There are many kinds of exercises in my books but here is a quick synopsis of some of them: Obviously if a tune modulates you would use an entirely different approach. I recommend using jazz standards for this, because the lead sheets are easy to find, and the chord progressions cover the ones typically found in all styles of music.Įxactly what you apply to these jazz standards will vary for each book, but the underlying principle is that you are hearing all notes in the key center, not in relationship to each chord. I assign students who work through my ear training (and many courses such as “Approach Notes, ” Scale Analysis,” “Ultimate Arpeggio” or “Fanatic’s Guide to Ear Training and Sight Singing”) to apply the information they have learned to real music. After this, sing each triad as they’re played and try to identify them.Singing Jazz Standards Ear Training Exercises Repeat for major and minor, and each of the inversions (and root). Warm up by playing solid triads (in your voice rance) and singing each note up from the bottom up.Add on second inversion triads as you become more comfortable.Listen to 3-note major or minor chords played in either root or first inversion, then try to identify it.Name solid triad inversionsas they’re played (once only).Make sure you play the accompaniment with your left hand. *Accompaniment is harder to isolate, so begin by having the accompaniment played louder than the melody and gradually soften the accompaniment as you move on. Listen to it twice, then try to recreate the melody (knowing which key it’s in), on the keyboard.Replay accompaniment to short melodies exactly as you hear them with your left hand.Try melodies with more interesting rhythms. Listen to the melody twice, then try it.Replay longer, more intricate melodiesexactly as you hear them with your right hand. Begin with a 5-note range and expand within one octave. Listen twice, then try to recreate the melody (knowing which key it’s in), on the keyboard.
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