Lines: v. 1 Sight Reading and Sight Singing Exercises

This is a new ear training and sight singing book which takes a different approach by utilizing single line and part singing; where one voice is played while another is sung. The student can also choose to download midifiles of these exercises, as an alternative to playing them. These midifiles are available on the internet. A method for creating a personal ear-training tape is also explained, which takes a fresh approach to learning note recognition. This regimen of singing and listening to an ear-training audio tape has been used with great success, even for students with severe pitch recognition problems.How to use this book: for beginners - there are many methods of ear training available to the serious music student. I call the method used here "relative pitch ear training," but it is not based on interval training or on memorizing melodies to be regurgitated back at the instructor. What makes this ear training different is that a student memorizes the sound of all 12 pitches against a key center. There are steps and exercises required to reach this first plateau. Each of the 12 pitches we use in western music has a distinctive sound when heard against an established key center. If we were to play a I- IV- V- I progression in the key of "C" a few times over this would establish a key center in the listener's mind.If we then play one of the 12 available pitches this note would have a distinctive sound against that key. For instance, if we play an "F" note it has a unique and particular sound. Now, this is not because it is a fourth interval above the tonic, it is because it has the specific sound of the fourth degree. We shouldn't derive the answer by singing out loud up the scale or thinking up from the tonic in our mind. And lastly and most importantly, we shouldn't think or sing "Here Comes the Bride" to get to that fourth interval. These common tricks are taught in many schools and while they may work to get a student through a test to pass a course, they don't train a student's ear to hear what pitches are going by when music is played in time.

Table of Contents:
Table of ContentsAcknowledgements iiiAbout the Author ivForeword vEXERCISES 1 through 120One page each

About the Author :
Bruce Arnold (born 1955 in Sioux Falls, South Dakota, USA) is an author, composer, educator and guitarist residing in New York City. His explorations into the applications of 20th century classical theory in contemporary forms such as Rock and Jazz has created a unique compositional and improvisational sound. As a guest artist Arnold has toured Australia, Canada, the Caribbean, Europe, Japan, Mexico, Russia and the United States.His performance and recording activities include work with a wide array of styles. He has played with such diverse musicians as Stuart Hamm, Peter Erskine, Joe Pass, Joe Lovano, Lennie Pickett, Randy Brecker, Stanley Clarke, the Boston Symphony Orchestra and the Absolute Ensemble under the baton of Kristjan Jarvi.Bruce Arnold's recording credits include over twenty five CDs and DVDs (on Muse-eek Records, MelBay Recordings, Truefire and other labels), ranging from the standard jazz repertoire to free improvisation to the reinterpretations of classical music with the ensemble Spooky Actions. His compositions are published by Muse Eek Publishing, and MelBay Productions.Mr. Arnold's theoretical works have explored the use of Pitch Class Set Theory within a improvisational setting. He is also written more than 60 music instruction books covering Guitar Pedagogy, Ear Training and Time Studies. He is the director of guitar studies at New York University and Princeton University as well as the creator of the New York University Summer Guitar Intensive He has taught at New England Conservatory of Music, Dartmouth College, Berklee College of Music, New School University, and City College of New York.