You can develop the ability to recognise the sound of each scale degree using other methods.Īn interesting topic for a player who has never gone through the kind of ear training that music students or choir singers get. I would guess that you should relatively fast starting to associate "Do" to the feeling of being home in the key, and gradually each of the other notes start to become more familiar.īut this is just one method. I don't know who Tomo Fujita is but I think in order for a solfege method to start to make sense you have to spend some time with it. I play with a bass player who studied classical singing in some music collage programme, and said they also learnt a hand sign for each of the note/syllables, to further reinforce the sound with a body movement (I googled it and found out it is called the Kodaly method).Īs a guitar player I do also feel that I have some sort of an association between the sound of a scale degree and it's finger position within a scale fingering shape. Each note has a sound/feel that you'll start to associate with its syllable. The note sol will always be the fifth and it has a certain stable (dominant?) sound/feel within the key, ti feels unstable like it wants to resolve up to Do. Since it is movable Do, the note Do will always feel home. You'll start to associate the feeling and the sound of a scale degree with a syllable. It's a method to practise singing directly from sheet music without an instrument. It’s enough to recognize a first inversion I don’t see any advantage to calling it “mi so do.”I've been doing plenty of solfege sight singing exercises using movable do. Tomo Fujita has an ear training course, built on solfège. My understanding is that many (or most?) professional musicians in the most advanced levels, routinely work on their intonation just to maintain their ability. There are perhaps other things to spend time on which might improve your playing more?īut yes, I do surely agree that ear training is important for serious and ambitions musicians. If you're able to identify 8 random equal tempered notes in a cluster, will you play better jazz if you can identify 9 random microtonal notes i cluster? I think there might be a point where more time spent on ear training gives insignificant improvements to your playing. This qualifies as "to play jazz music" to me but they are complacent and don't seem to have much ambition to get much better (they have other carriers and family etc), and in some cases they'll panic if they need to rely on their ears rather than their sheets. They just stay in their comfort zone, but they also find fulfilment and meaning in this type of music making. I've met plenty of amateur musicians who went through some music education programme in their childhood and/or youth but during adulthood they play sheet music arrangements in big band once a week. There is quite difference between "to be the best" and " to play jazz music" (which is what was asked in the OP). Surely you have to agree that you have to train your ears all the time to be the best.
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