Musical dictations - one of the most interesting and useful exercises for the development of hearing, it is a pity that many do not like this form of work in the classroom. To the question "why?", They usually answer: "do not know how." Well, then, it's time to learn. We will comprehend this wisdom. Here are two rules for you.
Rule one. Trite of course but in order to learn how to write dictations on solfeggio, you just need to write them! Often a lot. Hence the first and most important rule: do not miss the solfeggio lessons, as each of them is written musical dictation.
Rule two. Act independently and safely! After each playback, you need to strive to record as much as possible in your notebook - not one note in the first beat, but many things in different places (at the end, in the middle, in the penultimate beat, in the fifth beat, in the third, etc.). Do not be afraid to write something wrong! You can always fix a mistake, but to get stuck somewhere at the beginning and leave a note sheet empty for a long time is very unpleasant.
Well, now let's move on to specific recommendations on how to learn how to write dictations on solfeggio.
How to write musical dictations?
First of all, before starting to play, we decide on the tonality, we immediately put the key signs and imagine this tonality (well, the scale there, the tonic triad, the introductory steps, etc.). Before starting a dictation teacher usually adjusts the class to the tone of the dictation. Be sure, if you sang half the lesson steps in A major, then with 90% probability the dictation will be in the same key. Hence the new rule: if you were told that the tonality is with five flat faces, do not pull the cat by the tail, and immediately put these flat lines where it should be - it’s better to be two lines straight.
The first playing music dictation.
Usually, after the first playback, the dictation is discussed in approximately the following way: how many clock cycles? what size? Are there any repetitions? which note starts and which one ends? Are there unusual rhythmic patterns (dotted rhythm, syncope, sixteenths, triplets, pauses, etc.)? All these questions you have to ask yourself, they must serve you as an installation before listening, and after playing you naturally have to answer them.
Ideally, after the first play in the notebook you should have:
- key signs
- the size,
- all measures are marked,
- written first and last note.
Regarding the number of cycles. Clocks are usually eight. How should they be marked up? Either all eight measures on one line, or four bars on one line and four on another - the only way, and no more! If you do it differently (5 + 3 or 6 + 2, in particularly difficult cases 7 + 1), then, sorry, you are a loser! Sometimes there are 16 bars, in this case we mark up either 4 lines per line or 8. Very rarely there are 9 bars (3 + 3 + 3) or 12 (6 + 6), even less often, but sometimes dictations from 10 bars ( 4 + 6).
Dictation on solfege - play second
We listen to the second playback with the following settings: from what motives does the melody begin and how does it further develop: are there any repetitionswhat and in what places. For example, repeat in sentences - often the music repeats the beginning of sentences - 1-2 beat and 5-6; in tune can also be sequences - This is when the same motif is repeated from different levels, usually all repetitions are heard well.
After the second playback, you also need to remember and write down what was in the first measure and in the penultimate, well, in the fourth one, if you remembered it. If the second sentence begins with a repetition of the first, then this repetition is also better to write out immediately.
Very important! If after the second play you do not have a size written in your notebook, the first and the last notes, no bars are marked, then you need to "activate". You can’t get stuck on this, you have to arrogantly ask: "Listen, teacher, how many bars and what size?". If the teacher does not answer, then someone from the class will surely react, and if not, then we will loudly ask the neighbor. In general, we act as we want, we arrange arbitrariness, but we learn everything that is needed.
We write a dictation on solfege - the third and subsequent plays
The third and subsequent play. First, you need to conduct, memorize and record rhythm. Secondly, if you cannot immediately hear the notes, then you need to actively analyze the melody, for example, according to such parameters: direction of movement (up or down), smoothness (successively on steps or jumps - at what intervals), movement on sounds of chords, etc. Third, you need listen to clues, which the teacher says to the other guys during the “walk-through” during the dictation on solfeggio, and correct what is written in his notebook.
The last two plays are designed to test the already finished musical dictation. It is necessary to check not only the height of the notes, but the correctness of writing calm, leagues, alignment of alteration signs (for example, restoration of sharp or flat after a backer).
Some more helpful tips.
Today we talked about how to learn how to write solfege dictations. As you can see, writing musical dictations is not at all difficult if you approach this wisely. In conclusion, get a couple more recommendations for the development of skills that help in musical dictation.
- Listenhouses works that are covered in musical literature, following the notes (you take music in contact, notes - also find on the Internet).
- Sing the notesthose plays that you play in the specialty. For example, when you study at home.
- Sometimes manually rewrite notes. It is possible the same plays that you pass in the specialty, it will be especially useful to rewrite the polyphonic work. This method also helps to learn by heart quickly.
These are proven ways to develop the recording skills of solfeggio dictations, so do it at your leisure - you will be surprised at the result that will come out: you will write musical dictations with a bang!
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