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Double Bass Developing Sight-Reading

#5
It is good to just dive in.

I found it helpful to practice sight reading rhythms and notes separately at first, reading notes out of time (or rhythm), gradually building speed and reading rhythms always with a metronome. Starting with the simplest subdivisions and the metronome at around 60 bpm (or slower).

Once you get comfortable with note placement on the staff and simple subdivisions combine the two. Practice sight reading every day even if you spend only 15 minutes. The specific music isn't important just that you are doing it. And if you mess up just keep going.

Best of luck. Remember you can do it!
 
#6
Ye_olde_dragon said:
Not a DBist but still....

+1 to this. Just get yourself any book that explains it clearly and go for it. I'm in my second month of learning to read music and it's coming along. But it's like anything else...practice, practice, practice.
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Not a DBist? I don't understand... I've been reading music for years, and just reading is how I learned. You don't need a book to learn how to read. Once you get the basics down... (which you can get on the net) such as note values... to learn all you do is do it. It's like reading a book. Learn what sounds each letter makes... then just keep reading and reading until you get faster and more accurate.
 
#7
Sippy said:
Not a DBist? I don't understand... I've been reading music for years, and just reading is how I learned. You don't need a book to learn how to read. Once you get the basics down... (which you can get on the net) such as note values... to learn all you do is do it. It's like reading a book. Learn what sounds each letter makes... then just keep reading and reading until you get faster and more accurate.
Click to expand...

I play electric bass. I'm from the "other side of the tracks" so to speak. I've never played double bass.
 
#11
Since this thread is in the "orchestral technique" section I'm going to assume you're sight reading in a classical setting. Working out of a book like Hal Robinson's "strokin'" (a transcription of sevcik) or Ivan Galamian's second volume of "Contemporary Violin Technique" (no staves, just rythms and bowings) will help you understand rythms. Working on scales and arpeggios will help you gain confidence in your left hand. You'll be surprised by how quickly your ability to read rythms and pitches at sight will improve.
 
#12
Besides learning the fingerboard train yourself to count as you play. Counting out loud with a metronome is a great way to acquire the skill. Do it until it becomes automatic. I used to turn on the metronome and count out loud in the car on my way to rehearsals and concerts. Start with 1 2 3 4 and add subdivisions (1+ 2+, 1e+a 2e+a etc).
 
#13
Once you understand the syntax of written music, I would also suggest picking up a book like "Vade Mecum" from Slava (George Vance's stuff). It is a really good book for scales, rhythm and other techniques. But for you, the idea is play them and help your eyes learn to track the written page as you play. You also want to begin to form the association of certain positions and shifts common to particular key signatures. The scale and arpeggio drills help with this. (If you play Simandl, you should mark out or at least ignore the position and fingerings written in "Vade Mecum").

I would also encourage you to get the sheets to any pieces you may already know by ear and play those while tracking the sheets with your eyes. Beginner method books are often full of familiar passages. Pick up a few of those if you can. Just play "Twinkle, Twinkle" when no one else is home :) .

Eventually (I'm just about there!) you will be able to look at the pages and "play" the piece in your head. Practicing this with melodies you already know begins the process. (It also helps you learn to look at the your left hand much less!)

If you are truly talking about sight reading, you want to get to the place where you can pick a piece that is within your technical ability and play it reasonably proficiently on the first pass. So, your goal is to train yourself to associate the written notes with real tones and stop positions on the fingerboard. So if you are working with known melodies and your ears already have the "expectation of pitch, ( foot note attribution here to TBDBer wiser than I) " the associations begin to form more quickly.

If you find yourself in a for-hire, one-time event orchestra, this comes in pretty handy. If you have played it in your head a few times, you have a much better shot at sounding good when the noise starts.
 
#14
separating the rhythm and the pitch is a good advice.

if your struggeling with the notes on the fretboard flashcards might help. you can download some on my website www.bass-me-up.de. WARNING! they are all made for fretted electric basses. BUT it might help visualizing the postions of each note. kinda like a mind-map of the fretboard applied to the fretless fingerboard. just my 2cents worth :-)
 
#19
Playing in an orchestra is like going into battle ala Braveheart. Going to an audition is like going into a duel or boxing ring.

Going with the, "just do it" method, go to the first rehearsal for your next concert without looking at the music or listening to a recording before hand and force yourself to be as accurate as possible. You might get some frowns from those around you though!

Or crack open a Zimmerman book, put on metronome and go for it.
 

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