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Muse Eek Publishing Company New York, New York A Fanatic's Guide to Ear Trainin

Muse Eek Publishing Company New York, New York A Fanatic's Guide to Ear Training and Sight Singing Volume One by Bruce Arnold No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Printed in the United States Copyright © 2007 by Muse Eek Publishing Company. All rights reserved ISBN 978-1-59489-876-1 This publication can be purchased from your local bookstore or by contacting: Muse Eek Publishing Company P.O. Box 509 New York, NY 10276, US Fax: 212-473-4601 http://www.muse-eek.com sales@muse-eek.com Table Of Contents Acknowledgements v About the Author vi Foreword vii How to use this book viii Before We Start 1 Music Theory and Ear Training 2 Background 8 Common Problems Associated with Ear Training 10 Learning the Sound of Each Note 11 One Note 13 Mastering One Note 15 Two Notes 15 Alternative Methods for Using this Book 17 Common progression 17 Intervallic movement 18 Three Notes 19 Four Notes 26 Five Notes 33 Six Notes 47 Frequently Asked Questions 66 iv The author would like to thank Michal Shapiro for her patience and help in proof reading and for her suggestions. I would also like to thank my students who through their questions allowed me to see their needs so that I might address them as best I could. Acknowledgments v Bruce Arnold is from Sioux Falls, South Dakota. His educational background started with 3 years of music study at the University of South Dakota; he then attended the Berklee College of Music where he received a Bachelor of Music degree in composition. During that time he also studied privately with Jerry Bergonzi and Charlie Banacos. Mr. Arnold has taught at some of the most prestigious music schools in America, including the New England Conservatory of Music, Dartmouth College, Berklee College of Music, Princeton University and New York University. He is a performer, composer, jazz clinician and has an extensive private instruction practice. Currently Mr. Arnold is performing with his own “The Bruce Arnold Trio,” and “Eye Contact” with Harvie Swartz, as well as with two experimental bands, “Release the Hounds” a free improv group, and “Spooky Actions” which re-interprets the work of 20th Century classical masters. His debut CD “Blue Eleven” (MMC 2036J) received great critical acclaim, and his most recent CD “A Few Dozen” was released in January 2000. The Los Angeles Times said of this release “Mr. Arnold deserves credit for his effort to ex- pand the jazz palette.” For more information about Mr. Arnold check his website at http://www.arnoldjazz.com This website contains audio examples of Mr. Arnold’s compositions and a workshop section with free downloadable music exercises. About the Author vi Foreword This ear training series presents a method that I have found successfully improves a student's ability to identify pitches. There is a direct correlation between this ability and their musicality. This method is part of the process for achieving master musicianship. The singing method presented in this book should be done in tandem with the listening aspect of ear training. For this it is recommended that you use the "One Note Ear Training" series which consists of Beginning, Intermediate and Advanced levels. Each CD that accompa- nies the books requires you to speed up your response time so that you can eventually identify pitches while music is moving by in real time. The text in the Beginning, Interme- diate and Advanced books is exactly the same, but the speed at which the CD requires you to answer doubles between each level; all techniques also stay the same. * The Fanatic's Guide includes a music theory section and FAQ sections. The music theory section explains why the knowledge of music theory is integral to ear training. It is assumed that most users already understand the music theory concepts presented. If by some chance you are not sure about the importance of music theory and ear training be sure to read the music theory section from pages 1-7. You will also find the FAQs (Frequently Asked Questions) starting on page 66 to be a good source for answering any questions you might have about this method. Muse Eek Publishing Company hosts two on-line resources in conjunction with this book. An ongo- ing "Frequently Asked Questions" page (FAQ) is available where students can ask the author questions that may arise as they work. There is also a free "member's section" where book owners can download other files specific to this book and/or other help files to further their music education. Bruce Arnold New York, New York * The reason for this is to allow a more advanced student to buy just the ear training book that is good for them. Beginning students should buy "Ear Training One Note Complete Method" ISBN 1890944475 or 1890944483 which contains 3 CDs and all information contained in the Beginning, Intermediate and Advanced One Note Ear Training books.. vii This book presents a new method for developing good pitch perception. After the basic concepts of how to use this method are explained, you will find many pages of exercises. Once you understand the scope of this book and the demanding nature of the exercises, it may seem overwhelming, but one must work many years to develop a truly accurate ear, and the work in this book is part of a long term process. It is impossible to know the ability of every student that comes in contact with this book, but I believe all but the exceptionally gifted will find the contents quite challenging. The examples given here took me years to work through, but the results were well worth every minute. I'm sure you will find working through this book to be equally rewarding. For those students who have difficulty organizing a practice regimen the "member's section" of the muse-eek.com website is additionally helpful. It con- tains free downloadable lesson plans to help organize a productive work schedule. Don't be surprised if you are working with one exercise for months, even years. These exercises are highly specialized and go right to the heart of your ear training problems. It's wonderfully rewarding to see these problems eventually fade away, but it can also be very frustrating to work on the same exercise for a long period of time and not improve as quickly as you would like. If you are having problems with some of these exercises don't assume that there is something wrong with you. Just have faith and keep going. At the same time, it is also important to contact me if you feel that you are having a real problem that needs discussion. Teaching ear training without direct contact with a teacher can be tricky, although thanks to the internet and e-mail the problems of distance learning can be greatly diminished. But remember: this communication and interaction starts with you. How to Use this book Before We Start Whether you are working with the "Fanatic's Guide to Ear Training and Sight Singing" or the "Ear Training One Note Series" you must have a certain amount of basic musical knowledge in order to use this ear training method efficiently. If you are a music student who already knows the names of all 12 notes and how they relate to a key, what the diatonic chords of a key are and how they can be used to form a cadence in a key, which in turns establishes a key in your mind, you may skip this section and go on to page 8. If you are a total beginner to music it is important to understand that in order to develop your ear and your musical abilities to a high level you will need to have at least a basic understanding of music theory. If you don't understand the rudiments of how music is put together you won't understand or be able to work with this ear training method. For instance, each exercise in this book requires you to listen to one of the tracks on the accompanying CD. On this track you will hear a group of chords sound and then one chord repeating over and over. This group of chords and repeating one chord are there to establish a "sense of key" in your mind. Why are we using this particular group of chords to establish a "key" and what is a "sense of key" anyway? Well, you have to understand some basic music theory before that will make any sense to you. Another practical consideration is if you don't know the names of all possible notes used in music and what their relationships are to a key then you won't understand how to implement the skills you will obtain from working on the exercises presented in this book. Let's say you do know the names of the 12 pitches we use in western music but you don't know what relationship they have uploads/s3/ fanantic-guide.pdf