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Music Reading for Guitar (The Complete Method) Paperback – March 1, 1998
Purchase options and add-ons
- Print length160 pages
- LanguageEnglish
- PublisherMusicians Institute Press
- Publication dateMarch 1, 1998
- Dimensions9 x 0.38 x 12 inches
- ISBN-100793581885
- ISBN-13978-0793581887
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Product details
- Publisher : Musicians Institute Press (March 1, 1998)
- Language : English
- Paperback : 160 pages
- ISBN-10 : 0793581885
- ISBN-13 : 978-0793581887
- Item Weight : 1.16 pounds
- Dimensions : 9 x 0.38 x 12 inches
- Best Sellers Rank: #310,221 in Books (See Top 100 in Books)
- #304 in Music Techniques (Books)
- #671 in Guitars (Books)
- #1,609 in Music Instruction & Study (Books)
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For guitar I see reading music split into two different disciplines: Knowing to read the notes on the staff, and knowing where the notes are on the strings of the guitar. My point is, on say the piano, there's only one key on the keyboard that'll play the note you're looking at on the sheet music, while on the guitar you could possibly have 4 different options to play the same note (of course you'd have to take into consideration the technical feasibility of playing the note). So, as someone who's *very* proficient playing guitar (20 years in fact), I'd recommend even to get a supplementary book like the Guitar Fretboard Workbook to help you with being able to identify where the notes are on the strings, and this book here to help you put the two disciplines together.
Hope this helps!
The two points where it could use improvement are: 1. An accompanying cd would make the rhythms easier to understand for beginners 2. chords written out in notes. It does do a good job of introducing chords in the context of lead sheets which are largely ignored by the likes of Hal Leonard, Mel Bay, Alfred, et. al.
I recommend it with "The songwriters workshop:Harmony" book (for theory info), [...] for scales and "contemporary chord khancepts" for more advanced chords.
The MI book starts right off in the fifth position. What a breakthrough. The fifth position can cover all keys, (with a few finger stretches and a few exceptions), and it has the range to cover most melodies. You quickly establish good reading skills, then they move on to the open position, and more. By the time you finish this book you'll be able to read on a professional level.
I combined my studies with other reading material and I was amazed at how quickly my reading skills progressed. It doesn't matter what level of musicianship you're at, reading music is a skill. Much like learning Morse Code it's a repetitive study that with the right method anyone can learn. In all my years as a professional musician this is the best book I've come across.
My only complaint is that the product should be updated to include online access to audio. The examples in the book are fantastic and plentiful, but there's really no measure by which the student can gauge her performance. Especially when I was first learning some of the more rhythmically challenging exercises, an audio accompaniment would have let me feel confident that I had, in fact, mastered the concepts.
Top reviews from other countries
The author, David Oakes, does a couple of things differently than other books on learning to read music for guitar. First, it starts with the fifth position and spends the first four chapters working from that position. I found that intuitive - if you have a background in rock or blues, you've probably spent a lot of time in fifth position, and the notes in fifth position are centred on the musical staff without too many ledger lines. Most books seem to start in the open position. Second, the book has a fair bit of rhythm work including exercises clapping or tapping out beats to a metronome. The rhythms in each chapter are pretty challenging and a good workout. One review complained about the rhythm exercises, but I think they're important as dealing with non-simple rhythms is an essential aspect of reading. These sections need to be taken seriously and practised diligently. Third, the book focuses on reading single-note lines, played pick-style, to the exclusion of chords. There are chord charts, and the book discusses the conventions of chord charts and has the progression for some of the melodies played, but no pieces with chords interspersed with single notes (as would be found in all classical repertoire books). That's an interesting choice which I think is meant to be responsive to the kinds of music-reading situations most pro guitarists for whom this is written (originally MI students) are likely to find themselves.
You can't just look at this book and become a good music reader. You'll have to spend a lot of time working through it methodically and practising the pieces to develop those skills. And then keep reading regularly to develop and maintain reading ability. But I think that's true of any approach to learning to read music.