Sightreading Handouts

Sight
Reading Tips by Hiroaki Honshuku

Sight Reading Tips

Slide 1 This seminar is focused on jazz music, and assumes audience has adequate proficiency on their instrument When you write a chart, you must always put yourself in the sight-readers 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.
Sight Reading Tips

By Hiroaki Honshuku
Hiroaki Honshuku: more @ www.anonemusic.com
INTRO
Slide 2
Relaxing
INTRO
The key to the successful sight-reading
Relaxing
Most of the sight-reading failure comes from pressure. You must calm yourself.
Page 1 of 17
Sight Reading Tips by Hiroaki Honshuku

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

First Things First

Slide 6
Read the time signature and time change ahead if any

First thing first
Read the time signature and time change 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
Read the key signature and key change ahead if any

First thing first
Read the time signature and time change if any Read the key signature and key change if any
Same as Time signature, make sure there will be no surprises down the load.
Slide 8
Guess the phrasing groups

First thing first
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.

32 bars standard > 16 bars x 2
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Slide 9

16 bars into 8 bars each
First thing first

32 bars standard > 16 bars x 2 16 bars > 8 bars x 2
Slide 10

First thing first

8 bars > 4 bars x 2
Slide 11

First thing first

8 bars > 4 bars x 2

4 bars > 2 bars x 2
Page 4 of 17

Slide 12

First thing first
2 bars can be felt 4 pulses, which can be divided into 2 pulses each

8 bars > 4 bars x 2

4 bars > 2 bars x 2 2 bars > 1 bar x 2
Slide 13

2 beats per measure
First thing first

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

TOPICS
Slide 15
Rhythm
TOPICS
Rhythm
Subdivision
By subdividing, you will be able to comeback when dropped out. The worst thing is getting lost.

Slide 16
Group per pulse

TOPICS
Rhythm
Subdivision 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 2+3. 7/8 is usually 3 pulses plug a half.

Page 6 of 17

Slide 18
Know typical syncopation patterns

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

Slide 21
Changes
TOPICS (cont.)
Changes
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
Transpose
TOPICS (cont.)
Transpose
Must be able to read concert part. Good to be able to read at least Band Eparts
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 Band E parts.
RHYTHM
Slide 23
Example 1
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.
Page 8 of 17

Slide 24
Example 1
RHYTHM
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

Slide 27
Example 1
RHYTHM
Example 1
Know the standard articulation when not clearly marked
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 8th 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 8th notes.
Page 10 of 17

PITCH
Slide 30
PITCH
The best way to practice accidentals is Omnibook
PITCH
The best way to practice accidentals for modern American music is Omnibook.
Slide 31
PITCH
PITCH
Sing the pitch to memorize the position
Sing the pitches along the lines and the spaces to memorize the position.
Slide 32
PITCH

PITCH
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

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

Slide 36
PITCH
And the ledger lines for the Tenor Clef
PITCH
And the ledger lines for Tenor Clef
Changes
Slide 37
Changes
This is the first 8 bars of one of my compositions called Dan Dan Dan. As you can see finding the proper chord scales may not be easy on sight-reading situation.
Changes
This is the first 8 bars of one of my compositions called Dan Dan Dan, 2002 A-NO-NE Music
Slide 38
Changes
Lets take a look at bar 9 and 10. Are all these minor chords Dorian? Is A7 Straight Mixo or Lyd7? As a composer, I intended first 2 minor chords to be Dorian but F#-7 is Aeolian, and A7 to be Straight Mixo despite the fact it looks a subV, but you wont know that sine there is no theoretical basis for this.
Changes
Lets take a look at bar 9 and 10. Are all these minor chords Dorian? Is A7 Straight Mixo or Lyd7?
Page 13 of 17

Slide 39
Changes
Take a look at the F#-7 at the bar 10. Draw a keyboard up in the air. All these 4 notes are safe to play no matter what.
Changes
Take a look at F#-7 at bar 10
Draw a keyboard up in the air
Slide 40
Changes
Lets take a look at the following Ab7.

X X
Changes
Lets take a look at the following Ab7. See the bad notes to be avoided
Because its 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. See the bad notes to be avoided. What is avoid note? Dont want to start with Dont want to hold with Dont want to stop with Dont want to jump to
Slide 41
Changes
Lets view them in a sequence.

Changes
Lets view them in a sequence A-7 E-7 F#-7 A7
Page 14 of 17

Slide 42
Changes
The Coltrane way 1 2 3 5 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.
Changes
The Coltrane way and its safe. 1235
Transpose
Slide 43
Transpose
Transpose
Reading a Bpart
Add 2 flats and read everything 2nd below written
Reading a B part Add 2 flats and read everything 2nd below written. Note that adding 2 flats means 1 sharp becomes 1 flat.
Slide 44
Transpose
And this is how it will be.
Transpose
Reading a Bpart
Add 2 flats and read everything 2nd below written
This skill also helps you reading Tenor Clef.
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Slide 45
Transpose
Reading a E part
Transpose
Reading a Epart
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
Transpose
Reading a Epart
Transpose
Reading a Epart
Add 3 flats and read everything as if the clef is a Bass Clef instead of a Treble Clef Notice in the 2nd 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 3rd 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

Thank you for participating!

Slide 47
Practice Practice Practice!

Practice Practice Practice!
Book recommendation ISBN-10: 0846441578, ISBN-13: 978-0846441571
Book recommendation: Modus Vetus ISBN-10: 0846441578, ISBN-13: 978-0846441571
Page 17 of 17

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Sight

Reading Tips by Hiroaki Honshuku

Sight Reading Tips

Sight Reading Tips

Hiroaki Honshuku: more @ www.anonemusic.com

Sight Reading Tips by Hiroaki Honshuku

Hiroaki Honshuku: more @ www.anonemusic.com

You must be reading at lest 2 beats ahead.

Hiroaki Honshuku: more @ www.anonemusic.com

Hiroaki Honshuku: more @ www.anonemusic.com

Sight Reading Tips by Hiroaki Honshuku

First Things First

Read the time signature and time change ahead if any

Hiroaki Honshuku: more @ www.anonemusic.com

Read the key signature and key change ahead if any

Hiroaki Honshuku: more @ www.anonemusic.com

Guess the phrasing groups

Guess the phrasing groups

Hiroaki Honshuku: more @ www.anonemusic.com

Sight Reading Tips by Hiroaki Honshuku

Guess the phrasing groups

Guess the phrasing groups

Hiroaki Honshuku: more @ www.anonemusic.com

Guess the phrasing groups

Guess the phrasing groups

8 bars > 4 bars x 2

Hiroaki Honshuku: more @ www.anonemusic.com

Guess the phrasing groups

Guess the phrasing groups

8 bars > 4 bars x 2

Hiroaki Honshuku: more @ www.anonemusic.com

Sight Reading Tips by Hiroaki Honshuku

Guess the phrasing groups

Guess the phrasing groups

8 bars > 4 bars x 2

Hiroaki Honshuku: more @ www.anonemusic.com

Guess the phrasing groups

Guess the phrasing groups

8 bars > 4 bars x 2

Hiroaki Honshuku: more @ www.anonemusic.com

One of the typical phrasings in Bossa Nova music.

Hiroaki Honshuku: more @ www.anonemusic.com

Sight Reading Tips by Hiroaki Honshuku

Group per pulse

Sight Reading Tips by Hiroaki Honshuku

Know typical syncopation patterns

Hiroaki Honshuku: more @ www.anonemusic.com

Hiroaki Honshuku: more @ www.anonemusic.com

Hiroaki Honshuku: more @ www.anonemusic.com

Sight Reading Tips by Hiroaki Honshuku

Hiroaki Honshuku: more @ www.anonemusic.com

Hiroaki Honshuku: more @ www.anonemusic.com

Hiroaki Honshuku: more @ www.anonemusic.com

Sight Reading Tips by Hiroaki Honshuku

See drawing the line makes it easier to feel the phrases.

Hiroaki Honshuku: more @ www.anonemusic.com

Hiroaki Honshuku: more @ www.anonemusic.com

Sight Reading Tips by Hiroaki Honshuku

See the pulse and sing the rests.

Hiroaki Honshuku: more @ www.anonemusic.com

Hiroaki Honshuku: more @ www.anonemusic.com

Sight Reading Tips by Hiroaki Honshuku

Hiroaki Honshuku: more @ www.anonemusic.com