These are the usual topics (more or less in the order they are introduced, but about halfway through become simultaneous):
Interval identification
Chord quality identification (triads, later seventh chords)
Scale identification (usually major and natural/harmonic/melodic minor, but some do modes and other types of scales too)
Solfège
Sight singing (rhythmic and melodic)
Conducting
Melodic dictation
Rhythmic dictation
Harmonic dictation
Polyphonic dictation
Keep in mind that you’ll do these with a concurrent course in theoretical topics.
I should also emphasize that having a good command of theory is of tremendous help to developing your ear; a lot of what we do, especially for hard-to-hear things like inner voices in a thick texture, is logical inference based on things we know. There’s a video by Sean Wilson that demonstrates this nicely.
That Sean Wilson video is a perfect demonstration of what I felt about thoroughbass. Seems to tell me these truths underlying the skill of an improviser remain between jazz or gospel and baroque. I think it indicates all musicians should attempt some of that even if they’re not a composer or not a performer, because it helps musicianship so much.
What @quixotic120 said.
You can look at what they do in music school by searching for musicianship/aural skills syllabi.
These are the usual topics (more or less in the order they are introduced, but about halfway through become simultaneous):
Keep in mind that you’ll do these with a concurrent course in theoretical topics.
I should also emphasize that having a good command of theory is of tremendous help to developing your ear; a lot of what we do, especially for hard-to-hear things like inner voices in a thick texture, is logical inference based on things we know. There’s a video by Sean Wilson that demonstrates this nicely.
That Sean Wilson video is a perfect demonstration of what I felt about thoroughbass. Seems to tell me these truths underlying the skill of an improviser remain between jazz or gospel and baroque. I think it indicates all musicians should attempt some of that even if they’re not a composer or not a performer, because it helps musicianship so much.