![]() In most cases, singers can improve their pitch accuracy by simply improving their aural skills. Singing is also commonly used to improve aural skills, as there is a direct connection between a good musical ear and accurate singing. In many music schools, ear training includes the use of solfege syllables (movable-Do system), with which you are putting your recognition skills into a tonal context. The main focus of ear training being the development of aural skills, the training sessions mainly involve identifying sounds by ear and naming them, transcribing them, playing them back, singing them or, at more advanced levels, improvising upon them according to harmonic rules. This is why ear training is a mandatory course in most music schools and conservatoires aroudn the world. This is called improving one's relative pitch. Use Your Ear is the only step-by-step ear training method that combines a scientific foundation and practical evidence derived from years of teaching real. In other words, our aural skills are a bridge between the terms we use to explain music (an octave, a perfect cadence, a harmonic minor scale, etc.), and the actual sounds that are described by those terms. The more we train our ear to recognize this connection, the better musicians we become, because we learn to understand what we play, to anticipate musical structures, and to communicate with other musicians using the language of music.īoth beginners and professionals need to keep their ear in shape in order to know what they (and others, for that matter) are playing, and to anticipate what they are about to play. Ear Training and Sight Singing Practice Ear Training. ![]() ![]() Sight-singing and rhythm reading exercises, and the singing of scales, intervals, triads and chords are also a major part of these individual practical tests.įor further information about Aural Training at the School of Music, please contact Prof Albi Odendaal.What is ear training? Ear training makes you a better musicianĮar training is the process of connecting music theory (notes, intervals, chords, scales, melodies, etc.) with the sounds we hear. The second part requires students to perform certain harmonic progressions on the piano, such as perfect, imperfect, plagal and interrupted cadences, modulations, figured bass practices, ABA-forms, folk-tunes and chorales. It also advances the ability to transform sound images into notation images on manuscript paper. Dictations greatly improve your musical memory and develop your sense of tonality, and intervallic, metric and rhythmic relationships of musical tones. Rhythmic and melodic dictations are some of the most important exercises in developing the inner ear. In the theoretical part, students are guided to write rhythmic and melodic dictations, and recognise and name different scales, intervals, triads and chords. Students are challenged to apply their solmisation skills to all segments of the Aural Training module, such as sight-singing, dictation and practical harmony, and other areas of the music curriculum such as music theory and music education.Įach Aural Training module comprises of two sections: Listening, singing, playing the piano or other music instruments, clapping, tapping, dancing and writing are the most important activities in the Aural Training class meetings that contribute to motivational learning, social interaction and the construction and shaping of new skills and knowledge. All these skills are needed for sight-singing, as well as for rhythmic and melodic dictation. In all the modules students are exposed to all the elements of Aural Training in an integrated and holistic way.ĭuring class meetings students actively take part in a solmisation programme in which different components of music, such as rhythm, pitch, scales, intervals, triads, chords, motifs, melodies, modes, harmonies, progressions, cadences, textures and timbres are recognised, registered, remembered and mastered. The ability to read and sing music at sight is one of the most essential skills of a well-rounded musician. The Aural Training modules introduce students to the movable do solmisation system for sight-singing as an aid to establish pitch accuracy and fluency in hearing and reading music notation. These aural skills are necessary to hear, understand, interpret and organise these musical concepts and structures. In this constructivist teaching approach, the focus is not on what students can repeat, but on what they can generate, demonstrate, exhibit and apply in their lives as music students. It is therefore crucial for your career as a musician as all music is based on sounds that manifest in pitch, rhythm and timbre. Student Academic Lifecycle AdministrationĪural Training is seen as one of the cornerstones of musical development.
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