Playing at Sight: Requirements Part 1

1. Key Signatures

The ability to recognize the meaning of tonality as related to key signatures comes through practice. The best routine to follow is scale practice, emphasizing ALL major and minor scales. Special drill will be valuable. For example, place various key signatures on the board, and have the entire band recite aloud, giving the letter name of the key. Or do it this way. Ask for a showing of hands of those who recognize the key, and have one student identify it. If there is time, have the entire class vote on the answer. If the first individual muffs the answer, ask someone else. After it has been identified correctly, ask the entire band to name the key aloud several times. (Then have the band play the scale, from memory if possible. During the course of the semester, it should be possible to include all major and minor scales in this basic rehearsal procedure.) Do not stop after one person has named the key correctly, for many students may not have heard the answer, or may still not be sure of it. After the entire class has named the key aloud several times, nearly all of them will remember it. (The clever salesman uses this principle by repeating your name as many times as possible in his first conversation with you so that he won’t forget it.) Oral group recitation is a most valuable teaching procedure. Hereafter, I shall refer to it as “oral recitation.” “Oral recitation” does not reach a point of aimless repetition until every member of the class can answer correctly, every time.

2. Meter (or time) Signature

Meter signatures may be learned easily through oral recitation, and by connecting the beginners’ past experiences with things to be learned. The educational principle here is that of moving from “known to the unknown.” For example: a 4/4 meter signature may be likened to a basket containing four quarts of milk; and a 4/8, to the same basket containing four pints of cream. The bottom figure of the meter signature represents the unit of measurement, and the upper tells how many units in each measure.

3. Notes and Fingerings

I believe that teaching the names of notes should be done coincidentally with teaching the fingerings. This follows a teaching principle already elaborated upon. Look at the note, name it aloud, finger it on the instrument. The impact made upon the thought process is greater than if the note were merely named, or fingered. Three senses receive brain messages simultaneously. Moreover, in learning two things at once, the student saves time. Theoretically, it becomes possible to cover in one year the amount of material usually covered in two. One important educational principle to keep in mind is that learning through the senses is “learning by doing”. During the heat of performance it is questionable that we are cognizant of the names of the notes, they go by so rapidly. Apparently, during performance, the eye recognizes the note, the mind perceives its purpose, messages are flashed to the lips, the tongue, the fingers, and the breathing apparatus, reflexes are ordered, and the tone is sounded. Through constant repetition on fundamentals, this elaborate process becomes established within the subconscious. The marvel of a musical performance is the constant speed of reflex actions. To begin with, however, students should be taught to recognize notes by letter name and fingering. Because it is based upon sound teaching principles, this method always produced sure and quick results for me. I recommend it most highly.

4. Note Values and Note Groupings

Instant comprehension of note values and groupings is, to my mind, the most important part of sight reading and sight playing. One may acquire the ability to analyze time groupings at sight, but only after diligent practice. This’ subject is so important that a whole section will be devoted to it later on in this booklet.

5. Articulations

The ability to read around notes and play either staccato or legato is important. Twelve groups of basic articulations are used over and over again. These may be combined in any arbitrary manner, but this will not cause confusion if the student understands and can play them in their basic forms. These articulations are coordinated with the twelve basic note groupings in the section devoted to counting time, to help clarify their teaching. It is best to introduce articulated patterns during that segment of the rehearsal devoted to playing unison scales. Then two things are accomplished at the same time as the student becomes adept in playing scales and using articulations. When formal scale practice is not a part of rehearsal routine, choose a short scalewise or chordal passage from a selection and drill on it using all articulations, until it becomes routine to play them correctly at sight.

6. Tempo Indications

Recognition of tempo marks can be taught easily by “oral recitation”. Students see all the markings on the printed page, probably as well or better than the conductor. But they do not heed them unless the conductor insists that they read “around the notes”, and play accordingly. Several of our educational booklets say that students respect and admire the conductor who maintains high standards of performance by insisting that students learn to read music carefully. He must, of course, be by instinct a gentleman, courteous, resourceful, and tactful in manner. Some teachers seem afraid to antagonize students by insisting on high standards. Yet, how often i have heard students criticize a conductor who was too easy on them. Integrity, sincerity, and high idealism are the character traits the good band conductor possesses.

7. Dynamic and Expression Indications

The ability to recognize and understand the meaning of indications for dynamics and expression comes after careful practice, and is best taught through “oral recitation.” Many Italian words can be connected with similar English words. For example: “Lento”—slowly—can be tied to our word “Lent”—that time before Easter when we are asked to pace our lives more slowly than usual. The Italian “Moderato” has the same meaning as the English word, “Moderate.” And the words “Presto” and “Crescendo” have the same meaning, both in Italian and English. Whenever possible, proceed from the “known to the unknown.” Tie up that to be learned with something the student already knows.

8. Background of Theory

This is debatable ground, although I am reasonably certain that the student who has a background of Music Theory is a better sight player. In fact, he will be a better player in every respect. An elementary knowledge of theory is certain to give the student more confidence in his ability to do the right thing at the right time.

In my opinion, elementary theory should be taught with the playing of the instrument. I learned this lesson with the first band I taught. The only beginning band book available in those days was one which had a catechism ot music at the beginning. Before he could get an instrument, each beginner had to memorize every question and answer. I thought this was the superior way to teach. To my dismay, I found that after the boys got started on their instruments, they had to relearn die questions and answers. After this experience, I adopted the policy of teaching all theory that was needed as my students learned to play the instrument. I am aware that in many European conservatories the student is taught solfege, sometimes for as much as two years, before being allowed to play an instrument. It must not be forgotten, however, that these conservatories are training selected, serious, talented people for professional careers, and deal with a different situation than prevails in our public schools. In America, the basic idea underlying the public school instrumental music program is that every child have an opportunity to play an instrument, no matter what the extent of his talent. I criticize neither the European or American concept nor am I sure which is the best way to proceed. It has never been proved scientifically that one way is better than the other. I question, however, if we would have any students in our musical organizations if they were required to study solfege for two years before joining a school band. Only a handful out of the thousands of players in school music groups ever take up music as a profession. With most students music is a cherished avocation, something to hold dear so long as they live.

While I respect and admire the teaching methods of European conservatories, I believe there is much yet to learn about teaching processes. Age and tradition do not necessarily define a learning process as being the best. I firmly believe that any learning process which involves the senses can be accepted and used as a logical and economical teaching method. Thus, it seems sensible to teach note names, scale formations, and the rest of our so-called musical theory, as physical skill is being acquired. It is true that situations we meet in life which involve several senses tend to be those remembered the longest. I do not remember how many times I have seen lightning or heard thunder, but I do remember vividly the time that thunder and lightning came together so hard that I literally felt the concussion. This vivid remembrance is the result of a simultaneous impact made on three of my senses. One thing not to be overlooked when acquiring mental and physical skills—repetition must be accomplished without error. In teaching a band, everyone must learn correctly. In a mathematics class students may be failing, yet stay in class and have little influence on the rest of the group. But in the band—Ah! what a difference. Everyone must play his part well, or the work of everyone else will be ruined. Band members must live by the Golden Rule.

Now to a discussion of the actual “sight playing” of what has been “sight read.” Many points that remain have been discussed at length in other books of our educational series, especially in the “Band Book.” So I will treat them briefly here, not because they are unimportant, but because I wish to avoid repetition except for the sake of emphasis.

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