Try

Sight Reading
for the
Classical Guitar
Daily sight reading material
with emphasis on interpretation,
phrasing, form, etc.

by
Robert Benedict

ml
[Alfred!
 LEVEL I
Before Playing look at the Time Signature - Clap the rhythm.

Look at the complete line of music before beginning to play.

Play slowly, and read ahead.
For the first two levels, it is especially important to count out loud.
Notes on the first string.
1 3
« «»
p < •• 1— ° 1 —e 1 —e —— | V 9 1
gB—4

o £-e ,pn
I1 ° r° ' 1
i
9 1 p j
r r
1 "— i
H

FORM: Eight measures make up a musical period, usually divided into two four-measure phrases.
The first is called the "antecedent phrase" and the second is called the "consequent
phrase". It is very natural for a period to be divided into two equal parts, as in the follow-
ing.
Q A or :
rfr^
p 19 1 o —e 1 n y .
-f
3
9
1
]
Er f1 2——
"•••s
i ° n
1

Feel the pulse of four beats per bar; accent counts 1 and 3.

A_ -3 E -
fe 4

Make an effort to play from the beginning to the end

of a line without stopping.
 Before Playing look at the Time Signature - Clap the ittythm.

Here we have a typical period, shaped musically with two crescendos.

DYNAMICS: Dynamic markings .r n—• indicate inflections of vokuneLThe use of dyna-
mics will help to bring alive the simplest pieces.

* ji4 "
fin
-y y
i —i —i —i \—"
1 = >J
~ —'* ri ri ri ri — -— " 1I
\5l/ *
f -— II

Memorize this chart of dynamic markings.

pp p mp ff
pianissimo piano mezzo-piano n lezzo-forte forte fortissimo
very soft soft 'medium' soft 'm edium' loud loud very loud

0
/fRn J4 i
M P
—I P T-* • • «-
j i
" nH

Feel the offbeat, or syncopated, rhythm. (Syncopated rhythms generally recur throughout a piece.)

r r fir r
Notes on the second string.
1 3 ^N ^
dH-^
rft \ o
1 *.* f* i *.* B
~T -
°
II
1

Learn to recognize phrases when they are not indicated on the music. Read ahead.

Syncopation.

v v n
ftlr i
^3 19 1
• P \"' 1

Children especially have a need and ability to express

music with dynamics. With the teacher's help, this aspect
of a student's performance can easily be encouraged.
 Before Playing look at the Time Signature - Clap the rhythm.

13
r ir
Q
Here the time signature of ? is introduced.
Feel the pulse of three beats per bar (rather than four) - accent the first beat of each bar.

r r ir i
Some of the more unusual phrase lengths, such as three or five measures, create lovely musical effects.

i
P

Watch for patterns of repeated notes. Read ahead.

16
r r r <r 1
It is common to find phrases of eight or more measures.

•~ .•^•MIB •••MM.

§Tr—j3
••"•^•••l^^WMH.••••—••.
_

j r rr
• 1
m —m—f — =f=f=l
n •—^ 1
1 1

^ '

Look at the complete line of music before beginning to play.

-W—1|-
i o jf. 4 •
FP=i
1 1 1 •— 9

L£— —rr. 1
9
18 ft) ^
F5
i • •
Lp 1 4=J ,
Melodies with many repeated notes are very
rhythmic. Feel the strong beats in each bar:
or J J
3j J J
4>
 Before Playing look at the Time Signature - Clap the rhythm.

19
r r r r 'rrr
Always read ahead.

20
i

Strive to play every note clearly and sensitively.

w r

fr-if— 3 •
\f
^^ — ==•»««—— -p

r r ir r ir r
9 ^
22

The following two exercises introduce the notes 'A' and 'G', found on the 3rd string.
Be sure to count the tied notes for their full value.

23 j J J J J r r IT rTT i r r

Count to the end of the line, including the rests.

24
1 j J Jij. u
cresc. decresc.

crescerfdo (cresc.) =
decrescendo (decresc.)
 Before Playing look at the Time Signature - Clap the rhythm.

The first, four-measure phrase is closed with an extra, two-measure phrase.

25
cresc. decresc.
r ir r r
mp
3DC

J J
27
r r r 'r r

28

29 J .

Count carefully Cbuf /oudj the ties and the rests.

30

Look for the little things that are frequently giving you problems
(string crossings with the right hand, ties, particular notes, etc.).
EL 2942 Work on these areas to improve your playing and reading.
 Before Playing look at the Time Signature - Clap the rhythm.

31
F=tf=F P

32
P

Watch carefully the skips between the notes. Flay slowly.

33
r r r

Use the thumb (p) when indicated.

A. t J w m J p « I
34 *C

Look for patterns of notes that shape either scales or chords.

J J
35

cresc.
M r Mr r nr r nr r r ir r decresc.

Syncopation.

36 * »
3 J

To comfortably play single-line melodies with large intervals,

use the thumb as well as the fingers of the right hand.
 Before Playing look at the Time Signature - Clap the rhythm.

37

38
r" ' r r IT r r
Be sure to count the tied notes for their full value.

39 • J iJ

40

The repeating two-measure rhythmic pattern (using syncopation) shapes the phrases.

41 3 i r rT" 1

When entering and leaving a phrase, you may increase and decrease the tempo. This will enhance the
artistic effect.

42

Make a strong effort to play musically at all times.

To slow down, or ritard, the last phrase of a piece
will often provide a very natural and musical ending.
 8
RHYTHMS

Clap, or play on an open string, the following rhythmic patterns, counting out loud.

J J J J I J J IJ J J J l J J IJ J J IJ J IJ. I

IJ J J J J J J JU J JIJ J J U JI

3)}J J I. IJ J J J lo I W>1 J J J J I J J JIJ J J IJ J Jl

4) 3 J J J IJ J IJ J J I J. I 17) 3 J J J. IJ J JIJ.

5)3J. IJ J IJ J J IJ. 18)3 J J IJ J J U J IJ J

6)3J J IJ. IJ j IJ. IJ J JIJ J J JIJ J JIJ J Jl

7)}J J J I. IJ J J I 20) 3 J J |J j IJ J IJ J J

8>1. IJ J J J IJ J IJ J J 21) U J J !„ IJ J J J IJ Jl

9) 3 J. IJ J IJ JU. 22) U J J J I J J J IJ J JIJ Jl

10) 3 J J J J IJ J J IJ J 23) J J . IJ J J IJ J U J

") I J J JIJ J J IJ J JIJ Jl 24) 3 J J J J IJ J IJ J 1

12) 3 J J J IJ J IJ J J IJ J 26)1 J J J IJ J JIJ J J

13) | J J IJ J J IJ J J 26) J J IJ J U J U J J
 LEVEL 2
Before Playing look at the Time Signature - Clap the rhythm.

Look at the complete line of music before beginning to play.

Play slowly, and read ahead.
For the first two levels, it is especially important to count out loud.

RANDOM NOTES (1-4)

Name all the notes in each line before you play.

i
f

P f i^? i f a
i
f i 2 f £

P i
The pick-up note (or "anacrusis") falls on a weak beat, and could be considered as an introductory
note to the first complete measure. Feel the strong downbeat after the pick-up note. Notice that the
last measure has only two beats. Where is the third beat?

t r i'2 r £ fi ?

m rrnrrr
^ ^^
The simplest littl« pieces can be played artistically.
Shape the phrases, add ritards, and use dynamics.
10
Before Playing look at the Time Signature - Clap the rhythm.
'C" means 'common time', and is the same as i.

-tfr-r r TIN rr r r J Jr

Read ahead; feel the changing rhythms.

FORM: In music of two parts, each part is made distinct by the direction of the stems; use fingers for
the upper part and thumb for the lower.
i m

iJ J J
r r r T-
J J J
f=f=f
J J J-,.1

i r r r r r r

- r rrr

Phrase markings may be found above or below the notes, regardless of the direction of the stems.
 11
Before Playing look at the Time Signature - Clap the rhythm.

The open bass strings.

13

Be sure to count the tied notes for their full value. Imagine a ritard in the last two measures.

m
i_ ~*=f,
J, LJ * H
x
— i n . L^ M

Here the bass part (accompaniment) consists of only one repeated note; this is called & pedal.

15

r-p r- r r r r- r- r r
Syncopated rhythms generally recur throughout a piece.

r r nr ^

Use p, i, m, and a for the following.

17

Think about how you would phrase this little piece, before you begin to play.

^
Pick-up notes fall on a weafc beat.
12

Before Playing look at the Time Signature - Clap the rhythm.

Single-line melodies in the lower part of the staff may be played with either the thumb (p) or the fingers
(i, m).

rit. -

Hear how the single strain of melody notes divides into two parts at measure 5.

20

fff

21 I

22
t^) ii=t
i O
J , J J J J,i.j J,> J . J , » . l J
„. . - • — .-.— j^ dO . -U - • .

»
 13
Before Playing look at the Time Signature - Clap the rhythm.

24 -o-
te
r r r

25

FORM: A sequence is the repetition in a single part of a short musical phrase at another pitch.
Can you hear the sequence in this piece? Learn to recognize sequences before they are
actually played.
m

26 iiJ J J i r 3=gl

r T r

27
Q 4 *Si
flfr^-
J -^
J=
b- J
- J i J JJ
—£»
«»

J
J J
f
Aim for a performance without mistakes. Play slowly.
EL 2942
14
Before Playing look at the Time Signature - Clap the rhythm.

When playing single-line pieces, try to read farther ahead. Play slowly. Also, think of the many ways
you could phrase this piece.

28 JM—i J =t=|
-Jl
J J !
= . 1
$U • -J J •
=3=^

J If- J 1.1 J

J
29
j ^ " 1i i

30 1 r f

31 i
To comfortably play single-line melodies with large intervals,
use the thumb as well as the fingers of the right hand.
 15
Before Playing look at the Time Signature - Clap the rhythm.
4.
1
32
£ j j JJi ~o :n hJ J J J 1 -e 1 j j •» |3 1 > . I
f gj
J
•
J |
^ «-»

-o- 0-
trv
-r r IT IT

Watch for the changing rhythms. Play slowly.

33
J J p

34
m r r
r r r r r r-

Syncopation, using two parts.

33C JiJ 3OC

r r -r i — «•

36
aa * J J i ^ J J ,J J J . J . ,Jt J J ,J J J , J . ,J
4 0

The more difficult a piece appears at first sight,

the more carefully it should be approached.
16

Before Playing look at the Time Signature - Clap the rhythm.

2 3
1
r c r i' r ~CT"

38
1iA*^
>*/

Watch how the melody becomes the bass part.

AT
39 fffl
vy
YT
^
f— " w -w—
a- 3- i
\
i
\ \
-f - » -» a . *J ,.• i i
«•v » * •* -J- «£ — * - ^ ^ ^
-—~^ <*_ *

Listen for the melody in the lower part.

f
40
w- 1 ^ ' ^ 3
j: * * * ^-0 '• 1 * * *
H f rr V ^f Y

J J J i > J J J i> J J J
r n't.

41
1i
 17

Before Playing look at the Time Signature - Clap the rhythm.

Do not let your eyes linger on the longer note values.

Read as far ahead as possible in single-line pieces. Feel the changes of rhythm in the second line. Play
slowly.

42
cresc. decresc.

P3?
decresc.
r T r if r rit. -

Listen to the lower part, which is the melody of this little piece.

J:

r f 'r r !r rJr r 'f r f

44
J: i J:
r
f r r

rrit.
r
Try to dynamically balance pieces written in two parts.
Listen carefully to your playing.
18
INTERVALS

An interval is the distance between two notes; when the notes are played at the same time, the
interval is referred to as "harmonic", and when the notes are played one after the other, the interval
is "melodic".
In Level Three for the most part we will be sight reading either melodies with accompaniment,
or contrapuntal pieces, the fingers taking the upper part and the thumb playing the lower part. Be-
cause we are playing with the thumb and the fingers together more in Level Three than in the pre-
vious levels, it is very important to recognize both harmonic and melodic intervals at sight.
One learns to recognize specific intervals quickly by seeing them as a space, or a distance, rather
than reading each note individually. The ability to read these intervals comes through practice, naming
the interval distances (thirds, fourths, fifths, etc.) used in each exercise before beginning to play. Often
a piece or fragment will use particular intervals throughout, to create a certain musical effect (for in-
stance, the open sound of fourths, the powerful effect pf fifths).

In order to prepare for Level Three, learn to play and recognize the following intervals, based on the
notes of the C major scale.

unison
second

I
VT

third
•&•
rfourth r
1
-y ]
A.
ftf\ « 3
fifth
r sixth
r
i =±
r seventh
r octave

-j zt Jt
f ninth
r t9"
tenth
 19
RHYTHMS
,2,
Although in this level eighth notes and the time signature '4' are not used in the musical examples,
they are included in the following rhythms, in preparation for Level Three.
Clap, or play on an open string, the following rhythmic patterns, counting out loud.

j j j i j. i n n j i j. IJ"3 J~JIJ J IJ ji
j n J i J rj J i J j i j. i W ) 1 J J1J J^IJ J J IJ]J J1J . I

3 ) } J J J J|J J J| 0 I J J1J IJ J IJ1J J1U. I

4>1J J IJJ1J IJJ1J J I J JI 2DJJJ JIJJ JIJJ1JJIJJ JI

j j ij j 22) 1 J J J I J J IJ J I J JI J I

«5j j ij n n ij i 23) 5 j n ij n ij j i
j u nn\i \ J J J J I J1J J I J J I

» 1 J JJIJ1.TJJ I J J J 1 J I J J J I 25) } J J J|J J JIJ1J JIJ1JJI

j ij j
I nj j j ji i j.
J J"]IJ J J IJ J1IJ J I »> i J J~3 1 J JI In J I
12)1. IJ J IJ J JJIJ1J1J J|

I is) i J J J IJ3J1J IJJ1J J1IJ J I 1 J. J1IJ1J J IJ.

ij n in n j n \ j i iJ j j in n n j i
inn\ni \nn j j 32) 5 j .nj n j. i
u Jrju j jiuij j j. 33) I J J J | J J J |J]JJ3J|J J|