Guitar Music Theory. Ear Training Manual for Musicians

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SPECI AL PUBLI CATI ON 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 STATEMENT A: Approved for public release; distribution 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 on rhythm, pitch, and melody. This SP is available ONLY in electronic Portable Document Format from the following 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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EAR

TRAINING CONTENTS Page

CHAPTER 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Section I: The Divided Beat in Simple Time. S e c t i o n I I : The Major Triad in Numeral Notation.

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CHAPTER 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Section I: The Divided Beat in Compound Time. S e c t i o n I I : The Major Triad in Staff Notation.

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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.

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CHAPTER 4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Section I: The Subdivided Beat in Compound Time. Section II: Major and Minor Scale Activities.

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CHAPTER 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S e c t i o n I : Syncopation Involving Beat and Divided Beat in Simple and Compound Times. S e c t i o n I I : Intervals and Triads.

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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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Diatonic Major and Minor Melodies in Simple and Compound Times with Subdivided Beat and Leaps of Thirds and Fourths.

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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 Beat, Subdivided Beat, and Syncopation. Melodies Contain Leaps of Thirds, Fourths, Fifths, Sixths, and Octaves.

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APPENDIX A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Time Beating Patterns

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APPENDIX B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Counting System

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APPENDIX C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Performance Procedures

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APPENDIX D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Performance Guidelines

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CHAPTER ONE Section I PART I

PART II

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PART III

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Section II LIST I

LIST II

LIST III

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LIST IV

LIST V

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LIST VI

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CHAPTER TWO Section I PART

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PART II

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PART

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Section II PART I

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PART II

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PART III

PART IV

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PART V

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CHAPTER THREE Section I PART I

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PART II

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PART III

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Section II LIST I

LIST II

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LIST III

PART I

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PART II

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C H A P T E R

Section PART

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PART III

Section II

A. Major LIST I

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LIST II

LIST III

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LIST

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LIST V

PART I

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PART II

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B. Minor LIST

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LIST

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CHAPTER FIVE Section I PART IA

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PART IB

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PART IIIA

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PART IIIB

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Section II

SING AND RECOGNIZE SIMPLE INTERVALS INCLUDING: PERFECT INTERVALS P4

P5

P8

MAJOR INTERVALS Maj2

Maj3

Maj6

Maj7

min6

min7

MINOR INTERVALS min2

min3

TRITONE (Aug 4 or dim 5) TT

SING

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AND

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RECOGNIZE

ROOT POSITION TRIADS INCLUDING:

CHAPTER SIX

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CHAPTER SEVEN

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CHAPTER EIGHT

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CHAPTER NINE

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APPENDIX A TIME BEATING PATTERNS The following time beating patterns are used in conjunction with ear training.

The following patterns are for the performer’s right hand.

Figure A.1:

Beat 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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APPENDIX 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 beat (and).

Figure B.3:

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” ( u h ) o n t h e l a s t 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.

Figure B.5:

The Divided Beat in Compound Time

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 Count/Clap

Identify the metrical stress and unit of beat. Using the counting system (App. B), perform the e x e r c i s e i n d i c a t i n g a t t a c k s b y c l a p p i n g . Counting syllables (numbers, &, a, or ta) must be audible.

Conduct/Intone

Identify the metrical stress and unit 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 l a b l e ( t a ) . The time beating pattern must continue throughout the exercise.

PITCH PERFORMANCE Number Lists

Establish the tonic triad in D Major or minor, as applicable. Perform the list horizontally in 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 must remain constant throughout the list. degree numbers must be used as syllables for singing.

Notation

Identify the clef and key. Establish the tonic 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 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. bles for singing.

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Intervals

Sing the given pitch. Sing the pitch a given interval above or below as specified.

Triads

Using D as per number each triad. throughout be used as

Triads in Inversion

Sing the given pitch. Sing major and minor triads with the given pitch as the root, third, and fifth o f t h e t r i a d . The tempo must remain constant while singing the triad, but a pause may occur between triads. Scale degree numbers must be used as s y l l a b l e s f o r s i n g i n g . Any pitch order may be used in the triads as long as syllables and pitches are correct.

4-note Chords

Using D as the root, perform Maj6, Maj7, Dom7, min7 , and dim7 chords in order, with one count per number and a count of silence at the end of each c h o r d . 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 The tempo must remain constant the triads. Scale degree numbers must syllables for singing.

MELODY PERFORMANCE Select the time beating Identify the metrical stress and unit of beat. pattern. Identify the clef and key. Given the pitch A 440, sing the interval n e c e s s a r y t o f i n d t h e t o n i c i n t h e n o t a t e d k e y . Using the appropriate time 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. Scale degree numbers beating pattern must continue throughout the exercise. must be used as syllables for singing. Follow all performance directions, i.e. tempo, character, dynamics, and expression markings.

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APPENDIX D PERFORMANCE GUIDELINES I.

II.

III.

IV.

Rhythm A. M e t r i c a l S t r e s s Identify 1. 2. Select beat pattern B . Unit o f b e a t 1. Divided Beat 2 . Subdivided beat 3 . Syncopation 4. Borrowed divisions C. Perform Rhythm 1. Count/Clap 2 . Conduct/Intone Pitch A. C l e f ( i d e n t i f y ) B. K e y ( i d e n t i f y ) Sing tonic and establish key C. 1. Sing triad 2 . Sing pentachord 3. Sing tetrachords Sing scale 4. Identify starting pitch D. Identify musical elements E. 1. Triads 2 . Pentachords 3. Tetrachords 4. Scales 5 . Other structures 6. Difficult intervals F. Perform Pitch Performance Directions A. Character/Tempo (metronome marks)/ B. Dynamics/dynamic changes C. Other 1. Accents and articulations 2 . Expression marks Repeat symbols 3. 4 . F ermatas 5 . Ornaments

tempo

changes

Perform Rhythm A. B. P i t c h C. Rhythm and Pitch D. Rhythm, Pitch and all performance directions

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