THE GROWTH PROCESS VOL. 3, Leugreat Odikayor [first color ebook reader .TXT] 📗

C to E is a third, C to F is a fourth, C to G is a fifth, C to A is a sixth, C to B is a seventh, and C to the next C is an eighth. An interval of an eighth is also called an octave.

 

Now you know all of the major intervals of the C Major scale, but what about the sharps and the flats? Let's take a look at those intervals now. I said previously that the interval between the C and the D is a second. Let's take that a step further and call it a major second. If you look at the keyboard, you'll realize that there is a black key in between the C and the D keys, the D flat key. This interval is not quite a full, or major second, so we call it a minor second. The same goes for the interval between C and E. There is a black key right before the E key. If the E key is a major third, we can call the black key directly before it, the E flat key, the minor third.

 

Ok, so I've told you what happens when we go down a partial interval. What happens when the black key goes up a partial interval? This very thing happens at the F key. The interval between C and F is a fourth. The F sharp key is what we call an augmented fourth. Augmented simply means that it is slightly above a perfect fourth. That same key can also be called a diminished fifth. This is because the note is just as close the the perfect fifth as it is to the perfect fourth. In the case of the fifth, the note is lower than perfect, or diminished.

Intervals can be measured upwards or downwards. That is, when you play a C-G fifth interval, you can say that G is a fifth above C or that C is a fifth below G. So, a descending interval is measured from the top note to the bottom note. Likewise, ascending means . . . oh, you can figure that out.

 

This logic can be applied all the way throughout the scale. The A flat key is a minor sixth right before the major sixth made by the A key. The A flat key can also be called an augmented fifth, because it is right after the perfect fifth. If the interval between C and B is a major seventh, it stand to reason that the interval between C to B flat is a minor seventh.

 

Playing many notes simultaneously is the essence of harmony. The notes you choose and how you arrange them around the melody determines the kind of harmony you produce, whether you use many notes or just one note with each hand.

 

Building intervals

The distance between any two musical notes is called an interval. You need to understand the concept of intervals and the notes that make up each interval so that you can identify and select the right notes to build harmonies. But you also use intervals to identify and build notes in a melody. As you play or sing the notes of a melody, the melody can do one of three things: It can stay on the same note, it can go up, or it can go down. When it goes up or down, the question of how much leads to the subject of melodic intervals.

 

You measure an interval by the number of half-steps and whole-steps in between the two notes. this method involves lots of counting, memorization, and complicated arithmetic.

Exploring the types of intervals

Like scales, intervals come in different varieties: major, minor, perfect, diminished, and augmented. Knowing these classifications helps you identify and build harmonies for the music you play. For example, if you want to build a minor chord to harmonize with a melody, you must use a minor interval.

 

Here’s your guide to making different types of intervals:

 

Major interval: Measure a major second, third, sixth, or seventh by matching the second, third, sixth, or seventh notes of the major scale and counting the half-steps from the root note.

 

Minor interval: You can make a second, third, sixth, or seventh interval minor by lowering its major counterpart a half-step.

 

Perfect interval: This label applies only to fourths, fifths, and octaves.

 

Diminished interval: You can make any interval diminished by lowering it a half-step.

 

Augmented interval: You can make any interval augmented by raising it a half-step.

 

In an eternal attempt to be lazy, er, efficient, musicians use the following abbreviations when discussing intervals:

 

M for major intervals

 

m for minor intervals

 

P for perfect intervals

 

dim for diminished intervals

 

aug for augmented intervals

 

Numbers for the interval size, as in the number 5 for a fifth

 

So, when you see P5, you know it means a perfect fifth. When you see M2, it means a major second. When you see m6, it means a minor sixth.

 

Using The intervals, you can get the key a singer is in. The only method you must practice effectively, if you want this to work for you is this;

Everyday try saying the sound of these notes, dragging them to your tonic (Doh). So in that way when you hear the note Interval, you can immediately get the key even by ear.

 

Reh-->Doh

Mi-->Doh

Fah-->Doh

Soh-->Doh

Lah-->Doh

Ti-->Doh

Doh-->Doh ( Octave)

Then take it the reversed method;

Doh--> Reh

Doh-->Mi

Doh--> Fah

Doh--> Soh

Doh--> Lah

Doh--> TI

Doh--> Doh

You might be wondering what you are to use the above to do. Well if you understand that Intervals and sounds well enough, getting a key Won't be hard, cause from the interval we know the Root (tonic <Doh>).

 

 

 

 

CHAPTER 10.

(Try Ear Development Exercises,)

 

This is the last Chapter in this Volume 3 of Growth Process. I believe you have learnt a lot now. If you have tried all the methods in this book and you are finding still difficult, then reconsider building up your ears . Ear Development shouldn't be overemphasized, because it's importance is not far-fetched. Every keyboardist must have his ear open not only to keys, chords and Intervals, but lot more to learn Through the ears too.

 

THIS IS A METHOD FROM KELVIN CORNELL.

 

Let’s talk about your ear. Your ability to hear properly is perhaps the sole thing that allows you to create, write, and perform music – and your most valuable asset as a musician. And yet, many musicians don’t take the time to develop their ear, instead relying more on technical proficiency, knowledge, and gear. There’s nothing wrong with utilizing those things, but you’ll feel a lot more confident if you don’t have to rely on them.

 

WHAT IS EAR TRAINING?

First thing’s first, what is ear training? When you train your ear, you’re learning how to more accurately (and objectively) identify musical elements.

 

There are a lot of different ways to train your ear, and what you focus on will depend on who you are as a musician and what you want to achieve…

 

For a composer, it may be worth practicing transcription to the point where you can hear a melody and write it down in musical notation. For a musician in a band, it may be better to focus on quickly identifying the key of a song so you can jump in with a melody or a solo. A songwriter may benefit from training her ear to hear chords in order to quickly and easy get chord progressions down.

 

It’s important to note that ear training is not the same thing as perfect pitch (though some musicians are able to develop it through extensive ear training). Instead, you will be developing relative pitch. You’ll learn how to hear the difference in pitch (higher or lower) as well as the quality (major, minor, etc.) between two or more notes. Ear training can also help you discern subtle differences in elements of a mix.

 

Ear training and music theory go hand in hand. And being able to hear and name what you’re listening to can help you identify what is happening in the songs you hear on the radio and on popular playlists.

 

 

A METHOD FROM TONEDEAR

 

Ear Training Practice

These exercises will improve your musical ability by developing a more intuitive understanding of what you hear. For best results, practice a little bit every day:

 

Intervals: In this exercise, you will hear two notes in sequence. Your goal is to identify the interval between the two notes.

Chords: In this exercise, you will hear a chord. Your goal is to identify the type of chord that you heard.

Scales: In this exercise, you will hear a scale. Your goal is to identify the name of the scale that you heard.

Chord Progressions: In this exercise, you will hear a chord progression. Your goal is to identify each chord that you heard.

Perfect Pitch: In this exercise, you will hear a single note. Your goal is to identify the name of the note.

Scale Degrees (functional): In this exercise, you will hear a short chord progression followed by a single note. You must identify the scale degree of that note relative to the key established by the chord progression. This is also known as "functional ear training".

Intervals in Context (functional): This exercise combines the "Intervals" and "Scale Degrees" exercises. In this exercise, you will hear a short chord progression followed by two notes. You must identify the major scale degrees of the two notes relative to the key established by the chord progression as well as the interval between the two notes.

Melodic Dictation: In this exercise, you will hear a short chord progression followed by a short melody. You must identify the major scale degree of each note in the melody.

 

 

 

A METHOD FROM KEY-NOTES ANDREW

 

There are a couple ear training exercises you can do to develop inner hearing. Since you know C major, first try playing C and then singing any other scale degree (the notes within the C major scale). Then play the corresponding note on the piano to see whether the two match.

 

Next, move on to other keys. What’s important is the interval relationship. Thus, try playing any other key on the piano and then singing a major scale starting from that note. Then try the exercise as above, in the new key.

 

Something all pianists should do in their daily practice is sing each voice in their pieces. Use the French/Italian note names (do re mi fa sol la si/ti), ignoring sharps and flats for the purpose. (This is called “fixed do” solfège.) Take a passage, sing each voice, and then check your accuracy with the piano. This assumes your piano is in tune!

 

I like to transpose sections of pieces I’m working on, to test my ear and knowledge of the harmony. This exercise is particularly useful for unusual harmonic progressions, and it will ensure that you’re learning with your mind and ear, not just your fingers. At a more basic level, you can always transpose melodies by ear. Simply start on another pitch and play the same intervals. Work slowly and always try to hear the proper note in your mind first… don’t simply fumble around at the keyboard until you chance upon the right note.

 

 

 

 

 

A METHOD FROM MUSIC-U

 

 

Playing by ear is a highly desired skill among musicians. Although many assume you need to be born a natural to do it, in fact playing music by ear requires a collection of skills which can all be learned. Knowing the right kinds of ear training and the truth behind how playing by ear works can enable you to learn to play by ear quickly and easily.

“You hum it, I’ll play it” is the classic response of the bar-room pianist to an unknown song; but why is it that some people seem to have an innate ability to instantly play anything they have heard while most of us struggle?

 

Virtuoso musicians like Mozart or Jaco Pastorius gained fame for being able to recall hours of complex music after a single listen, but for the average musician that’s only a pipe dream.

 

Like “Perfect Pitch“, playing by ear is often talked about as if it’s some kind of innate gift which only some people possess (and