Audition today. I'm intimidated.

[cymbop]

Good deal, Khaspir. Keep us posted!

[Lorenzini]

Reading + guitar instruments (including bass) is a pretty rare skill, usually jump started with some kind of formal schooling experience or band (big band) experience, whether it's high school or college.

I come from a piano back ground and can read on bass, but can totally understand why it's hard to pick up for a bass player.. Because it's hardly ever used!

I HIGHLY recommend the Bach Cello Suites for reading skills, and also the James Jamerson "Standing in the Shadows of Motown" book which has transcriptions of some of his most well known recordings. Apart from those "essential" books, just find as much sheet music as you can and read the pants off it. Even piano music.

Since you have great playing skills and from what I can tell, awesome "get alongedness", when you get your reading at a professional level you are gonna be so in demand.

[seanm]

Originally Posted by Lorenzini

I come from a piano back ground and can read on bass, but can totally understand why it's hard to pick up for a bass player.. Because it's hardly ever used!

I agree. I have never been in a situation where I need to read. Learning to read, and more importantly keeping it up, would be a lot of work for that once I might need it.

[Williamsburgjim]

Originally Posted by khaspir

Well.... I don't think I got the gig. My sight reading was the issue - I was plenty talented technique wise, but they needed someone who could blaze through charts at a glance. I learned that my sight reading wasn't nearly as strong as I thought it was (complex polychord stuff at 180bpm+ was more of a challenge than I was ready for - the leader had mentioned 'maybe a little reading' when we talked before the audition).

Khasper,

I'm just curious, for those of us interested in those types of gigs, how was the written stuff presented? I'm assuming that it wasn't a simple chord/chart/lead sheet but actual music notation with multiple sheets. And the uptempo part would have been challanging too... . I'm just wondering, apparently they didn't want you to fake-it or just get the basic groove/notes from all the notation, as well as note values from those different sections, then do your own thing?

I mean, note for note is a bit unreasonable.

jimmyjo

[realdeal]

I don't mean to answer for Mr. Khasper re: his audition situation, but as far as sight-reading in general for certain projects:
It can be mandatory, play as written, at the tempo designated.
Holds true for many situations-show bands, backing vocalists, large-ensemble arrangements, classical pieces, etc.

Probably most of the projects done by players here, or in a rhythm section in general, Rock, Blues, R&B, Pop, etc. are song/groove oriented, and the role of the bass is to play a good solid supporing rhythmic foundation, following the chord and song structure.That'll work.
Other times, like this particular gig, there are compositions where the bassist needs to play a line AS WRITTEN, end of story.
Lots of examples- I recently saw a performance by guitarist Lee Ritenauer with a sextet I believe- I wish I could recall the bassist- (6-string IIRC) Blazingly fast, unison line with Lee and keyboards, great figures, very challenging song structure, and all the time, totally in-the-pocket. Awesome.
For a gig at that level, no other way than to have sight-reading skills down cold.
Same thing with Chick Corea/Patittuci, others as well.
Sounds like this was the type of project Mr. Khasper might have gone for.

Best advice I had was from a Classical pianist who suggested spending at least an hour daily sight-reading at increasingly difficult levels until....

[Valerus]

Oh well, at least you tried and had fun. Maybe you will get a surprise call, who knows.

[Silas Martinez]

Originally Posted by realdeal

I don't mean to answer for Mr. Khasper re: his audition situation, but as far as sight-reading in general for certain projects:
It can be mandatory, play as written, at the tempo designated.
Holds true for many situations-show bands, backing vocalists, large-ensemble arrangements, classical pieces, etc.

Probably most of the projects done by players here, or in a rhythm section in general, Rock, Blues, R&B, Pop, etc. are song/groove oriented, and the role of the bass is to play a good solid supporing rhythmic foundation, following the chord and song structure.That'll work.
Other times, like this particular gig, there are compositions where the bassist needs to play a line AS WRITTEN, end of story.
Lots of examples- I recently saw a performance by guitarist Lee Ritenauer with a sextet I believe- I wish I could recall the bassist- (6-string IIRC) Blazingly fast, unison line with Lee and keyboards, great figures, very challenging song structure, and all the time, totally in-the-pocket. Awesome.
For a gig at that level, no other way than to have sight-reading skills down cold.
Same thing with Chick Corea/Patittuci, others as well.
Sounds like this was the type of project Mr. Khasper might have gone for.

Best advice I had was from a Classical pianist who suggested spending at least an hour daily sight-reading at increasingly difficult levels until....

No problem answering for me. That was part of it, which was a bit of a surprise to me, based on the conversation with the band leader. Lots of unison keys/bass stuff, guitar accents, etc. Totally not what I was expecting from listening to sample clips and the 'homework' I was able to do. I was expecting a slightly .. hmm ... more 'interpretive' requirement.

That being said, it was an awesome experience, and I did really enjoy myself. A far cry from some of the 'you play with (4 or 5) strings and have a pulse - you're in!' auditions I've seen.

[realdeal]

In my "infancy" of working professionally, I had done a few spots with a singer/songwriter who graciously thought I was a good bassist. He referred me to an arranger he knew for a job backing a Female Singer, (a well-know actress ,actually!) who was going on a 12-city tour. REAL good money, real nice venues, lots of perks.
The audition was held with only her Musical Director and a Pianist, they gave me 2 charts, primarily chord changes , but several measures that were to be played exactly as written.

I faltered in reading the lines, and although they were polite, that was it! NEXT!

I could have learned and played the relatively simple lines by ear, given 10-15 minutes, but this was "show-biz" , strictly pro, not a group or someone's project.

And that was a wake-up call for me, regarding sight-reading proficiency. There's lots of worthwhile projects that don't require reading charts, but a Bassist has to be aware that to work as well, a Bassist, sight-reading ability will open many more doors than feel and groove alone. Combine the two, and BINGO! You'll never lack for some kind of gig.

In your situation, they probably should have made it absolutely clear that they expected the Bassist to audition by playing written lines, and that was part of the "job description". At least it wouldn't have caught you off-guard.

But no worries- Sounds like you're well aware of what the situation is, and I'll tell ya-To even be CONSIDERED for a role in which Michael Manring played bass...that's an accomplishment in itself.

All the best to you in your future projects. I have a feeling there's going to be some good ones lying ahead for you!

[Bass Viking]

Originally Posted by Lorenzini

I come from a piano back ground and can read on bass, but can totally understand why it's hard to pick up for a bass player.. Because it's hardly ever used!

+1. I used to be a pretty good reader and sight reader years ago when I was taking piano lessons and playing in my high school band. Now it's rusty.

[ZonGuy]

I liked the recommendation for "Shadows of Motown". Some of the baddest syncopation reading going.

For improving reading skills, play anything you can get your hands on - orchestral excerpts, big band charts, charlie parker omnibook, guitar trancriptions,violin method books, etc.

Bach's Goldberg variations are nice because the line moves between treble and bass clefs (but its all in the key of G)

Check out Tommy Tedesco's book "For Guitar Players Only". Tommy was a major guitar session player in the 60/70/80s and his book has a lot of practical advice on reading and working as a pro musician.

I actually read treble clef better than bass clef on bass. A very handy skill.