![]() Common aural skills tasks like sight singing and dictation require or benefit from an array of abilities, including hearing with reference to key and meter, hearing sound in your head (“audiating”), directing your attention to different parts of the music, and relating music to internalized models. Inevitably, there are accessibility challenges that we have not yet addressed, but we welcome suggestions and commit to making aural skills acquisition accessible for as wide a range of individuals as possible. Finally, we explicitly recognize that students bring different abilities and experiences to the class: for example, when we call for the use of the voice, we try to offer alternative approaches for those whose brain-voice connection is problematic. In addition, we present different visions of what aural skills look like, from improvisation to playback to transcription to sight reading, offering success to students with different backgrounds and goals. This text has been designed with accessibility in mind, with a particular focus on trying to make everything transparent to those who use screen readers. With their focus on notated music, heavy reliance on working memory, and limited vision of what student success looks like, aural skills classes are notoriously inaccessible to students who don’t have certain specific abilities and habits. We are trying to move away from that model, for reasons too numerous to express here.Īs you consider how this book may be of use in your own teaching, we draw your attention to the following principles, which we have sought to prioritize in the creation of this text. Most instructors will be aware that many existing aural skills curricula and texts are derived primarily from the content and ordering of a music theory curriculum, filtered through two tasks: sight singing and dictation. If you decide to use the book in any way, please let Tim Chenette know at This Book vs. We request that you offer your feedback at this Google form. If you ever find that you have suggestions or feedback for us, please don’t hesitate to share it. This page has notes to instructors on how Foundations of Aural Skills differs from other aural skills texts, advice on using it as a primary text, advice on using it to supplement an existing curriculum, approaches to assessment, a quick guide to other current aural skills Open Educational Resources, and a sketchy short-term development plan for the text. Fortunately, we still think this book can be useful to everybody in some way. If you can identify your starting note, and then identify your intervals as you progress through a piece of music, you're in good shape.This OER aural skills text is designed to support aural skills instruction at introductory levels, particularly college/university/conservatory classes with names like “Aural Skills 1,” “Ear Training 1,” “Musicianship 1,” and “Sight-Singing 1.” The text may also be useful for teachers of high school AP Music Theory or other pre-college classes, though it has not been tailored specifically to the needs of students studying for the AP Music Theory exam.īefore we start, we should emphasize that this textbook-officially published in December 2022-is still under active development. In my opinion, the most valuable skill set is a combination of pitch recognition and interval recognition. Harmonic minor scale: do re me fa sol le ti do That's what we have solfege for (do, re, mi.) If you want to be able to identify a perfect 4th, sing the opening of "here comes the bride" ("do - fa" going up). Training relative pitch, the ability to identify intervals, is more valuable in my opinion. If an elevator in your office dings at a specific pitch, you could identify it and memorize it. Orchestras tune to the note A every day, so many recognize that pitch. Training absolute pitch, the ability to identify a pitch out of thin air, is a matter of just memorizing a pitch through repetition. It depends upon whether you'd like to train absolute pitch (pitch recognition) or relative pitch (interval recognition.) I would advocate the latter. I like playing along with old movies myself. The tv thing is something I picked up from some guys when I was coming up. Just sight singing and transcribing from records is how alot of players learned to do it. Transcribing from records is great stuff, too. Play along with the jingles on commercials, play along with the background music in a scene, play along with the theme music for the shows.TV provides random melodies a-plenty to ear up and play along with Playing along with the television is great stuff, too. Find simple melodies to sight sing or take bits of the pieces you are working with and sing them Sing the bass, sing the melody (you might need to sing and octave below depending on how high it goes). Take one of your guitar pieces and sing one of the inner voices. When I was in music school, ear training and sight singing were the same course. ![]()
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