Chart Reading

[2bsticks]

How many of you have to read charts for your gigs?

My band backs up lots of oldies acts and I notice that some of the drummers will pull a chart out. I can read the drum music in a book but if someone was to put a chart in my face and say "see you at the end" I might faint LOL.

I guess it all depends who writes the chart and also the difficulty of the piece of music. I just see it as a very valuable tool for getting gigs. Any of you aware if there are any charts posted on DW that we could look at?

Thanks

[Boomka]

I've made a good amount of my living as a player on reading gigs. I tend to write lead sheets when I'm learning a lot of new material as the visual memory helps me remember the form, etc. even after I've ditched the chart.

You're right that there are a lot of things to deal with when reading - i.e. the complexity of the piece, the quality of the chart (does it give me useful information, is it easy to scan/follow, are form directions [repeats, D.S's., etc.] logical and consistent) and even the hand/font it's written in. Some charts are meant to be played note-for-note and some are serving suggestions/lead sheets that leave a lot of room for interpretation. It takes some experience to figure out which is which under given circumstances.

Here's what I do when confronted by a new chart:

1) Read the title and scan the chart for any information regarding feel, tempo, etc.

1a) Do I have all the equipment I need? A cowbell, tambourine, effects cymbal?

2) Look down the chart to assess what the primary feel of the tune is supposed to be, and whether there are any changes of feel, time signature, etc.

3) Read over the chart as if I were playing it and make sure I understand the "road map". Are there repeats, D.S.'s, D.C's., Coda(s), vamps, cadenzas, fermatas, "rail road tracks", etc.? Basically, how do I get from beginning to end?

3a) Take note of any notes made by previous players. Exercise caution, however, as these can sometimes be as harmful as helpful. I've had notes in several languages over the same bar, one telling me to speed up and another telling me to slow down! Erase anything that isn't useful to you. You don't want anything distracting you in the heat of battle.

3b) Take note of particular figures (ensemble, solo, or rhythmic motifs) that are written out and need to be played note-for-note. Sometimes I'll count them out and/or make notes on the chart if they look difficult or are written in an idiosyncratic way. (Notes always made in pencil!)

4) If time/opportunity allows, have a run through the chart on my own and iron out any kinks. I pay special attention to "transition points" - i.e places where I need to change from one groove to another and make sure I can get in and out of fills into the required groove. I'll stop and work out any passages that challenge my reading or coordination and try to repeat them a few times so I don't have to read/play them cold once the ensemble is all there.

4b) Establish my choreography for the piece, and make necessary notes. Do I have to turn on/off my metronome? Who counts off the tune? Do I need to switch sticks/brushes and should I get them placed strategically for a quick change? Are there problematic page turns? What can I do to keep things flowing at these points? Are there places where I need to look up for a cue/direction? Etc., etc., etc.

These are sometimes switched in order, or even left until rehearsal depending on the circumstance. If a recording is available, that becomes part of the evaluation process. Don't be afraid to ask questions about interpretation from your band leader, Musical Director or the act themselves if they're available. Remember that charts are always just a mathematical and visual representation of music - i.e. of an expression of sound. Everything is open to some degree of interpretation, whether it be at the subtlest level of feel, dynamics or whathaveyou. Only experience can help you navigate when and how you can interpret a chart, but being conservative is the best bet if you're unsure.

If you want to practice your chart reading, Tommy Igoe's books are good as are Steve Houghton's works on chart reading. The latter have some great examples of the kinds of charts you'll encounter in the real world on reading gigs, all written in different styles and fonts.

[larryace]

2B, Great thread, Boomka, you're a treasure trove of priceless info. I've never made it to the level where I needed to read charts, but I am interested in learning how. Will take the advice about the Houghton and Igoe books. Thanks!

[2bsticks]

Thank you Boomka, looks like some great advice and recommendations. I do have the Dave Weckl book Rhythm Of The Soul which includes the CD minus drums but for a beginner chart reader it's a bit too challenging at this point. For me anyway!

Thanks again

[Dave_Major]

2B. I have a couple of charts that I could send you if you are looking for something. They are just songs I have charted out for students. Pm me if you are interested.

Also in addition to what Boomka said. If it is my copy of the chart then I use a highliter to mark things like repeats, D.C/D.S. Basically anything that I should look out for.

I did a gig a couple of months back where i played from the piano scores??? that was fun!!!!

Dave

[Boomka]

2B. I have a couple of charts that I could send you if you are looking for something. They are just songs I have charted out for students. Pm me if you are interested.

Also in addition to what Boomka said. If it is my copy of the chart then I use a highliter to mark things like repeats, D.C/D.S. Basically anything that I should look out for.

I did a gig a couple of months back where i played from the piano scores??? that was fun!!!!

Dave

I hate piano scores, they're always so bloody long with a million page turns....

[Jeremy Bender]

Great subject and responses here. I also recommend a book by Ed Shaughnessy called "Show Drumming:The Essntial Guide to Playing Live Shows and Musicals."
It's help me learn more about this important subject.

[2bsticks]

Also, I am awaiting this, Learn to Read Rhythms DVD with Pat Petrillo. Sounds like it may be a big help.

[jeffwj]

I'd say that 99% of the money that I've made in my performing career came from gigs where I needed to read charts.

Jeff

[larryace]

Wow Jeff...I gotta say I'm in awe of anyone who can play while reading. That's pretty impressive that virtually all your gigs are reading ones. I gotta ask, is it less fun (to have "reading" gigs) than to have not reading gigs? It seems more like....work ha ha but what do I know

[jeffwj]

Wow Jeff...I gotta say I'm in awe of anyone who can play while reading. That's pretty impressive that virtually all your gigs are reading ones. I gotta ask, is it less fun (to have "reading" gigs) than to have not reading gigs? It seems more like....work ha ha but what do I know

Larry,

Most of the gigs that I play require that I need to read to be hired. Reading makes the rehearsals go easier. It also is necessary for gigs that have no rehearsals. But I don't want to have to read the charts a month into the gig. In fact, I want to internalize the music and get my head out of the charts as soon as possible. That way, I can hear what's going on in the music - not just the drum part.

In many occasions (espacially with production shows) , I don't even bring the music stand out after committing the show to memory.

Jeff

[Boomka]

Larry,

Most of the gigs that I play require that I need to read to be hired. Reading makes the rehearsals go easier. It also is necessary for gigs that have no rehearsals. But I don't want to have to read the charts a month into the gig. In fact, I want to internalize the music and get my head out of the charts as soon as possible. That way, I can hear what's going on in the music - not just the drum part.

In many occasions (espacially with production shows) , I don't even bring the music stand out after committing the show to memory.

Jeff

I wish I could do that. It takes me a long time to memorise a full-length production show, and even then I don't like "going commando". I very rarely get to the point - even on ships when I was playing the same shows once a week for 6 months or more if the same show was on different ships - where I feel like I can put the music in the box for a big show like that. It's probably just psychological conditioning/need.

But, I too try to get out of the ink as much as possible as soon as possible. I've found that the longer a gig goes on, there can be a tendency to start relying on my eyes more than my ears. After a few years on ships, I purposely forced myself to learn new material from ear as much as possible just to get out of that habit.

[Shankmasterflex]

just remember your four F's. Do the first three and you'll never have to do the fourth.

Feel - what is the feel of the tune? jazz? samba? songo?
Form - aaba? does it change styles a bunch of times? where are the codas etc etc?
Finale - GET THE ENDING DOWN. know it like the back of your hand. the ending is the easiest thing to mess up but for some reason the last thing people think to look at. you can miss a hit or two, but if you miss the ending the whole entire song is ruined.

and now the last F which I hope none of you come to.

Fail - pretty self explanatory, no?

[donv]

Bookma and Jeff,

That's some great advice and great credentials. Sight reading is a skill in itself. It can be practiced and people can get better at it, but some, like myself will never be very good at it, while others excel.

Somewhere I read that sight reading is one of Gadd's greatest gifts. Put anything in front of him, and he'll play it. Another way of saying he can play anything I guess.

[dale w miller]

I'd say that 99% of the money that I've made in my performing career came from gigs where I needed to read charts.

Jeff
I cannot say that is the case in my neck of the woods, but we are perhaps in a different scene. Now I am sure if I was diving into the movie score world, it could be a whole different ballgame. That said, my little experience reading charts has been quite a surprise. I thought I would receive some highly detailed part where I would have to sight read every nuance giving me a heart attack before the first chorus but really it was a loose groove with some vamping going on. One time I was literally thrown a chart that was no different than what would be in the Real Book and what a horn/piano player would use. I was told to comp the time, count the bars and make sure I hit the changes. I had a teacher who told me afterward that was pretty standard and as long as you got the "hit before the hit" I would do alright. I really haven't done much reading in that challenging of a situation in sometime. Like I said, it's just not the scene I am in any more.


Somewhere I read that sight reading is one of Gadd's greatest gifts. Put anything in front of him, and he'll play it. Another way of saying he can play anything I guess.

There are some guys who just have this gift. I knew of this teacher Al Ipri in the South Jersey area who could site read pretty much anything on site. Some of his older students used to have fun with him and try to stump him once in awhile. Never once did my friends do it.

[jeffwj]

I cannot say that is the case in my neck of the woods, but we are perhaps in a different scene. Now I am sure if I was diving into the movie score world, it could be a whole different ballgame.

I'm not sure if it's an "area" thing since a lot of my playing is out of the area. I think it's more of a style thing. I tend to play more jazz big band gigs and production shows with singers and dancers.

That said, my little experience reading charts has been quite a surprise. I thought I would receive some highly detailed part where I would have to sight read every nuance...

...but really it was a loose groove with some vamping going on. One time I was literally thrown a chart that was no different than what would be in the Real Book and what a horn/piano player would use. I was told to comp the time, count the bars and make sure I hit the changes. I had a teacher who told me afterward that was pretty standard and as long as you got the "hit before the hit" I would do alright.

I think alot of people confuse a chart with a transcription. A transcription is a note for note layout of what someone played. A chart, while it can be note for note, is more of a roadmap. It is not necessarily easier than a transcription. It depends on how well it is written.

Jeff

[ChipJohns]

How many of you have to read charts for your gigs?

My band backs up lots of oldies acts and I notice that some of the drummers will pull a chart out. I can read the drum music in a book but if someone was to put a chart in my face and say "see you at the end" I might faint LOL.

I guess it all depends who writes the chart and also the difficulty of the piece of music. I just see it as a very valuable tool for getting gigs. Any of you aware if there are any charts posted on DW that we could look at?

Thanks

I use to do my fair share of pit work for stage shows and got a call from one of the groups one night that said the drummer disappeared and could I do the show. This was about 3 hours before curtain. I site read the entire score that first night. I stayed on with the show for another three weeks..

The challenge was quite fun. Don't get me wrong, the show wasn't like Evita, or anything, but it was still a bit of a challenge..

[ChipJohns]

Bookma and Jeff,

That's some great advice and great credentials. Sight reading is a skill in itself. It can be practiced and people can get better at it, but some, like myself will never be very good at it, while others excel.

Somewhere I read that sight reading is one of Gadd's greatest gifts. Put anything in front of him, and he'll play it. Another way of saying he can play anything I guess.

And another one is Chad Wackerman. He was the cover story for Modern Drummer back in the very early eighties. He discussed his audition for Zappa and how they did their best to stump him and couldn't until the chart reached a special character that Zappa developed and no one could know what it meant unless you were specifiacally told.. Great Article!

I was a pretty good site reader, but, thought, I couldn't imagine setting in with Zappa and his band, on an audition no less, and have to site read his music. Can anyone say, "Monster?"

[dale w miller]

I'm not sure if it's an "area" thing since a lot of my playing is out of the area. I think it's more of a style thing. I tend to play more jazz big band gigs and production shows with singers and dancers.
I know that. You were taking the expression too literal. :)

[wy yung]

These days I hardly read gigs. Back in the day I did. Of course I read for teaching all the time.

Earl Palmer said all the good studio pro's "Could read fly shit!" :)