 The Clarinet BBoard
|
Author: chipper
Date: 2006-02-16 13:26
I'm a new player with the community band. When I played only the melody in my living room, it was easy to become competent playing one tune at a time. I knew the melody and could concentrate on just that tune. Now, playing the third part, sometimes on tunes I am not famillure with, I do a lot of sight reading. We may play ten different tunes one practice and have five more introduced the next week, so to practice each one untill I know it from memory is impractical. It is also somewhat difficult to play third without the rest of the band.
I find the music going by faster than I can read it. Not the quarter notes but some eight and sixteenth runs are just beyond me. Is there a technique by which I can to learn to read faster? Would a speed reading course help?
Carl
|
|
Reply To Message
|
|
Author: Brenda Siewert
Date: 2006-02-16 13:38
It helps to not get uptight when you're reading a new piece. Don't think, "Oh great, one of those tough passages. I can't read those." Just relax and read through the piece silently to yourself (surely you have enough time to look at it for a min. or two before playing). When there are those pesky 16th note runs, sound them out in your head and finger them on your instrument. They do go by fast, but as you continue to play with the band it will get easier. When you practice at home practice those runs and have a routine of practicing other runs from some good technique books like teachers assign to students. Go to your music store and ask for some if you don't have any.
Panic will keep you from playing your best. Keep your head in the game and you'll be ok. Sight reading is hard for most players. Keep on keeping on. I promise you'll improve.
|
|
Reply To Message
|
|
Author: Bassie
Date: 2006-02-16 14:10
Funnily enough, the way to learn sight reading is to be bombarded by an endless stream of new pieces...
Some thoughts:
- Key signature, key signature, key signature. Key signature. Find ALL the changes in the piece and commit them to memory. Finger the notes in the scale to get them in your mind. That note on the middle line - is it a B or a Bb? If you have to think about it, you've failed.
- Those black notes never go as fast as you think. And for the most part, they tend to be grouped into neat patterns. Groups of four. Often, a run up or a run down or an arpeggio, or one-step-up three-steps-down or whatever. Occasionally composers trip you up with the odd group of notes - mark these and practice them when you get time.
- Very occasionally a group of fast notes has an odd pattern and some truly esoteric fingering requirements. This is called a fingerbuster, and will require special attention... :-D
- Key signature.
- Listen to the shape of the piece. Does it come in four-bar chunks? Do certain phrases repeat? This will allow you confidence when you're counting those 24 bars rest.
- Key signature.
|
|
Reply To Message
|
|
Author: crnichols
Date: 2006-02-16 14:17
I think the most helpful technique is to read ahead. You need to be looking a measure or so ahead of what you're playing when you are playing something for the first time, in order to prepare yourself to handle upcoming difficulties when you get there. This way they won't be a total surprise, and you didn't mention this, but it'll help you from getting lost.
Good luck!
Christopher Nichols
1st Infantry Division Band
|
|
Reply To Message
|
|
Author: ohsuzan
Date: 2006-02-16 14:57
Just remember -- you only ever have to play *one* note at a time.
While it's a good idea to look ahead for note groupings and repeated motifs, your brain can sometimes turn to mush when you see "all those black notes" (my husband's phrase), making you anxious to think you must do them all at once. You don't do them all at once. You just do one note at a time.
For starters in this sort of passage work, try just making it to the first note of each bar. Then work at getting the first note of each beat within the bar. After a while, your fingers will take over. They will know what to do, if you give them half a chance.
Also, when you practice this mountain of music that gets thrown at you weekly, instead of slogging through a whole piece all the time, just isolate and work on the obvious problem areas. Chances are you can play the quarters, halves, etc., fairly readily, so don't spend your limited practice time on things that you can already handle. Spend your time working over the things you think you might not be able to handle at first glance.
Susan
|
|
Reply To Message
|
|
Author: William
Date: 2006-02-16 15:26
All good advice. However, it is simply a case of: the more you do it, the better you will get. Learning all of your major, minor, augmented and diminished scale and arpeggio patterns (as well as basic rhythmic patterns) will certainly help, but long hours of experiance putting that accumulated knowledge into actual practice is essential. Reading all that is written about swimming does not do a lot of good unless you jump in and get wet. My advice, stop worrying about it, learn your basics and just have lots of fun playing--as much as you can. Good sight reading skills develop as a result of experiance. Good luck.
|
|
Reply To Message
|
|
Author: Shorthand
Date: 2006-02-16 15:27
Great advice all.
About the only thing you can do to prepare for sight reading in an ensemble is know your scales and arpeggios backwards and forwards.
If the group is playing rythmically "interesting" pieces, just hang on and subdivide - you'll understand what the patterns mean eventually.
The read ahead is a great piece of advice, but I must admit that its a hard skill to master: read ahead - memorize the next measure - look at director - OK where was I? Its well worth the effort - it will improve your ensemble playing on many levels.
Whatever you do don't give up - just keep up the best you can.
|
|
Reply To Message
|
|
Author: Bob Phillips
Date: 2006-02-16 15:30
Hey, group, good advice!
Chipper, pay extra attention to Brenda's advice. I, too, promise you'll get better. Chris's caution to read ahead is also good.
Personally, I find it almost as hard to play, say, the first note of every beat as it is to "just read the music."
I'm finding that, as Brenda says, that I'm getting better over the last few months of working on my scales and arpeggios. I can read new pieces in the key signatures I've been through in my practice sessions. Those "finger busters" show up in the practices, and my teacher spends enough time with me to be certain that I have the most useful sequence of fingerings through the pinky keys and the altissimo.
It will take time to get noticeably better at sight reading. What I think is helpful is to pick a key signature and work through a collection of exercises in that key signature. That means working on the Major scales/arpeggios and then repeating the exercise in the relative minor.
Here's what I'm doing. I've got the Baermann 3. It goes through the key signatures adding one flat and then one sharp at a time. The exercises for each key consist of scales, interrupted scales, scales in thirds (!) and two arpeggio studies. Take time to write out the pinky sequences and the altissimo alternative fingerings that make the most sense (and are in tune on your set-up). Play everything slow enough to avoid mistakes. Do one key at a time. For reinforcement, get the Kroepsch daily studies. The Kroepsch spends like 2-pages on fingerbusters in short, nasty work outs. Each exercise is like 2-measures played over and over and over and over followed my a one-measure flourish. Work through two or three exercises at a time until you've got them. Again starting slowly enough to avoid errors. These things require you to start with your pencil --marking the fingerings.
Finally, I've been advised to keep a pile of unplayed music by my practice music stand and to pick up a chart and read it every so often --just for drill. I buy a lot of stuff on eBay. Much is pure crap --but it provides a sight reading challenge; and occasionally I come up with a keeper. You're in heaven with all of the "free" charts coming your way every week. Its a process, not an accomplishment.
Bob Phillips
|
|
Reply To Message
|
|
Author: bill28099
Date: 2006-02-16 15:59
Also remember that following the conductor is a skill which you must learn. When we are kids we play in the school band so from day one the skill of following the conductor is practiced. When we learn as an adult or relearn we usually do it alone. I was absolutely lost the first time I played in a group after a 40+ year break and 7/8 and 9/8 didn't help a whole lot. Playing with a metronome helps.
When sight reading in a group I use the following little rule, always play the first note of a measure, try to play the first note of each beat, play all the notes if you can, don't get rattled and don't get lost.
It is better to miss a note then to play on a rest. Or is it?
A great teacher gives you answers to questions
you don't even know you should ask.
|
|
Reply To Message
|
|
Author: chipper
Date: 2006-02-16 16:26
I have "The Progressing Clarinetist" by Leon Lester and also a book of clarinet and flute duets by Voxman. These are a step up from the stuff I worked with last year and are giving me a workout. I notice that they are mostly scales, thirds and arpeggios. This does help, but I'm not quite to the point of recognizing them in the pieces given out at practice. Perhaps a deep breath and a better look. (and more scales, thirds and arpeggios at home) All the advice given here is helpful. I also guess I'm quite lucky for the stream of free material that comes my way. They let me take the folder for the third clarinet home, but there is a card in my wallet similar to an organ donor card that says if I'm found dead this is to be returned to the band IMMEDIATLY!
It is interesting to see that the pieces I sight read last month are becoming old friends. Keep on keeping on. One thing that puzzles me though, is why doesn't everybody pick up an instrument? I'm having so much fun learning this stuff.
Thanks
C
|
|
Reply To Message
|
|
Author: Brenda Siewert
Date: 2006-02-16 22:06
Ah, Chipper, why doesn't everyone pick up an instrument, indeed! While we know it's good for us and enjoy it so much, there are those out there who feel quite overwhelmed at the mere mention of playing anything other than the TV. But for those of us who have ventured into this adventure with music and instruments, we will always have that little twinkle in our eyes that gives away the satisfaction of accomplishment in our souls.
|
|
Reply To Message
|
|
Author: Clarinetgirl06
Date: 2006-02-17 19:06
Also, when you sightread in a group don't wimp out and play softlyso hardly anyone can hear you (especially if you are first chair, this is a pet peeve of mine). Well, play according to dynamic level, but audibly, but don't overblow. My choir teacher says, "If you make a mistake, I want to hear it so I can know how to help you." Or, at least you'll hear that you aren't with everyone else and you can mark it as a problem spot and practice it. Everyone makes mistakes when they sightread so don't be mad at yourself or be scared of it. If you make one, make it loud and proud.
Also, look through the piece and skim it for any finger flips and to see if you should play left or right hand B, C, C#, etc. Those will help you a lot. And yes, key signature! Always keep the key signature in mind. This will also give you a clue to if you will be doing right or left hand B, C, C#, etc.
Dr. Lynch (Wind Ensemble conductor at KU) told us a couple weeks ago that it is more important to get the rhythms than the notes in sightreading. What do you all think?
It would be nice to get both, but I thought this was an interesting statement.
Also, can some people just be naturally good sightreaders? I feel like it comes rather natural to me, but I didn't know if it's possible to be a natural at it. What do you think?
|
|
Reply To Message
|
|
Author: Brenda Siewert
Date: 2006-02-17 21:14
Carrie, I think there are some people who are more natural sight readers than others, as you asked. Just as there are some people who are better at math than art and some better at art than math. One of my fellow clarinetists sight reads almost perfectly every time, but she has no concept of artistry and sounds terrible. However, she really does have a quick eye for the notes. She tells me it's because she plays piano all the time and so our line of notes seems simple. Others may struggle with sight reading but sound absolutely marvelous once they've gotten the hang of the music because their ears are tuned in for the sound of the piece. It's when we bring the two together that we've accomplished much.
|
|
Reply To Message
|
|
Author: Shorthand
Date: 2006-02-17 23:31
I remember in college that you had lots of players with great fingers and chops but none of us had ever seen exotic mixed meter or a number of other rythms that suddenly appeared on our stands, so at that level I would tend to agree with him.
Also, you can fake notes but not rythm.
Depending on the community band, chipper, or original poster, may need to concentrate on the notes more.
At this point in my life, I'm usually doing better with the rythm than the notes. Some people favor one on the first read some the other - I think its just which comes easier to you, and I'd advise concentrating on the easy side during the sight read and leave the hard stuff for later reads. (Unless you're just THAT good - but then you're a trumpet.)
|
|
Reply To Message
|
|
Author: Richard Salzman
Date: 2006-02-18 07:30
I agree with the above quote of Dr. Lynch. The rhythm is the most important thing . I find the same to be true with reading a score. Do not focus on trying to get all the notes. Focus instead on the rhythm, where the downbeat is. especially when playing with others ,it is simply more fun to be able to get through the piece together then to have to stop all the time for some pesky notes. You can actually practice sight reading at home. Start up the metronome and go through a bunch of things you've never seen before. Start slow and gradually move up the speed to where you start missing notes. As you continue kick up the speed slowly to keep challenging yourself .
|
|
Reply To Message
|
|
Author: MisiMcG
Date: 2006-02-22 11:43
Very simply, here are the steps I teach my students to use when they sight read a new piece of music:
1. Scan - take a few minutes before playing to look at the time signature, key signature, any new or difficult rhythms or notes that jump out at you. (hopefully your community band conductor will give you some time, or if new music is on the stand when you arrive, take the time then)
2. Pinpoint areas you might have trouble with (fingering patterns, rhythms, etc)
3. Take a second to breakdown those trouble spots
4. Relax - nobody is perfect the first time through
When you get done, it might be helpful to mark those passages that gave you trouble so that you can go home and isolate them in practice.
As you improve your knowledge of scales and arpeggios, you will find that many of the trouble spots fall into one of those patterns (not all of them though)
Misi
|
|
Reply To Message
|
|
Author: Brenda Siewert
Date: 2006-02-22 19:01
As Misi said above, take the time to read through. If you find that you don't get enough time before practice actually starts, get there early. The director might appreciate a little help passing out the music. Then you can take a few extra min. to read over the music and even ask questions as you're helping. Like, "Hey Joe, I noticed a few tough passages. Any suggestions as to how to play this one?" He might sing the rhythm out to you to help if you're rusty on that kind of thing. Hang around and hang in there and you'll do just fine.
|
|
Reply To Message
|
|
Author: Don Poulsen
Date: 2006-02-22 19:04
I'm reading this thread to get some help to improve my own sightreading, but I've found that with rhythms I'm uncertain of, it helps me greatly if I get a chance to hear someone else play the rhythm first. Sometimes this occurs because another section may play a phrase earlier in a piece than I do. Or, if it is repeated in my own part and I'm not alone on the part (I play bass and contrabass), I can listen the first time and get it right the second time.
It also helps if you have confidence in yourself or are just carefree enough to avoid the anxiety that makes you see some things as a tangled mess of black dots and lines.
|
|
Reply To Message
|
|
Author: BelgianClarinet
Date: 2006-02-22 19:09
exercise and go for it, time after time,
the only real method I can think of ....
of course scales, chords (don't know word for 'tertsen' in english') it all helps, but finally only doing it matters.And don't be too scary for missing one note ...
For some strange reason "I'm" better at first reading then second reading(after that no problem). Maybe concentration is a help too.
Post Edited (2006-02-22 19:12)
|
|
Reply To Message
|
|
Author: Katrina
Date: 2006-02-22 19:32
I suspect "tertsen" in english is "thirds" due to the similar sound of "tertsen" and "terzen" (german for thirds)...
Katrina
|
|
Reply To Message
|
|
Author: BelgianClarinet
Date: 2006-02-23 18:06
I think you're right, at least it is refering to 3.
I acutally mean chords played in sequence (C,E,G,C,...) not all at the same time as can be done on a piano, but not really on our toy ;-)
Just remembered we used to call them 'broken chords'.
One of those terrible 'exercises' from the old days (hated them), that payed off at the end :-)
Post Edited (2006-02-23 18:27)
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
