Book Description
THEORY ESSENTIALS is a two-volume text that offers a unique, total solution to teaching music theory. Integrating all the components of the two-year music theory sequence, each volume (and its accompanying workbook) fully synthesizes the major topics in music theory with aural skills, keyboard applications, and examples from the literature. Offering terrific value, THEORY ESSENTIALS replaces the need for the four separate texts traditionally required for the music theory sequence (theory, ear training/sight singing, keyboard harmony, and an anthology). The result is a remarkable, carefully-paced synthesis of these components that moves from a solid grounding in Fundamentals through Diatonic Harmony (in Volume I), and from Secondary Function chords through Twentieth-Century Techniques (in Volume II).
Customer Reviews:
Part Writing and Analysis is now easy to understand.......2005-09-30
Many theory textbooks complicate part writing and analysis. I had the oppotunity to review and study this book as well as a commonly used theory textbook. This textbook is far superior to the others. I recommend it highly
Customer Reviews:
A solid activity approach to learning the basics skills of music and theory.......2005-11-15
Paul Hindemith should have a more prominent place in the minds and repertoire of musicians. However, he was also a music professor at Yale during and after the war. He returned to Europe in 1953 and taught at a university in Zürich. As a pedagogue and even as a theorist, he was very interested in the practical applications of music. He saw absolutely no use of learning abstractions from a book that you lacked the ability to apply. Makes sense, doesn't it?
This book provides activities at a basic level. He is correct that if you can learn and do all of the activities in this book, you will inevitably get a solid grounding in basic theory. You will not only learn about rhythm, pitch, and notation, you will also learn to write down what you hear (an ability called dictation).
The material here is fairly easy for a well trained musician, but very difficult for a beginner, and probably impossible for a beginner without a good teacher. The main thing to note is that this is a very activity oriented approach and was put together by a fine musician who was an important composer, theorist, and teacher.
Practical and Concise.......2003-03-11
This is by far the best book on its subject that I've ever worked with. For some reason it wasn't used until the second year second semester of Ear Training where I went to school, and I wonder why the college made us waste time and money on previous texts when this one had it all.
That being said, it's definitely written without self-teaching in mind. From Hindemith's mindset, and that of many pedagogues both living and deceased, the idea of teaching oneself musicianship is about as nuts as teaching oneself surgery or carpentry. Even if it were possible, the same results could be achieved with less time and effort through proper instruction, which Hindemith sought to facilitate with this text. So if you're looking for a self-teaching text, look elsewhere - you are outside the scope of this book.
My only concern about this book, and this could be simply the edition I have, is that it's in desperate need of a facelift. Taking advantage of computer layout techniques could make the exercises easier to read and the pages easier to navigate. Other than that, it's a teacher's dream for working on the nuts and bolts of musicianship.
"Elementary Training" -- Neither Elementary Nor Musical.......2002-12-05
I first encountered "Elementary Training for Musicians" when I was a teenager, several decades ago. It was recommended by a couple of professional musicians whom I admired as role models. They must have had a grudge against me. I approached the book with an open and eager mind, as if it were the Bible, and by the fifth page it had absolutely dashed my hopes and dreams. This book would have represented a major setback for me, had I not had the courage to say, "Hindemith, you're full of [it]," and moved on with my life.
As I got to know my musician friends better, I could see that what made them good had little to do with the torturous training in this turgid tome. I suspect that the same is true of Hindemith, who probably wrote his music with his right brain, and wrote this book with his left. I think he secretly penned this particular monument to obtuseness to dumbfound his professor peers, as if to say, "You see? This is what is 'elementary' to a genius like me."
You probably won't take to this book unless you happen to have perfect pitch and an appetite for unmusical exercises. Even if the latter description fits you, you would probably find the layout boring and confusing, a relic from the pre-War era, when pools of type swam in undifferentiated masses on the page. In this case, the pools are notes. The type enshrines an authorial voice that is professorial and pedantic. There is little sympathy on Hindemith's part for the "beginner's mind" -- yours, presumably -- so if you are really a beginner at music, seek your elementary training elsewhere. I would suggest going to the bookstore of a major university and seeing what is available now in music fundamentals. Avoid all texts that do not have at least one accompanying CD. Why be cruel to yourself? Your progress will be easier and faster if you can hear what the symbols mean.
One other recommendation: David Lucas Burge's Relative Pitch Ear Training Course (I have no financial interest in Burge's courses). Burge seems to be a bit of a showman, but this course is indeed meticulously worked out. I think there are some drawbacks to it, but it is truly Elementary Training for Musicians, and it will serve you well for a lifetime. As for his Perfect Pitch course, there may be something to it, but I haven't seen (or heard) any confirmation.
Good luck!
EXCELLENT BOOK.......2002-02-28
Paul Hindemith is probaly the greatest teacher, composer, and author of the 20th Century. This Book gives insight to many students (such as myself). It is a great source of help for music theory and composition, history and literature majors. Buy the Book and I gurantee you will not regret it!!!!!!!!!!!!!!!!!!!!
EXCELLENT BOOK.......2002-02-28
Paul Hindemith is probaly the greatest teacher, composer, and author of the 20th Century. This Book gives insight to many students (such as myself). It is a great source of help for music theory and composition, history and literature majors. Buy the Book and I gurantee you will not regret it!!!!!!!!!!!!!!!!!!!!
Average customer rating:
- A great disappointment
- Music Connection Magazine and Guitar Digest Magazine
- For absolute beginners only
- Taught me to hear, play, and understand better!
- Complete Guitar by Ear
|
Complete Guitar By Ear: Relative Pitch Ear Training Course
Mark John Sternal
Manufacturer: MJS Publications
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ASIN: 0976291738 |
Product Description
No written text or sheet music. Recorded lessons focus on ear training, finger strength, and music theory. So simple a complete beginner can use it. Just pop in the CD and follow the lessons from your very first note to every note - on every fret - on every string of your guitar. ***** Disc 1 the learning disc 63 minutes 36 tracks. Very descriptive showing all you need to play guitar. *** Disc 2 advanced ear strengthening/training disc 38 minutes 21 tracks. Listen anytime, anywhere to help build your musical ear. *** 2 CDs Total running time: 1 hour 41 minutes *** Improve pitch recognition, and note relativity *** Music theory simplified *** Start with one note and build at your own pace *** Quickly learn every note on every string by ear *** No sheet music or sight reading *** necessary *** Strengthen your musical ear
Customer Reviews:
A great disappointment.......2007-08-05
These 2 cds are very simple. He plays various interval starting at the minor second. In the second cd he plays the same intervals only faster. The tracks never contain more than one interval so you cannot test yourself. For chords he says "just combine a major with a minor 3rd and thats all you need to know". Clearly, there are many fingerings etc that you need to know. In short, no beginner could ever use these CDs to learn to play guitar. No intermediate player could use these CDs to learn ear training because they likely already know the names of the intervals and these teach nothing else.
Ear Training for the contemporary musician by Keith Wyatt et al is a book an intermediate player can use for ear training that really works but represents weeks or more of hard work.
Music Connection Magazine and Guitar Digest Magazine.......2007-03-07
"I can't imagine how much more fun learning the guitar could be... 'Complete Guitar By Ear' is like having the best and most patient teacher ever--you'll learn the guitar and ear training at your own pace."
Barry Rudolph, Music Connection Magazine
"Where was this product years ago when I had no comprehension of intervals, pitch or a true practice regimen? Once again the savvy folks at MJS have produced a wonderful product designed pure and simply to help guitarists become better players."
Chris Armold, Writer/Photographer, Guitar Digest
For absolute beginners only.......2006-12-28
The title of this course is very misleading. It is far from "complete". The author simply plays each interval, one kind at a time, in different places on the guitar and you find them. It does not have anything about relating a note to a key center/note, or anything about chords (type & function). I recommend Ear Training from Hal Leonard for a more complete course.
Taught me to hear, play, and understand better!.......2006-04-23
There are 2 CDs in this package. The idea is to listen to them with guitar in hand and play along. Just like the title hints, "Complete Guitar By Ear" is taught completely by ear. There is no booklet or written materials that come with it.
I was never able to figure out my favorite songs on guitar until I bought this course. I was very skeptical when ordering "Complete Guiatr By Ear" because I had tried other ear training books and CDs in the past. This course was very different and it actually worked!
The first CD starts out very basic, which was helpful for me. The first few tracks have you playing along with a short range of notes on the first string. Then as you get more comfortable the narrator has you find notes on your own by playing along with the recording. Next the second string is introduced, you play along, find notes, then combine the first and second strings. This continues until you have learned to play notes by ear on all 6 strings. By the end of disc one you have learned every note, and every note combination on every string.
The second CD has a lot of more advanced ear training lessons. It took me about 4 weeks to complete disc one and two the first time. I started figuring out my favorite songs after 2 weeks of using these CDs. I've listened and played along with disc 2 dozens of times and as a result I can name intervals just by hearing them. Also, I've noticed that when I have my guitar and I'm listening to a song that my hand automatically goes to the notes being played on the radio.
Other ear training courses make ear training seem mystical or impossible. "Complete Guitar By Ear" is easy to use and understand from beginning to end. It has given me an entirely different understanding and appreciation of music.
Complete Guitar by Ear.......2005-04-17
I have used the Complete Guitar by Ear course for a few months now and find it an excellent tool to begin playing by ear. It started me off by teaching me how to distinguish between different pitches and helped me develop my playing by ear.
Product Description
This book and 3 accompanying audio CDs is a compilation containing all the information and CDs found in the following books: Ear Training One Note Beginning, Ear Training One Note Intermediate and Ear Training One Note Advanced. The ear training method presented is a highly effective way to dramatically improve relative pitch skills. While it has been used with great success in classroom situations and in private study, it is equally rewarding and accessable for the self taught musician. Study can be accomplished (and is actually recommended) during spare time such as driving to work, riding on a train, or sitting in a waiting room. This compilation contains all three levels so that a student can steadily and methodically improve their ability over time. It is recommended primarily for beginning and intermediate students; more advanced students should purchase Ear Training One Note Advanced. This book provides a solid basis for the development of good relative pitch and is the required text at both New York University and Princeton University.
Customer Reviews:
Not a quick fix.......2007-02-14
Bruce Arnold is a teacher, not a writer. Don't think of this as a book, or really even as a CD. Think of this product as an approach to training your ears. It's a discipline that will probably take me years of effort to see results, if I'm good and do it every day for 10 minutes or so at a time. I'm not sure what I expected, but I think this point should be right up front.
It is the opposite approach to that used in my college level skills class. At my school they used an interval approach. Sing a note and then sing the note a major 3rd above that. Now up a tritone, down a minor second, etc. Frankly, I was thrilled at my progress with this method, but at the same time, frustrated at what I couldn't do and felt that there was something not quite right about it. It felt artificial and limiting, and somehow disconnected with true music. I believe that this approach to ear training (though hard) is the right one, and will (eventually) bring me to the skill that I want to possess.
This part of his training method focuses on hearing what the fifth (for example) sounds like in a key, if I understand it right, not in relation to the tonic, but in relation to the whole context. Well, that "recognition" extends eventually to all 12 semitones within the context of the key. Establish a key in your head, then hear a note and realize that it is the raised fifth, or the 7th or whatever. All octaves, even ones that you cannot sing. You're not to recognize the note out of context...that would be more of a perfect pitch. Not by the physical feeling of the note as you try to sing it. Similar to how you see a color and learn that it is blue, you would hear a tone and learn that it is the raised 5th. I can imagine hearing a tune on the radio or something, and then knowing that the melody started on the 6th, or that this passage had a significant word on the 2nd. Also, I can imagine making up a melody, and realizing that this note "sounds like" a 3rd...therefore I would know the key of the melody much faster than any technique I might have used in the past to finally figure out the harmonic context of a melodic line.
He's got more method than just this, which also needs to be going on at the same time. The Fanatic's Guide to Sight Singing and Ear Training (and be sure to get the CD that comes with this book--there are versions of the book available that don't include the CD. I suppose you could make your own). This is the other side of this coin. Given a key, produce (as opposed to recognize) this semitone and that semitone. This guide has exercizes that take you through collections of 2 semitones up to 6 semitones. Really, lots of exercizes there. My intuition tells me that producing and hearing the notes against the tonal center will complement the other book/CD where you're asked to recognized the isolated tone within it's context. He also recommends that you do these 2 exercises together for best progress.
Other books/CD's that he has are for later, so don't make the "mistake" that I made and buy those up front. You really have to master the basic levels before you'll be ready to tackle the more advanced phases of the method.
Only the Essence.......2007-01-04
This is a book/tool that cuts out all fluff and gets right down to the bone. The message: To get the Ear, you need to listen & listen & listen & listen & listen ... After two weeks I'm getting C & G, but the rest is taking a lot longer; still working on it, but I have faith in this method. It's not a whole lot of fun; it's just plain simple & repetitive & effective.
Not for the Faint of Heart (or Ear).......2006-09-15
My only previous ear training was from my piano instructor a number of years ago. It was interval based, and useful to a limited extent. Mr. Arnold's method of ear training is very straight forward and logical. I must admit that the first word that comes to mind to describe using the One Note ear training CDs is FRUSTRATING. I really gave it my best shot for a couple of months and had virtually no progress. It is distressing to read so many reviews that say things like "I am looking forward to great progress." I did not see very many that claim significant progress. Like myself, they see the logic of the method but have not "gotten it" yet.
I have the luxury of having a good bit of time to listen to these during my commute to and from work on public transport. Not driving has it's advantages. However, I have to say that I can not listen to the CD for more than about 10 minutes without wanting to use it as a Frisbee.
I addressed my frustration to Mr. Arnold via e-mail and he told me that many people listen for a year (maybe more) before they make significant progress. Unfortunately, I could not make myself do that. Frankly, I just got too bored of guessing the wrong notes to a point that I could not pay attention. I began to dread listening to it and finally just gave up.
There are stories of success on his website, but most of the reviews here on Amazon sound like the people are still in the initial phases of the learning process, just as I was.
I rate this book/method four stars for potential for practical application and apparent logic of method. If I had to rate it on what I got out of it the first time around, my rating would have to be much lower. However, I suspect that my impatience was more to blame than the method, so I will give it another try.
It would be interesting to see follow-up reviews from readers here that have continued using the CDs and can now report more success (or not) than in their initial reviews. I, for one, could use the encouragement.
RHB
I cannot overstate my appreciation.......2006-08-28
I am not a musician and I know practically nothing about music. I bought the book (I bought two books -Ear Training: One Note Complete Method and Key Note recognition) for my two teenage children who (I think) are musically talented. The fact that the book was written by Bruce Arnold and is required text for students at New York University and Princeton University is impressive enough
What I appreciate the most is Mr. Arnold's willingness to answer my questions. Some of my questions are answered in about the next day. I am amazed at the speed of his reply
I feel that his answers to my questions are not self serving in his part rather his answers were honestly geared to what is best for my child.
Thank you Mr. Arnold
-- 2 month surviver.......2006-01-27
Ditto on much that has been said relating to the initial frustration and time needed for this method. I spent the first two weeks or so cussing out the cd for being much better at the guessing than I was. This is not for those who are not willing or cannot allot the time and effort required.
After a month or so I started to remember some of the notes...then I forgot them...remembered them...forgot but remembered different ones and on it goes. Much depends on your attitude while listening and your willingness to learn. I feel as though I've already gained a slightly better 'ear' and am improving steadily from my use of this book and now the Fanatics' Guide as well.
I'd also like to point out that Mr. Arnold has responded promptly to the couple of emails I've sent seeking advice and that to me means a lot...where am I otherwise going to get such first class instruction for the price of a book? I don't think proponents of other ear training methods and authors are so accessable to anyone other than perhaps to take your money up front for some grossly overpriced product.
I'm sticking with this....and if it works wonders a few years down the road.... I'll give it 6 stars!
Book Description
This book and double CD pack takes you step by step through MI's well-known Ear Training course. Complete lessons and analysis include: basic pitch matching * singing major and minor scales * identifying intervals * transcribing melodies and rhythm * identifying chords and progressions * seventh chords and the blues * modal interchange, chromaticism, modulation * and more! Learn to hear and to visualize on your instrument. Take your playing from good to great! Over 2 hours of practice exercises - with complete answers in the back.
Customer Reviews:
Make sure you're looking to sing..........2007-07-25
I don't want to be overly critical of this book since it's probably going to work for a lot of people, but it definitely wasn't what I was looking for nor was it what I was expecting. I want to develop my ear and advance my guitar and piano playing through playing those instruments, not through having to sing. I don't have a good voice and I have no desire to sing or become a singer, but this book starts you out singing everything from the very first chapter through the end of the course. This is a definite turn off for me since that's not what I'm comfortable doing...and trust me, I'm sure my family doesn't want to hear me either! I won't sing "Happy Birthday" at parties even when I'm amongst 15 other people that will drown me out but, lo and behold, the first chapter has me singing just that in order to identify the tonic of the song.
I'm giving this book 3 stars only because I felt the description of it was a bit misleading. It is completely reliant on singing, but that didn't really come across in the description of the book. If singing is something that works for you within the scope of learning an instrument and training your ear, then I'm sure the book will be fine, as the other reviewers have pointed out. But if you're not looking to train your ear through singing, you may want to be careful with this particular book before you buy it.
great eartraining book.......2006-03-24
great book I have taken eartraining courses in college they move too fast and do not offer enough explinations. this book lets you take your time and give plenty information
This is a Complete Guide.......2006-03-10
Keith Wyatt does a great job of explaining and demonstrating the fundamentals for ear training. He makes no claim to a quick and easy way to accomplish your goals with this. He does give a concise method on how to get the most out of what abilities you do have --whether you have tremondous talent or no natural ability -- I belive you can train your ear with a commitment to his study and practice methods. I am not far along with this and I do not sing but I can now hit notes with my voice and recognize them. Something I could not do before I got this study and I am applying it to my guitar and piano playing. I recommend the book to anyone that is willing to adhere to a schedule and not to someone looking for magic dust.
If you don't have a professional coach then try this.......2005-06-12
If you've ever wanted to teach yourself to recognize particular notes and patterns this book is an excellent resource. The authors examine things like the major and minor scales, fifths, sevenths, melodies, sightsinging, triads, and diatonic progressions. They also do an excellent job of describing what is happening, the theory behind it and how to use it to help train your ears to recognize the notes, progressions, etc. The book includes exercises, answer sheets, and two CDs with examples of the various notes and tones from the book so you can practice. If you are serious about ear training you can't go wrong with Ear Training For the Contemporary Musician.
Product Description
Fanatic's Guide differs from the myriad of other sight singing books in that it develops the ability to identify and name all twelve pitches within a key center. Through this method a student gains the ability to identify sound based on it's relationship to a key and not the relationship of one note to another i.e. interval training as commonly taught in many texts. THIS SPIRAL VERSION CONTAINS A CD WITH THE BOOK. All note groupings from one to six notes are presented giving the student a thesaurus of basic note combinations which develops sight singing and note recognition to a level unattainable before this Guide's existence. This book is a required text at the New York University and Princeton University Music departments.
Customer Reviews:
No Fluff, The Right Stuff.......2003-08-27
This method is excellent! If I could give it more than five stars I would. If you're willing to put in the time it pays off. I have been working on the exercises from this book for almost a year and my ear has improved tremendously. Follow Mr. Arnolds directions in the book exactly as spelled out and you will do yourself a big favor. He has put in the time learning this material himself and knows all the pitfalls of doing it wrong and has distilled a method that works. He learned from the pros and has published what he learned. If you want a nice glossy book with lots of cool pictures this isn't for you. If you want something that works get it, do it, and you'll be amazed. The bottom line is you have to the work for the results. I have noticed some reviews that note the starkness of Mr. Arnold's books. His books are all substance and no jive! He shows his dedication to the material he presents by providing a FAQ section on the museek Website. You can submit a question and he answers it right away, sometimes in minutes, never more that 24 hours. That really surprised me!
The "KEY" is the "KEY".......2001-05-03
I've been using Mr. Arnold's approach to ear training for about a month now. I have found it very challenging but on the same hand very rewarding. The main thing I have come away with from Mr. Arnold's Ear Training method is how damaging interval based ear training can be to your musical development. He believes that you must first understand how to hear the sound of all 12 notes against a key. I was a little unsure whether this all made sense but after working with this method I am seeing real progress. I'm currently using a combination of the (Ear Training One Note) and the Fanatic's Guide and I find it to be a winning combination. If you are serious about developing your ears like I am, I'd highly recommend checking this method out and starting off on the right path.
Hard but worth the effort.......2001-04-01
I bought this book about 6 months ago. I have only been working on two of the exercises so far but even that has really turned my head around about how to hear sound. I basically have found that this book has started to change my perception of how to identify sound. Though I haven't mastered the ideas presented in this book I am starting to realize that you can indeed memorize the sound of each note within a key and use this as a method to identify pitches. My overall recommendation is not to get this book if you don't have a lot of dedication to practicing. I have found the exercises to very difficult and quite honestly was about to give up a few times. I suppose each person who might buy this book is coming from a different place so my comments may not pertain to everyone. For me, I just couldn't latch onto a method of ear training that worked for me. This method is no "walk in park" but it is working and that's what matters to me.
Highly Effective.......2001-03-31
Mr. Arnold offers practical advice and information to the contemporary music student. His several books present methods for learning music in an efficient and enjoyable manner. The methods were developed and refined during his many years of teaching, and are well informed by his professional associations with many of the world's finest musicians.
I have taught music theory and aural comprehension to well over 1000 music students at New York University. These future performers and composers hail from a wide variety of musical backgrounds - classical, jazz, rock, music technology, and music theater - and I have instructed them in ear-training techniques that are similar in methodology to Mr. Arnold's. These techniques have caused dramatic improvement in almost all students that have applied themselves and allotted sufficient time for practice.
In the 10 years of our acquaintance, Bruce Arnold has consistently impressed me with his abilities as a performer, composer, and educator. I share his philosophy of ear-training instruction and feel that he has realized it in a highly functional and useful manner with his books and CDs. For these reasons, I especially recommend his materials to my students, as I recommend them to anyone with the desire to expend effective hard work in the pursuit of their musical aspirations.
Klaus Sinfelt, Assistant Director of Music Theory, Department of Music and Performing Arts Professions, New York University
My Experience.......2001-03-22
I recently purchased the Ear Training One Note Series and Fanatic's Guide by Mr. Arnold and thought I would share my experience. You can see my review of the Ear Training One Note Series under those book titles. First let's look at the positive things. I like the fact that this is a method and there are many levels and types of books in this series to help you develop at your own pace. I also like the fact that you can start with a level that is right for you and not have to purchase a book with a bunch of exercises that you already can do. But really the main thing that separates this method from any other method I read about or used is that you can contact the author through the muse-eek website if you don't understand something, need direction or just need encouragement. I had quite a few questions over the last couple of months and Mr. Arnold has responded with quite insightful responses. The author is obviously concerned for my development and helped me organize a way to work with this book and others in his series. My one main criticism of this book is that it's overwhelming. There are so many exercises and page after page of note combinations to sing that I was really confused where to start. Although for each exercise it was easy to understand what to do I just didn't know which one to do first and how to organize my practice time. I contacted Mr. Arnold about this and his explanation was that this book "is an overall encylopidia of exercises for students both beginning and advanced." Mr. Arnold directed me to the member's area of the Muse-eek website where book owners can download further information for free about this ear training method. There are lesson files for this book located there which for me really helped me organize my time and get on the road to improving. I think it's important to realize that this method of ear training is really quite different from other available methods. Mr. Arnold calls in "Contextual Ear Training" because you are always relating pitches to an underlying key or sense of key. I'm a giging musician and I've found that this type of ear training has really changed my perception over the last 6 months. Overall I have to say I'm happy with this book. For me being able to contact the author and all the help files on the publisher's website make this a great learning experience! I got the other members of my band working with this method too. In my band mate's humble opinion and mine, muse-eek has one of the best if not only distant learning place for music on the internet.
Book Description
Now in its second edition, A New Approach to Ear Training provides students with the means to master ear-training skills on their own and at their own pace. Organized into four large sections of crefully graded exercises that correspond to the progression of material in most theory courses, A New Approach to Ear Training offers instructors remarkable flexibility, enabling them to use the book as an assigned text or as a supplement for students to work through on their own. The text truly heralds a new approach to teaching ear training and aural skills.
Melodic and Harmonic Dictation--The Second Edition now features chapters on both melodic and harmonic (four-part) dictation-all the necessary material for ear-training classes gathered into one text. This approach encourages students to recognize the long-range harmonic organization and overall structure that the melodies imply.
* A wealth of melodies from the standard music literature are interspersed with newly written melodies that gradually introduce increasingly complex musical elements.
* Exercises in harmonic dictation direct students' attention to voice leading, particularly between the soprano and bass, and ask students to identify chords, inversions, and large-scale harmonic function.
Sound Pedagogy
* A smart new design-featuring cleat headings and shaded boxes-makes the text easy to navigate.
* A carefully conceived progression of exercises in each chapter introduces new concepts one at a time.
* Lessons include drills in special topics, designed so that students can work on their own. These drills-like sessions in a practice room-allow students to focus on particular problem areas.
* Review lessons help students prepare for the tests included in the text.
* Music examples represent an array of tonal styles.
Book Description
A self-training manual as well as a classroom text, this book is a complete step-by-step course to develop the musician's ability to hear and notate any style of music. Personal training, thoery and exercises produce techniques which are combined in an integrated craft which may be applied to composition, orchestration, arranging, improvisation and performance.
Customer Reviews:
A Remarkable Tool for Musicians of All Levels.......2007-05-20
Many thanks to Ron Gorow for this book. Whether you're a beginning musician or a professional composer, there's a lifetime's worth of information and practical tips and exercises in this book. I'm a music teacher, musician and amateur composer. Studying this book has provided me with a wealth of compositional tools for my own musical pursuits, and has inspired me to give greater emphasis to transcription and composition in the curriculum I teach to K-3 elementary school children. In this book you'll find the practical and usable stuff the standard methodology books leave out. You'll learn about the harmonic series, tonality and building blocks for composition and improvisation. You'll learn how to develop your listening and transcription skills in ways that are useful in any context or setting. You'll learn things about notation that nobody before Ron Gorow has taken the time to distill into a concise, compact and usable format. You'll discover that you can trancribe what you hear and compose without a piano(Gustav Mahler composed symphonies in remote wilderness areas with just paper and pen. Duke Ellington wrote "Mood Indigo" on a paer bag sitting in a taxicab). Ron Gorow helps to bring a world of practical musical possibilities within our grasp. You'll find basic building blocks as well as ear training exercises that challenge even the most advanced ears. This book is written by someone who's actually been there and done it. If you take the time to study this book you will be rewarded.
You have got to be kidding.............2007-04-30
I shouldn't write this because I want to sell my copy. But I wish someone had warned me. This book is actually great for anyone who needs to be told to practice whatever it is they're trying to learn. If it hasn't occurred to you to practice listening for whatever it is you want to learn to hear in music, or whatever musical skill you want, then get this book because it will tell you to do that, and then you'll feel like it's OK to go ahead and do it. Once you percieve that you have permission, then begin to practice listening for the melodies and parts, and practice writing them down. You'll get better at it as you do this. There, I just saved you $20. AND alot of reading time you could have spent practicing hearing and writing. Oh and one other thing I learned from this book: ANYONE can write a book on how to do ANYTHING.
The Gold Standard.......2007-04-08
There is simply no other book that has as much practical information and insight--presented with as much understanding, kindness, and compassion for the trials of the struggling musician/arranger/composer--as does Ron's.
In the music business, he really has "been there, done that," and the joy of it is that he is sharing it all via this amazingly thorough and lucid volume. His work is my personal "Gold Standard" and I can't recommend it enough.
From a budding film composer.......2007-04-04
I am a physician/surgeon by current profession. But my hand to God, I have been preparing my whole adult life for my second career in music as a composer for film. The element that has always been most elusive to me has been the ability to manuscript straight from my head to the paper with a simple pencil. While I'm well adept at Finale, Digital Performer, and MIDI orchestral suites like East West Quantum Orchestral Library, etc. I have always been working at my ear to paper skills. Until I read Ron's book and "got it" I wasn't really quite sure what I was needing to accomplish. Now I know and I'm on my way more than ever to mastering the skill of going from imagination to the manuscript--skipping the usual play it at the piano first method. I'm excited. This isn't an easy venture...I know it wasn't for Ron Gorow either...he earned it when he was young and had the time to get really really good at it. He teaches this abstract skill with a method I've never had the priveledge to utilize. Now it is available to all musicians who understand that this skill will require practice practice practice. It may be innate for some, but for most it is not. Just read the book and do the exercises and you'll gain amazing skills without hardly any effort at all. I praise Ron for making this elusive ability to be a "Human Sequencer" a reality for all of us. Congratulations Ron.
just great.......2007-03-28
hearing and writing music is simply the best resorse i have ever seen in aiding the aural development of musicians .. a must have!!
Book Description
The Musician's Guide to Aural Skills teaches the skills of complete musicianship, integrating aural training and performance in one comprehensive pedagogical program.
The Musician's Guide Series features:
- The newest developments in tonal and contemporary theory and analysis
- A familiar core repertoire, revisited throughout the theory text in different contexts, that exposes students to a wide range of musical genres—choral and instrumental, solo and ensemble—from Western classical to pop and jazz
- An anthology of complete musical works complemented by professional performances on a three-CD set
- An extensive collection of written, aural, and keyboard exercises to reinforce key concepts
Books:
- This Is Your Brain on Music: The Science of a Human Obsession
- This Time, This Place: My Life in War, the White House, and Hollywood
- Tools & Techniques of Financial Planning (Tools and Techniques of Financial Planning) (Tools and Techniques of Financial Planning)
- Was
- What Every Real Estate Investor Needs to Know about Cash Flow... And 36 Other Key Financial Measures
- Who Moved My Cheese? An Amazing Way to Deal with Change in Your Work and in Your Life
- Written in Blood, newly revised edition: The Story of the Haitian People 1492-1995
- Yosemite and the High Sierra
- A Table for Two: Recipes from Celebrated City Restaurants
- Adult All-In-One Course: Lesson-Theory-Technic: Level 1
Books Index
Books Home
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