[.ca] Hearing and Writing Music: Professional Training for ... (ISBN 0962949671)

On "Hearing and Writing Music" by Ron Gorow:
"Hearing and Writing Music", by Ron Gorow, is a superb book. It makes a simple and elegant presentation of the internal process by which we hear sounds and music, how we recognize intervals, chords, melody, harmony, counterpoint, and the timbre of instrumentation/ orchestration, how we can develop the skills of listening, auditory memory and imagination, and how to use these skills to hear and to write down music of any sort. The hallmark of an expert is the ability to explain the basics of his field as simply as possible. By that standard, Mr. Gorow has proven his expertise in this book. I note that the other reviews, both for Amazon and in musical journals, tend to limit the importance of "Hearing and Writing Music" to ear training. I believe that Mr. Gorow's book is valuable for much more than ear training. I have studied it, and as a result of that study, I believe that my auditory memory and imagination and my abilities in score reading have improved enormously. Further, I have been able to use the skills in this book to transcribe melodies, harmonies and counterpoint almost effortlessly, both those that I have heard, and those which existed only in my imagination. This book has opened many doors for me. I believe that it can do so for many others. On a personal note, for the last 30 years, I have been able to hear and compose music in my imagination. Unfortunately, I have been almost exclusively self-taught, and I despaired of ever being able to write down what I heard. Mr. Gorow's book, and my use of it, has changed all that. I have just completed the first movement of a symphonic tone poem, and I intend on continuing to compose for the rest of my life. I have studied many books on music theory, and have listened to and studied many pieces of music. If I may make an analogy, my studies had formed the equivalent of a crystalline solution. "Hearing and Writing Music" was the equivalent of a seed crystal, which put everything into order, and transformed me from a listener to a composer. I cannot recommend it highly enough for those who wish to become songwriters, arrangers, or composers, or those who wish to improve their skills.

The Ear Training Bible:
I have several statements to make about this book: -This is an integrated system of ear training for internalizing the language of music. -I wish this book was around 20 years ago. -I think it should be the new standard and REQUIRED ear training course for public and private school music programs. -Dictation and solfege are not very servicable for modern music, this method provides tools for dealing with the vast array of music today. -When I first flipped through the book, it was like the "eureka" experience. -This book changed my life, I RETAINED more the last 3 years studying out of this book, then I learned in my previous 17. -I think the reason this book is so effective, is that the author's approach is grounded in how we naturally hear music based on the overtone series, and tonality. He then gradually builds upon this foundation through intervals, scales, the diatonic matrix,and chromaticism, but always in reference to a tonal center(s), and always stressing the reader to use his/her INNER EAR and MIND, and NOT an instrument. -Another huge plus it the sections on chords and chord progressions. This is awesome and clarifying information especially for non-keyboard players. -The book is also laid out and organized in a way that is easy on the eyes and brain. It's easy to find stuff, and fun to study out of. -Lou Smoltz: Jazz Bass Player, and Music Lover

COVERS HUGE RANGE OF MATERIAL:
COVERS HUGE RANGE OF MATERIAL I do not go to collage for music and I don't take formal lessons from any instructors so I am no authority on any subject in music but I'll do my best to review this book. Ron covers every corner of music I can think of. Rhythm, Intervals, Harmonies, Modes, Notation, Transcribing, you name it, its probably in this book. Probably the best part of this book are his Exercises. If you seriously devoted a lot of time into these exercises, your musicianship would improve 100%. The ear training part is great, and most of all its not boring like some other books I have read. This book will keep you on your toes and not falling over in your chair! I liked all the information on the mental and spiritual part of playing. He devotes some pages to get your mind prepared for the journey into sound. A lot of other texts I have read lack this and are very sterile and dry. Toward the end there is tons of information on references, resources, jobs and links to a lot of cool websites. Some of the material may be a bit strong for a complete beginner, but there is nothing you can't get through in time. If you play Rock (like me, Shoutout to all the Rockers!!), Metal, Blues, Country, Jazz, Techno, Classical or any style of music that uses 12 tones I would give this book a shot. Us independent people that are not studying at a collage or taking lessons thrive on books like this. I would expect a book like this to cost at least $50.00! You can't ask for a better deal then this!

Brilliant Music Theory - Wacky Science Theory:
I agree with most of the reviewer's comments on the excellent methods, information, and ideas given about how to train yourself in the various hearing and transcription disciplines as they relate to improving musicianship. I have nothing further to add to those comments other than to say I also highly recommend the book for a rather fresh, insightful approach to learning that material. There is also a very good reference section containing books, websites, and other supportive information. HOWEVER, and this is a big BUT, the scientific and more technical ideas that are presented here to fill in the 'bigger' picture of how music material relates to the physical world around us are tenuous much of the time and unfortunately even erroneous in some instances. There is an apparent misunderstanding about the very significant distinction between electro-magnetic waves and sound waves which require and depend on a "medium" like air or water to propagate. To state or imply that the only difference between light and sound is a question of frequency range is just incorrect. Also, the author tries to superimpose the golden section (phi) over the harmonic series stating that every interval progresses up the harmonic series becoming smaller by precisely the golden section (approx. .6180339...). The number itself is not shown correctly in the book, and if you simply do the math, you'll find that this just isn't even close to being true beyond the 2nd octave. Where did he come up with that?!! If the 3rd chapter had been left out, I would probably give this book 5 stars. It is unfortunate, because when he is in the domain of hearing and writing music, which is most of the book, it is very enlightening and effective.

A graduate-level title from the school of experience!:
I own and have read just about every book on composition, orchestration and film scoring. I have to say.... this title (both the first and second edition) is not only the greatest deal in the domain, but perhaps the finest title! Ron's book has a way of filling in the gaps, perfecting your musical knowlege and command of the craft. From interval and ear training to notation, composition and theory, this book has it all. Understanding the principles in this title is key to not only a fulfilling musical career, but a successful one as well. Do yourself a favor - get this book and read it several times, do the exercises, practice the lessons daily, and you'll find your musicianship, skills and pleasure of music grow! - Christian