The exercise identifies the “center of pitch” by exploring the intervallic distance between half steps. Years ago, I observed a wonderful honor choir conductor get impressive results with this one. Experiment, creating many different sonorities. When the sopranos move down to ti, you will have a major 7 th chord, then the move basses up to mi, and you’ll have a minor chord. To extend the exercise, direct individual sections to change pitches, while the choir continues to sustain the chord (stagger breathing as needed). At first, keep the sopranos on high do, the tenors on sol, the altos on mi, and the basses on low do. As you descend, direct sections of the choir to sustain specific pitches, creating a chord by the end. Sing an ascending scale in unison (on solfège). Invite standout students to lead the activity. Following the performance, ask students to identify the exact error(s), giving a constructive critique. Perform the pattern, making one or more errors. Error Detectionĭisplay a melody or rhythm for the class. Randomly switch between major and minor triads to keep students guessing and ears working. For this drill, the chord is played on beat one (of a four-four measure), and responses are eighth notes beginning on beat two. ” As with all of these exercises, maintain a steady pulse and tempo throughout. For minor chords, singers respond with “ la-do-mi-do-la. When students hear a major chord, they sing “ do-mi-sol-mi-do ” in response.

Play a major or minor triad at the piano. Here’s a way to train singers to listen harmonically. MakeMusic Cloud has the tool to support your choral program’s success. Encourage accountability by assigning individual singers their very own entrance/part. Want to make it more interesting? Assemble entrances closer than traditionally stacked to create some challenging dissonances. We all know the joy of canons – when entrances are staggered at specific intervals, the overlapping tune creates pleasant harmony. This will instantly reveal where pitch insecurities lie. Similarly, choose a passage from your repertoire, and instruct students to perform specified words, notes, or measures “internally.” Perhaps you do the first bar aloud, become silent in bars two and three, and then sing measure four aloud. Try Head, Shoulders, Knees, and Toes leaving out one more body part each time.

Each time you repeat the song, replace one additional word with a rest. A great way to develop this skill begins by singing a familiar song several times in a row. The ability to audiate – or hear music during complete silence – requires practice. My students always enjoyed it when I snuck in a popular tune, giving the instructions “keep singing along, but raise a hand as soon as you figure out what the song is.” Try something fun like sol-fa-mi-re-re-do-mi (Katy Perry’s Firework ) or la-sol-la-sol-la-sol-mi (the hook from Lin-Manuel Miranda’s Alexander Hamilton ). If your singers are proficient with Curwen hand signs, you can lead them through melodies without notation, entirely a cappella. For advanced groups, try two patterns at once – one for treble singers, the other for changed voices. Eventually, move on to longer sequences, more difficult intervals, and less predictable melodies. Play a three- or four-note melody on the piano and ask singers to sing it back on a neutral syllable such as “la” or “loo.” At first, patterns should be simple (step-wise, outlining a triad, in conservative ranges, and tuneful). try the activity in canon, which requires students to perform one pattern while simultaneously listening to the next echo percussive consonant patterns to reinforce diction skills advance to brief melodies (sung on solfège) to work on pitch invite standout students to lead.

There are plenty of creative extensions: throw in some body percussion such finger snaps, foot stomps, thigh pats, tongue clicks, etc. Choose age-appropriate rhythms or (even better) motives selected from your current repertoire. It’s as simple as clapping a rhythm for the class and inviting them to clap the pattern back. Many teachers use this activity for classroom management. Here are ten easy ear-training exercises that will improve the musicianship of choral singers. While time is often tight, and concert schedules tend to dictate priorities, there are countless benefits to incorporating skill-building activities whenever you can. As a former high school choir director, I recognize both the challenges and rewards of teaching aural skills within the context of large group rehearsals.

Musicianship and aural training