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Hi,
I found this image on the web a few years ago, could not trace its source. Maybe you find it useful.
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10-14-2018 05:18 PM
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Originally Posted by Alder Statesman
Still trying to figure out how sight reading is a dog whistle to stoke my racial fears and make me vote against my own economic interests, but I did read that the Russians are getting ever more sophisticated.
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Oh, they read the fly sh*t off a paper.
BTW Rob is a great reader, judging by his videos. Why doesn‘t he chime in? Too busy with his 10 string?
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So, OP out of the discussion, I'll share this with the rest of us. I had lunch with a friend of mine who teaches at NEC, they've got some really talented musicians there. In his ensemble a bass player asked about reading skills. Classically trained players often have reading ability but not on the level necessary for jazz gigging or studio work. A discussion ensued. Great tips. Seasoned insights. A few takeaways:
Work 5-10 minutes a day. The learning curve diminishes after a while and frustration can be counter productive, even negating in some situations.
Mix it up. Take a line, read it backwards, rhythmicize it and be creative with the finite reading elements contained within that day's material. It sharpens the ear and keeps it alive. Creativity is a drive within itself.
Take a line, use your own sense of dynamics. It imparts a sense of lyric, brings it from mere "reading" to music.
There were a bunch more, but I thought these were really useful.
Hope this can add something to our discussion here.
David
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OP may have been just a troll, or an impatient student who in reality hasn't been reading music that long.
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Or more likely, with all this advice was taken, he's become an excellent sight reader without peer, has gotten a studio job in a high profile LA studio and no longer needs the advice of the forum. Originally Posted by Dave70
On his behalf, I'd like to thank you all.
The issue of mental retardation will be decided at a later time on a different forum.
David
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He probably already spent all the studio money on coke and women. I mean - the discussion took that long
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Is this the voice of experience? Some of us have all the luck. Originally Posted by emanresu
He probably already spent all the studio money on coke and women. I mean - the discussion took that long
David
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I think it was like that back in the 80s....
Which is when this thread started....
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I bet snorting coke would speed up sight reading.
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Best thing I ever did to improve from a guy who could read a lead sheet to a guy who can play in a big band, was to join a reading band (aka rehearsal band) with arrangements that often had the guitar playing the role of a fifth horn.
Having to phrase with a horn section quickly shows you your mistakes and where the bar should be.
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Probably a good idea for beginners, who often lack confidence in this area. Originally Posted by emanresu
OTOH they may spend the entire evening talking about what a great sight reader they are.
It's a high risk strategy, but I'll try it in the next lesson, and get back to the forum with my findings.
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Don't horn players always rush though? Originally Posted by rpjazzguitar
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often times this approach leads to getting kicked out of Amicci's for challenging the Saturday night keyboard player to a sight reading duel by slapping a copy of Wohlfahrt studies on his music stand in an aggressive manner. Originally Posted by christianm77
ymmv
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My comment about the "bar" referred to the standard for reading, not the bar line. Originally Posted by don_oz
Don't horn players always rush though?
As far as horn players rushing, I think I drag enough that it seems like everybody is rushing.
To flesh this out just a bit ... When you play melody in a small group, you are free to interpret the line. You can start notes early or late, slide into them, and release them as you like. When you play with horns you'll find that the horns "melt" into one sound. They start and stop notes at the same instant. They also read the various articulation marks.
So, when I started doing it, I could often hear the guitar note as an individual sound, not melting into the horn section. To "melt in", I had to learn to start and stop notes at exactly the same time as the horns. Also, to read the articulation marks and to make sure that slides, pull-offs, sweeps and so forth all sounded exactly right. It was an entire other level of reading.
And all of that is quite beside being able to read a long syncopated line at high speed upon seeing the chart for the first time.
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To the O.P. (providing you're still among the Living):
Should you end it all, will you be leaving anything good behind?
You know, nice guitars, a classic Ferrari, a pile of ca$h, real estate, an attractive girlfriend or ???
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The following is some sight reading advice from Stevie Wonder:
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Speaking of reading, I saw this this morning looking at Christmas. This is an error I've seen a couple of times, and I honestly don't know how this is even possible, from a publishing perspective. I understand a wrong note here and there etc., but how can you make the whole thing be wrong in this fundamental way?
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Christmas sheet music in the public domain is butchered regularly, especially since the computer era. I hope you don't think highly skilled and paid folks are doing this work and proofreading it too. I see so much stuff that are just copies of copies of mistakes. Originally Posted by matt.guitarteacher
Speaking of reading, I saw this this morning looking at Christmas. This is an error I've seen a couple of times, and I honestly don't know how this is even possible, from a publishing perspective. I understand a wrong note here and there etc., but how can you make the whole thing be wrong in this fundamental way?
Last edited by cosmic gumbo; 10-20-2018 at 02:36 AM.
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This might be of interest. What caught my eye, apart from the ending, is that the piano part is notated normally with joined quavers whereas the vocal part is not.
Infant Holy Infant Lowly
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Yeah that’s normal for vocal parts. It’s to make it clearer to read with the lyrics.
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But does it actually make it easier to read? Depends what you're used to, I expect.
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Yes it does. Originally Posted by ragman1
I trained as a classical singer for a while. I wouldn't want tied quavers for separate syllables. Multiple vowel sounds (like in Italian music) on notes is bad enough lol.
You will see conventional beaming when one vowel sound is used for multiple notes - in a melisma. For instance this page, Handel's Messiah, has both:
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These two are good:
- William Leavitt series from Berklee (William Leavitt - Berklee Press)
- Charlie Parker omnibook. Lots of repetition and woodshedding on common keys.
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Interesting... I always sang, but began to take classical vocal lessons much later.. and I noticed that when I sight-read I did not care if it was tied or not at the beginnig... but later when I began to feel the difference of attacks from consonants and vowels, different ways of legato and all - I began to appreciate that untied way of writing...Yes it does.
I trained as a classical singer for a while. I wouldn't want tied quavers for separate syllables. Multiple vowel sounds (like in Italian music) on notes is bad enough lol.
You will see conventional beaming when one vowel sound is used for multiple notes - in a melisma. For instance this page, Handel's Messiah, has both:
And also it helps when you have to read (really read) both music and words at a time
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