By Chris Bernotas
Don’t you love all of the parallels that are drawn between music and other subject areas? You know what I mean, right? Music and math can easily connect through the basic idea of subdivision or how many beats there are in a measure. Music and team sports draw comparison through the concept and practice of working together for a common goal with people of all different skills and backgrounds. Well, how about reading and literature? You already know the importance of sight-reading and focusing on concepts that involve reading notes and reading rhythms. Both are incredibly important and necessary concepts, but really think about music and reading.
When you read a good book, you get absorbed in the characters, follow the storyline, and comprehend the words as they transform into images in your brain. Your emotions can go on a rollercoaster ride as you read the words describing an exciting chase or the evil villain or the feeling as the characters fall in love. Reading music is about comprehension in very much the same way. Learning the note names are the basic words. Learning the scales are putting those words in order and understanding some sentence structure. Performing a piece of music is the same as reading all of the words as they weave into a completed sentence, a paragraph, a chapter, a series of chapters and so on. You’re piecing together musical words and phrases to tell a story, complete with good guys, bad guys, thrilling storylines, romance, and sometimes pure fun. You can tell serious stories, happy stories, sad stories, and sometimes historical stories. There really is no limit.
Just as it is important for students to recognize why they read literature, to experience and connect with themselves and each other (sound familiar?), they should recognize how the musical language and literature can fulfill the very same human needs. In honor of National Reading Month and Read Across America Day, make sure to read with your students today and share in the story together!
Chris Bernotas is co-author of the revolutionary Sound Innovations series. An active composer and arranger of concert band music, his music has been performed at the Midwest Clinic and has appeared on J.W. Pepper’s Editor’s Choice list and numerous state lists. Chris has been an instrumental music teacher in the Mountain Lakes School District in New Jersey for more than 20 years.
By Tom Dempsey
As guitarists, for better or worse, we tend to approach the instrument from a visual and/or tactile perspective. We are first introduced to fingerings, grips, diagrams, and other references that we tend to internalize from either one or a combination of these perspectives. As a matter of entry to the instrument this is not necessarily a bad thing. It is in how we approach it as students, and eventually as teachers that allows us to harness the true power of this perspective.
When students first learn how to read music on the guitar there is a tendency to be disconnected from previous knowledge acquired on the instrument. A more effective way to approach reading on the guitar is to connect to prior knowledge or skills acquired. Consider this fingering of the F major scale:
As students practice learning this scale they should also practice reading the scale. This will help to connect the eyes, brain and fingers together so that when you see that first note you will know that it is an F played on the first fret of the 6th string. In doing so students will soon be able to connect something that is familiar, a scale fingering, with something that might be less familiar like reading music. Through making this connection reading music starts to be come a more comfortable experience.
Once a student begins to feel a connection with the scale fingering of the major scale and the notes on the staff, consider presenting a melody found in the Guitar 101, Book 2:
When doing so a connection should be made to the previous F major scale fingering. This allows us to access a certain comfort zone and connect to prior knowledge. Through these types of connections we are able to feel more comfortable and confident reading music on the guitar. Once we start to move up the neck of the guitar learning additional fingerings for our F major scale we can begin to connect to those respective fingerings. In doing so we are now starting to read all over the neck of the guitar. This allows us to have a new level of freedom throughout the entire fret board.
Whether you are trying to look for new strategies to read music or you are searching for new methods to utilize when teaching students to read music consider the following:
1. Make connections to prior knowledge and skills
2. Practice scales while reading the music in an effort to create familiarity through these connections
3. Present reading examples of simple diatonic melodies
4. Connect those melodies to scale fingerings
5. Connect melodies to additional scale fingerings up the neck
When these types of methods are put in place reading music begins to become a less complicated experience. Through connecting to prior knowledge you will begin to read music in your comfort zone.
Tom Dempsey is a New York based jazz guitar performer, recording artist, and educator. He is the author of four books for Alfred Music and the co-author of both volumes of the new Guitar 101 series. Currently Tom is an Associate Professor of Music at LaGuardia Community College as well as an instructor at Jazz at Lincoln Center.
Posted in Guitar, Uncategorized
Tagged classroom guitar, guitar, Guitar 101, guitarists, music, music education, read music, reading music, scales, Tom Dempsey