Ear Training Courses Course Chair: Allan Chase Semesters Offered: Fall, Spring, Summer Required of: All Electable by: All Prerequisites: None Department: EAR Location: Boston Campus, Valencia (Spain) Campus Students develop basic ear training skills through performance and dictation. Prerequisites: ET-111 Students further develop basic ear training skills through performance and dictation and study melodies, intervals, harmony, and solfege in minor keys, as well as more advanced rhythms, meters, conducting patterns, and notation. Required of: All students not taking ET-231 Prerequisites: ET-112 Development of ear training skills through performance and dictation. Required of: All students not taking ET-232 Prerequisites: ET-211 Continuation of ET-211. Required of: All students not taking ET-211 Location: Boston Campus Required of: All students not taking ET-212 Prerequisites: ET-231 Required of: None Prerequisites: HR-112 and ET-112 Prerequisites: ET-331 This course is a continuation of ET-331. Prerequisites: ET-211 or ET-231
5.4 Beyond Triads: Naming Other Chords Once you know how to name triads (please see Triads and Naming Triads), you need only a few more rules to be able to name all of the most common chords. This skill is necessary for those studying music theory. It's also very useful at a "practical" level for composers, arrangers, and performers (especially people playing chords, like pianists and guitarists), who need to be able to talk to each other about the chords that they are reading, writing, and playing. Chord manuals, fingering charts, chord diagrams, and notes written out on a staff are all very useful, especially if the composer wants a very particular sound on a chord. What do you need to know to be able to name most chords? You must know your major, minor, augmented and diminished triads. Note Please note that the modern system of chord symbols, discussed below, is very different from the figured bass shorthand popular in the seventeenth century (which is not discussed here). Figure 5.29. Figure 5.30. Seventh Chords Figure 5.35.
ET-000 • Ear Training Index Page Ear Training (or Aural Training) is a very important part of musical development. Learning to recognise sounds will help you in many ways, most importantly it will help you Transcribe and accelerate your ability to work out songs on your own. It really can be quite incredible and I have had many students say that after a few months of consistent work on Ear Training that they can hear music better, that they can separate the instruments easier and hear new depths in recordings they thought they knew well. I grew up transcribing, it was the way I learned to play songs, but when I started doing Interval Ear Training it took it to a whole new level. Harmonic vs Melodic Intervals There are two types of interval listening, harmonic and melodic. Rhythmic Dictation The other part of ear training that is very useful is rhythmic dictation. The Theory Behind The Names Hope you find this stuff helpful and that it all makes sense. Good luck! Ear Training Video Lesson Series - Best place to start!
What is ear training? Sharpen your aural skills and become a better musician Ear training is the process of connecting music theory (notes, intervals, chords, scales, melodies, etc.) with the sounds we hear. In other words, studying ear training is building a bridge between the language of music and the sounds that are designated by that language. The more we train our ear to recognize this connection, the better we get at playing music, because we learn to understand what we play and to anticipate musical stuctures. Who needs ear training? The short answer is all musicians. This is why ear training is a mandatory course in about 99.9% of all music schools, conservatories and general music courses around the world. Ear training in music education What does ear training consist in? Ear training is usually consisting in the study of: pitchesintervalschordsscales and modeschord progressions and cadencesrhythm What are the benefits of ear training? Ear training software - a good idea?
Easy Ear Training – Learn Musicianship and Aural Skills Online Theta Music Trainer | Online Ear Training Games Ear training Functional pitch recognition[edit] Many musicians use functional pitch recognition in order to identify, understand, and appreciate the roles and meanings of pitches within a key. To this end, scale-degree numbers or movable-do solmization (do, re, mi, etc.) can be quite helpful. Using such systems, pitches with identical functions (the key note or tonic, for example) are associated with identical labels (1 or do, for example). Functional pitch recognition is not the same as fixed-do solfège, e.g. do, re, mi, etc. Functional pitch recognition has several strengths. Functional pitch recognition has some weaknesses. Interval recognition[edit] Chord recognition[edit] Microtonal chord and interval recognition[edit] Gro Shetelig at The Norwegian Academy of Music is working on the development of a Microtonal Ear Training method for singers[4] and has developed the software Micropalette,[5] a tool for listening to microtonal tones, chords and intervals. Rhythm recognition[edit] Transcription[edit]
ear training