Elementary Training for Musicians has 74 ratings and 5 reviews. (Schott). Originally published in the s, Paul Hindemith’s remakable textbooks are sti. Originally published in the s, Paul Hindemith’s remakable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks. This is an absolutely fantastic book for helping with aural training. But you’re absolutely right, this small section is quite misleading.
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Contemporary music is full of sundry rhythmic challenges. If the title seems condescending, wait until you read what he has to say about singers!
On account of this advantage a singer is usally excused from any but the most primitive musical knowledge — knowledge such as could be acquired by any normal mind in a few weeks of intelligent effort. But my favorite feature of the text is the way he forces a physical incorporation of the rhythmic concepts at hand with what he calls coordinated action.
This consists of speaking the given rhythm while conducting with one hand, tapping it with the left hand while conducting with the right, tapping it with the foot while conducting, and every possible combination of limbs and rhythmic interactions. While a given exercise may be simple with only your dominant limbs in play, a simple redistribution of the material across your body can force a radical re-learning of the rhythmic concept at hand.
The literal embodiment of rhythm in a deep and conscious way not just toe-tapping has a transformative effect. Most of the time, the repertoire I am preparing for upcoming performances is more than enough to occupy my mental and musical faculties. However, when work comes in fits and starts, and I find myself without a project for a moment, I practice my musicianship skills.
This book by Lars Edlund is a classic of atonal, interval-based learning.
Elementary training for musicians
It starts off with melodic exercises consisting entirely of seconds and fourths, then adding fifths, then thirds, and moving further on into more complex structures. In addition to the melodies written expressly for the text, the book includes many examples from the orchestral, chamber, and vocal repertoire.
Preceding the melodic exercises, Edlund includes several 3- or 4-note examples of the most difficult intervallic combinations involving the new interval. While not as substantial or encyclopedic in scope a book as Modus Novus, I find the exercises quite useful, and it is sold in low and high voice versions.
The melodies tend to be a little more mechanical and sequential, but are good hindemirh getting intervals in your ear on their own. My favorite parts of the book are the two voice exercises bring a friend! Sometimes it just feels better to be singing real music while working on your musicianship!
Unlike the other two texts listed here, Hindemith focuses on tonal or at least diatonic sight-singing.
The rhythmic aspects of his melodic exercises are always interesting, with lots of across-the-beat accents and sequences. If you need a tune-up on more melodic and tonal reading, this is a very useful text.
Elementary Training for Musicians by Paul Hindemith
Theme design by WPShoppe. Try tapping, singing, conducting, etc. Practice — 2 Comments 9 Nov 10 Ear training texts Most of the time, the repertoire I am preparing for upcoming performances is more than enough to occupy my mental and musical faculties.
Modus Novus This book by Lars Edlund is a classic of atonal, interval-based learning. Wege zur Neuen Musik While not as substantial or encyclopedic in scope a book as Modus Novus, I find the exercises quite useful, and it is sold in low and high voice versions.