Sightreading Skills: Who Wants Them? Who Needs Them?
Written by Professor Kristy Meretta, oboe
Do you ever feel that "sightreading" for musicians is a little like wading through a minefield of booby traps? The risks of sightreading are many (if the meter doesn't get us, the accidentals will) and the rewards are sometimes few. Does it ever get any easier?
First, let's get some perspective on the whole subject of sightreading. What's the point of learning to sightread, anyway? Try thinking of sightreading as a game of mental anticipation. Good sightreading skills help us to process key information about a piece quickly and efficiently, giving us an overview of the musical tasks that lie ahead. Much like our nightly computer flight on "Weatherwatch 4", this overview enables us to see "the big picture" complete with musical landmarks to guide our journey.
Is sightreading worth the effort? You bet it is! Armed with four simple strategies and only a few minutes of sightreading practice per day, you can learn to think and play your way to greater sightreading success than you've ever had before. That makes learning new music faster ...and more fun. The heart of this "plan" comes originally from Gordon Stout, Professor of Percussion at Ithaca College in New York.
SCAN THE MUSIC! ESTIMATE THE DIFFICULTY! SET THE TEMPO! DON'T STOP!
Scanning the music is important because our first task is to identify the main "structural landmarks". What to look for: sectional changes of meter, tempo, key and mood, first and second endings, and repeat signs. Other structural indicators include "ritard" and " a tempo", "DC al Fine" and "DS al Coda". Knowing the "roadmap" in advance is essential to good sightreading. Think briefly about the meter and exactly which note value(s) = one beat. Silently tap the pulse of the first measure and "the hardest measure". Are the rhythmic subdivisions duple or triple? It's important to subdivide any syncopations, tie-overs and dotted rhythms. What about special fingerings? And, finally, take mental note of the dynamic markings such as crescendos, decrescendos, accents, and sforzandos.....and prepare to exaggerate them!
Estimating the difficulty of the music means realistically appraising how fast you dare to go! Of course you should observe important tempo indicators like "adagio, largo, and lento", "andante and moderato", "allegro, presto, and vivace". But, when sightreading, you may tailor the tempo (within reason) to your ability to get the most important things right. In other words, don't go too fast! Mentally count out a full measure before you start, breathing in the tempo you will play.
Keep going even if you suspect "something" isn't right. It is pointless to worry about missed notes. Simply "hear" the pulse in your head and come in on the next downbeat. Concentration is the key. How many beats in a measure? What key? What tempo? What dynamics? What road signs?
Becoming a better sightreader begins in the practice room with the mental resolve to "size up the situation" and "go for it". Allow yourself the luxury of a mistake or two, but try not to stop. If you stumble badly, a slower tempo might be in order. Go back later to work out the problem spots. Get acquainted with "the basic rhythm" books of Bona or Larry Teal. You might look into Joan Berendt's "Sneaky Sightreading Studies". Other helpful hints: include a musical dictionary and a metronome on your holiday wish list! And then use them!
Make sightreading a part of your daily practice plan! It's as simple as choosing a short solo, duet or band-orchestra excerpt and putting your four-point plan to work. Your band director or private teacher can suggest a collection of pieces that will be fun for you to play. Try the technique on all of your music. In no time at all, you'll be maneuvering the minefield like a professional and wondering what all the fuss was about. Bon voyage!
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