- Overview
- Features
- Activities
- Included courses
- New in version 7
- Reviews
- Schools using EarMaster
- System Requirements
EarMaster 7
Improve your Musicianship skills on PC & Mac:
Ear training, Sight-singing, Music Theory, Rhythm training
The easy, motivating and efficient way to become a better musician
Over 2500 music theory exercises for all levels covering ear training,
sight-singing practice, rhythm training, Jazz harmony, Swing and a lot more
Learn to recognize, transcribe and sing melodies, scales, chords,
intervals, chord progressions and rhythms
Jazz course with swing rhythms, jazz chords, and sight-singing of Jazz standards
Detailed statistics to monitor your progress
Customize the exercises to practice the way you want
Answer questions with multiple-choice buttons, the notation staff, on-screen piano, guitar, bass, violin,
cello, mandolin, solfege syllables, scale degrees and more
Use a microphone to sing or play your answers in real-time
Use a MIDI keyboard to play your answers and control the functions of EarMaster remotely
Over a hundred instrument sounds sampled from real instruments
Buy Now>> Download for PC or Mac >>
We think it's the best, but don't take our word for it...
Thousands of music teachers, hobby musicians and music students are using EarMaster to train their aural skills. Like Pat David, a Youtube music instructor who recently discovered EarMaster:
Stop being a GOOD musician. Become an EXCELLENT musican!
Ear training is the key to better musicianship. You can have great technical skills, know your scales by heart, understand all the harmonic rules, but without good aural skills there's a final step that you won't be able to move up to.
To get better aural skills, you need to train your ears. And one of the most efficient method for that is EarMaster.
Being used by thousands of schools in most countries for many years, EarMaster is a serious and reliable practice tool that will help you improve your aural skills and reach new levels of musicianship - Because the difference between a good musician and an excellent musician is almost always a good musical ear.
Who should be using EarMaster?
EarMaster has been designed in collaboration with music teachers. It was designed to meet the needs of:
Music students who need to practice for ear training and sight-singing exams
Music teachers, schools and choirs looking for a reliable tool to teach ear training and sight-singing at all levels of tuition
Professional musicians & hobbyists interested in keeping their musical ear in shape
Available in 2 versions
EarMaster Pro 7 (PC & Mac) - US$ 59.95
Stand-alone version for Windows PC and Mac
Buy now >>
EarMaster subscription (PC, Mac, iPad and iPhone)
You also want EarMaster on iOS? Subscribe for a low monthly fee instead of getting the stand-alone version
Subscribe >>
Multi-user license for music schools
EarMaster Cloud (PC, Mac, iPad & iPhone)
For home and school use
Gives access to the full EarMaster software to students and teachers on PC, Mac, iPad and iPhone
Syncs assignments and results over the internet
Easy online license management
Free upgrades and free support
The most affordable Cloud solution for music education - from 3,99€ / US.99 a year per user!
More info >>
Features of EarMaster 7
EarMaster includes hundreds of features to match the needs of musicians of all skill levels playing any musical instrument.
2500 exercises for all levels
Just follow the guide
EarMaster includes more than 2500 lessons arranged in complete courses and workshops to pace your training. The difficulty of the exercises will increase as you reach higher levels of musicianship.
Not only will you make solid progress with every new training session, but you will also experience how ear training and sight-singing practice can be motivating, entertaining and efficient!
EarMaster's exercises will train you to recognize, transcribe, read, sing and play:
- Intervals
- Chords
- Chord inversions
- Harmonic progressions and cadences
- Scales and modes
- Rhythms
- Melodies
Jazz Workshops
Discover Jazz harmony, Swing, and Lead Sheets
EarMaster has always given an important place to Jazz in its exercises, so if you want to get started with serious Jazz ear training, EarMaster is the way to go.
EarMaster's 9 Jazz Workshops include hundreds of exercises for sight-singing and ear training with special focus on Jazz and Blues. The lessons cover varied topics such as «Blues Scales and Blues Songs», «1920's American Swing Hits», «Ballads and Blues in Minor», «Novelty Songs and Rhythms», «Irish Ballads and Folk Music», «Fun with Irving Berlin», as well as a variety of Jazz and Blues classics like “After You've Gone”, “St. James Infirmary”, “Mandy”, “The Sheik of Arabia”, “At the Devil's Ball”, “Missouri Waltz” and many more.
The EarMaster Jazz Workshops also include exercises on jazz chords, jazz progressions and swing rhythms.
Customize everything
On-demand ear training and sight-singing
You need to practice with specific intervals, chords or scales in specific keys? Use a G-, F- or C-clef? Train sight-singing in specific scales? Sing solfege syllables? Do you need intense training setups with time limits to prepare for exams?
With EarMaster, all you need to do is select the Customized Exercise training mode and configure your custom training session with the hundreds of available options and combinations available.
Real-time microphone input
Sing, play or clap your answers with instant feedback on your pitch and rhythm
Most of the exercises can be used with a microphone to sing or clap your answers in real-time. For instance, the Melody Sing-back and Rhythm Clap-back exercises are exciting call-and-response activities where you are asked to sing or clap back what you hear. A curve or marks will be drawn on the notes as you sing or clap them, and EarMaster will tell you which ones were on pitch, on time, slightly off, or wrong. Try it, it's really fun!
On-screen instruments
Piano, Guitar, Bass, Violin, Cello, and more
You can choose between many visual interfaces to see and input notes in EarMaster: staff (single or double), piano, guitar, bass, violin, cello, mandolin, scale degrees, solfege syllables, or even multiple-choice buttons.
Adaptive questions
We put some A.I. into EarMaster
Another unique feature of EarMaster: Artificial Intelligence! EarMaster analyzes your performance and adapts the content of the exercises to your needs as you complete them. If you are doing really well, the lesson will stop early, if you are struggling a bit, it will be extended with additional questions to make sure that you fully grasp the current topic. Also if some specific scales, intervals or chords are causing you problems, EarMaster will try to play them more often than those that you already master.
Detailed statistics
Analyze your practice sessions
To help you monitor your progress and analyze your strengths and weaknesses, EarMaster offers a detailed statistics window where you will be able to review your results lesson by lesson, day after day. Should you identify things that demand extra training, you can easily configure each activity in Customized training mode to focus on the items of your choice.
Call-Response sessions
A classic "ear training ping-pong" exercise
EarMaster plays a melody or a rhythm, and you sing/clap it back instantly without delay. To do that, select the Melody Singback or the Rythm Clapback activity and set the "Auto New Question" exercise option to Always and 0 seconds. Try it, it's a lot of fun and extremely beneficial for your aural skills!
Functional Ear Training
Functions enable us to name notes by describing their purpose (or...function!) within the key instead of referring to a specific pitch. Each note has a specific function within a key. To describe that function, you can use numbers (scale degrees), you can use solfege syllables (Do-Re-Mi-Fa-So-La-Ti) - especially if you intend to sing the notes, or you can use describing terms (Tonic, Supertonic, Mediant, etc.). In EarMaster, you can do Functional Ear Training by activating the software's Functional Keyboard via Exercise Options-->Lower/Upper Instrument, and then by selecting the tone naming of your choice via the exercise option Tone Naming.
Music Library
Customize the content of the exercises
EarMaster includes a Music Library where all the intervals, chords, scales, progressions, and melodies used in the exercises are stored. As a user, you can enrich this library with your own custom items and use them in the Customized Exercise training mode.
Activities available in EarMaster 7
EarMaster includes 14 music theory activities covering ear training, sight-singing and rhythm practice. They are the basis for the various courses and workshops that you will find in the application.
Intervals
Interval Comparison
EarMaster plays two intervals: Interval A and interval B. You will have to identify the larger of the two.
An interval is the tonal distance between two notes. For example, the interval between the notes C and E (a Major 3rd) is larger than the interval between the notes C and D (a Major 2nd).
Interval Identification
EarMaster plays an interval and asks you to identify it using multiple-choice buttons or the on-screen interface of your choice: staff, piano, guitar, bass, violin, solfege keyboard, and more.
Interval Singing
EarMaster plays a tone and asks you to sing an interval above or below it.
Example: The note D is played, and the following text is displayed in the top bar: “Sing the Perfect 5th above D.” You will then have to sing the perfect 5th above D, which is A.
Chords & Scales
Chord Identification
EarMaster plays a chord and asks you to identify it using multiple-choice buttons or the on-screen interface of your choice: staff, piano, guitar, bass, violin, solfege keyboard, and more.
Chord inversions
EarMaster plays a chord in inverted position and asks you to identify it using multiple-choice buttons or the on-screen interface of your choice: staff, piano, guitar, bass, violin, solfege keyboard, and more.
Chord Progressions
EarMaster plays a chord progression and asks you to identify it using multiple-choice buttons, or to specify the step (I, V, bIII etc.) and quality (Major, minor, 7, sus4, etc.) of each chord.
Scale Identification
EarMaster plays a scale and asks you to identify it using multiple-choice buttons or the on-screen interface of your choice: staff, piano, guitar, bass, violin, solfege keyboard, and more.
Rhythm
Rhythmic Sight-Reading
EarMaster shows you a rhythm notated on the staff, and asks you to clap it in sync with the metronome.
You can answer the exercises by clapping your hands in front of a microphone, by tapping on the space bar or the downward arrow of your computer keyboard, by playing on a MIDI instrument.
Rhythm Clapback
EarMaster plays a rhythm and asks you to clap it back in sync with the metronome.
You can answer the exercises by clapping your hands in front of a microphone, by tapping on the space bar or the downward arrow of your computer keyboard, by playing on a MIDI instrument.
Rhythm Error Detection
EarMaster shows you a rhythm notated on the staff, and then plays it with a few changes.
Your task is to identify these changes by marking the notes that are different from those you heard.
There can be two types of changes:
- A note has been removed
- A note has been divided into two notes
By using this detective-like activity, you will improve your ability to identify rhythmic variations.
Rhythmic Dictation
EarMaster plays a rhythm and asks you to transcribe it on an empty staff.
Melodies
Melodic Dictation
EarMaster plays a melodic phrase, and your task is to transcribe it on a musical staff. Depending on the lesson, the melodies are played isolated or with an accompaniment (chords or up to 4 melodic voices).
Melody Singback
EarMaster plays a melodic phrase and asks you to sing it back in sync with the metronome.
You can answer the exercises by singing into a microphone, or by playing on a MIDI instrument.
Melodic Sight-Singing
EarMaster displays a melodic phrase on the notation staff or as a list of solfege syllables, and asks you to sing it or play it in sync with the metronome.
You can answer the exercises by singing into a microphone, or by playing on a MIDI instrument.
While you are singing or playing your answer, EarMaster draws a curve on the notes to illustrate your performance and show the pitch and rhythmic accuracy of your performance in real-time.
Courses and workshops available in EarMaster
Click on a course or workshop title to view its full content.
Notice that the available 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! | |
New in EarMaster 7
New in version 7.0 compared to EarMaster 6
- Completely re-engineered user interface
- New interactive beginner’s course covering all the fundamentals of music theory
- Redesigned on-screen instruments (piano, guitar, bass, violin, cello, banjo, etc.)
- New improved voice detection algorithm
- New context-dependent help system
- New advanced statistics tool
- Revised General workshops
- Revised Jazz workshops
- New intuitive Mic Test assistant
- Revised lesson introduction screen
- New call-response mode for melody sing-back and rhythm clap-back exercises
- New tempo presets
- Retina and full screen support (Mac)
- New instrumental profiles
- Hundreds of under-the-hood improvements
New in version 7.1 compared to version 7
EarMaster 7.1 is the latest major update of EarMaster 7 on PC and Mac. The update is free for EarMaster 7 licensees, and includes many under-the-hood improvements and new features. Here are some highlights:
CLAP RHYTHMS INTO A MICROPHONE
Upon overwhelming popular demand, microphone input for rhythm clapping exercises has finally been added to EarMaster 7! Users can now complete their rhythmic sight-reading and rhythm clap-back exercises by clapping their hands in front of a microphone. The software, thanks to its exclusive audio detection algorithms, will analyze the recorded claps and give the user a detailed feedback on his performance.
445 NEW CLASSICAL MUSIC SCORES
EarMaster's Score Library now includes over 445 scores for Classical music, including works by Bach, Mozart, Haydn, Monteverdi and many more. These scores have been added in collaboration with the French Conservatoire National des Arts et Métiers (CNAM) and their excellent music library project NEUMA.
These scores can be used for any melodic ear training, sight-singing or rhythmic training exercise in EarMaster 7. For example, users can train to sight-sing 4-part Bach chorales by singign their voice while being accompanied by the other 3 voices. The software will analyze the user’s sung notes in real-time and give a detailed evaluation of the user’s pitch and rhythmic accuracy.
CZECH TRANSLATION AVAILABLE
With EarMaster 7.1, EarMaster now also becomes available in Czech, bringing the total number of available languages to 9: English, German, French, Chinese, Spanish, Italian, Danish, Portuguese, and Czech.
MUSICXML IMPORT NOW SUPPORTS DYNAMICS
EarMaster now imports and interprets both the general sound dynamics values and the individual note dynamics values included in MusicXML files. This enables a smoother, more musical and nuanced playback of scores.
How to get EarMaster 7.1
EarMaster 7.1 is a free update for all EarMaster 7 users on PC and Mac.
To obtain it, start EarMaster while connected to the internet and follow the on-screen instructions.
Notice that some early builds (up to 7.0.15) require that you uninstall EarMaster prior to installing the update.
You can see which build version you have at the top of the EarMaster window.
If you haven't yet upgraded from EarMaster 5 or 6, now is the perfect time - the upgrade costs only half the price of a regular license!
Buy EarMaster 7 Upgrade >>
User Comments
What our fellow musicians and music educators think of EarMaster
I was very pleased with your product. I downloaded the trial version to assist my preparation with an upcoming audition. I am pleased to report that I passed the audition and was offered a job. This program was an important part of my preparation. I plan on purchaing the full version and letting my kids and students use it to improve their musical skill. I highly recommend this program. 
Darrin Thiriot, Clarinetist with one of the Washington D.C. military bands, USA
I bought EarMaster Pro 5 a couple of years ago and am still amazed at the enormous level of professionality and didactical/pedagogical prowess so easily visible every time any one of my family "plays" with it. The program stands out from the rest by a wide margin and I would like to thank and congratulate you and the development team on this job so well done!
Dr. Ingmar Gutberlet, Bass and guitar player, Germany and his family of Violin, Clarinet, Trumpet and Flute players
I am going to begin recommending Ear Master Pro 5.0 to my piano students. It works. My daughter used it as a child and is now working on her Masters of Music degree in college. I had forgotten all about EarMaster until recently my daughter reminded me of her success with it.
Julie Blair, piano teacher, author of mypianopage.com, USA
I recently purchased earmaster for Mac. Just to let you know I think the program is fantastic and has all the exercises my students will need to excel at their exams.
Peter Friesen, piano teacher, United Kingdom
Really Ear master is great now proudly i can say that i can play any chord without delay
Mu. Balasubramani, music composer, India
A very helping software...congratulations!
William, beginner guitarist, Dago, Madagascar
I am a music lover - not a musician - and a medical man, playing for my own pleasure piano which I started in my fifth decade. I have to C O N G R A T U L A T E you and you team for a sterling work on the ear training. Since I have downloaded your trial program from the Internet it kept me absorbed already several nights close to the dawn. It is Brilliant!!! I have great a difficulty to detach myself from my laptop. It is un-put-downable! What a great use of the IT in music. My copy of the program will be on the way to me tomorrow. My great respect to you and everybody contributing to this venture. Thank you very much indeed! P.S.: My only regret is that I have found you program so late. It is worth all money and then some.
Tomasz J. Kurek, Amateur musician - Piano, Johannesburg, South Africa
Hans, this software is the best. It really is helping me to learn piano by ear! I don't know how you figured out all the right exercises to use. But each one you placed there is exactly what is needed! Hans if you ever had wondered if you got it just right! Trust me, from all the research I've been doing to figure out how to learn, your software is it! You absolutely got it perfect! Great job!!!
Jim Carrillo, Advanced piano student, Tampa Bay, Florida
I teach guitar for a living and I have to say that your program really hits the nail on the head and allows the user to concentrate on what he wants to personally develop. I've tried a few ear training programs in the past and really been disappointed. Your stuff really lets me work on what I want to work on and the whole interface is very well put together.I really salute you guys for creating something that truly benefits musicians and I am sure that it is worth every penny. I have already started to recommend your software to all of my students.
Justin Proudman, Guitar teacher, UK
Your program is awesome and I am making great progress. I have been playing classical guitar for almost 20 years now and I have tried other perfect pitch programs and failed at them. Their concept was always from the playing a cd and listening to it. Your program is like having a teacher in front of me. When I make a mistake, it fires it back at me and pushes me to learn. Thanks again for your wonderful program, I have been looking for something like this for years. I will recommend this to all of my students and fellow musicians.
Mark Millage, Classical guitar, Music teacher, Florida, USA
Your software has helped my hearing progress astronomically faster than the traditional 'find your partner' approach. I am very hard on myself I push myself as an athlete in training might, and your software keeps up with my pace quite well. I have grown in leaps and bounds thanks to the tool you have graciously provided. I say graciously, because the fee is nominal in comparison to the returns.
Shahzad Ismaily, Professional musician, Bass and electronics, Brooklyn, New York
I have been blown away by your EarMaster. I am at the University of Newcastle Conservatorium of Music, Australia and have found that using this software has improved my Aural capabilities enormously. Each point covered by EarMaster is exactly the areas in which we are working. I find EarMaster really easy to use. Thank you for turning what can be a very tedious subject into one that is extremely enjoyable.
Jan Boyle, University of Newcastle Conservatorium of Music, Australia
My students thoroughly enjoy your program. In fact, I am going to get rid of my ....... and other ear training programs because my students would rather use your software.
Genny Rafferty, Piano teacher, Phoenix, Arizona
I recommend EarMaster without hesitation to any student or professional who wants to shift their aural skills into overdrive. (...) Even students with perfect pitch will be very hard pressed to max out the unlimited potential with your wonderful program, and I know few people who could master the melodic dictation up to 9 random chromatic notes. Thank you for writing such a great program.
Douglas Martin, Music student, University of Michigan, USA
I'm am currently in my third year at Queensland Conservatorium in Jazz Studies and just before aural/listening exams my computer and your fantastic program certainly takes a pounding. It has been an essential tool in the development of my musical ear. Thanks again.
Ross Williams, Music student, Queensland Conservatorium, Australia
This is so good I cannot stop recommending it! All those boring music lessons now become fun, and you can see and hear yourself getting better! If school was like this we would all be Einsteins.
Mark Kober-Smith, Notary Public, and amateur musician, London
I am a jazz saxophonist, and I have now been using the program for several months. Over time I have come to regard it as my second instrument. Working at it every day I am becoming able to recognise any interval in an instant, hear chord changes in and sight read tricky syncopated jazz rhythms. What more could a Jazzer want?!!!
Steve Deckett, Jazz saxophonist, UK
I'm talking about this program to all the musicians in this city. Everybody says, this is a wonderful program easy to use, easy to understand. I think that this program is the teacher that every musician must have at home.
Juan Daniel Muñoz, Drummer and band leader, Mexico
Hans, your program is one of the best I've ever used. Not only is it logical, intuitive, deeply interactive, (...). It is smart - very, very smart, and very easy to use. What I love most is what I can do on the Scale Identification page. Whether I click a piano key, a guitar string, or ledger line or space, the note and tone always play perfectly and simultaneously display everywhere. Talk about great reinforcement!! And then when I discovered that I could hold in my mouse button and drag the cursor across multiple notes only to have them all play/display, well, that sold me right there - at that point I knew I just had to buy this software. What a smart, smart program.
Raymond Smith, Keyboards & Electric Bass Guitar, Irving, Texas, USA
Dear Hans: I think EarMaster is terrific. I have ordered it and just received the software and am anxious to install it. I have also referred the program to several of my friends, as well as my teacher. I am an adult piano student, having taken lessons for 6 years, starting at 44 years of age. I have found that I am a visual learner and that it is difficult for me to learn piano the traditional way because I have a difficult time not being able to see my hands as I read the music. I am not making the visual connection between my hands and the music, easily. But, that was before EarMaster.Beyond learning how to learn by ear, EarMaster has helped me to visually associate the sound of a key to the piano key itself because both are right before me on the computer screen. Now, when I play the piano acoustically, I am finding it to be much easier because I can now 'see' where my hands are while still reading the music.
Linda Carey Kunnath, Piano player, USA
I am impressed with this product. In the process of searching for this type of software I had occasion to try several other programs. None of them came close to providing the depth of exercises and the ease of use that EarMaster does.
Mike Nekechuk, Amateur musician, Ottawa, Canada
EarMaster has been the best ear training software that I have tried. It looks very nice and it has everything I need to practice! It is GREAT!
Miguel-Gerardo Brito, Music student, Puebla, Mexico
One of the best programs of its kind. For the price you ask, unbeatable...
Axel Gallrein, Hobby musician, Berlin, Germany
This is far and away the best ear training program I've come across, and it's much less expensive than many others.
Michael Rosenberg, Professional musician, California
I really enjoyed using the EarMaster evaluation copy. As a software developer I can appreciate that you've done a great job both in design and implementation.
Alan Macy, Responsive Software, Trinidad, California
What a great tool!
Doug Mitchell, Music student, Seattle, USA
I think EarMaster is one of the best ear trainers I have seen. It is quite powerful, its appearance is visually pleasing, it is uncluttered and it is simple to use. I like the large keyboard and the three different ways test questions can be answered. I also like the clearly set out way in which users can create their own chords and scales.
Doug Truter, Australia
I have only been using EarMaster for one week, and I'm able to now play songs by ear. Unbelievable.Thank you. I highly recommend EarMaster.
Sheila Evans, keyboard, Chicago, USA
Many people might say that a computer cannot replace human beings, but EarMaster certainly comes close in many ways. Given the nature of our discipline and the large amount of practice required, EarMaster is a patient and non-judgmental teacher.
Dr. David Ehrke, Professor of Music, University of Nevada, Reno
Yes, we wrote the quotes ourselves! (just kidding) - How did we get them? They are just a few of the comments we have received by email. All authors are quoted with permission.
Webmaster, EarMaster.com
A trip around the world - Schools using EarMaster
We have always worked hard to make our software available in as many countries and languages as possible. It's not an easy task, but we think that it is worth the effort, because it means that students and teachers can have easier access to modern tools for music education.
Here is a short list of some of the schools that use or have recently used EarMaster for their ear training and music theory classes. Happy travel!
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
System Requirements
Windows
Windows 7, Windows 8 and Windows 10
Minimum screen resolution 1024x768
Soundcard with speakers
Internet connection for activation
Mac
Mac OS X 10.12 or newer
Minimum screen resolution 1024x768
Soundcard with speakers
Internet connection for activation
Recommended setup
Soundcard with audio input (for microphone/instrument input)
2 Ghz processor
2 GB Ram
Microphone
MIDI Controller (keyboard, percussion pad, etc.)
Headphones (necessary when using a microphone)
Note for Linux users: We have heard from several users that they got EarMaster to work with W.I.N.E without major issues. As EarMaster is using a built-in soundfont for sound playback, it shouldn't require too much setup or workarounds to be up and running. However, EarMaster is not officially supported on Linux so we can't guarantee that it will work on your Linux setup, and we will only be able to provide you with support related to universal functions of the software.