Ear Training SASampler

8/10/2019 Ear Training SASampler

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Theory and Ear TrainingTOGETHER!

I use Sound Advice with my students because it is simply the BEST.

I appreciate the gradual introduction of new material, the breakdowns

that make difcult concepts understandable and memorable,

and the ear training which is so vitaland so much fun!

Ann Baker Mendenhall, piano and theory teacher, Glenora, British Columbia

Brenda Braaten and Crystal Wiksyk

edited by

Laura Beauchamp-Williamson


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Integration of Theory andAural SkillsIn the Sound Adviceprogram, musicalsounds are related to their symbolsthrough the combination of written andaural theory. Each level incorporatestheory, ear training, and sight readingto develop music literacy. Numerousdictation, playback, and sight-singingexercises are included throughoutto address intervals, scales, chords,rhythms, cadences, and melodies.

OrganizationEach of the twenty-four lessons in theworkbook consists of the followingcomponents:

the Learning Guideintroduces new

concepts

the Theory Worksheetprovides

practice and review for new and

previously learned concepts

theEar-Training Worksheethelps

to build strong aural skills

the Ear-Training Answer Key

allows students to check their

own work

Examination PreparationThis series serves as effectivepreparation for the ear-trainingand theory components of majorexamination systems, including

RCM Examinations, National Music

Certicate Program, and Victoria

Conservatory of Music.

The ultimate goal of Sound Adviceisto ensure that students not only succeedat their examinations, but become well-rounded musicians. Students workingwith the series will be prepared above

and beyond the requirements for theear-training portion of examinationsoffered by RCM Examinations andNational Music Certicate Program.The structure of Sound Adviceencourages continual review andstrengthening of skillsmaking it easyfor teachers and students to avoid last-minute examination preparation.

Sound Advicecoordinates with the curriculum of RCM Examinations and National Music Certicate Program

Sound AdviceLevel

Teaching Level

RCM Examinations orNational Music Certificate Program

Practical Theory

1 Elementary 1

Preliminary Rudiments Basic Rudiments

2 Late Elementary 2

3 Early Intermediate 3

4 Early Intermediate 4

5 Intermediate 5

6 Intermediate 6 Grade 1 Rudiments Intermediate Rudiments

7 Late Intermediate 7 Grade 2 Rudiments Advanced Rudiments

8 Early Advanced 8 Introductory Harmony Introductory Harmony

Sound Adviceoffers an innovative approach to integrating

ear training and theory into music study. By working with

Sound Advicebooks and recordings both at home and during

lessons, students will gain an enriched understanding andappreciation of music that will last a lifetime. Teachers will nd

these materials ideal for use in studio and classroom settings for

students of all instruments as well as singers and choristers.


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Levels 1 8 now available

LISTENING ROOM

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Users Enter HereWhats this? Click here

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Online Access to Audio TracksAll of the listening exercises referred to throughout the series can be downloaded

from the Sound Advicewebsite at www.soundadvicedirect.com. This unique

feature allows students to work with the materials in the way that best suits

their needs: they can listen to the tracks while at the computer, copy the

tracks to a CD, or import the tracks to a digital music player. Access to

the audio tracks is included with purchase of the Sound Advicebooks.

The Professoris a character who

appears throughout theSound Adviceseries tointroduce new concepts

and offer guidanceto students.


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L E V E L O N E

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The Learning Guideexplains and illustratesnew concepts. Studentsshould study theLearning Guidebefore

completing the TheoryWorksheet and the Ear-Training Worksheet foreach lesson.

A key feature of SoundAdviceis its progressive,well-rounded curriculum.New theory and ear-training concepts areintroduced and integratedthroughout each lessonrather than presented asseparate units of study.

New ConceptsIntroduced:

Intervals

4maj 2, min 2, maj 3, P5, P4, P8

4Naming Intervals

4Interval Singing Drill

Rhythm

4Beat and Tempo

4Note Values: , , , h ,

4Rest Values: , ,

4Rhythmic Units:

4Time Signatures: , ,

4Bar Lines and Measures

4Rhythmic Dictation

Scales

4C major, F major, G major

Reading and Theory

4Accidentals ( , , ) and Key

Signatures

4Clefs ( , )and Landmarks

4Naming Notes on the Grand Staff4The Keyboard and The Music

Alphabet

4Line Notes, Space Notes, and

Ledger Lines

4Stem Direction

4Pitch

4Legato, Staccato, and Slur

4Half Steps and Whole Steps

4Terms and Symbols

4Sight Singing


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L E V E L T H R E E

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Intervals

4Descending maj 2 and P5; maj 6,

maj 74Naming Intervals

Rhythm

4Rhythmic Units: , ,

and

4Incomplete Measures: Upbeats

4Rhythmic Imitation

Scales, Triads, Arpeggios

4B major

4Scale Degree Names: Dominant4Writing Scales with Key

Signatures

4Major Triads: Root, Third, Fifth

4Two-Octave Arpeggio

Reading and Theory

4Consonance and Dissonance

4Dynamic Markings: Crescendo,

Decrescendo, Diminuendo

4Homophonic Texture: Alberti Bass

4Cadences

4Chromatic Notes

Musical Style

4Classical Period: Style,

Composers

4The Orchestra: Baroque, Classical

Students can mark theseassignments themselves,using the Ear-Training

Answer Keyat the backof each book.

Students can use the Ear-Training Answer Keyfor

extra practice in singingmelodies and rhythms.

Each volume includeshelpful Suggestionsfor Daily Ear-TrainingPractice,offering studentsadditional opportunitiesfor improving their auralskills.

Dictation and singback/

clapback exercisesrelate what the studenthears to the theoreticalconcepts.


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L E V E L F O U R

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Intervals

4 Descending maj 3 and min 3; P8,

min 64 Enharmonic Notes and Intervals

Rhythm

4 The Dotted Quarter-Note Beat

4 Rhythmic Units: ,

4 Simple and Compound Time

4 Tempo Markings

Scales, Triads, Arpeggios

4 D minor, G minor, E minor,

B minor

4 Writing Minor Scales with a Key

Signature or with Accidentals

4 How to Identify Relative Major

and Minor Scales

4 Tonic and Dominant Triads

Reading and Theory

4 Key Signature Shortcuts:

Preparation for Circle of 5ths

4 Learning a New Piece: What to

Look for First

4 Mad Music: Minor Key

Signatures

4 Major and Minor Relatives

4 Melodic Inversion

4 Minor Key Signatures with Flats

and with Sharps

4 The Key of a Melody: Major vs.

Minor

Musical Style4 Romantic Period: Style,

Composers, the Orchestra,

the Piano

Additional componentssuch as reference charts,games, and practice testsare included in each book

to reinforce both writingand ear-training activitiesand enhance the learningexperience.

Charts: Note-Value Comparison Drawing Symbols

Rhythm Jumble Song Clue

Games: Mad Music Rhythm Jumble Reading Rhythm Jumble Solitaire Rhythm Jumble

Composer


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L E V E L S I X


Intervals

4Augmented and Diminished

4Inversions

4Consonant and Dissonant

4min 7

Rhythm

4Irregular Divisions of the Beat

4Adding Rests in Compound Time

4Double Dots

4Syncopation

4Rhythmic Units: , , ,

Scales, Chords, Cadences

4Tonic Minor Scales

4Chromatic, Whole Tone, Blues,

Pentatonic, and Octatonic Scales

4Triad Inversions and Figured Bass

4Close and Open Position Triads

4Triad Qualities: Major and Minor

4IV Chord Progressions

4Common-Tone Voicing

4Passing Notes and Neighbor Note4Dominant 7th Chords

4Harmonizing with I, IV, and V

4Perfect and Plagal Cadences

4Popular Chord Symbols

Reading and Theory

4Double Sharps and Flats

4Tendency Tones

4The Circle of 5ths

4Transposition by Interval and Key

4Keyboard Accompaniment Styles

4Naming Chords in Various Styles

Musical Style

4Early 20th-Century Musical Style

4Impressionism

4Jazz and Blues

Discussions of musicalstyle are related toconcepts covered in thelesson. In this example,the introduction of jazzand blues helps studentsto understand swingeighths and the bluesscale.

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L E V E L S E V E N


Intervals

4Writing an Interval Below a Given

Note

4Compound Intervals

4Enharmonic Intervals

Rhythm

4Rhythmic Unit: Breve

4Non-Traditional Time Signatures

4Hybrid Time

4Adding Rests in Hybrid Time

Scales, Chords, Cadences

4Modes

4Augmented and Diminished Triads

4Identifying Triads in Four-Part

Texture

4Dominant 7th Chord Inversions

4Imperfect Cadences

4Diminished 7th Chords

4Writing Chords and Cadences in

Chorale Style

4Non-Traditional Chord Structures

Reading and Theory

4Monophonic Texture

4Transposition of Modes

4C Clefs

4Writing Melodies in Minor Keys

4Transposing in Minor Keys

4Instruments of the Orchestra

4Score Types: Open and Short4Orchestral, String Quartet, and

Vocal Scores

Musical Style

4Middle Ages and Renaissance

Style

420th-Century Musical Style

4Dissonance and Atonality

ATheory Examination

follows the nal lesson ineach book to summarizethe concepts presentedin the levela perfectopportunity for reviewand examinationpreparation.

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L E V E L E I G H T


Introductory Harmony

4Chord Inversions and Figured

Bass Symbols

4Tritone Resolutions

4Identifying Diatonic Triads

in Major, Natural Minor, and

Harmonic Minor Scales

4Non-Chord Tones: Passing Notes,

Neighbor Notes, Appoggiaturas,

and Suspensions

4Creating an Accompaniment

for a Melody

4Improvising a Melody Over a

Given Accompaniment

4Chord Function and Progression

in Tonal Music

4Chord Expansion

4Four-Part Writing and Voice-

Leading

4Four-Part Writing using I, ii, IV,

V, V7, vi, and viio6

4Parallel 8ves and 5ths

4Resolutions of the Dominant 7th

4Two-Part Writing

4Implied Harmony in Two-part

Textures

4Cadential Six-Four Chords

4Identifying Form and Modulation

in Baroque Dances

Reading and Theory

4SATB Vocal Ranges

4An Introduction to Song Writing

4Setting Words to Music

4Two-part Singing and Dictation

Musical Style

4The Baroque Dance Suite:

Allemande, Courante, Sarabande,

Gigue

4Optional Dances in the Baroque

Suite: Minuet, Bourre, Gavotte

Ear-training activities inLevels 58 include sightsinging, rhythmic reading,

melodic and harmonicdictation, identicationof intervals, scaledegrees, chords andchord progressions,cadences, meters,textures and styles andimprovisation.

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Level 8 provides aperfect introductionto the fundamentalsof harmonic language.After completing Level8, students will beprepared to completethe Introductory Harmonyexamination offeredby RCM Examinationsand National MusicCerticate Program.

Students will also bewell prepared for theear-training requirementsfor Grade 8 practicalexaminations and theJunior Musicianshipexamination.


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The Frederick Harris Music Co., Limited

Canada

Unit 1, 5865 McLaughlin Rd.

Mississauga ON L5R 1B8

USA

Suite 882, 60 Industrial Parkway

Cheektowaga NY 14227

1-800-387-4013

www.frederickharrismusic.com

Brenda Braatenteaches theory

and musicianship at the VictoriaConservatory of Music in British

Columbia. She is a theory and ear-

training clinician and for over twenty

years has taught theory, harmony,

history, and musicianship in her own

studio. She is actively involved in the

Cowichan Valley music community,

having coordinated events,

fundraisers, and a performing arts

summer school.

Crystal Wiksykis the theory

coordinator at the VictoriaConservatory of Music in British

Columbia, where she teaches

harmony, history, theory, and ear

training. She is an active theory

and musicianship clinician and

developed the Victoria Conservatory

of Music Theory Summer School,

which includes a teacher-training

program in theory and musicianship.

Series Editor

Laura Beauchamp-Williamsonhas been an editor and workshop

clinician for Frederick Harris Music

since 1993. Nationally recognized

as a progressive piano educator,

she is in frequent demand as a

teacher, performer, adjudicator, and

workshop clinician. She maintains an

independent studio in her home.

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Ear Training SASampler

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