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ear training - problem with timbre of guitar along other instruments
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apak
Posts: 57
Joined: May 23 2010
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ear training - problem with timbre o...
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Another day, another question... I have been putting myself through rudiments of ear-training, mostly singing intervals and identifying random intervals within a two-octave range. My comfortable singing range is from the G (6th string) to C (2nd string). Anything higher or lower really strains me. Since this is a very limited range, I am trying to rely on just recognizing the character of the interval sounds. After some weeks of practice, I am seeing some good improvement on recognizing intervals, or even transcribing simple melodies by ear... but if, and only if the source is a guitar! If I try the same thing with source being a piano, base, or sax, then it all falls apart and I get very confused. I think what has happened is that my ears are tuning into the timbre of guitar as well as intervals, so when that timbre changes, I have difficulty identifying the intervals. Anyone else has had this challenge, or any ideas how to overcome it? I know some teachers recommend ear training on the piano, but then I suspect that by the time I am accustomed to the piano timbre, my ears will be useless to recognize the relative pitches on the guitar.
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Date Oct. 20 2010 21:32:41
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Ramon Amira
Posts: 1025
Joined: Oct. 14 2009
From: New York City
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RE: ear training - problem with timb... (in reply to apak)
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quote:
I have been putting myself through rudiments of ear-training, mostly singing intervals and identifying random intervals within a two-octave range. Well, I can give you my best advice based on my own experience. I was a concert classical guitarist before I took up flamenco guitar, so I went through the whole nine yards of studying music theory, scales, intervals, harmony, counterpoint – you name it. You know what – when it came to flamenco I didn't have much use for any of it, with the exception of scales. You didn't say why you want to do ear training in general, and interval study in particular, but this is a flamenco forum, so if this is intended to help you as a flamenco guitarist, I personally feel you would be a lot better off spending all that time studying – how to play flamenco guitar. It's not that any of that will necessarily hurt you, though who knows, it's just that I don't see where it would help you, and in fact I feel it would hurt you in the sense that you will be spending a lot of time to no useful end with respect to flamenco guitar, time that could be used to work on technique, learning and creating material, etc. Just my feeling – assuming you are asking this in the context of studying flamenco guitar.
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Classical and flamenco guitars from Spain Ramon Amira Guitars
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Date Oct. 21 2010 3:09:32
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apak
Posts: 57
Joined: May 23 2010
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RE: ear training - problem with timb... (in reply to Ramon Amira)
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Hi PC, thanks for the post. To clarify, yes, the point of doing this is definitely towards developing what I think I may have missed what children that grow up to be musicians get trained on at an early age. And in context of flamenco, I figured it helps with improvisation, learning by ear, etc etc To be honest, I never questioned the wisdom of whether studying intervals is useful or not, I just do it, because I heard over and over and over and over again that this is what it takes to develop a good ear for relative pitch, and that having a trained ear is necessary for anyone that wants to develop with the goal of becoming a musician. Sometimes it seems utterly useless and not fun at all, but again, I just drag myself through it like a humble student, trusting the common wisdom that it will eventually lead somewhere. If someone came along and said great flamenco players or classical guitarists can't tell the difference between intervals, then I'll buy 'em a beer for having spared me hours of this boring stuff.
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REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 21 2010 4:52:53
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