AURAL TRAINING AT A LEVEL MUSIC SERIES
AURAL TRAINING AT A LEVEL MUSIC FREE

You can continue this pattern for as long as you'd like switching between tonic and dominant at will.

AURAL TRAINING AT A LEVEL MUSIC FREE

Feel free to draw on tonal patterns you may have already learned for vocabulary. When you ear prompts you move to dominant, and then come back and sing something in tonic to end. In this exercise you can improvise, singing tonic for as long as you'd like. Exercise 1 Free Play: Tonic and Dominant in Major.Expand your vocabulary to tunes base on dorian and mixolydian which have different harmonic functions.Again, start with just chord tones, and then expand to more complex creations. Start with just chord tones, and then expand to more complex creations. Compose melodic structures to these basic chord progressions.

AURAL TRAINING AT A LEVEL MUSIC SERIES

Jump Right In has a series of solo books that each contain 50 songs that fit this description, and audio CD to use as.

All diatonic songs can be harmonized with these three functions, even if they weren't originally harmonized with I, IV, and V7.

Expand your tune vocabulary to other simple diatonic songs that can be mostly harmonized with tonic, dominant and subdominant either in major or minor.

Practice all the songs that you do in major in minor as well.

Scale degree 5 on tonic, 5 on dominant, and 6 on subdominant (Key of C Major: G, G, and A).

Scale degree 3 on tonic, 4 on dominant, and 4 on subdominant (Key of C Major: E, F, and F).

Scale degree 1 on tonic, 7 on dominant, and 1 on subdominant (Key of C Major: C, B, and C).

In the key of C, C=1, B=7, etc., no matter the underlying chord).

You can use the following basic harmonies (all scale degrees below reference the overall key.

If you have any ability at all to play the piano, guitar, or other instrument that allows you to sing simultaneously, practice playing the melody while singing the bass line, playing the bass line while singing the melody, and singing harmonies while playing the bass line or melody.

Practice playing the melody while hearing the bass line in your head, playing the bass line while hearing the melody in your head, and playing the bass line or melody while hearing simple harmonies in your head (see below for harmonies).

After learning to sing the melodies and bass lines, learn to play them on your instrument by ear.

First focus on simple songs that feature tonic and dominant such as Mary Had a Little Lamb, London Bridges, Hot Cross Buns, and Three Blind Mice.

Learn to sing melodies and their bass lines by ear.

No matter how great a musician you are, music can always become more intuitive and therefore easier for you, and that is the exact aim of music learning theory. I think the best description of the overall improvement is that music has become more intuitive. Whether it is hearing a familiar song or melody or creating an improvisation in my head, I can hear it more vividly and comprehend it more quickly than I could before. One of the big differences I've noticed, and I'll go into the specific benefits of this later, is that I hear music in my inner more clearly now. I've been using it with students, and I've been seeing the same results with them. After a few months of memorizing and digesting the applications of music learning theory, I began to see a significant consistent improvement in my musicianship. I've done a lot of transcription both in terms of melody and changes (harmony), and worked through various ear training classes in school (learning intervals, sight singing, recognizing chords with extensions, etc.). Before starting, I felt I had pretty decent ears. In becoming familiar with the theory I worked through the recommend exercises and learning activities, so that I could use them in teaching music.

The theory's explanation of how we learn to understand melody and harmony has produced a system of ear training that I personally found extremely effective.

Aural training at a level music