Sight Reading for the Classical Guitar Daily sight reading material with emphasis on interpretation, phrasing, form, etc. by Robert BenedictWhat they say about “Sight Reading for the Classical Guitar”, PROF. ELI KASSNER (Guitar Academy, Toronto}: ..."Excellent, systematic and well thought out .a very timely, necessary and useful contribution to the pedagogical material available for guitar students and teachers ke.” LIONA BOYD: “These are excellent sight reading books that will be of tremendous help to all guitar students... most valuable contribution to classical guitar in struction.” DR. PETER DANNER (Sound Board Magazine): “Sight Reading for the Classical Guitar fills a vold in the litersture that has remained empty for far too long. The logical sequence of these pieces has been thought out with ad- mireable care. Brief, yet complete: instructional, yet never patroniz- ing; these short musical pieces will lead the student towards one of, the greatest gifts any musician can ask for: the gift of good sight reading NORBERT KRAFT (Royal Conservatory of Music, University of Toronto):..."The most complete, direct system for improving the guitarist’s comprehension of his in strument from a sight reading point of view.” JAMES OLDENBURG (Olsen - Oldenburg Duo): “A valuable method, both conceptually and musically.” WILLIAM FRANK (Western Board of Music): ...0 welcome appearance of a much needed ‘educational resource.” STEPHEN BOSWELL (Vancouver): *...fastidiously compiled...an Invaluable teaching aid, with creative and beautiful musical material, and I give (the books) my enthusiastic support and endorsement. MICHAEL STRUTT (University of British Columbia): “...a substantial and much needed contribu: tion. I would very much like to thank DR. RON PURCELL for his encouragement, and his contributions to the study notes found throughout these volumes. I would also like to thank many other colleagues in Canada and the United States who have en- couraged and endorsed the sight reading books. Robert Benedict,FOREWORD This series of books for the classical guitar has been compiled to improve sight reading, anclten neglected aspect of musicianship. With the guitar, musical components (scales, chords, arpeggios, etc.) may often be played in Various positions. While this is one of the reasons that the instrument produces such colorfol and pecsestng timbres, it also contributes to the difficulties of sight reading. Inspte of, or perheps Pecause of this it is important to develop facility in reading, recognizing the notes, as well os the Par Positions in which to play them, the fingerings, the rhythmic patterns, and any markings of im terpretation (dynamics, phrasing, articulation, etc). ‘These books provide an orderly and systematic approach to the study of sight reading, based upon stendards for sight reading for the classical guitar found in respected schools around the world. Preceding this volume are Levels One to Three, and it is recommended that theee ere carefully studied before progressing to Levels Four and Five. ~ Although the repertoire for students at Levels Four and Five is generally written in the lower post tons: itis very important to develop both reading and playing in upper positions. For this purpose, ® supplement of position-playing examples has been included at the end of each level ‘The compositions used for sight reading here are original, written in classical and more modern styles, and they exemplify a variety of rhythmic and melodic, contrapuntal and harmorie Possbiltes. Throughout the levels | have offered some suggestions, both within the pieces and as eainates, to help with one's approach to sight reading. Only a minimal amount of fingering hes been added to the music, to encourage the reading of the notes themselves, The reward for proficient sight reading will be found in the vast repertoire of beautiful music that ‘one can then appreciate in a musical career. Robert Benedict Royal Conservatory of Music, University of Toronto,TABLE OF CONTENTS Level Four — Musical Examples (69 pieces) . pages 1t0 15 Supplement (Examples 70 to 107). page 161021 Rhythms (68examples) ....... Pages 2210.25 Level Five — Musical Examples (63 pieces) .... -pages 26 to 40 Supplement (Examples 64 to 121) - : spages 41 10.55 Rhythms (68 examples) . “pages 56t059 Expression Markings... ce feeeeeesepage 60 NOTES TO THE TEACHER ‘This work is designed for grade University Jevel in either private tutoring or class instruc- _____ tion, andis intended to be used by guitar students on a daily basis. The main goals of Sight Reading ~~for Classical Guitar (Levels One to Three) were: 1. To prepare the beginning student in his third of fourth week of lessons to sight read material equivalent in difficulty to lesson repertoire and technical proficiency, and 2. To improve reading in the student who has already started guitar and has attained @ technical level equivalent to first year. This volume, containing Levels Four and Five, will continue the study of sight reading, providing ‘material suitable for more advanced students. Both books can be used to establish a reading level for students entering a new environment of guitar instruction, whether it be private tultion or class lessons. ‘The eoding tavel fa student should not be more than one to two steps behind their technical abil {y. This goal is attained through careful scrutiny by the teacher in the progression of materiel given to the student throughout his studies. You, the teacher, should ask the Teliowing questions when Piesenting new material: Why am I giving the student this study er picce? Does follow logically what the student has learned? And, isthe student ready for this repertoite? The degree to which the teacher fs prepared to enswer the questions demonstrates the degice of responsiblity to hisher students. That isthe ultimate basis of any teacher's reputation Dr. Ron Purcell California State University, Northridge.LEVEL 4 Before Playing carefully look at the Key Signature and the Time Signature. Look at the complete line of music before beginning to play. Play slowly, and read ahead. When more difficult rhythms occur (sixteenths, triplets, dotted eighths, etc.), clap or play on an open string the rhythm alone. Then begin to play the exercise In singledine melodies, use combinations of p, i,m, and a which are most natural and produce the nicest tone. 1 ‘Use the left hand fingerings which are most convenient in order to play the passage at sight. Read ahead and prepare for sequences. 2 ‘Think of the notes found in the scale indicated by the key signature (second position). Gioeos0 2 yoy 3 Z 3 Sequences using tenths, similar to the following, are very common. 4 5 Read the chythm of both parts, rests and notes. oe 6 = ql rT Always sight read in a musical and convincing way, ‘using dynamics and shaping the phrases. ——?Before Playing carefully look at the Key Signature and the Time Signature, slowly, and remember - one flat. ‘The role of each part is exchanged. — uw > FP a ™ ~y ~yBefore Playing carefully look at the Key Signature and the Time Signature. Feel two strong beats in each measure. Feel the quarter-note pulse withig the varying rhythms of the melody. Imagine the sound of the chromatic bass part before beginning to play. wv 1 VII cay “4 4 ro Err F ERS Sara Listen carefully to your performance of each sight reading exercise. Hear the proble ns that you are having and make an effort to improve in these areas (left hand, right hand, phrasing, ete.).Before Playing caretully look at the Key Signature and the Time Signature. Learn to recognize these common four-note chord patterns. Play slowly. a tr ay In two-part counterpoint, there is « natural tendency to listen to the more active part; try to hear the less active voice as well a z 2 fT =z av Placidamente —)))— eee 2 24 Before Playing carefully look at the Key Signature and the Time Signature. Dolce 1 PF P ‘This is a typical classical staccato accompaniment. Before you play, try to imagine the rhythmic effect of a pizzicato string orchestra! (See “stopped basses,” bottom of page 35.) 26 ‘While playing the first four quarter notes, feel the sixteenth note rhythm. Play slowly. 2 aL nd more lively and light, * swing note shorter. Common dotted rhythms can be made to si ‘by making the dotted note longer and thBefore Playing carofully look at the Key Signature and the Time Signature. By reading ahesd, you can recognize the broken chords and the most suitable fingerings: Read ahead. Notice the descending seales in both parts (relative major and minor). Delicato 3 2 = : rrr pir pee pole aL Z pop? f ia Psemprecre af FORM: Accanon occurs when a melody begins in one part and, as it continues, is imitated in another poe er ening olay notice the imitation nthe bas ofthe upper melody 32Before Playing carefully look at the Key Signature and the Time Signature. FORM: A chorale is a melody or tune that comes from the sacred hymn literature, or that is to be played like a sacred tune. Read the fingerings as well as the notes and rhythms. Very slowly and legato, as a Chorale 33 ‘Think of the sight reading exercises as little performances, in themselves. Prepare for cadences with ritards; use dynamics and varying articulations to gis< colour to your playing19. carefully look at the Key Signature and the Time Signature. Before Playini 7 ? rn 5 decresc. crese. ‘Think of the chords as being joined by the melodic fragments. ef dy SSS eeBefore Playing caretully look at the Key Signature and the Time Signature. Name the notes which are sharp before beginning to play. Think of all the notes in the scale. 43, = _———— Spee e ores Let the indicated fingerings facilitate the playing of a piece. y_ Before you play, feel the rhythmic groups within a bar (IT) ot FF or IF, ctc.). Then fe! how they combine with other groups to make up the rhy:hi. of the phrase.Learn to recognize the common chord. Betore Playing carefully look at the Key Signature and the Time Signature. Feel the quarter-note pulse and the triplets within. Legato 2 pattems, especially in the more common keys for the guitar, Play musically. Approach a piece inthe character indicated by the expression marking, 48 49 Con spirito | mie _ oA, ; ponticelloBefore Playing carefully look at the Key Signature and the Time Signature. Look at the complete line of music before beginning to play. See the arpeggio patterns as 8 group, and read shead to the next bar. HE = > ee P P > he ‘Varying articulation enhances a piece and gives it character. (See “stopped basses”, bottom page 35.) 23 28 Sight read as often as possible, choosing easier pieces (approximately two levels lower than your current technical level). Play with expression, shoping phrases and using dynamics.Before Playing ceretully look at the Key Signature and ne Time Signature. Read the bar indications first; the other fingerings will follow. er —~~. L—— 54 5 1 1 Read carefully the fingerings inthis little piece. Also, recognize the sequential patterns Grazioso 56 -o- ree dod: == wifi 7 ponticelo wert os. mat. + bay with the Index finger two out of six sis" 9: the Gist position13 Before Playing carefully look at the Key Signature and the Time Signature. Feel the lilting rhythm of this piece before you begin to play. S$ P F Jt 4 dy ? Maestoso Melodies which are chromatic should be read very slowly. Wo a ima ~j Feel the charzcter of the piece before playing. Much of ‘your ability to sight read depends upon your emotional interpre‘ation and approach. EL2e a i4 Before Playing carefully look at the Key Signature and the Time Signature: ine of music. the parts. Before playing, look carefully through the complete li Notice how the moving triplets are alternated between Facilmente 2 7 62 C r Dance-tike fora performance without mistakes.Before Playing carefully look at the Key Signature and the Time Signature, 69 oa, ee == aq TPP P PTT PIPED PT PDT pp} gtd ee ADIT OPT ng of one bar of music will oft: set v ~ing of the following bar or phr=-~16 POSITION-PLAYING SUPPLEMENT ‘This supplement is « continuation of the study of the second, third, and fifth positions. In Level ‘Three of Sight Reading forthe Clessco! Guitar, only the notes found on the first three strings in these positions were uscd. Here, however, the second and fifth positions will be extended to notes found on all six strings. ‘THE FIFTH POSITION | 5th ‘The fitth positon is the most often used upper position, because pone music written in the common Keys of C major and A minor is easily played here. More than two octaves of the natural notes fall into this position. In this way itis to a degree similar to the first position. Other keys, that require sharps of flats, also fall easily into the fifth position, and some of these will be used in this supplement. Method of Study: For each postion, study each note in Diagram ‘A, naming it out loud, and then locate and play the note on the fingerboard, with the help of Diagram B. Treat each note as & separate sight reading exercise. DIAGRAM A © Bis actually out of the ith can be payed with a ststch ‘THE SECOND POSITION ‘tnd DIAGRAM postion, but ofthe fourth ogee ition ~ ‘These are the most common notes which are played in the second i position. At a glance it can be seen that these are the notes found in the scales of D major and B minor. DIAGRAM A ‘THE THIRD POSITION 3rd position” In this supplement, the sight reading exercises played in the third position will equire only the notes found on the frst three strings. DIAGRAM A(position) indicates the position in which the left hand is to play the exercise. “After a thorough study of page 16, slowly play the following melodic fragments (examples 70 to 74) in the positions indicated. 1st pot. 3rd pos. 5th pos. ae SHEE 3 1 4 7 Sth pos. 1 6 oe 2FIFTH POSITION (continued) Rada jada YU Look at all the natural notes found on the fingerboard in the third position on the frst three strings (see page 16), and study them carefully before beginning to play. ed pos.‘Examples 85 to 91 can be played in more than one position? ‘Think of the notes in each position before beginning to play. =e 31d po. 3 4 ait 41HARMONIC INTERVALS In the FIRST and FIFTH POSITIONS Harmonic interals have been included here to further our study of the fifth position. Fach interval Should be treated as a separate exercise in sight reading, First, play the interval in the first position. [Name the two notes out loud, and then tr study the finger patterns of each interval. Major and FIRSTPOSITION Thirds FIFTH POSITION aye 8 Major ‘and Mind, FIRST POSITION FIFTH POSITION Sixths vy 102 Perfect FIRST POSITION FIFTH POSITION sq = SF * Bar, with index finger three of sx strings atthe fifth fret ‘anspose and play them in the fifth position. Take time to FIRST POSITION FIFTH POSITION FIRST POSITION _ FIFTH POSITION 101 103 FIRSTPOSITION FIFTH POSITION 108 1072 RHYTHMS Clap, or play on an open string, the following rhythmic patterns, as well as the rhythms of the preceding pieces, counting out Tova. pid Ms MATL Ml dd 1s sh y{ AR FAI ORR \D AAD FR AAA oi) MII pvt NARI FRI IO AAAS dt ai. 2INIIN AL I oi) FRIAR IN FAI DET) FRR A AL oil di) RRR ON. AFA LI 94 FRB ON FRA FRO NN DED 103) FA ) FR? FA AA wWiFAOFA ACAI wi TN TAAATA O01 DITA LA CRAIN AAAI RA wi CA CA RRA A RATA A! I wi TATA pi CAR ARICA IA APR wild eid IA TTI del ani 1 (FAFA 11d TFAwil) FRSA) MITA wil TA oA mi) Udo do iF Id? 1 ani]? \FRRJ ICRA IMm 1 ai ATI CMa. Wo osmianomi aidrrdoIATIATIT OAR ol mi OMI IFAD) ms mimm Ae wil mi mimsseim mu ms mic JI We a) A mi, CR iar wEITRITIITRL odd DITTRLI emi Maras oil? FRI ITRSRJ Jil: FROIRRARO II wil MMPI Mod wel Jia. i 21m 303) 0 FRI TGL FRET wi Ai: Maletl DOIIFAAL Ou CAPRI NANI Gmnininaas mil) ICRI obs simi Cetra nomomenis ei momimisie mum oi) DIFRMOIM MRM I oi msm ei) (RAR FRI eiQMl i) RRISRTRe immo oi FRO OAR SRL oi) )DIRRCR I >) FRI AI ONIN IARI OIRO: Nam OM Ose oS BTUAT eI Mianon eit si Miimis or AM ISAM AL AiIM ss wi. 1 FRR STILaan wids dW) ABDI SII wild) som. Wa aT wh? RIB ROR ans wei. UN) FAO POG J RI oflo JiR minmio wid? Wu a Museau On RIOR ONG oi iwomu mic ot) )CRN dL Im oH eine Amn Rimois oie due IFAM tl Dids di DIR oR LIAR Uobd pia. wim iNew? ALIA IN eimimy mummu mui et ARD SIRI Susans iLEVEL) Before Playing carefully look at the Key Sighature and the Time Signature. Look at the complete line of music before beginning to play. Play slowly, and read ahead. When more difticult rhythms occur, clap or play on an open string the thythm alone. Then begin to play the exercise. While playing the first four quarter notes, feel the sixteenth note rhythm. ‘Ata quick glance, notice that all the intervals are the same, dentity the common chords in a key, recognizing the chord patterns (scale of D major). 1—— ? b> effort to play from the beginning :-°' sd of out stopping. Play slowly an.Berore Hiaying Careruly WOK at Wie Rey SIgNature ano Wie Jn (worpart counterpoint, one often tends to listen to the more active part; try to hear the less active ice as well Ah, hat Play musically. Approach a piece in the character indicated by the expression marking. Grazioso 2 a eee ea SC B= 10 Keep the quarter-note pulse steady, as you shift from triplets to eighth notes. n ‘See “stopped basses”, bottom page 35. 4 — ‘The beauty of individual melodies is enhanced when they aze combined with each other to provide counterpoint.28 Before Playing carefully look at the Key Signature and the Time Signature. ORNAMENTS are used to embellish or decorate a melodic line. One type of omamentation, the trill, is used most often at a cadence, Look carefully at ornaments before playing. Feel how they will be naturally incorporated into the piece. Read through the complete line of music before beginning to play. ‘The stopped basses (all A’s) esta- blish the character of the piece. (See “stopped basses”, bottom page 35.) ‘Trills. + 2 cj } 16 fe Sa ? 1 Chord patterns (A major). : wo tw eeBefore Playing carefully look at the Key Signature and the Time Signature. ‘Scherzando Chords and melodic fragments. Dolente —=_= == — — > P Name the sharps before you begin. Think of the scale notes in the key. ‘Try to feel the character of a piece by reading it through before you begin to play. Enhance the che:-ter with various techniques (arpeggiated chords, different a: “ons and tone colours, ete).30 Before Playing carefully look at the Key Stanature and the Time Signature. wer mordente which, unlike tis, are more often found throughout 2 melodic ‘This fragment uses 10% Tine. ‘Gumaments should sound relaxed and improvised, Pay very slowly. P a lay. Avoid watching the repeated arpegsio 1e of musie before beginning to Pl jhich are changing. Read ahead. Look at the complete lin potes; look for the notes wiBefore Playing carefully look at the Key Signature and the Time Signature. ‘Ata quick glance, notice a pedal in the upper part - read ahead on the lower part. Play musically. Approach a piece in the character indicated by the expression marking. Imaginatively Concentrate on the moving part. Try to dynamically batance pieces written in two parts. Listen » » “uly to your playing.32 Before Playing carefully look at the Key Signature and the Time Signature. Facilmente ny 31 ail o Before playing this little piece, feel the rhythmic accompaniment parts and imagine the legato melody. Feel two strong beats per measure. oT ES + qa et38 Before Playing carefully look at the Key Signature and the Time Signature. Look through the complete piece. Before beginning to play, prepare in your mind the performance of the ornaments, Notice the upper mordents at the beginning of the line. we « © rf ee F : P a a e F P 9 ee oe Play as legato as possible, slowly, and in a chorale, ot church-like style. a Look for the little things that are frequently giving you problems (barring, ornaments, accidentals, ete.). Work on these areas to improve your playing and reading. Play slowly.Botore Playing caretully look at the Key Signature anc he Time Signature. nH us ‘String indications and fingerings will help with the reading. ‘ wna Look for sequences. Prepare for the dotted rhythm before you begin ye ririrt sr sempre crese. See “stopped basses”, bottom page 35. je “ Cert tttt PrrttttBefore Playing caretully look at the Key Signature and the Time Signature. Read the bar indications first; the other fingerings will follow. 5 1 45 Notice the three separate parts of voices. Placidamente “€: Poo EP. ‘The nature of this piece is found in the contrasting staccato and legato notes of the bass part. Read slowly. 2 By studying staccato playing with the thumb, learn to control the bass parts. Almost any piece can be used as an exercise to learn to stop basses. Learn to avoid harmonic 4ths and 5ths, which occur - when the strings continue to vibrate. With this, sight reading improve because the overall performance will always be beBetore Playing caretully look at the Key Signeturd and the Time Signature. In single-line pieces, read as far ahead as possible.arstuny 10K at ne Key Signature and the Time Signature. r r rel r a = — ro Play very slowly and freely. Maintain the quarter note pulse. sy oS eS a « eae Ss, 2 aS. rp Lr I I ! Placidamente the ~ ‘ally it should be approached. | | ] | | i I t { LBefore Playing carefully look at the Key Signature and the Time Signature. Look through the complete piece before beginning to play. Clap and fee! the rhythm. a4 24 Notice the right hand finger pattern which is established in the first measure. a4 34 oe ‘Tempo rubato It is most important to understand the musical nature of a piece before beginning to play. If no expression marking ted, study (> rice little before starting. Is it rhythmic, cont. a mietody with accompaniment? etc.39 Before Playing carefully look at the Key Signature and the Time Signature, ‘The pedal accompaniment is in the upper voice. Listen to the lower part Frivolously Ra == m r Clap the recurring rhythm of the first two measures. Imagine the steady quarter notes below. d 2 r pellet er Parr 2 ody r 1 ——— ? ? r PP rBefore Playing carefully look at the Key Signature and the Time Signature. Listen for sequences. ‘Teneramente 61 Here we have a strong feeling of two beats to a measure. Practise clapping the shift from triplets to (2) eighth notes. oo dé 62 = cof aad Sight read as thouc ©. were performing. Play convi asitively.POSITION -PLAYING SUPPLEMENT ‘THE FOURTH POSITION ‘At a quick glance it may be seen that there ate more than two ‘octave: of notes from the keys of E major and C¥ minor found HF Gi dt here. Melodies, chords, fragments, etc. from these keys are there- fore often played in this position, We will frequently find the t ‘open bass E and open subdominant A used in conjunction with BEA HB the foutth postion, DIAGRAM B DIAGRAM A Method of Study: Play each note in Diagram A, naming it out loud, and then locate and play the note on the fingerboard, with the help of D'agram B. Treat each note as a separate sight reading exercise, ‘The second, third, and fifth positions are reviewed again in Level Five; read over page 16 in Level Four to be thoroughly familiar with the notes. In this supplement, some less common keys have been included, which fall easily into these positions, For example, fifth position - E+ major, C minor, Bb major, G minor, ete.42 “pos.” (position) indicates the position in. which the left hand is to play the exercise. Play the following melodie fragments (examples 64 to 67) in the positions indicated. 1st pos rd pos. ‘5th pos. 6 EEE 7 3 0 1 8 Sis #0 psi te @ “ @ aatpos 2nd pos. 4th por. oma —> = er == 2 SSS 7A T T IT T T t he test a 2 | 2 ® ® FIRST AND FIFTH POSITIONS Play each of the following scales and melodic fragments (examples 68 to 75) in the first position, and then in the fifth position, Before beginning to play, look at the key signature; try to hear the tonality {major or minor), and think of the notes which make up the scale. Use a fifth position bar if necessary. Major Sthpos 42 = =p eS So * The fourth finger expands or reaches fo 2 "3 ‘The let hand sof should remain ie sion.43 FIRST AND FIFTH POSITIONS (cont'd) ‘F Major = Et + 0 ee EE == Sonar D Natural Minor = === =2 = Se F Se = Al Bb Major = = ie - — soe 4 oe Oo Fee ot G Natural Minor — o_o os = SS SS SEE tf re] = = | } Eb Major aoe oe Ss C Natural Minor =o : = Hess SSSSECOND POSITION Play each of the following scales and melodic fragments (examples 76 to 83) in the second position only. Before beginning to play, look at the key signature; try to hear the tonality (major or minor), and think of the notes which make up the scale, Use a second position bar if necessary. C Major 6 SS é ae maps 2 4 1 2 4 2 G Major E Natural Minor45 SECOND POSITION (cont'd) se ol Play the following melodic fragments (examples 84 to 92) in the positions indicated. tpn 2nd pos 8 et SS SS SS Eee Sa 3 ~~ r 2 fe ? +424 & oD * Keep the left hand over the seco46 Ast pos. a = - =e : = . Pes eS SS] ray 3 ° ta 4 et « ane 7 4mgon a = = — —— S TI 7 z= ° , . ‘ra = ‘Use a full bar (R) in the fifth position. y &; Use a halt bar )in the fourth position. aw 4 “or Fe Perferrterer scr M@prrberrrPertere ees 2 3 = ot = = s o o an Faamples 95 and 96 use two different ber positions, with an open string accompaniment, Po #xamples 97 to 102 can be played in more than one position. Think of the notes in each position before beginning to play. a=il 48 449 ‘Th pos. (This example sorves as a very short exercise in the 7th position.) VW——— J vu—— 3 ») FF FO ROR RF 7 HARMONIC INTERVALS Each interval should be treated as a separate exercise in sight reading. Fist, play the interval in the first position. Name the two notes out loud, and then transpose and play them in the upper pos Take time to study the finger patterns of each interval FIRST AND FIFTH POSITIONS Play the following intervals (examples 103 to 112) in the first and fifth positions. Use bars where * necessary. Examples 103 to 107 use only notes which are natural (without accidentals) and found easily in the fifth position, Major and Minor Thirds 103 Perfect Fifths 104 105 ¢9 . FIRST AND FIFTH POSITIONS (cont'd) Perfect Octaves 6 Major and Minor Tenths ” —_ Examples 108 to 112 include accidentals. Name the two notes out loud before transposing them into 4 the fifth position | Major and Minor Thirds 38 | ! / Perfect Fifths Hi 09 8 a IgFIRST AND FIFTH POSITIONS (cont'd) Major and Minor Sixths 110 Perfect Octaves, a1 ‘Major and Minor Tenths 282 Play the following fragments inthe first position, and then in the fifth position. Use bars where mye SS = b) Sixths 4) Fifths ¢) Tenths 1) Octaves, == Et SSS SS) SSS a ) Sixths 1h) Octaves | jj | n i 2222254 S43 j) Tenths k) Fifths 1) Sixths Play the following triads in the first and fifth positions. ee C Major C Major F Major F Minor (Grst inversion) (second inversion) i A‘SECOND POSITION Play the following intervals (examples 116 to 120) in the second position only. Some open notes may be used. Use bars where necessary. Major and Minor Thirds 6 ca e Major and Minor Sixths at54 SECOND POSITION (cont'd) Major and Minor Sixths (cont'd) 7 cont'd): Perfect Fifths us = s Perfect Octaves 119‘SECOND POSITION (cont'd) Major and Minor Tenths a re ! ov l Play the following fragments in the second position. Use bars where necessary. - o— S-- [ag =. SS a = \ a) Thirds >) Fitths ) Octaves 4) Sixths e) Thirds ee 1) Sixths 8) Tenths hy Fitths i Tenths:5 RHYTHMS , Clap or play on an open string, the following rhythmic patterns, ax well as the rhythms of the preceding pieces, counting out loud. yim Aw rss mnnst yi TIMeiW dite t ‘ot. JOM. oa ninis | OLFRL it LiARL ell. | stl oimiuaomionimi. it og svt AT. UAT AT AL DiFFRL RFR. 1) FRI I xiTRL TALI ARAM Lt OAR J LIAM I 101) FRO ICRCROLIFRO AALAND ni FRR. SAA AA. mom Mins 9), SRL FAAS. | Wi CRRI IM MCRL IFAM OITA LI we AT ORAL Uddin ot ZT ICR SRA LI mil TIA EN J USI CROATwil di) FRR + IF dt wi AI AFANIAAD i: FRNA II os STAITINATI SIPURA. wi TVINAA IN TAN A ai) JISGIU OAR I wMETAD IAS ICU tt wil) ITUiFANQNWATAN I FA sili sre in nri t hl SRR be OAT. 4 mil SOTA IT TRL etl?) CIO Waneimmie ot) SB FR) IIARI ai J I mAs miTAN . 2 ess MEAL ALITI SLID) DIRI LI ot FEM i ds ei dat wemmu su ott58 . sim nemaim nimi wo PSTD IDI IRL BLT AL wi) ihe mm ag) SETWNI I dN I oi) FRU ti IRs oi Drie wi TRI AT dda od dt aq Mii diel FRAN I ot FFARR Ib) LRM LI wile Due mus murs OOOFRI IOS 1 OOM MARA IIM AMO FALI Ot CRR ATIC IA Dh wil Jr sire wilt [a miu mic oi iusalihiamuns oiAMIAD 3) simsoi) DNIFROJ ) TAMIA etOlAni? Gu FRO oP Mian imam wit J IFAD I DIF oi, S10 CR RI LI ois? DN A) ARAL oo 8 SSL ATI ATUL WTRITI I ois th Aisi ope Mime sims s mu ie eiSteu Ame miu of. SJ SFR DIR Mia I OFAN | GIR I wee Lee UTI Let SiR IRR AIGBORRIN TAI ©) FRO UISAIN bs DISTRI Mil, SIP IIFD AW 11 LAR O NAD ORL FRAO AR i): 0A!EXPRESSION MARKINGS ‘The following is a shortlist of some of the more common Italian expression markings, many of which have been included in this book. agitato excited animato with spirit cantabile in a singing style con moto motion con spirito swith spirit delicato delicately dolee sweetly dolente with sorow expressive with expression facilmente casily, without strain furioso furiously iocoso playfully gandioso grandly srazioso ‘pracefully maestoso ‘majestically, dignified marcato ‘emphasized ‘mesto sadly esante heavily placevole pleasing, agreeable placidamente peacefully religioso religiously, devotedly scherzando playfully semplice simply solenne solemnly sostenuto, sustained tempo rubato in ‘robbed’ time, flexibility and freedom with the phrasing teneramente tenderly ‘tranquillo calmly, quietly vivace with life