Learning technique for your instrument is often one of the most boring things you can practice. People tend to avoid practicing their technical exercises. For the most part, that may not be a terrible thing. There are usually better ways to spend your time practicing than working on unmusical technical exercises all day.
There are two important exceptions to that though. Those exceptions are scales and arpeggios
Sight reading is an important skill that every musician needs. It may be one of your most marketable skills as a musician. In the real world, unless you are a concert musician, you often don’t have a lot of time with a piece of music. Studio musicians, accompanists, church musicians, each one of them need to do a healthy amount of sight reading in their daily jobs.
Like all other musical skills, sight reading is learned. That’s not to say you won’t learn the basics of sight reading by just being a musician, but you likely won’t get proficient at it unless you practice specifically sight reading consistently.
Have you ever practiced a section for weeks and weeks, but it never seems to get any better? It’s time to perform, but you just know you’ll mess that difficult part up. If this scenario sounds familiar to you, then I have something that will help. You’re practicing wrong. There should never be a section that seems impossible to learn. If you tackle the passage correctly, with almost no exceptions, you can feel comfortable with it in about a week. Not only will it be comfortable an accurate, but forget about spending hours and hours on one section. If you just set aside a about a minute a day, it will be learned before you know it.