I've always been puzzled by why sight-reading is even a thing. An English teacher will never say ‘we're going to sight-read this story’. If a child has gained the requisite reading and comprehension skills and the chosen book is at an appropriate standard, they should be able to read it reasonably fluently first time round. Subsequent re-readings of the text may then lead to a deeper understanding. Shouldn't this apply equally to music? This might sound a little simplistic, but in truth, much of Paul Harris's book How to sight-read covers the basics of music reading – in order to sight-read better, you need to read better. As he acknowledges in the introduction, ‘often the terms reading and sight-reading are used a little arbitrarily’.
Harris has conducted a survey of 150 students and teachers, enabling him to address some prevailing myths and misconceptions. Some people, apparently, believe that sight-reading is an innate skill which only a select number of people possess. (I find this attitude extraordinary – are there any English teachers who think that learning to read is an esoteric skill which can't be taught?) This book helps to demystify the process, breaking it down into its constituent elements, and providing a methodical framework whereby anyone can learn this crucial skill.
In this, and indeed his other books, Harris stresses the importance of ‘simultaneous learning’ – weaving different musical skills seamlessly together and exploring the connections between them. This can be achieved by teaching in a holistic way, rather than merely pigeonholing the different requirements of an exam syllabus.
Harris takes us systematically through the vital musical elements required for good reading (and, obviously, sight-reading). A knowledge of music theory will enable you to decode the symbols on the page; a sense of pulse and an ability to subdivide will give rhythmic security; an awareness of key and the ability to play scale patterns will instil ‘muscle memory’; good aural skills (developing the ‘inner ear’) will give the student an understanding of how the music should sound from how it looks on the page; and an ability to improvise will develop an instinct for playing different musical patterns in assorted keys. The benefits of fluent reading are huge: an ability to learn pieces quicker, facilitating strong ensemble skills, expediting independent learning and, of course, getting better marks in exams.
Everything Harris writes is sound and sensible advice; but what elevates this book beyond merely a useful and pragmatic guide is an exploration of the science behind sight-reading. There are fascinating insights into how the brain processes information and recognises patterns. He looks at eye tracking and peripheral vision. Rather than merely presenting dry scientific theories, everything is illustrated with practical examples and activities to try. The section on eye movements was of particular interest – I have several pupils whose eyes seem to flit around the room in every direction except towards the music they are trying to play. Developing your peripheral vision will improve your ability to look ahead when reading music (and, though Harris doesn't mention this, your ability to simultaneously read music and watch a conductor). There is a link to an app on his own website, where you can work through exercises designed to train the brain to process music more quickly and improve your peripheral vision.
The book is written in a conversational style and is laid out in an engaging way, with diagrams, bullet points and boxed text along with lots of practical activities to try with your pupils. Side notes give references and suggestions for further reading and research. Following his own philosophy of making connections, Harris gives a plug for some of his other publications, notably the Improve Your Sight-Reading series. And why not? His collected writings champion excellence in teaching and learning.
If you buy this book expecting a miracle cure for poor sight-reading, to be hurriedly applied in the last lesson before an exam, you will be disappointed. What you will get, however, is something infinitely more valuable – a logical and systematic method for learning to read (and sight-read) which will lead to accelerated learning in the short term and, in the long term, the potential to open the door to a lifetime of fulfilling music-making.
How to sight-read
Paul Harris
Faber Music £10.99
