A strategy for increasing reading speed for guitarists(or other musos)
Impediments to reading fluency may be from any number of sources, including the following: You, Your gear, The chart, and the Playing conditions. Let’s deal with each in turn.
You need to try to avoid sight reading in the first place. Preparation is what you need to bring to every playing opportunity, so get charts ahead of rehearsal times, and make sure they are really clear, well lit and annotated to your requirements. Be really aware of your Musical director’s style of conducting, and use your peripheral vision when reading chart, so you can sense the beats while reading chart. Get seating height and angles right for you. Get best foldback you can, so you can get good sonic idea of your place in band. Don’t allow wind, or other players distract you.
Get any unknowns, like expression marks and unfamiliar Italian terms translated. Make sure the Arrangement is understood. 1st time, 2nd time, D.C. or Segnos and Codas etc. have to be clear. Try to see the forest, rather than the trees, when you pre-read the chart. If there are any unfamiliar chords, but no time to conquer new voicing before your rehearsal, consider replacing with the closest chord you do know… but make it your mission to learn that unfamiliar chord for next time.
Get intonation and action adjusted. A high action will slow you down, and bad intonation will make you doubt your skills. Soft picks for rhythm and harder picks for lead… but avoid extremes. Don’t put up with hums,crackles and pops if amplified. Balance with ensemble to help you hear your role and to boost confidence. Your strap height must be helping you play, not look cool.
Be rested, relaxed and receptive. If you have to… fake it till you make it. Make music making your reason for playing, and eliminate from your mind anything that disturbs that aim. Left hand nails short, and fingerboard pressure minimised. Don’t forget to breathe well while playing. Be thinking about efficiency. Alternate picking, even attack in scales and clean chords with smooth transitions between them is your aim. Smile, but don’t tap your foot.
For next time: Playing efficiency through knowing multiple chord voicings, barre chords and alternative fingerings. Key notes and open strings on fretboard for finding notes. De-tuning as shortcut for playing with W.W and brass and capos for transposing.
While the previously posted 'Million Dollar Sheet Music archive ' (Fantastic site!), is having loading issues, I found this new Fake book site: Just go to your selection, right click... save the jpeg of each page desired, don't forget to rename with title and (if multi paged) its page number, and print it up for your gig. Enjoy. But please... e-mail me if you do?
This is a fantastic resource for jazz students:
Jeff Lewis Trumpet is the website on You tube where I found this link, and please subscribe to Jeff, for his fantastic work!
I made mine from a Jaycar kit, but have just found this site that should make it a lot easier for you to get one of these instruments and start making music.
And here is the Theremin movie, but please... this is ONLY to be viewed with an adult's permission:putlocker.co/watch-theremin-an-electronic-odyssey-online-free-putlocker.html
For a dictionary that explains what jazz people mean whaen they use a particular word, here is a dictionary: www.apassion4jazz.net/glossary.html
In fact, this linked site has an enormous amount of value to explore for any musos. Have fun exploring this site!
Here is the diagram described in the previous post "A Mnemonic for learning the modes:
Here is an approach to thinking about the various modes on any note. This mnemonic occurred to me as I was looking for a method of relating a note’s known major (Ionian) key signature with that note’s various modal ‘cases’. The idea of ‘cases’ and ‘degrees of flatness and sharpness’, ‘declining’ from the top of a clockface mnemonic is a synthesis of the circle of 5ths,a clock face,and the ‘declining of a noun’ used to teach Latin cases by adding stems to root words.
Let’s look at the diagram. The Ionian (Major ) mode has a certain number of #’s or b’s. These are always applied in a given order. 1 sharp will be F#. The second sharp will be C#. Flats likewise always are applied in the order Bb, Eb, Ab etc. Place the root note of your choice at the Ionian position. These will be your familiar Major scale root notes, and you will need to know your major key signatures. If you don’t, please memorize them!
Let’s use C as our 1st example.to instantly know what ‘declension’ to apply to change C major (Ionian) to C Mixolydian you move 1 place to the right. For every degree to the right we flatten the Ionian by 1 ‘degree’. Therefore C mixolydian will have 1 flat, and that will be Bb. To find C Dorian, you simply move
once more to the right, and therefore flatten by 2 ‘degrees’. So C Dorian will have Bb and Eb applied to a C root note.
Now let’s take a more complex example. Asked what the notes will be for a B phrygian mode, might take you quite some time to work out, but this kind of task is easy using my mnemonic. B Ionian has 5 sharps. Phrygian demands 4 ‘degrees of flatness’, ( This cancels out the A#, D#,
G#, C#), leaving B Phrygian to be a B root note played with one sharp, F#. (B,C,D,E,F#,G,A,B)
Another example: To play the locrian on A might take some working out, but not anymore! We flatten A Ionian by 5 degrees, so we cancel the 3 sharps and need to add 2 degrees of flatness, so A Locrian will use Bb and Eb only, applied to an A root note. (A,Bb,C,D,Eb,F,G,A)
The exception to this movement to the right is the Lydian mode. This is the mode that demands one move to the left of the Ionian mode on my mnemonic circle. This motion is a move of one ‘degree of sharpness'.
For example C lydian will be one degree ‘sharper’ than the Ionian, so add one sharp F#. To instantly name what the notes are for B Lydian mode, my mnemonic makes it easy. You simply sharpen by one degree, adding the E# to the usual five sharps of B Ionian. B,C#,D#,E#,F#,G#,A#,B
If you find any value in this mnemonic, please let me know by e-mailing me. i'd love to get some feedback!.
This site has transcriptions of classic solos by master trumpeters, and includes bios of those masters too.
Under the supervision of your teacher, you may find this breathing guide useful.
Gary Gallagher is a music specialist teacher who wants to share what he has learned about music and appreciates your contribution too, by making comments and questions.