![]() ![]() Write down all the sequential notes of the major scale by using the pattern of tones and semitones described above. Choose a note that feels comfortable or familiar.Do this with every pair of notes in the lines you’ve chosen, and you will start to understand how melodies depend on intervals. Use the interval song as a reference to figure out which interval you are singing, then write it down. Choose a few lines, and practice singing only two syllables or notes at a time. Take the melody of your favorite song. ![]() Major 7th: Don’t Know Why (Norah Jones).Minor 6th: Lchaim, To Life! (Fiddler on the Roof).Perfect 5th: Twinkle, Twinkle Little Star.Then the music becomes a reference point for singing, playing, and identifying the intervals. ![]() You can recognize and remember every interval by connecting it to a song you know! All you have to do is sing or play the first two notes of the song to hear the interval.You can practice hearing intervals and find them in songs with the ear training exercises below. It is often put to words, and it is the song’s most recognizable and memorable element.Ī melody is a series of notes with different intervallic relationships that you play one after the other. This is what the lead singer or lead instrument plays. So how does this have anything to do with your music? Tritone/Augmented 4th/Diminished 5th = A → D#/Eb Perfect Unison (the same note twice) = A → A An octave’s space contains all possible interval relationships, and each has a unique name. The biggest interval, which separates a note in a lower pitch register from the same note in a higher pitch register, is called an octave. This is the space that separates each of the notes from one another. ![]() 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.The smallest interval in Western music is called a semitone. 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.
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