Advanced Sight-Reading Curriculum - Part 3

Playing by Ear

Although playing by ear might seem to be the opposite of sight-reading, we read with our ears as much as with our eyes. The inner ear helps us to navigate a new score, predict what is coming and improvise when the eyes haven’t had enough time to absorb everything. The third part of our Advanced Sight-Reading curriculum serves to strengthen the role of the ear by developing skills ranging from playing by ear, filling in harmony intuitively, reading open scores and improvising.

Contents

Author

Ken Johansen

Ken Johansen is a pianist, teacher, and writer based in Baltimore, where he teaches at the Peabody Conservatory. His projects include the iPad sight-reading app Read Ahead, a keyboard harmony textbook Harmony at the Piano, the From the Ground Up series and an advanced sight-reading curriculum.

Author profile >>

Purchase options

Related content

Read Ahead - Level 4

Read Ahead is an exciting program that helps piano students to improve their sight-reading ability. This unique curriculum is based on an extensive collection of carefully ordered compositions with related exercises and quizzes that help students develop the mental and tactile skills necessary for fluent sight-reading. This section features Level 4... Read >>


ReadAhead Practising

Advanced Sight-Reading Curriculum - Part 1

<h3> <a href="/content/pages/132-advanced-sight-reading-curriculum-part-1?bundle_url=online-academy&amp;last_viewed=true">Eye Training</a></h3>

Sight-reading begins with sight. Before the inner ear can begin to imagine the sound of a score, before the mind can start to decode the patterns it detects, and before the body can translate these sounds and patterns into physical gestures that transform written notes into music, the eyes must... Read >>


Ken Johansen Practising

Separate Practice

Learning a complex piece each hand alone before putting the hands together is a strategy favoured by the majority of piano teachers. While it is of course possible to practise a fugue hands separately, this misses the point. Rather than working hands separately, I advocate strands separately (playing each line... Read >>


Graham Fitch Practising