learning to read

It is interesting for me to try this speed reading thing and see if I can see an improvement. It's been only a few days, and already went from 400wpm to about 1600 wpm. The trouble is that I think my comprehension is near zero when reading that fast.

As I sit and think about my pseudo progress, I was reminded of my music days. Especially those times when my chamber group sat down, read the piece without any technical problems the first time through. (Dvorak, Mendelsohn, Brahms, the more virtuoso type pieces). The rest of the research was focused on fine tuning the details like how fast to vibrate, or adjust bowing for certain phrases, sight ques to each other and musical phrasings.

While sight reading music, I was able to play a whole piece, sometimes a full 2 hour score, without much of a problem. Perhaps a few passages that needed brushing up to be performed without any problems. But if there are any similarities between reading books and reading music, the way I'm currently doing it has many differences. If my goal is to read faster, and parallel it with sight reading music, then there are some major problems with my reading...

Noting from the Flow book, music is one of those things that are made for flow experiences. It provides a goal, instant feedback and opportunities for more complex actions. Specifically in music, my goal was always to deliver what the composer had i mind. Try doing that with some music written by some german guy dead for centuries.

In reading books, I have no goal. Well, I do which is to get something out of the book. This is a loose or a non-deterministic kinda goal. Which is in sharp contrast to my music goal.

#1 have a specific goal before reading a book. What specifically do I want to accomplish after reading the book?

Another thing I did with music is that I flipped through it. Anything that was darker than the rest of the piece meant fast notes. So I spend some time about it, humming it or whatever, then moved on. This sort of prereading gets me at a techcically functional level so I can play through or keep up with the group. With book, I just goto page 1 and starting reading from there...

#2 preread the book and get the general idea

When reading music, you start to see patterns and such. Maybe 8 bars are repeated 4 times, but a third lower or something. I dono't have to decompile and decode all the note individually, that would be insane. Except it's something learned and I can just breeze through them. From computer backup strategies, it's the difference between full backups all the time, or differential backup. I check to see what has changed and play that way, instead of reading every note as if the first time. For books, It's about creating a microuniverse in side the mind and changing it in tandem with the literature dynamic.

#3 follow the ideas, not the letters

When playing music, I generally block everything about and immerse myself in it. It helps to be physically active and hearing the feedback instantly, but in general I would remove my ego and join the flow state or higher consciousness. I've rarely had this experience with books. Distractions are a problem so those must be removed or dealth with in some way. How can you mold your microuniverse when someone is asking you for something? The microuniverse must be made in the realm where the ego is removed or not noticable. Distractions call upon your ego instantly thus making is harder to create that micro universe

#4 Defensively and offensively focus all attention to the micro universe

Just about when all the little music technicalities are over with, it's time to focus on the higher end stuff. Must to the musical phrasings and dynamics of the piece. Every single note must have a purpose. This meaning that every note was put there for a reason and not just a spacial filler. We then take the music apart and try to figure out where each note was going or coming from. We ask questions about the piece to gain a better understanding of how it should be conveyed to the audience. I guess it's kinda like asking questions and figuring out how the music is supposed to flow or to predict certain things about the music

#5 ask questions

After the workshop rehersal was complete, we played it through at least once with the idea that whatever happens it will be fine. This is basically what becomes the performance. but with books, hmm..

#6 re-read the book as a dress rehersal

Then it's suiting up and giving the performance. Hopefully it's more roses and panties thrown on stage than rotten tomatoes. The main idea is to share the music.

#7 discuss with people! share the ideas

to recapitulate:

#1 have a specific goal before reading a book. What specifically do I want to accomplish after reading the book?

#2 preread the book and get the general idea

#3 follow the ideas, not the letters

#4 Defensively and offensively focus all attention to the micro universe

#5 ask questions

#6 re-read the book as a dress rehersal

#7 discuss with people! share the ideas

This is how to read the book. At elast how it is for me. Will it increase speed? only through practice can I whiz by parts of the book that I already know or is predictable.

Well, this is a good mental exercise. Should be interesting. It parallels with lots of how to read stuff including Adler's "how to read a book" written 50(?) years ago

#1 structural

#2 interpretive

#3 syntopical 

BTW: technically, pachebel canon is really boring for cellists because it's the same 8 notes repeated about 26-29 + 1 times. I have this piece down pat no problem. haha