that she does not recommend pischna for me. she says it is mainly to improve finger independence, and my fingers are already quite independent and strong.
What did she recommend for you ?
I use Pischna as a model for the sightreading/playing/memorizing workshop I am developing.
The technique is for the moment a side benefit.
what is important is to always know what beat you are on in the measure, to always know exactly your location, rhythm-wise, as you play. i.e. to always know "now i am playing on the third beat of the measure." i really don't know why i have to be conscious of this, but she insists that it is very important.
This is an extraordinary coincidence (synchronicity ?).
The whole point of building a vocabulary for each subbeat (I have gone up to 32nd notes) is this.
If our memory is like a hard drive, this vocabulary and its use with regular pieces (like Prelude in C major of WTC1) will build "cells" that will deal with each subdivision when you play.
This is so difficult for me because it requires technical terms in music and cognitive sciences and computer technology (which I do not master even in French).
What is extraordinary is that what I had an intuition of yesterday was a reality today.
Sightplaying this prelude, I noticed that my brain had memorized the One ee and aa Two... stage and now was very happy with One and Two and.
But, you see, the ee and the aa were implicit.
My brain was sort of grouping them in the One and..
But this had been made possible because I have worked for weeks on building the smallest "cells".
And the big Pischna has proved invaluable help.
What your teacher does not know is that Pischna is a great help for building this conscience of were you are in the count (not only beats but subbeats)but only if you sightplay.
Another miracle of today is that I realized that this grouping of two notes in one half time is the archetype of the memorizing process.
When I will only count beats, my mind will group all the subbeats and therefore memorize them.
In the Pischna, I will memorize eight notes in one beat.
But (this is another intuition), if I count bars one day, then I will memorize one whole bar !
Then, the reading in advance that is the basis of good sightreading/playing will come naturally because the muscle of memory will be very well trained.
But it is only the end result of a long journey that starts with one step.
so, successful sight-reading is a combination of being able to read the music fluently, but also the ability to hear and anticipate with one's hearing. so, having a good ear is not a handicap after all, but an asset!
IMHO, the ability to hear will come naturally with the sightreading/playing/memorizing process.
Every time you play one note, your hear hears it, your brain memorizes it. It is the essence of playing.
So, the more one sightplays and the more one's memory will learn what sound is the result of one note on the paper. And you know what miracles true learning can accomplish.
The same is probably true of pattern recognition.
Some things must be learnt by conscious and repeated work.
And some grow naturally and should be left alone so as not to be interfered with.
The same as for a baby and child : the art is to know when to do something and when to step back and admire the natural processes at work (self-organization and emergence in cogitive sciences).
This sharing of experiences is so stimulating !
I think Frank should be nominated for Nobel Prize.