How can improve my musical dictation? do you know some strategies?!
Question: How can improve my musical dictation!? do you know some strategies!?
how can improve my musical dictation!? do you know some strategies!?
could you say me someone!?
Thank youWww@Enter-QA@Com
could you say me someone!?
Thank youWww@Enter-QA@Com
Answers:
There are several ways to improve dictation but they all start with singing intervals and scales!.
Most people don't have perfect pitch and have really bad relative pitch!. They cannot hear intervals properly!. The first thing to do is sing intervals in solfege!.!.!. avoid using known melodies!.!.!. I will explain later because the process of what to do is very important!.
1!. Sing the scale - use fixed do so you don't get confused!. Do to Do ascending and descending one octave!. Get comfortable with the scale so you can sing it with out playing along with it!. Sounds simple but its not because by the time you get to the top Do you will be out of tune!. You need to sing it slowly listening to the pitches!. People always sing Mi flat which makes everything out of tune!. Fah goes flat but the Soh goes overly sharp to compensate!. The top Do is always flat!.!.!.!. Therefore, take it very slowly listening!. and sing all 24 major and minor scales (natural, harmonic and melodic forms)
2!. Sing the tonic triad of C major in all possible inversions!.
Do - Mi - Soh (Two inversions - going up C E G and C to E down to G)!.
Sing every possible combination - Do Soh Mi, Mi Soh Do, Mi Do Soh, Soh Mi Do, Soh Do Mi (for each inversion the note combinations are endless)
This is good in training intervals!.!.!.
e!.g!. Do Mi Soh - Do to Mi is a major 3rd, Mi to Soh is a minor 3rd!.!.!.
With the other variant - Do to Mi is a major 3rd, Mi down to Soh is a major 6th
another variant - Do down to Mi is a minor 6th, mi to soh is you mi 3rd
You can figure out all the combinations and intervals!. after singing all of them you will be able to hear intervals but you have to identify what intervals you are singing! If you don't identify them it's pointless!.
3!. After you have done this - it will take a month to be very comfortable with this!.!.!. then go onto this!.
Dictation needs to be separated into two parts, notes and rhythms!. Most people cannot do both together, they get confused trying to listen for the notes and separated the rhythms!.
Practice rhythmic dictation so you can focus on the rhythms!. Ask a friend to tap out simple rhythms!. There are several books that have this!.
Complete Series of Ear and Sight Training
Four Star Ear and Sight Training
Both are graded starting from level 1 to level 10 and can be purchased for cheap at!.!.!.
www!.frederickharrismusic!.com
So start with simple rhythms - instead of writing them out, clap or tap back the rhythm!. Many people make mistakes because they try to write the rhythm down as they hear it!.!.!.!. Learn to hear it first, then clap it!.!. after you are comfortable with this, then begin to write it down! But don't do it while you listen because as you listen and write you lose track of where you are!.!.!. Listen to it two times only!.
4!. Do melodic dictation with simple rhythms - quarters, eighths and half notes!. The above books do this as well!. Again, do not write it down!. Learn to hear it and then play it back!. same philosophy, you write it as you hear it you lose track of what is taking place!. Learn to hear it and then write it afterwards!.
It starts with simple intervals in level 1, no skip is greater than a 3rd!. It slowly increases with greater leaps!. Learn to listen for patterns! That is why singing the scale is important!.!.!. if you know the scale you can hear where the notes are going in a pattern! Are they ascending in a scale!? Or do they ascend 4 notes in scale and then skip a 3rd!? Being able to sing scales and intervals improves relative pitch!.
5!. Start combining both melody and complex rhythms!.!.!. eventually you get to two part dictation in level 9!. You have to hear the vertical and horizontal interval!. If you go through all the exercises you should be able to do this!.
The key to everything is steps 1 and 2! With out singing intervals you won't get far!.
The reason why singing known songs is useless is that by thinking of a song you will end up singing more of the song and not listen to the next note!. As well identifying a song distracts you from the actual melody being played!. If you attempt to identify every interval through songs in a melody you will never be able to remember anything! That is way too many things to remember!.!.!.
Instead by knowing the intervals by singing solfege, you will be able to sing the melody back in solfege! By using fixed do you can then write it out as you sing it in your head in solfege!.!.!.!. You cannot do this by using well known tunes!. Its way too much stuff!.
there are little tricks and secrets as well, msg me if you want to know but these are useless unless you are familiar with the first two steps!Www@Enter-QA@Com
Most people don't have perfect pitch and have really bad relative pitch!. They cannot hear intervals properly!. The first thing to do is sing intervals in solfege!.!.!. avoid using known melodies!.!.!. I will explain later because the process of what to do is very important!.
1!. Sing the scale - use fixed do so you don't get confused!. Do to Do ascending and descending one octave!. Get comfortable with the scale so you can sing it with out playing along with it!. Sounds simple but its not because by the time you get to the top Do you will be out of tune!. You need to sing it slowly listening to the pitches!. People always sing Mi flat which makes everything out of tune!. Fah goes flat but the Soh goes overly sharp to compensate!. The top Do is always flat!.!.!.!. Therefore, take it very slowly listening!. and sing all 24 major and minor scales (natural, harmonic and melodic forms)
2!. Sing the tonic triad of C major in all possible inversions!.
Do - Mi - Soh (Two inversions - going up C E G and C to E down to G)!.
Sing every possible combination - Do Soh Mi, Mi Soh Do, Mi Do Soh, Soh Mi Do, Soh Do Mi (for each inversion the note combinations are endless)
This is good in training intervals!.!.!.
e!.g!. Do Mi Soh - Do to Mi is a major 3rd, Mi to Soh is a minor 3rd!.!.!.
With the other variant - Do to Mi is a major 3rd, Mi down to Soh is a major 6th
another variant - Do down to Mi is a minor 6th, mi to soh is you mi 3rd
You can figure out all the combinations and intervals!. after singing all of them you will be able to hear intervals but you have to identify what intervals you are singing! If you don't identify them it's pointless!.
3!. After you have done this - it will take a month to be very comfortable with this!.!.!. then go onto this!.
Dictation needs to be separated into two parts, notes and rhythms!. Most people cannot do both together, they get confused trying to listen for the notes and separated the rhythms!.
Practice rhythmic dictation so you can focus on the rhythms!. Ask a friend to tap out simple rhythms!. There are several books that have this!.
Complete Series of Ear and Sight Training
Four Star Ear and Sight Training
Both are graded starting from level 1 to level 10 and can be purchased for cheap at!.!.!.
www!.frederickharrismusic!.com
So start with simple rhythms - instead of writing them out, clap or tap back the rhythm!. Many people make mistakes because they try to write the rhythm down as they hear it!.!.!.!. Learn to hear it first, then clap it!.!. after you are comfortable with this, then begin to write it down! But don't do it while you listen because as you listen and write you lose track of where you are!.!.!. Listen to it two times only!.
4!. Do melodic dictation with simple rhythms - quarters, eighths and half notes!. The above books do this as well!. Again, do not write it down!. Learn to hear it and then play it back!. same philosophy, you write it as you hear it you lose track of what is taking place!. Learn to hear it and then write it afterwards!.
It starts with simple intervals in level 1, no skip is greater than a 3rd!. It slowly increases with greater leaps!. Learn to listen for patterns! That is why singing the scale is important!.!.!. if you know the scale you can hear where the notes are going in a pattern! Are they ascending in a scale!? Or do they ascend 4 notes in scale and then skip a 3rd!? Being able to sing scales and intervals improves relative pitch!.
5!. Start combining both melody and complex rhythms!.!.!. eventually you get to two part dictation in level 9!. You have to hear the vertical and horizontal interval!. If you go through all the exercises you should be able to do this!.
The key to everything is steps 1 and 2! With out singing intervals you won't get far!.
The reason why singing known songs is useless is that by thinking of a song you will end up singing more of the song and not listen to the next note!. As well identifying a song distracts you from the actual melody being played!. If you attempt to identify every interval through songs in a melody you will never be able to remember anything! That is way too many things to remember!.!.!.
Instead by knowing the intervals by singing solfege, you will be able to sing the melody back in solfege! By using fixed do you can then write it out as you sing it in your head in solfege!.!.!.!. You cannot do this by using well known tunes!. Its way too much stuff!.
there are little tricks and secrets as well, msg me if you want to know but these are useless unless you are familiar with the first two steps!Www@Enter-QA@Com
Try this!. you will need a metronome!. Practice the fast piece at the slowest tempo on the metronome!. (you will feel like a retard but trust me) then take the tempo a little faster!. As you get better you can increase the tempo!. Be careful to make as little mistakes as possible!.If you make a rhythm mistake take the tempo on the metronome back to a slower tempo!. Do this until you get to the rhythm that the piece is written!. If you can play the piece without mistakes then you have improved on your rhythmWww@Enter-QA@Com
I agree with the website/answerer above me and add:
a third (G down to E) sounds like "Avon calling/doorbell"
a fourth (G up to C) sounds like "Here comes the bride!.!.!."
a seventh (G up to F#) sounds like "Maria!.!.!."
an octave is the same note just higher or lower in pitch
a half-note (G to G#) sounds like "Jaws"
Hope this helps!. I found it helpful to listen to the bass line to help me establish the chords, once I knew the key signature since that is the base for the other instruments/voices!.Www@Enter-QA@Com
a third (G down to E) sounds like "Avon calling/doorbell"
a fourth (G up to C) sounds like "Here comes the bride!.!.!."
a seventh (G up to F#) sounds like "Maria!.!.!."
an octave is the same note just higher or lower in pitch
a half-note (G to G#) sounds like "Jaws"
Hope this helps!. I found it helpful to listen to the bass line to help me establish the chords, once I knew the key signature since that is the base for the other instruments/voices!.Www@Enter-QA@Com
http://musictheory!.net/ is a good website!. It has exercises for recognizing intervals and chords!. also, try just figuring out melodies you hear throughout the day on scale degrees or solfege (whichever you are required to use)!. If you play an instrument, try playing things back after hearing them!.Www@Enter-QA@Com
Quiz yourself on intervals until you know them really!. Practice dictating just the rhythms!. Then practice dictating parts of easy pieces, then parts of quartets, then more complicated pieces!. Mostly practice - it's hard, but you'll start to get the hang of it!.Www@Enter-QA@Com
One correction from Rhonda:
"Maria" is the tritone, C-F#
I usually teach major sevenths as "out of tune octaves" or the first three intervals of "Somewhere Over the Rainbow" C (low) - C (high) - B!. Works great being in Kansas!Www@Enter-QA@Com
"Maria" is the tritone, C-F#
I usually teach major sevenths as "out of tune octaves" or the first three intervals of "Somewhere Over the Rainbow" C (low) - C (high) - B!. Works great being in Kansas!Www@Enter-QA@Com