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Joined: Mar 2010
Posts: 3,340
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it should be normal, sic transit gloria mundi..
Longtemps, je me suis couché de bonne heure, but not anymore!
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Joined: Feb 2010
Posts: 1,126
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Dolce is right. I'm certainly not the best sight reader, but I remember reading through the 3rd movt of the Appassionata at the slowest tempo possible. I remember trying to read through Liszt, Chopin, and anything else I could get my hands on to improve my sight reading. As a matter of fact for the last few days I've been reading through the 1st Godowsky-Chopin Etude at 40 bpms to the eighth note to get acquainted with the difficulties I'd be facing.
While I wouldn't sightread in public, I'll continue reading and improving. Which is what I think you should do.
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Joined: Aug 2010
Posts: 3
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I learned how to play the piano through watching my father play and hearing him play. I'd watch his hands and then I'd sit down and play what he was playing ( not anything too hard, mainly just some easier Mozart stuff).... so I understand this problem all too well.
One thing that really helped me was simply to have the sheet music in front of me even if I had the song memorized, I kind of learned to follow along with my eyes and I think on a subconscious level I was making connections... also sight reading some easy music like Bach minuets etc.
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Joined: Nov 2006
Posts: 4,534
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I find it hard to believe an advanced 10 year player can't read, especially one that had a teacher. What happened when the teacher introduced a new piece, how could the teacher not notice the inability to read after such a long time...strange...
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Joined: Feb 2008
Posts: 1,338
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I wouldn't let it frighten you. Learning to read music is very, very easy, in my opinion. It's not the difficult task it may appear to be. With casual practice here and there, you'll find it as easy as reading a book some day. Heck, I can read music faster than English.
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Joined: Dec 2009
Posts: 6,651
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You could play all Mozart and Beethoven sonata's at age 16 ?? wow I think even Barenboim was 17 Keep in mind he said the violin sonatas...not that they're some easy feat mind you. I agree with dolce that that is how things SHOULD be! I did the same thing all the time as a kid and would just start at the beginning of whatever was on the rack and work my way to the last page. I honestly believe it's one of the biggest contributors to having the sizeable repertoire I have now.
"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy
"It's ok if you disagree with me. I can't force you to be right."
♪ ≠$
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Joined: Aug 2010
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OP
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I would thank you all for replying and for the help.
I would especially like to thank heidiv and morodiene, you were very helpful. Regarding Bruce and Mark, I can sightread, just not nearly at the level I should be able to. For instance when I played Rachs prelude in c sharp minor, I had significant difficulty reading it. I will be sure to look into taking some theory classes that may help significantly.
Thanks!
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Joined: May 2010
Posts: 2,194
2000 Post Club Member
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2000 Post Club Member
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Sightreading the last page of the prelude is tough when it goes to 4 staves!
Working on:
Chopin - Nocturne op. 48 no.1
Debussy - Images Book II
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Joined: Jun 2010
Posts: 109
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I remember a couple years ago, a teacher asked me about sight reading. I said "yeah, it's just the intervals right?" Surprisingly, he said no. He said it's about the patterns and recently I've realized what he meant. If you notice, most music is broken up into predicable segments of scales, chords, arpeggios, etc. I'm working on Chopin's C# minor impromptu and I could easily sight read the treble clef at a slow tempo because it's all just the basics. It's best to look at segments (usually the beats or the notes beamed together) rather than individual notes. Then you only have to identify the first note of each group and the rest fall into place. Of course the rules change as little as you get into harmonies outside the scale, but generall it's just about making the connection between what you see and what you do.
Oh yeah, and theory helps DRAMATICALLY when it comes to understanding what you're looking at.
I think with your experience with so many works, you should be able to sight read decently once you learn theory. You can't LOSE anything by educating yourself. I can tell you first hand that theory will somehow make you a better player.
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Joined: May 2005
Posts: 13,955
Yikes! 10000 Post Club Member
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Yikes! 10000 Post Club Member
Joined: May 2005
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I would thank you all for replying and for the help.
I would especially like to thank heidiv and morodiene, you were very helpful. Regarding Bruce and Mark, I can sightread, just not nearly at the level I should be able to. For instance when I played Rachs prelude in c sharp minor, I had significant difficulty reading it. I will be sure to look into taking some theory classes that may help significantly.
Thanks! Just want to reiterate that "sight-reading" (i.e., reading something for the FIRST time) is different than "reading" (i.e., using the score to play a piece that you have not yet memorized). Regarding the Rach Prelude - you certainly can be forgiven for having a bit of difficulty "reading" the final section of the piece. Although with a little analysis you soon realize that the writing really isn't as mysterious as it looks. And yes - if you need to write an occasional note in here or there - go for it. 
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Joined: Feb 2008
Posts: 1,338
1000 Post Club Member
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1000 Post Club Member
Joined: Feb 2008
Posts: 1,338 |
I remember a couple years ago, a teacher asked me about sight reading. I said "yeah, it's just the intervals right?" Surprisingly, he said no. He said it's about the patterns and recently I've realized what he meant. If you notice, most music is broken up into predicable segments of scales, chords, arpeggios, etc. I'm working on Chopin's C# minor impromptu and I could easily sight read the treble clef at a slow tempo because it's all just the basics. It's best to look at segments (usually the beats or the notes beamed together) rather than individual notes. Then you only have to identify the first note of each group and the rest fall into place. Of course the rules change as little as you get into harmonies outside the scale, but generall it's just about making the connection between what you see and what you do.
Oh yeah, and theory helps DRAMATICALLY when it comes to understanding what you're looking at.
I think with your experience with so many works, you should be able to sight read decently once you learn theory. You can't LOSE anything by educating yourself. I can tell you first hand that theory will somehow make you a better player. That's a very good way of putting it. Once you recognize that certain arpeggios, patterns equal certain chords, and scale progressions - it becomes very, very easy. So easy, it's amazing. One of the best ways to teach arpeggios, alberti bass, etc is to point out to a student the chord it is forming. Then they are able to see that chord instantly when they look at it, and the phrase becomes obvious.
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Joined: Sep 2009
Posts: 124
Full Member
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Full Member
Joined: Sep 2009
Posts: 124 |
Sight reading is all about expectation.
If you know what to expect, then reading is a breeze.
Harmony theory and counterpoint are what you need to become a quick reader. Learn figure bass (who does these days...), and you will understand spacing.
Good luck.
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Joined: Mar 2008
Posts: 1,811
1000 Post Club Member
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1000 Post Club Member
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Why is it so difficult about reading?
When I was still teaching piano, I made my students memorize the note by position.
In one week, little kids will have no problem remembering the first 5 notes, middle c through g, the following week ad 2 more, a and b....etc
Memorize by position is to be able to tell the note by looking at the position.
For example e is on the first line, memorize this, then f in the first space, g on the second line.....It is just hard to belive people who play Waltz, Ballad, cannot even read this...
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Joined: Nov 2009
Posts: 73
Full Member
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Full Member
Joined: Nov 2009
Posts: 73 |
You mention you play in an amateur band? Then you have access to the BEST way to improve your sight reading. Get a bunch of easy songs for your band to play. Depending on what type of music you're into, this might be chord charts or chamber music scores... doesn't matter. Jam these songs with your band *without learning them first*. Having to keep up with other musicians is the very best way to learn how to sight read, how to keep going when you make mistakes, and also how to fudge on the fly if you can't play exactly what's on the sheet  Good luck.
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Joined: May 2009
Posts: 1,676
1000 Post Club Member
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1000 Post Club Member
Joined: May 2009
Posts: 1,676 |
You could play all Mozart and Beethoven sonata's at age 16 ?? wow I think even Barenboim was 17 Keep in mind he said the violin sonatas...not that they're some easy feat mind you. I agree with dolce that that is how things SHOULD be! I did the same thing all the time as a kid and would just start at the beginning of whatever was on the rack and work my way to the last page. I honestly believe it's one of the biggest contributors to having the sizeable repertoire I have now. Makes alot more sense now, I find sight-reading through parts like op109 last movement to be quite... impossible .
Currently working on: Perfecting the Op 2/1, studying the 27/2 last movement. Chopin Nocturne 32/2 and Posth. C#m, 'Raindrop' prelude and Etude 10/9
Repetoire: Beethoven op 2/1, 10/1(1st, 2nd), 13, 14/1, 27/1(1st, 2nd), 27/2, 28(1st, 2nd), 31/2(1st, 3rd), 49/1, 49/2, 78(1st), 79, 90, 101(1st)
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Joined: Dec 2009
Posts: 2,058
2000 Post Club Member
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2000 Post Club Member
Joined: Dec 2009
Posts: 2,058 |
We need to know specific note names to help figure out what notes to start on and also to read notes that might be a far leap away (more than an octave usually) from the previous note. However, that's pretty much it. [/i].  I'm glad to know that I'm not the only one using this technique. 
![[Linked Image]](https://www.pianoworld.com/forum/gallery/42/full/8517.jpg) SoundCloud | Youtube
Self-taught since Dec2009
"Don't play what's there, play what's not there."
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