What Technique Helped You Learn To Sight Read Bass Notation Faster?

[Happynoj]

As Fergie said, the two main pieces of information you need when reading are the rhythm and the pitch. Other score notation can be slotted in once you've got the rest down.

If you are struggling with the rhythms, put the bass down, set your metronome going and just concentrate on clapping the rhythm. Break beats down into subdivisions and slow the tempo if you find a really tricky bit. When your reading is up to scratch you should be able to clap out pretty much anything at tempo.

If you are struggling with the pitch, pick the bass up, set the metronome going and ignore the rhythm. Just read the notes and play a note on each beat. That will help you to link the notes on the fingerboard with the notes on the page.

Once the rhythms and pitches are cemented in your mind, sight reading becomes much easier. Also, as other have said, just play stuff as much as possible. Start with simple things and gradually move to more complex things as you become more confident, but try and practise at tempo as much as possible - only slow small sections down if you are struggling.

 

[Clef_de_fa]

I have just begun focusing more on Sight reading and it has been a challenge. I've been doing quite good and I'm definitely making progress, but I feel like the technique I use to learn how to sight read is not working as fast as the techniques others use to progress their reading skills. Basically what I do is play the first measure of a piece real slow and then work on playing it in the correct rhythm and time, then I go on to the next measure.
I think that maybe that's not helping, so does anyone have any great techniques to advice they use when learning to sight read.
I've looked everywhere and basically all I've learned is that writing out the sheet music for the bass part in a song (which I haven't tried) and reading ahead will help learning how to sight read faster. Also knowing the rhythm really well will help out a lot, but other then that I haven't heard anything different.
I am working on all the above, but can someone give me some insight, could use all the help and advice I can get right now.
Thanks and God Bless!

It is like Learning to read in your own language ... it is a slow process but the more you do it the better you get. You can start with very easy stuff and start trying more difficult music. One thing you can read only the notes first and then read the rythm, then both of them at the same time ( like saying the note at the right pitch out loud and make it last the right rythm notation ). You said you do the same thing as I just explained but for only a bar at a time ... I talk about a whole section or the whole piece if it is short. Why ? Becayse you are about to apply the rythm, you'll know what is coming up and so I think you can progress faster that way.

 

[Masterbassist30]

what helped my bass sight reading ... ? the 10 years of Classical piano & 5 years of Trumpet that I had before starting on bass .. !

The official best way to learn music theory.

 

[Funk$tar]

As Fergie said, the two main pieces of information you need when reading are the rhythm and the pitch. Other score notation can be slotted in once you've got the rest down.

If you are struggling with the rhythms, put the bass down, set your metronome going and just concentrate on clapping the rhythm. Break beats down into subdivisions and slow the tempo if you find a really tricky bit. When your reading is up to scratch you should be able to clap out pretty much anything at tempo.

If you are struggling with the pitch, pick the bass up, set the metronome going and ignore the rhythm. Just read the notes and play a note on each beat. That will help you to link the notes on the fingerboard with the notes on the page.

Once the rhythms and pitches are cemented in your mind, sight reading becomes much easier. Also, as other have said, just play stuff as much as possible. Start with simple things and gradually move to more complex things as you become more confident, but try and practise at tempo as much as possible - only slow small sections down if you are struggling.

Yeah it's not really rhythm thats an issue, it's pitch.
It's hard to identify all the notes, especially when the key changes.
I mean the fact I know my scales has helped out A LOT, but I'm still having trouble identifying the notes.
As you all said, I'll probably start off with some simple pieces then gradually progress to more challenging ones. I also just wanted to know if you think transcribing the music is effective too?

 

[brianrost]

Nothing works better than reading it, the more you do it the better you become.

This

 

[Fergie Fulton]

Yeah it's not really rhythm thats an issue, it's pitch.
It's hard to identify all the notes, especially when the key changes.
I mean the fact I know my scales has helped out A LOT, but I'm still having trouble identifying the notes.
As you all said, I'll probably start off with some simple pieces then gradually progress to more challenging ones. I also just wanted to know if you think transcribing the music is effective too?

Most players develop a "mapping" system for putting their hand on the neck so as to maximise motion, I develop this in players as "fret mapping"...the term means nothing other than just mapping your way through a song or score. many players when first giving a piece will read it through, and identify areas that may give them a problem.
You will always see players almost play 'air guitar' as they think of and work out fingerings for their part....so in effect they are transcribing in their heads, and yes transcribing helps reinforce this, by letting you see the music flow on the page, rather than it being a series shapes..which can happen when learned on the instrument.

Songs come in keys, so the notes you use will be for the most part in, or harmonised to that key, so your hand can be place in a desired position to allow the fingers freedom to play with minimal movement.
There are four fingering options, as a rule once you develop one finger per fret.
All this gives you is the ability to start and piece, key, run etc on any finger....you do not favour any one finger to play the '1' for example.

Now this can be a revelation for players that struggle, because if they favour say their forefinger to play the strong beats, they will trip over their fingers trying to accommodate this feeling, rather than just play the note that is under their finger....they cannot let their route through the piece flow freely because they want to disrupt the flow...as such the have little options when moving down the neck towards the nut because the do not want to start runs or lines with say the little finger.

In the link, at 4.45 I use fret mapping for chromatic ideas, you can see fret mapping ideas in action at 12.20, but this just hints on what can be done because it depends on a players physical development and a need to be able to play such ideas when called apon to do so. But if my memory serves me right, Scott Devine has a video on the same idea as a dedicated lesson with better examples of how you can play scales/runs starting on any finger, if any Tbers have the link to the lesson please post as it is a great example of fingering option.

 

[StereoPlayer]

I have a Quadrephena, the Who, sheet music book.
It's pretty much transcribed note for note, in the proper order of the album.
I know the album pretty well.

I use it to brush up on my reading skills.

 

[Bigeyes]

If you're starting to learn to sight read the best advice I can give you is to be consistent. As others have said you are essentially learning a new language and this takes time and dedication. Practicing 30 minutes everyday is far more benifical that practicing an hour here or there.

Say if you have 30 minutes a day you could practice pure rhythm reading for 10 minutes, pitch recognition for 10 minutes and then 10 minutes to try play both of them together.
There's a great rhythm book I use called Modern Reading in 4/4 that you should check out and there is a really useful website called sightreadingfactory.com that randomly generates pieces of music to your specifications. They have a free trial but it costs around €30-35 a year and it is completely worth it.

From reading other threads I see you want to go to study music and become a professional musician. I am currently studying music and from what Iv learned from my tutors is that reading music is highly important. You'll never be turned away from a paying gig for knowing how to read but the amount of opportunities you could lose from not knowing is vast so it is a skill that is really worth learning to do.

 

[7dollarbologna]

I've been using this app

Bass Sight Reading Trainer on the App Store on iTunes

 

[Funk$tar]

I've been using this app

Bass Sight Reading Trainer on the App Store on iTunes

Does it really help?

 

[7dollarbologna]

Does it really help?

It helps me, I've gotten a lot better visualizing where I need to be when seeing a note on a chart- it's kinda fun too

 

[Funk$tar]

If you're starting to learn to sight read the best advice I can give you is to be consistent. As others have said you are essentially learning a new language and this takes time and dedication. Practicing 30 minutes everyday is far more benifical that practicing an hour here or there.

Say if you have 30 minutes a day you could practice pure rhythm reading for 10 minutes, pitch recognition for 10 minutes and then 10 minutes to try play both of them together.
There's a great rhythm book I use called Modern Reading in 4/4 that you should check out and there is a really useful website called sightreadingfactory.com that randomly generates pieces of music to your specifications. They have a free trial but it costs around €30-35 a year and it is completely worth it.

From reading other threads I see you want to go to study music and become a professional musician. I am currently studying music and from what Iv learned from my tutors is that reading music is highly important. You'll never be turned away from a paying gig for knowing how to read but the amount of opportunities you could lose from not knowing is vast so it is a skill that is really worth learning to do.

Thanks for the advice man, really needed it!
I'll have to check that book out, I'm about to start reading, "Simplified Sight-Reading for Bass (Bass Instruction)" by Josquin des Pres, it got a good review and the book looks excellent so let's see if it works!
How is your sight reading going though?

 

[Funk$tar]

It helps me, I've gotten a lot better visualizing where I need to be when seeing a note on a chart- it's kinda fun too

I'll have to buy it then!
Thanks!

 

[MrLenny1]

Cliff Engel from IIB has a good rythmic training exercise.
You use your bass but only pluck ghost notes.
It is very comprehensive.

 

[Bigeyes]

Thanks for the advice man, really needed it!
I'll have to check that book out, I'm about to start reading, "Simplified Sight-Reading for Bass (Bass Instruction)" by Josquin des Pres, it got a good review and the book looks excellent so let's see if it works!
How is your sight reading going though?

I haven't checked that book out myself but I have heard good things about it!
My reading is going grand, I'm fairly happy with the level I'm at but I can always get better at it so I read as much as I can whether it be in bass clef or treble clef. If you're dedicated then after a few weeks you'll notice huge improvements from when you started out!

 

[Funk$tar]

I haven't checked that book out myself but I have heard good things about it!
My reading is going grand, I'm fairly happy with the level I'm at but I can always get better at it so I read as much as I can whether it be in bass clef or treble clef. If you're dedicated then after a few weeks you'll notice huge improvements from when you started out!

Well I better start reading that book!
And Wow, that's great to hear!
Glad to see your handwork and dedication paid off, hope the same for me. I'll try starting this book today because I really want to learn how to sight read. By the way, how long did it take for you to get the basics of sight reading down?

 

[Bigeyes]

The sooner you start trying to read the sooner you will make progress. If I were you I'd definitely make a decision to start today.

It took me a couple of weeks to get the basics down but everybody learns at different rates.
Honestly I don't think you should be looking for 'faster' ways of learning to do it. There are no faster ways or shortcuts to learning to sight read. It is just one of those things where you must put the time in and read as much as you possibly can. The only way you'll get good at it is by reading loads.

When I first started I put more time into research about reading than I actually put into reading itself. When I stopped doing that and just opened a book and applied myself I found that its actually not the hardest thing in the world and the secret is to actually just do it.

 

[Funk$tar]

The sooner you start trying to read the sooner you will make progress. If I were you I'd definitely make a decision to start today.

It took me a couple of weeks to get the basics down but everybody learns at different rates.
Honestly I don't think you should be looking for 'faster' ways of learning to do it. There are no faster ways or shortcuts to learning to sight read. It is just one of those things where you must put the time in and read as much as you possibly can. The only way you'll get good at it is by reading loads.

When I first started I put more time into research about reading than I actually put into reading itself. When I stopped doing that and just opened a book and applied myself I found that its actually not the hardest thing in the world and the secret is to actually just do it.

That's awesome!
Eyy I'm about to start right now! haha ;D

 

[xUptheIronsx]

For me, the 3 most important factors (in order of most to least I guess) in getting my sight reading down were:

1. understanding rhythmic theory - like how you can subdivide the pulse into smaller divisions; the difference between duple and triple subdivisions and the the way those are used stylistically in different genres of music; how time signatures indicate all of this. I was/am a drummer first, so I lived in this world for years before I lives in the "melodic" world

2. knowing where the notes are on the bass neck, and seeing some of the common patterns that are laid out in the physical set up of the neck; knowing my major and minor scale fingering patterns; hand positions from double bass

3. melodic/harmonic music theory - specifically to bass, understanding the type of chord/harmonic progression; the overall harmonic structure[i.e. I, IV,V etc) will help you anticipate A LOT of stuff in regards to how you use the elements from #2 above

I am a band director as my 9-5, and I have had to teach sight reading on ALL instruments, not just bass. For me, the 3 things listed above are the crucial elements no matter what button or string you are pushing down. In all of the contests we go to, we have a sight-reading portion where the kids have to sight read a piece, and then they get judged on it. The number one element that everyone misses is rhythms and rhythmic organization.

It took me about 10 years to get REAL solid in my sight reading (from about 16-26). I was definitely self taught until I went to college for Music Ed. I still don't feel like I am top notch at it, but I have not lost a gig yet where it was required so....

 

[Kmrumedy]

I studied music in college and university which I believe is your goal based on some of your posts.

The post above this one is excellent advice. What I would add is some tools to practice and apply your knowledge.

My college bass instructor was one of the best session players in the city. He was a "First Call" player....the guy that gets most of the best paying sessions. He stressed reading above all else in preparing students to be working musicians ( at the time late 1980's there was still lots of studio work).

He used two tools to fast track the process. First was the book of Bach Cello Suites. Essentially endless 16th note phrases so you get to know your fretboard intimately. But rhythmically not too difficult as you don't have to deal with complex syncopation as you would in funk or other genres. It did force you to understand basic 16th note patterns. Now the magic of his approach was the "application" of how we used the tool.

We didn't learn the pieces. Actually, quite the opposite. Remember the goal is sight reading not reading something you know. So each class started with sight reading. He would just turn to any page and point to a single bar of music and we had to read it. At first we could read it at any tempo that was comfortable for us and only 1 bar of music. Then he would flip to another page, etc. Then when we got got good at 1 bar he moved it to 2 bars, 3 bars, 4 bars, etc. again at a tempo of our choice. Once we got good at that he opened the page put down a metronome and set a very slow tempo at 40 bpm. Then gradually the tempo went up as well as the number of bars we had to read. You made tons of mistakes at first. I mean TONS. It was really frustrating but you knew where you stood with your reading. But he wouldn't let you stop or get mad OR start over ! He didn't want us to learn the piece. Once we were doing much better at this and was gaining confidence he added the next tool.

Carol Kaye Electric Basslines Series. I think there were 6 books in the series. We all wrinkled our noses at the books thinking they were dated with "old bass lines" that were easy to play. Boy....we're we wrong! The books progress in difficulty and what we discovered was even though we could read the notes easily the rhythmic syncopation of the lines were really difficult at first. These are not easy lines to sight read. Even today. So...same process as above. He took Book 1 opened a page and we did the same process. 1 bar our own tempo, 2 bar etc. then the metronome. Nice thing about the Carol Kaye books is the lines are only 4 to 16 bar pieces. Also, you got to " graduate " to the next book once the teacher felt comfortable you had the syncopations down. Then Book 2 and the process.

The last piece he taught was strategy. He would bring in charts from sessions he was doing for producers and artists. These were actual charts the studio would put down in front of him. So we pretended we were doing the session. We had 2 minutes to look at the piece. He would put a piece down and ask " What do you see? How are you going to approach this?" What we learned that was invaluable was how to use our classroom music theory and apply it to real world situation. So he would talk us through it. What key is the piece in? Does it modulate? What is the form/structure? Tempo? What is the genre? Any trouble areas? (I.e. lots of notes or complex rhythm, lots of accidentals, etc.). He taught us to tackle those sections first. We developed a " mental checklist" to go through each time we attempted a new piece. You can replicate this yourself by taking any bass book that has transcribed songs you like. Open it up give yourself a few minutes to review and then give it a whirl. Come up with your own checklist.

There were two of us that studied with him. When we got to University we were pretty intimidated as everyone had monster chops. Then it came time for ensemble auditions. You audition in front of the entire faculty and all the bass players. They put down charts and you play with a big band. To our surprise we were the strongest readers...by far! Other students asked us how we learned it. By then, we could read anything.

Was it difficult? Oh yeah! Frustrating? You bet! Worth it......more than you know.

Hope this helps. Enjoy.