As a teacher of the ABRSM syllabus for over 10 years,
most learners always said the sight reading was the hardest part of the exam. In
my experience learners delay the more challenging aspects of the exam and
consequently many of them do not practice regularly and leave it until just
before the exam. They therefore have more risk of a sub-optimal outcome.
The majority of the learners are slow, with a lot of
hesitations, mistakes on notes, rhythm, ignoring musical directions. Frequently
their hands and eyes cannot coordinate properly while playing even a short extract.
Because they are frustrated by the challenging task and limited progress, it is
only human nature that they are discouraged from properly engaging with sight-reading.
Understandably, the ABRSM’s marking criteria places
great emphasis on the importance of rhythm[1].
As we all appreciate, simply playing note-by-note without any attention to
fluency or rhythm represents a poor approach to sight reading. So as tutors we
need to devise ways of solving this problem. We need to find novel ways of explaining
the importance of sight reading and devising training procedures step by step, separately,
especially to the young learners.
One approach would be to set a slow pulse, say 60 bpm:
1.
Clap
the rhythm in time, whilst using relatively simple extracts.
2.
Ask
the learner to read the notes out loudly.
3.
Follow
the marked fingering and position hands properly, with the aim of the learner
being able to play without looking at their hands, initially slowly and
carefully, whilst trying to count the beats as well.
4.
After
some practice and once the learner’s ability and confidence is enhanced, they
can move on to playing in exam mode, where they are encouraged to keep going
and ignore any mistake while counting the beats.
I have a ‘drink’ menu to train the rhythm. For
example, when seeing a crotchet, say TEA; when seeing two quavers, we have a
two-syllable word (COF-FEE) etc.[2]
I am also exploring some new methods for the higher
grades sight readers. For example, the simplification. Learners identify and
try to play the most important notes, which are normally on the strong beats
and including some accidentals too. Longer valued notes are more important than
the shorter ones on the weak beats. Melody is more important than
accompaniment. Learners suddenly seem quite relived by this; they are soon able
to keep counting and playing the important notes with both hands, with the
music flowing more smoothly. This technique can make a significant difference; their
mark can be dramatically changed from below a pass to well above a pass (14
marks)[3].
The potential downside to this, and something I worry about, is that later on,
the learners may be reluctant to challenge the difficulty of the full version. This
is an instance where perhaps training for the exam may not be exactly in line
with what is ideal for the learners long-term development.
For the very top marks, the examiner will also be
looking out the musical details. Very few learners can be precise with this, I
am still looking for more training methods to help improve this aspect of
learning. This is something I want to improve as at the moment I am merely
reminding them to focus on this, but there has to be a more effective training
technique. I would really welcome any suggestions.
There is a very popular Youtube channel called
MusicOnline UK, where the tutor Robert always has very helpful insights. He
points out that one important element for a distinction that the examiner will
be looking for is confident presentation in sight reading. But how to help
learners to achieve that? Robert has a further explanation: “Think of the test
as a musical performance. It is not just a test on if you can recognize basic
pitches and rhythms. Try to play with conviction.”[4]
I always make my students aware of this.
We are all aware of the importance of training
students’ presentation and performance skills. Like other tutors, I always
encourage my students to play in front of their friends, family and in a school
concert. It is always worth reminding their parents to look for opportunities
for the student to perform in public. I encourage one student to plays to another
student and sometimes I will play too. Occasionally, the three of us will form
a mini concert for about 5 minutes, finished by a round of applause, a big
smile and, if they are young, a Super Star sticker.
When learning of a new piece, it is important to use a
lot of description words to create musical pictures in learner’s head; this is helpful
to reduce nerves, so that they can focus on creating the musical image while performing.
All these valuable ideas are mentioned in Robert’s book, videos etc. Finally, I quote Roberts’s words “If you enjoy
performing, the examiner will enjoy listening.” [5]Keep practicing and keep smiling.
Here is a sight reading checklist to
share with you.
Checklist
for PIANO SIGHT READING
1.
Check
the time signature.
2.
Check
the key signature. Find the key chord or note.
3.
Read
the marked fingering and put the fingers of both hands over the notes.
4.
Read
the music in little chunks, looking for note patterns. A step or a skip? up or
down?
5.
Look
for any repeated rhythm patterns.
6.
Notice
any performance markings, such as the suggested speed and dynamics.
7.
Image how
the piece might sound, keeping a steady pulse while playing the correct notes.
8.
Try out
the piece slowly, with both hands.
9.
Finally
play the piece at a speed you can manage, steadily, without stopping even if
you make a mistake.
10. Look ahead aim for fluency. If in doubt,
miss the note out … or make it up!
[1] Marking Criteria (all instrument) 2013
ABRSM
[2] Teaching rhythm with drinks! from Teachingideas.co.uk
[3] Marking Criteria (all instrument) 2013
ABRSM
[4] Mr Robert Alan Kay, MusicOnline UK & “How
to get a Distinction at ABRSM”, 9
[5] Mr Robert Alan Kay “How to get a
Distinction at ABRSM”, 43.
