
None
SCALES To be played from memory, ascending AND descending, in the keys stated. Open strings are allowed.
M.M.
Ú
Keys
Octaves
Articulation
Major (Ionian)
C
2
70
all legato, even 8ths
Natural Minor, (Aeolian)
Am
2
70
all legato, even 8ths
Harmonic Minor,
Am
2
70
all legato, even 8ths
Jazz Melodic Minor
Am
2
70
all legato, even 8ths
Pentatonic
C, Am
2
70
all legato, even 8ths
Chromatic
Beginning on D
1
70
all legato, even 8ths
Any logical fingering is acceptable. They may be played alternating down and up with a pick or performed by alternating the right hand index and middle fingers.
3 © Conservatory Canada 2006
Contemporary Idioms Guitar Syllabus - Level ONE
4 © Conservatory Canada 2006
Contemporary Idioms Guitar Syllabus - Level ONE
ARPEGGIOS To be played ascending and descending in the keys stated.
Keys
M.M.
Ú
Note Values
Major
C
70
in quarter notes
Minor
Am
70
in quarter notes
CHORDS Play the following chord progressions in sequence: (a) Major Key: Imaj, IVmaj, V7, Imaj (b) Minor Key: Im, IVm, V7, Im
5 © Conservatory Canada 2006
Contemporary Idioms Guitar Syllabus - Level ONE
SIGHT READING Candidates are required to perform at sight: (a)
A rhythmic exercise (one example given)
(b)
A melodic passage (one example given)
(c)
A chord chart
The candidate will be given a brief period to scan the score and must perform each section without counting aloud. Attempts to correct errors during the performance should be avoided.
Rhythmic Exercise Tap, clap, or play on one note (at the candidate’s choice) a simple rhythm. Length
4 bars
Example: a) Rhythm
6 © Conservatory Canada 2006
Contemporary Idioms Guitar Syllabus - Level ONE
Melodic Passage Sight read a short melody equal in difficulty to pieces of Level 1. Keys
C, am,
Length
4 bars
Example: b) Sight Reading
Chord Charts The candidate is free to interpret the rhythm and chord voicings freely while maintaining stylistic integrity. Major Keys
C
Length
8 – 24 bars
7 © Conservatory Canada 2006
Contemporary Idioms Guitar Syllabus - Level ONE
AURAL TESTS The candidate will be required:
(a) to identify major or minor chords played once by the examiner in broken form and in root position: (b) the examiner will play the four note tonic chord of any key in root position slowly ascending and descending. The examiner will then randomly play one note from the chord asking the student to identify the note by interval: interval number [1, 3, 5, 8].
BACKGROUND INFORMATION Candidates must be prepared to answer questions on the three pieces selected for the examination. The questions will include the following elements:
(a) Musical signs – Find and explain all articulation markings, dynamic and tempo markings and other musical terms. (b) Style – Describe any important musical concepts in each of the genres performed on the examination (jazz, blues, latin, etc.) and illustrate how they apply to each particular piece.
RESOURCE MATERIAL Further examples and supplementary exercises may be found on the E-Sharp Club at: www.conservatorycanada.ca
8 © Conservatory Canada 2006
LEVEL TWO Length of the examination:
20 minutes
Examination Fee:
Please consult our website for the schedule of fees. www.conservatorycanada.ca
Co-requisite:
None. There is no written examination corequisite for the awarding of the Level 2 Practical Certificate.
REQUIREMENTS & MARKING Requirement
Total Marks
TWO PIECES Chosen from the following JAZZ/BLUES ROCK or OTHER GENRES ONE STUDY
10
ONE SUPPLEMENTARY
10
ONE IMPROVISATION
10
BACKGROUND INFORMATION
8
TECHNICAL TESTS Scales & Triads Chords SIGHT READING Rhythm Pattern Chord Chart AURAL TESTS
16
TOTAL MARKS
100
BONUS MARKS*
2
14 14
3 7 8
* Two bonus marks will be awarded to a candidate who performs at least one of the required pieces with CD accompaniment, either commercially prepared or an original creation by the student.
LIST PIECES Candidates must be prepared to play two pieces from the following three categories: Jazz/Blues, Rock and Other Genres. Choices should contrast in style, key, and tempo. Your choices must include two different composers or arrangers.
9 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level TWO
MARK ELF JAZZ INTERPRETATIONS VOL. 2 (MEL BAY) Any Etude
ROCK MORE EASY POP MELODIES Fields Of Gold pg. 13 Summer of 69 pg. 14
(HAL LEONARD)
OTHER MORE EASY POP MELODIES Oye Como Va pg.28
JAZZ/BLUES ADVANCED ROCK GUITAR TECHNIQUE (MEL BAY) Don’t Give Up pg.14 JAZZ GUITAR MADE EASY So Who? Pg.6 Spring Acorns Pg.24 Duke’s Dolls Pg 28
(MEL BAY)
(HAL LEONARD)
STUDIES BOOGIE BLUES RIFFS Riffs No 1 through 5
(HAL LEONARD)
EASY ROCK RHYTHMS Rhythm Riff #12 Pg.17
(HAL LEONARD)
12-BAR BLUES RIFFS Riff’s 1 through 3.
(HAL LEONARD)
SUPPLEMENTARY PIECE Candidates must be prepared to play one supplementary piece. This piece need not be from the Syllabus lists, and may be chosen entirely at the discretion of the teacher and student. It may represent a period or style of piece not already included in the examination program, but which holds special interest for the candidate. The choice must be within the following guidelines: (a) The equivalent level of difficulty of the piece may be at a higher level, providing it is within the technical and musical grasp of the candidate. (b) Candidates with exceptional talent for improvisation may wish to improvise upon a theme of their choice. In this case, items (a) and (b) (above) will apply. Marks will be given for originality, musical inventiveness and compositional/structural unity. Special approval is not required for the supplementary piece. However, poor suitability of the choice may be reflected in the mark.
IMPROVISATION (a) Candidates will be required to improvise a melody line based upon a progression in the major keys of C or G. (b) Candidates will be required to play a IIm - V7 - I with standard chord shape on the major key of C.
10 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level TWO
TECHNICAL TESTS All technical tests must be played from memory, evenly, with good tone, and logical left hand fingering including right hand finger alternation or down and up picking. Metronome markings should be regarded as minimum speeds.
Keys Required in Level Two.
Keys Major
C, G
Minor
Am, Em
SCALES To be played from memory, ascending AND descending, in the keys stated using any logical fingering.
Octaves
Major (Ionian)
C,G
2
80
all legato, even 8ths
Natural Minor, (Aeolian)
Am, Em
2
80
all legato, even 8ths
Harmonic Minor
Am, Em
2
80
all legato, even 8ths
Jazz Melodic Minor
Am, Em
2
80
all legato, even 8ths
(Dorian)
D, A
2
80
all legato, even 8ths
(Mixolydian)
G, D
2
80
all legato, even 8ths
Pentatonic
C, Am G, Em
2
80
all legato, even 8ths
Chromatic
Beginning on A
1
80
all legato, even 8ths
11 © Conservatory Canada 2008
M.M.
Ú
Keys
Articulation
Contemporary Idioms Guitar Syllabus - Level TWO Any logical fingering is acceptable. They may be played alternating down and up with a pick or performed by alternating the right hand index and middle fingers. The following examples show all of the scales required for Level Two.
12 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level TWO
ARPEGGIOS To be played ascending and descending in the keys stated.
Major Minor
Ú
Keys
Position
G, D
Root
80
in quarter notes
Am, Em
Root
80
in quarter notes
M.M.
13 © Conservatory Canada 2008
Note Values
Contemporary Idioms Guitar Syllabus - Level TWO
CHORDS Play the following chord progressions in sequence:
b
Major Keys: Imaj, IIm, IIIm, IVmaj,V7, VIm, VIIm7 5, Imaj
b b
b
Minor Keys: Im, IIm7 5, IIImaj, IVm, V7, VImaj, VII7. Im
(See examples on the following page)
14 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level TWO
SIGHT READING Candidates are required to perform at sight: (a) A rhythmic exercise (b) A melodic passage (c) A chord chart
The candidate will be given a brief period to scan the score and must perform each section without counting aloud. Attempts to correct errors during the performance should be avoided.
15 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level TWO
Rhythmic Exercise Tap, clap, or play on one note (at the candidate’s choice) a simple rhythm. Length
4 bars
Time signature
3/4 , 4/4
Note values
whole, dotted half, half quarter, dotted quarter, eighth
Rest values
whole, half, quarter, eighth
Melodic Passage Sight read a short melody equal in difficulty to pieces of Level 1. Keys
C, G
Length
4 bars
16 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level TWO
Chord Charts The candidate is free to interpret the rhythm and chord voicings freely while maintaining stylistic integrity. Major Keys
C, G
Minor Keys
Am, Em
Length
8–24 bars
AURAL TESTS The candidate will be required: (a) To play back a short melody starting on the tonic note after the examiner has: i. provided the key (only the major keys of C or G will be used) ii. played a four note chord on the tonic in broken form iii. played the melody twice
The melody will be in either 3/4 or 4/4 time The example shown is the approximate level of difficulty:
17 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level TWO
(b) to identify major or minor chords after it has been played once by the examiner in root position. (c) to identify major or harmonic minor scales after it has been played once by the Examiner, ascending and descending, at a moderate tempo (d) to identify a given note after the examiner has played the four note tonic chord of any key in root position slowly ascending and descending. The examiner will then randomly play one note from the chord asking the student to identify the note by interval. interval name [1, 3, 5, 8].
BACKGROUND INFORMATION (a) Candidates must be prepared to answer questions on the three pieces selected for the examination. The questions will include the following elements:
(b) Musical signs – Find and explain all articulation markings, dynamic and tempo markings and other musical terms.
(c) Style – Describe any important musical concepts in each of the genres performed on the examination (jazz, blues, latin, etc.) and illustrate how they apply to each particular piece.
RESOURCE MATERIAL Further examples and supplementary exercises may be found on the E-Sharp Club at: www.conservatorycanada.ca
18 © Conservatory Canada 2008
LEVEL THREE Length of the examination:
25 minutes
Examination Fee:
Please consult our website for the schedule of fees. www.conservatorycanada.ca
Co-requisite:
None. There is no written examination corequisite for the awarding of the Level 2 Practical Certificate.
REQUIREMENTS & MARKING Requirement
Total Marks
TWO PIECES Chosen from the following JAZZ/BLUES ROCK or OTHER GENRES ONE STUDY
10
ONE SUPPLEMENTARY
10
ONE IMPROVISATION
10
BACKGROUND INFORMATION
8
TECHNICAL TESTS Scales & Triads Chords SIGHT READING Rhythm Pattern Chord Chart AURAL TESTS
16
TOTAL MARKS
100
BONUS MARKS*
2
14 14
3 7 8
* Two bonus marks will be awarded to a candidate who performs at least one of the required pieces with CD accompaniment, either commercially prepared or an original creation by the student.
LIST PIECES Candidates must be prepared to play two pieces from the following three categories: Jazz/Blues, Rock and Other Genres. Choices should contrast in style, key, and tempo. Your choices must include two different composers or arrangers.
19 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level THREE
ROCK EVEN MORE EASY POP MELODIES (HAL LEONARD) You May Be Right pg. 16 Lucy In The Sky With Diamonds pg. 38 FINGERPICKING STANDARDS (HAL LEONARD) Can’t Help Falling In Love Pg.3
JAZZ/BLUES 12-BAR BLUES SOLOS (HAL LEONARD) Solos 1,2,3,6,13,15,18,22,24. JAZZ GUITAR MADE EASY (MEL BAY) Blues Too Pg.20 MARK ELF JAZZ INTERPRETATIONS VOL. 1 (MEL BAY) - Any Etude THE FUNKMASTERS, THE GREAT JAMES BROWN RHYTHM SECTIONS (WARNER BROS) Make It Funky (Guitar part 2 only)
BASIC BLUES GUITAR METHOD – BOOK 3 (THE NATIONAL GUITAR WORKSHOP SERIES) (ALFRED MUSIC) Tracks #5 or 39.
OTHER EVEN MORE EASY POP MELODIES Crazy pg. 46
(HAL LEONARD)
BLUEGRASS GUITAR CLASSICS Wildwood Flower Pg.39
(HAL LEONARD)
MUSICIANS INSTITUTE, FUNK GUITAR, THE ESSENTIAL GUIDE (HAL LEONARD) Cuts #1 and 2 (Both) STUDIES EASY ROCK RHYTHMS Rhythm Riffs #1 through 25
(HAL LEONARD)
12-BAR BLUES RIFFS Riff’s 4 through 13.
(HAL LEONARD)
BOOGIE BLUES RIFFS Riff’s 11,12,13
(HAL LEONARD)
SUPPLEMENTARY PIECE Candidates must be prepared to play one supplementary piece. This piece need not be from the Syllabus lists, and may be chosen entirely at the discretion of the teacher and student. It may represent a period or style of piece not already included in the examination program, but which holds special interest for the candidate. The choice must be within the following guidelines: (a) The equivalent level of difficulty of the piece may be at a higher level, providing it is within the technical and musical grasp of the candidate. (b) Candidates with exceptional talent for improvisation may wish to improvise upon a theme of their choice. In this case, items (a) and (b) (above) will apply. Marks will be given for originality, musical inventiveness, and compositional/structural unity. Special approval is not required for the supplementary piece. However, poor suitability of the choice may be reflected in the mark.
IMPROVISATION (a) Candidates will be required to improvise a melody line based upon a diatonic progression in the major keys of G or F. (b) Candidates will be required to play a IIm, V7, I four note voicing on the major keys of G and F.
20 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level THREE
TECHNICAL TESTS All technical tests must be played from memory, evenly, with good tone, and logical left hand fingering including right hand finger alternation or down and up picking. Metronome markings should be regarded as minimum speeds.
Keys Required in Level Three.
Keys Major
G, F
Minor
Em, Dm
SCALES To be played from memory, ascending AND descending, in the keys stated. Any logical fingering may be used.
M.M.
Ú
Keys
Octaves
Articulation
Major (Ionian)
G, F
2
90
all legato, even 8ths
Natural Minor (Aeolian)
Em, Dm
2
90
all legato, even 8ths
Harmonic Minor
Em, Dm
2
90
all legato, even 8ths
Jazz Melodic Minor
Em, Dm
2
90
all legato, even 8ths
Dorian
A, G
2
90
all legato, even 8ths
Mixolydian
D, C
2
90
all legato, even 8ths
Pentatonic
G, F Em, Dm
2
90
all legato, even 8ths
Chromatic
Beginning on E
1
90
all legato, even 8ths
Any logical fingering is acceptable. They may be played alternating down and up with a pick or performed by alternating the right hand index and middle fingers.
21 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level THREE
22 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level THREE
23 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level THREE
ARPEGGIOS To be played ascending and descending in the keys stated.
Ú
Keys
Position
M.M.
Major
G, F
Root only
90
in quarter notes
Minor
Em, Dm
Root only
90
in quarter notes
CHORDS Play the following chord progressions in sequence:
b
Major Keys: Imaj, IIm, IIIm, IVmaj, V7, VIm, VIIm7 5, Imaj b b b Minor Keys: Im, IIm7 5, IIImaj, IVm, V7, VImaj, VII7. Im
(See examples on the following page)
24 © Conservatory Canada 2008
Note Values
Contemporary Idioms Guitar Syllabus - Level THREE
SIGHT READING Candidates are required to perform at sight: (a) A rhythmic exercise (b) A melodic passage (c) A chord chart The candidate will be given a brief period to scan the score and must perform each section without counting aloud. Attempts to correct errors during the performance should be avoided.
25 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level THREE
Rhythmic Exercise Tap, clap, or play on one note (at the candidate’s choice) a simple rhythm. Length
4 bars
Time signature
2/4, 3/4, 4/4
Note values
whole, dotted half, half, quarter, dotted quarter / eighth, eighths, dotted eighth / sixteenth whole, half, quarter, eighth
Rest values
Melodic Passage Sight read a short melody equal in difficulty to pieces of Level 2. Keys
G, F
Minor
Em, Dm
Length
4–8 bars
26 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level THREE
Chord Chart The candidate is free to interpret the rhythm and chord voicings freely while maintaining stylistic integrity. Major Keys
G, F
Minor Keys
Em, Dm
Length
8–24 bars
AURAL TESTS (a) The examiner will play a short melody, and the candidate will be required to play it back by ear. The example will start on the tonic and the examiner will: i.provide the key (only the major keys of G or F will be used) ii.play a four note chord on the tonic in broken form iii.play the melody twice The melody will be in one of the following time signatures: 2/4, 3/4, 4/4 The example below demonstrates is the approximate level of difficulty:
(b)
Identify major or min chord voicings played once by the examiner.
(c)
Identify a short four chord passage in a jazz style naming the function of each voicing (i.e. I, V7, etc). The passage will be played twice.
(d)
Identify major or harmonic minor or melodic minor scales played once by the
examiner, ascending and descending, at a moderate tempo
27 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level THREE
BACKGROUND INFORMATION Candidates must be prepared to answer questions on the two pieces selected for the examination. The questions will include the following elements: (a) Musical signs – Find and explain all articulation markings, dynamic and tempo markings and other musical terms.
(b) Style – Describe any important musical concepts in each of the genres performed on the examination (jazz, blues, latin, etc.) and illustrate how they apply to each particular piece.
RESOURCE MATERIAL Further examples and supplementary exercises may be found on the E-Sharp Club at: www.conservatorycanada.ca
28 © Conservatory Canada 2008
LEVEL FOUR Length of the examination:
25 minutes
Examination Fee:
Please consult our website for the schedule of fees. www.conservatorycanada.ca
Co-requisite:
None. There is no written examination corequisite for the awarding of the Level 4 Practical Certificate.
REQUIREMENTS & MARKING Requirement
Total Marks
THREE PIECES Chosen from the following JAZZ/BLUES ROCK OTHER GENRES ONE STUDY
10 10 10 8
ONE SUPPLEMENTARY
10
ONE IMPROVISATION
10
BACKGROUND INFORMATION
8
TECHNICAL TESTS Scales & Triads Chords SIGHT READING Rhythm Pattern Chord Chart AURAL TESTS
16
TOTAL MARKS
100
BONUS MARKS*
2
3 7 8
* Two bonus marks will be awarded to a candidate who performs at least one of the required pieces with CD accompaniment, either commercially prepared or an original creation by the student.
LIST PIECES Candidates must be prepared to play three pieces, from each of the following three categories: Jazz/Blues, Rock and Other Genres. Choices should contrast in style, key, and tempo. Your choices must include two different composers or arrangers.
29 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FOUR
ROCK MEL BAY’S GUITAR JOURNALS ROCK (MEL BAY) Rock Solos No.1, 2 and 3 BLUES, BOOGIE & ROCK GUITAR (MEL BAY) (Download Only) Sections 2,3,5.
OTHER GENRES THE FUNKMASTERS, THE GREAT JAMES BROWN RHYTHMSECTIONS (WARNER BROS) Out Of Sight Think Funk I Got The Feeling (Guitars 1 and 2) MUSICIANS INSTITUTE, FUNK GUITAR, THE ESSENTIAL GUIDE (HAL LEONARD)
JAZZ/BLUES
Cuts #6, 7, and 8 (Both)
JAZZ GUITAR MADE EASY (MEL BAY) Moonrays Pg.10 Mr. Politically Incorrect Pg.14 Little Bossa Pg.18 SOLO BLUES GUITAR (HAL LEONARD) Solos #1, 5, 6, 9, 12, 46 through 55. 12 BAR BLUES SOLOS - Solo #8 or 19
(HAL LEONARD)
MEL BAY’S GUITAR JOURNALS BLUES (MEL BAY) - Steady Bass Solo #2 BASIC BLUES GUITAR METHOD BOOK 3 (ALFRED MUSIC) (The National Guitar Workshop Series) Track #4, 15, 16 FAVORITE STANDARDS (JAZZ GUITAR CHORD MELODY SOLOS) Falling In Love With Love FINGERPICKING STANDARDS Misty
(HAL LEONARD)
GUITAR TABSONGS POPULAR COUNTRY FOR FLATPICK (MEL BAY) This Time BLUEGRASS GUITAR CLASSICS Midnight Special FINGERPICKING STANDARDS What A Wonderful World You Are So Beautiful
(HAL LEONARD)
(HAL LEONARD)
FINGERPICKING BALLADS (HAL LEONARD) Have I Told You Lately FINGERPICKING ACOUSTIC (HAL LEONARD) You’ve Got A Friend Tears In Heaven FINGERPICKING POP Imagine
(HAL LEONARD)
STUDIES (HAL LEONARD)
JAZZ GUITAR MADE EASY (MEL BAY) Minor Things ESSENTIAL JAZZ ETUDES THE BLUES (MEL BAY) Blue Sax (head and first improvised chorus only) Bridge Over Muddy Waters (Head only)
MEL BAY’S GUITAR JOURNALS JAZZ (MEL BAY) Fredde Blues 2 Comping Blues (First Chorus only)
12-BAR BLUES RIFFS Riff’s 14 through 25.
(HAL LEONARD)
BOOGIE BLUES RIFFS Riff #5 or 7
(HAL LEONARD)
EASY ROCK RHYTHMS Rhythm Riff #5, 6, or 9
(HAL LEONARD)
LATIN GUITAR (THE ESSENTIAL GUIDE TO BRAZILIAN AND AFRO CUBAN RHYTHMS (HAL LEONARD) #2 Cut Bossa Nova (One Bar Pattern) #7 Cut Bossa Nova (#1 Only)
30 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FOUR
SUPPLEMENTARY PIECE Candidates must be prepared to play one supplementary piece. This piece need not be from the Syllabus lists, and may be chosen entirely at the discretion of the teacher and student. It may represent a period or style of piece not already included in the examination program, but which holds special interest for the candidate. The choice must be within the following guidelines: (a) The equivalent level of difficulty of the piece may be at a higher level, providing it is within the technical and musical grasp of the candidate. (b) Candidates with exceptional talent for improvisation may wish to improvise upon a theme of their choice. In this case, items (a) and (b) (above) will apply. Marks will be given for originality, musical inventiveness, and compositional/structural unity. Special approval is not required for the supplementary piece. However, poor suitability of the choice may be reflected in the mark.
IMPROVISATION (a) Candidates will be required to improvise a melody line based upon a progression in the major keys of F or D. (b) Candidates will be required to play a IIm, V7, I four note voicing on the major keys of F and D.
TECHNICAL TESTS All technical tests must be played from memory, evenly, with good tone, and logical left hand fingering including right hand finger alternation or down and up picking. Metronome markings should be regarded as minimum speeds.
31 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FOUR
Keys Required in Level Four.
Keys Major
F, D
Minor
Dm, Bm
SCALES To be played from memory, ascending AND descending, in the keys stated.
M.M.
Ú
Articulation
Keys
Octaves
Major (Ionian)
F, D
2
100
all legato, even 8ths
Natural Minor (Aeolian)
Dm, Gm
2
100
all legato, even 8ths
Harmonic Minor
Dm, Gm
2
100
all legato, even 8ths
Jazz Melodic Minor
Dm, Gm
2
100
all legato, even 8ths
Dorian
G, E
2
100
all legato, even 8ths
Mixolydian
C, A
Pentatonic
F, D Dm, Bm
2
100
all legato, even 8ths
Chromatic
Beginning on A
1
100
all legato, even 8ths
Any logical fingering is acceptable. They may be played alternating down and up with a pick or performed by alternating the right hand index and middle fingers
32 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FOUR
33 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FOUR
34 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FOUR
ARPEGGIOS To be played ascending and descending in the keys stated.
M.M.
Ú
Keys
Position
Octaves
Major
F, D
Root only
2
100
in quarter notes
Minor
Dm, Bm
Root only
2
100
in quarter notes
35 © Conservatory Canada 2008
Note Values
Contemporary Idioms Guitar Syllabus - Level FOUR
CHORDS Play the following chord progressions in sequence:
b
Major Keys: Imaj, IIm, IIIm, IVmaj, V7, VIm, VIIm7 5, Imaj b b b Minor Keys: Im, IIm7 5, IIImaj, IVm, V7, VImaj, VII7. Im
36 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FOUR
SIGHT READING Candidates are required to perform at sight: (a) A rhythmic exercise (b) A melodic passage (c) A chord chart The candidate will be given a brief period to scan the score and must perform each section without counting aloud. Attempts to correct errors during the performance should be avoided.
Rhythmic Exercise Tap, clap, or play on one note (at the candidate’s choice) a simple rhythm. Length
4 bars
Time signature
2/4, 3/4, 4/4
Note values
whole, dotted half, half, quarter, dotted quarter / eighth, eighths, dotted eighth - sixteenth whole, half, quarter, eighth
Rest values
Melodic Passage Sight read a short melody equal in difficulty to pieces of Level 3. Keys
C, G, or F
Minor
Am
Length
4–8 bars
37 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FOUR
Chord Chart The candidate is free to interpret the rhythm and chord voicings freely while maintaining stylistic integrity. Major Keys
F, D
Minor Keys
D minor, B minor
Length
8–24 bars
38 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FOUR
AURAL TESTS (a) The examiner will play a short melody, and the candidate will be required to play it back by ear. The example will start on the tonic and the examiner will: provide the key (only the major keys of C, F, G, or D will be used) i. play a four note chord on the tonic in broken form ii. play the melody twice iii. The melody will be in one of the following time signatures: The example below demonstrates is the approximate level of difficulty:
\ (b) Identify maj, min, 7th chord voicings played once by the examiner.
(c) Identify any of the following intervals after each one has been played once by the examiner in broken form: ABOVE a given note: Major 3rd Minor 3rd Perfect 4th Perfect 5th Perfect octave (d) Identify a short four chord passage in a jazz style naming the function of each voicing (i.e. I, V7, etc). The passage will be played twice.
BACKGROUND INFORMATION Candidates must be prepared to answer questions on the two pieces selected for the examination. The questions will include the following elements: (a) Musical signs – Find and explain all articulation markings, dynamic and tempo markings and other musical terms.
(b) Style – Describe any important musical concepts in each of the genres performed on the examination (jazz, blues, latin, etc.) and illustrate how they apply to each particular piece.
RESOURCE MATERIAL Further examples and supplementary exercises may be found on the E-Sharp Club at: www.conservatorycanada.ca
39 © Conservatory Canada 2008
LEVEL FIVE Length of the examination:
25 minutes
Examination Fee:
Please consult our website for the schedule of fees. www.conservatorycanada.ca
Co-requisite:
The THEORY 1 written examination must be completed successfully for the awarding of the Level 5 Practical Certificate.
REQUIREMENTS & MARKING Requirement
Total Marks
THREE PIECES Chosen from the following JAZZ/BLUES ROCK OTHER GENRES ONE STUDY
10 10 10 8
ONE SUPPLEMENTARY
10
ONE IMPROVISATION
10
BACKGROUND INFORMATION
8
TECHNICAL TESTS Scales & Triads Chords SIGHT READING Rhythm Pattern Chord Chart AURAL TESTS
16
TOTAL MARKS
100
BONUS MARKS*
2
3 7 8
* Two bonus marks will be awarded to a candidate who performs at least one of the required pieces with CD accompaniment, either commercially prepared or an original creation by the student.
40 © Conservatory Canada 2008
LIST PIECES Candidates must be prepared to play three pieces, from each of the following three categories: Jazz/Blues, Rock and Other Genres. Choices should contrast in style, key, and tempo. Your choices must include two different composers or arrangers.
ROCK MEL BAY’S GUITAR JOURNALS ROCK (MEL BAY) Rock Solo’s 1,2,3. Any Solo from the section “Solo’s in the Style of;”
MARK ELF JAZZ INTERPRETATIONS VOL. 3 (MEL BAY) - Any Etude SOLO BLUES GUITAR (HAL LEONARD) Solo #14, 16, 17, 32, 42, or 48
FAVORITE STANDARDS (HAL LEONARD) (Jazz Guitar Chord Melody Solos) Autumn Leaves
STUDIES
(HAL LEONARD)
MEL BAY’S GUITAR JOURNALS BLUES (MEL BAY) Bob’s Blues (Fingerstyle Blues) BASIC BLUES GUITAR METHOD BOOK 3 (ALFRED MUSIC) (The National Guitar Workshop Series) Track # 41 ESSENTIAL JAZZ ETUDE THE BLUES Blue Sax
(MEL BAY)
JAZZ BALLADS (HAL LEONARD) (Jazz Guitar Chord Melody Solos) Time After Time
JAZZ/BLUES
12 BAR BLUES SOLOS Solo #10, 16, 20, 21
GUITAR JOURNALS JAZZ Up At Night Satin Comping
(MEL BAY)
LATIN GUITAR (THE ESSENTIAL GUIDE TO BRAZILIAN AND AFRO CUBAN RHYTHMS (HAL LEONARD) #14 Cut Bossa Nova (Two Bar Pattern) BOOGIE BLUES RIFFS Riff #11, 15, 16, 17, or18
(HAL LEONARD)
THE FUNKMASTERS, THE GREAT JAMES BROWN RHYTHM SECTION (WARNER BROS) I Don’t Mind Papa’s Got A Brand New Bag MUSICIANS INSTITUTE, FUNK GUITAR THE ESSENTIAL GUIDE (HAL LEONARD) Cuts #14, 15, and 16 (All three)
SUPPLEMENTARY PIECE Candidates must be prepared to play one supplementary piece. This piece need not be from the Syllabus lists, and may be chosen entirely at the discretion of the teacher and student. It may represent a period or style of piece not already included in the examination program, but which holds special interest for the candidate. The choice must be within the following guidelines:
41 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FIVE
(a) The equivalent level of difficulty of the piece may be at a higher level, providing it is within the technical and musical grasp of the candidate. (b) Candidates with exceptional talent for improvisation may wish to improvise upon a theme of their choice. In this case, items (a) and (b) (above) will apply. Marks will be given for originality, musical inventiveness, and compositional/structural unity. Special approval is not required for the supplementary piece. However, poor suitability of the choice may be reflected in the mark.
IMPROVISATION (a) Candidates will be required to improvise a melody line based upon a standard b chord progression in the major keys of D or B . (b) Candidates will be required to play a IIm, V7, I four note voicing on the major b key of D and B .
42 © Conservatory Canada 2008
TECHNICAL TESTS All technical tests must be played from memory, evenly, with good tone, and logical left hand fingering including right hand finger alternation or down and up picking. Metronome markings should be regarded as minimum speeds. Keys Required in Level Five.
Keys
b
Major
D, B
Minor
Bm, Gm
SCALES To be played from memory, ascending AND descending, in the keys stated.
Keys Major (Ionian)
D, B
Major (5 position shapes)
Octaves
b
M.M.
Ú
Articulation
2
110
all legato, even 8ths
G
2
70
all legato, even 16ths
Minor (5 position shapes)
Gm
2
70
all legato, even 16ths
Natural Minor, (Aeolian)
Bm, Gm
2
110
all legato, even 8ths
Harmonic Minor
Bm, Gm
2
110
all legato, even 8ths
Jazz Melodic Minor
Bm, Gm
2
110
all legato, even 8ths
Dorian
E, C
2
110
all legato, even 8ths
Mixolydian
A, F
2
110
all legato, even 8ths
Pentatonic
D, B Bm, Gm
2
110
all legato, even 8ths
Chromatic
Beginning on A
1
110
all legato, even 8ths
b
b
Any logical fingering is acceptable. They may be played alternating down and up with a pick or performed by alternating the right hand index and middle fingers.
43 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FIVE
44 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FIVE
45 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FIVE
The major scale can thought of as a series of modes such as Ionian, dorian, phrygian, lydian, mixolydian, aeolian, and locrian. For improvisational needs these modes can be grouped into five major position shapes. Below are examples of the G major scale in the common Five Position Shapes:
46 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FIVE
The following graphics are given as a visual aid in seeing all Five Positions Shapes of the G major scale. While the above musical examples are written in two octaves, the graphic shapes given below often include one or two notes above or below the two octave span.
47 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FIVE
G Major Scale Position Shape #1
G Major Scale Position Shape #2
G Major Scale Position Shape #4
G Major Scale Position Shape #3
G Major Scale Position Shape #5
48 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FIVE
49 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FIVE
b
The key of G minor is the relative minor of B making the Five Position Shapes identical to those for Bb major. They are presented here in their transposed positions for easy comparison. As with the other graphic examples the graphics given below sometimes include one or two notes above or below a two octave span.
G Natural Minor Scale Starting on Root Position Shape #5
G Natural Minor Scale rd Starting on Minor 3 Position Shape #1
G Natural Minor Scale th Starting on 5 Position Shape #3
G Natural Minor Scale th Starting on 4 Position Shape #2
G Major Scale th Starting on minor 7 Position Shape #4
50 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FIVE
ARPEGGIOS To be played ascending and descending in the keys stated.
Keys
b
Major
D, B
Minor
Bm, Gm
Position
M.M.
Ú
Note Values
Root only
110
in quarter notes
Root only
110
in quarter notes
CHORDS Play the following chord progressions in sequence using Drop 3 and Drop 2 voicings:
b
Major Keys: Imaj7, IIm7, IIIm7, IVmaj7, V7, Vim7, VIIm7 5, Imaj7
b
b
Minor Keys: Im7, IIm7 5, bIIImaj7, IVm7, V7, VImaj7, VII7, Im7
51 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FIVE
SIGHT READING Candidates are required to perform at sight: (a) A rhythmic exercise (b) A melodic passage (c) A chord chart The candidate will be given a brief period to scan the score and must perform each section without counting aloud. Attempts to correct errors during the performance should be avoided.
52 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FIVE
Rhythmic Exercise Tap, clap, or play on one note (at the candidate’s choice) a simple rhythm. Length
4 bars
Time signature
2/4, 3/4, 4/4
Note values
whole, dotted half, half, quarter, dotted quarter / eighth, eighths dotted eighth / sixteenth. whole, half, quarter, eighth
Rest values
Melodic Passage Sight read a short melody equal in difficulty to pieces of Level 4.
b
Keys
D, B
Minor
Bm, Gm
Length
4–12 bars
53 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FIVE
Chord Charts The candidate is free to interpret the rhythm and chord voicings freely while maintaining stylistic integrity. Length
8–24 bars
54 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FIVE
AURAL TEST (a) The examiner will play a short melody, and the candidate will be required to play it back by ear. The example will start on the tonic and the examiner will:
b
i. provide the key (only the major keys of D or B will be used) ii. play a four note chord on the tonic in broken form iii. play the melody twice The melody will be in one of the following time signatures: 2/4, 3/4, 4/4
The example below demonstrates is the approximate level of difficulty:
(b) Identify maj7, min7, dom7 chord voicings played once by the examiner. (c) Identify any of the following intervals after each one has been played once by the examiner in broken form: ABOVE a given note: Major 3rd Minor 3rd Perfect 4th Perfect 5th Perfect octave (d) Identify a short four chord passage in a jazz style naming the function of each voicing (i.e. I, V7, etc). The passage will be played twice.
55 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level FIVE
BACKGROUND INFORMATION Candidates must be prepared to answer questions on the two pieces selected for the examination. The questions will include the following elements: (a) Musical signs – Find and explain all articulation markings, dynamic and tempo markings and other musical terms.
(b) Style – Describe any important musical concepts in each of the genres performed on the examination (jazz, blues, latin, etc.) and illustrate how they apply to each particular piece.
RESOURCE MATERIAL
Further examples and supplementary exercises may be found on the E-Sharp Club at: www.conservatorycanada.ca
56 © Conservatory Canada 2008
LEVEL SIX Length of the examination:
30 minutes
Examination Fee:
Please consult our website for the schedule of fees. www.conservatorycanada.ca
Co-requisite:
The THEORY 2 written examination must be completed successfully for the awarding of the Level 6 Practical Certificate.
REQUIREMENTS & MARKING Requirement
Total Marks
THREE PIECES Chosen from the following JAZZ/BLUES ROCK OTHER GENRES ONE STUDY
10 10 10 8
ONE SUPPLEMENTARY
10
ONE IMPROVISATION
10
BACKGROUND INFORMATION
8
TECHNICAL TESTS Scales & Triads Chords SIGHT READING Rhythm Pattern Chord Chart AURAL TESTS
16
TOTAL MARKS
100
BONUS MARKS*
2
3 7 8
* Two bonus marks will be awarded to a candidate who performs at least one of the required pieces with CD accompaniment, either commercially prepared or an original creation by the student.
LIST PIECES Candidates must be prepared to play three pieces, from each of the following three categories: Jazz/Blues, Rock and Other Genres. Choices should contrast in style, key, and tempo. Your choices must include two different composers or arrangers.
57 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SIX
ROCK SOLO BLUES GUITAR Solo #29, or 46
(HAL LEONARD)
MEL BAY’S GUITAR JOURNALS BLUES (MEL BAY) Frogs For Snakes
JAZZ/BLUES MEL BAY’S GUITAR JOURNALS JAZZ (MEL BAY) Blues in Bb JAZZ GUITAR MADE EASY (MEL BAY) Blues Too Little Bossa ALL TIME STANDARDS (HAL LEONARD) (Jazz Guitar Chord Melody Solos) Georgia on My Mind
BARRY GALBRAITH GUITAR SOLOS VOL. 2 (THE GUITAR MASTERS SERIES) (MEL BAY) I’ve Grown Accustomed To Her Face
STUDIES LATIN GUITAR (THE ESSENTIAL GUIDE TO BRAZILIAN AND AFRO CUBAN RHYTHMS (HAL LEONARD) #34 Samba (With anticipation) THE FUNKMASTERS, THE GREAT JAMES BROWN RHYTHM SECTIONS (WARNER BROS) I Got You (I Feel Good) Talkin’ Loud & Sayin’ Nothing (Guitar part 1) MUSICIANS INSTITUTE, FUNK GUITAR THE ESSENTIAL GUIDE (HAL LEONARD) Cuts #21, 22, and 23 (All three) Cuts #52, 53, and 54 (All three)
SUPPLEMENTARY PIECE Candidates must be prepared to play one supplementary piece. This piece need not be from the Syllabus lists, and may be chosen entirely at the discretion of the teacher and student. It may represent a period or style of piece not already included in the examination program, but which holds special interest for the candidate. The choice must be within the following guidelines: (a) The equivalent level of difficulty of the piece may be at a higher level, providing it is within the technical and musical grasp of the candidate. (b) Candidates with exceptional talent for improvisation may wish to improvise upon a theme of their choice. In this case, items (a) and (b) (above) will apply. Marks will be given for originality, musical inventiveness, and compositional/structural unity. Special approval is not required for the supplementary piece. However, poor suitability of the choice may be reflected in the mark.
IMPROVISATION (a) Candidates will be required to improvise a melody line based upon a b progression in the major keys of B , or A. (b) Candidates will be required to play a IIm, V7, I four note voicing on the b major keys of B , and A.
58 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SIX
TECHNICAL TESTS All technical tests must be played from memory, evenly, with good tone, and logical left hand fingering including right hand finger alternation or down and up picking. Metronome markings should be regarded as minimum speeds. Keys Required in Level Six.
Keys
b
Major
B,A
Minor
Gm , F m
m
SCALES To be played from memory, ascending AND descending, in the keys stated.
Keys
b
Octaves
M.M.
Ú
Articulation
Major (Ionian)
B,A
2
120
all legato, even 8ths
Major (5 position shapes)
G
2
70
all legato, even 16ths
Minor (5 position shapes)
Gm
2
70
all legatoeven 16ths
Natural Minor (Aeolian)
Gm , F m
2
120
all legato, even 8ths
Harmonic Minor
Gm , F m
2
120
all legato, even 8ths
Jazz Melodic Minor
Gm , F m
2
120
all legato, even 8ths
Dorian
C, B
2
120
all legato, even 8ths
Mixolydian
F, E
2
120
all legato, even 8ths
Phrygian
D, C
2
120
all legato, even 8ths
Blues
B,A
2
120
all legato, even 8ths
Chromatic
Beginning
1
120
all legato, even 8ths
m m m
m
b
on G
59 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SIX
60 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SIX
The major scale can thought of as a series of modes such as Ionian, dorian, phrygian, lydian, mixolydian, aeolian, and locrian. For improvisational needs these modes can be grouped into five major position shapes. Below are examples of the G major scale in the common Five Position Shapes:
61 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SIX
62 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SIX
The following graphics on the next pages are given as a visual aid in seeing all Five Positions Shapes of the G major scale. While the above musical examples are written in two octaves, the graphic shapes given below often include one or two notes above or below the two octave span.
63 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SIX
G Major Scale Position Shape #1
G Major Scale Position Shape #2
G Major Scale Position Shape #4
G Major Scale Position Shape #3
G Major Scale Position Shape #5
64 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SIX
65 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SIX
b
The key of G minor is the relative minor of B making the Five Position Shapes b identical to those for B major. They are presented here in their transposed positions for easy comparison. As with the other graphic examples the graphics given below sometimes include one or two notes above or below a two octave span. G Natural Minor Scale Starting on Root Position Shape #5
G Natural Minor Scale rd Starting on Minor 3 Position Shape #1
G Natural Minor Scale th Starting on 5 Position Shape #3
G Natural Minor Scale th Starting on 4 Position Shape #2
G Major Scale th Starting on minor 7 Position Shape #4
ARPEGGIOS 66 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SIX To be played ascending and descending in the keys stated.
Keys
b
Major
B,A
Minor
Gm , F m
m
Position
M.M.
Ú
Note Values
Root only
110
in quarter notes
Root only
110
in quarter notes
CHORDS Play the following chord progressions in sequence:
b
Major Keys: Imaj7, IIm7, IIIm7, IVmaj7, V7, Vim7, VIIm7 5, Imaj7 b b b Minor Keys: Im7, IIm7 5, IIImaj7, IVm7, V7, VImaj7, VII7, Im7
67 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SIX
Additional Chord Requirements Major 6
On any note
Name the scale degree of each tone in the chord form.
Minor 6
On any note
Name the scale degree of each tone in the chord form.
Dominant Ninth
On any note
Name the scale degree of each tone in the chord form.
Major 9
On any note
Name the scale degree of each tone in the chord form.
Minor 9
On any note
Name the scale degree of each tone in the chord form.
Sharp 9 and Flat 9
On any note
Name the scale degree of each tone in the chord form.
Augmented
On any note
Name the scale degree of each tone in the chord form.
68 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SIX Diminished
On any note
Name the scale degree of each tone in the chord form.
SIGHT READING Candidates are required to perform at sight: (a) A rhythmic exercise (b) A melodic passage (c) A chord chart The candidate will be given a brief period to scan the score and must perform each section without counting aloud. Attempts to correct errors during the performance should be avoided.
Rhythmic Exercise Tap, clap, or play on one note (at the candidate’s choice) a simple rhythm. Length
4 bars
Time signature
2/4, 3/4, 4/4
Note values
whole, dotted half, half, quarter, dotted quarter / eighth, eighths, dotted eighth / sixteenth.
Rest values
whole, half, quarter, eighth
Melodic Passage Sight read a short melody equal in difficulty to pieces of Level 4.
b
Keys
B,A
Minor
Gm , F m
Length
4–12 bars
m
69 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SIX
Chord Chart The candidate is free to interpret the rhythm and chord voicings freely while maintaining stylistic integrity.
b
Major
B,A
Minor
Gm , F m
Length
8-24 bars
m
70 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SIX
AURAL TESTS (a) The examiner will play a short melody, and the candidate will be required to play it back by ear. The example will start on the tonic and the examiner will: i. provide the key (only the major keys of Bb or A will be used) ii. play a four note chord on the tonic in broken form iii. play the melody twice The melody will be in one of the following time signatures: 2/4, 3/4, 4/4 The example below demonstrates is the approximate level of difficulty:
(b) Identify maj7, min7, dom7, augmented, diminished chord voicings played once by the examiner.
(c) Identify any of the following intervals after each one has been played once by the examiner in broken form: ABOVE a given note: Major 3rd Minor 3rd Perfect 4th Perfect 5th Perfect octave (d) Identify a short four chord passage in a jazz style naming the function of each voicing (i.e. I, V7, etc). The passage will be played twice.
BACKGROUND INFORMATION Candidates must be prepared to answer questions on the three pieces selected for the examination. The questions will include the following elements: (a) Musical signs – Find and explain all articulation markings, dynamic and tempo markings and other musical terms. (b) Style – Describe any important musical concepts in each of the genres performed on the examination (jazz, blues, latin, etc.) and illustrate how they apply to each particular piece.
RESOURCE MATERIAL Further examples and supplementary exercises may be found on the E-Sharp Club at: www.conservatorycanada.ca
71 © Conservatory Canada 2008
LEVEL SEVEN Length of the examination:
35 minutes
Examination Fee:
Please consult our website for the schedule of fees. www.conservatorycanada.ca
Co-requisite:
The THEORY 3 written examination must be completed successfully for the awarding of the Level 7 Practical Certificate.
REQUIREMENTS & MARKING Requirement
Total Marks
THREE PIECES Chosen from the following JAZZ ROCK/BLUES OTHER GENRES ONE STUDY
10 10 10 8
ONE SUPPLEMENTARY
10
ONE IMPROVISATION
10
BACKGROUND INFORMATION
8
TECHNICAL TESTS Scales & Arpeggios Chords SIGHT READING Rhythm Pattern Chord Chart AURAL TESTS
8 8 3 7 8
TOTAL MARKS
100
BONUS MARKS*
2
* Two bonus marks will be awarded to a candidate who performs at least one of the required pieces with CD accompaniment, either commercially prepared or an original creation by the student.
LIST PIECES Candidates must be prepared to play three pieces from the Jazz, Rock/Blues or Other Genres. Choices should contrast in style, key, and tempo. Your choices must include three different composers or arrangers.
72 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
ROCK/BLUES TEXAS BLUES GUITAR MUSICIANS INSTITUTE SERIES (HAL LEONARD Cut # 28 – Blues Shuffle Solo
JAZZ GUITAR STANDARDS CHORD MELODY SOLOS (MEL BAY) You Stepped Out of a Dream
BIG BEAT BLUES ESSENTIAL JAZZ ETUDES (MEL BAY) The Blues
ALL TIME STANDARDS, JAZZ GUITAR CHORD MELODY SOLOS (HAL LEONARD) How High The Moon
BLUES FOR GUITAR (HAL LEONARD) Hotline #1-5 (12 Bar Blues – One complete chorus)
JAZZ BARRY GALBRAITH GUITAR SOLOS VOL. 1 THE GUITAR MASTERS SERIES (MEL BAY) I Can’t Get Started BARRY GALBRAITH GUITAR SOLOS VOL. 2, THE GUITAR MASTERS SERIES (MEL BAY) Somebody Loves Me I’ve Grown Accustomed To Her Face
OTHER LATIN GUITAR (THE ESSENTIAL GUIDE TO BRAZILIAN AND AFRO–CUBAN RHYTHMS (HAL LEONARD) #65 IIm7, V7, I MUSICIANS INSTITUTE, FUNK GUITAR, THE ESSENTIAL GUIDE (HAL LEONARD) Cuts #24, 25, and 26 (All three)
SUPPLEMENTARY PIECE Candidates must be prepared to play one supplementary piece. This piece need not be from the Syllabus lists, and may be chosen entirely at the discretion of the teacher and student. It may represent a period or style of piece not already included in the examination program, but which holds special interest for the candidate. The choice must be within the following guidelines: (a) The piece should have a difficulty factor of LEVEL 7 or higher, providing it is within the technical and musical grasp of the candidate. (b) Candidates with exceptional talent for improvisation may wish to improvise upon a theme of their choice. In this case, the difficulty factor as described in item (a) (above) will apply. Marks will be given for originality, musical inventiveness, and compositional unity. Special approval is not required for the supplementary piece. However, poor suitability of the choice may be reflected in the mark.
IMPROVISATION The following points outline the improvisation requirements: (a) Candidates will be required to improvise a melody line based b upon a diatonic progression in the major keys of C, G, F or B . (b) Candidates will be required to improvise a Imaj7, VIm7, IIm7, V7, Imaj7 chord progression with four note voicings in the major b keys of C, G, F, and B .
73 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
TECHNICAL TESTS All technical tests must be played from memory, evenly, with good tone, and logical left hand fingering including right hand finger alternation or down and up picking. Metronome markings should be regarded as minimum speeds.
Keys Required in Level Seven
Keys
b
Major
E,E
Minor
Cm, C m
m
SCALES To be played from memory, ascending and descending, in the keys stated.
Key Major (Ionian) Minor (Aeolian) Harmonic Minor Jazz Melodic Minor Dorian Phrygian Lydian
b
E,E
m
Cm, C m
m
Cm, C m
m
Cm, C m F, F
m m
G, G
b
A,A
b
Ú
Octaves
M.M.
Articulation
2
70
all legato, even 16ths
2
70
all legato, even 16ths
2
70
all legato, even 16ths
2
70
all legato, even 16ths
2
70
all legato, even 16ths
2
70
all legato, even 16ths
2
70
all legato, even 16ths
Mixolydian
B,B
2
70
all legato, even 16ths
Minor Pentatonic
Dm, Gm
2
70
all legato, even 16
th
2
70
all legato, even 16
th
1
70
all legato, even 16
th
m
m
F m, C m
b
Blues
A, E, F, B
Chromatic
Beginning on B
b
74 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
The scale fingerings given in the following examples are only suggestions. Any logical fingering is acceptable; however candidates should be familiar with the five basic position shapes introduced in LEVEL 5. All scales and modes may be played with down and up picking or by alternating the right hand index and middle fingers. Where a scale has a lower and higher two octave possibility, candidates should prepare both. The following examples demonstrate the required major (Ionian) scales with their corresponding natural (Aeolian), harmonic and jazz melodic minor scales.
75 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
76 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
77 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
b
The following examples demonstrate the E major scale with its corresponding modes. Note that the major scale is also known as the ionian mode, while the natural minor is the aeolian mode.
78 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
79 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
The following examples demonstrate the E major scale with its corresponding modes. Note that the major scale is also known as the ionian mode, while the natural minor is the aeolian mode.
80 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
81 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
82 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
The following examples demonstrate the Minor Pentatonic scales required for Level Seven:
The following examples demonstrate the Blues scales required for Level Seven:
83 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
The following example demonstrates the Chromatic scale required for Level Seven:
ARPEGGIOS To be played ascending and descending in the keys stated. The candidate is free to use any logical fingering; however, the examples provided are common for shape and speed (when slurring is desired). They also accommodate the octave range of both acoustic and electric guitar necks.
Key Diatonic 7ths
b
E,E
Position Root Position
M.M.
Ú
115
Note Values In quarter notes, each diatonic arpeggio played in sequence.
84 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
b
The following examples demonstrate the E major scale arpeggios in sevenths:
85 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
The following examples demonstrate the E major scale arpeggios in sevenths:
86 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
87 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
CHORDS Using either Drop 2 or Drop 3 voicings play the following chord progressions in sequence:
b
Major Keys: I maj7, IIm7, IIIm7, IV maj7, V7, VIm7, VIIm7 5, I maj7 b b Minor Keys: Im7, IIm7-5, III maj7, IVm7, V7, VImaj7, VII7dim, Im7
88 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
89 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
Additional Chord Requirements The candidate should be prepared to play any the following chord types. Specific voicings are left at the candidate’s discretion. Dominant Seventh
On any note
Name the scale degree of each tone in the chord form.
On any note
Name the scale degree of each tone in the chord form.
On any note
Name the scale degree of each tone in the chord form.
On any note
Name the scale degree of each tone in the chord form.
Major 7 Minor 7 Major 6 Minor 6 Dominant 7 with 9 Dominant 7 with sharp 9 Dominant 7 with flat 9 Major 9 Minor 9 Augmented Diminished
SIGHT READING Candidates are required to perform at sight: (a) A rhythmic exercise (one example given) (b) A melodic passage (two examples given) (c) A chord chart (four examples given) The candidate will be given a brief period to scan the score and must perform each section without counting aloud. Attempts to correct errors during the performance should be avoided.
Rhythmic Exercise (One example) Tap, clap, or play on one note (at the candidate’s choice) a simple rhythm. Length
4 bars
Time signature
2/4, 3/4, 4/4
Note Values
whole, dotted half, half, quarter, dotted quarter / eighth, eighths, dotted eighth / sixteenth. whole, half, quarter, eighth
Rest Values
90 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
Rhythmic example:
Melodic Passage (Two Examples) Sight read a short melody equal in difficulty to pieces of LEVEL 6. Major Keys
C, G, F, Bb
Minor Keys
Am, Em, Dm, Gm
Length
4–12 bars
Melodic Passage Examples:
91 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
Chord Charts (Four Examples) The candidate should interpret the rhythm and chord voicings freely while maintaining stylistic integrity.
b
Major Keys
C, G, F, B
Minor Keys
Am, Em, Dm, Gm
Length
8–24 bars
Chord Chart Examples:
92 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
AURAL TESTS (a) The examiner will play a short melody, and the candidate will be required to play it back by ear. The example will start on the tonic and the examiner will: i. provide the key (limited to C, F, G, Am, Em, and Dm) ii. play a four note chord on the tonic in broken form iii. play the melody twice The melody will be in one of the following time signatures: 2/4, 3/4, 4/4 The example below demonstrates is the approximate level of difficulty:
93 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level SEVEN
(b) Identify maj7, min7, dom7, augmented, diminished, maj6 and min6 chord voicings played once by the examiner. (c) Identify any of the following intervals after each one has been played once by the examiner in broken form:
ABOVE a given note: rd
Major 3 rd Minor 3 th Perfect 4 th Perfect 5 Perfect octave (d) Identify a short four chord passage in a jazz style naming the function of each voicing (i.e. I, V7, etc). The passage will be played twice.
BACKGROUND INFORMATION Candidates must be prepared to answer questions on the three pieces selected for the examination. The questions will include the following elements: (a) Musical signs – Find and explain all articulation markings, dynamic and tempo markings and other musical terms. (b) Style – Describe any important musical concepts in each of the genres performed on the examination (Jazz, Blues, Latin, etc.) and illustrate how they apply to each particular pie
RESOURCE MATERIAL Further examples and supplementary exercises may be found on the E-Sharp Club at: www.conservatorycanada.ca
94 © Conservatory Canada 2008
LEVEL EIGHT Length of the examination:
35 minutes
Examination Fee:
Please consult our website for the schedule of fees. www.conservatorycanada.ca
Co-requisite:
The THEORY 4 written examination must be completed successfully for the awarding of the Level 8 Practical Certificate.
REQUIREMENTS & MARKING Requirement
Total Marks
THREE PIECES Chosen from the following JAZZ ROCK/BLUES OTHER GENRES ONE STUDY
10 10 10 8
ONE SUPPLEMENTARY
10
ONE IMPROVISATION
10
BACKGROUND INFORMATION
8
TECHNICAL TESTS Scales & Arpeggios Chords SIGHT READING Rhythm Pattern Chord Chart AURAL TESTS
8 8 3 7 8
TOTAL MARKS
100
BONUS MARKS*
2
* Two bonus marks will be awarded to a candidate who performs at least one of the required pieces with CD accompaniment, either commercially prepared or an original creation by the student.
LIST PIECES Candidates must be prepared to play three pieces from the Jazz, Rock/Blues or Other Genres. Choices should contrast in style, key, and tempo. Your choices must include three different composers or arrangers.
95 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
ROCK/BLUES TEXAS BLUES GUITAR, MUSICIANS INSTITUTE SERIES (HAL LEONARD) Cut # 30 – Slow Blues BLUES FOR GUITAR, ROBBEN FORD (HAL LEONARD) Hotline #1– 19 (12 Bar Blues – Four complete choruses)
JAZZ ESSENTIAL JAZZ ETUDES, THE BLUES (MEL BAY) Big Blue Swing Too Sharpe Blues Bossa Blues GUITAR JOURNALS, JAZZ (MEL BAY) Charlie’s Etude Rhythm Changes in F
BARRY GALBRAITH GUITAR SOLOS VOL. 1 (THE GUITAR MASTERS SERIES) (MEL BAY) Alone Together Born To Be Blue
OTHER THE FUNKMASTERS, THE GREAT JAMES BROWN RHYTHM SECTION (WARNER BROTHERS) Mother Popcorn Cold Sweat MUSICIANS INSTITUTE, FUNK GUITAR, THE ESSENTIAL GUIDE (HAL LEONARD) Cuts #56, (both guitar 1 and 2 ) LATIN GUITAR (THE ESSENTIAL GUIDE TO BRAZILIAN AND AFRO–CUBAN RHYTHMS) (HAL LEONARD) Partido Alto (cut #43)
SUPPLEMENTARY PIECE Candidates must be prepared to play one supplementary piece. This piece need not be from the Syllabus lists, and may be chosen entirely at the discretion of the teacher and student. It may represent a period or style of piece not already included in the examination program, but which holds special interest for the candidate. The choice must be within the following guidelines: (a) The piece should have a difficulty factor of LEVEL 8 or higher, providing it is within the technical and musical grasp of the candidate. (b) Candidates with exceptional talent for improvisation may wish to improvise upon a theme of their choice. In this case, the difficulty factor as described in item (a) (above) will apply. Marks will be given for originality, musical inventiveness, and compositional unity. Special approval is not required for the supplementary piece. However, poor suitability of the choice may be reflected in the mark.
IMPROVISATION The following points outline the improvisation requirements: (a) Candidates will be required to improvise a melody line based upon a diatonic progression in the major keys of C, G, F or Bb. (b) Candidates will be required to improvise a Imaj7, VIm7, IIm7, V7, Imaj7 chord progression with four note voicings in the major b keys of C, G, F, and B .
95 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
TECHNICAL TESTS All technical tests must be played from memory, evenly, with good tone, and logical left hand fingering including right hand finger alternation or down and up picking. Metronome markings should be regarded as minimum speeds.
Keys Required in Level Eight
Keys
b
b
Major
A,D
Minor
Fm, B m
b
SCALES To be played from memory, ascending and descending, in the keys stated.
Key Major (Ionian) Natural Minor (Aeolian) Harmonic Minor Jazz Melodic Minor
b
b
A,D
b
Fm, B m
b
Fm, B m
b
Fm, B m
b b
Dorian
B,E
Phrygian
C, F
Lydian Mixolydian Minor Pentatonic
b
b
D,G
b b
E,A
m
m
F m, C m
Octaves
M.M.
Ú
Articulation
2
70
all legato even 16ths
2
70
all legato even 16ths
2
70
all legato even 16ths
2
70
all legato even 16ths
2
70
all legato even 16ths
2
70
all legato even 16ths
2
70
all legato even 16ths
2
70
all legato even 16ths
2
70
all legato even 16ths
2
70
all legato even 16ths
2
70
all legato even 16ths
Gm, Cm Blues
A, E,
b b
B,E Chromatic
Beginning on E
b
96 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
The scales fingerings given in the following examples are only suggestions. Any logical fingering is acceptable; however candidates should be familiar with the five basic position shapes introduced in LEVEL 5. All scales and modes may be played with down and up picking or by alternating the right hand index and middle fingers. Where a scale has a lower and higher two octave possibility, candidates should prepare both. The following examples demonstrate the required major scales with their corresponding natural, harmonic and jazz melodic minor scales.
97 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
98 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
99 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
b
The following examples demonstrate the A major scale with its corresponding modes. Note that the major scale is also known as the ionian mode, while the natural minor is the aeolian mode.
100 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
101 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
b
The following examples demonstrate the D major scale with its corresponding modes. Note that the major scale is also known as the ionian mode, while the natural minor is the aeolian mode.
102 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
103 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
The following examples demonstrate the required Minor Pentatonic scales:
104 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
The following examples demonstrate the required Blues scales:
105 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
The following examples demonstrate the required Chromatic scale:
ARPEGGIOS To be played ascending and descending in the keys stated. The candidate is free to use any logical fingering; however, the examples provided are common for shape and speed (when slurring is desired). They also accommodate the octave range of both acoustic and electric guitar necks.
Keys Diatonic 7ths
b
b
A,D
Position
M.M.
Root
Ú
115
Note Values In quarter notes, each diatonic arpeggio played in sequence.
b
The following examples demonstrate the A major scale arpeggios in sevenths:
106 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
107 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
b
The following examples demonstrate the D major scale arpeggios in sevenths:
108 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
109 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
CHORDS Using either Drop 2 or Drop 3 voicings play the following chord progressions in sequence:
b
Major Keys: I maj7, IIm7, IIIm7, IV maj7, V7, VIm7, VIIm7 5, I maj7 b b Minor Keys: Im7, IIm7-5, III maj7, IVm7, V7, VImaj7, VII7dim, Im7
110 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
111 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
Additional Chord Requirements The candidate should be prepared to play any the following chord types. Specific voicings are left at the candidate’s discretion. Dominant Seventh
On any note
Name the scale degree of each tone in the chord form.
Major 7 Minor 7 Major 6
On any note
Name the scale degree of each tone in the chord form.
Minor 6 Dominant 7 with 9
On any note
Name the scale degree of each tone in the chord form.
Dominant 7 with sharp 9 Dominant 7 with flat 9 Major 9 Minor 9 Augmented
On any note
Name the scale degree of each tone in the chord form.
Diminished
SIGHT READING Candidates are required to perform at sight: (a)
A rhythmic exercise (one example given)
(b)
A melodic passage (two examples given)
(c)
A chord chart (four examples given)
The candidate will be given a brief period to scan the score and must perform each section without counting aloud. Attempts to correct errors during the performance should be avoided.
112 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
Rhythmic Exercise Tap, clap, or play on one note (at the candidate’s choice) a simple rhythm. (One example given) Length
4 bars
Time signature
2/4, 3/4, 4/4
Note values
whole, dotted half, half, quarter, dotted quarter / eighth, eighths, dotted eighth / sixteenth. whole, half, quarter, eighth
Rests
Rhythmic example:
Melodic Passage Sight read a short melody equal in difficulty to pieces of LEVEL 7. (Two examples given) Keys
C, G, D, or A
Minor
Am, Dm, Gm, or Cm
Length
4–12 bars
Melodic Passage Examples:
113 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
Chord Charts The candidate should interpret the rhythm and chord voicings freely while maintaining stylistic integrity. (Four examples given)
b
b
Major Keys
C, G, D, A, F, B , or E
Minor Keys
Am, Em, Bm, F m, Dm, Gm, Cm
Length
8–24 bars
m
Chord Chart Examples:
114 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
115 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
AURAL TESTS (a) The examiner will play a short melody, and the candidate will be required to play it back by ear. The example will start on the tonic and the examiner will: i. provide the key (limited to C, G, D, Am, Em, and Dm) ii. play a four note chord on the tonic in broken form iii. play the melody twice The melody will be in one of the following time signatures: 2/4, 3/4, 4/4
116 © Conservatory Canada 2008
Contemporary Idioms Guitar Syllabus - Level EIGHT
The example below demonstrates is the approximate level of difficulty:
(b) Identify maj7, min7, dom7, augmented, diminished, maj6 and min6 chord voicings played once by the examiner. (c) Identify any of the following intervals after each one has been played once by the examiner in broken form: ABOVE a given note: Major 3rd Minor 3rd Perfect 4th Perfect 5th Perfect octave (d) Identify a short four chord passage in a jazz style naming the function of each voicing (i.e. I, V7, etc). The passage will be played twice.
BACKGROUND INFORMATION Candidates must be prepared to answer questions on the three pieces selected for the examination. The questions will include the following elements:
(a) Musical signs – Find and explain all articulation markings, dynamic and tempo markings and other musical terms. (b) Style – Describe any important musical concepts in each of the genres performed on the examination (jazz, blues, latin, etc.) and illustrate how they apply to each particular piece.
c
RESOURCE MATERIAL Further examples and supplementary exercises may be found on the E-Sharp Club at: www.conservatorycanada.ca
117 © Conservatory Canada 2008