Is this the most wonderful time of the year?
Directors turn the calendar to January, new repertoire is shared, and a slew of dates for performances appear on the schedule for band programs everywhere. As February and March approach, many band programs move towards local and state assessment/adjudication/contest opportunities. While the prepared repertoire presents challenges from rehearsal to rehearsal over a number of weeks, one component found in many local and state events is sight-reading. What is one method to improve an ensemble’s ability to sight-reading? The answer is in the question. To improve sight-reading, bands have to sight-read.
The first aspect to emphasize that similar to daily focus on developing tone, technique, time, tuning, and touch (expression) is that sight-reading music should be part of an ensemble’s regular process. Incorporating sight-reading practice into the daily routine by using short pieces and method books help familiarize students with the process and reduces stress during sight-reading assessments. One method that many directors use is short excerpts that are customizable through Sight-Reading Factory (e.g., consider doing a “rhythm of the day” for a couple of weeks before branching out to a 4 measure excerpt). Another strategy directors use is to pull a series of pieces from their band library that are a half to whole grade level below their current repertoire for the ensemble to read during the rehearsal. An important over-arching caveat is that the materials used for sight-reading should vary: include short excerpts, unison etudes, easy full band pieces, pieces at the ensemble’s current level, and technically challenging pieces as it helps students adapt to different musical contexts and challenges.
Some directors elect to sight-read daily, while others may only have time to devote one rehearsal segment a week. Regardless of the time available or devoted, the important part for ensembles is the exposure to the process of sight-reading. Regular practice, exposure to various musical styles, and familiarity with common musical patterns and structures enhance sight-reading proficiency. With advance planning and preparation, effective sight-reading sessions can be held in 10-15 minutes of rehearsal time.
If the ensemble does not have much experience with sight-reading, begin with easier and shorter excerpts and pieces. Directors are asking students to apply the skills they have in a situation that matters – the students may be tentative during the first few attempts. Many directors employ an acronym known as STARS (Sharps & flats in the key, Time signature, Accidentals, Rhythms, and Signs and Symbols). This acronym helps guide students through the initial analysis of a piece and breaks it down into logical, manageable steps to consider. The conversation can be extended to analyze the roadmap (form) of the piece, examining repeated tonal and rhythmic patterns, and identifying new or unfamiliar details. Remind students that music is a series of patterns and at points those patterns either repeat or become altered.
Depending upon the rules for sight-reading at the event, directors may talk through the work with their ensemble. Directors play a crucial role in guiding students through the process. Using sight-reading on a regular basis helps directors practice delivery of clear instructions, explain complex patterns, and facilitate discussions and questions that may arise from the students about the music. Directors should remind students to look for connections to the fundamental techniques that are emphasized in lessons and rehearsals. Ultimately, sight-reading asks students to apply their fundamental skills in a unique situation. Ensembles should incorporate this process into daily rehearsals as often as sight-reading is part of the instructional process. As directors speak through certain tonal or rhythmic patterns it helps the students build an aural association to the music. Encouraging them to finger along while singing or speaking enhances their tactile connection and builds their executive skills.
Sight-reading requires strong memory (both mental and physical) and concentration to process the music while performing. The director and students will make decisions on interpretation (including dynamics, phrasing, tempos, and articulations) in addition to playing correct notes and decoding rhythms. Ensembles that sight-read on a regular basis will adapt quickly to the music’s complexity, tempo changes, key changes, and other variations with greater ease – it will not always be easy! Despite the director’s and ensemble’s best intentions, mistakes will likely happen. Take time to embrace those errors and problems in rehearsal as an opportunity to provide constructive feedback or identify areas that can be improved for the next time or sight-reading at the assessment event.
Sight-reading is a valuable skill for musicians to grow comfortable with, as it enables them to quickly learn and perform music in diverse settings. Students who pursue a performance oriented path in music will use this skill frequently in their professional career. For directors, it provides formative feedback on both teaching and learning within their band program in a concise snapshot. The entirety of the sight-reading process provides a fairly consistent dose of variety to the rehearsal structure for many bands. Even after assessment, adjudication, and contest have passed, directors and ensembles can still find a great deal of satisfaction, discovery, and enjoyment from the process of sight-reading. My best to all directors who are working through the process of sight-reading in helping their ensemble improve!
