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7

I don't think this has anything to do with his age. Everyone except savants start out taking a long time to recognize notes on the staff, in the same way that toddlers might take a long time to recognize letters in a book. The only answer is to have him practice. Simple practice is best to start. Something like flashcards is ideal, and what my teacher ...


7

I would say that since Music is a hobby for me and I do not plan to play in any kind of band or such learning to sight read isn't really important. It depends on you. I prefer reading normal music sheets rather than tabs or whatever, but this is just me. If you have time and energy to learn how to sight read,it most certainly won't be wasted. but ...


6

If you have a bass voice, then you can most easily sight-sing bass vocal music. However, if you want to sing music with notes in a higher range, this easiest way to do this, would be to sing everything an octave lower (or the sections that are out of your range). Although you will not be reproducing exactly the notes written, in their written octave, this ...


5

Learning the notes on any staff is a lot of memorization at first. There are a lot of little tricks to remember what each line and space is on the staff, but it can be a lot to learn at once. I've taught a few younger kids how to read the treble and bass clef (not any teenagers though) and while FACE and Every Good Boy Does Fine helps some it confuses ...


5

It's certainly how we recognise words,we look at shapes rather than sound each bit. That's for kids learning to read their first words.A lot of what we see is perceived in that same sort of way. When we speak, we don't necessarily plan each and every word and phrase. As far as KNOWING each note - If you stopped a brilliant player in mid flow and asked what ...


5

You need an "internal metronome" - to feel the pulse of the measure in your head as you play. Some people tap their feet to keep that going. But it sounds as if your teacher doesn't appreciate the role that a real metronome can take in developing your internal metronome. One really useful exercise is this (it works best with an electronic metronome, as by ...


4

I'm sure you will find many programs that give you want you are looking for (any notation program for example). However, you need to learn to play the rhythms yourself. Using the programs will result in you learning by rote, which is essentially just copying what you're hearing without really understanding the concepts. This is akin to being a parrot. ...


4

I assume that this person already understands the stave and can, slowly and methodically, translate between a stave position, a note name, and its position on an instrument (that is, which key to play, which fret to hold, etc. depending on the instrument). I assume this because they're simple concepts. What he needs is practice; and to encourage him to ...


4

I don't know if you mean Alfred's piano books, but those are the ones that I use with my students. If you're not using Alfred's you might have a look. There are some sample PDF pages. Mikrokosmos is a great series, if you like Bartok. Getting students to play the pieces if they don't like Bartok is more trouble than it's worth. Fingering is a flexible ...


4

I would recommend getting a copy of Hindemith's book: Elementary Training for Musicians In the early chapters he has masses of exercises in sight-reading rhythmic patterns, both as single-line rhythms, and also more complex ones where you have to tap one rhythm while playing another rhythm (very useful for pianists). The book is also extremely useful for ...


4

Sight Reading / Singing and Aural skills really are things your teacher should be doing with you. I know sometimes teachers don't have the time or the patience to these things themselves but I still think it is poor for a teacher not to be doing these things with you. You don't consider your pupils like the mince going through a sausage stuffer. You need to ...


3

The short answer is, yes, a skilled pianist should be able to "sightread" a piece of music at some pretty high percentage of their skill level. Nobody can sightread a concerto, but if you put a piece of piano music in front of me, the determining factor in whether I can play it is the state of my technique, not my ability to read the notes. I found that ...


3

Yes, plenty. Guitar Pro is commercial, but there are free alternatives: http://sourceforge.net/projects/tuxguitar/ I'm sure Tux has the MIDI voice for percussion available.


3

The 7/8 bars here are written so that they are timed a half beat (quaver) short of the 4/4s. Wanting to start with a 'one' count, you could count 1e&a 2e 3e&a 4e&a, giving you all the semis on a syllable each. The reason I've left out &a of 2 is that the phrasing in this case does just that - it's split the bar into 3 and 4, making 7, thus ...


3

I found another one (Sheet Music Trainer). This one is for android. It appears to work with most instruments. There is a full list on there website.


3

I'm not sure what level you're at, and so what difficulty of sight reading you want to practise, but I use this iPad/iPhone app with some of my guitar pupils (they find it great fun!): https://itunes.apple.com/gb/app/my-note-games/id470503027?mt=8 It's quite clever, as it is like a combination of a sight reading app and a tuner, as it listens to you ...


3

Sounds like a natural and good thing which should not be worked against. Similar to recognizing words instead of putting them together letter by letter (like one does when learning to read), it's good to recognize phrases instead of individual notes.


3

Could you read from the grand staff before you took the 10-year break? if the answer is yes, it's just possible you have developed a problem with your vision that is restricting your field of view, but isn't severe enough to limit other visual activities. Getting an eye test might help. If you have never been able to read the grand staff, I would guess the ...


3

For jazz guitar there is a standard book by William G. Leavitt called Melodic Rhythms for Guitar. It has lots of examples of so-called "rhythm groups" of increasing complexity. Playing through this book greatly improves sight-reading of rhythms. And this is also the clue: there's no shortcut. You have to sight-read in order to learn it. In my opinion you ...


3

We don't know the program--you'll need to talk to someone there to find out what exactly the prerequisites are. Usually this is the kind of question that the teacher for the course you're going to take would be happy to answer. In general for introductory theory courses they won't care at all about the quality of your voice, only that you can produce ...


3

You should start by making sure what your range is ie the notes you can comfortably sing. Baritones also have 'deep' voices make sure you are certain of what type of singer you are exactly. When you have done this the fun part begins. You can start of by just singing along with the piano. No words just try to match the sound the piano makes (Be certain the ...


2

Sight reading is an extremely rare skill which is mostly used by high level performers auditioning a piece they have never seen for a part in a musical or band. For nearly all other players, it is unrealistic to attempt to play a piece you cannot easily sing or with which you are unfamiliar. The main value of reading music is NOT to play it the first time ...


2

It is important to be able to read music to some extent. But the ability to sight read, which means to be able to pick up the music and just play it, is not all that essential. I can sight read a single vocal line, but in theory classes, we used complex scores that there was no way I could ever sight read them. In fact, sight reading was part of a different ...


2

Adding my answer from software recommendations to this thread: Check out 'Pitch' on the apple app store: https://itunes.apple.com/gb/app/id989140910?mt=8&ign-mpt=uo=6 It shows random notes and listens for the note you play. You get a point for each right note. Here is the website: http://www.practicemakesperfect.education You can change clef and key ...


2

I would actually say that the opposite is true, namely, that study of music theory is what matters, and that even if you don't practice sight reading (though you probably should), it's the study of theory that will make the biggest improvement in your sight reading compared to anything else. Sight reading is a tricky thing to do, there is quite a lot of ...


2

I'd take it further than Bob's as always good answer. Sight singing does not have to rely on being in the written key. If one has absolute or perfect pitch, it may complicate the issue in my answer, but read on. Unlike most instruments, the voice has no particular 'fingering' that's needed to sing, say, a C note. It's more of a relative note thing - C-F is a ...


2

Developing good sight reading skills involves: a high level of coordination a lot of time and patience reading lots of music the metronome 1. Coordination You mentioned that you have trouble reading both hands at the same time. This is a skill that anybody would struggle in if you do not gradually progress through songs with increasing difficulty. You ...


2

One way is to use the scales you already know, but shift the fretted notes down one string and up to the 5th fret but use the same open strings as always. C Major Scale (C:V) $6.8 $4.0 $5.7 8 $3.0 $4.7 $2.0 $3.5 You can see from this example that the fifth fret itself is only needed for one note, the upper C. So, the same technique can be applied to ...


2

I'd be inclined to use the same studies, but use position 1 of the C scale, which spans between 7th and 10th frets.The root C is on bottom string, 8th fret. On the lower strings, you'll play exactly the same notes as starting on 5th st, 3rd fret. As much as possible, try to keep your playing within a four finger/ four fret span. Using open strings in some ...


2

By doing scales in the lower positions. What I also find useful is to not stymie your creativity by only knowing a scale two octaves in one position. Learn an octave of a scale on one two and three strings. For instance two string scale and you go the the next string after the fourth note of the scale and learn to go after the fifth as well. When you have ...



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