We are limited by our voice, both in volume, range, and tonal color. When an interviewer asked Dizzy Gillespie what it sounded like in his head while he played, Dizzy sang a bebop line, but very loudly. It’s a combination of hearing/singing/internalizing the melodic and harmonic elements of the music (also the rhythmic but I’ll have to devote an entire article to just that to give it its fair treatment), and being able to manipulate that information in various creative ways in your mind. We need to spend just as much time developing our internal instrument.Īs you can see from the list above, good jazz ears are a lot more than simply being able to recognize intervals and chord qualities, although that is a small piece of the puzzle. We spend so much time learning to play our instrument. Think of your instrument as an amplifier for your aural imagination. Developing your ear is equally gratifying to playing your instrument. Seems a bit more exhaustive than your typical classical ear training class, doesn’t it? Yes, there is a lot of ear stuff to master, but not to worry. Hear and change volume at will in our mindĪnd the list goes on.Hear subtleties in the many voicings of chords.Hear the qualities of chords and pick out chord tones.Hear a line from a recording and retain it.Hear and sing the roots of a progression.Hear and sing specific chord tones while a chord plays in the background.However, many traits of great ears can easily be identified. But what does it even mean to have great ears and a vivid aural imagination? They are something that are consciously developed over years and years of practice. The problem: great ears don’t just happen. The way we hear is the most neglected aspect of practicing improvisation. Want to change the way you sound? Change the way you hear. The stuff, though, that actually emerges during improvisation is the stuff that we can really hear. This well is filled with things we’ve practiced, listened to, or studied theoretically. When we go to improvise, we draw from a well of knowledge. You’ll have to go to the other 98% of the internet for that. If there were a secret to improvising, developing your aural imagination would be it. Nothing has such an impact on your playing than your aural imagination. All classes align with the RCM’s 2016 theory syllabus and prepare students to write the corresponding History examination held in May.The extent to which your aural imagination is developed, largely determines: the quality of lines you play, how you play those lines (articulation, swing feel, inflection), and the sound you play with. As of level 9, three levels of advanced History classes are offered. Courses offered integrate into all of theory classes up to level 8. Music History classes are suitable for all students, from school age through to adults and seniors, either as a complement to studio instruction, or simply for music appreciation. Improvising over chord progressions, baroque dances, song writing ear-training and more. Topics include melody writing, harmonization in four parts, counterpoint, harmonic and structural analysis, modulation and form as required for RCM Level 9 or 10 Harmony and Counterpoint examinations. ![]() Students are introduced to four-part harmony, counterpoint, seventh chords, improvising over chord progressions, baroque dances, song writing ear-training and more. This course provides an excellent foundation for further studies in Harmony & Counterpoint. The courses are designed to make all your musical involvements more enjoyable, as your increased knowledge provides new levels of understanding and musical independence. ![]() These classes provide an excellent foundation for future or current instrumental studies and enrich early music training. ![]() Using material from the Sound Advice program, students learn to read music and/or improve their reading and aural skills, laying the foundation for further studies and enriching early music studies. Theory & Ear-Training Levels 4, 5, 6, 7 and 8 These one term courses lay a foundation for further studies of any instrument and enrich early studies. Students learn to read music and/or improve their music reading and aural skills. Students will sometimes cover more than one level per year, but this varies depending on the level and age of the student. Where applicable, students are prepared for the theory and ear training components of instrumental/vocal examinations, high school credits, and postsecondary theory placement but the main reason to take Sound Advice theory classes is to develop a deeper understanding of how music “works” and to foster a life-long enjoyment of music. Sound Advice is a complete theory and musicianship program where theory, ear training, sight-reading, music history and composition are integrated to develop musical literacy. Contact the coordinator for all registration placement and schedule information:Ĭrystal Wiksyk, Theory Coordinator:
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |