For this month, I am continuing on my path to write chord symbols over the standard notation in the COMPLETE SOR STUDIES, which is a Mel Bay publication compiled by David Grimes. I am well past the half way mark of this book, and each study piece rejuvenates my playing from the tread worn paths that my fingers settle into as a result of continuously reciting the tried and true chestnuts that are permanently embedded in my consciousness.

Turning the hallowed compositions of this pioneering genius of the guitar into a fake book format started as a spontaneous impulse, which became a semi obsession as renewed nuances in my playing tickled the reward centers in my brain. Placing chord symbols over the notation has allowed me to wander off the beaten path of these incredibly musical pieces in much the same way that the bebop musicians of the 1940s improvised off the then current pop hits, which we now call jazz standards.

By adding a dash of jazz or latin rhythm to everything that I can steal from Maestro Sor, I can pretend to be the guitar prodigy, which I am not. Then again, don't we all steal a little something from our idols, who in turn lifted their chops from somebody else?