Berklee Schachnik Gilson - Beginning Ear Training - Voice
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Berklee
https://www.berkleepress.com
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Hal Leonard Europe BV
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Summary of This Book
Designed as a reliable foundation for aural training, this book gathers proven exercises to learn how to recognize, retain, and reproduce music "without sheet music." The goal is clear: to strengthen your ability to play by ear by developing essential musical listening skills, whether you are an instrumentalist, singer, or musician in training.
The method emphasizes the use of music theory as an internal reference: you learn to connect what you hear to a musical logic (pitches, melodic movements, rhythms) in order to "hear in your head" with greater accuracy. Gradually, this internalization makes transposition more natural: a melody heard can be replayed and shifted into another key without relying on a reference instrument.
The proposed work also supports comprehensive practice: hearing a melody and then notating it, strengthening memory of melodies and rhythms, and initiating transcription from live performances or recordings. This approach is particularly useful for musical dictation, improvisation, transcription, arranging, and, more broadly, for gaining musical autonomy. By placing listening at the center, this book helps you refine your perception and listen better, faster, and more effectively on a daily basis.
Technical specifications
| Publication | Methods | ||
| Instrumentation | All instruments | Language | English |
| Genre | Music education (ear training) | ||
Questions frequently asked
Is Beginning Ear Training - Voice suitable for singers?
Designed for vocal work, this book is also intended for instrumentalists and musicians in training. The indicated instrumentation covers all instruments.
Is the book available in French?
The method is written in English.
What musical ear skills are developed?
The content addresses recognition and reproduction of music without notation. The exercises target pitch, melodic movement, and rhythms. Memory for melodies and rhythms is also part of the program.
Does this method help with ear transposition?
Thanks to the use of solfège as an internal reference, listening is connected to musical logic. A melody heard can thus be played back in another key without a reference instrument.
Is it possible to work on dictation and musical transcription?
The exercises involve hearing a melody and then notating it. The book also introduces transcription from live performances or recordings.
