tormodg wrote: ↑Sun Apr 07, 2019 7:00 pmThe second piece (Tarrega's Marieta) is not extremely difficult to read but requires skills in rhythm and notes in higher positions. It is of course also a much more technically challenging piece than the first one (Amazing Grace). While I can sightread both, Marieta does not flow (or sound) well without practice.
Learning to read notation well should be a goal of all classical guitarists IMHO.
Yes, it is easy to read, but of course, first you have to learn how to read it, and clearly you have not yet learned how to read all the different elements of guitar/music notation. One of the main differences is that the Tarrega piece includes notations for barre chords, indications of which strings to play on, slurs, dynamics and tempo markings, etc., which are not present in the hymn score, and perhaps those are the things that you cannot read? (You did not say what it was that you couldn't read). If those things are the problem, then those are very basic guitar/music notation symbols that you will find in countless pieces, and so you definitely will want to learn more than what you currently know, if you wish to play pieces at a higher than beginner level.
Well, technically, yes - but - for most of us that is a little harsh. Professionals can sight read most anything THAT well, and that's in part because they're playing hours everyday for years. The rest of us, maybe not as well.
Well, no, because the second piece contains vastly more notation than the first one: the first one has very little notated other than the notes themselves -- it is clearly a beginner-level arrangement -- whereas there are all sorts of additional things notated in the second piece, as to how to play the notes, where to play them, etc.. If a person only knows how to read "just the notes", that is, just the dots, then they would be able to read the first one, but not the second one (and that seems to be Thomas's problem).
This probably means I need to learn music notations more ?
Thank you. Great advice.Peter Frary wrote: ↑Sun Apr 07, 2019 7:55 pmYou could improve your sight-reading skills by, well, sight reading new music everyday. For example, if your goal is to improve single line reading for ensembles or lead sheet use, buy a big fake book, e.g., the Real Book, The Book. And spend 15 minutes daily reading something new. If your goal is classical guitar solos, a stack of Carcassi, Sor, Carulli, etc., etudes are a great starting point.
In order for it to qualify as actual sight reading, you must play correct pitches and rhythm at tempo the first time. So it's very important to use material close to your level so you can read ahead of your fingers and anticipate oncoming patterns of rhythm, harmony and melody. Sight reading is all about the process of thinking ahead. If the music is too hard you'll be struggling with technique and kill the sight reading process. Repeating anything moves the process from sight reading to practicing! Eventually you'll hit a wall and need to target specific weak areas. For example, you might need work on syncopations or upper positions. Work shoring up your counting or upper fingerboard by practicing these things outside sight reading drills. Why? It's impossible to sight read if you don't have a counting system or know note positions.
This. You already know the notes on the stave and on the fretboard. That and rhythm are step one. And then it's learning the patterns. Music notation is as graphic as it is symbolic, if not more so, which means patterns you hear often correspond to patterns you see on the page. With practice you start to recognize common intervals, chords, arpeggios, rhythms and more at a glance. We learned written language the same way--from recognizing letters and then whole words at a time, to syntax.