> > > >> I find it curious, and I am trying to wrack my brains > (feeble though > >> they may be) as to just when I became aware of that sort > of stuff. I > >> definitely was aware of it long before I got to college, > and I don't > >> recall ever having it explained to me. I just was observant of the > >> printed music, more observant of many who are far better at their > >> instruments than I am at mine. > >> > > > > > > I think there's a few kindred spirits on this list! My > pupils now are > > the victims of this and of what you've describe. They > don't get the > > choice of glossing over everything prior to the first note > when they > > look at a new piece... > > My students, when I ask them to play a certain exercise or song from > their lesson book, are in for a ragging if they get the key > signature or > the meter wrong. > > But I don't just say "You forgot to check the key signature." > > I'll say something like "I asked you to play exercise number > 5."
[snip] Mine get a not-dissimilar treatment, particularly in ensemble situations and especially when teaching them the skills needed for sightreading. I like them to be able to talk me through the whole thought process, in real time, in the moments between being presented with a piece and playing it through. With tonality, metre and rhythm necessarily being the overwhelming priority. In ensembles, I try to show those on treble instruments how to use their part to anticipate harmonic and cadential structures before playing them. And so on. _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
