Discussion in 'Playing and Technique' started by Baminated, Feb 27, 2012.
So far, I am looking at the Berklee, M.I., Aebersold, and the Gary Willis
Check out Bruce Arnold. I like his approach a lot.
I like Keith Wyatt et al's "Ear Training for the Contemporary Musician." I can't compare it to anyone else's, but it's good (although the first sections will be raced through a little quickly for someone who's ear needs a lot of work).
I also use the functional ear trainer, which is great because it's the sort of thing you can build really easily into your day.
For books, I'd like to recommend "The Real Easy Ear Training Book" by Roberta Radley. It goes into much more depth than just playing intervals you need to identify. It gives strategies and exercises to improve your ear, and relies mainly on solfege and transcribing music. I bought the Kindle version and downloaded the mp3 examples from the publishers website for free.
It sounds like the Bruce Arnold books use the same method as the Functional Ear Trainer, which is free and available from Miles.Be. I can't recommend it highly enough. It will seem like greek the first few times you use it, but ends up making a huge difference.
checked it - the description is kinda "light". Does it have rhythmic dication features ?
A complete e-learning course that will teach you how to recognize tones in a major and minor context. This step-by-step method has proven to be very effective!
A practice lab with customizable exercises"
I thought this was pretty good:
Depending on where your students are earwise this could be good:
Charlie Banaco's method is good too. You play a I IV V cadence in any key to set it up then hit a note at random and the student has to tell you the scale degree based on that. Stress that the idea is not to count from the tonic, its to get to know each degree as a color. You don't look at orange and work it out as having no blue but some red and yellow. Once they get good at that you hit two notes, then three, etc. You can do it at the beginning or end of each lesson. And they can do it themselves too, best with a piano. I think Bruce Arnold's is similar, he studied with Charile.
This one is very good because it deals with pitch and not just intervals--highly suggest this one. Pitch recognition has to happen or interval recognition doesn't mean anything,
I just got this one...excellent! I also find that this book to be very helpful to me for presenting another angle to hearing pitch tendencies and helped me bridge the path towards learning solfege.