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Sight reading and chord symbol books.

Keith Medlock

Keith Medlock

Aug 12, 2013
13
1
#1
Hi all, I have an audition coming up in a few months and need to learn sight reading and chord symbols. Any opinions on the best book for each? I can currently only read well enough to translate to note names and memorize pieces, but this audition will be a piece sight unseen.
 
#2
Concerning sight-reading notation, it actually depends on what aspect of sight-reading you are strugling with: is it the reading itself (not able to read well enough and fast enough in real time), or is it the execution (not knowing well enough your fingerboard in order to play what you read), or both? It also depends on whether what you find difficult are the notes themselves (intervals, key signatures, accidentals), or the rhythm?

Concerning chord symbols, similar question: what is your problem, exactly? Is it that you are unfamiliar with the meaning of chord symbols themselves, or is it that you don't know what notes (root, 3rd, 5th, etc.) are implied by a given chord symbol (do you know without thinking what notes are in Bbm7b5?), or is it that you don't know where those notes are on your fingerboard?

With those precisions, one might be able to offer you some suggestions about how to improve your sight-reading.

Concerning the sight-reading audition itself, although you will see the music for the first time, you are usually allowed to study it (without playing) for a few minutes, before starting to play. So, here are things you should look for when studying the piece: (if you are allowed to write on the sheet, then use a pencil to circle spots that require special attention).
- the time signature and tempo indication (look also for possible changes of time signature and or tempo)
- key signature (and possible changes of key signature)
- style indication (eg. swing, rock, latin, etc.)
- overall structure of the piece (sections, repeats, exits 1 and 2, da capo, coda, etc.)
- accidentals
- articulation and dynamics indications.
- if there are spots with complex rhythms (syncopations, rests, tied notes, etc.) sing them in you head to make sure you are ok with them.
- scalar type material will be quite easy, whereas music will lots of skips will be more challenging; play the piece mentally to identify suitable fingerings, and mark them of the sheet in all places where they are not obvious.

Good luck!
 
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#3
Thanks for the reply! I know the fretboard well, but can’t identify the notes on paper fast enough to play, which is the biggest problem. I’m good with rhythm identification because I’ve been using the note duration & rests along with tablature underneath to play for years.

With respect to chord symbols, the symbol you wrote is Greek to me. I was told recognition of chord symbols would helpful, and that’s all I know on the subject!
 
#4
About chord symbols, knowing that it is worth learning them is a good starting point! You can find their definitions here: A Complete Guide to Chord Symbols in Music (and on plenty of other places on the net). The one I wrote for you was Bb half-diminished = Bb, Db, Fb (or E, if you prefer), Ab ( = root, minor 3rd, diminished 5th, minor 7th). You will need to practice arpeggios (in all inversions) of the various kinds of chords, in order to learn to play them. I would suggest to start with the most familiar ones (major, minor, dominant 7th), with the most common roots, before coming to more complex chords.

Concerning the sight-reading of notes, you may want to check some of the books written by the late Jim Stinnett which seem to be well done, and very progressive. You can view some sample pages, I believe, in order to find out what suits your needs. I believe the only recipe is "practice, practice, practice", starting slowly (as slow as you need to) with easy material, and increasing progressively the tempo and/or level of difficulty.
 
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#7
In regards to reading notation, just about any written music in the bass clef will do... trombone, cello, bassoon. However, I'd concentrate on music written for double bass or bass guitar, as it's more typical of the bass's conventional role. Simandl's New Method for String Bass, volume 1. More etudes than you can shake a stick at.
 
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#8
Keith Medlock said:
Any recommendations?
Click to expand...
Papageno said:
Concerning sight-reading notation, it actually depends on what aspect of sight-reading you are strugling with: is it the reading itself (not able to read well enough and fast enough in real time), or is it the execution (not knowing well enough your fingerboard in order to play what you read), or both? It also depends on whether what you find difficult are the notes themselves (intervals, key signatures, accidentals), or the rhythm?

Concerning chord symbols, similar question: what is your problem, exactly? Is it that you are unfamiliar with the meaning of chord symbols themselves, or is it that you don't know what notes (root, 3rd, 5th, etc.) are implied by a given chord symbol (do you know without thinking what notes are in Bbm7b5?), or is it that you don't know where those notes are on your fingerboard?

With those precisions, one might be able to offer you some suggestions about how to improve your sight-reading.

Concerning the sight-reading audition itself, although you will see the music for the first time, you are usually allowed to study it (without playing) for a few minutes, before starting to play. So, here are things you should look for when studying the piece: (if you are allowed to write on the sheet, then use a pencil to circle spots that require special attention).
- the time signature and tempo indication (look also for possible changes of time signature and or tempo)
- key signature (and possible changes of key signature)
- style indication (eg. swing, rock, latin, etc.)
- overall structure of the piece (sections, repeats, exits 1 and 2, da capo, coda, etc.)
- accidentals
- articulation and dynamics indications.
- if there are spots with complex rhythms (syncopations, rests, tied notes, etc.) sing them in you head to make sure you are ok with them.
- scalar type material will be quite easy, whereas music will lots of skips will be more challenging; play the piece mentally to identify suitable fingerings, and mark them of the sheet in all places where they are not obvious.

Good luck!
Click to expand...

The above message nails it pretty well. Practice sight reading what you think will be covered (genre/complexity/whatever) and study the above mentioned chord symbol guide. Look at random chord charts for music and decode the chords until you can figure out the rudiments of the chord without too much thought. Spell the chords in the chart and learn the pattern placement of the root, third, fifth, seventh and any modifications/suspensions.
 
#9
Keith Medlock said:
Any recommendations?
Click to expand...
Yep. Stinnett's books! vvv

Papageno said:
Concerning the sight-reading of notes, you may want to check some of the books written by the late Jim Stinnett which seem to be well done, and very progressive. You can view some sample pages, I believe, in order to find out what suits your needs. I believe the only recipe is "practice, practice, practice", starting slowly (as slow as you need to) with easy material, and increasing progressively the tempo and/or level of difficulty.
Click to expand...
 
#12
1) You absolutely have to learn to identify intervals and “spell” chords if you want to play from chord symbols. For example, Cmaj9 = CEGBD. There’s no way of playing from chord symbols if you can’t do this, and fast.

Reading - just find material online, and practise. There’s tons of stuff out there. Try searching for “bass transcriptions”. And stay away from tab.
 
#13
Keith Medlock said:
this audition will be a piece sight unseen.
Click to expand...
Just a reminder that sightreading is not the same thing as music reading, and must be developed as a separate skill. This post will not address the futility of trying to accomplish this in two months.

Imagine you are in a large orchestra. Parts for a new song are passed out to every player in every section. You have only a few silent moments to scan the sheet music before performing it. The conductor raises her arms, counts out a tempo, and the song begins. Every player plays their part perfectly from start to finish, without a single mistake. This is sightreading.

Now, here is how you practice sightreading:
  • It must be music you have never seen before
  • Quickly scan sheet music for all important information (key signature, directional markings, difficult passages etc.)
  • Do not stop or slow down during difficult passages
  • Do not repeat a passage in which you made a mistake
  • If you make a mistake, keep going
  • When you are finished with this piece, do not go back and play it again.
While sightreading is usually an ensemble activity, you may be required to practice it on your own. If this is the case, do it the same way you would if you were in an ensemble. The ensemble will not slow down, stop, or go back if you make a mistake. Therefore, you must keep going regardless of the severity or frequency of your mistakes.
 
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#14
Dreamadream99 has it correct.
Here are some ways to work on what you are talking about. Find a friend who plays an instrument well, doesn't matter what. Get a beginning band books from a music store, trombone for you and whatever for your friends instrument. Play the songs together. Count 'em off and don't stop for mistakes (that's important). If you allow yourself the luxury of stopping for mistakes, you'll be learning to screw up just to make things easy. Don't stop, even if you are missing most of the notes. Go back have another go of it.
As for chord reading, get some thing like iReal Pro. Play simple songs. Go through the songs 3 times. First time play the root on the change, 2nd time the 3rd, 3rd time, the 5th. Slow it down enough to get it right (even if its really, really slow). One you have it right, speed up the tempo a little bit.
You'll likely not get this all done before your audition. But you might be ready for the next one. Remember, learning too read standard notation, or chord charts is a skill, a process.... not an event. Repetition is the only way. You have time, spend it wisely.
 

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