Music for Ear Training (with CD-ROM): CD-ROM and Workbook 3rd Edition [Spiral-bound]by Michael Horvit, Timothy Koozin, and Robert Nelson, (Schirmer) When it comes to improving ear training and listening skills, choose the standard in ear training instruction: Horvit/Koozin/Nelson MUSIC FOR EAR TRAINING: CD-ROM AND WORKBOOK, Third Edition. Taking a hybrid approach, the workbook and CD deliver a wealth of practical material designed to help you quickly improve your listening and ear training skills. The dual-format CD-ROM provides an easy-to-use interface for listening with varied general MIDI instrumental sounds. The dictation repertoire includes basic rudiments (intervals, chords, and scales), melodies, four-part harmonic settings, and varied textures from musical literature.
Often, there is not sufficient class time to provide students with the reinforcing experiences necessary to develop the tools to take music dictation with ease, assurance, and fluency. The ability to write down music upon hearing it is an extremely important skill that benefits the musician in numerous ways. It enhances one's aural acuity both as a performer and listener, and makes all musical experiences more vivid and comprehensible.
This interactive material provides each individual student with the equivalent of a private ear training tutor. Each student may proceed at his or her own pace. Examples and portions of examples can be listened to as often as necessary for each individual to master the material. In addition, tempos and timbres can be varied as well. It is important, however, that the student develop the ability to take down dictation accurately within a limited number of replays, possibly four, or other number recommended by the instructor.
This CD-ROM is compatible with Windows and Macintosh formats. All the student has to do is insert the disc into the CD-ROM drive of the computer and the material is immediately accessible by clicking on the icon. The layout of the workbook is designed in parallel with the CD-ROM, so that the student can write dictation directly onto the appropriate page. Time and key signatures, bar lines, double bars, and staffs are provided as needed for each example. The CD-ROM provides the answers to all dictation examples except those contained in the quizzes at the end of each chapter. The answers for these are included in the Instructor's Edition.
All of the material in Music for Ear Training is cumulative. Each chapter builds upon those that have preceded it. We have included the following types of material for dictation:
1. Rhythmic exercises are played on a single pitch, and provide practice with specific rhythmic problems.
2. Melodic exercises are composed in a musical way and deal with specific scalar, harmonic and rhythmic material. In most chapters, preliminary as well as full-length exercises are provided.
3. Harmonic exercises are played in four-voice texture, either choral or keyboard. They focus on particular chordal vocabulary. In most chapters, preliminary as well as full-length exercises are provided.
4. Quizzes are included in each chapter after the exercises in each of the above topics.
5. Music from the Literature. At strategic points throughout
Music for Ear Training, chapters
containing cumulative examples from the literature in a variety of textures are included.
The number of exercises within each unit was dictated by the desire to present both a sufficient number of exercises and a few more challenging exercises for the advanced students. It is, of course, not necessary to do each and every exercise. The instructor may even wish to assign only certain exercises within the quizzes, or may wish to mix items from the rhythmic, melodic, and harmonic exercises.
Unit 1 gives the student the opportunity for virtually endless drill in musical rudiments, that is, intervals, qualities of triads, and scale types. Within each category, practice drills generate random intervals, triads, and scales. The student is allowed to determine the range of intervals to hear from a single category—for example, major and minor thirds—up to all intervals. Similarly, the student may elect specific qualities of triads to hear. The practice drills are followed by quizzes. The interval quizzes are graded by interval type, but each quiz contains a section that is cumulative—that is, all intervals to that point are included, and in all possible arrangements.
It is not necessary to do Unit 1 in any particular order. Scales can easily precede intervals, for example. Unit 1 should also be considered a resource unit and the students should be encouraged to return to it at any time for review drill, particularly on intervals and triad qualities.
Music for Ear Training may be used conveniently with most of the sight singing texts currently available. It is designed in parallel with Music for Sight Singing by Benjamin, Horvit, and Nelson, fifth edition (Wadsworth, 2009: See below), and will work especially smoothly with the presentation of materials in that book.
The Instructor's Edition is laid out parallel to the Workbook, but with the answers to all of the exercises and quizzes included. The Roman numeral analyses provided for the common-practice examples follow the system used in Techniques and Materials of Music, seventh edition, but instructors should feel free to substitute whatever system they prefer. Lead sheet (jazz) chord symbol usage is also far from uniform and instructors may wish to specify how they want chords analyzed in Unit 20. Some serial melodies in Unit 25 show accidentals on every note; others use the traditional method. Enharmonic equivalents are occasionally indicated parenthetically, as with tritones in Unit 1. In other places, students may notate certain notes enharmonically and the instructor will need to determine the correctness of these spellings.
What's New in Music for Ear Training, Version 3.0
Music for Sight Singing 5th edition[Spiral-bound] by Thomas E. Benjamin, Michael Horvit, Robert S. Nelson (Schirmer) Designed for the "musicianship" portion of the freshman theory sequence presents music that is carefully chosen to challenge--not overwhelm--the student.
Ease into sight singing, with this accessible text that offers an array of beginning-level pieces designed to build your musicianship skills and your confidence at the same time. The authors' multifaceted approach includes a variety of examples, exercises, and musical genres that ensure well-rounded skill development, from simple rhythms and melodies to duets and canons.
To the Teacher
The following are some suggestions for the optimum use of this book. We have used three types of exercises:
It is important that some material from each section of each unit be covered, and in the proper order. More exercises are contained in each section than most classes will have time to use. It is not necessary to complete all the preliminary exercises before going on to the melodies in each unit. The intent here is to provide teachers with the flexibility to meet their individual needs. Some teachers may wish to make slight reorderings of material (for example, to introduce minor mode a little earlier), but should keep in mind that such reorderings should be done with great care in regard to the selection of exercises. With all material, a balance between sight reading in class and outside preparation (as well as sight-reading practice) is desirable.
We strongly recommend that students conduct all exercises and melodies after the concept of meter is introduced. The teacher should present preparatory beats, fermatas, and cutoffs. A useful procedure is to have various students conduct the class in the part music. As time permits, and the interest of both class and teacher indicate, it may be useful to go beyond mere "time-beating" to introduce, model, and practice the more contextual aspects of conducting, as this will insure more accurate and musical performances. In this case, issues of the ictus; size, speed, and character of the beat; conducting the phrase; approach to cadences; the musical nature of the preparatory beat; and so on should be considered and practiced.
In singing pitched material, it is possible to use a variety of methods: fixed or movable do, numbers, or a neutral syllable, such as la. Tonally oriented systems, such as movable do and numbers, work very well in primarily diatonic contexts; however, they lose their efficacy in highly modulatory materials and most twentieth-century idioms.
The tessitura of some exercises and melodies may be difficult for some students. These may be sung in any comfortable register or even transposed to a different key at the teacher's discretion. Instrumental as well as vocal idioms have been used to provide students with experience in dealing with the kinds of materials they are likely to encounter in performance situations. In the melodies and part music, emphasis should be placed on both accuracy and musicality of performance, including phrasing, articulation, dynamics, expression, and style.
We have employed the normal range of conventional approaches to notation:
This book may be used with a wide variety of theory texts currently available. In large measure, it is structured to parallel the organization of the authors' Techniques and Materials of Music, seventh edition (Thomson, 2007), and Music for Analysis, sixth edition (Oxford, 2006), and may be used to reinforce the concepts presented therein.
Students should be urged to analyze the music they sing in class, including basic melodic shape and structural pitches, harmonic implications, phrase and period structure, cadences, motives, counterpoint, and style.
Because the development of aural skills—the ability to hear and recognize intervals or common chord progressions, to transcribe melodies, and even to hear and transcribe simple pieces—is such an important complementary skill to sight singing, we strongly recommend the use of a companion text, Music for Ear Training, CD ROM and Workbook, third edition (Schirmer, 2007). The units of text correspond exactly to the units in Music for Sight Singing, making the parallel use of both texts especially convenient. And though Music for Sight Singing is designed specifically as a sight-singing text, the exercises can be adapted for supplementary use in melodic or rhythmic dictation, using those materials that are not sung in class. The exercises can also be adapted for keyboard harmony by using the melodies for harmonization in a variety of textures and styles.
To the Student
The ability to read accurately and fluently at sight is essential to your musicianship; the competent musician must be able to translate symbol into sound with speed and precision. The exercises in this book have been written and selected to provide you with a wide variety of typical musical problems and to provide exposure to many different styles, materials, and techniques.
You should practice sight reading daily, just as you would practice your own instrument or voice. Steady, disciplined work will yield the best and longest-lasting results. Practice all examples only as fast as you can perform them with accuracy.
Here are some suggestions for practicing and performing the music in this book.
Rhythmic reading. The rhythmic exercises may be performed in several different ways, for example:
The rhythmic duets may be performed with one person performing both parts, using a combination of tapping and vocalizing, or with a different person on each part. In general, be as metronomic and rhythmically precise as possible; you may profitably use a metronome while practicing.
Common conducting patterns are shown below. Compound duple meters, such as 6/8 or4/6 are conducted in either 2 or 6, depending on tempo. Compound triple meters may be con- ducted in either 3 or a subdivided 3, and compound quadruple in either 4 or a subdivided 4. In slow tempos, simple meters may be conducted with a divided beat.
Quintuple meters, such as 4/5 may be conducted as shown in the illustration, or as combi- nations of duple and triple meters. Similarly, septuple meters, such as 7/4, may be conducted as a combination of duple, triple, and/or quadruple. The specific pattern chosen will reflect the prevailing rhythmic distribution within each bar.
Your beat-patterns should be very clear as to the placement of each beat (the arrival, or ictus), not too large, of roughly equal size, and uniform in speed within the tempo. Your teacher may choose to work with you on expressive conducting, in which the beat (including the preliminary beat) reflects character, dynamic, phrase-length, expression, and style.
In each sight-singing exercise:
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