The steps to improve sight-reading ability are as follows:

1. Master the tonality and speed.

2. Know all my rhythm patterns and the relationship between rhythms.

3. Be familiar with tonal scales and arpeggios, including scales in relative minors (natural, harmonic, melodic minor).

4. Grasp all the intervals and recognize their lines and intervals on the staff. The following method is a trick that allows you to see the intervals more easily:

A, third, fifth and seventh are the relationship between lines or between lines.

b, 2nd, 4th, 6th and octave are the relationships between lines and spaces or between spaces.

5. Recognize chords and their inversions.

6. Master the cadences—especially Levels IV, V, and I.

7. The steps to maintain memory in sight-reading.

8. Set the metronome at a slower speed.

9. Let the metronome play a bar first, and browse the first bar of the work to see how many theoretical or musical structural factors you can recall.

10. Always look at the music score, follow the metronome, start sight-reading the first measure, and listen carefully to your own playing. Also, browse the related information in Section 2. Before playing the second measure, recite what you discovered in the second measure.

11. Repeat the above process and let the sight-reading proceed from the second measure to the third measure, and so on.

12. Repeat this process throughout the song. Some notes can be omitted as long as the music continues.

13. Practice this for at least fifteen minutes every day, choose some unfamiliar works, and use a metronome as a guide.

By then your memory will be stronger, your sense of keyboard position will be more reliable, and your visual experience of melody patterns, rhythm and harmony will help you foresee musical events.

Extended information:

Things to note when holding the erhu piano:

1. The piano tube is incorrectly placed in the middle of the left leg instead of at the base of the left leg. Tighten the lower abdomen.

2. The piano bar is too inclined to the left or right; too forward or inward.

3. When in the first position, the tiger's mouth of the left hand is too far away from Qianjin.

4. The left arm lacks the proper support and is hung on the piano rod by being clamped by the tiger's mouth.

5. Bend your thumb downward to hook the piano rod.

6. When holding the piano, keep the palm of your left hand close to the piano rod, and "lie down" with your fingers to press the strings upside down.

7. The finger joints are too bent and the tips of the fingers (or even nails) touch the strings.

8. The finger joints are recurved, especially the first joint of the middle finger, ring finger and little finger.

9. The fingers (especially the ring finger and little finger) do not press the strings from the front of the strings (from the direction of the strings to the piano bar), but from the outside of the strings (from the direction of the strings to the body), so that Only the outer strings are pressed firmly, while the inner strings are in a virtual state, which often causes wolf sounds.

10. When playing, always let your fingers "hang" above the note and not relax.

11. When one finger presses on the string, the fingers below it are curled up in the palm.

12. When holding the piano, the upper arm is raised too much, leaving the left arm in a tense and unnatural state.

Baidu Encyclopedia-Sight Reading