What kind of rumor is there? Musical ear - directions and methods of its development

Musical hearing is a unique human ability, significantly different from biological hearing, developing with the acquisition of knowledge, skills, and experience. This phenomenon is extremely complex, complex, multifaceted, affecting many aspects of intelligence, having various forms, varieties, and properties.

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Municipal budgetary institution of additional education

Municipal formation city of Irbit

"Irbit Music School"

Methodological message on the topic:

Ear for music -

directions and methods of its development

Developer: Golovkina V.A.,

piano teacher

Irbit 2016

Ear for music -

directions and methods of its development.

“Anti-hearing” pedagogy is the movement of least resistance, using the memory of the hands and eyes.”

B. Teplov

One of the main problems in training musicians is the development of musical ear. A well-developed ear is of great importance for musicians. It expands the ability to sight-read, speeds up memorization, and increases self-control over the performance of music (when singing or playing an instrument). All children are born with the prerequisites for musical hearing, and the possibilities for its development are almost limitless.The development of musical ear is dealt with by a special discipline - solfeggio, but musical ear actively develops primarily in the process of musical activity.
Successful hearing development depends on many factors, but especially on timely, as early as possible, immersion in the world of music. The creator of the global company “Sony” Masara Ibuka in his book “After Three It’s Too Late” talks about the need for proper upbringing from early childhood. He assumes that young children have the ability to learn anything. He believes that what they learn without any effort at 2, 3 or 4 years old is later given to them with difficulty or not at all. In his opinion, what adults learn with difficulty, children learn through play.

The experience of a teacher-theorist from Tambov M.V. Kushnira also confirms the experience of the Japanese researcher. He began teaching his child the musical language from infancy. From the first days, his son had the opportunity to listen to classical music and perceived rhythm through tactile sensations. A few years later he could sing the music he heard as an infant. M.V. Kushnir is convinced that every child should accumulate musical knowledge from early childhood, as was the case in any noble family (singing lullabies, playing music). M.V. Kushnir artificially created a musical background in his class.

Properties and types of musical hearing.

Musical ear is a set of abilities necessary for composing, performing and actively perceiving music.

Musical ear implies a high subtlety of perception of both individual musical elements or qualities of musical sounds (pitch, volume, timbre), and functional connections between them in a musical work (modal sense, sense of rhythm).

There are 2 types of musical hearing:

The ability to hear real-sounding music, orexternal musical ear;
Ability to internally hear and reproduce music -inner musical earor internal auditory representation.

The division of musical hearing into external (as perception) and internal (as representation of musical material) corresponds to two mental processes through which the real world is reflected in the minds of people, namely, the perception of phenomena and objects and their representation.

Musical hearing includes several types:

pitch,
melodic,
polyphonic,
harmonic,
timbre - dynamic.
internal (musical and auditory representations).

Of course, if one of the types is underdeveloped, this can be immediately felt during the learning process. Melodic, harmonic, timbre-dynamic hearing must be educated and developed. There is also vocal hearing, that is, the ability to intonate correctly, but its imperfections can be compensated by internal hearing.

Pitch hearing

According to Teplov, “there can be no musicality without hearing musical pitch.”

Pitch hearing develops in the process of studying and working on a piece. Solfege has a significant effect, especially in combination with the game. With the right approach to initial training, pitch hearing can be developed and brought to perfection.

Development conditions:

A tuned instrument gives a feeling of harmony.
Vocals give a sense of height (an effective remedy). Singing along is a form of manifestation of auditory ideas. As a method of self-observation for severe snoring and humming.

Methods:

unison with the instrument;
voice dubbing of the melody being played during the game (Shchapov);
singing one of 2, 3, 4 voices (Bach). Professor Sanketi developed his hearing to absolute;
slow sight reading with simultaneous listening comprehension

intervals, chords;

alternating singing and playing phrases (Neuhaus);
singing the entire main themes and motifs before directly implementing them on the keyboard.

Melodic ear.

Melodic ear is manifested in the perception of melody precisely as a musical melody, and not as a series of sounds following one another. Although purity of intonation, accuracy of reproduction and perception of the pitch of musical thought is necessary.

Intonation is the meaning of sound. Melodic ear is directly dependent on artistic quality. “Intonation is the core of a musical image, as a means of musical speech, on which the content of the performance depends” (K.N. Igumnov).
“The interval is the smallest intonation complex” (B.V. Asafiev). A melodic interval is one or another degree of tension.
The melodic pattern must be experienced. It is perceived through the feeling of its elasticity, resistance, and psychological weight.

a) close or distant;

b) consonance or dissonance;

c) within the fret or “outside it” (Savshinsky).

Hearing longitudinal (horizontal) intonation-interval structures, i.e. “musical words” (motives) is one of the important aspects of the development of melodic hearing

Perception of the melodic whole.

The piano requires a strong, vivid, recreating auditory imagination. Therefore, one must think and act in such a way “that the small is absorbed by the large, the larger by even more significant, so that particular tasks are subordinated to the central ones” (Barenboim). “Longitudinal hearing – horizontal thinking” (K. Igumnov).

Here is how Maikapar talks about A. Rubinstein’s playing: “The enormous construction of phrases, with all the clarity of the motives, melodies, and parts included in its composition, were united by him into one inseparable whole, like one phrase of colossal volume.”

L. Oborin appreciated in the game “tension from sound to sound, relief of the contour of the motive, sincerity, but not permissiveness.”

Creativity is one of the national features of the Russian piano school. Y. Flier recommended singing not only the melody, but also other details of the texture, bringing them closer to the sound of the human voice.

Methods and techniques:

a) Playing a melody without accompaniment.

b) Perception of melody with simpler accompaniment (Goldenweiser).

c) Playing accompaniment on the piano and singing the melody, preferably “to yourself.”

d) Relief, enlarged sound playback of the melody on the RR with accompaniment (N. Medtner).

D. Asafiev demanded from the ear a minute-by-minute awareness of the logic of the unfolding of the sounding flow, through intonation, meaning, and living speech.

Polyphonic hearing.

Only when everyone sings independently, in their ups and downs, makes their own accents, independently recites a musical thought - only “then the soul of the piano begins to shine” (Martinsen).

A polyphonic ear is necessary everywhere, since the ability to perceive and operate with several musical lines is required in any form or genre. The volume of auditory attention, its stability and distribution are important.

Some of the main commandments:

The ability to shade and highlight individual elements of sound structures.
Do not let the threads of the musical fabric “stick together” or get tangled.

“Sound perspective” according to Flier and Igumnov, like artists: foreground, background, horizon line not only in polyphony, but also in homophony.

Methods and techniques:

d) Performance of polyphonic works by a vocal ensemble.

All fugues were sung in N. Medtner's class.

e) Playing it in its entirety, showing one of the voices intensely, while shading the others.

Harmonic hearing.

The musical development of children, their auditory readiness requires tactile sensations, i.e. practical immersion in the world of harmony. There comes a time when it is necessary to move from figurative and theoretical mastery of harmony to practical, otherwise harmony will turn out to be only a theoretical subject, and this can slow down the student’s musical development. Feedback is required, which is born only when playing an instrument: “I hear - I touch.”

Harmonic hearing is a manifestation of hearing for consonances: complexesof different heights in their simultaneous combination. This includes: the ability to distinguishconsonant from dissonant consonances; auditory “indifference” to the modal functions of chords and their gravity; intelligibility of parts of correct and false accompaniments. All this requires work to develop such skills and abilities.

The mechanism of formation of harmonic hearing:

a) Perception of modal functions of chords;

b) Perception of the very nature of the sound of the vertical. Chord vertical. Repetition and mastery lead to the formation of ideas. Through the settling and consolidation of chord formulas in the auditory consciousness, harmonic hearing is formed.

Close “peering” into mode-harmonic connections, connected sequences in the process of long-term contacts “enlighten” and cultivate the harmonic ear.

“Knowledge of the laws of keys and intervals, guessing chords and voice guidance gives musical talent” (N. Rimsky-Korsakov).

Techniques and methods of development:

Playing at a slow tempo with listening until you understand the structure of the composition, its modulation plan, melodic and harmonic content, deriving from this phrasing, shades, pedal, etc.
Extraction of their works of “compressed” harmonies and sequential, “chain” playback of them on the keyboard (Oborin, Neuhaus).
Arpeggiated performance of new or complex chord formations. Method of crushing, simplification.
Variation, modification of texture while maintaining the harmonic basis.
Selection of harmonic accompaniment for melodies, playing digital bass from a sheet.

Since there are few methods for developing harmonic hearing, everyone advances as best they can. These are the colored scale steps, then on cards of the same color there are pictures for intervals and chords.

All sorts of games are invented (auditory, visual, figurative), approximately in the following sequence:

Intervals.
Triads (TDT, TST). Play sequentially, using diatonic and chromatic degrees of the scale.
Harmonic sequences, making connections based on a common sound.
Different types of textured figuration in the genres of march, waltz, polka and

etc. Chords with two or one hand, breaking them.

D and his handling of permissions by ear, naming the notes, second by second, sequentially.
Selecting a melody, with accompaniment or using ready-made melodies in songbooks and selecting accompaniments for them.

Timbro-dynamic hearing.

This is the highest form of functioning of musical hearing. There are significant opportunities for timbre dynamics in performance. This type is important in all types of musical practice, starting with listening to music, but especially in performing. It is important that the student hears music in timbre: the sound is warm - cold, soft - sharp, light - dark, bright - dull, etc.

Determining and specifying artistic requirements for sound is the main task of the teacher. Metaphor, image association, apt comparison contribute to the development of auditory imagination. If you are faced with a student’s poorly developed timbre-dynamic hearing, you should play the piece with exaggerated nuances. Play more with shades, look for the subtlest nuances, and hear the desired sound with your ears.

Inner hearing.

These are musical and auditory performances. The development of this type of hearing is one of the main and very important tasks:

"The ability to mentally represent tones and their relationships without the aid of an instrument or voice." (Rimsky-Korsakov).
The ability of arbitrary, unfettered by mandatory reliance on external sound, to operate with auditory ideas.
The performing intra-auditory image is a new formation, and not a simple copy of the sound. Therefore, it is important to pay attention to selection from the first steps: I see and hear, I hear - I imagine movement. Playing mentally means thinking. (A. Rubinstein). Playing without an instrument is also appropriate.

Development techniques:

Selection by ear, transposition.
Performance at a slow tempo with the intention of anticipating the subsequent material.
Playing in the “dotted line” way - a phrase out loud, a phrase “to oneself” and at the same time maintaining the continuity of the movement.
Playing the keyboard silently - fingers lightly touching the keys.
Listening to little-known works and reading the text at the same time.
Mastering musical material “to yourself.”
Learning a piece or a separate piece of it by heart by heart, and only then mastering it on the keyboard.

An excursion into history.

If we delve a little deeper into the history of musical education, it should be noted that courtiers who served in the courts of nobles and kings were required to have a musical education, since they constantly had to sight sing and play various instruments. In performers, the ability to improvise was valued above all. In Russia, musical education has been introduced as a compulsory discipline in educational institutions since the late 18th - early 19th centuries. Private teachers appear. In St. Petersburg - Rangof; Gnesins - in Moscow; Maykapar - in Tver.

The old type of music school did not differentiate between the training of amateurs and future professionals. Gradually the situation is changing.

Musicians who can do almost everything step aside. The time has come for specialists of a narrow profile. Now we are returning again to a differentiated approach to raising children. But auditory skills are emphasized differently in different places. The development of hearing, according to R. Schumann, is the most important.

The development of skills with the development of hearing is learning. Everything depends on the auditory imagination. Creative work is more difficult than mechanical work; training the ear is more difficult than training the fingers (Igumnov).

“The student will do himself a very good service if he does not rush to the keyboard until he is aware of every note, sequence, rhythm, harmony and all the indications contained in the notes.” (I. Hoffman).

Literature:

Alekseev A.A. Methods of learning to play the piano. M., 1978
Milich B. Education of a student pianist. K., 1982
Kryukova V.V. Musical pedagogy. – Rostov n/a: “Phoenix”, 2002.
Tsypin G.M. Learning to play the piano. M., 1984
Shchapov A.P. Piano lesson at a music school and college. K., 2001

Anatoly Voronin

Most people love to sing or play musical instruments. However, not everyone is good at it. Very often, correct performance is hindered by a lack of ear for music. Many people believe that this ability is innate and cannot be improved.

In fact, there are practical ways you can develop your ear for music on your own, even at home. In this article we will tell you how you can easily develop an absolute ear for music, and what you need to do for this.

Types of musical hearing

Musical hearing is a rather complex and multifaceted concept.

Among its various types, the main ones can be distinguished:

absolute pitch is the ability to accurately identify any note without comparing it with known sounds. It is believed that this skill can only be innate, although some scientists have a different opinion on this issue;
intervallic or relative hearing – the ability to recognize the pitch of sounds by comparing them with reference ones. You can develop the relative view yourself. And do it so well that it will be impossible to distinguish it from the absolute;
modal hearing - the ability to feel and hear the differences and relationships between sounds in a certain musical composition. The development of this type is especially important for those learning to play musical instruments;
pitch view helps determine whether sounds differ in pitch, even when the difference is minimal;
Melodic ear allows you to hear and understand how the pitch of sounds changes as the melody is played. For those who study vocals, this type is most important;
the harmonic view allows you to hear consonances, determine how many and what specific sounds a chord consists of;
finally, rhythmic hearing determines the ability to feel rhythm, that is, to distinguish the duration of the sounds of notes in their sequence.

How to develop your ear for music at home?

To develop relative hearing, a person only needs to do the following exercises 30-40 minutes a day:

Singing scales. On any musical instrument you need to play the scale do-re-mi-fa-sol-la-si-do and at the same time sing it with your voice. Then repeat the same without a tool. After a while, you can play the scale in the opposite direction and sing it with and without the instrument;
Losing intervals. An exercise similar to the previous one. Here you must first play any musical interval forward and backward on a musical instrument, and then sing it with your voice;
Echo. This exercise is great even for a child, because it does not require any special skills. It is also extremely useful for adults. Turn on your favorite song on your tape recorder or computer and listen to only the first line. Turn off the recording and sing it with your voice. Repeat this with each line at least 3-5 times until the song ends;
When you start practicing, work in the middle range, without trying to hit very high or low notes. When you learn to identify sounds well, repeat all the above exercises, first in the highest possible voice and then in a low voice;
Finally, the easiest way to develop this quality is simply by constantly practicing music. Listen to your favorite works, sing along with famous performers, try playing different musical instruments, dance. Try to compose at least a simple song. Also very useful is a popular entertainment today - karaoke.

How can you quickly develop a child's ear for music?

In addition to the “Echo” exercise described in the previous section, the following techniques can be used for children:

Read to your child an excerpt from his favorite fairy tale. He must remember as much as
will be able. After a while, ask your child to repeat everything you read to him. The exercise should be done until the baby can accurately reproduce the passage;
Make the previous exercise more difficult - ask the child not only to repeat the text, but also to try to pronounce it with your intonation. Read the story differently each time;
The following activity is suitable for a group of children. Place all the guys in a circle, and blindfold one of them. Let the kids take turns saying certain words, and the one who is blindfolded tries to guess who said what;
In the future, you can do the same exercises with children's songs. Sing a passage from your son or daughter's favorite song and have your child repeat after you.

If you think that “an elephant has stepped on your ear” and you will never be able to perceive the sounds around you the way people who are gifted with an ear for music from birth perceive them, then you are deeply mistaken. Developing an ear for music is not as difficult as you might think. And today we will give you some tips to help you do this.

First, let's look at the types of hearing. To develop an ear for music, we need to hone:

Rhythmic hearing. That is, learn to hear and feel the rhythm.
Melodic ear is the ability to understand the movement and structure of music and hear its subtleties.
Relative - hearing that allows you to understand the size of musical intervals and pitch.
Inner hearing is the hearing that allows you to clearly imagine music and individual sounds in your thoughts.
An ear for intonation that allows one to understand the character and tone of music.

Of course, there are many more types of hearing, but we will focus on these five, since they are enough to acquire an ear for music.

So, what do we need to do to train these types of hearing?

1. Musical instrument

The ideal way to “pump up” all types of hearing is to start learning to play an instrument. This way, you'll remember how each note should sound, train your sense of rhythm, and generally begin to understand music better. But since you most likely don't have time to learn how to play a musical instrument, let's move on.

2. Singing

If you don’t have a piano at home, find an online version on the Internet and play scales on it several times every day and sing them along with the piano. As you begin to feel confident with scales, move on to intervals, chords, and simple melodies. The main thing is don't be shy. If you are afraid that someone will hear you, try to train while you are alone at home. But in fact, there is nothing shameful here! Just remember karaoke bars, where people, to put it mildly, without voice or hearing, sing so loudly that they can be heard outside the bar.

3. Meditation

We called this point that because the exercise we are about to tell you about is very similar to meditation practices for beginners. It will help you develop awareness of sounds.

Walk on the street without headphones, trying to catch snippets of conversations, the noise of trees, the sound of cars, the sound of heels on the asphalt; the way a dog shuffles its paw on the ground; the way someone shakes out a blanket on the balcony... you will notice that you are surrounded by so many sounds that it’s hard to believe. At home, spend five minutes a day listening to the humming of the refrigerator from the kitchen, the sound of water in the pipes, the conversations of your neighbors, the noise from the street.

4. Voices

When talking to a person, try to remember his voice. You can also watch movies, memorizing the actors' voices, and then listen to parts of the movie and try to name the character based only on his voice.

Try to notice the manner of speaking of your interlocutor, the timbre of his voice; When remembering a conversation with someone, try to pronounce the interlocutor’s phrases in your head in his own voice.

5. Learn to hear music

Of course, it’s very nice to listen to music and not think about anything. But if your goal is to develop an ear for music, then try to delve into the music you listen to. Learn to separate one musical instrument from another; learn how a guitar sounds under different “gadgets” so as not to confuse it with other instruments; also learn to distinguish different modes of the synthesizer from other musical instruments; listen to how real drums and electronic drums sound.

This practice will not only help you develop an ear for music, but will also teach you to hear music more subtly, which in turn will give you even greater pleasure from listening to it. There is one side effect of this practice - most likely later you will not want to listen to what you are listening to now, you will want something more complex and voluminous. And this is great, because isn’t this the main indicator of your progress?

6. Rhythm

There is such a cool thing called a “metronome”. You can buy it for yourself or find an online version on the Internet. Every day, practice with a metronome, tapping your finger (arm, foot, whatever) to the rhythm it sets for you.

Once you feel comfortable with the metronome, move on to recognizing rhythm in music. Start with music that contains drums; it’s easier to determine the rhythm using them. And then move on to working with music that does not contain noise instruments that allow you to easily determine the rhythm (classical music, for example).

Another enjoyable way to improve your sense of rhythm is dancing. Enroll in a dance studio or dance at home for your own pleasure.

7. Sound source

If you have a helper for this task, great! Close your eyes and ask someone to walk around you in and outside the room and make sounds (voice, hand clap, ringing a bell, etc.). And every time your assistant makes a sound, you should try to understand from which direction it is coming. A fairly simple task if you and your assistant are in the same room, but once he starts walking around the apartment, you will notice that it becomes more difficult for you to determine where the sound is coming from.

If you don’t have someone who can help you with this, then you can do the following. Go outside, sit on a bench somewhere and listen to the sounds around you, as in the third exercise. Only this time you will also need to understand from which side this sound is coming.

Programs and applications

Of course, there are many programs for developing your musical ear, and we have collected the best of them.

1. Eartheach

An excellent application containing exercises on scales, chords and intervals. Perfect for those whose ear for music is already more developed. You can also download the PC version.

The principle is very simple - you need to play the melody that you just heard. The application can also be downloaded on Android and iOS.

A simple game that will help you remember notes. Also on the right you can find many more games to develop your ear for music.

It's safe to say that good hearing is the only ability that allows you to become a musician.

Without this nothing can happen.

Of course, it is possible to teach a person without an ear for music to play a musical instrument, but his playing will most likely resemble the actions of a robot executing a preset program and unable to deviate from it.

When they talk about musicality, they always mean a well-developed ear for music, even if this idea is not voiced.

I think there are many questions related to musical ear, but the most important ones are the following:

What do you mean by good ear for music?
What criteria exist to determine it?
How to develop an ear for music?

Let's start by defining how musical hearing differs from ordinary hearing.

Ear for music- a set of abilities necessary for composing, performing and actively perceiving music. An ear for music, first of all, relies on knowledge and an acquired system of symbols. For example, everyone can sing the melody of the song “A Christmas Tree Was Born in the Forest,” but not everyone can name the notes that make up the song.

On the other hand, if your head has a stable connection between the first intonation of this song and the fact that this is an interval of a major sixth, then when you hear this intonation in any piece of music. You know that this is a major sixth interval and you can play it on the instrument.

The work of hearing in this case is to memorize certain musical structures and endow them with meaning.

As you can see, hearing development is the application of certain knowledge in practice combined with the development of auditory memory.

Lack of understanding of how to relate hearing experience to hearing development can lead people to believe that they are not hearing.

However, there are practically no people without hearing. Most of the problems are associated with poor quality teaching of the basics in music schools and other educational institutions.

There are many categories of musical hearing. The most important are:

Absolute pitch- the ability to determine the absolute height of musical sounds without comparing them with a standard. This means that when you hear any note, you can name it.

It is divided into passive (small percentage of note detection, limited application) and active.

Relative hearing- the most important for any musician - defined as the ability to determine and reproduce pitch relationships in melody, intervals, etc.;

Inner hearing- the ability to have a clear mental representation (for example, from musical notation or from memory) of individual sounds, melodic and harmonious structures, and entire pieces of music; very important when learning improvisation.

Harmonic hearing- the ability to hear harmonic consonances - chord combinations of sounds and their sequences and reproduce them with the voice in unfolded form or on a musical instrument. In practice, this can be expressed, for example, in selecting a melody by ear, even without knowing the notes, or singing in a polyphonic choir.

Polyphonic hearing– the ability to listen to all voices in a multi-voice work.

Polyrhythmic hearing– the ability to hear rhythmic figures sounding in different sizes and the ability to reproduce these rhythms.

There are several main ways to develop hearing:

Solfage

Solfaging (that is, practice) involves singing intervals, chords, scales, modes, and melodies. This practice strengthens the connection between hearing and the written note, and solfège also forms a specific auditory system.

For example, by singing a major scale, you learn its structure and sound, and gradually it becomes natural and familiar to you, and you will perceive any deviation as an inconvenience. Thus, on the one hand, your hearing is developing, on the other hand, until you master anything else, it will be inaccessible to your perception. This problem can arise, for example, when listening to atonal music.

2. Musical dictation

The process is somewhat opposite to solfege. Here you, relying on the knowledge you have already acquired, write down the melody played by the teacher on notes. For this purpose, various techniques are used (finding stable tonality levels in the melody, recognizing intervals, determining cadences, etc.).

Musical dictation also promotes the development of musical memory.

3. Transcribing (from the English transcribing rewriting) or taking- selection by ear or on an instrument and recording on
notes of any work.

This can be either taking your instrument or other instruments, or even writing an entire score.

There are various techniques used by transcribers to speed up the process of transferring sounding music to paper (slow recording, tables, analysis, etc.).

4. Auditory analysis– identification by ear of intervals, chords, chord sequences, rhythmic figures, etc.

You can also use various specialized programs (for example, Ear Trainer) to develop your hearing.

Thus, the criterion for good hearing is the ability to hear and reproduce various elementary structural elements, the ability to write down a heard melody in notes, the ability to anticipate a certain sound, the ability to hear music with the eyes, etc.

Music teachers, passing the verdict “the bear stepped on your ear,” put an end to the singing and musical careers of many people. But is ear for music really the preserve of a select few, or is there something they are not telling us? Find out the answer here, and at the same time take the music aptitude test.

Lack of hearing for music - myth or reality?

Scientists conducted an experiment to study the presence of musical hearing in dogs. While playing one of the notes on the piano, they gave the dog something to eat. After a while, the dog developed a reflex, and when it heard the desired sound, it ran to the bowl of food. The animal did not react to other notes. But if even our smaller four-legged brothers have an ear for music, then why are there so many people in the world who do not have it?

Lack of hearing for music is a myth we have been led to believe. Scientists say: everyone has the ability to hear notes and reproduce them, but not everyone has it equally well developed. Therefore, musical ear can happen:

absolute - such a person is able to determine the pitch of notes without comparison with a standard. Such unique people are born one in ten thousand. Usually this gift is possessed by violinists and parodists who imitate sounds;

internal - allowing, looking at the notes, to correctly reproduce them in the voice. This is taught in solfeggio lessons in music schools and conservatories;

relative - endowing its owner with the ability to accurately determine the intervals between sounds and their duration. This is usually characteristic of trumpet players.

The sense of rhythm is also part of musical ear. It is best developed among drummers.

To determine the level of development of musical hearing, they usually turn to a specialist. He offers to complete several tasks:

repeat the melody. A musical phrase is played on the instrument, which the subject must reproduce with his voice, clapping in time;

tap out the rhythm. Using a pencil, a rhythmic pattern is set that needs to be repeated. You will have to complete several such tasks, and each time the rhythm will become more complicated;

reproduce intonation. The person checking hums the melody, and the person being checked must repeat it, maintaining all the intonations of the performer.

You may be offered another task: guess the note. Standing with your back to the musical instrument, you must name which octave sound the teacher played.

Let's say right away: this method of determining the level of musical abilities is the most accurate. Although at home you can also try to check whether you have a developed ear for music or not. The “Everything for Children” website will help you with this, where in the “Music Tests” section you will find a far from childish task, after completing which you will receive an objective assessment of your musical abilities, and also find out how to quickly learn notes on the guitar, it turns out that this is absolutely not difficult.

Music is the universal language of humanity. Henry Wadsworth Longfellow

You can also test your ability to recognize musical sounds using the tasks offered in this video:

Ways to develop an ear for music

Why are some people born with perfect pitch, while others have less than perfect pitch? Our brain is to blame for this. A small part of the right hemisphere is responsible for the development of musical hearing. There is white matter that controls the transmission of information, including sound.

The ability to correctly reproduce notes largely depends on the amount of this substance. It is impossible to increase its volume, but it is quite possible to speed up the processes occurring there. To do this, there are exercises to develop musical ear. We will present the most effective of them.

Scales

Play all seven notes in order on the instrument and sing them. Then do the same without the tool. When you are satisfied with the result, the order of the notes should be reversed. The exercise is boring and monotonous, but effective.

Intervals

When playing two notes on the instrument (do-re, do-mi, do-fa, etc.), then try to repeat them with your voice. Then do the same exercise, but moving from the “top” of the octave. And then try to do the same thing, but without the piano.

Echo

This exercise is used by kindergarten teachers, but it is great for adults too. Use any player (your phone player will do) to play a few musical phrases from any song, and then repeat them yourself. Did not work out? Make several attempts until you are satisfied with the result. Then proceed to the next song segment.

Dancing

Turn on any music and dance - this is how you develop a rhythmic ear for music. Reading poetry to music also contributes well to this.

Melody selection

Try to find a familiar melody on the instrument. It won’t work right away, but when it does, you will, firstly, believe in your strength, and secondly, you will make a big breakthrough in learning.

Take it for yourself and tell your friends!