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Can you read music? Do you think it important?

#61
I beleive that if you are pursuing a serious career as a professional bassist (on any level) where this is what you do to earn your living it's a requirement if you want to work. It's a tool you have in your bag of tricks. If your goal is to be a casual weekend warrior in a cover band type of bassist, it's not that important. Being able to read chord charts at this level helps as well as having a good ear. Early on I took lessons from a classical guitarist and developing my reading skills was part of the equation. I presently for personal reasons only do pickup/fill in gigs at this stage of my life (56 yrs old) and really have not had to do much reading and my skills have deteriorated. I also have a day job now so, I have a steady income and there is no pressure on me "to work." I would advise all younger players with aspiriations of being a working professional to develop reading skills.
 
#62
I can read well and have half a uni degree of theory. If I couldn't read, a lot of doors would have been shut for me. Ditto for the theory. Formal music education has made me a better all-round musician. That has been my experience.

Feel and the ability to read are not mutually exclusive. Reading is an essential tool for studio and session musicians, who don't always have the luxury of making up their own bass lines, and who are expected to play written bass lines with feel/groove/whatever Vic is calling it these days.

(Anticipated response from one if those old rocker guys that always chip in around here: "I've been a studio bass player for 136 years and I can't read; you're wrong about everything. Reading is for elitists who can't play.")
 
#63
if you want to be an all-round musician, learn to read.

If you want to focus on specific areas of music, and in those areas reading would be useful, then learn to read.

If you want to focus on specific areas of music, and in those areas reading would not be useful, then don't learn to read.
 
#68
Let me get this straight...you turned down work???

Rule number one of showbiz is if someone asks you if you do something, always say "yes" and then develop the skill as quick as you can if you don't already have it.

Seriously.

Anyway, as other people have said on here, your entire premise is based on a fallacy where you believe that reading takes your own creativity out of the equation. Only people who don't read believe that. Never once heard a reader say he/she regretted learning it or felt creatively stifled because of it.
 
#69
I read a little when I was young. I used my ear during my twenties. I picked it back up in my thirties (41 now). I recently got a gig with a well-known Jazz legend. I'm glad that I took it back up! I learned the material by ear before he sent the charts. I was spot on on some things; the charts made me spot on on all things. Honestly, it isn't my favorite thing, and I work on it for 15 minutes or so during a practice session. It helps me to break out of my patterns. Basically, do what you like. Your "success" is based on how your life (the only one that you get) is enhanced by music, whatever that means. As a studio owner I know theory gurus who have no feel and "good feel" guys who have no theory knowledge. On the other hand, I know "I play by feel" guys who are limited and theory gurus who have other-wordly talent. As V Wooten says (kinda): We are merely borrowing music. It is always out there. We merely pull from what already exist. Exist how you choose.
 
#70
JimmyM said:
Let me get this straight...you turned down work???

Rule number one of showbiz is if someone asks you if you do something, always say "yes" and then develop the skill as quick as you can if you don't already have it.

Seriously.

Anyway, as other people have said on here, your entire premise is based on a fallacy where you believe that reading takes your own creativity out of the equation. Only people who don't read believe that. Never once heard a reader say he/she regretted learning it or felt creatively stifled because of it.
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+1
 
#72
JimmyM said:
Let me get this straight...you turned down work???

Rule number one of showbiz is if someone asks you if you do something, always say "yes" and then develop the skill as quick as you can if you don't already have it.

Seriously.

Anyway, as other people have said on here, your entire premise is based on a fallacy where you believe that reading takes your own creativity out of the equation. Only people who don't read believe that. Never once heard a reader say he/she regretted learning it or felt creatively stifled because of it.
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+99999999999999999
 
#73
topo morto said:
Why?
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First of all... I believe the value I learned reading classical parts on upright helped me become a more well rounded musician and enhanced my knowledge in jazz, rock, and R&B on upright AND electric. I was fortunate to be a member of the Detroit All City orchestras during my school years. Also, if you're learnign jazz, for example, reading well written parts will help you figure out lines, feel, and structure for the things you wish to create. It's much easier to read a chart than to listen to a recording ad nausium trying to discern what is being played. Those James Jamerson transcriptions on his memorial CD helped not only those pros who read and played them...but anyone else trying to figure out Jamersons incredible feel by READING the very same notes he played.
 
#74
SoCal1 said:
First of all... I believe the value I learned reading classical parts on upright helped me become a more well rounded musician and enhanced my knowledge in jazz, rock, and R&B on upright AND electric. I was fortunate to be a member of the Detroit All City orchestras during my school years. Also, if you're learnign jazz, for example, reading well written parts will help you figure out lines, feel, and structure for the things you wish to create. It's much easier to read a chart than to listen to a recording ad nausium trying to discern what is being played. Those James Jamerson transcriptions on his memorial CD helped not only those pros who read and played them...but anyone else trying to figure out Jamersons incredible feel by READING the very same notes he played.
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Cool. I thought you might be alluding to Jazz and classical... interesting that you should mention motown too.
 
#75
By the way...this topic reminds me of the lengthly discussion I participated in just last month with guitar legend and Funk Brothers guitar section leader Joe Messina. Joe, an incredible musician stressed the importance on any fretted instrument to KNOW what note you are playing anywhere on the fingerboard. I reminded him that his fellow Funk Brother James Jamerson rarely strayed from first position which Joe agreed may have been an element in his greatness...not having to memorize so many notes on the fingerboard. ALWAYS know what note you are playing...not just looking for the right fret to fit the part. In other words...know WHAT you're hitting, not just WHERE you're hitting.
 
#77
topo morto said:
Cool. I thought you might be alluding to Jazz and classical... interesting that you should mention motown too.
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That's a bit of a myth. While it's true that jazz and classical are the predominant "readers" music, I spent the weekend reading charts playing 50's-60's doo wop and rock and roll backing up some of the original artists of that era. I've also done a couple 70's disco shows backing up original artists of that era where reading was needed as well. Might not need reading if you join a rock band and rehearse till you get it right, but it sure brings the learning curve down to be able to do so.
 
#78
topo morto said:
It's only one form of communication - there are others. And there are plenty of guitarists and bassists who read music, and plenty of musicians other than guitarists and bassists who don't.
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I've never played with a clarinet player, trumpet player, oboe player, flute player, violin player, french horn player, or viola player who couldn't read music. There might be plenty of musicians who can't read music, but I would bet most of them can.
 
#79
I'm working on reading more. My kid started piano lessons at five. Ten years later, he can read anything you put in front of him. Frankly, I'm jealous. It's the result of good a good musical education. I didn't get one, he did. I paid for it.

One day I said to my wife, "I'd give anything to be able to read like John." (I was moaning about how hard it can be to get a teenager to man up and practice). She asked me if I'd give an hour a day. Ouch.

Stuff I learn by reading tends to stick in my memory better, even if I haven't played it that often. I have a visual as well auditory, and muscle memory of the music. Pretty cool.

So, to I try to read something, anything, everyday.

When you want to keep up with guys who work with written music, ignorance is not anything like bliss. It's illiteracy.
 

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