![]() ![]() You need to immerse yourself in this world of sounds. I think this is the solution to your problem because finally you'll be studying the sounds in a musical way, through beautiful songs and melodies that were specifically designed to train your ear.Īnd this exercise becomes a hundred times more powerful if you combine it with the IFR improvisation exercises like Seven Worlds. This is exactly what we do in our Sing the Numbers audio course. ![]() What you need to do is go into the world of music and discover the notes of our musical system in the context of actual melodies. ![]() You don't need more random interval exercises. You know the sound by heart, but nobody ever told you that the sound is called "note 5".Īnd this is exactly what you need. What that means is that you already know the sound of note 5 perfectly, and you can recall it whenever you want to. When you imagine the beginning to this song, you can hear this note in your mind. For example, let's say that the melody starts on note 5. I suspect that if you think about your favorite song right now, you can clearly imagine the sound of every note in that song. And if somebody played a wrong note, you would never even notice. If you didn't, then all melodies would sound alike to you. The truth is that you already recognize every note in every song you hear. The first thing to realize is that there's nothing wrong with your ear. But I still can't recognize any of these sounds in an actual musical setting like a song.Īfter many months of daily ear training, I still don't think I'm any closer to my goal of playing by ear except for being able to get better scores on tests which don't have any relevance to real music. I even purchased a separate course on scale degree recognition and after about 4 months of very intensive training I can fairly accurately recognize the major scale degrees if they are played. I strongly feel that ear training is based on natural ability and that someone without natural ability can improve a bad ear but never gain a good ear. There seem to be just two sorts of musicians: the ones who can play by ear and the ones who just can't. Homework assignments entail full or partial transcriptions of rhythmic and melodic elements, as well as exercises involving melodic solfege and rhythmic recitation designed to enhance a student's internal sense of time, pitch, and physical independence through singing or speaking of melody and rhythm in the context of its underlying essential metrical structure.I have always had a terrible ear and I feel that it's preventing me from making the most of your method. Students examine music from the perspective of musical cognition, including the potential impact of cultural background on the formation of one's mental representation and the analysis of ambiguous musical structures. In-class activity includes vocalization and rhythmic externalization exercises based on particular musical examples, general listening and aural analysis, and transcription of selected elements of a musical texture. This course focuses on a variety of rhythmic patterns, percussive ostinatos, and melodic repertoire from around the world, with an emphasis on African, Caribbean, and South American traditional and popular music, as well as South Indian classical, Balkan, and Middle Eastern genres. ![]()
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