3.4: Process of Dictation
- Page ID
- 258475
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Turning Sound to Notation
Through the process of dictation, you will be listening to many layers of complex sounds and turning music from an aural medium into a written medium. There are a number of skills being accessed at the same time during dictation:
- Differentiating between melody and accompaniment
- Determining meter
- Determining rhythm
- Identifying patterns
- Identifying a tonal center
- Identifying a mode or the group of pitches being used
Throughout this text, we will work on many of these elements separately, but we will also combine the elements. As everyone comes into an aural skills course with different experiences and expertise, you will find that everyone's skill level is slightly different. Depending on your background and instrument, some skills may come easy to you while others are surprisingly challenging. By the time you leave a degree program or class, you may or may not feel like you have mastered this area of music. It is a lifelong process. I have never met a musician who feels like they have no room for improvement. We are all continually striving to strengthen our skills and learn more about this beautiful art form.
"Music is the journey. You never arrive in music; the work is never over."
- Phil Woods (1931-2015), American saxophonist
It is important to pause and consider this idea as you embark on this journey of enhancing your musical ear. You are continually making steps forward. It takes time. It takes practice. It is a skill that you are developing and will continue to develop as you grow and change as a musician.
First Steps
We can easily end up overwhelmed when trying to listen to so many elements of music at the same time. It is helpful to listen specifically for certain elements and create a framework for yourself.
Step 1
Meter: the pattern of strong and weak beats. Determine the metrical pattern that you hear. Where is the upbeat that is preparing us for the strong downbeat? Test out different conducting patterns. Which one fits?
Step 2
Listen for the rhythm. Rhythm is the pattern of sounds and silences. How many sounds are you hearing on each beat?
Step 3
Listen for the tonal center. Where does the melody sound like it is resolving to? Where is do? Some also find it helpful to draw a picture of the contour of the melody. Where is the melody ascending and where is it descending?
As music gets more complicated, the layers can also become more complicated. In the previous chapter, we focused on meter. Now, we will focus on the rhythm.