|
|
![]() |
KeyboardMag.com >> This Month >> Learning The Language
Skip to [ Story Content and jump story attachments ]
Make music out of the notes on the page. Learning the LanguageThe featured piece in this month’s Play section, “Around About Way,” (transcribed on pages 56–57) was written with the goal that (advanced) musicians could get together and perform it with little rehearsal. That would pretty much mean sight-reading would be involved. Reading music on the spot is accomplished much in the same way as reading English (or any other language) is. In the beginning, we struggled with single words, eventually recognizing them as whole but single ideas. After lots of practice, we began to not only recognize single words and ideas, but larger groupings as well, and the same is true in written music. The more experience with reading you have, the more you will be able to easily identify commonly grouped intervals (melody), as well as popular groups of note values (rhythms). Memorizing a few easy words or phrases can help you remember where notes fall on the treble and bass clefs, which is an important first step in learning to sight-read. One popular phrase is (starting on the bottom line of the treble clef staff) Every Good Boy Does Fine, which represents E, G, B, D, and F, shown in 1a. For spaces on the treble clef, the word FACE (bottom to top) does the trick. On the bass clef, the lines go G, B, D, F, and A from bottom to top, and the spaces are A, C, E, and G, also from bottom to top. Try coming up with your own words and sentences that will help you remember these notes. Once you have these devices down, you can practice by writing out 20 or so random notes on the staff, and then having a friend point at them one at a time. Drawing up flash cards with music notation on one side and the note name on the other can also help. Almost all the time you see a treble clef, you’ll use your right hand, and the same goes for the left hand and the bass clef. The right hand fingers are counted from 1 to 5, starting with the thumb as 1. The left hand is also numbered from 1–5, again starting with the thumb as the first finger. 1b shows where your fingers fall on the staff when you play in D minor. In more advanced songs like “Around About Way,” you may be required to read music in both the treble and bass clefs — for the same hand. 1c shows the same melodic riff (adapted from the melody of “Around About Way”) notated in treble and one octave lower in the bass clef. T’s Synth EducationOne big thing my personal influences on synthesizer all had: When they incorporated a pitchbend it was right on! Always. Luckily for me, when I entered the ring, as far as touring and recording, I was and have been extremely fortunate to play with top-notch guitar and saxophone players. So, right out of the gate I had to figure out how to nail (or at least consistently try to nail) my bends. Some keyboardists set the pitch wheel at a full octave, but I have always found a whole step to be most productive, as far as accuracy is concerned. There are exceptions; for instance, if I have to execute something with a minor third bend, by default, that is what I set my range to. Likewise, if the only requirements for bending up or down are no more than a half-step, again, that is how I set the bend range. Play Audio and MIDIThese audio and MIDI files correspond to the lessons and full song transcription beginning on page 52 of the June 2006 issue of Keyboard. All files performed by Michael Gallant. |
Keyboard Magazine is part of the Music Player Network.


