Sight Reading Made SimpleSummary of Workshop 1

Read

Rapid Recall• Read the notes out loud using either note names (A-B-C) or solfege (Do-Re-Mi). Use charts to help.

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Use the charts to help you recall these notes as rapidly as you can - say them out loud (either solfege or letters).

Sor studies, op.60BeginnerC B G etc.

Motion• Identify and mark in the motion of the melody (step, leap or static). • Mark in any chordal motion

The 3 Main topics were:

1) Read2) Fret

3) Rhythm

G - E - C G - C - E B - D-F C - G - E G - E - CStep (C) Leap (D) Static (S) etc.

Intervals• Read and label horizontal and vertical intervals.

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Intervals:

Intervals can be identified by counting the distance from one note to another. Becoming fluent at reading/identifying intervals is yet another crucial aspect of the language of music.

Horizontal IntervalsCount the distance from one note to another, from left to right.

Vertical Intervals Count the distance from one note to another, from bottom to top. The most common vertical intervals are 3rds, 6ths, 8ves and 10ths (which will be looked at in more detail later).

2 3 4

10 6 6 6 3 8

Tasks

• Read and label every horizontal and vertical interval.

etc.

Fret

Positions and Fingerings• Write into your score every position and fingering that you play.

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Positions and Fingerings of Lagrima

How much easier is this to read?

Imagine if this is how you thought and saw music whenever you read through something, no matter how high or low the positions were!

Practice getting into this mindset by writing in positions and fingerings for every note. This helps it sink in and become an ingrained habit through

thought, concentration and visualization.

A beautifully done example by Kevin Toller

References• Mark in pivot notes and close notes into your score. (Green = pivot and red = close)

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References

Keep track of notes you’ve already played. There are two main types of references you can use:

1) Pivot notes (green): notes that you can hold down.2) Close notes (red): notes that are in close range to each other (i.e. 1-2 frets).

1

Lentoa a

m m mi ip p

a a

m m mi i

5

a a a a

m m mm mi ip p p pi

9

Xa a a

p p p p p p

a

m m m mi i i

a a a a

p p p pm mm m mi i

13

VII

i i

a a a a

p p p p p pm mi i

a a a a

p p p p p pi i im m m

17

IX XI

rit.

a a a a

p p pm m m mi ip p p p p p p p pm m m mi i

21

a tempo

- 2 -

La Catedral

I Preludio saudadeAgustin Barrios Mangore

1122Copyright 2002 by The Guitar School - Icelandwww.eythorsson.com

2) Close notes 2) Close notes 2) Close notes2) Close note

The better you get at finding references, the less you have to worry about when reading!

Develop your skills at identifying references and you will be a much more efficient reader.

Rhythm

Group rhythms• Identify rhythm groups in the pieces you’re reading. Use the chart as a reference.

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These groups of rhythms are found everywhere in pieces. Can you identify the rhythms in the following examples with those from above?

Simplify Rhythms: Compound Rhythm

Because guitar music is often written in multiple parts (or voices), then combining the rhythm of all parts together can help simplify rhythms.

S3 S16 S3—— S16 S3 S16 S3——— S16 S16S3S4—————

Say Rhythms• Practice reading through a piece using the rhythm words (feel free to write them into the score).

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These groups of rhythms are found everywhere in pieces. Can you identify the rhythms in the following examples with those from above?

Simplify Rhythms: Compound Rhythm

Because guitar music is often written in multiple parts (or voices), then combining the rhythm of all parts together can help simplify rhythms.

ta tum-ti ta ta tum-ti ta ta tum-titi - ti ti - ti ta

ta tatum-ti tum-tita

Play Rhythms• Play and/or write out the rhythm of a piece on open strings. Use the composite rhythm, which is when you take the shortest note value when multiple note values are used simultaneously.

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Playing Rhythms Once you’re fluent with identifying and speaking rhythms, the final step of playing them should be easier.

Here is a method I suggest you use for playing rhythms:

Play the rhythm of a piece on an open string with a metronome:- Feel free to speak the rhythm at the same time as playing it. - If there are multiple voices, play those voices on multiple open strings, OR- Play the compound version of the rhythm

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44

38

38

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∑

&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ œŒ

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2

Sor Study 1, op. 60

Compound RhythmComposite Rhythm