Cours de solfège
Jazz Science | Practice Ideas From the Woodshed
Ear training is obviously an extremely important pursuit for improvising musicians. I spend a significant portion of my practice time on ear training activities, and try to find ways to incorporate an ear training aspect into all of my practicing. One of the things that makes harmony so complex is that as you add notes, the complexity increasing in a combinatorial way, not an additive way. If you hear an E against a C, it's one piece of information: major 3rd. If you hear an E and a G against a C it's 3 pieces of information: major 3rd between C and E, perfect 5th between C and G, and minor 3rd between E and G. If you hear an E, G, and B, against a C, it's 6 pieces of information: major 3rd between C and E, perfect 5th between C and G, and minor 3rd between E and G, major 7th between C and B, perfect 5th between E and B, major 3rd between G and B. Et Cetera. I've made a set of audio files (mp3 format) based on an exercise suggested by Rufus Reid. Download file here. I hope this is helpful!
GuitarBob - Les leçons de gratte du Bob
logiciel pour apprendre le solfège FR
Phonascus is a totally free program for studying music theory that allows you to focus on specific skills and exercises, on both theory and aural training. The different activities can be customized to meet your needs. Phonascus allows you to work at your own pace, providing interactive feedback until mastery of each concept is achieved. See features for an extensive overview, take a look at the screenshots, or download it right away. Phonascus aims to create, as a community, the best free program for music students, to help them in their studies. Phonascus aims to support any language and to run on the major computer platfortms. I started LenMus when I was studying music theory, as a help to practice sight reading and aural training to recognize intervals.
Modes of limited transposition
Technical criteria[edit] Based on our present chromatic system, a tempered system of 12 sounds, these modes are formed of several symmetrical groups, the last note of each group always being common with the first of the following group. At the end of a certain number of chromatic transpositions which varies with each mode, they are no longer transposable, giving exactly the same notes as the first.[1] There are two complementary ways to view the modes: considering their possible transpositions, and considering the different modes contained within them. Definition by chromatic transposition[edit] Transposing the diatonic major scale up in semitones results in a different set of notes being used each time. Any scale having 12 different transpositions is not a mode of limited transposition. Definition by shifting modal degrees[edit] Consider the intervals of the major scale: tone, tone, semitone, tone, tone, tone, semitone. Messiaen's list[edit] Expansion and alteration of the modes[edit]
Des chansons pour comprendre les intervalles
Hello tout le monde !! Bienvenue sur une nouvelle leçon de théorie musicale, pour vous aider à comprendre les intervalles en musique. Si ce mot vous est totalement étranger je vous invite à lire mon article sur les notes, pour mieux comprendre celui-ci On avait donc défini que l’intervalle était l’écart entre le notes et qu’il se mesurait avec des tons et des demi-tons. Le nom des intervalles Pour plus de facilités, on va utiliser le Do comme note de référence mais sachez que cela s’applique à toutes les notes sans exception. – entre le do et le do c’est l’intervalle 0. – entre le do et le do# (ou le ré bémol) il y a un demi-ton. – entre le do et le re il y a un ton. – entre le do et le re# (ou le mi bémol) il y a un ton et demi. – entre le do et le mi il y a deux tons. – entre le do et le fa il y a deux tons et demi. – entre le do et la fa# il y a trois tons. – entre le do et le sol il y a 3 tons et demi. – entre le do et le sol# (ou la bémol) il y a 4 tons. Pas de panique ! En Montant
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