Logiciel pour le solfège, le travail de l'oreille et l'étude du rythme
- Description
- Caractéristiques
- Exercices
- Included courses
- Nouveautés de la v7
- Avis d'utilisateurs
- Écoles utilisant EarMaster
- Configuration
EarMaster 7
L'application de formation musicale de référence
Une méthode facile, motivante et très efficace pour devenir un meilleur musicien
Plus de 2500 exercices pour tous niveaux sur la lecture à vue, la formation de l'oreille et le solfège rythmique
Cours débutant pour apprendre ou revoir les bases de la théorie de la musique,
ateliers généraux pour tous les styles musicaux, et ateliers jazz incluant les rythmes swing et accords de jazz
Entraînez-vous à Identifier, reproduire et transcrire d'oreille, à chanter à vue et à lire
les mélodies, intervalles, gammes, modes, progressions harmoniques, et les rythmes
Statistiques détaillées afin de suivre vos progrès à la loupe
Configurez les exercices afin de vous entraîner de la façon dont vous le souhaitez
Répondez aux exercices à l'aide de boutons réponses, de l'outil de notation, des interfaces instrumentales
(piano, guitare, basse, violon, violoncelle, etc.), du clavier tonal (solmisation avec Do relatif), des degrés de la gamme, et plus
Utilisez un microphone pour chanter et jouer vos réponses en temps réel!
Utilisez un clavier MIDI pour jouer vos réponses et contrôler les fonctions d'EarMaster
Plus d'une centaine de sons d'instrument réalistes
Facile à utiliser, motivant, et surtout terriblement efficace, EarMaster est utilisé par les écoles de musique
les plus prestigieuses au monde telles que le Berklee College of Music de Boston!
Acheter >> Télécharger pour PC ou Mac >>
Utilisé par les plus grandes écoles de musique
Cessez d'être un BON musicien.
Devenez un EXCELLENT musicien !
Le travail de l'oreille vous permet de déveloper une meilleure musicalité. Vous pouvez avoir de sublimes compétences techniques, connaître vos gammes par cœur, comprendre toutes les règles harmoniques, mais sans bonne oreille il y aura toujours une dernière étape qui vous vous bloquera et ne vous permettra pas d'évoluer.
Pour obtenir de meilleures compétences auditives, vous devez entraîner votre audition. Et l'une des méthodes les plus efficaces pour cela est EarMaster.
Utilisé par des milliers d'écoles dans la plupart des pays depuis de nombreuses années, EarMaster est un outil de pratique sérieux et fiable qui vous aidera à améliorer vos compétences auditives et à atteindre de nouveaux niveaux de musicalité - Parce que la différence entre un bon musicien et un excellent musicien est presque toujours une bonne oreille musicale !
A qui s'adresse EarMaster?
Aux élèves des école de musique, conservatoires et universités ayant besoin d'un outil efficace et performant pour les préparer aux examens de formation musicale.
Aux professeurs de musique à la recherche d'un logiciel sérieux leur permettant de créer facilement des exercices interactifs de formation auditive et de lecture à vue pour leurs classes de formation musicale.
Auxusiciens amateurs et professionnels souhaitant affiner et entretenir leur oreille musicale
Disponible en 2 versions
EarMaster Pro 7 (PC & Mac) - .95
Pour tous les musiciens amateurs ou professionnels, ainsi que les élèves de conservatoire.
Buy now >>
EarMaster pour iPad
L'appli de solfège et d'ear training la plus complète sur tablette. Pour la formation musicale des musiciens de tous niveaux.
Utilisée par les plus grandes écoles de musique comme le Berklee College of Music de Boston (USA).
Licence éducatives pour écoles de musiques, conservatories, universités et choeurs
EarMaster Cloud (PC, Mac & iPad)
Pour une utilisation chez soi et à l'école de musique
Donne accès aux versions PC, Mac et iPad d'EarMaster aux élèves et professeurs.
Version professeur exclusive sur PC et Mac pour créer et envoyer des devoirs de FM aux élèves
Gestion facile des licences en ligne
Mises à jour et assistance en ligne gratuites
La solution de formation musicale interactive la plus complète et abordable - à partir de 0.45€ par mois/utilisateur !
Plus d'info >>
Caractéristiques détaillées
Tout ce dont vous avez besoin pour une formation musicale sans failles
Utilisé par les plus grandes écoles de musique et conservatoires des 4 coins du globe pour préparer les musiciens professionnels de demain, EarMaster 6 vous aidera à faire passer vos aptitudes musicales à la vitesse supérieure et faire de vous un meilleur musicien. Le logiciel propose plus de 2000 exercices interactifs de formation auditive, chant à vue et solfège rythmique pour un entraînement facile, motivant, et surtout très efficace.
Pour tous niveaux
EarMaster 6 s'adresse aux musicens de tous niveaux. Peu importent vos connaissances et aptitudes musicales, vous trouverez toujours un exercice en mesure de mettre vos connaissances, votre oreille musicale et votre lecture à vue à l'épreuve.
Plus de 2000 exercices inclus
2 cours complets pour un total de 2000 exercices interactifs vous permettront d'organiser votre entraînement. Au fur et à mesure de vos progrès, la difficulté des exercices augmentera automatiquement afin de correspondre à votre niveau actuel.
Créez vos propres exercices
Configurer les activités d'EarMaster est un jeu d'enfant. Si vous avez besoin de vous entraîner avec un intervalle, une gamme ou une cadence en particuliers, vous pourrez en quelques secondes créer des exercices sur mesure afin de pouvoir vous concentrer sur votre bête noire du moment.
Chantez vos réponses
La plupart des exercices d'Earmaster peuvent être utilisés avec un micro afin de chanter vos réponses, ou bien de battre les rythmes des mains. Par exemple, les exercices de reproduction de mélodie et de rythme sont d'excellentes activités de 'ping pong musical' à la manière d'une impro jazz, ou il vous faudra reproduire au tac-au-tac les notes jouées par EarMaster.
Avec ou sans solfège
Vous pouvez répondre aux questions posées par EarMaster à l'aide des interfaces visuelles de votre choix: portée (simple ou double en clé de Sol, Fa ou Ut Alto), piano, guitare, basse, violon, violoncelle, mandoline, banjo, degrés de la gamme, ou même de simples boutons réponses.
S'adapte à vos performances
EarMaster contient un moteur de création de questions intelligent, dans le sens où il analyse vos réponses et adapte le contenu des exercices à vos performances. Si vous avez des difficultés avec un intervalle ou un accord de l'exercice, vous aurez la chance d'obtenir des questions suppémentaires afin d'améliorer votre score et de mieux cerner les difficultés auxquelles vous êtes confrontées.
Jazz et Swing - So what?
EarMaster propose un Cours Jazz avec des séries d'exercices portant sur les spécificités du Jazz: accords, progressions et rythmes swing. EarMaster a toujours donné une place importante au Jazz dans ses exercices, donc si vous souhaitez vous lancer dans l'ear training Jazz, EarMaster est véritablement le choix idéal!.
Statistiques détaillées
Pour vous aider à suivre vos progrès et identifier vos forces et faiblesses, EarMaster vous propose une interface de statistiques où vous pourrez voir en un clin d'oeil l'étendue de vos progrès jour après jour, semaine après semaine. Ainsi, vous pourrez facilement identifier les domaines où vous avez des lacunes, et pourrez créer des exercices personnalisés pour vous perfectionner.
Exercices disponibles dans EarMaster
EarMaster comprend 14 ateliers destinées à l'entraînement à la lecture et au chant à vue, au travail de l'oreille (ear training) et à l'étude du rythme (solfège rythmique). 2500 exercices prêts à l'emploi vous permettront de vous entraîner à identifier, transcrire, lire, chanter et reproduire la musique écrite et celle que vous entendez. La plupart des activités d'EarMaster ne requièrent que des connaissances minimales en théorie musicale, et vous offrent la possibilité de répondre aux exercices en chantant, en battant des mains ou bien en jouant vos réponses sur votre instrument favori.
Intervalles
Comparaison d'intervalles
EarMaster joue deux intervalles: intervalle A et intervalle B. Votre tâche est de déterminer lequel est le plus grand (i.e. la plus grande distance tonale entre les deux notes). La taille d'un intervalle est déterminée par la distance entre les deux notes qui le composent. Par exemple, l'intervalle de Do à Mi (Tierce majeure) est plus grand que celui allant de Do à Ré (Seconde majeure). N.B.: Cet exercice ne demande aucune connaissance en théorie musicale. C'est donc un excellent point de départ pour les débutants.
Identification d'intervalles
EarMaster joue un intervalle, puis vous demande de l'identifiez par son nom à l'aide des boutons réponse, ou bien d'en insérez les notes sur la portée ou les interfaces instruments (piano, guitare, basse, violon, etc.). N.B.: Il est possible de répondre aux questions en chantant, en jouant d'un instrument ou bien à l'aide d'un clavier MIDI.
Chant d'intervalles
EarMaster joue une note puis vous demande de chanter un intervalle au-dessus ou en-dessous de celle-ci. Exemple: une note (Ré) est jouée, puis EarMaster vous dit: "Chantez la quinte juste au dessus de Ré". Il vous suffit ensuite de chanter la note dans un microphone pour voir votre réponse (la note La) s'afficher sur la portée. Enfin, EarMaster évaluera votre réponse. N.B.: Cette activité est idéale pour apprendre le système Tonic Sol-Fa où Do est relatif à la tonalité. Pour ce faire, choisissez l'option Tonic Sol-Fa au menu Paramètres Exercice-->Nomenclature des notes.
Accords et gammes
Identification d'accords
EarMaster joue un accord, puis vous demande de l'identifiez par son nom à l'aide des boutons réponse, ou bien d'en insérez les notes sur la portée ou les interfaces instruments (piano, guitare, basse, violon, etc.). N.B.: Il est possible de répondre aux questions à l'aide d'un clavier MIDI.
Renversements d'accords
Le principe est le même que pour l'identification d'accord (voir plus haut), mais cette fois-ci, le but de l'activité est d'identifier l'inversion de l'accord que le programme joue.
Progressions d'accords
EarMaster joue une progression d'accords ou une cadence (par exemple: II min7 - V 7 - I Maj.); vous devez ensuite l'identifier par son nom, ou désigner le degré et la qualité de chaque accord. N.B.: La connaissance des différents types de progressions vous aidera à anticiper la direction d'un morceau - d'autant plus utile et agréable si vous improvisez avec d'autres musiciens.
Identification de gammes
EarMaster joue une gamme, puis vous demande de l'identifiez par son nom à l'aide des boutons réponse, ou bien d'en insérez les notes sur la portée ou les interfaces instruments (piano, guitare, basse, violon, etc.). N.B.: Il est possible de répondre aux questions en chantant, en jouant d'un instrument ou bien à l'aide d'un clavier MIDI.
Rythme
Lecture rythmique
EarMaster affiche un rythme sur la portée. Vous devez battre ce rythme des mains devant un microphone, le jouer sur la barre d'espace du clavier de votre ordinateur, ou bien le jouer sur votre clavier MIDI, tout en suivant le métronome. N.B.: Cet exercice vous aidera de plusieurs façons: votre lecture à vue sera évidemment améliorée, vous développerez une meilleure familiarité avec les motifs rythmiques et, en grande mesure, vous affinerez votre précision rythmique.
Reproduction de rythmes
EarMaster joue un rythme puis vous demande de le reproduire d'oreille. Vous pouvez battre le rythme des mains devant un microphone, le jouer sur la barre d'espace du clavier de votre d'ordinateur, ou bien le jouer sur votre instrument MIDI, tout en suivant le métronome. Cet exercice développera vos aptitudes à mémoriser et reproduire des motifs rythmiques sans faire appel à vos connaissances théoriques. Il s'agit ici purement de travail de l'oreille, sans aucun repère visuel, donc ouvrez grand vos écoutilles!
Depistage d'erreurs rythmiques
Dans cet exercice, EarMaster affichera d'abord un rythme sur la portée, puis jouera ensuite ce même rythme avec quelques erreurs. Votre tâche est d'identifier ces erreurs et de les indiquer sur la portée. L'accent est ici mis sur vos capacités à reconnaître les variations rythmiques. Vous pourrez rencontrer deux types de changements:
- Une note a été enlevée
- Une note a été divisée en deux notes Cette activité est une sorte de jeu, et vous aidera à identifier les variations rythmiques.
Dictée de rythme
Un exercice bien connu de tous: EarMaster joue un rythme; vous devez ensuite le transcrire sur la portée afin d'obtenir une évaluation de votre réponse. Cette activité vous aidera à améliorer vos compétences de transcription, et s'avérera très utile pour l'utilisation de logiciels de notation.
Mélodies
Dictée mélodique
EarMaster joue une phrases mélodique (avec ou sans rythme selon les paramètres de la leçon en cours). Vous devez ensuite la transcrire note par note sur la portée ou l'une des interfaces instrument de votre choix (piano, guitare, violon, basse, violoncelle, etc.). Vous pouvez également utiliser les raccourcis clavier pour entrer votre réponse (voir le ). Les dictées musicales sont toujours assez laborieuses. Elles nécessitent une bonne oreille et une solide connaissance des hauteurs et des rythmes. Mais le jeu en vaut vraiment la chandelle! Plus vous vous entraînerez à faire ces dictées, plus vous aurez d'aise à retrouver des morceaux et des mélodies d'oreille.
Reproduction de mélodies
EarMaster joue une mélodie et vous demande de la reproduire d'oreille en chantant ou en la jouant sur votre instrument ou votre clavier MIDI tout en suivant les battements du métronome. Vous pouvez répondre aux questions en chantant la mélodie devant un micro, en la jouant sur votre instrument de musique connecté à une carte son, ou bien à l'aide d'un clavier MIDI. Cette activité ne requiert aucune connaissance théorique, et fait essentiellement appel à votre oreille, votre mémoire et à la justesse de votre voix (si les réponses sont chantées).
Chant à vue
EarMaster affiche une phrase mélodique sur la portée, et vous demande de la chanter ou de la jouer en rythme avec le métronome. Vous pouvez répondre aux questions en chantant la mélodie devant un micro, en la jouant sur votre instrument de musique connecté à une carte son, ou bien à l'aide d'un clavier MIDI. Tandis que vous chantez la mélodie, EarMaster peut dessiner une courbe sur la portée (facultatif) pour représenter graphiquement la hauteur des notes chantées. Cette activité ne développe pas seulement vos compétences en lecture à vue, mais elle vous fait également travailler votre précision rythmique et votre justesse.
Courses and workshops available in EarMaster
Click on a course or workshop title to view its full content.
Notice that the availability of the courses and workshops listed below depends on the license that you purchased. For more information, please refer to this Version comparison.
📕 Beginner's Course |
|
1: Welcome to the Beginner's Course |
|
| 1.1 Introduction to the course | |
2: Pitch |
|
| 2.1 Musical Pitch | |
| 2.2 Pitch Matching: One Note (any note in range) | |
| 2.3 Introduction to Pitch Intervals | |
| 2.4 More Pitch Intervals | |
| 2.5 Pitch Interval Names | |
| 2.6 Pitch Matching: Two Notes (C, D) | |
| 2.7 Module Recap | |
3: Pulse |
|
| 3.1 Beat (Pulse) | |
| 3.2 Tapping with the Metronome | |
| 3.3 Skipping Beats | |
| 3.4 Introduction to Beat Notation | |
| 3.5 Beat Error Detections | |
| 3.6 Beat Dictation | |
| 3.7 Module Recap | |
4: Pitch Notation |
|
| 4.1 Pitch Sight-Singing | |
| 4.2 Pitch Dictation with 2 notes | |
| 4.3 Pitch Dictation with 3 notes | |
| 4.4 Pitch Dictation with 4 notes | |
| 4.5 Melodic Dictation | |
| 4.6 Module Recap | |
5: Duration |
|
| 5.1 Rhythmic Duration | |
| 5.2 Performing Note Onsets and Offsets | |
| 5.3 Rhythm Error Detection | |
| 5.4 Rhythm Sight-Reading | |
| 5.5 Rhythm Dictation | |
| 5.6 Clapping Back Rhythms with Half Rests | |
| 5.7 Half Rest Error Detection | |
| 5.8 Sight-Reading Rhythms with Half Rests | |
| 5.9 Rhythmic Dictation with Half Rests | |
| 5.10 Module Recap | |
6: Tonality |
|
| 6.1 Tonality | |
| 6.2 Pitch Matching | |
| 6.3 Three Melodic Intervals | |
| 6.4 Interval Identification | |
| 6.5 Interval Singing | |
| 6.6 Tonal Threads (3 notes) | |
| 6.7 Pitch Dictation | |
| 6.8 Singing Melodic Fragments by ear | |
| 6.9 Singing Melodic Fragments by sight | |
| 6.10 Melodic Dictation | |
| 6.11 Singing a Tune: Tchaikovsky's 1812 Overture | |
| 6.12 Module Recap | |
7: Measures |
|
| 7.1 Whole Notes & Rests | |
| 7.2 Whole notes & whole rests | |
| 7.3 Whole Note Error Detection | |
| 7.4 Whole Note Sight-Reading | |
| 7.5 Whole Note Rhythmic Dictation | |
| 7.6 Two Beat Measures: Clapback | |
| 7.7 Two Beat Measures: Error detection | |
| 7.8 Two Beat Measures: Sight-Reading | |
| 7.9 Two Beat Measures: Dictation | |
| 7.10 Singing a Tune | |
| 7.11 Module Recap | |
8: The Sub-dominant |
|
| 8.1 The Sub-dominant Scale Degree | |
| 8.2 Interval Learning (Perfect 4th) | |
| 8.3 Melodic Interval Identification | |
| 8.4 Singing within the Major Scale | |
| 8.5 Tonal Threads (3 notes) | |
| 8.6 Pitch Dictation (4 notes) | |
| 8.7 Singing Melodic Fragments (by ear) | |
| 8.8 Singing Melodic Fragments (by sight) | |
| 8.9 Dictating Melodies | |
| 8.10 Singing A Tune | |
| 8.11 Module Recap | |
9: Dotted Half Note Rhythms |
|
| 9.1 Dotted Rhythms | |
| 9.2 Dotted Half Notes & Dotted Half Rests | |
| 9.3 Dotted Half Note Error Detection | |
| 9.4 Dotted Half Note Sight-Reading | |
| 9.5 Dotted Half Note Rhythmic Dictation | |
| 9.6 Three Beat Measures: Clapback | |
| 9.7 Three Beat Measures: Error Detection | |
| 9.8 Three Beat Measures: Sight-Reading | |
| 9.9 Three Beat Measures: Dictation | |
| 9.10 Module Recap | |
10: The Dominant |
|
| 10.1 The Dominant | |
| 10.2 The Perfect 5th | |
| 10.3 Interval Identification | |
| 10.4 Interval Singing | |
| 10.5 Tonal Threads (3 notes) | |
| 10.6 Pitch Dictation (4 notes) | |
| 10.7 Pitch Dictation (5 notes) | |
| 10.8 Singing Melodic Fragments (by ear) | |
| 10.9 Singing Melodic Fragments (by sight) | |
| 10.10 Dictating Melodies | |
| 10.11 Singing A Tune: Frère Jacques | |
| 10.12 Module Recap | |
11: Consonance & Dissonance |
|
| 11.1 Hearing Harmonically | |
| 11.2 Dissonance & Consonance | |
| 11.3 Dissonance & Consonance | |
| 11.4 Consonant & Dissonant Chords | |
| 11.5 Chords in context | |
| 11.6 Chords in context (3 chord progressions) | |
| 11.7 Singing a Tune: Beethoven's Ode to Joy | |
| 11.8 Module Recap | |
12: Simple Subdivisions |
|
| 12.1 Subdivisions of the Beat | |
| 12.2 Constant Subdivisions | |
| 12.3 Eighth Note Clapback | |
| 12.4 Eighth Note Error Detection | |
| 12.5 Eighth Note Sight-Reading | |
| 12.6 Eighth Note Rhythmic Dictation | |
| 12.7 Rhythmic Dictation: Joy to the World | |
| 12.8 Singing a Tune: Simple Gifts | |
| 12.9 Module Recap | |
13: The Leading Tone |
|
| 13.1 The Leading Tone | |
| 13.2 Interval Comparison | |
| 13.3 Interval Identification | |
| 13.4 Interval Singing | |
| 13.5 Tonal Threads (3 notes) | |
| 13.6 Pitch Dictation (4 notes) | |
| 13.7 Pitch Dictation (5 notes) | |
| 13.8 Singing Melodic Fragments (by ear) | |
| 13.9 Singing Melodic Fragments (by sight) | |
| 13.10 Transcribing Melodies | |
| 13.11 Singing a Tune: Haydn's Surprise Symphony | |
| 13.12 Module Recap | |
14: Triads |
|
| 14.1 Triads | |
| 14.2 Ascending Melodic Thirds | |
| 14.3 Ascending Melodic Thirds: Identification | |
| 14.4 Ascending Melodic Triads | |
| 14.5 Descending Melodic Thirds: Learning | |
| 14.6 Descending Melodic Thirds: Identification | |
| 14.7 Descending Melodic Triads: Identification | |
| 14.8 Harmonic Thirds: Learning | |
| 14.9 Harmonic Thirds: Identification | |
| 14.10 Harmonic Triads: Identification | |
| 14.11 Singing A Tune: Rossini's William Tell Overture | |
| 14.12 Module Recap | |
15: Syncopation |
|
| 15.1 Syncopation | |
| 15.2 Basic Syncopated Rhythms | |
| 15.3 Syncopation Clapback | |
| 15.4 Syncopation Error Detection | |
| 15.5 Syncopation Error Detection (2) | |
| 15.6 Syncopated Sight-Reading | |
| 15.7 Syncopation Rhythmic Dictation | |
| 15.8 Tapping a Tune: Panama | |
| 15.9 Singing A Tune: Mozart's Eine Kleine Nachtmusik | |
| 15.10 Module Recap | |
16: The Submediant |
|
| 16.1 The Submediant | |
| 16.2 The Submediant Scale Degree | |
| 16.3 Interval Identification | |
| 16.4 Interval Singing | |
| 16.5 Tonal Threads (3 notes) | |
| 16.6 Pitch Dictation (4 notes) | |
| 16.7 Pitch Dictation (5 notes) | |
| 16.8 Singing Melodic Fragments (by ear) | |
| 16.9 Singing Melodic Fragments (by sight) | |
| 16.10 Transcribing Melodies | |
| 16.11 Singing a Tune: Twinkle, Twinkle Little Star | |
| 16.12 Module Recap | |
17: Other Triad Types |
|
| 17.1 Augmented and Diminished Triads | |
| 17.2 Review of Ascending Thirds | |
| 17.3 The Four Triads (ascending) | |
| 17.4 Review of Descending Thirds | |
| 17.5 The Four Triads (descending) | |
| 17.6 Review of Harmonic Thirds | |
| 17.7 The Four Triads (harmonic) | |
| 17.8 Review of thirds (mixed) | |
| 17.9 The Four Triad types (mixed) | |
| 17.10 Singing a Tune: Home on the Range | |
| 17.11 Module Recap | |
18: Ties |
|
| 18.1 Rhythmic Ties | |
| 18.2 Clapping Back Rhythms with Ties | |
| 18.3 Clapping Back Rhythms with Ties (2) | |
| 18.4 Detecting Errors in Rhythms with Ties | |
| 18.5 Detecting Errors in Rhythms with Ties (2) | |
| 18.6 Sight-Reading Rhythms with Ties | |
| 18.7 Transcribing Rhythms with Ties | |
| 18.8 Tapping a Tune: All the Girls Go Crazy | |
| 18.9 Singing a Tune: Rock-A My Soul | |
| 18.10 Module Recap | |
19: Harmonic Progressions |
|
| 19.1 Introduction to Harmonic Progressions | |
| 19.2 Singing Bass Patterns | |
| 19.3 Bass Pattern Dictation | |
| 19.4 Singing a Tune: Pachabel's Canon in D | |
| 19.5 Chord Quality Review (Major & Minor) | |
| 19.6 Chord Progressions (I, ii, V) | |
| 19.7 Chord Progressions (I, ii, V) | |
| 19.8 Subdominant Bass Patterns | |
| 19.9 Subdominant Bass Pattern Dictation | |
| 19.10 Two-Chord Progressions (I, ii, IV, V) | |
| 19.11 Chord Progressions (I, ii, IV, V) | |
| 19.12 Module Recap | |
20: Compound Subdivisions |
|
| 20.1 Compound Beat Subdivisions | |
| 20.2 Introduction to Compound Beat Subdivisions | |
| 20.3 Clapping Back Compound Beat Subdivisions | |
| 20.4 Detecting Errors in Compound Beat Subdivisions | |
| 20.5 Detecting Errors in Compound Beat Subdivisions (2) | |
| 20.6 Sight-Reading Rhythms with Compound Subdivisions | |
| 20.7 Transcribing Rhythms with Compound Subdivisions | |
| 20.8 Tapping a Tune: Courenta dei Butei | |
| 20.9 Singing a Tune: Bach's Jesu, Joy of Man's Desiring | |
| 20.10 Module Recap | |
21: The Complete Major Scale |
|
| 21.1 The Complete Major Scale | |
| 21.2 Interval Comparison | |
| 21.3 Interval Identification | |
| 21.4 Interval Singing | |
| 21.5 Tonal Threads (3 notes) | |
| 21.6 Pitch Dictation (4 notes) | |
| 21.7 Pitch Dictation (5 Notes) | |
| 21.8 Singing Melodic Fragments (by ear) | |
| 21.9 Singing Melodic Fragments (by sight) | |
| 21.10 Transcribing Melodies | |
| 21.11 Singing a Tune: Row, Row, Row Your Boat | |
| 21.12 Module Recap | |
22: Course Mastery Tests |
|
| 22.1 The Mastery Module | |
| 22.2 Interval Comparison Mastery | |
| 22.3 Interval Identification Mastery | |
| 22.4 Triad Identification Mastery | |
| 22.5 Chord Progression Mastery | |
| 22.6 Rhythmic Sight-reading Mastery | |
| 22.7 Rhythmic Dictation Mastery | |
| 22.8 Pitch Sight-Singing Mastery | |
| 22.9 Pitch Dictation Mastery | |
| 22.10 Melodic Sight-Reading Mastery | |
| 22.11 Melodic Dictation Mastery | |
| 22.12 Tapping a Tune: Mastery | |
| 22.13 Learning A Tune: Mastery | |
| 22.14 Course Completion | |
📕 General Workshops - Chord Identification |
|
1: Identify the Major & the Minor Chords |
|
| 1.1 Major & Minor - Ascending | |
| 1.2 Major & Minor - Descending | |
| 1.3 Major & Minor - Harmonic | |
| 1.4 Major & Minor - Harmonic, Ascending & Descending | |
2: Identify the Major, Minor & Sus4 Chords |
|
| 2.1 Major, Minor & Sus4 - Ascending | |
| 2.2 Major, Minor & Sus4 - Descending | |
| 2.3 Major, Minor & Sus4 - Harmonic | |
| 2.4 Major, Minor & Sus4 - Harmonic, Ascending & Descending | |
3: Major Chords with Alternating 5th |
|
| 3.1 Major, Major(b5) & Aug - Ascending | |
| 3.2 Major, Major(b5) & Aug - Descending | |
| 3.3 Major, Major(b5) & Aug - Harmonic | |
| 3.4 Major, Major(b5) & Aug - Harmonic, Ascending & Descending | |
4: Identify the Minor & the Minor(b5) Chords |
|
| 4.1 Minor & Dim - Ascending | |
| 4.2 Minor & Dim - Descending | |
| 4.3 Minor & Dim - Harmonic | |
| 4.4 Minor & Dim - Harmonic, Ascending & Descending | |
5: Identify the Sus Chords |
|
| 5.1 Sus2 & Sus4 - Ascending | |
| 5.2 Sus2 & Sus4 - Descending | |
| 5.3 Sus2 & Sus4 - Harmonic | |
| 5.4 Sus2 & Sus4 - Harmonic, Ascending & Descending | |
6: Triads with an Altered 5th |
|
| 6.1 Dim, Major(b5) & Aug - Ascending | |
| 6.2 Dim, Major(b5) & Aug - Descending | |
| 6.3 Dim, Major(b5) & Aug - Harmonic | |
| 6.4 Dim, Major(b5) & Aug - Harmonic, Ascending & Descending | |
7: Identify All Triads |
|
| 7.1 Major, Minor, Dim, Major(b5), Aug, Sus2 & Sus4 - Ascending | |
| 7.2 Major, Minor, Dim, Major(b5), Aug, Sus2 & Sus4 - Descending | |
| 7.3 Major, Minor, Dim, Major(b5), Aug, Sus2 & Sus4 - Harmonic | |
| 7.4 Major, Minor, Dim, Major(b5), Aug, Sus2 & Sus4 - Harmonic, Ascending & Descending | |
8: Major Triad with an Added Chord Tone |
|
| 8.1 7, Maj7 & Add6 - Ascending | |
| 8.2 7, Maj7 & Add6 - Descending | |
| 8.3 7, Maj7 & Add6 - Harmonic | |
| 8.4 7, Maj7 & Add6 - Harmonic, Ascending & Descending | |
9: Minor Triad with an Added Chord Tone |
|
| 9.1 Mi7, Mi,maj7 & Mi,add6 - Ascending | |
| 9.2 Mi7, Mi,maj7 & Mi,add6 - Descending | |
| 9.3 Mi7, Mi,maj7 & Mi,add6 - Harmonic | |
| 9.4 Mi7, Mi,maj7 & Mi,add6 - Harmonic, Ascending & Descending | |
10: Minor(b5) with an Added Chord Tone |
|
| 10.1 Dim7, Mi7(b5) & dim,maj7 - Ascending | |
| 10.2 Dim7, Mi7(b5) & dim,maj7 - Descending | |
| 10.3 Dim7, Mi7(b5) & dim,maj7 - Harmonic | |
| 10.4 Dim7, Mi7(b5) & dim,maj7 - Harmonic, Ascending & Descending | |
11: Major(b5) with an Added Chord Tone |
|
| 11.1 7(b5) & maj7(b5) - Ascending | |
| 11.2 7(b5) & maj7(b5) - Descending | |
| 11.3 7(b5) & maj7(b5) - Harmonic | |
| 11.4 7(b5) & maj7(b5) - Harmonic, Ascending & Descending | |
12: Major(#5) with an Added Chord Tone |
|
| 12.1 7(#5) & maj7(#5) - Ascending | |
| 12.2 7(#5) & maj7(#5) - Descending | |
| 12.3 7(#5) & maj7(#5) - Harmonic | |
| 12.4 7(#5) & maj7(#5) - Harmonic, Ascending & Descending | |
13: Sus Triads with an Added Minor 7th |
|
| 13.1 7(sus4) & 7(sus2) - Ascending | |
| 13.2 7(sus4) & 7(sus2) - Descending | |
| 13.3 7(sus4) & 7(sus2) - Harmonic | |
| 13.4 7(sus4) & 7(sus2) - Harmonic, Ascending & Descending | |
14: Sus Triads with an Added Major 7th |
|
| 14.1 maj7(sus2) & maj7(sus4) - Ascending | |
| 14.2 maj7(sus2) & maj7(sus4) - Descending | |
| 14.3 maj7(sus2) & maj7(sus4) - Harmonic | |
| 14.4 maj7(sus2) & maj7(sus4) - Harmonic, Ascending & Descending | |
15: Sus Seventh Chords |
|
| 15.1 7(sus4), 7(sus2), maj7(sus2) & maj7(sus4) - Ascending | |
| 15.2 7(sus4), 7(sus2), maj7(sus2) & maj7(sus4) - Descending | |
| 15.3 7(sus4), 7(sus2), maj7(sus2) & maj7(sus4) - Harmonic | |
| 15.4 7(sus4), 7(sus2), maj7(sus2) & maj7(sus4) - Harmonic, Ascending & Descending | |
16: Maj7 Chords with a Perfect or Altered 5th |
|
| 16.1 Maj7, maj7(b5) & maj7(#5) - Ascending | |
| 16.2 Maj7, maj7(b5) & maj7(#5) - Descending | |
| 16.3 Maj7, maj7(b5) & maj7(#5) - Harmonic | |
| 16.4 Maj7, maj7(b5) & maj7(#5) - Harmonic, Ascending & Descending | |
17: 7th Chords with a Perfect or Altered 5th |
|
| 17.1 7, 7(b5) & 7(#5) - Ascending | |
| 17.2 7, 7(b5) & 7(#5) - Descending | |
| 17.3 7, 7(b5) & 7(#5) - Harmonic | |
| 17.4 7, 7(b5) & 7(#5) - Harmonic, Ascending & Descending | |
18: Minor7 and Maj7 Chords with a Perfect or Altered 5th |
|
| 18.1 Mi7, Mi,maj7, Dim7, Mi7(b5) & dim,maj7 - Ascending | |
| 18.2 Mi7, Mi,maj7, Dim7, Mi7(b5) & dim,maj7 - Descending | |
| 18.3 Mi7, Mi,maj7, Dim7, Mi7(b5) & dim,maj7 - Harmonic | |
| 18.4 Mi7, Mi,maj7, Dim7, Mi7(b5) & dim,maj7 - Harmonic, Ascending & Descending | |
19: All the Maj7 Chords |
|
| 19.1 All the Maj7 chords - Ascending | |
| 19.2 All the Maj7 chords - Descending | |
| 19.3 All the Maj7 chords - Harmonic | |
| 19.4 All the Maj7 chords - Harmonic, Ascending & Descending | |
20: All Chords with a Minor 7th |
|
| 20.1 All chords with a minor 7th - Ascending | |
| 20.2 All chords with a minor 7th - Descending | |
| 20.3 All chords with a minor 7th - Harmonic | |
| 20.4 All chords with a minor 7th - Harmonic, Ascending & Descending | |
21: Chords with a Major 6th or Diminished 7 |
|
| 21.1 Dim7, Add6 & Mi,add6 - Ascending | |
| 21.2 Dim7, Add6 & Mi,add6 - Descending | |
| 21.3 Dim7, Add6 & Mi,add6 - Harmonic | |
| 21.4 Dim7, Add6 & Mi,add6 - Harmonic, Ascending & Descending | |
22: All 7th Chords |
|
| 22.1 All 7th chords - Ascending | |
| 22.2 All 7th chords - Descending | |
| 22.3 All 7th chords - Harmonic | |
| 22.4 All 7th chords - Harmonic, Ascending & Descending | |
📕 General Workshops - Chord Inversions |
|
1: Module 1 |
|
| 1.1 Inversions of the Major chord - Ascending | |
| 1.2 Inversions of the Major chord - Descending | |
| 1.3 Inversions of the Major chord - Harmonic | |
| 1.4 Inversions of the Major chord - Harmonic, Ascending & Descending | |
2: Module 2 |
|
| 2.1 Inversions of the Minor chord - Ascending | |
| 2.2 Inversions of the Minor chord - Descending | |
| 2.3 Inversions of the Minor chord - Harmonic | |
| 2.4 Inversions of the Minor chord - Harmonic, Ascending & Descending | |
3: Module 3 |
|
| 3.1 Inversions of the Sus4 chord - Ascending | |
| 3.2 Inversions of the Sus4 chord - Descending | |
| 3.3 Inversions of the Sus4 chord - Harmonic | |
| 3.4 Inversions of the Sus4 chord - Harmonic, Ascending & Descending | |
4: Module 4 |
|
| 4.1 Inversions of the Major(b5) chord - Ascending | |
| 4.2 Inversions of the Major(b5) chord - Descending | |
| 4.3 Inversions of the Major(b5) chord - Harmonic | |
| 4.4 Inversions of the Major(b5) chord - Harmonic, Ascending & Descending | |
5: Module 5 |
|
| 5.1 Inversions of the Dim chord - Ascending | |
| 5.2 Inversions of the Dim chord - Descending | |
| 5.3 Inversions of the Dim chord - Harmonic | |
| 5.4 Inversions of the Dim chord - Harmonic, Ascending & Descending | |
6: Major with Perfect or Altered 5th |
|
| 6.1 Major, Aug & Major(b5) - Ascending | |
| 6.2 Major, Aug & Major(b5) - Descending | |
| 6.3 Major, Aug & Major(b5) - Harmonic | |
| 6.4 Major, Aug & Major(b5) - Harmonic, Ascending & Descending | |
7: Minor with Perfect or Altered 5th |
|
| 7.1 Inversions of the Minor & Dim chords - Ascending | |
| 7.2 Inversions of the Minor & Dim chords - Descending | |
| 7.3 Inversions of the Minor & Dim chords - Harmonic | |
| 7.4 Inversions of the Minor & Dim chords - Harmonic, Ascending & Descending | |
8: Minor & Major with Altered 5th |
|
| 8.1 Inversions of the Dim, Aug & Major(b5) chords - Ascending | |
| 8.2 Inversions of the Dim, Aug & Major(b5) chords - Descending | |
| 8.3 Inversions of the Dim, Aug & Major(b5) chords - Harmonic | |
| 8.4 Inversions of the Dim, Aug & Major(b5) chords - Harmonic, Ascending & Descending | |
9: All the Triads |
|
| 9.1 Major, Minor, Dim, Aug, Sus4 & Major(b5) - Ascending | |
| 9.2 Major, Minor, Dim, Aug, Sus4 & Major(b5) - Descending | |
| 9.3 Major, Minor, Dim, Aug, Sus4 & Major(b5) - Harmonic | |
| 9.4 Major, Minor, Dim, Aug, Sus4 & Major(b5) - Harmonic, Ascending & Descending | |
10: Module 10 |
|
| 10.1 Inversions of the Maj7 & 7 chords - Ascending | |
| 10.2 Inversions of the Maj7 & 7 chords - Descending | |
| 10.3 Inversions of the Maj7 & 7 chords - Harmonic | |
| 10.4 Inversions of the Maj7 & 7 chords - Harmonic, Ascending & Descending | |
11: Module 11 |
|
| 11.1 Inversions of the Mi7 & Mi,maj7 chords - Ascending | |
| 11.2 Inversions of the Mi7 & Mi,maj7 chords - Descending | |
| 11.3 Inversions of the Mi7 & Mi,maj7 chords - Harmonic | |
| 11.4 Inversions of the Mi7 & Mi,maj7 chords - Harmonic, Ascending & Descending | |
12: Module 12 |
|
| 12.1 Inversions of the Mi7(b5), Dim7 & chords - Ascending | |
| 12.2 Inversions of the Mi7(b5), Dim7 & chords - Descending | |
| 12.3 Inversions of the Mi7(b5), Dim7 & chords - Harmonic | |
| 12.4 Inversions of the Mi7(b5), Dim7 & chords - Harmonic, Ascending & Descending | |
13: Module 13 |
|
| 13.1 Inversions of the 7(b5) & chords - Ascending | |
| 13.2 Inversions of the 7(b5) & chords - Descending | |
| 13.3 Inversions of the 7(b5) & chords - Harmonic | |
| 13.4 Inversions of the 7(b5) & chords - Harmonic, Ascending & Descending | |
14: Module 14 |
|
| 14.1 Inversions of the 7(#5) & chords - Ascending | |
| 14.2 Inversions of the 7(#5) & chords - Descending | |
| 14.3 Inversions of the 7(#5) & chords - Harmonic | |
| 14.4 Inversions of the 7(#5) & chords - Harmonic, Ascending & Descending | |
15: Module 15 |
|
| 15.1 Inversions of the 7, 7(b5) & 7(#5) chords - Ascending | |
| 15.2 Inversions of the 7, 7(b5) & 7(#5) chords - Descending | |
| 15.3 Inversions of the 7, 7(b5) & 7(#5) chords - Harmonic | |
| 15.4 Inversions of the 7, 7(b5) & 7(#5) chords - Harmonic, Ascending & Descending | |
16: Module 16 |
|
| 16.1 Inversions of the Maj7, & chords - Ascending | |
| 16.2 Inversions of the Maj7, & chords - Descending | |
| 16.3 Inversions of the Maj7, & chords - Harmonic | |
| 16.4 Inversions of the Maj7, & chords - Harmonic, Ascending & Descending | |
17: Module 17 |
|
| 17.1 Mi7, Mi7(b5), Dim7, & Mi,maj7 - Ascending | |
| 17.2 Mi7, Mi7(b5), Dim7, & Mi,maj7 - Descending | |
| 17.3 Mi7, Mi7(b5), Dim7, & Mi,maj7 - Harmonic | |
| 17.4 Mi7, Mi7(b5), Dim7, & Mi,maj7 - Harmonic, Ascending & Descending | |
18: All the 7 Chords |
|
| 18.1 Maj7, 7, Mi7, Mi7(b5), Dim7, , 7(b5), , 7(#5), & Mi,maj7 - Ascending | |
| 18.2 Maj7, 7, Mi7, Mi7(b5), Dim7, , 7(b5), , 7(#5), & Mi,maj7 - Descending | |
| 18.3 Maj7, 7, Mi7, Mi7(b5), Dim7, , 7(b5), , 7(#5), & Mi,maj7 - Harmonic | |
| 18.4 Maj7, 7, Mi7, Mi7(b5), Dim7, , 7(b5), , 7(#5), & Mi,maj7 - Harmonic, Ascending & Descending | |
📕 General Workshops - Chord Progressions |
|
1: Module 1 |
|
| 1.1 Identify major and minor tonic in V-I | |
| 1.2 Dominants with and without 7 | |
| 1.3 VIIdim7 - in Major and minor | |
| 1.4 Common dominant - tonic combinations | |
| 1.5 Major/minor subdominant (IV) and supertonic (II) | |
| 1.6 Various dominant-tonic combinations | |
| 1.7 II - V - I combinations | |
| 1.8 II - V - I and II - bII - I combinations | |
| 1.9 IV - I combinations (Plagal cadences) | |
| 1.10 Two mediant combinations | |
| 1.11 Four mediant combinations | |
| 1.12 Three part plagal cadences | |
| 1.13 Extended tonal cadences | |
| 1.14 Fifth sequences | |
| 1.15 Folk progressions | |
| 1.16 Progressions with bVII7(b5) | |
| 1.17 Interrupted cadences | |
| 1.18 Modulations #1 | |
| 1.19 Modulations #2 | |
| 1.20 Modulations to bIII and bVI | |
| 1.21 Last step! | |
📕 General Workshops - Interval Comparison |
|
1: Compare the Perfect Intervals - Common 1st Tone |
|
| 1.1 Introduction to perfect intervals | |
| 1.2 Perfect 4th & Octave - Ascending (common tone) | |
| 1.3 Perfect 4th & Octave - Descending (common tone) | |
| 1.4 Perfect 4th & Octave - Harmonic (common tone) | |
| 1.5 Perfect 5th & Octave - Ascending (common tone) | |
| 1.6 Perfect 5th & Octave - Descending (common tone) | |
| 1.7 Perfect 5th & Octave - Harmonic (common tone) | |
| 1.8 Perfect 4th & Perfect 5th - Ascending (common tone) | |
| 1.9 Perfect 4th & Perfect 5th - Descending (common tone) | |
| 1.10 Perfect 4th & Perfect 5th - Harmonic (common tone) | |
| 1.11 Test : Perfect intervals with a common 1st tone | |
2: Compare the Imperfect Consonant Intervals - Common 1st Tone |
|
| 2.1 Introduction to imperfect consonant intervals | |
| 2.2 Major 3rd & Minor 6th - Ascending (common tone) | |
| 2.3 Major 3rd & Minor 6th - Descending (common tone) | |
| 2.4 Major 3rd & Minor 6th - Harmonic (common tone) | |
| 2.5 Minor 3rd & Major 6th - Ascending (common tone) | |
| 2.6 Minor 3rd & Major 6th - Descending (common tone) | |
| 2.7 Minor 3rd & Major 6th - Harmonic (common tone) | |
| 2.8 Minor 3rd & Major 3rd - Ascending (common tone) | |
| 2.9 Minor 3rd & Major 3rd - Descending (common tone) | |
| 2.10 Minor 3rd & Major 3rd - Harmonic (common tone) | |
| 2.11 Minor 6th & Major 6th - Ascending (common tone) | |
| 2.12 Minor 6th & Major 6th - Descending (common tone) | |
| 2.13 Minor 6th & Major 6th - Harmonic (common tone) | |
| 2.14 Test: Imperfect consonant intervals with a common 1st tone | |
3: Compare the Dissonant Intervals - Common 1st Tone |
|
| 3.1 Introduction to dissonant intervals | |
| 3.2 Major 2nd & Minor 7th - Ascending (common tone) | |
| 3.3 Major 2nd & Minor 7th - Descending (common tone) | |
| 3.4 Major 2nd & Minor 7th - Harmonic (common tone) | |
| 3.5 Minor 2nd & Major 7th - Ascending (common tone) | |
| 3.6 Minor 2nd & Major 7th - Descending (common tone) | |
| 3.7 Minor 2nd & Major 7th - Harmonic (common tone) | |
| 3.8 Major 2nd, Dim 5th & Minor 7th - Ascending (common tone) | |
| 3.9 Major 2nd, Dim 5th & Minor 7th - Descending (common tone) | |
| 3.10 Major 2nd, Dim 5th & Minor 7th - Harmonic (common tone) | |
| 3.11 Minor 2nd, Dim 5th & Major 7th - Ascending (common tone) | |
| 3.12 Minor 2nd, Dim 5th & Major 7th - Descending (common tone) | |
| 3.13 Minor 2nd, Dim 5th & Major 7th - Harmonic (common tone) | |
| 3.14 Minor 2nd & Major 2nd - Ascending (common tone) | |
| 3.15 Minor 2nd & Major 2nd - Descending (common tone) | |
| 3.16 Minor 2nd & Major 2nd - Harmonic (common tone) | |
| 3.17 Minor 7th & Major 7th - Ascending (common tone) | |
| 3.18 Minor 7th & Major 7th - Descending (common tone) | |
| 3.19 Minor 7th & Major 7th - Harmonic (common tone) | |
| 3.20 Test: Dissonant intervals with a common 1st tone | |
4: Compare All Simple Intervals - Common Common 1st Tone |
|
| 4.1 All intervals from Minor 6th to Major 7th - Ascending (common tone) | |
| 4.2 All intervals from Minor 6th to Major 7th - Descending (common tone) | |
| 4.3 All intervals from Minor 6th to Major 7th - Harmonic (common tone) | |
| 4.4 All intervals from Perfect 5th to Octave - Ascending (common tone) | |
| 4.5 All intervals from Perfect 5th to Octave - Descending (common tone) | |
| 4.6 All intervals from Perfect 5th to Octave - Harmonic (common tone) | |
| 4.7 All intervals from Minor 2nd to Major 3rd - Ascending (common tone) | |
| 4.8 All intervals from Minor 2nd to Major 3rd - Descending (common tone) | |
| 4.9 All intervals from Minor 2nd to Major 3rd - Harmonic (common tone) | |
| 4.10 All intervals from Minor 2nd to Dim 5th - Ascending (common tone) | |
| 4.11 All intervals from Minor 2nd to Dim 5th - Descending (common tone) | |
| 4.12 All intervals from Minor 2nd to Dim 5th - Harmonic (common tone) | |
| 4.13 Test: Simple intervals with a common 1st tone | |
5: Compare Compound Intervals Up to 2 Octaves - Common 1st Tone |
|
| 5.1 Introduction to Compound intervals | |
| 5.2 Perfect 11th, Perfect 12th & Two Octaves - Ascending (common tone) | |
| 5.3 Perfect 11th, Perfect 12th & Two Octaves - Descending (common tone) | |
| 5.4 Perfect 11th, Perfect 12th & Two Octaves - Harmonic (common tone) | |
| 5.5 Minor 10th, Major 10th, Minor 13th & Major 13th - Ascending (common tone) | |
| 5.6 Minor 10th, Major 10th, Minor 13th & Major 13th - Descending (common tone) | |
| 5.7 Minor 10th, Major 10th, Minor 13th & Major 13th - Harmonic (common tone) | |
| 5.8 Minor 9th, Major 9th, Perfect 12th, Minor 14th & Major 14th - Ascending (common tone) | |
| 5.9 Minor 9th, Major 9th, Perfect 12th, Minor 14th & Major 14th - Descending (common tone) | |
| 5.10 Minor 9th, Major 9th, Perfect 12th, Minor 14th & Major 14th - Harmonic (common tone) | |
| 5.11 Test: Compound intervals with a common 1st tone | |
6: Compare the Perfect Intervals - Common 1st or 2nd tone |
|
| 6.1 Perfect 4th & Octave - Ascending (common tone) | |
| 6.2 Perfect 4th & Octave - Descending (common tone) | |
| 6.3 Perfect 4th & Octave - Harmonic (common tone) | |
| 6.4 Perfect 5th & Octave - Ascending (common tone) | |
| 6.5 Perfect 5th & Octave - Descending (common tone) | |
| 6.6 Perfect 5th & Octave - Harmonic (common tone) | |
| 6.7 Perfect 4th & Perfect 5th - Ascending (common tone) | |
| 6.8 Perfect 4th & Perfect 5th - Descending (common tone) | |
| 6.9 Perfect 4th & Perfect 5th - Harmonic (common tone) | |
| 6.10 Test : Perfect intervals with a common 1st or 2nd tone | |
7: Compare the Imperfect Consonant Intervals - Common 1st or 2nd tone |
|
| 7.1 Major 3rd & Minor 6th - Ascending (common tone) | |
| 7.2 Major 3rd & Minor 6th - Descending (common tone) | |
| 7.3 Major 3rd & Minor 6th - Harmonic (common tone) | |
| 7.4 Minor 3rd & Major 6th - Ascending (common tone) | |
| 7.5 Minor 3rd & Major 6th - Descending (common tone) | |
| 7.6 Minor 3rd & Major 6th - Harmonic (common tone) | |
| 7.7 Minor 3rd & Major 3rd - Ascending (common tone) | |
| 7.8 Minor 3rd & Major 3rd - Descending (common tone) | |
| 7.9 Minor 3rd & Major 3rd - Harmonic (common tone) | |
| 7.10 Minor 6th & Major 6th - Ascending (common tone) | |
| 7.11 Minor 6th & Major 6th - Descending (common tone) | |
| 7.12 Minor 6th & Major 6th - Harmonic (common tone) | |
| 7.13 Test: Imperfect consonant intervals with a common 1st or 2nd tone | |
8: Compare the Dissonant Intervals - Common 1st or 2nd tone |
|
| 8.1 Major 2nd & Minor 7th - Ascending (common tone) | |
| 8.2 Major 2nd & Minor 7th - Descending (common tone) | |
| 8.3 Major 2nd & Minor 7th - Harmonic (common tone) | |
| 8.4 Minor 2nd & Major 7th - Ascending (common tone) | |
| 8.5 Minor 2nd & Major 7th - Descending (common tone) | |
| 8.6 Minor 2nd & Major 7th - Harmonic (common tone) | |
| 8.7 Major 2nd, Dim 5th & Minor 7th - Ascending (common tone) | |
| 8.8 Major 2nd, Dim 5th & Minor 7th - Descending (common tone) | |
| 8.9 Major 2nd, Dim 5th & Minor 7th - Harmonic (common tone) | |
| 8.10 Minor 2nd, Dim 5th & Major 7th - Ascending (common tone) | |
| 8.11 Minor 2nd, Dim 5th & Major 7th - Descending (common tone) | |
| 8.12 Minor 2nd, Dim 5th & Major 7th - Harmonic (common tone) | |
| 8.13 Minor 2nd & Major 2nd - Ascending (common tone) | |
| 8.14 Minor 2nd & Major 2nd - Descending (common tone) | |
| 8.15 Minor 2nd & Major 2nd - Harmonic (common tone) | |
| 8.16 Minor 7th & Major 7th - Ascending (common tone) | |
| 8.17 Minor 7th & Major 7th - Descending (common tone) | |
| 8.18 Minor 7th & Major 7th - Harmonic (common tone) | |
| 8.19 Test: Dissonant intervals with a common 1st or 2nd tone | |
9: Compare All Simple Intervals - Common 1st or 2nd tone |
|
| 9.1 All intervals from Minor 6th to Major 7th - Ascending (common tone) | |
| 9.2 All intervals from Minor 6th to Major 7th - Descending (common tone) | |
| 9.3 All intervals from Minor 6th to Major 7th - Harmonic (common tone) | |
| 9.4 All intervals from Perfect 5th to Octave - Ascending (common tone) | |
| 9.5 All intervals from Perfect 5th to Octave - Descending (common tone) | |
| 9.6 All intervals from Perfect 5th to Octave - Harmonic (common tone) | |
| 9.7 All intervals from Minor 2nd to Major 3rd - Ascending (common tone) | |
| 9.8 All intervals from Minor 2nd to Major 3rd - Descending (common tone) | |
| 9.9 All intervals from Minor 2nd to Major 3rd - Harmonic (common tone) | |
| 9.10 All intervals from Minor 2nd to Dim 5th - Ascending (common tone) | |
| 9.11 All intervals from Minor 2nd to Dim 5th - Descending (common tone) | |
| 9.12 All intervals from Minor 2nd to Dim 5th - Harmonic (common tone) | |
| 9.13 Test: Simple intervals with a common 1st or 2nd tone | |
10: Compare Compound Intervals Up to 2 Octaves - Common 1st or 2nd tone |
|
| 10.1 Perfect 11th, Perfect 12th & Two Octaves - Ascending (common tone) | |
| 10.2 Perfect 11th, Perfect 12th & Two Octaves - Descending (common tone) | |
| 10.3 Perfect 11th, Perfect 12th & Two Octaves - Harmonic (common tone) | |
| 10.4 Minor 10th, Major 10th, Minor 13th & Major 13th - Ascending (common tone) | |
| 10.5 Minor 10th, Major 10th, Minor 13th & Major 13th - Descending (common tone) | |
| 10.6 Minor 10th, Major 10th, Minor 13th & Major 13th - Harmonic (common tone) | |
| 10.7 Minor 9th, Major 9th, Perfect 12th, Minor 14th & Major 14th - Ascending (common tone) | |
| 10.8 Minor 9th, Major 9th, Perfect 12th, Minor 14th & Major 14th - Descending (common tone) | |
| 10.9 Minor 9th, Major 9th, Perfect 12th, Minor 14th & Major 14th - Harmonic (common tone) | |
| 10.10 Test: Compound intervals with a common 1st or 2nd tone | |
11: Compare the Perfect Intervals - Nearby 1st tones |
|
| 11.1 Perfect 4th & Octave - Ascending (nearby common tone) | |
| 11.2 Perfect 4th & Octave - Descending (nearby common tone) | |
| 11.3 Perfect 4th & Octave - Harmonic (nearby common tone) | |
| 11.4 Perfect 5th & Octave - Ascending (nearby common tone) | |
| 11.5 Perfect 5th & Octave - Descending (nearby common tone) | |
| 11.6 Perfect 5th & Octave - Harmonic (nearby common tone) | |
| 11.7 Perfect 4th & Perfect 5th - Ascending (nearby common tone) | |
| 11.8 Perfect 4th & Perfect 5th - Descending (nearby common tone) | |
| 11.9 Perfect 4th & Perfect 5th - Harmonic (nearby common tone) | |
| 11.10 Test : Perfect intervals with nearby first tones | |
12: Compare the Imperfect Consonant Intervals - Nearby 1st tones |
|
| 12.1 Major 3rd & Minor 6th - Ascending (nearby common tone) | |
| 12.2 Major 3rd & Minor 6th - Descending (nearby common tone) | |
| 12.3 Major 3rd & Minor 6th - Harmonic (nearby common tone) | |
| 12.4 Minor 3rd & Major 6th - Ascending (nearby common tone) | |
| 12.5 Minor 3rd & Major 6th - Descending (nearby common tone) | |
| 12.6 Minor 3rd & Major 6th - Harmonic (nearby common tone) | |
| 12.7 Minor 3rd & Major 3rd - Ascending (nearby common tone) | |
| 12.8 Minor 3rd & Major 3rd - Descending (nearby common tone) | |
| 12.9 Minor 3rd & Major 3rd - Harmonic (nearby common tone) | |
| 12.10 Minor 6th & Major 6th - Ascending (nearby common tone) | |
| 12.11 Minor 6th & Major 6th - Descending (nearby common tone) | |
| 12.12 Minor 6th & Major 6th - Harmonic (nearby common tone) | |
| 12.13 Test: Imperfect consonant intervals with nearby first tones | |
13: Compare the Dissonant Intervals - Nearby 1st tones |
|
| 13.1 Major 2nd & Minor 7th - Ascending (nearby common tone) | |
| 13.2 Major 2nd & Minor 7th - Descending (nearby common tone) | |
| 13.3 Major 2nd & Minor 7th - Harmonic (nearby common tone) | |
| 13.4 Minor 2nd & Major 7th - Ascending (nearby common tone) | |
| 13.5 Minor 2nd & Major 7th - Descending (nearby common tone) | |
| 13.6 Minor 2nd & Major 7th - Harmonic (nearby common tone) | |
| 13.7 Major 2nd, Dim 5th & Minor 7th - Ascending (nearby common tone) | |
| 13.8 Major 2nd, Dim 5th & Minor 7th - Descending (nearby common tone) | |
| 13.9 Major 2nd, Dim 5th & Minor 7th - Harmonic (nearby common tone) | |
| 13.10 Minor 2nd, Dim 5th & Major 7th - Ascending (nearby common tone) | |
| 13.11 Minor 2nd, Dim 5th & Major 7th - Descending (nearby common tone) | |
| 13.12 Minor 2nd, Dim 5th & Major 7th - Harmonic (nearby common tone) | |
| 13.13 Minor 2nd & Major 2nd - Ascending (nearby common tone) | |
| 13.14 Minor 2nd & Major 2nd - Descending (nearby common tone) | |
| 13.15 Minor 2nd & Major 2nd - Harmonic (nearby common tone) | |
| 13.16 Minor 7th & Major 7th - Ascending (nearby common tone) | |
| 13.17 Minor 7th & Major 7th - Descending (nearby common tone) | |
| 13.18 Minor 7th & Major 7th - Harmonic (nearby common tone) | |
| 13.19 Test: Dissonant intervals with nearby first tones | |
14: Compare All Simple Intervals - Nearby 1st tones |
|
| 14.1 All intervals from Minor 6th to Major 7th - Ascending (nearby common tone) | |
| 14.2 All intervals from Minor 6th to Major 7th - Descending (nearby common tone) | |
| 14.3 All intervals from Minor 6th to Major 7th - Harmonic (nearby common tone) | |
| 14.4 All intervals from Perfect 5th to Octave - Ascending (nearby common tone) | |
| 14.5 All intervals from Perfect 5th to Octave - Descending (nearby common tone) | |
| 14.6 All intervals from Perfect 5th to Octave - Harmonic (nearby common tone) | |
| 14.7 All intervals from Minor 2nd to Major 3rd - Ascending (nearby common tone) | |
| 14.8 All intervals from Minor 2nd to Major 3rd - Descending (nearby common tone) | |
| 14.9 All intervals from Minor 2nd to Major 3rd - Harmonic (nearby common tone) | |
| 14.10 All intervals from Minor 2nd to Dim 5th - Ascending (nearby common tone) | |
| 14.11 All intervals from Minor 2nd to Dim 5th - Descending (nearby common tone) | |
| 14.12 All intervals from Minor 2nd to Dim 5th - Harmonic (nearby common tone) | |
| 14.13 Test: Simple intervals with nearby first tones | |
15: Compare Compound Intervals up to 2 octaves - Nearby 1st tones |
|
| 15.1 Perfect 11th, Perfect 12th & Two Octaves - Ascending (nearby common tone) | |
| 15.2 Perfect 11th, Perfect 12th & Two Octaves - Descending (nearby common tone) | |
| 15.3 Perfect 11th, Perfect 12th & Two Octaves - Harmonic (nearby common tone) | |
| 15.4 Minor 10th, Major 10th, Minor 13th & Major 13th - Ascending (nearby common tone) | |
| 15.5 Minor 10th, Major 10th, Minor 13th & Major 13th - Descending (nearby common tone) | |
| 15.6 Minor 10th, Major 10th, Minor 13th & Major 13th - Harmonic (nearby common tone) | |
| 15.7 Minor 9th, Major 9th, Perfect 12th, Minor 14th & Major 14th - Ascending (nearby common tone) | |
| 15.8 Minor 9th, Major 9th, Perfect 12th, Minor 14th & Major 14th - Descending (nearby common tone) | |
| 15.9 Minor 9th, Major 9th, Perfect 12th, Minor 14th & Major 14th - Harmonic (nearby common tone) | |
| 15.10 Test: Compound intervals with nearby first tones | |
16: Compare the Perfect Intervals - No common tones |
|
| 16.1 Perfect 4th & Octave - Ascending (no common tone) | |
| 16.2 Perfect 4th & Octave - Descending (no common tone) | |
| 16.3 Perfect 4th & Octave - Harmonic (no common tone) | |
| 16.4 Perfect 5th & Octave - Ascending (no common tone) | |
| 16.5 Perfect 5th & Octave - Descending (no common tone) | |
| 16.6 Perfect 5th & Octave - Harmonic (no common tone) | |
| 16.7 Perfect 4th & Perfect 5th - Ascending (no common tone) | |
| 16.8 Perfect 4th & Perfect 5th - Descending (no common tone) | |
| 16.9 Perfect 4th & Perfect 5th - Harmonic (no common tone) | |
| 16.10 Test : Perfect intervals without common tone | |
17: Compare the Imperfect Consonant Intervals - No common tones |
|
| 17.1 Major 3rd & Minor 6th - Ascending (no common tone) | |
| 17.2 Major 3rd & Minor 6th - Descending (no common tone) | |
| 17.3 Major 3rd & Minor 6th - Harmonic (no common tone) | |
| 17.4 Minor 3rd & Major 6th - Ascending (no common tone) | |
| 17.5 Minor 3rd & Major 6th - Descending (no common tone) | |
| 17.6 Minor 3rd & Major 6th - Harmonic (no common tone) | |
| 17.7 Minor 3rd & Major 3rd - Ascending (no common tone) | |
| 17.8 Minor 3rd & Major 3rd - Descending (no common tone) | |
| 17.9 Minor 3rd & Major 3rd - Harmonic (no common tone) | |
| 17.10 Minor 6th & Major 6th - Ascending (no common tone) | |
| 17.11 Minor 6th & Major 6th - Descending (no common tone) | |
| 17.12 Minor 6th & Major 6th - Harmonic (no common tone) | |
| 17.13 Test: Imperfect consonant intervals without common tone | |
18: Compare the Dissonant Intervals - No common tones |
|
| 18.1 Major 2nd & Minor 7th - Ascending (no common tone) | |
| 18.2 Major 2nd & Minor 7th - Descending (no common tone) | |
| 18.3 Major 2nd & Minor 7th - Harmonic (no common tone) | |
| 18.4 Minor 2nd & Major 7th - Ascending (no common tone) | |
| 18.5 Minor 2nd & Major 7th - Descending (no common tone) | |
| 18.6 Minor 2nd & Major 7th - Harmonic (no common tone) | |
| 18.7 Major 2nd, Dim 5th & Minor 7th - Ascending (no common tone) | |
| 18.8 Major 2nd, Dim 5th & Minor 7th - Descending (no common tone) | |
| 18.9 Major 2nd, Dim 5th & Minor 7th - Harmonic (no common tone) | |
| 18.10 Minor 2nd, Dim 5th & Major 7th - Ascending (no common tone) | |
| 18.11 Minor 2nd, Dim 5th & Major 7th - Descending (no common tone) | |
| 18.12 Minor 2nd, Dim 5th & Major 7th - Harmonic (no common tone) | |
| 18.13 Minor 2nd & Major 2nd - Ascending (no common tone) | |
| 18.14 Minor 2nd & Major 2nd - Descending (no common tone) | |
| 18.15 Minor 2nd & Major 2nd - Harmonic (no common tone) | |
| 18.16 Minor 7th & Major 7th - Ascending (no common tone) | |
| 18.17 Minor 7th & Major 7th - Descending (no common tone) | |
| 18.18 Minor 7th & Major 7th - Harmonic (no common tone) | |
| 18.19 Test: Dissonant intervals without common tone | |
19: Compare All Simple Intervals - No common tones |
|
| 19.1 All intervals from Minor 6th to Major 7th - Ascending (no common tone) | |
| 19.2 All intervals from Minor 6th to Major 7th - Descending (no common tone) | |
| 19.3 All intervals from Minor 6th to Major 7th - Harmonic (no common tone) | |
| 19.4 All intervals from Perfect 5th to Octave - Ascending (no common tone) | |
| 19.5 All intervals from Perfect 5th to Octave - Descending (no common tone) | |
| 19.6 All intervals from Perfect 5th to Octave - Harmonic (no common tone) | |
| 19.7 All intervals from Minor 2nd to Major 3rd - Ascending (no common tone) | |
| 19.8 All intervals from Minor 2nd to Major 3rd - Descending (no common tone) | |
| 19.9 All intervals from Minor 2nd to Major 3rd - Harmonic (no common tone) | |
| 19.10 All intervals from Minor 2nd to Dim 5th - Ascending (no common tone) | |
| 19.11 All intervals from Minor 2nd to Dim 5th - Descending (no common tone) | |
| 19.12 All intervals from Minor 2nd to Dim 5th - Harmonic (no common tone) | |
| 19.13 Test: Simple intervals without common tone | |
20: Compare Compound Intervals up to 2 octaves - No common tones |
|
| 20.1 Perfect 11th, Perfect 12th & Two Octaves - Ascending (no common tone) | |
| 20.2 Perfect 11th, Perfect 12th & Two Octaves - Descending (no common tone) | |
| 20.3 Perfect 11th, Perfect 12th & Two Octaves - Harmonic (no common tone) | |
| 20.4 Minor 10th, Major 10th, Minor 13th & Major 13th - Ascending (no common tone) | |
| 20.5 Minor 10th, Major 10th, Minor 13th & Major 13th - Descending (no common tone) | |
| 20.6 Minor 10th, Major 10th, Minor 13th & Major 13th - Harmonic (no common tone) | |
| 20.7 Minor 9th, Major 9th, Perfect 12th, Minor 14th & Major 14th - Ascending (no common tone) | |
| 20.8 Minor 9th, Major 9th, Perfect 12th, Minor 14th & Major 14th - Descending (no common tone) | |
| 20.9 Minor 9th, Major 9th, Perfect 12th, Minor 14th & Major 14th - Harmonic (no common tone) | |
| 20.10 Test: Compound intervals without common tone | |
📕 General Workshops - Interval Identification |
|
1: Identify the Minor & Major 2nd Intervals |
|
| 1.1 Minor 2nd & Major 2nd - Ascending | |
| 1.2 Minor 2nd & Major 2nd - Descending | |
| 1.3 Minor 2nd & Major 2nd - Harmonic | |
| 1.4 Minor 2nd & Major 2nd - Harmonic, Ascending & Descending | |
2: Identify the Minor & Major 3rd Intervals |
|
| 2.1 Minor 3rd & Major 3rd - Ascending | |
| 2.2 Minor 3rd & Major 3rd - Descending | |
| 2.3 Minor 3rd & Major 3rd - Harmonic | |
| 2.4 Minor 3rd & Major 3rd - Harmonic, Ascending & Descending | |
3: Identify the Minor & Major 2nds and 3rds |
|
| 3.1 All intervals from Minor 2nd to Major 3rd - Ascending | |
| 3.2 All intervals from Minor 2nd to Major 3rd - Descending | |
| 3.3 All intervals from Minor 2nd to Major 3rd - Harmonic | |
| 3.4 All intervals from Minor 2nd to Major 3rd - Harmonic, Ascending & Descending | |
4: Identify the Perfect 4th & the Tritone |
|
| 4.1 Perfect 4th & Dim 5th - Ascending | |
| 4.2 Perfect 4th & Dim 5th - Descending | |
| 4.3 Perfect 4th & Dim 5th - Harmonic | |
| 4.4 Perfect 4th & Dim 5th - Harmonic, Ascending & Descending | |
5: Identify the Tritone & Perfect 5th |
|
| 5.1 Dim 5th & Perfect 5th - Ascending | |
| 5.2 Dim 5th & Perfect 5th - Descending | |
| 5.3 Dim 5th & Perfect 5th - Harmonic | |
| 5.4 Dim 5th & Perfect 5th - Harmonic, Ascending & Descending | |
6: Identify the Perfect 4th, Tritone and Perfect 5th |
|
| 6.1 Perfect 4th, Dim 5th & Perfect 5th - Ascending | |
| 6.2 Perfect 4th, Dim 5th & Perfect 5th - Descending | |
| 6.3 Perfect 4th, Dim 5th & Perfect 5th - Harmonic | |
| 6.4 Perfect 4th, Dim 5th & Perfect 5th - Harmonic, Ascending & Descending | |
7: Identify All the Intervals from Minor 2nd to Perfect 5th |
|
| 7.1 All intervals from Minor 2nd to Perfect 5th - Ascending | |
| 7.2 All intervals from Minor 2nd to Perfect 5th - Descending | |
| 7.3 All intervals from Minor 2nd to Perfect 5th - Harmonic | |
| 7.4 All intervals from Minor 2nd to Perfect 5th - Harmonic, Ascending & Descending | |
8: Identify the Minor & Major 6th |
|
| 8.1 Minor 6th & Major 6th - Ascending | |
| 8.2 Minor 6th & Major 6th - Descending | |
| 8.3 Minor 6th & Major 6th - Harmonic | |
| 8.4 Minor 6th & Major 6th - Harmonic, Ascending & Descending | |
9: Identify the Minor & Major 7th |
|
| 9.1 Minor 7th & Major 7th - Ascending | |
| 9.2 Minor 7th & Major 7th - Descending | |
| 9.3 Minor 7th & Major 7th - Harmonic | |
| 9.4 Minor 7th & Major 7th - Harmonic, Ascending & Descending | |
10: Identify the Minor & Major 6ths and 7ths |
|
| 10.1 All intervals from Minor 6th to Major 7th - Ascending | |
| 10.2 All intervals from Minor 6th to Major 7th - Descending | |
| 10.3 All intervals from Minor 6th to Major 7th - Harmonic | |
| 10.4 All intervals from Minor 6th to Major 7th - Harmonic, Ascending & Descending | |
11: Identify All Intervals from Perfect 4th to Major 7th |
|
| 11.1 All intervals from Perfect 4th to Major 7th - Ascending | |
| 11.2 All intervals from Perfect 4th to Major 7th - Descending | |
| 11.3 All intervals from Perfect 4th to Major 7th - Harmonic | |
| 11.4 All intervals from Perfect 4th to Major 7th - Harmonic, Ascending & Descending | |
12: Identify All the Intervals from Minor 2nd to Major 7th |
|
| 12.1 All intervals from Minor 2nd to Major 7th - Ascending | |
| 12.2 All intervals from Minor 2nd to Major 7th - Descending | |
| 12.3 All intervals from Minor 2nd to Major 7th - Harmonic | |
| 12.4 All intervals from Minor 2nd to Major 7th - Harmonic, Ascending & Descending | |
13: Practice with the Perfect Intervals within an Octave |
|
| 13.1 Unison & Octave - Harmonic | |
| 13.2 Unison & Octave - Harmonic, Ascending & Descending | |
| 13.3 Perfect 4th & Perfect 5th - Harmonic | |
| 13.4 Perfect 4th & Perfect 5th - Harmonic, Ascending & Descending | |
| 13.5 Unison, Perfect 4th, Perfect 5th & Octave - Ascending | |
| 13.6 Unison, Perfect 4th, Perfect 5th & Octave - Descending | |
| 13.7 Unison, Perfect 4th, Perfect 5th & Octave - Harmonic | |
| 13.8 Unison, Perfect 4th, Perfect 5th & Octave - Harmonic, Ascending & Descending | |
14: Practice with the Consonant Intervals within an Octave |
|
| 14.1 Minor 3rd & Major 6th - Harmonic | |
| 14.2 Minor 3rd & Major 6th - Harmonic, Ascending & Descending | |
| 14.3 Major 3rd & Minor 6th - Harmonic | |
| 14.4 Major 3rd & Minor 6th - Harmonic, Ascending & Descending | |
| 14.5 Minor 3rd, Major 3rd, Minor 6th & Major 6th - Ascending | |
| 14.6 Minor 3rd, Major 3rd, Minor 6th & Major 6th - Descending | |
| 14.7 Minor 3rd, Major 3rd, Minor 6th & Major 6th - Harmonic | |
| 14.8 Minor 3rd, Major 3rd, Minor 6th & Major 6th - Harmonic, Ascending & Descending | |
15: Practice with the Dissonant Intervals within an Octave |
|
| 15.1 Minor 2nd & Major 7th - Harmonic | |
| 15.2 Minor 2nd & Major 7th - Harmonic, Ascending & Descending | |
| 15.3 Major 2nd & Minor 7th - Harmonic | |
| 15.4 Major 2nd & Minor 7th - Harmonic, Ascending & Descending | |
| 15.5 Minor 2nd, Major 2nd, Minor 7th & Major 7th - Ascending | |
| 15.6 Minor 2nd, Major 2nd, Minor 7th & Major 7th - Descending | |
| 15.7 Minor 2nd, Major 2nd, Minor 7th & Major 7th - Harmonic | |
| 15.8 Minor 2nd, Major 2nd, Minor 7th & Major 7th - Harmonic, Ascending & Descending | |
| 15.9 Minor 2nd, Dim 5th & Major 7th - Ascending | |
| 15.10 Minor 2nd, Dim 5th & Major 7th - Descending | |
| 15.11 Minor 2nd, Dim 5th & Major 7th - Harmonic | |
| 15.12 Major 2nd, Dim 5th & Minor 7th - Ascending | |
| 15.13 Major 2nd, Dim 5th & Minor 7th - Descending | |
| 15.14 Major 2nd, Dim 5th & Minor 7th - Harmonic | |
| 15.15 Minor 2nd, Major 2nd, Dim 5th, Minor 7th & Major 7th - Ascending | |
| 15.16 Minor 2nd, Major 2nd, Dim 5th, Minor 7th & Major 7th - Descending | |
| 15.17 Minor 2nd, Major 2nd, Dim 5th, Minor 7th & Major 7th - Harmonic | |
| 15.18 Minor 2nd, Major 2nd, Dim 5th, Minor 7th & Major 7th - Harmonic, Ascending & Descending | |
16: Practice with All Intervals within an Octave |
|
| 16.1 All intervals from Unison to Octave - Ascending | |
| 16.2 All intervals from Unison to Octave - Descending | |
| 16.3 All intervals from Unison to Octave - Harmonic | |
| 16.4 All intervals from Unison to Octave - Harmonic, Ascending & Descending | |
📕 General Workshops - Interval Singing |
|
1: Ascending Intervals from Do |
|
| 1.1 Do - Re (Major 2nd) | |
| 1.2 Do - Mi (Major 3rd) | |
| 1.3 Do - Re and Do - Mi | |
| 1.4 Do - Fa (Perfect 4th) | |
| 1.5 Do - So (Perfect 5th) | |
| 1.6 Do - Fa and Do - So | |
| 1.7 Do to Re, Mi, Fa and So | |
| 1.8 Do - La (Major 6th) | |
| 1.9 Do - Ti (Major 7th) | |
| 1.10 Do - Do (Octave) | |
| 1.11 Do to La, Ti and Do | |
| 1.12 All Ascending Intervals from Do | |
2: Descending Intervals from Do |
|
| 2.1 Do - Ti (Minor 2nd) | |
| 2.2 Do - La (Minor 3rd) | |
| 2.3 Do - Ti and Do - La | |
| 2.4 Do - So (Perfect 4th) | |
| 2.5 Do - Fa (Perfect 5th) | |
| 2.6 Do - So and Do - Fa | |
| 2.7 Do to Ti, La, So and Fa | |
| 2.8 Do - Mi (Minor 6th) | |
| 2.9 Do - Re (Minor 7th) | |
| 2.10 Do - Do (Octave) | |
| 2.11 Do to Mi, Re and Do | |
| 2.12 All Descending Intervals from Do | |
3: Complementary intervals from Do - Ascending and Descending |
|
| 3.1 Do - Re (Major 2nd up or Minor 7th down) | |
| 3.2 Do - Mi (Major 3rd up or Minor 6th down) | |
| 3.3 Do - Re and Do - Mi | |
| 3.4 Do - Fa (Perfect 4th up or Perfect 5th down) | |
| 3.5 Do - So (Perfect 5th up or Perfect 4th down) | |
| 3.6 Do - Fa and Do - So | |
| 3.7 Do to Re, Mi, Fa and So | |
| 3.8 Do - La (Major 6th up or Minor 3rd down) | |
| 3.9 Do - Ti (Major 7th up or Minor 2nd down) | |
| 3.10 Do - Do (Octave up or octave down) | |
| 3.11 Do to La, Ti and Do | |
| 3.12 All intervals from Do | |
📕 General Workshops - Melodic Dictation |
|
1: 3 to 4 Tones from the C Major Scale |
|
| 1.1 Do, Re - 3 tones | |
| 1.2 Do, Re, Mi | |
| 1.3 Do, Re, Mi, Fa | |
| 1.4 Do, Re, Mi, Fa, So | |
| 1.5 Do, Re, Mi, Fa, So, La | |
| 1.6 Do, Re, Mi, Fa, So, La, Ti | |
| 1.7 Do, Re - 4 tones | |
| 1.8 Do, Re, Mi | |
| 1.9 Do, Re, Mi, Fa | |
| 1.10 Do, Re, Mi, Fa, So | |
| 1.11 Do, Re, Mi, Fa, So, La | |
| 1.12 Do, Re, Mi, Fa, So, La, Ti | |
2: 5 to 6 Tones from the C Major Scale |
|
| 2.1 Do, Re - 5 tones | |
| 2.2 Do, Re, Mi | |
| 2.3 Do, Re, Mi, Fa | |
| 2.4 Do, Re, Mi, Fa, So | |
| 2.5 Do, Re, Mi, Fa, So, La | |
| 2.6 Do, Re, Mi, Fa, So, La, Ti | |
| 2.7 Do, Re - 6 tones | |
| 2.8 Do, Re, Mi | |
| 2.9 Do, Re, Mi, Fa | |
| 2.10 Do, Re, Mi, Fa, So | |
| 2.11 Do, Re, Mi, Fa, So, La | |
| 2.12 Do, Re, Mi, Fa, So, La, Ti | |
3: 7 to 8 Tones from the C Major Scale |
|
| 3.1 Do, Re, Mi - 7 tones | |
| 3.2 Do, Re, Mi, Fa | |
| 3.3 Do, Re, Mi, Fa, So | |
| 3.4 Do, Re, Mi, Fa, So, La | |
| 3.5 Do, Re, Mi, Fa, So, La, Ti | |
| 3.6 Do, Re, Mi - 8 tones | |
| 3.7 Do, Re, Mi, Fa | |
| 3.8 Do, Re, Mi, Fa, So | |
| 3.9 Do, Re, Mi, Fa, So, La | |
| 3.10 Do, Re, Mi, Fa, So, La, Ti | |
4: 5 Tones with Only Do Given |
|
| 4.1 Do, Re | |
| 4.2 Do, Re, Mi | |
| 4.3 Do, Re, Mi, Fa | |
| 4.4 Do, Re, Mi, Fa, So | |
| 4.5 Do, Re, Mi, Fa, So, La | |
| 4.6 Do, Re, Mi, Fa, So, La, Ti | |
5: Melodies with Rhythm. 4/4 |
|
| 5.1 Do, Re - 1 bar | |
| 5.2 Do, Re, Mi | |
| 5.3 Do, Re, Mi, Fa | |
| 5.4 Do, Re, Mi, Fa, So | |
| 5.5 Do, Re, Mi, Fa, So, La | |
| 5.6 Do, Re, Mi, Fa, So, La, Ti | |
| 5.7 Do, Re, Mi - 2 bars | |
| 5.8 Do, Re, Mi, Fa | |
| 5.9 Do, Re, Mi, Fa, So | |
| 5.10 Do, Re, Mi, Fa, So, La | |
| 5.11 Do, Re, Mi, Fa, So, La, Ti | |
6: Melodies with Rhythm. 3/4 |
|
| 6.1 Do, Re - 1 bar | |
| 6.2 Do, Re, Mi | |
| 6.3 Do, Re, Mi, Fa | |
| 6.4 Do, Re, Mi, Fa, So | |
| 6.5 Do, Re, Mi, Fa, So, La | |
| 6.6 Do, Re, Mi, Fa, So, La, Ti | |
| 6.7 Do, Re, Mi - 2 bars | |
| 6.8 Do, Re, Mi, Fa | |
| 6.9 Do, Re, Mi, Fa, So | |
| 6.10 Do, Re, Mi, Fa, So, La | |
| 6.11 Do, Re, Mi, Fa, So, La, Ti | |
7: Adding 8th Notes. 4/4 |
|
| 7.1 Do, Re - 1 bar | |
| 7.2 Do, Re, Mi | |
| 7.3 Do, Re, Mi, Fa | |
| 7.4 Do, Re, Mi, Fa, So | |
| 7.5 Do, Re, Mi, Fa, So, La | |
| 7.6 Do, Re, Mi, Fa, So, La, Ti | |
| 7.7 Do, Re, Mi - 2 bars | |
| 7.8 Do, Re, Mi, Fa | |
| 7.9 Do, Re, Mi, Fa, So | |
| 7.10 Do, Re, Mi, Fa, So, La | |
| 7.11 Do, Re, Mi, Fa, So, La, Ti | |
8: Adding 8th Notes. 3/4 |
|
| 8.1 Do, Re - 1 bar | |
| 8.2 Do, Re, Mi | |
| 8.3 Do, Re, Mi, Fa | |
| 8.4 Do, Re, Mi, Fa, So | |
| 8.5 Do, Re, Mi, Fa, So, La | |
| 8.6 Do, Re, Mi, Fa, So, La, Ti | |
| 8.7 Do, Re, Mi - 2 bars | |
| 8.8 Do, Re, Mi, Fa | |
| 8.9 Do, Re, Mi, Fa, So | |
| 8.10 Do, Re, Mi, Fa, So, La | |
| 8.11 Do, Re, Mi, Fa, So, La, Ti | |
9: Different Keys. 4/4 |
|
| 9.1 Do, Re - 1 bar | |
| 9.2 Do, Re, Mi | |
| 9.3 Do, Re, Mi, Fa | |
| 9.4 Do, Re, Mi, Fa, So | |
| 9.5 Do, Re, Mi, Fa, So, La | |
| 9.6 Do, Re, Mi, Fa, So, La, Ti | |
| 9.7 Do, Re, Mi - 2 bars | |
| 9.8 Do, Re, Mi, Fa | |
| 9.9 Do, Re, Mi, Fa, So | |
| 9.10 Do, Re, Mi, Fa, So, La | |
| 9.11 Do, Re, Mi, Fa, So, La, Ti | |
10: Different Keys. 3/4 |
|
| 10.1 Do, Re - 1 bar | |
| 10.2 Do, Re, Mi | |
| 10.3 Do, Re, Mi, Fa | |
| 10.4 Do, Re, Mi, Fa, So | |
| 10.5 Do, Re, Mi, Fa, So, La | |
| 10.6 Do, Re, Mi, Fa, So, La, Ti | |
| 10.7 Do, Re, Mi - 2 bars | |
| 10.8 Do, Re, Mi, Fa | |
| 10.9 Do, Re, Mi, Fa, So | |
| 10.10 Do, Re, Mi, Fa, So, La | |
| 10.11 Do, Re, Mi, Fa, So, La, Ti | |
11: Different Keys. Adding 8th Notes. 4/4 |
|
| 11.1 Do, Re - 1 bar | |
| 11.2 Do, Re, Mi | |
| 11.3 Do, Re, Mi, Fa | |
| 11.4 Do, Re, Mi, Fa, So | |
| 11.5 Do, Re, Mi, Fa, So, La | |
| 11.6 Do, Re, Mi, Fa, So, La, Ti | |
| 11.7 Do, Re, Mi - 2 bars | |
| 11.8 Do, Re, Mi, Fa | |
| 11.9 Do, Re, Mi, Fa, So | |
| 11.10 Do, Re, Mi, Fa, So, La | |
| 11.11 Do, Re, Mi, Fa, So, La, Ti | |
12: Different Keys. Adding 8th Notes. 3/4 |
|
| 12.1 Do, Re - 1 bar | |
| 12.2 Do, Re, Mi | |
| 12.3 Do, Re, Mi, Fa | |
| 12.4 Do, Re, Mi, Fa, So | |
| 12.5 Do, Re, Mi, Fa, So, La | |
| 12.6 Do, Re, Mi, Fa, So, La, Ti | |
| 12.7 Do, Re, Mi - 2 bars | |
| 12.8 Do, Re, Mi, Fa | |
| 12.9 Do, Re, Mi, Fa, So | |
| 12.10 Do, Re, Mi, Fa, So, La | |
| 12.11 Do, Re, Mi, Fa, So, La, Ti | |
13: Melodies in A minor. 4/4 |
|
| 13.1 Do, Re - 1 bar | |
| 13.2 Do, Re, Me | |
| 13.3 Do, Re, Me, Fa | |
| 13.4 Do, Re, Me, Fa, So | |
| 13.5 Do, Re, Me, Fa, So, Le | |
| 13.6 Do, Re, Me, Fa, So, Le, Te | |
| 13.7 Do, Re, Me - 2 bars | |
| 13.8 Do, Re, Me, Fa | |
| 13.9 Do, Re, Me, Fa, So | |
| 13.10 Do, Re, Me, Fa, So, Le | |
| 13.11 Do, Re, Me, Fa, So, Le, Te | |
14: Melodies in A Minor. 3/4 |
|
| 14.1 Do, Re - 1 bar | |
| 14.2 Do, Re, Me | |
| 14.3 Do, Re, Me, Fa | |
| 14.4 Do, Re, Me, Fa, So | |
| 14.5 Do, Re, Me, Fa, So, Le | |
| 14.6 Do, Re, Me, Fa, So, Le, Te | |
| 14.7 Do, Re, Me - 2 bars | |
| 14.8 Do, Re, Me, Fa | |
| 14.9 Do, Re, Me, Fa, So | |
| 14.10 Do, Re, Me, Fa, So, Le | |
| 14.11 Do, Re, Me, Fa, So, Le, Te | |
15: Melodies in A Minor. 4/4 Adding 8th Notes |
|
| 15.1 Do, Re - 1 bar | |
| 15.2 Do, Re, Me | |
| 15.3 Do, Re, Me, Fa | |
| 15.4 Do, Re, Me, Fa, So | |
| 15.5 Do, Re, Me, Fa, So, Le | |
| 15.6 Do, Re, Me, Fa, So, Le, Te | |
| 15.7 Do, Re - 2 bars | |
| 15.8 Do, Re, Me - 2 bars | |
| 15.9 Do, Re, Me, Fa | |
| 15.10 Do, Re, Me, Fa, So | |
| 15.11 Do, Re, Me, Fa, So, Le | |
| 15.12 Do, Re, Me, Fa, So, Le, Te | |
16: Melodies in A Minor. 3/4 Adding 8th Notes |
|
| 16.1 Do, Re, Me - 1 bar | |
| 16.2 Do, Re, Me, Fa | |
| 16.3 Do, Re, Me, Fa, So | |
| 16.4 Do, Re, Me, Fa, So, Le | |
| 16.5 Do, Re, Me, Fa, So, Le, Te | |
| 16.6 Do, Re, Me - 2 bars | |
| 16.7 Do, Re, Me, Fa | |
| 16.8 Do, Re, Me, Fa, So | |
| 16.9 Do, Re, Me, Fa, So, Le | |
| 16.10 Do, Re, Me, Fa, So, Le, Te | |
17: All Minor Keys. 4/4 with 8th Notes. |
|
| 17.1 Do, Re, Me - 1 bar | |
| 17.2 Do, Re, Me, Fa | |
| 17.3 Do, Re, Me, Fa, So | |
| 17.4 Do, Re, Me, Fa, So, Le | |
| 17.5 Do, Re, Me, Fa, So, Le, Te | |
| 17.6 Do, Re, Me - 2 bars | |
| 17.7 Do, Re, Me, Fa | |
| 17.8 Do, Re, Me, Fa, So | |
| 17.9 Do, Re, Me, Fa, So, Le | |
| 17.10 Do, Re, Me, Fa, So, Le, Te | |
18: Harmonic Minor. 4/4 with 8th Notes. |
|
| 18.1 A minor harmonic. 1 bar | |
| 18.2 A minor harmonic. 2 bars | |
| 18.3 A minor harmonic. 4 bars | |
| 18.4 Harmonic minor (all keys). 1 bar | |
| 18.5 Harmonic minor (all keys). 2 bars | |
| 18.6 Harmonic minor (all keys). 4 bars | |
📕 General Workshops - Melodic Sight-Singing |
|
1: 3 to 4 Tones from the C Major Scale |
|
| 1.1 Do, Re - 3 tones | |
| 1.2 Do, Re, Mi | |
| 1.3 Do, Re, Mi, Fa | |
| 1.4 Do, Re, Mi, Fa, So | |
| 1.5 Do, Re, Mi, Fa, So, La | |
| 1.6 Do, Re, Mi, Fa, So, La, Ti | |
| 1.7 Do, Re - 4 tones | |
| 1.8 Do, Re, Mi | |
| 1.9 Do, Re, Mi, Fa | |
| 1.10 Do, Re, Mi, Fa, So | |
| 1.11 Do, Re, Mi, Fa, So, La | |
| 1.12 Do, Re, Mi, Fa, So, La, Ti | |
2: 5 to 6 Tones from the C Major Scale |
|
| 2.1 Do, Re - 5 tones | |
| 2.2 Do, Re, Mi | |
| 2.3 Do, Re, Mi, Fa | |
| 2.4 Do, Re, Mi, Fa, So | |
| 2.5 Do, Re, Mi, Fa, So, La | |
| 2.6 Do, Re, Mi, Fa, So, La, Ti | |
| 2.7 Do, Re - 6 tones | |
| 2.8 Do, Re, Mi | |
| 2.9 Do, Re, Mi, Fa | |
| 2.10 Do, Re, Mi, Fa, So | |
| 2.11 Do, Re, Mi, Fa, So, La | |
| 2.12 Do, Re, Mi, Fa, So, La, Ti | |
3: 7 to 8 Tones from the C Major Scale |
|
| 3.1 Do, Re, Mi - 7 tones | |
| 3.2 Do, Re, Mi, Fa | |
| 3.3 Do, Re, Mi, Fa, So | |
| 3.4 Do, Re, Mi, Fa, So, La | |
| 3.5 Do, Re, Mi, Fa, So, La, Ti | |
| 3.6 Do, Re, Mi - 8 tones | |
| 3.7 Do, Re, Mi, Fa | |
| 3.8 Do, Re, Mi, Fa, So | |
| 3.9 Do, Re, Mi, Fa, So, La | |
| 3.10 Do, Re, Mi, Fa, So, La, Ti | |
4: 5 Tones with Only Do Given |
|
| 4.1 Do, Re | |
| 4.2 Do, Re, Mi | |
| 4.3 Do, Re, Mi, Fa | |
| 4.4 Do, Re, Mi, Fa, So | |
| 4.5 Do, Re, Mi, Fa, So, La | |
| 4.6 Do, Re, Mi, Fa, So, La, Ti | |
5: Melodies with Rhythm. 4/4 - 1, 2 and 4 Bars. |
|
| 5.1 Do, Re - 1 bar | |
| 5.2 Do, Re, Mi | |
| 5.3 Do, Re, Mi, Fa | |
| 5.4 Do, Re, Mi, Fa, So | |
| 5.5 Do, Re, Mi, Fa, So, La | |
| 5.6 Do, Re, Mi, Fa, So, La, Ti | |
| 5.7 Do, Re, Mi - 2 bars | |
| 5.8 Do, Re, Mi, Fa | |
| 5.9 Do, Re, Mi, Fa, So | |
| 5.10 Do, Re, Mi, Fa, So, La | |
| 5.11 Do, Re, Mi, Fa, So, La, Ti | |
| 5.12 Do, Re, Mi - 4 bars | |
| 5.13 Do, Re, Mi, Fa | |
| 5.14 Do, Re, Mi, Fa, So | |
| 5.15 Do, Re, Mi, Fa, So, La | |
| 5.16 Do, Re, Mi, Fa, So, La, Ti | |
6: Melodies with Rhythm. 3/4 - 1, 2 and 4 Bars. |
|
| 6.1 Do, Re - 1 bar | |
| 6.2 Do, Re, Mi | |
| 6.3 Do, Re, Mi, Fa | |
| 6.4 Do, Re, Mi, Fa, So | |
| 6.5 Do, Re, Mi, Fa, So, La | |
| 6.6 Do, Re, Mi, Fa, So, La, Ti | |
| 6.7 Do, Re, Mi - 2 bars | |
| 6.8 Do, Re, Mi, Fa | |
| 6.9 Do, Re, Mi, Fa, So | |
| 6.10 Do, Re, Mi, Fa, So, La | |
| 6.11 Do, Re, Mi, Fa, So, La, Ti | |
| 6.12 Do, Re, Mi - 4 bars | |
| 6.13 Do, Re, Mi, Fa | |
| 6.14 Do, Re, Mi, Fa, So | |
| 6.15 Do, Re, Mi, Fa, So, La | |
| 6.16 Do, Re, Mi, Fa, So, La, Ti | |
7: Adding 8th Notes. 4/4 - 1, 2 and 4 Bars. |
|
| 7.1 Do, Re - 1 bar | |
| 7.2 Do, Re, Mi | |
| 7.3 Do, Re, Mi, Fa | |
| 7.4 Do, Re, Mi, Fa, So | |
| 7.5 Do, Re, Mi, Fa, So, La | |
| 7.6 Do, Re, Mi, Fa, So, La, Ti | |
| 7.7 Do, Re, Mi - 2 bars | |
| 7.8 Do, Re, Mi, Fa | |
| 7.9 Do, Re, Mi, Fa, So | |
| 7.10 Do, Re, Mi, Fa, So, La | |
| 7.11 Do, Re, Mi, Fa, So, La, Ti | |
| 7.12 Do, Re, Mi - 4 bars | |
| 7.13 Do, Re, Mi, Fa | |
| 7.14 Do, Re, Mi, Fa, So | |
| 7.15 Do, Re, Mi, Fa, So, La | |
| 7.16 Do, Re, Mi, Fa, So, La, Ti | |
8: Adding 8th Notes. 3/4 - 1, 2 and 4 Bars. |
|
| 8.1 Do, Re - 1 bar | |
| 8.2 Do, Re, Mi | |
| 8.3 Do, Re, Mi, Fa | |
| 8.4 Do, Re, Mi, Fa, So | |
| 8.5 Do, Re, Mi, Fa, So, La | |
| 8.6 Do, Re, Mi, Fa, So, La, Ti | |
| 8.7 Do, Re, Mi - 2 bars | |
| 8.8 Do, Re, Mi, Fa | |
| 8.9 Do, Re, Mi, Fa, So | |
| 8.10 Do, Re, Mi, Fa, So, La | |
| 8.11 Do, Re, Mi, Fa, So, La, Ti | |
| 8.12 Do, Re, Mi - 4 bars | |
| 8.13 Do, Re, Mi, Fa | |
| 8.14 Do, Re, Mi, Fa, So | |
| 8.15 Do, Re, Mi, Fa, So, La | |
| 8.16 Do, Re, Mi, Fa, So, La, Ti | |
9: Different Keys. 4/4 - 1, 2 and 4 Bars. |
|
| 9.1 Do, Re - 1 bar | |
| 9.2 Do, Re, Mi | |
| 9.3 Do, Re, Mi, Fa | |
| 9.4 Do, Re, Mi, Fa, So | |
| 9.5 Do, Re, Mi, Fa, So, La | |
| 9.6 Do, Re, Mi, Fa, So, La, Ti | |
| 9.7 Do, Re, Mi - 2 bars | |
| 9.8 Do, Re, Mi, Fa | |
| 9.9 Do, Re, Mi, Fa, So | |
| 9.10 Do, Re, Mi, Fa, So, La | |
| 9.11 Do, Re, Mi, Fa, So, La, Ti | |
| 9.12 Do, Re, Mi - 4 bars | |
| 9.13 Do, Re, Mi, Fa | |
| 9.14 Do, Re, Mi, Fa, So | |
| 9.15 Do, Re, Mi, Fa, So, La | |
| 9.16 Do, Re, Mi, Fa, So, La, Ti | |
10: Different Keys. 3/4 - 1, 2 and 4 Bars. |
|
| 10.1 Do, Re - 1 bar | |
| 10.2 Do, Re, Mi | |
| 10.3 Do, Re, Mi, Fa | |
| 10.4 Do, Re, Mi, Fa, So | |
| 10.5 Do, Re, Mi, Fa, So, La | |
| 10.6 Do, Re, Mi, Fa, So, La, Ti | |
| 10.7 Do, Re, Mi - 2 bars | |
| 10.8 Do, Re, Mi, Fa | |
| 10.9 Do, Re, Mi, Fa, So | |
| 10.10 Do, Re, Mi, Fa, So, La | |
| 10.11 Do, Re, Mi, Fa, So, La, Ti | |
| 10.12 Do, Re, Mi - 4 bars | |
| 10.13 Do, Re, Mi, Fa | |
| 10.14 Do, Re, Mi, Fa, So | |
| 10.15 Do, Re, Mi, Fa, So, La | |
| 10.16 Do, Re, Mi, Fa, So, La, Ti | |
11: Different Keys. Adding 8th Notes. 4/4 - 1, 2 and 4 Bars. |
|
| 11.1 Do, Re - 1 bar | |
| 11.2 Do, Re, Mi | |
| 11.3 Do, Re, Mi, Fa | |
| 11.4 Do, Re, Mi, Fa, So | |
| 11.5 Do, Re, Mi, Fa, So, La | |
| 11.6 Do, Re, Mi, Fa, So, La, Ti | |
| 11.7 Do, Re, Mi - 2 bars | |
| 11.8 Do, Re, Mi, Fa | |
| 11.9 Do, Re, Mi, Fa, So | |
| 11.10 Do, Re, Mi, Fa, So, La | |
| 11.11 Do, Re, Mi, Fa, So, La, Ti | |
| 11.12 Do, Re, Mi - 4 bars | |
| 11.13 Do, Re, Mi, Fa | |
| 11.14 Do, Re, Mi, Fa, So | |
| 11.15 Do, Re, Mi, Fa, So, La | |
| 11.16 Do, Re, Mi, Fa, So, La, Ti | |
12: Different Keys. Adding 8th Notes. 3/4 - 1, 2 and 4 Bars. |
|
| 12.1 Do, Re - 1 bar | |
| 12.2 Do, Re, Mi | |
| 12.3 Do, Re, Mi, Fa | |
| 12.4 Do, Re, Mi, Fa, So | |
| 12.5 Do, Re, Mi, Fa, So, La | |
| 12.6 Do, Re, Mi, Fa, So, La, Ti | |
| 12.7 Do, Re, Mi - 2 bars | |
| 12.8 Do, Re, Mi, Fa | |
| 12.9 Do, Re, Mi, Fa, So | |
| 12.10 Do, Re, Mi, Fa, So, La | |
| 12.11 Do, Re, Mi, Fa, So, La, Ti | |
| 12.12 Do, Re, Mi - 4 bars | |
| 12.13 Do, Re, Mi, Fa | |
| 12.14 Do, Re, Mi, Fa, So | |
| 12.15 Do, Re, Mi, Fa, So, La | |
| 12.16 Do, Re, Mi, Fa, So, La, Ti | |
13: Melodies in A minor. 4/4 - 1, 2 and 4 Bars. |
|
| 13.1 Do, Re - 1 bar | |
| 13.2 Do, Re, Me | |
| 13.3 Do, Re, Me, Fa | |
| 13.4 Do, Re, Me, Fa, So | |
| 13.5 Do, Re, Me, Fa, So, Le | |
| 13.6 Do, Re, Me, Fa, So, Le, Te | |
| 13.7 Do, Re, Me - 2 bars | |
| 13.8 Do, Re, Me, Fa | |
| 13.9 Do, Re, Me, Fa, So | |
| 13.10 Do, Re, Me, Fa, So, Le | |
| 13.11 Do, Re, Me, Fa, So, Le, Te | |
| 13.12 Do, Re, Me - 4 bars | |
| 13.13 Do, Re, Me, Fa | |
| 13.14 Do, Re, Me, Fa, So | |
| 13.15 Do, Re, Me, Fa, So, Le | |
| 13.16 Do, Re, Me, Fa, So, Le, Te | |
14: Melodies in A Minor. 3/4 - 1, 2 and 4 Bars. |
|
| 14.1 Do, Re - 1 bar | |
| 14.2 Do, Re, Me | |
| 14.3 Do, Re, Me, Fa | |
| 14.4 Do, Re, Me, Fa, So | |
| 14.5 Do, Re, Me, Fa, So, Le | |
| 14.6 Do, Re, Me, Fa, So, Le, Te | |
| 14.7 Do, Re, Me - 2 bars | |
| 14.8 Do, Re, Me, Fa | |
| 14.9 Do, Re, Me, Fa, So | |
| 14.10 Do, Re, Me, Fa, So, Le | |
| 14.11 Do, Re, Me, Fa, So, Le, Te | |
| 14.12 Do, Re, Me - 4 bars | |
| 14.13 Do, Re, Me, Fa | |
| 14.14 Do, Re, Me, Fa, So | |
| 14.15 Do, Re, Me, Fa, So, Le | |
| 14.16 Do, Re, Me, Fa, So, Le, Te | |
15: Melodies in A Minor. 4/4 Adding 8th Notes |
|
| 15.1 Do, Re - 1 bar | |
| 15.2 Do, Re, Me | |
| 15.3 Do, Re, Me, Fa | |
| 15.4 Do, Re, Me, Fa, So | |
| 15.5 Do, Re, Me, Fa, So, Le | |
| 15.6 Do, Re, Me, Fa, So, Le, Te | |
| 15.7 Do, Re - 2 bars | |
| 15.8 Do, Re, Me - 2 bars | |
| 15.9 Do, Re, Me, Fa | |
| 15.10 Do, Re, Me, Fa, So | |
| 15.11 Do, Re, Me, Fa, So, Le | |
| 15.12 Do, Re, Me, Fa, So, Le, Te | |
| 15.13 Do, Re, Me - 4 bars | |
| 15.14 Do, Re, Me, Fa | |
| 15.15 Do, Re, Me, Fa, So | |
| 15.16 Do, Re, Me, Fa, So, Le | |
| 15.17 Do, Re, Me, Fa, So, Le, Te | |
16: Melodies in A Minor. 3/4 Adding 8th Notes |
|
| 16.1 Do, Re, Me - 1 bar | |
| 16.2 Do, Re, Me, Fa | |
| 16.3 Do, Re, Me, Fa, So | |
| 16.4 Do, Re, Me, Fa, So, Le | |
| 16.5 Do, Re, Me, Fa, So, Le, Te | |
| 16.6 Do, Re, Me - 2 bars | |
| 16.7 Do, Re, Me, Fa | |
| 16.8 Do, Re, Me, Fa, So | |
| 16.9 Do, Re, Me, Fa, So, Le | |
| 16.10 Do, Re, Me, Fa, So, Le, Te | |
| 16.11 Do, Re, Me - 4 bars | |
| 16.12 Do, Re, Me, Fa | |
| 16.13 Do, Re, Me, Fa, So | |
| 16.14 Do, Re, Me, Fa, So, Le | |
| 16.15 Do, Re, Me, Fa, So, Le, Te | |
17: All Minor Keys. 4/4 with 8th Notes. |
|
| 17.1 Do, Re, Me - 1 bar | |
| 17.2 Do, Re, Me, Fa | |
| 17.3 Do, Re, Me, Fa, So | |
| 17.4 Do, Re, Me, Fa, So, Le | |
| 17.5 Do, Re, Me, Fa, So, Le, Te | |
| 17.6 Do, Re, Me - 2 bars | |
| 17.7 Do, Re, Me, Fa | |
| 17.8 Do, Re, Me, Fa, So | |
| 17.9 Do, Re, Me, Fa, So, Le | |
| 17.10 Do, Re, Me, Fa, So, Le, Te | |
| 17.11 Do, Re, Me - 4 bars | |
| 17.12 Do, Re, Me, Fa | |
| 17.13 Do, Re, Me, Fa, So | |
| 17.14 Do, Re, Me, Fa, So, Le | |
| 17.15 Do, Re, Me, Fa, So, Le, Te | |
18: Harmonic Minor. 4/4 with 8th Notes. |
|
| 18.1 A minor harmonic. 1 bar | |
| 18.2 A minor harmonic. 2 bars | |
| 18.3 A minor harmonic. 4 bars | |
| 18.4 Harmonic minor (all keys). 1 bar | |
| 18.5 Harmonic minor (all keys). 2 bars | |
| 18.6 Harmonic minor (all keys). 4 bars | |
📕 General Workshops - Melody Singback |
|
1: 3 to 4 Tones from the C Major Scale |
|
| 1.1 Do, Re - 3 tones | |
| 1.2 Do, Re, Mi | |
| 1.3 Do, Re, Mi, Fa | |
| 1.4 Do, Re, Mi, Fa, So | |
| 1.5 Do, Re, Mi, Fa, So, La | |
| 1.6 Do, Re, Mi, Fa, So, La, Ti | |
| 1.7 Do, Re - 4 tones | |
| 1.8 Do, Re, Mi | |
| 1.9 Do, Re, Mi, Fa | |
| 1.10 Do, Re, Mi, Fa, So | |
| 1.11 Do, Re, Mi, Fa, So, La | |
| 1.12 Do, Re, Mi, Fa, So, La, Ti | |
2: 5 to 6 Tones from the C Major Scale |
|
| 2.1 Do, Re - 5 tones | |
| 2.2 Do, Re, Mi | |
| 2.3 Do, Re, Mi, Fa | |
| 2.4 Do, Re, Mi, Fa, So | |
| 2.5 Do, Re, Mi, Fa, So, La | |
| 2.6 Do, Re, Mi, Fa, So, La, Ti | |
| 2.7 Do, Re - 6 tones | |
| 2.8 Do, Re, Mi | |
| 2.9 Do, Re, Mi, Fa | |
| 2.10 Do, Re, Mi, Fa, So | |
| 2.11 Do, Re, Mi, Fa, So, La | |
| 2.12 Do, Re, Mi, Fa, So, La, Ti | |
3: 7 to 8 Tones from the C Major Scale |
|
| 3.1 Do, Re, Mi - 7 tones | |
| 3.2 Do, Re, Mi, Fa | |
| 3.3 Do, Re, Mi, Fa, So | |
| 3.4 Do, Re, Mi, Fa, So, La | |
| 3.5 Do, Re, Mi, Fa, So, La, Ti | |
| 3.6 Do, Re, Mi - 8 tones | |
| 3.7 Do, Re, Mi, Fa | |
| 3.8 Do, Re, Mi, Fa, So | |
| 3.9 Do, Re, Mi, Fa, So, La | |
| 3.10 Do, Re, Mi, Fa, So, La, Ti | |
4: Melodies in C Major with Rhythm. 4/4 |
|
| 4.1 Do, Re - 1 bar | |
| 4.2 Do, Re, Mi | |
| 4.3 Do, Re, Mi, Fa | |
| 4.4 Do, Re, Mi, Fa, So | |
| 4.5 Do, Re, Mi, Fa, So, La | |
| 4.6 Do, Re, Mi, Fa, So, La, Ti | |
| 4.7 Do, Re, Mi - 2 bars | |
| 4.8 Do, Re, Mi, Fa | |
| 4.9 Do, Re, Mi, Fa, So | |
| 4.10 Do, Re, Mi, Fa, So, La | |
| 4.11 Do, Re, Mi, Fa, So, La, Ti | |
5: Melodies in C Major with Rhythm. 3/4 |
|
| 5.1 Do, Re - 1 bar | |
| 5.2 Do, Re, Mi | |
| 5.3 Do, Re, Mi, Fa | |
| 5.4 Do, Re, Mi, Fa, So | |
| 5.5 Do, Re, Mi, Fa, So, La | |
| 5.6 Do, Re, Mi, Fa, So, La, Ti | |
| 5.7 Do, Re, Mi - 2 bars | |
| 5.8 Do, Re, Mi, Fa | |
| 5.9 Do, Re, Mi, Fa, So | |
| 5.10 Do, Re, Mi, Fa, So, La | |
| 5.11 Do, Re, Mi, Fa, So, La, Ti | |
6: Adding 8th Notes. 4/4 |
|
| 6.1 Do, Re - 1 bar | |
| 6.2 Do, Re, Mi | |
| 6.3 Do, Re, Mi, Fa | |
| 6.4 Do, Re, Mi, Fa, So | |
| 6.5 Do, Re, Mi, Fa, So, La | |
| 6.6 Do, Re, Mi, Fa, So, La, Ti | |
| 6.7 Do, Re, Mi - 2 bars | |
| 6.8 Do, Re, Mi, Fa | |
| 6.9 Do, Re, Mi, Fa, So | |
| 6.10 Do, Re, Mi, Fa, So, La | |
| 6.11 Do, Re, Mi, Fa, So, La, Ti | |
7: Adding 8th Notes. 3/4 |
|
| 7.1 Do, Re - 1 bar | |
| 7.2 Do, Re, Mi | |
| 7.3 Do, Re, Mi, Fa | |
| 7.4 Do, Re, Mi, Fa, So | |
| 7.5 Do, Re, Mi, Fa, So, La | |
| 7.6 Do, Re, Mi, Fa, So, La, Ti | |
| 7.7 Do, Re, Mi - 2 bars | |
| 7.8 Do, Re, Mi, Fa | |
| 7.9 Do, Re, Mi, Fa, So | |
| 7.10 Do, Re, Mi, Fa, So, La | |
| 7.11 Do, Re, Mi, Fa, So, La, Ti | |
8: Around the Circle of Fifths. 4/4 |
|
| 8.1 Do, Re - 1 bar | |
| 8.2 Do, Re, Mi | |
| 8.3 Do, Re, Mi, Fa | |
| 8.4 Do, Re, Mi, Fa, So | |
| 8.5 Do, Re, Mi, Fa, So, La | |
| 8.6 Do, Re, Mi, Fa, So, La, Ti | |
| 8.7 Do, Re, Mi - 2 bars | |
| 8.8 Do, Re, Mi, Fa | |
| 8.9 Do, Re, Mi, Fa, So | |
| 8.10 Do, Re, Mi, Fa, So, La | |
| 8.11 Do, Re, Mi, Fa, So, La, Ti | |
9: Around the Circle of Fifths. 3/4 |
|
| 9.1 Do, Re - 1 bar | |
| 9.2 Do, Re, Mi | |
| 9.3 Do, Re, Mi, Fa | |
| 9.4 Do, Re, Mi, Fa, So | |
| 9.5 Do, Re, Mi, Fa, So, La | |
| 9.6 Do, Re, Mi, Fa, So, La, Ti | |
| 9.7 Do, Re, Mi - 2 bars | |
| 9.8 Do, Re, Mi, Fa | |
| 9.9 Do, Re, Mi, Fa, So | |
| 9.10 Do, Re, Mi, Fa, So, La | |
| 9.11 Do, Re, Mi, Fa, So, La, Ti | |
10: Around the Circle of Fifths. 4/4 with 8th Notes. |
|
| 10.1 Do, Re - 1 bar | |
| 10.2 Do, Re, Mi | |
| 10.3 Do, Re, Mi, Fa | |
| 10.4 Do, Re, Mi, Fa, So | |
| 10.5 Do, Re, Mi, Fa, So, La | |
| 10.6 Do, Re, Mi, Fa, So, La, Ti | |
| 10.7 Do, Re, Mi - 2 bars | |
| 10.8 Do, Re, Mi, Fa | |
| 10.9 Do, Re, Mi, Fa, So | |
| 10.10 Do, Re, Mi, Fa, So, La | |
| 10.11 Do, Re, Mi, Fa, So, La, Ti | |
11: Around the Circle of Fifths. 3/4 with 8th Notes. |
|
| 11.1 Do, Re - 1 bar | |
| 11.2 Do, Re, Mi | |
| 11.3 Do, Re, Mi, Fa | |
| 11.4 Do, Re, Mi, Fa, So | |
| 11.5 Do, Re, Mi, Fa, So, La | |
| 11.6 Do, Re, Mi, Fa, So, La, Ti | |
| 11.7 Do, Re, Mi - 2 bars | |
| 11.8 Do, Re, Mi, Fa | |
| 11.9 Do, Re, Mi, Fa, So | |
| 11.10 Do, Re, Mi, Fa, So, La | |
| 11.11 Do, Re, Mi, Fa, So, La, Ti | |
12: Melodies in A minor. 4/4 |
|
| 12.1 Do, Re - 1 bar | |
| 12.2 Do, Re, Me | |
| 12.3 Do, Re, Me, Fa | |
| 12.4 Do, Re, Me, Fa, So | |
| 12.5 Do, Re, Me, Fa, So, Le | |
| 12.6 Do, Re, Me, Fa, So, Le, Te | |
| 12.7 Do, Re, Me - 2 bars | |
| 12.8 Do, Re, Me, Fa | |
| 12.9 Do, Re, Me, Fa, So | |
| 12.10 Do, Re, Me, Fa, So, Le | |
| 12.11 Do, Re, Me, Fa, So, Le, Te | |
13: Melodies in A minor. 3/4 |
|
| 13.1 Do, Re - 1 bar | |
| 13.2 Do, Re, Me | |
| 13.3 Do, Re, Me, Fa | |
| 13.4 Do, Re, Me, Fa, So | |
| 13.5 Do, Re, Me, Fa, So, Le | |
| 13.6 Do, Re, Me, Fa, So, Le, Te | |
| 13.7 Do, Re, Me - 2 bars | |
| 13.8 Do, Re, Me, Fa | |
| 13.9 Do, Re, Me, Fa, So | |
| 13.10 Do, Re, Me, Fa, So, Le | |
| 13.11 Do, Re, Me, Fa, So, Le, Te | |
14: Melodies in A minor. 4/4 with 8th Notes |
|
| 14.1 Do, Re - 1 bar | |
| 14.2 Do, Re, Me | |
| 14.3 Do, Re, Me, Fa | |
| 14.4 Do, Re, Me, Fa, So | |
| 14.5 Do, Re, Me, Fa, So, Le | |
| 14.6 Do, Re, Me, Fa, So, Le, Te | |
| 14.7 Do, Re - 2 bars | |
| 14.8 Do, Re, Me - 2 bars | |
| 14.9 Do, Re, Me, Fa | |
| 14.10 Do, Re, Me, Fa, So | |
| 14.11 Do, Re, Me, Fa, So, Le | |
| 14.12 Do, Re, Me, Fa, So, Le, Te | |
15: Melodies in A minor. 3/4 with 8th Notes |
|
| 15.1 Do, Re, Me - 1 bar | |
| 15.2 Do, Re, Me, Fa | |
| 15.3 Do, Re, Me, Fa, So | |
| 15.4 Do, Re, Me, Fa, So, Le | |
| 15.5 Do, Re, Me, Fa, So, Le, Te | |
| 15.6 Do, Re, Me - 2 bars | |
| 15.7 Do, Re, Me, Fa | |
| 15.8 Do, Re, Me, Fa, So | |
| 15.9 Do, Re, Me, Fa, So, Le | |
| 15.10 Do, Re, Me, Fa, So, Le, Te | |
16: All Minor Keys. 4/4 with 8th Notes. |
|
| 16.1 Do, Re, Me - 1 bar | |
| 16.2 Do, Re, Me, Fa | |
| 16.3 Do, Re, Me, Fa, So | |
| 16.4 Do, Re, Me, Fa, So, Le | |
| 16.5 Do, Re, Me, Fa, So, Le, Te | |
| 16.6 Do, Re, Me - 2 bars | |
| 16.7 Do, Re, Me, Fa | |
| 16.8 Do, Re, Me, Fa, So | |
| 16.9 Do, Re, Me, Fa, So, Le | |
| 16.10 Do, Re, Me, Fa, So, Le, Te | |
17: Harmonic Minor. 4/4 with 8th Notes. |
|
| 17.1 A minor harmonic. 1 bar | |
| 17.2 A minor harmonic. 2 bars | |
| 17.3 A minor harmonic. 4 bars | |
| 17.4 Harmonic minor (all keys). 1 bar | |
| 17.5 Harmonic minor (all keys). 2 bars | |
| 17.6 Harmonic minor (all keys). 4 bars | |
📕 General Workshops - Rhythm Clapback |
|
1: 4/4 - 1 bar: Whole, Half, Quarter & Eighth Notes |
|
| 1.1 4/4 - 1 bar: Quarter notes - including rests | |
| 1.2 4/4 - 1 bar: 8th & Quarter notes | |
| 1.3 4/4 - 1 bar: 8th notes - including rests | |
| 1.4 4/4 - 1 bar: 8th & Quarter notes - including rests | |
| 1.5 4/4 - 1 bar: Quarter & Half notes - including rests | |
| 1.6 4/4 - 1 bar: Half & Whole notes - including rests | |
| 1.7 4/4 - 1 bar: Quarter, Half & Whole notes - including rests | |
| 1.8 4/4 - 1 bar: 8th, Quarter, Half & Whole notes - including rests | |
2: 3/4 - 1 bar: Half, Quarter & Eighth Notes |
|
| 2.1 3/4 - 1 bar: Quarter notes - including rests | |
| 2.2 3/4 - 1 bar: 8th & Quarter notes | |
| 2.3 3/4 - 1 bar: 8th notes - including rests | |
| 2.4 3/4 - 1 bar: 8th & Quarter notes - including rests | |
| 2.5 3/4 - 1 bar: Quarter & Half notes - including rests | |
| 2.6 3/4 - 1 bar: 8th, Quarter & Half notes - including rests | |
3: 2/4 - 1 bar: Half, Quarter & Eighth Notes |
|
| 3.1 2/4 - 1 bar: Quarter notes - including rests | |
| 3.2 2/4 - 1 bar: 8th & Quarter notes | |
| 3.3 2/4 - 1 bar: 8th notes - including rests | |
| 3.4 2/4 - 1 bar: 8th & Quarter notes - including rests | |
| 3.5 2/4 - 1 bar: Quarter & Half notes - including rests | |
| 3.6 2/4 - 1 bar: 8th, Quarter & Half notes - including rests | |
4: 4/4 - 2 bars: Whole, half, Quarter & Eighth Notes |
|
| 4.1 4/4 - 2 bars: Quarter notes - including rests | |
| 4.2 4/4 - 2 bars: 8th & Quarter notes | |
| 4.3 4/4 - 2 bars: 8th notes - including rests | |
| 4.4 4/4 - 2 bars: 8th & Quarter notes - including rests | |
| 4.5 4/4 - 2 bars: Quarter & Half notes - including rests | |
| 4.6 4/4 - 2 bars: Half & Whole notes - including rests | |
| 4.7 4/4 - 2 bars: Quarter, Half & Whole notes - including rests | |
| 4.8 4/4 - 2 bars: 8th, Quarter, Half & Whole notes - including rests | |
5: 3/4 - 2 bars: Half, Quarter & Eighth Notes |
|
| 5.1 3/4 - 2 bars: Quarter notes - including rests | |
| 5.2 3/4 - 2 bars: 8th & Quarter notes | |
| 5.3 3/4 - 2 bars: 8th notes - including rests | |
| 5.4 3/4 - 2 bars: 8th & Quarter notes - including rests | |
| 5.5 3/4 - 2 bars: Quarter & Half notes - including rests | |
| 5.6 3/4 - 2 bars: 8th, Quarter & Half notes - including rests | |
6: 2/4 - 2 bars: Half, Quarter & Eighth Notes |
|
| 6.1 2/4 - 2 bars: Quarter notes - including rests | |
| 6.2 2/4 - 2 bars: 8th & Quarter notes | |
| 6.3 2/4 - 2 bars: 8th notes - including rests | |
| 6.4 2/4 - 2 bars: 8th & Quarter notes - including rests | |
| 6.5 2/4 - 2 bars: Quarter & Half notes - including rests | |
| 6.6 2/4 - 2 bars: 8th, Quarter & Half notes - including rests | |
7: 4/4: Introducing Sixteenth Note Groupings |
|
| 7.1 4/4 - 1 bar: 16th & Quarter notes | |
| 7.2 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 7.3 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
8: 3/4: Sixteenth Note Groupings |
|
| 8.1 3/4 - 1 bar: 16th & Quarter notes | |
| 8.2 3/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 8.3 3/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
9: 2/4: Sixteenth Note Groupings |
|
| 9.1 2/4 - 1 bar: 16th & Quarter notes | |
| 9.2 2/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 9.3 2/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
10: Advanced Sixteenth Note Groupings |
|
| 10.1 4/4 - 1 bar: 16th, 8th & Quarter notes | |
| 10.2 3/4 - 1 bar: 16th, 8th & Quarter notes | |
| 10.3 2/4 - 1 bar: 16th, 8th & Quarter notes | |
| 10.4 2/4, 3/4 & 4/4 - 1 bar: 16th, 8th & Quarter notes | |
| 10.5 4/4 - 1 bar: 16th, 8th & Quarter notes | |
| 10.6 3/4 - 1 bar: 16th, 8th & Quarter notes | |
| 10.7 2/4 - 1 bar: 16th, 8th & Quarter notes | |
| 10.8 2/4, 3/4 & 4/4 - 1 bar: 16th, 8th & Quarter notes | |
11: Advanced Sixteenth Note Groupings with Rests |
|
| 11.1 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 11.2 3/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 11.3 2/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 11.4 2/4, 3/4 & 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 11.5 4/4 - 1 bar: 16th & Quarter notes - including rests | |
| 11.6 3/4 - 1 bar: 16th & Quarter notes - including rests | |
| 11.7 2/4 - 1 bar: 16th & Quarter notes - including rests | |
| 11.8 2/4, 3/4 & 4/4 - 1 bar: 16th & Quarter notes - including rests | |
12: Advanced 16th and 8th Combinations with Rests |
|
| 12.1 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 12.2 3/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 12.3 2/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 12.4 2/4, 3/4 & 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 12.5 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 12.6 3/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 12.7 2/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 12.8 2/4, 3/4 & 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
13: All Note values from the Previous Lessons, Including Rests |
|
| 13.1 4/4 - 1 bar: 16th, 8th, Quarter, Half & Whole notes - including rests | |
| 13.2 3/4 - 1 bar: 16th, 8th, Quarter & Half notes - including rests | |
| 13.3 2/4 - 1 bar: 16th, 8th, Quarter & Half notes - including rests | |
| 13.4 2/4, 3/4 & 4/4 - 1 bar: 16th, 8th, Quarter & Half notes - including rests | |
14: 4/4: Triplets |
|
| 14.1 4/4 - 1 bar: Quarter notes, 8th triplets | |
| 14.2 4/4 - 1 bar: Quarter notes, 8th triplets - including rests | |
| 14.3 4/4 - 1 bar: Quarter & Half notes, 8th triplets - including rests | |
| 14.4 4/4 - 1 bar: Quarter notes, 8th triplets - including rests | |
| 14.5 4/4 - 1 bar: 8th & Quarter triplets | |
| 14.6 4/4 - 1 bar: 8th & Quarter triplets - including rests | |
| 14.7 4/4 - 1 bar: Quarter notes, 8th & Quarter triplets | |
| 14.8 4/4 - 1 bar: Quarter notes, 8th & Quarter triplets - including rests | |
| 14.9 4/4 - 1 bar: Half triplets | |
| 14.10 4/4 - 1 bar: Half triplets - including rests | |
| 14.11 4/4 - 1 bar: Quarter notes, 16th triplets | |
| 14.12 4/4 - 1 bar: Quarter notes, 16th triplets - including rests | |
| 14.13 4/4 - 1 bar: 16th triplets - including rests | |
| 14.14 4/4 - 1 bar: 16th & 8th triplets | |
| 14.15 4/4 - 1 bar: 16th & 8th triplets - including rests | |
| 14.16 4/4 - 1 bar: 16th, 8th, Quarter & Half triplets | |
| 14.17 4/4 - 1 bar: 16th, 8th, Quarter & Half triplets - including rests | |
15: Triplets, Now in 3/4 |
|
| 15.1 3/4 - 1 bar: Quarter notes, 8th triplets | |
| 15.2 3/4 - 1 bar: Quarter notes, 8th triplets - including rests | |
| 15.3 3/4 - 1 bar: Quarter & Half notes, 8th triplets - including rests | |
| 15.4 3/4 - 1 bar: Quarter notes, 8th triplets - including rests | |
| 15.5 3/4 - 1 bar: 8th & Quarter triplets | |
| 15.6 3/4 - 1 bar: 8th & Quarter triplets - including rests | |
| 15.7 3/4 - 1 bar: Quarter notes, 8th & Quarter triplets | |
| 15.8 3/4 - 1 bar: Quarter notes, 8th & Quarter triplets - including rests | |
| 15.9 3/4 - 1 bar: Quarter notes, 16th triplets | |
| 15.10 3/4 - 1 bar: Quarter notes, 16th triplets - including rests | |
| 15.11 3/4 - 1 bar: 16th triplets - including rests | |
| 15.12 3/4 - 1 bar: 16th & 8th triplets | |
| 15.13 3/4 - 1 bar: 16th & 8th triplets - including rests | |
| 15.14 3/4 - 1 bar: 16th, 8th & Quarter triplets | |
| 15.15 3/4 - 1 bar: 16th, 8th & Quarter triplets - including rests | |
16: Introducing a New Time Signature: 5/4 |
|
| 16.1 5/4 - 1 bar: 8th & Quarter notes - including rests | |
| 16.2 5/4 - 1 bar: 8th & Quarter notes - including rests | |
| 16.3 5/4 - 1 bar: 8th, Quarter & Half notes - including rests | |
| 16.4 5/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 16.5 5/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 16.6 5/4 - 1 bar: 16th, 8th, Quarter, Half & Whole notes - including rests | |
| 16.7 5/4 - 1 bar: 16th, 8th, Quarter, Half & Whole notes, 16th, 8th & Quarter triplets | |
| 16.8 5/4 - 1 bar: 16th, 8th, Quarter, Half & Whole notes, 16th, 8th & Quarter triplets - including rests | |
17: Introducing New Time Signatures: 3/8, 4/8 & 6/8 |
|
| 17.1 3/8, 4/8 & 6/8 - 1 bar: 16th & 8th notes | |
| 17.2 3/8, 4/8 & 6/8 - 1 bar: 16th & 8th notes - including rests | |
| 17.3 3/8, 4/8 & 6/8 - 1 bar: 16th, 8th & Quarter notes | |
| 17.4 3/8, 4/8 & 6/8 - 1 bar: 16th, 8th & Quarter notes - including rests | |
18: 6/8 with Dotted Subdivision |
|
| 18.1 6/8 - 1 bar: 8th notes, Quarter dotted notes | |
| 18.2 6/8 - 1 bar: 8th notes, Quarter dotted notes - including rests | |
| 18.3 6/8 - 1 bar: 8th & Quarter notes, Quarter dotted notes | |
| 18.4 6/8 - 1 bar: 8th & Quarter notes, Quarter dotted notes - including rests | |
| 18.5 6/8 - 1 bar: 16th, 8th & Quarter notes, Quarter dotted notes - including rests | |
19: Introducing the 9/8 Time Signature |
|
| 19.1 9/8 - 1 bar: 16th & 8th notes | |
| 19.2 9/8 - 1 bar: 16th & 8th notes - including rests | |
| 19.3 9/8 - 1 bar: 16th, 8th & Quarter notes | |
| 19.4 9/8 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 19.5 9/8 - 1 bar: 8th notes, Quarter dotted notes | |
| 19.6 9/8 - 1 bar: 8th notes, Quarter dotted notes - including rests | |
| 19.7 9/8 - 1 bar: 8th & Quarter notes, Quarter dotted notes | |
| 19.8 9/8 - 1 bar: 8th & Quarter notes, Quarter dotted notes - including rests | |
| 19.9 9/8 - 1 bar: 16th, 8th & Quarter notes, Quarter dotted notes - including rests | |
20: Introducing the 12/8 Time Signature |
|
| 20.1 12/8 - 1 bar: 16th & 8th notes | |
| 20.2 12/8 - 1 bar: 16th & 8th notes - including rests | |
| 20.3 12/8 - 1 bar: 16th, 8th & Quarter notes | |
| 20.4 12/8 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 20.5 12/8 - 1 bar: 8th notes, Quarter dotted notes | |
| 20.6 12/8 - 1 bar: 8th notes, Quarter dotted notes - including rests | |
| 20.7 12/8 - 1 bar: 8th & Quarter notes, Quarter dotted notes | |
| 20.8 12/8 - 1 bar: 8th & Quarter notes, Quarter dotted notes - including rests | |
| 20.9 12/8 - 1 bar: 16th, 8th & Quarter notes, Quarter dotted notes - including rests | |
21: Introducing New Time Signatures: 5/8 & 7/8 |
|
| 21.1 5/8 & 7/8 - 1 bar: 16th & 8th notes | |
| 21.2 5/8 & 7/8 - 1 bar: 16th & 8th notes - including rests | |
| 21.3 5/8 & 7/8 - 1 bar: 16th, 8th & Quarter notes | |
| 21.4 5/8 & 7/8 - 1 bar: 16th, 8th & Quarter notes - including rests | |
22: Introducing New Time Signatures: 2/2, 3/2 & 4/2 |
|
| 22.1 2/2, 3/2 & 4/2 - 1 bar: Half & Whole notes | |
| 22.2 2/2, 3/2 & 4/2 - 1 bar: Half & Whole notes - including rests | |
| 22.3 2/2, 3/2 & 4/2 - 1 bar: Quarter, Half & Whole notes | |
| 22.4 2/2, 3/2 & 4/2 - 1 bar: Quarter, Half & Whole notes - including rests | |
| 22.5 2/2, 3/2 & 4/2 - 1 bar: 8th, Quarter & Half notes - including rests | |
| 22.6 2/2, 3/2 & 4/2 - 1 bar: 8th, Quarter & Half notes - including rests | |
23: 4/4: Mixed Note Groupings |
|
| 23.1 4/4 - 1 bar: 8th notes, 8th triplets | |
| 23.2 4/4 - 1 bar: 8th notes, 8th triplets - including rests | |
| 23.3 4/4 - 1 bar: Quarter notes, Quarter triplets | |
| 23.4 4/4 - 1 bar: Quarter notes, Quarter triplets - including rests | |
| 23.5 4/4 - 1 bar: 8th & Quarter notes, 8th & Quarter triplets | |
| 23.6 4/4 - 1 bar: 8th & Quarter notes, 8th & Quarter triplets - including rests | |
| 23.7 4/4 - 1 bar: 16th notes, 16th triplets | |
| 23.8 4/4 - 1 bar: 16th notes, 16th triplets - including rests | |
| 23.9 4/4 - 1 bar: 16th & 8th notes, 16th & 8th triplets | |
| 23.10 4/4 - 1 bar: 16th & 8th notes, 16th & 8th triplets - including rests | |
| 23.11 4/4 - 1 bar: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets | |
| 23.12 4/4 - 1 bar: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets - including rests | |
24: 3/4: Mixed Note Groupings |
|
| 24.1 3/4 - 1 bar: 8th notes, 8th triplets | |
| 24.2 3/4 - 1 bar: 8th notes, 8th triplets - including rests | |
| 24.3 3/4 - 1 bar: Quarter notes, Quarter triplets | |
| 24.4 3/4 - 1 bar: Quarter notes, Quarter triplets - including rests | |
| 24.5 3/4 - 1 bar: 8th & Quarter notes, 8th & Quarter triplets | |
| 24.6 3/4 - 1 bar: 8th & Quarter notes, 8th & Quarter triplets - including rests | |
| 24.7 3/4 - 1 bar: 16th notes, 16th triplets | |
| 24.8 3/4 - 1 bar: 16th notes, 16th triplets - including rests | |
| 24.9 3/4 - 1 bar: 16th & 8th notes, 16th & 8th triplets | |
| 24.10 3/4 - 1 bar: 16th & 8th notes, 16th & 8th triplets - including rests | |
| 24.11 3/4 - 1 bar: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets | |
| 24.12 3/4 - 1 bar: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets - including rests | |
25: 4/4: Introducing 32nd Notes |
|
| 25.1 4/4 - 1 bar: 8th & Quarter notes - including rests | |
| 25.2 4/4 - 1 bar: 16th & 8th notes - including rests | |
| 25.3 4/4 - 1 bar: 32nd & 16th notes | |
| 25.4 4/4 - 1 bar: 32nd & 16th notes - including rests | |
| 25.5 4/4 - 1 bar: 32nd & 16th notes - including rests | |
| 25.6 4/4 - 1 bar: 32nd notes - including rests | |
| 25.7 4/4 - 1 bar: 32nd, 16th, 8th & Quarter notes | |
| 25.8 4/4 - 1 bar: 32nd, 16th, 8th & Quarter notes - including rests | |
26: 3/4: 32nd Notes |
|
| 26.1 3/4 - 1 bar: 8th & Quarter notes - including rests | |
| 26.2 3/4 - 1 bar: 16th & 8th notes - including rests | |
| 26.3 3/4 - 1 bar: 32nd & 16th notes | |
| 26.4 3/4 - 1 bar: 32nd & 16th notes - including rests | |
| 26.5 3/4 - 1 bar: 32nd & 16th notes - including rests | |
| 26.6 3/4 - 1 bar: 32nd notes - including rests | |
| 26.7 3/4 - 1 bar: 32nd, 16th, 8th & Quarter notes | |
| 26.8 3/4 - 1 bar: 32nd, 16th, 8th & Quarter notes - including rests | |
27: Final roundup |
|
| 27.1 Simple meters | |
| 27.2 Simple meters with rests | |
| 27.3 Compound meters | |
| 27.4 Compound meters with rests | |
| 27.5 Asymmetrical meters I | |
| 27.6 Asymmetrical meters II | |
📕 General Workshops - Rhythm Error Detection |
|
1: 4/4 - 2 bars: Whole, Half, Quarter & Eighth Notes |
|
| 1.1 4/4 - 2 bars: Quarter notes - including rests | |
| 1.2 4/4 - 2 bars: 8th & Quarter notes | |
| 1.3 4/4 - 2 bars: 8th notes - including rests | |
| 1.4 4/4 - 2 bars: 8th & Quarter notes - including rests | |
| 1.5 4/4 - 2 bars: Quarter & Half notes - including rests | |
| 1.6 4/4 - 2 bars: Half & Whole notes - including rests | |
| 1.7 4/4 - 2 bars: Quarter, Half & Whole notes - including rests | |
| 1.8 4/4 - 2 bars: 8th, Quarter, Half & Whole notes - including rests | |
2: 3/4 - 2 bars: Half, Quarter & Eighth Notes |
|
| 2.1 3/4 - 2 bars: Quarter notes - including rests | |
| 2.2 3/4 - 2 bars: 8th & Quarter notes | |
| 2.3 3/4 - 2 bars: 8th notes - including rests | |
| 2.4 3/4 - 2 bars: 8th & Quarter notes - including rests | |
| 2.5 3/4 - 2 bars: Quarter & Half notes - including rests | |
| 2.6 3/4 - 2 bars: 8th, Quarter & Half notes - including rests | |
3: 2/4 - 2 bars: Half, Quarter & Eighth Notes |
|
| 3.1 2/4 - 2 bars: Quarter notes - including rests | |
| 3.2 2/4 - 2 bars: 8th & Quarter notes | |
| 3.3 2/4 - 2 bars: 8th notes - including rests | |
| 3.4 2/4 - 2 bars: 8th & Quarter notes - including rests | |
| 3.5 2/4 - 2 bars: Quarter & Half notes - including rests | |
| 3.6 2/4 - 2 bars: 8th, Quarter & Half notes - including rests | |
4: 4/4 - 4 bars: Whole, half, Quarter & Eighth Notes |
|
| 4.1 4/4 - 4 bars: Quarter notes - including rests | |
| 4.2 4/4 - 4 bars: 8th & Quarter notes | |
| 4.3 4/4 - 4 bars: 8th notes - including rests | |
| 4.4 4/4 - 4 bars: 8th & Quarter notes - including rests | |
| 4.5 4/4 - 4 bars: Quarter & Half notes - including rests | |
| 4.6 4/4 - 4 bars: Half & Whole notes - including rests | |
| 4.7 4/4 - 4 bars: Quarter, Half & Whole notes - including rests | |
| 4.8 4/4 - 4 bars: 8th, Quarter, Half & Whole notes - including rests | |
5: 3/4 - 4 bars: Half, Quarter & Eighth Notes |
|
| 5.1 3/4 - 4 bars: Quarter notes - including rests | |
| 5.2 3/4 - 4 bars: 8th & Quarter notes | |
| 5.3 3/4 - 4 bars: 8th notes - including rests | |
| 5.4 3/4 - 4 bars: 8th & Quarter notes - including rests | |
| 5.5 3/4 - 4 bars: Quarter & Half notes - including rests | |
| 5.6 3/4 - 4 bars: 8th, Quarter & Half notes - including rests | |
6: 2/4 - 4 bars: Half, Quarter & Eighth Notes |
|
| 6.1 2/4 - 4 bars: Quarter notes - including rests | |
| 6.2 2/4 - 4 bars: 8th & Quarter notes | |
| 6.3 2/4 - 4 bars: 8th notes - including rests | |
| 6.4 2/4 - 4 bars: 8th & Quarter notes - including rests | |
| 6.5 2/4 - 4 bars: Quarter & Half notes - including rests | |
| 6.6 2/4 - 4 bars: 8th, Quarter & Half notes - including rests | |
7: 4/4 - 8 bars: Whole, Half, Quarter & Eighth Notes |
|
| 7.1 4/4 - 8 bars: Quarter notes - including rests | |
| 7.2 4/4 - 8 bars: 8th & Quarter notes | |
| 7.3 4/4 - 8 bars: 8th notes - including rests | |
| 7.4 4/4 - 8 bars: 8th & Quarter notes - including rests | |
| 7.5 4/4 - 8 bars: Quarter & Half notes - including rests | |
| 7.6 4/4 - 8 bars: Half & Whole notes - including rests | |
| 7.7 4/4 - 8 bars: Quarter, Half & Whole notes - including rests | |
| 7.8 4/4 - 8 bars: 8th, Quarter, Half & Whole notes - including rests | |
8: 4/4: Introducing Sixteenth Note Groupings |
|
| 8.1 4/4 - 2 bars: 16th & Quarter notes | |
| 8.2 4/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 8.3 4/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
9: 3/4: Sixteenth Note Groupings |
|
| 9.1 3/4 - 2 bars: 16th & Quarter notes | |
| 9.2 3/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 9.3 3/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
10: 2/4: Sixteenth Note Groupings |
|
| 10.1 2/4 - 2 bars: 16th & Quarter notes | |
| 10.2 2/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 10.3 2/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
11: Advanced Sixteenth Note Groupings |
|
| 11.1 4/4 - 2 bars: 16th, 8th & Quarter notes | |
| 11.2 3/4 - 2 bars: 16th, 8th & Quarter notes | |
| 11.3 2/4 - 2 bars: 16th, 8th & Quarter notes | |
| 11.4 2/4, 3/4 & 4/4 - 2 bars: 16th, 8th & Quarter notes | |
| 11.5 4/4 - 2 bars: 16th, 8th & Quarter notes | |
| 11.6 3/4 - 2 bars: 16th, 8th & Quarter notes | |
| 11.7 2/4 - 2 bars: 16th, 8th & Quarter notes | |
| 11.8 2/4, 3/4 & 4/4 - 2 bars: 16th, 8th & Quarter notes | |
12: Advanced Sixteenth Note Groupings with Rests |
|
| 12.1 4/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 12.2 3/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 12.3 2/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 12.4 2/4, 3/4 & 4/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 12.5 4/4 - 2 bars: 16th & Quarter notes - including rests | |
| 12.6 3/4 - 2 bars: 16th & Quarter notes - including rests | |
| 12.7 2/4 - 2 bars: 16th & Quarter notes - including rests | |
| 12.8 2/4, 3/4 & 4/4 - 2 bars: 16th & Quarter notes - including rests | |
13: Advanced 16th and 8th Combinations with Rests |
|
| 13.1 4/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 13.2 3/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 13.3 2/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 13.4 2/4, 3/4 & 4/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 13.5 4/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 13.6 3/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 13.7 2/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 13.8 2/4, 3/4 & 4/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
14: All Note values from the Previous Lessons, Including Rests |
|
| 14.1 4/4 - 2 bars: 16th, 8th, Quarter, Half & Whole notes - including rests | |
| 14.2 3/4 - 2 bars: 16th, 8th, Quarter & Half notes - including rests | |
| 14.3 2/4 - 2 bars: 16th, 8th, Quarter & Half notes - including rests | |
| 14.4 2/4, 3/4 & 4/4 - 2 bars: 16th, 8th, Quarter & Half notes - including rests | |
15: 4/4: Triplets |
|
| 15.1 4/4 - 2 bars: Quarter notes, 8th triplets | |
| 15.2 4/4 - 2 bars: Quarter notes, 8th triplets - including rests | |
| 15.3 4/4 - 2 bars: Quarter & Half notes, 8th triplets - including rests | |
| 15.4 4/4 - 2 bars: Quarter notes, 8th triplets - including rests | |
| 15.5 4/4 - 2 bars: 8th & Quarter triplets | |
| 15.6 4/4 - 2 bars: 8th & Quarter triplets - including rests | |
| 15.7 4/4 - 2 bars: Quarter notes, 8th & Quarter triplets | |
| 15.8 4/4 - 2 bars: Quarter notes, 8th & Quarter triplets - including rests | |
| 15.9 4/4 - 2 bars: Half triplets | |
| 15.10 4/4 - 2 bars: Half triplets - including rests | |
| 15.11 4/4 - 2 bars: Quarter notes, 16th triplets | |
| 15.12 4/4 - 2 bars: Quarter notes, 16th triplets - including rests | |
| 15.13 4/4 - 2 bars: 16th triplets - including rests | |
| 15.14 4/4 - 2 bars: 16th & 8th triplets | |
| 15.15 4/4 - 2 bars: 16th & 8th triplets - including rests | |
| 15.16 4/4 - 2 bars: 16th, 8th, Quarter & Half triplets | |
| 15.17 4/4 - 2 bars: 16th, 8th, Quarter & Half triplets - including rests | |
16: Triplets, Now in 3/4 |
|
| 16.1 3/4 - 2 bars: Quarter notes, 8th triplets | |
| 16.2 3/4 - 2 bars: Quarter notes, 8th triplets - including rests | |
| 16.3 3/4 - 2 bars: Quarter & Half notes, 8th triplets - including rests | |
| 16.4 3/4 - 2 bars: Quarter notes, 8th triplets - including rests | |
| 16.5 3/4 - 2 bars: 8th & Quarter triplets | |
| 16.6 3/4 - 2 bars: 8th & Quarter triplets - including rests | |
| 16.7 3/4 - 2 bars: Quarter notes, 8th & Quarter triplets | |
| 16.8 3/4 - 2 bars: Quarter notes, 8th & Quarter triplets - including rests | |
| 16.9 3/4 - 2 bars: Quarter notes, 16th triplets | |
| 16.10 3/4 - 2 bars: Quarter notes, 16th triplets - including rests | |
| 16.11 3/4 - 2 bars: 16th triplets - including rests | |
| 16.12 3/4 - 2 bars: 16th & 8th triplets | |
| 16.13 3/4 - 2 bars: 16th & 8th triplets - including rests | |
| 16.14 3/4 - 2 bars: 16th, 8th & Quarter triplets | |
| 16.15 3/4 - 2 bars: 16th, 8th & Quarter triplets - including rests | |
17: Introducing a New Time Signature: 5/4 |
|
| 17.1 5/4 - 2 bars: 8th & Quarter notes - including rests | |
| 17.2 5/4 - 2 bars: 8th & Quarter notes - including rests | |
| 17.3 5/4 - 2 bars: 8th, Quarter & Half notes - including rests | |
| 17.4 5/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 17.5 5/4 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 17.6 5/4 - 2 bars: 16th, 8th, Quarter, Half & Whole notes - including rests | |
| 17.7 5/4 - 2 bars: 16th, 8th, Quarter, Half & Whole notes, 16th, 8th & Quarter triplets | |
| 17.8 5/4 - 2 bars: 16th, 8th, Quarter, Half & Whole notes, 16th, 8th & Quarter triplets - including rests | |
18: Introducing New Time Signatures: 3/8, 4/8 & 6/8 |
|
| 18.1 3/8, 4/8 & 6/8 - 2 bars: 16th & 8th notes | |
| 18.2 3/8, 4/8 & 6/8 - 2 bars: 16th & 8th notes - including rests | |
| 18.3 3/8, 4/8 & 6/8 - 2 bars: 16th, 8th & Quarter notes | |
| 18.4 3/8, 4/8 & 6/8 - 2 bars: 16th, 8th & Quarter notes - including rests | |
19: 6/8 with Dotted Subdivision |
|
| 19.1 6/8 - 2 bars: 8th notes, Quarter dotted notes | |
| 19.2 6/8 - 2 bars: 8th notes, Quarter dotted notes - including rests | |
| 19.3 6/8 - 2 bars: 8th & Quarter notes, Quarter dotted notes | |
| 19.4 6/8 - 2 bars: 8th & Quarter notes, Quarter dotted notes - including rests | |
| 19.5 6/8 - 2 bars: 16th, 8th & Quarter notes, Quarter dotted notes - including rests | |
20: Introducing the 9/8 Time Signature |
|
| 20.1 9/8 - 2 bars: 16th & 8th notes | |
| 20.2 9/8 - 2 bars: 16th & 8th notes - including rests | |
| 20.3 9/8 - 2 bars: 16th, 8th & Quarter notes | |
| 20.4 9/8 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 20.5 9/8 - 2 bars: 8th notes, Quarter dotted notes | |
| 20.6 9/8 - 2 bars: 8th notes, Quarter dotted notes - including rests | |
| 20.7 9/8 - 2 bars: 8th & Quarter notes, Quarter dotted notes | |
| 20.8 9/8 - 2 bars: 8th & Quarter notes, Quarter dotted notes - including rests | |
| 20.9 9/8 - 2 bars: 16th, 8th & Quarter notes, Quarter dotted notes - including rests | |
21: Introducing the 12/8 Time Signature |
|
| 21.1 12/8 - 2 bars: 16th & 8th notes | |
| 21.2 12/8 - 2 bars: 16th & 8th notes - including rests | |
| 21.3 12/8 - 2 bars: 16th, 8th & Quarter notes | |
| 21.4 12/8 - 2 bars: 16th, 8th & Quarter notes - including rests | |
| 21.5 12/8 - 2 bars: 8th notes, Quarter dotted notes | |
| 21.6 12/8 - 2 bars: 8th notes, Quarter dotted notes - including rests | |
| 21.7 12/8 - 2 bars: 8th & Quarter notes, Quarter dotted notes | |
| 21.8 12/8 - 2 bars: 8th & Quarter notes, Quarter dotted notes - including rests | |
| 21.9 12/8 - 2 bars: 16th, 8th & Quarter notes, Quarter dotted notes - including rests | |
22: Introducing New Time Signatures: 5/8 & 7/8 |
|
| 22.1 5/8 & 7/8 - 2 bars: 16th & 8th notes | |
| 22.2 5/8 & 7/8 - 2 bars: 16th & 8th notes - including rests | |
| 22.3 5/8 & 7/8 - 2 bars: 16th, 8th & Quarter notes | |
| 22.4 5/8 & 7/8 - 2 bars: 16th, 8th & Quarter notes - including rests | |
23: Introducing New Time Signatures: 2/2, 3/2 & 4/2 |
|
| 23.1 2/2, 3/2 & 4/2 - 2 bars: Half & Whole notes | |
| 23.2 2/2, 3/2 & 4/2 - 2 bars: Half & Whole notes - including rests | |
| 23.3 2/2, 3/2 & 4/2 - 2 bars: Quarter, Half & Whole notes | |
| 23.4 2/2, 3/2 & 4/2 - 2 bars: Quarter, Half & Whole notes - including rests | |
| 23.5 2/2, 3/2 & 4/2 - 2 bars: 8th, Quarter & Half notes - including rests | |
| 23.6 2/2, 3/2 & 4/2 - 2 bars: 8th, Quarter & Half notes - including rests | |
24: 4/4: Mixed Note Groupings |
|
| 24.1 4/4 - 2 bars: 8th notes, 8th triplets | |
| 24.2 4/4 - 2 bars: 8th notes, 8th triplets - including rests | |
| 24.3 4/4 - 2 bars: Quarter notes, Quarter triplets | |
| 24.4 4/4 - 2 bars: Quarter notes, Quarter triplets - including rests | |
| 24.5 4/4 - 2 bars: 8th & Quarter notes, 8th & Quarter triplets | |
| 24.6 4/4 - 2 bars: 8th & Quarter notes, 8th & Quarter triplets - including rests | |
| 24.7 4/4 - 2 bars: 16th notes, 16th triplets | |
| 24.8 4/4 - 2 bars: 16th notes, 16th triplets - including rests | |
| 24.9 4/4 - 2 bars: 16th & 8th notes, 16th & 8th triplets | |
| 24.10 4/4 - 2 bars: 16th & 8th notes, 16th & 8th triplets - including rests | |
| 24.11 4/4 - 2 bars: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets | |
| 24.12 4/4 - 2 bars: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets - including rests | |
25: 3/4: Mixed Note Groupings |
|
| 25.1 3/4 - 2 bars: 8th notes, 8th triplets | |
| 25.2 3/4 - 2 bars: 8th notes, 8th triplets - including rests | |
| 25.3 3/4 - 2 bars: Quarter notes, Quarter triplets | |
| 25.4 3/4 - 2 bars: Quarter notes, Quarter triplets - including rests | |
| 25.5 3/4 - 2 bars: 8th & Quarter notes, 8th & Quarter triplets | |
| 25.6 3/4 - 2 bars: 8th & Quarter notes, 8th & Quarter triplets - including rests | |
| 25.7 3/4 - 2 bars: 16th notes, 16th triplets | |
| 25.8 3/4 - 2 bars: 16th notes, 16th triplets - including rests | |
| 25.9 3/4 - 2 bars: 16th & 8th notes, 16th & 8th triplets | |
| 25.10 3/4 - 2 bars: 16th & 8th notes, 16th & 8th triplets - including rests | |
| 25.11 3/4 - 2 bars: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets | |
| 25.12 3/4 - 2 bars: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets - including rests | |
26: 4/4: Introducing 32nd Notes |
|
| 26.1 4/4 - 2 bars: 8th & Quarter notes - including rests | |
| 26.2 4/4 - 2 bars: 16th & 8th notes - including rests | |
| 26.3 4/4 - 2 bars: 32nd & 16th notes | |
| 26.4 4/4 - 2 bars: 32nd & 16th notes - including rests | |
| 26.5 4/4 - 2 bars: 32nd & 16th notes - including rests | |
| 26.6 4/4 - 2 bars: 32nd notes - including rests | |
| 26.7 4/4 - 2 bars: 32nd, 16th, 8th & Quarter notes | |
| 26.8 4/4 - 2 bars: 32nd, 16th, 8th & Quarter notes - including rests | |
27: 3/4: 32nd Notes |
|
| 27.1 3/4 - 2 bars: 8th & Quarter notes - including rests | |
| 27.2 3/4 - 2 bars: 16th & 8th notes - including rests | |
| 27.3 3/4 - 2 bars: 32nd & 16th notes | |
| 27.4 3/4 - 2 bars: 32nd & 16th notes - including rests | |
| 27.5 3/4 - 2 bars: 32nd & 16th notes - including rests | |
| 27.6 3/4 - 2 bars: 32nd notes - including rests | |
| 27.7 3/4 - 2 bars: 32nd, 16th, 8th & Quarter notes | |
| 27.8 3/4 - 2 bars: 32nd, 16th, 8th & Quarter notes - including rests | |
28: All the Time Signatures from the Previous Lessons |
|
| 28.1 Mixed Time Signatures with 32nd, 16th, 8th & Quarter Notes | |
| 28.2 Mixed Time Signatures with 32nd, 16th, 8th & Quarter Notes + Rests | |
📕 General Workshops - Rhythm Sight-Reading |
|
1: 4/4 - 4 bars: Whole, Half, Quarter & Eighth Notes |
|
| 1.1 4/4 - 4 bars: Quarter notes - including rests | |
| 1.2 4/4 - 4 bars: 8th & Quarter notes | |
| 1.3 4/4 - 4 bars: 8th notes - including rests | |
| 1.4 4/4 - 4 bars: 8th & Quarter notes - including rests | |
| 1.5 4/4 - 4 bars: Quarter & Half notes - including rests | |
| 1.6 4/4 - 4 bars: Half & Whole notes - including rests | |
| 1.7 4/4 - 4 bars: Quarter, Half & Whole notes - including rests | |
| 1.8 4/4 - 4 bars: 8th, Quarter, Half & Whole notes - including rests | |
2: 3/4 - 4 bars: Half, Quarter & Eighth Notes |
|
| 2.1 3/4 - 4 bars: Quarter notes - including rests | |
| 2.2 3/4 - 4 bars: 8th & Quarter notes | |
| 2.3 3/4 - 4 bars: 8th notes - including rests | |
| 2.4 3/4 - 4 bars: 8th & Quarter notes - including rests | |
| 2.5 3/4 - 4 bars: Quarter & Half notes - including rests | |
| 2.6 3/4 - 4 bars: 8th, Quarter & Half notes - including rests | |
3: 2/4 - 4 bars: Half, Quarter & Eighth Notes |
|
| 3.1 2/4 - 4 bars: Quarter notes - including rests | |
| 3.2 2/4 - 4 bars: 8th & Quarter notes | |
| 3.3 2/4 - 4 bars: 8th notes - including rests | |
| 3.4 2/4 - 4 bars: 8th & Quarter notes - including rests | |
| 3.5 2/4 - 4 bars: Quarter & Half notes - including rests | |
| 3.6 2/4 - 4 bars: 8th, Quarter & Half notes - including rests | |
4: 4/4 - 8 bars: Whole, half, Quarter & Eighth Notes |
|
| 4.1 4/4 - 8 bars: Quarter notes - including rests | |
| 4.2 4/4 - 8 bars: 8th & Quarter notes | |
| 4.3 4/4 - 8 bars: 8th notes - including rests | |
| 4.4 4/4 - 8 bars: 8th & Quarter notes - including rests | |
| 4.5 4/4 - 8 bars: Quarter & Half notes - including rests | |
| 4.6 4/4 - 8 bars: Half & Whole notes - including rests | |
| 4.7 4/4 - 8 bars: Quarter, Half & Whole notes - including rests | |
| 4.8 4/4 - 8 bars: 8th, Quarter, Half & Whole notes - including rests | |
5: 3/4 - 8 bars: Half, Quarter & Eighth Notes |
|
| 5.1 3/4 - 8 bars: Quarter notes - including rests | |
| 5.2 3/4 - 8 bars: 8th & Quarter notes | |
| 5.3 3/4 - 8 bars: 8th notes - including rests | |
| 5.4 3/4 - 8 bars: 8th & Quarter notes - including rests | |
| 5.5 3/4 - 8 bars: Quarter & Half notes - including rests | |
| 5.6 3/4 - 8 bars: 8th, Quarter & Half notes - including rests | |
6: 2/4 - 8 bars: Half, Quarter & Eighth Notes |
|
| 6.1 2/4 - 8 bars: Quarter notes - including rests | |
| 6.2 2/4 - 8 bars: 8th & Quarter notes | |
| 6.3 2/4 - 8 bars: 8th notes - including rests | |
| 6.4 2/4 - 8 bars: 8th & Quarter notes - including rests | |
| 6.5 2/4 - 8 bars: Quarter & Half notes - including rests | |
| 6.6 2/4 - 8 bars: 8th, Quarter & Half notes - including rests | |
7: 4/4: Introducing Sixteenth Note Groupings |
|
| 7.1 4/4 - 4 bars: 16th & Quarter notes | |
| 7.2 4/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 7.3 4/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
8: 3/4: Sixteenth Note Groupings |
|
| 8.1 3/4 - 4 bars: 16th & Quarter notes | |
| 8.2 3/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 8.3 3/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
9: 2/4: Sixteenth Note Groupings |
|
| 9.1 2/4 - 4 bars: 16th & Quarter notes | |
| 9.2 2/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 9.3 2/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
10: Advanced Sixteenth Note Groupings |
|
| 10.1 4/4 - 4 bars: 16th, 8th & Quarter notes | |
| 10.2 3/4 - 4 bars: 16th, 8th & Quarter notes | |
| 10.3 2/4 - 4 bars: 16th, 8th & Quarter notes | |
| 10.4 2/4, 3/4 & 4/4 - 4 bars: 16th, 8th & Quarter notes | |
| 10.5 4/4 - 4 bars: 16th, 8th & Quarter notes | |
| 10.6 3/4 - 4 bars: 16th, 8th & Quarter notes | |
| 10.7 2/4 - 4 bars: 16th, 8th & Quarter notes | |
| 10.8 2/4, 3/4 & 4/4 - 4 bars: 16th, 8th & Quarter notes | |
11: Advanced Sixteenth Note Groupings with Rests |
|
| 11.1 4/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 11.2 3/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 11.3 2/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 11.4 2/4, 3/4 & 4/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 11.5 4/4 - 4 bars: 16th & Quarter notes - including rests | |
| 11.6 3/4 - 4 bars: 16th & Quarter notes - including rests | |
| 11.7 2/4 - 4 bars: 16th & Quarter notes - including rests | |
| 11.8 2/4, 3/4 & 4/4 - 4 bars: 16th & Quarter notes - including rests | |
12: Advanced 16th and 8th Combinations with Rests |
|
| 12.1 4/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 12.2 3/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 12.3 2/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 12.4 2/4, 3/4 & 4/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 12.5 4/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 12.6 3/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 12.7 2/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 12.8 2/4, 3/4 & 4/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
13: All Note values from the Previous Lessons, Including Rests |
|
| 13.1 4/4 - 4 bars: 16th, 8th, Quarter, Half & Whole notes - including rests | |
| 13.2 3/4 - 4 bars: 16th, 8th, Quarter & Half notes - including rests | |
| 13.3 2/4 - 4 bars: 16th, 8th, Quarter & Half notes - including rests | |
| 13.4 2/4, 3/4 & 4/4 - 4 bars: 16th, 8th, Quarter & Half notes - including rests | |
14: 4/4: Triplets |
|
| 14.1 4/4 - 4 bars: Quarter notes, 8th triplets | |
| 14.2 4/4 - 4 bars: Quarter notes, 8th triplets - including rests | |
| 14.3 4/4 - 4 bars: Quarter & Half notes, 8th triplets - including rests | |
| 14.4 4/4 - 4 bars: Quarter notes, 8th triplets - including rests | |
| 14.5 4/4 - 4 bars: 8th & Quarter triplets | |
| 14.6 4/4 - 4 bars: 8th & Quarter triplets - including rests | |
| 14.7 4/4 - 4 bars: Quarter notes, 8th & Quarter triplets | |
| 14.8 4/4 - 4 bars: Quarter notes, 8th & Quarter triplets - including rests | |
| 14.9 4/4 - 4 bars: Half triplets | |
| 14.10 4/4 - 4 bars: Half triplets - including rests | |
| 14.11 4/4 - 4 bars: Quarter notes, 16th triplets | |
| 14.12 4/4 - 4 bars: Quarter notes, 16th triplets - including rests | |
| 14.13 4/4 - 4 bars: 16th triplets - including rests | |
| 14.14 4/4 - 4 bars: 16th & 8th triplets | |
| 14.15 4/4 - 4 bars: 16th & 8th triplets - including rests | |
| 14.16 4/4 - 4 bars: 16th, 8th, Quarter & Half triplets | |
| 14.17 4/4 - 4 bars: 16th, 8th, Quarter & Half triplets - including rests | |
15: Triplets, Now in 3/4 |
|
| 15.1 3/4 - 4 bars: Quarter notes, 8th triplets | |
| 15.2 3/4 - 4 bars: Quarter notes, 8th triplets - including rests | |
| 15.3 3/4 - 4 bars: Quarter & Half notes, 8th triplets - including rests | |
| 15.4 3/4 - 4 bars: Quarter notes, 8th triplets - including rests | |
| 15.5 3/4 - 4 bars: 8th & Quarter triplets | |
| 15.6 3/4 - 4 bars: 8th & Quarter triplets - including rests | |
| 15.7 3/4 - 4 bars: Quarter notes, 8th & Quarter triplets | |
| 15.8 3/4 - 4 bars: Quarter notes, 8th & Quarter triplets - including rests | |
| 15.9 3/4 - 4 bars: Quarter notes, 16th triplets | |
| 15.10 3/4 - 4 bars: Quarter notes, 16th triplets - including rests | |
| 15.11 3/4 - 4 bars: 16th triplets - including rests | |
| 15.12 3/4 - 4 bars: 16th & 8th triplets | |
| 15.13 3/4 - 4 bars: 16th & 8th triplets - including rests | |
| 15.14 3/4 - 4 bars: 16th, 8th & Quarter triplets | |
| 15.15 3/4 - 4 bars: 16th, 8th & Quarter triplets - including rests | |
16: Introducing a New Time Signature: 5/4 |
|
| 16.1 5/4 - 4 bars: 8th & Quarter notes - including rests | |
| 16.2 5/4 - 4 bars: 8th & Quarter notes - including rests | |
| 16.3 5/4 - 4 bars: 8th, Quarter & Half notes - including rests | |
| 16.4 5/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 16.5 5/4 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 16.6 5/4 - 4 bars: 16th, 8th, Quarter, Half & Whole notes - including rests | |
| 16.7 5/4 - 4 bars: 16th, 8th, Quarter, Half & Whole notes, 16th, 8th & Quarter triplets | |
| 16.8 5/4 - 4 bars: 16th, 8th, Quarter, Half & Whole notes, 16th, 8th & Quarter triplets - including rests | |
17: Introducing New Time Signatures: 3/8, 4/8 & 6/8 |
|
| 17.1 3/8, 4/8 & 6/8 - 4 bars: 16th & 8th notes | |
| 17.2 3/8, 4/8 & 6/8 - 4 bars: 16th & 8th notes - including rests | |
| 17.3 3/8, 4/8 & 6/8 - 4 bars: 16th, 8th & Quarter notes | |
| 17.4 3/8, 4/8 & 6/8 - 4 bars: 16th, 8th & Quarter notes - including rests | |
18: 6/8 with Dotted Subdivision |
|
| 18.1 6/8 - 4 bars: 8th notes, Quarter dotted notes | |
| 18.2 6/8 - 4 bars: 8th notes, Quarter dotted notes - including rests | |
| 18.3 6/8 - 4 bars: 8th & Quarter notes, Quarter dotted notes | |
| 18.4 6/8 - 4 bars: 8th & Quarter notes, Quarter dotted notes - including rests | |
| 18.5 6/8 - 4 bars: 16th, 8th & Quarter notes, Quarter dotted notes - including rests | |
19: Introducing the 9/8 Time Signature |
|
| 19.1 9/8 - 4 bars: 16th & 8th notes | |
| 19.2 9/8 - 4 bars: 16th & 8th notes - including rests | |
| 19.3 9/8 - 4 bars: 16th, 8th & Quarter notes | |
| 19.4 9/8 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 19.5 9/8 - 4 bars: 8th notes, Quarter dotted notes | |
| 19.6 9/8 - 4 bars: 8th notes, Quarter dotted notes - including rests | |
| 19.7 9/8 - 4 bars: 8th & Quarter notes, Quarter dotted notes | |
| 19.8 9/8 - 4 bars: 8th & Quarter notes, Quarter dotted notes - including rests | |
| 19.9 9/8 - 4 bars: 16th, 8th & Quarter notes, Quarter dotted notes - including rests | |
20: Introducing the 12/8 Time Signature |
|
| 20.1 12/8 - 4 bars: 16th & 8th notes | |
| 20.2 12/8 - 4 bars: 16th & 8th notes - including rests | |
| 20.3 12/8 - 4 bars: 16th, 8th & Quarter notes | |
| 20.4 12/8 - 4 bars: 16th, 8th & Quarter notes - including rests | |
| 20.5 12/8 - 4 bars: 8th notes, Quarter dotted notes | |
| 20.6 12/8 - 4 bars: 8th notes, Quarter dotted notes - including rests | |
| 20.7 12/8 - 4 bars: 8th & Quarter notes, Quarter dotted notes | |
| 20.8 12/8 - 4 bars: 8th & Quarter notes, Quarter dotted notes - including rests | |
| 20.9 12/8 - 4 bars: 16th, 8th & Quarter notes, Quarter dotted notes - including rests | |
21: Introducing New Time Signatures: 5/8 & 7/8 |
|
| 21.1 5/8 & 7/8 - 4 bars: 16th & 8th notes | |
| 21.2 5/8 & 7/8 - 4 bars: 16th & 8th notes - including rests | |
| 21.3 5/8 & 7/8 - 4 bars: 16th, 8th & Quarter notes | |
| 21.4 5/8 & 7/8 - 4 bars: 16th, 8th & Quarter notes - including rests | |
22: Introducing New Time Signatures: 2/2, 3/2 & 4/2 |
|
| 22.1 2/2, 3/2 & 4/2 - 4 bars: Half & Whole notes | |
| 22.2 2/2, 3/2 & 4/2 - 4 bars: Half & Whole notes - including rests | |
| 22.3 2/2, 3/2 & 4/2 - 4 bars: Quarter, Half & Whole notes | |
| 22.4 2/2, 3/2 & 4/2 - 4 bars: Quarter, Half & Whole notes - including rests | |
| 22.5 2/2, 3/2 & 4/2 - 4 bars: 8th, Quarter & Half notes - including rests | |
| 22.6 2/2, 3/2 & 4/2 - 4 bars: 8th, Quarter & Half notes - including rests | |
23: 4/4: Mixed Note Groupings |
|
| 23.1 4/4 - 4 bars: 8th notes, 8th triplets | |
| 23.2 4/4 - 4 bars: 8th notes, 8th triplets - including rests | |
| 23.3 4/4 - 4 bars: Quarter notes, Quarter triplets | |
| 23.4 4/4 - 4 bars: Quarter notes, Quarter triplets - including rests | |
| 23.5 4/4 - 4 bars: 8th & Quarter notes, 8th & Quarter triplets | |
| 23.6 4/4 - 4 bars: 8th & Quarter notes, 8th & Quarter triplets - including rests | |
| 23.7 4/4 - 4 bars: 16th notes, 16th triplets | |
| 23.8 4/4 - 4 bars: 16th notes, 16th triplets - including rests | |
| 23.9 4/4 - 4 bars: 16th & 8th notes, 16th & 8th triplets | |
| 23.10 4/4 - 4 bars: 16th & 8th notes, 16th & 8th triplets - including rests | |
| 23.11 4/4 - 4 bars: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets | |
| 23.12 4/4 - 4 bars: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets - including rests | |
24: 3/4: Mixed Note Groupings |
|
| 24.1 3/4 - 4 bars: 8th notes, 8th triplets | |
| 24.2 3/4 - 4 bars: 8th notes, 8th triplets - including rests | |
| 24.3 3/4 - 4 bars: Quarter notes, Quarter triplets | |
| 24.4 3/4 - 4 bars: Quarter notes, Quarter triplets - including rests | |
| 24.5 3/4 - 4 bars: 8th & Quarter notes, 8th & Quarter triplets | |
| 24.6 3/4 - 4 bars: 8th & Quarter notes, 8th & Quarter triplets - including rests | |
| 24.7 3/4 - 4 bars: 16th notes, 16th triplets | |
| 24.8 3/4 - 4 bars: 16th notes, 16th triplets - including rests | |
| 24.9 3/4 - 4 bars: 16th & 8th notes, 16th & 8th triplets | |
| 24.10 3/4 - 4 bars: 16th & 8th notes, 16th & 8th triplets - including rests | |
| 24.11 3/4 - 4 bars: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets | |
| 24.12 3/4 - 4 bars: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets - including rests | |
25: 4/4: Introducing 32nd Notes |
|
| 25.1 4/4 - 4 bars: 8th & Quarter notes - including rests | |
| 25.2 4/4 - 4 bars: 16th & 8th notes - including rests | |
| 25.3 4/4 - 4 bars: 32nd & 16th notes | |
| 25.4 4/4 - 4 bars: 32nd & 16th notes - including rests | |
| 25.5 4/4 - 4 bars: 32nd & 16th notes - including rests | |
| 25.6 4/4 - 4 bars: 32nd notes - including rests | |
| 25.7 4/4 - 4 bars: 32nd, 16th, 8th & Quarter notes | |
| 25.8 4/4 - 4 bars: 32nd, 16th, 8th & Quarter notes - including rests | |
26: 3/4: 32nd Notes |
|
| 26.1 3/4 - 4 bars: 8th & Quarter notes - including rests | |
| 26.2 3/4 - 4 bars: 16th & 8th notes - including rests | |
| 26.3 3/4 - 4 bars: 32nd & 16th notes | |
| 26.4 3/4 - 4 bars: 32nd & 16th notes - including rests | |
| 26.5 3/4 - 4 bars: 32nd & 16th notes - including rests | |
| 26.6 3/4 - 4 bars: 32nd notes - including rests | |
| 26.7 3/4 - 4 bars: 32nd, 16th, 8th & Quarter notes | |
| 26.8 3/4 - 4 bars: 32nd, 16th, 8th & Quarter notes - including rests | |
27: Final roundup |
|
| 27.1 Simple meters | |
| 27.2 Simple meters with rests | |
| 27.3 Compound meters | |
| 27.4 Compound meters with rests | |
| 27.5 Asymmetrical meters I | |
| 27.6 Asymmetrical meters II | |
📕 General Workshops - Rhythmic Dictation |
|
1: 4/4 - 1 bar: Whole, Half, Quarter & Eighth Notes |
|
| 1.1 4/4 - 1 bar: Quarter notes - including rests | |
| 1.2 4/4 - 1 bar: 8th & Quarter notes | |
| 1.3 4/4 - 1 bar: 8th notes - including rests | |
| 1.4 4/4 - 1 bar: 8th & Quarter notes - including rests | |
| 1.5 4/4 - 1 bar: Quarter & Half notes - including rests | |
| 1.6 4/4 - 1 bar: Half & Whole notes - including rests | |
| 1.7 4/4 - 1 bar: Quarter, Half & Whole notes - including rests | |
| 1.8 4/4 - 1 bar: 8th, Quarter, Half & Whole notes - including rests | |
2: 3/4 - 1 bar: Half, Quarter & Eighth Notes |
|
| 2.1 3/4 - 1 bar: Quarter notes - including rests | |
| 2.2 3/4 - 1 bar: 8th & Quarter notes | |
| 2.3 3/4 - 1 bar: 8th notes - including rests | |
| 2.4 3/4 - 1 bar: 8th & Quarter notes - including rests | |
| 2.5 3/4 - 1 bar: Quarter & Half notes - including rests | |
| 2.6 3/4 - 1 bar: 8th, Quarter & Half notes - including rests | |
3: 2/4 - 1 bar: Half, Quarter & Eighth Notes |
|
| 3.1 2/4 - 1 bar: Quarter notes - including rests | |
| 3.2 2/4 - 1 bar: 8th & Quarter notes | |
| 3.3 2/4 - 1 bar: 8th notes - including rests | |
| 3.4 2/4 - 1 bar: 8th & Quarter notes - including rests | |
| 3.5 2/4 - 1 bar: Quarter & Half notes - including rests | |
| 3.6 2/4 - 1 bar: 8th, Quarter & Half notes - including rests | |
4: 4/4 - 2 bars: Whole, half, Quarter & Eighth Notes |
|
| 4.1 4/4 - 2 bars: Quarter notes - including rests | |
| 4.2 4/4 - 2 bars: 8th & Quarter notes | |
| 4.3 4/4 - 2 bars: 8th notes - including rests | |
| 4.4 4/4 - 2 bars: 8th & Quarter notes - including rests | |
| 4.5 4/4 - 2 bars: Quarter & Half notes - including rests | |
| 4.6 4/4 - 2 bars: Half & Whole notes - including rests | |
| 4.7 4/4 - 2 bars: Quarter, Half & Whole notes - including rests | |
| 4.8 4/4 - 2 bars: 8th, Quarter, Half & Whole notes - including rests | |
5: 3/4 - 2 bars: Half, Quarter & Eighth Notes |
|
| 5.1 3/4 - 2 bars: Quarter notes - including rests | |
| 5.2 3/4 - 2 bars: 8th & Quarter notes | |
| 5.3 3/4 - 2 bars: 8th notes - including rests | |
| 5.4 3/4 - 2 bars: 8th & Quarter notes - including rests | |
| 5.5 3/4 - 2 bars: Quarter & Half notes - including rests | |
| 5.6 3/4 - 2 bars: 8th, Quarter & Half notes - including rests | |
6: 2/4 - 2 bars: Half, Quarter & Eighth Notes |
|
| 6.1 2/4 - 2 bars: Quarter notes - including rests | |
| 6.2 2/4 - 2 bars: 8th & Quarter notes | |
| 6.3 2/4 - 2 bars: 8th notes - including rests | |
| 6.4 2/4 - 2 bars: 8th & Quarter notes - including rests | |
| 6.5 2/4 - 2 bars: Quarter & Half notes - including rests | |
| 6.6 2/4 - 2 bars: 8th, Quarter & Half notes - including rests | |
7: 4/4: Introducing Sixteenth Note Groupings |
|
| 7.1 4/4 - 1 bar: 16th & Quarter notes | |
| 7.2 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 7.3 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
8: 3/4: Sixteenth Note Groupings |
|
| 8.1 3/4 - 1 bar: 16th & Quarter notes | |
| 8.2 3/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 8.3 3/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
9: 2/4: Sixteenth Note Groupings |
|
| 9.1 2/4 - 1 bar: 16th & Quarter notes | |
| 9.2 2/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 9.3 2/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
10: Advanced Sixteenth Note Groupings |
|
| 10.1 4/4 - 1 bar: 16th, 8th & Quarter notes | |
| 10.2 3/4 - 1 bar: 16th, 8th & Quarter notes | |
| 10.3 2/4 - 1 bar: 16th, 8th & Quarter notes | |
| 10.4 2/4, 3/4 & 4/4 - 1 bar: 16th, 8th & Quarter notes | |
| 10.5 4/4 - 1 bar: 16th, 8th & Quarter notes | |
| 10.6 3/4 - 1 bar: 16th, 8th & Quarter notes | |
| 10.7 2/4 - 1 bar: 16th, 8th & Quarter notes | |
| 10.8 2/4, 3/4 & 4/4 - 1 bar: 16th, 8th & Quarter notes | |
11: Advanced Sixteenth Note Groupings with Rests |
|
| 11.1 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 11.2 3/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 11.3 2/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 11.4 2/4, 3/4 & 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 11.5 4/4 - 1 bar: 16th & Quarter notes - including rests | |
| 11.6 3/4 - 1 bar: 16th & Quarter notes - including rests | |
| 11.7 2/4 - 1 bar: 16th & Quarter notes - including rests | |
| 11.8 2/4, 3/4 & 4/4 - 1 bar: 16th & Quarter notes - including rests | |
12: Advanced 16th and 8th Combinations with Rests |
|
| 12.1 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 12.2 3/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 12.3 2/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 12.4 2/4, 3/4 & 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 12.5 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 12.6 3/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 12.7 2/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 12.8 2/4, 3/4 & 4/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
13: All Note values from the Previous Lessons, Including Rests |
|
| 13.1 4/4 - 1 bar: 16th, 8th, Quarter, Half & Whole notes - including rests | |
| 13.2 3/4 - 1 bar: 16th, 8th, Quarter & Half notes - including rests | |
| 13.3 2/4 - 1 bar: 16th, 8th, Quarter & Half notes - including rests | |
| 13.4 2/4, 3/4 & 4/4 - 1 bar: 16th, 8th, Quarter & Half notes - including rests | |
14: 4/4: Triplets |
|
| 14.1 4/4 - 1 bar: Quarter notes, 8th triplets | |
| 14.2 4/4 - 1 bar: Quarter notes, 8th triplets - including rests | |
| 14.3 4/4 - 1 bar: Quarter & Half notes, 8th triplets - including rests | |
| 14.4 4/4 - 1 bar: Quarter notes, 8th triplets - including rests | |
| 14.5 4/4 - 1 bar: 8th & Quarter triplets | |
| 14.6 4/4 - 1 bar: 8th & Quarter triplets - including rests | |
| 14.7 4/4 - 1 bar: Quarter notes, 8th & Quarter triplets | |
| 14.8 4/4 - 1 bar: Quarter notes, 8th & Quarter triplets - including rests | |
| 14.9 4/4 - 1 bar: Half triplets | |
| 14.10 4/4 - 1 bar: Half triplets - including rests | |
| 14.11 4/4 - 1 bar: Quarter notes, 16th triplets | |
| 14.12 4/4 - 1 bar: Quarter notes, 16th triplets - including rests | |
| 14.13 4/4 - 1 bar: 16th triplets - including rests | |
| 14.14 4/4 - 1 bar: 16th & 8th triplets | |
| 14.15 4/4 - 1 bar: 16th & 8th triplets - including rests | |
| 14.16 4/4 - 1 bar: 16th, 8th, Quarter & Half triplets | |
| 14.17 4/4 - 1 bar: 16th, 8th, Quarter & Half triplets - including rests | |
15: Triplets, Now in 3/4 |
|
| 15.1 3/4 - 1 bar: Quarter notes, 8th triplets | |
| 15.2 3/4 - 1 bar: Quarter notes, 8th triplets - including rests | |
| 15.3 3/4 - 1 bar: Quarter & Half notes, 8th triplets - including rests | |
| 15.4 3/4 - 1 bar: Quarter notes, 8th triplets - including rests | |
| 15.5 3/4 - 1 bar: 8th & Quarter triplets | |
| 15.6 3/4 - 1 bar: 8th & Quarter triplets - including rests | |
| 15.7 3/4 - 1 bar: Quarter notes, 8th & Quarter triplets | |
| 15.8 3/4 - 1 bar: Quarter notes, 8th & Quarter triplets - including rests | |
| 15.9 3/4 - 1 bar: Quarter notes, 16th triplets | |
| 15.10 3/4 - 1 bar: Quarter notes, 16th triplets - including rests | |
| 15.11 3/4 - 1 bar: 16th triplets - including rests | |
| 15.12 3/4 - 1 bar: 16th & 8th triplets | |
| 15.13 3/4 - 1 bar: 16th & 8th triplets - including rests | |
| 15.14 3/4 - 1 bar: 16th, 8th & Quarter triplets | |
| 15.15 3/4 - 1 bar: 16th, 8th & Quarter triplets - including rests | |
16: Introducing a New Time Signature: 5/4 |
|
| 16.1 5/4 - 1 bar: 8th & Quarter notes - including rests | |
| 16.2 5/4 - 1 bar: 8th & Quarter notes - including rests | |
| 16.3 5/4 - 1 bar: 8th, Quarter & Half notes - including rests | |
| 16.4 5/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 16.5 5/4 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 16.6 5/4 - 1 bar: 16th, 8th, Quarter, Half & Whole notes - including rests | |
| 16.7 5/4 - 1 bar: 16th, 8th, Quarter, Half & Whole notes, 16th, 8th & Quarter triplets | |
| 16.8 5/4 - 1 bar: 16th, 8th, Quarter, Half & Whole notes, 16th, 8th & Quarter triplets - including rests | |
17: Introducing New Time Signatures: 3/8, 4/8 & 6/8 |
|
| 17.1 3/8, 4/8 & 6/8 - 1 bar: 16th & 8th notes | |
| 17.2 3/8, 4/8 & 6/8 - 1 bar: 16th & 8th notes - including rests | |
| 17.3 3/8, 4/8 & 6/8 - 1 bar: 16th, 8th & Quarter notes | |
| 17.4 3/8, 4/8 & 6/8 - 1 bar: 16th, 8th & Quarter notes - including rests | |
18: 6/8 with Dotted Subdivision |
|
| 18.1 6/8 - 1 bar: 8th notes, Quarter dotted notes | |
| 18.2 6/8 - 1 bar: 8th notes, Quarter dotted notes - including rests | |
| 18.3 6/8 - 1 bar: 8th & Quarter notes, Quarter dotted notes | |
| 18.4 6/8 - 1 bar: 8th & Quarter notes, Quarter dotted notes - including rests | |
| 18.5 6/8 - 1 bar: 16th, 8th & Quarter notes, Quarter dotted notes - including rests | |
19: Introducing the 9/8 Time Signature |
|
| 19.1 9/8 - 1 bar: 16th & 8th notes | |
| 19.2 9/8 - 1 bar: 16th & 8th notes - including rests | |
| 19.3 9/8 - 1 bar: 16th, 8th & Quarter notes | |
| 19.4 9/8 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 19.5 9/8 - 1 bar: 8th notes, Quarter dotted notes | |
| 19.6 9/8 - 1 bar: 8th notes, Quarter dotted notes - including rests | |
| 19.7 9/8 - 1 bar: 8th & Quarter notes, Quarter dotted notes | |
| 19.8 9/8 - 1 bar: 8th & Quarter notes, Quarter dotted notes - including rests | |
| 19.9 9/8 - 1 bar: 16th, 8th & Quarter notes, Quarter dotted notes - including rests | |
20: Introducing the 12/8 Time Signature |
|
| 20.1 12/8 - 1 bar: 16th & 8th notes | |
| 20.2 12/8 - 1 bar: 16th & 8th notes - including rests | |
| 20.3 12/8 - 1 bar: 16th, 8th & Quarter notes | |
| 20.4 12/8 - 1 bar: 16th, 8th & Quarter notes - including rests | |
| 20.5 12/8 - 1 bar: 8th notes, Quarter dotted notes | |
| 20.6 12/8 - 1 bar: 8th notes, Quarter dotted notes - including rests | |
| 20.7 12/8 - 1 bar: 8th & Quarter notes, Quarter dotted notes | |
| 20.8 12/8 - 1 bar: 8th & Quarter notes, Quarter dotted notes - including rests | |
| 20.9 12/8 - 1 bar: 16th, 8th & Quarter notes, Quarter dotted notes - including rests | |
21: Introducing New Time Signatures: 5/8 & 7/8 |
|
| 21.1 5/8 & 7/8 - 1 bar: 16th & 8th notes | |
| 21.2 5/8 & 7/8 - 1 bar: 16th & 8th notes - including rests | |
| 21.3 5/8 & 7/8 - 1 bar: 16th, 8th & Quarter notes | |
| 21.4 5/8 & 7/8 - 1 bar: 16th, 8th & Quarter notes - including rests | |
22: Introducing New Time Signatures: 2/2, 3/2 & 4/2 |
|
| 22.1 2/2, 3/2 & 4/2 - 1 bar: Half & Whole notes | |
| 22.2 2/2, 3/2 & 4/2 - 1 bar: Half & Whole notes - including rests | |
| 22.3 2/2, 3/2 & 4/2 - 1 bar: Quarter, Half & Whole notes | |
| 22.4 2/2, 3/2 & 4/2 - 1 bar: Quarter, Half & Whole notes - including rests | |
| 22.5 2/2, 3/2 & 4/2 - 1 bar: 8th, Quarter & Half notes - including rests | |
| 22.6 2/2, 3/2 & 4/2 - 1 bar: 8th, Quarter & Half notes - including rests | |
23: 4/4: Mixed Note Groupings |
|
| 23.1 4/4 - 1 bar: 8th notes, 8th triplets | |
| 23.2 4/4 - 1 bar: 8th notes, 8th triplets - including rests | |
| 23.3 4/4 - 1 bar: Quarter notes, Quarter triplets | |
| 23.4 4/4 - 1 bar: Quarter notes, Quarter triplets - including rests | |
| 23.5 4/4 - 1 bar: 8th & Quarter notes, 8th & Quarter triplets | |
| 23.6 4/4 - 1 bar: 8th & Quarter notes, 8th & Quarter triplets - including rests | |
| 23.7 4/4 - 1 bar: 16th notes, 16th triplets | |
| 23.8 4/4 - 1 bar: 16th notes, 16th triplets - including rests | |
| 23.9 4/4 - 1 bar: 16th & 8th notes, 16th & 8th triplets | |
| 23.10 4/4 - 1 bar: 16th & 8th notes, 16th & 8th triplets - including rests | |
| 23.11 4/4 - 1 bar: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets | |
| 23.12 4/4 - 1 bar: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets - including rests | |
24: 3/4: Mixed Note Groupings |
|
| 24.1 3/4 - 1 bar: 8th notes, 8th triplets | |
| 24.2 3/4 - 1 bar: 8th notes, 8th triplets - including rests | |
| 24.3 3/4 - 1 bar: Quarter notes, Quarter triplets | |
| 24.4 3/4 - 1 bar: Quarter notes, Quarter triplets - including rests | |
| 24.5 3/4 - 1 bar: 8th & Quarter notes, 8th & Quarter triplets | |
| 24.6 3/4 - 1 bar: 8th & Quarter notes, 8th & Quarter triplets - including rests | |
| 24.7 3/4 - 1 bar: 16th notes, 16th triplets | |
| 24.8 3/4 - 1 bar: 16th notes, 16th triplets - including rests | |
| 24.9 3/4 - 1 bar: 16th & 8th notes, 16th & 8th triplets | |
| 24.10 3/4 - 1 bar: 16th & 8th notes, 16th & 8th triplets - including rests | |
| 24.11 3/4 - 1 bar: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets | |
| 24.12 3/4 - 1 bar: 16th, 8th & Quarter notes, 16th, 8th & Quarter triplets - including rests | |
25: 4/4: Introducing 32nd Notes |
|
| 25.1 4/4 - 1 bar: 8th & Quarter notes - including rests | |
| 25.2 4/4 - 1 bar: 16th & 8th notes - including rests | |
| 25.3 4/4 - 1 bar: 32nd & 16th notes | |
| 25.4 4/4 - 1 bar: 32nd & 16th notes - including rests | |
| 25.5 4/4 - 1 bar: 32nd & 16th notes - including rests | |
| 25.6 4/4 - 1 bar: 32nd notes - including rests | |
| 25.7 4/4 - 1 bar: 32nd, 16th, 8th & Quarter notes | |
| 25.8 4/4 - 1 bar: 32nd, 16th, 8th & Quarter notes - including rests | |
26: 3/4: 32nd Notes |
|
| 26.1 3/4 - 1 bar: 8th & Quarter notes - including rests | |
| 26.2 3/4 - 1 bar: 16th & 8th notes - including rests | |
| 26.3 3/4 - 1 bar: 32nd & 16th notes | |
| 26.4 3/4 - 1 bar: 32nd & 16th notes - including rests | |
| 26.5 3/4 - 1 bar: 32nd & 16th notes - including rests | |
| 26.6 3/4 - 1 bar: 32nd notes - including rests | |
| 26.7 3/4 - 1 bar: 32nd, 16th, 8th & Quarter notes | |
| 26.8 3/4 - 1 bar: 32nd, 16th, 8th & Quarter notes - including rests | |
27: All the Time Signatures from the Previous Lessons |
|
| 27.1 Mixed Time Signatures with 32nd, 16th, 8th & Quarter Notes | |
| 27.2 Mixed Time Signatures with 32nd, 16th, 8th & Quarter Notes + Rests | |
📕 General Workshops - Scale Identification |
|
1: Module 1 |
|
| 1.1 Major, Lydian and Mixolydian (begin with 1-1) | |
| 1.2 Scales with minor sound (begin with 1-½) | |
| 1.3 Phrygian and Locrian (begin with ½-1) | |
| 1.4 All modes and harmonic and melodic minor | |
| 1.5 Whole tone and variants of Lydian and Mixolydian | |
| 1.6 Melodic minor, Locrian (#2) and Dim (1-½) | |
| 1.7 Phrygian (#6), Altered and Dim (½-1) | |
| 1.8 Derivatives of melodic minor, Whole tone and Dim | |
| 1.9 All scales and modes from lessons 1-8 | |
| 1.10 Derivatives of harmonic minor | |
| 1.11 The two pentatonic scales | |
| 1.12 All modes - descending | |
| 1.13 Derivatives of harmonic minor - descending | |
📕 Jazz Workshops - Chord Identification |
|
1: Module 1 |
|
| 1.1 Four note chords #1: major | |
| 1.2 Four note chords #2: minor | |
| 1.3 Four note chords #3: dim7, mi7(b5) | |
| 1.4 Four note chords #4 | |
| 1.5 Four note chords #5: maj7 dissonant | |
| 1.6 Four note chords #6: major7 dissonant | |
| 1.7 Four note chords #7: minor dissonant | |
| 1.8 Four note chords #8: the six most dissonant | |
| 1.9 Four note chords #9: all | |
| 1.10 Tonic major: Five and six note chords | |
| 1.11 Tonic major: 4 to 7 note chords, Lydian scale | |
| 1.12 Tonic major, mixed | |
| 1.13 Tonic minor: 5 and 6 note chords | |
| 1.14 Tonic minor: Dorian and melodic scales | |
| 1.15 mi7(b5) chords | |
| 1.16 Minor chords, mixed | |
| 1.17 Dominants, Mixolydian scale | |
| 1.18 Dominants, Mixolydian #11 mode | |
| 1.19 Dominants, altered scale | |
| 1.20 Dominants, diminished scale | |
| 1.21 Dominants, mixed | |
| 1.22 All chords, mixed | |
📕 Jazz Workshops - Chord Identification |
|
1: Module 1 |
|
| 1.1 Four note chords #1: major | |
| 1.2 Four note chords #2: minor | |
| 1.3 Four note chords #3: dim7, mi7(b5) | |
| 1.4 Four note chords #4 | |
| 1.5 Four note chords #5: maj7 dissonant | |
| 1.6 Four note chords #6: major7 dissonant | |
| 1.7 Four note chords #7: minor dissonant | |
| 1.8 Four note chords #8: the six most dissonant | |
| 1.9 Four note chords #9: all | |
| 1.10 Tonic major: Five and six note chords | |
| 1.11 Tonic major: 4 to 7 note chords, Lydian scale | |
| 1.12 Tonic major, mixed | |
| 1.13 Tonic minor: 5 and 6 note chords | |
| 1.14 Tonic minor: Dorian and melodic scales | |
| 1.15 mi7(b5) chords | |
| 1.16 Minor chords, mixed | |
| 1.17 Dominants, Mixolydian scale | |
| 1.18 Dominants, Mixolydian #11 mode | |
| 1.19 Dominants, altered scale | |
| 1.20 Dominants, diminished scale | |
| 1.21 Dominants, mixed | |
| 1.22 All chords, mixed | |
📕 Jazz Workshops - Chord Progressions |
|
1: Module 1 |
|
| 1.1 Diatonic progressions, major | |
| 1.2 Diatonic progressions, major | |
| 1.3 Diatonic progressions, major | |
| 1.4 Diatonic progressions, minor | |
| 1.5 Diatonic progressions, minor, with Dominant 7 | |
| 1.6 Diatonic progressions, major, with Dominant V7/IV | |
| 1.7 Diatonic major, with Dominant V7/V | |
| 1.8 Diatonic major, with Dominant V7/II | |
| 1.9 Diatonic major, with Dominant V7/VI | |
| 1.10 Diatonic major, with Dominant V7/III | |
| 1.11 Major with all 5 secondary dominants | |
| 1.12 Major with tritone substituted dominants #1 | |
| 1.13 Major with tritone substituted dominants #2 | |
| 1.14 Major with tritone substituted dominants #3 | |
| 1.15 Major with a modal interchange chord | |
| 1.16 Major with at least 2 modal interchange chords | |
| 1.17 Major, various number of modal interchange chords | |
| 1.18 All themes mixed! | |
📕 Jazz Workshops - Melodic Dictation |
|
1: Blues Scales and Songs |
|
| 1.1 Blues “licks:” 3 to 4 tones in the Key of C (1 bar) | |
| 1.2 Blues “licks:” 3 to 4 tones in the Key of F (1 bar) | |
| 1.3 Blues “licks:” 3 to 4 tones in Key of G (1 bar) | |
| 1.4 Blues “licks:” 5 to 6 tones in the Key of C (2 bars) | |
| 1.5 Melodies on the Blues Scale-7 to 8 tones in the Keys of C, F, and G, (2 bars) | |
| 1.6 Melodic Dictation: "St. Louis Blues" | |
| 1.7 Melodic Dictation: "Beale Street Blues" | |
| 1.8 Exam: Blues "Licks" and "St. Louis Blues" | |
2: 1920's American Swing Hits |
|
| 2.1 Review of Melodic Patterns: Keys of Bb, Eb, A and D (5 to 6 tones) | |
| 2.2 Melodic Dictation: "By the Light of the Silvery Moon" | |
| 2.3 Melodic Dictation: "Swanee" | |
| 2.4 Melodic Dictation: "Rock-a-bye Your Baby" | |
| 2.5 Melodic Dictation: "T'ain't Nobody's Business If I Do" | |
| 2.6 Exam: American Swing Hits of the 1920's | |
3: Ballads and Blues in Minor |
|
| 3.1 Natural Minor Patterns: 3 to 4 tones | |
| 3.2 Natural Minor Patterns: 5 to 6 tones | |
| 3.3 Melodic Dictation: "St. James Infirmary Blues" | |
| 3.4 Melodic Dictation: "Flee as a Bird" | |
| 3.5 Melodic Dictation: "King Chanticleer" | |
| 3.6 Melodic Dictation: "Some of these Days" | |
| 3.7 Exam: Ballads and Blues in Minor Keys | |
4: Novelty Songs & Rhythms |
|
| 4.1 Blues Scale: 5 to 6 tones in 3/4 meter with swing 8ths | |
| 4.2 Blues Scale: 5 to 6 tones in 3/4 meter with octave leaps | |
| 4.3 Melodic Dictation: "Missouri Waltz" | |
| 4.4 Melodic Dictation: "Sheik of Araby" | |
| 4.5 Melodic Dictation: "Ja Da" | |
| 4.6 Melodic Dictation: "Ain't We Got Fun" | |
| 4.7 Exam: Novelty Songs and Rhythms | |
5: Irish Ballads & Folk Music |
|
| 5.1 Major Scales: Two-Measure Melodies with 7th leaps | |
| 5.2 Melodic Dictation: "Too Ra Loo Ra Loo Ral" | |
| 5.3 Melodic Dictation: "When Irish Eyes are Smiling" | |
| 5.4 Melodic Dictation: "Careless Love" | |
| 5.5 Melodic Dictation: "The Bells of St. Mary's" | |
| 5.6 Exam: Irish Ballads and Folk Music | |
6: Fun with Irving Berlin |
|
| 6.1 Melodic Dictation: "Alexander's Ragtime Band" | |
| 6.2 Melodic Dictation: "When the Midnight Choo Choo Leaves for Alabam" | |
| 6.3 Melodic Dictation: "At the Devil's Ball" | |
| 6.4 Melodic Dictation: "Mandy" | |
| 6.5 Melodic Dictation: "I Never Knew" | |
| 6.6 Exam: Fun with Irving Berlin | |
7: Transcribe “After You've Gone” |
|
| 7.1 After You've Gone | |
📕 Jazz Workshops - Melodic Sight-Singing |
|
1: Blues Scales and Blues Songs |
|
| 1.1 Blues “licks:” 3 to 4 tones in the Key of C (1 bar) | |
| 1.2 Blues “licks:” 3 to 4 tones in the Key of F (1 bar) | |
| 1.3 Blues “licks:” 3 to 4 tones in Key of G (1 bar) | |
| 1.4 Blues “licks:” 5 to 6 tones in the Key of C (2 bars) | |
| 1.5 Melodies on the Blues Scale-7 to 8 tones in the Keys of C, F, and G, (2 bars) | |
| 1.6 Listening Activity: "St. Louis Blues" by W.C. Handy | |
| 1.7 Sight-Singing: "St. Louis Blues" | |
| 1.8 Listening Activity: "Beale Street Blues" | |
| 1.9 Sight-Singing: "Beale Street Blues" | |
| 1.10 Exam: Blues "Licks" and "The Blues" | |
2: 1920's American Swing Hits |
|
| 2.1 Review of Melodic Patterns: Keys of Bb, Eb, A and D (5 to 6 tones) | |
| 2.2 Listening Activity: "By the Light of the Silvery Moon" | |
| 2.3 Sight-Singing: "By the Light of the Silvery Moon" | |
| 2.4 Listening Activity: "Swanee" by George Gershwin | |
| 2.5 Sight-Singing: "Swanee" | |
| 2.6 Listening Activity: "Rock-a-bye Your Baby (With a Dixie Melody)" | |
| 2.7 Sight-Singing: "Rock-a-bye Your Baby" | |
| 2.8 Listening Activity: "T'ain't Nobody's Business If I Do" | |
| 2.9 Sight-Singing: "Taint Nobody's Business..." | |
| 2.10 Exam: American Swing Hits of the 1920's | |
3: Ballads and Blues in Minor |
|
| 3.1 Natural Minor Patterns: 3 to 4 tones | |
| 3.2 Natural Minor Patterns: 5 to 6 tones | |
| 3.3 Listening Activity: "St. James Infirmary Blues" | |
| 3.4 Sight-Singing: "St. James Infirmary Blues" | |
| 3.5 Listening Activity: "Flee as a Bird" | |
| 3.6 Sight-Singing: "Flee as a Bird" | |
| 3.7 Listening Activity: "King Chanticleer" | |
| 3.8 Sight-Singing: "King Chanticleer" | |
| 3.9 Listening Activity: "Some of These Days" | |
| 3.10 Sight-Singing: "Some of these Days" | |
| 3.11 Exam: Ballads and Blues in Minor Keys | |
4: Novelty Songs & Rhythms |
|
| 4.1 Blues Scale: 5 to 6 tones in 3/4 meter with swing 8ths | |
| 4.2 Blues Scale: 5 to 6 tones in 3/4 meter with octave leaps | |
| 4.3 Listening Activity: "Missouri Waltz" | |
| 4.4 Sight-Singing: "Missouri Waltz" | |
| 4.5 Listening Activity: "The Sheik of Araby" | |
| 4.6 Sight-Singing: "Sheik of Araby" | |
| 4.7 Listening Activity: "Ja Da" | |
| 4.8 Sight-Singing: "Ja Da" | |
| 4.9 Listening Activity: "Ain't We Got Fun | |
| 4.10 Sight-Singing: "Ain't We Got Fun" | |
| 4.11 Exam: Novelty songs and Rhythms | |
5: Irish Ballads & Folk Music |
|
| 5.1 Major Scales: Two-measure melodies with 7th interval leaps | |
| 5.2 Listening Activity: "Too-ra-loo-ra-loo-ra" | |
| 5.3 Sight-Singing: "Too Ra Loo" | |
| 5.4 Listening Activity: "When Irish Eyes are Smiling" | |
| 5.5 Sight-Singing: "When Irish Eyes are Smiling" | |
| 5.6 Listening Activity: "Careless Love" | |
| 5.7 Sight-Singing: "Careless Love" | |
| 5.8 Listening Activity: "The Bells of St. Mary's" | |
| 5.9 Sight-Singing: "The Bells of St. Mary's" | |
| 5.10 Exam: Irish Ballads and Folk Music | |
6: Fun with Irving Berlin |
|
| 6.1 Listening Activity: "Alexander's Ragtime Band" | |
| 6.2 Sight-Singing: "Alexander's Ragtime Band" | |
| 6.3 Listening Activity: "Midnight Choo Choo" | |
| 6.4 Sight-Singing: "When the Midnight Choo Choo" | |
| 6.5 Listening Activity: "At the Devil's Ball" | |
| 6.6 Sight-Singing: "At the Devil's Ball" | |
| 6.7 Listening Activity: "Mandy" | |
| 6.8 Sight-Singing: "Mandy" | |
| 6.9 Listening Activity: "I Never Knew" | |
| 6.10 Sight-Singing: "I Never Knew" | |
| 6.11 Exam: Fun with Irving Berlin | |
7: Sight-Sing “After You've Gone” |
|
| 7.1 After You've Gone | |
📕 Jazz Workshops - Melody Singback |
|
1: Blues Scales and Blues Songs |
|
| 1.1 Blues “licks:” 3 to 4 tones in the Key of C (1 bar) | |
| 1.2 Blues “licks:” 3 to 4 tones in the Key of F (1 bar) | |
| 1.3 Blues “licks:” 3 to 4 tones in Key of G (1 bar) | |
| 1.4 Blues “licks:” 5 to 6 tones in the Key of C (2 bars) | |
| 1.5 Melodies on the Blues Scale-7 to 8 tones in the Keys of C, F, and G, (2 bars) | |
| 1.6 Sing or play back: "St. Louis Blues" | |
| 1.7 Sing or play back: "Beale Street Blues" | |
| 1.8 Exam: Blues "Licks" and "The Blues" | |
2: 1920's American Swing Hits |
|
| 2.1 Review of Melodic Patterns: Keys of Bb, Eb, A and D (5 to 6 tones) | |
| 2.2 Sing or play back: "By the Light of the Silvery Moon" | |
| 2.3 Sing or play back: "Swanee" | |
| 2.4 Sing or play back: "Rock-a-bye Your Baby" | |
| 2.5 Sing or play back: "Taint Nobody's Business..." | |
| 2.6 Exam: American Swing Hits of the 1920's | |
3: Ballads and Blues in Minor |
|
| 3.1 Natural Minor Patterns: 3 to 4 tones | |
| 3.2 Natural Minor Patterns: 5 to 6 tones | |
| 3.3 Sing or play back: "St. James Infirmary Blues" | |
| 3.4 Sing or play back: "Flee as a Bird" | |
| 3.5 Sing or play back: "King Chanticleer" | |
| 3.6 Sing or play back: "Some of these Days" | |
| 3.7 Exam: Ballads and Blues in Minor Keys | |
4: Novelty Songs & Rhythms |
|
| 4.1 Blues Scale: 5 to 6 tones in 3/4 meter with swing 8ths | |
| 4.2 Blues Scale: 5 to 6 tones in 3/4 meter with octave leaps | |
| 4.3 Sing or play back: "Missouri Waltz" | |
| 4.4 Sing or play back: "Sheik of Araby" | |
| 4.5 Sing or play back: "Ja Da" | |
| 4.6 Sing or play back: "Ain't We Got Fun" | |
| 4.7 Exam: Novelty Songs and Rhythms | |
5: Irish Ballads & Folk Music |
|
| 5.1 Major Scales: Two-measure melodies with 7th interval leaps | |
| 5.2 Sing or play back: "Too Ra Loo" | |
| 5.3 Sing or play back: "When Irish Eyes are Smiling" | |
| 5.4 Sing or play back: "Careless Love" | |
| 5.5 Sing or play back: "The Bells of St. Mary's" | |
| 5.6 Exam: Irish Ballads and Folk Music | |
6: Fun with Irving Berlin |
|
| 6.1 Sing or play back: "Alexander's Ragtime Band" | |
| 6.2 Sing or play back: "When the Midnight Choo Choo" | |
| 6.3 Sing or play back: "At the Devil's Ball" | |
| 6.4 Sing or play back: "Mandy" | |
| 6.5 Sing or play back: "I Never Knew" | |
| 6.6 Exam: Fun with Irving Berlin | |
7: Play “After You've Gone” by ear |
|
| 7.1 After You've Gone | |
📕 Jazz Workshops - Rhythm Clapback |
|
1: Module 1 |
|
| 1.1 4/4 swing, half-, quarter- and eighth notes | |
| 1.2 4/4 swing with rests | |
| 1.3 4/4 swing, quarter notes and eighths, faster tempo | |
| 1.4 3/4 swing, quarter notes, eighths and rests | |
| 1.5 3/4 and 4/4 swing - two bars! | |
| 1.6 4/4 swing with eighth note triplets | |
| 1.7 4/4 swing with triplets | |
| 1.8 4/4 swing with triplets and rests | |
| 1.9 3/4 swing with triplets | |
| 1.10 3/4 and 4/4 swing, triplets and rest | |
| 1.11 6/8 | |
| 1.12 6/8 with rests | |
| 1.13 6/8, with rests and ties | |
| 1.14 4/4 straight with eighths and sixteenths. | |
| 1.15 3/4 and 4/4 straight with rests | |
| 1.16 6/8 with sixteenths | |
| 1.17 6/8 with sixteenths and ties | |
| 1.18 6/8 with sixteenths, rests and ties | |
| 1.19 6/8 with sixteenths. 2 bars. | |
| 1.20 6/8 with sixteenths and ties. 2 bars. | |
| 1.21 6/8 with sixteenths, rests and ties | |
| 1.22 Medium upswing, quarter notes, eighths and rests | |
| 1.23 Up-tempo swing, quarter notes, eighths and rests | |
| 1.24 Medium upswing, with rests and ties | |
| 1.25 Up-tempo swing, with rests and ties | |
| 1.26 Medium upswing, quarter notes, eighths and rests. | |
| 1.27 Up-tempo swing, tempo 200. Two bars | |
| 1.28 Medium upswing, with rests and ties. Two bars | |
| 1.29 Medium upswing, 2 bars, with quarter note triplets | |
| 1.30 Up-tempo swing, rests and ties. | |
| 1.31 Up-tempo swing, with quarter note triplets | |
| 1.32 Sixteenths swing. One bar | |
| 1.33 Sixteenths swing with sixteenth note triplets | |
| 1.34 Sixteenths swing with triplets and ties | |
| 1.35 Sixteenths swing with sixteenth note triplets | |
| 1.36 Straight rhythms with 16th and 32nd notes | |
| 1.37 Rhythms with 16th and 32nd notes and ties | |
| 1.38 Up-tempo swing with quarter note triplets. Two bars | |
| 1.39 Up-tempo swing with rests. Two bars | |
| 1.40 Up-tempo swing with more eighths. Two bars. | |
| 1.41 Up-tempo swing with quarter note triplets. 3 bars! | |
| 1.42 Up-tempo swing with rests. 3 bars. | |
| 1.43 Swing eighths with straight sixteenths. | |
| 1.44 Swing eighths with straight sixteenths and rests. | |
| 1.45 Sixteenths swing. 2 bars. | |
| 1.46 Sixteenths swing with triplets and ties. 2 bars. | |
| 1.47 Up-tempo swing with more eighths. | |
| 1.48 Swinging eighths and straight sixteenths. | |
| 1.49 Swinging eighths, straight sixteenths and rests. | |
📕 Jazz Workshops - Rhythm Error Detection |
|
1: Module 1 |
|
| 1.1 4/4 swing, one bar, one error | |
| 1.2 4/4 swing, 2 bars, 2 errors | |
| 1.3 4/4 swing with rests | |
| 1.4 4/4 swing with rests, 2 bars, 2 errors | |
| 1.5 4/4 swing, faster tempo | |
| 1.6 4/4 swing, 2 bars, 2 errors | |
| 1.7 3/4 swing, 2 bars, 2 errors | |
| 1.8 3/4 and 4/4 swing, 2 errors | |
| 1.9 4/4 swing with eighth note triplets, 2 errors | |
| 1.10 4/4 swing with triplets, 2 errors | |
| 1.11 4/4 swing with triplets, 3 errors | |
| 1.12 4/4 swing with triplets and rests, 2 errors | |
| 1.13 4/4 swing with triplets and rests, 3 errors | |
| 1.14 3/4 swing with triplets, 2 bars, 2 errors | |
| 1.15 3/4 and 4/4 swing, triplets and rests, 4 errors | |
| 1.16 6/8, 2 errors | |
| 1.17 6/8, 2 errors | |
| 1.18 6/8 with rests, 2 errors | |
| 1.19 6/8 with rests, 3 errors | |
| 1.20 6/8 with rests and more eighths, 2 errors | |
| 1.21 6/8 with rests, 4 errors | |
| 1.22 4/4 with straight eighths and sixteenths, 2 errors | |
| 1.23 4/4 with straight eighths and sixteenths, 4 errors | |
| 1.24 3/4 and 4/4 straight, with rests, 2 errors | |
| 1.25 3/4 and 4/4 straight, with rests, 4 errors | |
| 1.26 6/8 with sixteenths, 2 errors | |
| 1.27 6/8 with sixteenths, 3 errors | |
| 1.28 6/8 with sixteenths, 2 errors | |
| 1.29 6/8 with triplets, 3 errors | |
| 1.30 Medium upswing | |
| 1.31 Medium upswing | |
| 1.32 Sixteenths swing | |
| 1.33 Sixteenths swing | |
| 1.34 Sixteenths swing with sixteenth note triplets | |
| 1.35 Sixteenths swing with sixteenth note triplets | |
| 1.36 Straight rhythms with 16th and 32nd notes #1 | |
| 1.37 Straight rhythms with 16th and 32nd notes #2 | |
| 1.38 Straight rhythms with 16th and 32nd notes #3 | |
| 1.39 Up-tempo swing #1 | |
| 1.40 Up-tempo swing #2 | |
| 1.41 Up-tempo swing #3 | |
| 1.42 Swing eighths with straight sixteenths | |
| 1.43 Swing eighths with straight sixteenths | |
📕 Jazz Workshops - Rhythmic Dictation |
|
1: Module 1 |
|
| 1.1 4/4 swing, half-, quarter- and eighth notes | |
| 1.2 4/4 swing with rests | |
| 1.3 4/4 swing, quarter notes and eighths, faster tempo | |
| 1.4 3/4 swing, quarter notes, eighths and rests | |
| 1.5 3/4 and 4/4 swing - two bars! | |
| 1.6 4/4 swing with eighth note triplets | |
| 1.7 4/4 swing with triplets | |
| 1.8 4/4 swing with triplets and rests | |
| 1.9 3/4 swing with triplets | |
| 1.10 3/4 and 4/4 swing, triplets and rest | |
| 1.11 6/8 | |
| 1.12 6/8 with rests | |
| 1.13 6/8, with rests and ties | |
| 1.14 4/4 straight with eighths and sixteenths. | |
| 1.15 3/4 and 4/4 straight with rests | |
| 1.16 6/8 with sixteenths | |
| 1.17 6/8 with sixteenths and ties | |
| 1.18 6/8 with sixteenths, rests and ties | |
| 1.19 6/8 with sixteenths. 2 bars. | |
| 1.20 6/8 with sixteenths and ties. 2 bars. | |
| 1.21 6/8 with sixteenths, rests and ties | |
| 1.22 Medium upswing, quarter notes, eighths and rests | |
| 1.23 Up-tempo swing, quarter notes, eighths and rests | |
| 1.24 Medium upswing, with rests and ties | |
| 1.25 Up-tempo swing, with rests and ties | |
| 1.26 Medium upswing, quarter notes, eighths and rests. | |
| 1.27 Up-tempo swing, tempo 200. Two bars | |
| 1.28 Medium upswing, with rests and ties. Two bars | |
| 1.29 Medium upswing, 2 bars, with quarter note triplets | |
| 1.30 Up-tempo swing, rests and ties. | |
| 1.31 Up-tempo swing, with quarter note triplets | |
| 1.32 Sixteenths swing. One bar | |
| 1.33 Sixteenths swing with sixteenth note triplets | |
| 1.34 Sixteenths swing with triplets and ties | |
| 1.35 Sixteenths swing with sixteenth note triplets. | |
| 1.36 Straight rhythms with 16th and 32nd notes | |
| 1.37 Rhythms with 16th and 32nd notes and ties | |
| 1.38 Up-tempo swing with quarter note triplets. Two bars | |
| 1.39 Up-tempo swing with rests. Two bars | |
| 1.40 Up-tempo swing with more eighths. Two bars. | |
| 1.41 Up-tempo swing with quarter note triplets. 3 bars! | |
| 1.42 Up-tempo swing with rests. 3 bars. | |
| 1.43 Swing eighths with straight sixteenths. | |
| 1.44 Swing eighths with straight sixteenths and rests. | |
| 1.45 Sixteenths swing. 2 bars. | |
| 1.46 Sixteenths swing with triplets and ties. 2 bars. | |
| 1.47 Up-tempo swing with more eighths. | |
| 1.48 Swinging eighths and straight sixteenths. | |
| 1.49 Swinging eighths, straight sixteenths and rests. | |
📕 Jazz Workshops - Rhythmic Sight-Reading |
|
1: Module 1 |
|
| 1.1 4/4 swing, half-, quarter- and eighth notes | |
| 1.2 4/4 swing with rests | |
| 1.3 4/4 swing, quarter notes and eighths, faster tempo | |
| 1.4 3/4 swing, quarter notes, eighths and rests | |
| 1.5 3/4 and 4/4 swing - two bars! | |
| 1.6 4/4 swing with eighth note triplets | |
| 1.7 4/4 swing with triplets | |
| 1.8 4/4 swing with triplets and rests | |
| 1.9 3/4 swing with triplets | |
| 1.10 3/4 and 4/4 swing, triplets and rest | |
| 1.11 6/8 | |
| 1.12 6/8 with rests | |
| 1.13 6/8, with rests and ties | |
| 1.14 4/4 straight with eighths and sixteenths. | |
| 1.15 3/4 and 4/4 straight with rests | |
| 1.16 6/8 with sixteenths | |
| 1.17 6/8 with sixteenths and ties | |
| 1.18 6/8 with sixteenths, rests and ties | |
| 1.19 Medium upswing, quarter notes, eighths and rests | |
| 1.20 Medium upswing with rests and ties | |
| 1.21 Sixteenths swing | |
| 1.22 Sixteenths swing with sixteenth note triplets | |
| 1.23 Sixteenths swing with triplets and ties | |
| 1.24 Straight rhythms with 16th and 32nd notes | |
| 1.25 Rhythms with 16th and 32nd notes and ties | |
| 1.26 Up-tempo swing | |
| 1.27 Up-tempo swing with rests | |
| 1.28 Up-tempo swing with more eighths | |
| 1.29 Swing eighths with straight sixteenths. | |
| 1.30 Swing eighths with straight sixteenths and rests. | |
📕 RCM Voice - Level 1 to 6 |
|
1: Foreword |
|
| 1.1 Welcome | |
2: Level 1: Technical Exercises |
|
| 2.1 Technical Exercise 1 (preparatory lesson) | |
| 2.2 Technical Exercise 1 | |
| 2.3 Technical Exercise 2 (preparatory lesson) | |
| 2.4 Technical Exercise 2 | |
| 2.5 Technical Exercise 3 (preparatory lesson) | |
| 2.6 Technical Exercise 3 | |
| 2.7 Technical Exercises 1–3 (preparatory lesson) | |
| 2.8 Technical exercises 1–3 | |
3: Level 1: Clapback |
|
| 3.1 2/4 Rhythms: one measure, no syncopation | |
| 3.2 2/4 Rhythms: one measure, with syncopation | |
| 3.3 2/4 Rhythms: three measures, no syncopation | |
| 3.4 2/4 Rhythms: three measures, with syncopation | |
| 3.5 2/4 Melodies: four measures | |
| 3.6 3/4 Rhythms: one measure | |
| 3.7 3/4 Melodies: two measures | |
| 3.8 3/4 Melodies: three measures | |
| 3.9 2/4 and 3/4 melodies | |
4: Level 1: Intervals |
|
| 4.1 Ascending Intervals: major 3rd, perfect 5th, perfect octave | |
| 4.2 Ascending Interval: major 3rd | |
| 4.3 Ascending Interval: major 3rd | |
| 4.4 Ascending Interval: perfect 5th | |
| 4.5 Ascending Interval: perfect 5th | |
| 4.6 Ascending Interval: perfect octave | |
| 4.7 Ascending Interval: perfect octave | |
| 4.8 Ascending intervals: all intervals | |
| 4.9 Ascending Intervals: all intervals | |
| 4.10 Descending intervals: minor 3rd, perfect 4th, perfect octave | |
| 4.11 Descending Interval: minor 3rd | |
| 4.12 Descending Interval: minor 3rd | |
| 4.13 Descending Interval: perfect 4th | |
| 4.14 Descending Interval: perfect 4th | |
| 4.15 Descending Interval: perfect octave | |
| 4.16 Descending Interval: perfect octave | |
| 4.17 Descending Intervals: all intervals | |
| 4.18 Descending Intervals: all intervals | |
| 4.19 All intervals | |
| 4.20 All intervals | |
5: Level 1: Sight Singing |
|
| 5.1 2/4 Melodies: three measures | |
| 5.2 2/4 Melodies: four measures | |
| 5.3 3/4 Melodies: three measures | |
| 5.4 2/4 and 3/4 melodies | |
6: Level 1: Final Step |
|
| 6.1 Technical Exercises | |
| 6.2 Clapback | |
| 6.3 Intervals | |
| 6.4 Sight Singing | |
7: Level 2: Technical Exercises |
|
| 7.1 Technical Exercise 1 (preparatory lesson) | |
| 7.2 Technical Exercise 1 | |
| 7.3 Technical Exercise 2 (preparatory lesson) | |
| 7.4 Technical Exercise 2 | |
| 7.5 Technical Exercise 3 (preparatory lesson) | |
| 7.6 Technical Exercise 3 | |
| 7.7 Technical Exercise 4 (preparatory lesson) | |
| 7.8 Technical Exercise 4 | |
| 7.9 Technical Exercises 1–4 (preparatory lesson) | |
| 7.10 Technical exercises 1–4 | |
8: Level 2: Clapback |
|
| 8.1 2/4 Melodies (review) | |
| 8.2 2/4 Rhythms | |
| 8.3 2/4 Melodies | |
| 8.4 3/4 Melodies (review) | |
| 8.5 3/4 Rhythms | |
| 8.6 3/4 Melodies | |
| 8.7 2/4 and 3/4 melodies | |
9: Level 2: Intervals |
|
| 9.1 Ascending intervals: major 2nd, major 3rd | |
| 9.2 Ascending Interval: major 3rd (review) | |
| 9.3 Ascending Interval: major 2nd | |
| 9.4 Ascending Interval: major 2nd | |
| 9.5 Ascending intervals: perfect 4th, perfect 5th, perfect octave | |
| 9.6 Ascending Interval: perfect 5th (review) | |
| 9.7 Ascending Interval: perfect octave (review) | |
| 9.8 Ascending Interval: perfect 4th | |
| 9.9 Ascending Interval: perfect 4th | |
| 9.10 Ascending Intervals: all intervals | |
| 9.11 Ascending Intervals: all intervals | |
| 9.12 Descending intervals: minor 3rd, perfect 4th, perfect octave (review) | |
| 9.13 Descending Interval: minor 3rd (review) | |
| 9.14 Descending Interval: perfect 4th (review) | |
| 9.15 Descending Interval: perfect octave (review) | |
| 9.16 Descending Intervals: all intervals | |
| 9.17 Descending Intervals: all intervals | |
| 9.18 All intervals | |
| 9.19 All intervals | |
10: Level 2: Sight Singing |
|
| 10.1 2/4 Melodies (review) | |
| 10.2 2/4 Melodies | |
| 10.3 3/4 Melodies (review) | |
| 10.4 3/4 Melodies | |
| 10.5 2/4 and 3/4 melodies | |
11: Level 2: Final Step |
|
| 11.1 Technical Exercises | |
| 11.2 Clapback | |
| 11.3 Intervals | |
| 11.4 Sight Singing | |
12: Level 3: Technical Exercises |
|
| 12.1 Technical Exercise 1 (preparatory lesson) | |
| 12.2 Technical Exercise 1 | |
| 12.3 Technical Exercise 2 (preparatory lesson) | |
| 12.4 Technical Exercise 2 | |
| 12.5 Technical Exercise 3 (preparatory lesson) | |
| 12.6 Technical Exercise 3 | |
| 12.7 Technical Exercise 4 (preparatory lesson) | |
| 12.8 Technical Exercise 4 | |
| 12.9 Technical Exercise 5 (preparatory lesson) | |
| 12.10 Technical Exercise 5 | |
| 12.11 Technical Exercises 1–5 (preparatory lesson) | |
| 12.12 Technical exercises 1–5 | |
13: Level 3: Clapback |
|
| 13.1 2/4 Melodies (review) | |
| 13.2 2/4 Rhythms | |
| 13.3 2/4 Melodies | |
| 13.4 3/4 Melodies (review) | |
| 13.5 3/4 Rhythms | |
| 13.6 3/4 Melodies | |
| 13.7 2/4 and 3/4 melodies | |
14: Level 3: Intervals |
|
| 14.1 Ascending intervals: major 2nd, major 3rd, major 6th | |
| 14.2 Ascending Interval: major 2nd (review) | |
| 14.3 Ascending Interval: major 3rd (review) | |
| 14.4 Ascending Interval: major 6th | |
| 14.5 Ascending Interval: major 6th | |
| 14.6 Ascending intervals: perfect 4th, perfect 5th, perfect octave (review) | |
| 14.7 Ascending Intervals: perfect 4th, perfect 5th, perfect octave (review) | |
| 14.8 Ascending Intervals: all intervals | |
| 14.9 Ascending Intervals: all intervals | |
| 14.10 Descending intervals: perfect 4th, perfect 5th | |
| 14.11 Descending intervals: all intervals | |
| 14.12 Descending Interval: minor 3rd (review) | |
| 14.13 Descending Interval: perfect 4th (review) | |
| 14.14 Descending Interval: perfect 5th | |
| 14.15 Descending Interval: perfect 5th | |
| 14.16 Descending Interval: perfect octave (review) | |
| 14.17 Descending Intervals: all intervals | |
| 14.18 Descending Intervals: all intervals | |
| 14.19 All intervals | |
| 14.20 All intervals | |
15: Level 3: Sight Singing |
|
| 15.1 2/4 Melodies (review) | |
| 15.2 3/4 Melodies (review) | |
| 15.3 4/4 Melodies: two measures | |
| 15.4 Final Step: 4/4 Melodies: four measures | |
16: Level 3: Final Step |
|
| 16.1 Technical Exercises | |
| 16.2 Clapback | |
| 16.3 Intervals | |
| 16.4 Sight Singing | |
17: Level 4: Technical Exercises |
|
| 17.1 Technical Exercise 1 (preparatory lesson) | |
| 17.2 Technical Exercise 1 | |
| 17.3 Technical Exercise 2 (preparatory lesson) | |
| 17.4 Technical Exercise 2 | |
| 17.5 Technical Exercise 3 (preparatory lesson) | |
| 17.6 Technical Exercise 3 | |
| 17.7 Technical Exercise 4 (preparatory lesson) | |
| 17.8 Technical Exercise 4 | |
| 17.9 Technical Exercise 5 (preparatory lesson) | |
| 17.10 Technical Exercise 5 | |
| 17.11 Technical Exercises 1–5 (preparatory lesson) | |
| 17.12 Technical exercises 1–5 | |
18: Level 4: Clapback |
|
| 18.1 2/4 Melodies (review) | |
| 18.2 2/4 Rhythms | |
| 18.3 2/4 Melodies | |
| 18.4 6/8 Rhythms | |
| 18.5 6/8 Melodies | |
| 18.6 2/4 and 6/8 melodies | |
19: Level 4: Intervals |
|
| 19.1 Ascending Intervals: minor and major 3rds | |
| 19.2 Ascending Interval: major 2nd (review) | |
| 19.3 Ascending Interval: major 3rd (review) | |
| 19.4 Ascending Interval: minor 3rd | |
| 19.5 Ascending Interval: minor 3rd | |
| 19.6 Ascending Interval: major 6th (review) | |
| 19.7 Ascending Intervals: perfect 4th, perfect 5th, perfect octave (review) | |
| 19.8 Ascending Intervals: all intervals | |
| 19.9 Ascending Intervals: all intervals | |
| 19.10 Ascending Intervals: all intervals | |
| 19.11 Descending intervals: perfect 5th, minor 6th | |
| 19.12 Descending Interval: minor 3rd (review) | |
| 19.13 Descending Interval: minor 6th | |
| 19.14 Descending Interval: minor 6th | |
| 19.15 Descending Interval: perfect 4th, perfect 5th, perfect octave (review) | |
| 19.16 Descending intervals: all intervals | |
| 19.17 Descending Intervals: all intervals | |
| 19.18 Descending Intervals: all intervals | |
| 19.19 All intervals | |
| 19.20 All intervals | |
20: Level 4: Sight Singing |
|
| 20.1 6/8 Melodies: two measures | |
| 20.2 Final Step: 6/8 Melodies: four measures | |
21: Level 4: Final Step |
|
| 21.1 Technical Exercises | |
| 21.2 Clapback | |
| 21.3 Intervals | |
| 21.4 Sight Singing | |
22: Level 5: Technical Exercises |
|
| 22.1 Technical Exercise 1 (preparatory lesson) | |
| 22.2 Technical Exercise 1 | |
| 22.3 Technical Exercise 2 (preparatory lesson) | |
| 22.4 Technical Exercise 2 | |
| 22.5 Technical Exercise 3 (preparatory lesson) | |
| 22.6 Technical Exercise 3 | |
| 22.7 Technical Exercise 4 (preparatory lesson) | |
| 22.8 Technical Exercise 4 | |
| 22.9 Technical Exercise 5 (preparatory lesson) | |
| 22.10 Technical Exercise 5 | |
| 22.11 Technical Exercises 1–5 (preparatory lesson) | |
| 22.12 Technical exercises 1–5 | |
23: Level 5: Singback |
|
| 23.1 6/8 Melodies | |
| 23.2 3/4 Melodies | |
| 23.3 6/8 and 3/4 melodies | |
24: Level 5: Intervals |
|
| 24.1 Ascending Intervals: minor and major 6ths | |
| 24.2 Ascending Interval: major 2nd (review) | |
| 24.3 Ascending Interval: minor and major 3rds (review) | |
| 24.4 Ascending Interval: major 6th (review) | |
| 24.5 Ascending Interval: minor 6th | |
| 24.6 Ascending Interval: minor 6th | |
| 24.7 Ascending Intervals: perfect 4th, perfect 5th, perfect octave (review) | |
| 24.8 Ascending intervals: all intervals | |
| 24.9 Ascending Intervals: all intervals | |
| 24.10 Ascending Intervals: all intervals | |
| 24.11 Descending intervals: minor and major 3rds | |
| 24.12 Descending intervals: major 2nd, minor and major 3rds | |
| 24.13 Descending intervals: minor and major 6ths | |
| 24.14 Descending Interval: minor 3rd (review) | |
| 24.15 Descending Interval: minor 6th (review) | |
| 24.16 Descending Interval: perfect 4th, perfect 5th, perfect octave (review) | |
| 24.17 Descending Interval: major 2nd | |
| 24.18 Descending Interval: major 2nd | |
| 24.19 Descending Interval: major 3rd | |
| 24.20 Descending Interval: major 3rd | |
| 24.21 Descending Interval: major 6th | |
| 24.22 Descending Interval: major 6th | |
| 24.23 Descending intervals: all intervals | |
| 24.24 Descending Intervals: all intervals | |
| 24.25 Descending Intervals: all intervals | |
| 24.26 All intervals | |
| 24.27 All intervals | |
25: Level 5: Chord Identification |
|
| 25.1 Major and Minor Triads: ascending/harmonic | |
| 25.2 Major and Minor Triads: harmonic | |
26: Level 5: Sight Singing |
|
| 26.1 3/4 Melodies: two measures | |
| 26.2 3/4 Melodies: two measures | |
| 26.3 3/4 Melodies: four measures | |
| 26.4 3/4 Melodies: four measures | |
| 26.5 2/4 Melodies: three measures | |
| 26.6 2/4 Melodies: three measures | |
| 26.7 2/4 Melodies: six measures | |
| 26.8 2/4 Melodies: six measures | |
| 26.9 2/4 and 3/4 Melodies | |
| 26.10 2/4 and 3/4 Melodies | |
27: Level 5: Final Step |
|
| 27.1 Technical Exercises | |
| 27.2 Singback | |
| 27.3 Intervals | |
| 27.4 Chord Identification | |
| 27.5 Sight Singing Part 1: rhythm | |
| 27.6 Sight Singing Part 2: melody | |
28: Level 6: Technical Exercises |
|
| 28.1 Technical Exercise 1 (preparatory lesson) | |
| 28.2 Technical Exercise 1 | |
| 28.3 Technical Exercise 2 (preparatory lesson) | |
| 28.4 Technical Exercise 2 | |
| 28.5 Technical Exercise 3 (preparatory lesson) | |
| 28.6 Technical Exercise 3 | |
| 28.7 Technical Exercise 4 (preparatory lesson) | |
| 28.8 Technical Exercise 4 | |
| 28.9 Technical Exercise 5 (preparatory lesson) | |
| 28.10 Technical Exercise 5 | |
| 28.11 Technical Exercise 6 (preparatory lesson) | |
| 28.12 Technical Exercise 6 | |
| 28.13 Technical Exercises 1–6 (preparatory lesson) | |
| 28.14 Technical Exercises 1–6 | |
29: Level 6: Singback |
|
| 29.1 6/8 Melodies (review) | |
| 29.2 3/4 Melodies (review) | |
| 29.3 6/8 melodies (short) | |
| 29.4 6/8 melodies | |
| 29.5 3/4 melodies (short) | |
| 29.6 3/4 melodies | |
| 29.7 6/8 and 3/4 melodies | |
30: Level 6: Intervals |
|
| 30.1 Ascending Intervals: minor and major 2nds | |
| 30.2 Ascending Intervals: minor and major 6ths, major 7th | |
| 30.3 Ascending interval: major 2nd (review) | |
| 30.4 Ascending Intervals: minor and major 3rds (review) | |
| 30.5 Ascending Intervals: minor and major 6ths (review) | |
| 30.6 Ascending Intervals: perfect 4th, perfect 5th, perfect octave (review) | |
| 30.7 Ascending Interval: minor 2nd | |
| 30.8 Ascending Interval: minor 2nd | |
| 30.9 Ascending Interval: minor 7th | |
| 30.10 Ascending Interval: minor 7th | |
| 30.11 Ascending intervals: all intervals | |
| 30.12 Ascending Intervals: all intervals | |
| 30.13 Ascending Intervals: all intervals | |
| 30.14 Descending intervals: minor and major 2nds | |
| 30.15 Descending intervals: minor and major 6ths, minor 7th | |
| 30.16 Descending Interval: major 2nd (review) | |
| 30.17 Descending intervals: minor and major 3rds (review) | |
| 30.18 Descending Intervals: minor and major 6ths (review) | |
| 30.19 Descending Intervals: perfect 4th, perfect 5th, perfect octave (review) | |
| 30.20 Descending Interval: minor 2nd | |
| 30.21 Descending Interval: minor 2nd | |
| 30.22 Descending Interval: minor 7th | |
| 30.23 Descending Interval: minor 7th | |
| 30.24 Descending intervals: all intervals | |
| 30.25 Descending Intervals: all intervals | |
| 30.26 Descending Intervals: all intervals | |
| 30.27 All intervals | |
| 30.28 All intervals | |
31: Level 6: Chord Identification |
|
| 31.1 Major and Minor Triads: harmonic (review) | |
| 31.2 Major and Minor Triads, Dominant 7th: ascending/harmonic | |
| 31.3 Major and Minor Triads, Dominant 7th: harmonic | |
32: Level 6: Sight Singing |
|
| 32.1 4/4 Melodies: two measures | |
| 32.2 4/4 Melodies: two measures | |
| 32.3 4/4 Melodies: four measures | |
| 32.4 4/4 Melodies: four measures | |
| 32.5 3/4 Melodies: three measures | |
| 32.6 3/4 Melodies: three measures | |
| 32.7 3/4 Melodies: six measures | |
| 32.8 3/4 Melodies: six measures | |
| 32.9 3/4 and 4/4 Melodies | |
| 32.10 3/4 and 4/4 Melodies | |
33: Level 6: Final Step |
|
| 33.1 Technical Exercises | |
| 33.2 Singback | |
| 33.3 Intervals | |
| 33.4 Chord Identification | |
| 33.5 Sight Singing Part 1: rhythm | |
| 33.6 Sight Singing Part 2: melody | |
34: Course wrap-up |
|
| 34.1 Congratulations! | |
Nouveautés d'EarMaster 7
Nouveautés de la mise à jour majeure EarMaster 7.1
EarMaster 7.1 est la dernière mise à jour d’EarMaster 7 sur PC et Mac. Elle inclut des tonnes d'améliorations. Voici quelques-unes des nouveautés que vous trouverez dans EarMaster 7.1:
Battez les rythmes des mains devant un microphone
Nous vous avons entendu haut et fort et avons donc ajouté une option permettant d'utiliser les exercices rythmiques d'EarMaster 7 avec un micro !
Disponible dans les exercices de reproduction de rythmes et de lecture rythmique.
445 nouvelles partitions de Musique Classique
La bibliothèque de partitions d'EarMaster propose maintenant 445 partitions de Musique Classique, dont notamment des œuvres de Bach, Mozart, Haydn, Monteverdi et bien d'autres. Ces partitions ont été ajoutées en collaboration avec le Conservatoire National des Arts et Métiers (CNAM) et son excellent projet de bibliothèque musicale électronique NEUMA.
Vous pouvez utiliser ces partitions lors de la configuration d'un exercice mélodique ou rythmique personnalisé.
Traduction tchèque disponible 
Il est désormais possible d'utiliser EarMaster 7 en tchèque!
L'importation MusicXML su
orte la dynamique
EarMaster importe et interprète les valeurs générales de dynamique et les valeurs individuelles de dynamique des notes incluses dans les fichiers MusicXML. Cela permettra une lecture plus plus musicale et nuancée des partitions.
Comment obtenir EarMaster 7.1 ?
EarMaster 7.1 est une mise à jour gratuite pour tous les propriétaires d'une licence pour EarMaster 7 sur PC et Mac.
Pour l'obtenir, démarrez EarMaster en étant connecté à Internet et suivez les instructions à l'écran.
Remarquez que certaines mises à jours (jusqu'à 7.0.15) nécessitent que vous désinstalliez EarMaster 7 avant de pouvoir installer la mise à jour.
Vous pouvez découvrir le numéro de la MAJ installée sur votre ordinateur en haut de la fenêtre du logiciel.
Si vous n’avez pas encore acheté la mise à niveau depuis EarMaster 5 ou 6, c'est le moment idéal.
La mise à niveau coûte la moitié du prix d'une licence normale !
Acheter maintenant >>
NOUVEAUTÉS DE LA VERSION 7
- Nouvelle interface utilisateur
- Nouveau Cours débutant interactif pour découvrir ou redécouvrir les bases de la théorie musicale
- Nouvelles interfaces instrumentales (piano, guitare, basse, violon, violoncelle, banjo, etc.)
- Nouvel algorithme de détection des notes chantées
- Nouveau système interactif d'aide contextuelle
- Nouveaux outils statistiques
- Ateliers Généraux révisés
- Ateliers Jazz révisés
- Nouvel outil de calibration automatique du microphone
- Nouvel écran d'introduction aux leçons
- Nouveau mode de question-réponse pour les exercices de reproduction de mélodies et de rythmes
- Nouveaux réglages de vitesse d'exécution des intervalles, accords, gammes, etc.
- Compatibilité avec les écrans Rétina et le mode plein écran (Mac)
- Nouveaux profils instrumentaux
- Nouvelles interface pour les professeurs (EarMaster Cloud uniquement)
- Des centaines d'améliorations techniques
Commentaires d'utilisateurs
Voici quelques uns des nombreux commentaires que des utilisateurs d'EarMaster nous ont envoyés
Je voulais prendre quelques minutes pour vous remercier vous et toute l’équipe d’Earmaster : ce merveilleux logiciel me permet de développer mon oreille musicale de façon impressionnante depuis 2 ans et j’en suis ravie. J’ai réussi le concours de l’agrégation de musique l’an dernier et votre logiciel m’a été très précieux pour préparer les épreuves techniques. Moi qui avais un souvenir douloureux de mes cours de solfège commencés à l’adolescence, j’ai retrouvé une pleine confiance dans mes capacités d’écoute intérieure. 
Evelyne - Professeure de musique, France
Je pratique depuis plusieurs années maintenant le "Ear Training" avec ce logiciel qui est un vrai bijou pour tout musicien! Je ne cesse de le conseiller pour le travail de l'oreille ou même "entretenir les oreilles" pour les musiciens comme moi avec déjà un "bon bagage" en Ear Training. J'utilise notamment les exercices personnalisés, ce qui me permet par exemple de reconnaître instantanément (j'ai réglé à 2s le temps de réponse !) tout intervalle ou tout accord même joué harmoniquement. Donc un grand bravo aux développeurs de ce logiciel. Merci.
Alain Moullé - Guitariste et pianiste, France
Je profite de ce mail pour vous exprimer toute ma satisfaction pour votre logiciel. L'objectif initial était uniquement d'arriver à identifier les intervalles. Rapidement, je me suis rendu compte que pour bien entendre les intervalles, il fallait effectivement chanter juste. Et bien, en un an de travail, et avec l'aide d'EarMaster, vous avez transformé un type qui chantait faux en un autre qui vient de passer tous ses exercices personnels avec un score de plus de 95%. J'aurai jamais cru y arriver.
Philippe Lacoste, pianiste et saxophoniste, France
Ce logiciel est génial. Je l'ai déjà recommandé à plusieurs collègues. Ce sont des amateurs qui ont commencé la musique à l'àge adulte comme moi. La comparaison des intervalles est un excellent exercice pour éduquer une oreille sans avoir à nommer les notes. La dictée mélodique permet de faire entendre les notes une à une et même de faire plusieurs essais avant de valider sa réponse ! C'est exactement ce que nous, les novices, nous attendions ! Bravo!
Ophelia, violoniste, France
En tant qu'enseignant, je pense que la formation de l'oreille est essentielle à tous les musiciens. Je suggère Earmaster à tous mes étudiants voulant améliorer leur oreille, car c'est le meilleur logiciel. En tant qu'étudiant n'ayant pas l'oreille absolue, c'est précisément grâce à Earmaster que je dépasse mes limites et progresse vraiment. C'est possible d'améliorer son oreille et je l'ai découvert avec Earmaster !!! Ça sonne un peu publicité boiteuse tout ça, mais je défend ce logiciel parce que je sais ce qu'il vaut. Des heures de travail sur ce logiciel m'ont permi de réussir des examens à l'école et même de dépasser certains collègues. Il faut simplement y consacrer le temps nécessaire et ça fonctionne !
Simon Gauvin, professeur de guitare et de théorie, guitariste et compositeur, Canada
Le tuteur Jazz est absolument GENIAL.Tres spécialement la progression d'accords! Finies les reponses par choix multiples. Il faut donner le degré et la qualité... Celà fait sérieusement appel à des acquis du tuteur standard au niveau des intervalles pour la basse, et de la "couleur" pour les accords. Je suis accro, c'est la voie royale vers la musicalité. Bravo, EarMaster 5 est vraiment le meilleur logiciel d'ear training!
John Collinet, batterie, professeur de musique, France
Bravo Earmaster! Voilà un outil qui correspond à mes attentes.N'ayant plus fait de la musique pendant 30 années (et oui, le temps passe vite), Earmaster m'a permis de remettre à jour mes connaissances musicales par des leçons bien structurées. J'apprécie particulièrement la possibilité de créer facilement des exercices personnalisés qui servent entre autres à compléter le programme que suit notre fils (9 ans) au conservatoire. Notre fille (5 ans) "joue" déjà avec Earmaster. A tous que la chose intéresse: Earmaster tourne parfaitement sur mon MacBook équipé d'un processeur Intel, MacOS X, et sous machine virtuelle (Paralells Desktop for Mac, Windows XP Pro)
Nico Iannizzi, violoncelliste, Esch-sur-Alzette, Grand Duché de Luxembourg
Enfin un vrai programme de formation de l'oreille, agréable à utiliser. On est loin des cours de solfège d'antan! Bravo!
Bertrand Meunier, professeur de violon et de piano, France et Suisse
Écoles utilisant EarMaster : un voyage autour du monde
Nous avons toujours mis un point d'honneur à traduire nos logiciels dans autant de langues que possible afin de rendre EarMaster accessible au plus grand nombre. De plus, nous faisons de notre mieux pour offrir des options correspondant à l'ensemble des traditions musicales et pédagogiques de la plupart des pays. C'est pour cela par exemple que les notes dans EarMaster peuvent utiliser la solmisation fixe utilisée presque partout dans les pays de langue latine, la solmisation relative utilisée principalement dans certaines écoles aux États-Unis, en Scandinavie et en Hongrie, et bien évidemment le système de lettres des pays anglo-saxons (C, D, E à la place de Do, Ré, Mi).
Voici une liste d'une sélection d'écoles et de conservatoires utilisant ou ayant utilisé EarMaster. Bon voyage !
ANDORRA
Comú De Sant Julià De Lòria
AUSTRALIA
Australian Guild of Music Education
Central Coast Grammar School
FCJ College Benalla
Flinders Christian Community College
G4 Guitar
Hale School
Perform Australia
SAE Australia
Shellharbour Anglican College
Sutherland Shire Christian School
University of Western Sydney
AUSTRIA
Landesmusikschule Enns
Mozarteum, Salzburg
Musischer Schulförderverein
BAHAMAS
The College of Bahamas
BELGIUM
Academie Haspengouw
Academie Lede
Académie Woluwé saint lambert
Gemeente Schoten Academie voor muziek en woor
Gemeentelijke Academie MWD Grimbergen
Genkse Academie voor Kunst
Koninklijk Conservatorium Antwerpen
Koninklijk Conservatorium Brussel
Kunsthumaniora Brussel
LUCA School of Arts
Muzeikacademie Ekeren
Stedelijk Conservatorium Brugge
UC Leuven Limburg
BOLIVIA
Universidad Evangélica Boliviana
BOSNIA-HERZEGOVINA
Srednja muzicka skola Sarajevo
BRAZIL
Gobal Arts Brasil
Associacao Torre de vigia
Instituto Adventista de Ensino
CANADA
Bathurst Music Academy
Bearspaw School
Bethany Bible College
CEGEP de Drummondville
CEGEP de Saint-Laurent
CEGEP de Sherbrooke
College Sainte-Anne
Conservatoire de musique de Montreal
Brandon University
Cours en ligne MÉDPE du Nouveau-Brunswick
École de musique du Bas-Saint-Laurent
École de musique Jacques-Hétu
École secondaire publique De La Salle
Ecole St-François d'Assise
ESMC
Grovenor Music Studio
Harmonie Inspiration
Patriotes-de-Beauharnois
Pixel Blue College
Providence University College
RB Russell Vocational School
Richmond Christian School
Université de Moncton
Universite de Sherbrooke
University of Guelph
University of Lethbridge
University of Toronto Scarborough
CAYMAN ISLANDS
St. Ignatius Catholic School
CHINA
Shanghai Normal University
Shanghai Qibao Dwight High School
COLOMBIA
Aula moderna de musica y sonido
Conservatorio del Tolima
Fundacion Universitaria Juan N. Corpas
Fundación Triquiñuela
Staff Music Academy
Universidad de Antioquia
Universidad de San Buenaventura
CZECH REPUBLIC
Domov sociální pece Skalice
DENMARK
Aabenraa Musikskole
Aarhus Klaverakademi
Albertslund Gymnasium
Allerød Musikskole
Blåkilde Efterskole
Djursland Efterskole
Espergærde Gymnasium og HF
Falkonergården Gymnasium og HF–Kursus
Fjerritslev Gymnasium
Flemming Efterskole
Fredericia Amtsgymnasium og HF-kursus
Gentofte Music School
GUX Nuuk
Gladsaxe Musik- og Billedskole
Haderslev Musikskole
Herning Musikskole
Herning gymnasium
Hillerød Musikskole
Horsens Statsskole
Kalundborg Gymnasium og HF
Kerteminde Musikskole
Kolding Musikskole
Køge Musikskole
Midtsjællands Gymnasium
Munkensdam Gymnasium
Musik og Billedskolen Varde
Musikskolen Holbæk
Næstved Gymnasium & Hf
Næstved Musik- og Kulturskole
Oure Kostgymnasium
Pinsevækkelsens Højskole
Rosborg Gymnasium og HF
Roskilde Katedralskole
Rudehøj Efterskole
Rudersdal Musikskole
Rybners Gymnasium
Sct. Knuds Gymnasium
Sdr.Nærå Friskole
Sejergaardsskolen
Skive Musikskole MGK
Slagelse Musikskole
Sonic College (Haderslev)
Sønderborg Musikskole
Tornbjerg Gymnasium
Unge Hjems Efterskole
Valdemarskolen
Vesterdal Efterskole
Vesthimmerlands kulturskole
Viby Efterskole
Virum Gymnasium
Vordingborg Gymnasium & HF
ESTONIA
Fie kaido järvsoo
Faroe Islands
Glasir
FINLAND
Guitar Trainer - Joni Kosonen
Kaustisen musiikkilukio
FRANCE
Ateliers Municipaux de pratique musicale de Saint-PaulAcadémie de Musique et d'Arts de Belleville
Apprendre à jouer du piano
Association Musicale de Val d’Isère
CA Argenteuil Bezons
Cité de la Musique de Paris
CMA Valenciennes
Cours Florent
CRD Les Caves de Dole
CRD de Bourg-la-Reine/sceaux
Centre Musical du Val de Noye
Conservatoire de Belley
Conservatoire de Cournon-Auvergne
Conservatoire Darius Milhaud, Paris XIV
Conservatoire Marin MARAIS
Conservatoire Municipal de Salon de Provence
Conservatoire Musique et Danse de la Côte d'Albâtre
Conservatoire de Brive
Conservatoire de Musique Marin MARAIS, Les Sables-d'Olonne
Conservatoire de Samer
CRR Perpignan-Méditerranée
Ecole ATLA, Paris
Ecole De Musique de Petit-Quevilly
Ecole de Musique et de Danse de Boulogne-Billancourt
Ecole Moderne de Musique
EMA Réunion
Espace musical Georges Fontaine
Institut technologique européen des métiers de la musique
Jazz Action Valence
L'école de musique connectée
Music'Art
Music'Halle
Musikaa
Tous en Scène
Université de Paris IV Sorbonne
Université Paris-Est Marne-la-Vallée
GERMANY
BDB-Musikakademie Staufen
FTM e.V. Onlinemusikschule
Freier Musikverein Paukenschlag e.V.
Gymnasium Bäumlihof
Institut für Musikpädagogik, WWU Münster
Institut für Waldorfpädagogik
Johann-Pachelbel-Realschule
Landesmusikgymnasium Montabaur
LMS Hochburg-Ach
Musikschule Grassau
Musikschule Region Thun
Musikwerkstatt Abensberg Rohr
Universität Heidelberg
Zentralmusikschule Oberwart
GUATEMALA
Universidad Del Valle de Guatemala
HONG KONG
Carmel Divinve Grace Foundation Secondary School
CCC Kei Wan Primary School
Hong Kong Recorder & Music Education Centre
Shanghai Alumni Primary School
ICELAND
Tonkjallarinn ehf
IRELAND
CIT Cork School of Music
ISRAEL
Ben gurion high school Ness Ziona Istael
Leobaeck Education Center
School of New Music and Animation, Tel Aviv
ITALY
AccademiaParma
Fondazione Siena Jazz
Retroscena Srl
Scuola di Musica MC
JAPAN
Choshi Highschool
Bunkyo University
Higashimaizuru Senior High School
Jin-ai Women's College
KAZAKHSTAN
Kazakh Kurmangazy national conservatoire
MALTA
St Paul Choral Society
MEXICO
Academia de Música Halbstark
El Colegio de Oaxaca
UNAM Escuela Nacional de Musica
Universidad Veracruzana
NETHERLANDS
Academie Woord Muziek Antwerpen Berchem
Artez University of The Arts
Codarts Rotterdam
De Nieuwe Veste
Grotius College
Haarlem Music Academy
Haarlemse Gitaarschool
Johannes Fontanus College
Media College Amsterdam
Muziekschool DEPIANO
Nederlandse Pop Academie
Stedelijk Dalton Lyceum
NEW ZEALAND
Ara Institute of Canterbury
Eastern Institute of Technology
NC Guitar School
NORWAY
Ansgar Teologiske Høgskole
Bergen Private Gymnas AS
Bårdar Akademiet
Foss Videregående Skole
Heimdal videregående skole
Høgskolen i Østfold
Inderøy Videregående Skole
Lillestrøm videregående skole
Meløy Kulturskole
Mosjøen videregående skole
Norges musikkhøgskole
Norges Musikkorps Forbund
Orkdal vidaregåande skole
Rødøy Kommunale Musikkskole
Skien videregående skole
St. Hallvard vgs skole
Stavanger Katedralskole Bjergsted
Stavanger Kulturskole
Stiftelsen Viken Folkehøgskole
Toneheim folkehøgskole
Trondheim Katedralskole
PERU
Instituto Orson Welles
Pontificia Universidad catolica del Peru
POLAND
Laboratorium - Szkola Muzyki
Misja Chrześcijańska Służba Muzyczna
Panstwowa Szkola Muzyczna I Stopnia Im.K.
Uniwersytet im. A. Mickiewicza w Poznaniu
PORTUGAL
Academia de Música de Costa Cabral
Academia De Música De Obidos
Ediçoes Convite à Música
Escola de Música do Conservatório Nacional
Intermusica, Lda
Universidade de Évora
RUSSIA
MEO "Kuzmolovskaya school"
SINGAPORE
Republic Polytechnic
UWC South East Asia-Dover Campus
Yong Siew Toh Conservatory of Music
SLOVAKIA
ANV
Základná umelecká škola Ladislava Stančeka Prievidza
SOUTH AFRICA
Grey High School
University of KwaZulu-Natal
SPAIN
APA Escola Municipal de Música de Berga
CEM Enrique Granados
CEPSA Oriol Martorell
Conservatorio Profesional de Música de Alcala
Conservatorio Profesional de Música Joaquín
Conservatorio Profesional de Música y Danza
Conservatorio Profesional Narciso Yepes
Escola de Musica, Terrassa
ESMUC
Juventudes Musicales De Alcalá
Método All Mozart
MrJam Centro Moderno de Música
Musica Accion
Odissea Musical SL
Unión Musical de Mislata
SWEDEN
Academy of Music and Business
Bäckängsgymnasiet
Billströmska Folkhögskolan
Härnösands folkhögskola
Högalids folkhögskola
IT-Gymnasiet Uppsala
Jenny Nyströmsskolan
Kalmar Kulturskola
Kulturskolan Södertälje
Landstinget i Kalmar län
LBS Jonkoping
LBS Kungsbacka
Luleå University of Technology
Midgårdsskolan
Municipality of Stockholm
Musikgymnasiet i Skövde
Musikhögskolan Ingesund
Musikskolan Eskilstuna
Per Brahegymnasiet Jönköping
Samspelsskolan Svängrummet
S:t Mikaelsskolan
Tannbersskolan
Törnströmska
Uppsala universitet
Växjö Katedralskola
Örebro kulturskola
SWITZERLAND
Conservatoire de Fribourg
EJMO
Gymnasium Bäumlihof
Gymnasium Hofwil
Gymnasium Hofwil Münchenbuchsee
Gymnasium Interlaken
Gymnasium Kirchenfeld
Gymnasium Liestal
Gymnasium Muenchenstein
Gymnasium Muttenz
Gymnasium Oberwil
Hochschule Luzern Musik
Kantonsschule Büelrain
Musikschule Rheinfelden
OSZ Näfels
Pädagogische Hochschule der FHNW
Pädagogische Maturitätsschule Kreuzlingen
United Kingdom
Albyn School Ltd
City Literary Institute
East London Arts and Music Academy
G4 Guitar Surbiton
Leeds University
Queen's University Belfast
School of Creative Arts
Sir John Leman High School
Sonic Arts Research Centre
The Liverpool Institute for Performing Arts
University of London
University of Surrey
University of Westminster
Upper Bann Institute
USA
Adirondack Community College
All Saints Academy
Andrews University
Arcadia University
Ave Maria University
Beacon Cove Intermediate School
Belhaven University
Belmont Academy¨
Berklee College of Music
Bethel College
Blair Academy
Brookwood School
Bryan Independant School District
Cardigan Mountain School
Carmel Divinve Grace Foundation Secondary School
Cary High School PABC
Central York High School
Chadron State College
Charlotte Academy of Music
Chipola College
Clayton State University
Clemson University
College of Southern Nevada
Columbia College
Concord Conservatory of Music
Concordia University, St. Paul
Dominican Univesity of California
East Tennessee State University
Fay School
Fei Tian College
Forte Academy of Music
Fruit Cove Middle School
Fulton County Schools
George Whittell High School
Georgia Regional Girls Choir
Gettysburg College
Grace University
Graceland University
Great Lakes Christian College
Hedman Music Studio
Houston Community College-Central
Howard Payne University
Illinois Wesleyan University
Interlochen Center For The Arts
IPC - FINE ARTS, Sioux Falls
Janae Nilsson Piano Studio
Kilgore College
Lewis and Clark Community College
Lynn University
Marymount California University
Mercury Bay Area School
Milken Community High School
Milligan College
Minneapolis Community and Technical College
Mision Victoria Roca Blanca
Mississippi Gulf Coast Community College
Mississippi Valley State University
Missouri Valley College
Naperville School
New Hope Christian College
North Jersey Homeschool Association
North Vermilion High School
Northwestern Oklahoma State University
Orem High School
Pacifica High School
Penn State University
Phoenix House
Poquoson High School
Presbyterian College
Reagan College Prep High School
Reed College
Rensselaer Polytechnic Institute
Roger Williams University
Roxbury Latin
Servite High School
Seton Hall University
Simpson University
Southern Arkansas University
Southwest Mississippi Community College
St. Augustine School
St. Norbert College
Tennessee State University
Texas A&M University Corpus Christi
The Altamont School
The Liberty Common School
The Westminster Schools
The Woodlands Christian academy
University of Connecticut
University of Delaware
University of Idaho
University of Nevada, Reno
University of Redlands
University of Richmond
University of Toledo
USC Thornton School of Music
Virginia Beach School of the Arts
Weatherford College
Wellesley College
Wenatchee Valley College
Western Kentucky University
Wilkinson Music Studio
Xavier University
YES Prep Public Schools
Configuration requise
Windows
Windows 7, Windows 8 et Windows 10
Résolution d'écran minimum 1024x768
Connexion internet pour l'activation de la licence
Mac
Mac OS X 10.12 ou plus récent
Résolution d'écran minimum 1024x768
Connexion internet pour l'activation de la licence
Configuration recommandée
Inteface audio avec entrée micro
Processeur 2 Ghz
2 GB Ram (mémoire vive)
Microphone
Contrôleur MIDI
Casque audio (nécessaire pour l'utilisation du microphone)
Note à l'attention des utilisateurs de Linux : Des utilisateurs nous ont rapportés qu'EarMaster fonctionne sous W.I.N.E. Toutefois, nous ne pouvons pas garantir que cela fonctionne et ou vous proposer de l'aide quant à l'installation du logiciel. Nous somes par contre prêt à vous aider pour toute question relevant des aspects universels du logiciel.