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How to develop an ear for music yourself? How to develop an ear for music - for self-taught and not only! Musical and non-musical sounds.

Absolute hearing.
The ability to recognize by ear any note (do, re, mi, etc.) and reproduce it with a voice without prior tuning. This also applies to sounds performed not only on musical instruments (siren, phone call, knocking on a metal pipe, etc.).
Absolute pitch is a gift of nature, but it is discovered only as a result of music lessons - studying notes and playing on musical instrument.
For a long time it was believed that it was not amenable to development, but now development methods are known absolute pitch(see links below).

relative hearing.
It differs from the absolute one in that in order to determine or sing notes by ear, tuning is necessary - a sound or chord, relative to which the scale will be mentally built.

melodic ear.
The ability to hear and understand the structure of a melody (pitch, direction of movement and rhythmic organization), as well as to reproduce it with a voice. For more high level development - write notes.
Develops in the process of learning music.

Harmonic hearing.
The ability to hear harmonic consonances - chord combinations of sounds and their sequences and reproduce them with a voice in an unfolded form or on a musical instrument.
In practice, this can be expressed, for example, in the selection of an accompaniment to a melody by ear, even without knowing the notes, or singing in a polyphonic choir.
Its development is possible even in the initial absence of such an ability.

Inner hearing.
Internal representation of the correct pitch intonation, without voice reproduction.
Internal hearing uncoordinated with the voice. First level.
In practice, it is expressed in the selection of a melody, possibly with accompaniment, by ear on an instrument or by understanding errors by ear in the work being studied.
Inner hearing coordinated with the voice. Professional level. The result of serious solfeggio training. It involves hearing and anticipating the musical text and the ability to work with it without a musical instrument.
Develops in the process of learning music.

Foreshadowing.
Mental planning with the inner ear of the future pure sound, rhythmic figure, musical phrase. It is used as a professional technique in vocals and for playing all musical instruments.

Levels of ear development expressed in pure singing.

1. Clinical - the absence of such (5%)
2. Internal. Not expressed in singing.
3. The ability to "pull up" the melody after other singers or to the playing of the melody on the instrument.
4. The ability to sing cleanly only to accompaniment, having a chord base and the initial sound of the melody under the melody.
5. Ability to sing cleanly without harmonic and melodic assistance.
6. The ability to sing cleanly independently in two- and polyphony.

How to explain to a child what it means to "sing cleanly"?

- Sing the same as I play (sing) so that your voice "hides" in my sound, merges with it. At the same time, your sound should not be too quiet or too loud. admin

It is believed that and ear for music It is a gift that a person receives at birth. Therefore, selected people become vocalists. The rest is left singing under karaoke, false notes and missing the tempo. Practice shows that a person is able to pump any skill. How gymnasts develop flexibility, and how athletes develop endurance. The same is true with hearing. Constant training will give results, and you will sound clean and beautiful. How to develop an ear for music?

Why develop an ear for music?

If you decide to connect life with music, then you cannot do without hearing development. It is needed by vocalists, singers, sound engineers, producers and professionals related to the music industry. Musicians interpret the state when a person does not hit the notes. It is the lack of connection between hearing and sound. In other words, a person hears notes, understands the sound of a melody, but when it comes to vocals, he gives out false singing.

Musicians do not have a question, why develop an ear for music? But vocal lovers, people who see themselves on stage or gifted by nature, think about this dilemma. There is no limit to perfection. Even if the initial data are laid down by nature.

People with poor hearing and dreaming of singing, with such indicators, put an end to the dream, without thinking about developing skills. If a child dreams of a stage, then support him. Sign up for a music school first. Improving musical ear is useful for children, helps in learning foreign languages.

The musical school passed in childhood is good foundation to improve hearing. But, you can get by with home exercises. The frequency of training and a clear program are important here. If you want a faster result, then hire a tutor who will give private solfeggio lessons.

How to develop an ear for music yourself? Take a look at the following exercises:

You will need a musical instrument to play music. First, press the keys in a row from the note “do” to “si”. Listen to the sound of the keys and sing the scales. First up, then down. If it's fake, then start over. To fix the result and feel the sound of the notes, do the exercise several dozen times (20-30 repetitions).
Choose the music you like. Choose melodic songs. Rap and rock will not work, because such works are far from melodious. Next, turn on the song, listen to a short segment and stop the track. Try to completely repeat the song, hitting the notes. If in doubt, listen to the passage again. Work on the echo by listening to the song until the end.
Take a musical instrument to play notes. Your task is to listen and sing the intervals. This lesson effectively helps to develop musical ear. Take any note and connect it to the next one. For example, "do" - "re" and so on until the note "si". Listen to sounds, then play them. Repeat the exercise several times, playing the musical combination up and down.

Choose a note from the musical range and “sing” it from all sides. To do this, build the following combination. First, take the base note, then raise it one tone up. Then return to the starting position and take the direction to the lower semitone. End the "singing" with the base note. In practice, it looks like this: “do-re-do-si-do”. Continue the exercise with each note, "singing" at the syllable "la".

This program is designed for beginners. The task of the exercises is to consolidate the skills and bring the skills to automatism. As soon as you feel that you are confidently performing the described exercises, then expand the number of notes. Activate two keys, pointing them in each direction. Take the bottom "to", lower it down, then from the top "to" you lead up.

The above exercises are difficult to perform all together. Try each one first, then choose the easiest. Practice exercises to perfection, then gradually add new ones. Combine different methods to achieve the desired result.

Increase your knowledge. If with music, you have not encountered and do not have vocational education, then start by learning musical notation. Courses and useful materials find on the internet. They will help not to memorize notes, but to understand the basic principles. Musical notation- This special language where musicians communicate. You will be able to read sheet music.

. A similar desire appears with a deep study of music. If until this moment the classics are not a frequent guest in your house, then change the situation. Turn on the works regularly, while cleaning, resting, reading a book. Let it sound unobtrusive background. Over time, you will notice how you begin to sing along and play the right notes. Interestingly, complex chords learn faster in famous compositions. Therefore, develop by looking for new pieces of music.
Pure singing is impossible without musical memory. After listening to a melody several times, you should remember it and reproduce it without difficulty. Find programs to improve your hearing and memorize notes. It is convenient that the courses are installed on the tablet and mobile phone. Daily activities give good result. Listen to lessons at lunchtime, or commute to class or work.
Sign up for the choir. Hone your skills right away in practice. There are now many organizations involved in choral singing. Choose a circle of interests: performing folk or pop songs. Attending classes, you will feel what points you need to tighten up, consult with the teacher. If necessary, take private lessons.

Being engaged in the development of hearing at home, prepare mentally. self-study require twice as much effort and patience. At first, mistakes and disappointments are not ruled out. Most importantly, do not deceive yourself, do not allow falsehood. Do less exercise, but better. Constant training will give results: hitting the notes and improving vocal data.

March 18, 2014, 12:35

Ear for music

- a set of abilities necessary for composing, performing and actively perceiving music.

Musical ear implies a high subtlety of perception as individual musical elements or qualities. musical sounds(pitch, loudness, timbre), and functional connections between them in a piece of music (modal sense, sense of rhythm, melodic, harmonic, and other types of hearing).

Among the various types of musical ear, distinguished by various characteristics, the most important are:

There is a widespread opinion that an ear for music is something almost unique - a gift from God, and a person who has an ear for music is very lucky. After all, he can sing, make music, and in general, he is, in a sense, the chosen one.

How many people experience a feeling of inferiority when it comes to music, saying: "I got a bear in my ear."

Is it really such a rarity - an ear for music? Why do some people have it and others don't? And in general, where did he come from in man? Why did it show up at all? Maybe it's some sort of psychic ability?

It is worth remembering that human abilities do not just happen. All our ability comes from a vital necessity. Man learned to walk on two legs because he needed to free his hands.

Approximately the same situation with the musical ear. This feature appeared when living beings needed to communicate using sounds. A person's ear for music developed along with speech. In order to learn how to speak, we need to be able to distinguish sounds by strength, duration, pitch and timbre. Actually, it is this skill that people call musical ear.

Types of musical ear

Perfect Pitch

The ability to recognize by ear any note (do, re, mi, etc.) and reproduce it with a voice without prior tuning. This also applies to sounds performed not only on musical instruments (siren, telephone call, knocking on a metal pipe, etc.).

Relative hearing

It differs from the absolute one in that in order to determine or sing notes by ear, tuning is necessary - a sound or chord, relative to which the scale will be mentally built.

melodic hearing

The ability to hear and understand the structure of a melody (pitch, direction of movement and rhythmic organization), as well as to reproduce it with a voice. At a higher level of development - write notes.

Develops in the process of learning music.

Harmonic hearing

The ability to hear harmonic consonances - chord combinations of sounds and their sequences and reproduce them with a voice in an unfolded form or on a musical instrument.

In practice, this can be expressed, for example, in the selection of an accompaniment to a melody by ear, even without knowing the notes, or singing in a polyphonic choir.

Its development is possible even in the initial absence of such an ability.

inner ear

Internal representation of the correct pitch intonation, without voice reproduction.

Internal hearing uncoordinated with the voice. First level.
In practice, it is expressed in the selection of a melody, possibly with accompaniment, by ear on an instrument or by understanding errors by ear in the work being studied.
Inner hearing coordinated with the voice. Professional level. The result of serious solfeggio training. It involves hearing and anticipating the musical text and the ability to work with it without a musical instrument.

Develops in the process of learning music.

foreshadowing

Mental planning with the inner ear of the future pure sound, rhythmic figure, musical phrase. It is used as a professional technique in vocals and for playing all musical instruments.

Is it possible to develop an ear for music?

We use an ear for music, and very accurate, all the time. Without it, we would not recognize people by their voices. But by the voice we can tell a lot about our interlocutor. It gives us the opportunity to determine what mood the person we are talking to has, whether we can trust him, and much more. Non-verbal, that is, non-verbal, characteristics of speech sometimes give us much more information than spoken words.

Is it possible in this case to say that someone does not have an ear for music? Yes, of course not! Every person who independently learned to speak has an ear for music.

Lack of ear for music is as rare as, for example, congenital blindness!
Of course, for someone it can be developed very well, and for someone it is worse, but for the vast majority of people, the ear for music is quite developed enough to make music and achieve excellent results without special enhanced training for the development of ear for music. The problem is that very often musical ability judged by a person's ability to sing. If you don’t know how to sing, it means “a bear stepped on your ear”, “no ear for music”.

But in order to sing, it is not enough to hear well. You also need to be able to control your voice well. And voice control needs to be learned in the same way as drawing, dancing or swimming.

And besides, if you hear that you sing badly, then your hearing is definitely all right!
And, finally, if you love music, listen to it, then you have a normal ear for music, you don’t have to worry about this.

Ear for music, like any function of our body (for example, the ability to swim), develops only when we actively use it. If you play a musical instrument or sing, it will help you quickly develop an ear for music. By the way, Dmitry Kabalevsky devoted his life to debunking the myth about the uniqueness of the musical ear. He developed a whole system that proved that every person can and should be taught music. And the results of his activities have shown that almost anyone can successfully engage in music.

Specialists are engaged in the development of musical ear. discipline - however, actively musical ear develops primarily in the process of musical activity.

One of the methods of developing intonation hearing is through movement, breathing practices and dance. Various manifestations of musical ear are studied in musical psychology, musical acoustics, and psychophysiology of hearing. Hearing is dialectically connected with general musicality, expressed in high degree emotional susceptibility musical phenomena, in the strength and brightness of the figurative representations and experiences caused by them.

If you have a desire to make music in one form or another, cast aside any doubts about your abilities, act, study, and success will surely come to you!

How many people experience a feeling of inferiority when it comes to music, saying: "I got a bear in my ear." Most of the people got used to the idea that there is no hearing and no need. Although, before making such statements, it is worth initially knowing what an ear for music is.

It is worth remembering that human abilities do not just happen. All our ability comes from a vital necessity. Man learned to walk on two legs because he needed to free his hands.

Musical ear - a set of human abilities that allow him to fully perceive music and adequately evaluate one or another of its advantages and disadvantages; the most important professional quality necessary for successful creative activity in the field of musical art: all professional composers, performing musicians, sound engineers, musicologists should have a well-developed ear for music.

Musical ear is dialectically connected with the general musical talent of a person, expressed in a high degree of his emotional susceptibility to musical images, in the strength and brightness of the artistic impressions, semantic associations and psychological experiences caused by these images.

Musical ear presupposes a subtle psycho-physiological sensitivity and a pronounced psycho-emotional responsiveness both in relation to various characteristics and qualities of discrete musical sounds (their height, loudness, timbre, nuance, etc.), and to various functional relationships between individual sounds in the holistic context of that or otherwise piece of music.

Intensive study of musical ear began with the 2nd floor. 19th century G. Helmholtz and K. Stumpf gave a detailed idea of the work of the organ of hearing as an external analyzer of sound oscillatory movements and of some features of the perception of musical sounds; thus they laid the foundation for psychophysiological acoustics. N. A. Rimsky-Korsakov and S. M. Maykapar were among the first in Russia in the late 19th - early 20th centuries. studied musical ear from a pedagogical position - as the basis for musical activity; they described various manifestations of musical ear, began the development of a typology. At the end of the 40s. An important generalizing work by B. M. Teplov "The Psychology of Musical Abilities" appeared, where for the first time a holistic view of musical ear from the standpoint of psychology was given.

Various aspects, properties and manifestations of musical ear are studied by such specialized scientific disciplines as musical psychology, musical acoustics, psychoacoustics, psychophysiology of hearing, neuropsychology of perception.

Varieties of musical ear

Among the numerous varieties of musical ear, distinguished by one or another feature, the following should be noted:

absolute pitch - the ability to determine the absolute pitch of musical sounds without comparing them with reference sounds, the pitch of which is already initially known; the psychophysiological basis of absolute pitch is special kind long-term memory for the pitch and timbre of sound; this type of hearing is innate and, according to scientific data, cannot be acquired through any special exercises, although research in this direction continues; for a successful professional (any musical) activity, the presence of absolute pitch does not give any significant advantages to its owners; according to statistics, one person out of ten thousand has perfect pitch, and among professional musicians, absolute pitch occurs in about one in several dozen;

relative (or interval) hearing - the ability to determine and reproduce pitch relationships in musical intervals, in a melody, in chords, etc., while the pitch is determined by comparing it with a reference sound (for example, for professional violinists, such a reference sound is a finely tuned note "A" of the first octave, the tuning fork frequency of which is 440 Hz ); relative pitch should be fairly well developed in all professional musicians;

inner ear - the ability to have a clear mental representation (most often - from musical notation or from memory) of individual sounds, melodic and harmonic constructions, as well as complete musical works; this type of hearing is associated with a person's ability to hear and experience music "inwardly", that is, without any reliance on external sound;

intonation hearing - the ability to hear the expression (expressiveness) of music, to reveal the communication links inherent in it; intonation hearing is subdivided into pitch hearing (which allows one to determine musical sounds according to their relation to the absolute pitch scale, thereby providing musicians with “accuracy in hitting the right tone”), and melodic, which provides a holistic perception of the entire melody, and not just its individual sound intervals;

harmonic hearing - the ability to hear harmonic consonances - chord combinations of sounds and their sequences, as well as reproduce them in an unfolded form (arpeggiate) - by voice, or on any musical instrument. In practice, this can be expressed, for example, in the selection by ear of an accompaniment to a given melody or singing in a polyphonic choir, which is feasible even if the performer has no training in the field of elementary music theory;

modal hearing - the ability to feel (distinguish, determine) modal-tonal functions (characterized by such concepts as "stability", "instability", "tension", "resolution", "discharge") of each individual sound (musical note) in the context of that or other musical composition;

polyphonic hearing - the ability to hear in the general sound fabric of a musical work the simultaneous movement of two or more separate voices;

rhythmic hearing - the ability to actively (motorly) experience music, feel emotional expressiveness musical rhythm and accurately reproduce it;

timbre hearing - the ability to color sensitively feel the timbre coloring of individual sounds and various sound combinations;

texture hearing - the ability to perceive all the subtle nuances of the finishing texture of a musical work;

architectonic ear - the ability to capture various patterns of the structure of the musical form of a work at all its levels, etc.

The development of musical ear

In the most direct way, the development of musical ear is engaged in a special musical and pedagogical discipline - solfeggio. However, musical ear develops most effectively in the process of active and versatile musical activity. For example, it is advisable to develop rhythmic hearing, including through special movements, breathing exercises and dance.

The development of musical ear in children has a very important aesthetic and educational value. But in some cases, even children with good musical abilities do not show a great desire to develop their musical ear according to special educational programs. The task of parents and teachers in such cases is to provide musically gifted children with the appropriate conditions and opportunities for the development of their musical ear in some more free mode and in some more relaxed creative atmosphere.

At present, several computer programs have already been created that are designed for independent studies on the development of musical ear.

Musical ear: myths and reality.

People of different ages hear music in different ways. This is true. A child is able to distinguish sound with a frequency of up to 30,000 vibrations per second, but in a teenager (up to twenty years old) this figure is 20,000 vibrations per second, and by the age of sixty it drops to 12,000 vibrations per second. A good music center gives a signal with a frequency of up to 25,000 vibrations per second. That is, people over sixty will no longer be able to appreciate all its advantages, they simply will not hear the full range of sounds.

It doesn't matter at what age you start training your hearing. Wrong. American researchers have found that the highest percentage of people with absolute pitch is observed among those who began to study music between 4 and 5 years of age. And among those who started playing music after 8 years, there are almost no people with perfect pitch.

Men and women hear music the same way. In fact, women hear better than men. The frequency range perceived by the female ear is much wider than that of men. They more accurately perceive high-pitched sounds, better distinguish tonalities, intonations. In addition, women's hearing does not become dull until the age of 38, while in men this process begins as early as 32 years of age.

The presence of an ear for music does not depend on the language a person speaks. Wrong. This was proved by a researcher from the University of California, comparing the data of 115 American and 88 Chinese music students. Chinese is tonal. This is the name of a group of languages in which, depending on intonation, the same word can acquire several (up to a dozen) meanings. English language- not tonal. The subjects were tested for absolute pitch. They had to distinguish sounds that differed in frequency by only 6%. The results are impressive. With the absolute pitch test, 60% of the Chinese and only 14% of the Americans passed. The researcher explained this by the fact that the Chinese language is more melodic, and the Chinese from birth get used to distinguishing a larger number of sound frequencies. Thus, if a person's language is musical, with a high probability he will also have an absolute ear for music.

A melody heard at least once is stored in our brain for a lifetime. This is true. American scientists have discovered the area of the cerebral cortex responsible for musical memories. This is the same auditory area of the cerebral cortex that is also responsible for the perception of music. It turns out that it is enough for us to hear a melody or a song at least once, as it is already stored in this auditory zone. After that, even if we do not hear the melody or song we listened to, the auditory zone is still able to extract it from its "archives" and play it in our brain "from memory". The only question is how deep this melody is hidden. Favorite and frequently heard songs are stored in short-term memory. And long-heard or rarely heard melodies are deposited in the "closets" of long-term memory. However, some event or sound sequence can suddenly force our memory to extract these forgotten melodies from its "bins" and play them in our brain.

Musical ear is inherited. This opinion has been around for a long time and is widespread. But only recently have scientists been able to scientifically substantiate it. Researchers have found that people without a musical ear have less white matter in the lower frontal gyrus of the right hemisphere than those who perceive and reproduce melodies well. It is possible that this physiological feature is genetically determined.

Animals have no musical ear. They just hear music differently. Animals perceive much more sound frequencies. And if people are able to catch up to 30,000 vibrations per second, then dogs, for example, register sound having a frequency of 50,000 to 100,000 vibrations per second, that is, they even catch ultrasound. Although animals have a sense of tact, our pets cannot perceive the melody. That is, they do not combine chord combinations of sounds into a certain sequence called a melody. Animals perceive music only as a set of sounds, and some of them are regarded as signals of the animal world.

An ear for music is an ability that is given from above and which cannot be developed. Wrong. Those who entered a music school probably remember that they were asked not only to sing, but also to tap out a melody (for example, with a pencil on the table top). It is explained simply. The instructors wanted to assess whether the applicant had a sense of tact. It turns out that it is the sense of tact that is given (or not given) to us from birth, and it is impossible to develop it. And if a person does not have it, then music teachers will not be able to teach him anything. By the way, the percentage of people who lack a sense of tact is very small. But everything else can be taught, including musical ear, if there is a desire.

Musical ear is rare. Wrong. In fact, any person who is able to speak and perceive speech has it. After all, in order to talk, we must distinguish sounds by pitch, volume, timbre and intonation. It is these skills that are included in the concept of musical hearing. That is, almost all people have an ear for music. The only question is, what kind of musical ear do they have? Absolute or internal? The highest stage of musical ear development is absolute pitch. It is revealed only as a result of music lessons (playing a musical instrument). For a long time it was believed that it was not amenable to development, but now methods for the development of absolute pitch are known. The lowest level of hearing development is internal hearing, uncoordinated with the voice. A person with such hearing can distinguish melodies, reproduce them from memory, but not sing. The lack of musical ear is called the clinical level of hearing development. Only 5% of people have it.

Those who have an ear for music can sing well. This is true, but only partly. To sing well, it is not enough to have an ear for music. You also need to be able to control your voice, vocal cords. And this is a skill that is acquired in the learning process. Almost everyone can hear falseness in singing, but by no means everyone can sing cleanly. Moreover, it often seems to those who sing that they sing without falsehood, but all their mistakes are noticeable to those around them. This is explained by the fact that each person listens to himself with his inner ear and as a result hears something completely different from what others hear. So a novice performer may well not notice that he does not hit the notes. In fact, in order to sing well, it is enough to have only a harmonic ear. This level of hearing development is considered one of the lowest. This is the name of the ability to hear a melody and reproduce it with a voice. And yet, its development is possible even in the initial absence of such ability.

If you really love music and want to learn it, don't be intimidated by your lack of hearing. How capable you are of music, only your lessons will show. 95% of people can make music and achieve results in this. Moreover, the more you engage in music, the more your musical ear will develop. Up to the absolute - there are no limits to perfection. The main thing is to have a desire and not doubt your abilities!

31.08.2013 14:51

Ear for music- the concept is multilayered and quite complex. This is a combination of human abilities that allow him to fully perceive music and evaluate it objectively. Musical ear is very important quality necessary for successful creative activity in the field of musical art.

Musical ear is associated with susceptibility to musical images, emerging impressions, associations and psychological experiences.

Thus, people with an ear for music are sensitive and emotionally responsive:

To the characteristics and qualities of musical sounds (their height, loudness, timbre, etc.);
- to functional connections between individual sounds in the context of a musical work as a whole.

Based on these criteria, there are various types of musical ear:

1. Inner hearing

This is the ability to mentally accurately imagine a piece of music, a melody and individual sounds, to “hear” them in your head.

Remember brilliant Beethoven, who, having lost his hearing at the end of his life, continued to write musical works, perceiving their sound only with his inner ear.

2. Absolute pitch

This is the ability to identify any musical note without comparing it with other sounds whose pitch is known in advance. In the presence of absolute pitch, a person has a special memory for the exact pitch of the musical tones(frequency of oscillation of the sound wave).

It is believed that this type of hearing is innate, although research in this direction continues. However, the presence of absolute pitch does not provide any significant advantages. :)

3. Relative or interval hearing

This is the ability to determine the pitch of musical sounds by comparing them with those already known.

The level of development of relative hearing can be so high that it becomes similar to absolute. Most successful musicians only have well-developed interval hearing. There is an opinion that having relative pitch is better and more convenient than absolute pitch. So keep going and practice!

4. Pitch Hearing

This is the ability to hear sounds differ in pitch or not, even at the slightest difference. On the Internet, you can easily find tests where you need to determine whether the second sound is higher or lower, and thus find out how developed your pitch hearing is.

First you need to learn to hear the difference between two neighboring semitones. On a piano keyboard, half a tone is the adjacent keys. And then you can improve further.

5. Melodic hearing

This is the ability to hear the movement of the melody, that is, how the pitch of the sounds changes as the melody sounds. Such hearing provides a holistic perception of the entire melody, and not just its individual sound intervals.

The melody can "stand still", "move up or down", as the musicians say, according to steps. She can "jump" in big and small jumps. Being engaged in solfeggio, you can learn the names and learn to hear ALL the existing "jumps-distances" between sounds - intervals.

Pitch and melodic hearing are combined into intonation hearing - the ability to feel the expressiveness of music, its expression, intonation.

6. Metrorhythmic hearing

This is the ability to distinguish the duration of sounds in their sequence ( rhythm), their strength and weakness ( meter), as well as feel changes in the speed of the music ( pace). It is also the ability to actively, move through the music, to feel the emotional expressiveness of the musical rhythm.

7. Harmonic hearing

This is the ability to hear harmonic consonances- two or more sounds that sound simultaneously and the ability to distinguish between sequences of such consonances.

It can be divided into interval(sound of 2 sounds) and chordal(sounding of 3 or more sounds). To have such hearing means to hear how many sounds sound at the same time, what specific sounds they are and how far apart these sounds are.

In practice, harmonic ear is useful when selecting an accompaniment to a given melody by ear. This ear must be well developed in choir conductors. Note that harmonic hearing is closely related to modal hearing.

8. Fret hearing

This is the ability to hear and feel the relationship between sounds - modal tonal features- in the context of a particular musical composition. They are characterized by such concepts as: sustainability And instability, voltage And permission, gravity, discharge each individual note.

Major And minor- the main frets, the basis of European music. But there are many other constructions of scales in which a different organization of melodies operates.

9. Polyphonic hearing

This is the ability to hear and imagine in the mind the movement of two or more melodies-voices within the overall sound fabric of a musical work.

These voices may move out of sync, enter and disappear in different time, catch up with each other or be late with the introduction (for example, canon, echoes, fugue). But they sound at the same time. That is why polyphonic hearing is one of the most difficult types of musical hearing.

Remember known history? Mozart, when he was 14 years old, heard a performance of Miserere in the Sistine Chapel. He memorized this complex polyphony by ear and recorded it exactly from memory, although the notes of the work were kept in the strictest confidence. Here's a musical "hacker" for you!

10. Timbre hearing

This is the ability to coloristically distinguish the timbre coloring of the sound of voices and instruments, individual sounds and various sound combinations. Such hearing is usually well developed in orchestral conductors and sound engineers. :)

According to timbres, sounds of the same height and volume are distinguished from each other, but performed on various tools, different voices, or on the same instrument, but with different playing techniques. When perceiving timbres, various associations usually arise, comparable with sensations from objects and phenomena. The timbre of sound can be bright, soft, warm, cold, deep, sharp, rich, metallic, etc. Purely auditory definitions are also used: for example, voiced, deaf, nasal.

11. Dynamic hearing

This is the ability to determine the volume of the sound and its changes. It very much depends on the level of perception of your hearing in general.

In a sound sequence, each subsequent sound can be louder or quieter than the previous one, giving the work an emotional coloring. Dynamic hearing helps you determine where the music is "growing" ( crescendo), "calms down" ( diminuendo), "moves in waves", makes a sharp accent, and so on.

12. Textured hearing

This is the skill of perceiving the manner of technical and artistic processing musical work is invoices.

For example, the texture of the accompaniment can also be different: from a simple "um-tsa, um-tsa" (alternating bass and chord) to beautiful overflows arpeggio- broken chords. Another example, blues and rock and roll have the same harmonic basis, but the type of texture, as well as the choice of instruments, are different. Texture ear should be well developed by composers and arrangers.

13. Architectural hearing

This is a sense of the form of a musical work, the ability to determine the various patterns of its structure at all levels. With the help of architectonic ear, one can catch how motives, phrases, sentences are formed into one form, how a building is made up of bricks, slabs and blocks.

All these types of musical ear everyone has it, but not everyone is equally well developed. Of course, completely deny the level of natural data in the matter of development types of musical ear it is forbidden. BUT any person can achieve the highest results in this direction with regular targeted training in the development of hearing.

The development of musical ear is engaged in a special musical-theoretical discipline - solfeggio or music theory. However, the most efficient types of musical ear develops in the process of active and versatile musical activity. For example, it is advisable to develop rhythmic hearing through special movements, breathing exercises and dance.

In the next article, we will analyze what they mean when they say "do I have an ear for music?".

If you want to study the phenomenon of musical ear more deeply and thoroughly, as well as learn about your hearing abilities, then you have a direct road to regular classes or a consultation! The most convenient way is to go directly from home to an online lesson :)

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