Do you wish to know how to sight read and know what it is and how to get started?
Yes, it is straightforward to know how to sight, read, and sing. I am talking from personal experience as a church Organist and a Music Teacher.
I have trained so many people on sight reading and singing, and they are all proficient in doing that now.
Let me show you how this can be achieved and realized, and you will testify that it is pretty straightforward.
Here let’s dive into it below:
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One of the most challenging things for music students in conservatories and schools is, without a doubt, sight reading.
Sight reading is a fundamental part of the training of every performer since a high percentage of our progress and the time we have to dedicate to the instrument will depend directly on this ability.
However, in many cases, it is not taught and hardly practiced. And hence it is something feared by the students.
Sight reading is a complex process that involves different factors that we must master. In this article, we will try to provide you with the necessary knowledge so that you can learn by yourself.
Written music is a language that has developed throughout several millennia, although the music we can read today dates back 300 years.
Musical notation consists of the representation of sound using symbols, which range from basic notations for pitch, duration, and time signature to more complex descriptions referring to expression, timbre, and even special effects.
One of the first things you’ll encounter when reading music is the key.
Resembling a prominent, fancy italic symbol at the far left of the staff, this sign tells you the approximate register in which you should play your instrument.
Any instrument or voice in the highest registers is governed by the treble clef. In the examples we offer in this introduction to reading musical scores, we will focus on this clef.
The treble clef consists of a stylized Latin letter G (the letter G corresponds to sol in several countries).
An excellent way to remember this is that the line in the center of the clef spiral represents the note G.
When we place notes on a treble clef staff, the notes take on the following values:
Is Sight Reading The Same As Sudden Reading?
Sight reading is the performance (vocal or instrumental) of musical passages or works that have never been studied before, performed with acceptable quality and appropriate expression and style.
On the other hand, the repentización consists of the execution of a musical piece or fragment without previous preparation. Even the RAE defines sudden “play at the first reading pieces of music .”
Therefore, it can be said that it is the same. Hence, a fundamental block is a sight-reading in the famous subject called suddenness, taught in most conservatories.
We say fundamental block and not unique block because there are centers in which said subject is linked to transport (suddenness and transposition or transport and sight reading).
In other cases, it is seen in accompaniment or complementary piano.
Origin Of Sight Reading.
The suddenness, or reading at first sight, is not something that came out of nowhere in the 21st century.
Almost as long as Western classical music has existed, sight reading has been critical (to a greater or lesser extent) in the training of musicians.
Professionally speaking, one of the stages in which it has had the most important is the Baroque.
At this stage in music, sight-reading was as important or even more important than improvisation. Instead, he currently has it but focuses more on specific tasks, such as accompanying the pianist.
Since 1980 is when interest in sight reading has grown the most. It is even a subject that has been investigated psychologically, pedagogically, and neuroscientifically.
Why it has been studied has a simple answer.
Sight reading is a complex skill with more than 20 sub-skills working simultaneously.
In addition, according to studies carried out and cited by Edith Ruiz (professor at the Faculty of Music of the UNAM – Mexico City), sight reading is one of the first five aspects an instrument teacher considers his students should master.
Paradoxically, relatively minor is taught. In piano classes, it is hardly practiced due to the limited time to assemble the repertoire. It is not even part of the curriculum in many conservatories or music schools.
Process Of Sight Reading
As we have said before, sight reading is a process in which several skills and sub-skills are put into operation simultaneously. This process can be broadly summarized in 3 steps.
- Receive The Information.
- Process The Information.
- Produce The Information We Have Processed.
Receive The Information
The first and most logical thing is to think about what we need to receive the information: Eyes (or fingers in the case of using Braille-type systems).
We will receive the information (what we should touch) through our eyes.
Several points must be considered for receiving information to be agile and productive for our task.
– The first of them is known as saccadic movements, which involves swift movements of the eyes, in this case, score-hand.
The intensity with which you look at the score directly influences them and the fluency of the final result.
– The second point is the direction of eye movement.
According to recent studies, experts use vertical and horizontal zigzag movements, while beginners follow linear and regressive movements, making the final result much worse.
– Finally, the third point, almost the most important, is where you look.
Skilled readers don’t just look at what they’re playing at that precise moment but rather look a little ahead of what they’re playing.
This temporary separation between what I touch and see is known as the hand-eye lapse.
There is no agreement on the optimal separation, but most agree that the most optimal is to read between half a bar or a bar ahead of what we are playing.
Some experts dare to indicate that there are seven detailed notes. Still, this theory is not entirely accepted since the piece’s difficulty is a factor that significantly impacts this process.
Process The Information
The next point is to process information, and here we focus on mental structures.
What’s more, we will need to put all our attention into working memory, which allows the musician to play something while he continues receiving information from the score.
But we need to group information to work with this type of memory.
This is not something that we do only at the piano but that we do daily. For example, we group the numbers by 3 in 3 to memorize a telephone or bank number
. However, when reading sheet music for the first time, we do not group the notes three by three, but we create patterns that can be rhythmic, melodic, or harmonic.
In this way, we can see small ensembles as a single unit and save time when processing the information we receive from the score.
Also, the more musical knowledge we have, the more patterns and automation we can do (scales, arpeggios, sequences…).
Closely related to this idea of ​​creating patterns or identifying sequences or figurations is applied analysis
. It consists of quickly recognizing stylistic, formal, harmonic issues, etc., and putting them at the service of sight reading.
As with the creation of patterns, the more knowledge and musical culture we have, the more we can progress.
Play The Information
The last point is to reproduce the information we have processed, and our motor skills come into play.
The difference between sight-reading a text or a score is straightforward; in the latter, we must instantly convert what we read into a movement.
Hence, we depend on motor skills.
Here the speed and precision of the movements come into play, but also other aspects (perhaps less obvious), such as the ability to maintain a stable pulse from the beginning to the end of the work.
And this is a proven fact, beginning readers stop, speed up, slow down… And this is precisely what should be avoided.
Also, according to most studies, the more stable the pulse, the better the sight reading.
Knowing how to position yourself on the piano without constantly looking at the keys and hands is essential for sight reading.
Also, knowing how to use the most appropriate fingerings for each occasion.
Another factor not precisely linked to motor skills but also plays a role is a problem- solving ability.
The more we know each other and the more tools and speed we have to solve any problem that may arise, the better we will do with sight reading.
The same happens with other skills, such as having an excellent internal ear, since the greater our ability to know how the work sounds without listening to it, the better its suddenness will turn out, as well as we will know how to solve some mistakes by letting ourselves be guided by our ear. and “predict” some tonal and harmonic movements.
Techniques And Strategies Of Sight Reading
As we said, sight reading is something that is often not taught or is done implicitly.
It is often accepted that studying the piano patiently and regularly will gradually increase your sight-reading ability.
This is partly true, but the results are much worse than when sight reading is explicitly studied and practiced. Some of the most used methods are:
If there is something that all the methods agree on, it is the importance of looking at the sheet music and not at the hands, imagining how the piece sounds/singing before trying to play it, looking for and creating patterns, reviewing fingering, tonality, and speed before starting to play and maintain some relaxation.
There are also different mobile phone and tablet applications designed to progress with sight reading.
Reduce Scores.
Sometimes, especially at more advanced levels, the sight reading exercise can be for an orchestral score or for various instruments/voices that we have to reduce. In fact, in the course of the suddenness of the professional music degree, it is widespread to sight read chorales by JS Bach in four voices, each in a different key.
However, the strategies or methods are the same that we exposed before.
The most important thing would be to do a good reading, emphasizing the harmonic part and guiding us from the stylistic knowledge (intuition).
The latter is because knowing the style or the composer will make it easier to know what material we should play or what can be ignored since when reducing, it is essential to know how to discriminate the material.
{F.A.Q]
How do I start sight-reading?
Sight-reading is reading and performing music on the spot without prior practice or preparation. Here are a few steps you can take to start improving your sight-reading skills:
Start with simple music: Begin by sight-reading simple pieces of music, such as nursery rhymes or folk songs. Gradually work your way up to more complex pieces as you improve.
Practice regularly: Set aside daily practice time to work on your sight-reading skills. Even a few minutes of practice each day can make a big difference.
Use a metronome: A metronome is a device that produces a steady pulse to help you keep time while sight-reading. Use a metronome to practice keeping a steady tempo while sight-reading.
Study music theory: Understanding basic music theory concepts, such as note values, time signatures, and key signatures, will make it easier for you to read and understand the music you’re sight-reading.
Take a class or lesson: Consider taking a class or lesson focused on sight-reading. A teacher can give you personalized feedback and help you identify improvement areas.
What are the 4 steps for sight-reading?
Sight-reading is a skill that involves quickly interpreting and performing music on the spot without prior practice or preparation.
Here are four steps you can follow to improve your sight-reading skills:
Preview the music: Before you begin playing, take a moment to preview the music. Look at the key signature, time signature, and overall structure of the piece.
This will give you a sense of what to expect and help you anticipate any challenges.
Break the music into small chunks: Rather than trying to read and play the entire piece simultaneously, break it up into small, manageable chunks. Focus on one measure or phrase at a time.
Play with a steady rhythm: Use a metronome to help you keep a steady tempo while sight-reading. It’s essential to keep the rhythm steady, even if you make mistakes or get lost in the music.
Practice regularly: Regular practice is critical to improving your sight-reading skills. Set aside time each day to work on sight-reading, even if it’s just a few minutes. The more you practice, the easier it will become.
Can you teach yourself sight-reading?
Yes, it is possible to teach oneself to sight-read.
Sight-reading is the ability to read and perform a piece of music that one has never seen before. It is a skill that can be developed through practice and repetition. Some tips for improving sight-reading skills include:
- -Practicing regularly
- -Reading and playing through a variety of sheet music
- -Working on identifying intervals, chords, and key signatures
- -Using exercises or methods designed explicitly for sight-reading
- -Challenging yourself by attempting to sight-read more difficult music as you improve.
How long does it take to get good at sight-reading?
The amount of time it takes to get good at sight-reading can vary depending on the individual’s prior musical experience, the amount of practice they can put in, and their learning style.
For someone with some musical experience, it can take several months of regular practice to develop a solid foundation in sight-reading.
However, it is an ongoing process, and one can continually improve.
It may take longer to develop sight-reading skills for someone with little to no prior musical experience. It’s essential to set realistic goals and be patient with oneself.
Consistency is key. With regular practice, one can see improvement over time.
It’s important to note that sight-reading is a skill that requires continuous practice to maintain and improve, so even once someone has become proficient at sight-reading, they will need to continue to practice to maintain their skill level.
Conclusion
Now you know the problems you can find when practicing sight reading and their solutions. Now you only need the two P’s: Practice and Patience.
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