| Ear training can be a valuable skill to develop for | | | | - Interval recognition is the ability to hear and |
| music composers. Exactly what is meant by ear | | | | recognize intervals and is fairly easy to develop with |
| training? Ear training is the ability to recognize and | | | | a little practice and focus, greatly assisting in the |
| identify the basic elements of music such as intervals, | | | | recognition of melodic material. |
| chords and rhythms upon hearing them. There is the | | | | - Chord recognition is the skill of identifying chord |
| phenomenon for the gifted few of being born with | | | | changes and progressions as well as their inversions |
| what is known as "perfect pitch". This is the ability to | | | | and is also a fairly easy skill to acquire with practice. |
| recognize pitches without any external reference. For | | | | - Rhythmic recognition is recognizing the basic |
| the rest of us mortals, we settle for the skill of | | | | rhythmic pulse of a passage and the subsequent |
| relative pitch, the ability to recognize a pitch in | | | | timing and note values. |
| reference to another. This luckily is a very useful skill | | | | - Timbre recognition is identifying the different |
| one can develop with some practice. | | | | instruments and combinations of instruments that |
| Training the ears is essence comes down to training | | | | make up a piece or a passage as they weave in and |
| the ears to listen. The savvy composer develops the | | | | out. |
| ability to listen to music in a focused manner. When a | | | | Courses and software programs are available to |
| child learns to speak, they are listening intently and | | | | assist in the process of developing the musical ears. |
| learning to pick out familiar words and phrases and | | | | If time permits, this can be invaluable time spent. Ear |
| begin using them. They build their vocabulary over | | | | training needn't be an ongoing thing, as once the |
| time, expanding it as they go. Music as a language is | | | | ability is developed, through constant exposure and |
| similar, in that, one can begin by learning to recognize | | | | use, you will get better and better as time goes on. |
| intervals, chords and melodic progressions by focused | | | | Devoting a period of time towards ear training is a |
| listening. In the beginning it can be difficult, but with | | | | great step towards becoming a better composer. |
| perseverance, the composer can progress like | | | | Use what works for you, if you are a self learner, |
| learning a foreign language. | | | | perhaps a software or audio based approach will |
| The training of the ears can contribute greatly by | | | | work. There are even free ear training courses online |
| being able to hear and quickly dissect music, thus | | | | if funds are short. |
| contributing to the process of musical composition. | | | | Spend some time developing your ears if you want |
| Most people can quickly learn to recognize chords and | | | | to develop the ability to quickly translate what you |
| intervals which can help when putting together chord | | | | hear into your own compositions as well as |
| progressions and harmonic material of their own. | | | | understanding the structure of the music you hear. |
| When hearing a pleasing set of chords and being able | | | | Transcribing pieces of music from other musicians in |
| to recognize it, the composer can quickly pick it out | | | | your chosen genre can assist greatly in developing |
| on a piano or keyboard, or write it down for further | | | | your ears through listening with intent and breaking |
| exploration and/or manipulation. | | | | music down into its component parts. The ability to |
| Ear training can be concentrated in several main | | | | recognize musical material and write it down or |
| areas. | | | | record it will greatly assist you in getting the music |
| - Pitch recognition is the ability to recognize isolated | | | | inside of you out into the world, with relative ease, |
| pitches. For most this is easier when one knows the | | | | which is the goal of any composer. |
| tonic key that a piece is in. | | | | |