I have a copy of Edwin Somes’ sight-reading book that was published in 1955 called “A First Book of One Hundred Progressive Sight-Reading Exercises for Piano Students”. Somes published a second volume and both of these books are still in print.
There is an author’s note on the first page where Somes discusses the reasons for poor sight-reading amongst piano students. He feels that poor sight-reading ability contributes to the failure for some pupils to maintain interest in learning the piano. Somes suggests that a little regular sight-reading should be assigned as soon as the pupil has grasped the ability to read the notes on both clefs, has a little knowledge of rhythm and time and can use their fingers individually.
In this first book of exercises, Somes states that they are progressive and that the first 72 are in a five-finger position. Following these exercises, are those that contain basic hand contractions and extensions that do not exceed an octave.
Somes states that he has not entered very much fingering, only those that he considers to be landmarks. When looking through the book, on some occasions they occur where there a large interval occurs or if the top or bottom note of a pattern needs to be played. By the standards of today, some of this fingering may be considered unnecessary.
It is reassuring to note that Somes insists that the pupil keeps his or her eyes on the music. He feels that developing the tactile sense must be one of the main objectives. Another main objective he asserts should be accuracy of the rhythm within the beat. He recommends that the pupil should be constantly reminded to play slowly enough so that their eyes keep ahead of what is being played.
Somes statement of “the occasional sounding of a wrong note in the right time is a more pardonable error than sounding the right note in the wrong time” is a very wise one. The italics are Somes’.
He suggests working through the book using ten exercises at a time; one set should be perfected before moving to the following set.
Initially the exercises are written in either the bass or treble clef. The first twenty exercises use the basic rhythms of semibreves, dotted minims, minims, the minim rest, crotchets and the crotchet rest. At exercise 21, quavers are introduced however these move in seconds. Larger intervals are being introduced. By exercise 25, quaver rests are presented along with time signatures such as 3/8 and 6/8. Exercise 31 sees the introduction of the tie.
By exercise 35, the grand stave is used and phrase marks are presented. Before long, the player is swapping between the hands on a frequent basis. Then there are HT exercises by exercise 37.
Accidentals are introduced in exercise 41, followed by the use of key signatures containing one flat or sharp. To keep the player on their toes, exercise 53 asks the player to play the LH in the treble clef and there are examples where both hands play in the bass clef.
From there, the examples become more and more complex and by exercise 73 where repositioning of the hands are required, there seems to be fingering marked in to assist the player. As can be imagined, more key signatures are presented.
By exercise 90, extensions and contractions are introduced with some advanced pieces concluding the book.
As described above, this book moves quickly through these concepts and if this book is used now, it would be a useful aid in the learning of sight-reading as long as other sight-reading books where used to supplement each stage.
Edwin Joseph Somes was born on the 17th September 1882 and he was baptised at St Andrew, Park Walk in Kensington and Chelsea on the 22nd November 1882, His father was a pawnbroker.
From Ancestry.co.uk
In the 1911 Census, Somes is boarding in Taunton, Somerset and is working as a professional organist and musician, and the following year he marries Edith M Pridham. They have two children, Lawrence Joseph born 20th July 1913 and Michael George born 28th September 1917.
From Ancestry.co.uk
Edwin Somes enlists in 1916, and on his enlistment papers, his occupation is professional musician. He is a member of the Army Ordnance Corps, working as a storeman clerk. Also on his record, it states that he is the Group 40 Organist and Choir-master.
In 1939 Somes and his wife are living in Taunton, he is working as an assistant teacher and she is a teacher too, possibly of ballet. Their younger son, Michael George became a ballet dancer and he frequently partnered Margot Fonteyn before she became partners with Rudolf Nureyev.
Edwin Somes died in London on the 26th February 1972, leaving an estate worth 10240pounds.