Yiruma’s music in particular feels very natural for me, and it’s an absolute joy to play through the song and have it all flow together so well.Īnyways, I think a lot of people just don’t give it enough time and give up a bit too early. I especially love when I’m playing through a new piece and every part of the song just makes sense. This video by 8 bit music theory gives a good overview of how that can be done. This is also why certain styles of music is so interesting! We expect the plot to move in a direction and then are surprised by the twist. Just like stories tend to follow a plot line, and you can predict how the story may end, music follows a plot line, and you can predict the movement. I no longer read individual notes, I see chords and progressions. I feel like reading music notation has followed a similar trend for myself. Then, you begin to observe the nuance of the grammatical structure. Eventually, after enough practice, you don’t read individual letters, you read words. Watch how kids learn to read, they have to look at each syllable and letter and sound out each word. What you said here is 100% true, and I liken it to learning to read a language. I’m not professional, but I have been playing for awhile and can sight-read fairly easily. > Instead of looking at a measure as a collection of individual notes that must be perceived, interpreted and executed in sequence, they take it in as a chunk. I don't think this is a common problem though. If I could just focus on the finger positions without the distraction of the score, that would help me. The mental link between specific finger positions and specific tones / notes on the score, is one that causes me untold issues with transposing instruments. I have absolute pitch, and I've played transposing (woodwind) instruments before. There is one particular instance in which getting away from traditional notation can help. That said, having been through the journey of being able to sight read music myself and then trying to teach it to a number of people, I agree that reading a score in real time is one of the greatest hurdles to beginner and intermediate players alike, and probably a huge impediment to many people learning to play a variety of instruments. Trying to decode something like this into something that makes sense to me musically is a huge additional burden that doesn't exist. The same goes for many other common note patterns. It's possible to see a scale written out in the score and know exactly what that means in terms of how it's supposed to sound, what fingering I should use, and whether there are any "aberrant" notes in there that I should watch out for. I'm an experienced musician and this really resonates with me. The struggle, within limits, is known to enhance learning. I’m an admitted skeptic because my orientation to this is that if you want to learn a thing, just start learning the thing. I’ve encountered such bridging systems before. Whether a system like this could be a pedagogical bridge to formal notation remains to be seen. (I imagine reading code must be similar.) This is why the density of traditional notation isn’t intimidating - after a while it can be read as a whole. Instead of looking at a measure as a collection of individual notes that must be perceived, interpreted and executed in sequence, they take it in as a chunk. There may well be some system of notation that is superior to the standard that has developed in Western music but nothing I’ve seen matches the expressive flexibility and compactness of the way music is now notated.Įxperienced players read music in a way that overcomes some of the limitations that form the assumptions that are behind these alternative notation systems. I’m a professional pianist so I’m not in your target audience.
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