Customer Reviews

Hearing and Writing Music: Professional Training for Today's Musician

5 star:		(27)
4 star:		(3)
3 star:		(3)
2 star:		(2)
1 star:		(3)

 

 

"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.

. . . make it this one!!

I was so impressed with this book, that I recently purchased the expanded second edition, even though I already have the first edition! I have never done that with any book before. (And as a musician with a B.A in Music Education who has almost a thousand music books in her library, that's saying something!)

The depth, range, and thoroughness of this book far outpaces any other book of its kind out there. Where else can one go from the very origins of sound itself, and the active listening and perception thereof, all the way to transcribing complex polyphonic works, orchestrations, and film scores, all in one book?

What I really enjoy about this book is its approach to listening to music beyond mere intervals and passive listening. It expands ones'hearing to phrases,and through texture and form as a whole. It is the first ear training method I've ever come across that actually addresses tetrachords, modality, chromaticism, and
sequences as tools, while most methods stop at the intervals and chords themselves. (There is even a section on tone rows!) Don't let the above words scare you; the book is very clearly written, with a minimum of technical jargon. Indeed, it actually encourages the reader to reach to the highest levels of musical perception, and in turn, prepares one for transcribing, composing,orchestrating,and performing.

The organization of the book is very clear and logical, from perception of sound itself,from sound to music, using the materials of music to transcription, perception to notation and communication with notation, through to performance and publishing. There is even a section on copyrights (not only in the paper domain, but the digital domain, as well!)

In addition, the sections on transcribing resources, supplies and books, and film score links on pp.384-399 alone are worth more than the price of the book itself.

Best of all, this book is written by someone who has been working in the business for over 40 years, and the labour of love shows in every page.

I was going to list my favorite parts of the book, but the list soon looked like the Table of Contents! For me, this isn't just one book; it is an amalgamation of all of the wonderful and inspiring professors and books that I've ever learned from. (This book is also a soothing balm over the scars left by incompetent, mean-spirited and ignorant teachers and outdated pedigogical curriculum--a certain Dr. Andersen from Fresno City College comes to mind!!)

Reading and working with this book will help any musician (even a non-musician who shows a cursory interest in music)reach his or her highest creative potential by expanding musical awareness and perception. I have since found that expanding creative awareness and perception in one endeavour carries over to other modes of human expression: painting, drawing, sculputure, dance, film, etc.

"Hearing and Writing Music" is a marvelously comprehensive and concretely practical book for musicians. There is something in this book for every musician, regardless of experience level. The beginning musician could read it methodically chapter-by-chapter, absorbing the text and carefully doing each exercise, while the professional musician might zero in on specific topics to enrich his knowledge and skills. I was especially intrigued by the discussion of the intervals as they relate to the harmonic series. Mr. Gorow strikes a delicate balance between scientific and aesthetic points of view; he explores the mathematical basis of music, while never losing sight of the artistic purpose of it. Mr. Gorow's method of transcription, which is perhaps the heart and soul of the book (though by no means its only purpose) is full of insight and practical advice. I applaud and heartily recommend this important and valuable book. - Andrew Kinney, professional composer/orchestrator

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

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.

This is a great book for those who intend to develop their ears, truly our most important tool to make music. However, as an engineer, I have to agree that there are several gross errors about sound waves and other concepts badly defined. Don't confuse anything meant to be objective (and rigorously defined, such as frequency, time, etc.) with subjective matters, feelings, etc.

The book is very useful, though, concerning how to learn the ability to improve one's musicianship through the best use of our ears. I reached the same conclusions by myself, while learning to transcribe and write music, and it DEFINITELY gave me a new whole meaning about music. In particular, the whole question about the myth of "perfect pitch" is properly addressed. Who cares about C or D# or Bb? Be a key-independent musician!

Use the musical aspects of the book, they're great! Forget anything that has a (bad) scientific explanation.

I am a physician/surgeon by current profession. But my hand to God, I have been preparing my whole adult life for my second career in music as a composer for film. The element that has always been most elusive to me has been the ability to manuscript straight from my head to the paper with a simple pencil. While I'm well adept at Finale, Digital Performer, and MIDI orchestral suites like East West Quantum Orchestral Library, etc. I have always been working at my ear to paper skills. Until I read Ron's book and "got it" I wasn't really quite sure what I was needing to accomplish. Now I know and I'm on my way more than ever to mastering the skill of going from imagination to the manuscript--skipping the usual play it at the piano first method. I'm excited. This isn't an easy venture...I know it wasn't for Ron Gorow either...he earned it when he was young and had the time to get really really good at it. He teaches this abstract skill with a method I've never had the priveledge to utilize. Now it is available to all musicians who understand that this skill will require practice practice practice. It may be innate for some, but for most it is not. Just read the book and do the exercises and you'll gain amazing skills without hardly any effort at all. I praise Ron for making this elusive ability to be a "Human Sequencer" a reality for all of us. Congratulations Ron.

This is the best ear training book I have ever seen. I feel very fortunate that a musician of Ron's caliber has taken so much time to pass on his knowledge and experience through this book. As a professional musician, I am always looking for ways to improve my ears. Hearing and Writing Music has given me a practical and methodical way to continue my ear training education. The lesson plans at the back of the book have helped me to make the most of my practice time. My hearing has become so much deeper and more "three dimensional" as a result of using the techniques described. I am also able to "get at" my own musical ideas much more quickly and easily. I will be using this book for years to come.

Hearing and Writing Music is THE book for the 21st century musician. Mr. Gorow has crafted a well thought-out approach for expanding the skills of today's musician, at any level of development. There are essential reference materials that compliment and supplement the techniques all throughout the book. Mr. Gorow's style is very accessible to both musicians and non-musicians. This book gives you the tools to prepare and develop your ear for a profession or for just simple enjoyment.

As a published composer and professional music engraver/copyist, my livelihood depends on my musical ability. Mr. Gorow's book has helped me to focus my energy and skills to create a more effective technique as I work on various projects. My ear's sensitivity has been heightened immensely as a result of this book.

I feel like I owe Ron more than what I paid for the book. Thank you Ron for sharing your thoughts and proven techniques. I can't wait for your next project!

Mr. Gorow's " Hearing and Writing Music," is a great reference book that I can always check to answer my questions of "Why".
This book takes an analytical approach to much of what I learned at music college but handles it in more depth and with very clear answers to some questions
that we don't often ask about notes, sound, intervals and pitch; musical terms we just accept because that is the way it is or somebody says so in the music
textbooks. You can study this book from chapter to chapter or just go to a specific topic when you have questions while you are writing music or practicing listening skills. And it is also a fun book to read.
I recommend this book for musicians at any level.