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Aralia 5 aural skills training4/1/2024 I wanted to discover what was good, useful and helpful in the development of students’ aural skills. So here today is the beginning of the series, specific print books and resources out there for piano teachers to use in lessons. My reading has led me to devise something of a series on Aural Development: Print Resources, Tech Resources, Resources for Early Development and finally, Auditory Processing: Information for Music Teachers. It is so vast that I am really just covering the tip of the iceberg currently and would like to further research some paths before I draw any conclusions worth sharing. It is a very broad topic when looking at auditory processing, how it works, what dysfunctions can be present and how we utilise different techniques in order to benefit our students’ musical education. I am still reading through much of the research. I want to learn more and gain more understanding to be a better teacher. Medical journals, text books, auditory processing diagnosis and management specialists and parents with children with auditory processing issues. Why? What happens after the first bar of music that they can’t remember the rest? How can I assist them to increase their aural memory and attention span? What is it specifically that is causing this issue? Rhythmic clapping is mostly ok, as long as it isn’t too long, but adding the melody to remember seems to short out their fuse. In particular this stems from a couple of students who struggle to remember simple short phrases (think 2 bars of 4/4) to sing back. Singing and aural development has always been a part of my teaching but I feel the need to do some further research and find some more tools to work with some specific students. Fourth hearing: notate the chord carefully, checking solfege and key signatures to eliminate notation errors.Recently I have been considering the ways I develop aural skills with my students and other alternatives that may be available.If the chord is inverted, then figure out which solfege is the lowest pitch. This will help you figure out what key you’re in – and by extension, what accidentals you must notate when you write down the chord. Third hearing: figure out the solfege of the chord you’ve identified, as it would appear in root position.Second hearing: use your knowledge of function and intervals to determine the chord quality.(This can sometimes help you identify both the chord quality and inversion on the very first hearing!) Can’t hear a second? The chord must be dd 7, which you may always identify as root position in this class, or another of the seventh chords in root position. First hearing: is the chord inverted or in root position? Listen out for the interval of a minor or major second.The suggested procedure for correctly identifying and notating seventh chords is as follows: Remember, everything is easier when you have a procedure. These are not the only possible first questions! Invent your own and share them with your study buddies. Does this chord have a context in major keys only, minor keys only, or is it found in both major and minor keys?.Does this chord have dominant function?.Now, try to invent your own flow chart for how you will eliminate wrong answers and zero in on right ones. At that time, the first question concerned whether you could hear the interval of a second – the unmistakable sign that a seventh chord is inverted. In Unit 4, we worked with a flow chart to identify seventh chords. Need extra contextual listening practice? Listen to the Spotify playlist “UI Aural Skills III Seventh Chords” by user “mirandawilson” Internalize Contexts Through Mindful Listening Print the PDF on one double-sided sheet of paper, then cut up the cards to test yourself and your study buddy in practice. To help you memorize and internalize the particular qualities of each seventh chord, click on the link below to download flash chards for seventh chords. Though seventh chords may initially seem daunting, they are not difficult as long as you remember their forms and functions. Over the subsequent units, we worked on seventh chords in all their inversions. In Unit 4, we began our study of five types of seventh chord. Ear Training - Mastery of Seventh Chords and Their Inversions Review of Materials
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