LESSONS IfN SIGHT READING

AT THEPIANO

JOHN MOKREJS

Price ,75 Cents .

Copyright 1909 by Clayton F. Summy 00 . Internat ional Copyr ight .

Print ed in the U. S.A.

CHICAGOCLA# TON F. SUMM# CO.

NE# # ORK

HAROLD B. LEE LIBRAR#BRIGHAM # OUNG UNIVERSIT#

PROVO, UTAH

PREFACE

THE purpose o f this book is to set forth a simple and efficient method of sight-reading study,and to explain in careful detail its fundamental principle . The kernel of this principle

,briefly

stated,is that the note and the key are to be made one and inseparable,which mean s that, from

the very beginning ,the note is to be fixed in its proper place, and in its proper relation to thekeyboard.

The line is the sole guide to the note,and as the spaces are recogniz ed only by the surrounding

lines,the study of spaces is disregarded . Furthermore

,it is neither necessary nor desirable to give

any name to the note in the beginning,so as to keep the matter as simple and direct as possible .

In the making o f a good sight- reader,there are five necessary factors :

Is.t A clear mental picture o f the keyboard ;24d A # uick re lation between the notes and the keys ;31d A sensitive touch ;4th Technic ;5th The ability to g et‘ a good idea o f the musical thought at a glance .

In this book are treated 1,2,and 3 only. 4 is outside its aim and scope . 5 w ill be

treated in another work .

J OHN MOKREJ S

Le s s o n s in S ig h t Re ad in g .

LESSON I .

THE BLACK KE# S .

(a) Notice that the keys on the p iano are white and black the white keys are all alike # the black keys

are in g roups o f thr ees and twos .

(b ) Slide the hands , up and down , over the keyboard many times then rub the two black k eys and the

thr ee black keys alternately, surrounding each group with the fing ers . Practice this hands separatelyand hands

together. (Take special notice of the wide space between the groups of black keys,and the narrow on es

between the black keys of each group,so that you instantly recogniz e which space you feel . )

EXERCISE 1 . Start with the hands in tho lap # and,wi thou t looking ,

find many groups of two -black-keys,

( hands separately and hands tog ether); in like manner find the three -black -keys . K eep thi s practi ce up

until.

easily done

The te acher should also drill further in this by calling f or different groups . For example : # Find two

black - keys with the left hand : three -black-keys with the right hand : two -black - keys hands together,etc .

LESSON I . (Par t Two )

Notice that on the piano there are seven groups o f three - black - keys,seven groups of two -black - keys

,

one extra black key at the bottom o f the keyboard .

COpyr ight , 1909, by Cl ayton F. S ummy Co .

b i ternat z'

ona l Cop y r z’

gfit ;Copyright renewed 1937 by J ohn Mokrejs

Numb e r t he group s from the middle up and f rom the mi dd le down . To the r ight they are zMiddle Group ,

High Group , Highe r G roup , and Highe s t G roup . To the left they are : Middle Group,Low Group , L owe r

Group, and Lowe st Group . ( Se e cut

S eat your se l f dire ct ly Oppos ite the midd le of the Fi r s t Group (“

F”

See cut an d always take that

po s it ion in the future

As it i s n ece s sary f or a good sight- re ader to play a great deal without looking at the keyboard , i t be

come s appar ent that he mus t make a po int o f forming right impre s s ion s and habit s in pl acing the distance

of the var ious keys .

EXERCI SE 2 . (a) Plac e both hands on the black keys of the Middle Group ; then on the black keys of the

High Group ; on the Middl e Group ; an d on the Low Group : Take spe cial not ice of the posi t ion and dist ance

o f each Group .) Do the s ame without look ing at the keys . (See Lesson XXIII . Page

Form a ment al picture o f the se three Group s . Close the eye s and think them .

(b )With the right hand alone , and without looking, play the mi ddl e three-bl ack- key s ; the High three# black

keys ; the Middl e three - black- keys ; the Low three-black- keys . Repeat with the left han d . Do likewisewith the

two-black-keys Practice only.

with as many Groups as are needed f or the child’s immediate u se , and addmore

as progres s demands . It is nece ssary to study thoroughly the black keys, as they gove rn the touch and sight

of the whole keyboard .

LESSON II .

THE WHITE K E # S .

The name s of the white keys ar e A ,B , C,D, E,

F,G . (Se e cut l l .

a , #

Not ice that “A#

lies be tween the upp e r two black keys of the thr ee-black -k eys . . There are many As as

there ‘

are g roup s of thr ee - black -k eys . Find and p lay all of the

B lie s to the right o f the thr ee-black -k eys all o f the

C to the left o f two black - k eys

1) betwe en two black - k eys

E to the right o f two black -k eys

F to the lef t o f tlzfr ee-black -lreys

betwe en the lower two

G black keys o f the thr ee-black -k eys

N9 1 . Ou t o f t h e K eyb oar d .

A B C D E F G A B C D E F G A B C D E P G A B C D E F G A B C D E F G A B C D E F G B C D E F GK B L

Middle C

EXERC ISE 3 Recite the letter n ame of each key both up and down the (whole) keyboard , point ing ou t

each k ey as you re c ite . Going up they ar e : A,R,C , D,

E,F, G; G; A ,

e t c ., and down they are

A,G, F, A,G,e tc . Give special attent ion to the downward scale and b e able t o rec it e it eas

i ly and # uickly

The teacher should dr i l l the pupi l to play, easily and # uick ly , any k ey or g roup o f keys called f or. # hen

more than one key are taken they may b e play ed con se cut ive ly or as chord s .

Example : p l ay A ; p l ay E -DF-* CE G

Always play the fir st named k ey as the lower one , the next above in the order n amed , i . e : when 0 E ar e

c all ed f or , play E above C ( thre e not e s apar t) . When E C are c alled f or, play C above E ( s ix note s apart ) .

LESSON III .

EXERCI SE4 . F ind C (any one ) on the keyboard wi thou t look ing . Find an F B - D G-E, etc . Do thi s

hands separat e ly, one after the othe r , and hands together . Make the hands fee l f or the keys , but fi r s t see

the k ey you are s eeking m en tally. The teacher should dri l l thi s thoroughly .

F ind two keys_ C E . ( Always pl ay the fir st name d key as the lower one .) Find FB -EG-AO. etc . F i nd

three keys : CEG- E G C - GCE- FAC GBD, e t c . Four note s may al so be taken, as GBDF- BDFG DPAC

FGBD, etc. The teacher should drill thi s thoroughly, cal l ing f or the keys to be found . The pupil, too,may prao

tice this at home by deciding f or himself the key he wi she s t o find . In cas e of young child ren the t eacher should

write ou t a le s son ( li s t of keys'

t o be found) f or the chil d’

s daily practic e .

LES S ON I V .

Not ice that on any printed page o f music there ar e ten l in e s The upper five lin e s are cal led the Treble

S taff,and the lower five line s ar e calle d the

“

Bass S t aff ?and on each st aff th e line s are numb ered from the

b ot tom up .

in the

M idd le C

in the

posi tion of the lower-

f ive lin es .

EXERCI SE Point to the thi r d l ine in the Treble _ The secon d lin e in the B ass The fir s t l in e in the

Tr ebl e et c . , a s the teacher dire ct s . (Keep the figures covered .) Dril l thi s unt il eas ily done, and go from

.

one s ta ff to the othe r .

The s ig n is called the Treble Clef sign and mean s

p osit ion of the upp er f ive lin es .

Thesign% i s called the Bas s C l e f s ign an d me an s

10

Now let us take the Treble S t aff E ach l ine o f the s t aff has a cor re sponding lin e ( or key ) on the p i

an o, which neve r change s , and i s always played in the on e fixed place . In o the r words, the five l ine s o f

the st aff repre sent five spe cific keys .

On t N9 2 . Sh owin g Posit ion o f t h e Tr eble S t af f Piano .

M idd le

The fir s t line -k ey i s above the Middle two - black-keys ( in the cent e r of the keyboard ) and each suc

ce edin g line skip s a key as they g o up . ( See cut

The zud l ine-key i s between the lowe r two‘

of the Middle”

thr ee-black -k eys .

v to the right of t he“

Middle”

thr ee-black -k eg# s .

between theHigh two -bl ack - k eys .

5 th t o the left o f the High thr ee-black # k eys .

Form a clear ment al picture of each key (or line ) s eparate ly, and then of all toge ther.Memoriz e

exact posit ion and looks , by holding down on e at a time , then all five toge the r. “7 th the eye s closed

https://www.forgottenbooks.com/join

EXERC ISE 7 . R everse the proce s s ; the te acher will hold down any one o f the above note s ( k eys )

on the piano, and the pup il will point to the played note on the st aff, or write it ou t on the board or music paper.

As with Exerci se 5 , think your way through E xer c i se 8 , by s eeing the keys mentallywhen you look at the

t sno

£XERCISE 8 . Play on piano with Right hand alon e 1S? tim e looking at the keyboard,2d t1me not looking.

EXERCISE 9 Firs t think your way through Ex 9, then play it looking at the keys;and not looking .

Review Le s sons Two an d Thre e .

LESSON V.

Observe , careful ly, that there i s al so a not e in the sp ac e above, or be low , e ach l ine . Do n ot mem or i z e

the Sp aces, but always let the l in e de termine the posi t ion of a not e .

Teacherto hold Pupi l t o play

EXERCI SE 10 .

the se l ines note below note above note above note ab ove note above note abovedown on the 1st lin e . the is? line . the line . the 3rd line . the 49? line . the sth line .

the piano or under

the 5th line .)

Dri ll in this way : pl ay the note above the l $§ line ; above the 3? d l ine ; b e l ow the fi t. l ine, et c .

18

Play on the piano, 1§ § t ime looking , time not looking at the keyboard .

EXERCI SE 11 .

Think through Ex . 11 by se e ing the key men t ally when you look at the no t e .

Re ad E x . 11 sp e ak ing aloud the l e t t e r-name of each k ey rep r e sen t ed by the note s . e tc .

EXERCISE 12 . Reve r s e the proce s s ; t he teacher to play any k ey (within the compas s of exercise 11)on the piano and the pupil to writ e the same on the bla ckb o ar d or mus i c paper . (The pupil, of course,look

ing at the key held down .) Do thi s al so with two or three tone s as a short me lody .

EXERCI SE 13 Play on the piano, 15 ? time l ooking , t ime not looking at the keyboard .

EXERCISE 14. P11y on the piano,1$l3 t ime looking

,2nd time not looking at the keyboard .

Think through Exercises l 3 an d 14 by s eeing the keys mentally when looking at the note s .

EXERCI SE 15 . The teacher will hold down one , two or three k ey s, an d the pupil ( aft er looking at them)

will write them on the blackboard or pap er . It i s al so fine pract ice f or the teache r to poin t t o any note, o r

group of note s , in the abov e Exe r c i se s, an d the pupil to see men tally the key s repr e sente d by t ho se notes,

.

and then play them without the least he s it at ion or mi s t ake . Do this also in piece s and studie s .

14

LESS ON VI .

THE S TUD# OF THE BAS S CL E F .

Sh ow in g Posi t ion o f t h e B as s Cl e f Lin e s .

Hol d down the five B as s Clef keys ( line s) and study them . Memori z e the exac t look s (pos it ion) of each

key separat ely and all toge ther . C los e the ey e s and think them . Work to g et a good c lear ment al pic ture

of the st aff on the keyboard .

The line-key in the Bass Clef is between the fir s t two o f the L ower t hr ee black k ey s .

v n n to the right of the “L owe r ” t hr ee black k ey s

Sid between the “L ow two bl ack - k ey s .

4ih to the lef t o f th e “

Low ”thr ee - bl ack - k eys .

5 th n betwe en the upp e r two of the Low thr ee - black - k ey s

Dri ll the pupil to tell where any line in the Bas s lie s on the piano

15

Tell the pos ition of the following note s (line s) on the piano, without lookingat the piano .

EXERC I SE 16 .

Think thr ough mental ly by seeing the key when you look at the note .

Play the above Exercis e with lef t hand , looking, an d wi thout looking, at the keyboard . keep thefingers touching the keys .

Play, 1$§ t ime looking , t ime looking at the keyboard .

EXERCI SE 17

Think through mentally by see ing the keys when you look at the notes .

Play , l § § t ime looking , time not looking at the

Think through the above E xer cise by see ing the keys mentally while looking at the not e s

Review Le s son Three .

LESSONVII .

In the Bas s Clef, as in the Treble , there is a note in the sp ac e ab ove , or below, each line . Drill

in playin g the not e above any line call ed f or .

Example Play the not e above the fir s t l ine ; above the third l in e , e t c .

EXERCISE 18 . (one note) ,Play

,t ime looking

,end t ime not look ing at keyboard .

Think through Exercise 18 by see ing the key mentally when you look at the note .

Read Exercise 18 , speaking aloud the letter- names of the keys represented by the note s ; As , G, F, G , A ,etc .

EXERCISE 1 9 (two no t e s ) . Play, l§

.

t time l ooking , 29 d t ime not looking at th e keyboard .

The te ache r shou ld poin t to any note,or group o f not e s , in the above Exe rcises , and the pupil should play

them without the least hes it ation or mist ake Do this al so in p ie c e s

17

LESSON VIII .

SHARP S IN TREBLE CLE F .

A S h arp (it) before a note means , to play the n eares t next key ( one half- step ,white or black , which eve r

it happen s to b e) to the right , and affe ct s all the notes following on the same l in e, or sp ace , throughout the

me asure

S tudy at the piano .

Drill playing the sharp s mi scell aneously . For ex ample : Play C , C Sharp , F, F Sharp , E , Sha rp , A ,

Sharp , B , B Sharp ; F# ; D# ; All e t c . ,looking

,an d not looking, at the keyboard Drill as in L e s son 3

EXERCISE 21 . Pl ay, 1S? t ime looking , time not looking at . the keyboard .

Note . _ The signhme ans t o c ancel the sharp , and pl ay the key in it s natural position .

18

EXERC ISE 22 . 1st time looking , t ime looking at the keyboard

R eview E xer cise s 3 an d 4 .

Pl ay Exer ci se 11 , sh arping every note ; Al so Exer cise s 13 an d 14

LES S ON IX .

FLATS IN TREBLE CLE F

a not e means , to pl ay the n eare st next key down white or whichever

the teache r to cal l f or any one .

A A F lat B B Flat C C. Flat D D F lat E E Flat F F F lat G GF lat(nex t bl ack (n ext black (nex t wh ite ( next black (nex t bl ac k (nex t white (nex t b lackkey t o le ft .) key t o left key t o le f t_ key t o left .) key t o left .) key t o left .) k ey to left .)

same as B . )

https://www.forgottenbooks.com/join

20

LES S ON X

SHARPS IN BA S S C LEF

Sharp s by call ing f or any one .

F FSharp GGShar p A ASharp B B Sharp CCSharp D D Sharp E E Sharp F FSharp(next black (nex t black (next black (next wh ite (next b lack (next b lack (next white (nex t b lackkey t o r ight .) key to r igh t .) key to r ight k ey t o right k ey t o right . ) k ey t o r ig ht .) k ey to r ight .) key to right .)

EXERCISE t ime looking, t ime looking keyboar d .

EXERCISE 27 . Play time looking,ze d t ime not looking at the keyb oard .

EXERCI SE time lookin g t ime looking keyboard .

Th e teacher should poin t to any not e, or group o f no t e s , in the aboVe Exerci se s , pupi l tell i t s

exact p os ition on the keyboard; or, play withou t hes it at ion or mi st ake .

Play Exerci se s 18 , 19 and 20 ,Sharping ev e ry n ote .

Dr ill in Flat s, the t eacher call ing

S tudy at the p iano .

F Flat G GFlat A AFlat B B Fla-t C C Flat D D Flat E E Flat F F Flat(next whi te (nex t black (next black (nex t black (next wh i te (nex t bl ack (next b lack (next whitekey t o left__ key to left .) key to left . ) k ey to left .) k ey t o left key to left .) key t o left .) k ey t o leftsame as E. ) same as B . ) same as E.)

L E S SON XI .

FLAT S IN BA S S CL E

f or any one

EXERC I SE 29 . Pl ay,looking and without look ing at the keybo ar d .

Think through E xe r c i se 29 see ing each mentally look the note

EXERCI SE 30 .

E XERCI SE 81 .

The te ache r should poin t t o any not e , or group o f note s , in the above E xerci s e s , and the pupil te ll

exact posit ion on the keyboard . Do thi s a l so in p ie ce s

Pl ay Exe rcise s 18 , 19 and 20 , Flat t ing eve ry note .

LES S ON XII .

EXERC I SE 32 Part I . Name each key out loud as you play . S tudy at the piano .

*

L e s son 12 “ looking and not lookin g

P art II

Pa rt III .

EXERCISE 33 Part I . Name e ach key ou t loud a s you playfi‘

Part II .

23

Pa rt III .

Think through the above Exe r ci se s by see in g the keys m en tally as you look at the not e s .

* It i s not ne ce s s ary to s ay E“

Natu ral f’ Le arn t o m ean E when you say E . EFlat when say E F l at ;

E Sharp when you s ay E Sharp . The s ame with all othe r note s . Play exercises and 174in the same manner as Les son XII.

LES SON XIII .

EXERCI S E 84. Part I . _ Name e ach key ou t loud as you pl ay .

lookin g and looking at the keyboard .

Par t II

Par t III

EXERCI SE 3 5 . Part I . _ Name each k ey out loud as you p l ay .

Par t II .

Part III

Think throug h the abov e E xer c i s e s by s eeing the keys m en tal ly you lookPlay Exercises and 20 in the same manner as Lesson XIII .

LESSON XIV.

TREBL E C L E F .

EXERC I SE piano . Play,looking, and look ing at

Par t II .

n ot e s .

26

BA S S CL E F

E XERCI SE 37 . Par t I . P l ay, l ook i ng, an d not looking at the keys .

Part II

Par t III

https://www.forgottenbooks.com/join

28

EXERCI SE with r ight han d; then with left hand ; with both hands together .

Exerci se Fl att ing every note , Sharpin g every note

EXERCISE both St aves,han d s s epar at ely ; then hands t oge ther .

LES S ON XVI .

NOTE S ABOVE THE TREBLE STAFF .

( Il i gh -Tlteble Li ne s .)

Hi gh-Treble High-Treble High-Treble High-h eme High-TrebleOne Two . Thr ee Four Fiv e Notes on the Shor t Lines .

0

HoldG

down

Notes above the Shor t Lines . Part I . Par t II .

#

Hol d the Hig h-Tr eble Staf f down on the p iano , and form a clear mental picture of it s po sit ion . Dri ll the

pupil to pl ay the se high- treble lin e s on the piano , by calling f or them in thi s way : Play high- t reble one high

treble two ; h igh- treble three; h igh- t reble four , et c . Al s o,by po int ing to any group o f Par t I , th e pupil t o

play only th e highest line of th e group

Do l ikewi se with the note s above the Shor t line s For example : Playthe note above hi gh-t reble on e ;

above high - t reb le four; above high- t reble three , et c Al so p oint t o any note in Part II , and hav e th e

pupil pl ay it easily an d # uickly .

Dri ll this thoroug hly . The tea cher should hol d down the Tr eble Staf f l in e s throughout the above work

at the .piano , so as to form a b ette r locat ion f or the Hig h-Tr ebl e line s

Rever se the proce ss ; the teacher to play any high- treble key , and the pupi l to write the same on the board

or pap er

30

on the p i ano

When th e above Exer c i s e i s e a s ily done , prac t i ce i t , Sharping every note; not e .

Play each note ht ,Mi as in Exerc ise 32 . Sharp every other note . Flat every other note .

LES SON XVII .

NOTE S BELOW THE TREBLE STAFF

(Low Treble L ines .)

Low - Treb le Low -Tr ebl eTreble On e . Two . Notes on the Shor t Line s .

Not e s be low t he Low-Trebl eShor t L in e s Part I

31

Form a cle ar mental pi c t ure of the e'xact posi tion o f the Low-flet le l ine s on the k eybo ard .

P ar t I

shoul d be drilled at the p i ano i n the s ame way as i n Le s son XVI , by c all ing f or any l ow - t r eb l e l i n e ,or not e be low th e l i ne . For ex ampl e : Pl ay low- t rebl e on e : low- t reble three ; The note und e r on e

unde r two , et c . Al so the t e ache r w i l l poi nt to any l in e , or not e , i n P ar t I and t he pup i l w i l l p l ay

the s ame at the p iano .

R eve r s e the p ro ce s s ; the t e ach e r to pl ay any low - t rebl e k ey on the p i a no , and t he pup il to write

i t on th e board . Not ice that the short lines below Middle C are the same on the p iano as the upper long l ines

in the bass staff. One line below Middle C“

long”

or

“

shor t” is

E XERC I SE 44

t imehold down .

# hen Exerci se 44 is pract ice,Sharp ing note also Flat t ing every no te .

P lay each note h, t , I”; as in Exercise 8 2 . Sharp every other note . Flat every other note.

LESS ON XVIII .

NOTE S ABOVE THE BAS S STAFF .

(Hi gh Ba s s Line s .)

L ine . H igh-Bass L in e . High-B ass L ine . Note s on t he Sh or t Line sO

S ld d .

Not e above Not e ab ove Note abovee om use

i s? Shor t L ine . 2134Short Line . 324Shor t L ine .High - Bass Lin e S

Form a mental p i c ture of the Hi gh-B a s s S t a ffon the keyb o ar d .

Drill the pupil to find the Hig h -B ass l ine s # uickly on the p iano . Al so with the note s above the shor t l ine s .

Call f or any one,as in Exer cise 16 . Rever se the proce s s by playin g the key and the pupil showing the corre

spending not e , or # rit ing it on the board . High bass note s are treble notes w r i t ten another way.

EXERCI SE 45 .

l et t ime hold down .

On r epe at do not

When E xer c i s e 45 i s easily done , play, Sharping every note , al so Fl att ing every note .

Also I) , th ii each note as in Exercise 3 2 . Sharp every other note . Flat every other note.

33

LESSON XIX

NOTE S BELOW THE BAS S STAFF

(Low - B a s s L i ne s .)

Shor t Lin e SE“? Shor t Line Shor t Lin ebe low . b e low. b elow . No tes on t h e Sh or t L ine s .

No te b e l ow Not e be low No t e be low No t e b e lowt he S t aff . l i t Short Line . Short Lin e . Short Line .

M idd le 0Low B a s s S t aff .

Form a cl ear menta l pic ture o f the Low -B a s sL ine key s .

Dr ill the pup i l to find the Low-B ass l in e s # uickly on the piano . Al so dr ill the no t e s b e low the s h o r t

lin e s,as in Exe r ci se 17 . R eve r s e th e pro ce s s by pl aying the key an d having t he pup i l Show it s p o s i

t ion on the music,or write i t out on the b oard

E XERCI SE 46

Flt. t ime hol d down .

When Exe r c i s e 46 i s pl aye d e asily , play , Sharping every note , al so F l att ing every not e .

LES S ON xx .

4:

E XERC I SE t ime looking,

t ime looking k eyboardf

P l ay E xe r ci se 47, F latt ing eve ry note , al so Sharp ing every n ot e .

E XERC I SE t ime l ooking , t ime n ot looking k eyb oard #

Exercise S harping every nOt e , al so F l att ing every not e .

T The e asier stud ies of Cz erny, Kb'

hl er , et c . , may be t aken up in l ike mann er . In fact , all p ie ces and technical studie s should,t ime s, be pl aye d slowly , without l ooking at the keyboard . This trains the ear and is an aid t o concent rat ion .

I#Feel f or the keys as in Exerc ise 3 .

https://www.forgottenbooks.com/join

36

LES SON XXII .

EXERC ISE 50 . P lay e ach group o f l ine s a s though they were not es , ( hands toge ther'

at pleasure).Form

a cle ar mental pict ure of the t reble line s , High- t reble line s , an d Lowstreb’

le line s ,both on themusic and on the

Piano High-Trebl eL ines

Memoriz e the B ass- l ine-keys on the piano .

EXE RCISE 51 . Hand s t ogethe r .

LESSON XXIII .

In the following Exerc ise s study the exact dist ance o f each group form accurate habit s

of locating the i r po sitions. Playwi thout looking at the keyb oard .

Pl ay Slowly . At h rest place hands in to the lap .