Guitar music theory ear training manual for musicians

DISTRIBUTION STATEMENT A: Approved for public release; distribution is unlimited.

SPECIAL PUBLICATION

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.

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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: 253-7509 COMM: 757-462-7509 FAX: 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.”

EAR TRAINING

CONTENTS

Page

CHAPTER 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1Section I: The Divided Beat in Simple Time.Sect ion I I : The Major Triad in Numeral Notation.

CHAPTER 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-1Section I: The Divided Beat in Compound Time.Sect ion I I : The Major Triad in Staff Notation.

CHAPTER 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-1Section 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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-1Section I: The Subdivided Beat in Compound Time.Sect ion I I : Major and Minor Scale Activities.

CHAPTER 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-1Sect ion I : Syncopation Involving Beat and Divided Beat in

Simple and Compound Times.Sect ion I I : Intervals and Triads.

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CHAPTER 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-1Diatonic Major and Minor Melodies in Simple and Compound Timeswith Divided Beat and Leaps of Thirds in Tonic Triad.

CHAPTER 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-1Diatonic Major and Minor Melodies in Simple and Compound Timeswith Subdivided Beat and Leaps of Thirds and Fourths.

CHAPTER 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-1Diatonic Major and Minor Melodies in Simple and Compound Timeswith Syncopation and Leaps of Thirds, Fourths, Fifths, Sixths,and Octaves.

CHAPTER 9 .. . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-1Non Diatonic Melodies in Simple and Compound Times with DividedBeat, Subdivided Beat, and Syncopation. Melodies Contain Leapsof Thirds, Fourths, Fifths, Sixths, and Octaves.

APPENDIX A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-1Time Beating Patterns

APPENDIX B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-1Counting System

APPENDIX C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-1Performance Procedures

APPENDIX D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D-1Performance Guidelines

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CHAPTER ONE

Section IPART I

PART II

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P A R T I I I

J

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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

P A R T I

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PART II

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P A R T I I I

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Section IIPART I

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PART II

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PART II I

PART IV

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PART V

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CHAPTER THREE

Section IPART I

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PART II

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RT

III

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3-3

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3-4

Section IIL I S T I

L I S T I I

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L I S T I I I

PART I

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PART II

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C H A P T E R F O U R

S e c t i o n I

P A R T I

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PART II

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III

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4-4

Section II

A. Major LIST I

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L I S T I I

L I S T I I I

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L I S T I V

LIST V

PART I

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PART II

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B. Minor

L I S T I

L I S T I I

L I S T I I I

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CHAPTER FIVE

Section I

PART IA

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PART IB

PART IIA

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P A R T I I B

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PART II IA

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5-5

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5

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5-7

Section II

SING AND RECOGNIZE SIMPLE INTERVALS INCLUDING:

PERFECT INTERVALS

P4 P5 P8

MAJOR INTERVALS

Maj2 Maj3 Maj6 Maj7

MINOR INTERVALS

min2 min3 min6 min7

TRITONE (Aug 4 or dim 5)

TT

SING AND RECOGNIZE ROOT POSITION TRIADS INCLUDING:

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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 train-

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

Figure A.1: Beat patterns

Sub-division may be util ized in slow tempi to clarify and control the per-

formance 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 “&” (and) on the second third of the beat when that division is

present and “a” (uh) on the last third of the beat when that division is

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 theexerc ise indicat ing at tacks by c lapping . Countingsyllables (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 an e u t r a l s y l l a b l e ( t a ) . The time beating patternmust continue throughout the exercise.

PITCH PERFORMANCE

Number Lists

Notation

Scales

Establish the tonic triad in D Major or minor, asappl i cab le . Perform the list horizontally in DMajor or D minor with one count per number and acount of si lence at the end of each l ine. The tempomust remain constant throughout the list. Scaledegree numbers must be used as syllables for singing.

Identify the clef and key. Establish the tonictriad in the key of D Major or minor, as applicable.Sing in D Major or D minor, regardless of the notatedkey. Perform the exercise with one count per noteand a count of si lence at the bar l ine. The tempomust remain constant throughout the exercise. Scaledegree numbers must be used as syllables for singing.

Using D as a tonic, perform scales with one count pernumber and a count of silence at the end of eachs c a l e . The tempo must remain constant throughout thes c a l e s . Scale degree numbers must be used as sylla-b les for s ing ing .

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Intervals

Triads

Triads inInversion

4-note Chords

Sing the given pitch. Sing the pitch a giveninterval above or below as specif ied.

Using D as the root, perform triads with one countper number and a count of silence at the end ofeach tr iad . The tempo must remain constantthroughout the triads. Scale degree numbers mustbe used as syllables for singing.

Sing the given pitch. Sing major and minor triadswith the given pitch as the root, third, and fiftho f the t r iad . The tempo must remain constant whilesinging the triad, but a pause may occur betweent r i a d s . Scale degree numbers must be used assy l lab les for s ing ing . Any pitch order may be usedin the triads as long as syllables and pitches arec o r r e c t .

Using D as the root, perform Maj6, Maj7, Dom7,min7 , and dim7 chords in order, with one count pernumber and a count of silence at the end of eachchord. The tempo must remain constant throughoutthe chords. Scale degree numbers must be used assy l lab les for s ing ing .

MELODY PERFORMANCE

Identify the metrical stress and unit of beat. Select the time beatingpattern. Identify the clef and key. Given the pitch A 440, sing the intervalnecessary to f ind the tonic in the notated key. Using the appropriate timebeating pattern (App. A), perform the melody in the notated key. The timebeating pattern must continue throughout the exercise. Scale degree numbersmust be used as syllables for singing. Fol low a l l per formance d irect ions , i . e .tempo, character, dynamics, and expression markings.

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APPENDIX D

PERFORMANCE GUIDELINESI . Rhythm

A. Metrical Stress1.2 .

B . Unit1.2 .3.4 .

Ident i fySelect beat patternof beatDivided BeatSubdivided beatSyncopationBorrowed divisions

C. Perform Rhythm1. Count/Clap2 . Conduct/Intone

I I . PitchA. C l e f ( i d e n t i f y )B. Key ( ident i fy )C. Sing tonic and establish key

1. Sing triad2 . Sing pentachord3. Sing tetrachords4 . Sing scale

D. Ident i fy s tart ing p i tchE. Identify musical elements

1. Triads2. Pentachords3. Tetrachords4 . Sca les5 . Other structures6 . D i f f i c u l t i n t e r v a l s

F. Perform Pitch

I I I . Performance DirectionsA. Character/Tempo (metronome marks)/ tempo changesB. Dynamics/dynamic changesC. Other

1. Accents and articulations2 . Expression marks3. Repeat symbols4 . Fermatas5. Ornaments

IV. PerformA. RhythmB. PitchC. Rhythm and PitchD. Rhythm, Pitch and all performance directions

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