Sight Reading & Memorisation Guide

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The Music Sight Reading and Memorization GuideBy Trevor Maurice of !"earnc"assica"guitar!com

Introduction

It#s a sad fact $ut many guitar %"ayers fear sight reading and memorizing their

%ieces and try to avoid it at a"" costs! But in rea"ity& sight reading and

memorization is "i'e anything e"se ( the more you %ractice it the $etter you

i"" get)

This guide is designed to give you the techni*ues that i"" "ead to

confidence in sight reading and memorization of your music! +ou need

to form ha$its so that they $ecome second nature! +ou do this $y doingit consistent"y& day $y day& ee' $y ee'& year $y year!

If you#re "i'e the %rover$ia" ,tortoise- .as in The /are and the Tortoise0

you#"" find yourse"f gradua""y gaining mastery of not on"y sight reading

and memorization of your music& $ut A11 of hat you %ractice! Trying

to do the $ig& *uic' ,$rain dum%- never or's!

Rather it#s the ,s"o and steady- %ace of the tortoise that a"ays ins

out! Which method are you going to use2 Good) 1et#s start ith sight

reading in Section 3 and move on to memorization techni*ues in

Section 45





Section 1 - Sight ReadingThere are many things you can do to im%rove your sight reading!

I#ve actua""y enumerated 36 %oints $e"o of a %rimary and

secondary nature to he"% you do this!

T/7 most im%ortant is to %ractice sight reading on a dai"y $asis

even if it#s on"y a "ine or to! If you do this you i"" im%rove

more *uic'"y than em%"oying a ha%hazard a%%roach i!e! one day

on& three days off for e8am%"e!

But to $e a good sight reader you a"so have to have 'no"edge!So& 9ust hat do you need to do to im%rove in a ste% $y ste%&

"ogica" fashion2

I#ve organized the fo""oing 36 %rimary and secondary ti%s you

can em%"oy RIG/T NOW to im%rove your sight reading:

Primary

3! erforming ;AI1+ sight reading %ractice<

4! Read your music "i'e a $oo' first<

=! >no the 'ey signature<

?! Be aare of the time signature and any time changes

ithin the %iece<





@! Being a$"e to count and c"a% the rhythm<

6! "aying right through the ho"e %iece the first time<

! Trying to read 3 to 4 $ars ahead<

! Being a$"e to s%ot the %hrasing in music<

C! Being aare of dynamic mar'ings<

3D! Identifying interva"s<

33! Being aare of unusua" synco%ated rhythms<

34! Recognizing re%eated chord %atterns and %hrases<

Secondary

3=! Trying to read your music in a "egato fashion<

3?! Not a"ays %"aying the strict tem%o<

3@! >ee%ing your ears o%en for different %arts and voices in

the music<

36! Ta'ing sight reading serious"y!

If you can %erform these %rimary and secondary tas's e"" then

you#ve got a great chance of reading your music fast and f"uent)

1et#s no ta"' a$out each one in more detai"5





Primary Tips

Tip 1: Sight read daily

There#s nothing "i'e dai"y %ractice at anything to get good at it (

hatever that may $e! We""& it#s e8act"y the same ith sight

reading! ;ai"y& consistent %ractice i"" get you far& much farther

than doing a ho"e "ot of reading on one day and then missing

four days for e8am%"e!

It#s the same if you go to the gym! Regu"ar %ractice i"" deve"o%

hea"thy& strong musc"es! +our sight reading ,musc"e- is no

different ( you need to e8ercise it) ( refera$"y dai"y!

Eha%ter Ta'eFAay: Sight read every day)





/o ou"d you go reading this one5





Tip 2: Read music as a “whole !irst

If you had trou$"e sight reading ,South Austra"ia- in the "ast

cha%ter you might ant to start treating your music "i'e you

ou"d a $oo'! By that I mean& read the music as if it ere a

$oo' from start to finish!

Try to imagine here the notes are and here your fingers are

going to $e on the fret! This doesn#t matter if it ta'es a "itt"e

"onger $y the ay! Once you start doing this more and more it

$ecomes5you guessed it& easier and easier) ☺☺☺☺

Becoming fami"iar ith the or' this ay a"so "eads to "ess

mista'es in the future and& $ecause you get such a thorough'no"edge of the %iece initia""y& it#s easier to or' the %iece u%

again in the future after a "ayFoff!





This is the ay the $rain or's ( once something#s in there it

isn#t going aay& as they say) If you "oo' at the end of this eBoo'

you#"" see a "ot of sight reading e8am%"es in many 'eys! If you

start out $y im%"ementing a"" the techni*ues and ti%s I suggest

here you#"" $ecome much more f"uent in much "ess time!

Thin' ho one "earns a ne "anguage! The one that#s successfu"

is the %erson ho consistent"y and assiduous"y and inte""igent"y

a%%"ies themse"ves to the tas'!

Eha%ter Ta'eFAay: Read your music as a ,ho"e entity- $efore

attem%ting to %hysica""y sight read it!





Tip ": #now the $ey signature

What 'ey .or 'eys0 is the music in2 ;oes it change 'ey during the

%iece2 If you don"oaded my other eBoo' ca""ed Music Notation

rimer& you ou"d have or'ed through a section a$out 'eys

and 'ey signature#s! It#s a MST read to get you started reading

music notation! There#s no sense in or'ing through this $oo' if

you can#t even recognize the $asics of music notation!

Hust in case you didn#t get it then go here5

htt%:!"earnc"assica"guitar!comMusicFNotationF7$oo'Fage

No if you 'no ho to read the 'ey signature then it ma'es

reading a"" the notes of the %iece that much easier! Jor instance

if there#s a 'ey signature of four shar%s you#re going to $e in the

'ey of either 7 ma9or or EK minor5





+ou might a"so remem$er from the music notation %rimer that

you can determine a 'eys# signature $y "oo'ing at the "ast $ass

note of the %iece! If it#s an 7 then you#re in 7 ma9or and if it#s a

EK then you#re in EK minor!

This one#s definite"y in 7 ma9or5





Other te""Fta"e signs for the %iece $eing in a minor 'ey are shar%s

ithin the music $ut not in the 'ey signature i!e! the th

note of

harmonic minor sca"e is a"ays raised so in EK harmonic minor

the B i"" $e shar%ened .%"ayed as an actua" E note05

+ou can see the accidenta" note on the B! Eonse*uent"y& A11 the

other B notes ou"d $e shar%ened "i'e this if you ere in the

'ey of EK harmonic minor! It#s good to have a ,headsFu%- "i'e

this $ecause it#s going to $e 9ust that much easier to read and

,antici%ate- your music!

Eha%ter Ta'eFAay: Memorize a"" your 'ey signatures ( commit

them to memory!





Tip %: &nderstand the time signature

What is the time signature2 Is it sim%"e2 Is it com%ound2 Is it

du%"e2 Where are the accents fa""ing in the music2 Remem$er&

the to% num$er of the time signature means ,ho many- and

the $ottom num$er means ,hat ty%e- of notes! So& in a 4?

time signature the 4 ou"d mean 4 notes %er $ar .or hat adds

u% to 4 notes0 and the ? ou"d e*ua" *uarter or crotchet notes

for e8am%"e!

;one that2 Good) We""& 9ust to ma'e sure I ant you to anser

the fo""oing *uestions a$out time signatures5

• Write don ho many notes and hat ty%e they are under

the fo""oing time signatures! The first one#s $een done for you:





/o many: Jour /o many:

What ty%e: Luarter notes What ty%e:

/o many: /o many:

What ty%e: What ty%e:

/o many: /o many:






/o many: /o many:


If you don#t understand time signature go $ac' to the Music

Notation rimer and have a read $efore you continue here5

htt%:!"earnc"assica"guitar!comMusicFNotationF7$oo'Fage

Eha%ter Ta'eFAay: 1earn as many time signatures as you can to

faci"itate *uic'er sight reading s'i""s!

No e can move on5





Tip ': (lap rhythm and count time

This i"" high"ight the rhythm and give you a ,heads u%- hen

%"aying through the music as to here the ,difficu"t- rhythm

%assages may $e! It i"" a"so revea" the character- or ,fee"- of a

%iece of music thus ma'ing it easier to inter%ret and %"ay!

Jor instance the fo""oing %iece i"" $e counted: 3& 4& = ? and

you cou"d c"a% it easi"y5

That#s five c"a%s in the rhythm! If you ere a"so mar'ing the

$eat ith your foot the ,and- of $eat = is hen your toes are in

the air at the highest %oint of the movement of your toes!





+ou see& there are ,ands- for every $eat hen e#re ta%%ing our

toes or c"a%%ing $ut the rhythm is hat you actua""y c"a%& sing or

%"ay! That#s the difference! /ere#s hat it is theoretica""y "i'e5

Eha%ter Ta'eFAay: A"ays c"a% or ta% the rhythm $efore you

actua""y sight read your music!





Tip ): Play !rom start to !inish

I#ve seen too many students in the %ast sto% hen they ma'e a

mista'e and then return to the $eginning to start again! They

can a"so do this severa" times in a sitting)

It has to $e one of the most counter%roductive ays to "earn to

sight read! Jor one& you never rea""y get through the music and

to& you#re actua""y %racticing mista'es and ma'ing it %art of

your su$conscious conditioning! The $est ay is to go through

from start to finish the first time! +es& you might ma'e some

mista'es $ut you on#t $e ingraining them in your %erformance!

But hen you sight read a"" the ay through the first time it getsyou into a good ha$it and ma'es you more f"uent hen sight

reading in the future! 1et#s try it right no) Go and get your

guitar and try this ithout sto%%ing5





Ehec' if you ere right $y "istening here5

htt%:!"earnc"assica"guitar!comtryFithoutFsto%%ing

Eha%ter Ta'eFAay: A"ays read through to the end of your

music ithout sto%%ing the first time round!!





Tip *: Read 1 to 2 +ars ahead

+ou shou"d try& even if you haven#t done much sight reading&

%racticing to read a$out 3 to 4 $ars ahead of here you#re

actua""y reading! Reading ahead "i'e this gives you ,time-!

It#s actua""y an advanced s'i"" and that#s hat you#re heading

for! When I said it gives you time& it gets you into a good ha$it so

that hen you#re %erforming or %"aying ith a %artner you#"" $e

far $etter off if something ,untoard- ha%%ens! +ou#"" $e out infront and $uying time& as it ere!

It a"so he"%s ith confidence to $e a$"e to read ahead!

Remem$er hat it as "i'e in schoo" hen you cou"d read

ahead of the teacher in grou% reading tas's! When you rea"izedyou cou"d do this it as a rea" $uzz) It#s the same hen you read

music too☺☺☺☺





The sight reading e8am%"es at the end of this eBoo' start %retty

sim%"y! +ou shou"d try to use these to start to get in the ha$it of

reading 3 to 4 $ars ahead! This is a good ha$it to get into as you

can often ,antici%ate# mista'es $efore they ha%%en! Rea""y good

musicians .ith "ots of %ractice $ehind them0 often read ho"e

%hrases ahead!

Try it ith this very short %iece5

Eha%ter Ta'eFAay: Try to read 3 to 4 $ars ahead at a"" times!





Ti% : ,oo$ !or natural “phrases

If you try to com%are your music to a singer you#"" rea"ize there

are a"ays %hrases .a unit of me"ody or grou% of notes in

succession0 in music! And at the end of each natura" %hrase is

here the singer ou"d ta'e a $reath!

The guitarist a"so has to ,ta'e a $reath- hen %"aying music as

this i"" indeed ma'e your inter%retation more musica" and the

ho"e %iece ,$reathe- in genera"! In other ords& it on#t havethe fee"ing of $eing rushed& or sti"ted& or in some other ay

unnatura" and un%"easant to the ears!

We""& if you cou"d detect the natura" %hrases in music you#d

stand a $etter chance of %"aying and sight reading moreaccurate"y and successfu""y!





So hat do you "oo' for in %hrases2 Often times the music i""

have ,s"urs- over it! These are mar'ings that "oo' "i'e ties BT

cover a series of notes and mean that you %"ay a"" the notes

under the mar'ings in a "egato .smooth and connected0 ay!

These are NOT to $e confused ith guitar s"urs hich are the

hammerFon& %u""Foff and tri""! /ere is a %iece from the $eginner

series that has s"ur mar's over the %hrases5

A"so& here#s a %iece that doesn#t have %hrase mar'ings $ut you

can definite"y see the %hrases c"ear"y5









+ou can see here the ha"fFnotes are here you ,ta'e a $reath-

hich is a"so the end of each %hrase! 1oo' for these %hrases and

your sight reading i"" $e much more f"uent and accurate!

Eha%ter Ta'eFAay: hrase mar'ings can cut don your readingtime mar'ed"y if you understand them!





Tip : .e aware o! dynamic mar$ings

1oudness and softness and a"" the ay in $eteen) That can

ma'e a"" the difference to the ay a %iece of music sounds! +ou

are the creator of the music in the sense that you ,$ring it a"ive-

ith %ro%er and tastefu" dynamics! If you %ractice this even

hen sight reading& you#re more "i'e"y to do it hen %erforming

$ecause you#re a"ready in the ha$it☺☺☺☺

There are many& many dynamic mar'ings in music notation and

it#"" ta'e a hi"e $efore you commit them a"" to memory! /ere

are 9ust a fe I can im%"ement ith my Jina"e music softare

%rogram5





If you ant %ractice in "earning these dynamic mar'ings go

here5

htt%:!"earnc"assica"guitar!commusica"Ftermino"ogy

Eha%ter Ta'eFAay: The more dynamic mar'ings you 'no and

understand the easier it is to sight read music!





Tip 1/: 0denti!y interals

Before you %"ay a %iece of music for the first time& try to identify

'non me"odic and harmonic interva"s! This i"" ma'e it easier

to %"ay ,c"ean"y-! If you remem$er from the Music Notation

rimer& an interva" as the distance from one note to another in

a chord or me"ody5

,An interva" is a"ays measured from the "oer note to the

higher one! +ou a"so name its distance in num$ers and the*ua"ity or ty%e of distance! 1et#s start ith the ty%e!

+ou can have a: unison .same note0< second< third< fourth< fifth<

si8th< seventh< eighth .a!'!a! octave0 etc! /ere is an e8am%"e of

note interva"s from the "oer to the higher note!!!-





See if you can *uic'"y menta""y identify these interva"s from the

,home- note of G5

Eha%ter Ta'eFAay: Recognizing interva"s at a g"ance ma'es it

easier to sight read music!





Tip 11: atch syncopated rhythms

A synco%ated rhythm is here the $eats you are not e8%ecting

to $e accented are accented! This is hy c"a%%ing the music

$efore you %"ay it is a"ays orthhi"e in the sight reading of a

%iece! ;otted notes and synco%ation .accent or accents on $ars

hich aren#t norma""y accented0 can easi"y ,tri% you u%- if

you#re not aare of them!

/ere#s another definition5

,A synco%ation or synco%ated rhythm is any rhythm that %uts an

em%hasis on a $eat& or a su$division of a $eat& that is not usua""y

em%hasized5Synco%ation is one ay to "iven things u%! The

music can sudden"y em%hasize the ea'er $eats of themeasure& or it can even em%hasize notes that are not on the

$eat at a""!- htt%:cn8!orgcontentm336??"atest





/ere#s a "itt"e gra%hic e8am%"e of a synco%ated rhythm5

In the second $ar the em%hasis shifts to the ,- of the second

$eat of the $ar thus ma'ing it a synco%ated rhythm! If I

high"ighted the counting in co"or of this music you#d see the

accented $eats5

3 4 = ? 3 4 = ?

+ou can no see the ,odd one out- so to s%ea'!

Eha%ter Ta'eFAay: Synco%ated rhythms can ,tri% you u%-

hen it comes to sight reading music so $e vigi"ant)





Tip 12: Recognizing repeated chords

As you im%rove your sight reading try to recognize chords& chord

%atterns and %hrases that are re%eated! This cuts don on your

,or'- tremendous"y! 1oo' at the $ass note of the chords and

try to determine hat they are $efore you %"ay5





+ou can see many chords here e!g! an A ma9or chord& fo""oed

$y a G chord then a E chord! When you see such chords it rea""y

he"%s you to cut don on the amount of reading you#"" need to

do and that I "i'e)☺☺☺☺

Secondary Ti%s

Tip 1": Read in a legato !ashion

That means %"ay in a ,smooth connected- ay un"essindicated otherise in the music e!g! staccato .short

detached0! It#s "i'e anything you#re trying to ma'e a ha$it of& the

more you do it the easier it $ecomes!

racticing in this ay a"so ma'es your genera" %"aying more

"egato and thus more successfu" overa""!





Tip 1%: 3on4t always $eep strict tempo

When you#re a "itt"e more advanced ith some sight reading

s'i""s ,under your $e"t- you might have the chance to add a "itt"e

ru+ato to your music!

Ru+ato is a conscious s%eeding u% or s"oing don of a %hrase

or %hrases to ma'e the inter%retation more musica"! Hust

remem$er though& if you s%eed u% or s"o don in one %art

then you usua""y ,$a"ance- it somehere e"se in the music to

ma'e the %iece chrono"ogica""y .overa"" time ta'en0 correct!

When you do this in %ractice it#s easier hen %"aying ,for rea"-&

as it ere!





Tip 1': ,isten to the “oicing

This one#s s"ight"y more hard than other ti%s $ut try to "isten to

$ass and tre$"e .or inner outer0 voices in the music $oth hen

you ,read- the music $efore %"aying it& and hen you are

actua""y %"aying!

+ou cou"d even sight read 9ust the se%arate "ines first as you

$ui"d u% your s'i""s unti" you can do it harmonica""y rather than

me"odica""y! /ere I#ve done that for you $y se%arating theme"ody from the $ass in co"or!!!





Tip 1): Ta$e sight reading seriously

In the ay you ta'e your musica" %ieces serious"y& ta'e your

sight reading serious"y! By that& I mean try to ,%erform- them

rather than 9ust go through the motions as it ere! This i"" he"%

you deve"o% the ha$it of $eing musica""y aare at a"" times!

Section 2 - Memorization Techni5ues

As in sight reading music& there are a"so techni*ues or methods

you can use to ma'e your memorization of musica" %ieces more

effective! As you#"" notice& these techni*ues over"a% and if you

use these techni*ues in com$ination you may find that your

memorization im%roves dramatica""y!





The fo""oing techni*ues shou"d %rove he"%fu"5

3! Reading the music "i'e a $oo' $efore %"aying it

4! sing the ,Over"a%%ing Method-

=! ,isua"ization- of the music

By %erforming these three techni*ues and then com$ining them

together i"" give you the $est chance of memorizing your music

effective"y! I say effective"y $ecause you ant to $e a$"e to %"ay

and reca"" the music years "ater& not 9ust tomorro or ne8t

ee'!

I 'no myse"f that %ieces come $ac' to memory very *uic'"y

years "ater $ecause it has $een ingrained in my su$conscious

$rain very firm"y as it ent in! To ma'e a ha$it of these

techni*ues shou"d ensure it i"" do the same for you if you

%erform them di"igent"y!





3ay 1- Read the music li$e a +oo$

+ou need to read your music "i'e a $oo' B7JOR7 you sight read

it! That is& hen you first choose a %iece of music& ;ON#T %ic' u%

your guitar $ut "oo' over the music "i'e you#re reading a $oo'!

That#s right& read it from start to finish ta'ing notice of a"" the

musica" attri$utes of the music! This cou"d $e time and 'ey

signatures& tem%o& dynamic mar'ings etc!

Read each "ine and ta'e note of hat notes are %"ayed and their

rhythmic va"ues! Try to imagine here your fingers i"" $e on

your guitar and here the notes i"" $e %"ayed on the fret! If you

can& try to imagine hat the music i"" sound "i'e!

Then& after actua""y sight reading it fo""oing the ti%s you#ve

"earned so far& %"ay through your music from start to finish

s"o"y!





Ne8t& turn the music over and try to %"ay as much of it as you

can remem$er! When you come to a %art that you can#t

remem$er turn it $ac' over and "oo' at the music or $ars you

can#t do& and %"ay through them severa" times!

Then turn it $ac' over and try from that section again! ;on#torry if this %art isn#t 3DDP successfu"& you#re 9ust ,%"anting the

seed- as it ere& and %racticing your sight reading at the same

time)

3ay 2 6 &se the 7erlapping Method

Start at the $eginning of the music and %"ay through the first

to $ars severa" times! Ne8t& %"ay the same to $ars not "oo'ing

at the music! If you#ve memorized those to $ars %"ay the third

$ar over severa" times!After that turn the music over again and %"ay through $ars 4 and

= from memory! If that is successfu" you ou"d then read and

%ractice $ar ?! After that you ou"d turn the music over again

and %"ay $ars = and ? from memory!





>ee% doing this unti" you#ve com%"eted a ho"e section or the

ho"e %iece of music! If the music is in sections you might ant

to try to %"ay though that ho"e section $efore a%%"ying the

,over"a% method- to the ne8t section! ut the music aay and

then try the ho"e thing at the start of ;ay =!

If it sti"" needs or' you cou"d .shou"d0 add the visua"ization

techni*ue as out"ined $e"o!

3ay " 6 8isualization o! the MusicOn the third day& after you#ve tried to %"ay through the music

from memory& try to visua"ize it in your mind aay from the

instrument! This i"" %ro$a$"y $e hard at first $ut as I mentioned

a$ove& the more you %ractice the $etter you#"" get! If it#s too

hard to visua"ize the ho"e %iece then try it in sections or

%hrases!





The ,visua"ization- can ta'e the form of $oth sight and auditory

functions! ,Seeing- it in your mind shou"d do onders $ut

,hearing- it as e"" i"" add another dimension to your

memorization!

;oing these e8ercises over three days .and reFdoing it ifnecessary0 shou"d yie"d some good resu"ts in terms of

memorizing the %iece! If you a%%"y this method to your entire

ne re%ertoire in the future then you shou"d im%rove your s'i""s

in $oth sight reading and memorization of music!





Section 1 - Sight Reading Pieces

I no have a s"e of %ieces for you to %ractice) Jorty to $e e8act AN;

there are e8ercises from the eight most %o%u"ar 'eys for guitar& name"y:

E ma9or& G ma9or< ; ma9or< A ma9or< 7 ma9or< J ma9or< B$ ma9or< 7$

ma9or! There#s a"so an e*uiva"ent e8ercise in their re"ative minor 'eys&

name"y< A minor< 7 minor< B minor< JK minor< EK minor< ; minor< G

minor< E minor!

Jurther& you can $ui"d u% your s'i"" gradua""y $y sight reading ho"e

notes right u% to 36th

notes! /ere no are the e8ercises! rint them offthen use the "in's $e"o to match the sound c"i% to correct if you#re

sight reading accurate"y5

htt%:!"earnc"assica"guitar!com78ercisesF3FFWho"eFNotes

htt%:!"earnc"assica"guitar!com78ercisesFCF36F/a"fFNotes

htt%:!"earnc"assica"guitar!com78ercisesF3F4?FLuarterFNotes





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~ Sight Reading Exercises 1-8 ~

Copyright www.learnclassicalguitar.com

Whole Notes

1

2

3

4

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C Major

G Major

D Major

A Major

E Major



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F Major

Bb Major

Eb Major





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T. Maurice


16th NotesC Major

G Major

D Major

A Major

E Major

F Major





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Whole Notes

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A Minor

E Minor

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Half Notes

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A Minor

E Minor

B Minor

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C# Minor



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16th NotesA Minor

E Minor

B Minor

F# Minor

C# Minor

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Half Notes

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13

C Major

G Major

D Major

A Major

E Major



Documents

Sight Reading & Memorisation Guide