Sight-reading Notes Above 3rd Position

April 23, 2012 at 07:00 PM · You just have to do it. Not really any shortcuts.

April 23, 2012 at 08:23 PM · Yes - there is a clearer way of thinking about this - not a "shortcut" but a simple way of approaching the issue.

You have to think in terms of intervals, that is distances between notes, rather than fingers and note names.

gc

April 23, 2012 at 10:02 PM · scales are good but for sightreading I would add something: say the note you are going to play loud, before you play. Never play a note subconsciously. If you can do that quickly in all positions, you will find the notes quickly while reading too. Considering the fact that you play since 4 years i would recommend you 2 Octave scales without shifting chromatically in all positions. Always knowing and imagining (the printed note) exactly before playing it actually. As I said, speaking it out loud will help you not to cheat yourself!

I had or have the same problem. I am ok now, but sightreading was always hard for me... because I didn't practiced it at home and never thought about how to improve it. I would recommend you to train it regularly! It is like another kind of violin playing. You can be a very good player but bad in sightreading, on the other hand you can be a good sightreader with poor intonation and sound. Be both: good player and good sightreader!

Sightread some easy pieces regularly with metronome, stay in the comfort zone but don't take too easy music. ;)

Good luck!

April 23, 2012 at 11:08 PM · If your in the orchestra wouldn't you have time to practice the music so it isn't actually sight reading? Other than that, I think you really need to have a good knowledge of fingerboard geography. You need to know what note is where in each position and be able to find it. Maybe practice shifting exercises and finger patterns to help with this.

April 23, 2012 at 11:52 PM ·

April 24, 2012 at 05:51 PM · I had a teacher who showed me an interesting trick. Skip over the first two ledger lines, then pretend that the third one (E) is the bottom line of a new staff that starts two octaves above the real one. Try it, it works!

April 24, 2012 at 08:26 PM · A couple of suggestions:

- Try to read intervals, not pitches. Once up on telegraph poles, it doesn't really matter if you're playing D then up to A or E then B, but that you're playing a fifth.

- Get comfortable with using the A string high up. Shifting back down as soon as possible might feel reassuring, but in the long run it's much better to stay up there if there's more high notes on the horizon. Two octave scales without shifting, starting with both 1 and 2 progressively higher on the G string, are a good way to get familiar with playing high up on all strings.

- Listen to what's going on below you. The second violins or violas will often be doubling very high stuff an octave lower, and you should always be listening to the cellos and basses in particular to check your intonation.

April 24, 2012 at 10:20 PM · Reverse your brain-path occasioanlly for a fresh and cementing perspective:

Start with playing, not reading--Pick a string and simply play the notes in third position. As you play, say the letter names. MAKE SURE you associate the right sharps, flats, etc. with the spacing!!! :) :)

Then--write down what you play!! Physically writing down each note (complete with correct accidental) will help complete the hand-eye link.

I've found this reverse approach to be really helpful in cementing that connection between the written notes and the fingers! Do a little of both ways every day and it will come.

FWIW, I really like the first couple pages of Whitsler's Introducing the Positions--the part where you are just playing really bsic finger patterns--and I make my students say every letter name as they play :) They hate me (at least, for the whole two minute that takes) but it works!! :)

April 24, 2012 at 10:40 PM · It does just come from experience. But I have found you can speed up the process. When I was teaching and students became confounded by ledger lines above the octave E or F, I would have them spend a week learning one new note each day.

I didn't mean that they should just play that note for their practice that day but rather they should commit their minds to recognizing the note and its note name.

One note a day gives you a whole new octave in just one week.

As far as sight reading between 1st and 5th position, I found long ago that working pieces in that range up for solo performance gave me the chops I needed to sight read for orchestra and string quartet playing. For higher notes, you need practice too, but following my suggestion above will help launch that too.

Andy

April 25, 2012 at 12:00 AM · Good advice, Andy. I will remember that tip!

April 25, 2012 at 02:45 AM · High E is a landmark. Imagine drawing a line down the three leger lines that E sits on and you get the letter E!

April 25, 2012 at 01:12 PM · Completely different angle (additive to other suggestions): have your vision checked. I have very mild astigmatism, and can see just about anything else just fine, but correction does help with the multiple line notes...