READING STRATEGIES at the piano: The Perfect Piano Routine 2 | Ilse Lozoya | Skillshare

READING STRATEGIES at the piano: The Perfect Piano Routine 2

Ilse Lozoya, Music teacher and Online Educator

READING STRATEGIES at the piano: The Perfect Piano Routine 2

Ilse Lozoya, Music teacher and Online Educator

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17 Lessons (1h 21m)
    • 1. Introduction

      1:22
    • 2. About Fingering

      6:30
    • 3. When nothing seems to work..

      4:37
    • 4. The importance of dynamicss

      3:32
    • 5. Advanced tip on dynamics

      7:26
    • 6. Dynamics and Phrases

      3:54
    • 7. What does having a good sound mean?

      5:35
    • 8. Rhythmic Reading Importance

      7:05
    • 9. Exercise #1

      7:12
    • 10. Exercise 2

      5:59
    • 11. Exercise #3

      6:14
    • 12. Reading Techniques through Bach

      3:40
    • 13. Bach´s example - Read and play -

      5:00
    • 14. Bach´s example - Metronome exercise -

      5:13
    • 15. Bach´s example - Playing both hands -

      3:57
    • 16. Bach´s example - Advanced reading tip -

      3:18
    • 17. Congratulations!!

      0:53
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About This Class

Do you play piano but keep struggling when it comes to read a new piece?

Welcome to "The Perfect Piano Routine Vol.2".

 This course is dedicated to learn READING STRATEGIES when you start a new piece at the piano. 

It is very common for piano students to struggle to read faster, not developing accurate reading and feeling discouraged. In this class you will learn:

  • How to develop reading and analitical strategies for a piano musical piece.

  • How  we should divide our study when we are reading scores.

  • Learn reading and integration exercises with both hands.

  • How to save time for our practice to be effective.

  • How to integrate spoken and rhythmic solfeggio to our practice of a new piece.

The correct implementation of the exercises that you will learn in this class will help you to develop:

  • Faster reading

  • More fluent playing

  • Accurate reading

  • A system for reading new pieces in less time.

Ilse Lozoya will be your instructor, she is pianist, music teacher and online educator and she teaches on skillshare more than 60 classes about piano, music and education.

Enroll today!

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Meet Your Teacher

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Ilse Lozoya

Music teacher and Online Educator

Teacher

 


Hello Skillshare community!!

My name is Ilse Lozoya I am a pianist and educator, I love to teach online because I can share about music, piano, and education with student around the globe and I think this a wonderful thing in our days.

 My Skillshare classes are dedicated to music students, if you are a beginner or a advanced student I am pretty sure that you will find a class that can help you in your music journey, you will find classes basically about piano, music theory, ear training and education.

If you are a spanish speaker... Encontraras tambien clases en espa?ol!!

 

 

 

Here are the links to my classes:

PIANO TECHNIQUE CLASSES: 

        Piano Technique 1... See full profile

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Transcripts

1. Introduction: do you play piano? But you keep struggling when it comes to her star rating. A new piece. If that is your case, Well, this class is for you. Welcome to the perfect genera. Teen number two My name is in civil, so Yeah, I'm a pianist music teacher and I'm teaching a skill share for I have more than 60 classism sketcher and I'm very excited to share this glass with you today I am going to give you practical recommendations other piano on how to really go further and analyze what you are reading and how you can really improve your practice when it comes to start reading in your piece I'm going to give you reading techniques so you can really play and be able to play faster and develop accuracy when it comes to your practice Enrolled in this class today I will be very happy to see you in class and share with you old you're giving your tips and you can share with me. You know the class project your How are you how they feel on what about How can you really improved your piano routine So enrolled in this class today? Well, 2. About Fingering: Let's talk about the fingering. Why is this important? How it really effects the way that we play kind of results on the the idea of developing a perfect Varity. It's finger really, really important. Where we are talking about started a new piece. Well, yes, it is important. But why? First of all, the finger in helps us to set the movements. Imagine that you're a dancer. Or maybe you're, um, you practice any kind off just met gymnastic choreography. You need to learn the movements you leave. Need to know which type of moment you are going to use. What is exactly the same. Our fingers. I go no play, and it's like a caracara fee. We need to know which finger is going to play. Which note, right? This is part of it. And there's something that I don't know if you have heard of this, but it's called muscle memory. The muscle memory is it up? Type off musical memory, and it's what we talk about when we're playing and you make a movement without thinking when you practice, for example, on a scale, there's a point where to just play the scale without thinking about the nose or the fingering. Why? Because you have learned that your muscles learned the movement. That's it. So if you play always with the same fingering, you're going to develop, you're Mosul. Memory is going to help you to understand and play better. That is going to make their reading process on the memorizing process really easier. Why? Because you are always playing with the same fingers, so your body literally is going to memorize those movements. The consequence is that you're going to play with less mistakes. If every time that you played you change the fingers well, you won't be able to memorize that. So you're going to be having you're going to be lack German to be lacking, really, in your your accuracy, your won't develop an accurate playing, and that can be kind of frustrating. So this is something that you need to think. Now. The other question. Do I have to stick to the suggestion fingering Sometimes what we're playing the music does not have any written fingering. In that case, you need to go and find the correct fingering. But what happens if there's a fingering written if all the numbers are there well, my recommendation and I always still this to my students. Choose that fingering as your first choice. Why? Well, somebody, of course. An expert wrote that fingering. So if you follow that, there's a huge chance that that's going to be the correct one. So try that. But of course, analyze not all the people are saying, and not all the fingers and hands have the same size. So we need to think that so choose the first. Your first choice must be the one that is in addition, but then analyze. And if you find that you need to make some changes, will adapt that to your hand on right down the changes. This is important. Otherwise you're maybe we're going to forget that. And if you practice again when mistakes, then you're going to remember that you changed previously. The fingering. So write down everything. It is absolutely important in my recrimination to recognize the areas where the fingering is a very important and where you can have a problem. As I mentioned, if you're just going to play a C major scale, well, chances are that you don't need to write anything because you already know the finger. The fingering for the C major scale on your hand is going to play fluently, even without thinking that if you are the point that you can really play the C major scale without any problem, bet If that is not the case, you need to be able to recognize identify well. Here's a change, a pattern, maybe a rhythmical pattern. Or I have to to make this, ah, unopened movement that I have to move or something that I need to write down. So this is really important. And after all, you have to be honest. We are in the path off developing the best piano routine, the perfect can routine with effectiveness, really, really accurate, productive practice and never leave a new piece without the fingering without a written finger. And because off we are Lacey. If I am Lacey, well, I've just start playing the piece and say, Well, it's OK, it's OK, But if you play without any problem, as I mentioned over to my students, if you're capable to play correctly without problems, I cannot tell you anything, even if you change something. But if you are still having problems, really is struggling with certain area for with symptoms, certain piece. But you did not right or follow the fingering because, you know, because of your just being lazy. What that is not correct. We need to be aware of that. I think all of us asked Pianist, says musicians, piano students, We have deal with this Me personally. I have done that, but that's not correct. So it's something that we need to change in order to really, really improve my plane. Remember, the correct fingering facilitates you're reading. It's going to be really better. Your memory. Remember, rising process is going to be better, and you're going to be able, in many cases to play faster. So it's something that you really, really need to go see their and be careful with that. Your habits when we're talking about the correct finger 3. When nothing seems to work..: Sometimes nothing seems to work. Sometimes you get feel really stocked in your plane, especially when you are practicing certain difficult section a phrase a progression. You feel stocked, and you can feel that nothing works. And you keep playing with mistakes that this is situation that could be very discouraging, especially if you go back to your teacher and you still have problems. And you really need to ask. You protect practicing and practice and you don't know what to do. You don't know how to solve the problem. Well, sometimes this happens. I think it this duration has happened to me onto any piano student to any music teacher. Maybe you believe that you have tried everything, and sometimes fresh ideas can help you, too. Riko Cedar. And maybe there's something else that can be done well, if considering that the reading on the play level is correct that it's according to your skills, you have to consider this. If you keep having the stakes in certain phrase, you need to think First Eve, you are playing with the correct fingering if you are not playing with the correct fingering. If there's another think possible fingering, well, maybe that come with a solution. That's true sometimes, especially if we are playing fast. If we need to make it a quick change. Well, another finger. Cool, be the solution, and it's amazing why and how sometimes weak change the finger and the problem is immediately salt. And so you need to take a moment. Ankles, either. And if you're following the correct fingering, sometimes we are changing it. With every repetition. We change the fingering. So we talked about this previously, so consider this. Sometimes we are simply playing too fast, so we need to play slower if you are playing too fast. Well, what happens is that you don't just simply don't have the time to think what you are learning. You don't have the time to think about the finger in the rhythmical figures, the dynamic and sometimes incredible how we are attached to this idea that we need to be playing faster at that point. But the reality is that if we are not playing perfectly, if we are not developing and very accurate practice, well, we need to do something out. We need to be able, even if you need to play faster, you need to play slower in order to solve all the problems. Sometimes we have heard maybe the composition that is that we're playing. We have heard this famous Panis that place incredibly fast on we unconsciously, we are imitating that, and we feel that we need to be playing that fast. Maybe you have hair of this. Maybe maybe even your teacher have told you you need to play slower, but a certain way. You're so attached to that idea onto the maybe to the recording you have in your mind the speed that the pianist displaying that speed, that performance. But remember that you are just about to read something new on your beginning. Maybe you say, well, having playing this for many, many, many months, maybe it cool happened. And you are still struggling with that. Well, my recommendation, like make a pause, open your mind, have the correct mindset and think, um, I use in the correct fingering. Maybe I need to play slow if you please lower, you will be able to make the changes, and maybe would the speed. You will be able to begin from that speed where you play without any problems and then increase the speed. So this is Mary combination. You have to be 100% honest with this. Think about that so you can be able to change the strategy. 4. The importance of dynamicss: Let's talk about the importance off dynamics. What is the connection between dynamics? An interpretation on also with fillings? I will say without a doubt that dynamics are everything off course I am around talking about. I'm assuming that if somebody is playing is playing the correct note and the student is understanding all the rhythmical figures, there would make oldest things. But besides that, if you have the notes well after that dynamics, believe me, our everything, why why am I saying in that? Well, this is the core element when we're talking about expression and interpretation, sink all those moments where you have been playing and you are really enjoying where what you are playing and that you're feeling with those that control that you can express and think about when you have heard other pianists and actually music. Those woman's where you feel may be moved and touch by you. What you heard you feel so moved and you'd your emotions get effective. How can we translate this kind of to Really? I'm talking about emotions with something that is technique. Oh, technical. Well, this is dynamics sing again. Maybe somebody has told you. Oh, you play with so much feeling humans, I felt emotional. When you play, you believe so beautiful or or you express a lot. I mean, you really feel what you're playing? What? How can we play? Feeling something? Well, it has to be with dynamics exactly if you think consciously the dynamics is the control of the sound. So if we play louder, softer all this management at sound management, I wouldn't say that IHS Well, it has to do with dynamics. If we understand the character of the peace and we play a used dynamics according to that, well, the expression is going to be out really, really much better, and we're going to express its transmit. And if we are capable to play loud or low and manage the volume off our plane, that is called a good sound that Issa good sound and the proper implementation of dynamics that has to do with good readings, sound control on Temple. It really makes you play better, and that gives you that is really connected and makes you play as a good pianist, especially with a good sound. If you are a pianist that has a good sound, it's because you are capable or have a wide range off dynamics. So always, always don't limit yourself on all Onley plane that notes Onda Remick Figures No. Go over that and give a step, um, over that and play on Focus on dynamics. I have a good song. 5. Advanced tip on dynamics: now I'm going to share with you and it s tape on how to perform. Dynamics is specifically how to apply. Some dynamics went they are not written. And this is, um, on advice. If you are not familiar with analysis Harmonic analysis do not worry. I mean, just try to follow this media. But if you don't understand this because you don't know how to analyze, don't worry. Um okay. Ah, I am going to take a piece off this Ah musical. This is the first movement off the Sona. Tina offers 36 number three from the composer Mozilo Clementi. Actually, this is a very popular pieces, like part of the basic piano repertoire for beginners. And I want to share with you this and I'm going to play first from the beginning to where it is the yellow line. So And the point here is how can we apply? How can we play with more dynamics According to them, to the harmony? Well, I'm going to play so follow full of the notes and then I'm going to share with you this. - What are we going to look here? Well, why? We're looking forward first. I am going to divide this into phrases. And but what I'm basically looking is for this type of harmonic resolution. This is 51 the dominant court, which is a 50 note the fifth court off the scale. In this case, this piece is in C major. So we're looking for a a dominant G court, which is going which is followed by a C major court and actually hear this off course their order for solutions like this. But I'm going to take this, ask their commendation. So my a band step here is that when you find this type of her money resolutions, do you need to play Forte the G and in this case, the G major court The note in the fifth, Great off the scale during going to play it fourth day and then you're going to play piano . So you are decreasing the sound. I am going to play this only the phrase that is circle in the blue circle. So I'm going to play this for you. I'm going to play this one more time, but focus on the notes that are sickle in the dark blue circle. This resolution, uh, it's important this is the dominant and tonic resolution. So it is a G seven chord, followed by a C major court. So my recommendation is to play louder the G seven and then play piano. And even if you are playing a very slow piece, you can do this. This is going to help you to play with better dynamics. Now the other example that I want to share this a little bit more advance Maybe this one is was kind of obvious. But the other one is when we're talking about secondary Dominant is secondary dominant. It's a dominant court that does not belong to the key. So in this case, because the piece is written in C major, the dominant court is going to be G seventh, but not a This is not what we are looking for. So right here, what I just circle is this. There are some courts that I don't belong to the C major scale, so those core don't belong to this key. So if you analyze the structure of this court's, you will find that this are dominant courts, which belonged to another keep and in this case will be a dominant or Kuby actually 1/7 the seventh grade, The seventh court off. The key is also it also has a dominant function. So know how I just mark this with this yellow mark. And the 1st 2 are dominant secondary dominance. Because these are the seventh courts from that Keep. I'm going to play to you this first in the first example. So I have a g sharp, diminished seventh chord. Uh, and then I have a seeming in a a Mainer. I'm sorry. An a minor chord. So this is the G sharp diminished and then a minor. So I play leather and then, uh, piano. Uh huh. Then I have C sharp then d minor. Hey, so considering this, I'm going to play this again, emphasizing those resolutions. This is a good trick on how to, um, how to apply this type of dynamics and resolutions. And actually, what I'm doing is making an and I play Louth on. Then I have a vicar Sando. So is it the I am playing with less volume, So this is a very good trick. If you don't understand this, just focus may be on the Durham. The dominant chord off the key off the piece. But if you don't understand is well, do not worry. Of course, this a little bit more advanced it, but this is my recommendation. If you know how to recognize dominant courts and secondary dominance, well, you apply this and you will see how the expression and the interpretation of what you are playing really changes and really improves. 6. Dynamics and Phrases: I'm going to give you an important recommendation on how to apply. A I would say dynamics principle to any musical phrase, and I'm going to share with you this example using the Sala Tina Opus 36. Number three. This is the first movement from Mozilo Clementi I'm going to share with you. I'm going to use the first online, so I'm going to play. There's This is very popular. I'm sure that you already have recognizes piece, and I'm going to play this for you. Well, this dynamics principal business you are always going to finish any music out phrase, the creasing the volume. So they're going to play piano at the end off any piece off any phrase. I'm sorry. Remember that musical phrases if you were a singer is like when we're singing. We need to breathe between prices, and we cannot just It's like talking actually as well because just not talk talk without any break. And in this case, these are the musical phrases they are mark. They have tied lines on, have a staccato toes, and you can see clearly where the phrase ends, and that's why I mark this with the yellow line. And my recommendation is to play piano at the end off any phrase. Always all s off course that the country is mark if you have a special accent or Mitzel fourth, there were another in dynamic or phrase an indication. Well, you need to for all of that. But if that's not the case, try that. All the musical phrases ending PM and going to in this case, well, it's not gonna be pianissimo if the beginning off the phrase in this case 40 you're going to play less 40. So that's the idea, played with less volume. Decrease the volume off your play. I'm going to play this for you and listen a little bit and focus on the end of the phrases every guilty right here. It is not the same if I play. The first phrase, for example, are going to play it. Plain Louth at the end is very common, especially when there are staccato toes at the end off the phrase to play louder. Which only makes the the sound off my playing like if I were beating the piano and I don't want that, so I'm going to play this in the wrong way. The first phrase in the wrong way That's still out. I want to play now the culturally playing piano at the end of a phrase. So if I decrease the volume in really place and well, it sounds bad, especially if I have a stack Atos. And at the end off all these phrases applies perfectly so really my recombination Here is to only a society mention that the music tells you the older the a positive try to apply this to all the pieces of your plane. The NF it's phrase Play it with less volume and you will see how really the dynamics change . 7. What does having a good sound mean?: Let's talk about the correct sound and some common mistakes that sometimes the students, or even have a pianist can do. If you don't pay attention to this well, first of all, what is the correct sound? What I'm talking about is the quality of the sound that you produce when you play. If this is, allow this piano fourth, it's kind off medium volume. Well, sometimes what happens is that sometimes as pianist, we are always practicing alone. And sometimes in this case, as you can see in the picture, if you have an on upright acoustic piano, it's probably that you sometimes need to play not too loud, because you can, you know, bother or the your family or your neighbors. And sometimes we start practicing 1,000,000,000 not too loud or not. Ah, loud enough. I will say, This is what I'm talking about with the sound and the capability that every pianist needs to have this effect, this habit off playing too low. Ah affects the capability that we asked. Pianists need to develop to play louder if it's necessary to really control the volume. So how can we? How do we need to practice? Well, sometimes it happens as well give you practice on a keyboard or a digital piano. You will see that you can control the volume and sometimes we play and the volume we said the volume too low because again, we don't want to bother. Maybe our were practicing at night and we do that if you did that all the time. What happens is yet your fingers they don't get used to to get a proper sound on the proper volume. And this affect the dynamics while we play. If you said the volume off, your key were always too high. Well, what is going to happen that the sound is kind off Louth? It's fourty, but it's not because you are producing that sound. It's because you said the volume too high. So this is a very I have found that this is a very important thing. How do we How do we have to play? Shall we play with dynamic since the beginning? Well, yes, of course, If you are reading something, understand expression on the dynamics and try to that since the beginning, you don't have to wait on all the piece is already read and dangerous Start at in dynamics because I Nam ICS are very important because do cool and like trapped in this, I will say it's like a It's about having to play too low and remember that sometimes we play low or two piano because we have insecurity. Each is we think, that we could have the stakes. We could play with mistakes and just start playing too low. I mean, you don't want to be hurt. You are afraid that somebody is listening to you and is going to commend or something. Sometimes at schools, the students are practicing in this tiny at practicing rooms on They don't want to play to allow because they think that somebody's going to listen to them and they're going to criticize you so big. Careful, because this is a bad habit to play too low. Well, this is going to affect you and affect your insecurity. We need to be able to play louder. And if you are practice on a digital piano, do not play with low volume. My recommendation. Use headphones if you drop playing at night and I have Ah, I do this all the time with my keyboard on my digital piano. I said the volume at six or seventh or 70% that allows you to have this wide range off. Fourth is on pianos and control. Really the sound. So what does have a great sound mean? I don't believe you have heard this sometimes. Say, Well, that pianist have a great sound. Or do you really play with a great sound? Or your sound is so poor? What is this? It has to do with dynamics. Ah, well, a good Panis, a pianist with a good sound, will has the technique skills to be able to play piano am play for them plate fortissimo or pianism. This is important, and we need to able to do that. If you have a proper technique, you could be able to do that. But if you are used to play to with the volume to low off, you're playing well that is going to affect you. So remember that a pianist with a great sound is in control of their plane. Do you have the control or the sound that you produce? So if you want, you can play leather or door. You can play piano demon one. Do you think make a crescendo there. You can do that, and and this is important because this it makes Ah, Congress and between What do you want to do on what your fingers are playing sometimes? And it happens to everybody's that we think that we're playing with this beautiful dynamics , and then we listen to ourselves and say, Oh, well, no, it's not happening. We are playing with the same volume, so it is important to control your sound, the event of a good sound and prevent this bad habits that is going to stop us to play with a good South. 8. Rhythmic Reading Importance: what is really reading and spoken so fragile. Important? This is very, very interesting and important to understand. How can we apply this to practices to or piano playing well, First of all, let's talk about rhythmic reading. I remember reading is a very common practice in any music program. Eve, you have have classes. If you have bean in any type of music program a little bit more formal, more complete. Well, you will know what I'm talking about where we read music. We need to consider in about the ramic figures and you can use. You can read this figures using syllables, and we can use body percussions. The thing here is that we are not playing. We are not singing or playing. We are just understanding and I can say playing, but not at the instrument under the piano but using syllables or with body percussions. We can clap, we can clap the rhythmical figures and we are written the That's why it's called rhythmic reading and this is important, is really important to understand, because sometimes what happens and I have seen this in many of my students, many of them, they even have has through a professional. Do they having any? Some professional program music program And they have. This class is special classes on Lee for rhythmic reading. But what happens is that when they go to the playing when they are practicing well, they keep struggling. And sometimes they do not use this practice to play better, and they do not apply. All this practice is when they start reading new peace and we need to understand us pianists. We are playing with two hands, and we need to understand perfectly what we need to play and talking about the rhythm. Is this necessary? Absolutely necessary. We need to understand the music symbols and their rhythmic figures. This is part off music and ask pianists. We really need to be careful with this, because sometimes and I am not saying, of course, that if you are playing a melodic instrument, it's easier. No, but it is a little bit more difficult off course because we need to play with two hands and we are reading travel on base cliff, and sometimes we are playing more than only one note. So in this gaze you can see this example This is ah ah section the first, the main theme off the Rondo Alla Torre Care by Mozart. And as you can see here, only you can see the base cliff as playing courts. And sometimes we are playing four notes at the same time. And we need to understand the rhythmic values off each line. And we need to be capable to play both hands at the same time following the rhythmic figures. And if we have to this spoken so federal, I don't know if you are familiar with this term, this is very important is actually this ward is very common in many and many music systems . But maybe Eve, you are an amateur student. Maybe you are not that familiar with this sparkle. So federal is when we read the notes are we see them off the notes? We are not singing. Instead of saying, for example, you can say, see the ah, you just say the name of the notes instead, off singing them and sometimes you can use different. You can say like door Remy. This this names you. You can use syllables with the notes, but you can use the name in English like see the e like see the E f g f e the sea, but instead off singing, we are going to say, See the E f G on why this is important, what this tool is going to reinforce the understanding of what we are going to play. And believe me, playing piano and real, a new piece is not something easy at all. We have to go see their, their ribbing and the notes. There are many things that we need to consider. So if we add this, if we practice separated before playing, Wheaton uses Parkinson Federal on. We practice with body percussions or syllables older rhythmic figures. When it comes to playing, it's really going to be easier, because we are going to understand while we're going to play in it. Actually, we're talking about the movement or hands well is going to be easier, and we're going to develop thoughtful thinking. I don't know if you have heard of this, but in music this there is this type of memory that it's it has to be with the thoughtful thinking. We need to analyze what we are going to play. This is going to prevent us from plane as I would say like a PSA machine without thinking and maybe the memory memorizing It's not going to be easier. So this is going to help you because pianists need to play prevalent based Cliff. We need to think that sometimes is more than one voice. If you are playing back, for example, you are going to see that we have Polly for me when we play. So there are several voices. Sometimes each boys has different rhythmic values. So with need, just think about everything. It's not really that easy, so thinking about dynamic, some phrasing and everything. So if you add this to your practice, playing and memorizing, believe me will be much easier. Many times in my personal practice, my professional practice and with my students, I see that many problems are solved and difficult pieces to read becomes easier. When we asked this to tools which is spoken so fragile and rhythmic, reading two or practice. So I really, really encouraged you to do this because at the end we don't want to suffer, and we need to be able to play correctly. We need to develop an accurate practice ack trick, accurate playing. So after all, we need, we want to enjoy. We want to include a system at a system reading system and effective tools to or performance to really become better pianists. 9. Exercise #1: Now I'm going to share with you this exercise number one where I'm going to explain you. How do you can used the rhythmic reading and sometimes spoken So, Fetcher, to practice and understand what you need to play here is a section off the out of ISC. This is a study number two Oh, who's 25 from Fridge Barilla at What are we going to do? Well, this is a very popular pieces. This part of this 25 easy pieces from this composer and this one is called out of Esko is very popular and what I'm going to do and what you take this section this is remember that it is not about playing yet. There's a stage off. Your reading is to understand the purpose is really to be able to understand what is happening. So I am one just I circled this section and we're going to use this exercise to practise this measure. The one that is the has e blue arrow pointing at it. So And what is it? Difficulty here. Well, the difficulty is that my right hand needs to play 16th. Notes on my left hand are going to play quarter notes, and maybe you will think that this is too easy. But sometimes students, they don't play this correctly and they are not capable. This is important. Maybe you understand the 16th notes means that you need to play for notes against, you know, the the quarter note in your left hand. But you need to be capable to play this following the Metron. Um, so I'm going to say the matter non and want to show you have to practice. This is a very good exercise, even if you are capable to pluck play this. You can do this with the Metro Room and stared. Still, you are going to re Here's rehearse your understanding off rhythm. So what can we do? Well, or goal, as I mentioned is understand the rhythmic pattern in both hands before playing before plane . If you do this, then when you when it comes to play in both hands, it's going to be, believe me much easier, and it applies to any remake of figure rhythmic figures. It is under important to understand and have this exercise as a resource, so you can just use any off this exercises. In any case, if you think you need it. But as I mentioned, even just practicing without even sometimes, even without playing, it's going to be very useful. So what I'm going to do what my right hand is going to name the remake. Figures are going to use rhythmic reading and my left hand well, I'm going to use the light with body percussion, so I am going to clap. I am going to use a syllable. This is and this is different in each person. Sometimes there are different type of methods. Some use instead of saying Well, the the 16 knows you can use tacka tacka or you can say TT TT or TT TT. It depends a little bit off the, um, I would say the something that language that you, you are that you speak and sometimes just the method that you are using so focus on the combination of the syllables. I personally I are you starting a couple of methods, but I'm going to use back at back for me. It's kind of easy, and I understand this very good, but you can use this or you can adopt this to the mental that you want to use. But the point is the combination. I'm going to clap the trouble, calf. I'm sorry. The base left. I'm going to clap. And the trouble, Cliff, I'm going to say back out that got that and pay attention because I got to said the methanol at 50 beds per minute. Even if you understand this, just being able to follow the temple followed the speed. The methanol is going to really help you. So what is going to happen? I'm going to say back up, back up that tacka tacka that got that? Got that? Pay attention on the beat number two because it is on h note. But it is. It has a staccato. So that tiny dot there means that you need to play this shorter. So if I say attack, attack at that and I just hold their well, I maintain the sound That's not correct. So I mean, I want to play us. It is written, So I want to say it. I say it is written, so he must be back up. Back up that back up, back up top. Exactly. At the beginning, off the with the methanol. I need to start saying Tack at that. And now I'm going to incorporate the class, Can't clap even without saying. And now that I got that, I got that. Got that? Another important thing is to count first one in two and one and two and that got that, Got that that got that. Got that tacka tacka that Got that, Got that. If you try this and you feel that you're going too slow or too fast at that, the myth room, this is absolutely important. Do you need to be able to play this very slowly? That's reality. If you are not capable to do that, maybe it is because your temple not very well, but you remember that you can count. I am, I said, the method, but 50. But even if I said this at 40 I can use the resource off saying one and two, and so that is going to devise each beat into that is helpful to go. It's one and two, and this is important to understand. And this we'll use the method slow enough to be able to play without mistakes. If you, john, develop accuracy in this type of exercises, well, believe me you won't be able to play this well to any problem without mystics, you are going to be like dragging this inaccurate plane and we don't want that. So this is my recombination. Maybe you will say, Well, almost seven minutes just to explain this. Well, I'm showing you the importance. And if you find this exercise helpful every excellent so you can improve your reading when it comes to play. 10. Exercise 2: exercise number two. How could you? We use their remix reading on this ball. Cancel federal to understand and play better. Well, I am using again as I did an exercise number one, The Out of esque, which is the study number two off was 25 from Fridge for Mueller. In this case, I'm going to use the first stuff I am going to use if running them from the second line as I just circle, you can see this is a good example. And well, let's put first analyze the difficulty here. The difficulty is that my right hand or trouble Cliff, I have a notes and Syncopation. The problems are now the eight notes, but the Syncopation This will be a little bit of a problem and the left hand. Fortunately, in this case, I just have quarter notes and specifically specifically in the third measure, you can see Actually, this is Ah, you can see like this black lines because this'll is about the image. Were the what this is the addition were the steamer traffic has been taken on. Well, how are we going to do? What can we do? My recommendation here is to um, name the notes the right hand. So we're going to use this book. And so, Fisher, remember, spoken sulfate Joe. It's not another thing that just say the name of the notes in the pants off. Where did you live? On the type of method that you have bean used to Eve. You are used to spoken so fragile that you can see it say, See the E f g, or you can say door Amy Fassel. It depends on where are you from. But anyway, use the name named the Note, As you wish, but American and Asian will. In this case, I'm going to you see the e f. This is not a song. So Faget, this is just spoken so fragile. Don't forget that my primary goal is understand the remake pattern in both hands before playing. So if we understood the remake and then we understand the name off the nodes, then when it comes to play in, it's really going to be much easier. This is important, so this is like the next step after with me asked after the exercise number one so you can actually use exercise number one to this section. but I'm going to use now spoken so federal travel Clever right hand. I am going to use spoken so federal in Afghan body percussion and in this case, I'm going to use collapse. I'm going to clap and asked. I did previously. I could just set the Metrodome in 50. This is important. You can previous previously off setting the Metro. You need to be able to name the North and say E f d on the name off the note. This is important. So I am going to first. I'm going to name the notes on Lee. The Trouble. Cliff Not yet clapping. OK, so one and two and one and two end e de f d the G d E c deed. Yes, so I named announced until the first ending. I want you to do this again e the f d the g d e. C, and notice that writing it's their measure. It's where at the beginning the Syncopation appears and I need to hold a note. So if I say the and I hold the note while meat and 1/2 that is going to reinforce my understanding off this incubation, not what I going to do? I'm going to count and I'm going to clap. My recommendation is to count and collapse a couple of times before adding this book and so federal one end to end one end to n one n two n e f d the g e c e a. You can do this or Nars lower or two or three measures only. I am choosing this, but remember that you need to adapt this to the peace onto your level, the piece of your plane and to your level. This is very important. I'm going to do this two more times. One end to end one and two in e f d the e g D. C Again one and to N E if D E g e e c. This is another exercise that I highly recommend you to understand everything the knows the rhythm before going into playing. This is important. Remember, as I have mentioned before and I'll keep saying this, I think, Oh, my life years, the Metrodome. It's love enough to be able to play without mistakes. We don't want to play with mistakes. We want to develop accuracy when it becomes too counting and name the notes. This is very important. So you need to be always listening to yourself on Really make sure that you are following the meta room without mistakes. 11. Exercise #3: exercise number three. As you can see, this is a variation of six or size number one and two. But if you asking why, um, I dedicated this ASA separate exercise. Well, I'll let you know right now. Well, I am using again the out of Ask, which is the study number two from the Opus 25 from Fridge for Miller. But now I am going to choose this section after the second ending right in the second stuff . And what happens is that sometimes we practice as with you in exercise one and two. But when it comes to have something different a little bit more difficult on bass clef, we don't dedicate enough time or attention to what the bass clef needs to play. This is something about our capital or brain and our capability to play something with more ability, like the right hand. If you write with the right hand, maybe playing with the left hand, it's other with more difficult, and they come on. Common sense tells us that if it's a little bit more difficult, we need to pay more attention. But that's why sometimes we don't dedicate this type of exercises to the bass clef enough. So what is going to happen? We're going to drag some inaccurate playing and we don't want that. So what are we going to do? Well, first in this section I chose this section because here is where the left hand to start with the with the theme. This is like an important moment because it's not playing just court now. It's part of the theme, the base cliff, and we have done 1/4 notes in the right hand and the left hand is going to play 16th notes and sometimes the students, when they come to play at this section, they change the temple. So be careful with that. What can you do? Well, my recommendation first. Remember that we need to understand the rhythmic pattern in both hands before playing. If we are not capable to perform this type of exercise is very difficult is to be to be able to play them correctly and first. Well, maybe you have by now. You have Ah, we have gas. What is going to have it? Well, this is the exercise number one, but I'm just playing in the A positive. So right hand is going to be body precaution and left hand is going to be re immigrating. So what I'm going to do my right hand is going to clap right now. I'm sorry. The the right hand, but I'm not doing with my right hand. I'm getting confused. The trouble clef it's going to be clapped, right? And the 16 note from the left hand in this case, the base cliff. I am going to say everything reading. So I'm going to say Taka. Takata, remember, you can use Tedy Tedy or data, as you wish. Depends armed the kind off method that you are using. So what I'm going to do This is a metronome. 50 bits per minute. And first I am going to clap. Only remember, we need to be able to do separate it. So one end to end fun and two and one and two and one and two and one and two. And I just I could just repeat this pattern several times. Now the left hand is going to be back out. That got that? So one and two and one and two. And check out that. Got that stock out. That got stop now. both hands is going to be like this one in to stop. And because this pattern is Jeff repeated, I can just up just continued doing it without stop. So this is a good recommendation. Wealthy other exercise, which is a variation off exercise number two. You have high pressure that you guessed by now travel class is going to be body percussion . That saying but left hand in this case, the bass clef is going to be spoken so fragile. So it is going to be G A B a g g a b a g, and then I'm going to say the next measure ABC, the E G A b a g, ABC, the e to see the I'm sorry. So can demands for a moment you can do this is lower If you want to make sure that you are said in the names who is going to be? Instead of saying, attack at that data is going to be G A B a g that got that got tastic a measure ABC the e So I am going to do this clapping and we've just spoken So Fabio Juan end to end d A B A G A B c the e g A B a g a b c the d. I did it twice, and if you try this several times without any stop, it's going to be so helpful. I want to do this one more time one and to end g A b a d baby. See the game. Try this slower. But if you are capable to do this, chances are that when you come to when it comes to play and it's going to be east year and you're going to be able to breathe the notes on plate in less time, that's a relative. Always use a mentally slow enough to be able to play without mistakes. Don't think that you need to play less. On the contrary, played more when it comes to really a playing better the base cliff 12. Reading Techniques through Bach: okay, I want to share in the next section some ridin exercises. This course is about the value in the perfect funeral routine. When we start reading a new piece and I'm using a piece from the composer Johann Sebastian Bach as an example, while we talk about reading and especially written a new piece, we need to develop a system. It's all about having a correct system that is really making us playing better on getting better results in less time. How do we start? First of all in the section, I'm going to use this piece from back, but I go to give you example, Solve the piano. I'm going to show you the the strategy, the system, and I'm going to do that with that. You're going to actually see me. Doing it at the piano with this piece I chose is this is out Bhura, which is an e minor and is from back. It's a very tiny piece, but I don't know if you have played back before and why it is recommendable. Well, the thing off back is ah that this type of peace, as you can see where I want to, but it make the exercises. Well, I want to show you the exercises on Lee with this first stuff, I'm going to use the 1st 2 staff all until ah, while the first for measures. So you will see how I am practicing this section. We'd this those exercises, why I chose back. Well, because that he is a baroque composer. And baroque music has a pat particularity that it is polyphony. It means that you are not playing with your left can only compare mints or courts dropping something else. So this make really the plane kind of difficult? Actually, that is important. And that is why many students are always playing something that is from this general from the Baroque music. And it requires analysis. We need to be able to analyze and saying what we're playing, and this can be more difficult. And that is why I chose this piece. Because if I am sharing with you this strategies using a difficult type of music, imagine if you are capable to do this, not only with back, but you're capable to that with easier pieces. Well, their assault is going to be much better. So that's why I chose is very, very important. Apply this to the new piece that you are about to practice. You can, of course, apply it to the one that you are playing. But if you're going to about to start a new piece, try this. Remember that. This course is about, really do practice. Take practical steps to improve your playing. So in this case, this exercise is really encouraged you to take action. So follow this and try that If you're struggling with a section off with a piece, you can try this. And I really should you that you are going to get better results. So very, very important. My recommendation. Try this and of course, let me know. I will love to hear if you, Howard, are you feeling? And if you are getting better results with your play 13. Bach´s example - Read and play -: in this section, I am going to give you some of Bisys on how to start reading on playing with the correct approach. I chose this piece, which is able right by back, because Back is a composer that most off his music is political me. It means that has to melodies each hand. It's playing a melody separated melody, which makes this a little bit difficult to read, even from the beginners pieces, beginner's level while all the back pieces is polyphony. So this is kind of tricky. So that's why I chose this. Yeah, and remember, this is not the tutorial of the piece is this is an example how you can really go and have a successful approach on your reading off any peace, especially if you have two themes in each hand. This going to help? Okay, the first thing that you need to do is that you need to read. You need to read the notes. In this case, I chose a section off four measures. You can go either for smaller section, just a tiny phrase. It depends on the piece on the level so and from the difficulty of the peace. So in this case, I am going to read. I want to read because I am using quarter notes and eighth notes. I am going to read saying Ah, following the rhythmical figures. But you do not have to do that. You can just name the notes at the beginning. So what I'm going to do and going to say E f g f Ease the E f B c the e see the B, A G F G A B a G F E. And I can do that several times what it's happening that's really getting familiar with what I mind bring. I have reading before going into the into the piano. So this is important. I'm going to say this again E f g f e the e f b c the E d c b a g f g a b a g f e. Now, after have done this several times, I am going to play. I am going to play at the same time that I am still saying the notes. This is important. Sometimes maybe you have heard this procedure, but maybe you can have, you know, left aside there is because you think it's not necessary off kind of boring or difficult. But the thing is that if you do this, the result is going to come sooner. The good results. You're going to have this done before. So what I'm going to do and went to the now e f g if he be me. If being see the me they see being aging NIF dream, maybe Mangini. I am following the finger, and I am following the rhythmical figures because this is not difficult because I am using only quite announced a notes. But of course you can go slower and with smaller pieces, smaller sections. So I want to do this several times. I mean, I can do that 10 15 20 times until I feel really comfy playing and reading. Now I'm going to do exactly the same with my left hand. So first I'm going to read G f e A B A g f e f g a B a g b e f g f e. I do this a couple of times until especially if you kind of struggle with basic left is a very good exercise. Now I'm going to play and read Jean, If e k b j d. If d if d j b k g b f g f e and I do that many times many times, I mean it several times until I feel that this is going fluent. The next step will be at the Metrodome on keep practicing separate scans using the Metrodome. Why not reading reading? And then you stop reading and you just play. So this is an important step. I really recommend you to do this very carefully from the beginning. 14. Bach´s example - Metronome exercise -: Okay. Now, after you have read several times set bar of hands, plain and reading at the same time on considering that maybe you're by now have play with methadone, my nexus suggestion, especially when you need to be able to play kind of faster with certain movement before playing together. Well, my recommendation is to practice using this exercise with the method. Um, actually, if you do this, you are really assuring that you are playing and developing a accurate way off. Lay your your developing accuracy when you practice. And this is very important because if you play with mistakes, you're going to learn those mistakes. And it's really difficult sometimes to really start reading and playing without mistakes without, like, a taking those mistakes with us sometimes for many weeks and months. And we don't want to do that so myself just in here. And I am using again the Beretta. I'm going to play this, give you the example with my right hand. I am going to play. Ah, this 1st 4 measures pan. But I'm going to set the methanol and I'm going to set a Cron Ami chronometer here with the Metrodome. Why? I am going to play without making any pass between repetitions, using the methadone without stopping for one minute. Why I wanted to prove is that you're really can practice many, many times and many repetitions. And sometimes if we practice, we play once, and then we stop. And then again, we lose a huge amount of time. And remember that this course is not on Lee about recommendations off successful practice that we need to have an effective routine. And we don't want to waste time. So what I want to do, I would just said the methadone here it is. And I'm just I'm using on a nap on my iPad that Did you flee the This is the beat, right? This is a beat. And I can set, for example, if I want to play this for one minute. So I want to set the mental room, and it's going to set the timer, and then I'm going to play the piece for one minute. Okay, I'm gonna do this again, Okay? Yes, I was going to Maybe it's going to be, like, 50 seconds. But here I go without stopping and reading as well. TFT 10 Really TFT sealing the C B A g gift, maybe 80 f d e f t Everything e f b c leaking to me. See me g a b a g f t e f g f e d e f g c leading they see me if maybe a f again ft in three c Leedy see the baby if t be a how many times I play this I just, uh I lost, like, 10 seconds, but I played this, actually, I think four times or five times. Well, it was only one minute. Imagine that. I played two or three minutes so I can play 15 times in five in two minutes. And then what happens if I do the same with this hand playing and reading in five minutes, I can play 15 times each hand. Imagine if I practiced during five days. Well, this is going to be do the math there. If I practice 15 times five minutes daily this us, I just it five days, so it's gonna be 75 times each hand. We believe me, you are really going to get this done correctly. If you did like this, So my point of this exercise is proving you that sometimes when we play correctly and play without any parts using the math unum perfectly without any sick wants once again, well, you can really take the most off every minute that your practices the piano. So I really recommend you to try this. Choose your favorite piece and try to do this with that section or with a new one, that section that you are struggling with. This is a very good example with back, but this is my recommendation for you. 15. Bach´s example - Playing both hands -: the next step is to play both hands at the same time. By this moment, I suppose that we have practices several times that your your piece or the section that you are performing, you have practice several times. You maybe have tried the exercise with the methadone that I suggested. Now how do you do to label hands at the same time without any mistakes off course? If the the immediate, logical question it just answered, the logical answer is just to start playing. But here's my recommendation. And, of course, I am using back because back is particulary early, difficult to be labeled hands at the same time. That's a reality. So that's imagine that I have bean playing. This is 60 bits per minute off course. I can assume that maybe you play this faster, but I'm going to do this. It just so you can understand this and this video will not take so long. So no problem figuring everything. Correct. Now, my left hand. Now what I'm going to do, I going to play both hands at the same time, but the Metrodome instead, each week by now, I was counting the each beat bear quarter note. Right? So it was pfg Well, now that I'm going to play ball cancer at the same time, I want to play super slow. But teach beat is going to count each age note there is going to be like this. - As you can see in this way, playing both hands especially back is easier if you try this. Believe me, I assure you that you are going to develop a more accurate practice instead of just playing with Miss six. The point is to practice with the less amount of mystics. So perfection slow without mistakes is really going to guide you and lead you into this perfection and fluent playing playing that we need to develop. So I really recommend you trying this Blake bolt hands at half of the time or counting in this case instead of quarter. Knows you count the eighth note pervades, and that is really going to help you to play both cans without mistakes. Try this and I really love to hear from you. What do you think? If this is going, it is camping you That will be great to hear give you out, putting in practices, recommendations 16. Bach´s example - Advanced reading tip -: No, let's go out a bit further in our practice, I'm going to recommend you this exercise which is wearing something excellent. If you really want to practice you really and make your brain Really? Do you know that? Make that that step and go further in your rainy. It's gonna be a little bit difficult, but I would recommend it to try it. I want to show you how must we don't what what I'm going to do, I'm going to play and I want to play. For example, I'm going to play my left him and I am going to read aloud my right hand first. We don't play in this camp like this f g as e me e f b See the baby? Me, C b a g f the a b a g f being try that very slowly. This is going to make your brain really works a lot concentrate and developed a very good reading. Now I can do playing E Bay three. See me May seen me being Dini. Meaning now what I want to do, I'm going to do the A posit. This is more interesting. I'm going to read aloud the base Cliff D B Hey, me saying Be this be I'm easy. I'm sorry. F thing only e f g f e every how mistake. Just country to the point, of course, is try to not do this with stinks. But don't worry, efficient. If this is the first time you can play even slower now, both hands. Hey, me, K g Yes, g paying me. Hey, Ding, try this. This is my recommendation. This is a very good exercise. If you want to really take him in its angle. Further interview, reading your brain and your reading is really going to help you on. This is going to help you to read better. So try that and let me know. How do you feel if this is helping? 17. Congratulations!!: Congratulations. You are now at the end off this sculpture class. Thank you for letting me share with you about the beauty off, whether music, piano or education. Thank you. My name is Jill Salo's. Oye. Again. Thank you for being part of this class in this community. Gives You want to check out the rest of my classes to just go to the next? Plaster is recommendable for this one that you have just finished. We'll check out description off this class, you will find all the links there. You have any questions, please? You know, I will be very happy to hear about your comments and your suggestions off this class. And you want to know which glasses recommendable for you now was just let me know and I was very happy to help counter to lay just and I can't wait to see your in another class