Elementary Aural Skills Placement Examination | USC Thornton School of Music This examination tests general knowledge and skills in the area of aural skills. The actual exam must be completed within 30 minutes and will be graded with PASS or FAIL. For this practice exam, you may play each example as many times as you wish. In the actual exam each passage will only be played five times. Click the “Play Example” button to hear the audio. General Study Suggestions Benjamin/Horvit/Nelson Music for Sight Singing, 6th EditionHorvit/Koozin/Nelson Music for Ear Training, 4th Edition (Includes online resources for self-study)Ottman, Robert W. Melodic Dictation Notate as precisely as possible the rhythm and pitch of the melody played. Harmonic Dictation A progression of chords in 4-part style will be played. Contemporary Compositional Techniques Choosing from the lettered options below, identify which contemporary compositional technique best describes the listening excerpt.
SonicFit- Exercises for Ear Training and Aural Skills Ear Training and Aural Skills Exercises Ear training exercises help to develop a musicians aural skills and musicianship. For more on these terms, be sure to read the page Ear Training, Aural Skills and Musicianship. Through aural skills development, musicians are able to fully comprehend the music theory of the sounds that they hear. The lessons found under the lessons tab above offer a comprehensive curriculum for learning music fundamentals and theory, including the ear training necessary to grasp these concepts in the sound itself, not just in written form. Scale Degree Ear Training Scale Degree Ear Training develops a musician’s ability to know each note’s place relative to other notes in the scale employed. Scale Degree Ear Training is the cornerstone exercise of SonicFit. Musicians often use a mnemonic system to remember scale degrees of a scale. When doing this exercise, you should be singing everything! Intervals and Chords Ear Training Melodic Fragments Ear Training Modes 1.
SonicFit- Exercises for Ear Training and Aural Skills Ear Training and Aural Skills Exercises Ear training exercises help to develop a musicians aural skills and musicianship. For more on these terms, be sure to read the page Ear Training, Aural Skills and Musicianship. Through aural skills development, musicians are able to fully comprehend the music theory of the sounds that they hear. A well trained ear is able to write down music that is played, and can ‘hear’ written music without having to play it out loud. The lessons found under the lessons tab above offer a comprehensive curriculum for learning music fundamentals and theory, including the ear training necessary to grasp these concepts in the sound itself, not just in written form. Scale Degree Ear Training Scale Degree Ear Training develops a musician’s ability to know each note’s place relative to other notes in the scale employed. Scale Degree Ear Training is the cornerstone exercise of SonicFit. Musicians often use a mnemonic system to remember scale degrees of a scale. Modes 1.
mimicopy.com — Problems of Music Dictation — Home Ear training online and mobile | Pitchimprover sonicFit Sight singing is the ability to sing musical notation without the aid of an instrument. Sight singing is often called by the name sight reading, and includes the ability to audiate the notation, that is, to hear it in one’s head. Sight reading sometimes refers to the ability to play music notation proficiently on an instrument upon seeing it for the first time without the need to practice it. Unfortunately, this other meaning includes no assumption of aural ability, as the skills required are knowing which keys need to be pressed or other physical processes executed. The meaning of "sight reading" is contextual- if you are referring to aural skills, musicianship, or ear training, then the meaning assumes full aural comprehension of the material. The advanced sight reading generator above produces melodies in several time signatures, clefs, modes (major and minor) and keys. Other exercises At SonicFit, we advocate the use of solfege for sight reading.
John Murphy - ear training interview | IWasDoingAllRight Following is an interview I conducted with John Murphy, a professor in the jazz studies program at the University of North Texas (UNT). As you'll read below, the interview focuses on his thoughts about ear training and its role in jazz education at UNT. I really value John's insight and would like to thank him for his contribution to this website and, more importantly, to jazz education. Thanks, John! And now, on to the interview… Q: What classes do you teach at UNT? A: These are the courses I teach regularly: jazz aural fundamentals, undergrad and graduate jazz history, graduate jazz analysis and research methods, Jazz Repertory Ensemble. Q: Please tell us a little about the required ear training classes for undergraduate jazz studies majors at UNT. A: Two semesters of jazz theory, the second one integrated with playing; one semester each of aural fundamentals and keyboard. Q: Please tell us about the skills you cover in your "jazz aural fundamentals" class. A: Ear training is essential.
FREE! Ear Training Software · Joe Hubbard Bass Please follow these instructions to download the software:1. Click DOWNLOAD NOW 2. A window should appear that prompts you to either Open or Save the program; click “Save” 3. Another window should appear where you can assign where you want to save the file, for example: your Desktop; assign location where you want to save the file and then click “Save” 4. It comes in a Zip File called FET_Basic_Setup 5. System Requirements: Windows 98/ME/NT/2000/XP/Vista/Windows 7Minimum 64 MB of RAMMinimum 10 MB free disk spaceSoundcard or MIDI device This software is only available as a Microsoft Windows executable. If you have any further questions, please contact me at: heyjoe@joehubbardbass.com
ABRSM: Mock aural tests A single set of mock tests for each grade, taken from ABRSM’s Specimen Aural Tests volumes, is available from this website as a free audio download, to help prepare candidates for what to expect in the exam. Answers are given on the audio download for any parts of tests that require a spoken response (except for Test 8D, for which a written description of the piece is provided as a PDF file). For tests that require a sung response there is an opportunity to check the response on the audio download. An answer space is provided, but if extra thinking time is required simply pause the recording. In some cases there are other ways of responding that would be equally successful, so the answers should only be used as a guide. It should also be noted that in an exam the examiner will not provide answers. The Specimen Aural Tests volumes provide many further practice examples and are available in versions with or without CDs. Notes regarding Test A and Test B at Grades 4-8
Aural Skills | School of Music All graduate music students are expected to demonstrate a competency with aural skills relevant to functional tonal music. To pass the exam you need to be comfortable with hearing and identifying functional chromaticism in both melody and harmony. For melody this means that you need to be able to hear and identify chromatic embellishments and modal mixture. Harmonically you need to be able to hear and identify applied harmonies (secondary dominants), modal mixture harmonies, and altered harmonies (Neapolitan chords and Augmented 6th chords). Intervals - Sample Identify intervals and their qualities. Solution Melodic Dictation - Samples Using the media player below play the melody - up to 4 times. Using the media player below play the melody - up to 5 times. Using the media player below play the melody - up to 7 times. Harmonic Dictation - Samples Play each example up to 5 times. Example 1 Example 2 Example 3 Example 4 Example 5 Example 6 Example 7 Example 8 Example 9
Ear Training/Dictation for Music Majors Ear Training Sites: There are two ear training sites that you can work with. You should now have password access to both: Teoria: Sonic Fit: Process Below are the categories for the Music Major Dictation exam. When you feel you are ready to take any or all of these sections, simply contact me and we'll set a time. Like the piano proficiency, you can take it in sections, and when you've passed a section, you'll be checked off. I WILL announce one formal session near the end of term where I will invite anyone who wishes to take the full exam. Intervals You are to know all of your intervals, played melodically and harmonically. Melodic Dictation -- Modal (folk) Melodies How do you practice this on your own? Oh, you young people don't know what it was like to have to move the needle back and forth on a record to transcribe a passage of music (while walking uphill to school both ways)! See how easy you have it? How easy is that? Chord-Type Recognition
Integrated Aural Skills | Table of Contents Welcome Introduction to Aural Skills Introduction to Intervals Introduction to Diatonicism Introduction to Melodic Dictation Introduction to Seventh Chords Working With Intervals Building Fluency in Melodic Dictation Increasingly Complex Rhythms Review of Concepts Introduction to Harmonic Dictation Hearing Harmony Length and Complexity in Melody and Harmony Modal Scales, Syncopated Rhythms Strategies for Recognition and Error Detection Mastery and Consolidation Hearing Music from the Page Introduction to Aural Skills IV Compound Intervals and Triads More on Secondary Dominants Tonicization and Modulation Advancing Melodic Dictation Chromaticism, Tonicization, and Modulation in Melody and Harmony Syncopation in Compound Time Midterm Exam Review Midterm Exam Review 2 Introduction to Non-Diatonic Scales Introduction to Neapolitan and Augmented Sixth Chords Inverted Compound Seventh Chords in Context Hearing the Harmonic Big Picture Borrowed Chords Irregular Resolutions in Harmony