Reading from scores during the concert?

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Adrian Allan
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Re: Reading from scores during the concert?

Post by Adrian Allan » Sat Nov 04, 2017 6:38 pm

I also want to make another point here. There is perhaps some advantage in learning to play without looking at your fingers.

I would also add that amongst the people who play without music, there are some who stare incessantly at their fingers on the fretboard. I find this more off-putting than those who have the music in front of them.

But at the end of the day, so long as the end result is not distracting to the audience and is professionally presented, there should not be a real problem. Having the music on a very low stand, and printed in such a way that there are no or few page turns will help in this respect.
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Rognvald
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Re: Reading from scores during the concert?

Post by Rognvald » Sat Nov 04, 2017 6:40 pm

The bottom line is the Music and the Performance. To me, it is irrelevant whether a concert is memorized or aided by the sheet music. I play most of my gigs in combination: memorized and from sheet music. Playing again . . . Rognvald
"And those who were seen dancing were thought to be insane by those who could not hear the music." Friedrich Nietzsche, Thus Spake Zarathustra

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Adrian Allan
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Re: Reading from scores during the concert?

Post by Adrian Allan » Sat Nov 04, 2017 6:41 pm

Rognvald wrote:
Sat Nov 04, 2017 6:40 pm
The bottom line is the Music and the Performance. To me, it is irrelevant whether a concert is memorized or aided by the sheet music. I play most of my gigs in combination: memorized and from sheet music. Playing again . . . Rognvald
Some of the great players that I have known and seen many times have done exactly the same - Craig Ogden and Simon Dinnigan both spring to mind.
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Stephen Kenyon
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Re: Reading from scores during the concert?

Post by Stephen Kenyon » Sat Nov 04, 2017 8:30 pm

Adrian Allan wrote:
Sat Nov 04, 2017 6:19 pm
Stephen Kenyon wrote:
Sat Nov 04, 2017 6:14 pm
I would take a cue from the practise of colleagues teaching piano.
What age group and years experience are they? If fairly early stages I would encourage whatever gives the individual the best chance of positive early experiences.
Its true that the industry standard is solo from memory; Starobin and occasional others have earned the right to do as they wish.
Industry standard is perhaps a curious choice of words to apply to the arts. ie. it's not really an industry and standardisation is not necessarily a positive trait. If an individual thrives by having the music on the stand, then surely that individuality should be encouraged. There is too much robotic conformity in many aspects of classical guitar training right now.
I'm puzzled Ade; you are agreeing with everything I said yet couching it as though disagreeing.
Industry is a word that is widely and regularly used - "creative industries" etc. In using it I was not necessarily endorsing it, but its such a common term that it might be more curious to query it than to employ it! I could have rambled on using more elaborate terminology but I do more than enough of that round here, plus the contribution was on my phone which encourages brevity, if not wit. Standardisation on its own is neither positive nor negative, its what we do with it. Within guitars as a family there is a standard which we agree, more or less, to call classical; it involves various thing that give a result. I did actually say that the individual should be encouraged to do what is best for them, and that some very advanced players use the music and nobody questions them (I've also seen Bream and Williams amongst others, quite apart from witnessing Starobin positively dancing along a whole long spread of pages on several stands - standing up of course :shock: ).
For the record, probably every single recital I ever gave a music stand was used at least once. Often for my own stuff which I couldn't be bothered to memorise apparently :oops: !
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Adrian Allan
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Re: Reading from scores during the concert?

Post by Adrian Allan » Sat Nov 04, 2017 8:44 pm

Stephen Kenyon wrote:
Sat Nov 04, 2017 8:30 pm
Adrian Allan wrote:
Sat Nov 04, 2017 6:19 pm
Stephen Kenyon wrote:
Sat Nov 04, 2017 6:14 pm
I would take a cue from the practise of colleagues teaching piano.
What age group and years experience are they? If fairly early stages I would encourage whatever gives the individual the best chance of positive early experiences.
Its true that the industry standard is solo from memory; Starobin and occasional others have earned the right to do as they wish.
Industry standard is perhaps a curious choice of words to apply to the arts. ie. it's not really an industry and standardisation is not necessarily a positive trait. If an individual thrives by having the music on the stand, then surely that individuality should be encouraged. There is too much robotic conformity in many aspects of classical guitar training right now.
I'm puzzled Ade; you are agreeing with everything I said yet couching it as though disagreeing.
Industry is a word that is widely and regularly used - "creative industries" etc. In using it I was not necessarily endorsing it, but its such a common term that it might be more curious to query it than to employ it! I could have rambled on using more elaborate terminology but I do more than enough of that round here, plus the contribution was on my phone which encourages brevity, if not wit. Standardisation on its own is neither positive nor negative, its what we do with it. Within guitars as a family there is a standard which we agree, more or less, to call classical; it involves various thing that give a result. I did actually say that the individual should be encouraged to do what is best for them, and that some very advanced players use the music and nobody questions them (I've also seen Bream and Williams amongst others, quite apart from witnessing Starobin positively dancing along a whole long spread of pages on several stands - standing up of course :shock: ).
For the record, probably every single recital I ever gave a music stand was used at least once. Often for my own stuff which I couldn't be bothered to memorise apparently :oops: !
Fair enough - whatever works.

I'm only thinking that perhaps if there is a requirement for all students to play from memory in a competition or a conservatory, it might exclude that one person who has great skills, and is potentially a great artist, but performs best with the music there as a back up.
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a human
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Re: Reading from scores during the concert?

Post by a human » Sat Nov 04, 2017 9:07 pm

Our local symphony and conductor always have a score.
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The rest come and go.

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