by Mike Fraley
The prospect of sightreading can be a frightening and unpleasant
experience for many musicians. The following article will outline
approach to sightreading that I have developed through the years.
The first thing to do when approaching a sightreading situation
is to analyze the circumstances. Is it for an audition, gig, show,
seating placement in an ensemble, marching band, classical orchestra,
drum corps, etc.? Try to gather as much information as possible
that you will be as relaxed and as comfortable as possible. Many
students fail at sightreading because they are overwhelmed and
do not know
what to look for in the music. I use the acronym STARS, which identifies
the key elements to focus on. Be smart and efficient about the
time you have and quickly scan through the music using the steps
S - Key Signature, Style, Stickings
It is important to know the key signature and to know when the
piece modulates so you can support the music accordingly. Style
for the proper feel and groove in any piece. What is the style
(Rock, Jazz, Latin, etc.)? Stickings are very important. If you
out a workable sticking to a tricky section, it can be the difference
between success and failure. Many times a difficult passage can
made easier just by selecting the appropriate sticking pattern.
T -Time Signature and Tempo
Check for any odd meters and changes. It's important to figure
out any tricky meter changes and which beat pulse remains constant.
importance of tempo cannot be overstated. Maintaining the proper
speed and "locking in" is necessary even when you may be nervous or easily
excited because you are "on the spot." Anticipate these problems
and tendencies so that you can compensate accordingly. In addition,
accelerandos or ritardandos must be observed and performed musically.
A - Accidentals and Attitude
If you are playing a keyboard instrument, keep an eye on all accidentals,
especially approaching and during key changes. The other A for
cannot be emphasized enough. Nobody wants to work with a musician
who is not pleasant and professional. I tell my students that "it's
your aptitude and attitude that will determine your altitude in
R - Rhythm and Repeats
It is important to quickly isolate any potential rhythmic problem
spots and try to figure them out ASAP. Repeats are probably the
thing to make a silly mistake on. Make sure you mentally mark them
and know the form with D.C. or D.S. al fine, Codas, endings, etc.
S - Signs, Solo(s)
Identify all musical signs and directions. Make sure you know your
musical terms, especially dynamics. Many percussionists often play
at one dynamic level, FFF! Contrast is the key to good music. Additionally,
check for phrase marks and solo sections.
As percussionists, often we will not play on our own instruments.
This presents special problems and frustrations, especially when
Call ahead to try to find the exact equipment that will be provided.
Make sure to ask if you need any special equipment or odd sized
If possible, find out what the logistics are of bringing your own
equipment. Inquire about the possibility of arriving early to get
some practice time in on the instruments to be used. Double check
to make sure everything works, gauges are set properly, etc.
Always scan ahead, just like when riding a bike or driving a car.
Make use of any rests to look ahead and keep ahead of the music.
In closing, realize that sightreading is a skill that takes practice.
Good sightreaders have made an effort to improve this skill. I'm
that everybody can improve their success at sight-reading by incorporating
it into their daily practice routine and using the above outlined