Bullet proof your music sight reading skills!
Sight reading is what you do as you play or sing a piece for the first time.
Music sight reading is also called prim a’ vista (at first sight). You can improve your sight reading skills with simple exercises.
Done every day they can take you from “stumbling” through a score to fluently reading music as you play.
A caveat though: sight reading practice is not useful for absolute beginners - yet.
Practicing prim a’ vista or sight reading requires that you already know at least the basics of how to read notes.
A complete beginner will not need music sight reading technique just yet, since s/he will be busy learning about the notes and how to find them on the instrument.
After you know the basics of how to read notes and how to play your instrument and would like to be able to play a piece straight from the score, then the time has come to take your music reading skills a step further.
This is where the extra music sight reading practice comes in handy!
An important key to sight reading lies in the mental preparation before playing or singing.
By using a set of steps to prepare the piece in your head, you will be able to read the notes as you play or sing with much more ease.
The steps you take can vary, but I will give you some ideas on what to do here.
Once you have learned the preparation technique, you can learn to do this very quickly in your head, until you can do it automatically each time before you play.
Your goal is to prep each music sight reading piece in less than 2 min. Preferably 30 seconds!
Start your music sight reading practice with the simplest, easiest and shortest musical examples you can find. A couple of measures will do.
The following 10 steps are to be done in your head. You can hum, conduct, wave you arms or whatever you like but not play anything yet.
I ask my students to tell me (“the story”) about everything they see in the score starting at the beginning of the staff:
Check the . In what range are you playing this piece? Is it high or low? Pianists also need to scan the score for what hand to use, if the hands are played together or separately.
Observe the key signature, or the sharps or flats at the beginning of the staff. Look at the last note to find out if the piece is in major or minor.
You also need to see what notes are being altered in this tonality with sharps or flats. Scan the score quickly to see where notes that are being raised or lowered with the key signature are hiding.
Also check for any other accidentals (sharps, flats or naturals) that will be written where they are used.
Observe the time signature and what meter it indicates. Try to feel the meter, for example if it is in 3, count 1-2-3 a few times with the emphasis on 1.
Are there any complicated rhythm patterns? If you know rhythm syllables, it is easy to quickly say the rhythms that seem tricky, otherwise count the rhythm pattern. Not all the piece, just where the rhythm seems more complex than the rest.
See how the melody moves. Do the notes move with steps, skips and/ or repeats? If it moves with skips, how big? What intervals do you see?
How many phrases can you see? Imagine singing/playing each phrase, and the breathing you need to do between each.
For singers and anyone playing a wind instrument this will also give you an idea on how fast you need to play. Since you have to breathe, a phrase can’t go on forever!
For pianists; plan where to lift your hand from the keys and where not to. For string players; plan the up or down bow in general.
Is the piece played staccato or legato? Are there any places where you need to use any other articulation like portato, or detached notes?
Again, in your head get a “feel” for how that feels to play or sing.
Is the piece loud or soft? Are there any crescendos or diminuendos? Think and feel how this would sound in your mind.
Even if the speed of a piece you play prim a’ vista should always be very much slower than the proper tempo, the tempo marking also gives you an idea about the overall character of a piece.
For example a piece marked Allegretto (a bit fast) gives you a completely different picture than Grave (very slow and serious).
If the piece has a title it might give you an idea in what way or style to play the piece, there might also be an explanation somewhere in the beginning of the score, like Giocoso (jokeful) for example.