If you’re assigned something to read, read it aloud to yourself. This engages not just the internal monologue part of your brain, but speaking and hearing parts, and your brain makes stronger pathways when more senses are engaged and working together.
Don’t buy (eta: or download) flash cards, draw them yourself. This engages sight and abstraction., plus motor skill areas.
Write your own notes, then read them aloud and highlight them yourself. So many parts of your brain make connections by doing this. Don’t just read. That’s not very helpful; you don’t have to study long if you study well.
I think there’s a name for this, but I’m tired and will rely on Cunningham’s whatever.
e: don’t forget about all of your senses – you have way more than 5.
Elaborate?
i dont know if this is what they intended to say, but ive found that when I exclusively practice with sheet music then look away, I’ll completely blank. my brain relies on the constant reminder of what comes next. this might be okay if you plan on playing in an orchestra where you’ll always have your sheet music or chart available (which even then… what happens if theres an issue with a page turn? or the ipad doesn’t work?). it DOES NOT work whatsoever if you plan on playing music in any other setting where you won’t be able to stare at your music. its as if recalling the music and thinking deeply about it and its structure is an entirely unique sense you develop, and ive found that its mutually exclusive with keeping your eyes on the page.
also, keeping your eyes on the page makes it much harder to improvise, if thats your goal. when youre playing something and it deviates from what’s on the page it can be very very disorienting. i might add to this comment as I dwell on it, this is something i care a lot about
i play keys, vocals, upright bass, bass guitar, viola, and guitar for context. played in the context of organized orchestras to bedroom bands to solo performances
Hey that’s a great perspective, thanks for sharing. Do you ever regret your reliance on keeping your eyes on the sheet, or wish you could improvise better for example? At what point in your learning did this become an issue for you or people you know?
We’re probably approaching this from very different skill perspectives. I think your concerns, though clearly valid, only apply beyond a certain level of mastery. The question I was originally replying to was asking for ways to engage other senses while learning piano, so I assumed perhaps incorrectly that they are not past that point yet. I am a terrible piano player, but I tutor intro to music/piano, so I was giving the tips I use on my tutees. If you still struggle to read music, then I firmly hold that you should always read it while playing, but I will defer to others on tips for people beyond grasping the basics.
agreed, when people are FIRST learning to read sheet music it can be helpful to keep your eyes on the page and learn to associate certain notes on the page with certain finger/hand positions. yes, I regret my reliance on sheet music earlier because now my ear is waaayy behind. i kind of see it like understanding a piece of writing. if someone asks you what the article is about and you have to reference the article directly to answer it then I wouldn’t consider that to be truly understanding the article. same with music, if you get asked to play something and you have to read straight off the page then I don’t think you “know” the music. you just know how to play it. for some, thats all they need.
if someone is really just looking to be given music and made to play it according to the page then learning to read and play will be all they need. if they want to reach that next level though, like writing music, improvising, playing in a band, playing without your music, being a more dynamic performer, etc. they should learn to know the music.
i appreciate you pointing out the thing about mastery. i dont know that its that I’m “more experienced” though. i think we just have different goals and different instructors. my instructors were always people who were in their 20s who had experience in rock and jazz. i suppose I’m just highlighting the limitations between classical training and being trained with rock and jazz in mind. my goal (and I’d assume the goals of most of your students, if I’m right to assume theyre on the younger end) has always been to be an independent jack of all trades who is capable of writing, performing with other people in an informal environment, and improvising. i think the style of learning ive been describing can be more conducive to that. i would ALSO ALSO argue that it is more difficult and “risky” to teach in that way. you need a deep, practiced understanding of music theory, of your instrument, of the students life and willingness to learn, etc. its far more resource intensive.
ive been writing about this far too long lol I’m gonna cut it off here. i appreciate your perspective, ive admittedly never had a career of teaching people about music, but I have definitely explained things casually to friends and other musicians. i think it would help me to pick up that experience by tutoring on the side at some point.