Learning to sight-read well makes all aspects of piano study easier. Capable sight-readers take less time to learn new pieces. Capable sight-readers play music for fun.

I offered the following solutions to help a student this week.
​
1. Practice clapping and counting rhythm aloud. Verbalise, let’s hear you. Don’t count in your head. My drum teacher has me do this weekly, and I’m a professional musician. It really helps. For piano students I suggest the RCM sight reading books daily. VERY VERY SLOW is fine. Use a metronome. The idea is not to stop.
2. Practice the scales applicable to the key of the piece to be sightread. I suggested she spends more time on technique. Scales, chords, arpeggios played with joy and attention.
3. Dig in on theory. I showed her how I’m able to recognize the scale and chord patterns at sight. In the beginning, she could mark those in the score before playing. Good sight readers see patterns, students see notes.
4. Sight read with the metronome. No stopping. If things fall apart keep counting and come back later in the piece. Or drop one hand and continue with the other. I told her to imagine playing in an ensemble. No stopping is possible.
 
If I can help you, call me.
 
David

1. Theory
2. History
3. Ear training

The three most neglected aspects of music study.

Theory: knowing what you are doing makes everything easier. The knowledge and application of theory allows us to discover and understand the notes which leads to insight and artistry.

• If you don't know what a ii-V is in Jazz or a cadence is in Mozart, artistry will be difficult.
• Theory knowledge brings new insights into why different artists play the way they do. 

Jazz is primarily about rhythm and articulations, those tricky bits that are impossible to notate. Harmony is like math, fun for many and much easier to get your head around for most. Or so beginners believe. But when the moment of truth arrives at a jam session theory goes mostly out the window and instinct kicks in. Adam Maness explores this theme in his video "Why do I still suck". 

Jorge Mabarak, on Facebook, puts it well, theory is a tool. I propose that rhythm is the key. And ear training is the secret to unlocking the mystery.

Here is a practice time breakdown that may work for you:

• Fifty percent time spent improving your instrumental skills. Find a skilled teacher. Put in the work. To paraphrase Wynton, "learn to play your d#%$@# instrument".
• Twenty-five percent time working on ear training: transcriptions and memorizing tunes. How many tunes can you play from memory? Ten would be a good start and realistic goal for most jazz beginners. Can you sing the melodies of the tunes you are trying to memorize? Can you sing the chord roots, in time and in pitch, of these tunes? Can you sing the arpeggiated 7th chords found in these tunes?
• Twenty percent jamming with a least one other musician. This is a key component of learning jazz. Jazz is a team sport. For instance, if you are a pianist, call a jazz guitar teacher, they have students who need to jam with others too. Set up a session. Don't be shy. As Adam Maness emphasizes "time for jazz swagger".
• Five percent jazz theory

 
If I can help, please call me. 

David

Theory is fun. I'd forgotten how interesting and satisfying writing a fugue can be. 

The performance is a computer rendition. To be playable with two hands I'd need to transpose the left hand starting at mm. 8., but then it wouldn't sound as rich. 

If you would like some help with music theory call me. 

Best, 

David

Working through the Four Star Books is recommended. An effective book, but, hardly that exciting. 

So...

Sometimes we work out by ear famous Rock era "licks" or motifs from well know melodies. 

The famous opening melody uses B, C#, and D. Have a listen and give it a go. 

Classical motives are fun too. Opening motif is in C minor, starting on G. Da da da DAAA, da da da DAA

Have fun. 

​David

Bach - The Complete Sonatas and Partitas for Solo Violin by Arthur Grumiaux

Classical students 

1. Phrasing: Notice how the performer tapers each 2 note slur
2. Chords: Notice how the performer "strums" the chord from the bottom to top note
3. Dynamics: When the music goes up in pitch so does the intensity and vice versa. This is a very common effect in classical music performance. 
4. Dynamics part 2: Phrases which rise start softer and crescendo.

Jazz Students

1. Broken chords that ascend on a 7th chord and resolve in the opposite direction. Measure 4, beat 3
2. Enclosures in measure 2, beat 1 around the note C. Measure 5, beat 3. 
3. The use of chromatic approach notes to chord tones in a broken chord in measure 3. Mozart likes these types of figures as well. See Fantasia in D minor measure 10.

Have fun. 

David