Ear Training WebSite How to Listen to Music: A Vintage Guide to the 7 Essential Skills by Maria Popova “Respond esthetically to all sounds, from the hum of the refrigerator motor or the paddling of oars on a lake, to the tones of a cello or muted trumpet.” Music has a powerful grip on our emotional brain. It can breathe new life into seemingly lifeless minds. But if there is indeed no music instinct, music — not just its creation, but also its consumption — must be an acquired skill. How, then, do we “learn” music beyond merely understanding how it works? From the wonderful vintage book Music: Ways of Listening, originally published in 1982, comes this outline of the seven essential skills of perceptive listening, which author and composer Elliott Schwartz argues have been “dulled by our built-in twentieth-century habit of tuning out” and thus need to be actively developed. Develop your sensitivity to music. Donating = Loving Bringing you (ad-free) Brain Pickings takes hundreds of hours each month. You can also become a one-time patron with a single donation in any amount:
Free Guitar Lessons Online - Rock - Jazz - Funk Good Ear - Online Ear Training Site THE MOZART EFFECT … AND BEYOND BABBITT EFFECT: Child gibbers nonsense all the time. Eventually, people stop listening to him. Child doesn't care because all his playmates think he's cool. BARTÓK EFFECT: Child becomes more and more dissonant. Has trouble maintaining harmony with his peers. Difficulty following rules. BEETHOVEN EFFECT: Child spends far too much time at the keyboard and goes deaf. BRAHMS EFFECT: Child is able to speak beautifully as long as his sentences contain a multiple of three words (3, 6, 9, 12, etc.). BRUCKNER EFFECT: Child speaks very slowly and repeats himself frequently. GLASS EFFECT: Child tends to repeat himself over and over and over and over and over and over and over and over and over and over and over and over and over again. IVES EFFECT: Child develops a remarkable ability to carry on several separate conversations at once. LISZT EFFECT: Child speaks rapidly and extravagantly, but never really says anything important. TAVENER EFFECT: Child sings a lot. And finally ….
Free Guitar Lesson - TB-000 • The Basics and General Concepts This area is to explain all the basic stuff about playing guitar. Some of it is pretty easy stuff aimed at beginners but there is some more advanced ideas and concepts too. How To... Essential skills for all guitarists. TB-001 • How To Tune Your Guitar Use mp3 files as reference notes to tune your guitar. TB-002 • How To Tune Your Guitar (Advanced) Uses harmonics and fancy tricks to tune your guitar. TB-003 • How To Change Strings On An Electric Guitar Changing strings is not as hard as you might think. TB-004 • How To Change Strings On An Acoustic Guitar Changing strings is not as hard as you might think. TB-005 • How To Remember String Names Everyone needs to know the note names of open strings. TB-006 • How to Use The Note Circle This shows you how to work out your tones and semitones, and what they are. TB-007 • How To Find The Notes On The Neck A diagram and exercise to learn the note positions on the guitar neck. TB-008 • How To Use Octaves Use octaves to find the notes on the neck.
Music Theory & Ear Training: Relative Pitch and Perfect Pitch Free Software Ear training online and mobile | Pitchimprover Online Lesson Reviews | Learn Guitar, Piano, Voice, and More! Gehörbildung An Musikhochschulen werden die Melodiediktate zum Bestehen der Aufnahmeprüfung vorausgesetzt. Ein polyphoner Satz muss hierbei möglichst fehlerfrei nach dem Vorspielen auf dem Klavier notiert werden. Seit 2010 wird diese traditionelle Praxis vor dem Hintergrund der aufkommenden Forderung nach einer kompetenzorientierten Vermittlung von Inhalten sowohl an Schulen als auch an Musikhochschulen und Universitäten hinterfragt.[1] Ebenso ist Gehörbildung ein fester Bestandteil der Abiturprüfung im Leistungskurs Musik einiger Bundesländer. Anfangs trainiert man das Gehör, Intervalle sukzessiv und simultan zu bestimmen. Rhythmusdiktate und das Hören von Tonfolgen münden in das Melodiediktat. Des Weiteren beinhaltet die Gehörbildung auch die Erfassung verschiedener Akkordgruppen. Siehe auch[Bearbeiten] Literatur[Bearbeiten] Einzelnachweise[Bearbeiten] Hochspringen ↑ A.
Getting jazz ears | Developing a vivid aural imagination The extent to which your aural imagination is developed, largely determines: the quality of lines you play, how you play those lines (articulation, swing feel, inflection), and the sound you play with. Nothing has such an impact on your playing than your aural imagination. If there were a secret to improvising, developing your aural imagination would be it. Ok, ok. I didn’t say oral imagination. You’ll have to go to the other 98% of the internet for that. When we go to improvise, we draw from a well of knowledge. The way we hear is the most neglected aspect of practicing improvisation. We all hear differently. Hear and sing intervalsHear and sing specific chord tones while a chord plays in the backgroundHear and sing the roots of a progressionHear a line from a recording and retain it. And the list goes on. Be excited. Raising the volume in your head When an interviewer asked Dizzy Gillespie what it sounded like in his head while he played, Dizzy sang a bebop line, but very loudly.
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