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Musical U » Ear Training » Page 40

Ear Training

How can I improve at harmonic intervals?

by Musical U Team | Apr 13, 2013 | Intervals | 0 comments

If you’ve mastered the ascending and descending forms of an interval but are having difficulty with the harmonic version (both notes at once) there are a number of things you can try: 1. Sing it back Singing is probably the most powerful way to improve your...

Why do unison and octave intervals sound the same?

by Musical U Team | Apr 13, 2013 | Intervals | 0 comments

Harmonic unison and octave intervals are difficult to distinguish. It can be frustrating when taking a quiz, but it does reflect a real musical challenge. The problem is that two notes an octave apart share the vast majority of the ‘overtones’ from which...
The Choir Who Can’t Sing (George Bevan)

The Choir Who Can’t Sing (George Bevan)

by Guest Expert | Apr 11, 2013 | Singing in Tune, Children, Singing, Solfa | 3 comments

Read the inspiring story of the choir who “couldn’t sing”. Learn how George Bevan got their ears tuned up and voices singing, then watch them in action!

Music Production Listening Skills: Timbre, Frequency, and Bass Drums

Music Production Listening Skills: Timbre, Frequency, and Bass Drums

by Sabrina Peña Young | Apr 4, 2013 | Timbre, Audio Mixing | 0 comments

Do some audio frequency ear training and you’ll find it easier to mix percussion, choose the perfect drum kits for your tracks, and adjust their EQ in the mix.

How many octaves are there from 20Hz-20kHz?

by Musical U Team | Mar 29, 2013 | Audio Frequencies | 0 comments

The human hearing range is generally taken as being 20 Hertz to 20kHz, and so musicians might wonder: How many octaves is that? The answer: 10. Sound frequency doubles with each octave, so if we start from the lowest audible C note, “C0”, that’s at...
Solfeggio and Ear Training (Shelle Soelberg)

Solfeggio and Ear Training (Shelle Soelberg)

by Guest Expert | Mar 28, 2013 | Solfa, Audiation, Children | 0 comments

Solfeggio (do re mi) is a powerful tool but many musicians find it a confusing subject at first. Find out all about it and how it can improve your musical ear.

Melodic Dictation for the rest of us

Melodic Dictation for the rest of us

by Christopher Sutton | Mar 19, 2013 | Transcription, Melodies | 3 comments

Working out tunes by ear (“melodic dictation”) doesn’t need to be difficult or scary. These tips will help you conquer your fears and master melodic dictation.

How can I learn to recognize intervals?

by Musical U Team | Mar 16, 2013 | Intervals | 0 comments

Step One: Get up to speed on the basics Make sure you understand what intervals are and what you want to achieve. Step Two: Choose a method There are three popular approaches: Reference songs, solfege, and the “Nike method”. Reference Songs: Using tunes...
How to Learn Intervals

How to Learn Intervals

by Christopher Sutton | Mar 15, 2013 | Intervals, Solfa, Websites, Apps and Downloads | 12 comments

Interval ear training builds your relative pitch, one of the core skills of musicianship. There are three main approaches to how to learn intervals.

Open Your Ears to 60×60

Open Your Ears to 60×60

by Sabrina Peña Young | Mar 6, 2013 | Active Listening, Audio, Timbre | 5 comments

In the Open Your Ears series we cover a wide range of music: from opera to electronica, from Björk to Tuvan throat singing. (seriously, if you haven’t heard about throat singing, you’re missing out!) But if you want to have your mind blown away minute-by-minute...
Fix The Mix: Don’t let a muddy sound ruin your tracks

Fix The Mix: Don’t let a muddy sound ruin your tracks

by Sabrina Peña Young | Mar 1, 2013 | Audio Mixing, Arranging, Melodies | 1 comment

A muddy sound can absolutely ruin a mix. But with the right kind of audio ear training and some tips and tricks, you can take your mix from average to awesome.

Life After Ear Training: A Drummer’s Tale

Life After Ear Training: A Drummer’s Tale

by Sabrina Peña Young | Jan 30, 2013 | Percussion, Melodies, Rhythm, Timbre | 0 comments

I would be lying if I said that ear training came easily to me. Like most percussionists I knew in college, rhythm exercises and sight singing were a breeze, but trying to transpose Mozart after three listens seemed like a torture specifically designed to punish those...
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