Guitar music theory ear training manual for musicians

Đây là quyển sách ,tài liệu tiếng anh về các lý thuyết âm nhạc,các thể loại,cách học cho người đam mê âm nhạc .

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

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

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:

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

S e c t i o n I I : The Major Triad in Numeral Notation

CHAPTER 2 2-1Section I: The Divided Beat in Compound Time

S e c t i o n 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

S e c t i o n I I B : T h e M i n o r T r i a d i n S t a f f N o t a t i o n

CHAPTER 4 4-1Section I: The Subdivided Beat in Compound Time

S e c t i o n I I : M a j o r a n d M i n o r S c a l e A c t i v i t i e s

CHAPTER 5 5-1

S e c t i o n I : Syncopation Involving Beat and Divided Beat in

Simple and Compound Times

S e c t i o n I I : I n t e r v a l s a n d T r i a d s

ET i

CHAPTER 6 6-1Diatonic Major and Minor Melodies in Simple and Compound Times

with Divided Beat and Leaps of Thirds in Tonic Triad

CHAPTER 7 7-1Diatonic Major and Minor Melodies in Simple and Compound Times

with Subdivided Beat and Leaps of Thirds and Fourths

CHAPTER 8 8-1Diatonic Major and Minor Melodies in Simple and Compound Times

w i t h S y n c o p a t i o n a n d L e a p s o f T h i r d s , F o u r t h s , F i f t h s , S i x t h s ,

and Octaves

CHAPTER 9 9-1Non Diatonic Melodies in Simple and Compound Times with Divided

Beat, Subdivided Beat, and Syncopation Melodies Contain Leaps

o f T h i r d s , F o u r t h s , F i f t h s , S i x t h s , a n d O c t a v e s

APPENDIX A A-1Time Beating Patterns

APPENDIX B B-1Counting System

APPENDIX C C-1Performance Procedures

APPENDIX D D-1Performance Guidelines

ET ii

P A R T I I I

J

ET 1-2

ET 1-3

ET 1-4

LIST IV

LIST V

ET 1-6

L I S T V I

ET 1-7

ET 1-8

ET 1-9

CHAPTER TWO

Section I

P A R T I

ET 2-1

PART II

ET 2 - 2

P A R T I I I

ET 2-3

Section II

PART I

ET 2-4

P A R T I I

ET 2-5

P A R T I I I

PART IV

ET 2-6

PART V

ET 2-7

ET 2-8

CHAPTER THREE

Section I

PART I

ET 3-1

PART II

ET 3-2

PART III

ET

Section II

L I S T I

L I S T I I

ET 3-5

L I S T I I I

PART I

ET 3-6

P A R T I I

ET 3-7

ET 3-8

C H A P T E R F O U R

S e c t i o n I

P A R T I

ET 4-1

ET 4-2

P A R T I I

ET 4-3

PART III

Section II

A Major

LIST I

ET 4-5

L I S T I I

L I S T I I I

ET 4-6

L I S T I V

L I S T V

PART I

ET 4-7

ET 4-8

PART II

ET 4-9

ET 4-11

ET 4-12

CHAPTER FIVE

Section I

PART IA

ET 5-1

PART IB

PART IIA

ET 5-2

P A R T I I B

ET 5-3

P A R T I I I A

ET 5-4

ET

ET

ET

min2 min3 min6 min7

TRITONE (Aug 4 or dim 5)

TT

SING AND RECOGNIZE ROOT POSITION TRIADS INCLUDING:

ET 5-8

CHAPTER SIX

ET 6-2

ET 6-3

ET 6-4

ET 6-5

ET 6-6

ET 6-7

ET 6-8

ET 6-9

CHAPTER SEVEN

ET 7-1

ET 7-2

ET 7-3

ET 7-4

ET 7-5

ET 7-6

ET 7-7

ET 7-8

CHAPTER EIGHT

ET 8-1

ET 8-2

ET 8-3

ET 8-4

ET 8-5

ET 8-6

CHAPTER NINE

ET 9-1

ET 9-2

ET 9-3

ET 9-4

ET 9-5

ET 9-6

ET 9-7

APPENDIX A TIME BEATING PATTERNS

T h e f o l l o w i n g t i m e b e a t i n g p a t t e r n s a r e u s e d i n c o n j u n c t i o n w i t h e a r t r a i n

-i n g T h e f o l l o w i n g p a t t e r n s a r e f o r t h e p e r f o r m e r ’ s r i g h t h a n d

Figure A.1: Beat patterns

S u b d i v i s i o n m a y b e u t i l i z e d i n s l o w t e m p i t o c l a r i f y a n d c o n t r o l t h e p e r

-formance of music To sub-divide, the conductor adds to each PRINCIPAL beat,

smaller beats moving in the same direction as the main gesture

ETA -1

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.

ETB -1

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

ETB -2

Say “ & ” ( a n d ) o n t h e s e c o n d t h i r d o f t h e b e a t w h e n t h a t d i v i s i o n i s

present and “a” ( u h ) o n t h e l a s t t h i r d o f t h e b e a t w h e n t h a t d i v i s i o n i s

p r e s e n t

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.

ETB -3

APPENDIX C PERFORMANCE PROCEDURES

c o u n t o f s i l e n c e a t t h e e n d o f e a c h l i n e The tempo

m u s t r e m a i n c o n s t a n t t h r o u g h o u t t h e l i s t Scaledegree numbers must be used as syllables for singing

I d e n t i f y t h e c l e f a n d k e y E s t a b l i s h t h e t o n i c

t r i a d i n t h e k e y o f D M a j o r o r m i n o r , a s a p p l i c a b l e Sing in D Major or D minor, regardless of the notated

k e y Perform the exercise with one count per note

a n d a c o u n t o f s i l e n c e a t t h e b a r l i n e 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 each

s c a l e The tempo must remain constant throughout the

s c a l e s Scale degree numbers must be used as

sylla-b l e s f o r s i n g i n g

ETC -1

e a c h t r i a d The tempo must remain constant

t h r o u g h o u t t h e t r i a d s Scale degree numbers must

t r i a d s Scale degree numbers must be used as

s y l l a b l e s f o r s i n g i n g Any pitch order may be used

i n t h e t r i a d s a s l o n g a s s y l l a b l e s a n d p i t c h e s a r e

c 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 each

c h o r d The tempo must remain constant throughout

t h e c h o r d s Scale degree numbers must be used as

s y l l a b l e s f o r s i n g i n g

MELODY PERFORMANCE

I d e n t i f y t h e m e t r i c a l s t r e s s a n d u n i t o f b e a t S e l e c t t h e t i m e b e a t i n g

p a t t e r n I d e n t i f y t h e c l e f a n d k e y G i v e n t h e p i t c h A 4 4 0 , s i n g t h e i n t e r v a l

n e c e s s a r y t o f i n d t h e t o n i c i n t h e n o t a t e d k e y Using the appropriate time

b e a t i n g p a t t e r n ( A p p A), perform the melody in the notated key The time

b e a t i n g p a t t e r n m u s t c o n t i n u e t h r o u g h o u t t h e e x e r c i s e Scale degree numbers

m u s t b e u s e d a s s y l l a b l e s f o r s i n g i n g F o l l o w a l l p e r f o r m a n c e d i r e c t i o n s , i e tempo, character, dynamics, and expression markings

ETC -2