Studio of Jason Riley
Handbook for Guitar Studies
Revised Date: 2017
Books and Recordings from Jason Riley
Books – Guitar Basics 1, Guitarist’s Reading Workbook, Contemporary American Guitar Styles, Artist Performance Repertoire 1-3.
Recordings –
1997 – What Is (Under the Influence)
1999 – Shake Rattle Shatter (Under the Influence)
2001 – Notes to Self (Jason Riley)
2001 – Outtakes (Jason Riley)
2003 – Spirit of Things (Jason Riley)
2005 – Hambone (Pig Farmer)
2007 – Mountain Oysters (Pig Farmer)
2010 – Live at Cafe Acoustic (The Nova Project)
2011 – Funky Folk (Jason Riley)
2012 – Makin’ Bacon (Pig Farmer)
2013 – Moon Colored Jade (Maria The Mexican)
2014 – Live Voodoo & Live Voodoo Too (Soca Jukebox)
2015 – Lay You Down – Single (Soca Jukebox)
2016 – South of the Border Moonlight (Maria The Mexican)
2017 – Life Again (Shawn Minter Project)
2017 – Live Voodoo III & IV (Soca Jukebox)
2017 – Jason Riley (Jason Riley)
General Information
This Studio welcomes applications from all interested individuals. Anyone may apply to be examined in the practical or theoretical must subjects. Applications are accepted on the understanding that candidates will comply with the procedures and requirements outlined in this handbook. Any student may specialize in a particular style after the completion of Level Eight.
Repertoire
Most repertoire is available through this studio, online book sellers or locally in St. Joseph at Lanham Music N. Belt Hwy 816-233-5142
Table of Contents
Title Page
General Information
Table of Contents
Entrance Requirements
Practice
Lessons
Guitar Studies
Level One Repertoire
Level Two Repertoire
Level Three Repertoire
Level Four Repertoire
Level Five Repertoire
Level Six Repertoire
Level Seven Repertoire
Level Eight Repertoire
Repertoire, Artists & Materials
Studio Policy & Expectations
Jason Riley
816 387 8441
jason@jasonriley.com
www.jasonriley.com
www.stjosephartsacademy.com
Entrance Requirements
Satisfactory completion of Guitar Basics 1, equivalent method or recommendation from a qualified instructor.
Practice
All students are required to practice. Focused practice time everyday is the best. Five and Six days a week are still acceptable. Practice time is subject to the students age. Younger students won’t be able to practice as long as older or adult students. A serious commitment to practice is crucial. At the college level, 5 hours per week is considered “A” level work for hobbyists with 10 hours per week for more serious students or guitar majors.
We follow the general structure below for daily practice:
Practice Routine Design
2-10 minutes of Warm-up
2-10 minutes of Scales
2-10 minutes of Chords
2-10 minutes of Sight Reading
2-10 minutes of Songs, tunes or pieces
(targeting trouble spots, memorization, polish, etc.)
You cannot make up a day of lost practice by practicing twice as much the next day. Once you’ve a day, it is lost forever.
Our Philosophy is that you only need to practice on the days that you sleep or the days that you eat!
You must practice everyday and you must warm up every time you practice or you could end up with physical damage that will last your entire lifetime.
Practice Space
Find a regular spot to practice that includes all necessary materials: Comfortable chair, music stand, footstool, tuner, metronome, timer/clock, music player, pencil, music, picks, guitar stand, guitar and you.
Lessons
Lessons are once per week for 30 minutes or 1 hour. 24 hours notice is required to be excused from a lesson. Make-up lessons are scheduled periodically but are not always possible.
Students should be prepared for each lesson in advance. Prepared is defined as:
The student has all of your materials with them. (guitar, extra set of strings , music, pencil, assignment sheet, etc)
The student has practiced and knows the assigned material.
The student is on time.
Obviously difficult situations periodically arise that complicate this ideal and I am very understanding to this. A good measure of communication is the best solution to work out these issues. Talk to me about problems or concerns in regards to your lessons.
Guitar Studies
Content – Introduction and study of available traditional and commercial music styles including classical, jazz, blues, rock, country and their sub-genres. Students prepare repertoire for solo and ensemble performance using idiomatic techniques on electric and acoustic instruments. Emphasis will be place on developing the skills necessary to work as a studio guitarist including but not limited to sight reading, improvisation, stylistic interpretation and standard uses of specialized equipment (effects, amplifiers, recording techniques, etc.)
Ensemble – Guitarists will be encouraged to perform in the following settings: Solo, Guitar Duo, Mixed Combo without a 2nd guitarist, Guitar Ensemble and as an accompanist to a soloist.
Evaluations – Evaluations will be based on the student attendance, assignment completions including required studies and repertoire, written papers, written musical arrangements and performances/recitals. Formal Adjudications are available once a year in the spring. A semester grade may be requested.
Required Books – Artist Performance Repertoire (appropriate to level), Sight reading for the classical guitarist, Library of Guitar Classics, Fakebooks and other method books at the discretion of the instructor.
Required Studies – Traditional Methods, specified warm-ups (right and left hands, finger picking, etc.), specialized techniques, stylized spruces, improve, history and applied theory.
Require Repertoire – See pages XX-XX. Repertoire substitutions as the suggestion of the student are acceptable if the pic suggested contains the same level of difficulty, technical elements and historical style.
Written Paper – Students are encouraged to write (1) one page single-spaced paper discussing a key guitarist or appropriate subject per semester.
Arrangement – Advanced students are encouraged to arrange (1) chord/melody arrangement of a jazz or pop (ex. Beatles, Motown) standard per semester.
Performance – Students are encouraged to perform. Recitals opportunities are available almost every month in the spring and fall.
Technical Requirements – Students will demonstrate specific, level appropriate techniques.
Academic and Musical Expectations – The student will be able to apply dynamic, timber, articulation, phrasing and interpretive techniques appropriate to the period and style of the composer/composition in relation to the level of the student. The student will have a basic understanding of the composer, compassion, biographical information, formal structure, equipment and style elements at a level sufficient to write program notes for a recital and/or explain them to another student.
Exit Requirements – Satisfactory completion of all levels, multi-styled recital and student promotional portfolio pretend for the instructor including: Resume, Audio files of works composed or performed, photo, biography, press release(s), programs of recitals performed and web page.
Level One
Required Repertoire
Classical
My Dog has G’s, Joy to the World, Ode to Joy, Song of the Wind, May Song, Prelude in A
Jazz
C Jam Blues (w/solo), Blue Monk, Minor Swing
Rock
Theme from Peter Gunn, Rock-n-Roll Variations, Hey Joe, Oye Como Va, Wipeout
Blues
12 Bar Blues in A, D and G
Country/Folk
Lightly Row, Go Tell Aunt Rhody, Amazing Grace,
Ensemble
Participation in Guitar Ensemble
Technical Requirements
Scales – M.M. 1/4=60
Major scale on single strings. Natural notes names on all single strings. Omit and/or change notes to sharps and flats. 1st position natural notes. Sequences (jump/step, groups of 2,3,4,etc.). Played with 1/4 notes, one 8va, ascending & descending, using downstroke picking, thumb and i,m in all keys.
Chords – 15 basic open chord shapes E,A,D,G,C,F,Em,Am,Dm, E7,A7,D7,G7,C7 & B7.
Reading – To play a short, simple melody in 4/4 time in the 1st position in the keys of C and/or G major and accompaniments using the above chord voicing.
Other – Warm-ups, repertoire related equipment topics, practice techniques, performance techniques, specialized techniques (harmonics) and level appropriate accompaniment patterns/styles.
Level Two
Required Repertoire
Classical
Study in Am, Flamenco Study, Waltz (Calatayud), Malagueña
Jazz
Now’s the time
Rock
Pipeline, Walk Don’t Run
Blues
12 Bar Blues in E, B, C and F
Country/Folk
House of the Rising Sun
Ensemble
Participation in Guitar Ensemble
Technical Requirements
Scales – M.M. 1/4=80
#1 Major, Major and Minor Pentatonics and Blues. Sequences (jump/step, groups of 2,3,4,etc.) Played with 1/4 notes, one 8va, ascending & descending, using alternate picking and i,m in all keys.
Chords – Major, Minor & Dominant 7th Barre Chords, 6th, 5th and 4th string roots in all keys.
Reading – To play a short, simple melody in 4/4 time with specified rhythms in the 1st position in the keys of D and/or F major and accompaniments using the above chord voicing.
Other – Warm-ups, repertoire related equipment topics, practice techniques, performance techniques, specialized techniques (harmonics) and level appropriate accompaniment patterns/styles.
Level Three
Required Repertoire
Classical
Andante in Am, Andantino in C, Hall of the Mountain King
Jazz
Gooden’s Corner, Straight No Chaser
Rock
Free Choice
Blues
All keys, Hideaway, Guitar Boogie Variations
Country/Folk
Free Choice
Ensemble
Participation in Guitar Ensemble. Guitar Duo
Technical Requirements
Scales – M.M. 1/4=96
#1 Mixolydian, Dorian, Melodic and Harmonic Minor. Sequences (jump/step, groups of 2,3,4,etc.) Played with 1/4 notes, one 8va, ascending & descending, using alternate picking and i,m in all keys.
Chords – Diatonic chord progressions.
Reading – To play a short, simple melody in 4/4 time with specified rhythms in the 1st position in the all keys used the “CAGED” positional system and accompaniments using the above chord voicing.
Other – Warm-ups, repertoire related equipment topics, practice techniques, performance techniques, specialized techniques (harmonics) and level appropriate accompaniment patterns/styles.
Level Four
Required Repertoire
Classical
Andante in G
Jazz
St. Thomas, What a Wonderful World, all of ME, tune up, Yardbird Suite, Fly Me to the Moon
Rock
Sleepwalk, Purple Haze, Blackbird
Blues
Sweet Home Chicago
Country/Folk
Free Choice
Ensemble
Participation in Guitar Ensemble. Guitar Duo
Technical Requirements
Scales – M.M. 1/4=108
All scales played on a single string in all keys. Sequences (jump/step, groups of 2,3,4,etc.) Played with 1/4 notes, one 8va, ascending & descending, using alternate picking and i,m in all keys.
Chords – 4-note voicing for Maj7, Dom7, Min7, Min7b5 and Diminished on all string groups in all keys.
Reading – To play a short, simple melody in 4/4 time with specified rhythms in major or minor key and accompaniments using the above chord voicing.
Other – Warm-ups, repertoire related equipment topics, practice techniques, performance techniques, specialized techniques (harmonics) and level appropriate accompaniment patterns/styles.
Level Five
Required Repertoire
Classical
Allegro
Jazz
So What, Autumn Leaves, Chitlins Con Carne
Rock
Little wing, Mystery Train
Blues
Scuttle Buttin’, Stang’s Swang
Country/Folk
Crazy, I Fall to Pieces
Ensemble
Participation in Guitar Ensemble. Mixed combo without a 2nd guitarist.
Written Paper
one page, single-spaced paper discussing key guitarist or appropriate subject.
Arrangment
chord/melody or solo guitar arrangement from current or past repertoire.
Technical Requirements
Scales – M.M. 1/4=60
Chromatic, diminished and whole tone. Sequences (jump/step, groups of 2,3,4,etc.) Played with 1/8 and 1/16 notes, two 8va’s, ascending & descending, using alternate picking and i,m in all keys.
Chords – Major, Minor, Diminished and Augmented triad inversions in all keys and on all string groups.
Reading – To play a short, simple melody in 4/4 time with specified rhythms in major or minor key and accompaniments using the above chord voicing.
Other – Warm-ups, repertoire related equipment topics, practice techniques, performance techniques, specialized techniques (harmonics) and level appropriate accompaniment patterns/styles.
Level Six
Required Repertoire
Classical
6 Lute Pieces of the Renaissance, (1) Villa-Lobos Etude
Jazz
Bye Bye Blackbird, Satin Doll
Rock
Stairway to Heaven, Crazy Train, Austin Powers
Blues
Stormy Monday, The Thrill is Gone
Country/Folk
San Antonio Rose, Bluegrass
Ensemble
Participation in Guitar Ensemble.
Written Paper
one page, single-spaced paper discussing key guitarist or appropriate subject.
Arrangment
chord/melody or solo guitar arrangement from current or past repertoire.
Technical Requirements
Scales – M.M. 1/4=66
Study of Modes, Intervals and Arpeggios. Sequences (jump/step, groups of 2,3,4,etc.) Played with 1/8 and 1/16 notes, two 8va’s, ascending & descending, using alternate picking and i,m in all keys.
Chords – Cadences in all keys and on all string groups.
Reading – To play a short, simple melody in 4/4 time with specified rhythms in major or minor key and accompaniments using the above chord voicing.
Other – Warm-ups, repertoire related equipment topics, practice techniques, performance techniques, specialized techniques (harmonics) and level appropriate accompaniment patterns/styles.
Level Seven
Required Repertoire
Classical
Bourree, Adelita
Jazz
Take the A Train, All the things you are, 7 Come 11, Take 5, Grete, Solar, Prelude to a Kiss
Rock
Hocus Pocus
Blues
2 pieces (Free Choice)
Country/Folk
Gold Rush, Angel Foot
Ensemble
Participation in Guitar Ensemble. Accompany vocalist/soloist
Written Paper
one page, single-spaced paper discussing key guitarist or appropriate subject.
Arrangment
chord/melody or solo guitar arrangement from current or past repertoire.
Technical Requirements
Scales – M.M. 1/4=80
#2 Patterns for all previous scales. Sequences (jump/step, groups of 2,3,4,etc.) Played with 1/8 and 1/16 notes, two 8va’s, ascending & descending, using alternate picking and i,m in all keys.
Chords – 7th chord inversions in all keys and on all string groups
Reading – To play a short, simple melody with specified rhythms in major or minor key and accompaniments using the above chord voicing.
Other – Warm-ups, repertoire related equipment topics, practice techniques, performance techniques, specialized techniques (harmonics) and level appropriate accompaniment patterns/styles.
Level Eight
Required Repertoire
Classical
Vals Venezolano, (1) Villa-Lobos Prelude
Jazz
Night in Tunisia, 4 on 6, Round Midnight, Well You Needn’t, Goodbye Pork Pie Hat
Rock
Yesterday
Blues
2 pieces (Free Choice)
Country/Folk
Yankee Doodle Dixie, The Claw, Jiffy Jam
Ensemble
Participation in Guitar Ensemble. Mixed combo
Written Paper
one page, single-spaced paper discussing key guitarist or appropriate subject.
Arrangment
chord/melody or solo guitar arrangement from current or past repertoire.
Technical Requirements
Scales – M.M. 1/4=66
#3 Scale patterns, Super Locrian, Lydian Dominant. Sequences (jump/step, groups of 2,3,4,etc.) Played with 1/8 and 1/16 notes, two 8va’s, ascending & descending, using alternate picking and i,m in all keys.
Chords – Progressions and voice leading
Reading – To play a short, simple melody in 4/4 time with specified rhythms in major or minor key and accompaniments using the above chord voicing.
Other – Warm-ups, repertoire related equipment topics, practice techniques, performance techniques, specialized techniques (harmonics) and level appropriate accompaniment patterns/styles.
• Commercial Music Styles – Artists and Sub-genres Students must be prepared to play pieces from each style and
must include (*) sub-genres. Not limited to recommended artists.
*Jazz—
*Ragtime & Traditional—S. Joplin, L. Armstrong, G. Gershwin *Swing—Django, Basie, Goodman, Ellington
*Bop— C. Parker, T. Monk, Wes Montgomery
Cool— Miles Davis, D. Brubek
*Latin (Brazil ,Cuba, etc.)— A.C., Jobim Free— J. Coltrane, O. Coleman
Fusion— Miles, H. Hancock, P. Metheny
Rock—
*Traditional – Northern, Rockabilly, Doo-wop, Chicago, New Orleans, Novelty Instrumentals (Bill Haley, Elvis Presley,
The Everly Bros., Chuck Berry, Dick Dale)
Folk— Leadbelly, B. Dylan
British Invasion— Beatles, Stones, The Who
*Psychedelic— Dead, J. Joplin, Hendrix, The Doors
Blues & Southern— Allman Bros., Paul Butterfield, ZZ Top Soul— J. Brown, Sly Stone, Aretha, Ray Charles, Stax, Motown,
Gospel Reggae— B. Marley
Art Rock— Zappa, ELP, Yes, Kansas, Focus
Hard Rock/Heavy Metal— Zeppelin, Ozzy Osborne, Nirvana,
Green Day
Punk & Glam— David Bowie, The Ramones, 80’s “Hair” bands *Singer/Songwriter/Soft Rock— James Taylor, ABBA, The
Carpenters, Disco
Rap/Hip-Hop— Run DMC, Public Enemy, Eminem
Blues—
Delta— R. Johnson
Chicago— Muddy Waters, J. Hooker, Buddy Guy Urban— T-Bone Walker, B.B. King
*Texas— Stevie Ray VaughnCountry—
Traditional—Carter Family
Western Swing— Bob Wills
Honky Tonk— E. Tubbs
Bakersfield— Buck Owens, Merle Haggard
*Nashville— Hank Williams, Chet Atkins, Patsy Cline, New
Country
Outlaw— Willie Nelson, Waylon Jennings
*Bluegrass— B. Monroe, Flatt & Scruggs, The Stanley’s
Classical –
Medieval/Renasissance – Luis Milan, John Dowland
Baroque – J.S. Bach, S. L. Weiss, Gaspar Sanz
Classical/Romantic – F. Carulli, M. Carcassi, D. Aguado, M. Giuliani, F. Sor, F. Tárrega
Contemporary – Manuel Ponce, Leo Brouwer, Heitor Villa-Lobos
*All repertoire will be used to compile the student’s performance book which will be played used in performance and adjudication. If a student excels in one specific style, they would be required to study in favor of weaknesses.
Students will additionally study the style, vocabulary, compositions and historical importance of key guitarists in each genre including but not limited to:
Jazz— Django Reinhardt, Charlie Christian, Wes Montgomery, Joe Pass.
Rock— Chuck Berry, Jimi Hendrix, Jimmy Page, Carlos Santana, Randy Rhoads.
Blues— Robert Johnson, T-Bone Walker, B.B. King, Stevie Ray Vaughn.
Country— Merle Travis, Chet Atkins, Willie Nelson.
Classical – John Dowland, J.S. Bach, F. Carulli, M. Carcassi, D. Aguado, M. Giuliani, F. Sor, F. Tárrega
Studio Policy & Expectations
I. Course Title and Description:
Studio Guitar. Individual instruction in guitar. Emphasis is placed on developing technique, basic research, repertoire and performance skills commensurate with the student’s educational goals. Upon completion of the semester, students should be able to effectively perform assigned repertoire and technical studies in an appropriate performance setting.
II. Course Objectives:
To advance the student’s ability in guitar performance through the study of selected compositions, technical studies, basic music history, equipment, perfor- mance practice of different styles and periods as well as a basic understanding of anatomy relative to guitar performance.
III. Course Outline:
Topics are presented in a non-lecture format including practice techniques, interpretation, memorization and technical development. Written projects (including arrangements) are to be handed in prior to the end of the semester. Alternate written projects are acceptable upon approval by the professor. (2) Studio Classes will be scheduled during the semester. Attendance and performance is required.
IV. Lesson Attendance and Payment:
Attendance is required. If students must miss a lesson, they can find another student to trade lesson times with or a minimum of (24) hours must be given by calling the studio office. Otherwise a weekly lesson grade of “0” will be given for that week. Lesson fees are ($88) per month payable to this studio at the 1st lesson of each month. The payment reserves your time for the month. An attempt will be made to make up lessons missed by the instructor.
V. Evaluation and Grading:
A) Jury. At the end of the semester, the student will perform (2) pieces prepared from the repertoire studied that semester (1/4 of final grade).
B) Weekly grade. Given for each lesson (1/4 of final grade).
C) Recital credit. A minimum of (15) performances attended and credited by giving program/program notes to the instructor (1/4 of final grade).
D) Written assignments. See above (1/4 of final grade).
Jason Riley Guitar Studio
2509 Ashland Ave
St. Joseph MO 64506
816-387-8441
jason@jasonriley.com
www.JasonRiley.Com
http://www.jasonriley.com
https://stjosephartsacademy.com
http://www.socajukebox.com
Is everyone getting excited about summer break? I’ll take that as a “Yes”!
