I have been experimenting sight-reading from several different distances. My first instinct (wrong!) was to sit as far as possible from the score so I could have a wider view of it. It turns out, after reading some papers by optometrists, that there is an optimal distance between our eyes and the working area where one can be more efficient. Such distance is called "Harmon Distance". It is calculated by measuring the distance between elbow and knuckles.
Other things contribute to more efficient reading skills. The book or working surface should be tilted between 20 to 23 degrees from the horizontal. The back is to be straight, feet on the floor, and of course, good lighting is a must.
Both Harmon Distance and the recommended sloping working surface, are impossible to achieve while playing the piano without hurting the hand and arm position.
Dr J has agreed to order the TVPP soft ware for me. I am looking forward to do the exercises and learn more about reading.
Wednesday, November 25, 2009
Wednesday, November 18, 2009
Developmental Optometrist - Dr J
My meeting with the Dr J was wonderful!
She showed me the equipment used on most of the researches I have been reading. I am particularly impressed with the "Visagraph-version 4.0". Visagraph is like goggles. It stays in touch with your skin and it is covered with sensors that can track every single eye movement with incredible precision. She was kind enough to test my reading skills (with a text). Visagraph has tracked both right and left eyes independently. After I finished reading, a computer prints all the information about every single movement.
There is a record of:
- number of fixations
- number of regressions
- average span of recognition (words)
- average duration of fixations
- number of saccade start differences
- events with multiple regressions
- mean regressions in multiple events, and lots of other information more related to the text.
Dr J also talked about the different parts of the eye that I considered important to my quest:
- The macula, is an ill-defined and somewhat yellow area of the central retina which surrounds the fovea centralis, which is important for good visual acuity.
- The fovea centralis is a small, thinned-out area of the retina consisting almost exclusevely of receptor cells, which provides high visual acuity. A healthy fovea is key to reading, driving, watching tv and ohter activities that require the ability to see detail.
- The PARA FOVEA, recognizes letters/notes while simultaneously fixating on a central target.
Understanding the para fovea, was very important for me. Pianists use the para foveal vision all the time. Dr J told me that para foveal vision and peripheral vision are not the same thing. Peripheral vision is much further and it is not what we use while reading. I was fascinated by the para fovea because I find myself seeing more and more out of the fovea as I continue with my sight-reading practice.
There are ways to improve this kind of "vision". She has recommended a soft ware called TVPP (Temporal Visual Processing Program) by Sydney Groffman. I am dying to get a hold of it. If you google TVPP, you can read a more detailed description of it. Unfortunately, this is not sold to "normal human beings". It is only sold to medical facilities. I have asked Dr J for help once again.
My thanks to Dr J for spending her free time enlightening me.
She showed me the equipment used on most of the researches I have been reading. I am particularly impressed with the "Visagraph-version 4.0". Visagraph is like goggles. It stays in touch with your skin and it is covered with sensors that can track every single eye movement with incredible precision. She was kind enough to test my reading skills (with a text). Visagraph has tracked both right and left eyes independently. After I finished reading, a computer prints all the information about every single movement.
There is a record of:
- number of fixations
- number of regressions
- average span of recognition (words)
- average duration of fixations
- number of saccade start differences
- events with multiple regressions
- mean regressions in multiple events, and lots of other information more related to the text.
Dr J also talked about the different parts of the eye that I considered important to my quest:
- The macula, is an ill-defined and somewhat yellow area of the central retina which surrounds the fovea centralis, which is important for good visual acuity.
- The fovea centralis is a small, thinned-out area of the retina consisting almost exclusevely of receptor cells, which provides high visual acuity. A healthy fovea is key to reading, driving, watching tv and ohter activities that require the ability to see detail.
- The PARA FOVEA, recognizes letters/notes while simultaneously fixating on a central target.
Understanding the para fovea, was very important for me. Pianists use the para foveal vision all the time. Dr J told me that para foveal vision and peripheral vision are not the same thing. Peripheral vision is much further and it is not what we use while reading. I was fascinated by the para fovea because I find myself seeing more and more out of the fovea as I continue with my sight-reading practice.
There are ways to improve this kind of "vision". She has recommended a soft ware called TVPP (Temporal Visual Processing Program) by Sydney Groffman. I am dying to get a hold of it. If you google TVPP, you can read a more detailed description of it. Unfortunately, this is not sold to "normal human beings". It is only sold to medical facilities. I have asked Dr J for help once again.
My thanks to Dr J for spending her free time enlightening me.
Tuesday, September 22, 2009
Cherry Season is Over
After 1500 Hymns and no more cherries, I have decided to explore a more rewarding repertoire.
I am still doing Hymns with the metronome so I have a better idea of my improvement "tempo wise".
Here is a list of new things I have been sight reading:
Mozart - Lieder
Mozart - Violin Sonatas
Berio - Canzoni Popolari
Jaell - French Character Pieces
Italian Arias
Rodrigo - Serenata Espanola
Tiersot - Chants de la Vielle France
Schubert - Lieder
Tagliafico - 15 Melodies
Kirchner - 60 Preludes Op.65
Brahms - Lieder
Wolf - Lieder (I am not there yet but the harmonies are gorgeous-I shell go back to them later)
Faure - 50 Songs Med/Low (very beautiful)
Persichetti - Sonatas (my favorite!)
I have also been going through my students intermediate repertoire (super fun). I read a lot of their Baroque style pieces in order to be exposed to some polyphonic writing.
My new piano professor has suggested that I do Czerny Op.821 (great for "chuncking").
Next post will be about my meeting with the optometrist. It was very helpful. Don't miss it.
I am still doing Hymns with the metronome so I have a better idea of my improvement "tempo wise".
Here is a list of new things I have been sight reading:
Mozart - Lieder
Mozart - Violin Sonatas
Berio - Canzoni Popolari
Jaell - French Character Pieces
Italian Arias
Rodrigo - Serenata Espanola
Tiersot - Chants de la Vielle France
Schubert - Lieder
Tagliafico - 15 Melodies
Kirchner - 60 Preludes Op.65
Brahms - Lieder
Wolf - Lieder (I am not there yet but the harmonies are gorgeous-I shell go back to them later)
Faure - 50 Songs Med/Low (very beautiful)
Persichetti - Sonatas (my favorite!)
I have also been going through my students intermediate repertoire (super fun). I read a lot of their Baroque style pieces in order to be exposed to some polyphonic writing.
My new piano professor has suggested that I do Czerny Op.821 (great for "chuncking").
Next post will be about my meeting with the optometrist. It was very helpful. Don't miss it.
Monday, September 7, 2009
"A Neurocognitive Approach to Music Reading"
A Neurocognitve Approach to Music Reading by Lauren Stewart
Dep. of Imaging Neuroscience
University College, UK and University of Newcastle upon Tyne, NE1 7 RU, UK
The article, which I highly recommend, investigates how musical symbols are decoded into music response (perceptual and physical) for pianists reading 2 staves.
They found that pianists eyes perform a set of horizontal and vertical mappings. (There was no mention of what kind of "zig-zag or "mapping" is more efficient).
Adults musically untrained who were taught to play the piano for 3 months showed a change in the superior parietal cortex. The experiment was monitored by MRIs.
The author states that these changes correspond to "the acquisition of of a process that deals with the extraction of spacial (pitch) and featural (rhythm) properties of notation, respectively".
The neuroimaging were focused on reading musical pitch, which for pianists is a spacial task (where high notes correspond to the right side of the keyboard and lower notes correspond to
the leftside). However, the study showed that music reading also involves recognizing the rhythms (when to play).
These rhythmic instructions, differ from the pitch instructions because they are not spacial but they are conveyed by visul features.
The imaging tests for rhythm recognition also showed changes on the left supermarginal gyrus.
The conclusions were:
"The studies described above reveal that music reading, at least for keyboard performance, requires coordinated sensorimotor translation between a set of vertically organized stimuli and a horizontally organized set of responses. These spatial mappings, which are likely to relate to the decoding of pitch from notation, develop in the early stages of skill acquisition and are associated with functional changes in the superior parietal cortex. The ability to decode the rhythmic elements of notation, by contrast, appears to depend upon a visual discrimination process subserved by the fusiform gyrus. These “what” and “when” aspects of music reading seem to map onto the what and when occipitoparietal and occipitotemporal streams, respectively".
Dep. of Imaging Neuroscience
University College, UK and University of Newcastle upon Tyne, NE1 7 RU, UK
The article, which I highly recommend, investigates how musical symbols are decoded into music response (perceptual and physical) for pianists reading 2 staves.
They found that pianists eyes perform a set of horizontal and vertical mappings. (There was no mention of what kind of "zig-zag or "mapping" is more efficient).
Adults musically untrained who were taught to play the piano for 3 months showed a change in the superior parietal cortex. The experiment was monitored by MRIs.
The author states that these changes correspond to "the acquisition of of a process that deals with the extraction of spacial (pitch) and featural (rhythm) properties of notation, respectively".
The neuroimaging were focused on reading musical pitch, which for pianists is a spacial task (where high notes correspond to the right side of the keyboard and lower notes correspond to
the leftside). However, the study showed that music reading also involves recognizing the rhythms (when to play).
These rhythmic instructions, differ from the pitch instructions because they are not spacial but they are conveyed by visul features.
The imaging tests for rhythm recognition also showed changes on the left supermarginal gyrus.
The conclusions were:
"The studies described above reveal that music reading, at least for keyboard performance, requires coordinated sensorimotor translation between a set of vertically organized stimuli and a horizontally organized set of responses. These spatial mappings, which are likely to relate to the decoding of pitch from notation, develop in the early stages of skill acquisition and are associated with functional changes in the superior parietal cortex. The ability to decode the rhythmic elements of notation, by contrast, appears to depend upon a visual discrimination process subserved by the fusiform gyrus. These “what” and “when” aspects of music reading seem to map onto the what and when occipitoparietal and occipitotemporal streams, respectively".
Monday, August 31, 2009
Beginners and Intermediate Students
I teach my beginners and intermediate students "guide notes" first.
I start with middle C, high C, low C, G form G clef and F from F clef . Form there, we start reading short pieces with seconds only. They are not supposed to name the other notes (around ttheir guide notes) but just describe them as "second up, second down". After they master that, I inroduce the thirds , fourths and so on. The same thing applies to the guide notes. After they master the mid C, low C, High C, F and G, I add another set at a time: low G (from F clef) and high F (from G clef). Next, I add what my kids call high-high C and low-low C. we keep using the same strategy adding one interval at a time.
For rhythm, I make them tap both hands together from the beginning. If they can play hands together, they can tap them together too.
As they improve, we start "mapping" the pieces (always short). They have to draw lines for both hands that describe the movement and rhythm of their music. I let them use their imagination as far as their maps go. Each student is different. These maps are also great to memorize pieces.
I use a book which was suggested to me by an OMTA adjudicator called "Accelerando". They have a series of progressive technical exercises (always two lines long) with rich rhythms and key signatures. I realy recomend them. They sound very nice two. My students love them!
Duets
Duets are a wonderful way to practice sight-reading.
The first duets I use are Pozzoli (the Italian composer, not the Mexican soup) called "Sorrisi Infantili" and Diabelli "Melodious Pieces". They are all in 5 finger position. At this point, my students are also practcing 5 finger patterns in all keys.
Later, I add Kabalevsky's "Favorite piano duets for beginners" and Dello Joio's "Family Album".
There is an amazing selection of nice duets from the 20th century and contemporary composers.
The next step should be learning scales and modes and mapping those as well.
I start with middle C, high C, low C, G form G clef and F from F clef . Form there, we start reading short pieces with seconds only. They are not supposed to name the other notes (around ttheir guide notes) but just describe them as "second up, second down". After they master that, I inroduce the thirds , fourths and so on. The same thing applies to the guide notes. After they master the mid C, low C, High C, F and G, I add another set at a time: low G (from F clef) and high F (from G clef). Next, I add what my kids call high-high C and low-low C. we keep using the same strategy adding one interval at a time.
For rhythm, I make them tap both hands together from the beginning. If they can play hands together, they can tap them together too.
As they improve, we start "mapping" the pieces (always short). They have to draw lines for both hands that describe the movement and rhythm of their music. I let them use their imagination as far as their maps go. Each student is different. These maps are also great to memorize pieces.
I use a book which was suggested to me by an OMTA adjudicator called "Accelerando". They have a series of progressive technical exercises (always two lines long) with rich rhythms and key signatures. I realy recomend them. They sound very nice two. My students love them!
Duets
Duets are a wonderful way to practice sight-reading.
The first duets I use are Pozzoli (the Italian composer, not the Mexican soup) called "Sorrisi Infantili" and Diabelli "Melodious Pieces". They are all in 5 finger position. At this point, my students are also practcing 5 finger patterns in all keys.
Later, I add Kabalevsky's "Favorite piano duets for beginners" and Dello Joio's "Family Album".
There is an amazing selection of nice duets from the 20th century and contemporary composers.
The next step should be learning scales and modes and mapping those as well.
Tuesday, August 25, 2009
Observing myself
I always advice students to sight-read music a notch below their level. During my readings about this subject, I have bumped into this same advice several times. I however, realized that I am resisting or ignoring this important detail. Aside form the hymns, I have been trying to challenge myself with difficult pieces. Today, I spend a couple if hours sight reading lower level pieces. It was very rewarding and I had the chance to observe my reactions in a more efficient way.
Here are the results:
- I was able to look ahead (some) and use my "buffers" (this was very exciting)
- I could perceive notes and patterns from my parafoveal area (outside the fovea) as if I could GUESS the notes.
- I can read the bass clef much better then the treble
- I read polyphony easier then homophony
- When I play the hymns, I use my keyboard so I can turn the sound of and this works very well. On the other hand, without picking at the keyboard at all (although I rarely do it) things get very complicated. The visual sense is vital while the auditory sense is not a necessity while I sight-read.
Here are the results:
- I was able to look ahead (some) and use my "buffers" (this was very exciting)
- I could perceive notes and patterns from my parafoveal area (outside the fovea) as if I could GUESS the notes.
- I can read the bass clef much better then the treble
- I read polyphony easier then homophony
- When I play the hymns, I use my keyboard so I can turn the sound of and this works very well. On the other hand, without picking at the keyboard at all (although I rarely do it) things get very complicated. The visual sense is vital while the auditory sense is not a necessity while I sight-read.
Sunday, August 23, 2009
"The effects of skill on the eye-hand span during musical sight-reading"
The article by S. Furneaux and M.F. Land (Sussex for Neuroscience, University of Sussex, Falmer, Brighton BN1 9QG, UK) is one of the very few papers written about sigh-reading dual-staved scores since the 1940s. Weaver (1943) and Van Nuy & Weaver (1943) have looked into sight-readers reading two staves. Sloboda (1974) and Truit at al (1997) both have looked into single-staved scores and sight-readers. Sloboda looked into *EHS of pianists without looking and measuring eye movement. His results are likely to be overestimated (we will discuss it later).
This paper is unique because it measures EHS in *note index, *time index as well as the*time delay aspect of sight-reading.
The results were:
"- professionals showed a 4 notes index versus the amateurs who showed a 2 notes index
- the time index varied with tempo therefore, the length of time that information is stored in the musicians *buffers is related to performance tempo rather than skills, but that professionals can fit more information into their buffers."
It is a fascinating article that shows the zig-zag movement of the pianist's eyes in very informative graphs (you should take a look at them). Ot was found that pianists do not read the two staves together. I realize that my theory of us pianists having to make choices as we sight-read is very likely since our eyes zig-zag and move not only horizontally, but vertically. I would like however, to find an article about these abilities to make choices where two pianists are analyzed while sight-reading the same score. What king of zig-zag is more effective?
*EHS = eye hand span
*note index = number of notes between hand and eye
*time index = time between fixation and performance
*time delay = how long the information is stored before the actual performance
*buffer = a temporary memory area used when transferring data between devices and programs operating at different speeds
This paper is unique because it measures EHS in *note index, *time index as well as the*time delay aspect of sight-reading.
The results were:
"- professionals showed a 4 notes index versus the amateurs who showed a 2 notes index
- the time index varied with tempo therefore, the length of time that information is stored in the musicians *buffers is related to performance tempo rather than skills, but that professionals can fit more information into their buffers."
It is a fascinating article that shows the zig-zag movement of the pianist's eyes in very informative graphs (you should take a look at them). Ot was found that pianists do not read the two staves together. I realize that my theory of us pianists having to make choices as we sight-read is very likely since our eyes zig-zag and move not only horizontally, but vertically. I would like however, to find an article about these abilities to make choices where two pianists are analyzed while sight-reading the same score. What king of zig-zag is more effective?
*EHS = eye hand span
*note index = number of notes between hand and eye
*time index = time between fixation and performance
*time delay = how long the information is stored before the actual performance
*buffer = a temporary memory area used when transferring data between devices and programs operating at different speeds
Saturday, August 22, 2009
"Chunking Behavior"
I have yet to read more about "chunking". It is still too early on my quest. So far, I have just bumped into "encourage chunking behavior" without further explanations besides finding the definition of it.
For "chunks", I use a lot of Czerny, Clementi ,Kabalevsky, Tansman, Pishna, Berens and Heller with my early intermediate students (to complement their sonatinas Clementi, Diabelli, etc). For advanced intermediate students, I work on Sacarlatti, Haydn, Diabelli, Burgmuller.
I, on the other hand, have been avoiding working on my "chunks". Today, however, I found an excellent Czerny (a Chinese edition) which is perfect for more advanced musicians. It explores "chunkings" to exhaustion and it has wonderful fingering. You also have to work very hard on the geography of the keyboard (they go through several key signatures).
It is useless for me to go through studies that I use with my students because I know them too well.
I will start working on them daily and post here my results.
The book ( you probably know it already), is called Schule des virtuosen Op.365
I am currently reading another research about sight-reading which studies pianists reading two staves. It is called: The effects of skill on eye-hand span during sight-reading music (Royal Society) by S. Furneaux and M. S. Land.
I will post the conclusions later on.
For "chunks", I use a lot of Czerny, Clementi ,Kabalevsky, Tansman, Pishna, Berens and Heller with my early intermediate students (to complement their sonatinas Clementi, Diabelli, etc). For advanced intermediate students, I work on Sacarlatti, Haydn, Diabelli, Burgmuller.
I, on the other hand, have been avoiding working on my "chunks". Today, however, I found an excellent Czerny (a Chinese edition) which is perfect for more advanced musicians. It explores "chunkings" to exhaustion and it has wonderful fingering. You also have to work very hard on the geography of the keyboard (they go through several key signatures).
It is useless for me to go through studies that I use with my students because I know them too well.
I will start working on them daily and post here my results.
The book ( you probably know it already), is called Schule des virtuosen Op.365
I am currently reading another research about sight-reading which studies pianists reading two staves. It is called: The effects of skill on eye-hand span during sight-reading music (Royal Society) by S. Furneaux and M. S. Land.
I will post the conclusions later on.
Thursday, August 20, 2009
Surprising research results are GOOD news for me!
I have read an article called "The Perceptual Span and the Eye-Hand Span in Sight-Reading Music" by Frances E. Truitt, Charles Clifton, Jr., Alesander Pollatsek, and Keith Rayner - Journal of Visual Cognition, 1997, 4(2), 143-161. Department of Psychology - University of Massachussets, Amherst, USA.
The conclusions which do not differ too much from another experimental studies give me a lot of hope. Maybe all I need is more practice.
The researchers, concluded that "pianists do not need to see more than the whole measure that they are fixating in order to perform normally and the eye-hand span is a little more than one beat". They say, and it is true, these results are " at odds with the belief about sight-reading among musicians which is that their eyes need to be well ahead of their hands".
The authors state that the center of fixation is only one note ahead of the hands and that "the maximal region that musicians obtain information from is about 3-4 beats ahead of the note being played". Sight-readers, they say, rarely extract information ahead of the measure being played.
The authors also say that musicians are "seduced by the illusion that detail can be extracted from a wider region of the parafovea and periphery than is actually possible". While sight-reading, the eyes STAY VERY CLOSE TO THE NOTE that is being played.
The developmental optometrist I am in contact with has sent me this article. I am going to meet with her to get acquainted with the machines they use for measuring eye movements so I understand it better. She also wants to see some of my piano scores since I have told her that although this research was done with pianists, they have used only ONE line music which differs a lot from the pianists reality.
I would like to thank Sara and Lisa for the nice comments. Can you give suggestions that I can try during my practice?
The conclusions which do not differ too much from another experimental studies give me a lot of hope. Maybe all I need is more practice.
The researchers, concluded that "pianists do not need to see more than the whole measure that they are fixating in order to perform normally and the eye-hand span is a little more than one beat". They say, and it is true, these results are " at odds with the belief about sight-reading among musicians which is that their eyes need to be well ahead of their hands".
The authors state that the center of fixation is only one note ahead of the hands and that "the maximal region that musicians obtain information from is about 3-4 beats ahead of the note being played". Sight-readers, they say, rarely extract information ahead of the measure being played.
The authors also say that musicians are "seduced by the illusion that detail can be extracted from a wider region of the parafovea and periphery than is actually possible". While sight-reading, the eyes STAY VERY CLOSE TO THE NOTE that is being played.
The developmental optometrist I am in contact with has sent me this article. I am going to meet with her to get acquainted with the machines they use for measuring eye movements so I understand it better. She also wants to see some of my piano scores since I have told her that although this research was done with pianists, they have used only ONE line music which differs a lot from the pianists reality.
I would like to thank Sara and Lisa for the nice comments. Can you give suggestions that I can try during my practice?
Tuesday, August 18, 2009
Two month review
I have seen another blog about sight-reading on the internet. The blogger has practiced two hours of sight-reading a day for a whole year and did not seem happy with the results. I am under the impression that she is not an advanced musician. She is probably young and based on the repertoire she was playing, she is very likely an intermediate piano player. I had the feeling she was only focusing on the "same old rules".
I am however, very happy with my results after only two months of practice.
This week, I will dedicate myself to review the new things I have found out during these months which are helping me a great deal.
These things are:
- warming up with all arpeggios and modes (for wise fingering choices).
- making sure I read accidentals ahead of (or instead) of the notes.
- reading high chord down/up and low chords up/down
- dividing chords with more then 3 notes in two sections (a triad and then, the remaining of it)
- playing a wide variety of styles.
- keeping track of common tones.
I am however, very happy with my results after only two months of practice.
This week, I will dedicate myself to review the new things I have found out during these months which are helping me a great deal.
These things are:
- warming up with all arpeggios and modes (for wise fingering choices).
- making sure I read accidentals ahead of (or instead) of the notes.
- reading high chord down/up and low chords up/down
- dividing chords with more then 3 notes in two sections (a triad and then, the remaining of it)
- playing a wide variety of styles.
- keeping track of common tones.
Wednesday, August 12, 2009
Surprising research results
A reader has just asked me about the optometrist.
I have been reading a scientific article she sent me and the results are very surprising.
I will share details about it after I read it a second time.
The optometrist has invited me to meet at her office so I can see the instruments they use to measure eye movements. She also sent me a list with several other articles. As I read them, I will post what I find here.
I have been reading a scientific article she sent me and the results are very surprising.
I will share details about it after I read it a second time.
The optometrist has invited me to meet at her office so I can see the instruments they use to measure eye movements. She also sent me a list with several other articles. As I read them, I will post what I find here.
Marlos Nobre's Piano Music
Marlos Nobre, a modern Brazilian composer, was the person who triggered my interest in improving my sight reading skills along with my friend 'B' who gave me the idea to start this blog. If you are interested in knowing more about Marlos Nobre, you can go either to Wikipedia or to his web site. He is a wonderful composer and I am addicted to his music.
Marlos Nobre uses sophisticated Brazilian rhythms and sight-reading some of his music can be a challenge. I have been working on a piece where sometimes I have to read 3 lines and- believe it or not- 12 notes at the same time. As a Brazilian, the rhythms come easily to me. However, reading his music is often a nightmare. Since I love this composer so much, I had to come up with a plan.
While working on a piece called Ciclo Nordestino #4, Op.43 - Maracatu, I faced great difficulties. Both left and right hands have to play 5 note chords each and very fast and chromatic passages.
After a lot of headaches, I found a way to read the chords in a more effective way. I am sure good sight-readers do this same thing I am about to describe although I have never heard about it. Maybe they do it without being aware of it?
I decided to read the chords in two steps. First I read the 4 notes stacked above each other, then I add (read) the remaining note. This works wonders. However, I still struggle with all the chromaticism. Maybe one day....
In this same piece, there is another very fast chromatic chord section with 3 lines to read in addition to the super fun but difficult rhythm. In this section, the chords have 5 notes each that I have been reading by dividing them in an inverted triad (which is easy to read) plus a third (also easy and familiar). If you try this, you will be impressed with the results.
The same thing can be done with 4 note chords. This accounts for my second "chord reading" break through.
I am never thought I would improve this fast!
See the post "Sight-Reading Chords" for more information about this subject.
Marlos Nobre uses sophisticated Brazilian rhythms and sight-reading some of his music can be a challenge. I have been working on a piece where sometimes I have to read 3 lines and- believe it or not- 12 notes at the same time. As a Brazilian, the rhythms come easily to me. However, reading his music is often a nightmare. Since I love this composer so much, I had to come up with a plan.
While working on a piece called Ciclo Nordestino #4, Op.43 - Maracatu, I faced great difficulties. Both left and right hands have to play 5 note chords each and very fast and chromatic passages.
After a lot of headaches, I found a way to read the chords in a more effective way. I am sure good sight-readers do this same thing I am about to describe although I have never heard about it. Maybe they do it without being aware of it?
I decided to read the chords in two steps. First I read the 4 notes stacked above each other, then I add (read) the remaining note. This works wonders. However, I still struggle with all the chromaticism. Maybe one day....
In this same piece, there is another very fast chromatic chord section with 3 lines to read in addition to the super fun but difficult rhythm. In this section, the chords have 5 notes each that I have been reading by dividing them in an inverted triad (which is easy to read) plus a third (also easy and familiar). If you try this, you will be impressed with the results.
The same thing can be done with 4 note chords. This accounts for my second "chord reading" break through.
I am never thought I would improve this fast!
See the post "Sight-Reading Chords" for more information about this subject.
Sunday, August 9, 2009
More about hymns
Yesterday I started practicing the 20 hymns without stopping between each of them . This way, I have to change key signatures very fast. I also have been paying more attention to the common tones. The bass and tenor voices are less eventful and they have more common tones than the soprano and alto. This has been very helpful and I can feel my eyes reading the left hand ahead giving me more time to focus on the right hand.
After I play the hymns and the Scarlatti, I play through some Broadway songs. They modulate a lot and after the hymn practicing, I have been much more sharp when changing key signatures.
I have been reading all music styles. The Broadway pieces, Copland songs along with Latin music, are great for rhythm.
After I play the hymns and the Scarlatti, I play through some Broadway songs. They modulate a lot and after the hymn practicing, I have been much more sharp when changing key signatures.
I have been reading all music styles. The Broadway pieces, Copland songs along with Latin music, are great for rhythm.
Saturday, August 8, 2009
Rules?
I am starting to think that there are no strict rules for sight-reading.
I have been trying to play and teach my students to read chords down/up all my life and here I am now, experiencing a lot of improvement with my new way of reading chords. However, even my new way should not be set as a rule. The truth is, we should be making quick decisions as we read. I hope with practice I can get better at it.
The same thing applies to the fingering. There are several ways of doing them. A quick decision also has to be made.
Today, as I sight-reading a few Scarlatti Sonatas, I found it impossible to keep my eyes always on the score. There are several jumps that I could never have played without looking at the keys. I did not have any problems going back to the score. There is plenty of time to do it. Maybe this "rule" about never looking at the keyboard should be enforced only with beginners.
What do you think?
I have been trying to play and teach my students to read chords down/up all my life and here I am now, experiencing a lot of improvement with my new way of reading chords. However, even my new way should not be set as a rule. The truth is, we should be making quick decisions as we read. I hope with practice I can get better at it.
The same thing applies to the fingering. There are several ways of doing them. A quick decision also has to be made.
Today, as I sight-reading a few Scarlatti Sonatas, I found it impossible to keep my eyes always on the score. There are several jumps that I could never have played without looking at the keys. I did not have any problems going back to the score. There is plenty of time to do it. Maybe this "rule" about never looking at the keyboard should be enforced only with beginners.
What do you think?
Friday, August 7, 2009
Hymns. God help me!
As I have mentioned before, my main problem reading music is seeing vertically. Therefore, I have started my sight-reading practice going through hymnbooks. The treble and bass clefs are separated by the words, making the distance from one to another even greater then on a regular piano score.
Other advantages for playing hymns:
- They are short and I can go through many different key signatures in a short period of time.
- The four-part writing keeps me busy.
- They are simple enough that I can focus on looking ahead and I can still remember the past so I know where I am on the keyboard.
Disadvantages:
- I really dislike the way they sound. Most of them seem to have the wrong time signature.
I play 20 hymns to get my eyes “warmed up” but since this process is so painful to me, I reward myself with one cherry after each one. Thank GOD for cherry season!
The other day, while my daughter was sleeping, I practiced them on my keyboard with the volume turned off and guess what? I could still hear them in my head and they were still bad.
When I die, if God happens to be waiting for me, I’ll let him know about my twenty hymns a day in a quest for forgiveness and admittance to heaven. If I do have to tell this tale, I’ll leave out the rewards for playing the hymns in an attempt to sound more dramatic. I am sure if He is there, He is not watching “every detail”. Let’s not exaggerate…
If you and God disagree with me, try playing a “Mexican style” hymns. Jesus Cristo!
- If they are not helpful, at least I can guarantee you will get quite good at playing 10ths on the left hand ☺ (Maybe this should go on the advantage list).
Wagner Songs
After the hymns, I play through some Italian songs and Wagner songs. These are “music” to my ears. I highly recommend them. The Italian songs are less challenging to read than the Wagner songs. Wagner is very chromatic, touching upon yet another problem I have: remembering accidentals other then the ones on the key signature.
Right after a new person is introduced to me, I forget his or her name. It is something I can’t help. My brain immediately sends me a message telling me that I didn’t pay attention to the name. Well, this very same thing happens with the accidentals. Much like when I see the new person and don’t remember their name, when I play an altered note and the same note comes back in the same measure, I don’t remember it. Wagner makes me work very hard on it.
After the songs, I play Scarlatti. I have already gone through all Haydn Sonatas.
I had another major break through. I will right about it next time.
Other advantages for playing hymns:
- They are short and I can go through many different key signatures in a short period of time.
- The four-part writing keeps me busy.
- They are simple enough that I can focus on looking ahead and I can still remember the past so I know where I am on the keyboard.
Disadvantages:
- I really dislike the way they sound. Most of them seem to have the wrong time signature.
I play 20 hymns to get my eyes “warmed up” but since this process is so painful to me, I reward myself with one cherry after each one. Thank GOD for cherry season!
The other day, while my daughter was sleeping, I practiced them on my keyboard with the volume turned off and guess what? I could still hear them in my head and they were still bad.
When I die, if God happens to be waiting for me, I’ll let him know about my twenty hymns a day in a quest for forgiveness and admittance to heaven. If I do have to tell this tale, I’ll leave out the rewards for playing the hymns in an attempt to sound more dramatic. I am sure if He is there, He is not watching “every detail”. Let’s not exaggerate…
If you and God disagree with me, try playing a “Mexican style” hymns. Jesus Cristo!
- If they are not helpful, at least I can guarantee you will get quite good at playing 10ths on the left hand ☺ (Maybe this should go on the advantage list).
Wagner Songs
After the hymns, I play through some Italian songs and Wagner songs. These are “music” to my ears. I highly recommend them. The Italian songs are less challenging to read than the Wagner songs. Wagner is very chromatic, touching upon yet another problem I have: remembering accidentals other then the ones on the key signature.
Right after a new person is introduced to me, I forget his or her name. It is something I can’t help. My brain immediately sends me a message telling me that I didn’t pay attention to the name. Well, this very same thing happens with the accidentals. Much like when I see the new person and don’t remember their name, when I play an altered note and the same note comes back in the same measure, I don’t remember it. Wagner makes me work very hard on it.
After the songs, I play Scarlatti. I have already gone through all Haydn Sonatas.
I had another major break through. I will right about it next time.
Wednesday, August 5, 2009
Fingering
My ability to improvise good fingering while sight-reading comes from my technical skills.
Everyday I go through all arpeggios, scales in thirds, major and minor scales as well as all the other modes. Lots of pianists neglect practicing the modes, therefore missing a great opportunity to prepare fingering for all "situations".
I recommend sight-reading through Scarlatti sonatas. They are very challenging because one can find pieces of scales, modes and arpeggios throughout them. I use a Schirmer edition which does not have fingering forcing me to apply my technical skills.
Scarlatti is also good because one will have to move and skip all over the keyboard. Besides the scales and arpeggios, Scarlatti wrote a great deal of musical patterns (i.e. broken intervals) into his sonatas.
My attempts to read high chords down/up and low chords up/down, is turning out to be very successful. I am thrilled!
tchau now
Everyday I go through all arpeggios, scales in thirds, major and minor scales as well as all the other modes. Lots of pianists neglect practicing the modes, therefore missing a great opportunity to prepare fingering for all "situations".
I recommend sight-reading through Scarlatti sonatas. They are very challenging because one can find pieces of scales, modes and arpeggios throughout them. I use a Schirmer edition which does not have fingering forcing me to apply my technical skills.
Scarlatti is also good because one will have to move and skip all over the keyboard. Besides the scales and arpeggios, Scarlatti wrote a great deal of musical patterns (i.e. broken intervals) into his sonatas.
My attempts to read high chords down/up and low chords up/down, is turning out to be very successful. I am thrilled!
tchau now
Saturday, August 1, 2009
Sight-Reading Chords
My first try sight-reading everything from top to bottom was frustrating. I found myself making eye movement choices as I read. I've found that the most efficient way is to read high chords down/up and low chords top/down. By doing this, I can keep my eyes between the two staffs, in a more central position. If I have discipline and if I can be consistent, I believe this is more effective method (at least for now...).
Try it with Hymns. They are simple enough that one can have more awareness of the eye movements.
See also the post " Marlos Nobre's Piano Music" for more tips on reading chords.
Try it with Hymns. They are simple enough that one can have more awareness of the eye movements.
See also the post " Marlos Nobre's Piano Music" for more tips on reading chords.
Friday, July 31, 2009
Update on the developmental optometrist
She has contacted me and stated that reading music should be just like reading a book. The eyes move from left to right and horizontally. She is right- this is what I do when reading one clef. However, reading a piano score involves vertical and horizontal eye movements as well as choices of reading from the bottom /top, top/bottom or a combination of both. I would like her to find out the most efficient way to go about this.
I found out this week, while doing my practice, that I have been reading the notes before I read the accidentals ahead of them. I was surprised to see how much better it is to do the opposite! Isn't that wild? I have probably been doing this since I was a kid. Just by correcting that, I feel some improvement!
This coming week, I will explore reading from top/bottom.
Tchau for now.
I found out this week, while doing my practice, that I have been reading the notes before I read the accidentals ahead of them. I was surprised to see how much better it is to do the opposite! Isn't that wild? I have probably been doing this since I was a kid. Just by correcting that, I feel some improvement!
This coming week, I will explore reading from top/bottom.
Tchau for now.
Tuesday, July 28, 2009
Introduction
I am a pianist and piano teacher. I have also played flute and now I play alto sax too. I am an exceptional sight-reader when playing the flute or the sax. However, when playing the piano, my main instrument, I am terrible at it.
Since my training was in piano performance (I have 2 undergraduate degrees and a Master in Performance), I could get by easily thanks to a wonderful ear and an extraordinary memory. I have been blaming my poor sight-reading skills on my easiness to memorize music and ignoring this important skill for years.
Because of this huge discrepancy between reading flute/sax and reading piano music, I suspect my problems are looking vertically (the 2 staffs). Finally I have some free time to dedicate myself to the subject. During the last 15 years, I have read all articles about it and I never find an answer to my problem. Last month, I read an article that discussed the “same old” tips (i.e. count, look ahead, don’t stop, etc.). The author wrapped up the article by saying that people either have the skill or not. From that moment on, I decided to find out whether this author is right or wrong.
I would like to initiate here a fresh conversation about sight-reading. The thing that concerns me the most is the “eye coordination”. Where and how do good sight-readers look? I have been practicing an hour a day for the last month and no matter how slow I do it, I cannot describe what my eyes are doing. I have contacted a “developmental optometrist” to find out if there is some research on the subject. I will post a note here when or if I get an answer.
Let me tell you what I can do:
-I have a great sense of rhythm and I can count ☺
-I do not stop or correct
-I do not need to look at the keyboard
-I can improvise good fingering
Let me tell you I cannot do:
- I have a hard time remembering accidentals other then the ones on the key signature
- I do not look ahead
- I have never practiced sight-reading ☹
So, I am starting there. Practicing an hour a day. I have been at it for one month now and I find myself reading faster beat-by-beat and still cannot look ahead. My sense of the keyboard has improved a lot and I am having lots of fun with the exception of the Hymns (I’ll be talking about these later… don’t miss that post!). I will also post the repertoire I’ve been covering.
For now, can you describe what your eyes are doing while reading music?
Since my training was in piano performance (I have 2 undergraduate degrees and a Master in Performance), I could get by easily thanks to a wonderful ear and an extraordinary memory. I have been blaming my poor sight-reading skills on my easiness to memorize music and ignoring this important skill for years.
Because of this huge discrepancy between reading flute/sax and reading piano music, I suspect my problems are looking vertically (the 2 staffs). Finally I have some free time to dedicate myself to the subject. During the last 15 years, I have read all articles about it and I never find an answer to my problem. Last month, I read an article that discussed the “same old” tips (i.e. count, look ahead, don’t stop, etc.). The author wrapped up the article by saying that people either have the skill or not. From that moment on, I decided to find out whether this author is right or wrong.
I would like to initiate here a fresh conversation about sight-reading. The thing that concerns me the most is the “eye coordination”. Where and how do good sight-readers look? I have been practicing an hour a day for the last month and no matter how slow I do it, I cannot describe what my eyes are doing. I have contacted a “developmental optometrist” to find out if there is some research on the subject. I will post a note here when or if I get an answer.
Let me tell you what I can do:
-I have a great sense of rhythm and I can count ☺
-I do not stop or correct
-I do not need to look at the keyboard
-I can improvise good fingering
Let me tell you I cannot do:
- I have a hard time remembering accidentals other then the ones on the key signature
- I do not look ahead
- I have never practiced sight-reading ☹
So, I am starting there. Practicing an hour a day. I have been at it for one month now and I find myself reading faster beat-by-beat and still cannot look ahead. My sense of the keyboard has improved a lot and I am having lots of fun with the exception of the Hymns (I’ll be talking about these later… don’t miss that post!). I will also post the repertoire I’ve been covering.
For now, can you describe what your eyes are doing while reading music?
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