{"id":8511,"date":"2017-12-04T16:08:15","date_gmt":"2017-12-05T00:08:15","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=8511"},"modified":"2021-07-01T14:58:37","modified_gmt":"2021-07-01T21:58:37","slug":"four-big-fat-books-of-music-sight-reading-contemporary-guitar-composers-of-the-americas-baroque-guitar-easy-preludes","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/four-big-fat-books-of-music-sight-reading-contemporary-guitar-composers-of-the-americas-baroque-guitar-easy-preludes\/","title":{"rendered":"Four Big, Fat Books of Music: Sight-reading; Contemporary Guitar Composers of the Americas; Baroque Guitar; Easy Preludes"},"content":{"rendered":"

Generally when we write about sheet music books online, we\u2019re talking about individual pieces or perhaps a set of pieces by the same composer. But we also receive larger method\/ instructional books, which we tend not to review in the magazine but might be of interest to some of you out there.<\/p>\n

Here are four that arrived in our offices in the last few months. We’ve provided links directly to the publishers, but they also might be available from other purveyors of sheet music you use:<\/p>\n

\"\"
\nA Semester at Sight: A daily primer for improving sight-reading on the guitar<\/a>
\nBy Bryan Johanson
\nLes Productions\u2019 d\u2019Oz, 224 pp<\/p>\n

Ninety days of exercises and short pieces by a wide variety of composers designed to turn you into a comfortable music sight-reader.<\/p>\n

From the publisher:
\n“FIRST PRINCIPLES:<\/span>
\n1. Becoming a good reader on the guitar is a matter of study, practice, experience, intelligence, and common sense.
\n2. Becoming a good reader will involve reading.
\n3. Tempo and meter matter first. When you begin to read a piece, never break the tempo or alter the beat pattern that is dictated by the meter signature. If the piece is difficult, go slow. You need to develop the ability to keep perfect time.
\n4. Your goal in reading a fresh piece of music is to gather several pieces of information about the composition: how hard is it, where are the technical passages, what does it sound like on the instrument, and do you like it?
\n5. Stay relaxed; avoid overplaying. Always remain free of tension in both hands.
\n6. Good sight-reading is an extension of good musicianship.
\n7. Remember to breathe.
\n8. Develop good work habits and practice routines.
\n9. Be honest with yourself about your skills and abilities.”<\/p>\n

\"\"
\nContemporary Guitar Composers of the Americas<\/strong><\/em><\/a>
\nCompiled by Guillermo Diego and William Bay<\/strong>
\nMel Bay, 196 pages<\/p>\n

From the publisher:
\n“Contemporary Guitar Composers of the Americas<\/em> is a unique collection of 51 solo works representing 17 composers from the American continents. This anthology addresses continental guitar music; music from North, Central and South America. It features many composers who have helped to enrich its repertoire, giving rise to a diverse palette of styles, textures, rhythms, moods and melodies. A worthwhile addition to the library of any classical guitarist.”<\/p>\n

Among the many composers represented are Juan Fal\u00fa, Javier Contreras, Frederic Hand, Andrew York, Charles Postlewate, and the two compilers of the book. Intermediate.<\/p>\n

Listen to Andrew York perform his <\/em>Higher Ground, included in the book:<\/em>
\n