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William Moersch
Joined:
2005-2-20
From:
Posts:
323
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All good advice from Thomas and Shawn.
However, I would point out that the point of sight-reading as a professional is primarily in an ensemble setting or in a recording situation. As such, the MOST important element is to be in tempo and DON'T STOP. So, I would modify Mr. Davis' rules somewhat, in that all music should be read at the appropriate tempo, without stopping and without turning the time around. Do not "practice" anything out of context, merely look at it carefully and make a mental note to correct whatever you misinterpreted the first time.
Reading music is exactly the same process as reading language, so the learning process should be the same: learn the individual notes, the sounds of the notes, the most common combinations of notes, the implications of those combinations, and continually add to your vocabulary. The more you sight-read, the fewer elements you should be seeing for the very first time. When you first glance at a new piece, look ONLY for those elements that you don't recognize, then add them to your vocabulary.
Granted, our solo repertoire has far exceeded the level of our training, but only with conscious effort and discipline will we ever catch up with all of those pianists who have been playing and READING from age 3. If not ourselves, perhaps the next generation of marimbists...
WM
P.S. For TA: I have, in fact, been required to transpose at sight. It is fairly common in music theater, at least on Broadway, for the principal to be out and the understudy to be singing in a different key. For Pirates of Penzance, I had to be ready to play "I am a Pirate King" in any of three different keys, only one of which was copied out. One possible help with transposition is to learn ALL the other clefs and then imagine changing the clef to accommodate; another is to learn the chord changes by Roman numerals.
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[3521]Re:Re:Re:Re:Re:Illegible copying (225 reads)
[3513]Illegible copying <Mike Hamnett>
