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Piano Lesson: Ear Training
Ear training is especially important if you want to improvise, compose, and produce melodies and chords by ear. A good ear for music is an acquired skill, not a gift. Like any other skill, it is acquired through practice.
The more we train our ears to recognize this connection, the more we enjoy playing music because we learn to understand what we’re playing. Here are some questions I get asked frequently.
Who needs ear training?
All musicians need to train their ears to know what they are playing and to anticipate what they are going to play!
Why ear training?
Because understanding the sounds we hear requires the following.
* Jam with other musicians
* Compose music
There are 3 qualities that every good jazz musician should have.
* wonderful ears
* a strong sense of time
* unique sounds.
There are many different ways to approach these skills, but the first two always require a certain amount of drilling. The ear can be thought of as a muscle and should be trained like a muscle to some extent. An improved ear leads to improved melodic, improvisational, ensemble playing, and transcription skills. With that in mind, here are three great ways to improve your students’ ear and overall performance.
Associating a familiar tune with each interval is a quick way to learn the different sounds of the interval. For example, a melodic interval can be ascending or descending. In both cases, it remains the same interval. Now, you don’t want to get confused with interval inversion, because a minor third is still a minor third regardless of which note comes first.
Pauses can be classified as consonants and esonants. I can tell you that it is much easier to hear the consonance or dissonance of harmonic intervals than the melody.
Here is a list showing the relative stability (consonance) or instability (dissonance) of octaves up to the octave.
Consonants: Perfect, dropped, m3, P4, P5, m6, P octave.
Dissonant: m2, M2, +4. (o5), m7, M7.
Another polite way is to describe a hollow sound like hard, earthy, Indian drone, Scottish bagpipes or heavy metal rhythm guitar.
Saint: Perfect harmony, P4, P5, P octave. (This would be perfect intervals and their inverses.)
Sweet: m3, M3, m6, M6. (third, sixth)
Now there are active and passive methods of ear training. Passive practice involves playing two notes in succession and listening to that interval. Sometimes you will be asked to name the next note.
Harmonic intervals can be drilled in the same way. These types of exercises can be done with chords or chord progressions.
Do you know the basic scales and the moving “Do” solfege?
It is important that you learn to sing in chromatic scales. Chromaticity is prevalent in modern jazz, so this exercise will improve students’ understanding of tonality and genre. When singing in a chromatic scale, remember to use sharps on the ups and flats on the downs.
Ascending color scale:
C, C#, D, D#, E, F, F#, G, G#, A, A#, B, C
Do, Di, Re, Ri, Mi, Fa, Phi, Sol, Si, La, U, Ti, Do
Descending chromatic scale
C, B, Bb, A, Ab, G, Gb, F, E, Eb, D, Db, C
Do, Ti, Te, La, Le, Sol, Se, Fa, Mi, Me, Re, Ra, Do
Target tones are an important part of your ear training regimen. They force students to listen not only to the chords, but also to the surrounding melodies. Many students now can sing a large scale correctly, but have trouble picking certain intervals at random.
The best way to accomplish this in terms of volume and measure is to use a target tone. Here are some exercises:
C, // C, D, C // E, D, C // F, E, D // C, G, A // B, C, A // B, C, B // C
Ear training leads to better melodies, improvisation, band playing and overall better transcription.
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