Many young players dislike sight-reading, some are scared of it, and others even hate it. But you might want to think of sight-reading similarly to knowing how to read written words. People who can't read music can still speak and communicate with other human beings. They may listen to others and mimick the sounds they hear, but they may limit themselves.
Think about this; you may be fluent in Chinese because you can say the words and get around a city in China by just speaking in the local language, but what happens if you get lost and can't read the street signs?
There are clear, tangible benefits to being able to read written words as well as music notation. A fine-tuned understanding of musical notation, theory, and structure is essential to being a capable sight reader and well-rounded musician. Musicians who can sight-read can play any music score regardless of familiarity with the piece. Strong sight-readers gain an edge in auditions and other professional settings.
Good sight-readers can accompany somebody or make music in a group very quickly. They are very good at recognizing and naming notes, can probably learn new repertoire quickly, are good at looking ahead while playing, and can become familiar with a lot more repertoire without necessarily needing to study it in-depth. Improving sight-reading fluency also enhances the ability to quickly interpret rhythmic patterns combined with interval training and pitch matching.
Bottom line? Sight-readers are well-rounded musicians. They also work more than those who cant.
Strong sight-reading musicians will find learning new music less stressful. This can ultimately create more enjoyment and connection with their instrument and encourage long-term playing.
Here are some tips to improve your sight reading skills:
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