“The students who are good at taking dictation have welldeveloped inner ears with a strong sense of tonality, a good musical memory, a knowledge (conscious or unconscious) of common patterns, and a knowledge of basic notational procedures.” da Foulkes-Levy L., Tonal markers, melodic patterns, and musicianship training – Journal of Music Theory Pedagogy, 11 – 12, 1997

Ear Training (Jazz e Pop) Conservatorio “F. Venezze” di Rovigo a.a. 2021 – 2022

Lezioni online: https://www.youtube.com/user/darkmagus1975

Un Metodo di Studio per il Dettato e il Cantato [pdf]
Come organizzare lo studio [pdf]
Il rapporto con la tonica (I) [pdf]
Il rapporto con la tonica (II) [pdf]
Riconoscere la fondamentale [pdf]
Consapevolezza delle triadi (I) [pdf]
Consapevolezza delle triadi (II) [pdf]
Consapevolezza delle triadi (III) [pdf]
Consapevolezza delle triadi (IV) [pdf]
Ritmo (I) [pdf]
Trascrivere un arrangiamento – Come procedere [pdf]

[T1] Foglio Test (pdf) // [T2] Foglio Test (pdf) // [T3] Foglio Test (pdf)


Francesco Villa, L’orecchio tonale [LINK] Teoria e pratica dell’ear training, Ed. CreateSpace, 2015

Bruce Adolphe, The Mind’s Ear [LINK] Exercises for Improving the Musical Imagination for Performers, Composers, and Listeners, Ed. Oxford University Press, 2013

Composer John Cage getting a Japanese bell rung over his head, 1962