You may use the three games in one lesson.

When you level up you can use any kind of rhythm. There is no need to confuse them at the beginning. Having to identify the melody, students need simple rhythms. The rhythm of the melodies you are about to use may vary but you should start with simple crotchet beat notes. You may also identify the notes you are about to use. Before I start the game, I play once each interval I am about to use and name it. I try many melodies like this and if the student’s feedback is correct then I move on to 3 rd intervals etc. When the student is playing this game for the first time, I always try unison and 2 nd intervals. Then, when you feel that the student is improving enough, try to play melodies with 5 notes or more.

Keep your melodies short when you start, two to four notes would be great.

The number of notes you are going to use to make a melody.

I can’t stretch enough that not all students are the same therefore the challenges in the games are different for each student.įor the success of the game you may consider the following: Once we train our students for variations 1 and 2 we should try a combination of both. It is a combination of the first two variations. This variation is what we all want for our students. When a student plays this game for the first time I give him a one-bar simple rhythm using crotchets and minims (or crotchets and quavers)Īs I level up I use two or more bar rhythms and I add quavers, rests, semiquavers, triplets etc EAR TRAINING GAME variation3 The importance here is not to identify the note, but to play the rhythm.Īgain, I recommend you start with easy rhythms and then you level up. The student should clap and then play the rhythm. In this game the teacher plays on the piano twice a short rhythm using only one single note. The student must play on the piano the notes he heard. In this variation the student is sitting with his back to the teacher so he won’t see the teacher. That’s what teachers are for! EAR TRAINING GAME variation1 No need to panic! Work with them from where they are and level them up. Yes, some people can’t get the unison right. During my 25 years of piano teaching experience I came across a few students that couldn’t identify two notes with the same pitch.

There can be many different variations of the same game depending on the abilities, level and age of the student. Here is a game for identifying pitches and rhythms that works for every age whether during an online lesson or a one-to-one lesson: They need to feel capable and that is why you really need to start as simple as you can. Our students need to trust the process of ear training and not being scared of them. With ear training they can level up their skills.

Some students are called talented, some others have the ‘perfect pitch’ and there are some others that are not so good at finding the right pitch or rhythm. Ear training is important for children’s and adult’s music education.īy ear training or aural skills they learn to identify by ear many basic elements of music like pitches, intervals, melodies, chords and rhythms.

Free quaver games