SYLLABUS FOR

MUSC 275 Guitar Ensemble

Fall 2012 in CA 2075

Tuesdays and Thursdays 330-520pm
Tom Lagana
cell phone 443.889.4597 or tlagana@comcast.net

Sightreading
This class focuses upon music drills which train the main three elements of
sightreading: eyes, ears, and hands. It is conducted as a workshop designed to
develop the various skills and techniques that are required of the professional
guitarist. A wide variety of materials are used to establish a comprehensive daily
practice routine.

Required Textbooks
Szymczak, Tom Reading Contemporary Guitar Rhythms, Berklee Press, Boston**
Leavitt, William Melodic Rhythms for Guitar, Berklee Press
**THIS BOOK IS NOW OUT OF PRINT AND ONLY FOUND ON
AMAZON.COM

Required Instruments and Materials

Classical guitars and footstools will be used for class performance. Students will
need a soft lead pencil and a folder to hold worksheets and fingerboard grids. On
occasion towards the end of the semester (and always with advance notice) the
jazz/commercial guitarists may rehearse with electric guitars and amps.

Pre-Class Set-up
Students should arrive to class with their guitars in tune @ 440hz=A. It is
important to be mentally and physically warmed up and ready to audiate, visualize
and perform well.

Out of Class Homework

Students are encouraged to devote a regular portion of their daily practice to a
sightreading regimen as suggested by their private lesson teacher. Just the
rhythm group are discussed in the ensemble and the student should review the
etudes and studies with their private instructor.

Absence
Attendance at all classes is required. Each unexcused absence will result in the
loss of one letter grade for the final grade. Excused absences are for medical
reasons and unforeseen EMERGENCIES.

Class Decorum
Unless they also perform on an orchestral or band instrument, most guitarists are
not accustomed to rehearsal and performance in large instrumental ensembles.
Given the substantial number of students in the class, it is important that guitars be
in tune prior to class and that the tuning is checked again during the mid-class
break. Late arrival is not acceptable. Students should learn to stifle any impulses
to tune, fiddle, and jam when they are not performing with the class.
Curriculum
First Semester

1. Melodic Rhythms – William Leavitt

Eighth Notes
o Pgs 2 – 9

¾ time signature
o Pgs 46 – 49

Triplets
o Pgs 58 – 59

Study #1
o Open Position in Septemeber
o 2nd Position in October
o 4th Position in November

Technique used
o Jazz players – Alternate picking thru rests
o Classical players – Any finger with option to use a pick
2. Contemporary Rhythms – Szymczak

Pgs 6 – 25

Study 1A
o Start in 2nd position; Eb in 3rd position; F in 4th position;
return to 2nd position

**Only Rhythm groups will be covered, not studies**

3. Fingerboard harmony

Recognition of notes across the fingerboard starting with the
open strings and adding one (1) fret per week
 Second Semester

1. Melodic Rhythms – William Leavitt

Eighth Notes
o Pgs 10 – 23

¾ time signature
o Pgs 50 – 53

Triplets
o Pgs 60 – 63

Study #4
o First Position in Septemeber
o 2nd Position in October
o 5th Position in November

Technique used
o Jazz players – Alternate picking thru rests
o Classical players – Any finger with option to use a pick
2. Contemporary Rhythms – Szymczak

Pgs 26 – 49

Study 6B
o Open position

**Only Rhythm groups will be covered, not studies**

 Third Semester

1. Melodic Rhythms – William Leavitt

Eighth Notes
o Pgs 24 – 35

¾ time signature
o Pgs 54 – 57

Triplets
o Pgs 64 – 67

Study #12
o Open Position in Septemeber
o 2nd Position in October
o 5th Position in November

Technique used
o Jazz players – Alternate picking thru rests
o Classical players – Any finger with option to use a pick
2. Contemporary Rhythms – Szymczak

Pgs 50 – 81

Study 12A
o Position – players choice

**Only Rhythm groups will be covered, not studies**

 Fourth Semester

1. Melodic Rhythms – William Leavitt

Eighth Notes
o Pgs 36 – 45

¾ time signature
o N/A

Triplets
o Pgs 68 – 70

Study #42
o Seventh and Ninth Position

Technique used
o Jazz players – Alternate picking thru rests
o Classical players – Any finger with option to use a pick
2. Contemporary Rhythms – Szymczak

Pgs 82 – 109

Study 22B

**Only Rhythm groups will be covered, not studies**

Grading and Evaluation
There are three means of evaluation, each of which counts 1/3 of the final grade:

1. The professor’s assessment of the student’s attitude and evidence of

outside practice of clap/tap/count Melodic Rhythms/Contemporary Rhythms
assignments as well as improvements in sightreading the group pieces
done in class.

2. An individual testing for Melodic Rhythms/Contemporary Rhythms

assignments,

3. Final Exam

In Class Ensemble Performance

In every class we will read as a guitar orchestra different ensemble pieces. If all
parts are of similar difficulty we will replay each several times until every student in
the class has played each of the different parts in the piece. For pieces with parts
of different levels of difficulty advanced students will take the more challenging
parts.

The goal of this reading is to be able to scan the part quickly to be prepared to
read it, to be able to hear the music before it is played, and to be able to perform
an accurate and musical first reading. Sometimes that which is written may be too
challenging to perform well without practice and for this students must develop the
skill of simplifying the part so that the essential music concept is still present but
the difficulty has been reduced to a level which can be played accurately on first
reading.