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	<title>Comments on: Pre-Reading: What you need to know before you start working</title>
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	<link>http://www.classicalguitar.org/2009/10/pre-reading-what-you-need-to-know-before-you-start-working/</link>
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		<title>By: Alex</title>
		<link>http://www.classicalguitar.org/2009/10/pre-reading-what-you-need-to-know-before-you-start-working/#comment-2657</link>
		<dc:creator>Alex</dc:creator>
		<pubDate>Sun, 14 Mar 2010 02:43:33 +0000</pubDate>
		<guid isPermaLink="false">http://www.classicalguitarblog.net/?p=2256#comment-2657</guid>
		<description>Hi Nick:

Interesting comment... I think that there are many different levels at which &quot;pre-reading&quot; can take place.  And in the end it all depends on the approach you want to take.  For me, all music within the 12 tone tempered system is about gravitation, or lack thereof.  So I certainly want to understand what the piece is all about, in terms of rhythm, melody, and harmony, before I even &quot;commit&quot; a single note to sound.  
Having said that, to me this has a lot to do with language.  If you read plenty of legal documents, for instance, you get to the point where you don&#039;t have to stop and analyze what the heck the jerk lawyer who wrote it (and who usually wants to confuse you ;-)  means by all that mumbo-jumbo...
But if you don&#039;t, you will have to stop and analyze the vocabulary, and even the syntactical structure: so my point is that if you take the time to analyze music, you eventually get to the point where that particular style becomes second nature, and a scan (auditory or visual) of the music you are dealing with is sufficient to know what&#039;s what, and what you can do with it.

Cheers! Great blog!

Alex</description>
		<content:encoded><![CDATA[<p>Hi Nick:</p>
<p>Interesting comment&#8230; I think that there are many different levels at which &#8220;pre-reading&#8221; can take place.  And in the end it all depends on the approach you want to take.  For me, all music within the 12 tone tempered system is about gravitation, or lack thereof.  So I certainly want to understand what the piece is all about, in terms of rhythm, melody, and harmony, before I even &#8220;commit&#8221; a single note to sound.<br />
Having said that, to me this has a lot to do with language.  If you read plenty of legal documents, for instance, you get to the point where you don&#8217;t have to stop and analyze what the heck the jerk lawyer who wrote it (and who usually wants to confuse you <img src='http://www.classicalguitar.org/wp-includes/images/smilies/icon_wink.gif' alt=';-)' class='wp-smiley' />   means by all that mumbo-jumbo&#8230;<br />
But if you don&#8217;t, you will have to stop and analyze the vocabulary, and even the syntactical structure: so my point is that if you take the time to analyze music, you eventually get to the point where that particular style becomes second nature, and a scan (auditory or visual) of the music you are dealing with is sufficient to know what&#8217;s what, and what you can do with it.</p>
<p>Cheers! Great blog!</p>
<p>Alex</p>
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		<title>By: Classical Guitar Blog Posts &#171; Nick Cutroneo&#39;s Classical Guitar Blog</title>
		<link>http://www.classicalguitar.org/2009/10/pre-reading-what-you-need-to-know-before-you-start-working/#comment-2043</link>
		<dc:creator>Classical Guitar Blog Posts &#171; Nick Cutroneo&#39;s Classical Guitar Blog</dc:creator>
		<pubDate>Sat, 12 Dec 2009 13:07:32 +0000</pubDate>
		<guid isPermaLink="false">http://www.classicalguitarblog.net/?p=2256#comment-2043</guid>
		<description>[...] Pre-Reading: What you need to know before you start working [...]</description>
		<content:encoded><![CDATA[<p>[...] Pre-Reading: What you need to know before you start working [...]</p>
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		<title>By: Nick Cutroneo</title>
		<link>http://www.classicalguitar.org/2009/10/pre-reading-what-you-need-to-know-before-you-start-working/#comment-1400</link>
		<dc:creator>Nick Cutroneo</dc:creator>
		<pubDate>Tue, 06 Oct 2009 03:50:22 +0000</pubDate>
		<guid isPermaLink="false">http://www.classicalguitarblog.net/?p=2256#comment-1400</guid>
		<description>Alex, I think analyzing harmony and looking at the construction of a piece is great.  However this is literally before you start working on a piece of music.  While theoretical analysis is great, I think in the beginning stages of working on learning how to play a new piece of music its a non-essential extra step.  It certainly doesn&#039;t hurt, and if as a player you are able to comprehend and understand those concepts that&#039;s great.  However, this is an approach that can be done at any level of playing, and not everyone is well versed in the idea of musical analysis.

I&#039;m planning a series of articles relating to practicing, and I&#039;ll certainly touch upon the subject of analysis in them.</description>
		<content:encoded><![CDATA[<p>Alex, I think analyzing harmony and looking at the construction of a piece is great.  However this is literally before you start working on a piece of music.  While theoretical analysis is great, I think in the beginning stages of working on learning how to play a new piece of music its a non-essential extra step.  It certainly doesn&#8217;t hurt, and if as a player you are able to comprehend and understand those concepts that&#8217;s great.  However, this is an approach that can be done at any level of playing, and not everyone is well versed in the idea of musical analysis.</p>
<p>I&#8217;m planning a series of articles relating to practicing, and I&#8217;ll certainly touch upon the subject of analysis in them.</p>
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		<title>By: Alex</title>
		<link>http://www.classicalguitar.org/2009/10/pre-reading-what-you-need-to-know-before-you-start-working/#comment-1398</link>
		<dc:creator>Alex</dc:creator>
		<pubDate>Tue, 06 Oct 2009 00:18:07 +0000</pubDate>
		<guid isPermaLink="false">http://www.classicalguitarblog.net/?p=2256#comment-1398</guid>
		<description>I didn&#039;t have a name for it... but that is exactly what I do.  I take a different approach, though.  I may analyze the harmony, look at voice-leading, etc.

Something I&#039;ve found really useful is to take the concept of &quot;reading one bar ahead&quot; further.  I use speed reading techniques to scan a whole page or section of music beforehand.  Some part of my brain seems to store the info, so when I actually read it &quot;out loud&quot;, it flows better.

Learning to read music without a guitar in hand is also a great ability to have...</description>
		<content:encoded><![CDATA[<p>I didn&#8217;t have a name for it&#8230; but that is exactly what I do.  I take a different approach, though.  I may analyze the harmony, look at voice-leading, etc.</p>
<p>Something I&#8217;ve found really useful is to take the concept of &#8220;reading one bar ahead&#8221; further.  I use speed reading techniques to scan a whole page or section of music beforehand.  Some part of my brain seems to store the info, so when I actually read it &#8220;out loud&#8221;, it flows better.</p>
<p>Learning to read music without a guitar in hand is also a great ability to have&#8230;</p>
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		<title>By: rahina qh</title>
		<link>http://www.classicalguitar.org/2009/10/pre-reading-what-you-need-to-know-before-you-start-working/#comment-1395</link>
		<dc:creator>rahina qh</dc:creator>
		<pubDate>Mon, 05 Oct 2009 06:58:27 +0000</pubDate>
		<guid isPermaLink="false">http://www.classicalguitarblog.net/?p=2256#comment-1395</guid>
		<description>great website for learning how to play effectively. thanks r.</description>
		<content:encoded><![CDATA[<p>great website for learning how to play effectively. thanks r.</p>
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