Ear-training method recommendations?

BassBot · #1 01-09-2007, 12:51 PM

I'm starting to work on ear-training. I've tried a few methods and I'm not sure if I particularly like any of them.

First, I used the ear training books from the first few semesters at Berklee. These seemed OK, but these books recommended too much learning by association (find a familiar song with an interval, etc.) I found myself finding intervals by singing the half-steps between them. This isn't very effective.

Now I'm using the Fanatics Guide to Ear Training. It essentially emphasizes repetition--singing an interval, hearing a chord, over and over and over. The author says that you must instantaneously know an interval--you don't have time to think or relate it to a popular song. This makes sense to me. But I'd rather not put oodles of energy into a method that is fruitless.

Any opinions?

billyfalconer · #2 01-09-2007, 02:05 PM

I think you're at the point now where you should "just do it"; listen to chord changes and melodies, and test yourself. If you can't identify the progression or interval, get to a piano and figure it out.

Also, what kind of understanding do you want? Do you want to be able to verbally label it as "ii-V-I," or aurally understand it as such? Once you're done with classes, the latter is what you're after, isn't it?

BassBot · #3 01-09-2007, 02:14 PM

i want to be able to recognize chord progressions, to hear the root movement in a tune, to sight-sing, and also to play by ear. that's really my main weaknesses.

Ed Fuqua · #4 01-09-2007, 02:55 PM

I never had much luck working on ear training without a teacher, It was hard to maintain any objectivity about how well or badly I was doing, it was easy to "skate" on things that I was almost getting. If you're not currently studying with anyone, I'd highly recommend it. If you are, this question might be more productive if directed at somebody who is in the same room with you rather than typing to a bunch of people online.

There's seemingly a lot going on, but it mostly boils down to hearing with clarity. Anytime I've really dug into problems I've had singing, it's never been a voice problem, it's always been a hearing problem. Anyway, I've been working on the following with my teacher for the last few years. You'll need a keyboard and if you aren't working with a teacher, you'll need a way to record some of this that will random/shuffle on playback.

INTERVALS - in the octave b2, 2,b3, m3,n4, #4 or b5, n5, b6, 6,b7,m7.
Fixed root - pick the lowest note you can comfortably sing, for me that was a C or Bb an octave below middle C. From that C (using me as an example) play that C then the interval you want to sing, let's say C and Db (the b2). Ply first one, then the other while you hold the first one down so that they ring together. Then take your hand off. Play the C and now sing that C while you are holding it down. now, while holding down C sing the Db. While you are holding the sung note, play the note (Db) to "check" yourself. You want to listen for any sliding, adjustment etc. You want to hit the note in tune and so that when the piano comes in it's as if your voice just gets louder. Keep at it until you are hitting true pitches whenever you sing the exercise. Now you move to

Play the two intervals at the same time (as a double stop). After taking your hands off the keyboard sing the root (C), holding the note. Play the note to check yourself and then sing the interval, holding and checking as before. When you can nail an in tune interval EVERY TIME (not just the first time you are able to) you move to

Have someone (or record the intervals to shuffle and replay) play each interval as a double stop, you will only get to hear them played twice, so give yourself a little time in between hearing them played. WITHOUT SINGING them, identify the interval you are hearing.

Then do it all over again with a different bass note for each example.

You then move to the second octave (tensions) octave, b9,9,b10, 10, 11, #11, 12th, b13, 13 and repeat the above exercises.

You then move to triads, starting in root closed positions, then all inversions in closed position, then inversions in open position.

Then 4 part chords, then 4 part chords with 1 tension, then 4 part chords with two tensions.

By the time you get through this program, you can hear stuff pretty good.

Peter_00 · #5 01-09-2007, 04:13 PM

Hey Ed that is some great advice there for ear training. At the school that I go to unfortunately ear training is not emphasised very much (as a classical bass major). When you do this ear training I was wondering whether or not you hear in terms of intervals solely or the relation of the notes to a key?

For example in class alot of people have trouble singing the dominant chord in first inversion descending (eg in c maj. G, D, B). It is usually the last note that is out of tune, even though the interval is a minor 3rd, which most people can sing when it is between the 5th and 3rd degrees. I guess we have to be able to hear it all but I wanted to know if this was something your teacher talked about.

jmnbass · #6 01-09-2007, 05:12 PM

this site is pretty cool
http://musictheory.net/

BassBot · #7 01-10-2007, 05:57 AM

Ed's method sounds similar Bruce Arnold's books, The Fanatics Guide to Ear Training. I guess I'll stick with that method, incorporating the modifications Ed mentioned.

As far as freeware goes, I'd recommend downloading the ear trainer here: http://www.miles.be/. It plays a chord progression to get you in a key. Then it plays one note or a series of notes and you have to guess the intervals (relative to the key you are in). I'm progressing, albeit VERY SLOWLY.

Ed Fuqua · #8 01-11-2007, 07:23 AM

Quote:

Originally Posted by Peter_00

Hey Ed that is some great advice there for ear training. At the school that I go to unfortunately ear training is not emphasised very much (as a classical bass major). When you do this ear training I was wondering whether or not you hear in terms of intervals solely or the relation of the notes to a key?

For example in class alot of people have trouble singing the dominant chord in first inversion descending (eg in c maj. G, D, B). It is usually the last note that is out of tune, even though the interval is a minor 3rd, which most people can sing when it is between the 5th and 3rd degrees. I guess we have to be able to hear it all but I wanted to know if this was something your teacher talked about.

As a specific relationship to the "root" note. And as a specific chordal "constellation". Hearing a first inversion minor triad AS minor even though [EDIT] it has the interval of a major third.[EDIT] Oops,sorry too quick on the trigger finger.