Those who do try to document a transcription will frequently do so in tablature-useful for guitarists, but undecipherable to nonguitarists. But most guitarists who learn a piece from a recording will not formally write it down in traditional notation. This approach teaches a great deal about fingering, connectivity, nuance, and touch. I consider this exercise to be the most important aspect of any guitarist’s musical training.
Many guitarists learn by ear, copying recordings of their favorite players. Aside from classical music, music that features guitar prominently (jazz, rock, pop, blues, folk, r&b, country, etc.) generally is not part of the written tradition. These students play written music inĮnsembles: concert band, wind ensemble, orchestra, and marching band. Most string, brass, and woodwind players begin their instrumental lessons during elementary school, and reading is usually the focus. There are several reasons why we have more trouble reading than other instrumentalists do. First, many guitarists don’t start playing until their teens. “How do you get the guitar player to turn down? Put a chart in front of him.” It’s no secret that guitarists are notorious for their poor reading skills.
His new book, Advanced Reading Etudes for Guitar, is available from Grescotmar Publications at We’ve all heard the joke. Mark White, a Guitar Department faculty member, has performed and given clinics in Asia, South America, and Europe for Berklee’s international programs.
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