Interval Ear Training

Introduce the eleven different intervals to your students by both construction on the staff and sound identification. Give a list of examples of songs students might relate to in order to help them differentiate the sounds comparing intervals that are relatively close or similar to each other.

Some examples are:

Definitely have your students come up with ideas as well. They may come up with more contemporary examples their peers may recognize better.

The director contrasts 2 or 3 intervals at a time, helping the students identify the different sounds. On your copy, circle the note you will play for your students after the tonic is introduced. The exercise can be played on a keyboard or any instrument of your choice. Be sure to mix up the order in which you play the intervals repeating them every now and then so no identifiable pattern emerges. Play each example twice asking your students to circle in each example on the answer sheet which interval they feel is correct. There are two sets of the interval sheets, one for treble clef and the other for bass clef musicians.

Note: In the Root, Major 3rd, and Perfect 5th section (or chord), the procedure is slightly different. The director will play all three notes of the chord in random order. Write above the three notes in each measure #1, 2, & 3 in the order you play them for the students. This will help you remember the correct order for the grading process later on. The students will write on the three lines, provided on the answer sheet, the order they hear the three parts of the chord performed. Use the symbols "R" for the root, "3" for the third, and "5" for the fifth.

The director may also wish to teach the different chord inversion symbols, and how to identify them.

Interval Identification Variations :

1. Student Solo Sheets: There are two sets of solo sheets for each interval comparison section. Included in these two sheets are the transpositions for all band instruments so you can select anyone in the band as a soloist. The selected student (with the director's help) should circle the second or third note after the tonic in measures #1 through 10, again mixing up the order. After the guide sheet is set up, the soloist on his or her instrument will play the tonic note followed by the note circled. Perform each interval at least twice, to allow the other band members to attempt to identify the correct interval.
2. Rhythmic Dictation: There is a section to the right of the answer sheet if you want to evaluate your students skills in rhythmic dictation. On any instrument (even snare drum) play the rhythms in random order listed below each interval section. You may use a single note or play the rhythm inventing a melodic series. Your students will then match the letters A, B, C, D, E, or F to the number identifying the order that they were played in.
3. Combination Exercise: The interval identification can be combined with rhythmic dictation. Still select the note you are playing along with the tonic going back and forth using one of the rhythms A through F. If you combine these two exercises, you may wish to repeat the exercise more than twice, one of the times playing the exercise at a slightly slower tempo. Be sure to write the letter of the rhythm study selected above the measures #1 through 10 in the interval section. Another idea would be to write out the selected rhythm to the right of the interval measure number on the conductor sheet. This will cut back your eyes from shifting back and forth as much and hopefully minimize errors in administrating the assessment.

Related Sheet Music

Assessment Sheet