TubeNet

My favorite is http://www.musictheory.net/
Peace.
ASG

I like a program called MacGAMUT 2003. It's available on the web for $35. http://www.macgamut.com/

Tom

I recently decided to try starting my students on the "atonal" interval system (i.e. instead of "minor second", it would be "1"; instead of "perfect fourth", it would be "5"). The two-part names of the tonal system are not only ambiguous in some cases (as in augmented fourth and diminished fifth), but are also entirely based on how the notes are written on the staff. Of course, you can simply apply the names and refuse to explain where they come from, but that is cutting corners in the truest sense of the phrase. Most of my students are ready for "ear training" before they have a good enough grasp on reading to really understand the difference between a minor seventh and an augmented sixth. (the same was true of my much older classmates in freshman theory back in the day ) Naming intervals based on the number of half-steps they contain is simple, unambiguous and intuitive (you may disagree if you've been raised on the tonal system like most of us, but teach it to a kid who doesn't know any better and you may be surprised).

Also, I feel very strongly that there is no reason not to substitute mouthpiece buzzing for "sight-singing", at least in part. I realize that many tubists will excoriate me for this and state that the best thing any of us can do for our tuba playing is to take voice lessons. Fine. But we need to practice buzzing anyway at some point, and for decently accomplished tuba students who haven't had any vocal training, mouthpiece buzzing may well be a more productive starting point, if maybe not an ideal ending point.

Finally, speaking of Jamey Aebersold, his free "Jazz Handbook" has a list of tunes that start with each interval (i.e. "Here comes the bride" starts with what you earthlings call a perfect fourth). This method can also be effective: have the student make their own list of tunes that they know well enough to use for this purpose. (to my shock, the current 12 and under crowd is not familiar with Jaws!)

I was doing something relating to this recently. I was listening to the Carlos Kleiber/Vienna Philharmonic Beethoven Symphony No.7. Which incidentally is one of the greatest recordings I have ever heard of anything. The flute introduction to the theme in the Vivace section of the first movement is one of my favorite melodies of all time, so I figured why not play it on tuba for fun. I figured it out by ear, and then checked a score the next day. I was correct. I think that may be a good way to go about ear training. I have since been doing it with other pieces. Great excercise for me at least, maybe you too.

Yes, indeed: the three requirements of all music majors, regardless of their instrument or discipline:
sight screaming
ear straining
piano profanity

There is a study edited by Boosey and Hawkes I think with the title Let us sing correctly from Zoltan Kodaly!

Read it and learn it. The best way!

Kind regards

A related question I've run across mostly from horn players is, "When you've had a long rest, how do you know what pitch to come in on with your next entrance?"

It may seem like a silly question unless you play an instrument like horn on which it is very easy to hit a pitch a whole tone off and not know it if you couldn't hear the pitch ahead of time.

The short answer of course is "by the note written on the page," but the longer answer, if you don't have perfect pitch, is:

"Well, I know what the pitch of my last note was. I've been listening to the rest of the group during my rest, and know what pitches they are playing based on my listening skills. So when I see the note on the page that is my next entrance, I know by ear what pitch it is."

MA

Like the Gb in Carmina. If you don't do that, you're toast!

jimlyon50022 wrote:I have seen this previously...

Bill:

Have you used this course or program?

If so, give us all some highlights.

Thanks!

Jim Lyon

Yeah,
it breaks it down by interval, it starts with 5ths and it goes through very thoroughly. Then goes through 4ths etc..... and there are tests and you do a fair amount of work on your own, but he gives you a way to practice, not just an OK go practice kind of thing. I haven't been able to make it through the whole thing yet, it's rather challenging.
Bill

Does anyone have Hindemith's "Elementary Training for Musicians?" I have heard it has so much in it that you could work on it your whole life. The downside: can't work it all alone, you need a partner to do some of the exercises with (dictation and such). This might be a good one.

I've gotten numerous email ads for the ear training set of CDs, including one recently for $80 off their price, but I have no experience with them.

I've wondered about something though.

Is the set mostly concerned with matching pitches or developing pure beat-less intervals? In other words, does it train one to hear what a pure fifth sounds like by listening to, say, a C and then singing the G above it? Does it teach what a true major third sounds like, not the equally-tempered "my tuner told me so" fuzz that passes for one on a piano?

that no one has really set forth yet is the visual component. Make sure you know what the intervals LOOK LIKE - in every possible combination, so that you stand a better chance of recognizing them when you come across them in your playing. Yes, learn to play them on the piano. Learn to sing them-perfectly. Learn to play them on your instrument - again, perfectly.

This is a great start. Then take some snare drum lessons and learn rhythm. At that point you will have all the tools you need to become a great sight-reader.

Just a little on how it worked for me.
Roger