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This is my tribute to HaydnThis sonata is divided in 3 moviments:Allegro-adagio-prestohttp://www.youtube.com/watch?v=uf39NUQb4BUthis is a my arrangiament of winds intruments all parts played in multi recording of my amaerican friend Len Anderson Sonata in the Haydn stile

Wow, 24 hours go by and my thread bloats into 7 pages of debate over ear training and its importance to education or composing. So, now it's my turn to speak on the subject... because I have interesting thoughts on the topic - yes, they are absolutely interesting, without a doubt. EAR TRAINING (Dooms-day music playing) For the run-of-the-mill musician/composer/whatever, ear training can be beneficial. For the music educator, I happen to believe ear training is a critical skill to have and be able to teach where appropriate and relevant. After all, any student of mine should at least be given some methods from me on how to begin training their ear. They don't necessarily have to be good at it, but developing that skill will help them become a better, more capable, more independent performer. The student's ability to self-assess is important in education, and it's no different in music. For a composer, assessment is far more subjective. You either like or don't like what you've created, it either sounds right or sounds wrong depending upon what you want. For the performer, though, there is a "right" and a "wrong" note, a "right" or a "wrong" rhythm, a "right" or a "wrong" dynamic, etc. So, that's how I see Ear Training being relevant. Shocking. "Useful"? Yes. "Necessary" or "Essential"? Depends.

There is no evidence whatsoever to suggest that Beethoven, Mozart, Schubert, Brahms, Tchaikovsky.. or any of the 'Great' Composers ever had good ears - or even ear training (Mozart may have under his father, but there's no evidence to suggest that Ok...You people can sit here and talk about what is quality music and not, blah blah blah. However, let me make a few things clear: Ear-Training is NOT simply interval recognition and the like...I don't even mean they need to be formally trained in the area. You don't HAVE to have great ears to compose well, but it sure helps in hearing complex structures and consistently composing complex music accurately... Now to your statement Jason...let's just look at ONE example.. Mozart: In Rome, he heard Gregorio Allegri's Miserere once in performance in the Sistine Chapel. He wrote it out in its entirety from memory, only returning to correct minor errors—thus producing the first illegal copy of this closely guarded property of the Vatican.(from wikipedia which we know is oh so reliable :blink: but also in every music history textbook ever written) That is called excellent tonal memory and ears

Why not just make it look professional? I can tell you, if I had never been to this site before, and stumbled upon it, I would keep searching (based on the test site) The color scheme is terrible, and so is the font - big bubbly brown YC....