So why does a guitarist have so much more trouble reading than other Another issue with guitarists and sight-reading is that many of us learn by copying. Sight Reading for the Classical Guitar by Robert Benedict - Free download as PDF File .pdf), Text File .txt) or read online for free. Special Report. Sight Reading & Memorizing Music. ~ For Classical Guitar ~. By Trevor Maurice of musicmarkup.info
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front of him. How to improve YOUR sight-reading. You may download a PDF version of this technique tip. The ability to sight-read gives a guitarist fluency. SIGHT READING SAMPLES. FOR. GUITAR. 1st - 8th Grade. The Guitar School - Iceland musicmarkup.info EYTHOR THORLAKSSON. Plectrum Guitar. Sight Reading Examples. Initial-Grade 8 from Published by: Trinity College London. 89 Albert Embankment. LOndOn SE1 7TP UK.
And it is a skill. Founded in , its core activity is graded exams, assessments, and diplomas. Since WWII, the number of overseas exam applications outside of the UK has grown so much that every year over , candidates take exams in more than 90 countries. An examiner is sent from England for the practical—every year a new person, mostly qualified pianists, violin players, cellists, and the odd guitarist. The practical exam for the early guitar student grades 1—8 consists of four sections: a recital in which the student must play three pieces from a recommended list and a number of selected scales and arpeggios, from which the examiner will ask for just a few. The student has the option to do the pieces, scales, or sight-reading section first.
Your goal is to read both the notes and rhythms accurately without a break in the rhythmic flow. Don't go back to correct a wrong note or other mistake until you have gotten through the entire piece. The thread must not be broken even if it becomes snarled here and there.
The forward motion of thought, ears, eyes, and fingers must continue uninterrupted. Keep in mind that sight-reading is not supposed or expected to offer a finished performance. Even in the advanced stages of reading, don't expect a perfect, finished performance. The objective of the sight-reader should be to give a general but accurate idea of the piece that is being read.
While attention to musical details is desirable, such details shouldn't be paid for by the sacrifice of general outline. We're not expecting a concert-ready performance! Reading notes rapidly presents many of the same problems as reading words rapidly. Part of the reason "why Johnny can't read" is his inability or lack of training to perceive combinations of letters as syllables, combinations of syllables as words, and combinations of words as whole phrases.
Does he read c-o-m-b-i-n-a-t-i-o-n-s, or com-bi-na-tions, or combinations? Similarly, one can be hindered in music reading by an inability to perceive combinations of notes as melodic lines or chords, and combinations of chords as familiar progressions.
The sight-reader must take in as much of the notation as possible at a glance and must look ahead deliberately in the score. He can appreciate the problem of deliberately looking ahead if he has someone else cover each measure while it is being played.
The sight-reader must never think about what he is doing!
He must always think about what he is going to do. To look ahead, the sight-reader will be doing two things at once: Did you get that? One does not play the notes at the same moment that the eyes see them! In a large sense, proficient sight-reading is playing from memory. While the fingers play what has already been seen, the eyes are looking at what must be played next.
At slow tempi the eyes need be only a little in advance of the fingers. Faster speeds naturally require that the eyes be looking farther ahead of the fingers. The eyes must maintain enough of a lead to insure that the fingers will be directed to the correct notes in the correct rhythms without haste or anxiety. Reading in this manner also means one cannot afford to look at the fretboard.
The reader loses not only time but also his place in the score when he has to keep looking at the fretboard to locate the notes. I mentioned having someone cover each measure as it is being played to force the reader to look ahead.
Another way to encourage the reader to look ahead in the music is to set a metronome to the proper tempo and stick with it no matter what. This may induce a degree of "faking. So let's return to our example of Dixie. Follow the steps above and try sight-reading it in fifth and then seventh position I have provided minimal fingering to make you read the notes, not the fingerings:.
The general plan of attack is to continue working on sight-reading melodies of gradually increasing difficulty. Again, the Filiberto book does that very well.
If you are working with pieces from other books, read them in random positions. Name a number between two and nine inclusive. Play the piece in sixth position. Name another number. Play it in second position. Try a few more positions and then go on to another piece and play it in random positions. Many times, as with Dixie in fifth and seventh position, the entire piece will fall perfectly into position. No shifts or stretches out of position will be necessary. But just as often, one may have to reach out of position for a few notes:.
Notice, as in the example of America in fifth position, that notes that fall outside of the position in which you are playing can often be played in two or more locations. It is up to you to decide which location you prefer.
Although playing When Irish Eyes Are Smiling in eighth position will be beneficial to one's feel and knowledge of the fretboard, it would be much easier to sight-read in seventh position, where all the notes fall perfectly into place:.
Therefore, if a particular position is obviously unsuitable for sight-reading a particular piece, simply try another position close by. Usually, a change of position one fret up or down will solve the problem. Also, in order to maintain the feel of and stay within the bounds of the position we have chosen, we use the same finger for the same fret every time, even if it results in a little choppiness. In measures five, six, and seven of Dixie in seventh position, the left-hand fourth finger jumps from string to string.
This produces a less legato sound, but maintains a solid feel for seventh position for the hand and fingers the fourth finger could smooth things out a bit by barring some of the notes instead of lifting from string to string:. Remember, practice sight-reading every single day for maximum effectiveness.
You can't master sight-reading by suddenly cramming your study into several six- hour marathon sessions. Many music majors in university music programs have learned this the hard way when, trying to pass the sight-reading portion of their piano proficiency exams, failed miserably because they waited until the last minute to practice their sight-reading.
Don't attempt to read anything more difficult than a single-line melody until you have mastered that level. Always choose something you can read reasonably well the first try. This is sight-reading--you do not practice the piece.
Play it one to three times or two or three times in two or three different positions and go on to the next piece. If you run across a rhythmic pattern that confuses you, or a note whose location you are unsure of, AFTER sight-reading the piece, go ahead and briefly review those spots to clarify the rhythm or note in your mind.
Then, when you run across it again in other pieces, you will sail right through it. He can monitor your progress, clarify and correct any rhythmic problems, and direct your study in an efficient manner. Beyond any doubt, Franz Liszt was the greatest sight-reader who ever lived and all musicians of the nineteenth century testified to his miraculous powers.
An American composer named Otis B.
Boise visited him at Weimar in bearing a full orchestral score. Liszt asked him to play it, and Boise tells the following story:. Now, go get started on Dixie.
After all, the rest of us mere mortals have to start somewhere. Douglas Niedt Guitarist. Classical Guitar Technique: Let's look at the following example from an Andante by Fernando Sor: Good Reading Skill Results in Better Guitar Lessons In a lesson or master class, if your teacher says, "Let's start here," you need to be able to read well enough to begin reading from "here" and know exactly where "here" is.
Good Sight-reading Ability Provides Access to More Music On another level, good sight-reading skills provide access and familiarity to a wide variety of literature that we otherwise might not get to know. Good Sight-reading Skill Will Enable You to Discover the Meaning of a Piece Within a Greater Context Finally, on yet another level, extensive sight-reading will introduce many new technical, stylistic, and interpretive experiences that will contribute directly to the artistic grasp of the pieces selected for more formal study.
Vladimir Horowitz, perhaps the greatest pianist of the twentieth century, once said in an interview: First of all, I studied the whole composer.
I play everything he wrote. Ensemble music, everything, I play myself--not listen to recordings. Records are not the truth.
They are like post cards of a beautiful landscape. You bring the post cards home so when you look at them you will remember how beautiful is the truth.
So I play. I'm a very good sight-reader. The texture of the music talks to me, the style. I feel the music, the spiritual content of his compositions. Here is the fourth string: For instance, the next example shows the notes across the seventh fret: For example, here are all the B's: The number of the position is determined by the fret number that the left-hand first finger plays: Related titles.
Jump to Page. Search inside document. Try Sight Reading for the Classical Guitar Daily sight reading material with emphasis on interpretation, phrasing, form, etc. Before Playing look at the Time Signature Clap the ittythm. Read ahead. Before Playing look at the Time Signature Clap the rhythm. Flay slowly. IJ JIJ. Pick-up notes fall on a weafc beat. Try to dynamically balance pieces written in two parts.
Listen carefully to your playing. John Eubanks. Robert Agius. Angelo Garcia. Allen Godinez. Mighavelraja Selvanayagam. Samuel Sciarra. Pedro Arnt. Crystal Lilly. Gema Padron. Eneas Freire. Adrienne McKay. Mano Dos Santos Francisco. Shoaib Akhtar. Eduardo Mendoza. Peter Miles.
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Ehab Shawky. Eder Luis Pereira. Anonymous rTRz30f. Aradia Durante. Michael Wells. You need to make the connection between fretboard and paper.
Knowing that the fourth string at the seventh fret is an "A" won't improve your music reading if you don't know where that "A" is on the staff. To improve your knowledge of the fretboard, also check out the Learn the Guitar Fretboard trainer and Note Trainer here on my website. After you are secure in your knowledge of the fretboard and where the notes are on the staff, begin by sight-reading fairly elementary single-line melodies. The goal is to be able to read any single-line melody in any position of the guitar.
A position is a four-fret span. The number of the position is determined by the fret number that the left-hand first finger plays: Ex. We want to keep our eyes on the music as much as possible. Recommended Book and Music to Practice Sight-reading.
But most of them have a serious flaw. The exercises in the books are written by the author of the book. The problem is that you have no idea what the melody you are playing is supposed to sound like. And here you are, trying to read it in the middle and upper positions of the fretboard, an unfamiliar area compared to the first or second position. Therefore, if the student is sight-reading Home on the Range in the unchartered territory of ninth position, if he messes up, he will realize it.
There is some danger that students who play well by ear will play songs like this without really reading the music. But if they name the notes out loud as they play, the note-reading aspect will be preserved.
The book goes through the entire fretboard beginning with second position and working up through ninth position. The pieces selected present a good mix of rhythmic challenges as well. The only minus to the book is that possibly too much left-hand fingering is given, resulting in some students sight-reading fingerings instead of notes. Another path to take is to sight-read beginning method books for single-voice instruments such as violin, clarinet, etc.
Beginning violin methods are easily found in music libraries and some public libraries. They can also be purchased. Buying music to sight-read could get expensive. Pop "fake books" are okay, but the songs can sometimes be too rhythmically complex for the beginning sight-reader. When opening up a beginning violin book or the Filiberto book, you will come across an exercise like this: Ex. But could you read it in fifth position? Or seventh position?
Sight-reading Step By Step Here is the procedure to follow to sight-read a single-line melody such as Dixie: 1. The first thing to do is decide in what position you are going to play the melody. The advantage with the Filiberto book is that the exercises are presented in a graduated manner beginning with second-position melodies and progressing from there.
Most of the exercises fall neatly into natural guitar positions, and when they don't, that fact is explained and solutions suggested. But if you aren't using that book, start with one of the "good" guitar positionsnd, 3rd, 4th, 5th, 7th, or 9th. You will find that Dixie falls very well in fifth position or seventh position. The other positions require frequent shifts out of position to play certain notes which makes sight-reading more difficult.
Look at the time signature. The meter of the piece is so important that if one must choose between perfection of notes and perfection of rhythm, there can be no doubt that the latter should receive preference. Figure out what beat or count the song begins on. Scan through the music to find any tricky rhythms and figure out how to count them how they "go" before you begin playing. In Dixie, you would possibly want to examine the dotted rhythms and especially measure eight with the triplet rhythm.
Again, count it or tap it out so you know how it goes. Many students tend to sight-read music they have heard according to what they assume the sound should be. One must read exactly what is on the page: Ex.
Look at the key signature. On the fretboard, find all the sharp or flat notes in the key signature that fall in the position in which you are playing. In Dixie, Bb is in the key signature. Therefore, find all the Bb's in the song in the position you have chosen. Here, there is only one, and it appears in measure one: Ex. Find the lowest note of the piece and the highest note.
Find the note range. The range is the lowest note, the highest note, and the notes in between. These are the only notes you need to focus on. Play the notes in the range ascending and descending--it may or may not sound like a scale since the lowest note of the range might not begin on the tonic or root tone of the key. This will give you the feel for the notes you will be playing. For Dixie, in fifth position, you aren't playing any notes on the sixth string or the Bb and C on the first string, so don't worry about them.
The notes and the range are exactly the same of course, as fifth position. Just the fingering is different: Ex. You can use fingers only, combination of thumb and fingers, rest stroke, free stroke, etc. Use whatever is most secure. We are only concerned here with hitting the right note at the right time! Look for miscellaneous items that might trip you up: accidentals, ornaments, repeat signs, etc.
Look for and play any wide jumps in the melody. Most people do well with scalar melodies but get lost at wide jumps a fifth or more in the melody: Ex. Set the tempo a metronome is a good idea to a speed you can handle comfortably without being on the edge of your seat.
You must always be looking ahead. It is much better to play at a very slow tempo and maintain the thread than to set too fast a tempo and have to stop and start in a confused manner. The Goal Your goal is to read both the notes and rhythms accurately without a break in the rhythmic flow. Don't go back to correct a wrong note or other mistake until you have gotten through the entire piece.
The thread must not be broken even if it becomes snarled here and there. The forward motion of thought, ears, eyes, and fingers must continue uninterrupted.
Keep in mind that sight-reading is not supposed or expected to offer a finished performance. Even in the advanced stages of reading, don't expect a perfect, finished performance. The objective of the sight-reader should be to give a general but accurate idea of the piece that is being read.