Views from the Choir Loft

Solfege? There’s an app for that.

Veronica Brandt · February 28, 2015 ·

HERE WAS A BOY WHO DELIGHTED in correcting his mother’s piano students as they were working on identifying intervals. He never studied as such, but the regular exposure to other people practising seeped into his head.

It isn’t so much a matter of natural born talent or hard work as a case of regular practice. A little bit each day is the way to plant the new patterns in your brain.

Now, not everyone can arrange for a stream of school students to come around every afternoon for piano lessons, so how can the average aspiring sight reader get this regular practice?

Just go online.

Theta Music Trainer is a collection of games identifying scales, intervals, chords, pitches (or tones) and even the sounds of different instruments.

The games look like child’s play, but the skills are way beyond what I covered at school. Paddle Tones and Tone Drops are good for picking out notes. Dango Brothers is good for matching pitch. There’s even a game where you sing into a microphone to match pitch. I bet you can think of someone you would like to work on that game!

The games can be played at random, or you can opt in to “courses” which bundle 30 groups of 5 games to give about 15 minutes of practice every day for a month. Each level you complete counts towards a colored “belt”. Yes, you can get a black belt in Music Theory!

Signing up for a free account gives you access to the first three levels of each game, which is pretty useful in itself. Full access to Theta music trainer comes with a price tag. The individual account is a bit more than your average smartphone app, but if you have a few other people interested (like a choir) consider splitting a Studio account between you.

Playing the cute colorful games at Theta helps you get a taste of what ear training is all about. For a more serious survey of software available see Ear-training online.

I hope you find something useful. Excuse me, I have to go work on my green belt.

About Veronica Brandt

Veronica Brandt holds a Bachelor Degree in Electrical Engineering. As editor, she has produced fine publications (as well as valuable reprints) dealing with Gregorian chant, hymnody, Latin, and other subjects. These publications are distinguished on account of their tastefulness. She lives in the Blue Mountains near Sydney, Australia, with her husband Peter and six children.

Could Pope St. Pius X Sing?

“On 12 March 1908, the complete publication of the Roman Gradual was issued by the Vatican Press. On that very day, Dom Pothier solemnly presented the first copy to the Holy Father. A witness of the audience says that Pius X wished to be the first to see the new book; he opened it at random, at page 128 of the supplement pro aliquibus locis—it was the Introit of the new Feast of Our Lady of Lourdes. The Pope sang it with perfect taste to the last note.” (Catholic Choirmaster, February 1915)

—Jeff Ostrowski

Julius Bas Accompaniment

A very prolific harmonizer of Gregorian chant in the early 20th century was Mr. Julius Bas. He often uses a very strange technique, wherein he employs rests to eliminate the Alto, Tenor, and Bass voices. Consider what he did with “Lumen ad revelationem” here:

* JPEG • Lumen ad revelationem

It seems quite lazy, and I’ve never seen anyone else use such a technique, although Dr. Peter Wagner often switched to parallel octaves when he ran out of ideas… (Yuck!)

—Jeff Ostrowski

Hitting wrong notes

Fr. Valentine Young, OFM, used to say: “The organist can play 1,000 correct notes and one wrong note—and the only thing people will care about is the wrong note.” Last Sunday I hit some wrong notes, and felt bad. Then I remembered a story about Rudolf Serkin and started to chuckle. Charles Rosen (or was it Leon Fleisher?) told the story of Serkin playing a Beethoven Sonata in front of a large audience. The theme is all in octaves; but Serkin hit some wrong notes, and played parallel 7ths instead. This so unnerved him that every time the theme returned, he played the entire thing in parallel 7ths! We must remember that even the greatest hit wrong notes. Alfred Cortot, Vladimir Horowitz, Wilhelm Backhaus, Edwin Fischer, Sviatoslav Richter, Egon Petri—they all hit wrong notes, which we can hear on recordings. (Josef Hofmann was an exception, but he was super-human so he doesn’t count!)

—Jeff Ostrowski