ear-training.

Nobody seems to have mentioned "transcription." I think it's the
best kind of ear-training. Transcription, preferably of lots of
different kinds of music. It gets you right into context, you can do it
on music you love, and therefore that you WANT to be influenced by, etc.
etc.

I remember (also at Eastman), the best ear-training experience I had was
transcribing a Carnatic vocal raga performance, app. 7' long. The
teacher gave me a slowed-down version, which sounds like cheating, but
was actually awesome, because I could hear all of the subtle glisses and
ornamentation.

I also think there is a give-and-take for composers with ear-training,
particularly in microtonal domain. One experiments, often "ear-blind",
and then "ear-trains" oneself in the "workings" of the passages that one
comes up with that sound most intriguing. Then one can take the cool
stuff even further. . .

Christopher Bailey wrote:
> Nobody seems to have mentioned "transcription." I think it's the
> best kind of ear-training. Transcription, preferably of lots of
> different kinds of music. It gets you right into context, you can do it
> on music you love, and therefore that you WANT to be influenced by, etc.
> etc.

Transcription's something you can do once you've had ear training. Starting from scratch, it's too difficult.

Graham

--- In tuning@yahoogroups.com, Christopher Bailey <cb202@c...> wrote:

/tuning/topicId_42243.html#42243

> Nobody seems to have mentioned "transcription." I think it's the
> best kind of ear-training. Transcription, preferably of lots of
> different kinds of music. It gets you right into context, you
can do it
> on music you love, and therefore that you WANT to be influenced by,
etc.
> etc.
>
> I remember (also at Eastman), the best ear-training experience I
had was
> transcribing a Carnatic vocal raga performance, app. 7' long. The
> teacher gave me a slowed-down version, which sounds like cheating,
but
> was actually awesome, because I could hear all of the subtle
glisses and
> ornamentation.
>
> I also think there is a give-and-take for composers with ear-
training,
> particularly in microtonal domain. One experiments, often "ear-
blind",
> and then "ear-trains" oneself in the "workings" of the passages
that one
> comes up with that sound most intriguing. Then one can take the
cool
> stuff even further. . .

***Hi Chris!

Yes, this was *exactly* the kind of "context sensitive" ear-training
for composers that I was trying to get across in my posts, and
apparently didn't...

Joe Pehrson