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Double Bass Sight reading.
- Thread starter HunterBrodt
- Start date
yeah man, just gotta read and read some more. there's a newish site out there that seems to be a damn nice resource for sight reading. they're varying levels of difficulty so there's pretty much something for everyone. the address is sightreadingfactory.com.
peace
peace
I just signed up for this one. Free trial, so I guess that I'll have to pay for it soon, but if you want to practise sight-reading, this is awesome! The only thing it misses is varying metres and keys with the "another one" button, but the material it creates is perfect, and also of adjustable difficulty! I'll be sitting hooked to this with my laptop all this spring prior to the auditions.
Just use your own metronome, set difficulty and play on! Been looking for something like this for a long time. Many etudes (that I've practised on) are just logical diatonic figures repeated up and down, which just makes me skip reading after I figured them out. This one is just generates random unique pieces in accordance with the basic general textbook rules of composition, so it's not some random Stockhausen mess, while still not a scale repeating in various patterns.
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Exercises and Etudes for the Jazz Musician, J.J. Johnson
Reading Contemporary Electric Bass, by Rich Appleman (the Berklee book)
I can't recommend the Raph book enough for getting it together for reading swing big band charts. It's very focused. J.J. Johnson's book is great for melodic development and reading in the upper register (lotsa ledger lines!). The Appleman book covers a lot of stylistic ground.
Exercises and Etudes for the Jazz Musician, J.J. Johnson
Reading Contemporary Electric Bass, by Rich Appleman (the Berklee book)
I can't recommend the Raph book enough for getting it together for reading swing big band charts. It's very focused. J.J. Johnson's book is great for melodic development and reading in the upper register (lotsa ledger lines!). The Appleman book covers a lot of stylistic ground.
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Even though i need reading glasses now, I can still get away with not using 90% of the time because I recognize word shapes.
Same with music (not the glasses but the shapes) but with the time element embedded. +10 on the counting. Every musician needs to really play percussion. The Indian (East Indian) method of Konoko - The Ta-Ka-Di-Me-Dun-Dah that the tabla and mridangam players do to vocalize the rhythms are priceless but probably beyond the scope of this discussion .
Doing etudes are fine but remember, jazz rock etc we do phase lock and orchestral players don't. So if you don't want to lose that swing when you are doing Simandl Etudes for example. Set your metronome on 2 and 4 or better a swing pattern drum track loop. Yep -- you need that metronome.
Same with music (not the glasses but the shapes) but with the time element embedded. +10 on the counting. Every musician needs to really play percussion. The Indian (East Indian) method of Konoko - The Ta-Ka-Di-Me-Dun-Dah that the tabla and mridangam players do to vocalize the rhythms are priceless but probably beyond the scope of this discussion .
Doing etudes are fine but remember, jazz rock etc we do phase lock and orchestral players don't. So if you don't want to lose that swing when you are doing Simandl Etudes for example. Set your metronome on 2 and 4 or better a swing pattern drum track loop. Yep -- you need that metronome.
