S P E C I A L P U B L I C A TI TI O N February 1986
Ear Training Manual For Musicians NAVEDTRA 10243
DISTRIBUTION STATEMENT A: Approved for public release; distribution is unlimited.
ACKNOWLEDGEMENT The contents of this Special Publication were furnished by the courtesy of the United States Army.
DISTRIBUTION DISTRIBUTIO N STATEMENT A: Approved for public release; distributi distribution on is unlimited.
PREFACE Special Publications (SPs) are manuals or catalogs that provide information of general benefit and career development. SPs have no associated assignments or tests. The Ear Training Manual for Musicians provides a basic reference reference on rhythm, pitch, pitch, and melody. This SP is available ONLY in electronic Portable Document Format from the f ollowing web site: http://www.advancement.cnet.navy.mil
Refer questions about this SP to:
COMMANDING OFFICER SCHOOL OF MUSIC ATTN TRAINING OFFICER 1420 GATOR BLVD NORFOLK VA 23521-2617 DSN: COMM: FAX:
253-7509 757-462-7509 DSN 253-4836/COMM (757) 462-4836
Provided by NAVAL EDUCATION AND TRAINING PROFESSIONAL DEVELOPMENT AND TECHNOLOGY CENTER
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Sailor’s Creed “I am a United States Sailor. I will support and defend the Constitution of the United States of America and I will obey the orders of those appointed over me. I represent the fighting spirit of the Navy and those who have gone before me to defend freedom and democracy around the world. I proudly serve my country’s Navy combat team with honor, courage and commitment. I am committed to excellence and the fair treatment of all.”
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TRAINING
CONTENTS
Page CHAPTER 1. . . . . . . . . . . . . . . . . . . . . . Section I: The Divided Beat in Simple Time. S e c t i on on I I : T h e M a j o r T r i a d i n N u m e r a l N o t a t i o n .
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CHAPTER 2. . . . . . . . . . . . . . . . . . . . . Section I: The Divided Beat in Compound Time. S e c t i o n I I : T h e Ma M a j or or T r i a d in i n S t a f f N ot o t a t i on on .
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CHAPTER 5. . . . . . . . . . . . . . . . . . . . . . . . . . . S e c t i o n I : S y n co c o p a t i on o n I n v ol o l vi v i n g B e a t a n d D i v id i d e d Be Be a t i n Simple and Compound Times. S e c t i on I I : I n t e r v a l s a n d T r i a d s .
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CHAPTER 3. . . . . . . . . . . . . . . . . . . . . . Section I: The Subdivided Beat in Simple Time. Section IIA: The Minor Triad in Numeral Notation. Section IIB: The Minor Triad in Staff Notation.
CHAPTER 4. . . . . . . . . . . . . . . . . . . . . . Section I: The Subdivided Beat in Compound Time. S e c t i o n I I : M a j or o r a n d M in in o r S c a l e A c t i v i t i e s .
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CHAPTER CHAPTER 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Diatonic Major and Minor Melodies in Simple and Compound Times with Divided Beat and Leaps of Thirds in Tonic Triad.
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CHAPTER 7
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CHAPTER 8
....... ................................. ........................ Diatonic Major and Minor Melodies in Simple and Compound Times with Syncopation and Leaps of Thirds, Fourths, Fifths, Sixths, and Octaves.
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CHAPTER 9 .. . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Non Diatonic Melodies in Simple and Compound Times with Divided B ea e a t , S u b d iv i v id i d e d Be B e a t , a n d S yn y n c op op a t i on on . Melodies Contain Leaps of Thirds, Fourths, Fifths, Sixths, and Octaves.
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APPENDIX A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Time Beating Patterns
A-1
APPENDIX B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Counting System
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APPENDIX C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Performance Procedures
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APPENDIX D . . . . . . . . . . . . . . Performance Guidelines
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.......................... .............. ........ ................ Diatonic Major and Minor Melodies in Simple and Compound Times with Subdivided Beat and Leaps of Thirds and Fourths.
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C H AP AP T E R O N E S e c t io n I PART
PART
I
II
ET
1 -1
PART
ET
III
1 -2
ET
1 -3
ET
1 -4
S e c t io n I I LIST
I
LIST II
LIST III
ET
1 -5
LIST IV
LIST V
ET
1 -6
LIST
VI
ET
1 -7
ET
1 -8
ET
1 -9
CHAPTER TWO S e c t io n I PART
I
ET
2 -1
PART
ET
II
2 -2
PART
III
ET
2 -3
Section II PART I
ET
2 -4
PART II
ET
2 -5
PART
III
PART IV
ET
2 -6
PART V
ET
2 -7
ET
2 -8
CHA AP P TER THRE E S e c t i on I PART I
ET
3 -1
PART
ET
II
3 -2
3 3
T E
E T 3 4
E T 3 4
S e c t io n I I LIST
I
S e c t io n I I LIST
I
LIST
II
ET
3 -5
LIST
III
PART I
ET
3 -6
PART II
ET
3 -7
ET
3 -8
C H A P T E R
Section PART
F O U R
I
I
ET
4 -1
ET
4 -2
PART II
ET
4 -3
E T 4 4
Section II
Section II
A. Major LIST I
ET
4 -5
LIST
II
LIST
III
ET
4 -6
LIST
LIST
IV
V
PART
I
ET
4 -7
ET
4 -8
PART II
ET
4 -9
B. Minor LIST
I
LIST
II
LIST
III
ET
4-10
ET
4-11
ET
4-12
CHAPTER FIVE S e c t io n I PART IA
ET
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PART IB
PART
ET
IIA
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PART
IIB
ET
5 -3
PART
ET
IIIA
5 -4
E T 5 5
E T 5 6
E T 5 6
E T 5 7
S e c t io io n I I
SING
AN D
RECOGNIZE
PERFECT P4
INTERVALS P5
M AJ AJ O R I N T E R VA L S
P8
SIMPLE INTERVALS INCLUDING:
S e c t io io n I I
SING
AN D
RECOGNIZE
PERFECT
SIMPLE INTERVALS INCLUDING:
INTERVALS
P4
P5
P8
M AJ AJ O R I N T E R VA L S
Maj2
Maj3
Ma j6
Ma j7
min6
min7
MINOR INTERVALS
min2
min3
T R I T O N E ( Au Au g 4 o r d i m 5 ) TT
SING
ET
AN D
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RECOGNIZE
ROOT POSITION TRIADS INCLUDING:
C H A P T E R SIX
ET
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6 -2
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6 -3
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6 -4
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6 -5
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6 -6
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6 -7
ET
6 -8
ET
6 -9
C H AP A P T E R S E VE VE N
ET
7 -1
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7 -2
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7 -3
ET
7 -4
ET 7 -5
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7 -6
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7 -7
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7 -8
CHAPTER EIGHT
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8 -1
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8 -2
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8 -3
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8 -4
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8 -5
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8 -6
C H AP AP T E R N I N E
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9 -2
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9 -3
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9 -4
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AP P E N D I X A
T I M E B E AT A T I N G P AT T E R N S
The following time beating patterns are used in conjunction with ear training.
T h e f ol o l l ow ow i n g p a t t e r n s
a r e f or o r t h e p e r f o r m e r ’s ’s r i g h t
Figure A.1:
Beat
ha nd.
patterns
Sub-division may be utilized in slow tempi to clarify and control the performance of music.
To sub-divide, the conductor adds to each PRINCIPAL beat,
smaller beats moving in the same direction as the main gesture.
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AP P E N D I X B
COUNTING SYSTEM
SIMPLE TIME Always say a number for the beat whether or not it requires an attack.
Figure
B.1:
The Beat in Simple Time.
Say “&" (and) on the second half of any beat that has been divided.
Figure
B.2:
The Divided Beat in Simple Time.
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Say “Ta" on any portion of the subdivided beat that is not the beat (number)
or
divided
Figure
beat
B.3:
(and).
The Subdivided Beat in Simple Time.
COMPOUND TIME
Always say a number for the beat whether or not it requires an attack.
Figure B.4: The Beat in Compound Time
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Say “ & ” ( a n d ) o n t h e s e c o n d t h i r d o f t h e b e a t w h e n t h a t d i v i s i o n i s
present and “a” (uh) on the last third of the beat when that division is present.
Figure
B.5:
T h e D i vi vi d e d B e a t i n C o m p o u n d T i m e
Say "Ta” on any portion of the subdivided beat that is not the beat (number) or divided beat (and or a).
Figure B.6:
The Subdivided Beat in Compound Time.
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APPENDIX C PERFORMANCE PROCEDURES
RHYTHM PERFORMANCE
PITCH
Count/Clap
Identify the m etrical stress and u nit of beat. Using the counting system (App. B), perform the e x e r c is e i n d i c a t i n g a t t a c k s b y c la p p i n g . C o u n t i n g syllables (numbers, &, a, or ta) must be audible.
Conduct/Intone
Identify th e metrical stress an d un it of beat. Using the appropriate time beating pattern (App. A), perform the exercise by intoning the rhythm on a n e u t r a l s y l la b l e (t a ) . T h e t i m e b e a t i n g p a t t e r n must continue throughout the exercise.
PERFORMANCE Number Lists
Establish the tonic triad in D Major or minor, as a p p l i ca ca b l e . P e r fo f o r m t h e l is i s t h o r i zo z o n t a l ly ly i n D Major or D minor with one count per number and a c o u n t o f s i l e n c e a t t h e e n d o f e a c h l i n e . The tempo Scale m u s t r e m a i n c o n s t a n t t h r o u g h o u t t h e li li s t . degree numbers must be used as syllables for singing.
Notation
E s t a b l i s h t h e t on i c Identify the clef and key. triad in the key of D Major or minor, as applicable. Sing in D Major or D minor, regardless of the notated key. Perform the exercise with one count per note a n d a c o u n t o f s i l e n ce c e a t t h e b a r l i n e . The tempo Scale must remain constant throughout the exercise. degree numbers must be used as syllables for singing.
Scales
Using D as a tonic, perform scales with one count per number and a count of silence at the end of each The tempo must remain constant throughout the scale. Scale degree numbers must be used as syllascales. b l e s f or or s i n g i n g .
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Intervals
Sing the pitch a given Sing the given pitch. interval above or below as specified.
Triads
Using D as per number each t riad . t h r ou g h ou t be used as
Triads in Inversion
Sing major and minor triads Sing the given pitch. with the given pitch as the root, third, and fifth of th e tr iad. T h e t em e m p o m u st s t r em e m a in i n co c o n st s t a n t wh w h il il e singing the triad, but a pause may occur between t ria ds. S ca ca le l e d eg e g r ee e e nu n u m be b e r s mu m u s t be be u se d a s Any pitch order may be used s y l l a b l e s f or or s i n g i n g . in the triads as long as syllables and pitches are correct.
4-note Chords
Using D as the root, perform Maj6, Maj7, Dom7, min7 , a n d d i m 7 c h o r d s i n o r d e r , w i t h o n e c o u n t p e r number and a count of silence at the end of each chord. The tempo must remain constant throughout Scale degree numbers must be used as the chords. syllables for singing.
the root, perform triads with one count and a count of silence at the end of T h e t em e m po p o m u st s t r e m a in i n co co n s t a n t t he triads. S ca ca le l e d eg e g r ee e e n u m be b e r s m u st st syllables for singing.
M E L O D Y P E R F O R M AN AN C E
Select the time beating Identify the metrical stress and unit of beat. Given the pitch A 440, sing the interval p a t te rn . I d e n t i f y t h e c l e f a n d k e y. y. Using the appropriate time necessary to find the tonic in the notated key. The time b e a t i n g p a t t e r n ( A p p . A), perform the melody in the notated key. S c a l e d e g r e e numbers beating pattern must continue throughout the exercise. Follow all performance directions, i.e. must be used as syllables for singing. tempo, character, dynamics, and expression markings.
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APPENDIX D PERFORMANCE GUIDELINES I.
II.
III.
I V.
Rhythm Metrical Stress A. 1. Identify S e l e ct ct b e a t p a t t e r n 2. B . Unit of beat Divided Beat 1. Subdivided beat 2. Syncopation 3. Borrowed divisions 4. P e r f o r m Rhythm C. 1. C o u n t /C /C l a p Conduct/Intone 2. P i t ch C l e f ( i d e n t i f y) A. K ey (identify) B. Sing tonic and establish key C. 1. S in g t r ia d 2. S i n g p e n t a ch ch or or d Sing tetrachords 3. Sing scale 4. I d e n t i fy s t a r t i n g p it c h D. Identify musical elements E. 1. Tr ia ds Pentachords 2. Tetrachords 3. 4. S ca les Other structures 5. D i f f i cu cu l t i n t e r v a l s 6. Perform Pitch F. Performance Directions Character/Tempo (metronome marks)/ A. Dynamics/dynamic changes B. Other C. 1. Accents and articulations Expression marks 2. Repeat symbols 3. F er m a t a s 4. Ornaments 5.
tempo
changes
Perform Rhythm A. Pitch B. Rhythm and Pitch C. R h y t h m , P i t c h a n d a l l p e r f or o r m a n c e d i r e c t i on on s D.
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