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Re: How to Improve Sight Reading -- the Right Path ...
#393779 05/12/04 07:28 AM
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Originally posted by benedict:
Looking4Grand,

Here is my advice :

1° Choose a piece that is your level or even above your level so that you will be very proud when you can sight-play it.
I would say that just the opposite of this statement is correct. And I bet 99% of piano teachers would agree with me.

If you try to sight read works that are at the same level as pieces you work on(or even above as the poster suggest), you will not be successful. The whole idea is to choose pieces that you have some chance to play(perhaps slower than the real tempo) at sight. So it follows these would be of lower difficulty than those you need to spend time on to learn.

Re: How to Improve Sight Reading -- the Right Path ...
#393780 05/12/04 09:30 AM
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I agree with pianoloverus.

You should sight read material that is several levels below your current level. Sight reading pieces that are too hard is counterproductive. You will not be able to play the piece fluently, and you therefore won't be able to pay attention to the correct timeing of the notes.

Re: How to Improve Sight Reading -- the Right Path ...
#393781 05/12/04 10:11 AM
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If you read my post well, you will notice that I wrote "sightplay".

Sightreading and sightplaying are not necessarily the same process.

At least, that is what I tend to think.

Sightplaying a work means you will really perform it and therefore put a lot of yourself (and receive a lot). This is why your emotional involvement is part of the process.

Sightreading is discovering a piece.
For those who are very skilled, sightreading is really playing the piece musically. But those who do that are not really those who need advice, are they ?

Can there be several paths that are of equal value ?


Benedict
Re: How to Improve Sight Reading -- the Right Path ...
#393782 05/12/04 10:18 AM
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benedict--

laugh laugh laugh

Re: How to Improve Sight Reading -- the Right Path ...
#393783 05/12/04 01:22 PM
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Quote
Originally posted by benedict:
If you read my post well, you will notice that I wrote "sightplay".

Sightreading and sightplaying are not necessarily the same process.

At least, that is what I tend to think.

Sightplaying a work means you will really perform it and therefore put a lot of yourself (and receive a lot). This is why your emotional involvement is part of the process.

Sightreading is discovering a piece.
For those who are very skilled, sightreading is really playing the piece musically. But those who do that are not really those who need advice, are they ?

Can there be several paths that are of equal value ?
Sightreading is what happens the first time you see a piece and try to play it. Any other distinctions are not relevant. And again, just ask virtually any piano teacher and I bet they will recommend that to improve sightreading the pieces used should be at a lower level(certainly not higher) than the ones you are studying.

Re: How to Improve Sight Reading -- the Right Path ...
#393784 05/12/04 02:31 PM
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Benedict,

I am speaking of sightreading as an exercise to improve your ability to sightread. This is probably different from your definitition of sightplay. I practice sightreading about everyday just to improve my ability to read pieces (which is one of my weaknesses). So, it sounds like we're talking about two different things! wink

Re: How to Improve Sight Reading -- the Right Path ...
#393785 05/13/04 06:14 PM
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Bon Jour Benedict, and thank you for your kind words.

I think you're probably right about including more theory in piano instruction ....

Here's a story -- wonder what you and others make of it?

Some years ago, my piano teacher (and close friend), his wife and I drove to my home town and had dinner with my parents. Also invited were close family friends and their two children, who were all good musicians.

After dinner, my teacher (a truly great artist IMO who has been quite successful concertizing) played several pieces on our Baldwin Acrosonic.

While playing the Chopin etude in c sharp minor (the very fast one), he suddenly stopped near the top of the keyboard, hands in mid-air! INSTANTLY the daughter of our family friends, who was watching, yelled out, "D". [She had studied piano since 3 and had just been admitted to Juillard.] My friend who was playing laughed, said a sincere "Thanks!" and without any trouble continued playing the piece.

Even with pieces I know by heart, I would not be able to yell out a chord name if someone else were playing and got stuck. Nor would I be able to recover instantly, if I were playing, got stuck and someone else yelled out a chord.

The daughter who yelled out "D" told me a few years later, when I studied with her, that she memorized the chords (by letters) of her pieces. I've never done that ... maybe I should?

Well, what do you folks make of all this?


pianodevo
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