Samuel Munro has lived and worked in Aberdeen in Scotland since 1977. He holds an ICMA Diploma in Music Teaching. He has studied with the likes of Wayne Brassel, Tony McManus, Jamie Findlay, George Norval, Bill Alexander, Gilbert Bibarian, John Etheridge and Allan Neave. Sam lives in Portlethen on the outskirts of Aberdeen City.
Paul Harris
From here we can begin to realise that there is an order to learning to sight-read. That I call 'Precepts'
1. Scan the music - Absorb all the "structural landmarks" that the piece gives you. These are things such as: Clef, Key Signature, Time Signature [Simple or Compound] what note length designates one beat? How many beats are in each bar?
2. Tonality - Is it Major or Minor or perhaps Modal? Keep aware of accidentals when they occur.
3. Range or Compass - Look for the highest and lowest notes through the entire piece. For the guitarist this will give a big clue as to what position will be most appropriate. If not already stipulated at the beginning of the piece.
4. Length of Phrases - Most commonly these will be 2 bars or 4 bars in length. Do they repeat themselves [Diatonically, Chromatically or Exactly]? The phrasing may not be so clear. Use discretion and remember this is music not mathematics.
5. Form and Repetitions - How long are the sections? Do they repeat? If so how often? Be mindful of second-time bars. Notice if there is a repeat of the first section, does it modulate? Where to? And finally is there a coda?
6. Scan for the 'trouble spots' - These will different for every individual depending on their personal strengths and weaknesses. Typically look for measures with large melodic intervals and/or complex syncopated rhythms.
In the lesson
Do not confront the pupil with music that is too difficult to play on a first reading yet make it challenging, so as to continually enhance the skill. Sight-reading is like a pan of boiling water, if the heat is not maintained constantly it will begin to cool and become inactive. This goes equally for the teacher as it does for the pupil. You shouldn't preach if you don't put in the practice.
It is best to use music at least two or three grades below the music that you know they can play.
The guitar has long time been neglected as far as specifically graded sight-reading material is concerned. It is only within the last twenty years or so that the balance has be redressed. Thanks must go to the great work of players and educators of the instrument such as John Duarte, William Leavitt
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