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Lines: v. 1: Sight Reading and Sight Singing Exercises
Lines v 1 Sight Reading and Sight Singing Exercises Author:Bruce Arnold This is a new ear training and sight singing book which takes a different approach by utilizing single line and part singing; where one voice is played while another is sung. The student can also choose to download midifiles of these exercises, as an alternative to playing them. These midifiles are available on the internet. A method for creatin... more »g a personal ear-training tape is also explained, which takes a fresh approach to learning note recognition. This regimen of singing and listening to an ear-training audio tape has been used with great success, even for students with severe pitch recognition problems.How to use this book: for beginners - there are many methods of ear training available to the serious music student. I call the method used here "relative pitch ear training," but it is not based on interval training or on memorizing melodies to be regurgitated back at the instructor. What makes this ear training different is that a student memorizes the sound of all 12 pitches against a key center. There are steps and exercises required to reach this first plateau. Each of the 12 pitches we use in western music has a distinctive sound when heard against an established key center. If we were to play a I- IV- V- I progression in the key of "C" a few times over this would establish a key center in the listener's mind.If we then play one of the 12 available pitches this note would have a distinctive sound against that key. For instance, if we play an "F" note it has a unique and particular sound. Now, this is not because it is a fourth interval above the tonic, it is because it has the specific sound of the fourth degree. We shouldn't derive the answer by singing out loud up the scale or thinking up from the tonic in our mind. And lastly and most importantly, we shouldn't think or sing "Here Comes the Bride" to get to that fourth interval. These common tricks are taught in many schools and while they may work to get a student through a test to pass a course, they don't train a student's ear to hear what pitches are going by when music is played in time.« less