# Ear Training and You: Developing your craft



## The Darris (Jan 28, 2014)

Hey everyone! I thought I would start this thread up as I feel, in the composing world, ear training is an essential tool that we can only benefit from when it comes to writing, orchestrating, or just learning how to study scores by ear. I would love people to discuss some of their methods to how they have developed their ear over the years as, again, we could all learn something new from each other.

*What is ear training? *
Simply put, it is the process of learning to identify everything that makes up music (ie; pitches, intervals from pitch to pitch, chord/chord structure, rhythms, melodies, etc). 

The greatest way to develop your ear is through practice and training. There are many tools of the trade out there that can help with this whether it is a nifty little iPhone app or a website. I would like to recommend this free site that not only includes ear training exercises but also provide a gross amount of training in all aspects of music and the best part is that it is FREE!!! 

Anyway, check it out here: http://teoria.com/


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## G.E. (Jan 28, 2014)

Good idea ! I've been very interested in ear training lately.
I will soon get this http://www.perfectpitch.com/relativepitch.htm and hopefully it will take my listening skills to the next level.

What I did until now for ear training is a method I personally came up with.I basically practice all the time.How? Well even when I'm watching a movie or whatever,I try to listen carefully to the background music to figure out the melody.Then I quickly play it on my phone to see if I got it right.This worked out better than I expected because I became pretty good at it in just a few months.It completely changed the way I perceive sounds.Unfortunately now I'm a little obsessed with this.
Whenever I hear the door bell,the first thing that instinctively pops in my mind is MAJOR THIRD :lol:

I'm also gonna follow Mike Verta's advice and transcribe as much as possible.


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## The Darris (Jan 28, 2014)

Transcribing is a great process but in order to do so, having a well developed ear is almost vital. Likewise, here are some of my go to tricks for intervals.

Min 2nd : Jaws cello
Maj 2nd: Do Re
Min 3rd: The first two notes to the Iron Man melody by Black Sabbath
Maj 3rd: Do Mi
Perf. 4th: "Here comes the bride"
Aug4th/Dim5th: Our Man Flint theme by Elliot Fisher (Low Brass stabs at beginning)
Perf. 5th: Star Wars main theme or Twinkle Twinkle little star
Min 6th: Theme from Love Story (first two notes in melody)
Maj6th: My Bonnie Lies over the Ocean (first two notes in melody)
Min 7th: The Winner Takes is All (ABBA, chorus section) <Corny I know but it works for me.
Maj 7th: Take On Me chorus by A-Ha (super corny again but it works.)
Octave: really? Somewhere Over the Rainbow though for those that have a hard time distinguishing octave intervals.

Anyway, those are just my go to interval checks when processing them in my head.


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## synergy543 (Jan 28, 2014)

I accidentally stumbled across *http://www.youtube.com/watch?v=GvFK-0ifBQo (a very interesting youtube video)* where Joe Satriani really impresses the importance of ear training for music performance and composition. Its an intriguing Master Class video for composers and non-guitar players.

@The Darris, as to answer your question, I find sight-reading and thinking about the notes before you play them to be very helpful (you can do this at any level). 

Also hearing a melody and then playing it by ear is very helpful (and revealing) too.


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## G.E. (Jan 28, 2014)

The Darris @ Tue Jan 28 said:


> Transcribing is a great process but in order to do so, having a well developed ear is almost vital. Likewise, here are some of my go to tricks for intervals.
> 
> Min 2nd : Jaws cello
> Maj 2nd: Do Re
> ...



Ha,just realized that I had a similar technique which I use sometimes.

Some of mine are:

Min 2nd : Pink panther theme
Maj 2nd: same as you
Min 3rd: Smoke on the water 
Maj 3rd: Oh when the saints
Perf. 4th: Amazing grace 
Perf. 5th: Superman theme


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## Darthmorphling (Jan 28, 2014)

synergy543 @ Tue Jan 28 said:


> I accidentally stumbled across *http://www.youtube.com/watch?v=GvFK-0ifBQo (a very interesting youtube video)* where Joe Satriani really impresses the importance of ear training for music performance and composition. Its an intriguing Master Class video for composers and non-guitar players.



He really knows his stuff. He once said in an interview that one of his students complained about learning theory. The student said, "Why do I need to learn this stuff? Stevie Ray Vaughn didn't." Joe's response was, "Can you play like him?"


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## The Darris (Jan 28, 2014)

It really is a great tool for a composer. I know a lot of my writings have drastically improved over the years due to me finally sitting down and practicing ear training for 20 minutes a day. This includes scale recognition, rhythmic pattern identification, interval testing, etc. That is why I like that site I posted, it has all of those little teaching tools that coincides with this study in particular. Likewise, I include some theory elements to it as well but mostly just working my aural skills in music. I've been able to listen to any track of orchestral work and directly hear each section's contribution which helps me with orchestration and individual instrument study. That is a whole different playing field in itself. Once you get the basics of ear training, applying it to individual instruments and how they sound in different registers as well as with other instruments could almost take a lifetime of training to really be considered a master of orchestration and what have you. It is a skill set that requires constant training to maintain, much like any instrument out there.


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## Shuriken (Jan 28, 2014)

There are quite many mobile ear training apps out on iOS and Android and they do have a positive impact, so no more excuses really.


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## The Darris (Jan 28, 2014)

Shuriken @ Tue Jan 28 said:


> There are quite many mobile ear training apps out on iOS and Android and they do have a positive impact, so no more excuses really.



Haha, I know. It is such a slippery slope in this industry as we are all competing for that big break but I really try to dwell on the importance of education in helping those achieve the best quality art, in a way, that they can. People sometimes say that technology gets in the way but when applied correctly, it increases your workflow and productivity tenfold.


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## Herenow (Jan 29, 2014)

I understand it is a long process and it really depends on a lot of factors, but how much time (approximative) it takes until you have the ability to recognize a certain chord from a cue? 

I'm sure a lot of you here have got this skill, so why not share your experience? ))


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## G.E. (Jan 29, 2014)

Herenow @ Wed Jan 29 said:


> I understand it is a long process and it really depends on a lot of factors, but how much time (approximative) it takes until you have the ability to recognize a certain chord from a cue?
> 
> I'm sure a lot of you here have got this skill, so why not share your experience? ))



Here's my take on it based on personal experience.I found that it depends on the instruments playing the chord.In some instruments, like a piano, the intervals are more easily distinguishable.But when strings play that chord it sounds more blended and harder to hear.Though major and minor triad chords are pretty easy so it shouldn't take you that long to be ale to recognize them.I can do it after just a few months of practice.Of course I don't hear a chord and know that's a C minor.I recognize that it's a minor chord and I have to put it in context with the entire chord progression and see how it relates to figure it out.But beyond basic triad chords it gets much harder and I'm lost.

I learned to never question how long it will take me to acquire a skill because that always tends to do more harm.Just do it and enjoy the process of learning and practicing.

I still suck at it so I'm also curious to hear what others who are better at it have to say.


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## The Darris (Feb 1, 2014)

When determining simple chordal triads and their inversions, I have found it is best to always establish the tonic (root note) and go from there. In my opinion, and how I would teach this, is that the tonic is essential to all ear training. It is your reference point to all notes being played in the chord. Understanding intervals is one thing, and not too difficult to get proficient at, however, hearing chords and being able distinguish how the different inversions sound will take a lot of training. I would recommend starting with one key signature and building off of the different inversions, and chords types (Min, Maj, MajSus4, etc).


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## impressions (Feb 2, 2014)

Herenow @ Wed Jan 29 said:


> I understand it is a long process and it really depends on a lot of factors, but how much time (approximative) it takes until you have the ability to recognize a certain chord from a cue?
> 
> I'm sure a lot of you here have got this skill, so why not share your experience? ))



you need to start simple. like a pop song with very few chords. later, a more complex one, later a jazz tune, and then a symphony.

it takes years, from my experience. I always took out songs, chords, solos, and still do. i once had a chance to work with an outstanding scholarship pianist who studied music professionally at young age. he could hear just about everything. as in the intervals in each quarter/8th in counterpoint etc, effortlessly.

so he was trained much more systematically and focused than what I was. so you could do alot more with less time if you stay focused on a field. or by going to a school of music which forces you to do it.


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## AlexandreSafi (Feb 2, 2014)

Here is what, to me, in my very subjective headpot, "the way" of my very own 50yrs in-the-future master's voice if i'm serious about it...
Do it the right way!
The human essential way!
The composers of old's way
You, yourself, and you only!

ok + this book, maybe...
www.amazon.com/Ron-Gorow/e/B001JRZYXQ

No piano, no technology, not even ear drills software, just silence...
Thank me later!

Every note no matter how many has to be imagined from within...
Then you can expand...
Just simply start imagining sonically playing a slow C-maj piano scale from the very bottom to the very top, you'll see how to the uninitiated it feels like you're being emasculated of all your musicality...

I'm on this very process and fighting every day against it, but... at some point, with the result of all your perseverance and belief ("not less important") you'll see the light, trust me...

The musican's way...

Sorry for the dramatic post
'AS'


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## The Darris (Nov 19, 2014)

I thought I would resurrect this thread as ear training is, again, something that will help us all as composers. I hope some new members find this thread useful.


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## Living Fossil (Nov 20, 2014)

AlexandreSafi @ Sun Feb 02 said:


> The human essential way!
> The composers of old's way
> ... not even ear drills software, just silence...



There is lot of historical information about historical composers.
I would recommend you to deeply study it before lecturing about it.
p.s. the "composers' old way included tons of drilling.

@Darris:
your method with characteristic intervalls is limited in its use,
since in a deviating harmonic [and/or melodic] context intervalls can change their
appearence quite a lot.
But i agree, ear training should be a daily routine.


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## neve (Nov 22, 2014)

This is a really good topic, I also think ear training is the cornerstone of the composers' craft. 

A drill that has been quite useful for me has been to memorize musical phrases and pieces, increasing their length with practise. It is about creating a very clear and detailed auditory mental image of a piece of music, like remembering a landscape or other types of imagery. Google "auditory imagery" and "audiation" - it's a fascinating topic.

Practising to identify the inversions is a good idea, I'll try that as it is with inversions that I struggle with.


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## Connor (Nov 26, 2014)

Personally I use Perfect Ear 2 for Android. Used to use McGraw Hill's online trainer for Ear Trainer 7. Also, Ottman singing, and Gordon rhythm.


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## The Darris (Nov 26, 2014)

Ottman is a great learning resource for this. Currently, I am studying ear training at Sonoma State and they don't work with the technique I mentioned of relative interval recognition. I do believe that is still a great tool to use when starting out but you have to move past that.

Knowing what a min 6th sounds like is great but knowing what is sounds like in the context of a piece of music is different as any interval can be deceptive to our ears. Sight singing melodies is a start as is singing with solfège. Right now, I am working on signing around the dominant seventh which included practicing singing the inversions. Aside from that, we also do dictations which is basically transcriptions. We started with simple single melodies back in August and now we are writing two part harmonies with the chord symbols associated with them. This is new to me and is quite rewarding when you start hearing things correctly.

So my main points now are to start simple. Learn the basic intervals and how they sound. Do this both ascending and descending. Then, move on to melodies. Listen and transcribe the melodies without use of a piano or pitch generating device and then compare your findings. Do all this in both duple and triple meters as rhythmic dictation is just as important as melodic. After that, keep stepping up the challenge. Ear Training builds off of what you already know so always push for the next level.


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## rgames (Nov 26, 2014)

To me, recognizing an interval is not the same as recognizing a chord. Yes, you can break the chord into intervals and recognize it that way but a much better way is to just recognize the "color" of the chord (same thing with scale modes). That process also aids the composition process because you're reducing the number of things occupying your brain - you can simply think in terms of those colors.

It's like reading: you don't sound out the vowels and consonants of every word, you learn to recognize them on sight. Sure, you *could* sound out every word from its constituents but that's a very slow way to read (and write).

In my mind, the goal of ear training should be to identify each chord on the basis of its combined sonic signature, not those of its constituent intervals.

rgames


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## The Darris (Nov 26, 2014)

rgames, I do agree with you but just to make a point using your analogy, you typically start learning how to read by sounding out the letters. Once you get started, the rest comes from repetition. I come from an older way of thinking of the 'crawl first' then walk. 

Likewise, you bring up a great term which is color, might I also add the word texture which is how many voices are being used. Learning how to tell if you are listening to 3 or 8 parts is pretty significant too. I just thought I would throw that into the mix as well. :D


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