A a Ieee UN Peano eu(m8) = READING 4 Eee nepu t= By Kevin Ramessar and Stig Mathisen Units 1-2 written and engraved by Stig Mathisen Units 3-10 written and engraved by Kevin Ramessar Instructional Design: Stig Mathisen, Guitar Program Chal, Musicians Institute Repertoire selections arranged and engraved by Sid Jacobs Edited by Joe Bergamini Digital book design and cover by Mike Hoff Layout by Rick Gratton Additional engraving by Willie Rose ‘MI Curriculum Series Series Sponsor: Jon Clayden, Vice President of Academic Affairs Creative Director & Executive Editor: Donny Gruendler, Vice President of Instruction and Curricular Development Managing Editor: Joe Bergamini Published for Ml by WBH MusicWorks LLC Executive Producers: Rob Wallis, Joe Bergamini, Mike Hoff Copyright © 2014 Musicians Institute, Inc. All Rights ReservedLalit We gm J GUITAR READING 4 Unit 1 1. Exploring Twelfth Position 2. Syncopated Rhythms & Charts/Real World Reading 4, Repertoire Unit 2 1 Exploring Twelfth Position (Cont) 2. Syncopated Rhythms & Modulation 4. Mixed Meters 5. Charts/Real World Reading Repertoire 1, Reading in Higher Positions with 8va 2. Sustained Chords with Moving Melodic Lines 3. Modulation (cont) 4, Mixed Meters (cont) 5. Sight Reading: Scales 6 Repertoire 1. Reading Basic Jazz Rhythms 2. Modulation in Charts 3. Mixed Meters (cont) 4, Sight Reading: Scales (cont) 5. Electric Guitar Charts: Funk Rhythms (cont) 6. Repertoire 1. Jazz Rhythms (cont) 2. Modulation to Distantly Related Keyss 3. Mixed Meters (cont) 4, Sight Reading Leaps 5. Real Book Charts 6. Repertoire 12 14 18 24 27 29 31 36 ES 42 45 48 50 52 55 58 61 64 65 67 70 72 75 78 801. Highly Syncopated Jazz Rhythms 2. Highly Syncopated Jazz Rhythms (cont) 3. Modulation to Distantly Related Keys (cont) 4. Tone Row Rhythm Exercises 5. Sight Reading Leaps (cont) 6. Repertoire Unit 7 1 Reading along the Length of a String 2. Jazz Rhythms: Chords & Comping a Tone Row Rhythm Exercises (cont) 4, Sight Reading Leaps (cont) 5. Repertoire Unit 8 i Reading along the Length of a String (cont) 2. Syncopated Melodic Lines (Straight & Swung) 3. Tone Row Rhythm Exercises (cont) 4. Repertoire Unit 9 1. Reading along the Length of a String (cont) 2. Jazz Rhythms: Chord Comping (cont) 3. Tone Row Rhythm Exercises (cont) 4, Sight Reading: Arpeggios 5. Repertoire Unit 10 1. Reading along the Length of a String (cont) 2. Tone Row Rhythm Exercises (cont) 3. Sight Reading: Arpeggios (cont) 4 Jazz Rhythms: Chords & Melody Combined 5. Repertoire About the Authors 84 86 89 92 93 96 102 109 112 113 15 W7 123 127 128 139 145 147 148 152 155 161 162 164 166 170Ea hapter 1: Exploring Twelfth Position Reading music in the twelfth position isa challenge due to the number of ledger lines involved, but its also fairly easy to maneuver in this area of the fretboard, as it has the same layout and location of notes as in the open position. Look at the following diagrams: Ex. 1.1 The Natural Notes in Open Position Ex. 1.2 The Natural Notes in 12th Positio grees * 806600 e CY) 600 600 «9090 | 00 e906 | 00 Here are all the notes in twelfth position written out using standard notation: x13 2 Te ote Play through the following examples in the twelfth position: Ex. 14 Ledger Lines with Note Names a 3 Ff ff tp pp pf G F E xl e £ f f 2 f: e £ f ~ ¢ c Dp E D c Bp c .E D oF -E£ G 4 Guitar Reading 4Unit | -Chapter 1 Ex. 15 Ledger Lines without Note Names XI Ex. 1.8 C Major Scale, Third Leaps XIEx. 1.9 C Major Scale, Groups of Four XI NS + 1 te ( te Te Tre ‘ith ie 11 ce t ie 7. Ex. 1.11 Melody Example CHS 6 Guitar Reading 4Ex. 1.12 Melody Example XI cS Unit 1 -Chapter 1 ertpt | 1a ov erteeReter citer | tehapter 2:S Reading Syncopated Rhythms (Straight Feel) As covered previously, syncopation is a stress of the weak beats, or of unexpected subdivisions within a measure. At first this may seem to interrupt an otherwise steady flow, but in reality, syncopated rhythms bring rhythmic tension and musical"life force’ into the music, which can elevate the listening experience to 2 large degree. Syncopated rhythms are an integral component for styles such as jazz, Latin and much of contemporary pop and rock music. opated R In the previous book we played syncopated rhythms simply by implementing ties. Here are examples which focus on more obvious and clear syncopated eighth-note rhythms: 1.13 5 Gan SN | B14 6 FS a Goat 115 61 JN JE Sate s Ss SSsseay 8 Guitar Reading 4E116 Po Unit 1-Chapter 2 CFR RAS Here are melody examples which also incorporate heavily syncopated eighth-note rhythms: x 117 paps. Sy ya tee 3 SS Tit 2 = Ex 118 7 reef tert t oor aaa bop cape pedi de ping pr Fl e Ey, = “|& 1.20 bial Ere FF pe Aftrei, abt hs fe yl Reading syncopated 16th-note rhythms can be slightly more challenging, but follows the same basic principle as with eighth notes. Read through the following rhythm examples. 1.21 $e Gosia ia a Ex 1.22 Gea inva Ex. 1.23 Oth I Ta Dee SRS SaaS aaa 10. Guitar Reading 4Unit 1 -Chapter2 Ex 124 SEARS AAS 3 ¢oted NeaChapter 3: Charts/Real World Reading In the Technique and Performance classes you have learned the basics of funky 16th-note rhythm patterns. Read the chart below, which incorporates this technique in addition to syncopated single-note lines. E125 Little Funkenstein Funky J=95 Stig Mathisen ve “fe ep mi ae cues LGA PIP A] Son (ea ae DIM Light Palm uae Gligg XXX P XX CECE FE ca —_ noms ADEE peasy — z — an Bis AB AMS ou BIS bo D7tts) i ToCoda fo re TP rae ot Tot oa te ct Sh 12. Guitar Reading 4Unit 1 -Chapter 3 Ex. 1.25 cont'd [B] crn BIS A Ab ServerPep eh ope, Fp | SSP oe Gb BA AG Bas iosmiwlen we lee i ; rg rare | eeeChapter 4: R toire Ex. 1.26 Sonata in D Minor K. 213 Domenico Scarlatti (1685-1757) Andante J=70 —= _ tee Guitar | Guitar 2 14 Guitar Reading 4Unit 1 -Chapter 4 Ex. 1.26 contd 16 J-—~fiaat 24 ies (a | Fd&x. 1.26 cont‘d 26 16 Guitar Reading 4Unit 1 -Chapter 4 Ex. 1.26 contd 4 39 »gee Site ttt tere pore IB yr Serpereret E Et cert cor Cor freee I en great OPE Etre ttre gelietpepe ill eSx24 guette tire t fPe ette ere otes Sbtre TD ertreete ep ipentr-et trier . ier Cobh tier eich ¢ pp ofEPEiee cist gegt fitter ccere tee TP poftfbserr ehtrer FPEPEtee ry al27 get ptif tf pth ft pert. ge ptt geeeee Eftee petty 28 n f Eetees Sipser ee ae gue PEPER tehecheerett etree. 29 BL ee Gee tere ft gets EEE ehh egrett Etre Ex 2.10 xi Gator pier enero irr ge ~ -pEEfEee FERRE Pe tteeteen 20 Guitar Reading 4tit etpies ty ba Git reeepntee Sel Topic oye tipi t yeChapter 2: Syncopated Rhythms ‘We will continue our studies of syncopated rhythms, this time with more ties, ests and triplets intermixed, E212 Spt SeIRISpe) 6 ashlar) SS] x. 213 Grn rads FPriee eer eece ee eas freee 2 TiS | Ex.214 ae ee el (pia insite ey Sas Sa ae bens ii Sh ey 22. Guitar Reading 4Unit 2~Chapter2 Ex. 2.16 GERDA Ds Dy yp PST &.217 6S SSE vie poe on =S—o Ss nigiotonaa Ny E218 Chott ii Aah dele’: Goth fig aly Ex.219 4: 4 pds gddygdddepg dey) das Sdalddyd dreds Ghat ita |Chapter 3: Modulatio' ‘Modulation is the process of changing from one tonal center (key center) to another within a piece of music, e.g. the music may start out in the key of G, then at some point the music modulates (instantly or gradually) to the key of D, Music can often modulate numerous times throughout a composition, between two key centers or multiple key centers. Modulation is used for several purposes: it adds contrast, variety and direction to a composition, and impacts the energetic charge and the forward motion as the music progresses. It will also have great impact on the formal structure of a composition. Modulation scan occur between closely related key centers (where both keys share the majority of the same notes, such as C major and G major), or distantly related key centers (where the two key centers have very few notes in common, such as C major and Ab major) ‘There are numerous ways in which modulation takes place: direct modulation, pivot chord modulation, parallel key modulation, etc. In this chapter we will spend very little time on analyzing these processes, as this requires more in-depth theoretical study than this book allows for. Rather, we will look at how we can master reading music which modulates. How do you know if music is modulating? The dead giveaway for an upcoming modulation is a change in key signature, You may encounter something like the following example: Ex 2.20 G Pepto eI if we look closely at the example, welll see that the change of key signatures in measure three tells us that the melody modulates from the original key of G to the key of D, and then it modulates back to the key of Gin measure five. E& 221 Modulates to the key ofD Modulates back to the key of G 24 Guitar Reading 4Unit 2-Chapter 3 The challenge with reading music which modulates is to get quickly accustomed to the parameters within a new key signature, This can be challenging in the beginning, as we tend to"lock in’ with the key signatures we read in (sharps/flats, orientation on the fretboard, etc). Play through the examples on the following pages to get a basic grasp of the process. Make sure you scan through the music prior to attempting to play it, to get familiar with which key center each example modulates to. Indication of a modulation on the upcoming staff Trt G or Ex. 222 Melody Example, Modulation from C Major to G Major %Ex 2.24 Melody Example, Modulation from D Major to Bb Major en get po Sta a aa D Ar D AT FT FD B FT ar EM: Ctmi? AMa? Fini? BT Gtair Cini? Fir By on 5 4 ct B] GMa cms Ani b7 GZ Zz : Zz oma? cma Ami? Do? B A] EM Cini ANT Db EMa Chi? AMa? Fini? B7 EMa L ALS SL SATS ® | 26 Guitar Reading 4Unit 2~Chapter 4 Chapter 4: Mixed Meters We have so far in our studies been exposed to the most comman time signatures: 4/4, 2/4, 3/4, 6/8, 12/8 and cut time, Justas the tonality/key centers can change within a composition (modulation), so can the time signatures (mixed meters). We will encounter the same challenge when we read mixed meters as with modulation: when we start playing a piece of music, our internal reference point will intially get focused and fixated on the parameters the music starts off with, When these parameters change, our internal balance gets offset, and we need to readjust the very foundation for how we relate to the framework of the music we are playing. Our internal clock gets adjusted to the cycles and the flow provided by the original time signature, and when a new time signature appears, we are forced to change our internal clock, Having to do this after the basic premises for a composition has been established can be quite challenging When you encounter examples with mixed meters itis helpful to read through the entire example first by counting only the primary beats in the time signatures. In the examples below, count the beats out loud first, without playing the melody. Once you are comfortable with the change of meter and are able to adapt and internalize the metric flow, then try to play the notes while counting the beats. (ESA op Dg ign Tisdd se] 23 123 123 1 a5 Ex. 2.28 Mixed Meters 2/4 and 3/4 Oe Ai a Gamay ae Sn |Indication of a change in time signature Ex 2.29 Mixed Meters 4/4 and 6/8 ‘on the upcoming staff oie SS eg) Ppl 123456 123456 123456 123456 an oS ey Sees 1 Ex 2.30 Mixed Meters 3/4 and 6/8 $pS2 SSS Sass (pS a aay 123456 123456 123456 123456 6p-4 = SSS] Ex 231 Mixed Meters 2/4 and 6/8 $2 SSS SSUnit 2-Chaper 5 Chapter 5: Charts/Real World Reading We will continue playing real world charts with funky rhythm guitar parts. The chart below involves bath modulations and mixed meters (there are three measures of 3/4 in the Coda). ee Funky Modulation J-90 Tae Stig Mathisen Ami? AB Bo Bi III GO Cy ey Coo y % ens May Qiu fa EP PARE Me ya EP PEEP i = ‘To C For Solos To Coda After Repeat Geer rin cf qe Amit Bs tabs zs it Go Le Go 4 4 Repeat AEx.232 contd Solos ic Ami Bmi/A CIA = = = = ata OU AZ tate PO eo En AB Bs AB Bs D.S. al Coda 30. Guitar Reading 4Chapter 6: Repertoire & 233 Minute Waltz (orn a Frederic Chopin (1810-1849) Pinan lif imam inc Fottr Gi eR PRP EER F RIFE Aa aa Ibe fF Fo fF - Pp lS EE (bSerer yn | woes paid leaf EH yt j ipsmmereone preety bby dtp dh feb a fe wD Screr teEx. 233 cont'd Porat ist y ed ys i j oh qt SS SS Sad igs fF (St = nn : ole yee ae ads t rae te PpEx 233 contd 4 fe in ore ESStaore ost a ee { ¢ fo =z: f T r t f Bas SS + eee fo ro tote dipeieeuerlepl ais crerietetrier trier fittrier Crier tech So yp ae F Settee epee ee! allie pbereroe 7-2 pdtap be jfile is rt 4 Fete EO te er ey febrero fe ia + r+ 34 Guitar Reading 4Ex. 233 cont'd fleeeanye can | gy, Pipes Pettestrererct trier Da Feige Al pPE yee? ea cr ee Go sans we apg ip te Ssunit three Te aa Chapter 1: Reading in Higher Positions with 8va Reading music in higher positions can often involve the use of 8va to avoid excessive use of ledger lines, within a passage, or sometimes for an entire section / score. It's important to develop the ability to read music at one pitch, and “transpose” up an octave, playing in the higher positions on the fretboard, Here are some notes in twelfth position, written with ledger lines: x31 # Here are the sare notes, now written using 8va x32 2 the Te . \o Ly » i. 1 ~ The following examples contain notes in the twelfth position and higher, and consist mainly of step-wise motion and small leaps. Play through them slowly, taking time to ensure accuracy, and develop your proficiency to read at one pitch and play an octave higher. 33 Remember that 8a can refer to a single note or a passage of any length. Often a dotted horizontal line is used to show the length of the affected passage, with the term foco {Italian for‘in place’) used to cancel the octave symbol’s direction. IF no dotted line is present, assume that 8va applies to the entire passage. 36 Guitar Reading 4Unit 3 -Chapter 1 x37 Excerpt from ‘Morning Mood’ from Peer Gynt (€.Grieg) 37Unit ~Chapter 1 x39 Ex 310 38 Guitar Reading 4Unit 3- Chapter 2 Senco ney In this chapter we will be reading sustained chords combined with moving melodic lines on top. Welll begin in open position with longer time values and simple chord shapes. The challenge will be to keep the chord tones sustained while playing the moving line with clarity. Play slowly enough to adequately monitor your left hand finger independence; you may also need to consider alternate fingerings for various chords in order to allow for the moving line. &x.3.12 Melodic lines over a G chord £3.13 ‘Melodic lines over an Em chord £3.14 ‘Melodic lines over a D chordEx 3.15 Melodic lines over an A chord £3.16 Melodic lines over a C chord Here are several melodic lines over simple chord progressions. Read through them slowly, allowing for adequate time to consider left hand fingering options and smooth transitions between shapes, while sustaining notes properly. 41) yj iJ J jy yy yf Ss SS 40 Guitar Reading 4Unit 3-Chapter 2 x 3.18 £3.19 Excerpt from Symphony No. 9*Ode to Joy’ {L.van Beethoven) cit It a aL dole aL bole a a h_ I he dR I h_ SL lor RL Sl he 4hapter 3: Modulati ) In the last unit, we discussed reading music which modulates, recognizing and adapting to new key centers/signatures. Welll continue practicing this very important skill with some melodic examples in which the key modulates to a closely related key center. Remember to scan ahead in the music, making note of the upcoming modulation and the corresponding new key signature. Play slowly enough to allow time to orient yourselfin the new key and maintain control. (con &.320 Modulation from G Major to D Major 3.21 Modulation from C major to F Major, back to C Major Be 42 Guitar Reading 4&.3.22 ‘Modulation from F Major to Bb Major Unit’3-Chapter3 — a aid oe &.3.23, Modllation from C Major to £ Minor Thy 324 Modulation from D Minor to A major to A Minor 433.25 Excerpt from Piano Sonata in O Major, K. 284, MVT 3 (W. A. Mozart) Ex. 3.26 Excerpt from Piano Sonata No. 11 in AK 331-Rondo alta Turca (W.A Mozart) it ! U ! U Ul H th BR fttsrteae £ of Feet, Sapa ere eee SS —=| 2 x je ef f of feo of ft at ty SS = SS # 44. Guitar Reading +Unit 3 -Chaper a hapter 4: Mixed Meters (cont.) In this chapter, we will continue to explore mixed meters, using common time signatures. Remember to orient yourself to the new pulse, focusing on the primary beats in each time signature. The goal here is to work towards comfortably internalizing the metric flow, while you scan ahead and play. In these following examples, basic tempo indications have been provided. Play through the examples rapidly, so that you get used to dealing with variations in both tempo and time signatures. & 3.27 Aday Ex 3.28 Moderato 45£3.29 Allegro £330 Andante 46 Guitar Reading 4Unit 3-Chaper 4 &.331 Vivace ahapter 5: Sight Reading: Scales Sight reading scales is one of the easier places to start when developing sight reading abilities. Here are some important points to keep in mind: 1. Know which key you are in. 2. Whenever you see a scalar passage, quickly scan to see which note / scale degree the passage starts and ends on 3. Check for accidentals. 4, Look for irregularities in the rhythm. 5. there are continuous scalar passages in the music, look for similarities in construction: stepwise motion, sequencing, repetition of the same motif, etc. in the following exercise, the first and last notes of scalar passages have been citcled, and the non-scalar passage has been indicated with a dotted bracket. Play through the exercise slowly, watching for the the change in rhythmic values (e.g. quarter notes in measure 2 and others), and the change in direction of the scale (ascending / descending). & 332 & 333 Hi Gite 48 Guitar Reading 4Unit’3-Chapter 5 £3.34 Ex. 3.36, Excerpt from Cello Suite No. 1, Courante (US. Bach) pipet ite ee st = SS , =— $s Fiaett: Zz Pott eeat ne: pee Rett tepeetrectrsteeti cA : ‘I ' :Autumn In New York Line Sid Jacobs Gmi? ‘Ami? BPMa? c FMa? BT Ami? DT a eiete a Gmit Ami? BeMs? = CT Ami7é5 Dp 5 Pe ras. ran be Gmi? Bbmi? AbMa? a 335 Cmi? Dmi? Ebmié F Bmi? Gmi? ah 35 25 Fm? Fmi? ay Dba? ar DbMa? ay & Gmi? Ami? Bhmié e Fmi? # 33 b, 50 Guitar ReadingUnit3- Chapter Repertoire selections by Sid Jacobs May The Fourths Be With You £337 Sid Jacobs D Gait oono Chapter 1: Reading Basic Jazz Rhythms In this unit welll continue our rhythmic focus on syncopation, this time in a swing feel. We'll begin with eighth notes with ties, rests, and triplets. Play through slowly, keeping a physical pulse and subdividing carefully Ex 41 42 52. Guitar Reading 4Unit 4-Chapver 1 44 ‘Swing 45 Swing 46 Swing48 49 ‘Swing F410 Swing 54 Guitar Reading 4Unit ~Chapter2 Modulation in Charts apter In the last unit, we discussed reading music which modulates, focusing on melodic examples in which the key modulated toa closely related key center. In this chapter we will look t rhythm charts which modulate, focusing on the reading the chord changes in a rhythm role, ‘As you play through these examples, remember to scan ahead in the music, making note of the upcoming modulation and the corresponding new key signature. Keep your right hand rhythmic pattern very simple, and play slowly enough to allow time to orient yourself in the new key and maintain control Ex 412 D G Bm Em A D Bm Em A G A D 4.13 c Em An F Dm G ic G 55& 415 Gmaj7 Gidim7 Am7 D7 Gr Cmaj?7 Am? Dm? ar Cimaj7 s 67 LFS SS Zz ZZ ZF © 4.16 Fimaj? Dm7 Gm7 m7 FT Bomaj7 Cm Dm7 Gr cm? FT Bbmaj7 Ex 417 Bomaj7 Dm? Gm? Am7s D7 Gm Amms D7 Gm7 m7 FT Bbmaj7 m7 FT Bhmaj7 56 Guitar Reading 4Unit 4-Chaper2 4.18 Am? Burbs ET Am Dm? a7 Cimaj7 Am? Fai? G7 Am? Bmvbs E7 Em? Aq Dimaj? Bm? Em? AT Digi? 57pter 3: Mixed Meters (cont.) In this chapter, we will continue to explore mixed meters in greater depth and with more complexity. We will continue to use common time signatures, but will focus on longer excerpts, often with numerous changes in meter. Remember to orient yourself to the new pulse, focusing on the primary beatsin each time signature. For all ‘of the following examples, keep the eighth note beat constant between meters. Ex. 4.19 a ge ae SS a a ee ree 5 ss i —— es pe dw ed § ’ {SS et i. = 66S eS Se — Ex. 4.20 58. Guitar Reading 4Unit 4-Chapter 3 421 Ex. 422P — pp pp es = waa a da ooo oo Ex 4.24 a = Fa a SS 60 Guitar Reacing 4Unit 4-Chapter 4 hapter 4: Sight Reading: Scales (cont.) In this chapter we continue sight reading scale passages in the context of larger musical excerpts. These passages are slightly more complex and irregular than those in the previous unit, both in length and direction (ascending / descending), As you read through the following examples, remember to: 1. Know the key. 2. Scan ahead for the starting and ending note/scale degree. 3. Check for accidentals. 4, Look for regularities in the rhythm, 5. Identify similarities between passages: stepwise motion, sequencing, repetition, etc £x.4.25 6Excerpt from Espafioleta (G Sanz) 2 f 3 pe cS ===! poor = i ef fo aS ——S Excerpt from Allegro, Op. 40.No.6 ai (M. Giuliani) 62 Guitar Reading 4Unit 4-Chapter 4 &.431 Excerpt from Ganon in D U.Pachelbel) SS ——. 8Funk Rhythms (co In this chapter we will continue playing real world charts with funky rhythm guitar parts. The chart below involves comping rhythms, funk riffs and solo lines. Ex. 4.32 Funk Chart Am? C6 br Fmaj7 Gs Am? co Br Eno B] Am7 co Dr Fmaj7 GT5us CC] Am? cs DI Fengj? Gis Am? ce Br En9 Am? 64 GuitaUnit 4 Chapters Solar Line Sid Jacobs @ cmimsin 1 Epa Eom? a 13, Demat @ Cmitnain 6£434 Miss Jones Line Sid Jacobs FM? BP Ami? oD Gmi? oe 5 Ami? Dmi? Abmi? ad c 9° FMa Bh Ami? DT Gmi? a Ami? Amit D Gmi? c Ant 26 34 rsar34 Gmit co FMa? Dp Gmi? 30 by Faas M b. ~ 66 Guitar Reading 4UNI five Chapter 1: Jazz Rhythms (cont.) In this unit, we expand our exploration on syncopation in a swing feel. We now add melodies to these rhythms, building on the previous unit. Read through these examples slowly, focusing on playing the correct notes while subdividing carefully Ex.5.1 6757 Swing p. > x _~ or a a a ee aa a oe tt a a 68 Guitar Reading 4Unit S-Chaper 1 59 Swing oo(@lareleice ly Related We continue our exploration of modulation, this time focusing on melodic examples in which the key modulates to a distantly related key center. Remember to scan ahead in the music, making note of the upcoming modulation and the corresponding new key signature. Keep your right hand rhythmic pattern very simple, and play slowly enough to allow time to orient yourself in the new key and maintain control 511 fit. risifept epee tie tpt fest 70 GuitaUnit s-Chaper2 te eee EE t foe pe ee ol oi eas aaa nMixed Mete As we continue to explore mixed meters, we will begin to read more complex rhythms and meter changes, sing common time signatures. Remember to orient yourself to the new pulse, focusing on the primary beats in each time signature. enelncts (cont.) In these following examples, basic tempo indications have been provided. Play through the examples rapidly, so that you get used to dealing with variations in both tempo and time signatures. & 5.17 fee ee poe Se Sa (ESS SSS aS E518 519 72, Guitar Reading 4Unit s-Chaper 3 Ex 5.22 a a a BSS 74 Guitar Reading 4Unit s-Chaper 4 apter 4: Sight Reading Leaps Sight reading music that contains numerous large leaps can be very demanding, Regular and repetitive leaps (consecutive thirds, sequences, etc) are easier to read, while it will be increasingly harder to read irregular leaps, leaps where accidentals are used, leaps containing irregular rhythms, or leaps involving numerous ledger lines. The first skill set we'll work on developing is the ability to rapidly move your eyes vertically, to lockin on and decipher the upcoming note, as it will be in a completely different range than you are in at the moment, You also want to look for patterns. For example, if you see a passage containing multiple leaps, look ahead to see if the passage consists of mainly third intervals, if the leaps are spelling out a triad, or if the leaps are merely octave shifts of the same notes, ete. We begin with examples containing consecutive thirds, and thirds in sequences and predictable groupings. From there we will increase the intervals between notes and add slightly larger leaps. Ex 5.25 5es fe - PsP tt ee poe = === Jaap a oe —— Ex. 5.29 Aepe pe Ty ee f — , —= fies a I a— 2 = == oe &. 530 76 Guitar Reading 4Unit Chapter 4 Ex, 532 7apter 5: Real Book Charts Here are two charts similar to those you might encounter in common anthologies of jazz and pop tunes. As you play both the melody and the rhythm part, pay special attention to the various elements of each tune (melody, chords, hits and rhythmic fiqures, key signature, time signature, tempo and style indications, road map including repeats, etc) Ex. 5.33 Huron Bossa Slow Bossa Rast A Dm Enns a7 Dm Gm7 (amp) 5. AT Bbmaj7 Dm? . € a Ba ar br | ae | 1 2 ] 0 sma a7 by re Gm7 c7 Fimaj? Bbmaj7 py, Ems AT Dm D7 uu On? oo Antes br —= §—fe eae Tht te S = ¥ eS ms a bm? emmes AT 5 = | SSS 78 Guitar Reading 4Unit S-Chapter 5 £5.34 Swinging in the Bronx Medium Swing K. Ramessar Al Cnaj7 Bmms £7 Am? Gm? c7 oro Fmaj7 Em? AT D7 Dm? G7 Cmaj7 Bmrbs E7 Am7 Gm? C7 ET Ar D7 Dm? G7 Cimaj7 Bms ET Am7 Fm? Em? AT D7 a7 Cmaj7 Dm? Gr 79You Again (There Will Never Be Another You Line) ‘Sid Jacobs pom ‘ Dnités e 6 Caw F Ba? ET Bou? EB yo Avmait pm pod 15, be aS vo 20. Devtb9 Epmajr Amit Do a AN? mr isa c Fm? By B 80 Guitar Reading +Units -Chaper 6 x. 536 Invention No. 5 in Eb Major, BWV 776 J.S. Bach (1685-1750)Ex.536 cont'd 2 414 bab. | 82 Guitar Reading 4Units -Chapter6 Ex 536 cont'd 3 8Unit six Chapter 1: Highly Syncopated Jazz Rhythms We now move into highly syncopated rhythms, using eighth notes, 16th notes, and triplets, together with ties and rests. As you play through these exercises of increased complexity itis essential that you subdivide continuously and keep the pulse going, Start slowly and gradually increase speed as you are able, maintaining focus on accuracy. x61 PR a pr Exod SSE + _— 3 a a! & SS 84 Guitar Reading 4Unit 6-Chapter 1 Ex 6.5, i 2 a = Ne eS SS aay Sa a ee ee ee 5 2 I = + Fadaapter 2: Highly Syncopated Jazz Rhythms (cont Continuing with our exploration of highly syncopated rhythms, we now add melodies to the rhythmic figures you played in the previous chapter. With this added degree of complexity, play slowly at first, paying special attention to rhythmic accuracy even as you focus on the melodic material x67 26 Guitar Reading 4Unit 6- Chapter 2 a788 Guitar Reading 4Unit-Chapter ation to Distantly Related Keys (cont Mo (eles The following exercises consist of melodies and chord changes which modulate frequently to all types of key centers, and contain technically challenging passages. Scan ahead as you play, beginning at a slow ‘tempo to ensure accuracy. x 614 oS aes90 Guitar Reading 4Unit 6 Chapter 3 Cim Gam Fem Em A ; E Ey ZS ify D m Am Gm c F Dm? Gm? C7 Am? Dm? Em? Ar Feém7 Bm? Em7 Atsus— BPTsus 6 Gm7 Fm7 Bi Ebmnaj7 1apter 4 Row Rhythm Exercises In this chapter you will apply pre-determined rhythmic patterns to tone rows, forcing you t practice reading ahead, and sight reading both rhythms and notes, whether or not they seem intuitive or fit the hand easily Below, you will find three tone rows, each with 24 notes. You wil also find four rhythmic patterns provided. Using a metronome, play through each tone row with each rhythm, beginning slowly and gradually Increasing speed, You will notice that each rhythmic pattern ends with rests; this will allow you some time to look ahead, regroup, and quickly prepare for the upcoming notes. £x.6.20 Tone Row #1 —621 Tone Row #2 * ———————————— == == 7 Ex.622 Tone Row #3 te ©. = «. ©. = = + —- = SS SSS £623 _ Rhythmic Patterns to Apply to Tone Rows HAE 1 et | i 92. Guitar Reading 4Unit 6 Chapter 5 In this unit we will train the eye to read larger and more unpredictable leaps. The following examples include consecutive thirds and sequenced thirds with occasional irregular leaps. We'll start with short scale sequences containing occasional large leaps. x 624 & 626 ft a ai) an 93x. 627 Ex. 6.28 94 Guitar Reading 4Unit 6 -Chapter 5 Ex. 629 95pter 6: Repertoire Ex.6.31 Smoke Gets In Your Eyes Line Sid Jacobs EPMa? hor Fmi? BY EbMa? Gtal AbMa? an Gmi? ec Fi? BY Gmi? o Fmi? Br EbMa? Chmi? Fer 16 te _ 4 a SE te te pte - 3 96 Guitar Reading 4Unit 6 -Chapter 6 Ex 631 contd 2 BMa’ Gtmi? ctmi? Fe BMa? Gani? BY BbMa? a Fmi? Br EPMa? EM Emi? BH EDMa? Geran AbMal an Gmi? c Fmi? Bap EbMa? Abi? EPMa? 7&x.632 Invention No. 6 in E Major, BWV 777 JS. Bach (1685-1750) 98 Guitar Reading 4Unit 6- Chapter 6 Ex, 632 cont'd a7 9Ex. 632 cont'd 7 i 100 Guitar Reading 4Units Chapter 6 Ex. 6.32 contd 58 101Unit seven ee Chapter 1: Reading along the Length of a String In this chapter, welll focus on connecting multiple positions while reading along the length of single strings. There are various reasons why you might want or need to do this in a real-world setting, and you need to be comfortable moving between positions repeatedly. Scan ahead as you play, so that you can plan your position shifts and maintain proper left hand position as you move along the string. Where possible, identify quide fingers and any recurring patterns or sequences that may help you acclimate to the new position quickly. The following exercises range from simply combining a couple of positions to connecting the entire neck ‘We will start in simple keys with relatively few accidentals; recommended positions have been indicated with Roman numerals. Reading along the First String Ex. 7.1 L i x Vill 102. Guitar Reading 4Unit 7- Chapter 1 xi vil I The The Te te » t te 1 Reading along the Second String Ex.75 EX.7.6 v Ff z -—P p29 fe * = = = sity x 2 eo — 2 2 2 v 2 2 F e. = — € 1 I I SS ——— 2 103Reading along the Third String Ex.7.9 T Iv m4 Set Vil XI Z —, e fe 2 £ eo Ex. 7.10 v IX _ oe oe P 711 Vv vil 104 Guitar Reading 4Unit 7- Chapter 1 v vir eel eg ie Fe Xl + ; fe_p_f » Reading along the Fourth String & 713 0 vil x = ~: SSS] ot v 1x XI Ix 7.14 vil XI 1 vil 105vial S = = — Ja 2 5 x vil —- € > 2 o Rea 7.17 I val £7.18 1 VII vit "=F a ee 3 .V 1 SS a 7 = 106 Guitar Reading 4Unit? -Chapter 1 Ex. 7.20 I ¥ ‘VIL XIL eS ==. SS SSS er 5 vir 1 = —— = + 5 5 = oe 7—— — Reading along the Sixth String Ex. 7.21 Iv T Vv 7 z eee Gg 7 * ww « « uw ol «108 Guitar Reading 4Unit? -Chapter 2 hapter 2: Jazz Rhythms: C Continuing with our exploration of syncopated rhythms, we now focus on comping: playing chords over syncopated figures. With this added degree of complexity, play slowly at frst, paying special attention to rhythmic accuracy even as you focus on the melodic material ds & Comping Ex. 7.25 ‘Swing TT Oy tT a I TT = VV oO V CI Hit Ex, 7.26, Swing Bhmaj7 Gm? F6 Ehmaj? Dm? xt xt 5 Gm7 F sus Bomaj7 109Amt Bmrbs ET - Am? Bmrbs ET Am? & 729 ober re Co WoT ry ——F i £730 D> Bm Fim Go: shan APC A teeter a ro ye Oe oe 5D Ea G A D x ee J Y Ce Ee VY YV co oy 110. Guitar Reading 4Unit 7- Chapter 2 & 731 ry TD £7.32 i Cem 5 B A Fim B E mChapter 3: Tone Row Rhythm Exercises (co We now continue with our exercises applying pre-determined rhythmic patterns to tone rows. Below, you will find three tone rows, along with four rhythmic patterns. Using a metronome, play through each tone row with each rhythm, beginning slowly and gradually increasing speed, Ex.7.33 Tone Row #1 i *. 2 oe 2 ~——-+ = ms = ——fe = fe? = cad = i £7.34 Tone Row #2 Ex.7.35 Tone Row #3 b . o —————— ee eo o——* 7 + o> Ex.7.36 Rhythmic Patterns to Apply to Tone Rows =A 1 oa 1 ie Bt a 1 112 Guitar Reading 4Unit 7 -Chapter 4 t Reading Leaps (co In this unit we will train the eye to read larger and more unpredictable leaps. The following examples include consecutive thirds and sequenced thirds with occasional Irregular leaps. Well start with short scale sequences containing occasional large leaps. £737 "3Ex 7.42 — er SSeS SSS i=c2 coSeeSer i 114 Guitar Reading 4Unit 7-Chaprer S Ex. 7.43 Wine and Roses Line Sid Jacobs Feat EP Diab mi? Gmi? GmiyF Emits 47 Dmi? o Ami? Dmi? Bm) BL 25 . we Oy Ami? > Gmit c FM’ =D?) Gm? FMal us£7.44 Nu-Bop [INTRO] Sid Jacobs 5 Gmi? Fama) Bmi? Beal Ebmi? 10 Dial Gmi o e Fri? Bh a BMG? bmi? Dia Gmi? 116 Guitar Reading 4ela ees nae) Chapter 1: Reading along the Length of a String (con In this unit, we explore playing in tenth position, beginning with major and minor keys. Read through the following exercises, looking for recurring patterns and sequences. Try to identify scale degrees, keep your left hand movement to a minimum, and let your fingers do most of the work. Reading along the First String x8 fief ° vil 2 2 7Reading along the Second String Ex. 8.4 v Ix E85 x86 1 vil 118 Guitar Reading 4Reading along the Third String EX. 87 XI vil Unit 8-Chapter 1 noReading along the Fourth String 8.10 120 Guitar Reacing 4Unit8-Chapter 1 Reading along the Fifth String £8.13 v m1 v 1 x 814 x15 1 vil : x vil 121Reading along the Sixth String x. 816 Ex. 8.17 m1 - = Jee sos I x ei Ex. 8.18 I ‘VIL 6 15 SS SERFS +S i a * 7 x vil va + ? “a o_o 122. Guitar Reading 4Unit 8- Chapter 2 ter 2: Syncopated Melodic Lines (Str. ight & Swung) Continuing with our exploration of syncopated rhythms, welll work through melodic exercises which contain syncopated rhythms of varying complexity, in both straight and swing feels. As always, play slowly at first, subdivide carefully, and make an effort to play as musically as possible while stil remaining focused on rhythmic precision. E819£821 a a is — B — l] ] tf { Wy tT ul ok ho rl ol i ‘Pt Uh i Wl 14 4 2 cs Se MR 124 Guitar Reading 4Unit 8-Chapter2 &x.8.23 125fe eet ee —_So3 126 Guitar Reading 4hapter 3: Tc Row Rhythm Exe Unit -Chapter 3 ises (cont.) In this chapter, we continue with our exercises applying pre-determined rhythmic patterns to tone rows. Below, you will find three tone rows, along with four rhythmic pattems. Using a metronome, play through each tone row with each rhythm, beginning slowly and gradually increasing speed. E826 Tone Row #1 = Serpe 2 Yoo oo = ——— oe = get, a a . o = . ° ° = — ° 5 = &x.829 Rhythmic Pattems to Apply to Tone Rows 4S ee Re ieee 127£8.30 My Old Flame Line 5/4 Sid Jacobs Gm ce Bath 7 Am? Amt > gma Cu? FT Bair Bon? BB? Bri B Amt Amit, D 10 mar Cm? Fr Boma? Bhs? EW by An? bp Goin Cont y — pres £ 128. Guitar Reading 4Units -Chaprer 4 £x.8.30 contd 2 Bymaj7 Gn Am7bS o Gr coe cn? FP Bm Fm! Gmajr o Bath) B ‘Am? Amis) D maj Cm? FF Bpajr Bom? Bs? An? Do maj 129—x.831 Canon in D Johann Pachelbel (1653-1706) Guitar 1 Guitar 2 Guitar 3 Guitar 4 130 Guitar Reading 4Ex. 831 cont'd 12 Unit Chapter 4Ex. 831 cont'd 19 132 Guitar Reading 4Unit 8-Chapter 4 Ex. 831 cont'd 22 el wee tet ne pita toe] = SSS SS 'E SS eater oe Peo == SSeS SS == wp tt Se SS ee eS - # = 133Ex. 831 cont'd 25 134 Guitar Reading 4Unit 8-Chaptera Ex 831 contd 30 135Ex. 831 contd 36 136 Guitar Keaaing 4Ex 831 cont'd 42 Unit - Chapter 4 137Ex 831 contd 51 138 Guitar Reading 4Ele Mest sean Chapter 1: Reading along the Length of a String) (cont. In this unit, we continue playing in tenth position, including major and minor keys and various modes. Remember to watch for recurring patterns, and identify scale degrees. As always, keep your left hand movernent to a minimum, and let your fingers do most of the work Reading along the First String Ex. 91 < 1% 7 . oh = . . v 1 . * et 1 u ’ te 4 5 e ee efe #& e fbtapapaet pp tt Eff — eo Ex. 9.2 I a SS eo 93 139Reading along the Second String Ex. 9.4, atte x95 Ix vu u VIL Vil . Vil Vu I v Iv aes pth pp pe ee aes ghee Lz eee ts 140 Guitar Reading +Unit 9- Chapter 1 Reading along the Third String Ex 97 T VU Hy 9 ~ * —————— = op ¥ 7 VI I VI (a — See oe — 1 VIReading along the Fourth String Ex. 9.10, 9.12 Ul v 1 x ee a ee aH CA a a as # XI vil 0 142. Guitar Reading 4Unit 9-Chapter 1 Reading along the Fifth String Ex. 9.13, I SSS § o eager oS s Vill Vv it x 5 ¥ SS a! — at q 2 Se ——— # Ex. 9.14 T Iv 4 i t 5 de fy ===) o a a vg a 7 vir XI ee aN === Ge 13Reading along the Sixth String £9.16 we jegrrrre 4 1 a Ex. 9.18 VI Vil I ot po Sa divide s r VIL XIL = VI Vil SSS aS 144. Guitar Reading 4Unit 9-Chapter2 Chapter 2: Jazz Rhythms: Chord Comping (cont We now continue our study of syncopated chordal material, Play through the following examples, scanning ahead to prepare for the syncopated figures and chord changes. &.9.19 Swing Gri? Br9 Em7 By Dm? G1 Es er? a vod VI T LL on Bm? Em? Am? br Gmaj7 ===== : Sa J uo a uo ia &.9.20 Swing Bhmgj7 Gmt cmt BS Ammbs DTH Gm = = Z Ebmgj7 Cm? FT Bbmaj7 7 = ; = 7 a) Wo Oo Yu T a &921 Swing Cmaj7 Em? Dm7 Gr 7 5 Am? Gm? C7sus c7 9 Fmaj? Em? Am? Dm7 Gras 145x. 9.22 Dm? Am? AM Gm cr Bbm7 EB7 ss Abmaj7 Gm? Cm? Bis AT Dm? £9.23 Bm? Dingj7 Grmaj7 Fim? Em? A7sus A7 Ex. 9.24 ‘Swing Em7 Am7 D7 C6 i I 7 TV T TV T 5B? Em? Bh a Ant D7 ce 146 Guitar Reading 4Unit 9-Chapter 3 Chapter 3: Tone Row Rhythm Exercises (cont.) We now continue with our exercises applying pre-determined rhythmic pattems to tone rows. Below, you will ind three tone rows, along with four rhythmic patterns, Using a metronome, play through each tone row with each rhythm, beginning slowly and gradually increasing speed, Ex.9.25 Tone Row #1 i be—*te—* Abe —— o = £9.26 Tone Row #2 Ble7A778 =i af la “7Chapter 4: Sight Reading: Arpeggios When sight reading arpeggios, itis helpful to have basic knowledge of the diatonic chords in the key you are in. You can anticipate notes by having basic knowledge of common chord progressions and common harmonic solutions, For example, if you are at the end of a phrase and you have moved from the | tothe IV chord, chances are that the phrase may end with aV chord. In much of tonal music, you will often be able to anticipate harmonic movement by eer, 25 many compositions will have @ natural ebb and flow of harmonic tension and release, and you can often sense in which direction the harmony will be pulled. In the following exercises, you will read through various I4V-V progressions in simple, common keys.The arpeggios are in root position, played in first position on the neck. Ex. 9.29 . : =O =— pf et 2 ¢ < x 7 : S= z aS 5 3 = Ex. 9.31 P Py $ = = _* 7 oe 3 4 3 ¢ =. =. Z Z s, © F =] = oe * + +32. = 148 Guitar Reading 4Unit 9- Chapter 4 £932 ol al « £935 149£936 150. Guitar Reading 4Unit 9-Chapter 4 £x.9.40 151pter 5:R oire E941 Over The Rainbow Line 5/4 Sid Jacobs esmyr Asn Gut c Fat Be she _ Gets = DOM jee SE! Gn? e Fa? pedi Garbo e “ b b, tiptabe TS [°F ete eb, me i ob SE Fm? Be maj? Boat. Ema Ab Gn? e Fn? BY Gu? ° Fat postin Gmtb5 o Fn? BT Bm Bak, 4 152. Guitar Reading 4Unit 9- Chapters Ex 9.41 contd 2 c Fn? Be Em pars) Gt ait Gu? ° Fn? Bi? 2 = bee, @ tet oto e & Leb. €e 4 afte ft tet of o fe £ bets ae tthe EP tes bo pi ais Gn? ° Fn? Be Gn? ° Fn? pextin G69 o Eom? Fn? Bia, em Bora, Boru) Bb cer Fn Br) 153Ex.942 All The Things You Are Line Sid Jacobs Fa? Bon? Eni? BI apmai Doma Gat, omar cu? Fa? Bai? Be pir Fen? B maj Cat pomair Dim? Cn? Ber Bom? BT Apmait Cia, 154 Guitar Reading 4performance Chapter 1: Reading along the Length of a String) (cont.) In this unit, you will continue playing in multiple positions along the length of single strings. Remember to scan ahead as you play, so that you can plan your position shifts, identify guide fingers and any recurring patterns. The following exercises combine positions along the entire neck of the guitar. Recommended positions have been indicated with Roman numerals. Reading along the First String Ex. 10.1 Vil 155Reading along the Second String Ex.104 x 1 Pipi te tte pe 3 m1 r VII x 2 peer Cooper Fete eet Os a Ix vu 1 Vil x % . (pe eet retry 7 =—— 156. Guitar Reading 4Reading along the Third String Ex 107 XL Unit 10- Chapter 1 = & =~=] — oat ¥ Ex. 108 157Reading along the Fourth String Ex. 10.10 E1011 Ix vill Vv vi xI vill IV 158 Guitar Reading 4Unit 10-Chapter 1 Reading along the Fifth String Ex. 10.13, Ex 10.14 Ex. 10.15 es 5 v Ix VI v vil i 159Reading along the Sixth String Ex. 10.16 u val IV I ml davaey 5 xl IX VIL ov 1 noi xm ov om wlll < + * Ex 10.17 Vv I 1 ‘VIE z x == es e eee ees Serz Z 5 m1 vill vi Vil VI v , ——————— oe ee Ex. 10.18 I ¥ ae I 160 Guitar Reading 4Unit 10- Chapter 2 Chapte w Rhythm Exe ‘We now continue with our exercises applying pre-determined thythmic pattems to tone rows. Below, you will ind three tone rows, along with four rhythmic patterns, Using a metronome, play through each tone row with each rhythm, beginning slowly and gradually increasing speed. ises (cont.) —10.19 Tone Row #1 £10.20 Tone Row #2 - —— = £10.21 Tone Row #3 Sa SS SS te @ Ex 10.22 Rhythmic Patterns to Apply to Tone Rows =4E: a Gy Ee =z 161hapter 3: Sight Reading: Arpeggios (cont.) In the last unit we read arpeggios based on simple harmonic solutions with repetitive and fairly simple patterns, in l-V-V progressions. We now widen our scope, using additional diatonic chords and common inversions of the basic chords in the diatonic row. Depending on the style of music, certain inversions are more common than others You will often find arpeggios that at frst glance seem more complex on paper compared with what we read in Unit 9 (non-consecutive notes, irregular rhythms, etc). However, often the harmonic foundation may still be fairly simple and predictable. When sight reading more complex-loaking arpeagio passages, it ‘will be more important to quickly scan farther ahead to decipher and understand the harmonic context. The following exercises increase gradually in complexity, incorporating irregular patterns and inversions, and varied chord progressions. Ex. 1023 Ex 10.24 ° ° > 5 Em cB D I Ex. 10.25 i 4 = 162 Guitar Reading + GUnit 19 Chapter 3 Ex. 10.26 G DIFE Em Gp &x 10.27 D AE Dire G A E/GH DFE ChwE D A E A 163hapter 4: Jazz Rhythms: Chords & Melody Combined In this chapter we will approximate real world charts which often contain a combination of slash notation, chordal rhythmic figures, and syncopated melodic lines. Play through slowly, looking ahead to anticipate upcoming rhythms. &. 1029 Swing G7 Em = Bm? Am? co Ginaj7 BT Em? Am? Diu = G NS” a i) i Ex 1030 Swing Cmj7 Am? Dm? GTE7Em? = AT Dm 7 5 Cmaj7 Claim? Dm7 Fm6 Ab a7 Cmaj7 &x.1031 Swing Fr Dm? Gm7 7 7 2 V 5s Am? Dm7 Gm? C7 7 164 Guitar Reading 4Unit 10-Chapter4 Ex. 1032 Swing BHT BT Bo Gm? cm? 4 & ae id I TV BH cr Gr? Gm7 air FIA Cedi 7 Boma? Cm? £ Soe oto 165apt Rep re & 1033 You Go To My Head Line Sid Jacobs EYMa? Abmi? py GiMa? Fit) Br bmi? Fmt) ght BbMa? Fmt) Bh 3 beb. Mal sat a naj mtb) a 19 ERM b, Ab De Goma ; Fr Bi Bhat a fete pr Bon? ie 166. Gultar Reading 4Unit 10-Chapter 5 Ex. 1033 cont'd Eon? Fares) BT sus) Bom? BT a 30 Apinaj Db Bbmajr Ger Esmai7 167Ex 1034 Invention No. 7 in E Minor, BWV 778 4.8. Bach (1685-1750) 168 Guitar Reading 4Unit 10-Chapter 5 Ex 1034 contd 13About the A\ Award-winning multiinstrumentalist Kevin Ramessar has been a featured soloist with numerous orchestras and has taken his music to major concert halls and festivals throughout North America and into Europe. He currently holds the lead guitar chair for the Broadway show Beautiful, and also played lead guitar in the 2012 Broadway revival of Jesus Christ Superstar. Kevin teaches at the University of Waterloo and Wilfrid Laurier University, and is in high demand as a clinician. He has released three solo guitar albums and can often be found Collaborating on stage and in the studio with a variety of artists Kevin enjoys exploring the boundaries of guitar playing and is passionate about instiling this same curiosity and boldness in music students of all stripes. vowwkevinramessarcom 170 Guitar Reading 4Stig Mathisen is a guitarist and educator from Norther Norway, currently residing in Los Angeles. Stig has a Masters and a Doctoral degree in guitar performance from University of Southern California, where he graduated with numerous awards for outstanding achievements. He studied classical quitar at Tromso University for over six years, and has worked extensively as.a freelance quitarist and university lecturer in both Norway and in the US. An eclectic guitarist by nature, Stig is equally comfortable with rock, jazz and classical music, and has rubbed shoulders with numerous world-class musicians over the years. A passionate explorer and a relentless seeker of all knowledge pertaining to guitar, improvisation, composition, music history and music philosophy, he has been on a quest since his formative years to discover the inner mechanics and the deeper secrets of music. Stig is currently the Chair of the Guitar Program (GIT) at Musicians Institute in Hollywood, California, and has designed the entire guitar curriculum currently in use in the guitar program. jwow.stigmathisen.com