In response to this, I have been involved in putting together a series of sightreading books (Schott), including volumes for violin, viola and cello, which use progressive exercises to develop students’ sightreading skills. Often sightreading seems to get squeezed out of lesson time or left for the candidate to develop without any guidance. Playing at sight can be learnt, but it takes time to develop and requires a clear study method. Many potentially good performances resulted in disappointing exam marks due to a general lack of preparation and experience, which resulted in poor rhythm and irregular pulse, forgotten accidentals and a lack of shape and continuity. Only too often, however, it is put to one side until exams are imminent, leaving students not only unprepared for those tests, but also at a disadvantage when they take part in other musical activities.Īs a past member of the Associated Board examiners’ panel I have been on the receiving end of poor sightreading from every instrument.
Sightreading is an essential life skill for all musicians and is far too important to be considered chiefly as an examination requirement.
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