I. Description of the Problem:
A. Sight reading is reading and performing a piece of written music, specifically when the performer has not seen it before. It has been notated that a lot of authors in music literature commonly use the term "sight-reading" generically for the ability to read and produce instrumental music at first sight. The conversion of musical information from sight to sound. It is also considered to be sight playing. I think the differentiation leaves a more restricted use of the term "sight-reading" for the silent reading of music without creating sound by instrument.
A lot of high school students are placed in classes according to availability and not skill level. This could be a major problem with the productivity of successful or advanced sight-reading skills.
II. Aim of Study: How Can Sight Reading Improve?
The ability to sight-read depends on a strong short term music memory. Rhythm is the most
important part of sight-reading. If you play wrong notes but the correct rhythm, you will be
in the correct place. If you play the correct notes but the wrong rhythm you will quickly
become lost. Musicians improve sight reading by creating random measures of rhythm.
III. Domain of Study:
Intermediate Concert Band
Level: 9th - 12th Grade _ Length 2 Quarters_ Credit: 1_ Classes Daily: 1hrs 35min.
Students taking this course are provided with a balanced comprehensive study of music
through the concert band, which develops skills in the psycho motor, cognitive, & effective
domains.
Students have the opportunities to experience live performances by professionals during
and outside of the school day. Time outside of the school day may be scheduled for rehearsal
and performances. A limited number of public performances may serve as a culmination of
daily rehearsal and musical performance opportunities outside of the school day that
support and extend learning in the classroom.
In addition, students perform with expression and technical accuracy. A large and varied
repertoire of concert band literature that is developmentally appropriate. Evaluation of
music and music performances are included.
IV. Methods/Drills
A. Having students to drill rhythms daily to enhance sight playing skills.
B. Repeating Drills & rhythms constantly with different tome signatures and rest.
C. Design patterns that students are familiar with, but not aware of the written pattern for more productive outcomes
D. Back rest are very important with including sight reading drills for notoriety of reoccurring
rhythms in various time signatures.
V. Results:
A. Several Methods have been used to improve sight reading , but drilling rhythms including rest in various/ selected time signatures have been more beneficial to my band program. Having students to reorganize where down and upbeats are in measure also has gained confidence in reading at sight. I have approached this problem from several angles and I have realized that if my student can clap and sing rhythms they can play them. CONFIDENCE also has
been a key factor at developing better sight reading skills. Mastering fundamentals WILL
assure better sight reading skills.
IV. Analysis:
A. Performances: Perform repertoire proficiently.
B. Notation: Demonstrative standard music notation competence
C. Evaluation: Analyze, describe, and evaluate the music
D. Relation: Comprehend music, culture, history, other arts, and other disciplines.
VII. Conclusion:
Most students do not sight read well because it requires specific instruction which is seldom
given. A major challenge in sight reading instruction is obtaining enough practice material. Since practicing rehearsed readings does not help improve sight reading, a student can only use a practice piece once. Therefore, the material must be at just the right level of difficulty to improve their individual sight-reading skills.
