Sight Reading Tips by Hiroaki Honshuku

Transcription

1 Sight Reading Tips Slide 1 This seminar is focused on jazz music, and assumes audience has adequate proficiency on their instrument Sight Reading Tips By Hiroaki Honshuku When you write a chart, you must always put yourself in the sight- reader s chair. Consider the relevance and the relationship. Sight- reading skill is to translate brain to hand. You must be able to handle your instrument without thinking the fingerings, hand positions, etc. It is the same as book reading. You must be fluent in the language to be able to perform book reading in public. INTRO Slide 2 INTRO The key to the successful sight-reading Relaxing Relaxing Most of the sight- reading failure comes from pressure. You must calm yourself. Page 1 of 17

2 Slide 3 INTRO The key to the successful sight-reading Relaxing Focus Focus You need to relax but stay focused. Can t be distracted. Relaxing and focusing are not 2 opposite things. Slide 4 Reading ahead The goal is to read 2 bars ahead. INTRO The key to the successful sight-reading Relaxing Focus Reading ahead You must be reading at lest 2 beats ahead. Slide 5 Subdivision Draw imaginary lines per subdivision INTRO The key to the successful sight-reading Relaxing Focus Reading ahead Subdivision Page 2 of 17

3 First Things First Slide 6 First thing first Read the time signature and time change if any Read the time signature and time change ahead if any Go through the entire piece and red- pencil in if necessary. Make sure you notice the pulse changes if any, i.e., old dotted quarter in 6/8 becomes half in 4/4. Slide 7 First thing first Read the time signature and time change if any Read the key signature and key change if any Read the key signature and key change ahead if any Same as Time signature, make sure there will be no surprises down the load. Slide 8 First thing first Read the time signature and time change if any Read the key signature and key change if any Guess the phrasing groups 32 bars standard > 16 bars x 2 Guess the phrasing groups Most of the music is written in even numbered groups. Evenly dividable rule may not apply to modern music and Brazilian songs watch out. Pencil divisions by phrases if necessary. Page 3 of 17

4 Slide 9 Guess the phrasing groups 16 bars into 8 bars each First thing first Read the time signature and time change if any Read the key signature and key change if any Guess the phrasing groups 32 bars standard > 16 bars x 2 16 bars > 8 bars x 2 Slide 10 Guess the phrasing groups 8 bars into 4 bars each First thing first Read the time signature and time change if any Read the key signature and key change if any Guess the phrasing groups 32 bars standard > 16 bars x 2 16 bars > 8 bars x 2 8 bars > 4 bars x 2 Slide 11 Guess the phrasing groups 4 bars into 2 bars each First thing first Read the time signature and time change if any Read the key signature and key change if any Guess the phrasing groups 32 bars standard > 16 bars x 2 16 bars > 8 bars x 2 8 bars > 4 bars x 2 4 bars > 2 bars x 2 Page 4 of 17

5 Slide 12 First thing first Read the time signature and time change if any Read the key signature and key change if any Guess the phrasing groups 32 bars standard > 16 bars x 2 16 bars > 8 bars x 2 8 bars > 4 bars x 2 4 bars > 2 bars x 2 2 bars > 1 bar x 2 Guess the phrasing groups 2 bars can be felt 4 pulses, which can be divided into 2 pulses each Slide 13 Guess the phrasing groups 2 beats per measure First thing first Read the time signature and time change if any Read the key signature and key change if any Guess the phrasing groups 32 bars standard > 16 bars x 2 16 bars > 8 bars x 2 8 bars > 4 bars x 2 4 bars > 2 bars x 2 2 bars > 1 bar x 2 1 bar > 2 beats x 2 Slide 14 Flor-de-lis by Djavan Flor- de- lis by Djavan One of the typical phrasings in Bossa Nova music. Page 5 of 17

6 TOPICS Slide 15 TOPICS Rhythm Subdivision Rhythm By subdividing, you will be able to comeback when dropped out. The worst thing is getting lost. Slide 16 TOPICS Rhythm Subdivision Group per pulse Group per pulse In 4/4 and 6/8, pulse is 2 beat each subdivide a measure in half. In 3/4, the pulse maybe each quarter beat or one measure if fast tempo. Slide 17 Odd meters Feel the pulse. TOPICS Rhythm Subdivision Group per pulse Odd meters 5/4 can be pulse group of 3+2 or /8 is usually 3 pulses plug a half. Page 6 of 17

7 Slide 18 TOPICS Rhythm Subdivision Group per pulse Odd meters Know typical syncopation patterns - - in jazz (4/4) Anticipated kicks Know typical syncopation patterns You must be familiar with the style of the music to catch the typical patterns such as offbeat patterns in jazz and Brazilian music. Slide 19 TOPICS (cont.) Pitch Too many leger lines? Not your usual clef? Pitch If you are not comfortable with reading pitches then you must practice separately. Slide 20 TOPICS (cont.) Pitch Too many leger lines? Not your usual clef? Accidentals Accidentals You must memorize the first occurrence so you do not forget the carryover within the measure. Page 7 of 17

8 Slide 21 TOPICS (cont.) Skip analysis See the chord tones in the air See the bad notes in the air You are sight reading. There is no time to analyze. Granted, you should be able to see the usual progressions such as II- V motion, V- I motion, subv to pull out a cool ricks, but in general you need to see the safe notes without analyzing. Slide 22 TOPICS (cont.) Must be able to read concert part. Good to be able to read at least B and E parts If your instrument is transposed, you must be able to read C part. If your instrument is in C, it is always good to be able to read at least B and E parts. RHYTHM Slide 23 RHYTHM Example 1 This is an 8 bars phrase but is not printed in 4 bars each, which could trick you. It may be easier to pencil in a 4 bars marker. Example 1 This is an 8 bars phrase but is not printed in 4 bars each, which could trick you. It may be easier to pencil in a 4 bars marker. Page 8 of 17

9 Slide 24 RHYTHM Example 1 This is an 8 bars phrase but is not printed in 4 bars each, which could trick you. It may be easier to pencil in a 4 bars marker. Example 1 See drawing the line makes it easier to feel the phrases. Slide 25 Example 1 Imagine or pencil in the pulse subdivisions RHYTHM Example 1 Imagine or pencil in beat subdivision Doing this, you can catch up after making a mistake or dropping out. Notice the benefit on bar 7. Slide 26 Example 1 Sing the rest! RHYTHM Example 1 Sing the rest Singing the rest is very important especially when the rhythm is off the beat. Use syllable en to be groovy. Page 9 of 17

10 Slide 27 RHYTHM Example 1 Know the standard articulation when not clearly marked Example 1 Know the standard articulation when not clearly marked Pay attention to bar 5. The quarter note is almost always short in this pattern. Slide 28 Example 2 Complex time signatures RHYTHM Example 2 Complex time signatures Assume the 8 th note value is constant in this example below See the pulse and sing the rests. Slide 29 Example 2 An example to feel the pulse as shown. RHYTHM Example 2 An example to feel the pulse as shown In this particular example, 3/4 needs to be felt in 2 The red line on the 7/8 measure is indicating the 4 th quarter beat which you make it half short. There are a few different ways to see the pulse depending on the music presented. This is just one of them. When 3/4 is written this way, you need to feel a group of three 8 th notes. Page 10 of 17

11 Slide 30 The best way to practice accidentals is Omnibook The best way to practice accidentals for modern American music is Omnibook. Slide 31 Sing the pitch to memorize the position Sing the pitches along the lines and the spaces to memorize the position. Slide 32 Sing the pitch to memorize the position Same goes when ledger lines The same goes when the ledger lines. Sing up for above the stuff, and sing down for below the stuff. Page 11 of 17

12 Slide 33 Now the bass clef Now the bass clef Slide 34 And its ledger lines Now the bass clef And its ledger lines Slide 35 Why Tenor Clef? Why Tenor Clef? Trombone range is up to B above middle C Trombone range is up to B (or even 2 nd D) above middle C, and tenor clef is used above G. Page 12 of 17

13 Slide 36 And the ledger lines for the Tenor Clef And the ledger lines for Tenor Clef Slide 37 This is the first 8 bars of one of my compositions called Dan Dan Dan. This is the first 8 bars of one of my compositions called Dan Dan Dan, 2002 A-NO-NE Music As you can see finding the proper chord scales may not be easy on sight- reading situation. Slide 38 Let s take a look at bar 9 and 10. Are all these minor chords Dorian? Is A 7 Straight Mixo or Lyd 7? Let s take a look at bar 9 and 10. Are all these minor chords Dorian? Is A 7 Straight Mixo or Lyd 7? As a composer, I intended first 2 minor chords to be Dorian but F#- 7 is Aeolian, and A 7 to be Straight Mixo despite the fact it looks a subv, but you won t know that sine there is no theoretical basis for this. Page 13 of 17

14 Slide 39 Take a look at the F#- 7 at the bar 10. Draw a keyboard up in the air. Take a look at F#-7 at bar 10 Draw a keyboard up in the air All these 4 notes are safe to play no matter what. Slide 40 Let s take a look at the following Ab7. X X Because it s a dominant chord, many non diatonic notes can be considered as altered tensions, while there are a few that cannot be a part of it. Let s take a look at the following Ab7. See the bad notes to be avoided See the bad notes to be avoided. What is avoid note? Don t want to start with Don t want to hold with Don t want to stop with Don t want to jump to Slide 41 Let s view them in a sequence. Let s view them in a sequence A-7 E -7 F#-7 A 7 Page 14 of 17

15 Slide 42 The Coltrane way The Coltrane way and it s safe is consistent through out the majority of the modes. The exception is Phrygian, which is rare if not diatonic functioning iii, and Locrian, which is obvious and you know what to do. Slide 43 Reading a B part Add 2 flats and read everything 2 nd below written Reading a B part Add 2 flats and read everything 2 nd below written. Note that adding 2 flats means 1 sharp becomes 1 flat. Slide 44 And this is how it will be. Reading a B part Add 2 flats and read everything 2 nd below written This skill also helps you reading Tenor Clef. Page 15 of 17

16 Slide 45 Reading a E part Reading a E part Add 3 flats and read everything as if the clef is a Bass Clef instead of a Treble Clef Add 3 flats and read everything as if the clef is a Bass Clef instead of a Treble Clef. Note that adding 3 flats means 1 sharp becomes 2 flats. Slide 46 Reading a E part Reading a E part Add 3 flats and read everything as if the clef is a Bass Clef instead of a Treble Clef Notice in the 2 nd bar, F# A Natural Add 3 flats and read everything as if the clef is a Bass Clef instead of a Treble Clef. And add 3 flats. Notice the F# on the 3 rd measure. Because one of the added flat matches that position, applying a natural to raise the pitch. This takes some practice to get used to. Page 16 of 17

17 Thank you for participating! Slide 47 Practice Practice Practice! Book recommendation ISBN-10: , ISBN-13: Practice Practice Practice! Book recommendation: Modus Vetus ISBN- 10: , ISBN- 13: Page 17 of 17