Whether in a rehearsal, a performance, or an audition situation, almost all musicians want to improve their sightreading skills - and rightly so!

Most everyone has heard the old advice of checking: the key signature, the time signature (meter) and the tempo marking. That's fine, but let's take a closer look at each one, and even add some other things to look for.

First off, for the key and time signatures, and tempo markings, in addition to committing to memory the markings at the beginning of the work, take note of the changes that occur in the piece. The changes of these parameters is often what goofs players up.

Key Signatures
So for key signatures, look at the key signature at the beginning, but also look for the changes in key. Determine whether the key (or keys) is in major or minor.

Now, here's the best part: look for the tritone in the key. A tritone is an interval of three whole steps. In the major mode, it is the interval between the 4th and the 7th degrees of the scale. In natural minor, it is the interval beween the 2nd and the 6th degrees in the scale

So how do you find the tritone? Just look at the last accidental in the key signature -that's one note in the tritone. Next, imagine what the next flat or sharp would be if the key signature had one more accidental. That note in its "natural" version (without the imaginary flat or sharp) is the other note of the tritone.

For example, say you are playing in B-flat major (two flats: B-flat and E-flat) the last flat, E-flat, is one of the notes of the tritone. What would be the next flat if there were one more flat in key signature? A-flat. The "natural" version of that note - A-natural, is the other note of the tritone. E-flat and A-natural is the tritone of B-flat major. Those two notes (with that "spelling") cannot be found in any other major key, and they are the two most likely notes that you will miss when sightreading.

Let's try a sharp key: A major. The last sharp is G-sharp. The next sharp would be D-sharp if we were to add one more sharp to make it E-major. But we're not in E-major, we are in A-major, so there is no D-sharp, it is D-natural. The tritone for A-major is G-sharp and D-natural.

You should mentally "brand" the two notes of the tritone on your forehead so you don't miss them, and do this for all key changes that occur in the piece. Remember, these are the most missed notes when sightreading. Don't let it be you!

Time Signatures (Meters)
Regarding the time signature(s), be sure and look for any changes! But also determine whether the meters are simple or compound. Simple meters are those in which the beat is divided in the powers of two (2, 4, 8, 16, etc.) like 4/4, 3/2, etc. Compound meters are those in which the beat is divided in multiples of three (3, 6, 12, etc.) like 6/8, 6/4, etc.

Tempos
With tempo(s), look at the tempo marking at the beginning, but, (you know it), look for tempo changes! Look not only for tempo heading changes, but also gradual changes such as ritard, accel., etc.

If you are in an audition situation, set you tempo according to two things: 1) the tempo marking (of course), and 2) what looks to be the most difficult passage in the piece. Look primarily to the words in the tempo marking (Allegro, Andante, etc.). Metronome can be helpful, but very often they are questionable, and you may not be able to play it up to full speed anyway. Choose a tempo that preserves the spirit of the word tempo marking, but that you can still play the most difficult passage without changing the tempo. Changing the tempo simply to accommodate your technique is not very impressive!

Miscellaneous
Finally, if you still have time, look for clef changes, dynamic changes, changes from arco to pizzicato, even if you need to use a mute.

This may seem like a lot to think about, but with practice (try sightreading etudes) you'll be amazed at how quickly and automatically you can peruse all these things!

Mark Morton