The document outlines a series of exercises to improve ear training skills over 18 lessons. It begins with exercises alternating between singing single tones and analyzing chords. Subsequent exercises incrementally add tones to recognize and increase the complexity of chord analyses. Later exercises expand the range of tones, test recognition of missing tones in scales and chords, and aim for universal recognition of tones across instruments. The final lessons encourage applying skills to various musical contexts and tuning instruments by ear alone. The goal throughout is 95% accuracy in tone recognition and singing.
This presentation is an interactive PowerPoint, designed to teach and demonstrate to people how to play the piano. It is designed for individuals at any age.
This presentation is an interactive PowerPoint, designed to teach and demonstrate to people how to play the piano. It is designed for individuals at any age.
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The piano is routinely used in solo and collective performances, accompanying, composition, songwriting, and rehearsing in classical, jazz, traditional, and pop songs. According to Jack Hanson Vermont, one should follow some steps to learn piano efficiently.
Music 150 Music Score Rubric Criteria Full Credit Half Cr.docxroushhsiu
Music 150 Music Score Rubric
Criteria Full Credit Half Credit No Credit
Melody: 1 point
Portray the melody your
selected minute of music
Your score demonstrates a solid
understanding of melody and
depicts it in a clear/interesting/
creative way
You demonstrate
partial understanding
of melody, or you
depict it in a lazy or
unclear way
You neglect to depict
melody at all
Rhythm: 1 point
Portray the rhythm of your
selected minute of music
Your score demonstrates a solid
understanding of rhythm and
depicts it in a clear/interesting/
creative way
You demonstrate some
understanding of rhythm,
or you depict it in a lazy or
unclear way
You neglect to depict
rhythm at all
Texture: 1 point
Portray the texture of your
selected minute of music
Your score demonstrates a solid
understanding of what texture
means and depicts the texture of
your selected minute of music in a
cool/clear way
You sort of demonstrate
texture, or do so in a lazy way
You don’t deal with
texture at all
Color: 1 point
Use at least two colors to
indicate something about the
music
You use color in a cool or helpful
way to symbolize certain chosen
aspects of the music, and it’s clear
what the colors indicate
You use only one color, or it’s
unclear what the colors are
meant to indicate
No color or totally
unclear
Craftsmanship: 5 points
Your score demonstrates
careful work and planning;
includes time stamps;
describes entire minute of
selected song; and is
beautiful/compelling/
creative/
or interesting
Your notation is coherent and
legible
You use time stamps so we can
tell where we are in the
song when we try to follow
your score
You notate the entire minute of
the song
Your score is cool in some way
Your score is legible but
lacks coherence
And/or no time stamps
And/or you neglect to
notate the entire minute
And/or your score displays
a certain
thoughtlessness or
laziness or lack of
effort
Your score is illegible or
incoherent
No time stamp
Impossible to follow or
incomplete
Lazy (e.g. just ballpoint
pen squiggles on a
ripped out piece of
notebook paper, come
on get real)
Essay:
Perception: 2 points
Identify what you hear in
your selected minute in terms
of melody, texture, rhythm,
etc.
Full description, clear Patchy description, or unclear/
vague
No real description of
specific musical
elements
Essay:
Response: 2 points
Describe how what you hear
in the music relates to your
notation
Clear and thoughtful
relationship between music
and notation
Relationship between music
and notation is unclear or only
partially clear
You make no real
attempt to describe the
relationship between
the music and your
notation
Essay:
Mechanics: 2 points
Essay is well organized, has clear
structure, few or no grammar/
punctuation/spelling mistakes
Essay is somewhat
disorganized; some
grammar etc. mistakes
Essay is incoherent;
many mistakes
Graphic Transcrip ...
43. EXERCISE 6
Instead of singing tones for two minutes, alternate back and forth, naming just one
tone to the other to sing for a total time of 4 minutes. Next do ten minutes of aural
chords analysis, except this time use 3 tones. You may spread tones but stay with in
4 octaves.
Proceed only when you reach 95 % accuracy
EXERCISE 7
The schedule is now:
a) 4 minutes of alternate pitch singing (don't forget to choose and sing a pitch before
you start)
b) 5 minute of pitch naming with C, C#, Eb, F# and A ; switch with partner
c) 5 minutes of aural chords analysis using two and three note chords, switch
partner
Note the addition of C# to your list.... spend additional few minutes listening to the
color of C# within 4 octaves range. what does C# sounds like ? (do you notice a
"vibrant" quality similar to F#?).
When practicing aural chord analysis don't tell your partner you are using 2 or 3
notes !
Total time 25 minutes. Proceed only when you reach 95 % accuracy.
EXERCISE 8
Add E to your list of tones and do Exercise 7. Proceed only when you reach 95 %
accuracy.
EXERCISE 9
Add G to your list of tones. Proceed only when you reach 95 % accuracy.
44. EXERCISE 10
Add Bb to your list of tones. Proceed only when you reach 95 % accuracy. Use 2, 3
and 4 notes on the aural chord analysis.
EXERCISE 11
Add D to your list of tones. Proceed only when you reach 95 % accuracy.
EXERCISE 12
Add F to your list of tones. Proceed only when you reach 95 % accuracy. You may
wish to spend more time, but no more then 30-35 minutes (Instrumentalists not
practicing aural chord analysis may go to 20 minutes of they wish).
EXERCISE 13
Add B to your list of tones. Proceed only when you reach 95 % accuracy.
EXERCISE 14
Add F to your list of tones. Proceed only when you reach 95 % accuracy. You may
wish to spend more time, but no more then 30-35 minutes (Instrumentalists not
practicing aural chord analysis should change their instrument to piano or guitar
and return to exercise 7 upon mastery of this exercise). Having gained color
discrimination this will enable further ear-training with chords simultaneously
developing universal color discrimination). Aural chord analysis is very different
from pitch naming with single tones and will secure much greater clarity of pitch
color recognition. Having become sensitive to colors on your instrument your ear
will learn groups of tones.
For (a) and (b) of each exercise use chromatic tones, but for aural chord analysis use
only the tones included in the exercise - part (c)
EXERCISE 15
All chromatic tones within the four octaves have been included... if you have beem
practicing at a moderate rate then the abstract sense of color awareness has now
been cultured at the point where you have color discrimination.
45. The focus now is to expand in order to include all the "tints" of a tone is all octaves.
You are familiar at this point how the each tones sound the same in each octave,
except that each octave seems to be a different "shade" of that same color. To
distinguish between octaves we will label each tone with an unique name. The
easiest way to do so is to simply number consecutively each of the twelve chromatic
tones from bottom to top.. thus the lowest notes on the keyboard are: A1, Bb1, etc.
Middle C is C4. (The lowest guitar tone is E2. For instruments not pitched in C use
the number of the identical piano pitch. For example, Bb5 on a piano would be a C5
on a Bb clarinet).
Practice this exercise exactly as the last but learn the specific name you have been
using.
A good technique for pitch naming drill is to plat at a fast, constant speed to see how
quickly you or your partner can perceive and name tones. It is not necessary to
name which octave the tone is when practicing speed.
You are now ready to use and advanced method to help you remember the pitch
color tone. The best way to imagine what a tone sounds like is to imagine the color
sound fo a major chord which uses that tone as its keynote.
For example if your partner asks you to sing an A, effortlessly try to remember how
an A chord sounds like. Then after attempting to sing an A, have your partner play
a A chord with A, C# and E in close position. After practicing this way, you will
quickly learn the different color patterns of major chords. This will greatly aid
your color memory because you will hear the color of a pitch and also the color
pattern of a chord as different as other chords.
When errors are made in this exercise you have not yet remembered the pitch colors
correctly. Listen carefully to the chord built on that note. Then without playing hear
this chordal color pattern in your head. Sing the keynote.
Pitch singing in this manner is now extremely important... when practicing aural
chord analysis use these same major chords from time to time.
EXERCISE 16
Continue as before but add one octave in each direction. Play single tones frequently
in these extremes. Chord tones may be spread out as far as you'd like. Don't strain
with chords on the low register, they would be so muddy that even Mozart wouldn't
recognize them. Complete chords should be used in the extreme upper range.
EXERCISE 17
46. Add the remaining tones. These will be "ear teasers" but in time you may master
them.
EXERCISE 18
You have now cultured your ear to a high degree of color discrimination. You
should now broad your pitch color discrimination to include all instruments, even a
grandfather clock striking the hour.
One way is to go to the piano, open it up and pluck the strings inside. Have friends
sit with their instruments so you can get used to the sound of pitch color of their
instruments. Check in which key a song is played, on the radio, concerts, records.
Listen to any sound: church bells, horns, water, cats !!
The most important exercise to practice is pitch singing. When you can remember a
tone without hearing it first you have mastered color hearing technique.
Proceed when you have 95 % accuracy in naming any pitch for any instrument
(universal color discrimination) and pitch singing (aural recall).
XIII - EAR TEASERS FOR SUPER EARS...
These are not impossible exercises and should be approach with fun. I had a
colleague during high school and both of us used to create outrageous exercises to
test each other.
- Locate an entire octave of a diatonic scale. Leave one out and play all the others
simultaneously in one tone cluster. Have your partner name the missing tone....
repeat using scales in different keys. Hint: first listen for and identify the key tone.
Then climb the scale and listen to the "gap"
- Play all but one of eight consecutive whole-tone scale tones together. Name the
missing tone.
- Play five to ten tones in any kind of chord. Name all tones in order. Be sure the
player strikes in even manner. Watch out because you may hear overtones... this is a
better exercise if all the intervals and half and whole tones.
- Play all but one of the seven to ten consecutive chromatic tones together in one
tone cluster. Name the missing note as well as the low and high tones.
47. _ Find a partner who plays the same instrument. One individual plays scales
starting in any key, moving up to successive chromatic keys upon completion of each
key, while the other tries to locate where the tones are.
_ Listen to some progressive modern music... choose any note and listen for it
somewhere in the music. Go up the chromatic scale until you have listened for and
picked out each tone.
- Try to tune your guitar or other string instrument to concert pitch by ear all alone.
Check yourself on a tuning fork or piano.
- Use any musical score, take a melodic line and slowly listen mentally to the pitch
color of each tone. Go very slowly and listen closely to the pitch in your mind.
XIV - PERFECT PITCH , MUSIC AND HIGHER CONSCIOUSNESS
These chapter talks about how the awareness of perfect pitch and its relation to
Yoga and how gaining perfect pitch makes you become more conscious of other
things..
UF !
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