![]() ![]() The corresponding Instructor's Manual is available free upon request (1-88). ![]() Together, they incorporate unique and groundbreaking ways to train the ears of developing musicians and to encourage them to acquire a high level of aural skill.įunctional Hearing is intended to be used in any aural skills sequence lasting from two to seven semesters, or as a companion text in most traditional courses in music theory. We have a series of chapters dedicated to different manifestations of real-world aural skills: improvisation, playback, transcription, sight reading, and leading or participating in an ensemble. The book is divided into seven areas which include: Hearing the Essential Elements of Music Hearing Quality, Function, and Inversion in Triads Hearing Quality, Function, and Inversion in Seventh Chords Hearing Secondary Functions and Modulations Hearing and Performing in Multiple Parts Hearing Chromaticism and Hearing in Nonfunctional Contexts. We want aural skills to be something musicians do all the timenot just when they’re in the aural skills classroom. In addition to presenting harmonic and rhythmic dictations, students are also shown how to listen and use their theoretical knowledge to comprehend the harmonic and rhythmic contexts in which they are listening. ![]() This book not only presents melodies for dictation and sight-singing, but also instructs students in how to develop the skills and strategies to hear and sight-sing unfamiliar music. Functional Hearing fills this void with its unique method of comprehensive ear training. Some of this apprehension undoubtedly arises from the lack of effective pedagogical tools that can reliably and more completely address the needs of the discipline. I know it sounds silly but it’s so important that you work with songs you love. Choose singers that have good vocal technique and sing songs you love. Now that you’ve sung along with the individual notes of the song, it’s time to sing along with real singers. Though the teaching of aural skills is one of the most important tasks facing the college-level music educator, it is often one of the most problematic, sometimes the most feared. Ear Training Technique 11: Sing Along with Another Singer. ![]()
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