Is reading music a must - Is reading music a must

[JohnnyConga]

Here is a rundown on Percussion positions

"Legit"-Concert percussionist
"pit" Musician(works on Broadway for musicals,etc.)
Session Musician(recordings)
Dance Musican(for Dance company's-ballet, Afro-American)
Band Musician
Arranger
Composer
Multi=percussionist/legit and ethnic
"Specialist" in a particular field/style
Teacher
Drum Therapy/ist
are there any others out there I left out?......I myself have had musical "training/understanding/and schooling" got an AA from Los Angeles City College, but learned more out of school by "practical application" and "self study". Once again "The more you have in your arsenal. the stronger you are"!....Giovanni has a Father that got him started, he played professionally also. Gio started around 5 years old. At 15 he went to Cuba to study with Changuito , who came out of the Conservatorio De Havana. He learned drumset and reading in the Conservatory but as an "Afro-Cuban" he was "already playing" con las tumbadoras. Gio lived with Chango for about a year, playing up to 10 hours a day 7 days a week. You can see how Gio can lick for lick "emulate " Changuito on their video together. So get to "practicing".......peace out....."JC" Johnny Conga.....

:;):

[Tamborim]

Thank you for your feedback Tamborim. I will check out that book.

Hello Dantino.
My respects. And you are welcome.

I have read the other fine comments left by the members here. I fully understand where they are coming from. And yes, the Louis Bellson book may be too advanced. In that case I would suggest Stick control for the modern snare drummer. You may find this book here.

I should explain my earlier answer. All my answers, now and in future, will be in relation to becoming a professional.

So, speaking in that light, I am not aiming at the hobbyist per se. Although even for a hobbyist I feel reading is important. For one thing it allows you to write out rhythms. This helps to arrange sections. Something that can be time consuming if you have to demonstrate it for everybody.

Reading = time saving. And time saving = lower costs. This is important to leaders. For example, I will not hire a musician who cannot read. Unless of course this musician is something very special. My reasons revolve around money and time. You see, in the professional world of music money is the key ingredient in virtually any decision. I need a musician who can grasp an idea quickly. If I choose to add a tune to the bands set, I want to be able to hand out the charts on the day. Not a week or two days before.

The ability to read allows musicians to write out charts for themselves. This can be done with a head set in a hotel room. You can't play your drums after the show while others are trying to sleep. You can try, I know those who have. Thankfully I was not the leader. But it wont make you many friends. Your charts need not be big, or even detailed. I often write a chart on a small note pad page. I just need to know where the changes are.

There are other benefits to reading. For one thing other instrumentalists will take you more seriously. There are many many drummer jokes out there. Respect on the stage and in the tour bus is extremely important.

Reading also opens an entire world for you. No longer do those bookshelves at the music store hold secrets. You can learn something in minutes that may take a long time for you to figure out on your own. You don't have to become an expert in reading piano parts. You just need to be able to understand the chart. Reading is a positive thing. And once you know it, you know it. Take the time and learn. You will not regret it.

As for those people who think that readers have no feel? Well, Steve Gadd, Giovanni, Miles Davis, Count Basie, Duke Ellington, Paquito DeRivera, Quincy Jones all have great feel, and they can all read. Reading does not affect your chops. If it does, you may simply need more practice.

I hope I have been of some help.

Good luck.



Edited By Tamborim on 1105372900

[Tamborim]

Hi, guys, after Sabrosona's post I wanted to post the next questions:

How many of the members of the forum went to a music school (a formal music school)?

I did not attend a music school. I had private teachers. I also learnt much from playing gigs. Hopefully now after several thousand, I may have learnt a bit.


Probably not.

[untaltumbador]

Tamborin
I really enjoy your perspective on the subject of reading music, you've explained it in a way I wish I could have. You have illustrated the importance of the subject for what, I think , it is.

Thank you

[Mr. NoChops]

Well, for me it's like this:

If you ever want to compose any music you have to know how the heck to read.....So I guess I strongly recommend learning music properly... and that is with reading.. :;):

Yeah, tell that to Stevie Wonder. Even better, tell it to Beethoven. Sure, these are exceptional talents, all I’m saying is, you sure as #### can compose without knowing how to read at all.
Music is in your ears and in your heart, NOT on a piece of paper. What do you think Jimi Hendrix spent more time doing: Learning to read music or playing his heart out? How about Bob Marley? As far as I know, Bobby was no guitar guru, nor was he a professor in music theory, but he has still written some of the most moving and beautiful music I’ve ever heard.

Generalisation never works....

[Raymond]

With all due respect, in my opinion, this has gotten a little bit out of proportion. Reading is an important aspect but definitively the most important aspect is to be able to play. That is what is called, in professional terms, the difference between a technician and a performer.

You could be a technician that all you know is technique but you are not a performer. (Lots of people out there like that). You could be a performer and not be a technician. However, there is one important thing: although the performer could be a great performer it will be limited if he/she does not have the complete "technical tools" . Yes, you could be a great performer and never be challenged or be in need of an specific "technical tool." However, it could limit your potential if you are challenged. (Example: You are requested to do a recording but the producer or arranger wants a reader and there is no way he will work around you or if you are called to a gig). Yes, you could be that good of a performer, and there are only a few, and never be challenged or be in need of a "technical tool" you are lacking. However, the majority of us need to obtain the majority of tools to be competitive. The recommendation of reading is just that: to make you more competitive. That is the point we are bringing here. Nobody is challenging that you need to play and be a good performer first and foremost.

Sorry if I got too technical here but "filosophically" that is what we meant for those who recommended to give it a try at reading. Our recommendation is that you have to aspire or give up on been a good player first.

Saludos!

[Colacao]

Hi people,

I think reading/writing music is a tool, you can use the ears, the eyes, the heart and sometimes the brain is useful too.

[yoni]

Hi all,

This question was covered in this forum some months back; then I said pretty much what Obi and Mr. No Chops say here -

Just check out the music of Stevie Wonder, Ray Charles and many other unsighted musicians for proof that reading is not an absolute must, even for being "professional" or "great" at it.

Personally, I can barely read music notes and don't know if I ever will, even though I'm just 45. I got nothing against it, just doesn't interest me. But music sure does and there's an infinite amount to learn even without knowing the 12-tone notation system (and there are many other systems anyway). Hope I never stop learning, but for me music is more aural and tactile, not so much visual. I like learning through hearing and playing.

Could it be helpful? Sure, if you want to play in situations that call for it (though I've played many kinds of sessions, including complex arranged and classical, by ear).
Could it be fun? Of course, if you feel like getting into it.

But an absolute must? No way.

my two strokes,
Yonatan Bar Rashi

[sabrosona]

Hi people,

I think reading/writing music is a tool, you can use the ears, the eyes, the heart and sometimes the brain is useful too.

I think this is the answer to the question. Reading is a tool - for some it may be useful and for some may be not. You choose!

[Colacao]

Gracias Sabrosona, but others response are good too.

I understand that some people like Yoni is more Audio and tactile etc...

As JC said the memory is important.

I read a study about pianist memory functions, the specialist said that there is 4 principal functions

Audio
Visual
Kinesthesique (I don't know the word in English) (Tactile)
Conceptual(Systems)

Personaly, I think I'm more Audio than Visual, I'm Tactile and I like Systems and Concepts.

An other specialist study about 157 memory functions! So, I think it's complex.

[Tamborim]

Hello again everybody.
My respects.

Before I begin here, I need to point out that I have been a professional musician now for many many years. I have of course from time to time come across these arguments for and against reading. The arguments against do not carry any weight with me at all. Using Stevie Wonder as an excuse not to make the effort to learn a valuble tool in one's musical life will not improve one's skill.

Now here is something that I have learned from my many years of experience. The ability to read a chart does NOT add any detrimental points to one's playing. It is a tool. Does your ability to read words affect your ability to speak? I should hope not.

Here is the hard line. I am a band leader. I will NOT hire a musician who cannot decipher a chart. Period. No argument. No pay check. It is as simple as that.

Make the effort. Learn to read. Learn to decipher exercises that will help your practice. Reading is a positive skill that will get you work. It is not rocket science. There are 26 drum rudiments. Just as there are 26 letters in the English alphabet.
A writer is only as good as the words he knows. And not every teenager gets to spend day in and day out at the Motown studios with recording greats the way Stevie Wonder did.

Now there is not much else to say. I hate to say it but those who argue against reading in my experience, are generally not experienced musicians. Now please, before one argues with me ask yourself this, are you an experienced musician? By experienced I mean at least 10 years on the road as a professional musician. At least!

My respects to everyone.

PS. I hope this goes over well. I am currently on tour and this visit to the I.T. cafe to check this thread has cost me money. Money I need to pay the sound man, the driver, the bass player, the bone player, the guitarist, the singer, the dancers (3), and various other miscellaneous musicians.

Oh yeah, and my wife.

Oh my aching head. Oh my poor bank account.....................



Edited By Tamborim on 1105739786

[Tamborim]

Tamborin
I really enjoy your perspective on the subject of reading music, you've explained it in a way I wish I could have. You have illustrated the importance of the subject for what, I think , it is.

Thank you

Hello. And thank you.

Hopefully we can all give something to each other. Even if it is something one rejects. It all counts in the end.

Now I must return to the bus. Everybody who didn't drink after the gig last night is probably waiting for me. The drunks will need pulling out of bed. That bone player and his Merlot........
If he wasn't such a fine player, and such a great reader.........



Edited By Tamborim on 1105740168

[rahalak]

I think Tamborim has hit upon a good analogy with language. Does one one need to know how to read and write words in order to talk? Obviously not. Can one have meaningful conversations; intelligent conversations; speak eloquently; and yet be illiterate? Certainly. But is that a good reason to not learn to read and write? I don't think so. Imagine how limiting it would be to be illiterate. This forum, this site, the whole internet would be pretty much unthinkable without the written word.

Now, maybe the contrast is not so extreme when it comes to music literacy, but it's a parallel situation. Sure, you can be a great musician without knowing the written form, but learning to read music would only add to your abilities as a musician.

It's often put forth that musicians who read are more mechanical or stiff in their playing, but if that's true it's likely because they don't read that well. Again, think of the parallel of language. A person who is just learning to read will falter when reading aloud. Even folks who can read silently just fine will sound stiff reading aloud if they don't do it often. But those who practice it can put a great deal of passion and feeling into reading a script, even if they stick to it word for word.

Written music is not the same as actual music, in fact, it's not music at all -- just a symbolic representation. But a very handy tool nonetheless. And althought it has it's limitations, if it is written carefully and correctly it can clearly convey a great deal of information about music. People who can read music very well can get a good sense of what a piece sounds like just by looking at the score. Beethoven was able to write (and conduct!) his 9th Symphony even though he was completely deaf by that time.

Finally, I don't mean to step on any toes, but it seems as though the ability to write language - words - clearly and concisely is falling to the wayside. I see many posts on this, and other forums, that are so poorly written that I can scarcely figure out what the person is trying to say. If people don't want to make the effort to write words well, maybe it shouldn't be surprising that they are reluctant to learn written music.
Chris

ps - for the record, I can read and write music, but very poorly. MY BAD! I wish I had more time to work on it.

[catherine]

Someone may have already made this point, but being able to read music probably means you can think music in a way that makes sense to a vast world of people. If you decide to compose, having a system to record what you are thinking will not only help you remain consistant, but would also let others know what you mean without you necessarily having to play everything for them, and them then memorizing. Being able to read is also helpful if you wanted to get a feel for someone else's role in a particular chart, feeling your way through a cascara groove, figuring out the rhythm that the piano or bass are playing, etc, creates a fuller picture of a tune before you sit down to jam, you also go in knowing what to expect and enjoy.
Catherine

[Berimbau]

There seems to be quite a number of informed opinions on this forum regarding music reading ability. As a professional musician with a degree in ethnomusicology, I'd like to add my own voice to the chorus. In this day and age, it is imperative for a working musician to have strong reading skills, irregardless of your instrument(s) or preferred style of music. Although I'm not personally acquainted with either Giovanni or Changuito, I hazard to quess that they are both readers, and suspect that their fantastic contributions to the world of the tumbadoras is fueled both by firsthand knowledge of the traditions as well as written music. However, for general conga drum enthusiasts, drum circles, etc., reading music is simply not necessary. I think that any conga drum enthusiast who seeks improvement in their drumming skills will eventually make the commitment to read. Reading will give you a greater cognition of musical concepts, providing a roadmap to improve your overall musicianship.
Obi mentioned a most crucial element - FEEL. In conga drumming FEEL is everything! That's what moves us out onto the dance floor, and really great congueros play for the dancer in all of us. In my teaching experience I've noticed that Western trained classical musicians who've studied hand drumming with me can always read anything I put in front of them. Although they can always correctly interpret the note values, it is the FEEL that they find so elusive. Because we are dealing with an African-derived art form; Afro-Cuban music, the application of Western European musical concepts often falls short in bringing out the full flavor of this music's deliciously subtle nuance.
Remember, the Afro-Cuban architects of the tumbadoras came from an oral tradition. Although it seems incredible, the mathematically complex drumming traditions of West and Central African were passed down over centuries through oral transmission. Although many of these cultures did possess various ideogramatic writing systems (such as Nigerian nsibidi and Angolan tusona), music wasn't written down. That these complex musical systems of time line patterns, lead and supporting drum parts, dance and liturgical chants in African languages should survive throughout the horror of slave era Cuba is even more amazing. The vitality of this culture is a perfect reflection of the values and ideals of it's creators. Faith held it all together - Palo, Abukua, and Santeria.
Yet no one should assume these African-derived drumming "traditions" are somehow static, for in reality they are constantly being reconfigured over and over again in both Cuba and in Africa. The great Chano Pozo was a product of this oral culture, and although he was a non-music reader, he still managed to revolutionize world music with his innovative contributions. If anything, the "tradition" we are dealing with is really a tradition of renewal as each successive generation puts their own stamp on conga drumming. Interestingly enough, the newer notation system developed for hand drums called T.U.B.S. (Time Unit Box System), dovetails conceptually with African ideogramatic writing, and provides a useful and culturally appropriate form to communicate drum rhythms. It remains to be seen exactly what the transculturative impact of Western music notation will be on the overall picture of Afro-Cuban percussion. I suspect that with the barrage of dvds, books, cds, videos, and forums such as this, that written music will continue to aid the spread of conga drumming far from it's Cuban epicenter.

Berimbau