The first glance at another piece is so significant. As practiced piano players/educators, we consequently know to filter the piece to check the time signature, key mark, surface, arranger, title, and so on before playing through a piece. Obviously, we were trained to experience those means before sightreading through a piece.
Before having understudies sightread, what do you say/do with them to present another piece? I’d love to hear your ideas.
Here’s a few things I’ve tried:
- Scan the piece before playing it. Ask the understudy what s/he sees about the piece. Together, search for key/time signature changes, places where the hand(s) move to different registers on the console, and so forth. Pose the understudy explicit inquiries: “Do you see anyplace else in this piece where this example/subject happens?” or “Would you be able to highlight all the spots where there is an interim of a fifth?”
- Count and applaud the beat of the piece, while singing the pitches (with your assistance). I’ve seen this as exceptionally accommodating with youthful fledgling understudies who are not yet acclimated with sight-perusing. The cadence practice is constantly valuable – however curiously enough, I’ve discovered that singing the pitches causes them figure out how to “hear” the contributes their head when taking a gander at a sheet of music (in this manner it is an ear preparing exercise as well). It additionally assists understudies with getting a thought of what the piece sounds like.
- Discuss the piece’s relevant foundation. This includes discussing the title/subject of the piece, the writer of the piece, and additionally the verifiable foundation of the piece (i.e., what time of melodic history was it composed). This generally applies to old style pieces, however it might likewise function admirably with pieces that have a verifiable subject or reference (e.g., a minuet).
- Discuss the compositional procedures and writer’s aims. For instance, if a piece is about a popcorn, we will examine how we can make the correct state of mind and vitality level to make the impact of popcorn popping. We would likewise talk about how the arranger utilized certain enunciations, note esteems, elements, and so forth., to help make that impact. For another model: the Primer degree of the Faber Piano Adventures has a piece called “Duplicate Cat.” We initially build up being a copycat, and afterward we take a gander at the piece to discover where the “replicating” happens. With apprentice/basic level pieces, I will regularly utilize the title/subject of the piece and its relating outline as a starting point for talking about specific parts of the piece.
Experiencing at least one stages, for example, these with the understudy sets up great propensities towards improving as a sight peruser. As a little something extra, examining with the understudy things like the logical foundation and the compositional methods of the piece may assist them with getting amped up for rehearsing the piece at home.
by Ian Green