Here here! I was hesitating about saying exactly the same thing, only you
put it better than I could.
Philip Gruar wrote:
I think Peter makes just the point here that I was going to make, when
Anthony (I think) first started the debate. Also, Dick made very good
The "flatness" and mechanical playing problems which many people perceive
with "playing from dots" is only inevitable for people who struggle with
the reading, and those who think that the dots represent *exactly* how
music should be played. Only a computer plays music exactly as written -
good musicians will always lengthen/shorten certain notes, pull the rhythm
around subtly and put life & expression into the music as they read it.
I'm sure everybody with a so-called "classical" music training here (and
jazz or whatever) - i.e. anyone for whom the purely mechanical act of
reading written music is completely second nature, does the reading
without consciously thinking about doing it. Playing the music
sensitively, with the right style or expression or whatever, is what you
do with it "on top of" the reading so to speak - well or less well
depending on your musicianship and understanding of the music.
People who do jazz or early music maybe depart from the written notes more
than "main-stream" classical players do - but all competent musicians
would surely reject idea that reading inevitably leads to "flatness".
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