Items related to A KEY NOTE RECOGNITION: Relative Pitch Ear Training...
To play by ear a musician must first sense the key a chord or chord progression is in. You must also be able to sense key modulations in order to follow chord progressions that change key. The exercise found in this book is crucial to developing these skills.
Imagine being able to know the key of what you are hearing by just playing one note on your instrument. Think about the power this gives you to follow unfamiliar chord changes and get a quick sense of where keys are changing. This is the first step in developing the ability to follow complicated chord changes or to make informed scale choices when playing over a chord progression.
More importantly, developing the skills found in this book allows you to organize and remember sound based on how you hear it, not on how you consciously think about it. It will move you away from remembering sound based on non-musical distinctions such as instrument fingerings, and toward remembering and organizing sound based on how you hear it. Ultimately, this brings you closer to a deeper understanding of music and you will be able to store and retrieve music in your mind from a much more musical place.
Recommended prerequisite to this book: Ear Training: One Note Advanced; or the completion of Ear Training: One Note Complete Method.
EXCERPT 1
There are many applications in the real world for this technique. Below are a couple of common examples:
1. If you walked into a room and a friend was playing a song or melody on an instrument, you could play one note on your instrument and instantly know what key he or she was playing in. Armed with that information you could start improvising in that key, or just playing along with them in the right key.
2. If someone played a chord progression that changed keys and you were asked to improvise over it, you would be able to listen to the notes you play and follow the key changes. For example: a chord progression might start in Ab, you would play a C, it would sound like the 3rd so you could improvise in Ab. Then you might come back to your C a few bars later and notice that it now sounded like the 6th; this would tell you that you have now modulated to Eb so you would start improvising in Eb.
"synopsis" may belong to another edition of this title.
From the Publisher:
Mr. Arnold's new ear training course is a first of it's kind available. He has taken the time to give students a detailed explanation of what works and what doesn't work when it comes to ear training. This book is meant to be used between the Ear Training: One Note Series and the Ear Training: Two Note series. If you are serious about improving your aural perception and basic musicianship it is recommended that you work with this book in combination with the following:
About the Author:
Guitarist Bruce Arnold has developed an extensive reputation as a composer educator and guitar virtuoso. He has created a unique signature sound that stems from his combination of jazz techniques and 20th Century compositional methods. He has played with such diverse musicians as Stuart Hamm, Peter Erskine, Joe Pass, Joe Lovano, Randy Brecker, Stanley Clarke, the Boston Symphony Orchestra. Mr. Arnold is also deeply devoted to music education and had written more than 100 music education books. Mr. Arnold Currently teaches at Princeton University and has taught at some of the most prestigious music schools in America, including the New England Conservatory of Music, Dartmouth College, Berklee College of Music, New School University, City College of New York and NYU.
"About this title" may belong to another edition of this title.
- PublisherCreateSpace Independent Publishing Platform
- Publication date1999
- ISBN 10 1890944300
- ISBN 13 9781890944308
- BindingPaperback
- Number of pages7
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