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Selective reading
Using this technique, you concentrate on selected parts (lead parts, conspicuous passages) in the score. In the excerpt from Beethoven\'s Symphony No. 7 (example 5), it is the semiquaver motif that, originating with the violoncellos and basses and pervading the string parts twice, is particularly well suited. The stationary tones of the winds, consisting only of the note E in various octave positions in bb. 358-363, form the harmonic foundation and play a subordinate role in score-reading. Though they are briefly noticed, it is the strings and especially the conspicuous semiquaver motif pervading the individual parts that are to be followed. With both score-reading techniques which should be chosen according to the nature of the passage in question, it is not important in the beginning to be able to follow at once all tones and harmonies. What matters more is to recognize and comprehend sequences of movement. Everything else comes with experience. |
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