Sight Reading

by Thomas A. Johnson

Good sight-reading depends largely on mental alertness and good memory. It is one of the most important branches of musical training should be practised diligently with the utmost care and regularity. The ability to play well at sight is an asset of the greatest advantage to all musicians.

First study and analyse the work to be played, noting the key, time and shape of the tune, intervals, harmonies, expression and dynamics, fingering (a very important detail, usually left to mere chance), comparison of phrases, staccatos and any other points within the piece. Of great value is the actual 'playing' of the piece (or portions of it ) on the lid of the piano or on a table. This enables one to ‘get the feel’ of any particular (from a technical point of view) before the actual notes are played on the keyboard. When eventually the, passage is transferred to the keyboard the reward is a more satisfying performance. The pupil should also tap the rhythm on the piano lid, table or better still on the knees, left hand on left knee, right hand on right knee. It is also of great benefit to go through the actual motions of 'playing' the piece silently upon the keyboard itself without depressing the keys. This could be called 'shadow' playing.

Note any changes of key, and try to hear, mentally, what you are about to play. Be careful concerning tied notes, also accidentals (often completely ignored), and be quite sure about the position of sharps and flats which appear in the key signature.

After this, play through the entire piece without stopping. Any mistakes should be noted mentally. At the conclusion of the piece (and not before), look back in order to see where the mistake occurred and why,. The cause may have been only a simple one, perhaps a wrong finger was used, or it may have been a certain slowness in locating the position of a note or notes on the keyboard. When once the reason for the error has been discovered, something can be done to rectify it, and in addition make doubly sure that this error can never occur again.


So many sight-readers correct their mistakes as they proceed, a fault which must be discouraged from the start, as this habit can grow very quickly and the final result will be constant stammering and uneven playing.

Some golden rules, therefore: Never look back. Keep moving forward. Use your eyes, ears, hands and head always. Leave nothing to chance. If only perseverance and patience were expended on pre-study analysis before playing, the ability to read at sight would improve a great deal. Initially it is wise to play a little slower than directed, as careful and thoughtful playing (and preparation) in the first place leads to a more correct interpretation and thus a greater enjoyment of the music. Careless preparation can only create confusion and uncertainty, and the causes, if not corrected immediately, can mean a lot of unnecessary waste of precious time.

I would urge teachers to foster the quick and alert reading of small phrases or figures, followed by the immediate transference of these, from memory to the keyboard, as if taking a snapshot. Constant practice will greatly develop the ability to capture short sections at a glance and in advance of the passage being played. If this is done, progress in sight-reading is bound to follow, and will be especially noticeable in pupils whose lack of alertness in this direction has been of long standing.

Another very useful procedure is for the teacher to cover each bar of music after it has been read by the pupil. This prevents the pupil from looking back (a very common fault) and gives the necessary urge to read forward, so that while the covered bar is actually being played, the pupil is reading the following bar in readiness for playing. That bar is then covered by the teacher, and so on.

Transposition is a great help to pupils lacking any degree of key-sense. A few transposition exercises should be included in the practice day together with a certain amount of sight-reading. Duet playing is also to be highly recommended.