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DJs can use ear training to arrange their sets more effectively, too, by taking into account key changes as well as the less specific 'feels' of different grooves.Īnd, of course, if you make your living from playing covers in a band, ear training will make your life a lot easier. But if you can't hear how the song works, you're going to waste hours, or even days, trying to work it out by trial and error. If all you're given is a finished track and the vocal line on DAT or CD, deconstructing the original and reconstructing it in a creative way is easy.
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Remixers, too, can use the skill to up their rates. If you're not given the sequence data - and sometimes you're not, because it may not exist - then a trained ear is the only way to deal with this kind of challenge. Programmers - the musical, not the software sort - are sometimes handed tapes or CDs of a track or an album and asked to recreate it for a live performance. If you're a professional, you can also use ear training to improve your earning power. At its simplest, being able to follow someone else's music note‑for‑note is pretty damn impressive, especially when you suddenly find you can play it yourself. You'll hear details and relationships you weren't aware of before. With a trained ear, a mush of chords, backing and vocals snaps into sharper focus. If you make music for fun, ear training can give you a better appreciation of how music works and how it's put together. And if you do, the new skills you acquire will pay you back in spades.
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You can make a similar investment in your ability to listen. What not so many people realise is that making music happen is only half the story. Anyone knows that learning to play music - or, if you're a synth and sequencer fan, learning to program music - requires a big investment in time and enthusiasm. Unless you're classically trained or ridiculously talented from birth, the chances are good that your ears aren't used to listening to things and picking them apart. But the chord sequencing option comes closest to teaching you how to listen closely to real music and pick it apart.īut exactly how good are your ears? It's a fact of life that having a good musical ear makes for easier and more creative music‑making. When it comes to ear training, this is not the pick of the crop. If you like listening to it, you like music, and you have some form of musical ability, even if it's more passive (receptive) than active, as in a great songwriter or composer. The simple truth is that if you like listening to music, you're musical it doesn't matter if it's Radio One or Classic FM, the Spice Girls or some obscure academic composer most people have never heard of. Push them a little and it inevitably turns out that they have huge CD collections, or that they couldn't imagine life without music from the radio. I'm perpetually amazed by the number of people I meet who say 'Oh, I'm not at all musical' when I tell them I make music. Richard Leon explains the skills involved, and rounds up some software which can help you improve in this area. Ear training - learning to intuitively recognise note intervals, chords and progressions, and even absolute pitches - is something that many musicians could benefit from, although few actually attempt it.