HEARING AND WRITING MUSIC
 
PROFESSIONAL TRAINING for TODAY'S MUSICIAN
 
By Ron Gorow
 
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STUDY PLANS

Hearing and Writing Music is designed for personal training, as well as classroom study.

The book is divided conceptually into four parts ( See contents page ). You may emphasize various sections according to personal or class experience and goals.

There are charts in the reference section (pages 382, 383) that will help you divide the book into courses of 10 weeks, 15 weeks, or multiple quarters or semesters.

Hearing and Writing Music will help you develop your craft by combining many techniques. At the core is your transcribing technique (sections 7 & 8). You are guided through the process, starting with transcribing from memory and proceeding to transcribing from recorded media. When transcribing from real music, rather than exercises, you are compelled to make the same notational choices as the composer, orchestrator or arranger. If you choose to transcribe improvised solos, you will gain insight into the creative process. In section 9, you will refine you technique, focusing on rhythm, counterpoint, chords, orchestration and complete scores, applied to instrumental, vocal, solo and ensemble music. Ultimately, transcribing from your creative imagination, so that anything you can conceive can be quickly captured in notation. After completing this work, your technique will be fluid, integrating your perception with your notational skills. You will be prepared to pursue your career as a composer, orchestrator, arranger or a professional transcriber, notating other people's music.


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