(…This treatise is divided into three parts: in the first part I affirm the necessity and feasibility of guitaristic-notational exploration beyond the single treble stave. I discuss nineteenth and twentieth-century pedagogies and their treatment of counterpoint and music reading, as well as possible ramifications of implementing score reading with the guitar. In this first part I also outline a pedagogical methodology, considering the music I edited for the present work; I include sample lessons, which an instructor could use to begin teaching students how to read clefs and scores of up to four parts. The second part of this treatise consists of two sections: first, a clef-reading pedagogy for the treble, bass, soprano, alto and tenor clefs. This pedagogy is based on Georges Dandelot’s clef-reading model, and is applied to positions I, III, V, VII and X on the fingerboard. Second, a collection of 138 score reading studies in different clef and stave combinations. I edited these pieces from solo works by Fernando Sor, Mauro Giuliani, Matteo Carcassi and Dionisio Aguado, and provide critical commentary for my editorial work as part of this section. I chose the pieces that comprise these studies considering works that are relatively simple to play on the guitar: the pedagogy thus emphasizes reading rather than technique. The treatise’s third and final part consists of twenty-one beginning-level trios, which I arranged from solo guitar works by the aforementioned composers. This last section is designed to promote an appreciation and understanding of contrapuntal music at the early stages of learning, and is a contribution to the still-growing corpus of guitar ensemble music.