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> Your Favorite/most Effective Sight Reading Books?
leonard478
post Mar 23 2013, 05:13 AM
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Greetings all!

So what have been your favorite sight reading books, not necessarily method books, perhaps a classical book? a book of violin sonata's ? or the good old real book for jazz? Anything that actually keeps you engaged as a sight reader, because i have a couple of Leavitt books for sight reading and they tend to put me in a coma after 10 minutes laugh.gif biggrin.gif

Im really loving RCM standard classical sheet music right now (grade 4, grade 5 stuff)
and "melodic rhythm studies for guitar- Leavitt" is not as boring personally.
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MonkeyDAthos
post Mar 23 2013, 06:52 AM
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i've learned most of my sight reading skills mainly from composin with guitar pro tongue.gif, but i would like to know some cool books as well.

This post has been edited by MonkeyDAthos: Mar 23 2013, 06:53 AM


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David.C.Bond
post Mar 23 2013, 08:47 AM
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I use 'Melodic Rhythms for Guitar' by William Levitt. Its a great book full of sightreading exercises that follow jazz harmony type conventions.


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klasaine
post Mar 24 2013, 06:14 PM
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QUOTE (David.C.Bond @ Mar 23 2013, 07:47 AM) *
I use 'Melodic Rhythms for Guitar' by William Levitt. Its a great book full of sightreading exercises that follow jazz harmony type conventions.

+1

*Also H. Voxman clarinet and flute books are great.
Lennie Neihaus 'jazz conception for saxophone'.

Other than the William Leavitt Berklee books, I'd stay away from 'guitar' reading methods. They tend to be position and range oriented towards guitar ... which is NOT what you'll encounter when you're actually reading music 'in the wild'. Reading for 'other' insts is your ticket.


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Echoshill
post Mar 25 2013, 02:51 AM
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QUOTE (David.C.Bond @ Mar 23 2013, 02:47 AM) *
I use 'Melodic Rhythms for Guitar' by William Levitt. Its a great book full of sightreading exercises that follow jazz harmony type conventions.


+2

Great for reharm work as well.
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MonkeyDAthos
post Mar 25 2013, 06:52 AM
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QUOTE (David.C.Bond @ Mar 23 2013, 07:47 AM) *
I use 'Melodic Rhythms for Guitar' by William Levitt. Its a great book full of sightreading exercises that follow jazz harmony type conventions.


Thanks, will check it out cool.gif


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It's a proven fact that guitar faces have a bigger impact on tone than wood does.


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Gabriel Leopardi
post Mar 25 2013, 03:43 PM
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Hi Leonard! Let's check what a guitar guru called Steve Vai says about this!

http://www.vai.com/part-one/



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Larry F
post Apr 4 2013, 08:24 PM
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I see that Ken is here. He and I both always recommend clarinet books. They are single line, have a written low note of our low E, and often contain duets. In the early 70s, I was taking lessons from a guy in Portland. Thanksgiving was a week away, so I asked him if he would still be giving lessons that day (duh). He said "I'll be here." He was a very cool guy and very minimal. His house had practically no furniture. His living room had a vacuum cleaner sitting in the same place for months. His refrigerator was empty with the door propped open. He had some paintings on the walls done by his father, a regional artist. My family was going to grandma's a couple hundred miles away, and I decided to pass on that. It was probably the last time she did that. I get to the teacher's house, and we sight read clarinet duets, and possibly violin duets, at tempo for four hours. That was one of the best musical experiences of my life.

I had been playing in bands very actively for about 5 years, when one night, the other guitar player was killed in a car accident after a gig (he was 27, of course). I felt somehow that I had been spared and that it was my duty to strive harder and harder to be a better musician. I went deep into a period of 8-12 hour a day practicing, but didn't start up another band just yet. Somehow, I lost focus of why I was doing this, so I called up my teacher. I wasn't studying with him at the time, but probably did 6-12 months, then discontinue, then back again, over ad over. I called him up, and I remember how worried I was, and told him that I didn't know what music was. I'm new to this forum, but from what I have seen, I am sure most everyone here knows that feeling. Without hesitation, he asked me if I was gigging, which I wasn't. So, I picked up the pieces of that last band and we re-grouped as a jazz-fusion trio. By then I had some quasi-John McGlaughlin and Coryell chops. Here is a recording we made in 1974: https://www.youtube.com/watch?v=aJTTXrR9New

Sorry for the long, sidetracking post. It's just my style.
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