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Learning to sight-read is different than just reading. Sight-reading takes an enormous amount of daily dedication and practice for years to get to even an intermediate level.

I don't recall it being that difficult to achieve. Probably the difference is in early teaching and expectations: if you learn to read music as an aid to remembering pieces that are perfected over a long time, sight-reading would be slow to develop, but if you learn it as a way to be able to play new music frequently, it will come more quickly. Probably like the difference between learning a foreign language by studying grammar and working translation exercises as opposed to on-the-fly immersion — you develop different strengths.

This is a great perspective that I hadn’t considered before.

My previous experience, years ago in high school, was absolutely the former. I think it makes tons of sense to try playing a wide variety of pieces at my skill level.

I am just beginning to learn piano and when I told my teacher that I was memorizing the pieces I was supposed to be reading, he told me to simply play each piece once, mistakes and all, and continue on to the next - specifically to practice playing a piece on first sight.

I think the distinction is one of degree, not of kind. "Sight reading" is just reading music and applying it to an instrument or voice, in real time. It's a natural outgrowth of learning to read music. I'm a very good sight reader, and it didn't take me anything like years of daily practice. (Which was a good thing, because I have no practice discipline.)

Literally practice. Don't look at your hands. It takes years and years, there is no quick way to learn piano.

> How does one learn to actually read music, then?

The same way millions of musicions before you. By reading music, training, time and patience.

Please don’t take this personally, but this isn’t very helpful advice.

I’ve learned how to do many things in my life, and I’ve come to appreciate that it’s very easy to practice the wrong thing and never make any progress.

Another way to phrase my question might be, “What and how should I practice to develop my music reading skills?”

I can only give advice for “one note at a time” instruments like the flute or trumpet: practice sight reading children’s songs you know (and therefore can tell if you’ve made a huge mistake) - sight reading, not memorizing! As you get more proficient at reading those, slowly choose harder things - melody lines from a familiar church hymnal are ideal for this. If you make mistakes, finish the phrase, then repeat it, but here, you should be going for quantity, not quality.

Treat this as a separate part of your practice.

I would imagine it’s similar for piano or guitar.

I am by no means even a decent amateur guitarist but "practice with songs you know" definitely lines up with what I was being asked to do when I was taking guitar lessons as a kid.

It really isn't. You highlight something important: musicians don't usually learn to convert notation to music in their heads. Instead, they learn to associate notation with how to make the sound, e.g. finger positions.

I remember in ear training class in high school all the brass kids playing imaginary valves with their fingers when trying to sight-sing.

It's harder for singers, and quadratically harder for instruments where you have more positions and play more notes at once.

However, if you can sight sing, it makes playing music on a wind instrument much easier, as you have a target in your head for what the note should sound like as you play it. Sight singing is a very good skill for instrumentalists.

It seems like there's a three-way connection that forms in a musician's head between the note on the page, the sound the note makes, and the muscle memory for playing the note. Each connection is strengthened by different types of practice, and supported by each other, but often with the way we teach music the kinetic is a proxy between the aural and the visual; this is especially true of people who learn mechanical instruments.

One way to boost the aural/visual connection (when you already have strong aural/kinetic and visual/kinetic connections) is to pick up instruments that are very different from the ones you already know; I would think this is the goal of music education programs requiring basic proficiency with piano and singing, regardless of the student's main instrument. Once you have to learn a new set of muscle memory associations to go from the same note on the page to the same note in your ear, it starts to break down the strength of the muscle memory associations.

Pianist here, regularly won sight-reading competitions in my youth etc. GP's answer seemed a good answer to me. Your first sentence seemed rude, disrespectful.

What kind of music do you want to be able to read? Presumably the music you like and want to play. So read that. You will always be reading new stuff you don't know, not the same thing over and over, so I'm not sure how never making any progress is a possibility. Sight reading/playing difficult music is not easy, sounds like you want a quick way of learning the skill, which doesn't exist.

    A fellow went to a Zen master and said, “If I work very hard, how soon can I be enlightened?”
    The Zen master looked him up and down and said, “Ten years.”
    The fellow said, “No, listen, I mean if I really work at it, how long—”
    The Zen master cut him off. “I’m sorry. I misjudged. Twenty years.”
    ”Wait!” Said the young man, “You don’t understand! I’m—”
    “Thirty years,” said the Zen master.

> Your first sentence seemed rude, disrespectful.

Really? I genuinely trying to communicate that I was criticizing their opinion and not them personally. Did it come off as sarcastic? In any case, I apologize.

You are being awfully presumptuous. I am doing this because I enjoy it. I don’t have a destination or a timeline. I am not asking for a “quick fix”.

I’m asking how to focus studies in music because I struggled for many years with music when I was in school. I did practice quite a bit and always lagged behind.

Your response reminds me why I don’t ask people on the internet for help.

Ok, again you are rude, not a surprise this time. I spent time giving you a more useful answer and got multiple rude comments in return.

I don't think your question was rude at all.

I feel similarly. I've performed the Chopin/Liszt etudes and Bach's sinfonias as a kid (which I guess translate to intermediate classical piano skill) but would struggle to sight read even the two-part inventions at 1/2 or even 1/4 speed.

I'd be quite keen to use some method to upgrade my sight reading to where I find learning new music rewarding, as long as it's known to produce results.

Currently I can learn a Chopin Nocturne or Mazurka much faster by ear (listening to it to learn the rhythm/melody/harmony) to recreate it roughly and watching someone play it to get the more exact voicing (with the sheet music as a reference mostly).

I appreciate your response! It’s honestly helpful to hear that people who are more accomplished than I am can also struggle with sight reading.

One piece of advice that I received elsewhere in this thread that may also apply to you is to sight read as many pieces as you can at an easier skill level than your current proficiency and accept that you’ll make tons of mistakes.

Personally, I’m going to buy a few thrift store “learning piano” books to try this out.

This is fascinating to me! Although I'm moderately good at playing "by ear," I would never learn a piece the way you describe it. But maybe I should try! On the other hand, I'm a very good sight reader. Interesting how two people can get to the same destination by two very different routes.

Honest answer is to find a tutor and take private lessons. Books and videos can't show you how to correct bad technique and habits, and it's hard to follow the right pedagogy without someone to guide you.

I'm working on a webapp to help learn sight reading; the v1 is almost ready; I will do a show hn soon (hopefully next week).

People often associate sight reading with keyboard playing, but they're different things. Reading the staff, as it is traditionally taught in conservatories, means associating the position of a note on the staff with the name of the note (in a given clef). And that's it.

This means, for instance, that the octave is a different problem (I was going to say that it doesn't matter, which isn't exactly true, but close). A C3 is a C4 is a C5 is a C. Same with accidentals. A sharp G is a flat G is a G.

There are many problems associated with learning to read staff on sight. The main and obvious one is that it's tedious and offers no immediate reward. But another is that we are trying to learn too many things at once.

My app is trying to make learning to read notes engaging, competitive and (maybe?) addictive. I don't know if it'll have any success, but during the weeks I've been working on it, it was very effective at improving my own performance.

The distinction between reading music and sight reading aside (others have addressed it), learning to read music is honestly just rote practice. In the grand scheme of things, it's really not that hard. To play simple songs (all within one octave, say) from music on a staff on an instrument, you really only have to learn twelve associations of positions on the staff to a key on the keyboard or a fingering or an embouchure and a fingering, etc. It's far easier than learning a language or a programming language or the rules of hockey. From there, it's just extending those associations higher and lower, and learning other aspects of music notation, like note durations. It's just standard repetitive learning. No magic or particular talent is involved.

For all of its strengths as an instrument, piano has some drawbacks for learning to read traditional staff, as there isn't an (obvious-to-the-uninitiated) differentiation between notes or across octaves (you just sit in front of a wide line of keys). I think I learned to read first on a recorder, where you can develop a more intuitive link between fingerings and notes (especially as the first note you learn is the B dead in the center of the treble staff).

I'd suggest a few paths to learning the note positioning:

- If you're already comfortable with note locations on the keyboard, don't be afraid of the line/space mnemonics. If they get you to where you're making ID's faster in the parts of the staff where your hands normally live, it can make life much easier, and you can easily extend from there. There are really only ~26 note/staff associations to learn that will cover the majority of the music you'll see day to day (with octave shifts) and knowing a few will make the rest come more easily.

- Similarly (and I think this is the way piano is taught to beginners, but it's been a long time) you can make a lot of progress by starting your thumbs on middle C, which is dead between the staves and operating from there to play simple music. As you play and read more music, you'll find yourself starting to recognize the locations of more notes across the staff, until they all come to you intuitively.

Start with realistic expectations. It will take longer for you, than for someone who's 9 years old. Find sources of large amounts of written material that is nonetheless fairly simplistic, but at the same time not children's songs. There's a lot of sheet music at IMSLP.

An example is the Mikrokosmos collection by Bartok, written as a method book for kids, but is nonetheless serious music.

Don't focus exclusively on reading. When you've worn out a piece from the standpoint of reading, continue practicing it to build technique and musicianship. All of those things develop together. Good luck!