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Sight Reading Skills - Anthony Maydwell - AnthonyMaydwell.com

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A Three-Pronged Approach<br />

There are three areas that need to be worked on simultaneously for<br />

strong sight reading skills to develop.<br />

Guided <strong>Reading</strong>: that is, playing the same material along with the student.<br />

Keyboard Orientation: the execution of the signs using motor skills<br />

which are independent of the need to look at the keyboard. This means<br />

that the eyes are free to be trained on the music hopefully allowing more<br />

time to absorb the detail of the score. Special skills are needed to orientate<br />

oneself at the keyboard confidently, accurately and, at the same time, playing<br />

blind. Care must be taken so that tone and touch are not affected because<br />

in the blind search for a key, the fingers can move irregularly, thus<br />

interrupting the smooth movement from one note to the next.<br />

<strong>Reading</strong> the signs: the rapid recognition of the material in the score.<br />

<strong>Sight</strong> <strong>Reading</strong> <strong>Skills</strong> — 14<br />

Hummel suggests that a good master accustom<br />

a pupil to direct their eyes to the notes only, and<br />

to find the keys by the feel of the fingers, according<br />

to their distance from one another.<br />

A <strong>com</strong>plete theoretical and practical course of instructions<br />

(1829)<br />

C.P.E. Bach suggests that in order to be<strong>com</strong>e orientated<br />

at the keyboard and thus make easier the<br />

acquisition of a necessary skill at sight reading, it<br />

is a good practice to play memorised pieces in the<br />

dark.<br />

Essay on the true art of playing keyboard instruments<br />

(1753)

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