KEY NOTE RECOGNITION
FREQUENTLY ASKED QUESTIONS
| Q | I have worked my way through the Ear Training One Note Complete series and found it very helpful. I am an upright bass player with about three years experience on the instrument playing mostly jazz. Just as you described, I started out kind of lost with the Beginning CD, but now I get about 90% of the notes correct on the Advanced CD. I just ordered the Key Note Recognition book. I also have the Fanatic's Guide to Sight Singing, although I have not been working with that book as diligently.
Anyway, my question concerns the notion of the key or tonal center. Take a standard 12-bar blues in C, for example. Does the tonal center change like this (more or less): | C | F | C | C | F | F | C | C | G | G | C | C | or is the tonal center simply C throughout the song? Suppose the melody note is an A in bar 1, and the same note A is also played in bar 4. Should I be hearing the A in the key of C in bar 1, and the A in the key of F in bar 4, or should I be hearing the A in the key of C in both places? Or are these just two equally valid ways of hearing it? As an exercise, I was transcribing the head to "Tenor Madness" by Sonny Rollins onto paper without using an instrument. I was pleasantly surprised at how (relatively) easy it was thanks to the ear training. However, I bumped into the above problem and thought I would ask. |
| A | The key that you are hearing will vary from person to person. It will also depend on the tempo. In general you will find that over time you will start to hear more and more progressions in one key rather than changing key on each chord. Key Note Recognition starts you on the path to learning which key you are hearing and the 2 note method continues this process.
I'll be releasing some new books this summer that will work as a more direct application of ear training to hearing keys change and recognizing which key you are in. In the mean time you should work on Key Note Recognition and then after you can do that at about 90% correct move on to the 2 note books. Glad to hear that the ear training method is working for you. Let me know if you have further questions. |
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| Q | I've been working on identifying pitches with your CD. In my jazz aural skills class, we have a test on identifying chord progressions. The teacher advocates we use intervals to figure out the root movement of the chords. Thus, if we hear I-#IV-VII-III, we are supposed to hear a tritone interval and figure out that the chord progression went up to the #IV chord from a I, etc... Im guessing you dont advocate this method of hearing intervals to figure out chord progressions, because you dont suggest we hear melodies this way. But how do you suggest we practice hearing root movement of chords? |
| A | Chord progressions can either stay in one key or modulate. This will of course depend upon the progression but actually more importantly the speed that the chords are played. The slower the chords move, the more you have a tendency to modulate. In order to understand how to modulate you will have to work through Key Note Recognition and Ear Training Two Note Series.
For argument sake, let's say you had the progression I-#IV-VII-II (all triads) and you heard the entire progression in the key of C. When you hear C, E, G, you will hear 1, 3, 5. When you hear F#, A#, C# you will hear #4, #6 or b7, and #1 or b2. When you hear B, D#, F# you will hear 7, #2 or b3, and #4. When you hear E, G#, B you will hear 3, #5 and 7. Hearing like this takes time to master but you will be lightning quick when you get this down. You should not try to hear an interval between bass notes or anything foolish like that. It might get you through a test. It might even get you a passing grade in the class but it won't give you world class ears. |
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| Q | I just started the "Key Note Recognition" yesterday. I got to the point with the with the one note advanced that I was getting 100% some of the time and consistently over 90% so I thought it was time to start the Key Note book. Logically it seemed like it should be fairly easy to jump right in and have success fairly easy: Establish the key (unknown variable) in your ear and hear what note (the known variable) is played and identify the key based on its relationship to the C note. This is essentially the same thing we did with the one note but the known and unknown are exchanged; the note is static and the key isn't. I listened to the CD last night and was dumbfounded that I didn't get one right, not a clue. After thinking about it I played the CD on my way to work this morning and got the first two right, on shuffle play, and then back to never land. I don't get it. Is my thinking messed up? Is this common? Did I learn my one note stuff completely wrong? Should I get a different hobby? Do I need medication? |
| A | Well, I'd hold off on the medication. It is very common that people have a major adjustment when they start "Key Note Recognition." Basically there is nothing wrong with you, it's just the way human minds store memory. Without getting into it too far, your mind is very specific about how it stores information. You will find over time that the skills you learned with the One Note Series will take over but it will take the memories in your mind awhile - sometimes quite awhile - to shift over to the new system of identification presented with the "Key Note Recognition." So be patient continue with both the Key Note and the One Note CDs and you should see improvement over time. |
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| Q | I am studying your one note eartraining materials. I am on the advanced level getting about 85% and studying hard. When I play guitar and try to identify the pitches I hear in my head using solfege it seems difficult when I am playing anything but the I chord. I guess the modes need to be studied also. Do you have any recommendations in this regard? |
| A | You need to get to the point where you hear can hear an entire chord progression in the same key. For instance when a progression goes to the IV chord i.e. F major F, A, C, in the key of C. You should hear those notes a 4, 6, 1 not as 1, 3, 5 which would mean you have modulated. There are many factors that will influence whether you modulate or not. I think it's time for you to also start working on the "Key Note Recognition" book which will help you in the next step: understanding and hearing modulations.
There is also the important factor of your ability to think of various notes in different keys and the quickness that you can access this information in your mind. The "Key Note Recognition" will definitely test those skills. If you feel your speed in accessing music theory information is not quick enough I recommend you work through the Theory Books for Guitar to strengthen your skills. |
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| Q | Thank you for your wonderful approach to ear training. When I first understood it was like a light coming on: "Yeah that's the way I should be able to identify notes." However the application takes much work, just like you stated. I started working with the One Note Complete in September, along with the Fanatic's book. I was at the point of getting close to 90% consistently on the Advanced CD. However, in keeping track of the wrong answers I noticed that the notes that weren't in the key of C were the ones that I made the most mistakes on. In order to become better at this I created a play list that consists of all the tracks in F# pentatonic major from the CD plus one track for each of the notes in the Key of C. (I tried it with the just the notes in the F# Pentonic Major and what I noticed is that they became very consonant sounding which made the notes almost equally disonant against C major.) Do you think this will help with the problem.
The really hard work for me is eliminating interval training habits. Sometimes when I'm listening to the CD the first thing that I hear about a note is that it is a certain interval distance from the last note, usually the whole or half steps. Is this bad? I am working really hard at trying to eliminate the interval identification tricks. How do I know when I really have a grasp on your method. Are there some things I can do to test myself? |
| A | It is common that people have more problems with the notes that aren't in the key of C. Many people make tapes or CDs with the notes that are causing them problems. I'm not so sure this speeds up the recognition process for everyone but it does seem to help some students. I have found that working with the Ear Training Complete CDs and singing out of the "Fanatic's Guide to Sight Singing and Ear Training" in short 5 to 10 minute practice periods many times throughout the day is the best thing to speed up note recognition.
It is common for students - particularly those with previous interval training - to have interval relationships popping up in their mind. This is one of many reasons why I feel that interval training can be detrimental to your progress with this type of "key" based ear training. When you are listening to the CD what you want to keep in your head is the sound of the key not the sound of the note in the previous example. I think you will know that most of your interval problems are behind you when you can do the "Key Note Recognition" book. Make sure though before you move on to this book that you can get around 90% correct on the Advanced One Note CD. Remember also when you start to work with "Key Note Recognition" to also spend a little time refreshing yourself with the Advanced One Note CD. |
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| Q | I started working on the Key Note Recognition a few months ago. There are three key centers that I'm having trouble hearing consistently: F# minor, A# minor, and E minor. I have made a CD with those keys plus F minor, G minor, and B minor to see if that will help. I seem to be at a stalemate at this point. I will list the items in my practice routines. Maybe something's wrong there. On the way to and from work I listen to the Key Note CD and sing pitches along with a tonal center - a pitch pipe is used as a reference. Once a week I review the One Note Advanced CD to assure that stays fresh. On my lunch break walk I do the same thing. People probably think I'm wacky when they see me blowing on a pitch pipe or croaking a pitch. I guess I'm doing my part to keep up the mystique of musicians being strange. As far as sight singing I can pre-hear all the diatonic notes consistently but still have trouble with some of the non-diatonic; particularly #5 - I had to sing that one everyday for about three months before I could pre-hear it at all. On the week ends I get about 3-4 fifteen to twenty minute sessions a day and sometimes miss a day because of family life. I try do something though. My singing routines consist of pre-hear/singing against the CD from your book plus the Jamey Abersold Minor CD (Minor vamps in all keys), the two note exercises in the book, diminished chords, cycle of fifths, the non-diatonic notes, and pre-hear/sing pitches - I don't do all these everyday but use them to break up the routine. I still find this very rewarding and am surprised at times when listening to music anywhere that I can identify notes and chords much better that when I started. |
| A | Well it sounds like your making good progress. The keys that you are having problems with are the same keys everyone else has problems with so I wouldn't worry about it. They will come with time. If you think about it your problem with E minor is caused by the weakness of your recognition of the b6. Your weakness with F# minor comes also because these are the non-diatonic notes that you had a hard time prehearing in the Fanatic's Guide. So it will take time for your inner ear to feel strong with these sounds and consequently your Key Note Recognition will be off from time to time. I would spend a couple of more weeks on the Key Note Recognition and then move on to the Two Note Books. Keep reviewing the Key Note and the one note advanced once or twice a week. |
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| Q | I just got your book and I believe it´s an interesting aproach. I just have one question: What about modal or minor scales? The harmonic minor maybe close to his major relative, but will the notes have the same feel? Will the G sound the same on A minor or C major ? And how will I peceive the G# in C major and melodic A minor? |
| A | All notes, no matter what the key center type, will have the same sound. Therefore. a G in the key of C major, C minor, C mixolydian etc. will all sound like the 5th of the key. The note G does not sound the same in A minor as it does it C major. In the key of A minor a G will sound like the b7. In the key of C it will sound like the 5th. You will hear a G# in the key of C as the #5 and in the key of A minor a G# will sound like the 7th. |
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| Q | You are either going to make me a great musician or drive me absolutely nuts. Seriously, you have become a very important person in my life thru all the hard, voluminous work you've done. I now have a library wall filled with your stuff... its amazing and quite frankly humbling to view its onerous dimension as I select my work for the day. There is a great hazard to all this work however... Your voice keeps popping up in my sleep... can you imagine the nightmare created by your voice saying a# major and me waking up in terror screaming What the hell key is that?!!!!!
So I have all this stuff and a million questions as a result. Consequently, I have a favor to ask. Can you give me an idea of how many FAQs you answer a day? It will really help me gauge the types and forms of questions I will present. I know you really don't have the time to wax philosophic but some of the questions I have are seeking to find the principles, testimony and thinking behind the exercises. I'm a teacher by profession and naturally gravitate to your expertise as a teacher as well as musician. For example, one of the assignments you gave me was to read Mind to Molecules. I have several questions to ask concerning the learning foundations you use in relation to this fabulous book. I am not sure how to proceed in the most expeditious way with these questions unless I have some idea how to limit their scope to your schedule. Here are a couple of questions... I have b2 paralysis!!! I cannot for the life of me hear c in a b min cadence as a flat 2 in key note... it always sounds like b7 or 4(?) I've been trying for about 4 months and cannot get it!!! I have even made tapes with the minor progression and tried to sing b2 against a c minor 7 chord... can't get it. What is wrong with my old brain? I think I have sensitized rather than habituated to b2... although its a piece of cake in One note. The same problem occurs in 2 note when I need to hear a b2 modulation ie against B and f# or B and D#... C modulates but not to b2. Otherwise the exercises are going fine... do you have any suggestions or drugs that can help me with my old brain. Also, I have been working on the e string in c maj. exercise u assigned me... have got thru c, f, Bb, and Eb up to 80mm... great exercise. I noticed something interesting while working in this exercise... I can automatically sing them at extremely slow tempos... ie I will set metronome at 100 and am able to sing any exercise in any key correctly... (with pre-hearing) at about 3 clicks per note (33.3mm). It really proves your point... I do not have to rely on intervals, or essentially another note, to hear and sing notes... I can hear automatically!! Even if it is at impractically slow tempos. I am proceeding thru this exercise starting at 33 and slowly building up to 80 and beyond... it takes about a week, but its working... the problem is that sometimes my vocal chords get a little strained... especially with wider intervals. My mom, who is a singer, says You must sing into your mask... and she proceeds to grab my face and makes me hum... I have no idea what she is talking about!! Can you suggest anything to help my poor vocal cords? I also bought Lines... It is great!!!!!! I am working thru the beginning level exercises that correspond to the key I work on in my string exer. The substitutions to rhythm changes are fantastic and it is very interesting to hear a single line with these substitutions in mind. I am singing these exercises both against a drone and while playing the changes. I am not paying attention to modulation while doing this... should I cease and desist because of this? Also bought your blues bass line construction book and am singing one or 2 a week... This is great stuff... the only thing is... I have stopped my work on fanatics exercises... please don't cringe... I like them but this stuff is too good to pass on... please give your blessings in this pursuit... but I will be obedient if you should break my heart and order Back to the Book Son. Ok enough... I know I have exceeded my yearly allotment of Tome questions... so I will shorten these sessions in the future... however... just to give you fair warning, i also bought the big metronome and doing time with the blues as well as Blue Eleven (unbelievable... u r my idol) and have billions of questions... just be glad i can't type or my importuning might just lead you to having nightmares about me. thanks for everything. |
| A | Got a kick out of your email. Thanks for your kind words. Just remember this whole process takes years of work be patient but also drive yourself to understand and improve.
The amount of FAQs really varies quite a bit. There is usually one a day sometimes five. Some take very little time to answer while others require a lot of back and forth to figure out the best course of action to help the student. b2 paralysis is very common. It took me 6 months of banging my head up against the wall before I got b6. The best thing you can do is keep the sound in your short term memory as much as possible sooner or later your permanent memory will let it in and then you have it. You need to get support from your diaphragm when you sing and always have enough air in your lungs. If you can push the air with your diaphragm rather than your throat it should help. It's OK to work on singing out of the LINES or the Bass Lines book. Both books will work fine if you sing them over a drone. I don't mind the questions. The most important thing for me is you do everything correctly. The basic directions are all in the books but it's easy to misinterpret or just become lazy when it comes to some aspect. I'm also fine with answering questions about the principles behind the methods I use. The fact that you're waking up with nightmares is good in that it means you care about getting this stuff right. Enjoy the moments when you become clear or better at something and keep striving for the next level. I'm hear to tell you it's all worth the effort. Keep in touch. PS Not that I want you to jump off a cliff somewhere but you should also check out the recommended reading list at: http://www.arnoldjazz.com/workshop/further.html I can recommend some places to start and ways to think about each book on a general and specific level. |
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| Q | I have been working through you ear training books for about 6 months now and seem to be making progress. I am working on Key Note Recognition and continue to hack at one note advanced (for which I am probably at the 80% correct mark). From the outset I wondered about the relationship between key and mode in the method. For the entirety of one note the goal is to memorize the sound of each note relative to a key: that key being a major mode in the exercises. Starting with Key Note Recognition, you introduce minor modes. This leads me to a few related questions. In one note am I really supposed to memorize the sound of a note in the context of a major mode or should I be thinking of the mode as setting up the tonic and then thinking of memorizing the sound of a note relative to the tonic? I assume the former is what you intend since the latter sounds too much like interval based ear training (which we all know is evil :-). Assuming the former, how should I be thinking of proceeding with key note? Should I be trying to identify the mode first (major vs. minor) and then thinking of the sound of a note relative to that mode to get to the key, or should I be thinking of repeating the entire exercise of the one note method relative to minor keys? In certain cases it seems necessary to proceed one way and others not. For example, when I hear C against a C major cadence vs. a C minor cadence the extent to which it sounds different is the extent to which C major and C minor sound different. On the other hand, when I hear A against a C major cadence vs. a C minor cadence it sounds quite different due to its relative affinity with the mode that is established. At some advanced level do you start doing exercises in goofy modes like phrygian? Of course, if this is all about identifying the tonic and hearing relative to that, then the question is moot.
For now, I am just listening and waiting for some kind of gestalt to develop. Also, I am in Boston and was wondering if there are any teachers you can recommend for ear training here? I am not prepared to enroll at Berklee or anything like that but might be interested in spending a few hours a month with someone who can whack my nose with a rolled up newspaper when I am doing something wrong. |
| A | You are trying to memorize the sound of each note against a key center it doesn't matter if it is a major, minor, dominant, Locrian natural 2 etc... All notes will still sound the same. I also wouldn't think of it that you are memorizing the sound against the tonic because this tends to focus the mind on the tonic of the key rather than on the overall sense of key. The relationships you are hearing that an A sounds different against a Cmajor tonality and a Cminor tonality will go away with time and you will see that you hear the same sound in both modes. Really the Key Note Recognition is slowly introducing these other modes to help you develop this overall sense of each note. Remember each note's sound will become more refined over time so 6 months is a drop in the bucket. Over a few years you will see these things that I talk about slowly take shape. You will also find that over time it won't matter what the mode is. You will still hear these relationships it just takes time. I'm currently working on a method to help people with these other modes but even without another method you would develop this over time.
I don't think you really need a teacher you just need to follow my directions and be consistent. |
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| Q | I recently purchased the one note method. It is an interesting method and I look forward to improving my hearing. It seems your ear training technique goes on to cover 2 notes, 3 notes etc but I wondered why you don't teach ear training for chords?
Is being able to hear individual notes the same skill required to identify chords? For example, if I can hear and identify the A note in the key of C, does it necessarily follow that I will also be able to identify the A chord in the same key? I am keen to learn how to play totally by ear and I want to train my ear to be able to hear and identify chords so I know which chord to harmonize the vocals with. |
| A | Hearing chords is partly being able to hear one note and partly being able to modulate because sometimes chord progressions modulate. To give you a simple example of how to use the one note ear training in a chord situation where there is no modulation let's say you have the chord C major. So when you hear the C, E and G it will sound like the root, 3rd and 5th. Let's say the next chord is A minor, which then returns fairly quickly to C major (if we stay too long on A minor we might modulate). So the notes of the A minor chord A, C, and E will sound like the 6th, root and 3rd. Getting to the point that you can hear this way will require you to work completely through the Beginning, Intermediate and Advanced CD from the One Note Method. It will also require you to work through Key Note Recognition and get a good handle on the 2 note books along with Fanatic's Guide which will help you improve quickly. Sometimes students are able to apply the skills learned with the one note method directly to chords, sometimes it takes longer for the skills they learn with the one note method to penetrate their multiple note abilities. To be able to play chords on the spot to a singer singing notes obviously requires a very quick access to knowing what notes you are hearing and transferring that information through your music theory skills to decide on what chord would be appropriate. I would also recommend you improve your music theory skills to help you in this process. I would recommend Music Theory Workbook for All Instruments which will give you exercises to improve instant recognition of what notes are in what chords. |
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| Q | Here is an example from the Key Note Recognition CD:
1. If I play Track 2 - F Major, the last note sounds like the fifth of the key. 2. If I play Track 23 - D minor, the last note also sounds like the fifth of the key. (It's not a matter of pitch: If I transposed Track 23 in E minor and played a D, it would still sound like the fifth of the key) This doesn't come from your books, it's just the way I hear the relation of the note to the chord progression. Now what you're telling me is: - If I play track 23, the last note should sound like the minor seventh of the key. - I will eventually realize that this relation to the key is the same as in Track 11 - D Major. Is that correct? |
| A | You are correct, if you play track 23 the last note should sound like the minor seventh of the key. It could sound like the 5th in some musical situation but in a situation where you are playing a ii V7 i minor over and over and ending on a i minor chord you shouldn't hear this as a relative minor because all minor chords are not always relative minor. For example, if you played an e minor, this chord isn't always heard in the key of G major. It could just as easily be in C major or it could be in e minor. An exercise that you can do to help you realize and stay within minor keys is to play a ii-7b5 to a G7b9 to a i minor and sing up and down either a melodic minor ascending scale 1, 2, b3, 4, 5, 6, 7, or a harmonic minor scale 1, 2, b3, 4, 5, b6, 7. This should help you hear minor keys as a one chord. Please keep in touch and let me know if this helps. |
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| Q | I have just started working on Key Note Recognition today. My accuracy level on One Note Advanced is around 95%, therefore I decided to start working on Key Note Recognition. I feel I still need to continue to work with One Note, why I'm not sure, but I do feel the need to. Is there any recommended practice schedule that is best when working out of One Note, Key Note, and Fanatic's Guide? Up until now, I would do 7-10 minutes of One Note, followed by 7-10 minutes of Fanatic's, and then repeat this procedure 4 times throughout the day. Is it better to do Key Note, then do the other two, or better to put Key Note in between the other two? Perhaps this is a question that really has no correct answer? As I am working my way through your wonderful books, I realize that practicing correctly and efficiently is an art on its own. I therefore am not sure whether this is something to be worried about or not. |
| A | There is really no correct answer to your question. I will say this though. You need to become aware of what amount of practicing and combination of practicing techniques makes you improve the quickest. Most of the time this is finding the correct amount of repetition/time that you work on an exercise/book/CD. For most people this takes quit a bit of time to figure out. For instance you might be weak at hearing the b6th of a key. So you work on the listening CD, you sing exercises from the Fanatic's Guide that emphasis the b6th and you work on the E major/minor modulation with the Key Note Recognition CD. Each day you increase your frequency and time amount for practicing until you start to see your problem improving. This is just one example but try to use it as a template to learn your weaknesses and find practice routines that fix the problem. You have the tools with the books that you are using. You now just need to find the right combination for yourself by learning more about yourself and how you improve. |
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| Q | I have a couple of questions about ear training. I am a man in my thirties and I have started to play keyboards and some guitar. I already can play melodies by ear, but I have difficulties in chord hearing on music (I do know how to read notes so this is not a bad problem). I already have bought One Note Complete, I am just waiting for the mail to deliver it.
So there are my questions: (I don't want to sing). Is Fanatics Guide necessary when training ear? Is it possible to get just Key Note recognition and one of the two note books? I have a computer with midi so I can do more training CDs myself when I know how to do it. |
| A | It is possible to do the ear training without the Fanatic's Guide. I think you will be making the process much harder for yourself and you won't improve as quickly. I also think it will effect how soon you can transfer the exercises into real music application. You would definitely want to get Key Note Recognition and at least one two-note book so that you understand the concepts presented in those books. I would also recommend you check out amazon.co.uk in a few weeks, they will have all these titles available so that might save you some shipping costs. Just one final note. I think your statement that - I don't want to sing - is not looking out for your own best interest in improving your musicianship. |
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| Q | So I ordered Fanatic's along with Lines and The Big Metronome (to save on shipping), and have Key Note on the way as well. I know that I should wait with Lines as well as Key Note until I am trough with One Note/Fanatic's. While I intend to focus on Fanatic's and One Note throughout the day, can I also sometimes be doing The Big Metronome if I feel like it, or do you recommend I wait and only focus on one thing at a time?
Do you also recommend that once I am done with Fanatic's and One Note, that I study Key Note in tandem with Lines? I am pleased to say that on One Note, I am starting to occasionally get G wrong (before, I would get it right all the time, but by cheating). This is a good thing right? And in terms of judging healthy progress as opposed to progress based on interval reasoning... I am getting about 30-40% right (after 3 weeks), and when I am wrong it is often only by a half/whole step. Is this a good indication? Does this mean that my brain is learning correctly, or is this trend an indication that I am still somehow answering based on interval and distance reasoning? It would be great to have some sort of mental queues indicating whether I am learning correctly. |
| A | I wouldn't work on LINES until you are working on the 2 note books. You can certainly work on the Big Metronome anytime.
You will find that your ability will vary on specific notes. You might be good at the 5th for awhile then it will go away and then come back into focus later. I believe this is your mind readjusting as it learns new notes. Overall it sounds like you are making excellent progress. But remember don't think so much about progress think about the notes. Immerse yourself in their sound. Everyone that gets this ear training puts their energy into it. For some people it is quick, for others it takes a long time. The important thing is to keep a positive attitude and keep working. |
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| Q | I do not only spend time in the key of C major but in all keys equally. Is that what I am supposed to be doing (I hope so because I have been doing it for about 3 months)? I will be learning the b7th next week. The subsequent scale degrees each week thereafter. That is if they come to me like the past several pitches have. |
| A | You only have to do the ear training in the key of C major because all keys are the same. You can work in other keys if you want to help your music theory knowledge with, for instance, what is the b6th of Gb? But you will learn this information when you work in the Fanatic's Guide so working the one note ear training exercises in other keys isn't necessary. Again I would urge you to just listen to the ear training CD unedited at least a couple times a day. |
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| Q | I have been using your sight singing and beginners one note books. I have had correspondence with you before and your insight was great. Currently I have memorized the sounds of notes in the major scale (not the intervals but the unique sound of the notes). I have taken a break from learning new notes to explore the major scale (very slowly) while using my new skills. Next week I get back to learning new scale degrees but now they will be outside the diatonic scale for the major 7th cord. I was wondering if there was a reason that we do not learn notes such as the minor third against a minor chord. I have listened to a 5th against both a major and minor chord and it seems to take on a different character. How do you address this in your series of books?
P.S. My musicianship is improving by leaps and bounds. |
| A | All notes sound the same no matter what type of key center they are heard in. You may not be able to distinguish this at your current ability but you will if you keep working at the ear training.
You will begin to work with minor keys when you do the book Key Note Recognition. For now I would concentrate on getting to know all pitches against a major key center. I also caution you from spending too much time on just the notes of a C major scale and not listening to the other 5 notes. To use an analogy, you can't truly know what the color Blue looks like until you also know the color Red. Keep up the practicing and I'm glad to hear you are improving. |
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| Q | I received One Note Complete and Key Note books a few days ago. Waiting for shipment of Fanatic's guide. First I should say that your books are really giving me some hope about advancing my playing. I have long held that the belief that I would never be able to develop my ear and time, that I just didn't have the talent. It is so refreshing to have such a thorough and organized plan to follow.
I am getting 80-90% on one note advanced and doing several short practice sessions throughout the day. I am noticing that my mind habits are to listen for resolution or internally sing a path to tonic. By using the Advanced CD and answering as fast as possible (before the habits can start to work), I find that I am getting alot more wrong. I have read alot of your FAQs, so I have faith in the process, and just want to make sure I am doing this correctly. I understand that what I am practicing is a method of listening, not trying to guess right every time using a trick. A few questions: 1. I still notice my mind attempting to rely on resolution tendencies or singing a path to tonic. Is there any other way to control this tendency, other than answering quickly? Or will these habits gradually be replaced by the correct listening? I know from the FAQs that the Fanatic's Guide is important in this process, so I will contact you when I get it. 2. You talk of listening for the unique sound of each note against a key center. Isn't a note's resolution tendency a part of that experience? What are you really talking about here? 2a. When I get one wrong, is it appropriate to repeat that track several times to strengthen the memory of the sound of that note? I tend to mix up F#/G#/C#, F/A#, F#/B and sometimes E/G. I have instant recognition almost always of C D D# E G A A# B. Most of the very high notes I do not get correct. I know from the FAQs that it will take time to develop the high range. 3. I have been working with the Key Note CD some. I am finding that I get very few correct and that I can rarely hear the C notes relationship to the key. Is this because of the cadence? Or have I not spent enough time with One Note? Or do I just need to guess a lot and keep listening? 4. Also, with the Key Note drills, I am finding that my theory knowledge is not fast enough to get the answer in time. If I do hear the C relationship with the correct technique, it can take me some time to calculate what the key is. (eg, I think: I am hearing C as the 5th, C is the 5th of ... F, answer = Fmaj or min) Should I stop the CD to do that calculation, as long as I am properly listening for and hearing the way C relates to the key? Or should I first memorize on the relationship of C in all 12 keys? (5th of F, 4th of G, #3 of A, etc) |
| A | 1. Working with the Fanatic's Guide to strengthen your recognition of each note and forcing yourself to give quick answers is the two ways I recommend to fight resolution tendencies.
2. The uniqueness of a note can only be based on aspects of that sound that are universal. Since resolution tendency pulls a note in a particular direction it is not a good thing to use. Any note can move to any other note and resolution tendency is based on prior listening habits not on any universal truth. 2a. Yes you can repeat tracks to ingrain the sound of a note. 3. Key Note Recognition presents the one note process in a different situation and you are noticing how changing a situation can effect your accuracy. It will take time but you will begin to hear these same relationships in the Key Note as you do in the One Note CDs. You are handicapped by the fact that you haven't been working out of the Fanatic's Guide so I would say that all note listening CDs are going to be harder for you until you have mastered some of the exercises in the Fanatic's Guide. For now just guess and keep listening. 4. Sounds like you need to work through some of my theory books to speed up your knowledge of interval relationships. I would recommend Music Theory Workbook for all Instruments or if you play guitar Music Theory Workbook for Guitar Volume One. This book will give you hundreds of exercises to improve your music theory knowledge. Keep practicing it sounds like you are on the right path it's just going to take time and patience. |
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| Q | My current progress is a follows:
One note advanced: about 90+% correct. Still mixing up C# and G# frequently. Most other pitches are heard correctly all of the time, some most of the time. A. Given this, I am using the One Note less and working with Key Note instead. I am getting less than 40% with keynote, and really having trouble with "habits", like silently singing to tonic or resolving pitches. I was thinking of editing the sound files to shorten the time before the answer comes to help with this, so that I don't have time to do habits, just to guess. Is that advisable? B. My practice schedule is typically about three to five 15-minute practice sessions devoted to ear training of some type. I split that time between Fanatics, Keynote and One note, in order of frequency. I spend one hour per day on the guitar, practicing single note technique, chord voicings, comping, improvisation and time-sense. C. I tried the Fanatic's exercise you gave me for about four weeks. I was able to prehear Do Ra Mi Fa Sol La Ti and Ri very easily and had them down in a few days each at most. Now I have been working on Fi for 3 weeks. I have no trouble holding the pitch in short term memory without singing for as long as I choose, even up to 10 minutes (or longer). I can only very rarely actually prehear Fi, so I am relying on a pitch pipe. I assume I should just keep going with this and eventually it will just come? I have not attempted any singing beyond the one note exercises. Here are some questions about proper method: 1. Should I work on Fi by allowing the drone to play and holding the pitch in memory for awhile, perhaps five minutes (the length of the track)? Or, should I go through several or perhaps all 12 keys in a single practice session, attempting to prehear Fi and failing that, playing on the pitch pipe, hold in memory for a short time, then moving on to the next key? Or both? 2. Should I work on one pitch exclusive of the others until I can prehear it easily? Or should I review the other, easier pitches on occasion. How often? When and how should I attempt 2 note exercises? 3. I have been transcribing a Grant Green solo lately. Mostly my method is to slow it down and isolate a phrase and pick out on the guitar pitches and phrases after listening and singing the phrase several times. Lately I have been using a "One Note" approach by memorizing short phrases (Grant does a lot of that) and then singing the phrase while playing the chord of the moment on guitar, identify each note by its tension against the chord, then notating. Any suggestions? Do you have a method for transcribing? |
| A | A) You could edit the files to see if that helps.
B) That all sounds good. C) Some notes can take longer than others. Keep at it and let me how it develops. 1. I would try repeating the exercise of hearing the cadence and singing the pitch until you can do this a few times in a row and get it correct. (You may have to give yourself the pitch a few times to get your memory going). Then I would try doing a few other notes and coming back to the problem pitch to see if you can still remember it. Keep experimenting until you find how long you can remember the pitch and build up the time from there. 2. I would following the directions above for now. You wouldn't do the 2 note exercises until you can sing all pitches from memory and can get 100% correct with the Key Note Recognition. 3. Excellent idea. Applying your ear training is extremely important. Try applying it as often as you can to as many situations as you can come up with. Over time you will begin to be able to transcribe by hearing the notes in relationship to the underlying key. This will take awhile and certainly won't happen soon. But trying this with easy solos that or vamp or modal based is a good place to start. |
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| Q | All of a sudden my two note ability has taken off nicely. I seemed to be stuck on Vol 3. When I got some problems cleared up there and tried 4-6 there didn't seem to be many problems with these. I was pleasantly surprised. What helped is going back a little and reviewing key note until I had it 100%, all the time any time. That in-depth knowing it took over a month. I thought I had it down before but now it's unbelievable how much that has helped. I also started to increase the speed at which I work on the exercises in Fanatics. Then I cleared up my problems with Vol 3 two note and things are falling into place for 4-6. My question is in what order should one study the rest of the two note pairs that aren't covered on your CDs? Are the intermediate and advanced level of two note just doing them faster? Is it also hearing them in wider spreads than intervals within an octave? |
| A | That's great news! You can do the rest of the two note pairs in any order it doesn't matter. You are correct that the intermediate and advanced level of two note method is just doing them faster. You also want to include wider spreads of the intervals.
This is all really fantastic it always makes my day when a student has a break through. Keep it up and soon you will off the 3 notes. |
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| Q | I have been a student of your ear training on and off for about a year now. I am very motivated to learn the concepts presented in your book, and I am very grateful to the work and time you've put into creating the course. I have a question about tone retention and temporary tonicizations.
It seems to me that my tone retention is very weak. I realize that the main concept behind your ear training system is hearing the notes relative to the tonal center or tonic, and that modulations make hearing the notes more difficult. I know that later in the course I will be able to identify modulations, but it goes without saying that the more a piece of music stays on a certain tonal center the easier it will be to identify the notes. In certain pieces when the music comes to a temporary tonicization, I cannot help but feel a full blown modulation. I realize that there is no real boundary between tonicizations and modulations, but it seems that to me that certain passages that one person would consider a tonicization come across to me as a little more permanent. The only conclusion that I can draw from this is that my tone retention is somewhat weaker than most people's. What sort of things can I do to help improve my tone retention? Do you see problems like this in your own students? P.S. I would have sent this to your muse eek members area address, but it has been a while since I last accessed it, and I have since lost my password. You may certainly post the answer in the member's area, but I would appreciate it if you would send a reply my email address. Thanks again for all the work you've put into this method, and thanks for being so accessible to everyone. |
| A | A couple things to keep in mind.
1. Everyone hears modulations and tonicizations differently. In any given song at any given moment it is common that different people will hear that moment in different keys. In other words there is no correct way to hear. But on the other hand if you have a ii V7 I repeating over and over at a fairly quick tempo then you should hear this all in one key. As the tempo slows down you will start to hear each chord of the ii V7 I as a different key. Exactly when this happens will vary by individual. The best thing you can do is to just continue to work on the Ear Training One Note CDs, sing out of the Fanatic's Guide and move on to the Key Note Recognition when you get around 90% correct answers on the One Note CDs. Once you get past Key Note Recognition I'll be able to recommend a lot of other things you can do to strengthen your sense of key. Most importantly you need to change the working on and off to working every day religiously. This will greatly speed up your progress so that we can get into the stuff you are worried about in your email. |
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| Q | I just picked up Single String Studies Volume II. The book recommends working with volume I first; however One Note Complete and Fanatic's Guide recommend learning to recognize and pre-hear both diatonic notes and non-diatonic notes before moving to more advanced exercises. This seems like a contradiction of sorts. By that I mean focusing on just Volume I would reinforce the diatonic notes and ignore the non-diatonic notes. Since the goal is to learn all the notes, I figure I should just dive into Volume II. My goal with using Volume II is to help me master the non-diatonic notes while applying the ear training skills to the guitar. Just wanted to make sure I'm not hindering myself in the long run by jumping into Volume II without having mastered Volume I. Let me know your thoughts and thanks for all your help! |
| A | You can use either volume of Single String Studies to aid your ear training. If you use Volume One you would want to read each page in all keys. Start page one in the key of C with a C drone. Next you would sing the same exercise in the key of F with an F drone. This will make every B a Sharp 4 and help you work on that note. As you go through all keys it will get progressive harder with fewer and fewer notes being diatonic with the drone. |
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| Q | I've been working on ear training on an ongoing basis. I've made a lot of progress with the diatonic notes, however the non-diatonic notes have been coming a lot slower. Unfortunately my current work schedule limits my ear training time. I do 10 minutes or so in the morning before I leave, 30-45 minutes on the bus ride home, and 10-15 minutes before I go to sleep.
I have been working exclusively with the one note complete CD. In order to practice pre-hearing notes (in addition to listening), I have been trying to pre-hear and guess the note immediately following the I-IV-V progression before your voice on the CD gives the answer. On the weekends when I have time I try to practice more. One thing I just started doing is using the Fanatic's Guide CD to play the C drone and singing and screaming the non-diatonic notes out over the drone to get them in my head (as I recall reading this could be helpful). My questions are how to best fine tune my regimen to get these non-diatonic notes in my head. 1) I read in the book an exercise that talked about using intervals or intervallic movement to help with this. However I am unclear how this works. 2) Is my pre-hearing practice method of trying to pre-hear and guess the note after the I-IV-V progression an effective way to practice pre-hearing the notes? Unfortunately, my time schedule doesn't allow me to use the Fanatic's Guide exercises and methods of prehearing over the drone, and having an instrument handy to double check myself. So in essence I use the CD player to double check myself, but am limited to doing one note at a time. 3) Another thing I did is burn a one-note complete CD of just the non-diatonic notes to emphasize them more. I am wondering if this is helpful or hindering me. This summer I am changing jobs and hope to have a lot more time to practice. I hope to dive into the single sing strudies book and really start working on applying all this to the instrument. But I really want to get a better grasp on the non-diatonic notes before then. |
| A | You can use the interval based methods on page 10 and 11 to help learn the notes. Just remember you always have a drone chord going on underneath the exercises and you are only hearing the notes by how they sound in the key not by their intervallic distance. If you want to do this type of ear training when traveling I would recommend getting a Chromatic Pitched Instrument so you can check the notes you sing.
I'd get the C to C model http://www.encoremusic.com/piano/6630002.html Sometimes making a tape or CD of the non-diatonic notes helps students and sometimes it doesn't. I do think it's a good idea to go back and listen to any note that you miss on the regular CD so you reinforce the sound. Overall I think your real problem is not having enough time to practice. Sounds like the summer which will be here soon will be the time that you can really apply yourself. Remember each person is different and sometimes it takes some intense practice periods to get over humps in your musical training. I once spent 12 hours a day for two weeks working on b6 because I just couldn't get it. After the 2 weeks I had it. Pretty drastic stuff but I just got sick and tired of not getting the note right. |
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| Q | I've been working on the non-diatonic notes slow but sure with an eye on really listening to the CD through out the day starting this summer. Meanwhile our band has our first gig on June 1st and I've been struggling with my singing, keeping pitch and maintaining correct pitch during a harmony. The biggest improvement I've noticed with my ear training is the ability to recognize when I am singing off pitch. Usually singing by myself I can do pretty well. It's when I have the noise of an entire band going that it becomes more difficult. Or if I am multitasking (playing guitar and singing at the same time). Or, in the case of a harmony, the harmony throws me off and I start singing the harmony and/or off pitch because my notes fade out of my mind. It's as if the signal transmitting in my head is not strong enough.
I am wondering if there are any exercises that can help me with singing harmonies. I have been recording the harmonies and practicing singing my part against the harmonized notes for starters. In terms of singing, I am afraid that my singing may be memory based (memorizing melodies), not genuine from the ear. How can I practice my songs similar to the Fanatic's Guide exercises? Would transcribing the notes to sheet music notation be of any help? And if so, would I sing the notes as solfeggio syllables, or just sing the words? Another question I had related to singing is how the notes apply to chords in the given context of a key. For example, take a song in the key of D with a chord progression of Bm, A, D. Now when I sing a D note, the D has a different quality of sound when sung against a D chord than it does sung against an A chord. But we're still in the same key here. How would you explain this? I am concerned that the Fanatic's Guide exercises emphasize singing against a drone of the same chord in a key, not challenging the ear to sing over chord changes. Any insights or suggestions on how to remedy that? I recently picked up the Key Note Recognition Book to get into this summer. I have a decent grasp of one note complete (around 60% accurate and improving). Can I start getting into the key note book, or should I wait a little longer. Lastly, do the two note ear training books help with developing the ability to sing harmonies? |
| A | There are some exercises to help you sing harmony. For example the LINES book is all about helping you sing harmony. The problem that this book and any other exercises I might give has is your inability to sing and/or identify all 12 pitches accurately with the one note method. You can practice sections of tunes that are all over one chord by recording a drone, recording one part and singing the other part thinking of the pitches in relation to the key with or without syllables. But given your current ability this could be hit or miss too.
Your current ear training ability also relates to the reason you are hearing a note sound different when you play a D chord and then an A chord in the key of D. You haven't worked through all the exercises you will need in order to strengthen your sense of key which will help you hear multiple chords with a melody all in one key. Basically everything you are trying to do isn't really possible yet until you work through: Ear Training One Note Key Note Recognition Plus we will probably have to do some singing out of Single String Studies for Guitar and sing through some jazz standards to get your sense of key even stronger. You have a long way to go before you will get the ability that you seek. The good news is you are doing it and you are already seeing the benefits just hang in there and you will get it. |
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| Q | I've been using your One Note Ear Training Advanced CD for about a year now and routinely get 95+% correct (by the way, I think it's a very good system). Encouraged by the results, I decided to try your Key Note Recognition CD. What a surprise!! I've listened to it 3-4 times now and still have NO idea how to approach it. Initally, I had the same reaction to ONET, but decided to break it down into bite size chunks of 2-3 notes at a time -- a system that worked. My question is, is it possible to skip the Key Note Recognition CD and instead go directly to Two Note Ear Training?
If you have any suggestions for how to get started with KNR, I'd appreciate hearing them. |
| A | Many students have a problem when they start KNR so you are normal and just need to continue to practice it along with working out of the Fanatic's Guide. You absolutely can not just go directly to Two Note Ear Training you will be totally lost. I guess my only suggestion at this point is to give it more than 2 or 3 sessions. Work with it everyday for a few months if you still find you can't get anything get back to me. Usually within a few weeks students start to hear to correct answers. By the way you should also continue with the One Note Ear Training to keep that strong. You can stop the One Note Ear Training when you get to the Two Note Books. |
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| Q | Today I began work on Key Note Recognition and was dismayed to find that most of the chord progressions on the CD don't establish firm keys in my mind. I get good scores on the One Note discs, so I can only assume it has something to do with the chromaticism of the new chords. Any suggestions? |
| A | Your response is not unusual. The CD does establish firm keys your just unable to hear that establishment. There is no chromaticism in the progression it's just a ii V to I or i- progression but it will take your ear some time to adjust. Your going to have to be patient with this CD and book, it can take students 6 months to a year in some cases to adjust. BUT over time your ear will be immensely improved. So be patient listen to it many times a day and definitely work out of the Fanatic's Guide because it will help you diversify your ability to hear a key center. |
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| Q | I am a totally amateur 'play along to my CDs in the house' type of guitar player. Since I don't have much contact with other musicians I was wondering if you can give me some indications regarding the possibilities of acquiring what I call 'direct apprehension of musical content' as a result of ear-training from the starting position of a typically aurally endowed person (cf. Mozart, Pierre Boulez etc) and what techniques would be best for this.
By direct apprehension I mean that in listening you are directly and uncalculating aware of what the content is without having to make overt inner additional mental representations and simplifications (mental 'humming along') and then reading the content off from these. I started ear-training a few years back using totally home improvised methods (intervals up and down, melodic and harmonic etc. and I specifically focused on what I called chain-interval recognition using a deck of cards to randomly generated note sequences since I figured this was the ultimate skill level - now I have picked up on alternative approach of contextual listening and have ordered your Key Note recognition book to see if I need to graduate down to the one note etc. I play everything by ear and largely 'refind' a piece each time I play along to it. I can play straight off fairly competent versions of stuff that many would regard as hard (Zappa, Hendrix, fast country James Burton, Jerry Reed etc.) but most of the time I feel I am relying on my on the orientation from my own guitar notes my than I would like. Ideally I would like to just be able to hear the content from the music without using the guitar probe notes to get me under way. |
| A | I think my method will work well for you considering your goals. I don't think you are going about it correctly though. I strongly urge you not to start with Key Note Recognition. I would get Ear Training One Note Complete or Ear Training One Note Advanced and Fanatic's Guide to Sight Singing and Ear Training. I would make sure you can do the exercises and understand completely what you are supposed to be doing. I would also read all the FAQs for these books on line at www.muse-eek.com
Only after gaining a 90% or above ability on the one note CD would I move on to Key Note Recognition. You don't want to approach this ear training haphazardly. It is important to understand it from the ground up so that you don't make a mistake and have to either start over or spend months/years reprogramming your mind if you train the wrong way. |
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| Q | I just received the Key Note Recogntion and as per your recommendation of last week the One Note Complete is on the way.
Before I ordered KNR I worked out the principle from the Look Inside the book feature on Amazon. I realized that using Functional Ear Trainer (internet download you no doubt aware of) and an intrument you could create a similar exercise - this involves using the random key setting and setting the note selection to tonic only when you select the only possible answer it then plays the next random key progression and you play your own C after/against it etc - of course you have to look away as you press. Doing this I found I scored pretty well - problems were a tendency to resolve a min.3 to maj .3 etc if not fully concentrating, but overall scoring way above novice level. However when I came to use your CD I found my success rate to be very much lower. The 'problem' seems to be aspects of the cadence. The fact that the last tonic chord fades to near zero combined with the C being playing quite forte seems to cause my 'cognitve processing' to decide that the two events are unconnected - the C seems to deliver a kind of knock-out attention grabbing blow at the same causing the progression to be shunted nearly out of awareness as an unconnected event in the past. I'm wondering if the attack/volume of the C and prominance of harmonics is resetting me in 'expect something now to happen in C' mode. So it seems I can largely do the KNR in principal, using FET and also playing notes at random on guitar against my own CDs - but barely at all with your CD. Do you have any advice as to what might actually be happening here - did you deliberately set it up in this manner to cause people to really learn this skill in full rather than an incomplete easy version of it? |
| A | The problem is you have weak key retention so when the actual key sound dies out you are unable to retain it in your mind. Working with the Fanatic's Guide book and various exercises I could point out will help you improve your key retention. I also think you might not have read the FAQs under all the ear training books. If this is the case you are really doing yourself a disservice by blindly jumping around with various methods to see your minds/ear reaction rather than learning what the reaction should be. Check out the FAQs and make sure to read all the info in the books when they show up. |
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| Q | I've been working on two note for about a month now, as well as the Single String singing and 2 note blues assignment. Everything seems to be coming along. Two note doesn't seem to be that bad, I get a decent amount of the modulations, ignoring the interval root movement is the hardest part. I can't separate the notes yet either, but it sounds like that will happen in time. I'm almost up to 65 bpm with the 2 note blues, I do it in Bb instead of C because it's easier to sing the high notes. I can get through exercise 1 in the Single String book in the keys of C and F, sometimes perfect, sometimes within a half step (without playing chords or notes after I begin).
I was wondering if I could move the other way through the keys in Single String, work on G, then D, A, etc. It seems that working through mixo and the minor modes might be a little easier for now, then work my way up to the harder non-diatonic keys (trying to sing the exercise relative to Bb would be very hard right now). Also, should I do different exercises out of the Single String book so I don't just memorize the line or intervals (without realizing it, of course)? Typically I do each of these three exercises twice, (so a total of 6 times) spread out over the course of the day, is this enough? This is more of a general ear training question, my basic idea of the purpose of all of this is to develop your internal ear so you can pick the notes that you want to play by hearing them first, in relation to what's being played around you. Right now I play like most guitarists, I know lots of patterns and licks, I'm picking my notes based on theory and mechanics. I try to make it as musical as I can, but it wears thin and lacks intention (most of the time). It seems that improvising should be a combination of all three (ear, theory, mechanics), but with more of an emphasis on being able to hear the notes you want to play, then using the theory and mechanics to make it happen. Does that make sense? With all of that said, I was wondering how this transition occurs, I'm guessing it takes a very long time. I try to sing my solos in my head while I play; but it's very difficult, I almost always fall right back to the licks and scales (especially during gigs). Any suggestions? |
| A | Yes you certainly can move through Cycle 5 moving to G then D, A, etc...
It's hard for me to judge how much practice will be enough without teaching you in person. You will have to judge that based on your improvement. You are correct that some of the important aspects of improvisation are ear training, learn music theory until it's second nature and playing your instrument properly but of course there is so much more involved. Your question about transition is really individually based so I can't tell you the answer because I don't know your ability nor do I know your problems. I could make some recommendations: 1. Continue to practice ear training using the books you are currently using. 2. Check out the newly released New York Guitar Method. This is a combination of many of my books and gives you a concise and concentrated method to improve your skills on the guitar. Both volumes of this method talk about many aspects of playing and help you understand how ear training and playing music can be combined to give you a closer connection to the music inside you. 3. Write me with a complete breakdown of your practice schedule so that I can evaluate what you are doing. |
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| Q | Here's a little info to help you get an idea of where I am. I studied piano (privately) for 10 years, starting when I was six or seven. Basically I memorized pop/rag time/classical tunes, got bored and pretty much stopped (I can still play a little though). I started messing around with guitar and bass in high school (15 years ago, I'm 28 now), I didn't do too much after that (went to college for engineering). I started taking some blues lessons (for about a year) as well as playing guitar in rock/funk bands about 6 years ago. Then last year I attended GIT, I did fairly well, I was able to complete the 18 month performance program in 12 months, with honors (grading was based more on participation than actual performance though). I also studied with an excellent teacher/guitarist, BZ Gerber, down in San Diego for a few years, he really kicked me in the ass and helped me get ready for GIT.
I can get through some jazz tunes using the key center approach, such as Blue Bossa (of course), Autumn Leaves, All the Things You Are, Solar, Tune Up. I can struggle through more difficult tunes such as Joy Spring, Black Nile (you don't by any chance know a piano player named Carl Shroeder do you?). Regardless of the tune, I'm using theory and patterns to try to find some right notes, it's usually very far from musical. I know this is the first step that every one has to go through, but I really want to push to the next step...I'm assuming (and hoping) that there is a lot more than this. As for my typical practice routine: -Ear/sight sing - 6 times a day -Theory - Guitar Theory for Guitar Workbook One - typically half a page per day, (I'm getting close to the end) -Technique - I just ordered Right Hand Technique, I don't feel my technique is too bad, but I still have some problems with accuracy and speed. - Intermediate Jazz Improvisation by George Bouchard - working on exercises 1 (major) and 2 (dorian). Each exercise goes through all 12 keys and contains the chromatic scale starting and stopping on chord tones, scale sequences (1,3,5,3; 1,5,6,5;etc), and melodic lines. I switch between 5 patterns (that's what GIT uses). I try to spend a total of 3 to 4 hours practicing each day. I also have tunes I work on for my band (blues/funk/rock). That's about it. I would like to get back to sight reading, I know it's important, but have been putting it off. Sorry this was so long, I ramble, I know, I have too much free time... but I hope it gives you a better idea as to what my background is. My ultimate goal is to be able to improvise (jazz, blues, rock, country, whatever), as freely and musically as possible, using less of the technical side of my brain and more of the creative/intuitive side. This could, and probably will, take a lifetime, but what else is there really to do? Thanks again for all your advice and help, your books are really making me work hard at areas that I know are very important. It's not always fun, but I think the rewards will be well worth it! |
| A | Yes the New York Guitar Method is exactly what you need. Let's start with Volume One and Ensemble Book One. I'm going to have you work through them slightly differently than the way they are written so write back when you have them and we will get you going so you can get rid of these problems. Make sure when you write back to include the information from your previous email so I can remember your problems. |
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| Q | I just received the books you recommended (New York Guitar Method and Ensemble), it looks like a ton of work! I also recieved the Right Hand Technique book recently. So I'm going to try to spend 3 to 4 hours per day practicing (not including ear training).
I have one more question about singing the lines out of Single String, once I get to the minor modes, should I play a minor or major I-IV-V? I still hear "C" in relation to the relative major on many of the minor examples on Key Note Recognition, should I switch between major and minor as a reference for singing? Please let me know how you'd like me to work through all of this! |
| A | The reason you are hearing the relative major is because the relative major chord is contained within the upper structure of the minor chord. This is a common problem students have and if you just continue to work with the Key Note Recognition it will go away over time.
You can use a minor ii V i cadence to establish a minor key when singing the minor mode examples of Single String in the New York Guitar Method. If you would like me to give you a practice schedule please write back with a list of books you now have and how much time you have each day to practice. |
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| Q | First was wondering where I say that getting key note assures that any cheating is behind you. If you could give me the quote from the website I'd appreciate it.
I got that from reading through this quote on the KNR faq site: "I think you will know that most of your interval problems are behind you when you can do the Key Note Recognition book." Perhaps that answer was specific to the questioner's problem of interval habits, but I guess those habits might also be the problem I am still having to fight off. "Do not think the root of the key after the cadence with either one note ear training or key note. If you are ever going to use this with real music you can be hunting around in your mind for the key center and then listening to the note(s). This is stated all over the website and mentioned to you multiple times while you were in New York so I'm not sure why this is even a subject." I figured that, but I was worrying that I might not be modulating between the example. I had no intention of singing up from the root or anything like that. In a sense what I was trying to do is force myself to modulate. What I meant to say was to focus on the sound of the key in my head while hearing the cadence, as you put it on the FAQ (last sentence): "It is common for students - particularly those with previous interval training - to have interval relationships popping up in their mind. This is one of many reasons why I feel that interval training can be detrimental to your progress with this type of key based ear training. When you are listening to the CD what you want to keep in your head is the sound of the key not the sound of the note in the previous example." Perhaps "thinking" the root while hearing the cadence is the wrong way of saying it. But in that case I am a bit lost about the difference. In any case, I have not needed to do this at all over the last few days and am getting about 80% correct. About playing multiple single notes: wouldn't the vamp in the background prevent any modulation? I will stop doing this though. I recently have been singing more than in the past. I am dividing it up 50%-50% with listening. The only thing is that listening is more convenient as I can do it on the go. Just yesterday, I bought a metronome that can generate pitches. It has an earphone jack so I will start using it against the FG's cd. |
| A | First let me put it this way. If you had cancer and someone told you you have two choices.
A. People can be assured that they will die from cancer B. Most people die from cancer Which would you choose? You have obviously misquoted me and even after pointing it out to you you still insist. To me this shows a lack of understanding language which is what we are using to communicate and what you use to guide yourself through learning music. I have thought for sometime now and particularly after your lesson in New York that communicating with you can be a very fruitless endeavor. From playing patterns on the guitar to working on made up ear training exercises you consistently go against my advice and do things that are harmful to your development. It has it's consequences too. For instance this is why your ear training has taken so long and why your guitar playing is behind where it should be. You consistently try things I haven't recommended and misunderstand the things I do recommend. This is highly unusual and have never had a student that was so misguided. Sorry for the harsh words but someone has to tell you that you are your own worse enemy when it comes to learning music and you have to control your impulses, think don't assume, and follow not change directions if you ever hope to succeed. Second your "current" problem has nothing to do with intervals it has to do with singing or thinking the tonic after the cadence. The sound of the key is not the tonic. When you do the one note ear training and you hear the 3rd, you don't know it's the 3rd because you have the sound of the tonic in your mind. You know it's the tonic because you have the sense of the key in your mind which makes the 3rd sound like the 3rd. This also doesn't mean you are sitting there holding something consciously in your mind. It's like when it's daytime you have a sense that it's daytime because you are awake, generally there are more sounds around you and you have more energy etc.... You don't have to go outside and look in the sky and say "Oh gee it's daytime now". In any case because of this history I wouldn't recommend moving from one note to Key Note Recognition until you get all notes 100% right consistently for weeks. Same is true with the Key Note. 100% correct for a sustained period before moving on to two notes. I would continue singing as much as possible because this will help your sense of key and I would really think about the things I've said above. |
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| Q | I am finding your ear training method to be extremely helpful and productive, but I am wondering how much it will help me to hear harmonies as it seems that much of it is melody and single-line focused. After enough time and study, will it enable me to identify harmonies as well? I am wondering if you ever advise your students to take a similar approach to learning harmony, perhaps finding a CD that uses several progressions in different keys and inversions and encourages the student to identify them by listening to their sound, rather than identifying bass notes, etc. Do you recommend any additional studies for those of us who want to develop a better ear for harmony, or will this come after enough study of your method. |
| A | The ear training method you are doing is working towards hearing both melody and harmony. Remember harmony can be thought of as just a bunch of melodies played at the same time. When you get to 2 note ear training this will begin the process of hearing multiple notes at once. See:
http://www.muse-eek.com/books/ET%202-note-vol%201/lower.html You would need to work on Key Note Recognition be you move on from One Note Ear Training: http://www.muse-eek.com/books/keynote_recognition/lower.html Sound like it would be a good idea to read through the FAQs for all these books so that you understand the method better and realize what is involved. Here are the links: http://www.muse-eek.com/books/ET_1_note_complete/eartrngfaq.html http://www.muse-eek.com/books/fanaticsguide/fanaticsfaq.html http://www.muse-eek.com/books/keynote_recognition/eartrngfaq.html http://www.muse-eek.com/books/ET%202-note-vol%201/ET2Nvol1faq.html I will be giving you additional studies once you have completed these books so for now just buckle down and listen and sing. |
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| Q | The question I had wanted to ask is how the (wonderful) system in the Fanatic's Guide to Sight Singing relates to a minor key? Hearing a note against a minor tonic chord is different to hearing it against the major tonic chord isn't it? |
| A | There is no difference between the sound of notes over a major or a minor tonality or any other modal tonality for that matter. When you are just starting with this course of study you may think there is a difference but over time you will realize that there isn't. You will begin to work with minor tonal centers when you start your work on "Key Note Recognition". |
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| Q | I have a question about memories. I remember reading one of your answers to another question a while back where you touched on this subject, but I can't seem to find it anymore. (Your FAQ section is getting quite large!)
Are one's previous musical memories translated (for lack of a better word) into this new way of hearing as one becomes more proficient? For instance, would I be able to hear the scale degrees of, say ... some melody from my childhood, even though I would not have listened to it since changing the way I hear? I'm trying to be specific; I realize that this is a broad topic. I'm concerned about my ability to come up with ideas by ear with this method. I have no doubt that I will become much better at comprehending what I physically hear and hearing scale degrees that I read on paper or think of in my head. However, I wonder how my spontaneous, creative ability will be aided. Let me put it this way. When I was little, I used to go to the piano and just start coming up with little songs by ear with no regard to theory. These songs were, necessarily, just little bits and pieces of songs from my memories put into a blender and spewed back out wherever my brain thought they fit. I imagine that this is true at all times when coming up with things by ear. Of course, hardly anyone composes music or improvises in a strictly analytical mindset; we all draw from inspiration and feel it out at least part of the time. I guess my question is this: how is this aspect of musicianship affected by changing the way I hear? Will I be able to use this method to identify things just popping into my head from a lifetime of musical memories? |
| A | If you either sung a melody or heard a melody from your youth you would have to listen to it with your new ear training ability in the same way as you would any new melody you might hear. You ear/mind doesn't automatically know something. For an analogy, if you learned algebra you don't automatically know the answers to algebraic equations unless you do the math.
On the other hand once you can hear and you start listening to and processing melodies you will find they are easy to remember because you now have a system of organization of pitch via the contextual ear training. Your creative ability will be revolutionized with this ear training. Once your mind has a firm grip on what notes sound like it will have a much greater ability to to put together melodies of higher complexity. But remember these things don't just magically happen you have to work with your creativity like it's a muscle to develop it. A good book to read on this is "Matisse on Art" AUTHOR Matisse, Henri, 1869-1954 TITLE: Matisse on art / [edited and with an introduction by] Jack D.Flam. EDITION: 2nd ed. PUBLISHED: Oxford [England] : Phaidon, 1978. Once your ability with the ear training improves you will be able to identify things just popping into your head from a lifetime of musical memories. Once again you need a conscious effort to do this it doesn't happen automatically until you are many years down the road and you just "hear" contextually as a natural event in your musical life. Once you get there you will still run into complex situations where it takes your ear time to grow into the situation. Take the improvisations I do over my 12 tone music or the music I record with the group Spooky Actions. see: http://www.muse-eek.com/record/record.html These note combinations and harmonies can take time to settle in your mind because of their complexity. I would also recommend you read Eric Kandel's book on memory so you start to understand what is going on up stairs in your mind. http://www.amazon.com/exec/obidos/tg/detail/-/0805073450/qid=1138891810/sr=1-1/ref=sr_1_1/002-2290163-0362448?v=glance&s=books |
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| Q | Just a little update, I've received KNR and had a bit of a listen to it. Couldn't identify any pitches. They all sound the same. Realise that it will take a while for my ears to adjust but I think it's just a little too advanced for me right now and I'm happy to keep working on the fundamentals. Remember you advising someone in the FAQs to practice more out of the Fanatic's Guide till his key retention improves.
I've been working diligently out of One Note Advanced and am definitely averaging more than 80% and possibly 90% on good days. Experiencing some major phases where I'll drop to low 80% for a few days then climb back up again with greater clarity and a marked improvement. I suppose this is part of the process of reprogramming your aural perception that you speak about in your books. Have had good progress with Fanatic's Guide and worked through the pitches as recommended 1, 3, 5, 2, 4, 6, 7, b3, b7, #4, but I'm stuck with #1. Have been keeping at it for about 3 weeks now with almost no improvement. Can't pre-hear the right pitch at all and can never remember the right pitch when I come back to it a few hours later. Only possible improvement has been that I can now sing it in tune most of the time, and if there's any slight wavering I notice and correct it immediately (checking with a pitch pipe). Re-read relevant bits of your books just to make sure I'm not doing anything wrong and came across the particularly inspirational bit on 10% talent and 90% fanatical hard work. Decided that I've got to increase my practice time:- Started at 3x10min One Note Advanced and 2x15min Fanatic's Increased to 4x10min One Note Advanced and 3x15min Fanatic's => Noticed improvement on One Note and slight progress on Fanatic's (but only very slight) => Can't concentrate for 15min stretch on Fanatic's, 10min works better and is more effective And this evening just decided that after another week at the previous mentioned level that the practice time somehow isn't enough and I'm not really getting anywhere. So... I remember you saying possibly an ideal schedule is 10x10min (5min One Note + 5min Fanatic's each time) spread out through the day. Might seem a little extreme, and is going to take up loads of time. But I'm still going to work at it and think little steps each day. Am I on the right track here? Hope so ... music is an all-consuming passion. But is also such hard work ... If it helps I've been working at this diligently for about 6 months now. |
| A | That all sounds good. I would do some work out of the KNR everyday too. Think of the sound of each note as a sphere. The one note ear training and the singing show you one part of the sphere. KNR shows you another. At the end you will realize it's all the same sound but it takes time for your mind to hear sound in many contexts before it realizes it's all the same. I'd also recommend doing the Direct Application CD. That will give you another side of the Sphere. |
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