Play your MIDI keyboard through this device’s audio output. Plug headphones into this device and turn down your piano’s own speakers.
Reading one hand is one task. Reading both is not two tasks at once: it is learning to see the two staves as one picture. The passage below is level 5, the first level where every passage is both hands, with off-beat entries, more accidentals and the first syncopation.
Play it on the keyboard under the staff or on a digital piano over MIDI. Right notes move you on; a wrong one is marked and the reader waits.
Your turn · both hands
Preparing your passage…
The common mistake is reading the right hand's bar, then the left hand's bar, then trying to put them together. Read each beat as a column instead: look at what both staves have on that beat, play it, move right. Your eyes zig-zag down and across rather than running along one staff. Notes that line up vertically sound together; that alignment is the whole map.
In most piano music one hand is busier than the other. Usually the right hand has the melody and the left hand holds notes, repeats a pattern or moves slowly. Spend your reading on the busy hand and let the simple one ride on its shape: once you have seen that the left hand is a repeated broken chord, you do not need to read every note of it again.
The jump to two hands is easier when the second hand barely moves. Level 4 is where the first two-hand passages appear, mixed with one-hand ones; that is the place to build coordination before level 5. Look for passages where the left hand holds notes or repeats a pattern. The hands do not need to be "independent" yet — that idea causes more trouble than it solves.
If one clef is slower than the other, both-hands reading runs at the speed of the slow one. Two-hand note reading drills notes on both staves at once, and if it is the left hand, start with bass clef sight reading.
