Music Theory
A community to discuss the technical workings of music.
Helpful symbols, for copy-pasting into comments
♯ ♮ ♭ 𝄪 𝄫 ø ° Δ ♩ ♪ ♫ ♬ 𝄐 𝄑 𝄞 𝄢 𝄡 𝆒 𝆓 𝄀 𝄁 𝄂 𝄃 𝄆 𝄇
#Rules
1. Stay on topic. All posts must relate to music theory.
2. Civility. Disagreements and discussion are great, but hostility, insults, and so on aren't. Any critiques should be focused on ideas, never on individual users.
3. No homework help on specific assignments. It is against the Academic Honesty Policy of most schools and courses. Our subscribers generally dislike this kind of behavior. Please ask your IRL teacher/tutor for homework help instead. It's important that we get such posts taken down ASAP, so in addition to reporting, please report such posts.
4. Don't make this place annoying. Memes and so forth are fine, but mods reserve the right to remove inappropriate or overposted material.
5. Promotion. Promotion of one's content is allowed, provided it is not excessive or mindless. If you regularly post your content but do not otherwise interact with the community, you will be banned. If you link to something that costs money, you must say so in your post.
#Related communities:
- Composer
- Song-a-Week
- Musicology
- Ethnomusicology
- Historically Informed Performance Practice (HIPP)
- Piano Discussion
- Classical Music
- Jazz
- Harpsichord
Regarding moderation and reporting: https://join-lemmy.org/docs/users/04-moderation.html
view the rest of the comments
For me, chunking has worked tremendously, also working with a keyboard instrument (for me piano) and working on beginner continuo. I am not really any good at piano yet it's sufficient for me to experience massive progress in my ear. The important other aspect was 1) playing everything in different positions to reinforce to the ear to hear inner voices or to know the voice leading of register shifts and 2) improvising between ear and instrument, maybe you try some curious stuff based on using different tones to prepare dissonances.
By chunking, I mean being able to summon common phrases from the language of a style. Someone could call a progression "I V6 vi7 V7/V V" but bam it's just a modulating Prinner. This also comes to identifying sequences or common derivative procedures ie "If A is done, B will be likely." In the style you want your ear to be better in, you want to be able to recognize those chunks so that your brain can access that entire chunk to reduce processing load. As much as raw ear ability with relative pitch and tertian chord labeling works, the ear of a musician also involves pattern recognition and a metaphorical databank of memorized reference material.