Public Space for Improving your sightreading with Leann Osterkamp!
One of the most valued skills in music is having the ability to sightread with ease. That is because it aids in so many things: learning music quickly, being able to play with friends/colleagues on minimal practice time, and most importantly, being able to evaluate a new piece and its possibilities!
Join Leann as she leads a new Two Week Intensive designed to improve your sightreading through focused advice, tips, exercises, and more! Letās start playing NEW music!
- Course Period: October 17th - 28th
Welcome to the Public Space of ā Improving your Sightreading with Leann Osterkampā!
Unfortunately, you havenāt been randomly selected to participate in one of the groups. But you can still follow along with this monthās assignments in the Public Space and interact there with fellow community members!
Why donāt you start by saying hello to everybody and tell us what you look forward to for the next two weeks?
Assignment 1
https://www.youtube.com/watch?v=qQFglD_rGIg&t=10s
Assignment 2
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Hello everyone :)
I started playing when COVID got us stuck in our houses and I've been fortunate enough to stick to it. I never had a music education growing up and that's why I've put a lot of effort in music theory and sight reading. The latter being more difficult to assimilate and needing the most time, so I've looked around for any possible hint to make my life easier and not lose my motivation. After two years I've managed to play five different Chopin Nocturnes learnt by reading and still using the score to guide me when I'm playing. It's my biggest achievement to this date, and I hope I can step it up with this course. I, for sure, will try to get the most out of it. -
I started in on this first assignment reviewing possible Sonata selections for the local music festival. Working through the checklist was very helpful to create focus and anticipate those potential trouble spots. I selected 12-16 measure sections.
I recorded myself which definitely creates the feeling of on the spot performance. So far, I have learned:
- to write in more fingerings for unusual passage work
- tap and sing full passage to be sightread
- while it's hard not to tense up when things start to go wrong, breathe and keep playing at least the melody.
- Practicing sight reading creates a more efficient learning process.
I wonder about tempo and how to tackle longer selections.