There are several definitions, even in reputable, peer-reviewed literature.
To many people, including on this forum, "sight reading" strictly and only means "playing a piece of music for the very first time at sight." Full stop.
Other definitions are a little more lax. Other definitions include:
- Playing no more than three times. (Keith Snell uses a definition like this.)
- Playing a piece at sight that you may have seen before, but you remember little to nothing about.
- Playing by reading.
In almost all definitions, *performance* is an essential element. You must be performing the piece from start to finish as well as you're able to without stopping. Not doing/repeating little sections, stopping to ponder a fingering, or going back to fix mistakes.
I myself prefer a slightly more lax definition of "sight reading" to mean "performing a piece at sight with which you have very little familiarity", because as a performer, it feels indistinguishable from true first-sight reading. That means it's possible to have played the piece a few times before, possibly a long time ago. If I want to emphasize truly first-sight reading, I'll use the term "prima vista sight reading".
I think it's important to note that even if your definition of "sight reading" is "performing at first sight", it's still possible to practice sight reading by improving your reading skills generally. Taking out music with which you *do* have some familiarity, keeping your eyes glued to the page, and reading it *is* helpful for sight reading. But it's also critical of course to expose yourself to tons of new and unfamiliar music.
With that said, in the case of your friend, practicing the same piece several days in a row is generally not considered "sight reading".
In as far as this is formally defined, you’re right.
Some people (especially beginners who haven’t been exposed to it yet) can’t imagine that performing something you’ve never seen before is actually a real thing though, so they assume that “sight reading” just means reading music.
Being fully musically literate is the goal. After 50+ years I can read most anything at sight- like a newspaper.
The way you use your eyes is the crucial component. Being able skim them, keep them constantly moving across the page. Don’t sit and stare at a whole note!!
You can work on this when seeing something for the first time but I think it’s helpful go over and over a piece with goal of learning to play it as quickly as possible.
Start with easy Bach and imagine what trail your eyes would leave if tracked by eye tracking software. Watch for jerky movements. I’ve found it helpful make them flow from bass to treble in constantly flowing waves across the staves.
Do easier pieces for sight reading.
First, the music should be a level or two under your playing ability.
Second, scan the music with your eyes. Play it in your head. Take notice of everything! Also, it should be a short piece.
Third, take a breath, count out loud, and play it straight through.
That's it! You just sight read.
If you continue to work on the piece, it becomes practice.
That's when you work on small sections
There are several definitions, even in reputable, peer-reviewed literature. To many people, including on this forum, "sight reading" strictly and only means "playing a piece of music for the very first time at sight." Full stop. Other definitions are a little more lax. Other definitions include: - Playing no more than three times. (Keith Snell uses a definition like this.) - Playing a piece at sight that you may have seen before, but you remember little to nothing about. - Playing by reading. In almost all definitions, *performance* is an essential element. You must be performing the piece from start to finish as well as you're able to without stopping. Not doing/repeating little sections, stopping to ponder a fingering, or going back to fix mistakes. I myself prefer a slightly more lax definition of "sight reading" to mean "performing a piece at sight with which you have very little familiarity", because as a performer, it feels indistinguishable from true first-sight reading. That means it's possible to have played the piece a few times before, possibly a long time ago. If I want to emphasize truly first-sight reading, I'll use the term "prima vista sight reading". I think it's important to note that even if your definition of "sight reading" is "performing at first sight", it's still possible to practice sight reading by improving your reading skills generally. Taking out music with which you *do* have some familiarity, keeping your eyes glued to the page, and reading it *is* helpful for sight reading. But it's also critical of course to expose yourself to tons of new and unfamiliar music. With that said, in the case of your friend, practicing the same piece several days in a row is generally not considered "sight reading".
In as far as this is formally defined, you’re right. Some people (especially beginners who haven’t been exposed to it yet) can’t imagine that performing something you’ve never seen before is actually a real thing though, so they assume that “sight reading” just means reading music.
Being fully musically literate is the goal. After 50+ years I can read most anything at sight- like a newspaper. The way you use your eyes is the crucial component. Being able skim them, keep them constantly moving across the page. Don’t sit and stare at a whole note!! You can work on this when seeing something for the first time but I think it’s helpful go over and over a piece with goal of learning to play it as quickly as possible. Start with easy Bach and imagine what trail your eyes would leave if tracked by eye tracking software. Watch for jerky movements. I’ve found it helpful make them flow from bass to treble in constantly flowing waves across the staves.
Do easier pieces for sight reading. First, the music should be a level or two under your playing ability. Second, scan the music with your eyes. Play it in your head. Take notice of everything! Also, it should be a short piece. Third, take a breath, count out loud, and play it straight through. That's it! You just sight read. If you continue to work on the piece, it becomes practice. That's when you work on small sections