Here’s another easy way to combine the more “modern” sounding qualities of 4ths and 5ths with a hint of classic bebop language over ii-V7-I. Take a look at the example above.
I essentially use only two different tonal elements for the entire line. In the first measure, I start with a suspended chord shape: E, G, D, A (which could be labeled either/both D Sus9, or A Sus7). I continue with an altered-note melodic shape (G, Bb, Ab, F) in anticipation of the G7 chord. In the next measure, I return to the original suspended chord shape in a different inversion from the first measure. I then use the exact same four-note altered note shape from measure one, but place it an octave higher. The notes of this shape, relative to G7, are: 1 (G), +9 (Bb, functioning enharmonically as A#), -9 (Ab), 7 (F). It seems to imply a diminished scale quality, but could be interpreted many ways relative to other diatonic scales that fit as altered substitutions over G7 (e.g., Ab melodic minor, F melodic minor, etc.)
The line then returns (3rd measure) to a variation/inversion of the original four-note suspended shape, and continues with these four notes until the end. As you can see, both four-note pitch sets (the Sus chords and the altered notes) share a common note, the “G”. The two colors combined (Sus and altered) make for an interesting contrast that works well over the chords. Dissonances that fall well within the bebop realm, but the suspended shape adds an interesting contrasting element. If you’d like to explore more creative options over ii-V7-I cycles, please consider my e-book, ii-V7-I: 40 Creative Concepts for the Modern Improviser. For a free, downloadable pdf of this etude, click the link below:
Accuracy. Flexibility. Consistency. These are three qualities that are fundamental to good sight reading.
Accuracy of pitch (correct notes), intonation, time, articulation, dynamics, etc.
Flexibility in reaction (adjusting intonation, time, etc.) to flow with the other musicians.
Consistency (predictability) in results.
It is easy to play with other musicians who read with the above listed qualities. But there is another quality that the best sight readers possess that makes playing with them an absolute joy and inspiration:
Expressiveness.
Put simply, the best sight readers I’ve ever played with, play the music they’re reading as if they already know it intimately.
It’s as if the meaning of the music itself is taking precedence over the details of the notated information on the page.
And they sound is if they are deeply connected to that meaning.
In fact, some of the best sight readers I’ve ever played with don’t have 100% accuracy (though their accuracy is remarkably high). They do, however, have remarkable flexibility and consistency. Both of these qualities are nested into their ability to immediately find meaning in the music, then express it.
It is this quality of immediate expressiveness that can lift the rest of the ensemble to new heights.
So how do you cultivate this skill?
Well, nearly every time I’ve played with extraordinary sight readers, I’ve made it a point to comment upon their skills, then ask them about how they’ve acquired them.
Their answers, though varied, usually comes down to this:
The quality of how they practice.
This “expressiveness”, this “intentionality”, this “presence”…is a fundamental ingredient in everything they practice.
To them, there’s nothing that is purely a “technical” or “physical” exercise in practice. Everything is mindful. Everything has meaning. Everything is played through this meaning.
Scales, arpeggios…even long tones, are played with musical meaning and intention. Everything has dynamics. (Everything is dynamic!) Everything “comes to life” in the hands of the musician.
Human expression. (Isn’t this why, ultimately, we are moved to play music?)
And these extraordinary sight readers all seem to have this in common, too: They love to read music! (Why wouldn’t they, right?)
Here are some things you can do in your practice sessions to help you become a more dynamic, expressive sight reader:
Read every day-When you read new music every day, you improve your ability to expand your attention (to more readily include more details in your expression). So read all kinds of music, from technically challenging, to easy and rhapsodic, to rhythmically complex.
Sing-When reading a “difficult” passage, isolate it, then slow it down until you can sing it. Singing it helps clarify your musical intention and expression. The clearer it is in your ear (musical imagination), the more likely your brain will carry out the physical work necessary to fulfill your intentions. (Did I mention that the best sight readers I’ve ever played with also happen to have extraordinary ears?)
Pay attention to details-Make it your habit to look carefully at the music you’re reading to include not just notes and rhythms, but dynamic markings, articulations, etc. Work toward seeing the “entire” piece of music the first time around.
Study-Take some time to become aware of and understand any kind of stylistic elements that are central to the music you are practicing, as well as any harmonic/cadential knowledge that gives you a deeper insight into what the composer is wishing to express. Learn to “think” like a composer when reading something at sight.
Seek your most beautiful sound– Let everything you read manifest itself as a celebration of your personal sound.
Play around with time-Even where rhythmic precision seems crucial, always feel free to be flexible with the time (so long as your conscious of doing so). It will help deepen your insights into the music and deepen your expression within it.
Let your ears lead everything-Yes your eyes are important. But work on strengthening the connection between what you see in the notated music with how you vividly imagine the music sounding.
Look for ease-In attitude and body. Let yourself be light, free, balanced, mobile and well-connected to the ground. “As you practice, so you perform.” Aim at making ease a habit.
Trust all this– Know ultimately (when you are actually sight reading at a rehearsal or performance) that you can trust that all the work you did (as listed above) will enable you to perform in more seamlessly expressive manner.
Try working this way for a while, and transform your sight reading experiences from “labor” to joy! I’ll leave you with a quote to ponder, often attributed to Beethoven:
Wrong notes are of little consequence, but to play without passion is inexcusable.
