During the many years that I have been teaching, I have purchased and used a wide variety of sight reading books. The ones that I have found the most useful are those published by the ABRSM. The books for each of the grades contains examples that are similar to those that are used in the ABRSM exams. All of the books are entirely consistent in regards to the rhythmic patterns, the keys, the positioning of the hands, the use of dynamics, articulation and words at the beginning of each example that are appropriate for the grade. In 2019, the ABRSM published another set of sight reading books, these are entitled More Piano Sight-Reading.
It is important to discuss with the examination candidate what they may expect to encounter in the sight-reading component of the exam. In doing so, some of the anxiety in regards to the sight-reading section of the examination is reduced. I have always felt that time spent on sight-reading in a lesson reaps enormous benefits for the pupil. In every lesson, I expect my pupils to play one sight-reading example from the book they are currently using. And, in every lesson I play a duet with the pupil at a level suitable for the pupil’s stage of learning. The ABRSM sets out the parameters in the its piano syllabus. At present in Grade 1, a candidate may expect to play in the keys of C, G and F majors and A and D minors. The examples that are in 2/4 are six bars in length and those examples that are in 3/4 or 4/4, are four bars long. Each hand plays separately and is in a five-finger position. Neither hand moves into a new position. The starting notes for each hand have a finger number to help in the positioning of the hands. The elements are simple in regards to the dynamics, articulation and rhythmic patterns. Accidentals are only met in the minor key examples.
This is a guideline for the sight-reading part of the exam I use when preparing pupils for an ABRSM. Do please keep in mind that it covers a number of grades, not just Grade 1.
This is an analysis of three Grade 1 sight-reading books that I own - they were published in 2008, 1994 and 1965.
In the current Grade 2 ABRSM syllabus for sight-reading the keys used are C, G, D and F majors and D, E and G minors. The hands maintain the same hand position throughout the examples and present are ties along with the dotted crotchet/quaver rhythm. On analysing three earlier Grade 2 ABRSM sight-reading books there has been a considerable change in the complexity of the examples from 1965 to 2008.
The keys required in Grade 3 are C, G, D, A, F Bflat and Eflat majors and A, E, B, D and G minors. The semiquaver pattern is introduced, along with the dotted crotchet rest (I couldn’t though find any examples of this rest in the 2019 edition) and quaver rest. The hands move out of the five-finger position, 2-note chords are present and a wider range of descriptive words are employed.
In Grade 4 no new keys are added nor any new rhythmic patterns or additional dynamic markings. A new time signature of 6/8 is introduced along with a wider range of descriptors, the tenuto marking, the use of chromatic notes and the use of the fermata.
There are 9 preparatory exercises at the start of the book which are at a Grade 3 level of sight-reading, so excellent for revision.
It is important for all pupils to develop the ability to hear what they are going to play in their head before commencing to play. A few minutes spent in each lesson on sight-singing activities, pays dividends in the long-term. As my preparation list for sight-reading points out, the 30 seconds a pupil is given in the examination before they commence playing must be, of course, spent wisely. By quickly looking through the whole of the example, they can absorb the details of the piece, which in turn gives them a clue as to the character of the example. Expressing the style and character of each of these examples is extremely important.
So much of what is covered in the sight-reading examples is useful for theory purposes too.
Counting in before commencing to play is essential and time will need to be spent on how to count in where the example has an anacrusis beginning.
Another important aspect to be considered is that of how much the pupil will need to look at the keyboard as opposed to looking at the music. By this stage, the pupil should be becoming confident in being able to move into some new positions without having to visually check.
Here are some of the observations I have made about the Grade 4 examples -
the hands are required to reposition themselves more frequently than in Grade 3.
there are many examples of the use of sequential patterns.
the use of a perfect cadence at the end of an example is present on occasion.
the examples contain the fingerings required to alert the player that the hand has to move to a new position.
a number of the examples contain the use of an anacrusis at the beginning of the example. Not only are there examples where the RH starts with a full beat on the last beat of the bar, there is an example where the RH starts with a quaver upbeat in 2/4 time.
there is evidence of phrasing in many of the examples.
some part-playing and inter-play between the hands is present in some of the examples.
there are octave leaps present in some of the examples; this is especially true for the LH.
a few examples have the melody present in the LH.
there are many melodic and rhythmic patterns the pupil encounters in these examples that are, of course, present in the music that they play.
harmonic intervals in either hand do not exceed the use of fifths.
in some of the examples, the use of consecutive thirds is present.
the pupil must be thoroughly aware of which key the example is in as there is a danger that it could be played in a minor key when in fact it is in a major key, for instance.
Grade 5 sight-reading examples add a few more aspects to those already encountered in previous grades. There are four new keys introduced, these are E and Aflat majors as well as F# and C minors. There are no new time signatures introduced, nor any new rhythmic notes or rest values however ff is introduced into the range of dynamics used. There is an even wider range of descriptors employed along with the introduction of rall and rit. Syncopation is now encountered along with four part chords with two notes maximum in each hand.
Here are some of the observations I have made about the Grade 5 examples -
the font size is not as large as what it is in the Grade 4 book and there are now more bars per line of of music.
although fingering is marked in, the player is expected to look ahead and anticipate the changes required and the fingering that will need to be used. So often, fingering is based on what is ahead rather than what is being played in the present.
there are many examples of the use of sequential patterns.
a number of the examples contain the use of an anacrusis at the beginning of the example. Not only are there examples where the RH starts with a full beat on the last beat of the bar, there are examples where the player is required to start on the last quaver for example in 3/8 time or a quaver in 3/4 time. Counting in before starting a sight-reading example that contains an anacrusis beginning, is a skill that must be learnt.
these examples are small pieces that require the playing of all of the details such as the dynamics and agogic effects to be able to convey their message. All of the examples have evidence of phrasing and many contain a cadence at the end. Encourage the pupil to play with understanding in relation to the phrasing and often there are rests at the end of a phrase or the second phrase commences with an anacrusis in the same way the beginning did. Everything that is present in these examples applies to the music that the pupil is playing along with the theory that they are learning too. Encourage pupils to use earlier grade books for sight-reading too.
some part-playing and inter-play between the hands is present in some of the examples.
there are octave and seventh leaps present in some of the examples,
there are many melodic and rhythmic patterns the pupil encounters in these examples that are, of course, present in the music that they play.
harmonic intervals in either hand do not exceed the use of sixths.
in some of the examples, the use of consecutive chords is present. For example in one, there is a consecutive set of intervals moving from a sixth to a fifth and then a fourth. Fingering is rarely given for chords; the pupil is expected to work the fingering out for themselves knowing the patterns involved.
the pupil must be thoroughly aware of which key the example is in as there is a danger that it could be played in a minor key when in fact it is in a major key, for instance.