Sight-reading is an important skill that you should be developing regularly during your usual violin practice sessions. A good approach is to try at least one new piece of music every day (or every time you practise). If you have lots of time to practise (e.g. 2 or more hours per day), then of course you can do more than that!
Sight-reading practice doesn't have to take long. You can just choose a very short piece of music to read. Try to get into the habit of playing something new 'at sight' as often as you can. If you're a member of ViolinSchool, you can start with our library of sight-reading exercises - if you have time, try a new one every day!
When it comes to developing the skill of sight-reading, consistency and regularity of practice is far more important than length or difficulty. If you practise sight-reading simple pieces a lot, then your sight-reading skills will improve, and you'll find it much easier when you eventually try to sight-read longer and more difficult music.
But if you start trying to sight-read repertoire that's too advanced for you, you will struggle to develop your skills correctly, and you may become demotivated. So be sure that you're not trying to tackle pieces that are too hard.
So you're in your practice room and you've chosen the piece or exercise that you want to use to develop your sight-reading skills.
But what do you do next?
Here's a useful method we've developed that will help you stay focused in your practice:
1) TRY IT!
Glance over the whole piece that you're about to play, and make sure you consider everything on 'The Sight-Reading Checklist', so that you're clear about exactly what you need to do.
Then, try playing it through once - straight through from beginning to end. Don't stop, don't go back, just perform it as best you can.
2) PRACTISE IT!
Now it's time for a second look. Play through the piece again, but do it slowly, carefully, and fastidiously... this time, you can stop and practise any bits that need practising.
3) METRONOME IT!
Play it through again - this time with a metronome! One of THE most important things to consider when you're sight-reading something is the timing - particularly the pulse of the music and the rhythm of the notes.
Don't worry about making mistakes - it's usually much more important for the music to STAY IN TIME than it is to get every note 100% right.
This is especially the case if you are playing with other people; even if the notes aren't totally accurate it's still possible to keep playing together, but if one person gets the timings wrong then the whole piece will fall apart!
4) PERFORM IT!
Imagine you are giving a concert, and try to give the best performance you possibly can - make it confident, convincing, accurate, and musical. Remember, you're now practising performing as well as sight-reading... so whatever you do, don't stop! You can always go back and fix any mistakes afterwards.
Remember this list to help keep your sight-reading practice efficient and effective!
Always remember that sight-reading is a learnable skill, so the more you do it, the better you'll become. Sight-reading is a critical skill for succeeding in a group environment, so you'll also rapidly build up your confidence - which is especially useful if you're playing with other people.
By making time for sight-reading on a regular basis and ensuring that you are always practising in a clear, ordered way, you will also be improving your overall musicianship and performance skills, as well as your violin technique.
All about sight-reading, why it's important, and a checklist to help you get things right first time!
From Sight to Sound ...
'Sight-reading' is the term used to describe the reading and performing of music without any previous preparation; to sight-read is to play, or sing, or 'hear in our heads' (audiation) the notated music we see ... at first sight!
Sight-reading is an incredibly important skill; the better you can sight-read, the quicker you can learn new pieces, the more music you can play! It also means that you can focus more on technique, interpretation and performance practice instead of merely note-learning and rhythm-deciphering!
The aim is to sight-read with such accuracy, musicality and conviction that the listener, real or imaginary, has no idea you are sight-reading! It should sound as if you've been practising it for months! And it's not only the pitches and the rhythms you need to get right. Every aspect of the notation needs to be realised - dynamics, articulations, tempo markings, performance directions, bowings etc. Many aspects of music-making are not notated but rather 'felt' - character, style, emotion, atmosphere, phrasing etc. - these aspects should also be realised as fully and convincingly as possible.
At ViolinSchool, we think sight-reading is such an essential skill that we are releasing a new piece of sight-reading every single day! Ideally, you should aim to sight-read something every time you practise. The more you do it the better you will get!
Skilled sight-readers will always be looking ahead, processing information ahead of time and storing it in their short-term (working) memory. As you develop your sight-reading skills, you'll get better at knowing when to look ahead and by how much. Factors such as tempo, visual and technical complexity, predictability, print size (!), will dictate how much you are able to look ahead. Long notes and rests are your friends!
And, in order to sight-read well, you need to be able to play without looking at your instrument, or at your hands and fingers.
We hope you enjoy developing your sight-reading with ViolinSchool's Sight-Reading Exercises! Try each excerpt a few times, and at least once with a metronome! If the excerpt seems too difficult, then try playing each note, one by one, at a slow tempo, without worrying about the rhythm, dynamics, articulation, bowing etc. If it seems fairly easy, then imagine you are in a concert, and perform it first time, as perfectly, musically, and confidently as you can.
Happy sight-reading! 🙂
Sight Reading for Violin
“The ability to sight-read fluently is a most important part of your training as a violinist, whether you intend to play professionally or simply for enjoyment. Yet the study of sight-reading is often badly neglected by young players and is frequently regarded as no more than an unpleasant sideline. If you become a good sight-reader you will be able to learn pieces more quickly and play in ensembles and orchestras with confidence and assurance.” Paul Harris, author of the Improve your sight-reading series.
Sight-reading is a really important skill. We sight-read new pieces in orchestra and duet rehearsals, we get sight-reading tests in exams and auditions; if you can’t sight-read, learning a new piece, or even choosing which piece to learn, is an arduous task. An ability to sight-read well opens up opportunities to enjoy ensemble playing and take charge of your own learning. Good sight-readers are more versatile performers because they are able to assimilate new music and diverse styles very quickly, and to perform with minimal rehearsal time. Learning to sight-read well should be at the top of every violinist’s list of priorities.
The main problem with sight-reading is that we start to see it as separate from our other musical skills and even our basic musicianship. Faced with a piece of sight-reading, we shut down our brain to all of the things we have learned and enjoy about the instrument, and panic.
Fundamentally, sight-reading is the skill of reading music, and how that reading transfers into movement and sound. Sight-reading is a skill, and it is true that the more you do it, the more fluent you will become, but there is no point spending hours trying to improve unless you understand the elements of the skill. It is essentially a mental activity, the message travelling from eyes to brain to fingers, and it is important not to try too hard or you’ll get in your own way! Really successful sight-reading is relaxed, calm and musical.
It is important to practice sight-reading regularly as part of your practice. Once you have grasped the basic concepts, the skill needs constant reinforcement to instil good habits. If you can’t bear to practice on your own every day, arrange to meet friends for ensemble playing and read through new pieces with them.
Only accessible material enables you to acquire the habits that will lead to fluency. Don’t choose to sight-read complex material, start with really basic music and build up to more complicated pieces gradually. Get as many sight-reading books as you can so you don’t run out of material. Paul Harris’s graded series, Improve Your Sight-reading is excellent, because it starts by breaking down the basic components of pulse, rhythm and melody, and the exam boards have books of specimen tests available. You could even use the pieces or sections of pieces you don’t know in any book you are working from. As a rough guide, it’s an idea to start learning to sight-read using music which is much easier than your current repertoire.
Practice sight-reading slowly; learn the positions of the notes on the stave and how they relate to your left hand finger patterns. Scales are great for learning finger placement. Make sure you know some basic theory concepts such as key and time signatures. Don’t be fazed if you come across something you’ve not seen before. That happens to everyone. Just find out what it is.
The first thing to do when faced with a piece of music you haven’t seen before, because that’s all sight-reading is, is to prepare the piece.
As you become more experienced, this process will speed up and you will be able to gauge most of the information you need by visually scanning the music before you start.
Successful sight-reading is largely a matter of good quality concentration. Your mindset and focus as you look at the page is the most important factor. Notice your eyes. Visual steadiness is crucial. Relax your eyes and don’t let them fidget and flit about, losing connection with what you are doing. Instead of going through the motions of reading, really focus. True concentration is difficult to maintain for long, but you don’t have to work hard, merely practice awareness. The second you notice your concentration has gone, you have already refocused yourself.
Problems generally arise when we are not ready for the notes as they arrive. Your eyes are looking at a note and you are also playing that note, and sometimes it’s happening so fast that your brain can’t process the information. Then you start to feel that blind panic which makes you hate sight-reading. The trick is to continually read ahead. Keep your eyes moving a few beats in front of where you are playing. Sight-reading in this respect is actually the process of visually memorising short snippets of music you are about to play whilst playing something else. This allows the fingers to be ready for the notes as they arrive, and suddenly you are playing fluently.
Reading ahead enables you to look at the music in bigger chunks. Instead of looking at each note as a separate event, you start to see how its rhythm fits into the beat, and melodically where scale and arpeggio patterns appear and how other intervals fit in.
Don’t react to mistakes. As soon as you give too much attention to a mistake, your concentration is no longer on what you are doing, and the chances are you are just about to make another mistake, and another. Decide to play all the way through without stopping. Keep going at a steady tempo and don’t worry about a dropped note. Imagine how quickly an orchestra would fall apart if every player who made a mistake hesitated or went back to correct it. Soon nobody would be in the same place at all. Prioritise. If on your first try you are able to keep the pulse but play all of the wrong notes, that’s a good start.
So as you prepare to play the piece remember:
Sight-reading is simply the process of playing a piece of music you haven’t seen before. Don’t separate it from your other musical skills in your mind; approach it with enthusiasm, curiosity and confidence. And now you have the tools to learn how to sight-read, never dismiss sight-reading practice as dull and unnecessary. It is one of the most fundamental skills a violinist needs.