Grade Guitar Exam Pieces from 2019

2
Guitar
Exam Pieces
ABRSM Grade 2
Selected from the syllabus
from 2019
ABRSM Guitar Exams
Here are some key points to help you prepare for your Grade 2 exam. All requirements are valid from I January 2019 until
further notice. More detailed information on the syllabus requirements and syllabus overlap details can be found on line at
www.abrsm.org/guitar, where notice of planned changes to the guitar requirements will also be posted in advance. Jn the
exam, the requirements can be taken in any order.

Pieces (3x30 marks)

This book contains nine pieces from ABRSM's Grade 2 Guitar syllabus from 2019. In the exam,
you will need to play three pieces, one from each of the three syllabus lists (A, Band C). At Grade 2,
up to two of your choices can be accompanied pieces (duets).
You can choose from the pieces in this book and/or the other pieces set for the grade: a full list is
on page 3. You will need to observe all da capo (D.C.) and da/ segno (D.S.) indications but omit all
other repeats (including first-time bars) unless they are very brief (i.e. of a few bars) or unless the
syllabus specifies otherwise.

Scales and arpeggios (21 marks)

Learning scales and arpeggios helps you to build strong technical skills by developing reliable finger
movement, hand positions, co-ordination and fingerboard fluency. II also helps you to develop your
musical understanding through familiarity with keys and their related patterns.
You can find a complete list of scales and arpeggios required for Grade 2 in the back of this book. In the exam
they should be played from memory, legato and in even notes (except where indicated).

Sight-reading (21 marks)

Learning to sight-read helps you to develop quick recognition of keys and tonality, rhythm and common
patterns of beats. II also helps you to learn to keep going even when you make mistakes, and work music
out for yourself - which makes learning new pieces quicker and easier.
In the exam, you will be asked to play a short piece of music that you have not previously seen. You will be
given halfa minute in which to look through and, if you wish, try out all or any part of the test before you are
asked to play it to the examiner for assessment. For the full sight-reading parameters, please see the syllabus.

Aural tests (18 marks)

Aural skills enable you to assess the sound and balance of your playing, keep in time and play with a sense
of rhythm and pulse. These skills also help you to develop your sense of pitch, your musical memory and
to spot any mistakes.
In the exam, the tests will be administered by the examiner from the piano, and you will be asked:
a To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or three time.
b To sing as 'echoes' three phrases played by the examiner.
c To identify a change in either pitch or rhythm during a phrase played by the examiner.
d To answer questions about two features of a piece played by the examiner.
For more detailed information on the tests, please see the syllabus.
(Total available: 150 marks)

Editorial guidance
We have taken the pieces in this book from a variety of sources. Where appropriate, we have edited the pieces and added
fingering to help you prepare for your performance. Details of other changes or suggestions are given in the footnotes.
Fingering and other editorial additions are for guidance only: you do not have to follow them in the exam. Dashed slurs
indicate ligado {left-hand legato); solid slurs indicate musical phrasing.
 ABRSM

Guitar
Exam Pieces
ABRSM Grade 2
Selected from the syllabus
from 2019

Gary Ryan
Guitar consultant

Anthony Burton
Footnotes

Name mQf\\U) <6tnpuffl (2i02(\

Date of exam O'n ll-15 ; '.:;'-1~

First published in 2018 by ABRSM (Publishing) Ltd,

a wholly owned subsidiary of ABRSM, 4 London Wall Place, London EC2Y SAU, United Kingdom

© 2018 by The Associated Board of the Royal Schools of Music

Distributed worldwide by Oxford University Press

Unauthorized photocopying Is Illegal

NI rights reserved. No part of this publication may be reproduced, recorded or transmitted in
any form or by any means without the prior permission of the copyright owner.

Music origination by Moira Roach

Cover by Kate Benjamin & Andy Potts, with thanks to Brighton College
Printed in England by Caligraving Ltd, Thetford, Norfolk, on materials from sustainable sources.
 Contents

LIST A page
John Dowland Mr Dowland's Midnight, arr. Peter Batchelar 4

2 Trad. Irish The Meeting of the Waters, arr. Richard Wright 5

._ 3 Trad. Spanish Ines, arr. Carlos Bonell 6

LIST B
l Ferdinando Carulll Allegretto grazioso: No. 25 from Methode complete, Op. 241 8
9
2 Franz Schubert The Trout, arr. Peter Batchelar
... 3 Matteo Carcass! Andantino: No. 4 from Le nouveau papil/on, Op. 5, arr. Richard Wright 10

LIST C
l Bart Howard Fly me to the moon, arr. Abigail James 12

2 Manus Noble Highland Spirit 13

._ 3 Vincent Lindsey-Clark Up and Over 14

Other pieces for Grade 2

LIST A
4 Anon. Chanson (observing repeat). Repertoire progressif, Vol. J (Les Productions d'Oz)
5 Vlsee Menuet, arr. Gagnon. Repertoire progressif, Vol. I (Les Productions d'Oz)
6 Arbeau Pavane (observing repeats) {from Orchesographie), arr. Batchelar & Wright Time Pieces for Guitar, Vol. J (ABRSM)
IO- 7 Frescobaldl Aria detta la Frescobalda (from II secondo libro di toccate), arr. Batchelar & Wright. Time Pieces for Guitar, Vol. 1
(ABRSM)
IO- 8 Handel Minuet, arr. Wright. One+ One, Vol. 2: pupil's part and teacher's score (Chanterelle)
9 de Rlbayaz Gaitas (omitting optional trills), arr. Yates. Graded Repertoire for Guitar, Book I (Mel Bay)
10 Vlvaldl Spring (from The Four Seasons), arr. Burden. Making the Grade, Guitar Grade 2 (Chester)

LIST B
4 Aguado Valse {Waltz) in G (observing repeats). Repertoire progressif, Vol. J (Les Productions d'Oz) or P. 5 from The Guitarist's
Hour, Vol.1 (Schott) or P. II from The Guitarist's Progress, Book 1 {Garden Music)
5 M. Giuliani f:cossaise in A minor (No. 10 from 12 Ecossaises, Op. 33). No. 22 from Repertoire progressif, Vol. 1 (Les Productions
d'Oz) or The Guitarist's Hour, Vol. 1 (Schon)
6 Brahms Wiegenlied (from Fiinf Lieder, Op. 49), arr. Hegel. Easy Concert Pieces for Guitar, Vol. 1 (Schon) or Classical Music for
Children for Guitar (Schon)
7 N. Coste Study in C. No. 3 from Romantic Guitar Anthology, Vol. 1 (Schott)
IO- 8 Reinecke A Fairy Tale (from Sonatina in A minor, Op. 127a No. 6), arr. Wright. One+ One, Vol. 2: pupil's part and teacher's
score ( Chanterelle)
IO- 9 Schubert Serenade (from An den Mond, D. 259), arr. Kenyon. ABC Guitar (Jacaranda Music)
10 Sor Le9on in C (No. 2 from Introduction al'etude de la guitare, Op. 60). Sor: Introductory Studies, Op. 60 (Schon) or No. 18 from
Repertoire progressif, Vol. J (Les Productions d'Oz) or Sor: The Complete Studies (Chanterelle) or Sor: The Complete Studies,
Lessons, and Exercises (Tecla Editions)

LIST C
4 Gareth Glyn Gimme Five. Solo Now! Preparatory Book (Chanterelle)
5 Peter Wrleden Stanton Moor ( observing repeat). Solo Now! Preparatory Book (Chanterelle)
IO- 6 Lennon & McCartney Here, There and Everywhere, arr. Barchelar & Wright. Time Pieces for Guitar, Vol. I (ABRSM)
7 Richard Wright Ballroom Blues. TimePiecesforGuitar, Vol. I (ABRSM)
8 Colin Tommls Has Anyone Seen My Other Shoe?: No. 6 from Crossing the Divide (Les Productions d'Oz)
IO- 9 Trad. Argentinian A que has venido, forastero, arr. Rivoal. Chansons et danses d'Amerique la tine, Vol A (Lemoine)
10 Jaime Zenamon Soi\ando (No. 3 from Epigramme). Graded Repertoire for Guitar, Book J (Mel Bay)
4 11ll . It is
l7 illegal
l o make
unau thorized

Mr Dowland's Midnight copies ol th is

co pyright
music.

Arranged by Peter Batchelar John Dowland

(1563-1 626)
Slowly J= c. 66
i

ir
Ill

J j 1J aJ j J
&t J
Ill

,t' IJ i
I~ r
.e,

ef r 4~F f
5

J i J j 1J J j IJ i J J

' r r·
mp
r ~F r r
r IF

a
m
4J R
R
9

J J IJ J j
·f J I

' If I~
f
r r

p 1p
m
.g JJ ; IJ R
iJ
13
J:J JJ j
d II

' If r f

John Dowland was an internationally famous performer on the lute, the forerunner of the guitar, who gained a position at the English royal court
in later life . He composed chiefly consort (ensemble) music, songs with lute accompaniment and solos for the lute. Mr Dowland's Midnight
(here presented in a simplified version) is an almain, or allemande - a dance, probably of German origin, in a moderate duple time. !t was copied
into the Margaret Board Lute Book, a collection of lute music apparently compiled by a pupil of Dowland.
© 20 18 by The Associated Board of the Royal Schoo is of Music

AB 3919
 11111. It is 5
CJ illegal
to make
unauthorized
copies of th is
copyrigh t
music.
The Meeting of the Waters
Arranged by Richard Wright Trad. Irish

With a lilt J= c. 100

nif f
J I+· J •
I
I~ ·P
5
J a I~ J J 1; J
I~ E I~
a J
I
~.
p

·P it r
JO lII I
J J
1? .~·Jg:r
-)J
~. I~. J j
mf
F
r,,.,

'JJ
15

J J 1:~ I J.
I~ J j J J 1;
+· 'v
p f
)~
I'
11

'The Meeting of the Waters' is set to the traditional Irish tune 'The Old Head of Dennis'. The poet Thomas Moore included the words in the first
volume of his Irish Melodies, published in 1808. Moore's text was inspired by a visit to the Vale of Avoca, a beautiful area of County Wick.low where
the rivers Avonmore and Avonbeg join to form the Avoca.
© 20 18 by The Associated Board of the Royal Schools of Music

AB 3919
 6 lfl!L II is
l.7 illegal
l o make
unau th ori zed
[ A:3) Ines copies of th is
copyright
music

Arranged by Carlos Bonell Trad. Spanish

With feeling J= c.84

V

ef
II

ef

mp

mp

14

'Ines' is a Spanish folk song: its first two lines are 'Tres hojitas, madre, tiene el arbole' (There are three little leaves, mother, on the tree), and its
chorus (played twice between the end of bar 12 and bar 20) is the girl's name 'Ines, Ines, Inesina, Ines'. This arrangement for two guitars is by
the London-born concert guitarist Carlos Bonell, who started playing as a child, learning Spanish folk music from his father. In the exam, the
candidate should play part I.
© 2018 by Th e Associated Board of the Royal Schools of Music

AB 3919
 7

21
,,, l I

:; .=

' ~
· - I •
ef
11 •
-
,u
:;
. - .
• I I I I
ef

27

0 •
mp

mp

34

AB 391 9
 8 rfiIL lt is
CJ illegal
to make
unauthorized
(EJ Allegretto grazioso copies of thi s
copyright
music.
No. 25 from Methode complete, Op. 241
Simplified edi tion by Richard Wright Ferdinando Carulli
(1770-1 841)
Allegretto grazioso J= c. 60
a m a m a m

- ~.@ ~ ·f I~.
Ill
i i

ftIr. ) JJ J JJ )
b
'
1
f. I~.
J fl
mf
r p

m a
J
-II

, ~ 11- f'
ef
JJ
~.
)
I~
t·
r p
I~.
JJ
~.
)
it t·
r ef
a Ill
a m

'&1 !~ I J. J.
I~
J
~.
J J I J.
i

-II
i i
f
i
li r -

Ferdinando Carulli was born in Naples, in southern Italy, but his career as a guitarist took him to Paris, where he lived from 1809. He established
himself th ere as a performer, teacher and com poser, making the city a focal point for guitar enthusiasts. He published several instruction books
for the instrume nt, including a Methode complete, Op. 27, in 1810 or 'II, which became the standard teaching work forthe guitar, and a second
Methodecomplete, Op. 241, in 1825. The latter is the source of th is 'graceful' Allegre tto.
Source: Mi!thode compli!te, Op. 241 (Paris: Chez Launer, c.1825). This ed ition is abridged and contains the first two sections of the original, four-section piece. Some
dynamics have been added by th e ed itor.

© 20 18 by The Associated Board of the Royal Schools of Mus ic

AB 3919
 ~ 1t 1s
9
Illegal
to niake
unau t honzed
copies of th is
copyngh t
music
The Trout [[I)
Arranged by Peter Batchelar Franz Schubert
(1797-1828)

Allegretto J= c.64 a

·~ 1z~ i r - r r
m

'"#& ·i J J
I J.
~4 J JJ 1J l j I
I'~
11!/

1z2 f I': n
5

J J J nJ 1J l .J
'## F r -- f
r
9

4tt11d J 2J J J J
r r 1z~ J 1J J J
r r
J
1z l J

1@ 1z
13

J J j J J J
• J
'## r r 1J
r r r p

, #11 1@3
17

J J j I J. Jl• J J
r r r r Ii- II

'Die Forelle', or 'The Trout', written probably in 1817, is one of the best known of the many songs (with piano) by Franz Schubert. The first verse
describes a trout swimming in the clear water of a stream, and the second an angler failing to catch it; the third verse tells how he muddies the
water to help him succeed. The melody of the first two verses, also used by Schubert as a theme for variations in a movement of his 'Trout' Quintet
(D667) for piano and strings, is arranged here for guitar.
© 2018 by The Associated Board of the Royal Schools of Music

AB 3919
10 11111. II is
Willegal
lo make
unauthorized

Andantino copies of this

copyright
mu sic.
No. 4 from Le nouveau papillon, Op. 5

Arranged by Richard Wright Matteo Carcassi

(1792-1853)

Andantino = c. 69
a
4

II

p r r

r r i r
9

pp

Matteo Carcassi was an Italian guitarist who worked in Germany and England but mainly in France: he lived in Paris from 1820 until his death. He
published an influential guitar tutor, and also many sets of shorter pieces for the instrument. His Opus 5, issued around 1820, is a set of 18 pieces,
with the poetic title Le nouveau papillon (The New Butterfly) and the subtitle 'a selection of easy tunes, carefully fingered'. No. 4 in the set, a fluent
Andantino, is arranged here for two guitars. In the exam, the candidate should play part I.
© 2018 by The Associated Board of the Royal Schools of Music

AB 3919
 11

/3

17

-
p
r r
21

-
r r

AB 3919
12 rllJI, It is
D illegal
to make
unau th or ized

Fly me to the moon copies o f th is

copyrigh t
mu sic.

Arranged by Abigail James Bart Howard

(1915-2004)

Lively J= c. 152

J IJ f r f
J J
t J. J

,~ PJ
mp
ff r

fJ l:r
5

J J 4J J J J
I 0
I3f
3r U i
2
r r
mf
9

' I:•~[ - ,f J IJ
r u
i mf
sul pont.

j 1J
r
n-r 3r
®
r
J

13

'I:~ J 1d eW d eW IJ n,J J J
'U
r 2r 3r If -
mp
nat.

tJ.
17
JJ
PJ
,~ 1:- faJ 71to J J
IJ. )~
3r r 2r or 3r 2f r If
r
,~
22

ru
- i r r
IJ J f J.
f

I~-
)J
d IJ
-
rr r· ti
'r -
>

11

mp
f
'Fly me to the moon' is a song by the American cabaret pianist and songwriter Bart Howard, which has become a jazz 'standard' - a popular
theme for improvisation. The song was first recorded by Kaye Ballard in 1954, under its original title of'In other words', and was taken up by many
well-known singers; but its most famous recording was made by Frank Sinatra in 1964. Sinatra and his arranger, Quincy Jones, changed the song's
2.
original waltz time into its now familiar The song begins, with the words of its final title, in bar 3. In the exam, the piece can be performed with
either swung or straight quavers.
© 1954 and 1982 Palm Valley Music LLC, New York/ Hampshire House Publishing Corp.
Assigned to and administered by TRO Essex Music Ltd, London, SWIO OSZ. All print rights administered in Australia and New Zealand by Hal Leonard Australia
Pty Ltd ABN 13 085 333 71 3 www.halleonard.com.au. lnternational copyright secured. All rights reserved. Used by permission. Unauthorised reproduction is illegal.

AB 3919
r1lll. It IS 13
Dillegal
to ma ke
unauth orized
copie s of th is
copyright
music
Highland Spirit
Manus Noble
(born 1988)
Mysterious J= c. l 04

,. d
m

n n
4 i m
i ,- - '

IJ J j J µJ Jd J J
IJ... __ ,
JJ I
: r~u
,•.J.:
a
m

Jj 4r 2r If c·-t
8 i

I r r r f IF IF r Ef I

r
,~
f

n
>
12
) J
~J -§
J- I J. J J J J
r f f
IF
:
r : r~u
16

* 1ff~
r
J -a
J IJ J j J IJ
-
--
j J
JJ n IJ J J J

20
ef
u

---------- u

r.-...

,~ 10 :d I i :d I i r·
t#J 1:~: II
: r· o-e-
u______.,r·
mp r
2U

PJ'\;,,,I

Manus Noble is an Irish guitarist, a graduate of the Royal College of Music and the Royal Academy of Music in London. He made his London
recital debut in 2011 and is now in demand as a recitalist, teacher and composer for the instrument. He says that his newly written Highland
Spirit was inspired by his Celtic heritage. In addition to its echoes of folk music, it aims 'to evoke the beauty and mystery of the hills of Scotland
and Ireland, their peaks and valleys often shrouded in mist'.
© 2018 by The Associated Board of the Royal Schools of Music

AB 3919
14 11l!L It is
C7 illegal
to make

Up and Over
unautho rized
co pi es o f th is
copy right
musi c.

Vincent Lindsey-Clark
(born 1956)

Moving along .I = c. 92
II 2 4

mp

II
4

mp

poco rit.
5 II
2

9 a tempo
4

mp

The English guitarist Vincent Lindsey-Clark studied at the Royal College of Music in London, and won the Lanchester International Guitar
Competition at the age of 16, leading to a busy career as a performer. He has been writing music for the guitar for over 40 years, his output ranging
from pieces for beginners to large-scale concertos. He says that 'the title of this piece refers to one of my favourite walks that takes me "up and
over" a hill on the other side of the river that runs close to my house. I often think about a piece of music I am writing as I stroll through the fields
and, if I'm lucky, a good idea may come to me along the way: In the exam, the candidate should play pan 1.
© 2018 by The Associated Board of th e Royal Schools of Music

AB 3919
 15

2r•
'r-
17
4

21 III poco rit.

II
2

25 a tempo

mp

mf
29 rail.

======-PP
AB 3919
Scales and arpeggios
You will be asked for at least one of each type of scale and arpeggio, which should be played from memory,
legato and in even notes (except where indicated).

RANGE REQUIREMENTS
SCALES
Dmajor
A minor starting a11 octave above lowest tonic
(nantral or m elodic, at candidate's choice) I oct. fingers only; tirando or apoyando, at candidate's choice;
long tonic
Dminor
(nan1ral or harmonic, at candidate's choice)
Cmajor I oct. thumb only; tirando
CHROMATIC SCALE
starting on A I oct. thumb only; tirando
ARPEGGIOS
C, Dmajors
A minor starting an octave above lowest tonic I oct. tirando
Dminor