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ABRSM Grade 4 Practical includes a C-major broken chord with over-ringing, meaning notes continue sounding together. Its F-major arpeggio is played without over-ringing. Both need a steady pulse, but they require different control of the strings. See the Grade 4 technical requirements.

Try a short illustrative comparison. Play C–E–G on separate strings and let the earlier notes continue beneath the later ones. If you release a fretted note too soon, the chord loses part of its sound. Next, play an F–A–C fragment, ending each note as the next begins. Listen for a connected line without lingering notes underneath; avoid cutting each note into a short, detached sound.

These fragments explain the contrast; use the full syllabus patterns for exam practice. A useful improvement is being able to change between the two sounds deliberately, with an even pulse and consistent tone.

Trinity Acoustic Grade 4 technical work includes the chord sequence D–B7–Em7–A7, alongside slurring and half-barré work. The Acoustic Guitar syllabus gives the full exercises.

For a preparatory exercise, count four beats per bar and play one downstroke on each beat: a bar of D, then B7, Em7 and A7. If the first Em7 arrives late, the pulse has stopped while the hand finds the chord. Playing the whole sequence faster will not repair that change.

Slow down and practise just B7 to Em7. Work out the finger movement before playing, then keep counting through the change. Put it back into the four-bar loop when the next chord arrives on beat one with clear notes. Finally, return to the rhythm and fingering printed in the exam exercise. This simplified loop is a practice step, not the prescribed test.

String bends are among the skills in Rockschool Electric Guitar Grade 4. A bend can look convincing while stopping short of its intended note. Listening for the target makes the problem easier to identify.

Here is an illustrative exercise in standard tuning. On the high E string, play the E at fret 12 as a reference. Then play D at fret 10 and bend it up until it matches that E. Compare with the unbent reference again. The distance is a whole tone, or two semitones; this chosen interval is a teaching example.

Once the pitch matches, add four steady beats: sound D on beat one, reach E by beat two, hold it through beat three and mute on beat four. Listen for unwanted neighbouring strings as well as pitch. The next step is to keep that control in your chosen piece, where the rhythm and bend may be different.

ABRSM’s Performance Grade guidance treats the four pieces as a whole performance, with order, character and stamina worth considering. A learner who can play every piece separately may still need practice moving between them.

For example, put a lively piece before a quieter one and record the ending, the pause and the next opening. If the second piece starts at the first piece’s speed or volume, mark its intended starting tempo and sound. Rehearse that transition, including a calm preparation before the first note, then try the complete programme again. The improvement is audible when both pieces retain their own character.

For a technical-work route, also rehearse moving from repertoire to the required exercises and supporting tasks. For a repertoire-only route, give the complete sequence of pieces its own practice time. If you are learning without an exam, a short recital or a recording of contrasting music can provide a useful next goal.

Agree a routine that fits the learner’s week and current playing. Trinity’s practice guidance recommends manageable sections, achievable goals and listening back. Use a small number of clear tasks so each practice session has a purpose.