My fellow musicians, you don’t have to be afraid of sight-reading. That piece of paper in front of you containing large handfuls of new notes and other little markings is not as complex as it seems. They’re the same notes you know and love, just in a different order with slightly different instructions.
Most musicians internally groan when a new piece is put in front of them, and there are two basic reason for this: they think they’re not very good at it, and will make it sound horrible; or they believe the “first read” doesn’t matter, anyway – it’s the rehearsals and performances that count. Well, sight-reading is just like anything else: the more you do it, the better you will become.
Multi-Tasking
True, all those printed notations and symbols demand your attention, telling you how to play the piece. However, if you study them one-by-one, even just for a few seconds, your sight-reading will improve immensely. Here are some details to look at:
- Time Signature: Does the quarter note get the beat? The eighth note? The half note? Are there time changes?
- Key Signature: Are there any flats or sharps? How many? Are there key changes? Are there any accidentals?
- Roadmap: Does the piece go straight from top to bottom? Are there any repeats? How many? Is there a Dal Segno or a Da Capo? How about a Fine or a Coda?
- Tempo: How fast/slow is the piece? Does it get faster/slower? Are the changes sudden or gradual? Is there a rubato section?
- Style: Are any notes legato or staccato? Are there accents? Where are the loud and soft sections? Is it a march? A show tune? A swing tune? What country is it from?
Sub-Divide and Conquer
Once you have an idea of the composer’s and/or arranger’s intentions, look at the individual notes. This is where you get to rely on the math that we musicians know inside and out. Check for sections with lots of ink – these will most likely be tough spots.
If there is a particular section that shows syncopation or other off-beats, pull those notes apart and sub-divide. Is the common denominator the eighth note? The sixteenth? Look at any tied notes and, in your head, count and play them without the tie. Is it just a run going up the scale? Where does the beat fall within the measure?
Don’t be afraid to mark your music in a way that will help you count it correctly. Use numbers, arrows, anything you want – but if you need to mark it, mark it. That’s what pencils are for.
No Fear
In a nutshell, sight-reading does not have to cause panic. Most directors are good enough that they’ll take the piece slowly the first time or two, so you can get through it with no major injuries. Also, remember to look ahead as you read. (i.e. If you’re playing a series of easy whole notes or half notes, skip ahead a measure or two to see what’s coming up, then you’ll be ready when you get there.)
The better you get at sight-reading, the more fun you’ll have, and the better every piece will sound from the very first rehearsal.