Berklee Ear Training Conducting
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Lesson 1: Conducting as an Ear Training Tool
This lesson is excerpted from an online course. While the navigation links on each page are not active, all of the multimedia interactions are. Have fun!
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Here is the 4/4 conducting pattern.
"S" indicates a strong beat, "W" a weak beat, and "LS" a less strong beat.
Conductors always conduct the measures/pulse of the music with the right hand. Let’s count two measures of 4/4 while conducting the above beat pattern with your right hand. There will be a two measure count-off, then begin conducting. The pattern gives you a visual picture of the pulse of the music. The first beat is the strongest, the second weak, the third beat is strong but not as strong as the first, and the fourth beat is weak. Conducting measures the beat and the pulse of the music. When you’re conducting a 4/4 pattern, really lean into beats 1 and 3.
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Now, let’s conduct the 4/4 pattern and sing the following whole-note rhythmic example. Sing the syllable "doo" and hold each note f or the full four counts. The comma (,) above the staff is a breath mark. Make sure you take a breath before singing each note. There will be a 2-measure countoff. Conduct along, and sing the pitch with the piano. The symbol C ("c" f or "common time") Berklee Ear Training Conducting is another way of expressing 4/4 time.
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The whole rest looks like this:
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It’s a heavy rest, and it hangs below the line. When you see this rest, you rest for a whole measure. Sing the next example alternating between the whole note and the whole rest while conducting.
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Conducting and Singing in 4/4 1 2 3 4
Now let’s conduct and sing half notes with a two measure count off. The half note gets two counts and emphasizes beats 1 and 3 (the s trong pulses of each measure). Bre athe after each measure.
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Now let’s conduct and sing half notes with a two measure count off. The half note gets two counts and emphasizes beats 1 and 3 (the s trong pulses of each measure). Bre athe after each measure.
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This is what the half rest looks like:
Sing and conduct the next example, alternating between the half note and the half rest.
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Conducting and Singing in 4/4
Finally, let’s conduct and sing quarter notes with a 2-measure countoff. Each quarter note gets one beat. Listen to the different pulses in 4/4 time. Again, breathe after each measure. Remember to sing the syllable "doo" for each quarter note.
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Here’s the quarter rest, where you rest for one beat:
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Finally, let’s conduct and sing quarter notes with a 2-measure countoff. Each quarter note gets one beat. Listen to the different pulses in 4/4 time. Again, breathe after each measure. Remember to sing the syllable "doo" for each quarter note.
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Here’s the quarter rest, where you rest for one beat:
Sing and conduct the next example, alternating between the quarter note and the quarter rest.
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N e x t T o p i c: Co n d u c t i n g a n d Si n g i n g i n 2 / 4
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This is the 2/4 conducting pattern.
"S" indicates a strong beat and "W" a weak beat.
Let’s count two measures of 2/4 while conducting the above beat pattern with your right hand. Listen for the two measure count off and then conduct the pattern. In 2/4, the first beat is strong, the second weak. Conducting measures the beat and the pulse of the music. When you’re conducting a 2/4 pattern, really lean into beat 1 and rebound on beat 2.
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Now, let’s conduct the 2/4 pattern and sing the following half note rhythmic example. Use the syllable “doo,” and hold each note f or the full two counts. The half note marks the pulse of each measure. Listen for the 2-measure countoff.
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No thanks, I don't want my exclusive trial As you know, the quarter note gets one beat and marks the pulse of each beat in 2/4 time. Let’s
conduct in 2/4 and sing the next example. Remember to rebound off of the strong beat 1 into beat 2.
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Sing the next example alternating between the quarter note and the quarter rest.
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N e x t T o p i c: Co n d u c t i n g a n d Si n g i n g i n 3 / 4
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Conducting and Singing in 3/4
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im age t o start the video.
Here is the 3/4 conducting pattern.
"S" indicates a strong beat and "W" a weak beat.
Let’s count two measures of 3/4 while conducting the above beat pattern with your right hand. In 3/4 time, the first beat is the strongest, and the sec ond and third beats are weak. When you're conducting a 3/4 pattern, beat 1 is large, and beats 2 and 3 have much less emphasis.
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Now, let’s conduct the 3/4 pattern and sing the following dotted-half-note rhythmic example. The dot adds half of the value to a note; so a dotted half note gets three beats.
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Let’s sing and conduct the following examples using the syllable "doo." Wait for the 2-measure countoff, then sing with the piano. Remember that the quarter rest gets one beat rest. Sing the half note for the full two counts and rest on the third beat.
Sing and conduct the quarter note example in 3/4. Wait for the 2-measure countoff.
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Conducting and Singing in 3/4 1 2 3 4
Sing and conduct the following quarter-rest exercises. Each exercise has a two-measure countoff.
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Sing and conduct the following quarter-rest exercises. Each exercise has a two-measure countoff. After the countoff, sing along with the piano.
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who have already played around with the software, to those who still haven’t broken the cellophane on the packaging yet. “Over and over, No thanks, I don't want my exclusive trial people who take the course tell me in the beginning that they’ve been using Pro Tools for some time, and have made r ecordings but yet they have this nagging feeling that something is missing,” said Pro Tools 101 instructor Andy Edelstein. With the step-by-step approach presented in the online course, they end up amazed at how many things the software can do that they never knew about. They learn shortcuts, and powerful ways to accomplish their recording and production goals more effectively and more efficiently. “Though it’s conceivable to learn the software on one’s own,” Edelstein said, “it’s not likely that people who pick this up on their own will have seen all the things that we do. It appears to be straightforward enough to pick up on one’s own, but in fact, it’s anything but that.”
“The first order of business is just feeling comfortable with general terminology and the workstation and software environment,” he said. “It helps you to understand the I n s id e Tr a c k way that things are structured and the way that the interface is designed so that you An insider's look at our can sit down and use the main features in Pro Tools—the Edit and Mix windows.” The courses, students and faculty. course covers how to record tracks, use the various recording modes, do overdubbing and mixing, and use plug-ins and signal processing—supplemented by a Ex p lo r e t h e S c h o o l taste of the more advanced things to come, like automation. Most important, Pro See how online learning works. T o o l s 1 0 1 gets you comfortable with session structure and the software’s main interface element, so that you’ll have a complete understanding of fundamental functions of the software. S a m p le a Co u r s e J o i n o u r M a i li n g Li s t G e t F i n a n c i a l Ai d
Learn how Cut, Copy, and Paste can be used with audio in Pro Tools.
Explore several examples of how fades can be applied to an audio track in Pro Tools.
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mix. Exercises are assigned on a weekly basis to target specific skills, which you then apply when you complete the final project: a piece of your own, that you record, mix, then submit for feedback from your instructor and classmates.
Though the curriculum was developed by Digidesign, course author Edelstein enhanced it in several ways, based on his experience as a producer/engineer, and as a professor of Music Production and Engineering at Berklee College of Music. Chief Unlock Access toisAn among these customized additions the hands-on project that students submit for feedback.
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The course also presents a very complete set of QuickTime movies, demonstrating actions within the software, to supplement the written material. “It is very similar to what the student might learn in the classroom, and provides the direction that cannot be experienced from a workbook,” Edelstein said. Berklee Ear Training Conducting No matter what level of experience you may bring to the course, you’ll find it inspiring to create professional-quality recordings in a community of classmates who Access Now can share hints and feedback. “One of the nice things is that there’s such a wide range of background among students. You can pick up a lot just by participating in the chat rooms, allI the Noand thanks, don'tonline want mybanter exclusivethat trial happens,” Edelstein said. “People bring up things that give you more experience and more of a feeling of how to record, how to mix. It has a good, accessible, but very wide range of potential.
Test your knowledge of the Pro Tools Edit window with this quiz.
Take a look at basic mixing concepts in Pro Tools with this demonstration.
An d y Ed e ls t e i n is an active educator, record producer, engineer, and multimedia developer. He is currently Associate Professor of Music Production and Engineering at Berklee, and has also served as Assistant Chair of the Music Production and Engineering Department during his twenty-five-year tenure at the College. Andy has produced, recorded, and/or mixed numerous records from jazz and rock to bluegrass, Celtic, and blues, including the genre-bending Wayfaring Strangers critically acclaimed Rounder releases, the SpinART debut by independent rockers Apollo Sunshine, and the latest Dry Branch Fire Squad live album, all using his Pro Tools HD system. Andy is Principal of Rapid Eye Media, specializing in multimedia production services. His design and production work is featured in a series of awardwinning interactive exhibits at the American Jazz Museum in Kansas City, MO and the Longyear Museum in Brookline, MA. Consulting clientele has included the GRAMMY Foundation in Santa Monica, CA. Andy holds a B.S. in Electrical
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