lisztener

[lisztener]

Hi!
Which way is the best when it comes to learning a new piece? Should you or should you not listen to the melody before interpreting the notes?  It feels like cheeting to me in a way. I mean, when you've already heard the melody, you know how it sounds, right? And which way make you practice notereading the most? Since you don't misinterpret the notes if you've already heard the melody that might also be a good way to practice it. What's the most effective way?   Thanks /lisztener

[aerlinndan]

I mean, when you've already heard the melody, you know how it sounds, right?

When you have heard the melody several times, thought about it in many different ways, and feel that you have fully "absorbed" the melody into your mind, then and only then do you know the melody. But what about everything else? The melody is not the only component to a piece. There is no reason that the accompaniment is not equally important. As musicians we try to constantly train our ears, minds, and fingers to be more aware of all of the tiny details that are going on in the score, not just the "big stuff" like the melody.

And which way make you practice notereading the most? Since you don't misinterpret the notes if you've already heard the melody that might also be a good way to practice it. What's the most effective way?   Thanks /lisztener

I'm not sure I understand what you mean. If you have listened to the recording of a piece (or many different recordings, ideally) enough, then you will know if you play any wrong notes while you're practicing it, but this is more in the domain of ear training than note reading. Also, knowing a piece is no guarantee that you will "misinterpret" it anyway (and what exactly do you mean by misinterpret?). A sharp, tuned musical sense is a lifelong pursuit, and knowing the melody is only one small component of that.

[alzado]

Lisztener--

I'm afraid I disagree very strongly with the majority on the forum.  I really dislike the idea that one must listen to recordings of pieces before playing them. 

Some contributors to the forum suggest that a part of their one-hour lesson involves the teacher playing their pieces for them, often more than once.

These last several months I have been playing material by a lesser-known composer, Edward MacDowell.  Just about everything I learn from this composer I play never having heard it before. 

Today I downloaded a piece by MacDowell called "In An Old Garden" from his collection, New England Idylls.  I have never heard it.   I just played it.  What is so hard about that?

After about 20 minutes, having played it through several times, I believe I was getting a pretty good handle on it. 

My piano teacher keeps me honest -- she hears me play this material and with her much greater knowledge is able to "set me straight." 

I don't mean to be critical of others, but the other post replying to you said something that I find a bit absurd.   He said that  if you listen to a recording several times, you will "then know if you are making a mistake when you are practicing" the piece.

Really, if you understand the key and the chord patterns of the piece, and you hit a wrong note, you will know it.  I realize, you have to have some intuitive sensitivity to what you are doing.  But if you don't have that, you really will not get very far with piano, will you?

When I play a piece I have never heard, and I make a mistake such as hitting a wrong note in a significant chord -- I do know it.   Because I understand the logic of the harmony. 

The idea that people need to be endlessly submitted to a piece in performance before they can or should play it themselves --   well, by then I probably would be sick of it and really would have little wish to play it.

This does NOT apply to beginner students or Suzuki piano people or others for whom my approach would make no sense.   It would apply to people who either are musicians or aspire to be musicians.

There-- hope I have expressed my viewpoint without irritating other members of the forum.  I've sure tried.

Good luck in your endeavors--

[quasimodo]

Your goal is to play the piece, not to have learned in such or such way.
The audience's preoccupation is not to know whether you listened before learning or what. They want to hear good music, so give them good music by any means.