There are no interface problems with this book that I have discovered. All the videos and musical examples play just fine on my computer. All the musical scores open up nicely. I think this a good book for guitar students who have never read music on the guitar and are looking to do so in the classical genre. I like the way it is laid out with a video accompanying each chapter and midi musical examples of the etudes the student is to study. I like the way Chelsea explains each topic very clearly so the student can easily understand what she is explaining.
I also like her "checklist for sight-reading" in every chapter reminding the student of such important things like "keep going even if you make a mistake. Overall a well done book. Sight-Reading for Guitar: The Keep Going Method Book and Video Series teaches guitar players from all musical backgrounds to understand, read and play modern staff notation in real time. The Keep Going Method is designed to impart the knowledge, skills and attitudes needed for sight-reading with efficiency, fun and encouragement.
The skill of sight-reading is a difficult to develop, primarily because it is traditionally taught inefficiently. Further, students encounter high levels of emotional discomfort in the beginning stages of skill acquisition. The method in this book is designed to impart the knowledge, skills and attitudes needed for sight-reading with efficiency, clarity and encouragement.
All types of guitars apply: electric, steel-string and nylon-string. Each unit contains brief descriptions of musical symbols, play-along duet exercises and compositions, encouragement and methods for self-assessment. At the completion of the series guitarists will be able to sight-read most rhythms, pitches and other notations relevant to guitar notation.
The series also features 30 original duet compositions, of varying styles, created exclusively for this series! She teaches music history, introductory ethnomusicology, music theory, music entrepreneurship and guitar performance. Content Accuracy rating: 4 I find this book to be accurate by all accounts.
Clarity rating: 5 I do like how clear this book is in explaining the different topics it covers. Like Horowitz, I believe the concert guitarist cannot truly feel and understand the style and content of say, Bach's Lute Suite No. Those of you who are reading this article who can also play styles of music other than classical, may say, "Wait a minute.
Some of the greatest jazz, pop or rock musicians can't even read music, let alone sight-read. But they're great artists. Maybe learning to sight-read isn't really that important. My answer is that those artists have a fantastic natural ability to play by ear. We also have to acknowledge that those styles of music are very different from classical, and are learned and studied differently too.
But my bottom line answer is why not be able to play by ear AND be able to read well? There are good sight-readers who can't play by ear. That's no good either. I have also heard it said that reading music stifles the creative ability or hinders learning to play by ear. That is absolutely untrue.
It seems to me the ideal goal is to develop a great ear AND good sight-reading ability. Have the best of both worlds. So what is the best way to learn or improve your sight-reading? The prescription for learning to sight-read is to sight-read. One need not practice reading for hours every day. Just ten minutes daily every day will result in tremendous improvement in one month.
To start, you should already know the notes on all six strings from the first through the twelfth fret. Although you could learn the notes as you work on your sight-reading, it's best if you already know them.
First, work vertically, naming the notes on each string from open to the 12th fret and then backwards. Here is the fourth string:. On each string, one string at a time, pick frets at random and name the notes. Next, work horizontally: pick a fret at random and name the notes at that fret from the 6th string to the 1st string and back to the 6th.
Concentrate particularly on the 3rd, 5th, 7th, 8th, and 10th frets. For instance, the next example shows the notes across the seventh fret:.
Find all the octaves and unisons. Name a note at random and find that note on every string within the first 12 frets. For example, here are all the B's:. It's also valuable to write out the notes on manuscript paper. When you do the exercises in the previous paragraphs, write out the notes!
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:. Sight-reading is best done in positions, which minimizes shifting and having to look at the left hand. We want to keep our eyes on the music as much as possible. There are many sight-reading books out there. 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.
The first is to play chromatic scales and the second is to play in high positions on the guitar neck. A distinct pitch represented by a note can potentially be played in multiple locations of the guitar. There are many possibilities. For example, some pitches can be played in five different locations, whereas other pitches can only be played in one location.
Some examples are below. The chromatic scale will help you identify the name of any note on the guitar. A chromatic scale occurs when adjacent frets are played in either an ascending or descending order. Consult the chart below to know how pitches follow one another, fret by fret. The easiest way to produce a chromatic scale is to start with an open string and play up the neck, one fret at a time.
Make sure to look at the correct notation for each note and say its name as you go. Ascend the chromatic scale using the sharp enharmonic of the pitch, as in the first example below. Then, ascend the chromatic scale using the flat version of the enharmonic, as in the second example below.
View this graphic if you need extra help or want to double check your work. A position is way of expressing where fretting fingers are placed in relation to frets. In first position, for example, the first finger corresponds with fret one, the second finger with fret two, the third finger with fret three and the fourth finger with fret four.
However, in second position , every finger is moved up by one fret so that the first finger corresponds with fret two, the second finger with fret three, the third finger with fret four, and the fourth finger with fret five. Note that the name of the position comes from the fret number that corresponds with the first finger.
The majority of the previous play-along exercises are designed for playing in first or second positions. You will now encounter some exercises to be played in higher positions.
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